‫ﻣـﺼـﺎﻋـﺪ ﺍﻟـﻘـﻠـﺐ‬

‫‪ -‬ﺗﺄﻣ‪‬ﻼﺕ ﰲ ﺍﳌﺰﺍﻣﲑ ‪-‬‬

‫‪١‬‬
٢
 ‫ﺍﳌﻄﺮﺍﻥ ﺑﻮﻟﺲ ﻳﺎﺯﺟﻲ‬

‫ﺐ‬
‫ﺼـﺎ ‪‬ﻋـ ‪‬ﺪ ﺍﻟـ ﹶﻘـ ﹾﻠـ ﹺ‬
‫‪‬ﻣـ ‪‬‬

‫ﺗـﺄﻣ‪‬ـﻼﺕ ﻓـﻲ ﺍﳌـﺰﺍﻣـﻴـﺮ‬

‫ﻣـﻨـﺸـﻮﺭﺍﺕ ﺩﻳـﺮ ﺍﻟﺒـﺸـﺎﺭﺓ‬

‫ﺣـﻠـﺐ ‪٢٠٠٦ -‬‬

‫‪٣‬‬
 ‫ﻣـﺼـﺎﻋـﺪ ﺍﻟـﻘـﻠـﺐ‬
‫ﻟﺼﺎﺣﺐ ﺍﻟﺴﻴﺎﺩﺓ ﺍﳌﻄﺮﺍﻥ ﺑﻮﻟﺲ ﻳﺎﺯﺟﻲ‬
‫© ﲨﻴﻊ ﺍﳊﻘﻮﻕ ﳏﻔﻮﻇﺔ ‪ -‬ﺍﻟﻄﺒﻌﺔ ﺍﻷﻭﱃ ‪٢٠٠٦‬‬

‫ﻃﺒﺎﻋﺔ‬
‫ﺩﺍﺭ ﺍﻟﻀﺎﺩ ﻟﻠﻄﺒﺎﻋﺔ ﻭﺍﻟﻨﺸﺮ‬

‫ﻣﻨﺸﻮﺭﺍﺕ‬
‫ﺩﻳﺮ ﺍﻟﺒﺸﺎﺭﺓ ﺍﻟﺘﺎﺑﻊ ﳌﻄﺮﺍﻧﻴﺔ ﺍﻟﺮﻭﻡ ﺍﻷﺭﺛﻮﺫﻛﺲ – ﺣﻠﺐ‬
‫ﺹ‪.‬ﺏ‪ ٦٩٧٦ .‬ﺣﻠﺐ‪ -‬ﺳﻮﺭﻳﺎ‬
‫ﺗﻠﻔﺎﻛﺲ‪(+ ٩٦٣ ٢١) ٢٢٨٦٩٤٤ :‬‬

‫________________________________________________‬
‫ﺃﻳﻘﻮﻧﺔ ﺍﻟﻐﻼﻑ‪ :‬ﺍﻟﻨﱯ ﺩﺍﻭﻭﺩ ﻣﺮﻧ‪‬ﻤﹰﺎ ﺍﳌﺰﺍﻣﲑ ﻭﻫﻮ ﻳﻌﺰﻑ ﻋﻠﻰ ﺍﻟﻘﻴﺜﺎﺭﺓ‬

‫‪٤‬‬
 ‫ﺍﻹﻫـﺪﺍﺀ‬

‫ﺇﱃ‬

‫‪Orante -‬‬ ‫ﻗـﻠﻮﺏ ﻣـﺼﻠـﻴ‪‬ﺔ‬

‫ﻣـﻼﻙ ﺃﺑـﺮﺷـﻴ‪‬ﺔ ﺍﻟـﻼﺫﻗـﻴ‪‬ﺔ‬

‫ﺍﳌـﻄﺮﺍﻥ ﻳـﻮﺣﻨ‪‬ﺎ ﻣـﻨﺼﻮﺭ ﺍﳉـﺰﻳﻞ ﺍﻻﺣـﺘﺮﺍﻡ‬

‫ﻭﺍﳌـﺘﺮﻫ‪‬ـﺒﲔ ﻭﺍﳋـﺎﺩﻣﲔ‬

‫ﻣـﻊ ﻃﻠـﺐ ﺻـﻠﻮﺍﺗـﻬﻢ‬

‫‪٥‬‬
٦
٧
٨
 ‫ﺍﳌـﻘـﺪ‪‬ﻣـﺔ‬

‫ﲨﻴﻊ ﻣﺎ ﻫﻮ ﻣﻮﺟﻮﺩ ﰲ ﺍﻟﻜﺘﺎﺏ ﺍﳌﻘﺪ‪‬ﺱ ﻳﺮﻣﻲ ﺇﱃ ﺍﳌﺴﻴﺢ‪ ،‬ﻭﻣﻦ ﻫﺬﺍ‬

‫ﺏ ﻳﺴﻮﻉ‪ .‬ﻭﻟﻜﻦ ﻣﺎ‬ ‫ﺍﳌﻨﻄﻠﻖ ﻳﻘﺮﺃ ﺍﳌﺆﻣﻨﻮﻥ ﺃﺳﻔﺎﺭ ﺍﻟﻜﺘﺎﺏ ﺍﳌﻘ ‪‬ﺪﺱ ﰲ ﻧﻮﺭ ﺍﻟﺮ ‪‬‬
‫ﻋﺴﻰ ﺳﻔﺮ ﺍﳌﺰﺍﻣﲑ ﻳﻌﲏ ﺑﺎﻟﻨﺴﺒﺔ ﺇﻟﻴﻨﺎ ﳓﻦ ﺍﻟﺬﻳﻦ ﳓﻴﺎ ﰲ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ؟ ﻟﻘﺪ‬
‫ﻭ ﹼﻇﻔﺖ ﺍﻟﻜﻨﻴﺴ ﹸﺔ ﺍﳌﺰﺍﻣ ‪‬ﲑ ﻛﺘﺴﺎﺑﻴﺢ ﻓ ‪‬ﻌﺎﻟﺔ ﺟ ‪‬ﺪﹰﺍ ﰲ ﻣﻨﻈﻮﻣﺘﻬﺎ ﺍﻟﻠﻴﺘﻮﺭﺟ‪‬ﻴﺔ ﻭﻟﻴﺲ‬
‫ﻫﻨﺎﻙ ﻣﻦ ﺧﺪﻣﺔ ﻟﻴﺘﻮﺭﺟ‪‬ﻴﺔ ﲣﻠﻮ ﻣﻦ ﻣﻘﺎﻃﻊ ﳐﺘﺎﺭﺓ ﻣﻦ ﺍﳌﺰﺍﻣﲑ‪ ،‬ﻭﻫﻜﺬﺍ ﺑﺎﺕ‬
‫ﺍﺳﺘﺨﺪﺍﻡ ﺍﳌﺰﺍﻣﲑ ﰲ ﺻﻼﺓ ﺍﻟﻜﻨﻴﺴﺔ ﺍﻷﺭﺛﻮﺫﻛﺴ‪‬ﻴﺔ ﺃﻣﺮﹰﺍ ﺃﺳﺎﺳ‪‬ﻴﹰﺎ ﻳﺴﺎﻋﺪ ﺍﳌﺆﻣﻦ‬
‫ﻋﻠﻰ ﺭﻓﻊ ﻗﻠﺒﻪ ﻭﺫﻫﻨﻪ ﺇﱃ ﺍﷲ‪ .‬ﻓﻔﻲ ﺍﳌﺰﺍﻣﲑ ﻳﺼﺮﺥ ﺍﳌﺆﻣﻦ ﺻﺮﺧﺎﺕ ﺍﻟﻔﺮﺡ ﻋﻠﻰ‬
‫ﺍﻧﺘﺼﺎﺭﺍﺕ ﺍﷲ ﻓﻴﻪ‪ ،‬ﻛﻤﺎ ﻭﻳﻌ‪‬ﺒﺮ ﻋﻦ ﺣﺰﻧﻪ ﻋﻠﻰ ﺧﻄﺎﻳﺎ ﻳﺮﺗﻜﺒﻬﺎ ﺍﻹﻧﺴﺎﻥ ﻷﺳﺒﺎﺏ‬
‫ﺷ‪‬ﺘﻰ‪ .‬ﻣﻦ ﻫﻨﺎ ﺟﺎﺀﺕ ﻫﺬﻩ ﺍﳋﻄﻮﺓ ﺍﳌﺒﺎﺭﻛﺔ ﺍﻟﱵ ﻗﺎﻡ ‪‬ﺎ ﺳﻴﺎﺩﺓ ﺍﳌﻄﺮﺍﻥ ﺑﻮﻟﺲ‬
‫ﰊ ﻟﻠﻤﺰﺍﻣﲑ ﻭﺗﻮﺿﻴﺢ ﺧﻔﺎﻳﺎ‬ ‫)ﻳﺎﺯﺟﻲ( ﻣﺸﻜﻮﺭﹰﺍ ﰲ ﺳﺒﻴﻞ ﺩﻋﻢ ﹶﻓ ‪‬ﻬﻢ ﺍﳌﺼﹼﻠﻲ ﺍﻟﻌﺮ ‪‬‬
‫ﺑﻌﺾ ﺍﳌﺰﺍﻣﲑ ﺍﻟﱵ ﻳﺼﹼﻠﻴﻬﺎ ﺩﻭﻣﹰﺎ‪.‬‬

‫ﺍﳌﻄﺮﺍﻥ ﺑﻮﻟﺲ )ﻳﺎﺯﺟﻲ( ﺫﻭ ﺑﺎﻉ ﻃﻮﻳﻞ ﰲ ﺍﻟﹼﻠﻐﺔ ﺍﻟﻴﻮﻧﺎﻧ‪‬ﻴﺔ ﻭﻳﺴﺘﻄﻴﻊ ﺃﻥ‬

‫ﻳﻐﻮﺹ ﰲ ﻣﻌﺎﱐ ﻫﺬﻩ ﺍﻟﹼﻠﻐﺔ ﻭﺗﻌﺎﺑﲑﻫﺎ‪ ،‬ﻭﻫﺬﺍ ﻳﺪﻋﻢ ﺧﱪﺗﻪ ﰲ ﻓﻬﻢ ﺍﻟﻜﺘﺎﺏ‬

‫‪٩‬‬
 ‫ﺍﳌﻘ ‪‬ﺪﺱ ﺑﻄﺮﻳﻘﺔ ﺃﻛﺜﺮ ﻋﻤﻘﺎﹰ‪ ،‬ﻭﻳﺮﻳﺪ ﺃﻥ ﻳﻨﻘﻞ ﺗﺄ ‪‬ﻣﻼﺗﻪ ﰲ ﺍﳌﺰﺍﻣﲑ ﺇﱃ ﺃﺑﻨﺎﺋﻪ‬
‫ﺻﺔ ﺇﱃ ﺍﻟﺬﻳﻦ ﻳﻘﺮﺅﻭ‪‬ﺎ ﻳﻮﻣ‪‬ﻴﹰﺎ‬‫ﺍﻟﺮﻭﺣ‪‬ﻴﲔ ﻭﺇﱃ ﲨﻴﻊ ﺍﻟﺬﻳﻦ ﻳﺼﹼﻠﻮﻥ ﰲ ﺍﳌﺰﺍﻣﲑ ﻭﺧﺎ ‪‬‬
‫ﲝﺴﺐ ﺗﻘﺴﻴﻤﺎﺕ ﺍﻷﺳﺒﻮﻉ ﻭﻳﺮﻳﺪ ﺃﻥ ﻳ‪‬ﺸﺮﹺﻙ ﺍﳉﻤﻴﻊ ﰲ ﻫﺬﻩ ﺍﻟﺘﺄ ‪‬ﻣﻼﺕ ﺍﻟﻘ‪‬ﻴﻤﺔ‬
‫ﻭﺍﳌﻐ ﹼﺬﻳﺔ ﻟﻠﻨﻔﺲ‪ .‬ﻭﻫﻮ ‪‬ﺬﻩ ﺍﻟﺘﺄ ‪‬ﻣﻼﺕ ﻳﺪﺧﻞ ﺇﱃ ﺧﻔﺎﻳﺎ ﺍﻟﻜﻠﻤﺔ ﺍﻹﳍ‪‬ﻴﺔ ﻭﻳ‪‬ﺨﺮﺝ‬
‫ﻣﻨﻬﺎ ﺍﻟﺪﺭﺭ ﺍﳌﺒﺜﻮﺛﺔ ﻓﻴﻬﺎ‪ .‬ﺇ‪‬ﻧﻪ ﻳﻌﺒ‪‬ﺮ ﻋﻦ ﺫﻟﻚ ﻭﻳ‪‬ﺪﺧ‪‬ﻠﻚ ﻣﻌﻪ ﻟﻼﺷﺘﺮﺍﻙ ‪‬ﺬﻩ ﺍﻟﺪﺭﺭ‬
‫ﻓﺘﺪﺧﻞ ﺍﻟﻜﻠﻤﺎﺕ ﺇﱃ ﺃﻋﻤﺎﻕ ﻗﻠﺒﻚ ﻭﺗﻨﻔﺠﺮ ﰲ ﺍﻟﻘﻠﺐ ﺇﳝﺎﻧﹰﺎ ﻭﺭﺟﺎ ًﺀ ﻭﺗﻮﺑ ﹰﺔ‬
‫ﻭﺗﻮﺍﺿﻌﹰﺎ‪ .‬ﻓﻴﺘﺄﹼﺛﺮ ﻛﻴﺎﻥ ﺍﻹﻧﺴﺎﻥ ﻭ‪‬ﺘ ‪‬ﺰ ﻋﻈﺎﻣﻪ ﻓﺘﻨﺴﻜﺐ ﺍﻟﺪﻣﻮﻉ ﻣﻦ ﺍﻟﻌﻴ‪‬ﻨﲔ ﻧﺪﻣﹰﺎ‬
‫ﻭﺭﺟﻮﻋﹰﺎ ﺇﱃ ﺍﷲ ﻭﺍﺭﲤﺎﺀ ﻋﻠﻰ ﻗﺪ ‪‬ﻣﻴﻪ ﺑﺎﻧﺴﺤﺎﻕ ﻭﺗﻮﺍﺿﻊ‪ .‬ﺍﳌﻄﺮﺍﻥ ﺑﻮﻟﺲ ﻳﺸﺮﺡ‬
‫ﺗﺄ ‪‬ﻣﻼﺗﻪ ﰲ ﺑﻌﺾ ﺍﳌﺰﺍﻣﲑ ﺑﻠﻐﺔ ﺳﻠﺴﺔ ﻣﻔﻬﻮﻣﺔ ﻳﻘﺮﺅﻫﺎ ﺑﺴﻄﺎﺀ ﺍﻟﻌﻠﻢ ﻓﻴﻔﻬﻤﻮ‪‬ﺎ‬
‫ﻭﻳﻘﺮﺅﻫﺎ ﺍﻟﻌﺎﺭﻓﻮﻥ ﻓﲑﺗﻔﻌﻮﻥ ﻭﻳﻨﺘﻔﻌﻮﻥ‪.‬‬

‫‪ +‬ﺍﳌـﻄـﺮﺍﻥ‬
‫ﻳـﻮﺣـﻨﺎ ﻣﻨـﺼـﻮﺭ‬
‫ﻣﺘﺮﻭﺑﻮﻟﻴﺖ ﺍﻟـﻼﺫﻗـﻴ‪‬ﺔ ﻭﺗﻮﺍﺑﻌﻬﺎ‬
‫ﻟﻠﺮﻭﻡ ﺍﻷﺭﺛﻮﺫﻛﺲ‬

‫‪١٠‬‬
 ‫ﺳـﺮ‪ ‬ﺍﳊـﺮﺏ ﺍﻟـﺮﻭﺣـﻴ‪‬ﺔ‬
‫‪١‬‬
‫ﺗﺄﻣ‪‬ﻞ ﰲ ﺍﳌﺰﻣﻮﺭ ﺍﻟﺮﺍﺑﻊ‬

‫ ‪،‬‬
‫ب  إ ُ 
ّي‪  ،‬ا ن 
ّ َ‬
‫ت ا َ‬
‫"إذ د ُ‬
‫ وا‪" ! ْ#$‬‬ ‫
ّأفْ ' &‬

‫"ﻣﺰﻣﻮﺭ ﻟﺪﺍﻭﻭﺩ ﰲ ﺍﻟﻨﻬﺎﻳﺔ ﻣﻦ ﺍﻟﺘﺴﺎﺑﻴﺢ"‬

‫"ﰲ ﺍﻟﻨﻬﺎﻳﺔ"‪ :‬ﺇﻧ‪‬ﻪ ﻳﺘﻜﻠﹼﻢ ﻋﻦ ‪‬ﺎﻳﺔ ﺍﳉﻬﺎﺩ ﺍﻟﺮﻭﺣﻲ‪‬؛ ﻳﺘﻜﻠﹼﻢ ﻋﻦ ﺍﻟﻘﻴﺎﻣﺔ ﺍﻟﱵ‬
‫ﻫﻲ ﻣﻈﻬﺮ ﺍﻟﻌﺎﱂ ﺍﻵﰐ ﻭ‪‬ﺎﻳﺔ ﺍﳊﺎﺿﺮ‪ .‬ﻭﻛﻤﺎ ﻳﻘﻮﻝ ﺍﻟﻘﺪ‪‬ﻳﺲ ﻏﺮﻳﻐﻮﺭﻳﻮﺱ‬
‫ﺍﻟﻨﻴﺼﺼﻲ ﺇ ﹼﻥ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﻫﻮ ﺻﻼﺓ ﻣﻨﺎﺳﺒﺔ ﻟﻜ ﹼﻞ ﻧﻔﺲ ﺗﺪﺧﻞ ﺟﻬﺎﺩﺍﹰ‪ ،‬ﻷﻧ‪‬ﻪ‬
‫ﻳﺆﻛﹼﺪ ﺍﻟﻨﺼﺮ ﺍﳌﻨﺘﻈﺮ ﻭﺍﳌﺮﺟ ‪‬ﻮ ﻭﻫﻜﺬﺍ ﻳﺘﺸﺪ‪‬ﺩ ﺃﺻﺤﺎﺏ ﺍﳉﻬﺎﺩ‪.‬‬
‫ﻭﻳ‪‬ﻌﺘﻘﺪ ﺃ ﹼﻥ ﺩﺍﻭﻭﺩ ﻗﺪ ﻧﻈﻤﻪ ﺗﺴﺒﺤ ﹶﺔ ﻏﻠﺒ ‪‬ﺔ ﻭﺷﻜ ﹴﺮ ﻋﻠﻰ ﻋﻈﺎﺋﻢ ﺍﷲ ﺍﻟﱵ ﺃﲤﹼﻬﺎ‬
‫ﻟﻪ ﲡﺎﻩ ﺃﺑﻴﺸﺎﻟﻮﻡ )ﺛﻴﻮﺫﻭﺭﺗﻴﻮﺱ(‪ .‬ﺇﻧ‪‬ﻪ ﻣﺰﻣﻮﺭ ﲨﻴﻞ ﻋﻠﻰ ﻗﻠﺐ ﻛ ﹼﻞ ﻣﺴﻴﺤ ‪‬ﻲ ﺑﺪﺃ‬

‫‪ ١‬ﻳ‪‬ﺘﻠﻰ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﰲ ﺻﻼﺓ ﺍﻟﻨﻮﻡ ﺍﻟﻜﱪﻯ‪.‬‬

‫‪١١‬‬
‫ﺟﻬﺎﺩﹰﺍ ﺭﻭﺣ‪‬ﻴﹰﺎ ﻭﻳﺮﺟﻮ ﺍﻟﺘﺤﺮ‪‬ﺭ ﻣﻦ ﺃﻫﻮﺍﺋﻪ ﻭﺻﻌﻮﺑﺎﺗﻪ‪ .‬ﺇﻧ‪‬ﻪ ﻣﺰﻣﻮﺭ ﻳﻌﻄﻲ ﺩﻓﻌﺔ‬
‫ﻭﻧﺸﺎﻃﹰﺎ ﻭﺍﻧﻄﻼﻗﺔ‪.‬‬
‫"ﲟﺎ ﺃ ﹼﻥ ﺍﻟﻨﻬﺎﻳﺔ ﺍﳌﺮﺟﻮ‪‬ﺓ ﻟﻜ ﹼﻞ ﺟﻬﺎﺩ ﻫﻲ ﺍﻟﻐﻠﺒﺔ‪ ،‬ﻟﺬﺍ ﻳﺘﻄﻠﹼﻊ ﺇﻟﻴﻬﺎ ﺍ‪‬ﺎﻫﺪﻭﻥ‬
‫ﺚ ﺍ ‪‬ﳍﻤ‪‬ﻢ ﻓﻮﺭﹰﺍ ﰲ ﻧﻔﻮﺱ‬
‫ﻟﻴﺪﺧﻠﻮﺍ ﺍﳌﻴﺪﺍﻥ ﺑﺸﺠﺎﻋﺔ‪ ،‬ﻓﺈ ﹼﻥ ﻛﻠﻤﺔ "ﰲ ﺍﻟﻨﻬﺎﻳﺔ" ﲢ ﹼ‬
‫ﺍ‪‬ﺎﻫﺪﻳﻦ ﻟﻌﻴﺶ ﺍﻟﻔﻀﺎﺋﻞ‪ ،‬ﻓﻬﻢ ﺇﺫ ﻳﻨﻈﺮﻭﻥ ﺇﱃ ﺍﻟﻨﻬﺎﻳﺔ‪ ،‬ﺃﻱ ﺍﻟﻐﻠﺒﺔ‪ ،‬ﻭﺍﻷﻛﺎﻟﻴﻞ‪،‬‬
‫ﺏ ﺟﻬﺎﺩﻫﻢ‪."...‬‬ ‫ﺗﺴﻬ ﹸﻞ ﺃﺗﻌﺎ ‪‬‬

‫"ﺳﺮ‪ ‬ﺍﻟﺼﻼﺓ ﻭﺍﻟﻄﻠﺐ ‪ -‬ﺍﳊﺮﺏ ﺍﻟﺮﻭﺣﻴ‪‬ﺔ ‪ -‬ﺃﻧﺎ ﻭﺍﷲ"‬

‫ﺏ ﱄ ﺇﻟ ‪‬ﻪ ﺑﺮ‪‬ﻱ‬‫ﺕ ﺍﺳﺘﺠﺎ ‪‬‬ ‫)‪ (١‬ﺇﺫ ﺩﻋﻮ ‪‬‬

‫ﻟﻜﻲ ﻧﺪﺧﻞ ﺇﱃ ﻋﻤﻖ ﻫﺬﻩ ﺍﻟﺼﺮﺧﺔ ﺍﻟﻔﺮﺣﺔ‪ ،‬ﻟﺮﺑ‪‬ﻤﺎ ﺍﻷﺳﻬﻞ ﺃﻥ ﻧﺒﺪﺃ‬
‫ﱯ ﺍﻟﻔﻢ‪ ،‬ﺍﻟﺬﻱ ﺩ ‪‬ﺭ ﻋﻠﻰ ﺍﻟﻌﺼﻮﺭ ﺑﺪﺭﺭﻩ‬ ‫ﺑﺸﺮﺡ ﺁﺧﺮﻫﺎ‪ ،‬ﻭﺫﻟﻚ ﻣﻦ ﻛﻠﻤﺎﺕ ﺍﻟﺬﻫ ‪‬‬
‫ﺍﻟﺬﻫﺒﻴ‪‬ﺔ ﺍﻟﺜﻤﻴﻨﺔ‪ ،‬ﻓﻬﻮ ﻳﺸﺮﺡ ﻛﻠﻤﺔ "ﺇﻟﻪ ﺑﺮ‪‬ﻱ" ﻭﻳﺆﻛﹼﺪ ﺃ ﹼﻥ ﺩﺍﻭﻭﺩ ﻫﻨﺎ ﻻ ﻳﻔﺘﺨﺮ‬
‫ﻼ! ﻫﻨﺎ ﻋﻠﻰ ﺍﻟﻌﻜﺲ‪ ،‬ﺩﺍﻭﻭﺩ ﺑﻘﻠﺐ ﻣﻨﺴﺤﻖ ﻳﻌﻴﺪ‬ ‫ﺑﱪ‪‬ﻩ ﺍﻟﺬﺍﰐ‪ ،‬ﻛﺎﻟﻔﺮﻳﺴ ‪‬ﻲ ﻣﺜ ﹰ‬
‫ﺍﻟﻔﻀﻞ ﺑﱪ‪‬ﻩ ﻟﻠﺮﺏ‪"،‬ﻓﻜ ﹼﻞ ﻣﺎ ﻧﻌﻤﻠﻪ ﺇﻧ‪‬ﻤﺎ ﳓﻦ ﻋﺒﻴﺪ ﺑﻄﹼﺎﻟﻮﻥ"‪ ،‬ﻭ"ﺑﺪﻭﻧﻪ ﻻ ﻧﻘﺪﺭ‬
‫ﻱ ﻫﻮ ﻫﺪﻳ‪‬ﺔ ﻭﻫﺒﺔ ﺇﳍﻴ‪‬ﺔ‪.‬‬‫ﺃﻥ ﻧﻌﻤﻞ ﺷﻴﺌﹰﺎ"‪ ،‬ﻭﻛ ﹼﻞ ﺇﳒﺎﺯ ﺑﺸﺮ ‪‬‬
‫ﻼ ﺑﻔﻨ‪‬ﺎﻥ ﻣﻮﺳﻴﻘ ‪‬ﻲ ﺭﺍﺋﻊ ﻋﻨﺪﻣﺎ ﳝﺘﺪﺣﻮﻩ ﻳﻘﻮﻝ ﻓﻼﻥ‬ ‫ﻫﺬﻩ ﺍﻟﻌﺒﺎﺭﺓ ﺃﺷﺒﻪ ﻣﺜ ﹰ‬
‫ﻫﻮ ﺃﺳﺘﺎﺫﻱ‪ ،‬ﻣﻌﻴﺪﹰﺍ ﻓﻀﻞ ﺑﺮﺍﻋﺘﻪ ﻷﺳﺘﺎﺫﻩ‪ .‬ﻫﻜﺬﺍ ﺩﺍﻭﻭﺩ ﻳﻌﺮﻑ ﰲ ﺍﻟﻌﻤﻖ ﺃ ﹼﻥ‬
‫ﻋﹼﻠ ﹶﺔ ﺳﻌﺎﺩﺗﻪ ﻭﺣﻴﺎﺗﻪ ﺍﻟﺒﺎﺭ‪‬ﺓ ﻫﻲ ﻧﺘﻴﺠﺔ ﲢﻨ‪‬ﻦ ﺍﷲ ﻭﲦﺮﺓ ﻋﻼﻗﺘﻪ ﺑﺎﷲ ﻭﺍﳊﻴﺎﺓ ﺑﻘﺮﺑﻪ‪.‬‬
‫ﻓﺎﻟﺸﻌﻮﺭ ﺑﺎﳊﻴﺎﺓ ﺍﻟﺒﺎﺭ‪‬ﺓ ﻭﺍﻟﺴﻌﻴﺪﺓ ﻟﻴﺲ ﺧﻄﺄ‪ ،‬ﺇﻧ‪‬ﻤﺎ ﺇﻋﺎﺩﺓ ﺫﻟﻚ ﺇﱃ ﺍﻟﺬﺍﺕ ﻫﻮ‬

‫‪١٢‬‬
‫ﺍﻟﻔﺮﻳﺴﻴ‪‬ﺔ‪ .‬ﺍﻟﻔﺮﺡ ﲝﻴﺎﺗﻨﺎ ﺍﳌﺴﻴﺤﻴ‪‬ﺔ ﻫﻮ ﺃﻣﺮ ﻭﺍﻗﻌ ‪‬ﻲ‪ .‬ﻭﺍﳌﺴﻴﺤ ‪‬ﻲ ﻳﺸﻜﺮ ﻛﺜﲑﹰﺍ ﻭﻣﻦ‬
‫ﺍﻟﻌﻤﻖ‪ ،‬ﻷﻧ‪‬ﻪ ﺗﻌﺮ‪‬ﻑ ﻋﻠﻰ ﺍﷲ‪ ،‬ﻭﻳﻌﺮﻓﻪ ﺍﷲ‪ ،‬ﻓﻬﻮ ﺇﻟﻪ ﺣﻴﺎﺗﻪ ﺍﻟﻘﻮﳝﺔ‪ ،‬ﺃﻱ ﺇﻟﻪ ﺑﺮ‪‬ﻩ‪.‬‬

‫ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﻳﺘﻮﻗﹼﻒ ﻓ ‪‬ﻢ ﺍﻟﺬﻫﺐ ﻋﻨﺪ ﻫﺬﻩ ﺍﻟﻜﻠﻤﺎﺕ ﻭﻳﺆﻛﹼﺪ ﺃﻧ‪‬ﻪ ﻟﻜﻲ‬
‫ﻳ‪‬ﺴﺘﺠﺎﺏ ﺍﻹﻧﺴﺎ ﹸﻥ ﻋﻨﺪﻣﺎ ﻳﺪﻋﻮ ﺍﷲ ﰲ ﺍﻟﺼﻼﺓ ﻋﻠﻴﻪ ﻟﻴﺲ ﻓﻘﻂ ﺃﻥ "ﻳﺘﻘﺪ‪‬ﻡ ﻫﻮ"‪،‬‬
‫ﻼ ﻓﻜﺮ‪‬ﻳﹰﺎ‬‫ﻭﺇﻧ‪‬ﻤﺎ ﺃﻥ ﻳﺄﰐ "ﻭﻳﻘﺪ‪‬ﻡ"؛ ﻣﺎﺫﺍ ﻳﻘﺪ‪‬ﻡ؟ ﺣﻴﺎﺗﻪ ﺍﻟﺒﺎﺭ‪‬ﺓ! ﺍﻟﺼﻼﺓ ﻟﻴﺴﺖ ﺗﺄ ‪‬ﻣ ﹰ‬
‫ﻭﻫﻲ ﺃﺑﻌﺪ ﻋﻦ ﺃﻥ ﺗﻜﻮﻥ ﳎﺮ‪‬ﺩ ﻣﺸﺎﻋﺮ ﺷﺨﺼﻴ‪‬ﺔ‪ ،‬ﺇﻧ‪‬ﻬﺎ ﺣﻮﺍﺭ ﻣﻊ ﺷﺨﺺ ﻭﻟﻴﺴﺖ‬
‫ﺗﻮﺟﻴ ‪‬ﻪ ﺃﺷﻌﺎﺭ ﻭﺗﺴﺎﺑﻴﺢ ﺇﱃ ﻓﻜﺮﺓ!‬
‫ﳍﺬﺍ ﻭﻗﻔﺔ ﺍﻟﺼﻼﺓ ﻛﻤﺎ ﻳﺴﻤ‪‬ﻴﻬﺎ ﺍﻟﺴﻠﻤ ‪‬ﻲ ﻫﻲ "ﳏﻜﻤﺔ" ﻭﳏﺎﻛﻤﺔ‪ ،‬ﺇﻧ‪‬ﻬﺎ‬
‫ﱄ‪ .‬ﻋﻨﺪﻣﺎ‬ ‫ﻣﻮﺍﺟﻬﺔ‪ ،‬ﻭﰲ ﻫﺬﻩ ﺍﳌﻮﺍﺟﻬﺔ ﳚﺐ ﺃﻥ ﺃﺗ‪‬ﺠﻪ ﺃﻧﺎ ﺇﻟﻴﻪ ﻭﺃﻥ ﻳﻠﺘﻔﺖ "ﻫﻮ" ﺇ ﱠ‬
‫ﺏ ﺗﻨﺴﺎﱐ‬ ‫ﷲ ﻋﻦ ﺻﻼﺓ ﺍﳌﺴﻴﺤ ‪‬ﻲ ﻳﻜﺮ‪‬ﺭ ﻣﻊ ﺩﺍﻭﻭﺩ ﺻﻼﺗﻪ‪" :‬ﺇﱃ ﻣﱴ ﻳﺎ ﺭ ‪‬‬ ‫ﻳﻐﻴﺐ ﺍ ُ‬
‫ﺃﹶﺇﱃ ﺍﻻﻧﻘﻀﺎﺀ‪ ،‬ﺇﱃ ﻣﱴ ﺗﺼﺮﻑ ﻭﺟﻬﻚ ﻋﲏ‪."...‬‬
‫ﺍﻟﺼﻼﺓ ﻟﻴﺴﺖ ﺭﺳﺎﻟ ﹰﺔ ﺇﱃ ﺍﷲ ﻭﺇﻧ‪‬ﻤﺎ ﺣﺪﻳﺚ ﻣﻌﻪ‪ .‬ﻫﺬﺍ ﻻ ﻳﺘﻄﻠﹼﺐ‬
‫ﺣﻀﻮﺭﻱ ﻓﻘﻂ ﻭﺇﻧ‪‬ﻤﺎ ﺣﻀﻮﺭﻩ ﻭﺭﺿﺎﻩ ﺃﻳﻀﹰﺎ‪ .‬ﻟﻮ ﺗﻜﻠﹼﻤﻨﺎ ﻣﻊ ﺷﺨﺺ ﻳﺮ ‪‬ﺩ ﳊﻈﹶﻪ‬
‫ﻋﻨ‪‬ﺎ‪ ،‬ﻻ ﻳﺴﺘﻤ ‪‬ﺮ ﺍﳊﻮﺍﺭ‪ ،‬ﻭﻳﺒﻘﻰ ﺍﳊﺪﻳﺚ ﳎﺮ‪‬ﺩ ﺑ‪‬ﺘ‪‬ﺒﺘ‪‬ﺔ ﻛﻠﻤﺎﺕ ﺃﻭ ﺛﺮﺛﺮﺓ‪.‬‬
‫ﷲ ﰲ ﺍﻟﺼﻼﺓ ﳍﺬﺍ ﻋﻠﻴﻨﺎ "ﺃ ﹼﻻ ﻧﻄﻴﻞ ﺍﻟﻜﻼﻡ ﻋﺒﺜﹰﺎ ﰲ‬ ‫ﻳﻮﺍﺟﻪ ﺍﳌﺴﻴﺤ ‪‬ﻲ ﺍ َ‬
‫ﺍﻟﺼﻼﺓ"‪ .‬ﻓﺎﳌﺴﻴﺤ ‪‬ﻲ ﻻ ﻳﺮﺩ‪‬ﺩ ﻓﻴﻬﺎ ﳎﺮ‪‬ﺩ ﻋﺒﺎﺭﺍﺕ ﻭﺇﻧ‪‬ﻤﺎ ﻳﻘﺪ‪‬ﻡ ﺣﻴﺎﺗﻪ ﺃﻣﺎﻡ ﺍﷲ‪ .‬ﺇﺫﻥ‬
‫ﻧﺘﻜﻠﹼﻢ ﻟﻴﺲ ﻋﻦ ﺧﺪﻡ ﻭﺻﻠﻮﺍﺕ ﻭﺇﻧ‪‬ﻤﺎ ﻋﻦ ﺣﻴﺎﺓ ﺍﻟﺼﻼﺓ‪ .‬ﺍﻟﺼﻠﻮﺍﺕ ﻭﺍﳋﺪﻣﺎﺕ‬
‫ﺍﻟﻠﻴﺘﻮﺭﺟﻴ‪‬ﺔ ﻫﻲ ﻋﺒﺎﺭﺍﺕ ﺗﻠﻚ ﺍﳊﻴﺎﺓ‪ .‬ﺍﳌﻄﻠﻮﺏ ﺃﻥ ﺗﺼﲑ ﻛ ﹼﻞ ﺍﳊﻴﺎﺓ ﺻﻼﺓ‪ ،‬ﻭﺃﻥ‬
‫ﰲ"‪ .‬ﺍﻟﺼﻼﺓ ﺍﻟﺪﺍﺋﻤﺔ‬ ‫ﺖ ﺃﻧﺎ ﺃﺣﻴﺎ ﺑﻞ ﺍﳌﺴﻴ ‪‬ﺢ ﳛﻴﺎ ﱠ‬ ‫ﻧﺮﺩ‪‬ﺩ ﻣﻊ ﺑﻮﻟﺲ ﺍﳌﺼﻠﹼﻲ‪" :‬ﻟﺴ ‪‬‬
‫ﻟﻴﺴﺖ ﰲ ﺍﳌﻌﺒﺪ ﻓﻘﻂ ﻭﻟﻴﺴﺖ ﺃﻣﺎﻡ ﺍﻷﻳﻘﻮﻧﺔ ﻓﺤﺴﺐ‪ ،‬ﻫﺬﻩ ﺍﻷﺧﲑﺓ ﻫﻲ ﺻﻠﻮﺍﺕ‬

‫‪١٣‬‬
 ‫ﺍﻟﻮﺍﻗﻔﲔ ﺑﻌﺪ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺎﺕ ﺍﻷﻭﱃ‪ .‬ﻣ‪‬ﻦ ﻭﰿ ﺣﻘﹰﺎ ﺇﱃ ﺍﻟﺼﻼﺓ ﻫﻮ ﻣ‪‬ﻦ ﻭﻟﹶﺞ‬
‫ﺏ ﺇﱃ ﺣﻴﺎﺓ ﻻ ﻣﻜﺎﻧﺔ ﻟﻪ ﻓﻴﻬﺎ ﺃﻭ‬‫ﺍﳌﺴﻴ ‪‬ﺢ ﺇﱃ ﺣﻴﺎﺗﻪ ﻓﺼﺎﺭ ﻣﺮﻛﺰ‪‬ﻫﺎ‪ .‬ﻻ ﻳﺪﺧﻞ ﺍﻟﺮ ‪‬‬
‫ﺇﱃ ﻣﻌﺎﺑﺪ ﻓﻴﻬﺎ ﺁﳍ ﹲﺔ ﺃﺧﺮﻯ‪.‬‬
‫ﻧﻜﺮ‪‬ﺭ ﺩﺍﺋﻤﹰﺎ ﰲ ﺻﻠﻮﺍﺗﻨﺎ ﻭﻃﻠﺒﺎﺗﻨﺎ ‪ -‬ﻭﻏﺎﻟﺒﹰﺎ ﻣﺎ ﻧﺴﻬﻮ ﻋﻦ ﻋﻤﻖ ﺍﻟﻜﻠﻤﺎﺕ‬
‫ﻼ – ﺍﻟﻌﺒﺎﺭ ﹶﺓ‪" :‬ﻭﻛ ﹼﻞ ﺣﻴﺎﺗﻨﺎ ﻟﻠﻤﺴﻴﺢ ﺍﻹﻟﻪ"‪ .‬ﺃﻥ ﻧﻌﻄﻲ ﺣﻴﺎﺗﻨﺎ ﷲ‬
‫ﻓﺘﻐﺪﻭ ﺗﻜﺮﺍﺭﹰﺍ ﳑ ‪‬‬
‫ﻻ ﻳﻌﲏ ﺃﻥ ﻧﻨﻘﻄﻊ ﻋﻦ ﺣﻴﺎﺗﻨﺎ ﻭﺇﻧ‪‬ﻤﺎ ﺃﻥ ﳓﻴﺎ ﻭﻧﻌﻤﻞ ﻣﻦ ﺃﺟﻞ ﺍﷲ‪ ،‬ﻭﻧﺴﲑ ﺑﺪﻧﻴﺎﻧﺎ‬
‫ﻭﺑﺈﺧﻮﺗﻨﺎ ﳓﻮ ﺍﷲ‪ .‬ﺍﳉﻤﻴﻊ ﻳﻌﻤﻠﻮﻥ ﻭﻳﺸﺘﻐﻠﻮﻥ ﻭﻳﻠﺪﻭﻥ ﻭﻳﻮﻟﺪﻭﻥ‪ ،‬ﻟﻜﻦ ﺍﻟﺴﺆﺍﻝ‬
‫ﺏ‪ .‬ﺣﻴﺎﺓ ﺍﻟ ‪‬ﱪ ﻟﻴﺴﺖ ﻣﻬﻨ ﹶﺔ ﺍﻟﺮﻫﺒﺎﻥ ﻓﺤﺴﺐ‪ ،‬ﺇﻧ‪‬ﻤﺎ‬ ‫ﻫﻮ‪ :‬ﳌﺎﺫﺍ ﻭﳌﻦ؟ ﺍﳊﻴﺎﺓ ﻟﻠﺮ ‪‬‬
‫ﺩﻋﻮﺓ ﻛ ﹼﻞ ﻣﺴﻴﺤﻲ‪ ،‬ﻛ ﱞﻞ ﻣﻦ ﻣﻜﺎﻧﻪ‪ .‬ﺍﳊﻴﺎﺓ ﻟﻠﻤﺴﻴﺢ ﻻ ﺗﻌﲏ ﺍﳊﻴﺎﺓ ﺍﻟﺘﺄﻣﻠﻴ‪‬ﺔ‬
‫ﻭﺍﻻﺑﺘﻌﺎﺩ ﻋﻦ ﺍﻟﻌﺎﱂ‪ .‬ﺍﳊﻴﺎﺓ ﻟﻠﻤﺴﻴﺢ ﺗﻌﲏ ﺃﻥ ﻳﻜﻮﻥ ﻫﻮ ﻏﺎﻳ ﹶﺔ ﻭﺟﻮﺩﻧﺎ‪ ،‬ﺑﻪ ﳓﻴﺎ‬
‫ﺏ ﻻ ﻟﻨﺎ ﺑﻞ ﻟﻚ"‪ .‬ﻫﻜﺬﺍ ﻧﺮ ‪‬ﺩ ﻋﻠﻰ ﻛ ﹼﻞ ﺍﻟﻄﻠﺒﺎﺕ‪:‬‬ ‫ﻭﺇﻟﻴﻪ ﻧﺘﺤﺮ‪‬ﻙ‪" .‬ﻻ ﻟﻨﺎ ﻳﺎ ﺭ ‪‬‬
‫ﺏ"‪ .‬ﻫﺬﻩ ﻫﻲ ﺍﳊﻴﺎﺓ ﺍﻟﺒﺎﺭ‪‬ﺓ ﺍﻟﱵ ﻏﺎﻳﺘﻬﺎ ﻭ‪‬ﺎﻳﺘﻬﺎ "ﻫﻮ"‪ .‬ﻫﻜﺬﺍ ﺗﻐﺪﻭ‬ ‫"ﻟﻚ ﻳﺎ ﺭ ‪‬‬
‫ﺍﳊﻴﺎﺓ ﻏﺒﻄﺔ‪ ،‬ﻋﻨﺪﻣﺎ ﺗﺄﺧﺬ ﻣﻌﲎ‪ ،‬ﻭﻣﻌﲎ ﺣﻘﻴﻘ‪‬ﻴﹰﺎ ﻭﺻﺤﻴﺤﹰﺎ‪ .‬ﻋﻜﺲ ﺫﻟﻚ ﺗﺒﻘﻰ‬
‫ﺍﳊﻴﺎ ﹸﺓ ﻭﺟﻮﺩﹰﺍ ﻗﻠﻘﺎﹰ ﻭﻃﻠﺒﹰﺎ ﻻ ﻳﺸﺒﻊ ﺇ ﹾﻥ ﱂ ﻳﻨﻘﻠﺐ ﺇﱃ ﻋﺪﺍﻭﺍﺕ ﻭﺗﺴﺎﺑﻘﹰﺎ ﻋﻠﻰ‬
‫ﻣﻠﺬﹼﺍﺕ ﺍﻟﺪﻧﻴﺎ ﻭﻣﺮﺍﻛﺰﻫﺎ‪ ،‬ﺳﻌﻴﹰﺎ ﻹﺷﺒﺎﻉ ﺫﺍﺗﻨﺎ ﺍﻟﱵ ﻟﻦ ﺗﺸﺒﻊ ﺣ ﹼﻘﹰﺎ ﺇﻥ ﱂ ﺗﻠﺘ ﹺﻖ‬
‫ﺑﺎﳌﺴﻴﺢ‪.‬‬
‫ﻻ ﻳﻄﻠﺐ ﺍﷲ ﻣﻨ‪‬ﺎ ﺇﻃﺎﻟﺔ ﺍﻟﻜﻼﻡ ﻣﻌﻪ‪ ،‬ﺇﻧ‪‬ﻤﺎ ﺣﻴﺎﺗﻨﺎ؛ ﻻ ﻳﻄﻠﺐ ﻣﻨ‪‬ﺎ ﻳﺪﹰﺍ ﺃﻭ‬
‫ﲏ ﺃﻋﻄ‪‬ﲏ ﻗﻠﺒﻚ"‪.‬‬ ‫ﺣﺎ ‪‬ﺳ ﹰﺔ ﺃﻭ ﻋﻀﻮﹰﺍ ﺃﻭ ﺟﺰﺀﹰﺍ ﻣﻦ ﺣﻴﺎﺗﻨﺎ ﻭﺇﻧ‪‬ﻤﺎ ﻳﻘﻮﻝ‪" :‬ﻳﺎ ﺑ ‪‬‬
‫ﻭﻋﻨﺪﻣﺎ ﻧﻌﻄﻲ ﺍﻟﻘﻠﺐ ﷲ ﻭﺣﺪﻩ ﻋﻨﺪﻫﺎ ﳚﻮﻝ ﻫﻮ ﻓﻴﻪ ﻭﻧﺴﻤﻊ ﻭﻗﻊ ﺧﻄﺎﻩ ﻭﻳﺼﲑ‬
‫ﺐ ﻛ ﹼﻞ ﺍﻟﻨﺎﺱ ﻭﻻ ﺗﻜﺮﻩ‬ ‫ﺍﻟﻘﻠﺐ ﻟﻴﺲ ﻋﻀﻼﺕ ﻭﺇﻧ‪‬ﻤﺎ ﺩﻧﻴﺎ ﲢﻤﻞ ﻛ ﹼﻞ ﺍﻟﻨﺎﺱ ﻭﲢ ‪‬‬

‫‪١٤‬‬
‫ﺃﺣﺪﹰﺍ‪ .‬ﻭﺳﻂ ﺍﻟﻈﻠﻢ ﻭﺍﻟﻀﻴﻘﺎﺕ ﻳﻌﺮﻑ ﺍﻟﻘﻠﺐ ﻛﻴﻒ ﻳﺼﻠﹼﻲ ﻭﻛﻴﻒ ﻳﺘﺤﺮ‪‬ﻙ‬
‫ﻭﻳﺴﻌﻰ‪ .‬ﻫﺬﺍ ﻫﻮ ﺳ ‪‬ﺮ ﺍﺳﺘﺠﺎﺑﺔ ﺍﷲ‪ ،‬ﺳ ‪‬ﺮ ﺍﻟﺼﻼﺓ‪.‬‬
‫ﻉ ﻭﺍﷲ‬ ‫ﱯ ﻳﻘﻮﻝ‪" :‬ﹸﺃ ‪‬ﺩ ‪‬‬ ‫ﺏ ﺳﺮﻳﻊ ﺍﻹﺟﺎﺑﺔ ﳌﺜﻞ ﻫﺬﺍ ﺍﻟﻘﻠﺐ‪ .‬ﺃﺷﻌﻴﺎﺀ ﺍﻟﻨ ‪‬‬ ‫ﺍﻟﺮ ‪‬‬
‫ﻼ ﻭﻳﻨﻈﺮ ﺇﻟﻴﻨﺎ‪،‬‬ ‫ﻳﺴﺘﻤﻊ ﻟﻚ‪ .‬ﻓﻌﻨﺪ ﺩﻋﺎﺋﻚ ﳚﻴﺐ ﻫﺎ ﺃﻧﺎ ﺣﺎﺿﺮ"‪ .٢‬ﺍﷲ ﺣﺎﺿ ‪‬ﺮ ﻓﻌ ﹰ‬
‫ﻋﻨﺪﻣﺎ ﳓﻀﺮ ﳓﻦ ﺩﻭﻥ ﻣﺮﺍﺁﺓ؛ ﻋﻨﺪﻣﺎ ﳓﻀﺮ ﺇﻟﻴﻪ ﻭﳓﻦ ﻻ ﳔﻔﻲ ﺩﺍﺧﻠﻨﺎ ﺃﻋﺪﺍﺀﻩ‪،‬‬
‫ﻭﻫﻮ ﺍﻟﻔﺎﺣﺺ ﺍﻟﻘﻠﻮﺏ ﻭﺍﻟﻜﻠﻰ‪ ...‬ﺍﳌﺮﺍﺁﺓ ﺑﺎﻟﺼﻼﺓ ﻫﻲ ﲰ‪‬ﻬﺎ‪ .‬ﺇ‪‬ﺎ ﺍﻟﺼﻼﺓ‬
‫ﺏ‪" :‬ﻫﺬﺍ ﺍﻟﺸﻌﺐ ﻳﻜﺮﻣﲏ‬ ‫ﺑﺎﻟﺸﻔﺎﻩ‪ .‬ﻋﻠﻰ ﻣﺜﻞ ﻫﺆﻻﺀ ﺍﳌﺼﻠﹼﲔ ﻳﻨﻄﺒﻖ ﺗﻮﺑﻴﺦ ﺍﻟﺮ ‪‬‬
‫ﺏ ﺑﻘﻠﺐ ﻣﻌﻮﺝ‪‬؟‬ ‫ﺑﺸﻔﺘ‪‬ﻴﻪ ﻭﻗﻠﺒﻪ ﺑﻌﻴﺪ ﻋﻨ‪‬ﻲ"‪ .‬ﻣ‪‬ﻦ ﻳﺴﺘﻄﻴﻊ ﺃﻥ ﻳﻮﺍﺟﻪ ﺍﻟﺮ ‪‬‬
‫ﺏ ﺍﳌﺮﺍﺁﺓ ﺑﲔ ﺍﻟﻨﺎﺱ‪ .‬ﻭﻏﺎﻟﺒﺎﹰ‪ ،‬ﻭﻟﻸﺳﻒ‪ ،‬ﻣﺎ ﺗﺄﺧﺬ ﻟﻮﻥ ﺍﻟﺘﻬﺬﻳﺐ‬ ‫ﺗﺪ ‪‬‬
‫ﻭﺍ‪‬ﺎﻣﻼﺕ ﻭﺍﻟﻠﻴﺎﻗﺎﺕ ﻟﻜﻦ‪ ،‬ﺃﻣﺎﻡ ﺍﷲ‪ ،‬ﺍﻟﻮﻗﻔﺔ ﻫﻲ ﳏﺎﻛﻤﺔ ﺻﺮﳛﺔ "ﻓﺎﻷﻓﻌﺎﻝ‬
‫ﺗ‪‬ﻜﺸﻒ ﻭﺍﻷﻓﻜﺎﺭ ﺗ‪‬ﺴﺘﻔﺤﺺ"‪ .‬ﻻ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﺮﺿﻲ ﺍﷲ "ﺑﺎﻟﻜﻼﻡ" ﻭﺇﻧ‪‬ﻤﺎ ﺑﺎﳊﻴﺎﺓ‪.‬‬
‫ﻣﻬﻤﺎ ﺻﺮﺧﻨﺎ ﻟﻦ ﻳﺴﺘﺠﻴﺐ ﻟﻨﺎ ﺇﻥ ﱂ ﻧﺘﻘﺪ‪‬ﻡ ﺇﻟﻴﻪ ﻣﻦ ﺣﻴﺎﺓ ﺑﺎﺭ‪‬ﺓ‪.‬‬

‫ﺖﱄ‬ ‫
ﰲ ﺍﳊﺰﻥ ﻓﺮ‪‬ﺟ ‪‬‬

‫ﻫﺬﺍ ﻫﻮ ﺳ ‪‬ﺮ ﺍﻟﺼﻠﻴﺐ‪" .‬ﻟﻜ ﹼﻞ ﺇﻧﺴﺎﻥ ﺻﻠﻴﺒﻪ" ﻣﻘﻮﻟﺔ ﳏﻔﻮﻇﺔ‪ ،‬ﻟﻜﻦ ﻗﺪ‬
‫ﳔﻄﺊ ﻓﻬﻤﻬﺎ ﻋﻨﺪﻣﺎ ﻧﻌﻄﻴﻬﺎ ﻣﻌﲎ ﺗﺸﺎﺅﻣ‪‬ﻴﹰﺎ‪ .‬ﺍﻟﺼﻠﻴﺐ ﻫﻮ ﻋﻼﻣﺔ ﺍﻟﻐﻠﺒﺔ‬
‫ﻭﺍﻟﺘﻀﺤﻴﺔ‪ ،‬ﻭﻟﻴﺲ ﻋﻼﻣﺔ ﺍﻟﻘﺪﺭ ﺍﻷﺳﻮﺩ؛ ﺍﳌﺴﻴﺢ ﺑﺪ‪‬ﻝ ﻣﻌﻨﺎﻩ‪.‬‬
‫ﻼ ﻋﻦ ﺳ ‪‬ﺮ ﺍﻷﱂ ﻭﺍﳌﺼﺎﺋﺐ ﻭﺍﻟﺸﺪﺍﺋﺪ ﰲ ﺣﻴﺎﺓ‬ ‫ﻫﻨﺎ ﻳﻌﺒ‪‬ﺮ ﺩﺍﻭﻭﺩ ﺑﺼﻼﺗﻪ ﻓﻌ ﹰ‬
‫ﺍﳌﺴﻴﺤ ‪‬ﻲ‪ .‬ﺍﳌﺴﻴﺤ ‪‬ﻲ ﻻ ﻳﻄﻠﺐ ﺍﳍﺮﻭﺏ ﻣﻦ ﻣﻮﺍﺟﻬﺔ ﺍﳊﻴﺎﺓ‪ ،‬ﻭﻻ ﻳﺼﻠﹼﻲ ﻟﻜﻲ‬
‫ﻳ‪‬ﺤﻴﺪ ﺍﷲ ﻋﻨﻪ ﺍﻟﺸﺪﺍﺋﺪ‪ ،‬ﻓﺎﷲ ﳚﺮ‪‬ﺏ ﻣ‪‬ﻦ ﳛﺒ‪‬ﻪ‪ .‬ﺭﻫﺒﺎﻥ ﻭﻗﺪ‪‬ﻳﺴﻮﻥ ﻳﻌﺘﱪﻭﻥ ﺍﻟﻔﺘﺮﺍﺕ‬

‫‪ ٢‬ﺃﺵ ‪.٩ ،٥٨‬‬

‫‪١٥‬‬
‫ﺍﻟﱵ ﻻ ﳝﺮ‪‬ﻭﻥ ‪‬ﺎ ﺑﻀﻴﻘﺎﺕ ﻓﺘﺮﺍﺕ "ﻫﺠﺮ ﺇﳍ ‪‬ﻲ"‪ .‬ﻋﻨﺪﻣﺎ ﺗﺸﺘ ‪‬ﺪ ﺍﳌﺼﺎﻋﺐ ﻳﺮﻓﻊ‬
‫ﺍﳌﺴﻴﺤ ‪‬ﻲ ﺻﺮﺧﺔ‪" :‬ﺇﻥ ﺃﻣﻜﻦ ﻓﻠﺘﺠ ‪‬ﺰ ﻋﻨ‪‬ﻲ ﻫﺬﻩ ﺍﻟﻜﺄﺱ‪ ،‬ﻭﻟﻜﻦ ﻻ ﺗﻜ ‪‬ﻦ ﻣﺸﻴﺌﱵ‬
‫ﺑﻞ ﻣﺸﻴﺌﺘﻚ"‪ .‬ﻋﺎﳌﻨﺎ ﺩﻧﻴﺎ ﳐﻠﻮﻃﺔ ﺑﺎﻟﻀﻴﻘﺎﺕ ﻭﺍﻟﺸﺪﺍﺋﺪ ﻭﺍﻷﻣﺮﺍﺽ ﻭﺍﻷﺣﺰﺍﻥ‪...‬‬
‫ﺏ‪ .‬ﲟﻌﲎ‬‫ﻭﺍﳌﺴﻴﺤ ‪‬ﻲ ﻻ ﳝﻜﻨﻪ ﺃﻥ ﻳﻄﻠﺐ ﺍﻟﻔﺮﺍﺭ‪ .‬ﰲ ﻗﻠﺐ ﻫﺬﻩ ﺍﻟﺸﺪﺍﺋﺪ ﻳﺄﰐ ﺍﻟﺮ ‪‬‬
‫ﺏ ﺍﻟﻮﺍﻗﻒ "ﺍﳊﺎﺿﺮ" ﻓﺘﺘﻨﻘﻠﺐ ﻫﺬﻩ ﺍﻟﺸﺪﺍﺋﺪ ﻣﻦ ﻗﺪﺭ ﺃﺳﻮﺩ‬ ‫ﺁﺧﺮ‪ ،‬ﻧﺼﺮﺥ ﺇﱃ ﺍﻟﺮ ‪‬‬
‫ﺇﱃ ﺻﻠﻴﺐ ﺭﺍﺋﻊ ﻧﺮﻓﻊ ﺫﻭﺍﺗﻨﺎ ﻋﻠﻴﻪ ‪‬ﺟ ‪‬ﺪﹰﺍ ﻭﺗﻌﺒﹰﺎ ﻭﺗﻀﺤﻴ ﹰﺔ ﻭﻓﺪﻳ ﹰﺔ ﻭﳏﺒ‪‬ﺔ ﻟﻶﺧﺮﻳﻦ‪.‬‬
‫ﻫﻜﺬﺍ ﲡﻠﺐ ﺍﻟﺸﺪﺍﺋ ‪‬ﺪ ﺑﺪﻝ ﺍﳊﺰﻥ ﻓﺮﺟﹰﺎ ﻭﺑﺪﻝ ﺍﻟﻜﺂﺑﺔ ﻏﺒﻄ ﹰﺔ ﻭﺑﺪﻝ ﺍﻟﺘﺸﺎﺅﻡ‬
‫ﻭﻓﺮﺣﹰﺎ‪.‬‬

‫ﺏ ﻋﻦ ﺩﺍﻭﻭﺩ ﻫﻨﺎ ﺷﺪ‪‬ﺗﻪ‪ ،‬ﻭﺇﻧ‪‬ﻤﺎ ﺟﻌﻠﻪ‬ ‫ﺖ ﱄ‪ :‬ﱂ ﻳﺮﻓﻊ ﺍﻟﺮ ‪‬‬‫ﰲ ﺍﳊﺰﻥ ﻓﺮ‪‬ﺟ ‪‬‬
‫ﻱ ﺍﻟﻘﻠﺐ ﺭﺍﺑﻂ ﺍﳉﺄﺵ ﻣﺆﻣﻨﹰﺎ ﻣﻮﺍﺟﻬﹰﺎ ﻟﻠﺪﻧﻴﺎ ﺑﻔﺮﺡ‪ .‬ﺍﻟﺮﺏ‪ ،‬ﻛﻤﺎ ﻳﻘﻮﻝ ﺍﺳﺤﻖ‬ ‫ﻗﻮ ‪‬‬
‫ﺍﻟﺴﺮﻳﺎﱐﹼ‪ ،‬ﻻ ﳚﺮ‪‬ﺏ ﺃﺣﺪﹰﺍ ﺑﺄﻛﺜﺮ ﻣﻦ ﻃﺎﻗﺘﻪ ﻭﻣﻊ ﻛ ﹼﻞ ﺿﻴﻖ ﻳﺴﻤﺢ ﺑﻪ ﻳﺮﺳﻞ‬
‫ﳐﺮﺟﹰﺎ ﻟﻪ‪ .‬ﻣﻌﺮﻭﻓﺔ ﻟﺪﻳﻨﺎ ﻗﺼ‪‬ﺔ ﺍﻟﻠﻴﻠﺔ ﺍﻟﱵ ﺃﻣﻀﺎﻫﺎ ﺍﻟﻘﺪ‪‬ﻳﺲ ﺃﻧﻄﻮﻧﻴﻮﺱ ﺍﻟﻜﺒﲑ‬
‫ﳏﺎﺭ‪‬ﺑﹰﺎ ﻭﳎﺮ‪‬ﺑﹰﺎ ﻣﻦ ﺍﻟﺸﻴﺎﻃﲔ‪ ،‬ﺣﲔ ﺗﻨﻬ‪‬ﺪ ﻋﻨﺪ ﺍﻟﺼﺒﺎﺡ ﺇﺫ ﺍﻧﺼﺮﻓﺖ ﺗﻠﻚ ﻋﻨﻪ‬
‫ﺖ ﻃﻴﻠﺔ ﺗﻠﻚ ﺍﻟﻠﻴﻠﺔ؟ ﻓﺄﺟﺎﺑﻪ ﺍﷲ‪ :‬ﻗﺮﺑﻚ ﺃﺭﺍﻗﺐ‬ ‫ﻭﺭﻓﻊ ﺗﻨﻬ‪‬ﺪﻩ ﺇﱃ ﺍﷲ‪ :‬ﺃﻳﻦ ﻛﻨ ‪‬‬
‫ﻭﺃﻋ ‪‬ﺪ ﺍﻧﺘﺼﺎﺭﺍﺗﻚ‪ .‬ﺍﷲ ﻛﺎﻷﻡ ﺍﻟﱵ ﺗﺘﺮﻙ ﻃﻔﻠﻬﺎ ﻟﻮﺣﺪﻩ ﰲ ﺍﳋﻄﻮﺍﺕ ﺍﻷﻭﱃ‬
‫ﻭﻟﻜﻨ‪‬ﻬﺎ ﻓﻮﻗﻪ ﻭﻣﻦ ﺧﻠﻔﻪ ﻻ ﺗﺘﺮﻛﻪ ﻳﻘﻊ‪.‬‬
‫ﺏ‪ :‬ﺇ ﹼﻥ ﺻﻠﻴﱯ‬‫ﻭﻗﺼ‪‬ﺔ ﺫﺍﻙ ﺍﳌﺴﻴﺤﻲ‪ ،‬ﺍﻟﺬﻱ ﻛﺎﻥ ﻳﺘﺄﻓﹼﻒ ﺩﺍﺋﻤﹰﺎ ﻋﻠﻰ ﺍﻟﺮ ‪‬‬
‫ﻛﺒﲑ‪ ،‬ﺃﻳﻀﹰﺎ ﻣﻌﺮﻭﻓﺔ‪ .‬ﻓﺈﺫ ﺃﺭﺍﻩ ﺍﷲ ﻛ ﹼﻞ ﺻﻠﺒﺎﻥ ﺍﻟﺪﻧﻴﺎ‪ ،‬ﺟﺎﻝ ﺑﻴﻨﻬﺎ ﺇﱃ ﺃﻥ ﺭﺍﻕ ﻟﻪ‬
‫ﺇﺣﺪﺍﻫﺎ‪ ،‬ﺻﻠﻴﺐ ﺻﻐﲑ ﻭﲨﻴﻞ‪ ،‬ﻭﳌﺎ ﺍﺧﺘﺎﺭﻩ ﻛﺎﻥ ﺻﻠﻴﺒ‪‬ﻪ ﺍﻟﺸﺨﺼ ‪‬ﻲ ﺑﺎﻟﺬﺍﺕ‪.‬‬

‫‪١٦‬‬
‫ﺏ ﻟﻴﺲ ﻷﻧ‪‬ﻪ ﺭﻓﻊ ﻋﻨﻪ ﺍﻟﺸﺪﺍﺋﺪ ﻭﻟﻜﻦ ﻷﻧ‪‬ﻪ ﻋﻨﺪﻣﺎ ﲰﺢ ‪‬ﺎ‬‫ﺩﺍﻭﻭﺩ ﻫﻨﺎ ﻳﺸﻜﺮ ﺍﻟﺮ ‪‬‬
‫ﺳﺎﻋﺪﻩ ﻟﻴﺠﺪﻫﺎ ﻟﻴﺲ "ﺿﻴﻘﺎﺕ" ﻭﺇﻧ‪‬ﻤﺎ "ﻓﺮﺟﹰﺎ"‪.‬‬

‫ﻑ ﻋﻠﻲ‪ ‬ﻭﺍﺳﺘﻤ ‪‬ﻊ ﺻﻼﰐ‬ ‫
ﺗﺮﺃﹼ ‪‬‬

‫ﱯ ﺯﻣ ‪‬ﻦ ﺍﻟﻔﻌﻞ‪ .‬ﺃﻱ‬ ‫ﻫﻨﺎ‪ ،‬ﻛﻤﺎ ﻳﻘﻮﻝ ﺍﻟﻘﺪ‪‬ﻳﺲ ﻛﲑﻟﹼﻠﺲ‪ ،‬ﺃﺑﺪﻝ ﺩﺍﻭﻭ ‪‬ﺩ ﺍﻟﻨ ‪‬‬
‫ﺖ ﺻﻼﰐ" ﳌﺮ‪‬ﺓ ﻭﺍﺣﺪﺓ‪ ،‬ﻳﻘﻮﻝ ﻫﺬﺍ ﻣﺎ ﳛﺼﻞ ﻋﻠﻰ‬ ‫ﺖ ﻋﻠ ‪‬ﻲ ﻭﺍﺳﺘﻤﻌ ‪‬‬
‫ﺑﺪﻝ‪" :‬ﺗﺮﺃﹼﻓ ‪‬‬
‫ﺍﻟﺪﻭﺍﻡ‪ ،‬ﻳﻄﻠﺐ ﺃﻥ ﻳﺒﻘﻰ ﺍﷲ ﻗﺮﺑﻪ ﰲ ﺷﺪﺍﺋﺪﻩ ﺍﶈﻴﻄﺔ ﺑﻪ‪ ،‬ﻭﺃﻥ ﻳﻌﻄﻲ ﺃﺫﻧﻪ ﺇﱃ‬
‫ﺗﻀﺮ‪‬ﻋﺎﺗﻪ ﻓﻬﻲ ﻓﺮﺟﻪ ﻭﻗﻮ‪‬ﺗﻪ‪.‬‬
‫ﺗﺮﺃﹼﻑ‪ ،‬ﻧﻌﻢ‪ .‬ﺍﳊﻴﺎﺓ ﻭﺇﻥ ﻛﺎﻧﺖ ﻃﺎﻫﺮﺓ ﻻ ﺗﺸﺘﺮﻱ ﻣﻦ ﺍﷲ ﺍﻻﺳﺘﺠﺎﺑﺔ‪.‬‬
‫ﺍﻻﺳﺘﺠﺎﺑﺔ ﻫﻲ ﻓﻌﻞ ﳏﺒ‪‬ﺔ ﺍﷲ‪ ،‬ﻭﻟﻴﺲ "ﺑﺪ ﹶﻝ ﺟﻬﺎﺩﻧﺎ"‪ .‬ﺟﻬﺎﺩﻧﺎ ﻭﺣﻴﺎﺗﻨﺎ ﺍﻟﺒﺎﺭ‪‬ﺓ ﳘﺎ‬
‫ﺍﻟﺸﺮﺍﻉ ﺍﳌﺸﺪﻭﺩ ﺍﻟﺬﻱ ﻳﺴﻤﺢ ﻟﻨﻔﺨﺎﺕ ﺍﻟﺮﻭﺡ ﺍﻟﱵ ‪‬ﺐ ﺃﻥ ﺗﺴﻴ‪‬ﺮ ﺑﻪ ﺳﻔﻴﻨﺔ‬
‫ﺍﳊﻴﺎﺓ‪ .‬ﻫﺒﻮﺏ ﺍﻟﺮ‪‬ﻳﺢ ﻋﻠﻰ ﺷﺮﺍﻉ ﻣﻄﻮﻱ ﻻ ﻳﻔﻴﺪ‪ ،‬ﻭﺍﻟﺸﺮﺍﻉ ﺍﳌﺸﺪﻭﺩ ﺑﺪﻭﻥ‬
‫ﺍﻟﺮ‪‬ﻳﺢ ﻳﺘﺮﻙ ﺍﳌﺮﻛﺐ ﻳﺘﺨﺒ‪‬ﻂ ﰲ ﺍﶈﻴﻂ‪ .‬ﺣﻴﺎﺗﻨﺎ ﺍﻟﺒﺎﺭ‪‬ﺓ ﻫﻲ "ﺩﻻﻟﺔ" ﻓﻘﻂ ﻋﻠﻰ‬
‫ﻃﻠﺒﻨﺎ ﺍﻟﺼﺎﺩﻕ ﷲ ﻭﺑﻌﺪﻫﺎ ﻛ ﹼﻞ ﻣﺎ ﳓﻘﹼﻘﻪ ﻫﻮ ﻣﻦ ﺍﷲ ﻭﷲ ﻭﺣﺪﻩ‪.‬‬

‫‪١٧‬‬
 ‫ﺳـﺮ‪ ‬ﺍﳊـﺮﺏ ﺍﻟـﺮﻭﺣـﻴ‪‬ﺔ‬
‫‪٣‬‬
‫ﺗﺄﻣ‪‬ﻞ ﰲ ﺍﳌﺰﻣﻮﺭ ﺍﻟﺮﺍﺑﻊ‬

‫ ‪،‬‬
‫ب  إ ُ 
ّي‪  ،‬ا ن 
ّ َ‬
‫ت ا َ‬
‫"إذ د ُ‬
‫ وا‪" ! ْ#$‬‬ ‫
ّأفْ ' &‬

‫"ﻣﺰﻣﻮﺭ ﻟﺪﺍﻭﻭﺩ ﰲ ﺍﻟﻨﻬﺎﻳﺔ ﻣﻦ ﺍﻟﺘﺴﺎﺑﻴﺢ"‬

‫"ﰲ ﺍﻟﻨﻬﺎﻳﺔ"‪ :‬ﺇﻧ‪‬ﻪ ﻳﺘﻜﻠﹼﻢ ﻋﻦ ‪‬ﺎﻳﺔ ﺍﳉﻬﺎﺩ ﺍﻟﺮﻭﺣﻲ‪‬؛ ﻳﺘﻜﻠﹼﻢ ﻋﻦ ﺍﻟﻘﻴﺎﻣﺔ ﺍﻟﱵ‬
‫ﻫﻲ ﻣﻈﻬﺮ ﺍﻟﻌﺎﱂ ﺍﻵﰐ ﻭ‪‬ﺎﻳﺔ ﺍﳊﺎﺿﺮ‪ .‬ﻭﻛﻤﺎ ﻳﻘﻮﻝ ﺍﻟﻘﺪ‪‬ﻳﺲ ﻏﺮﻳﻐﻮﺭﻳﻮﺱ‬
‫ﺍﻟﻨﻴﺼﺼﻲ ﺇ ﹼﻥ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﻫﻮ ﺻﻼﺓ ﻣﻨﺎﺳﺒﺔ ﻟﻜ ﹼﻞ ﻧﻔﺲ ﺗﺪﺧﻞ ﺟﻬﺎﺩﺍﹰ‪ ،‬ﻷﻧ‪‬ﻪ‬
‫ﻳﺆﻛﹼﺪ ﺍﻟﻨﺼﺮ ﺍﳌﻨﺘﻈﺮ ﻭﺍﳌﺮﺟ ‪‬ﻮ ﻭﻫﻜﺬﺍ ﻳﺘﺸﺪ‪‬ﺩ ﺃﺻﺤﺎﺏ ﺍﳉﻬﺎﺩ‪.‬‬
‫ﻭﻳ‪‬ﻌﺘﻘﺪ ﺃ ﹼﻥ ﺩﺍﻭﻭﺩ ﻗﺪ ﻧﻈﻤﻪ ﺗﺴﺒﺤ ﹶﺔ ﻏﻠﺒ ‪‬ﺔ ﻭﺷﻜ ﹴﺮ ﻋﻠﻰ ﻋﻈﺎﺋﻢ ﺍﷲ ﺍﻟﱵ ﺃﲤﹼﻬﺎ‬
‫ﻟﻪ ﲡﺎﻩ ﺃﺑﻴﺸﺎﻟﻮﻡ )ﺛﻴﻮﺫﻭﺭﺗﻴﻮﺱ(‪ .‬ﺇﻧ‪‬ﻪ ﻣﺰﻣﻮﺭ ﲨﻴﻞ ﻋﻠﻰ ﻗﻠﺐ ﻛ ﹼﻞ ﻣﺴﻴﺤ ‪‬ﻲ ﺑﺪﺃ‬
‫ﺟﻬﺎﺩﹰﺍ ﺭﻭﺣ‪‬ﻴﹰﺎ ﻭﻳﺮﺟﻮ ﺍﻟﺘﺤﺮ‪‬ﺭ ﻣﻦ ﺃﻫﻮﺍﺋﻪ ﻭﺻﻌﻮﺑﺎﺗﻪ‪ .‬ﺇﻧ‪‬ﻪ ﻣﺰﻣﻮﺭ ﻳﻌﻄﻲ ﺩﻓﻌﺔ‬
‫ﻭﻧﺸﺎﻃﹰﺎ ﻭﺍﻧﻄﻼﻗﺔ‪.‬‬

‫‪ ٣‬ﻳ‪‬ﺘﻠﻰ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﰲ ﺻﻼﺓ ﺍﻟﻨﻮﻡ ﺍﻟﻜﱪﻯ‪.‬‬

‫‪١٨‬‬
‫"ﲟﺎ ﺃ ﹼﻥ ﺍﻟﻨﻬﺎﻳﺔ ﺍﳌﺮﺟﻮ‪‬ﺓ ﻟﻜ ﹼﻞ ﺟﻬﺎﺩ ﻫﻲ ﺍﻟﻐﻠﺒﺔ‪ ،‬ﻟﺬﺍ ﻳﺘﻄﻠﹼﻊ ﺇﻟﻴﻬﺎ ﺍ‪‬ﺎﻫﺪﻭﻥ‬
‫ﺚ ﺍ ‪‬ﳍﻤ‪‬ﻢ ﻓﻮﺭﹰﺍ ﰲ ﻧﻔﻮﺱ‬
‫ﻟﻴﺪﺧﻠﻮﺍ ﺍﳌﻴﺪﺍﻥ ﺑﺸﺠﺎﻋﺔ‪ ،‬ﻓﺈ ﹼﻥ ﻛﻠﻤﺔ "ﰲ ﺍﻟﻨﻬﺎﻳﺔ" ﲢ ﹼ‬
‫ﺍ‪‬ﺎﻫﺪﻳﻦ ﻟﻌﻴﺶ ﺍﻟﻔﻀﺎﺋﻞ‪ ،‬ﻓﻬﻢ ﺇﺫ ﻳﻨﻈﺮﻭﻥ ﺇﱃ ﺍﻟﻨﻬﺎﻳﺔ‪ ،‬ﺃﻱ ﺍﻟﻐﻠﺒﺔ‪ ،‬ﻭﺍﻷﻛﺎﻟﻴﻞ‪،‬‬
‫ﺏ ﺟﻬﺎﺩﻫﻢ‪."...‬‬ ‫ﺗﺴﻬ ﹸﻞ ﺃﺗﻌﺎ ‪‬‬

‫"ﺳﺮ‪ ‬ﺍﻟﺼﻼﺓ ﻭﺍﻟﻄﻠﺐ ‪ -‬ﺍﳊﺮﺏ ﺍﻟﺮﻭﺣﻴ‪‬ﺔ ‪ -‬ﺃﻧﺎ ﻭﺍﷲ"‬

‫ﺏ ﱄ ﺇﻟ ‪‬ﻪ ﺑﺮ‪‬ﻱ‬‫ﺕ ﺍﺳﺘﺠﺎ ‪‬‬ ‫)‪ (١‬ﺇﺫ ﺩﻋﻮ ‪‬‬

‫ﻟﻜﻲ ﻧﺪﺧﻞ ﺇﱃ ﻋﻤﻖ ﻫﺬﻩ ﺍﻟﺼﺮﺧﺔ ﺍﻟﻔﺮﺣﺔ‪ ،‬ﻟﺮﺑ‪‬ﻤﺎ ﺍﻷﺳﻬﻞ ﺃﻥ ﻧﺒﺪﺃ‬
‫ﱯ ﺍﻟﻔﻢ‪ ،‬ﺍﻟﺬﻱ ﺩ ‪‬ﺭ ﻋﻠﻰ ﺍﻟﻌﺼﻮﺭ ﺑﺪﺭﺭﻩ‬ ‫ﺑﺸﺮﺡ ﺁﺧﺮﻫﺎ‪ ،‬ﻭﺫﻟﻚ ﻣﻦ ﻛﻠﻤﺎﺕ ﺍﻟﺬﻫ ‪‬‬
‫ﺍﻟﺬﻫﺒﻴ‪‬ﺔ ﺍﻟﺜﻤﻴﻨﺔ‪ ،‬ﻓﻬﻮ ﻳﺸﺮﺡ ﻛﻠﻤﺔ "ﺇﻟﻪ ﺑﺮ‪‬ﻱ" ﻭﻳﺆﻛﹼﺪ ﺃ ﹼﻥ ﺩﺍﻭﻭﺩ ﻫﻨﺎ ﻻ ﻳﻔﺘﺨﺮ‬
‫ﻼ! ﻫﻨﺎ ﻋﻠﻰ ﺍﻟﻌﻜﺲ‪ ،‬ﺩﺍﻭﻭﺩ ﺑﻘﻠﺐ ﻣﻨﺴﺤﻖ ﻳﻌﻴﺪ‬ ‫ﺑﱪ‪‬ﻩ ﺍﻟﺬﺍﰐ‪ ،‬ﻛﺎﻟﻔﺮﻳﺴ ‪‬ﻲ ﻣﺜ ﹰ‬
‫ﺍﻟﻔﻀﻞ ﺑﱪ‪‬ﻩ ﻟﻠﺮﺏ‪"،‬ﻓﻜ ﹼﻞ ﻣﺎ ﻧﻌﻤﻠﻪ ﺇﻧ‪‬ﻤﺎ ﳓﻦ ﻋﺒﻴﺪ ﺑﻄﹼﺎﻟﻮﻥ"‪ ،‬ﻭ"ﺑﺪﻭﻧﻪ ﻻ ﻧﻘﺪﺭ‬
‫ﻱ ﻫﻮ ﻫﺪﻳ‪‬ﺔ ﻭﻫﺒﺔ ﺇﳍﻴ‪‬ﺔ‪.‬‬‫ﺃﻥ ﻧﻌﻤﻞ ﺷﻴﺌﹰﺎ"‪ ،‬ﻭﻛ ﹼﻞ ﺇﳒﺎﺯ ﺑﺸﺮ ‪‬‬
‫ﻼ ﺑﻔﻨ‪‬ﺎﻥ ﻣﻮﺳﻴﻘ ‪‬ﻲ ﺭﺍﺋﻊ ﻋﻨﺪﻣﺎ ﳝﺘﺪﺣﻮﻩ ﻳﻘﻮﻝ ﻓﻼﻥ‬ ‫ﻫﺬﻩ ﺍﻟﻌﺒﺎﺭﺓ ﺃﺷﺒﻪ ﻣﺜ ﹰ‬
‫ﻫﻮ ﺃﺳﺘﺎﺫﻱ‪ ،‬ﻣﻌﻴﺪﹰﺍ ﻓﻀﻞ ﺑﺮﺍﻋﺘﻪ ﻷﺳﺘﺎﺫﻩ‪ .‬ﻫﻜﺬﺍ ﺩﺍﻭﻭﺩ ﻳﻌﺮﻑ ﰲ ﺍﻟﻌﻤﻖ ﺃ ﹼﻥ‬
‫ﻋﹼﻠ ﹶﺔ ﺳﻌﺎﺩﺗﻪ ﻭﺣﻴﺎﺗﻪ ﺍﻟﺒﺎﺭ‪‬ﺓ ﻫﻲ ﻧﺘﻴﺠﺔ ﲢﻨ‪‬ﻦ ﺍﷲ ﻭﲦﺮﺓ ﻋﻼﻗﺘﻪ ﺑﺎﷲ ﻭﺍﳊﻴﺎﺓ ﺑﻘﺮﺑﻪ‪.‬‬
‫ﻓﺎﻟﺸﻌﻮﺭ ﺑﺎﳊﻴﺎﺓ ﺍﻟﺒﺎﺭ‪‬ﺓ ﻭﺍﻟﺴﻌﻴﺪﺓ ﻟﻴﺲ ﺧﻄﺄ‪ ،‬ﺇﻧ‪‬ﻤﺎ ﺇﻋﺎﺩﺓ ﺫﻟﻚ ﺇﱃ ﺍﻟﺬﺍﺕ ﻫﻮ‬
‫ﺍﻟﻔﺮﻳﺴﻴ‪‬ﺔ‪ .‬ﺍﻟﻔﺮﺡ ﲝﻴﺎﺗﻨﺎ ﺍﳌﺴﻴﺤﻴ‪‬ﺔ ﻫﻮ ﺃﻣﺮ ﻭﺍﻗﻌ ‪‬ﻲ‪ .‬ﻭﺍﳌﺴﻴﺤ ‪‬ﻲ ﻳﺸﻜﺮ ﻛﺜﲑﹰﺍ ﻭﻣﻦ‬
‫ﺍﻟﻌﻤﻖ‪ ،‬ﻷﻧ‪‬ﻪ ﺗﻌﺮ‪‬ﻑ ﻋﻠﻰ ﺍﷲ‪ ،‬ﻭﻳﻌﺮﻓﻪ ﺍﷲ‪ ،‬ﻓﻬﻮ ﺇﻟﻪ ﺣﻴﺎﺗﻪ ﺍﻟﻘﻮﳝﺔ‪ ،‬ﺃﻱ ﺇﻟﻪ ﺑﺮ‪‬ﻩ‪.‬‬

‫‪١٩‬‬
 ‫ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﻳﺘﻮﻗﹼﻒ ﻓ ‪‬ﻢ ﺍﻟﺬﻫﺐ ﻋﻨﺪ ﻫﺬﻩ ﺍﻟﻜﻠﻤﺎﺕ ﻭﻳﺆﻛﹼﺪ ﺃﻧ‪‬ﻪ ﻟﻜﻲ‬
‫ﻳ‪‬ﺴﺘﺠﺎﺏ ﺍﻹﻧﺴﺎ ﹸﻥ ﻋﻨﺪﻣﺎ ﻳﺪﻋﻮ ﺍﷲ ﰲ ﺍﻟﺼﻼﺓ ﻋﻠﻴﻪ ﻟﻴﺲ ﻓﻘﻂ ﺃﻥ "ﻳﺘﻘﺪ‪‬ﻡ ﻫﻮ"‪،‬‬
‫ﻼ ﻓﻜﺮ‪‬ﻳﹰﺎ‬‫ﻭﺇﻧ‪‬ﻤﺎ ﺃﻥ ﻳﺄﰐ "ﻭﻳﻘﺪ‪‬ﻡ"؛ ﻣﺎﺫﺍ ﻳﻘﺪ‪‬ﻡ؟ ﺣﻴﺎﺗﻪ ﺍﻟﺒﺎﺭ‪‬ﺓ! ﺍﻟﺼﻼﺓ ﻟﻴﺴﺖ ﺗﺄ ‪‬ﻣ ﹰ‬
‫ﻭﻫﻲ ﺃﺑﻌﺪ ﻋﻦ ﺃﻥ ﺗﻜﻮﻥ ﳎﺮ‪‬ﺩ ﻣﺸﺎﻋﺮ ﺷﺨﺼﻴ‪‬ﺔ‪ ،‬ﺇﻧ‪‬ﻬﺎ ﺣﻮﺍﺭ ﻣﻊ ﺷﺨﺺ ﻭﻟﻴﺴﺖ‬
‫ﺗﻮﺟﻴ ‪‬ﻪ ﺃﺷﻌﺎﺭ ﻭﺗﺴﺎﺑﻴﺢ ﺇﱃ ﻓﻜﺮﺓ!‬
‫ﳍﺬﺍ ﻭﻗﻔﺔ ﺍﻟﺼﻼﺓ ﻛﻤﺎ ﻳﺴﻤ‪‬ﻴﻬﺎ ﺍﻟﺴﻠﻤ ‪‬ﻲ ﻫﻲ "ﳏﻜﻤﺔ" ﻭﳏﺎﻛﻤﺔ‪ ،‬ﺇﻧ‪‬ﻬﺎ‬
‫ﱄ‪ .‬ﻋﻨﺪﻣﺎ‬ ‫ﻣﻮﺍﺟﻬﺔ‪ ،‬ﻭﰲ ﻫﺬﻩ ﺍﳌﻮﺍﺟﻬﺔ ﳚﺐ ﺃﻥ ﺃﺗ‪‬ﺠﻪ ﺃﻧﺎ ﺇﻟﻴﻪ ﻭﺃﻥ ﻳﻠﺘﻔﺖ "ﻫﻮ" ﺇ ﱠ‬
‫ﺏ ﺗﻨﺴﺎﱐ‬ ‫ﷲ ﻋﻦ ﺻﻼﺓ ﺍﳌﺴﻴﺤ ‪‬ﻲ ﻳﻜﺮ‪‬ﺭ ﻣﻊ ﺩﺍﻭﻭﺩ ﺻﻼﺗﻪ‪" :‬ﺇﱃ ﻣﱴ ﻳﺎ ﺭ ‪‬‬ ‫ﻳﻐﻴﺐ ﺍ ُ‬
‫ﺃﹶﺇﱃ ﺍﻻﻧﻘﻀﺎﺀ‪ ،‬ﺇﱃ ﻣﱴ ﺗﺼﺮﻑ ﻭﺟﻬﻚ ﻋﲏ‪."...‬‬
‫ﺍﻟﺼﻼﺓ ﻟﻴﺴﺖ ﺭﺳﺎﻟ ﹰﺔ ﺇﱃ ﺍﷲ ﻭﺇﻧ‪‬ﻤﺎ ﺣﺪﻳﺚ ﻣﻌﻪ‪ .‬ﻫﺬﺍ ﻻ ﻳﺘﻄﻠﹼﺐ‬
‫ﺣﻀﻮﺭﻱ ﻓﻘﻂ ﻭﺇﻧ‪‬ﻤﺎ ﺣﻀﻮﺭﻩ ﻭﺭﺿﺎﻩ ﺃﻳﻀﹰﺎ‪ .‬ﻟﻮ ﺗﻜﻠﹼﻤﻨﺎ ﻣﻊ ﺷﺨﺺ ﻳﺮ ‪‬ﺩ ﳊﻈﹶﻪ‬
‫ﻋﻨ‪‬ﺎ‪ ،‬ﻻ ﻳﺴﺘﻤ ‪‬ﺮ ﺍﳊﻮﺍﺭ‪ ،‬ﻭﻳﺒﻘﻰ ﺍﳊﺪﻳﺚ ﳎﺮ‪‬ﺩ ﺑ‪‬ﺘ‪‬ﺒﺘ‪‬ﺔ ﻛﻠﻤﺎﺕ ﺃﻭ ﺛﺮﺛﺮﺓ‪.‬‬
‫ﷲ ﰲ ﺍﻟﺼﻼﺓ ﳍﺬﺍ ﻋﻠﻴﻨﺎ "ﺃ ﹼﻻ ﻧﻄﻴﻞ ﺍﻟﻜﻼﻡ ﻋﺒﺜﹰﺎ ﰲ‬ ‫ﻳﻮﺍﺟﻪ ﺍﳌﺴﻴﺤ ‪‬ﻲ ﺍ َ‬
‫ﺍﻟﺼﻼﺓ"‪ .‬ﻓﺎﳌﺴﻴﺤ ‪‬ﻲ ﻻ ﻳﺮﺩ‪‬ﺩ ﻓﻴﻬﺎ ﳎﺮ‪‬ﺩ ﻋﺒﺎﺭﺍﺕ ﻭﺇﻧ‪‬ﻤﺎ ﻳﻘﺪ‪‬ﻡ ﺣﻴﺎﺗﻪ ﺃﻣﺎﻡ ﺍﷲ‪ .‬ﺇﺫﻥ‬
‫ﻧﺘﻜﻠﹼﻢ ﻟﻴﺲ ﻋﻦ ﺧﺪﻡ ﻭﺻﻠﻮﺍﺕ ﻭﺇﻧ‪‬ﻤﺎ ﻋﻦ ﺣﻴﺎﺓ ﺍﻟﺼﻼﺓ‪ .‬ﺍﻟﺼﻠﻮﺍﺕ ﻭﺍﳋﺪﻣﺎﺕ‬
‫ﺍﻟﻠﻴﺘﻮﺭﺟﻴ‪‬ﺔ ﻫﻲ ﻋﺒﺎﺭﺍﺕ ﺗﻠﻚ ﺍﳊﻴﺎﺓ‪ .‬ﺍﳌﻄﻠﻮﺏ ﺃﻥ ﺗﺼﲑ ﻛ ﹼﻞ ﺍﳊﻴﺎﺓ ﺻﻼﺓ‪ ،‬ﻭﺃﻥ‬
‫ﰲ"‪ .‬ﺍﻟﺼﻼﺓ ﺍﻟﺪﺍﺋﻤﺔ‬ ‫ﺖ ﺃﻧﺎ ﺃﺣﻴﺎ ﺑﻞ ﺍﳌﺴﻴ ‪‬ﺢ ﳛﻴﺎ ﱠ‬ ‫ﻧﺮﺩ‪‬ﺩ ﻣﻊ ﺑﻮﻟﺲ ﺍﳌﺼﻠﹼﻲ‪" :‬ﻟﺴ ‪‬‬
‫ﻟﻴﺴﺖ ﰲ ﺍﳌﻌﺒﺪ ﻓﻘﻂ ﻭﻟﻴﺴﺖ ﺃﻣﺎﻡ ﺍﻷﻳﻘﻮﻧﺔ ﻓﺤﺴﺐ‪ ،‬ﻫﺬﻩ ﺍﻷﺧﲑﺓ ﻫﻲ ﺻﻠﻮﺍﺕ‬
‫ﺍﻟﻮﺍﻗﻔﲔ ﺑﻌﺪ ﻋﻠﻰ ﺍﻟﺪﺭﺟﺎﺕ ﺍﻷﻭﱃ‪ .‬ﻣ‪‬ﻦ ﻭﰿ ﺣﻘﹰﺎ ﺇﱃ ﺍﻟﺼﻼﺓ ﻫﻮ ﻣ‪‬ﻦ ﻭﻟﹶﺞ‬
‫ﺏ ﺇﱃ ﺣﻴﺎﺓ ﻻ ﻣﻜﺎﻧﺔ ﻟﻪ ﻓﻴﻬﺎ ﺃﻭ‬ ‫ﺍﳌﺴﻴ ‪‬ﺢ ﺇﱃ ﺣﻴﺎﺗﻪ ﻓﺼﺎﺭ ﻣﺮﻛﺰ‪‬ﻫﺎ‪ .‬ﻻ ﻳﺪﺧﻞ ﺍﻟﺮ ‪‬‬
‫ﺇﱃ ﻣﻌﺎﺑﺪ ﻓﻴﻬﺎ ﺁﳍ ﹲﺔ ﺃﺧﺮﻯ‪.‬‬

‫‪٢٠‬‬
 ‫ﻧﻜﺮ‪‬ﺭ ﺩﺍﺋﻤﹰﺎ ﰲ ﺻﻠﻮﺍﺗﻨﺎ ﻭﻃﻠﺒﺎﺗﻨﺎ ‪ -‬ﻭﻏﺎﻟﺒﹰﺎ ﻣﺎ ﻧﺴﻬﻮ ﻋﻦ ﻋﻤﻖ ﺍﻟﻜﻠﻤﺎﺕ‬
‫ﻼ – ﺍﻟﻌﺒﺎﺭ ﹶﺓ‪" :‬ﻭﻛ ﹼﻞ ﺣﻴﺎﺗﻨﺎ ﻟﻠﻤﺴﻴﺢ ﺍﻹﻟﻪ"‪ .‬ﺃﻥ ﻧﻌﻄﻲ ﺣﻴﺎﺗﻨﺎ ﷲ‬
‫ﻓﺘﻐﺪﻭ ﺗﻜﺮﺍﺭﹰﺍ ﳑ ‪‬‬
‫ﻻ ﻳﻌﲏ ﺃﻥ ﻧﻨﻘﻄﻊ ﻋﻦ ﺣﻴﺎﺗﻨﺎ ﻭﺇﻧ‪‬ﻤﺎ ﺃﻥ ﳓﻴﺎ ﻭﻧﻌﻤﻞ ﻣﻦ ﺃﺟﻞ ﺍﷲ‪ ،‬ﻭﻧﺴﲑ ﺑﺪﻧﻴﺎﻧﺎ‬
‫ﻭﺑﺈﺧﻮﺗﻨﺎ ﳓﻮ ﺍﷲ‪ .‬ﺍﳉﻤﻴﻊ ﻳﻌﻤﻠﻮﻥ ﻭﻳﺸﺘﻐﻠﻮﻥ ﻭﻳﻠﺪﻭﻥ ﻭﻳﻮﻟﺪﻭﻥ‪ ،‬ﻟﻜﻦ ﺍﻟﺴﺆﺍﻝ‬
‫ﺏ‪ .‬ﺣﻴﺎﺓ ﺍﻟ ‪‬ﱪ ﻟﻴﺴﺖ ﻣﻬﻨ ﹶﺔ ﺍﻟﺮﻫﺒﺎﻥ ﻓﺤﺴﺐ‪ ،‬ﺇﻧ‪‬ﻤﺎ‬ ‫ﻫﻮ‪ :‬ﳌﺎﺫﺍ ﻭﳌﻦ؟ ﺍﳊﻴﺎﺓ ﻟﻠﺮ ‪‬‬
‫ﺩﻋﻮﺓ ﻛ ﹼﻞ ﻣﺴﻴﺤﻲ‪ ،‬ﻛ ﱞﻞ ﻣﻦ ﻣﻜﺎﻧﻪ‪ .‬ﺍﳊﻴﺎﺓ ﻟﻠﻤﺴﻴﺢ ﻻ ﺗﻌﲏ ﺍﳊﻴﺎﺓ ﺍﻟﺘﺄﻣﻠﻴ‪‬ﺔ‬
‫ﻭﺍﻻﺑﺘﻌﺎﺩ ﻋﻦ ﺍﻟﻌﺎﱂ‪ .‬ﺍﳊﻴﺎﺓ ﻟﻠﻤﺴﻴﺢ ﺗﻌﲏ ﺃﻥ ﻳﻜﻮﻥ ﻫﻮ ﻏﺎﻳ ﹶﺔ ﻭﺟﻮﺩﻧﺎ‪ ،‬ﺑﻪ ﳓﻴﺎ‬
‫ﺏ ﻻ ﻟﻨﺎ ﺑﻞ ﻟﻚ"‪ .‬ﻫﻜﺬﺍ ﻧﺮ ‪‬ﺩ ﻋﻠﻰ ﻛ ﹼﻞ ﺍﻟﻄﻠﺒﺎﺕ‪:‬‬ ‫ﻭﺇﻟﻴﻪ ﻧﺘﺤﺮ‪‬ﻙ‪" .‬ﻻ ﻟﻨﺎ ﻳﺎ ﺭ ‪‬‬
‫ﺏ"‪ .‬ﻫﺬﻩ ﻫﻲ ﺍﳊﻴﺎﺓ ﺍﻟﺒﺎﺭ‪‬ﺓ ﺍﻟﱵ ﻏﺎﻳﺘﻬﺎ ﻭ‪‬ﺎﻳﺘﻬﺎ "ﻫﻮ"‪ .‬ﻫﻜﺬﺍ ﺗﻐﺪﻭ‬ ‫"ﻟﻚ ﻳﺎ ﺭ ‪‬‬
‫ﺍﳊﻴﺎﺓ ﻏﺒﻄﺔ‪ ،‬ﻋﻨﺪﻣﺎ ﺗﺄﺧﺬ ﻣﻌﲎ‪ ،‬ﻭﻣﻌﲎ ﺣﻘﻴﻘ‪‬ﻴﹰﺎ ﻭﺻﺤﻴﺤﹰﺎ‪ .‬ﻋﻜﺲ ﺫﻟﻚ ﺗﺒﻘﻰ‬
‫ﺍﳊﻴﺎ ﹸﺓ ﻭﺟﻮﺩﹰﺍ ﻗﻠﻘﺎﹰ ﻭﻃﻠﺒﹰﺎ ﻻ ﻳﺸﺒﻊ ﺇ ﹾﻥ ﱂ ﻳﻨﻘﻠﺐ ﺇﱃ ﻋﺪﺍﻭﺍﺕ ﻭﺗﺴﺎﺑﻘﹰﺎ ﻋﻠﻰ‬
‫ﻣﻠﺬﹼﺍﺕ ﺍﻟﺪﻧﻴﺎ ﻭﻣﺮﺍﻛﺰﻫﺎ‪ ،‬ﺳﻌﻴﹰﺎ ﻹﺷﺒﺎﻉ ﺫﺍﺗﻨﺎ ﺍﻟﱵ ﻟﻦ ﺗﺸﺒﻊ ﺣ ﹼﻘﹰﺎ ﺇﻥ ﱂ ﺗﻠﺘ ﹺﻖ‬
‫ﺑﺎﳌﺴﻴﺢ‪.‬‬
‫ﻻ ﻳﻄﻠﺐ ﺍﷲ ﻣﻨ‪‬ﺎ ﺇﻃﺎﻟﺔ ﺍﻟﻜﻼﻡ ﻣﻌﻪ‪ ،‬ﺇﻧ‪‬ﻤﺎ ﺣﻴﺎﺗﻨﺎ؛ ﻻ ﻳﻄﻠﺐ ﻣﻨ‪‬ﺎ ﻳﺪﹰﺍ ﺃﻭ‬
‫ﲏ ﺃﻋﻄ‪‬ﲏ ﻗﻠﺒﻚ"‪.‬‬ ‫ﺣﺎ ‪‬ﺳ ﹰﺔ ﺃﻭ ﻋﻀﻮﹰﺍ ﺃﻭ ﺟﺰﺀﹰﺍ ﻣﻦ ﺣﻴﺎﺗﻨﺎ ﻭﺇﻧ‪‬ﻤﺎ ﻳﻘﻮﻝ‪" :‬ﻳﺎ ﺑ ‪‬‬
‫ﻭﻋﻨﺪﻣﺎ ﻧﻌﻄﻲ ﺍﻟﻘﻠﺐ ﷲ ﻭﺣﺪﻩ ﻋﻨﺪﻫﺎ ﳚﻮﻝ ﻫﻮ ﻓﻴﻪ ﻭﻧﺴﻤﻊ ﻭﻗﻊ ﺧﻄﺎﻩ ﻭﻳﺼﲑ‬
‫ﺐ ﻛ ﹼﻞ ﺍﻟﻨﺎﺱ ﻭﻻ ﺗﻜﺮﻩ‬ ‫ﺍﻟﻘﻠﺐ ﻟﻴﺲ ﻋﻀﻼﺕ ﻭﺇﻧ‪‬ﻤﺎ ﺩﻧﻴﺎ ﲢﻤﻞ ﻛ ﹼﻞ ﺍﻟﻨﺎﺱ ﻭﲢ ‪‬‬
‫ﺃﺣﺪﹰﺍ‪ .‬ﻭﺳﻂ ﺍﻟﻈﻠﻢ ﻭﺍﻟﻀﻴﻘﺎﺕ ﻳﻌﺮﻑ ﺍﻟﻘﻠﺐ ﻛﻴﻒ ﻳﺼﻠﹼﻲ ﻭﻛﻴﻒ ﻳﺘﺤﺮ‪‬ﻙ‬
‫ﻭﻳﺴﻌﻰ‪ .‬ﻫﺬﺍ ﻫﻮ ﺳ ‪‬ﺮ ﺍﺳﺘﺠﺎﺑﺔ ﺍﷲ‪ ،‬ﺳ ‪‬ﺮ ﺍﻟﺼﻼﺓ‪.‬‬

‫‪٢١‬‬
‫ﻉ ﻭﺍﷲ‬ ‫ﱯ ﻳﻘﻮﻝ‪" :‬ﹸﺃ ‪‬ﺩ ‪‬‬ ‫ﺏ ﺳﺮﻳﻊ ﺍﻹﺟﺎﺑﺔ ﳌﺜﻞ ﻫﺬﺍ ﺍﻟﻘﻠﺐ‪ .‬ﺃﺷﻌﻴﺎﺀ ﺍﻟﻨ ‪‬‬ ‫ﺍﻟﺮ ‪‬‬
‫ﻼ ﻭﻳﻨﻈﺮ ﺇﻟﻴﻨﺎ‪،‬‬ ‫ﻳﺴﺘﻤﻊ ﻟﻚ‪ .‬ﻓﻌﻨﺪ ﺩﻋﺎﺋﻚ ﳚﻴﺐ ﻫﺎ ﺃﻧﺎ ﺣﺎﺿﺮ"‪ .٤‬ﺍﷲ ﺣﺎﺿ ‪‬ﺮ ﻓﻌ ﹰ‬
‫ﻋﻨﺪﻣﺎ ﳓﻀﺮ ﳓﻦ ﺩﻭﻥ ﻣﺮﺍﺁﺓ؛ ﻋﻨﺪﻣﺎ ﳓﻀﺮ ﺇﻟﻴﻪ ﻭﳓﻦ ﻻ ﳔﻔﻲ ﺩﺍﺧﻠﻨﺎ ﺃﻋﺪﺍﺀﻩ‪،‬‬
‫ﻭﻫﻮ ﺍﻟﻔﺎﺣﺺ ﺍﻟﻘﻠﻮﺏ ﻭﺍﻟﻜﻠﻰ‪ ...‬ﺍﳌﺮﺍﺁﺓ ﺑﺎﻟﺼﻼﺓ ﻫﻲ ﲰ‪‬ﻬﺎ‪ .‬ﺇ‪‬ﺎ ﺍﻟﺼﻼﺓ‬
‫ﺏ‪" :‬ﻫﺬﺍ ﺍﻟﺸﻌﺐ ﻳﻜﺮﻣﲏ‬ ‫ﺑﺎﻟﺸﻔﺎﻩ‪ .‬ﻋﻠﻰ ﻣﺜﻞ ﻫﺆﻻﺀ ﺍﳌﺼﻠﹼﲔ ﻳﻨﻄﺒﻖ ﺗﻮﺑﻴﺦ ﺍﻟﺮ ‪‬‬
‫ﺏ ﺑﻘﻠﺐ ﻣﻌﻮﺝ‪‬؟‬ ‫ﺑﺸﻔﺘ‪‬ﻴﻪ ﻭﻗﻠﺒﻪ ﺑﻌﻴﺪ ﻋﻨ‪‬ﻲ"‪ .‬ﻣ‪‬ﻦ ﻳﺴﺘﻄﻴﻊ ﺃﻥ ﻳﻮﺍﺟﻪ ﺍﻟﺮ ‪‬‬
‫ﺏ ﺍﳌﺮﺍﺁﺓ ﺑﲔ ﺍﻟﻨﺎﺱ‪ .‬ﻭﻏﺎﻟﺒﺎﹰ‪ ،‬ﻭﻟﻸﺳﻒ‪ ،‬ﻣﺎ ﺗﺄﺧﺬ ﻟﻮﻥ ﺍﻟﺘﻬﺬﻳﺐ‬ ‫ﺗﺪ ‪‬‬
‫ﻭﺍ‪‬ﺎﻣﻼﺕ ﻭﺍﻟﻠﻴﺎﻗﺎﺕ ﻟﻜﻦ‪ ،‬ﺃﻣﺎﻡ ﺍﷲ‪ ،‬ﺍﻟﻮﻗﻔﺔ ﻫﻲ ﳏﺎﻛﻤﺔ ﺻﺮﳛﺔ "ﻓﺎﻷﻓﻌﺎﻝ‬
‫ﺗ‪‬ﻜﺸﻒ ﻭﺍﻷﻓﻜﺎﺭ ﺗ‪‬ﺴﺘﻔﺤﺺ"‪ .‬ﻻ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﺮﺿﻲ ﺍﷲ "ﺑﺎﻟﻜﻼﻡ" ﻭﺇﻧ‪‬ﻤﺎ ﺑﺎﳊﻴﺎﺓ‪.‬‬
‫ﻣﻬﻤﺎ ﺻﺮﺧﻨﺎ ﻟﻦ ﻳﺴﺘﺠﻴﺐ ﻟﻨﺎ ﺇﻥ ﱂ ﻧﺘﻘﺪ‪‬ﻡ ﺇﻟﻴﻪ ﻣﻦ ﺣﻴﺎﺓ ﺑﺎﺭ‪‬ﺓ‪.‬‬

‫ﺖﱄ‬ ‫
ﰲ ﺍﳊﺰﻥ ﻓﺮ‪‬ﺟ ‪‬‬

‫ﻫﺬﺍ ﻫﻮ ﺳ ‪‬ﺮ ﺍﻟﺼﻠﻴﺐ‪" .‬ﻟﻜ ﹼﻞ ﺇﻧﺴﺎﻥ ﺻﻠﻴﺒﻪ" ﻣﻘﻮﻟﺔ ﳏﻔﻮﻇﺔ‪ ،‬ﻟﻜﻦ ﻗﺪ‬
‫ﳔﻄﺊ ﻓﻬﻤﻬﺎ ﻋﻨﺪﻣﺎ ﻧﻌﻄﻴﻬﺎ ﻣﻌﲎ ﺗﺸﺎﺅﻣ‪‬ﻴﹰﺎ‪ .‬ﺍﻟﺼﻠﻴﺐ ﻫﻮ ﻋﻼﻣﺔ ﺍﻟﻐﻠﺒﺔ‬
‫ﻭﺍﻟﺘﻀﺤﻴﺔ‪ ،‬ﻭﻟﻴﺲ ﻋﻼﻣﺔ ﺍﻟﻘﺪﺭ ﺍﻷﺳﻮﺩ؛ ﺍﳌﺴﻴﺢ ﺑﺪ‪‬ﻝ ﻣﻌﻨﺎﻩ‪.‬‬
‫ﻼ ﻋﻦ ﺳ ‪‬ﺮ ﺍﻷﱂ ﻭﺍﳌﺼﺎﺋﺐ ﻭﺍﻟﺸﺪﺍﺋﺪ ﰲ ﺣﻴﺎﺓ‬ ‫ﻫﻨﺎ ﻳﻌﺒ‪‬ﺮ ﺩﺍﻭﻭﺩ ﺑﺼﻼﺗﻪ ﻓﻌ ﹰ‬
‫ﺍﳌﺴﻴﺤ ‪‬ﻲ‪ .‬ﺍﳌﺴﻴﺤ ‪‬ﻲ ﻻ ﻳﻄﻠﺐ ﺍﳍﺮﻭﺏ ﻣﻦ ﻣﻮﺍﺟﻬﺔ ﺍﳊﻴﺎﺓ‪ ،‬ﻭﻻ ﻳﺼﻠﹼﻲ ﻟﻜﻲ‬
‫ﻳ‪‬ﺤﻴﺪ ﺍﷲ ﻋﻨﻪ ﺍﻟﺸﺪﺍﺋﺪ‪ ،‬ﻓﺎﷲ ﳚﺮ‪‬ﺏ ﻣ‪‬ﻦ ﳛﺒ‪‬ﻪ‪ .‬ﺭﻫﺒﺎﻥ ﻭﻗﺪ‪‬ﻳﺴﻮﻥ ﻳﻌﺘﱪﻭﻥ ﺍﻟﻔﺘﺮﺍﺕ‬
‫ﺍﻟﱵ ﻻ ﳝﺮ‪‬ﻭﻥ ‪‬ﺎ ﺑﻀﻴﻘﺎﺕ ﻓﺘﺮﺍﺕ "ﻫﺠﺮ ﺇﳍ ‪‬ﻲ"‪ .‬ﻋﻨﺪﻣﺎ ﺗﺸﺘ ‪‬ﺪ ﺍﳌﺼﺎﻋﺐ ﻳﺮﻓﻊ‬
‫ﺍﳌﺴﻴﺤ ‪‬ﻲ ﺻﺮﺧﺔ‪" :‬ﺇﻥ ﺃﻣﻜﻦ ﻓﻠﺘﺠ ‪‬ﺰ ﻋﻨ‪‬ﻲ ﻫﺬﻩ ﺍﻟﻜﺄﺱ‪ ،‬ﻭﻟﻜﻦ ﻻ ﺗﻜ ‪‬ﻦ ﻣﺸﻴﺌﱵ‬

‫‪ ٤‬ﺃﺵ ‪.٩ ،٥٨‬‬

‫‪٢٢‬‬
‫ﺑﻞ ﻣﺸﻴﺌﺘﻚ"‪ .‬ﻋﺎﳌﻨﺎ ﺩﻧﻴﺎ ﳐﻠﻮﻃﺔ ﺑﺎﻟﻀﻴﻘﺎﺕ ﻭﺍﻟﺸﺪﺍﺋﺪ ﻭﺍﻷﻣﺮﺍﺽ ﻭﺍﻷﺣﺰﺍﻥ‪...‬‬
‫ﺏ‪ .‬ﲟﻌﲎ‬‫ﻭﺍﳌﺴﻴﺤ ‪‬ﻲ ﻻ ﳝﻜﻨﻪ ﺃﻥ ﻳﻄﻠﺐ ﺍﻟﻔﺮﺍﺭ‪ .‬ﰲ ﻗﻠﺐ ﻫﺬﻩ ﺍﻟﺸﺪﺍﺋﺪ ﻳﺄﰐ ﺍﻟﺮ ‪‬‬
‫ﺏ ﺍﻟﻮﺍﻗﻒ "ﺍﳊﺎﺿﺮ" ﻓﺘﺘﻨﻘﻠﺐ ﻫﺬﻩ ﺍﻟﺸﺪﺍﺋﺪ ﻣﻦ ﻗﺪﺭ ﺃﺳﻮﺩ‬ ‫ﺁﺧﺮ‪ ،‬ﻧﺼﺮﺥ ﺇﱃ ﺍﻟﺮ ‪‬‬
‫ﺇﱃ ﺻﻠﻴﺐ ﺭﺍﺋﻊ ﻧﺮﻓﻊ ﺫﻭﺍﺗﻨﺎ ﻋﻠﻴﻪ ‪‬ﺟ ‪‬ﺪﹰﺍ ﻭﺗﻌﺒﹰﺎ ﻭﺗﻀﺤﻴ ﹰﺔ ﻭﻓﺪﻳ ﹰﺔ ﻭﳏﺒ‪‬ﺔ ﻟﻶﺧﺮﻳﻦ‪.‬‬
‫ﻫﻜﺬﺍ ﲡﻠﺐ ﺍﻟﺸﺪﺍﺋ ‪‬ﺪ ﺑﺪﻝ ﺍﳊﺰﻥ ﻓﺮﺟﹰﺎ ﻭﺑﺪﻝ ﺍﻟﻜﺂﺑﺔ ﻏﺒﻄ ﹰﺔ ﻭﺑﺪﻝ ﺍﻟﺘﺸﺎﺅﻡ‬
‫ﻭﻓﺮﺣﹰﺎ‪.‬‬

‫ﺏ ﻋﻦ ﺩﺍﻭﻭﺩ ﻫﻨﺎ ﺷﺪ‪‬ﺗﻪ‪ ،‬ﻭﺇﻧ‪‬ﻤﺎ ﺟﻌﻠﻪ‬ ‫ﺖ ﱄ‪ :‬ﱂ ﻳﺮﻓﻊ ﺍﻟﺮ ‪‬‬ ‫ﰲ ﺍﳊﺰﻥ ﻓﺮ‪‬ﺟ ‪‬‬
‫ﻱ ﺍﻟﻘﻠﺐ ﺭﺍﺑﻂ ﺍﳉﺄﺵ ﻣﺆﻣﻨﹰﺎ ﻣﻮﺍﺟﻬﹰﺎ ﻟﻠﺪﻧﻴﺎ ﺑﻔﺮﺡ‪ .‬ﺍﻟﺮﺏ‪ ،‬ﻛﻤﺎ ﻳﻘﻮﻝ ﺍﺳﺤﻖ‬ ‫ﻗﻮ ‪‬‬
‫ﺍﻟﺴﺮﻳﺎﱐﹼ‪ ،‬ﻻ ﳚﺮ‪‬ﺏ ﺃﺣﺪﹰﺍ ﺑﺄﻛﺜﺮ ﻣﻦ ﻃﺎﻗﺘﻪ ﻭﻣﻊ ﻛ ﹼﻞ ﺿﻴﻖ ﻳﺴﻤﺢ ﺑﻪ ﻳﺮﺳﻞ‬
‫ﳐﺮﺟﹰﺎ ﻟﻪ‪ .‬ﻣﻌﺮﻭﻓﺔ ﻟﺪﻳﻨﺎ ﻗﺼ‪‬ﺔ ﺍﻟﻠﻴﻠﺔ ﺍﻟﱵ ﺃﻣﻀﺎﻫﺎ ﺍﻟﻘﺪ‪‬ﻳﺲ ﺃﻧﻄﻮﻧﻴﻮﺱ ﺍﻟﻜﺒﲑ‬
‫ﳏﺎﺭ‪‬ﺑﹰﺎ ﻭﳎﺮ‪‬ﺑﹰﺎ ﻣﻦ ﺍﻟﺸﻴﺎﻃﲔ‪ ،‬ﺣﲔ ﺗﻨﻬ‪‬ﺪ ﻋﻨﺪ ﺍﻟﺼﺒﺎﺡ ﺇﺫ ﺍﻧﺼﺮﻓﺖ ﺗﻠﻚ ﻋﻨﻪ‬
‫ﺖ ﻃﻴﻠﺔ ﺗﻠﻚ ﺍﻟﻠﻴﻠﺔ؟ ﻓﺄﺟﺎﺑﻪ ﺍﷲ‪ :‬ﻗﺮﺑﻚ ﺃﺭﺍﻗﺐ‬ ‫ﻭﺭﻓﻊ ﺗﻨﻬ‪‬ﺪﻩ ﺇﱃ ﺍﷲ‪ :‬ﺃﻳﻦ ﻛﻨ ‪‬‬
‫ﻭﺃﻋ ‪‬ﺪ ﺍﻧﺘﺼﺎﺭﺍﺗﻚ‪ .‬ﺍﷲ ﻛﺎﻷﻡ ﺍﻟﱵ ﺗﺘﺮﻙ ﻃﻔﻠﻬﺎ ﻟﻮﺣﺪﻩ ﰲ ﺍﳋﻄﻮﺍﺕ ﺍﻷﻭﱃ‬
‫ﻭﻟﻜﻨ‪‬ﻬﺎ ﻓﻮﻗﻪ ﻭﻣﻦ ﺧﻠﻔﻪ ﻻ ﺗﺘﺮﻛﻪ ﻳﻘﻊ‪.‬‬
‫ﺏ‪ :‬ﺇ ﹼﻥ ﺻﻠﻴﱯ‬‫ﻭﻗﺼ‪‬ﺔ ﺫﺍﻙ ﺍﳌﺴﻴﺤﻲ‪ ،‬ﺍﻟﺬﻱ ﻛﺎﻥ ﻳﺘﺄﻓﹼﻒ ﺩﺍﺋﻤﹰﺎ ﻋﻠﻰ ﺍﻟﺮ ‪‬‬
‫ﻛﺒﲑ‪ ،‬ﺃﻳﻀﹰﺎ ﻣﻌﺮﻭﻓﺔ‪ .‬ﻓﺈﺫ ﺃﺭﺍﻩ ﺍﷲ ﻛ ﹼﻞ ﺻﻠﺒﺎﻥ ﺍﻟﺪﻧﻴﺎ‪ ،‬ﺟﺎﻝ ﺑﻴﻨﻬﺎ ﺇﱃ ﺃﻥ ﺭﺍﻕ ﻟﻪ‬
‫ﺇﺣﺪﺍﻫﺎ‪ ،‬ﺻﻠﻴﺐ ﺻﻐﲑ ﻭﲨﻴﻞ‪ ،‬ﻭﳌﺎ ﺍﺧﺘﺎﺭﻩ ﻛﺎﻥ ﺻﻠﻴﺒ‪‬ﻪ ﺍﻟﺸﺨﺼ ‪‬ﻲ ﺑﺎﻟﺬﺍﺕ‪.‬‬
‫ﺏ ﻟﻴﺲ ﻷﻧ‪‬ﻪ ﺭﻓﻊ ﻋﻨﻪ ﺍﻟﺸﺪﺍﺋﺪ ﻭﻟﻜﻦ ﻷﻧ‪‬ﻪ ﻋﻨﺪﻣﺎ ﲰﺢ ‪‬ﺎ‬ ‫ﺩﺍﻭﻭﺩ ﻫﻨﺎ ﻳﺸﻜﺮ ﺍﻟﺮ ‪‬‬
‫ﺳﺎﻋﺪﻩ ﻟﻴﺠﺪﻫﺎ ﻟﻴﺲ "ﺿﻴﻘﺎﺕ" ﻭﺇﻧ‪‬ﻤﺎ "ﻓﺮﺟﹰﺎ"‪.‬‬

‫‪٢٣‬‬
 ‫ﻑ ﻋﻠﻲ‪ ‬ﻭﺍﺳﺘﻤ ‪‬ﻊ ﺻﻼﰐ‬ ‫
ﺗﺮﺃﹼ ‪‬‬
‫ﱯ ﺯﻣ ‪‬ﻦ ﺍﻟﻔﻌﻞ‪ .‬ﺃﻱ‬ ‫ﻫﻨﺎ‪ ،‬ﻛﻤﺎ ﻳﻘﻮﻝ ﺍﻟﻘﺪ‪‬ﻳﺲ ﻛﲑﻟﹼﻠﺲ‪ ،‬ﺃﺑﺪﻝ ﺩﺍﻭﻭ ‪‬ﺩ ﺍﻟﻨ ‪‬‬
‫ﺖ ﺻﻼﰐ" ﳌﺮ‪‬ﺓ ﻭﺍﺣﺪﺓ‪ ،‬ﻳﻘﻮﻝ ﻫﺬﺍ ﻣﺎ ﳛﺼﻞ ﻋﻠﻰ‬ ‫ﺖ ﻋﻠ ‪‬ﻲ ﻭﺍﺳﺘﻤﻌ ‪‬‬
‫ﺑﺪﻝ‪" :‬ﺗﺮﺃﹼﻓ ‪‬‬
‫ﺍﻟﺪﻭﺍﻡ‪ ،‬ﻳﻄﻠﺐ ﺃﻥ ﻳﺒﻘﻰ ﺍﷲ ﻗﺮﺑﻪ ﰲ ﺷﺪﺍﺋﺪﻩ ﺍﶈﻴﻄﺔ ﺑﻪ‪ ،‬ﻭﺃﻥ ﻳﻌﻄﻲ ﺃﺫﻧﻪ ﺇﱃ‬
‫ﺗﻀﺮ‪‬ﻋﺎﺗﻪ ﻓﻬﻲ ﻓﺮﺟﻪ ﻭﻗﻮ‪‬ﺗﻪ‪.‬‬
‫ﺗﺮﺃﹼﻑ‪ ،‬ﻧﻌﻢ‪ .‬ﺍﳊﻴﺎﺓ ﻭﺇﻥ ﻛﺎﻧﺖ ﻃﺎﻫﺮﺓ ﻻ ﺗﺸﺘﺮﻱ ﻣﻦ ﺍﷲ ﺍﻻﺳﺘﺠﺎﺑﺔ‪.‬‬
‫ﺍﻻﺳﺘﺠﺎﺑﺔ ﻫﻲ ﻓﻌﻞ ﳏﺒ‪‬ﺔ ﺍﷲ‪ ،‬ﻭﻟﻴﺲ "ﺑﺪ ﹶﻝ ﺟﻬﺎﺩﻧﺎ"‪ .‬ﺟﻬﺎﺩﻧﺎ ﻭﺣﻴﺎﺗﻨﺎ ﺍﻟﺒﺎﺭ‪‬ﺓ ﳘﺎ‬
‫ﺍﻟﺸﺮﺍﻉ ﺍﳌﺸﺪﻭﺩ ﺍﻟﺬﻱ ﻳﺴﻤﺢ ﻟﻨﻔﺨﺎﺕ ﺍﻟﺮﻭﺡ ﺍﻟﱵ ‪‬ﺐ ﺃﻥ ﺗﺴﻴ‪‬ﺮ ﺑﻪ ﺳﻔﻴﻨﺔ‬
‫ﺍﳊﻴﺎﺓ‪ .‬ﻫﺒﻮﺏ ﺍﻟﺮ‪‬ﻳﺢ ﻋﻠﻰ ﺷﺮﺍﻉ ﻣﻄﻮﻱ ﻻ ﻳﻔﻴﺪ‪ ،‬ﻭﺍﻟﺸﺮﺍﻉ ﺍﳌﺸﺪﻭﺩ ﺑﺪﻭﻥ‬
‫ﺍﻟﺮ‪‬ﻳﺢ ﻳﺘﺮﻙ ﺍﳌﺮﻛﺐ ﻳﺘﺨﺒ‪‬ﻂ ﰲ ﺍﶈﻴﻂ‪ .‬ﺣﻴﺎﺗﻨﺎ ﺍﻟﺒﺎﺭ‪‬ﺓ ﻫﻲ "ﺩﻻﻟﺔ" ﻓﻘﻂ ﻋﻠﻰ‬
‫ﻃﻠﺒﻨﺎ ﺍﻟﺼﺎﺩﻕ ﷲ ﻭﺑﻌﺪﻫﺎ ﻛ ﹼﻞ ﻣﺎ ﳓﻘﹼﻘﻪ ﻫﻮ ﻣﻦ ﺍﷲ ﻭﷲ ﻭﺣﺪﻩ‪.‬‬

‫‪٢٤‬‬
٢٥
 ‫ﺩﻳﻨـﺎﻣﻴـﻜﻴ‪‬ـﺔ ﺍﳊـﻴـﺎﺓ‬
‫‪٥‬‬
‫ﺗﺄﻣ‪‬ﻞ ﰲ ﺍﳌﺰﻣﻮﺭ ﺍﻟﺮﺍﺑﻊ‬

‫"* َ‪ 6‬ا‪ 12 1ّ3

45‬أ‪ '-,. /0‬ا‪',‬ب؟‬
‫‪$‬ذا ‪ّ5‬ن ا‪ :;5‬و‪95‬ن ا‪78‬ب؟"‬

‫ﺕ ﺗﺘﻌﺮ‪‬ﺽ‬
‫ﱯ ﻧﻔﻮﺳﻨﺎ! ﺇﻧ‪‬ﻬﺎ ﻛﻠﻤﺎ ‪‬‬
‫‪‬ﺬﻩ ﺍﻟﻜﻠﻤﺎﺕ ﺍﳊﺎﺭ‪‬ﺓ ﻳﺴﺘﻨﻬﺾ ﺩﺍﺅﻭﺩ ﺍﻟﻨ ‪‬‬
‫ﺐ ﺍﻟﺒﺎﻃﻞ ﻓﻴﺴﻘﻂ ﻭﻳﻮﻣﹰﺎ‬ ‫ﲤﺎﻣﹰﺎ ﺇﱃ ﺣﻘﻴﻘﺔ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﺍﻟﺬﻱ ﻳﺮﻯ ﻧﻔﺴﻪ ﻳﻮﻣﹰﺎ ﳛ ‪‬‬
‫ﺐ ﺍﳊ ‪‬ﻖ ﻓﻴﻨﻬﺾ‪ .‬ﻣﺎ ﻫﺬﺍ ﺍﻟﺴ ‪‬ﺮ ﺍﻹﻧﺴﺎﱐﹼ‪ ،‬ﻫﻨﺎﻙ ‪‬ﻣﻴﻼﻥ‪ ،‬ﺍﻷﻭ‪‬ﻝ ﳓﻮ ﺍﻟﺒﺎﻃﻞ‬ ‫ﳛ ‪‬‬
‫ﻭﺍﻟﺜﺎﱐ ﳓﻮ ﺍﳊﻖ‪‬؟ ﻣﺮ‪‬ﺍﺕ ﻳﺜﻘﻞ ﻗﻠﺐ ﺍﻹﻧﺴﺎﻥ ﻓﻴﺒﺘﻐﻲ ﺍﻟﻜﺬﺏ‪ ،‬ﻭﻣﺮ‪‬ﺍﺕ ﺗ‪‬ﻨﻬﺾ‬
‫ﻗﻠﺒﻪ ﻗﻮ‪‬ﺓ ﻏﺮﻳﺒﺔ "ﻓﻴﺬﺑﺢ ﺫﺑﻴﺤﺔ ﺍﻟﺼ‪‬ﺪﻕ"!‬

‫ﻱ‪ .‬ﺍﷲ ﺭﻭﺡ ﳎﺮ‪‬ﺩ ﻋﻦ‬ ‫ﻫﻨﺎﻙ ﻋﻮﺍﱂ ﺛﻼﺛﺔ‪ :‬ﺍﷲ‪ ،‬ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻭﺍﻟﻌﺎﱂ ﺍﳌﺎﺩ ‪‬‬
‫ﻱ ﻳﺸﺘﺮﻙ‬‫ﻱ ﳎﺮ‪‬ﺩ ﻋﻤ‪‬ﺎ ﻫﻮ ﺭﻭﺣﻲ‪ ،‬ﻭﺍﻹﻧﺴﺎﻥ ﻛﺎﺋﻦ ﺣﺪﻭﺩ ‪‬‬ ‫ﺍﳌﺎﺩ‪‬ﺓ‪ ،‬ﻭﺍﻟﻌﺎﱂ ﺍﳌﺎﺩ ‪‬‬
‫ﰲ ﺍﻟﻌﺎﳌﹶﲔ‪ .‬ﻳﺴﺘﻄﻴﻊ ﺍﻹﻧﺴﺎﻥ ﻭﻫﻮ ﻣﺎﺩ‪‬ﺓ –ﺧﻠﻴﻘﺔ ﺃﻥ ﻳﻨﺎﺟﻲ ﺍﳋﺎﻟﻖ ﻭﺃﻥ ﻳﺘ‪‬ﺼﻞ‬
‫ﻱ ﺍﻷﺧﺮﻯ ﻛﻠﹼﻬﺎ‪.‬‬‫ﺑﺎﷲ‪ ،‬ﻭﻫﺬﻩ ﻓﺮﺍﺩﺗﻪ ﺍﳊﻘﻴﻘﻴ‪‬ﺔ ﻋﻦ ﻋﻨﺎﺻﺮ ﺍﻟﻜﻮﻥ ﻭﺍﻟﻌﺎﱂ ﺍﳌﺎﺩ ‪‬‬

‫‪ ٥‬ﻳ‪‬ﺘﻠﻰ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﰲ ﺻﻼﺓ ﺍﻟﻨﻮﻡ ﺍﻟﻜﱪﻯ‪.‬‬

‫‪٢٦‬‬
‫ﻭﺣﻘﻴﻘﺔﹰ‪ ،‬ﺇ ﹼﻥ ﺍﻹﻧﺴﺎﻥ ﰲ ﺣﻮﺍﺭ ﺩﺍﺋﻢ ﻣﻊ ﻫﺎﺗ‪‬ﲔ ﺍﳉﻬﺘ‪‬ﲔ‪ :‬ﺍﷲ ﻭﺍﻟﻌﺎﱂ ﺍﳌﺎﺩﻱ‪‬؛‬
‫ﻭﻛ ﱡﻞ ﻃﺮﻑ ﻳﺸﺪ‪‬ﻩ ﺇﻟﻴﻪ‪ .‬ﺍﻹﻧﺴﺎﻥ ﻛﺎﺋﻦ ﺗﺸﺪ‪‬ﻩ ﺍﻟﺮﻏﺒﺎﺕ‪ ،‬ﻓﺘﺎ ‪‬ﺭ ﹰﺓ ﺗﺸﺪ‪‬ﻩ ﺭﻏﺒﺎﺗﻪ ﺇﱃ‬
‫ﺍﷲ ﻭﺗﺎ ‪‬ﺭ ﹰﺓ ﺇﱃ ﺍﻟﺪﻧﻴﺎ‪ .‬ﻻ ﳝﻜﻦ ﻟﻺﻧﺴﺎﻥ ﺃﻥ ﻳﺒﻘﻰ ﻋﻠﻰ ﺍﳊﺪﻭﺩ‪ .‬ﺇ ﹼﻥ ﺣﻴﺎﺗﻪ ﺗﺘﻤﻴ‪‬ﺰ‬
‫ﺑﺎﻟﺪﻳﻨﺎﻣﻴﻜﻴ‪‬ﺔ‪ .‬ﺍﻹﻧﺴﺎﻥ ﻛﺎﺋﻦ ﺍﻟﺮﻏﺒﺎﺕ‪ .‬ﻭﺍﻟﺮﻏﺒﺔ ﺩﺍﺋﻤﹰﺎ ﻋﻜﺲ ﺍﻟﺴﺘﺎﺗﻴﻜﻴ‪‬ﺔ‪ .‬ﺍﻟﺮﻏﺒﺔ‬
‫ﱄ‪ ،‬ﺇﻧ‪‬ﻬﺎ ﺟﺎﺫﺑﻴ‪‬ﺔ‪ .‬ﻟﺬﻟﻚ ﺍﻹﻧﺴﺎﻥ ﻣﺘﺒﺪ‪‬ﻝ ﻭﻟﻴﺲ‬ ‫ﺗﺴﺤﺐ ﺇﱃ ﺧﺎﺭﺝ ﺍﻟﻮﺍﻗﻊ ﺍﳊﺎ ﹼ‬
‫ﺟﺎﻣﺪﺍﹰ‪ ،‬ﻭﻟﻴﺴﺖ ﻣﻮﺍﻗﻔﻪ ﺛﺎﺑﺘ ﹰﺔ ﺩﻭﻣﹰﺎ‪.‬‬

‫ﳛﻤﻞ ﺍﻹﻧﺴﺎﻥ ﺇﺫﻥ ﰲ ﻃﺒﻴﻌﺘﻪ ﻗﺪﺭﺓ ﺍﻻﺗ‪‬ﺼﺎﻝ ﺑﺎﷲ ﻭﻛﺬﻟﻚ ﺑﻌﻨﺎﺻﺮ ﺍﻟﺪﻧﻴﺎ‬
‫ﺍﳌﺎﺩﻳ‪‬ﺔ‪ .‬ﻓﺤﲔ ﳝﻴﻞ ﺇﱃ ﺍﻟﻄﺮﻑ ﺍﻷﻭﻝ ﻳﺘﻄﺎﻳﺮ ﰲ ﺍﻟﻌﺸﻖ ﺍﻹﳍﻲ‪ ،‬ﻓﻴﺼﲑ ﻣﺜﻞ ﺍﷲ‬
‫ﺑﺎﻟﻨﻌﻤﺔ ﻭﻟﻴﺲ ﺑﺎﻟﻄﺒﻴﻌﺔ؛ ﻭﻋﻨﺪﻣﺎ ﳝﻴﻞ ﺇﱃ ﺍﻟﻄﺮﻑ ﺍﻟﺜﺎﱐ ﻳﻔﻘﺪ ﺭﻭﺣﺎﻧﻴ‪‬ﺘﻪ ﻭﻳﺼﲑ‬
‫ﺃﻗﺮﺏ ﺇﱃ ﺍﳌﺎﺩ‪‬ﺓ ﻻ ﺣﻴﺎﺓ ﻓﻴﻪ‪ ،‬ﻛﺬﻟﻚ ﺑﺎﳊﺎﻟﺔ ﻭﻟﻴﺲ ﺑﺎﻟﻄﺒﻴﻌﺔ‪ .‬ﳝﻜﻦ ﻟﻺﻧﺴﺎﻥ ﺃﻥ‬
‫ﻳﺼﲑ ﺭﻭﺣﺎﻧ‪‬ﻴﹰﺎ ﺃﻭ ﻣﺎﺩ‪‬ﻳﹰﺎ ﺑﻘﺪﺭ ﻣﺎ ﳝﻴﻞ ﺇﱃ ﺍﷲ ﺃﻭ ﺍﳌﺎﺩ‪‬ﺓ‪ ،‬ﳝﻜﻨﻪ ﺑﻄﺒﻴﻌﺘﻪ ﺃﻥ ﻳﺴﻠﻚ‬
‫ﰲ ﺃﺣﺪ ﺍﻻﲡﺎﻫ‪‬ﲔ‪.‬‬
‫ﻫﺬﺍ ﺍﻟﺘﺤﻮ‪‬ﻝ ﳓﻮ ﺍﻟﺮﻭﺡ ﺃﻭ ﳓﻮ ﺍﳌﺎﺩ‪‬ﺓ ﻟﻴﺲ ﻃﺒﻴﻌ‪‬ﻴﹰﺎ ﻭﻻ ﻋﻔﻮ‪‬ﻳﹰﺎ ﻭﻻ‬
‫ﺃﻭﺗﻮﻣﺎﺗﻴﻜ‪‬ﻴﹰﺎ ﻭﻻ ﺑﺎﻟﺼﺪﻓﺔ! ﻳﻘﺪﺭ ﺍﻹﻧﺴﺎﻥ ﻋﻠﻰ ﻣﺎ ﻫﻮ ﺭﻭﺣ ‪‬ﻲ ﻛﻤﺎ ﻳﻘﺪﺭ ﻋﻠﻰ ﻣﺎ‬
‫ﻫﻮ ﻣﺎﺩﻱ‪ ،‬ﻫﺬﺍ ﰲ ﻃﺒﻴﻌﺔ ﺍﻹﻧﺴﺎﻥ ﻧﻌﻢ‪ ،‬ﻟﻜﻦ ﺃﻥ ﻳﻠﺘﻔﺖ ﺇﱃ ﻣﺎ ﻫﻮ ﺭﻭﺣ ‪‬ﻲ‬
‫ﻱ ﻭﻳﺸﺘﻬﻴﻪ ﻭﳚﺬﺑﻪ‪ ،‬ﻫﺬﺍ ﰲ ﺇﺭﺍﺩﺗﻪ‪ .‬ﺇﺫ ﺗﻠﻌﺐ ﺣﺮﻳ‪‬ﺔ‬ ‫ﻭﻳﻄﻠﺒﻪ ﺃﻭ ﺇﱃ ﻣﺎ ﻫﻮ ﻣﺎﺩ ‪‬‬
‫ﺍﻹﻧﺴﺎﻥ ﺍﻟﺪﻭ ‪‬ﺭ ﺍﻷﺳﺎﺳﻲ‪ ‬ﰲ ﺍﺧﺘﻴﺎﺭ ﺃﺣﺪ ﺍﻻﲡﺎﻫ‪‬ﲔ ﻭﺗﻘﺒ‪‬ﻞ ﺟﺎﺫﺑﻴ‪‬ﺔ ﺃﺣﺪ ﺍﻟﻄﺮﻓﹶﲔ‪،‬‬
‫ﻱ‪.‬‬‫ﺍﻟﺮﻭﺣ ‪‬ﻲ ﺃﻭ ﺍﳌﺎﺩ ‪‬‬

‫‪٢٧‬‬
‫ﻧﻌﻢ ﻟﻠﻌﺎﱂ ﺟﺎﺫﺑﻴ‪‬ﺔ ﻣﺘﺄﺻ‪‬ﻠﺔ ﰲ ﺣﺎﺟﺎﺕ ﺍﳊﻴﺎﺓ ﻭﻃﺒﻴﻌﺔ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻭﻫﺬﻩ‬
‫ﺣﻘﻴﻘﺔ ﺃﻭﺟﺪﻫﺎ ﺍﷲ ﻓﻴﻪ ﻛﻴﻤﺎ ﳝﻴﻞ ﺇﱃ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﻌﺎﱂ ﻭﺍﻟﻌﻨﺎﻳﺔ ﺑﻪ؛ ﻭﻫﺬﺍ ﻫﻮ‬
‫ﺩﺍﻓﻊ ﻛ ﹼﻞ ﺗﻄﻮ‪‬ﺭ ﻭﲢﺴﲔ ﻭﻣﺴﺆﻭﻟﻴ‪‬ﺔ ﻭﺭﻏﺒﺔ ﰲ ﺍﺣﺘﺮﺍﻡ ﺍﳌﺎﺩﻳ‪‬ﺎﺕ ﻭﺗﺄﻫﻴﻠﻬﺎ‬
‫ﻻﺳﺘﺨﺪﺍﻣﺎﺕ ﺃﻣﺜﻞ ﻭﲟﺮﺩﻭﺩ ﺃﻓﻀﻞ‪ .‬ﻟﻜﻦ ﺍﳌﺴﺄﻟﺔ ﺗﺼﺒﺢ ﻣﺸﻜﻠ ﹰﺔ ﺣﲔ ﳝﻴﻞ‬
‫ﺍﻹﻧﺴﺎﻥ ﺑﺄﺷﻮﺍﻗﻪ ﺇﱃ ﺍﻟﺪﻧﻴﻮﻳ‪‬ﺎﺕ ﻟﺪﺭﺟﺔ ﻳﺴﺘﺴﻠﻢ ﺇﻟﻴﻬﺎ ﻭﺗﺼﺒﺢ ﻣﻮﺿﻊ ﻋﺒﺎﺩﺓ‬
‫ﻭﺭﺟﺎﺀ ﻭﻋﺸﻖ‪ ،‬ﻭﻟﻴﺲ ﳎﺮ‪‬ﺩ ﺃﺩﺍﺓ ﲦﻴﻨﺔ ﻟﻠﺤﻴﺎﺓ‪ .‬ﻋﻨﺪﺋﺬ ﺗﺘﺪ‪‬ﻧﻰ ﺍﻷﺑﻌﺎﺩ ﺍﻹﻧﺴﺎﻧﻴ‪‬ﺔ‬
‫ﺇﱃ ﺣﺪﻭﺩ ﻗﻴﻤﺔ ﺍﻷﻣﻮﺭ ﺍﻟﺪﻧﻴﻮﻳ‪‬ﺔ‪ ،‬ﻭﺫﻟﻚ ﻋﻠﻰ ﺣﺴﺎﺏ ﲰ ‪‬ﻮ ﺍﻟﺪﻋﻮﺓ ﺍﻟﺮﻭﺣﻴ‪‬ﺔ‬
‫ﺍﳌﻨﺘﻈﹶﺮ ﻣﻦ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺘﺰﺍﻣﻬﺎ‪ .‬ﻛ ﹼﻞ ﺍﺳﺘﺨﺪﺍﻡ ﻟﻠﺪﻧﻴﺎ "ﺧ ‪‬ﺪ ‪‬ﻣ ‪‬ﻲ" ﻫﻮ ﺣﻖ‪ ،‬ﻭﻳﺮﻓﻊ ﻣﻦ‬
‫ﻱ‪ -‬ﻋﺸﻘ ‪‬ﻲ" ﻳﻬﺒﻂ ﺑﺎﻹﻧﺴﺎﻥ‪،‬‬ ‫ﻱ ﺍﺳﺘﺨﺪﺍﻡ "ﻋﺒﺎﺩ ‪‬‬ ‫ﻗﻴﻤﺔ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺮﻭﺣﻴ‪‬ﺔ‪ .‬ﻟﻜﻦ ﺃ ‪‬‬
‫ﻭﻳﻘﺘﻞ ﻓﻴﻪ ﺭﹺﻓﻌﺘ‪‬ﻪ ﺍﻟﺮﻭﺣﻴ‪‬ﺔ ﻓﻴﺘﺪﻧ‪‬ﻰ‪.‬‬

‫ﻭﺍﷲ ﺟﺬﹼﺍﺏ ﺟ ‪‬ﺪﹰﺍ ﻟﻺﻧﺴﺎﻥ‪ .‬ﻓﺒﹸﻠ ‪‬ﻐ ‪‬ﺔ ﺍﻟﻨﺴ‪‬ﺎﻙ ﻳﺘﻄﺎﻳﺮ ﺍﻷﺑﺮﺍﺭ ﺑﺎﻟﻌﺸﻖ ﺍﻹﳍ ‪‬ﻲ‪.‬‬
‫ﻭﺳﻬﺎ ﺩﺍﺅﻭﺩ ﻋﻦ ﺃﻛﻞ ﺧﺒﺰﻩ ﺣﲔ ﺗﺄﻣ‪‬ﻞ ﺑﺎﷲ‪ .‬ﻭﺍﳊﺎﻻﺕ ﻋﺪﻳﺪﺓ‪ ،‬ﺍﻟﱵ ﻋﻨﺪ‬
‫ﻱ ﻣﻦ ﺃﺟﻞ ﻣﺎ ﻫﻮ ﺭﻭﺣ ‪‬ﻲ‪ .‬ﻳﺸﻜﹼﻞ‬ ‫ﺍﻟﻀﺮﻭﺭﺓ ﺿﺤ‪‬ﻰ ﻓﻴﻬﺎ ﺑﺸ ‪‬ﺮ ﺑﻜ ﹼﻞ ﻣﺎ ﻫﻮ ﻣﺎﺩ ‪‬‬
‫ﺍﻟﺸﻬﻴﺪ ﺍﻟﺼﻮﺭﺓ ﺍﳌﻄﻠﻘﺔ ﻟﻐﻠﺒﺔ ﺧﻴﺎﺭ ﺍﻟﺮﻭﺡ ﻋﻠﻰ ﺧﻴﺎﺭ ﺍﳌﺎﺩ‪‬ﺓ ﻋﻨﺪ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻭﳍﺬﺍ‬
‫ﻟﻠﺸﻬﻴﺪ ﻛﺮﺍﻣﺔ ﺧﺎﺻ‪‬ﺔ‪ .‬ﻻ ﻧﻨﺴﻰ ﺃ ﹼﻥ ﺣﺎﻻﺕ ﺍﻟﺸﻬﺎﺩﺓ ﻫﺬﻩ ﺗﺘﻠﻮ‪‬ﻥ ﻭﺗﺘﻌﺪ‪‬ﺩ‪ ،‬ﻭﻛﻤﺎ‬
‫ﺕ ﺍﻟﻨ‪‬ﻬﺎﺭ ﻛﻠﹼﻪ"‪ ،‬ﺇﻧ‪‬ﻪ ﻣﻮﺕ ﺷﻬﺎﺩﺓ ﺍﳊﻴﺎﺓ‪.‬‬ ‫ﻗﺎﻝ ﺑﻮﻟﺲ ﺍﻟﺮﺳﻮﻝ "ﻣﻦ ﺃﺟﻠﻚ ﻧ‪‬ﻤﺎ ‪‬‬
‫ﺍﳌﻮﺕ ﺍﻟﺬﻱ ﻳﻄﻠﺒﻪ ﺍﻟﻜﺘﺎﺏ ﻣﻨ‪‬ﺎ ﲦﻨﹰﺎ ﻟﻜﻲ ﳓﻴﺎ‪ " :‬ﻣﻦ ﺃﻣﺎﺕ ﻧﻔﺴﻪ ﻣﻦ ﺃﺟﻠﻲ‬
‫ﺸﻖ ﺍﳌﺎﺩﻳ‪‬ﺎﺕ ﺇﱃ ﻋﺸﻖ ﺍﻹﳍﻴ‪‬ﺎﺕ ﻫﻲ ﻣﺎ ﻳﺴﻤ‪‬ﻴﻪ‬ ‫ﳚﺪﻫﺎ"‪ .‬ﻫﺬﻩ ﺍﳊﺮﻛﺔ ‪‬ﻣﻦ ﺗﻌ ‪‬‬
‫ﺲ ﺍﻹﻧﺴﺎﻥ ﺍﳉﺪﻳﺪ )ﻗﻴﺎﻣﺘﻪ(‪.‬‬ ‫ﺑﻮﻟﺲ ‪‬ﺧ ﹾﻠ ‪‬ﻊ ﺍﻹﻧﺴﺎﻥ ﺍﻟﻘﺪﱘ )ﻣﻮﺗﻪ( ﻭ‪‬ﻟ‪‬ﺒ ‪‬‬

‫‪٢٨‬‬
‫ﻱ ﺩﺍﺧﻠ ‪‬ﻲ ﻳﻠﻔﺖ ﻧﻈ ‪‬ﺮ ﺍﻹﻧﺴﺎﻥ ﺇﱃ ﻛ ﹼﻞ ﻣﺎ ﻫﻮ ﺻﺎﱀ‬ ‫ﻫﻨﺎﻙ ﻋﺸ ‪‬ﻖ ﺑﺸﺮ ‪‬‬
‫ﻭﺇﳍ ‪‬ﻲ ﻭﺳﺎﻡﹴ‪ ،‬ﻭﻫﺬﻩ ﻫﻲ ﺳﺎﺣﺔ ﺍﻟﻠﹼﻘﺎﺀ ﻭﺣﻴﺰ ﺍﻟﺘﻮﺍﺻﻞ ﺑﲔ ﺍﷲ ﻭﺍﻹﻧﺴﺎﻥ؛ ﻭﻫﺬﻩ‬
‫ﺍﻟﻠﻘﺎﺀﺍﺕ ﺗﺴﺤﺐ ﺍﻹﻧﺴﺎﻥ ﻣﻦ ﻭﺿﻌﻴ‪‬ﺘﻪ ﺍﻟﺮﺍﻫﻨﺔ ﺇﱃ "ﻣﺎ ﻫﻮ ﺃﻛﺜﺮ" ﰲ ﺍﻟﻌﻼﻗﺔ ﻣﻊ‬
‫ﺍﷲ‪ .‬ﻫﺬﻩ ﺍﳉﺎﺫﺑﻴ‪‬ﺔ ﺍﻟﺮﻭﺣﻴ‪‬ﺔ ﲡﻌﻞ ﺣﻴﺎﺓ ﺍﻹﻧﺴﺎﻥ ﰲ ﺣﺮﻛﺔ ﺩﺍﺋﻤﺔ ﺭﻭﺣ‪‬ﻴﹰﺎ ﺃﻳﻀﹰﺎ‪.‬‬
‫ﻟﺬﻟﻚ ﻳﻈﻬﺮ ﺍﻹﻧﺴﺎﻥ ﺩﺍﺋﻤﹰﺎ ﻣﻨﺪﻓﻌﹰﺎ ﺑﺴﺒﺐ ﻫﺬﻩ ﺍﻟﺪﻭﺍﻓﻊ ﺇﱃ ﺍﷲ‪ .‬ﺟﺎﺫﺑ‪‬ﻴﺔ ﺍﷲ‬
‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﻺﻧﺴﺎﻥ ﻫﻲ ﲨﺎﻟﻪ ﻭﺻﻼﺣﻪ‪ .‬ﲡﻴﺐ ﺍﻟﺼﻮﺭ ﹸﺓ ﺍﻹﳍﻴ‪‬ﺔ ﻋﻠﻰ ﻋﺸﻖ ﺍﻹﻧﺴﺎﻥ‬
‫ﺍﻟﺪﺍﺧﻠ ‪‬ﻲ ﺍﳊﻘﻴﻘ ‪‬ﻲ‪ .‬ﻭﺟﺎﺫﺑﻴ‪‬ﺔ ﺍﻟﻌﺎﱂ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻺﻧﺴﺎﻥ ﻫﻲ ﺍﳊﺎﺟﺔ ﺇﻟﻴﻪ‪ .‬ﻭﳛﻘﹼﻖ‬
‫ﺍﻟﻌﺎﱂ ﻟﻺﻧﺴﺎﻥ ﻭﺳﻴﻠﺔ ﺍﳊﻴﺎﺓ‪.‬‬

‫ﺇ ﹼﻥ ﺍﺳﺘﻤﺮﺍﺭﻳ‪‬ﺔ ﺍﳊﻴﺎﺓ ﺗﻀﻄ ‪‬ﺮ ﺍﻹﻧﺴﺎﻥ ﺣﻜﻤﹰﺎ ﺃﻥ ﻳﻠﺘﻔﺖ ﺇﱃ ﺍﻟﻌﺎﱂ‪ ،‬ﻟﻜﻦ‬

‫ﷲ ﻳﺘﺤﺮ‪‬ﻙ ﺑﺼﻼﺣﻪ ﳓﻮ ﺍﻹﻧﺴﺎﻥ‬ ‫ﺃﺣﻴﺎﻧﹰﺎ ﺑﻌﺪ ﺃﻥ ﻳﺴﺘﺨﺪﻣﻪ ﻳﺸﺘﻬﻴﻪ‪ .‬ﻛﻤﺎ ﺃ ﹼﻥ ﺍ َ‬
‫ﺑﺎﻟﻜﺸﻒ ﺍﻹﳍ ‪‬ﻲ ﻭﺍﻟﻌﻨﺎﻳﺔ ﺍﻟﺪﺍﺋﻤﺔ‪ ،‬ﻋﻠﻰ ﺍﻷﺑﺮﺍﺭ ﻭﺍﻷﺷﺮﺍﺭ؛ ﻭﻫﺬﺍ ﻣﺎ ﻳﻮﻟﹼﺪ ﻋﻨﺪ‬
‫ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻋﻨﺪﻣﺎ ﻳﻌﻲ ﺫﻟﻚ‪ ،‬ﺍﻟﺸﻌﻮ ‪‬ﺭ ﺑﺎﻻﻧﻜﺴﺎﺭ ﻭﺍﻻﻣﺘﻨﺎﻥ ﷲ ﺍﻟﺬﻱ ﻳﺘﺬﻛﹼﺮﻩ‬
‫ﺡ ﺍﻟﻘﺪﺱ ﺍﻟﺮﻏﺒ ﹶﺔ ﻓﻴﻨﺎ ﺇﱃ ﺍﻹﳍﻴ‪‬ﺎﺕ ﻭﳛﺮ‪‬ﻙ‬ ‫ﺣﺘ‪‬ﻰ ﻋﻨﺪﻣﺎ ﻳﻨﺴﺎﻩ ﻫﻮ‪ .‬ﻳﺴﺘﻨﻬﺾ ﺍﻟﺮﻭ ‪‬‬
‫ﺍﻟﺼﻮﺭ ﹶﺓ ﺍﻟﺮﺍﻗﺪﺓ ﻓﻴﻨﺎ ﻭﺍﻟﺮﻏﺒﺔ ﺍﳌﺆﺟ‪‬ﻠﺔ ﺃﻭ ﺍ‪‬ﻤ‪‬ﺪﺓ ﳓﻮ ﻃﻠﺐ ﺍﻟﺴﻤﺎﻭﻳ‪‬ﺎﺕ‪ .‬ﻳﺜﲑ‬
‫ﺡ ﻣﺎ ﻳﻠﻔﺖ ﻧﻈﺮﻧﺎ ﺇﱃ ﺫﻟﻚ ﺍﻟﻌﺎﱂ ﺍﻟﺬﻱ ﻧﻨﺴﺎﻩ ﺃﻭ ﻧﺘﻨﺎﺳﺎﻩ؛ ﻟﻌﻠﹼﻨﺎ ﻧﻌﻮﺩ‬ ‫ﺍﻟﺮﻭ ‪‬‬
‫"ﻧﺘﻮﺏ" ﺇﱃ ﺍﷲ‪ .‬ﻭﺇﺫﺍ ﻣﺎ ﺣﺼﻞ ﻫﺬﺍ ﻭﲢﺮ‪‬ﻛﺖ ﺍﻟﺮﻏﺒ ﹸﺔ ﻓﻴﻨﺎ ﳓﻮ ﺍﷲ ﳛﺮ‪‬ﻛﻬﺎ‬
‫ﺍﻟﺮﻭﺡ ﻭﻳﻘﻮﺩﻫﺎ ﺑﺎﻟﻨﻌﻤﺔ‪ .‬ﻟﻜﻦ ﻛ ﹼﻞ ﺫﻟﻚ ﺩﻭﻥ ﺃﻥ ﻳﻐﺼﺐ ﺣﺮﻳ‪‬ﺔ ﺍﻹﻧﺴﺎﻥ‪.‬‬
‫ﺍﻟﺮﻭﺡ ﻳﺴﺘﺪﻋﻲ‪ ،‬ﻭﺇﺫﺍ ﻣﺎ ﺍﺳﺘﺠﺒﻨﺎ ﻳﺴﺎﻋﺪ‪ .‬ﻟﻜﻦ ﺍﻟﺮﻭﺡ ﻻ ﻳﻐﺼﺐ‪ .‬ﻷ ﹼﻥ ﺷﺮﻁ‬
‫ﺐ ﺇ ﹼﻻ ﲝﺮﻳ‪‬ﺔ‬‫ﺐ ﺑﺎﻟﻐﺼﺐ ﻫﻮ ﺧﻨﻮﻉ‪ .‬ﻻ ﺣ ‪‬‬ ‫ﺐ ﻫﻮ ﺃ ‪‬ﻭ ﹰﻻ ﺍﳊﺮﻳ‪‬ﺔ! ﻭﺍﳊ ‪‬‬ ‫ﺍﳊ ‪‬‬
‫ﺍﻻﺧﺘﻴﺎﺭ‪.‬‬

‫‪٢٩‬‬
‫ﺍﻟﻌﻄﺶ ﺍﻹﻧﺴﺎﱐﹼ‪ ،‬ﺇﱃ ﺍﷲ ﺃﻭ ﺇﱃ ﺍﳌﺎﺩ‪‬ﺓ‪ ،‬ﻫﻮ ﰲ ﻃﺒﻴﻌﺔ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻟﻜﻦ‬
‫ﻱ‪.‬‬
‫ﺍﻻﻟﺘﻔﺎﺕ ﺇﱃ ﻫﺬﺍ ﺍﻟﻄﺮﻑ ﺃﻭ ﺫﺍﻙ ﻫﻮ ﺧﻴﺎﺭ ﺑﺸﺮ ‪‬‬

‫ﺕ ﺇﱃ ﺍﷲ‬ ‫ﻫﻜﺬﺍ ﻳﺄﰐ ﺍﻟﺘﺰﺍﻣﻨﺎ ﺑﺎﻟﺼﻮﻡ ﻭﳑﺎﺭﺳﺘ‪‬ﻪ ﺭﻳﺎﺿ ﹰﺔ ﺗﻨﻤ‪‬ﻲ ﻓﻴﻨﺎ ﺍﻻﻟﺘﻔﺎ ‪‬‬
‫ﻭﺍﻟﺘﺠﺮ‪‬ﺩ ﻋﻦ ﺷﻬﻮﺓ ﺍﻟﻌﺎﱂ؛ ﺍﻟﺼﻮﻡ ﳚﻌﻠﻨﺎ ﳔﺘﺎﺭ ﻷﺷﻮﺍﻗﻨﺎ ﺍﶈﺒ‪‬ﺔ ﺍﻹﳍﻴ‪‬ﺔ‪ .‬ﻳﻘﺒﻞ‬
‫ﺍﻟﺼﻮ ‪‬ﻡ ﺃﻥ ﻧﺴﺘﺨﺪﻡ ﺍﻟﻌﺎﱂﹶ‪ ،‬ﻟﻜﻨ‪‬ﻪ ﳛﻔﻆ ﺍﻟﻘﻠﺐ ﷲ‪ .‬ﺍﻟﻌﺎﱂ ﻏﲑ ﺷﻬﻮﺗﻪ‪ .‬ﻭﳓﻦ‬
‫ﺻﺎﺋﻤﻮﻥ ﻧﺒﻘﻰ ﰲ ﺍﻟﻌﺎﱂ‪ ،‬ﻟﻜﻦ ﺷﻬﻮﺗﻨﺎ ﺗﻜﻮﻥ ﻣﺸﺪﻭﺩﺓ ﳓﻮ ﺍﷲ‪ .‬ﺑﺎﻟﺼﻮﻡ‪ ،‬ﳓﺎﻭﻝ‬
‫‪ -‬ﻭﳓﻦ ﳓﻴﺎ ﰲ ﺍﻟﻌﺎﱂ ‪ -‬ﺃﻥ ﻧﺘ‪‬ﺤﺪ ﺑﺎﷲ‪.‬‬
‫ﻳﺮﻭ‪‬ﺽ ﺍﻟﺼﻮ ‪‬ﻡ ﻣﺎ ﻓﻴﻨﺎ ﻭﻣﺎ ﻟﻨﺎ ﻣﻦ ﺍﻟﻌﺎﱂ‪ .‬ﻳﺸﻌﻞ ﺍﻟﺼﻮ ‪‬ﻡ ﻓﻴﻨﺎ ﺍﻟﻌﺸ ‪‬ﻖ ﺍﻹﳍﻲ‪،‬‬
‫ﺐ ﻟﻜﻢ ﻭﺃﻧﺎ ﺑﻌﺪ‬‫ﻼ‪" :‬ﺃﻛﺘ ‪‬‬ ‫ﺍﻟﺬﻱ ﻛﺘﺐ ﻋﻨﻪ ﺍﻟﻘﺪ‪‬ﻳﺲ ﺍﻏﻨﺎﻃﻴﻮﺱ ﺍﳌﺘﻮﺷ‪‬ﺢ ﺑﺎﷲ ﻗﺎﺋ ﹰ‬
‫ﰲ ﺑﻌ ‪‬ﺪ ﻋﺸ ‪‬ﻖ ﺍﳌﺎﺩﻳ‪‬ﺎﺕ‪،‬‬ ‫ﺣﻲ‪ ،‬ﺃﻧ‪‬ﲏ ﺃﺷﺘﻬﻲ ﺍﳌﻮﺕ‪ ،‬ﺇ ﹼﻥ ﻫﻴﺎﻣﻲ ﻗﺪ ﺻ‪‬ﻠﺐ ﻭﻟﻴﺲ ﱠ‬
‫ﰲ ﻭﻳﻘﻮﻝ ﻫﻠ ‪‬ﻢ ﺇﱃ ﺍﻵﺏ"‪.٦‬‬‫ﺇﻧ‪‬ﻤﺎ ﻣﺎﺀ ﺣ ‪‬ﻲ ﺭﻗﺮﺍﻕ ﻳﺘﺪﻓﹼﻖ ﱠ‬
‫ﻫﺬﺍ ﺍﳌﺎﺀ ﺍﻟﺮﻭﺣ ‪‬ﻲ ﺍﻟﺪﻓﹼﺎﻕ ﺍﻟﺬﻱ ﻳ‪‬ﺤﻴﻴﻪ ﺍﻟﺮﻭﺡ ﻳﺸﺪ‪‬ﻧﺎ ﺇﱃ ﺍﻵﺏ ﻭﺇﱃ‬
‫ﺍﻟﻘﺮﻳﺐ ﺃﻳﻀﺎﹰ‪ ،‬ﻭﳜﻠﻖ ﻓﻴﻨﺎ ﺩﻳﻨﺎﻣﻴﻜﻴ‪‬ﺔ ﺍﳊﻴﺎﺓ ﺍﻟﺼﺎﳊﺔ‪ ،‬ﺁﻣﲔ‪.‬‬

‫‪" ٦‬ﺍﻟﺮﺳﺎﻟﺔ ﺇﱃ ﺃﻫﻞ ﺭﻭﻣﻴﺔ"‪.٧ ،٣ ،‬‬

‫‪٣٠‬‬
 ‫ﺩﻣـﻮﻉ ﺍﻟﺘـﻮﺑـﺔ‬
‫‪٧‬‬
‫ﺗﺄﻣ‪‬ﻞ ﰲ ﺍﳌﺰﻣﻮﺭ ﺍﻟﺴﺎﺩﺱ‬

‫ﺍﳌﺰﻣﻮﺭ ﺍﻟﺴﺎﺩﺱ ﻫﻮ ﺻﻼﺓ ﻓﺮﺩﻳ‪‬ﺔ ﻹﻧﺴﺎﻥ ﰲ ﺿﻴﻖ ﺷﺪﻳﺪ‪ ،‬ﻭﺳﺒﺐ ﻫﺬﺍ‬

‫ﺍﻟﻀﻴﻖ ﻫﻲ ﺧﻄﻴﺌﺘ‪‬ﻪ! ﻓﻤﺎ ﺃﺷ ‪‬ﺪ ﺿﻴﻘﹶﻪ ﻣﻦ ﺍﻟﻨﺎﺱ ﺍﻟﺬﻳﻦ ﺣﻮﻟﻪ‪ ،‬ﻳﻌﻴ‪‬ﺮﻭﻧﻪ ﻋﻠﻰ‬
‫ﺍﻟﻔﺎﺭﻕ ﺑﲔ ﺇﳝﺎﻧﻪ ﻭﺣﻴﺎﺗﻪ‪ .‬ﻭﻣﺎ ﺃﺻﻌﺐ ﺍﻟﻀﻴﻖ ﺍﻟﻨﺎﺗﺞ ﻋﻦ ﺇﺣﺰﺍﻧﻪ ﻹﳍﻪ ﺍﻟﺬﻱ ﳛﺒ‪‬ﻪ‬
‫ﺐ ﺍﻷﻭ‪‬ﻝ!‬
‫ﺍﳊ ‪‬‬
‫ﻟﻘﺪ ﻏﻠﺐ ﻫﺬﺍ ﺍﻹﻧﺴﺎ ﹶﻥ ﺿﻌﻔﹸﻪ! ﻓﻬﻞ ﻫﻨﺎﻙ ﳐﺮﺝ؟ ﻭﻟﻘﺪ ﺃﺳﺎﺀ ﺇﱃ ﺍﷲ‬
‫ﻱ ﻭﻟﻠﻴﺄﺱ‬
‫ﺍﻟﺬﻱ ﻛﺎﻥ ﻣﺘ‪‬ﻜﻠﻪ! ﻛ ﹼﻞ ﺷﻲﺀ ﻳﺪﻋﻮ ﻟﻠﻀﻴﻖ ﺍﻟﻨﻔﺴ ‪‬ﻲ ﻭﺣﺘ‪‬ﻰ ﺍﳉﺴﺪ ‪‬‬
‫ﺃﻳﻀﺎﹰ‪ ،‬ﻟﻮﻻ ﺭﲪﺔ ﺍﷲ ﺍﳌﺨﻠﱢﺼﺔ!‬

‫)ﺍﻟﻌﻨﻮﺍﻥ( ﻹﻣﺎﻡ ﺍﳌﻐﻨﲔ‪ ،‬ﻋﻠﻰ ﺫﻭﺍﺕ ﺍﻷﻭﺗﺎﺭ‪ ،‬ﻋﻠﻰ ﺍﻟﻘﺮﺍﺭ‪ ،‬ﻣﺰﻣﻮﺭ ﻟﺪﺍﺅﻭﺩ‬
‫ﺗﺘﺼﺪ‪‬ﺭ ﺍﳌﺰﺍﻣ ‪‬ﲑ ﻛﻠﱠﻬﺎ ﻋﻨﺎﻭﻳ ‪‬ﻦ ﺗﺸﲑ ﺇﱃ ﻓﺤﻮﻯ ﺍﳌﺰﻣﻮﺭ ﺃﻭ ﻃﺮﻳﻖ ﺃﺩﺍﺋﻪ ﺃﻭ‬
‫ﺇﱃ ﻛﺎﺗﺒﻪ‪ .‬ﻭﰲ ﺍﻟﺘﺮﲨﺔ ﺍﻟﺴﺒﻌﻴﻨﻴ‪‬ﺔ ﻳﺘﺼﺪ‪‬ﺭ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﻋﻨﻮﺍﻥ ﳐﺘﻠﻒ‪" :‬ﰲ‬
‫ﺍﻟﻨﻬﺎﻳﺔ‪ ،‬ﰲ ﺍﻟﺘﺴﺒﻴﺢ‪ ،‬ﻣﻦ ﺃﺟﻞ ﺍﻟﺜﺎﻣﻦ‪ .‬ﻣﺰﻣﻮﺭ ﻟﺪﺍﺅﻭﺩ"‪.‬‬
‫‪ ٧‬ﻳ‪‬ﺘﻠﻰ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﰲ ﺻﻼﺓ ﺍﻟﻨﻮﻡ ﺍﻟﻜﱪﻯ‪.‬‬
‫‪٣١‬‬
‫ﻭﺍﳌﻘﺼﻮﺩ ﻫﻨﺎ ﺑـ" ﰲ ﺍﻟﻨﻬﺎﻳﺔ" ﺭﺑ‪‬ﻤﺎ ﻣﺎ ﻳﺮﺍﺩﻓﻪ ﰲ "ﺍﻟﺜﺎﻣﻦ"‪ ،‬ﺃﻱ ﺍﳌﻌﲎ‬
‫ﺍﻻﺳﺨﺘﻮﻟﻮﺟ ‪‬ﻲ ﻟﻠﺪﻫﺮ ﺍﻵﰐ‪ .‬ﺇ ﹼﻥ ﻫﺬﺍ ﺍﻟﺪﻫﺮ ﻫﻮ ﺃﺳﺒﻮﻉ‪ ،‬ﻭﻳﻠﻴﻪ ﺍﻟﻴﻮﻡ ﺍﻟﺜﺎﻣﻦ ﺑﺪﺀ‬
‫ﺍﻟﺪﻫﺮ ﺍﻵﰐ‪ ...‬ﻭﻟﻠﻴﻮﻡ ﺍﻟﺜﺎﻣﻦ ﻻﻫﻮﺕ ﻃﻮﻳﻞ ﰲ ﺍﻟﻜﺘﺎﺏ ﺍﳌﻘﺪ‪‬ﺱ‪ .‬ﺍﻟﻴﻮﻡ ﺍﻟﺜﺎﻣﻦ‬
‫ﻫﻮ ﺇﺫﻥ ﻣﺎ ﺑﻌﺪ ﺃﺳﺒﻮﻉ ﻫﺬﺍ ﺍﻟﺪﻫﺮ‪ ،‬ﺇﻧ‪‬ﻪ ﻳﻮﻡ ﺍﻟﺪﻳﻨﻮﻧﺔ‪ ،‬ﺇﻧ‪‬ﻪ ﺑﺪﺀ ﺍﻟﺪﻫﺮ ﺍﻵﰐ‪ ،‬ﺇﻧ‪‬ﻪ‬
‫ﻳﻮﻡ ﺍﻟﻘﻴﺎﻣﺔ ﺃﻭ ﺍﻟﻌﻨﺼﺮﺓ‪ ،‬ﺍﻟﻴﻮﻡ ﺍﻟﺬﻱ ﻟﻦ ﻳﻌﺮﻭﻩ ﻣﺴﺎﺀ‪ .٨‬ﻟـ"ﺫﻳﺬﳝﻮﺱ"‪ ،‬ﺇ ﹼﻥ ﺍﳊﻴﺎﺓ‬
‫ﺕ ﻋﺎﳌﻴ‪‬ﺎﺕ ﻫﺬﻩ ﺍﻟﺪﻧﻴﺎ ﻫﻲ ﺷﻜﻞ ﻣﻦ ﻟﻮﻥ ﺍﳊﻴﺎﺓ‬ ‫ﺍﻟﺒﺘﻮﻟﻴ‪‬ﺔ ﻭﺍﻟﺮﻫﺒﺎﻧﻴ‪‬ﺔ ﺍﻟﱵ ﻫﺠﺮ ‪‬‬
‫ﻱ ﺍﳌﺰﻣﻮﺭ ﺍﻟﺴﺎﺩﺱ ﻷﻧ‪‬ﻪ ﻳﻨﺘﻈﺮ ﺣﻜﻢ‬ ‫ﺍﻵﺗﻴﺔ‪ .٩‬ﻭﺭﺑ‪‬ﻤﺎ ﺗﺼﺪ‪‬ﺭ ﻫﺬﺍ ﺍﻻﻧﺘﻈﺎﺭ ﺍﻷﺧﺮﻭ ‪‬‬
‫ﺍﷲ ﺍﻟﻌﺎﺩﻝ ﰲ ﺍﳌﻨﺘﻬﻰ ﻋﻠﻰ ﺃﻋﺪﺍﺀ ﺍﻹﻧﺴﺎﻥ ﻭﻇﺮﻭﻑ ﻫﺬﺍ ﺍﻟﺪﻫﺮ ﻏﲑ ﺍﳌﺆﺍﺗﻴﺔ‪.‬‬

‫ﺨﲏ‪ ،‬ﻭﻻ ﺑﺮﺟﺰﻙ ﺗﺆﺩ‪‬ﺑﲏ‬ ‫)‪ (١‬ﻳﺎ ﺭﺏ‪ ‬ﻻ ﺑﻐﻀﺒﻚ ﺗﻮﺑ‪ ‬‬
‫ﲟﺸﺎﻋﺮ ﺍﻻﻧﺴﺤﺎﻕ ﺍﻟﻌﻤﻴﻖ‪ ،‬ﻳﺮﻓﻊ ﺍﳌﺮ‪‬ﻧ ‪‬ﻢ ﻳﺪﻳﻪ ﻭﺻﻼﺗ‪‬ﻪ ﺇﱃ ﺍﻟﺮﺏ‪ ،‬ﻳﻌﺘﺮﻑ‬
‫ﻼ ﻛ ﱠﻞ ﻏﻀﺐ ﺇﳍ ‪‬ﻲ ﻭﺍﻟﺮﺟﺰ ﺃﻳﻀﹰﺎ‪ .‬ﻫﺬﺍ ﻫﻮ ﺍﳊﻜﻢ‬ ‫ﺑﺼﺪﻕ ﺑﺄﻧ‪‬ﻪ ﻳﺴﺘﺤ ‪‬ﻖ ﻓﻌ ﹰ‬
‫ﺍﻟﻌﺎﺩﻝ ﻋﻠﻰ ﺧﻄﻴﺌﺘﻪ ﺍﻟﻜﺒﲑﺓ‪ ،‬ﺇﻧ‪‬ﻬﺎ ﺗﺴﺘﺤﻖ ﻛ ﹼﻞ ﺫﻟﻚ‪ .‬ﻭﻟﻜﻦ ﻏﻀﺐ ﺍﷲ ﻭﺭﺟﺰﻩ‬
‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﻪ ﻳﻌﲏ ﺍﳌﻮﺕ ﲤﺎﻣﺎﹰ‪ ،‬ﺇﺫ ﻻ ﺗﻘﻮﻡ ﺣﻴﺎﺓ ﺩﻭﻥ ﺍﷲ!‬
‫ﻻ ﻳﺮﻓﺾ ﻫﻨﺎ ﺍﳌﺮﻧ‪‬ﻢ "ﺍﻟﺘﺄﺩﻳﺐ"‪" !١٠‬ﻣﻐﺒﻮﻁ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺬﻱ ﻳﺆﺩ‪‬ﺑﻪ‬
‫ﺏ ﻋﻨﺎﻳ ﹲﺔ‬
‫ﺏ ﳝﺤ‪‬ﺺ ﺃﺣﺒ‪‬ﺎﺀﻩ ﻛﻤﺎ ﺍﻟﺬﻫﺐ ﰲ ﺍﻟﺒﻮﺗﻘﺔ‪ .‬ﺗﺄﺩﻳﺐ ﺍﻟﺮ ‪‬‬ ‫ﺏ"‪ .١١‬ﺇ ﹼﻥ ﺍﻟﺮ ‪‬‬
‫ﺍﻟﺮ ‪‬‬
‫ﻼ ﺍﷲ ﺃ ﹼﻻ ﻳﺮﻓﻊ ﻋﻨﻪ‬
‫ﻭﻣﻈﻬ ‪‬ﺮ ﳏﺒ‪‬ﺔ‪ .‬ﻟﺬﻟﻚ ﻳ‪‬ﺮﻭﻯ ﺃ ﹼﻥ ﺃﺣﺪ ﺍﻟﺮﻫﺒﺎﻥ ﺭﺍﺡ ﻳﺒﻜﻲ ﺳﺎﺋ ﹰ‬

‫‪PG 80,‬‬ ‫‪ ٨‬ﺍﻟﻘﺪﻳﺲ ﻏﺮﻏﻮﺭﻳﻮﺱ ﺍﻟﻨﻴﺼﺼﻲ‪ ،‬ﺇﺻﺪﺍﺭ ‪ ،W. Jaeger‬ﺹ‪٨٤ .‬؛ ﺛﻴﻮﺫﻭﺭﻳﺘﻮﺱ ﺃﺳﻘﻒ ﻗﻮﺭﺵ‪] ،‬‬
‫‪[991B‬؛ ﺇﻓﺴﺎﺑﻴﻮﺱ ﺃﺳﻘﻒ ﻗﻴﺼﺮﻳﺔ‪.[PG 23, 120] ،‬‬
‫‪.PG 39, 1176 ٩‬‬
‫‪ ١٠‬ﺛﻴﻮﺫﻭﺭﻳﺘﻮﺱ ﺃﺳﻘﻒ ﻗﻮﺭﺵ‪.[PG 80, 991] ،‬‬
‫‪ ١١‬ﺃﻳ‪‬ﻮﺏ ‪.٧ ،٥‬‬
‫‪٣٢‬‬
 ‫ﺍﻟﺘﺠﺎﺭﺏ؛ ﻓﻜ ﹼﻞ ﲡﺮﺑﺔ ﻭﺿﻴﻘﺔ ﻫﻲ ﺗﺄﺩﻳﺐ‪ ،‬ﳜﺘﱪ ﻓﻴﻪ ﺍﻹﻧﺴﺎﻥ ﺇﱃ ﺟﺎﻧﺐ‬
‫ﺏ ﺍﻟﺮﺍﻋﻲ‪ ،‬ﻓﻴﺨﺘﱪ ﺇﺫﻥ ﺍﻟﺘﻌﺰﻳﺎﺕ ﺍﻹﳍﻴ‪‬ﺔ‪.‬‬‫ﺍﻟﺼﻌﻮﺑﺔ ﺍﳌﺆﺍﺯﺭ ﹶﺓ ﺍﻹﳍﻴ‪‬ﺔ ﻭﺭﻓﻘ ﹶﺔ ﺍﻟﺮ ‪‬‬
‫ﻟﻜﻦ ﺷﻌﻮﺭ ﺍﳌﺮﻧ‪‬ﻢ ﻫﻮ ﺃ ﹼﻥ ﺧﻄﻴﺌﺘﻪ ﲡﺎﻭﺯﺕ ﺣﺪﻭﺩ ﺍﻟﺘﺄﺩﻳﺐ‪ ،‬ﻭﺗﺴﺘﺤ ‪‬ﻖ ﻛ ﹼﻞ‬
‫ﻋﻘﺎﺏ ﻣﻦ ﺍﻟﻐﻀﺐ ﻭﺍﻟﺮﺟﺰ‪ ،‬ﺇ ﹼﻥ ﺧﻄﻴﺌﺘﻪ ﺟﺴﻴﻤﺔ ﰲ ﻋﻴﻨﻴﻪ‪ ،‬ﻭﻟﻜﻦ ﻟﻴﺲ ﻣﻦ‬
‫ﳐﺮﺝ ﺳﻮﻯ ﺍﻻﻟﺘﺠﺎﺀ ﺇﱃ ﺍﳊﻨﺎﻥ ﺍﻹﳍ ‪‬ﻲ ﺑﺪﻝ ﻋﺪﻟﻪ! ﻟﻘﺪ ﺳﺌﻢ ﺍﳌﺮﻧ‪‬ﻢ ﺧﻄﻴﺌﺘﻪ‬
‫ﻭﻛﺮﻫﻬﺎ ﻭﺍﻋﺘﱪﻫﺎ ﺟﺴﻴﻤﺔ ﺗﺴﺘﺪﻋﻲ ﻏﻀﺐ ﺍﷲ؛ ﻭﻟﻜﻦ ﺫﻟﻚ ﻳﻘﻮﺩﻩ ﻟﻴﺲ ﻟﻠﻴﺄﺱ‬
‫ﺑﻞ ﻟﻠﺼﺮﺍﺥ ﺇﱃ ﺍﷲ ﺍﳊ ‪‬ﻲ ﺍﳊﻨﻮﻥ! ﻋﻨﺪﻣﺎ ﺗﺸﺘ ‪‬ﺪ ﺍﳌﺼﺎﻋﺐ‪ ،‬ﻋﻠﻴﻨﺎ ﺃﻥ ﻧﺸﺪ‪‬ﺩ‬
‫ﺻﻼﺗﻨﺎ ﻭﻧﺮﻓﻊ ﺻﻮﺕ ﺻﺮﺍﺧﻨﺎ‪" .‬ﺣﻴﺚ ﺗﻜﺜﺮ ﺍﳋﻄﻴﺌﺔ ﺗﻜﺜﺮ ﺍﻟﻨﻌﻤﺔ"‪ .‬ﻭﺣﻴﺚ‬
‫ﺍﻟﺸﺪ‪‬ﺓ ﻗﻮﻳ‪‬ﺔ ﻭﺍﻟﻀﻌﻒ ﻛﺒﲑ ﻫﻨﺎﻙ ﺍﳊﺎﺟﺔ ﻟﻠﺼﻼﺓ ﺍﳊﺎﺭ‪‬ﺓ ﻭﺍﻟﺘﻀﺮ‪‬ﻉ ﺍﻟﺼﺎﺩﻕ‪.‬‬
‫"ﺃ ‪‬ﺩﺑ‪‬ﲏ ﺃﺑﻮ‪‬ﻳﹰﺎ ﻭﻟﻴﺲ ﻗﻀﺎﺋّ‪‬ﻴﺎﹰ‪ ،‬ﻃ‪‬ﺒﺒ‪‬ﲏ ﻣﻦ ﺟﺮﺍﺣﺎﺕ ﺿﻌﻔﺎﰐ ﻭﻻ ﺗﻌﺎﻗﺒ‪‬ﲏ‪ ،‬ﻻ ﺗﺒﺎﺩ ﹾﻝ‬
‫ﺧﻄﻴﺌﱵ ﺑﻌﻘﻮﺑﺘﻬﺎ ﺍﶈﻘﹼﺔ‪ ،‬ﻟﻜﻦ ﲟﺤﺒ‪‬ﺘﻚ ﻟﻠﺒﺸﺮ ﻭﲢﻨ‪‬ﻨﻚ ﺍﺷﻔ‪‬ﲏ"‪ ،‬ﻛﻤﺎ ﻳﺸﺮﺡ‬
‫ﺛﻴﻮﺫﻭﺭﻳﺘﻮﺱ‪.‬‬
‫ﺑﺎﻟﻄﺒﻊ ﺇ ﹼﻥ ﻫﺬﻩ ﺍﻟﺼﻮﺭ ﺍﻟﺒﺸﺮﻳ‪‬ﺔ‪ ،‬ﻣﻦ ﺍﻟﻐﻀﺐ ﻭﺍﻟﺮﺟﺰ‪ ،‬ﻫﻲ ﻃﺒﺎﺋﻊ ﺑﺸﺮﻳ‪‬ﺔ‬
‫ﻟﻴﺴﺖ ﰲ ﺍﷲ‪ .‬ﻟﻜﻦ ﺍﳌﺮﻧ‪‬ﻢ ﻛﻜ ﹼﻞ ﺇﻧﺴﺎﻥ ﻳﺘﻜﻠﹼﻢ ﻣﻊ ﺍﷲ ﺑﻠﻐﺘﻪ ﺍﻟﺒﺸﺮﻳ‪‬ﺔ ﻟﻴﻌﺒ‪‬ﺮ ﻋﻦ‬
‫ﺣﻘﻴﻘﺔ ﻋﻼﻗﺔ ﺭﻭﺣﻴ‪‬ﺔ‪ .‬ﻫﻜﺬﺍ ﺍﻷﺏ ﻳﺘﻘﺒ‪‬ﻞ ﲤﺘﻤﺔ ﻃﻔﻠﻪ ﻭﻟﻮ ﻛﺎﻧﺖ ﺑﻠﻐﺔ ﻏﲑ‬
‫ﻃﺒﻴﻌﻴ‪‬ﺔ‪ .‬ﻓﻼ ﳝﻜﻦ ﻟﻺﻧﺴﺎﻥ ﺃﻥ ﻳﺘﻜﻠﹼﻢ ﻋﻦ ﺃﻣﻮﺭ ﺑﻠﻐ ‪‬ﺔ ﲣﺘﻠﻒ ﻋﻦ ﻟﻐﺘﻪ! ﻳﺴﻬﻞ‬
‫ﺍﻟﺘﻜﻠﹼﻢ ﻋﻦ ﺍﻷﻣﻮﺭ ﺍﳌﺎﺩﻳ‪‬ﺔ‪ ،‬ﻟﻜﻦ ﺍﻟﻜﻼﻡ ﻣﻊ ﺃﻭ ﻋﻦ ﺃﻣﻮﺭ ﻏﲑ ﻣﺎﺩﻳ‪‬ﺔ )ﲣﺘﻠﻒ ﻋﻨ‪‬ﺎ(‬
‫ﻱ‪ .‬ﻫﻜﺬﺍ ﰲ ﺍﳊﻴﺎﺓ ﺍﻟﻴﻮﻣﻴ‪‬ﺔ‪ ،‬ﻧﻘﻮﻝ‪" :‬ﺁﳌﲏ‬ ‫ﳛﺘﺎﺝ ﺇﱃ ﻟﻐﺔ ﺭﻣﺰﻳ‪‬ﺔ ﻣﻦ ﻋﺎﳌﻨﺎ ﺍﳌﺎﺩ ‪‬‬
‫ﻒ ﺃﻣﻮﺭﹰﺍ ﻻ ﻣﺎﺩﻳ‪‬ﺔ ﺑﺄﻓﻌﺎﻝ ﻣﻦ‬
‫ﺼ ‪‬‬‫ﺖ ﻧﻔﺴﻲ"‪ ...‬ﻭ‪‬ﻧ ‪‬‬‫ﺖ ﻓﻜﺮﻱ"‪" ،‬ﻣﺮﺿ ‪‬‬ ‫ﺷﺮ‪‬ﻩ"‪" ،‬ﺑﺪ‪‬ﻟ ‪‬‬
‫ﺱ ﺑﺘﻌﺎﺑﲑ ﻣﻠﻤﻮﺳﺔ‪ .‬ﻭﻫﺬﺍ ﻳﻨﻄﺒﻖ ﻋﻠﻰ ﻟﻐﺔ‬ ‫ﻱ‪ ،‬ﻭﻣﺎ ﻫﻮ ﻏﲑ ﻣﻠﻤﻮ ﹴ‬ ‫ﺇﻃﺎﺭﻧﺎ ﺍﳌﺎﺩ ‪‬‬

‫‪٣٣‬‬
‫ﺗﻌﺎﻣﻠﻨﺎ ﻣﻊ ﺍﷲ ﻛﺤﻘﻴﻘﺔ ﻏﲑ ﻣﺪﺭﻛﺔ ﻣﺎﺩ‪‬ﻳﺎﹰ‪ ،‬ﻭﺫﻟﻚ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﻣﻌﺮﻓﺔ ﻋﻤﻴﻘﺔ ﺃﻭ‬
‫ﺷﻌﻮﺭ ﺣﻘﻴﻘ ‪‬ﻲ‪.‬‬

‫)‪ (٢‬ﺍﺭﲪﲏ ﻳﺎ ﺭﺏ‪ ‬ﻓﺈﻧ‪‬ﻲ ﺿﻌﻴﻒ‬

‫ﺍﺭﲪ‪‬ﲏ ﻳﺎ ﺭﺏ‪ ،‬ﻷﻧ‪‬ﻲ ﺑﻘﻮﺍﻱ ﺍﻟﺬﺍﺗﻴ‪‬ﺔ ﺃﻧﺎ ﻋﺎﺟﺰ‪ .‬ﺃﻧﺎ ﺃﻃﻠﺐ ﻟﻴﺲ ﻓﻘﻂ ﺃﻥ‬
‫ﺏ‬
‫ﱄ ﻳ ‪‬ﺪ ﺍﳌﺴﺎﻋﺪﺓ‪ .‬ﻳﺎ ﺭ ‪‬‬ ‫ﲢﻮ‪‬ﻝ ﻏﻀﺒﻚ ﻋﻨ‪‬ﻲ ﻭﺃ ﹼﻻ ﺗﺮﺟﺰﱐ‪ ،‬ﺑﻞ ﺃﻳﻀﹰﺎ ﺃﻥ ﲤ ‪‬ﺪ ﺇ ﱠ‬
‫ﻋﺪﻟﻚ ﻻ ﻳﻨﻘﺬﱐ‪ ،‬ﺭﲪﺘ‪‬ﻚ ﻓﻘﻂ ﻫﻲ ﻣﺘ‪‬ﻜﻠﻲ‪ ،‬ﺭﲪﺔ ﺗﺼﻔﺢ ﻭﺗﺴﻨﺪ!‬
‫ﺿﻌﻴﻒ ﺃﻧﺎ ﺃﻣﺎﻡ ﺍﻷﻋﺪﺍﺀ ﻭﲡﺎﻩ ﺍﻟﺸﺪﺍﺋﺪ ﺍﻟﱵ ﻗﻮﻳﺖ ﻋﻠ ‪‬ﻲ‪ .‬ﺿﻌﻴﻒ ﺃﻧﺎ ﺃﻣﺎﻡ‬
‫"ﺍﻟﻌﺪ ‪‬ﻭ ﻗﺎﺗﻞ ﺍﻹﻧﺴﺎﻥ"‪ ،‬ﺍﻟﺬﻱ ﻳﺘﺮﺻ‪‬ﺪﱐ ﻛﺎﻷﺳﺪ ﻳﺮﻳﺪ ﺃﻥ ﻳﺒﺘﻠﻌﲏ‪ .‬ﺿﻌﻴﻒ ﺃﻧﺎ‬
‫ﻷ ﹼﻥ ﺍﳋﻄﻴﺌﺔ ﺃ‪‬ﻜﺘﲏ‪ .‬ﺿﻌﻴﻒ ﺃﻧﺎ ﺃﻣﺎﻡ ﺃﻫﻮﺍﺋﻲ ﻭﻧـﺰﻭﺍﰐ ﺍﻟﱵ ﺗﻐﻠﺒﲏ‪ .‬ﺍﺭﲪﲏ ﻳﺎ‬
‫ﺏ! ﺃﻧﺖ ﺭﺣﻮﻡ ﻟﻠﺠﻤﻴﻊ‪ ،‬ﻭﻟﻜﻦ ﺑﺎﻟﻮﻗﺖ ﺫﺍﺗﻪ ﳌﻦ ﻳﻈﻬﺮ ﺗﻮﺑﺔ‪ .‬ﺇﻧ‪‬ﻚ ﺗﺮﻳﺪ ﺃﻥ‬ ‫ﺭ ‪‬‬
‫ﺗﺮﺣﻢ ﺍﳉﻤﻴﻊ‪ ،‬ﻭﻟﻜﻦ ﻻ ﳝﻜﻨﻚ ﺫﻟﻚ ﺇ ﹼﻻ ﻣﻊ ‪‬ﻣﻦ ﻳﺮﺣﻢ ﺫﺍﺗﻪ ﺑﺎﻟﺘﻮﺑﺔ‪.١٢‬‬
‫ﺏ ﻣ‪‬ﻦ ﻳﺜﺒﺖ ﻷ ﹼﻥ ﻣﻦ ﻋﻨﺪﻙ ﻫﻮ‬ ‫ﺏ ﻳﺎ ﺭ ‪‬‬
‫ﺖ ﻟﻶﺛﺎﻡ ﺭﺍﺻﺪﺍﹰ‪ ،‬ﻳﺎ ﺭ ‪‬‬
‫"ﺇﻥ ﻛﻨ ‪‬‬
‫ﺍﻻﻏﺘﻔﺎﺭ"‪ ١٣‬ﻭﻟﻴﺲ ﺍﻻﻧﺘﻘﺎﻡ ﻭﻻ ﺍﳌﻘﺎﺿﺎﺓ‪ .‬ﻓﺈﻧ‪‬ﻪ ﻻ ﻳﺘﻘﺒ‪‬ﻞ ﺭﲪﺘﻚ ‪‬ﻣﻦ ﻻ ﻳﻌﺘﺮﻑ‬
‫ﻱ ﺷﻲﺀ‪.‬‬‫ﺑﻀﻌﻔﻪ‪ .‬ﺍﻟﺘﻮﺍﺿﻊ ﻭﺣﺪﻩ ﻳﺴﺘﻘﻄﺐ ﺍﻟﺮﲪﺔ‪ ،‬ﺍﻟﱵ ﻻ ﻳﺪﻓﻊ ﲦﻨﻬﺎ ﺃ ‪‬‬

‫ﺖ‬
‫
ﺍﺷﻔﲏ ﻳﺎ ﺭﺏ‪ ،‬ﻓﺈﻥﹼ ﻋﻈﺎﻣﻲ ﻗﺪ ﺍﺿﻄﺮﺑ ‪‬‬
‫ﻟﻘﺪ ﺁﳌﺘﲏ ﺧﻄﻴﺌﱵ ﺣﺘ‪‬ﻰ ﺍﻟﻌﻈﻢ‪ .‬ﻋﻨﺪﻣﺎ ﻳﺒﻠﻎ ﺍﻷﱂ ﺍﻟﻨﻔﺴﻲ ﺣﺪﻭﺩﹰﺍ ﻛﺒﲑﺓ‬
‫ﻳﻨﻌﻜﺲ ﻋﻠﻰ ﺃﻋﻀﺎﺀ ﺍﳉﺴﺪ ﺫﺍ‪‬ﺎ‪ .‬ﻫﻜﺬﺍ ﺍﻷﺣﺰﺍﻥ ﺗﻮﻟﹼﺪ ﺻﺪﺍﻋﹰﺎ ﰲ ﺍﻟﺮﺃﺱ ﻭﺁﻻﻣﹰﺎ‬

‫‪ ١٢‬ﺍﻟﻘﺪﻳﺲ ﻳﻮﺣﻨ‪‬ﺎ ﺍﻟﺬﻫ ‪‬‬

‫ﱯ ﺍﻟﻔﻢ‪.[PG 55, 72] ،‬‬
‫‪ ١٣‬ﻣﺰ ‪.١٢٩‬‬
‫‪٣٤‬‬
‫ﰲ ﺍﳊﺸﺎ‪ ،‬ﻭﺃﻗﺴﺎﻫﺎ ﻳﺆﱂ ﺣﺘ‪‬ﻰ ﺍﻟﻌﻈﻢ‪ .‬ﻟﻘﺪ ﺍﺿﻄﺮﺑﺖ ﺍﻟﻌﻈﺎﻡ ﻣﻦ ﺍﻷﱂ ﺍﻟﺮﻭﺣ ‪‬ﻲ‬
‫ﺏ ﻭﺣﺪﻫﺎ ﺳﺘﺸﻔﻲ ﻋﻈﺎﻣﻲ ﺍﻟﺬﻟﻴﻠﺔ‪.‬‬
‫ﺍﻟﺬﻱ ﻻ ﳝﻜﻦ ﺗﺼﻮ‪‬ﺭﻩ‪ .‬ﺭﲪﺘﻚ ﻳﺎ ﺭ ‪‬‬

‫‪١٤‬‬
‫ﺖ ﺟﺪ‪‬ﹰﺍ‬
‫)‪ (٣‬ﻭﻧﻔﺴﻲ ﻗﺪ ﺍﺿﻄﺮﻣ ‪‬‬
‫ﻛﻤﺎ ﺍﻟﺮﻳﺢ ﺍﻟﻘﻮﻳ‪‬ﺔ ﺗﻀﺮﺏ ﺍﻟﺒﺤﺮ ﻓﺘﺼﻞ ﺇﱃ ﺃﻋﻤﺎﻗﻪ ﻓﻴﻀﻄﺮﺏ ﻭﺗﺮﺗﻔﻊ‬
‫ﺃﻣﻮﺍﺟﻪ‪ ،‬ﻫﻜﺬﺍ ﺟﺴﺎﻣﺔ ﺍﳋﻄﻴﺌﺔ ﺿﺮﺑﺖ ﺃﻋﻤﺎﻕ ﻧﻔﺴﻲ ﻓﺎﺿﻄﺮﺑﺖ ﻭﻓﻘﺪﺕ‬
‫ﱯ ﺍﻟﻔ ‪‬ﻢ‪.‬‬
‫ﺳﻼﻣﻬﺎ ﻭﻟﻴﺲ ﳍﺎ ﺑﻌ ‪‬ﺪ ﺭﺍﺣﺔ‪ ،‬ﲝﺴﺐ ﺗﻌﺒﲑ ﺍﻟﻘ ‪‬ﺪﻳﺲ ﻳﻮﺣﻨ‪‬ﺎ ﺍﻟﺬﻫ ‪‬‬

‫ﻭﺃﻧﺖ‪ ،‬ﻳﺎ ﺭﺏ‪ ،‬ﺣﺘ‪‬ﻰ ﻣﱴ؟‬ ‫
‬

‫ﻫﺬﻩ ﻫﻲ ﻋﻠﹼﺔ ﺁﻻﻣﻲ ﻛﻠﱢﻬﺎ‪ ،‬ﻏﻴﺎﺑ‪‬ﻚ ﻭﺃﻧﻚ ﺗﺼﺮﻑ ﻭﺟﻬﻚ ﻋﲏ‪ ،‬ﺑﺴﺒﺐ‬
‫ﺧﻄﻴﺌﱵ‪ .‬ﻫﺬﺍ ﺃ ﹲﱂ ﻻ ‪‬ﻳﺤﺘﻤﻞ‪ .‬ﻏﻴﺎﺑﻚ ﻳﺎ ﺳﻴ‪‬ﺪﻱ ﺟﻌﻞ ﻋﻈﺎﻣﻲ ﺗﻨـﺰﻋﺞ ﻭﻧﻔﺴﻲ‬
‫ﺕ ﻛ ﹼﻞ ﻃﺎﻗﺔ ﻭﻭﺻﻠﺖ ﺇﱃ ﺍﻟﻨﻬﺎﻳﺔ‪،‬‬ ‫ﺏ‪ ،‬ﻟﻘﺪ ﺍﺳﺘﻨﻔﺬ ‪‬‬
‫ﺗﻀﻄﺮﺏ‪ .‬ﻓﺤﺘ‪‬ﻰ ﻣﱴ ﻳﺎ ﺭ ‪‬‬
‫"ﻓﺨﱢﻠﺼ‪‬ﲏ ﻗﺒﻞ ﺍﳌﻨﺘﻬﻰ"‪ .‬ﺗﺄﺩﻳﺒﻚ ﻳﺎ ﺳﻴ‪‬ﺪﻱ ﻧـﺰﻝ ﻋﻠ ‪‬ﻲ ﻗﺎﺳﻴﺎﹰ‪ ،‬ﻭﻏﻴﺎﺑﻚ ﱂ ﻳﻌ ‪‬ﺪ‬
‫ﻼ ﻋﻨﺪﻱ‪.‬‬
‫ﳏﺘ ‪‬ﻤ ﹰ‬

‫)‪ (٤‬ﻋﺪ‪ ،‬ﻳﺎ ﺭﺏ‪ ،‬ﻧﺞ‪ ‬ﻧﻔﺴﻲ‪ ،‬ﺧﻠﱢﺼ‪‬ﲏ ﻣﻦ ﺃﺟﻞ ﺭﲪﺘﻚ‬

‫ﺏ ﻻ ﺗﺘﺮﻙ ﺍﻹﻧﺴﺎﻥ ﳝﻮﺕ ﺑﻞ ﺗﺮﻳﺪﻩ ﺃﻥ ﻳﻌﻮﺩ ﻭﳛﻴﺎ‪ .‬ﻫﺎ ﺃﻧﺬﺍ ﻗﺪ‬ ‫ﺇ‪‬ﻧﻚ ﻳﺎ ﺭ ‪‬‬
‫ﺤ ‪‬ﻦ ﺯﻣﻦ‬
‫ﻭﺻﻠﺖ ﺇﱃ ﺷﻔﲑ ﺍﳍﺎﻭﻳﺔ‪ ،‬ﺇﻧ‪‬ﻚ ﺗﺆﺩ‪‬ﺏ ﻭﻻ ‪‬ﻠﻚ‪ .‬ﻓﻌ‪‬ﺪ ﻳﺎ ﺭﺏ‪ ،‬ﺃﱂ ‪‬ﻳ ‪‬‬
‫ﺏ‬
‫ﻚ ﺧﻄﻴﺌﱵ‪ ،‬ﻟﻜﻦ ﻋ ‪‬ﺪ ﻳﺎ ﺭ ‪‬‬ ‫ﺏ! ﻃﺮﺩ‪‬ﺗ ‪‬‬
‫ﺍﻟﺼﻔﺢ؟ ﻓﺈ ﹼﻥ ﻏﻀﺒﻚ ﺃ‪‬ﻜﲏ‪ ،‬ﻋ ‪‬ﺪ ﻳﺎ ﺭ ‪‬‬
‫ﺏ ﻓﻀﺎﺋﻠﻲ ﺑﻞ ﺑﺎﺩ ‪‬ﺭ ﺃﻧﺖ ﺑﺮﲪﺘﻚ‪.‬‬ ‫ﺑﺮﲪﺘﻚ‪ .‬ﻻ ﺗﻨﺘﻈﺮ ﻳﺎ ﺭ ‪‬‬

‫‪ ١٤‬ﺃﻧﻈﺮ‪ :‬ﻳﻮ ‪.٢٧ ،١٢‬‬

‫‪٣٥‬‬
 ‫)‪ (٥‬ﻷﻧ‪‬ﻪ ﻟﻴﺲ ﰲ ﺍﳌﻮﺕ ﻣ‪‬ﻦ ﻳﺬﻛﺮ‪‬ﻙ‪ ،‬ﻭﻻ ﰲ ﺍﳉﺤﻴﻢ ﻣ‪‬ﻦ ﻳﻌﺘﺮﻑ ﻟﻚ‬
‫ﱯ ﺩﺍﺅﻭﺩ‪ ،‬ﺃ ﹼﻥ ﺍﳉﺤﻴﻢ ﻫﻮ ﺍﳌﻜﺎﻥ‬ ‫ﻫﺬﺍ ﻣﺎ ﺍﻋﺘﻘﺪﻩ ﺍﻟﻴﻬﻮﺩ ﰲ ﺯﻣﻦ ﺍﻟﻨ ‪‬‬
‫ﺍﻟﺮﻫﻴﺐ ﺍﻟﺬﻱ ﻓﻴﻪ ﻳﻨﺘﻈﺮ ﺍﻷﻣﻮﺍﺕ‪ ،‬ﻭﻻ ﻳﺰﻭﺭﻩ ﺍﷲ! ﻭﻫﻞ ﻫﻨﺎﻙ ﻣﻮﺕ ﺃﺻﻌﺐ ﻣﻦ‬
‫ﺏ ﺑﺎﺩ ‪‬ﺭ ﺇﱃ‬
‫ﺏ ﻣﺎ ﺩﺍﻡ ﻫﻨﺎﻙ ﺯﻣﺎﻥ ﱄ ﺑﻌ ‪‬ﺪ ﻟﻠﺘﻮﺑﺔ‪ ،‬ﻋ ‪‬ﺪ ﻳﺎ ﺭ ‪‬‬ ‫ﻏﻴﺎﺏ ﺍﷲ‪ .‬ﻋ ‪‬ﺪ ﻳﺎ ﺭ ‪‬‬
‫ﺭﲪﱵ ﻓﺈﻧ‪‬ﻲ ﺃﻫﻠﻚ‪ .‬ﻷﻧ‪‬ﻪ ﻻ ﺗﻮﺑﺔ ﻭﻻ ﺃﻋﻤﺎﻝ ﱄ ﺑﻌﺪ ﺍﳌﻮﺕ‪ ،‬ﻓﻬﻨﺎﻙ ﻻ ﻳﺬﻛﺮﻙ‬
‫ﺃﺣﺪ ﻭﻻ ﻳﻌﺘﺮﻓﻮﻥ ﻟﻚ ﺑﺎﻟﺸﻜﺮ ﻭﺍﻟﺘﺴﺒﻴﺢ‪.‬‬
‫ﻱ ﰲ ﺍﳊﻴﺎﺓ ﺍﳌﺴﻴﺤﻴ‪‬ﺔ‪ .‬ﻟﻴﺲ ﺍﻟﺘﺄﻣ‪‬ﻞ‬ ‫ﺍﻟﺘﺄﻣ‪‬ﻞ ﺑﺎﳌﻮﺕ ﺗﺪﺭﻳﺐ ﺭﻭﺣ ‪‬ﻲ ﺿﺮﻭﺭ ‪‬‬
‫ﺑﺎﳌﻮﺕ ﺍﺣﺘﻘﺎﺭﹰﺍ ﻟﻠﺤﻴﺎﺓ ﺍﳊﺎﺿﺮﺓ‪ ،‬ﺑﻞ ﻫﻮ ﺇﻛﺮﺍﻡ ﻟﻜ ﹼﻞ ﳊﻈﺔ ﻓﻴﻬﺎ‪ .‬ﻳﻘﻮﻝ ﺍﻟﺴﻠﻤ ‪‬ﻲ‬
‫ﺕ ﻛ ﹼﻞ ﳊﻈﺔ"‪ .‬ﻳﺬﻛﹼﺮﻧﺎ ﺍﳌﻮﺕ ﺑﺄ ﹼﻥ‬ ‫ﺕ ﻣﻮ ‪‬‬ ‫ﻣ‪‬ﻦ ﻳﺘﺄﻣ‪‬ﻞ ﺑﺎﳌﻮﺕ ﻻ ﳜﻄﺊ‪ ".‬ﺫﻛﺮ ﺍﳌﻮ ‪‬‬
‫ﺣﻴﺎﺓ ﻛ ﹼﻞ ﳊﻈﺔ ﺫﺍﺕ ﻗﻴﻤﺔ ﻛﺒﲑﺓ‪" .‬ﺳ‪‬ﲑﻭﺍ ﻣﺎ ﺩﺍﻡ ﻟﻜﻢ ﺍﻟﻨﻮﺭ"‪" ،‬ﺍﻓﺘﺪﻭﺍ ﺍﻷﻳ‪‬ﺎﻡ‬
‫ﺏ ﺍﻟﺰﻣﻦ‬ ‫ﺏ ﻋﻦ ﺍﻟﻨﻬﻮﺽ ﲟﻔﺮﺩﻱ‪ .‬ﻋ ‪‬ﺪ ﻳﺎ ﺭ ‪‬‬ ‫ﺕ ﻳﺎ ﺭ ‪‬‬
‫ﻓﺈ ﹼﻥ ﺍﻟﺰﻣﺎﻥ ﻗﺼﲑ"‪ .‬ﻋﺠﺰ ‪‬‬
‫ﻱ ﱂ ﻳﺒﺪﺃ ﺑﻌ ‪‬ﺪ! ﺑﺎﺩ ‪‬ﺭ ﻳﺎ ﺳﻴ‪‬ﺪﻱ ﺇﱃ ﺇﻧﻘﺎﺫﻱ ﻭ‪‬ﻀﱵ ﻗﺒﻞ‬ ‫ﳚﺮﻱ ﻭﺯﻣﻦ ﺍﻟﺘﻮﺑﺔ ﻟﺪ ‪‬‬
‫ﺍﻻﻧﻘﻀﺎﺀ‪.‬‬

‫ﺖ ﰲ ﺗﻨﻬ‪‬ﺪﻱ‪ ،‬ﺃﺣﻢ‪ ‬ﰲ ﻛﻞﹼ ﻟﻴﻠﺔ ﺳﺮﻳﺮﻱ‪ ،‬ﺑﺪﻣﻮﻋﻲ ﺃﻋﻮ‪‬ﻡ ﻓﺮﺍﺷﻲ‬ ‫)‪ (٦‬ﺗﻌﺒ ‪‬‬
‫ﺗﻨﻬ‪‬ﺪﺍﺕ ﻋﻤﻴﻘﺔ ﺣﺎﺭ‪‬ﺓ ﻭﻛﺜﲑﺓ ﺃﺗﻌﺒﺘﲏ‪ .‬ﺍﻟﺘﻨﻬ‪‬ﺪ ﻫﻮ ﺍﻟﺘﻌﺒﲑ ﺍﻷﻗﺼﻰ ﻋﻦ‬
‫ﺍﻟﻀﻴﻖ ﻭﻋﺪﻡ ﺍﻻﺣﺘﻤﺎﻝ‪ .‬ﻭﺍﻟﺪﻣﻮﻉ ﻫﻲ ﺃﻋﻤﻖ ﻭﺃﻧﺒﻞ ﻣﻈﻬﺮ ﻟﻠﻤﺸﺎﻋﺮ ﺍﳊﺎﺭ‪‬ﺓ‪.‬‬
‫ﻳﻌﻠﹼﻤﻨﺎ ﻫﻨﺎ ﺍﳌﺮﻧ‪‬ﻢ ﺃﻥ ﳔﺘﻠﻲ ﻛ ﹼﻞ ﻣﺴﺎﺀ ﺇﱃ ﺫﻭﺍﺗﻨﺎ ﻭﻧﻔﺤﺺ ﺃﻧﻔﺴﻨﺎ ﻭﻧﺬﺭﻑ‬
‫ﺍﻟﺪﻣﻮﻉ ﺍﻟﻐﺰﻳﺮﺓ ﻋﻠﻰ ﺧﻄﺎﻳﺎﻧﺎ‪ .‬ﻛ ﹼﻞ ﻟﻴﻠﺔ ﻛﺎﻥ ﺍﳌﺮﻧ‪‬ﻢ ﻳﺒﻜﻲ ﻋﻠﻰ ﺍﺿﻄﺮﺍﺏ ﻋﻼﻗﺘﻪ‬
‫ﺑﺎﷲ ﻭﻏﻴﺎﺏ ﻭﺟﻪ ﺍﷲ ﻋﻨﻪ‪ ،‬ﻭﻳﺮﺛﻲ ﻟﺸﻌﻮﺭﻩ ﺑﻌﺪﻡ ﺍﻟﺮﺿﻰ ﺍﻹﳍ ‪‬ﻲ‪" .‬ﻄﻞ‬

‫‪٣٦‬‬
‫ﺍﻟﺪﻣﻮﻉ" ﻗﺪ‪‬ﺱ ﺍﻟﻨﺴ‪‬ﺎﻙ ﺫﻭﺍ‪‬ﻢ‪ .‬ﻻ ﺗﻌﻠﻮ ﻋﻠﻰ ﻫﺬﻩ ﺍﻟﺼﻮﺭ ﺃﻳ‪‬ﺔ ﻛﻠﻤﺎﺕ ﲢﺎﻭﻝ ﺃﻥ‬
‫ﺗﻌﺒ‪‬ﺮ ﻋﻦ ﺍﻷﱂ ﻭﺍﻟﺸﻮﻕ ﺍﳉﺮﻳﺢ ﰲ ﻗﻠﺐ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺬﻱ ﺃ‪‬ﻜﺘﻪ ﻏﺮﺑﺘﻪ ﻋﻦ ﺍﷲ‪.‬‬
‫ﺍﻟﻠﻴﻞ ﻫﻮ ﻭﻗﺖ ﺍﳋﻠﻮﺓ ﻭﺍﻟﻌﻮﺩﺓ ﻟﻠﺬﺍﺕ ﺑﻌﺪ ‪‬ﺎﺭ ﺍﻷﻋﻤﺎﻝ ﻭﺍﻷﺷﻐﺎﻝ‪ .‬ﰲ‬
‫ﺍﻟﻠﻴﻞ ﳚﻤﻊ ﺍﻹﻧﺴﺎ ﹸﻥ ﲦﻦ ﺃﻋﻤﺎﻝ ﻳﻮﻣﻪ‪ .‬ﺍﻟﻠﻴﻞ ﻫﻨﺎ ﻫﻮ ﺍﳍﺪﻭﺀ ﻭﺍﻟﺼﻔﺎﺀ ﻭﳊﻈﺎﺕ‬
‫ﺍﻟﻮﻗﻔﺔ ﺃﻣﺎﻡ ﺍﷲ ﰲ ﺍﻟﺼﻼﺓ‪" .‬ﺍﻟﺼﻼﺓ ﳏﻜﻤﺔ" ﻳﻘﻮﻝ ﺍﻟﺴﻠﻤ ‪‬ﻲ‪ .‬ﻣ‪‬ﻦ ﻭﻗﻒ ﺃﻣﺎﻡ‬
‫ﺣﺎﻛﻢ ﺃﺭﺿ ‪‬ﻲ ﻳﻔﻬﻢ ﻣﻌﲎ ﺍﻟﻮﻗﻔﺔ ﰲ ﺍﻟﺼﻼﺓ ﺃﻣﺎﻡ ﺍﷲ!‬
‫ﺩﻣﻮﻉ ﺍﻟﺘﻮﺑﺔ ﺗﻐﺴﻞ‪ ،‬ﺇﻧ‪‬ﻬﺎ ﻣﻌﻤﻮﺩﻳ‪‬ﺔ ﺛﺎﻧﻴﺔ ﺑﻌﺪ ﺍﳌﻌﻤﻮﺩﻳﺔ ﺑﺎﳌﺎﺀ ﻭﺍﻟﺮﻭﺡ‪.‬‬
‫"ﳎﺎﺭﻱ ﺍﳌﻴﺎﻩ ﻟﻮﻗﺖ ﺍﳊﺮﻳﻖ‪ ،‬ﻭﳎﺎﺭﻱ ﺍﻟﺪﻣﻮﻉ ﻟﺰﻣﻦ ﺍﻟﺘﺠﺮﺑﺔ"‪ ،‬ﻳﻘﻮﻝ ﺃﻓﺮﺍﻡ‬
‫ﱐ‪" .‬ﻟﻘﺪ ﳋﹼﺺ ﺍﻵﺑﺎﺀ ﺍﻟﻘﺪ‪‬ﻳﺴﻮﻥ ﻛ ﹼﻞ ﻧﺸﺎﻁ ﺍﻟﺮﺍﻫﺐ ﰲ ﻛﻠﻤﺔ "ﺣﻴﺎﺓ‬ ‫ﺍﻟﺴﺮﻳﺎ ﹼ‬
‫ﺍﻟﺒﻜﺎﺀ" )ﺍﻷﺳﻘﻒ ﺃﻏﻨﺎﻃﻴﻮﺱ ﺑﺮﻳﺎﻧﺘﺸﺎﻧﻴﻨﻮﻑ(‪ .‬ﻭﻟﻘﺪ ﻃﻮ‪‬ﺏ ﻳﺴﻮﻉ ﺍﻟﺒﺎﻛﲔ‬
‫ﻷﻧ‪‬ﻬﻢ ﺳﻴﻀﺤﻜﻮﻥ‪ .‬ﻫﺬﻩ ﻫﻲ ﻗﻮ‪‬ﺓ ﺍﻟﺪﻣﻮﻉ‪.‬‬

‫ﺖ ﰲ ﲨﻴﻊ ﺃﻋﻀﺎﺋﻲ‬ ‫ﺕ ﻣﻦ ﺍﻟﻐﻴﻆ ﻋﻴﻨﺎﻱ‪ ،‬ﻋ‪‬ﺘ ﹾﻘ ‪‬‬

‫)‪ (٧‬ﺗﻌﻜﹼﺮ ‪‬‬
‫ﺖ ﻋﻴﻨﺎ ﺩﺍﺅﻭﺩ ﻣﻦ ﺷﺪ‪‬ﺓ‬
‫ﻋﻨﺪﻣﺎ ﺗﻜﺮﻩ ﺍﳋﻄﻴﺌﺔ ﻋﻨﺪﻫﺎ ﺗﺒﺪﺃ ﺍﻟﺘﻮﺑﺔ‪ .‬ﻟﻘﺪ ﺃﺩﻣﻌ ‪‬‬
‫ﻏﻴﻈﻪ ﻣﻦ ﺧﻄﻴﺌﺘﻪ! ﻟﻘﺪ ﻋﺎﺩﺕ ﺍﻟﻜﺮﺍﻣ ﹸﺔ ﺍﻟﺼﺤﻴﺤﺔ ﺑﺪﺍﺅﻭﺩ ﺇﱃ ﺩﻣﻮﻉ ﺍﻟﺘﻮﺑﺔ ﻛﻤﺎ‬
‫ﻗﺎﺩﺕ ﻫﻜﺬﺍ ﻛﺮﺍﻣ ﹸﺔ ﺍﻻﺑﻦ ﺍﻟﻀﺎﻝ ﺇﱃ ﺑﻴﺖ ﺃﺑﻴﻪ ﻣﻦ ﻣﺬﻟﹼﺔ ﺍﳊﻴﺎﺓ ﻣﻊ ﺍﳋﻨﺎﺯﻳﺮ!‬
‫ﰲ ﻧﺘﻴﺠﺔ ﺍﻟﻌﺬﺍﺏ ﺍﻟﺬﻱ‬‫ﺖ ﰲ ﲨﻴﻊ ﺃﻋﻀﺎﺋﻲ‪ ،‬ﻟﻘﺪ ﺷﺎﺥ ﻛ ﹼﻞ ﻋﻀ ‪‬ﻮ ﱠ‬ ‫ﻋ‪‬ﺘﻘ ‪‬‬
‫ﺕ ﻛﺎﻟﺸﻴﺦ‬‫ﺑﺮ‪‬ﺡ ﰊ‪ .‬ﻫﻨﺎﻙ ﺗﺮﲨﺎﺕ ﺗﻘﻮﻝ "ﻋﺘﻘﺖ ﰲ ﲨﻴﻊ ﺃﻋﺪﺍﺋﻲ"‪ ،‬ﺃﻱ ﺻﺮ ‪‬‬
‫ﺍﳍﺮﻡ ﺑﲔ ﺃﻋﺪﺍﺋﻲ ﺍﻷﻗﻮﻳﺎﺀ‪ ،‬ﻭﺍﳌﻌﲎ ﺃ ﹼﻥ ﺍﳌﺮﻧ‪‬ﻢ ﻳﺼﻒ ﻫﻨﺎ ﺣﺎﻟﺔ ﺍﻻ‪‬ﻴﺎﺭ ﺍﻟﻜﺎﻣﻞ‪،‬‬
‫ﻭﺣﺎﻟﺔ ﺍﻟﺘﻌﺐ ﺣﺘ‪‬ﻰ ﺍﳊ ‪‬ﺪ ﺍﻷﻗﺼﻰ ﻣﻦ ﺟﺮﺍﺀ ﺧﻄﻴﺌﺘﻪ ﻭﻏﻴﺎﺏ ﺍﷲ!‬

‫‪٣٧‬‬
 ‫)‪ (٨‬ﺍﺑﻌﺪﻭﺍ ﻋﻨ‪‬ﻲ ﻳﺎ ﲨﻴﻊ ﻓﺎﻋﻠﻲ ﺍﻹﰒ‪ ،‬ﻓﺈﻥﹼ ﺍﻟﺮﺏ‪ ‬ﻗﺪ ﲰﻊ ﺻﻮﺕ ﺑﻜﺎﺋﻲ‬
‫ﺖ ﺃﺑﻮﺍﺏ ﺍﻟﺘﻮﺑﺔ ﻟﻠﻤﺮﻧ‪‬ﻢ! ﻣﻦ ﺻﺮﺧﺎﺕ ﺍﻟﺒﻜﺎﺀ‬ ‫ﺍﻧﻘﻼﺏ ﻛﺎﻣﻞ! ﻫﻨﺎ ﻓﹸﺘﺤ ‪‬‬
‫ﻭﺍﻟﺸﻌﻮﺭ ﺑﺎﻟﻨﻬﺎﻳﺔ ﻭﺍﻟﻮﺻﻮﻝ ﻟﺸﻔﲑ ﺍﳍﺎﻭﻳﺔ‪ ،‬ﻳﻘﻒ ﻫﻨﺎ ﺍﳌﺮﻧ‪‬ﻢ ﺷﺎﺧﺼﹰﺎ ﺑﺎﻟﺮﲪﺔ‬
‫ﺍﻹﳍﻴ‪‬ﺔ‪ ،‬ﻭﻳﺒﺪﺃ ﻫﻨﺎ ‪‬ﻀﺘﻪ ﻭﺗﻮﺑﺘﻪ ﺑﺼﺮﺧﺔ ﺛﻘﺔ ﻭﻋﺰﻡ ﺭﻭﺣ ‪‬ﻲ ﻻ ﻣﺜﻴﻞ ﻟﻪ‪.‬‬
‫ﺍﺑﻌﺪﻭﺍ ﻋ‪‬ﻨﻲ ﻳﺎ ﲨﻴﻊ ﻋﻤﺎﻝ ﺍﻹﰒ! ﻟﻘﺪ ﻛﺎﻥ ﺟﺰ ٌﺀ ﻛﺒﲑ ﻣﻦ ﺃﳌﻪ ﻫﻮ ﻫﺰﺀ‬
‫ﻏﲑ ﺍﳌﺆﻣﻨﲔ ﺑﻪ ﻭﺑﺈﳝﺎﻧﻪ! ﻟﻘﺪ ﺍﻧﺘﻔﺾ ﻣﻦ ﻧﻮﻣﻪ‪ ،‬ﻣﻦ ﻣﻮﺗﻪ‪ ،‬ﻭﻗﺎﻡ ﺇﱃ ﺍﳊﻴﺎﺓ ﻣﻊ‬
‫ﺍﷲ‪ ،‬ﻟﻘﺪ ﺭﻓﻌﺘ‪‬ﻪ ﻧﻌﻤﺔ ﺍﷲ ﻭﺭﲪﺘﻪ ﺇﱃ ﺍﻟﺘﻮﺑﺔ‪.‬‬
‫ﺏ ﺃﻥ ﻳﻠﺘﻔﺖ‬‫ﺏ ﺻﻮﺕ ﺑﻜﺎﺋﻲ" ﻭﻟﻘﺪ ﺯﺍﻝ ﺍﻟﻜﹶﺮﺏ‪ .‬ﻟﻘﺪ ﻗﺒﻞ ﺍﻟﺮ ‪‬‬ ‫"ﲰﻊ ﺍﻟﺮ ‪‬‬
‫ﱄ ﻭﻻ ﻳﻌﲏ ﱄ ﺑﻌ ‪‬ﺪ ﺷﻴﺌﹰﺎ ﻻ ﺿﻌﻔﻲ ﻭﻻ ﺣﺘ‪‬ﻰ ﺧﻄﻴﺌﱵ ﺗﻘﺪﺭ ﻋﻠﻰ ﺃﺳ‪‬ﺮﻱ ﰲ‬ ‫ﺇﹼ‬
‫ﺕ ﺇﱃ ﺍﻟﺴﻤﺎﺀ‬ ‫ﻗﻴﻮﺩ ﺍﻟﻴﺄﺱ‪" .‬ﺃﻗﻮﻡ" ﻭﺃﻋﻮﺩ ﺇﱃ ﺃﰊ ﻭﺃﻗﻮﻝ ﻟﻪ "ﻳﺎ ﺃﰊ ﺃﺧﻄﺄ ‪‬‬
‫ﻭﺃﻣﺎﻣﻚ"‪ ،‬ﺇﻧ‪‬ﻪ ﺳﻴﻘﺒﻠﲏ ﻛﺄﺣﺪ ﺃﺑﻨﺎﺋﻪ ﻭﻟﻴﺲ ﻛﺄﺟﺮﺍﺋﻪ‪.‬‬

‫)‪ (٩‬ﲰﻊ ﺍﻟﺮﺏ‪ ‬ﺗﻀﺮ‪‬ﻋﻲ‪ ،‬ﺍﻟﺮﺏ‪ ‬ﺗﻘﺒ‪‬ﻞ ﺻﻼﰐ‬

‫"ﻃﻮﰉ ﻟﻠﺒﺎﻛﲔ ﻓﺈ‪‬ﻧﻬﻢ ﺳﻴﻔﺮﺣﻮﻥ"! ﻻ ﺗﺸﺘﺮﻱ ﺍﻟﺮﲪ ﹶﺔ ﺍﻹﳍﻴ‪‬ﺔ ﺃﻋﻤﺎﻟﹸﻨﺎ‪.‬‬
‫"ﺍﳌﺴﺘﺤ ‪‬ﻖ" ﻫﻮ ﻓﻘﻂ "ﺍﳌﻨﺴﺤ‪‬ﻖ"‪ .‬ﻻ ﺳﺒﻴﻞ ﺇﱃ ﺍﺳﺘﻌﺎﺩﺓ ﺍﻟﺮﺿﻰ ﺍﻹﳍ ‪‬ﻲ ﺇ ﹼﻻ‬
‫ﻂ ﺍﻟﻌﺮﻳﺲ ﻣﻊ ﻋﺮﻭﺳﻪ‪ ،‬ﺃﻱ‬ ‫ﺑﺎﻟﺘﻮﺍﺿﻊ ﻭﺍﻟﺘﻮﺑﺔ‪ .‬ﺍﻟﺪﻣﻮﻉ ﺷ‪‬ﺮﻛﺔ ﻋﺠﻴﺒﺔ ﺗ‪‬ﻌﻴ ‪‬ﺪ ﺭﺑ ﹶ‬
‫ﺏ ﻣﻊ ﺍﻟﻨﻔﺲ ﺍﻟﺒﺸﺮﻳ‪‬ﺔ )ﻣﻜﺎﺭﻳﻮﺱ ﺍﻟﻜﺒﲑ(‪ .‬ﺍﻟﻌﲔ ﺍﻟﺒﺎﻛﻴﺔ ﻫﻲ ﺟﺮ ﹸﻥ ﳌﻌﻤﻮﺩﻳ‪‬ﺔ‬ ‫ﺍﻟﺮ ‪‬‬
‫ﺍﻟﺘﻮﺑﺔ ﻭﺍﻟﺘﺠﺪﻳﺪ‪ .‬ﻟﻮ ﱂ ﻳﻬﺒ‪‬ﻨﺎ ﺍﷲ ﻧﻌﻤﺔ ﺍﻟﺪﻣﻮﻉ ﻭﻳﺴﻤﻊ ﺑﻜﺎﺀﻧﺎ ﻟﺘﻌﺬﹼﺭ ﺧﻼﺹ‬
‫ﻛﺜﲑﻳﻦ )ﻳﻮﺣ‪‬ﻨﺎ ﺍﻟﺴﻠﻤ ‪‬ﻲ(‪.‬‬

‫‪٣٨‬‬
 ‫)‪ (١٠‬ﻓﻠﻴﺨ ‪‬ﺰ ﻭﻳﻀﻄﺮ ‪‬‬
‫ﺏ ﲨﻴ ‪‬ﻊ ﺃﻋﺪﺍﺋﻲ‪ ،‬ﻭﻟﻴﻌﻮﺩﻭﺍ ﻭﳜﺰﻭﺍ ﺟﺪ‪‬ﹰﺍ ﺳﺮﻳﻌﹰﺎ‬
‫ﻳﺆﻛﹼﺪ ﺍﳌﺮﻧ‪‬ﻢ ﻗﻴﺪ ﻫﻨﺎ "ﺧﻼﺻﻪ" ﻣﻦ ﻣﺎﺿﻴﻪ‪ ،‬ﻭﻭﻟﻮﺟ‪‬ﻪ ﰲ ﻋﺎﱂ ﺍﻟﺘﻮﺑﺔ‪ ،‬ﻋﺎﱂ‬
‫ﺏ ﺗﻮﺑﺘ‪‬ﻪ؛‬
‫ﺍﻟﺘﺠﺪﻳﺪ؛ ﻟﻘﺪ ﺍﺳﺘﺠﺎﺏ ﺍﷲ ﻟﺪﻣﻮﻋﻪ؛ ﺗﻘﺒ‪‬ﻞ ﺑﺪﻣﻮﻋﻪ ﺍﻟﻐﻔﺮﺍﻥ ﻭﻗﺒﹺﻞ ﺍﻟﺮ ‪‬‬
‫ﻟﻘﺪ ﺗﺼﺎﱀ ﻣﻊ ﺍﷲ‪ ،‬ﺑﻌﺪ ﺃﻥ ﻛﺎﻥ ﻳﺸﻌﺮ ﺑﺄﻧﻪ ﻗﺪ ﺃﻏﻀﺒﻪ ﻭﻻ ﻳﺴﺘﺤ ‪‬ﻖ ﺇ ﹼﻻ ﺭﺟﺰﻩ؛‬
‫ﺍﻵﻥ ﻳﻄﻤﺌ ‪‬ﻦ ﺃﻧ‪‬ﻪ ﳑﻜﻦ ﻟﻪ ﺃﻥ ﳜﺎﻃﺒﻪ ﻭﻳﻨﺎﺟﻴﻪ ﻭﻳﺴﺒ‪‬ﺤﻪ ﻭﻳﻄﻠﺐ ﻋﻮﻧﻪ ﻭﻳﻨﺎﻟﻪ!‬
‫ﷲ ﻣﻦ ﺻﻤﺘﻪ ﺑﻌﺪ ﺃﻥ ﺭﺃﻯ ﺩﻣﻮﻉ ﺍﻟﺘﺎﺋﺐ‪ .‬ﻟﻘﺪ ﺧﺮﺝ ﺍﷲ‬ ‫ﻟﻘﺪ ﺧﺮﺝ ﺍ ُ‬
‫ﻓﻠﻴﺘﺒ ‪‬ﺪ ‪‬ﺩ ﲨﻴﻊ ﺃﻋﺪﺍﺋﻪ ﻭﳜﺰﻭﺍ‪ ،‬ﻻ ﺑﻞ ﳜﺰﻭﺍ ﺳﺮﻳﻌﺎﹰ‪ ،‬ﺁﻣﲔ‪.‬‬

‫‪٣٩‬‬
 ‫ﺻـﻼﺓ ﺍﻟﺘـﻮﺑـﺔ‬
‫‪١٥‬‬
‫ﺗﺄﻣ‪‬ﻞ ﰲ ﺍﳌﺰﻣﻮﺭ ﺍﳋﻤﺴﲔ‬

‫ﻫﻞ ﺗﺴﺘﻄﻴﻊ ﺍﳊﻜﻤﺔ ﺃﻥ ﲣﺘﺎﺭ ﺍﳌﻮﺍﻗﻒ ﺍﻟﺼﺤﻴﺤﺔ ﻟﻠﺤﻴﺎﺓ ﺩﺍﺋﻤﺎﹰ؟ ﻧﻌﻢ‬

‫ﻭﻟﻜﻦ ﰲ ﺍﻷﺣﺮﺍﺭ! ﻛﻢ ﻣﻦ ﺍﻟﻨﺎﺱ ﺍﻣﺘﻠﻜﻮﺍ ﺍﳊﻜﻤﺔ‪ ،‬ﻓﺴﻠﻴﻤﺎﻥ "ﺍﳊﻜﻴﻢ" ﺫﺍﺗﻪ‬
‫ﻭﺃﺑﻮﻩ ﺩﺍﻭﻭﺩ ﺍﳌﻠﻚ ﻭﺍﳌﺮﻧ‪‬ﻢ ﺍﻣﺘﻠﻜﺎ ﻣﻦ ﺍﳊﻜﻤﺔ ﺍﻟﻜﺜﲑ‪ ،‬ﻟﻜﻨ‪‬ﻬﻤﺎ ﺃﺧﻄﺄﺍ‪ .‬ﻣﻬﻤﺎ‬
‫ﻛﺎﻥ ﺍﻹﻧﺴﺎﻥ ﺣﻜﻴﻤﹰﺎ ﺇﺫﺍ ﺳﻘﻂ ﲢﺖ ﻋﺒﻮﺩﻳ‪‬ﺔ ﺍﻷﻫﻮﺍﺀ ﻋﻔﻮﹰﺍ ﺃﻡ ﻋﻤﺪﹰﺍ ﻋﻦ ﻣﻌﺮﻓﺔ‬
‫ﻑ ﺍﻟﻌﺒﻴﺪ‬‫ﺃﻭ ﻋﻦ ﻏﲑ ﻣﻌﺮﻓﺔ ‪‬ﻳﺼ‪ ‬ﺮ ﻋﺒﺪﹰﺍ ﳍﺎ ﻭﻳﺴﻘﻂ ﻣﻦ ﻣﺮﺗﺒﺔ ﺍﻟﺴﻴ‪‬ﺪ ﺇﱃ ﻣﺼﺎ ‪‬‬
‫ﻭﻣﻦ ﻋﻠ ‪‬ﻮ ﺍﳊﻜﻤﺎﺀ ﺇﱃ ﺑﻘﻌﺔ ﺍﳉﻬﻼﺀ‪.‬‬
‫"ﺍﳉﻬﻞ" ﻫﻮ ﺍﻟﺴﺒﺐ ﺍﻷﻭ‪‬ﻝ ﻻﺭﺗﻜﺎﺏ ﺍﳋﻄﻴﺌﺔ ﻷﻧ‪‬ﻪ ﻋﻨﺪﻣﺎ ﳒﻬﻞ ﺳﺒﺐ‬
‫ﺳﻌﺎﺩﺗﻨﺎ ﻧﻨﻘﻞ ﻣﺮﻛﺰ ﻏﺒﻄﺘﻨﺎ ﻣﻦ ﺍﷲ ﺇﱃ ﺍﻟﺸﻬﻮﺍﺕ‪ .‬ﻭﻫﺬﺍ ﻫﻮ ﻋﺪﻡ ﺍﳊﻜﻤﺔ ﺑﻌﻴﻨﻪ‪.‬‬
‫ﷲ ﻋﺒﻴﺪ‪‬ﻩ ﺍﻟﺬﻳﻦ ﺃﺣﺒﻮﻩ‪ ،‬ﻣﻬﻤﺎ ﺍﺑﺘﻌﺪﻭﺍ‬
‫ﻟﻜﻦ ﺍﳊﻜﻤﺔ ﻏﺎﻟﺒﹰﺎ ﻣﺎ ﺗﺴﺘﻴﻘﻆ‪ .‬ﻭﻻ ﻳﺘﺮﻙ ﺍ ُ‬
‫ﻋﻨﻪ "ﲜﻬﻞ" ﺃﻥ ﺗﻘﻮﺩﻫﻢ ﺍﻷﻫﻮﺍﺀ ﻭﺍﳌﻴﻮﻝ‪ ،‬ﻭﺇﻧ‪‬ﻤﺎ "ﻳﺸﺎﺀ ﻋﻮﺩﺓ ﺍﳋﺎﻃﺊ ﻓﻴﺤﻴﺎ"‪.‬‬

‫‪ ١٥‬ﻳ‪‬ﺘﻠﻰ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﰲ ﺻﻼﺓ ﻧﺼﻒ ﺍﻟﻠﻴﻞ‪ ،‬ﺍﻟﺴﺤﺮ‪ ،‬ﺍﻟﺴﺎﻋﺔ ﺍﻟﺜﺎﻟﺜﺔ‪ ،‬ﺍﻟﻨﻮﻡ ﺍﻟﺼﻐﺮﻯ ﻭﺍﻟﻜﱪﻯ‪.‬‬
‫‪٤٠‬‬
 ‫ﱯ ﺩﺍﻭﻭﺩ‪ ،‬ﺫﺍﻙ‬ ‫ﻫﺬﺍ ﻣﺎ ﳛﺼﻞ ﻣﻊ ﻛ ﹼﻞ ﺇﻧﺴﺎﻥ ﻭﻫﺬﺍ ﻣﺎ ﺣﺼﻞ ﻣﻊ ﺍﻟﻨ ‪‬‬
‫ﺍﻟﺮﺟﻞ ﺍﳍﺎﺋﻢ ﲟﺤﺒ‪‬ﺔ ﺍﷲ‪ ،‬ﻓﻘﺪ ﲤﻠﱠﻜﺘ‪‬ﻪ ﺍﻟﺸﻬﻮﺓ ﻳﻮﻣﺎﹰ‪ ،‬ﻣﻦ ﻣﺸﻬﺪ ﻣﻔﺎﺟﺊ‪ ،‬ﻓﻌﻄﹼﻠﺖ‬
‫ﺐ ﷲ ﺇﱃ ﻋﺒﺪ ﺧﺎﺿﻊ "ﻟﺸﻬﻮﺗﻪ" ﻭﻧﺴﻲ‪،‬‬ ‫ﻓﻴﻪ ﺣﻜﻤﺘ‪‬ﻪ‪ .‬ﻭﺍﻧﻘﻠﺐ ﺍﳌﻠﻚ ﺍﳊﻜﻴﻢ ﺍﶈ ‪‬‬
‫ﺏ ﺍﻟﺬﻱ ﻛﺎﻥ ﻟﺬﹼﺗﻪ ﻭﺑﻪ ﻛﺎﻥ ﻳﻠﻬﺞ ﻟﻴﻞ ‪‬ﺎﺭ‪.‬‬ ‫ﺑﺴﻜﺮﻯ ﻫﻮﺍﻩ‪ ،‬ﻧﺎﻣﻮﺱ ﺍﻟﺮ ‪‬‬
‫ﺐ ﺍﻹﻧﺴﺎﻥ ﺃﻋﻤﻰ ﺑﺼﲑﺗﻪ ﻭﺩﻓﻌﻪ ﺇﱃ ﲢﻘﻴﻖ ﺭﻏﺒﺘﻪ ﺩﻭﻥ‬ ‫ﺇﺫﺍ ﲤﻠﹼﻚ ﺍﳍﻮﻯ ﻗﻠ ‪‬‬
‫ﻉ ﻣﻦ ﺿﻤﲑ ﻭﻻ ﻣﻦ ﻧﺎﻣﻮﺱ ﺃﻭ ﻣﻦ ﳏﺒ‪‬ﺔ ﺃﺧﻮﻳ‪‬ﺔ‪ .‬ﻫﻜﺬﺍ ﺃﺳﻘﻄﺖ ﺍﻟﺸﻬﻮ ﹸﺓ‬ ‫ﻭﺍﺯ ﹴ‬
‫ﺐ‬‫ﺐ ﷲ ﺍﻧﻘﻠ ‪‬‬ ‫ﻒ ﺍﳊ ‪‬‬‫ﺐ ﻋﻔﻴ ‪‬‬ ‫ﺩﺍﻭﻭ ‪‬ﺩ ﰲ ﺧﻄﻴﺌﺔ ﺍﻟﻘﺘﻞ ﺃﻳﻀﹰﺎ‪ .‬ﻓﺒﻴﻨﻤﺎ ﻛﺎﻥ ﻫﺬﺍ ﺍﻟﻘﻠ ‪‬‬
‫ﺇﱃ ﻣﺮﺗﻊ ﻟﻠﺮﻏﺒﺎﺕ‪ ،‬ﻋﻨﺪﻣﺎ ﱂ ﻳﺴﻴﻄﺮ ﻋﻠﻰ ﺣﻮﺍﺳﻪ ﺍﳋﺎﺭﺟﻴ‪‬ﺔ ﻭﱂ ﻳﺘﻴﻘﹼﻆ ﰲ‬
‫ﺲ ﺑﺎﻟﻌﺪﺍﻟﺔ ﻭﺍﻟﺮﺃﻓﺔ ﻭﻏﻄﹼﻰ‬
‫ﻃﺮﻳﻘﻪ ﻣ ‪‬ﺮ ﹰﺓ‪ .‬ﻭﻃﻤﺲ ﺍﳍﻮﻯ‪ ،‬ﰲ ﻗﻠﺐ ﺩﺍﻭﻭﺩ‪ ،‬ﻛ ﹼﻞ ﺣ ‪‬‬
‫ﻚ ﺍﻟﻌﺎﺩ ﹸﻝ ﺟﺮﻣﻪ ﻭﻓﻌﻠﻪ‪.‬‬‫ﻋﻠﻰ ﻛ ﹼﻞ ﻣﺎ ﺟﺮﻯ‪ .‬ﻭﺗﻨﺎﺳﻰ ﺍﳌﻠ ‪‬‬
‫ﺇﱃ ﺃﻥ ﺃﺭﺳﻞ ﺍﷲ ﻧﺒﻴ‪‬ﻪ "ﻧﺎﺛﺎﻥ"‪ ،‬ﺍﻟﺬﻱ ﻃﺮﺡ ﻋﻠﻰ ﺍﳌﻠﻚ ﰲ "ﻣﺜ ﹴﻞ" ﻗﺼﺔ‬
‫ﺼﺘ‪‬ﻪ ﻋﻴﻨﻬﺎ(‪ .‬ﻓﺤﻜﻢ ﺩﺍﻭﻭﺩ ﻓﻴﻬﺎ ﺑﻐﻀﺐ ﺇﳍ ‪‬ﻲ ﻭﻋﺪﻝ‪ ،‬ﻭﻟﻠﻮﻗﺖ‬ ‫ﻇﻠﻢﹴ؛ )ﻛﺎﻧﺖ ﻗ ‪‬‬
‫ﱯ‪ :‬ﺃﻧﺖ ﻫﻮ ﺍﻟﻈﺎﱂ ﺃﻳ‪‬ﻬﺎ ﺍﳌﻠﻚ‪.‬‬ ‫ﻗﺎﻝ ﻟﻪ ﻧﺎﺛﺎﻥ ﺍﻟﻨ ‪‬‬
‫ﺐ ﺣﻜﻤ ﹶﺔ ﺩﺍﻭﻭﺩ ﺍﻟﻨﺎﺋﻤﺔ ﻭﻧـﺰﻉ ﻋﻨﻪ ﺳﻴﻄﺮﺓ ﺍﳍﻮﻯ‬ ‫ﻋﻨﺪﻫﺎ ﺃﻳﻘﻆ ﺍﻟﻐﻀ ‪‬‬
‫ﱯ ﻛﺎﳉﺮﻳﺢ ﻓﺄﺳﺮﻉ ﺇﱃ ﺇﺭﺿﺎﺀ ﺍﷲ‪ ،‬ﻓﺠﺎﺀﺕ ﻋﺒﺎﺭﺍﺗ‪‬ﻪ ﻣﻦ‬ ‫ﻭﻋﻤﺎﻩ‪ .‬ﻭﺍﻧﺘﻔﺾ ﺍﻟﻨ ‪‬‬
‫ﺃﻗﻮﻯ ﻛﻠﻤﺎﺕ ﺍﻟﺘﻮﺑﺔ ﺍﻟﱵ ﻋﺮﻓﺘﻬﺎ ﺍﻟﺒﺸﺮﻳ‪‬ﺔ‪.‬‬

‫ﺇ ﹼﻥ "ﺍﳌﺰﻣﻮﺭ ﺍﳋﻤﺴﲔ" ﻫﻮ "ﺻﻼﺓ ﺍﻟﺘﻮﺑﺔ"‪ .‬ﻛ ﹼﻞ ﺍﻟﺼﻠﻮﺍﺕ ﲢﻤﻞ ﰲ ﻃﻴ‪‬ﺎ‪‬ﺎ‬

‫"ﺗﻮﺑﺔ"‪ ،‬ﻟﻜﻦ ﺑﻌﺾ ﺍﻟﺼﻠﻮﺍﺕ ﻭﺧﺎﺻ‪‬ﺔ ﺑﻌﺾ ﺍﳌﺰﺍﻣﲑ ﺗﺴﻤ‪‬ﻰ "ﻣﺰﺍﻣﲑ ﺍﻟﺘﻮﺑﺔ"‪ ،‬ﳌﺎ‬
‫ﺗﺘﺤﻠﹼﻰ ﺑﻪ ﻣﻦ ﻋﺒﺎﺭﺍﺕ ﺣﺎﺭ‪‬ﺓ ﻭﺗﻨﻬ‪‬ﺪﺍﺕ ﻋﻤﻴﻘﺔ‪ .‬ﺻﻼﺓ ﺍﻟﻨﻮﻡ ﺍﻟﻜﱪﻯ‪ ،‬ﻣﺜﻠﻬﺎ‬
‫ﺍﻟﺼﻐﺮﻯ ﺗﻘﺮﻳﺒﺎﹰ‪ ،‬ﲢﺘﻮﻱ ﻋﻠﻰ ﺃﲨﻞ ﻫﺬﻩ ﺍﳌﺰﺍﻣﲑ‪ ،‬ﺃﻣ‪‬ﺎ ﺍﳌﺰﻣﻮﺭ ﺍﳋﻤﺴﻮﻥ ﻓﻬﻮ ﻗﻤ‪‬ﺔ‬

‫‪٤١‬‬
‫ﻫﺬﻩ ﺍﳌﺰﺍﻣﲑ‪ .‬ﳍﺬﺍ ﻧﺪﺭﻙ ﺳﺒﺐ ﺍﺳﺘﺨﺪﺍﻣﻪ ﺍﳌﺘﻮﺍﺗﺮ ﰲ ﺍﻟﻜﻨﻴﺴﺔ ﺑﺸﻜﻞ ﳑﻴ‪‬ﺰ ﻋﻦ‬
‫ﺳﺎﺋﺮ ﺍﳌﺰﺍﻣﲑ ﺍﻷﺧﺮﻯ‪ .‬ﻓﺒﻪ ﺗﺒﺪﺃ ﺻﻼ ﹸﺓ ﻣﻨﺼﻒ ﺍﻟﻠﻴﻞ ﻭﻳ‪‬ﻌﺎﺩ ﰲ ﺍﻟﺴﺤﺮ ﺃﻳﻀﹰﺎ ﻭﰲ‬
‫ﻒ ﺇﱃ ﺫﻟﻚ ﺻﻼﺓ ﺍﻟﻨﻮﻡ‪ ،‬ﻭﻫﺬﺍ ﻳﻮﻣ‪‬ﻴﹰﺎ‪ .‬ﻭﻟﻌﻠﹼﻪ‬ ‫ﺻﻠﻮﺍﺕ ﺍﻟﺴﺎﻋﺎﺕ ﻧﻜﺮ‪‬ﺭﻩ‪ ،‬ﺃﺿ ‪‬‬
‫ﺍﳌﺰﻣﻮﺭ ﺍﻷﻭ‪‬ﻝ ﺍﻟﺬﻱ ﳛﻔﻈﻪ ﺃﻏﻠﺐ ﺍﳌﺆﻣﻨﲔ ﻏﻴﺒﹰﺎ ﻭﻳﺮﺩ‪‬ﺩﻭﻧﻪ‪.‬‬
‫ﺍﻟﻮﻗﻔﺔ ﻋﻨﺪ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﺍﻟﺮﺍﺋﻊ ﻭﺍﻟﺘﺄﻣ‪‬ﻞ ﻓﻴﻪ ﺿﺮﻭﺭﻳ‪‬ﺎﻥ‪ ،‬ﻟﻜﻲ ﺗﻨﺘﻘﻞ ﺍﻟﺼﻼﺓ‬
‫ﻣﻦ ﺍﻟﺸﻔﺎﻩ ﺇﱃ ﺍﻷﺫﻫﺎﻥ ﻭﻣﻦ ﹼﰒ ﺇﱃ ﺍﻟﻘﻠﺐ‪ .‬ﻋﻨﺪﻣﺎ ﻧﺼﻠﹼﻲ ﻳﺘﻮﺟ‪‬ﺐ ﻋﻠﻴﻨﺎ ﺃ ‪‬ﻭ ﹰﻻ ﺃﻥ‬
‫ﻧﻔﺘﺢ ﺷﻔﺎﻫﻨﺎ ﻭﺃﻥ ﳔﺼ‪‬ﺺ ﺍﻟﻮﻗﺖ ﻭﺃﻥ ﳒﺪ ﳍﺎ‪ ،‬ﺇﻥ ﺃﻣﻜﻦ‪ ،‬ﺍﳌﻜﺎﻥ‪ .‬ﹼﰒ ﺑﻌﺪ ﺫﻟﻚ‬
‫ﻳ‪‬ﺘﻄﻠﱠﺐ ﻣﻨ‪‬ﺎ ﺃﻥ ﻧﻔﻬﻢ ﺑﺎﻟﺬﻫﻦ ﻣﺎ ﻧﻘﺮﺃ ﻭﻣﺎ ﻧﻘﻮﻝ‪ ،‬ﺃﻥ ﻧﺼﻠﹼﻲ ﺑﺬﻫﻨﻨﺎ‪ ،‬ﺃﻥ ﳛﻀﺮ‬
‫ﺍﻟﺬﻫﻦ ﰲ ﺍﻟﺼﻼﺓ‪ ،‬ﻭﻋﻨﺪﻫﺎ ﻻ ﺑ ‪‬ﺪ ﻣﻦ ﺃﻥ ﺗﻨـﺰﻝ ﺍﻟﺼﻼ ﹸﺓ ﺇﱃ ﺍﻟﻘﻠﺐ ﻭﺗﺮﻭﻳﻪ‪.‬‬

‫)ﺍﻟﻌﻨﻮﺍﻥ( ﰲ ﺍﻟﻨﻬﺎﻳﺔ‪ ،‬ﻣﺰﻣﻮﺭ ﻟﺪﺍﻭﻭﺩ‪ ،‬ﻋﻨﺪﻣﺎ ﺩﺧﻞ ﺇﻟﻴﻪ ﻧﺎﺛﺎﻥ ﺍﻟﻨﱯ‪ ،‬ﺑﻌﺪﻣﺎ‬
‫ﺩﺧﻞ ﺇﱃ ﺑﺘﺸﺎﺑﻊ ﺇﻣﺮﺃﺓ ﺃﻭﺭﻳ‪‬ﺎ‬
‫ﻳﺒﺪﺃ ﻫﺬﺍ ﺍﻟﻌﻨﻮﺍﻥ ﺑﻜﻠﻤﺔ ﰲ "ﺍﻟﻨﻬﺎﻳﺔ" ﺃﻱ ﻳﺘﻜﻠﹼﻢ ﻋﻦ ﺍﻷﺧﺮﻭﻳ‪‬ﺎﺕ‪ .‬ﻓﺎﳌﺰﻣﻮﺭ‬
‫ﱯ ﺭﻏﻢ‬ ‫ﻳﻨﺘﻬﻲ ﺑﺘﻠﻚ ﺍﻟﺪﻋﻮﺓ ﺃﻭ ﺍﻟﻨﺒﻮﺀﺓ‪" :‬ﻭ‪‬ﻟ‪‬ﺘ‪‬ﺒ ‪‬ﻦ ﺃﺳﻮﺍﺭ ﺃﻭﺭﺷﻠﻴﻢ"‪ ،‬ﻓﺪﺍﻭﻭﺩ ﺍﻟﻨ ‪‬‬
‫ﺖ ﻟﺪﻳﻪ‬‫ﺧﻄﻴﺌﺘﻪ‪ ،‬ﻛﻤﺎ ﺳﻨﺮﻯ ﰲ ﳎﺮﻯ ﺍﳌﺰﻣﻮﺭ‪ ،‬ﱂ ﳜﺴﺮ ﺭﻭﺡ ﺍﷲ ﻛﻠ‪‬ﻴﹰﺎ ﻭﺑﻘﻴ ‪‬‬
‫ﻣﻮﻫﺒﺔ ﺍﻟﻨﺒﻮﺀﺓ‪ .‬ﳍﺬﺍ ﻳﻘﻮﻝ ﰲ ﺍﳌﺰﻣﻮﺭ "ﻭﺭﻭﺣ‪‬ﻚ ﺍﻟﻘﺪﻭﺱ ﻻ ﺗﻨـﺰﻋ‪‬ﻪ ﻣﻨ‪‬ﻲ"‪.‬‬
‫ﻭﺍﻵﻳﺔ )‪ (٢‬ﺗﻮﺟﺰ ﺗﺎﺭﻳﺦ ﻗﺼ‪‬ﺔ ﺩﺍﻭﻭﺩ ﻣﻊ ﺧﻄﻴﺌﺘﻪ‪ .‬ﺍﻟﻮﺍﺿﺢ ﺃ ﹼﻥ ﺩﺍﻭﻭﺩ ﱂ‬
‫ﺐ ﺑﺎﻟﺒﺪﺍﻳﺔ‪ ،‬ﺑﻌﺪ ﺧﻄﻴﺌﺘﻪ ﻋﻠﻰ ﺍﻟﻔﻮﺭ‪ ،‬ﻭﻟﻜﻦ "ﺑﻌﺪﻣﺎ" ﺃﻱ ﺑﻌﺪ ﺯﻣﻦ ﻭﻓﺘﺮﺓ‬ ‫ﻳﺘ ‪‬‬
‫ﻕ ﺗﻮﺑﺔ‪ ،‬ﻟﻴﻌﻮﺩ ﻫﺬﺍ‬ ‫ﷲ ﺇﻟﻴﻪ ﺑﻮ ‪‬‬
‫ﻓﺎﺻﻠﺔ‪ .‬ﺩﺧﻞ ﻋﻠﻴﻪ ﺍﻟﻨﱯ‪ ‬ﻧﺎﺛﺎﻥ‪ ،‬ﺑﻞ ﺃﺭﺳﻠﻪ ﻟﻪ ﺍ ُ‬
‫ﺐ ﺇﱃ ﻳﻘﻈﺘﻪ ﻭﺇﱃ ﻫﻮﺍﻩ ﺍﳊﻘﻴﻘ ‪‬ﻲ ﺍﻟﺼﺤﻴﺢ‪ ،‬ﻟﻴﻌﻮﺩ ﻗﻠﺐ ﺩﺍﻭﻭﺩ ﺇﱃ ﳏﺒ‪‬ﺔ ﺍﷲ‬ ‫ﺍﻟﻘﻠ ‪‬‬
‫ﻭﻋﺸﻖ ﺇﺭﺍﺩﺗﻪ ﻓﻘﻂ‪.‬‬

‫‪٤٢‬‬
‫ﻳﻘﻮﻝ ﻓ ‪‬ﻢ ﺍﻟﺬﻫﺐ‪ ،‬ﺇ ﹼﻥ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ "ﻣﻔﻴﺪ ﻟﻠﺨﺎﻃﺊ ﻓﻌﻼﹰ‪ ،‬ﺍﻟﺬﻱ ﺃﳘﻞ‬
‫ﻼ ﻭﻧﺎﻡ ﻋﻠﻴﻬﺎ"‪ ،‬ﻓﻬﺬﻩ ﻛﺎﻧﺖ ﺣﺎﻟﺔ ﺩﺍﻭﻭﺩ‪ .‬ﺇﻥ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ‬ ‫ﺧﻄﻴﺌﺘﻪ ﺯﻣﻨﹰﺎ ﻃﻮﻳ ﹰ‬
‫ﻗﺎﺩﺭ‪ ،‬ﻋﻨﺪﻣﺎ ﻧﻌﺮﻑ ﺟﻴ‪‬ﺪﹰﺍ ﻗﺼ‪‬ﺘﻪ‪ ،‬ﺃﻥ ﻳﻮﻗﻆ ﻛ ﹼﻞ ﻧﺎﺋﻢ ﺃﻭ ﻣﺴﺘﺴﻠﻢ ﳋﻄﺎﻳﺎ ﻗﺪﳝﺔ‬
‫ﺃﻳﻀﹰﺎ‪ .‬ﺍﻟﺘﻮﺑﺔ ﻻ ﺗﻌﺮﻑ ﺣﻮﺍﺟﺰ ﺯﻣﻨﻴ‪‬ﺔ‪ .‬ﻳﻜﻔﻲ ﺍﺳﺘﻴﻘﺎﻅ ﺍﻟﻀﻤﲑ ﻭﺃﻥ ﻧﺘﻄﻬ‪‬ﺮ‪،‬‬
‫ﻭ‪‬ﻧﺪﺧ‪‬ﻞ ﺍﻟﺴﻼ ‪‬ﻡ ﺍﳊﻘﻴﻘ ‪‬ﻲ ﺇﱃ ﻗﻠﻮﺑﻨﺎ‪ ،‬ﻭﺃﻥ ﻧﺘﺼﺎﱀ ﻣﻊ ﺍﷲ‪ .‬ﻛﻤﺎ ﺃ ﹼﻥ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ‬
‫ﻣﻔﻴﺪ ﺃﻳﻀﹰﺎ ﻟﻠﻤﺒﺘﺪﺋﲔ ﰲ ﺍﻹﳝﺎﻥ‪ ،‬ﻓﻬﻮ "ﻳﻌﻠﹼﻤﻬﻢ ﺃ ﹼﻻ ﻳﺴﻬﻮﺍ ﻭﺃﻥ ﻳﺘﻴﻘﹼﻈﻮﺍ‪ ،‬ﻭﺃ ﹼﻻ‬
‫ﻳﺘﻜﺎﺳﻠﻮﺍ"‪ ،‬ﻓﻬﻮ ﻳﻔﻴﺪ ﺍﳋﺎﻃﺊ ﻟﻜﻲ ﻻ ﻳﻴﺄﺱ‪ ،‬ﻭﺍﻟﺒﺎ ‪‬ﺭ ﻟﻜﻲ ﻳﺘﻴﻘﻆ ﺩﻭﻣﹰﺎ ﻭﻳﺴﻬﺮ‬
‫ﻋﻠﻰ ﺧﻼﺻﻪ‪.‬‬

‫ﺢ ﻣﺂﲦﻲ‬ ‫)‪ (١‬ﺍﺭﲪﲏ ﻳﺎ ﺍﷲ‪ ،‬ﻛﻌﻈﻴﻢ ﺭﲪﺘﻚ‪ ،‬ﻭﻛﻤﺜﻞ ﻛﺜﺮﺓ ﺭﺃﻓﺎﺗﻚ ﺍﻣ ‪‬‬
‫ﺐ ﻟﺮﲪﺘﻪ‪،‬‬ ‫ﻉ ﺃﻣﺎﻡ ﺍﷲ ﻭﻃﻠ ‪‬‬ ‫ﻫﺬﻩ ﻫﻲ ﺍﻟﺼﻼﺓ ﺍﳊﻘﻴﻘﻴ‪‬ﺔ‪ ،‬ﺇﻧ‪‬ﻬﺎ ﻭﻗﻔ ﹸﺔ ﺧﺸﻮ ﹴ‬
‫ﺇﻧ‪‬ﻬﺎ ﺍﻟﺸﻌﻮﺭ ﺍﳊﻘﻴﻘ ‪‬ﻲ ﺑﺄﻧ‪‬ﻲ ﺧﺎﻃﺊ‪ ،‬ﺇﻧ‪‬ﻬﺎ ﻣﻌﺮﻓﺔ ﺍﻟﺬﺍﺕ ﻭﺍﻹﻗﺮﺍﺭ ﺑﺎﻟﻀﻌﻔﺎﺕ‪ .‬ﻟﻜﻦ‬
‫ﺍﳉﻤﻴﻞ ﻫﻨﺎ ﰲ ﺻﻼﺓ ﺩﺍﻭﻭﺩ‪ ،‬ﺃﻧ‪‬ﻪ ﻳﺴﺘﺤﻠﻒ ﺍﷲ ﻟﻜﻲ ﻳﺮﲪﻪ ﻛﺜﲑﺍﹰ‪ ،‬ﻻ ﻋﻠﻰ‬
‫ﻣﻘﺪﺍﺭ ﺣﺮﺍﺭﺓ ﻃﻠﺒﻪ‪ ،‬ﻓﺼﻼﺗﻪ ﺗﺒﺪﻭ ﻟﻪ ﰲ ﻋﻴﻨﻴﻪ ﺑﺎﺭﺩﺓ ﻭﻏﲑ ﻣﺴﺘﺤﻘﹼﺔ‪ ،‬ﻭﻟﻜﻦ‬
‫ﺖ ﺍﺭﲪ‪‬ﲏ ﻛﺈﻟﻪ‪ .‬ﻫﻜﺬﺍ ﻳﺸﺮﺡ‬ ‫ﺕ ﻛﺈﻧﺴﺎﻥ ﻓﺄﻧ ‪‬‬ ‫ﻳﺴﺘﺤﻠﻔﻪ ﺑﻜﺜﺮﺓ ﺭﲪﺘﻪ‪ .‬ﺃﻧﺎ ﺃﺧﻄﺄ ‪‬‬
‫ﺃﻏﺴﻄﻴﻨﻮﺱ ﺍﳌﻐﺒﻮﻁ‪ :‬ﺇ ﹼﻥ ﻣ‪‬ﻦ ﻳﺸﻌﺮ ﺣ ﹼﻘﹰﺎ ﺑﺄ ﹼﻥ ﺧﻄﻴﺌﺘﻪ ﺟﺴﻴﻤﺔ‪ ،‬ﻳﻄﻠﺐ ﺭﲪﺔ‬
‫ﻼ‬‫ﻋﻈﻴﻤﺔ‪ .‬ﳍﺬﺍ ﻣ‪‬ﻦ ﻳ‪‬ﺨﻄﺊ ﺳﻬﻮﹰﺍ ﻳﺸﻌﺮ ﺑﺸﻜﻞ ﻣﻦ ﺍﻷﺷﻜﺎﻝ ﺑﺄﻧ‪‬ﻪ ﻳﻄﻠﺐ ﻣﺜ ﹰ‬
‫ﺭﲪﺔ ﺻﻐﲑﺓ ﻣﻦ ﺍﷲ‪ .‬ﺃﻣ‪‬ﺎ ﻣ‪‬ﻦ ﻳﺸﻌﺮ ﺑﺄ ﹼﻥ ﺧﻄﻴﺌﺘﻪ ﻫﻲ ﺟﺮﻣﻪ ﻭﻣﺴﺆﻭﻟﻴ‪‬ﺘﻪ ﺃﻣﺎﻡ ﺍﷲ‪،‬‬
‫ﻳﻄﻠﺐ ﺭﲪﺔ ﻋﻈﻴﻤﺔ‪ ،‬ﺑﻜﻼﻡ ﺁﺧﺮ‪ :‬ﻳﻄﻠﺐ ﲝﺮﺍﺭﺓ‪.‬‬
‫ﻼ "ﻳﺎ ﺍﷲ"؛ ﻭﻫﻮ ﺍﻟﺬﻱ ﺍﻋﺘﺎﺩ‬ ‫ﻭﻫﻨﺎ ﻋﻠﻰ ﻏﲑ ﻋﺎﺩﺗﻪ‪ ،‬ﻳﻨﺎﺩﻱ ﺩﺍﻭﻭﺩ ﺍﷲ ﻗﺎﺋ ﹰ‬
‫ﺏ ﺷﺨﺼ ‪‬ﻲ‪ .‬ﻫﻨﺎ ﻳﺒﺪﻭ ﺃ ﹼﻥ‬ ‫ﷲ ﻛﺄﺏ ﻭﺭ ‪‬‬ ‫ﺩﺍﺋﻤﹰﺎ ﺃﻥ ﻳﻘﻮﻝ "ﻳﺎ ﺍﷲ ﺇﳍﻲ"‪ ،‬ﻭﺃﻥ ﻳﻜﻠﹼﻢ ﺍ َ‬

‫‪٤٣‬‬
‫ﺏ ﺇﳍﻬﺎ‪ ،‬ﺭﻏﻢ ﺇﳝﺎﻧﻪ ﻭﻳﻘﻴﻨﻪ‬ ‫ﻟﻴﺲ ﻟﺪﺍﻭﻭﺩ ﺟﺮﺃﺓ ﺗﻨﻈﺮ ﺇﱃ ﺍﻟﺴﻤﺎﺀ ﻭﺗﺴﻤ‪‬ﻲ ﺍﻟﺮ ‪‬‬
‫ﺑﺬﻟﻚ‪ ،‬ﻟﻜﻦ ﺍﳋﻄﻴﺌﺔ ﺳﺮﻗﺖ ﻣﻨﻪ "ﺩﺍﻟﹼﺔ" ﻣﻨﺎﺩﺍﺓ ﺍﷲ ﻣﻀﺎﻓﹰﺎ ﺇﻟﻴﻪ ﻳﺎﺀ ﺍﳌﺘﻜﻠﹼﻢ‪ .‬ﻣ‪‬ﻦ‬
‫ﺏ‬
‫ﺍﻋﺘﺎﺩ ﺃﻥ ﻳﻘﻮﻝ "ﻳﺎ ﺍﷲ ﺇﳍﻲ ﺇﻟﻴﻚ ﺃﺑ ﹼﻜﺮ"‪ ،‬ﻭ"ﻫﻢ ﺳﻘﻄﻮﺍ ﺃﻣ‪‬ﺎ ﳓﻦ ﻓﺒﺎﺳﻢ ﺍﻟﺮ ‪‬‬
‫ﺇﳍﻨﺎ ‪‬ﻀﻨﺎ"‪ ،‬ﻛﺎﻧﺖ ﻟﻪ ﺍﻟﺪ‪‬ﺍﻟﺔ ﻭﺍﻵﻥ ﻫﺎ ﻗﺪ ﻓﻘﺪﻫﺎ‪.‬‬

‫ﻣﻦ ﻋﺎﺩﺓ ﺃﺷﻌﺎﺭ ﺍﳌﺰﺍﻣﲑ‪ ،‬ﺇﺫ ﻳﺸﻌﺮ ﻗﻠﺐ ﺍﳌﺮﻧ‪‬ﻢ ﺑﺄ ﹼﻥ ﺍﻟﻜﻠﻤﺎﺕ ﻻ ﺗﻌﺒ‪‬ﺮ‪ ،‬ﺃﻥ‬
‫ﻳﺘﻮﺳ‪‬ﻊ ﰲ ﺍﻟﺸﺮﺡ‪ .‬ﻟﺬﻟﻚ ﰲ ﺑﻴﺖ ﺍﻟﺸﻌﺮ‪ ،‬ﺍﻟﺸﻄﺮ ﺍﻟﺜﺎﱐ ﻳﺸﺮﺡ ﺍﻷﻭ‪‬ﻝ ﻭﺫﻟﻚ‬
‫ﺑﺄﺳﻠﻮﺑ‪‬ﲔ‪ :‬ﺇﻣ‪‬ﺎ ﺑﺎﻹﺳﻬﺎﺏ‪ ،‬ﺃﻱ ﻳﺘﺎﺑﻊ ﺍﳌﻌﲎ ﺫﺍﺗﻪ ﺑﺼﻮﺭ ﺃﺧﺮﻯ ﻭﻛﻠﻤﺎﺕ ﻣﻮﺍﺯﻳﺔ‬
‫ﺗﺸﺮﺡ ﺍﻟﺸﻄﺮ ﺍﻷﻭ‪‬ﻝ؛ ﻭﺇ ‪‬ﻣﺎ ﺃﻥ ﻳﺸﺮﺣﻪ ﺑﺼﻮﺭﺓ ﻋﻜﺴﻴ‪‬ﺔ‪ ،‬ﺃﻱ ﺃﻥ ﻳﺮﻓﺾ ﻧﻘﻴﺾ‬
‫ﺍﻟﺸﻄﺮ ﺍﻷﻭ‪‬ﻝ‪.‬‬
‫ﻫﻨﺎ ﰲ ﺍﻵﻳﺔ )‪ (٣‬ﻳﺴﻬﺐ ﺍﻟﺸﻄﺮ ﺍﻟﺜﺎﱐ ﺑﺸﺮﺡ ﺍﻷﻭ‪‬ﻝ‪ ،‬ﻓﻴﻘﻮﻝ ﺍﺭﲪ‪‬ﲏ‬
‫ﻛﻌﻈﻴﻢ ﺭﲪﺘﻚ‪ ،‬ﹼﰒ ﻭﻛﻤﺜﻞ ﺭﺃﻓﺎﺗﻚ ﺍﻣ ‪‬ﺢ ﻣﺂﲦﻲ‪ .‬ﻭﻫﺬﺍ ﻣﺎ ﻳﺘﺒﻌﻪ ﻏﺎﻟﺒﹰﺎ ﰲ ﻫﺬﺍ‬
‫ﺍﳌﺰﻣﻮﺭ‪ ،‬ﻓﻬﻨﺎﻙ ﻳﺴﺘﺤﻠﻒ ﺍﷲ ﺑﻌﻈﻴﻢ ﺭﲪﺘﻪ ﻭﻫﻨﺎ ﺑـ "ﻛﺜﺮﺓ ﺍﻟﺮﺃﻓﺎﺕ"‪ ،‬ﻫﻨﺎﻙ‬
‫ﻼ ﺍﻟـ ‪ ،٣٩‬ﻧﺮﺍﻩ ﳝﻴﻞ ﺇﱃ‬ ‫ﻳﻄﻠﺐ ﺭﲪﺘﻪ ﻭﻫﻨﺎ ﻳﻄﻠﺐ ﺍﻟﻐﻔﺮﺍﻥ‪ .‬ﺃﻣ‪‬ﺎ ﰲ ﺍﳌﺰﻣﻮﺭ ﻣﺜ ﹰ‬
‫ﺕ ﺑﱪ‪‬ﻙ ﰲ ﺍﳉﻤﺎﻋﺔ ﺍﻟﻌﻈﻴﻤﺔ"‪،‬‬ ‫ﻼ‪" :‬ﺑﺸ‪‬ﺮ ‪‬‬
‫ﺍﻟﺸﺮﺡ ﺑﺸﻜﻞ ﻣﻌﺎﻛﺲ‪ .‬ﻓﻴﻘﻮﻝ ﻣﺜ ﹰ‬
‫ﱵ ﱂ ﺃﻏﻠﻘﹾﻬﻤﺎ"‪" ،‬ﱂ ﺃﻛﺘ ‪‬ﻢ ﻋﺪﻟﻚ ﰲ ﻭﺳﻂ ﻗﻠﱯ‪ ."...‬ﻓﻤﻌﲎ ﺍﻟﺸﻄﺮ‬ ‫"ﻫﻮﺫﺍ ﺷﻔ ‪‬‬
‫ﺍﻟﻼﺣﻖ ﻳﻮﺿﺢ ﺍﻟﺴﺎﺑﻖ ﻭﻟﻜﻨ‪‬ﻪ ﻳﺴﺘﺨﺪﻡ ﺍﳌﻌﲎ ﺍﳌﻌﺎﻛﺲ‪.‬‬
‫ﻫﻨﺎ ﺇﺫﻥ ﻳﻄﻠﺐ ﺍﳌﺮ‪‬ﻧ ‪‬ﻢ ﺭﲪ ﹶﺔ ﺍﷲ ﻛﻌﻈﻴﻢ ﺭﲪﺘﻪ‪ ،‬ﹼﰒ ﻳﺴﻬﺐ ﻭﻳﺘﺎﺑﻊ‪:‬‬
‫ﻭﻛﻤﺜﻞ ﺭﺃﻓﺎﺗﻚ ﺍﻣ ‪‬ﺢ ﻣﺂﲦﻲ‪" .‬ﻓﺎﷲ ﺭﺣﻮﻡ ﻭﺭﺃﻭﻑ ﻭﻃﻮﻳﻞ ﺍﻷﻧﺎﺓ‪ ،‬ﻟﻴﺲ ﺇﱃ‬
‫ﺍﻟﺪﻫﺮ ﻳﺴﺨﻂ ﻭﻻ ﺇﱃ ﺍﻷﺑﺪ ﳛﻘﺪ"‪ .‬ﺗﺴﻤﺢ ﺭﺃﻓ ﹸﺔ ﺍﷲ ﻟﺪﺍﻭﻭﺩ ﺑﺎﻟﺘﻐﻨ‪‬ﻲ ﺃﻛﺜﺮ‬
‫ﺑﺮﲪﺘﻪ‪ ،‬ﻓﻜﻤﺎ ﺃ ﹼﻥ ﺍﷲ ﻋﻈﻴﻢ ﺍﻟﺮﲪﺔ ﻫﻮ ﻛﺜﲑ ﺍﻟﺮﺃﻓﺎﺕ‪.‬‬

‫‪٤٤‬‬
‫ﻫﻨﺎ ﻳﺴﺘﺨﺪﻡ ﺩﺍﻭﻭﺩ ﻛﻠﻤﺔ ﻣﺂﲦﻲ‪ .‬ﻛﻠﻤﺎﺕ ﻣﺜﻞ‪ :‬ﺧﻄﻴﺌﺔ ﻭﺇﰒ ﻭﺫﻧﺐ‪،‬‬
‫ﻱ‪ .‬ﺑﺸﻜﻞ ﻋﺎ ‪‬ﻡ ﺧﻄﻴﺌﺔ ﻫﻲ ﻛ ﹼﻞ‬ ‫ﻳﺘﺒﺪ‪‬ﻝ ﺍﺳﺘﺨﺪﺍﻣ‪‬ﻬﺎ ﺑﺎﻟﻜﺘﺎﺏ ﺑﺸﻜﻞ ﻋﻔﻮ ‪‬‬
‫ﺧﻄﺄ‪،‬ﻛﺎﻥ ﲟﻌﺮﻓﺔ ﺃﻭ ﻏﲑ ﻣﻌﺮﻓﺔ‪ ،‬ﻃﻮﻋﹰﺎ ﺃﻭ ﻛﺮﻫﹰﺎ‪ .‬ﺃﻣ‪‬ﺎ ﻣﺴﺆﻭﻟﻴ‪‬ﺔ ﺧﻄﻴﺌﺔ ﻋﻦ‬
‫ﺃﺧﺮﻯ ﻓﺘﺨﺘﻠﻒ‪ .‬ﻓﺎﻹﰒ ﻓﻬﻮ ﻣﺎ ﻳﺘ ‪‬ﻢ ﻣﻦ ﺍﳋﻄﺎﻳﺎ ﲟﻌﺮﻓﺔ‪ .‬ﺍﻹﰒ ﻫﻮ ﺍﻟﺘﻌﺪ‪‬ﻱ‪ ،‬ﺃﻱ ﺃﻥ‬
‫ﻳﻜﺴﺮ ﺍﻹﻧﺴﺎﻥ ﺍﻟﻮﺻﺎﻳﺎ ﺍﻟﱵ ﻳﻌﺮﻓﻬﺎ‪ .‬ﻭﺩﺍﻭﻭﺩ ﻫﻨﺎ ﹶﺃ‪‬ﺛ ‪‬ﻢ ﻣ ‪‬ﺮﺗ‪‬ﲔ ﺇﱃ ﺍﷲ ﻭﻧﺎﻣﻮﺳﻪ؛‬
‫ﻭﻫﻮ ﻳﻌﺘﺮﻑ ﻫﻨﺎ ﺑﺈﲦﻪ ﻭﻟﻴﺲ ﻓﻘﻂ ﻳﺸﻜﻮ ﺧﻄﺄﻩ‪ ،‬ﺇﻧ‪‬ﻪ ﻳﻘ ‪‬ﺮ ﺑﻜﺎﻣﻞ ﺫﻧﺒﻪ‬
‫ﻭﻣﺴﺆﻭﻟﻴ‪‬ﺘﻪ "ﻭﻻ ﻳﺘﻌﻠﹼﻞ ﺑﻌﻠﻞ ﺍﳋﻄﺎﻳﺎ"‪.‬‬

‫)‪ (٢‬ﺍﻏﺴﻠﹾﲏ ﻛﺜﲑﹰﺍ ﻣﻦ ﺇﲦﻲ‪ ،‬ﻭﻣﻦ ﺧﻄﻴﺌﱵ ﻃﻬ‪‬ﺮ‪‬ﱐ‬

‫ﺖ‬
‫ﻻ ﺃﻃﻠﺐ ﺃﻥ ﲤﺤﻮ ﻓﻘﻂ ﻣﺂﲦﻲ ﻣﻦ ﺳﻔﺮ ﺣﻜﻤﻚ ﺍﻷﺧﲑ ﻭﺍﻟﺮﻫﻴﺐ‪ ،‬ﻟﺴ ‪‬‬
‫ﺃﺭﺟﻮ ﺻﻔﺤﹰﺎ ﻋﻦ ﺫﻧﺐ ﺍﻗﺘﺮﻓﺘﻪ ﻓﻘﻂ‪ ،‬ﻭﺇﻧ‪‬ﻤﺎ ﺃﻃﻠﺐ ﺃﻥ ﲣﻠﱢﺼﲏ ﻣﻦ ﺧﻄﻴﺌﱵ ﺍﻟﱵ‬
‫ﻛﺮﻫﺘﻬﺎ‪ ،‬ﺍﳏ‪‬ﻬﺎ ﻟﻴﺲ ﻣﻦ ﺳﺠﻼﹼﺗﻚ ﻟﻜﻦ ﻣﻦ ﻗﻠﱯ‪ ،‬ﺍﻧـﺰﻋ‪‬ﻬﺎ ﻟﻴﺲ ﻣﻦ ﺣﺴﺎﺑﻚ‬
‫ﱯ ﺫﻟﻚ ﺑﺼﻮﺭﺓ ﺃﻭﺿﺢ ﻭﻳﻘﻮﻝ‪" :‬ﻭﻣﻦ ﺧﻄﻴﺌﱵ‬ ‫ﻟﻜﻦ ﻣﻦ ﺣﻴﺎﰐ‪ .‬ﳍﺬﺍ ﻳﺸﺮﺡ ﺍﻟﻨ ‪‬‬
‫ﻃ ‪‬ﻬﺮ‪‬ﱐ"‪ ،‬ﻃ ‪‬ﻬﺮ‪‬ﱐ ﻣﻦ ﻗﺮﻭﺣﻲ ﺍﻟﱵ ﺗﺆﳌﲏ‪ .‬ﻫﺬﻩ ﻫﻲ ﺍﻟﺘﻮﺑﺔ‪ ،‬ﻛﻤﺎ ﻳﻘﻮﻝ ﺍﻟﻘﺪ‪‬ﻳﺲ‬
‫ﺍﺳﺤﻖ ﺍﻟﺴﺮﻳﺎﱐﹼ‪ ،‬ﻫﻲ ﺃﻥ ﻧﻜﺮﻩ ﺧﻄﻴﺌﺘﻨﺎ‪ .‬ﺟﺎﺀ ﺍﳌﺴﻴﺢ ﻟﻴﻨـﺰﻉ ﺍﻟﺸ ‪‬ﺮ ﻣﻦ‬
‫ﺟﺬﻭﺭﻩ‪ ،‬ﻭﻟﻴﺲ ﻟﻴﻤﺤﻮ ﳎﺮ‪‬ﺩ ﺳﻬﻮﺍﺕ‪ .‬ﻟﻨﺘﻄﻬ‪‬ﺮ ﻷ ﹼﻥ ﺃﻧﻘﻴﺎﺀ ﺍﻟﻘﻠﻮﺏ ﻓﻘﻂ ﺳﻮﻑ‬
‫ﻳﻌﺎﻳﻨﻮﻥ ﺍﷲ‪ .‬ﻭﻛﻠﻤﺔ "ﻃ ‪‬ﻬﺮ‪‬ﱐ" ﺃﻗﻮﻯ ﻣﻦ "ﺍﻏﺴﻠﹾﲏ"‪ .‬ﺃﻱ ﺍﻏﺴﻠﹾﲏ ﺣﺘ‪‬ﻰ ﺃﻃﻬ‪‬ﺮ‪ .‬ﻻ‬
‫ﺐ ﺧﻄﺎﻳﺎﻱ‪.‬‬‫ﰲ ﻭﻻ ﺃﺛﺮ ﳊ ‪‬‬
‫‪‬ﺗ‪‬ﺒ ﹺﻖ ﱠ‬

‫‪٤٥‬‬
 ‫)‪ (٣‬ﻷﻧ‪‬ﻲ ﺃﻧﺎ ﻋﺎﺭﻑ ﺑﺈﲦﻲ‪ ،‬ﻭﺧﻄﻴﺌﱵ ﺃﻣﺎﻣﻲ ﰲ ﻛﻞﹼ ﺣﲔ‬
‫ﻛﺎﻥ ﺩﺍﻭﻭﺩ ﻣﻠﻜﺎﹰ‪ ،‬ﻭﺭﻏﻢ ﻛﺜﺮﺓ ﺍﳌﺸﺎﻏﻞ ﻭﺭﻓﻌﺔ ﺍ‪‬ﺪ ﻭﺯﻫﻮﺓ ﺍﳌﺮﻛﺰ‬
‫ﻭﻋﻨﻔﻮﺍﻥ ﺍﻟﺴﻠﻄﺔ‪ ،‬ﻓﺈ ﹼﻥ ﻛ ﹼﻞ ﺫﻟﻚ ﱂ ﳚﻌﻠﹾﻪ ﻳﺴﻬﻮ ﻭﻳﻨﺴﻰ ﺧﻄﻴﺌﺘﻪ‪" .‬ﺇﻧ‪‬ﻲ ﻋﺎﺭﻑ‬
‫ﺑﺈﲦﻲ"‪ ،‬ﺃﹶﻳﻮﺟﺪ ﺍﻋﺘﺮﺍﻑ ﺃﻋﻈﻢ ﻣﻦ ﻫﺬﺍ؟‬
‫ﺖ ﻓﻌﻼﹰ‪ ،‬ﺑﻞ ﺇﻧ‪‬ﲏ ﺃﺗﺬﻛﹼﺮ ﺧﻄﻴﺌﱵ ﻋﻠﻰ‬ ‫ﺖ ﻓﻘﻂ ﺃﻗ ‪‬ﺮ ﻭﺃﻋﺘﺮﻑ ﺑﺄﱐ ﺃﲦ ‪‬‬ ‫ﻭﻟﺴ ‪‬‬
‫ﺍﻟﺪﻭﺍﻡ‪ ،‬ﻟﻴﻞ ‪‬ﺎﺭ ﺃﺗﺬﻛﹼﺮ ﺟﺴﺎﻣﺔ ﺧﻄﻴﺌﱵ‪ .‬ﻫﺬﻩ ﻫﻲ "ﺍﻟﺘﻮﺑﺔ ﺍﻟﺪﺍﺋﻤﺔ"‪ .‬ﺇ ﹼﻥ‬
‫ﺍﳌﺴﻴﺤ ‪‬ﻲ ﻳﻨﺴﻰ ﺃﺗﻌﺎﺑﻪ ﻣﻦ ﺃﺟﻞ ﺍﳌﺴﻴﺢ ﻭﻳﺘﺬﻛﹼﺮ ﺧﻄﺎﻳﺎﻩ‪ .‬ﻋﻨﺪﻣﺎ ﻳﻘﻮﻝ ﺑﻮﻟﺲ‪:‬‬
‫"ﺃﻧﺴﻰ ﻣﺎ ﺧﻠﻔﻲ ﻭﺃﻣﺘ ‪‬ﺪ ﺇﱃ ﻣﺎ ﻫﻮ ﺃﻣﺎﻣﻲ"‪ ،١٦‬ﱂ ﻳﻘﺼﺪ ﺃﻧ‪‬ﻪ ﻳﻨﺴﻰ ﺧﻄﺎﻳﺎﻩ‪،‬‬
‫ﺺ ﺍﺿﻄﻬﺎﺩﻩ ﺍﻟﺴﺎﺑﻖ ﻟﻠﻤﺴﻴﺤﻴ‪‬ﲔ‪ ،‬ﻭﺇﻧ‪‬ﻤﺎ ﺃﻧ‪‬ﻪ ﻳﻨﺴﻰ ﺃﺗﻌﺎﺑﻪ ﻓﻬﻮ ﺑﻘﻲ ﺩﺍﺋﻤﹰﺎ‬ ‫ﻭﺑﺎﻷﺧ ‪‬‬
‫ﺕ‬‫ﻼ ﻟﻴ‪‬ﺪﻋﻰ ﺭﺳﻮ ﹰﻻ "ﻷﻧ‪‬ﻲ ﺍﺿﻄﻬﺪ ‪‬‬ ‫ﻳﺴﻤ‪‬ﻲ ﺫﺍﺗﻪ "ﺳﻘﻄﹰﺎ" ﻭﺁ ‪‬ﺧ ‪‬ﺮ ﺍﻟﺮﺳﻞ ﻭﻟﻴﺲ ﺃﻫ ﹰ‬
‫ﻛﻨﻴﺴﺔ ﺍﳌﺴﻴﺢ"‪ ،١٧‬ﻫﺬﻩ ﻛﻠﱡﻬﺎ ﻳﺘﺬﻛﹼﺮﻫﺎ ﺩﺍﺋﻤﺎﹰ‪ ،‬ﻭﻫﻲ ﺃﻣﺎﻣﻪ ﰲ ﻛ ﹼﻞ ﺣﲔ‪ ،‬ﻟﻜﻨ‪‬ﻪ‬
‫ﻳﻨﺴﻰ "ﻣﻴﺘﺎﺗﻪ"‪ :‬ﺃﻧ‪‬ﻪ ﺟ‪‬ﻠﺪ ﻣﻦ ﺍﻟﻴﻬﻮﺩ ﲬﺲ ﻣﺮ‪‬ﺍﺕ‪ ،‬ﺃﻧ‪‬ﻪ ﺿ‪‬ﺮﺏ ﺑﺎﻟﻌﺼﻲ‪ ،‬ﺃﻧ‪‬ﻪ ﺭ‪‬ﺟﻢ‬
‫ﻭﺍﻧﻜﺴﺮﺕ ﺑﻪ ﺍﻟﺴﻔﻴﻨﺔ ﺛﻼﺙ ﻣﺮ‪‬ﺍﺕ‪ .‬ﻳﻨﺴﻰ ﺍﺗﻌﺎﺏ ﺃﺳﻔﺎﺭﻩ ﻭﺍﻷﺧﻄﺎﺭ ﺍﻟﱵ‬
‫ﺃﺣﺪﻗﺖ ﺑﻪ ﻭﺍﻟﻠﺼﻮﺹ‪ ،‬ﻳﻨﺴﻰ ﺍﻟﺘﻌﺐ ﻭﺍﻟﻜ ‪‬ﺪ ﻭﺍﻷﺳﻬﺎﺭ ﻭﺍﳉﻮﻉ ﻭﺍﻟﻌﻄﺶ‬
‫ﻭﺍﻷﺻﻮﺍﻡ ﻭﺍﻟﱪﺩ ﻭﺍﻟﻌﺮﻱ ﻭﻋﺪﺍ ﺫﻟﻚ ﺃﻳﻀﹰﺎ ﺗﻌﺐ ﺍﻻﻫﺘﻤﺎﻡ ﺑﺎﻟﻜﻨﺎﺋﺲ ﻭﺍﺣﺘﺮﺍﻗﻪ‬
‫ﻋﻨﺪﻣﺎ ﻛﺎﻥ ﻳﺴﻘﻂ ﺍﻟﺒﻌﺾ ﺃﻭ ﻳﻀﻌﻒ ﺁﺧﺮﻭﻥ‪ ،‬ﻳﻨﺴﻰ ﻣﺎ ﻣﻀﻰ‪ ،‬ﻭﻟﻮ ﺃﻧ‪‬ﻪ ﺑﺎﺕ‬
‫– ﻛﻤﺎ ﻳﻘﻮﻝ ﻷﻫﻞ ﻓﻴﻠﺒ‪‬ﻲ‪ -‬ﻳﺸﺘﻬﻲ ﺃﻥ ﻳﻨﺘﻘﻞ ﺇﱃ ﺍﳌﺴﻴﺢ‪ ،١٨‬ﻭﳝﺘ ‪‬ﺪ ﺇﱃ ﺍﻷﻣﺎﻡ‬
‫ﺐ ﺑﻌﺪ ﻣﻦ ﺃﺟﻞ ﺍﳌﺴﻴﺢ‪ .‬ﰲ ﺭﺳﺎﻟﺘﻪ ﻫﺬﻩ ﺇﱃ ﺃﻫﻞ ﻓﻴﻠﺒ‪‬ﻲ ﻳﺒﺪﺃ ﺑﻮﻟﺲ‬ ‫ﻭﻛﺄﻧ‪‬ﻪ ﱂ ﻳﺘﻌ ‪‬‬

‫‪ ١٦‬ﻓﻞ ‪.١٣ ،٣‬‬

‫‪ ١٧‬ﺃﻧﻈﺮ‪ ١ :‬ﻛﻮﺭ ‪.١٠-٨ ،١٥‬‬
‫‪ ١٨‬ﻓﻞ ‪.٢٣ ،١‬‬
‫‪٤٦‬‬
‫ﺍﻟﺮﺳﻮﻝ ﺑﺘﺬﻛﲑ ﺃﺣﺒ‪‬ﺎﺋﻪ ﺑﻘﻴﻮﺩﻩ ﻭﲝﺴﺪ ﺍﻵﺧﺮﻳﻦ ﺍﻟﺬﻳﻦ ﺯﺍﺩﻭﺍ ﻋﻠﻰ ﻭﺛﻘﻪ ﺿﻴﻘﹰﺎ‪،١٩‬‬
‫ﺏ ﻭﺑﺎﻷﺗﻌﺎﺏ ﺍﻟﱵ ﲤﹼﺖ ﻣﻦ ﺃﺟﻠﻪ‪ ،‬ﻫﺬﻩ ﺍﻷﺗﻌﺎﺏ ﻫﻲ ﻓﺮﺣﻪ‬ ‫ﻟﻜﻨ‪‬ﻪ ﻫﻮ ﻳﻔﺮﺡ ﺑﺎﻟﺮ ‪‬‬
‫ﻭﻛﻨـﺰﻩ ﻭﻳﻨﺴﻰ ﻣﺎ ﻭﺭﺍﺀ ﺫﻟﻚ ﻭﳝﺘ ‪‬ﺪ ﺇﱃ ﺍﻷﻣﺎﻡ‪ ،٢٠‬ﻷﻧ‪‬ﻪ "ﻳﺴﻌﻰ" ﻭﻟﻦ ﺗﻮﻗﻔﻪ‬
‫ﻗﻴﻮﺩ ﻭﻻ ﻋﺬﺍﺑﺎﺕ‪" .‬ﻛﻮﻧﻮﺍ ﻣﺘﻤﺜﹼﻠﲔ ﰊ" ﻳﺘﺎﺑﻊ ﺑﻮﻟﺲ ﺍﻟﺮﺳﻮﻝ‪.٢١‬‬
‫ﻫﺬﺍ ﻣﺎ ﻳﻌﻠﹼﻤﻪ ﺍﻟﻘﺪ‪‬ﻳﺲ ﺳﻠﻮﺍﻥ ﺍﻵﺛﻮﺳ ‪‬ﻲ‪" :‬ﺍﺟﻌ ﹾﻞ ﺫﻫﻨ‪‬ﻚ ﰲ ﺍﳉﺤﻴﻢ ﻭﻻ‬
‫ﺗﻴﺄﺱ"‪ .‬ﺧﻄﻴﺌﱵ ﺃﻣﺎﻣﻲ ﰲ ﻛ ﹼﻞ ﺣﲔ ﻭﻟﻜﻦ ﻻ ﺃﻳﺄﺱ ﻭﺇﻧ‪‬ﻤﺎ ﺃﹸﺳﺮﹺﻉ ﰲ ﺍﻟﺴﻌﻲ‪.‬‬
‫ﺗﺬﻛﱡﺮ ﺍﳋﻄﺎﻳﺎ ﻻ ﻳﻌﲏ ﺍﺳﺘﺴﻼﻣﹰﺎ ﳍﺎ ﺃﻭ ﻳﺄﺳﹰﺎ ﺑﺴﺒﺒﻬﺎ‪ ،‬ﻭﻟﻜﻦ ﻳﻘﻈ ﹰﺔ ﺩﺍﺋﻤﺔ‬
‫ﻭﺗﻮﺍﺿﻌﹰﺎ ﺃﻣﺎﻡ ﺍﷲ ﻣﺴﺘﻤ ‪‬ﺮﹰﺍ‪ .‬ﻭﻫﺬﺍ ﻫﻮ ﻣﻌﻴﺎﺭ ﺍﻟﺘﻮﺑﺔ ﺍﻟﺪﺍﺋﻤﺔ ﻭﻣﻘﻴﺎﺳﻬﺎ‪ .‬ﺇ ﹼﻥ ﺍﷲ‬
‫ﻋﻠﻰ ﻟﺴﺎﻥ ﻧﺒﻴ‪‬ﻪ ﺃﺷﻌﻴﺎﺀ ﻳﻮﺿﺢ ﻟﻨﺎ ﺃﻥ ﺍﻻﻋﺘﺮﺍﻑ ﺑﺎﳋﻄﻴﺌﺔ ﻫﻮ ﺳﺒﺐ ﻏﻔﺮﺍ‪‬ﺎ "ﺃﻧﺎ‬
‫ﺙ‬
‫ﺍﳌﺎﺣﻲ ﺫﻧﻮﺑﻚ‪ ...‬ﻭﺧﻄﺎﻳﺎﻙ ﻻ ﺃﺫﻛﺮﻫﺎ‪ ،‬ﺫ ﱢﻛ ‪‬ﺮﱐ )ﲞﻄﺎﻳﺎﻙ( ﻓﺘﺘﺤﺎﻛﻢ‪ .‬ﺣ ‪‬ﺪ ﹾ‬
‫ﺖ ﻟﻜﻲ ﺃﺑ ‪‬ﺮﺭ‪‬ﻙ ﺃﻧﺎ"‪.٢٢‬‬
‫ﺃﻧ ‪‬‬

‫ﺖ‬
‫ﺕ ﻭﺍﻟﺸﺮ‪ ‬ﻗﺪﺍﻣﻚ ﺻﻨﻌ ‪‬‬ ‫)‪ (٤‬ﺇﻟﻴﻚ ﻭﺣﺪﻙ ﺃﺧﻄﺄ ‪‬‬
‫ﺕ‬
‫ﺏ ﻭﺃﻓﺴﺪ ‪‬‬‫ﺖ ﺍﻟﺸ ‪‬ﺮ ﰲ ﻋﻴﻨ‪‬ﻲ ﺍﻟﺮ ‪‬‬‫ﱯ ﻧﺎﺛﺎﻥ ﺩﺍﻭﻭﺩ‪ :‬ﳌﺎﺫﺍ ﻓﻌﻠ ‪‬‬
‫ﻫﻜﺬﺍ ﻭﺑ‪‬ﺦ ﺍﻟﻨ ‪‬‬
‫ﻛﻠﻤﺎﺗﻪ‪٢٣‬؟ ﺧﻄﻴﺌﺔ ﺍﻹﻧﺴﺎﻥ ﲡﺎﻩ ﻗﺮﻳﺒﻪ ﻫﻲ ﳓﻮ ﺍﷲ ﺃﻳﻀﹰﺎ ﻭﺃ ‪‬ﻭﻻﹰ‪ ،‬ﻓﻬﻲ ﻗﺒﻞ ﻛ ﹼﻞ‬
‫ﺐ ﻗﺮﻳﺒﻚ ﻛﻨﻔﺴﻚ‪.‬‬ ‫ﺏ‪ :‬ﺃﺣﺒ ‪‬‬
‫ﺷﻲﺀ ﺗﻌ ‪‬ﺪ ﻋﻠﻰ ﻭﺻﻴ‪‬ﺔ ﺍﻟﺮ ‪‬‬

‫‪ ١٩‬ﻓﻞ ‪.٦ ،١‬‬

‫‪ ٢٠‬ﻓﻞ ‪.١٣ ،٣‬‬
‫‪ ٢١‬ﻓﻞ ‪.١٧ ،٣‬‬
‫‪ ٢٢‬ﺃﺵ ‪.٢٦-٢٥ ،٤٣‬‬
‫‪ ٢ ٢٣‬ﻣﻠﻮﻙ ‪.٩ ،١٢‬‬
‫‪٤٧‬‬
‫ﻭﺣ‪‬ﺪ ﺍﳌﺴﻴ ‪‬ﺢ ﺫﺍﺗﻪ ﺩﺍﺋﻤﹰﺎ ﻣﻊ ﺍﻟﻔﻘﺮﺍﺀ ﻭﺍﻟﻀﻌﻔﺎﺀ‪" :‬ﻣﺎ ﻓﻌﻠﺘﻤﻮﻩ ﺑﺄﺣﺪ ﻫﺆﻻﺀ‬
‫ﺍﻟﺼﻐﺎﺭ ﻓﱯ ﻗﺪ ﻓﻌﻠﺘﻤﻮﻩ"‪ .‬ﺇ ﹼﻥ ﻣ‪‬ﻦ ﻳﺴﻲﺀ ﺇﱃ ﺍﻻﺑﻦ ﺑﺎﻟﻔﻌﻞ ﳜﻄﺊ ﺇﱃ ﺃﺑﻴﻪ‪ .‬ﻟﻘﺪ‬
‫ﱯ ﺩﺍﻭﻭﺩ‪ ،‬ﺇﱃ ﺃﻭﺭﻳ‪‬ﺎ ﻭﺇﱃ ﺍﻣﺮﺃﺗﻪ‪ ،‬ﻟﻜﻨ‪‬ﻬﻢ‬ ‫ﺕ ﺑﺎﻟﻔﻌﻞ ﺇﱃ ﺍﻟﻨﺎﺱ‪ ،‬ﻳﻘﻮﻝ ﺍﻟﻨ ‪‬‬ ‫ﺃﺧﻄﺄ ‪‬‬
‫ﺕ ﻗﺒﻞ ﺍﳉﻤﻴﻊ‪ .‬ﺍﳋﻄﺄ ﻣﻊ ﺍﻟﻘﺮﻳﺐ ﻫﻮ ﲢ ‪‬ﺪ ﻟﻚ ﻳﺎ‬ ‫ﻋﺒﻴﺪﻱ! ﺃﻣ‪‬ﺎ ﺇﻟﻴﻚ ﻓﻘﺪ ﺃﺧﻄﺄ ‪‬‬
‫ﺏ ﻭﺗﻌ ‪‬ﺪ ﻟﻮﺻﻴ‪‬ﺘﻚ ﻭﺇﺳﺎﺀﺓ ﺇﻟﻴﻚ ﻗﺒﻞ ﺍﳉﻤﻴﻊ‪.‬‬ ‫ﺭ ‪‬‬
‫ﺖ ﺍﻹﰒ ﺑﺎﻟﺴ ‪‬ﺮ ﻣﺴﺘﺨﺪﻣﹰﺎ ﳐﺘﻠﻒ‬ ‫ﺖ ﺍﻟﺸ ‪‬ﺮ ﻋﻦ ﻋﻴﻮﻥ ﺍﻟﻨﺎﺱ ﻭﺍﻗﺘﺮﻓ ‪‬‬ ‫ﺃﺧﻔﻴ ‪‬‬
‫ﺍﳊﺒﺎﺋﻞ‪ ،‬ﻟﻜﻨ‪‬ﻪ ﻛﻠﹼﻪ ﻛﺎﻥ ﺃﻣﺎﻡ ﻋﻴﻨﻴﻚ ﺍﻟﻠﺘ‪‬ﲔ ﺗﺮﻗﺒﺎﻥ ﻛ ﹼﻞ ﺷﻲﺀ ﻭﺗﻔﺤﺼﺎﻥ ﺍﻟﻜﻠﻰ‬
‫ﺕ ﺇﻟﻴﻚ ﻭﱂ ﺃﺳﺘ ﹺﺢ‪.‬‬ ‫ﻭﺍﻟﻘﻠﻮﺏ‪ .‬ﺃﻣﺎﻡ ﻭﺟﻬﻚ ﺃﺧﻄﺄ ‪‬‬
‫ﱯ ﺷﺮﻭﺭﻩ ﻭﺧﻄﺎﻳﺎﻩ ﺑﺎﳌﻔﺮﺩ "ﺷ ‪‬ﺮﹰﺍ" ﻭﺫﻟﻚ ﻷ ﹼﻥ ﺍﳋﻄﻴﺌﺔ‬ ‫ﻳﺴﻤ‪‬ﻲ ﺩﺍﻭﻭﺩ ﺍﻟﻨ ‪‬‬
‫ﺍﻷﻭﱃ ﲡﻠﺐ ﺍﻟﺜﺎﻧﻴﺔ ﻭﻫﻜﺬﺍ‪ .‬ﻋﻨﺪﻣﺎ ﳝﻴﻞ ﺍﻹﻧﺴﺎﻥ ﺇﱃ "ﺍﻟﺸ ‪‬ﺮ"‪ ،‬ﻭﻳﺒﺪﺃ ﺑﺘﺠﺎﻭﺯ‬
‫ﺍﻟﻮﺻﺎﻳﺎ ﺍﻹﳍﻴ‪‬ﺔ ﻓﺈ ﹼﻥ ﺍﻟﺸ ‪‬ﺮ ﻳﻠﺪ ﻣﻀﺎﻋﻔﺎﺗﻪ‪ ،‬ﻳﻜﻔﻲ ﻓﻘﻂ ﺃﻥ ﻧﺘﺮﻙ ﻟﻪ ﺍﻟﺰﻣﻦ ﺍﻟﻜﺎﰲ‪.‬‬
‫ﻛ ﹼﻞ ﻣﺎ ﻫﻮ ﳐﺎﻟﻒ ﻟﻠﻮﺻﻴ‪‬ﺔ ﺍﻹﳍﻴ‪‬ﺔ ﻭﻻ ﳜﺪﻣﻬﺎ ﻫﻮ "ﺷ ‪‬ﺮ"‪ .‬ﻭﻣ‪‬ﻦ ‪‬ﺗ ‪‬ﻌ ‪‬ﺪﻯ ﺇﺣﺪﻯ‬
‫ﺍﻟﻮﺻﺎﻳﺎ ﺻﺎﺭ ﻣﺘﻌﺪ‪‬ﻳﹰﺎ ﳍﺎ ﻛﻠﹼﻬﺎ‪.‬‬

‫
ﻟﻜﻴﻤﺎ ﺗﺼﺪﻕ ﰲ ﺃﻗﻮﺍﻟﻚ ﻭﺗﺘﻐﻠﹼﺐ ﰲ ﳏﺎﻛﻤﺘﻚ‬

‫ﺕ ﺍﳌﺰﻣﻮﺭ )‪" :(١٤٢‬ﻻ ﺗﺪﺧ ﹾﻞ ﰲ ﺍﶈﺎﻛﻤﺔ‬ ‫ﺕ ﻛﻠﻤﺎ ‪‬‬ ‫ﺗﺸﺮﺡ ﻫﺬﻩ ﺍﻟﻜﻠﻤﺎ ‪‬‬
‫ﷲ ﺩﺍﻭﻭ ‪‬ﺩ ﺑﺎﶈﺒ‪‬ﺔ‪ .‬ﺃﻗﺎﻡ‬
‫ﻱ ﺣ ‪‬ﻲ"‪ .‬ﻟﻘﺪ ﻏﻠﺐ ﺍ ُ‬
‫ﻣﻊ ﻋﺒﺪﻙ‪ ،‬ﻓﺈﻧ‪‬ﻪ ﻟﻦ ﻳﺘﺰﻛﹼﻰ ﺃﻣﺎﻣﻚ ﺃ ‪‬‬
‫ﷲ ﺩﺍﻭﻭ ‪‬ﺩ ﻣﻠﻜﹰﺎ ﻋﻨﺪﻣﺎ ﻛﺎﻥ ﺍﻷﺧﲑ ﺭﺍﻋﻴﺎﹰ‪ ،‬ﻭﺃﻋﻄﺎﻩ ﻭﻋﻮﺩﹰﺍ ﻻ ﻳﺴﺘﺤﻘﹼﻬﺎ ﺇﻧﺴﺎﻥ‪،‬‬ ‫ﺍُ‬
‫ﺕ ﻋﺪﻡ‬ ‫ﱯ ﺩﺍﻭﻭﺩ‪ ،‬ﻓﻠﻘﺪ ﺃﻇﻬﺮ ‪‬‬ ‫ﻭﳎ‪‬ﺪﻩ ﺑﺄﳎﺎﺩ ﻻ ﳛﻠﻢ ‪‬ﺎ ﺁﺧﺮ‪ .‬ﺃﻣ‪‬ﺎ ﺃﻧﺎ‪ ،‬ﻳﻘﻮﻝ ﺍﻟﻨ ‪‬‬
‫ﺖ ﺑﻮﻋﻮﺩﻙ‪ ،‬ﺃ ‪‬ﻣﺎ ﺃﻧﺎ ﻓﻘﺎﺑﻠﺘ‪‬ﻚ ﲟﺎ ﻻ ﻳﻠﻴﻖ‪ ،‬ﻟﺬﺍ ﺳﻮﻑ‬ ‫ﺖ ﺻﺪﻗ ‪‬‬‫ﻋﺮﻓﺎﱐ ﻟﻠﺠﻤﻴﻞ‪ .‬ﺃﻧ ‪‬‬
‫ﺗﺘﻐﻠﹼﺐ ﰲ ﳏﺎﻛﻤﺘﻚ‪ .‬ﰲ ﺍﶈﺎﻛﻤﺔ ﺳﻮﻑ ﺗﺘﱪ‪‬ﺭ ﺃﻧﺖ ﻭﺳﻮﻑ ﹸﺃﺩﺍﻥ ﺃﻧﺎ‪ .‬ﻭﺃﻳ‪‬ﺔ‬

‫‪٤٨‬‬
‫ﻣﺪﺍﻳﻨﺔ ﺗﻜﻮﻥ ﻣﺪﺍﻳﻨﱵ ﺃﻧﺎ ﺍﳌﻀﺒﻮﻁ ﺑﺎﳋﻄﺎﻳﺎ! ﻋﻨﺪﻣﺎ ﺳﺘﺤﺎﻛﻤﲏ ﺳﺄﻛﻮﻥ‬
‫ﻣﺴﺘﺤ ﹼﻘﹰﺎ ﻋﺪﻟﻚ‪ .‬ﻓﺄﻧﺎ ﻋﹼﻠ ﹸﺔ ﳏﺎﻛﻤﱵ ﻭﺳﺒ‪‬ﺒﻬﺎ‪ ،‬ﺃﻣ‪‬ﺎ ﺃﻧﺖ ﻓﻤﱪ‪‬ﺭ ﻭﻋﺎﺩﻝ ﺑﻜ ﹼﻞ ﻣﺎ‬
‫ﺗﺼﻨﻊ ﺑﻨﺎ‪.‬‬

‫)‪ (٥‬ﻫﺎ ﺃﻧﺬﺍ ﺑﺎﻵﺛﺎﻡ ﺣﺒﻞ ﰊ‪ ،‬ﻭﺑﺎﳋﻄﺎﻳﺎ ﻭﻟﺪﺗﲏ ﺃﻣ‪‬ﻲ‬

‫ﱯ ﺇﱃ ﺃﻋﻤﺎﻕ ﺫﺍﺗﻪ ﻭﻳﺮﻯ ﻣﻘﺪﺍ ‪‬ﺭ ﻋﺘﻤﺔ ﺍﻷﻫﻮﺍﺀ‬ ‫ﻫﻨﺎ ﻳﻐﻮﺹ ﺩﺍﻭﻭﺩ ﺍﻟﻨ ‪‬‬
‫ﺍﻟﺪﺍﺧﻠﻴ‪‬ﺔ ﻭﺻﻌﻮﺑﺔ ﺍﶈﻴﻂ ﺍﳋﺎﺭﺟ ‪‬ﻲ‪ .‬ﻓﺒﻌﺪ ﺃﻥ "ﻳﻌﺘﺮﻑ" ﲞﻄﻴﺌﺘﻪ ﻳﻨﻈﺮ ﺇﱃ ﺫﺍﺗﻪ‬
‫ﺍ‪‬ﺒﻮﻟﺔ ﺑﺎﻟﺸﻬﻮﺍﺕ ﻭﺇﱃ ﻋﺎﳌﻪ ﺍﳌﻤﺰﻭﺝ ﺑﺎﻟﺸﺮﻭﺭ‪ .‬ﻳﺘﻜﻠﹼﻢ ﻋﻦ ﻫﺬﻩ ﺍﳊﺎﻟﺔ‬
‫"ﺍﻟﻼﻃﺒﻴﻌﻴ‪‬ﺔ" ﺍﻟﺴﺎﺋﺪﺓ ﺍﻟﻴﻮﻡ‪ .‬ﺍﳊﻴﺎﺓ ﺍﻟﻄﺒﻴﻌﻴ‪‬ﺔ ﻟﻺﻧﺴﺎﻥ ﻫﻲ ﺗﻠﻚ ﺍﻟﱵ ﻛﺎﻧﺖ‬
‫ﺑﺎﻟﻔﺮﺩﻭﺱ‪ .‬ﻭﺍﳊﻴﺎﺓ ﺍﻟﻼﻃﺒﻴﻌﻴ‪‬ﺔ ﺃﻭ ﻣﺎ ﺩﻭﻥ ﺍﻟﻄﺒﻴﻌﻴ‪‬ﺔ ﻫﻲ ﺍﻟﱵ ﳓﻴﺎﻫﺎ ﻋﻠﻰ ﺃﺭﺿﻨﺎ‪،‬‬
‫ﻫﺬﻩ ﺗﺘ‪‬ﺼﻒ ﺑﺎﻵﻻﻡ ﻭﺍﳌﻮﺕ ﻭﺍﻟﺘﻌﺐ ﻭﻏﺪﺍ ﻋﺎﳌﹸﻬﺎ ﻣﻶﻧﹰﺎ ﺷﺮﻭﺭﹰﺍ‪ .‬ﻫﺬﻩ ﱂ ﺗﻜﻦ‬
‫ﻣﻦ ﻗﺒﻞ ﻟﻜﻨ‪‬ﻬﺎ ﺩﺧﻴﻠﺔ ﻋﻠﻰ ﺣﻴﺎﺓ ﺍﻟﺒﺸﺮ‪ .‬ﺇﻧ‪‬ﻬﺎ ﺣﺎﻟﺔ ﻣﺎ ﺑﻌﺪ ﺍﳋﻄﻴﺌﺔ‪ ،‬ﻻ ﺑﻞ ﳝﻜﻦ‬
‫ﺗﺴﻤﻴﺘﻬﺎ ﺣﺎﻟﺔ ﺍﳋﻄﻴﺌﺔ ﻷﻧ‪‬ﻬﺎ ﺟﺎﺀﺕ ﻣﻦ ﺍﳋﻄﻴﺌﺔ ﻭﻧﺘﺠﺖ ﻋﻨﻬﺎ‪ .‬ﺣﺘ‪‬ﻰ ﺍﻟﻮﻻﺩﺓ‬
‫ﺑﺎﳌﺨﺎﺽ ﻭﺍﻵﻻﻡ‪ ،‬ﻛﻤﺎ ﻫﻲ ﺍﻵﻥ ﻫﻲ ﻣﻦ ﺣﺎﻟﺔ ﺍﳋﻄﻴﺌﺔ‪ .‬ﻳﻮﻟﺪ ﺍﻹﻧﺴﺎﻥ ﻣﻦ‬
‫ﻣﻮﻟﺪﻩ ﰲ "ﻋﺎﱂ ﺍﳋﻄﻴﺌﺔ"‪" .‬ﺑﺎﳋﻄﺎﻳﺎ ﻭﻟﺪﺗﲏ ﺃﻣ‪‬ﻲ"‪ .‬ﻫﻨﺎ ﻳﺘﻜﻠﹼﻢ ﺩﺍﻭﻭﺩ ﻋﻦ ﺣﻴﺎﺗﻪ‬
‫ﻛﻠﹼﻬﺎ ﺍﳌﻴ‪‬ﺎﻟﺔ ﺇﱃ ﺍﳋﻄﻴﺌﺔ ﻭﺍﶈﺎﻃﺔ ﺑﻌﺎﱂ ﳚ ‪‬ﺮ ﺇﻟﻴﻬﺎ‪ .‬ﻓﺪﺍﻭﻭﺩ ﻻ ﻳﺴﺘﻐﺮﺏ ﻛﺜﲑﹰﺍ ﺃﻧ‪‬ﻪ‬
‫ﺳﻘﻂ ﻭﻳﻌﺘﺮﻑ ﺑﺄﻧ‪‬ﻪ ﺧﺎﻃﺊ ﰲ ﺩﻧﻴﺎ ﺧﺎﻃﺌﺔ!‬
‫ﺝ ﳘﺎ ﺇﰒ ﻭﺧﻄﻴﺌﺔ‪ ،‬ﻓﺈ ﹼﻥ ﺍﻟﺰﻭﺍﺝ‬ ‫ﱯ ﺃ ﹼﻥ ﺍﳊﺒ ﹶﻞ ﻭﺍﻟﺰﻭﺍ ‪‬‬
‫ﻫﻨﺎ ﻻ ﻳﻘﺼﺪ ﺍﻟﻨ ‪‬‬
‫ﻣﺒﺎﺭﻙ؛ ﻟﻜﻦ ﻳﺘﻜﻠﹼﻢ ﻋﻦ ﺍﺧﺘﻼﻁ ﺍﻟﻌﺎﱂ ﺑﻌﻨﺎﺻﺮ ﻣﺎ ﺑﻌﺪ ﺍﳋﻄﻴﺌﺔ‪ .‬ﻭﻛﻤﺎ ﻳﻘﻮﻝ ﻓ ‪‬ﻢ‬
‫ﺍﻟﺬﻫﺐ‪" :‬ﺇ ﹼﻥ ﻣﺎ ﻧﺘﻌﻠﹼﻤﻪ ﻣﻦ ﻫﻨﺎ ﻟﻴﺲ ﺃ ﹼﻥ ﺍﳉﺴﺪ ﻫﻮ ﺳﺒﺐ ﺍﳋﻄﻴﺌﺔ ﺃﻭ ﺃ ﹼﻥ ﺍﻟﻄﺒﻴﻌﺔ‬
‫ﻫﻲ ﺩﺍﻓﻊ ﺣﺘﻤ ‪‬ﻲ ﺇﻟﻴﻬﺎ )ﻭﺇ ﹼﻻ ﻟﻜﻨ‪‬ﺎ ﻻ ﻧﺴﺘﺤ ‪‬ﻖ ﻋﻘﻮﺑﺎﺕ(‪ ،‬ﻭﺇﻧ‪‬ﻤﺎ ﺃ ﹼﻥ ﻃﺒﻴﻌﺘﻨﺎ‬

‫‪٤٩‬‬
‫ﻭﺍﶈﻴﻂ ﻗﺎﺑﻼﻥ ﻭﻣﻴ‪‬ﺎﻻﻥ ﻟﻠﺨﻄﻴﺌﺔ ﺑﻌﺪ ﺍﻟﺴﻘﻮﻁ‪ ،‬ﻭﺫﻟﻚ ﺑﺴﺒﺐ ﺃﻫﻮﺍﺋﻨﺎ ﻭﻓﺴﺎﺩ‬
‫ﺍﻟﻌﺎﱂ‪ ،‬ﻟﻜﻨ‪‬ﻨﺎ ﻧﻐﻠﺒﻬﺎ ﲝﻜﻤﺘﻨﺎ ﻭﺑﺄﺗﻌﺎﺑﻨﺎ‪ ،‬ﻋﻨﺪﻣﺎ ﺗﺘ‪‬ﺤﺪ ﺍﳊﻜﻤﺔ ﻣﻊ ﺍﳉ ‪‬ﺪ ﻭﺍﻟﺘﻌﺐ"‪.‬‬

‫ﺖ ﱄ ﻏﻮﺍﻣﺾ ﺣﻜﻤﺘﻚ ﻭﻣﺴﺘﻮﺭﺍ‪‬ﺎ‬ ‫ﺖ ﺍﳊﻖ‪ ،‬ﻭﺃﻭﺿﺤ ‪‬‬ ‫)‪ (٦‬ﻷﻧ‪‬ﻚ ﻗﺪ ﺃﺣﺒﺒ ‪‬‬
‫ﻫﻨﺎ ﺗﻈﻬﺮ ﺑﺎﻟﻔﻌﻞ ﺗﻮﺑﺔ ﺩﺍﻭﻭﺩ ﺍﳊﻘﻴﻘﻴ‪‬ﺔ‪ :‬ﺇﻧ‪‬ﻲ ﺃﻋﺘﺮﻑ ﺑﻜ ﹼﻞ ﺫﻟﻚ ﻭﲞﻄﻴﺌﱵ‬
‫ﻒ ﺃﻭ ﺩﻭﺭﺍﻥ ﺃﻭ‬
‫ﺐ ﺍﳊ ‪‬ﻖ ﻭﻻ ﻳﻔﻴﺪ ﺃﻣﺎﻣﻚ ﻟ ‪‬‬‫ﻭﺃﺟﻌﻠﻬﺎ ﺃﻣﺎﻣﻲ ﻛ ﹼﻞ ﺣﲔ‪ ،‬ﻷﻧ‪‬ﻚ ﲢ ‪‬‬
‫ﺕ‪ .‬ﻭﻻ ﳝﻜﻨﲏ‬ ‫ﺏ ﻟﻠﺬﺍﺕ‪ .‬ﺃﻧﺎ ﺧﺎﻃﺊ ﻭﻗﺪ ﺃﺧﻄﺄ ‪‬‬ ‫ﺇﻧﻜﺎﺭ‪ ،‬ﻭﻻ ﻳﺮﺿﻴﻚ ﺗﱪﻳﺮ ﻛﺎﺫ ‪‬‬
‫ﺶ ﻭﺗﱪﻳﺮ‪ .‬ﺃﻧﺎ ﺃﺫﻧﺒﺖ‪ ،‬ﻧﻌﻢ‪ ،‬ﻓﺎﺭﲪ‪‬ﲏ‬
‫ﻋﻨﺪﻣﺎ ﺁﰐ ﳌﺼﺎﳊﺘﻚ ﺃﻥ ﺃﻏﻴﻈﻚ ﺃﻳﻀﹰﺎ ﺑﻐ ﹴ‬
‫ﺐ‪ .‬ﻭﻋﻼﻭﺓ ﻋﻠﻰ ﺫﻟﻚ‪ ،‬ﻓﺈﱐ ﺃﻋﻴ‪‬ﺮ ﺫﺍﰐ ﺃﻳﻀﹰﺎ‬ ‫ﻭﺳﺄﻗﻮﻝ ﺍﳊ ‪‬ﻖ ﻷﻧ‪‬ﻚ ﻫﻜﺬﺍ ﲢ ‪‬‬
‫ﺖ‬‫ﺖ ﺳﺒﻖ ﻟﻚ ﻭﻛﺸﻔ ‪‬‬ ‫ﺖ ﺍﻟﺸ ‪‬ﺮ ﻋﻦ ﻣﻌﺮﻓﺔ ﻭﻟﻴﺲ ﺳﻬﻮﹰﺍ‪ .‬ﻓﺄﻧ ‪‬‬
‫ﻭﺃﻭﺑ‪‬ﺨﻬﺎ‪ ،‬ﻷﻧ‪‬ﲏ ﻓﻌﻠ ‪‬‬
‫ﻼ‬‫ﻑ ﺧﻄﻴﺌﱵ ﺟﻬ ﹰ‬ ‫ﺺ ﺧﻔﺎﻳﺎ ﺣﻜﻤﺘﻚ ﻭﻣﻜﻨﻮﻧﺎ‪‬ﺎ‪ .‬ﱂ ﺃﻗﺘﺮ ‪‬‬ ‫ﻟﻠﺠﻤﻴﻊ ﻭﱄ ﺑﺎﻷﺧ ‪‬‬
‫ﻛﻤ‪‬ﻦ ﻻ ﻳﻌﺮﻑ ﺍﻟﻨﺎﻣﻮﺱ‪ ،‬ﺑﻞ ﻋﻤﺪﹰﺍ ﻭﲟﻌﺮﻓﺔ ﻓﺄﻧﺎ ﺃﻋﺮﻑ ﻣﺒﺎﺩﺉ ﺍﻟﻨﺎﻣﻮﺱ ﻭﺣﺘ‪‬ﻰ‬
‫ﺕ‪.‬‬
‫ﺃﻳﻀﹰﺎ ﺃﺳﺮﺍﺭﻩ ﻭﺧﻔﺎﻳﺎﻩ‪ ،‬ﻭﺭﻏﻢ ﻛ ﹼﻞ ﺫﻟﻚ ﻓﻘﺪ ﺃﺧﻄﺄ ‪‬‬

‫)‪ (٧‬ﺗﻨﻀﺤﲏ ﺑﺎﻟﺰﻭﰱ ﻓﺄﻃﻬﺮ‪ ،‬ﺗﻐﺴﻠﲏ ﻓﺄﺑﻴﺾ‪ ‬ﺃﻛﺜﺮ ﻣﻦ ﺍﻟﺜﻠﺞ‬

‫ﺑﻌﺪ ﻛ ﹼﻞ ﺫﻟﻚ ﺍﻻﻋﺘﺮﺍﻑ ﺑﺎﳋﻄﻴﺌﺔ ﻭﻣﻌﺎﻳﻨﺔ ﺍﻟﻌﺘﻤﺔ ﺍﻟﺪﺍﺧﻠﻴ‪‬ﺔ ﻭﺍﻟﻮﺳﺦ‬
‫ﺏ‬
‫ﻱ ﺍﻟﺮ ‪‬‬‫ﻭﺍﻟﺒﺸﺎﻋﺔ ﺍﻟﻨ‪‬ﺎﲡﺔ ﻋﻦ ﺃﻋﻤﺎﻝ ﺍﻟﻈﻠﻤﺔ ﻳﻨﻈﺮ ﺩﺍﻭﻭﺩ ﺑﺜﻘﺔ ﻭﺭﺟﺎﺀ ﺇﱃ ﻳ ‪‬ﺪ ‪‬‬
‫ﺍﻟﻠﺘ‪‬ﲔ ﺳﻮﻑ ﺗﻐﺴﻼﻧﻪ‪ ،‬ﻻ ﺑﺪ‪ ،‬ﻣﻦ ﺇﲦﻪ‪.‬‬
‫"ﺍﻟﺰﻭﰱ" ﺗﺮﲨﺔ ﻟﻜﻠﻤﺔ )‪ (υσσόπο‬ﻭﻫﻮ ﻧﺒﺎﺕ ﺫﻭ ﻗﻮ‪‬ﺓ ﺗﻄﻬﲑﻳ‪‬ﺔ ﻋﺎﻟﻴ‪‬ﺔ‬
‫ﺖ ﺇﻟﻴﻪ‪ ،‬ﻻ ﺑ ‪‬ﺪ ﺃﻧ‪‬ﻚ ﺳﻮﻑ‬ ‫ﻳﻨﻈﹼﻒ ﺟ ‪‬ﺪﹰﺍ‪ .‬ﻟﺬﺍ ﻳﻘﻮﻝ ﺩﺍﻭﻭﺩ‪ ،‬ﺭﻏﻢ ﻛ ﹼﻞ ﻣﺎ ﻭﺻﻠ ‪‬‬
‫ﺾ ﻛﺎﻟﺜﻠﺞ‪ .‬ﻛﺜ ‪‬ﲑ ﻣﻦ ﺍﻵﺑﺎﺀ ﻣﺜﻞ‬ ‫ﺗﻄﻬ‪‬ﺮﱐ ﻛﻤﺎ ﻟﻮ ﺑﺎﻟﺰﻭﰱ ﻭﺳﻮﻑ ﺗﻌﻴﺪﱐ ﺃﺑﻴ ‪‬‬

‫‪٥٠‬‬
‫ﻱ ﻭﺛﻴﻮﺫﻭﺭﻳﺘﻮﺱ ﻭﺃﺛﻨﺎﺳﻴﻮﺱ ﺍﻟﻜﺒﲑ‪ ،‬ﻳﺮﻭﻥ ﺑﺬﻟﻚ ﻧﺒﻮﺀﺓ ﻋﻦ‬
‫ﻛﲑﻟﹼﻠﺲ ﺍﻻﺳﻜﻨﺪﺭ ‪‬‬
‫ﺳ ‪‬ﺮ ﺍﳌﻌﻤﻮﺩﻳﺔ ﺍﳌﻘﺪ‪‬ﺱ‪ .‬ﻭﺍﻟﻘﺪ‪‬ﻳﺲ ﺇﺳﻴﺨﻴﻮﺱ ﻳﺮﺍﻩ ﺭﻣﺰﹰﺍ ﻟﻌﻤﻞ ﺍﻟﺮﻭﺡ ﺍﻟﻘﺪﺱ‬
‫)ﺍﻟﺰﻭﰱ ﻭﺍﻟﺘﻄﻬﲑ(‪.‬‬

‫)‪ (٨‬ﺗﺴﻤﻌﲏ ‪‬ﺠﺔ ﻭﺳﺮﻭﺭﺍﹰ‪ ،‬ﻓﺘﺠﺬﻝ ﻋﻈﺎﻣﻲ ﺍﻟﺬﻟﻴﻠﺔ‬

‫ﺏ ﺳﺘﺴﺎﳏﲏ‪ ،‬ﻭﺳﻮﻑ ﺃﺗﺄﻛﹼﺪ ﻣﻦ ﺫﻟﻚ ﻋﻨﺪﻣﺎ‪ -‬ﺣﺘﻤﹰﺎ‪ -‬ﺳﻮﻑ‬ ‫ﺇﻧ‪‬ﻚ ﻳﺎ ﺭ ‪‬‬
‫ﺗﺴﻜﺐ ﰲ ﻧﻔﺴﻲ ﻋﻮﺽ ﻫﺬﻩ ﺍﻟ ‪‬ﻌﺒ‪‬ﺮﺍﺕ ‪‬ﺠ ﹰﺔ ﻭﺳﺮﻭﺭﹰﺍ‪ .‬ﺃﻧﺖ ﺳﺘﺤﻮ‪‬ﻝ ﺍﳊﺰﻥ‬
‫ﰲ ﺇﱃ ‪‬ﺠﺔ ﻭﻏﺒﻄﺔ ﻣﻦ ﻋﻨﺪﻙ‪.‬‬ ‫ﺍﳌﻨﺴﻜﺐ ﱠ‬
‫ﺖ ﲢﺖ ﺛﻘﻞ‬ ‫ﺖ ﻭﻛﹼﻠ ‪‬‬
‫ﺕ ﺫﻟﻴﻠ ﹰﺔ ﻭﺍ‪‬ﺗﻀﻌ ‪‬‬
‫ﺧﻄﻴﺌﱵ ﺃﺗﻌﺒﺘ‪‬ﲏ‪ ،‬ﻭﺣﺘ‪‬ﻰ ﻋﻈﺎﻣﻲ ﺻﺎﺭ ‪‬‬
‫ﺇﲦﻲ‪ .‬ﻓ ‪‬ﺮﺣ‪‬ﲏ‪ ،‬ﹶﺃﻋ‪‬ﺪ ﺍﻟﺒﻬﺠﺔ ﻟﻴﺲ ﻓﻘﻂ ﺇﱃ ﻧﻔﺴﻲ ﺍﳌﺘﺄﳌﹼﺔ ﻟﻜﻦ ﺇﱃ ﻋﻈﺎﻣﻲ‬
‫ﺡ‬
‫ﺴ ‪‬ﻢ ﲟﺮﻫﻢ ﳏﺒ‪‬ﺘﻚ ﻭﺻﻔﺤﻚ ﺟﺮﺍ ‪‬‬ ‫ﺱ ﻓﺮﺡ ﻏﻔﺮﺍﻧﻚ‪ .‬ﻭﺑﻠ ِ‬ ‫ﺍﳌﺘﻮﺟ‪‬ﻌﺔ ﺃﻳﻀﺎﹰ‪ ،‬ﺍﻏﺮ ‪‬‬
‫ﻧﻔﺴﻲ ﻟﻴﺠﺬﻝ ﺃﻳﻀﹰﺎ ﳊﻤﻲ ﻭﻋﻈﻤﻲ‪ .‬ﺑﺎﻟﻄﺒﻊ ﺇ ﹼﻥ ﺍﻧﺘﻘﺎﻝ ﺍﻷﺣﺎﺳﻴﺲ ﺍﻟﻨﻔﺴﻴ‪‬ﺔ ﺇﱃ‬
‫ﺍﳉﺴﺪ ﻫﻮ ﺃﻣﺮ ﻃﺒﻴﻌﻲ‪ ،‬ﻷﻧ‪‬ﻪ ﻳﺪ ﹼﻝ ﻋﻠﻰ ﻋﻤﻖ ﺗﻠﻚ ﺍﻷﺣﺎﺳﻴﺲ‪.‬‬
‫ﺑﻌﺾ ﺍﻵﺑﺎﺀ ﻳﺮﻭﻥ ‪‬ﺬﻩ ﺍﻟﻜﻠﻤﺎﺕ ﻧﺒﻮﺀﺓ ﺃﻳﻀﹰﺎ ﻋﻦ ﺍﳌﺴﻴﺢ‪ .‬ﻭﻛﺄ ﹼﻥ ﺩﺍﻭﻭﺩ‬
‫ﻳﻄﻠﺐ ﻣﻦ ﺍﷲ ﺃﻥ ﻳﻨﻘﺬ ﺍﻹﻧﺴﺎﻥ ﻟﻴﺲ ﻓﻘﻂ ﻣﻦ ﺍﻟﺬﻧﻮﺏ ﺍﳌﻘﺘﺮﻓﺔ ﲝ ‪‬ﻖ ﺍﻟﻨﺎﻣﻮﺱ‪،‬‬
‫ﻭﺇﻧ‪‬ﻤﺎ ﺃﻥ ﻳﺸﻔﻲ ﺣﺘ‪‬ﻰ ﺍﻟﻌﻈﻢ ﻭﺍﻟﻠﺤﻢ‪ ،‬ﻭﻫﺬﺍ ﻣﺎ ﹼﰎ ﲜﺴﺪ ﺍﳌﺴﻴﺢ ﺍﻟﻘﺎﺋﻢ ﻛﺒﺪﺍﻳﺔ‬
‫ﻟﻘﻴﺎﻣﺘﻨﺎ‪ .‬ﻭﻛﺄ ﹼﻥ "ﲡﺬﻝ ﻋﻈﺎﻣﻲ" ﻫﻲ ﻧﺒﻮﺀﺓ ﻋﻦ ﻗﻴﺎﻣﺔ ﺍﳉﺴﺪ ﺍﻟﱵ ﺳﺘﺤﺼﻞ ﻷﻭ‪‬ﻝ‬
‫ﻱ‪.‬‬
‫ﱯ ﺍﻟﻔ ‪‬ﻢ ﻭﻛﲑﻟﹼﻠﺲ ﺍﻻﺳﻜﻨﺪﺭ ‪‬‬ ‫ﻣﺮ‪‬ﺓ ﻣﻊ ﺍﳌﺴﻴﺢ‪ .‬ﻣﻦ ﻫﺆﻻﺀ ﺍﻵﺑﺎﺀ ﺍﻟﺬﻫ ‪‬‬

‫‪٥١‬‬
 ‫ﺢ ﻛﻞﹼ ﻣﺂﲦﻲ‬‫ﺽ ﺑﻮﺟﻬﻚ ﻋﻦ ﺧﻄﺎﻳﺎﻱ‪ ،‬ﻭﺍﻣ ‪‬‬ ‫)‪ (٩‬ﺍﻋﺮ ‪‬‬
‫ﻫﺎ ﺃﻧﺬﺍ ﺃﲨﻊ ﺧﻄﺎﻳﺎﻱ ﻭﺃﻋﺘﺮﻑ ‪‬ﺎ ﻭﺃﺿﻌﻬﺎ ﺃﻣﺎﻣﻲ‪ ،‬ﻭﻻ ﳝﻜﻨﻬﺎ ﺃﻥ ﲣﻔﻰ‬
‫ﻑ ﻭﺟﻬﻚ ﻋﻨﻬﺎ‪ .‬ﻫﺬﺍ ﻣﺎ ﻳﺆﻛﹼﺪﻩ ﺍﳌﻐﺒﻮﻁ‬ ‫ﻋﻦ ﻧﺎﻇﺮ‪‬ﻳﻚ‪ ،‬ﻟﻜﻦ ﺃﻧﺖ ﺍﺻﺮ ‪‬‬
‫ﺠ ﹾﻞ ﺃﻧﺖ ﺧﻄﺎﻳﺎﻙ ﰲ‬ ‫ﺐ ﻭﺳ ‪‬‬
‫ﱯ ﺍﻟﻔ ‪‬ﻢ ﺑﺎﳊﺮﻑ‪" :‬ﺍﻛﺘ ‪‬‬
‫ﺃﻏﻮﺳﻄﲔ ﻭﻣﺎ ﻳﻘﻮﻟﻪ ﺍﻟﺬﻫ ‪‬‬
‫ﻛﺘﺎﺏ ﺍﷲ‪ ،‬ﻭﻫﻮ ﺳﻮﻑ ﳝﺤﻮﻫﺎ‪ .‬ﻷﻧ‪‬ﻚ ﺇﻥ ﱂ ﺗﻜﺘﺒ‪‬ﻬﺎ ﺃﻧﺖ ﻓﻼ ﳝﺤﻮﻫﺎ‪ ،‬ﻭﺇﻧ‪‬ﻤﺎ‬
‫ﺳﻴﻄﻠﺐ ﺍﶈﺎﻛﻤﺔ ﻋﻠﻴﻬﺎ"‪ .‬ﻓﺎﻷﺣﺴﻦ ﻟﻨﺎ ﺃﻥ ﻧﺴﺠ‪‬ﻠﻬﺎ ﳓﻦ ﻟ‪‬ﺘﻤﺤﻰ ﻣﻦ ﻓﻮﻕ ﺑﺪﻝ‬
‫ﺃﻥ ﻧﺘﻨﺎﺳﺎﻫﺎ ﳓﻦ ﻭﺗﺴﺠ‪‬ﻞ ﻋﻠﻴﻨﺎ ﺇﱃ ﺃﻥ ﻧﻮﺍﺟﻬﻬﺎ ﺃﻣﺎﻡ ﺃﻋﻴﻨﻨﺎ ﰲ ﺫﻟﻚ ﺍﻟﻴﻮﻡ‬
‫ﺍﻟﺮﻫﻴﺐ )ﻳﻮﻡ ﺍﻟﺪﻳﻨﻮﻧﺔ(‪.‬‬
‫ﻫﺬﺍ ﻣﺎ ﻳﻠﻈﹼﻲ ﻗﻠﺐ ﺩﺍﻭﻭﺩ‪ ،‬ﺃﻧ‪‬ﻪ ﺃﺳﺎﺀ ﺇﱃ ﻣ‪‬ﻦ ﳛﺒ‪‬ﻪ‪ ،‬ﺇﱃ ﺍﷲ‪ .‬ﻭﻻ ﻳﻌﺮﻑ‬
‫ﺾ ﺍﻟﻄﺮﻑ‪ ،‬ﺃﻥ ﳝﺤﻮ ﺍﻹﰒ‪ ،‬ﺃﻥ‬ ‫ﻛﻴﻒ ﻳﺮﺿﻴﻪ ﻭﻳﺴﺄﻝ ﲞﺸﻮﻉ ﻣﺼﺎﳊﺘﻪ‪ ،‬ﺃﻥ ﻳﻐ ‪‬‬
‫ﻳ‪‬ﻜﺜﺮ ﺍﻟﺮﲪﺎﺕ ﻭﺃﻥ ﻳﻐﺴﻠﻪ‪ .‬ﻭﻳﺰﻳﺪ ﻛ ﹼﻞ ﺷﻄﺮ ﻋﺒﺎﺭﺓ ﺃﺧﺮﻯ‪ .‬ﻓﺎﳌﻌﺎﱐ ﺗﻀﻴﻖ ﻋﻦ‬
‫ﺃﻥ ﲢﺘﻮﻱ ﻣﺸﺎﻋﺮ ﺍﻻﻧﺴﺤﺎﻕ ﻭﲢﺘﻤﻞ ﺣﺮﺍﺭﺓ ﺍﻟﺘﻀﺮ‪‬ﻉ ﻟﻠﻤﺼﺎﳊﺔ‪.‬‬

‫)‪ (١٠‬ﻗﻠﺒﹰﺎ ﻧﻘﻴ‪‬ﹰﺎ ﺃﹸﺧﻠ ‪‬ﻖ ﰲﱠ ﻳﺎ ﺍﷲ‪ ،‬ﻭﺭﻭﺣﹰﺎ ﻣﺴﺘﻘﻴﻤﹰﺎ ﺟﺪ‪ ‬ﺩ ﰲ ﺃﺣﺸﺎﺋﻲ‬
‫ﻱ ﺑﺎﻟﻄﺒﻊ! ﺳﺄﻝ ﺍﳌﺴﻴ ‪‬ﺢ ﻣﺮ‪‬ﺓ‪:‬‬
‫ﺍﻟﻘﻠﺐ‪ ،‬ﺍﳌﻘﺼﻮﺩ ﻫﻨﺎ ﻟﻴﺲ ﺍﻟﻌﻀﻮ ﺍﳉﺴﺪ ‪‬‬
‫"ﳌﺎﺫﺍ ﺗﻔﻜﹼﺮﻭﻥ ‪‬ﺬﺍ ﰲ ﻗﻠﻮﺑﻜﻢ؟"‪ ،٢٤‬ﻓﺎﻟﻘﻠﺐ ﻫﻨﺎ ﻣﺮﻛﺰ ﺍﻷﻓﻜﺎﺭ‪ .‬ﻣﺮ‪‬ﺍﺕ ﻳﻌﲏ‬
‫ﺐ‪ :‬ﺍﻹﺭﺍﺩﺓﹶ‪ ،‬ﻭﺍﻟﻘﺮﺍﺭ‪ ،‬ﻭﺍﳌﻴﻞﹶ‪ ،‬ﻭﺍﻟﺮﻏﺒﺔ ﺍﻟﺬﺍﺗﻴ‪‬ﺔ‪ ،‬ﻛﻤﺎ ﺟﺎﺀ ﻋﻠﻰ ﻟﺴﺎﻥ ﺃﺷﻌﻴﺎﺀ‬ ‫ﺍﻟﻘﻠ ‪‬‬
‫ﱯ‪" :‬ﻫﺬﺍ ﺍﻟﺸﻌﺐ ﻳﻜﺮﻣﲏ ﺑﺸﻔﺘ‪‬ﻴﻪ ﺃﻣ‪‬ﺎ ﻗﻠﺒﻪ ﻓﺒﻌﻴﺪ ﻋﻨ‪‬ﻲ"‪ .٢٥‬ﻣﺮ‪‬ﺍﺕ ﺃﺧﺮﻯ ﻳﻌﲏ‬ ‫ﺍﻟﻨ ‪‬‬

‫‪ ٢٤‬ﻟﻮ ‪.٣٨ ،٢٤‬‬

‫‪.١٣ ،٢٩ ٢٥‬‬
‫‪٥٢‬‬
‫ﻼ ﺣﺴﺐ‬ ‫ﺐ‪ :‬ﺍﻟﺮﺿﻰ‪ ،‬ﻭﺍﻟﺴﺮﻭﺭ‪ ،‬ﻭﺍﻟﻘﺒﻮﻝ‪" :‬ﻓﻮﺟﺪ ﺍﷲ ﺩﺍﻭﻭﺩ ﺑﻦ ﻳﺴ‪‬ﻰ ﺭﺟ ﹰ‬ ‫ﺍﻟﻘﻠ ‪‬‬
‫ﻗﻠﺒﻪ ﺍﻟﺬﻱ ﻳﺼﻨﻊ ﻛ ﹼﻞ ﻣﺸﻴﺌﺘﻪ"‪.٢٦‬‬
‫ﺍﻟﻘﻠﺐ ﻫﻮ ﻣﺮﻛﺰ ﺍﻟﻜﻴﺎﻥ ﺍﻹﻧﺴﺎﱐﹼ‪ ،‬ﺍﻹﺭﺍﺩﺓ ﻭﺍﻟﺮﻏﺒﺎﺕ‪ ،‬ﻭﻫﻨﺎ ﻛﻠﻤﺔ ﻗﻠﺐ‬
‫ﳝﻜﻦ ﺗﻔﺴﲑﻫﺎ ﺑـ"ﻧﻔﺲ"‪ ،‬ﺃﻱ ﻃ ‪‬ﻬ ‪‬ﺮ ﻧﻔﺴﻲ ﻭﺍﺟﻌﻠﹾﻬﺎ ﻧﻘﻴ‪‬ﺔ‪" .‬ﺍﺧﻠ ‪‬ﻖ" ﻫﻨﺎ ﻻ ﺗﻌﲏ‬
‫ﺃﻧ‪‬ﻪ ﻳﻄﻠﺐ ﺷﻴﺌﹰﺎ ﻏﲑ ﻣﻮﺟﻮﺩ‪ -‬ﻭﻫﺬﺍ ﻣﺎ ﻳﺆﻛﹼﺪ ﻋﻠﻴﻪ ﺍﻟﻘﺪ‪‬ﻳﺲ ﺑﺎﺳﻴﻠﻴﻮﺱ ﺍﻟﻜﺒﲑ‪-‬‬
‫ﻭﺇﻧ‪‬ﻤﺎ ﻛﻤﺎ ﻳﻘﻮﻝ ﺍﻟﻘﺪ‪‬ﻳﺲ ﻛﲑﻟﹼﻠﺲ‪ ،‬ﺍﺧﻠ ‪‬ﻖ ﻫﻨﺎ ﻳﻌﲏ ﺟ ‪‬ﺪ ‪‬ﺩ ﻭﺃﺻﻠ ‪‬ﺢ‪ .‬ﻓﻘﻠﺐ ﺩﺍﻭﻭﺩ‬
‫ﻭﻧﻔﺴﻪ ﻛﺎﻧﺎ ﻧﻘﻴ‪‬ﲔ ﻟﻜﻨ‪‬ﻪ ﻣﻸﳘﺎ ﻫﻮ ﻓﺴﺎﺩﹰﺍ ﻭﺃﻓﺴﺪﳘﺎ‪ ،‬ﻭﺍﻵﻥ ﻳﻄﻠﺐ ﺇﱃ ﺍﷲ ﺃﻥ‬
‫ﻳﻌﻴﺪ ﻓﻴﻪ ﺍﻟﻘﻠﺐ ﻭﺍﻟﻨﻔﺲ ﺇﱃ ﲨﺎﳍﻤﺎ ﺍﻷﻭ‪‬ﻝ‪.‬‬
‫ﻭﻳﺰﻳﺪ ﺩﺍﻭﻭﺩ ﰲ ﻃﻠﺒﻪ ﻓﻴﺴﺄﻝ ﻣﻦ ﺍﷲ ﺭﻭﺣﹰﺎ ﻣﺴﺘﻘﻴﻤﹰﺎ‪ .‬ﺍﻟﺮﻭﺡ ﺍﳌﺴﺘﻘﻴﻢ ﻫﻮ‬
‫ﺭﻭﺡ ﺍﳊﻖ‪ ،‬ﻓﺎﳊﺸﺎ ﻫﻨﺎ ﻫﻮ ﺩﺍﺧﻞ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﺃﻭ ﺑﻜﻠﻤﺔ ﺃﺧﺮﻯ ﺍﻹﻧﺴﺎﻥ‬
‫ﺍﻟﺪﺍﺧﻠ ‪‬ﻲ‪ .‬ﻓﺎﺟﻌ ﹾﻞ ﻳﺎ ﺭﺑ‪‬ﻲ ﺭﻭﺣﻲ ﻣﺴﺘﻘﻴﻤﹰﺎ‪.‬ﻛﻤﺎ ﺃ ﹼﻥ ﺍﻟﻘﻠﺐ ﻣﺮﻛﺰ ﺍﻹﻧﺴﺎﻥ‬
‫ﻭﺷﺨﺼﻪ ﻓﺈ ﹼﻥ ﺍﳊﺸﺎ ﻫﻮ ﻗﺮﺍﺭ ﺃﻋﻤﺎﻗﻪ‪ .‬ﻫﻜﺬﺍ ﻳﺸﺮﺡ ﻃﻠﺒﻪ ﺑﺼﻮﺭﺓ ﻣﻠﺤ‪‬ﺔ‬
‫ﻭﻣﺸﺎ‪‬ﺔ ﻟﻸﻭﱃ ﺍﻟﱵ ﰲ ﺍﻟﺸﻄﺮ ﺍﻷﻭ‪‬ﻝ‪.‬‬
‫ﻳﺆﻛﹼﺪ ﺛﻴﻮﺫﻭﺭﻳﺘﻮﺱ ﻫﻨﺎ ﺃ ﹼﻥ ﺍﳌﻘﺼﻮﺩ ﻟﻴﺲ ﺍﻟﺮﻭﺡ ﺍﻟﻘﺪﺱ ﻭﻟﻜﻦ ﺭﻭﺡ‬
‫ﺍﻻﺳﺘﻘﺎﻣﺔ ﺃﻱ ﻣﻔﻬﻮﻡ ﺍﻟﻌﺪﻝ ﻭﺍﳊ ‪‬ﻖ ﻭﺍﻟﻌﻘﻞ ﺍﻟﺴﻠﻴﻢ‪ .‬ﻛﺬﻟﻚ ﺍﻟﻘﺪ‪‬ﻳﺲ ﺃﺛﻨﺎﺳﻴﻮﺱ‬
‫ﻳﺸﺮﺡ ﺍﻟﺮﻭﺡ ﺍﳌﺴﺘﻘﻴﻢ ﺑﺎﻟﻀﻤﲑ ﺍﳊ ‪‬ﻲ‪.‬‬

‫)‪ (١١‬ﻻ ﺗﻄﺮﺣ‪‬ﲏ ﻣﻦ ﺃﻣﺎﻡ ﻭﺟﻬﻚ‪ ،‬ﻭﺭﻭﺣﻚ ﺍﻟﻘﺪﻭﺱ ﻻ ﺗﻨـﺰﻋ‪‬ﻪ ﻣﻨ‪‬ﻲ‬

‫ﺏ ﺃﻥ ﻳﺼﺮﻑ ﻭﺟﻬﻪ ﻋﻦ ﺧﻄﺎﻳﺎﻩ‪ ،‬ﻳﻄﻠﺐ ﻫﻨﺎ‬ ‫ﻛﻤﺎ ﻃﻠﺐ ﺩﺍﻭﻭﺩ ﻣﻦ ﺍﻟﺮ ‪‬‬
‫ﱄ ﻭﺭﺃﻳﺘ‪‬ﲏ ﻏﲑ ﻣﺴﺘﺤ ‪‬ﻖ ﺑﺴﺒﺐ ﺇﲦﻲ ﻻ ﺗﻄﺮﺩﱐ‬
‫ﺕﺇﱠ‬‫ﺍﻷﻣﺮ ﻋﻴﻨﻪ‪ ،‬ﻳﻘﻮﻝ‪ :‬ﺇ ﹾﻥ ﻧﻈﺮ ‪‬‬

‫‪ ٢٦‬ﺃﻉ ‪٢٢ ،١٣‬؛ ‪ ١‬ﻣﻠﻮﻙ ‪.١٤ ،١٣‬‬

‫‪٥٣‬‬
‫ﺧﺎﺭﺟﺎﹰ‪ ،‬ﻻ ﺗﻄﺮﺣ‪‬ﲏ ﻣﻦ ﺃﻣﺎﻡ ﻭﺟﻬﻚ‪ ،‬ﻭﺭﻭﺣﻚ ﺍﻟﻘﺪﻭﺱ ﻭﻧﻌﻤﺔ ﺍﻟﻨﺒﻮ‪‬ﺓ ﺍﻟﱵ‬
‫ﻉ ﻣﻨ‪‬ﻲ ﺭﻭﺣ‪‬ﻚ ﺍﻟﻘﺪﻭﺱ ﻭﻣﻮﺍﻫﺒﻪ ﺍﻟﱵ‬ ‫ﻭﻫﺒﺘﲏ ﺇﻳ‪‬ﺎﻫﺎ ﻻ ﺗﻨـﺰﻋ‪‬ﻬﺎ ﻣﻨ‪‬ﻲ‪ .‬ﻻ ﺗﻨـﺰ ‪‬‬
‫ﱯ ﺍﻟﻔ ‪‬ﻢ ﻭﻳﻘﻮﻝ‪" :‬ﺇﻧ‪‬ﻲ ﺃﻃﻠﺐ ﻫﺬﻩ ﺍﻟﻨﻌﻤﺔ ﻭﺣﻀﻮﺭ‬ ‫ﰲ‪ .‬ﻫﻜﺬﺍ ﻳﺸﺮﺡ ﺍﻟﺬﻫ ‪‬‬ ‫ﻛﺎﻧﺖ ﱠ‬
‫ﺭﻭﺣﻚ ﻛﻤﺎ ﺗﻌﻮﺩ ﺍﻟﻨﺤﻠﺔ ﺇﱃ ﺍﻟﺰﻫﺮ ﺑﻌﺪ ﻏﻴﺎﺏ ﺍﻟﺪﺧﺎﻥ"‪ .‬ﻫﺬﺍ ﻻ ﻳﻌﺎﺭﺽ‬
‫ﻼ‬
‫ﺍﻟﻔﻜﺮﺓ ﺍﻟﺴﺎﺑﻘﺔ ﺃ ﹼﻥ ﺩﺍﻭﻭﺩ ﱂ ﳜﺴﺮ ﻛﻠ‪‬ﻴﹰﺎ ﺭﻭﺡ ﺍﻟﻨﺒﻮﺀﺓ ﺑﻌﺪ ﺧﻄﻴﺌﺘﻪ ﻭﺇﻧ‪‬ﻤﺎ ﻓﻌ ﹰ‬
‫ﺡ ﺍﻟﻘﺪﺱ ﺍﻹﻧﺴﺎ ﹶﻥ ﻛﻠ‪‬ﻴﹰﺎ ﻫﻠﻚ ﻻ ﳏﺎﻟﺔ‪ ،‬ﻭﺇﻧ‪‬ﻤﺎ‬ ‫ﺧﺴﺮﻩ ﺟﺰﺋﻴﹰﺎ‪ .‬ﻷﻧ‪‬ﻪ ﺇﻥ ﻫﺠﺮ ﺍﻟﺮﻭ ‪‬‬
‫ﺗﻨﻘﺼﺮ ﻧﻌﻤﻪ ﻋﻨ‪‬ﺎ ﻋﻨﺪﻣﺎ ﻧﻌﻴﻖ ﻋﻤﻠﻪ ﻓﻴﻨﺎ ﲞﻄﺎﻳﺎﻧﺎ‪.‬‬

‫)‪ (١٢‬ﺍﻣﻨﺤ‪‬ﲏ ‪‬ﺠﺔ ﺧﻼﺻﻚ‪ ،‬ﻭﺑﺮﻭﺡ ﺭﺋﺎﺳﻲ ﺍﻋﻀﺪ‪‬ﱐ‬

‫ﺡ ﻣﻦ ﻗﻠﱯ ﻋﺬﺍﺏ ﺍﳋﻄﻴﺌﺔ‪ ،‬ﺃﻋ ‪‬ﺪ‬ ‫ﺍﻣﻨﺤ‪‬ﲏ ﻳﺎ ﺭﺏ‪ ‬ﺍﻟﺴ‪‬ﻼﻡ ﺍﻟﺪﺍﺧﻠﻲ‪ ،‬ﻭﺍﻃﺮ ‪‬‬
‫ﻉ ﻋﻨ‪‬ﻲ ﻗﻠﻖ ﺍﻟﺸ ‪‬ﺮ‪ .‬ﺃﻋﻄ‪‬ﲏ ﺳﻼﻡ ﺍﻟﻀﻤﲑ ﻭﻓﺮﺣﻪ ﻭ‪‬ﺠﺔ‬ ‫ﱄ ‪‬ﺠﺔ ﺍﻟ ‪‬ﱪ ﻭﺍﻧـﺰ ‪‬‬ ‫ﺇﱠ‬
‫ﺍﳋﻼﺹ ﺍﻟﱵ ﻛﺎﻧﺖ ﱄ ﻗﺒﻞ ﺇﲦﻲ‪ .‬ﻛﻴﻒ ﻳﺸﻌﺮ ﺍﻹﻧﺴﺎﻥ ﺑﻔﺮﺡ ﺍﳋﻼﺹ؟ ﻋﻨﺪﻣﺎ‬
‫ﺹ ﻫﻮ ﺍﳌﱪ‪‬ﺭ ﻭﻫﻮ ﺍﳌﺨﻠﱢﺺ‪ ،‬ﻋﻨﺪﻣﺎ ﻳﺸﻌﺮ ﺃ ﹼﻥ ﻟﻪ ﺩﺍﻟﹼﺔ‪ ،‬ﺭﻏﻢ‬ ‫ﻳﺸﻌﺮ ﺃ ﹼﻥ ﺇﳍﻪ ﺍﳋﺎ ‪‬‬
‫ﺿﻌﻔﻪ‪ ،‬ﺃﻥ ﻳﻜﻮﻥ ﰲ ﺻﻔﻮﻑ ﺍﳌﺨﻠﱠﺼﲔ‪ ،‬ﺃﻱ ﺍﻟﺬﻳﻦ ﻳﻌﺘﺮﻑ ‪‬ﻢ ﺍﻹﻟﻪ ﺍﳌﺨﻠﱢﺺ‬
‫ﻋﺒﻴﺪﹰﺍ ﻟﻪ‪.‬‬
‫ﺏ ﺑﺮﻭﺡ ﺭﺋﺎﺳﻲ‪ ،‬ﺑﺮﻭﺡ ﺍﻻﺳﺘﻘﺎﻣﺔ‪ .‬ﺍﺟﻌ ﹾﻞ ﺭﻭﺣﻚ‬ ‫ﻭﺍﻋﻀﺪ‪‬ﱐ ﻳﺎ ﺭ ‪‬‬
‫ﺍﻟﻘﺪ‪‬ﻭﺱ ﻳﻌﻄﻴﲏ ﻗﻮ‪‬ﺓ ﻋﻴﺶ ﺍﻟﻔﻀﻴﻠﺔ‪ ،‬ﺍﺟﻌﻠﹾﻪ ﻳﻬﺪ‪‬ﺉ ﺟﻴﺸﺎﻥ ﺃﻫﻮﺍﺋﻲ ﻭﻳﻬﺒﲏ ﺭﻭﺡ‬
‫ﺍﻻﺳﺘﻘﺎﻣﺔ‪ ،‬ﻭﳝﻨﺤﲏ ﻗ ‪‬ﻮ ﹰﺓ ﺃﺳﻴﻄﺮ ‪‬ﺎ ﻋﻠﻰ ﻣﻴﻮﱄ ﻟﻠﺨﻄﻴﺌﺔ‪ .‬ﻫﺒ‪‬ﲏ ﺭﺋﺎﺳﺔ ﺍﻟﺮﻭﺡ‬
‫ﻋﻠﻰ ﺍﳉﺴﺪ‪ ،‬ﺃﻋﻄ‪‬ﲏ ﺍﻟﺴﻴﺎﺩﺓ ﺍﻟﱵ ﻣﻨﺤﺘﻨﻴﻬﺎ ﻗﺒﻼﹰ‪ ،‬ﺳﻴﺎﺩﺓ ﺍﻹﺭﺍﺩﺓ ﻋﻠﻰ ﺍﻟﺮﻏﺒﺎﺕ‪.‬‬

‫‪٥٤‬‬
 ‫)‪ (١٣‬ﻓﺄﻋﻠﱢ ‪‬ﻢ ﺍﻷﲦ ﹶﺔ ﻃﺮﻗﹶﻚ‪ ،‬ﻭﺍﻟﻜﻔﺮ ﹸﺓ ﺇﻟﻴﻚ ﻳﺮﺟﻌﻮﻥ‬
‫ﻗﺪ ﻳﻜﻮﻥ ﻫﺬﺍ ﺍﻟﺒﻴﺖ ﻧﺒﻮﺀﺓ ﻋﻦ ﺩﺧﻮﻝ ﺍﻷﻣﻢ ﺍﻟﻜﻔﺮﺓ ﺇﱃ ﺍﻹﳝﺎﻥ ﻋﻦ ﻃﺮﻳﻖ‬
‫ﻼ‬ ‫ﺍﻧﺘﺸﺎﺭ ﺍﻹﳒﻴﻞ‪ .‬ﻭﻟﺮﺑ‪‬ﻤﺎ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﺍﻟﺬﻱ ﺳﻴﺒﻘﻰ ﻣﻦ ﺩﺍﻭﻭﺩ ﺳﻴﻜﻮﻥ ﻓﻌ ﹰ‬
‫ﺗﻌﻠﻴﻤﹰﺎ ﻟﻸﲦﺔ ﺑﺘﺮﺍﻧﻴﻤﻪ ﺍﻟﺮﺍﺋﻌﺔ ﻭﺻﻠﻮﺍﺕ ﺍﻟﺘﻮﺑﺔ ﺍﳊﺎﺭ‪‬ﺓ ﺍﻟﱵ ﻓﻴﻪ‪.‬‬
‫ﺕ ﻣﺂﲦﻲ‬ ‫ﱯ ﺩﺍﻭﻭﺩ‪" :‬ﺇﺫ ﻗﺪ ﳏﻮ ‪‬‬ ‫ﺍﻟﻘﺪ‪‬ﻳﺲ ﺃﺛﻨﺎﺳﻴﻮﺱ ﻳﻘﻮﻝ ﻋﻦ ﻟﺴﺎﻥ ﺍﻟﻨ ‪‬‬
‫ﻉ ﺭﻭﺣﻚ ﺍﻟﻘﺪ‪‬ﻭﺱ ﻣﻨ‪‬ﻲ‬ ‫ﺾ ﺭﲪﺘﻚ ﻭﱂ ﺗﻨـﺰ ‪‬‬ ‫ﺖ ﻓﻴ ‪‬‬ ‫ﺖ ﻋﻠ ‪‬ﻲ ﺃﻧﺎﺗﻚ ﻭﺳﻜﺒ ‪‬‬ ‫ﻭﺃﻃ ﹾﻠ ‪‬‬
‫ﻭﻫﺎ ﻗﺪ ﻣﻨﺤﺘ‪‬ﲏ ‪‬ﺠﺔ ﺧﻼﺻﻚ‪ ،‬ﻓﺈﻧ‪‬ﻲ ﺳﺄﻋﻠﱢﻢ ﺑﺎﻟﻄﺒﻊ ﺍﻟﻜﻔﺮ ﹶﺓ ﺍﻹﳝﺎﻥ ﻭﺍﻷﲦ ﹶﺔ‬
‫ﻼ ﺩﺭﺳﹰﺎ ﺑﻠﻴﻐﹰﺎ ﰲ ﺍﻟﺘﻮﺑﺔ‪،‬‬ ‫ﺍﻟﺘﻮﺑﺔ‪ .‬ﻻ ﺑﻞ ﺇ ﹼﻥ ﻏﻔﺮﺍﻧﻚ ﻭﻋﻮﺩﰐ ﺳﺘﻜﻮﻥ ﻓﻌ ﹰ‬
‫ﻭﺳﻴﻘﻮﺩﺍﻥ ﻛﺜﲑﻳﻦ ﺇﻟﻴﻬﺎ"‪ .‬ﻫﻜﺬﺍ ﻳﻘﻮﻝ ﺃﻳﻀﹰﺎ ﺇﻳﺴﻴﺨﻴﻮﺱ‪ :‬ﻛﻤﺎ ﺃ ﹼﻥ ﺍﳌﺮﻳﺾ ﻳﻠﺠﺄ‬
‫ﻼ ﻣﺜﻠﻪ ﻗﺪ ﺗﻨﺎﻭﻟﻪ ﻗﺒﻠﻪ ﻭﺷﻔﻲ‪ ،‬ﻫﻜﺬﺍ ﺻﺎﺭﺕ‬ ‫ﺇﱃ ﺩﻭﺍﺀ ﻣﺎ ﺑﺜﻘﺔ ﻋﻨﺪﻣﺎ ﻳﺮﻯ ﻋﻠﻴ ﹰ‬
‫ﺗﻮﺑﺔ ﺩﺍﻭﻭﺩ ﺩﺭﺳﹰﺎ ﻭﺣﹼﺜﹰﺎ ﻋﻠﻰ ﺗﻮﺑﺘﻨﺎ‪.‬‬
‫ﻫﻜﺬﺍ ﰲ ﺃﻓﺎﺷﲔ ﺍﻟﺴ‪‬ﺤﺮ ﺍﻟﱵ ﻳﺘﻠﻮﻫﺎ ﺍﻟﻜﺎﻫﻦ ﻳﻘﻮﻝ ﺍﻷﻓﺸﲔ ﺍﻟﺜﺎﻣﻦ‪" :‬ﻳﺎ‬
‫ﺏ‬‫ﺖ ﻟﻨﺎ ﺗﻮﺑﺔ ﺩﺍﻭﻭﺩ ﺭﲰﹰﺎ ﻟﻠﺘﻮﺑﺔ‪ ."...‬ﺇﺫﻥ ﻳﺼﺮﺥ ﺩﺍﻭﻭﺩ‪ :‬ﺳﺎﳏ‪‬ﲏ ﻳﺎ ﺭ ‪‬‬ ‫ﻣ‪‬ﻦ ﻭﺿﻌ ‪‬‬
‫ﰲ ﻋﻈﻢ ﺭﲪﺘﻚ ﻭﺳﺄﻛﻮﻥ ﺃﻧﺎ ﺩﺭﺳﹰﺎ ﻭﻣﺜﺎ ﹰﻻ ﻟﻠﺘﻮﺑﺔ ﻭﺑﺮﻫﺎﻧﹰﺎ ﻋﻠﻰ ﳏﺒ‪‬ﺘﻚ‬ ‫ﻭﺃﻇ ﹺﻬ ‪‬ﺮ ﱠ‬
‫ﻼ ﻳﻬﻠﻜﻮﺍ‪ .‬ﳍﺬﺍ ﻛﺎﻧﺖ‬ ‫ﻭﺭﲪﺘﻚ‪ ،‬ﺑﺮﻫﺎ ﹲﻥ ﻳﻘﻮﺩ ﺍﳋﺎﻃﺌﲔ ﺇﱃ ﺃﻥ ﻳﻌﻮﺩﻭﺍ ﻭﻳﺘﻮﺑﻮﺍ ﻟﺌ ﹼ‬
‫ﺻﺮﺧﺔ ﺑﻮﻟﺲ ﻣﺜﺎ ﹰﻻ ﻗﻮ‪‬ﻳﹰﺎ ﺃ ﹼﻥ ﺍﳌﺴﻴﺢ "ﺟﺎﺀ ﻟﻴﺨﻠﹼﺺ ﺍﳋﻄﺄﺓ ﺍﻟﺬﻳﻦ ﺃﻧﺎ ﺃﻭ‪‬ﳍﻢ"‪.‬‬
‫ﻭﻫﺬﺍ ﻣﺎ ﻳﻌﻨﻴﻪ ﺑﻮﻟﺲ‪ ،‬ﺃﻱ ﺇﻥ ﻛﻨﺘﻢ ﻻ ﺗﺆﻣﻨﻮﻥ ﺃ ﹼﻥ ﺍﳌﺴﻴﺢ ﻳﻘﺒﻞ ﺍﳋﻄﺄﺓ‪ ،‬ﻓﻬﺎ ﺇ ﹼﻥ‬
‫ﻣﺜﺎﱄ ﻳﱪﻫﻦ ‪ -‬ﻋﻠﻰ ﺣ ‪‬ﺪ ﻗﻮﻟﻪ ‪ -‬ﺃﻧ‪‬ﻪ ﻳﺴﺎﻣﺢ ﺃﻛﱪ ﺍﳋﻄﺄﺓ ﺍﻟﺬﻳﻦ ﺃﻧﺎ ﺃﻛﱪﻫﻢ‬
‫ﻼ ﻛﻨﻴﺴﺘﻪ‪.‬‬
‫ﺕ ﻗﺒ ﹰ‬
‫ﻭﺍﻷﻭ‪‬ﻝ ﻓﻴﻬﻢ ﺇﺫ ﻗﺪ ﺍﺿﻄﻬﺪ ‪‬‬

‫‪٥٥‬‬
 ‫)‪ (١٤‬ﳒﱢﲏ ﻣﻦ ﺍﻟﺪﻣﺎﺀ‪ ،‬ﻳﺎ ﺍﷲ ﺇﻟﻪ ﺧﻼﺻﻲ‪ ،‬ﻓﻴﺒﺘﻬﺞ ﻟﺴﺎﱐ ﺑﱪ‪‬ﻙ‬
‫ﺺ ﲟﻌﻨﺎﻩ ﺍﻟﺘﺎﺭﳜﻲ‪ ،‬ﻓﺎﻟﺪ‪‬ﻣﺎﺀ ﻫﻨﺎ‪ ،‬ﻫﻲ ﺍﻟﺪﻡ ﺍﳌﻬﺪﻭﺭ‬
‫ﺇﺫﺍ ﺃﺭﺩﻧﺎ ﺃﻥ ﻧﻔﻬﻢ ﺍﻟﻨ ‪‬‬
‫ﻇﻠﻤﺎﹰ‪ ،‬ﺩﻡ ﺃﻭﺭﻳ‪‬ﺎ ﺍﻟﺬﻱ ﻗﺘﻠﻪ ﺩﺍﻭﻭﺩ‪ .‬ﻭﻛﺄ ﹼﻥ ﺩﺍﻭﻭﺩ ﻳﺼﻠﹼﻲ ﺇﱃ ﺍﷲ ﺃﻥ ﻳﻨﺠ‪‬ﻴﻪ ﻣﻦ‬
‫ﺍﻟﻮﻗﻮﻉ ﺛﺎﻧﻴﺔ ‪‬ﺬﻩ ﺍﻟﺰ‪‬ﻟﺔ ﺍﻟﺮﻫﻴﺒﺔ‪ .‬ﺗﻜﺮﺍﺭ ﺍﺳﻢ ﺍﷲ‪" ،‬ﻳﺎ ﺍﷲ ﺇﻟﻪ ﺧﻼﺻﻲ"‪ ،‬ﻳﻮﺿﺢ‬
‫ﺷﺪ‪‬ﺓ ﺗﻀﺮ‪‬ﻋﻪ‪ .‬ﻫﻨﺎ ﻳﻄﻠﺐ ﺩﺍﻭﻭﺩ ﺍﻟﺘﺎﺋﺐ ﻣﻦ ﺍﷲ ﺃﻥ ﻳﻌﻄﻴﻪ ﺍﻟﻘﻮ‪‬ﺓ ﻟﺘﻤﻀﻴﺔ ﺣﻴﺎﺗﻪ‬
‫ﺍﻟﺒﺎﻗﻴﺔ ﰲ ﺗﻮﺑﺔ ﺑﺪﻭﻥ ﺩﻣﺎﺀ‪ .‬ﻓﺤﺘ‪‬ﻰ ﺍﻟﺘﻮﺑﺔ ﺫﺍ‪‬ﺎ‪ ،‬ﻫﻲ ﻣﻦ ﻧﺎﺣﻴﺔ ﻗﺮﺍﺭ ﻭﻣﻮﻗﻒ‬
‫ﺷﺨﺼﻴ‪‬ﲔ‪ ،‬ﻟﻜﻦ ﻣﻦ ﻧﺎﺣﻴﺔ ﺃﺧﺮﻯ ﲢﻘﻴﻘﻬﺎ ﻫﻮ ﺑﺮﻛﺔ ﻭﻫﺒﺔ ﺇﳍ‪‬ﻴﺘ‪‬ﲔ‪ .‬ﻓﺎﻟﺬﻱ‬
‫ﻳﻀﻤﻦ ﺗﻮﺑﱵ ﻫﻮ ﺇﻟﻪ ﺧﻼﺻﻲ‪.‬‬

‫ﻭﳝﻜﻦ ﻓﻬﻢ ﻛﻠﻤﺔ "ﺩﻣﺎﺀ" ﲟﻌﻨﺎﻫﺎ ﺍ‪‬ﺎﺯﻱ "ﺷﻴﺎﻃﲔ"‪ .‬ﻭﺍﻟﺸﻴﺎﻃﲔ ﻳﺮﻣﺰ ﳍﺎ‬
‫ﺑﺎﻟﺪﻣﺎﺀ ﻷﻧ‪‬ﻬﺎ ﺳﺒﺐ ﺍﻟﻘﺘﻞ ﻭﺗﻔﺮﺡ ﺑﻪ ﻭﺑﺎﻟﺸ ‪‬ﺮ‪.‬‬
‫ﺑﺎﻟﻄﺒﻊ ﺍﻟﻘﻠﺐ ﺍﻟﺬﻱ ﻳﻨﺠﻮ ﻣﻦ ﺍﻟﺪﻣﺎﺀ ﻭﻣﻦ ﺍﻟﺸﺮﻭﺭ ﻋﺎﻣ‪‬ﺔ ﻭﳜﻠﺺ ﻣﻨﻬﺎ ﻻ‬
‫ﺗﺸﻐﻠﻪ ﳘﻮﻡ ﻭﻻ ﺗﻘﻠﻘﻪ ﳐﺎﻭﻑ ﺍﻟﺸﺮﻭﺭ ﻭﺃﻋﻤﺎﳍﺎ ﻭﻧﺘﺎﺋﺠﻬﺎ‪ ،‬ﻭﺇﻧ‪‬ﻤﺎ ﲤﻠﺆﻩ ﻣﺸﺎﻋﺮ‬
‫ﺍﻟﺘﺴﺒﻴﺢ ﻭﻳﺮﻭﺡ ﻳﺸﺪﻭ ﺑﻌﻈﺎﺋﻢ ﺍﷲ ﻭﺭﲪﺘﻪ ﻭﺑﱪ‪‬ﻩ‪ ،‬ﺃﻱ ﺑﺎﻟﺘﱪﻳﺮ‪ ،‬ﺃﻱ ﺑﺎﳌﺴﺎﳏﺔ‬
‫ﻭﺍﻟﻐﻔﺮﺍﻥ ﺍﻟﺬﻱ ﻧﺎﻟﻪ‪ .‬ﺍﻟﻘﺪ‪‬ﻳﺲ ﻛﲑﻟﹼﻠﺲ ﻳﺮﻯ ﺑﻜﻠﻤﺔ "ﺑ ‪‬ﺮ" ﻫﻨﺎ ﺍﳌﺴﻴ ‪‬ﺢ ﺫﺍﺗﻪ‪.‬‬
‫ﻓﺪﺍﺅﻭﺩ ﻛﻤﺎ ﺑﻨﺒﻮﺀﺓ ﻳﺒﺘﻬﺞ ﺑﺎﳌﺴﻴﺢ ﺍﻟﺬﻱ ﺻﺎﺭ ﺑﻪ ﺍﻟﺘﱪﻳﺮ ﻟﻨﺎ ﻭﺻﺎﺭ ﻫﻮ ﺗﱪﻳﺮ ﺍﷲ‬
‫ﻟﻨﺎ ﻭﺑﺮ‪‬ﻧﺎ ﺃﻣﺎﻣﻪ‪.‬‬

‫ﺢ ﺷﻔ‪‬ﺘﻲ‪ ،‬ﻓﻴﺨﱪ ﻓﻤﻲ ﺑﺘﺴﺒﺤﺘﻚ‬ ‫)‪ (١٥‬ﻳﺎ ﺭﺏ‪ ‬ﺍﻓﺘ ‪‬‬

‫ﺖ ﻓﻤﻲ ﻣﻦ ﺃﱂ ﺍﳋﻄﻴﺌﺔ‪ ،‬ﻟﻘﺪ ﺳﺪ‪‬ﺕ ﻫﺬﻩ ﺍﻷﺧﲑﺓ ﻓﻤﻲ ﻋﻦ‬ ‫ﺻ ‪‬ﻤ ‪‬‬
‫ﻟﻘﺪ ‪‬‬
‫ﱵ ﺑﻐﻔﺮﺍﻧﻚ ﻟﺘﺴﺒ‪‬ﺤﺎﻧﻚ ﻣﻦ ﺟﺪﻳﺪ‬
‫ﺏ ﻭﺍﻓﺘ ‪‬ﺢ ﺷﻔ ‪‬‬
‫ﺃﻧﺎﺷﻴﺪﻩ ﺍﳌﻌﺘﺎﺩﺓ‪ .‬ﻓﺴﺎﳏ‪‬ﲏ ﻳﺎ ﺭ ‪‬‬

‫‪٥٦‬‬
‫ﺏ ﺍﻓﺘ ‪‬ﺢ ﱄ ﺃﺑﻮﺍﺏ ﺍﻟﺘﻮﺑﺔ ﻷﻋﻮﺩ ﺇﱃ ﺣﻴﺎﰐ ﺍﻷﻭﱃ‪ ،‬ﺇﱃ‬
‫ﻛﻤﺎ ﻛﺎﻧﺘﺎ‪ .‬ﻳﺎ ﺭ ‪‬‬
‫ﺗﺴﺒﻴﺤﻚ ﻭﺍﻟﺘﻐﻨ‪‬ﻲ ﺑﺮﲪﺘﻚ‪.‬‬

‫ﺖ ﺍﻵﻥ ﺃﻋﻄﻲ‪ ،‬ﻟﻜﻨ‪‬ﻚ ﻻ ﺗﺴﺮ‪ ‬ﺑﺎﶈﺮﻗﺎﺕ‬ ‫ﺕ ﺍﻟﺬﺑﻴﺤ ﹶﺔ ﻟﻜﻨ ‪‬‬

‫)‪ (١٦‬ﻷﻧ‪‬ﻚ ﻟﻮ ﺁﺛﺮ ‪‬‬
‫ﻫﻨﺎ ﻳﺘﺨﻄﹼﻰ ﺩﺍﻭﻭﺩ ﻛ ﹼﻞ ﺍﻟﻔﺎﺻﻞ ﺑﲔ ﺯﻣﻨﻪ ﻭﺯﻣﻦ ﺍﻟﻌﻬﺪ ﺍﳉﺪﻳﺪ‪ ،‬ﻓﻴﺘﺠﺎﻭﺯ‬
‫ﺍﻟﻔﺮﺍﺋﺾ ﺍﻟﻨﺎﻣﻮﺳﻴ‪‬ﺔ ﻛﺄﻧ‪‬ﻪ ﻳﻌﺒﺪ ﺍﷲ ﺑﺎﻟﺮﻭﺡ ﻭﺍﳊ ‪‬ﻖ‪ .٢٧‬ﺇ ﹼﻥ ﺫﺑﻴﺤﺘ‪‬ﻪ ﻫﻲ ﺗﺴﺒﺤﺘ‪‬ﻪ‬
‫ﻭﺷﻜﺮ‪‬ﻩ ﻭﺻﻼﺗﻪ ﻭﺗﻮﺑﺘﻪ‪ ،‬ﻻ ﻳﺸﺘﺮﻱ ﻏﻔﺮﺍﻥ ﺍﷲ ﺑﺎﻟﺬﺑﺎﺋﺢ ﻟﻜﻦ ﺑﺎﻟﺘﻮﺑﺔ ﺍﻟﺼﺎﺩﻗﺔ‬
‫ﺃﻱ ﺑﻜﺮﻩ ﻋﻤﻴﻖ ﻟﻠﺨﻄﻴﺌﺔ‪ .‬ﺇﻧ‪‬ﻚ ﻻ ﺗﺒﻴﻊ ﺍﻟﻐﻔﺮﺍﻥ ﺑﺬﺑﻴﺤﺔ‪ ،‬ﻓﺬﺑﺎﺋﺢ ﺍﶈﺮﻗﺎﺕ ﺫﺍ‪‬ﺎ‬
‫ﱯ ﷲ‪.‬‬‫ﻻ ﺗﺮﺿﻴﻚ‪ ،‬ﻳﻘﻮﻝ ﺍﻟﻨ ‪‬‬
‫ﻟﻘﺪ ﻛﺎﻥ ﻋﻨﺪ ﺍﻟﻴﻬﻮﺩ ﻋ ‪‬ﺪ ﹸﺓ ﺃﻧﻮﺍﻉ ﻣﻦ ﺍﻟﺬﺑﺎﺋﺢ ﻛﺘﻘﺪﻣﺎﺕ ﻟﻠﻬﻴﻜﻞ‪ ،‬ﻓﻤﻨﻬﺎ‬
‫ﻣﺎ ﻛﺎﻥ ﻳ‪‬ﺬﺑﺢ ﻭﻳﺆﻛﻞ‪ .‬ﺃﻣ‪‬ﺎ ﺃﲦﻦ ﺍﻟﺬﺑﺎﺋﺢ ﷲ ﻫﻲ ﺗﻠﻚ ﺍﻟﱵ ﻛﺎﻧﺖ ﺗﻘﺪ‪‬ﻡ ﺑﻜﺎﻣﻠﻬﺎ‬
‫ﷲ‪ ،‬ﻓﻜﺎﻧﺖ ﺗ‪‬ﺤﺮﻕ ﻛﻠﹼﻬﺎ ﻭﻻ ﻳﺆﺧﺬ ﻣﻨﻬﺎ ﺷﻲﺀ ﺍﻟﺒﺘ‪‬ﺔ‪ .‬ﻭﺣﺘ‪‬ﻰ ﻫﺬﻩ‪ ،‬ﺃﻛﺮﻡ ﺍﻟﺬﺑﺎﺋﺢ‬
‫ﻻ ﻳ‪‬ﺆﺛﺮﻫﺎ ﺍﷲ ﻭﺇﻧ‪‬ﻤﺎ ﻛﻤﺎ ﻳﺘﺎﺑﻊ ﺩﺍﻭﻭﺩ ﰲ ﺍﻟﺒﻴﺖ ﺍﻟﻼﺣﻖ‪:‬‬

‫)‪ (١٧‬ﻓﺎﻟﺬﺑﻴﺤﺔ ﷲ ﺭﻭﺡ ﻣﻨﺴﺤﻖ‪ ،‬ﺍﻟﻘﻠﺐ ﺍﳌﻨﺴﺤﻖ ﻭﺍﳌﺘﻮﺍﺿﻊ ﻻ ﻳﺮﺫﻟﻪ ﺍﷲ‬

‫ﻼ‬
‫ﻭﻣﺎ ﻫﻮ ﺍﻟﺮﻭﺡ ﺍﳌﻨﺴﺤﻖ؟ ﺇﻧ‪‬ﻪ ﻗﻠﺒﻨﺎ ﻋﻨﺪﻣﺎ ﻧﺪﻳﻨﻪ ﻭﳓﺎﻛﻤﻪ ﻭﻳﻌﺘﺮﻑ ﻓﻌ ﹰ‬
‫ﺑﺬﻧﺒﻨﺎ‪ .‬ﺍﻻﻧﺴﺤﺎﻕ ﻳﺄﰐ ﻣﻦ ﻟﻮﻡ ﺍﻟﺬﺍﺕ ﻭﺍﻟﻮﻗﻮﻑ ﺃﻣﺎﻡ ﺍﷲ ﻛﻤ‪‬ﺤﺎ ﹶﻛ ﹴﻢ ﻣﻨﻜﺴِﺮ‬
‫ﺍﻟﻘﻠﺐ‪ .‬ﺍﻟﻘﺪ‪‬ﻳﺲ ﺑﺎﺳﻴﻠﻴﻮﺱ ﺍﻟﻜﺒﲑ ﻳﺸﺮﺡ ﻭﻳﻘﻮﻝ‪" :‬ﺍﻧﺴﺤﺎﻕ ﺍﻟﻘﻠﺐ ﻫﻮ ﻃﺮﺩ‬
‫ﺍﻷﻓﻜﺎﺭ ﺍﻟﺒﺸﺮﻳ‪‬ﺔ‪ .‬ﻓﺎﳌﻨﺴﺤﻖ ﺍﻟﻘﻠﺐ ﻫﻮ ﻣ‪‬ﻦ ﻳﻌﻄﻲ ﻧﻔﺴﻪ ﻭﻋﻘﻠﻪ ﺇﱃ ﺍﻟﺘﺄﻣ‪‬ﻞ‬
‫ﺑﺎﻟﻜﻼﻡ ﺍﻹﳍﻲ‪ ‬ﻭﺍﻟﺬﻱ ﳝﻨﺢ ﺫﻫﻨﻪ ﻓﺮﺹ ﺍﻻﻧﺸﻐﺎﻝ ﺑﺎﳌﻌﺎﱐ ﺍﻟﺴﺎﻣﻴﺔ ﻭﺍﻹﳍﻴ‪‬ﺔ‪ .‬ﻫﺬﺍ‬

‫‪ ٢٧‬ﻳﻮ ‪.٢٤-٢٣ ،٤‬‬

‫‪٥٧‬‬
‫ﺏ ﻭﻏﲑ ﻣﺮﺫﻭﻟﺔ ﻣﻨﻪ‪ .‬ﻓﻤ‪‬ﻦ ﳛﺒ‪‬ﻪ ﺍﷲ‪،‬‬ ‫ﳚﻌﻞ‪ ،‬ﻓﻌﻼﹰ‪ ،‬ﻗﻠﺒﻪ ﺫﺑﻴﺤﺔ ﻣﺮﺿﻴ‪‬ﺔ ﻟﺪﻯ ﺍﻟﺮ ‪‬‬
‫ﻭﳛﺴﻦ ﺇﻟﻴﻪ ﻭﻳﺮﻳﺪﻩ ﺃﻥ ﻳﻌﻴﺶ ﰲ ﺟﺪ‪‬ﺓ ﺍﳊﻴﺎﺓ ﻭﺍﻟﺮﻭﺡ‪ ،‬ﻳﺴﺤﻖ ﻓﻴﻪ ﺇﻧﺴﺎﻧ‪‬ﻪ‬
‫ﺍﻟﻘﺪﱘ‪ .‬ﳍﺬﺍ ﻓﺎﻟﺬﺑﻴﺤﺔ ﷲ ﻫﻲ ﺍﻟﺮﻭﺡ ﺍﳌﻨﺴﺤﻖ‪ ،‬ﺃﻱ ﻳﻨﺴﺤﻖ ﺭﻭﺡ ﺍﻟﻌﺎﱂ ﺍﻟﻌﺎﻣﻞ‬
‫ﻓﻴﻨﺎ ﻛ ﹼﻞ ﺧﻄﻴﺌﺔ ﻟﻜﻲ ﻳﺘﺠﺪ‪‬ﺩ ﰲ ﺃﺣﺸﺎﺋﻨﺎ ﺭﻭﺡ ﻣﺴﺘﻘﻴﻢ‪."...‬‬
‫ﺍﻟﻘﺪ‪‬ﻳﺲ ﻣﺮﻗﺲ ﺍﻟﻨﺎﺳﻚ ﻳﻘﻮﻝ‪" :‬ﺑﺪﻭﻥ ﺍﻧﺴﺤﺎﻕ ﻗﻠﺐ ﻻ ﳝﻜﻨﻨﺎ ﺍﻟﺘﺨﻠﹼﺺ‬
‫ﻣﻦ ﺧﻄﺎﻳﺎﻧﺎ‪ .‬ﻭﻣﺎ ﻳﺴﺤﻖ ﺍﻟﻘﻠﺐ ﻫﻮ ﺿﺒﻂ ﺍﻟﻨﻮﻡ ﻭﺍﳌﻌﺪﺓ ﻭﻋﺪﻡ ﺍﻟﻜﺴﻞ ﰲ‬
‫ﺍﻟﺮﺍﺣﺔ"‪ .‬ﺍﻧﺴﺤﺎﻕ ﺍﻟﻘﻠﺐ ﺑﻜﻼﻡ ﺁﺧﺮ ﻫﻮ ﺍﻟﻔﻘﺮ ﺑﺎﻟﺮﻭﺡ‪ .‬ﻭﺍﻟﻔﻘﲑ ﺑﺎﻟﺮﻭﺡ ﻫﻮ‬
‫ﺍﳌﺘﻮﺍﺿﻊ‪ ،‬ﺍﻟﺬﻱ ﺇﺫﺍ ﻣﺎ ﻋﻤﻞ ﺧﲑﹰﺍ ﻻ ﻳﺘﺮﻓﹼﻊ ﻷﻧ‪‬ﻪ ﻳﺬﻛﺮ ﺧﻄﺎﻳﺎﻩ ﻋﻠﻰ ﺍﻟﺪﻭﺍﻡ ﻭﻫﻲ‬
‫ﺐ‬
‫ﺃﻣﺎﻣﻪ ﻛ ﹼﻞ ﺣﲔ‪ .‬ﻋﻠﻰ ﺍﻟﻌﻜﺲ‪ ،‬ﺇ ﹼﻥ ﻗﺴﺎﻭ ﹶﺓ ﺍﻟﻘﻠﺐ ﻫﻲ ﻣﻦ ﺍﻟﻜﱪﻳﺎﺀ ﻭﻣﻦ ﺣ ‪‬‬
‫ﱯ‪" :‬ﻳﺎ ﺑ‪‬ﲏ ﺍﻟﺒﺸﺮ ﳌﺎﺫﺍ ﺃﻧﺘﻢ ﺛﻘﻴﻠﻮ‬
‫ﺍﻟﺪﻧﻴﻮﻳ‪‬ﺎﺕ ﻭﺍﳌﺮﺍﺀﺍﺓ ﻭﺍﻟﻜﺬﺏ‪ .‬ﳍﺬﺍ ﻳﻘﻮﻝ ﺍﻟﻨ ‪‬‬
‫ﺍﻟﻘﻠﻮﺏ‪ ،‬ﺇﱃ ﻣﱴ ﲢﺒ‪‬ﻮﻥ ﺍﻟﺒﺎﻃﻞ ﻭﺗﺒﺘﻐﻮﻥ ﺍﻟﻜﺬﺏ؟"‪ .‬ﻫﻜﺬﺍ ﻳﺴﻤ‪‬ﻲ ﺍﳌﻐﺒﻮﻁ‬
‫ﺃﻭﻏﺴﻄﲔ ﺩﻣﻮﻉ ﺍﻟﺼﻼﺓ‪ ،‬ﻋﺮﻕ ﺍﻟﻘﻠﺐ ﻭﺩﻡ ﺍﻟﻨﻔﺲ‪ .‬ﻣ‪‬ﻦ ‪‬ﻳ‪‬ﺒﻜﻲ ﺧﻄﺎﻳﺎﻩ ﻫﺬﺍ‬
‫ﻳﻘﺪ‪‬ﻡ ﺍﻟﺬﺑﻴﺤﺔ ﺍﳊﻘﻴﻘﻴ‪‬ﺔ ﷲ‪.‬‬

‫ﺢ ﻳﺎ ﺭﺏ‪ ‬ﲟﺴﺮ‪‬ﺗﻚ ﺻﻬﻴﻮﻥ‪ ،‬ﻭﻟ‪‬ﺘ ‪‬ﺒ ‪‬ﻦ ﺃﺳﻮﺍﺭ ﺃﻭﺭﺷﻠﻴﻢ‬ ‫)‪ (١٨‬ﺃﺻﻠ ‪‬‬
‫ﺖ ﺻﺎﱀ ﻳﺎ ﺭﺏ‪ ،‬ﻭﺷﻬﻮﰐ ﻟﻴﺲ ﻓﻘﻂ ﺻﻔﺤ‪‬ﻚ ﻋﻦ ﻣﺂﲦﻲ‪ ،‬ﻭﺇﻧ‪‬ﻤﺎ ﺃﻥ‬ ‫ﺃﻧ ‪‬‬
‫ﺗﻨﻈﺮ ﻣﻦ ﺍﻟﺴﻤﺎﺀ ﻭﺗﻄﹼﻠﻊ ﻋﻠﻰ ﺍﻟﻜﺮﻣﺔ ﺍﻟﱵ ﻏﺮﺳﺘﻬﺎ ﳝﻴﻨ‪‬ﻚ ﻭﺗﺼﻠﺤﻬﺎ‪ ،‬ﻷﻧ‪‬ﻪ ﻻ‬
‫ﺽ ﺃﻧﺖ ﻋﻦ ﺫﻟﻚ ﻭﺗﺴ ‪‬ﻊ ﺃﻧﺖ ﺇﻟﻴﻪ‪ .‬ﻫﻨﺎ ﻳﻄﻠﺐ‬ ‫ﳝﻜﻨﻬﺎ ﺃﻥ ﺗﻨﺼﻠﺢ ﺇﻥ ﱂ ﺗﺮ ‪‬‬
‫ﱭ" ﺑﺪﻝ "ﻭﺍ‪‬ﺑ ﹺﻦ ﺃﺳﻮﺍﺭ ﺃﻭﺭﺷﻠﻴﻢ"‪.‬‬
‫ﺩﺍﻭﻭﺩ ﺑﺈﳊﺎﺡ ﻭﻟﻜﻦ ﺑﺎﻧﻜﺴﺎﺭ‪ ،‬ﻭﻳﻘﻮﻝ "ﻭﻟ‪‬ﺘ ‪‬‬
‫ﻫﻜﺬﺍ ﻳﺸﺪ‪‬ﺩ ﻋﻠﻰ ﺍﻟﻄﻠﺐ ﺑﺮﺟﺎﺀ ﻭﻟﻴﺲ ﺑﺄﻣﺮ‪ .‬ﻃﺒﻌﹰﺎ ﺃﻭﺭﺷﻠﻴﻢ ﻫﻲ ﻣﺪﻳﻨﺔ ﺍﷲ‬
‫ﻭﺷﻌﺒﻪ‪ ،‬ﻭﺃﺳﻮﺍﺭﻫﺎ ﺍﳌﺒﻨﻴ‪‬ﺔ ﻫﻲ ﺻﺤ‪‬ﺔ ﻭﻗﻮ‪‬ﺓ ﻛﻨﻴﺴﺘﻪ‪.‬‬

‫‪٥٨‬‬
‫)‪ (١٩‬ﺣﻴﻨﺌﺬ ﺗﺴﺮ‪ ‬ﺑﺬﺑﻴﺤﺔ ﺍﻟﱪ‪ ‬ﻗﺮﺑﺎﻧﹰﺎ ﻭﳏﺮﻗﺎﺕ‪ ،‬ﺣﻴﻨﺌﺬ ﻳﻘﺮ‪‬ﺑﻮﻥ ﻋﻠﻰ‬
‫ﻣﺬﺍﲝﻚ ﺍﻟﻌﺠﻮﻝ‬
‫ﻟﻘﺪ ﲢﻘﹼﻖ ﻃﻠﺐ ﺩﺍﻭﻭﺩ ﺍﻟﺴﺎﺑﻖ ﻭﻫﺬﺍ ﺍﻷﺧﲑ‪ ،‬ﲢﻘﹼﻘﺎ ﺑﺎﻟﻔﻌﻞ ﻋﻨﺪﻣﺎ ﺑﲎ‬
‫ﺏ ﻛﻨﻴﺴﺘﻪ ﻭﺃﺻﻠﺢ ﺃﺳﻮﺍﺭﻫﺎ‪ ،‬ﻭﺻﺎﺭ ﻳ‪‬ﺴ ‪‬ﺮ ﺑﺬﺑﻴﺤﺔ ﺍﻟﱪ‪ ،‬ﺃﻱ ﲜﺴﺪ ﻭﺩﻡ ﺍﺑﻨﻪ‬ ‫ﺍﻟﺮ ‪‬‬
‫ﺍﻟﻠﺬﹶﻳﻦ ﻳﺆﻛﻼﻥ ﻓﻴﻘﺪ‪‬ﺳﺎﻥ ﺍﳌﺸﺘﺮﻛﲔ ‪‬ﻤﺎ‪ .‬ﻫﺬﺍ ﻫﻮ ﺍﻟﻘﺮﺑﺎﻥ ﺍﳊ ‪‬ﻲ ﻭﺍﳊﻤﻞ‬
‫ﺍﻟﺬﺑﻴﺢ‪.‬‬
‫ﰲ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﺭﺃﻯ ﻛﺜﲑ ﻣﻦ ﺍﻵﺑﺎﺀ ﺍﻟﻘﺪ‪‬ﻳﺴﲔ ﺗﻠﻤﻴﺤﺎﺕ ﺇﱃ ﺍﳌﺴﻴﺢ‬
‫ﻭﻛﻨﻴﺴﺘﻪ‪ ،‬ﻣﺜﻞ ﻛﲑﹼﻟﻠﺲ ﻭﺇﻓﺴﺎﺑﻴﻮﺱ‪ .‬ﻓﻤﺴﺮ‪‬ﺓ ﺍﷲ ﻫﻮ ﺍﳌﺴﻴﺢ‪ ،‬ﺍﳌﺨﻠﹼﺺ‪ .‬ﺃﻣ‪‬ﺎ‬
‫ﺻﻬﻴﻮﻥ ﻓﻬﻲ ﺍﻟﻜﻨﻴﺴﺔ‪ .‬ﺃﺳﻮﺍﺭ ﺃﻭﺭﺷﻠﻴﻢ ﻫﻢ ﻣﻌﻠﹼﻤﻮ ﺍﻟﻜﻨﻴﺴﺔ ﺍﳌﺴﺘﻘﻴﻤﻮ ﺍﻟﺮﺃﻱ‬
‫ﻭﺃﻋﻤﺪ‪‬ﺎ ﻭﺃﺳﺎﻗﻔﺘﻬﺎ‪ ،‬ﺃﻭ ﺃﻳﻀﹰﺎ ﺍﳌﻼﺋﻜﺔ ﺍﻟﺴﻤﺎﻭﻳ‪‬ﻮﻥ‪ .‬ﻭﺫﺑﻴﺤﺔ ﺍﻟﻌﺪﻝ ﰲ ﻛﻨﻴﺴﺔ‬
‫ﺍﳌﺴﻴﺢ ﻟﻴﺴﺖ ﺫﺑﺎﺋﺢ ﺣﻴﻮﺍﻧﻴ‪‬ﺔ ﻭﺇﻧ‪‬ﻤﺎ ﻫﻲ ﺣﻴﺎﺓ ﺍﳌﺴﻴﺤﻴ‪‬ﲔ‪ ،‬ﺃﻱ ﺍﻟﻔﻀﻴﻠﺔ‪ .‬ﺍﻟﻘﺮﺑﺎﻥ‬
‫ﻭﺍﻟﺘﻘﺪﻣﺎﺕ ﺗﻘﺎﺑﻞ ﻋﺬﺍﺑﺎﺕ ﺍﻟﻘﺪ‪‬ﻳﺴﲔ ﻭﺍﳌﻌﺘﺮﻓﲔ‪ .‬ﺃﻣ‪‬ﺎ ﺍﶈﺮﻗﺎﺕ ﻓﻬﻲ ﺍﻟﺸﻬﺪﺍﺀ‬
‫ﺍﻟﺬﻳﻦ ﻗﺮ‪‬ﺑﻮﺍ ﻛ ﹼﻞ ﺫﻭﺍ‪‬ﻢ ﻭﻛﺎﻣﻞ ﺣﻴﺎ‪‬ﻢ ﰲ ﺳﺒﻴﻞ ﺍﻹﳝﺎﻥ‪ .‬ﺃﻳﻀﹰﺎ ﻗﺮﺑﺎ ﹲﻥ ﰲ‬
‫ﺍﻟﻜﻨﻴﺴﺔ ﻫﻮ ﺍﻟﻌﻔﹼﺔ ﺃﻭ ﺃﻱ ﺗﻀﺤﻴﺔ ﺣﻴﺎﺗﻴ‪‬ﺔ ﰲ ﻣﺴﻠﻜﻴ‪‬ﺘﻨﺎ ﺍﻟﻴﻮﻣﻴ‪‬ﺔ ﻣﻬﻤﺎ ﻛﺎﻧﺖ‪ .‬ﺃﻣ‪‬ﺎ‬
‫ﺍﶈﺮﻗﺎﺕ ﻓﻬﻲ ﺍﻟﻔﻀﻴﻠﺔ ﺍﻟﻜﺎﻣﻠﺔ ﺃﻱ ﺍﳊﻴﺎﺓ ﺍﻟﺮﻫﺒﺎﻧﻴ‪‬ﺔ‪) ،‬ﻛﻤﺎ ﻳﺸﺮﺡ ﺛﻴﻮﺫﻭﺭﻳ‪‬ﺘﺲ(‪.‬‬
‫ﺍﻟﻌﺠﻮﻝ ﻫﻢ ﺍﳌﺴﻴﺤﻴ‪‬ﻮﻥ ﺍﻟﺬﻳﻦ ﻳﻌﻤﻠﻮﻥ ﺍﻟﻔﻀﺎﺋﻞ‪ ،‬ﻫﺆﻻﺀ ﻳﺼﲑﻭﻥ ﲰﻨﺎ َﺀ‬
‫ﺑﺪﻫﻦ ﺍﻟﺮﻭﺡ ﺍﻟﻘﺪﺱ ﻷﻧ‪‬ﻬﻢ ﻳﻨﺎﻃﺤﻮﻥ ﺍﻷﻫﻮﺍﺀ ﻭﺍﻟﺸﻴﻄﺎﻥ ﻳﻌﺮﻑ ﺇﳝﺎ‪‬ﻢ‪ ،‬ﻫﺆﻻﺀ‬
‫ﻱ ﺫﺑﺎﺋﺢ ﺗﺼﲑ ﺭﺍﺋﺤﺔ ﺯﻛﻴ‪‬ﺔ‪ ،‬ﺁﻣﲔ‪.‬‬ ‫ﻳﻘﺪﻣﻮﻥ ﻧﻔﻮﺳ‪‬ﻬﻢ ﻋﻠﻰ ﺍﳌﺬﺑﺢ ﺍﻟﺴﻤﺎﻭ ‪‬‬

‫‪٥٩‬‬
 ‫ﺻـﻼﺓ ﻓـﻲ ﺍﻟﻀـﻴﻖ‬
‫‪٢٨‬‬
‫ﺗﺄﻣ‪‬ﻞ ﰲ ﺍﳌﺰﻣﻮﺭ ﺍﻟﺜﺎﱐ ﻭﺍﻟﺴﺘ‪‬ﲔ‬

‫ﻟﻌﻠﹼﻪ ﻣﻦ ﺃﲨﻞ ﺍﻟﺮﺳﻮﻣﺎﺕ ﺍﳌﺴﻴﺤﻴ‪‬ﺔ ﺍﻟﻘﺪﳝﺔ ﺍﻟﺮﻣﺰﻳ‪‬ﺔ‪ ،‬ﻫﻲ ﺻﻮﺭﺓ ﺍﻷﻳﺎﺋﻞ‬

‫ﺍﳌﺴﺮﻋﺔ ﺇﱃ ﻧﺒﻊ ﺍﳌﻴﺎﻩ‪ .‬ﺍﻟﻐﺰﺍﻝ ﺣﻴﻮﺍﻥ ﲨﻴﻞ ﻭﺳﺮﻳﻊ‪ ،‬ﳛﻴﺎ ﻋﻠﻰ ﻗﺘﻞ ﺍﻷﻓﺎﻋﻲ‬
‫ﺱ ﻭﻫﺬﺍ ﻣﺎ ﳚﻌﻞ ﺍﻟﻐﺰﺍﻝ ﻳﻠﺘﻬﺐ ﻋﻄﺸﹰﺎ ﰲ‬ ‫ﻭﺃﻛﻠﻬﺎ‪ .‬ﻭﳊﻢ ﺍﻷﻓﻌﻰ ﺛﻘﻴﻞ ﻭﻗﺎ ﹴ‬
‫"ﺃﺭﺽ ﺑﺮﻳ‪‬ﺔ ﻭﻋﺎﺩﻣﺔ ﺍﳌﺎﺀ"‪ .‬ﻓﲑﻭﺡ ﻳﺒﺤﺚ ﻋﻦ ﻣﺎﺀ ﰲ ﺍﻟﺼﺤﺮﺍﺀ‪ .‬ﻭﺗﺘﻮﻕ ﻧﻔﺴﻪ‬
‫ﻭﺟﺴﺪﻩ ﺇﱃ ﺍﳌﺎﺀ‪ .‬ﻭﺍﳌﺴﻴﺤ ‪‬ﻲ ﺗﺘﻮﻕ ﻧﻔﺴ‪‬ﻪ ﰲ ﺍﻟﻌﺎﱂ ﺇﱃ ﻣﺎﺀ ﺍﳊﻴﺎﺓ ﻛﻤﺎ ﺗﺘﻮﻕ‬
‫ﻧﻔﺲ ﺍﻟﻐﺰﺍﻝ ﺇﱃ ﺍﳌﺎﺀ ﰲ ﺍﻟﺼﺤﺮﺍﺀ‪ .٢٩‬ﻫﺬﺍ ﺍﻟﺮﺳﻢ ﻫﻮ ﺗﺸﺒﻴﻪ ﻣﺴﻴﺤ ‪‬ﻲ ﻗﺪﱘ‬
‫ﻟﻌﻄﺶ ﺍﻟﻨﻔﺲ ﺇﱃ ﺍﷲ‪.‬‬
‫ﺏ ﺧﻠﻘﺘﻨﺎ ﻣﺘ‪‬ﺠﻬﲔ ﺇﻟﻴﻚ ﻭﻟﻦ ﻧﺮﺗﺎﺡ ﺇ ﹼﻻ ﺑﻚ"‪،‬‬ ‫ﺍﻟﻌﺒﺎﺭﺓ ﺍﻟﺸﻬﲑﺓ "ﻳﺎ ﺭ ‪‬‬
‫ﻋﺒﺎﺭﺓ ﺗﺪﻭﺭ ﺣﻮﳍﺎ ﺻﻠﻮﺍﺕ ﻛﺜﲑﺓ‪ .‬ﺇﻧ‪‬ﻬﺎ ﺗﻌﺒﲑ ﳐﺘﺼﺮ ﻋﻦ ﺻﺮﺧﺎﺕ ﺍﻹﻧﺴﺎﻥ‬
‫ﺑﻌﺒﺎﺭﺍﺕ ﻻ ﺗ‪‬ﺤﺼﻰ ﻭﻻ ‪‬ﺗ ‪‬ﻌ ‪‬ﺪ‪ .‬ﻫﺬﻩ ﻫﻲ ﺍﳌﺴﺮ‪‬ﺓ ﺍﻟﱵ ﺟﻠﺒﻬﺎ ﺍﷲ ﻋﻠﻰ ﺍﻷﺭﺽ‪ :‬ﺇﻧ‪‬ﻪ‬
‫ﺃﺭﻭﻯ ﻋﻄﺶ ﺍﻹﻧﺴﺎﻥ ﺇﻟﻴﻪ‪ .‬ﻟﻘﺪ ﻭ‪‬ﺟﺪﺕ ﺍﻟﺒﺸﺮ‪‬ﻳﺔﹸ‪ ،‬ﻛﺎﻻﺑﻦ ﺍﻟﻀ‪‬ﺎﻝ‪ ،‬ﺃﺑﺎﻫﺎ‬

‫‪ ٢٨‬ﻳ‪‬ﺘﻠﻰ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﰲ ﺻﻼﺓ ﺍﻟﺴﺤﺮ‪.‬‬

‫‪ ٢٩‬ﺃﻧﻈﺮ‪ :‬ﺍﳌﺰﻣﻮﺭ ‪.٦ ،١٤٢‬‬
‫‪٦٠‬‬
‫ﺍﳊﻨﻮﻥ‪ ،‬ﺍﻟﺬﻱ ﳝﻜﻨﻬﺎ ﺃﻥ ﺗﺘ‪‬ﻜﺊ ﻋﻠﻰ ﺻﺪﺭﻩ ﻭﺗﺮﲤﻲ ﰲ ﺃﺣﻀﺎﻧﻪ ﻭﺗﺮﻣﻲ ﻋﻠﻴﻪ‬
‫ﺭﺟﺎﺀﻫﺎ‪.‬‬

‫ﻣﺎ ﳝﻴ‪‬ﺰ ﺍﻟﻌﻬﺪ ﺍﻟﻘﺪﱘ ﻋﻦ ﺍﳉﺪﻳﺪ‪ ،‬ﺃ ﹼﻥ ﺍﻷﻭ‪‬ﻝ ﻛﺎﻥ ﻣﻌﺎﻫﺪﺓ ﻧﺎﻣﻮﺳﻴ‪‬ﺔ‪ ،‬ﺇﺫ ﺑﲔ‬
‫ﺕ‪ .‬ﻭﻟﻌﻠﹼﻪ ﰲ ﺫﻫﻦ ﺍﻟﻜﺜﲑﻳﻦ ﻛﺎﻧﺖ ﺍﻟﻔﻜﺮﺓ ﺍﻟﻐﺎﻟﺒﺔ ﺃ ﹼﻥ‬ ‫ﺍﷲ ﻭﺍﻹﻧﺴﺎﻥ ﻭﺍﺟﺒﺎ ‪‬‬
‫ﺍﻟﺬﺑﻴﺤﺔ ﻭﺍﻷﻧﻔﺲ ﺍﳊﻴ‪‬ﺔ ﺍﳌﻘﺪ‪‬ﻣﺔ ﺗﺸﺘﺮﻱ ﺍﻟﺮﺿﻰ ﺍﻹﳍ ‪‬ﻲ ﻭﲤﺤﻮ ﺍﳋﻄﺎﻳﺎ‬
‫ﺍﻟﺸﺨﺼﻴ‪‬ﺔ‪ ،‬ﻭﺑﺎﻟﻨﻬﺎﻳﺔ ﺗﺴﻮ‪‬ﻱ ﺍﻟﻌﻼﻗﺔ ﺍﻟﻨﺎﻣﻮﺳﻴ‪‬ﺔ ﺑﲔ ﺍﻹﻧﺴﺎﻥ ﻭﺍﷲ ﻓﺘﺮﻳﺢ ﺍﻟﻀﻤﲑ‪.‬‬
‫ﻭﺻﺎﺭ "ﺍﻟﻮﺍﺟﺐ" ﻭ"ﺇﲤﺎﻣﻪ" ﻃﺎﺑ ‪‬ﻊ ﺍﻟﻌﻼﻗﺔ‪ .‬ﺑﻴﻨﻤﺎ ﰲ ﺍﻟﻌﻬﺪ ﺍﳉﺪﻳﺪ ﻓﺈ ﹼﻥ ﺍﳌﻮﻫﺒﺔ‪،‬‬
‫ﺃﻱ ﺍﳍﺒﺔ ﺍﻟﻔﺮﻳﺪﺓ ﻫﻲ ﺃﻧ‪‬ﻨﺎ ﻧﻠﻨﺎ "ﻣﻮﻫﺒﺔ ﺍﻟﺘﺒﻨ‪‬ﻲ" ﻭﻟﺴﻨﺎ ﺑﻌ ‪‬ﺪ ﻋﺒﻴﺪﹰﺍ‪ .‬ﻭﺍﻟﺘﺒﻨ‪‬ﻲ ﻫﺬﺍ ﻻ‬
‫ﻳﻌﲏ ﻓﻘﻂ ﺃ ﹼﻥ ﺍﷲ ﺗﺒﻨ‪‬ﺎﻧﺎ‪ ،‬ﺃﻱ ﺗﻌﻬ‪‬ﺪﻧﺎ‪ ،‬ﻭﺇﻧ‪‬ﻤﺎ ﺑﺎﻷﻋﻤﻖ ﺃﻧ‪‬ﻨﺎ ﺑﺘﻨﺎ ﻧﺸﻌﺮ ﺑﺎﷲ ﺍﻵﺏ‪-‬‬
‫ﻱ ﻫﻜﺬﺍ ﻋﻄﺶ ﺍﻹﻧﺴﺎﻧﻴ‪‬ﺔ ﺍﻟﺒﺎﺣﺜﺔ ﻋﻦ ﺃﺑﻴﻬﺎ‬ ‫"ﺍﻷﺏ" ﻋﱪ ﺍﺑﻨﻪ "ﺍﻻﺑﻦ"‪ .‬ﺭ ﹺﻭ ‪‬‬
‫ﻱ ﺍﳊﻨﻮﻥ ﺍﳌﻌﺘﲏ ﻭﺍﻟﺮﺍﻋﻲ‪.‬‬ ‫ﺍﻟﺴﻤﺎﻭ ‪‬‬
‫ﻟﻜﻦ ﻣﻦ ﺭﺟﺎﻻﺕ ﺍﻟﻌﻬﺪ ﺍﻟﻘﺪﱘ ﺍﻧﻔﺮﺩ ﺍﻟﺒﻌﺾ ﻣﻨﻬﻢ ﲟﻴﺰﺓ "ﺍﻟﻘﻔﺰﺓ ﺍﻟﺰﻣﻨﻴ‪‬ﺔ"‬
‫ﻣﻦ ﻋﻼﻗﺔ ﺍﻟﻌﻬﺪ ﺍﻟﻘﺪﱘ ﺇﱃ ﻫﺬﻩ ﺍﻟﱵ ﰲ ﺍﻟﻌﻬﺪ ﺍﳉﺪﻳﺪ‪ .‬ﻗﻔﺰﹲﺓ ﻣﻦ ﺍﻟﺬﺑﺎﺋﺢ‬
‫ﻭﺍﻟﻨﺎﻣﻮﺱ ﻟﺸﺮﺍﺀ ﺍﻟﺮﺿﻰ ﺇﱃ ﻋﻼﻗﺔ ﺍﶈﺒ‪‬ﺔ ﺍﻟﺒﻨﻮﻳ‪‬ﺔ ﻭﺍﻻﺭﲤﺎﺀ ﺑﺄﺣﻀﺎﻥ ﺍﻷﺏ‬
‫ﻱ ﻛﺎﻟﻄﻔﻞ ﰲ ﺣﻀﻦ ﺃﺑﻴﻪ‪ .‬ﻭﺃﻛﺜﺮ ﻣﻦ ﺍﳉﻤﻴﻊ ﺍﻣﺘﺎﺯ ﺑﻴﻨﻬﻢ ﺩﺍﺅﻭﺩ ﺍﻟﻨﱯ‪،‬‬ ‫ﺍﻟﺴﻤﺎﻭ ‪‬‬
‫ﻷﻧ‪‬ﻪ ﻋﺎﺵ ﰲ ﺯﻣﻦ ﺍﻟﻌﻬﺪ ﺍﻟﻘﺪﱘ ﺣﻴﺎ ﹶﺓ ﺍﻟﻌﻼﻗﺔ ﺍﻟﱵ ﻟﻠﻌﻬﺪ ﺍﳉﺪﻳﺪ‪.‬‬

‫ﻋﺒﺎﺭﺍﺕ ﺩﺍﺅﻭﺩ ﺍﻟﻨﱯ‪ ،‬ﺍﻟﱵ ﻫﻲ ﻣﻦ ﻗﻠﺐ ﻫﺎﺋﻢ ﺑﺎﷲ ﻭﻣﺘ‪‬ﻜﻞ ﻋﻠﻴﻪ‪ ،‬ﺗ‪‬ﻌﺘﱪ‬
‫ﺃﲨﻞ ﺍﻟﺼﻠﻮﺍﺕ ﺍﳌﺴﻴﺤﻴ‪‬ﺔ ﻋﻠﻰ ﺍﻹﻃﻼﻕ‪ .‬ﳍﺬﺍ ﻧﻔﻬﻢ ﺳﺒﺐ ﺍﺳﺘﺨﺪﺍﻡ ﻣﺰﺍﻣﲑﻩ‬

‫‪٦١‬‬
‫ﺑﺸﻜﻞ ﻛﺜﻴﻒ ﰲ ﺻﻠﻮﺍﺗﻨﺎ‪ ،‬ﺇﻥ ﻛﺎﻥ ﺫﻟﻚ ﰲ ﺍﻟﺼﻠﻮﺍﺕ ﺍﳉﻤﺎﻋﻴ‪‬ﺔ ﰲ ﺍﻟﻜﻨﻴﺴﺔ ﺃﻭ‬
‫ﺍﻟﻔﺮﺩﻳ‪‬ﺔ ﰲ ﺍﳌﺨﺪﻉ ﺍﻟﺪﺍﺧﻠ ‪‬ﻲ‪.‬‬
‫ﻗﺮﺍﺀﺓ ﺍﳌﺰﺍﻣﲑ ﺭﻳﺎﺿﺔ ﺭﻭﺣﻴ‪‬ﺔ ﺗﺴﺎﻋﺪ ﺍﻹﻧﺴﺎﻥ ﺃﻳﻨﻤﺎ ﻛﺎﻥ‪ ،‬ﺇﻧ‪‬ﻬﺎ ﺻﻼﺓ‬
‫ﺣﺎﺭ‪‬ﺓ‪ .‬ﺍﻟﺮﻫﺒﺎﻥ ﻳﻘﺮﺅﻭﻥ ﻛﺘﺎﺏ ﺍﳌﺰﺍﻣﲑ ﻛﻠﹼﻪ ﻣﺮ‪‬ﺓ ﰲ ﺍﻷﺳﺒﻮﻉ ﺧﻼﻝ ﺻﻠﻮﺍﺕ‬
‫ﻒ ﺇﱃ ﺫﻟﻚ ﺃﻥ ﺍﻟﻘﻮﺍﻡ ﺍﻷﺳﺎﺳ ‪‬ﻲ ﻟﻠﺼﻠﻮﺍﺕ ﺍﻟﻴﻮﻣﻴ‪‬ﺔ ﻛﻠﹼﻬﺎ‬ ‫ﺍﻟﺴ‪‬ﺤﺮ ﻭﺍﻟﻐﺮﻭﺏ‪ .‬ﺃﺿ ‪‬‬
‫ﺏ‬
‫ﻣﻜﻮ‪‬ﻥ ﺑﺄﻏﻠﺒﻪ ﻣﻦ ﻫﺬﻩ ﺍﳌﺰﺍﻣﲑ‪ .‬ﺍﳌﺰﺍﻣﲑ ﻫﻲ ﺻﻠﻮﺍﺕ ﲢﺮ‪‬ﻙ ﺃﻗﺴﻰ ﻗﻠﺐ ﻭﺗﺪ ‪‬‬
‫ﺍﳊﻴﺎﺓ ﰲ ﺃﻱ ﺭﻭﺡ ﻣ‪‬ﻴﺘﺔ ‪‬ﻤﻮﻡ ﺍﻟﺪﻧﻴﺎ ﻭﺷﻬﻮﺍ‪‬ﺎ‪.‬‬
‫ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ‪ ،‬ﻫﻮ ﺍﻟﺜﺎﻟﺚ ﻣﻦ ﻣﺰﺍﻣﲑ ﺍﻟﺴﺤﺮ ﺍﻟﺴﺘ‪‬ﺔ ﺍﻟﺮﺍﺋﻌﺔ‪ .‬ﻭﺳﻮﻑ ﻧﺘﻮﻗﹼﻒ‬
‫ﻼ ﻟﻨﺤﺎﻭﻝ ﺃﻥ ﻧﻐﻮﺹ ﺇﱃ ﻣﻌﺎﻧﻴﻪ ﻟﻌ ﹼﻞ ﺫﻟﻚ ﻳﺴﺎﻋﺪﻧﺎ ﻋﻠﻰ ﺗﺮﺩﺍﺩﻩ ﻟﻴﺲ‬ ‫ﻋﻨﺪﻩ ﻗﻠﻴ ﹰ‬
‫ﱯ ﺍﻟﻔ ‪‬ﻢ ﻭﺃﺛﻨﺎﺳﻴﻮﺱ‬‫ﻟﻔﻈ‪‬ﻴﹰﺎ ﻭﻟﻜﻦ ﻗﻠﺒ‪‬ﻴﹰﺎ ﻭﺫﻫﻨ‪‬ﻴﹰﺎ ﺃﻳﻀﹰﺎ‪" .‬ﺍﻷﻭﺍﻣﺮ ﺍﻟﺮﺳﻮﻟﻴ‪‬ﺔ" ﻭﺍﻟﺬﻫ ‪‬‬
‫ﺍﻟﻜﺒﲑ‪ ،‬ﻳﻮﺻﻮﻥ ﺃ ﹼﻻ ﳝ ‪‬ﺮ ﺻﺒﺎﺡ ﺩﻭﻥ ﺃﻥ ﻧﺼﻠﹼﻲ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ‪ .‬ﻟﻘﺪ ﺩﺧﻞ ﻫﺬﺍ‬
‫ﺴﺤ‪‬ﺮ ﻣﻨﺬ ﻭﻗﺖ ﻣﺒﻜﺮ ﰲ ﺍﻟﻜﻨﻴﺴﺔ‪.‬‬ ‫ﺍﳌﺰﻣﻮﺭ ﰲ ﺻﻼﺓ ﺍﻟ ‪‬‬

‫ﻳﺘﺼﺪ‪‬ﺭ ﺍﳌﺰﻣﻮ ‪‬ﺭ ﺍﻟﻌﻨﻮﺍ ﹸﻥ‪" :‬ﻟﺪﺍﺅﻭﺩ ﻭﻫﻮ ﰲ ﺑﺮﻳ‪‬ﺔ ﺍﻟﻴﻬﻮﺩ‪‬ﻳﺔ"‪ .‬ﳓﻦ ﻧﻌﻠﻢ ﺃ ﹼﻥ‬
‫ﻒ ﺍﳌﺰﺍﻣﲑ‬ ‫ﻛﺘﺎﺏ ﺍﳌﺰﺍﻣﲑ )‪ ١٥٠‬ﻣﺰﻣﻮﺭﹰﺍ( ﻳﺴﻤ‪‬ﻰ ﻛﺘﺎﺏ ﺩﺍﺅﻭﺩ ﺍﻟﻨﱯ‪ ،‬ﻟﻜﻦ ﻣﺆﱢﻟ ‪‬‬
‫ﻛﻠﹼﻬﺎ ﻟﻴﺲ ﺩﺍﺅﻭﺩ ﻓﻘﻂ‪ .‬ﻳ‪‬ﺴﻤ‪‬ﻰ ﻫﻜﺬﺍ ﳎﺎﺯ‪‬ﻳﹰﺎ ﻷ ﹼﻥ ﺩﺍﺅﻭﺩ ﻫﻮ ﻛﺎﺗﺐ ﺃﻏﻠﺐ‬
‫ﻣﺰﺍﻣﲑﻩ‪ .‬ﻭﺇ ﹼﻥ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺍﳌﻜﺎﻥ‪ ،‬ﻭﺑﺎﻟﺘ‪‬ﺎﱄ ﺍﻟﻈﺮﻑ ﺍﻟﺬﻱ ﻛﺎﻥ ﻓﻴﻪ ﺩﺍﺅﻭﺩ ﺣﲔ‬
‫ﺃﻧﺸﺪ ﻫﺬﻩ ﺍﻟﺼﺮﺧﺎﺕ ﺍﻟﻘﻠﺒﻴ‪‬ﺔ‪ ،‬ﻫﻲ ﻣﻼﺣﻈﺔ ﺗﺴﺘﺤ ‪‬ﻖ ﺍﻟﺘﻮﻗﹼﻒ ﻋﻨﺪﻫﺎ‪.‬‬
‫ﺩﺍﺅﻭﺩ ﻭ‪‬ﺟﺪ ﰲ ﺍﻟﱪﻳ‪‬ﺔ ﻫﺎﺭﺑﹰﺎ ﻓﺎ ‪‬ﺭﹰﺍ ﻭﻣﻼﺣ‪‬ﻘﺎﹰ‪ ،‬ﻧﻌﺮﻑ ﻣﻦ ﺣﻴﺎﺗﻪ ﺃﻧ‪‬ﻪ ﻓ ‪‬ﺮ ﻣ ‪‬ﺮﺗ‪‬ﲔ‬
‫ﻣﻬﺪ‪‬ﺩﹰﺍ ﺑﺎﻟﻘﺘﻞ‪ ،‬ﻣﺮ‪‬ﺓ ﻣﻦ ﺍﳌﻠﻚ ﺷﺎﻭﻝ ﻗﺒﻞ ﺃﻥ ﻳﺼﲑ ﻣﻠﻜﹰﺎ‪ ،٣٠‬ﻭﻣﺮ‪‬ﺓ ﺛﺎﻧﻴﺔ ﺍﺿﻄ ‪‬ﺮ‬

‫‪ ١ ٣٠‬ﻣﻠﻮﻙ ‪.٢٦ ،٢٣‬‬

‫‪٦٢‬‬
 ‫ﺑﻌﺪ ﻣﻠﻮﻛﻴ‪‬ﺘﻪ ﺃﻥ ﻳﺘﺮﻙ ﺍﻟﻌﺮﺵ ﻻﺑﻨﻪ ﺃﺑﺸﺎﻟﻮﻡ ﻭﻳﻔ ‪‬ﺮ ﺇﱃ ﺍﻟﱪﻳ‪‬ﺔ‪ .٣١‬ﰲ ﺃﺣﺪ ﻫﺬﹶﻳﻦ‬
‫ﺍﻟﻈﺮﻓﹶﲔ ﺧﺮﺝ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﻣﻦ ﻗﻠﺐ ﺩﺍﺅﻭﺩ ﺍﳌﻶﻥ ﻣﻌﺎﻧﺎﺓ‪ ،‬ﻭﻟﻜﻦ ﺑﺎﻟﻮﻗﺖ ﻧﻔﺴﻪ‬
‫ﺭﺟﺎ ًﺀ ﺑﺎﷲ‪.‬‬
‫ﺍﻟﻐﺮﻳﺐ ﻭﺍﻟﺮﺍﺋﻊ ﰲ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﺃﻧ‪‬ﻪ‪ ،‬ﺑﻴﻨﻤﺎ ﻛﺎﻥ ﺩﺍﺅﻭﺩ ﻣﻀﻄﻬ‪‬ﺪﹰﺍ ﻭﰲ ﺧﻄﺮ‬
‫ﻛﺒﲑ ﻓﻬﻮ ﻻ ﻳﺘﺄﻓﹼﻒ ﻋﻠﻰ ﺍﷲ ﻭﺣﺘ‪‬ﻰ ﺑﺎﻟﺒﺪﺍﻳﺔ ﻻ ﻳﻠﺘﻔﺖ ﺇﱃ ﺧﻄﺮﻩ ﻟﻜﻨ‪‬ﻪ ﻳﺸﺘﺎﻕ‬
‫ﺕ ﻗﻠﺒﻪ ﻗﺪ ﺧﺮﺟﺖ ﺫﺑﻴﺤ ﹶﺔ ﺗﺴﺒﻴ ﹴﺢ ﻭﻟﻴﺲ‬ ‫ﺇﱃ ﺍﳍﻴﻜﻞ ﻣﻦ ﺍﻟﱪﻳ‪‬ﺔ ﺍﻟﺒﻌﻴﺪﺓ ﻋﻨﻪ‪ ،‬ﺃﻧ‪‬ﺎ ‪‬‬
‫ﺕ ﺃﺭﺿﻴ‪‬ﺔ‪ .‬ﺗﻨﻬ‪‬ﺪﺍﺗ‪‬ﻪ ﻣﻦ ﺍﻷﻋﻤﺎﻕ ﻛﺎﻧﺖ ﻣﻠﺘﻬﺒ ﹰﺔ ﺑﺎﻟﻌﺸﻖ‪ ،‬ﻭﺗﻄﻠﺐ ﻟﻘﺎﺀ ﺍﷲ‪.‬‬ ‫ﻃﻠﺒﺎ ‪‬‬
‫ﺯﻓﺮﺍﺗ‪‬ﻪ ﻛﺎﻧﺖ ﺗﻌﺎﺑ ‪‬ﲑ ﺛﻘﺔ ﻭﺍﺗ‪‬ﻜﺎﻝ ﻋﻠﻰ ﺍﷲ‪ .‬ﻟﺬﻟﻚ ﻓﻬﻮ ﳑﻠﻮﺀ ﺛﻘﺔ ﺑﺎﷲ ﻭﻛﻠﹼﻪ‬
‫ﺭﺟﺎﺀ ﻭﻻ ﺧﻮﻑ ﻋﻨﺪﻩ ﻋﻠﻰ ﻣﺼﲑﻩ ﺃﻭ ﻣﻦ ﺃﻋﺪﺍﺋﻪ "ﻓﺎﷲ ﻫﻮ ﺇﳍﻪ"!‬
‫ﺍﻟﻘﺪ‪‬ﻳﺲ ﺃﺛﻨﺎﺳﻴﻮﺱ ﺍﻟﻜﺒﲑ ﻳﻘﻮﻝ ﺇ ﹼﻥ ﻫﺬﻩ ﺍﻟﺼﻼﺓ ﻟﻴﺴﺖ ﻓﻘﻂ ﻟﻈﺮﻑ‬
‫ﻛﻈﺮﻑ ﺩﺍﺅﻭﺩ ﻭﻟﻴﺴﺖ ﳊﺎﻟﺔ ﻛﺤﺎﻟﺘﻪ ﻋﻨﺪﻣﺎ ﻛﺎﻥ ﻣﻀﻄﻬ‪‬ﺪﺍﹰ‪ ،‬ﻭﺇﻧ‪‬ﻤﺎ ﺻﻼﺓ ﻛ ﹼﻞ‬
‫ﻗﻠﺐ ﻋﻄﺸﺎﻥ ﺇﱃ ﺍﷲ ﻭﺇﱃ ﻧﻌﻤﺘﻪ ﰲ ﻛ ﹼﻞ ﻇﺮﻭﻑ ﺍﳊﻴﺎﺓ‪ .‬ﻛﻠﹼﻤﺎ ﻓﺮﺿﺖ ﻋﻠﻴﻨﺎ‬
‫ﺍﻟﻈﺮﻭﻑ ﺃﻥ ﻧﻜﻮﻥ ﺑﻌﻴﺪﻳﻦ ﻋﻦ ﺍﻟﺼﻼﺓ ﻭﺍﻟﻌﺒﺎﺩﺓ ﺍﳉﻤﺎﻋﻴ‪‬ﺔ‪ ،‬ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﺮﻓﻊ ﻫﺬﻩ‬
‫ﺍﻟﺼﻼﺓ‪ .‬ﻛﻠﹼﻤﺎ ﻭ‪‬ﺟﺪﻧﺎ ﰲ ﺿﻴﻖ ﻭﺍﺿﻄﻬﺎﺩ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﺼﻠﻲ ﻫﺬﻩ ﺍﻟﺰﻓﺮﺍﺕ ﺍﳊﻴ‪‬ﺔ‬
‫ﻟﺘﺮﻓﻌﻨﺎ ﻣﻦ ﺍﳋﻮﻑ ﻭﺍﻟﻴﺄﺱ ﺇﱃ ﺣﻼﻭﺓ ﺍﻟﺮﺟﺎﺀ ﻭﺗﻌﻄﻴﻨﺎ "ﺳﻼﻣ‪‬ﻪ" ﺍﻟﺬﻱ ﺗﺮﻛﻪ‬
‫ﻭﻳﺘﺮﻛﻪ ﻟﻨﺎ‪.‬‬

‫)‪ (١‬ﻳﺎ ﺍﷲ ﺇﳍﻲ‪ ،‬ﺇﻟﻴﻚ ﺃﺑﺘﻜﺮ‬

‫ﻣ‪‬ﻦ ﻣﻨ‪‬ﺎ‪ ،‬ﻋﻨﺪﻣﺎ ﻳﻘﻊ ﰲ ﺿﻴﻖ ﺃﻭ ﻣﺮﺽ ﺃﻭ ﺷﺪ‪‬ﺓ‪ ،‬ﻳﺼﺮﺥ‪" :‬ﻳﺎ ﺍﷲ"؟ ﳓﻦ‪-‬‬
‫ﻣﺆﻣﲏ ﻫﺬﺍ ﺍﻟﺪﻫﺮ‪ -‬ﺃﻧﺎﺱ ﻣﺼﺎﺑﻮﻥ ﺑـ "ﺍﻟﻌﻘﻼﻧﻴ‪‬ﺔ ﺍﳌﻔﺮﻃﺔ" )‪،(Rationalism‬‬

‫‪ ٢ ٣١‬ﻣﻠﻮﻙ ‪.١٧ ،١٥‬‬

‫‪٦٣‬‬
 ‫ﺍﻟﱵ ﺗﻌﲏ ﺑﻜﻠﻤﺔ ﺃﺧﺮﻯ ﻗﻠﹼﺔ ﺍﻹﳝﺎﻥ‪ .‬ﻋﻨﺪﻣﺎ ﻳﺘﻌﺮ‪‬ﺽ ﺍﻟﻮﺍﺣﺪ ﻣﻨ‪‬ﺎ ﳌﻮﻗﻒ‪ ،‬ﻓﻮﺭﹰﺍ ﻗﺒﻞ‬
‫ﺃﻥ ﻳﻔﻜﹼﺮ ﺑﺎﷲ ﻳﻔﻜﹼﺮ "ﲝﻜﻤﺘﻪ" ﺃﻭ ﺑﺄﺳﺎﻟﻴﺐ ﻟﻠﺨﺮﻭﺝ ﻣﻦ ﺿﻴﻘﺘﻪ‪ ،‬ﺃﻭ ﻳﻔﻜﹼﺮ‬
‫ﻭﻳﺼﺮﺥ‪" :‬ﻳﺎ ﻓﻼﻥ"! ﻭﻟﻜﻦ ﺍﷲ ﻏﺎﺋﺐ ﻭﺑﻌﻴﺪ ﻋﻦ ﺣﻴﺎﺗﻨﺎ‪ .‬ﻫﻞ ﻧﺸﻌﺮ ﺃ ﹼﻥ ﺍﷲ ﻫﻮ‬
‫ﻣﻠﺠﺄﻧﺎ ﻭﺧﺎﺻ‪‬ﺔ ﻋﻨﺪﻣﺎ ﺗﻨﻌﺪﻡ ﺍﳊﻠﻮﻝ ﻭﺗﻔﺸﻞ ﻛ ﹼﻞ ﺍﻟﻮﺳﺎﺋﻂ! ﻫﻞ ﻧﺼﺮﺥ "ﻳﺎ ﺍﷲ"‬
‫ﺃﻡ ﳓﻜﹼﻢ ﺍﻟﻌﻘﻞ ﻭﻧﺘﻮﺳ‪‬ﻂ ﺍﻟﻮﺳﺎﺋﻂ؟ ﺇ ﹼﻥ ﺍﻻﺗ‪‬ﻜﺎﻝ ﻋﻠﻰ ﺍﷲ ﻻ ﻳﻌﲏ ﺇﻟﻐﺎﺀ ﺍﻟﻌﻘﻞ‬
‫ﻭﺇﻧ‪‬ﻤﺎ ﺣﻜﻤﺔ ﺍﻻﻋﺘﺮﺍﻑ ﺑﻘﺪﺭﺓ ﺍﷲ ﺍﻟﻔﺎﺋﻘﺔ ﻋﻠﻰ ﺍﻟﻌﻘﻞ‪ .‬ﳓﻦ ﳓﻜﱢﻢ ﺍﻟﻌﻘﻞ‪ ،‬ﻭﻫﺬﺍ‬
‫ﻼ ﺃ ﹼﻥ ﻛ ﹼﻞ ﺷﻲﺀ ﻣﻦ ﺍﷲ ﻭﻷﺟﻠﻪ‪ ،‬ﻭﻫﺬﺍ ﺃﻣﺮ ﺳﻴ‪‬ﺊ‪ .‬ﺃﺣﻜﱢﻢ‬ ‫ﺟﻴ‪‬ﺪ‪ ،‬ﻟﻜﻨ‪‬ﻨﺎ ﻧﺆﻣﻦ ﻗﻠﻴ ﹰ‬
‫ﻋﻘﻠﻲ ﻟﻴﺲ ﻷﺳﺘﻐﲏ ﻋﻦ ﺍﷲ ﻭﻟﻜﻦ ﻷﻧ‪‬ﻪ ﻫﻮ ﺃﻭﺻﺎﱐ ﺃﻥ ﺃﻣ ‪‬ﺪ ﺃﻧﺎ ﻳﺪﻱ ﺃ ‪‬ﻭ ﹰﻻ‬
‫ﻟﻴﻨﺘﺸﻠﲏ ﻫﻮ ﻣﻦ ﺿﻴﻘﻲ‪ ،‬ﺃ ﹾﻥ ﺃﺑﺮﻫﻦ ﺑﺎﻟﺴﻌﻲ ﺍﳉﺎ ‪‬ﺩ ﺃﻧ‪‬ﲏ ﺭﺍﻏﺐ ﺑﺎﳋﺮﻭﺝ ﻣﻦ‬
‫ﳏﻨﱵ‪ ،‬ﻣﻬﻤﺎ ﻛﺎﻧﺖ‪ ،‬ﻭﺃ ﹼﻥ ﺛﻘﱵ ﻫﻲ ﺑﻪ ﻭ ﻟﻴﺴﺖ ﲝﻜﻤﱵ!‬
‫ﷲ ﲞﺎﺻ‪‬ﺘﻪ؛ ﺑﺎﺑﻨﻪ ﻭﻋﺒﺪﻩ‪.‬‬ ‫ﻭﻫﻨﺎ ﺩﺍﺅﻭﺩ ﻳﻀﻴﻒ ﻛﻠﻤﺘﻪ "ﺇﳍﻲ" ﻭﻛﺄﻧ‪‬ﻪ ﻳﺬﻛﹼﺮ ﺍ َ‬
‫ﲪﻨﺎ ﻷﻧ‪‬ﻨﺎ ﻋﻠﻴﻚ ﺍﺗ‪‬ﻜﻠﻨﺎ‪ ،‬ﳓﻦ ﺷﻌﺒﻚ‬ ‫ﺏ ﺍﺭ ‪‬‬
‫ﲪﻨﺎ ﻳﺎ ﺭ ‪‬‬
‫ﻭﻛﻤﺎ ﺗﻘﻮﻝ ﺍﻟﺘﺮﺍﺗﻴﻞ "ﺍﺭ ‪‬‬
‫ﻭﻛﻠﹼﻨﺎ ﺻﻨﻊ ﻳﺪ‪‬ﻳﻚ ﻭﺑﺎﲰﻚ ﻧﺪﻋﻰ"‪ .‬ﺃﺗﺘﺮﻙ ﺧﺎﺻ‪‬ﺘﻚ ﻭﺷﻌﺒﻚ ﺍﳌﺘ‪‬ﻜﻞ ﻋﻠﻴﻚ؟‬
‫ﻫﻨﺎ ﻳﺎﺀ ﺍﳌﺘﻜﻠﹼﻢ ﰲ "ﺇﳍﻲ" ﻓﻴﻬﺎ ﻟﻴﺲ ﻓﻘﻂ ﺗﺬﻛﲑ ﷲ ﺑﻌﺒﺪﻩ ﻭﻟﻜﻦ ﺗﻜﺮﻳﺲ‬
‫ﺖ ﺇﳍﻨﺎ ﻭﺁﺧﺮ ﺳﻮﺍﻙ ﻻ ﻧﻌﺮﻑ"‪ .‬ﺃﻧﺖ ﺧﺎﺻ‪‬ﱵ ﲟﻌﲎ‬ ‫ﺍﻟﻌﺒﺪ ﻧﻔﺴﻪ ﻭﺫﺍﺗﻪ ﻹﳍﻪ‪" .‬ﺃﻧ ‪‬‬
‫ﺃﻧ‪‬ﻚ "ﺣﺼ‪‬ﱵ" ﻭ"ﻧﺼﻴﱯ" ﻭﻏﺎﻳﱵ ﻭﺁﺧﺮ ﺳﻮﺍﻙ ﻻ ﻳﺴﺘﻬﻮﻳﲏ‪ .‬ﻳﺎ ﺍﷲ "ﺇﳍﻲ" ﻫﻲ‬
‫ﻋﺒﺎﺭﺓ ﲣﺼ‪‬ﺺ ﻭﺍﻟﺘﺤﺎﻡ ﺑﺎﷲ ﻛﺎﻟﻄﻔﻞ ﺑﺄﺑﻴﻪ‪ .‬ﻓﻠﻜ ﹼﻞ ﺇﻧﺴﺎﻥ ﺃﺏ ﻭﻟﻜ ﹼﻞ ﺇﻧﺴﺎﻥ ﺇﻟﻪ‪،‬‬
‫ﻱ ﺷﻲﺀ ﺁﺧﺮ ﺃﻥ ﻳﺼﲑ ﺁﳍﺔ‪ ،‬ﺃﻣ‪‬ﺎ ﺃﻧﺎ "ﻓﺎﷲ"‬ ‫ﳝﻜﻦ ﻟﻠﺸﻬﻮﺓ ﺃﻭ ﻟﻠﻤﺠﺪ ﺍﻟﻔﺎﺭﻍ ﺃﻭ ﺃ ‪‬‬
‫ﻫﻮ ﺇﳍﻲ‪ .‬ﻭﲣﺼ‪‬ﺼﻲ ﰲ ﻏﻨﻢ ﻣﺮﻋﺎﻩ ﺍﻗﺘﻨﻴﺘ‪‬ﻪ ﻣﻦ ﺣﻴﺎﰐ ﺍﳌﻨﺎﺳﺒﺔ ﻭﻣﻦ ﻣﺴﻠﻜﻴ‪‬ﱵ‪.‬‬
‫ﻷﻧ‪‬ﻪ ﻛﻤﺎ ﻳﻘﻮﻝ ﺫﻟﻚ ﺍﻹﻋﻼﻥ ﺍﻟﺮﻫﻴﺐ ﰲ ﺧﺪﻣﺔ ﺍﻟﻘﺪ‪‬ﺍﺱ ﺍﻹﳍ ‪‬ﻲ‪" :‬ﺃ ‪‬ﻫﻠﹾﻨﺎ ﺃﻳ‪‬ﻬﺎ‬
‫ﺍﻟﺴﻴ‪‬ﺪ ﺃﻥ ﻧﺪﻋﻮﻙ ﺃﺑﹰﺎ ﻏﲑ ﻣﺪﺍﻧﲔ"‪ .‬ﺇ ﹼﻥ ﺍﻟﺘﺨﺼ‪‬ﺺ ﷲ ﻭﺍﻟﺸﻌﻮﺭ ﺑﻪ ﺇﳍﹰﺎ ﱄ‪ ،‬ﻫﻮ‬

‫‪٦٤‬‬
 ‫ﺩﻳﻨﻮﻧﺔ ﻋﻨﺪﻣﺎ ﻻ ﺗﺮﺍﻓﻘﻪ ﺍﳊﻴﺎﺓ ﺍﳌﻄﻠﻮﺑﺔ‪ .‬ﺍﻟﺘﺨﺼ‪‬ﺺ ﻳﻌﲏ ﺗﺮﻙ ﻋﻼﻗﺎﺕ ﻛﺜﲑﺓ‬
‫ﻭﺍﻧﺘﺨﺎﺏ ﻧﻠﻚ ﺍﻟﻌﻼﻗﺎﺕ ﺍﻟﱵ ﲡﻌﻠﲏ ﻣﻦ ﺧﺎﺻﻴ‪‬ﺔ ﺍﷲ ﻭﺑﺎﻟﺘﺎﱄ ﲡﻌﻞ ﺍﷲ ﺧﺎﺻ‪‬ﱵ‬
‫ﻭﺣﺼ‪‬ﱵ ﻭﻣﻘﺼﺪﻱ ﻭﻏﺎﻳﱵ‪ .‬ﻫﻜﺬﺍ ﻛ ﹼﻞ ﻣﺼﻠﹼﻲ ﻣﻊ ﺩﺍﺅﻭﺩ ﻳﺼﺮﺥ ﻳﺎ ﺍﷲ ﺇﳍﻲ‪،‬‬
‫ﺃﻱ ﻳﺎ ﺑﻐﻴﱵ ﻭﻣﻘﺼﺪﻱ‪ ،‬ﻳﻜﻔﻴﲏ ﺭﺿﺎﻙ ﻭﻟﻮ ﺧﺴﺮﺕ ﺍﻟﻌﺎﱂ ﻛﻠﹼﻪ‪ .‬ﻳﻜﻔﻴﲏ ﺃﻥ‬
‫"ﺃﻗﻒ ﻗﺪ‪‬ﺍﻣﻚ ﻭﺗﺮﺍﱐ" ﻭﻟﻮ ﻧﺴ‪‬ﻴﲏ ﲨﻴﻊ ﺍﻟﻨﺎﺱ‪.‬‬
‫ﺐ ﺍﷲ ﻭﻋﺸﻘﹸﻪ ﱂ ﻳﺘﺮﻛﺎ ﺩﺍﺅﻭﺩ ﻳﺸﺒﻊ ﻣﻦ ﻧﻮﻣﻪ‪.‬‬ ‫"ﺇﻟﻴﻚ ﺃﺑﺘﻜﺮ‪"...‬؛ ﺣ ‪‬‬
‫ﺐ ﻣﻦ‬ ‫"ﻟﻘﺪ ﻧﺎﻡ‪ ،‬ﻟﻜﻦ ﻗﻠﺒﻪ ﻣﺴﺘﻴﻘﻆ"‪ .‬ﻣ‪‬ﻦ ﳛﺐ ﺷﻴﺌﹰﺎ ﺑﺸﺪ‪‬ﺓ‪ ،‬ﻳﺪﻓﻌﻪ ﻫﺬﺍ ﺍﳊ ‪‬‬
‫ﺍﻟﺼﺒﺎﺡ ﺍﻟﺒﺎﻛﺮ ﺃﻥ ﻳﺘﺮﻙ ﺍﻟﻔﺮﺍﺵ ﻭﻳﻘﺼﺪ ﺍﳌﻄﻠﻮﺏ‪ .‬ﻛﺜﲑﹰﺍ ﻣﺎ ﻧﺒﻜﹼﺮ ﰲ ﺍﻟﻘﻴﺎﻡ‬
‫ﱯ ﺑﺎﻟﻘﻴﺎﻡ‪ ،‬ﻟﻘﺪ‬
‫ﻭﻧﺘﺄﺧ‪‬ﺮ ﺑﺎﻟﺴﻬﺮ‪ ،‬ﻭﻟﻜﻦ ﻣﻦ ﺃﺟﻞ ﻣ‪‬ﻦ؟ ﺇﱃ ﺍﷲ ﺑﻜﹼﺮ ﺩﺍﺅﻭﺩ ﺍﻟﻨ ‪‬‬
‫ﺐ‬‫ﻣﻸﻩ ﺣﺒ‪‬ﻪ ﻭﺍﺳﺘﻬﻮﺍﻩ‪ ،‬ﻭﱂ ﻳﻌﺪ ﺍﻟﺸﺒﻊ ﻣﻦ ﺍﻟﻨﻮﻡ ﻣﻘﺒﻮ ﹰﻻ‪ ...‬ﻫﻜﺬﺍ ﺃﻳﻀﹰﺎ ﻛ ﹼﻞ ﳏ ‪‬‬
‫ﷲ‪ .‬ﺃﺷﻌﻴﺎﺀ ﻧﻔﺴﻪ ﻛﺎﻧﺖ ﺗﺒﻜﹼﺮ ﺭﻭﺣﻪ ﻣﻦ ﺍﻟﻠﻴﻞ ﺇﱃ ﺍﷲ ﻟﻠﺘﺄﻣ‪‬ﻞ ﺑﺄﺣﻜﺎﻣﻪ‪ ،‬ﻷ ﹼﻥ‬
‫ﺃﻭﺍﻣﺮﻩ ﻧﻮﺭ ﻋﻠﻰ ﺍﻷﺭﺽ‪.٣٢‬‬

‫ﺖ ﺇﻟﻴﻚ ﻧﻔﺴﻲ‪ ،‬ﺑﻜﻢ ﻧﻮﻉ ﺗﺎﻕ ﺇﻟﻴﻚ ﺟﺴﺪﻱ‬ ‫
ﻋﻄﺸ ‪‬‬

‫ﺐ ﻋﻤﻴﻘﺔ‪،‬‬‫ﺖ ﺇﻟﻴﻚ ﻧﻔﺴﻲ" ﻛﺎﻟﻐﺰﺍﻝ ﺇﱃ ﺍﳌﺎﺀ‪ .‬ﺇﻧ‪‬ﻬﺎ ﺗﻌﺎﺑﲑ ﺣ ‪‬‬ ‫"ﻋﻄﺸ ‪‬‬
‫ﺐ ﺩﺍﺧﻠ ‪‬ﻲ‪ .‬ﻭﺍﳊﺸﺎ ﻫﻮ ﻣﺮﻛﺰ ﺍﻹﻧﺴﺎﻥ ﺍﻟﻌﻤﻴﻖ‪ ،‬ﻋﻠﻴﻪ ﻳﻨﺤﲏ‬ ‫ﺍﻟﻌﻄﺶ ﻳﻌﺒ‪‬ﺮ ﻋﻦ ﳍﻴ ﹴ‬
‫ﻭﻓﻴﻪ ﻳﺘﺄﻟﹼﻢ‪ .‬ﺗﺸﻌﺮ ﺍﻷﻡ ﺍﺑﻨ‪‬ﻬﺎ ﻛﺘﻠﺔ ﻣﻦ ﺣﺸﺎﻫﺎ ﺃﻭ ﻗﻄﻌﺔ ﻣﻦ ﻛﺒﺪﻫﺎ‪ .‬ﻓﺎﻟﻌﻄﺶ‬
‫ﺖ ﻭﺗﺮﻳﺪ‬
‫ﺲ ﺩﺍﺅﻭﺩ ﻭﺣﺴﺐ ﺑﻞ ﺃﻳﻀﹰﺎ ﻋﻄﺸ ‪‬‬ ‫ﺃﺷ ‪‬ﺪ ﺍﻷﺣﺎﺳﻴﺲ ﻗﻮ‪‬ﺓ‪ .‬ﱂ ﺗﺸﺘ ‪‬ﻖ ﻧﻔ ‪‬‬
‫ﺃﻥ ﺗﻄﻔﺊ ﺫﻟﻚ ﺍﻟﻠﻬﻴﺐ‪ .‬ﻫﻜﺬﺍ ﺍﳌﺼﻠﹼﻲ ﺍﳊﻘﻴﻘ ‪‬ﻲ ﻳﻌﻄﺶ ﺇﱃ ﺍﻟﺼﻼﺓ‪ .‬ﺍﻟﺼﻼﺓ‬
‫ﻟﻴﺴﺖ ﻭﺍﺟﺒﹰﺎ‪ .‬ﻟﻜﻲ ﻧﻌﺮﻑ ﻣﺎ ﺇﺫﺍ ﻛﻨ‪‬ﺎ ﻧﺼﻠﹼﻲ ﺃﻡ ﻻ‪ ،‬ﻋﻠﻴﻨﺎ ﺃﻥ ﻧﺴﺎﻝ ﺃﻧﻔﺴﻨﺎ ﻫﻞ‬

‫‪ ٣٢‬ﺃﺵ ‪.٩ ،٢٦‬‬

‫‪٦٥‬‬
 ‫ﺍﻟﺼﻼﺓ ﻟﺪﻳﻨﺎ "ﻭﺍﺟﺐ" ﺃﻡ "ﺣﺎﺟﺔ"‪ ،‬ﻫﻞ ﻧﺼﻠﹼﻲ ﻷﻧ‪‬ﻨﺎ "ﻋﻄﺎﺵ" ﻭﳓﺘﺎﺝ ﻟﻠﺼﻼﺓ‬
‫ﻛﻤﺎ ﻟﻠﻤﺎﺀ؟‬
‫ﻋﻨﺪﻣﺎ ﺗﺸﺘ ‪‬ﺪ ﺑﻨﺎ ﺍﻷﺣﺎﺳﻴﺲ ﺍﻟﻨﻔﺴﻴ‪‬ﺔ ﻛﺜﲑﹰﺍ ﻣﺎ ﺗﻨﻌﻜﺲ ﻋﻠﻰ ﺍﳉﺴﺪ‪ .‬ﻓﻤﻨﻈﺮ‬
‫ﻣﻔﺮﺡ ﺃﻭ ﻣﻔﺰﻉ‪ ،‬ﻣﻔﺎﺟﺄﺓ ﻣﺎ‪ ...‬ﻛﻠﹼﻬﺎ ﺗﻨﻌﻜﺲ ﻋﻠﻰ ﺍﳉﺴﺪ ﺑﻌﻴﻨﻪ‪ .‬ﻭﳍﺬﺍ ﻳﺼﺮﺥ‬
‫ﺩﺍﺅﻭﺩ‪ ،‬ﻟﻴﺲ ﻧﻔﺴﻲ ﻓﻘﻂ ﻗﺪ ﻋﻄﺸﺖ ﺇﻟﻴﻚ ﻭﻟﻜﻦ ﺃﻳﻀﹰﺎ "ﺗﺎﻕ ﺇﻟﻴﻚ ﺟﺴﺪﻱ"‪.‬‬
‫ﺣﺒ‪‬ﻚ ﺳﺮﻯ ﺣﺘ‪‬ﻰ ﰲ ﻋﻈﻤﻲ ﻭﳊﻤﻲ‪ .‬ﺟﺴﺪﻱ ﻋﻴﻨﻪ ﺗﺎﻕ ﺇﻟﻴﻚ ﻭﺭﺍﺡ ﻫﻮ ﺃﻳﻀﹰﺎ‬
‫ﻳﻄﻠﺒﻚ‪ .‬ﻻ ﺗﻮﺟﺪ ﺗﻌﺎﺑﲑ ﺃﺷ ‪‬ﺪ‪ .‬ﻛ ﹼﻞ ﺍﻟﻜﻴﺎﻥ ﻳﻄﻠﺒﻚ ﻳﺎ ﺍﷲ ﺇﳍﻲ‪ .‬ﻫﺬﻩ ﻋﺒﺎﺭﺍﺕ‬
‫ﺖ‬‫ﺕ"‪ ،‬ﻭ"ﻛﻢ ﺃﺣﺒﺒ ‪‬‬ ‫ﱯ‪" :٣٣‬ﺗﺎﻗﺖ ﻧﻔﺴﻲ ﺇﱃ ﺧﻼﺻﻚ ﻭﻛﻼﻣﻚ ﺍﻧﺘﻈﺮ ‪‬‬ ‫ﺩﺍﺅﻭﺩ ﺍﻟﻨ ‪‬‬
‫ﺷﺮﻳﻌﺘﻚ‪ ،‬ﺍﻟﻴﻮﻡ ﻛﻠﹼﻪ ﻫﻲ ﳍﺠﻲ"‪.‬‬
‫ﻫﺬﺍ ﻣﺎ ﻳﻌﻠﹼﻤﻨﺎ ﺇﻳ‪‬ﺎﻩ ﻗﺪ‪‬ﻳﺴﻮﻧﺎ ﻭﺍﻵﺑﺎﺀ ﺃﻥ ﻳﻜﻮﻥ ﺍﷲ ﳍﺠﻨﺎ ﻃﻮﻝ ﺍﻟﻨﻬﺎﺭ‬
‫ﻭﻓﺎﲢﺔ ﻳﻮﻣﻨﺎ‪ ،‬ﺃﻱ ﺃﻥ ﻳﻜﻮﻥ ﻣﺮﻛﺰ ﺍﻫﺘﻤﺎﻣﻨﺎ ﻭﳘﹼﻨﺎ ﺍﻷﻭ‪‬ﻝ‪ .‬ﺑﺎﳊﻘﻴﻘﺔ ﺇﻧ‪‬ﻬﺎ ﺫﺑﻴﺤﺔ‬
‫ﻣﺮﺿﻴ‪‬ﺔ ﷲ ﺃﻥ ﻳﻘﺪ‪‬ﻡ ﺍﻹﻧﺴﺎﻥ ﺑﺎﻛﻮﺭﺓ ﻳﻮﻣﻪ ﻟﻪ‪ ،‬ﻭﻟﻜﻨ‪‬ﻬﺎ ﺑﺎﻟﻮﻗﺖ ﺫﺍﺗﻪ ﺿﻤﺎﻧﺔ ﻭﻗﻮ‪‬ﺓ‬
‫ﻭﺍﻧﻄﻼﻗﺔ ﻭﺍﻋﻴﺔ ﻟﻺﻧﺴﺎﻥ ﻋﻴﻨﻪ‪ .‬ﻫﻜﺬﺍ ﳓﻦ ﻧﻘﺪ‪‬ﻡ ﻟﻠﺼﻼﺓ ﺃﻓﻀﻞ ﳊﻈﺎﺕ ﺍﻟﻴﻮﻡ‬
‫ﻭﻟﻴﺲ ﺍﻟﻮﻗﺖ ﺍﳌﻘﺘﻮﻝ ﻣﻨﻪ‪ .‬ﻭﻫﺬﺍ ﻣﺎ ﻳﺆﻛﹼﺪﻩ ﻧﺴ‪‬ﺎﻙ ﻛﺒﺎﺭ ﻣﺜﻞ ﻣﺮﻗﺲ ﺍﻟﻨ‪‬ﺎﺳﻚ‬
‫ﻭﻧﻴﻠﻮﺱ ﺍﳌﺘﻮﺣ‪‬ﺪ‪ .‬ﺍﻟﻘﺪ‪‬ﻳﺲ ﺑﺎﺳﻴﻠﻴﻮﺱ ﺍﻟﻜﺒﲑ ﻳﻘﻮﻝ ﺇ‪‬ﻧﻪ ﻋﻠﻴﻨﺎ ﺃﻥ ﳔﺼ‪‬ﺺ ﻭﻗﺖ‬
‫ﺍﻟﺴﺤﺮ ﻟﻠﺼﻼﺓ "ﻛﻴﻤﺎ ﺗﻜﻮﻥ ﺍﳊﺮﻛﺎﺕ ﺍﻷﻭﱃ ﻟﻠﻨﻔﺲ ﳓﻮ ﺍﷲ"‪ .‬ﻭﻫﻨﺎ ﺩﺍﺅﻭﺩ‬
‫ﻳﻌﺒ‪‬ﺮ ﻋﻦ ﺷﺪ‪‬ﺓ ﺗﻮﻗﻪ ﷲ ﺑﻘﻮﻟﻪ "ﺑﻜﻢ ﻧﻮﻉ ﺗﺎﻕ‪ ."...‬ﻟﻘﺪ ﺫﺍﺏ ﺷﻮﻗﹰﺎ ﺇﱃ ﺍﷲ ﻭﻻ‬
‫ﻳﻌﺮﻑ ﻛﻴﻒ ﻳﺼﻒ ﺫﻟﻚ ﺃﻭ ﺃﻥ ﳛﺪ‪‬ﺩﻩ‪ .‬ﻫﺬﺍ ﺍﳌﻀﻄﻬ‪‬ﺪ‪ ،‬ﺍﻟﻔﺎﺭ‪ ،‬ﺍﳌﺘﻌﺐ‪،‬‬
‫ﺍﻟﻌﻄﺸﺎﻥ ﺍﳌﺨﺘﺒﺊ ﻭﺍﳉﺎﺋﻊ‪ ...‬ﻋﺠﻴﺐ! ﻷ ﹼﻥ ﻧﻔﺴﻪ ﺗﻌﻄﺶ ﻟﻴﺲ ﺇﱃ ﺍﳌﺎﺀ‪،‬‬
‫ﷲ ﻭﺍﷲ ﻭﺣﺪﻩ‪.‬‬ ‫ﻭﺟﺴﺪﻩ ﻻ ﻳﻄﻠﺐ ﺷﻴﺌﹰﺎ ﺁﺧﺮ‪ ،‬ﺑﻞ ﻳﻄﻠﺐ ﺍ َ‬

‫‪ ٣٣‬ﻣﺰ ‪.٨١ ،١١٨‬‬

‫‪٦٦‬‬
‫ﻟﻜﻦ ﺍﻟﺘﻌﺒﲑ ﺍﻷﻋﻤﻖ ﻋﻦ ﻋﻄﺶ ﺩﺍﺅﻭﺩ‪ ،‬ﻭﻋﻄﺶ ﻛ ﹼﻞ ﻣﺆﻣﻦ‪ ،‬ﺗﻮﺿﺤﻪ‬
‫ﺍﻵﻳﺔ ﺍﻟﺘﺎﻟﻴﺔ‪" :‬ﰲ ﺃﺭﺽ ﺑﺮﻳ‪‬ﺔ ﻭﻏﲑ ﻣﺴﻠﻮﻛﺔ ﻭﻋﺎﺩﻣﺔ ﺍﳌﺎﺀ"‪ .‬ﻫﻜﺬﺍ ﻛﺎﻥ ﺩﺍﺅﻭﺩ‬
‫ﻭﳓﻦ ﺃﻳﻀﺎﹰ‪ ،‬ﳓﻴﺎ ﰲ ﻋﺎﱂ‪ ،‬ﺍﷲ ﻏﺮﻳﺐ ﻓﻴﻪ‪ .‬ﳍﺬﺍ ﻏﺪﺍ ﻫﺬﺍ ﺍﻟﻌﺎﱂ "ﺑﺮﻳ‪‬ﺔ" ﻗﺎﺣﻠﺔ‬
‫ﺟﺮﺩﺍﺀ‪ .‬ﺍﻟﻌﺎﱂ ﻳﻌ ‪‬ﺞ ﺑﺎﻟﻨﺎﺱ ﻭﺍﻟﻨﺎﺱ ﺗﺰﺣﻢ ﺑﻌﻀﻬﺎ ﺍﻟﺒﻌﺾ ﻟﻜﻨ‪‬ﻬﻢ ﻛﺎﳋﻴﺎﻻﺕ ﻻ‬
‫ﻳﻠﺘﻔﺖ ﺍﻟﻮﺍﺣﺪ ﺇﱃ ﺍﻵﺧﺮ‪ ،‬ﻭﻻ ﻳﺸﻌﺮ ﺃﺣﺪﻧﺎ ﺃﻥ ﺑﻘﺮﺑﻪ ﺁﺧﺮ‪ .‬ﺃﻛﺜﺮ ﺍ‪‬ﺘﻤﻌﺎﺕ‬
‫ﺍﺯﺩﺣﺎﻣﹰﺎ ﻫﻲ ﰲ ﺣﻘﻴﻘﺘﻬﺎ "ﻭﺣﺸﺔ"‪ .‬ﻭﺍﻟﻔﺮﺍﺩﺓ‪ -‬ﻟﻸﺳﻒ‪ -‬ﻫﻲ ﻃﺎﺑﻊ ﺍﳊﻴﺎﺓ ﰲ‬
‫ﺃﻛﺜﺮ ﺍ‪‬ﺘﻤﻌﺎﺕ ﲢﻀ‪‬ﺮﹰﺍ‪ .‬ﺑﻴﻨﻤﺎ ﺗﻜﺜﺮ ﺍﻟﺸﺮﻛﺎﺕ ﺗﺰﺩﺍﺩ ﺍﻷﻧﺎﻧﻴ‪‬ﺔ ﻭﺗﺘﻔﺘ‪‬ﺖ‬
‫ﺍﻟﺼﺪﺍﻗﺎﺕ‪ .‬ﻭﻟﻴﺲ ﺑﻌﺪ ﻣﻦ ﻣﺎﺀ ﺣﻴﺎﺓ ﰲ ﻫﺬﻩ ﺍ‪‬ﺘﻤﻌﺎﺕ‪ ...‬ﺩﻧﻴﺎﻧﺎ ﺗﻘﺪ‪‬ﻡ ﲝﺎﺭﹰﺍ ﻣﻦ‬
‫ﺍﳌﻠﺬﹼﺍﺕ ﻟﻜﻦ ﺍﻹﻧﺴﺎﻥ ﻻ ﻳﺸﺒﻊ ﻣﻦ ﻣﺜﻞ ﻫﺬﺍ ﺍﳌﺎﺀ ﺍﳌﺎﱀ‪.‬‬

‫ﺕ ﻟﻚ ﰲ ﺍﳌﻘﺪﺱ‪ ،‬ﻟﻜﻲ ﺃﻋﺎﻳﻦ ﻗﻮ‪‬ﺗﻚ ﻭﳎﺪﻙ‬ ‫)‪ (٢‬ﻫﻜﺬﺍ ﻇﻬﺮ ‪‬‬

‫"ﻫﻜﺬﺍ"! ﻧﻌﻢ ﻫﻨﺎ ﻳﻘﻔﺰ ﺩﺍﺅﻭﺩ ﻭﻳﺘﺨﻄﹼﻰ ﻗﺮﻭﻧﺎﹰ؛ ﻳﻘﻔﺰ ﻓﻮﺭﹰﺍ ﺇﱃ ﺍﻟﻌﻬﺪ‬
‫ﺍﳉﺪﻳﺪ ﻭﻫﻮ ﺑﻌﻴﺪ‪ .‬ﻫﻮ ﻣ‪‬ﺒﻌ‪‬ﺪ ﻋﻦ ﺃﻭﺭﺷﻠﻴﻢ ﻭﻫﻴﻜﻞ ﺍﻟﻌﺒﺎﺩﺓ‪ ،‬ﻭﻣﻊ ﺫﻟﻚ ﳛﻀﺮ‬
‫ﺃﻣﺎﻡ ﺍﷲ ﺑﺎﻹﳝﺎﻥ ﻭﺍﻟﺮﻏﺒﺔ‪ .‬ﻛﺎﻥ ﺍﻟﻴﻬﻮﺩ ﻳﻌﺎﻳﻨﻮﻥ ﺍﷲ ﻓﻘﻂ ﰲ ﺗﺎﺑﻮﺕ ﺍﻟﻌﻬﺪ ﰲ‬
‫ﺍﳋﻴﻤﺔ ﺩﺍﺧﻞ ﺍﳍﻴﻜﻞ‪ .‬ﻓﺈ ﹾﻥ ﹶﻓﺼ‪‬ﻞ ﺍﻟﺰﻣﺎ ﹸﻥ ﻭﺍﳌﻜﺎ ﹸﻥ ﺩﺍﺅﻭﺩ ﻋﻦ ﺍﳋﻴﻤﺔ ﻓﻠﻦ ﻳﻔﺼﻠﻪ‬
‫ﻋﻦ ﺍﷲ‪ .‬ﺇﻧ‪‬ﻪ ﳛﻀﺮ ﻓﻜﺮ‪‬ﻳﹰﺎ ﻭﺫﻫﻨ‪‬ﻴﹰﺎ ﺃﻣﺎﻡ ﺍﷲ‪ .‬ﺇﻧ‪‬ﻬﺎ "ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﻨﺎﻃﻘﺔ ﻭﺍﻟﻌﻘﻠﻴ‪‬ﺔ"‪ .‬ﺇﻥ ﱂ‬
‫ﻳﻘﺪﺭ ﺃﻥ ﳛﻀﺮ ﺑﺎﳉﺴﺪ ﺇﱃ ﺍﳌﻌﺒﺪ ﻭﺍﳍﻴﻜﻞ ﺍﳌﻘﺪ‪‬ﺱ "ﺍﳌﻘﺪ‪‬ﺱ"‪ ،‬ﻓﺈ ﹼﻥ ﺭﻭﺣﻪ ﺗﻄﲑ‬
‫ﻼ‬
‫ﻣﻦ ﻣﻜﺎﻥ ﻏﺮﺑﺘﻪ ﻭﻧﻔﻴﻪ ﻭﲢﻀﺮ ﺑﺎﻹﳝﺎﻥ ﻭﺍﻟﺸﻮﻕ ﺇﱃ ﺩﺍﺧﻞ ﺍﳋﻴﻤﺔ ﻭﺗﻌﺎﻳﻦ ﻓﻌ ﹰ‬
‫ﳎﺪ ﺍﷲ‪ .‬ﻭﻳﺮﻭﻯ ﺃﻧ‪‬ﻪ ﻋﻨﺪﻣﺎ ﻓ ‪‬ﺮ ﺍﳌﻠﻚ ﺩﺍﺅﻭﺩ ﻫﺎﺭﺑﺎﹰ‪ ،‬ﲪﻞ ﺃﺗﺒﺎﻋﻪ ﻣﻦ ﺍﻟﻼﻭﻳ‪‬ﲔ‬
‫ﻭﺍﻟﻜﻬﻨﺔ ﺍﳋﻴﻤﺔ ﻭﺩﺍﺧﻠﻬﺎ ﺗﺎﺑﻮﺕ ﺍﻟﻌﻬﺪ )ﳎﺪ ﺍﷲ( ﻭﺗﺒﻌﻮﻩ‪ ،‬ﻟﻜﻨ‪‬ﻪ ﺃﻣﺮﻫﻢ ﺃﻥ‬

‫‪٦٧‬‬
 ‫ﻳﻌﻮﺩﻭﺍ ﺑﺎﻟﺘﺎﺑﻮﺕ ﺇﱃ ﺍﳌﻌﺒﺪ‪ ،‬ﻟﻜﻲ ﻻ ﳜﺎﻃﺮﻭﺍ ﺑﺎﳋﻴﻤﺔ ﻣﻌﻪ ﰲ ﻧﻔﻴﻪ ﻭﻏﺮﺑﺘﻪ‪ ،٣٤‬ﺇﱃ‬
‫ﻫﺬﻩ ﺍﳋﻴﻤﺔ ﺗﻄﲑ ﺭﻭﺡ ﺩﺍﺅﻭﺩ ﻋﻠﻰ ﺃﺟﻨﺤﺔ ﺍﻟﺼﻼﺓ ﺍﻟﻘﻮﻳ‪‬ﺔ ﻭﺍﻹﳝﺎﻥ ﺍﳊ ‪‬ﻲ‬
‫ﻭﺍﻟﺸﻮﻕ ﺍﳊﺎ ‪‬ﺭ‪.‬‬
‫ﲡﺎﻩ ﺿﻌﻒ ﺍﻟﻌﺎﱂ ﻭﻫﻮﺍﻧﻪ ﻭﻓﺮﺍﻏﻪ ﺗﻨﺘﺼﺐ ﻗﻮ‪‬ﺓ ﺍﷲ ﻭﻳﻌﻠﻮ ﳎﺪﻩ‪ .‬ﺍﻷﺭﺽ‬
‫ﺍﻟﱪﻳ‪‬ﺔ ﺍﻟﻘﺎﺣﻠﺔ ﺟﺮﺩﺍﺀ ﻻ ﻓﺮﺡ ﻓﻴﻬﺎ ﻭﻻ ﻣﺎﺀ ﻭﻻ ﲪ ‪‬ﺪ‪ .‬ﻟﻜﻦ ﺍﳌﻘﺪ‪‬ﺱ ﺍﻟﺬﻱ ﺗﻄﲑ‬
‫ﺏ ﻋﺰ‪‬ﻱ ﻭﺛﺒﺎﰐ ﻭﻣﻠﺠﺄﻱ ﻭﻗﻮ‪‬ﰐ"‪.‬‬‫ﺇﻟﻴﻪ ﻧﻔﻮﺳﻨﺎ ﻣﻶﻥ ﻗﻮ‪‬ﺓ ﻭﳎﺪﹰﺍ‪" .‬ﺍﻟﺮ ‪‬‬
‫ﺍ‪‬ﺪ ﻭﺍﻟﻘﻮ‪‬ﺓ ﺍﻹﳍﻴ‪‬ﺎﻥ ﻳﻌﻄﻴﺎﻥ ﻟﺪﺍﺅﻭﺩ ﺍﳊﺰﻳﻦ ﺍﳌﻨﻔﻲ ﻭﺍﳌﻼﺣ‪‬ﻖ ﺍﻟﻔﺮﺡ‬
‫ﻭﺍﻟﺮﺟﺎﺀ‪ .‬ﻗﻮ‪‬ﺓ ﺍﷲ ﺗﻄﺮﺩ ﻣﻦ ﺍﻟﻘﻠﺐ ﻛ ﹼﻞ ﺧﻮﻑ‪.‬‬

‫)‪ (٣‬ﻷﻥﹼ ﺭﲪﺘﻚ ﺃﲦﻦ ﻣﻦ ﺍﳊﻴﻮﺍﻧﺎﺕ‪ ،‬ﺷﻔﱵ‪ ‬ﺗﺴﺒ‪‬ﺤﺎﻧﻚ‬

‫ﻱ ﻛﻠﹼﻤﺎ ﺩﺧﻞ ﺍﳌﻌﺒﺪ ﺃﻥ ﻳﺪﺧﻞ ﺑﺸﻲﺀ‪ ،‬ﲝﻴﻮﺍﻥ ﻳﻘﺪ‪‬ﻣﻪ‬ ‫ﻛﺎﻥ ﻋﻠﻰ ﺍﻟﻴﻬﻮﺩ ‪‬‬
‫ﻭﻳﺸﺘﺮﻱ ﺑﺪﻣﻪ ﺍﻟﻐﻔﺮﺍﻥ ﺃﻭ ﺭﺿﻰ ﺍﷲ‪ ...‬ﻟﻜﻦ ﺩﺍﺅﻭﺩ ﺍﻛﺘﺸﻒ ﻣﺎ ﺃﻋﻠﻨﻪ ﺑﻮﻟﺲ‬
‫ﺑﻌﺪﻩ ﺑﻘﻮ‪‬ﺓ‪ :‬ﺃ ﹼﻥ ﺭﲪ ﹶﺔ ﺍﷲ ﻻ ﺗ‪‬ﺸﺘﺮﻯ ﺑﺪﻡ ﻋﺠﻮﻝ ﻭﺛﲑﺍﻥ‪ .‬ﺭﲪﺔ ﺍﷲ ﺃﻏﻠﻰ ﺑﻜﺜﲑ‪.‬‬
‫ﺗﻠﻚ ﺍﻟﺘﻘﺪﻣﺎﺕ ﻫﻲ ﺭﻣﻮﺯ‪ .‬ﻭﻟﻮ ﻗﺪ‪‬ﻡ ﺍﻹﻧﺴﺎ ﹸﻥ ﻛ ﹼﻞ ﻣﺎ ﳝﻠﻚ‪ ،‬ﻛ ﹼﻞ ﺃﻳﺎﻣﻪ ﻭﻛ ﱠﻞ‬
‫ﺣﻴﺎﺗﻪ‪ ،‬ﻓﺈ ﹼﻥ ﲦﻦ ﺫﻟﻚ ﻻ ﻳﻌﺎﺩﻝ ﺷﻴﺌﹰﺎ ﻣﻦ ﻗﻴﻤﺔ ﺭﲪﺔ ﺍﷲ‪ .‬ﺭﲪﺔ ﺍﷲ ﺩﺍﺋﻤﹰﺎ ﳎﺎﻧﻴ‪‬ﺔ‪.‬‬
‫ﺗﻘﺪﻣﺎﺗﻨﺎ ﻟﻴﺴﺖ ﲦﻨﹰﺎ ﻣﻌﺎﺩ ﹰﻻ ﻟﻠﺨﻼﺹ ﻭﻟﻜﻨ‪‬ﻬﺎ "ﻣﺎ ﻧﻘﺪﺭ ﻋﻠﻴﻪ" ﻭﻣﺎ ﻳﻄﻠﺒﻪ ﺍﷲ ﻣﻨ‪‬ﺎ‪.‬‬
‫ﲏ ﺃﻋﻄﲏ ﻗﻠﺒﻚ"‪ ،‬ﻭﺍﻟﺬﺑﻴﺤﺔ‬ ‫ﻷ ﹼﻥ ﺍﷲ ﻻ ﻳﻄﻠﺐ ﲦﻨﹰﺎ ﻟﻜﻨ‪‬ﻪ ﻳﻄﻠﺐ "ﺍﻟﻘﻠﺐ"‪" :‬ﻳﺎ ﺑ ‪‬‬
‫ﺐ ﺩﻭﻥ ﺫﺑﻴﺤﺔ‪ ،‬ﻓﺈ ﹼﻥ‬ ‫ﲟﺎﺩﻳ‪‬ﺎ‪‬ﺎ ﺑﺮﻫﺎﻥ ﻋﻠﻰ ﺣﺮﻛﺔ ﺍﻟﻘﻠﺐ‪ .‬ﻭﻟﻜﻦ ﻋﻨﺪﻣﺎ ﻳﻘﺪ‪‬ﻡ ﺍﻟﻘﻠ ‪‬‬
‫ﺖ ﻷ ﹼﻥ "ﺍﻟﺬﺑﻴﺤﺔ ﷲ ﺭﻭﺡ ﻣﻨﺴﺤﻖ ﻭﺍﻟﻘﻠﺐ ﺍﳌﺘﺨﺸ‪‬ﻊ ﺍﳌﺘﻮﺍﺿﻊ ﻻ‬ ‫ﺍﻟﺘﻘﺪﻣﺔ ﹼﲤ ‪‬‬
‫ﱵ ﺗﺴﺒﺤﺎﻧﻚ"‪ ،‬ﻭﺭﲪﺔ ﺍﻟﺴﻼﻡ ﻫﻲ ﺫﺑﻴﺤﺔ ﺍﻟﺘﺴﺒﻴﺢ‪.‬‬ ‫ﻳﺮﺫﻟﻪ ﺍﷲ"‪ .‬ﻟﺬﺍ‪" :‬ﺷﻔ ‪‬‬

‫‪ ٢ ٣٤‬ﻣﻠﻮﻙ ‪.٢٥ ،١٥‬‬

‫‪٦٨‬‬
 ‫)‪ (٤‬ﻫﻜﺬﺍ ﺃﺑﺎﺭﻛﹸﻚ ﰲ ﺣﻴﺎﰐ‪ ،‬ﻭﺑﺎﲰﻚ ﺃﺭﻓ ‪‬ﻊ ﻳ ‪‬ﺪﻱ‪‬‬
‫ﻫﻜﺬﺍ ﺃﺑﺎﺭﻛﻚ ‪ ..‬ﻛﻴﻒ؟ ﺑﺪﻭﻥ ﺫﺑﺎﺋﺢ ﺑﺸﻔﺎﻩ ﻣﺴﺒ‪‬ﺤﺔ‪ ،‬ﻣﻦ ﺟﻬﺔ‪ ،‬ﻭﳍﺬﺍ‬
‫ﻳﺘﺎﺑﻊ‪ :‬ﺑﺎﲰﻚ ﺃﺭﻓﻊ ﻳﺪﻱ ﺑﺎﻟﺼﻼﺓ ﺍﳊﺎﺭ‪‬ﺓ‪ .‬ﻫﻜﺬﺍ ﺃﺑﺎﺭﻛﻚ‪" :‬ﰲ ﺣﻴﺎﰐ"‪ ،‬ﺃﻱ‬
‫ﺖ ﻣﻮﺟﻮﺩﹰﺍ"‪ ،‬ﻳﺮﺩ‪‬ﺩ‬
‫ﺏ ﰲ ﺣﻴﺎﰐ ﻭﺃﺭﺗ‪‬ﻞ ﻹﳍﻲ ﻣﺎ ﺩﻣ ‪‬‬ ‫ﻃﻴﻠﺔ ﺣﻴﺎﰐ‪" :‬ﺃﺳ‪‬ﺒﺢ ﺍﻟﺮ ‪‬‬
‫ﱯ ﺩﺍﺅﻭﺩ ﰲ ﻣﺰﻣﻮﺭ ﺍﻟﻐﺮﻭﺏ‪ .‬ﺣﻴﺎﰐ ﻛﻠﹼﻬﺎ ﺳﺘﻜﻮﻥ ﺗﺴﺒﺤﺔ ﻭﺯﻣﻦ‬ ‫ﺫﻟﻚ ﺃﻳﻀﹰﺎ ﺍﻟﻨ ‪‬‬
‫ﺣﻴﺎﰐ ﻫﻮ ﻟﻠﺼﻼﺓ ﻭﺍﻟﺘﺴﺒﻴﺢ ‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﺍﻟﻘﺪ‪‬ﻳﺲ ﻛﲑﹼﻟﻠﺲ ﻳﺸﲑ ﺇﱃ ﺃ ﹼﻥ ﻛﻠﻤﺔ ﰲ‬
‫ﺣﻴﺎﰐ ﻻ ﺗﺸﲑ ﺇﱃ ﺍﻟﻔﺘﺮﺓ ﻓﻘﻂ ﻭﺇﻧ‪‬ﻤﺎ ﺇﱃ ﺍﻟﻄﺮﻳﻘﺔ‪ .‬ﻓﺎﳊﻴﺎﺓ ﺍﻟﻄﺎﻫﺮﺓ ﺍﳌﻼﺋﻤﺔ ﻫﻲ‬
‫ﺍﻟﺘﺴﺒﺤﺔ ﺍﳊﻘﻴﻘﻴ‪‬ﺔ‪ .‬ﻟﻦ ﻧﺴﺒﺢ ﺑﺎﻟﺬﺑﺎﺋﺢ ﻭﻟﻦ ﻧﺬﺑﺢ ﺍﳋﺮﺍﻑ ﻭﻟﻜﻦ ﺳﻨﻤﻮﺕ ﳓﻦ‬
‫ﻛ ﹼﻞ ﻳﻮﻡ ﻣﻦ ﺃﺟﻞ ﺍﻟ ‪‬ﱪ ﻭ"ﻫﻜﺬﺍ" ﻧﺴﺒ‪‬ﺤﻪ‪.‬‬
‫ﻱ"‪ :‬ﻫﺬﻩ ﺍﻟﻌﺎﺩﺍﺕ ﻭﺍﳊﺮﻛﺎﺕ ﺍﳋﺎﺭﺟﻴ‪‬ﺔ ﰲ ﺍﻟﺼﻼﺓ‬ ‫"ﻭﺑﺎﲰﻚ ﺃﺭﻓﻊ ﻳﺪ ‪‬‬
‫ﻛﺎﻧﺖ ﻣﻦ ﺍﻟﻌﺼﻮﺭ ﺍﻟﻘﺪﳝﺔ‪ .‬ﻓﺎﳊﺮﻛﺎﺕ ﺍﳋﺎﺭﺟﻴ‪‬ﺔ ﺗﺴﺎﻋﺪ ﻛﺜﲑﹰﺍ ﻋﻠﻰ ﺍﻟﺼﻼﺓ‪.‬‬
‫ﻱ"‪.‬‬
‫ﺖ ﻳﺪ ‪‬‬ ‫ﱯ ﰲ ﻣﻜﺎﻥ ﺁﺧﺮ "ﺇﻟﻴﻚ ﺑﺴﻄ ‪‬‬ ‫ﳍﺬﺍ ﻳﻘﻮﻝ ﺍﻟﻨ ‪‬‬
‫ﺃﻏﻠﺒﻨﺎ ﻳﻈ ‪‬ﻦ ﺃ ﹼﻥ ﺍﺷﺘﺮﺍﻙ ﺍﳉﺴﺪ ﺑﺎﻟﻌﺒﺎﺩﺓ‪ ،‬ﻣﺜﻞ ﺍﻟﺴﺠﺪﺍﺕ ﻭﺭﻓﻊ ﺍﻷﻳﺎﺩﻱ‬
‫ﻭﺍﻟﻮﻗﻮﻑ ﻭﺍﻟﺮﻛﻮﻉ‪ ،‬ﻫﻲ ﺣﺮﻛﺎﺕ ﻟﻠﻤﺘﻘﺪ‪‬ﻣﲔ‪ .‬ﻟﻜﻦ ﺍﳊﻘﻴﻘﺔ ﻫﻲ ﻋﻜﺲ ﺫﻟﻚ‪.‬‬
‫ﻓﺎﻟﻘﺪ‪‬ﻳﺴﻮﻥ ﻭﺍﳌﺘﻘ ‪‬ﺪﻣﻮﻥ ﻟﻴﺴﻮﺍ ﲝﺎﺟﺔ ﳍﺬﻩ ﺍﳌﺴﺎﻋﺪﺍﺕ ﻭﺍﻟﻮﺳﺎﺋﻂ‪ .‬ﺍﻟﻘﺪ‪‬ﻳﺲ‬
‫ﻼ ﻟﻠﻤﻌﺒﺪ ﻭﺍﻷﻳﻘﻮﻧﺴﻄﺎﺱ‬ ‫ﻳﺴﺘﻄﻴﻊ ﺃﻥ ﻳﺼﻠﹼﻲ ﰲ ﺍﻟﻄﺒﻴﻌﺔ‪ ،‬ﺃﻣ‪‬ﺎ ﺃﻧﺎ ﻓﺄﺣﺘﺎﺝ ﻓﻌ ﹰ‬
‫ﻭﺍﻟﺸﻤﻮﻉ ﻭﺍﻟﺒﺨﻮﺭ؛ ﻭﻣﻊ ﻛ ﹼﻞ ﻫﺬﺍ ﺃﺑﻘﻰ ﻣﺸﺘ‪‬ﺘﺎﹰ‪ ،‬ﺃﻗﺮﺃ ﻭﻻ ﺃﺻﻠﹼﻲ‪ .‬ﺍﻟﻘﺪ‪‬ﻳﺲ ﻭﻫﻮ‬
‫ﳛﺎﻭﺭﻙ ﻳﺼﻠﹼﻲ‪ ،‬ﻳﻌﻤﻞ ﻭﻳﺼﻠﹼﻲ‪ .‬ﺃﻣ‪‬ﺎ ﺃﻧﺎ ﺍﳌﺒﺘﺪﺉ ﻓﻌﻠ ‪‬ﻲ ﺃﻥ ﺃﻧﻔﺮﺩ ﻭﺃﻥ ﺍﳉﺄ ﺇﱃ‬
‫ﻇﺮﻭﻑ ﻣﺴﺎﻋ‪‬ﺪﺓ‪ .‬ﺍﻟﻘﺪ‪‬ﻳﺲ ﻭﺍﳌﺘﻘﺪ‪‬ﻡ ﺭﻭﺣ‪‬ﻴﹰﺎ ﻟﻴﺲ ﲝﺎﺟﺔ ﻟﻠﺴﺠﺪﺓ ﺑﻘﺪﺭ ﻣﺎ‬
‫ﺃﺣﺘﺎﺟﻬﺎ ﺃﻧﺎ‪ .‬ﻛﺬﻟﻚ ﺍﻷﻣﺮ ﻣﻊ ﺃﻣﻮﺭ ﺍﻟﻌﺒﺎﺩﺓ ﺍﳋﺎﺭﺟﻴ‪‬ﺔ ﻛﻠﹼﻬﺎ‪ ،‬ﻣﻦ ﻣﻌﺒﺪ ﻭﲞﻮﺭ‬

‫‪٦٩‬‬
‫ﻭﺭﻓﻊ ﺍﻷﻳﺎﺩﻱ‪ .‬ﻫﺬﻩ ﺍﳊﺮﻛﺎﺕ ﺍﳋﺎﺭﺟﻴ‪‬ﺔ ﺗﻨﻌﻜﺲ ﻋﻠﻰ ﺍﻟﻘﻠﺐ ﺍﻟﺪﺍﺧﻠ ‪‬ﻲ‪ .‬ﻭﻫﺬﻩ‬
‫ﺏ ﻭﻣﻦ ﺃﺟﻠﻪ ﻭﰲ ﺍﻟﺴﻌﻲ ﺇﻟﻴﻪ‪ .‬ﻭﺍﺳﻢ ﺍﷲ ﰲ‬ ‫ﺏ‪ .‬ﺃﻱ ﻟﻠﺮ ‪‬‬
‫ﻛﻠﹼﻬﺎ ﺗﺘ ‪‬ﻢ ﺑﺎﺳﻢ ﺍﻟﺮ ‪‬‬
‫ﺍﻟﻜﺘﺎﺏ ﻳﻌﲏ ﺷﺨﺼﻪ ﻭﺣﻀﻮﺭﻩ‪.‬‬

‫ﻚ ﻓﻤﻲ‬‫)‪ (٥‬ﻓﺘﻤﺘﻠﺊ ﻧﻔﺴﻲ ﻛﻤﺎ ﻣﻦ ﺷﺤﻢ ﻭﺩﺳﻢ‪ ،‬ﻭﺑﺸﻔﺎﻩ ﺍﻻﺑﺘﻬﺎﺝ ﻳﺴﺒ‪‬ﺤ ‪‬‬
‫ﺏ ﻻ ﺑ ‪‬ﺪ‬
‫ﺏ ﻋﺬﺏ ﻭﻧﻘ ‪‬ﻲ" ‪ .‬ﺇ ﹼﻥ ﻣ‪‬ﻦ ﻳﺮﻓﻊ ﻳﺪ‪‬ﻳﻪ ﻭﻳﺪﻋﻮ ﺑﺎﺳﻢ ﺍﻟﺮ ‪‬‬
‫"ﻛﻼﻡ ﺍﻟﺮ ‪‬‬
‫ﺏ ﺃﻃﻴﺐ ﻣﻦ ﺍﻟﻌﺴﻞ ﰲ ﺣﻠﻖ‬ ‫ﺏ ﻋﻠﻴﻪ ﺗﻌﺰﻳﺎﺗﻪ‪ .‬ﳍﺬﺍ ﻛﻼﻡ ﺍﻟﺮ ‪‬‬
‫ﻣﻦ ﺃﻥ ﻳﺴﻜﺐ ﺍﻟﺮ ‪‬‬
‫ﱯ ﺩﺍﺅﻭﺩ‪ .‬ﻭﻛﻤﺎ ﻳﺸﺒﻊ ﺍﳉﺴﺪ ﺣﲔ ﻳﻨﻌﻢ ﺑﺎﻟﺸﺤﻢ ﻭﺍﻟﺪﺳﻢ ﻫﻜﺬﺍ ﲤﺘﻠﺊ‬ ‫ﺍﻟﻨ ‪‬‬
‫ﺲ ﺭﺍﺣ ﹰﺔ ﻭﺗﻌﺰﻳ ﹰﺔ ﻣﻦ ﻧﻌﻤﺔ ﰲ ﺍﻟﺼﻼﺓ‪ .‬ﻓﲑﻭﺡ ﺍﻟﻔﻢ ﻳﺴﺒ‪‬ﺢ ﻟﻴﺲ ﻛﻮﺍﺟﺐ ﻭﻻ‬ ‫ﺍﻟﻨﻔ ‪‬‬
‫ﱵ ﻓﻴﺨﱪ ﻓﻤﻲ‬ ‫ﺏ ﺍﻓﺘﺢ ﺷﻔ ‪‬‬ ‫ﱯ‪" :‬ﻳﺎ ﺭ ‪‬‬
‫ﺑﺘﻌﺐ‪ ،‬ﻟﻜﻦ ﺑﻔﺮﺡ‪ .‬ﳍﺬﺍ ﻳﻘﻮﻝ ﺍﻟﻨ ‪‬‬
‫ﺑﺘﺴﺒﺤﺘﻚ"‪ .‬ﻟﻘﺪ ﺑﺎﺕ ﺗﺴﺒﻴﺢ ﺍﷲ ﺃﻋﺬﺏ ﻋﻤﻞ ﻭﺃﻟ ﹼﺬ ﺷﻐﻞ ﻟﻠﻨﻔﺲ‪ .‬ﻛﺜﲑﹰﺍ ﻣﺎ‬
‫ﻧﻘﻒ ﻟﻠﺼﻼﺓ ﺑﺄﻳ ‪‬ﺪ ﻣﺘﻬﺎﻭﻧﺔ ﻭﺑﻮﻗﻔﺔ ﻣﺘﺮﺩ‪‬ﺩﺓ ﻓﻼ ﻧﺬﻭﻕ ﻃﻌﻢ ﺍﻟﺼﻼﺓ ﻭﺗﻐﺪﻭ ﻫﺬﻩ‬
‫ﺛﻘﻴﻠﺔ ﻋﻠﻴﻨﺎ‪ ،‬ﻳﺪﻓﻌﻨﺎ ﺇﻟﻴﻬﺎ ﺍﻟﻮﺍﺟﺐ‪ .‬ﻭﺗﺒﻘﻰ ﺍﻟﻮﻗﻔﺔ ﺃﺷﺒﻪ ﺑﺼﺤﺮﺍﺀ ﺟﺪﺑﺎﺀ‪ .‬ﻟﻜﻦ‬
‫ﺣﲔ ﻧﺮﻓﻊ ﺃﻳﺪﻳﻨﺎ "ﺫﺑﻴﺤﺔ ﺗﺴﺒﻴﺢ" ﻭﲝﺮﺍﺭﺓ ﻓﺈ ﹼﻥ ﺗﺮﺩﺍﺩ ﺍﻟﺼﻼﺓ ﻳﺼﲑ ﻋﺬﺑﹰﺎ‪ .‬ﳍﺬﺍ‬
‫ﻛﺜﲑﻭﻥ ﳑ‪‬ﻦ ﻳﺮﺩ‪‬ﺩﻭﻥ "ﺻﻼﺓ ﻳﺴﻮﻉ" ﻧﺮﺍﻫﻢ ﻣﺮ‪‬ﺍﺕ ﻛﺜﲑﺓ ﻳﺮﺩ‪‬ﺩﻭﻥ ﻫﺬﻩ ﺍﻟﺼﻼﺓ‬
‫ﺑﻌﺒﺎﺭﺓ‪" :‬ﺃﻳ‪‬ﻬﺎ ﺍﻻﺳﻢ ﺍﻟﻌﺬﺏ‪ ."...‬ﻳﺼﲑ ﺍﺳﻢ ﻳﺴﻮﻉ ﻋﺬﺑﹰﺎ ﰲ ﻗﻠﻮ‪‬ﻢ‪ .‬ﻛﺎﻟﻌﺴﻞ‬
‫ﰲ ﺍﳊﻠﻖ‪ .‬ﻭﺗﻘﻄﻊ ﺍﻟﺼﻼﺓ ﻣﺮﺣﻠﺔ ﺍﻟﻮﺍﺟﺐ ﻭﺗﺼﻞ ﺇﱃ ﺍﻟﻘﻠﺐ ﺍﻟﺬﻱ ﻳﺘﻠﺬﹼﺫﻫﺎ‬
‫ﻭﻳﻄﻠﺒﻬﺎ ﻓﺘﺠﺮﻱ ﻓﻴﻪ ﻭﳛﻴﺎ ‪‬ﺎ‪ .‬ﻭﳑ‪‬ﺎ ﰲ ﺍﻟﻘﻠﺐ ﻳﻔﻴﺾ ﺍﻟﻠﺴﺎﻥ ﻭﻳﻨﻄﻖ ﺍﻟﻔ ‪‬ﻢ‪.‬‬

‫‪٧٠‬‬
 ‫ﺕ ﺑﻚ ﰲ ﺍﻷﺳﺤﺎﺭ‬ ‫)‪ (٦‬ﺇﻥ ﺫﻛﺮﺗ‪‬ﻚ ﻋﻠﻰ ﻣﻔﺮﺷﻲ‪ ،‬ﻫﺬﺫ ‪‬‬
‫ﻼ‬
‫ﰲ ﺻﻼﺓ ﺍﻟﻨﻮﻡ ﺍﻟﺼﻐﺮﻯ‪ ،‬ﻧﻄﻠﺐ ﰲ ﺍﻷﻓﺸﲔ ﺍﻷﺧﲑ‪" :‬ﺍﻣﻨﺤ‪‬ﻨﺎ ﻳﺎ ﺍﷲ ﻋﻘ ﹰ‬
‫ﺳﺎﻫﺮﹰﺍ ﻭﻓﻜﺮﹰﺍ ﻃﺎﻫﺮﹰﺍ ﻭﻗﻠﺒﹰﺎ ﻣﺴﺘﻴﻘﻈﹰﺎ ﻭﻧﻮﻣﹰﺎ ﺧﻔﻴﻔﹰﺎ‪ ...‬ﻭﺃ‪‬ﻀﻨﺎ ﰲ ﻭﻗﺖ ﺍﻟﺼﻼﺓ‬
‫ﺐ ﻟﻨﺎ ﺃﻗﻮﺍﻝ ﲤﺎﺟﻴﺪﻙ ﻃﻮﻝ ﺍﻟﻠﻴﻞ‪ ،"...‬ﺑﺎﻟﻮﺍﻗﻊ ﺇﻥ ﻧﺎﻡ‬ ‫ﺛﺎﺑﺘﲔ ﰲ ﻭﺻﺎﻳﺎﻙ‪ .‬ﻫ ‪‬‬
‫ﺍﻟﻮﺍﺣﺪ ﻣﻨ‪‬ﺎ ﻋﻠﻰ ﺫﻛﺮﻯ ﺃﻣﺮ ﻣﺎ ﳛﺒ‪‬ﻪ ﺃﻭ ﻳﺰﻋﺠﻪ‪ ...‬ﻳﺆﺛﹼﺮ ﻓﻴﻪ‪ ،‬ﻓﻴﻨﻬﺾ ﻗﺒﻞ ﺍﻷﻭﺍﻥ‬
‫ﻭﻫﻮ ﻳﺘﺬﻛﹼﺮ ﻫﺬﺍ ﺍﻷﻣﺮ ﻋﻴﻨﻪ‪ ،‬ﻳﻨﺎﻡ ﻋﻠﻴﻪ ﻭﻫﺬﺍ ﺍﻷﻣﺮ ﻳﻮﻗﻈﻪ ﻋﻨﺪ ﺍﻟﺼﺒﺎﺡ‪ ،‬ﻭﻟﺮﺑ‪‬ﻤﺎ‬
‫ﻗﺒﻞ ﺍﻷﻭﺍﻥ‪.‬‬
‫ﺏ ﻋﺬﺏ ﺟ ‪‬ﺪﹰﺍ ﰲ ﻗﻠﺐ ﺍﻟﻨﱯ‪ ،‬ﳍﺬﺍ ﻓﺈ ﹼﻥ ﹶﺫﻛﹶﺮﻩ ﻋﻠﻰ ﻣﻔﺮﺷﻪ ﻗﺒﻴﻞ‬ ‫ﻛﻼﻡ ﺍﻟﺮ ‪‬‬
‫ﻧﻮﻣﻪ ﻳﻠﻬﺞ ﺑﻪ ﻃﻮﺍﻝ ﺍﻟﻠﻴﻞ‪ .‬ﳍﺬﺍ ﻳﻘﻮﻝ ﺃﻧﺎ ﻧﺎﺋﻢ ﻟﻜﻦ ﻗﻠﱯ ﻣﺴﺘﻴﻘﻆ‪ .‬ﻭﳓﻦ ﻧﻌﺮﻑ‬
‫ﺏ‬
‫ﺃ ﹼﻥ ﻧﺴ‪‬ﺎﻛﹰﺎ ﻣﺘﻘﺪ‪‬ﻣﲔ ﻳﺮﺩ‪‬ﺩﻭﻥ ﺃﺛﻨﺎﺀ ﻧﻮﻣﻬﻢ ﺃﻳﻀﹰﺎ ﺻﻼﺓ ﻳﺴﻮﻉ‪ .‬ﻭﺍﺳﻢ ﺍﻟﺮ ‪‬‬
‫ﻭﺫﻛﺮﻩ ﻟﺬﻳﺬ ﻟﺪﺭﺟﺔ ﺃﻧ‪‬ﻪ ﻳﻮﻗﻆ ﺍﻟﻨﱯ‪ ،‬ﻳﺮﻗﺪ ﻋﻠﻰ ﺫﻛﺮﻩ ﻭﻳﺴﺘﻴﻘﻆ ﺳﺤﺮﹰﺍ ﰲ‬
‫ﺫﻛﺮﺍﻩ‪.‬‬
‫ﺣ ﹼﻘﹰﺎ ﺇﻧ‪‬ﻪ ﻷﻣﺮ ﺭﺍﺋﻊ ﺃﻥ ﻧﺮﻗﺪ ﻣﻊ ﺍﻟﺼﻼﺓ ﺑﺴﻼﻣﻬﺎ ﻭﺃﻥ ﺗﻮﻗﻈﻨﺎ ﺑﻔﺮﺣﻬﺎ‪.‬‬
‫ﺑﺪﻝ ﺃﻥ ﻧﺮﻗﺪ ﺑﺼﻌﻮﺑﺔ ﻋﻠﻰ ﻗﻠﻘﻨﺎ ﻭﺃﻥ ﻧﺴﺘﻴﻘﻆ ﻭﳓﻦ ‪‬ﺪﺱ ﲟﺼﺎﻋﺒﻨﺎ ﻭﳐﺎﻭﻓﻨﺎ‪.‬‬
‫ﱄ ﻷﻫ ﹼﺬ ﺑﻚ ﺃ ‪‬ﻭ ﹰﻻ ﺑﺎﻷﺳﺤﺎﺭ‪.‬‬
‫ﺏ ﻋﻠﻰ ﻣﻔﺮﺷﻲ ﻭﺗﻌﺎ ﹶﻝ ﺇ ﱠ‬
‫ﺳﺄﺫﻛﺮﻙ ﻳﺎ ﺭ ‪‬‬

‫ﺕ ﱄ ﻋﻮﻧﺎﹰ‪ ،‬ﻭﺑﻈﻞﹼ ﺟﻨﺎﺣ‪‬ﻴﻚ ﺃﺳﺘﺘﺮ‬‫)‪ (٧‬ﻷﻧ‪‬ﻚ ﺻﺮ ‪‬‬

‫ﻛ ﹼﻞ ﺇﻧﺴﺎﻥ ﻳﺘ‪‬ﻜﻞ ﻋﻠﻰ ﺃﻣﺮ ﻣﺎ‪ ،‬ﺃﻭ ﻋﻠﻰ ﺇﻧﺴﺎﻥ ﺁﺧﺮ‪ .‬ﺃﻣ‪‬ﺎ ﺩﺍﺅﻭﺩ ﻓﻴﻌﺮﻑ‬
‫ﺟﻴ‪‬ﺪﹰﺍ ﺃ ﹼﻥ ﺍﷲ ﻫﻮ ﻋﻮﻧﻪ‪ .‬ﺍﳉﻮﺍﻧﺢ ﺭﻣﺰ ﻟﻌﻨﺎﻳﺔ ﺍﷲ ﻭﺣﻨﺎﻧﻪ‪ .‬ﻫﺬﻩ ﺍﻟﺼﻮﺭﺓ ﺍﺳﺘﺨﺪﻣﻬﺎ‬
‫ﺕ ﺃﻥ ﺃﲨﻊ ﺑﻨﻴﻚ‬
‫ﺍﳌﺴﻴﺢ ﻧﻔﺴﻪ ﻋﻨﺪﻣﺎ ﺑﻜﻰ ﻋﻠﻰ ﺃﻭﺭﺷﻠﻴﻢ‪" :‬ﻛﻢ ﻣﻦ ﻣﺮ‪‬ﺓ ﺃﺭﺩ ‪‬‬
‫ﻛﻤﺎ ﲡﻤﻊ ﺍﻟﺪﺟﺎﺟﺔ ﻓﺮﺍﺧﻬﺎ ﲢﺖ ﺟﻨﺎﺣ‪‬ﻴﻬﺎ"‪ .‬ﻭﺍﳌﺰﺍﻣﲑ ﺗﺮﺩ‪‬ﺩ ﻫﺬﻩ ﺍﻟﺼﻮﺭﺓ‬

‫‪٧١‬‬
‫ﺐ ﺟ ‪‬ﺪﹰﺍ‬
‫ﱳ ﻭﻣﺪﺑ‪‬ﺮ ﲟﻌﲎ ﺃﻧ‪‬ﻪ ﳏ ‪‬‬
‫ﺐ‪ .‬ﺍﷲ ﻣﻌ ﹴ‬‫ﻣﺮ‪‬ﺍﺕ ﻛﺜﲑﺓ‪ ،‬ﻓﺎﳉﻨﺎﺡ ﻫﻮ ﺍﻟﺴﺘﺮ ﺍﶈ ‪‬‬
‫ﻭﺣﻨﻮﻥ‪ .‬ﳍﺬﺍ ﻋﻠﻰ ﺗﺎﺑﻮﺕ ﺍﻟﻌﻬﺪ ﻭ‪‬ﺿﻊ ﻣﻼﻛﺎ ﺷﺎﺭﻭﺑﻴﻢ ﻭﺑﺄﺟﻨﺤﺘﻬﻤﺎ ﻳﻐﻄﹼﻴﺎﻥ‬
‫ﺍﻟﺘﺎﺑﻮﺕ ﺭﻣﺰﹰﺍ ﺇﱃ ﻋﻨﺎﻳﺔ ﺍﷲ ﻭﺳﺘﺮﻩ‪ .‬ﺍﻹﳝﺎﻥ ﺑﺎﷲ ﻭﺑﻌﻨﺎﻳﺘﻪ ﻳﻌﻄﻲ ﻓﻮﺭﹰﺍ ﺩﻓﺌﹰﺎ‬
‫ﻭﺳﻼﻣﹰﺎ ﻭﻃﻤﺄﻧﻴﻨﺔ ﻭﻟﻮﻛﻨ‪‬ﺎ ﻭﺳﻂ ﺃﻗﺴﻰ ﺍﻟﺸﺪﺍﺋﺪ‪.‬‬

‫ﺕ ﳝﻴﻨ‪‬ﻚ‬‫ﺖ ﻧﻔﺴﻲ ﻭﺭﺍﺀﻙ‪ ،‬ﻭﺇﻳ‪‬ﺎﻱ ﻋﻀﺪ ‪‬‬ ‫)‪ (٨‬ﺍﻟﺘﺼﻘ ‪‬‬

‫ﻛﻤﺎ ﺍﻟﻄﻔﻞ‪ ،‬ﺷﺎﻋﺮﹰﺍ ﺑﻀﻌﻔﻪ‪ ،‬ﳝﺴﻚ ﺑﺄﻫﺪﺍﺏ ﺃﻣﻪ‪ ،‬ﻳﺘﺒﻌﻬﺎ ﻣﻦ ﺧﻠﻔﻬﺎ‬
‫ﺴﻚ ‪‬ﺎ‪ ،‬ﻓﻴﺸﻌﺮ ﺣﻴﻨﺌﺬ ﺑﻄﻤﺄﻧﻴﻨﺔ ﻭﻓﺮﺡ ﻭﺛﻘﺔ‪ .‬ﻫﻜﺬﺍ ﺗﻠﺘﺼﻖ ﻧﻔﺴﻨﺎ ﰲ‬ ‫ﻭﻳﺘﻤ ‪‬‬
‫ﺖ ﻧﻔﺲ‬‫ﻼ ﰲ ﻛ ﹼﻞ ﺿﻴﻖ‪ .‬ﻟﻘﺪ ﺍﻟﺘﺼﻘ ‪‬‬ ‫ﺍﻟﺼﻼﺓ ﺑﺎﷲ‪ .‬ﻭﺍﷲ ﳝ ‪‬ﺪ ﳝﻴﻨﻪ ﻭﻳﻌﻀﺪﻧﺎ ﻓﻌ ﹰ‬
‫ﺨﻴ‪‬ﺐ ﺍﷲ ﺭﺟﺎﺀﻩ ﻭﻣ ‪‬ﺪ ﻳﺪﻩ ﺍﻟﻴﻤﲎ ﻭﺳﺎ ‪‬ﻋﺪ‪‬ﻩ ﺍﻟﺮﻓﻴﻊ ﻭﻗﻮﺗﻪ ﻭﻋﻀ ‪‬ﺪ‬‫ﱯ ﺑﺎﷲ‪ ،‬ﻭﱂ ‪‬ﻳ ‪‬‬
‫ﺍﻟﻨ ‪‬‬
‫ﺽ ﺻﻮﺭﹰﺍ ﻓﻴﻬﺎ ﺍﳋﱪﺓ‬ ‫ﺍﺑﻨ‪‬ﻪ ﺍﻟﻀﻌﻴﻒ ﰲ ﺍﻟﻀ‪‬ﻴﻖ‪ .‬ﲨﻴﻠﺔ ﻫﻲ ﺗﻌﺎﺑﲑ ﺍﻟﻨﱯ‪ ،‬ﻳﻌﺮ ‪‬‬
‫ﻼ ﻋﻠﻴﻪ‪.‬‬
‫ﻭﺍﻟﺮﺟﺎﺀ‪ .‬ﺭﻣﻰ ﻋﻠﻰ ﺍﷲ ﺗﻮﻛﹼﻠﻪ ﻭﺍﷲ ﱂ ﻳﻜﻦ ﲞﻴ ﹰ‬

‫)‪ (٩‬ﺃﻣ‪‬ﺎ ﺍﻟﺬﻳﻦ ﻳﻄﻠﺒﻮﻥ ﻧﻔﺴﻲ ﺑﺎﻃﻼﹰ‪ ،‬ﻓﺴﻴﺪﺧﻠﻮﻥ ﺇﱃ ﺃﺳﺎﻓﻞ ﺍﻷﺭﺽ‬

‫ﱯ‬
‫ﺖ ﺍﻟﻨ ‪‬‬
‫ﻭﺍﻵﻥ ﺑﻌﺪ ﻣﻨﺎﺟﺎﺓ ﺍﷲ ﻭﺭﻓﻊ ﺍﻟﺼﻼﺓ ﺇﻟﻴﻪ ﻭﺭﻣﻲ ﺍﻟﺮﺟﺎﺀ ﻋﻠﻴﻪ‪ ،‬ﻳﻠﺘﻔ ‪‬‬
‫ﺩﺍﺅﻭﺩ‪ ،‬ﻭﻗﺪ ﺍﻣﺘﻸﺕ ﻧﻔﺴﻪ ﺷﺤﻤﹰﺎ ﻭﺩﲰﹰﺎ ﻭﺛﻘﺔ ﻭﺭﺟﺎﺀ‪ ،‬ﻭﱂ ﻳﻌﺪ ﻓﻴﻪ ﻟﻠﺨﻮﻑ‬
‫ﻣﻜﺎﻥ‪ ،‬ﻳﻠﺘﻔﺖ ﺇﱃ ﻣﺸﺎﻛﻠﻪ‪ ،‬ﺇﱃ ﺃﻋﺪﺍﺋﻪ ﻭﻫﻢ ﺃﺷ ‪‬ﺪ ﻣﻨﻪ ﺑﻜﺜﲑ‪ ،‬ﻫﻮ ﺍﻟﻔﺎ ‪‬ﺭ ﺑﺪﻭﻥ‬
‫ﺏ ﺳﺘﺮ‪‬ﻩ‪ ،‬ﻭﺑﺎﻟﺘﺎﱄ ﻛﻠﹼﻪ ﺛﻘﺔ‪،‬‬‫ﺳﻼﺡ ﻭﻫﻢ ﻳﺘﺒﻌﻮﻧﻪ ﺑﺎﻟﻌﺴﻜﺮ ﻭﺍﻟﺴﻼﺡ‪ .‬ﻟﻜﻦ ﺍﻟﺮ ‪‬‬
‫ﻟﻴﺲ ﲟﻘﻴﺎﺱ ﺍﻟﻌﻘﻞ‪ ،‬ﻭﻟﻜﻦ ﺑﻌﲔ ﺍﻹﳝﺎﻥ‪ ،‬ﺃ ﹼﻥ ﺃﻋﺪﺍﺀﻩ ﺳﻮﻑ ﻳﺪﺧﻠﻮﻥ ﺇﱃ ﺃﺳﺎﻓﻞ‬
‫ﺍﻷﺭﺽ‪ .‬ﻛﻴﻒ؟ ﻻ ﻳﻌﺮﻑ ﺍﳌﻨﻄﻖ ﺫﻟﻚ ﻭﻻ ﳝﻜﻦ ﺃﻥ ﻳﻔﺴﺮﻩ ﻟﻜﻦ ﺍﻹﳝﺎﻥ ﺑﺎﷲ‬
‫ﻳﺆﻛﹼﺪﻩ‪.‬‬

‫‪٧٢‬‬
‫ﻫﻜﺬﺍ ﺍﻟﻨﱯ‪ ،‬ﻷﻧ‪‬ﻪ ﻛﺎﻥ ﺑﺎ ‪‬ﺭﹰﺍ ﻣﻦ ﺟﻬﺔ ﺣﻴﺎﺗﻪ ﻭﻟﻴﺲ ﻫﻨﺎﻙ ﻣﺎ ﻳﻌﺬﹼﺏ ﺿﻤﲑ‪‬ﻩ‬
‫ﻛﺎﻥ ﻟﻪ ﺍﻹﳝﺎﻥ ﺃﻧ‪‬ﻬﻢ ﻋﺒﺜﹰﺎ ﺳﻴﻄﻠﺒﻮﻥ ﻧﻔﺴﻪ‪ ،‬ﻟﻦ ﳚﺪﻭﺍ ﺷﻴﺌﹰﺎ ﻭﻟﻦ ﳛﻘﹼﻘﻮﺍ ﻣﺂﺭ‪‬ﻢ‬
‫ﺏ ﳛﻔﻆ ﺑﺎﺭ‪‬ﻩ‪ .‬ﺍﳊﻴﺎﺓ ﺍﻟﺒﺎﺭ‪‬ﺓ ﺗﻌﻄﻲ ﺍﻟﺪﺍﻟﺔ ﻋﻠﻰ ﺍﷲ ﻭﺍﻟﺜﻘﺔ ﺑﻪ‪.‬‬
‫ﺍﻟﺸﺮ‪‬ﻳﺮﺓ‪ ،‬ﻷ ﹼﻥ ﺍﻟﺮ ‪‬‬

‫)‪ (١٠‬ﻭﺳﻴ‪‬ﺪﻓﻌﻮﻥ ﺇﱃ ﺃﻳﺪﻱ ﺍﻟﺴﻴﻮﻑ‪ ،‬ﻭﻳﻜﻮﻧﻮﻥ ﺃﻃﻌﻤﺔ ﻟﻠﺜﻌﺎﻟﺐ‬

‫ﻭﺇﻥ ﱂ ﻳﻜﻦ ﺩﺍﺅﻭﺩ ﻣﺴﻠﹼﺤﹰﺎ ﻭﻟﻴﺲ ﻣﻦ ﻋﺴﻜﺮ ﲜﺎﻧﺒﻪ‪ ،‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﺍﷲ ﺳﻮﻑ‬
‫ﻳﺪﺑ‪‬ﺮ ﺍﻷﻣﻮﺭ ﲝﻴﺚ ﺃ ﹼﻥ ﺃﻋﺪﺍﺀﻩ ﺳﻴﻤﻮﺗﻮﻥ ﺃﺷﻨﻊ ﻣﻴﺘﺔ ﻭﻳﻨﻬﺰﻣﻮﻥ ﺃﺭﺩﺃ ﻫﺰﳝﺔ‪.‬‬
‫ﺳﻮﻑ ﻳﺪﻓﻌﻮﻥ‪ ،‬ﻛﻴﻒ ﻻ ﻳﻌﺮﻑ ﻟﻜﻨ‪‬ﻪ ﻭﺍﺛﻖ‪ ،‬ﺳﻴﺪﻓﻌﻮﻥ ﻟﻠﻘﺘﻞ ﲝ ‪‬ﺪ ﺍﻟﺴﻴﻒ‬
‫ﻭﺳﺘﻜﻮﻥ ‪‬ﺎﻳﺘﻬﻢ ﺃﺑﺸﻊ ‪‬ﺎﻳﺔ‪ .‬ﻓﺒﻌﺪ ﺃﻥ ﻳﻘﺘﻠﻮﺍ ﻟﻦ ﳚﻤﻊ ﺃﺣﺪ ﺟﺜﺜﻬﻢ‪ .‬ﻭﺳﻮﻑ‬
‫ﺗﺄﰐ ﺍﻟﺜﻌﺎﻟﺐ ﻭﺗﻨﻬﺶ ﳊﻮﻣﻬﻢ‪ .‬ﻫﺬﻩ ﺍﻟﺼﻮﺭﺓ ﻫﻲ ﺻﻮﺭﺓ ﻷﺑﺸﻊ ﻫﺰﳝﺔ‪ ،‬ﺣﻴﺚ‬
‫ﺗﺒﻘﻰ ﺍﳉﺜﺚ ﺑﻌﺪ ﺍﳌﻌﺮﻛﺔ ﰲ ﺍﻟﺴﺎﺣﺔ ﻭﻻ ﻳﻌﻮﺩ ﺃﺣﺪ ﻣﻦ ﺍﳌﻨﻬﺰﻣﲔ ﻟﻴﺠﻤﻊ ﺟﺜﺚ‬
‫ﺭﻓﻘﺎﺋﻪ‪ .‬ﺳﻮﻑ ﺗﻜﻮﻥ ‪‬ﺎﻳﺘﻬﻢ ﻧﺼﻴﺒﹰﺎ ﻟﻠﺜﻌﺎﻟﺐ‪.‬‬

‫ﺕ‬
‫ﺴﺮ‪ ‬ﺑﺎﷲ ﻭﻳ‪‬ﻤﺘﺪ‪‬ﺡ ﻛﻞﹼ ﻣ‪‬ﻦ ﳛﻠﻒ ﺑﺎﲰﻪ‪ ،‬ﻷﻧ‪‬ﻪ ﻗﺪ ‪‬ﺳﺪ‪ ‬‬
‫)‪ (١١‬ﺃﻣ‪‬ﺎ ﺍﳌﻠﻚ ﻓﻴ ‪‬‬
‫ﺃﻓﻮﺍﻩ ﺍﳌﺘﻜﻠﹼﻤﲔ ﺑﺎﻟﻈﻠﻢ‬
‫ﻫﻜﺬﺍ ﳜﺘﻢ ﺩﺍﺅﻭﺩ ﻧﺸﻴﺪﻩ ﻭﺻﻼﺗﻪ ﰲ ﻫﺬﻩ ﺍﻟﻀﻴﻘﺔ‪ ،‬ﲟﺸﺎﻋﺮ ﺍﻟﻐﻠﺒﺔ ﻭﺍﻟﺜﻘﺔ‬
‫ﺏ‪ .‬ﺇ ﹼﻥ ﺫﻟﻚ ﻫﻮ ﻧﺼﻴﺐ ﺍﳋﻄﺄﺓ ﺍﻟﺬﻳﻦ ﻳﻄﻠﺒﻮﻥ ﻧﻔﺴﻪ ﻋﺒﺜﹰﺎ‪ .‬ﻓﺈﻧ‪‬ﻪ ﻫﻮ‬ ‫ﲟﻌﻮﻧﺔ ﺍﻟﺮ ‪‬‬
‫)ﺍﳌﻠﻚ( ﺳﻮﻑ ﻳﺴ ‪‬ﺮ ﺑﺎﷲ ﻭﺳﻮﻑ ﻳﻔﺮﺝ ﻟﻪ ﺍﷲ ﻛﺮﺑﺘﻪ ﻭﳜﻠﹼﺼﻪ ﻣﻦ ﺃﺧﻄﺎﺭﻩ‪.‬‬
‫ﺑﺎﻟﻄﺒﻊ ﻟﻦ ﻳﺘﺨﻠﹼﻰ ﺍﷲ ﻋﻦ ﺍﳌﻠﻚ ﺍﳊﻘﻴﻘ ‪‬ﻲ ‪ ،‬ﻋﻦ ﻋﺒﺪﻩ ﺩﺍﺅﻭﺩ ﺍﻟﻔﺎﺭ‪ ،‬ﻭﺳﻮﻑ ﻳ‪‬ﺮﻓﻊ‬
‫ﺷﺄﻥ ﺍﻟﺪﺍﻋﲔ ﺑﺎﲰﻪ ﻭﻳﻜﺮﻣﻮﻧﻪ‪ .‬ﺳﻮﻑ ﺗﻨﺼﻠﺢ ﺍﻷﻣﻮﺭ ﻭﻳﻌﻮﺩ ﺗﺮﺗﻴﺒﻬﺎ ﺇﱃ ﻗﻮﺍﻣﻪ‬
‫ﺏ ﺍﻟﺴ‪‬ﻼﻡ‬‫ﺍﳊﻘﻴﻘ ‪‬ﻲ ‪ .‬ﺳﻮﻑ ﻳﻨﻬﺰﻡ ﺍﻟ ﹶﻈﻠﹶﻤ ﹸﺔ ﻭﺳﻮﻑ ﺗﻨﺘﺼﺐ ﺭﺍﻳﺔ ﺍﳊ ‪‬ﻖ ﻋﺎﻟﻴﺔ ﻭﻳﺪ ‪‬‬

‫‪٧٣‬‬
‫ﻉ ﺍﳌﻠﻚ ﺍﳊﻘﻴﻘ ‪‬ﻲ ‪ .‬ﺍﷲ ﻻ ﻳﺘﺮﻛﻨﺎ ﰲ ﺿﻴﻖ ﺇ ﹼﻻ ﻭﻗﺪ ﺩﺑ‪‬ﺮ ﻟﻨﺎ‬ ‫ﰲ ﻗﻠﻮﺏ ﺍﻷﺑﺮﺍﺭ ﻭﺃﺗﺒﺎ ﹺ‬
‫ﳐﺮﺟﻪ‪ ،‬ﻳﻘﻮﻝ ﺍﻟﻘﺪ‪‬ﻳﺲ ﺍﺳﺤﻖ ﺍﻟﺴﺮﻳﺎﱐ‪ .‬ﰲ ﻛ ﹼﻞ ﺷﺪ‪‬ﺓ ﻋﻠﻴﻨﺎ ﺃﻥ ﻧﺆﻣﻦ ﺃ ﹼﻥ ﺍﷲ‬
‫ﺳﻴﺪﺑ‪‬ﺮ ﺍﳊ ﹼﻞ ﺍﳌﻨﺎﺳﺐ ﻷﻧﻔﺴﻨﺎ ﺑﻌﺪ ﺍﻣﺘﺤﺎﻧﻨﺎ ﻫﺬﺍ‪.‬‬
‫ﻧﻌﻢ ﺳﻴﻔﺮﺡ ﺍﳌﻠﻚ ﻭﺃﺗﺒﺎﻋﻪ ﻭﻛ ﹼﻞ ﻣ‪‬ﻦ ﳛﻠﻒ ﺑﺎﲰﻪ‪ ،‬ﻟﻴﺲ ﻷ ﹼﻥ ﺃﻋﺪﺍﺀﻩ ﻗﺪ‬
‫ﺿﺮﺑﻮﺍ ﺃﻭ ﺍ‪‬ﺰﻣﻮﺍ‪ ،‬ﺇﺫ ﻳﻈﻬﺮ ﺟﻠ‪‬ﻴﹰﺎ ﻫﻨﺎ ﻣ‪‬ﻦ ﻫﻢ ﺃﻋﺪﺍﺀ ﺩﺍﺅﻭﺩ ﻭﳌﺎﺫﺍ ﺳﻴﻔﺮﺡ ﻫﻮ‬
‫‪‬ﺰﳝﺔ ﺃﻋﺪﺍﺋﻪ! ﺇ ﹼﻥ ﺃﻋﺪﺍﺀﻩ ﻫﻢ ﺃﻋﺪﺍﺀ ﺍﷲ ﻭﺍ‪‬ﺪ‪‬ﻓﻮﻥ ﻋﻠﻰ ﺍﲰﻪ ﺍﻟﻘﺪ‪‬ﻭﺱ‪ .‬ﻭﻫﺬﺍ ﻣﺎ‬
‫ﺡ ﺩﺍﺅﻭﺩ ﻫﻮ‬ ‫ﺕ ﺃﻓﻮﺍﻩ ﺍﳌﺘﻜﻠﹼﻤﲔ ﺑﺎﻟﻈﻠﻢ"‪ .‬ﻓ ‪‬ﺮ ‪‬‬
‫ﺗﻔﺴ‪‬ﺮﻩ ﺍﻟﻌﺒﺎﺭﺓ‪" :‬ﻷﻧ‪‬ﻪ ﻗﺪ ‪‬ﺳ ‪‬ﺪ ‪‬‬
‫ﺏ ﻋﺎﻟﻴﺎﹰ‪ ،‬ﻭﺍﺳﺘﻌﺎﺩﺓ ﻛﺮﺍﻣﺔ ﻣﻠﻜﻪ ﺍﳊﻘﻴﻘ ‪‬ﻲ ‪.‬‬ ‫ﺑﺎﻧﺘﺼﺎﺏ ﺍﳊ ‪‬ﻖ ﻭﺍﺭﺗﻔﺎﻉ ﺍﺳﻢ ﺍﻟﺮ ‪‬‬
‫ﺺ ﺑﻨﺼﺮﺓ ﺍﳊ ‪‬ﻖ ﺃﻛﺜﺮ ﻣﻦ ﺍﳌﺼﻠﺤﺔ ﺃﻭ ﺍﳌﺼﲑ ﺍﻟﺸﺨﺼﻴ‪‬ﲔ‪.‬‬ ‫ﺍﻷﻣﺮ ﻫﻨﺎ ﳜﺘ ‪‬‬
‫ﻧﻌﻢ ﺍﻟﺼﻼﺓ ﺍﳊﺎﺭ‪‬ﺓ ﺍﳌﻶﻧﺔ ﺭﺟﺎﺀ ﻭﺍ‪‬ﺗﻜﺎ ﹰﻻ ﻋﻠﻰ ﺍﷲ ﻫﻲ ﻭﺣﺪﻫﺎ ﺗﻌﻄﻴﻨﺎ ﺍﻟﺜﻘﺔ‬
‫ﺃﻧ‪‬ﻪ ﰲ ﻛﻞﹼ ﺷﺪ‪‬ﺓ ﺳﻮﻑ ﺗﺴﺒ‪‬ﺢ ﺃﻓﻮﺍﻩ ﺍﳌﺆﻣﻨﲔ ﻭﲤﺘﻠﺊ ﻛﻤﺎ ﻣﻦ ﺷﺤﻢ ﻭﺩﺳﻢ‪،‬‬
‫ﺑﻴﻨﻤﺎ ﺃﻓﻮﺍﻩ ﺍﻟﻈﺎﳌﲔ ﻭﺍﻷﻋﺪﺍﺀ ﺍﻟﺮﻭﺣﻴ‪‬ﲔ ﻭﺍﳉﺴﺪﺍﻧﻴ‪‬ﲔ ﺳﻮﻑ ﺗﺼﻤﺖ‪ ،‬ﺁﻣﲔ‪.‬‬

‫‪٧٤‬‬
 ‫ﻣـﺼـﺎﻋـﺪ ﺍﻟـﻘـﻠـﺐ‬
‫‪٣٥‬‬
‫ﺗﺄﻣ‪‬ﻞ ﰲ ﺍﳌﺰﻣﻮﺭ ﺍﻟﺜﺎﻟﺚ ﻭﺍﻟﺜﻤﺎﻧﲔ‬

‫@ َ
ُ ‪>6 ?2‬ك‪،‬‬
‫"‪592‬ط ا
‪ :‬ا‪7‬ي ‪ْ 0‬‬
‫‪ 5'E  >@2‬و‪  #C‬وادي ا‪85‬ء‪  ،‬ا‪8$‬ن ا‪7‬ي و‪"BC‬‬

‫ﻋﻦ ﺃﻳ‪‬ﺔ ﻣﺼﺎﻋﺪ ﺭﻭﺣﻴ‪‬ﺔ ﻳﻜﻠﹼﻤﻨﺎ ﺍﻟﻨﱯ‪ ،‬ﻭﺍﻟﱵ ﺣﲔ ﻳﻀﻌﻬﺎ ﺍﻹﻧﺴﺎﻥ ﰲ ﻗﻠﺒﻪ‬
‫ﺗﻐﺪﻭ ﺣﻴﺎﺗﻪ ﻣﻐﺒﻮﻃﺔ؟‬
‫ﻳﻘﺪ‪‬ﻡ ﻋﺼﺮﻧﺎ ﺍﳊﺎﱄ‪ ،‬ﲟﻨﺠﺰﺍﺗﻪ ﻭﺣﻀﺎﺭﺍﺗﻪ ﺍﳌﺎﺩﻳ‪‬ﺔ ﻭﺑﺎﻟﺘﻘﺪ‪‬ﻡ ﺍﻟﻌﻠﻤ ‪‬ﻲ ﺍﳊﺎﺻﻞ‪،‬‬
‫ﻼ ﺍﻟﻌﺎﱂ ﻛﻠﹼﻪ ﻭﻫﻮ ﰲ ﻣﻜﺎﻧﻪ‪ ،‬ﺃﻥ ﻳﺴﻤﻊ‬ ‫ﻟﻺﻧﺴﺎﻥ ﺇﻣﻜﺎﻧﺎﺕ ﺭﺍﺋﻌﺔ‪ ،‬ﺃﻥ ﻳﺮﻯ ﻣﺜ ﹰ‬
‫ﺑﻜ ﹼﻞ ﻣﺎ ﳚﺮﻱ ﻭﳛﺼﻞ‪ ،‬ﺃﻥ ﻳﺮﺍﻗﺐ ﻛ ﹼﻞ "ﻣﻮﺿﺔ" ﻭﻛ ﹼﻞ ﻋﺎﺩﺓ ﺩﺍﺭﺟﺔ ﻭﺃﻥ ﻳﺘﺎﺑﻊ‬
‫ﻱ ﺣﺪﺙ!‬ ‫ﺃ‪‬‬
‫ﻭﺳﺎﺋﻞ ﺍﻹﻋﻼﻡ‪ ،‬ﺍﻟﺸ‪‬ﺎﺷﺔ ﻭﺍﻟﺼﺤﻒ ﻭﺍﳌﻮﺍﺻﻼﺕ ﻭﺍﻻﺗﺼﺎﻻﺕ‪ ،‬ﺗﻘﺪ‪‬ﻡ‬
‫ﻟﻺﻧﺴﺎﻥ ﺍﻻﺣﺘﻜﺎ ‪‬ﻙ ﻭﺍﻻﺗﺼﺎﻝ ﻟﻴﺲ ﻣﻊ ﳏﻴﻄﻪ ﺍﳋﺎﺭﺟ ‪‬ﻲ ﺍﻟﻘﺮﻳﺐ ﻓﻘﻂ‪ ،‬ﻭﻟﻜﻦ‬

‫‪ ٣٥‬ﻳ‪‬ﺘﻠﻰ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﰲ ﺻﻼﺓ ﺍﻟﺴﺎﻋﺔ ﺍﻟﺘﺎﺳﻌﺔ‪.‬‬

‫‪٧٥‬‬
 ‫ﺃﻳﻀﹰﺎ ﻣﻊ ﻛ ﹼﻞ ﺍﻟﻌﺎﱂ ﺍﻟﺒﻌﻴﺪ ﻋﻨﻪ‪ .‬ﺣﲔ ﺗﻄﻐﻰ ﻫﺬﻩ ﺍﻹﻣﻜﺎﻧﻴ‪‬ﺎﺕ ﺍﻟﺮﺍﺋﻌﺔ ﻋﻠﻰ ﺇﻧﺴﺎﻥ‬
‫ﺍﻟﻴﻮﻡ‪ ،‬ﻟﻸﺳﻒ‪ ،‬ﺗﻌﻮﺩ ﻋﻠﻴﻪ ﺑﻨﺘﺎﺋﺞ ﻻ ﻳﺮﻏﺐ ‪‬ﺎ ﻟﻨﻔﺴﻪ‪.‬‬
‫ﻫﻨﺎﻙ ﺣﺎﻟ ﹲﺔ ﻳﻌﺎﱐ ﻣﻨﻬﺎ ﻳﻌﺾ ﺍﻟﻨﺎﺱ ﺍﻟﻴﻮﻡ ﻭﻫﻲ ﺍﳋﻀﻮﻉ ﳍﻴﻤﻨﺔ ﺍﳊﻀﺎﺭﺓ‬
‫ﺍﳊﺪﻳﺜﺔ‪ ،‬ﻟﻴﺲ ﻛﻤﺴﺘﻔﻴﺪﻳﻦ ﻭﺇﻧ‪‬ﻤﺎ ﻛﻌﺒﻴﺪ ﻣﻌﺠ‪‬ﺒﲔ ﺗﺎﺑﻌﲔ ﻭﻟﻴﺲ ﻛﻘﺎﺩﺓ‪ ،‬ﺑﺎﻟﻨﻬﺎﻳﺔ‬
‫ﻛﻤﺴﺘﺨﺪ‪‬ﻣﲔ ﻭﻟﻴﺲ ﻛﻤﺴﺘﺨﺪ‪‬ﻣﲔ‪ .‬ﺃﻭﱃ ﻫﺬﻩ ﺍﻟﻨﺘﺎﺋﺞ ﺍﻟﺴﻠﺒﻴ‪‬ﺔ ﻭﺃﺧﻄﺮﻫﺎ ﻫﻲ ﺃ ﹼﻥ‬
‫ﻛ ﹼﻞ ﻣﺎ ﺳﺒﻖ ﻳ‪‬ﺨﺮﹺﺝ ﺍﻹﻧﺴﺎ ﹶﻥ ﺇﱃ ﺍﳋﺎﺭﺝ ﻭﳚﻌﻠﻪ ﳛﻴﺎ ﰲ ﻭﺿﻊ ﻣﻦ "ﺍﻹﻧﻔﻼﺵ"‬
‫ﺍﳋﺎﺭﺟ ‪‬ﻲ ﻳﻔﻘﺪ ﻓﻴﻪ ﺳﻴﻄﺮﺗﻪ ﻋﻠﻰ ﺩﺍﺧﻠﻪ‪ .‬ﳛﻴﺎ "ﳎﺮﻭﺭﹰﺍ" ﻭﺭﺍﺀ ﻛ ﹼﻞ ﻧﺒﺄ ﺃﻭ ﻣﻮﺿﺔ‬
‫ﺃﻭ ﺣﺪﺙ‪!...‬‬
‫ﻫﺬﺍ ﻣﺎ ﺗﻌﺒ‪‬ﺮ ﻋﻨﻪ ﻛﻮﻣﻴﺪﻳ‪‬ﺔ ﻓﺮﻧﺴﻴ‪‬ﺔ ﻇﺮﻳﻔﺔ‪ :‬ﻭﻓﺤﻮﺍﻫﺎ ﺑﺎﺧﺘﺼﺎﺭ‪ ،‬ﺃ ﹼﻥ ﺃﺣﺪ‬
‫ﺍﻷﺳﺎﺗﺬﺓ ﺍﻋﺘﺎﺩ ﻛ ﹼﻞ ﺻﺒﺎﺡ ﺃﻥ ﻳﺘﺘﺒ‪‬ﻊ ﺍﻷﺧﺒﺎﺭ ﺍﻟﻌﺎﳌﻴ‪‬ﺔ ﻋﻠﻰ ﺷﺎﺷﺔ ﺍﻟﺘﻠﻔﺰﻳﻮﻥ‬
‫ﺍﻟﺼﻐﲑﺓ ﻗﺒﻞ ﺍﻟﺬﻫﺎﺏ ﺇﱃ ﻣﺪﺭﺳﺘﻪ‪ .‬ﺑﻴﻨﻤﺎ ﻛﺎﻥ ﺫﺍﺕ ﺻﺒﺎﺡ ﻳﺘﺘﺒ‪‬ﻊ ﺃﻧﺒﺎﺀ ﺍﻟﻌﺎﱂ‬
‫ﻛﻠﹼﻪ‪ ،‬ﺫﻟﻚ ﺍﻟﻌﺎﱂ ﺍﻟﺒﻌﻴﺪ ﻋﻨﻪ‪ ،‬ﺍﻟﺬﻱ ﻫﻮ ﻏﲑ ﻓﺎﻋﻞ ﻓﻴﻪ ﻭﻻ ﻣﺆﺛﹼﺮ ﻋﻠﻴﻪ‪ ،‬ﺗﺮﺍﻣﺖ‬
‫ﺇﻟﻴﻪ ﰲ ﺗﻠﻚ ﺍﻟﻠﺤﻈﺎﺕ ﺃﺻﻮﺍﺕ ﻣﺰﻋﺠﺔ ﻣﻦ ﺍﳋﺎﺭﺝ‪ ،‬ﻭﳌﺎ ﺍﺗ‪‬ﺠﻪ ﺇﱃ ﺍﻟﻨﺎﻓﺬﺓ‬
‫ﻟﻴﻐﻠﻘﻬﺎ ﺭﺃﻯ ﻣﻈﺎﻫﺮﺓ‪ !...‬ﻭﻟﺸﺪ‪‬ﺓ ﻓﻀﻮﻟﻪ ﺳﺄﻝ ﻋﻨﻬﺎ‪ ،‬ﻓﺈﺫﺍ ‪‬ﺎ ﻣﻈﺎﻫﺮﺓ ﻟﻸﺳﺎﺗﺬﺓ‬
‫ﻳﻄﺎﻟﺒﻮﻥ ﲝﻘﻮﻗﻬﻢ‪ .‬ﻧﻌﻢ‪ ،‬ﳛﻴﺎ ﺇﻧﺴﺎﻥ ﺍﻟﻴﻮﻡ ﺧﺎﺭﺝ ﺫﺍﺗﻪ‪ ،‬ﻳﻨﺎﻗﺶ ﰲ ﻛ ﹼﻞ ﺍﻷﻣﻮﺭ‬
‫ﺍﻟﱵ‪ ،‬ﰲ ﺃﻏﻠﺒﻬﺎ‪ ،‬ﻻ ﺗﻌﻨﻴﻪ‪ ،‬ﻭﺇﻧ‪‬ﻤﺎ ﺗﻠﻬﻴﻪ‪ ،‬ﻭﻳﺴﻬﻮ ﺣﺘ‪‬ﻰ ﻋﻦ ﺣﻘﻮﻗﻪ‪ ،‬ﻭﺑﺎﻟﻨﻬﺎﻳﺔ ﻋﻦ‬
‫ﺣ ‪‬ﻖ ﺫﺍﺗﻪ ﺑﻪ‪ ،‬ﻭﺣﺘ‪‬ﻰ ﺃﻳﻀﹰﺎ ﻋﻦ ﻭﺍﺟﺒﺎﺗﻪ‪ .‬ﺍﻟﻜﻮﻣﻴﺪﻳ‪‬ﺔ ﻣﺘﻄﺮ‪‬ﻓﺔ‪ ،‬ﺇ ﹼﻻ ﺃﻧ‪‬ﻬﺎ ﺗﻌﻄﻲ‬
‫ﺻﻮﺭﺓ ﻋﻦ ﺍﻟﺘﺸﺘ‪‬ﺖ ﺍﻟﺬﻱ ﳛﻴﺎﻩ ﺇﻧﺴﺎﻥ ﺍﻟﻴﻮﻡ‪ ،‬ﻭﺇﻥ ﻛﺎﻧﺖ ﺃﻳﻀﹰﺎ ﺑﺎﻟﻔﻌﻞ ﻻ ﺗﻘﺼﺪ‬
‫ﻋﺪﻡ ﺍﳌﺒﺎﻻﺓ ﺑﺎﻟﻌﺎﱂ ﺍﳋﺎﺭﺟ ‪‬ﻲ ﻓﺈﻧ‪‬ﻬﺎ ﺗﺸﲑ ﺇﱃ ﺍﳋﺮﻭﺝ ﻏﲑ ﺍﻟﻮﺍﻋﻲ ﻋﻦ ﻋﺎﳌﻨﺎ‬
‫ﺍﻟﺪﺍﺧﻠ ‪‬ﻲ‪.‬‬

‫‪٧٦‬‬
 ‫ﻫﺬﺍ "ﺍﻹﻧﻔﻼﺵ" ﺍﳋﺎﺭﺟ ‪‬ﻲ ﻗ ﹶﻄ ‪‬ﻊ ﺻﻠ ﹶﺔ ﺍﻹﻧﺴﺎﻥ ﺑﺄﺧﻴﻪ ﺍﻹﻧﺴﺎﻥ‪ .‬ﻓﺮﺍﺡ ﻛ ﹼﻞ‬
‫ﻓﺮﺩ ﻳﺸﻌﺮ ﺑﺬﺍﺗﻪ ﺃﻧ‪‬ﻪ ﻧﻘﻄﺔ ﰲ ﲝﺮ ﻏﲑ ﻣﺘﻤﺎﺳﻚ‪ ،‬ﻧﻘﻄﺔ ﻏﺮﻳﺒﺔ ﺑﲔ ﻧﻘﺎﻁ ﺃﺧﺮﻯ‪.‬‬
‫ﺧﺮﺝ ﺍﻹﻧﺴﺎ ﹸﻥ ﻋﻦ ﺫﺍﺗﻪ ﻭﱂ ﻳﻠﺘ ﹺﻖ ﺑﺂﺧﺮ ﻗﺮﺑﻪ ﻓﺒﻘﻲ ﻏﺮﻳﺒﹰﺎ ﺑﲔ ﻏﺮﺑﺎﺀ‪" .‬ﺍﻟﻮﺣﺸﺔ‬
‫ﺍﻻﺟﺘﻤﺎﻋﻴ‪‬ﺔ"ﺣﺎﻟﺔ ﲢﻤﻞ ﺗﻨﺎﻗﻀﹰﺎ ﺭﻫﻴﺒﹰﺎ ﻭﲣﻠﻖ ﺭﺩ‪‬ﺓ ﻓﻌﻞ ﻋﻜﺴﻴ‪‬ﺔ‪ .‬ﺍﻟﻴﻮﻡ ﺃﻛﺜﺮ ﻣﻦ‬
‫ﻱ ﻭﻗﺖ ﺳﺎﺑﻖ‪ ،‬ﻳﻜﺜﺮ ﺍﳌﻴﻞ ﻭﺍﻟﺒﺤﺚ ﻋﻦ ﺃﺳﺎﻟﻴﺐ ﻭﺃﻭﻗﺎﺕ ﻭﻃﺮﻕ ﻟﻠﻐﻮﺹ‬ ‫ﺃ‪‬‬
‫ﺍﻟﺪﺍﺧﻠ ‪‬ﻲ‪ .‬ﺍﻟﺸﻲﺀ ﺍﻟﺬﻱ ﺍﺳﺘﻐﻠﹼﺘﻪ ﺍﻷﺩﻳﺎﻥ ﺍﻟﺴﺮﻳ‪‬ﺔ ﺍﻟﺸﺮﻗﻴ‪‬ﺔ‪ ،‬ﺍﻟﱵ ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﻫﺬﻩ‬
‫ﺍﻟﺮﻳﺎﺿﺎﺕ ﺍﻟﻐﺮﻳﺒﺔ‪ .‬ﺗﺘﺼﺎﻋﺪ ﺍﻟﺮﻏﺒﺔ‪ ،‬ﻋﻨﺪ ﺍﻟﺸﺒﺎﺏ ﺧﺎﺻ‪‬ﺔ‪ ،‬ﺑﺘﻌﺎﻃﻲ ﳐ ‪‬ﺪﺭﺍﺕ ﺃﻭ‬
‫ﳑﺎﺭﺳﺎﺕ ﺃﻭ ﺃﺳﺎﻟﻴﺐ ﺷﺘ‪‬ﻰ ﳛﺎﻭﻟﻮﻥ ‪‬ﺎ ﺃﻥ ﻳﻐﻮﺻﻮﺍ ﺇﱃ ﺩﺍﺧﻠﻬﻢ ﺍﻟﺬﻱ ﺧﺮﺟﻮﺍ‬
‫ﻣﻨﻪ‪ ،‬ﻓﺘﻐﺮ‪‬ﺑﻮﺍ ﻋﻦ ﺫﻭﺍ‪‬ﻢ ﻭﺍﺭﲤﻮﺍ ﰲ ﻭﺣﺪﺓ ﺍﻟﻮﺣﺸﺔ ﺍﻟﻘﺎﺳﻴ‪‬ﺔ ﰲ ﳎﺘﻤﻌﺎﺕ ﳛﻴﺎ‬
‫ﻓﻴﻬﺎ ﻛ ﹼﻞ ﺇﻧﺴﺎﻥ ﻓﺮﺩﹰﺍ ﻣﺴﺘﻬﻠ‪‬ﻜﹰﺎ ﺃﻭ ﻣﺴﺘﻬﻠﹶﻜﹰﺎ ﺑﺪﻭﻥ ﻗﺮﻳﺐ‪ .‬ﻛ ﹼﻞ ﻳﻮﻡ ﺗﺰﺩﺍﺩ‬
‫ﺍﻟﺸﺮﻛﺎﺕ ﻭﺍﻷﻋﻤﺎﻝ ﺍﳌﺸﺘﺮﻛﺔ ﺍﻟﱵ ﺗﺮﺑﻄﻨﺎ ﺑﺎﳌﺼﻠﺤﺔ ﻭﻳﺴﻮﺩ ﻓﻴﻬﺎ ﺍﳊﺬﺭ‬
‫ﱯ ﺻﺎﺩﻕ ﻳﻌﻄﻲ ﻟﻠﻌﻤﻞ ﻭﻟﻠﺤﻴﺎﺓ ﻭﺟﻬﻬﻤﺎ‬ ‫ﻭﺍﻟﺪﻫﺎﺀ‪ ،‬ﺑﻴﻨﻤﺎ ﻻ ﻳﻮﺟﺪ ﻓﻴﻬﺎ ﺗﻌﺎﻭﻥ ﻗﻠ ‪‬‬
‫ﺍﻟﺼﺤﻴﺢ‪ ،‬ﺃﻻ ﻭﻫﻮ ﺍﶈﺒ‪‬ﺔ‪.‬‬
‫ﺇ ﹼﻻ ﺃ ﹼﻥ ﺍﻟﻜﻨﻴﺴﺔ ﻫﻲ ﻓﺮﺩﻭﺱ ﺻﺪﺍﻗﺎﺕ ﻭﻭﺍﺣﺔ ﳏﺒ‪‬ﺔ ﰲ ﺻﺤﺎﺭﻯ ﺍ‪‬ﺘﻤﻌﺎﺕ‬
‫ﻼ‪ .‬ﻭﺍﻟﻌﻮﺩﺓ ﺇﱃ ﺍﻟﺬﺍﺕ‪ ،‬ﺍﻟﱵ‬ ‫ﺍﳌﻔﻜﱠﻜﺔ‪ .‬ﰲ ﺍﻟﻜﻨﻴﺴﺔ‪ ،‬ﻳﻌﻮﺩ ﺍﻟﻮﺍﺣﺪ ﺇﱃ ﺫﺍﺗﻪ ﻓﻌ ﹰ‬
‫ﻧﺘﻌﻠﹼﻤﻬﺎ ﻭﻧﺴﻤﻊ ‪‬ﺎ‪ ،‬ﲣﺘﻠﻒ ﺑﺎﻟﻜﻠﻴ‪‬ﺔ ﻋﻦ ﺍﻟﻐﻮﺹ ﺍﻟﺪﺍﺧﻠ ‪‬ﻲ ﺍﻟﺴﺎﺑﻖ‪ .‬ﺍﻟﻐﻮﺹ‬
‫ﺍﻟﺪﺍﺧﻠ ‪‬ﻲ ﻫﻮ ﺇﻧﻄﻮﺍﺋﻴ‪‬ﺔ ﻣﻌﺎﻛﺴﺔ ﻟﻺﻧﻔﻼﺵ ﺍﳋﺎﺭﺟﻲ‪ ،‬ﺑﻴﻨﻤﺎ ﺍﻟﻌﻮﺩﺓ ﺇﱃ ﺍﻟﺬﺍﺕ ﻫﻲ‬
‫ﺍﻟﻔ ‪‬ﻦ ﺍﻟﻨﺴﻜ ‪‬ﻲ ﺍﳌﺴﻴﺤﻲ‪ ،‬ﻭﻫﻲ ﺍﳊ ﹼﻞ ﺍﳊﻘﻴﻘ ‪‬ﻲ ﻷﺗﻌﺎﺏ ﺫﻟﻚ ﺍﻹﻧﻔﻼﺵ ﺍﳋﺎﺭﺟ ‪‬ﻲ‬
‫ﺍﳌﻌﺎﺻﺮ‪ .‬ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﻐﻮﺹ ﺍﻟﺪﺍﺧﻠ ‪‬ﻲ ﺭ ‪‬ﺩ ﹶﺓ ﻓﻌ ﹴﻞ ﻭﺭﻓﻀﹰﺎ ﻟﻠﻌﺎﱂ ﺍﳋﺎﺭﺟ ‪‬ﻲ ﻭﺍﻧﻌﺰﺍ ﹰﻻ‬
‫ﻋﻨﻪ ﻭﻟﻘﺎ ًﺀ ﻓﺮﺩ‪‬ﻳﹰﺎ ﻣﻊ ﺍﻟﺬﹼﺍﺕ ﰲ ﻇﻠﻤﺔ ﺍﻟﻘﻠﺐ‪ ،‬ﻓﺈ ﹼﻥ ﺍﻟﻌﻮﺩﺓ ﺇﱃ ﺍﻟﺬﹼﺍﺕ ﺑﺎﳌﻤﺎﺭﺳﺔ‬
‫ﺍﳌﺴﻴﺤﻴ‪‬ﺔ ﻟﻴﺴﺖ ﺇﻧﻄﻮﺍﺋ‪‬ﻴ ﹰﺔ ﻭﻻ ﺍﻧﻌﺰﺍ ﹰﻻ ﻭﻻ ﺍﻧﻔﺮﺍﺩﹰﺍ ﺑﺎﻟﺬﹼﺍﺕ ﺍﻟﺒﺘ‪‬ﺔ‪ ،‬ﻟﻜﻨ‪‬ﻬﺎ ﻟﻘﺎﺀ ﰲ‬

‫‪٧٧‬‬
‫ﺍﻟﻘﻠﺐ ﻣﻊ "ﻣ‪‬ﻦ" ﻻ ﺗﺴﻌﻪ ﺍﻟﺴﻤﻮﺍﺕ‪ .‬ﺍﻟﻌﻮﺩﺓ ﺇﱃ ﺍﻟﺬﹼﺍﺕ ﻟﻴﺴﺖ ﺭﻓﻀﹰﺎ ﻟﻠﻤﺤﻴﻂ‬
‫ﻱ ﻟﻘﺎﺀ ﻣﻊ ﺃﻱ ﻗﺮﻳﺐ‪ ،‬ﻭﻟﻴﺴﺖ‬ ‫ﺍﳋﺎﺭﺟ ‪‬ﻲ ﺍﳌﻔﻜﻚ‪ ،‬ﺍﻟﺬﻱ ﻳﻔﺸﻞ ﺑﺘﻘﺪﱘ ﺃ ‪‬‬
‫ﺍﺳﺘﺮﺟﺎﻋﹰﺎ ﺃﻧﺎﻧ‪‬ﻴﹰﺎ ﻟﻠﺬﹼﺍﺕ ﺍﻟﱵ ﺿﺎﻋﺖ‪ ،‬ﻭﺇﻧ‪‬ﻤﺎ ﻫﻲ ﺍﻟﺘﺤﺎﻡ ﺩﺍﺧﻠ ‪‬ﻲ ﰲ ﺍﻟﻘﻠﺐ ﻣﻊ ﻣ‪‬ﻦ‬
‫ﻫﻮ ﺃﻗﺮﺏ ﺇﻟﻴﻨﺎ ﻣﻨ‪‬ﺎ ﺇﱃ ﺃﻧﻔﺴﻨﺎ؛ ﻣﻊ ﺍﳌﺴﻴﺢ!‬
‫ﺍﻟﻌﻮﺩﺓ ﺇﱃ ﺍﻟﺬﹼﺍﺕ ﻭﺇﱃ ﺍﻟﻘﻠﺐ ﻫﻲ ﺍﻻﻟﺘﻘﺎﺀ ﺑﺎﳌﺴﻴﺢ ﰲ ﺃﺻﺪﻕ ﳊﻈﺔ ﻣﻦ‬
‫ﳊﻈﺎﺕ ﺍﻟﺼﺪﺍﻗﺔ‪ ،‬ﺇﻧ‪‬ﻬﺎ ﺍﻻﻧﻔﺘﺎﺡ ﺍﳊﻘﻴﻘ ‪‬ﻲ ﻟﻠﺬﹼﺍﺕ ﻋﻠﻰ ﺃﻗﺮﺏ ﺍﳌﻘﺮ‪‬ﺑﲔ ﺇﻟﻴﻬﺎ‪ .‬ﳍﺬﺍ‬
‫ﻣ‪‬ﻦ ﻳﺼﻞ ﺇﱃ ﻫﺬﺍ ﺍﻟﻘﺮﻳﺐ ﻻ ﳝﻜﻦ ﻟﻀﻮﺿﺎﺀ ﺍﻟﻌﻠﻢ ﺃﻥ ﺗﻔﺼﻠﻪ ﻋﻨﻪ‪ ،‬ﻓﻴﻘﺪﺭ ﺃﻥ‬
‫ﺾ ﺍﻟﻌﺎﱂ ﻟﻜﻦ ﲪ‪‬ﻞ‬ ‫ﻳﻌﻮﺩ ﻟﺬﺍﺗﻪ ﻭﻫﻮ ﰲ ﺍﻟﻌﺎﱂ‪ .‬ﺳ ‪‬ﺮ ﺍﻟﻠﻘﺎﺀ ﺑﺎﳌﺴﻴﺢ ﻟﻴﺲ ﺭﻓ ‪‬‬
‫ﺍﳌﺴﻴﺢ ﰲ ﺍﻟﻘﻠﺐ ﻟﻨﻨﻘﻠﻪ ﺇﱃ ﺍﻟﻌﺎﱂ‪.‬‬
‫ﰊ ﻟﻴﺴﺖ ﻏﻮﺻﹰﺎ ﻭﺇﻧ‪‬ﻤﺎ‬ ‫ﻭﺍﻟﻌﻮﺩﺓ ﺇﱃ ﺍﻟﺬﹼﺍﺕ ﻛﻤﺎ ﻳﺸﺒ‪‬ﻬﻬﺎ ﺗﻘﻠﻴﺪﻧﺎ ﺍﻟﻜﺘﺎ ‪‬‬
‫"ﻣﺼﺎﻋﺪ" ﺃﻭ "ﻣﺮﺍﻗﻲ" ﺃﻭ ﺳﻠﹼﻢ‪ .‬ﺍﻟﻘﻠﺐ ﻟﻴﺲ ﻇﻠﻤﺔ ﺩﺍﺧﻠﻴ‪‬ﺔ ﻭﻟﻜﻨ‪‬ﻪ ﺳﻠﹼﻢ ﻣﻨﺼﻮﺑﺔ‬
‫ﻣﻦ ﺍﳊﻴﺎﺓ ﺍﻟﻴﻮﻣﻴ‪‬ﺔ ﺍﻷﺭﺿﻴ‪‬ﺔ ﺇﱃ ﺍﻟﺴﻤﺎﺀ‪ .‬ﳍﺬﺍ ﻳﻘﻮﻝ ﺍﳌﺮﻧ‪‬ﻢ ﻃﻮﰉ ﻟﻠﺮﺟﻞ‪ ،‬ﻭﻣﻐﺒﻮﻁ‬
‫ﺫﻟﻚ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺬﻱ ﻭﺿﻊ ﰲ ﻗﻠﺒﻪ ﻟﻴﺲ ﺍﻟﺘﺸﺘ‪‬ﺘﺎﺕ ﺍﳋﺎﺭﺟﻴ‪‬ﺔ ﻭﺇﻧ‪‬ﻤﺎ ﺍﳌﺼﺎﻋﺪ‬
‫ﺍﻟﺮﻭﺣﻴ‪‬ﺔ‪ ،‬ﻣﺼﺎﻋ ‪‬ﺪ ﰲ ﻭﺍﺩﻱ ﺍﻟﺒﻜﺎﺀ‪ ،‬ﻭﺍﺩﻱ ﺍﻟﻌﻮﺩﺓ ﺇﱃ ﺍﻟﺬﺍﺕ ﻭﺇﱃ ﺍﻟﻘﻠﺐ‪ ،‬ﻭﺍﺩﻱ‬
‫ﺍﻟﻠﻘﺎﺀ ﺑﺪﻣﻮﻉ ﻣﻊ "ﺍﻟﻘﺮﻳﺐ"‪"-‬ﺍﻟﻐﺮﻳﺐ" ﺍﻟﺬﻱ ﳑﻠﻜﺘﻪ ﻟﻴﺴﺖ ﻣﻦ ﻫﺬﺍ ﺍﻟﻌﺎﱂ‪.‬‬
‫ﺍﻟﻌﻮﺩﺓ ﺇﱃ ﺍﻟﺬﹼﺍﺕ ﻫﻲ ﺇﻃﻼﻟﺔ ﻋﻠﻰ ﺍﻟﻌﺎﱂ ﺍﳌﻔﺘﻮﺡ ﺍﻟﺮ‪‬ﺣﺐ ﺍﻟﻮﺍﺳﻊ‪ .‬ﺇ‪‬ﻧﻬﺎ ﺩﺧﻮﻝ‪،‬‬
‫ﻭﻛﻤﺎ ﻳﻘﻮﻝ ﺍﳌﺴﻴﺢ‪ ،‬ﺇﱃ ﻣﻠﻜﻮﺕ ﺍﷲ ﺍﻟﺬﻱ ﻓﻴﻨﺎ‪" :‬ﻣﻠﻜﻮﺕ ﺍﷲ ﰲ ﺩﺍﺧﻠﻜﻢ"‪.٣٦‬‬
‫ﺲ ﻭﺗﺬﻭ‪‬ﻕ ﻟﻠﺴﻌﺎﺩﺓ ﺍﳊﻘﻴﻘﻴ‪‬ﺔ ﺍﻟﱵ ﺩﺧﻠﻨﺎ ﺇﱃ ﻋﺎﳌﻬﺎ ﻣﻦ ﻳﻮﻡ ﺍﳌﻌﻤﻮﺩﻳ‪‬ﺔ‪،‬‬ ‫ﺇ‪‬ﻧﻬﺎ ﺗﻠ ‪‬ﻤ ‪‬‬
‫ﻟﻜﻨ‪‬ﻨﺎ ﳓﻴﺎ‪ ،‬ﻭﻟﻸﺳﻒ‪ ،‬ﺧﺎﺭﺟﻬﺎ ﰲ ﻋﺎﱂ ﻳﻠﻬﻴﻨﺎ ﻋﻦ ﺃﻧﻔﺴﻨﺎ ﻭﻋﻦ ﺍﻟﺴﺎﻛﻦ ﻓﻴﻨﺎ‪.‬‬
‫ﺍﻟﻌﻮﺩﺓ ﺇﱃ ﺍﻟﺬﹼﺍﺕ ﻫﻲ ﻗﻄﺎﻑ ﻟﺜﻤﺎﺭ ﺍﳌﻌﻤﻮﺩﻳ‪‬ﺔ ﺍﻟﱵ ﺯ‪‬ﺭﻋﺖ ﻓﻴﻨﺎ‪ .‬ﺇﻧ‪‬ﻬﺎ ﻟﻘﺎﺀ ﻣﻊ‬

‫‪ ٣٦‬ﻟﻮ ‪.٢١ ،١٧‬‬

‫‪٧٨‬‬
‫ﺍﻟﺜﺎﻟﻮﺙ ﺍﻷﻗﺪﺱ ﰲ ﺣﺮﻡ ﺍﻟﻘﻠﺐ ﺍﻟﺪﺍﺧﻠﻲ‪ ،‬ﺇﻧ‪‬ﻬﺎ ﺻﻌﻮﺩ ﻋﻠﻰ ﺗﻠﻚ ﺍﳌﺼﺎﻋﺪ‬
‫ﺍﻟﺮﻭﺣﻴ‪‬ﺔ‪ ،‬ﺇﻧ‪‬ﻬﺎ ﺍﻟﻐﺒﻄﺔ‪ ،‬ﻏﺒﻄﺔ ﺍﻟﻠﻘﺎﺀ ﺇﱃ ﺩﺭﺟﺔ ﺍﻟﺪﻣﻮﻉ‪.‬‬

‫ﻟﻜﻦ ﻣﺎ ﻫﻲ ﺗﻠﻚ ﺍﻟﺪﺭﺟﺎﺕ ﺍﻟﺼﺎﻋﺪﺓ‪ ،‬ﻭﻣﺎ ﻫﻲ ﺗﻠﻚ ﺍﳌﺼﺎﻋﺪ؟ ﻟﺴﻨﺎ‬

‫ﲝﺎﺟﺔ ﺍﻟﻴﻮﻡ ﺇﱃ ﲝﺚ ﻃﻮﻳﻞ‪ ،‬ﻭﺇﻧ‪‬ﻤﺎ ﻳﻜﻔﻴﻨﺎ ﺗﻠﺨﻴﺺ ﺗﻠﻚ ﺍﳋﱪﺍﺕ ﺍﻟﻄﻮﻳﻠﺔ‬
‫ﻟﻠﺮﺟﺎﻝ ﺍﻟﺬﻳﻦ ﻧﺎﻟﻮﺍ ﺗﻠﻚ ﺍﻟﻄﻮﰉ‪ .‬ﻫﺬﻩ ﺍﻟﺪﺭﺟﺎﺕ ﻛﺜﲑﺓ‪ .‬ﻭﳓﻦ ﻧﺼﻌﺪﻫﺎ ﻭﺍﺣﺪﺓ‬
‫ﻓﻮﺍﺣﺪﺓ‪ .‬ﻟﻴﺲ ﻛﻘﻔﺰﺍﺕ ﻭﺇﻧ‪‬ﻤﺎ ﺑﺎﻟﺘﺪﺭ‪‬ﺝ ﺷﻴﺌﹰﺎ ﻓﺸﻴﺌﹰﺎ‪.‬‬

‫ﺃﻭﱃ ﺗﻠﻚ ﺍﳌﺼﺎﻋﺪ ﻫﻮ "ﺍﻟﺼﱪ"‪ .‬ﻷ ﹼﻥ ﺍﻟﺼﱪ ﻫﻮ ﺍﻷﺳﺎﺱ ﺍﻟﺜﺎﺑﺖ ﺍﻟﺮﺍﺳﺦ‬

‫ﺍﻟﺬﻱ ﻋﻠﻴﻪ ﺳﻴﻘﻮﻡ ﺫﻟﻚ ﺍﻟﺼﻌﻮﺩ ﺍﻟﻄﻮﻳﻞ‪ .‬ﻓﺒﺎﻟﺼﱪ ﻧﺘﻐﻠﹼﺐ ﻋﻠﻰ ﻛ ﹼﻞ ﺗﺮﺩ‪‬ﺩ ﻭﻛ ﹼﻞ‬
‫ﺻﻌﻮﺑﺔ ﺗﻌﺘﺮﺿﻨﺎ ﺃﺛﻨﺎﺀ ﺻﻌﻮﺩﻧﺎ‪ .‬ﺍﻟﺘ‪‬ﺮﺍﺧﻲ ﺃﻣﺎﻡ ﻛ ﹼﻞ ﳏﺎﻭﻟﺔ ﻳﻌﲏ ﻓﺸﻼﹰ‪ ،‬ﻣﻦ‬
‫ﺏ‬
‫ﺍﻻﻧﻄﻼﻗﺔ ﺍﻷﻭﱃ‪ .‬ﻭﻫﺬﺍ ﺍﻟﺼﱪ ﻫﻮ "ﺻﺨﺮﺓ ﺍﻹﳝﺎﻥ"‪ .‬ﻓﺎﻹﳝﺎﻥ ﺍﻟﻌﻤﻴﻖ ﺑﺎﻟﺮ ‪‬‬
‫ﺍﻟﺬﻱ ﺳﻨﻼﻗﻴﻪ ﻭﻳﺜﺒ‪‬ﺘﻨﺎ ﻭﺍﻵﰐ ﺇﻟﻴﻨﺎ ﻫﻮ ﺍﻟﺼﺨﺮﺓ ﺍﻟﱵ ﺗﻘﻮﻡ ﻋﻠﻴﻬﺎ ﺗﻠﻚ ﺍﻟﺴﻠﹼﻢ‬
‫ﺍﻟﺴﻤﺎﻭﻳ‪‬ﺔ‪ .‬ﺍﻟﺼﱪ ﻫﻮ ﺳ ‪‬ﺮ ﳒﺎﺡ ﻣﺼﺎﻋﺪﻧﺎ ﻭﻫﻮ ﺍﻟﺒﺪﺍﻳﺔ ﺍﻷﺳﺎﺳﻴ‪‬ﺔ ﻟﻠﻨﻬﺎﻳﺔ‬
‫ﺏ ﻳﺴﻮﻉ‪.‬‬ ‫ﺍﳌﻨﺸﻮﺩﺓ‪ ،‬ﺍﶈﺒ‪‬ﺔ‪ .‬ﺇﺫﻥ ﺍﻟﺼﱪ ﻫﻮ ﺍﻟﺸﺮﻁ ﺍﻷﺳﺎﺳ ‪‬ﻲ ﻟﻠﻘﺎﺀ ﺍﷲ ﺍﶈﺒ‪‬ﺔ‪ ،‬ﺍﻟﺮ ‪‬‬

‫ﻳﺄﰐ "ﺍﻟﺼﻤﺖ" ﺑﻌﺪ ﺍﻟﺼﱪ‪ .‬ﺍﻟﺼﻤﺖ ﺍﻟﺮﻭﺣ ‪‬ﻲ ﺍﻟﺼﺤﻴﺢ‪ .‬ﻟﻴﺲ ﺍﻻﻧﻘﻄﺎﻉ‬
‫ﻋﻦ ﺍﻟﻜﻼﻡ ﻭﺇﻧ‪‬ﻤﺎ ﺃ ﹼﻻ ﻧﻘﻮﻝ ﻛﻼﻣﹰﺎ ﺑﻄﹼﺎﻻﹰ‪ ،‬ﺃﻱ ﺍﻻﻧﻘﻄﺎﻉ ﻋﻦ ﺍﳌﻀ ‪‬ﺮ ﻣﻦ ﺍﻟﻜﻼﻡ‬
‫ﻭﻏﲑ ﺍﻟﻼﺯﻡ‪ .‬ﺑﺎﻟﺼﻤﺖ‪ ،‬ﻳﻘﻮﻝ ﺍﻵﺑﺎﺀ ﺍﻟﻘﺪ‪‬ﻳﺴﻮﻥ‪ ،‬ﻧﻘﻄﻊ ﻧﺼﻒ ﺧﻄﺎﻳﺎﻧﺎ ﻭﺯﻻﹼﺗﻨﺎ‪.‬‬
‫ﺃ ﹼﻻ ﻧﺘﻜﻠﹼﻢ ﺇﻥ ﱂ ﺗﻜﻦ ﻫﻨﺎﻙ ﺣﺎﺟﺔ‪ .‬ﻭﻋﻨﺪﻣﺎ ﻧﺘﻜﻠﹼﻢ ﺃﻥ ﻳﻜﻮﻥ ﻛﻼﻣﻨﺎ ﻣﻦ ﺍﻟﺮﻭﺡ‬
‫ﺺ ﻛﻢ ﻣﻨﻬﺎ ﻛﺎﻥ ﺍﻟﺒﻨ‪‬ﺎﺀ ﺃﻭ ﻋﻠﻰ‬
‫ﺲ ﻛ ﹼﻞ ﻣﻨ‪‬ﺎ ﻛﻠﻤﺎﺗﻪ ﻭﻟﻴﺤ ﹺ‬
‫ﺍﻟﻘﺪﺱ ﺑﻨ‪‬ﺎ ًﺀ‪ .‬ﻓﻠﻴﻘ ‪‬‬

‫‪٧٩‬‬
‫ﺍﻷﻗﻞ ﻻﺯﻣﺎﹰ‪ ،‬ﻭﻛﻢ ﻣﻨﻬﺎ ﻛﺎﻥ ﻣﻀ ‪‬ﺮﹰﺍ ﺃﻭ ﻓﻀﻮﻟ‪‬ﻴﹰﺎ‪ ...‬ﳍﺬﺍ ﻳﻘﻮﻝ ﺍﻟﻜﺘﺎﺏ‪" :‬ﺍﻟﺰﻟﹼﺔ‬
‫ﻣﻦ ﺍﻟﺴﻄﺢ ﻭﻻ ﺍﻟﺰﻟﹼﺔ ﻣﻦ ﺍﻟﻠﹼﺴﺎﻥ"‪ .‬ﹶﺃﻟﹶﻴﺲ ﻣﻦ ﺍﻟﻠﺴﺎﻥ ﳔﺮﺝ ﺇﱃ ﺍﻟﺘﺸﺘ‪‬ﺖ‬
‫ﺍﳋﺎﺭﺟﻲ‪‬؟ ﺍﻟﺘﻘﻠﻴﺪ ﺍﻟﻨﺴﻜ ‪‬ﻲ ﻳﻮﺿﺢ ﺃ ﹼﻥ ﻋﺪﻡ ﺇﺧﺮﺍﺝ ﺍﻷﻫﻮﺍﺀ ﻫﻮ ﻧﺼﻒ ﺷﻔﺎﺋﻬﺎ‪.‬‬
‫ﻓﺄﻥ ﻧﻐﻀﺐ ﺩﺍﺧﻠ‪‬ﻴﹰﺎ ﻫﺬﺍ ﻃﺒﻴﻌﻲ‪ ،‬ﻟﻜﻦ ﺇﺧﺮﺍﺝ ﺍﻟﻠﹼﻌﻨﺎﺕ ﺃﻭ ﺍﻟﻜﻠﻤﺎﺕ ﺃﻭ ﺍﻟﺘﻌﺎﺑﲑ‬
‫ﻫﻮ ﺍﻧﻜﺴﺎﺭ ﺃﻣﺎﻡ ﺍﳍﻮﻯ ﻭﺗﻨﻤﻴﺔ ﻟﻪ‪ .‬ﺑﻴﻨﻤﺎ ﺍﻟﺼﻤﺖ ﻫﻮ ﺣ ‪‬ﺪ ﻟﻪ ﻭﺇﺿﻌﺎﻑ‪ ،‬ﻭﻫﻮ‬
‫ﺏ ﻗﺎﻝ ﻟﻨﺎ‪" :‬ﻣﻦ ﻛﻠﻤﺎﺗﻚ ﺗ‪‬ﺪﺍﻥ ﻭﻣﻦ ﻛﻠﻤﺎﺗﻚ ﺗﺘﱪ‪‬ﺭ"‪.٣٧‬‬ ‫ﻧﺼﻒ ﺍﻟﺸﻔﺎﺀ‪ .‬ﻭﺍﻟﺮ ‪‬‬
‫ﻣ‪‬ﻦ ﻫﻮ ﺍﳌﻐﺒﻮﻁ ﺍﻟﺬﻱ ﺳﻴﺼﻞ ﺇﱃ ﺩﺭﺟﺔ ﺍﻟﻘﺪ‪‬ﻳﺲ ﺳﻠﻮﺍﻥ ﺍﻵﺛﻮﺳ ‪‬ﻲ؟ ﺇﱃ ﺗﻠﻚ‬
‫ﺍﻟﺪﺭﺟﺔ ﺍﻟﱵ ﻻ ﻳﺘﻜﻠﹼﻢ ﻓﻴﻬﺎ ﺍﻹﻧﺴﺎﻥ ﺇ ﹼﻻ "ﻋﻨﺪﻣﺎ ﻳﻨﻄﻖ ﺍﻟﺮﻭﺡ ﻓﻴﻪ" ﻭﻳﺼﻤﺖ‬
‫ﺖ ﺃﻧﺎ ﺃﺣﻴﺎ ﺑﻞ ﺍﳌﺴﻴﺢ‬‫ﺍﻹﻧﺴﺎﻥ! ﻫﺬﺍ ﺍﻹﻧﺴﺎﻥ ﺳﻴﻘﻮﻝ ﻣﻊ ﺑﻮﻟﺲ ﺍﻟﺮﺳﻮﻝ "ﻟﺴ ‪‬‬
‫ﰲ"‪ .‬ﳍﺬﺍ ﻳ‪‬ﺴﻤ‪‬ﻰ ﺑﻮﻟﺲ "ﻓﻢ ﻳﺴﻮﻉ ﺍﳌﺴﻴﺢ"؛ ﻷﻧ‪‬ﻪ ﻛﻤﺎ ﻗﺎﻝ ﻋﻨﻪ ﻓﻢ‬ ‫ﳛﻴﺎ ﱠ‬
‫ﺍﻟﺬﻫﺐ‪" :‬ﻋﻨﺪﻣﺎ ﻳﺘﻜﻠﹼﻢ ﺑﻮﻟﺲ ﻳﻨﻄﻖ ﺍﳌﺴﻴﺢ ﺑﻔﻤﻪ"‪.‬‬

‫ﻭﺛﺎﻟﺚ ﺗﻠﻚ ﺍﳌﺼﺎﻋﺪ ﻫﻲ "ﺍﻟﺼﻼﺓ"؛ ﺍﻟﺼﻼﺓ ﺍﳊﻘﻴﻘﻴ‪‬ﺔ؛ ﺍﻟﺼﻼﺓ ﻣﻦ ﻛ ﹼﻞ‬

‫ﺍﻟﻘﻠﺐ‪ .‬ﺍﻟﺼﻼﺓ ﺍﳌﺘﻮﺍﺿﻌﺔ‪ .‬ﻷﻧ‪‬ﻪ ﺑﺎﻟﺼﻼﺓ ﻳﺘ ‪‬ﻢ ﺍﻻﻟﺘﺤﺎﻡ ﻭﺍﻟﻠﹼﻘﺎﺀ ﰲ ﺍﻟﻘﻠﺐ ﻣﻊ‬
‫ﺏ‪ .‬ﻭﺍﻟﻠﹼﻘﺎﺀ ﻫﻨﺎﻙ ﻣﺒﺎﺷﺮ‪ .‬ﺍﻟﺼﻼﺓ ﻫﻲ ﺃﻗﻮﻯ ﺳﻼﺡ ﻟﻨﺎ ﰲ ﺣﻴﺎﺗﻨﺎ‬ ‫ﺍﳌﺴﻴﺢ ﺍﻟﺮ ‪‬‬
‫ﻭﺿ ‪‬ﺪ ﺃﻋﺪﺍﺋﻨﺎ‪ .‬ﺇﻧ‪‬ﻬﺎ ﻣﻘﻴﺎﺱ ﺩﺧﻮﻟﻨﺎ ﺇﱃ ﺍﻟﻘﻠﺐ‪ .‬ﳍﺬﺍ ﻣ‪‬ﻦ ﳝﻠﻚ ﺍﻟﺼﻼﺓ ﻭﻳﻼﻗﻲ‬
‫ﺏ ﻗﺪ ﻋﺎﺩ ﺇﱃ ﻗﻠﺒﻪ ﻭﻟﻮ ﻛﺎﻥ ﻭﺳﻂ ﺿﺠﻴﺞ ﻛ ﹼﻞ ﺍﻟﻌﺎﱂ‪ .‬ﺍﻟﺼﻼﺓ ﺗﻌﲏ ﺃ ﹾﻥ ﳓﻴﺎ‬ ‫ﺍﻟﺮ ‪‬‬
‫ﻣﻊ ﺍﳌﺴﻴﺢ ﲝﻴﺚ ﳛﻴﺎ ﻫﻮ ﻓﻴﻨﺎ‪ .‬ﺃ ﹾﻥ ﳓﻴﺎ ﻭﻻ ﻧﻔﻜﹼﺮ ﺇ ﹼﻻ ﺑﺎﳌﺴﻴﺢ‪ .‬ﺃ ﹾﻥ ﻧﺼﻠﹼﻲ ﻣﻦ‬
‫ﻼ ﺇﱃ ﺍﻟﻘﻠﺐ‪ ،‬ﻭﻳﻌﲏ ﻋﻮﺩﺓ ﺣﻘﻴﻘﻴ‪‬ﺔ ﺇﱃ ﺍﻟﺬﹼﺍﺕ‪.‬‬ ‫ﻛ ﹼﻞ ﺍﻟﻘﻠﺐ‪ ،‬ﻳﻌﲏ ﺃﻧ‪‬ﻨﺎ ﺩﺧﻠﻨﺎ ﻓﻌ ﹰ‬

‫‪ ٣٧‬ﻣﱴ ‪.٣٧ ،١٢‬‬

‫‪٨٠‬‬
 ‫ﺍﳌﻮﺿﻮﻉ ﻟﻴﺲ ﻏﻮﺻﹰﺎ ﺑﻘﺪﺭ ﻣﺎ ﻫﻮ ﺻﻔﺎﺀ ﻣﻦ ﺃﺟﻞ ﻫﺬﺍ ﺍﻟﹼﻠﻘﺎﺀ‪ .‬ﺍﻟﺘﺸﺘ‪‬ﺖ‬
‫ﺍﳋﺎﺭﺟ ‪‬ﻲ ﺍﳌﻌﺎﺻﺮ ﻳﻌﻜﹼﺮ ﻭﻳﺼﻌ‪‬ﺐ ﻫﺬﺍ ﺍﻟﻠﹼﻘﺎﺀ ﻭﻳﺸﻮ‪‬ﺵ ﻛﻠﻤﺎﺕ ﺍﻟﺼﻼﺓ‪.‬‬
‫ﺍﻟﻌﺎﱂ ﲟﺸﺎﻛﻠﻪ ﻟﻴﺲ ﺣﺘﻤﹰﺎ ﺗﻠﻬﻴ ﹰﺔ ﺃﻭ ﺗﺸﻮﻳﺸﺎﹰ‪ ،‬ﻋﻨﺪﻣﺎ ﻧﻮﺍﺟﻬﻪ ﻣﺴﻴﺤ‪‬ﻴﹰﺎ‬
‫ﻛﻤﺴﺆﻭﻟﻴ‪‬ﺔ‪ ،‬ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﳓﻤﻠﻪ ﻣﻌﻨﺎ ﺇﱃ ﺍﻟﻘﻠﺐ ﺇﱃ ﺍﳌﺴﻴﺢ‪ .‬ﻓﺎﳌﺸﻜﻠﺔ ﻟﻴﺴﺖ‬
‫ﺑﺎﻟﻌﺎﱂ ﻭﺇﻧ‪‬ﻤﺎ ﲟﻮﻗﻒ ﺍﳌﻮﺍﺟﻬﺔ ﻟﻪ‪ .‬ﺇﻥ ﲪﻠﻨﺎﻩ ﲟﺴﺆﻭﻟﻴ‪‬ﺔ ﺍﻟﺮﺳﻮﻝ ﺻﺎﺭ ﻟﻨﺎ‪ ،‬ﻛﻤﺎ‬
‫ﳚﺐ‪ ،‬ﻗﺎﺋﺪﹰﺍ ﺇﱃ ﺍﳌﺴﻴﺢ ﻭﺇﱃ ﺍﶈﺒ‪‬ﺔ‪ ،‬ﺃﻣ‪‬ﺎ ﺇ ﹾﻥ ﻭﺍﺟﻬﻨﺎﻩ ﻛﻀﻌﻔﺎﺀ ﺃﻭ ﺧﺮﺟﻨﺎ ﺇﱃ‬
‫ﺣﻨﺎﻳﺎﻩ ﺍﻟﺒﻌﻴﺪﺓ ﻗﺒﻞ ﺍﻷﻭﺍﻥ ﺳﻴﻜﺴﺮﻧﺎ ﻭﳜﺮﺟﻨﺎ ﺇﱃ ﺿﻮﺿﺎﺋﻪ ﺣﻴﺚ ﻟﻦ ﻧﺼﺎﺩﻑ‬
‫ﺍﳌﺴﻴﺢ ﻭﻟﻦ ﻧﻌﻮﺩ ﺑﻪ ﺇﱃ ﺫﻭﺍﺗﻨﺎ‪ ،‬ﻷﻧ‪‬ﻨﺎ ﺳﻨﻌﻴﺶ ﻓﻴﻪ ﻛﺄﻧ‪‬ﻨﺎ ﻣﻨﻪ‪ .‬ﻭﺃﻋﻤﻰ ﻻ ﻳﻘﻮﺩ‬
‫ﺃﻋﻤﻰ‪.‬‬

‫ﺃﻣ‪‬ﺎ ﺍﻟﺪﺭﺟﺔ ﺍﻟﺮﺍﺑﻌﺔ‪ ،‬ﻓﻬﻲ ﻣﺎ ﻳﺴﻤﻴ‪‬ﻪ ﺍﻵﺑﺎﺀ ﻓ ‪‬ﻦ "ﺍﻟﻴﻘﻈﺔ"‪ ،‬ﻭﻫﻲ ﺍﻟﺴﻬﺮ ﻋﻠﻰ‬
‫ﺍﻟﺬﹼﺍﺕ‪ ،‬ﺃﻱ ﻋﻠﻰ ﺍﻷﻓﻜﺎﺭ‪ ،‬ﻭﻋﻠﻰ ﻣﺎ ﻳﺪﺧﻞ ﺇﱃ ﳐﺪﻋﻨﺎ ﺍﻟﺪﺍﺧﻠ ‪‬ﻲ ﻭﳜﺮﺝ ﻣﻨﻪ‪.‬‬
‫ﺇﻧ‪‬ﻬﺎ ﻣﺮﺍﻗﺒﺔ ﲤﻨﻊ ﺩﺧﻮﻝ ﺿﻮﺿﺎﺀ ﺍﻟﻌﺎﱂ ﻭﺍﻟﺘﺎﻓﻪ ﻣﻨﻪ ﺇﱃ ﺍﳌﻘﺪﺱ ﺍﻟﺪﺍﺧﻠﻲ‪‬؛ ﻫﻲ‬
‫ﻉ ﻳﻄﺮﺩ "ﺷﻬﻮﺍﺕ ﺍﻟﻌﺎﱂ" ﺍﻟﱵ ﺗﻄﺮﺩ ﻣﻦ ﺩﺍﺧﻠﻨﺎ "ﳏﺒ‪‬ﺔ ﺍﻟﻨﺎﺱ"‪.‬‬ ‫ﺣﺎﺭﺱ ﺃﻣﲔ ﻭﺍ ﹴ‬
‫ﺇﻧ‪‬ﻬﺎ ﻣﻨﻈﹼﻢ ﻋﻠﻰ ﺑﺎﺏ ﺍﻟﻘﻠﺐ ﻳﺴﻤﺢ ﻓﻘﻂ ﻟﻸﻓﻜﺎﺭ ﺍﻟﺼﺎﳊﺔ ﻭﳌﺸﺎﻋﺮ ﺍﻟﺘﻮﺑﺔ‬
‫ﻭﺍﻟﺘﻮﺍﺿﻊ ﺑﺎﻟﺪﺧﻮﻝ‪ .‬ﺇﻧ‪‬ﻬﺎ ﺑﻜﻼﻡ ﺁﺧﺮ ﺣﺼﻦ ﻭﺩﺭﻉ ﻟﻌﺎﳌﻨﺎ ﺍﻟﺪﺍﺧﻠ ‪‬ﻲ ﺿ ‪‬ﺪ‬
‫ﻫﺠﻤﺎﺕ ﺍﻷﻫﻮﺍﺀ ﻭﺍﳌﻴﻮﻝ ﻭﺍﻟﻈﺮﻭﻑ ﺍﳋﺎﺭﺟﻴ‪‬ﺔ ﺍﳌﻀﺮ‪‬ﺓ‪ ،‬ﻭﺿ ‪‬ﺪ "ﺍﻟﻨ‪‬ﺒﺎﻝ ﺍﻟﺸﺮ‪‬ﻳﺮﺓ‬
‫ﺶ"‪.‬‬
‫ﺍﶈﻤﺎﺓ ﺍﻟﺜﺎﺋﺮﺓ ﻋﻠﻴﻨﺎ ﺑﻐ ‪‬‬
‫ﺍﻟﺴﻬﺮ ﺍﻟﺪﺍﺧﻠ ‪‬ﻲ ﻭﺍﻟﻴﻘﻈﺔ‪ ،‬ﳘﺎ ﻧﻮﺭ ﻣﺴﻠﱠﻂ ﻋﻠﻰ ﺍﻟﻘﻠﺐ‪ .‬ﻫﺬﺍ ﺍﻟﺴﻬﺮ ﳝﺎﺭﺱ‬
‫ﻋﻤﻠ‪‬ﻴﺎﹰ ﺑﺎﻟﻔﺤﺺ ﺍﳌﺴﺘﻤ ‪‬ﺮ ﻟﻠﺬﹼﺍﺕ ﻭﺑﺎﻟﻠﺠﻮﺀ ﺇﱃ ﺍﻻﻋﺘﺮﺍﻑ ﻭﺍﻟﺘﻮﺑﺔ‪ .‬ﺗﻨﻈﻴﻢ ﺍﳊﻴﺎﺓ‬
‫ﺣﻮﻝ ﻫﺬﺍ ﺍﻟﺴ ‪‬ﺮ ﻫﻮ ﺧﺘﻢ ﻋﻠﻰ ﳒﺎﺡ ﻣﺴﲑﺗﻨﺎ ﺍﻟﺼﺎﻋﺪﺓ ﻋﻠﻰ ﺗﻠﻚ ﺍﻟﺴﻠﻢ‬

‫‪٨١‬‬
‫ﺍﻟﺴﻤﺎﻭﻳ‪‬ﺔ ﺍﻟﱵ ﻭﺿﻌﻨﺎﻫﺎ ﰲ ﻗﻠﺒﻨﺎ ﻳﻮﻡ ﺍﻋﺘﻤﺪﻧﺎ‪ .‬ﳑﺎﺭﺳﺔ ﻫﺬﻩ ﺍﳊﺮﻛﺔ ﺍﻟﻌﻤﻠﻴ‪‬ﺔ‬
‫ﻟﻠﻴﻘﻈﺔ ﻭﺍﻟﺴﻬﺮ ﻫﻮ ﺿﻤﺎﻧﺔ ﺃﻛﻴﺪﺓ ﻟﺼﺤ‪‬ﺔ ﺍﻟﻌﻮﺩﺓ ﺇﱃ ﺍﻟﺬﺍﺕ ﻭﺳﻼﻣﺘﻬﺎ‪ ،‬ﻃﺮﻳﻖ‬
‫ﺏ ﺍﻟﻮﺍﻗﻒ ﺧﻠﻒ‬ ‫ﺃﻛﻴﺪﺓ ﺇﱃ ﺍﻟﻘﻠﺐ ﻭﺇﱃ ﺗﻠﻚ ﺍﳌﺮﺍﻗﻲ ﻭﺍﳌﺼﺎﻋﺪ ﺍﻹﳍﻴ‪‬ﺔ‪ ،‬ﺇﱃ ﺍﻟﺮ ‪‬‬
‫ﺍﻟﺒﺎﺏ ﻳﻘﺮﻉ‪ .‬ﻓﻄﻮﰉ ﻟﻺﻧﺴﺎﻥ ﺍﻟﺬﻱ ﻭﺿﻊ ﻣﺼﺎﻋﺪ ﰲ ﻗﻠﺒﻪ ﰲ ﻭﺍﺩﻱ ﺍﻟﺒﻜﺎﺀ‪،‬‬
‫ﺁﻣﲔ‪.‬‬

‫‪٨٢‬‬
 ‫ﺍﻻﺗ‪‬ـﻜـﺎﻝ ﻋـﻠﻰ ﺍﻟﻠـﻪ‬
‫‪٣٨‬‬
‫ﺗﺄﻣ‪‬ﻞ ﰲ ﺍﳌﺰﻣﻮﺭ ﺍﻟﺘﺴﻌﲔ‬

‫"ا‪F‬آ?  ن ا‪

  ،ّ'B‬إ ا‪$F‬ء *‪"?8F‬‬

‫ﻧﻘﺮﺃ ﰲ ﺻﻼﺓ ﺍﻟﻨﻮﻡ ﺍﻟﻜﱪﻯ ﺳﺘ‪‬ﺔ ﻣﺰﺍﻣﲑ ﻗﺒﻞ ﺗﺮﺗﻴﻞ "ﻣﻌﻨﺎ ﻫﻮ ﺍﷲ"‪.‬‬
‫ﻭﺍﻟﺜﻼﺛﺔ ﺍﻷﺧﲑﺓ ﻣﻨﻬﺎ ﳐﺘﺎﺭﺓ ﻣﻦ ﻣﺰﺍﻣﲑ ﺍﻻﺗ‪‬ﻜﺎﻝ ﻋﻠﻰ ﺍﷲ‪ .‬ﻓﺎﳌﺰﻣﻮﺭ )‪ (٢٤‬ﻳﺒﺪﺃ‬
‫ﺖ ﻓﻼ ﺃﺧﺰﻯ ﺇﱃ ﺍﻷﺑﺪ"‪.‬‬ ‫ﺖ ﻧﻔﺴﻲ‪ ،‬ﺇﳍﻲ ﻋﻠﻴﻚ ﺗﻮﻛﻠ ‪‬‬ ‫ﺏ ﺇﻟﻴﻚ ﺭﻓﻌ ‪‬‬ ‫ﺑـ"ﻳﺎ ﺭ ‪‬‬
‫ﺖ ﻓﻼ ﺃﺧﺰﻯ ﺇﱃ ﺍﻷﺑﺪ‪،‬‬ ‫ﺏ ﺗﻮﻛﻠ ‪‬‬‫ﻭﺍﳌﺰﻣﻮﺭ )‪ (٣٠‬ﻳ‪‬ﻔﺘﺘﺢ ﺑﺎﻵﻳﺔ "ﻋﻠﻴﻚ ﻳﺎ ﺭ ‪‬‬
‫ﺑﻌﺪﻟﻚ ﳒﱢﲏ ﻭﺃﻧﻘﺬﹾﱐ"‪ .‬ﻭﺃﺧﲑﹰﺍ ﺍﳌﺰﻣﻮﺭ )‪ (٩٠‬ﻳﺒﺘﺪﺉ ﺑـ"ﺍﻟﺴﺎﻛﻦ ﰲ ﻋﻮﻥ‬
‫ﺍﻟﻌﻠﻲ‪ ،‬ﰲ ﺳﺘﺮ ﺇﻟﻪ ﺍﻟﺴﻤﺎﺀ ﻳﺴﻜﻦ"‪ .‬ﺗﺘﺮﺩ‪‬ﺩ ﰲ ﻫﺬﻩ ﺍﳌﺰﺍﻣﲑ ﺃﲨﻞ ﺻﺮﺧﺎﺕ‬
‫ﺍﻻﺗ‪‬ﻜﺎﻝ ﻋﻠﻰ ﺍﷲ ﻭﺍﻟﺜﻘﺔ ﺑﻪ‪.‬‬

‫ﻟﻌ ﹼﻞ ﺃﻫ ‪‬ﻢ ﺻﻔﺔ ﻣﻦ ﺻﻔﺎﺕ ﺍﷲ‪ ،‬ﰲ ﺿﻤﲑ ﺍﻹﻧﺴﺎﻥ ﻋﻤﻮﻣﺎﹰ‪ ،‬ﻫﻲ ﺳﻴﺎﺩﺗﻪ‪.‬‬
‫ﺃﻱ ﺃﻧ‪‬ﻪ ﰲ ﻣﻮﺿﻊ ﺍﻟﺴﻴ‪‬ﺪ ﺍﻟﺬﻱ ﻧﺴﺘﻄﻴﻊ ﳓﻦ ﺍﻟﻌﺒﻴﺪ ﺃﻥ ﻧﺘ‪‬ﻜﻞ ﻋﻠﻴﻪ‪".‬ﺍﻻﺗ‪‬ﻜﺎﻝ ﻋﻠﻰ‬

‫‪ ٣٨‬ﻳ‪‬ﺘﻠﻰ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﰲ ﺻﻼﺓ ﺍﻟﻨﻮﻡ ﺍﻟﻜﱪﻯ‪.‬‬

‫‪٨٣‬‬
‫ﺍﻟﺒﺸﺮ ﺑﺎﻃﻞ" ﺗﻘﻮﻝ ﺍﳌﺰﺍﻣﲑ‪ .‬ﳛﺘﺎﺝ ﺍﻹﻧﺴﺎﻥ ﻟﻺﻧﺴﺎﻥ ﻭﻳﻌﺘﻤﺪ ﻋﻠﻴﻪ‪ .‬ﻟﻜﻦ ﺍﳌ‪‬ﺘﻜﹶﻞ‬
‫ﺍﳊﻘﻴﻘ ‪‬ﻲ ﻭﺍﳌﻠﺠﺄ ﺍﻷﻣﲔ ﻭﺍﻷﻗﺪﺭ ﻫﻮ ﺍﷲ! ﻳﺘﺼﺎﺭﻉ ﺍﻹﻧﺴﺎﻥ ﰲ ﺳﺒﻴﻞ ﻭﺟﻮﺩﻩ‬
‫ﻭﲢﺴﻴﻨﻪ ﻣﻊ ﳐﺎﻃﺮ ﺍﳊﻴﺎﺓ ﻭﻇﺮﻭﻓﻬﺎ ﻭﻣﺴﺆﻭﻟﻴ‪‬ﺎ‪‬ﺎ‪ ،‬ﻭﻟﻄﺎﳌﺎ ﻳﺸﻌﺮ ﻣﺮ‪‬ﺍﺕ ﻋﺪﻳﺪﺓ‬
‫ﺃﻧ‪‬ﻪ ﻋﺎﺟﺰ ﻋﻦ ﲢﻘﻴﻖ ﺃﺣﻼﻣﻪ‪ ،‬ﻭﻟﺮﺑ‪‬ﻤﺎ ﺃﻳﻀﹰﺎ ﺣﺘ‪‬ﻰ ﺃﻫ ‪‬ﻢ ﺣﺎﺟﺎﺗﻪ! ﻟﺬﻟﻚ ﻓﻬﻮ‬
‫ﳛﺘﺎﺝ ﺇﱃ ﻣﻌﺘﻤ‪‬ﺪ ﻳﺴﺘﻄﻴﻊ ﺍﻻﺳﺘﻨﺎﺩ ﺇﻟﻴﻪ ﰲ ﺿﻴﻘﻪ ﻭﻋﺠﺰﻩ‪ ،‬ﻓﻬﻮ ﲝﺎﺟﺔ ‪‬ﻟﻤ‪‬ﻦ ﻳﺜﻖ‬
‫ﻱ‪.‬‬
‫ﺑﻪ ﻭﻗﺎﺩﺭ ﻋﻠﻰ ﺍﻟﺘﻌﻮﻳﺾ ﻟﻪ ﻋﻦ ﻋﺠﺰﻩ ﺍﻟﺒﺸﺮ ‪‬‬

‫ﲤﺘﻠﺊ ﺻﻠﻮﺍﺗﻨﺎ‪ ،‬ﻭﺍﳌﺰﺍﻣﲑ ﻣﻨﻬﺎ ﺧﺎﺻ‪‬ﺔ‪ ،‬ﺑﺂﻳﺎﺕ ﺍﻻﺗ‪‬ﻜﺎﻝ ﻋﻠﻰ ﺍﷲ‪ .‬ﻓﺎﷲ ﻫﻮ‬
‫ﺍﳌﻠﺠﺄ ﻭﺍﻟﺼﺨﺮﺓ ﻭﺍﳋﻼﺹ ﻭﺍﻟﺴﺘﺮ‪ ،‬ﻭﻣ‪‬ﻦ ﻳﺘ‪‬ﻜﻞ ﻋﻠﻴﻪ ﻻ ﳜﺰﻯ ﺇﱃ ﺍﻷﺑﺪ‪" .‬ﻋﻠﻰ‬
‫ﺖ ﻓﻜﻴﻒ ﺗﻘﻮﻟﻮﻥ ﻟﻨﻔﺴﻲ ﺍﻫﺮﰊ ﺇﱃ ﺍﳉﺒﺎﻝ؟" ﻟﻜﻦ ﻫﻨﺎﻙ ﺷﺮﻃﺎﻥ‬ ‫ﺏ ﺗﻮﻛﹼﻠ ‪‬‬
‫ﺍﻟﺮ ‪‬‬
‫ﺃﺳﺎﺳﻴ‪‬ﺎﻥ ﻟﻼﺗ‪‬ﻜﺎﻝ ﻋﻠﻰ ﺍﷲ‪ ،‬ﻓﻬﻨﺎﻙ ﺍﺗ‪‬ﻜﺎﻝ ﻋﻠﻰ ﺍﷲ ﺧﺎﻃﺊ‪ .‬ﻟﻘﺪ ﺍﺳﺘﺨﺪﻡ‬
‫ﺍﻟﺸﻴﻄﺎﻥ ﺇﺣﺪﻯ ﺁﻳﺎﺕ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ )‪ (١١ ،٩٠‬ﻟﻴﺠﺮ‪‬ﺏ ﺍﳌﺴﻴﺢ ﻭﻳﻮﻗﻌﻪ ﰲ‬
‫ﺍﺗ‪‬ﻜﺎﻝ ﺧﺎﻃﺊ‪ ،‬ﺣﲔ ﻃﻠﺐ ﻣﻨﻪ ﺃﻥ ﻳﺮﻣﻲ ﺫﺍﺗﻪ ﻣﻦ ﺟﺪﺍﺭ ﺍﳍﻴﻜﻞ ﻭﻳﺘ‪‬ﻜﻞ ﻋﻠﻰ ﺍﷲ‬
‫ﺍﻟﺬﻱ ﻳﻘﻮﻝ ﰲ ﺍﳌﺰﺍﻣﲑ‪" :‬ﻷﻧ‪‬ﻪ ﻳﻮﺻﻲ ﻣﻼﺋﻜﺘﻪ ﺑﻚ ﻟﻜﻲ ﳛﻔﻈﻮﻙ ﰲ ﻛ ﹼﻞ‬
‫ﻃﺮﻗﻚ‪ ،‬ﻋﻠﻰ ﺍﻷﻳﺪﻱ ﳛﻤﻠﻮﻧﻚ ﻟﻜﻲ ﻻ ﺗﺼﺪﻡ ﲝﺠﺮ ﺭﺟﻠﻚ"! ﻟﻜﻦ ﻳﺴﻮﻉ‬
‫ﺭﻓﺾ ﻫﻜﺬﺍ ﺍﺗ‪‬ﻜﺎﻝ ﻋﻠﻰ ﺍﷲ‪ ،‬ﻭﺍﻋﺘﱪﻩ ﺑﺎﻟﻌﻜﺲ ﲡﺮﻳﺒﹰﺎ ﷲ ﻭﻟﻴﺲ ﺍﺗ‪‬ﻜﺎ ﹰﻻ ﻋﻠﻴﻪ‪.‬‬

‫ﻳﺴﻮﻉ ﻳﺘ‪‬ﻜﻞ ﻋﻠﻰ ﺍﷲ‪ ،‬ﻭﻳﺼﻠﹼﻲ ﺗﻠﻚ ﺍﻟﺼﻼﺓ ﺍﳊﺎﺭ‪‬ﺓ ﻋﻠﻰ ﺍﻟﺼﻠﻴﺐ "ﺇﳍﻲ‬
‫ﺇﳍﻲ ﳌﺎﺫﺍ ﺗﺮﻛﺘﲏ"‪ ،‬ﻭﺍﻟﱵ ﻏﺎﻟﺒﹰﺎ ﻣﺎ ﻧﺴﻲﺀ ﻓﻬﻤﻬﺎ‪ ،‬ﻓﻨﻈ ‪‬ﻦ ﺃ ﹼﻥ ﻳﺴﻮﻉ "ﻳﻌﺎﺗﺐ‬
‫ﺍﻵﺏ" ﻋﻠﻰ ﻫﺠﺮﺍﻧﻪ ﻟﻼﺑﻦ ﰲ ﻣﺜﻞ ﻫﺬﻩ ﺍﻟﻠﺤﻈﺔ ﺍﻟﱵ ﻛﺎﻥ ﻋﻠﻴﻪ ﺃﻥ ﻳﻜﻮﻥ ﺃﻗﺮﺏ‬
‫ﱐ ﻫﻮ ﻣﻦ ﺃﲨﻞ ﻣﺰﺍﻣﲑ ﺍﻻﺗ‪‬ﻜﺎﻝ ﻋﻠﻰ ﺍﷲ!‬ ‫ﻓﻴﻬﺎ! ﺍﳊﻘﻴﻘﺔ ﺃﻥﹼ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﺍﳌﺴﻴﺎ ﹼ‬

‫‪٨٤‬‬
‫ﺣﻴﺚ ﺃﻧ‪‬ﻪ ﻳﺸﺪ‪‬ﺩ ﻛﺘﺘ ‪‬ﻤﺔ ﻟﻶﻳﺔ ﺍﻟﺴﺎﺑﻘﺔ "ﻋﻠﻴﻚ ﺍﺗ‪‬ﻜﻞ ﺁﺑﺎﺅﻧﺎ ﻓﻨﺠ‪‬ﻴﺘﻬﻢ‪ ،‬ﺇﻟﻴﻚ‬
‫ﺖ ﻣﻦ ﺍﻟﺮﺣﻢ ﻣﻦ ﺑﻄﻦ‬ ‫ﺻﺮﺧﻮﺍ ﻓﻨﺠﻮﺍ‪ ،‬ﻋﻠﻴﻚ ﺍ‪‬ﺗﻜﻠﻮﺍ ﻓﻠﻢ ﳜﺰﻭﺍ‪ ...‬ﻋﻠﻴﻚ ﺃﻟﻘﻴ ‪‬‬
‫ﺃﻣ‪‬ﻲ ﺃﻧﺖ ﺇﳍﻲ"‪.٣٩‬‬
‫ﻟﻴﺲ ﻛ ﹼﻞ ﺍﺗ‪‬ﻜﺎﻝ ﻋﻠﻰ ﺍﷲ ﺇﺫﻥ ﺻﺤﻴﺤﹰﺎ! ﻭﺑﺮﻫﺎﻥ ﺫﻟﻚ ﺍﳌﺜﺎﻻﻥ ﺍﻟﺴﺎﺑﻘﺎﻥ‬
‫ﺍﳌﺘﻨﺎﻗﻀﺎﻥ ﺑﲔ ﻳﺴﻮﻉ ﻭﺍﻟﺸﻴﻄﺎﻥ‪.‬‬

‫ﺍﻟﺸﺮﻁ ﺍﻷﻭ‪‬ﻝ ﻟﻼﺗ‪‬ﻜﺎﻝ ﻋﻠﻰ ﺍﷲ ﻫﻮ ﺃﻥ ﻧﺆﻣﻦ ﺑﺮﲪﺔ ﺍﷲ ﻭﻗﻮ‪‬ﺗﻪ‪ .‬ﺇ ﹼﻥ ﺃﻏﻠﺐ‬

‫ﺍﳌﺴﻴﺤﻴ‪‬ﲔ ﻭﺍﻟﻨﺎﺱ ﻋﻤﻮﻣﹰﺎ ﻻ ﻳﺸﻜﹼﻮﻥ ﰲ ﻗﺪﺭﺓ ﺍﷲ‪ ،‬ﻷﻧ‪‬ﻬﺎ ﺃﻫ ‪‬ﻢ ﺻﻔﺔ ﻣﻦ ﺻﻔﺎﺕ‬
‫ﻚ‬‫ﺍﷲ "ﺍﻟﻘﻮ‪‬ﺓ"‪ .‬ﻟﻜﻦ ﻟﻴﺲ ﻟﺪﻯ ﺍﳉﻤﻴﻊ ﺷﻌﻮﺭ ﺃﻛﻴﺪ ﺑﺮﲪﺔ ﺍﷲ ﻭﻋﻨﺎﻳﺘﻪ‪ .‬ﻓﻼ ﻳﺸ ‪‬‬
‫ﻼ‪ .‬ﻟﺬﻟﻚ‬ ‫ﺃﺣﺪ ﺃ ﹼﻥ ﺍﷲ ﺧﺎﻟﻖ‪ .‬ﻭﻟﻜﻦ ﻻ ﻳﺸﻌﺮ ﺍﳉﻤﻴﻊ ﺑﻌﻨﺎﻳﺔ ﺍﷲ ﰲ ﺍﻟﻌﺎﱂ ﻓﻌ ﹰ‬
‫ﻧﺮﺍﻫﻢ ﳝﻴﻠﻮﻥ ﻳﻮﻡ ﺍﻟﻀ‪‬ﻴﻖ ﺇﱃ ﺍﻻﻋﺘﻤﺎﺩ ﻭﺍﻻﺗ‪‬ﻜﺎﻝ ﻋﻠﻰ ﺍﻟﺬﹼﺍﺕ ﺃﻭ ﻋﻠﻰ ﺍﳌﻘﺘﻨﻴﺎﺕ‬
‫ﻼ ﺃﺑﺪﹰﺍ‪ .‬ﻣ‪‬ﻦ ﻣﻨ‪‬ﺎ‬‫ﺃﻭ ﻋﻠﻰ ﺍﻟﻨﺎﺱ‪ ...‬ﻭﻻ ﻳﺸﻜﹼﻞ ﺍﷲ ﰲ ﻣﺜﻞ ﻫﺬﻩ ﺍﻟﻠﺤﻈﺎﺕ ﺣ ﹰ‬
‫ﻼ ﺃﻥ ﻳﺴﺎﻋﺪ ﻓﻴﻪ؟ ﺇﺫﺍ‬ ‫ﻳﺆﻣﻦ ﺃﻧ‪‬ﻪ ﻋﻨﺪﻣﺎ ﻳﻮﺍﺟﻪ ﺃﻣﺮﹰﺍ ﻏﲑ ﳑﻜﻦ ﻟﺪﻳﻪ ﳝﻜﻦ ﷲ ﻓﻌ ﹰ‬
‫ﻛﻨ‪‬ﺎ ﻧﺘ‪‬ﻜﻞ ﻋﻠﻰ ﺍﷲ ﺑﺎﻷﻣﻮﺭ ﺍﳌﺴﺘﻄﺎﻋﺔ ﻓﻬﺬﺍ ﻟﻴﺲ ﺛﻘﺔ ﺣﻘﻴﻘﻴ‪‬ﺔ ﺑﺎﷲ‪ .‬ﺍﻟﺜﻘﺔ‬
‫ﺍﳊﻘﻴﻘﻴ‪‬ﺔ ﺗﻈﻬﺮ ﲤﺎﻣﹰﺎ ﻋﻨﺪﻣﺎ ﻧﻄﻠﺐ ﻣﻦ ﺍﷲ ﻣﺎ ﻫﻮ ﻏﲑ ﻣﺴﺘﻄﺎﻉ ﻟﺪﻳﻨﺎ‪ .‬ﻳﺒﺪﺃ ﻋﻤﻞ‬
‫ﺍﷲ ﻋﻨﺪﻣﺎ ﺗﻨﺘﻬﻲ ﻣﻘﺪﺭﺍﺗﻨﺎ‪ .‬ﻭﻫﻨﺎ ﻳ‪‬ﻤﺘﺤ‪‬ﻦ ﺍﻻﺗ‪‬ﻜﺎ ﹸﻝ ﻋﻠﻰ ﺍﷲ ﺇﳝﺎﻧ‪‬ﻨﺎ ﺍﻟﻔﻌﻠ ‪‬ﻲ ﺑﻪ‪.‬‬
‫ﻟﻜﻦ ﻛﻲ ﻧﻀﻊ ﺍﺗ‪‬ﻜﺎﻟﻨﺎ ﻋﻠﻰ ﺍﷲ‪ ،‬ﻋﻨﺪﻣﺎ ﻧﻌﺠﺰ ﺃﻣﺎﻡ ﺑﻌﺾ ﺍﻷﻣﻮﺭ‪ ،‬ﻋﻠﻴﻨﺎ‬
‫ﺃﻥ ﻧﻜﻮﻥ ﻭﺍﺛﻘﲔ ﺃ ﹼﻥ ﻃﻠﺒﻨﺎ ﻫﻮ ﻣﻮﺍﻓﻖ ﳌﺸﻴﺌﺘﻪ‪ .‬ﻫﺬﺍ ﻣﺎ ﲤﹼﻤﻪ ﻳﺴﻮﻉ ﻋﻨﺪﻣﺎ ﻃﻠﺐ‬
‫ﺽ ﻋﻨ‪‬ﻲ ﻫﺬﻩ ﺍﻟﻜﺄﺱ"‪ ،‬ﰒ ﺃﺿﺎﻑ "ﻭﻟﻜﻦ ﻻ ﺗﻜ ‪‬ﻦ‬ ‫ﻣﻦ ﺍﻵﺏ "ﺇﻥ ﺃﻣﻜﻦ ﻓﻠﺘﻌﺮ ‪‬‬
‫ﻣﺸﻴﺌﱵ ﺑﻞ ﻣﺸﻴﺌﺘﻚ"‪ .‬ﻧﺘ‪‬ﻜﻞ ﻋﻠﻰ ﺍﷲ ﻳﻌﲏ‪ ،‬ﺃﻧ‪‬ﻪ ﻋﻨﺪﻣﺎ ﻧﻌﺠﺰ ﲡﺎﻩ ﺣﺎﺟﺔ ﻣﺎ‬

‫‪ ٣٩‬ﻣﺰ ‪.١١-١ ،٢١‬‬

‫‪٨٥‬‬
‫ﻧﻄﻠﺒﻬﺎ ﻣﻦ ﺍﷲ ﻭﻟﻜﻦ ﺑﺎﻹﳝﺎﻥ‪ ،‬ﻧﻌﺮﻑ ﺃﻧ‪‬ﻪ ﺇﺫﺍ ﻛﺎﻧﺖ ﻟﻠﺨﲑ ﻭﲝﺴﺐ ﺇﺭﺍﺩﺗﻪ‪-‬‬
‫ﻓﻬﻮ ﻗﺎﺩﺭ ﺃﻥ ﻳﺘﻤ‪‬ﻤﻬﺎ ﻟﻨﺎ‪ ،‬ﻭﺇﺫﺍ ﻛﺎﻧﺖ ﻟﻴﺴﺖ ﳋﲑﻧﺎ‪ ،‬ﻓﺎﻷﻓﻀﻞ ﺃ ﹼﻻ ﳛﻘﹼﻘﻬﺎ ﻟﻨﺎ‪ .‬ﺇ ﹼﻥ‬
‫ﻱ ﺷﻲﺀ‪ ،‬ﻭﻟﻜﻨ‪‬ﻪ ﺑﺎﻟﻮﻗﺖ ﺫﺍﺗﻪ ﺭﺣﻮﻡ‪ ،‬ﻓﻬﻮ ﻻ‬ ‫ﺇﳝﺎﻧﻨﺎ ﺃ ﹼﻥ ﺍﷲ ﻗﺎﺩﺭ ﻋﻠﻰ ﺗﺘﻤﻴﻢ ﺃ ‪‬‬
‫ﳛﻘﹼﻖ ﻟﻨﺎ ﺇ ﹼﻻ ﻣﺎ ﻫﻮ ﳋﲑﻧﺎ‪ -‬ﲝﺴﺐ ﺇﺭﺍﺩﺗﻪ‪ .‬ﻷ ﹼﻥ ﳏﺒ‪‬ﺘﻪ ﻻ ﳝﻜﻨﻬﺎ ﺃﻥ ﺗﻜﻮﻥ ﺇ ﹼﻻ‬
‫ﻋﻨﺎﻳﺔ ‪ ،‬ﻭﻋﻨﺎﻳ ﹰﺔ ﺣﻘﻴﻘﻴ‪‬ﺔ‪.‬‬

‫ﻭﺍﻟﺸﺮﻁ ﺍﻟﺜﺎﱐ ﻟﻼﺗ‪‬ﻜﺎﻝ ﻋﻠﻰ ﺍﷲ ﻫﻮ ﺃﻥ ﻧﻌﻤﻞ ﳓﻦ ﺍﻵﻥ ﻭﳛﻘﹼﻖ ﻫﻮ ﺍﻟﻐﺪ‪.‬‬

‫ﻼ ﺃﻣﺎﻡ ﺻﻌﻮﺑﺔ ﰲ ﺍﳊﻴﺎﺓ‬ ‫ﻏﺎﻟﺒﹰﺎ ﻣﺎ ﻧﺘ‪‬ﻜﻞ ﻋﻠﻰ ﺍﷲ ﺑﻄﺮﻳﻘﺔ ﺧﺎﻃﺌﺔ‪ .‬ﻓﺤﲔ ﻧﻌﺠﺰ ﻣﺜ ﹰ‬
‫"ﻧﺘﺮﻛﻬﺎ ﷲ"‪ ،‬ﺃﻱ "ﻧﺮﻣﻴﻬﺎ ﰲ ﻣﻠﻌﺒﻪ"‪ ،‬ﻭﻧﻘﻒ ﳓﻦ ﻋﺎﺩﻣﻲ ﺍﳊﺮﺍﻙ‪ ،‬ﻭﻛﺄ ﹼﻥ ﻋﻠﻰ‬
‫ﺍﷲ ﺃﻥ ﻳﻌﻤﻞ ﻋﻨ‪‬ﺎ! ﺍﻻﺗ‪‬ﻜﺎﻝ ﻋﻠﻰ ﺍﷲ ﻳﻌﲏ ﲤﺎﻣﹰﺎ ﺃﻥ ﻧﻌﻤﻞ ﳓﻦ ﺣﺘ‪‬ﻰ ﺣﲔ ﻧﻌﺠﺰ‬
‫ﻑ ﺃﻣﺎﻡ ﺗﻠﻚ‬ ‫ﻭﻧﻘﺪ‪‬ﻡ ﺿﻌﻔﻨﺎ‪ ،‬ﻭﻫﻮ ﻛ ﹼﻞ ﻣﺎ ﻧﺴﺘﻄﻴﻊ‪ .‬ﻭﺇﺫﺍ ﻛﺎﻥ ﺫﻟﻚ ﻏﲑ ﻛﺎ ‪‬‬
‫ﺍﻟﺼﻌﻮﺑﺔ ﻓﺈﻧ‪‬ﻨﺎ ﻧﺆﻣﻦ ﺃﻧ‪‬ﻪ ﻋﻨﺪﻣﺎ ﻧﻘﺪ‪‬ﻡ ﺟﻬﺪﻧﺎ ﺍﻟﻴﻮﻡ ﻭﻏﲑ ﺍﻟﻜﺎﰲ ﻓﺈ ﹼﻥ ﺍﷲ ﻳﺆﻣ‪‬ﻦ ﻟﻨﺎ‬
‫ﺍﻟﻐﺪ‪ .‬ﺍﻻﺗ‪‬ﻜﺎﻝ ﻋﻠﻰ ﺍﷲ ﻻ ﻳﻌﲏ ﺗﺮﻙ ﺍﻷﻣﻮﺭ ﷲ )ﻭﺣﺪﻩ(‪ .‬ﺍﻻﺗ‪‬ﻜﺎﻝ ﻋﻠﻰ ﺍﷲ ﻳﻌﲏ‬
‫ﺍﻟﺜﹼﻘﺔ ﺑﻪ ﻭﺑﻌﻨﺎﻳﺘﻪ ﻭﻋﺪﻡ ﺍﻟﻘﻠﻖ ﻭﺍﻟﻴﺄﺱ‪ .‬ﺇﺫ ﻋﻨﺪﻣﺎ ﻧﻮﺍﺟﻪ ﺻﻌﻮﺑﺔ ﺗﻔﻮﻕ ﻃﺎﻗﺎﺗﻨﺎ‪،‬‬
‫ﻧﻘﺪ‪‬ﻡ ﻃﺎﻗﺎﺗﻨﺎ ﺩﻭﻥ ﻗﻨﻮﻁ ﻣﺆﻣﻨﲔ ﺃ ﹼﻥ ﺍﷲ ﺳﻮﻑ ﻳﺘﻤ‪‬ﻢ ﺇﺭﺍﺩﺗﻪ ﲟﺴﺎﻋﺪﺗﻨﺎ ﻭﲢﻘﻴﻖ‬
‫ﻛ ﹼﻞ ﺧﲑ ﻋﻨﺪﻣﺎ ﻧﺘ‪‬ﻜﻞ ﻋﻠﻴﻪ ﻭﻧﺴﺘﺪﻋﻴﻪ ﻟﻨﺠﺪﺗﻨﺎ‪" .‬ﺃﺅﻣﻦ ﻳﺎ ﺳﻴ‪‬ﺪ‪ ،‬ﻓﺄ ‪‬ﻋ ‪‬ﻦ ﺿﻌﻒ‬
‫ﺇﳝﺎﱐ"!‬

‫ﺃﺗ‪‬ﻜ ﹸﻞ ﻋﻠﻰ ﺍﷲ ﻳﻌﲏ ﺃﻧ‪‬ﲏ ﺃﻗﺪ‪‬ﻡ ﺃﻧﺎ ﺍﻵﻥ ﻭﻳﻘﺪ‪‬ﻡ ﺍﷲ ﺍﻟﻐﺪ! "ﻫﻢ ﺍﺗ‪‬ﻜﻠﻮﺍ ﻋﻠﻰ‬
‫ﺍﻟﻔﺮﺱ ﻭﺍﳌﺮﻛﺒﺎﺕ‪ ،‬ﺃﻣ‪‬ﺎ ﳓﻦ ﻓﺒﺎﺳﻢ ﺍﳍﻨﺎ ﻧﺪﻋﻮ"‪ .‬ﻧﺘ‪‬ﻜﻞ ﻋﻠﻰ ﺍﷲ ﻓﻼ ﳔﺸﻰ‬

‫‪٨٦‬‬
‫ﺻﻌﻮﺑﺎﺕ ﻭﻻ ﺃﺯﻣﺎﺕ‪ ،‬ﻧﻌﻤﻞ ﺇﺭﺍﺩﺗﻪ ﻏﲑ ﻫﻴ‪‬ﺎﺑﲔ ﻭﻣﺆﻣﻨﲔ ﺃ ﹼﻥ "ﺻﻼﺣﻪ ﻋﻈﻴﻢ‬
‫ﻭﻣﺪ‪‬ﺧﺮ ﻟﻠﺬﻳﻦ ﻳﺘ‪‬ﻘﻮﻧﻪ"‪.‬‬
‫ﺏ"‪ ،‬ﺁﻣﲔ‪.‬‬
‫"ﺗﺸﺠ‪‬ﻌﻮﺍ ﻭﻟﺘﻘ ‪‬ﻮ ﻗﻠﻮﺑﻜﻢ ﻳﺎ ﲨﻴﻊ ﺍﳌﺘﻮﻛﹼﻠﲔ ﻋﻠﻰ ﺍﻟﺮ ‪‬‬

‫‪٨٧‬‬
 ‫ﺇﳍـﻲ ﺍﳋـﺎﻟـﻖ‬
‫‪٤٠‬‬
‫ﺗﺄﻣ‪‬ﻞ ﰲ ﺍﳌﺰﻣﻮﺭ ﺍﳌﺌﺔ ﻭﺛﻼﺛﺔ‬

‫  ّ>ًا"‬
‫ب إ‪َ $I >, J‬‬
‫"أ*ّ‪ J‬ا
ّ‬

‫ﺃﺭﻓﻊ ﺃﻧﻮﺍﻉ ﺍﻟﺼﻼﺓ ﻫﻲ ﺗﺴﺎﺑﻴﺢ ﺍﻟﺘﻤﺠﻴﺪ‪ ،‬ﺇﻧ‪‬ﻬﺎ ﻓﻮﻕ ﺗﻀﺮ‪‬ﻋﺎﺕ ﺍﻻﺳﺘﻐﻔﺎﺭ‬

‫ﻭﺍﻟﻄﻠﺒﺎﺕ‪ .‬ﻭﻫﻨﺎ ﻳﺮﻓﻊ ﺍﳌﺮﻧ‪‬ﻢ )ﺩﺍﺅﻭﺩ(‪ ،‬ﻣﻦ ﻗﻠﺐ ﻣﻌﺘﺮﻑ ﺑﺎﳉﻤﻴﻞ ﻭﺑﺎﻹﻋﺠﺎﺏ‪،‬‬
‫ﺠﺪ ﰲ ﺃﻋﻤﺎﻟﻪ ﺍﻟﺼﺎﳊﺔ ﻭﰲ ﻫﺬﻩ‬ ‫ﻳﺮﻓﻊ ﺻﺮﺧﺎﺕ ﺍﻟﺘﺴﺒﻴﺢ ﻭﺍﻟﺸﻜﺮ ﻹﻟﻪ ﻳﺘﻤ ‪‬‬
‫ﺍﳋﻠﻴﻘﺔ ﺍﻟﱵ ﺗ‪‬ﻌﻠﻦ ﻛ ﹼﻞ ﳊﻈﺔ ﻭﰲ ﻛ ﹼﻞ ﺷﻲﺀ ﲨﺎﻟﻪ ﻭﺻﻼﺣﻪ‪ .‬ﺍﻟﺘﺄﻣ‪‬ﻞ ﺑﺎﳋﻠﻴﻘﺔ‬
‫ﻳﺮﻓﻌﻨﺎ ﺑﻘﻠﺐ ﻣﻔﻌﻢ ﺑﺎﻟﺸﻜﺮﺍﻥ ﺇﱃ ﺍﷲ ﺍﳋﺎﻟﻖ‪ ،‬ﻓﻨﺮﻓﻊ ﺗﺴﺎﺑﻴﺢ ﺍﻟﺘﻤﺠﻴﺪ‪.‬‬

‫ﻼ ﻣﺎ ﰲ ﺟﻮﻟﺘﻪ ﻋﻠﻰ ﺍﳋﻠﻴﻘﺔ ﻛﻠﹼﻬﺎ‪ .‬ﻭﻣﻦ‬

‫ﻳﺘﺘﺒ‪‬ﻊ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﺍﻟﻄﻮﻳﻞ ﺗﺴﻠﺴ ﹰ‬
‫ﺍﻟﻮﺍﺿﺢ ﺃﻧ‪‬ﻪ ﳚﻮﻝ ﺑﻌﻴ‪‬ﻨﻴﻪ ﻋﻠﻴﻬﺎ ﲝﺴﺐ ﺗﺮﺗﻴﺐ ﺍﳋﻠﻖ ﰲ ﺳﻔﺮ ﺍﻟﺘﻜﻮﻳﻦ ﺫﺍﺗﻪ‪.٤١‬‬
‫ﻓﻨﺠﺪﻩ‪:‬‬

‫‪ ٤٠‬ﻳ‪‬ﺘﻠﻰ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﰲ ﺑﺪﺍﻳﺔ ﺻﻼﺓ ﺍﻟﻐﺮﻭﺏ ﺍﻟﻴﻮﻣﻴ‪‬ﺔ‪.‬‬

‫‪ ٤١‬ﺗﻚ ‪.٣٥-١ ،١‬‬
‫‪٨٨‬‬
‫‪ .١‬ﰲ ﺍﻵﻳﺎﺕ )‪ (٣-١‬ﻳﺘﺄﻣ‪‬ﻞ ﺍﻟﻨﻮﺭ ﻭﻳﻘﺎﺑﻠﻬﺎ )ﺗﻚ ‪ (٣ ،١‬ﻭﻫﻮ ﻋﻤﻞ ﺍﻟﻴﻮﻡ‬
‫ﺍﻷﻭ‪‬ﻝ‪.‬‬
‫‪ .٢‬ﰲ ﺍﻵﻳﺎﺕ )‪ (٣-٢‬ﻳﺘﺄﻣ‪‬ﻞ ﰲ ﺧﻠﻖ ﺍﻟﺴﻤﻮﺍﺕ ﻭﻫﻲ ﺃﻋﻤﺎﻝ ﺍﻟﻴﻮﻡ ﺍﻟﺜﺎﱐ‬
‫)ﺗﻚ‪.(٨-١ ،١‬‬
‫‪ .٣‬ﰲ ﺍﻵﻳﺎﺕ )‪ (١٨-٥‬ﻳﺘﺄﻣ‪‬ﻞ ﰲ ﺗﻜﻮﻳﻦ ﺍﻷﺭﺽ ﻭﻧﺒﺎﺗﺎ‪‬ﺎ ﻭﺧﲑﺍ‪‬ﺎ‬
‫ﻭﻃﻴﻮﺭﻫﺎ ﻭﺗﻘﺎﺑﻠﻬﺎ )ﺗﻚ‪ (١٣-٩ ،١‬ﻭﻫﻲ ﻋﻤﻞ ﺍﻟﻴﻮﻡ ﺍﻟﺜﺎﻟﺚ‪.‬‬
‫‪ .٤‬ﰲ ﺍﻵﻳﺎﺕ )‪ (٢٣-١٩‬ﻳﺘﺄﻣ‪‬ﻞ ﰲ ﺍﻟﺸﻤﺲ ﻭﺍﻟﻘﻤﺮ ﻭﺗﺒﺎﺩﻝ ﺍﻟﻠﻴﻞ ﻭﺍﻟﻨﻬﺎﺭ‬
‫ﻭﺍﻷﻭﻗﺎﺕ ﻭﺍﻷﺯﻣﻨﺔ ﻭﺗﻘﺎﺑﻠﻬﺎ ﺃﻋﻤﺎﻝ ﺍﻟﻴﻮﻡ ﺍﻟﺮﺍﺑﻊ‪ ،‬ﹼﰒ ﺗﺴﺒﺤﺔ ﻭﲤﺠﻴﺪ ﺍﻵﻳﺔ ‪.٢٤‬‬
‫‪ .٥‬ﰲ ﺍﻵﻳﺎﺕ )‪ (٣٠-٢٥‬ﻳﺘﺄﻣ‪‬ﻞ ﰲ ﺍﻟﺒﺤﺮ ﻭﻋﺎﳌﻪ ﻭﻣﺎ ﻓﻴﻪ ﻭﻳﻘﺎﺑﻠﻬﺎ )ﺗﻚ‬
‫‪ (٢٣-٢٠ ،١‬ﻭﻫﻲ ﺃﻋﻤﺎﻝ ﺍﻟﻴﻮﻡ ﺍﳋﺎﻣﺲ‪.‬‬
‫‪ .٦‬ﰲ ﺍﻵﻳﺎﺕ )‪ (٣٥-٣١‬ﻳﺘﺄﻣ‪‬ﻞ ﰲ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺬﻱ ﻳﺴﺒﺢ ﺍﷲ ﳉﻼﻟﻪ‬
‫ﻭﻳﻘﺎﺑﻠﻬﺎ )ﺗﻚ ‪ (٣١-٢٦ ،١‬ﻭﻫﻲ ﺃﻋﻤﺎﻝ ﺍﻟﻴﻮﻡ ﺍﻟﺴﺎﺩﺱ‪.‬‬
‫ﻫﻜﺬﺍ ﻳﺪﻭﺭ ﺍﳌﺼﻠﹼﻲ ﺑﻨﺎﻇﺮﻩ ﺣﻮﻝ ﻛ ﹼﻞ ﻋﻨﺎﺻﺮ ﺍﳋﻠﻴﻘﺔ ﻛﻤ‪‬ﻦ ﻳﺘﺪﺭ‪‬ﺝ ﻋﻠﻰ‬
‫ﺁﻳﺎﺕ ﺍﻟﺘﻜﻮﻳﻦ ﻭﻳﺴﺒ‪‬ﺢ ﺍﷲ ﺍﳋﺎﻟﻖ‪.‬‬
‫ﻚ ﺃ ﹼﻥ ﺍﻟﺼﻮﺭ ﻭﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﱵ ﻳﺴﺘﺨﺪﻣﻬﺎ ﺍﳌﺮﻧ‪‬ﻢ ﻋﻦ ﺍﳋﻠﻴﻘﺔ ﻭﺍﳋﺎﻟﻖ‬ ‫ﻻﺷ ‪‬‬
‫ﻫﻲ ﺻﻮﺭ ﻣﺄﺧﻮﺫﺓ ﺑﺎﻷﺳﺎﺱ ﻣﻦ ﻛﺘﺎﺏ ﺍﻟﺘﻜﻮﻳﻦ‪ ،‬ﻛﻤﺎ ﻭﻳﻼﺣ‪‬ﻆ ﻓﻴﻬﺎ ﺗﺸﺎﺑ ‪‬ﻪ ﻣﻊ‬
‫ﺳﻔﺮ ﺃﻳﻮﺏ )ﺭﺑ‪‬ﻤﺎ ﺃﺧﺬ ﻫﺬﺍ ﺍﻟﺴﻔﺮ ﻣﻦ ﺍﳌﺼﺪﺭ ﺫﺍﺗﻪ‪ ،‬ﺃﻱ ﺍﻟﺘﻜﻮﻳﻦ(‪ ،‬ﻭﻟﻜﻦ ﺃﻳﻀﹰﺎ‬
‫ﻱ ﺁﻧﺬﺍﻙ‪.‬‬
‫ﻣﻦ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﻌﺎﳌﻴ‪‬ﺔ ﻭﺍﻟﻮﺛﻨﻴ‪‬ﺔ ﺍﶈﻴﻄﺔ ﺑﺎﻟﻌﺎﱂ ﺍﻟﻴﻬﻮﺩ ‪‬‬

‫ﻣﻘﺎﺭﻧﺔ ﺻﻐﲑﺓ ﻣﻊ ﺳﻔﺮ ﺃﻳ‪‬ﻮﺏ ﻧﻼﺣﻆ ﺗﺸﺎ‪‬ﹰﺎ ﰲ ﺍﻵﻳﺎﺕ‪:‬‬

‫‪٨٩‬‬
 ‫ﺍﳌﻮﺿﻮﻉ‬ ‫ﺳﻔﺮ ﺃﻳ‪‬ﻮﺏ‬ ‫ﺍﳌﺰﻣﻮﺭ ‪١٠٣‬‬
‫ﻋﺮﺵ ﺍﷲ ﰲ ﺍﻟﺴﻤﺎﺀ‬ ‫‪٨ ،٩‬‬ ‫‪٣-١‬‬
‫ﻓﺼﻞ ﺍﻟﺴﻤﺎﺀ ﻋﻦ ﺍﻷﺭﺽ‬ ‫‪١١-٨ ،٣٨‬‬ ‫‪٩-٦‬‬
‫ﺍﷲ ﺿﺎﺑﻂ ﺍﳊﻴﺎﺓ‬ ‫‪١٠ ،١٢‬‬ ‫‪٣٠-٢٨‬‬
‫ﺍﷲ ﻳﻄﻌﻢ ﺍﳊﻴﻮﺍﻧﺎﺕ‬ ‫‪٤١-٣٩ ،٣٨‬‬ ‫‪ ٢١‬ﻭ‪٢٧‬‬
‫ﺍﻟﺰﻻﺯﻝ ﻭﺍﺿﻄﺮﺍﺏ ﺍﻷﺭﺽ‬ ‫‪ ٥ ،٩‬ﻭ‪١١ ،٢٦‬‬ ‫‪٣٢‬‬
‫ﺍﻷﻣﻄﺎﺭ‬ ‫‪٢٧ ،٣٨‬‬ ‫‪١٤-١٣‬‬
‫ﺍﻟﻮﺣﻮﺵ ﻭﻣﺴﺎﻛﻨﻬﺎ‬ ‫‪٨-٥ ،٣٩‬‬ ‫‪١١‬‬
‫ﺍﻟﺘﻨﲔ ﺍﻟﺬﻱ ﻳﻠﻌﺐ ﰲ ﺍﻟﺒﺤﺮ‬ ‫‪٢٤-٢٣ ،٤١‬‬ ‫‪٢٦‬‬
‫ﻱ ﻭﺍﳌﻌﺎﱐ ﺃﻳﻀﹰﺎ‪.٤٢‬‬
‫ﻭﻫﺬﺍ ﺍﻟﺘﺸﺎﺑﻪ ﻭﺍﺭﺩ ﻋﻠﻰ ﺻﻌﻴﺪ ﺍﻟﻘﺎﻣﻮﺱ ﺍﻟﻠﻐﻮ ‪‬‬

‫ﺃﻣ‪‬ﺎ ﻋﻦ ﻭﺟﻪ ﺍﻟﺸﺒﻪ ﺑﻴﻨﻪ ﻭﺑﲔ ﺍﻷﻧﺎﺷﻴﺪ ﻹﻟﻪ ﺍﻟﺸﻤﺲ )‪ ،(Ήλιος‬ﺍﻹﻟﻪ‬

‫ﺍﻷﺷﻬﺮ ﰲ ﺍﻟﺸﺮﻕ ﺍﻷﻭﺳﻂ ﻭﻣﺼﺮ‪ ،‬ﻓﻬﻨﺎﻙ ﻧﺸﻴﺪ ﻟﻺﻟﻪ ﺍﻟﺸﻤﺲ ﻳﺸﺎ‪‬ﻪ ﲤﺎﻣﹰﺎ ﰲ‬
‫ﻧﻘﺎﻁ ﻋﺪﻳﺪﺓ ﳍﺬﺍ ﺍﳌﺰﻣﻮﺭ‪.٤٣‬‬
‫ﻋﻠﻰ ﺃ ﹼﻥ ﺍﻟﻔﺮﻕ ﺍﻟﻜﺒﲑ ﻫﻮ ﰲ ﺟﻮﻫﺮ ﺍﳌﻌﺎﱐ‪ .‬ﺣﻴﺚ ﺍﷲ ﰲ ﺍﳌﺰﻣﻮﺭ ﻫﻮ‬
‫ﺍﳋﺎﻟﻖ ﻭﺍﳌﺘﻌﺎﱄ ﻋﻠﻰ ﺧﻠﻴﻘﺘﻪ ﻭﻣﻦ ﺧﺎﺭﺟﻬﺎ‪ .‬ﺃﻣ‪‬ﺎ ﰲ ﺗﻠﻚ ﺍﻷﻧﺎﺷﻴﺪ ﻓﻌﻨﺎﺻﺮ‬
‫ﺍﻟﻄﺒﻴﻌﺔ )ﻛﻤﺎ ﻫﻲ ﻭﺍﺭﺩﺓ ﰲ ﺍﳌﺰﻣﻮﺭ‪ :‬ﺍﻟﺸﻤﺲ – ﺍﳌﻄﺮ‪ (... -‬ﺗﺘﺄﻟﱠﻪ‪ .‬ﻭﻫﺬﺍ ﻫﻮ‬
‫ﺍﻟﻔﺮﻕ ﺍﳊﻘﻴﻘ ‪‬ﻲ ﺑﲔ ﺍﻟﻮﺛﻨﻴ‪‬ﺔ ﻭﺍﻟﻜﺘﺎﺏ ﺍﳌﻘﺪ‪‬ﺱ‪ ،‬ﻟﻴﺲ ﰲ ﺗﺼﻮ‪‬ﺭ ﺍﳋﻠﻴﻘﺔ ﻭﲨﺎﳍﺎ‬

‫‪G. Von Rad, Theolgie des Alten testament, I, München, 1969 (6), p. 153.‬‬ ‫ﺃﻧﻈﺮ‪:‬‬ ‫‪٤٢‬‬

‫‪Καϊµάκη, ∆ηµητρίου, Ψαλώ τω Θεώ µου, Θεσσαλονίκη, 1996, σ. 83-84.‬‬

‫‪ ٤٣‬ﺃﻧﻈﺮ‪F. Michaeli, Texte de la Bible et de l’Ancien Orient, CAB 13, Neûchatel, :‬‬
‫‪1961, p. 100.‬‬
‫‪٩٠‬‬
‫ﺇﻧ‪‬ﻤﺎ ﰲ ﺗﺼﻮ‪‬ﺭ ﺍﷲ ﺍﳋﺎﻟﻖ ﻓﻮﻗﻬﺎ ﺃﻭ ﻣﻨﻬﺎ‪ ،‬ﻗﺒﻠﻬﺎ ﺃﻭ ﻣﻌﻬﺎ‪ .‬ﺍﻷﻣﺮ ﻃﺒﻴﻌ ‪‬ﻲ ﰲ‬
‫ﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﻜﺘﺎﺏ ﺃﻭ ﺍﳌﺮﻧ‪‬ﻢ ﻟﻠﻐﺔ ﺍﻟﻌﺎﱂ‪ ،‬ﻟﻜﻦ ﺩﺍﺋﻤﹰﺎ ﲟﻌﺎ ‪‬ﻥ ﻭﻛﺸﻮﻑ ﺟﺪﻳﺪﺓ‪،‬‬
‫ﻭﻫﻨﺎ ﰲ ﺃ ﹼﻥ ﺍﷲ ﻫﻮ ﺍﳋﺎﻟﻖ ﻭﻫﻮ ﻣ‪‬ﻦ ﺃﻭﺟﺪ ﺍﳋﻠﻴﻘﺔ ﻭﻟﻴﺲ ﻣﻨﻬﺎ ﻭﻫﻮ ﻗﺒﻠﻬﺎ‪.‬‬

‫ﱯ‪.‬‬
‫ﻳﺘﺸﺎﺑﻪ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ )‪ (١٠٣‬ﺑﺴﺎﺑﻘﻪ ﲤﺎﻣﹰﺎ )‪ ،(١٠٢‬ﻭﻳﻌﻮﺩ ﻟﺪﺍﺅﻭﺩ ﺍﻟﻨ ‪‬‬
‫ﻳﺘﻤﻴ‪‬ﺰ ﺑﻨﻈﺮﺗﻪ ﺍﻟﺒﺎﻧﻮﺭﺍﻣﻴ‪‬ﺔ ﻟﻠﺨﻠﻴﻘﺔ ﻛﻠﹼﻬﺎ‪ .‬ﺇﻧ‪‬ﻪ ﳛﻮ‪‬ﻝ ﻗﺼ‪‬ﺔ ﺍﳋﻠﻖ ﻣﻦ ﺳﻔﺮ ﺍﻟﺘﻜﻮﻳﻦ‬
‫ﺇﱃ ﺷﻌ ﹴﺮ ﻭﺗﺴﺒﺤﺔ ﰲ ﺳﻔﺮ ﺍﳌﺰﺍﻣﲑ‪ .‬ﺇﻧ‪‬ﻪ ﺗﺴﺒﺤﺔ ﲤﺠﻴﺪ ﻭﺷﻜﺮﺍﻥ‪.‬‬
‫ﻳ‪‬ﺘﻠﻰ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﰲ ﺑﺪﺍﻳﺔ ﺻﻼﺓ ﺍﻟﻐﺮﻭﺏ‪ ،‬ﻭﻳ‪‬ﺘﻠﻰ ‪‬ﺩﺭ‪‬ﺟﹰﺎ ﻭﻗﺮﺍﺀ ﹰﺓ ﰲ‬
‫ﺍﻟﻐﺮﻭﺏ ﺍﻟﻴﻮﻣﻲ‪ ،‬ﻓﻴﻤﺎ ﻳﺮﺗ‪‬ﻞ ﺍﻟﻘﺴﻢ ﺍﻷﺧﲑ ﻣﻦ ‪" -‬ﺗﻔﺘﺢ ﻳﺪﻙ ﻓﻴﻤﺘﻠﺊ ﺍﻟﻜ ﹼﻞ‬
‫ﺧﲑﹰﺍ"‪ - ٤٤‬ﰲ ﺍﻟﺴﻬﺮﺍﻧﻴ‪‬ﺎﺕ‪ .‬ﻭﻳﺘﺼﺪ‪‬ﺭ ﻫﺬﺍ ﺍﳌﺰﻣﻮﺭ ﳎﻤﻮﻋﺔ ﺍﳌﺰﺍﻣﲑ ﺍﻷﺧﲑﺓ ﺍﻟﱵ‬
‫ﺗ‪‬ﺨﺘﻢ ﺑـ "ﻫﻠﹼﻠﻮﻟﻴﺎ"‪ .‬ﺳﻨﻌﺘﻤﺪ ﻫﻨﺎ ﺍﻟﺘﺮﲨﺔ ﺍﻟﻮﺍﺭﺩﺓ ﰲ ﻛﺘﺎﺏ ﺍﻟﺴﻮﺍﻋﻲ ﺍﻟﻜﺒﲑ‬
‫ﺍﳌﺴﺘﺨﺪ‪‬ﻡ ﰲ ﺍﳋﺪﻡ ﺍﻟﻠﻴﺘﻮﺭﺟﻴ‪‬ﺔ‪.‬‬

‫ﺖ ﺟﺪ‪‬ﹰﺍ‬
‫)‪ (١‬ﺑﺎﺭﻛﻲ ﻳﺎ ﻧﻔﺴﻲ ﺍﻟﺮﺏ‪ ،‬ﺃﻳ‪‬ﻬﺎ ﺍﻟﺮﺏ‪ ‬ﺇﳍﻲ ﻟﻘﺪ ﻋﻈﻤ ‪‬‬
‫ﺏ"‪ :‬ﺬﻩ ﺍﻟﻌﺒﺎﺭﺓ ﻳﺒﺪﺃ ﺍﳌﺮﻧ‪‬ﻢ ﻭﺳﻮﻑ ﻳ‪‬ﻨﻬﻲ ﺍﳌﺰﻣﻮﺭ‬‫"ﺑﺎﺭﻛﻲ ﻳﺎ ﻧﻔﺴﻲ ﺍﻟﺮ ‪‬‬
‫‪‬ﺎ‪ .‬ﳜﺎﻃﺐ ﺍﳌﺮﻧ‪‬ﻢ ﺃﻋﻤﺎﻗﻪ )ﻧﻔﺴﻪ( ﻭﻳﺪﻋﻮ ﺫﺍﺗﻪ ﻟﺮﻓﻊ ﺍﻟﺘﺴﺒﻴﺢ ﷲ ﺍﳋﺎﻟﻖ‪ .‬ﺇ ﹼﻥ‬
‫ﻛﻠﻤﺔ ﺑﺎﺭﻙ‪ ،‬ﻋﻨﺪﻣﺎ ﺗ‪‬ﻌﺎﺩ ﷲ ﺗﻌﲏ ﺇﻫﺪﺍﺀ ﺍﻟﱪﻛﺎﺕ ﻭﺍﻟﻌﻨﺎﻳﺔ‪ ،‬ﻭﻋﻨﺪﻣﺎ ﺗ‪‬ﻌﺎﺩ ﻟﻺﻧﺴﺎﻥ‬
‫ﺗﻌﲏ ﺭﻓﻊ ﺍﻟﺘﺴﺒﻴﺢ ﻭﺍﻟﺸﻜﺮ ﻋﻠﻰ ﺍﻟﱪﻛﺎﺕ ﺍﳌﻌﻄﺎﺓ ﻟﻨﺎ‪.‬‬
‫ﻛﻠﻤﺔ ﻧﻔﺲ ﳍﺎ ﻣﻌﺎ ‪‬ﻥ ﻋﺪﻳﺪﺓ‪ ،‬ﻭﻫﻨﺎ ﺗﻌﲏ ﺃﻋﻤﺎﻕ ﺍﻟﻨﻔﺲ‪ ،‬ﻭﺍﻟﻌﻮﺩﺓ ﺇﱃ‬
‫ﺍﻟﺬﺍﺕ‪ .‬ﻛﻤﺎ ﺷﺠ‪‬ﻌﻨﺎ ﺍﻟﺴﻴ‪‬ﺪ ﻋﻨﺪﻣﺎ ﻧﺼﻠﹼﻲ ﺃﻥ "ﻧﺪﺧﻞ ﺇﱃ ﳐﺪﻋﻨﺎ" ﺩﺍﺧﻠﻨﺎ‪.‬‬

‫‪.٣٥ ،٢٨ ٤٤‬‬

‫‪٩١‬‬
 ‫"ﺍﻟﻌﻈﻤﺔ" ﻫﻲ ﺍﻟﺼﻔﺎﺕ ﺍﻷﺳﺎﺳﻴ‪‬ﺔ ﰲ ﺍﷲ ﻋﻨﺪ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺸﺮﻗﻲ‪ ،‬ﺍﻟﺬﻱ ﻳﺮﻯ ﺍﷲ‬
‫ﻣﻠﻜﺎﹰ‪ ،‬ﻟﻜﻦ ﻟﻴﺲ ﻛﺎﻷﻣﻢ‪ ،‬ﺑﻞ ﻣﻠﻚ ﺍﻟﻌﺪﻝ ﻭﺍﻟﺮﲪﺔ ﻭﻫﺬﻩ ﻋﻈﻤﺘﻪ‪ .‬ﻭﻫﻨﺎ‬
‫ﺏ ﻭﺍﻹﻟﻪ"‪" :‬ﻳﻬﻮﻩ ﻭﺇﻟﻮﻫﻴﻢ" ﻓﻬﻮ ﺍﻟﺴﻴ‪‬ﺪ ﻭﻫﻮ ﺍﷲ‪.‬‬‫ﻳﺴﺘﺨﺪﻡ ﺍﳌﺮﻧ‪‬ﻢ ﻛﻠﻤﺘ‪‬ﻲ "ﺍﻟﺮ ‪‬‬
‫ﻭﻟﻜﻦ ﺇﺫﺍ ﻛﺎﻥ ﺍﷲ "ﻋﻈﻴﻤﹰﺎ ﺟ ‪‬ﺪﹰﺍ" ﻓﻬﺬﺍ ﻻ ﳝﻨﻊ ﺑﺮﻓﻌﺘﻪ ﺃﻥ ﻳﻜﻮﻥ ﺇﳍﻲ ﰲ ﺿﻌﱵ!‬
‫ﻓﻌﻈﻤﺔ ﺍﷲ ﻻ ﲡﻌﻞ ﺍﻹﻧﺴﺎﻥ ﻳﺸﻌﺮ ﲝﻘﺎﺭﺗﻪ ﲟﻘﺪﺍﺭ ﻣﺎ ﲡﻌﻠﻪ ﻳﺴﺒ‪‬ﺢ ﺍﷲ ﻋﻠﻰ ﳏﺒ‪‬ﺘﻪ‬
‫ﻷﻧ‪‬ﻪ ﻳﺘﺒﻨ‪‬ﺎﻧﺎ ﰲ ﺿﻌﺘﻨﺎ‪ .‬ﰲ ﺍﻵﻳﺎﺕ ﺍﻟﻼﺣﻘﺔ ﺳﻴﺸﺮﺡ ﺍﳌﺮﻧ‪‬ﻢ ﻛﻴﻒ ﺍﺳﺘﻨﺘﺞ ﻋﻈﻤﺔ‬
‫ﺍﷲ‪ ،‬ﻣﻦ ﺧﻠﻴﻘﺘﻪ ﺍﻟﻌﻈﻴﻤﺔ‪ .‬ﻻ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻌﺮﻑ ﺍﷲ ﲜﻮﻫﺮﻩ ﻭﻟﻜﻨ‪‬ﻨﺎ ﻧﻌﺮﻑ ﻋﻨﻪ‬
‫ﺍﻟﻜﺜﲑ ﻣﻦ ﺃﻋﻤﺎﻟﻪ‪ ،‬ﺍﷲ ﰲ ﺟﻮﻫﺮﻩ ﻏ ‪‬ﲑ ﻣﺪﺭﻙ ﻟﻜ‪‬ﻨﻪ ﻣﻌﺮﻭﻑ ﻣﻦ ﺧﻠﻴﻘﺘﻪ ﻭﻋﻨﺎﻳﺘﻪ‬
‫ﻭﺃﻋﻤﺎﻟﻪ ﺍﻟﺼﺎﳊﺔ‪ .‬ﻟﺬﻟﻚ ﳒﺪ ﺍﳌﺮﻧ‪‬ﻢ ﻳﺘﻌﺠ‪‬ﺐ ﻣﻦ ﲨﺎﻝ ﻭﻋﻈﻤﺔ ﺍﳋﻠﻴﻘﺔ‪ ،‬ﻻ‬
‫ﻟﻴﻤﺪﺡ ﺍﳋﻠﻴﻘﺔ ﻭﺣﺴﺐ ﺑﻞ ﻟﻴﺴﺒ‪‬ﺢ ﻋﻈﻤﺔ ﺍﳋﺎﻟﻖ ﻭﻫﺬﺍ ﻫﻮ ﺍﻻﺳﺘﻨﺘﺎﺝ ﺍﻟﻄﺒﻴﻌ ‪‬ﻲ‬
‫ﻟﻺﻧﺴﺎﻥ ﺍﻟﻌﺎﻗﻞ‪ ،‬ﺃﻧ‪‬ﻪ ﻳﻘﺮﺃ ﰲ ﻋﻈﻤﺔ ﺍﳋﻠﻴﻘﺔ ﻋﻈﻤﺔ ﺧﺎﻟﻘﻬﺎ‪ ،‬ﻓﻴﻌﺒﺪ ﺍﷲ ﻭﻳﺸﻜﺮﻩ‬
‫ﻋﻠﻰ ﺍﺳﺘﺨﺪﺍﻡ ﺍﳋﻠﻴﻘﺔ‪.‬‬

‫ﺖ‬
‫ﻑ ﻭﻋﻈ ‪‬ﻢ ﺍﳉﻼﻝ ﻟﺒﺴ ‪‬‬ ‫
ﺍﻻﻋﺘﺮﺍ ‪‬‬
‫ﺍﻻﻋﺘﺮﺍﻑ ﻫﻨﺎ ﻳﻌﲏ ﺍﻹﻗﺮﺍﺭ ﺑﺈﺣﺴﺎﻥ ﺍﷲ ﻭﺃﻧ‪‬ﻪ ﻣﺴﺘﺤ ‪‬ﻖ ﻛ ﹼﻞ ﺷﻜﺮ ﻭﲤﺠﻴﺪ‪.‬‬
‫ﺃﻣ‪‬ﺎ ﻋﻈﻤﺔ ﺍﳉﻼﻝ ﻓﻬﻲ ﺻﻮﺭﺓ ﺍﳋﺎﻟﻖ ﻣﻦ ﻫﺬﻩ ﺍﳋﻠﻴﻘﺔ ﺍﻟﻌﻈﻴﻤﺔ‪ .‬ﻫﻨﺎ‪ ،‬ﻛﻤﺎ ﺳﺒﻖ‬
‫ﺖ‪ .‬ﺩﺍ ﹰﻻ ﺑﺬﻟﻚ‬‫ﺖ ﻭ ‪‬ﻋﻈﹸﻤ ‪‬‬
‫ﺴ ‪‬‬
‫ﺃﻳﻀﺎﹰ‪ ،‬ﻳﺴﺘﺨﺪﻡ ﺍﻷﻓﻌﺎﻝ ﰲ ﺯﻣﻨﻬﺎ ﺍﳌﺎﺿﻲ‪ ،‬ﻓﻴﻘﻮﻝ ﻟﺒ ‪‬‬
‫ﻋﻠﻰ ﺯﻣﻦ ﺍﻟﺘﻜﻮﻳﻦ‪ .‬ﻟﺬﻟﻚ ﻳﺄﰐ ﺷﻜﺮ ﺍﳌﺮﻧ‪‬ﻢ ﻭﺗﺴﺒﻴﺤﻪ ﺍﻋﺘﺮﺍﻓﹰﺎ ﲟﺠﺪ ﻭﺟﻼﻝ ﺍﷲ‬
‫ﺍﻟﻘﺪﱘ‪ ،‬ﻓﻨﺤﻦ "ﻧﻌﺘﺮﻑ ﺑﺎﻹﺣﺴﺎﻥ" ﻭﻧﺸﻜﺮﻩ ﺑﺎﻟﺘﺴﺒﻴﺢ‪ .‬ﻛﻤﺎ ﺃ ﹼﻥ ﺭﺩﺍﺀ ﺍﳌﻠﻚ‬
‫ﳑﻴ‪‬ﺰ‪ ،‬ﻭﻳﻔﺮ‪‬ﻗﻪ ﻋﻦ ﺑﺎﻗﻲ ﺍﳊﺸﻢ ﻭﺍﳋﺪﺍﻡ‪ .‬ﻫﻜﺬﺍ ﻫﻮ ﺭﺩﺍﺀ ﺍﷲ ﺍﳌﻠﻜﻲ‪ ،‬ﺇﻧ‪‬ﻪ ﻋﻈﻤﺘﻪ‬
‫ﻭﺟﻼﻟﻪ ﻣﻨﺬ ﳊﻈﺔ ﺍﻟﺘﻜﻮﻳﻦ‪ .‬ﻓﺎﷲ ﳑﻴ‪‬ﺰ ﺑﻠﺒﺎﺳﻪ ﺍﳋﺎﺹ‪ ،‬ﻭﻫﻮ ﺭﺩﺍﺀ ﺍﳋﺎﻟﻖ‪ ،‬ﺍﻟﺬﻱ‬

‫‪٩٢‬‬
‫ﻟﺒﺴﻪ ﻳﻮﻡ ﺧﻠﻖ ﻭﻻ ﻳﺴﺘﻄﻴﻊ ﺳﻮﺍﻩ ﺃﻥ ﻳﺮﺗﺪﻳﻪ‪ .‬ﻟﻴﺲ ﺭﺩﺍﺀ ﺍﷲ ﺃﻗﻤﺸ ﹰﺔ ﻧﻌﺮﻓﻪ ﻣﻨﻬﺎ‪،‬‬
‫ﺑﻞ ﺭﺩﺍﺅﻩ‪ :‬ﺍﻟﻌﻈﻤﺔ ﻭﺍﶈﺒ‪‬ﺔ ﺍﳌﱪﻫﻨﺔ ﰲ ﺧﻠﻘﻪ ﻟﻠﻌﺎﱂ ﳋﺪﻣﺘﻨﺎ‪.‬‬

‫ﺖ ﺍﳌﺘﺴﺮﺑﻞ ﺍﻟﻨﻮﺭ ﻛﺎﻟﺜﻮﺏ‬‫)‪ (٢‬ﺃﻧ ‪‬‬

‫ﻫﻨﺎ ﻳﻨﺘﻘﻞ ﺍﳌﺮﻧ‪‬ﻢ ﺇﱃ ﺯﻣﻦ ﺍﳊﺎﺿﺮ ﰲ ﺍﺳﻢ ﺍﻟﻔﺎﻋﻞ "ﺍﳌﺘﺴﺮﺑﻞ"‪ ،‬ﻟﻴﻌﻄﻲ ﳍﺬﻩ‬
‫ﺍﻟﺼﻔﺔ ﺩﳝﻮﻣﺔ ﻭﺍﺳﺘﻤﺮﺍﺭﻳ‪‬ﺔ‪ .‬ﻟﻘﺪ ﺗﻌﻈﹼﻢ ﺍﷲ ﻋﻨﺪﻣﺎ ﺧﻠﻖ‪ ،‬ﻭﻟﻜﻦ ﻫﻨﺎ ﳚﺮﻱ ﺍﻟﻜﻼﻡ‬
‫ﻋﻦ ﺣﻀﺮﺗﻪ ﰲ ﺍﻟﺘﺎﺭﻳﺦ ﻛﻨﻮﺭ ﻟﻠﻌﺎﱂ‪ ،‬ﻭﻷ ﹼﻥ ﻋﻨﺎﻳﺘﻪ ﻣﺴﺘﻤﺮ‪‬ﺓ ﻋﻠﻰ ﺍﻟﺪﻭﺍﻡ ‪" ...‬ﺃﰊ‬
‫ﻳﻌﻤﻞ ﺣﺘ‪‬ﻰ ﺍﻵﻥ"‪ ،٤٥‬ﻧﻌﻢ ﻋﻨﺎﻳﺔ ﺍﷲ ﺩﺍﺋﻤﺔ‪.‬‬
‫ﺍﻟﻨﻮﺭ ﰲ ﺍﻟﻜﺘﺎﺏ ﺍﳌﻘﺪ‪‬ﺱ ﻳﺪ ﹼﻝ ﻋﻠﻰ ﺣﻀﺮﺓ ﺍﷲ ﻭﻓﻌﻠﻪ‪" .٤٦‬ﻓﺎﻟﻨﻮﺭ ﺟﺎﺀ ﺇﱃ‬
‫ﺍﻟﻌﺎﱂ ﻭﺍﻟﻈﻠﻤﺔ ﱂ ﺗﻘﺒﻠﻪ"‪.‬‬
‫ﺲ‬
‫ﺍﷲ "ﻭﺣﺪﻩ ﺇﻟﻪ ﻋﺪﻡ ﺍﳌﻮﺕ ﺳﺎﻛﻨﹰﺎ ﰲ ﻧﻮ ﹴﺭ ﻻ ﻳﺪﱏ ﻣﻨﻪ"‪ .‬ﺍﻟﻨﻮﺭ ﰲ ﺍﳊ ‪‬‬
‫ﻱ ﻣﺪﻟﻮﻝ ﻋﻠﻰ ﻛ ﹼﻞ ﻣﺎ ﻫﻮ ﲨﻴﻞ ﻭﻧﻘ ‪‬ﻲ ﻭﻳﻌﻄﻲ ﺣﻴﺎ ﹰﺓ‪ .‬ﺍﻟﻨﻮﺭ ﻫﻨﺎ ﻳﻌﺒ‪‬ﺮ ﻋﻦ‬ ‫ﺍﻟﺒﺸﺮ ‪‬‬
‫ﻋﻈﻤﺔ ﺍﷲ ﻭﻋﻦ ﻋﻨﺎﻳﺘﻪ ﻭﲨﺎﻟﻪ ﺑﺎﻟﻮﻗﺖ ﺫﺍﺗﻪ‪ .٤٧‬ﺍﻟﻨﻮﺭ ﻳﻀﻔﻲ ﻋﻠﻰ ﺍﷲ ﺍﻟﺒﻬﺎﺀ‬
‫ﻭﺍﻟﺼﻔﺎﺀ ﻣﻦ ﺟﻬﺔ ﻭﻟﻜﻦ ﺍﻟﻘﺮﰉ ﻭﺭﻏﺒﺔ ﺍﻟﺒﺸﺮ ﺑﺮﺅﻳﺘﻪ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‪ .‬ﻫﻜﺬﺍ‬
‫ﺏ ﻳﺴﻮﻉ ﺳﺎﻋﺔ ﻏﺮﻭﺏ ﴰﺲ ﺍﻟﻌﺎﱂ‪" :‬ﻳﺎ ﻧﻮﺭﹰﺍ ‪‬ﻴﹰﺎ"‪ .‬ﻓﺎﷲ ﻳﻠﺘﺤﻒ‬ ‫ﻧﺮﻧ‪‬ﻢ ﻟﻠﺮ ‪‬‬
‫ﺑﺎﻟﻨﻮﺭ ﻷﻧ‪‬ﻪ ﻣﻨﻈﻮﺭ ﻭﻟﻜﻦ ﻏﲑ ﻣﺪﺭﻙ‪ .‬ﻫﻜﺬﺍ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﺮﻯ ﺍﻟﻨﻮﺭ ﻭﻧﺸﻌﺮ ﺑﻪ‬
‫ﻭﻟﻜﻦ ﻏﲑ ﳑﻜﻦ ﺃﻥ ﳓﺪ‪‬ﻕ ﺑﻪ ﻭﻧﺪﺭﻛﻪ‪ .‬ﻭﺃﻭﱃ ﺃﻋﻤﺎﻝ ﺍﷲ ﰲ ﺍﳋﻠﻖ ﻛﺎﻧﺖ‬

‫‪ ٤٥‬ﻳﻮ ‪.١٧ ،٥‬‬

‫‪ ٤٦‬ﺃﺵ ‪١٩ ،٦٠‬؛ ﻳﻮ ‪٤ ،١‬؛ ‪ ١‬ﺗﻴﻢ ‪.١٦ ،٦‬‬
‫‪P. Humbert, “Le thème vétérotestamentaire de la lumière”, RTP 16, 1966, p.‬‬ ‫‪ ٤٧‬ﺃﻧﻈﺮ‪:‬‬
‫‪1-6.‬‬
‫‪٩٣‬‬
‫ﺇﺩﺧﺎﻝ ﺍﻟﻨﻮﺭ ﰲ ﺍﻟﻴﻮﻡ ﺍﻷﻭ‪‬ﻝ‪ .‬ﻳﺴﺘﺨﺪﻡ ﻓﻴﻤﺎ ﻳﻠﻲ ﺍﳌﺮﻧ‪‬ﻢ ﻭﺍﳌﺼﻠﹼﻲ ﺍﳋﻠﻴﻘﺔ ﺑﻜ ﹼﻞ‬
‫ﺐ ﻭﺍﻟﺴﺨ ‪‬ﻲ ﻭﺍﻟﻌﻈﻴﻢ‪.‬‬
‫ﻋﻨﺎﺻﺮﻫﺎ ﻛﻤﺮﺁﺓ ﻳﺮﻯ ﻓﻴﻬﺎ ﻭﺟﻪ ﺍﷲ‪ ،‬ﺃﻱ ﺷﺨﺼﻪ ﺍﶈ ‪‬‬

‫ﺍﻟﺒﺎﺳﻂ ﺍﻟﺴﻤﺎﺀ ﻛﺎﳋﻴﻤﺔ‬ ‫
‬

‫)‪ (٣‬ﺍﳌﺴﻘﹼﻒ ﺑﺎﳌﻴﺎﻩ ﻋﻼﻟﻴﻪ‬

‫ﷲ ﺍﻟﺴﻤﻮﺍﺕ ﰲ ﺍﻟﻴﻮﻡ ﺍﻟﺜﺎﱐ‪ .‬ﻭﺗﺒﺪﻭ ﺍﻟﺴﻤﺎﺀ ﺑﻠﻐﺔ ﺍﻟﻜﺘﺎﺏ ﺍﳌﻘﺪ‪‬ﺱ‬ ‫ﺧﻠﻖ ﺍ ُ‬
‫ﻱ ﻗﺎﺋﻢ ﰲ ﺍﳍﻮﺍﺀ‪ .‬ﳍﺬﺍ‬ ‫ﺑﺼﻮﺭﺗ‪‬ﲔ‪ :‬ﺍﻷﻭﱃ ﻛﺨﻴﻤﺔ ﻳﺒﺴﻄﻬﺎ ﺍﷲ ﺃﻭ ﻛﺒﻼﻁ ﲰﺎﻭ ‪‬‬
‫ﻳﺴﺘﺨﺪﻡ ﺍﳌﺮ‪‬ﻧ ‪‬ﻢ ﺍﻟﺼﻮﺭﺗ‪‬ﲔ ﻫﻨﺎ‪ .‬ﻟﻜﻦ ﺻﻮﺭﺓ ﺧﻠﻖ ﺍﻟﺴﻤﺎﺀ ﻛـ "ﺑﺴﻂ ﺍﳋﻴﻤﺔ"‬
‫ﺗﺪ ﹼﻝ ﻋﻠﻰ ﻋﻈﻤﺔ ﺍﷲ ﺍﻟﺬﻱ ﺧﻠﻖ ﻛ ﹼﻞ ﻫﺬﻩ ﺍﻟﻌﻈﻤﺔ ﺑﻜ ﹼﻞ ﻫﺬﻩ ﺍﻟﺴﻬﻮﻟﺔ‪،‬‬
‫ﻱ ﺍﻟﺬﻱ ﻳﺒﺴﻂ ﺧﻴﻤﺔ ﺣﻴﺚ ﳛ ﹼﻞ‪ .‬ﻭﺍﻟﺴﻤﻮﺍﺕ ﻫﻲ ﺧﻴﻤﺔ ﺍﷲ ﻭﻣﺴﻜﻨﻪ‪.‬‬ ‫ﻛﺎﻟﺒﺪﻭ ‪‬‬
‫ﻫﺬﻩ ﺍﻟﺴﻤﺎﺀ ﻫﻲ ﻛﺎﻟﺴﺘﺎﺭ ﺍﻟﺬﻱ ﳛﺠﺐ ﻗﻮ‪‬ﺓ ﻧﻮﺭ ﺍﷲ ﻋﻦ ﻋﻴﻮﻧﻨﺎ‪ ،‬ﻓﻬﻮ ﻣﻨﻈﻮﺭ‬
‫ﻏﲑ ﻣﺪﺭﻙ ﻣﻜﺸﻮﻑ ﻭﳏﺘﺠﺐ ﺑﺎﻟﻮﻗﺖ ﺫﺍﺗﻪ‪.‬‬
‫ﺃﻣ‪‬ﺎ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺜﺎﻧﻴﺔ )ﺍﳌﺴﻘﹼﻒ ﺑﺎﳌﻴﺎﻩ ﻋﻼﻟﻴﻪ( ﻓﻬﻲ ﻣﺄﺧﻮﺫﺓ ﻣﻦ ﺳﻔﺮ‬
‫ﳉﻠﹶﺪ‬
‫ﺍﻟﺘﻜﻮﻳﻦ ﻣﺒﺎﺷﺮﺓ‪" :‬ﻓﻌﻤﻞ ﺍﷲ ﺍﳉﻠﺪ )ﺍﻟﺴﻤﺎﺀ( ﻭﻓﺼﻞ ﺑﲔ ﺍﳌﻴﺎﻩ ﺍﻟﱵ ﲢﺖ ﺍ ﹶ‬
‫ﳉﹶﻠ ‪‬ﺪ ﲰﺎ ًﺀ‪ .‬ﻭﻛﺎﻥ ﻣﺴﺎ ٌﺀ ﻭﻛﺎﻥ‬
‫ﻭﺍﳌﻴﺎﻩ ﺍﻟﱵ ﻓﻮﻕ ﺍﳉﻠﺪ ﻭﻛﺎﻥ ﻛﺬﻟﻚ‪ .‬ﻭﺩﻋﺎ ﺍﷲ ﺍ ﹶ‬
‫ﺡ ﻳﻮﻣﹰﺎ ﺛﺎﻧﻴﹰﺎ"‪ .٤٨‬ﻫﻨﺎ ﺗﻈﻬﺮ ﻋﻈﻤﺔ ﺍﷲ ﺍﻟﺬﻱ ﻳﺒﲏ ﰲ ﺍﻟﺴﻤﺎﺀ ﻣﺴﻜﻨﻪ‪.‬‬ ‫ﺻﺒﺎ ‪‬‬
‫ﻭﻣﺴﻜﻨﻪ ﻫﺬﺍ ﻟﻴﺲ ﰲ ﺍﻟﺴﻤﺎﺀ ﻭﺣﺴﺐ ﺑﻞ ﰲ ﺃﻋﺎﱄ ﺍﻟﺴﻤﻮﺍﺕ ﺣﻴﺚ ﻻ ﻳﺼﻞ‬
‫ﺍﻹﻧﺴﺎﻥ‪ .‬ﻭﻫﺬﻩ ﺍﻟﺼﻮﺭﺓ ﻓﻴﻬﺎ ﻣﻦ ﺍﻟﻐﺮﺍﺑﺔ ﲟﻘﺪﺍﺭ ﻳﱪﻫﻦ ﺍﻟﻌﻈﻤﺔ‪ .‬ﻓﺎﻟﺴﻘﻒ ﰲ‬
‫ﻓﻜﺮ ﺍﻹﻧﺴﺎﻥ ﻳﻮﺿﻊ ﻟﻴﺤﻤﻲ ﻣﻦ ﻣﻴﺎﻩ ﺍﻷﻣﻄﺎﺭ‪ .‬ﺑﻴﻨﻤﺎ ﺍﷲ ﻟﻪ ﻣﻦ ﺍﻟﻘﺪﺭﺓ ﺍﻟﻔﺎﺋﻘﺔ‬
‫ﺃﻥ ﳚﻤﻊ ﺍﳌﻴﺎﻩ ﻭﳚﻌﻞ ﻣﻨﻬﺎ ﺳﻘﻔﹰﺎ ﻟﻠﺴﻤﺎﺀ ﺍﻟﱵ ﻳﺴﻜﻦ ﻓﻴﻬﺎ‪ .‬ﻓﺎﳌﻴﺎﻩ ﻋﻨﺼﺮ ﻻ ﻳﻘﺪﺭ‬

‫‪ ٤٨‬ﺗﻚ ‪.٧ ،١‬‬

‫‪٩٤‬‬
‫ﺍﻹﻧﺴﺎﻥ ﻋﻠﻰ ﺿﺒﻄﻪ‪ .‬ﺗﻀﺒﻄﻪ ﻫﻨﺎ ﻳﺪ ﺍﷲ ﻭﺗﺴﺘﺨﺪﻣﻪ ﲝﻜﻤﺔ‪ .‬ﻫﻨﺎ ﻋﻈﻤﺔ ﺍﷲ ﰲ‬
‫ﻋﻨﺎﺻﺮ ﺍﳋﻠﻴﻘﺔ ﻭﻗﺪﺭﺗﻪ ﻋﻠﻰ ﺍﳋﻠﻖ ﻓﻴﻬﺎ‪.‬‬

‫
ﺍﳉﺎﻋ ﹸﻞ ﺍﻟﺴﺤﺎﺏ ﻣﺮﻛﺒﺔ ﻟﻪ‪ ،‬ﺍﳌﺎﺷﻲ ﻋﻠﻰ ﺃﺟﻨﺤﺔ ﺍﻟﺮﻳﺎﺡ‬

‫ﺍﻟﺴﺤﺎﺏ ﰲ ﺍﻟﻜﺘﺎﺏ ﺍﳌﻘﺪ‪‬ﺱ ﻫﻮ ﻣﻜﺎﻥ ﺇﻋﻼﻥ ﳎﺪ ﺍﷲ ﻭﺣﻀﻮﺭﻩ‪.‬‬
‫ﻓﺎﻟﺴﺤﺎﺏ ﻗﺎﺩ ﺍﻟﺸﻌﺐ ﰲ ﺍﻟﱪﻳ‪‬ﺔ‪ ،‬ﻭﺍﻟﺴﺤﺎﺏ ﻇﻠﹼﻞ ﺧﻴﻤﺔ ﺍﻟﻌﻬﺪ ﻋﻨﺪ ﺗﺪﺷﲔ‬
‫ﻣﻌﺒﺪ ﺳﻠﻴﻤﺎﻥ‪ ،‬ﺍﻟﺴﺤﺎﺏ ﻇﻠﹼﻞ ﻳﺴﻮﻉ ﰲ ﺍﻟﺘﺠﻠﹼﻲ‪ ،‬ﻭﻋﻠﻰ ﺍﻟﺴﺤﺎﺏ ﺻﻌﺪ ﺇﱃ‬
‫ﺍﻟﺴﻤﻮﺍﺕ‪ .‬ﻭﻋﻠﻰ ﺍﻟﺴﺤﺎﺏ ﺳﻴﻌﻮﺩ ﺍﳌﺴﻴﺢ ﰲ ﳎﻴﺌﻪ ﺍﻟﺜﺎﱐ‪ .‬ﻓﺎﻟﺴﺤﺎﺏ ﻳ‪‬ﻌﻠﻦ‬
‫ﺣﻀﺮﺓ ﺍﷲ ﻭﳜﻔﻴﻪ ﺑﺎﻵﻥ ﺫﺍﺗﻪ‪ .‬ﻷ ﹼﻥ ﺍﷲ ﻣﻮﺟﻮﺩ ﻏﲑ ﻣﺪﺭ‪‬ﻙ‪ .‬ﻳﻌﻠﻦ ﺍﻟﺴﺤﺎﺏ‬
‫ﺗﻌﺎﱄ ﺍﷲ ﻭﻗﺪﺭﺗﻪ ﻭﺭﻓﻌﺘﻪ ﻓﻮﻕ ﺍﻟﺴﻤﻮﺍﺕ‪.‬‬
‫ﻟﻠﻴﻬﻮﺩﻱ‪ ،‬ﺍﻟﻨﻈﺮﻳ‪‬ﺔ ﺍﻟﻜﻮﻧﻴ‪‬ﺔ ﺗﺆﻣﻦ ﺃ ﹼﻥ ﺍﻟﺴﻤﻮﺍﺕ ﻋﻠﻰ ﻃﺒﻘﺎﺕ‪ .‬ﻓﻔﻮﻕ‬
‫ﺍﻷﺭﺽ ﻫﻨﺎﻙ ﻗﺒ‪‬ﺔ ﺍﻟﺴﻤﺎﺀ ﻭﻣﻨﻬﺎ ﻳﻨﺤﺪﺭ ﺍﳌﻄﺮ‪ .‬ﻟﻜﻦ ﻓﻮﻗﻬﺎ ﻫﻨﺎﻙ ﲰﺎﺀ ﳌﺴﻜﻦ‬
‫ﺍﷲ‪ ،٤٩‬ﻭﺍﻟﺴﺤﺎﺏ ﺃﺷﺒﻪ ﲟﺮﻛﺒﺔ ﺗﺮﻓﻌﻪ ﺇﱃ ﲰﺎﺋﻪ‪ .‬ﺍﻟﱪﻕ ﻭﺍﻟﺮﻋﺪ ﻫﻲ ﻋﻨﺎﺻﺮ ﺗﻌﺒ‪‬ﺮ‬
‫ﻋﻦ ﺃﺻﻮﺍﺕ ﻭﺳﺮﻋﺔ ﻣﻼﺋﻜﺘﻪ‪ .‬ﻓﻜ ﹼﻞ ﺷﻲﺀ ﰲ ﺍﻟﻜﻮﻥ ﻫﻮ ﰲ ﺧﺪﻣﺔ ﺍﷲ ﺍﳌﻠﻚ‪.‬‬
‫ﻳﺴﲑ ﺍﷲ ﻋﻠﻰ ﺃﺟﻨﺤﺔ ﺍﻟﺮﻳﺎﺡ ﻓﺤﺮﻛﺘﻪ ﺳﺮﻳﻌﺔ ﺟ ‪‬ﺪﹰﺍ ﰲ ﻛ ﹼﻞ ﻣﻜﺎﻥ‪ ،‬ﻭﻻ‬
‫ﺐ ﺣﻴﺚ ﺗﺸﺎﺀ ﻭﺗﺴﻤﻊ ﺻﻮ‪‬ﺎ ﻟﻜﻨ‪‬ﻚ ﻻ‬ ‫ﻧﻌﺮﻑ ﺃﻳﻦ ﺗﺬﻫﺐ ﻭﺃﻳﻦ ﺗﻌﻮﺩ "ﺍﻟﺮﻳﺢ ‪ ‬‬
‫ﺗﻌﻠﻢ ﻣﻦ ﺃﻳﻦ ﺗﺄﰐ ﻭﻻ ﺇﱃ ﺃﻳﻦ ﺗﺬﻫﺐ"‪ .٥٠‬ﻣﺮﻛﺒﺔ ﻣﻦ ﺳﺤﺎﺏ ﻭﺃﺟﻨﺤﺔ ﻣﻦ‬
‫ﻱ ﰲ ﻣﻌﺮﻓﺘﻪ ﻭﻗﺪﺭﺍﺗﻪ ﻋﻈﻤ ﹰﺔ ﻭﺳﺮﻋﺔﹰ‪،‬‬ ‫ﺭﻳﺎﺡ ﻫﻲ ﻋﻨﺎﺻﺮ ﺗﻔﻮﻕ ﺍﻟﻌﺎﱂ ﺍﻟﺒﺸﺮ ‪‬‬
‫ﻭﻫﺬﻩ ﺇﺣﺪﻯ ﻋﻼﺋﻢ ﻋﻈﻤﺔ ﺍﷲ ﺍﳋﺎﻟﻖ ﻭﳎﺪﻩ‪.‬‬

‫‪Μ. Κωνσταντίνου, Το κοσµοείδωλο της Π. ∆., ΕΕΘΣ, τ. 28, Θεσσαλονίκη‬‬ ‫‪ ٤٩‬ﺃﻧﻈﺮ‪:‬‬

‫‪1985.‬‬
‫‪ ٥٠‬ﻳﻮ ‪.٨ ،٣‬‬
‫‪٩٥‬‬
‫ﻫﻜﺬﺍ ﺑﻌﺪ ﺃﻥ ﺗﺼﻮ‪‬ﺭ ﺍﳌﺮﻧ‪‬ﻢ ﻋﻈﻤﺔ ﺍﷲ ﻣﻦ ﻛﻮﻥ ﺍﻟﻨﻮﺭ ﺛﻮﺑﻪ‪ ،‬ﻭﺍﻟﺴﻤﺎﺀ‬
‫ﺧﻴﻤﺔ ﺳﻜﻨﺎﻩ‪ ،‬ﻭﺍﻟﺮﻳﺢ ﻭﺍﻟﺴﺤﺎﺏ ﻣﺮﻛﺒﺘﻪ‪ ،‬ﻳﻨﺘﻘﻞ ﺇﱃ ﺍﻟﺘﺄﻣ‪‬ﻞ ﺑﻌﻈﻤﺘﻪ ﻣﻦ ﺍﻟﻌﺎﱂ‬
‫ﻏﲑ ﺍﳌﻨﻈﻮﺭ‪.‬‬

‫)‪ (٤‬ﺍﻟﺼﺎﻧﻊ ﻣﻼﺋﻜﺘﻪ ﺃﺭﻳﺎﺣﺎﹰ‪ ،‬ﻭﺧﺪ‪‬ﺍﻣﻪ ﳍﻴﺐ ﻧﺎﺭ‬

‫ﺏ ﺍﳋﺎﻟﻖ ﻫﻮ ﺳﻴ‪‬ﺪ ﺍﳋﻠﻴﻘﺔ ﻛﻠﹼﻬﺎ‪ ،‬ﺍﳌﻨﻈﻮﺭﺓ ﻛﺎﻟﺴﻤﺎﺀ ﻭﺍﻟﻐﻴﻮﻡ ﻭﺍﻷﺭﺽ‬ ‫ﺍﻟﺮ ‪‬‬
‫ﻭﺍﻟﺮﻳﺎﺡ‪ ،‬ﻭﻟﻜﻦ ﺃﻳﻀﹰﺎ ﻫﻮ ﺳﻴ‪‬ﺪ ﺍﳋﻠﻴﻘﺔ ﻏﲑ ﺍﳍﻴﻮﻟﻴ‪‬ﺔ ﻭﻏﲑ ﺍﳌﻨﻈﻮﺭﺓ ﻛﺎﳌﻼﺋﻜﺔ‬
‫ﻭﻛﺎﻟﻠﻬﻴﺐ‪ .‬ﻟﻘﺪ ﺻﻨﻊ ﻣﻼﺋﻜﺘﻪ ﺳﺮﻳﻌﲔ ﰲ ﺍﳊﺮﻛﺔ ﻭﺍﳋﺪﻣﺔ ﻳﺄﻣﺮﻫﻢ ﻓﻜﺎﻟﺮﻳﺢ‬
‫ﻳﻬﺒ‪‬ﻮﻥ ﻟﻠﻌﻤﻞ ﻭﺳﺮﻳﻌﹰﺎ ﻳﺼﻠﻮﻥ ﺇﱃ ﻫﺪﻓﻬﻢ ﰲ ﺍﳋﺪﻣﺔ ﻭﻫﻢ ﻏ ‪‬ﲑ ﻣﻨﻈﻮﺭﻳﻦ ﻛﺎﻟﺮﻳﺢ‬
‫ﺍﻟﺴﺮﻳﻌﺔ‪ .‬ﻭﺧﺪﻣﻪ ﻫﺆﻻﺀ – ﺍﳌﻼﺋﻜﺔ‪ -‬ﺣﺎﺭ‪‬ﻭﻥ ﺑﺎﻟﺮﻭﺡ ﻛﺎﻟﻠﻬﻴﺐ‪ ،‬ﻣﺘﻬﻴ‪‬ﺄﻭﻥ ﺩﻭﻣﹰﺎ‬
‫ﻟﺘﻨﻔﻴﺬ ﻛﻼﻣﻪ ﻻ ﻳﻘﻒ ﺑﻮﺟﻬﻬﻢ ﺷﻲﺀ ﻛﺎﻟﹼﻠﻬﻴﺐ ﺍﻟﺬﻱ ﻳﺘﻨﺎﻭﻝ ﻛ ﹼﻞ ﺷﻲﺀ ﻭﻻ‬
‫ﳝﻨﻌﻪ ﺷﻲﺀ!‬
‫ﺳﻔﺮ ﺍﻟﺘﻜﻮﻳﻦ ﻻ ﻳﻌﻠﹼﻤﻨﺎ ﻋﻦ ﻛﻴﻔﻴ‪‬ﺔ ﺧﻠﻖ ﺍﳌﻼﺋﻜﺔ‪ ،‬ﻣﺎ ﻧﻌﺮﻓﻪ ﺑﺎﻷﺳﺎﺱ ﻫﻮ‬
‫ﻣﻦ ﺳﻔﺮ ﺃﻳ‪‬ﻮﺏ‪ .٥١‬ﻭﻫﻨﺎ ﰲ ﺁﻳﺔ ﺍﳌﺰﻣﻮﺭ ﻳﺘ‪‬ﻀﺢ ﺃ ﹼﻥ ﺍﳌﻼﺋﻜﺔ ﻫﻢ ﺧﻠﻴﻘﺔ ﺍﷲ‪ ،‬ﻛﻤﺎ‬
‫ﻳﺆﻛﹼﺪ ﺫﻟﻚ ﺑﻮﻟﺲ ﰲ ﺭﺳﺎﻟﺘﻪ ﺇﱃ ﺍﻟﻌﱪﺍﻧﻴ‪‬ﲔ ﻣﻄﺎﻟﺒﹰﺎ ﺑﺮﻓﻊ ﺍﻟﻌﺒﺎﺩﺓ ﻟﻼﺑﻦ ﻳﺴﻮﻉ‬
‫ﻓﻘﻂ ﺍﻟﺬﻱ ﻫﻮ ﻓﻮﻕ ﺍﳌﻼﺋﻜﺔ ﲟﻘﺪﺍﺭ ﻣﺎ ﻳﻔﻮﻕ ﺍﳋﺎﻟﻖ ﺍﳋﻠﻴﻘﺔ‪ ٥٢‬ﻭﺍﳌﻼﺋﻜﺔ ﻫﻢ‬
‫ﻛﺎﺋﻨﺎﺕ‪" :‬ﻻﻫﻴﻮﻟﻴ‪‬ﺔ" ﻛﻤﺎ ﻧﺬﻛﺮﻫﻢ ﰲ ﺻﻠﻮﺍﺗﻨﺎ )‪ ،(άüλα‬ﺃﻱ ﺃﻧ‪‬ﻬﻢ ﻏ ‪‬ﲑ‬
‫ﻣﻨﻈﻮﺭﻳﻦ‪ ،‬ﳍﻢ ﻣﺎﺩ‪‬ﺓ ﻟﻜﻦ ﻟﻴﺴﺖ ﻇﺎﻫﺮﺓ ﻣﺎﺩ‪‬ﻳﹰﺎ ﺑﺸﻜﻞ ﻛﺜﻴﻒ ﻛﻤﺎﺩ‪‬ﺗﻨﺎ ﻭﻣﻮﺍﺩ‬
‫ﻋﺎﳌﻨﺎ‪ .‬ﳍﺬﺍ ﻧﺴﻤ‪‬ﻴﻬﻢ "ﻏﲑ ﺍﳌﺘﺠﺴ‪‬ﻤﲔ"‪ ،‬ﺃﻱ ﳍﻢ ﻣﺎﺩ‪‬ﺓ ﻟﻜﻨ‪‬ﻬﺎ ﻟﻴﺴﺖ ﻛﺎﳉﺴﻢ‪،‬‬
‫ﺑﻞ ﻏﲑ ﻣﻨﻈﻮﺭﺓ‪ .‬ﳍﺬﺍ ﻳﻘﺎﺭﻥ ﺍﳌﺮ‪‬ﻧ ‪‬ﻢ ﺍﳌﻼﺋﻜ ﹶﺔ ﻣﻊ ﺍﻟﺮﻳﺢ‪ .‬ﻭﺇﻧ‪‬ﻬﻢ "ﺧﺪ‪‬ﺍﻡ" ﻛﻠﻬﻴﺐ‬

‫‪.٧ ،٣٨ ٥١‬‬

‫‪ ٥٢‬ﻋﺐ ‪.٧ ،١‬‬
‫‪٩٦‬‬
‫ﺍﻟﻨﺎﺭ‪ .‬ﻭﱂ ﻳﻘﻞ ﻛﺎﻟﻨﺎﺭ )ﻣﺎﺩ‪‬ﺓ( ﺑﻞ ﻛﻠﻬﻴﺐ ﺍﻟﻨﺎﺭ ﺩﺍ ﹰﻻ ﻋﻠﻰ ﺍﳌﻌﲎ ﺍﻟﺮﻭﺣ ‪‬ﻲ ﺃﻱ‬
‫ﺍﳊﺮﺍﺭﺓ ﰲ ﺍﳋﺪﻣﺔ ﻭﺍﻹﺧﻼﺹ ﻭﺍﻟﻄﻬﺎﺭﺓ ﻭﺍﻟﻘﺪﺍﺳﺔ ﻭﺍﻟﻨﻘﺎﻭﺓ ﻭﺍﻹﺧﻼﺹ‪ .‬ﻫﻜﺬﺍ‬
‫ﻋﺎﻳﻦ ﻣﻮﺳﻰ ﻣﻼﻙ ﺍﷲ ﰲ ﳍﻴﺐ ﻋﹼﻠﻴﻘﺔ ﻣﻠﺘﻬﺒﺔ ﻏﲑ ﳏﺘﺮﻗﺔ‪.٥٣‬‬

‫)‪ (٥‬ﺍﳌﺆﺳ‪‬ﺲ ﺍﻷﺭﺽ ﻋﻠﻰ ﺍﺳﺘﻴﺜﺎﻗﻬﺎ‪ ،‬ﻓﻼ ﺗﺘﺰﻋﺰﻉ ﺇﱃ ﺩﻫﺮ ﺍﻟﺪﺍﻫﺮﻳﻦ‬

‫ﻳﻌﻮﺩ ﺍﳌﺮﻧ‪‬ﻢ ﺑﻨﻈﺮﻩ ﻣﻦ ﺟﻮﻟﺘﻪ ﰲ ﺍﻟﺴﻤﺎﺀ ﳓﻮ ﺍﻷﺭﺽ‪ ،‬ﻓﻴﻨﻈﺮ ﺇﱃ ﻋﻈﻤﺔ‬
‫ﻫﺬﺍ ﺍﳉﺰﺀ ﻣﻦ ﺍﳋﻠﻴﻘﺔ‪ ،‬ﺍﻟﱵ ﺗﺴﲑ ﺑﺎﻧﺘﻈﺎﻡ ﻋﱪ ﺍﻟﺰﻣﺎﻥ ﻭﻻ ﻳﺆﺛﹼﺮ ﻓﻴﻬﺎ ﻋﺒﺚ‬
‫ﻱ ﻣﻦ ﺍﻟﺸﺮﻕ ﺍﻷﺩﱏ‪ ،‬ﺗﺮﺗﻜﺰ ﺍﻷﺭﺽ ﻋﻠﻰ ﻗﻮﺍﻋﺪ‬ ‫ﺍﻹﻧﺴﺎﻥ‪ .‬ﰲ ﻣﻔﻬﻮﻡ ﺍﻟﻴﻬﻮﺩ ‪‬‬
‫ﺃﺳﺎﺳﺎ‪‬ﺎ ﰲ ﺃﻋﻤﺎﻕ ﺍﳌﻴﺎﻩ! ﻓﻬﻲ ﻫﻜﺬﺍ ﺑﺄﺳﺎﺳﺎﺕ ﺛﺎﺑﺘﺔ ﻻ ﺗﺘﺰﻋﺰﻉ‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ‬
‫ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻵﺑﺎﺀ ﺍﻟﻘﺪ‪‬ﻳﺴﲔ ﻻ ﻳﻨﻈﺮﻭﻥ ﺇﱃ ﺍﻟﻨﻈﺎﻡ ﺍﻟﻄﺒﻴﻌ ‪‬ﻲ ﻋﻠﻰ ﺃﻧ‪‬ﻪ ﺃﺗﻮﻣﺎﺗﻴﻜ ‪‬ﻲ‬
‫ﺍﳊﺮﻛﺔ‪ ،‬ﺃﻱ ﻳﻨﻈﹼﻢ ﺫﺍﺗﻪ ﺑﺬﺍﺗﻪ‪ .‬ﺇ ﹼﻥ ﺛﺒﺎﺕ ﺍﳋﻠﻴﻘﺔ ﻭﺍﻧﺘﻈﺎﻡ ﻗﻮﺍﻧﲔ ﻋﻤﻠﻬﺎ ﻻ ﻳﻘﻮﻡ‬
‫ﺑﺎﻷﺳﺎﺱ ﻋﻠﻰ ﻗﻮﺍﻧﲔ ﻓﻴﺰﻳﺎﺋﻴ‪‬ﺔ ﻭﺣﺴﺐ‪ ،‬ﻫﺬﻩ ﺍﻟﻘﻮﺍﻧﲔ ﺗﻔﺴ‪‬ﺮ ﻛﻴﻔﻴ‪‬ﺔ ﺛﺒﺎﺕ‬
‫ﺍﻟﻨﻈﺎﻡ‪ ،‬ﻟﻜﻦ ﺍﻟﺴﺒﺐ ﲝ ‪‬ﺪ ﺫﺍﺗﻪ ﻫﻮ "ﻛﻠﻤﺔ ﺍﷲ"‪ .‬ﺃﺳﺎﺳﺎﺕ ﺍﻟﻜﻮﻥ ﻫﻲ ﻛﻠﻤﺔ ﺍﷲ‪،‬‬
‫ﻭﺇﺭﺍﺩﺗﻪ ﺑﺄﻥ ﻳﻜﻮﻥ‪ .‬ﻓﺈﻥ ﻛﺎﻧﺖ ﺃﺳﺎﺳﺎﺕ ﺍﻷﺭﺽ ﻋﻤﻴﻘﺔ ﻣﺜﺒ‪‬ﺘﺔ ﰲ ﻏﻮﺭ ﺍﻟﺒﺤﺎﺭ‬
‫ﺏ ﺍﻷﺭﺽ ﺑﻜﻤﺎﳍﺎ ﺍﳌﺴﻜﻮﻧﺔ ﻭﻛ ﹼﻞ ﺍﻟﺴﺎﻛﻨﲔ‬ ‫ﻭﺍﻷ‪‬ﺎﺭ‪ ،‬ﻛﻤﺎ ﻳﻘﻮﻝ ﺍﳌﺰﻣﻮﺭ‪" :‬ﻟﻠﺮ ‪‬‬
‫ﻓﻴﻬﺎ‪ ،‬ﻷﻧ‪‬ﻪ ﻋﻠﻰ ﺍﻟﺒﺤﺎﺭ ﺃﺳ‪‬ﺴﻬﺎ ﻭﻋﻠﻰ ﺍﻷ‪‬ﺎﺭ ﺛﺒ‪‬ﺘﻬﺎ"‪.٥٤‬‬
‫ﱯ ﺍﻟﻔ ‪‬ﻢ(‪ .‬ﻓﻼ ﻳﻬﻤ‪‬ﻨﺎ‬
‫ﺇ ﹼﻻ ﺃ ﹼﻥ ﻋﻠﹼﺔ ﻛ ﹼﻞ ﺫﻟﻚ ﻭﺳﺒﺐ ﺛﺒﺎﺗﻪ ﻫﻲ ﺇﺭﺍﺩﺓ ﺍﷲ )ﺍﻟﺬﻫ ‪‬‬
‫ﺏ ﺍﻟﺬﻱ ﻳﺆﺳ‪‬ﺲ‬ ‫ﺃﻳﻦ ﻫﻲ ﺃﺳﺎﺳﺎﺕ ﺍﻷﺭﺽ‪ ،‬ﻟﺬﻟﻚ ﻳﻌﻠﻦ ﺍﳌﺮﻧ‪‬ﻢ ﺗﺴﺒﻴﺤﻪ ﻟﻠﺮ ‪‬‬
‫ﺍﻷﺭﺽ ﻓﻼ ﺗﺘﺰﻋﺰﻉ‪ .‬ﺃﺳﺎﺳﺎﺕ ﺍﻷﺭﺽ ﻫﻲ ﺇﺫﻥ ﻋﻨﺎﻳﺔ ﺍﷲ ﻭﳏﺒ‪‬ﺘﻪ ﻟﻠﺒﺸﺮ ﻭﺇﺭﺍﺩﺗﻪ‬
‫ﺃﻥ ﻳﻀﻊ ﻫﺬﻩ ﺍﳋﻠﻴﻘﺔ ﰲ ﺧﺪﻣﺔ ﺍﻹﻧﺴﺎﻥ‪ .‬ﻋﻠﻰ ﺃ ﹼﻥ ﺍﳌﺮﻧ‪‬ﻢ ﻳﺴﺘﺨﺪﻡ ﻫﻨﺎ ﺯﻣﻨ‪‬ﻴﹰﺎ‬

‫‪ ٥٣‬ﺧﺮ ‪.٢ ،٣‬‬

‫‪.٢ -١ ،٢٣ ٥٤‬‬
‫‪٩٧‬‬
‫ﻛﻠﻤﺔ "ﺩﻫﺮ ﺍﻟﺪﺍﻫﺮﻳﻦ"‪ ،‬ﻓﻬﺬﺍ ﺍﻟﺰﻣﻦ ﻫﻮ ﺯﻣﻦ ﻋﺎﳌﻨﺎ ﺣﺘ‪‬ﻰ ﻳﻮﻡ ﺍﻟﻘﻴﺎﻣﺔ ﺍﻟﻌﺎﻣ‪‬ﺔ‪.‬‬
‫ﺏ‬
‫ﱐ ﺗﺰﻭﻝ ﻓﻴﻪ ﺍﻟﺴﻤﺎﺀ ﻭﺍﻷﺭﺽ ﰲ ﻳﻮﻡ ﳎﻲﺀ ﺍﻟﺮ ‪‬‬ ‫ﺣﲔ ﺳﻴﻌﻠﻦ ﻋﻦ ﲡﺪﻳﺪ ﻛﻮ ﹼ‬
‫ﺍﻟﻌﻈﻴﻢ‪.٥٥‬‬

‫)‪ (٦‬ﺭﺩﺍﺅﻩ ﺍﻟﻠﺠ‪‬ﺔ ﻛﺎﻟﺜﻮﺏ‪ ،‬ﻋﻠﻰ ﺍﳉﺒﺎﻝ ﺗﻘﻒ ﺍﳌﻴﺎﻩ‬

‫ﲢﻴﻂ ﺍﳌﻴﺎﻩ ﻭﺍﶈﻴﻄﺎﺕ ﺑﺎﻟﻴﺎﺑﺴﺔ ﻛﺮﺩﺍﺀ ﺣﻮﳍﺎ‪ ،‬ﻟﻜﻦ ﻋﺎﱂ ﺍﳌﻴﺎﻩ ﺍﻟﻜﺒﲑﺓ‬
‫ﻣﻬﻴﺐ ﻭﳎﻬﻮﻝ! ﻓﺎﻟﻠﺠ‪‬ﺔ ﻫﻲ ﺍﻟﺒﻘﻌﺔ ﺍﻟﱵ ﻻ ﳚﻮﺯ ﻹﻧﺴﺎﻥ ﻋﺒﻮﺭﻫﺎ ﻭﺍﻻﺟﺘﻴﺎﺯ‬
‫ﻓﻴﻬﺎ‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﺍﷲ ﻳﺴﻴﻄﺮ ﻋﻠﻰ ﻫﺬﻩ ﺍﻟﻌﻮﺍﱂ ﺍﳌﻬﻴﺒﺔ ﻭﻳﻄﻮﻳﻬﺎ ﻛﺮﺩﺍﺀ ﻳﻠﺘﺤﻔﻪ ﲞﻔﹼﺔ‬
‫ﻭﺳﻬﻮﻟﺔ! ﻟﻜﻦ ﻫﺬﻩ ﺍﻟﻠﹼﺠﺞ ﺍﳌﻬﻴﺒﺔ ﺑﺄﻣﻮﺍﺟﻬﺎ ﺍﳌﺨﻴﻔﺔ ﺍﳍﺎﺋﺠﺔ ﻭﺍﳉﺒﺎﺭﺓ ﻫﻲ ﲢﺖ‬
‫ﺳﻴﻄﺮﺓ ﻳﺪ ﺍﷲ ﺍﳌﻌﺘﻨﻴﺔ‪ ،‬ﻟﺬﻟﻚ ﻭﺿﻊ ﺍﷲ ﺍﳉﺒﺎﻝ ﻭﺍﻟﺸﻮﺍﻃﺊ ﺍﻟﻌﺎﻟﻴﺔ ﻟﺘﺘﺼﺪ‪‬ﻯ ﳍﺬﻩ‬
‫ﺍﻟﻘﻮ‪‬ﺓ ﺍﻟﻔﺘ‪‬ﺎﻛﺔ ﻭﻳﻀﻊ ﳍﺎ ﺣ ‪‬ﺪﹰﺍ ﺗﻘﻒ ﻋﻨﺪﻩ‪.‬‬

‫)‪ (٧‬ﻣﻦ ﺍﻧﺘﻬﺎﺭﻙ ‪‬ﺮﺏ‪ ،‬ﻭﻣﻦ ﺻﻮﺕ ﺭﻋﺪﻙ ﲡﺰﻉ‬

‫"ﻭﻗﺎﻝ ﺍﷲ ﻟﺘﺠﺘﻤﻊ ﺍﳌﻴﺎ ‪‬ﻩ ﲢﺖ ﺍﻟﺴﻤﺎﺀ ﺇﱃ ﻣﻜﺎ ‪‬ﻥ ﻭﺍﺣﺪ ﻭﻟﺘﻈﻬﺮ ﺍﻟﻴﺎﺑﺴﺔ‪،‬‬
‫ﻭﻛﺎﻥ ﺫﻟﻚ"‪ .٥٦‬ﻫﺬﻩ ﻛﻠﻤﺎﺕ ﺳﻔﺮ ﺍﻟﺘﻜﻮﻳﻦ ﺍﻟﱵ ﻳﺘﺄﻣ‪‬ﻞ ﻓﻴﻬﺎ ﻣﺮﻧ‪‬ﻢ ﺍﳌﺰﺍﻣﲑ‪،‬‬
‫ﻭﳝﺠ‪‬ﺪ ﺍﷲ ﻋﻠﻰ ﻋﺰ‪‬ﺗﻪ‪ ،‬ﻓﻬﻮ ﻳﺄﻣﺮ ﻫﺬﺍ ﺍﻟﻌﺎﱂ ﺍ‪‬ﻬﻮﻝ ﻭﺍﻟﻘﻮﻱ‪ ،‬ﻋﺎﱂ ﺍﻟﻠﹼﺠﺞ‬
‫ﻱ‬
‫ﺏ ﺃﻗﻮﻯ ﻣﻦ ﻣﻬﺎﺑﺔ ﺃ ‪‬‬ ‫ﻭﺍﶈﻴﻄﺎﺕ‪ ،‬ﳚﻤﻌﻬﺎ ﺑﻜﻠﻤﺔ ﻭﻳ‪‬ﻈﻬﺮ ﺍﻷﺭﺽ‪ .‬ﺃﻣ ‪‬ﺮ ﺍﻟﺮ ‪‬‬
‫ﺏ ﻛﺎﻟﺮﻋﺪ‬ ‫ﻋﻨﺼﺮ ﻣﻦ ﻋﻨﺎﺻﺮ ﺍﳋﻠﻴﻘﺔ ﻣﻬﻤﺎ ﻛﺎﻥ ﳐﻴﻔﹰﺎ ﻟﻺﻧﺴﺎﻥ‪ .‬ﺻﻮﺕ ﺍﻟﺮ ‪‬‬
‫ﻳﺰﻟﺰﻝ ﺍﳉﺒﺎﻝ ﻭﲡﺰﻉ ﻣﻨﻪ ﺍﳌﻴﺎﻩ‪ ،‬ﻭﻋﻨﺪﻣﺎ ﺻﺎﺭ ﺻﻮﺗﻪ ﺗﻜﻮ‪‬ﻧﺖ ﺍﳌﺴﻜﻮﻧﺔ‪" :‬ﺃﺭﻋﺪ‬
‫ﺏ ﻣﻦ ﺍﻟﺴﻤﻮﺍﺕ ﻭﺍﻟﻌﻠ ‪‬ﻲ ﺃﻃﻠﻖ ﺻﻮﺗﻪ‪ ...‬ﻓﻈﻬﺮﺕ ﺃﻋﻤﺎﻕ ﺍﳌﻴﺎﻩ ﻭﺍﻧﻜﺸﻔﺖ‬ ‫ﺍﻟﺮ ‪‬‬

‫‪ ٥٥‬ﻣﱴ ‪٣٥ ،٢٤‬؛ ‪ ٢‬ﺑﻂ ‪.١٠ ،٣‬‬

‫‪ ٥٦‬ﺗﻚ ‪.٩ ،١‬‬
‫‪٩٨‬‬
‫ﺏ ﻣﻦ ﻧﺴﻤﺔ ﺭﻳﺢ ﺃﻧﻔﻚ" ﻳﻘﻮﻝ ﺍﳌﺰﻣﻮﺭ‪.٥٧‬‬ ‫ﺃﺳﺲ ﺍﳌﺴﻜﻮﻧﺔ ﻣﻦ ﺭﺟﺰﻙ ﻳﺎ ﺭ ‪‬‬
‫ﺏ‬
‫ﺏ ﺑﺎﻟﻘﻮ‪‬ﺓ ﺻﻮﺕ ﺍﻟﺮ ‪‬‬
‫ﺏ ﻋﻠﻰ ﺍﳌﻴﺎﻩ‪ ،‬ﺇﻟﻪ ﺍ‪‬ﺪ ﺃﺭﻋﺪ‪ ...‬ﺻﻮﺕ ﺍﻟﺮ ‪‬‬ ‫"ﺻﻮﺕ ﺍﻟﺮ ‪‬‬
‫ﻚ ﺍﳌﻴﺎﻩ ﻓﺠﺰﻋﺖ"‪ .‬ﺗﺬ ﹼﻛﺮﻧﺎ ﻫﺬﻩ ﺍﻟﺼﻮﺭ ﻭﺍﻟﻜﻠﻤﺎﺕ ﺑﺘﺮﺍﻧﻴﻢ‬ ‫ﺑﺎﳉﻼﻝ"‪" ٥٨،‬ﺭﺃ‪‬ﺗ ‪‬‬
‫ﻋﻴﺪ ﺍﻟﻈﻬﻮﺭ ﺍﻹﳍ ‪‬ﻲ ﻭﺍﻟﻐﻄﺎﺱ‪ ،‬ﺣﻴﺚ ﺗﻌﻠﻦ ﺍﻟﺘﺮﺍﻧﻴﻢ ﺳﻴﻄﺮﺓ ﺍﷲ ﻭﻋﻨﺎﻳﺘﻪ ﻋﻠﻰ‬
‫ﺃﺭﻫﺐ ﻗﻮﻯ ﺍﻟﻄﺒﻴﻌﺔ‪ ،‬ﺍﳌﻴﺎﻩ‪.‬‬

‫)‪ (٨‬ﺗﺮﺗﻔﻊ ﺍﳉﺒﺎﻝ ﻭﺗﻨﺨﻔﺾ ﺍﻟﺒﻘﺎﻉ‪ ،‬ﺇﱃ ﺍﳌﻮﺿﻊ ﺍﻟﺬﻱ ﺃﺳ‪‬ﺴﺘ‪‬ﻪ ﳍﺎ‬
‫ﺏ ﻟﻠﻤﻴﺎﻩ ﺍﳉﺒ‪‬ﺎﺭﺓ ﺣﺪﻭﺩﻫﺎ‪ ،‬ﻛﺬﻟﻚ ﳛﺪ‪‬ﺩ ﻟﻠﺴﻬﻮﻝ‬ ‫ﻛﻤﺎ ﻳﻀﻊ ﺍﻟﺮ ‪‬‬
‫ﺍﳌﻨﺨﻔﻀﺔ ﻭﺍﳉﺒﺎﻝ ﺍﳌﺮﺗﻔﻌﺔ ﺃﻳﻀﹰﺎ ﻣﻮﺍﻗﻌﻬﺎ‪ ،‬ﻛﻠﹼﻬﺎ ﺑﺄﻣﺮ ﺍﷲ ﺻ‪‬ﻨﻌﺖ‪ ،‬ﻗﺎﻝ ﻓﻜﺎﻧﺖ‪،‬‬
‫ﷲ ﺍﳋﺎﻟﻖ ﻋﻠﻰ ﲨﻌﻪ ﻟﻠﻤﻴﺎﻩ ﺇﱃ ﺃﻣﺎﻛﻨﻬﺎ‪،‬‬ ‫ﺖ‪ .‬ﻓﺒﻌﺪ ﺃﻥ ﺳﺒ‪‬ﺢ ﺍﳌﺮ‪‬ﻧ ‪‬ﻢ ﺍ َ‬
‫ﺃ ‪‬ﻣ ‪‬ﺮ ﻓﺨ‪‬ﻠﻘ ‪‬‬
‫ﻭﺣﺴﺐ ﺳﻔﺮ ﺍﻟﺘﻜﻮﻳﻦ ﺣﻴﻨﻬﺎ ﻇﻬﺮﺕ ﺍﻟﻴﺎﺑﺴﺔ‪ ٥٩‬ﻭﻫﺬﻩ ﺍﻟﻴﺎﺑﺴﺔ ﺗﺸﻜﹼﻠ ‪‬‬
‫ﺖ ﺑﺄﻣﺮﻩ‬
‫ﺟﺒﺎ ﹰﻻ ﻣﺮﺗﻔﻌﺔ ﻭﻭﺩﻳﺎﻧﹰﺎ ﻣﻨﺨﻔﻀﺔ‪ .‬ﻛ ﹼﻞ ﺷﻲﺀ ﰲ ﺍﳋﻠﻴﻘﺔ ﺑﺄﻣﺮ ﺍﷲ ﻭﻣﻌﺮﻓﺘﻪ‬
‫ﻭﺇﺭﺍﺩﺗﻪ‪.‬‬

‫ﺖ ﳍﺎ ﺣﺪ‪‬ﹰﺍ ﻓﻼ ﺗﺘﻌﺪ‪‬ﺍﻩ‪ ،‬ﻭﻻ ﺗﺮﺟﻊ ﻓﺘﻐﻄﹼﻲ ﻭﺟﻪ ﺍﻷﺭﺽ‬

‫)‪ (٩‬ﺟﻌﻠ ‪‬‬
‫ﻫﻜﺬﺍ ﻓﺼﻞ ﺍﷲ ﰲ ﺍﳋﻠﻖ ﺑﲔ ﺍﳌﻴﺎﻩ ﻭﺍﻟﻴﺎﺑﺴﺔ‪ ،‬ﻓﺎ‪‬ﺪ ﻟﺴﻴ‪‬ﺪ ﺍﻟﻠﹼﺠﺞ‬
‫ﺴﺤﺐ‪ ،‬ﳌﻦ ﺷﻜﹼﻞ ﺍﻟﻴﺎﺑﺴﺔ ﺑﻮﺩﻳﺎ‪‬ﺎ ﻭﺟﺒﺎﳍﺎ‪ ،‬ﻭﻟﻜﻦ ﺍﻟﻌﻈﻤﺔ ﺃﻳﻀﹰﺎ ﷲ ﺍﻟﺬﻱ‬ ‫ﻭﺍﻟ ‪‬‬
‫ﻧﻈﹼﻢ ﺍﳊ ‪‬ﺪ ﺑﲔ ﺍﻟ ‪‬ﱪ ﻭﺍﻟﺒﺤﺮ‪ ،‬ﺑﲔ ﺍﳌﻴﺎﻩ ﻭﺍﻟﻴﺎﺑﺴﺔ‪ .‬ﻟﻘﺪ ﻭﺿﻊ ﺍﷲ ﻧﻈﺎﻣﹰﺎ ﻃﺒﻴﻌ‪‬ﻴﹰﺎ‬
‫ﻟﻠﺨﻠﻴﻘﺔ ﻻ ﺗﺘﻌﺪ‪‬ﺍﻩ ﻭﺗﻨﺘﻈﻢ ﻋﻠﻴﻪ‪ .‬ﻭﻫﺬﺍ ﺍﻟﻨﻈﺎﻡ ﻳﺬﻫﻞ ﺍﻹﻧﺴﺎﻥ ﺑﺘﺮﺗﻴﺒﻪ ﻭﺣﻜﻤﺘﻪ‪.‬‬

‫‪.١٤ ،١٧ ٥٧‬‬

‫‪ ٥٨‬ﻣﺰ ‪.٣ ،٢٨‬‬
‫‪.٩ ،١ ٥٩‬‬
‫‪٩٩‬‬
‫ﳛﻜﻢ ﺍﷲ ﺍﻟﻌﺎﱂ ‪‬ﺬﺍ ﺍﻟﻨﻈﺎﻡ ﻭﻳﺴﻮﺳﻪ ﺑﺪﻗﹼﺔ‪ .‬ﺑﺎﻟﻄﺒﻊ ﺇ ﹼﻥ ﺍﻟﻄﻮﻓﺎﻥ ﺍﻟﺬﻱ ﻳﺬﻛﺮﻩ‬
‫ﺍﻟﻜﺘﺎﺏ ﻻ ﻳﺸﻜﹼﻞ ﳊﻈﺔ ﺧﻄﺄ ﰲ ﻫﺬﺍ ﺍﻟﻨﻈﺎﻡ ﺃﻭ ﻫﺮﻭﺏ ﻣﻦ ﻳﺪ ﺍﷲ ﺍﻟﻀﺎﺑﻄﺔ‬
‫ﺹ ﻣﻨﻪ ﺗﺄﺩﻳﺒـ ‪‬ﻲ ﺁﻧﺬﺍﻙ‪ .‬ﺍﷲ ﻫﻮ ﻭﺍﺿﻊ‬
‫ﻟﻠﻜﻞﹼ‪ ،‬ﺇﻧ‪‬ﻤﺎ ﻳﺸﻜﻞ ﻣﻈﻬﺮ ﻃﺎﻋﺔ ﻷﻣﺮ ﺧﺎ ‪‬‬
‫ﻱ ﻛﻤﺎ ﺣﺪﺙ ﰲ‬ ‫ﺍﻟﻨﻈﺎﻡ ﺍﻟﻄﺒﻴﻌ ‪‬ﻲ ﺍﻟﻔﻴﺰﻳﺎﺋ ‪‬ﻲ ﻭﻫﻮ ﻳﺒﺪ‪‬ﻟﻪ ﺑﺄﻣﺮﻩ ﻟﺴﺒﺐ ﺗﺮﺑﻮ ‪‬‬
‫ﺍﻟﻄﻮﻓﺎﻥ‪ .‬ﻳﻌﻠﻦ ﻫﻨﺎ ﺑﻘﻮ‪‬ﺓ ﺍﳌﺮﻧ‪‬ﻢ ﳎﺪ ﺍﷲ‪ ،‬ﺍﻟﺬﻱ ﻻ ﺗﻐﻠﺒﻪ ﺃﻧﻈﻤﺔ ﺍﻟﻄﺒﻴﻌﺔ ﺑﻞ ﲣﻀﻊ‬
‫ﻟﻪ ﺇﻧ‪‬ﻪ ﻭﺍﺿﻌﻬﺎ‪.‬‬

‫ﱪ ﺍﳌﻴﺎﻩ‬
‫ﺖ ﺍﳌﺮﺳﻞ ﺍﻟﻌﻴﻮﻥ ﰲ ﺍﻟﺸﻌﺎﺏ‪ ،‬ﰲ ﻭﺳﻂ ﺍﳉﺒﺎﻝ ﺗﻌ ‪‬‬ ‫)‪ (١٠‬ﺃﻧ ‪‬‬
‫ﻓﺼﻞ ﺍﷲ ﺑﲔ ﺍﳌﻴﺎﻩ ﻭﺍﻟﻴﺎﺑﺴﺔ‪ ،‬ﻭﻧﻈﹼﻢ ﻟﻜ ﹼﻞ ﻣﻨﻬﺎ ﺣﺪ‪‬ﻫﺎ‪ .‬ﻟﻜﻦ ﺑﺴﺒﺐ ﻣﺎ‬
‫ﲢﺘﺎﺟﻪ ﻣﻦ ﻣﺎﺀ‪ ،‬ﺟﻌﻞ ﺍﷲ ﻋﻴﻮﻧﹰﺎ ﻭﻳﻨﺎﺑﻴ ‪‬ﻊ ﰲ ﺍﻟﺸﻌﺎﺏ‪ ،‬ﲡﺮﻱ ﺑﲔ ﺍﳉﺒﺎﻝ ﰲ‬
‫ﺍﻟﻮﺩﻳﺎﻥ‪ .‬ﻫﻨﺎﻙ ﺭﺳﻢ ﳍﺎ ﺧﻄﹼﻬﺎ ﲝﻴﺚ ﲣﺪﻡ ﺍﻟﻴﺎﺑﺴﺔ ﻭﻻ ‪‬ﺪ‪‬ﺩﻫﺎ‪ .‬ﻫﺬﺍ ﺍﻟﺘﻨﺎﻏﻢ ﺑﲔ‬
‫ﺍﳌﻨﻊ ﻭﺍﻟﺴﻤﺎﺡ ﺗﻨﻈﻴﻢ ﻫﻮ ﻳﺪ ﹼﻝ ﻋﻠﻰ ﺣﻜﻤﺔ ﺍﷲ ﻭﻋﻈﻤﺘﻪ ﻭﻗﺪﺭﺗﻪ‪ .‬ﻫﻨﺎﻙ ﻣﺸﻬﺪ‬
‫ﻣﻦ ﺍﳍﺮﻣﻮﻧﻴ‪‬ﺔ ﻭﺍﻟﺴﻼﻡ ﺑﲔ ﻋﻨﺎﺻﺮ ﺍﻟﻄﺒﻴﻌﺔ ﺍﳌﺘﻌﺎﻛﺴﺔ‪ ،‬ﺍﳌﻴﺎﻩ ﻭﺍﻟﻴﺒﺲ‪ .‬ﻟﻴﺴﺖ‬
‫ﺍﻟﻌﻼﻗﺔ ﻫﻲ ﺍﳋﻄﺮ ﻭﺍﳋﻮﻑ ﺑﻞ ﲢﺖ ﺍﻟﻨﻈﺎﻡ ﺍﻹﳍ ‪‬ﻲ ﻛ ﹼﻞ ﺷﻲﺀ ﻳﻘﻮﺩ ﻟﻠﺘﻜﺎﻣﻞ‬
‫ﻭﺍﳌﺴﺎﻋﺪﺓ‪.٦٠‬‬

‫)‪ (١١‬ﺗﺴﻘﻲ ﻛﻞﹼ ﻭﺣﻮﺵ ﺍﻟﻐﻴﺎﺽ‪ ،‬ﺗ‪‬ﻘﺒﹺﻞ ﲪﲑ ﺍﻟﻮﺣﺶ ﻋﻨﺪ ﻋﻄﺸﻬﺎ‬

‫ﻳﺮﺳﻞ ﺍﷲ ﺍﳌﺎﺀ ﺑﲔ ﺍﳉﺒﺎﻝ ﻭﳜﺮﺟﻬﺎ ﻳﻨﺎﺑﻴ ‪‬ﻊ ﻋﻨﺎﻳ ﹰﺔ ﺣﺘ‪‬ﻰ ﺑﺎﻟﻮﺣﻮﺵ ﻭﲪﲑ‬
‫ﺍﻟﻮﺣﺶ‪ ،‬ﻷ ﹼﻥ ﻋﻨﺎﻳﺘﻪ ﻻ ﺗﻨﺴﻰ ﺣﺘ‪‬ﻰ ﺍﻟﻮﺣﻮﺵ ﻭﻟﻮ ﺍﺑﺘﻌﺪ ﻋﻨﻬﺎ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻓﻬﺬﻩ‬
‫ﺃﻳﻀﹰﺎ ﺗﻌﻄﺶ ﺟ ‪‬ﺪﹰﺍ ﻭﲢﺘﺎﺝ ﳌﻴﺎﻩ ﻭﺍﷲ ﻳﻌﺘﲏ ‪‬ﺎ‪ .‬ﻓﺈﺫﺍ ﻛﺎﻥ ﺍﷲ ﻳﻬﺘ ‪‬ﻢ ﻭﻳﻌﺘﲏ‬

‫‪٦٠‬‬
‫ﺃﻧﻈﺮ‪H . J. Kravs, Die Psalmen, p. 882 :‬‬
‫‪١٠٠‬‬
‫ﻱ ﺃ ﹾﻥ ﻳﻬﺘ ‪‬ﻢ ﺑﻨﺎ ﳓﻦ ﺍﻟﺒﺸﺮ‪،‬‬
‫ﺑﺎﻟﻮﺣﻮﺵ ﻭﺑﺰﻧﺎﺑﻖ ﺍﳊﻘﻞ ﻭﺍﻟﻄﻴﻮﺭ‪ ...‬ﻓﻜﻢ ﺑﺎﳊﺮ ‪‬‬
‫ﻓﻜﻢ ﺑﺎﻷﺣﺮﻯ ﺃﻥ ﻧﻄﻠﺐ ﺃ ‪‬ﻭ ﹰﻻ ﻣﻠﻜﻮﺕ ﺍﷲ ﻭﺑﺮ‪‬ﻩ ﻭﺑﻌﺪﻫﺎ ﻛ ﹼﻞ ﺷﻲﺀ ﻳﺰﺍﺩ ﻟﻨﺎ‪.‬‬
‫ﺏ ﻋﻠﻰ ﺍﻷﺭﺽ ﺃﻳﻀﹰﺎ‪.‬‬ ‫ﻋﻨﺎﻳﺔ ﺍﷲ ﻭﺍﺳﻌﺔ ﺗﺸﻤﻞ ﺍﻹﻧﺴﺎﻥ ﺃ ‪‬ﻭ ﹰﻻ ﻭﻟﻜﻦ ﻛ ﹼﻞ ﺣﻴﺎﺓ ﺗﺪ ‪‬‬

‫)‪ (١٢‬ﻋﻠﻴﻬﺎ ﻃﻴﻮﺭ ﺍﻟﺴﻤﺎﺀ ﺗﺴﻜﻦ‪ ،‬ﻣﻦ ﺑﲔ ﺍﻟﺼﺨﻮﺭ ﺗﻐﺮ‪‬ﺩ ﺑﺄﺻﻮﺍ‪‬ﺎ‬

‫ﻳﻮﺭﺩ ﺳﻔﺮ ﺍﻟﺘﻜﻮﻳﻦ ﺧﻠﻖ ﺍﻟﻄﻴﻮﺭ‪ ،٦١‬ﻭﳍﺬﺍ ﻳﺮﻓﻊ ﻧﻈﺮﻩ ﺍﳌﺮﻧ‪‬ﻢ ﺇﱃ ﻫﺬﺍ‬
‫ﺍﻟﻘﺴﻢ ﻣﻦ ﺍﻟﻌﺎﱂ ﺍﳊ ‪‬ﻲ‪ .‬ﻭﻫﺬﻩ ﻻ ﺗﻨﺴﺎﻫﺎ ﻋﻨﺎﻳﺔ ﺍﷲ ﺍﳋﺎﻟﻖ ﻭﳏﺒ‪‬ﺘﻪ‪ .‬ﻋﻠﻰ ﻳﻨﺎﺑﻴﻊ‬
‫ﺍﳌﻴﺎﻩ ﲢﻮﻡ ﻃﻴﻮﺭ ﺍﻟﺴﻤﺎﺀ ﻭﺗﺴﻜﻦ ﻟﺘﺮﻭﻱ ﻋﻄﺸﻬﺎ ﻣﻦ ﻳﺪ ﺍﷲ ﺍﳉﻮ‪‬ﺍﺩ‪.‬‬

‫ﺖ ﺍﻟﺬﻱ ﻳﺴﻘﻲ ﺍﳉﺒﺎﻝ ﻣﻦ ﻋﻼﻟﻴﻪ‪ ،‬ﻣﻦ ﲦﺮﺓ ﺃﻋﻤﺎﻟﻚ ﺗﺸﺒﻊ ﺍﻷﺭﺽ‬ ‫)‪ (١٣‬ﺃﻧ ‪‬‬
‫ﺍﻟﻌﻼﱄ ﻫﻲ ﺍﻟﺴﻤﺎﺀ ﺣﻴﺚ ﺍﻟﻐﻴﻮﻡ ﺍﻟﱵ ﲤﻄﺮ ﻋﻠﻰ ﺍﻷﺭﺽ ﻣﻦ ﺧﲑﺍﺕ ﺍﷲ‬
‫ﻭﻋﻨﺎﻳﺘﻪ‪ .‬ﻭﻛ ﹼﻞ ﺍﻷﺭﺽ ﺗﺸﺒﻊ ﻭﺗﺮﺗﻮﻱ‪ ،‬ﻟﻴﺲ ﺍﳉﺒﺎﻝ ﻓﻘﻂ‪ ،‬ﻛ ﹼﻞ ﻫﺬﻩ ﺍﳋﲑﺍﺕ‬
‫ﺗﺄﰐ ﻣﻦ ﻳﺪ ﺍﷲ ﺍﶈﺴِﻨﺔ‪ .‬ﻫﻜﺬﺍ ﻫﻨﺎﻙ ﺣﻴﺚ ﻻ ﻳﻮﺟﺪ ﻣﻴﺎﻩ ﻋﻠﻰ ﺍﳉﺒﺎﻝ ﺍﻟﻌﺎﻟﻴﺔ‬
‫ﻳﺴﻜﺐ ﺍﷲ ﻣﻦ ﻧﻌﻤﺔ ﺍﻷﻣﻄﺎﺭ‪ .‬ﻋﻨﺪﻫﺎ ﺗﺸﺒﻊ ﺍﻷﺭﺽ ﻛﻠﹼﻬﺎ ﻭﺗﺜﻤﺮ‪ .‬ﻋﻨﺎﻳﺔ ﺍﷲ‬
‫ﺷﺎﻣﻠﺔ ﻟﻜ ﹼﻞ ﺍﳋﻠﻴﻘﺔ ﻭﻟﻜﻮﻛﺒﻨﺎ ﺍﻟﺼﻐﲑ ﻭﻟﻜ ﹼﻞ ﺻﻐﲑ ﺃﻭ ﻛﺒﲑ ﻓﻴﻪ‪ ،‬ﲝﻴﺚ ﺃ ﹼﻥ ﻛ ﹼﻞ‬
‫ﺷﻲﺀ ﻳﻌﻄﻲ ﲦﺮﻩ‪ .‬ﺍﳋﺼﻮﺑﺔ ﺇﺫﻥ ﻟﻴﺴﺖ ﻣﻦ ﺍﻷﺭﺽ‪ ،‬ﺑﻞ ﻣﻦ ﻧﻌﻤﺔ ﺍﷲ‪.‬‬

‫ﺖ ﺍﻟﺬﻱ ﻳﻨﺒﺖ ﺍﻟﻌﺸﺐ ﻟﻠﺒﻬﺎﺋﻢ‪ ،‬ﻭﺍﳋﻀﺮﺓ ﳋﺪﻣﺔ ﺍﻟﺒﺸﺮ‬

‫)‪ (١٤‬ﺃﻧ ‪‬‬
‫ﲤﻄﺮ ﺍﻟﺴﻤﺎﺀ ﻭﻳﺮﺳﻞ ﺍﷲ "ﺍﻷﻭﻗﺎﺕ ﻭﺍﻷﺯﻣﻨﺔ" ﺍﳌﻨﺎﺳﺒﺔ‪ ،‬ﻛﻤﺎ ﻧﻄﻠﺐ ﰲ‬
‫ﺻﻠﻮﺍﺗﻨﺎ‪" :‬ﻣﻦ ﺃﺟﻞ ﺧﺼﺐ ﺍﻷﺭﺽ ﺑﺎﻟﺜﻤﺎﺭ ﻭﺃﻭﻗﺎﺕ ﺳﻼﻣﻴ‪‬ﺔ )ﻣﻮﺍﻓﻘﺔ(‪ ،‬ﺇﱃ‬

‫‪.٢١ ،١ ٦١‬‬
‫‪١٠١‬‬
‫ﺏ ﻧﻄﻠﺐ"‪ .‬ﻭﻧﺘﻴﺠﺔ ﻫﺬﻩ ﺍﻟﻌﻨﺎﻳﺔ ﺍﻹﳍﻴ‪‬ﺔ ﺗﻨﺒﺖ ﺍﻷﺭﺽ ﻋﺸﺒﹰﺎ ﻟﻠﺒﻬﺎﺋﻢ ﻭﺧﻀﺮﺓ‬ ‫ﺍﻟﺮ ‪‬‬
‫ﻟﻄﻌﺎﻡ ﺍﻟﺒﺸﺮ‪ .‬ﺇ ﹼﻥ ﺍﻟﻌﺸﺐ ﻧﺒﺎﺕ ﲣﺮﺟﻪ ﺍﻷﺭﺽ ﲟﺠﺮ‪‬ﺩ ﺗﻠﻘﹼﺖ ﻫﺒﺔ ﺍﻟﺴﻤﺎﺀ ﻣﻦ‬
‫ﺍﻷﻣﻄﺎﺭ ﺍﳌﻮﺍﻓﻘﺔ‪ .‬ﺃﻣ‪‬ﺎ "ﺍﳋﻀﺮﺓ ﳋﺪﻣﺔ ﺍﻹﻧﺴﺎﻥ"‪ ،‬ﻓﻬﻲ ﻧﺒﺎﺗﺎﺕ ﲣﺮﺝ ﻣﻦ ﺍﻷﺭﺽ‬
‫ﻣﻊ ﺧﺪﻣﺔ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻭﲢﺘﺎﺝ ﻟﻠﺤﺮﺍﺛﺔ ﻭﺍﻟﺰﺭﻉ ﻭﺍﳊﺼﺎﺩ‪ ...‬ﻓﺎﳌﻘﺼﻮﺩ ﻫﻨﺎ‬
‫ﺑـ "ﳋﺪﻣﺔ ﺍﻹﻧﺴﺎﻥ" ﻫﻮ "ﻟﻌﻤﻞ ﺍﻹﻧﺴﺎﻥ"‪ ،‬ﻭﺑﻌﻤﻠﻪ ﻫﺬﺍ ﳜﺮﺝ ﺍﻹﻧﺴﺎﻥ ﻣﻦ‬
‫ﺗﻠﻚ ﺍﳋﻀﺮﺓ ﺧﺒﺰﻩ ﺍﻟﻴﻮﻣ ‪‬ﻲ‪ .‬ﻗﺪ ﺗﻌﲏ ﺍﻟﻌﺒﺎﺭﺓ ﻫﻨﺎ ﺑﻜﻠﻤﺔ "ﺧﻀﺮﺓ" ﺳﻨﺎﺑﻞ ﺍﻟﻘﻤﺢ‬
‫ﻭﺑﺎﳋﺒﺰ ﻣﺎ ﻳﻨﺘﺞ ﻋﻨﻬﺎ‪ .‬ﻟﻜﻦ ﺑﺼﻮﺭﺓ ﺃﻋ ‪‬ﻢ ﺍﳌﻘﺼﻮﺩ ﻫﻮ ﺃ ﹼﻥ ﺃﻣﻄﺎﺭ ﺍﻟﺴﻤﺎﺀ ﺗﻨـﺰﻝ‬
‫ﻣﻦ ﻋﻨﺎﻳﺔ ﺍﷲ ﻋﻠﻰ ﺍﻷﺭﺽ ﻓﺘﻨﺒﺖ ﻟﻠﺤﻴﻮﺍﻧﺎﺕ ﻋﺸﺒﹰﺎ ﻟﻄﻌﺎﻣﻬﺎ‪ ،‬ﻭﺗﺴﺎﻋﺪ ﺧﺪﻣﺔ‬
‫ﺍﻹﻧﺴﺎﻥ ﺍﻟﺬﻱ ﻳﺰﺭﻉ ﻟﻴﺤﺼﻞ ﻋﻠﻰ ﺣﺼﺎﺩ ﻭﻓﲑ ﻭﲦﺎﺭ ﻳ‪‬ﺨﺮﺝ ﻣﻨﻬﺎ ﻃﻌﺎﻣﻪ‬
‫ﻱ‪.‬‬
‫ﺍﻟﻀﺮﻭﺭ ‪‬‬

‫ﻟﻴﺨﺮﺝ ﺧﺒﺰﹰﺍ ﻣﻦ ﺍﻷﺭﺽ‬ ‫
‬

‫)‪ (١٥‬ﻭﺍﳋﻤﺮ ﺗﻔﺮﺡ ﻗﻠﺐ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻟﻴﺒﺘﻬﺞ ﺍﻟﻮﺟﻪ ﺑﺎﻟﺰﻳﺖ‪ ،‬ﻭﺍﳋﺒﺰ ﻳﺸﺪ‪‬ﺩ‬
‫ﻗﻠﺐ ﺍﻹﻧﺴﺎﻥ‬
‫ﻳﻌﻴﺪ ﻫﻨﺎ ﺍﳌﺮﻧ‪‬ﻢ‪ ،‬ﺑﺸﻜﻞ ﺗﺴﺒﺤﺔ ﻭﺷﻜﺮ ﺃﻳﻀﺎﹰ‪ ،‬ﻛ ﹼﻞ ﺍﳋﲑﺍﺕ ﺍﻷﺳﺎﺳﻴ‪‬ﺔ ﺇﱃ ﻋﻨﺎﻳﺔ‬
‫ﺍﷲ ﺍﻟﱵ ﺗﻨﺴﻜﺐ ﻋﻠﻰ ﺍﻷﺭﺽ ﻣﻦ "ﻋﻼﻟﻴﻪ" ﻣﻄﺮﺍﹰ‪ ،‬ﻓﻴﻌﻤﻞ ﺍﻹﻧﺴﺎﻥ ﰲ ﺍﻷﺭﺽ‪،‬‬
‫ﻭﺑﻔﻀﻞ ﻫﺬﻩ ﺍﻷﻣﻄﺎﺭ ﻳﺴﺘﻄﻴﻊ ﺃﻥ ﻳﺴﺘﺨﺮﺝ ﺍﳋﺒﺰ ﻭﺍﳋﻤﺮ ﻭﺍﻟﺰﻳﺖ‪ ،‬ﻫﺬﻩ ﻫﻲ‬
‫ﺍﻟﻌﻨﺎﺻﺮ ﺍﻷﺳﺎﺳﻴﺔ ﻟﻠﻄﻌﺎﻡ ﺍﻟﻴﻮﻣ ‪‬ﻲ‪ .‬ﻟﺬﻟﻚ ﰲ ﺻﻠﻮﺍﺕ "ﺍﳋﺒﺰﺍﺕ ﺍﳋﻤﺴﺔ" ﻧﻀﻊ‬
‫ﺧﺒﺰﹰﺍ ﻭﻗﻤﺤﹰﺎ ﻭﺯﻳﺘﹰﺎ ﻭﻧﺒﺎﺭﻛﻬﺎ‪ ،‬ﻷﻧ‪‬ﻬﺎ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻷﺳﺎﺳﻴ‪‬ﺔ ﰲ ﺍﻟﻄﻌﺎﻡ‪ ،‬ﻭﻧﺮﻣﺰ ‪‬ﺎ‬
‫ﺍﺧﺘﺼﺎﺭﹰﺍ ﻟﻜ ﹼﻞ ﺧﲑﺍﺕ ﺍﻷﺭﺽ ﺍﻟﱵ ﻳﻌﻴﺶ ﺍﻹﻧﺴﺎﻥ ﻋﻠﻴﻬﺎ‪.‬‬

‫‪١٠٢‬‬
‫ﻛ ﹼﻞ ﺍﳋﲑﺍﺕ ﺇﺫﻥ‪ ،‬ﻭﲞﺎﺻ‪‬ﺔ ﺍﳋﺒﺰ ﺍﻟﺬﻱ ﻳﺸﻜﹼﻞ ﺍﻟﻘﻮﺕ ﺍﻷﻭ‪‬ﻝ ﻟﻺﻧﺴﺎﻥ‬
‫ﻭﻳﺸﺪ‪‬ﺩ ﻗﻠﺒﻪ ﺍﳌﺘﻌﺐ ﻣﻦ ﺃﻋﻤﺎﻝ ﺍﻟﻴﻮﻡ‪ ،‬ﻭﺍﳋﻤﺮ ﺍﻟﺬﻱ ﻳﻔﺮﺡ ﺑﻪ ﻭﻳﺒﺘﻬﺞ‪ ،‬ﻭﺍﻟﺰﻳﺖ‬
‫ﺍﻟﺬﻱ ﳝﺴﺢ ﺑﻪ ﻭﺟﻬﻪ‪ ،‬ﻛﻠﹼﻬﺎ ﻳﻬﺒﻬﺎ ﺍﷲ ﻟﻺﻧﺴﺎﻥ ﺑﺈﻋﻄﺎﺋﻪ ﺍﻷﻣﻄﺎﺭ ﻭﺍﻟﻄﻘﺲ‬
‫ﺍﳌﻨﺎﺳﺐ‪ .‬ﳝﺘﻠﺊ ﺍﳌﺮﻧ‪‬ﻢ ﺑﺮﻭﺡ ﺍﻟﺸﻜﺮ ﻭﻳﻌﺒ‪‬ﺮ ﻋﻦ ﺍﻣﺘﻨﺎﻧﻪ ﷲ ﺍﻟﺬﻱ ﺟﻌﻞ ﻟﻨﺎ ﺍﳊﻴﺎﺓ‬
‫ﻱ ﺑﻞ ﻭﻣﻔﺮﺣﺔ ﺣﲔ ﻳﻬﺒﻨﺎ ﻣﺎ ﻫﻮ ﻓﻮﻕ‬ ‫ﻟﻴﺲ ﻓﻘﻂ ﳑﻜﻨﺔ ﺑﻮﺍﺳﻄﺔ ﺍﳋﺒﺰ ﺍﻟﻀﺮﻭﺭ ‪‬‬
‫ﺍﳊﺎﺟﺔ ﺍﻟﻀﺮﻭﺭﻳ‪‬ﺔ ﻣﺜﻞ ﺍﳋﻤﺮ ﺍﻟﺬﻱ ﻳﻔﺮ‪‬ﺡ ﻗﻠﺐ ﺍﻹﻧﺴﺎﻥ ﻭﳜﺪﻡ ﺃﻓﺮﺍﺣﻪ ﻭﻣﻮﺍﺋﺪﻩ‪،‬‬
‫ﻭﻳﻌﻄﻲ ﺃﻳﻀﹰﺎ ﻓﻴﻬﺎ ﻣﻦ ﺍﻟﻜﻤﺎﻟﻴ‪‬ﺎﺕ ﻭﻣﻦ ﺍﻟﻌﻔﹼﺔ ﺑﺎﻟﻮﻗﺖ ﺫﺍﺗﻪ‪ .‬ﺑﻌﺒﺎﺭﺓ ﳑﺎﺛﻠﺔ ﺗﻮﺟﻪ‬
‫ﺑﻮﻟﺲ ﳓﻮ ﺃﻫﻞ ﻟﺴﺘﺮﺓ ﳜﱪﻫﻢ ﻋﻦ ﺍﷲ‪" :‬ﻭﻫﻮ ﻳﻔﻌﻞ ﺧﲑﹰﺍ ﻳﻌﻄﻴﻨﺎ ﻣﻦ ﺍﻟﺴﻤﺎﺀ‬
‫ﺃﻣﻄﺎﺭﹰﺍ ﻭﺃﺯﻣﻨﺔ ﻣﺜﻤﺮﺓ ﻭﳝﻸ ﻗﻠﻮﺑﻨﺎ ﻃﻌﺎﻣﹰﺎ ﻭﺳﺮﻭﺭﹰﺍ"‪ .٦٢‬ﺍﻹﻣﺘﻼﺀ ﻭﺍﻟﺸﺒﻊ ﳘﺎ ﺷﺄﻥ‬
‫ﳜﺺ ﺍﻟﺒﻄﻦ ﻭﻟﻴﺲ ﺍﻟﻘﻠﺐ‪ ،‬ﺇﻻ ﻋﻨﺪﻣﺎ ﻳﺘﻨﺎﻭﻝ ﺍﻹﻧﺴﺎﻥ ﻃﻌﺎﻣﻪ ﺑﺸﻜﺮ ﺃﻱ ﺑﺸﻜﻞ‬
‫ﷲ ﺍﻟﻘﻠﻴ ﹶﻞ ﻟﻠﺸﺒﻊ ﺑﻞ ﺍﻟﻜﺎﰲ ﻟﻴﻤﺘﻠﺊ ﺍﻟﻘﻠﺐ ﻣﻊ ﺍﻟﻄﻌﺎﻡ‬ ‫ﻟﻴﺘﻮﺭﺟ ‪‬ﻲ‪ .‬ﻻ ﻳﻌﻄﻴﻨﺎ ﺍ ُ‬
‫ﺷﻜﺮﺍﻧﹰﺎ ﻭﺍﻟﻜﺎﰲ ﻟﻨﺤﻴﺎ ﺑﺴﺮﻭﺭ ﻭ‪‬ﺠﺔ ﺃﻳﻀﹰﺎ‪.‬‬
‫ﻳﻌﻄﻲ ﺍﷲ ﺍﳌﻨﺎﺥ ﻭﺍﻷﻣﻄﺎﺭ ﺍﳌﻨﺎﺳﺒﺔ ﻓﺘﻨﺘﺞ ﺍﻷﺭﺽ ﻋﺸﺒﹰﺎ ﻟﻠﺒﻬﺎﺋﻢ‪ ،‬ﻓﻴﺰﺭﻉ‬
‫ﺍﻹﻧﺴﺎﻥ ﰒ ﳛﺼﺪ ﻭﻳﻌﻤﻞ ﻓﻴﺨﺮﺝ ﻟﻨﻔﺴﻪ ﻃﻌﺎﻣﻪ ﻭﺳﺮﻭﺭﻩ ﻭ‪‬ﺠﺘﻪ ﺃﻳﻀﺎﹰ؛ ﻳﻘﻮﺕ‬
‫ﺴ ‪‬ﺮ ﺑﺎﳋﻤﺮ ﻭﻳﺪﻫﻦ ﺭﺃﺳﻪ ﺑﺎﻟﺰﻳﺖ ﻟﻠﺒﻬﺠﺔ‪.‬‬‫ﻧﻔﺴﻪ ﺑﺎﳋﺒﺰ ﻭ‪‬ﻳ ‪‬‬

‫)‪ (١٦‬ﺗﺮﻭﻯ ﺃﺷﺠﺎﺭ ﺍﻟﻐﺎﺏ‪ ،‬ﺃﺭﺯ ﻟﺒﻨﺎﻥ ﺍﻟﺬﻱ ﻏﺮﺳﺘ‪‬ﻬﺎ‬

‫ﺑﻌﺪ ﺍﻟﻨﺒﺎﺗﺎﺕ ﻭﺍﻷﻋﺸﺎﺏ‪ ،‬ﳚﻮﻝ ﺍﳌﺮﻧ‪‬ﻢ ﺑﻨﻈﺮﻩ ﻋﻠﻰ ﺍﻷﺷﺠﺎﺭ ﻭﺍﻟﻐﺎﺑﺎﺕ‪.‬‬
‫ﻛ ﹼﻞ ﻫﺬﺍ ﺍﻟﻌﺎﱂ ﺍﳌﻶﻥ ﺑﺎﳊﻴﻮﻳ‪‬ﺔ ﻭﺍﳉﻤﺎﻝ ﻭﺍﳋﲑ‪ ،‬ﻛﻠﹼﻪ ﻫﺪﻳ‪‬ﺔ ﻣﻦ ﺍﷲ ﺍﻟﺬﻱ ﳝﻄﺮ‬
‫ﻋﻠﻰ ﺍﻷﺭﺽ ﻭﻳﻨﺒﺖ ﻫﺬﺍ ﺍﻟﻌﺎﱂ ﺍﻟﺴﺎﺣﺮ ﻭﺍﳌﻔﻴﺪ‪ .‬ﻭﻟﻌ ﹼﻞ ﺃﲨﻞ ﺍﻷﺷﺠﺎﺭ ﻟﺬﻫﻦ‬

‫‪ ٦٢‬ﺃﻉ ‪.١٧ ،١٤‬‬

‫‪١٠٣‬‬
‫ﺍﳌﺮﻧ‪‬ﻢ‪ ،‬ﻭﺍﻟﺬﻱ ﺯ‪‬ﻳﻦ ﺧﺸ‪‬ﺒﻪ ﻋﻤﺎﺭﺓ ﺍﳍﻴﻜ ﹶﻞ‪ ،‬ﻫﻮ ﺃﺭﺯ ﻟﺒﻨﺎﻥ‪ .‬ﺷﺠﺮ ﺷﺎﻣﺦ ﻗﺪﱘ‬
‫ﺍﻟﺰﻣﺎﻥ ﻳﱪﻫﻦ ﺃﻥ ﻻ ﻓﻀﻞ ﻟﻺﻧﺴﺎﻥ ﻋﻠﻴﻪ‪ ،‬ﺑﻞ ﺍﷲ ﻫﻮ ﺍﻟﺬﻱ ﻏﺮﺳﻪ ﻭﺃﳕﺎﻩ‪ .‬ﳍﺬﺍ‬
‫ﻳﺘﺎﺑﻊ ﺍﳌﺮﻧ‪‬ﻢ "ﺍﻟﱵ ﻏﺮﺳﺘﻬﺎ"‪ .‬ﳍﺬﺍ ﻳﻌﻮﺩ ﺍﻟﺸﻜﺮ ﷲ ﻭﺍﻟﺴﺒﺢ ﺃﻳﻀﺎﹰ‪ ،‬ﺃﻣ‪‬ﺎ ﺍﻹﻧﺴﺎﻥ ﻓﻠﻪ‬
‫ﺃﻥ ﻳﺘﻤﺘ‪‬ﻊ ﻭﻳﺒﺘﻬﺞ ‪‬ﺬﻩ ﺍﳍﺒﺎﺕ ﺍﻹﳍﻴ‪‬ﺔ‪ ،‬ﻭﺑﺎﻟﺘﺎﱄ ﺃﻥ ﻳﺸﻜﺮ ﻭﻳﺴﺒ‪‬ﺢ‪.‬‬

‫)‪ (١٧‬ﻫﻨﺎﻙ ﺗﻌﺸ‪‬ﺶ ﺍﻟﻌﺼﺎﻓﲑ‪ ،‬ﻭﻣﺴﻜﻦ ﺍﳍﲑﻭﺩﻱ‪ ‬ﻳﺘﻘﺪ‪‬ﻣﻬﺎ‬

‫ﻣﺎ ﺃﲨﻞ ﻋﻨﺎﻳﺔ ﺍﷲ ﺍﻟﺸﺎﻣﻠﺔ ﻟﻜ ﹼﻞ ﻋﻨﺎﺻﺮ ﺍﳋﻠﻴﻘﺔ‪ .‬ﻟﻘﺪ ﻭﺿﻊ ﺍﷲ ﻛ ﹼﻞ ﺷﻲﺀ‬
‫ﰲ ﺍﳋﻠﻴﻘﺔ ﳋﺪﻣﺔ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻹﺷﺒﺎﻋﻪ ﻭﳌﺴﺮ‪‬ﺗﻪ ﻭﻟﺒﻬﺠﺘﻪ‪ .‬ﳍﺬﺍ ﻳﻬﺘ ‪‬ﻢ ﺍﷲ ﺑﻜ ﹼﻞ ﻫﺬﻩ‬
‫ﻼ ﲟﻔﺮﺩﻫﺎ‪ .‬ﻓﺎﻷﺷﺠﺎﺭ ﻭﺍﻟﻐﺎﺑﺎﺕ ﺍﻟﱵ ﺗﻈﻬﺮ ﻟﻴﺴﺖ ﻣﻔﻴﺪﺓ ﻣﺒﺎﺷﺮﺓ‬ ‫ﺍﻟﻌﻨﺎﺻﺮ ﻛ ﹰ‬
‫ﻟﻺﻧﺴﺎﻥ‪ ،‬ﻫﻲ ﻣﻔﻴﺪﺓ ﺃ ‪‬ﻭ ﹰﻻ ﻟﻠﻄﻴﻮﺭ ﺍﻟﱵ ﲡﺪ ﻓﻴﻬﺎ ﻣﻜﺎﻧﹰﺎ ﻟﻌﺸ‪‬ﻬﺎ ﻭﺗﻀﻊ ﻓﻴﻬﺎ‬
‫ﺃﻓﺮﺍﺧﻬﺎ ﻭﲢﻴﺎ ﻭﺗﺘﻜﺎﺛﺮ‪ .‬ﺍﻟﻄﻴﻮﺭ ﻋﻨﺼﺮ ﻣﻔﻴﺪ ﻟﻺﻧﺴﺎﻥ ﻭﺧﺎﺻ‪‬ﺔ ﲟﺎ ﺗﺮﻣﻴﻪ ﻋﻠﻰ‬
‫ﱄ ﻭﺭﻭﺣ ‪‬ﻲ ّﺃﻳﻀﹰﺎ‪ .‬ﻭﻫﺬﻩ ﺍﻟﻐﺎﺑﺎﺕ ﲢﻤﻲ ﺻﻐﺎﺭ‬ ‫ﻭﺟﻪ ﺍﻷﺭﺽ ﻣﻦ ﻋﻨﺼﺮ ﲨﺎ ﹼ‬
‫ﺍﻟﻄﻴﻮﺭ ﻣﺜﻞ ﺍﻟﻌﺼﺎﻓﲑ‪ ،‬ﻭﻟﻜﻨﻬﺎ ﺃﻳﻀﹰﺎ ﺗﺄﻭﻱ ﻛﺒﺎﺭﻫﺎ ﻣﺜﻞ ﺍﳍﲑﻭﺩﻱ‪ .‬ﺍﻟﺒﻌﺾ ﻳﺮﻯ‬
‫ﰲ ﺍﳍﲑﻭﺩﻱ ﻃﺎﺋﺮ ﺍﻟﻠﻘﻠﻖ‪ .‬ﻣﺎ ﳝ‪‬ﻴﺰ ﻫﺬﺍ ﺍﻟﻄﺎﺋﺮ ﺃ ‪‬ﻭ ﹰﻻ ﺿﺨﺎﻣﺘﻪ ﺑﺎﳌﻘﺎﺭﻧﺔ ﻣﻊ‬
‫ﺍﻟﻌﺼﺎﻓﲑ‪ ،‬ﻭﻟﻜﻦ ﺃﻳﻀﹰﺎ ﺃﻧ‪‬ﻪ ﺃﻛﺜﺮ ﺍﻟﻄﻴﻮﺭ ﺍﻟﱵ ﺗﻈﻬﺮ ﺭﺍﺑﻄﹰﺎ ﺣﻨﻮﻧﹰﺎ ﺑﲔ ﺍﻟﻄﲑ‬
‫ﺶ ﺍﻟﺬﻱ‬ ‫ﻭﺃﻓﺮﺍﺧﻪ‪ .‬ﳍﺬﺍ ﺑﻴﻨﻤﺎ ﻳﻄﻠﻖ ﺍﳌﺮﻧ‪‬ﻢ ﻋﻠﻰ ﻣﻜﺎﻥ ﺍﻟﻌﺼﺎﻓﲑ ﻛﻠﻤﺔ ﻋ ‪‬‬
‫‪‬ﻳﺴﺘﺨﺪﻡ ﻟﻔﺘﺮﺓ ﻭﺟﻴﺰﺓ ﺗﻨﺘﻬﻲ ﺑﻨﻤﻮ ﺻﻐﺎﺭ ﺍﻟﻄﲑ‪ ،‬ﻓﺈﻧ‪‬ﻪ ‪‬ﻳﺴﺘﺨﺪﻡ ﳌﻜﺎﻥ ﺍﳍﲑﻭﺩﻱ‬
‫ﻛﻠﻤﺔ "ﻣﺴﻜﻦ" ﻭﻫﻮ ﺍﻷﺷﺒﻪ ﺑﺴﻜﻦ ﺍﻟﻌﺎﺋﻠﺔ ﺍﻹﻧﺴﺎﻧﻴ‪‬ﺔ‪ .‬ﻋﻨﺪﻣﺎ ﳚﻮﻝ ﺍﳌﺮﻧ‪‬ﻢ ﺑﻨﺎﻇﺮﻩ‬
‫ﻳﺮﻯ ﺗﻨﻮ‪‬ﻉ ﺍﻟﻨﺒﺎﺗﺎﺕ ﻭﺗﻨﻮ‪‬ﻉ ﺍﻷﺷﺠﺎﺭ ﻭﺗﻨﻮ‪‬ﻉ ﺍﻟﻄﻴﻮﺭ‪ ...‬ﻭﻫﺬﻩ ﻛﻠﹼﻬﺎ ﺩﻻﺋﻞ ﻋﻠﻰ‬
‫ﻋﻈﻤﺔ ﺍﷲ ﻭﺣﻜﻤﺘﻪ ﻭﳏﺒ‪‬ﺘﻪ‪.‬‬

‫‪١٠٤‬‬
 ‫)‪ (١٨‬ﺍﳉﺒﺎﻝ ﺍﻟﻌﺎﻟﻴﺔ ﻟﻸﻳ‪‬ﻠﺔ‪ ،‬ﻭﺍﻟﺼﺨﻮﺭ ﻣﻠﺠﺄ ﻟﻸﺭﺍﻧﺐ‬
‫ﻛ ﹼﻞ ﺷﻲﺀ ﰲ ﺍﳋﻠﻴﻘﺔ ﳜﺪﻡ ﺑﺎﲡﺎﻫ‪‬ﲔ‪ .‬ﺍﻷﻭ‪‬ﻝ‪ ،‬ﻭﺟﻬ‪‬ﻪ ‪‬ﺧ ‪‬ﺪﻣ‪‬ﻲ ﻟﻺﻧﺴﺎﻥ‬
‫ﱄ‪ .‬ﻓﻬﺬﻩ ﺍﳉﺒﺎﻝ ﺍﻟﻌﺎﻟﻴﺔ ﺍﻟﱵ ﻻ ﻳﺴﻜﻨﻬﺎ ﺍﻹﻧﺴﺎﻥ ﺗﺴﻜﻨﻬﺎ‬ ‫ﻭﺍﻟﺜﺎﱐ ﺫﻭ ﻭﺟﻪ ﲨﺎ ﹼ‬
‫ﺍﻷﻳﺎﺋﻞ‪ ،‬ﻭﻣﻐﺎﻭﺭﻫﺎ ﻭﺻﺨﻮﺭﻫﺎ ﺍﻟﻘﺎﺳﻴﺔ ﺍﳌﻬﻴﺒﺔ ﺍﻟﱵ ﻻ ﻳﻘﺘﺮﺏ ﻣﻨﻬﺎ ﺍﻹﻧﺴﺎﻥ ﺗﻠﺠﺄ‬
‫ﺇﻟﻴﻬﺎ ﺍﻷﺭﻧﺐ‪ .‬ﻛ ﹼﻞ ﺷﻲﺀ ﻣﻦ ﻳﺪ ﺍﷲ ﻓﻬﻮ ﺇﺫﻥ ﺻﺎﱀ ﻭﻟﻪ ﺍﺳﺘﺨﺪﺍﻡ ﻣﻔﻴﺪ ﻣﺒﺎﺷﺮ‬
‫ﺃﻭ ﻏﱪ ﻣﺒﺎﺷﺮ ﻟﻺﻧﺴﺎﻥ‪ ،‬ﻋﻨﺪﻣﺎ ﺗﺴﺘﺨﺪﻣﻪ ﺃﻳﻀﹰﺎ ﻃﻴﻮﺭ ﺍﻟﺴﻤﺎﺀ ﺃﻭ ﺣﻴﻮﺍﻧﺎﺕ ﺍﻟﱪ‪،‬‬
‫ﺍﻟﱵ ﻫﻲ ﺃﻳﻀﹰﺎ ﺧﻠﻴﻘﺔ ﺍﷲ‪ .‬ﻳﻨﻈﺮ ﺍﳌﺮﻧ‪‬ﻢ ﺇﱃ ﻛ ﹼﻞ ﺷﻲﺀ ﺑﺸﻜﺮ ﻷﻧ‪‬ﻪ ﲨﻴﻞ ﻭﺣﺴﻦ‪.‬‬

‫)‪ (١٩‬ﺻﻨﻊ ﺍﻟﻘﻤﺮ ﻟﻸﻭﻗﺎﺕ‪ ،‬ﻭﺍﻟﺸﻤﺲ ﻋﺮﻓﺖ ﻏﺮﻭ‪‬ﺎ‬

‫ﻼ ﲟﺴﲑﺓ ﺍﻷﻭﻗﺎﺕ ﻭﺣﻜﻤﺔ ﺍﷲ ﻭﻋﻈﻤﺘﻪ‪.‬‬ ‫ﻳﺘﻘﺪ‪‬ﻡ ﻫﻨﺎ ﺍﳌﺮﻧ‪‬ﻢ ﺑﻨﺎﻇﺮﻩ ﻣﺘﺄ ‪‬ﻣ ﹰ‬
‫ﻓﺒﻌﺪ ﺃﻥ ﻭﺻﻒ ﺍﻷﻣﻄﺎﺭ ﻭﺍﻷﺭﺽ ﻭﺍﻟﻨﺒﺎﺗﺎﺕ ﻭﺍﳉﺒﺎﻝ‪ ،‬ﻳﻠﺘﻔﺖ ﺇﱃ ﺍﻟﺸﻤﺲ‬
‫ﻭﺍﻟﻘﻤﺮ‪ ،‬ﻭﻓﺎﺋﺪﺓ ﻛ ﹼﻞ ﻣﻦ ﺍﻟﻠﻴﻞ ﻭﺍﻟﻨﻬﺎﺭ‪ .٦٣‬ﻟﻘﺪ ﺧﻠﻖ ﺍﷲ ﲝﻜﻤﺔ ﺍﳌﻜﺎﻥ )ﺍﻷﺭﺽ‬
‫ﻭﺍﳉﺒﺎﻝ ﻭﺍﻟﺒﺤﺎﺭ( ﻭﺃﻳﻀﹰﺎ ﺍﻟﺰﻣﺎﻥ )ﳛﺪ‪‬ﺩﻩ ﻛ ﹼﻞ ﻣﻦ ﺍﻟﺸﻤﺲ ﻭﺍﻟﻘﻤﺮ(‪ .٦٤‬ﻫﺬﻩ‬
‫ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﻀﺮﻭﺭﻳ‪‬ﺔ ﻭﺍﳌﺬﻫﻠﺔ ﻛﺎﻟﺸﻤﺲ ﻭﺍﻟﻘﻤﺮ‪ ،‬ﻛﺎﻧﺖ ﻗﺪﳝﹰﺎ ﺁﳍﺔ‪ ،‬ﺍﻵﻥ ﻋﻠﻰ‬
‫ﷲ ﺍﳋﺎﻟ ‪‬ﻖ ‪‬ﺎ‪.‬‬ ‫ﻟﺴﺎﻥ ﺍﳌﺮﻧ‪‬ﻢ ﻫﻲ ﺧﻼﺋﻖ ﻳﺘﻤﺠ‪‬ﺪ ﺍ ُ‬
‫ﻫﻜﺬﺍ ﺑﺘﺒﺎﺩﻝ ﻣﺴﲑﺓ ﺍﻟﺸﻤﺲ ﻭﺍﻟﻘﻤﺮ ﻳﺘﻮﻟﹼﺪ ﻟﻨﺎ ﻋﻠﻰ ﺍﻷﺭﺽ ﺍﻟﻨﻬﺎﺭ ﻭﺍﻟﻠﻴﻞ‬
‫ﺑﺎﻧﺘﻈﺎﻡ ﻭﲝﺮﻛﺔ ﺛﺎﺑﺘﺔ‪ .‬ﻟﻘﺪ ﺍﻋﺘﻤﺪ ﺍﻹﻧﺴﺎﻥ ﻗﺪﳝﹰﺎ ﰲ "ﺍﻟﺘﻘﻮﱘ" ﻟﻸﻳ‪‬ﺎﻡ ﺍﻟﻘﻤﺮ ﺃ ‪‬ﻭ ﹰﻻ‬

‫‪ ٦٣‬ﺃﻧﻈﺮ ﺗﻚ ‪.١٥ ، ١‬‬

‫‪ ٦٤‬ﺗﻚ ‪.١٨ -١٦ ،١‬‬
‫‪١٠٥‬‬
‫ﹼﰒ ﺍﻟﺸﻤﺲ‪ .‬ﻓﻜﺎﻧﺖ ﺍﻟﺸﻤﺲ ﲣﺪﻡ ﺳﲑ ﺍﻟﻠﻴﻞ ﻭﺍﻟﻨﻬﺎﺭ ﻭﻛﺎﻥ ﺍﻟﻘﻤﺮ ﳛﺪ‪‬ﺩ ﻣﺴﲑﺓ‬
‫ﺍﻟﺸﻬﻮﺭ ﻭﺍﻟﺴﻨﲔ ﻭ"ﺍﻷﻭﻗﺎﺕ"‪" .‬ﻟﻘﺪ ﻋﺮﻓﺖ ﺍﻟﺸﻤﺲ ﻏﺮﻭ‪‬ﺎ" ﻋﺒﺎﺭﺓ ﺗﺪ ﹼﻝ ﻋﻠﻰ‬
‫ﺣﻜﻤﺔ ﺍﷲ ﺍﻟﻌﻤﻴﻘﺔ ﰲ ﺍﻟﻨﻈﺎﻡ ﺍﻟﺬﻱ ﺭﻛﹼﺐ ﻋﻠﻴﻪ ﻣﺴﲑ ﹶﺓ ﻛ ﹼﻞ ﺍﻟﻌﻨﺎﺻﺮ ﺣﺘ‪‬ﻰ‬
‫ﺍﻟﺸﻤﺲ ﻣﻨﻬﺎ‪ .‬ﻫﺬﺍ ﺍﻟﻜﻮﻛﺐ "ﺍﻹﻟﻪ" ﺃﻳﻀﹰﺎ ﳜﻀﻊ ﳊﻜﻤﺔ ﻭﻧﻈﺎﻡ ﺍﷲ ﺍﳋﺎﻟﻖ‪ .‬ﺇﻧ‪‬ﻬﺎ‬
‫ﺖ ﻋﻠﻰ ﻳﺪ ﺍﳋﺎﻟﻖ‪.‬‬
‫"ﻋﺠﻴﺒﺔ ﺍﳋﻠﻴﻘﺔ" ﺍﻟﱵ ﹼﲤ ‪‬‬

‫)‪ (٢٠‬ﺟﻌﻞ ﺍﻟﻈﻠﻤﺔ ﻓﻜﺎﻥ ﻟﻴﻞﹲ‪ ،‬ﻓﻴﻪ ﺗﻌﱪ ﲨﻴﻊ ﻭﺣﻮﺵ ﺍﻟﻐﺎﺏ‬
‫ﺖ‬
‫ﺺ ﺍﻷﺻﻠ ‪‬ﻲ ﺍﻟﻔﻌﻞ "ﺟﻌﻞ" ﻫﻮ ﰲ ﺍﻟﺸﺨﺺ ﺍﻟﺜﺎﱐ‪ ،‬ﺃﻱ "ﺟﻌﻠ ‪‬‬ ‫ﰲ ﺍﻟﻨ ‪‬‬
‫ﺍﻟﻈﻠﻤﺔ"‪ .‬ﺍﻟﻠﻴﻞ ﻟﻴﺲ ﺯﻣﻨﹰﺎ ﺿﺎﺋﻌﹰﺎ ﺃﻭ ﺳﻴ‪‬ﺌﹰﺎ ﺃﻭ ﻣﻴﺘﹰﺎ ﻧﺘﻴﺠﺔ ﻏﻴﺎﺏ ﺍﷲ ﻭﻏﺮﻭﺏ‬
‫ﺍﻟﺸﻤﺲ ﻭﺍﺧﺘﻔﺎﺋﻬﺎ‪ .‬ﺍﻟﻠﻴﻞ ﺟﺰﺀ ﻣﻦ ﻋﻨﺎﻳﺔ ﺍﷲ‪ .‬ﺻﺤﻴﺢ ﺃ ﹼﻥ ﺯﻣﻨﻪ ﻫﻮ ﻟﺮﺍﺣﺔ‬
‫ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻭﻫﺬﻩ ﺇﺣﺪﻯ ﺧﺪﻣﺎﺗﻪ‪ ،‬ﻟﻜﻨ‪‬ﻪ ﺑﺎﻟﻮﻗﺖ ﺫﺍﺗﻪ ﻫﻮ ﺍﻟﺰﻣﻦ ﻟﺘﺘﺤﺮ‪‬ﻙ ﻓﻴﻪ‬
‫ﻭﲣﺮﺝ ﻟﻄﻌﺎﻣﻬﺎ ﻛ ﱡﻞ ﻭﺣﻮﺵ ﺍﻟﻐﺎﺏ‪ .‬ﻟﻴﺲ ﺍﻟﻠﻴﻞ ﺯﻣﻨﹰﺎ ﻟﻠﺨﻮﻑ ﺃﺑﺪﹰﺍ ﺑﻞ ﻫﻮ ﺯﻣﻦ‬
‫ﻱ ﻳﻘﺮﺅﻩ ﺍﳌﺮﻧ‪‬ﻢ ﺑﻔﺮﺡ ﻭﻳﺘﺄﻣ‪‬ﻞ ﺑﻪ ﺑﺈﻋﺠﺎﺏ‪.‬‬
‫ﺿﺮﻭﺭ ‪‬‬

‫)‪ (٢١‬ﺃﺷﺒﺎﻝ ﺗﺰﺃﺭ ﻟﺘﺨﻄﻒ‪ ،‬ﻭﺗﻠﺘﻤﺲ ﻣﻦ ﺍﷲ ﻃﻌﺎﻣﻬﺎ‬

‫ﺖ ﺷﺮﻳﺮﺓ ﻓﻜ ﹼﻞ‬‫ﺇﺫﺍ ﻛﺎﻧﺖ ﻋﻴﻨﻚ ﺻﺎﳊﺔ ﻛ ﹼﻞ ﺷﻲﺀ ﻟﻚ ﺻﺎﱀ‪ ،‬ﺃﻣ‪‬ﺎ ﺇﺫﺍ ﻛﺎﻧ ‪‬‬
‫ﺷﻲﺀ ﻳﻐﺪﻭ ﺷﺮﻳﺮﹰﺍ‪ .‬ﻋﲔ ﺍﳌﺼﻠﹼﻲ ﻋﲔ ﳝﻠﺆﻫﺎ ﺍﻟﺴﻼﻡ ﻭﻣﻔﻌﻤﺔ ﺑﻔﺮﺡ ﺍﻟﺜﹼﻘﺔ ﺑﺎﷲ‪.‬‬
‫ﺗﻠﻚ ﺍﻷﺷﺒﺎﻝ ﺍﻟﺼﻐﲑﺓ ﺍﳌﺨﻴﻔﺔ ﻟﻺﻧﺴﺎﻥ ﺍﻟﱵ ﻳﺮﻫﺐ ﻣﻦ ﺻﻮﺕ ﺯﺋﲑﻫﺎ‪ ،‬ﻟﻴﺴﺖ‬
‫ﻋﺪ ‪‬ﻭﹰﺍ ﻣﺮﻋﺒﹰﺎ‪ .‬ﻋﻠﻰ ﺍﻟﻌﻜﺲ ﺇ ﹼﻥ ﳍﺎ ﺍﳊ ‪‬ﻖ ﺑﺎﳊﻴﺎﺓ‪ ،‬ﻫﻲ ﺧﻠﻴﻘﺔ ﺍﷲ‪ .‬ﻭﻫﺬﺍ ﺍﻟﺰﺋﲑ‪.‬‬

‫‪١٠٦‬‬
 ‫ﺖ‬
‫)‪ (٢٢‬ﺃﺷﺮﻗﺖ ﺍﻟﺸﻤﺲ ﻓﺎﺟﺘﻤﻌﺖ‪ ،‬ﻭﰲ ﺻﲑﻫﺎ ﺭﺑﻀ ‪‬‬
‫ﻛﻤﺎ ﺗﺄﻣ‪‬ﻞ ﺍﳌﺮﻧ‪‬ﻢ ﺑﺎﻟﻠﻴﻞ ﻭﲝﺮﻛﺔ ﺍﻟﻮﺣﻮﺵ ﻓﻴﻪ ﰲ ﺍﻵﻳﺎﺕ ‪ ٢٠‬ﻭ‪ ٢١‬ﻳﺘﺄﻣ‪‬ﻞ‬
‫ﺍﻵﻥ ﺑﺎﻟﻨﻬﺎﺭ ﻭﺣﺮﻛﺔ ﺍﻹﻧﺴﺎﻥ ﰲ ﺍﻵﻳﺎﺕ ‪ ٢٢‬ﻭ‪ ٢٣‬ﻭﻫﺬﺍ ﺍﻟﺘﺒﺎﺩﻝ ﰲ ﺯﻣﻦ‬
‫ﺍﻷﻋﻤﺎﻝ ﻭﺍﻟﺴﻌﻲ ﻟﻠﻌﻴﺶ ﻫﻮ ﺇﺣﺪﻯ ﲨﺎﻟ‪‬ﻴﺎﺕ ﺍﳋﻠﻴﻘﺔ ﻭﻣﻈﻬﺮ ﻣﻦ ﻣﻈﺎﻫﺮ ﺣﻜﻤﺔ‬
‫ﺍﷲ‪.‬‬

‫)‪ (٢٣‬ﳜﺮﺝ ﺍﻹﻧﺴﺎﻥ ﺇﱃ ﻋﻤﻠﻪ‪ ،‬ﻭﺇﱃ ﺧﺪﻣﺘﻪ ﺣﺘ‪‬ﻰ ﺍﳌﺴﺎﺀ‬

‫ﺍﻟﻌﻤﻞ ﻫﻮ ﺭﺳﺎﻟﺔ ﻟﻺﻧﺴﺎﻥ ﻋﻠﻰ ﺍﻷﺭﺽ‪ ،‬ﻭﻭﺻﻴ‪‬ﺔ ﺇﳍﻴ‪‬ﺔ ﻟﺒﻨﺎﺋﻪ ﺍﻟﺮﻭﺣ ‪‬ﻲ ﺃ ‪‬ﻭ ﹰﻻ‬
‫ﻭﻟﺘﺄﻣﲔ ﻋﻴﺸﻪ‪ .٦٥‬ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﳝﺘ ‪‬ﺪ ﰲ ﻓﺘﺮﺓ ﺍﻟﻨﻬﺎﺭ ﺣﺘ‪‬ﻰ ﺍﻟﻐﺮﻭﺏ‪ .‬ﻭﲝﻜﻢ‬
‫ﺍﻷﻋﻤﺎﻝ ﺍﻟﺰﺭﺍﻋﻴ‪‬ﺔ ﺁﻧﺬﺍﻙ‪ ،‬ﰲ ﺯﻣﻦ ﻭﰲ ﳏﻴﻂ ﺩﺍﺅﻭﺩ ﺍﻟﻨﱯ‪ ،‬ﻛﺎﻥ ﺍﻟﻨﻬﺎﺭ ﻫﻮ ﺯﻣﻦ‬
‫ﺍﻷﻋﻤﺎﻝ ﻭﺍﻟﻠﻴﻞ ﻫﻮ ﺯﻣﻦ ﺍﻻﺳﺘﺮﺍﺣﺔ‪" .‬ﻣ‪‬ﻦ ﻻ ﻳﻌﻤﻞ ﻻ ﻳﺄﻛﻞ" ﻭ"ﺑﻌﺮﻕ ﺟﺒﻴﻨﻚ‬
‫ﺗﻜﺴﺐ ﺧﺒﺰﻙ"‪ .‬ﻛﻠﹼﻬﺎ ﺁﻳﺎﺕ ﺗﻨﺘﻈﺮ ﺍﻟﻨﻬﺎﺭ ﻟﺘﻜﺴﺐ ﻗﺪﺳﻴ‪‬ﺘﻬﺎ ﻭﲢﻘﻴﻘﻬﺎ‪ .‬ﻛﻠﻤﺔ‬
‫"ﺧﺪﻣﺔ" ﻫﻨﺎ ﺗﺪ ﹼﻝ ﻋﻠﻰ ﺑ‪‬ﻌﺪ ﺭﻭﺣ ‪‬ﻲ ﺃﻭﺳﻊ ﻣﻦ ﻛﻠﻤﺔ "ﻋﻤﻞ"‪.‬‬

‫ﺕ ﺍﻷﺭﺽ‬
‫)‪ (٢٤‬ﻣﺎ ﺃﻋﻈﻢ ﺃﻋﻤﺎﻟﻚ ﻳﺎ ﺭﺏ‪ ،‬ﻛﻠﹼﻬﺎ ﲝﻜﻤﺔ ﺻﻨﻌﺖ‪ ،‬ﻗﺪ ﺍﻣﺘﻸ ‪‬‬
‫ﻣﻦ ﺧﻠﻴﻘﺘﻚ‬
‫ﻳﻘﻄﻊ ﺍﳌﺮﻧ‪‬ﻢ ﺟﻮﻟﺘﻪ ﺣﻮﻝ ﻋﺎﱂ ﺍﳋﻠﻴﻘﺔ‪ ،‬ﺇ ﹾﺫ ﹶﻏﻤ‪‬ﺮ ﻗﻠﺒ‪‬ﻪ ﺍﻟﺘﺴﺒﻴﺢ‪ ،‬ﻭﻳﺮﻓﻊ ﻋﻴﻨﻴﻪ‬
‫ﺇﱃ ﺍﷲ‪ ،‬ﱂ ﻳﻌﺪ ﻳﺴﺘﻄﻴﻊ ﺃﻥ ﻳﺘﻮﻗﹼﻒ ﻋﻨﺪ ﺍﳋﻼﺋﻖ‪ ،‬ﺍﻟﱵ ﻗﺎﺩﻩ ﺍﻟﺘﺄﻣ‪‬ﻞ ﻓﻴﻬﺎ ﺇﱃ‬
‫ﻃﻠﺐ ﻭﺟﻪ ﺍﷲ ﺍﳋﺎﻟﻖ‪ .‬ﺗﺪﺧﻞ ﻫﺬﻩ ﺍﻟﺬﻛﺼﻮﻟﻮﺟﻴﺎ ﻛﻔﺎﺻﻞ ﺑﲔ ﺳﻠﺴﻠﺔ ﺗﺄ ‪‬ﻣﻼﺕ‬

‫‪ ٦٥‬ﺗﻚ ‪.١٩-١٧ ،٣‬‬

‫‪١٠٧‬‬
 ‫ﻟﻠﻤﺮﻧ‪‬ﻢ ﰲ ﻋﻨﺎﺻﺮ ﺍﳋﻠﻴﻘﺔ‪ ،‬ﺑﻞ ﻫﻲ ﺍﻟﺼﻼﺓ ﻭﺣﺮﻛﺔ ﺍﻟﻘﻠﺐ ﺍﻟﱵ ﺗﺼﺪﺭ ﲝﺮﺍﺭﺓ‬
‫ﺑﻌﺪ ﻫﺬﻩ ﺍﳉﻮﻟﺔ ﻋﻠﻰ ﺍﳋﻠﻴﻘﺔ‪.‬‬
‫ﺏ" ﻛﻤﺎ‬ ‫ﻫﻨﺎﻙ ﺳﺒﺒﺎﻥ ﳚﻌﻼﻥ ﺩﺍﺅﻭﺩ ﻳﺼﺮﺥ "ﻣﺎ ﺃﻋﻈﻢ ﺃﻋﻤﺎﻟﻚ ﻳﺎ ﺭ ‪‬‬
‫ﺖ ﺟ ‪‬ﺪﹰﺍ"‪ .‬ﺍﻟﺴﺒﺐ ﺍﻷﻭ‪‬ﻝ ﻫﻮ‪:‬‬ ‫ﺏ ﺇﳍﻲ ﻟﻘﺪ ﻋﻈﻤ ‪‬‬
‫ﺻﺮﺥ ﰲ ﺑﺪﺍﻳﺔ ﺍﳌﺰﻣﻮﺭ "ﺃﻳ‪‬ﻬﺎ ﺍﻟﺮ ‪‬‬
‫"ﻛﻠﹼﻬﺎ"‪ ،‬ﺃﻱ ﻋﺪﺩ ﻭﺗﻨﻮ‪‬ﻉ ﺧﻼﺋﻖ ﺍﷲ‪ .‬ﻭﻫﺬﺍ ﻣﺎ ﳊﻈﻨﺎﻩ ﰲ ﺗﺄﻣ‪‬ﻠﻪ ﺑﻜ ﹼﻞ ﺍﻟﻜﺎﺋﻨﺎﺕ‬
‫ﻓﻬﻨﺎﻙ ﻃﻴﻮﺭ ﺁﻫﻠﺔ ﻭﻫﻨﺎﻙ ﻃﻴﻮﺭ ﺑﺮﻳ‪‬ﺔ‪ ،‬ﻣﻨﻬﺎ ﺍﻟﺼﻐﲑ ﻭﻣﻨﻬﺎ ﺍﻟﻜﺒﲑ‪ ،‬ﻭﻛﻠﹼﻬﺎ ﺗﻘﺪ‪‬ﻡ‬
‫ﺧﺪﻣﺎ‪‬ﺎ ﺍﳌﺒﺎﺷﺮﺓ ﺃﻭ ﻏﲑ ﺍﳌﺒﺎﺷﺮﺓ ﳊﻴﺎﺓ ﺍﳋﻠﻴﻘﺔ ﻭﺧﺪﻣﺔ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻭﻛﻠﹼﻬﺎ ﺑﺮﻋﺎﻳﺔ‬
‫ﺍﷲ ﺍﳋﺎﻟﻖ‪ .‬ﻫﺬﺍ ﺍﻟﺘﻨﻮ‪‬ﻉ ﻣﺪﻟﻮﻝ ﻋﻈﻤﺔ ﺍﷲ ﻭﳏﺒ‪‬ﺘﻪ‪ .‬ﻟﻜﻦ ﺍﻟﻨﻈﺎﻡ ﺍﻟﺬﻱ ﳚﻌﻞ ﻛ ﹼﻞ‬
‫ﻫﺬﻩ ﺍﳋﻼﺋﻖ ﺗﻜﻮﻥ ﲨﻠﺔ ﻭﺍﺣﺪﺓ ﻣﻦ ﺍﳊﻴﺎﺓ‪ ،‬ﻭﺃﺳﺮﺍﺭ ﺗﻜﻮﻳﻨﻬﺎ ﻭﻣﺴﲑﻫﺎ‬
‫ﻭﺗﺮﺍﺑﻄﻬﺎ‪ ...‬ﻛﻠﹼﻬﺎ ﺃﻣﻮﺭ ﺗ‪‬ﻌﻠﻦ ﻟﻠﻤﻸ ﺣﻜﻤ ﹶﺔ ﺍﷲ ﺍﻟﺴﺎﻣﻴﺔ‪ .‬ﻧﻌﻢ‪" ،‬ﻛﻠﹼﻬﺎ ﲝﻜﻤﺔ‬
‫ﺻﻨﻌﺘ‪‬ﻬﺎ"‪ .‬ﻓﺄﻋﻤﺎﻝ ﺍﷲ ﻋﺪﻳﺪﺓ ﻭﻟﻜﻨ‪‬ﻬﺎ ﻣﻬﻤ‪‬ﺔ ﻭﲦﻴﻨﺔ‪ .‬ﺃﻋﻤﺎﻝ ﺍﷲ ﺑﻘﺪﺭ ﻣﺎ ﺗﺪ ﹼﻝ‬
‫ﻋﻠﻰ ﻗﺪﺭﺗﻪ ﻭﻋﻈﻤﺘﻪ ﺗ‪‬ﺸﻬﺮ ﳏﺒ‪‬ﺘﻪ ﻭﺣﻜﻤﺘﻪ‪ .‬ﻭﻫﺬﻩ ﺍﳊﻜﻤﺔ ﺍﻹﳍﻴ‪‬ﺔ ﻣﻦ ﺃﻫ ‪‬ﻢ‬
‫ﺖ‬‫ﺍﻟﺼﻔﺎﺕ ﺍﻟﱵ ﺳﺒ‪‬ﺤﻬﺎ ﺍﻹﻧﺴﺎﻥ‪ .‬ﻳﻘﻮﻝ ﺳﻔﺮ ﺍﻷﻣﺜﺎﻝ‪" :٦٦‬ﺍﷲ ﺑﺎﳊﻜﻤﺔ ﺛ‪‬ﺒ ‪‬‬
‫ﺍﻷﺭﺽ‪ ،‬ﻭﺑﺎﻟﻔﻬﻢ ﻫﻴ‪‬ﺄ ﺍﻟﺴﻤﻮﺍﺕ"‪ .‬ﺃﹶﱂ ﻳﻜﻦ ﺍﷲ ﻟﻠﻔﻼﺳﻔﺔ "ﻓﻨ‪‬ﺎﻧﹰﺎ" ﺭﺍﺋﻌﺎﹰ؟ ﻳﺰﻳﺪ‬
‫ﺍﻟﻜﺘﺎﺏ ﻋﻠﻰ ﺣﻜﻤﺔ ﺍﷲ ﺃﻧ‪‬ﻪ ﺻﻨ ‪‬ﻊ ﺍﳋﻠﻴﻘﺔ‪ .‬ﻟﻴﺲ ﺍﷲ ﳎﺮ‪‬ﺩ ﻓﻨ‪‬ﺎﻥ ﻳﺒﺪ‪‬ﻝ ﺷﻜﻞ‬
‫ﺧﻠﻴﻘ ‪‬ﺔ ﻋﻤﻴﺎﺀ ﺣﲔ ﻳﻀﻔﻲ ﻋﻠﻴﻬﺎ ﻣﻦ ﺣﻜﻤﺘﻪ ﻓﺘﺼﲑ ﻣﺎﺩ‪‬ﺓ ﺳﺎﺣﺮﺓ! ﺍﷲ ﻫﻮ‬
‫ﺍﳋﺎﻟﻖ‪ ،‬ﻛﺎﻥ ﻗﺒﻞ ﺍﳋﻠﻴﻘﺔ‪ .‬ﺍﷲ ﺧﺎﻟﻖ ﻟﻴﺲ ﲟﻌﲎ ﺧﻼﹼﻕ ﻭﻓﻨ‪‬ﺎﻥ ﺑﻞ ﲟﻌﲎ "ﻣﻌﻄﻲ‬
‫ﺏ ﻛﻠﹼﻬﺎ‪" :‬ﲝﻜﻤﺔ"‬ ‫ﺍﳊﻴﺎﺓ"‪ .‬ﳍﺬﺍ ﻳﻘﻮﻝ ﺍﳌﺮﻧ‪‬ﻢ‪" :‬ﻣﺎ ﺃﻋﻈﻢ ﺃﻋﻤﺎﻟﻚ ﻳﺎ ﺭ ‪‬‬
‫ﺻﹺﻨ ‪‬ﻌﺖ‪ ،‬ﻟﺬﻟﻚ ﻟﻜ ﹼﻞ ﺍﻷﻣﻮﺭ ﺍﺳﺘﺨﺪﺍﻡ ﺣﺴﻦ ﻣﺎ!‬ ‫ﺖ"‪ .‬ﻛ ﹼﻞ ﺍﻷﻣﻮﺭ ﲝﻜﻤﺔ ‪‬‬ ‫"ﺻﻨﻌ ‪‬‬
‫ﻻ ﺗﻮﺟﺪ ﻧﻈﺮﺓ ﺗﻔﺎﺅﻟﻴ‪‬ﺔ ﻭﺇﳚﺎﺑﻴ‪‬ﺔ ﻭﻣﻨﻔﺘﺤﺔ ﻋﻠﻰ ﺍﳌﺎﺩ‪‬ﺓ ﻭﺍﻟﻜﻮﻥ ﺃﻛﺜﺮ ﻣﻦ ﻫﺬﻩ‬

‫‪.١٩ ،٣ ٦٦‬‬
‫‪١٠٨‬‬
‫ﺍﻟﻨﻈﺮﺓ‪ .‬ﻻ ﺗﻮﺟﺪ ﻧﻈﺮﺓ ﺗﻀﺎﺭﺏ ﺑﲔ ﺍﳌﺎﺩ‪‬ﺓ ﻭﺍﻟﺮﻭﺡ ﻋﻠﻰ ﺍﻹﻃﻼﻕ‪ ،‬ﻣﺎ ﺩﺍﻣﺖ‬
‫ﺍﳊﻜﻤﺔ ﻗﺪ ﻛﻮ‪‬ﻧﺖ ﻛﻞﹼ ﺍﳌﻮﺍﺩ‪ ،‬ﺇ ﹼﻻ ﺇﺫﺍ ﺃﻓﺴﺪ ﺍﺳﺘﺨﺪﺍ ‪‬ﻡ ﺍﻹﻧﺴﺎﻥ ﺗﻠﻚ ﺍﳊﻜﻤﺔ ﺃﻭ‬
‫ﱂ ﻳﻔﻬﻤﻬﺎ‪.‬‬
‫ﻗﺪ ﺍﻣﺘﻸﺕ ﺍﻷﺭﺽ ﻣﻦ ﺧﻠﻴﻘﺘﻚ‪ :‬ﻫﺬﻩ ﻛﻠﻤﺎﺕ ﺗﻌﺒ‪‬ﺮ ﻋﻦ ﻋﻈﻢ ﺇﺣﺴﺎﻥ‬
‫ﺍﷲ ﻭﺟﻮﺩﻩ‪ ،‬ﻭﻋﻦ ﺇﻋﺠﺎﺏ ﺍﳌﺼﻠﹼﻲ ﺑﺬﻟﻚ ﻭﺷﻜﺮﻩ ﻋﻠﻴﻪ‪ .‬ﻭﺍﳉﻤﻴﻞ ﻭﺍﻟﻌﻤﻴﻖ ﻫﻨﺎ‬
‫ﻚ"‪ :‬ﺃﻱ ﺃﻥ ﻳﻌ‪‬ﻴﺪ ﺍﳌﺮﻧ‪‬ﻢ ﻛ ﹼﻞ ﺍﳋﻠﻴﻘﺔ ﺇﱃ ﺍﷲ‪ ،‬ﻛﻤﺎ ﻧﺮﻧ‪‬ﻢ ﻗﺒﺎﻟﺔ‬ ‫ﻫﻮ ﻛﻠﻤﺔ "ﺧﻠﻴﻘﺘ ‪‬‬
‫ﻚ ﻋﻠﻰ‬ ‫ﺍﻻﺳﺘﺤﺎﻟﺔ ﰲ ﺍﻟﻘﺪ‪‬ﺍﺱ ﺍﻹﳍ ‪‬ﻲ – ﺳ ‪‬ﺮ ﺍﻟﺸﻜﺮ‪" :‬ﺍﻟﱵ ﻟﻚ ﳑﺎ ﱂ‪ ،‬ﻧﻘﺪ‪‬ﻣﻬﺎ ﻟ ‪‬‬
‫ﻛ ﱢﻞ ﺷﻲﺀ ﻭﻣﻦ ﺟﻬ ‪‬ﺔ ﻛ ﱢﻞ ﺷﻲﺀ"‪ .‬ﻧﻌﻢ ﻫﺬﻩ ﺍﳋﻠﻴﻘﺔ ﺍﻟﺴﺎﺣﺮﺓ ﻭﺍﻟﻌﻈﻴﻤﺔ ﻻ‬
‫ﺗﺴﻴﻄﺮ ﻋﻠﻰ ﻗﻠﺐ ﺍﳌﺮﻧ‪‬ﻢ ﺑﻞ ﺗﺮﺳﻠﻪ ﺇﱃ ﺍﷲ‪ ،‬ﺇﻧ‪‬ﻬﺎ "ﺑﻮﻕ" ﻳﻌﻠﻦ ﻋﻦ ﺣﻀﻮﺭ ﺍﳌﻠﻚ‬
‫ﻼ ﻣﻦ ﺍﻻﻟﺘﻔﺎﺕ ﺇﱃ ﺍﻟﺴﻤﺎﺀ ﻭﺍﻷﺭﺽ ﻭﻣﺎ ﻓﻴﻬﺎ‬ ‫ﰲ ﳑﻠﻜﺘﻪ‪ .‬ﻳﺴﺘﺮﻳﺢ ﺍﳌﺮﻧ‪‬ﻢ ﻫﻨﺎ ﻗﻠﻴ ﹰ‬
‫ﻣﻦ ﺃﻋﻤﺎﻝ ﻛﺜﲑﺓ ﻭﻋﻈﻴﻤﺔ ﲤﺠ‪‬ﺪ ﺍﷲ‪ ،‬ﻓﲑﻓﻊ ﻫﺬﻩ ﺍﻟﺘﻌﻈﻴﻤﺔ‪ ،‬ﰒ ﻳﺘﺎﺑﻊ ﺑﻌﺪﻫﺎ‪.‬‬

‫)‪ (٢٥‬ﻫﺬﺍ ﺍﻟﺒﺤﺮ ﺍﻟﻜﺒﲑ ﺍﻟﻮﺍﺳﻊ‪ ،‬ﻫﻨﺎﻙ ﺩﺍﺑ‪‬ﺎﺕ ﻻ ﻋﺪﺩ ﳍﺎ‪ ،‬ﺣﻴﻮﺍﻧﺎﺕ ﺻﻐﺎﺭ‬
‫ﻣﻊ ﻛﺒﺎﺭ‬
‫ﻣ ‪‬ﺮ ﺍﳌﺮﻧ‪‬ﻢ ﺑﻨﺎﻇﺮﻩ ﻋﻠﻰ ﺍﻟﺒﺤﺮ ﰲ ﺍﻵﻳﺔ )‪ (٦‬ﻭﻟﻜﻦ ﻫﻨﺎﻙ‪ ،‬ﻛﺎﻥ ﻳﺘﺄﻣ‪‬ﻞ‬
‫ﻋﻼﻗﺘﻬﺎ ﻣﻊ ﺍﻟﱪ‪ ،‬ﻭﺍﻟﻨﻈﺎﻡ ﺍﻟﺬﻱ ﺭﺗ‪‬ﺒﻪ ﺍﷲ ﺑﲔ ﺍﳌﻴﺎﻩ ﻭﺍﻟﻴﺎﺑﺴﺔ‪ .‬ﺃﻣ‪‬ﺎ ﻫﻨﺎ ﻓﻴﺘﺄﻣ‪‬ﻞ‬
‫ﺑﺎﻟﺒﺤﺮ ﻛﻌﺎﱂ ﻓﻴﻪ ﺧﻼﺋﻖ ﻋﺪﻳﺪﺓ ﻭﻣﻬﻴﺒﺔ ﺧﻠﻘﻬﺎ ﺍﷲ ﰲ ﺍﻟﻴﻮﻡ ﺍﳋﺎﻣﺲ ﲝﺴﺐ‬
‫ﺳﻔﺮ ﺍﻟﺘﻜﻮﻳﻦ‪" :‬ﻓﺨﻠﻖ ﺍﷲ ﺍﻟﺘﻨﺎﻧﲔ ﺍﻟﻌﻈﺎﻡ ﻭﻛ ﹼﻞ ﺫﻭﺍﺕ ﺍﻷﻧﻔﺲ ﺍﳊﻴ‪‬ﺔ ﺍﻟﺪﺑ‪‬ﺎﺑﺔ ﺍﻟﱵ‬
‫ﻼ ﺃﲦﺮﻱ ﻭﺃﻛﺜﺮﻱ ﻭﺍﻣﻸﻱ ﺍﳌﻴﺎﻩ ﰲ‬ ‫ﻓﺎﺿﺖ ﺍﳌﻴﺎﻩ ﻛﺄﺟﻨﺎﺳﻬﺎ‪ ...‬ﻭﺑﺎﺭﻛﻬﺎ ﺍﷲ ﻗﺎﺋ ﹰ‬
‫ﺡ ﻳﻮﻣﹰﺎ ﺧﺎﻣﺴﹰﺎ"‪.٦٧‬‬
‫ﺍﻟﺒﺤﺎﺭ‪ ...‬ﻭﻛﺎﻥ ﻣﺴﺎ ٌﺀ ﻭﻛﺎﻥ ﺻﺒﺎ ‪‬‬

‫‪ ٦٧‬ﺗﻚ ‪.٢٣-٢١ ،١‬‬

‫‪١٠٩‬‬
 ‫ﻓﻬﺬﺍ ﺍﻟﺒﺤﺮ ﺍﻟﻮﺍﺳﻊ ﺍﻟﻜﺒﲑ ﻫﻮ ﻋﺎﱂ ﺁﺧﺮ ﲝ ‪‬ﺪ ﺫﺍﺗﻪ ﻗﺪ ﳒﻬﻞ ﻋﻨﻪ ﺃﻛﺜﺮ ﳑﺎ‬
‫ﻧﻌﺮﻑ ﻋﻦ ﺍﻟﻴﺎﺑﺴﺔ‪ .‬ﻻ ﺑﻞ ﻫﺬﺍ ﺍﻟﻌﺎﱂ ﺍﻟﺜﺎﱐ ﻋﺎﱂ ﺍﻟﺒﺤﺎﺭ ﳛﻮﻱ ﺣﻴﻮﺍﻧﺎﺕ ﺻﻐﺎﺭﹰﺍ‬
‫ﺏ ﰲ ﺃﻋﻤﺎﻗﻬﺎ ﻣﺎ ﻻ ﻧﻌﺮﻓﻪ ﻣﻦ ﺣﻴﻮﺍﻧﺎﺕ‬ ‫ﻣﻊ ﻛﺒﺎﺭ ﻻ ﻋﺪﺩ ﳍﺎ ﻭﻷﻧﻮﺍﻋﻬﺎ‪ ،‬ﻭﺗﺪ ‪‬‬
‫ﻭﺃﲰﺎﻙ‪ .‬ﻫﺬﺍ ﺍﻟﺒﺤﺮ ﺍﻟﻮﺍﺳﻊ ﻳﻌ ‪‬ﺞ ﺑﺎﳊﻴﺎﺓ ﻭﺍﻟﻜﺎﺋﻨﺎﺕ‪ ،‬ﻭﻻ ﺗﻘ ﹼﻞ ﻋﻨﺎﻳﺔ ﺍﷲ ﺍﻟﱵ‬
‫ﻫﻨﺎﻙ ﻭﻻ ﻧﺮﺍﻫﺎ ﻋﻦ ﻫﺬﻩ ﺍﻟﱵ ﻋﻠﻰ ﺍﻟﻴﺎﺑﺴﺔ ﻭﻧﻼﺣﻆ ﺑﻌﻀﹰﺎ ﻣﻨﻬﺎ‪.‬‬

‫)‪ (٢٦‬ﻫﻨﺎﻙ ﲡﺮﻱ ﺍﻟﺴﻔﻦ‪ ،‬ﻫﺬﺍ ﺍﻟﺘﻨﲔ ﺍﻟﺬﻱ ﺧﻠﻘﺘ‪‬ﻪ ﻳﻠﻌﺐ ﻓﻴﻪ‬
‫ﺏ‬
‫ﺑﻌﺪ ﺃﻥ ﺗﺄﻣ‪‬ﻞ ﺍﳌﺮﻧ‪‬ﻢ ﺑﺈﻋﺠﺎﺏ ﰲ ﺃﻋﻤﺎﻕ ﺍﻟﺒﺤﺎﺭ ﻭﺍﻟﻜﺎﺋﻨﺎﺕ ﺍﻟﱵ ﺗﺪ ‪‬‬
‫ﻓﻴﻬﺎ‪ ،‬ﻫﻮﺫﺍ ﻳﻨﻈﺮ ﺇﱃ ﺳﻄﺢ ﺍﳌﻴﺎﻩ ﺍﻟﺬﻱ ﺗﻌﱪ ﻋﻠﻴﻪ ﺍﻟﺴﻔﻦ ﰲ ﺍﺗ‪‬ﺠﺎﻫﺎﺕ ﻋﺪﻳﺪﺓ‬
‫ﺗﺼﻞ ﺍﻟﻨﺎﺱ ﺑﻌﻀﻬﻢ ﺍﻟﺒﻌﺾ ﺑﺪﻝ ﺍﳌﺴﺎﻓﺎﺕ ﺍﻟﱪﻳ‪‬ﺔ ﺍﻟﺼﻌﺒﺔ ﻭﺍﻟﻄﻮﻳﻠﺔ ﻭﺭﺑ‪‬ﻤﺎ‬
‫ﺍﳌﺴﺘﺤﻴﻠﺔ‪ ،‬ﻓﻴﺘﺒﺎﺩﻟﻮﻥ ﺍﻟﺘﻌﺎﺭﻑ ﻭﺍﻟﺘﻌﺎﻭﻥ ﻭﺍﻷﻋﻤﺎﻝ‪ .‬ﻭﻟﻜﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺮ ﻟﻴﺲ‬
‫ﻟﻠﺨﺪﻣﺎﺕ ﻭﺣﺴﺐ ﺑﻞ ﻣﺎ ﺃﲨﻠﻪ ﻳﺸﺒﻊ ﻋﲔ ﺍﻹﻧﺴﺎﻥ ﻓﺮﺣﹰﺎ ﻭﺭﺍﺣﺔ ﻭﺳﻼﻣﹰﺎ‬
‫ﻭﺇﻋﺠﺎﺑﹰﺎ‪ .‬ﻫﻮﺫﺍ ﻣﺸﻬﺪ ﺍﻟﺘﻨ‪‬ﲔ – ﻭﻫﻮ ﻋﺒ ‪‬ﺪ ﷲ ﻭﺧﻠﻴﻘﺘﻪ – ﻳﻠﻌﺐ ﻋﻠﻰ ﺳﻄﺢ‬
‫ﺍﻟﺒﺤﺎﺭ‪ .‬ﻫﻨﺎﻙ ﺗﻔﺎﺳﲑ ﻋﺪﻳﺪﺓ ﺣﻮﻝ "ﺍﻟﺘﻨ‪‬ﲔ" ﺍﳌﺬﻛﻮﺭ ﻫﻨﺎ‪ .‬ﻫﻞ ﻫﻲ ﺍﳊﻴﺘﺎﻥ‬
‫ﺍﻟﻜﺒﲑﺓ ﺃﻡ ﺭﻣﺰ ﻟﻠﺸﻴﻄﺎﻥ ﺃﻡ ﻛﺎﺋﻨﺎﺕ ﲝﺮﻳ‪‬ﺔ ﻋﺠﻴﺒﺔ‪ !...‬ﺑﻌﺾ ﺍﳌﺨﻄﻮﻃﺎﺕ ﺗﻮﺭﺩ‬
‫ﺍﺳﻢ "ﻟﻮﻳﺎﺛﺎﻥ" ﺍﳌﺬﻛﻮﺭ ﰲ ﺳﻔﺮ ﺃﻳﻮﺏ‪" :٦٨‬ﻫﻮﺫﺍ ‪‬ﻴﻤﻮﺕ ﺍﻟﺬﻱ ﺻﻨﻌﺘ‪‬ﻪ‬
‫ﻚ‪ ،"...‬ﻭﻫﻮ ﺣﻴﻮﺍﻥ ﻣﻮﺟﻮﺩ ﰲ ﻧﻴﻞ ﻣﺼﺮ ﺍﳌﻌﺮﻭﻑ ﺑﻔﺮﺱ ﺍﻟﺒﺤﺮ‪ .٦٩‬ﻻ ﺷ ‪‬‬
‫ﻚ‬ ‫ﻣﻌ ‪‬‬
‫ﺃﻧ‪‬ﻪ ﻣﻬﻤﺎ ﺗﻌﺪ‪‬ﺩﺕ ﺍﻟﺘﻔﺴﲑﺍﺕ‪ ،‬ﻓﺎﻟﻮﺍﺿﺢ ﺃ ﹼﻥ ﺍﳌﺮﻧ‪‬ﻢ ﻳﻘﻠﺐ ﺍﻟﺼﻮﺭﺓ ﻋﻦ ﺍﻟﺒﺤﺎﺭ‪.‬‬
‫ﻓﺒﻌﺪ ﺃﻥ ﻛﺎﻧﺖ ﻋﺎﱂ ﺍ‪‬ﻬﻮﻝ ﻭﺍﳋﻮﻑ‪ ،‬ﺣﻴﺚ ﳝﻀﻲ ﺍﻟﻨﺎﺱ ﻭﻻ ﻳﻌﻮﺩﻭﻥ‪ ،‬ﻭﻣ‪‬ﻦ‬

‫‪.٨ ،٣ ٦٨‬‬
‫‪ ٦٩‬ﺭﺍﺟﻊ ﺣﺎﺷﻴﺔ ﺍﻟﻜﺘﺎﺏ ﺍﳌﻘﺪﺱ‪ ،‬ﺳﻔﺮ ﺃﻳﻮﺏ ﺻـ‪ ،٧٠٣‬ﺩﺍﺭ ﺍﻟﻜﺘﺎﺏ ﺍﳌﻘﺪﺱ ﰲ ﺍﻟﺸﺮﻕ ﺍﻷﻭﺳﻂ‪.‬‬
‫‪١١٠‬‬
‫ﳝﻮﺕ ﻫﻨﺎﻙ ﺗﺄﻛﻠﻪ ﺍﻟﺘﻨﺎﻧﲔ ﻭﻻ ﻳ‪‬ﻌﺮﻑ ﻟﻪ ﺃﺛﺮ ﻣﻦ ﺑﻌﺪ! ﺻﺎﺭ ﺍﻟﺒﺤﺮ ﻣﻜﺎﻧﹰﺎ ﺗﺒﺤﺮ‬
‫ﻓﻴﻪ ﺍﻟﺴﻔﻦ ﻭﻳﺴﺘﺨﺪﻣﻪ ﺍﻟﺒﺸﺮ‪ ،‬ﻭﺗﻨﺎﻧﻴﻨﻪ ﺍﳉﺒ‪‬ﺎﺭﺓ ﺍﳌﺨﻴﻔﺔ ﻣﺎ ﻫﻲ ﺇ ﹼﻻ ﺧﻠﻴﻘﺔ ﺍﷲ‬
‫ﻭﺳﻮﻑ ﺗﻠﻌﺐ ﻋﻠﻰ ﺳﻄﺤﻪ ﻟﻴﺘﻤﺘ‪‬ﻊ ﺍﻹﻧﺴﺎﻥ ﲟﺸﺎﻫﺪ‪‬ﺎ‪ .‬ﺻﻮﺭﺓ ﻣﺸﺎ‪‬ﺔ‬
‫ﻚ ﺍﳌﻴﺎﻩ ﻓﺠﺰﻋﺖ‪ ،‬ﺍﻷﺭﺩﻥ ﺭﺟﻊ‬ ‫ﻧﺴﺘﺨﺪﻣﻬﺎ ﰲ ﺻﻠﻮﺍﺗﻨﺎ ﻳﻮﻡ ﺍﻟﻈﻬﻮﺭ ﺍﻹﳍ ‪‬ﻲ "ﺭﺃ‪‬ﺗ ‪‬‬
‫ﺇﱃ ﺍﻟﻮﺭﺍﺀ"‪ .‬ﳍﺬﺍ ﰲ ﺃﻳﻘﻮﻧﺔ ﺍﻟﻈﻬﻮﺭ‪ ،‬ﰲ ﺍﳌﻴﺎﻩ ﻭﲢﺖ ﺃﻗﺪﺍﻡ ﻳﺴﻮﻉ‪ ،‬ﻫﻨﺎﻙ ﺗﻨ‪‬ﻴﻨﺎﻥ‬
‫ﻳﻬﺮﺑﺎﻥ ﻛ ﹼﻞ ﻭﺍﺣ ‪‬ﺪ ﻣﻦ ﺟﻬﺔ‪ ،‬ﺍﻷﻭ‪‬ﻝ ﻋﻠﻴﻪ ﺍﻣﺮﺃﺓ )ﲤﺜﹼﻞ ﺍﻟﺒﺤﺮ ﻭﻫﻮ ﺍﺳﻢ ﺃﻧﺜﻰ ﰲ‬
‫ﺍﻟﻴﻮﻧﺎﻧﻴ‪‬ﺔ ﻋﻜﺲ ﺍﻟﻠﹼﻐﺎﺕ ﺍﻟﻌﱪﻳ‪‬ﺔ ﻭﺍﻟﻌﺮﺑﻴ‪‬ﺔ(‪ ،‬ﻭﺍﻵﺧﺮ ﻋﻠﻴﻪ ﺭﺟﻞ )ﳝﺜﹼﻞ ‪‬ﺮ ﺍﻷﺭﺩﻥ(؛‬
‫ﻭﺍﳌﻌﲎ ﺍﻟﻌﻤﻴﻖ ﻫﻮ ﺍﻧﻜﺴﺎﺭ ﻗﻮﻯ ﺍﻟﺸ ‪‬ﺮ ﺍﻟﻜﺎﻣﻨﺔ ﰲ ﺍﻟﺒﺤﺎﺭ ﺃﻣﺎﻡ ﺍﻟﺴﻠﻄﺔ ﺍﻟﱵ‬
‫ﺃﻋﻄﺎﻫﺎ ﺍﷲ ﻟﻺﻧﺴﺎﻥ ﻋﻨﺪﻣﺎ ﺧﻠﻘﻪ ﻭﺑﻌﺪﻫﺎ ﰲ ﺍﻟﻴﻮﻡ ﺍﻟﺴﺎﺩﺱ‪" :‬ﻟﻨﻌﻤﻞ ﺍﻹﻧﺴﺎﻥ‬
‫ﻋﻠﻰ ﺻﻮﺭﺗﻨﺎ ﻛﺸﺒﻬﻨﺎ‪ .‬ﻓﻴﺘﺴﻠﹼﻄﻮﻥ ﻋﻠﻰ ﲰﻚ ﺍﻟﺒﺤﺮ‪ ."...‬ﻭﻫﺬﺍ ﻣﺎ ﻳﻌﻨﻴﻪ ﺳﻔﺮ‬
‫ﺖ‬
‫ﺕ ﺭﺅﻭﺱ ﺍﻟﺘﻨﺎﻧﲔ ﻋﻠﻰ ﺍﳌﻴﺎﻩ‪ .‬ﺃﻧ ‪‬‬ ‫ﺖ ﺍﻟﺒﺤﺮ ﺑﻘﻮ‪‬ﺗﻚ‪ ،‬ﻛﺴﺮ ‪‬‬ ‫ﺖ ﺷﻘﻘ ‪‬‬ ‫ﺍﳌﺰﺍﻣﲑ‪" :‬ﺃﻧ ‪‬‬
‫ﺖ ﺭﺅﻭﺱ ﻟﻮﻳﺎﺛﺎﻥ‪ ،‬ﺟﻌﻠ‪‬ﺘﻪ ﻃﻌﺎﻣﹰﺎ ﻟﻠﺸﻌﺐ ﻷﻫﻞ ﺍﻟﱪﻳ‪‬ﺔ"‪.٧٠‬‬ ‫ﺭﺿﻀ ‪‬‬
‫ﻚ ﺃ ﹼﻥ ﻟﻮﻳﺎﺛﺎﻥ ﻫﺬﺍ ﻫﻮ ﰲ ﺳﻔﺮ ﺃﻳﻮﺏ ﺭﻣﺰ ﻟﻠﻤﺠﻬﻮﻝ ﻭﺍﻟﻌﺒﺚ‪،٧١‬‬ ‫ﻻﺷ ‪‬‬
‫ﺍﻟﺬﻱ ﻋﺒ‪‬ﺮ ﻋﻨﻪ ﺳﻔﺮ ﺍﻟﺘﻜﻮﻳﻦ‪" :‬ﰲ ﺍﻟﺒﺪﺀ ﺧﻠﻖ ﺍﷲ ﺍﻟﺴﻤﻮﺍﺕ ﻭﺍﻷﺭﺽ ﻭﻛﺎﻧﺖ‬
‫ﺍﻷﺭﺽ ﺧﺮﺑ ﹰﺔ ﻭﻋﻠﻰ ﻭﺟﻪ ﺍﻟﻐﻤﺮ ﻇﻠﻤ ﹲﺔ‪ .٧٢"...‬ﺟﺎﺀ ﻫﺬﺍ ﺍﻟﺘﻨ‪‬ﲔ ﻣﻦ ﺍﳌﻴﺜﻮﻟﻮﺟﻴﺎ‬
‫ﺍﻟﻜﻨﻌﺎﻧﻴ‪‬ﺔ‪ ،‬ﻋﻦ ﺣﺮﺏ ﺑﲔ ﺇﻟﻪ ﺍﳋﺼﺐ "ﺑﻌﻞ" ﻭ"ﻟﻮﺛﺎﻥ" ﺍﻟﺒﺤﺮ‪ .٧٣‬ﻟﻜﻦ ﻫﺬﺍ‬
‫ﺍﻻﺳﻢ ﰲ ﺍﻟﻜﺘﺎﺏ ﺍﳌﻘﺪ‪‬ﺱ ﻻ ﻳ‪‬ﺴﺘﺨﺪ‪‬ﻡ ﻣﻴﺜﻮﻟﻮﺟ‪‬ﻴﹰﺎ ﺑﻞ ﻳﺮﻣﺰ ﺇﱃ ﺍﻧﻜﺴﺎﺭ ﺍﻟﺘﻨﺎﻧﲔ‬
‫ﻱ ﳏﺪ‪‬ﺩ‬ ‫ﺍﳉﺒ‪‬ﺎﺭﺓ ﺃﻣﺎﻡ ﺳﻠﻄﺔ ﺍﻹﻧﺴﺎﻥ ﺍﻟﱵ ﻭﻫﺒﻬﺎ ﺍﷲ ﺇﻳ‪‬ﺎﻫﺎ؛ ﻓﻬﻮ ﳎﺮ‪‬ﺩ ﺣﻴﻮﺍﻥ ﲝﺮ ‪‬‬
‫‪١٤ -١٣ ،٧٤ ٧٠‬‬
‫‪) ٧١‬ﺃﻳﻮﺏ ‪(٨ ،٣‬‬
‫‪) ٧٢‬ﺗﻚ‪.(٢-١ ،١‬‬
‫‪O. Kaiser, Die Mysthische Bedeutung des Meeres in Ägypten, Ugarit und‬‬ ‫‪ ٧٣‬ﺃﻧﻈﺮ‪:‬‬
‫‪Israel, BZAW 78, 1985, p. 69‬‬
‫‪١١١‬‬
‫ﻭﻟﻴﺲ ﺇﳍﹰﺎ‪ .٧٤‬ﻫﺆﻻﺀ ﺍﳉﺒﺎﺑﺮﺓ‪ ،‬ﰲ ﺃﺧﻄﺮ ﻭﺃﺿﻌﻒ ﻣﻜﺎﻥ ﻟﻺﻧﺴﺎﻥ ﺃﻱ ﺍﻟﺒﺤﺮ‪،‬‬
‫ﺑﺎﺗﻮﺍ ﺃﻟﻌﻮﺑ ﹰﺔ ﻳﺘﺴﻠﹼﻰ ‪‬ﺎ ﺍﻹﻧﺴﺎﻥ ﺣﲔ ﻳﺮﺍﻫﺎ ﺗﺮﻗﺺ ﻋﻠﻰ ﺳﻄﺢ ﺍﳌﻴﺎﻩ‪ ،٧٥‬ﻣﺎ ﺃﻋﻈﻢ‬
‫ﻼ ﲝﻜﻤﺔ ﺻﻨﻌﺘ‪‬ﻬﺎ!‬
‫ﺏ ﻛﻠﹼﻬﺎ ﻓﻌ ﹰ‬
‫ﺃﻋﻤﺎﻟﻚ ﻳﺎ ﺭ ‪‬‬

‫ﺖ ﺃﻋﻄﻴﺘ‪‬ﻬﺎ‬
‫)‪ (٢٧‬ﻛﻠﹼﻬﺎ ﺇﻳ‪‬ﺎﻙ ﺗﺘﺮﺟ‪‬ﻰ‪ ،‬ﻟﺘﻌﻄﻴﻬﺎ ﻃﻌﺎﻣﻬﺎ ﰲ ﺣﻴﻨﻪ‪ ،‬ﻭﺇﺫﺍ ﺃﻧ ‪‬‬
‫ﺖ‬
‫ﲨﻌ ‪‬‬
‫ﺃﺑﻮ‪‬ﺓ ﺍﷲ ﻻ ﺗﻈﻬﺮ ﻣﻦ ﻋﻤﻞ ﺍﳋﻠﻖ ﺍﻟﺮﺍﺋﻊ ﻭﺣﺴﺐ‪ ،‬ﻫﺬﺍ ﻳ‪‬ﻈﻬﺮ ﺭﺑ‪‬ﻤﺎ‬
‫ﺖ"‪.‬‬
‫ﺖ ﺃﻋﻄﻴ‪‬ﺘﻬﺎ ﻫﻲ ﲨﻌ ‪‬‬ ‫ﻋﻈﻤﺘﻪ‪ .‬ﻟﻜﻦ ﺃﺑﻮ‪‬ﺗﻪ ﺗﻈﻬﺮ ﻣﻦ ﻛﻠﻤﺎﺕ ﺍﳌﺮﻧ‪‬ﻢ‪" :‬ﺃﻧ ‪‬‬
‫ﻋﻨﺎﻳﺔ ﺍﷲ ﺷﺄﻥ ﻳﻈﻬﺮ ﺃﺑﻮ‪‬ﺗﻪ ﰲ ﺧﻠﻴﻘﺘﻪ ﻛﻤﺎ ﻳ‪‬ﻈﻬﺮ ﺍﳋﻠﻖ ﻋﻈﻤﺘﻪ ﻓﻴﻬﺎ‪ .‬ﻳﻠﺨ‪‬ﺺ‬
‫ﻫﻨﺎ ﺍﳌﺮﻧ‪‬ﻢ ﺍﳌﺸﻬﺪ ﺍﻟﺴﺎﺑﻖ ﰲ ﺍﻵﻳﺎﺕ )‪ ،(٢٦ -١٩‬ﻓﺎﷲ ﳚﻠﺐ ﺍﳊﻴﺎﺓ‪ ،‬ﻟﻜﻦ‬
‫ﺍﳊﻴﺎﺓ ﻻ ﺗﺴﺘﻤ ‪‬ﺮ ﺩﻭﻥ ﺗﻐﺬﻳﺔ‪ ،‬ﺍﷲ ﻫﻮ ﺍﻟﺬﻱ ﻳﻐﺬﹼﻱ ﺷﻌﺒﻪ ﻭﺧﻠﻴﻘﺘﻪ‪ .‬ﻻ ﺗﺄﰐ‬
‫ﺍﳋﻠﻴﻘﺔ ﻣﻦ ﺍﷲ ﻓﻘﻂ‪ ،‬ﺑﻞ ﻭﺗﺴﺘﻤ ‪‬ﺮ ﺑﻔﻀﻞ ﻋﻨﺎﻳﺘﻪ؛ ﺇﻧ‪‬ﻪ ﻳﻬﺘ ‪‬ﻢ ﺑﻜ ﹼﻞ ﺷﻲﺀ ﻓﻴﻬﺎ‬
‫ﻭﻳﺆﻣ‪‬ﻦ ﻟﻪ ﻃﻌﺎﻣﻪ‪ .‬ﳏﺒ‪‬ﺔ ﺍﷲ ﻻ ﲣﻠﻖ ﺍﻟﻌﺎﱂ ﻟﺘﺘﺮﻛﻪ ﺑﻞ ﻟﺘﺤﻴﻴﻪ ﻋﻠﻰ ﺍﻟﺪﻭﺍﻡ‪.‬‬
‫"ﻛﻠﹼﻬﺎ ﺇﻳ‪‬ﺎﻙ ﺗﺘﺮﺟ‪‬ﻰ"‪ ،‬ﺣﻴﺎﺓ ﻛ ﹼﻞ ﺍﳋﻼﺋﻖ ﻣﺘﻌﻠﹼﻘﺔ ﲟﺤﺒ‪‬ﺔ ﺍﷲ‪" .‬ﺃﻋ‪‬ﲔ ﺍﻟﻜ ﹼﻞ‬
‫ﺖ ﻋﻴ‪‬ﻨ ‪‬ﻲ ﻳﺎ ﺳﺎﻛﻦ‬ ‫ﺖ ﺗﻌﻄﻴﻬﻢ ﻃﻌﺎﻣﻬﻢ ﰲ ﺣﻴﻨﻪ"‪" .٧٦‬ﺇﻟﻴ ‪‬‬
‫ﻚ ﺭﻓﻌ ‪‬‬ ‫ﺇﻳ‪‬ﺎﻙ ﺗﺘﺮﺟ‪‬ﻰ ﻭﺃﻧ ‪‬‬
‫ﺍﻟﺴﻤﺎﺀ ﻛﻤﺎ ﻫﻲ ﻋﻴﻮﻥ ﺍﻟﻌﺒﻴﺪ ﺇﱃ ﺃﻳﺪﻱ ﻣﻮﺍﻟﻴﻬﻢ‪."...‬‬

‫‪٧٤‬‬
‫ﺃﻧﻈﺮ‪E. Jacob, Ras shamra et l’Ancien Testament, CAB 12, Neuchâtel 1960, p. 96 :‬‬
‫‪ ٧٥‬ﺃﻳﻮﺏ ‪.٢٩ ،٤٠‬‬
‫‪ ٧٦‬ﻣﺰ ‪.١٥ ،١٤٤‬‬
‫‪١١٢‬‬
 ‫)‪ (٢٨‬ﺗﻔﺘﺢ ﻳﺪﻙ ﻓﻴﻤﺘﻠﺊ ﺍﻟﻜ ﱡﻞ ﺧﲑﺍﹰ‪ ،‬ﺗﺼﺮﻑ ﻭﺟﻬﻚ ﻓﻴﻀﻄﺮﺑﻮﻥ‬
‫ﻳﻠﺘﻔﺖ ﰲ ﺍﻵﻳﺔ ﺍﻟﺴﺎﺑﻘﺔ ﺍﳌﺮﻧ‪‬ﻢ ﺇﱃ ﺍﳋﻼﺋﻖ ﻓﲑﺍﻫﺎ ﺗﺘﻄﻠﹼﻊ ﺇﱃ ﺍﷲ ﺗﻨﺘﻈﺮ ﻣﻨﻪ‬
‫ﻃﻌﺎﻣﻬﺎ‪ -‬ﺣﻴﺎ‪‬ﺎ‪ .‬ﻟﻜﻨ‪‬ﻪ ﻳ‪‬ﻌﻴﺪ ﻧﻈﺮﻩ ﻫﻨﺎ ﺇﱃ ﺍﷲ ﻓﻴﻜﺘﺸﻒ ﻣﺎ ﻫﻮ ﺃﻫﻢ‪ ،‬ﺃ ﹼﻥ ﺍﷲ‬
‫ﻛﺮﱘ ﺟﻮ‪‬ﺍﺩ ﻳﻔﺘﺢ ﻳﺪﻩ ﻓﻴﻤﺘﻠﺊ ﺍﻟﻜ ﱡﻞ ﺧﲑﹰﺍ‪ .‬ﻧﻌﻢ‪ ،‬ﺍﳋﻼﺋﻖ ﻛﺎﺋﻨﺎﺕ ﳏﺘﺎﺟﺔ ﺗﻨﻈﺮ‬
‫ﺏ ﻣﺪﺑ‪‬ﺮ ﻳﻌﻄﻲ ﺑﺴﺨﺎﺀ‪ .‬ﻭﺑﻠﻎ ﺟﻮﺩ ﺍﷲ ﺃﻧ‪‬ﻪ‬ ‫ﺇﱃ ﻣ‪‬ﻦ ﻳﻌﻮﳍﺎ‪ .‬ﻭﻟﻜﻦ ﺍﻷﻫ ‪‬ﻢ ﺃ ﹼﻥ ﺍﷲ ﺃ ‪‬‬
‫ﻓﺘﺢ‪ -‬ﺑﺴﻂ ﻳﺪ‪‬ﻳﻪ ﻋﻠﻰ ﺍﻟﺼﻠﻴﺐ ﻭﺃﻋﻄﻰ ﺑﺬﻟﻚ ﺧﱪﺍﺕ ﻻ ﲦﻦ ﳍﺎ‪.‬‬
‫ﻛﻤﺎ ﺃ ﹼﻥ ﻓﺘﺢ ﺍﻟﻴﺪ ﺩﻟﻴﻞ ﺍﶈﺒ‪‬ﺔ ﺍﻟﻜﺮﳝﺔ‪ ،‬ﻛﺬﻟﻚ ﺻﺮﻑ ﺍﻟﻮﺟﻪ ﺩﻟﻴﻞ ﺍﶈﺒ‪‬ﺔ‬
‫ﺍﳌﺘﺄﻟﹼﻤﺔ‪ .‬ﻃﺒﻌﹰﺎ ﻫﺬﻩ ﺻﻮﺭ ﻣﻦ ﺍﳊﻴﺎﺓ ﺍﻟﺒﺸﺮﻳ‪‬ﺔ‪ ،‬ﺍﻟﱵ ﻳﺮﻳﺪ ﺍﳌﺮﻧ‪‬ﻢ ﺃﻥ ﻳﻌﺒ‪‬ﺮ ‪‬ﺎ ﻋﻦ‬
‫ﷲ ﻭﺟﻬ‪‬ﻪ "ﺍﻟﻜ ﹼﻞ" ﻳﻀﻄﺮﺑﻮﻥ‪ ،‬ﺃﻱ ﻳﻌﺪﻣﻮﻥ ﺍﳊﻴﺎﺓ‬ ‫ﻑ ﺍُ‬ ‫ﺍﶈﺒ‪‬ﺔ ﺍﻹﳍﻴ‪‬ﺔ‪ .‬ﺇﺫﺍ ﺻ ‪‬ﺮ ‪‬‬
‫ﺑﺪﺭﺟﺔ ﻣﺎ‪ .‬ﻭﰲ ﺍﳊﺎﻟﺘ‪‬ﲔ‪ :‬ﺻﻮﺭﺓ ﺍﻟﻴﺪ ﺍﳌﻔﺘﻮﺣﺔ ﻓﻴﺤﻴﺎ ﺍﳉﻤﻴﻊ‪ ،‬ﻭﺻﺮﻑ ﺍﻟﻮﺟﻪ‬
‫ﻓﻴﻀﻄﺮﺑﻮﻥ‪ ،‬ﺗﺮﻳﺪﺍﻥ ﺍﻟﺘﺄﻛﻴﺪ ﺃ ﹼﻥ ﺍﷲ ﻫﻮ ﻣﺼﺪﺭ ﺍﳊﻴﺎﺓ ﻭﻗ ‪‬ﻮ‪‬ﺎ‪.‬‬

‫)‪ (٢٩‬ﺗﻨـﺰﻉ ﺃﺭﻭﺍﺣﻬﻢ ﻓﻴﻔﻨﻮﻥ‪ ،‬ﻭﺇﱃ ﺗﺮﺍ‪‬ﻢ ﻳﺮﺟﻌﻮﻥ‬

‫ﺕ ﻭﻳﻌﻴﺸﻮﻥ‪ .‬ﻟﻜﻦ ﺍﷲ ﺳﻴ‪‬ﺪ ﺍﻟﺮﻭﺡ‬
‫ﺏ ﻳﺪ‪‬ﻩ ﻓﻴﻤﺘﻠﺊ ﺍﻟﻜ ﹼﻞ ﺧﲑﺍ ‪‬‬
‫ﻳﻔﺘﺢ ﺍﻟﺮ ‪‬‬
‫ﺃﻳﻀﹰﺎ ﻭﻟﻴﺲ ﺍﳌﺎﺩ‪‬ﺓ ﺃﻭ ﺍﳉﺴﺪ ﻓﻘﻂ‪ ،‬ﻟﺬﻟﻚ ﻟﻪ ﻭﺣﺪﻩ ﺍﻟﺴﻠﻄﺎﻥ ﺃﻥ ﻳﺴﺤﺐ ﺍﻟﺮﻭﺡ‬
‫ﺍﻟﱵ ﻭﻫﺒﻬﺎ‪ ،‬ﻓﻴﻔﻨﻮﻥ ﻭﺇﱃ ﺗﺮﺍ‪‬ﻢ ﻳﺮﺟﻌﻮﻥ‪ .‬ﺇ ﹼﻥ ﺍﷲ ﻫﻮ ﻭﺍﻫﺐ ﺍﻟﻄﻌﺎﻡ ﻭﻭﺍﻫﺐ‬
‫ﺍﻟﺮﻭﺡ ﻭﺳﻴ‪‬ﺪﻫﺎ ﻛﻠﹼﻬﺎ ﻋﻠﻰ ﺍﻟﺴﻮﺍﺳﻴ‪‬ﺔ‪ .‬ﻳﻌﻄﻲ ﻓﻨﺤﻴﺎ ﳛﺠﺐ ﻓﻨﻤﻮﺕ‪.‬‬
‫ﻟﻠﺮﻭﺡ ﰲ ﻟﻐﺔ ﺍﻟﻜﺘﺎﺏ ﻣﻌﺎ ‪‬ﻥ ﻋﺪ‪‬ﺓ‪ ،‬ﻟﻜﻨ‪‬ﻬﺎ ﻫﻨﺎ ﺗﻌﲏ ﺭﻭﺡ ﺍﳊﻴﺎﺓ‬
‫ﻭﻋﻨﺼﺮﻫﺎ‪ ،٧٧‬ﻭﻫﻮ ﻣﺎ ﻳﺴﻤ‪‬ﻰ ﻣﺮ‪‬ﺍﺕ ﻋﺪﻳﺪﺓ ﺍﻟـ "ﻧﻔﺲ"‪ .٧٨‬ﻭﻫﺬﻩ ﺍﳌﻌﺎﱐ‬

‫‪ ٧٧‬ﺭﺍﺟﻊ ﺗﻚ‪ ١٧ ،٦‬ﻭ‪ ١٥ ،٧‬ﻭﺃﻳﻮﺏ ‪.٣ ،٢٧‬‬

‫‪ ٧٨‬ﺗﻚ ‪ ٢٠ ،١‬ﻭﺃﻣﺜﺎﻝ ‪.١٠ ،١٢‬‬
‫‪١١٣‬‬
 ‫ﳏﺼﻮﺭﺓ ﰲ ﺍﳊﻴﺎﺓ ﺍﻟﺒﻴﻮﻟﻮﺟﻴ‪‬ﺔ ﻭﻻ ﺗﻘﺼﺪ ﻣﻌﲎ ﺍﻟﺮﻭﺡ ﺍﻟﱵ ﻧﺎﳍﺎ ﺍﻹﻧﺴﺎﻥ ﰲ ﺍﳋﻠﻖ‬
‫ﺑﻌﺪ ﺃﻥ ﺟﺒﻠﻪ ﺍﷲ ﻭﺻﺎﺭ ﻧﻔﺴﹰﺎ ﺣﻴ‪‬ﺔ‪ ،‬ﺣﻴﺚ ﻫﺬﻩ ﺍﻷﺧﲑﺓ ﺗﻌﲏ ﺑﺎﻟﺮﻭﺡ ﺍﳊﻴﺎ ﹶﺓ‬
‫ﺍﻟﺮﻭﺣﻴ‪‬ﺔ ﻭﻟﻴﺲ ﺍﳊﻴﺎﺓ ﺍﻟﺒﻴﻮﻟﻮﺟﻴ‪‬ﺔ ﻓﻘﻂ‪.‬‬
‫ﻟﺬﻟﻚ ﻳﺴﺘﺨﺪﻡ ﺍﳌﺮ‪‬ﻧ ‪‬ﻢ ﻓﻌ ﹶﻞ "ﺗﻨـﺰﻉ" ﻭﻫﻮ ﻳﻌﲏ‪ :‬ﺗﻌﻴﺪ‪ ،‬ﺗﺴﺤﺐ‬
‫)‪ ،(αντανελείς‬ﺃﻱ ﺗﺴﺤﺐ ﺍﻟﻌﻄﻴ‪‬ﺔ‪ .‬ﺍﻟﺮﻭﺡ ﻫﻲ ﻫﺒﺔ ﺍﷲ ﻛﻤﺎ ﻳﺼﺮ‪‬ﺡ ﻋﻦ‬
‫ﺫﻟﻚ ﻛ ﹼﻞ ﺍﳌﺰﻣﻮﺭ‪ .‬ﻭﷲ ﺍﻟﺴﻠﻄﺎﻥ ﺃﻥ ﳛﺠﺐ ﺍﳍﺒﺔ‪ .‬ﺳﻠﻄﺎﻥ ﺍﷲ ﻟﻴﺲ ﻛﺴﻠﻄﺎﻥ‬
‫ﺍﻟﺒﺸﺮ‪ ،‬ﻫﺆﻻﺀ ﳍﻢ ﺳﻠﻄﺔ ﻋﻠﻰ ﺍﳉﺴﺪ ﻓﻼ ﳔﺎﻓﻬﻢ‪ ،‬ﻟﻜﻨ‪‬ﻨﺎ "ﻧﺮﻫﺐ ﻣﻦ ﺳﻠﻄﺎﻥ‬
‫ﻋﻠﻰ ﺍﻟﺮﻭﺡ ﺃﻳﻀﹰﺎ"‪ .‬ﺇ ﹼﻥ ﻋﻈﻤﺔ ﺍﷲ ﻫﺬﻩ ﻻ ﺗﻘﺎﺭ‪‬ﻥ ﲟﺎ ﻫﻮ ﻣﻌﻬﻮﺩ ﻭﻣﻌﺮﻭﻑ ﰲ‬
‫ﻋﺎﱂ ﺍﻟﺒﺸﺮ‪.‬‬

‫)‪ (٣٠‬ﺗﺮﺳﻞ ﺭﻭﺣﻚ ﻓﻴﺨﻠﻘﻮﻥ‪ ،‬ﻭﲡﺪ‪‬ﺩ ﻭﺟﻪ ﺍﻷﺭﺽ‬

‫ﻳﺮﻯ ﺍﻟﻌﺪﻳﺪﻭﻥ ﰲ ﻫﺬﻩ ﺍﻟﻜﻠﻤﺎﺕ ﺻﻮﺭ ﹰﺓ ﻋﻦ ﺍﻟﻘﻴﺎﻣﺔ ﺃﻭ ﺍﻟﻌﻨﺼﺮﺓ‪ ،‬ﻋﻨﺪﻫﺎ‪:‬‬
‫"ﺭﻭﺣﻚ" ﺗﻌﲏ ﺍﻟﺮﻭﺡ ﺍﻟﻘﺪﺱ‪ .‬ﺭﻏﻢ ﺃ ﹼﻥ ﻫﺬﺍ ﺍﳌﻌﲎ ﺭﻭﺣ ‪‬ﻲ ﺳﺎ ﹴﻡ ﻳﺒﻘﻰ ﺍﳌﻌﲎ‬
‫ﺍﻷﻗﺮﺏ ﻫﻮ ﺇﻋﺠﺎﺏ ﺍﳌﺮﻧ‪‬ﻢ ﺑﻌﻨﺎﻳﺔ ﺍﷲ‪ ،‬ﻋﻨﺪﻣﺎ ﻳﺘﺄﻣ‪‬ﻞ ﰲ ﺗﻮﺍﱄ ﺍﻟﻔﺼﻮﻝ ﻭﺍﳌﻮﺍﺳﻢ‬
‫ﻭﺍﺳﺘﻤﺮﺍﺭﻳ‪‬ﺔ ﺍﻟﻜﺎﺋﻨﺎﺕ‪ ،‬ﺍﻟﱵ ﺗﻮﻟﺪ ﺗﻨﻤﻮ ﰒ ﺗﻌﻮﺩ ﻭﲤﻮﺕ‪ .‬ﻟﻜﻦ ﺍﳌﻮﺕ ﻟﻴﺲ‬
‫ﺍﻟﻨﻬﺎﻳﺔ‪ ،‬ﻓﺎﷲ ﻳﻨﻔﺦ ﺭﻭﺣﻪ ﻓﺘﺨﻠﻖ ﺍﻟﻜﺎﺋﻨﺎﺕ ﻭﺗﺴﺘﻤ ‪‬ﺮ ﺍﳊﻴﺎﺓ ﻋﻠﻰ ﻭﺟﻪ ﺍﻷﺭﺽ‪.‬‬
‫ﻼ ﻭﻛﺄﻧ‪‬ﻬﺎ ﰲ ﺩﻭﺭﺓ ﻣﺴﺘﻤﺮ‪‬ﺓ‪ ،‬ﲤﻮﺕ ﻭﲢﻴﺎ‪ ،‬ﺗﻔﺴﺪ ﻭﺗﺘﺠﺪ‪‬ﺩ‪ .‬ﻭﺍﷲ‬ ‫ﺗﺒﺪﻭ ﺍﻟﻄﺒﻴﻌﺔ ﻓﻌ ﹰ‬
‫ﻫﻮ ﺍﻟﺬﻱ ﻳ‪‬ﺤﻴﻴﻬﺎ ﺣﲔ ﻳﻬﺐ ﺍﳊﻴﺎﺓ ﻓﻴﻬﺎ ﺃﻭ ﻋﻨﺪﻣﺎ ﻻ ﻳﻬﺒﻬﺎ ﺗﻌﻮﺩ ﺗﺬﺑﻞ ﻭﲤﻮﺕ‪.‬‬
‫ﺇ ﹼﻥ ﺍﳌﺮﻧ‪‬ﻢ ﻳﺮﻯ ﰲ ﺗﻮﺍﱄ ﺩﻭﺭﺓ ﺍﳊﻴﺎﺓ ﺑﲔ ﺍﻟﻮﻻﺩﺓ ﻭﺍﳌﻮﺕ ﻗﺎﻧﻮﻧﹰﺎ ﺇﳍ‪‬ﻴﹰﺎ ﻃﺒﻴﻌ‪‬ﻴﹰﺎ ﳚﻌﻞ‬
‫ﺍﺳﺘﻤﺮﺍﺭﻳ‪‬ﺔ ﺍﳊﻴﺎﺓ‪ ،‬ﻭﺍﻟﱵ ﻫﻲ ﺇﺭﺍﺩﺓ ﺍﷲ‪ ،‬ﳑﻜﻨﺔ‪.‬‬

‫‪١١٤‬‬
 ‫)‪ (٣١‬ﻟﻴﻜﻦ ﳎﺪ ﺍﻟﺮﺏ ﺇﱃ ﺍﻟﺪﻫﺮ‪ ،‬ﻳﻔﺮﺡ ﺍﻟﺮﺏ‪ ‬ﺑﺄﻋﻤﺎﻟﻪ‬
‫ﻟﻠﻤﺮ‪‬ﺓ ﺍﻟﺜﺎﻟﺜﺔ ﲣﺮﺝ ﻣﻦ ﻗﻠﺐ ﺩﺍﺅﻭﺩ ﺻﺮﺧﺔ ﺍﻟﺘﻤﺠﻴﺪ‪ :‬ﺑﻌﺪ ﺍﻵﻳﺔ ‪ ١‬ﻭ‪.٢٤‬‬
‫ﷲ ﰲ ﺍﻓﺘﺘﺎﺣ‪‬ﻴﺔ ﺍﳌﺰﻣﻮﺭ‪ ،‬ﻭﳝﺠ‪‬ﺪﻩ ﰲ ﻭﺳﻄﻪ‪ ،‬ﹼﰒ ﻫﻨﺎ ﰲ ﺑﺪﺀ ﺍﳋﺎﲤﺔ‬ ‫ﳝﺠ‪‬ﺪ ﺍﳌﺮ‪‬ﻧ ‪‬ﻢ ﺍ َ‬
‫ﺏ‬
‫ﻳﻜﺮ‪‬ﺭ ﺍﻟﺘﻤﺠﻴﺪ‪ .‬ﻫﺬﺍ ﺍﻟﻜﻮﻥ ﻳﻨـﺰﻉ ﺍﻟﺘﺴﺒﻴﺢ ﻣﻦ ﻗﻠﺐ ﺍﳌﺮﻧ‪‬ﻢ‪" .‬ﻟﻴﻜ ‪‬ﻦ ﳎﺪ ﺍﻟﺮ ‪‬‬
‫ﺇﱃ ﺍﻟﺪﻫﺮ"‪ :‬ﻻ ﺗﻌﲏ ﺭﺟﺎ ًﺀ ﺃﻭ ﺩﻋﺎﺀً‪ ،‬ﺑﻞ ﺗﺬﻛﲑﹰﺍ ﺑﺎﳊﻘﻴﻘﺔ ﺍﻷﺑﺪﻳ‪‬ﺔ‪ ،‬ﺃﻱ‪ :‬ﻟﻴﺒ ‪‬ﻖ ﳎﺪ‬
‫ﱄ‪ .‬ﻟﻘﺪ ﻃﺎﻑ‬ ‫ﺏ ﺍﻟﺬﻱ ﺃﺭﺍﻩ ﺇﱃ ﺍﻟﺪﻫﺮ‪ .‬ﺇﻧ‪‬ﻬﺎ ﻋﺒﺎﺭﺓ ﲤﺠﻴﺪ "‪‬ﺪ ﺍﷲ" ﺍﻷﺯ ﹼ‬ ‫ﺍﻟﺮ ‪‬‬
‫ﺑﻨﺎﻇﺮﻩ ﺍﳌﺮﻧ‪‬ﻢ ﻋﻠﻰ ﺃﻋﻤﺎﻝ ﺍﻷﻳ‪‬ﺎﻡ ﺍﻟﺴﺘ‪‬ﺔ ﰲ ﺍﳋﻠﻖ‪ ،‬ﻭﻫﻮﺫﺍ ﻳﺼﻞ ﺍﻵﻥ ﰲ ﻫﺬﻩ‬
‫ﺍﻟﺘﺴﺒﺤﺔ ﻣﻦ ﳎﺪ ﺍﷲ ﰲ ﺧﻠﻘﻪ ﺇﱃ ﳎﺪ ﺍﷲ ﰲ ﺫﺍﺗﻪ‪ ،‬ﺃﻱ ﺇﱃ ﺍﺳﺘﺮﺍﺣﺘﻪ ﰲ ﺍﻟﻴﻮﻡ‬
‫ﷲ ﻛ ﱠﻞ‬‫ﺏ ﺑﺄﻋﻤﺎﻟﻪ ﻷﻧ‪‬ﻪ "ﺭﺃﻯ ﻛ ﹼﻞ ﺷﻲﺀ ﺣﺴﻨﹰﺎ"‪ ٨٠‬ﻭ"ﺭﺃﻯ ﺍ ُ‬ ‫ﺍﻟﺴﺎﺑﻊ‪ .٧٩‬ﻳﻔﺮﺡ ﺍﻟﺮ ‪‬‬
‫ﺏ ﺣﲔ ﻳﺮﻯ ﳎﺪﻩ‪ ،‬ﺃﻱ‬ ‫ﺷﻲﺀ ﺣﺴﻨﹰﺎ ﺟ ‪‬ﺪﹰﺍ‪ ٨١‬ﻓﺎﺳﺘﺮﺍﺡ ﻭﻓﺮﺡ ﺑﺄﻋﻤﺎﻟﻪ‪ .‬ﻳﻔﺮﺡ ﺍﻟﺮ ‪‬‬
‫ﺠﺪﺓﹰ‪ ،‬ﺃﻱ ﺣﺴﻨ ﹰﺔ ﺟ ‪‬ﺪﹰﺍ‪.‬‬
‫ﺣﲔ ﻳﺮﻯ ﺧﻠﻴﻘﺘﻪ ﻣﻠﺘﺤ‪‬ﻔ ﹰﺔ ﲟﺠﺪﻩ‪ ،‬ﺃﻱ ﳑ ‪‬‬

‫)‪ (٣٢‬ﺍﻟﺬﻱ ﻳﻨﻈﺮ ﺇﱃ ﺍﻷﺭﺽ ﻓﻴﺠﻌﻠﻬﺎ ﺗﺮﺗﻌﺪ‪ ،‬ﻭﳝﺲ‪ ‬ﺍﳉﺒﺎﻝ ﻓﺘﺪﺧ‪‬ﻦ‬

‫ﷲ ﻛ ﱠﻞ ﺷﻲﺀ ﺣﺴﻨﹰﺎ ﺟ ‪‬ﺪﹰﺍَ‪ ،‬ﻭﻳﻔﺮﺡ‬
‫ﻟﻜﻦ‪ ،‬ﻟﻨﻨﺘﺒﻪ‪" :‬ﺑﺮﻭﺳﺨﻮﻣﻦ"! ﻟﻘﺪ ﺧﻠﻖ ﺍ ُ‬
‫ﺖ ﺃ ﹼﻥ ﺍﻹﻧﺴﺎﻥ ﻳﻌﺒﺚ ﺑﺎﶈﺒ‪‬ﺔ ﺍﻹﳍﻴ‪‬ﺔ‪ ،‬ﲡﺎﻩ‬ ‫ﺠﺪﺓ‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﺍﳋﱪﺓ ﺩﹼﻟ ‪‬‬
‫‪‬ﺬﻩ ﺍﳋﻠﻴﻘﺔ ﺍﳌﻤ ‪‬‬
‫ﷲ! ﻟﺬﻟﻚ ﻳﺴﺘﺨﺪﻡ ﺍﳌﺮﻧ‪‬ﻢ ﺻﻮﺭﺗ‪‬ﲔ‬ ‫ﺐ ﺍ َُ‬
‫ﺫﺍﺗﻪ‪ ،‬ﻭﻳﻌﺒﺚ ﺑﺎﳋﻠﻴﻘﺔ ﺃﻳﻀﺎﹰ‪ ،‬ﻓﻴ‪‬ﻐﻀ ‪‬‬
‫ﺑﺸﺮ‪‬ﻳﺘ‪‬ﲔ ﻟﻴﺠﻌﻠﻨﺎ ﻧﺮﻫﺐ ﺍﻟﻌﺒﺚ ﰲ ﺍﻟﺴﻼﻡ ﻭﺍﳍﺮﻣﻮﻧﻴ‪‬ﺔ ﻭﺍﳊﻴﺎﺓ ﻭﺍﻟﻨﻈﺎﻡ ﺍﳌﺰﺭﻭﻉ ﰲ‬
‫ﺍﻟﻄﺒﻴﻌﺔ ﻭﺑﻜ ﹼﻞ ﺗﻠﻚ ﺍﳍﺒﺎﺕ ﺍﻹﳍﻴ‪‬ﺔ‪.‬‬

‫‪ ٧٩‬ﺗﻚ ‪.٥-٢ ،٢‬‬

‫‪ ٨٠‬ﺗﻚ ‪.٢٥ ،٢١ ،١٨ ،١٣ ،١٠ ،٨ ،٤ ،١‬‬
‫‪ ٨١‬ﺗﻚ ‪.٣٠ ،١‬‬
‫‪١١٥‬‬
‫ﺏ ﻭﺟﻮ‪‬ﺍﺩ‪ ،‬ﺇﺫﺍ ﻣﺎ ﻋﻜﹼﺮ ﺧﻠﻴﻘﺘ‪‬ﻪ‬
‫ﻱ ﻭﺟﺒ‪‬ﺎﺭ ﻣﻊ ﺃﻧ‪‬ﻪ ﲟﺠﺮ‪‬ﺩ ﻃﺮﻓﻪ ﻭﻫ‪‬ﺎ ‪‬‬
‫ﺍﷲ ﻗﻮ ‪‬‬
‫ﺲ‬
‫ﺃﻣ ‪‬ﺮ ﺳﻴﻠﺘﻔﺖ ﺇﻟﻴﻪ ﻭﳚﺎﺯﻳﻪ‪ .‬ﺇﻧﻪ ﺇﺫﺍ ﺃﻟﻘﻰ ﺑﻨﻈﺮﻩ ﻋﻠﻰ ﺍﻷﺭﺽ ﺗﺮﺗﻌﺪ‪ ،‬ﻭﺇﻥ ﻣ ‪‬‬
‫ﻱ ﻟﻮ ﺗﺪﺧ‪‬ﻞ! ﻣﻦ ﳎﺮ‪‬ﺩ ﺍﻟﻨﻈﺮﺓ ﺃﻭ ﺃﺑﺴﻂ ﳌﺴﺔ ﺗﺮﺗﻌﺪ‬ ‫ﺍﳉﺒﺎﻝ ﺗﺪﺧ‪‬ﻦ! ﻓﻜﻢ ﺑﺎﳊﺮ ‪‬‬
‫ﺍﻷﺭﺽ ﻭﺗﺪﺧ‪‬ﻦ ﺍﳉﺒﺎﻝ‪ .‬ﻳﺘﺼﻮ‪‬ﺭ ﺍﻟﺒﻌﺾ ﺃ ﹼﻥ ﺍﳌﺮﻧ‪‬ﻢ ﻳﺄﺧﺬ ﻫﺬﻩ ﺍﻟﺼﻮﺭ ﻣﻦ ﺍﻟﺰﻻﺯﻝ‬
‫ﻭﺍﻟﱪﺍﻛﲔ‪ .‬ﺃﻭ ﺃ ﹼﻥ ﺍﻟﺪﺧﺎﻥ ﻳﺬ ﹼﻛﺮﻧﺎ ﺑﻈﻬﻮﺭ ﺍﷲ ﳌﻮﺳﻰ ﻋﻠﻰ ﺟﺒﻞ ﺳﻴﻨﺎﺀ‪.٨٢‬‬

‫ﺖ ﻣﻮﺟﻮﺩﹰﺍ‬‫)‪ (٣٣‬ﺃﺳﺒ‪‬ﺢ ﺍﻟﺮﺏ‪ ‬ﰲ ﺣﻴﺎﰐ‪ ،‬ﻭﺃﺭﺗ‪‬ﻞ ﻹﳍﻲ ﻣﺎ ﺩﻣ ‪‬‬

‫ﺍﷲ ﻣﺴﺘﺤ ‪‬ﻖ ﻛ ﹼﻞ ﺗﺴﺒﻴﺢ‪ ،‬ﺳﺄﺟﻌﻞ ﻋﻤﻠﻲ ﻣﺪﻯ ﺣﻴﺎﰐ ﺗﺴﺒﺤﺘﻪ‪" :‬ﻭﻋﻠﻰ‬
‫ﺍﻟﺪﻭﺍﻡ ﺗﺴﺒﺤﺘﻪ ﰲ ﻓﻤﻲ"‪" .‬ﻫﻞ ﳛﺪ‪‬ﺙ ﺃﺣ ‪‬ﺪ ﰲ ﺍﻟﻘﱪ ﺑﺮﲪﺘﻚ؟ ﻭﻫﻞ ﺗﻌﺮﻑ ﰲ‬
‫ﺍﻟﻈﻠﻤﺔ ﻋﺠﺎﺋﺒﻚ‪‬؟" ﺳﻮﻑ ﻳﻌﻄﻲ ﺍﳌﺮﻧ‪‬ﻢ ﳊﻴﺎﺗﻪ ﻗﻴﻤﺘ‪‬ﻬﺎ ﺍﳊﻘﻴﻘﻴ‪‬ﺔ ﻭﺷﺮﻓﻬﺎ ﺇﺫ ﳚﻌﻠﻬﺎ‬
‫ﺯﻣﻨﹰﺎ ﻟﺘﺴﺒﻴﺢ ﻫﺬﺍ ﺍﳋﺎﻟﻖ ﺑﻌﻈﻤﺘﻪ ﻭﺣﻜﻤﺘﻪ ﻭﺭﲪﺘﻪ‪.‬‬

‫)‪ (٣٤‬ﻳﻠﺬﹼ ﻟﻪ ﺗﺄﻣ‪‬ﻠﻲ‪ ،‬ﻭﺃﻧﺎ ﺃﻓﺮﺡ ﺑﺎﻟﺮﺏ‪‬‬

‫ﻧﻌﻢ ﺳﻴﻘﻀﻲ ﺍﳌﺮﻧ‪‬ﻢ ﺣﻴﺎﺗﻪ ﺗﺴﺒﻴﺤﺎﹰ‪ ،‬ﻷ ﹼﻥ ﺫﻟﻚ ﻟﺬﻳﺬ ﻟﺪﻯ ﺍﷲ‪ .‬ﻟﻴﺲ‬
‫ﻟﻠﻤﺼﻠﹼﻲ ﺷﻬﻮﺓ ﰲ ﻗﻠﺒﻪ ﺇ ﹼﻻ ﺃﻥ ﻳﺮﺿﻲ ﺍﻟﻘﻠﺐ ﺍﻹﳍ ‪‬ﻲ ﻭﻳﺸﻌﺮ ﺑﺮﺿﺎﻩ‪ .‬ﻭﻟﻜﻦ‬
‫ﺃﻳﻀﺎﹰ‪ ،‬ﻫﺬﺍ ﺍﻟﺘﺴﺒﻴﺢ ﺳﻴﺠﻌﻞ ﺍﳌﺮﻧ‪‬ﻢ ﻳﺸﻌﺮ ﺑﺎﳊﻀﺮﺓ ﺍﻹﳍﻴ‪‬ﺔ ﻭﻫﺬﻩ ﺍﳊﻀﺮﺓ ﺳﺘ‪‬ﻔﺮﺡ‬
‫ﻗﻠﺒﻪ‪ .‬ﺗﺴﺒﺤﺔ ﺍﳌﺮﻧ‪‬ﻢ ﺗﻠ ﹼﺬ ﷲ‪ ،‬ﻭﺍﳌﺮﻧ‪‬ﻢ ﺳﻮﻑ ﻳﹼﻠ ﹸﺬ ‪‬ﺎ ﺃﻳﻀﹰﺎ ﺑﺬﻛﺮ ﺍﷲ‪ .‬ﻻ ﺃﲨﻞ‬
‫ﺏ ﺑﺼﻼﺗﻪ ﻭﻳﻘﺒﻠﻬﺎ ﻓﻴﻔﺮﺡ ﻫﻮ ﺑﺬﻟﻚ‪.‬‬ ‫ﻟﺪﻯ ﺍﳌﺮﻧ‪‬ﻢ ﻣﻦ ﺃﻥ ﻳﻔﺮﺡ ﺍﻟﺮ ‪‬‬

‫‪ ٨٢‬ﺍﻧﻈﺮ ﻣﺰﻣﻮﺭ ‪.٥ ،١٤٣‬‬

‫‪١١٦‬‬
‫)‪ (٣٥‬ﻟﺘﺒ ‪‬ﺪ ﺍﳋﻄﺄﺓ ﻣﻦ ﺍﻷﺭﺽ ﻭﺍﻷﲦﺔ‪ ،‬ﺣﺘ‪‬ﻰ ﻻ ﻳﻮﺟﺪﻭﺍ ﻓﻴﻬﺎ‪ ،‬ﺑﺎﺭﻛﻲ ﻳﺎ‬
‫ﻧﻔﺴﻲ ﺍﻟﺮﺏ‪‬‬
‫ﺐ ﺍﳌﺮﻧ‪‬ﻢ ﻋﻠﻰ ﻛ ﹼﻞ ﻋﻨﺎﺻﺮ ﺍﳋﻠﻴﻘﺔ ﻫﺎﺋﻤﹰﺎ ﺑﻌﻈﻤﺔ ﺍﷲ ﻭﺣﻜﻤﺘﻪ‪،‬‬ ‫ﺟﺎﻝ ﻗﻠ ‪‬‬
‫ﻓﺄﹸﻋﺠﺐ ﺑﺎﻟﻨﻈﺎﻡ ﻭﺑﻘﺪﺭﺓ ﺍﷲ ﻭﲞﻀﻮﻉ ﻛ ﹼﻞ ﺷﻲﺀ ﻷﻣﺮﻩ ﻣﻦ ﺍﻟﺴﻤﺎﺀ ﺇﱃ ﺍﳌﻴﺎﻩ‪...‬‬
‫ﻟﻜﻨ‪‬ﻪ ﻳﻨﺘﻔﺾ ﻓﺠﺄ ﹰﺓ ﺣﲔ ﻳﺘﺼﺎﺩﻑ ﻣﻊ ﺍﳌﺘﻤﺮ‪‬ﺩ ﺍﻟﻮﺣﻴﺪ ﻋﻠﻰ ﺍﷲ‪ ،‬ﺑﲔ ﻛ ﹼﻞ ﻋﻨﺎﺻﺮ‬
‫ﻫﺬﺍ ﺍﳉﻤﺎﻝ‪ ،‬ﺍﻟﺬﻱ ﻳﻌﺼﻰ ﺃﻣﺮ ﺍﷲ ﻭﻳﻜﺴﺮ ﻟﻪ ﻗﻮ‪‬ﺗﻪ‪ ،‬ﺇﻧ‪‬ﻪ ﺍﻹﻧﺴﺎﻥ ﺍﳋﺎﻃﺊ‪ ،‬ﺁﻩ‪...‬‬
‫ﺖ ﺍﳋﻄﺄﺓ ﻳﻐﻴﺒﻮﻥ ﻋﻦ ﻭﺟﻪ ﺍﻷﺭﺽ ﻭﻻ ﻳﻌﻮﺩ ﺇﺫﻥ ﻫﻨﺎﻙ‬ ‫ﻳﺘﺄﻟﹼﻢ ﻗﻠﺐ ﺍﳌﺮﻧ‪‬ﻢ‪ ،‬ﻳﺎ ﹶﻟ‪‬ﻴ ‪‬‬
‫ﺷﻲﺀ ﻳﺴﻲﺀ ﺇﱃ ﻫﺬﺍ ﺍﻟﺘﻜﺎﻣﻞ ﻭﻫﺬﻩ ﺍﳍﺮﻣﻮﻧﻴ‪‬ﺔ ﻭﻫﺬﺍ ﺍﳉﻤﺎﻝ!‬
‫ﻚ ﺃ ﹼﻥ ﻗﻠﺐ ﺍﳌﺼﻠﹼﻲ ﻻ ﻳﻠﻐﻲ ﺍﳋﻄﺄﺓ ﻭﺍﻷﲦﺔ ﻟﻜﻨ‪‬ﻪ ﻳﺘﻨﻬ‪‬ﺪ ﻋﻠﻰ ﺍﳋﻄﻴﺌﺔ‬ ‫ﻻﺷ ‪‬‬
‫ﻭﺍﻷﰒ‪ .‬ﻷ ﹼﻥ ﻫﺬﺍ ﺍﻷﺧﲑ ﳚﻠﺐ ﺍﻻﺿﻄﺮﺍﺏ ﳍﺬﺍ ﺍﻟﻌﺎﱂ ﺍﳌﻨﺘﻈﻢ ﻭﺍﻟﺮﺍﺋﻊ‪ .‬ﺳﻴﺘ ‪‬ﻢ‬
‫ﺫﻟﻚ ﳜﱪﻧﺎ ﺍﻟﻜﺘﺎﺏ‪ ،‬ﻛﻤﺎ ﻛﺎﻥ ﰲ ﺍﻟﺒﺪﺀ ﰲ ﺍﻟﻔﺮﺩﻭﺱ‪ .‬ﻟﻜﻦ ﺳﻨﻨﻈﺮ ﺇﱃ ﳎﻲﺀ‬
‫ﺏ ﺍ‪‬ﻴﺪ‪.‬‬‫ﻳﻮﻡ ﺍﻟﺮ ‪‬‬
‫ﺍﻟﻘﻠﺐ ﺍﳌﺘﺨﺸ‪‬ﻊ ﻭﺍﻟﺴﻜﺮﺍﻥ ﲜﻤﺎﻝ ﻭﻧﻈﺎﻡ ﻫﺬﺍ ﺍﻟﻜﻮﻥ ﻭﻋﻈﻤﺔ ﺍﷲ ﻭﻋﻨﺎﻳﺘﻪ‬
‫ﺏ"‪ ،‬ﻭﺑﺎﻟﻮﻗﺖ ﺫﺍﺗﻪ ﻟﻜﻦ ﳛﺰﻥ ﻋﻠﻰ "ﺍﳋﻄﻴﺌﺔ" ﺍﻟﱵ ﻭﺣﺪﻫﺎ ﺗﻌﻜﹼﺮ‬ ‫"ﻳﻔﺮﺡ ﺑﺎﻟﺮ ‪‬‬
‫ﺕ ﻣﻠﻜﻮﺗﻚ‪ ...‬ﻭﳒﱢﻨﺎ ﻣﻦ ﺍﻟﺸﺮ‪‬ﻳﺮ"‪ :‬ﻫﺬﻩ ﺻﻼﺗﻨﺎ ﺍﻟﻴﻮﻣﻴ‪‬ﺔ‪.‬‬ ‫ﻫﺬﺍ ﺍﻟﻔﺮﺡ! "ﻟﻴﺄ ‪‬‬
‫ﺇﻧ‪‬ﻪ ﻣﺰﻣﻮﺭ ﺗﺴﺒﻴﺢ ﻭﺷﻜﺮﺍﻥ‪ ،‬ﻟﻜﻨ‪‬ﻪ ﳜﺘﻢ ﲟﻮﺍﺟﻬﺔ ﻭﺍﻗﻊ ﺍﳋﻄﻴﺌﺔ ﰲ ﻋﺎﳌﻨﺎ‬
‫ﻓﻴﺪﻋﻮﻧﺎ ﻟﻠﺘﻤﺮ‪‬ﺩ ﻻ ﻋﻠﻰ ﺍﷲ ﺍﳋﺎﻟﻖ ﺍﳌﻤﺠ‪‬ﺪ ﰲ ﺧﻠﻴﻘﺘﻪ ﺑﻞ ﻋﻠﻰ ﺍﳋﻄﻴﺌﺔ ﺍﻟﱵ‬
‫ﺏ ﲝﻜﻤﺔ‬ ‫ﱐ‪ .‬ﻣﺎ ﺃﻋﻈﻢ ﺃﻋﻤﺎﻟﻚ ﻛﻠﹼﻬﺎ ﻳﺎ ﺭ ‪‬‬ ‫ﺗﺴﻲﺀ ﺇﱃ ﻫﺬﺍ ﺍ‪‬ﺪ ﺍﻹﳍ ‪‬ﻲ– ﺍﻹﻧﺴﺎ ﹼ‬
‫ﺻﻨﻌﺘ‪‬ﻬﺎ‪ ،‬ﺑﺎﺭﻛﻲ ﻳﺎ ﻧﻔﺴﻲ ﺍﻟﺮﺏ‪‬؛ ﺁﻣﲔ‪.‬‬

‫‪١١٧‬‬
 ‫ﺍﻟـﻔـﻬـﺮﺱ‬

‫
ﺍﻹﻫﺪﺍﺀ ‪٥ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .‬‬
‫
ﺍﳌﻘﺪ‪‬ﻣﺔ ﻟﻠﻤﻄﺮﺍﻥ ﻳﻮﺣﻨ‪‬ﺎ ﻣﻨﺼﻮﺭ ‪٩ . . . . . . . . . . . . . . . . . . .‬‬

‫ﺗـﺄﻣ‪‬ـﻼﺕ ﻓـﻲ ﺍﳌـﺰﺍﻣـﻴـﺮ‬

‫‪١١‬‬ ‫ﺳﺮ‪ ‬ﺍﳊﺮﺏ ﺍﻟﺮﻭﺣﻴ‪‬ﺔ ‪. . . . . . . . .‬‬ ‫
‬ ‫ﰲ ﺍﳌﺰﻣﻮﺭ ﺍﻟـ ‪٤‬‬

‫
ﺩﻳﻨﺎﻣﻴﻜﻴ‪‬ﺔ ﺍﳊﻴﺎﺓ ‪١٩ . . . . . . . . . . . .‬‬
‫
ﺩﻣﻮﻉ ﺍﻟﺘﻮﺑﺔ ‪٢٥ . . . . . . . . . . . . . .‬‬ ‫ﰲ ﺍﳌﺰﻣﻮﺭ ﺍﻟـ ‪٦‬‬
‫
ﺻﻼﺓ ﺍﻟﺘﻮﺑﺔ ‪٣٥ . . . . . . . . . . . . . .‬‬ ‫ﰲ ﺍﳌﺰﻣﻮﺭ ﺍﻟـ ‪٥٠‬‬
‫
ﺻﻼﺓ ﰲ ﺍﻟﻀﻴﻖ ‪٥٥ . . . . . . . . . . . .‬‬ ‫ﰲ ﺍﳌﺰﻣﻮﺭ ﺍﻟـ ‪٦٢‬‬
‫
ﻣﺼﺎﻋﺪ ﺍﻟﻘﻠﺐ ‪٧١ . . . . . . . . . . . . .‬‬ ‫ﰲ ﺍﳌﺰﻣﻮﺭ ﺍﻟـ ‪٨٣‬‬
‫
ﺍﻻﺗ‪‬ﻜﺎﻝ ﻋﻠﻰ ﺍﷲ ‪٧٩ . . . . . . . . . . .‬‬ ‫ﰲ ﺍﳌﺰﻣﻮﺭ ﺍﻟـ ‪٩٠‬‬
‫
ﺇﳍﻲ ﺍﳋﺎﻟﻖ ‪٨٥ . . . . . . . . . . . . . . .‬‬ ‫ﰲ ﺍﳌﺰﻣﻮﺭ ﺍﻟـ ‪١٠٣‬‬
‫
ﺇﻟﻪ ﺍﻟﻐﻔﺮﺍﻥ ‪١١٥ . . . . . . . . . . . . . . .‬‬ ‫ﰲ ﺍﳌﺰﻣﻮﺭ ﺍﻟـ ‪١٢٩‬‬

‫‪١١٨‬‬
 ‫ﻟﻠـﻤـﺆﻟﱢـﻒ‬

‫ﺑﺮﺝ ﻭﺟﺴﺪ‪ ،‬ﻋﻈﺎﺕ ﰲ ﺭﺳﺎﺋﻞ ﺍﻵﺣﺎﺩ ﻭﺍﻷﻋﻴﺎﺩ‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﺩﻳﺮ ﺍﻟﺒﺸﺎﺭﺓ‬ ‫
‬

‫)ﺣﻠﺐ( ‪ -‬ﻗﻴﺪ ﺍﻹﺻﺪﺍﺭ‪.‬‬

‫ﻣﺼﺎﻋﺪ ﺍﻟﻘﻠﺐ‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﺩﻳﺮ ﺍﻟﺒﺸﺎﺭﺓ )ﺣﻠﺐ(‪) ،٢٠٠٦ ،‬ﺗﺄﻣ‪‬ﻼﺕ ﰲ‬ ‫
‬

‫ﺍﳌﺰﺍﻣﲑ(‪.‬‬

‫‪‬ﺳ ﹾﻔ ‪‬ﺮ ﺍﻟ ﹶﻜ ‪‬ﻠﻤ‪‬ﺔ )ﺍﳉﺰﺀ ﺍﻷﻭﻝ(‪ ،‬ﺍﻟﺘﺮﻳﻮﺩﻱ ﻭﺍﻟﺒﻨﺪﻛﺴﺘﺎﺭﻱ‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ‬ ‫
‬

‫ﻣﻄﺮﺍﻧﻴﺔ ﺍﻟﺮﻭﻡ ﺍﻷﺭﺛﻮﺫﻛﺲ )ﺣﻠﺐ(‪ ،٢٠٠٦ ،‬ﺗﻮﺯﻳﻊ ﺗﻌﺎﻭﻧﻴﺔ ﺍﻟﻨﻮﺭ‬

‫ﺍﻷﺭﺛﻮﺫﻛﺴﻴﺔ ﻟﻠﻨﺸﺮ ﻭﺍﻟﺘﻮﺯﻳﻊ )ﻋﻈﺎﺕ ﰲ ﺃﻧﺎﺟﻴﻞ ﺍﻵﺣﺎﺩ ﻭﺍﻷﻋﻴﺎﺩ(‪.‬‬

‫‪‬ﺳ ﹾﻔ ‪‬ﺮ ﺍﻟ ﹶﻜ ‪‬ﻠﻤ‪‬ﺔ )ﺍﳉﺰﺀ ﺍﻟﺜﺎﱐ(‪ ،‬ﺍﻟﺪﻭﺭﺓ ﺍﻟﻄﻘﺴﻴ‪‬ﺔ ﺍﻟﺜﺎﺑﺘﺔ ﻭﺍﻷﻋﻴﺎﺩ ﺍﻟﺸﻬﺮﻳ‪‬ﺔ‪،‬‬ ‫
‬

‫ﻣﻨﺸﻮﺭﺍﺕ ﻣﻄﺮﺍﻧﻴﺔ ﺍﻟﺮﻭﻡ ﺍﻷﺭﺛﻮﺫﻛﺲ )ﺣﻠﺐ(‪ ،٢٠٠٦ ،‬ﺗﻮﺯﻳﻊ ﺗﻌﺎﻭﻧﻴﺔ‬

‫ﺍﻟﻨﻮﺭ ﺍﻷﺭﺛﻮﺫﻛﺴﻴﺔ ﻟﻠﻨﺸﺮ ﻭﺍﻟﺘﻮﺯﻳﻊ )ﻋﻈﺎﺕ ﰲ ﺃﻧﺎﺟﻴﻞ ﺍﻵﺣﺎﺩ ﻭﺍﻷﻋﻴﺎﺩ(‪.‬‬

‫ﺍﻟﺴﺎﺋﺤﺎﻥ ﺑﲔ ﺍﻟﺴﻤﺎﺀ ﻭﺍﻷﺭﺽ‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﻣﻄﺮﺍﻧﻴﺔ ﺑﺼﺮﻯ‪ ،‬ﺣﻮﺭﺍﻥ‪،‬‬ ‫
‬

‫ﺟﺒﻞ ﺍﻟﻌﺮﺏ ﻭﺍﳉﻮﻻﻥ ﻟﻠﺮﻭﻡ ﺍﻷﺭﺛﻮﺫﻛﺲ‪) ،٢٠٠٥ ،‬ﻛﻠﻤﺎﺕ ﺭﻋﻮﻳﺔ(‪.‬‬

‫‪١١٩‬‬
‫ﺍﻟﻘﺪﻳﺲ ﺃﺭﺳﺎﻧﻴﻮﺱ ﺍﻟﻜﺒﺎﺩﻭﻛﻲ‪ ،‬ﻟﻠﺮﺍﻫﺐ ﺑﺎﻳﻴﺴﻴﻮﺱ ﺍﻵﺛﻮﺳﻲ‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ‬ ‫
‬

‫ﺩﻳﺮ ﺳﻴﺪﺓ ﺍﻟﺒﻠﻤﻨﺪ‪) ١٩٩٧ ،‬ﺗﻌﺮﻳﺐ ﻋﻦ ﺍﻟﻴﻮﻧﺎﻧﻴﺔ(‪.‬‬

‫ﺗﻔﺴﲑ ﺍﳌﺰﻣﻮﺭﻳﻦ ‪ ٥٠‬ﻭ‪ ،٦٢‬ﻣﻨﺸﻮﺭﺍﺕ ﻣﻄﺮﺍﻧﻴﺔ ﺍﻟﺮﻭﻡ ﺍﻷﺭﺛﻮﺫﻛﺲ‬ ‫
‬

‫ﺑﺎﻟﻼﺫﻗﻴﺔ‪ ،‬ﺭﻗﻢ ‪) ١٩٩٦ ،٧٤‬ﻃﺒﻌﺔ ﺛﺎﻧﻴﺔ ﻣﻨﻘﺤﺔ(‪.‬‬

‫ﺍﻟﺴﺘﺎﺭﺗﺲ ﺇﻳﻼﺭﻳﻮﻥ‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﻣﻄﺮﺍﻧﻴﺔ ﺍﻟﺮﻭﻡ ﺍﻷﺭﺛﻮﺫﻛﺲ ﺑﺎﻟﻼﺫﻗﻴﺔ‪،‬‬ ‫
‬

‫ﺭﻗﻢ ‪) ١٩٩٥ ،٦٧‬ﺗﻌﺮﻳﺐ ﻋﻦ ﺍﻟﻴﻮﻧﺎﻧﻴﺔ(‪.‬‬

‫ﺍﻟﺴﺘﺎﺭﺗﺲ ﴰﺸﻮﻥ‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﻣﻄﺮﺍﻧﻴﺔ ﺍﻟﺮﻭﻡ ﺍﻷﺭﺛﻮﺫﻛﺲ ﺑﺎﻟﻼﺫﻗﻴﺔ‪ ،‬ﺭﻗﻢ‬ ‫
‬

‫‪) ١٩٩٥ ،٦٥‬ﺗﻌﺮﻳﺐ ﻋﻦ ﺍﻟﻴﻮﻧﺎﻧﻴﺔ(‪.‬‬

‫ﻗﻮ‪‬ﺓ ﺍﺳﻢ ﻳﺴﻮﻉ‪ ،‬ﻟﻸﺳﻘﻒ ﻛﺎﻟﻴﺴﺘﻮﺱ ﻭﻳﺮ‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﺩﻳﺮ ﺳﻴﺪﺓ ‪-‬‬ ‫
‬

‫ﺑﻠﻤﺎﻧﺎ‪) ١٩٩٤ ،‬ﺗﻌﺮﻳﺐ ﻋﻦ ﺍﻻﻧﻜﻠﻴﺰﻳﺔ(‪.‬‬

‫ﺭﺳﺎﻟﺔ ﳏﺒﺔ ‪ -‬ﺗﻮﺿﻴﺤﺎﺕ ﻟﺒﻌﺾ ﺃﺳﺲ ﺍﻹﳝﺎﻥ ﺍﳌﺴﻴﺤﻲ‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ‬ ‫
‬

‫ﻣﻄﺮﺍﻧﻴﺔ ﺍﻟﺮﻭﻡ ﺍﻷﺭﺛﻮﺫﻛﺲ ﺑﺎﻟﻼﺫﻗﻴﺔ‪ ،‬ﺭﻗﻢ ‪.١٩٩٤ ،٥٨‬‬

‫ﻣﻨﺘﺨﺒﺎﺕ ﺭﻭﺣﻴ‪‬ﺔ )‪ ،(٣‬ﻣﻨﺸﻮﺭﺍﺕ ﻣﻄﺮﺍﻧﻴﺔ ﺍﻟﺮﻭﻡ ﺍﻷﺭﺛﻮﺫﻛﺲ ﺑﺎﻟﻼﺫﻗﻴﺔ‪،‬‬ ‫
‬

‫ﺭﻗﻢ ‪.١٩٩٤ ،٥٧‬‬

‫ﺍﻟﻘﺪﻳﺲ ﻛﺎﺳﻴﺎﻧﻮﺱ ﺍﻟﺮﻭﻣﻲ‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﻣﻄﺮﺍﻧﻴﺔ ﺍﻟﺮﻭﻡ ﺍﻷﺭﺛﻮﺫﻛﺲ‬ ‫
‬

‫ﺑﺎﻟﻼﺫﻗﻴﺔ‪ ،‬ﺭﻗﻢ ‪) ١٩٩٣ ،٥٤‬ﺗﻌﺮﻳﺐ ﻋﻦ ﺍﻟﻴﻮﻧﺎﻧﻴﺔ(‪.‬‬

‫‪١٢٠‬‬