Dragoman 13-12 2023

Dragoman
Journal of Translation Studies

An International Class ‘A’ Academic Refereed Journal
ISSN: 2295-1210
https://www.dragoman-journal.org
Published by:
Arabic Translators International
& Garant-Uitgevers nv, Belgium
Volume 12, Issue 13, May 2022

This Issue Is Edited by: Ahmed Allaithy
Call for Papers
Dragoman
International Journalof
Translation Studies
An International Class A Academic Refereed Journal
ISSN: 2295-1210
Dragoman is an annual international peer-reviewed digital journal published by Arabic

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established in 2004 according to the Belgian Law. Dragoman publishes high-quality original
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ATI - Dragoman
Dragoman Journal of Translation Studies ATI & Garant-Uitgevers nv, Belgium
Volume 12, Issue 13, May 2022 https://www.dragoman-journal.org
‫اﻟﻤﺤﺘﻮﻳﺎت‬
Contents
‫اﻟﺒﺤﻮث‬
1 Gharīb al-Qur’an and its English Translations: An Evaluation 4

Mohammed Albarakati
2 Translation Norms and the Arab Legacy of Translation 26
Mohammad Ahmad Thawabteh
3 Translation of Arabic Legal Terminology: A comparison of the 41
legal terminology between Morocco and other Arab countries
Jawad Azzouzi
4 A Comparative Study of Two Arabic Translations of Chapter 57
Four of James Joyce’s Ulysses
Maisara Altaher and Ghanim J. Samarrai
5 :‫ واﻗﻊ اﻟﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ ﺎﺑﻟﺒﻠﺪان اﻟﻌﺮﺑﻴﺔ وﺳﺒﻞ اﺳﺘﻠﻬﺎم اﻟﺘﺠﺮﺑﺔ اﻟﱰﲨﻴﺔ اﻟﱰاﺛﻴﺔ‬94
‫ﺣﻠﻘﺔ اﻟﻜﻨﺪي ﺑﺒﻴﺖ اﳊﻜﻤﺔ ﳕﻮذﺟﺎ‬
‫ﻫﻨﺪ ﺑﻦ ﳏﺠﻮب‬
6 137
:‫اﻟﺸﺨﺼﻴﺎت اﻟﱰاﺛﻴﺔ اﻟﻌﺮﺑﻴﺔ ﰲ أدب اﻟﻴﺎﻓﻌﲔ ﺎﺑﻟﻠﻐﺔ اﻹﳒﻠﻴﺰﻳﺔ ﺑﲔ اﻟﺘﻘﺮﻳﺐ واﻟﺘﻐﺮﻳﺐ‬
(‫ﻗﺮاءة ﰲ ﲡﺮﺑﺔ إﻣﻴﻠﻲ ﺳﻴﻠﻮف )اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس‬
‫ﺣﺴﲔ ﳏﻤﺪ اﻟﻘﺮﱐ‬
‫اﻟﺘﺮﺟـﻤــﺔ‬
7 :‫ َﺳ َﺮﻧْ ِﺪﺑﻴّﺔ أﻣﺮاء ﺳﺮﻧﺪﻳﺐ اﻟﺜّﻼﺛﺔ‬181
‫ﺣﻜﺎ�ت ﻋﺮﺑﻴّﺔ ﰲ ﳎﻤﻮﻋﺔ ﻗﺼﺺ ﻗﺼﲑة إﻳﻄﺎﻟﻴّﺔ ﻣﻦ ﻋﺼﺮ اﻟﻨّﻬﻀﺔ‬
‫ ﺳﻌﻴﺪ ﺑﻦ ﻋﺒﺪ اﻟﻌﺰﻳﺰ اﻟﻐﺎﻣﺪي‬:‫اﻹﻧْ ِـﺠـﻠِـﻴـ ِـﺰﻳﱠـﺔ‬
ِْ ‫ﺗَـﺮ َﺟـﻤـ َـﻬﺎ ِﻣـﻦ‬
َ َ ْ
‫ﻋﺮض وﺗﻘﻴﻴﻢ‬
8 ‫ ﻣﻦ ﻛﺒﺶ ﻓﺪاء إﱃ ﲪﺎر وﺣﺸﻲ‬:‫ ﻛﺘﺎب‬201
‫ ﻣﻘﺎرﺑﺔ ﺟﺪﻳﺪة ﻟﺼﻨﻊ اﻟﻘﺮار واﻟﺴﻴﻄﺮة ﻋﻠﻰ اﻟﻨﺰاع‬:‫اﻟﺪﳝﻮﻗﺮاﻃﻴﺔ اﻟﻌﻤﻴﻘﺔ‬
‫ ﻋﺒﺪ اﻟﺮﲪﻦ اﻟﺴﻠﻴﻤﺎن‬:‫ﻋﺮض وﺗﻘﻴﻴﻢ‬
ISSN: 2295-1210 iii © ATI & Garant

Volume 12, Issue 13, May 2022 https://www.dragoman-journal.org Mohammdd Albarakati
Gharīb al-Qur’an and its English Translations: An Evaluation
Mohammed Albarakati
King Abdulaziz University, Saudi Arabia
Abstract
Translation is a challenging task, especially in the face of vast differences in the

cultural contexts of the source and the target languages. The prevalence of over-,
under-, or mistranslation in the translations of the Qur’an into English owes to various
factors, one of which is dealing with the words of gharīb (i.e. extraordinary, obscure,
or unfamiliar vocabulary). The present paper aims to highlight some of these
translation issues, taking examples from translations of some select words in the verses
of the Qur’an, often referred to as gharīb al-Qur’an, as reference points for discussion.
The present study is explicatory and aims to pinpoint the translation issues by
investigating anomalies in six different English translations, namely those by Asad,
Itani, Peachy and Al-Johani, Pickthall, Saheeh International, and Yusuf Ali. The study
takes into account the way these words have been translated, identifying the main
translation problems to determine the accurateness/inadequacies in their meanings as
explained by Qur’anic exegetes. The study finds that traditional exegetical books on
gharīb do not seem to have been consulted by some of the translators. Therefore, it
attempts to provide a suggested methodology for dealing with these words.
Keywords: gharīb al-Qur’an; obscure Qur’anic vocabulary; translation issues; Qur’anic exegesis;
English translations of the Qur’an.
Short Bio
Mohammed Albarakati. Associate professor of Comparative Linguistics and
Translation in the Department of European Languages and Literature,
King Abdulaziz University, Jeddah. He btained his PhD from the Department of Arabic
and Middle Eastern Studies at the University of Leeds, UK, in 2013. He has published
several papers in the area of Qurʾān translation assessment, and participated in a number
of conferences. He is currently the Chair of the Translation Association in Saudi
Arabia. His research interests include Arabic translation, Qurʾān translation, and
comparative linguistic studies.
This project was funded by the Deanship of Scientific Research (DSR) at King
Abdulaziz University, Jeddah, under grant no. G: 1503-662-1440. The author,
therefore, acknowledges with thanks the DSR for the technical and financial support
ISSN: 2295-1210 4 © ATI & Garant

Gharīb al-Qur’an and its English Translations: An Evaluation
Mohammed Albarakati
1. Introduction
Translation between languages, especially between the largely unrelated languages, such as
Arabic and English, is a complex issue and often leads to loss of meaning. The observation is
particularly true about translations of scriptures, such as the Qur’an. Qur’anic exegetes and
scholars have identified a number of expressions in the scripture, whose translations have led
to controversies on their meanings. Those expressions are categorized as unfamiliar, obscure,
or extraordinary vocabulary, also called gharīb al-Qur’an. Taking this issue into cognizance,
the researcher investigated six different English translations of the Qur’an. Through a
comparative analysis, the selected translations have been investigated as to how the so-
called ‘obscure vocabulary’ of the Qur’an has been rendered and how their translations have
led to a loss of meaning. Thus, a few lexical items have been selected as representative samples
of the ‘obscure vocabulary’. The study is aimed at bringing out the subtleties involved in the
meanings of the select words, highlighting their contextual background as well as presenting a
textual analysis of the verses they appear in. Six Qur’an translations were purposefully selected
to represent different translators’ backgrounds, orientations, and decades to allow for a wider,
deeper and chronological understanding.
This study primarily aims at investigating the difficulties involved in translating certain
Qur’anic words called gharīb al-Qur’an. It also seeks to present a critical analysis of the
different English renderings of a few selected words, variedly done by different translators. It
will endeavor to recommend a more viable methodology for translating the gharīb al-Qur’an
category of vocabulary.
The significance of this study is manifested in the fact that it aims to unravel some of the
subtleties of the so-called ‘obscure vocabulary’ of the Qur’an. The findings will be helpful for
future translators in rendering the intended meanings of such words.

2. Methodology and research framework

Among many translation theoretical frameworks, the present research has employed
Newmark’s theory (1988) to discuss the equivalence of words in the source and target
languages. Newmark (1988) presents two types of translation: communicative and semantic.
With semantic translation, he focuses more on the meaning understood by the source text,
whereas communicative translation is meant to cater to the needs of the target audience or
readers. Therefore, while the former focuses only on the linguistic aspects of translation, the
latter takes on a new dimension, i.e. target-reader-oriented. In other words, communicative
translation caters more to the target audience or readers’ needs. Needs, here, refer to the
differences incurred by the fact that the source and target languages have their distinct origins,
structures, and, more often, cultural peculiarities, which oblige translators to adapt their
translations to their new readership. Accordingly, the following steps have been taken to carry
out the analysis:
1. A sample representing corpus of gharīb, i.e. ‘unfamiliar’ words was collected,

2. Translation of the selected words into English have been analyzed, and
3. Evaluation of the translations and analysis of their problems have been carried out.
Denotations of the selected words are drawn from classical Arabic dictionaries to have a
depiction of the meaning as early as the time of the Qur’anic revelation. Contextual clues are
gathered from various early Qur’anic exegeses. Six translations were selected for this study;
namely, Ali (1938), Asad (1980), Itani (2012), Peachy and Al-Johani (2012), Pickthall (1930),
and Saheeh International (1997). The rationale behind the selection is manifold. First, they
represent translations published during a long span of time, starting from the 1930s through to
the year 2012. Secondly, they are popular among English-speaking Muslim communities,
especially those of Ali (1938), Asad (1980), Pickthall (1930), and Saheeh International (1997).
One more reason behind the choice is that the translators have come from different linguistic
orientations; two translations are done by English native speakers (Pickthall, 1930; Saheeh
International, 1997), two (Itani, 2012; Peachy & Al-Johani, 2012) are rendered solely or partly
by Arabic native speakers, and the remaining two (Ali, 1938; Asad, 1980) are neither by English
nor by Arabic native speakers.

The present study is limited to discussing the selected gharīb words and their context. It would
be pertinent here to make clear that for brevity, the discussion will be limited to the translations
of the gharīb words and expressions, not the whole verses or their syntactic structures.
3. Literature Review
Translation in the past was considered as chiefly finding equivalent of words in the target
language, but such exercises proved unsatisfactory since the communication of the exact
meaning of texts from one language into another involves mapping one language to the other
many embedded aspects of human languages, such as cultural aspects, polysemy in diction,
diachronic linguistic changes in the lexicon, dialectal variations, naturalness of expression,
referential accuracy, etc. The increasing dissatisfaction with existing practices has prompted
scholars to express their opinions on what translation is and how the practice needs to be carried
out, which in turn has given rise to contemporary translation theories. Among contemporary
translation theorists, the opinions of Armstrong (2005), Baker (2018), Faull (2004), Newmark
(1988), and Venuti (2017) are accorded prominence in the field. Newmark (1988, 12) charts
out the translator’s job as follows:
You begin the job by reading the original for two purposes: First, to understand
what it is about; second, to analyze it from a ‘translator’s’ point of view, which is
not the same as a linguist’s or a literary critic’s. You have to determine its intention
and the way it is written for the purpose of selecting a suitable translation method
and identifying particular and recurrent problems. Understanding the text requires
both general and close reading.
Venuti (2017) presents a critique of the early attempts of translation theorists for their overt
focus only on the linguistic phenomenon in the two languages in question and for their lack of
incorporating the cultural aspects of the language in translation. Emphasis on the cultural aspect
is reflected in Venuti’s definition of translation: “forcible replacement of the linguistic and
cultural difference of the foreign text with a text that will be intelligible to the target language
reader” (Venuti, 2017, 18). The ‘intelligibility’ thus created will take a step ahead of just the
denotative meaning of the text. However, since it involves creating a new text, it may still be
lacking in the flavors that the source texts are suffused with. To Baker (2018), equivalence in
translation is a relative phenomenon since texts are embedded in the culture of their production.
Armstrong (2005) agrees with Baker’s observation as he opines that when the text is highly
saturated in its culture, it becomes more difficult to translate (Armstrong, 2005, 33). Taking

cues from scholars’ opinions on the cultural impact on translation, Faull (2004) goes a step
further and establishes an organic connection between the reader and the textual contents
illustrating that, “the task of the translator is to reproduce the relationship between the reader
and the text in the original in the foreign language, bearing in mind that the foreign reader does
not share the same cultural vocabulary” (Faull, 2004, 14). In other words, it is the translator’s
task to sense and fill the linguistic and cultural gaps inherent in the fact that the two texts belong
to two distinctly different environments.
The earliest attempts to translate the Qur’an were made as early as in Prophet Mohammed's era
when a convoy of early Muslims sought refuge with the Emperor of Axum. Ibn-Hishām (1995)
reports that the convoy translated a number of verses and recited them before the Emperor.
Another instance of early translation took place when Prophet Mohammed wrote to the
Egyptian Coptic monarch and invited him to Islam. Translations of a number of verses were
included in the letter (Torrey, 2002). Moreover, one of the companions of the prophet called
Salman al-Farsi transliterated some short Qur’anic texts into Persian (Al-Sarakhsī, 1989). It
was an intra-lingual type of translation, though later attempts at intra-lingual translations raised
heated debates among the Islamic schools of thought. Also, scholars have often raised doubts
about whether exact translation of the Qur’anic texts is possible and have given calls for
assessment and standardization of the existing translations (Bakir, 2010; Halimah, 2014;
Hannouna, 2010; Mohammed, 2005; Shellabear, 1931). Nevertheless, there exists some
positive critical evaluation of the translators selected for investigation in the present study,
especially Pickthall and Yusuf Ali (Kidwai, 1992; Mansuri, 2013).
Binark, Eren, and İhsanoğlu (1986, xii) reported that before the 1900s, just four renderings of
the complete Qur’an were done into English, but by the 1980s, the number reached to more
than 60. After the year 2000, translations have been noticeably more intelligible. This could be
partially attributed to the advent of the field of translation studies, which could have regulated
translation processes assuring more quality in their products and providing literature and
theoretical framework for the translation practice. Among the most prominent English
translations of the Qur’an after the 1980s are the following, arranged according to their years
of publications: Asad (1980), Shakir (1987), Khan and Al-Hilali (1996), Saheeh International
(1997), and Bewley and Bewley (1999), Fakhry (2002), Cleary (2004), Haleem (2004),

Bakhtiar (2007), Kahveci (2007), Khalidi (2008), Khan (2013), Peachy and Al-Johani (2012),
and Kidwai (2013). Equally prolific is the practice of evaluation, commentary, and exegesis on
the available translations, e.g. Abu Farrākh (1982), El-Ashi (1996), Bobzin (2001), Al-Jabari
(2008), and Abdul-Raof (2012).
The Arabic word gharīb can generally mean unfamiliar, strange, ambiguous, or vague. The
term gharīb al-Qur’an is used here to mean ‘the category of Qur’anic words (or expressions)
whose meanings are not intelligible to everyone primarily due to their lack of frequent usage.
So, they become uncommonly used over time. Nevertheless, there exists a long-established
tradition of exegesis on the possible meanings of unfamiliar vocabulary units/expressions and
the controversies they commonly generate. Critical works on gharīb al-Qur’an can be classified
into two categories: (i) books that follow the chapter order of the Qur’an, such as Tafsīr Gharīb
al-Qur’an of Ibn Qutaybah (1978), and (ii) books that follow the alphabetical order of
unfamiliar words such as Nuzhat al-Qulūb of Al-Sajistānī (1995) and Al-Mufradāt fī Gharīb al-
Qur’an of Al-Aṣfahānī (2010).
4. Analysis
Analysis of the collected data involves presenting a contextual background of the selected
vocabulary units and textual analysis of the examples. Words in bold are the ones that belong
to the class of gharīb al-Qur’an. Moreover, in every instance, six translations are checked and
commented upon.
4.1. Ḥanīfan (Q2:135)

This verse bears reference to the dispute that Jews and Christians had with Prophet Mohammed.
Both the groups urged the Muslims to follow Judaism and Christianity, respectively, for
salvation. Therefore, the verse directly orders the Prophet and Muslims to follow the Abrahamic
faith; “Nay, but the religion of Abraham, hanīfan (i.e. the upright).”
The closest root for the word ḥanīf in traditional dictionaries is hanafa, which means having
the two feet or big toes inclining towards one another (Al-Rāzī, 1911; Ibn Fāris, 1979). The
point of analogy is that a ḥanīf worshipper would not be inclined towards worshipping the false
deity. Al-Aṣfahānī (2010), in his book on gharīb, adds that ḥanaf (i.e. the generic noun) is an
inclination towards the path of straightforwardness. He adds that Arabs have metonymically

used the word ḥanīf for those who have a distortion in their feet. Moreover, Arabs called those
who performed Hajj or those who had circumcision as ḥanīf alluding to their following of the
same faith as of Abraham. Therefore, ḥanīf in this Qur’anic context refers to Abraham, who
turned away from the worship of idols. It follows, then, that other senses could also have been
included in the meaning, such as being devoted to the service of God. According to Omar (2010,
139) ḥanīf describes, “One inclining towards the right state or tendency, inclining to the right
religion”. He adds that this term had been in use since pre-Islamic times to describe a person
who turned away from sin, worldliness, and all dubious beliefs, especially idol worship.
Table 1. Ḥanīfan ‫( َﺣﻨِﯿﻔًﺎ‬Q2:135)
Translator(s) Translation
Ali (1938) the True
Asad (1980) who turned away from all that is false
Itani (2012) the Monotheist
Peachy and Al-Johani (2012) the upright
Pickthall (1930) the upright
Saheeh International (1997) inclining toward truth
The translations listed in Table 1 correspond to the semantic meanings of ḥanīf mentioned
above. Asad (1980, 60), sensing a potential lack of understanding by the reader, adds a footnote
(fn.110) to his translation: “The expression hanif is derived from the verb ḥanafa, which
literally means ‘he inclined [towards a right state or tendency].’” The note accords well with
the pre-Islamic understanding mentioned above. Ali (1938, 19), too, while translating it as the
True, feels it necessary to explain the term in a footnote (fn.134): “inclined to right opinion,
orthodox (in the literal meaning of the Greek words.), firm in faith, sound and well-balanced,
true. Perhaps the last word, True, sums up most of the other shades.”
4.2. Fitnatun (Q2:193)

The verses preceding this verse (Q2:193) are the first Qur’anic verses on Jihad (i.e. Q2:190-
192). They outline the rulings for religious fighting and that the Prophet should fight, for the
sake of Allah, against those who engage with him in a battle; however, he must not do any
wrong, break rules, or go beyond set limits. The verse advocates that Muslims should fight the
disbelievers in the cause of Allah so that there would be no disbelief or worshipping of other
deities along with Allah.
According to Ibn Manẓūr (1980), the word fitnah is derived from the verb fatan, which was
initially used for the process of burning gold and silver to separate the good metal from the low-
quality metal. Al-Aṣfahānī (2010) believes that it was then used for burning people into hellfire.
ISSN: 2295-1210 10 © ATI & Garant

The meaning has been then extended to include other senses, such as tribulations, testing, trial,
affliction, dissension, discord, persecution, temptation, seduction, mischief, tumult, unrest, and
oppression. However, the analogy between the original meaning and the later senses is quite
evident. The given verse, therefore, addresses Muslims to fight the infidels so that there will be
no idols to be worshipped. According to the commentaries (tafsīr) by Al-Ṭabarī (1973), Al-
Baghāwī (1989), Al-Zamakhsharī (1998), Ibn Kathīr (1999), Al-Suyūṭī (2003), Abu Ḥayyān
(1993) and many others, fitnah in the verse quoted above means shirk (polytheism). The
contextual setting also refers to the Islamic normative principles of fighting against the unjust
and the wrong-doers.
Table 2. Fitnatun ٌ‫( ﻓِﺘْﻨَﺔ‬Q2:193)
Ali (1938) tumult or oppression
Asad (1980) oppression
Itani (2012) oppression
Peachy and Al-Johani (2012) oppression
Pickthall (1930) persecution
Saheeh International (1997) fitnah
The translations reviewed here reveal that the translations of the word fitnah are persecution in
Pickthall (1930), tumult or oppression in Ali (1938), oppression in Asad (1980), Itani (2012)
as well as in Peachy and Al-Johani (2012), while Saheeh (1997) retains the word as it is, i.e.
transliteration. They fail to convey the real import of the word as exegetes have defined and
explained. Instead, these renderings correspond more with general definitions and explanations
of the term as found in dictionaries. This may reveal translators’ approaches to the translation
process, which consists of two phases: comprehension and reproduction. The first phase
involves a translator’s endeavors toward a correct understanding of the meaning, whereas the
second phase entails a choice of the best match in the target language. Normally, Qur’an
translators rely on traditional exegetic books to uncover the non-literal senses of the words,
which does not seem to be the case in this example.
4.3. Al-ʿanata (Q4:25)

The verse (Q4:25) refers to the status of slave girls in possession of wealthy people who, for
some reason, failed to marry free women, but did not wish to exploit their slave girls. Such
people are encouraged to marry one of their slave girls and live with her as a rightfully married
woman, although such marriages are discouraged in general, as explained by Asad (1980, 164):
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“the Qur'an discourages such marriages - obviously with a view to removing a major attraction
from the institution of slavery as such, and thus promoting its abolition” (fn. 34).
According to Ibn Manẓūr (1980), the word 'anata originally signifies falling into hardship and
difficulties. Later on, the term acquired some other significations, such as sin, crime, and
mistake (Omar 2010, 390). However, Al-Ṭabarī (1973) lists more than ten sources that posited
that the meaning of 'anata in the given verse refers to committing adultery. Following the
sources, Ibn Kathīr (1999), Abu Ḥayyān (1993), and Al-Suyūṭī (2003) point out that the word
means zina (adultery, fornication), which makes it a typical euphemism for a harsh, blunt sex-
related word.
َ ‫( ْاﻟ َﻌ َﻨ‬Q4:25)
Table 3. Al-ʿanata ‫ﺖ‬
Ali (1938) sin
Asad (1980) stumble into evil
Itani (2012) falling into decadence
Peachy and Al-Johani (2012) to commit sin
Pickthall (1930) to commit sin
Saheeh International (1997) sin
The word is translated as sin by Ali (1938), Pickthall (1930), Saheeh (1997), and Peachy and
Al-Johani (2012). They have used the same euphemistic technique employed in the source (i.e.
generalization) by using a mild word instead of a more direct word that bears the intended
semantic meaning. Asad (1980) rendered this as evil which is a more dysphemistic word
employed here for a euphemistic purpose as well. Itani (2012), however, uses a more
euphemistic but less accurate choice by translating it as falling into decadence. These
translations seem to have failed to offer a precise rendering of the meaning of 'anata, especially
the sense of distress embedded in the word, i.e. if one commits adultery, his or her heart
becomes distressed.
4.4. Darasta (Q6:105)

The verse preceding this verse (i.e. Q6:104) addresses the people in general that God has sent
them His signs and conclusive arguments in different ways to make the truth clear. The result
of explaining the signs in various ways might naturally differ from person to person. Some were
wont to say that Muhammad had been secretly learning from other men of knowledge. To such
people do allude two other verses (Q25:4 and Q16:103), making this explanation more tenable.
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The trilateral root dāl rā sīn occurs six times in the Qur’an, five times as verb forms (Q3:79,
Q6:105, Q7:169, Q34:44, and Q68:37) and once (Q6:156) as a noun. As described by Al-
Aṣfahānī (2010, 223), the word darasa originally means when something vanishes, but its effect
or impact remains. It acquired some other meanings such as reading, learning, studying,
teaching, etc. Omar (2010, 182) defines the verb darasa to mean to learn, repeating the reading
(of something) in order to have an understanding of it, or committing it to one's memory. By
looking at these sources, there are two forms of the verb: the transitive, which means to read
and study, and the intransitive, which means to vanish.
The Qur’an employs this word to signify the meaning of reading, learning, studying. Al-
Zamakhsharī (1998, 341) and Al-Bayḍāwī (1999, 442), too, have explained the expression as
you learned and read. According to Al-Ṭabarī (1973, 355), Al-Ṣan'ānī (2000, 160), and Al-
Hāyam (2002), its meaning is to read, and according to Ibn Kathīr (1999, 606) and Al-Khuḍayrī
(2008, 51), darasa denotes to study. The verb darasta is the simple past form for the second
person singular and, as the context suggests, it means you learnt, you studied. The context
implies that the source expression does not have a positive connotation here. It is rather a
mixture of pity and reproof, as the people of Makkah would often accuse the Prophet of learning
the monotheistic and other-worldly ideas and about incidents of the past from some others,
thereby ascribing the revealed teachings to the normal human process of learning and studying.
Table 4. Darasta ‫ﺖ‬
َ ‫ﺳ‬
ْ ‫( َد َر‬Q6:105)
Translator(s) Translations
Ali (1938) Thou hast taught us diligently
Asad (1980) Thou hast taken [all this] well to heart
Note: Lit., "thou hast learned [it well]" - i.e., God's message.
Itani (2012) You have studied
Peachy and Al-Johani (2012) You’ve studied
Pickthall (1930) Thou hast studied
Saheeh International (1997) You have studied
Footnote: Accusing the Prophet of having learned from the Jews
and Christians.
In the light of the textual and contextual analysis of the word, it seems that Ali (1938) fails to
communicate the content of the verse and even goes far beyond the actual meaning and
signification of the source text. Asad’s (1980) translation, though not an equivalent to darasta,
could convey, figuratively, the sense of learning and memorizing, but he has undone it in the
footnote, which refers to Muhammad having learned God’s message. Therefore, these two have
gone far away from capturing the real import of the source expression.
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The other four similarly worded translations convey the real signification of the Qur’anic
expression as explained by Qur’anic exegetes. However, the footnote in Saheeh (1997) makes
the context clear so that no ambiguity is possible, and thus is more plausible.
4.5. Yuthkhina (Q8:67)

The contextual reference in the given verse is to the virtual abolition of slavery as a social
institution. The injunction of the verse is that it is not allowed to retain any person or take him
as a slave unless he was caught as a prisoner in a battle defending the faith, i.e. jihad. The
historical reference is to the prisoners of war in the Battle of Badr. The Prophet, on the counsel
of Abu Bakr, released them.
Table 5. Yuthkhina ‫( ﯾُﺜْ ِﺨ َﻦ‬Q8:67)
Ali (1938) thoroughly subdued
Asad (1980) battled strenuously
Itani (2012) subdued
Peachy and Al-Johani (2012) conquered
Pickthall (1930) made slaughter
Saheeh International (1997) inflicts a massacre
The term yuthkhina is derived from ʔithkhan which means to conquer, slaughter, overcome,
wound, inflict wounds, etc. (Al-Sajistānī 1995; Al-Ṭabarī 1973). Thus, the word signifies
causing heavy loss of lives to the enemy. The translators have managed to provide a translation
that explains the intended meaning as stated in exegetical books.
4.6. Waqaḍayna (Q17:4)

This verse refers to an earlier revelation conveyed in the Torah, telling that the Jews would
become tyrants and would cause corruption on the earth twice.
The verb qaḍā is a polysemous verb that changes according to the context, co-text, and the
preposition used. For example, Al-Baghāwī (1989) lists different meanings for this verb
depending on the context: to decree as in (Q17:23), to judge as in (Q10:93), and to create as in
(Q41:03). According to Omar (2010, 458), it could mean “to decree, create, accomplish, bring
to an end, complete, fulfill, determine, pass a sentence, decide, satisfy, execute, settle, judge,
and discharge”.
In the selected verse, the verb qaḍā is attached to the preposition ʔilā, whose English equivalent
is the preposition to. With this preposition, it means to reveal to. The preposition functions as
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a medium between the revealer and the receiver. However, other exegetes, including Al-Qurṭubī
(1935) and Al-Suyūṭī (2003), relate their commentary to that of Ibn ‘Abbās (d. 687), who points
out that the verb in this context means to inform, to tell, or make known.
َ َ‫( َوﻗ‬Q17:4)
Table 6. Waqaḍayna ‫ﻀ ْﯿﻨَﺎ‬
Ali (1938) gave (clear) warning
Asad (1980) made (this) known
Itani (2012) conveyed
Peachy and Al-Johani (2012) told
Pickthall (1930) decreed
Saheeh International (1997) conveyed
The translations have varied in rendering qaḍā. Ali (1938), who translated the verse as We gave
(clear) warning, has deviated from the meaning by presenting an inaccurate translation. Saheeh
(1997) and Itani (2012) translate the term as conveyed. Asad’s (1980) translation We made
[this] known is equally inaccurate using a less formal word. Pickthall’s (1930) We decreed is
more appropriate, for this register, more accurate and consistent with the exegetical opinions
mentioned above.
4.7. Wakhasha’at and Hamsa (Q20:108)

This verse mentions the characteristics of the Day of Resurrection when every voice will
become silent in the awe and glory of the Lord. It clearly says that nothing will be heard on that
day except vague whispers. Some Qur’anic exegetes have explained these whispers as the
shuffle of the people’s feet while walking.
Two words in the verse seem to pose some difficulty here: khasha'at and hamsa. Following
traditional Arabic dictionaries, khasha' is a verb that explains the action when one lowers his
or her gaze and keeps silent out of awe and fear. Well-known mainstream exegetes, such as Al-
Qurṭubī (1935), Al-Ṭabarī (1973), Al-Bayḍāwī (1999), Ibn Kathīr (1999) and Al-Suyūṭī (2003)
report similar understanding.
The word hamsan means whisper, hidden or low voice in traditional dictionaries. However,
when it collocates with feet, it means walking in a way that only a little sound is heard. Omar
(2010, 154) defines the former as to be humble, to be submissive, lowly, cast down (eyes), faint
(voice), and the latter as faint murmur (Omar, 2010, 593).
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Table 7. Wakhasha’at / Hamsa ‫ﺖ‬ َ ‫ َو َﺧ‬/ ‫ﺴﺎ‬

ِ ‫ﺸ َﻌ‬ ً ‫( َھ ْﻤ‬Q20:108)
Ali (1938) shall humble / tramp of the ranks marching along
Asad (1980) will be hushed / a faint sough in the air
Itani (2012) will be hushed / murmur
Peachy and Al-Johani (2012) will be low / a murmur
Pickthall (1930) are hushed / a faint murmur
Saheeh International (1997) will be stilled / a whisper [of footsteps]
The six translators do not seem to have encountered any difficulties in rendering khasha'at, as
all these translations convey the meaning as specified by Qur’anic exegetes and critics.
However, hamsa is rendered as the tramp of their feet (as they march) by Ali (1938). He adds
a note to it saying: “A beautiful personification of hushed Sound. First, there is the loud blast
of the Trumpet; then there is the soft angelic Voice calling ‘Arise.’ Then there is the stillness
and hush of awe and reverence: only the tramp of the ranks marching along will be heard” (Ali
1938, 813). Hamsa is translated as a faint sough by Asad (1980), a faint murmur by Pickthall
(1930), murmur by Peachy and Al-Johani (2012) and Itani (2012), while a whisper [of
footsteps] by Saheeh (1997). These translations are befitting and acceptable, as they suggest
one of its possible meanings, a shuffle. Besides, they are suitable equivalent translations since
they carry the meaning of a low voice, murmur, etc., which, according to Al-Suyūṭī (2003), the
Arabic word expresses.
4.8. wa al-jibillata (Q26:184)

The Qur’anic verse in which this phrase occurs is part of the Prophet Shu‘ayb's admonitory
discourse he addressed to the People of Aykah, who were not sincere in their business and
resorted to cheating in measurement. Prophet Shu‘ayb asked them to hold in fear the Lord Who
created them and the nations preceding them.
According to traditional Arabic dictionaries, jibillah means total creation. Explaining the
expression al-jibillat, exegetes such as Al-Bayḍāwī (1999), Al-Suyūṭī (2003) and Al-Ṭabarī
(1973) described it as generations, people who had lived before them and previous creations of
people; whereas it is defined by Al-Aṣfahānī (2010, 113) to mean a large group.
Table 8. wa al-jibillata َ‫( َو ْاﻟ ِﺠﺒِ ﱠﻠﺔ‬Q26:184)
Ali (1938) the generations
Asad (1980) those countless generations
Itani (2012) the masses
Peachy and Al-Johani (2012) the generations
Pickthall (1930) the generations of the men
Saheeh International (1997) the creation
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The meaning of the Qur’anic expression al-jibillata has variously been rendered by the six
translators. Considering the explanations furnished by classical Arabic exegetes, corroborated
by lexicographers, Saheeh (1997) seems to have successfully captured the accurate meaning
with a footnote that explains what it refers to. However, the generation done by Ali (1938) and
Peachy and Al-Johani (2012) is also plausible. Asad (1980) has added countless which is not
worded in the source text, but this meaning is embedded in the structure. Itani’s (2012)
rendering (masses) is not even close to conveying the true meaning of the actual text. In
Pickthall’s (1930) rendering, of the men is not only redundant but also an unnecessarily gender-
specific translation of the gender-neutral expression.
4.9. Ma’ād (Q28:85)

In this verse, Allah tells the Prophet what He had prescribed for him and that he would surely
restore the Prophet to ma’ād. According to Al-Baghāwī (1989), this verse was revealed in Al-
Juhfah during the Prophet’s migration (Hijra) when the Prophet was on his way to Madina. The
verse reassures the Prophet that he would return to his hometown, i.e. Makkah. Other exegetical
books have provided other meanings for ma’ād, such as death, the Day of Resurrection, and the
Paradise. Books on gharīb, however, unanimously agree that the intended meaning is Makkah.
Table 9. Ma’ād ‫( ﻣﻌﺎد‬Q28:85)
Ali (1938) the Place of Return
Asad (1980) a life renewed
Itani (2012) Home
Peachy and Al-Johani (2012) home again
Pickthall (1930) home again
Saheeh International (1997) a place of return
The word ma’ād literally refers to a state or a place where someone/something comes
back/returns. It also refers to one's final condition or destination. Ali (1938) and Saheeh (1997)
offer a generalized translation that ignores all exegetical opinions. Asad’s (1980) translation is
not based on any authentic source. Pickthall (1930), Itani (2012), and Peachy and Al-Johani
(2012) translate ma’ād as home, a translation that accords with the opinion found in exegetical
books. None of the translators, however, seem to have checked classical sources on gharīb.
4.10. Ṣayāṣīhim (Q33:26)

This expression figures only once in the Qur’an, and it is in this verse. The verse refers to the
defeat of the Jewish clan of Banu Quraydah, who, defying the agreements and peace accords
that they had entered into with the Prophet before the event of Al-Aḥzāb, supported the invading
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Arab confederate against the Prophet and the Muslims. Afterward, when the prophet intended
to punish them for not complying with the treaty, they locked themselves in their fortresses
(ṣayāṣīhim), but after twenty-five days of siege, they had to give up.
According to Al-Aṣfahānī (2010, 380), Al-Bayḍāwī (1999, 207), and Al-Nīsābūrī (1996, 457),
the word ṣayāṣīhim refers to something that is used to protect as horns of cows (Al-Sajistānī
1995). Later on, it acquired the meanings such as forts, fortresses, castles, strongholds, bastions,
citadels, etc., as they are the means of protection. Al-Ṭabarī (1973, 179), Al-Suyūṭī (2003, 421),
Al-Khuḍayrī (2008, 217), and Ibn Kathīr (1999, 91) have described the word as fortresses. Ibn
Kathīr (1999) has mentioned in support of his exegesis the opinions of Mujāhid, Ikramah, ‘Atā
and Qatādah, who were companions of the prophet.
Table 10. Ṣayāsīhim ‫ﯿﮭ ْﻢ‬
ِ ‫ﺎﺻ‬
ِ ‫ﺻ َﯿ‬
َ (Q33:26)
Ali (1938) their strongholds
Asad (1980) their strongholds
Itani (2012) their strongholds
Peachy and Al-Johani (2012) their strongholds
Pickthall (1930) their strongholds
Saheeh International (1997) their fortresses
Although in the historical context, it does refer to the fortresses which the Jews took refuge in,
English equivalents such as strongholds or bastions convey the meaning more
comprehensively. Thus, their strongholds, as rendered by five translators, seems to be
preferable to Saheeh’s (1997) translation their fortresses.
4.11. Yansilūna (Q36:51)

The verse in which this expression features refers to the great event of the Resurrection Day
when the trumpet will be blown and all the people will be coming out of their graves and be on
the move towards their Lord to face the Reckoning. As specified by the Arabic lexicons, the
expression yansilūn is a grammatical variant of the infinitive verb nasala, which denotes two
meanings: (a) to become detached from something, to set something apart, to separate, etc. (b)
to descend, to slide, to swarm, etc. However, as a verb, this expression has not been employed
to denote the first meaning in the entire Qur’an. In addition to the verse under discussion, this
expression features in yet another verse (Q21:96) of the Qur’an and denotes the same meaning.
As defined by Al-Aṣfahānī (2010, 634), the word yansilūn originally signifies separation. Later
on, it came to acquire some other meanings such as to run, to rush, etc. However, the word
yansilūn is described by Al-Ṭabarī (1973) as to come out quickly, by Ibn Kathīr (1999, 165) to
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rush and come from everywhere. According to Al-Suyūṭī (2003, 434), Al-Khuḍayrī (2008, 234),
and Al-Nīsābūrī (1996, 539), the accurate meaning of this word is to rush. According to Al-
Bayḍāwī (1999, 104, 355), the expression in both the verses (36:51 and 21:96) denotes running
fast, swooping, swarming, etc.
َ ُ‫ﻨﺴﻠ‬
Table 11. Yansilūna ‫ﻮن‬ ِ ‫( َﯾ‬Q36:51)
Ali (1938) rush forth
Asad (1980) rush forth
Itani (2012) rush
Peachy and Al-Johani (2012) swarm
Pickthall (1930) hie
Saheeh International (1997) hasten
All the six translators have exerted their best to capture the maximal flavour of the original
Arabic expression. Yet, the rendering attempted by Peachy and Al-Johani (2012), i.e. swarm,
seems plausibly more beautiful in terms of eloquence as compared to the others for two reasons:
brevity as it is single-worded and for the onomatopoeic effect found in it. Moreover, it conveys
the full meaning and significations of the source expression. It implies hastening and moving
quickly to assemble in a swarm. The other attempts lack in conveying this aspect of the
meaning.
4.12. Ḍīzā (Q53:22)

The people of Makkah had, among many of their idols, three goddesses, viz. Lāt, Manāt, and
Uzzā, whom they referred to as the daughters of Allah, the supreme God. Allah was avowedly
their greatest deity even in the pagan polytheistic cult. On the other hand, they themselves
would feel extremely displeased with the birth of female babies, and burying daughters alive
was not uncommon. The Qur’an refers to this practice and how they felt sad when daughters
were born (Q16:57-59). Because they assigned to God the females while the females they
themselves would feel disgusted at (Al-Bayḍāwī 1999, 542), this verse denounces them for
attributing the females (the inferior gender in their opinion) to God and males (the superior
gender, as believed) to themselves.
This adjective occurs only once in the Qur’an. As defined by Al-Aṣfahānī (2010, 391), the word
ḍīzā means incomplete. According to Al-Ṭabarī (1973, 71), Al-Nīsābūrī (1996, 205), and Ibn
Kathīr (1999, 401), Al-Hāyam (2002), Al-Suyūṭī (2003, 526), and Al-Khuḍayrī (2008, 312),
this word conveys a sense of injustice. As stated in Omar's dictionary (Omar 2010), ḍīzā is a
descriptive expression from ḍayz, which means unjust.
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َ ‫( ِﺿ‬Q53:22)
Table 12. Ḍīzā ‫ﯿﺰ ٰى‬
Ali (1938) most unfair
Asad (1980) unfair
Itani (2012) bizarre
Peachy and Al-Johani (2012) unfair
Pickthall (1930) unfair
Saheeh International (1997) unjust
Except for Itani (2012), all the five translations are much the same and have successfully
translated the meaning of the source expression. Ali’s (1938) use of the superlative (most
unfair) emphasizes the sense of injustice, but it may be an addition to the meaning. Itani’s
(2012) rendering (bizarre) is not supported by traditional sources and is considered a deviation
from the intended meaning.
4.13. Allamam (Q53:32)

This verse explicates and defines the characteristics of the virtuous people mentioned in the
verse preceding it. It says that avoidance of grave sins is among the characteristics of the
virtuous.
Lamam denotes coming close to committing minor sins and lesser offences. Ibn Qutaybah
(1978) and Al-Sajistānī (1995) agree that lamam means small sins, and that it signifies that the
persons who commit these minor sins and repent shortly afterwards do not carry on doing these
sins.
‫( ﱠ‬Q53:32)
Table 13. Allamam ‫اﻟﻠ َﻤ َﻢ‬
Ali (1938) small faults
Asad (1980) sometimes stumble
Itani (2012) minor lapses
Peachy and Al-Johani (2012) slips
Pickthall (1930) unwilled offences
Saheeh International (1997) slight ones
Translators have provided renderings close to each other using adjectives such as small, minor,
and slight, or nouns such as slips, lapses, and faults. Asad (1980) and Pickthall (1930) deviate
slightly from the formal structure of the source text by using the modulation technique, which
employs a variant point of view.
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4.14. Saghat (Q66:4)

This (Q66:4) is one of the several verses narrating the story of the Prophet when he lay with his
handmaiden Mariya in the house of Hafsa, who then got upset. The Prophet confided to Hafsa
his prohibition of Mariya, but Hafsa disclosed it to Aisha. The verse where the word saghat
occurs refers to Hafsah as well as to Aishah, who listened to the former, thereby contributing
to the breach.
Table 14. Saghat ‫ﺻ َﻐ ْﺖ‬
َ (Q66:4)
Ali (1938) so inclined
Asad (1980) have swerved
Itani (2012) have listened
Peachy and Al-Johani (2012) have swerved
Pickthall (1930) desired (the ban)
Saheeh International (1997) have deviated
The verb saghat comes from the Arabic root sagha, which means to swerve or to deviate from.
It also refers to having an inclination toward something. Accordingly, Itani (2012) seems to
have mixed it with ʔasgha, which means to listen, rendering it as have listened. Pickthall (1930)
rendered it as desired (the ban) explicating on the story to offer an interpretation of the meaning.
Such a translation strategy does not suit the translation of the Qur’an, nor is it a very common
strategy among Qur’an translators who tend to stick to the formal aspects of the sacred text
(Albarakati, 2019). The other four translators have adhered to the semantic meaning of the root
and its derivative verb.
5. Conclusion
This study explored the problematics of translating the Gharīb al-Qur’an words. The analysis
section of the study highlights various issues which translators have to cope with when they translate
the gharīb al-Qur’an and words with multiple possible meanings. This study examines six
translations of select gharīb words and finds it quite challenging to produce a perfect translation of
the Qur’an. As many Qur’anic words and sentences carry multiple layers of meaning, it becomes
difficult to render these words into the target language. Besides, the connotations of these words
are quite challenging to preserve, particularly due to the constant change in word connotations over
time. Dealing with the Qur’an as a religious scripture believed to be a divine book, any departure
from the source text is contestable. Thus, the analysis and discussion in the preceding sections, and
the comparative literature collected from six different translations taken into account, reveal that
the linguistic nature of Arabic as a language, the distinctive style of the Qur’an, and its theological
and cultural dimensions make it challenging for translators to render the meaning into English.
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These results suggest that Qur’an translators should use exegetical books as their primary sources
and make use of traditional Arabic dictionaries to deepen their understanding of the lexical and
semantic aspects of the text. However, what makes the translators’ task more complicated is dealing
with these gharīb words, which are unique in terms of their denotations and connotations. It is the
very same reason that made scholars classify these words as unfamiliar words as early as the second
Hijri decade. Translators are dealing with words that have been tagged problematic and have been
dealt with in exegetical works especially authored on the subject. The translations discussed above
do not seem to have accessed these gharīb exegetical books and may have relied solely on famous
general exegetical works, which sometimes ignore gharīb vocabulary items. Translators who rely
on traditional dictionaries are more likely to miss the intended contextual meaning, which is
sometimes not worded in these dictionaries.
From the discussion, it is evident that all the translators seem to have struggled in one or more of
the excerpts investigated in this study. Pickthall (1930) has been one of the most celebrated and
acclaimed translators of the book for several reasons. Although he admits his inability to articulate
in his translation ‘that inimitable symphony’ in the actual text of the Qur’an, he desired to produce
a ‘terse, majestic, and poetical’ translation (Pickthall, 1919) so that the translation, too, has powerful
eloquence. However, his archaic English is not in vogue now. At times, his rendering is, in fact,
more gharīb, i.e. obscure and unfamiliar, than the original Arabic word, e.g. hie (Table 11).
Therefore, a contemporary translation will be more accessible. Peachy and Al-Johani (2012) seem
to have relied on Pickthall but have tried to transform the language to suit the twenty-first-century
reader. Itani’s (2012) version employs modern diction but appears to have taken a bit too much
liberty in some cases and has reached far from the text. Of all the six translations considered, Saheeh
International (1997), despite a few issues, seems to be the most plausible.
The findings of this study have several important implications for future practice. Qur’an translators
need to consider the connotations embedded in the Qur’anic words through exegetical books and
the works particularly authored to tackle the issues of these words. Translation annotations can be
instrumental to employ in order to compensate for these problematic aspects. Translations made by
a team are more likely to comprehend such nuances, as teamwork offers collaboration, allows for
meticulous scrutiny of the source text, and more informed decisions for the target text.
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25
Volume 12, Issue 13, May 2022 https://www.dragoman-journal.org Mohammad A. Thawabteh
Translation Norms and the Arab Legacy of Translation

Al-Quds University, Occupied Palestine
Abstract
It is oft-truism that translation has long been practiced and widely been considered as
a vehicle for all major cultural exchanges throughout history. The bulk of Greek
philosophy and science transmission into Arabic in the early medieval was an epitome
of the exchange whereby translation was constantly governed by norms (i.e.,
sociocultural constraints acquired by members of society by means of education and
socialisation. The present article may then be accorded a significant status in a wider
socio-historical context as, in greater detail, it first discusses a well-established issue
in translation studies, i.e. translation norms, and second it sheds some light on the
visibility of these norms insofar as Arab legacy of translation is concerned. The paper
draws on these translation norms, apposite to particular historical situations, i.e.,
Abbāsid Era as can be illustrated in a manuscript translated from Greek into Arabic by
a famous Syrian Nestorian Christian translator, named Ḥunayn ibn Ishaq al-ʻabādi
born in 808 AD and died in 873 AD. The approach adopted in the study is Toury’s
(1980:75) typology of translation norms (e.g., ‘initial norms’, ‘preliminary norms’ and
‘operational norms’.) in which the paper exhaustively explores the applicability of
these norms to the translations of the manuscript proper. The paper finally concludes
that beyond the already aforementioned translation norms, four more (sub-)norms are
manifest: (1) the ethical norm; (2) the norm of introducing so-called Islamic
benediction; (3) the power norm; and (4) the fatalistic norm.
Keywords: translation norms, Ḥunayn ibn Ishaq al-ʻabādi, Arabic, Greek, manuscript.
Short Bio
Mohammad Ahmad Thawabteh. Has a PhD in Translation and Intercultural Studies
from Universidad de Granada, Spain. He is an Associate Professor of Translation at Al-
Quds University, Occupied Palestine. He taught translation at undergraduate and
graduate levels at Sultan Qaboos University (2017-2019). He has taught language,
linguistics and translation at Al-Quds University since 2000 where he was Chair of the
department (2011-2012) and coordinator of the MA in Translation and Interpreting
Programme (2010-2013). He His research interests include Translator Training,
Translation Studies, Pragmatics, Cultural Studies and Discourse analysis.
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Translation Norms and the Arab Legacy of Translation
1. Introduction
Since time immemorial, it goes without saying that translation has long been considered as a
means of wittingly pursing and facilitating points of contact, and as potentially endless
intercultural exchange, including, but not limited to, translation of literary criticism (e.g.,
Aristotle’s Poetics), translation of literature (e.g., Kalila wa Dimna by Abdullah ibn al-
Muqaffa), translation of science (e.g. Ḥunayn ibn Ishaq al-ʻabādi) (Abdulla 2021). Many
cultures have been given a new lease of life by virtue of translation as Newmark (1988: 7) aptly
remarks:
Translation has been instrumental in transmitting culture, sometimes under unequal
conditions responsible for distorted and biased translations, ever since countries and
languages have been in contact with each other. Thus the Romans ʻpillagedʼ Greek
culture; the Toledo School transferred Arabic and Greek learning to Europe; and up to
the nineteenth century European culture was drawing heavily on Latin and Greek
translations.
By the same token, Almanna (2013: 9) believes that “the Arabs began looking into the riches
of their great scholarly tradition. The translation movement, which had been inactive in the
Arab world, unwent dramatic changes during the Abbāsid period in which it passed through
two phases”. Likewise, Mouakket (1988: 25) succinctly puts it that Arabs conspicuously
contributed to complex world: “The Arabs owed the Greeks the initiative and the starting point
towards reasoning. But no sooner had they taken the first step, than their vigorous and earnest
desire for knowledge surpassed that of Greeks in many fields”. It should be borne in mind
Arabic has become the lingua franca of the period. Salloum and Peters (1996: x) argue that:
Arabic was the intellectual and scientific language of the entire scholastic world. The
men of letters and science had to know Arabic if they wanted to produce works of arts
and science […]. Arab Andalusia by itself produced more works in Arabic than were
produced in all the languages of Europe.
It ensues, therefore, that the Arabs have long enjoyed a certain degree of participative
reciprocity and all-embracing symbiotic relationship with other nations.
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Since “translation theories operate in virtuous circle, rather than vicious, given
translation theories put forward centuries ago can be studied, developed and further related to
meanderings of life of modern times” (Thawabteh and al-Junaydi 2017: 85), something that
might raise one or two eyebrows. It ensues, therefore, that the Arabs had their own nice
theoretical touches as translation theories are attached to a given geographical region, but they
are ubiquitous as it were. Thawabteh and al-Junaydi (ibid: 78) take the discussion of translation
theories during Islamic era a step further: “Although much of incontrovertible evidence of the
indeterminacy of earlier seeds of translation theories in the Islamic era is predominantly
fragmentary, their lasting imprint on world’s memory seems to be evidently interesting to
translation scholars to date”.
It is then conceivable that cultural exchange has happened with a fanfare throughout
history, simply because “there are no natural frontiers between languages. The kinds of
translation that can take place between idiolects, sociolects and dialects are essentially no
different from those between more radically distanced language systems” (Pym 1992: 23-24).
It goes without saying that the larger bulk of Greek sciences transmission into Arabic
in the early medieval was governed by a set of criteria, known as norms, conventionally defined
as invariably sociocultural constraints acquired by members of society by means of education
and socialisation. Perhaps a fairly comprehensive definition of translation norms is that offered
by (Toury 1995: 55): “The translation of general values or ideas shared by a community – as to
what is right or wrong, adequate or inadequate – into performance instructions appropriate for
and applicable to particular situations”.
More to the point, Bassnett and Lefevere (1998: 93) give an excellent vignette of the
powerful binding role of Source Language (SL) norms and how to fair-mindedly reflect this
role in translation: “Just as the norms and constraints of the source culture play their part in the
creation of the [ST], so the norms and conventions of the target culture play their inevitable role
in the creation of the translation”. The same is true of Arab legacy of translation which
unequivocally assumed access to the then world of translation.
Suffice to say that during Abbāsid Era (750–1258 AD), an outward manifestation of
translation norms was ostensibly unquestionable, a major epoch which bore witness to “a major
event in the history of world civilization” (Montgomery as cited in Shamma 2009: 65). Perhaps
we should take cognisance of the fortuitous translation norms of Arab legacy as of inimitable
nature before modern translational regime, as it were, managed to leapfrog that of Arab’s, into
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what they have been up to now. An example commented by (Thawabteh and al-Junaydi 2017:
80):
What actually Pym theorised dated back to centuries ago as can be shown by al-al-
Jaḥidh ..., a medieval Arab scholar and critic, that the translator must be bilingual and
bicultural so that the translation activity can be done as successfully as possible.... al-
Jaḥidh ... speaks of the competences the translator should have [had].
Khouri (as cited in Al-Mani and Faiq, 2012: 9-10) elaborates on these competenceies: “a full
understanding of the subject matter; an awareness of current methods of translation; a previous
apprenticeship with an established translator”, among others .
By way of illustration, the legacy of Ḥunayn ibn Ishaq al-ʻabādi (808-873 AD), a famous
Syrian Nestorian Christian translator, obviously regards it as no more than injecting a new live
into contemporary normative translation theory, so to speak, and such a legacy has been a
general signpost to the path subsequent translation theorists and practitioners have (un)wittingly
followed. Consequently, translation norms have manifested themselves in his innumerable
translations of multifarious sciences by Arab translators as will be comprehensively explained
in what follows, with much focus on Ḥunayn ibn Ishaq al-ʻabādi.
In translation studies, it has always been debatable to which is which the translator
should show his/here ostensible ʻallegianceʼ: ST or Target Language Text (SLT). It seems
plausible to assume that the end product of translation process- Target Text (TT) can almost
always go one way or the other, that is, either be source-oriented or target-oriented. The former
is based on whether the translator is loyal to the author of the ST whilst the latter depends on
loyalty to the reader of the target rendering (Perez 1993).
Similarly, but more explicitly, Munday (2012: 114) — citing Toury — points out,
adherence to the poles is located very close to “a continuum since no translation is ever adequate
or totally acceptable” (see Section 3.1 bellow).
2. Methodology
The present paper touches on the translation norms appeared to have been generally observed
during the Abbāsid Era. An ideal way of going about the heuristic procedure of the study would
be that the authentic manuscript of Arabic translation from Greek are first offered in the
screenshots (see below), followed by the typing of the sample translations into a more legible
manner due to the fact that the manuscript is all handwritten barely decipherable scrawl.
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Examining the individuality of a codex is really demanding. Some of codex details are
extremely difficult to be found, for example, to know the names of scribes and references to the
place of the manuscript production. To advance our understanding of how the norms are at
work, English translations are also provided by the author, opting for formal translation strategy
as much as possible, so that ‘normative flavourings’ of the SL can be maintained and ensured.
2.1 Significance of the Study

The present paper may rigorously be considered all the more significant as it arrives in a new
context, a context supposedly untouched with respect to translation studies, i.e. translation
norms, perhaps with the exception of a relevant work by Pym (1998) which nevertheless,
“seems to have done injustice to refreshing Arab contributions to translation theories”
(Thawabteh and al-Junaydi 2017: 78). The paper then sheds more light on the visibility of the
norms of translation prevailing Arab legacy of translation, during conspicuously prosperous
‘Abbāsid Era (750–1250 AD), with particular reference to Ḥunayn ibn Ishaq al-ʻabādi.
2.2 Data of the Study

The paper draws on these translation norms, apposite to particular historical situations, i.e.
Abbāsid Era as can be underlined and illustrated in a manuscript entitled Pedagogy Book,
translated from Greek into Arabic by Ḥunayn ibn Ishaq al-ʻabādi born in 808 AD and died in
873 AD. The manuscript is now in The British Library in London, Reference Division,
Department of Oriental Manuscripts and Printed Books (also available at: www.al-
mostafa.com).
3. Data Analysis and Discussion

Thus far in our analysis, it is perhaps worth pointing out translation norms should be seen as
pertinent to a dynamic continuum across centuries. We may envisage these presumably
sustainable norms as a composite of translation profession per se that are more likely to be
convenient for different ages. To pinpoint and bring the problem under discussion into focus,
let us first prompt further research into translation norms, taking our cue from Toury’s (1980)
workable taxonomy of norm categories. Toury (1980:75) puts translation norms across most
effectively, saying that norms unfold in the course of a translation activity, mainly into ‘initial
norms’, ‘preliminary norms’ and ‘operational norms’.
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3.1 Initial Norms

Initial norms are discernible in terms of the various conscious or unconscious choice
superficially made by translators in the course of translation. They are dependent on the choice
of the overall objective of a translation which governs a set of translation decisions. According
to this category, “translators can subject themselves to the norms reali[s]ed in the ST or to the
norms of the target culture or language. If it is towards the ST, then the TT will be adequate; if
the target culture norms prevail, then the TT will be acceptable” Munday (2012: 179).
In carefully scrutinizing the data, an example of initial norms is to be found in
Screenshot 1 below in which the translator apparently yieldedt o the norms realised in the ST,
thus adequate translation is likely to surface in which literal translation approach presents itself
as a reasonably workable solution. In fact, two translation methods have been opted for during
Abbāsid Era: word by word and transferring the whole meaning of the sentence into mind, the
second of which has been adopted by Ḥunayn ibn Ishaq al-ʻabādi “wherein [he] set down the
transferred materials in fluent Arabic without violating the majesty of the TL” Almanna (2013:
10). The translation “preserves surface aspects of the message both semantically and
syntactically, adhering closely to source text (ST) mode of expression” (Hatim & Mason, 1997:
189). More aptly, the translator tilts towards literalness squarely locating himself between
metaphrase “i.e., rendering word by word, sentence by sentence, etc. from one language into
another” (Dryden as cited in Almanna (2013: 17) and paraphrase.
Screenshot 1: initial norm
In Screenshot 1, the handwritten manuscript is typed into legible Arabic translation which reads
as:
‫ إﻟﻰ ﻛﻢ ﺟﺰء ﯾﻨﻘﺴﻢ اﻟﻌﻠﻢ؟ ﻗﺎل إﻟﻰ‬.‫ ﻗﺎل ﻣﺎ ھﻤﺎ؟ ﻗﺎل اﻟﻌﻠﻢ واﻟﻌﻤﻞ‬،‫ ﻗﺎل إﻟﻰ ﺟﺰءﯾﻦ‬،‫ﻗﺎل ﺟﺎﻟﯿﻨﯿﻮس إﻟﻰ ﻛﻢ ﺟﺰء ﯾﻨﻘﺴﻢ اﻟﻄﺐ‬
...‫ﺛﻼﺛﺔ أﺟﺰاء‬
The sample translation in Screenshot 1 can be roughly translated into English as “Galen said,
“medicine is twofold: ‘What are they?” he said, “they are knowledge and work”. “To how many
parts is knowledge divided”, he asked. “Into three parts…,” he answered.
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A further point yet to be noted in Screenshot 1 above is that the translation is

undoubtedly characterised by repetition, redundancy and paratactic syntax: “pertaining to the
joining together of sentences or clauses by juxtaposition. … is extended to include cases where
the links may be established with or without the use of connectives (Hatim & Mason 1997:
192). This may best be explained in terms of the use of repetitive ‘qala’ (‘he said’) which,
though entirely a stylistic feature in Arabic, repeated no fewer than nine times in five lines.
Such in-situ repetition, as it were “presuppose[s] some kind of ideal loyalty to a ST, author or
sender, often pitted against similar loyalty to a receiving language, culture or receiver” (Pym
1992: 7).
3.2 Preliminary Norms

‘Preliminary norms’ are or should be conditioned by factors, obvious authoritative determinant
on legitimately selection of text for translation and a certain directionality of translation as can
be first shown in the translator’s selection of medical texts (e.g., Pedagogy Book by Galen),
and substantial directionality of translation from Greek into Arabic.
Screenshot 2: Pedagogy Book by Galen
As can be seen in Screenshot 2 below, the selection of text for translation is clearly marked in
the translator’s own words “‫ ”ﻛﺘﺎب اﻟﺒﯿﺘﺎﻏﻮﺟﻲ ﻟﺠﺎﻟﯿﻨﯿﻨﻮس ﺗﺮﺟﻤﺔ ﺣﻨﯿﻦ ﺑﻦ إﺳﺤﻖ‬which roughly translates
into English as “In the Name of Allah, the Merciful, the Beneficent, pedagogy book by Galen,
translated by Ḥunayn ibn Ishaq al-ʻabādi”.
3.3 Operational Norms

The final category to be approached in the three types of thresholds is ‘operational norms’,
related to the completeness of TT phenomena, and this can be observed by different means (e.g.
addition and expansion of passages, textual segmentation, relocation of passages, and using
linguistic material in the TL text such as: lexical items, phrases and stylistic features, etc.) and
translator’s intervention, e.g., omission.
As can be seen in Screenshot 3 below, the translator added a preface which includes
what we shall call a religious benediction and some formulaic expressions, an addition that is
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virtually an endemic norm in Islam in which any written or spoken discourse should, or even
must, have a benediction.
3.3.1 Addition and Expansion of Passages

Perhaps we are on the threshold of an outright addition and expansion to translation. In this
regard, Pym (1992: 99) sets a claim that the “difference between expansion and addition is a
question of conflict between the translator and a rather important institutional authority. In the
last analysis, only authority determines what is or is not justified expansion,” an expansion that
is “fully justified by the theological significance of the passage” (Luther cited in Pym 1992:
99). As paradoxical as it might be, the text was medical so how it comes that an expansion is
justified. At this juncture, it perhaps might be true that there was no evidence of such a conflict.
Ḥunayn ibn Ishaq al-ʻabādi was affiliated with one of the most famous institutions of translation
ever known, i.e., Bait al Ḥikma (House of Wisdom), established by the Abbāsid seventh Caliph,
al-al-Ma’mūn (reign 813-833). To elaborate more on the theoretical framework, let us examine
the following screenshot:
Screenshot 3: benediction and formulaic expressions
In Screenshot 3 above, the translation is invariably topped with copious religious

benediction (preambular paragraph) and with other formulaic expressions, e.g., ‫ﺑﺴﻢ ﷲ اﻟﺮﺣﻤﻦ‬
‫ اﻟﺮﺣﯿﻢ ﺻﻠﻰ ﷲ ﻋﻠﻰ ﺳﯿﺪﻧﺎ ﻣﺤﻤﺪ وﻋﻠﻰ آﻟﮫ وﺻﺤﺒﮫ وﺳﻠﻢ‬which translates “In the Name of Allah, the
Merciful, the Beneficent, prayers and peace be upon Prophet Mohammad, his family and his
companions”. Other stringently formulaic expressions are also opted for, e.g., ‫وﺑﮫ ﺗﻮﻓﯿﻘﻲ وﻋﻠﯿﮫ‬
.‫ ﺗﻮﻛﻠﻲ‬that translates “I relay on Allah” and ‫ ﺻﻠﻰ ﷲ ﻋﻠﻰ ﺳﯿﺪﻧﺎ ﻣﺤﻤﺪ وﻋﻠﻰ اﻟﮫ وﺻﺤﺒﮫ وﺳﻠﻢ ﺗﺴﻠﯿﻤﺎ‬which
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can be rendered into something like “Oh Allah, confer blessings, salutations and peace upon
the messenger Mohammed, and his family and companions”.
Immediately after the benediction is made and the stiffly formulaic expressions are
added to the original train of thought, the translator (or more likely scriveners) firstly made
translation briefing, e.g., ...‫( رﺳﺎﻟﺔ ﺑﻠﯿﻨﺎس اﻟﺤﻜﯿﻢ‬ʻletter from Paulinus, the wise personʼ) and
secondly added the translator’s name ‫( ﺣﻨﯿﻦ ﺑﻦ اﺳﺤﺎق اﻟﻌﺒﺎدي‬Ḥunayn ibn Ishaq al-ʻabādiʼ),
something that should be praised as fundamentally ethically astute on the part of the translator
or scriveners. Clearly, this norm has been a perfect backdrop for (and even runs aground on)
the prohibition of plagiarism— they should not prudently relapse into the unethical practices of
translation in any irresponsible way.
It is highly possible that the benediction and these formulaic expressions are added
throughout by scriveners as, having already mentioned the translator’s name, a formal
formulaic expression (and thus, respectful) ‫( رﺣﻤﺔ ﷲ ﻋﻠﯿﮫ‬ʻMay peace and God’s mercy and
blessings be upon himʼ) is added, usually utilised to best effect in Arab-Islamic culture to raise
hands in a gesture of benediction or to show sympathy for the already-deceased person.
3.3.2 Textual Segmentation

Within operational norms, it is possible to talk about textual segmentation as can be shown in
plentiful margin notes, or a series of lengthy asides, which according to Al-Bainy cited in
Almanna (2013: 86) “the translator should step in and aid the [TL] reader to guarantee […]
interpretation” that can be, in the words of Almanna (ibid.) “similar to that intended by the
original author. Such an addition can be in the form of a footnote, endnote, bracketed addition,
or can be incorporated in the body of the text”. Salama-Carr (1995: 112–15) believes that it is
“very creative” on the part of Arab translators. As can be seen, notes can be paratextual feature
of footnotes, but interestingly enough, as right-side notes, left-side notes or topnotes.
Screenshot 4 bellow shows zoom in on right-side note. The Arabic text reads: ‫ﺑﺪن ﻻ ﺻﺤﯿﺢ وﻻ‬
‫ ﻣﺮﯾﺾ ﺟﺎﻣﻊ ﻟﻼﻣﺮﯾﻦ ﻓﻲ أﻋﻀﺎء ﻣﺨﺘﻠﻔﺔ ﻋﻠﻰ اﻟﺘﺴﺎوي ﻓﻲ اﻟﻮﻗﺖ اﻟﺤﺎﺿﺮ‬which translates “Someone’s body is
neither healthy nor sick, but equally combining the two states at present”. The Right-hand side
note states that ‘unless it is taken at present’.
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Screenshot 4 bellow shows right-side note
The notes are deservedly become fashionable at that time and as can be noted in Screenshot 4
above, they are not physically distanced from the translation which would apparently enable
the target audience manifest and advance considerable understanding.
3.3.3 Relocation of Passages

Strictly speaking, relocation of passages is due to a certain unavoidable lack of pagination
whereby the first word, e.g., ‫( ﯾﻨﻘﺴﻢ إﻟﻰ‬ʻis divided intoʼ) on the following page (left-side in
Screenshot 5: lack of pagination
Screenshot 5 below) is noted at the bottom of the current page (right-side in Screenshot 5 below) with a
view to making internal coherence and cohesion of a continuity of the manuscript so that the TL readers
can follow up. In other words, the TL readership is taken fully into consideration.
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3.3.4 Linguistic Materials in the TL Text

Using linguistic materials (e.g., lexical items, phrases and stylistic features, etc.) seems fairly
transparent as a predominant norm by the translator. The examples of specialised terminologies
(with remarkable ease) used in the translation are stated in a list as can be shown in Screenshot
6 below. In the manuscript, the item ‫( ﺧﺮوع‬ʻcastor oil plantʼ), for instance, is presented in a list,
amongst other items (see also Screenshot 8 below). Another example of terminology as can be
َ (ʻfood after digestion gets absorbed
underlined and illustrated in Screenshot 6 bellow is ‫اﻟﻜ ْﯿ ُﻤﻮس‬
into bloodʼ). The loanword item has been codified in the renowned Dictionary of Lisān al-
ʻArab 400 years later as ‫اﻟﻤ ِﻌﺪَة ﻗﺒﻞ أ َن ﯾﻨﺼﺮف ﻋﻨﮭﺎ وﯾﺼﯿﺮ‬ َ ‫ ھﻮ اﻟﻄﻌﺎم إِذا ْاﻧ َﮭ‬:‫واﻟﻜ ْﯿ ُﻤﻮس ﻓﻲ ﻋﺒﺎرة اﻷ َ ِطﺒﱠﺎء‬
َ ‫ﻀ َﻢ ﻓﻲ‬ َ
ِ ُ‫ ﻣﻦ ﻟﻐﺎت اﻟﯿ‬... ،ً ‫( دَﻣﺎ‬ʻin medical terms, it refers to food after digestion in a stomach before it
.‫ﻮﻧﺎﻧﯿِّﯿﻦ‬
gets absorbed into blood… borrowed from Greekʼ). It is worth considering what the dictionary
states— the word was a loanword taken from Greek. Salama-Carr (1995: 112–15) so aptly puts
it: there is an “increased use of Arabic neologisms”.
Screenshot 6 loanword in Arabic of ʻfood after digestion gets absorbed into bloodʼ
َ is integrated phonologically, i.e., ‫اﻟﻜ ْﯿ ُﻤﻮس‬

The Arabic neologism ‫اﻟﻜ ْﯿ ُﻤﻮس‬ َ . It is also integrated
syntactically i.e., ‫ ﻛﯿﻤﻮﺳﯿﺎ‬in accusative case is a case in point.
Perhaps, it would be advantageous to point out that loanwords are ubiquitous and
tolerated in Arabic over centuries, a point that does not mesh with an amorphous claim by Baker
(2018: 200) that “the freedom with which translators use loanwords will often depend on the
norms of translation prevailing in their societies. Arabic and French, for instance, are much less
tolerant of the use of loanwords in formal writing than Japanese”. A widespread hackneyed
phrase among old Arab philologists, grammarians and translators showed tolerance for the
flood of loanwords into Arabic mā nuṭiqa bilʼarabyyati fahū ʼarabyyun (lit. ʻall what is said in
Arabic is entirely Arabicʼ).
More elegantly, Salloum and Peters (1996, p. viii) have described the influx of
borrowings into Arabic it:
Some scholars, both Western and Arab, believe that the borrowing of Arabic words by
Europeans began in early Roman times. Others date this inflow to the Gothic period.
What is certain is that with the spread of Islam in the 7th century and after, the converts,
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the conquered, and the Christians beyond and within the borders, either were Arabized
or came under strong Arab influences.
Here is another example of ‫( اﻟﺒَﻘﱠ ُﻢ‬ʻa tree for dyeingʼ) in which Dictionary Lisān al-ʿArab offers
the following definition: ‫ﻣﻌﺮب‬
‫ﱠ‬ ‫ دَ ِﺧﯿﻞ‬،‫ﺼﺒﻎ ﺑﮫ‬ َ :‫واﻟﺒَﻘﱠ ُﻢ‬. It also states that it is a loanword.
ْ ُ‫ﺷﺠﺮ ﯾ‬
Consider Screenshot 7 below:
Screenshot 7: loanword in Arabic of ʻa tree for dyeingʼ
Screenshot 8 list of glossaries
Included under using linguistic material in the TL are stylistic features. For example
‘editing’ by means of omission has been observed in which the translator crossed out a segment
(i.e., omission) that is seemingly be mistranslated and rather specifically opted for a far more
natural collocation in Arabic ‘‫‘ اﺣﻤﺮ ﻗﺎﻧﻲ‬very red’. Following Almanna (2013: 67), one of the
main reasons for omission is:
when the element is not important to the development of the text and omitting it does
not harm the author’s intentions or alter the text-type focus, but, on the contrary,
retaining it in the TT might complicate the structure and strike the TL receptor as
unusual. Another reason for omitting certain elements is to maintain a desired level of
naturalness that requires the translator to navigate between obligatory and optional
pieces of information in order to opt for explicit or implicit expressions.
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That is true. To more appreciate it, consider Screenshot 9 bellow:
Screenshot 9: omission
It reads “either red, thus called saffron” and it is crossed out for something apparently more
natural, that is, “either very red saffron”. The stylistic feature pertains to Arabic collocational
patterning ‫( أﺣﻤﺮ ﻗﺎﻧﻲ‬mixed red). In particular, the segment crossed out ‫( ﻓﺎﻧﮫ ﯾﺴﻤﻰ اﻟﺒﮭﺮﻣﺎﻧﻲ‬it is
coloured with) is less natural than ‫( ﻗﺎﻧﻲ اﻟﺒﮭﺮﻣﺎﻧﻲ‬mixed coloured) whereby ‫ ﻗﺎﻧﻲ‬collocates with
‫( اﺣﻤﺮ‬red).
3.3.5 Translator’s Intervention

It is axiomatic to assume that the role of the translator has always been active rather than passive.
Leppihalme (1997: 87) touches upon the role of the translator saying that he or she is viewed as:
A cultural mediator and decision maker during the translation process on a micro-level.
He/She is an expert who must know which aspects of the SL must be explicitly
explained to his or her reader, and which should be regarded as ‘intercultural common
knowledge’ […] The role of the translator on a macro-level is no longer seen as a mere
‘language worker’, but as a promoter of intercultural communication. The translator
should be aware of his/her bonds to his/her own background, but equally of how to
overcome them
Within operational norms, we might speak of ideologically-motivated translation by the

commissioner, e.g., the addition of passages. With time, odd assertions are interpolated into the
manuscript. The translation is ideologically-motivated by means of the addition of passages.
The manuscript shows the addition of purely textual elements (circled in red for illustration) as
can be seen in Screenshot 10 below: ‫( ﻓﺎﻧﮫ ﯾﺒﺮد ﺑﺎذن ﷲ‬ʻIt gets cold, Allah willingʼ). It is clear
enough that ‫( ﺑﺎذن ﷲ‬ʻAllah willingʼ) is a case of a major form of translator’s intervention.
Consider Screenshot 9 below:
Screenshot 10: translator’s intervention
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4. Findings and Conclusion

From the screenshots we have looked at, the conclusion is inevitable that in numerous historical
context translation norms in Arab context has been obvious. For the sake of brevity, it is only
possible to examine one manuscript, simple because a codex is hard to deal with, though, we
could pin down the magnitude of the dominant norms during Abbāsid Era. It might finally be
concluded that the aforementioned translation norms suggested by Toury (1980) prefigure three
more (sub-) norms:
(1) We identify what might be called ʻethical normsʼ that can be drawn from operational norms
(e.g., addition of text) apparently highly-motivated by ethics. The translator was himself a
physician, but he decided to be clear that what he was doing was primarily a translation from
Galen rather than authoring a text. Therefore, at the beginning of the manuscript, the translator
states that the translation is specifically for Pedagogy Book by Galen.
(2) Beyond ‘operational norms’, another norm is observed, that is, introducing Islamic
benediction (i.e. ʻIn the Name of Allah, the Most Merciful, the Most Companionateʼ). The
addition of the benediction by a Christian translator goes far beyond ʻoperational normsʼ – it is
not a matter of linguistic reality, but it is a kind of ideologically-motivated trend that is meant
to meet the expectations of the then Islamic society at the time, that an utterance (be written or
spoken) should no doubt be initiated by anything else, but rather by an Islamic benediction.
(3) The power norm: that the translator had a kind of plenipotentiary power as can be seen in
the translation, but when it comes to the benediction norm, he seemed to have no power at all.
Leppihalme (1997) is right regarding the role of the translator, but the preeminent power
exercised by the translator seems to be governed by the norms of the society
(4) The fatalistic norm whereby fatalistic expressions are added to the translation. There seem
to be discursive intervention by the translator and/or translator’s acolytes.
(5) The translation norm seems to be tolerant with the use of loanwords, a conclusion that does
not mesh with that of Salama-Carr (1995) and Baker that “Arabic […] much less tolerant of the
use of loanwords in formal” (Baker 2018: 38).
(6) “No translation is ever totally adequate or totally acceptable”, is quite true.
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References
Munday, Jeremy. (2012). Introducing
Abdulla, A.K. (2021) Translation in the Translation Studies: Theories and
Arab World: The Abbasid Golden Application. London/New York:
Age. Routledge Routledge.
Almani, M and Faiq, S. (2016). Newmark, Peter. (1988). A Textbook of
“Transformation, appropriation and Translation. UK: Prentice Hall.
medieval Arabic translation Perez, Maria. 1993. “Trusting the
tradition.” Arab World English Translator”, Babel 39(3): 158-174.
Journal 3(1), 1-14. Pym, Anthony. (1992). Translation and
Almanna, Ali. (2013). Translation theories Text Transfer: An Essay on the
exemplified from Cicero to Pierre Principles of Intercultural
Bourdieu Arabic-English: A Communication. Frankfort Main:
Coursebook on Translation. Sayyab Peterlang. B.V.
Books Ltd. Salama-Carr, M. (1995). “Translators and
Baker, Mona. (1992). In Other Words: A the dissemination of knowledge.” In
Course Book on Translation. J. Delisle and J. Woodsworth (eds)
London: Routledge. Translators Through History,
Bassnett, Susan. & Lefevere, André. Amsterdam and Philadelphia: John
(1998). Constructing Benjamins, pp. 101–30.
Cultures: Essays on Literary Salloum, H. and Peters, J. (1996). Arabic
Translation. Multilingual Matters. contributions to the English
Hatim, Basil. & Mason, Ian. (1997). The vocabulary: English words of Arabic
Translator as Communicator. origin. Librairie du Liban Publishers.
London & New York: Routledge. Shamma, Tarek. (2009). “Translating into
Ibn Manẓūr, A.M. (2015). Lisān al-ʿArab. the Empire: The Arabic Version of
Retrieved on 12 January 2021 from Kalila wa Dimna.” The Translator.
http://www.ghazali.org/arabic/lisana 15(1): 65-86.
l- arab.zip. Thawabteh, Mohammad & al-Junaydi,
Leppihalme, Ritva. (1997). Cultural Maysa. (2017). “Making Translation
bumps: An empirical approach to the Theories Work across Space and
translation of allusions. Clevedon: Time: A Critical Reflection on
Multilingual Matters. Translation in the Islamic Era”
Mouakket, Ahmad. (1988). Linguistics and SKASE Journal of Translation and
Translation: Semantic Problems in Interpretation 11(1): 77-87.
Arabic-English Translation. Aleppo: Toury, Gideon. (1980). In Search of a
University of Aleppo. Theory of Translation. Tel Aviv: The
Porter Institute for Poetics and
Semiotics.
40
Volume 12, Issue 13, May 2022 https://www.dragoman-journal.org Jawad Azzouzi
Translation of Arabic Legal Terminology: A comparison of the legal

terminology between Morocco and other Arab countries
Jawad Azzouzi
PhD candidate, Faculty of Arts, KU Leuven, Belgium
Abstract
The Arab world is becoming interconnected with the global community. This has led to more
demand for translations of legal texts. Because of international accords, societal and global
conflicts, international trade and joint business enterprises, the need for accurate and
uniformed legal terminology in Arabic is becoming more vital than ever (Shiyab, 2019, p.
139). The Arabic language played and still plays a significant role as an international language
in a number of domains (Hamel et al., 2018). It is, quite obviously, the only official language
of the league of Arab States, the Arab Maghreb Union, and the Cooperation Council for Arab
States of the Gulf. It is the lingua franca of the Arab world and the language of law and courts
(Ballantyne, 2000, p. 9). It is also one of the official languages of the United Nations, the
African Union, and the organization of the Islamic Cooperation (Aluffi, 2018, p. 431).
However, legal terminology in the Arab world differs significantly among Arab countries,
especially those used in the Moroccan legal system compared to other Arab countries, due to
several factors that shaped the way these terms were created. Morocco's lack of submission to
the Ottoman administration and its geographical proximity to Europe made Moroccan legal
and administrative terminology distinct from their counterparts in other Arab countries
(Alsulaiman, 2008). This difference affects legal translation and therefore the legal
communication. Legal concepts emerge and evolve within national borders independently of
their counterparts in the rest of the world, and this reality has serious consequences for
communication across legal systems (Idyouss & Steurs & Alsulaiman, 2017, p. 250). This
article discusses the issue of legal terminology in the Arab world and the ambiguity of the
legal language. It investigates how the differences in Arabic legal terminology in the Arab
world and the lack of uniformity affect the process of legal translation and communication.
Keywords: English studies and literature, translation technology, specialized translation,

terminology, legal.
Short Bio
Jawad Azzouzi. A PhD candidate at KU Leuven, Faculty of Arts (Leuven). He
completed a bachelor’s degree in “English studies and Literature” at Moulay Ismail
University in Meknes, and then attained a master’s degree in “Translation Technology
and Specialized Translation” from Cadi Ayyad University in Marrakesh – Morocco,
where he has been exposed to the fundamentals of specialized translation. During his
studies in Cadi Ayyad, he contributed to the project for compiling the specialized
dictionary of Translation Terminology. He is passionate about the field of translation,
especially the legal one, and he works as a translator with many Belgian Translation
agencies.
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Translation of Arabic Legal Terminology: A comparison of the legal

terminology between Morocco and other Arab countries
Jawad Azzouzi
1. Legal translation and Skopos theory

Legal translation is a type of specialist or technical translation, a particularly challenging
translational activity of rendering legal texts from the Source Language (SL) into the Target
Language (TL), which involves language of and related to law and legal process (Cao, 2010;
Wolff, 2011). This means that the legal terminology is bound to the legal system to which it
belongs, and that it can only be understood and therefore translated through that legal system
(Alsulaiman, 2011). An adequate legal translation is characterized by not being subject to the
intervention or creativity of the legal translator, as it is an operation that legally transfers a legal
text from a specific legal language into another legal language. The legal translator is required
to preserve all the aspects of the original legal text and fully render them into the target legal
language and to search for functional equivalent legal terms in the target language that express
the same legal concepts of the source text. Otherwise, distorting a simple element of the source
legal text in the legal translation may lead to unpleasant consequences, which hinders the
process of legal communication.
Every operation is carried out in order for a specific purpose to be achieved. Skopos is the Greek
word for ‘aim’ or ‘purpose’ and was introduced into translation theory in the 1970s by Hans J.
Vermeer as a technical term for the purpose of a translation and of the action of translating.
Skopos theory focuses above all on the purpose of the translation, which enables the legal
translator to determine the translation methods and strategies that are to be employed in order
to produce a functionally adequate result. This is to say that legal translation has to know the
reason behind translating the source text and the function the target text (translation) will play
(Munday, 2008). In other words, the original text, the culture of the original text, the structure
of the original text and its linguistic elements determine the conditions for translation here, so
that the translation in the language to which it is transmitted is an accurate expression of the
original translated text (Alsulaiman, 2011).
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1.1. Legal texts
Legal translation involves different legal text types which are used in various legal settings (El-
Farahaty, 2015). According to Wolff (2011), legal texts include:
“Authoritative statements of rights and duties, such as treaties and conventions (at the
international level), constitutions, codes, statutes, and regulations (at the national level),
and circulars, administrative guidelines, and delegated rules (at the sub-national and
community level); documents used in or produced by formal dispute resolution processes,
such as judicial opinions, pleadings, witness statements, and affidavits; binding expressions
of intent or agreement, such as contracts, wills, and corporate articles of association;
persuasive texts such as legal textbooks and other academic legal writing, law reform
submissions, letters of advice, and policy reports; and administrative forms such as tax
filings, business registrations, licensing permits, and citizenship applications.”
Deborah Cao (2007a) argues that these legal texts have diverse purposes and impacts, as they
may be prescriptive or informational; descriptive or persuasive; abstract or concrete; generally
applicable or individually specific; binding or advisory; even formal or informal. Some legal
texts are complex and demanding (tax legislation, for example); others are straightforward and
direct (such as residential lease agreements).
1.2. Legal language
Legal language falls within the category of Language for Specific Purposes (LSP) because it
relies on a terminology that is used in a specific legal system, and it is one of the major reasons
that make legal translation very difficult.
Legal language is a technical language, but not universal because it is tied to a national legal
system (Weisflog, 1987, p. 203). Law and legal language are system bound, that is, they reflect
the history, evolution and culture, and above all, the law of a specific legal system. Legal
language is archaic, complex, formulaic, and obscure. Legal writing is subject to strict stylistic
conventions in register and diction, contains stock phrases that are uncommon in general text
practice, and is invariably intricate, verbose, and pompous (Cao 2007; 2010). Each country has
its own legal language representing the social reality of its specific legal order, and legal
terminologies in different legal languages that may refer to different legal concepts or
institutions but have the same or similar function in the respective legal systems (Sarcevic,
1985; 2015). In addition to that, sentences in legal language are lengthy, abstract, and complex,
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with embedded clauses, a high level of hypotaxis, and frequent resort to left-branching
subordinate clauses (Stolze, 2001; Garzone, 2003).
2. Arabic Legal Terminology and Globalization
Nowadays, the world has been globalized more than ever, experiencing a recent and rapid
process of intercontinental economic, social, and political integration. This worldwide
integration enabled people to communicate internationally (Shuey, 2001, p. 37). In a wider
sense, globalization describes a social trend that intensifies relations between societies and
nations, a process by which decisions, events and activities from one part of the world have
strong influences on other distant parts of the world. Law in general cannot be viewed as well
as a static system invented in a single act of creation; it is rather a dynamic process changing
continuously and adapting to different social needs (Sandrini, 2006, pp. 113-114). Concerning
the relationship between legal translation and Globalization, Al-Refo & Faqir (2016) state that:
“Legal translation is a very important topic in the era of globalization; it aims to make
national legal systems more connected with the international standard, by enhancing the
translation of all lexical items by promoting the use of "cross-examination" bytranslation
of legal terms from one language to another. Therefore, legal translation may play a vital
role in globalizing local laws on the way that relied on the use of "legal terms" and
"technical terms and words". The translation of legal texts of any kind, from statute laws to
contracts to courtroom testimony, is a practice that stands at the crossroads of legal theory,
language theory and translation theory. It has been advocated that “the demand for legal
translation is on the increase around the world owing to globalization and the increased
contact and exchange between peoples and states”.
Since the appetite for law is now transnational (Wolff, 2011, p. 163), and countries and
organizations conclude agreements, each according to its specialization, the Arab world is not
exempt from such matters. Arab countries have become involved in regional and international
organizations. This contact with the international imposed the uniformity of some legal terms
and the abandonment of archaic ones, in order to meet the communicative needs in the
international framework. Therefore, the need to unify all the Arabic legal terminology among
Arab countries has become an urgent necessity to avoid misunderstandings regarding legal
communications and to cope with the international requirements in dealing with the new types
of legal issues prompted by Globalization including terrorism, illegal immigration, the crisis of
refugees, etc., as well as help legal translators, who find it difficult and confusing to render legal
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instruments, as done by the translators of the United Nations for example, from and into Arabic
language.
3. Arabic Legal terminology in the Arab world:
It is often said that legal translation is a difficult and complex process. In essence, the nature of
law and legal language contributes to the complexity and difficulty in legal translation. This is
compounded by complications arising from crossing two languages and legal systems in
translation (Cao, 2010, p. 191). The legal systems of Arab countries vary significantly from the
Atlantic Ocean in the west to the Arabian Gulf in the east. Still, they all meet at the point where
they derive an important part of their legislations from “Shari’a” (‫)اﻟﺸﺮﯾﻌﺔ‬. “Islamic religious
law” is at best only an approximate translation of the term “Shari’a”. The origin of this word is
Arabic, yet today it appears in all languages used by Muslims, including English (Amanat &
Griffel, 2007, p. 2).
According to Al-Ashmawi (1995, p. 133):
“The word “shari’a” in Koranic terminology as well as in Arabic dictionaries does not
exactly mean “law”, in the sense of a set of legal rules. Its original meaning is “path” or
“method” or “way” or “road” and the like. Moreover, “Shari’a” could also mean “Law in
general, as when one speaks of the law of life, the law of justice, the law of consciousness,
and so on. In the Koranic and the Islamic tradition this path or method consists of three
basic aspects or elements: worship, ethical code (or morals), and social intercourse. In time,
the word “Shari’a” was limited to denote the legal rules mentioned in the Koran to regulate
social intercourse”.
For these reasons, the laws of Arab countries have the “Shari’a” as a source of a set of their
legal terms, as solidly based on two theological foundations: first on the Quran, which is
considered to be the word of God Himself, and then jointly on the Sunna 1 and Hadith 2 (Janin
& Kahlmeyer, 2007, p. 2).
Another reason that determines the formation of laws and the choice of legal terminology is the
affiliation of Islamic schools of jurisprudence, referred to in Islam as Madhab, and known as
1 In short, the Sunna, which is based on the life and teachings of Muhammad, consists of the religious, legal and social
obligations of Islam (Janin & Kahlmeyer, 2007, p. 2).
2 Hadith (the plural in Arabic is Ahadith) are the traditions and, habits and sayings of the prophet Muhammad, as preserved
and transmitted by his favored Companions. (Janin & Kahlmeyer, 2007, p. 2).
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the four Sunni schools following the great four scholars: Imam Abu Hanifa 3, Imam Malik 4,
Imam Shafi’i 5, Imam Ahmed Bin Hambal 6, who founded these schools of thought that are
known after them. Abu Hanifah was responsible for developing the theory of “Istehsan” kown
in English as “Justice Preference” which was established as a source of Islamic Law. Imam
Shaf’i wrote a book on jurisprudence, where he promoted the idea of studying “Fiqh” and
Traditions from a technical aspect, and he accepted “Qiyās” (can be translated into English as:
‘Analogy’ or ‘Analogical reasoning’) and extensively used it to deduce rules of Law. Imam
Malik was known by his “doctrine of public good” (Haneef, n.d).
Each national law constitutes an independent legal system with its own terminological
apparatus, underlying conceptual structure, rules of classification, sources of law,
methodological approaches and socio-economic principles (Sarcevic, 1997, p. 13). Thus,
besides the “Shari’a” law and the four Islamic schools, Arabic legal systems are also associated
with other laws for the formation of legislations, which includes: the English law, the French
law, the Ottoman law (Majella), as well as the customs and traditions of each Arab country
(Alsulaiman, 2011). Each legal language is the product of its own history and culture (Cao,
2007). Razai (2019) states four different Arab approaches to Law and Judges:
“Particularly from the late 19th century, countries in the Arab region responded differently
to the overarching legal developments which came to shape the legal systems and set the
judicial role onto distinct paths of developments in several countries. In 1962, Sanhūrī
wrote that there were three types of legal experiences in the Arab region. First were states
that continued with an uncodified version of the Islamic Sharī’ʿa best exemplified by Saudi
Arabia and the Ḥanbalī school. Second were states under Ottoman control during the
second half of the 19th century, where the Mejelle was applied and remained after the fall
of the Ottoman Empire and the advent of the French and British mandates. Third were those
jurisdictions which borrowed French law, such as Lebanon. With Sanhūrī’s own
contributions, a fourth type of legal experience emerged in the region. These four different
3 Imam Abu Hanifah (699–767) - (80-150 AH): Imam Abu Hanifah the first of the 4 Imams of Islamic Jurisprudence. His real
name was Nu’man Ibn Thabit (Haneef, n.d).
4 Imam Malik Ibn Anas (714-798 AD) - (93-179 H): Imam Maalik was the second Imam of Islamic Jurisprudence (Fiqh). His
full name was Abu Abdullah Malik Ibn Anas Ibn Malik Ibn Abi Amir (Haneef, n.d).
5 Imam Muhammad Ibn Idris Al-Shafi'i: (767-820) (150-204 H) Imam Al-Shfi'i is the third of the 4 Imams of Islamic
Jurisprudence. His full name was Abu Abdullah Mohammad Ibn Idris Al- Shafi’i. He is reported to have studied with the
School of Makka and then moved to Madina (Haneef, n.d).
6 Imam Ahmed Bin Hanbal: (780–855 AD) - (164 -241 H). His full name was Ahmad bin Muhammad bin Hanbal Abu Abdullah
Al-Shaybani. He was a student of Imam Shafi’i (Haneef, n.d).
ISSN: 2295-1210 46 © ATI & Garant

legal experiences shed some light on today’s diverse legal cultures in the region. These
have also had an impact on the judicial role”.
On a sliding scale of difficulty, legal translation is near the end-point of difficulty in translation
practice (Wolff, 2011, p. 164). Accordingly, sources of legal translation difficulty include the
systemic differences in law, linguistic as well as cultural differences (Cao, 2007). That is to say
that the culture of the country influences the enactment of laws as well as the selection of
appropriate terminology for the application of this law. This leads to a kind of variation
concerning the use of legal terminology, which may be in some contexts intuitively understood
by the legal translators and readers while in others not, and one sometimes finds many different
terms corresponding to one concept, although using the same language, which is Arabic. The
lack of standardization linguistically and organizationally on the level of the Arab world in the
legal domain presents challenges to translators. Therefore, variations and confusion in technical
language and terminology is a major problem facing translators in general and legal translators
in particular (Shiyab, 2019, pp. 139-140). Legal traditions and legal culture have had a lasting
impact on the way law is written. Written legal language thus reflects the essential elements of
a legal culture and confronts the legal translator with its multi-faceted implications (Smith,
1995, pp. 190–191). In legal translation, functional equivalence is essential for producing an
adequate legal translation. One of the main concerns of this branch of translation, are legal
terms in different legal languages that may refer to different legal concepts or institutions but
have the same or similar function in the respective legal systems (Sarcevic, 2015, p. 115).
Researchers and experts in the subject field of legal translation have always considered the use
of functional equivalence in translating legal terminology as a major key towards a successful
legal translation, in which a message has been fully rendered with regard to the linguistic
aspects of the source and target languages as well as the source and target legal systems. This
is why this type of specialized translation needs the services of an expert that is highly
knowledgeable in legal terms and practices, who is able to detect the terminological differences
between the legal terminologies used in the Arab world. Translating legal documents needs
accurate and correct translation (Kobyakova, 2017, p. 39).
4. Arabic Legal terminology in Morocco:
The history of Morocco shows a divide between the rigid and enforceable nature of the French
civil code and the traditional Amazigh customary system as well as Sharia law that focuses
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more on custom than strict adherence to text (Hanafi, 2020). Morocco is crucially different from
Arab-Muslim countries, including its neighbors Algeria, Tunisia, and Mauritania in many ways
(Sadiqi, 2003). It relies on a legal language that differs greatly compared to its counterparts in
the Arab world, especially the countries of the Middle East. In this regard, Alsulaiman (2008)
notes that Morocco, unlike other Arab countries, has never been subject to the rule of the
Ottoman Empire, which made it the only Arab country to be unaffected by the terminology of
the Ottoman administration. This affiliation left a significant impact on the terminology of most
Arab countries, especially those of the Middle East. In addition to that, being relatively distant
from eastern Arab countries, which were clearly affected by the Ottoman administrative
heritage such as Egypt, Syria, and Iraq, made Morocco immune to even an indirect influence
of such administration’s terminology. On the other side, being proximate to Europe and having
contact with European countries, especially France due to colonization, led Morocco to
uniquely develop a range of legal terms used and understood exclusively within the Moroccan
legal context. This has consequently led to the emergence of the terminological differences
between the Moroccan legal terminology on the one hand, and the legal terminologies of most
Arab countries on the other hand. For instance, Within the framework of the codification of
legal provisions in Morocco following the independence from French colonialization, King
Muhammad V formed a committee to draft a Mudawwanah (Code) of Islamic jurisprudence in
the form of six books to be issued successively7 (Klaina, n.d, p. 518). The term Al-
Mudawwanah (in Arabic: ‫اﻟﻤﺪوﻧﺔ‬, literally translated as “Code”) is a legal equivalent of the term
“Code” in French, which is associated with many legal fields, and yet in Morocco, it is mostly
used to describe the Family Code, that is to designate the set of laws which regulate family
‘matters’ such as marriage, divorce, inheritance, and child custody. Al-Mudawwanah was based
on both “shari’a” ‘Islamic law’, more specifically the Sunni Maliki ‘school’, and the French
Napoleonic Code, a legacy of the colonial era, which is thus not exclusively Muslim (Sadiqi,
2003, p. 26). Even the name of this law has been changed after the adjustments of the Moroccan
Family Code in 2004, from “Personal Status Code” (in Arabic: ‫ )ﻣﺪوﻧﺔ اﻷﺣﻮال اﻟﺸﺨﺼﯿﺔ‬to “Family
code” (in Arabic: ‫)ﻣﺪوﻧﺔ اﻷﺳﺮة‬, whereas we find that in Tunisia they use for the same concept the
term Mağallah (in Arabic: ‫ﻣﺠﻠﺔ‬, literally translated as “magazine”), Qanūn (in Arabic: ‫ﻗﺎﻧﻮن‬,
literally translated as “Law”) in Egypt, Niẓām (in Arabic: ‫ﻧﻈﺎم‬, literally translated as “system”)
in Saudi Arabia, which conveys the same meaning of the term Al-Mudawwanah in Morocco.
7 Pursuant to Decree No. 190-57-1 of Muharram 22, 1377 corresponding to August 19, 1957
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The terminological differences among Arabic legal terminologies put legal translators in a
difficult situation, as they experience a kind of confusion in choosing the functionally
equivalent terms when translating from or into Arabic from or into English, for example. This
may refer us to the Skopos theory in translating these legal instruments, as it requires that the
source and target texts achieve the same function (Reiss & Vermeer, 2013). This means that
legal translators of legal instruments from or into Arabic opt for specific translation strategies
that are determined by the purpose (Skopos) of their translation. That is to say that they must
know the aim of their translation and where it will function, which enables them to carefully
choose the relevant Arabic legal terminology to use, so as to convey the concepts of the original
text in the target text, as well as to adequately transmit the applied provisions and laws.
The different legal systems embraced by Arab countries reflect different legal conceptual
systems, and therefore different systems of legal terminology (Shiyab, pp. 141-142). In order
to give a concrete character to the terminological differences between the legal terminology
used between Morocco and other Arab countries to represent the same legal concepts, the article
presents a set of 50 legal and administrative terms in English, along with their equivalent terms
in Morocco and other Arab countries. This will contribute to providing translators of legal texts
from and into Arabic with a concrete idea of the differences between Arab countries in terms
of legal terminology.
The following terms (table 1) have been chosen randomly based on a personal archive of
translated legal texts from English into Arabic and vice versa, and a relevant article written in
Arabic by Dr. Abied Alsulaiman (2008). These examples show the uniqueness of Moroccan
Arabic legal terminology compared to its counterparts in different Arab countries to
demonstrate the diversity in this regard.
Table 1. Examples of differences among Arab countries in Arabic legal terminology.
Moroccan Legal Arabic Legal Equivalent Legal Translation

Term Term Country
1 ‫اﻟﻀﺒﻂ‬
‫ﻛﺘﺎﺑﺔ ﱠ‬ ‫ﻗﻠﻢ اﶈﻜﻤﺔ‬ Egypt/Lebanon Clerk’s Department
‫ﻛﺘﺎﺑﺔ اﶈﻀﺮ‬ Syria
2 ‫اﳌﻘﺎل اﻻﻓﺘﺘﺎﺣﻲ‬ ‫ ﻋﺮﻳﻀﺔ اﻟﺪﻋﻮى‬/ ‫اﻟﻌﺮﻳﻀﺔ‬ Syria Statement of Claims
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3 ‫ﻇﻨﲔ‬ ‫ﻣﻈﻨﻮن‬ Tunisia Suspected
‫ ﻣﺸﺘﺒﻪ ﺑﻪ‬/ ‫ﻣﺘﻬﻢ‬ Middle East
4 ‫ﻓﺼﻞ‬ ‫ﻣﺎدة‬ Arab countries Article

ْ ّ
5 ‫أدﻟﺔ‬ ‫ﻣﺆﻳﺪات‬ Tunisia Evidences
‫إﺛﺒﺎﺎﺗت‬ Arab countries
6 ِ ‫ﺻﻮ‬
‫ﺻﻴﺎر‬/‫اﺋﺮ‬ ‫ﻣﺼﺎرﻳﻒ‬/‫ﺗﻜﺎﻟﻴﻒ‬ Arab countries Legal fees
7 ‫ُﻣ ﱠﺪﻋﻰ ﻋﻠﻴﻪ‬ ‫ﻣﻄﻠﻮب‬ Tunisia Defendant
8 ‫ﻇَﻬﲑ َﺷﺮﻳﻒ‬ ‫ﻣﺮﺳﻮم ﻣﻠﻜﻲ‬ Saudi Arabia Royal decree
9 ‫ﻧَﻈﲑ‬ ‫ﻧﺴﺨﺔ أﺻﻠﻴﺔ‬ Arab countries Duplicate
10 ‫اﳊﺮاﺳﺔ اﻟﻨﻈﺮﻳﺔ‬ ‫اﻟﺘﻮﻗﻴﻒ ﻋﻠﻰ ذﻣﺔ اﻟﺘﺤﻘﻴﻖ‬ Egypt/Syria Preventive custody/

Detention on
remand
11 (‫اﻟﻌﻮن )اﳌﻨﻔﺬ‬ (‫اﶈﻀﺮ )اﻟﻘﻀﺎﺋﻲ‬ Egypt/Syria Summons
‫ﻣﺄﻣﻮر اﻟﺘﻨﻔﻴﺬ‬ Lebanon
‫اﻟﻌﺪل اﳌﻨﻔﺬ‬ Tunisia
12 ‫ُﻣ َﺪ ﱠوﻧﺔ‬ ‫ﻗﺎﻧﻮن‬ Egypt Code/Lawbook
‫ﳎﻠﺔ‬ Tunisia
‫أﺻﻮل‬ Syria
‫ﻧﻈﺎم‬ Saudi Arabia
13 ‫ﺷﻬﺎدة‬ ‫إﻓﺎدة‬ Lebanon Attestation
‫ﺗﺼﺮﻳﺢ‬ Arab countries
14 ‫ ﻣﻠﺤﻘﺎت‬/ ‫ﺗﻮاﺑﻊ‬ ‫ﻣﺮاﻓﻘﺎت‬ Egypt Appendixes
ISSN: 2295-1210 50 © ATI & Garant

‫ﻣﺼﺎﺣﻴﺐ‬ Tunisia
‫ﻣﻼﺣﻖ‬ Syria
‫ﺷﻔﻮﻋﺎت‬ Saudi Arabia
15 ‫ﻃﺮف‬ ‫ﺿﺪ‬ Tunisia Party
‫ﺧﺼﻢ‬ Arab countries
16 ‫ﺧﱪة ﻗﺎﻧﻮﻧﻴﺔ‬ ‫اﺧﺘﺒﺎر‬ Tunisia Expertise
17 ‫ُﻣ ْﻠﺘَ َﻤﺲ‬ ‫اﻟﺘﻤﺎس‬/‫ﻃَﻠَﺐ‬ Arab countries Request
18 ‫ﲝﺚ‬ ‫اﺳﱰﺷﺎد‬ Tunisia Information
/‫ ﲨﻊ اﳌﻌﻠﻮﻣﺎت‬/ ‫اﺳﺘﻌﻼم‬ Arab countries
‫ﲢﺮ )اﻟﺒﺤﺚ واﻟﺘﺤﺮي‬
(‫اﻷﻣﲏ‬
19 ‫ﺗﻌﻠﻴﻞ اﳊﻜﻢ‬ ‫ﺣﻴﺜﻴﺎت اﳊﻜﻢ‬ Arab countries Considerations

(whereases)
20 ‫ﻣﺴﺘﻨﺘﺠﺎت‬ ‫ ﻣﺬﻛﺮة‬/‫ﻻﺋﺤﺔ ﺟﻮاﺑﻴﺔ‬ Arab countries Reply to defense
(USA: motion)
‫ﺟﻮاﺑﻴﺔ‬
21 ‫ﻣﻮﻃﻦ ﳐﺘﺎر‬ ‫ﳏﻞ إﻗﺎﻣﺔ ﳐﺘﺎر‬ Syria/Lebanon Elected Domicile
‫ﳏﻞ ﳐﺎﺑﺮة‬ Arab countries
22 ‫ َﻋﺪل؛‬:‫اﻟﻌﺪول )ﻣﻔﺮد‬ ‫اﻟﻜﺎﺗﺐ ﺎﺑﻟﻌﺪل‬ Syria/Lebanon Notary
(‫ ﻋﺪﻻن‬:‫ﻣﺜﲎ‬ ‫اﳌﻮﺛﻖ‬ Egypt
23 ‫وﺛﻴﻘﺔ ﻋﺪﻟﻴﺔ‬ ،‫ ﻗﻴﺪ‬/‫ وﺛﻴﻘﺔ ﻗﺎﻧﻮﻧﻴﺔ‬/‫ﻋﻘﺪ‬ Arab countries Instrument
‫ ﺻﻚ‬،‫رﺳﻢ‬
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24 ‫اﻟﺰْوِﺟﻴﱠﺔ‬
‫ﱠ‬ ‫اﻟﻜﺘﺎب‬ Syria Marriage
25 ‫ُﻛﻨّﺎش‬ ‫ﺳﺠﻞ‬ Egypt/Syria Register
‫دﻓﱰ‬ Arab countries
26 ‫ُﻣﺬﻛﺮة اﳊﻔﻆ‬ ‫ﺳﺠﻞ‬ Egypt/Syria Register
‫دﻓﱰ‬ Arab countries
27 ‫اﻟﺼﺪاق‬ ‫اﻟﻀﻮﺗﺔ‬/‫اﻟﺪوﺗﺔ‬ Egypt/Lebanon Dower
‫اﳌﻬﺮ‬ Middle East
28 ‫ اﻻﺳﻢ‬/ ‫اﺳﻢ اﻟﻌﺎﺋﻠﺔ‬ ‫ اﻟﻠﻘﺐ‬/ ‫ اﻟﻨﺴﺒﺔ‬/ ‫اﻟﺸﻬﺮة‬ Syria Surname
‫اﻟﻌﺎﺋﻠﻲ‬ :‫اﻻﺳﻢ اﻟﺜﻼﺛﻲ‬ Iraq
،‫اﻻﺳﻢ اﻟﺸﺨﺼﻲ‬
‫اﺳﻢ اﻷب ﻓﺎﻟﻠﻘﺐ‬
‫ اﻻﺳﻢ‬:‫اﻻﺳﻢ اﻟﺮﺎﺑﻋﻲ‬ Egypt
‫ اﺳﻢ‬،‫ اﺳﻢ اﻷب‬،‫اﻟﺸﺨﺼﻲ‬
‫اﳉﺪ ﻓﺎﻟﻠﻘﺐ‬
29 ‫ﻋﻤﺎﻟﺔ‬ ‫ﳏﺎﻓﻈﺔ‬ Syria/Egypt/Iraq Governorate
‫وﻻﻳﺔ‬ Algeria/Tunisia
30 ‫ﲡﺰﺋﺔ‬ ‫اﻷراﺿﻲ اﳌﻔﺮزة‬ Syria/Lebanon Allotment
31 ‫اﶈﺎﻓﻈﺔ اﻟﻌﻘﺎرﻳﺔ‬ ‫ﻣﺼﻠﺤﺔ اﻟﺸﻬﺮ اﻟﻌﻘﺎري‬ Egypt Land registry office
‫ﻣﺼﻠﺤﺔ اﻟﻄﺎﺑُﻮ‬ Syria
‫اﻟﺴﺠﻞ اﻟﻌﻘﺎري‬ Saudi Arabia
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32 (‫َﺷﺮط )أداء اﻟﺸﺮط‬ ‫ رﺳﻢ‬/‫ رﺳﻢ اﺷﱰاك‬/‫ﻗﺴﻂ‬ Arab countries Fee(s)
‫ﻋﻀﻮﻳﺔ‬
33 ‫اﻟ ُـﻤ َﻘ ﱠﺪم‬ ‫ﻤﺪة‬ Egypt/Saudi Mayor/village chief

َ ‫اﻟﻌ‬
ُ
Arabia
‫اﳌ ْﺨﺘﺎر‬ Syria/Lebanon

ُ
34 ‫ اﻟﺘﻌﺮﻳﻔﺔ‬/ ‫ﺑﻄﺎﻗﺔ اﻟﺘﻌﺮﻳﻒ‬ ‫ ﺑﻄﺎﻗﺔ‬/‫اﻟﺒﻄﺎﻗﺔ اﻟﺸﺨﺼﻴﺔ‬ Arab countries Identity card
‫اﻟﻮﻃﻨﻴﺔ‬ ‫اﳍﻮﻳﺔ‬
35 ‫ﻣﻘﺮ اﺟﺘﻤﺎﻋﻲ‬ ‫ ﻣﻘﺮ رﲰﻲ‬/‫ﻣﺮﻛﺰ رﲰﻲ‬ Arab countries Registered office
36 ‫اﶈﻜﻤﺔ اﻻﺑﺘﺪاﺋﻴﺔ‬ ‫ﳏﻜﻤﺔ اﻟﺒﺪاﻳﺔ‬ Saudi Arabia Court of first

instance
37 ‫ﺑﻴﺎن‬ ‫ﺗﻌﻤﻴﻢ‬ Saudi Arabia Statement
38 ‫اﻟﻘﺎﻧﻮن اﳉﻨﺎﺋﻲ‬ ‫ﻗﺎﻧﻮن اﳉﺰاء‬ Egypt Criminal Law
‫ﻧﻈﺎم اﻹﺟﺮاءات اﳉﺰاﺋﻴﺔ‬ Saudi Arabia
39 ‫ ﻋﻤﺎﻟﺔ‬/ ‫إﻗﻠﻴﻢ‬ ‫ﻗﻀﺎء‬ Lebanon Province
40 ‫ﻋﻘﺪ زواج‬ ‫ﺻﻚ زواج‬ Syria Marriage Contract
41 ‫ ﻋﻘﺪ‬/ ‫رﺳﻢ اﻟﻮﻻدة‬ ‫ﻗﻴﺪ اﳌﻴﻼد‬ Egypt Birth certificate
‫اﻻزد�د‬ ‫ﺷﻬﺎدة اﳌﻴﻼد‬ Algeria
42 ‫دﻓﱰ ﻋﺎﺋﻠﻲ‬ ‫ﻗﻴﺪ ﻋﺎﺋﻠﻲ‬ Egypt Family Registry
‫ﺳﺠﻞ اﻷﺳﺮة‬ Saudi Arabia
43 ‫ﺑﺮاءة‬ ‫إﺑﺮاء‬ Saudi Arabia Allegation
44 ‫ادﻋﺎء‬ ‫زﻋﻢ‬ Iraq Allegation
45 ‫ﺿﺎﻣﻦ‬ ‫ﻛﻔﻴﻞ‬ Jordan /Syria /Iraq Guarantor

/Qatar /UAE
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46 ‫ﻗﺎﺿﻲ اﻟﺘﺤﻘﻴﻖ‬ ‫ﺣﺎﻛﻢ اﻟﺘﺤﻘﻴﻖ‬ Tunisia Examining

Magistrate
‫ﳏﻘﻖ ﻋﺪﱄ‬ Lebanon
47 ‫ﻣﻠﻒ‬ ‫ﻣﺼﻨﻒ‬ Syria File
‫إﺿﺒﺎرة‬ Iraq
48 ‫ﻛﺎﺗﺐ ﻋﻤﻮﻣﻲ‬ ‫ﻋﺮﺿﺤﺎﳉﻲ‬ Egypt Scrivener
49 ‫ﳏﻜﻤﺔ اﻟﻨﻘﺾ‬ ‫اﶈﻜﻤﺔ اﻟﻌﻠﻴﺎ‬ Saudi Arabia Cassation court
‫ﳏﻜﻤﺔ اﻟﺘﻤﻴﻴﺰ‬ Lebanon/Iraq
50 ‫وﻛﺎﻟﺔ‬ ‫ﺗﻮﻛﻴﻞ ﻋﺎم رﲰﻲ‬ Egypt Power of Attorney
Conclusion
The dilemma of Arabic legal terminology and its difference from one Arab country to another
raises many questions and inquiries. This article has investigated the issue of differences in
Arabic legal terminology between Morocco and other Arab countries, which raises problems
for legal translators. Legal translation is a complex task as it involves different aspects that
contribute to forming legal texts, which are not merely linguistic.
It is interesting that law has developed differently in the Arab world, a region with a supposedly
unified and single language. This diversity of legal systems in Arab countries lead to a sort of
variation in Arab legal terminology. Consequently, legal translators and officials associated
with law and courts are confronted with a significant amount of synonymy and polysemy within
the Arab legal terminology.
The legal translator’s proficiency of both the source and target legal languages and their
linguistic features (terminology, lexical and syntactical units, etc.), and the awareness of the
source and target laws, as well as the skopos of the translation, impact the legal translation
process and determine the terminological choices of legal translators for rendering the legal text
in hand.
ISSN: 2295-1210 54 © ATI & Garant

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56
Volume 12, Issue 13, May 2022 https://www.dragoman-journal.org M Altaher & G. Samarrai
A Comparative Study of Two Arabic Translations of Chapter Four of

James Joyce’s Ulysses
Maisara Altaher (MA) and Ghanim J. Samarrai (PhD)
University of Sharjah, UAE
Abstract
This paper is a comparative analytical study of two Arabic translations of chapter four
of Ulysses, Calypso. The aim is to explore the lexical and syntactic choices of the two
translators, Taha and Niazi, and their translation strategies in rendering the culture-
specific expressions through the use of (1) House’s translation quality assessment
model and (2) Venuti’s domestication and foreignization strategies. The study shows
that both translators use formal and archaic Arabic words while colloquial and
borrowed words are used in Taha’s translation. The use of formal and archaic words
does not reflect the informal, casual style of the original text; consequently, the
characters’ language appears more eloquent than the original. Besides, the use of
colloquial words adds a familiar Arabic flavour to the text. The syntactic choices of
the translators show that Taha’s use of wa and kaana does not reflect the free indirect
style in Calypso whereas Niazi seeks to render the free indirect style by minimizing
the use of wa and kaana as much as possible. In rendering culture-specific expressions,
both translators use similar ‘domesticated’ translations in some parts as well as
different ‘foreignized’ translations throughout the chapter.
Keywords: register, style level, domestication, foreignization, modern standard Arabic

(MSA), classical Arabic (CA).
Short Bio
Maisara Altaher. Graduate student at the University of Sharjah, UAE, majoring in Translation
Studies. She was born, raised and educated in Sharjah and Damascus, Syria. She studied English
Literature at the University of Damascus. After getting her BA degree, she reurned to Sharjah,
and taught English in primary schools (2013-2022). Her MA thesis focuses on the Arabic
translations of Ulysses, Calypso, from a comparative perspective.
Ghanim J. Samarrai. Associate Professor of Comparative Literature and Translation,

University of Sharjah. He taught at the College of Arts, University of Baghdad (1979-1992) and
was the Foreign Editor of the English-speaking daily Baghdad Observer (1979-1982). His PhD
is in comparative literature from the UK, and worked for a number of Arab universities before
joining the University of Sharjah in 1998 where he became the chair of the department 2014-
2018. Dr. Samarrai is the author of: A Critical Reading of the Browningesque Legacy in Modern
American Poetry (2011); Western Impact on Modern Arabic Poetry (2009). He is the editor and
translator of Sharjah, a Poetic Perspective.He is the editor of the English text of the Emirati
Creative Works, Poems and Short Stories (2016), and Candles of Colours (2019). He translated
several books from and into English and published in comparative literature and cross-cultural
studies. He was also the Managing Editor of University of Sharjah Journal of Humanities and
Social Sciences and served as the Vice-president of the Amman-based APETAU 2003-2015.
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A Comparative Study of Two Arabic Translations of Chapter Four of

James Joyce’s Ulysses
Maisara Altaher (MA) and Ghanim J. Samarrai (PhD)
James Joyce’s masterpiece Ulysses has been under scrutiny in vast areas of studies, (Chew &
Stead, 1999; Meifang, 2012; Salgadao, 2001). Translations of the novel into other languages
are important as many books and essays examined them especially in Europe and the Far East,
(de Salazar et al., 2009; Han & Li, 2019; Holmes, 2011). Arabic studies about Ulysses are not
diverse compared to studies in other countries, and a few of them are concerned with the Arabic
translations of the novel. Thus, a study that compares between two Arabic translations of
Ulysses is a necessity as it invites more comparative and critical studies to be done on Joyce
and his works, especially from the perspective of translation.
In this study, the translators’ lexical and syntactic choices will be analyzed as well as their
translation procedures with regard to cultural-specific items (Aixelá, 1996), metaphors, similes
and idiomatic expressions. Due to limitations in scope and time, we will only examine the
Arabic translations of chapter four of Ulysses, Calypso, as this chapter is shorter than the others
and has many original imageries that shows the differences in the translations as well as the
initial style that Joyce used in the first chapters. To do this, we will be using two methods of
analysis: (1): A Register analysis of the translators’ lexical and syntactic choices through
House’s translation quality assessment model and (2) Venuti’s domesticating and foreignizing
translation to analyze cultural references, metaphors, similes and idiomatic expressions in the
translations. Thus, the study is intended to answer the following questions:
1. Did the translators’ lexical and syntactic choices parallel the (ST) register?
2. How did the translators deal with the style of “Calypso”?
3. Did the translators domesticate or foreignize the culture-specific expressions in the
chapter?
The Arabic Translators of Ulysses
As with other nations, Ulysses crossed the Irish border and made its way to the Far East and the
Arab world through translation. Taha Mahmoud Taha’s interest in Joyce and his works started
in 1957. While he was embarking on the idea of translating Ulysses, he first published Mowsuat
James Joyce in 1975, in which he translated some of Joyce’s works along with detailed
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explanations and footnotes (Taha, 1975). Taha considered al-mowsua as a prequel to the Arabic
Ulysses that would help the Arabic reader to understand better the world of James Joyce (Taha,
1994). In addition to this work, Taha also compiled an English/Arabic dictionary of synonyms
while translating Ulysses (Taha, 1994). It took him twenty years to fully translate and publish
the novel in 1982. The second edition of the novel was issued in 1994.
The second Arabic translation of Ulysses was by the poet Salah Niazi in 2001, in which he
translated the first six chapters. Niazi’s translation of the novel appeared in a serialized book
form that has been published in four chapters. As a poet, Niazi’s approach to translation was
different than Taha’s as he was more interested in rendering the novels’ styles and techniques
much more than clarifying the meaning to the reader (Niazi, 2001). This difference in
perspective will produce a different effect in each translation, especially in the culture-specific
words and expressions abundant in the novel. A third Arabic translation of Ulysses by
Muhammed Lutfi Juma was published in 2014 (2014 ,‫)ﲨﻌﺔ‬. Even though Juma’s translation is
the latest published Arabic translation of Ulysses, it dates back to the late forties when he started
translating the novel before his illness stopped him from completing it (‫ ﲨﻌﺔ‬,2014). In addition
to his early translation of the first chapters of Ulysses, Juma wrote an extensive study about the
novel and Joyce that was published in a book in 1998 calledNhw Adab RewaiAlemi Jadeed:
Aolis L James Joyce (2014 ,‫)ﲨﻌﺔ‬. Despite the fact that Juma’s uncompleted translation is perhaps
the first attempt at translating Ulysses into Arabic, which started thirty years earlier than Taha’s
translation in 1982, our primary focus will be on Taha’s and Niazi’s translations for the
following reason: the clear difference in the Skopos (purpose) of the translation between Taha’s
and Niazi’s translations provide us with the solid ground we need to compare between these
two Arabic translations using House’s translation quality assessment model and Venuti’s
domesticating and foreignizing translation. The study analyzes the translators’ lexical and
syntactic choices and their domesticating and foreignizing strategies in Chapter Four.
Moreover, Taha’s and Niazi’s translations’ provide us with different translated texts, as Taha
is more of a scholar than an artist and preferred to use a familiar style that would express Joyce’s
words and capture them in a smooth Arabic language. Niazi, on the other hand, was more
interested in rendering the style than familiarizing the reader with Joyce’s work. He mentioned
such differences in his preface, in which he explains his artistic vision as a poet and his interest
in rendering the various styles and techniques in Ulysses, which is the opposite of Taha’s
approach that focused mainly on approximating the meaning to the reader (Niazi, 2001).
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Review of Literature
The studies that examine the translations of Ulysses differ from country to country. This
presumably shows the level of interest in the novel, especially from the perspective of
translation. Nevertheless, almost all the books and articles that have been written about Ulysses
in Europe and the States so far belong to the field of literary theory and literary criticism. There
exist many annotations and case studies trying to explain and interpret the various styles,
languages and themes of each chapter of Ulysses; however, examinations of translations of
Ulysses take a very modest niche in any work about the novel. Translation scholars
acknowledged this concern as early as the 1970s when Max Halperen states in his article “He
became his admirers: Joyce abroad” (Halperen, 1977):
the examination of Ulysses in translation is still in its infancy; indeed, even that scholarly
standby, the study of influence, particularly of influence stemming from translation, provides
us with a good many unanswered and unexplored questions (p. 65).
Halperen (1977) refers in his article to Fritz Senn’s essay “Seven Against Ulysses” which is
possibly one of the earliest attempts of scholarly works on ‘Ulysses in translation’. In his essay,
Senn takes out different passages of Ulysses and studies the way they were handled or
mishandled in seven different translations (Senn, 2012). Furthermore, studies that were
conducted using House’s translation quality assessment model and Venuti’s domesticating and
foreignizing strategies are numerous. For example, Gaphouripour et al.’s study (2018) applies
the 1997 model to assess the two English translations of Al Rubaiyat for possible errors and
mismatches in the Register categories field, tenor and mode. Similarly, Kargarzadeh and
Paziresh’s (2017) study assesses the quality of the Persian translation of the novel The Kite
Runner by analyzing all the categories in House’s 2014 model to determine whether the
translation is a covert or overt one. Even though House’s model is applied to various translations
of literary texts (Hang, 2019; Jeurczek, 2017), we did not find any study that applied the model
to a translation of Ulysses.
Venuti’s approach is used in the analysis of various literary texts to examine the translation
strategies when dealing with cultural references and culture-specific expressions in different
literary works (al-Rikaby et al., 2018; Birdwood-Hedger, 2007). These strategies are also used
in the analysis of different translations of Ulysses. Amongst these studies is Torresi’s
“Domesticating or foreignizing foreignization? Joyce (2007) translation as a test for Venuti’s
theories” and Ionescu and Milesi’s (2008) study “The experience of Ulysses in Romanian”.
Both analyze the translators’ domesticating or foreignizing strategies within their respective
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language system, yet Torresi (2007) points out the necessity of micro-domestication in order to
achieve macro-foreignization effect in the Italian translation of Ulysses. Given the little
scholarly engagement with the Arabic translations of Ulysses, a comparison between such
translations tries to fill this gap as it highlights the different strategies used in the translation of
a relatively short chapter in Ulysses, yet one that has severeal examples of original words and
phrases that are interpreted differently in the translations. According to Taha, the first attempt
at the translation of “Calypso” required him to write a long introduction first to familiarize the
Arabic reader with the Joycean way of writing (Taha, 1974) . This is due to the complex words
and phrases used in it and the several examples of culture-specific items (Aixelá, 1996) that makes
reading this chapter a difficult task.
Methodology: House Translation Quality Assessment Model (2015)
The first section of the analysis applies House (2015) translation quality assessment model
which is based on language/text, register, corpus studies, genre and individual textual function
(House, 2017). The present study is only concerned with the Register categories: field, tenor
and mode, the category of tenor in particular to properly analyze and compare between the ST
register and the TT(s) register (House, 2017). Thus, the model is applied as follows (Munday,
2016):
1. A profile of the ST register.
2. A description of the ST genre realized by the register.
3. ‘A statement of function’ of the ST, including the ideational and interpersonal component
of that function (House, 1997, as cited in Munday, 2016).
4. The same process for the TT.
5. The TT profile is compared with the ST profile and a statement of errors is made. Errors
are of two kinds: ‘covertly erroneous errors’ and ‘overtly erroneous errors’ (House, 1997,
as cited in Munday, 2016).
6. ‘A statement of quality’ is made of the translation (House, 1997, as cited in Munday, 2016).
7. The translation can be categorized as either an ‘overt translation’ or ‘covert translation’
(House, 1997, as cited in Munday, 2016).
Lexical and syntactic ‘differences’ (House, 2015, pp. 138–139) are discussed in the ‘overt
errors’ section 5.3 in which we divided the lexical differences into four types:
(a). use of formal Arabic words that are incompatible with the Register of the original text
(b) use of archaic Arabic words as equivalents to lexical items in ‘Calypso’
(c) use of colloquial words as equivalents to lexical items in ‘Calypso’
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(d) use of borrowed words as equivalents to lexical items in ‘Calypso’

In this section, we will only compare and analyze words that appear to be easily rendered into
Arabic, however, the translors’ choices (at the word level) will either deviate from the informal
register of the source text or attempts to parallel it. Words and phrases that are considered to be
culture-specific are discussed in the second section of the analysis.
In each subsection, we created a table of examples in the following structure: Taha’s Translation
(1st translator), The ST (Ulysses, Calypso) and Niazi’s Translation (2nd translator) to compare
and analyze the translations against the original ST. A list of tables will be provided at the end
of the study.
In the syntactic differences section, two overt errors were found in Taha’s translation (1)
Frequent use of wa + past simple verbs and (2) The use of kaana as an equivalent to past tense
verbs. These two differences were compared and analyzed with the original ST as well as
Niazi’s translation. In the statement of quality section, we established that both translations are
overt translations despite the errors that were found in the tenor category because both translated
texts mostly adhered to the source text’s style and culture.
Venuti’s Domesticating and Foreignizing Strategies
The second section of the analysis deals with cultural references and idiomatic expressions in
‘Calypso’. In this section, the analysis addresses the translators’ choices in rendering such
references and expressions by using Venuti’s domesticating and foreignizing strategies (Venuti,
2008). According to him, the “discursive features” (Venuti, 2008, p. 19) of fluent and
domesticated translations are:
… linear syntax, univocal meaning, current usage, lexical consistency; they eschew
unidiomatic constructions, polysemy, archaism, jargon, any linguistic effect that calls
attention to the words as words and therefore pre-empts or interrupts the reader’s
identification” (Venuti, 1998, pp. 126–127).
Foreignizing translation, on the other hand, seeks to capture “the differences of the foreign text
yet only disrupting the cultural codes that prevail in the translating language” (Venuti, 2008, p.
15). Drawing on Venuti’s approach, we concluded that both translators seek to preserve the
foreign culture in Calypso by using archaic words and loan words as well as keeping the foreign
names as unchanged as possible. Thus, we established that the translations are overt/
foreignized translations despite the errors and the domesticating strategies that were found at a
minimal level in the translation texts. Section two of the analysis is divided as follows: (A)
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characters, food, shops and street names (B) culture-specific expressions and (C) metaphors,
similes and idiomatic expressions. Tables of examples follow the same structure of section one.
The Style of Calypso
The greatness of Ulysses is largely due to its experimentation with new styles and narrative
techniques; as Joyce himself states: “the value of the book is its new style” (Joyce as cited in
Tymoczko, 1997, p. 138). Amongst the widely-discussed techniques in Joyce criticism are
perhaps the free indirect style and the interior monologue techniques (Rainy, 2005). Free
indirect style is “the style that results when a third-person omniscient narrator adopts the
perspective and verbal mannerisms of a character” (Rainy, 2005, p. 226), or as Klitgard puts it:
“a type of narration in which a character’s focalization and a narrator’s voice are blended with
no reporting clause” (Klitgård, 2004, p. 319). By using this style, “every utterance [becomes] a
(self-) deluding defamiliarization of someone else’s thoughts or speech” (Klitgård, 2004, p.
320). On the other hand, interior monologue is “the technique used in fiction for representing
the psychic content and processes of character, partly or entirely unuttered just as these
processes exist at various levels of conscious control before they are formulated for deliberate
speech” (Humphrey, 2020, p. 24).
These two techniques are interchangeably used in the first chapters of Ulysses; they constitute
what Joyce called “the initial style” (Klitgård, 2004, p. 319). In the second half of the novel,
Joyce breaks off his third-person narrative style and enters into a series of stylistic masks
(Lawrence, 1981). Therefore, critics such as Lawrence (1981) have differentiated between the
initial style of the first half of the novel and the styles of the second half in which there is a
clear break from the techniques used in the earlier chapters. Since Calypso is the fourth chapter
in the novel, its style matches the initial style of the first chapters. According to the Schema
(see Joyce & Kiberd, 1992), the technique in this episode is narrative (mature) in which Joyce
introduces the reader to Mr. Bloom’s narrative for the first time. In the first three chapters (“The
Telmachia”), we read about Stephan Dedalus’ internal and external world; then, in “Calypso,”
the narrative goes back in time again to 8 a. m., the same time of Chapter One, to paint an
“equally intimate portrait of Mr. Leopold Bloom” (Fargnoli & Gillespie, 1995, pp. 186–128).
The chapter opens with an introduction of Mr. Bloom by a third-person omniscient narrator:
“Mr Leopold Bloom ate with relish the inner organs of beasts and fowls…” (Joyce & Kiberd,
1992, p. 65) and with Bloom’s thoughts about his cat: “Just how she stalks over my writing
table. Prr. Scratch my head. Prr” (Joyce & Kiberd, 1992, p. 65). As can be seen from the above
examples, the narrative in “Calypso” is a mixture of two voices; as part of the initial style, the
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voice of a third-person narrator describes and comments on Bloom’s actions and thoughts and
the interior monologue of Blooms thought’s is signaled by first-person pronouns such as me
and my (Rainey, 2005). In addition to the two voices of the initial style, there is a brief
introduction of Bloom’s wife, Molly Bloom, through Bloom’s thoughts as well as the direct
monologue between them. Through the use of the third-person narrator and the interior
monologue, Bloom’s narration in “Calypso” “[ moves] in and out, in and out, the out, however,
closely in touch with the in, prompting, controlling” (Kenner, 1987 as cited in Norris, 2011, p.
86). This movement makes the narrative more enigmatic and complex to the reader and the
translator alike.
Data Analysis: House Translation Quality Assessment Model
As per House’s model (2015), Tables 1 and 2 show the Register categories, genre and function
of the ST profile and the TT (s) profile.
Table 1
Source Text Profile
Field Subject matter Ulysses, Chapter Four,
“Calypso”.
Social action Complex and popular
Tenor Authors provenance Novelist, poet and short
and stance story writer
Register Social role Asymmetrical
relationship
Social attitude Informal casual style
Participation Complex
Mode Medium Complex
Genre Novel Function Ideational and interpersonal
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Table 2
Target Text (s) Profile
Field Subject matter Ulysses, Chapter Four,
“Calypso”.
Social action Complex and popular
Tenor Authors provenance (Taha [T]): translator
and stance and university instructor.
(Niazi [N]): poet, critic
and translator.
Register
Social role Asymmetrical
relationship
Social attitude (T): MSA, & informal
style.
(N): MSA
Participation Complex
Mode Medium Complex
Genre Novel Function Ideational and
interpersonal
According to House, errors are of two kinds: covert and overt errors. Covert errors are any
mismatches that occur along the dimensions of the model (House, 2015). These dimensional
errors are referred to as covertly erroneous errors (House, 2015). In contrast, overtly erroneous
errors are the result of “a mismatch of the denotative meanings of source and translation text
elements or from a breach of the target language system” (House, 2015, p. 33). Mismatches in
the denotative meanings of ST and TT are subdivided into omissions, additions, and
substitutions; breaches of the target language system are also subdivided into ungrammaticality
(breaches of the language system) and dubious acceptability (breaches of the norm of usage;
House, 2015, p. 33).
Covert Errors
After comparing the ST profile with the TT (s), two covert errors were noticed in the authors’
provenance and stance and social attitude categories. There is, for example, a mismatch between
the authors’ provenance and stance (novelist, poet, and short story writer) and the translators
(Taha: translator and university instructor; Niazi: poet, critic and translator), although Niazi’s
provenance and stance corresponds partially with Taha’s (poet). The second mismatch is in the
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social attitude category (ST: informal casual style; Taha: MSA and informal style; Niazi:
MSA); both translators use MSA because it is the language of modern literature (Alosh, 2005),
yet it is sometimes more formal for the ST’s style. Moreover, Taha’s social attitude corresponds
partially with the ST’s (informal style).
Overt Errors
Overt errors in the dimension of Tenor are subdivided to lexical and syntactic differences. These
differences were found in the Social Attitude category and are divided and analyzed as follows:
Lexical Differences
Lexical choices of the translators Taha and Niazi are analyzed and compared together with the
original text, using examples from both translations and the original novel. We divided these
choices into four types:
A. The Use of Formal Words Incompatible with the Register of the ST
In Table A1 below, Taha uses:
- ‫ ﻳﺆﺛﺮ‬for /liked/
- ‫ ﳑﺎ ﺣﺪاﻩ ﻋﻠﻰ‬for /made him feel/
- ‫ ﺷﻤﻮخ‬for /stiffly/
- ‫ ﻳﻌﻮزك‬for /want/
- ‫ ﺄﺗﱏ‬for /paused/
- ‫ اﳋﺎوﻳﺔ‬for /bare/
- ‫ ﳚﻠﺠﻞ‬for /jingled/
- ‫ ﺣﺮف ﻣﺮن‬for a /limp lid/
- ‫ اﻟﺴﺎﻃﻌﺔ‬for /bright/
- ‫ اﳊﺮاب‬for spear.
In contrast, Niazi uses less formal MSA words and phrases that parallel the register of the
original chapter:
- ‫ ﳛﺐ‬for /liked/
- ‫ ﺟﻌﻠﻪ ﻳﺸﻌﺮ‬for /made him feel/
- ‫ ﺑﺘﺼﻠﺐ‬for /stiffly/
- ‫ ﲢﺘﺎج‬for /want/
- ‫ اﻟﻌﺎرﻳﺔ‬for /bare/
- ‫ ﺧﺸﺨﺸﺖ‬for /jingled/
- ‫ ﻣﻐﻄﻴﺎ إ�ﻫﺎ ﺑﱰﻫﻞ‬for a /limp lid/
- ‫ اﻷﻛﺜﺮ إﺿﺎءة‬for /bright/
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- ‫ رﻣﺢ‬for /spear/
- ‫ ﻣﺘﻮﻗﻔﺎ‬for paused.
Table A1
Formal Words in Taha’s Translation
Taha Translation The Original Text (“Calypso,” Niazi Translation
(Taha, 1994, pp. 64–79) Ulysses) (Joyce & Kebard, (Niazi, 2001, pp.
1992, pp. 65–85). 123–141).
1 ‫ ﻓﻴﺆﺛﺮ اﻟﻜﺜﻴﻒ ﻣﻦ ﺣﺴﺎء ﺣﻮاﺋﺞ‬He liked thick giblet soup (p. ‫ﻛﺎن ﳛﺐ ﺣﺴﺎء اﻟﻄﻴﻮر‬
65)
(p. 64)‫اﻟﺪﺟﺎج واﻷرز‬ (p. 123)‫اﻟﺜﺨﲔ‬
2 ‫ ﳑﺎ ﺣﺪاﻩ ﻋﻠﻰ اﻟﺘﻨﻘﲑ ﻋﻦ ﻃﻌﺎم‬Made him feel a bit peckish. (p. ‫ﺟﻌﻠﻪ ﻳﺸﻌﺮ ﲟﻴﻞ ﻗﻠﻴﻞ إﱃ‬
65)
(p. 64) (p. 123) .‫اﻷﻛﻞ‬
3 ‫ وﺣﻔﺖ ﻣﻦ ﺟﺪﻳﺪ ﰱ ﴰﻮخ ﺑﺮﺟﻞ‬and stalked again stiffly round a ‫وﻣﺸﺖ ﺑﺘﺼﻠﺐ ﺎﺛﻧﻴﺔ ﺣﻮل‬
leg of the table, mewing. Just
‫ ﻛﻤﺎ ﲤﺸﻰ ﰱ‬.‫ ﲜﻤﻮد ﲤﻮء‬،‫ اﳌﺎﺋﺪة‬how she stalks over my writing ‫ وﻫﻲ‬،‫إﺣﺪى ﻗﻮاﺋﻢ اﳌﺎﺋﺪة‬
.‫ ﺧﻴﻼء ﻓﻮق ﻃﺎوﻟﺔ اﻟﻜﺘﺎﺑﺔ‬table. (p. 65) ‫ ﲤﺎﻣﺎ ﻛﻤﺎ ﲤﺸﻲ ﻋﻠﻰ‬.‫ﲤﻮء‬
(p. 64) (p. 123) .‫ﻃﺎوﻟﺔ اﻟﻜﺘﺎﺑﺔ‬
4 .‫( ﻳﻌﻮزك اﳌﺎء اﻟﻌﺬب اﻟﻨﻘﻲ‬p. 65) Want pure fresh water. (p. 66) ‫ﲢﺘﺎج إﱃ ﻣﺎء ﻧﻘﻲ ﻃﺎزج‬
(p. 124)
5 .‫ وﺄﺗﱏ ﲜﻮار ﺣﺠﺮة اﻟﻨﻮم‬paused by the bedroom door. .‫ﻣﺘﻮﻗﻔﺎ ﻋﻨﺪ ﺎﺑب ﻏﺮﻓﺔ اﻟﻨﻮم‬
He said softly in the bare hall:
:‫( وﻗﺎل ﺑﺮﻓﻖ ﰱ اﻟﺼﺎﻟﺔ اﳋﺎوﻳﺔ‬p. 66) ‫ﻗﺎل ﺑﺮﻗﺔ ﰲ اﻟﺼﺎﻟﺔ اﻟﻌﺎرﻳﺔ‬
(p. 65) (p. 124)
6 ‫ وﺻﻮت اﻟﺴﻮﺳﺖ اﻟﻨﺤﺎﺳﻴﺔ اﳌﻔﻜﻜﺔ ﰱ‬and the loose brass quoits of the ‫وﺧﺸﺨﺸﺖ ﺣﻠﻘﺎت ﻫﻴﻜﻞ‬
bedstead jingled.
.‫( اﻟﺴﺮﻳﺮ ﳚﻠﺠﻞ‬p. 67) .‫اﻟﺴﺮﻳﺮ اﻟﻨﺤﺎﺳﻴﺔ اﻟﺴﺎﺋﺒﺔ‬
(p. 65) (p. 125)
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7 ‫ ﺣﱴ ﺳﻘﻄﺖ ﺣﺎﻓﺘﻪ اﻟﺴﻔﻠﻰ ﻋﻠﻰ ﻋﺘﺒﺔ‬till the footleaf dropped gently ‫ﺳﺤﺒﻪ أﻛﺜﺮ إﱃ أن ﺳﻘﻂ‬
over the threshold, a limp lid.
‫ ﺣﺮف ﻣﺮن‬.‫( اﳌﻨﺰل‬p. 67) ‫ ﻣﻐﻄﻴﺎ‬.‫اﳌﺼﺮاع ﻋﻠﻰ اﻟﻌﺘﺒﺔ‬
(p. 66) (p. 125) .‫إ�ﻫﺎ ﺑﱰﻫﻞ‬
8 ‫ وﻋﱪ إﱃ اﻟﻨﺎﺣﻴﺔ اﻟﺴﺎﻃﻌﺔ‬He crossed to the bright side ‫ﻋﱪ إﱃ اﳉﺎﻧﺐ اﻷﻛﺜﺮ‬
(p. 68)
(p. 66) (p. 126)‫إﺿﺎءة‬
9 ‫ ﻳﺴﺘﻨﺪ ﻋﻠﻰ ﻧﻮع ﻃﻮﻳﻞ ﻣﻦ اﳊﺮاب‬leaning on a long kind of a ‫ﻣﺘﻜﺌﺎ ﻋﻠﻰ رﻣﺢ ﻣﻦ ﻧﻮع ﻣﺎ‬
spear.
(p. 66) (p. 68) (p. 126)
In Table A1 below, Niazi uses formal Arabic words and phrases as equivalents to some lexical
items in “Calypso”. He uses:
- ‫ ﺑﺘﺆدة‬for /softly/
- ‫ �ﺗﺊ‬for /stuck out/
- ‫ ﺗﺜﺒﲏ‬for /jump me/
- ‫ اﺷﺮع‬for /set off/
- ‫ ﳚﺐ أن أﺟﻲء ﺑﻪ‬for /must get it/
- ‫ اﳌﺼﺮاع‬for /the footleaf/
- ‫ ﻣﻠﺜﻤﺔ‬for /turbaned/
- ‫\ ﲤﺸﻲ اﳍﻮﻳﲎ‬for /wander/
- ‫ ﺄﺑ�ة‬for /patiently/
- ‫ ﺻﺨﺐ‬for /clamour/.
By way of comparison, Taha’s lexical choices in Table A1 reflect the informal register of
“Calypso”; he uses:
- ‫ ﺑﺮﻓﻖ‬for softly
- ‫ ﻓﻤﻬﺎ ﻣﺒﻮز‬for /stuck out/
- ‫ ﳚﺐ أن أﺣﻀﺮﻩ‬for /must get it/
- ‫ اﺑﺪأ‬for /set off/
- ‫ ﻣﻌﻤﻤﺔ‬for /turbaned/
- ‫ ﺗﺘﺠﻮل‬for /wander/
- ‫ ﰲ ﺻﱪ‬for /patiently/
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- ‫ ﺿﺠﻴﺞ‬for /clamour/
- ‫ ﺣﺎﻓﺘﻪ اﻟﺴﻔﻠﻰ‬for /footleaf/
- ‫ ﺗﻘﻔﺰ ﻓﻮﻗﻲ‬for /jump me/.
Table A2
Formal Words in Niazi’s Translation
Niazi Translation The Original Text Taha Translation
(Niazi, 2001, pp. 123– (Ulysses, “Calypso”) (Taha, 1994, pp. 64–
141). (Joyce & Kebard, 1992, pp. 65– 79)
85).
1. ‫ ﻛﺎﻧﺖ اﻟﻜﻠﻰ ﰲ ﺎﺑﻟﻪ ﺣﻴﻨﻤﺎ ﻛﺎن ﻳﻨﺘﻘﻞ‬Kidneys were in his mind as he ‫ﻛﺎﻧﺖ اﻟﻜﻼوى ﰱ رأﺳﻪ‬
moved about the kitchen softly,
،‫( ﰲ اﳌﻄﺒﺦ ﺑﺘﺆدة‬p. 65) ‫وﻫﻮ ﻳﻄﻮف ﰱ اﳌﻄﺒﺦ‬
(p. 123) (p. 64) ،‫ﺑﺮﻓﻖ‬
2. ‫ ﺻﻨﺒﻮرﻫﺎ‬،‫ ﻗﻌﺪت ﻫﻨﺎك ﺑﻠﻴﺪة وﻣﻘﺮﻓﺼﺔ‬It sat there, dull and squat, its ،‫وﺟﻠﺴﺖ اﻟﻐﻼﻳﺔ ﻫﻨﺎك‬
spout stuck out.
.‫( �ﺗﺊ إﱃ اﳋﺎرج‬p. 65) ‫ وﻓﻤﻬﺎ ﻣﺒﻮز‬،‫ ﻋﺎﺑﺴﺔ‬،‫ﻣﱰﺑﻌﺔ‬
(p. 123) (p. 64)
3. ،‫ ﺑﻌﻠﻮ ﺑﺮج؟ ﻻ‬.‫ ﻋﺠﺒﺎ ﻛﻴﻒ أﺑﺪو ﳍﺎ‬Height of a tower? No, she can .‫أﺗﻌﺠﺐ ﻛﻴﻒ أﺑﺪو ﳍﺎ‬
jump me
.‫( إ�ﺎ ﺗﺴﺘﻄﻴﻊ أن ﺗﺜﺒﲏ‬p. 65) ‫ ﻓﻔﻰ‬،‫ارﺗﻔﺎع ﺑﺮج؟ ﻻ‬
(p. 124) .‫اﺳﺘﻄﺎﻋﺘﻬﺎ أن ﺗﻘﻔﺰ ﻓﻮﻗﻰ‬
(. 64)
4. ‫ ﳚﺐ أن‬.‫ ﰲ اﻟﺒﻨﻄﻠﻮن اﻟﺬي ﺗﺮﻛﺘﻪ‬In the trousers I left off. Must .‫ﰲ اﻟﺴﺮوال اﻟﺬي ﺧﻠﻌﺘﻪ‬
get it.
.‫ أﺟﻲء ﺑﻪ‬He pulled the halldoor to after .‫ﳚﺐ أن أﺣﻀﺮﻩ‬
‫ ﺳﺤﺒﻪ أﻛﺜﺮ إﱃ أن ﺳﻘﻂ اﳌﺼﺮاع‬him very quietly, more, till the ‫وﺳﺤﺐ اﻟﺒﺎب ﺧﻠﻔﻪ ﻬﺑﺪوء‬
footleaf dropped gently over the
.‫ ﻋﻠﻰ اﻟﻌﺘﺒﺔ‬threshold, ‫ ﺣﱴ ﺳﻘﻄﺖ‬،‫ أﻛﺜﺮ‬،‫ﺟﺪا‬
(p. 125) (p. 67)
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‫ﺣﺎﻓﺘﻪ اﻟﺴﻔﻠﻰ ﻋﻠﻰ ﻋﺘﺒﺔ‬
(p. 66) .‫اﳌﻨﺰل‬
5. ‫ ﰲ اﻟﺼﺒﺎح‬:‫ ﰲ ﻣﻜﺎن ﻣﺎ ﰲ اﻟﺸﺮق‬Somewhere in the east: early ‫ ﰲ‬:‫ﰲ ﻣﻜﺎن ﻣﺎ ﰲ اﻟﺸﺮق‬

morning: set off at dawn,
‫ وﺟﻮﻩ ﻣﻠﺜﻤﺔ‬.‫ إﺷﺮع ﰲ اﻟﻔﺠﺮ‬.‫ اﻟﺒﺎﻛﺮ‬Turbaned faces going by. ‫ اﺑﺪأ ﻋﻨﺪ‬:‫اﻟﺼﺒﺎح اﻟﺒﺎﻛﺮ‬
(p. 126) .‫( ﲤﺮ‬p. 68) ‫ وﺟﻮﻩ ﻣﻌﻤﻤﺔ ﺗﺴﲑ‬.‫اﻟﻔﺠﺮ‬
(p. 66) .‫ﳊﺎﳍﺎ‬
6. ،‫ ﲤﺸﻲ اﳍﻮﻳﻨﺎ ﻃﻴﻠﺔ اﻟﻴﻮم‬Wander along all day .‫ﺗﺘﺠﻮل ﻃﻮل اﻟﻨﻬﺎر‬
(p. 68)
(p. 126) (p. 66)
7. ،‫ أﻣﺴﻚ ﺎﺑﻟﺼﻔﺤﺔ ﺑﺼﻮرة ﻣﺎﺋﻠﺔ ﺄﺑ�ة‬He held the page aslant ‫وأﻣﺴﻚ ﺎﺑﻟﺼﻔﺤﺔ ﻣﺎﺋﻠﺔ ﰱ‬
patiently,
(p. 128) (p. 71) (p. 68) ،‫ﺻﱪ‬
8. .‫ ﺻﺨﺐ أﻃﻔﺎل‬Brats’ clamour. .‫ﺿﺠﻴﺞ اﻷوﻻد‬

(p. 70)
(p. 127) (p. 68)
9. ،‫… ﻫﺬﻩ واﺣﺪة ﳑﺘﺎزة‬, slapping a palm on a ‫وﻫﺬا واﺣﺪ ﻣﻦ اﻟﺼﻨﻒ‬

ripemeated hindquarter, there’s a
(p. 128) prime one (p. 71) (p. 68) ،‫اﳌﻤﺘﺎز‬
‫ ﻟﻘﻒ اﻟﻘﺼﺎب ورﻗﺘﲔ ﻣﻦ ﻛﻮﻣﺔ‬The porkbutcher snapped two ‫اﺧﺘﻄﻒ اﳉﺰار ورﻗﺘﲔ ﻣﻦ‬
sheets from the pile, wrapped up
،‫ ﻟﻒ ﻧﻘﺎﻧﻘﻬﺎ اﳌﻤﺘﺎزة‬،‫ اﻷوراق‬her prime sausages… (p. 71) ‫ وﻟﻒ ﳍﺎ‬،‫ﻛﻮم اﻷوراق‬
(p. 128) For another: a constable off duty (p. 68) .‫اﻟﺴﺠﻖ اﻟﻔﺎﺧﺮ‬
cuddled her in Eccles Lane.
‫ إن ﺷﺮﻃﻴﺎ ﺧﺎرج ﺳﺎﻋﺎت‬:‫ ﺳﺒﺐ آﺧﺮ‬They like them sizeable. Prime ‫ ﺟﻨﺪى ﻣﺮور ﺑﻌﺪ‬:‫ﻟﺮﺟﻞ آﺧﺮ‬
((‫ اﻟﺪوام ﺣﺎﺿﻨﻬﺎ ﰲ زﻗﺎق ))اﻛﻠﺲ‬sausage. ‫ﻧﻮﺑﺘﻪ ﻳﻌﺎﻧﻘﻬﺎ ﰱ ﺣﺎرة‬

(p. 71)
.‫ﳛﺒﺒﻨﻬﻢ ﺿﺨﺎﻣﺎ ﻧﻘﺎﻧﻖ ﳑﺘﺎزة‬ .‫ ﳛﺒﻮ�ﻢ واﻓﺮات‬،‫أﻛﻠﻴﺲ‬
(p. 129) (p. 69) .‫ﺳﺠﻖ ﻓﺎﺧﺮ‬
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As for the two voices of the initial style, the lexical choices of the translators are different. For
instance, in Example 9, the third-person narrator borrows Bloom’s word /prime/ and it becomes
difficult to distinguish between Bloom’s monologue and the comments of the third-person
narrator: “slapping a palm on a ripemeated hindquarter, there’s a prime one, … The
porkbutcher snapped two sheets from the pile, wrapped up her prime sausages…They like them
sizeable. Prime sausage” (Joyce & Kiberd, 1992, p. 71). The word prime is translated by Niazi
to mmtazh\‫ ﻣﻤﺘﺎزة‬and he continues to use the same word to reflect the two voices of the initial
style: “ ‫ ﻟﻒ‬,‫ ﻟﻘﻒ اﻟﻘﺼﺎب ورﻗﺘﲔ ﻣﻦ ﻛﻮﻣﺔ اﻷوراق‬. . .‫ ﻫﺬﻩ واﺣﺪة ﳑﺘﺎزة‬,‫ﺿﺎرﺑﲔ ﺄﺑﻛﻔﻬﻢ ﻋﻠﻰ ﻋﺠﻴﺰة ﻣﻜﺘﻨﺰة‬
‫ ﳛﺒﺒﻨﻬﻢ ﺿﺨﺎﻣﺎ ﻧﻘﺎﻧﻖ ﳑﺘﺎزة‬. . .‫( \ ”ﻧﻘﺎﻧﻘﻬﺎ\اﳌﻤﺘﺎزة‬Niazi, 2001, pp. 128–129).
In contrast, /prime/ is translated by Taha to mmtazh\‫ ﻣﻤﺘﺎزة‬at the beginning only and later he
changes it to\fakhr\: \ . . .‫ وﻫﺬا واﺣﺪ ﻣﻦ اﻟﺼﻨﻒ اﳌﻤﺘﺎز‬.‫” وﻳﻀﺮﺑﻮن ﺄﺑﻛﻔﻬﻢ اﳌﺆﺧﺮات اﶈﻤﻠﺔ ﺎﺑﻟﻠﺤﻢ اﻟﻜﺎﻣﻞ اﻟﻨﻤﻮ‬
“ .‫ ﺳﺠﻖ ﻓﺎﺧﺮ‬.‫ ﳛﺒﻮ�ﻢ واﻓﺮات‬. . .‫ وﻟﻒ ﳍﺎ اﻟﺴﺠﻖ اﻟﻔﺎﺧﺮ‬،‫( \اﺧﺘﻄﻒ اﳉﺰار ورﻗﺘﲔ ﻣﻦ ﻛﻮم اﻷوراق‬Taha,1994, pp.
68–69). Thus, the two voices of the initial style are not reflected in this example.
B. The Use of Archaic Words as Equivalents to Lexical Items in “Calypso”
In Table A3, Taha uses:
- ‫ إﻫﺎﻬﺑﺎ اﻟﻨﺎﻋﻢ‬for /her sleek hide/
- ‫ اﳋﻮان‬for /the dresser/
- ‫ اﻷﻏﻨﺎم اﳌﺮﺻﻮﻣﺔ‬for /branded sheep/
- ‫ زﺋﱪ اﻟﻘﺮص اﳌﻄﺎﻃﻲ‬for /rubber prickles/
- ‫ ﻓﻴﺎﰲ‬for /bare/
- ‫ اﻟﺪورق‬for /the jug/
- ‫ ﺟﺰﻳﺮة اﻟﻌﻔﺮ‬for /Inishturk/
- ‫ اﳌﻌﻠﻮﻗﺔ‬for /stallfed/
- ‫ اﻟﻐﻀﺔ‬for /moist/
- ‫ إﻳﻨﺎع‬for /ripening/.
These words belong to CA register; therefore, they are highly formal for House’s style level of
the original chapter because they are used as equivalents to informal words Bloom uses in
“Calypso”.
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Table A3
Archaic Words in Taha’s Translation
Taha Translation The Original Text Niazi Translation
(Taha, 1994, pp. 64–79) (Ulysses, “Calypso”) (Niazi, 2001, pp.
(Joyce & Kebard, 1992, 123–141).
pp. 65–85).
1. ،‫ ﺑﺮﻳﻖ اﻫﺎﻬﺑﺎ اﻟﻨﺎﻋﻢ‬:‫ ﻧﻈﻴﻒ أن ﻳﺸﺎﻫﺪ‬Clean to see: the gloss of ‫ ﺑﺮﻳﻖ‬:‫ﻧﻈﻴﻔﺎ ﻟﺪى اﻟﻨﻈﺮ‬
her sleek hide,
(p. 64) (p. 65) .‫ﺟﻠﺪﻫﺎ اﻷﻣﻠﺲ‬
(p. 123)
2. ‫ وأﺧﺮج اﻟﺪورق اﻟﺬي‬،‫ ﰒ ذﻫﺐ إﱃ اﳋﻮان‬Then he went to the ‫ﰒ ذﻫﺐ إﱃ ﺧﺰاﻧﺔ‬

dresser, took the jug
‫ ﻛﺎن ﺎﺑﺋﻊ اﻟﻠﱭ ﻣﻦ ))ﻫﺎﻧﻠﻮن(( ﻗﺪ ﻣﻸﻩ‬Hanlon’s milkman had ‫ ﺗﻨﺎول اﻟﻮﻋﺎء‬،‫اﻷﻃﺒﺎق‬
(p. 65) .‫ ﻟﺘﻮﻩ‬just filled for him, ‫اﻟﺬي ﻣﻸﻩ ﻟﻠﺘﻮ ﺎﺑﺋﻊ اﳊﻠﻴﺐ‬
(p. 66)
(p. 124) ،((‫))ﻫﺎﻧﻠﻮن‬
3. ،‫ …ﺟﺰﻳﺮة اﻟﻌﻔﺮ‬Inishturk. (‫اﻧﻴﺸﱰوك )ﺟﺰﻳﺮة اﳋﻨﺰﻳﺮ‬

(p. 70)
(p. 68) (p. 127)
4. .‫ ﻫﻨﺎ ﳊﻢ ﺳﻠﻴﻢ ﻣﺜﻞ ﳊﻢ اﻟﻌﺠﻠﺔ اﳌﻌﻠﻮﻗﺔ‬Sound meat there like a ‫ ﻣﺜﻞ ﳊﻢ‬:‫ذﻟﻚ ﳊﻢ ﺳﻠﻴﻢ‬
stallfed heifer.
(p. 68) (p. 70) ‫ﻋﺠﻞ ﺻﻐﲑ ﻣﻌﻠﻮف ﰲ‬
(p. 128) .‫ﻣﺮﺑﻂ‬
5. ‫ أﺻﺒﺎح ﺗﻠﻚ اﻷ�م ﰱ ﺳﻮق اﳌﺎﺷﻴﺔ واﻟﺪواب‬Those mornings in the ‫ﺗﻠﻚ اﻟﺼﺒﺎﺣﺎت ﰲ ﺳﻮق‬
cattlemarket the beasts
،‫ واﻷﻏﻨﺎم اﳌﺮﺻﻮﻣﺔ‬،‫ ﲣﻮر ﰱ ﺣﻈﺎﺋﺮﻫﺎ‬lowing in their pens, ‫ اﳊﻴﻮا�ت ﲣﻮر ﰲ‬،‫اﳌﺎﺷﻴﺔ‬
(p. 68) branded sheep, ،‫ ﺧﺮاف ﻣﻮﺳﻮﻣﺔ‬،‫زراﺋﺒﻬﺎ‬

(p. 71)
(p. 128)
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6. ‫ ﰒ ﲝﺜﺖ ﻋﻦ ﺛﻼﺛﺔ ﺑﻨﺴﺎت ﻗﻰ ﺟﻴﺐ ﺳﺮواﻟﻪ‬Then it fetched up three ‫ﰒ أﺧﺮج ﺛﻼﺛﺔ ﺑﻨﺴﺎت ﻣﻦ‬
coins from his trousers
،‫ وﺗﺮﻛﺘﻬﻢ ﻋﻠﻰ زﺋﱪ اﻟﻘﺮص اﳌﻄﺎﻃﻰ‬pocket and laid them on ‫ﺟﻴﺐ ﺑﻨﻄﺎﻟﻪ ووﺿﻌﻬﺎ ﰲ‬
(p. 69) the rubber prickles. ،‫ﺳﻠﺔ ﻣﻄﺎﻃﻴﺔ ﳎﺪوﻟﺔ‬

(p. 71)
(p. 129)
7. ‫ وﺗﻘﺒﻠﺖ ﻳﺪﻩ اﻟﻐﺪة اﻟﻐﻀﺔ اﻟﻄﺮﻳﺔ‬His hand accepted the ‫ اﻟﺸﺮﳛﺔ اﻟﻄﺮﻳﺔ‬.‫ﺗﻨﺎوﻟﺖ ﻳﺪﻩ‬
moist tender gland
(p. 69) (p. 71) (p. 129)‫اﻟﻨﺪﻳﺔ‬
8. .‫ ﺗﻘﻠﻴﻢ وإﻳﻨﺎع‬:‫ أ�م ﻃﻮﻳﻠﺔ ﻫﺎدﺋﺔ‬Quiet long days: pruning ‫ ﺗﻘﻠﻴﻢ‬:‫أ�م ﻃﻮﻳﻠﺔ ﻫﺎدﺋﺔ‬
ripening.
(p. 69) (p. 72) (p. 130) ،‫وإﻧﻀﺎج‬
9. .‫ ﻓﻴﺎﰱ ﻋﺎرﻳﺔ‬:‫ أرض ﺑﻮر‬A barren land, bare .‫ ﻗﻔﺮاء‬،‫أرض ﻗﺎﺣﻠﺔ‬

waste.
(p. 70) (p. 73) (p. 130)
10. ‫ وأﻃﻠﺖ ﻧﺴﲑة ﻣﻘﻄﻮﻋﺔ ﻣﻦ ﻇﺮف ﺧﻄﺎب‬A strip of torn envelope ‫ﻧﺪ ﺷﺮﻳﻂ ﻣﻦ ﻇﺮف ﻣﻔﺘﻮح‬
peeped from under the
.‫ ﻣﻦ ﲢﺖ اﻟﻮﺳﺎدة اﳌﻨﺒﻌﺠﺔ‬dimpled pillow. .‫ﻣﻦ ﲢﺖ اﳌﺨﺪة اﳌﻘﻌﻮرة‬
(p. 73) (p. 76) (p. 133)
11. ‫ ﻣﻦ‬،‫ ورﺷﺔ ﻣﻦ ﺧﻼل أﺻﺎﺑﻌﻪ ﰱ ﺣﻠﻘﺎت‬He sprinkled it through ‫رﺷﺔ ﻣﻦ ﺧﻼل أﺻﺎﺑﻌﻪ ﻋﻠﻰ‬
his fingers, ringwise,
‫ ﻛﺄس اﻟﺒﻴﻀﺔ اﳌﺸﻄﻮف‬from the chipped
‫ﺷﻜﻞ ﺣﻠﻘﺎت ﻣﻦ ﻛﺄس‬
(p. 72) eggcup. .‫اﻟﺒﻴﻀﺔ اﳌﺜﻠﻮم‬

(p. 75)
(p. 132)
12. ‫ وﳔﺲ ﺷﻮﻛﺔ ﰱ اﻟﻜﻠﻴﺔ وﻃﺮﺣﻬﺎ ﻋﻠﻰ اﳉﺎﻧﺐ‬He prodded a fork into ‫ﳔﺲ ﺷﻮﻛﺔ ﰲ اﻟﻜﻠﻴﺔ‬
the kidney and slapped it
(p. 72):‫ اﻵﺧﺮ‬over: (p. 76) (p. 133):‫وﻗﻠﺒﻬﺎ‬
13. ‫ وﻓﺘﺢ اﻟﺒﺎب ﺑﻐﻤﺰة ﻣﻦ رﻛﺒﺘﻪ‬Nudging the door open ،‫ﻻﻛﺰا اﻟﺒﺎب ﻟﻴﻔﺘﺤﻪ ﺑﺮﻛﺒﺘﻪ‬
with his knee
(p. 72) (p. 76) (p. 133)
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14. ‫ ودﺧﻞ وﻫﻮ ﳛﲏ رأﺳﻪ ﻣﻦ ﲢﺖ ﺳﺎﻛﻔﺔ‬He went in, bowing his ‫ ﺣﺎﻧﻴﺎ رأﺳﻪ ﲢﺖ‬،‫دﺧﻞ‬
head under the low
،‫ اﻟﺒﺎب اﻟﻮاﻃﺌﺔ‬lintel. .‫اﺳﻜﻔﺔ اﻟﺒﺎب اﻟﻮاﻃﺌﺔ‬
(p. 78) (p. 83) (p. 139)
Niazi, on the other hand, uses mostly MSA words that correspond with the informal style of
“Calypso”:
- ‫ ﺟﻠﺪﻫﺎ اﻷﻣﻠﺲ‬for /her sleek hide/
- ‫ ﺧﺰاﻧﺔ اﻷﻃﺒﺎق‬for /the dresser/
- ‫ اﻟﻮﻋﺎء‬for /the jug/
- ‫ ﺧﺮاف ﻣﻮﺳﻮﻣﺔ‬for /branded sheep/
- ‫ ﺳﻠﺔ ﻣﻄﺎﻃﻴﺔ ﳎﺪوﻟﺔ‬for /rubber prickles/
- ‫ ﺟﺰﻳﺮة اﳋﻨﺰﻳﺮ‬for /Inishturk/
- ‫ ﻣﻌﻠﻮف ﰲ ﻣﺮﺑﻂ‬for /stallfed/
- ‫ اﻟﻨﺪﻳﺔ‬for moist, ‫ إﻧﻀﺎج‬for ripening
- ‫ ﺷﺮﻳﻂ‬for strip.
However, he uses archaic words in examples 9, 11, 12, 13, and 14 (see examples in Table A3):
- ‫ ﻗﻔﺮاء‬for bare
- ‫ ﻣﺜﻠﻮم‬for chipped
- ‫ ﳔﺲ‬for prodded
- ‫ ﻻﻛﺰا‬for nudging
- ‫ أﺳﻜﻔﺔ اﻟﺒﺎب اﻟﻮاﻃﺌﺔ‬for low lintel.
In addition to the above words, Niazi uses 24 archaic words as equivalents to informal words
in “Calypso” as shown in Table A4 at the end of the paper.
C. The Use of Colloquial Words as Equivalents to Lexical Items in
“Calypso”
Some of the words Taha uses are MSA that are mostly used in spoken Arabic such as:
- ‫ \ ﻣﺒﻮز‬for stuck out.
- ‫ \اﻟﺒﺴﻄﺔ‬for hall.
- ‫ \ﻣﺮﻳﻠﺔ‬for aproned.
- and ‫ \ ﺣﺎرة‬for laneway.
However, words such as:
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- ‫\ﻋﻴﺶ‬bread ،‫ \ راﻳﺢ‬I am going.

- ‫ \اﻟﺴﻮﺳﺖ‬quoits.
- ‫ \ﺷﺮﺎﺑت‬sherbet, ‫ \اﳌﻤﺒﺎر‬polonies.
- and ‫ \ﺷﺎوﻳﺶ‬Mr Policeman are colloquial Egyptian words which belong to the
Egyptian dialect.
Table A5
Colloquial Words in Taha’s Translation
(Joyce & Kebard, 1992, pp. 123–141).
65–85).
1. ‫ وﻓﻤﻬﺎ‬،‫ ﻋﺎﺑﺴﺔ‬،‫ ﻣﱰﺑﻌﺔ‬،‫ وﺟﻠﺴﺖ اﻟﻐﻼﻳﺔ ﻫﻨﺎك‬It sat there, dull and squat, ‫ﺑﻠﻴﺪة‬ ‫ﻫﻨﺎك‬ ‫ﻗﻌﺪت‬
its spout stuck out. Cup of
.‫ ﻋﺎل‬.‫ ﻓﻨﺠﺎن ﺷﺎى ﻋﻤﺎ ﻗﺮﻳﺐ‬.‫ ﻣﺒﻮز‬tea soon. Good. ‫ ﺻﻨﺒﻮرﻫﺎ �ﺗﺊ‬،‫وﻣﻘﺮﻓﺼﺔ‬
(p. 64) (p. 65) ‫ ﻗﺪح ﺷﺎي‬.‫إﱃ اﳋﺎرج‬
.‫ ﺣﺴﻦ‬،‫ﺣﺎﻻ‬
(p. 123)
2. ‫ ﻋﻠﻰ ﺣﺬاﺋﲔ ﻳﺌﺰان ﻬﺑﺪوء ﺻﻌﺪ ﻋﻠﻰ اﻟﺴﻠﻢ إﱃ‬On quietly creaky boots he ،‫ﻋﻠﻰ ﺟﺰﻣﺘﲔ ﺟﺎزﺗﲔ‬
went up the staircase to the
،‫ اﻟﺒﺴﻄﺔ‬hall, ‫ﺻﻌﺪ ﻬﺑﺪوء اﻟﺴﻠﻢ إﱃ‬
(p. 65) (p. 66) (p. 124)‫اﻟﺼﺎﻟﺔ‬
3. .‫ ﻋﻴﺶ رﻗﻴﻖ وزﺑﺪ أﺣﺐ ﺷﻰء ﳍﺎ ﰲ اﻟﺼﺒﺎح‬Thin bread and butter she ‫ﲢﺐ ﺧﺒﺰا رﻗﻴﻘﺎ وزﺑﺪة ﰲ‬
likes in the morning.
(p. 65) (p. 66) (p. 124) ،‫اﻟﺼﺒﺎح‬
4. ‫ وﺻﻮت اﻟﺴﻮﺳﺖ اﻟﻨﺤﺎﺳﻴﺔ اﳌﻔﻜﻜﺔ ﰱ‬and the loose brass quoits ‫ﺣﻠﻘﺎت‬ ‫وﺧﺸﺨﺸﺖ‬
of the bedstead jingled.
.‫( اﻟﺴﺮﻳﺮ ﳚﻠﺠﻞ‬p. 67) ‫ﻫﻴﻜﻞ اﻟﺴﺮﻳﺮ اﻟﻨﺤﺎﺳﻴﺔ‬
(p. 65) (p. 125) .‫اﻟﺴﺎﺋﺒﺔ‬
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5. .‫أ� راﻳﺢ ﻟﻨﺎﺻﻴﺔ اﻟﺸﺎرع وراﺟﻊ ﺣﺎﻻ‬- -I am going round the ‫ اﻋﻮد‬.‫أ� ﺧﺎرج ﻗﻠﻴﻼ‬-
corner. Be back in a
(p. 65) minute. (p. 66)
(p. 124) .‫ﺑﻌﺪ ﻗﻠﻴﻞ‬
6. ‫ ﴰﺲ اﳊﻜﻢ اﻟﺬاﰐ ﺗﺸﺮق ﻣﻦ اﻟﺸﻤﺎل اﻟﻐﺮﰊ‬a homerule sun rising up in ‫ﴰﺲ ﺣﻜﻢ ذاﰐ ﺗﺸﺮق ﰲ‬
the northwest from the
.‫ ﻣﻦ ﺣﺎرة ﺧﻠﻒ ﺑﻨﻚ أﻳﺮﻟﻨﺪﻩ‬laneway behind the bank ‫اﻟﺸﻤﺎل اﻟﺸﺮﻗﻲ ﻣﻦ اﳌﻤﺮ‬
(p. 67) of Ireland. .‫ﺧﻠﻒ ﻣﺼﺮف اﻳﺮﻟﻨﺪا‬

(p. 68)
(p. 126)
7. ‫ ﻳﺮاﻗﺐ اﻟﺼﱯ ﲟﺮﻳﻠﺘﻪ وﻫﻮ ﻳﻨﻈﻒ اﻷرض‬watching aproned ‫ﻣﺮاﻗﺒﺎ راﻋﻲ اﻷﺑﺮﺷﻴﺔ اﳌﻮزر‬
the
curate swab up with mop
.‫ ﺎﺑﳌﻤﺴﺤﺔ واﳉﺮدل‬and bucket. ‫وﻫﻮ ﳝﺴﺢ ﺎﺑﳌﻤﺴﺤﺔ‬
(p. 67) (p. 69) ،‫( واﻟﺴﻄﻞ‬p. 127)
8. .‫ ﺷﺮﺎﺑت‬،‫ ﺗﺸﺮب ﻣﺎء ﻣﻌﻄﺮا ﺎﺑﻟﺸﻤﺎر‬Drink water scented with ‫ﻣﻌﻄﺮا‬ ‫ﻣﺎء‬ ‫ﺗﺸﺮب‬
fennel, sherbet.
(p. 66) (p. 68)
.‫ ﺷﺮﺑﺖ‬،‫ﺎﺑﻟﺸﻤﺎر‬
(p. 126)
9. ‫ وﺗﻮﻗﻒ أﻣﺎم ﺷﺒﺎك ﳏﻞ دﻟﻮﺟﺎز ﳛﺪق ﰱ ﻟﻔﺎت‬He halted before Dlugacz’s ‫ﺗﻮﻗﻒ أﻣﺎم واﺟﻬﺔ ﳏﻞ‬
window, staring at the
،‫ اﻟﺴﺠﻖ واﳌﻤﺒﺎر‬hanks of sausages,
‫))ﻟﻮﻛﺎش(( ﳏﺪﻗﺎ ﰲ أﻛﻮام‬
(p. 68) polonies, ‫اﻟﻨﻘﺎﻧﻖ واﻟﻨﻘﺎﻧﻖ اﳉﺎﻓﺔ‬

(p. 70)
.‫اﳌﻄﺒﻮﺧﺔ ﻗﻠﻴﻼ‬
(p. 128)
10. .‫ أ� ﻬﺗﺖ ﻋﻦ اﻟﻄﺮﻳﻖ‬،‫ ﻣﻦ ﻓﻀﻠﻚ �ﺷﺎوﻳﺶ‬O please, Mr policeman, ‫آ ﻣﻦ ﻓﻀﻠﻠﻚ أﻳﻬﺎ‬

I’m lost in the wood.
(p. 69) (p. 71)
‫ ﻟﻘﺪ أﺿﻌﺖ‬،‫اﻟﺸﺮﻃﻲ‬
.‫ﻃﺮﻳﻘﻲ ﰲ اﻟﻐﺎﺑﺔ‬
(p. 129)
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11. ‫ وﺗﺮك اﻟﺸﺎى ﻟﻴﺨﺮط‬tilting the kettle then to let ((‫ﺎﺗرﻛﺎ اﻟﺸﺎي ))ﻳﺘﺨﺪر‬
water flow in. having set it
(p. 71) to draw, (p. 75)
(p. 132)
12. .‫ ﻋﻨﺎء ﺻﻌﻮد اﻟﺪرج إﱃ اﻟﺒﺴﻄﺔ‬Too much trouble to fag up ‫ازﻋﺎج ﻛﺒﲑ ﺟﺪا أن أﻛﺪح‬
the stairs to the landing.
(p. 77) (p. 82)
‫ﰲ اﻟﺼﻌﻮد إﱃ ﺑﺴﻄﺔ‬
(p. 138) .‫اﻟﺪرج‬
On the other hand, both translators use a colloquial equivalent for the word /draw/ in Example
11. Niazi uses the word “‫ ”ﯾﺘﺨﺪر‬in two brackets to state that this word belongs to spoken Arabic
whereas Taha uses the word “‫ ”ﳜﺮط‬which is also used in spoken Arabic to describe the strong
taste of tea. In another case, Taha uses the colloquial word ‫ اﻟﺒﺴﻄﺔ‬as an equivalent to both /the
hall/ and /the landing/ in Examples 2 and 12 while Niazi uses more MSA words ‫اﻟﺼﺎﻟﺔ‬for the hall
and ‫ ﺑﺴﻄﺔ اﻟﺪرج‬for the landing.
D. The Use of Borrowed Words as Equivalents to Lexical Items in “Calypso”

In table A5, most of Taha’s borrowed words are common in spoken Arabic, especially in the
Egyptian dialect. For example, he uses:
- ‫ اﻟﺒﺪروم‬for cellarflap.
- ‫ اﻷﻛﺮوﺎﺑت ﻋﻠﻰ اﻟﻌﻘﻠﺔ‬for Trapeze.
- ‫ اﻟﻜﻮﻣﺪﻳﻨﻮ‬for the commode.
- ‫ ﻛﻮﻣﺒﺎرس ﰲ ﻣﻠﻬﻰ‬for music hall stage.
- and ‫ اﺳﻜﺘﺶ‬for sketch.
In contrast, Niazi prefers MSA words:
- ‫ ﻗﺒﻮ اﳋﻤﺮ‬for cellarflap.
- ‫ أراﺟﻴﺢ ﻬﺑﻠﻮا�ت‬for Trapeze.
- ‫ اﳌﻨﻀﺪة‬for the commode.
- ‫ ﻣﺴﺮح ﲤﺜﻴﻠﻴﺎت ﻣﻮﺳﻴﻘﻴﺔ‬for music hall stage.
- and ‫ ﺻﻮرة ﻗﻠﻤﻴﺔ‬for sketch.
Moreover, he uses only two borrowed words, ‫ ﺎﺑو�ت‬for pounds and ‫ ﺑﻨﻄﻠﻮن‬for trousers.
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Table A6
Examples of Taha’s and Neyazi’s Borrowed Words

(Joyce & Kebard, 123–141).
1992, pp. 65–85).
1. ‫ وﻋﱪ إﱃ اﻟﻨﺎﺣﻴﺔ اﻟﺴﺎﻃﻌﺔ ﻣﺘﻔﺎد� ﻏﻄﺎء اﻟﺒﺪروم‬He crossed to the ‫ﻋﱪ إﱃ اﳉﺎﻧﺐ اﻷﻛﺜﺮ‬
bright side, avoiding
.75 ‫ اﳌﻔﻜﻚ ﰲ رﻗﻢ‬the loose cellarflap ‫إﺿﺎءة ﻣﺘﻔﺎد� ﻏﻄﺎء ﻗﺒﻮ‬
(p. 66) of number sventyfive. ‫اﳋﻤﺮ اﳌﺘﻘﻠﻘﻞ ﻟﺮﻗﻢ ﲬﺴﺔ‬

(p. 67)
.‫وﺳﺒﻌﲔ‬
(p. 126)
2. ‫ اﻻﻛﺮوﺎﺑت ﻋﻠﻰ اﻟﻌﻘﻠﺔ ﻋﻨﺪ ﻫﻨﺠﻠﺮ‬Trapeze at ‫أراﺟﻴﺢ ﻬﺑﻠﻮا�ت ﰲ ﺳﲑك‬

Hengler’s.
(p. 74) (p. 78) .‫ﻫﻨﻜﻠﺮ‬
(p. 135)
3. ‫ ﺑﻌﺪ أن ارﺗﻄﻢ إﻬﺑﺎم ﻗﺪﻣﻪ ﰱ اﻟﻜﻮﻣﻮدﻳﻨﻮ اﳌﺨﻠﻊ‬stubbing his

toes ‫ﻗﺪﻣﻪ‬ ‫ﺄﺑﺻﺒﻊ‬ ‫وﺻﺎدﻣﺎ‬
against the broken
(p. 75) commode, ،‫اﳌﻨﻀﺪة اﳌﻜﺴﻮرة‬
(p. 79) (p. 136)
4. .‫ ﻛﻮﻣﺒﺎرس ﰱ ﻣﻠﻬﻰ‬Music hall stage. .‫ﻣﺴﺮح ﲤﺜﻴﻠﻴﺎت ﻣﻮﺳﻴﻘﻴﺔ‬

(p. 80)
(p. 76) (p. 137)
5. .‫ م‬.‫ رﲟﺎ أﻣﻜﻨﻪ ﻛﺘﺎﺑﺔ اﺳﻜﺘﺶ ﺑﻘﻠﻢ ﻣﺴﱰ وﻣﺴﺰ ل‬Might manage
a ‫رﲟﺎ أﲤﻜﻦ ﻣﻦ ﻛﺘﺎﺑﺔ ﺻﻮرة‬
sketch. By Mr and
.‫ ﺑﻠﻮم‬Mrs L. M. Bloom. .‫ﻗﻠﻤﻴﺔ ﻋﻦ اﳌﺴﱰ واﳌﺴﺰ ل‬
(p. 79) (p. 84) (p. 140) .‫ ﺑﻠﻮم‬.‫م‬
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Syntactic Differences
A. Frequent Use of wa + Past Simple Verbs
Table A7
‘Wa’ in Taha’s and Niazi’s Translation
Taha ST Niazi
‫ وﻃﺮﻓﺖ ﺑﻌﻴﻨﻴﻬﺎ اﻟﻄﺎﻣﻌﺘﲔ وأﻏﻠﻘﺘﻬﻤﺎ‬She blinked up out of her avid ‫رﻣﺸﺖ ﻣﻦ ﻃﻤﻊ ﻋﻴﻨﻴﻬﺎ اﻟﺸﺮﻫﺘﲔ‬
shameclosing eyes, mewing
‫ \وﻫﻲ\ ﲤﻮء ﺑﻨﻮاح ﻃﻮﻳﻞ‬،‫ ﲞﺠﻞ‬plaintively and long, showing ‫ \وﻫﻲ\ ﲤﻮء ﺑﻜﺂﺑﺔ‬،‫اﳌﺨﺰﻳﺘﲔ‬
.‫ وﺗﻜﺸﻒ ﻟﻪ ﻋﻦ أﺳﻨﺎن ﺑﻴﻀﺎء ﻛﺎﻟﻠﱭ‬him her milk-white teeth. He ‫\و\ﻃﻮﻳﻼ ﻣﻈﻬﺮة ﻟﻪ أﺳﻨﺎ�ﺎ اﻟﺒﻴﻀﺎء‬
watched the dark eyeslits
‫ وراﻗﺐ اﻟﺸﻘﲔ اﻟﺪاﻛﻨﲔ ﰱ ﻋﻴﻨﻴﻬﺎ‬narrowing with greed till her eyes ‫ راﻗﺐ اﳌﺆﻗﲔ اﻟﺪاﻛﻨﲔ‬.‫ﻛﺎﳊﻠﻴﺐ‬
were green stones. Then he went
‫وﳘﺎ ﻳﻀﻴﻘﺎن ﺎﺑﻟﻄﻤﻊ ﺣﱴ أﺻﺒﺤﺖ‬ ‫ إﱃ أن أﺻﺒﺤﺖ ﻋﻴﻨﺎﻫﺎ‬،‫ﻳﻀﻴﻘﺎن ﺑﺸﺮﻩ‬
to the dresser, took the jug
‫ ﰒ ذﻫﺐ‬.‫ ﻋﻴﻨﺎﻫﺎ ﺣﺠﺮﻳﻦ ﺧﻀﺮاوﻳﻦ‬Hanlon’s milkman had just filled ‫ ﰒ ذﻫﺐ إﱃ ﺧﺰاﻧﺔ‬،‫ﺣﺠﺮﻳﻦ أﺧﻀﺮﻳﻦ‬
for him, poured warmbubbled
‫ وأﺧﺮج اﻟﺪورق اﻟﺬي ﻛﺎن‬،‫إﱃ اﳋﻮان‬ ‫ ﺗﻨﺎول اﻟﻮﻋﺎء اﻟﺬي ﻣﻸﻩ ﻟﻠﺘﻮ‬،‫اﻷﻃﺒﺎق‬
milk on a saucer and set it slowly
‫ ﺎﺑﺋﻊ اﻟﻠﱭ ﻣﻦ ))ﻫﺎﻧﻠﻮن(( ﻗﺪ ﻣﻸﻩ‬on the floor. ‫ وﺻﺐ‬،((‫ﺎﺑﺋﻊ اﳊﻠﻴﺐ ))ﻫﺎﻧﻠﻮن‬
(Joyce & Kiberd, 1992, p. 66)
‫ وﺻﺐ ﻟﺒﻨﺎ داﻓﺌﺎ ﺑﻔﻘﺎﻗﻴﻌﻪ ﰱ‬.‫ﻟﺘﻮﻩ‬ ‫ﺣﻠﻴﺒﺎ ﻣﺒﻘﺒﻘﺎ داﻓﺌﺎ ﰲ ﺻﺤﻦ وﺿﻌﻪ‬
‫ﺻﺤﻦ ﻓﻨﺠﺎن \ووﺿﻌﻪ\ ﺑﺒﻂء ﻋﻠﻰ‬ .‫ﺑﺒﻂء ﻋﻠﻰ اﻷرض‬
(Taha, 1994, p. 65) .‫اﻷرض‬ (Niazi, 2001, p. 24)
As can be seen from the example above, Taha uses nine wa in the passage before past simple
verbs (‫أﺧﺮج‬, ‫راﻗﺐ‬, ‫ﺻﺐ‬
َ ) and pronouns (‫ﻫﻲ‬, ‫ ;)ھﻤﺎ‬wa is used as an equivalent to the gerund
َ
/mewing/ via the use of wa followed by the pronoun ‫ ﻫﻲ‬and present simple verb ‫ﺗﻤﻮء‬, ‫وﻫﻰ ﲤﻮء‬
...‫)ﺑﻨﻮاح ﻃﻮﻳﻞ‬. In Taha’s translation, the use of wa before past simple verbs at the beginning of
paragraphs and between sentences links Bloom’s actions together in a coherent chain of events,
which does not parallel the rare use of connectors in the ST. In contrast, Niazi uses three wa;
the first one is used as an equivalent to and while the second is an equivalent to the gerund
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/mewing/ via the use of wa followed by the pronoun ‫ ﻫﻲ‬and present simple verb ‫( ;ﲤﻮء‬mewing
plaintively and long, ‫)وﻫﻲ ﲤﻮء ﺑﻜﺂﺑﺔ وﻃﻮﻳﻼ‬. As for the third wa, in the last sentence Niazi uses wa
before the past simple verb ‫ﺻﺐ‬/poured to link the two sentences together and to limit the use
of wa twice in the same sentence: poured warmbubbled milk on a saucer and set it slowly on
the floor. / .‫وﺻﺐ ﺣﻠﻴﺒﺎ ﻣﺒﻘﺒﻘﺎ داﻓﺌﺎ ﰲ ﺻﺤﻦ وﺿﻌﻪ ﺑﺒﻂء ﻋﻠﻰ اﻷرض‬
B. The Use of Kaana as an Equivalent to Past Tense Verbs

Table A8
‘Kaana/Kaana qad’ in Taha’s and Niazi’s Translation
Taha The ST Niazi
‫ ﻛﺎن ﻣﺴﱰ ﻟﻴﻮﺑﻠﺪ ﺑﻠﻮم ﻳﺴﺘﻄﻴﺐ أﺣﺸﺎء‬Mr Leopold Bloom ate ‫أﻛﻞ ))ﻟﻴﻮﺑﻠﺪ ﺑﻠﻮم(( ﺑﺸﻬﻴﺔ أﺣﺸﺎء‬
with relish the inner
‫ ﻓﻴﺆﺛﺮ اﻟﻜﺜﻴﻒ ﻣﻦ‬،‫ اﳊﻴﻮا�ت واﻟﻄﻴﻮر‬organs of beasts and ‫ ﻛﺎن ﳛﺐ ﺣﺴﺎء‬،‫اﳊﻴﻮا�ت واﻟﻄﻴﻮر‬
fowls. He liked thick
‫ ﻛﺎن‬. . . ،‫ ﺣﺴﺎء ﺣﻮاﺋﺞ اﻟﺪﺟﺎج واﻷرز‬giblet soup, … Most of all ‫ أﻛﺜﺮ ﻣﺎ ﻛﺎن ﳛﺐ‬. . . ،‫اﻟﻄﻴﻮر اﻟﺜﺨﲔ‬
he liked grilled mutton
kidneys which gave to his
‫أﺷﻬﻰ اﻷﻧﻮاع إﱃ ﻧﻔﺴﻪ ﻛﻼوى اﻟﻀﺄن‬ ‫ﻛﻠﻰ اﻟﻀﺄن اﳌﺸﻮﻳﺔ اﻟﱵ ﺗﻌﻄﻲ ﳊﺎﺳﺔ ذوﻗﻪ‬
palate a fine tang of
faintly scented urine. Mr
‫اﳌﺸﻮﻳﺔ اﻟﱵ ﻛﺎﻧﺖ ﺗﻜﺴﺐ ﻣﺬاﻗﻪ ﻧﻜﻬﺔ‬ .‫ﻧﻜﻬﺔ راﺋﻌﺔ ﻷﺛﺮ ﺧﻔﻴﻒ ﻣﻦ راﺋﺤﺔ اﻟﺒﻮل‬
Leopold Bloom ate with
relish the inner organs of
.‫ﻬﺑﺎ راﺋﺤﺔ ﺑﻮل ﺧﻔﻴﻔﺔ‬
beasts and fowls. He liked ‫أﻛﻞ ))ﻟﻴﻮﺑﻠﺪ ﺑﻠﻮم(( ﺑﺸﻬﻴﺔ أﺣﺸﺎء‬
thick giblet soup, … Most
‫ ﻛﺎن ﳛﺐ ﺣﺴﺎء‬،‫اﳊﻴﻮا�ت واﻟﻄﻴﻮر‬
‫ ﻛﺎن ﻣﺴﱰ ﻟﻴﻮﺑﻠﺪ ﺑﻠﻮم ﻳﺴﺘﻄﻴﺐ أﺣﺸﺎء‬of all he liked grilled
mutton kidneys which ‫ أﻛﺜﺮ ﻣﺎ ﻛﺎن ﳛﺐ‬. . . ،‫اﻟﻄﻴﻮر اﻟﺜﺨﲔ‬
‫ ﻓﻴﺆﺛﺮ اﻟﻜﺜﻴﻒ ﻣﻦ‬،‫اﳊﻴﻮا�ت واﻟﻄﻴﻮر‬
gave to his palate a fine
‫ﻛﻠﻰ اﻟﻀﺄن اﳌﺸﻮﻳﺔ اﻟﱵ ﺗﻌﻄﻲ ﳊﺎﺳﺔ‬
‫ ﻛﺎن‬. . . ،‫ ﺣﺴﺎء ﺣﻮاﺋﺞ اﻟﺪﺟﺎج واﻷرز‬tang of faintly scented
urine. ‫ذوﻗﻪ ﻧﻜﻬﺔ راﺋﻌﺔ ﻷﺛﺮ ﺧﻔﻴﻒ ﻣﻦ راﺋﺤﺔ‬
‫أﺷﻬﻰ اﻷﻧﻮاع إﱃ ﻧﻔﺴﻪ ﻛﻼوى اﻟﻀﺄن‬
(Joyce & Kiberd, 1992, p.
.‫اﻟﺒﻮل‬
65)
(Niazi, 2001, p. 123)
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‫اﳌﺸﻮﻳﺔ اﻟﱵ ﻛﺎﻧﺖ ﺗﻜﺴﺐ ﻣﺬاﻗﻪ ﻧﻜﻬﺔ ﻬﺑﺎ‬
.‫راﺋﺤﺔ ﺑﻮل ﺧﻔﻴﻔﺔ‬
(Taha, 1994, p. 64)
As can be seen from the example above, Taha starts the sentence with progressive past kaana
(Gadalla, 2017):\‫ \ﻛﺎن ﻳﺴﺘﻄﻴﺐ‬as an equivalent to the past simple verb /ate/ then he starts the
second sentence with the simple present verb ‫ ﻳﺆﺛﺮ‬preceded by the connector \‫\ف‬, \ ‫ ﻓﻴﺆﺛﺮ‬for he
liked. In the last two sentences, he uses distant past kaana (Gadalla, 2017): \ ‫\ﻛﺎن أﺷﻬﻰ اﻷﻧﻮاع إﱃ‬
\‫ \ﻧﻔﺴﻪ‬for most of all he liked/ and progressive past kaana (Gadalla, 2017): \‫ \ﻛﺎﻧﺖ ﺗﻜﺴﺐ‬for the
simple past verb gave. In contrast, Niazi starts the sentence with the simple past verb ‫ \اﻛﻞ‬then
with progressive past kaana‫\ﻛﺎن ﳛﺐ‬. In the third sentence, he starts with \‫\أﻛﺜﺮ ﻣﺎ ﻛﺎن ﳛﺐ‬, an
equivalent to /most of all he liked/ and in the last sentence he uses the simple present verb
\‫\ﺗﻌﻄﻲ‬for the simple past verb /gave/. Taha’s preference for distant past and progressive past
kaana does not parallel the free indirect style of Calypso by making the events of Bloom’s
narrative happen in the distant past and away from the present moment. This creates a gap
between the narrative voice and Bloom’s voice in his translation. On the other hand, Niazi’s
preference for simple past verbs and simple present verbs makes the narrative voice closer to
the present than the past, which blends the two voices of the free indirect style together as both
voices are expressing their thoughts using a similar language.
Statement of Quality
The analysis of the original ST, “Calypso,” and its two translations revealed a number of errors
in the dimension of Tenor, particularly the social attitude category. However, the overt errors
that were found in this category did not affect the interpersonal and ideational function of both
translations as they both adhered to the ST’s theme and style. Furthermore, the categories of
author’s stance, social role relationship, and participation were not changed in the translations.
In Mode, the translations maintained the allusive style of “Calypso” despite the errors that
occurred in the social attitude category. Although the cultural filter was applied by Taha, its use
remained at a minimal level as it was used moderately and rather sparingly. Therefore, both
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translations are considered overt translations because the translated texts adhered to the ST’s
style and culture.
Cultural References and Idiomatic Expressions in “Calypso”
A. Characters, Food, Shops, and Street Names
Table A9
Examples of Cultural References in Taha’s and Niazi’s Translations
(Joyce & Kebard, 1992, pp. 65– 123–141).
85).
1. ‫ ﻛﺎن ﻣﺴﱰ ﻟﻴﻮﺑﻠﺪ ﺑﻠﻮم ﻳﺴﺘﻄﻴﺐ‬Mr Leopold Bloom ate with ‫أﻛﻞ ))ﻟﻴﻮﺑﻠﺪ ﺑﻠﻮم(( ﺑﺸﻬﻴﺔ‬
relish the inner organs of beasts
‫ ﻓﻴﺆﺛﺮ‬،‫ أﺣﺸﺎء اﳊﻴﻮا�ت واﻟﻄﻴﻮر‬and fowls. He liked thick giblet ،‫أﺣﺸﺎء اﳊﻴﻮا�ت واﻟﻄﻴﻮر‬
‫ اﻟﻜﺜﻴﻒ ﻣﻦ ﺣﺴﺎء ﺣﻮاﺋﺞ اﻟﺪﺟﺎج‬soup, nutty gizzards, a stuffed ‫ﻛﺎن ﳛﺐ ﺣﺴﺎء اﻟﻄﻴﻮر‬
roast heart, liver slices fried with
،‫ واﻟﻘﻮاﻧﺺ )اﻟﻠﻮزﻳﺔ( واﳉﻠﻮزﻳﻪ‬،‫ واﻷرز‬crustcrumbs, fried hencods roes. ‫ واﻟﻘﻮاﻧﺺ ذات‬،‫اﻟﺜﺨﲔ‬
‫ ﻗﻄﻊ اﻟﻜﺒﺪ‬،‫( اﻟﻘﻠﺐ اﶈﻤﺮ اﶈﺸﻮ‬p. 65) ‫ واﻟﻘﻠﺐ‬،‫اﻟﻨﻜﻬﺔ اﻟﻠﻮزﻳﺔ‬
،‫اﳌﻘﻠﻴﺔ ﲟﺴﺤﻮق اﳋﺒﺰ اﶈﻤﺺ‬ ‫ وﺷﺮاﺋﺢ‬،‫اﳌﺸﻮي اﶈﺸﻮ‬
.‫وﺑﻄﺎرخ اﻟﺴﻤﻚ اﻟﺒﻜﻼة اﳌﻘﻠﻴﺔ‬ ‫اﻟﻜﺒﺪ اﳌﻘﻠﻴﺔ ﻣﻊ ﻟﺐ اﳋﺒﺰ‬
(p. 64) .‫ وﺑﻄﺎرخ اﻟﺴﻤﻚ‬،‫اﻟﻴﺎﺑﺲ‬
(p. 123)
2. ‫… وأﺧﺮج اﻟﺪورق اﻟﺬي ﻛﺎن ﺎﺑﺋﻊ اﻟﻠﱭ‬took the jugHanlon’s ‫ﺗﻨﺎول اﻟﻮﻋﺎء اﻟﺬي ﻣﻸﻩ ﻟﻠﺘﻮ‬
milkman had just filled for him,
.‫( ﻣﻦ ))ﻫﺎﻧﻠﻮن(( ﻗﺪ ﻣﻸﻩ ﻟﺘﻮﻩ‬p. 66) ،((‫ﺎﺑﺋﻊ اﳊﻠﻴﺐ ))ﻫﺎﻧﻠﻮن‬
(p. 65) (p. 124)
3. ‫ ﻟﻴﺲ ﻫﻮ اﻟﻴﻮم اﳌﻨﺎﺳﺐ ﻟﻜﻠﻴﺔ ﺿﺎﱐ‬not a good day either for a ‫اﳋﻤﻴﺲ ﻟﻴﺲ ﻳﻮﻣﺎ ﻣﻨﺎﺳﺒﺎ‬
mutton kidney at Buckley’s.
.((‫( ﻣﻦ ﻋﻨﺪ ))ﺑﻜﻠﻰ‬p. 66) ‫أﻳﻀﺎ ﻟﻜﻠﻴﺔ ﺿﺄن ﻣﻦ ﻣﻄﻌﻢ‬
(p. 65) (p. 124) .((‫))ﺑﻜﻠﻲ‬
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4. ‫ ﻛﺎﻧﺖ اﻟﺸﻤﺲ ﺗﻘﱰب ﻣﻦ ﺑﺮج ﻛﻨﻴﺴﺔ‬The sun was nearing the steeple ‫ﻛﺎﻧﺖ اﻟﺸﻤﺲ ﺗﻘﱰب ﻣﻦ‬
of Georges church. .‫ﺑﺮج ﻛﻨﻴﺴﺔ اﻟﻘﺪﻳﺲ ﺟﻮرج‬
.‫ﺟﻮرج‬ Boland’s breadvan delivering ‫ﻋﺮﺑﺔ ﺧﺒﺰ ))ﺑﻮﻻﻧﺪ(( ﺗﻮزع‬
�‫ ﻋﺮﺑﺔ اﳋﺒﺰ اﻟﺘﺎﺑﻌﺔ ﻟﺒﻮﻻﻧﺪ ﺗﻮزع ﺧﺒﺰ‬with trays our daily… ‫ﺎﺑﻟﺼﻮاﱐ ﺧﺒﺰ� اﻟﻴﻮﻣﻲ‬
(p. 67–68) (p. 126)
(p. 66) ‫اﻟﻴﻮﻣﻰ‬
5. ‫ ﺑﺸﻮارب ﻛﺸﻮارب ﺗﻮﻳﺪي اﻟﻌﺠﻮز‬old Tweedy’s big moustaches ‫ﺷﺎرﺎﺑ ))ﺗﻮﻳﺪي(( اﻟﻌﺠﻮز‬
big man, Turko the terrible, ‫ رﺟﻞ ﺿﺨﻢ‬،‫اﻟﻜﺒﲑان‬
‫ ﳚﻠﺲ‬.‫ اﻟﱰﻛﻲ اﳌﺮﻋﺐ‬،‫ رﺟﻞ ﺿﺨﻢ‬seated crosslegged smoking a
‫))ﺗﺮﻛﻲ(( اﳌﺮﻋﺐ ﳚﻠﺲ‬
.‫ ﻣﱰﺑﻌﺎ ﻳﺪﺧﻦ ﻧﺮﺟﻴﻠﺔ‬coiled pipe. ،‫ ﻳﺪﺧﻦ �رﺟﻴﻠﺔ‬،‫ﻣﱰﺑﻌﺎ‬
(p. 68) (p. 126)
(p. 66)
6. .‫ ﻟﻮن رﺑﻄﺔ ﺳﺎق ﻣﻮﻟﻠﻰ‬colour of Molly’s new garters. ((‫ﻟﻮن رﺑﻄﺔ ﺳﺎق ))ﻣﻮﱄ‬
(p. 68) (p. 126) .‫اﳉﺪﻳﺪة‬
(p. 66)
In example 1, Taha keeps the word Mr\‫ ﻣﺴﱰ‬in his translation while Niazi prefers to drop it even
though it makes Bloom’s name sound more foreign. Moreover, both translators use brackets to
refer to the foreign name of a character in Example 2: “Hanlon\ ((‫“))ﻫﺎﻧﻠﻮن‬. Most of the examples
in table A9 (see appendix) show that Taha prefers to keep the names of characters and shops
without brackets while Niazi prefers to keep them. The use of brackets in Niazi’s translation
serves as a constant reminder of the foreign names in “Calypso” which maximizes the
foreignizing effect in his translation (Venuti, 2008). Thus, both translators use different
foreignizing strategies when dealing with foreign names as shown in the examples above.
Table A9
Ulysses, “Calypso” Taha Niazi
1. staring at the hanks of ،‫ﳛﺪق ﰱ ﻟﻔﺎت اﻟﺴﺠﻖ واﳌﻤﺒﺎر‬
‫ﳏﺪﻗﺎ ﰲ أﻛﻮام اﻟﻨﻘﺎﻧﻖ واﻟﻨﻘﺎﻧﻖ‬
sausages, polonies, .‫اﳉﺎﻓﺔ اﳌﻄﺒﻮﺧﺔ ﻗﻠﻴﻼ‬
Strategy: Strategy:
Domestication Foreignization
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2. Moisel told me. Arbutus ‫ﺳﺎﺣﺔ‬ .‫ﻣﻮﻳﺰﻳﻞ‬ ‫ﱄ‬ ‫ ﺷﺎرع ﻗﺎل‬.((‫أﺧﱪﱐ ﺑﺬﻟﻚ ))ﻣﻮﻳﺰل‬
place: Pleasants street:
.‫ ﺷﺎرع ﻣﺴﺮة‬:‫أرﺑﻮﺗﻮس‬ ‫ وﺷﺎرع ﺑﻠﺰﻧﺖ‬:((‫))أرﺑﻮﺗﺲ‬
Strategy: Strategy:
3. Towers, Battersby, North, ‫ ﻣﺎك‬،‫ ﻧﻮرث‬،‫ ﺎﺑﺗﺮزﰉ‬،‫ ﺎﺗورز‬،((‫ ))ﺎﺗورز‬:‫أرﺑﻌﺔ دﻻﱄ ﺑﻴﻮت‬
MacArthur:
:‫ ))ﻣﺎك آرﺛﺮ‬،((‫ ))ﻧﻮرث‬،((‫))ﺎﺑﺗﺮﺳﱯ‬
Strategy:
:((‫آرﺛﺮ‬
Foreignization Strategy:
Foreignization
4. Row with her in the XL Café ‫ﻣﺸﺎدة ﻣﻌﻬﺎ ﰲ ﻣﻘﻬﻰ اﳌﺮﻃﺒﺎت ﻣﺸﺎدة ﻣﻌﻬﺎ ﰱ اﻟﻘﻬﻮة ﻣﻦ أﺟﻞ‬
about the bracelet
.‫ﺳﻮارﻫﺎ‬ .‫ﻣﻦ أﺟﻞ اﻟﺴﻮار‬
Strategy: Strategy:
Domestication Domestication
5. an old number of Titbits. ‫ﻋﺪدا ﻗﺪﳝﺎ ﻣﻦ ﳎﻠﺔ ﻣﻘﺘﻄﻔﺎت‬ ‫ﻋﺪدا ﻗﺪﳝﺎ ﻣﻦ ﳎﻠﺔ‬
((Titbits)).
Strategy: Strategy:
There are 4 cases of domestication in Taha’s translation in Examples 1, 2, 4, and 5. He uses:

- ‫ ﳑﺒﺎر‬for polonies
- ‫ ﺷﺎرع ﻣﺴﺮة‬for Pleasants street
- ‫ اﻟﻘﻬﻮة‬for XL Café
- and \‫ ﳎﻠﺔ ﻣﻘﺘﻄﻔﺎت‬for Titbits.
Since most of the shops, merchants, streets and building names in “Calypso” are real places in
Dublin (Gifford & Siedman, 1988), any changes in these names will reduce the foreignizing
effect in the chapter, such as the domesticated familiar names Taha uses in the above examples.
In contrast, Niazi keeps the names unchanged; he explains the meaning of /polonies/ in Example
1 instead of using a familiar equivalent: ‫واﻟﻨﻘﺎﻧﻖ اﳉﺎﻓﺔ اﳌﻄﺒﻮﺧﺔ ﻗﻠﻴﻼ‬. Moreover, he uses\‫\ﺷﺎرع ﺑﻠﺰﻧﺖ‬for
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Pleasants street and ‫(( ﳎﻠﺔ‬Titbits)) for Titbits. In Example 3, however, he explains the name of
the café rather than keeping the original name XL Café\‫ﻣﻘﻬﻰ اﳌﺮﻃﺒﺎت‬. In Example 4, even though
he keeps the original names unchanged, he adds an additional piece of information to

familiarize the Arabic reader with the source text’s foreign names, which results in a minor case
of domestication: /Towers, Battersby, North, MacArthur/ ,((‫ ))ﺎﺑﺗﺮﺳﱯ‬,((‫ ))ﺎﺗورز‬:‫أرﺑﻌﺔ دﻻﱄ ﺑﻴﻮت‬
:((‫ ))ﻣﺎك آرﺛﺮ‬,((‫))ﻧﻮرث‬whereas Taha keeps the names unchanged without any additional notes:
Towers, Battersby, North, MacArthur/ ‫ ﻣﺎك آرﺛﺮ‬,‫ ﻧﻮرث‬,‫ ﺎﺑﺗﺮزﰉ‬,‫ﺎﺗورز‬.
B. Culture-Specific Words and Expressions in “Calypso”

Table A9
1. the orange-keyed chamberpot. ‫ﻣﺒﻮﻟﺔ ﻓﺨﺎرﻳﺔ ﻣﺰﺧﺮﻓﺔ ﺑﺰﺧﺮﻓﺎت ﻗﺼﺮﻳﺔ ﺣﺠﺮة اﻟﻨﻮم ذات اﳊﻠﻴﺔ‬
.‫اﻟﱪﺗﻘﺎﻟﻴﺔ‬ .‫ﻫﻨﺪﺳﻴﺔ‬
Strategy: Strategy:
2. Music hall stage. .‫ﻛﻮﻣﺒﺎرس ﰱ ﻣﻠﻬﻰ‬ .‫ﻣﺴﺮح ﲤﺜﻴﻠﻴﺎت ﻣﻮﺳﻴﻘﻴﺔ‬
Strategy: Strategy:
3. August bank holiday, ‫ﻋﻄﻠﺔ ﺷﻬﺮ أوﻏﺴﻄﺲ \ ﻋﻄﻠﺔ أﻏﺴﻄﺲ ﻟﻠﺒﻨﻮك‬
Strategy:
،‫آب‬
Foreignization
Strategy:
Foreignization
4. The king was in his . . . ‫اﳌﻠﻚ ﰱ ﺑﻴﺖ اﳌﺎل‬ .‫اﳌﻠﻚ ﻛﺎن ﰲ ﻣﻜﺘﺐ اﶈﺎﺳﺒﺔ‬
countinghouse.
Strategy: Strategy:
5. Say they won’t eat pork. Kosher. ‫ﻳﻘﻮﻟﻮن إ�ﺎ ﻻ ﺄﺗﻛﻞ ﳊﻢ ﻳﻘﻮﻟﻮن إ�ﻢ ﻻ �ﻛﻠﻮن ﳊﻢ‬
.‫ ﻛﻮﺷﺮ‬.‫ اﳋﻨﺎزﻳﺮ‬،‫ ﳊﻢ ﻣﺒﺎح ﺷﺮﻋﺎ‬.‫اﳋﻨﺰﻳﺮ‬
Strategy: Strategy:
Foreignization Domestication
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In Example 3, both translators keep the phrase /August bank holiday/ unchanged in their
translation. The only difference is that Taha mentions the word bank ‫ﻋﻄﻠﺔ أﻏﺴﻄﺲ ﻟﻠﺒﻨﻮك‬, whereas
Niazi drops it ‫ ﻋﻄﻠﺔ ﺷﻬﺮ أوﻏﺴﻄﺲ\آب‬and prefers to mention both names of the month August in
Arabic. In Examples 1, 2, and 4, Taha uses domesticated, familiar Arabic equivalents to culture-
specific words and expressions:
‫ ﻗﺼﺮﻳﺔ‬for chamberpot
‫ ﻛﻮﻣﺒﺎرس ﰲ ﻣﻠﻬﻰ‬for music hall stage
and ‫ اﳌﻠﻚ ﰲ ﺑﻴﺖ اﳌﺎل‬for the king was in his countinghouse.
‫\ﻗﺼﺮﻳﺔ‬qsryh is an equivalent of the English word potty, it is mainly used in the Egyptian dialect
to refer to babies’ potty training, which is different than chamber pots that were still in use in
the early twentieth century by both adults and babies (1900s.org.uk, n. d.). Similarly, Taha uses
the phrase‫ ﻛﻮﻣﺒﺎرس ﰲ ﻣﻠﻬﻰ‬as an equivalent for /music hall stage/ to capture the derogatory tone
in Blooms phrase (Gifford & Seidman, 1988); however, the Arabic phrase is more derogatory
than the English one, which means “a type of theatre entertainment in the 1800s and 1900s that
included music, dancing, and jokes…” (Cambridge Dictionary, n.d.). Furthermore, Taha’s use
of the phrase ‫\ﺑﻴﺖ اﳌﺎل‬treasury as an equivalent for countinghouse has completely changed the
sentence from a line taken from a nursery rhyme (Gifford & Seidman, 1988) to a sentence with
a different historical and cultural dimension that is specific to Islamic history. Thus, the
domesticated words and phrases Taha uses in the above examples have different meanings and
connotations than the ST, which result in a loss of the foreign content due to their replacement
with culturally-familiar words and phrases. In contrast, Niazi uses MSA words and phrases that
are neutral to keep the culture-specific words and phrases as unchanged as possible:
- ‫ ﻣﺒﻮﻟﺔ‬for chamberpot
- ‫ ﻣﺴﺮح ﲤﺜﻴﻠﻴﺎت ﻣﻮﺳﻴﻘﻴﺔ‬for music hall stage.
- and ‫ اﳌﻠﻚ ﻛﺎن ﰲ ﻣﻜﺘﺐ اﶈﺎﺳﺒﺔ‬for the king was in his countinghouse.
In Example 5, however, he explains the meaning of kosher rather than keeping the foreign
name; ‫ﳊﻢ ﻣﺒﺎح ﺷﺮﻋﺎ‬, whereas Taha keeps the name in his translation ‫ﻛﻮﺷﺮ‬.
C. Metaphors, Similes and Idioms in “Calypso”

In dealing with metaphors, similes, and idiomatic expressions in, the translators choose between
two strategies: (1) translate the expressions as literally as possible to preserve the foreign
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content of the source text (foreignizing strategy); and (2) replace the ST expressions with a
familiar target language expression to reduce the ambiguity of the foreign ST expressions
(domesticating strategy). Both strategies are used in the two translations as shown in Table A10:
Table A10
Examples of Metaphors, Similes, and Idioms

،‫ورﺳﺎ ﻋﻠﻴﻪ اﳌﺰاد ﺑﺴﺮﻋﺔ‬- ‫ )ﻓﺘﺤﺔ ﻋﻠﻰ‬.‫ﺑﻘﺮﻋﺔ واﺣﺪة ﺻﻐﲑة‬
1. Got a short knock. –(‫اﻟﻘﺎف وﺳﻜﻮن ﻋﻠﻰ اﻟﺮاء‬
Type: idiomatic expression Strategy:
Strategy:
Domestication
Foreignization
2. Hard as nails at a bargain, old
Tweedy.
‫))ﺗﻮﻳﺪي(( اﻟﻌﺠﻮز ﺣﺎد ﰲ‬
،‫ﺻﻠﺐ ﻛﺎﳊﺪﻳﺪ ﰱ أى ﺻﻔﻘﺔ‬
- .‫اﳌﺴﺎوﻣﺔ‬
Type: simile
.‫ﺗﻮﻳﺪى اﻟﻌﺠﻮز‬
Strategy:
Strategy:
Domestication
Domestication
Niazi translates the idiomatic expression short knock/ ‫ ﺑﻘﺮﻋﺔ واﺣﺪة ﺻﻐﲑة‬literally and explains its
meaning in the endnote section later whereas Taha explains the meaning of short knock/ ‫رﺳﺎ‬
‫ ﻋﻠﻴﻪ اﳌﺰاد ﺑﺴﺮﻋﺔ‬since there is no equivalent in Arabic for such an expression. This results in a
justifiable case of domestication. In example 2, Taha replaces the source text simile with a
familiar one in Arabic: Hard as nails at a bargain, old Tweedy/ ‫ ﺗﻮﻳﺪى‬,‫ﺻﻠﺐ ﻛﺎﳊﺪﻳﺪ ﰱ أى ﺻﻔﻘﺔ‬
,.‫ اﻟﻌﺠﻮز‬which results in a minor case of domestication, unlike Niazi, who prefers to explain the
meaning of the source text simile rather than keeping it in his translation: Hard as nails at a
bargain, old Tweedy/‫ ))ﺗﻮﻳﺪي(( اﻟﻌﺠﻮز ﺣﺎد ﰲ اﳌﺴﺎوﻣﺔ‬which results in a loss of the original simile.
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Table A10
Examples of Metaphors, Similes, and Idioms

‫وﺑﺪأت اﻟﺸﻴﺨﻮﺧﺔ ﺗﻠﻔﻪ‬- ‫ﺷﻴﺨﻮﺧﺔ ﻟﻔﺘﻪ ﺑﻌﺒﺎءة ﻣﻠﺢ‬-
1. age crusting him with a salt
cloak.
.‫ﻛﺎﻟﻘﺸﺮة ﺑﻌﺒﺎءة ﻣﻦ اﳌﻠﺢ‬
‫ﺣﺴﻦ‬
Strategy:
Type: metaphor Foreignization
Strategy:
‫ﻳﺒﺪو أﻧﲎ ﻏﺎدرت اﻟﺴﺮﻳﺮ ﻣﻦ‬-
Foreignization
2. Got up wrong side of the bed. .‫اﻟﻨﺎﺣﻴﺔ اﳋﻄﺄ‬
Type: idiomatic expression Strategy: .‫إﻧﲏ ﻣﺘﻮﻋﻚ اﳌﺰاج ﻫﺬا اﻟﻴﻮم‬
Foreignization Strategy:
Domestication
Both translators are aware of the biblical allusion (Gifford & Seidman, 1988) in the metaphor
above which explains why both of them translate the metaphor literally; however, each
translator uses a different foreignizing strategy. Taha prefers to transform the ST metaphor into
a simile in Arabic to ensure that the meaning of the ST metaphor is fully understood: age
crusting him with a salt cloak/ ‫وﺑﺪأت اﻟﺸﻴﺨﻮﺧﺔ ﺗﻠﻔﻪ ﻛﺎﻟﻘﺸﺮة ﺑﻌﺒﺎءة ﻣﻦ اﳌﻠﺢ‬. Niazi, on the other hand,
prefers to keep the ST metaphor in Arabic, yet he changes two things in it. First, he omits the
present participle crusting. Secondly, he adds an adjective to the metaphor: /age crusting him
with a salt cloak/(‫ﺷﻴﺨﻮﺧﺔ ﻟﻔﺘﻪ ﺑﻌﺒﺎءة )ﻣﻠﺢ ﺣﺴﻦ‬. In the second example, Taha translates the idiomatic
expression literally while Niazi changes the ST idiom into a non-idiomatic phrase to explain
the meaning of it: /Got up wrong side of the bed/, (T):‫ ﻳﺒﺪو أﻧﲎ ﻏﺎدرت اﻟﺴﺮﻳﺮ ﻣﻦ اﻟﻨﺎﺣﻴﺔ اﳋﻄﺄ‬/ (N):
‫إﻧﲏ ﻣﺘﻮﻋﻚ اﳌﺰاج ﻫﺬا اﻟﻴﻮم‬.
Findings of the Study

Based on the analysis sections, we can make the following findings:
1. Even though both translations of ‘Calypso’ are ‘overt translations’ (foreignizing)
translations, some of the translators’ lexical and syntactic choices does not reflect
the chapter’s informal register. Lexical differences are of four types whereas
syntactic differences are of two:
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a. The use of formal Arabic words that is incompatible with the register of the
original text.
b. The use of archaic Arabic words as equivalents to lexical items in “Calypso.”
c. The use of colloquial Arabic words as equivalents to lexical items in
“Calypso”.
d. The use of borrowed words as equivalents to lexical items in “Calypso.”
2. Syntactic differences are divided into two types: (e) frequent use of wa + simple
past verbs and (f) the use of kaana as an equivalent to past tense verbs.
3. Lexical choices (a) and (b) in Taha’s and Niazi’s translations changes the ‘style
level’ of “Calypso” from informal, casual style to a more formal style whereas
Taha’s lexical choices in (c) gives the narrative and the interior monologue of
Bloom a familiar Egyptian tone rather than a foreign one. In (d), Taha prefers to
use common borrowed words in “Calypso” to fill in lexical gaps while Niazi prefers
MSA instead.
4. Both syntactic differences in (e) and (f) are found in Taha’s translation. The
frequent use of wa leads to a more coherent chain of events which does not parallel
the lack of connecters in the original text while the use of kaana does not reflect the
free indirect style in “Calypso” through the use of distant past and progressive past
forms of kaana which separates the narrator’s voice from Bloom’s in Taha’s
translation.
5. The use of domestication strategies in the translation of cultural references,
metaphors, similes and idiomatic expressions takes away some of the foreignness
of the original text. However, these domestication strategies were mostly minor and
justified given the complexity of the cultural references and culture-specific
expressions in “Calypso”.
6. Both translators seek to preserve the foreignness of the source text, yet in different
ways. Taha prefers to use common borrowed words in Arabic which are foreign yet
known to most Arabic readers. By doing so, he preserves the informal language of
Bloom in the translation. Niazi, on the other hand, seeks to preserve the initial style
of Joyce by capturing the two voices of Bloom and the third-person narrator. This
is achieved through the repetition of some words in the monologues of Bloom.
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Conclusion
The aim of the paper is to explore the translators’ lexical and syntactic choices via the use of
House translation quality assessment model (2015). Special emphasis is given to the social
attitude category in the Register category of Tenor to analyze whether the translators’ lexical
and syntactic choices correspond with the register and the style level of the original text or not.
The study also aims at exploring the translators’ choices in rendering the cultural references
and the metaphors, similes and idiomatic expressions in “Calypso” through the use of Venuti’s
domesticating and foreignizing strategies. Thus, both sections, are based on an analytical
comparison between Taha’s and Niazi’s lexical and syntactic choices as well as their choices
in rendering the culture-specific references and expressions into Arabic and Joyce’s original
text, Calypso. The study findings show that even though both Arabic translations of “Calypso”
are overt/ foreignizing translations, the translators use formal and archaic Arabic words that do
not reflect the original informal register of the chapter. In addition to using formal and archaic
words in both translations, Taha prefers to use colloquial and borrowed words while Niazi
prefers MSA. The use of colloquial words in Taha’s translation adds an Egyptian flavor to the
text and takes away the foreignness of the original text whereas the use of common borrowed
words contributes to a familiar, natural Arabic sentences. Similarly, the frequent use of wa and
kaana in Taha’s translation does not reflect the free indirect style in the ST. In rendering the
cultural references and culture-specific expressions, both translators use foreignizing strategies
as well as domesticating strategies which are mostly minor and justified cases of domestication
in both translations.
Finally, further research needs to be done on the Arabic translations of Ulysses especially the
translation of Niazi as it is the most modern translation of Ulysses in the Arab world.
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:‫واﻗﻊ اﻟﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ ﺎﺑﻟﺒﻠﺪان اﻟﻌﺮﺑﻴﺔ وﺳﺒﻞ اﺳﺘﻠﻬﺎم اﻟﺘﺠﺮﺑﺔ اﻟﱰﲨﻴﺔ اﻟﱰاﺛﻴﺔ‬
‫ ﻣﺪرﺳﺔ اﳌﻠﻚ ﻓﻬﺪ اﻟﻌﻠﻴﺎ ﻟﻠﱰﲨﺔ ﻃﻨﺠﺔ‬،‫ﻫﻨﺪ ﺑﻦ ﳏﺠﻮب‬
‫ اﳌﻐﺮب‬،‫ﺟﺎﻣﻌﺔ ﻋﺒﺪ اﳌﺎﻟﻚ اﻟﺴﻌﺪي ﺗﻄﻮان‬

Abstract
This research paper attempts to identify the problems of translation evaluation in
the Arab world in the total absence of institutions concerned with monitoring both
volume and quality of translation outputs and inputs, also assessing and criticizing
it after publication. Hence, the translation world is full of issues when accessed by
translators, qualified and less qualified specialists in this field. This research
attempts to depict reality of translation evaluation in the Arab world and to propose
an action plan to renew the vision towards producing translations arising to the
history of pioneering Arabic translation and inspired from Al-Kindi's experience in
the translation circle he directed at the House of Wisdom. This episode, among
others, evaluates, assesses, and revises the act of translation after its occurrence. It
is Under Al-Kindi's supervision that helped select translations serving science
advancement and the renewal of human thought and promoting the translation
industry and seeking its development. These cycles represent a school gate for
Western researchers and students who utilize it in drafting modern translation
theories. Furthermore, this research paper tries to look for ways to invest in this
unique translation legacy and serving this paramount phase in transferring
knowledge and science. A post translation phase wherein reformulating, and
editing are taking place. Thus, revised translation is the unique way to stimulate
intercultural communication through updated and revisited texts that transfer
revised and meaningful knowledge regarding the target audience’s culture and
language structure.
‫ﳛﺎول اﻟﺒﺤﺚ اﻟﻮﻗﻮف ﻋﻠﻰ ﻣﺸﺎﻛﻞ ﺗﻘﻴﻴﻢ اﻟﱰﲨﺔ ﰲ اﻟﻮﻃﻦ اﻟﻌﺮﰊ اﻟﻨﺎﲡﺔ ﻋﻦ ﻏﻴﺎب ﺷﺒﻪ ﺎﺗم ﳌﺆﺳﺴﺎت ﺗﻌﲎ ﲟﺮاﻗﺒﺔ‬
‫ ﻣﺸﺎﻛﻞ ﻳﻌﺞ ﻬﺑﺎ ﻋﺎﱂ اﻟﱰﲨﺔ اﻟﺬي‬،‫ ﺑﻠﻪ ﺗﻘﻴﻴﻤﻬﺎ وﻧﻘﺪﻫﺎ ﺑﻌﺪ ﻧﺸﺮﻫﺎ‬،‫ﺣﺠﻢ ﳐﺮﺟﺎت اﻟﱰﲨﺔ وﻣﺪﺧﻼﻬﺗﺎ ﻛﻤﺎ وﻛﻴﻔﺎ‬
‫ وﳛﺎول اﻟﺒﺤﺚ رﺻﺪ ﺻﻮرة ﻟﻮاﻗﻊ ﺗﻘﻴﻴﻢ‬.‫ﻳﻠﺠﻪ اﳌﱰﲨﻮن وذوو اﻻﺧﺘﺼﺎص وﻏﲑﻫﻢ ﳑﻦ ﳍﻢ اﻟﻜﻔﺎءة أو ﳑﻦ ﺗﻌﻮزﻫﻢ‬
‫ واﻗﱰاح ﺧﻄﺔ ﻋﻤﻞ ﻟﺘﺠﺪﻳﺪ اﻟﺮؤﻳﺔ ﳓﻮ إﻧﺘﺎج ﺗﺮﲨﻲ ﻳﺮﻗﻰ إﱃ ﺎﺗرﻳﺦ اﻟﱰﲨﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺮاﺋﺪة‬،‫اﻟﱰﲨﺔ ﰲ اﻟﻮﻃﻦ اﻟﻌﺮﰊ‬
‫ ﻫﺬﻩ اﳊﻠﻘﺔ ﺿﻤﻦ اﳊﻠﻘﺎت اﻷﺧﺮى ﻋﻤﻠﺖ‬،‫ﺎﺑﺳﺘﻠﻬﺎم ﲡﺮﺑﺔ اﻟﻜﻨﺪي ﰲ ﺣﻠﻘﺔ اﻟﱰﲨﺔ اﻟﱵ ﻛﺎن ﻳﺮأﺳﻬﺎ ﺑﺒﻴﺖ اﳊﻜﻤﺔ‬
‫ وﺳﺎﳘﺖ ﺈﺑﺷﺮاف اﻟﻜﻨﺪي ﻋﻠﻰ اﺧﺘﻴﺎر‬،‫ وﺗﻘﻮﳝﻪ ﺑﺘﻨﻘﻴﺤﻪ وﺗﺼﻮﻳﺒﻪ ﺑﻌﺪ إﳒﺎزﻩ‬،‫ﻋﻠﻰ ﺗﻘﻴﻴﻢ ﻓﻌﻞ اﻟﱰﲨﺔ ﺑﻌﺪ ﺣﺪوﺛﻪ‬
‫ ﺣﻠﻘﺎت ﺷﻜﻠﺖ‬،‫ وارﺗﻘﺖ ﺑﺼﻨﺎﻋﺔ اﻟﱰﲨﺔ وﺳﻌﺖ إﱃ ﺗﻄﻮﻳﺮﻫﺎ‬،‫ﺗﺮﲨﺎت ﲣﺪم ﺗﻘﺪم اﻟﻌﻠﻮم وﲡﺪد اﻟﻔﻜﺮ اﻹﻧﺴﺎﱐ‬
‫ وﳛﺎول اﻟﺒﺤﺚ ﻛﺬﻟﻚ‬.‫ﻣﺪرﺳﺔ ﻟﻠﺒﺎﺣﺜﲔ واﻟﺪارﺳﲔ اﻟﻐﺮﺑﻴﲔ اﻟﺬﻳﻦ أﻓﺎدوا ﻣﻨﻬﺎ ﰲ ﺻﻴﺎﻏﺔ ﻧﻈﺮ�ت اﻟﱰﲨﺔ اﳊﺪﻳﺜﺔ‬
ISSN: 2295-1210 94 © ATI & Garant

‫‪Dragoman Journal of Translation Studies‬‬ ‫‪ATI & Garant-Uitgevers nv, Belgium‬‬
‫‪Volume 12, Issue 13, May 2022‬‬ ‫‪https://www.dragoman-journal.org‬‬ ‫‪Hind bin Mahjoub‬‬
‫اﻟﻨﻈﺮ ﰲ ﺳﺒﻞ اﺳﺘﺜﻤﺎر ﻫﺬﻩ اﻟﺘﺠﺮﺑﺔ اﻟﱰﲨﻴﺔ اﻟﱰاﺛﻴﺔ اﻟﻔﺮﻳﺪة ﳋﺪﻣﺔ أﻫﻢ ﺣﻠﻘﺔ ﻣﻦ ﺣﻠﻘﺎت ﻧﻘﻞ اﻟﻌﻠﻮم واﳌﻌﺎرف‪ ،‬ﺣﻠﻘﺔ‬
‫ﻣﺎ ﺑﻌﺪ اﻟﱰﲨﺔ‪ ،‬وإﻋﺎدة ﺑﻠﻮرة ﺻﻴﻐﻬﺎ وأﺳﺎﻟﻴﺒﻬﺎ ﻋﻠﻰ أرض اﻟﻮاﻗﻊ؛ ﻷن ﻧﺘﺎج اﻟﱰﲨﺔ اﳌﻨﻘﺤﺔ ﻫﻮ اﻟﺴﺒﻴﻞ اﻟﻮﺣﻴﺪ ﻟﺘﻔﻌﻴﻞ‬
‫ﺗﻼﻗﺢ ﻣﻦ ﺧﻼﳍﺎ وﺗﻮاﺻﻞ ﻋﱪ ﻧﺼﻮص ﲢﻴﺎ وﺗﺘﺠﺪد ﲟﺎ ﺗﻨﻘﻠﻪ ﻣﻦ ﻣﻌﺮﻓﺔ ﳏﻘﻘﺔ ﻣﻨﻘﺤﺔ ﺳﻠﻴﻤﺔ ﻣﻌﲎ‪ ،‬وﻣﺼﺎﻏﺔ ﲟﺎ ﻳﻼﺋﻢ‬
‫اﻟﺜﻘﺎﻓﺔ اﳌﺴﺘﻘﺒﻠﺔ وﻟﻐﺘﻬﺎ ﻣﺒﲎ‪.‬‬
‫________________________________________________________‬
‫‪Keywords: Translation - evaluation - the Arab world - Al-Kindi - the House of Wisdom - the‬‬
‫‪cycle of translation‬‬
‫اﻟﱰﲨﺔ ‪ -‬اﻟﺘﻘﻴﻴﻢ ‪ -‬اﻟﻮﻃﻦ اﻟﻌﺮﰊ ‪ -‬اﻟﻜﻨﺪي‪ -‬ﺑﻴﺖ اﳊﻜﻤﺔ ‪ -‬ﺣﻠﻘﺎت اﻟﱰﲨﺔ‪.‬‬
‫‪Short Bio‬‬
‫‪Hind bin Mahjoub.‬‬
‫أﺳﺘﺎذة اﻟﺘﻌﻠﻴﻢ اﻟﻌﺎﱄ‪ ،‬ﲟﺪرﺳﺔ اﳌﻠﻚ ﻓﻬﺪ اﻟﻌﻠﻴﺎ ﻟﻠﱰﲨﺔ ﻃﻨﺠﺔ‪ ،‬ﺟﺎﻣﻌﺔ ﻋﺒﺪ اﳌﺎﻟﻚ اﻟﺴﻌﺪي‪،‬ﺗﻄﻮان‪ ،‬اﳌﻐﺮب‪ .‬ورﺋﻴﺴﺔ‬
‫وﺣﺪة اﻟﱰﲨﺔ ﺎﺑﳌﻌﻬﺪ اﻟﻌﺎﳌﻲ ﻟﻠﺘﺠﺪﻳﺪ اﻟﻌﺮﰊ وﻋﻀﻮ ﺎﺑﳍﻴﺌﺔ اﻟﺘﺄﺳﻴﺴﻴﺔ ﻟﻠﻤﻌﻬﺪ ﻣﻨﺬ ﻣﺎرس ‪ .2020‬ﺗﺪرس ﻣﻨﺬ‬
‫‪ 2016‬اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﲟﺎﺟﺴﺘﲑ اﻟﱰﲨﺔ اﻟﺘﺤﺮﻳﺮﻳﺔ‪ :‬ﻋﺮﺑﻴﺔ ‪-‬إﺳﺒﺎﻧﻴﺔ ‪-‬ﻓﺮﻧﺴﻴﺔ‪ ،‬وﻣﺎﺟﺴﺘﲑ اﻟﱰﲨﺔ اﻟﻔﻮرﻳﺔ‪ :‬ﻋﺮﺑﻴﺔ‪ -‬إﳒﻠﻴﺰﻳﺔ‬
‫– ﻓﺮﻧﺴﻴﺔ‪ ،‬ﺎﺑﻹﺿﺎﻓﺔ إﱃ ﺗﺪرﻳﺲ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﻟﻠﻨﺎﻃﻘﲔ ﺑﻐﲑﻫﺎ ﺿﻤﻦ ﺑﺮ�ﻣﺞ ‪ -Erasmus‬ﲜﺎﻣﻌﺎت أوروﺑﻴﺔ‪.‬‬
‫ﻣﺘﺨﺼﺼﺔ ﰲ ﲢﻘﻴﻖ اﻟﻨﺼﻮص اﻟﱰاﺛﻴﺔ اﳌﺨﻄﻮﻃﺔ اﻟﻌﺮﺑﻴﺔ‪ ،‬وﺣﺎﺻﻠﺔ ﻋﻠﻰ دﻛﺘﻮراﻩ ﰲ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ وآداﻬﺑﺎ‪ ،‬ﻣﻦ ﺟﺎﻣﻌﺔ‬
‫ﳏﻤﺪ اﳋﺎﻣﺲ‪ ،‬ﻛﻠﻴﺔ اﻵداب واﻟﻌﻠﻮم اﻹﻧﺴﺎﻧﻴﺔ‪ ،‬أﻛﺪال‪ ،‬اﻟﺮﺎﺑط‪ ،‬ﻣﻨﺬ دﺟﻨﱪ ‪ .2010‬ﻋﻀﻮ ﳐﺘﱪ اﻟﺒﺤﺚ ﰲ اﻟﱰﲨﺔ‬
‫واﻹﻋﻼم واﻟﺘﻮاﺻﻞ ﺑﲔ اﻟﺜﻘﺎﻓﺎت‪ ،‬ﲟﺪرﺳﺔ اﳌﻠﻚ ﻓﻬﺪ اﻟﻌﻠﻴﺎ ﻟﻠﱰﲨﺔ‪ ،‬وﳎﻤﻮﻋﺔ اﻟﺒﺤﺚ‪ :‬ﰲ اﻟﺘﺎرﻳﺦ واﻟﱰاث واﺠﻤﻟﺘﻤﻊ‬
‫ﺑﻨﻔﺲ اﳉﺎﻣﻌﺔ‪ ،‬وﰲ ﻣﺸﺮوع ﲝﺚ إراﲰﻮس‪ KA107 +‬اﻟﺘﺎﺑﻊ ﳉﺎﻣﻌﺔ ﺎﺑﻟﺮﻣﻮ ﺈﺑﻳﻄﺎﻟﻴﺎ‪ .‬وﻫﻲ ﻛﺬﻟﻚ ﻋﻀﻮ ﰲ‬
‫ﳎﻤﻮﻋﺔ ﻣﻦ اﻟﻠﺠﺎن اﻟﻌﻠﻤﻴﺔ وﳉﺎن اﻟﻘﺮاءة ﲟﺠﻼت ﻋﻠﻤﻴﺔ ﳏﻜﻤﺔ داﺧﻞ اﳌﻐﺮب وﺧﺎرﺟﻪ‪ ،‬وﳍﺎ ﻋﺪد ﻣﻦ اﳌﻨﺸﻮرات‬
‫اﻟﻌﻠﻤﻴﺔ اﶈﻜﻤﺔ‪.‬‬
‫‪ISSN: 2295-1210‬‬ ‫‪95‬‬ ‫‪© ATI & Garant‬‬

‫‪Volume 12, Issue 13, May 2022‬‬ ‫‪https://www.dragoman-journal.org‬‬ ‫‪Hind bin Mahjoub‬‬
‫واﻗﻊ اﻟﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ ﺎﺑﻟﺒﻠﺪان اﻟﻌﺮﺑﻴﺔ وﺳﺒﻞ اﺳﺘﻠﻬﺎم اﻟﺘﺠﺮﺑﺔ اﻟﱰﲨﻴﺔ اﻟﱰاﺛﻴﺔ‪:‬‬
‫ﻫﻨﺪ ﺑﻦ ﳏﺠﻮب‬
‫اﳌﱰﲨﲔ وﻧﺸﺮ اﻟﱰﲨﺎت‪ ،‬وﲤﺘﻠﻚ اﻟﻘﻮة اﳌﻌﺮﻓﻴﺔ‬ ‫‪ -１‬ﺣﻮل ﻣﺪﺧﻼت وﳐﺮﺟﺎت اﻟﱰﲨﺔ ﰲ‬
‫ﻷ�ﺎ ﺗﻌﺮف رﲟﺎ أﻓﻀﻞ ﻣﻨﻪ ﻣﺎ ﻳﺼﻠﺢ ﻟﻌﻘﻠﻪ‪،‬‬ ‫اﻟﻮﻃﻦ اﻟﻌﺮﰊ ‪:‬‬
‫وﻟﺘﺤﻮﻟﻪ ﰲ ﻫﺪوء ﳌﺴﺎرات ﻓﻜﺮﻳﺔ ﺟﺪﻳﺪة ﺗﻘﺒﻞ‬ ‫إن ﲢﺪﻳﺪ اﻻﺧﺘﻴﺎرات اﻟﱰﲨﻴﺔ ﻣﻔﺼﻠﻲ ﻹﻧﺘﺎج‬
‫اﻻﺳﺘﺘﺒﺎع ﺑﻜﻞ ﲤﻈﻬﺮاﺗﻪ‪ ،‬ﺑﻞ وﺗﺪاﻓﻊ ﻋﻨﻪ ‪.1‬‬ ‫ﳎﺘﻤﻊ اﳌﻌﺮﻓﺔ ﰲ اﻟﺒﻠﺪان اﻟﻌﺮﺑﻴﺔ‪ ،‬ﻷن اﻟﱰﲨﺔ ﺟﺰء‬
‫وﺎﺑﳌﻘﺎﺑﻞ وﲝﺴﻦ ﲣﻄﻴﻄﻬﺎ ﲣﺘﺎر أن ﺗﱰﺟﻢ‬ ‫ﻣﻦ اﳊﻞ اﻟﺬي ﳝﻜﻦ ﻣﻦ ﺧﻼﻟﻪ أن ﲣﺮج ﻣﻦ‬
‫ﻟﺜﻘﺎﻓﺘﻬﺎ أﻣﻬﺎت اﻟﻜﺘﺐ اﻟﻌﺮﺑﻴﺔ ﰲ اﻟﻄﺐ‬ ‫اﻟﻀﺎﺋﻘﺔ اﻟﺘﻨﻤﻮﻳﺔ واﻟﺘﺒﻌﻴﺔ اﳌﻄﻠﻘﺔ‪ ،‬إن ﻫﻲ‬
‫واﻟﻔﻠﺴﻔﺔ اﻟﱵ ﱂ ﲢﺼﻞ ﻋﻠﻴﻬﺎ ﺑﻌﺪ‪ ،‬ﺗﻠﻚ اﻟﱵ‬ ‫ﳒﺤﺖ ﰲ اﻟﺘﺨﻠﺺ ﻣﻦ ﺳﻴﻄﺮة ﻣﻦ ﳛﺪد ﳍﺎ‬
‫اﻛﺘﺸﻔﺘﻬﺎ ﻣﺆﺧﺮا ﰲ ذﺧﺎﺋﺮ اﳌﻜﺘﺒﺎت اﻟﻌﺮﺑﻴﺔ‪ .‬وﱂ‬ ‫ﻋﻠﻨﻴﺔ أو ﺧﻔﻴﺔ ﻣﺎ ﺗﱰﲨﻪ ﻟﺘﺴﺘﻤﺮ ﺎﺗﺑﻌﺔ ﻟﻪ ﻟﻐﺔ‬
‫ﻬﺗﺘﻢ ﺑﱰﲨﺔ اﻟﺸﻌﺮ أو اﻷدب اﻟﻌﺮﺑﻴﲔ ﻻ ﻗﺪﳝﻬﻤﺎ‬ ‫وﻓﻜﺮا ﻓﺎﻗﺘﺼﺎدا‪ .‬ﻓﻘﺪ ﻗﺒﻌﺖ اﺧﺘﻴﺎرات اﻟﱰﲨﺔ‬
‫وﻻ ﺣﺪﻳﺜﻬﻤﺎ إﻻ ﳌﺎﻣﺎ‪ ،‬ﺑﻞ ﻫﻲ ﻋﻨﻬﺎ ﰲ ﻏﲎ‪،‬‬ ‫ردﻫﺎ ﻣﻦ اﻟﺰﻣﻦ ﻏﲑ ﻳﺴﲑ ﰲ ﻇﻞ اﻟﺘﺨﺒﻂ‬
‫ﻬﺗﻤﻠﻬﺎ ﻟﺘﻨﺸﺮ ﻓﻘﻂ أدﻬﺑﺎ وﻓﻨﻮ�ﺎ‪ ،‬ﰲ وﻗﺖ ﱂ‬ ‫واﻟﻌﺸﻮاﺋﻴﺔ اﻟﱵ ﻛﺎن ﻳﻌﻴﺸﻬﺎ اﻟﻌﺎﱂ اﻟﻌﺮﰊ ﺑﻌﺪ‬
‫ﻳﻜﻦ اﻟﻌﺮب اﳌﺴﻠﻤﻮن ﰲ ﻋﺼﺮ اﻟﻨﻬﻀﺔ اﻟﱰﲨﻴﺔ‬ ‫اﺳﺘﻘﻼﻟﻪ‪ ،‬ﲢﺖ رﲪﺔ اﳌﺆﺳﺴﺎت اﻟﺜﻘﺎﻓﻴﺔ‬
‫اﻟﱰاﺛﻴﺔ ﻣﻬﺘﻤﲔ ﰲ اﺧﺘﻴﺎراﻬﺗﻢ ﺂﺑداب اﻹﻏﺮﻳﻖ‬ ‫اﻟﻨﺎﻋﻤﺔ ﻟﻼﺳﺘﻌﻤﺎر ﺑﻌﺪ ﺧﺮوﺟﻪ‪ ،‬ﺗﻮﺟﻪ‬
‫وﻓﻨﻮ�ﻢ ‪ ،2‬ﺑﻞ ﻛﺎﻧﻮا ﻣﻨﺼﺒﲔ ﻋﻠﻰ ﺗﺮﲨﺔ اﻟﻌﻠﻮم‬ ‫اﺧﺘﻴﺎراﺗﻪ؛ ﻷ�ﺎ ﲤﺘﻠﻚ اﻟﻘﻮة اﳌﺎدﻳﺔ ﻟﺘﻤﻮﻳﻞ‬
‫اﻟﻮاﻗﻊ واﻟﺘﺤﺪي ﰲ ﺿﻮء ﻣﻘﺎرﻧﺔ إﺣﺼﺎﺋﻴﺔ واﺿﺤﺔ اﻟﺪﻻﻟﺔ‪،‬‬ ‫‪" 1‬ﻣﻦ أﺧﻄﺮ اﻟﻈﻮاﻫﺮ أن اﻟﻘﺪر اﻷﻛﱪ ﻣﻦ اﻟﱰﲨﺎت اﻟﺼﺎدرة‬
‫اﳌﺮﻛﺰ اﻟﻘﻮﻣﻲ ﻟﻠﱰﲨﺔ‪ ،‬ﺳﻠﺴﻠﺔ دراﺳﺎت اﻟﱰﲨﺔ‪ ،‬اﻟﻘﺎﻫﺮة‪،‬‬ ‫ﻋﻦ دور اﻟﻨﺸﺮ ﻫﻲ ﺗﺮﲨﺎت ﳊﺴﺎب ﻫﻴﺌﺎت وﻣﺮاﻛﺰ رﲰﻴﺔ؛‬
‫‪.2010‬ص ‪.148‬‬ ‫أي دﺑﻠﻮﻣﺎﺳﻴﺔ أﺟﻨﺒﻴﺔ )ﻣﺮﻛﺰ اﻟﻜﺘﺎب اﻟﻌﺮﰊ – اﻟﺒﻌﺜﺎت‬
‫‪ 2‬ﻫﻨﺪ ﺑﻦ ﳏﺠﻮب‪ ،‬اﻟﱰﲨﺔ اﳌﻌﺎﻛﺴﺔ ﻟﻠﺸﻌﺮ اﻟﻌﺮﰊ اﻟﱰاﺛﻲ‬ ‫اﻟﻔﺮﻧﺴﻴﺔ‪ -‬ﻣﺆﺳﺴﺎت ﻓﻮﻟﱪاﻳﺖ‪ (...‬ﳑﺎ ﻳﻌﲏ ﻏﻴﺎب اﻟﺮؤﻳﺔ‬
‫‪:‬ﲢﺪ�ت اﻟﻮاﻗﻊ وآﻓﺎق اﻹﻣﻜﺎن‪ ،‬أﻋﻤﺎل اﳌﺆﲤﺮ اﻟﺪوﱄ ﺣﻮل‬ ‫واﳌﺼﻠﺤﺔ اﻟﻘﻮﻣﻴﺔ"‪ .‬ﺷﻮﻗﻲ ﺟﻼل‪ ،‬اﻟﱰﲨﺔ ﰲ اﻟﻌﺎﱂ اﻟﻌﺮﰊ‪،‬‬
‫‪ISSN: 2295-1210‬‬ ‫‪96‬‬ ‫‪© ATI & Garant‬‬

‫‪Volume 10, Issue 11, June 2020‬‬ ‫‪https://www.dragoman-journal.org‬‬ ‫‪Hind bin Mahjoub‬‬
‫ﻟﻘﺪ آن اﻷوان ﻟﻮﺿﻊ ﻗﻄﻴﻌﺔ ﻣﻊ اﺧﺘﻴﺎرات ﻓﺮدﻳﺔ‬ ‫واﻟﻔﻠﺴﻔﺔ اﻟﱵ ﻻءﻣﺖ ﺗﻮﺟﻬﺎﻬﺗﻢ اﻟﻔﻜﺮﻳﺔ‬
‫وﻋﺸﻮاﺋﻴﺔ وﻏﲑ ﻣﻨﺘﺠﺔ‪ ،‬ووﺿﻊ اﺧﺘﻴﺎرات‬ ‫ﻳﻔﻀﻠﻬﺎ‬
‫وﻗﺪرﻬﺗﻢ ﻋﻠﻰ اﻟﺘﻔﺎﻋﻞ ﻣﻌﻬﺎ وإﺑﺪاع ﻣﺎ ُ‬
‫ﻋﻘﻼﻧﻴﺔ ﳐﻄﻄﺔ وﻫﺎدﻓﺔ ﺗﺮاﻋﻲ اﺣﺘﻴﺎﺟﺎت‬ ‫وﳛﻔﻆ ﻟﻠﻌﺮﺑﻴﺔ ﺛﻘﺎﻓﺘﻬﺎ وﺧﺼﻮﺻﻴﺘﻬﺎ‪ .‬ﻓﺄﻣﺮﻳﻜﺎ‬
‫اﻟﻮﻃﻦ اﻟﻌﺮﰊ ﻟﻠﺘﻨﻤﻴﺔ اﳊﻘﻴﻘﻴﺔ‪ ،‬وﺑﻨﺎء اﻹﻧﺴﺎن‬ ‫ﻣﺜﻼ "ﻻ ﺗﱰﺟﻢ ﻓﻘﻂ اﻟﺒﺤﻮث واﻟﺪراﺳﺎت‬
‫اﳌﻨﺘﺞ واﻟﻔﻌﺎل ﰲ اﻟﻜﻮﻛﺒﺔ اﳌﻌﺮﻓﻴﺔ اﻟﻌﺎﳌﻴﺔ‬ ‫اﳌﻨﺸﻮرة ﺑﻠﻐﺎت أﺧﺮى ﻓﻮر ﺻﺪورﻫﺎ‪ ،‬ﺑﻞ ﺗﱰﺟﻢ‬
‫أﻳﻀﺎ ﺗﻠﻚ اﻟﱵ ﻧﺸﺮت ﻣﻨﺬ ﻗﺮون‪ .‬وﺳﺒﻖ أن‬
‫اﳌﺘﺴﺎرﻋﺔ‪ ،‬وﻟﻴﺲ ﻟﻨﺎ أن ﻧﻨﻈﺮ إﱃ ﻣﺎ ﺗُﺮﺟﻢ‬
‫ﻃﻠﺒﺖ ﺎﺑﻟﻔﻌﻞ ﻣﻦ ﻣﺮﻛﺰ اﻷﻫﺮام ﻟﻠﱰﲨﺔ واﻟﻨﺸﺮ‬
‫وﳎﺎﻻﺗﻪ ﻣﻨﺬ �ﺎﻳﺔ اﻟﻘﺮن اﻟﻌﺸﺮﻳﻦ‪ ،‬ﻓﻜﻞ ذﻟﻚ‬
‫ﺗﺮﲨﺔ ﻛﺘﺎب ﻋﻦ اﻟﻄﺐ ﰲ ﻣﺼﺮ اﻟﻔﺮﻋﻮﻧﻴﺔ‪،‬‬
‫ﺗﻘﺮﻳﺒﺎ ﻳﺼﺐ ﰲ ﳎﺎل اﻹﻧﺴﺎﻧﻴﺎت ﺑﻌﻴﺪا ﻋﻦ‬
‫وﻛﺘﺎب آﺧﺮ ﻋﻦ اﻟﻄﺐ ﰲ اﻟﺪول اﻹﺳﻼﻣﻴﺔ؛‬
‫اﳌﻌﺮﻓﺔ اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺔ واﻟﻌﻠﻮم اﻟﺒﺤﺘﺔ ‪ .4‬إن ﺗﻮﺟﻪ‬
‫ﻣﻌﲎ ﻫﺬا أن اﻟﱰﲨﺔ أداء اﻷﻣﺔ ﻋﻠﻰ ﺻﻌﻴﺪ‬
‫ﻫﺬﻩ اﻻﺧﺘﻴﺎرات ﻳﻌﺰى إﱃ ﻋﺪم اﳊﺎﺟﺔ إﱃ‬ ‫اﳌﻨﺎﻓﺴﺔ اﳊﻀﺎرﻳﺔ ﻟﺘﻜﻮن ﺳﺒﺎﻗﺔ ﰲ اﻟﻌﺼﺮ‪،‬‬
‫ﺗﺮﲨﺔ ﻫﺬﻩ اﻟﻌﻠﻮم ﻣﺎداﻣﺖ اﳉﺎﻣﻌﺎت اﻟﻌﺮﺑﻴﺔ‬ ‫وأﻳﻀﺎ ﻣﺮﺟﻌﺎ ﻟﻠﺜﻘﺎﻓﺔ اﻟﻌﺎﳌﻴﺔ ﺗﻨﻬﻞ ﻣﻨﻬﺎ اﻷﻣﻢ‬
‫ﻣﻐﺎرﺑﻴﺎ ﻣﻨﺬ اﻻﺳﺘﻘﻼل ﺗﺪرﺳﻬﺎ ﺎﺑﻟﻔﺮﻧﺴﻴﺔ ‪ ،5‬و‬ ‫اﻷﺧﺮى‪ ،‬وﻫﺬا ﻣﺎ ﻓﻌﻠﺘﻪ أوروﺎﺑ إﺎﺑن �ﻀﺘﻬﺎ ﺣﲔ‬
‫ﺗﺪرﺳﻬﺎ ﻣﺸﺮﻗﺎ ﺎﺑﻹﳒﻠﻴﺰﻳﺔ؛ وﻋﺪا ﲡﺮﺑﺔ اﻟﻌﺮاق‬ ‫ﺗﺮﲨﺖ دراﺳﺎت اﻟﻌﻠﻤﺎء اﻟﻌﺮب واﳌﺴﻠﻤﲔ‬
‫وﺳﻮر� وﻣﺼﺮ وﺧﻄﺔ اﻟﺘﻌﺮﻳﺐ اﳌﺘﻌﺜﺮة ﰲ اﳌﻐﺮب‬ ‫وﺣﲔ اﺳﺘﻌﺎدت ذﺧﺎﺋﺮ اﻹﻏﺮﻳﻖ ﻋﱪ اﻟﱰﲨﺎت‬
‫وﻏﲑﻫﺎ ﻣﻦ اﻟﺪول اﻟﻌﺮﺑﻴﺔ؛ ﻓﺈن ﺗﺪرﻳﺲ اﻟﻌﻠﻮم‬ ‫اﻟﻌﺮﺑﻴﺔ إﻟﻴﻬﺎ" ‪.3‬‬
‫اﻻﺳﺘﻌﻤﺎر اﻟﻔﺮﻧﺴﻲ اﻟﻠﻐﺔ اﻟﻔﺮﻧﺴﻴﺔ ؛ ﻟﺬﻟﻚ ﻧﺮى ﻫﺬﻩ اﻟﻔﺌﺔ‬ ‫اﻟﱰﲨﺔ وﺗﺪﺑﲑ اﻻﺧﺘﻼف‪ ،‬أﺑﺮﻳﻞ ‪ ،2018‬ﳎﻠﺔ ﺗﺮﲨﺎن‪ ،‬ﻋﺪد‬
‫ﺗﻌﺮب ﻋﻦ ﻋﺪم اﳊﺎﺟﺔ إﱃ اﻟﱰﲨﺔ‪ .‬ﻓﺎﻟﺜﻨﺎﺋﻴﺔ اﻟﻠﻐﻮﻳﺔ ﰲ ﺗﻮﻧﺲ‬ ‫ﺧﺎص‪ ،‬اﺠﻤﻟﻠﺪ ‪ ،27‬ﻋﺪد ‪ ،2‬أﻛﺘﻮﺑﺮ ‪ ،2018‬ﻃﻨﺠﺔ‪،‬‬
‫ﻛﻤﺎ ﻳﻘﻮل ﻋﺒﺪ اﻟﻠﻄﻴﻒ ﻋﺒﻴﺪ ﻣﺜﻼ ﻗﺼﺮت اﺳﺘﺨﺪام اﻟﻠﻐﺔ‬ ‫ص‪.232‬‬
‫ﻛﻠﻴﺎ أو ﻏﺎﻟﺒﺎ ﻋﻠﻰ اﺠﻤﻟﺎﻻت اﻟﺴﻴﺎﺳﻴﺔ واﻟﺪﻳﻨﻴﺔ واﻷدﺑﻴﺔ وﻋﻠﻰ‬
‫‪ 3‬ﺷﻮﻗﻲ ﺟﻼل‪ ،‬ص ‪.133-132‬‬
‫اﻹﻋﻼم واﻟﺜﻘﺎﻓﺔ اﳉﻤﺎﻫﲑﻳﺔ ‪ ..‬ﰲ ﺣﲔ اﺳﺘﺄﺛﺮت اﻟﻔﺮﻧﺴﻴﺔ‬
‫‪ "4‬اﻟﱰﲨﺎت ﺟﻠﻬﺎ ﰲ اﻟﻌﻠﻮم اﻹﻧﺴﺎﻧﻴﺔ ﺎﺑﳌﻌﲎ اﻟﺘﻘﻠﻴﺪي‬
‫ﺎﺑﺠﻤﻟﺎﻻت اﻟﻌﺼﺮﻳﺔ ‪..‬وﻓﺮض اﻟﻠﻐﺔ اﻟﻔﺮﻧﺴﻴﺔ ﰲ اﻟﺘﻌﻠﻴﻢ‬
‫)اﻷدب – اﻟﺴﻴﺎﺳﺔ‪ -‬اﻷﻳﺪﻳﻮﻟﻮﺟﻴﺎ اﻟﺪﻳﻨﻴﺔ( أو ﻛﺘﺐ ﻟﻠﺘﺴﻠﻴﺔ‬
‫واﺣﺘﻜﺎرﻫﺎ ﻟﻠﺘﻌﺒﲑ اﻟﻌﻠﻤﻲ ﳚﻌﻼن ﻣﻦ اﻟﱰﲨﺔ ﻋﻤﻼ ﻻ ﺟﺪوى‬
‫أو ﻛﺘﺐ ﺗﻌﻠﻴﻤﻴﺔ ﻷ�ﺎ اﻷﻛﺜﺮ رواﺟﺎ ورﲝﻴﺔ ﻟﺪور اﻟﻨﺸﺮ"‪،‬‬
‫ﻣﻦ وراﺋﻪ"‪ ،‬اﻧﻈﺮ ﺣﺎﻟﺔ اﻟﱰﲨﺔ ﰲ ﺗﻮﻧﺲ وﻋﻼﻗﺘﻬﺎ ﺎﺑﻟﻮﺿﻌﻴﺔ‬
‫ﺷﻮﻗﻲ ﺟﻼل‪ ،‬ص ‪.149‬‬
‫اﻟﻠﻐﻮﻳﺔ ﻋﻨﺪ ﺷﻮﻗﻲ ﺟﻼل‪ ،‬ص ‪.97‬‬
‫‪ 5‬ﻟﻘﺪ اﳓﺴﺮ ﻧﺸﺎط اﻟﱰﲨﺔ ﻋﺎﻣﺔ ﰲ ﺑﻠﺪان اﳌﻐﺮب؛ ﻷن‬
‫اﻟﱪﺟﻮازﻳﺔ اﳌﺜﻘﻔﺔ ﲡﻴﺪ ﲝﻜﻢ اﻟﻨﻈﺎم اﻟﺘﻌﻠﻴﻤﻲ ﰲ ﻇﻞ‬
‫‪97‬‬
‫ﺷﺎﻫﺪ ودﻟﻴﻞ‪ ،‬ﻣﻦ إﺳﺮاﺋﻴﻞ إﱃ اﻟﻴﺎﺎﺑن ‪ .7‬ﻛﻞ‬ ‫واﻟﺘﻘﻨﻴﺎت ﻳﺪرس ﺑﻠﻐﺔ أﺟﻨﺒﻴﺔ ﺗﻔﻘﺪ ﺗﻮﻃﲔ اﻟﻌﻠﻢ‬
‫ﻫﺬﻩ اﻟﺪول وﻃﻨﺖ اﳌﻌﺮﻓﺔ ﻋﻨﺪﻫﺎ‪ ،‬وﱂ ﺗﺘﻮﻗﻒ‬ ‫واﳌﻌﺮﻓﺔ ﻋﻨﺪ أﻫﻠﻬﺎ‪ ،‬وﺗﻀﻌﻒ اﻟﺸﻌﻮر ﺎﺑﻻﻧﺘﻤﺎء‬
‫ﻋﻦ اﻟﱰﲨﺔ رﻏﻢ ﻛﻞ اﻟﺘﻔﻮق اﻟﺬي وﺻﻠﺘﻪ ﺑﻔﻀﻞ‬ ‫إﱃ إﻧﺘﺎج اﻟﻌﻠﻢ وﺗﻮﻃﻴﻨﻪ‪ ،‬وﺗﻜﺮس اﻟﺘﺒﻌﻴﺔ اﳌﻄﻠﻘﺔ‬
‫اﻟﻌﻘﻞ اﳌﺘﻔﺎﻋﻞ ﻣﻊ ﻣﺎ ﻳﺘﻠﻘﻒ ﻣﻦ ﻣﻌﺮﻓﺔ ﻣﱰﲨﺔ‬ ‫ﻟﻜﻞ ﻣﺎ ﻳﻘﺪم ﻣﻦ ﻣﻌﺮﻓﺔ ﻋﻠﻰ أ�ﺎ ﻣﻘﺪس ﻻ‬
‫وﻣﻨﺘﺠﺔ‪ ،‬ﺑﻔﻀﻞ ﺗﻮﻃﲔ اﻟﻌﻠﻢ واﺳﺘﻬﻼﻛﻪ ﺑﻠﻐﺘﻬﺎ‬ ‫ﻳﻘﺒﻞ اﻟﻨﻘﺎش‪ ،‬وﺎﺑﻟﺘﺎﱄ ﻻ ﻳﺰﻳﺪ ﻋﻦ ﺗﻘﺪم اﻟﻌﻠﻮم‬
‫اﻷم‪ ،‬ﺑﻞ ﺻﺎرت ﻣﺼﺪر اﳌﻌﺮﻓﺔ وﻣﻜﻨﺰا ﳍﺎ ﺑﻠﻐﺘﻬﺎ‬ ‫وﺗﻄﻮرﻫﺎ ﰲ اﻟﺒﻠﺪان اﻟﻌﺮﺑﻴﺔ ﺳﻮى اﳌﻮاﻛﺒﺔ اﳊﺜﻴﺜﺔ‬
‫ﻛﻤﺎ ﺻﻨﻌﺖ أﻣﺮﻳﻜﺎ ‪ ،8‬ﺣﻴﺚ ﺗﺴﻌﻰ اﻵن إﱃ‬ ‫ﻟﺒﻠﺪان اﶈﻮر واﻻﻧﻜﻔﺎء ﰲ اﻷﻃﺮاف‬
‫ﺟﻌﻞ ﻛﻞ اﳌﻌﺎرف واﻟﻌﻠﻮم ﻣﺼﺪرة ﻟﻜﻞ دول‬ ‫واﳍﻮاﻣﺶ ‪ .6‬ﺑﻴﺪ أن ﺗﻮﻃﲔ اﳌﻌﺮﻓﺔ واﻟﻌﻠﻮم‬
‫اﻟﻌﺎﱂ ﺑﻠﻐﺘﻬﺎ ﺑﻌﺪ ﺗﺮﲨﺔ ﻛﻞ ﻣﺎ ﻳﻘﻊ ﺑﲔ ﻳﺪﻳﻬﺎ‬ ‫واﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ ﻳﺘﻄﻠﺐ اﻟﱰﲨﺔ إﱃ اﻟﻠﻐﺔ اﳌﺴﺘﻘﺒﻠﺔ‬
‫ﻣﻦ إﻧﺘﺎﺟﺎت ﻣﻌﺮﻓﻴﺔ ﰲ ﻛﻞ اﺠﻤﻟﺎﻻت وﻋﻠﻰ‬ ‫اﻟﱵ ﻫﻲ اﻟﻌﺮﺑﻴﺔ ﰲ ﺣﺎﻟﺘﻨﺎ‪ ،‬وﻫﻲ اﳋﻄﻮة اﻷوﱃ‬
‫رأﺳﻬﺎ اﻟﻌﻠﻮم واﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎت‪.‬‬ ‫واﻷﺳﺎﺳﻴﺔ؛ ﻷ�ﺎ ﺗﺴﻤﺢ ﺎﺑﻟﺘﻌﺮف ﻋﻠﻰ ﻣﺎ ﻋﻨﺪ‬
‫ﳚﺮ� اﳊﺪﻳﺚ ﻋﻦ اﳌﺪﺧﻼت ﰲ وﻃﻨﻨﺎ اﻟﻌﺮﰊ‬ ‫اﻵﺧﺮ‪ ،‬أﻣﺎ اﳋﻄﻮة اﻟﺜﺎﻧﻴﺔ واﳉﻮﻫﺮﻳﺔ ﻓﻬﻲ‬
‫اﻟﱰﲨﻲ إﱃ واﻗﻊ اﳌﱰﲨﲔ اﳌﻤﺎرﺳﲔ واﻟﺴﺆال‬ ‫ﲤﺤﻴﺺ وﺗﻔﻌﻴﻞ وﺄﺗوﻳﻞ ﻣﺎ ﺗﻮﺻﻞ إﻟﻴﻪ ﻣﻦ‬
‫اﳉﻮﻫﺮي ﻣﻦ اﳌﻨﻮط ﺑﻪ اﻟﻘﻴﺎم ﺎﺑﻟﻔﻌﻞ اﻟﱰﲨﻲ؟‬ ‫ﻣﻌﺮﻓﺔ‪ ،‬إ�ﺎ ﻣﺮﺣﻠﺔ ﻣﺎ ﺑﻌﺪ اﻟﱰﲨﺔ ﻟﺘﻘﻮم ﺑﻔﻌﻠﻬﺎ‬
‫ﻫﻞ اﻟﺬي ﺗﻠﻘﻰ ﺗﻜﻮﻳﻨﺎ ﰲ اﺠﻤﻟﺎل؟ أم اﻟﺬي ﻟﻪ‬ ‫اﳊﻘﻴﻘﻲ اﳌﺘﻤﺜﻞ ﰲ اﻟﺘﻐﻴﲑ واﻟﺒﻨﺎء اﳌﻼﺋﻢ ﻟﻠﻬﻮﻳﺔ‬
‫دراﻳﺔ ﺎﺑﻟﻠﻐﺘﲔ؟ أم اﻟﻌﺎﱂ اﳌﻔﻜﺮ اﳌﺘﺨﺼﺺ ﰲ‬ ‫اﳌﺴﺘﻘﺒﻠﺔ ﻻ اﺧﱰاﻗﺎ وﻻ اﺳﺘﺘﺒﺎﻋﺎ‪ ،‬ﺑﻞ إﻋﺎدة‬
‫ﳎﺎﻟﻪ اﳌﺘﻘﻦ اﻟﻠﻐﺘﲔ؟ أم اﳍﺎوي اﻟﺬي ﻳﻌﺠﺐ‬ ‫إﻧﺘﺎج ﳏﱰﻣﺔ ﻟﻠﺒﻴﺌﺔ اﳌﺴﺘﻘﺒﻠﺔ ﲞﺼﻮﺻﻴﺘﻬﺎ‬
‫وﺗﻔﺎﺻﻴﻠﻬﺎ‪ ،‬وﻟﻨﺎ ﰲ ﲡﺮﺑﺔ اﻟﺪول اﳌﺘﻘﺪﻣﺔ اﻵن‬
‫اﻟﺪول اﻹﺳﻼﻣﻴﺔ؛ ﻣﻌﲎ ﻫﺬا أن اﻟﱰﲨﺔ أداء اﻷﻣﺔ ﻋﻠﻰ ﺻﻌﻴﺪ‬ ‫‪6‬ﺷﻮﻗﻲ ﺟﻼل‪ ،‬ص ‪.204-203‬‬
‫اﳌﻨﺎﻓﺴﺔ اﳊﻀﺎرﻳﺔ ﻟﺘﻜﻮن ﺳﺒﺎﻗﺔ ﰲ اﻟﻌﺼﺮ‪ ،‬وأﻳﻀﺎ ﻣﺮﺟﻌﺎ‬ ‫‪ 7‬ﺷﻮﻗﻲ ﺟﻼل‪ ،‬ص ‪.99-96‬‬
‫ﻟﻠﺜﻘﺎﻓﺔ اﻟﻌﺎﳌﻴﺔ ﺗﻨﻬﻞ ﻣﻨﻬﺎ اﻷﻣﻢ اﻷﺧﺮى‪ ،‬وﻫﺬا ﻣﺎ ﻓﻌﻠﺘﻪ أوروﺎﺑ‬ ‫‪ 8‬ﺷﻮﻗﻲ ﺟﻼل‪ ،‬ص ‪ ،97‬وﻳﻘﻮل ﰲ ﻧﻔﺲ اﻟﺴﻴﺎق أ�ﺎ "ﻻ‬
‫إﺎﺑن �ﻀﺘﻬﺎ ﺣﲔ ﺗﺮﲨﺖ دراﺳﺎت اﻟﻌﻠﻤﺎء اﻟﻌﺮب واﳌﺴﻠﻤﲔ‬ ‫ﺗﱰﺟﻢ ﻓﻘﻂ اﻟﺒﺤﻮث واﻟﺪراﺳﺎت اﳌﻨﺸﻮرة ﺑﻠﻐﺎت أﺧﺮى ﻓﻮر‬
‫وﺣﲔ اﺳﺘﻌﺎدت ذﺧﺎﺋﺮ اﻹﻏﺮﻳﻖ ﻋﱪ اﻟﱰﲨﺎت اﻟﻌﺮﺑﻴﺔ إﻟﻴﻬﺎ"‪.‬‬ ‫ﺻﺪورﻫﺎ‪ ،‬ﺑﻞ ﺗﱰﺟﻢ أﻳﻀﺎ ﺗﻠﻚ اﻟﱵ ﻧﺸﺮت ﻣﻨﺬ ﻗﺮون‪ .‬وﺳﺒﻖ‬
‫ﺷﻮﻗﻲ ﺟﻼل‪ ،‬ص ‪.133-132‬‬ ‫أن ﻃﻠﺒﺖ ﺎﺑﻟﻔﻌﻞ ﻣﻦ ﻣﺮﻛﺰ اﻷﻫﺮام ﻟﻠﱰﲨﺔ واﻟﻨﺸﺮ ﺗﺮﲨﺔ ﻛﺘﺎب‬
‫ﻋﻦ اﻟﻄﺐ ﰲ ﻣﺼﺮ اﻟﻔﺮﻋﻮﻧﻴﺔ‪ ،‬وﻛﺘﺎب آﺧﺮ ﻋﻦ اﻟﻄﺐ ﰲ‬
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‫ﺑﻔﺮوع اﳌﻌﺮﻓﺔ اﳌﺨﺘﻠﻔﺔ؛ ﻷن ﻣﻦ اﻷﻟﻔﺎظ‬ ‫ﺎﺑﻟﻌﻤﻞ وﻳﺮﻳﺪ ﺗﺮﲨﺘﻪ؟ ﻛﻞ ﻫﺆﻻء ﻻﺷﻚ‬

‫واﻟﻜﻠﻤﺎت ﻣﺎ ﳛﺘﻤﻞ ﻋﺪة ﻣﻌﺎن وﺗﺮﲨﺎت‪ ،‬وﻟﻮ‬ ‫ﻣﺴﺎﳘﻮن ﻓﻌﻠﻴﻮن ﰲ ﻋﻤﻠﻴﺔ اﻟﱰﲨﺔ ﺑﻄﺮﻳﻘﺔ أو‬
‫أن اﳌﱰﺟﻢ ﻛﺎن ﺿﻴﻖ اﻷﻓﻖ اﻟﺜﻘﺎﰲ‪ ،‬ﻓﺈﻧﻪ ﻗﺪ ﻳﻐﻢ‬ ‫ﺄﺑﺧﺮى‪ ،‬وﳍﻢ اﻟﻴﺪ اﻟﻄﻮﱃ ﰲ ﺟﻮدة اﻹﻧﺘﺎج‬
‫ﻋﻠﻴﻪ ﻟﻔﻆ أو ﻣﺼﻄﻠﺢ ﻓﻴﱰﲨﻪ ﻋﻠﻰ ﻋﺠﻞ ﻣﻦ‬ ‫اﻟﱰﲨﻲ أو رداءﺗﻪ؛ ﻷن ﻛﻞ واﺣﺪ ﻣﻨﻬﻢ ﻳﻨﻘﺼﻪ‬
‫أﻣﺮﻩ ﺗﺮﲨﺔ ﻏﲑ ﺻﺎﺋﺒﺔ" ‪ .9‬وﻳﺆﻛﺪ دﻳﺪاوي ذﻟﻚ‬ ‫ﻣﺎ ﳝﻠﻜﻪ اﻵﺧﺮ ﻟﻴﻜﻤﻠﻪ‪ ،‬وﻗﺪ ﻗﻞ أن ﳚﺘﻤﻊ ﰲ‬
‫ﻣﻌﺘﱪا أن اﳌﱰﺟﻢ اﳉﻴﺪ ﳚﺐ أن ﺗﺘﻮﻓﺮ ﻓﻴﻪ‪" :‬ﳘّﺔ‬ ‫واﺣﺪ ﻣﺎ ﺗﻔﺮق ﻓﻴﻬﻢ ﲨﻴﻌﺎ‪ ،‬ﻣﺜﻼ إذا ﻛﺎن‬
‫وﺣﺐ اﻟﻌﺎﱂ‪ ،‬واﻃّﻼع‬
‫اﳌﺒﺪع‪ ،‬وإﺧﻼص اﳌﻠﺘﺰم‪ّ ،‬‬ ‫اﳊﺎﺻﻞ ﻋﻠﻰ اﻟﺘﻜﻮﻳﻦ ﺑﻜﻞ اﳉﻮدة اﳌﻄﻠﻮﺑﺔ‪،‬‬
‫اﺠﻤﻟﺘﻬﺪ‪ ،‬ووﻓﺎء اﻟﻐﻴﻮر‪ ،‬ﻟﻜﻲ ﻳﻜﻮن �ﻓﻌﺎً ﰲ‬ ‫ﻓﺈﻧﻪ ﻳﻔﺘﻘﺮ اﻟﺘﺠﺮﺑﺔ ﻣﻦ ﺟﻬﺔ‪ ،‬واﻟﺪراﻳﺔ‬
‫ﻋﻤﻠﻪ‪ .‬ﻟﻜﻦ واﻗﻊ اﻟﱰﲨﺔ اﻟﻌﺮﺑﻴﺔ ﻳﺒﲔ أن ﻣﻦ‬ ‫ﺎﺑﻟﺘﺨﺼﺺ اﻟﻌﻠﻤﻲ اﻟﺬي ﻳﱰﲨﻪ ﻣﻦ ﺟﻬﺔ‬
‫ﻳﺰاوﳍﺎ ﻻ ﻳﺼﻠﺢ ﻏﺎﻟﺒﺎً ﳍﺎ‪ ،‬وﻫﻲ ﺗﻌﺎﱐ ﻣﻦ ﻫﺎوﻳﺔ‬ ‫أﺧﺮى‪ ،‬وﺗﻨﻘﺼﻪ اﻟﺜﻘﺎﻓﺔ اﳌﻮﺳﻮﻋﻴﺔ اﻟﱵ ﳝﻜﻦ أن‬
‫اﳍﻮاﻳﺔ واﳓﺮاف اﻻﺣﱰاف" ‪ .10‬أﻣﺎ اﻟﺬي ﻟﻪ‬ ‫ُﳚﻤﻌﻬﺎ ﻋﱪ اﻟﺘﺠﺮﺑﺔ واﳋﱪة اﳌﱰاﻛﻤﺔ‪ ،‬وﺗﻌﻮزﻩ‬
‫دراﻳﺔ ﺎﺑﻟﻠﻐﺘﲔ ﻓﻬﻮ ﻗﺎدر ﻋﻠﻰ اﻟﻔﻌﻞ اﻟﱰﲨﻲ‪،‬‬ ‫اﻟﺬاﺋﻘﺔ اﻟﻠﻐﻮﻳﺔ اﻟﱵ ﺗُﺼﻘﻞ ﺎﺑﻟﺪرﺑﺔ واﳌﻤﺎرﺳﺔ ﻣﻦ‬
‫وﻟﻜﻦ ﺄﺑي ﺟﻮدة وﺄﺑي ﻣﻨﻬﺠﻴﺔ؟ وﻫﻞ ﻳﻜﻔﻲ‬ ‫ﺟﻬﺔ أﺧﺮى‪ ،‬وﻟﻪ أن ﳝﺎرس زﻣﻨﺎ ﲝﺐ اﳌﻬﻨﺔ‬
‫اﻟﺪراﻳﺔ واﻹﳌﺎم ﺎﺑﻟﻠﻐﺘﲔ ﻟﻠﻤﻤﺎرﺳﺔ اﻟﱰﲨﻴﺔ‪ .‬ﻗﺪ‬ ‫ﻟﻴﺼﻞ إﱃ اﳌﺒﺘﻐﻰ‪ ،‬أﻣﺎ ﻋﺪا ذﻟﻚ ﻓﻠﻨﺎ أن ﻧﺘﻜﺒﺪ‬
‫ﻳﻘﻮل ﻗﺎﺋﻞ إن اﻟﻨﻈﺮ�ت اﻟﱰﲨﻴﺔ ﺟﺎءت ﺑﻌﺪ‬ ‫ﻣﺮارة ﻗﺮاءة ﻛﺘﺐ ﻣﱰﲨﺔ ﻋﺼﻴﺔ ﻋﻠﻰ اﻟﻔﻬﻢ‪،‬‬
‫ﳑﺎرﺳﺔ اﻟﱰﲨﺔ ﳒﺎﺣﺎ وإﺧﻔﺎﻗﺎ ﳑﻦ ﻣﺎرﺳﻮا‬ ‫وﳓﺘﺎج ﻗﺮاءة اﻟﻨﺼﻮص اﻷﺻﻠﻴﺔ ﻟﻜﻲ ﻧﻔﻬﻢ‬
‫ﻻﻣﺘﻼﻛﻬﻢ اﻟﻠﻐﺘﲔ ‪ ،11‬ﻟﻜﻦ ﻫﺆﻻء اﻟﺬﻳﻦ‬ ‫اﻟﱰﲨﺔ‪ .‬ﻓﻤﻦ ﻣﻦ ﺷﺮوط اﻟﱰﲨﺔ اﳉﻴﺪة واﳌﱰﺟﻢ‬
‫ﻣﺎرﺳﻮﻫﺎ ﻛﺎﻧﻮا ﰲ أﻏﻠﺒﻬﻢ ﻋﻠﻤﺎء وﻣﻔﻜﺮﻳﻦ‬ ‫اﳉﻴﺪ‪" :‬أن ﻳﻜﻮن اﳌﱰﺟﻢ واﺳﻊ اﻟﺜﻘﺎﻓﺔ ﻣﻠﻤﺎ‬
‫‪ 11‬ﻳﺮى ﻻدﻣﲑال أن اﳌﻨﻈﺮﻳﻦ ﻳﺘﺸﻜﻠﻮن ﰲ ﻣﻌﻈﻤﻬﻢ ﻣﻦ‬ ‫‪ 9‬ﻛﺎرم اﻟﺴﻴﺪ ﻏﻨﻴﻢ ‪ ،‬اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ واﻟﺼﺤﻮة اﻟﻌﻠﻤﻴﺔ‪ ،‬ﻣﻜﺘﺒﺔ‬
‫أرﺳﺘﻮﻗﺮاﻃﻴﺎ ﻣﻦ اﻟﻠﺴﺎﻧﻴﲔ اﻟﺬﻳﻦ ﻳﺘﻔﻠﺴﻔﻮن ﺣﻮل اﻟﱰﲨﺔ‪ ،‬ﻣﻦ‬ ‫اﺑﻦ ﺳﻴﻨﺎ‪ ،‬اﻟﻘﺎﻫﺮة ‪ ،1989،‬ص ‪.160‬‬
‫دون أن ﺗﻜﻮن ﳍﻢ ﺻﻠﺔ ﲟﻤﺎرﺳﺘﻬﺎ‪ .‬وﻫﻢ ﻳﺮﺷﺪون إﱃ ﻣﺎ ﳚﺐ‬ ‫‪ 10‬ﳏﻤﺪ دﻳﺪاوي‪ ،‬اﻧﻈﺮ ﻛﻠﻤﺘﻪ ﻛﺎﻣﻠﺔ ﺑﺘﻘﺮﻳﺮ اﳌﺆﲤﺮ اﻟﺪوﱄ‬
‫اﻟﻘﻴﺎم ﺑﻪ أو ﻟﺒﻴﺎن أ�ﺎ اﻟﻌﻜﺲ ‪ ،‬ﺑﻴﻨﻤﺎ ﺗﻮﺟﺪ ﰲ اﳉﻬﺔ اﻷﺧﺮى‬ ‫ﺣﻮل ﺟﻮدة اﻟﱰﲨﺔ وإدارﻬﺗﺎ ﻏﺸﺖ ‪ 2009‬ﺎﺑﻷردن‪ ،‬ﻋﻠﻰ‬
‫ﺑﺮوﻟﺘﺎر� اﳌﱰﲨﲔ اﻟﻌﺎﻣﻠﺔ ﰲ اﻟﺴﺎﺣﺔ‪ ،‬واﻟﱵ ﱂ ﻳﻜﻦ ﻣﻦ ﺣﻘﻬﺎ‬ ‫اﻟﺮاﺑﻂ اﻵﰐ‪:‬‬
‫اﻟﺘﺄﻣﻞ اﻟﻨﻈﺮي ﰲ اﻟﱰﲨﺔ‪ ،‬ﺣﺴﻦ ﲝﺮاوي‪ ،‬ﻣﺪارات اﳌﺴﺘﺤﻴﻞ‬ ‫‪https://www.ammonnews.net/article/43071‬‬
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‫ﻋﻠﻰ أن ﻳﻐﲏ اﺠﻤﻟﺎل اﳌﻌﺮﰲ اﻟﺬي ﻳﱰﲨﻪ‬ ‫ﳛﻤﻠﻮن اﻟﻠﺴﺎﻧﻴﲔ ﻣﻌﺎ ﺑﻌﻠﻢ وﻓﻬﻢ ودراﻳﺔ‪ ،‬ﳍﺬا‬
‫ﺎﺑﳌﺼﻄﻠﺤﺎت‪ ،‬وﻳﺮﻓﺪ ﻟﻐﺘﻪ ﲟﺎ ﳜﺼﺒﻬﺎ وﳚﺪدﻫﺎ‪.‬‬ ‫ﻛﺎﻧﺖ اﻟﱰﲨﺔ ﺑﺪون ﺗﻜﻮﻳﻦ ﰲ ﺟﻮدة ﺗﻘﺮب أو‬
‫أﻣﺎ اﳍﺎوي ﻓﻴﻔﱰض أن ﻳﻜﻮن ﺣﺒﻪ داﻓﻌﺎ‬ ‫ﺗﺒﻌﺪ ﻣﻦ اﳌﻄﻠﻮب اﻷﺻﻞ؛ ﻟﻜﻨﻬﺎ ﺣﻘﻘﺖ‬
‫ﻟﻠﺨﻠﻮص ﻟﻨﺺ ﺳﻠﻴﻢ‪ ،‬وﻟﻜﻨﻪ ﻟﻦ ﻳﺴﻠﻢ داﺋﻤﺎ ﻣﻦ‬ ‫اﻟﻔﺎﺋﺪة واﻹﻓﺎدة ﻛﻤﺎ ﻳﻘﻮل دﻳﺪاوي‪" :‬وﻟﻌﻞ‬
‫اﳌﻄﺒﺎت اﻟﱵ ﻗﺪ ﺗﻠﻘﻴﻪ ﻬﺑﺎ اﻟﱰﲨﺔ إﱃ اﻟﻠﻐﺔ‬ ‫اﻟﱰﲨﺎت اﳌﺘﻌﺪدة اﻟﱵ ﻗﺎم ﻬﺑﺎ ﻧﻘﻠﺔ ﻋﺮب‬
‫اﳌﺴﺘﻘﺒﻠﺔ ﻣﻦ ﻫﻨﺎت ﰲ ﻏﻴﺎب اﳌﻨﻬﺠﻴﺔ‪ ،‬وﻟﻴﺲ‬ ‫ﻓﻄﺎﺣﻠﺔ ﰲ اﻟﻠﻐﺔ واﻷدب‪ ،‬أﺑﺮزﻫﻢ رواد اﻟﻨﻬﻀﺔ‬
‫أﻗﻠﻬﺎ ﲢﺮﻳﻒ اﳌﻌﲎ‪.‬‬ ‫ﰲ أواﺧﺮ اﻟﻘﺮن اﻟﺘﺎﺳﻊ ﻋﺸﺮ وأواﺋﻞ اﻟﻘﺮن‬
‫ﳍﺬا ﻓﻀﺒﻂ ﻣﺪﺧﻼت اﻟﱰﲨﺔ ﺑﻘﻮاﻧﲔ ﺻﺎرﻣﺔ‬ ‫اﻟﻌﺸﺮﻳﻦ‪ ،‬ﻛﺎﻧﻮا أﻗﺮب إﱃ ازدواﺟﻴﺔ اﻟﻠﻐﺔ ﻣﻨﻬﻢ‬
‫ﲢﺪ اﺠﻤﻟﺎل وﲢﺪد ﻃﺒﻴﻌﺔ اﳌﺨﺮﺟﺎت‪ ،‬ﲢﻔﻆ‬ ‫إﱃ اﻟﱰﲨﺔ اﻟﺪﻗﻴﻘﺔ اﻟﻮاﻓﻴﺔ‪ ،‬ﻟﻌﻞ ﺗﻠﻚ اﻟﱰﲨﺎت‬
‫ﻟﻠﻤﱰﲨﲔ اﳌﺘﺨﺼﺼﲔ وﺿﻌﻬﻢ اﻻﻋﺘﺒﺎري‪،‬‬ ‫ﻣﻠﺢ إﱃ ﺿﺮورة ﺗﻜﻮﻳﻦ اﳌﱰﺟﻢ ﺿﻤﺎ�ً‬

‫ﻣﺆﺷﺮ ّ‬‫ٌ‬
‫وﻓﻮق ذﻟﻚ ﲢﺪد ﻣﺴﺆوﻟﻴﺎﻬﺗﻢ ﻋﻦ ﻛﻞ ﻣﺎ ﻳﺼﻞ‬ ‫وﲰﻮ اﻟﻠﻐﺔ‪ ،‬ذﻟﻚ أن ﺗﺮﲨﺎﻬﺗﻢ‬
‫ﻟﻠﻨﻮﻋﻴﺔ واﻟﺪﻗﺔ ّ‬
‫ﻣﻦ ﻣﻌﺮﻓﺔ ﻣﻌﻮﺟﺎ أو ﳏﺮﻓﺎ‪ ،‬ﺑﻌﻴﺪا ﻋﻦ اﻟﻔﻮﺿﻰ‬ ‫ﻗﻤﺔ ﰲ اﻟﺘﻌﺒﲑ ﻣﺘﻤﻴّﺰة ﰲ اﻟﺴﺒﻚ‪ ،‬ﻣﻊ‬ ‫ﻛﺎﻧﺖ ّ‬
‫اﻟﺴﺎﺋﺪة؛ ﻷن اﻟﻔﺮاغ اﻟﺘﺸﺮﻳﻌﻲ ﻛﻤﺎ ﻳﻘﻮل ﻋﺎدل‬ ‫اﻻﺑﺘﻌﺎد ﻋﻦ اﻷﺻﻞ‪ .‬وﰲ اﳌﻘﺎﺑﻞ‪ ،‬ﻛﺜﲑاً ﻣﺎ ﻳﻌﺠﺰ‬
‫ﻣﺪﻋﻲ اﻟﻌﻠﻢ‬ ‫اﳌﺘﻜﻮن‪ ،‬ﻋﻠﻰ ﻧﻘﻴﻀﻬﻢ‪،‬‬

‫ّ‬ ‫ﻣﱰﺟﻢ اﻟﻴﻮم اﻟﺸﺎب‬
‫ﻋﺰام" ﺗﺮك ﻣﻼذاً ﻣﺸﺮﻋﺎً ﻻﻟﺘﺤﺎق ّ‬
‫ﺎﺑﳌﻬﻨﺔ‪ ،‬وﺄﺗﺳﻴﺲ دور ﺗﺮﲨﺔ ﻬﺗﺪف إﱃ ﲢﻘﻴﻖ‬ ‫ﻋﻦ ﳎﺎراﻬﺗﻢ ﰲ اﻟﻠﻐﺔ وﻫﻮ ﻣﺪﻗِّﻖ ﺎﺑﳌﻀﻤﻮن‬
‫ﻛﺴﺐ ﺳﺮﻳﻊ‪ ،‬ﻓﺤﺼﻞ اﻟﻜﺜﲑون ﻋﻠﻰ إﺟﺎزة‬ ‫ﺣﺮﰲ ﻟﻸﺻﻞ‬ ‫ّ‬ ‫ﻣﻠﺘﺰم‪ ،‬وﰲ اﻟﺒﻴﺎن ﻫﻮ‬‫ٌ‬
‫اﻋﺘﻤﺎد‪ ،‬رﻏﻢ ﺗﻮاﺿﻊ ﲢﺼﻴﻠﻬﻢ اﻟﻌﻠﻤﻲ وﺿﻌﻒ‬ ‫ﻣﺴﺘﺴﻠﻢ"‪ . 12‬أﻣﺎ اﳌﺘﺨﺼﺺ ﰲ ﳎﺎﻟﻪ اﳌﻌﺮﰲ‬
‫ٌ‬
‫ﺧﱪاﻬﺗﻢ اﻟﻌﻤﻠﻴﺔ‪ ،‬وﻋﺪم ﲤﻜﻨﻬﻢ ﻣﻦ اﳌﻨﻬﺠﻴﺔ‬ ‫ﻓﻴﺤﺴﺐ ﻟﻪ اﻹﻧﺘﺎج؛ ﻷﻧﻪ أﻋﻠﻢ ﺑﺸﻌﺎب ﻣﻌﺮﻓﺘﻪ‬
‫اﻟﻌﻠﻤﻴﺔ ﻟﻠﱰﲨﺔ‪ ،‬واﻧﻌﺪام اﻟﺮؤ� اﻻﺳﱰاﺗﻴﺠﻴﺔ؛‬ ‫ﻣﻦ ﻏﲑﻩ‪ ،‬وﻟﻪ أن ﳜﺮج ﻣﻦ ﻏﻤﻮض اﻟﻨﺺ ﲟﺎ‬
‫ﻓﻜﺎن أن أﺳﺎؤوا ﻷﻧﻔﺴﻬﻢ‪ ،‬وﳊﺮﻛﺔ اﻟﱰﲨﺔ ﰲ‬ ‫ﳝﺘﻠﻜﻪ ﻣﻦ ﻣﻌﺮﻓﺔ ﳚﻠﻴﻬﺎ دﻗﻴﻘﺔ ﻟﻐﲑﻩ‪ ،‬وﻫﻮ اﻟﻘﺎدر‬
‫‪ 12‬ﳏﻤﺪ دﻳﺪاوي‪ ،‬اﻧﻈﺮ ﻛﻠﻤﺘﻪ ﻛﺎﻣﻠﺔ ﺑﺘﻘﺮﻳﺮ اﳌﺆﲤﺮ اﻟﺪوﱄ‬ ‫‪،‬دراﺳﺎت ﰲ ﺗﺮﲨﺔ اﻟﺸﻌﺮ‪ ،‬ﻣﻨﺸﻮرات ﺑﻴﺖ اﳊﻜﻤﺔ‪ ،‬دار أﰊ‬
‫ﺣﻮل ﺟﻮدة اﻟﱰﲨﺔ وإدارﻬﺗﺎ ﻏﺸﺖ ‪ 2009‬ﺎﺑﻷردن‪ ،‬ﻋﻠﻰ‬ ‫رﻗﺮاق‪ ،‬اﻟﺮﺎﺑط‪ ،‬ص ‪.21‬‬
‫اﻟﺮاﺑﻂ اﻵﰐ‪:‬‬
‫‪https://www.ammonnews.net/article/43071‬‬
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‫واﳌﺮاﺟﻌﲔ ﻣﻦ ذوي اﻻﺧﺘﺼﺎص اﻟﻠﻐﻮي‬ ‫وﻃﻨﻬﻢ‪ ،‬وﻟﻠﻤﺠﺘﻬﺪﻳﻦ ﰲ ﺳﺎﺣﺔ اﻟﱰﲨﺔ اﻟﺬﻳﻦ‬

‫واﻟﻌﻠﻤﻲ ﰲ اﺠﻤﻟﺎل واﻟﺬﻳﻦ ﳍﻢ اﻟﺪوراﳌﻬﻢ ﰲ‬ ‫أﻋﻴﺘﻬﻢ اﳌﺰاﲪﺔ وأﺟﱪﻬﺗﻢ ﻋﻠﻰ ﲣﻔﻴﺾ اﻷﺳﻌﺎر‪،‬‬
‫إﺧﺮاج اﻟﻨﺺ ﺳﻠﻴﻤﺎ �ﻓﻌﺎ ﻣﻔﻴﺪا‪ ،‬ﻓﻬﺬا اﻟﻨﻮع ﻣﻦ‬ ‫وﺎﺑﻟﻨﺘﻴﺠﺔ ﲞﺲ اﳌﱰﲨﲔ أﺟﻮرﻫﻢ" ‪ .13‬إن ﻫﺬﻩ‬
‫اﶈﺮرﻳﻦ ﻛﻤﺎ ﻳﻘﻮل ﳏﻤﺪ ﻋﺼﻔﻮر ﻫﻮ ﻣﺎ ﳓﺘﺎﺟﻪ‬ ‫اﻟﻘﻮاﻧﲔ ﲢﻔﻆ ﻟﻠﻤﻌﺮﻓﺔ وﻟﻠﻘﺎرئ واﻟﺒﺎﺣﺚ ﺣﻖ‬
‫ﰲ دور اﻟﻨﺸﺮ ووﺳﺎﺋﻞ اﻹﻋﻼم ﻋﻨﺪ� ﺑﺪﻻ ﻣﻦ‬ ‫اﻟﺘﻮﺻﻞ ﲟﺨﺮﺟﺎت ﺗﺮﲨﻴﺔ ﺎﺑﳉﻮدة اﻟﱵ ﻛﺘﺒﺖ ﻬﺑﺎ‬
‫اﶈﺮرﻳﻦ اﻟﺮﻗﺎﺑﻴﲔ‪" ،‬وﻟﻴﺴﺖ وﻇﻴﻔﺔ ﻫﺬا اﶈﺮر‬ ‫وﻟﻴﺲ أﻗﻞ ﻣﻦ ذﻟﻚ‪ ،‬وﻟﻦ ﻳﺘﺄﺗﻰ ذﻟﻚ ﰲ ﻏﻴﺎب‬
‫رﻗﺎﺑﻴﺔ ﺑﻞ ﻫﻲ وﻇﻴﻔﺔ ﺛﻘﺎﻓﻴﺔ ﺗﺴﻌﻰ إﱃ ﺟﻌﻞ‬ ‫ﺳﻠﺴﻠﺔ اﻟﱰﲨﺔ اﻟﱵ ﻻ ﻳﺸﺎرك ﻓﻴﻬﺎ اﳌﱰﺟﻢ‬
‫اﻟﻨﺺ – أﺻﻴﻼ ﻛﺎن أم ﻣﱰﲨﺎ‪ -‬ﺳﻠﻴﻢ اﻟﺼﻴﺎﻏﺔ‪،‬‬ ‫وﺣﺪﻩ‪ ،‬اﺑﺘﺪاء ﻣﻦ اﺧﺘﻴﺎر ﻣﺎ ﻳﱰﺟﻢ‪ ،‬ﻓﺎﳌﱰﺟﻢ ﻫﻮ‬
‫ﺧﺎﻟﻴﺎ ﻣﻦ اﻟﻌﺠﻤﺔ واﳌﻐﺎﻣﺮات اﻟﻠﻐﻮﻳﺔ اﻟﱵ ﻻ‬ ‫اﳊﻠﻘﺔ اﻷوﱃ أﻛﻴﺪ‪ ،‬وﻣﻨﻬﺎ ﻳﻨﻄﻠﻖ اﻟﻌﻤﻞ وإﻟﻴﻪ‬
‫ﺳﻨﺪ ﳍﺎ ﻣﻦ ﻃﺒﻴﻌﺔ اﻟﻠﻐﺔ وﺗﺮاﺛﻬﺎ اﻟﻄﻮﻳﻞ‪ .‬ﻛﺬﻟﻚ‬ ‫ﻳﻨﺘﻬﻲ‪ ،‬ﻟﻜﻦ ﻫﻨﺎك ﳏﻄﺎت أﺧﺮى ﺗﻠﻴﻪ ﻗﺒﻞ أن‬
‫ﻓﺈن اﻟﻨﺼﻮص اﳌﱰﲨﺔ ﳚﺐ أن ﲣﻀﻊ ﻟﻠﺘﺪﻗﻴﻖ‬ ‫ﻳﺘﻠﻘﻒ اﻟﻘﺎرئ اﻟﻜﺘﺎب‪ ،‬وﻫﻲ ﳏﻄﺔ ﻣﺎ ﻗﺒﻞ‬
‫ﻗﺒﻞ اﻟﻨﺸﺮ‪ ،‬وﻟﻠﻨﻘﺪ واﻟﺘﻘﻮﱘ ﺑﻌﺪ اﻟﻨﺸﺮ‪ .‬وﻟﻴﺲ‬ ‫اﻟﻨﺸﺮ‪ ،‬اﶈﻄﺔ اﻟﻐﺎﺋﺒﺔ ﻋﻦ اﳌﺆﺳﺴﺎت اﻟﱰﲨﻴﺔ‬
‫ﻫﻨﺎك ﰲ اﻟﻮﻗﺖ اﳊﺎﺿﺮ ﺳﻮى ﻋﺪد ﻗﻠﻴﻞ ﻣﻦ د‬ ‫ودور اﻟﻨﺸﺮ اﻟﺘﺎﺑﻌﺔ ﳍﺎ ﲝﺠﺞ اﻟﺘﻜﺎﻟﻴﻒ‬
‫ور اﻟﻨﺸﺮ ﺗﻄﻠﺐ ﻣﻦ ﻣﺮاﺟﻌﲔ ﳐﺘﺼﲔ ﻣﺮاﺟﻌﺔ‬ ‫اﻹﺿﺎﻓﻴﺔ‪ ،‬وﺳﺮﻋﺔ اﻹﻧﺘﺎﺟﻴﺔ وﻃﻠﺒﺎت اﻟﺴﻮق‬
‫اﻟﻨﺼﻮص اﳌﱰﲨﺔ‪ ،‬وﻟﻜﻦ أﻛﺜﺮﻫﺎ ﻻ ﺗﻔﻌﻞ ذﻟﻚ‬ ‫اﻟﺘﺠﺎرﻳﺔ؛ ﻟﺬﻟﻚ ﻻ ﻳﻮﺟﺪ ﺗﺪﻗﻴﻖ ﺷﻜﻠﻲ وﻻ‬
‫ﲝﺠﺔ اﻟﺘﻜﺎﻟﻴﻒ اﻹﺿﺎﻓﻴﺔ‪ .‬أﻣﺎ اﻟﻨﻘﺪ واﻟﺘﻘﻮﱘ‬ ‫ﻣﻌﻨﻮي‪ ،‬وﻻ ﻳﺮاﺟﻊ اﻟﻌﻤﻞ ﺑﻌﺪ اﳌﱰﺟﻢ ﺳﻮى آﻟﺔ‬
‫ﺑﻌﺪ اﻟﻨﺸﺮ ﻓﻼ ﻳﻨﻬﺾ ﺑﻪ أﺣﺪ �ﻮﺿﺎ ﳝﻜﻦ أن‬ ‫اﻟﻄﺒﺎﻋﺔ اﻟﱵ ﲣﺮج اﻟﻨﺺ ﻛﻤﺎ ﺻﺎﻏﻪ اﳌﱰﺟﻢ ﺛﻘﺔ‬
‫ﻳﺆدي إﱃ ﻧﺘﺎﺋﺞ ذات ﺎﺑل ﰲ اﻟﻮﻗﺖ اﳊﺎﺿﺮ‬ ‫أﺣﻴﺎ� ﰲ ﺟﻬﺪﻩ‪ ،‬وﺗﺮاﺧﻴﺎ واﺿﺤﺎ ﰲ دور‬
‫ﻟﻌﺪم وﺟﻮد ﻣﻌﺎﻳﲑ ﻣﻬﻨﻴﺔ ﺗﻨﻈﻢ ﻣﻬﻨﺔ اﻟﻨﺸﺮ‪.‬‬ ‫اﳌﺆﺳﺴﺎت اﻟﻨﺎﺷﺮة ﺑﻌﺪﻩ‪ ،‬وﲞﻼ ﻣﻘﻴﺘﺎ ﰲ‬
‫وﻟﻴﺲ ﲦﺔ ﰲ اﻟﻌﺎﱂ اﻟﻌﺮﰊ ﳎﻼت ﻋﻠﻤﻴﺔ‬ ‫ﺗﻮﻇﻴﻒ اﶈﺮرﻳﻦ اﳌﺮاﻗﺒﲔ ﺟﻮدة اﳌﺒﲎ واﳌﻌﲎ‪،‬‬
‫‪https://www.ammonnews.net/article/43071‬‬ ‫‪ 13‬ﻋﺎدل ﻋﺰام ﺳﻘﻒ اﳊﻴﻂ‪ ،‬اﻧﻈﺮ ﻛﻠﻤﺘﻪ ﻛﺎﻣﻠﺔ ﺑﺘﻘﺮﻳﺮ اﳌﺆﲤﺮ‬
‫اﻟﺪوﱄ ﺣﻮل ﺟﻮدة اﻟﱰﲨﺔ وإدارﻬﺗﺎ ﻏﺸﺖ ‪ 2009‬ﺎﺑﻷردن‪،‬‬
‫ﻋﻠﻰ اﻟﺮاﺑﻂ اﻵﰐ‪:‬‬
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‫وﳚﻌﻠﻬﺎ ﻏﲑ ﻗﺎﺑﻠﺔ ﻟﻠﻘﺮاءة ﻋﺼﻴﺔ ﻋﻠﻰ اﻟﻔﻬﻢ‪،‬‬ ‫ﻣﺘﺨﺼﺼﺔ ﰲ ﻋﻠﻢ اﻟﱰﲨﺔ ﺳﻮى ﳎﻠﺔ واﺣﺪة‬
‫وﻣﺆذﻧﺔ ﺑﻮﻳﻼت اﻟﺘﺤﺮﻳﻒ واﳌﺴﺦ واﻟﺘﺸﻮﻳﻪ‪.‬‬ ‫ﳝﻜﻨﻬﺎ أن ﺗﺆدي ﻫﺬﻩ اﻟﻮﻇﻴﻔﺔ وﻫﻲ ﳎﻠﺔ ﺗﺮﲨﺎن‬
‫ذﻟﻚ أن ﺧﻄﺮ إﺗﻘﺎن اﻟﻠﻐﺔ اﻷﺟﻨﺒﻴﺔ واﻹﳌﺎم‬ ‫اﻟﱵ ﺗﺼﺪر ﰲ اﳌﻐﺮب‪ .‬واﳊﺎﺟﺔ إﱃ وﺿﻊ اﳌﻌﺎﻳﲑ‬
‫ﺎﺑﻟﻠﻐﺔ اﳌﻨﻘﻮل إﻟﻴﻬﺎ‪ ،‬اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﰲ ﺣﺎﻟﺘﻨﺎ‪ ،‬ﻟﻪ‬ ‫اﻟﺮاﻗﻴﺔ ﻟﺘﻨﻈﻴﻢ ﻣﻬﻨﺔ اﻟﻨﺸﺮ وإﱃ دور�ت أﺧﺮى‬
‫ﻛﺜﲑ وزر ﻋﻠﻰ اﻟﱰﲨﺔ‪ ،‬ﻓﻼ ﻳﻜﻔﻲ اﻹﳌﺎم ﺎﺑﻟﻠﻐﺔ‬ ‫ﻣﺘﺨﺼﺼﺔ ﰲ ﳎﺎل اﻟﱰﲨﺔ ﺣﺎﺟﺔ ﻣﻠﺤﺔ إذا ﻣﺎ‬
‫اﻟﻌﺮﺑﻴﺔ‪ ،‬ﺑﻞ ﳚﺐ أن ﻳﺘﻘﻨﻬﺎ اﳌﱰﺟﻢ إﺗﻘﺎ� ﺎﺗﻣﺎ‬ ‫أرد� اﳊﺪ ﻣﻦ اﻟﻔﻮﺿﻰ اﻟﺴﺎﺋﺪة ﰲ ﻫﺬﻩ‬
‫ﻛﻤﺎ ﻳﺘﻘﻦ اﳌﻨﻘﻮل ﻣﻨﻬﺎ‪ ،‬وﻫﺬا أﻣﺮ ﻣﻔﺮوغ ﻣﻨﻪ‬ ‫اﻷ�م" ‪.14‬‬
‫ﻣﻨﺬ زﻣﻦ اﳉﺎﺣﻆ وﻣﻦ ﺑﻌﺪﻩ ﻣﻦ اﳌﻨﻈﺮﻳﻦ ﻟﻌﻠﻢ‬ ‫ﻓﺈذا ﻛﺎﻧﺖ ﻣﺪﺧﻼت اﻟﱰﲨﺔ ﰲ اﻟﻮﻃﻦ اﻟﻌﺮﰊ‬
‫اﻟﱰﲨﺔ ﻣﻦ اﻟﻌﺮب واﻟﻐﺮﺑﻴﲔ‪ ،‬ﻟﻜﻦ اﳌﱰﲨﲔ ﰲ‬ ‫ﻣﺸﺮﻋﺔ اﻷﺑﻮاب ﲝﺠﺔ اﻻﻧﻄﻼق اﻟﻼﻣﺸﺮوط‬
‫اﻟﻮﻃﻦ اﻟﻌﺮﰊ ﻻ ﳛﱰﻣﻮن اﻟﻘﺎرئ ﺎﺑﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ‪،‬‬ ‫ﻟﻠﱰﲨﺔ وﲝﺠﺔ اﻹﺳﺮاع ﺎﺑﻟﻠﺤﺎق ﺎﺑﻟﺮﻛﺐ‪ ،‬ﻓﺈﻧﻨﺎ‬
‫رﲟﺎ ﻷ�ﻢ ﻳﻌﻠﻤﻮن أﻧﻪ ﻻ ﻳﻘﺮأ‪ ،‬أو ﻫﻢ رﲟﺎ‬ ‫أﻣﺎم ﳐﺮﺟﺎت وإﻧﺘﺎج ﺗﺮﲨﻲ ﻣﻨﺴﻮب ﻟﻨﺎ ﰲ زﺧﻢ‬
‫ﻣﻘﺘﻨﻌﻮن ﺄﺑن ﻣﺴﺘﻮى ﻟﻐﺔ اﻟﻘﺎرئ ﻟﻴﺴﺖ أﻓﻀﻞ‬ ‫ﻫﺬا اﻻﳔﺮاط‪ ،‬وﰲ ﻏﻴﺎب اﳋﻄﺔ واﻻﺳﱰاﺗﻴﺠﻴﺔ‬
‫ﺣﺎﻻ ﻣﻦ ﻣﺴﺘﻮى ﻟﻐﺘﻬﻢ اﻟﻌﺮﺑﻴﺔ اﳌﱰﲨﺔ‪ ،‬وأن‬ ‫واﻷﻫﺪاف اﻟﻮاﺿﺤﺔ‪ ،‬ﺻﺎرت اﳌﺨﺮﺟﺎت ﲟﺎ ﻳﻘﻊ‬
‫ﻣﺴﺘﻮى ذاﺋﻘﺔ اﻟﻘﺎرئ اﻟﻌﺮﰊ ﲟﺴﺘﻮى اﻟﺮداءة اﻟﱵ‬ ‫ﺑﲔ ﻳﺪي اﻟﻘﺮاء ‪-‬ﻋﻠﻰ ﻗﻠﺘﻬﻢ‪ -‬ﻋﻠﻰ ﻛﺜﲑ ﻣﻦ‬
‫ﲣﺮج ﻬﺑﺎ اﻟﱰﲨﺎت‪.‬‬ ‫اﻟﺮداءة اﻟﱵ ﺗﻨﻔﺮ ﻣﻦ ﻣﻮاﺻﻠﺔ اﻻﻃﻼع ﻋﻠﻰ‬
‫ﻳﻌﻠﻢ اﳌﺨﺘﺼﻮن أن أﻣﺮ اﻹﻧﺘﺎج اﻟﱰﲨﻲ ﺎﺑﻟﻮﻃﻦ‬ ‫اﶈﺘﻮى‪ ،‬وﻳﻔﻀﻞ اﻟﻜﺜﲑون اﻟﻌﻮدة ﻟﻠﻨﺺ اﻷﺻﻠﻲ‬
‫اﻟﻌﺮﰊ ﺧﺮج ﻋﻦ اﻟﺴﻴﻄﺮة‪ ،‬وأﻧﻪ ﻟﻴﺲ ﻛﻠﻪ ﺎﺑﳉﻮدة‬ ‫اﻟﺬي ﻳﺘﻘﻨﻮن ﻟﻐﺘﻪ‪ ،‬ﻟﻴﺼﻞ اﳌﻀﻤﻮن واﺿﺤﺎ‪،‬‬
‫اﳌﺮﺟﻮة؛ ﻷﻧﻪ ﻻ ﻳﻮﺟﺪ ﺗﻨﻈﻴﻢ ﻟﻠﻤﺠﺎل ﺄﺑي‬ ‫ﺧﺼﻮﺻﺎ ﰲ اﺠﻤﻟﺎﻻت اﳌﻌﺮﻓﻴﺔ اﳌﺘﺨﺼﺼﺔ‪،‬‬
‫ﺷﻜﻞ ﻣﻦ اﻷﺷﻜﺎل‪ ،‬وﻟﻴﺲ ﻫﻨﺎك ﲣﻄﻴﻂ‬ ‫�ﻫﻴﻚ ﻋﻦ اﳊﺪﻳﺚ ﻋﻦ اﻟﻠﻐﺔ اﳌﻨﻘﻮل إﻟﻴﻬﺎ اﻟﻠﻐﺔ‬
‫ﻋﻘﻼﱐ ﻣﺴﺒﻖ‪ ،‬ﻟﻌﺪم وﺟﻮد ﺧﻄﺔ وﺗﻨﺴﻴﻖ ﺑﲔ‬ ‫ﱄ ﻋﻨﻘﻬﺎ ﲟﺎ ﻳﻼﺋﻢ اﻟﻨﺺ‬
‫اﻟﻌﺮﺑﻴﺔ‪ ،‬ﻓﻜﺜﲑا ﻣﺎ ﻳﺘﻢ َﱡ‬
‫دور اﻟﻨﺸﺮ أوﻻ‪ ،‬واﳌﺆﺳﺴﺎت اﳌﻌﺮﻓﻴﺔ ﺎﺛﻧﻴﺎ‪،‬‬ ‫اﻟﻔﺮﻧﺴﻲ أو اﻹﳒﻠﻴﺰي ﻟﻐﺔ وأﺳﻠﻮﺎﺑ وﺗﺮاﻛﻴﺒﺎ ‪،15‬‬
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‫ﳏﻤﺪ ﻋﺼﻔﻮر‪ ،‬ص ‪.20‬‬ ‫‪ 14‬ﳏﻤﺪ ﻋﺼﻔﻮر‪ ،‬دراﺳﺎت ﰲ اﻟﱰﲨﺔ وﻧﻘﺪﻫﺎ‪ ،‬اﳌﺆﺳﺴﺔ‬
‫اﻟﻌﺮﺑﻴﺔ ﻟﻠﺪراﺳﺎت واﻟﻨﺸﺮ‪ ،‬ﺑﲑوت‪ .2009 ،‬ص ‪.42‬‬
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‫ﺎﺑﻟﻐﺔ اﻟﺪﻗﺔ ﻣﻦ ﺣﻴﺚ ﺻﺤﺘﻪ اﻟﻨﺤﻮﻳﺔ‬ ‫واﻟﻘﻮاﻧﲔ واﻟﺘﺸﺮﻳﻌﺎت اﳌﻨﻈﻤﺔ ﻟﻠﻤﻬﻨﺔ ﺎﺛﻟﺜﺎ‪،‬‬
‫واﻷﺳﻠﻮﺑﻴﺔ‪ .‬وﻫﻮ ﻻ ﳚﻴﺰ اﻟﻨﺺ ﻟﻠﻄﺒﺎﻋﺔ إﻻ ﺑﻌﺪ‬ ‫ﺧﻼﻓﺎ ﳌﺎ ﻫﻮ ﻋﻠﻴﻪ اﳊﺎل ﰲ اﻟﺪول اﻟﻐﺮﺑﻴﺔ ﺣﻴﺚ‬
‫اﻗﺘﻨﺎﻋﻪ ﺑﻪ‪ ،‬وﺑﻌﺪ ﻣﺮاﺟﻌﺎت ﺗﻄﻮل أو ﺗﻘﺼﺮ ﻣﻊ‬ ‫ﺗﺘﻮﱃ اﳌﺆﺳﺴﺎت اﻟﱰﲨﻴﺔ ودور اﻟﻨﺸﺮ اﻷﻣﺮ‬
‫اﳌﺆﻟﻒ أو اﳌﱰﺟﻢ" ‪ .16‬وﲢﺮص ﻫﺬﻩ اﻟﺪول ﻋﻠﻰ‬ ‫ﺑﻜﺜﲑ ﻣﻦ اﳉﺪﻳﺔ واﳊﺰم‪ ،‬ﻣﺎداﻣﺖ اﳌﺨﺮﺟﺎت‬
‫اﻟﺘﻘﻴﻴﻢ؛ ﻷ�ﺎ ﲤﻠﻚ اﳋﻄﺔ وﺗﻌﻤﻞ ﺎﺑﻻﺳﱰاﺗﻴﺠﻴﺔ‪،‬‬ ‫أي اﳌﻌﺮﻓﺔ واﻟﻌﻠﻮم ﺳﺘﻠﻘﻰ ﻃﺮﻳﻘﻬﺎ ﻟﻺﻧﺴﺎن‬
‫وﲣﺼﺺ اﳌﻴﺰاﻧﻴﺔ اﻟﻜﱪى ﻟﻠﺒﺤﺚ اﻟﻌﻠﻤﻲ وﻛﻞ‬ ‫اﻟﺬي ﲢﺮص ﻋﻠﻰ أن ﺗﺒﻨﻴﻪ ﻣﻔﻴﺪا ﻟﻮﻃﻨﻬﺎ ﻋﻠﻰ‬
‫ﻣﻠﺤﻘﺎﺗﻪ وﻋﻠﻰ رأﺳﻬﺎ اﻟﱰﲨﺔ‪ ،‬وﺗﻀﻤﻦ ﻟﻠﺒﺎﺣﺜﲔ‬ ‫ﲨﻴﻊ اﻷﺻﻌﺪة وﰲ ﻛﻞ اﺠﻤﻟﺎﻻت‪ ،‬وﻻ ﳝﻜﻦ‬
‫واﳌﱰﲨﲔ اﳌﻨﺎخ اﳌﻼﺋﻢ ﻟﻺﻧﺘﺎج واﻹﺑﺪاع‪،‬‬ ‫ﲝﺎل ﻣﻦ اﻷﺣﻮال أن ﺗﻨﻘﻞ ﻟﻪ ﻋﻠﻤﺎ ﻏﲑ �ﻓﻊ‪،‬‬
‫وﻳﺴﺎﻫﻢ ﻛﻞ ﻣﻨﻬﻢ ﰲ ﳎﺎﻟﻪ ﻟﺘﻄﻮﻳﺮ اﻟﺒﺤﺚ‬ ‫أو ﻋﻠﻤﺎ �ﻓﻌﺎ ﻋﻠﻰ ﺣﺴﺎب ﺗﺸﻮﻳﻪ ﻟﻐﺘﻪ اﻟﻮﻃﻨﻴﺔ‪.‬‬
‫اﻟﻌﻠﻤﻲ ﺗﻨﻈﲑا وﳑﺎرﺳﺔ وﺗﻄﺒﻴﻘﺎ‪ ،‬ﻓﻼ ﺗﺜﺒﺖ ﻧﻈﺮﻳﺔ‬ ‫ﻓﻘﺪ ﺳﻌﺖ اﻟﺪول اﻟﻐﺮﺑﻴﺔ ﻟﺘﻘﻴﻴﻢ ﺟﻮدة اﻟﱰﲨﺎت‬
‫إﻻ وﺄﺗﰐ ﺑﻌﺪﻫﺎ اﻟﱵ ﺗﻨﺴﺨﻬﺎ وﺗﻄﻮرﻫﺎ ﰲ ﳎﺎل‬ ‫ﺑﻨﺎء ﻋﻠﻰ ﻣﻌﺎﻳﲑ ﺗﻀﻤﻦ ﺳﻼﻣﺔ ﳐﺮﺟﺎﻬﺗﺎ‬
‫اﻟﱰﲨﺔ اﳌﺘﺠﺪد اﳊﺎﻓﻞ‪ ،‬وﻋﻠﻰ رأﺳﻪ ﻣﻌﺎﻳﲑ ﺗﻘﻴﻴﻢ‬ ‫اﻟﱰﲨﻴﺔ‪ ،‬ﻓﺎﶈﺮر ﰲ اﻟﻐﺮب "ذو ﺻﻼﺣﻴﺎت‬
‫ﺟﻮدة اﻟﱰﲨﺔ‪.‬‬ ‫واﺳﻌﺔ ﺗﺴﻤﺢ ﻟﻪ‪ ،‬ﺑﻌﺪ أن ﳚﺎز اﻟﻨﺺ‪ ،‬ﺄﺑن ﻳﺘﺎﺑﻊ‬
‫‪ -２‬واﻗﻊ ﺗﻘﻴﻴﻢ اﻹﻧﺘﺎج اﻟﱰﲨﻲ ﰲ اﻟﻮﻃﻦ‬ ‫اﻟﻜﺎﺗﺐ أو اﳌﱰﺟﻢ ﰲ أي ﺷﻲء ﰲ اﻟﻨﺺ ﺑﺪءا‬
‫اﻟﻌﺮﰊ‪:‬‬ ‫ﻣﻦ ﺻﺤﺔ اﻟﺘﻬﺠﺌﺔ‪ ،‬وﻣﺮورا ﺑﺪﻗﺔ اﳌﻌﻠﻮﻣﺎت‬

‫ﻻ ﺗﺼﺢ اﻟﻨﻬﺎ�ت إﻻ ﺑﺼﺤﺔ اﻟﺒﺪا�ت؛ ﻓﺈذا‬ ‫واﻷرﻗﺎم‪ ،‬واﻧﺘﻬﺎء ﺎﺑﻷﺳﻠﻮب وﺳﻼﻣﺔ اﻟﺘﻌﺒﲑ‬
‫ﻛﺎن واﻗﻊ اﳌﺪﺧﻼت ﲟﺎ ﺳﻘﻨﺎﻩ ﺳﺎﺑﻘﺎ ﻣﻦ‬ ‫وﲤﺎﺳﻚ اﻷﻓﻜﺎر‪ .‬وﻫﺬا اﶈﺮر ﻳﻜﻮن ﰲ اﻟﻌﺎدة‬
‫اﻻرﲡﺎﻟﻴﺔ واﻟﺮداءة‪ ،‬ﻓﻤﺎ ﻋﺴﺎﻩ أن ﻳﻜﻮن واﻗﻊ‬ ‫ﺷﺨﺼﺎ ذا ﺛﻘﺎﻓﺔ واﺳﻌﺔ ﰲ ﳎﺎل ﻋﻤﻠﻪ‪ ،‬وذا‬
‫اﳌﺨﺮﺟﺎت اﻟﱰﲨﻴﺔ ﻣﻦ اﻟﺘﻘﻴﻴﻢ وﻣﺮاﻗﺒﺔ اﳉﻮدة‬ ‫ﻛﻔﺎﻳﺔ ﻟﻐﻮﻳﺔ ﻋﺎﻟﻴﺔ ﺗﺒﻴﺢ ﻟﻪ إﺧﻀﺎع اﻟﻨﺺ ﻟﻘﺮاءة‬
‫ﻫﺬا اﻟﻘﻄﺮ أو ذاك‪ .‬اﻧﻈﺮ ﺗﻘﺮﻳﺮا ﺣﻮل اﳌﺆﲤﺮ ﻋﻠﻰ اﻟﺮاﺑﻂ اﻵﰐ‬ ‫‪ 16‬ﻟﻘﺪ ﺣﻀﻨﺖ اﻷردن ﻣﺆﲤﺮا دوﻟﻴﺎ ﺣﻮل ﺟﻮدة اﻟﱰﲨﺔ‬
‫‪ :‬اﻟﺘﻘﺮﻳﺮ اﻟﻜﺎﻣﻞ ﻟﻠﻤﺆﲤﺮ اﻷردﱐ اﻟﺪوﱄ ﻟﻠﱰﲨﺔ ﻟﻌﺎم ‪:2009‬‬ ‫وإدارﻬﺗﺎ ﻏﺸﺖ ‪ ،2009‬وﺳﻌﻰ اﳌﺘﺪﺧﻠﻮن ﲨﻴﻌﻬﻢ إﱃ اﻟﺘﻨﺒﻴﻪ‬
‫‪https://www.ammonnews.net/article‬‬ ‫ﻋﻠﻰ ﺿﺮورة ﻣﺮاﻗﺒﺔ اﳌﺨﺮﺟﺎت ﰲ اﺠﻤﻟﺎل اﻟﱰﲨﻲ‪ ،‬وأﻛﺪوا ﻋﻠﻰ‬
‫‪/43071‬‬ ‫أن واﻗﻊ اﻟﱰﲨﺔ ﻋﻠﻰ ﺑﺪا�ﺗﻪ اﻟﻨﺸﻄﺔ ﺣﺎﻟﻴﺎ‪ ،‬ﻻﻳﺰال ﻳﻌﺮف‬
‫اﻟﺘﻌﺜﺮ ﻟﻌﺪم ﺗﻀﺎﻓﺮ اﳉﻬﻮد وﺗﻨﺎﻏﻤﻬﺎ رﻏﻢ اﶈﺎوﻻت اﳌﻌﺰوﻟﺔ ﰲ‬
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‫اﻻﻟﺘﺰام ﻣﻦ دور ﻧﺸﺮ أو ﻣﺆﺳﺴﺔ ﺗﺮﲨﻴﺔ إﱃ‬ ‫ﻗﺒﻞ ﻋﺮﺿﻬﺎ ﻋﻠﻰ اﻟﻘﺎرئ؟ وﻣﺎ ﺣﺼﺔ اﻟﺘﻘﻮﱘ‬
‫أﺧﺮى‪.‬‬ ‫واﻟﻨﻘﺪ ﺑﻌﺪ اﻟﱰﲨﺔ؟ وﻟﻦ ﳓﻜﻲ ﻋﻦ اﳊﻠﻘﺔ اﻷﻫﻢ‬
‫ﻓﺎﻟﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ ﻋﺮف ﻋﻠﻰ اﻟﺪوام ﺗﻄﻮرا‬ ‫ﻣﻦ ﻫﺎﺗﲔ اﳊﻠﻘﺘﲔ‪ ،‬ﺣﻠﻘﺔ اﻹﻧﺘﺎج اﳌﺜﻤﺮ ﺑﻌﺪﻫﺎ‬
‫ﻣﺘﻮاﺻﻼ ﳋﺪﻣﺔ اﳉﻮدة اﳌﻄﻠﻮﺑﺔ ﰲ اﻹﻧﺘﺎج‬ ‫ﺎﺑﻟﺘﻔﺎﻋﻞ ﻣﻊ ﻣﺎ ﻳُﺘﻠﻘﻒ ﻣﻦ ﻣﻌﺮﻓﺔ وإﻋﺎدة ﺄﺗوﻳﻠﻬﺎ‬
‫اﻟﱰﲨﻲ‪ ،‬ﻟﺘﻔﺎدي ﻣﺎ ﲰﻲ ﺎﺑﻟﺬاﺗﻴﺔ واﳊﺪﺳﻴﺔ‬ ‫وﲤﺤﻴﺼﻬﺎ ﻟﻼﻧﺘﻔﺎع ﻬﺑﺎ ﺑﻌﺪ ﺷﺮﺣﻬﺎ وﺗﻔﺴﲑﻫﺎ‬
‫ﻣﻘﺎﺑﻞ اﻟﻌﻠﻤﻴﺔ واﳌﻮﺿﻮﻋﻴﺔ؛ ﻓﻤﺒﺤﺚ ﺗﻘﻴﻴﻢ‬ ‫وﺗﻠﺨﻴﺼﻬﺎ ﻋﻠﻰ ﻫﺪي اﻟﻌﻠﻤﺎء اﳌﱰﲨﲔ اﻟﻌﺮب‬
‫اﻟﱰﲨﺎت ﻛﻤﺎ ﻳﻘﻮل ﺣﺰل "ﻣﻦ اﳌﺒﺎﺣﺚ اﻟﻘﺪﳝﺔ‬ ‫اﻷواﺋﻞ‪ ،‬إ�ﺎ ﺣﻠﻘﺔ ﺗﻌﺮﻳﺐ اﳌﻌﺮﻓﺔ وﺗﻮﻃﻴﻨﻬﺎ‪ .‬ﻓﺈذا‬
‫اﳉﺪﻳﺪة ﻇﻞ ﻣﻼزﻣﺎ ﻟﻠﱰﲨﺔ ﻋﱪ ﲨﻴﻊ اﻟﻌﺼﻮر؛‬ ‫ﻛﻨﺎ ﻧﺴﺘﻄﻴﻊ‪ ،‬ﻋﻦ ﻃﺮﻳﻖ اﻟﱰﲨﺔ‪ ،‬أن �ﺧﺬ‬
‫ﻓﻜﺎن ﻳﻈﻬﺮ ﺑﺼﻴﻎ ذاﺗﻴﺔ ذوﻗﻴﺔ‪ ،‬ﰲ اﺳﺘﺤﺴﺎن‬ ‫وﻧﺘﻌﻠّﻢ‪ ،‬ﻓﺈن اﻟﺮﻗﻲ ﻟﻦ ﻳﻜﻮن إﻻ ﺎﺑﳋﻠﻖ‬
‫واﻹﺑﺪاع؛ ﻓﺎﻹﺑﺪاع ﺷﺮﻃﻪ اﻟﺘﺄﺻﻴﻞ وأداﺗﻪ‬
‫ﺗﺮﲨﺔ ﻣﻦ اﻟﱰﲨﺎت أو ﺗﺴﻔﻴﻬﻬﺎ‪ ،‬وﻇﻞ ﺣﺎﺿﺮاً‬
‫ﰲ اﳊﺪﻳﺚ ﻋﻦ اﻟﱰﲨﺔ ﺄﺑﲰﺎء وﻣﺴﻤﻴﺎت‬ ‫اﻟﺘﻌﺮﻳﺐ‪ ،‬اﻟﺬي ﳚﺐ أن ﺗﻜﻮن اﻟﱰﲨﺔ ﻣﺪﺧﻼً‬
‫ﳐﺘﻠﻔﺔ؛ ﻣﻦ ﻗﺒﻴﻞ‪" :‬ﻣﺎ ﻫﻲ اﻟﱰﲨﺔ اﳉﻴﺪة؟‪،‬‬ ‫ﻟﻪ؛ ذﻟﻚ أن اﻷﺳﻼف ﺗﺮﲨﻮا ﰒ ﻗﻴﻤﻮا وﻗﻮﻣﻮا‪،‬‬
‫و"ﻫﻞ اﻟﱰﲨﺔ أﻣﻴﻨﺔ أم ﺧﺎﺋﻨﺔ؟"‪ ،‬و"ﻣﻔﻬﻮﻣﺔ أم‬ ‫ﰒ ﺷﺮﺣﻮا وﳋﺼﻮا‪ ،‬وﺑﻌﺪﻫﺎ اﺳﺘﻮﻋﺒﻮا وأﻟﻔﻮا‬
‫ﻏﲑ ﻣﻔﻬﻮﻣﺔ؟"‪ ،‬و"ﺣﺴﻨﺔ أم ردﻳﺌﺔ؟"‪ ،‬وﺳﻮى‬ ‫ﺎﺑﻟﻌﺮﺑﻴﺔ ﻻ ﺎﺑﻟﻴﻮ�ﻧﻴﺔ‪ . 17‬وﻟﻦ ﻧﺴﺘﻄﻴﻊ أن ﻧﻘﺪم‬
‫ذﻟﻚ ﻣﻦ اﻷﺣﻜﺎم واﻟﺘﻘﻴﻴﻤﺎت اﻟﺬوﻗﻴﺔ‪ ،‬اﻟﱵ ﱂ‬ ‫واﻗﻊ اﻟﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ ﰲ ﺑﻠﺪاﻧﻨﺎ اﻟﻌﺮﺑﻴﺔ ﻗﺒﻞ أن‬
‫ﻌﺘﺪ ﻓﻴﻬﺎ ﺑﻐﲑ ذاﺗﻴﺔ اﳌﻘﻴِّﻢ‪ ،‬وﻣﺎ ﳛﺐ أو‬

‫ﻳﻜﻦ ﻳُ ﱡ‬ ‫ﻧﻌﺮج ﺑﻌﺠﺎﻟﺔ ﻋﻠﻰ واﻗﻊ اﻟﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ اﻟﻐﺮﰊ‬
‫ﻳﻜﺮﻩ ﻣﻦ اﻟﱰﲨﺎت‪ ،‬ﺑﻞ ﳛﺐ أو ﻳﻜﺮﻩ ﻣﻦ‬ ‫اﻟﺬي ﻻ ﻳﻔﺘﺄ ﻳﺘﻄﻮر‪ ،‬واﻟﺬي ﻳﺴﺘﻤﺪ ﻣﻨﻪ‬
‫اﳌﱰﲨﲔ ِ‬
‫أﻧﻔﺴﻬﻢ" ‪ .18‬ﺻﺤﻴﺢ أن ﲨﻴﻊ اﳌﻨﻈﺮﻳﻦ‬ ‫اﳌﻘﻴﻤﻮن اﻟﻌﺮب ‪-‬ﻋﻠﻰ ﻗﻠﺘﻬﻢ‪ -‬اﻟﺴﺒﻴﻞ ﻟﺘﻘﻴﻴﻢ‬
‫ﰲ ﳎﺎل اﻟﱰﲨﺔ ﻳﺘﻔﻘﻮن ﻋﻠﻰ ﺿﺮورة اﻷﻣﺎﻧﺔ‬ ‫ﺟﻮدة ﺗﺮﲨﺎﻬﺗﻢ ﺣﺎﻟﻴﺎ ﺑﺪرﺟﺎت ﺗﺘﻔﺎوت ﰲ‬
‫ﻟﻠﻨﺺ اﻷﺻﻠﻲ ﻣﻀﻤﻮ� وﳏﺘﻮى وﻳﻨﻬﻮن ﻋﻦ‬
‫‪ 18‬ﻋﺒﺪ اﻟﺮﺣﻴﻢ ﺣﺰل‪ ،‬اﻟﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ‪ ،‬ﳎﻠﺔ ﻛﻠﻤﺔ‪ ،‬ﻋﺪد‬ ‫‪ 17‬ﳏﻤﺪ دﻳﺪاوي‪ ،‬ﻣﻨﻬﺎج اﳌﱰﺟﻢ ﺑﲔ اﻟﻜﺘﺎﺑﺔ واﻻﺻﻄﻼح‬
‫‪ ،1373‬ﺷﺘﻨﱪ ‪. 2018‬‬ ‫واﳍﻮاﻳﺔ واﻻﺣﱰاف‪ ،‬اﳌﺮﻛﺰ اﻟﺜﻘﺎﰲ اﻟﻌﺮﰊ‪ ،‬ﺑﲑوت‪ ،‬اﻟﺪار‬
‫اﻟﺒﻴﻀﺎء‪.2005 ،‬‬
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‫ﻣﺴﺘﻮى ﻗﺒﻮل اﻟﺮداءة واردا وﳏﺘﻤﻼ‪" ،‬وﻟﻮ ﺣﺎوﻟﻨﺎ‬ ‫ﲢﺮﻳﻒ ﻣﻘﺼﺪﻩ ورﺳﺎﻟﺘﻪ‪ ،‬ﻟﻜﻨﻬﻢ ﻳﺮون أن ﻏﲑ‬
‫ﲢﻘﻴﺒﺎً ﻟﻠﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ‪ ،‬ﻓﻴﻤﻜﻦ اﻟﻘﻮل إن‬ ‫ذﻟﻚ ﻳﺼﻌﺐ اﺣﱰاﻣﻪ‪ ،‬ﻷﻧﻪ ﻳﺼﺐ ﰲ ﻋﻤﻠﻴﺔ‬
‫اﳋﺼﺎﺋﺺ اﳌﺬﻛﻮرة ﻛﺎﻧﺖ ﲤﺜﻞ "اﳌﺮﺣﻠﺔ اﻟﺬاﺗﻴﺔ"‬ ‫اﻟﺘﺤﻮﻳﻞ اﻟﱵ ﳜﻀﻊ ﳍﺎ اﻟﻨﺺ اﻷﺻﻞ ﰲ ﻧﺺ‬
‫اﳌﺴﻤﺎة ﻋﻨﺪ داﻧﻴﻴﻞ ﻏﻮادﻳﻚ‬
‫ﰲ ﻫﺬا اﻟﺘﻘﻴﻴﻢ‪ّ ،‬‬ ‫ﺛﻘﺎﻓﺔ ﻣﺴﺘﻘﺒﻠﺔ ﺑﻜﻞ اﻟﻌﻤﻠﻴﺎت اﳌﻀﻤﺮة واﻟﻈﺎﻫﺮة‬
‫"ﻣﺮﺣﻠﺔَ ﺣﺪﺳﻴﺔ"؛ وﻫﻲ ﺗﻘﻮم ﻋﻨﺪﻩ ﻋﻠﻰ‬ ‫واﳌﺒﻄﻨﺔ واﳉﻠﻴﺔ‪ ،‬إﱃ أن ﻳﺼﲑ ﳊﻤﺔ ﺟﺪﻳﺪة ﰲ‬
‫"اﻟﺘﻘﺪﻳﺮ اﻟﺬاﰐ اﳊﺪﺳﻲ اﻟﺸﻤﻮﱄ‪ ،‬اﻟﺬي ﻳﺆﺗﻰ‬ ‫ﺛﻘﺎﻓﺘﻪ اﳌﺴﺘﻘﺒﻠﺔ‪ ،‬وﻋﻠﻰ ذاك اﻷﺳﺎس ﻻ ﺑﺪ أن‬
‫ﺑﻪ ﻣﻌﻘﺒﺎً ﻋﻠﻰ ﻗﺮاءة ﻳُﺮاد ﻬﺑﺎ اﻻﻗﺘﺼﺎر ﻋﻠﻰ‬ ‫ﻳﻜﻮن اﻟﺘﺤﻮﻳﻞ ﺎﺑﻟﺴﻼﺳﺔ واﳌﺮوﻧﺔ واﳉﻮدة اﻟﱵ‬
‫اﻹﻋﻼن أن اﻟﱰﲨﺔ "ﻣﻘﺒﻮﻟﺔ" أو "ﻏﲑ ﻣﻘﺒﻮﻟﺔ"‪.‬‬ ‫ﻳﺴﻄﺮﻫﺎ اﳌﱰﲨﻮن اﳌﻨﻈﺮون‪ ،‬واﳌﻨﻈﺮون ﻏﲑ‬
‫وﻟﻴﺲ ﻳﺘﻄﻠﺐ ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﺘﻘﻴﻴﻢ إﺣﺼﺎء وﻻ‬ ‫اﳌﱰﲨﲔ‪ .‬ﻓﻜﺜﲑا ﻣﺎ ﻛﺎن اﻟﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ ﻳﺒﲎ‬
‫ﺗﺒﻴﻴﻨﺎً ﳋﺼﺎﺋﺺ اﻟﻨﺺ‪ ،‬وﻻ ﻗﻴﺎﺳﺎً ﳌﺎ اﻋﺘﻮرﻩ ﳑﻦ‬ ‫ﻋﻠﻰ ﻣﻌﺎﻳﲑ ذوﻗﻴﺔ ذاﺗﻴﺔ ﺎﺑﻷﺳﺎس‪ ،‬ﺑﻨﺎء ﻋﻠﻰ ﻣﺎ‬
‫أﺧﻄﺎء‪ .‬ﰒ ﻳﺆول إﱃ ﺗﻨﻘﻴﻂ أو ﺗﺼﻨﻴﻒ‪ ،‬ﺣﺴﺐ‬ ‫ﳛﺪﺛﻪ اﻟﻨﺺ اﳌﱰﺟﻢ ﰲ اﻟﻠﻐﺔ اﳌﺴﺘﻘﺒﻠﺔ ﻣﻦ ﻧﻔﻮر‬
‫ﺳﻠﻢ ﲡﺮﻳﱯ )ﺎﺑﻃﲏ( ﻋﻨﺪ اﻟﻘﺎﺋﻢ ﺑﺬﻟﻚ اﻟﺘﻘﻴﻴﻢ‪.‬‬ ‫أو اﺳﺘﺤﺴﺎن ﻟﺪى اﳌﺘﻠﻘﻲ‪ ،‬ﻛﻤﺎ ﻛﺎﻧﺖ اﻟﻠﻐﺔ‬
‫وﻫﺬا اﻟﻀﺮب ﻣﻦ اﻟﺘﻘﻴﻴﻢ واﺳﻊ اﻻﻧﺘﺸﺎر‪ ،‬وﻛﺜﲑاً‬ ‫اﻟﺴﻠﻴﻤﺔ واﻷﺳﻠﻮب اﳉﻴﺪ ﻳﻠﻌﺒﺎن إﱃ ﺟﺎﻧﺐ‬
‫ﻣﺎ ﻳﺘﺨﻔﻰ ﺧﻠﻒ أﺟﻬﺰة ﺗُﺰﻋَﻢ ﳍﺎ اﳌﻮﺿﻮﻋﻴﺔ" ‪.19‬‬ ‫اﳌﻀﻤﻮن اﻟﻮاﺿﺢ دورا ﺣﺎﲰﺎ ﰲ ﺗﻠﻘﻲ اﻟﱰﲨﺔ‬
‫ﻟﻜﻦ اﳌﻮﺿﻮﻋﻴﺔ اﻗﺘﻀﺖ ﲢﺪﻳﺪ ﻣﻌﺎﻳﲑ ﺟﺪﻳﺪة‬ ‫وﻗﺒﻮﳍﺎ ﻣﻦ ﻋﺪﻣﻪ‪ ،‬وﻳﻔﺴﺮ ذﻟﻚ ﻣﺴﺘﻮى ﺟﻮدة‬
‫واﺿﺤﺔ ﻟﺘﱪﺋﺔ ﺳﺎﺣﺔ اﳌﻘﻴﻢ ‪ ،20‬وﺟﻌﻞ ﻣﻬﻤﺔ‬ ‫اﻟﱰﲨﺔ ﲟﺴﺘﻮى اﳌﻘﻴﻢ ذاﺗﻪ‪ ،‬واﻟﺬي ﻳﻜﻮن ﻋﻠﻰ‬
‫ُ‬ ‫درﺟﺔ ﻣﻦ اﻟﺘﻜﻮﻳﻦ واﻟﺘﺨﺼﺺ اﻟﻌﻠﻤﻴﲔ اﻟﻠﺬﻳﻦ‬
‫اﻟﺘﻘﻴﻴﻢ ﻋﻤﻠﻴﺔ إﺟﺮاﺋﻴﺔ ﻣﻀﺒﻮﻃﺔ‪ ،‬وﻫﻲ ﻣﻌﺎﻳﲑ‬
‫ذات ﻣﺮﺟﻊ ﻟﺴﺎﱐ وﻣﻌﺮﰲ ﻟﻮﺻﻒ اﻟﻨﺼﲔ‬ ‫ﻳﺆﺛﺮان ﺄﺗﺛﲑا ﺣﺎﲰﺎ ﰲ ﻋﻤﻠﻴﺔ اﻟﺘﻘﻴﻴﻢ‪ ،‬وﻛﻠﻤﺎ ﻛﺎن‬
‫اﳌﱰﺟﻢ‪ ،‬ﻬﺑﺪف اﳊﻜﻢ ﻋﻠﻰ ﲨﻴﻊ‬ ‫ﻣﺴﺘﻮى اﳌﻘﻴﻢ ودرﺟﺘﻪ اﻟﻌﻠﻤﻴﺔ أﻗﻞ ﻛﻠﻤﺎ ﻛﺎن‬
‫اﻷﺻﻠﻲ و َ‬
‫ﻟﻠﻤﻌﺎﻳﲑ ﲰﺔ ﺗﻮﺟﻴﻬﻴﺔ ؛ أي أ�ﺎ ﲣﱪ اﻷﻓﺮاد ﻟﻴﺲ ﻓﻘﻂ ﻛﻴﻒ‬ ‫‪ 19‬ﻋﺒﺪ اﻟﺮﺣﻴﻢ ﺣﺰل‪ ،‬م‪.‬س‪.‬‬
‫أن اﻵﺧﺮﻳﻦ ﻳﺘﻮﻗﻌﻮن ﻣﻨﻬﻢ أن ﻳﺴﻠﻜﻮا‪ ،‬وﻟﻜﻦ ﻛﻴﻒ ﻳﻔﻀﻞ‬ ‫‪ 20‬ﻳﺘﺤﺪث ﺛﻴﻮﻫﺮﻣﺎﻧﺲ ﻋﻦ اﳌﻌﺎﻳﲑ ﺎﺑﻋﺘﺒﺎرﻫﺎ أﻗﻮى ﺻﻴﻐﺔ‬
‫اﻵﺧﺮون أن ﻳﺴﻠﻚ ﻫﺆﻻء اﻷﻓﺮاد‪ ..‬ﺛﻴﻮﻫﺮﻣﺎﻧﺲ‪ ،‬ﻣﻌﺎﻳﲑ‬ ‫ﻣﻠﺰﻣﺔ ﻣﻦ اﳌﻮاﺿﻌﺎت‪ ،‬ﻓﺎﳌﻌﺎﻳﲑ ﺗﺴﺘﻤﺪ ﻣﺸﺮوﻋﻴﺘﻬﺎ ﻣﻦ اﳌﻌﺮﻓﺔ‬
‫اﻟﱰﲨﺔ‪ ،‬ﺗﺮﲨﺔ ﲪﻴﺪ اﻟﻌﻮاﺿﻲ‪ ،‬ﳎﻠﺔ اﻟﺘﻌﺮﻳﺐ‪ ،‬ﻋﺪد ‪،51‬‬ ‫اﳌﺸﱰﻛﺔ واﻟﺘﻮﻗﻌﺎت اﳌﺘﺒﺎدﻟﺔ‪ ،‬ﻟﺬﻟﻚ ﻓﺈ�ﺎ ﻋﻠﻰ اﳌﺴﺘﻮى‬
‫دﺟﻨﱪ‪ ،2016‬ص‪.169‬‬ ‫اﻟﻔﺮدي ﻣﺴﺘﻨﺒﻄﺔ ﺑﺸﻜﻞ ﻛﺒﲑ‪ ،‬ﺧﻼﻓﺎ ﻟﻠﻤﻮاﺿﻌﺎت‪ ،‬ﻓﺈن‬
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‫ﻗﺎﻋﺪة اﻟﺘﻜﺎﻓﺆ‪ ،‬ﺑﻌﻴﺪا ﻋﻦ ﻣﻄﻠﺐ اﻟﺘﻄﺎﺑﻖ اﻟﺬي‬ ‫اﻟﻨﺼﻮص وﺗﻘﻴﻴﻤﻬﺎ ﻋﻠﻰ ﻣﻨﻮال واﺣﺪ‪ ،‬وإن ﻛﺎن‬
‫ﻛﺎﻧﺖ ﺗﻘﻮم ﻋﻠﻴﻪ اﻟﱰﲨﻴﺎت اﻟﺘﻘﻠﻴﺪﻳﺔ‪ ،‬وﻳﺮى أن‬ ‫اﻷﻣﺮ ﻟﻴﺲ ﻬﺑﺬﻩ اﻟﺴﻬﻮﻟﺔ ﻻﺧﺘﻼف ﻃﺒﻴﻌﺔ‬
‫اﻟﺘﻜﺎﻓﺆ أﺳﻠﻢ ﰲ ﻇﻞ ﻛﻞ ﻫﺬﻩ اﻻﺧﺘﻼﻓﺎت‬ ‫اﻟﻨﺼﻮص اﳌﱰﲨﺔ وﳎﺎﻻﻬﺗﺎ وﻣﻮاﺿﻴﻌﻬﺎ؛ ﻟﻜﻦ‬
‫اﻟﺜﻘﺎﻓﻴﺔ واﻟﻠﻐﻮﻳﺔ‪ ،‬وﻳﻘﻮل ﰲ ﻫﺬا اﻟﺼﺪد‪ ":‬ﳝﻜﻦ‬ ‫ﺟﻮﻟﻴﺎن ﻫﺎوس اﺳﺘﻄﺎﻋﺖ ﺑﻨﻤﻮذﺟﻬﺎ اﻟﺬي‬
‫إﲨﺎل اﳌﻘﻴﺎس اﻟﻌﺎم ﰲ ﺗﻘﻴﻴﻢ اﻟﱰﲨﺔ ﰲ ﻗﺎﻋﺪة‬ ‫اﺑﺘﻜﺮﺗﻪ ﻣﻨﺬ ﲬﺴﺔ وﻋﺸﺮﻳﻦ ﻋﺎﻣﺎ أن ﲡﻌﻞ‬
‫ﻋﺎﻣﺔ ﻫﻲ "اﻟﺘﻜﺎﻓﺆ"‪ .‬ﻓﻘﺪ ﺎﺑت ﻋﻠﻴﻪ ﻣﻌﻮل‬ ‫اﻟﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ‪ ،‬ﺣﺴﺐ اﳌﻨﻈﺮﻳﻦ اﳌﺨﺘﺼﲔ ﰲ‬
‫اﻟﺪرس اﻟﱰﲨﻲ اﳊﺪﻳﺚ‪ ،‬ﺑﻌﺪ أن ﻛﺎﻧﺖ‬ ‫اﺠﻤﻟﺎل‪ ،‬أﻛﺜﺮ أﺟﺮأة وﻓﺎﻋﻠﻴﺔ وﻣﻮﺿﻮﻋﻴﺔ‪ ،‬وإن‬
‫اﻟﱰﲨﻴﺎت اﻟﺘﻘﻠﻴﺪﻳﺔ ﺗﻘﻮم ﻋﻠﻰ ﻣﻄﻠﺐ‬ ‫ﻛﺎﻧﺖ ﺗﻌﱰف ﺑﺪورﻫﺎ ﺑﺼﻌﻮﺑﺔ ﺗﻄﺒﻴﻘﻪ وﺿﺮورة‬
‫"اﻟﺘﻄﺎﺑﻖ"‪ ،‬ذﻟﻚ اﳌﺮاد اﳋﺮاﰲ ﰲ ﻇﻞ‬ ‫اﳌﺮوﻧﺔ ﰲ اﻟﺘﻌﺎﻣﻞ ﻣﻊ اﻟﻮﺿﻌﻴﺎت اﳌﺨﺘﻠﻔﺔ ‪.21‬‬
‫اﻻﺧﺘﻼﻓﺎت اﻟﻠﻐﻮﻳﺔ واﻟﺜﻘﺎﻓﻴﺔ ﺑﲔ اﻟﻠﻐﺎت‪ .‬ﻓﻼ‬ ‫أﻣﺎ روﺑﲑ ﻻروز ﻓﺴﺎﻫﻢ ﻛﺬﻟﻚ ﺑﻨﺼﻴﺒﻪ ﻟﻠﺨﺮوج‬
‫ﻋﱪة ﺎﺑﻟﺒﻨﻴﺔ اﻟﻔﻮﻗﻴﺔ وﻻ ﺎﺑﻟﺒﻨﻴﺔ اﻟﻜﱪى وﻻ اﻟﺒﻨﻴﺔ‬ ‫ﻣﻦ ﻣﺄزق اﻟﺬاﺗﻴﺔ ﰲ اﻟﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ ﺑﻨﻤﻮذﺟﻪ‬
‫اﻟﺼﻐﺮى ﰲ ﲢﻠﻴﻞ اﻷﺻﻞ وﺗﺮﲨﺘﻪ‪ ،‬ﻣﺎ ﱂ ﻳﻜﻦ‬ ‫اﻟﺘﻜﺎﻣﻠﻲ "‪ ...‬وﺿﻤﻦ اﳌﺮﺣﻠﺔ اﻟﺜﺎﻟﺜﺔ ﻫﺬﻩ‪،‬‬
‫اﻟﻐﺎﻳﺔ ﻣﻨﻬﺎ ﲝﺚ اﻟﺘﻜﺎﻓﺆ ﺑﲔ اﻟﻨﺼﲔ" ‪.23‬‬ ‫ﺗﺪﺧﻞ ﻣﺴﺎﳘﺔ اﻟﱰﲨﻲ اﻟﻜﻨﺪي روﺑﲑ ﻻروز؛ إذ‬
‫وﻋﻤﻮﻣﺎ ﻳﻌﺘﻤﺪ ﺗﻘﻴﻴﻢ اﳌﺎدة اﳌﱰﲨﺔ ﻋﻠﻰ ﻧﺴﻖ‬ ‫اﻧﺘﺒﻪ إﱃ ﻣﻌﻀﻠﺔ اﻟﺬاﺗﻴﺔ ﰲ اﻟﺘﻘﻴﻴﻢ؛ وﻟﺬﻟﻚ ﺟﺎء‬
‫واﺿﺢ وﻣﻨﻈﻢ ﻣﻦ اﻹﺟﺮاءات واﳋﻄﻮات اﻟﱵ‬ ‫ﺑﻨﻤﻮذﺟﻪ اﻟﺬي أﲰﺎﻩ ﺑـ"اﻟﺘﻜﺎﻣﻠﻲ"‪ ،‬ﻳﻬﺪف أن‬
‫ﻻﺑﺪ أن ﻳﺘﺒﻌﻬﺎ ﻣﻦ ﻳﻘﻮم ﺑﺘﻘﻴﻴﻢ اﻟﱰﲨﺔ ﺣﱴ‬ ‫ﳛﺪ ﺑﻪ ﻛﺜﲑاً ﻣﻦ ﻫﺬﻩ اﻟﺬاﺗﻴﺔ‪ ،‬ﺎﺑﻋﺘﻤﺎد ﺧﻄﺔ‬
‫ﻳﺘﺄﻛﺪ ﻣﻦ ﺿﻤﺎن ﺟﻮدة اﳌﺎدة اﳌﱰﲨﺔ‪ ،‬وﳝﻜﻦ‬ ‫"ﻏﺎﺋﻴﺔ" و"ﻧﺼﻴﺔ"‪ ،‬ﻋﻠﻰ أﻣﻞ أن ﺗﺆول ﻫﺬﻩ‬
‫ﺗﻠﺨﻴﺺ أﻫﻢ ﻣﻌﺎﻳﲑ ﺗﻘﻴﻴﻢ اﻟﱰﲨﺔ ﰲ ﻧﻘﺎط أرﺑﻊ‬ ‫اﳋﻄﺔ ﺎﺑﳌﻘﻴﻤﲔ إﱃ أن ﳛﻜﻤﻮا ﻋﻠﻰ ﲨﻴﻊ‬
‫أﺳﺎﺳﻴﺔ؛ ﺗﺘﺠﻠﻰ أوﻻﻫﺎ ﰲ ﺿﺮورة اﺣﱰام اﻟﱰاﺑﻂ‬ ‫اﻟﻨﺼﻮص ﻋﻠﻰ ﻣﻨﻮال واﺣﺪ" ‪ .22‬وﳚﻤﻞ ﻋﺒﺪ‬
‫اﻟﺮﺣﻴﻢ ﺣﺰل اﳌﻘﻴﺎس اﻟﻌﺎم ﰲ ﺗﻘﻴﻴﻢ اﻟﱰﲨﺔ ﰲ‬
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‫ﻋﺒﺪ اﻟﺮﺣﻴﻢ ﺣﺰل‪ ،‬م‪.‬س‪.‬‬ ‫‪ 21‬ﺟﻮﻟﻴﺎن ﻫﺎوس‪ ،‬ﺗﻘﻴﻴﻢ ﺟﻮدة اﻟﱰﲨﺔ ﺑﲔ اﳌﺎﺿﻲ واﳊﺎﺿﺮ‪،‬‬
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‫ﻋﺒﺪ اﻟﺮﺣﻴﻢ ﺣﺰل‪ ،‬م‪.‬س‪.‬‬ ‫ﺗﺮﲨﺔ ﻳﻌﻘﻮب ﻋﻴﺴﻰ ﳏﻤﺪ ﺟﺪو‪ ،‬ﻣﺎﺟﺴﺘﲑ اﻵداب ﰲ‬
‫اﻟﱰﲨﺔ‪ ،‬ﺟﺎﻣﻌﺔ اﻟﺴﻮدان ﻟﻠﻌﻠﻮم واﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ‪ ،‬ﻛﻠﻴﺔ اﻟﺪراﺳﺎت‬
‫اﻟﻌﻠﻴﺎ‪ ،‬ﻳﻮﻟﻴﻮ‪.2016‬‬
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‫ﻟﻐﲑﻩ ﺑﺮؤﻳﺔ ﻣﺎﱂ ﻳﺮﻩ ﲜﻬﺪ اﻟﱰﲨﺔ وﲣﺮﻳﺞ اﻟﻨﺺ‪،‬‬ ‫اﳌﻨﻄﻘﻲ وﺗﺴﻠﺴﻞ اﻷﻓﻜﺎر؛ ﺣﻴﺚ ﻳﺘﻢ اﻟﺘﻘﻴﻴﻢ‬
‫وﻟﻴﺲ ﰲ ذﻟﻚ ﻋﻴﺒﺎ‪ ،‬ﺑﻞ ﻫﻲ ﺳﻠﺴﻠﺔ ﻣﻔﱰﺿﺔ‬ ‫ﻋﻠﻰ أﺳﺎس ﺗﺮﺗﻴﺐ اﻷﻓﻜﺎر وﺗﺴﻠﺴﻠﻬﺎ ﻟﺘﻜﻮن‬
‫ﻣﺴﺎﳘﺔ ﰲ ﺟﻮدة اﻟﱰﲨﺔ‪ ،‬ﲢﺴﺐ ﻟﻠﻤﱰﺟﻢ ﻻ‬ ‫ﻣﻔﻬﻮﻣﺔ ﻟﻠﻘﺎرئ وﻣﺮﺗﺒﺔ ﺗﺮﺗﻴﺒﺎ ﻣﻨﻄﻘﻴﺎ‪ .‬أﻣﺎ ﺎﺛﻧﻴﻬﺎ‬
‫ﻋﻠﻴﻪ ﺧﺎﺻﺔ ﰲ اﻟﱰﲨﺔ إﱃ اﻟﻌﺮﺑﻴﺔ‪ ،‬إذ ﻳﺮى ﳏﻤﺪ‬ ‫ﻓﻴﻘﺘﻀﻲ وﺟﻮد ﻫﺪف واﺿﺢ ﻟﻠﱰﲨﺔ ﳑﺎ ﻳﺴﺎﻋﺪ‬
‫دﻳﺪاوي أن "اﳌﺮاﺟﻌﺔ ﻋﻤﻠﻴﺔ ﻗﺮاءة ﻧﺺ ﻣﻘﺎرﻧﺔ‬ ‫ﻋﻠﻰ ﻓﻌﺎﻟﻴﺔ ﻧﻘﻞ اﳌﻌﻠﻮﻣﺎت‪ ،‬وﻣﻦ اﳌﻬﻢ ﰲ ﻫﺬا‬
‫ﺄﺑﺻﻠﻪ ﻣﻦ أﺟﻞ اﻟﺘﺪﻗﻴﻖ‪ ،‬وﺗﻮﺧﻴﺎ ﻟﻸﻏﺮاض‬ ‫اﻟﺒﺎب اﻟﺘﻌﺮف ﻋﻠﻰ ﻋﻨﺼﺮﻳﻦ ﻫﺎﻣﲔ ﳘﺎ ﻫﺪف‬
‫اﻟﺘﺎﻟﻴﺔ‪ ،‬ﻣﻨﻔﺮدة أو ﳎﺘﻤﻌﺔ‪) :‬أ( ﺗﺼﺤﻴﺢ اﳋﻄﺄ‬ ‫اﻟﻜﺎﺗﺐ اﳌﱰﺟﻢ‪ ،‬وﻣﺪى ﺄﺗﺛﲑ اﻟﻨﺺ ﻋﻠﻰ‬
‫و)ب( ﺗﺪارك اﻟﺴﻬﻮ واﻹﺳﻘﺎط و)ج( ﺗﻮﺣﻴﺪ‬ ‫اﻟﻘﺎرئ‪ .‬أﻣﺎ ﺎﺛﻟﺜﻬﺎ ﻓﲑاﻋﻲ اﻟﻈﺮوف اﶈﻴﻄﺔ‬
‫اﻻﺳﺘﻌﻤﺎل اﳌﺼﻄﻠﺤﻲ و)د( ﺗﻀﺒﻴﻂ اﳉﻤﻠﺔ‪،‬‬ ‫ﺎﺑﻟﻨﺺ واﻟﱵ ﺗﺘﻀﻤﻦ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻌﻨﺎﺻﺮ ﻣﻨﻬﺎ‬
‫ﺗﻘﺪﳝﺎ وﺄﺗﺧﲑا‪ ،‬ﻣﻊ ﻣﺮاﻋﺎة ﻣﺘﻄﻠﺒﺎت اﻹﻋﺮاب‬ ‫ﻧﻮﻋﻴﺔ اﻟﻘﺎرئ‪ ،‬وﻃﺒﻴﻌﺔ اﻟﻜﺎﺗﺐ واﻟﺰﻣﺎن واﳌﻜﺎن‬
‫واﺳﺘﻐﻼل إﻣﻜﺎ�ت اﻟﻠﻐﺔ وﺗﺒﻴﲔ ﻣﺮاد ﻣﻨﺸﺄ‬ ‫اﻟﺬي ﺗﺴﺘﺨﺪم ﻓﻴﻪ اﻟﱰﲨﺔ‪ ،‬وﻧﻮﻋﻴﺔ اﻟﻨﺺ‬
‫اﻟﻨﺺ اﻷﺻﻠﻲ‪ ،‬أي اﳌﻨﺼﺺ أو اﻟﻜﺎﺗﺐ‪ .‬وﻗﺪ‬ ‫واﻟﻈﺮوف‬ ‫ﻟﻨﺸﺮﻩ‬ ‫اﳌﺴﺘﺨﺪﻣﺔ‬ ‫واﻟﻮﺳﻴﻠﺔ‬
‫ﺗﻜﻮن اﳌﺮاﺟﻌﺔ ذاﺗﻴﺔ‪ ،‬أي أن اﳌﱰﺟﻢ ﻳﺮاﺟﻊ‬ ‫اﻹﻳﺪﻳﻮﻟﻮﺟﻴﺔ اﻟﱵ ﲢﻴﻂ ﻋﻤﻠﻴﺔ اﻟﱰﲨﺔ‪ .‬أﻣﺎ اﻟﺮاﺑﻊ‬
‫ﻟﻨﻔﺴﻪ‪ .‬ﻟﻜﻦ اﳌﺮاﺟﻌﺔ اﳌﺜﻠﻰ‪ ،‬ﰲ اﻟﱰﲨﺔ اﻟﻌﺮﺑﻴﺔ‪،‬‬ ‫واﻷﺧﲑ ﻓﻬﻮ ﻳﺘﻌﻠﻖ ﺑﺴﻼﻣﺔ اﻟﻨﺺ اﻟﻠﻐﻮﻳﺔ ﳓﻮا‬
‫ﻗﻮاﻣﻬﺎ اﻟﺘﻌﺮﻳﺐ واﻟﺘﺒﻴﲔ‪ .‬ﻓﺎﻟﺘﻌﺮﻳﺐ ﻫﻮ ﺗﻘﻮﱘ‬ ‫وإﻣﻼء وأﺳﻠﻮﺎﺑ وﺗﺮﻛﻴﺒﺎ ‪.24‬‬
‫اﻟﻨﺺ اﻟﻮﺳﻴﻂ اﻟﺬي ﳛﻮي ﻛﻞ ﻋﻨﺎﺻﺮ ﻣﻌﲎ‬ ‫ﺗﻠﻚ ﻧﺒﺬة ﳐﺘﺼﺮة ﻋﻦ ﻣﻌﺎﻳﲑ ﺗﻘﻴﻴﻢ اﻟﱰﲨﺔ ﰲ‬
‫اﻟﻨﺺ اﻷﺻﻠﻲ‪ ،‬ﻋﻠﻰ رﻛﺎﻛﺘﻪ‪ ،‬وإﻋﻄﺎؤﻩ اﻟﻨﺺ‬ ‫اﻟﻌﺎﱂ اﻟﻐﺮﰊ‪ ،‬وﻻ ﻧﺒﻌﺪ ﻋﻦ اﻟﺼﻮاب إن ﻗﻠﻨﺎ أ�ﺎ‬
‫اﻟﻌﺮﰊ اﻷﺻﻠﻲ ﺈﺑﻋﺎدة ﻫﻨﺪﺳﺔ ﲨﻞ إﱃ أن‬ ‫ﻟﺼﻴﻘﺔ ﺑﻔﻌﻞ اﻟﱰﲨﺔ ﻣﻼزﻣﺔ ﻟﻪ‪ ،‬ﻓﻤﺮاﺟﻌﺔ اﻟﻌﻤﻞ‬
‫ﻳﻜﺘﻤﻞ ﺎﺑﻛﺘﻤﺎﳍﺎ‪ ،‬ﻣﻊ أﺧﺬ ﻣﺴﺘﻠﺰﻣﺎت‬ ‫ﺑﻌﺪ ﺗﺮﲨﺘﻪ ﺳﻮاء ﻣﻦ اﳌﱰﺟﻢ ﻧﻔﺴﻪ أو ﻣﻦ ﻣﺮاﺟﻊ‬
‫اﻟﻔﺼﺎﺣﺔ واﻟﺒﻼﻏﺔ ﰲ اﳊﺴﺒﺎن‪ .‬أﻣﺎ اﻟﺘﺒﻴﲔ‬ ‫ﻏﲑﻩ‪ ،‬ﻟﻪ ﻓﺎﺋﺪة ﻋﻈﻴﻤﺔ ﻋﻠﻰ ﺻﺤﺔ اﻟﻌﻤﻞ‬
‫ﻓﻌﻤﺎدﻩ اﻟﺒﻴﺎن‪ ،‬وﻳﺮﻛﺰ أﺳﺎﺳﺎ ﻋﻠﻰ اﻟﻮﺿﻮح‬ ‫وﺟﻮدﺗﻪ‪ ،‬وﺟﺰء ﻻ ﻳﺘﺠﺰأ ﻣﻦ ﻋﻤﻞ اﻟﺘﻘﻴﻴﻢ‪ ،‬وﻛﺜﲑا‬
‫واﻹﺎﺑﻧﺔ واﻟﺴﻼﺳﺔ‪ ،‬وﺑﻪ ﻳﺴﺘﻘﻴﻢ اﻟﻨﺺ وﺗﺘﺒﲔ‬ ‫ﻣﺎ ﻳﻨﺼﺢ ﺄﺑن ﻳﺮاﺟﻊ اﻟﻌﻤﻞ ﻏﲑ اﳌﱰﺟﻢ؛ ﻟﻴﺴﻤﺢ‬
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‫ﺟﻮﻟﻴﺎن ﻫﺎوس‪ ،‬م‪.‬س‪.‬‬
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‫اﻟﻠﻐﻮي اﻟﻌﺮﰊ اﻟﺴﻠﻴﻢ‪ ،‬وﻧﺸﺮت أﺧﻄﺎء ﻓﺎدﺣﺔ‬ ‫ﺻﺤﻴﺢ أن‬ ‫ﻣﻌﺎﳌﻪ وﻳﺴﺘﺒﲔ ﻣﻌﻨﺎﻩ ﻟﻘﺎرﺋﻪ"‪.‬‬
‫ﻃﺎﻟﺖ اﻟﺒﻨﻴﺔ اﻟﱰﻛﻴﺒﻴﺔ ﻟﻠﺠﻤﻠﺔ اﻟﻌﺮﺑﻴﺔ‪ ،‬وأﳊﻘﺖ‬ ‫اﻟﱰﲨﺔ ﰲ اﻟﻮﻃﻦ اﻟﻌﺮﰊ ﻛﺬﻟﻚ ﺗﻀﻊ ﺷﺮوﻃﺎ‬
‫ﻬﺑﺎ اﻟﻜﺜﲑ ﻣﻦ اﻻﻋﻮﺟﺎج واﻟﺘﺤﺮﻳﻒ اﻟﺬي ﻳﻼﺋﻢ‬ ‫وﻣﻌﺎﻳﲑ ﻟﻠﻤﱰﺟﻢ وﻟﻠﻤﺮاﺟﻊ ﺑﻌﺪﻩ ﻳﻔﱰض ﻬﺑﻤﺎ‬
‫اﻹﳒﻠﻴﺰﻳﺔ وﻏﲑﻫﺎ ﻣﻦ اﻟﻠﻐﺎت‪ ،‬ﺑﻌﻴﺪا ﻋﻦ‬ ‫اﻻﻟﺘﺰام ﻬﺑﺎ‪ ،‬ﻟﻜﻨﻬﺎ ﻻ ﺗﻔﻌﻠﻬﺎ‪ ،‬وﳘﺎ ﻳﻌﻠﻤﺎن أ�ﺎ‬
‫اﻻﺣﺘﻔﺎء ﺑﺴﻼﻣﺔ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ وﻗﺎﺑﻠﻴﺘﻬﺎ ﻟﻠﺘﺠﺪد‬ ‫ﻻ ﺗُﻔﻌّﻞ إﻻ ﳌﺎﻣﺎ‪ ،‬وإن ﻓُـﻌّﻠﺖ ﻓﻬﻲ ﳊﺎﺟﺔ ﰲ‬
‫ﰲ ﻧﻄﺎق ﻣﻌﻘﻮل‪ ،‬وﻟﻨﺎ ﰲ اﺳﺘﻌﻤﺎل ﺻﻴﻐﺔ اﳌﺒﲏ‬ ‫ﻧﻔﺲ اﻟﻨﺎﺷﺮ ﻣﺎدﻳﺔ أﻏﻠﺒﻬﺎ؛ ﻟﺘﻨﺰع ﻋﻦ اﳌﱰﺟﻢ‬
‫ﻟﻠﻤﺠﻬﻮل اﳌﺄﺧﻮذة ﻋﻦ اﻹﳒﻠﻴﺰﻳﺔ ﺑﺬﻛﺮ اﻟﻔﺎﻋﻞ‬ ‫ﺑﻌﻀﺎ ﻣﻦ دراﳘﻪ وﺗﺒﺨﺴﻪ ﺣﻘﻪ ﻣﻨﻬﺎ‪ ،‬وﻟﻴﺲ ﰲ‬
‫ﺷﺎﻫﺪ ودﻟﻴﻞ‪ ،‬وﺗﻘﺪﱘ اﳌﺘﻌﻠﻘﺎت ﻋﻠﻰ اﻟﻔﻌﻞ‪،‬‬ ‫ﻣﺼﻠﺤﺔ ﺟﻮدة اﻟﱰﲨﺔ وﺳﻼﻣﺘﻬﺎ وﻻ ﰲ ﺻﺎﱀ‬
‫وﻏﲑﻫﺎ ﻣﻦ اﳌﻐﺎﻣﺮات اﻟﻠﻐﻮﻳﺔ ﻋﻠﻰ ﺣﺪ ﻗﻮل‬ ‫ﻣﻘﺮوﺋﻴﺔ اﻟﻨﺺ ﰲ ﺷﻲء‪ .‬ﻓﻤﺎذا ﻋﻦ واﻗﻊ اﻟﺘﻘﻴﻴﻢ‬
‫ﳏﻤﺪ ﻋﺼﻔﻮر ﻣﺎ ﻳﻮﺿﺢ اﳌﻘﺼﻮد ‪ .27‬وﳍﺬا‬ ‫اﻟﱰﲨﻲ ﰲ اﻟﻮﻃﻦ اﻟﻌﺮﰊ؟‬
‫اﻟﻮﺿﻊ آﺎﺛرﻩ اﻟﻮﺧﻴﻤﺔ ﻋﻠﻰ اﻟﻠﻐﺔ اﳌﻤﺜﻠﺔ ﻟﻠﻬﻮﻳﺔ‬ ‫اﻟﻮاﻗﻊ اﻟﱰﲨﻲ اﻟﻌﺮﰊ ﻳﻘﻮل‪ ،‬ﺣﺴﺐ ﻣﺎ ورد ﰲ‬
‫ﺑﺪاﻳﺔ‪ ،‬وﻋﻠﻰ اﻟﺘﻨﻤﻴﺔ اﳊﻘﻴﻘﻴﺔ ﻟﻠﻘﺎرئ واﻹﻧﺴﺎن‬ ‫آراء اﳌﺘﺨﺼﺼﲔ وﺷﻬﺎداﻬﺗﻢ‪ ،‬أﻧﻪ ﻻ أﺛﺮ ﻟﻪ ﻳﺬﻛﺮ‬
‫وﺗﻮﻃﲔ اﳌﻌﺮﻓﺔ واﻟﻌﻠﻮم ﰲ اﻟﺒﻠﺪان اﻟﻌﺮﺑﻴﺔ �ﺎﻳﺔ‪،‬‬ ‫ﰲ ﺎﺑب ﺗﻘﻴﻴﻢ ﺟﻮدة ﻣﺎ ﻳﻨﺸﺮ ﻋﺎﻣﺔ‪ ،‬وﰲ ﺎﺑب‬
‫ﰒ إن اﻟﺬي ﻻ ﺗﺴﻠﻢ ﻟﻐﺘﻪ ﻣﻦ اﻟﺘﺤﺮﻳﻒ ﻻ‬ ‫اﻟﱰﲨﺔ ﺧﺎﺻﺔ‪ ،‬ﺣﻴﺚ ﻳﺮى ﳏﻤﺪ ﻋﺼﻔﻮر أن‬
‫ﻳُﻄﻤﺄن إﱃ أن ﺗﺴﻠﻢ ﻣﻀﺎﻣﻴﻨﻪ اﻟﱵ ﻧﻘﻠﻬﺎ ﻣﻨﻪ‬ ‫اﻟﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ ﻏﺎﺋﺐ وﺷﺒﻪ ﻣﻨﻌﺪم‪ ،‬ﻣﻘﺎﺑﻞ‬
‫ﺑﺪرﺟﺔ أو أﺧﺮى ﻛﺬﻟﻚ‪.‬‬ ‫وﺟﻮد رﻗﺎﺑﺔ ﺻﺎرﻣﺔ ﻋﻠﻰ اﳌﻀﺎﻣﲔ اﻟﺴﻴﺎﺳﻴﺔ‬
‫ورﻏﻢ وﺟﻮد ﻫﺎﺟﺲ اﻟﺘﻘﻴﻴﻢ وﺣﻀﻮرﻩ ﻋﻨﺪ ﻓﺌﺔ‬ ‫واﻟﺪﻳﻨﻴﺔ واﻷﺧﻼﻗﻴﺔ اﳌﺨﺎﻟﻔﺔ ﻟﻸﻳﺪﻳﻮﻟﻮﺟﻴﺔ‬
‫ﻋﺮﻳﻀﺔ ﻣﻦ اﻟﺒﺎﺣﺜﲔ و اﳌﻤﺎرﺳﲔ ﰲ اﳊﻘﻞ‬ ‫اﻟﻔﻜﺮﻳﺔ ﻟﻠﺪول اﻟﻌﺮﺑﻴﺔ ‪ ،26‬أﻣﺎ ﻋﺪا ذﻟﻚ ﻓﻼ‬
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‫اﻟﱰﲨﻲ ﺎﺑﻟﻮﻃﻦ اﻟﻌﺮﰊ ‪ ،‬ﻓﺈﻧﻪ ﻗﻠﻴﻼ ﻣﺎ ﻳُ ّ‬
‫ﻔﻌﻞ‪،‬‬ ‫ﻳﻌﺘﺪ ﺑﻪ وﻻ ﻳﻨﻈﺮ ﻟﻪ‪ ،‬وﻳﻜﻔﻲ أن ﺗﻠﻘﻰ ﻧﻈﺮة ﻓﻴﻤﺎ‬
‫وإن ﻓُـﻌّﻞ؛ ﻓﺈﻧﻪ ﻳﺒﻘﻰ ﻓﺮد� ﻣﻌﺰوﻻ‪ ،‬ﻻ ﺗﻄﺎﻟﻪ‬ ‫ﻳﻄﺮح ﻣﻦ ﺗﺮﲨﺎت ﻋﻤﻠﺖ ﻋﻠﻰ ﺗﻘﻮﻳﺾ اﻟﺘﻌﺒﲑ‬
‫‪ 28‬ﺣﻮل ﺟﻮدة اﻟﱰﲨﺔ وإدارﻬﺗﺎ ﻏﺸﺖ ‪ ،2009‬اﻧﻈﺮ‬ ‫‪ 25‬ﳏﻤﺪ دﻳﺪاوي‪ ،‬م‪.‬س‪ ،‬ص ‪.41‬‬
‫اﻟﺘﻘﺮﻳﺮ اﻟﻜﺎﻣﻞ ﻟﻠﻤﺆﲤﺮ اﻷردﱐ اﻟﺪوﱄ ﻟﻠﱰﲨﺔ ﻟﻌﺎم ‪:2009‬‬ ‫‪ 26‬ﳏﻤﺪ ﻋﺼﻔﻮر‪ ،‬ص ‪.41‬‬
‫‪https://www.ammonnews.net/article/43071‬‬ ‫‪ 27‬ﳏﻤﺪ ﻋﺼﻔﻮر‪ ،‬ص‪.35‬‬
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‫ﻏﲑ أﻧﻪ ﻣﺎ ﳛﺴﺐ ﳍﺬﻩ اﳌﺮاﻛﺰ أ�ﺎ ﺣﺎوﻟﺖ‬ ‫اﻟﻌﻤﻠﻴﺔ اﳌﻤﻨﻬﺠﺔ اﳉﻤﺎﻋﻴﺔ اﳌﻨﻈﻤﺔ واﻟﻮاﺿﺤﺔ‬
‫ﺗﺴﺮﻳﻊ وﺗﲑة اﻹﻧﺘﺎج اﻟﱰﲨﻲ ﺎﺑﻟﺪول اﻟﻌﺮﺑﻴﺔ ﻛﻤﺎ‬ ‫واﳌﻤﺄﺳﺴﺔ‪ ،‬ذﻟﻚ أن ﻋﺪم ﺗﻀﺎﻓﺮ اﳉﻬﻮد‬
‫وﻧﻮﻋﺎ‪ ،‬وﺣﺎوﻟﺖ أن ﺗﻀﻊ ﺎﺑﳊﺴﺒﺎن ﻣﻌﺎﻳﲑ‬ ‫وﺗﻮﺣﻴﺪﻫﺎ ﰲ ﳎﺎل اﻟﱰﲨﺔ رﻏﻢ اﶈﺎوﻻت اﻟﻔﺮدﻳﺔ‬
‫ﺟﻮدة اﻟﱰﲨﺔ وﺑﻌﻀﺎ ﻣﻦ آﻟﻴﺎت اﻟﺘﻘﻴﻴﻢ ﰲ‬ ‫ﰲ ﻫﺬا اﻟﻘﻄﺮ أو ذاك‪ ،‬ﳚﻌﻞ اﻟﻔﻼح ﰲ ﻣﺴﻌﻰ‬
‫ﻣﺸﺮوﻋﻬﺎ اﻟﻄﻤﻮح‪ ،‬ﺣﻴﺚ أ�ﺎ ﺎﺑﻹﺿﺎﻓﺔ إﱃ‬ ‫اﻟﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ ﻣﺴﺘﺒﻌﺪا ﻛﺬﻟﻚ‪ .‬ﺻﺤﻴﺢ أن‬
‫ﲢﺪﻳﺪ اﻻﺧﺘﻴﺎرات ﺑﻨﺎء ﻋﻠﻰ ﳉﻨﺔ ﻋﻠﻤﻴﺔ ﳐﺘﺼﺔ‪،‬‬ ‫ﺣﺮﻛﺔ اﻟﺘﻘﻴﻴﻢ ﺗﻘﺪﻣﺖ ﰲ ﺑﻌﺾ اﳌﺸﺎرﻳﻊ اﻟﱰﲨﻴﺔ‬
‫وﻋﺮض اﻟﻌﻤﻞ ﻗﺒﻞ ﻧﺸﺮﻩ ﻋﻠﻰ ﳉﻨﺔ ﻟﻐﻮﻳﺔ‪،‬‬ ‫اﳊﺪﻳﺜﺔ اﻟﻨﺎﲡﺔ ﻋﻦ ﲢﻮل ﺑﻮﺗﻘﺔ اﻟﱰﲨﺔ ﺑﺪاﻳﺔ‬
‫وﲣﺼﻴﺺ ﻣﱰﲨﲔ رﲰﻴﲔ ﻬﺑﺬﻩ اﳌﺮاﻛﺰ ﻷداء‬ ‫اﻷﻟﻔﻴﺔ اﻟﺜﺎﻟﺜﺔ ﻣﻦ ﻣﺸﺮق اﻟﻌﺎﱂ اﻟﻌﺮﰊ إﱃ‬
‫ﻣﻬﻤﺔ اﻟﱰﲨﺔ‪ُ ،‬ﲣﻀﻊ اﻟﻌﻤﻞ ﺑﻌﺪ اﻻﻧﺘﻬﺎء ﻣﻦ‬ ‫ﺧﻠﻴﺠﻪ‪ ،‬ﻋﻨﺪﻣﺎ ﺻﺎرت ﻣﺪن ﻛﺄﺑﻮﻇﱯ واﻟﺪوﺣﺔ‬
‫ﺗﺮﲨﺘﻪ ﻋﻠﻰ ﳉﻨﺔ ﻟﻐﻮﻳﺔ ﳐﺘﺼﺔ‪ ،‬وﻫﻮ ﻣﺎ ﳝﻜﻦ‬ ‫واﻟﺮ�ض ﻣﺮاﻛﺰ ﺟﺪﻳﺪة ﻟﻺﻧﺘﺎج اﻟﱰﲨﻲ ﺑﺪل‬
‫ﻣﻦ ﻣﻨﺢ اﻟﻌﻤﻞ ﺑﻨﺴﺒﺔ أو ﺄﺑﺧﺮى اﳉﻮدة اﳌﺮﺟﻮة‬ ‫ﺑﻐﺪاد ودﻣﺸﻖ واﻟﻘﺎﻫﺮة وﺑﲑوت ‪ ،29‬ﻓﺈن ﻧﺸﺎط‬
‫واﳌﺼﺪاﻗﻴﺔ اﳌﻄﻠﻮﺑﺔ‪ ،‬ﺣﺴﺒﻤﺎ ﺟﺎء ﻋﻠﻰ ﻟﺴﺎن‬ ‫ﺣﺮﻛﺔ اﻟﱰﲨﺔ ﻫﺬا ﱂ ﻳﻮاﻛﺒﻪ ﻧﺸﺎط ﺗﻘﻴﻴﻤﻲ وﻻ‬
‫اﶈﺮر اﻷول ﰲ ﻗﺴﻢ اﻟﻨﺸﺮ ﲟﺆﺳﺴﺔ ﳏﻤﺪ ﺑﻦ‬ ‫ﺗﻘﻮﳝﻲ وﻻ ﻧﻘﺪي ﺎﺑﳌﻘﺎﺑﻞ ﺎﺑﻟﺪرﺟﺔ اﻟﱵ ﻳﻔﱰض‬
‫راﺷﺪ آل ﻣﻜﺘﻮم‪" :‬ﺑﺮ�ﻣﺞ ﺗﺮﺟﻢ ﰲ ﻣﺆﺳﺴﺔ‬ ‫أن ﺗﺴﲑ ﻬﺑﺎ اﻟﺴﻠﺴﻠﺔ اﻟﱰﲨﻴﺔ ﺑﺪءا ﺎﺑﺧﺘﻴﺎر ﻣﺎ‬
‫ﳏﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم‪ ،‬ﳔﺘﺎر اﻟﻌﻨﺎوﻳﻦ اﻟﱵ‬ ‫ﻳﱰﺟﻢ واﻧﺘﻬﺎء ﺑﺘﺄوﻳﻞ وإﻧﺘﺎج ﻣﻌﺮﻓﺔ ﺑﻌﺪ اﻟﱰﲨﺔ‪.‬‬
‫ﺈﺑﻋﻼن ﻗﺎﺋﻤﺔ ﻣﻦ ﻣﺌﺔ ﻛﺘﺎب ﻣﻦ اﻟﻜﺘﺐ اﳌﻨﺸﻮرة ﺑﻜﻞ‬ ‫‪ 29‬وﻇﻔﺖ ﻫﺬﻩ اﻟﺪول ﺑﻌﻀﺎ ﻣﻦ ﻣﻮاردﻫﺎ اﳌﺎﻟﻴﺔ اﻟﻀﺨﻤﺔ‬
‫اﻟﻠﻐﺎت‪ ،‬وﻳﺘﻢ اﺧﺘﻴﺎرﻫﺎ ﰲ ﳎﺎﻻت اﻟﻌﻠﻮم واﻵداب واﻟﺘﺎرﻳﺦ‪،‬‬ ‫ﻻﺳﺘﻘﻄﺎب اﳌﱰﲨﲔ ذوي اﻟﻜﻔﺎءة واﳋﱪة ﻣﻦ ﻛﺎﻓﺔ اﻟﻮﻃﻦ‬
‫ﺣﻴﺚ ﻳﺘﻢ ﺗﺼﻔﻴﺘﻬﺎ وﺗﺮﲨﺘﻬﺎ وﻧﺸﺮﻫﺎ وﺗﻮزﻳﻌﻬﺎ‪ ،‬وﲢﺮص اﳌﺒﺎدرة‬ ‫اﻟﻌﺮﰊ‪ ،‬ﳐﺼﺼﺔ ﳍﻢ اﳉﻮاﺋﺰ اﳌﺎﻟﻴﺔ اﻟﺘﺤﻔﻴﺰﻳﺔ‪ ،‬واﻟﻈﺮوف اﳌﻬﻨﻴﺔ‬
‫ﻋﻠﻰ إﳚﺎد ﺗﻮازن ﺑﲔ اﻟﻜﺘﺐ اﻟﻜﻼﺳﻴﻜﻴﺔ واﳊﺪﻳﺜﺔ واﳌﻌﺎﺻﺮة‬ ‫اﳌﻮاﺋﻤﺔ‪ ،‬ﻣﻨﺸﺌﺔ ﻣﺮاﻛﺰ ﺟﺪﻳﺪة ﻟﻠﱰﲨﺔ‪ ،‬وﻣﻘﺪﻣﺔ ﻣﺸﺎرﻳﻊ ﻧﺬﻛﺮ‬
‫ﰲ ﳐﺘﻠﻒ اﺠﻤﻟﺎﻻت‪ .‬أﻣﺎ اﻟﺜﺎﱐ "ﺗﺮﺟﻢ" اﻟﺘﺎﺑﻊ ﳌﺆﺳﺴﺔ ﳏﻤﺪ‬ ‫ﻣﻦ ﺑﻴﻨﻬﺎ ﻣﺸﺮوع "ﻛﻠﻤﺔ" و"ﺗﺮﺟﻢ" ‪ ،‬ﻓﺎﻷول ﻣﺒﺎدرة ﻣﺴﺘﻘﻠﺔ‬
‫ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم‪ ،‬ﻓﻴﻬﺪف إﺛﺮاء اﳌﻜﺘﺒﺔ اﻟﻌﺮﺑﻴﺔ ﺄﺑﻓﻀﻞ ﻣﺎ‬ ‫أﻃﻠﻘﺘﻬﺎ ﻫﻴﺌﺔ أﺑﻮ ﻇﱯ ﻟﻠﺜﻘﺎﻓﺔ واﻟﱰاث ﺑﺮﻋﺎﻳﺔ اﻟﺸﻴﺦ ﳏﻤﺪ ﺑﻦ‬
‫ﻗﺪﻣﻪ اﻟﻔﻜﺮ اﻟﻌﺎﳌﻲ ﻣﻦ أﻋﻤﺎل ﰲ ﳎﺎﻻت ﺷﱴ ﻋﱪ ﺗﺮﲨﺔ‬ ‫ّ‬ ‫زاﻳﺪ آل �ﻴﺎن‪ ،‬ﻣﺸﺮوﻋﺎ ﻳﺘﻮﺧﻰ إﺣﻴﺎء ﻋﻤﻠﻴﺔ اﻟﱰﲨﺔ ﰲ اﻟﻌﺎﱂ‬
‫أﻋﻤﺎل أﺟﻨﺒﻴﺔ إﱃ اﻟﻌﺮﺑﻴﺔ‪ ،‬و ﻳﺴﻌﻰ أﻳﻀﺎ إﱃ إﻇﻬﺎر اﻟﻮﺟﻪ‬ ‫اﻟﻌﺮﰊ‪ ،‬وﻳﻌﻤﻞ ﻋﻠﻰ ﲤﻮﻳﻞ ﺣﺮﻛﺔ اﻟﱰﲨﺔ واﻟﻨﺸﺮ واﻟﺘﻮزﻳﻊ‪ ،‬ﻣﻦ‬
‫اﳊﻀﺎري ﻟﻸﻣﺔ‪ ،‬ﻋﱪ ﺗﺮﲨﺔ اﻹﺑﺪاﻋﺎت اﻟﻌﺮﺑﻴﺔ إﱃ ﻟﻐﺎت‬ ‫ﺧﻼل ز�دة ﻋﺪد اﻟﻜﺘﺐ وﺧﻴﺎرات اﻟﻘﺮاءة أﻣﺎم اﻟﻘﺎرئ‬
‫اﻟﻌﺎﱂ‪ ،‬اﻧﻈﺮ ﲨﻴﻠﺔ رﺟﺎ‪ ،‬ص ‪.182‬‬ ‫اﻟﻌﺮﰊ‪ ،‬وﻳﺴﻌﻰ إﱃ ﺗﻜﺮﱘ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ وﺗﻘﺪﻳﺮﻫﺎ‪ ،‬وذﻟﻚ ﺑﺰ�دة‬
‫ﺳﻨﻮ� ‪-‬‬
‫ﻋﺪد اﻟﻜﺘﺐ اﳌﱰﲨﺔ إﻟﻴﻬﺎ‪ .‬وﻳﻘﻮم ﻣﺸﺮوع ﻛﻠﻤﺔ ‪ًّ -‬‬
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‫ﺗﻜﻮن ﻫﻨﺎك ﻣﺮاﺟﻊ ﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﻟﻜﻲ ﻳﺘﻢ اﻟﺘﺄﻛﺪ‬ ‫ﻧﱰﲨﻬﺎ‪ ،‬وﻣﺜﻼً ﻧﻄﻠﺐ ﻣﻦ ﻗﺴﻢ اﻻﺳﱰاﺗﻴﺠﻴﺔ‬
‫ﻣﻦ اﻟﻠﻐﺔ واﻷﺳﻠﻮب‪ ،‬ﻛﻤﺎ ﳚﺐ أن ﺗﻜﻮن‬ ‫ﺗﺰوﻳﺪ� ﺎﺑﻟﻌﻨﺎوﻳﻦ‪ ،‬وﻧﻄﻠﺐ ﻣﻦ دور اﻟﻨﺸﺮ‬
‫ﻣﺮاﺟﻊ ﻣﻦ اﻻﺧﺘﺼﺎص ﻟﻜﻲ ﻳﺘﻢ اﻟﺘﺄﻛﺪ ﻣﻦ‬ ‫إﻋﻄﺎء� اﻟﻌﻨﺎوﻳﻦ اﳌﻄﻠﻮﺑﺔ‪ ،‬وﻫﻲ ﺗﻌﻄﻴﻨﺎ اﻟﻌﻨﺎوﻳﻦ‬
‫ﻧﻘﻞ اﳌﺎدة اﻟﻌﻠﻤﻴﺔ ﺑﺸﻜﻞ ﺻﺤﻴﺢ‪ .30 " ..‬ﻛﻤﺎ‬ ‫اﻷﻛﺜﺮ رواﺟﺎً ﰲ اﻟﻌﺎﱂ‪ ،‬ﻟﻜﻲ ﺗﺴﺘﻔﻴﺪ ﻣﻦ‬
‫ﳜﻀﻊ ﻣﺸﺮوع "ﻛﻠﻤﺔ" اﻟﱰﲨﺎت ﻟﻨﻮع ﻣﻦ‬ ‫اﻟﻀﺠﺔ اﻹﻋﻼﻣﻴﺔ ﻟﻠﻜﺘﺎب ﻧﻔﺴﻪ‪ ،‬وﻫﺬا ﻳﻌﺘﱪ‬
‫اﻟﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ ﻛﻤﺎ ﺳﺒﻖ وأن أﺷﺮ� إﻟﻴﻪ ﰲ ﺑﺪاﻳﺔ‬ ‫اﻧﺘﺸﺎراً ﻛﺒﲑاً ﺎﺑﻟﻨﺴﺒﺔ ﳍﺎ‪ ،‬ﻟﻜﻦ ﻫﻞ اﻟﻜﺘﺎب‬
‫اﳌﺒﺤﺚ ﻋﻨﺪ ﻋﺮﺿﻪ ﻋﻠﻰ اﳌﺨﺘﺼﲔ ﰲ اﳌﺎدة‬ ‫اﻷﻛﺜﺮ رواﺟﺎً ﻫﻮ اﻟﻜﺘﺎب اﻷﻓﻀﻞ وﻫﻮ اﻟﻜﺘﺎب‬
‫اﳌﱰﲨﺔ ﻣﻦ ﺟﻬﺔ‪ ،‬وﳌﺮاﻗﺒﺔ اﻟﺘﺪﻗﻴﻖ اﻟﻠﻐﻮي‬ ‫اﳌﻄﻠﻮب ﺗﺮﲨﺘﻪ؟ ﳒﺪ ﻗﺴﻢ اﻻﺳﱰاﺗﻴﺠﻴﺔ ﰲ‬
‫واﻷﺳﻠﻮﰊ ﻣﻦ ﺟﻬﺔ ﺎﺛﻧﻴﺔ‪ ..." :‬ﻫﺬﻩ اﻟﱰﲨﺎت‬ ‫ﻣﺆﺳﺴﺘﻨﺎ ﻳﻌﻄﻴﻨﺎ اﻟﻜﺘﺐ اﳌﻄﻠﻮﺑﺔ ﰲ اﻟﻮﻃﻦ‬
‫ﻻ ﻳﻘﻮم ﻬﺑﺎ ﺷﺨﺺ واﺣﺪ‪ ،‬وإﳕﺎ ﻫﻨﺎك ﻋﻤﻞ‬ ‫اﻟﻌﺮﰊ‪ ،‬ﺑﻨﺎءً ﻋﻠﻰ اﺳﺘﺒﻴﺎ�ت ودراﺳﺎت وﺣﺎﺟﺔ‬
‫ﻣﺆﺳﺴﺎﰐ‪ ،‬وﻫﻨﺎك ﻣﻦ ﻳﱰﺟﻢ اﳌﻌﻠﻮﻣﺔ‪ ،‬ﻓﻀﻼً‬ ‫اﻟﺴﻮق أﻳﻀﺎً‪ ،‬وﻻ أﻗﺼﺪ ﺎﺑﻟﺴﻮق ﻫﻨﺎ اﳌﺎدة أو‬
‫ﻋﻤﻦ ﻳﻨﻈﺮ ﰲ اﻷﺳﻠﻮب‪ ،‬ﻛﻤﺎ أن ﻫﻨﺎك ﻣﻦ‬ ‫اﻟﺮﲝﻴﺔ أو اﻻﺳﺘﻬﻼك‪ ...‬ﺎﺑﻟﻨﺴﺒﺔ ﳌﺴﺄﻟﺔ‬
‫ﻳﺪﻗﻖ اﻟﻠﻐﺔ‪ ،‬وﻫﻨﺎك ﻣﻦ ﻳﺮاﺟﻊ‪ ،‬وﻣﻦ ﻳﻨﺘﺒﻪ إﱃ‬ ‫اﻟﺘﺨﺼﺺ ﰲ اﻟﱰﲨﺔ ﻣﺜﻞ ﻣﺘﺨﺼﺺ ﰲ‬
‫أﳘﻴﺔ اﺳﺘﺨﺪام اﳌﺼﻄﻠﺤﺎت ﻧﻔﺴﻬﺎ ﰲ ﻛﺎﻓﺔ‬ ‫اﻟﻔﻠﺴﻔﺔ ﻳﱰﺟﻢ ﻛﺘﺎﺎﺑً ﻓﻠﺴﻔﻴﺎً‪ ،‬ﻓﻬﺬا ﻣﻬﻢ‪ ،‬ﻟﻜﻦ‬
‫اﻟﱰﲨﺎت اﻟﱵ ﺗﻨﺘﻤﻲ إﱃ ﺣﻘﻞ واﺣﺪ‪ ،‬وﻫﻨﺎك‬ ‫ﻣﻦ اﻟﻀﺮوري ﻣﺜﻼً ﰲ ﺣﺎل ﺗﺮﲨﺔ ﻛﺘﺎب ﻣﻦ ﻗﺒﻞ‬
‫أﻳﻀﺎً ﺗﻮﺣﻴﺪ اﳌﺼﻄﻠﺤﺎت واﻟﺴﻌﻲ إﱃ إﺿﻔﺎء‬ ‫ﻣﱰﺟﻢ ﻏﲑ ﳐﺘﺺ‪ ،‬أن ﻳﻌﺮض ﻋﻠﻰ ﻣﺪﻗﻖ ﳐﺘﺺ‬
‫ﻣﻌﻠﻮﻣﺎت ﺗﻨﲑ ﻟﻠﻘﺎرئ ﻣﺎ ﻗﺪ ﳜﻔﻰ ﻋﻠﻴﻪ‪.31 "..‬‬ ‫ﻟﺘﺤﺮﻳﺮ أو ﺗﺪﻗﻴﻖ اﳌﺎدة اﻟﻌﻠﻤﻴﺔ‪ ،‬وﻟﻮ ﲢﺪﺛﻨﺎ ﻋﻦ‬
‫ﺗﺮﲨﺔ ﻣﻦ اﻟﻠﻐﺔ اﻹﳒﻠﻴﺰﻳﺔ إﱃ اﻟﻌﺮﺑﻴﺔ‪ ،‬ﻓﻴﺠﺐ أن‬
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‫ﻛﻠﻤﺔ ﻋﻔﺎف اﻟﺒﻄﺎﻳﻨﺔ دﻛﺘﻮرة ﰲ اﻷدب اﻟﻌﺮﰊ ﲜﺎﻣﻌﺔ‬ ‫ﻛﻠﻤﺔ ﻣﺎﺟﺪ اﳌﺎﺿﻲ ﳏﺮر أول ﰲ ﻗﺴﻢ اﻟﻨﺸﺮ ﲟﺆﺳﺴﺔ‬
‫زاﻳﺪ ﰲ ﻧﺪوة ﻣﺮﻛﺰ دراﺳﺎت "اﳋﻠﻴﺞ"‪ :‬واﻗﻊ اﻟﱰﲨﺔ ﰲ اﻟﻮﻃﻦ‬ ‫ﳏﻤﺪ ﺑﻦ راﺷﺪ آل ﻣﻜﺘﻮم ﰲ ﻧﺪوة ﻣﺮﻛﺰ دراﺳﺎت "اﳋﻠﻴﺞ"‪:‬‬
‫اﻟﻌﺮﰊ ‪ ..‬اﳊﻠﻘﺔ اﻷوﱃ‪ ،‬ﺎﺗرﻳﺦ اﻟﻨﺸﺮ‪،2010/02/27 :‬‬ ‫واﻗﻊ اﻟﱰﲨﺔ ﰲ اﻟﻮﻃﻦ اﻟﻌﺮﰊ ‪..‬اﳊﻠﻘﺔ اﻷوﱃ‪ ،‬ﺎﺗرﻳﺦ اﻟﻨﺸﺮ‪:‬‬
‫اﻵﰐ‪:‬‬ ‫اﻟﺮاﺑﻂ‬ ‫ﻋﻠﻰ‬ ‫اﻟﻜﺎﻣﻞ‬ ‫اﻟﺘﻘﺮﻳﺮ‬ ‫اﻧﻈﺮ‬ ‫‪ ،2010/02/27‬اﻧﻈﺮ اﻟﺘﻘﺮﻳﺮ اﻟﻜﺎﻣﻞ ﻋﻠﻰ اﻟﺮاﺑﻂ اﻵﰐ‪:‬‬
‫‪http://www.alkhaleej.ae/alkhaleej/page/ce122‬‬ ‫‪http://www.alkhaleej.ae/alkhaleej/page/ce122‬‬
‫‪0bd-9a36-4609-bb0c-‬‬ ‫‪0bd-9a36-4609-bb0c-‬‬
‫‪03a28e91d5f5#sthash.I5yeg6KH.dpuf‬‬ ‫‪03a28e91d5f5#sthash.I5yeg6KH.dpuf‬‬
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‫ﻟﻠﻮﺻﻮل إﱃ ﻣﺒﺘﻐﻰ واﺣﺪ؛ اﻟﺮﻓﻊ ﻣﻦ ﻗﻴﻤﺔ‬ ‫ورﻏﻢ ﻛﻞ ﻫﺬﻩ اﺠﻤﻟﻬﻮدات اﳌﺒﺬوﻟﺔ ﰲ ﳎﺎل‬
‫اﻹﻧﺘﺎج اﻟﱰﲨﻲ اﻟﻌﺮﰊ وﲢﺴﲔ ﺟﻮدﺗﻪ‪.‬‬ ‫اﻟﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ ﺎﺑﻟﻮﻃﻦ اﻟﻌﺮﰊ‪ ،‬ﻻ ﺗﺰال ﻧﺴﺒﺔ‬
‫ﻓﺎﻟﻨﺸﺎط اﻟﱰﲨﻲ اﻟﻌﺮﰊ اﻟﺼﺎﻋﺪ ﻳﻔﺮض‬ ‫ﻛﺒﲑة ﻣﻦ اﻟﻌﻔﻮﻳﺔ ﺗﻐﻠﺐ ﻋﻠﻰ ﺣﺮﻛﺔ اﻟﱰﲨﺔ‬
‫اﻻﻋﺘﻨﺎء ﺑﻘﻀﻴﺔ اﳉﻮدة ﺿﺮورة‪ ،‬وﻟﻦ ﻳﺘﺄﺗﻰ ذﻟﻚ‬ ‫اﻟﻌﺮﺑﻴﺔ وﺗﻘﻴﻴﻤﻬﺎ ﻋﻤﻮﻣﺎ‪ ،‬ﻻ ﻳﻨﻈﻤﻬﺎ ﲣﻄﻴﻂ‬
‫ﳏﻜﻢ وﺗﻨﺴﻴﻖ ٍ‬
‫ﻛﺎف‪ ،‬وﱂ ﲢﻘﻖ ﻫﺬﻩ اﳌﺆﺳﺴﺎت‬
‫ﰲ ﻏﻴﺎب اﻟﺸﺮاﻛﺎت اﳌﻔﻌﻠﺔ داﺧﻞ اﻟﻘﻄﺮ‬
‫اﻟﻮاﺣﺪ‪ ،‬ﻓﻼ دور�ت ﺳﻨﻮﻳﺔ وﻻ ﻓﺼﻠﻴﺔ وﻻ‬ ‫اﳌﺒﺘﻐﻰ اﳌﻨﺸﻮد ﻟﻨﻬﻀﺔ ﺗﺮﲨﻴﺔ ﻋﺮﺑﻴﺔ ﺗﻘﻴﻴﻤﺎ وﻧﻘﺪا‬
‫ﻧﺼﻒ ﻓﺼﻠﻴﺔ ﺗﻠﺰم ﻧﻔﺴﻬﺎ ﺑﺘﻌﺮﻳﻒ اﳌﱰﺟﻢ ﲟﺎ‬ ‫وﺗﻘﻮﳝﺎ ﺎﺑﳌﻌﲎ اﳌﻄﻠﻮب؛ وﻇﻠﺖ ﻣﺴﺎﻋﻴﻬﺎ ﺷﺒﻪ‬
‫ﺣﺼﻞ ﻣﻦ ﺗﺮﲨﺎت ﻟﻌﺪم ﻫﺪر اﳉﻬﺪ ﻓﻴﻤﺎ ﺗﺮﺟﻢ‬ ‫ﻓﺮدﻳﺔ‪ ،‬ﻓﻬﻲ ﱂ ﺗﻔﻌﻞ ﺷﺮاﻛﺎت ﺣﻘﻴﻘﻴﺔ ﻣﻊ‬
‫أو ﻳﱰﺟﻢ‪ ،‬وﻻ دور�ت ﺗﻌﲎ ﺑﻨﻘﺪ وﺗﻘﻴﻴﻢ ﻣﺎ ﺗﺮﺟﻢ‬ ‫ﻣﺆﺳﺴﺎت ﺗﺮﲨﻴﺔ ﺧﺎرج دول اﳋﻠﻴﺞ ﺑﺸﻜﻞ‬
‫ﰲ ﻫﺬا اﻟﻘﻄﺮ أو ذاك‪ ،‬وﻻ دور�ت ﺗﻌﺮف‬ ‫ﻣﺜﻤﺮ؛ ﲟﻌﲎ آﺧﺮ ﻳﻔﱰض أن ﻳﺴﻮد ‪-‬ﰲ ﻏﻴﺎب‬
‫ﺎﺑﳌﱰﲨﲔ اﳌﻬﻨﻴﲔ ﻣﻦ ﻏﲑﻫﻢ ﳊﻔﻆ ﺣﻘﻮﻗﻬﻢ‪،‬‬ ‫ﻣﺆﺳﺴﺔ ﻋﺮﺑﻴﺔ ﻟﻠﱰﲨﺔ‪ -‬ﻣﺮﺻﺪ ﺗﻘﻴﻴﻢ ﻋﺮﰊ‬
‫وﺗﺪﺑﲑ اﻟﻘﻄﺎع ﲟﺎ ﳛﻔﻆ ﺟﻬﺪﻫﻢ وﳚﻌﻞ اﻟﺘﻘﻴﻴﻢ‬ ‫ﳌﺨﺮﺟﺎت اﻟﱰﲨﺔ ﰲ اﻟﻮﻃﻦ اﻟﻌﺮﰊ‪ ،‬ﻳﺴﺠﻞ‬
‫ﻣﺴﺎﺋﻼ ﳍﻢ دون ﻏﲑﻫﻢ‪ .‬ﻓﺈﺧﻀﺎع اﻟﱰﲨﺎت‬ ‫وﻳﻌﲎ ﺑﻜﻞ ﻣﺎ ﳜﺮج ﻣﻦ ﻛﻞ ﻣﺆﺳﺴﺔ ﰲ ﻫﺬا‬
‫ﻟﻠﻔﺤﺺ واﻟﺘﻘﻴﻴﻢ ﺑﻌﺪ اﻟﱰﲨﺔ أﻣﺮ أﺳﺎﺳﻲ‪،‬‬ ‫اﻟﻘﻄﺮ أو ذاك‪ ،‬ﻣﺎ دام ﺗﻮﺣﻴﺪ اﳉﻬﻮد ﰲ ﻣﺆﺳﺴﺔ‬
‫ﺗﻌﺮض ﻟﻪ اﳉﺎﺣﻆ ﰲ ﺣﻴﻮاﻧﻪ ﺑﻜﺜﲑ ﻋﻨﺎﻳﺔ؛ ﻷﻧﻪ‬ ‫واﺣﺪة أﻣﺮا ﻣﺴﺘﻌﺼﻴﺎ‪ ،‬أو ﻋﻠﻰ اﻷﻗﻞ أن ﺗﺸﺎرك‬
‫ﻛﺎن ﻳﻌﻠﻢ أﻧﻪ ﻟﻦ ﻳﺼﻞ اﳌﱰﺟﻢ ﻣﻬﻤﺎ ﺑﻠﻎ ﺑﻪ‬ ‫ﻫﺬﻩ اﳌﺆﺳﺴﺎت اﳋﻠﻴﺠﻴﺔ اﻟﺼﺎﻋﺪة ﲡﺮﺑﺘﻬﺎ ﻣﻊ‬
‫اﻹﺗﻘﺎن ﰲ ﺻﻨﻌﺘﻪ‪ ،‬ﻣﻦ إﻧﺘﺎج ﻧﺺ ﻣﻄﺎﺑﻖ ﻟﻠﻨﺺ‬ ‫ﻧﻈﲑاﻬﺗﺎ ﻣﻦ اﳌﺆﺳﺴﺎت اﳌﺸﺮﻗﻴﺔ واﳌﻐﺎرﺑﻴﺔ ﺳﻮاء‬
‫اﻷﺻﻠﻲ‪ ،‬وﻫﻮ ﰲ ﻧﻘﺪﻩ ﻳﺒﺪي وﺟﻬﺔ ﻧﻈﺮ ﺣﻮل‬ ‫ﻓﺮوﻋﺎ ﳍﺎ واﻣﺘﺪادات‪ ،‬أم ﻣﺆﺳﺴﺎت ﻗﺎﺋﻤﺔ ﺑﺬاﻬﺗﺎ‬
‫اﳌﺨﺮﺟﺎت اﻟﱰﲨﻴﺔ ﰲ زﻣﻨﻪ ﻟﺘﺒﻠﻎ اﳉﻮدة‪،‬‬
‫ﺎﺑﻻﺧﺘﻴﺎرات ﳍﺬﻩ اﻟﻜﺘﺐ‪ ،‬وﻫﻨﺎك ﺗﺮﲨﺎت ﻣﻦ اﻹﻳﻄﺎﻟﻴﺔ وﻣﻦ‬ ‫وﺗﺬﻛﺮ ﻛﺬﻟﻚ ﻓﻴﻤﺎ ﳜﺺ اﻻﺧﺘﻴﺎرات اﻟﱰﲨﻴﺔ ‪":‬أن ﻫﻨﺎك‬
‫اﻹﳒﻠﻴﺰﻳﺔ‪ ،"..‬اﳌﺮﺟﻊ ﻧﻔﺴﻪ‪.‬‬ ‫ﳉﺎن ﻣﺘﺨﺼﺼﺔ ﻟﻜﻞ ﺣﻘﻞ ﻣﻌﺮﰲ‪ ،‬وﻫﺆﻻء أﺳﺎﺗﺬة ﻛﺒﺎر ﻣﻦ‬
‫اﻟﻮﻃﻦ اﻟﻌﺮﰊ وﻛﻞ ﰲ ﳎﺎﻟﻪ‪ ،‬وﻛﻞ ﳉﻨﺔ ﺗﺘﻜﻮن ﻣﻦ ﲬﺴﺔ إﱃ‬
‫ﺳﺘﺔ أﺷﺨﺎص ﻋﻠﻰ اﻷﻗﻞ‪ ،‬واﻟﻠﺠﻨﺔ ﻫﻲ اﻟﱵ ﺗﻘﻮم‬
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‫ﻟﻠﻘﻄﺎع‪ ،‬وﰲ ﻏﻴﺎب ﺗﺮﺳﺎﻧﺔ ﺣﺎﻣﻴﺔ ﻟﻠﻐﺔ واﳍﻮﻳﺔ‬ ‫وﻳﻮاﻇﺐ ﺗﺮاﲨﺘﻬﺎ ﻋﻠﻰ اﻹﺗﻘﺎن‪ ،‬وﻟﻴﻌﻠﻤﻮا أﻧﻪ ﺑﻌﺪ‬
‫أﺻﻼ‪ .‬ورﻏﻢ ﻣﺎ ذﻛﺮ�ﻩ ﺳﺎﺑﻘﺎ ﻣﻦ رﻏﺒﺎت ﺻﺎدﻗﺔ‬ ‫اﻟﻔﺮاغ ﻣﻨﻬﺎ ﺗﺘﻠﻘﻔﻬﺎ اﻟﻌﻘﻮل ﺎﺑﻟﻨﻘﺪ واﳌﻼﺣﻈﺔ‬
‫ﰲ ﲡﺎوز اﻟﻮﺿﻊ وﺗﺼﺤﻴﺤﻪ؛ إﻻ أ�ﺎ رﻏﺒﺎت‬ ‫واﻟﺘﻘﻴﻴﻢ‪ ،‬وﻫﻮ دﻳﺪن اﻟﻔﻜﺮ اﻟﻌﺮﰊ اﻟﱰاﺛﻲ‪ ،‬ﻋﻘﻞ‬
‫ﻓﺮدﻳﺔ ﰲ ﻋﻤﻮﻣﻬﺎ ﳚﺘﻤﻊ ﳍﺎ اﳌﺨﺘﺼﻮن وﻳﺘﻔﻘﻮن‪،‬‬ ‫ﻳﻔﻜﺮ وﻋﻘﻞ ﳛﺮر وﻋﻘﻞ ﻳﺘﺪﺑﺮ‪ .‬ﻟﻜﻦ اﳊﺎل اﻟﻴﻮم‬
‫وﻟﻜﻨﻬﻢ ﺑﺘﻮﺻﻴﺎﻬﺗﻢ ﻗﻠﻴﻼ ﻣﺎ ﻳﻮﻓﻮن‪ .‬وﻟﻌﻞ ﰲ‬ ‫أن اﳌﱰﲨﲔ واﻟﻨﺎﺷﺮﻳﻦ‪ ،‬ﻳﻌﻠﻤﻮن أن ﻻ ﻣﺮاﺟﻌﺔ‬
‫ﺣﻠﻘﺎت اﻟﱰﲨﺔ اﻟﱰاﺛﻴﺔ ﺑﺒﻴﺖ اﳊﻜﻤﺔ ﺑﻌﺾ ﳑﺎ‬ ‫وﻻ ﻧﻘﺪ وﻻ ﻣﻼﺣﻈﺔ ﺑﻌﺪﻫﻢ‪ ،‬وأن اﻟﻜﺘﺐ ﺑﻌﺪ‬
‫ﻧﺴﺘﻨﲑ ﺑﻪ ﰲ واﻗﻌﻨﺎ اﻟﱰﲨﻲ اﳌﺘﺨﺒﻂ‪ ،‬ﻷﻧﻪ ﻳﻘﻮم‬ ‫ﻧﺸﺮﻫﺎ ﻏﲑ ﳏﺘﻤﻞ ﺑﺪاﻫﺔ ﻗﺮاءﻬﺗﺎ ﰲ ﻧﺴﺒﺔ ﻋﺰوف‬
‫ﻋﻠﻰ ﻣﻨﻬﺞ ﻗﻮﱘ أﺳﺎﺳﻪ اﻟﻌﻤﻞ اﳌﺸﱰك‬ ‫ﻋﻦ اﻟﻘﺮاءة‪ ،‬ﺗﺼﻞ اﳌﺴﺘﻮ�ت اﻷدﱏ ﻋﺎﻣﺎ ﺑﻌﺪ‬
‫واﻹﺷﺮاف اﻟﻌﻠﻤﻲ واﻟﺘﻘﻮﱘ اﻟﱰﲨﻲ وﺑﻨﺎء رﺻﻴﺪ‬ ‫ﻋﺎم‪ ،‬وﺟﻴﻼ ﺑﻌﺪ ﺟﻴﻞ ﻟﺼﺎﱀ وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ‬
‫اﳌﺼﻄﻠﺤﺎت اﻟﻌﻠﻤﻲ اﻟﺬي ﻻ ﻳﻨﺒﺾ‪ ،‬وﻳﻘﻮم‬ ‫اﻻﺟﺘﻤﺎﻋﻴﺔ اﳊﺪﻳﺜﺔ اﻟﱵ وﺿﻌﺖ اﳌﺴﻤﺎر اﻷﺧﲑ‬
‫ﺄﺑﻫﻢ ﻣﻦ ذﻟﻚ اﻹﻧﺘﺎج اﻟﻌﻠﻤﻲ واﻟﻔﻜﺮي ﺑﻌﺪ‬ ‫ﰲ ﻧﻌﺶ ﺛﻘﺎﻓﺔ اﻟﻘﺮاءة ﰲ اﻟﻮﻃﻦ اﻟﻌﺮﰊ‪.‬‬
‫اﻟﱰﲨﻲ‪ ،‬وﻫﻮ ﻣﺎ ﻧﻔﺘﻘﺪﻩ ﺿﻤﻦ ﻣﺎ ﻧﻔﺘﻘﺪ ﻣﻦ‬ ‫وﺧﻼﺻﺔ اﻟﻘﻮل ﻓﺎﻟﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ ﰲ اﻟﻮﻃﻦ‬
‫أﺳﺎﺳﻴﺎت ﺑﻞ وأﺧﻼﻗﻴﺎت ﰲ ﻫﺬا اﻟﺒﺎب‪.‬‬ ‫اﻟﻌﺮﰊ ﻳﻌﺪ ﺗﺮﻓﺎ ﻓﻜﺮ� زاﺋﺪا‪ ،‬وﻋﺒﺌﺎ ﻣﺎﻟﻴﺎ إﺿﺎﻓﻴﺎ‬
‫‪ -３‬اﺳﺘﻠﻬﺎم اﻟﺘﺠﺮﺑﺔ اﻟﱰﲨﻴﺔ اﻟﱰاﺛﻴﺔ‪ :‬ﺣﻠﻘﺔ‬ ‫ﻳﺜﻘﻞ ﻛﺎﻫﻞ دار اﻟﻨﺸﺮ ﺑﻌﺪ ﺄﺗدﻳﺔ أﻋﺒﺎء اﳌﱰﺟﻢ‬
‫اﻟﻜﻨﺪي ﺑﺒﻴﺖ اﳊﻜﻤﺔ ﳕﻮذﺟﺎ‬ ‫اﳌﺎدﻳﺔ؛ وﻷن اﻟﻮﺿﻊ اﻟﱰﲨﻲ اﻟﻌﺮﰊ ﻛﺎن ﻳﻘﺎرب‬
‫ﻻ ﳜﺮج اﻟﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ ﻋﻨﺪ ﻋﻠﻤﺎء ﺑﻴﺖ اﳊﻜﻤﺔ‬ ‫اﳊﻀﻴﺾ ﻓﻴﻤﺎ ﻳﻨﺘﺞ ﻣﻦ ﺗﺮﲨﺎت ﻣﻘﺎرﻧﺔ ﻣﻊ‬
‫ﻋﺼﺮ �ﻀﺔ اﻟﱰﲨﺔ اﻟﻌﺮﺑﻴﺔ ﻋﻠﻰ ﻋﻬﺪ اﻟﺪوﻟﺔ‬ ‫اﻟﻐﺮب؛ ﻓﺈن اﳌﺴﺘﻐﻠﲔ ﻟﻠﻈﺮﻓﻴﺔ وﳉﻮا اﻷﺑﻮاب‬
‫اﻟﻌﺒﺎﺳﻴﺔ ﺑﺪاﻳﺔ اﻟﻨﺼﻒ اﻟﺜﺎﱐ ﻣﻦ اﻟﻘﺮن اﻟﺜﺎﻣﻦ‬ ‫دون ﲢﻔﻈﺎت ﺗﺬﻛﺮ‪ ،‬ودون ﻣﺮاﺟﻌﺎت ﺑﻌﺪﻫﻢ‬
‫اﳌﻴﻼدي‪ ،‬ﻋﻦ �ﺞ اﻟﻌﻠﻤﺎء اﳌﺴﻠﻤﲔ اﻟﻌﺮب‬ ‫ﺄﺗﺧﺬ‪ ،‬وﺻﺎرت اﳌﺨﺮﺟﺎت ﲟﺎ ﻳﻘﻊ ﺑﲔ أﻳﺪي‬
‫اﳌﻨﻌﻜﻔﲔ ﻋﻠﻰ اﻟﺘﺤﻘﻴﻖ واﻟﻀﺒﻂ واﻟﺘﻨﻘﻴﺢ ﰲ‬ ‫اﻟﻘﺮاء ﲟﺎ ﻳﻨﺪى ﻟﻪ اﳉﺒﲔ‪ ،‬ﻓﻜﺎن اﻟﻠﺤﺎق ﺎﺑﻟﺮﻛﺐ‬
‫ﺻﻨﺎﻋﺔ اﻟﺘﺄﻟﻴﻒ واﻟﱰﲨﺔ واﻟﺘﺼﻨﻴﻒ‪ ،‬ﺣﻠﻘﺎت‬ ‫اﻟﱰﲨﻲ اﻟﻌﺎﳌﻲ ﻣﱪرا ﳋﻮض ﻣﻐﺎﻣﺮة اﻟﱰﲨﺔ ﻋﻦ‬
‫ﻳﻔﻀﻲ ﺑﻌﻀﻬﺎ إﱃ ﺑﻌﺾ ﰲ اﻧﺴﺠﺎم ﻓﺮﻳﺪ‬ ‫ﺟﻬﻞ ﻣﺴﺒﻖ وإﺻﺮار ﻣﺘﻌﻤﺪ ﺑﲔ دور اﻟﻨﺸﺮ‬
‫ُﺧﺼﺖ ﺑﻪ اﻷﻣﺔ اﻟﻌﺮﺑﻴﺔ ﰲ ﻫﺬﻩ اﳊﻘﺒﺔ اﻟﺬﻫﺒﻴﺔ‬ ‫واﳌﱰﲨﲔ ﰲ ﻏﻴﺎب ﺗﺮﺳﺎﻧﺔ ﻗﺎﻧﻮﻧﻴﺔ ﺣﺎﻣﻴﺔ‬
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‫واﻟﻔﻬﻢ واﻟﺘﺤﺮي واﻟﺘﺤﻘﻴﻖ‪ ،‬ﰲ ﻧﺸﺎط اﺟﺘﻤﻌﺖ‬ ‫ﻣﻦ ﺎﺗرﳜﻬﺎ اﻟﻔﻜﺮي‪ ،‬ﻣﺴﺎﳘﲔ ﰲ �ﻀﺔ ﻋﻠﻤﻴﺔ‬
‫ﻟﻪ اﻷﺳﺒﺎب واﻟﻈﺮوف‪ ،‬وﺳﺎﳘﺖ ﻓﻴﻪ اﳍﻤﻢ‬ ‫ﺿﺨﻤﺔ اﻧﻄﻼﻗﺎ ﻣﻦ ﻫﺬا اﳌﻬﺪ اﳌﻌﺮﰲ اﻟﻌﻠﻤﻲ‬
‫اﳌﺘﻌﻄﺸﺔ ﻟﻠﻤﻌﺮﻓﺔ واﻟﻌﻠﻮم‪ ،‬وﺳﺨﺮت ﻟﻪ اﻷﻣﻮال‬ ‫اﻟﻔﺮﻳﺪ‪ .‬وﺑﺬﻟﻚ ﱂ ﻳﻜﻦ ﻏﺮﻳﺒﺎ وﻻ ﻣﺼﺎدﻓﺔ أن‬
‫واﻷﺟﻮاء واﻟﻌﻘﻮل‪.‬‬ ‫ﻳﻜﻮن اﻟﺘﻘﻴﻴﻢ اﻟﺬاﰐ ﻗﺒﻞ اﻟﻐﲑي ﳏﻂ اﻫﺘﻤﺎم‬
‫ﻓﻘﺪ ارﺗﺒﻂ اﻟﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ ﻋﻨﺪ اﻟﻌﻠﻤﺎء اﳌﺴﻠﻤﲔ‬ ‫اﳌﺆﻟﻔﲔ واﳌﱰﲨﲔ ﻋﻠﻰ ﺣﺪ ﺳﻮاء‪ ،‬ﻓﺎﳌﺮاﺟﻌﺔ‬
‫اﻷواﺋﻞ ﲟﻨﻈﻮﻣﺔ ﻣﻌﺮﻓﻴﺔ أﺧﻼﻗﻴﺔ أﺳﺎﺳﺎ ﻗﻮاﻣﻬﺎ‬ ‫واﻟﺘﺪﻗﻴﻖ ﺻﻠﺐ ﺻﻨﺎﻋﺔ اﻹﻧﺸﺎء ﺗﺮﲨﺔ وﺗﺼﻨﻴﻔﺎ‬
‫اﳉﻮدة ﰲ اﻹﻧﺘﺎج‪ ،‬واﻷﻣﺎﻧﺔ واﳊﺮص واﻟﺘﻮاﺿﻊ‬ ‫وﺄﺗﻟﻴﻔﺎ‪" ،‬وﻗﺪ ﺗﻔﻄﻦ اﻟﻌﻠﻤﺎء اﻟﻘﺪﻣﺎء إﱃ رﺑﻂ‬
‫واﳌﺴﺆوﻟﻴﺔ ‪ ،33‬ﻟﻴﺲ اﺣﱰاﻣﺎ ﻓﻘﻂ ﻟﻠﺬاﺋﻘﺔ اﳌﻌﺮﻓﻴﺔ‬ ‫اﳌﺮاﺟﻌﺔ ﺎﺑﻟﻜﺘﺎﺑﺔ‪ ،‬اﻟﱵ ﺗﺒﻠﻎ ﻣﺪاﻫﺎ ﺎﺑﻟﺒﻴﺎن‪ ،‬ﺳﻮاء‬
‫اﻟﻌﺎﻣﺔ ﻣﻦ اﻟﻨﺨﺒﺔ اﳌﺜﻘﻔﺔ أو اﻟﺴﻠﻄﺔ اﳊﺎﻛﻤﺔ‬ ‫أﻛﺎﻧﺖ ﻣﺮاﺟﻌﺔ ذاﺗﻴﺔ أم ﻣﻦ اﻟﻐﲑ‪ ،‬وإﻇﻬﺎر‬
‫اﻟﻌﺎﳌﺔ‪ ،‬ﺑﻞ ﻣﻦ ِ‬
‫اﻟﻌﺎﱂ ﻧﻔﺴﻪ أﺳﺎﺳﺎ ﺑﻨﺎء ﻋﻠﻰ‬ ‫أﳘﻴﺘﻬﺎ ﰲ ﻋﻤﻠﻴﺔ اﻟﺘﻨﺼﻴﺺ‪ ،‬ﻟﺬﻟﻚ وﺟﺐ‬
‫ﺗﻜﻮﻳﻨﻪ اﻟﻌﻠﻤﻲ اﻟﺬي ﻳﻘﱰن ﺑﺘﺒﺠﻴﻞ اﻟﻌﻠﻢ‬ ‫ﲢﺪﻳﺪ ﻣﻔﻬﻮم اﳌﺮاﺟﻌﺔ ﻋﻤﻮﻣﺎ ﻛﺄداة ﻛﺘﺎﺑﺔ‬
‫وﺗﻮﻗﲑﻩ‪ ،‬وﲢﺮي اﻹﺧﻼص ﰲ ﺗﻌﻠﻤﻪ ﻗﺒﻞ ﺗﻌﻠﻴﻤﻪ‬ ‫أﺳﺎﺳﻴﺔ ﻟﻠﺘﺪرج ﻣﻦ اﻟﱰﲨﺔ اﻟﻮﺳﻄﻴﺔ إﱃ اﻟﱰﲨﺔ‬
‫وﺗﺪوﻳﻨﻪ‪ ،‬ﻓﺘﺠﺪ اﻟﻌﺎﱂ اﻟﺬي ﻃﺎﻓﺖ ﺑﻌﻠﻤﻪ اﻟﺮﻛﺒﺎن‬ ‫اﻟﺒﻴﺎﻧﻴﺔ‪ ،‬اﻟﱵ ﻳﺘﺄﻟﻖ ﻬﺑﺎ اﻟﺒﻨﻴﺎن اﻟﻨﺼﻲ وﺗﺴﺘﺒﺎن‬
‫ﻳﻠﺘﻤﺲ ﻣﻦ ﻗﺎرئ ﺗﺼﻨﻴﻔﻪ اﻟﻌﻔﻮ ﻋﻦ اﻟﺰﻻت‪،‬‬ ‫ﻣﻌﺎﻧﻴﻪ ﰲ أﻬﺑﻰ ﺣﻼﻫﺎ وﺄﺑﻋﺮق ﲣﺎرﳚﻬﺎ وأوﺟﺰ‬
‫وﻳﻨﺎﺷﺪﻩ ﻗﺒﻮل ﻣﺎ ﻗﺪ ﻳﻘﻊ ﰲ ﻃﻴﺎﺗﻪ ﻣﻦ ﻫﻨﺎت؛‬ ‫ﻣﺴﺎﻟﻜﻬﺎ‪ .‬وﻋﻠﻴﻪ أﲨﻊ ﻓﻘﻬﺎء اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ‪ .‬وﻛﺎن‬
‫ﻷﻧﻪ ﻣﻮﻗﻦ ﺄﺑﻧﻪ ﻟﻦ ﻳﺆﺗﻰ ﻣﻦ اﻟﻌﻠﻢ إﻻ ﻗﻠﻴﻼ‪،‬‬ ‫راﺋﺪﻫﻢ ﰲ ذﻟﻚ اﻟﻠﻐﻮي اﻟﻨﺒﻴﻪ اﺑﻦ ﺟﲏ‬
‫وﻷﻧﻪ رﻏﻢ ﻛﻞ اﺟﺘﻬﺎدﻩ ﻟﻦ ﻳﻜﻮن راﺿﻴﺎ ﻋﻤﺎ‬ ‫)‪ ،32 "(1002-942‬ﻓﺎﻟﻨﺨﺒﺔ اﳌﺸﺎرﻛﺔ ﰲ‬
‫ﻗﺪم‪ ،‬وﻟﻮ أﻣﻬﻠﻪ اﻟﻮﻗﺖ ﻗﻠﻴﻼ ﻟﺼﻨﻊ أﻓﻀﻞ‬ ‫ردﻫﺎت ﺑﻴﺖ اﳊﻜﻤﺔ اﻟﻔﺴﻴﺢ ﻛﺎﻧﺖ ﻋﻠﻰ‬
‫وأﺟﻮد ‪.34‬‬ ‫ﻣﺴﺘﻮى ﻣﺘﻘﺎرب ﻣﻦ اﻟﻌﻠﻢ واﻟﻨﻘﺪ واﻟﺘﻤﺤﻴﺺ‬
‫‪34‬وﻗﺪ ﳋﺺ ذﻟﻚ اﻟﻘﺎﺿﻲ اﻟﺒﻴﺴﺎﱐ ﰲ رﺳﺎﻟﺘﻪ اﻟﺸﻬﲑة‬ ‫‪ 32‬ﳏﻤﺪ دﻳﺪاوي‪ ،‬م‪.‬س‪ ،‬ص ‪.9‬‬
‫أﻳﺖ أﻧﻪ ﻻ ﻳﻜﺘﺐ أﺣﺪ ﻛﺘﺎﺎﺑً‬
‫ﻟﻠﻌﻤﺎد اﻷﺻﻔﻬﺎﱐ ﺑﻘﻮﻟﻪ‪" :‬إﱐ ر ُ‬ ‫‪ 33‬ﻫﻨﺪ ﺑﻦ ﳏﺠﻮب‪ ،‬ﻣﻼﻣﺢ ﻣﻦ أﺧﻼﻗﻴﺎت اﻟﱰﲨﺔ ﰲ‬
‫ﻳﻮﻣﻪ إﻻ ﻗﺎل ﰲ َﻏ ِﺪﻩِ‪ُ :‬ﻟﻮُ ﻏﱠﲑَ ﻫﺬا ﻟﻜﺎن أﺣﺴﻦ وﻟﻮ زﻳﺪ‬
‫ﰲ ِ‬ ‫اﻟﱰاث اﻟﻌﺮﰊ اﻹﺳﻼﻣﻲ‪ :‬ﻋﻠﻤﺎء ﺑﻴﺖ اﳊﻜﻤﺔ ﰲ اﻟﻌﺼﺮ‬
‫ﺴﺘﺤﺴﻦ وﻟﻮ ﻗُ ﱠﺪم ﻫﺬا ﻟﻜﺎن أﻓﻀﻞ وﻟﻮ ﺗُ ِﺮك ﻫﺬا‬
‫ﻫﺬا ﻟﻜﺎن ﻳُ َ‬ ‫اﻟﻌﺒﺎﺳﻲ ﳕﻮذﺟﺎ‪ ،‬ﳎﻠﺔ ﺗﺮﲨﺎن‪ ،‬ﻗﻴﺪ اﻟﻨﺸﺮ‪.‬‬
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‫اﳌﺴﻴﺤﻲ ﻏﲑ اﻟﻌﻘﻼﱐ ‪ ،35‬ﺑﺘﻮﻓﲑﻫﺎ ﻟﻸﺟﻮاء‬ ‫إن ﻫﺬا اﳊﺲ اﻷﺧﻼﻗﻲ ﻟﻌﺐ دورا ﻣﻔﺼﻠﻴﺎ ﰲ‬
‫اﳌﻮاﺋﻤﺔ ﻟﻺﻧﺘﺎج اﻟﻌﻠﻤﻲ واﻟﱰﲨﻲ‪ ،‬ﻓﻜﺎﻧﺖ اﳋﻄﺔ‬ ‫اﻹﻧﺘﺎج اﻟﱰﲨﻲ اﻟﻌﺮﰊ ﺑﺒﻴﺖ اﳊﻜﻤﺔ ﺑﺒﻐﺪاد‪،‬‬
‫واﻻﺳﱰاﺗﻴﺠﻴﺔ داﻋﻤﺎ أﺳﺎﺳﻴﺎ ﻟﻠﻨﺠﺎح ﻣﻦ ﻗﺒﻞ‬ ‫وﺳﺎﻫﻢ ﰲ ﺗﻨﻈﻴﻢ اﳊﺮﻛﺔ اﻟﱰﲨﻴﺔ وﺗﻌﻈﻴﻢ دورﻫﺎ‬
‫اﳌﺄﻣﻮن ﻧﻔﺴﻪ وﻣﻦ ﻻزﻣﻪ ﻣﻦ اﻟﻌﻠﻤﺎء واﳌﻔﻜﺮﻳﻦ‬ ‫وﺗﺜﻤﲔ ﲦﺎرﻫﺎ‪ ،‬ﺎﺑﻹﺿﺎﻓﺔ إﱃ ﻋﻮاﻣﻞ أﺧﺮى ﻋﻠﻰ‬
‫اﳌﻨﺸﻐﻠﲔ ﺎﺑﻟﻌﻠﻢ واﳌﻌﺮﻓﺔ وﻋﻠﻰ رأﺳﻬﻢ ﻓﻴﻠﺴﻮف‬ ‫رأﺳﻬﺎ رﻋﺎﻳﺔ اﻟﺴﻠﻄﺔ اﳊﺎﻛﻤﺔ ﻟﻠﻌﻤﻠﻴﺔ ﺑﺮﻣﺘﻬﺎ‪،‬‬
‫اﻟﻌﺮب ﻳﻌﻘﻮب ﺑﻦ إﺳﺤﻖ اﻟﻜﻨﺪي)‪-801‬‬ ‫ﻟﻴﻘﻴﻨﻬﺎ ﺑﺪور اﻟﻌﻠﻢ ﰲ ﺗﺜﺒﻴﺖ ﻧﻔﻮذﻫﺎ وﺳﻠﻄﺘﻬﺎ‬
‫‪ ،(873‬ﻓﻠﻴﺲ ﻳﺴﻌﻒ وﻓﺮة اﳌﱰﲨﲔ ﻛﺎﻧﻮا‬ ‫ﲝﻀﻮرﻫﺎ اﻟﺜﻘﺎﰲ اﳌﺘﻤﻴﺰ وﳕﻮذﺟﻬﺎ اﳊﻀﺎري‬
‫أﻛﻔﺎء أم دون ذﻟﻚ ﰲ ﻏﻴﺎب ﺧﻄﺔ وﻋﻨﺎﻳﺔ‪،‬‬ ‫اﳌﺘﻔﺮد ﺧﺼﻮﺻﺎ أﻣﺎم اﻟﻘﻮى اﺠﻤﻟﺎورة ﳍﺎ‪ ،‬وﻛﺎن‬
‫وﺄﺗﻃﲑ ورﻋﺎﻳﺔ ﳒﺎح أو ﺗﻌﻮﻳﻞ‪ ،‬وﺗﻠﻜﻢ اﳊﻠﻘﺔ‬ ‫ﻟﺰاﻣﺎ أن ﻳﻜﻮن اﻟﻌﻠﻢ اﻟﻮﺳﻴﻠﺔ اﻷﳒﻊ ﻟﻔﻬﻢ‬
‫اﻟﱵ ﺗﻔﺘﻘﺪﻫﺎ ﺳﺎﺣﺔ اﻟﱰﲨﺔ اﻟﻌﺮﺑﻴﺔ اﳊﺪﻳﺜﺔ‪.‬‬ ‫اﻟﺜﻘﺎﻓﺎت اﻟﻮاﻓﺪة ﻋﻠﻰ رﻗﻌﺔ اﻹﻣﱪاﻃﻮرﻳﺔ اﻟﻌﺮﺑﻴﺔ‬
‫ﻟﻘﺪ اﻧﱪى اﻟﻜﻨﺪي ﰲ ﺣﻠﻘﺘﻪ اﻟﱰﲨﻴﺔ ﻟﺘﻘﻴﻴﻢ‬ ‫اﻹﺳﻼﻣﻴﺔ اﻟﻮاﺳﻌﺔ واﻟﺴﺒﻴﻞ اﻷﻣﺜﻞ ﻟﻠﺘﻌﺎﻳﺶ‬
‫وﺗﻘﻮﱘ ﻛﻞ ﻣﺎ ﻛﺎن ﻳﻘﻊ ﺑﲔ ﻳﺪﻳﻪ ﻣﻦ ﺗﺮﲨﺎت‬ ‫ﻣﻌﻬﺎ‪ ،‬ﺣﻴﺚ ﻳﺮى دﳝﱰي ﻏﻮﺎﺗس أن اﳋﻠﻔﺎء‬
‫أﳒﺰﻫﺎ ﺗﻼﻣﺬﺗﻪ اﻟﺬﻳﻦ ﻳﺸﺮف ﻋﻠﻴﻬﻢ ﻣﻦ ﻋﺮب‬ ‫اﻟﻌﺒﺎﺳﻴﲔ أرادوا ﻓﺮض ﻧﻔﻮذﻫﻢ اﻟﺜﻘﺎﰲ اﳋﺎص‪،‬‬
‫وﻏﲑﻫﻢ ‪ ،36‬وﱂ ﻳﻜﻦ ذﻟﻚ ﻧﺸﺎزا ﰲ اﳊﺮﻛﺔ‬ ‫ﲟﻮاﺟﻬﺔ اﻟﺜﻘﺎﻓﺔ اﻟﻔﺎرﺳﻴﺔ وإﱃ ﺟﺎﻧﺒﻬﺎ اﻟﺜﻘﺎﻓﺔ‬
‫اﻟﻌﻠﻤﻴﺔ اﻟﻨﺸﻴﻄﺔ ﰲ ﺑﻴﺖ اﳊﻜﻤﺔ وﺧﺎرﺟﻬﺎ ﰲ‬ ‫اﻟﺒﻴﺰﻧﻄﻴﺔ اﺠﻤﻟﺎورة‪ ،‬ﻋﱪ إﺛﺒﺎت ﻗﺪرﻬﺗﻢ ﻋﻠﻰ اﻟﻌﻨﺎﻳﺔ‬
‫ﻛﻞ ﺑﻴﻮﺎﺗت ﺑﻐﺪاد واﻟﺒﺼﺮة وﻣﺎ ﺟﺎورﻫﺎ ﻣﻦ ﻣﺪن‬ ‫ﺈﺑرث اﻟﺜﻘﺎﻓﺔ اﳍﻴﻠﻴﻨﺴﺘﻴﺔ أﻓﻀﻞ ﻣﻦ اﻟﺒﻴﺰﻧﻄﻴﲔ‬
‫ﺣﺞ إﻟﻴﻬﺎ رواد اﻟﻌﻠﻢ وﻃﺎﻟﺒﻮﻩ ﻣﻦ ﺳﺮ�ن و‬ ‫اﳌﺘﺤﺪﺛﲔ ﺎﺑﻟﻴﻮ�ﻧﻴﺔ‪ ،‬ﺧﺎﺻﺔ ﻣﻊ ﻗﻴﻮد اﻟﻼﻫﻮت‬
‫‪ 36‬ﻳﺬﻛﺮ اﻟﻘﻔﻄﻲ أﻧﻪ ﻛﺎن ﻟﻠﻜﻨﺪي ﻣﻦ اﻟﺘﻼﻣﺬة واﻟﻮراﻗﲔ‬ ‫ﻟﻜﺎن أﲨﻞ‪ .‬وﻫﺬا أﻋﻈﻢ اﻟﻌﱪ وﻫﻮ دﻟﻴﻞ ﻋﻠﻰ اﺳﺘﻴﻼء اﻟﻨﻘﺺ‬
‫ﳎﻤﻮﻋﺔ ﻋﻠﻰ رأﺳﻬﺎ ﺣﺴﻨﻮﻳﻪ وﻧﻔﻄﻮﻳﻪ وﺳﻠﻤﻮﻳﻪ ورﲪﻮﻳﻪ وأﲪﺪ‬ ‫ﻋﻠﻰ ﲨﻠﺔ اﻟﺒﺸﺮ"‪ ،‬روزﻧﺘﺎل ﻓﺮاﻧﺘﺰ‪ ،‬ﻣﻨﺎﻫﺞ اﻟﻌﻠﻤﺎء اﳌﺴﻠﻤﲔ‬
‫ﺑﻦ اﻟﻄﻴﺐ اﻟﺴﺮﺧﺴﻲ‪ ،‬اﻧﻈﺮ اﻟﻘﻔﻄﻲ‪ ،‬اﻟﻮزﻳﺮ ﲨﺎل اﻟﺪﻳﻦ‪،‬‬ ‫ﰲ اﻟﺒﺤﺚ اﻟﻌﻠﻤﻲ‪ ،‬ﺗﺮﲨﺔ أﻧﻴﺲ ﻓﺮﳛﺔ‪ ،‬ﻣﺮاﺟﻌﺔ وﻟﻴﺪ ﻓﺮﺣﺎت‪،‬‬
‫إﺧﺒﺎر اﻟﻌﻠﻤﺎء ﺄﺑﺧﺒﺎر اﳊﻜﻤﺎء‪ ،‬ﲢﻘﻴﻖ إﺑﺮاﻫﻴﻢ ﴰﺲ اﻟﺪﻳﻦ‪،‬‬ ‫دار اﻟﺜﻘﺎﻓﺔ‪ ،‬ﺑﲑوت‪ ،1961،‬ص ‪.184‬‬
‫دار اﻟﻜﺘﺐ اﻟﻌﻠﻤﻴﺔ‪ ،‬ﺑﲑوت‪ .2005 ،‬ص‪.279‬‬ ‫‪ 35‬دﳝﱰي ﻏﻮﺎﺗس‪ ،‬اﻟﻔﻜﺮ اﻟﻴﻮ�ﱐ واﻟﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﻴﺔ‪ ،‬ﺗﺮﲨﺔ ﻧﻘﻮﻻ‬
‫ز�دة‪ ،‬اﳌﻨﻈﻤﺔ اﻟﻌﺮﺑﻴﺔ ﻟﻠﱰﲨﺔ‪ ،‬ﻣﺮﻛﺰ دراﺳﺎت اﻟﻮﺣﺪة اﻟﻌﺮﺑﻴﺔ‪،‬‬
‫ﺑﲑوت‪ ،1998 ،‬ص ‪.156-141‬‬
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‫ﻓﻘﺪ ﲤﺜﻠﺖ ﻣﻬﻤﺔ اﻟﻜﻨﺪي ﺑﺪاﻳﺔ ﰲ اﻹﺷﺮاف‬ ‫ﻣﺴﻠﻤﲔ وﻋﺮب وﻳﻬﻮد وﻣﺴﺤﻴﲔ وﻳﻮ�ن‪ ،‬ﻛﻞ‬
‫ﻋﻠﻰ إﳒﺎز ﺗﺮﲨﺎت ﻛﺘﺐ اﻟﻔﻠﺴﻔﺔ اﻟﻴﻮ�ﻧﻴﺔ إﱃ‬ ‫ﻳﺴﺎﻫﻢ ﺑﻘﺪرﻩ ﰲ إﳒﺎح أﺿﺨﻢ ﺣﺮﻛﺔ ﻣﻌﺮﻓﻴﺔ ﰲ‬
‫اﻟﻌﺮﺑﻴﺔ وﺗﻘﻴﻴﻤﻬﺎ ﰲ ﺣﻠﻘﺎت ﺑﺒﻴﺖ اﳊﻜﻤﺔ‬ ‫ﺎﺗرﻳﺦ اﻟﺒﺸﺮﻳﺔ ﰲ ﺟﻮ ﻣﻦ اﻟﺘﺴﺎﻣﺢ واﻟﺘﻌﺎﻳﺶ‬
‫وﻋﻠﻰ رأﺳﻬﺎ ﻛﺘﺐ اﳌﻌﻠﻢ اﻷول أرﺳﻄﻮ وﻛﺘﺐ‬ ‫واﳊﻮار دوﳕﺎ إﻗﺼﺎء أو ﻬﺗﻤﻴﺶ أو ﺗﻌﺼﺐ‪ .‬وﱂ‬
‫أﻓﻼﻃﻮن‪.‬‬ ‫ﻳﻜﻦ اﺧﺘﻴﺎر اﳌﺄﻣﻮن ﻟﻠﻜﻨﺪي ﻟﻠﻘﻴﺎم ﺄﺑﺟﻞ ﻣﻬﻤﺔ‬
‫وﻻ ﺑﺪ ﻣﻦ اﻹﺷﺎرة ﻫﻨﺎ إﱃ أن اﻟﻜﻨﺪي ﱂ ﻳﻜﻦ‬ ‫ﰲ ﺎﺗرﻳﺦ اﻟﻔﻠﺴﻔﺔ اﻟﻌﺮﺑﻴﺔ اﻹﺳﻼﻣﻴﺔ ﻣﺼﺎدﻓﺔ‪،‬‬
‫ﻣﱰﲨﺎ ﺎﺑﳌﻌﲎ اﻟﻔﻌﻠﻲ ﻟﻌﻤﻠﻴﺔ اﻟﱰﲨﺔ ﺎﺑﻟﺮﻏﻢ ﻣﻦ‬ ‫ﺣﲔ ﻋﻬﺪ إﻟﻴﻪ ﺎﺑﻹﺷﺮاف ﻋﻠﻰ ﺗﺮﲨﺔ اﻟﻔﻠﺴﻔﺔ‬
‫أن ﲨﻠﺔ ﻣﻦ اﳌﺼﺎدر اﻟﱰاﺛﻴﺔ وﻋﻠﻰ رأﺳﻬﺎ ﻛﺘﺐ‬ ‫اﻟﻴﻮ�ﻧﻴﺔ إﱃ اﻟﻌﺮﺑﻴﺔ‪ ،‬ﻓﻜﺎن ﺑﺬﻟﻚ أول ﻣﺸﺮوع‬
‫ﺳﲑ اﳌﺘﻘﺪﻣﲔ ﻧﺴﺒﺖ ﻟﻪ ﻓﻌﻞ اﻟﱰﲨﺔ وإﺗﻘﺎن‬ ‫ﺗﺮﲨﻲ ﻣﺆﺳﺴﺎﰐ ﳐﻄﻂ ﻟﻪ ﺑﻌﻨﺎﻳﺔ‪ ،‬وﻣﻜﻠﻒ‬
‫اﻟﻠﻐﺔ اﻟﺴﺮ�ﻧﻴﺔ‪ ،‬ﻓﻘﺪ أﳊﻖ اﺑﻦ أﰊ أﺻﻴﺒﻌﺔ اﲰﻪ‬ ‫ﺑﺘﺪﺑﲑﻩ وﺗﺴﻴﲑﻩ ﻋﺎﱂ ﺟﻠﻴﻞ‪ ،‬ﻟﻪ ﻣﻘﺎم ﻋﻠﻤﻲ رﻓﻴﻊ‪،‬‬
‫ﺄﺑﻓﻀﻞ ﺣﺬاق اﻟﱰﲨﺔ ﰲ اﻹﺳﻼم ﻋﻠﻰ اﻹﻃﻼق‬ ‫ﻗﺎدر ﻋﻠﻰ ﲢﺪﻳﺪ اﻻﺧﺘﻴﺎرات اﻟﱰﲨﻴﺔ ﻟﺘﺰوﻳﺪ‬
‫ﻣﻊ ﺣﻨﲔ ﺑﻦ إﺳﺤﻖ وﺎﺛﺑﺖ ﺑﻦ ﻗﺮة اﳊﺮاﱐ "ذﻛﺮ‬ ‫اﻟﻔﻜﺮ اﻟﻌﺮﰊ اﳌﺘﻌﻄﺶ ﻟﻠﻤﻌﺮﻓﺔ اﻟﻴﻮ�ﻧﻴﺔ وﻏﲑﻫﺎ‬
‫أﺑﻮ ﻣﻌﺸﺮ ﰲ ﻛﺘﺎب اﳌﺬاﻛﺮات ﻟﺸﺎذان أن‬ ‫ﻣﻦ اﳌﻌﺎرف اﻹﻧﺴﺎﻧﻴﺔ اﻟﱵ ﺳﺎﻓﺮ ﰲ إﺛﺮﻫﺎ‬
‫ﺣﺬاق اﻟﱰﲨﺔ ﰲ اﻹﺳﻼم أرﺑﻌﺔ‪ :‬ﺣﻨﲔ ﺑﻦ‬ ‫اﻟﻌﻠﻤﺎء واﻟﻨﺴﺎخ واﳌﺼﻨﻔﻮن ﺈﺑﻳﻌﺎز ﻣﻦ اﻟﺴﻠﻄﺔ‬
‫إﺳﺤﻖ وﻳﻌﻘﻮب ﺑﻦ إﺳﺤﻖ اﻟﻜﻨﺪي وﺎﺛﺑﺖ ﺑﻦ‬ ‫ﺎﺗرة‪ ،‬وﺈﺑﻳﻌﺎز ﻣﻦ رﻏﺒﺎت ﰲ أﻧﻔﺴﻬﻢ ﻻ ﺗﻘﻞ‬
‫ﲨﻮﺣﺎ ﻋﻦ رﻏﺒﺔ اﻟﺴﻠﻄﺔ اﳊﺎﻛﻤﺔ ﰲ اﳌﻌﺮﻓﺔ‬
‫واﻟﺘﻨﻮﻳﺮ ‪.37‬‬
‫ﲪﻠﻮﻩ إﻟﻴﻪ أﻣﺮﻫﻢ ﺑﻨﻘﻠﻪ ﻓﻨﻘﻞ "‪ .‬وﱂ ﺗﻜﺪ ﺗﻠﻚ اﻟﺬﺧﺎﺋﺮ اﻟﻨﻔﻴﺴﺔ‬ ‫‪ 37‬أرﺳﻞ اﳌﺄﻣﻮن اﻟﺒﻌﺜﺎت إﱃ اﻟﻘﺴﻄﻨﻄﻴﻨﻴﺔ ﻹﺣﻀﺎر‬
‫ﺗﺼﻞ إﱃ ﺑﻐﺪاد ﺣﱴ ﻋﻬﺪ إﻟﻴﻬﻢ اﳌﺄﻣﻮن ﺑﱰﲨﺘﻬﺎ‪ .‬وﻛﺎن ﻗﺴﻄﺎ‬ ‫اﳌﺼﻨﻔﺎت اﻟﻔﺮﻳﺪة ﰲ اﻟﻔﻠﺴﻔﺔ واﳍﻨﺪﺳﺔ واﳌﻮﺳﻴﻘﻰ واﻟﻄﺐ‪،‬‬
‫ﺑﻦ ﻟﻮﻗﺎ ﻳﺸﺮف ﻋﻠﻰ اﻟﱰﲨﺔ ﻣﻦ اﻟﻔﺎرﺳﻴﺔ اﻟﻘﺪﳝﺔ‪ .‬اﺑﻦ اﻟﻨﺪﱘ‪،‬‬ ‫وروى اﺑﻦ اﻟﻨﺪﱘ "أن اﳌﺄﻣﻮن ﻛﺎن ﺑﻴﻨﻪ وﺑﲔ ﻣﻠﻚ اﻟﺮوم‬
‫اﻟﻔﻬﺮﺳﺖ ص ‪ ،304‬واﻧﻈﺮ ﻛﺬﻟﻚ ﺣﺴﻦ إﺑﺮاﻫﻴﻢ ﺣﺴﻦ‪،‬‬ ‫ﻣﺮاﺳﻼت‪ ،‬وﻗﺪ اﺳﺘﻈﻬﺮ ﻋﻠﻴﻪ اﳌﺄﻣﻮن ﻓﻜﺘﺐ إﻟﻴﻪ ﻳﺴﺄﻟﻪ اﻹذن‬
‫ﺎﺗرﻳﺦ اﻹﺳﻼم اﻟﺴﻴﺎﺳﻲ واﻟﺪﻳﲏ واﻟﺜﻘﺎﰲ واﻻﺟﺘﻤﺎﻋﻲ‪ ،‬ﻣﻜﺘﺒﺔ‬ ‫ﰲ إﻧﻔﺎذ ﻣﺎ ﳜﺘﺎر ﻣﻦ اﻟﻌﻠﻮم اﻟﻘﺪﳝﺔ اﳌﺨﺰوﻧﺔ اﳌﺪﺧﺮة ﺑﺒﻠﺪ‬
‫اﻟﻨﻬﻀﺔ اﳌﺼﺮﻳﺔ‪ ،‬اﻟﻘﺎﻫﺮة‪ ،‬اﻟﻄﺒﻌﺔ اﻟﺜﺎﻣﻨﺔ‪ .1973 ،‬ج‪،2‬‬ ‫اﻟﺮوم‪ ،‬ﻓﺄﺟﺎب إﱃ ذﻟﻚ ﺑﻌﺪ اﻣﺘﻨﺎع ‪ .‬ﻓﺄﺧﺮج اﳌﺄﻣﻮن ﻟﺬﻟﻚ‬
‫ص‪.346‬‬ ‫ﲨﺎﻋﺔ ﻣﻨﻬﻢ اﳊﺠﺎج ﺑﻦ ﻣﻄﺮ‪ ،‬واﺑﻦ اﻟﺒﻄﺮﻳﻖ‪ ،‬وﺳﻠﻤﺎ ﺻﺎﺣﺐ‬
‫ﺑﻴﺖ اﳊﻜﻤﺔ وﻏﲑﻫﻢ‪ .‬ﻓﺄﺧﺬوا ﳑﺎ وﺟﺪوا ﻣﺎ اﺧﺘﺎروا‪ .‬ﻓﻠﻤﺎ‬
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‫ﺑﻦ اﳌﻌﺘﺼﻢ ﺎﺑﻪﻠﻟ أﺑﻮ ﻳﻮﺳﻒ ﻳﻌﻘﻮب ﺑﻦ إﺳﺤﻖ‬ ‫ﻗﺮة ‪ .38 "...‬وﻋﺪﻩ اﳌﺘﺄﺧﺮون ﻛﺎﳌﺴﺘﺸﺮق‬
‫اﻟﻜﻨﺪي" ‪ .39‬وﻳﺮى ﻣﺼﻄﻔﻰ ﻋﺒﺪ اﻟﺮزاق أﻧﻪ‬ ‫اﻟﻔﺮﻧﺴﻲ ﻣﺎﺳﻨﻴﻮن وﻣﺼﻄﻔﻰ ﻋﺒﺪ اﻟﺮزاق‬
‫ﺗﻌﻠﻢ اﻟﻴﻮ�ﻧﻴﺔ ﰲ ﺣﲔ ﻻ ﻣﺼﺪر ﻗﺒﻠﻪ ﻳﺬﻛﺮ ذﻟﻚ‬ ‫واﳌﺴﺘﺸﺮق دي ﺑﻮر ﻣﻦ أﻫﻢ ﻣﱰﲨﻲ اﳋﻠﻴﻔﺘﲔ‬
‫ﺻﺮاﺣﺔ‪...":‬وﻳﻘﺘﺤﻢ ﻏﻤﺎر اﻟﻔﻠﺴﻔﺔ وﻣﺎ إﻟﻴﻬﺎ‬ ‫اﳌﺄﻣﻮن واﳌﻌﺘﺼﻢ‪ ،‬ﺣﻴﺚ ﲢﺪث ﻣﺎﺳﻨﻴﻮن ﻋﻦ‬
‫ﻣﻦ اﻟﻌﻠﻮم اﳌﻨﻘﻮﻟﺔ ﻋﻦ ﻳﻮ�ن وﻓﺎرس واﳍﻨﺪ‪ ،‬وﻻ‬ ‫أﺳﻠﻮب اﻟﻜﻨﺪي ﰲ اﻟﱰﲨﺔ ﻣﻌﺘﱪا إ�ﻩ ﻣﱰﲨﺎ‪،‬‬
‫ﳚﺪ ﻓﻴﻤﺎ ﻳﱰﲨﻪ اﻟﻨﻘﻠﺔ ﻏﲎ‪ ،‬ﻓﻴﺤﺎول أن ﻳﺮد ﻫﺬﻩ‬ ‫ﻣﺸﲑا إﱃ أن أﺳﻠﻮﺑﻪ ﰲ اﻟﱰﲨﺔ ﳌﺎ ﻳﺪرس ﺑﻌﺪ؛‬
‫اﻟﻌﻠﻮم ﰲ ﻣﻨﺎﺑﻌﻬﺎ‪ ،‬وﻳﺘﻌﻠﻢ اﻟﻴﻮ�ﻧﻴﺔ‪ ،‬وﻳﱰﺟﻢ ﻬﺑﺎ‬ ‫ﻷﻧﻪ ﻳﺮى أن اﻹﺗﻼف واﻟﻀﻴﺎع اﻟﺬي ﳊﻖ‬
‫وﻳﺼﻠﺢ ﻣﺎ ﻳﱰﲨﻪ ﻏﲑﻩ‪ ،‬وﻳﺘﺼﻞ ﺎﺑﻟﺜﻘﺎﻓﺔ اﻟﻴﻮ�ﻧﻴﺔ‬ ‫ﻣﺼﻨﻔﺎﺗﻪ اﻟﱰﲨﻴﺔ وﻏﲑﻫﺎ ﺣﺮم اﻟﺪارﺳﲔ ﻣﻦ‬
‫اﺗﺼﺎﻻ ﻇﺎﻫﺮ اﻷﺛﺮ ﰲ ﻋﻮاﻃﻔﻪ وﰲ ﺗﻔﻜﲑﻩ" ‪.40‬‬ ‫اﻟﻮﻗﻮف ﻋﻠﻰ ﻣﻨﻬﺠﻪ اﻟﱰﲨﻲ‪ ،‬اﻟﺬي ﺟﻼ اﻟﻜﺜﲑ‬
‫ﻛﻤﺎ ﻧﺴﺐ ﻟﻪ ﻓﻌﻞ اﻟﱰﲨﺔ ﺣﺴﻦ إﺑﺮاﻫﻴﻢ ﺣﺴﻦ‬ ‫ﻣﻦ ﻏﻤﻮض اﻟﱰﲨﺎت اﻟﻔﻠﺴﻔﻴﺔ اﻟﻴﻮ�ﻧﻴﺔ‪ ،‬ﻋﻨﺪﻣﺎ‬
‫" وﻛﺎن ﻣﻦ أﺛﺮ ﻧﺸﺎط ﺣﺮﻛﺔ اﻟﻨﻘﻞ واﻟﱰﲨﺔ ﰲ‬ ‫ﻧﻘﻞ اﻟﱰﲨﺔ ﻣﻦ اﳊﺮﻓﻴﺔ إﱃ ﺗﺮﲨﺔ اﳌﻌﲎ‪ .‬واﳊﻖ‬
‫ﻋﻬﺪ اﳌﺄﻣﻮن اﻟﻌﺒﺎﺳﻲ‪ ،‬أن اﺷﺘﻐﻞ ﻛﺜﲑ ﻣﻦ‬ ‫أن أﺳﻠﻮﺑﻪ ﰲ اﻟﺘﺼﻮﻳﺐ واﻟﺘﺪﻗﻴﻖ وﻋﻤﻠﻴﺔ اﻟﺘﻘﻮﱘ‬
‫اﳌﺴﻠﻤﲔ ﺑﺪراﺳﺔ اﻟﻜﺘﺐ اﻟﱵ ﺗﺮﲨﺖ ﻟﻠﻌﺮﺑﻴﺔ‪،‬‬ ‫ﰲ اﻟﱰﲨﺔ رﲟﺎ ﻫﻮ ﻣﺎ ﻛﺎن ﻳﻘﺼﺪ‪ ":‬إن ﻋﻠﻰ‬
‫وﻋﻤﻠﻮا ﻋﻠﻰ ﺗﻔﺴﲑﻫﺎ واﻟﺘﻌﻠﻴﻖ ﻋﻠﻴﻬﺎ وإﺻﻼح‬ ‫اﻟﺒﺎﺣﺚ ﰲ أﺳﻠﻮب اﻟﻜﻨﺪي أن ﻳﻜﺘﻔﻲ ﺎﺑﻟﻨﺰر‬
‫أﻏﻼﻃﻬﺎ‪ .‬ﳔﺺ ﺎﺑﻟﺬﻛﺮ ﻣﻦ ﻫﺆﻻء ﻳﻌﻘﻮب ﺑﻦ‬ ‫اﻟﻘﻠﻴﻞ اﻟﺬي وﺻﻞ إﻟﻴﻨﺎ ﻣﻦ ﻣﺆﻟﻔﺎﺗﻪ ﺎﺑﻟﻌﺮﺑﻴﺔ‬
‫إﺳﺤﻖ اﻟﻜﻨﺪي‪ ،‬اﻟﺬي ﻧﺒﻎ ﰲ اﻟﻄﺐ واﻟﻔﻠﺴﻔﺔ‬ ‫ﻛﺮﺳﺎﻟﺘﻪ ﰲ ﻛﻤﻴﺔ ﻣﻠﻚ اﻟﻌﺮب أو ﻣﺎ وﺻﻠﻨﺎ ﻣﻦ‬
‫وﻋﻠﻢ اﳊﺴﺎب واﳌﻨﻄﻖ واﳍﻨﺪﺳﺔ وﻋﻠﻢ اﻟﻨﺠﻮم‪.‬‬ ‫اﻟﱰاﺟﻢ اﻟﱵ أﺻﻠﺤﻬﺎ اﻟﻜﻨﺪي ﻣﺜﻞ ﻛﺘﺎب‬
‫وﻗﺪ ﺣﺬا ﰲ ﺄﺗﻟﻴﻔﻪ ﺣﺬو أرﺳﻄﻮ‪ ،‬وﺗﺮﺟﻢ ﻛﺜﲑا‬ ‫أﺗﻮﻟﻮﺟﻴﺎ اﻟﺬي ﻧﻘﻠﻪ إﱃ اﻟﻌﺮﺑﻴﺔ ﻋﺒﺪ اﳌﺴﻴﺢ ﺑﻦ‬
‫ﻣﻦ ﻛﺘﺐ اﻟﻔﻠﺴﻔﺔ وﺷﺮح ﻏﻮاﻣﻀﻬﺎ" ‪.41‬‬ ‫ﻋﺒﺪ ﷲ ﺑﻦ �ﻋﻤﺔ اﳊﻤﺼﻲ‪ ،‬وأﺻﻠﺤﻪ ﻷﲪﺪ‬
‫‪40‬ﻣﺼﻄﻔﻰ ﻋﺒﺪ اﻟﺮزاق‪ ،‬ص‪.16‬‬ ‫‪ 38‬اﺑﻦ أﰊ أﺻﻴﺒﻌﺔ‪ ،‬ﻋﻴﻮن اﻷﻧﺒﺎء ﰲ ﻃﺒﻘﺎت اﻷﻃﺒﺎء ‪،‬‬
‫ﲢﻘﻴﻖ ﻧﺰار رﺿﺎ‪ ،‬ص‪.244‬‬
‫‪ 41‬ﺣﺴﻦ إﺑﺮاﻫﻴﻢ ﺣﺴﻦ‪،‬ج‪ ،2‬ص‪.347‬‬
‫‪ 39‬ﻣﺼﻄﻔﻰ ﻋﺒﺪ اﻟﺮزاق‪ ،‬ﻓﻴﻠﺴﻮف اﻟﻌﺮب واﳌﻌﻠﻢ اﻟﺜﺎﱐ‪،‬‬
‫ﻣﺆﺳﺴﺔ ﻫﻨﺪاوي ﻟﻠﺘﻌﻠﻴﻢ واﻟﺜﻘﺎﻓﺔ‪ ،‬اﻟﻘﺎﻫﺮة‪.2014 ،‬ص‪-29‬‬
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‫ﻣﻬﻤﺔ اﻟﻨﻘﻞ ﻫﻴﻨﺔ ﻷ�ﺎ ﻛﺎﻧﺖ ﺗﻨﻘﻞ ﻋﻠﻮﻣﺎ ﻣﻌﻘﺪة‬ ‫ﻏﲑ أﻧﻪ ﱂ ﻳﺜﺒﺖ ﻓﻴﻤﺎ وﺻﻞ إﻟﻴﻪ اﻟﺒﺎﺣﺜﻮن ﺑﻌﺪ‬
‫ﲟﺼﻄﻠﺤﺎت وﻣﻔﺎﻫﻴﻢ ﺟﺪﻳﺪة ﱂ �ﻟﻔﻬﺎ اﻟﻔﻜﺮ‬ ‫ذﻟﻚ أن ﻟﻪ ﺗﺮﲨﺔ ﻟﻜﺘﺎب ﺑﺸﻜﻞ ﻣﺒﺎﺷﺮ‪ ،‬ﺑﻞ‬
‫اﻟﻌﺮﰊ‪ ،‬ﻓﺼﺎرت اﳌﻌﺮﻓﺔ ﺎﺑﻟﻌﻠﻢ ﺷﺮﻃﺎ أﺳﺎﺳﻴﺎ‬ ‫ﻫﻮ اﳌﺸﺮف واﳌﺼﺤﺢ واﳌﺮاﺟﻊ و اﳌﺼﻮب‪ ،‬وﻫﻮ‬
‫ﻹﺗﻘﺎن اﻟﱰﲨﺔ ﻓﻴﻤﺎ ﺑﻌﺪ‪ ،‬وﻳﻌﺪ أﺑﻮ رﻳﺪة أول ﻣﻦ‬ ‫اﳌﻘﻴﻢ ﻟﻠﱰﲨﺎت و اﳌﻘﻮم ﳍﺎ‪ ،‬وﻫﺬا ﻣﺎ أوﻗﻊ‬
‫ﺣﻘﻖ ﰲ ﻧﺴﺒﺔ ﻓﻌﻞ اﻟﱰﲨﺔ اﳌﺒﺎﺷﺮ ﻟﻪ ﻋﻨﺪﻣﺎ‬ ‫اﳌﱰﲨﲔ ﻟﻠﻜﻨﺪي ﻣﻦ اﳌﺘﻘﺪﻣﲔ واﳌﺘﺄﺧﺮﻳﻦ ﰲ‬
‫ﺻﻮب ﻟﺪي ﺑﻮر ذﻟﻚ ﰲ اﳍﺎﻣﺶ ﻗﺎﺋﻼ‪" :‬أﻏﻠﺐ‬ ‫ﻧﺴﺒﺔ ﺻﻨﺎﻋﺔ اﻟﱰﲨﺔ ﻟﻪ؛ وﻫﻮ ﺑﺬﻟﻚ ﱂ ﻳﺸﻐﻞ‬
‫اﻟﻈﻦ أن اﻟﻜﻨﺪي ﱂ ﻳﻜﻦ �ﻗﻼ أﻋﲏ ﻣﱰﲨﺎ‬ ‫اﻟﱰﲨﺔ ﻣﺒﺎﺷﺮة‪ ،‬ﺑﻞ ﺗﻘﻴﻴﻤﺎ ﺑﺪاﻳﺔ ﰒ ﺗﻘﻮﳝﺎ‬
‫ﺎﺑﳌﻌﲎ اﻟﺬي ﻧﻔﻬﻤﻪ اﻵن" ‪ ،42‬وﻳﺆﻛﺪ ذﻟﻚ‬ ‫وﺗﺼﻮﻳﺒﺎ وﺗﻨﻘﻴﺤﺎ‪ ،‬وأن اﳊﺬق اﻟﺬي ﻧﺴﺐ ﻟﻪ‬
‫ﻋﻨﺪﻣﺎ اﻋﺘﱪﻩ أول ﻣﺪﻗﻖ ﻋﻠﻤﻲ ﰲ ﺎﺗرﻳﺦ‬ ‫ﰲ اﻟﱰﲨﺔ رﻓﻘﺔ ﺣﻨﲔ ﺑﻦ إﺳﺤﻖ وﺎﺛﺑﺖ ﺑﻦ ﻗﺮة‬
‫اﻹﺳﻼم‪ ،‬ﻓﻠﻢ ﻳﻘﺪم ﻫﻮ ﻧﻔﺴﻪ ﻋﻠﻰ اﻟﱰﲨﺔ‬ ‫إﳕﺎ ﻳﻘﺼﺪ ﺑﻪ اﻟﻌﻨﺎﻳﺔ اﳋﺎﺻﺔ اﻟﱵ ﻟﻘﻴﺘﻬﺎ‬
‫ﺑﺸﻜﻞ ﻣﺒﺎﺷﺮ‪ ،‬ﻟﻜﻦ أﻫﻢ اﻵﺎﺛر اﻟﻔﻠﺴﻔﻴﺔ‬ ‫اﻟﱰﲨﺎت اﻟﱵ ﻛﺎن ﻳﺼﺤﺤﻬﺎ‪ ،‬ﻟﻴﻨﻘﻞ ﻣﻨﻬﺎ ﻣﺎ‬
‫ﺗﺮﲨﺖ إﱃ اﻟﻌﺮﺑﻴﺔ ﺑﺘﻮﺻﻴﺔ ﻣﻨﻪ وﲢﺖ إﺷﺮاﻓﻪ‬ ‫ﻳﺸﻔﻲ ﻏﻠﻴﻠﻪ ﻣﻦ أﻣﻬﺎت اﻟﻜﺘﺐ اﻟﻴﻮ�ﻧﻴﺔ‪،‬‬
‫اﻟﻌﻠﻤﻲ‪ ،‬وﻛﺎن ﻟﻪ دور ﻣﺆﺛﺮ ﰲ ﺗﻨﻘﻴﺢ وﺗﻠﺨﻴﺺ‬ ‫ﺧﺼﻮﺻﺎ أن اﻟﱰﲨﺔ اﳊﺮﻓﻴﺔ اﻟﱵ ﻛﺎن ﻳﻌﺘﻤﺪﻫﺎ‬
‫اﻟﻨﺼﻮص اﻟﻔﻠﺴﻔﻴﺔ اﻷﺻﻠﻴﺔ اﳌﱰﲨﺔ إﱃ اﻟﻠﻐﺔ‬ ‫اﻟﱰاﲨﺔ ﺣﻴﻨﻬﺎ أﻓﺴﺪت اﳌﻌﺎﱐ اﻟﱵ ﱂ ﺗﺴﺒﻚ‬
‫اﻟﻌﺮﺑﻴﺔ ‪.43‬‬ ‫ﺑﺸﻜﻞ ﻣﻼﺋﻢ ﻟﺒﻨﻴﺔ اﻟﻔﻜﺮ اﻟﻌﺮﰊ وﻟﻐﺘﻪ‪ ،‬وﱂ ﺗﻜﻦ‬
‫ﻣﻦ اﳌﱰﲨﲔ"‪ ،‬اﻟﻜﻨﺪي‪ ،‬ﻳﻌﻘﻮب ﺑﻦ إﺳﺤﻖ‪ ،‬رﺳﺎﺋﻞ اﻟﻜﻨﺪي‬ ‫‪ 42‬دي ﺑﻮر‪ ،‬ﺎﺗرﻳﺦ اﻟﻔﻠﺴﻔﺔ ﰲ اﻹﺳﻼم‪ ،‬ﺗﺮﲨﺔ أﺑﻮ رﻳﺪة‪،‬‬
‫اﻟﻔﻠﺴﻔﻴﺔ‪ ،‬ﲢﻘﻴﻖ ﳏﻤﺪ ﻋﺒﺪ اﳍﺎدي أﺑﻮ رﻳﺪة‪ ،‬دار اﻟﻔﻜﺮ‬ ‫اﳍﻴﺌﺔ اﻟﻌﺎﻣﺔ ﻟﻠﻜﺘﺎب‪ ،‬اﻟﻘﺎﻫﺮة‪ ،2010 ،‬ص ‪ ،148‬وﻧﻔﺲ‬
‫اﻟﻌﺮﰊ‪ ،‬ﻣﺼﺮ‪ ،1950 ،‬ص ‪. 9‬‬ ‫اﻷﻣﺮ ﻳﺬﻛﺮﻩ ﰲ ﻣﻘﺪﻣﺔ ﲢﻘﻴﻖ رﺳﺎﺋﻞ اﻟﻜﻨﺪي‪" :‬ﻓﺈن ﺻﺢ ﻣﻦ‬
‫‪ 43‬أﲪﺪ ﻣﻮﺳﻰ‪ ،‬ﻳﻌﻘﻮب ﺑﻦ إﺳﺤﻖ اﻟﻜﻨﺪي ﺑﲔ اﻫﺘﻤﺎم‬ ‫أن ﻓﻴﻠﺴﻮﻓﻨﺎ ﻛﺎن ﻣﻦ ﺣﺬاق اﳌﱰﲨﲔ أو ﻣﺎ ﻳﺬﻛﺮﻩ اﻟﻘﻔﻄﻲ‬
‫اﻟﻌﺮب وﻋﻨﺎﻳﺔ اﻟﻔﺮس‪ ،‬اﻟﻜﻨﺪي وﻓﻠﺴﻔﺘﻪ‪ ،‬أﻋﻤﺎل ﻣﻬﺪاة إﱃ‬ ‫ﻣﻦ أﻧﻪ ﻧﻘﻞ إﱃ اﻟﻌﺮﺑﻴﺔ ﻛﺘﺎب ﺟﻐﺮاﻓﻴﺔ اﳌﻌﻤﻮر ﻣﻦ اﻷرض‬
‫ﳏﻤﺪ اﳌﺼﺒﺎﺣﻲ‪ ،‬ﺗﻘﺪﱘ ﺳﻌﻴﺪ اﻟﺒﻮﺳﻜﻼوي‪ ،‬ﻣﻨﺸﻮرات ﻓﺮﻳﻖ‬ ‫ﻟﺒﻄﻠﻴﻤﻮس وﻛﺎن ﻣﻮﺟﻮدا ﺎﺑﻟﺴﺮ�ﻧﻴﺔ ﻓﺈﻧﻨﺎ ﻧﺴﺘﻄﻴﻊ أن ﻧﺘﺒﲔ ﰲ‬
‫اﻟﺒﺤﺚ ﰲ اﻟﻔﻠﺴﻔﺔ اﻹﺳﻼﻣﻴﺔ ﺳﻠﺴﻠﺔ اﻟﻨﺪوات واﻷ�م‬ ‫ﺛﻘﺎﻓﺔ اﻟﻜﻨﺪي ﻋﻨﺼﺮا ﺟﺪﻳﺪا ﻫﻮ ﻣﻌﺮﻓﺘﻪ ﺎﺑﻟﻠﻐﺎت اﻷﺟﻨﺒﻴﺔ‪،‬‬
‫اﻟﺪراﺳﻴﺔ‪ ،‬ﻛﻠﻴﺔ اﻵداب واﻟﻌﻠﻮم اﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﺟﺎﻣﻌﺔ ﳏﻤﺪ‬ ‫وﻟﻜﻦ ﻳﻈﻬﺮ أن اﳌﻘﺼﻮد ﺎﺑﻟﱰﲨﺔ ﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ ﺎﺑﻟﻜﻨﺪي ﻫﻮ‬
‫اﻷول‪ ،‬وﺟﺪة‪ ،2015 ،‬ص ‪.31‬‬ ‫ﻣﻌﻨﺎﻫﺎ اﻟﻮاﺳﻊ أﻋﲏ ﻋﺮض اﻵراء اﻷﺟﻨﺒﻴﺔ ﺑﻠﻐﺔ اﻟﻌﺮب‪ ،‬ذﻟﻚ‬
‫أﻧﻪ ﻻ ﻳﺬﻛﺮ أن اﻟﻜﻨﺪي ﻧﻘﻞ ﻣﻦ اﻟﻜﺘﺐ ﻣﺎ ﻳﱪر أن ﻧﻌﺘﱪﻩ‬
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‫اﻟﺘﺎﺳﻊ ﻣﻴﻼدي إﱃ ﻋﻬﺪ اﻟﺼﻔﺪي ﰲ اﻟﻘﺮن‬ ‫ﳝﻜﻦ اﻟﻘﻮل أن اﻟﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ ﻋﻨﺪ اﻟﻜﻨﺪي‬
‫اﻟﺮاﺑﻊ ﻋﺸﺮ‪ ،‬أﺻﺒﺤﺖ ﻣﻬﻤﺔ اﳌﱰﺟﻢ ﻧﻈﺮ�‬ ‫اﻧﺘﻘﻞ ﻣﻦ اﳊﺪﺳﻴﺔ اﻟﺬاﺗﻴﺔ إﱃ اﻟﻌﻠﻤﻴﺔ اﳌﻮﺿﻮﻋﻴﺔ‬
‫وﻓﻌﻠﻴﺎ ﻧﻘﻞ اﳌﻌﲎ اﻟﺼﺤﻴﺢ ﻧﻘﻼ ﻣﻀﺒﻮﻃﺎ" ‪.44‬‬ ‫ﻋﻨﺪﻣﺎ اﺳﺘﻄﺎع أن ﳚﻤﻊ ﻣﺎ ﻳﻜﻔﻲ ﻣﻦ اﻟﺮﺻﻴﺪ‬
‫ﻟﻘﺪ ﻛﺎن اﻟﻜﻨﺪي ﻋﻠﻰ وﻋﻲ ﺷﺪﻳﺪ ﺑﺪرﺟﺔ‬ ‫اﻟﻌﻠﻤﻲ واﳌﺼﻄﻠﺤﻲ ﺣﻮل اﺠﻤﻟﺎل اﻟﺬي ﻛﺎن‬
‫اﻟﺼﻌﻮﺑﺔ اﻟﱵ ﻳﻜﺎﺑﺪﻫﺎ اﻟﱰاﲨﺔ ﰲ ﻧﻘﻞ اﻟﻨﺼﻮص‬ ‫ﻳﺸﺮف ﻋﻠﻰ ﺗﺮﲨﺘﻪ‪ ،‬وﻳﻨﻘﻠﻪ إﱃ ﻟﻐﺔ ﻋﺮﺑﻴﺔ‬
‫ﻣﻦ اﻟﻴﻮ�ﻧﻴﺔ اﻟﱵ ﻻ ﺗﻨﺘﻤﻲ إﱃ اﺠﻤﻟﻤﻮﻋﺔ اﻟﻠﻐﻮﻳﺔ‬ ‫ﻓﺼﻴﺤﺔ ﺗﻼﺋﻢ اﻟﺬوق اﻟﻌﺮﰊ وﻗﺘﻬﺎ ﺷﻜﻼ‬
‫اﻟﺴﺎﻣﻴﺔ‪ ،‬وﻗﺪ ﻗﺮر اﻻﺳﺘﻌﺎﻧﺔ ﺎﺑﻟﺴﺮ�ﻧﻴﺔ ﰲ ﻋﻤﻠﻴﺔ‬ ‫وﻣﻀﻤﻮ� وﻓﻜﺮا‪ .‬ﻓﺎﻷﻛﻴﺪ أن اﻟﻜﻨﺪي ﱂ ﻳﻜﻦ‬
‫اﻟﻨﻘﻞ‪ ،‬ﻟﻜﻦ ذﻟﻚ ﱂ ﳛﻞ دون ﲣﻄﻲ ﻛﻞ‬ ‫ﻳﺴﺘﺴﻴﻎ ﻋﻤﻞ اﻟﻨﻘﻠﺔ اﻟﺴﺮ�ن وﻏﲑﻫﻢ ﳑﻦ‬
‫اﻟﺘﺤﺪ�ت وﻋﻠﻰ رأﺳﻬﺎ إﳚﺎد اﻟﻜﺜﲑ ﻣﻦ‬ ‫ﻳﻠﺘﻔﻮن ﺣﻮﻟﻪ ﰲ ﺣﻠﻘﺘﻪ اﻟﱰﲨﻴﺔ‪ ،‬ﺑﻞ ﻛﺎن ﻳﻀﻄﺮ‬
‫اﳌﺼﻄﻠﺤﺎت ﺎﺑﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﻟﻠﺘﻌﺒﲑ ﻋﻦ اﻷﻓﻜﺎر‬ ‫ﳌﺮاﺟﻌﺔ ﺗﺮﲨﺎﻬﺗﻢ اﻟﱵ ﻛﺎﻧﺖ ﺗﻌﺘﻤﺪ اﻟﱰﲨﺔ‬
‫اﻟﻔﻠﺴﻔﻴﺔ اﳉﺪﻳﺪة ﻋﻠﻰ اﻟﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﻴﺔ‪ .‬ورﻏﻢ أن‬ ‫اﳊﺮﻓﻴﺔ‪ ،‬وﻛﺎن ﳚﺪﻫﺎ ﻣﻦ اﻟﺮداءة واﻟﻐﻤﻮض ﻣﺎ‬
‫اﻟﱰﲨﺔ ﰲ اﻟﺒﺪاﻳﺔ إﱃ اﻟﻌﺮﺑﻴﺔ ﺳﺎرت ﻋﻠﻰ �ﺞ‬ ‫ﻻ ﻳﻘﺒﻞ اﻟﻔﻬﻢ ﻟﺘﺄﺛﲑ ﺻﻨﻌﺔ اﻟﱰﲨﺔ اﳊﺮﻓﻴﺔ ﻋﻠﻰ‬
‫اﳌﺪرﺳﺔ اﻟﻴﻮ�ﻧﻴﺔ اﻟﱵ ﻛﺎﻧﺖ ﺗﺴﻠﻚ اﻟﱰﲨﺔ‬ ‫اﻟﻨﺼﻮص اﳌﻨﻘﻮﻟﺔ وﻋﻠﻰ ﺻﻴﺎﻏﺘﻬﺎ ﲟﺎ ﻻ ﻳﻼﺋﻢ‬
‫اﳊﺮﻓﻴﺔ ﻟﻔﻈﺎ ﺑﻠﻔﻆ ﻳﻘﺎﺑﻠﻪ ﻋﻠﻰ أﻳﺪي اﳌﱰﲨﲔ‬ ‫اﻟﺬاﺋﻘﺔ اﳌﺜﻘﻔﺔ اﳌﺘﻠﻘﻔﺔ ﻟﻠﻤﻌﺮﻓﺔ‪" ،‬ﻓﻘﺪ ﻛﺎﻧﺖ‬
‫اﻟﺼﺎﺑﺌﺔ ﳑﻦ ﻛﺎﻧﻮا ﻳﺘﻘﻨﻮن اﻟﻌﺮﺑﻴﺔ ‪ ،45‬إﻻ أﻧﻪ‬ ‫اﻟﱰﲨﺔ اﳊﺮﻓﻴﺔ ﺷﺎﺋﻌﺔ ﻋﻨﺪ اﳌﱰﲨﲔ اﻟﺴﺮ�ن‬
‫اﻧﺒﺜﻘﺖ ﻋﻠﻰ ﻳﺪ ﻛﻞ ﻣﻦ اﻟﻜﻨﺪي وﺣﻨﲔ واﺑﻦ‬ ‫ﻋﻨﺪﻣﺎ ﻛﺎﻧﻮا ﻳﱰﲨﻮن ﻣﻦ اﻟﻠﻐﺔ اﻟﻴﻮ�ﻧﻴﺔ‪ ،‬وﻋﻨﺪ‬
‫ﻣﺎﺳﻮﻳﻪ وﻏﲑﻫﻢ ﻣﺪرﺳﺔ ﻋﺮﺑﻴﺔ ﺟﺪﻳﺪة ﻟﻠﱰﲨﺔ‪،‬‬ ‫اﳌﱰﲨﲔ اﻟﺬﻳﻦ ﺗﺮﲨﻮا ﻣﻦ اﻟﻌﺮﺑﻴﺔ إﱃ اﻟﻌﱪﻳﺔ‬
‫ﺗﻘﻮم ﻋﻠﻰ اﻻﻧﺘﺼﺎر ﻟﻠﻤﻌﲎ‪ ،‬وإﺟﺎدة ﲣﲑ اﻟﻠﻔﻆ‬ ‫واﻟﻼﺗﻴﻨﻴﺔ‪ ،‬ﻧﻘﻮل ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﱰﲨﺔ اﳊﺮﻓﻴﺔ‬
‫واﺳﺘﻨﺒﺎﻃﻪ ﻟﻴﻮاﻛﺐ ﻣﺎ ﻳﱰﺟﻢ ﻣﻦ ﻋﻠﻮم ﺟﺪﻳﺪة‬ ‫ﻛﺎن أﺳﻠﻮﺎﺑ ﻣﺄﻟﻮﻓﺎ ﻟﺪى اﻟﻌﺮب ﻳﺘﺒﻌﻮﻧﻪ ﰲ‬
‫إﱃ اﻟﻌﺮﺑﻴﺔ‪ ،‬ﻣﻊ اﳊﻔﺎظ ﻋﻠﻰ ﺳﻼﻣﺔ اﻟﺘﻌﺒﲑ‬ ‫ﺗﺮﲨﺎﻬﺗﻢ أﺣﻴﺎ�‪ ،‬ﻟﻜﻦ ﻣﻨﺬ ﻋﻬﺪ ﺣﻨﲔ ﰲ اﻟﻘﺮن‬
‫اﳌﺴﻠﻤﲔ‪ ،‬وإﻟﻴﻬﻢ ﻳﺮﺟﻊ اﻟﻔﻀﻞ ﰲ ﺗﺮﲨﺔ ﻛﺜﲑ ﻣﻦ اﻟﻜﺘﺐ ﻋﻦ‬ ‫‪ 44‬روزﻧﺘﺎل‪ ،‬ص ‪.77‬‬
‫اﻟﻠﻐﺎت اﻷﺟﻨﺒﻴﺔ‪ ،‬ﺣﺴﻦ إﺑﺮاﻫﻴﻢ ﺣﺴﻦ‪ ،‬ج‪.345 ،2‬‬ ‫‪ 45‬ﻓﻘﺪ ﺗﻜﻠﻢ أﻫﻞ ﺣﺮان وﻫﻢ اﻟﺼﺎﺑﺌﺔ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﰲ ﺳﻬﻮﻟﺔ‬
‫وﻳﺴﺮ‪ ،‬وﺳﺎﻋﺪوا إﱃ ﺣﺪ ﻛﺒﲑﰲ ﻧﺸﺮ اﻟﺜﻘﺎﻓﺔ اﻟﻴﻮ�ﻧﻴﺔ ﺑﲔ‬
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‫اﳌﻌﺮﰲ ﻗﺪر اﳌﺴﺘﻄﺎع‪ ،‬ﻓﻠﻢ ﳜﺮج اﻟﻨﺼﻮص ﻋﻦ‬ ‫واﻻﺑﺘﻌﺎد ﻋﻦ اﳊﺸﻮ واﻟﺮﻛﺎﻛﺔ اﻟﺒﻌﻴﺪة ﻋﻦ‬
‫ﺳﻴﺎﻗﻬﺎ‪ ،‬واﻟﺪﻟﻴﻞ ﻋﻠﻰ ذﻟﻚ أن اﻟﻜﺜﲑ ﳑﻦ‬ ‫أﺳﻠﻮب اﻟﻠﻐﺔ اﳌﱰﺟﻢ ﳍﺎ‪ .‬ﻛﻤﺎ أن اﻟﻜﻨﺪي ﺣﺚ‬
‫ﻧﻌﺘﻬﺎ‪ ،‬ﺑﻞ وﻧﻌﺖ ﻣﺎ أﻟﻒ ﻫﻮ ﺷﺨﺼﻴﺎ ﺑﻌﺪ‬ ‫ﻋﻠﻰ ﺿﺮورة ﻓﻬﻢ اﳌﻀﻤﻮن اﻟﻌﺎم ﻟﻠﻨﺺ اﻟﻴﻮ�ﱐ‬
‫ذﻟﻚ‪ ،‬ﺎﺑﻟﻐﻤﻮض ‪46‬؛ ﻷﻧﻪ ﺣﺎﻓﻆ ﻋﻠﻰ ﺳﻴﺎﻗﻬﺎ‬ ‫ﰲ ﻋﻤﻞ ﻣﺸﱰك ﲨﺎﻋﻲ ﺑﻴﻨﻪ وﺑﲔ اﻟﻨﻘﻠﺔ‪ ،‬ﻋﻤﻞ‬
‫وﻣﻀﺎﻣﻴﻨﻬﺎ‪ ،‬وﳛﺘﺴﺐ ﻟﻪ اﻷﺟﺮان ﺎﺑﻋﺘﺒﺎرﻩ أول‬ ‫ﻣﺘﺴﻠﺴﻞ أﺷﺮف ﻋﻠﻴﻪ ﲝﺮص وﻋﻨﺎﻳﺔ وﺷﻐﻒ‪.‬‬
‫ﻣﺴﻠﻢ ﻋﺮﰊ ﳜﻮض ﻣﻐﺎﻣﺮة اﻻﻧﻔﺘﺎح ﻋﻠﻰ ﻋﻠﻢ‬ ‫ﻓﻤﺸﺮوع اﻟﺘﻘﻴﻴﻢ ﻋﻨﺪ اﻟﻜﻨﺪي ﺣﺎول اﻻﻟﺘﺰام ﲟﺎ‬
‫ﺟﺪﻳﺪ ﻋﻠﻰ اﻟﻌﺮب واﳌﺴﻠﻤﲔ ﻟﻴﺼﻞ إﱃ ﻏﲑﻩ‬ ‫ﻳﻀﻤﻦ وﺻﻮل اﳌﻌﲎ ﺻﺤﻴﺤﺎ ﻛﻤﺎ ﻋﻤﻞ ﻋﻠﻰ‬
‫وﻳﺒﺪو أﻛﺜﺮ وﺿﻮﺣﺎ وإﺷﺮاﻗﺎ ﻣﻊ ﻣﻦ ﺟﺎء ﺑﻌﺪﻩ‬ ‫أن ﳛﱰم اﳌﺒﲎ اﳌﺴﺘﻘﺒﻞ ﻟﻠﻤﻌﲎ ﰲ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ‬
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‫ﻣﻦ اﻟﻔﻼﺳﻔﺔ اﳌﺴﻠﻤﲔ اﻟﻌﺮب ‪ .‬ﻓﻠﻢ ﻳﺴﻠﻢ‬ ‫ﻛﺬﻟﻚ‪ ،‬وﺎﺑﻟﺘﺎﱄ ﻓﻬﻮ ﺣﺮﻳﺺ ﻋﻠﻰ أن ﻳﺘﺤﻘﻖ‬
‫ﺗﻘﻮﱘ اﻟﻜﻨﺪي ﻟﻠﱰﲨﺎت اﻟﱵ ﺧﺮﺟﻬﺎ ﻋﻠﻰ ﻳﺪﻳﻪ‬ ‫ﺷﺮط اﳌﻜﺎﻓﺊ ﳏﺎوﻻ اﻻﻟﺘﺰام ﺎﺑﳌﻀﺎﻣﲔ واﻟﺴﻴﺎق‬
‫ﺻﺎﻋﺪ ﰲ ﺧﻠﻘﻪ وﻧﻌﺘﻪ ﺎﺑﻟﺒﺨﻞ اﻟﺬي ﺳﺒﻖ وأن أﻟﻒ ﻓﻴﻪ‬ ‫‪ 46‬ﺗﻌﺮﺿﺖ ﻣﺼﻨﻔﺎت اﻟﻜﻨﺪي واﻟﱰﲨﺎت اﻟﱵ ﺧﺮﺟﻬﺎ ﻟﻠﻨﻘﺪ‬
‫ﻣﻌﺎﺻﺮﻩ اﳉﺎﺣﻆ اﻟﻨﻮادر اﳌﻌﻠﻮﻣﺔ‪ ،‬وﻫﻮ اﺑﻦ أﻣﲑ وﺣﻔﻴﺪ أﺟﺪاد‬ ‫رﻏﻢ اﳉﻬﺪ اﻟﺬي ﺑﺬﻟﻪ ﺎﺑﻋﺘﺒﺎرﻩ أول ﻋﺮﰊ ﻣﺴﻠﻢ ﳜﻮض ﻏﻤﺎر‬
‫ﻛﺎﻧﻮا ﻣﻠﻮﻛﺎ‪ ،‬وﻗﺪ اﺳﺘﻤﺪت أﻏﻠﺐ اﳌﺼﺎدر اﻟﱵ ﺗﺮﲨﺖ ﻟﻪ‬ ‫ﻫﺬا اﻟﻌﻠﻢ‪ ،‬ﻓﻠﻢ ﻳﻜﻦ ﻟﻴﺸﻔﻊ ﻟﻪ ﻋﻠﻰ اﻷﻗﻞ ﻋﻨﺪ اﺑﻦ ﺻﺎﻋﺪ‬
‫رﺳﺎﻟﺔ اﳉﺎﺣﻆ اﻟﺸﻬﲑة ﰲ ﲞﻠﻪ‪ ،‬اﻧﻈﺮ اﳉﺎﺣﻆ‪ ،‬اﻟﺒﺨﻼء‪،‬‬ ‫اﻷﻧﺪﻟﺴﻲ ﻋﻨﺪﻣﺎ اﻬﺗﻤﻪ ﺎﺑﻟﻐﻤﻮض وﻗﻠﺔ اﻟﻔﻬﻢ وﺳﻮء اﻟﺘﺤﻠﻴﻞ‬
‫ﲢﻘﻴﻖ ﻃﻪ اﳊﺎﺟﺮي‪ ،‬ذﺧﺎﺋﺮ اﻟﻌﺮب‪ ،23 :‬دار اﳌﻌﺎرف‪،‬‬ ‫ﻗﺎﺋﻼ‪..." :‬وﻣﻨﻬﺎ ﻛﺘﺒﻪ ﰲ اﳌﻨﻄﻖ‪ ،‬وﻫﻲ ﻛﺘﺐ ﻗﺪ ﻧﻔﻘﺖ ﻋﻨﺪ‬
‫اﻟﻘﺎﻫﺮة‪ ،‬اﻟﻄﺒﻌﺔ اﳋﺎﻣﺴﺔ‪ .‬ص ‪ .81‬وﻳﻘﻮل ﻣﺼﻄﻔﻰ ﻋﺒﺪ‬ ‫اﻟﻨﺎس ﻧﻔﺎﻗﺎ ﻋﺎﻣﺎ‪ ،‬وﻗﻠﻤﺎ ﻳﺸﻔﻊ ﻬﺑﺎ ﰲ اﻟﻌﻠﻮم؛ ﻷ�ﺎ ﺧﺎﻟﻴﺔ ﻣﻦ‬
‫اﻟﺮزاق‪" :‬وﻣﺎ ﻛﺎن اﻟﻜﻨﺪي ﻟﻴﻠﺘﻤﺲ ﺑﻌﻠﻤﻪ اﳌﻨﺎﻟﺔ واﻟﻜﺴﺐ‬ ‫ﺻﻨﺎﻋﺔ اﻟﺘﺤﻠﻴﻞ اﻟﱵ ﻻ ﺳﺒﻴﻞ إﱃ ﻣﻌﺮﻓﺔ اﳊﻖ ﻣﻦ اﻟﺒﺎﻃﻞ ﰲ‬
‫ﻓﻘﺪ ﻛﺎن ﻏﻨﻴﺎ ﲟﺎ ورث ﻋﻦ آﺎﺑﺋﻪ‪ ،‬وﲟﺎ ﻗﺪ وﺻﻞ إﻟﻴﻪ ﻣﻦ ﺑﺮ‬ ‫ﻛﻞ ﻣﻄﻠﻮب إﻻ ﻬﺑﺎ‪ .‬وأﻣﺎ ﺻﻨﺎﻋﺔ اﻟﱰﻛﻴﺐ‪ ،‬وﻫﻲ اﻟﱵ ﻗﺼﺪ‬
‫اﳋﻠﻔﺎء"‪ ،‬ﻣﺼﻄﻔﻰ ﻋﺒﺪ اﻟﺮزاق‪ ،‬ص‪ ،22‬ﻓﻘﺪ ﻛﺎن اﻟﻜﻨﺪي‬ ‫ﻳﻌﻘﻮب ﰲ ﻛﺘﺒﻪ ﻫﺬﻩ إﻟﻴﻬﺎ‪ ،‬ﻓﻼ ﻳﻨﺘﻔﻊ ﻬﺑﺎ إﻻ ﻣﻦ ﻛﺎﻧﺖ ﻋﻨﺪﻩ‬
‫أﺣﺪ أﺑﻨﺎء ﻣﻠﻮك ﻛﻨﺪة‪ ،‬وﻛﺎن أﺑﻮﻩ إﺳﺤﻖ ﺑﻦ اﻟﺼﺒﺎح أﻣﲑا‬ ‫ﻣﻘﺪﻣﺎت‪ ،‬ﻓﺤﻴﻨﺌﺬ ﳝﻜﻦ اﻟﱰﻛﻴﺐ‪ .‬وﻣﻘﺪﻣﺎت ﻛﻞ ﻣﻄﻠﻮب ﻻ‬
‫ﻋﻠﻰ اﻟﻜﻮﻓﺔ ﻟﻠﻤﻬﺪي واﻟﺮﺷﻴﺪ‪ ،‬ﻓﻜﻴﻒ ﻳﻠﺘﻘﻲ اﳌﻠﻚ ﺎﺑﻟﺒﺨﻞ‬ ‫ﺗﻮﺟﺪ إﻻ ﺑﺼﻨﺎﻋﺔ اﻟﺘﺤﻠﻴﻞ‪ ،‬وﻻ أدري ﻣﺎ ﲪﻞ ﻳﻌﻘﻮب ﻋﻠﻰ‬
‫ﻋﻨﺪ اﻟﻜﻨﺪي ﻛﻤﺎ ﻳﺰﻋﻤﻮن‪ ،‬اﻧﻈﺮ اﺑﻦ أﰊ أﺻﻴﺒﻌﺔ‪ ،‬ص‪.243‬‬ ‫اﻹﺿﺮاب ﻋﻦ ﻫﺬﻩ اﻟﺼﻨﺎﻋﺔ اﳉﻠﻴﻠﺔ‪ ،‬ﻫﻞ ﺟﻬﻞ ﲟﻘﺪارﻫﺎ وﺿﻦ‬
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‫‪Gerhard Endress, “The Circle of al-‬‬ ‫ﻋﻠﻰ اﻟﻨﺎس ﺑﻜﺸﻔﻪ‪ ،‬وأي ﻫﺎذﻳﻦ ﻛﺎن‪ ،‬ﻓﻬﻮ ﻧﻘﺺ ﻓﻴﻪ‪ ،‬وﻟﻪ‬
‫‪Kindi, Early Arabic Translations from the‬‬ ‫ﺑﻌﺪ ﻫﺬا رﺳﺎﺋﻞ ﻛﺜﲑة ﰲ ﻋﻠﻮم ﻇﻬﺮت ﻟﻪ ﻓﻴﻬﺎ آراء ﻓﺎﺳﺪة‬
‫‪Greek and the Rise of Islamic Philosophy”,‬‬
‫‪dans The Ancient Tradition in Christian‬‬ ‫وﻣﺬاﻫﺐ ﺑﻌﻴﺪة ﻣﻦ اﳊﻘﻴﻘﺔ"‪ ،‬اﺑﻦ ﺻﺎﻋﺪ اﻷﻧﺪﻟﺴﻲ‪ ،‬ﻃﺒﻘﺎت‬
‫‪and Islamic Hellenism : Studies on the‬‬ ‫اﻷﻣﻢ‪ ،‬ﲢﻘﻴﻖ اﻷب ﻟﻮﻳﺲ ﺷﻴﺨﻮ اﻟﻴﺴﻮﻋﻲ‪ ،‬اﳌﻜﺘﺒﺔ‬
‫‪Transmission of Greek Philosophy and‬‬
‫‪Sciences, Research School CNWS, Leiden,‬‬ ‫اﻟﻜﺎﺛﻮﻟﻴﻜﻴﺔ‪ ،‬ﺑﲑوت‪ ،1912 ،‬ص ‪ ،52‬ﻓﻘﺪ ﺷﻜﻚ اﺑﻦ‬
‫‪1997, p66.‬‬
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‫اﺿﻄﺮاب ﰲ اﻟﺴﻴﺎق ‪ -‬ﻋﻠﻰ ﺟﻬﺪ ﻛﺒﲑ ﰲ‬ ‫ﻣﻦ ﻏﻤﻮض ﻧﺴﱯ ﺗﻔﻄﻦ ﻟﻪ‪ ،‬رﻏﻢ ﻛﻞ اﳉﻬﺪ‬
‫ﳏﺎوﻟﺔ اﻟﻔﻬﻢ ووﺿﻊ اﻻﺻﻄﻼح وإﺟﺎدة‬ ‫اﻟﺬي ﺑﺬل ﰲ ﺳﺒﻴﻞ ﺗﺬﻟﻴﻞ ﻫﺬﻩ اﻟﻌﻘﺒﺔ‪ ،‬ﻓﺎﻧﻄﻠﻖ‬
‫اﻟﻌﺮض؛ ﻫﺬا إﱃ روح ﻋﺎﻟﻴﺔ ﰲ ﳏﺒﺔ اﳊﻘﻴﻘﺔ‬ ‫ﰲ ﺳﻠﺴﻠﺔ ﻣﺎ ﺑﻌﺪ اﻟﱰﲨﺔ ﻣﺒﺎﺷﺮة ﻟﻴﺼﻨﻒ‬
‫واﳊﺪب ﻋﻠﻰ ﻃﺎﻟﺒﻬﺎ واﻟﺘﻔﺎﱐ ﰲ إﺳﻌﺎﻓﻪ ﲟﺎ‬ ‫وﻳﻠﺨﺺ وﻳﺸﺮح ﻛﻞ ﻣﺎ ﺗﻠﻘﻔﻪ ﻣﻦ ﻣﻌﺮﻓﺔ وﻋﻠﻮم‪،‬‬
‫ﻳﺮﺿﻲ ﺣﺎﺟﺎﺗﻪ‪ ،‬ﻛﻤﺎ ﻳﺘﺠﻠﻰ ذﻟﻚ ﰲ أول‬ ‫وﱂ ﻳﺘﻮﻗﻒ ﻋﻨﺪ ذﻟﻚ ﺑﻞ ﱠﻗﻮم ﺣﱴ ﻣﻀﺎﻣﲔ‬
‫رﺳﺎﺋﻠﻪ وآﺧﺮﻫﺎ داﺋﻤﺎ" ‪ .49‬ﻓﺎﳊﻘﻴﻘﺔ اﻟﱵ ﱂ‬ ‫اﻟﻨﺼﻮص اﻟﻔﻠﺴﻔﻴﺔ اﻟﻴﻮ�ﻧﻴﺔ اﻟﱵ ﻧﻘﻠﻬﺎ وﺻﺤﺢ‬
‫ﻳﺴﺘﻄﻊ رﲟﺎ ﻣﻌﺎﺻﺮوﻩ اﺳﺘﻴﻌﺎﻬﺑﺎ ﻻ ﺗﻜﻤﻦ ﰲ‬ ‫أﻏﻼﻃﻬﺎ وﺻﻮب أوﻫﺎﻣﻬﺎ ﰲ ﻣﻠﺨﺼﺎت‬
‫أﺳﻠﻮب اﻟﻜﻨﺪي وﻻ ﰲ ﻣﺎ ﺟﺎء ﺑﻪ‪ ،‬ﻷﻧﻪ ﻛﺎن‬ ‫وﺷﺮوﺣﺎت وﺗﻌﻠﻴﻘﺎت‪ ،‬ﻓﺎﻟﺘﻘﻮﱘ ﻋﻨﺪﻩ ﱂ ﻳﻘﻒ‬
‫ﻟﻐﲑﻩ أﺻﻼ ﰲ اﻟﺒﺪاﻳﺔ أي ﻋﻨﺪ اﻟﱰﲨﺔ؛ ﲟﻌﲎ أن‬ ‫ﻋﻨﺪ اﻟﱰﲨﺔ‪ ،‬ﺑﻞ ﲣﻄﺎﻩ ﳌﺎ ﺑﻌﺪ اﻟﱰﲨﺔ‪ ،‬وﻬﺑﺬا ﻻ‬
‫اﻟﻐﻤﻮض ﻫﻮ �ﺑﻊ ﻣﻦ اﻟﻔﻜﺮ واﻟﻔﻠﺴﻔﺔ‬ ‫ﳝﻜﻦ أن ﻧﻌﺘﱪ اﻟﻜﻨﺪي أول ﻓﻴﻠﺴﻮف ﻋﺮﰊ‬
‫اﻟﻴﻮ�ﻧﻴﺘﲔ أﺻﻼ ﻟﺜﻼﺛﺔ أﺳﺒﺎب ﻣﺸﱰﻛﺔ؛ اﻟﺴﺒﺐ‬ ‫ﻣﺴﻠﻢ ﻓﻘﻂ‪ ،‬ﺑﻞ ﻫﻮ ﻛﺬﻟﻚ أول ﻣﺆﺳﺲ ﻟﻨﻈﺎم‬
‫اﻷول ﺗﻘﲏ �ﺗﺞ ﻋﻦ اﻟﺘﺼﺤﻴﻒ اﳊﺎدث أﺛﻨﺎء‬ ‫ﺗﺮﲨﻲ ﻋﻠﻤﻲ دﻗﻴﻖ ﻳﻨﻄﻠﻖ ﻣﻦ اﻟﻨﻘﻞ إﱃ اﻟﺘﻘﻴﻴﻢ‬
‫ﻋﻤﻠﻴﺔ اﻟﻨﺴﺦ أو ﺣﱴ اﻟﻨﻘﻞ ﻟﺘﻌﺪد اﻷﻃﺮاف‬ ‫ﰒ اﻟﺘﻘﻮﱘ ﻓﺎﻻﺳﺘﻴﻌﺎب ﰒ اﻹﻧﺘﺎج ﺗﺼﻮﻳﺒﺎ إن‬
‫اﳌﺸﺎرﻛﺔ ﰲ اﻟﻌﻤﻠﻴﺘﲔ ﻣﻦ �ﺳﺨﲔ وﻣﱰﲨﲔ‬ ‫اﻗﺘﻀﻰ اﻷﻣﺮ وﺗﻌﻠﻴﻘﺎ وﻧﻘﺪا ﻋﻠﻤﻴﺎ دﻗﻴﻘﺎ‪.‬‬
‫ﺿﻌﻴﻔﻲ اﳌﺴﺘﻮى اﳌﻌﺮﰲ ﰲ اﻟﺒﺎب اﻟﺬي ﻳﻨﻘﻠﻮﻧﻪ‬ ‫وﳚﺐ اﻹﻗﺮار ﺄﺑن اﻟﻐﻤﻮض اﻟﺬي ﳊﻖ اﻟﱰﲨﺎت‬
‫أو ﻳﻨﺴﺨﻮﻧﻪ‪ ،‬وﻫﻮ ﻣﺎ أﺷﺎر إﻟﻴﻪ ﻣﺼﻄﻔﻰ ﻋﺒﺪ‬ ‫اﻟﱵ ﺧﺮﺟﻬﺎ أو ﺣﱴ ﺂﺗﻟﻴﻔﻪ اﻟﱵ ﺻﻨﻔﻬﺎ‪ ،‬ﱂ ﺗﻜﻦ‬
‫اﻟﺮزاق ﻋﻨﺪﻣﺎ اﻋﺘﱪ أن اﻟﻐﻤﻮض اﻟﺬي ﳊﻖ‬ ‫�ﲨﺔ ﻋﻦ ﻗﺼﻮرﻩ‪ ،‬وإن ﻛﺎن ﻫﺬا واردا ﺿﻤﻦ‬
‫ﺑﻌﺾ ﻣﺼﻨﻔﺎﺗﻪ ﺣﺎﺻﻞ أﺳﺎﺳﺎ ﻣﻦ اﻷﺻﻮل‬ ‫اﻟﻄﺒﻴﻌﺔ اﻟﺒﺸﺮﻳﺔ‪ ،‬ﻓﻠﻐﺔ اﻟﻜﻨﺪي وأﺳﻠﻮﺑﻪ ﰲ ﺟﻞ‬
‫اﻟﱵ وﺿﻌﺖ أو اﻟﱰﲨﺎت إﱃ اﻟﻌﺮﺑﻴﺔ اﻟﱵ ﻋﺎث‬ ‫ﻣﺼﻨﻔﺎﺗﻪ ﻳﺪﻻن ﻋﻠﻰ ﻣﺴﺘﻮى رﻓﻴﻊ ﰲ ﺻﻨﺎﻋﺔ‬
‫ﻓﻴﻬﺎ اﻟﺘﺼﺤﻴﻒ ﻓﺴﺎدا‪" ،‬واﻟﻮاﻗﻊ أن اﻷﺻﻮل‬ ‫اﻹﻧﺸﺎء ﻛﻤﺎ ﻳﻘﻮل ﳏﻘﻖ رﺳﺎﺋﻠﻪ أﺑﻮ رﻳﺪة ‪"،48‬‬
‫اﻟﱵ ﻛﺎن ﻳﺮﺟﻊ اﻟﻜﻨﺪي إﻟﻴﻬﺎ ﻣﱰﲨﺔ ﻛﺎﻧﺖ إﱃ‬ ‫وﺗﺪل اﻟﺮﺳﺎﺋﻞ اﻟﱵ ﺑﲔ أﻳﺪﻳﻨﺎ ‪-‬رﻏﻢ ﻣﺎ ﻗﺪ‬
‫اﻟﻌﺮﺑﻴﺔ أو ﻏﲑﻫﺎ أو ﻣﻮﺟﻮدة ﰲ ﻟﻐﺎﻬﺗﺎ اﻷﺻﻠﻴﺔ ﱂ‬ ‫ﻳﻼﺣﻈﻪ ﻓﻴﻬﺎ اﳌﻔﻜﺮ اﳊﺪﻳﺚ ﻣﻦ ﻧﻘﺺ أو‬
‫‪ 49‬اﻟﻜﻨﺪي‪ ،‬ص‪.11‬‬ ‫‪ 48‬اﻟﻜﻨﺪي‪ ،‬ص‪.24‬‬
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‫ﳚﻴﺪون اﻟﻌﺮﺑﻴﺔ اﻟﺼﺤﻴﺤﺔ ﻣﺜﻞ اﻟﻔﻴﻠﺴﻮف‬ ‫ﺗﻜﻦ ﲣﻞ ﻣﻦ ﲢﺮﻳﻒ وﻣﻦ ﻏﻤﻮض‪ ،‬وﻛﺎن‬
‫اﻟﻜﻨﺪي ‪.51‬‬ ‫ﻃﺒﻴﻌﻴﺎ أن ﳚﺪ اﻟﻜﻨﺪي ﻋﻨﺎء ﰲ اﺳﺘﺨﻼص‬
‫أﻣﺎ اﻟﺴﺒﺐ اﻟﺜﺎﱐ ﻓﻌﻠﻤﻲ أﺳﺎﺳﺎ؛ ﻳﺮﺗﺒﻂ ﺎﺑﻟﻔﻜﺮ‬ ‫ﻣﻌﺎن ﻣﻨﻬﺎ ﻣﺴﺘﻘﻴﻤﺔ ﰲ ﻧﻈﺮ اﻟﻌﻘﻞ ﻣﻨﺘﻈﻤﺔ‬
‫اﻟﻴﻮ�ﱐ اﳌﻌﻘﺪ اﳌﻌﺘﻤﺪ ﻋﻠﻰ اﻟﻌﻠﻢ اﻟﻨﻈﺮي‬ ‫اﻟﻨﺴﻖ‪ .‬وﻛﺎن ﺟﻬﺪ اﻟﻜﻨﺪي ﰲ اﺳﺘﺨﻼص ﻫﺬﻩ‬
‫اﻟﺸﻤﻮﱄ اﻟﺒﻌﻴﺪ ﻋﻦ اﻷﺳﻠﻮب اﻟﻌﻘﻼﱐ‬ ‫اﳌﻌﺎﱐ ﳎﺘﻤﻌﺎ إﱃ ﺟﻬﺪﻩ ﰲ إﺑﺮازﻫﺎ ﰲ ﻟﻐﺔ ﱂ‬
‫اﻟﺘﺠﺮﻳﱯ ‪ ،52‬ﻓﻜﺎن ﻟﻠﻜﻨﺪي ﻣﻬﻤﺘﺎن ﻣﻬﻤﺔ‬ ‫ﺗﺬﻟﻞ ﻟﻸﲝﺎث اﻟﻌﻠﻤﻴﺔ ﻳﻈﻬﺮ ﰲ أﺳﻠﻮب‬
‫اﻟﺘﺤﻘﻴﻖ أﺛﻨﺎء ﻋﻤﻠﻴﺔ اﻟﺘﻘﻮﱘ‪ ،‬وﻣﻬﻤﺔ اﻟﺘﺼﻮﻳﺐ‬ ‫اﻟﻜﻨﺪي ﻓﻴﻀﻌﻒ ﻣﻦ روﻋﺔ ﺑﻴﺎﻧﻪ ﺣﲔ ﻳﻘﺎس‬
‫أﺛﻨﺎء ﻋﻤﻠﻴﺔ اﻟﺘﺼﻨﻴﻒ ﺷﺮﺣﺎ أو ﺗﻠﺨﻴﺼﺎ أو‬ ‫ﺄﺑﺳﺎﻟﻴﺐ اﻟﺒﻠﻐﺎء ﻣﻦ أدﺎﺑء اﻟﻌﺮﺑﻴﺔ ﰲ ذﻟﻚ‬
‫ﺗﻌﻠﻴﻘﺎ‪ ،‬وﻫﻲ ﻋﻤﻠﻴﺔ ﻣﺎ ﺑﻌﺪ اﻟﱰﲨﺔ اﳊﻠﻘﺔ‬ ‫اﻟﻌﻬﺪ‪ ،‬وﻳﻀﻌﻒ ﻣﻦ وﺿﻮح ﻣﻌﺎﻧﻴﻪ أﻳﻀﺎ‪ ،‬ﻣﻊ‬
‫اﳉﻮﻫﺮﻳﺔ ﻣﻦ اﻟﱰﲨﺔ‪ .‬ﻓﺎﻟﻜﻨﺪي ﺑﻔﻀﻞ ذﻟﻚ‬ ‫ﻣﻴﻞ اﻟﻜﻨﺪي ﻟﻺﳚﺎز واﻻﻗﺘﺼﺎر ﻣﻦ اﻷﻟﻔﺎظ‬
‫ﺑﺴﻂ ﻋﻠﻢ اﻟﻔﻠﺴﻔﺔ ﻟﻠﻌﺮب اﳌﺴﻠﻤﲔ وﺟﻼ‬ ‫ﻋﻠﻰ ﻣﺎ ﻳﻀﺒﻂ اﳌﻌﲎ وﳝﺜﻠﻪ ﰲ اﻟﺬﻫﻦ ﻣﺴﺘﻘﻴﻤﺎ‪.‬‬
‫ﻏﻤﻮﺿﻪ وﺧﻠﺼﻪ ﻣﻦ ﺗﻌﻘﻴﺪﻩ اﻟﻴﻮ�ﱐ أﺳﺎﺳﺎ‪،‬‬ ‫واﻟﻈﺎﻫﺮ أن اﻟﻐﻤﻮض ﻛﺎن ﻏﺎﻟﺒﺎ ﻋﻠﻰ أﺳﺎﻟﻴﺐ‬
‫وﲰﺢ ﻟﻠﻤﻔﻜﺮﻳﻦ اﳌﺴﻠﻤﲔ اﻟﺪﺧﻮل ﳍﺬا اﻟﻌﻠﻢ‬ ‫اﳌﺸﺘﻐﻠﲔ ﺎﺑﻟﺒﺤﻮث اﻟﻌﻠﻤﻴﺔ ﰲ ﻋﺼﺮ اﻟﻜﻨﺪي‬
‫وﻣﻨﺎﻗﺸﺔ أﺧﻄﺎﺋﻪ ﺑﺮؤﻳﺔ ﻋﻠﻤﻴﺔ دﻗﻴﻘﺔ‪ .‬واﻟﺴﺒﺐ‬ ‫ﻷﺳﺒﺎب ﳐﺘﻠﻔﺔ ﻳﺸﲑ إﱃ ﺑﻌﻀﻬﺎ اﳉﺎﺣﻆ ﰲ‬
‫اﻟﺜﺎﻟﺚ ﻳﺘﻤﺜﻞ ﰲ اﻟﺮﻏﺒﺔ اﳉﺎﳏﺔ ﻟﻠﺴﻠﻄﺔ اﳊﺎﻛﻤﺔ‬ ‫ﻛﺘﺎب اﳊﻴﻮان" ‪ .50‬ﻓﻤﺜﻼ ﻛﺬﻟﻚ ﻛﺎﻧﺖ رداءة‬
‫ﻣﻦ ﺟﻬﺔ واﻟﻄﺒﻘﺔ اﻟﻌﺎﳌﺔ واﳌﺜﻘﻔﺔ ﻣﻦ ﺟﻬﺔ أﺧﺮى‬ ‫أﺳﻠﻮب اﳌﱰﺟﻢ ﳛﲕ ﺑﻦ اﻟﺒﻄﺮﻳﻖ رﻏﻢ ﻧﻘﻠﻪ اﳌﻌﲎ‬
‫ﰲ ﺗﻠﻘﻒ اﳌﺰﻳﺪ ﻣﻦ اﳌﻌﺮﻓﺔ اﳌﱰﲨﺔ أﺣﻴﺎ� ﻛﺜﲑة‬ ‫اﻟﺼﺤﻴﺢ‪ ،‬ﳛﺘﺎج ﻟﻌﻨﺎﻳﺔ اﻟﻜﻨﺪي وﺗﻘﻮﳝﻪ ﻟﻐﺔ‬
‫ﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ ﺟﻮدﻬﺗﺎ ﻛﻤﺎ ﻳﻘﻮل ﻏﻮﺎﺗس‪" :‬أﻣﺎ‬ ‫وأﺳﻠﻮﺎﺑ وﻋﻠﻤﺎ ﳌﺎ ﻳﻨﺘﺠﻪ ﻣﻦ ﺗﺮﲨﺎت‪ ،‬وﻫﺬﻩ‬
‫أن اﻟﻄﻠﺐ ﻛﺎن ﻫﻮ اﻷول ﰲ اﻟﺰﻣﻦ واﳌﺎدة‬ ‫اﻟﱰﲨﺎت اﳌﺒﻜﺮة اﻟﱵ �ل ﻣﻨﻬﺎ اﳉﺎﺣﻆ ﻛﺜﲑا‬
‫ﻛﻠﻴﻬﻤﺎ ﻓﻴﺘﻀﺢ ﳑﺎ ﺑﺪا ﰲ ﺿﻌﻒ اﻷﺳﻠﻮب‬ ‫ﻛﺎﻧﺖ ﲝﺎﺟﺔ إﱃ إﺻﻼح ﻋﻠﻰ ﻳﺪ اﻟﺬﻳﻦ‬
‫اﻟﻌﺮﰊ )وﱂ ﻳﻜﻦ ﺎﺑﻟﻀﺮورة ﰲ اﶈﺘﻮى( اﻟﺬي‬

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‫‪Tahiri Hassan, la philosophie entre‬‬ ‫‪ 50‬ﻣﺼﻄﻔﻰ ﻋﺒﺪ اﻟﺮزاق‪ ،‬ص‪.22-21‬‬
‫‪imitation et transformation, revue‬‬ ‫‪ 51‬اﻧﻈﺮ دﳝﱰي ﻏﻮﺎﺗس‪ ،‬ص ‪.231‬‬
‫‪Turjuman, Vol 28,N2, Octobre 2019,p 61.‬‬
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‫ﺗﱰﲨﻪ‪ ،‬ﺑﻞ ﻫﻲ اﳌﺼﻨﻔﺔ ﻓﻴﻪ ﺑﻌﺪ أرﺳﻄﻮ ﻋﻨﺪ‬ ‫ﲤﺖ ﺑﻪ اﻟﱰﲨﺎت اﻷوﱃ‪ :‬إن ﺣﺎﺟﺔ اﻟﺮﻋﺎة‬
‫اﻟﻌﺮب اﳌﺴﻠﻤﲔ ﺷﺮﺣﺎ وﺄﺗوﻳﻼ وﺗﻠﺨﻴﺼﺎ‪ .‬وﻫﺬا‬ ‫اﻻﺟﺘﻤﺎﻋﻴﺔ واﻟﻌﻠﻤﻴﺔ‪ ،‬ﻋﻠﻰ ﻣﺎ وﺻﻔﺖ ﰲ‬
‫اﻷﻣﺮ ﳚﻌﻞ ﺗﻘﻴﻴﻢ اﻟﻜﻨﺪي ﺣﺎﻣﻼ ﻗﻮة ﻣﻌﺮﻓﻴﺔ‬ ‫اﻟﻔﺼﻞ اﳋﺎﻣﺲ‪ ،‬ﻟﻠﱰﲨﺎت اﳌﺒﻜﺮة ﻛﺎﻧﺖ ﻛﺒﲑة‬
‫ﻟﻜﻮﻧﻪ ﻣﺘﺨﺼﺼﺎ ﰲ ﳎﺎل ﻣﺎ ﻳﺸﺮف ﻋﻠﻰ ﺗﺮﲨﺘﻪ‬ ‫إﱃ ﺣﺪ أ�ﻢ ﻛﺎﻧﻮا ﻋﻠﻰ اﺳﺘﻌﺪاد ﻷن ﻳﺘﺤﻤﻠﻮا‬
‫ﺗﻘﻴﻴﻤﺎ وﺗﻘﻮﳝﺎ وﻹﺗﻘﺎﻧﻪ اﻟﻠﻐﺔ اﳌﻨﻘﻮل إﻟﻴﻬﺎ‪،‬‬ ‫أﺳﺎﻟﻴﺐ ﻋﺮﺑﻴﺔ ﻛﺎﻧﺖ أدﱏ ﻋﻠﻰ ﳓﻮ ﻛﺒﲑ ﻣﻦ‬
‫وﻟﻜﻮﻧﻪ اﳌﺸﺮف ﻋﻠﻰ اﳌﱰﲨﲔ ﻣﻦ اﻟﻴﻮ�ﻧﻴﺔ‬ ‫اﻷﺳﺎﻟﻴﺐ اﻟﻌﺮﺑﻴﺔ اﻟﱵ ﻛﺎن ﻣﻌﺎﺻﺮوﻫﻢ ﻣﻦ‬
‫ﻟﻠﻌﺮﺑﻴﺔ ﺑﺪﻗﺔ وﻋﻨﺎﻳﺔ‪ ،‬واﻟﻘﺎﺋﻢ ﻋﻠﻰ اﳌﺮاﺟﻌﺔ‬ ‫اﻟﻨﺤﻮﻳﲔ وﻛﺘﺎب اﻷدب ﻳﺮوﺟﻮن ﳍﺎ" ‪.53‬‬
‫واﻟﺘﻘﻮﱘ ﺑﻌﺪ اﻹﺧﺮاج اﻷوﱄ ﻟﻠﱰﲨﺎت‪ ،‬وﻷﻧﻪ‬ ‫ﻛﺎن اﻟﻜﻨﺪي ﰲ ﺗﻘﻴﻴﻤﻪ ﺑﻌﻴﺪا ﻋﻦ اﻟﺬاﺗﻴﺔ‬
‫ﻳﺸﺘﻐﻞ ﺿﻤﻦ ﺳﻠﺴﻠﺔ ﻣﱰاﺑﻄﺔ ﺣﻠﻘﺎﻬﺗﺎ ﻬﺑﺪف‬ ‫ﻟﺴﺒﺐ ﺑﺴﻴﻂ؛ ﻷﻧﻪ ﻛﺎن رﺟﻞ ر�ﺿﻴﺎت‬
‫ﻣﺸﱰك وﻋﻤﻞ ﲨﺎﻋﻲ ﻳﻜﻤﻞ ﺑﻌﻀﻪ ﺑﻌﻀﺎ‪ ،‬وﻫﻮ‬ ‫وﻣﻨﻄﻖ ‪ ،54‬وﻻﺑﺪ أن ﻟﻪ ﺧﻄﺔ وإن ﱂ ﺗﺘﺒﲔ ﻟﻨﺎ‬
‫ﻣﺮﺑﻂ ﻓﺮﺳﻨﺎ واﳊﻠﻘﺔ اﳌﻔﻘﻮدة ﰲ واﻗﻌﻨﺎ اﻟﱰﲨﻲ‬ ‫ﺑﺸﻜﻞ واﺿﺢ ﻣﻼﳏﻬﺎ‪ ،‬إﻻ أﻧﻪ ﲡﻠﺖ ﻟﻨﺎ ﲦﺎرﻫﺎ‬
‫اﻟﻌﺮﰊ‪ .‬ﻋﻤﻠﻴﺔ ﺗﺒﺪأ ﺎﺑﻻﺧﺘﻴﺎر ﳌﺎ ﻳﱰﺟﻢ‪،‬‬ ‫وآﺎﺛرﻫﺎ‪ ،‬وﺑﻪ ﳝﻜﻦ أن ﻧﺴﺘﻨﺘﺞ أن ﺗﻘﻴﻴﻤﻪ ﻛﺎن‬
‫وﺎﺑﳌﺸﺮف اﻟﻜﻒء ﻋﻠﻰ ﻣﺎ ﻳﻨﺘﺞ‪ ،‬وﺗﻨﺘﻬﻲ ﲞﻠﻴﺔ‬ ‫ﻳﺼﺪر ﻋﻦ ذات ﻋﺎﳌﺔ ﻋﺎرﻓﺔ ﺎﺑﺠﻤﻟﺎل اﻟﺬي‬
‫اﻟﱵ ﺣﺪدﻬﺗﺎ ﺄﺑﲰﺎﺋﻬﺎ‪ ،‬ﻓﺈﻧﻪ إن ﻋﺪم أﺣﺪ ﻋﻠﻢ اﻟﺮ�ﺿﻴﺎت ﰒ‬ ‫‪ 53‬دﳝﱰي ﻏﻮﺎﺗس‪ ،‬ص ‪.230‬‬
‫اﺳﺘﻌﻤﻞ ﻫﺬﻩ دﻫﺮﻩ ﱂ ﻳﺴﺘﺘﻢ ﻣﻌﺮﻓﺔ ﺷﻲء ﻣﻦ ﻫﺬﻩ‪ ،‬وﱂ ﻳﻜﻦ‬
‫‪ 54‬ﻟﻘﺪ اﺳﺘﻄﺎع اﻟﻜﻨﺪي أن ﳚﻌﻞ ﻣﻦ ﻓﺮﻗﺘﻪ اﻟﱰﲨﻴﺔ اﻟﱵ‬
‫ﺳﻌﻴﻪ ﰲ ﻣﻜﺴﺒﻪ إﻻ اﻟﺮواﻳﺔ‪ ،‬إن ﻛﺎن ﺣﺎﻓﻈﺎ‪ ،‬ﻓﺄﻣﺎ ﻋﻠﻤﻬﺎ‬
‫ﻳﺸﺮف ﻋﻠﻴﻬﺎ أﻫﻢ ﺣﻠﻘﺔ ﺧﺮﺟﺖ أوﱃ ﺑﺪا�ت اﻟﻔﻜﺮ اﻟﻔﻠﺴﻔﻲ‬
‫ﻋﻠﻰ ﻛﻨﻬﻬﺎ وﲢﺼﻴﻠﻪ ﻓﻠﻴﺲ ﲟﻮﺟﻮد‪ ،‬إن ﻋﺪم ﻋﻠﻢ اﻟﺮ�ﺿﻴﺎت‪،‬‬
‫اﻟﻌﺮﰊ‪ ،‬ﻟﻴﺤﺪث ﺛﻮرة ﻣﻌﺮﻓﻴﺔ ﺣﻘﻴﻘﻴﺔ ﺑﻘﻴﺎدة اﻟﺮ�ﺿﻴﺎت اﻟﱵ‬
‫اﻟﺒﺘﺔ" اﻟﻜﻨﺪي‪ ،‬ص‪ .370-369‬وﻛﺎﻧﺖ ﺑﺬﻟﻚ ﺣﻠﻘﺔ‬
‫أدى ﲡﺪدﻫﺎ ﻋﻠﻰ ﻳﺪﻳﻪ إﱃ ﲡﺪد اﻟﻌﻠﻢ ﻋﺎﻣﺔ واﻟﻔﻠﺴﻔﺔ ﺧﺎﺻﺔ‪،‬‬
‫اﻟﻜﻨﺪي أوﱃ ﺣﻠﻘﺎت ﺣﻔﻆ اﻟﱰاث اﻟﻔﻠﺴﻔﻲ اﻟﻴﻮ�ﱐ ﻣﻦ‬
‫ﻓﻜﺎن أول اﻟﻌﻠﻤﺎء اﻟﻌﺮب اﳌﺴﻠﻤﲔ اﻟﺬﻳﻦ اﻗﺘﺤﻤﻮا ﻏﻤﺎر‬
‫اﻟﻀﻴﺎع ﻟﻸﺑﺪ‪ ،‬وأوﱃ ﺣﻠﻘﺔ ﺻﺤﺤﺖ اﻟﻔﻜﺮ اﻟﻴﻮ�ﱐ وﺧﻠﺼﺘﻪ‬
‫اﻟﻔﻠﺴﻔﺔ وﺟﺪدوا اﻟﺮؤﻳﺔ اﻟﻘﻮﳝﺔ ﳍﺎ ﺑﻨﺎء ﻋﻠﻰ ﻋﻠﻢ اﻟﺮ�ﺿﻴﺎت‪،‬‬
‫ﻣﻦ ﺷﻮاﺋﺒﻪ‪ ،‬وﻃﺮﺣﺘﻪ ﻟﻠﻌﺎﱂ ﲟﻨﻬﺞ ﻋﻘﻠﻲ ﳚﻌﻞ اﻟﻔﻠﺴﻔﺔ ﰲ‬
‫ﻣﻌﺪﻻ وﻣﺼﺤﺤﺎ ﻟﻠﻔﻜﺮ اﻟﻴﻮ�ﱐ ﺑﻨﺎء ﻋﻠﻰ ﻫﺬا اﻟﻌﻠﻢ‪ ،‬وﻗﺪ‬
‫ﺧﺪﻣﺔ اﻟﻌﻠﻢ واﻹﻧﺴﺎﻧﻴﺔ‪ ،‬وﱂ ﻳﻜﻦ ذﻟﻚ ﻣﺼﺎدﻓﺔ ﺑﻞ ﺟﻬﺪا‬
‫ﻓﺼﻞ اﻷﻣﺮ ﰲ ذﻟﻚ ﻋﻨﺪﻣﺎ ذﻛﺮ أن اﻟﻔﻠﺴﻔﺔ ﻻ ﺗﻨﺎل إﻻ ﺑﻌﻠﻢ‬
‫وﺻﱪا وأ�ة ﻣﻨﻘﻄﻌﻲ اﻟﻨﻈﲑ ﻣﻦ اﻟﻔﻌﻞ اﻟﱰﲨﻲ وﻋﻠﻰ رأﺳﻪ‬
‫اﻟﺮ�ﺿﻴﺎت ﰲ ﻛﺘﺎﺑﻪ اﻟﺬي ﻋﻨﻮﻧﻪ ﺑﺬﻟﻚ‪" :‬ﻻ ﺗﻨﺎل اﻟﻔﻠﺴﻔﺔ إﻻ‬
‫اﻟﺘﻘﻴﻴﻢ واﻟﺘﻘﻮﱘ‪ ،‬وﻻ ﳝﻜﻦ اﻟﻔﺼﻞ ﻋﻨﺪ اﻟﻜﻨﺪي ﺑﲔ ﻋﻤﻠﱵ‬
‫ﺑﻌﻠﻢ اﻟﺮ�ﺿﻴﺎت" اﺑﻦ اﻟﻨﺪﱘ‪ ،‬اﻟﻔﻬﺮﺳﺖ‪.316 ،1971 ،‬‬
‫اﻟﺘﻘﻴﻴﻢ واﻟﺘﻘﻮﱘ ﻓﻘﺪ ﻛﺎن ﻳﻘﻮم ﺑﻜﻠﺘﻴﻬﺎ ﰲ ﺣﻠﻘﺘﻪ دون اﻧﻘﻄﺎع‬
‫ﻗﺎﺋﻼ‪ " :‬ﻓﻬﺬﻩ أﻋﺪاد ﻣﺎ ﻗﺪ ﻗﺪﻣﻨﺎ ذﻛﺮﻩ ﻣﻦ ﻛﺘﺒﻪ اﻟﱵ ﳛﺘﺎج‬
‫ﻳﺬﻛﺮ‪.‬‬
‫اﻟﻔﻴﻠﺴﻮف اﻟﺘﺎم إﱃ اﻗﺘﻨﺎء ﻋﻠﻤﻬﺎ ﺑﻌﺪ ﻋﻠﻢ اﻟﺮ�ﺿﻴﺎت‪ ،‬أﻋﲏ‬
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‫ﻳﻌﻤﻞ ﻋﻠﻰ ﺗﻘﻴﻴﻢ ﻛﻞ ﻣﺎ ﻳﻘﻊ ﺑﲔ ﻳﺪﻳﻪ ﻣﻦ‬ ‫ﻋﻤﻞ ﻣﺘﻜﺎﻣﻠﺔ ﻳﻘﻮم ﻛﻞ ﻣﻨﻬﺎ ﺑﺪورﻩ إﱃ أن ﳜﺮج‬
‫ﺗﺮﲨﺎت أﳒﺰﻫﺎ ﺗﻼﻣﺬﺗﻪ‪ ،‬وﻳﻌﻴﺪ ﻓﻴﻬﺎ اﻟﻨﻈﺮ‬ ‫اﻟﻌﻤﻞ ﻛﻤﺎ ﻳﻔﱰض ﻟﻪ‪ ،‬ﻟﻴﺤﻘﻖ إﻧﺘﺎﺟﺎ ﻣﻌﺮﻓﻴﺎ‬
‫وﻳﻘﻠﺒﻬﺎ ﻣﺎ ﻳﻜﻔﻲ ﻟﻴﺴﻜﺐ ﻓﻴﻬﺎ ﺣﻴﺎة ﺟﺪﻳﺪة‬ ‫ﺟﺪﻳﺪا �ﻫﻴﻚ ﻋﻤﺎ ﻳﻀﻴﻔﻪ ﻟﻠﻤﻌﺮﻓﺔ ﰲ ﺣﺪ ذاﻬﺗﺎ‬
‫ﺑﻠﻐﺔ ﻋﺮﺑﻴﺔ ﻗﺎﺑﻠﺔ ﻟﻠﺘﺪاول واﻟﻔﻬﻢ واﻟﻨﻘﺎش ﰲ‬ ‫ﻣﻦ ﲡﺪﻳﺪ‪.‬‬
‫ﳏﺘﻮاﻫﺎ وﻣﻀﺎﻣﻴﻨﻬﺎ‪ ،‬وﱂ �ل ﺟﻬﺪا ﰲ ﺗﻘﻮﱘ‬ ‫وﱂ ﺗﻜﻦ ﻣﻬﻤﺔ اﻟﻜﻨﺪي اﻟﺘﻘﻴﻴﻤﻴﺔ وﻻ اﻟﺘﻘﻮﳝﻴﺔ‬
‫اﻟﱰﲨﺎت ﺑﻨﻔﺴﻪ ﻋﺎﻛﻔﺎ ﻋﻠﻰ إﻋﺎدة ﲣﺮﳚﻬﺎ‬ ‫ﺳﻬﻠﺔ‪ ،‬ﻓﻼ ﳜﻔﻲ ﻋﻠﻰ أﺣﺪ ﺻﻌﻮﺑﺔ اﻟﻨﻘﻞ ﻣﻦ‬
‫ﲟﺼﻄﻠﺤﺎت ﻋﻠﻤﻴﺔ ﻋﺮﺑﻴﺔ ﺟﺪﻳﺪة ﻋﺮﻓﺖ اﻟﻨﻮر‬ ‫ﻟﻐﺔ ﻛﺎﻧﺖ ﺑﻜﻞ ﺑﻨﻴﺘﻬﺎ وأﺻﻮﳍﺎ ﳐﺘﻠﻔﺔ ﻋﻦ‬
‫ﻋﻠﻰ ﻳﺪﻳﻪ ﻷول ﻣﺮة ﰲ ﺎﺗرﻳﺦ اﻟﻔﻜﺮ اﻟﻌﺮﰊ‬ ‫اﻟﻌﺮﺑﻴﺔ‪� ،‬ﻫﻴﻚ ﻋﻦ ﻣﺎ ﻳﻀﻢ ﻓﻜﺮﻫﺎ وﳏﺘﻮاﻫﺎ ﻣﻦ‬
‫اﻹﺳﻼﻣﻲ ‪ ،‬ﻣﻨﻄﻠﻘﺎ ﻣﻦ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﻣﻐﺬ�‬
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‫ﺗﻌﻘﻴﺪ وﺟﺪة ﻋﻠﻰ ﺑﻨﻴﺔ اﻟﻔﻜﺮ اﻟﻌﺮﰊ اﻹﺳﻼﻣﻲ‪،‬‬
‫رﺻﻴﺪﻫﺎ ﺑﻜﻢ ﻫﺎﺋﻞ ﻣﻦ ﻣﺼﻄﻠﺤﺎت وﻣﻔﺎﻫﻴﻢ‬ ‫وﱂ ﻳﻜﻦ ﻣﻦ اﻟﺴﻬﻞ وﻻ ﻣﻦ اﳌﺘﻮﻗﻊ ﻗﺒﻮﳍﺎ ﰲ‬
‫أﺳﺴﺖ ﻟﻠﻔﻜﺮ اﻟﻔﻠﺴﻔﻲ اﻹﺳﻼﻣﻲ ﺑﺪا�ﺗﻪ‪،‬‬ ‫أوﺳﺎط اﻟﻌﺎﻣﺔ وﻻ اﳋﺎﺻﺔ ﰲ ﺟﻮ ﺛﻘﺎﰲ ﳝﻠﻚ‬
‫واﻟﺬي ﱂ ﻳﻜﻦ ﻟﻴﻜﻮن ﻟﻪ وﻻ ﳌﻦ ﺟﺎء ﻣﻦ ﺑﻌﺪﻩ‬ ‫ﻛﻞ أﺳﺒﺎب اﻟﻘﻮة اﻟﻌﻘﻠﻴﺔ واﻟﻔﻜﺮﻳﺔ واﻟﺒﻼﻏﻴﺔ‬
‫ﻣﻦ اﻟﻔﻼﺳﻔﺔ اﻟﻌﺮب ﻣﺜﻞ اﻟﻔﺎراﰊ واﺑﻦ رﺷﺪ‬ ‫واﳊﺠﺎﺟﻴﺔ ﺑﻠﻐﺘﻪ اﻟﻌﺮﺑﻴﺔ‪ ،‬أن ﺗﻘﺪم ﻟﻪ ﻛﻞ ﻫﺬﻩ‬
‫وﻏﲑﳘﺎ ﻗﺎﺋﻤﺔ أو وﺟﻮد ﺑﺪون ﳎﻬﻮداﺗﻪ‬ ‫اﻷﻓﻜﺎر اﳉﺪﻳﺪة واﳌﺨﺎﻟﻔﺔ ﳌﻨﻈﻮﻣﺘﻪ اﻟﻌﻘﺪﻳﺔ ‪.55‬‬
‫ﻓﻜﺎن ﺑﺮؤﻳﺘﻪ اﳌﺘﺒﺼﺮة ﻣﻨﺸﻐﻼ ﲜﻌﻞ اﻟﻌﻠﻢ واﻟﻌﻘﻞ‬
‫ﰲ ﺧﺪﻣﺔ اﻹﻧﺴﺎﻧﻴﺔ ﲨﻌﺎء‪ ،‬وﻛﺎن ﲝﻨﻜﺘﻪ اﳌﺘﻤﻴﺰة‬
‫وﻋﻮد اﻹﺳﻼم ‪ ،‬ﺗﺮﲨﺔ ذوﻗﺎن ﻗﺮﻗﻮط‪ ،‬دار اﻟﺮﻗﻲ‪ ،‬ﺑﲑوت‪،‬‬ ‫‪ 55‬ﻛﺎن ﻋﻠﻰ اﻟﻜﻨﺪي أن ﻳﻘﻮم ﺑﺪور ﺟﻠﻴﻞ‪ ،‬دور ﻻ ﻳﻘﻮم ﺑﻪ‬
‫ﻣﻜﺘﺒﺔ ﻣﺬﺑﻮﱄ‪ ،‬اﻟﻘﺎﻫﺮة‪،1985 ،‬ص ‪.125-124‬‬ ‫إﻻ ﺣﻜﻴﻢ‪ ،‬ﻋﻨﺪﻣﺎ ﻗﺮر اﻻﺳﺘﻔﺎدة ﻣﻦ اﻟﻔﻠﺴﻔﺔ اﻟﻴﻮ�ﻧﻴﺔ ﻟﻠﺪﻓﺎع‬
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‫‪Sur le cercle de al- Kindi, v. Gerhard‬‬ ‫ﻋﻦ اﻟﻌﻘﻴﺪة اﻹﺳﻼﻣﻴﺔ أﻣﺎم اﻟﺜﻘﺎﻓﺎت اﻟﻮاﻓﺪة‪ ،‬وﻳﺮى روﺟﻲ‬
‫‪Endress, “The Circle of al-Kindi, Early‬‬ ‫ﻏﺎرودي أﻧﻪ‪ " :‬اﻟﻔﻴﻠﺴﻮف اﻟﻌﺮﰊ اﻷول اﻟﺬي واﺟﻪ ﻣﻬﻤﺔ‬
‫‪Arabic Translations from the Greek and the‬‬
‫ﲢﺪﻳﺪ ﺻﻼت اﻹﻧﺴﺎن ﺎﺑﻪﻠﻟ وﻣﻜﺎﻣﻠﺔ اﻟﻔﻠﺴﻔﺔ اﻟﻴﻮ�ﻧﻴﺔ ﻟﺮؤﻳﺔ‬
‫‪Rise of Islamic Philosophy”, dans The‬‬
‫‪Ancient Tradition in Christian and Islamic‬‬ ‫اﻹﺳﻼم ﻟﻠﻌﺎﱂ ‪ ..‬ﻟﻘﺪ واﺟﻬﺖ اﻟﻜﻨﺪي ﻗﺒﻞ ﻛﻞ ﺷﻲء‬
‫‪Hellenism : Studies on the Transmission of‬‬ ‫ﻣﺸﻜﻠﺔ اﻷﺻﻮل‪ ،‬ﻣﺸﻜﻠﺔ اﳋﻠﻖ اﻹﳍﻲ‪ ،‬اﻟﱵ ﻻ ﻳﻔﻜﺮ ﻓﻴﻬﺎ‬
‫‪Greek Philosophy and Sciences, Research‬‬
‫‪School CNWS, Leiden , 1997, p. 43-76.‬‬ ‫ﻓﻴﻠﺴﻮف ﻏﺎرق ﰲ رﻣﺎل اﻟﺘﺄﻣﻼت"‪ ،‬اﻧﻈﺮ روﺟﻲ ﻏﺎرودي‪،‬‬
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‫ﺗﺮﲨﺎت ﳍﺎ ﻣﻦ ﺟﻬﺔ أﺧﺮى ﺑﻌﺪﻣﺎ ﻓﻘﺪت‬ ‫اﻟﺮﺻﻴﻨﺔ ‪ ،57‬وإن ﻛﺎن ﻛﻞ ﻣﺎ ﻳﻘﻊ ﺑﲔ أﻳﺪﻳﻨﺎ ﻣﻦ‬
‫اﻷﺻﻮل اﻟﻴﻮ�ﻧﻴﺔ أو ﻏﲑﻫﺎ‪ ،‬وﻛﺎن ﻟﺬﻟﻚ آﺎﺛر‬ ‫أﻋﻤﺎﻟﻪ ﱂ ﻳﺼﻞ اﻟﺮﺑﻊ ﳑﺎ أﻧﺘﺞ اﻟﺮﺟﻞ ﰲ ﳎﺎﻟﻪ‪،‬‬
‫ﻣﺜﻤﺮة ﻋﻠﻰ اﻟﻠﻐﺔ اﻟﱵ اﻏﺘﻨﺖ‪ ،‬وﺟﻌﻞ ﻧﺸﺎط‬ ‫وﻣﺎ أوﺟﺪ ﻣﻦ ﻣﺼﻄﻠﺤﺎت ﻏﻴﺒﻬﺎ ﻛﻤﺎ ﻏﻴﺐ‬
‫اﻟﱰﲨﺔ ﻳﺴﲑا ‪.60‬‬ ‫ﻛﺜﲑا ﻣﻦ ﻓﻜﺮﻩ اﻟﺰﻣﻦ‪ .‬إذ ﻳﻌﺘﱪ اﻟﻜﻨﺪي ﻗﻴﺪوم‬
‫ذﻟﻚ أن ﻋﻠﻢ اﻟﻜﻨﺪي وﺳﻌﺔ اﻃﻼﻋﻪ ﺎﺑﻟﻌﻠﻢ‬ ‫ﻗﻮاﻣﻴﺲ اﳌﺼﻄﻠﺤﺎت اﻟﻔﻠﺴﻔﻴﺔ اﻟﱵ ﺑﲎ ﻋﻠﻴﻬﺎ‬
‫اﻟﺬي ﻛﺎن ﻳﺸﺮف ﻋﻠﻰ ﺗﺮﲨﺘﻪ ﺳﺎﻋﺪﻩ ﰲ ﺗﻘﻴﻴﻢ‬ ‫ﻏﲑﻩ ﻛﺎﻟﻔﺎراﰊ واﺑﻦ رﺷﺪ وﻏﲑﳘﺎ أﺳﺲ اﻟﻔﻠﺴﻔﺔ‬
‫اﳌﺨﺮﺟﺎت اﻟﱰﲨﻴﺔ ﺑﺒﻴﺖ اﳊﻜﻤﺔ ﻛﻤﺎ ﺳﺎﻋﺪﻩ‬ ‫اﻟﻌﺮﺑﻴﺔ اﻹﺳﻼﻣﻴﺔ ﻗﺪﳝﺎ وﺣﺪﻳﺜﺎ‪ ،‬وﻳﻌﺪ "أول ﻣﻦ‬
‫ﻋﻠﻰ ﺗﻘﻮﱘ اﻟﻨﺼﻮص وﺗﻨﻘﻴﺤﻬﺎ ﻗﺒﻞ أن ﺗﻌﺮض‬ ‫أﻟﻒ ﻗﺎﻣﻮﺳﺎ ﻓﻠﺴﻔﻴﺎ ﺎﺑﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﰲ اﻟﻌﺎﱂ‬
‫ﻋﻠﻰ اﻟﻌﻠﻤﺎء واﳌﻔﻜﺮﻳﻦ ﻣﻦ ذوي اﻟﺴﻠﻄﺎن‬ ‫اﻹﺳﻼﻣﻲ ﲰﺎﻩ رﺳﺎﻟﺔ ﰲ ﺣﺪود اﻷﺷﻴﺎء‬
‫واﻟﻌﺎﻣﺔ وﻏﲑﳘﺎ‪ ،‬وﻳﺮى ﻏﻮﺎﺗس أن اﳌﺴﺘﻮى‬ ‫ووﺳﻮﻣﻬﺎ‪...‬ﻋﻼوة ﻋﻠﻰ ذﻟﻚ ﳝﻜﻦ اﻋﺘﺒﺎر‬
‫اﻟﺮﻓﻴﻊ ﰲ ﺗﻘﻨﻴﺔ اﻟﱰﲨﺔ واﻟﺪﻗﺔ اﻟﻔﻴﻠﻮﻟﻮﺟﻴﺔ اﻟﻠﺘﲔ‬ ‫اﻟﻜﻨﺪي ﻣﻦ اﻟﺴﺒﺎﻗﲔ إﱃ وﺿﻊ اﺻﻄﻼﺣﺎت‬
‫ﺗﻮﺻﻞ إﻟﻴﻬﻤﺎ ﺣﻨﲔ وزﻣﻼؤﻩ وﺳﻮاﻫﻢ ﻣﻦ اﻟﱰاﲨﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ ﻣﻘﺎﺑﻞ اﳌﻔﺮدات اﻟﻔﻠﺴﻔﻴﺔ اﻟﻴﻮ�ﻧﻴﺔ" ‪،58‬‬
‫ﰲ اﻟﻘﺮن اﻟﺮاﺑﻊ اﳍﺠﺮي اﳌﻮاﻓﻖ ﻟﻠﻌﺎﺷﺮ اﳌﻴﻼدي‪،‬‬ ‫ﻣﺴﺎﳘﺎ ﰲ دﻋﻢ ﺗﺮاث اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ وﺳﻜﺐ‬
‫" ﻛﺎﻧﺘﺎ ﺗﺪﻳﻨﺎن ﺑﺬﻟﻚ إﱃ اﻟﺪاﻓﻊ اﻟﺬي ﻳﺴﺮﻩ‬ ‫اﳊﻴﺎة ﰲ ﻣﻔﺮداﻬﺗﺎ اﻟﱵ ﻛﺎد ﺑﻌﻀﻬﺎ ﻳﻨﺪﺛﺮ ﻟﻮﻻ‬
‫ﺳﺨﺎء اﻟﺪاﻋﻤﲔ‪ ،‬وﻫﻮ ﺳﺨﺎء ﻳﻌﻮد ﺑﺪورﻩ إﱃ‬ ‫ﺣﺮﺻﻪ وﺟﻬﺪﻩ وأﻣﺎﻧﺘﻪ ﻋﻠﻰ إﺣﻴﺎء اﺳﺘﻌﻤﺎﳍﺎ‬
‫اﻟﺘﻘﺪﻳﺮ اﻟﻜﺒﲑ اﻟﺬي ﻛﺎن اﺠﻤﻟﺘﻤﻊ اﻟﺒﻐﺪادي ﻳﻜﻨﻪ‬ ‫ﺑﺸﻜﻞ ﺑﺪﻳﻊ ‪ .59‬ﻓﻜﺎﻧﺖ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﺑﻔﻀﻞ‬
‫ﻟﻸﻋﻤﺎل اﳌﱰﲨﺔ وﻣﻌﺮﻓﺔ ﻣﺎ ﲢﻮﻳﻪ‪ .‬وﻟﻌﻠﻪ ﱂ‬ ‫اﻟﻜﻨﺪي وﻣﻌﺎﺻﺮﻳﻪ ﰲ أوج ﻧﺸﺎﻃﻬﺎ اﻹﻧﺘﺎﺟﻲ‬
‫ﻳﻌﺮف اﺳﺘﺜﻤﺎر ﻃﻮﻳﻞ اﻷﺟﻞ ﻣﺜﻞ ﻫﺬا‪ ،‬إذ أن‬ ‫ﻣﻮﺳﻮﻋﺎت وﻣﻌﺎﺟﻢ وﺗﻘﻌﻴﺪا اﺳﺘﺠﺎﺑﺔ ﳊﺎﺟﺔ‬
‫اﻟﻨﺘﻴﺠﺔ ﻛﺎﻧﺖ ﳑﺎ ﻳﺜﲑ اﻹﻋﺠﺎب ﺎﺑﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫اﻟﻮﻓﻮد اﳉﺪﻳﺪة اﻟﱵ اﺧﺘﺎرت ﻟﻐﺔ اﻟﻀﺎد ﻟﻠﺘﺄﻟﻴﻒ‬
‫واﻟﺘﻌﺒﲑ ﻣﻦ ﺟﻬﺔ‪ ،‬وﻟﻼﻃﻼع ﻋﻠﻰ ﻣﺎ أﳒﺰ ﻣﻦ‬
‫‪ 59‬اﻟﻜﻨﺪي‪ ،‬ص ‪.19-18‬‬ ‫‪ 57‬ﻳﻘﻮل ﺟﲑاد أﻧﺪرس‪ :‬ﱂ ﻳﻜﻦ ﻟﻠﻔﻠﺴﻔﺔ ﺑﺪون ﳎﻬﻮدات‬
‫‪ 60‬ﺷﺎﻫﺮ أﲪﺪ ﻧﺼﺮ‪ ،‬دور اﻟﱰﲨﺔ ﰲ ﻧﺸﺮ اﻟﻔﻜﺮ اﻟﺘﻨﻮﻳﺮي‬ ‫اﻟﻜﻨﺪي وﻻ دورﻩ ﻗﺎﺋﻤﺔ ﳌﻦ ﺑﻌﺪﻩ‪Gerhard ،"....‬‬
‫ﰲ ﻋﺼﺮ اﻟﻨﻬﻀﺔ‪ ،‬اﳊﻮار اﳌﺘﻤﺪن‪ ،‬ﻋﺪد ‪2005 ،1161‬‬ ‫‪ ،Endress‬ص ‪.76‬‬
‫‪.‬‬ ‫‪ 58‬أﲪﺪ ﻣﻮﺳﻰ‪ ،‬ص ‪.30‬‬
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‫اﳌﻔﻜﺮﻳﻦ واﻟﺒﺎﺣﺜﲔ‪ ،‬ﻟﻜﻨﻪ ﱂ ﻳﻜﻦ ﻟﻴﺨﺮج ﻫﺬا‬ ‫واﻵداب اﻟﻌﺮﺑﻴﺔ‪ .‬ﻓﻘﺪ ﻃﻮر اﳌﱰﲨﻮن ﻣﻔﺮدات‬
‫اﻟﻌﻠﻢ اﳉﺪﻳﺪ ﻋﻠﻰ اﻟﻌﺮب اﳌﺴﻠﻤﲔ ﺑﻨﺴﺨﺘﻪ‬ ‫وأﺳﻠﻮﺎﺑ ﻟﻠﻨﻘﺎش اﻟﻌﻠﻤﻲ اﻟﺬي اﺳﺘﺜﻤﺮ اﻋﺘﺒﺎرﻩ‬
‫اﻟﻌﺮﺑﻴﺔ دون ﺗﺮﲨﺔ‪ ،‬وﻟﻴﺴﺖ أي ﺗﺮﲨﺔ ﻛﺎن‬ ‫اﻟﻘﻴﺎﺳﻲ اﻟﺼﺤﻴﺢ ﺣﱴ وﻗﺖ ﻣﺘﻘﺪم ﻣﻦ اﻟﻘﺮن‬
‫ﺈﺑﻣﻜﺎ�ﺎ ﻧﻘﻞ ﻫﺬا اﻟﱰاث اﻹﻏﺮﻳﻘﻲ ﺑﻜﻞ‬ ‫اﳊﺎﱄ" ‪ .61‬ﻓﻘﺪ اﺳﺘﻄﺎﻋﺖ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﺑﻔﻀﻞ‬
‫ﺗﻔﺎﺻﻴﻠﻪ ﻟﻠﻌﺎﱂ أﲨﻊ ﻓﻴﻤﺎ ﺑﻌﺪ‪ ،‬ﺑﻞ ﻫﻲ ﺗﺮﲨﺔ‬ ‫ﺗﻘﻮﱘ اﻟﻜﻨﺪي وإﻋﺎدة ﺻﻴﺎﻏﺘﻪ ﻟﻠﱰﲨﺎت اﻟﺮدﻳﺌﺔ‬
‫أﺷﺮف ﻋﻠﻴﻬﺎ اﻟﻜﻨﺪي ﻻ ﻣﱰﲨﺎ و�ﻗﻼ ﺑﻞ ﻣﻘﻴﻤﺎ‬ ‫اﻻﻏﺘﻨﺎء واﻟﺘﺠﺪد ﺑﻔﻀﻞ إﺗﻘﺎﻧﻪ ﳍﺎ وﻗﺪرﺗﻪ ﻋﻠﻰ‬
‫وﻣﻘﻮﻣﺎ‪ ،‬إ�ﺎ اﻟﻌﻤﻠﻴﺔ اﶈﻮرﻳﺔ اﻟﱵ أﻧﻘﺬت اﻟﱰاث‬ ‫ﲣﲑ اﳌﻨﺎﺳﺐ ﻣﻦ ﻟﻔﻈﻬﺎ وﻋﺒﺎراﻬﺗﺎ ﻟﻠﺘﻌﺒﲑ ﻋﻦ‬
‫اﻟﻴﻮ�ﱐ ﻣﻦ اﻟﻀﻴﺎع‪ ،‬وﻫﻲ اﻟﻌﻤﻠﻴﺔ اﻟﱵ ﺧﻠﺼﺖ‬ ‫اﻷﻏﺮاض اﻟﱵ ﻳﻨﻘﻠﻬﺎ واﳌﻀﺎﻣﲔ اﻟﱵ ﻳﻬﺪف‬
‫اﻟﱰﲨﺎت اﶈﺼﻠﺔ ﻣﻦ اﻟﻐﻤﻮض واﻹﻬﺑﺎم‪،‬‬ ‫ﺗﺒﻠﻴﻐﻬﺎ‪ ،‬ز ُادﻩ ﰲ ذﻟﻚ اﻷﻣﺎﻧﺔ واﻹﺗﻘﺎن اﳊﺮص‬
‫وﺣﺮﺻﺖ ﻋﻠﻰ ﺗﻘﻴﻴﻤﻬﺎ ﺟﻮدة ورداءة‪ .‬ﻓﻠﻴﺲ‬ ‫واﻟﻜﺜﲑ ﻣﻦ اﻻﺟﺘﻬﺎد واﳍﻤﺔ‪ ،‬ﻓﺴﻜﺐ ﰲ ﺻﺮح‬
‫ﳜﻔﻰ ﻛﻴﻒ ﺗﻠﻘﺖ اﻟﻄﺒﻘﺔ اﳌﺜﻘﻔﺔ ﻣﻦ اﻟﻨﻘﺎد‬ ‫اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﺳﻴﻼ ﻣﻦ اﳌﺼﻄﻠﺤﺎت واﳌﻔﺮدات‬
‫واﻟﻌﻠﻤﺎء ﺎﺑﻣﺘﻌﺎض ﺷﺪﻳﺪ ﻋﺪم اﻧﺴﻴﺎب اﻟﻠﻐﺔ‬ ‫اﳉﺪﻳﺪة‪ ،‬وﺑﻌﺚ ﻣﻦ رﺻﻴﺪﻫﺎ ﻣﺎ أُﳘﻞ‪ ،‬ﻣﻄﻮﻋﺎ‬
‫اﻟﻌﺮﺑﻴﺔ واﺗﺰا�ﺎ ﰲ ﺑﻌﺾ اﻟﻨﺼﻮص اﳌﻨﻘﻮﻟﺔ‪ ،‬وﱂ‬ ‫ﺑﺬﻟﻚ ﻟﻐﺔ اﻟﻀﺎد ﻟﻸﻓﻜﺎر واﻟﺘﺼﻮرات‬
‫ﻳﻜﻦ اﻟﻜﻨﺪي ﻏﺎﻓﻼ ﻋﻦ ﻣﺪى ﺄﺗﺛﲑ رداءة اﻟﻨﻘﻞ‬ ‫اﳌﺴﺘﺤﺪﺛﺔ‪ ،‬ﺷﻌﺎرﻩ ﰲ ذﻟﻚ ﺣﻔﻆ اﻷﻏﺮاض‪،‬‬
‫إﱃ اﻟﻌﺮﺑﻴﺔ ﻓﻬﻮ ﻋﺎﱂ ﻬﺑﺎ ﻓﺼﻴﺢ ﻣﺒﲔ ﻟﺘﻌﺎﺑﲑﻫﺎ‬ ‫وأداء اﳌﻌﺎﱐ‪ ،‬وإﺧﻼص اﳊﻘﺎﺋﻖ ‪.62‬‬
‫وأﺳﺎﻟﻴﺒﻬﺎ‪ ،‬ﻻ ﳜﺮج ﻋﻦ ﺳﻮاد ﻃﺒﻘﺔ ﻋﺼﺮﻩ ﻣﻦ‬ ‫ﺻﺤﻴﺢ أن اﺳﻢ اﻟﻜﻨﺪي ﱂ ﻳﺮﺗﺒﻂ ﺎﺑﻟﱰﲨﺔ ﻗﺪر‬
‫اﻟﻌﻠﻤﺎء واﳌﻔﻜﺮﻳﻦ اﳌﻔﻮﻫﲔ‪ ،‬ﻓﺎﳌﱰﲨﻮن اﳌﻠﺘﻔﻮن‬ ‫ارﺗﺒﺎﻃﻪ ﺎﺑﻟﻔﻠﺴﻔﺔ‪ ،‬ﻟﻜﻦ ﻗﺪر اﻟﻔﻠﺴﻔﺔ اﻟﻴﻮ�ﻧﻴﺔ‬
‫ﺣﻮﻟﻪ ﰲ ﺣﻠﻘﺘﻪ ﳜﺮﺟﻮن اﻷﻋﻤﺎل ﰲ ﺻﻮرة ﻻ‬ ‫أن ﻳﺮﺗﺒﻂ ﺎﺑﻟﱰﲨﺔ اﻟﻌﺮﺑﻴﺔ‪ ،‬ﻓﻠﻢ ﺗﻜﻦ ﻟﻠﻔﻠﺴﻔﺔ‬
‫ﺗﻘﺒﻞ اﻟﺘﺪاول واﻟﻔﻬﻢ ﻧﺘﻴﺠﺔ اﻟﱰﲨﺔ اﳊﺮﻓﻴﺔ ﻋﻦ‬ ‫اﻟﻴﻮ�ﻧﻴﺔ ﻗﺎﺋﻤﺔ دون ﺣﺮﻛﺔ اﻟﱰﲨﺔ اﻟﻌﺮﺑﻴﺔ‪ ،‬وﱂ‬
‫اﻟﻴﻮ�ﻧﻴﺔ‪ ،‬وﻫﻮ اﳌﻘﻴﻢ ﳌﺨﺮﺟﺎت ﺣﻠﻘﺘﻪ اﻟﱰﲨﻴﺔ‬ ‫ﺗﻜﻦ ﻟﻠﻔﻠﺴﻔﺔ اﻟﻌﺮﺑﻴﺔ ﻗﺎﺋﻤﺔ دون اﻟﻜﻨﺪي‪ ،‬ﻓﻠﺮﲟﺎ‬
‫ﻻ ﻳﺴﻤﺢ ﺎﺑﻟﺰﻟﻞ واﻟﱰاﺧﻲ وﲣﺮﻳﺞ اﻟﻨﺼﻮص‬ ‫ﻗﺪر اﻟﻜﻨﺪي ارﺗﺒﻂ ﺎﺑﻟﻔﻠﺴﻔﺔ ﰲ أدﺑﻴﺎت‬
‫‪ 62‬أﺑﻮ ﺣﻴﺎن اﻟﺘﻮﺣﻴﺪي‪ ،‬اﻹﻣﺘﺎع واﳌﺆاﻧﺴﺔ‪ ،‬ﲢﻘﻴﻖ أﲪﺪ أﻣﲔ‬ ‫‪ 61‬دﳝﱰي ﻏﻮﺎﺗس‪ ،‬ص ‪.236‬‬
‫وآﺧﺮﻳﻦ‪ ،‬اﳌﻜﺘﺒﺔ اﳌﺼﺮﻳﺔ‪ ،‬ﺑﲑوت‪ ،1953 ،‬ص ‪.116‬‬
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‫رﺻﻴﺪﻫﺎ ﻣﺎ ﻳﻘﺎﺑﻠﻬﺎ وﻳﻌﱪ ﻋﻨﻬﺎ ﺑﺸﻜﻞ واﺿﺢ‬ ‫ﻛﻴﻔﻤﺎ اﺗﻔﻖ دون ﺟﻮدة‪" ،‬ﻓﺈﻧﻪ أول ﻋﺮﰊ ﻣﺴﻠﻢ‬
‫وﻣﻔﻬﻮم‪ .‬ﺗﻠﻜﻢ ﻛﺎﻧﺖ ﻣﻬﻤﺔ اﻟﻜﻨﺪي ﻣﻬﻤﺔ‬ ‫ﻣﻬﺪ ﻟﻠﻔﻠﺴﻔﺔ ﺳﺒﻴﻞ اﻻﻧﺘﺸﺎر ﺑﲔ اﻟﻌﺮب وﰲ‬
‫ﺗﻘﻮﳝﻴﺔ وﺗﻘﻴﻴﻤﻴﺔ ﻣﺰدوﺟﺔ ﺗﺮاﻋﻲ ﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫ﻇﻞ اﻹﺳﻼم‪ ،‬ﻓﻘﺪ ﻛﺎﻧﺖ اﻟﱰﲨﺔ ﻣﻦ ﻗﺒﻠﻪ ﻟﻨﻘﻠﺔ‬
‫ﺣﺮﻣﺘﻬﺎ وأﺳﻠﻮﻬﺑﺎ وﺗﻐﲏ ﺎﺑﳌﻘﺎﺑﻞ رﺻﻴﺪﻫﺎ‪ ،‬ﻣﻬﻤﺔ‬ ‫ﺣﺮﺻﻬﻢ ﻋﻠﻰ اﻟﱰﲨﺔ اﳊﺮﻓﻴﺔ ﻣﻊ ﺿﻌﻒ ﺑﻴﺎ�ﻢ‬
‫ﻣﺴﺘﻌﺼﻴﺔ ﻟﻜﻨﻬﺎ ﱂ ﺗﻜﻦ ﻣﺴﺘﺤﻴﻠﺔ ﻋﻠﻰ رﺟﻞ‬ ‫اﻟﻌﺮﰊ ﳚﻌﻞ ﺗﺮاﲨﻬﻢ ﻳﺴﺘﻌﺼﻲ ﺣﻠﻬﺎ‪ ،‬ﺣﱴ ﺟﺎء‬
‫ﻋﺎﱂ ﻣﺸﺎرك ﺧﱪ ﻣﻦ اﻟﻌﻠﻮم واﻟﻔﻨﻮن ﻣﺎ ﱂ ﻻ‬ ‫اﻟﻜﻨﺪي ﻳﱰﺟﻢ ﺑﻨﻔﺴﻪ وﻳﺼﻠﺢ ﻫﺬﻩ اﻟﱰاﺟﻢ‬
‫ﻳﺰدﻩ إﻻ ﻋﻄﺸﺎ ﳌﺰﻳﺪ ﻳﻜﺸﻒ أﺳﺮارﻫﺎ وﻳﺴﱪ‬ ‫ﻟﻴﺴﻬﻞ ﺗﻨﺎوﳍﺎ‪ ،‬وﻟﻜﻲ ﻻ ﺗﻨﻔﺮ ﻣﻦ أﺳﺎﻟﻴﺒﻬﺎ‬
‫أﻏﻮارﻫﺎ ﲟﻨﻬﺞ ﻋﻘﻠﻲ ﻣﺒﲔ‪.‬‬ ‫أذواق اﻟﻌﺮب‪ ،‬ﰒ درس اﻟﻜﻨﺪي ﻫﺬﻩ اﻟﻜﺘﺐ‬
‫ﻟﻘﺪ ﻛﺎن اﻟﺘﻘﻴﻴﻢ اﻟﺬي اﻟﺘﺰم ﺑﻪ اﻟﻜﻨﺪي واﻟﺘﻘﻮﱘ‬ ‫اﳌﱰﲨﺔ وﻳﺴﺮ ﻣﻦ ﻣﻮﺿﻮﻋﺎﻬﺗﺎ ﻣﺎ ﻛﺎن ﻣﻌﺴﺮا‪،‬‬
‫اﻟﺬي �ﺠﻪ اﻟﺼﺮح اﻟﺬي ﺑﻨﺖ ﺑﻪ اﻟﱰﲨﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫واﺧﺘﺎر ﻣﺎ ﺻﺢ ﻣﻦ آراﺋﻬﺎ ﰲ ﻧﻈﺮﻩ ﻓﺒﺴﻄﻪ إن‬
‫ﻗﻮﻬﺗﺎ وﺣﻀﻮرﻫﺎ‪ ،‬واﺳﺘﻤﺪت ﻣﻨﻪ اﻟﺮﺻﻴﺪ‬ ‫ﻛﺎن ﳏﺘﺎﺟﺎ ﻟﺒﺴﻂ‪ ،‬وﳋﺼﻪ إن ﻛﺎن ﳏﺘﺎﺟﺎ‬
‫اﻟﻼﻣﺘﻨﺎﻫﻲ ﻣﻦ اﳌﺼﻄﻠﺤﺎت واﳌﻔﺎﻫﻴﻢ اﻟﱵ‬ ‫ﻟﺘﻠﺨﻴﺺ‪ ،‬وﺟﺎﻫﺪ ﻣﻜﻠﻼ ﺎﺑﻟﻨﺼﺮ‪ ،‬ﺑﺬل ﻓﻴﻪ ﻛﻞ‬
‫أﺳﺴﺖ ﻟﻠﻔﻠﺴﻔﺔ اﻟﻌﺮﺑﻴﺔ وﺟﻮدﻫﺎ‪ ،‬ﱂ ﻳﻜﻦ ﺗﻘﻮﱘ‬ ‫ﻣﺎ ﻳﺴﺘﻄﻴﻊ إﻧﺴﺎن أن ﻳﺒﺬﻟﻪ ﻣﻦ ﻧﻌﻴﻢ اﳊﻴﺎة‬
‫اﻟﻜﻨﺪي ﻟﻠﱰﲨﺔ اﻋﺘﺒﺎﻃﺎ‪ ،‬ﺑﻞ ﻛﺎن �ﺑﻌﺎ ﻣﻦ‬ ‫وﺟﺎﻫﻬﺎ‪ ،‬وﺻﱪ ﰲ ذﻟﻚ ﻋﻠﻰ أذى أﺷﺮ� إﱃ‬
‫ﺣﺲ أﺧﻼﻗﻲ ﻋﻤﻴﻖ ﺈﺑﺗﻘﺎن اﻟﻌﻠﻢ وﻃﻠﺒﻪ واﻟﺬوذ‬ ‫ﺑﻌﻀﻪ ﻓﻴﻤﺎ ﻣﻀﻰ" ‪ .63‬ﻓﻜﺎن ﻟﺰاﻣﺎ ﻋﻠﻰ اﻟﻜﻨﺪي‬
‫ﻋﻨﻪ ﻟﻴﺤﻘﻖ اﻟﻔﺎﺋﺪة اﻟﱵ ﺧﻠﻖ اﻹﻧﺴﺎن ﻋﻠﻰ وﺟﻪ‬ ‫أن ﻳﻘﻴﻴﻢ اﻟﱰﲨﺎت أوﻻ ﰒ أن ﻳﻘﻮﻣﻬﺎ ﺎﺛﻧﻴﺎ؛ ﻷﻧﻪ‬
‫اﻷرض ﻟﻴﻘﻮم ﻬﺑﺎ‪ ،‬ﻓﻼ ﻋﻠﻢ ﻏﲑ �ﻓﻊ ﳚﺪي‪ ،‬وﻻ‬ ‫ﻟﻦ ﻳﻘﺒﻞ أن ﺗﻌﺮض ﻬﺑﺬا اﻟﺸﻜﻞ اﳌﺸﲔ ﻋﻠﻰ‬
‫ﻋﻠﻢ ﻏﲑ ﻣﻔﻬﻮم ﻳﻨﻔﻊ‪ ،‬وﻟﻜﻲ ﻳﻨﻔﻊ ﻻ ﺑﺪ أن‬ ‫اﳌﺘﻠﻬﻔﲔ ﻟﻘﺮاءة ﻫﺬا اﻟﻔﻜﺮ اﻟﻔﻠﺴﻔﻲ اﳉﺪﻳﺪ‪،‬‬
‫ﻳﻔﻬﻢ وﻳﺘﻮﻃﻦ اﻟﻠﻐﺔ اﳌﻨﻘﻮل ﳍﺎ‪ ،‬ﻻ أن ﻳﻨﻘﻞ ﳍﺎ‬ ‫وﻛﺎن ﻟﺰاﻣﺎ أن ﻳﺮاﺟﻊ اﻟﻨﺼﻮص وﻳﻌﻴﺪ ﻛﺘﺎﺑﺘﻬﺎ‬
‫ﻣﻦ أﺟﻞ اﻟﻨﻘﻞ وﻛﻔﻰ‪ ،‬ﻓﻠﻮ ﻛﺎﻧﺖ اﻟﱰﲨﺔ ﻛﻞ ﻣﺎ‬ ‫ﺑﻨﻔﺴﻪ ﲟﺎ ﻳﻼﺋﻢ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ وأﺳﻠﻮﻬﺑﺎ‪ ،‬وﻛﺎن‬
‫ﻳﺼﺒﻮ ﻟﻪ ﻣﺎ ارﺗﻘﺖ ﺻﻨﺎﻋﺔ اﻟﱰﲨﺔ وﻻ أﺣﺪﺛﺖ‬ ‫ذﻟﻚ ﰲ ﺣﺪ ذاﺗﻪ أﻣﺮا ﻋﻮﻳﺼﺎ؛ ﻷن اﻷﻓﻜﺎر‬
‫ﻣﺜﺎﻗﻔﺔ وﻻ ﺣﻮارا وﻻ ﺄﺗوﻳﻼ وﻻ ﺄﺗﻟﻴﻔﺎ‪ .‬ﻛﻤﺎ أن‬ ‫اﳌﻨﻘﻮﻟﺔ ﺟﺪﻳﺪة‪ ،‬واﻟﻠﻐﺔ اﻟﻨﺎﻗﻠﺔ ﻻ ﲤﻠﻚ ﰲ‬
‫‪ 63‬ﻣﺼﻄﻔﻰ ﻋﺒﺪ اﻟﺮزاق‪ ،‬ص‪.35‬‬
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‫ﻣﻮﺳﻮﻋﻴﺔ وﺧﻠﻴﻔﺔ ﻋﺎﱂ ﺷﻐﻮف ﺎﺑﳊﻜﻤﺔ‪ ،‬ﻓﻜﺎن‬ ‫اﻟﺘﻘﻴﻴﻢ ﻋﻨﺪ اﻟﻜﻨﺪي ﻳﻨﻄﻠﻖ ﻣﻦ ﻗﺎﻋﺪة ﻧﻔﻌﻴﺔ‬
‫ﺑﺬﻟﻚ أول ﻣﻦ ﺑﺴﻂ اﻟﻔﻠﺴﻔﺔ ﻋﻠﻤﺎ ﻬﺗﺎﻓﺖ‬ ‫اﻟﻌﻠﻢ وإﺷﺎﻋﺘﻪ ﰒ ﺗﻮﻃﻴﻨﻪ ﰲ ﺑﻴﺌﺔ ﱂ ﺗﻜﻦ ﻟﺘﻌﺮف‬
‫ﺣﻮﻟﻪ اﻟﻌﺮب اﳌﺴﻠﻤﻮن‪ ،‬ﻓﻨﻘﻠﻮﻩ ﻣﻦ اﻟﻨﻈﺮي‬ ‫ﻟﻪ ﺳﺒﻴﻼ دون ﺟﻬﻮدﻩ اﻟﺮﺻﻴﻨﺔ‪ ،‬ﻓﺎﻟﺘﻘﻮﱘ ﻗﺎدﻩ إﱃ‬
‫اﳌﻌﻘﺪ إﱃ اﻟﺘﺠﺮﻳﱯ اﳌﺒﺴﻂ‪ ،‬وأﺣﺎﻟﻮﻩ ﻟﻠﺘﺪﻗﻴﻖ‬ ‫إﻋﺎدة إﻧﺘﺎج اﻟﻨﺺ اﻟﻔﻠﺴﻔﻲ اﻟﻴﻮ�ﱐ ﰲ اﻟﻠﻐﺔ‬
‫واﻟﻨﻘﺪ واﻟﺘﺼﻮﻳﺐ ﺑﻨﺎء ﻋﻠﻰ اﻟﺮوح اﻟﻌﻠﻤﻴﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ‪ ،‬واﻟﺘﻘﻮﱘ ﺣﺘﻢ اﺣﱰام اﻟﺜﻘﺎﻓﺔ اﳌﺴﺘﻘﺒﻠﺔ‬
‫واﳌﻨﻬﺞ اﻟﻮاﺿﺢ اﳌﺴﺘﻤﺪ ﻣﻦ اﻟﺮ�ﺿﻴﺎت‪.‬‬ ‫واﻟﻠﻐﺔ اﻟﻨﺎﻗﻠﺔ‪ ،‬واﻟﺘﻘﻮﱘ ﺻﺐ ﰲ ﺷﺮاﻳﲔ اﻟﻠﻐﺔ‬
‫ﺧﺎﲤﺔ اﻟﺒﺤﺚ ‪:‬‬ ‫ﻣﻌﺠﻤﺎ ﺟﺪﻳﺪا ﻳﻌﱪ ﻋﻦ ﻗﺪرة ﻫﺬﻩ اﻟﻠﻐﺔ ﻋﻠﻰ‬
‫اﻟﺘﺠﺪد واﳌﻮاﻛﺒﺔ واﳊﻴﺎة‪ ،‬ﺑﻞ ﻫﻮ أﻋﻄﺎﻫﺎ اﻟﻮﺟﻮد‬
‫إن ﺗﺮاث أﻣﺔ أي أﻣﺔ ﻣﺪﻋﺎة ﻟﻔﺨﺮﻫﺎ ووﻗﻮد‬
‫اﻟﺬي ارﺗﺒﻂ ﺈﺑﻧﺘﺎج ﻋﺮﰊ ﻟﻠﻔﻠﺴﻔﺔ‪ ،‬وﱂ ﻳﻜﺘﻒ‬
‫ﻟﺪﻓﻌﻬﺎ ﳓﻮ ﻣﺴﺘﻘﺒﻞ ﻣﺰدﻫﺮ ﻣﻨﺸﻮد‪ ،‬وﻟﻜﻲ‬
‫ﺎﺑﻟﻨﻘﻞ وﻳﻘﻒ ﻋﻨﺪﻩ‪ ،‬ﺑﻞ ﻏﺮس ﺑﺬور اﻹﻧﺘﺎج‬
‫ﻳﻨﺘﻘﻞ إﱃ ﻓﻌﻞ اﻻزدﻫﺎر اﳌﺮﺗﻘﺐ واﻟﺘﺄﺛﲑ اﳌﺜﻤﺮ‬
‫اﳉﺪﻳﺪ ﻟﻠﻔﻜﺮ اﻟﻌﺮﰊ اﻟﺬي ﻳﺘﻔﺎﻋﻞ ﻣﻊ ﻏﲑﻩ ﻣﻦ‬
‫ﰲ ﻣﺴﺘﻘﺒﻠﻬﺎ‪ ،‬ﻻ ﳚﺐ أن ﺗﺮﻛﻦ إﱃ اﳊﻔﺎظ ﻋﻠﻴﻪ‬
‫اﻟﺜﻘﺎﻓﺎت وﳛﺎورﻫﺎ ﺑﻞ وﻳﺘﻔﻮق ﻋﻠﻴﻬﺎ‪ ،‬ﻓﻠﻘﺪ ﻛﺎن‬
‫وﺗﻘﺪﻳﺴﻪ وﲡﻤﻴﺪﻩ ﰲ ﻣﺘﺎﺣﻒ ودور�ت وﻛﺘﺐ‬
‫ﺈﺑﻣﻜﺎن اﻟﻜﻨﺪي أن ﻳﻜﺘﻔﻲ ﲟﺎ وﺿﻊ ﺑﲔ ﻳﺪﻳﻪ‬
‫وﳐﻄﻮﻃﺎت‪ ،‬أو أن ﺗﺒﺎﻫﻲ ﺑﻪ ﰲ ﻧﺸﻮة اﳌﺰﻫﻮ‬
‫ﻣﻦ ﺗﺮﲨﺎت ﻟﻴﺼﻨﻒ ﰲ اﻟﻌﻠﻮم اﻟﱵ ﻧﺒﻎ ﻓﻴﻬﺎ‪،‬‬
‫ﺑﻔﻌﻞ ﻣﻨﺴﻮب ﻷﺟﺪادﻩ ﰲ ﻗﻄﻴﻌﺔ ﻻ �ﻓﻌﺔ وﻻ‬
‫ﻟﻜﻦ اﳊﺮص واﻹﺗﻘﺎن واﻷﻣﺎﻧﺔ ﰲ ﻧﻘﻞ اﻟﻌﻠﻢ ﻛﻤﺎ‬
‫ﻣﺘﻔﺎﻋﻠﺔ‪ ،‬ﺑﻞ ﻳﻔﱰض أن ﺗﻨﻄﻠﻖ ﻣﻨﻪ ﻟﺘﻨﺸﺊ‬
‫ﺷﺎء ﻟﻪ واﺿﻌﻪ‪ ،‬دﻓﻌﺖ اﻟﻜﻨﺪي إﱃ ﺧﻠﻖ ﻧﻈﺎم‬
‫ﺣﺎﺿﺮﻫﺎ ﻋﻠﻰ ﺿﻮﺋﻪ وﻫﺪﻳﻪ أﻛﻴﺪ‪ ،‬وﻟﻜﻦ‬
‫ﺟﺪﻳﺪ ﰲ اﻟﱰﲨﺔ ﰲ ﺣﺪ ذاﻬﺗﺎ ﻧﻈﺎم ﻳﺒﻐﻲ‬
‫ﺑﺒﺼﻤﺔ اﻻﻧﺘﻔﺎع اﻟﻨﺎﺟﻊ واﻟﺘﺤﺼﻴﻞ اﻟﻨﺎﻓﻊ‪ ،‬ﻻ‬
‫اﻟﺘﺤﺮي واﻟﺘﻤﺤﻴﺺ ﻟﻠﻮﺻﻮل إﱃ اﳌﻌﺮﻓﺔ اﻟﱵ‬
‫اﻟﺘﺸﺒﺚ اﻟﺴﻄﺤﻲ اﻟﻔﺎرغ اﻟﺬي ﻳﺘﺠﲎ ﻋﻠﻴﻪ‪،‬‬
‫ﲢﻘﻖ اﻟﻔﺎﺋﺪة ﻟﻺﻧﺴﺎﻧﻴﺔ‪ ،‬ﻣﺼﺤﺤﺎ اﻟﱰاﺟﻢ اﻟﱵ‬
‫وﳚﻌﻠﻪ ﻣﻌﻴﻘﺎ وﺣﺎﺟﺰا ﳓﻮ ﺗﻘﺪﻣﻬﺎ وﳊﺎﻗﻬﺎ ﺑﺮﻛﺐ‬
‫وﺿﻌﺖ ﰲ اﻟﻔﻠﺴﻔﺔ واﻟﻄﺐ واﳊﻜﻤﺔ ﺑﺪﻗﺔ‬
‫اﻷﻣﻢ اﻷﺧﺮى‪ .‬وﳓﻦ ﻧﻌﻴﺶ أزﻣﺔ ﺛﻘﺎﻓﻴﺔ ﻛﱪى‬
‫وأﻣﺎﻧﺔ‪ ،‬ﻣﻮﺿﺤﺎ ﻣﺸﻜﻠﻬﺎ‪ ،‬وﻣﻠﺨﺼﺎ ﺻﻌﺒﻬﺎ‬
‫ﺗﺒﺪأ ﻣﻦ اﻟﻨﻔﻮر ﻣﻦ اﻟﻜﺘﺎب واﻟﺘﻨﺤﻲ ﻋﻦ ﺳﺎﺣﺔ‬
‫وﻣﺒﺴﻄﺎ ﻋﻮﻳﺼﻬﺎ‪ ،‬ﻓﻘﺪ اﺟﺘﻤﻌﺖ ﻟﻪ اﻷﺳﺒﺎب‬
‫اﻟﻘﺮاءة وﺿﻌﻒ ﺣﺮﻛﺔ اﻟﱰﲨﺔ ورداءﻬﺗﺎ‪ ،‬ﻣﻘﺎﺑﻞ‬
‫ﻣﻦ ﺳﻌﺔ اﻃﻼع ووﺟﻮد ﲟﻜﺘﺒﺔ ﺿﺨﻤﺔ وﺛﻘﺎﻓﺔ‬
‫اﻟﺮﻛﺾ ﳓﻮ ﺗﻜﻨﻮﻟﻮﺟﻴﺎ اﻹﻋﻼم واﳌﻌﻠﻮﻣﻴﺎت‬
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‫ﺧﱪ اﻟﻌﻠﻮم واﻵداب واﻟﻔﻨﻮن‪ ،‬واﻧﺘﻘﻞ ﻟﻜﺸﻒ‬ ‫واﻟﺘﻘﻨﻴﺎت ﺑﺼﻴﻐﻬﺎ اﻻﺳﺘﻬﻼﻛﻴﺔ ﻻ اﻹﻧﺘﺎﺟﻴﺔ‪،‬‬
‫ﻋﻠﻢ اﻟﻔﻠﺴﻔﺔ ﺑﻜﻞ �ﻢ ﱂ ﻳﺼﺪﻩ ﻋﻦ ذﻟﻚ ﺷﻲء‪.‬‬ ‫وﻧﻔﻮر ﻣﻦ اﻻﻃﻼع ﻋﻠﻰ اﳌﻔﻴﺪ ﰲ ﻣﺎ ﻳﻨﺘﺞ ﰲ‬
‫إﻧﻨﺎ ﻧﻘﱰح ﻫﺬا اﻟﻨﻤﻮذج اﻟﱰاﺛﻲ ﰲ واﻗﻌﻨﺎ اﻟﻌﺮﰊ‬ ‫ﳎﺎﻻت اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ وﺗﺼﻨﻴﻌﻬﺎ واﳌﻌﻠﻮﻣﻴﺎت‬
‫وﺗﻄﻮرﻫﺎ‪ ،‬واﻧﻜﻔﺎء ﳓﻮ اﺳﺘﻬﻼك ﻏﲑ رﺷﻴﺪ وﻻ‬
‫ﻧﺴﺘﺜﻤﺮ ﻣﻨﻪ ﻣﺎ ﳝﻜﻦ أن ﻳُﻘﻮم ﺷﺄن ﺗﺴﻴﲑ اﻟﱰﲨﺔ‬
‫ﲪﻴﺪ‪ ،‬وﻟﺬﻟﻚ ﻣﻦ اﻟﺼﻌﺐ أن ﳓﻜﻲ ﻋﻦ ﻣﻔﻬﻮم‬
‫وﺗﺪﺑﲑﻫﺎ‪ ،‬ﻷﻧﻪ ﳕﻮذج اﺷﺘﻐﺎل ﻳﺆﻣﻦ ﺎﺑﻟﻌﻤﻞ‬
‫اﻹﻧﺘﺎج أوﻻ‪ ،‬وﻣﻔﻬﻮم اﻹﺑﺪاع ﺎﺛﻧﻴﺎ‪ ،‬وﻣﻔﻬﻮم‬
‫اﻟﺘﻜﺎﻣﻠﻲ واﳉﻤﺎﻋﻲ‪ ،‬وﳛﻔﻆ ﳍﺬﻩ اﳌﻨﻈﻮﻣﺔ‬
‫اﻻﺳﺘﻘﻼﻟﻴﺔ اﻟﻔﻜﺮﻳﺔ ﺎﺛﻟﺜﺎ‪ .‬وﻟﻜﻦ ﳓﻦ �ﻣﻞ أن‬
‫اﳌﻨﺨﺮﻃﺔ ﻓﻴﻪ ﺣﻘﻮﻗﻬﺎ وﻳﺮاﻗﺐ اﻟﺘﺰاﻣﻬﺎ ﺑﻮاﺟﺒﺎﻬﺗﺎ‪،‬‬
‫ﻧﻌﻮد ﺎﺑﻟﺼﻔﺤﺔ ﻗﻠﻴﻼ إﱃ اﻟﻮراء ﺣﻴﺚ ﱂ ﻳﻜﻦ‬
‫وﻫﻮ أﻣﺮ ﻣﺮﻬﺗﻦ ﲟﺪى ﻗﺪرة اﳌﺸﺮف ﻋﻠﻰ اﻟﻘﻴﺎم‬
‫اﻟﺮﻛﻮن إﱃ ﻣﺎ أﻧﺘﺠﻪ اﻵﺧﺮ اﻟﻨﻬﺎﻳﺔ ﺑﻞ اﻟﺒﺪاﻳﺔ‪،‬‬
‫ﺑﺬﻟﻚ اﻧﻄﻼﻗﺎ ﻣﻦ ﻣﺪﺧﻼت اﻟﱰﲨﺔ ﻛﻤﺎ‬
‫وﻛﺎن اﻹﺑﺪاع راﻓﻌﺔ ﻟﻠﻔﻌﻞ اﻹﻧﺘﺎﺟﻲ ﻋﻠﻰ ﲨﻴﻊ‬
‫أﺳﻠﻔﻨﺎ‪ ،‬ﲟﻌﲎ أن اﻻﺧﺘﻴﺎر اﻟﺮﺷﻴﺪ ﻟﻠﻤﺸﺮف‬ ‫اﻷﺻﻌﺪة وﻋﻠﻰ رأﺳﻬﺎ اﻟﻌﻠﻮم واﻟﻔﻨﻮن واﻵداب‬
‫ﻋﻠﻰ ﺣﻠﻘﺔ اﻟﱰﲨﺔ‪ ،‬ﻫﻮ ﰲ ﺣﺪ ذاﺗﻪ اﳌﻔﺘﺎح‬ ‫ﰒ اﻟﻌﻤﺮان واﻟﺘﺼﻨﻴﻊ واﻟﺘﺪوﻳﻦ واﻟﱰﲨﺔ واﻟﺘﺄﻟﻴﻒ‪.‬‬
‫اﻷﺳﺎﺳﻲ ﻟﻨﺠﺎح اﻟﻌﻤﻠﻴﺔ ﺑﺮﻣﺘﻬﺎ‪ ،‬وﻫﻮ اﻟﺴﺒﻴﻞ‬ ‫ﱂ ﻳﻜﻦ ﻣﺎ وﺻﻞ إﻟﻴﻪ اﻵﺧﺮ ﻣﻨﺘﻬﻰ ﻣﺎ ﻳﺒﻠُﻐﻪ اﻟﻌﺎﱂ‬
‫ﻟﻠﻨﻬﻮض ﺎﺑﶈﻄﺔ اﻟﺜﺎﻧﻴﺔ اﳌﺘﻌﻠﻘﺔ ﺎﺑﺧﺘﻴﺎرات‬ ‫اﻟﻌﺮﰊ اﳌﺴﻠﻢ ﻣﻦ اﳊﻜﻤﺔ‪ ،‬ﻓﺪوﻣﺎ ﻛﺎن ﺑﻌﺪ ﻋﻠﻢ‬
‫اﻟﱰﲨﺔ واﺧﺘﻴﺎر اﳌﱰﲨﲔ‪ ،‬ﻓﺈذا ﻛﺎن اﳌﺸﺮف‬ ‫اﻵﺧﺮ ﻋﻠﻮم ﻳﻜﺸﻒ اﻟﻨﻬﻢ اﳌﻌﺮﰲ واﻟﺮﻏﺒﺔ‬
‫ﻋﻠﻰ اﳌﺴﺘﻮى اﻟﻌﻠﻤﻲ اﳊﻖ واﳌﻌﺮﰲ اﻟﻜﻒء‪ ،‬وﻟﻪ‬ ‫اﳌﻨﻜﻔﺌﺔ ﳓﻮ اﻟﺘﻌﻠﻢ ُﺣﺠﺒﻬﺎ‪ ،‬وﻳﺒﻮئ أﺻﺤﺎﻬﺑﺎ‬
‫ﻣﻦ اﻟﻮﻋﻲ ﺄﺑﳘﻴﺔ دور اﻟﱰﲨﺔ ﰲ �ﻀﺔ أﻣﺘﻪ ﻣﺎ‬ ‫ﻣﻘﻌﺪﻫﻢ ﰲ ﺎﺗرﻳﺦ اﻟﻌﻠﻮم اﻟﻌﺎﳌﻴﺔ‪ ،‬وإﻧﻨﺎ ﳒﺪ ﰲ‬
‫ﻳﻜﻔﻲ‪ ،‬ﻓﻼ ﺑﺪ أﻧﻪ ﺳﻴﻘﺪم ﻣﺎ ﲢﺘﺎﺟﻬﺎ أﻛﻴﺪ‪،‬‬ ‫ﻫﺬﻩ اﻟﺘﺠﺮﺑﺔ ﺑﺒﻴﺖ اﳊﻜﻤﺔ وﲝﻠﻘﺔ اﻟﻜﻨﺪي‬
‫وﻫﻮ ﻛﺬﻟﻚ ﺳﻴﻜﻮن ﻗﺎدرا ﻋﻠﻰ اﺧﺘﻴﺎر اﳌﱰﲨﲔ‬ ‫اﻟﻨﻤﻮذج اﳌﻼﺋﻢ اﻟﺬي ﳝﻜﻦ أن ﻧﻨﻄﻠﻖ ﻣﻨﻪ‬
‫ﻟﻨﺼﺤﺢ اﻟﻮﺿﻊ اﻟﱰﲨﻲ اﻟﻌﺮﰊ ﺑﺪءا ﻣﻦ‬
‫اﻷﻛﻔﺎء ﻟﻴﻨﻘﻠﻮا ﺎﺑﳉﻮدة اﻟﱵ ﻻ ﺗﻠﻐﻲ ﻣﻦ أﳘﻴﺔ‬
‫اﳌﺪﺧﻼت و�ﺎﻳﺔ ﲟﺎ ﻳﻨﺘﺞ ﻣﻦ ﳐﺮﺟﺎت‪،‬‬
‫ﻋﻤﻠﻴﺔ اﳌﺮاﺟﻌﺔ واﻟﺘﻘﻮﱘ اﻟﺒَﻌﺪي ﳌﺎ ﻳﻨﺠﺰ ﻓﺎﺋﺪة‪،‬‬
‫وﻫﻮ اﳌﺮاﻗﺐ ﻟﺴﲑ اﻟﻌﻤﻞ اﻟﱰﲨﻲ واﳌ ِّ‬ ‫ﻓﺎﻟﺘﺠﺮﺑﺔ ﻣﻬﻨﻴﺔ اﺣﱰاﻓﻴﺔ ﻳﻘﻮدﻫﺎ ﻋﺎﱂ ﻣﺸﺎرك‬
‫ﻌﺪ ﻟﻪ ﻓﺮﻳﻘﺎ‬
‫ُ‬
‫ﻟﻠﺘﺘﺒﻊ واﻟﺘﻘﻮﱘ ﰒ اﻟﺘﻘﻴﻴﻢ‪ ،‬وﺑﺬﻟﻚ ﳝﻜﻦ اﳊﺪﻳﺚ‬
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‫ﻟﻴﺴﻤﺢ ﻟﻠﺒﺎﺣﺜﲔ واﳌﻔﻜﺮﻳﻦ إﻧﺘﺎج ﻣﻌﺮﻓﺔ ﺟﺪﻳﺪة‬ ‫ﻋﻦ ﻣﺸﺮوع ﺗﺮﲨﻲ ﻋﺮﰊ ﻣﻨﺘﺞ‪ .‬وﻟﻜﻲ ﻧﻀﻤﻦ‬
‫ﻋﻠﻰ ﺿﻮﺋﻪ واﻟﺘﻮﺻﻞ إﱃ ﺗﺼﻮرات ورؤى ﺟﺪﻳﺪة‬ ‫اﺳﺘﻤﺮارﻳﺔ ﳒﺎﺣﻪ ودوام ﻋﻄﺎﺋﻪ؛ ﻻ ﺑﺪ أن ﻧﺴﺘﻠﻬﻢ‬
‫ﻛﻔﻴﻠﺔ ﺑﻨﻘﻞ اﺠﻤﻟﺘﻤﻊ اﻟﻌﺮﰊ ﻣﻦ داﺋﺮة اﻻﺳﺘﻬﻼك‬ ‫اﻟﺪور اﻟﺬي ﻗﺎﻣﺖ ﺑﻪ اﻟﺪوﻟﺔ اﻟﻌﺒﺎﺳﻴﺔ ﻣﻦ ﺗﻮﻓﲑ‬
‫إﱃ داﺋﺮة اﻹﻧﺘﺎج‪ ،‬ﻣﻦ اﳍﻮاﻣﺶ واﻷﻃﺮاف إﱃ‬ ‫اﻷﺟﻮاء اﳌﻬﻨﻴﺔ ﻣﻦ ﻣﺆﺳﺴﺎت ﺛﻘﺎﻓﻴﺔ ﻟﻠﻌﻤﻞ‪،‬‬
‫اﳌﺮﻛﺰ أﻧﺪادا ﻻ أﺗﺒﺎﻋﺎ‪ .‬إ�ﺎ اﶈﻄﺔ اﻟﺮﺋﻴﺴﻴﺔ‬ ‫وﻟﻈﺮوف ﻣﺎدﻳﺔ ﻣﺸﺠﻌﺔ ﻟﻺﻧﺘﺎج‪ ،‬وﻻ ﳚﺐ أن‬
‫ﻟﻠﺘﻔﻌﻴﻞ اﳊﻘﻴﻘﻲ ﻟﻠﱰﲨﺔ ﻋﱪ اﻹﻧﺘﺎج اﻟﻌﺮﰊ ﻟﻠﻌﻠﻢ‬ ‫ﻧﺘﻮﻗﻒ ﻋﻨﺪ ذﻟﻚ ﻷن اﻟﱰﲨﺔ ﻫﻲ اﶈﻄﺔ اﻷوﱃ‬
‫ﻣﻦ ﺟﺪﻳﺪ وﺗﻮﻃﲔ اﳌﻌﺮﻓﺔ ﻋﱪ ﺗﻌﺮﻳﺐ اﻟﻌﻠﻮم‬ ‫وﻣﺎ ﺑﻌﺪﻫﺎ اﻷﻫﻢ‪ ،‬وﻟﺬﻟﻚ وﺟﺐ وﺿﻊ ﺣﻠﻘﺎت‬
‫وﲡﺪﻳﺪ اﻟﻔﻜﺮ اﻟﻌﺮﰊ‪.‬‬ ‫أﺧﺮى ﻣﻮازﻳﺔ ﺗﻘﻮم ﺑﻨﻘﺪ ﻣﺎ ﻳﻨﺘﺞ ودراﺳﺘﻪ‪،‬‬
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‫اﳌﺮاﺟﻊ اﻟﻌﺮﺑﻴﺔ‬
‫ﺑﻦ ﳏﺠﻮب‪ ،‬ﻫﻨﺪ‪ .(2018) ،‬اﻟﱰﲨﺔ‬ ‫اﺑﻦ أﰊ أﺻﻴﺒﻌﺔ‪) ،‬د‪.‬ت(‪ .‬ﻣﻮﻓﻖ اﻟﺪﻳﻦ أﰊ‬
‫اﳌﻌﺎﻛﺴﺔ ﻟﻠﺸﻌﺮ اﻟﻌﺮﰊ اﻟﱰاﺛﻲ ‪ :‬ﲢﺪ�ت‬ ‫اﻟﻌﺒﺎس أﲪﺪ ﺑﻦ اﻟﻘﺎﺳﻢ‪ ،‬ﻋﻴﻮن اﻷﻧﺒﺎء ﰲ‬
‫اﻟﻮاﻗﻊ وآﻓﺎق اﻹﻣﻜﺎن‪ ،‬أﻋﻤﺎل اﳌﺆﲤﺮ‬ ‫ﻃﺒﻘﺎت اﻷﻃﺒﺎء‪ ،‬ﲢﻘﻴﻖ ﻧﺰار رﺿﺎ‪ ،‬دار‬
‫اﻟﺪوﱄ ﺣﻮل اﻟﱰﲨﺔ وﺗﺪﺑﲑ اﻻﺧﺘﻼف‪،‬‬ ‫ﻣﻜﺘﺒﺔ اﳊﻴﺎة‪ ،‬ﺑﲑوت‪ ،‬د‪.‬ت‪.‬‬
‫أﺑﺮﻳﻞ ‪ ،2018‬ﳎﻠﺔ ﺗﺮﲨﺎن‪ ،‬ﻋﺪد‬
‫اﺑﻦ اﻟﻨﺪﱘ‪ .(1971) ،‬اﻟﻔﻬﺮﺳﺖ‪.‬‬
‫ﺧﺎص‪ ،‬اﺠﻤﻟﻠﺪ ‪ ،27‬ﻋﺪد ‪ ،2‬أﻛﺘﻮﺑﺮ‪،‬‬
‫ﻃﻨﺠﺔ‪ ،‬ص ‪.257-227‬‬ ‫أﲪﺪ ﻣﻮﺳﻰ‪ .(2015) ،‬ﻳﻌﻘﻮب ﺑﻦ إﺳﺤﻖ‬
‫اﻟﻜﻨﺪي ﺑﲔ اﻫﺘﻤﺎم اﻟﻌﺮب وﻋﻨﺎﻳﺔ‬
‫ﺑﻦ ﳏﺠﻮب‪ ،‬ﻫﻨﺪ‪) ،‬ﻗﻴﺪ اﻟﻨﺸﺮ(‪ .‬ﻣﻼﻣﺢ ﻣﻦ‬
‫اﻟﻔﺮس‪ ،‬اﻟﻜﻨﺪي وﻓﻠﺴﻔﺘﻪ‪ ،‬أﻋﻤﺎل ﻣﻬﺪاة‬
‫أﺧﻼﻗﻴﺎت اﻟﱰﲨﺔ ﰲ اﻟﱰاث اﻟﻌﺮﰊ‬
‫إﱃ ﳏﻤﺪ اﳌﺼﺒﺎﺣﻲ‪ ،‬ﺗﻘﺪﱘ ﺳﻌﻴﺪ‬
‫اﻹﺳﻼﻣﻲ‪ :‬ﻋﻠﻤﺎء ﺑﻴﺖ اﳊﻜﻤﺔ ﰲ‬
‫اﻟﺒﻮﺳﻜﻼوي‪ ،‬ﻣﻨﺸﻮرات ﻓﺮﻳﻖ اﻟﺒﺤﺚ ﰲ‬
‫اﻟﻌﺼﺮ اﻟﻌﺒﺎﺳﻲ ﳕﻮذﺟﺎ‪ ،‬ﳎﻠﺔ ﺗﺮﲨﺎن‪.‬‬
‫اﻟﻔﻠﺴﻔﺔ اﻹﺳﻼﻣﻴﺔ ﺳﻠﺴﻠﺔ اﻟﻨﺪوات‬
‫اﻟﺘﻮﺣﻴﺪي‪ ،‬أﺑﻮ ﺣﻴﺎن‪ .(1953) ،‬اﻹﻣﺘﺎع‬ ‫واﻷ�م اﻟﺪراﺳﻴﺔ‪ ،‬ﻛﻠﻴﺔ اﻵداب واﻟﻌﻠﻮم‬
‫واﳌﺆاﻧﺴﺔ‪ ،‬ﲢﻘﻴﻖ أﲪﺪ أﻣﲔ وآﺧﺮﻳﻦ‪،‬‬ ‫اﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﺟﺎﻣﻌﺔ ﳏﻤﺪ اﻷول‪ ،‬وﺟﺪة‪،‬‬
‫اﳌﻜﺘﺒﺔ اﳌﺼﺮﻳﺔ‪ ،‬ﺑﲑوت‪.‬‬ ‫ص ‪.61-29‬‬
‫ﺛﻴﻮ ﻫﺮﻣﺎﻧﺲ‪ .(2016) ،‬ﻣﻌﺎﻳﲑ اﻟﱰﲨﺔ‪ ،‬ﺗﺮﲨﺔ‬ ‫اﻷﻧﺪﻟﺴﻲ‪ ،‬أﺑﻮ اﻟﻘﺎﺳﻢ ﺻﺎﻋﺪ ﺑﻦ أﲪﺪ ﺑﻦ‬
‫ﲪﻴﺪ اﻟﻌﻮاﺿﻲ‪ ،‬ﳎﻠﺔ اﻟﺘﻌﺮﻳﺐ‪ ،‬ﻋﺪد ‪،51‬‬ ‫ﺻﺎﻋﺪ‪ .(1912) ،‬ﻃﺒﻘﺎت اﻷﻣﻢ‪،‬‬
‫دﺟﻨﱪ‪ ،‬ص‪.178-167‬‬ ‫ﲢﻘﻴﻖ اﻷب ﻟﻮﻳﺲ ﺷﻴﺨﻮ اﻟﻴﺴﻮﻋﻲ‪،‬‬
‫اﳉﺎﺣﻆ‪ ،‬أﺑﻮ ﻋﺜﻤﺎن ﻋﻤﺮو ﺑﻦ ﲝﺮ‪ ،‬اﻟﺒﺨﻼء‪،‬‬ ‫اﳌﻜﺘﺒﺔ اﻟﻜﺎﺛﻮﻟﻴﻜﻴﺔ‪ ،‬ﺑﲑوت‪.‬‬
‫ﲢﻘﻴﻖ ﻃﻪ اﳊﺎﺟﺮي‪ ،‬ذﺧﺎﺋﺮ اﻟﻌﺮب‪:‬‬ ‫ﲝﺮاوي‪ ،‬ﺣﺴﻦ‪ .(2011) ،‬ﻣﺪارات‬
‫‪ ،23‬دار اﳌﻌﺎرف‪ ،‬اﻟﻘﺎﻫﺮة‪ ،‬اﻟﻄﺒﻌﺔ‬ ‫اﳌﺴﺘﺤﻴﻞ‪ ،‬دراﺳﺎت ﰲ ﺗﺮﲨﺔ اﻟﺸﻌﺮ‪،‬‬
‫اﳋﺎﻣﺴﺔ‪.‬‬ ‫ﻣﻨﺸﻮرات ﺑﻴﺖ اﳊﻜﻤﺔ‪ ،‬دار أﰊ رﻗﺮاق‪،‬‬
‫اﻟﺮﺎﺑط‪.‬‬
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‫ﻓﺮﳛﺔ‪ ،‬ﻣﺮاﺟﻌﺔ وﻟﻴﺪ ﻓﺮﺣﺎت‪ ،‬دار اﻟﺜﻘﺎﻓﺔ‪،‬‬ ‫ﺣﺰل‪ ،‬ﻋﺒﺪ اﻟﺮﺣﻴﻢ‪ .(2018) ،‬اﻟﺘﻘﻴﻴﻢ اﻟﱰﲨﻲ‪،‬‬
‫ﺑﲑوت‪.‬‬ ‫ﳎﻠﺔ ﻛﻠﻤﺔ‪ ،‬ﻋﺪد ‪ ،1373‬ﺷﺘﻨﱪ‪.‬‬
‫روﺟﻲ ﻏﺎرودي‪ .(1985) ،‬وﻋﻮد اﻹﺳﻼم‪،‬‬ ‫ﺣﺴﻦ إﺑﺮاﻫﻴﻢ ﺣﺴﻦ‪ .(1973) ،‬ﺎﺗرﻳﺦ‬
‫ﺗﺮﲨﺔ ذوﻗﺎن ﻗﺮﻗﻮط‪ ،‬دار اﻟﺮﻗﻲ‪ ،‬ﺑﲑوت‪،‬‬ ‫اﻹﺳﻼم اﻟﺴﻴﺎﺳﻲ واﻟﺪﻳﲏ واﻟﺜﻘﺎﰲ‬
‫ﻣﻜﺘﺒﺔ ﻣﺬﺑﻮﱄ‪ ،‬اﻟﻘﺎﻫﺮة‪.‬‬ ‫واﻻﺟﺘﻤﺎﻋﻲ‪ ،‬ﻣﻜﺘﺒﺔ اﻟﻨﻬﻀﺔ اﳌﺼﺮﻳﺔ‪،‬‬
‫اﻟﺴﻴﺪ ﻏﻨﻴﻢ ﻛﺎرم‪ .(1989) ،‬اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫اﻟﻘﺎﻫﺮة‪.‬‬
‫واﻟﺼﺤﻮة اﻟﻌﻠﻤﻴﺔ‪ ،‬ﻣﻜﺘﺒﺔ اﺑﻦ ﺳﻴﻨﺎ‪،‬‬ ‫دي ﺑﻮر‪ .(2010) ،‬ﺎﺗرﻳﺦ اﻟﻔﻠﺴﻔﺔ ﰲ‬
‫اﻟﻘﺎﻫﺮة‪.‬‬ ‫اﻹﺳﻼم‪ ،‬ﺗﺮﲨﺔ أﺑﻮ رﻳﺪة‪ ،‬اﳍﻴﺌﺔ اﻟﻌﺎﻣﺔ‬
‫ﺷﺎﻫﺮ أﲪﺪ ﻧﺼﺮ‪ .(2005) ،‬دور اﻟﱰﲨﺔ ﰲ‬ ‫ﻟﻠﻜﺘﺎب‪ ،‬اﻟﻘﺎﻫﺮة‪.‬‬
‫ﻧﺸﺮ اﻟﻔﻜﺮ اﻟﺘﻨﻮﻳﺮي ﰲ ﻋﺼﺮ اﻟﻨﻬﻀﺔ‪،‬‬ ‫دﻳﺪاوي‪ ،‬ﳏﻤﺪ‪ .(2005) ،‬ﻣﻨﻬﺎج اﳌﱰﺟﻢ ﺑﲔ‬
‫اﳊﻮار اﳌﺘﻤﺪن‪ ،‬ﻋﺪد ‪.1161‬‬ ‫اﻟﻜﺘﺎﺑﺔ واﻻﺻﻄﻼح واﳍﻮاﻳﺔ واﻻﺣﱰاف‪،‬‬
‫ﺷﻮﻗﻲ‪ ،‬ﺟﻼل‪ .(2010) ،‬اﻟﱰﲨﺔ ﰲ اﻟﻌﺎﱂ‬ ‫اﳌﺮﻛﺰ اﻟﺜﻘﺎﰲ اﻟﻌﺮﰊ ‪،‬ﺑﲑوت‪ ،‬اﻟﺪار‬
‫اﻟﻌﺮﰊ‪ ،‬اﻟﻮاﻗﻊ واﻟﺘﺤﺪي ﰲ ﺿﻮء ﻣﻘﺎرﻧﺔ‬ ‫اﻟﺒﻴﻀﺎء‪.‬‬
‫إﺣﺼﺎﺋﻴﺔ واﺿﺤﺔ اﻟﺪﻻﻟﺔ‪ ،‬اﳌﺮﻛﺰ اﻟﻘﻮﻣﻲ‬ ‫دﳝﱰي‪ ،‬ﻏﻮﺎﺗس‪ .(1998) ،‬اﻟﻔﻜﺮ اﻟﻴﻮ�ﱐ‬
‫ﻟﻠﱰﲨﺔ‪ ،‬ﺳﻠﺴﻠﺔ دراﺳﺎت اﻟﱰﲨﺔ‪،‬‬ ‫واﻟﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﻴﺔ‪ ،‬ﺗﺮﲨﺔ ﻧﻘﻮﻻ ز�دة‪،‬‬
‫اﻟﻘﺎﻫﺮة‪.‬‬ ‫اﳌﻨﻈﻤﺔ اﻟﻌﺮﺑﻴﺔ ﻟﻠﱰﲨﺔ‪ ،‬ﻣﺮﻛﺰ دراﺳﺎت‬
‫ﻋﺒﺪ اﻟﺮزاق‪ ،‬ﻣﺼﻄﻔﻰ‪ .(2014) ،‬ﻓﻴﻠﺴﻮف‬ ‫اﻟﻮﺣﺪة اﻟﻌﺮﺑﻴﺔ‪ ،‬ﺑﲑوت‪.‬‬
‫اﻟﻌﺮب واﳌﻌﻠﻢ اﻟﺜﺎﱐ‪ ،‬ﻣﺆﺳﺴﺔ ﻫﻨﺪاوي‬ ‫راﺟﺎ‪ ،‬ﲨﻴﻠﺔ‪ .(2012) ،‬اﻟﱰﲨﺔ ﰲ اﻟﻮﻃﻦ‬
‫ﻟﻠﺘﻌﻠﻴﻢ واﻟﺜﻘﺎﻓﺔ‪ ،‬اﻟﻘﺎﻫﺮة‪.‬‬ ‫اﻟﻌﺮﰊ‪ ،‬واﻗﻊ وآﻓﺎق‪ ،‬ﳎﻠﺔ اﳌﻤﺎرﺳﺎت‬
‫ﻋﺼﻔﻮر‪ ،‬ﳏﻤﺪ ﺣﺴﻦ ﳏﻤﺪ‪.(2009)،‬‬ ‫اﻟﻠﻐﻮﻳﺔ‪ ،‬اﳉﺰاﺋﺮ‪ ،‬ﻋﺪد ‪ ،12‬ص‪-171‬‬
‫دراﺳﺎت ﰲ اﻟﱰﲨﺔ وﻧﻘﺪﻫﺎ‪ ،‬اﳌﺆﺳﺴﺔ‬ ‫‪.188‬‬
‫اﻟﻌﺮﺑﻴﺔ ﻟﻠﺪراﺳﺎت واﻟﻨﺸﺮ‪ ،‬ﺑﲑوت‪.‬‬ ‫روزﻧﺘﺎل‪ ،‬ﻓﺮاﻧﺘﺰ‪ .(1961) ،‬ﻣﻨﺎﻫﺞ اﻟﻌﻠﻤﺎء‬
‫اﳌﺴﻠﻤﲔ ﰲ اﻟﺒﺤﺚ اﻟﻌﻠﻤﻲ‪ ،‬ﺗﺮﲨﺔ أﻧﻴﺲ‬
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Volume 10, Issue 11, June 2020 https://www.dragoman-journal.org Hind bin Mahjoub
References
‫ إﺧﺒﺎر‬.(2005) ،‫ اﻟﻮزﻳﺮ ﲨﺎل اﻟﺪﻳﻦ‬،‫اﻟﻘﻔﻄﻲ‬
Gerhard, Endress,(1997), “The Circle of
al-Kindi, Early Arabic Translations
‫ ﲢﻘﻴﻖ إﺑﺮاﻫﻴﻢ‬،‫اﻟﻌﻠﻤﺎء ﺄﺑﺧﺒﺎر اﳊﻜﻤﺎء‬
from the Greek and the Rise of ،‫ دار اﻟﻜﺘﺐ اﻟﻌﻠﻤﻴﺔ‬،‫ﴰﺲ اﻟﺪﻳﻦ‬
Islamic Philosophy”, dans The
Ancient Tradition in Christian and .‫ﺑﲑوت‬
Islamic Hellenism : Studies on the
Transmission of Greek Philosophy
and Sciences, Research School .(1950)،‫ ﻳﻌﻘﻮب ﺑﻦ إﺳﺤﻖ‬،‫اﻟﻜﻨﺪي‬
CNWS, Leiden , 1997, pp. 43-76
‫ ﲢﻘﻴﻖ ﳏﻤﺪ‬،‫رﺳﺎﺋﻞ اﻟﻜﻨﺪي اﻟﻔﻠﺴﻔﻴﺔ‬
Tahiri, Hassan,(2019) la philosophie entre
imitation et transformation, revue ،‫ دار اﻟﻔﻜﺮ اﻟﻌﺮﰊ‬،‫ﻋﺒﺪ اﳍﺎدي أﺑﻮ رﻳﺪة‬
Turjuman, Vol28, N2, Octobre, pp
45-100. .‫ﻣﺼﺮ‬
:‫اﳌﺮاﺟﻊ اﻹﻟﻜﱰوﻧﻴﺔ‬ ‫ ﺗﻘﻴﻴﻢ ﺟﻮدة‬.(2016) ،‫ ﺟﻮﻟﻴﺎن‬،‫ﻫﺎوس‬
‫ اﻟﺘﻘﺮﻳﺮ اﻟﻜﺎﻣﻞ ﻟﻠﻤﺆﲤﺮ‬،‫ﺟﻮدة اﻟﱰﲨﺔ وإدارﻬﺗﺎ‬ ‫ ﺗﺮﲨﺔ‬،‫واﳊﺎﺿﺮ‬ ‫اﻟﱰﲨﺔ ﺑﲔ اﳌﺎﺿﻲ‬
2009 ‫اﻷردﱐ اﻟﺪوﱄ ﻟﻠﱰﲨﺔ ﻟﻌﺎم‬ ‫ ﻣﺎﺟﺴﺘﲑ‬،‫ﺟﺪو‬ ‫ﻳﻌﻘﻮب ﻋﻴﺴﻰ ﳏﻤﺪ‬
https://www.ammonnews.net/article/43071
،‫ اﳊﻠﻘﺔ اﻷوﱃ‬.. ‫واﻗﻊ اﻟﱰﲨﺔ ﰲ اﻟﻮﻃﻦ اﻟﻌﺮﰊ‬ ‫ﺟﺎﻣﻌﺔ اﻟﺴﻮدان‬ ،‫اﻵداب ﰲ اﻟﱰﲨﺔ‬
2010/02/27 :‫اﻟﻨﺸﺮ‬ ‫ﺎﺗرﻳﺦ‬ ‫ﻛﻠﻴﺔ اﻟﺪراﺳﺎت‬ ،‫ﻟﻠﻌﻠﻮم واﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ‬
http://www.alkhaleej.ae/alkhaleej/page/ce122
0bd-9a36-4609-bb0c-
.‫اﻟﻌﻠﻴﺎ‬
03a28e91d5f5#sthash.I5yeg6KH.dpuf
132
Volume 12, Issue 13, May 2022 https://www.dragoman-journal.org Hussain M. Alqarni
Arab Heritage Characters in English Young Adult Literature between

Domestication and Foreignization:
An assessment of Emily Selove Work (Popeye and Curly)
:‫اﻟﺸﺨﺼﻴﺎت اﻟﱰاﺛﻴﺔ اﻟﻌﺮﺑﻴﺔ ﰲ أدب اﻟﻴﺎﻓﻌﲔ ﺎﺑﻟﻠﻐﺔ اﻹﳒﻠﻴﺰﻳﺔ ﺑﲔ اﻟﺘﻘﺮﻳﺐ واﻟﺘﻐﺮﻳﺐ‬

(‫ﻗﺮاءة ﰲ ﲡﺮﺑﺔ إﻣﻴﻠﻲ ﺳﻴﻠﻮف )اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس‬
‫ ﺣﺴﲔ ﳏﻤﺪ اﻟﻘﺮﱐ‬.‫د‬
‫ اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‬،‫ ﺟﺪة‬،‫ﺟﺎﻣﻌﺔ اﳌﻠﻚ ﻋﺒﺪ اﻟﻌﺰﻳﺰ‬
Abstract
This study examines the employment of Arab heritage characters in the literature of
young adults published in the English language. It analyses the book (Popeye and
Curly:120 Days in Medieval Baghdad) by Emily Selove, to assess the impact of her
reliance on the domestication strategy, and her choices of mediums through which she
published her work, and their roles in presenting the writer’s perceptions and
representation of the Arab culture and the Abbasid civilization. The study describes
and analyses both the texts and of comics strips, employing mediological and cultural
analysis methods, in addition to the historical investigation of the contents, which the
writer refers to in her texts or drawings. The study found that the researcher’s reliance
on the domestication strategy, her usage of more than one medium, her interpretations
of some ancient social phenomena through contemporary ideologies, her choices of
topics that she wrote about, and the sources she relied on have caused several
problematic issues, including the emergence of a methodological defects such as
interpreting poets' imaginations and the writers' metaphors as historical facts, in
addition to the writer representation of distorted pictures of the Abbasid era, its
characters, and the achievements of its civilization.
‫ﺗﺒﺤﺚ ﻫﺬﻩ اﻟﺪراﺳﺔ ﰲ ﺗﻮﻇﻴﻒ اﻟﺸﺨﺼﻴﺎت اﻟﱰاﺛﻴﺔ اﻟﻌﺮﺑﻴﺔ ﰲ أدب اﻟﻴﺎﻓﻌﲔ اﳌﻨﺸﻮر ﺎﺑﻟﻠﻐﺔ اﻹﳒﻠﻴﺰﻳﺔ ﻣﻦ ﺧﻼل ﲢﻠﻴﻞ‬
‫ ﻟﻠﺒﺎﺣﺜﺔ إﻣﻴﻠﻲ ﺳﻴﻠﻮف؛ ﻟﺒﻴﺎن أﺛﺮ اﻋﺘﻤﺎدﻫﺎ‬،(‫ ﻣﺌﺔ وﻋﺸﺮون ﻳﻮﻣﺎ ﰲ ﺑﻐﺪاد اﻟﻘﺮون اﻟﻮﺳﻄﻰ‬:‫ﻛﺘﺎب )اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس‬
‫ ودور ذﻟﻚ ﰲ ﺗﻘﺪﱘ ﺗﺼﻮرات اﻟﻜﺎﺗﺒﺔ ﻋﻦ اﻟﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﻴﺔ‬،‫ واﺧﺘﻴﺎرﻫﺎ ﻟﻠﻮﺳﺎﺋﻂ اﳊﺎﻣﻠﺔ ﻟﻌﻤﻠﻬﺎ‬،‫ﻋﻠﻰ اﺳﱰاﺗﻴﺠﻴﺔ اﻟﺘﻘﺮﻳﺐ‬
‫ وﲢﺎول ﻣﻘﺎرﺑﺔ اﻟﻨﺼﻮص وﲢﻠﻴﻞ اﳌﻀﺎﻣﲔ اﻟﱵ ﲢﻤﻠﻬﺎ‬،‫ وﺗﻌﺘﻤﺪ اﻟﺪراﺳﺔ اﳌﻨﻬﺞ اﻟﻮﺻﻔﻲ اﻟﺘﺤﻠﻴﻠﻲ‬.‫واﳊﻀﺎرة اﻟﻌﺒﺎﺳﻴﺔ‬
ٍ
‫ إﺿﺎﻓﺔ إﱃ اﻟﺘﺤﻘﻴﻖ اﻟﺘﺎرﳜﻲ ﻟﻠﻤﻀﺎﻣﲔ‬،‫ وﻃﺮاﺋﻖ اﻟﺘﺤﻠﻴﻞ اﻟﺜﻘﺎﰲ‬،‫ﻣﺴﺘﻮ�ت ﻣﻦ اﻟﺘﺤﻠﻴﻞ اﻟﻮﺳﺎﺋﻄﻲ‬ ‫اﻟﺮﺳﻮﻣﺎت ﻣﻮﻇﻔﺔ‬
‫ وﻗﺪ ﺗﻮﺻﻠﺖ اﻟﺪراﺳﺔ إﱃ أن اﻋﺘﻤﺎد اﻟﺒﺎﺣﺜﺔ ﻋﻠﻰ اﺳﱰاﺗﻴﺠﻴﺔ‬.‫اﻟﱵ ﺗﺸﲑ إﻟﻴﻬﺎ اﻟﻜﺎﺗﺒﺔ ﰲ ﻧﺼﻮﺻﻬﺎ أو رﺳﻮﻣﺎﻬﺗﺎ‬
‫ وﺗﻔﺴﲑاﻬﺗﺎ ﻟﺒﻌﺾ اﻟﻈﻮاﻫﺮ اﻻﺟﺘﻤﺎﻋﻴﺔ اﻟﻘﺪﳝﺔ ﻣﻦ ﺧﻼل اﻷﻳﺪوﻟﻮﺟﻴﺎت‬،‫ واﻧﺘﻘﺎل ﻋﻤﻠﻬﺎ ﺑﲔ أﻛﺜﺮ ﻣﻦ وﺳﻴﻂ‬،‫اﻟﺘﻘﺮﻳﺐ‬
ISSN: 2295-1210 137 © ATI & Garant

،‫ واﳌﺼﺎدر اﻟﱵ اﻋﺘﻤﺪت ﻋﻠﻴﻬﺎ ﻗﺪ أوﻗﻌﻬﺎ ﰲ إﺷﻜﺎﻻت ﻋﺪة‬،‫ واﺧﺘﻴﺎراﻬﺗﺎ ﻟﻠﻤﻮﺿﻮﻋﺎت اﻟﱵ ﻛﺘﺒﺖ ﻋﻨﻬﺎ‬،‫اﳌﻌﺎﺻﺮة‬
‫ إﺿﺎﻓﺔ إﱃ رﺳﻢ اﻟﻜﺎﺗﺒﺔ ﺻﻮر‬،‫ﻋﺪ ﺧﻴﺎﻻت اﻟﺸﻌﺮاء وﳎﺎزات اﻷدﺎﺑء ﺣﻘﺎﺋﻖ ﺎﺗرﳜﻴﺔ‬ِّ ‫ﻣﻨﻬﺎ ﻇﻬﻮر اﳋﻠﻞ اﳌﻨﻬﺠﻲ ﰲ‬
.‫ﻣﻀﻄﺮﺑﺔ ﻋﻦ اﻟﻌﺼﺮ اﻟﻌﺒﺎﺳﻲ وﺷﺨﺼﻴﺎﺗﻪ وﻣﻨﺠﺰاﺗﻪ اﳊﻀﺎرﻳﺔ‬
________________________________________________________
Keywords: Heritage Characters, Domestication and Foreignization, Young Adult Literature,
Comic strips, Emily Selove
‫ إﻣﻴﻠﻲ ﺳﻴﻠﻮف‬،‫ رﺳﻮﻣﺎت ﺗﺼﻮﻳﺮﻳﺔ‬،‫ أدب اﻟﻴﺎﻓﻌﲔ‬،‫ اﻟﺘﻘﺮﻳﺐ واﻟﺘﻐﺮﻳﺐ‬،‫ﺷﺨﺼﻴﺎت ﺗﺮاﺛﻴﺔ‬
Short Bio
Hussain Mohammed Abdullah Alqarni. Associate Professor of Arabic Literature

in the Department of Arabic Language. He is also the Director of Translation and
Arabization Centre at King Abdulaziz University, Jeddah, Kingdom of Saudi
Arabia. He teaches Arabic literature and criticism, both classical and modern, for
undergraduate and postgraduate students at king Abdulaziz University. His interests
includes; Arabic literature, Classical Arabic poetry, drama, narrative works. His
publications cover wide range of topics including: Arabic literature, Classical
Arabic poetry, drama, translation studies, and cultural studies
ISSN: 2295-1210 138 © ATI & Garant

‫‪Volume 12, Issue 13, May 2022‬‬ ‫‪https://www.dragoman-journal.org‬‬ ‫‪Hussain M. Alqarni‬‬
‫اﻟﺸﺨﺼﻴﺎت اﻟﱰاﺛﻴﺔ اﻟﻌﺮﺑﻴﺔ ﰲ أدب اﻟﻴﺎﻓﻌﲔ ﺎﺑﻟﻠﻐﺔ اﻹﳒﻠﻴﺰﻳﺔ ﺑﲔ اﻟﺘﻘﺮﻳﺐ واﻟﺘﻐﺮﻳﺐ‪:‬‬

‫ﻗﺮاءة ﰲ ﲡﺮﺑﺔ إﻣﻴﻠﻲ ﺳﻴﻠﻮف )اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس(‬
‫د‪ .‬ﺣﺴﲔ ﳏﻤﺪ اﻟﻘﺮﱐ‬
‫ﺗﻮﻃﺌﺔ‪:‬‬
‫وﻟﻘﺮون ﺧﻠﺖ ﻇﻬﺮت اﶈﺎوﻟﺔ ﺗﻠﻮ اﶈﺎوﻟﺔ؛‬ ‫اﻻﻫﺘﻤﺎم ﺎﺑﻟﱰاث اﻟﻌﺮﰊ ﰲ اﻟﺪراﺳﺎت اﻟﻐﺮﺑﻴﺔ‬
‫ﻣﻘﺪﻣﺔ ﺻﻮرة اﻟﻌﺮﰊ إﱃ ﲨﻬﻮر اﻟﻘﺮاء ﻣﻦ ﻏﲑ‬ ‫ِّ‬ ‫ﻗﺪﱘ وﳑﺘﺪ‪ ،‬واﳌﻬﺘﻤﻮن ﺑﻪ ﻃﻴﻒ واﺳﻊ ﻳﻀﻢ‬
‫اﻟﻌﺮب‪ ،‬ﻋﱪ وﺳﺎﺋﻂ ﻣﺘﻨﻮﻋﺔ؛ ﻣﺎ ﺑﲔ ٍ‬
‫ﻛﺘﺎب‬ ‫واﳌﻨﺼﻔﲔ‬ ‫واﳌﺴﺘﻌﺮﺑﲔ‪،‬‬ ‫اﳌﺴﺘﺸﺮﻗﲔ‬
‫ﲤﺜﻴﻠﻲ‬ ‫ٍ‬ ‫ٍ‬ ‫واﳌﺘﺤﺎﻣﻠﲔ‪ ،‬وﺟﻬﺎﺑﺬة اﻟﻌﻠﻤﺎء وﺻﻐﺎر‬
‫ﻣﻄﺒﻮع‪ ،‬أو ﻓﻴﻠﻢ وﺎﺛﺋﻘﻲ ﻣﻌﺮﰲ‪ ،‬أو ﻋﻤﻞ ٍّ‬
‫ﺳﺮدي؛ ِّ‬ ‫ﻳﻮﺟﻬﻮن ﺑﻌﻀﺎً ﻣﻦ ﻧﺘﺎﺟﻬﻢ إﱃ‬ ‫ِ‬
‫ﻳﻘﺪم اﳌﺘﺨﻴﱠﻞ ﻣﺴﺘﻘﻰ ﻣﻦ اﻟﺘﺎرﳜﻲ‬ ‫ٍّ‬ ‫اﻟﺒﺎﺣﺜﲔ؛ ّ‬
‫اﳌﺘﺨﺼﺼﲔ ﰲ دراﺳﺎت اﻟﺸﺮق اﻷوﺳﻂ‪ ،‬ﻛﻤﺎ‬
‫أدﰊ ذي ﻃﺒﻴﻌﺔ‬ ‫اﳌﺒﺜﻮث ﰲ اﳌﺼﺎدر‪ ،‬أو ٍّ‬
‫ﻧﺺ ٍّ‬
‫اﻟﻘﺮاء ﻣﻦ ﻓﺌﺎت ﻋﻤﺮﻳﺔ‬ ‫ِ‬ ‫ﻳﻮﺟﻬﻮن ﺑﻌﻀﻪ إﱃ ﻋﺎﻣﺔ اﻟﻘﺮاء اﳌﻮﻟﻌﲔ ﲟﻌﺮﻓﺔ‬ ‫ِ‬
‫ﺳﺮدﻳﺔ ﲣﻴْﻴﻠﻴّﺔ ﺗﻘﺪم إﱃ ّ‬ ‫ّ‬
‫ﻘﺪم ﰲ ﻫﺬﻩ اﻟﻮﺳﺎﺋﻂ‬ ‫ﳐﺘﻠﻔﺔ‪ ،‬وﻻ ﺷﻚ أن ﻣﺎ ﻳُ ﱠ‬ ‫اﻟﺘﻨﻮع ﰲ‬
‫اﻵﺧﺮ واﻟﻘﺮاءة ﻋﻨﻪ‪ .‬وﻳﻨﺘﺞ ﻋﻦ ﻫﺬا ّ‬
‫ﻳﺴﺘﺤﻖ اﻟﺘﺄﻣﻞ واﻟﺪراﺳﺔ؛ ﻷﺳﺒﺎب ﻛﺜﲑة ﻣﻦ‬ ‫اﻻﻫﺘﻤﺎﻣﺎت وﻃﺒﻴﻌﺔ اﳌﻬﺘﻤﲔ ﺗﺒﺎﻳُ ٌﻦ ﻓﻴﻤﺎ ﻳﺼﺪر‬
‫أﳘﻬﺎ‪ :‬اﻟﺘﻌﺮف ﻋﻠﻰ ﻛﻴﻔﻴﺔ ﺑﻨﺎء اﻟﺼﻮرة اﻟﺬﻫﻨﻴﺔ‬ ‫ﻣﻦ ﻧﺘﺎج ﲝﺜﻲ أو ﻣﻌﺮﰲ أو ﺛﻘﺎﰲ ﻋﺎم‪ ،‬ﻛﻤﺎ‬
‫اﻟﻨﻤﻄﻴﺔ ﻋﻦ اﻟﻌﺮﰊ‪ ،‬وﻋﻦ ﺗﺮاﺛﻪ وﺎﺗرﳜﻪ ﻟﺪى‬ ‫ﺗﺘﻨﻮع أﺳﺎﻟﻴﺐ اﻟﺪارﺳﲔ واﻟﺒﺎﺣﺜﲔ واﳌﱰﲨﲔ ﰲ‬ ‫ّ‬
‫ﺸﻜﻞ ﻓﻜﺮ‬ ‫اﻵﺧﺮ‪ ،‬وﻣﻌﺮﻓﺔ اﳌﺆﺛﺮات اﻟﱵ ﺗُ ِّ‬ ‫ﺗﻘﺪﱘ اﻟﱰاث اﻟﻌﺮﰊ ﻟﻠﻘﺎرئ ﻏﲑ اﻟﻌﺮﰊ؛ ﻓﻤﻨﻬﻢ‬
‫ﻣﻘﺪﻣﻲ ﻫﺬﻩ اﻟﺘﺼﻮرات ﻟﻠﻤﺘﻠﻘﻲ ﻏﲑ اﻟﻌﺮﰊ‪،‬‬ ‫ِّ‬ ‫ﻣﻦ ﻳـُ ْﻌﲎ ﺄﺑﻣﺎﻧﺔ اﻟﻨﻘﻞ وﺗﺼﻮﻳﺮ واﻗﻊ اﻟﱰاث‬
‫وﻣﻨﺎﻗﺸﺘﻬﺎ‪ ،‬وﺑﻴﺎن ﻗﻴﻤﺘﻬﺎ اﳌﻌﺮﻓﻴﺔ واﻟﻔﻨﻴﺔ‪،‬‬ ‫اﻟﻌﺮﰊ ﻛﻤﺎ وﺟﺪﻩ واﺳﺘﻮﻋﺒﻪ‪ ،‬وﻣﻨﻬﻢ ﻣﻦ ﻳﺘّﺴﻢ‬
‫وﻣﻮاﻃﻦ اﻟﻘﻮة واﻟﻀﻌﻒ ﻓﻴﻬﺎ‪ ،‬وﻛﻴﻒ ﳝﻜﻦ‬ ‫ﻋﻤﻠﻪ ﺎﺑﻻﻧﺘﻘﺎﺋﻴﺔ ﰲ اﻻﺧﺘﻴﺎر واﻟﺘﺼﻮﻳﺮ واﻟﺘﻌﺒﲑ‬
‫ﻣﻘﺎرﺑﺘﻬﺎ واﺳﺘﺜﻤﺎرﻫﺎ‪.‬‬ ‫ﲢﻘﻴﻘﺎً ﻷﻫﺪاف ﳏﺪدة‪ ،‬وﻣﻨﻬﻢ ﻣﻦ ﻳﺘﺠﺎوز إﱃ‬
‫ﺗﺸﻮﻳﻪ اﻟﱰاث واﻻﻓﱰاء ﻋﻠﻴﻪ‪.‬‬
‫‪ISSN: 2295-1210‬‬ ‫‪139‬‬ ‫‪© ATI & Garant‬‬

‫وﰲ دراﺳﺔ ﻣﻨﻘﺸﻮاي ﻛﺎي )‪:(Mingshui Cai‬‬ ‫وﻣﻦ اﻟﺪراﺳﺎت اﻟﺴﺎﺑﻘﺔ اﻟﱵ ﺗﺘﺒّﻌﺖ اﻷدب‬
‫اﻟﺘﻌﺪدﻳﺔ اﻟﺜﻘﺎﻓﻴﺔ‪ :‬أدب اﻷﻃﻔﺎل واﻟﻴﺎﻓﻌﲔ‪،‬‬ ‫اﻟﻌﺮﰊ ﻟﻠﻴﺎﻓﻌﲔ ﺎﺑﻟﻠﻐﺔ اﻹﳒﻠﻴﺰﻳﺔ دراﺳﺔ ﻧﺴﺮﻳﻦ‬
‫ﺗﺸﲑ اﻟﺒﺎﺣﺜﺔ إﱃ اﻟﻄﺒﻴﻌﺔ اﻻﺟﺘﻤﺎﻋﻴﺔ واﻟﺴﻴﺎﺳﻴﺔ‬ ‫ﻋﻨﺎﰐ )‪ :(Nisreen Anati‬اﻷدب اﻟﻌﺮﰊ‬
‫وﺗﻨﺺ‬
‫ﻟﻠﺜﻘﺎﻓﺔ وأﺛﺮﻫﺎ ﰲ ﺗﻜﻮﻳﻦ اﻟﺼﻮر اﻟﻨﻤﻄﻴﺔ‪ ،‬ﱡ‬ ‫ﺖ ﻛﺘﺐ‬ ‫أﺣﺼ ْ‬
‫ﻟﻠﻴﺎﻓﻌﲔ ﺎﺑﻟﻠﻐﺔ اﻹﳒﻠﻴﺰﻳﺔ؛ ﺣﻴﺚ َ‬
‫ﺑﻮﺿﻮح ﻋﻠﻰ أن "اﻟﺘﺼﻮﻳﺮ ﰲ اﻷدب ﱂ ﻳﻜﻦ ﰲ‬ ‫اﻷدب اﻟﻌﺮﰊ اﳌﻮﺟﻬﺔ ﻟﻠﻴﺎﻓﻌﲔ ﰲ اﻟﻮﻻ�ت‬
‫ﻷن اﻷﻋﻤﺎل اﻷدﺑﻴﺔ‬‫ﻳﻮم ﻣﺎ ﻗﻀﻴﺔ أدﺑﻴﺔ ﲝﺘﺔ؛ ّ‬ ‫اﳌﺘﺤﺪة اﻷﻣﺮﻳﻜﻴﺔ ﺑﲔ ﻋﺎﻣﻲ ‪ 1988‬و‬
‫ﲤﺜّﻞ ﺟﺎﻧﺒﺎً ﲨﺎﻟﻴﺎً وﺑﻨﻴﺔ اﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﻓﺎﻵداب‬ ‫ﻓﻮﺟﺪت أ�ﺎ ‪ 49‬ﻛﺘﺎﺎﺑً ﻓﻘﻂ‪ ،‬وﲤﺜّﻞ‬
‫ْ‬ ‫‪2010‬م‬
‫ﺗﺼﻮر ﻗﻴﻢ ُﻣْﻨﺘِ ِﺠﻴﻬﺎ‪ ،‬وﻣﻌﺘﻘﺪاﻬﺗﻢ‪ ،‬وﻣﻮاﻗﻔﻬﻢ ‪...‬‬
‫ِّ‬ ‫اﻟﻜﺘﺐ اﻟﱵ اﺳﺘﻠﻬﻤﺖ اﻟﱰاث اﻟﻌﺮﰊ وﺣﻜﺎ�ﺗﻪ‬
‫ﺗﺼﻮرات ﻋﻦ اﻟﺜﻘﺎﻓﺎت‬ ‫ِ‬
‫وﺗَـْﺒﻨـﻲ اﻟﺜﻘﺎﻓﺔ اﻟﻐﺎﻟﺒﺔ ّ‬ ‫ﰲ أدب اﻟﻴﺎﻓﻌﲔ ﺎﺑﻟﻠﻐﺔ اﻹﳒﻠﻴﺰﻳﺔ ﻧﺴﺒﺔ ‪%25‬‬
‫ﻤﺔ ﳋﺪﻣﺔ ﻏﺎ�ﻬﺗﺎ‬ ‫ﻳﻘﺔ ﻣﺼﻤ ٍ‬‫اﳌﻐﻠﻮﺑﺔ ﺑﻄﺮ ٍ‬ ‫ﻓﻘﻂ؛ ﺑﻴﻨﻤﺎ ﺗﻮزﻋﺖ اﻟﻨﺴﺒﺔ اﳌﺘﺒﻘﻴﺔ ﺑﲔ‬
‫ّ‬
‫اﻷﻳﺪوﻟﻮﺟﻴﺔ‪ ...‬وﲣﻠﻖ ﺻﻮراً ﳕﻄﻴﺔ ﺳﻴﺌﺔ ﻟﻠﺘﺄﺛﲑ‬ ‫ﻣﻮﺿﻮﻋﲔ ﻣﻌﺎﺻﺮﻳﻦ‪ :‬اﻟﻘﻀﻴﺔ اﻟﻔﻠﺴﻄﻴﻨﻴﺔ‪،‬‬
‫ﻋﻠﻰ اﻟﻮﻋﻲ اﳉﻤﻌﻲ‪ ،‬وﺧﺪﻣﺔ ﻏﺎ�ت اﻟﺜﻘﺎﻓﺔ‬ ‫وﺣﻴﺎة اﳌﺮاﻫﻘﲔ اﻟﻌﺮب ﰲ أﻣﺮﻳﻜﺎ ﺑﻌﺪ أﺣﺪاث‬
‫اﻟﻐﺎﻟﺒﺔ"‪ 4 .‬وﻗﺪ أﻛﺪت اﻟﺒﺎﺣﺜﺔ ﻛﺬﻟﻚ ﰲ ﻫﺬﻩ‬ ‫اﳊﺎدي ﻋﺸﺮ ﻣﻦ ﺳﺒﺘﻤﱪ‪ 1 .‬وﻗﺪ ﻻﺣﻈﺖ‬
‫اﻟﺪراﺳﺔ أن اﻷﺛﺮ اﻟﺴﻴﺎﺳﻲ ﰲ ﺻﻨﺎﻋﺔ اﻟﺼﻮر‬ ‫اﻟﺒﺎﺣﺜﺔ ﻧﺪرة ﻛﺘﺐ اﻷدب اﻟﻌﺮﰊ اﳌﻮﺟﻬﺔ‬
‫اﻟﻨﻤﻄﻴﺔ اﻟﺴﻴﺌﺔ ﻟﻠﺜﻘﺎﻓﺎت واﳉﻤﺎﻋﺎت اﳌﻐﻠﻮﺑﺔ ﻻ‬ ‫ﻟﻠﻴﺎﻓﻌﲔ ﺎﺑﻟﻠﻐﺔ اﻹﳒﻠﻴﺰﻳﺔ وﺑﺮوز ﻣﺸﻜﻠﺔ اﻷﺻﺎﻟﺔ‬
‫ﻳﻨﺤﺼﺮ ﰲ اﻟﻮﻻ�ت اﳌﺘﺤﺪة‪ ،‬ﺑﻞ ﻳﻈﻬﺮ ﰲ دول‬ ‫واﳌﻮﺛﻮﻗﻴﺔ ﰲ اﻟﻜﺘﺐ اﳌﻮﺟﻮدة ﻣﻨﻬﺎ ﻋﻨﺪ اﻟﻨﻈﺮ‬
‫أﺧﺮى ﻛﺬﻟﻚ‪ ،‬وأن اﻟﻌﺮب ﻃﺎﳌﺎ ﻛﺎﻧﻮا ﻣﻮﺿﻮع‬ ‫ﰲ اﺧﺘﻴﺎر ﻣﺎ ﻳﺼﻠﺢ ﻣﻨﻬﺎ ﻟﻠﺘﻘﺪﱘ إﱃ ﻫﺬﻩ اﻟﻔﺌﺔ‬
‫ﻫﺬﻩ اﻟﺼﻮر؛ ﺗُﻈﻬﺮﻫﻢ ﻣﺴﻠﻤﲔ ﻣﺘﺸﺪدﻳﻦ‪ ،‬ذوي‬ ‫اﻟﻌﻤﺮﻳﺔ )‪ 20-12‬ﻋﺎﻣﺎً( ‪ 2‬ﰲ اﻟﻮﻻ�ت اﳌﺘﺤﺪة‬
‫‪5‬‬
‫ﻣﻜﺮ ﺷﻴﻄﺎﱐ‪ ،‬ﻋﺪواﻧﲔ وﻋﻨﻴﻔﲔ أو إرﻫﺎﺑﻴﲔ‪.‬‬ ‫اﻷﻣﺮﻳﻜﻴﺔ ﻣﻦ ﺣﻴﺚ اﻟﺼﺤﺔ‪ ،‬واﳌﻮﺿﻮﻋﻴﺔ‪،‬‬
‫‪3‬‬
‫واﳌﻼءﻣﺔ‪.‬‬
‫‪3‬‬
‫‪Anati, Arabic Young Adult Literature in‬‬ ‫‪1‬‬
‫‪Nisreen M. Anati, ‘Arabic Young Adult‬‬
‫‪English, p.170‬‬ ‫‪Literature in English’ in: Arab World English‬‬
‫‪4‬‬
‫‪Mingshui Cai, Multicultural Literature for‬‬ ‫‪Journal, vol.3, No.2, June 2012, (pp.168-193),‬‬
‫‪Children and Young Adults: Reflections on‬‬ ‫‪p.180.‬‬
‫‪critical issues, Westport: Greenwood Press,‬‬ ‫‪ 2‬ﻳﻠﺤﻆ أن ﲢﺪﻳﺪ ﺳﻦ اﻟﻴﺎﻓﻌﲔ ﳐﺘﻠﻒ ﺑﲔ اﻟﺜﻘﺎﻓﺘﲔ‬
‫‪2011, p.69.‬‬
‫‪5‬‬
‫‪Ibid., p. 70.‬‬ ‫اﻟﱪﻳﻄﺎﻧﻴﺔ واﻷﻣﺮﻳﻜﻴﺔ‪ ،‬ﻓﻬﻮ ﻣﺎ ﺑﲔ )‪ 20-12‬ﻋﺎﻣﺎً( ﻋﻨﺪ‬
‫ﻧﺴﺮﻳﻦ ﻋﻨﺎﰐ ﰲ ﻫﺬا اﻟﺒﺤﺚ‪ ،‬ﺑﻴﻨﻤﺎ ﳒﺪﻩ ﻳﱰاوح ﺑﲔ )‪-10‬‬
‫‪ 18‬ﻋﺎﻣﺎً( ﻋﻨﺪ إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﻛﻤﺎ ﺳﻴﺄﰐ‪.‬‬
‫‪140‬‬
‫ﺄﺑﳘﻴﺔ دراﺳﺔ اﻟﻌﺎﱂ اﻟﻌﺮﰊ وﻟﻐﺘﻪ وﺣﺎﺿﺮﻩ وﻣﺎﺿﻴﺔ‬ ‫وﻳﻈﻞ اﻷﻣﻞ ﻗﺎﺋﻤﺎً أن ﺗﺴﻬﻢ ﺟﻬﻮد اﳌﱰﲨﲔ‬
‫وإرﺛﻪ اﻟﻌﻠﻤﻲ‪ ،‬ودور اﳊﻀﺎرة اﻟﻌﺮﺑﻴﺔ اﻟﻘﺪﳝﺔ ﰲ‬ ‫واﻟﺒﺎﺣﺜﲔ ﰲ ﺗﻘﺪﱘ اﻟﱰاث اﻟﻌﺮﰊ ﺑﻠﻐﺎت اﻟﻌﺎﱂ‬
‫إﻏﻨﺎء اﳊﻀﺎرة اﻷوروﺑﻴﺔ اﳊﺪﻳﺜﺔ‪ .‬وﻫﺬا ﻣﺎ ﺗﻘﺮرﻩ‬ ‫اﳌﺨﺘﻠﻔﺔ إﱃ اﻟﻘﺮاء ﻣﻦ اﻷﻣﻢ اﻷﺧﺮى ‪ -‬ﺳﻮاء‬
‫إﻣﻴﻠﻲ ﺳﻴﻠﻮف )‪ (Emily Selove‬ﰲ ﻛﺜﲑ‬ ‫أﻛﺎن أدﺎﺑً‪ ،‬أم ﻋﻠﻤﺎً‪ ،‬أم ﺎﺗرﳜﺎً‪ ،‬أم ﻓﻠﺴﻔﺔ‪ -‬ﻟﺒﻨﺎء‬
‫وﲤﻬﺪ ﺑﻪ اﳊﺪﻳﺚ ﰲ ﻣﻘﺪﻣﺎت ﻛﺘﺒﻬﺎ؛‬ ‫أﻋﻤﺎﳍﺎ‪ّ ،‬‬ ‫ﺟﺴﻮر اﻟﺘﻌﺎرف اﳊﻀﺎري‪ ،‬واﻟﺘﻮاﺻﻞ اﻹﻧﺴﺎﱐ‪،‬‬
‫إذ ﺗﺬﻛﺮ ﰲ ﻣﻘﺪﻣﺔ ﻛﺘﺎﻬﺑﺎ‪ :‬اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس‪:‬‬ ‫وﻓﻬﻢ اﻵﺧﺮ‪ ،‬واﺳﺘﻴﻌﺎﺑﻪ‪ .‬واﳉﻬﻮد ﰲ ﻫﺬا‬
‫ﻣﺌﺔ وﻋﺸﺮون ﻳﻮﻣﺎً ﰲ ﺑﻐﺪاد اﻟﻘﺮون اﻟﻮﺳﻄﻰ‬ ‫اﻟﺴﻴﺎق ﻗﺪﳝﺔ ﺟﺪاًّ وﲤﺘﺪ إﱃ ﻳﻮم اﻟﻨﺎس ﻫﺬا‪،‬‬
‫) ‪Popeye and Curly: 120 days in medieval‬‬ ‫وﻣﺎ ﺗُﺮﺟﻢ ﻣﻦ ﺗﺮاﺛﻨﺎ اﻟﻌﺮﰊ إﱃ اﻟﻠﻐﺎت اﻷﺧﺮى‬
‫‪" (Baghdad‬ﺿﺮورة ﺗﺪرﻳﺲ اﻟﻄﻠﺒﺔ ﰲ اﳌﺪارس‬ ‫– ﻗﻴﺎﺳﺎً ﲟﺎ ﱂ ﻳﱰﺟﻢ – ﻻ ﻳﺰال ﻧﺰراً ﻳﺴﲑاً‪ .‬وﻟﻌﻞ‬
‫ﻋﻦ أﺛﺮ ﺑﻐﺪاد ﰲ اﻟﻘﺮون اﻟﻮﺳﻄﻰ‪ ،‬ﻟﻸﺳﺒﺎب‬ ‫اﳌﺸﺮوﻋﺎت اﳉﺎدة اﻟﱵ ﺗﺘﺒﻨﺎﻫﺎ ﺑﻌﺾ اﳌﺮاﻛﺰ‬
‫ﻧﻔﺴﻬﺎ اﻟﱵ ﻣﻦ أﺟﻠﻬﺎ ﺗُ ْﺪ َرس ﻣﺪﻳﻨﺔ أﺛﻴﻨﺎ أو‬ ‫اﻟﺒﺤﺜﺔ ﰲ اﳉﺎﻣﻌﺎت اﻟﻐﺮﺑﻴﺔ أو اﻟﻌﺮﺑﻴﺔ ‪ 6‬ﺗﺒﻌﺚ‬
‫ﻏﲑت وﺟﻪ اﻟﻌﺎﱂ‪ ،‬وإﻧﻪ ﳌﻦ‬ ‫ﻣﺪﻳﻨﺔ روﻣﺎ‪ ،‬ﻓﺒﻐﺪاد ّ‬ ‫ﺟﺬوة اﻷﻣﻞ أن ﻳﺼﻞ رﺻﻴﺪ اﻟﻌﺮب اﻟﻔﻜﺮي إﱃ‬
‫أن ﻗﻠﺔً ﻗﻠﻴﻠﺔً ﻣﻦ ﻃﻼب اﳌﺪارس ﰲ‬ ‫اﻹﺟﺮام ﱠ‬ ‫اﻷﻣﻢ اﻷﺧﺮى ﻣﻦ ﺧﻼل اﻟﱰﲨﺔ‪.‬‬
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‫اﻟﻐﺮب ﻗﺪ ﲰﻌﻮا ﻋﻦ ﻫﺬﻩ اﳌﺪﻳﻨﺔ"‪.‬‬
‫دراﺳﺔ اﻟﱰاث اﻟﻌﺮﰊ ﻋﻤﻮﻣﺎً واﻷدب ﺧﺼﻮﺻﺎً‬
‫وﻗﺪ ﻗﻀﺖ إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﺳﻨﻮات ﻋﺪة ﺗﺒﺤﺚ‬ ‫أﺻﺒﺤﺖ واﻗﻌﺎً ﻣﻠﻤﻮﺳﺎً ﰲ ﻛﺜﲑ ﻣﻦ اﳉﺎﻣﻌﺎت‬
‫وﺗﺪرس ﺎﺗرﳜﻪ‬
‫ﰲ اﻷدب اﻟﻌﺒﺎﺳﻲ وﺗﻜﺘﺐ ﻋﻨﻪ ّ‬ ‫اﻟﻐﺮﺑﻴﺔ‪ ،‬وﺗُﻨﺸﺮ ﺣﻮﻟﻪ اﻟﻌﺸﺮات ﻣﻦ اﻟﺪراﺳﺎت‬
‫وأدﺑﻪ وﻓﻠﺴﻔﺘﻪ وﺣﻀﺎرﺗﻪ وﻋﻠﻮﻣﻪ وﺣﺎﺿﺮﺗﻪ‬ ‫واﻷﲝﺎث ﺳﻨﻮ�ً‪ ،‬وﺗﱪز أﻗﺴﺎم اﻟﺪراﺳﺎت اﻟﻌﺮﺑﻴﺔ‬
‫ﺑﻐﺪاد‪ ،‬وﻳﻌﻮد أﻗﺪم ﻣﺎ ﻧﺸﺮﺗﻪ ﻋﻦ ﺑﻐﺪاد إﱃ اﻟﻌﺎم‬ ‫واﻟﺸﺮق أوﺳﻄﻴﺔ اﻟﻴﻮم ﰲ ﻛﺜﲑ ﻣﻦ اﳉﺎﻣﻌﺎت‬
‫‪2012‬م‪ ،‬وﻫﻲ ﻧﺼﻮص ﳐﺘﺎرة ﺗﺮﲨﺘﻬﺎ ﺿﻤﻦ‬ ‫اﻟﻐﺮﺑﻴﺔ اﻟﻌﺮﻳﻘﺔ‪ ،‬وﻳﻨﺘﺴﺐ ﳍﺎ اﻟﻌﺸﺮات ﻣﻦ‬
‫رﺳﺎﻟﺘﻬﺎ اﳉﺎﻣﻌﻴﺔ ﻋﻦ أﰊ اﻟﻘﺎﺳﻢ اﻟﺒﻐﺪادي‬ ‫ﻳﺪل ﻋﻠﻰ ٍ‬
‫إﳝﺎن‬ ‫اﻟﻌﻠﻤﺎء واﻟﻄﻼب واﻟﺒﺎﺣﺜﲔ‪ ،‬ﻣﺎ ّ‬
‫‪7‬‬
‫ﻣﻘﺎﺑﻠﺔ إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﻣﻊ ﳎﻠﺔ اﻷدب اﻟﻌﺮﰊ اﳌﱰﺟﻢ‪،‬‬ ‫‪ 6‬ﻳﺬﻛﺮ ﰲ ﻫﺬا اﻟﺴﻴﺎق‪ ،‬ﻣﺸﺮوع ﺟﺎﻣﻌﺔ ﻧﻴﻮﻳﻮرك ‪ -‬أﺑﻮ ﻇﱯ‪،‬‬
‫) ‪ARABLIT & ARABLIT QUARTERLY; A‬‬ ‫اﳌﻜﺘﺒﺔ اﻟﻌﺮﺑﻴﺔ )‪ ،(Library of Arabic Literature‬ﺣﻴﺚ‬
‫‪(magazine‬‬ ‫‪of Arabic literature in translation‬‬ ‫ﻗﺪﻣﺖ ﻋﱪ أﻛﺜﺮ ﻣﻦ ﻋﻘﺪ ﻣﻦ اﻟﺰﻣﺎن ﻣﺎ ﻳﺰﻳﺪ ﻋﻦ ‪ 80‬ﺗﺮﲨﺔ‬
‫ﺑﺘﺎرﻳﺦ‪ 6 :‬ﻳﻮﻟﻴﻪ ‪2020‬م‪ ،‬ﻋﻠﻰ اﻟﺮاﺑﻂ‪:‬‬ ‫ﻟﻌﺪد ﻣﻦ اﳌﺼﺎدر اﻟﻌﺮﺑﻴﺔ اﻟﻘﺪﳝﺔ واﳊﺪﻳﺜﺔ ﺎﺑﻟﻠﻐﺔ اﻹﳒﻠﻴﺰﻳﺔ‬
‫‪https://arablit.org/2020/07/06/summer-of-‬‬ ‫ﻣﺼﺤﻮﺑﺔ ﺈﺑﻋﺎدة ﲢﻘﻴﻖ اﻟﻨﺼﻮص اﻟﻌﺮﺑﻴﺔ ﲢﻘﻴﻘﺎً ﻋﻠﻤﻴﺎً ﺟﻴﺪاً‪،‬‬
‫‪lock-in-lit-cartooning-with-popeye-curly/‬‬
‫ﻳﻨﻈﺮ‪https://www.libraryofarabicliterature.org :‬‬
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‫ﺖ ﻫﺬا اﻟﻌﻤﻞ ﻣﺮاراً وﺗﺮﲨﺘﻪ‪ ،‬وﻧﺸﺮت ﺣﻮل‬ ‫َد َر َﺳ ْ‬ ‫وﺣﻜﺎ�ت اﻟﺘﻄﻔﻴﻞ ﰲ ﺑﻐﺪاد‪ 8 .‬وﻳﺒﺪو أن‬
‫ﻣﻮﺿﻮﻋﺎﺗﻪ ﻋﺪداً ﻣﻦ اﻷﲝﺎث واﻟﱰﲨﺎت‪ ،‬ﻛﻤﺎ‬ ‫اﻫﺘﻤﺎﻣﻬﺎ اﳌﺒﻜﺮ ﺎﺑﳍﺰل واﺠﻤﻟﻮن ﰲ اﻷدب اﻟﻌﺮﰊ‬
‫ﻳﻈﻬﺮ ﺄﺗﺛﲑ ﻛﺘﺐ اﳌﻘﺎﻣﺎت اﻷﺧﺮى وأﺧﺒﺎر‬ ‫ﻛﺎن ﻟﻪ دور ﰲ ﺗﻜﻮﻳﻦ ﺗﺼﻮراﻬﺗﺎ ﻋﻦ اﳊﻀﺎرة‬
‫اﳊﻤﻘﻰ واﳌﻐﻔﻠﲔ وﻧﺰر ﻳﺴﲑ ﻣﻦ ﻛﺘﺐ اﻷدب‬ ‫اﻟﻌﺮﺑﻴﺔ واﻹﺳﻼﻣﻴﺔ ﺑﺸﻜﻞ ﻋﺎم‪ ،‬وﻗﺎدﻫﺎ إﱃ ﺗﺘﺒﻊ‬
‫اﻷﺧﺮى ﰲ ﺗﺸﻜﻴﻞ ﺗﺼﻮرﻫﺎ ﻋﻦ ﺑﻐﺪاد‪ ،‬وﲤﺜﻴﻠﻬﺎ‬ ‫ﻋﺪد ﻣﻦ اﳌﻮﺿﻮﻋﺎت اﻟﱵ ﻗﺪ ﻻ ﲡﺬب اﻫﺘﻤﺎم‬
‫ﻟﺬﻟﻚ ﰲ رﺳﻮﻣﺎﻬﺗﺎ ﻻﺣﻘﺎً‪ ،‬وﻛﺜﲑ ﻣﻦ‬ ‫اﻟﻜﺜﲑﻳﻦ ﳑﻦ ﻳﺪرﺳﻮن ﻫﺬﻩ اﳌﺮﺣﻠﺔ اﻟﺘﺎرﳜﻴﺔ‬
‫اﻹﺷﻜﺎﻻت اﻟﱵ ﺳﺘﻨﺎﻗﺶ ﰲ ﻫﺬﻩ اﻟﻮرﻗﺔ ﺗﺘﺼﻞ‬ ‫وﻳﺘﻀﻤﻦ ذﻟﻚ )ﺗﻔﺴﲑ‬ ‫ّ‬ ‫وﻧﺘﺎﺟﻬﺎ اﻟﻔﻜﺮي‪،‬‬
‫ِّ‬
‫وﻳﻘﺪﻣﻬﺎ‬ ‫ﺎﺑﻟﺘﺼﻮرات اﻟﱵ ﲢﻤﻠﻬﺎ اﻟﻜﺎﺗﺒﺔ‬ ‫اﻷﺣﻼم‪ ،‬وﺧﻴﺎل اﻟﻈﻞ‪ ،‬واﻟﺸﻌﺮ اﻟﺸﻌﱯ‬
‫اﻟﻜﺘﺎب ﻋﻦ اﻷدب اﻟﻌﺮﰊ واﻹرث اﳊﻀﺎري‬ ‫اﳌﻤﻠﻮﻛﻲ‪ ،‬اﺠﻤﻟﻮن ﰲ ﺣﻜﺎ�ت أﰊ اﻟﻘﺎﺳﻢ‬
‫ﻟﻠﻌﺮب وﺗﺮاﺛﻬﻢ اﻟﻔﻜﺮي‪ .‬وﻗﺒﻞ اﻟﺒﺪء ﰲ ﻣﻨﺎﻗﺸﺔ‬ ‫اﻟﺒﻐﺪادي‪ ،‬اﻟﺰ�دﻗﺔ واﻟﻄﻔﻴﻠﻴﻮن‪ ،‬اﻟﺸﻌﺮ‬
‫أﻓﻜﺎر اﻟﻜﺘﺎب ﳛﺴﻦ ﺗﻘﺪﱘ ﻧﺒﺬة ﻋﻦ اﻟﻜﺎﺗﺒﺔ‬ ‫واﻟﺴﺤﺮ‪ ،‬واﻟﺮﻣﻮز اﳉﻨﺴﻴﺔ ﰲ اﻵداب اﻟﻘﺪﳝﺔ( ‪.9‬‬
‫ﺘﺼﻮر ﻋﻤﻠﻬﺎ ﻫﺬا ﰲ ﺳﻴﺎﻗﻪ‬ ‫واﻟﻜﺘﺎب؛ ﺣﱴ ﻳُ ﱠ‬ ‫ﻌﺪ ﺣﻜﺎ�ت أﰊ اﻟﻘﺎﺳﻢ وﻛﺘﺐ‬ ‫وﳝﻜﻦ أن ﺗُ ﱠ‬
‫اﻟﺬي أُﻧﺘِﺞ ﻓﻴﻪ‪.‬‬
‫اﳌﻘﺎﻣﺎت ﻣﺼﺎدر أﺳﺎﺳﻴﺔ وﻣﺆﺛﺮة ﰲ ﺗﻜﻮﻳﻦ‬
‫ﺗﺸﲑ إﻣﻴﻠﻲ ﺳﻴﻠﻮف أن ﻛﺘﺎب )اﳉﺎﺣﻆ وأﺑﻮ‬ ‫ﺗﺼﻮرات إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﻋﻦ ﺑﻐﺪاد‪ -‬ﻛﻤﺎ‬ ‫ّ‬
‫ﻧﻮاس( ﻣﺮﺗﺒﻂ ﺑﻜﺘﺎب آﺧﺮ ‪ 10‬ﺣﺮرﺗﻪ ﻋﺎم‬ ‫ﺳﻴﺘﺒﲔ ﰲ ﺛﻨﺎ� ﻫﺬﻩ اﻟﺪراﺳﺔ ‪ -‬وﻳﺆﻳﺪ ذﻟﻚ ﻛﺜﺮة‬
‫‪2019‬م‪ ،‬وﻋﻨﻮاﻧﻪ )ﺑﻐﺪاد ﻣﺮﻛﺰ اﻟﻌﺎﱂ ﻣﻦ اﻟﻘﺮن‬ ‫اﻗﺘﺒﺎﺳﻬﺎ ﻣﻨﻪ واﺳﺘﺸﻬﺎدﻫﺎ ﺎﺑﳊﻜﺎ�ت‬
‫اﻟﺜﺎﻣﻦ إﱃ اﻟﻘﺮن اﻟﺜﺎﻟﺚ ﻋﺸﺮ اﳌﻴﻼدي‪ :‬ﻛﺘﺎب‬ ‫واﳌﻘﺎﻣﺎت اﻟﱵ ﲡﻌﻠﻬﺎ ﲟﺜﺎﺑﺔ اﳊﻘﺎﺋﻖ اﻟﺘﺎرﳜﻴﺔ!‬
‫وﺗﻮﺿﺢ اﻟﻜﺎﺗﺒﺔ ﰲ ﻣﻘﺪﻣﺔ‬ ‫ﻣﺪرﺳﻲ ﲤﻬﻴﺪي(‪ِّ ،‬‬ ‫ورﲟﺎ ﻻ ﻧﺒﻌﺪ ﻋﻦ اﳊﻘﻴﻘﺔ ﻛﺜﲑاً إن ﻗﻠﻨﺎ‪ :‬إن‬
‫ﻛﺘﺎب )اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس( أن اﳌﺸﺎﻫﺪ اﻟﱵ‬ ‫ﻛﺘﺎب إﻣﻴﻠﻲ ﺳﻴﻠﻮف )اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس( ﰲ‬
‫ﺗﺮﲰﻬﺎ ﰲ ﻓﺼﻮل اﻟﻜﺘﺎب اﻟﺘﺴﻌﺔ ﺗـُ َﻌ ﱡﺪ ﻣﻼﺣﻖ‬ ‫أﻛﺜﺮﻩ ﻣﺎ ﻫﻮ إﻻ رﺳﻮﻣﺎت ﻋﻦ ﺑﻐﺪاد ﻣﻌﻈﻤﻬﺎ‬
‫ﺎﺗﺑﻌﺔ ﻟﻔﺼﻞ أو أﻛﺜﺮ ﻣﻦ ﻛﺘﺎﻬﺑﺎ اﻟﺴﺎﺑﻖ )ﺑﻐﺪاد‬ ‫ﻣﻦ وﺣﻲ ﺣﻜﺎ�ت أﰊ اﻟﻘﺎﺳﻢ اﻟﺒﻐﺪادي! وﻗﺪ‬
‫‪ 10‬ﻣﻘﺎﺑﻠﺘﻬﺎ ﻣﻊ ﳎﻠﺔ اﻷدب اﻟﻌﺮﰊ اﳌﱰﺟﻢ‪ ،‬ﻣﺼﺪر ﺳﺎﺑﻖ‪،‬‬

‫‪8‬‬
‫‪See: Selections from The Art of Party‬‬
‫‪Crashing in Medieval Iraq of Abū Bakr Ahmad‬‬
‫ﺗﻨﺺ ﻋﻠﻰ رﻏﺒﺘﻬﺎ أن ﻳﺒﺎع اﻟﻜﺘﺎﺎﺑن ﻣﻌﺎً‪ ،‬وﺗﺮى أن ﻛﺘﺎب‬
‫وﻓﻴﻪ ّ‬ ‫‪ibn ʻAlī Khatib al-Baghdadi, trans. by Emily‬‬
‫‪Selove, New York: Syracuse University Press,‬‬
‫)اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس( ﺧﻄﻮة أوﱃ ﺄﺗْ َﻣﻞ أن ﺗﻐﺮي اﻟﻘﺎرئ‬ ‫‪2012.‬‬
‫ﲟﻮاﺻﻠﺔ اﻟﻘﺮاءة ﰲ اﻟﻜﺘﺎب اﻵﺧﺮ )ﺑﻐﺪاد ﻣﺮﻛﺰ اﻟﻌﺎﱂ ﰲ اﻟﻘﺮون‬ ‫ﻟﻼﻃﻼع ﻋﻠﻰ ﻗﺎﺋﻤﺔ أﻋﻤﺎل إﻣﻴﻠﻲ ﺳﻴﻠﻮف‪ ،‬ﻳﻨﻈﺮ‪:‬‬ ‫‪9‬‬
‫اﻟﻮﺳﻄﻰ(‪.‬‬ ‫‪https://socialsciences.exeter.ac.uk/iais/staff/selove/‬‬
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‫ﺳﻴﻠﻮف ﲤﻮﻳﻞ اﳌﺸﺮوع اﻟﺒﺤﺜﻲ اﻟﺬي ﻧﺘﺞ ﻋﻨﻪ‬ ‫ﻣﺮﻛﺰ اﻟﻌﺎﱂ( وﻫﺬا اﻟﻜﺘﺎب ﻣﺪرﺳﻲ ذو ﻃﺒﻴﻌﺔ‬
‫‪11‬‬
‫ﻛﺘﺎب )ﺑﻐﺪاد ﻣﺮﻛﺰ اﻟﻌﺎﱂ(‪.‬‬ ‫ﻋﻠﻤﻴﺔ ﲝﺘﺔ ُﻛﺘِﺐ ﺑﻠﻐﺔ ﺳﻬﻠﺔ ﺗﻨﺎﺳﺐ اﻟﻴﺎﻓﻌﲔ‬
‫)‪ 18 – 10‬ﻋﺎﻣﺎً(‪ ،‬وأﺳﻬﻢ ﰲ ﺄﺗﻟﻴﻒ ﻣﺎدﺗﻪ‬
‫أﻣﺎ ﻛﺘﺎب )اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس( اﻟﺬي ﳓﻦ‬
‫‪ 15‬ﻣﻦ اﻷﺳﺎﺗﺬة واﻟﺒﺎﺣﺜﲔ ﰲ ﺷﱴ ﳎﺎﻻت‬
‫ﺑﺼﺪد دراﺳﺘﻪ ﻫﻨﺎ؛ ﻓﻘﺪ ﺗﻮﻟّﺖ إﻣﻴﻠﻲ ﺳﻴﻠﻮف‬
‫اﻟﻌﻠﻮم واﳌﻌﺎرف ﻋﻦ اﳊﻀﺎرة اﻹﺳﻼﻣﻴﺔ واﻟﻌﺼﺮ‬
‫ﻣﻨﻔﺮدة إﻋﺪاد ﻣﺎدﺗﻪ اﻟﻌﻠﻤﻴﺔ‪ ،‬ورﺳﻢ ﻣﺸﺎﻫﺪﻩ‬
‫اﻟﻌﺒﺎﺳﻲ ﺑﺘﺨﺼﺼﺎﺗﻪ اﳌﺨﺘﻠﻔﺔ‪ .‬وﺳﺒﺐ ﺄﺗﻟﻴﻔﻪ‬
‫اﻟﺘﺼﻮﻳﺮﻳﺔ‪ ،‬وﻛﺎن ﰲ أول ﺷﺄﻧﻪ ﺗﺪوﻳﻨﺎت‬
‫اﳊﺎﺟﺔ اﻟﱰﺑﻮﻳﺔ ﰲ اﳌﻴﺪان اﻟﺘﻌﻠﻴﻤﻲ ‪-‬ﻛﻤﺎ ﺗﺸﲑ‬
‫ورﺳﻮﻣﺎت ﻳﻮﻣﻴﺔ ﻛﺎﻧﺖ ﺗﻨﺸﺮﻫﺎ ﻋﻠﻰ ﺣﺴﺎﺎﺑﻬﺗﺎ‬
‫اﻟﻜﺎﺗﺒﺔ‪-‬؛ إذ ﺗﺬﻛﺮ أن إﺣﺪى اﻷﻛﺎدﳝﻴﺎت‬
‫ﰲ ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘﻤﺎﻋﻲ‪ ،‬وﻗﺪ ﺑﺪأت ﰲ‬
‫اﻟﺘﻌﻠﻴﻤﻴﺔ )ﻣﺪرﺳﺔ ﺑﻴﺠﻨﺘﻮن( اﻟﻘﺮﻳﺒﺔ ﻣﻦ ﺟﺎﻣﻌﺔ‬
‫إﻋﺪادﻫﺎ وﻧﺸﺮﻫﺎ ﺑﺸﻜﻞ ﻋﺸﻮاﺋﻲ ﺧﻼل أ�م‬
‫اﻛﺴﱰ ﺎﺑﳌﻤﻠﻜﺔ اﳌﺘﺤﺪة‪ ،‬ﻗﺪ ﻃﻠﺒﺖ ﻣﻨﻬﺎ‬
‫إﻏﻼق اﻷﻧﺸﻄﺔ وﺣﻈﺮ اﻟﺘﺠﻮال اﻟﺬي ﻓُ ِﺮض‬
‫اﻹرﺷﺎد إﱃ اﺧﺘﻴﺎر ﻣﺼﺎدر ﻣﻮﺛﻮﻗﺔ ﳝﻜﻦ‬
‫ﻋﻠﻰ اﻟﻌﺎﱂ ﺑﺴﺒﺐ ﺗﻔﺸﻲ وﺎﺑء ﻛﻮرو� ﻋﺎم‬
‫اﻻﻋﺘﻤﺎد ﻋﻠﻴﻬﺎ ﻟﺘﺪرﻳﺲ ﻣﺎدة ﻋﻦ ﺑﻐﺪاد ﰲ‬
‫‪2020‬م؛ ورﲟﺎ أن ﻫﺬا اﻟﻈﺮف ﻏﲑ اﳌﺄﻟﻮف ﻗﺪ‬
‫اﻟﻘﺮون اﻟﻮﺳﻄﻰ ﻟﻄﻼب اﻟﺴﻨﺔ اﻟﺴﺎدﺳﺔ‬
‫أوﺟﺪ ﺣﺎﺟﺔ إﱃ رﺳﻢ اﻟﺒﺴﻤﺔ ﰲ وﻗﺖ ﻛﺎن‬
‫)ﻟﻠﻄﻠﺒﺔ ﰲ ﻋﻤﺮ ‪ 10‬ﺳﻨﻮات أو ‪11‬ﺳﻨﺔ(‪،‬‬
‫اﻟﻌﺎﱂ ﻛﻠﻪ ﰲ ﺧﻮف وﻗﻠﻖ؛ ّ‬
‫‪12‬‬
‫ﻓﻘﺮرت اﻟﻜﺎﺗﺒﺔ ‪-‬‬
‫ﻓﺒﺪأت ﻋﻨﺪﻫﺎ ﻓﻜﺮة ﺄﺗﻟﻴﻒ ٍ‬
‫ﻛﺘﺎب ﳍﺬﻩ اﻟﻔﺌﺔ‬
‫ﻛﻤﺎ ﺗﺬﻛﺮ‪ -‬أن ﺗﺒﺪأ ﺑﺮﺳﻢ ﺷﻲء ﻋﻦ ﺑﻐﺪاد‪،‬‬
‫اﻟﻌﻤﺮﻳﺔ‪ ،‬وﻳﻨﺎﺳﺐ ﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ ﻋﻤﻮم اﻟﻘﺮاء‪،‬‬
‫ﺑﻌﺪ أن أﺧﺮﺟﺖ ﻋﻨﻬﺎ ﻛﺘﺎﺎﺑً ﻣﻄﺒﻮﻋﺎ ﰲ اﻟﻌﺎم‬
‫وﻗﺪ ﺗﻮﻟﺖ ﺟﺎﻣﻌﺔ اﻛﺴﱰ اﻟﱵ ﺗﻌﻤﻞ ﻬﺑﺎ إﻣﻴﻠﻲ‬
‫اﻟﺴﺎﺑﻖ‪ ،‬ﻓﺎﺧﺘﺎرت ﺷﺨﺼﻴﱵ اﳉﺎﺣﻆ وأﰊ‬
‫‪Emily Selove, Popeye and Curly: 120 days in‬‬ ‫‪11‬‬

‫‪Emily Selove (edr), Baghdad at the Centre‬‬
‫‪medieval Baghdad, Moorhead, Minnesota:‬‬
‫‪Tehran Press, 2021, p. vii.‬‬ ‫‪of a world, 8th-13th Century: An introductory‬‬
‫‪textbook, Fargo: Tehran Press, 2019, p. 154-‬‬
‫وﰲ اﻟﺴﻴﺎق ذاﺗﻪ ﻳﺸﻌﺮ اﳌﺘﺎﺑﻊ ﻟﻠﻘﺎﺋﻬﺎ ﻣﻊ ﺷﻮﻛﺔ ﻃﺮاوة أﻧﻪ ﻛﺎن‬ ‫‪155.‬‬
‫ﳝﻨﺤﻬﺎ ﻓﺮﺻﺔ ﻟﺘﻮﺿﻴﺢ أن ﻓﱰة إﻏﻼق اﻷﻧﺸﻄﺔ واﳌﺮاﻓﻖ اﻟﻌﺎﻣﺔ‬ ‫‪ 12‬ﺗﺸﲑ إﻣﻴﻠﻲ ﰲ ﻣﻘﺪﻣﺔ اﻟﻜﺘﺎب إﱃ أن اﻟﻈﺮف اﻟﻌﺼﻴﺐ‬
‫وﺣﻈﺮ اﻟﺘﺠﻮال ﻛﺎن ﳍﺎ دور ﰲ اﲡﺎﻩ إﻣﻴﻠﻲ ﳓﻮ ﻫﺬا اﻟﻨﻮع‬ ‫اﻟﺬي أﻧﺘﺞ ﻓﻴﻪ اﻟﻜﺘﺎب – وﻗﺖ اﻹﻏﻼق واﳊﻈﺮ ﺑﺴﺒﺐ‬
‫ﻣﻦ ﳏﺎوﻟﺔ ﺑﺚ اﳌﺮح‪ ،‬وﻗﺪ ﻳﻜﻮن ﻣﱪراً ﻣﻌﻘﻮﻻً ﻷﺳﺎس اﻟﻔﻜﺮة!‬ ‫ﺗﻔﺸﻲ ﻛﻮرو� – ﺟﻌﻠﻬﺎ ﺗﻌﺘﻤﺪ ﻋﻠﻰ اﳌﺼﺎدر اﳌﺘﺎﺣﺔ ﳍﺎ ﰲ‬
‫ﻳﻨﻈﺮ ﻟﻘﺎء ﺷﻮﻛﺔ ﻃﺮاوة ﻣﻊ اﻟﻜﺎﺗﺒﺔ‪ ،‬ﻋﻠﻰ ﻗﻨﺎة ﻣﻌﻬﺪ اﻛﺴﱰ‬ ‫ﻣﻜﺘﺒﺘﻬﺎ اﳋﺎﺻﺔ أو ﻣﺎ وﺟﺪﺗﻪ ﻣﺘﺎﺣﺎً ﻋﻠﻰ ﺷﺒﻜﺔ اﻻﻧﱰﻧﺖ‪،‬‬
‫ﻟﻠﺪراﺳﺎت اﻟﻌﺮﺑﻴﺔ واﻹﺳﻼﻣﻴﺔ ﰲ ﻣﻮﻗﻊ ﻳﻮﺗﻴﻮب‪ ،‬ﺑﺘﺎرﻳﺦ‪25 :‬‬ ‫وﻟﻌﻠﻪ ﻧﻮع ﻣﻦ اﻻﻋﺘﺬار اﻟﺬي ﺗﻘﺪﻣﻪ ﺑﲔ ﻳﺪي اﻟﻌﻤﻞ ﻋﻦ‬
‫اﻟﺮاﺑﻂ‪:‬‬ ‫ﻋﻠﻰ‬ ‫‪2021‬م‪،‬‬ ‫ﻳﻮﻧﻴﻮ‬ ‫ﳏﺪودﻳﺔ اﳌﺼﺎدر واﻟﺘﻨﺎول ﻟﻠﻤﻮﺿﻮﻋﺎت‪ ،‬ﻳﻨﻈﺮ‪:‬‬
‫‪https://youtu.be/eXCtlAMxYME.‬‬
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‫إن ﻗﻠﻨﺎ؛ إِ ﱠن ﻋﻤﻞ إﻣﻴﻠﻲ ﺳﻴﻠﻮف‬

‫وﻟﻌﻠﻨﺎ ﻻ ﻧﺒﺎﻟﻎ ْ‬ ‫ﻧﻮاس إﺿﺎﻓﺔ إﱃ ﺷﺨﺼﻴﺎت ﺣﻀﺮت ﰲ‬
‫ﻳﻜﺘﺴﺐ أﳘﻴﺔ ﺧﺎﺻﺔ‪ ،‬ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ اﶈﺎوﻻت‬ ‫رﺳﻮﻣﺎﻬﺗﺎ ﻻﺣﻘﺎً‪ ،‬وﻛﺎﻧﺖ ﺗﻨﺸﺮ ﻛﻞ ﻳﻮم رﲰﺎً‬
‫اﻟﻜﺜﲑة اﻟﱵ ﺣﺎوﻟﺖ ﺗﻮﻇﻴﻒ اﻟﺸﺨﺼﻴﺎت‬ ‫واﺣﺪاً‪ ،‬ﻣﱰﻗﺒﺔ ﺗﻌﻠﻴﻘﺎت اﳌﺘﺎﺑﻌﲔ ﺣﻮﻟﻪ‪ ،‬وأﻗﺮت‬
‫اﻟﱰاﺛﻴﺔ اﻟﻌﺮﺑﻴﺔ ﰲ ﻣﻮاد ووﺳﺎﺋﻂ ﳐﺘﻠﻔﺔ‪ ،‬إﻻ أن‬ ‫أ�ﺎ َﻣ ِﺪﻳﻨﺔٌ ﳌﺘﺎﺑﻌﻴﻬﺎ ﺎﺑﻻﺳﺘﻤﺮار ﰲ اﻟﻌﻤﻞ‪ ،‬ﻛﻤﺎ‬
‫ﻘﺪم ﻋﱪ اﻟﻮﺳﺎﺋﻂ‬ ‫اﻟﺼﻮرة اﻟﺒﺼﺮﻳﺔ اﻟﱵ ﺗُ ﱠ‬ ‫ﺷﻜﺮت ﺑﻌﺾ ﻣﻦ ﺧﺼﻬﺎ ﺑﻨﺼﺎﺋﺢ ﺣﻮل‬
‫ﺧﺎص ﻣﻦ ﺣﻴﺚ‬ ‫ﱞ‬ ‫اﻹﻋﻼﻣﻴﺔ اﳌﺨﺘﻠﻔﺔ ﳍﺎ أﺛﺮ‬ ‫اﻟﺸﺨﺼﻴﺎت وﻣﺴﺘﻮى )اﻟﻜﺸﻒ‪ /‬اﺠﻤﻟﻮن( اﻟﺬي‬
‫وﺻﻮﳍﺎ ﻟﻨﻄﺎق أوﺳﻊ ﻣﻦ اﳌﺘﻠﻘﲔ‪ ،‬وإﳛﺎؤﻫﺎ‬ ‫ﻳﻨﺒﻐﻲ ﺗﻘﺪﳝﻪ ﰲ ﻫﺬﻩ اﻟﺮﺳﻮﻣﺎت‪ ،‬واﳌﻜﺎن اﻷﻟﻴﻖ‬
‫ﺑﺬاﻬﺗﺎ ﺑﺼﺮف اﻟﻨﻈﺮ ﻋﻤﺎ ﻳﺼﺎﺣﺒﻬﺎ ﻣﻦ ﻧﺺ‬ ‫‪13‬‬
‫ﺑﺬﻟﻚ‪.‬‬
‫ﻣﻜﺘﻮب أو ﻣﻨﻄﻮق‪ ،‬وﻟﻴﺲ اﳌﻘﺎم ﻣﻘﺎم ﺣﺼﺮ‬ ‫ٍ‬
‫وﺳﻴﻈﻬﺮ ﻣﺎ ﻧﻈﻨّﻪ أﺛﺮاً ﻻﻫﺘﻤﺎﻣﺎت اﻟﻜﺎﺗﺒﺔ‬
‫ﻘﺪم‪ ،‬وﻗﺪ أﻛﺪ ﻫﺬا اﻷﺛﺮ‬ ‫ﻟﻠﺘﺼﻮرات اﻟﱵ ﺗُ ّ‬ ‫اﳋﺎﺻﺔ ﻓﻴﻤﺎ ﻧﻨﺎﻗﺸﻪ ﻣﻦ ﻣﻮاﻗﻒ ﺗﻨﻄﻠﻖ ﻣﻨﻬﺎ‪،‬‬
‫ﻲ ﱄ وﻳﻨﻖ ﺷﻴﺎي ) ‪Yiyi Li and‬‬ ‫ِ‬
‫اﻟﺒﺎﺣﺜﺎن ﻳـّ ِّ‬ ‫وﻗﺪ ﺷﻜﻠﺖ ﻓﻬﻤﻬﺎ اﻟﱰاث اﻟﻌﺮﰊ وﺗﺼﻮرﻫﺎ ﻋﻦ‬
‫‪ (Ying Xie‬ﰲ دراﺳﺘﻬﻤﺎ‪ :‬ﻫﻞ ﺗﺴﺎوي اﻟﺼﻮرة‬
‫ﻋﺪﻩ ﻣﻦ‬‫ﺷﺨﺼﻴﺎﺗﻪ وﻣﻮﺿﻮﻋﺎﺗﻪ‪ ،‬وﻫﻮ ﻣﺎ ﳝﻜﻦ ّ‬
‫أﻟﻒ ﻛﻠﻤﺔ؟ دراﺳﺔ ﲡﺮﻳﺒﻴﺔ ﰲ اﶈﺘﻮ�ت اﳌﺼﻮرة‬
‫اﳌﺆﺛﺮات اﳋﺎﺻﺔ‪ ،‬ﻛﻤﺎ ﺳﻨﺸﲑ إﱃ اﳌﺆﺛﺮات‬
‫وﻓﺎﻋﻠﻴﺘﻬﺎ ﰲ ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘﻤﺎﻋﻲ‪ ،‬إذا‬
‫اﻟﻌﺎﻣﺔ ﺳﻮاءً اﻟﺜﻘﺎﻓﻴﺔ‪ ،‬أو اﻟﺴﻴﺎﺳﻴﺔ‪ ،‬أو‬
‫ﺗﻮﺻﻼ إﱃ أن ﳎﺮد وﺟﻮد اﻟﺼﻮرة ﰲ اﳌﻨﺸﻮر‬
‫اﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬أو اﳊﻀﺎرﻳﺔ ﺑﺸﻜﻞ ﻋﺎم‪ ،‬وﻧﻨﺎﻗﺶ‬
‫ﻳﺆﺛﺮ ﰲ ﺗﻔﺎﻋﻞ اﳌﺘﻠﻘﻲ‪ ،‬ﻛﻤﺎ أن اﻟﺼﻮر اﳌﻠﻮﻧﺔ ﻻ‬
‫آﺎﺛر ذﻟﻚ ﻛﻠﻪ ﰲ اﺧﺘﻴﺎراﻬﺗﺎ وﺗﻔﺴﲑاﻬﺗﺎ‪.‬‬
‫ﺳﻴّﻤﺎ إذا ﻛﺎﻧﺖ ﻟﻮﺟﻪ ﺑﺸﺮي وﻳﺘﻨﺎﺳﺐ ﻓﻴﻬﺎ‬
‫ورﺳﻮﻣﺎﻬﺗﺎ وﺗﻌﻠﻴﻘﺎﻬﺗﺎ‪ ،‬واﺧﺘﻴﺎراﻬﺗﺎ ﻟﻠﻤﻮاد‬
‫اﻟﻨﺺ ﻣﻊ اﻟﺼﻮرة ﺗﺆدي إﱃ ﺗﻔﺎﻋﻞ أﻋﻠﻰ ﻣﻦ‬
‫اﻹﺿﺎﻓﻴﺔ اﻟﱵ ﺗﻘﱰﺣﻬﺎ ﳌﻦ أراد اﻟﺘﻮﺳﻊ ﰲ ﻗﺮاءة‬
‫اﳌﺘﻠﻘﲔ‪14 .‬ﻛﻤﺎ ﻋﻮﳉﺖ آﺎﺛر اﻟﺼﻮر اﻟﻨﻤﻄﻴﺔ‬
‫ﻣﺎ ﻟﻪ ﺻﻠﺔ ﲟﺎ ﺗﺸﲑ إﻟﻴﻪ ﻣﻦ أﺣﺪاث أو أﻓﻜﺎر‬
‫وآﺎﺛرﻫﺎ ﰲ اﳌﺘﻠﻘﲔ ﻣﻦ ﻗَـْﺒ ُﻞ ﰲ ﻛﺘﺎب‬
‫أو ﺷﺨﺼﻴﺎت‪.‬‬
‫اﻻﺳﺘﺸﺮاق ﻹدوارد ﺳﻌﻴﺪ‪ 15 ،‬ودراﺳﺎت أﺧﺮى‬
‫‪ 15‬ﻧﻘﺎش إدوارد ﺳﻌﻴﺪ ﻟﺪراﺳﺔ ﺟﺎك ﻓﺎردن ﺑﺮج "اﻹﺳﻼم ﰲ‬ ‫اﳌﺼﺪر اﻟﺴﺎﺑﻖ‪.‬‬ ‫‪13‬‬
‫ﻣﺮآة اﻟﻐﺮب" ﻣﻬﻢ ﰲ ﺗﺘﺒﻊ ﺄﺗﺛﲑ أﺑﺮز اﻷﻋﻤﺎل اﻟﱵ رﲰﺖ‬

‫‪14‬‬
‫‪Yiyi Li, Ying Xie, 'Is a Picture Worth a‬‬
‫‪Thousand Words? An Empirical Study of‬‬
‫"ﺻﻮراً ﻣﻌﻴﻨﺔ ﻟﻺﺳﻼم" ﰲ اﻟﻐﺮب‪ ،‬واﻟﱵ ﺧﻠﺺ ﻓﻴﻬﺎ إﱃ أن‬ ‫‪Image Content and Social Media Engagement',‬‬
‫اﻵراء ﻓﻴﻬﺎ ﺑﺸﺄن اﻹﺳﻼم ﺗﺘﻔﻖ ﻋﻠﻰ "اﻹﳛﺎء اﳌﻀﻤﺮ‬ ‫‪in Journal of Marketing Research, vol. 57,‬‬
‫‪No.1, (2018), p.16-17.‬‬
‫ﺑﺪوﻧﻴﺘﻪ"‪ ،‬واﺷﱰاﻛﻬﺎ "ﻳﻮﻣﺎ ﻣﺎ ﰲ وﺿﻊ رؤﻳﺔ ﳏﺪدة واﺿﺤﺔ‬
‫‪144‬‬
‫وﻗﺪ ﺟﺎء ﻛﺘﺎب )اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس( ﰲ ﺗﺴﻌﺔ‬ ‫ﻋﻦ ﺻﻮرة اﻟﻌﺮﰊ ﻟﺪى اﻵﺧﺮ‪ ،‬ﻗﺒﻞ أﺣﺪاث‬
‫ﻓﺼﻮل ﻋﻠﻰ اﻟﻨﺤﻮ اﻵﰐ‪) :‬اﳊﻴﺎة اﻟﻴﻮﻣﻴﺔ ﰲ‬ ‫اﳊﺎدي ﻋﺸﺮ ﻣﻦ ﺳﺒﺘﻤﱪ ‪2001‬م‪ ،‬وﺑﻌﺪﻫﺎ‪،‬‬
‫ﺑﻐﺪاد‪ ،‬اﳋﻠﻴﻔﺔ‪ ،‬اﻹﺳﻼم واﻷد�ن اﻷﺧﺮى‪،‬‬ ‫وﻟﻜﲏ آﺛﺮت ﰲ ﻫﺬﻩ اﻟﺪراﺳﺔ اﻟﱰﻛﻴﺰ ﻋﻠﻰ ﲡﺮﺑﺔ‬
‫ﺳﻴﺪات ﺑﻐﺪاد‪ ،‬اﳌﻌﺎرف واﻟﺘﻌﻠﻴﻢ واﻟﻠﻐﺔ‪ ،‬اﻷدب‬ ‫إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﰲ ﻛﺘﺎب )اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس(‪.‬‬
‫واﻟﺸﻌﺮ‪ ،‬أﺣﺎدﻳﺚ اﳊﻔﻼت‪ ،‬ﺑﻐﺪاد وأوروﺎﺑ(‪.‬‬
‫ﳝﺜﻞ ﻫﺬا اﻟﻌﻤﻞ ﳕﻄﺎً ﺟﺪﻳﺪاً ﻣﻦ اﻷﻋﻤﺎل‬
‫وﻗﺪ ﻧﺼﺖ إﻣﻴﻠﻲ ﻋﻠﻰ أن ﻋﻤﻠﻬﺎ ﰲ ﻫﺬا‬
‫اﳌﻮﺟﻬﺔ إﱃ اﻟﻘﺮاء اﻟﻴﺎﻓﻌﲔ )ﺑﻌﺪ ﺳﻦ اﻟﻄﻔﻮﻟﺔ‬
‫ﻌﺪ "ﳏﺎوﻟﺔ ﻟﺘﻘﺪﱘ اﳊﻘﺎﺋﻖ واﳌﺼﺎدر‬ ‫اﻟﻜﺘﺎب ﻳُ ﱡ‬
‫وﻗﺒﻞ ﺳﻦ اﻟﺮﺷﺪ(‪ ،‬ﻟﻈﻬﻮرﻩ أول اﻷﻣﺮ ﻋﻠﻰ‬
‫ﻟﻜﻞ ﻣﺸﻬﺪ ﺗﺮﲰﻪ‪ ،‬وأن اﻟﺮﺳﻮﻣﺎت اﻟﻜﺮﺗﻮﻧﻴﺔ‬
‫وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘﻤﺎﻋﻲ ﻋﻠﻰ ﻫﻴﺌﺔ‬
‫واﻟﻈﺮوف اﻟﺴﺮ�ﻟﻴﺔ اﻟﱵ ﻇﻬﺮ ﻓﻴﻬﺎ اﻟﻜﺘﺎب ﺗﻌﲏ‬
‫ﻣﻨﺸﻮرات ﻳﻮﻣﻴﺔ ﺗﺘﻀﻤﻦ رﺳﻮﻣﺎت وﺗﻌﻠﻴﻘﺎت‬
‫أن ﺑﻪ اﻟﻜﺜﲑ ﻣﻦ اﻟﺮﺧﺺ اﻟﻔﻨﻴﺔ ﻣﻘﺎرﻧﺔ ﺎﺑﻷﻋﻤﺎل‬
‫وإﺣﺎﻻت ﻣﺮﺟﻌﻴﺔ‪ ،‬ﰒ ﺗﻄﻮر إﱃ ﻛﺘﺎب ﻣﻄﺒﻮع‪،‬‬
‫]اﳉﺎدة[ اﻟﺘﻘﻠﻴﺪﻳﺔ؛ ﻟﺬا ﳝﻜﻦ وﺻﻔﻪ ﺄﺑﻧﻪ‬
‫اﻟﻌﻠﻤﻴﺔ ّ‬
‫أﺧﺮﺟﺘﻪ دار ﻃﻬﺮان ﻟﻠﻨﺸﺮ إﺧﺮاﺟﺎً ﻓﻨﻴﺎً ﻻﻓﺘﺎً‬
‫اﻟﺘﺎرﳜﻲ") ‪historical‬‬ ‫ﻧﻮع ﻣﻦ اﳋﻴﺎل‬
‫وزﻋﺖ ﻓﻴﻪ اﳌﺸﺎﻫﺪ‬ ‫ﺄﺑﻟﻮان زاﻫﻴﺔ ﺟﺎذﺑﺔ‪ 16 ،‬وﻗﺪ ِّ‬
‫‪ 17 .(fiction‬واﻟﻜﺘﺎب ﻟﻴﺲ ﻋﻤﻼً ﻟﻪ اﻣﺘﺪاد‬ ‫ﻋﻠﻰ ﻓﺼﻮل ﻣﻨﻈّ ٍ‬
‫ﻤﺔ‪ُ ،‬ﲨﻌﺖ ﻓﻴﻬﺎ اﻷﺷﺒﺎﻩ إﱃ‬
‫ﺳﺮدي واﺣﺪ ﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ ﺎﺑﻷﺣﺪاث‪ ،‬ﺑﻞ ﻫﻮ‬
‫ﻧﻈﺎﺋﺮﻫﺎ‪ .‬واﻟﻌﻤﻞ ذو ﻃﺒﻴﻌﺔ ﻫﺠﻴﻨﺔ ﲡﻤﻊ ﺑﲔ‬
‫أﺷﺒﻪ ﻣﺎ ﻳﻜﻮن ﺎﺑﻟﻘﺼﺺ اﻟﻘﺼﲑة ﺟﺪاً أو‬ ‫اﻟﺘﺎرﻳﺦ واﻟﺘﺨﻴﻴﻞ‪ِّ ،‬‬
‫وﺗﻘﺪم اﳌﻌﻠﻮﻣﺔ ﻣﺸﺮوﺣﺔ ﺑﺮﺳﻢ‬
‫اﳌﺸﺎﻫﺪ أو اﻟﻠﻤﺤﺎت اﻟﺜﺎﺑﺘﺔ‪ ،‬اﻟﱵ ﲨﻌﺘﻬﺎ‬ ‫ٍ‬ ‫ٍ‬
‫ﺷﺎرﺣﺔ‬ ‫ﺑﺘﻌﻠﻴﻘﺎت‬ ‫ﺗﺼﻮﻳﺮي )ﻛﺎرﺗﻮﱐ(‪ ،‬ﻣﺘﺒﻮﻋﺔ‬
‫ﲝﺴﺐ ﻣﻮﺿﻮﻋﺎﻬﺗﺎ ﰲ ﻓﺼﻮل‪ ،‬وﻟﻜﻦ اﻟﻜﺘﺎب‬
‫وﻣﺼﺎدر اﻟﻜﺎﺗﺒﺔ ﰲ‬
‫َ‬ ‫وﻣﻮﺟﻬﺔ ﻟﻔﻬﻢ اﳌﺸﻬﺪ‪،‬‬
‫ﺻﻠﺔ ﺎﺑﻷﻋﻤﺎل اﻟﺴﺮدﻳﺔ‪ ،‬ﻣﻦ ﺣﻴﺚ‬ ‫ﻳﻈﻞ ذا ٍ‬
‫اﺳﺘﻘﺎء اﻟﻔﻜﺮة‪ ،‬وإﺣﺎﻻت إﱃ ﻋﺪد ﻣﻦ اﳌﺼﺎدر‬
‫وﺟﻮد وﺣﺪة زﻣﺎﻧﻴﺔ وﻣﻜﺎﻧﻴﺔ )ﺑﻐﺪاد ﰲ اﻟﻌﺼﺮ‬
‫اﳌﻌﺮﻓﻴﺔ )اﻷﻛﺎدﳝﻴﺔ( ﻟﻼﺳﺘﺰادة ﺣﻮل اﳌﻮﺿﻮع‬
‫اﻟﻌﺒﺎﺳﻲ(؛ اﻟﺰﻣﻦ اﻟﺬي ﻋﺎش ﻓﻴﻪ أﺑﻮ ﻧﻮاس‬
‫اﳌﻄﺮوح ﰲ اﳌﺸﻬﺪ اﳌﺮﺳﻮم‪.‬‬
‫اﻟﻌﻨﺎﻳﺔ ﺎﺑﻟﺘﺼﻤﻴﻢ اﳌﺒﺘﻜﺮ واﻟﺘﺴﻮﻳﻖ اﻹﺑﺪاﻋﻲ‪ ،‬وﻳﺬﻛﺮ اﳌﻮﻗﻊ‬ ‫ﻟﻺﺳﻼم؛ ﻛﺎن ﳍﺎ ﺄﺗﺛﲑﻫﺎ اﻟﻜﺒﲑ ﰲ اﻟﺪواﺋﺮ اﳊﻜﻮﻣﻴﺔ ﰲ ﺷﱴ‬
‫اﻹﻟﻜﱰوﱐ أن إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﻋﻀﻮ ﺎﺑﳍﻴﺌﺔ اﻻﺳﺘﺸﺎرﻳﺔ ﻟﻠﺪار‬ ‫أرﺟﺎء اﻟﻌﺎﱂ اﻟﻐﺮﰊ"‪ .‬إدوارد ﺳﻌﻴﺪ‪ ،‬اﻻﺳﺘﺸﺮاق‪ :‬اﳌﻔﺎﻫﻴﻢ‬
‫اﳌﻜﻮﻧﺔ ﻣﻦ ‪ 19‬ﻋﻀﻮاً‪ ،‬ﻳﻨﻈﺮ‪:‬‬ ‫اﻟﻐﺮﺑﻴﺔ ﻟﻠﺸﺮق‪ ،‬ﺗﺮﲨﺔ ﳏﻤﺪ ﻋﻨﺎﱐ‪ ،‬اﻟﻘﺎﻫﺮة‪ :‬رؤﻳﺔ ﻟﻠﻨﺸﺮ‬
‫‪https://www.theranpress.org/advisory-board‬‬ ‫واﻟﺘﻮزﻳﻊ‪2006 ،‬م‪ ،‬ص ‪.328-329‬‬
‫‪17‬‬
‫‪Emily Selove, Popeye and Curly, p. vii.‬‬
‫‪� 16‬ﺷﺮ اﻟﻜﺘﺎب )ﻃﻬﺮان ﻟﻠﻨﺸﺮ( ﻣﺆﺳﺴﺔ ﺣﺪﻳﺜﺔ ﻟﻴﺴﺖ ﳍﺎ‬
‫ﲰﻌﺔ ﻛﺒﲑة ﻣﻌﺮوﻓﺔ‪ ،‬وﺗﻈﻬﺮ ﻣﻦ ﺧﻼل ﻣﻨﺸﻮراﻬﺗﺎ اﳌﻌﺮوﺿﺔ‬
‫‪145‬‬
‫اﻟﺮﺟﺎل‪ ،‬وأﻣﺎ ﺷﺨﺼﻴﺔ ﻣﺮﺟﺎن ﻓﻬﻲ ﻗﻴﻨﺔ ﻣﻐﻨﻴﺔ‬ ‫واﳉﺎﺣﻆ ﻫﻮ اﻟﻘﺮن اﻟﺘﺎﺳﻊ اﳌﻴﻼدي‪ ،‬وﻟﻜﻦ‬
‫وﻏﺰﻳﺮة اﳌﻌﺮﻓﺔ‪ ،‬وﺎﺑرزة ﻣﺆﺛﺮة ﻗﺮﻳﺒﺎً ﻣﻦ اﻟﺒﻼط‪،‬‬ ‫ﺗﻌﱪ ﻋﻨﻪ ﻫﺬا اﻟﻜﺘﺎب ‪-‬‬
‫اﻹﻃﺎر اﻟﺰﻣﲏ اﻟﺬي ّ‬
‫وﲤﺜﻞ أﻳﻀﺎً ﻃﻴﻔﺎً ﻣﺘﻌﺪداً ﻣﻦ اﻟﻨﺴﺎء ﰲ ذﻟﻚ‬ ‫ﻛﻤﺎ ﺗﺬﻛﺮ اﻟﻜﺎﺗﺒﺔ‪ -‬ﳝﺘﺪ إﱃ ﻣﺎ ﺑﻌﺪ ﻫﺬا‬
‫‪19‬‬ ‫‪18‬‬
‫اﻟﻌﺼﺮ‪.‬‬ ‫اﻟﻘﺮن‪.‬‬
‫وﻗﺪ اﻓﺘُﺘِﺢ اﻟﻜﺘﺎب ﺑﺘﺼﺪﻳﺮ ﻣﻦ ﺷﺨﺼﻴﺔ ﻋﻠﻤﻴﺔ‬ ‫وﻳﻀﻢ اﻟﻜﺘﺎب ﺷﺨﺼﻴﺎت رﺋﻴﺴﺔ ﺎﺛﺑﺘﺔ‬
‫ﳍﺎ ﺛﻘﻠﻬﺎ ﰲ اﻷوﺳﺎط اﻷﻛﺎدﳝﻴﺔ؛ ِ‬
‫اﻟﻌﺎﱂ‬ ‫)اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس واﳋﻠﻴﻔﺔ وﻣﺮﺟﺎن(‪،‬‬
‫اﳍﻮﻟﻨﺪي وأﺳﺘﺎذ اﻷدب اﻟﻌﺮﰊ اﳌﺘﻘﺎﻋﺪ ﻣﻦ‬ ‫وﺣﻀﺮت ﺷﺨﺼﻴﺘﺎ اﳉﺎﺣﻆ وأﰊ ﻧﻮاس أﻛﺜﺮ‬
‫ﺟﺎﻣﻌﺔ أﻛﺴﻔﻮرد ﺧﲑت ﻓﺎن ﺟﻴﻠﺪر‪ ،‬اﻟﺬي‬ ‫ﻣﻦ ﺷﺨﺼﻴﱵ اﳋﻠﻴﻔﺔ وﻣﺮﺟﺎن ﰲ اﻟﻜﺘﺎب‪ ،‬وﻗﺪ‬
‫اﻋﺘﻤﺪت ﻋﻠﻴﻪ اﻟﻜﺎﺗﺒﺔ ﰲ ﻛﺜﲑ ﻣﻦ اﻷﻓﻜﺎر‬ ‫أوﺿﺤﺖ إﻣﻴﻠﻲ ﺳﻴﻠﻮف أن ﺷﺨﺼﻴﺔ اﳉﺎﺣﻆ‬
‫واﻻﻗﺘﺒﺎﺳﺎت ﰲ اﻟﻜﺘﺎب‪ ،‬وأﺣﺎﻟﺖ إﱃ ﻋﺪد ﻣﻦ‬ ‫ﰲ رﺳﻮﻣﺎﻬﺗﺎ ﻻ ﺗﻘﺘﺼﺮ ﻋﻠﻰ اﳉﺎﺣﻆ اﳌﻌﺮوف‬
‫أﻋﻤﺎﻟﻪ‪ ،‬وﲡﻤﻊ ﺑﻴﻨﻬﻤﺎ اﻫﺘﻤﺎﻣﺎت ﲝﺜﻴﺔ ﻣﺘﺸﺎﻬﺑﺔ‬ ‫ﺎﺗرﳜﻴﺎً‪ ،‬وإﳕﺎ ﲤﺜّﻞ ﻃﻴﻔﺎً ﻣﻦ اﻟﺸﺨﺼﻴﺎت اﻟﱵ‬
‫وﳍﻤﺎ أﲝﺎث ﻣﻨﺸﻮرة ﻣﺸﱰﻛﺔ‪ .‬وﻳﺮى ﺟﻴﻠﺪر أن‬ ‫ﺗﻀﻢ‪ :‬ﻛﺘّﺎب اﻟﻨﺜﺮ واﻟﻔﻼﺳﻔﺔ واﻟﻠﻐﻮﻳﲔ وﳏﱯ‬
‫إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﺗﺘّﺒﻊ اﻟﺘﻘﺎﻟﻴﺪ اﻟﺴﺎﺋﺪة ﰲ اﻷدب‬ ‫اﻟﻜﺘﺐ‪ ،‬ﺑﻴﻨﻤﺎ ﺗﺘّ ِﺴ ُﻊ ﺷﺨﺼﻴﺔ أﰊ ﻧﻮاس‬
‫اﻟﻌﺮﰊ اﻟﻘﺪﱘ ﻣﻦ اﳉﻤﻊ ﺑﲔ اﳉﺪ واﳍﺰل؛‬ ‫ﻟﺘﺸﻤﻞ‪ :‬اﻟﺸﻌﺮاء واﶈﺘﺎﻟﲔ‪ ،‬وأﺻﺤﺎب اﻟﻜﺪﻳﺔ‪،‬‬
‫ﻓﺎﻷدب ‪-‬ﻛﻤﺎ ﻳﺮاﻩ ‪ -‬ﻳﻘﻮم داﺋﻤﺎً ﻋﻠﻰ اﳉﻤﻊ‬ ‫وﻃﻼب اﳌﺘﻌﺔ واﻟﻠﺬة ﰲ ﺑﻐﺪاد‬ ‫واﻟﻄﻔﻴﻠﻴﲔ‪ّ ،‬‬
‫ﺑﲔ اﳉﺎد واﳍﺎزل‪ ،‬وﻗﺪ ﻛﺎن اﳉﺎﺣﻆ ﳑﻦ ﳚﻤﻊ‬ ‫اﻟﺸﻬﲑة ﲟﺘﻌﻬﺎ واﺣﺘﻔﺎﻻﻬﺗﺎ‪ ،‬وﻋﻠّﻠﺖ ﻻﺧﺘﻴﺎرﻫﺎ‬
‫ﺑﻴﻨﻬﻤﺎ ﰲ ﻛﺘﺎﺎﺑﺗﻪ‪ ،‬وﻛﺬﻟﻚ ﻓﻌﻞ أﺑﻮ ﻧﻮاس ﰲ‬ ‫ﺷﺨﺼﻴﱵ اﳉﺎﺣﻆ وأﰊ ﻧﻮاس؛ ﻟﺴﻬﻮﻟﺔ رﲰﻬﻤﺎ‬
‫ﺷﻌﺮﻩ ﺑﻌﺎﻣﺔ‪ ،‬ورﲟﺎ ﻓﻌﻞ ذﻟﻚ ﰲ اﻟﻘﺼﻴﺪة‬ ‫اﻋﺘﻤﺎداً ﻋﻠﻰ ﺻﻔﺎﻬﺗﻤﺎ اﳉﺴﺪﻳﺔ اﻟﻮاﺿﺤﺔ ‪-‬‬
‫اﻟﻮاﺣﺪة‪ ،‬وﻟﺬا ﻳﺮى أن إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﺗﺴﲑُ‬ ‫ﺟﺤﻮظ اﻟﻌﻴﻨﲔ‪ ،‬وذؤاﺑﺔ ﺷﻌﺮ أﰊ ﻧﻮاس ‪ -‬وإن‬
‫ﻣﺘﺎﺑﻌﺔً ﻟﻄﺒﻴﻌﺔ اﻟﱰاث اﻷدﰊ‪ ،‬ﲜﻤﻌﻬﺎ ﺑﲔ‬ ‫ﺣﺪ ﻣﺎ‪ :‬اﳉﻌﺪ‬ ‫ﻛﺎﻧﺖ ﻗﺪ أﲰﺘﻪ ﺑﻌﺸﻮاﺋﻴﺔ إﱃ ٍّ‬
‫اﻟﺸﺨﺼﻴﺘﲔ ﰲ اﻟﻜﺘﺎب‪ ،‬وﻣﺰﺟﻬﺎ ﻓﻴﻪ ﺑﲔ اﳉﺪ‬ ‫اﻟﺸ َﻌﺮ )‪ ، (Curly‬وﺳﺘﻨﺎﻗﺶ اﻟﺪراﺳﺔ رﻣﺰﻳﺔ‬
‫ﱠ‬
‫واﳍﺰل‪ 20 .‬وﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ ﻫﺬا اﻟﺘﻌﻠﻴﻞ ﻓﺈن‬ ‫اﻻﺧﺘﻴﺎر ﻣﻦ ﺟﻮاﻧﺐ أﺧﺮى ﻻﺣﻘﺎً‪ .‬وﲤﺜِّﻞ‬
‫ﺗﻨﺺ‬
‫إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﰲ ﻟﻘﺎﺋﻬﺎ ﻣﻊ ﺷﻮﻛﺔ ﻃﺮاوة ّ‬ ‫ﺗﻮﺿ ُﺢ إﻣﻴﻠﻲ ﺳﻴﻠﻮف‬
‫ﺷﺨﺼﻴﺔ اﳋﻠﻴﻔﺔ – ﻛﻤﺎ ّ‬
‫ﻳﺸﻜﻞ ﺣﻀﻮر اﳍﺰل ﰲ ﻛﺘﺎﻬﺑﺎ‬
‫ﺗﻌﻤﺪﻫﺎ أن ّ‬ ‫ﻋﻠﻰ ّ‬ ‫‪ -‬ﻛﻞ اﳋﻠﻔﺎء اﻟﻌﺒﺎﺳﻴﲔ وذوي اﻟﺴﻠﻄﺔ ﻣﻦ‬
‫‪20‬‬
‫‪Ibid., p. iii.‬‬ ‫‪18‬‬
‫‪Ibid., p. vi.‬‬
‫‪19‬‬
‫‪Ibid., p. v, vii.‬‬
‫‪146‬‬
‫اﻟﺒﺼﺮﻳﺔ ﰲ ذﻫﻦ اﳌﺘﻠﻘﻲ اﻟﻴﻮم ‪ -‬ﻋﻤﻮﻣﺎً‪-‬‬ ‫ﻗﻮة ﻣﻀﺎدة )‪ (to counterbalance‬ﻷﺳﻠﻮب‬

‫واﻟﻘﺎرئ اﻟﻴﺎﻓﻊ ‪ -‬ﻋﻠﻰ وﺟﻪ اﳋﺼﻮص‪ -‬ﲡﻌﻞ‬ ‫اﻟﺪراﺳﺎت اﻟﻌﻠﻤﻴﺔ اﳉﺎدة ﰲ ﺗﻨﺎول اﻟﱰاث‬
‫دراﺳﺔ ﻫﺬا اﻟﻌﻤﻞ وﻧﻘﺪ ﳏﺘﻮاﻩ ذات أﳘﻴﺔ‬ ‫اﻟﻌﺮﰊ‪ 21 ،‬وﻟﻌﻞ ﻫﺬا ﻳﺸﲑ إﺷﺎرة ﻣﺒﻜﺮة إﱃ أن‬
‫ﺧﺎﺻﺔ‪.‬‬ ‫اﳉﺎﻧﺐ اﻹﻣﺘﺎﻋﻲ ﰲ اﻟﻜﺘﺎب ﻣﻘﺼﻮد ﻟﺬاﺗﻪ‪،‬‬
‫ﻓﻜﺎن ﻣﻦ ﻟﻮازم ذﻟﻚ اﺳﺘﺸﻌﺎرﻫﺎ اﳉﻤﻬﻮر‬
‫ﻣﻨﻬﺠﻴﺔ اﻟﺪراﺳﺔ‪:‬‬
‫اﳌﺘﻠﻘﻲ ﳍﺬﻩ اﳌﺘﻊ؛ وﳐﺎﻃﺒﺘﻪ ﲟﺎ ﻳﻔﻘﻪ ﻣﻦ اﳌﺘﻊ‪،‬‬
‫ﲢﺎول ﻫﺬﻩ اﻟﺪراﺳﺔ ﻗﺮاءة ﲡﺮﺑﺔ إﻣﻴﻠﻲ ﺳﻴﻠﻮف‬ ‫وﲟﺎ ﻳﻔﻬﻤﻪ ﻣﻦ اﻟﻄَُﺮف اﻟﱵ ﻗﺼﺪت ﻣﻨﻬﺎ رﺳﻢ‬
‫ﰲ ﻛﺘﺎب )اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس( ﰲ ﺿﻮء ﻧﻈﺮﻳﺔ‬ ‫اﻟﺒﺴﻤﺔ ﻋﻠﻰ ﳏﻴﺎﻩ ﺎﺑﻟﻨﻈﺮ إﱃ ﻣﺎ ﰲ واﻗﻌﻪ‬
‫اﻟﺘﻘﺮﻳﺐ واﻟﺘﻐﺮﻳﺐ ﰲ اﻟﱰﲨﺔ‪ ،‬اﻟﱵ ﺗﻘﺎرب‬ ‫اﳌﺄﻟﻮف )اﻟﻘﺮﻳﺐ(‪ ،‬ﻻ ﻣﺎ ﰲ اﻟﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﻴﺔ‬
‫اﻷﻋﻤﺎل اﳌﱰﲨﺔ ﻣﻦ ﺣﻴﺚ اﻋﺘﻤﺎد اﳌﱰﺟﻢ‬ ‫اﻟﺒﻌﻴﺪة )اﻟﻐﺮﻳﺒﺔ(‪.‬‬
‫ﻻﺳﱰاﺗﻴﺠﻴﺔ )ﺗﻘﺮﻳﺐ( اﻟﻨﺺ اﳌﱰﺟﻢ؛ ﲜﻌﻠﻪ ﻳﺒﺪو‬
‫ﻳﺒﲔ اﻟﻄﺒﻴﻌﺔ اﳋﺎﺻﺔ ﳍﺬا اﻟﻌﻤﻞ؛‬ ‫وﻟﻌﻞ ﻣﺎ ﺳﺒﻖ ّ‬
‫ﻟﻠﻘﺎرئ اﶈﻠﻲ )اﻹﳒﻠﻴﺰي( ﻣﺄﻟﻮﻓﺎً ﰲ أﺳﻠﻮب‬
‫ﻣﺮ ﺑﻌﺪد ﻣﻦ اﻟﺘﺤﻮﻻت واﻻﻧﺘﻘﺎل ﻣﻦ وﺳﻴﻂ‬ ‫إذ ّ‬
‫اﻟﺼﻴﺎﻏﺔ وﺑﻨﺎء اﻟﻠﻐﺔ‪ ،‬أو اﻋﺘﻤﺎدﻩ اﺳﱰاﺗﻴﺠﻴﺔ‬
‫اﻟﺘﻐﺮﻳﺐ ﻣﻦ ﺧﻼل ﺗﻌﻤﺪ ِ‬ ‫ﺗﻘﺪم ﻓﻴﻪ‬
‫إﱃ آﺧﺮ‪ ،‬ﻛﻤﺎ أﻧﻪ ﻋﻤﻞ ﻏﲑ ﺗﻘﻠﻴﺪي‪ّ ،‬‬
‫اﳌﱰﺟﻢ أن ﳚﻌﻞ ﻟﻐﺔ‬ ‫ّ‬ ‫إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﻋﺪداً ﻣﻦ اﻟﻘﻀﺎ� اﻹﺷﻜﺎﻟﻴﺔ‪،‬‬
‫اﳌﱰﺟﻢ وﺑﻨﻴﺘﻪ اﻷﺳﻠﻮﺑﻴﺔ وﺗﺮﻛﺒﻴﻪ ﻳﺒﺪو‬
‫اﻟﻨﺺ َ‬ ‫وﺗﻌﺮض ﻓﻴﻪ ﳌﻮاﻗﻒ ﻓﻜﺮﻳﺔ ﺷﺎﺋﻜﺔ ﻣﻨﻬﺎ‬
‫ﻏﺮﻳﺒﺎً؛ ﻟﻴﺸﻌﺮ اﻟﻘﺎرئ ﺄﺑﺻﻞ اﻟﻨﺺ )اﻟﻐﺮﻳﺐ(‪.‬‬
‫)اﻟﺘﻌﺎﻳﺶ ﻣﻊ اﻵﺧﺮ‪ ،‬ﻋﻼﻗﺔ اﻟﺮﺟﻞ واﳌﺮأة‪،‬‬
‫وﻟﻜﻦ ﻫﺬﻩ اﻟﺪراﺳﺔ ﻻ ﺗﻘﻒ ﻋﻨﺪ ﻣﻘﺎرﺑﺔ‬
‫اﻟﺰﻧﺪﻗﺔ واﻟﻌﻨﻒ‪ ،‬اﺠﻤﻟﻮن‪ ،‬واﳍﺰل‪ ،‬وﺷﺮب اﳋﻤﺮ‪،‬‬
‫اﳌﺴﺘﻮى اﻟﻠﻐﻮي أو اﻷﺳﻠﻮب اﻟﱰﻛﻴﱯ ﻟﻠﻨﺺ‬
‫واﻟﺸﺬوذ اﳉﻨﺴﻲ‪ ... ،‬إﱁ( وﻳﺘﻄّﻠﺐ أن ﺗﻜﻮن‬
‫اﳌﱰﺟﻢ‪ ،‬ﺑﻞ ﺗﺘﺠﺎوز ذﻟﻚ إﱃ ﻣﺎ ﺗﺮاﻩ أوﱃ‬
‫ﻣﻌﺎﳉﺘﻪ ﻋﻠﻰ ﻣﺴﺘﻮ�ت ﻋﺪة‪ ،‬ﻓﻬﻮ ﻟﻴﺲ ﺎﺗرﳜﺎً‬
‫ﺎﺑﻟﻌﻨﺎﻳﺔ واﻟﻔﺤﺺ واﻟﺘﻤﺤﻴﺺ‪ ،‬وذﻟﻚ ﻣﻦ‬
‫ﳏﻀﺎً‪ ،‬وﻻ ﺧﻴﺎﻻً ﺻﺮﻓﺎً‪ ،‬وﳛﻮي ﻣﻮ َاد ﺟﺎدةً‬
‫ﺧﻼل ﲢﻠﻴﻞ اﺳﱰاﺗﻴﺠﻴﺎت اﻟﺘﻘﺮﻳﺐ واﻟﺘﻐﺮﻳﺐ ﰲ‬
‫وﻣﻌﺎرف ﻣﻄﻮﻳﺔً ﰲ‬
‫َ‬ ‫ٍ‬
‫وﻣﻌﻠﻮﻣﺎت‬ ‫ُﻣﺰﺟﺖ ﺎﺑﳍﺰل‪،‬‬
‫اﳌﻀﺎﻣﲔ اﻟﺜﻘﺎﻓﻴﺔ واﳊﻤﻮﻻت اﳌﻌﺮﻓﻴﺔ اﻟﱵ‬
‫ب ﲣﻴﻴﻠﻲ وﻣﺸﺎﻫﺪ إﳛﺎﺋﻴﺔ‪ ،‬ورﺳﻮﻣﺎت ﺣﺪﻳﺜﺔ‬ ‫ﺛﻮ ٍ‬
‫ﺗﻌﺮﺿﻬﺎ اﻟﻨﺼﻮص اﻟﱵ اﺧﺘﺎرﻬﺗﺎ إﻣﻴﻠﻲ ﺳﻴﻠﻮف‪،‬‬
‫ﺗﻘﺪﻣﻬﺎ‬
‫ﲢﺎﻛﻲ واﻗﻌﺎً ﻗﺪﳝﺎً‪ ،‬واﻟﻮﻇﻴﻔﺔ اﻟﱵ ّ‬
‫وﻋﻠﻰ ﻣﺴﺘﻮى اﻟﺘﻤﺜﻴﻞ اﻟﺒﺼﺮي ﻟﻠﺮﺳﻮﻣﺎت اﻟﱵ‬
‫اﻟﺮﺳﻮﻣﺎت اﻟﺘﺼﻮﻳﺮﻳﺔ‪ ،‬واﻟﻮزن اﻟﺬي ﲢﺘﻠﻪ اﻟﺼﻮرة‬
‫‪ 21‬ﻣﻘﺎﺑﻠﺘﻬﺎ ﻣﻊ ﺷﻮﻛﺔ ﻃﺮاوة ﻋﻠﻰ اﻟﻴﻮﺗﻴﻮب‪ ،‬ﻣﺼﺪر ﺳﺎﺑﻖ‪.‬‬
‫‪147‬‬
‫اﻟﻨﺺ اﳍﺪف‪ ،‬واﻟﺘﻐﺮﻳﺐ ﳛﺘﻔﻆ ﺎﺑﻻﺧﺘﻼﻓﺎت‬ ‫ِّ‬

‫ﺗﻘﺪﻣﻬﺎ وﻣﺪى اﺗﻜﺎﺋﻬﺎ ﻋﻠﻰ اﻟﺘﻘﺮﻳﺐ أو‬
‫‪24‬‬
‫اﻟﱵ ﳛﻤﻠﻬﺎ اﻟﻨﺺ اﻷﺻﻠﻲ"‪.‬‬ ‫اﻟﺘﻐﺮﻳﺐ ﰲ ذﻟﻚ‪.‬‬
‫ﺗﻨﻄﻠﻖ ﻫﺬﻩ اﻟﺪراﺳﺔ ﻣﻦ أن إﻣﻴﻠﻲ ﺳﻴﻠﻮف‬ ‫وﺈﺑﳚﺎز ﳝﻜﻦ اﻟﻘﻮل‪ :‬إن اﻟﺘﻘﺮﻳﺐ واﻟﺘﻐﺮﻳﺐ‬
‫اﺗﻜﺄت ﻋﻠﻰ اﺳﱰاﺗﻴﺠﻴﺔ اﻟﺘﻘﺮﻳﺐ‬ ‫"اﺳﱰاﺗﻴﺠﻴﺘﺎن أﺳﺎﺳﻴﺘﺎن ﰲ اﻟﱰﲨﺔ‪ ،‬ﻳﻮﺟﻬﺎن‬
‫)‪(domestication‬أﻛﺜﺮ ﻣﻦ اﻟﺘﻐﺮﻳﺐ‬ ‫ﳏﺘﻮاﻫﺎ اﻟﻠﻐﻮي واﻟﺜﻘﺎﰲ"‪ 22 ،‬وﻗﺪ ﺻﺎغ ﻟﻮراﻧﺲ‬
‫)‪ ،(foreignization‬ﻟﻴﺲ ﻋﻠﻰ ﻣﺴﺘﻮى اﺧﺘﻴﺎر‬ ‫ﻓﻴﻨﻮﰐ )‪ (Lawrence Venuti‬ﻫﺬﻳﻦ‬
‫اﳌﻔﺮدات واﻟﱰاﻛﻴﺐ ﰲ اﳉﻤﻠﺔ اﻹﳒﻠﻴﺰﻳﺔ‬ ‫‪(domestication‬‬ ‫‪and‬‬ ‫اﳌﺼﻄﻠﺤﲔ‪،‬‬
‫ﻓﺤﺴﺐ‪ ،‬ﺑﻞ ﻋﻠﻰ ﻣﺴﺘﻮى اﳌﻀﻤﻮن اﻟﺜﻘﺎﰲ‬ ‫)‪ foreignization‬وﻳﻌﲏ ﺎﺑﻟﺘﻘﺮﻳﺐ‪" :‬ﺗﺼﻐﲑ اﻷﺛﺮ‬
‫وﻳﺘﺒﲔ ذﻟﻚ ﻣﻦ ﺧﻼل‬ ‫واﶈﺘﻮى اﻟﻔﻜﺮي‪ّ ،‬‬ ‫اﻷﺟﻨﱯ ﰲ اﻟﻨﺺ اﻷﺻﻠﻲ وﺗﻀﻤﻴﻨﻪ ﰲ ﻃﻲ‬
‫اﺧﺘﻴﺎراﻬﺗﺎ ﰲ اﻟﻌﻤﻞ ﺑﻜﻠّﻴﺘﻪ‪ ،‬ﺳﻮاء ﰲ‬ ‫اﻟﻨﺺ اﳍﺪف‪ ،‬ﲜﻌﻞ اﳌﺆﻟِّﻒ ﻳﺒﺪو ﺟﺰءاً ﻣﻦ‬
‫اﻟﺸﺨﺼﻴﺎت‪ ،‬أو اﻷﻓﻜﺎر‪ ،‬أو اﻟﻘﻀﺎ�‪ ،‬أو‬ ‫اﻟﺜﻘﺎﻓﺔ اﶈﻠﻴﺔ"‪ ،‬ﺑﻴﻨﻤﺎ ﻳﻌﲏ اﻟﺘﻐﺮﻳﺐ‪" :‬ﺗﻌﺰﻳﺰ‬
‫اﳌﻮاﻗﻒ اﻟﻔﻜﺮﻳﺔ‪ ،‬وأﺛﺮ ذﻟﻚ ﰲ ﻇﻬﻮر اﶈﺘﻮى‬ ‫اﻟﻌﻨﺎﺻﺮ اﻷﺟﻨﺒﻴﺔ وإﻇﻬﺎرﻫﺎ ﻟﺘﻤﻴﻴﺰ اﻻﺧﺘﻼﻓﺎت‬
‫اﻟﺜﻘﺎﰲ واﳌﻌﺮﰲ‪ ،‬وﲤﺜﻼت اﻟﻨﺺ اﻟﻨﻬﺎﺋﻲ‪ ،‬ﺑﻞ إ�ﺎ‬ ‫اﻟﻠﻐﻮﻳﺔ واﻟﺜﻘﺎﻓﻴﺔ اﻟﱵ ﳛﻤﻠﻬﺎ اﻟﻨﺺ اﻷﺟﻨﱯ‪،‬‬
‫ﰲ ﻣﻮاﻃﻦ ﳏﺪدة ﻗﺪ ﲪّﻠﺖ اﻟﻨﺺ اﻷﺻﻠﻲ ﻣﺎ‬ ‫�ﻗﻼً اﻟﻘﺎرئ ﺧﺎرج ﻣﺎ �ﻟﻒ"‪ 23 .‬وﻳﺬﻛﺮ وﻳﻨﻔﻦ‬
‫ﻻ ﳛﺘﻤﻠﻪ ﻣﻦ ﲪﻮﻻت ﺛﻘﺎﻓﻴﺔ ﻫﻲ أﻗﺮب ﻟﻠﻨﺺ‬ ‫�ﻧﻖ )‪ (Wenfen Yang‬أن اﻟﺘﻌﺎرض ﺑﲔ‬
‫اﻹﳒﻠﻴﺰي وﺛﻘﺎﻓﺘﻪ‪ ،‬وﻻ ﻳﻐﲏ ﻋﻨﻬﺎ اﻟﺘﺄوﻳﻞ ﺄﺑن‬ ‫اﺳﱰاﺗﻴﺠﻴﱵ اﻟﺘﻘﺮﻳﺐ واﻟﺘﻐﺮﻳﺐ ﰲ اﻟﱰﲨﺔ ﳝﻜﻦ‬
‫اﻟﻌﻤﻞ ﻳﱰﺧﺺ ﺑﺮﺧﺺ ﻓﻨﻴﺔ‪ ،‬أو أﻧﻪ ذا ﺑﻌﺪ‬ ‫إﻋﺎدﺗﻪ إﱃ ﻣﱪرات ﺛﻘﺎﻓﻴﺔ وﺳﻴﺎﺳﻴﺔ ﻻ ﻟﻐﻮﻳﺔ؛‬
‫ﺳﻨﺒﲔ ﻻﺣﻘﺎً‪.‬‬
‫ﺳﺮ�ﱄ ﲣﻴﻴﻠﻲ‪ ،‬ﻛﻤﺎ ّ‬ ‫وﻟﻴﺴﺎ – ﻛﻤﺎ ﻳﺮى – اﻣﺘﺪاداً ﻟﻠﺨﻼف ﺣﻮل‬
‫ﻳﻨﺺ ﻋﻠﻰ أن‬
‫اﻟﱰﲨﺔ اﳊﺮﻓﻴﺔ أو اﳊﺮة‪ .‬ﻛﻤﺎ ّ‬
‫وﺗﻌﺮض ﻫﺬﻩ اﻟﺪراﺳﺔ ﻟﺘﺠﺮﺑﺔ إﻣﻴﻠﻲ؛ ﳏﺎوﻟﺔ‬
‫"اﻟﺘﻘﺮﻳﺐ واﻟﺘﻐﺮﻳﺐ ﻳﺘﻌﻠﻘﺎن ﺑﺜﻘﺎﻓﺘﲔ؛ ﻓﺎﻟﺘﻘﺮﻳﺐ‬
‫وﺻﻔﻬﺎ ﺑﺪﻗٍّﺔ ﻟﻠﻘﺎرئ اﻟﻌﺮﰊ ﻣﻊ ﲢﻠﻴﻠﻬﺎ ﲢﻠﻴﻼً‬
‫ﻳﺴﺘﺒﺪل اﶈﺘﻮى اﻟﺜﻘﺎﰲ ﰲ اﻟﻨﺺ اﻷﺻﻠﻲ ﺑﺜﻘﺎﻓﺔ‬
‫ﻧﻘﺪ�ً ﻳﺘﺠﻪ ﰲ ﺑﻌﺾ أﺟﺰاﺋﻪ ﳓﻮ اﻟﺘﺘﺒﻊ اﻟﺘﺎرﳜﻲ‪،‬‬
‫‪24‬‬
‫‪Wenfen Yang, 'A Brief Study on‬‬ ‫ﺺ‬ ‫‪22‬‬
‫‪Domestication‬‬ ‫‪and‬‬ ‫‪Foreignization‬‬ ‫‪in‬‬ ‫ﺗﺮﲨﺔ اﻟﻨﺼﻮص اﻷﺟﻨﺒﻴﺔ ﻣﻦ ﻋﻤﻞ اﻟﺒﺎﺣﺚ‪ ،‬ﻣﺎ ﱂ ﻳـُﻨَ ّ‬
‫‪Translation', in Journal of Language Teaching‬‬ ‫ﻋﻠﻰ ﺧﻼف ذﻟﻚ‪.‬‬
‫‪and Research, Vol. 1, No. 1, January 2010, (p.‬‬ ‫‪23‬‬
‫‪Lawrence Venuti, The Translator's‬‬
‫‪77).‬‬ ‫‪Invisibility: A History of Translation, 2nd edn.,‬‬
‫‪London & New York: Routledge, 2008, p.15‬‬
‫‪148‬‬
‫ﺗﺼﻮراﻬﺗﺎ وﻧﺘﺎﺟﻬﺎ اﻟﺬي ﻇﻬﺮ ﰲ ﻫﺬا‬ ‫وﻳﻔﻴﺪ ﺑﻌﻀﻪ اﻵﺧﺮ ﻣﻦ ﻣﻌﻄﻴﺎت اﻟﺘﺤﻠﻴﻞ‬
‫اﻟﻜﺘﺎب؟‬ ‫اﻟﺜﻘﺎﰲ‪ ،‬ﻛﻤﺎ ﻳﺴﺘﺄﻧﺲ ﺑﺒﻌﺾ ﻣﻌﻄﻴﺎت اﳌﻘﺎرﺑﺔ‬
‫‪ -‬ﻣﺎ أﺑﺮز اﻹﺷﻜﺎﻻت اﻟﺜﻘﺎﻓﻴﺔ اﳊﺎﺿﺮة ﰲ‬ ‫اﻟﻮﺳﺎﺋﻄﻴﺔ؛ ﻟﺘﺘﺒّﻊ آﺎﺛر اﻟﺘﺤﻮﻻت ﻋﻨﺪ اﺧﺘﻼف‬
‫ﳏﺎوﻟﺘﻬﺎ‪ ،‬وﻛﻴﻒ ﻗﺎرﺑﺘﻬﺎ؟ وﻛﻴﻒ ُﳚﺎب‬ ‫اﻟﻮﺳﻴﻂ اﳊﺎﻣﻞ ﻟﻠﻤﻌﻠﻮﻣﺔ ﻣﻦ رﺳﻢ ورﻗﻲ إﱃ‬
‫ﻋﻨﻬﺎ‪.‬‬ ‫ﻧﺺ رﻗﻤﻲ ﺗﻔﺎﻋﻠﻲ ﰒ اﻧﺘﻘﺎﻟﻪ ﻟﻴﻜﻮن ﺟﺰءاً ﻣﻦ‬
‫ﻛﺘﺎب ﻣﻄﺒﻮع‪ ،‬واﻧﺘﻬﺎء ﺑﻌﻮدﺗﻪ إﱃ اﻟﺴﻴﺎق‬
‫اﳌﺒﺤﺚ اﻷول‪) :‬اﻟﺘﻘﺮﻳﺐ واﻹﺷﻜﺎل‬
‫وﻳﺆﻣﻞ‬
‫اﻟﺮﻗﻤﻲ ﰲ وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘﻤﺎﻋﻲ‪ّ ،‬‬
‫اﳌﻨﻬﺠﻲ(‬
‫أن ﺗﺘﻌﺎﺿﺪ ﻫﺬﻩ اﳌﻨﻬﺠﻴﺎت ﰲ ﺗﻘﺪﱘ أﻛﱪ ﻗﺪر‬
‫ﻳﻨﺎﻗﺶ ﻫﺬا اﳌﺒﺤﺚ ﻣﺪى اﻟﺘﺰام إﻣﻴﻠﻲ ﺳﻴﻠﻮف‬ ‫ﻣﻦ اﻟﺘﺤﻠﻴﻞ واﻟﻨﻘﺪ ﳍﺬا اﻟﻌﻤﻞ ﻏﲑ اﻟﺘﻘﻠﻴﺪي ﻣﺎ‬
‫اﺳﱰاﺗﻴﺠﻴﺔ اﻟﺘﻘﺮﻳﺐ ﰲ ﻋﺮض اﻟﻨﺼﻮص اﻷﺻﻠﻴﺔ‬ ‫ﻳﺴﺘﺪﻋﻲ أن ﺗﻜﻮن ﻣﻌﺎﳉﺘﻪ ﻏﲑ ﺗﻘﻠﻴﺪﻳﺔ أﻳﻀﺎً‪.‬‬
‫واﻷﻓﻜﺎر اﻟﱵ ﺑﻨﺖ ﻋﻠﻴﻬﺎ اﻟﻌﻤﻞ‪ ،‬وﳛﻠﻞ‬
‫ﻛﻤﺎ ﲢﺎول ﻫﺬﻩ اﻟﺪراﺳﺔ ﺗﺘﺒّﻊ أﻫﻢ ﻣﻮاﻃﻦ‬
‫اﳌﻨﻬﺠﻴﺔ اﳌﺘّﺒﻌﺔ ﰲ اﻟﻜﺘﺎب ﻣﺒﻴّﻨﺎً ﻛﻴﻒ ﻛﺎن‬
‫اﻹﺷﻜﺎﻻت اﳌﻨﻬﺠﻴﺔ واﻟﻌﻠﻤﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ اﻟﱵ ﺗﱪز‬
‫اﺗﺒﺎﻋﻬﺎ ﳍﺬﻩ اﻻﺳﱰاﺗﻴﺠﻴﺔ ﺳﺒﺒﺎً ﻟﻌﺪد ﻣﻦ‬
‫ﻟﻠﻘﺎرئ ﰲ ﻫﺬا اﻟﻜﺘﺎب‪ ،‬وﲢﺎول أن ﲡﻴﺐ ﻋﻦ‬
‫اﻹﺷﻜﺎﻻت‪ .‬وﺳﻨﺸﲑ أوﻻً إﱃ ﺳﺒﺐ اﺧﺘﻴﺎر‬
‫اﻷﺳﺌﻠﺔ اﻵﺗﻴﺔ‪:‬‬
‫ﺷﺨﺼﻴﺔ اﳉﺎﺣﻆ وﺷﺨﺼﻴﺔ أﰊ ﻧﻮاس‪ ،‬وﻟﻌﻠﻪ‬
‫أول ﻣﻈﻬﺮ ﻣﻦ ﻣﻈﺎﻫﺮ اﻻﻋﺘﻤﺎد ﻋﻠﻰ اﺳﱰاﺗﻴﺠﻴﺔ‬ ‫‪ -‬إﱃ أي ﻣﺪى اﻟﺘﺰﻣﺖ إﻣﻴﻠﻲ ﺳﻴﻠﻮف‬
‫)اﻟﺘﻘﺮﻳﺐ(؛ ﻓﻘﺪ أﺷﺎرت إﻣﻴﻠﻲ ﰲ ﻣﻘﺪﻣﺔ‬ ‫اﺳﱰاﺗﻴﺠﻴﺔ اﻟﺘﻘﺮﻳﺐ ﰲ ﻋﺮض اﻟﻨﺼﻮص‬
‫اﻟﻜﺘﺎب أن ذﻟﻚ ﻳﻌﻮد إﱃ ﺳﺒﺐ ﻓﲏ ﻳﺘﻌﻠﻖ‬ ‫اﻷﺻﻠﻴﺔ واﻷﻓﻜﺎر اﻟﱵ ﺑﻨﺖ ﻋﻠﻴﻬﺎ اﻟﻌﻤﻞ‪،‬‬
‫ﺎﺑﻟﺮﺳﻢ‪ ،‬ﻟﺴﻬﻮﻟﺔ رﺳﻢ اﳉﺎﺣﻆ ذي اﻟﻌﻴﻨﲔ‬ ‫وﻛﻴﻒ ﻳُﻨﻈﺮ إﱃ اﳌﻨﻬﺞ اﳌﺘﺒﻊ ﰲ اﻟﻜﺘﺎب‪.‬‬
‫اﻟﺒﺎرزﺗﲔ‪ ،‬وأﰊ ﻧﻮاس ذي اﻟﺬؤاﺑﺔ اﻟﱵ ﺟﻌﻠﺘﻪ‬ ‫‪ -‬وﻣﺎ اﻷﳘﻴﺔ اﳋﺎﺻﺔ ﳍﺬا اﻟﻌﻤﻞ اﻟﺬي‬
‫أﺟﻌﺪ اﻟﺸﻌﺮ ﺑﺘﺄول واﺳﻊ ﳌﻌﲎ اﻟﻜﻨﻴﺔ‪ ،‬ﻛﻤﺎ‬ ‫ﲨﻊ ﺑﲔ اﻟﺼﻮرة واﻟﻨﺺ‪ ،‬وﻣﺰج ﺑﲔ‬
‫أﺷﺎرت إﱃ ﺳﺒﺐ آﺧﺮ ﻟﻼﺧﺘﻴﺎر‪ ،‬ذﻟﻚ أ�ﻤﺎ‬ ‫اﳌﻌﻠﻮﻣﺎت واﳊﻘﺎﺋﻖ اﻟﺘﺎرﳜﻴﺔ واﻟﺮﺳﻮﻣﺎت‬
‫‪-‬ﻛﻤﺎ ﺗﺮى ‪ -‬ﻛﺎ� أﻋﻈﻢ ﺷﺨﺼﻴﺘﲔ ﰲ اﻷدب‬ ‫اﻟﺘﺨﻴﻠﻴﺔ‪ ،‬ﺎﺑﻋﺘﺒﺎر اﳉﻤﻬﻮر اﳌﺨﺎﻃﺐ ﺑﻪ؟‬
‫ِ‬
‫ﺗﺴﻤﻴﻪ‪ -‬أﺑﻮ اﻟﻨﺜﺮ‬ ‫‪ -‬ﻣﺎ أﺑﺮز اﻟﺼﻮر اﻟﺬﻫﻨﻴﺔ اﻟﱵ ﺗﻘﺪﻣﻬﺎ أو‬
‫اﻟﻌﺮﰊ‪ ،‬ﻓﺎﳉﺎﺣﻆ ‪-‬ﻛﻤﺎ ّ‬
‫اﻟﻌﺮﰊ‪ ،‬وأﺑﻮ ﻧﻮاس ﲡﻌﻠﻪ أﻫﻢ ﺷﺎﻋﺮ ﻋﺮﰊ ﻣﻦ‬ ‫ﺗﻌﺰزﻫﺎ إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﻋﻦ اﻟﻌﺮﰊ‪ ،‬وﻣﺎ أﺛﺮ‬
‫اﻫﺘﻤﺎﻣﺎﻬﺗﺎ اﻟﻌﻠﻤﻴﺔ اﳋﺎﺻﺔ ﰲ ﺗﺸﻜﻴﻞ‬
‫‪149‬‬
‫اﳌﱰﺟﻢ ﻣﻦ ﺷﻌﺮ أﰊ ﻧﻮاس إﱃ اﻹﳒﻠﻴﺰﻳﺔ‬ ‫وإن ﺳﻠﻤﻨﺎ ﺑﻌﺒﻘﺮﻳﺔ اﳉﺎﺣﻆ إﻻ‬ ‫وﺟﻬﺔ ﻧﻈﺮﻫﺎ‪ْ 25 .‬‬
‫ﺳﺎﻋﺪﻫﺎ ﰲ اﻻﺧﺘﻴﺎر ﻣﻨﻪ دون ﺗﻜﺒﺪ ﻋﻨﺎء‬ ‫أن ﺣﻜﻤﻬﺎ ﺑﺘﻘﺪﱘ أﰊ ﻧﻮاس ﻋﻠﻰ ﺳﺎﺋﺮ اﻟﺸﻌﺮاء‬ ‫ﱠ‬
‫اﻻﺧﺘﻴﺎر ﻣﻦ اﻟﺸﻌﺮ اﻟﻌﺮﰊ ﻏﲑ اﳌﱰﺟﻢ‪ 29 ،‬وإن‬ ‫ﳏﻞ ﻧﻈﺮ‪ ،‬ﺣﻴﺚ ﱠ‬
‫ﻗﺪ ْﻣﺘﻪ ﻋﻠﻰ ﺳﺎﺋﺮ ﺷﻌﺮاء اﻟﻌﺮﺑﻴﺔ‬
‫ﻛﺎن أﻋﻠﻰ ﺷﺄ�ً ﻋﻨﺪ اﳌﺘﺨﺼﺼﲔ ﻗﻴﺎﺳﺎً ﺑﺸﻌﺮ‬ ‫اﳉﺎﻫﻠﻴﲔ واﻷﻣﻮﻳﲔ واﻟﻌﺒﺎﺳﻴﲔ‪ ،‬وﻋﻠﻰ أﰊ ﲤﺎم‬
‫أﰊ ﻧﻮاس‪ ،‬وﻟﻌﻞ ﻫﺬا أﺣﺪ ﻣﻮاﻃﻦ اﳋﻠﻞ‬ ‫واﳌﺘﻨﱯ واﳌﻌﺮي‪ ،‬وﱂ ﻳﺮد ﳍﺆﻻء اﻟﺸﻌﺮاء ذﻛﺮ إﻻ‬
‫اﳌﻨﻬﺠﻲ ﰲ ﻫﺬا اﻟﻜﺘﺎب‪.‬‬ ‫ﰲ إﺷﺎرﺗﲔ ﻣﻮﺟﺰﺗﲔ إﱃ اﳌﺘﻨﱯ؛ ﺗﺬﻛﺮ ﰲ‬
‫وﺧﻠﻞ ٍ‬ ‫إﺣﺪاﳘﺎ ‪ 26‬أﻧﻪ ﱂ ﻳﻜﻦ ﳛﺐ ﺷﺮب اﳋﻤﺮ‪ ،‬وﰲ‬
‫ﺎﺛن ﻻ ﻳﻘﻞ ﺷﺄ�ً ﻋﻦ اﻷول ﻳﺘﻤﺜﻞ ﰲ‬ ‫ٌ‬ ‫اﻷﺧﺮى ﺗﺬﻛﺮ ﺷﻬﺮﺗﻪ ﺎﺑﳍﺠﺎء )اﻟﻌﻨﺼﺮي ﺿﺪ‬
‫اﻧﻄﻼق إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﻣﻦ ﻣﻮاﻗﻒ ﻓﻜﺮﻳﺔ‬ ‫‪27‬‬
‫اﻟﺴﻮد( ﺣﻴﻨﻤﺎ ﻫﺠﻰ ﻛﺎﻓﻮر‪.‬‬
‫ﻣﺴﺒﻘﺔ ﰒ إﺳﻘﺎﻃﻬﺎ ﻋﻠﻰ أﺣﺪاث ﺎﺗرﳜﻴﺔ‬
‫ﺗﺴﺘﺪﻋﻴﻬﺎ ﺎﺑﻟﺮﺳﻢ واﻟﺘﻌﻠﻴﻖ‪ ،‬ﺠﻤﻟﺮد اﻟﺘﺸﺎﺑﻪ‬ ‫وﺗﺘﺴﻖ إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﰲ ﻫﺬا اﻻﻫﺘﻤﺎم ﺄﺑﰊ‬
‫ﻓﺘﺴﻘﻂ أﺣﻜﺎﻣﺎً ﻣﻌﺎﺻﺮة ﺄﺑﺛﺮ رﺟﻌﻲ ﻋﻠﻰ‬ ‫ﻧﻮاس ﻣﻊ ﻛﺜﲑ ﻣﻦ اﻟﺪراﺳﺎت اﻟﻐﺮﺑﻴﺔ اﻟﱵ ﺣﻈﻲ‬
‫أﺣﺪاث وﻣﻮاﻗﻒ ﺎﺗرﳜﻴﺔ ﻣﻦ ﺳﻴﺎق ﳐﺘﻠﻒ ﻋﻦ‬ ‫ﻬﺑﺎ أﺑﻮ ﻧﻮاس وﲬﺮ�ﺗﻪ وأﺳﻠﻮب ﺣﻴﺎﺗﻪ‪ .‬وﻟﻌﻞ‬
‫اﻟﺴﻴﺎﻗﺎت اﳊﺪﻳﺜﺔ‪ .‬وأﺑﺮز ﻣﺎ ﻳُﻠﺤﻆ ﻣﻦ‬ ‫ﻫﻨﺎك ﺳﺒﺒﺎً آﺧﺮ ﻳﻌﻮد إﱃ ﺻﻌﻮﺑﺔ ﺗﺮﲨﺔ اﻟﺸﻌﺮ‬
‫إﺳﻘﺎﻃﺎﻬﺗﺎ اﺳﺘﻌﻤﺎل أﻟﻔﺎظ وﻣﻔﺎﻫﻴﻢ ﺣﺪﻳﺜﺔ‬ ‫اﻟﻌﺮﰊ‪ ،‬وﻗﺪ أوﻣﺄت إﱃ ذﻟﻚ ﺣﲔ ذﻛﺮت‬
‫وﺗﻄﺒﻴﻘﻬﺎ ﻋﻠﻰ أﺣﺪاث وﻣﻮاﻗﻒ ﻗﺪﳝﺔ( ﻓﻘﺪ‬ ‫ﺻﻌﻮﺑﺔ اﻟﱰﲨﺔ ﻣﻦ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ إﱃ اﻟﻠﻐﺎت‬
‫ﺟﺎء ﰲ )اﳌﺸﻬﺪ ‪ (17‬اﻟﺬي ﻳﺼﻒ ﺑﺴﺬاﺟﺔ‬ ‫اﻷﺧﺮى‪ 28 ،‬وﺗﻌﺰو ذﻟﻚ إﱃ ﻏﲎ اﻟﻌﺮﺑﻴﺔ‬
‫ﻻ ﲣﻄﺌﻮﻫﺎ اﻟﻌﲔ ﺷﺎﻋﺮاً ﳝﺪح اﳋﻠﻴﻔﺔ ﲟﺪح ﻏﺚ‬ ‫ﺧﺼﻮﺻﺎً ﰲ اﻟﻨﻮاﺣﻲ اﻟﺸﻌﺮﻳﺔ‪ ،‬وﻟﻌﻞ ﻛﺜﺮة‬
‫‪Oneworld Publications, 2012); Alex Rowell,‬‬ ‫‪ 25‬ذﻛﺮت ذﻟﻚ ﰲ ﻣﺴﺘﻬﻞ ﻣﻘﺎﺑﻠﺘﻬﺎ ﻣﻊ ﺷﻮﻛﺔ ﻃﺮاوة اﳌﻨﺸﻮرة‬
‫‪Vintage Humour: The Islamic Wine Poetry of‬‬
‫‪Abu Nuwas, (Oxford: Hurst, 2018); Jim‬‬ ‫ﻋﻠﻰ ﻳﻮﺗﻴﻮب‪ ،‬ﻣﺼﺪر ﺳﺎﺑﻖ‪ ،‬وإن ﻛﺎﻧﺖ ﻗﺪ ﺧﻔﻔﺖ ﻫﺬا‬
‫‪Colville, Poems of Wine & Revelry: the‬‬
‫‪khamriyyat of Abu Nuwas, (Oxon; New York:‬‬ ‫اﳊﻜﻢ ﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ ﺄﺑﰊ ﻧﻮاس ﻓﺬﻛﺮت ﰲ ﻣﻘﺪﻣﺔ اﻟﻜﺘﺎب‬
‫‪Routledge, 2013); Fuad Matthew Caswell, The‬‬ ‫)اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس( أن أﺎﺑ ﻧﻮاس ﻣﻦ أﻫﻢ اﻟﺸﻌﺮاء‪ ،‬وﻟﻜﻦ‬
‫‪khamriyyat of Abu Nuwas: Medieval bacchic‬‬
‫‪poetry by Abu Nuwas, (Kibworth Beauchamp:‬‬ ‫ﺳﺎﺋﺮ اﻟﻜﺘﺎب ﻇﻞ ﺑﻄﺒﻴﻌﺔ اﳊﺎل ﺷﺎﻫﺪاً ﻋﻠﻰ ﻫﺬا اﻟﺘﻔﻀﻴﻞ‬
‫‪Matador, 2015), James Montgomery, ‘Abu‬‬
‫‪Nuwas, the Justified Sinner?’ Oriens 39, no.1:‬‬ ‫اﻟﻀﻤﲏ ﻋﻨﺪ اﻟﻜﺎﺗﺒﺔ‪ ،‬ﻳﻨﻈﺮ‪:‬‬
‫‪(pp. 75-164); Geert Jan van Gelder, ‘Waspish‬‬ ‫‪Emily Selove, Popeye and Curly, intro., p.vi.‬‬
‫‪verses: Abu Nuwas’s Lampoon on Zunbur ibn‬‬ ‫‪26‬‬
‫‪Ibid., ep. 3.‬‬
‫‪Abi Hammad’, Annali di ca’ Foscari XXXV,‬‬ ‫‪27‬‬
‫‪Ibid., ep. 17.‬‬
‫‪no. 3; 1996: (pp.447-455).‬‬ ‫‪28‬‬
‫‪Ibid., ep. 69.‬‬
‫‪29‬‬
‫‪For instance, see: Philip Kennedy, Abu‬‬
‫‪Nuwas: A Genius of Poetry, (New York:‬‬
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‫ﻏﲑ أ ّن ﺗﻌﻤﻴﻤﻬﺎ ﰲ اﳊﻜﻢ ﺣﻴﻨﻤﺎ ﲡﻌﻞ‬

‫ﻧﻔﺴﻪ‪َ ،‬‬ ‫ﺎﺑرد )اﳋﻠﻴﻔﺔ أﺳﺪ ﻟﻪ زﺋﲑ ﻣﻬﻴﺐ‪ ،‬وﻫﻮ ﺷﺠﺎع‬
‫ﻗﺎﻋﺪة ﻋﺎﻣﺔ‬
‫ﲢﻮل اﻟﺸﻌﺮاء ﻣﻦ اﳌﺪح إﱃ اﳍﺠﺎء ً‬ ‫ﱡ‬ ‫ﺣﻜﻴﻢ ﻛﺮﱘ‪ ،‬أﻃﺎﻟﻪ ﷲ ﺑﻘﺎءﻩ وﺣﻜﻤﻪ(‪ ،‬ﻓﻴﺜﲏ‬
‫وﺟﻌﻠﻬﺎ ذﻟﻚ ﲢﺖ‬ ‫إذا ﻛﺎن اﳌﻤﺪوح ﲞﻴﻼً‪ْ ،‬‬ ‫ﻋﻠﻴﻪ اﳋﻠﻴﻔﺔ وﳜﻠﻊ ﻋﻠﻴﻪ دﻳﻨﺎرﻳﻦ ﻓﺤﺴﺐ!‪،‬‬
‫ﻋﻨﻮان‪ :‬ﺣﻘﻴﻘﺔ )‪ - ،(fact‬وﻟﻨﺎ ﻋﻮدة ﳍﺬﻩ‬ ‫ﲪﺎر؛‬
‫ﻓﻴﺘﺤﻮل اﻟﺸﺎﻋﺮ إﱃ ﻫﺠﺎﺋﻪ ﻗﺎﺋﻼً )اﳋﻠﻴﻔﺔ ٌ‬
‫اﻟﻜﻠﻤﺔ ﻻﺣﻘﺎ‪ -‬واﺳﺘﺸﻬﺎدﻫﺎ ﲝﺎﻟﺔ اﳌﺘﻨﱯ‬ ‫اﲰﻌﻮا �ﻴﻘﻪ‪ ،‬ﻟ ّـﻤﺎ ﻋﻠﻢ ﺑﻘﺪوم اﻟﺮوم ﺿﺮط‬
‫وﺗﻌﻠﻴﻠﻬﺎ ﻟﺘﺤﻮﻟﻪ إﱃ اﳍﺠﺎء ﺑﻘﻠﺔ ﻋﻄﺎء ﻛﺎﻓﻮر‬ ‫وﻫﺮب!(‪ .‬ﰒ ﺗﻌﻠِّﻖ ﻋﻠﻰ ذﻟﻚ ﲢﺖ ﻋﻨﻮان‬
‫ﻟﻠﻤﺘﻨﱯ‪ ،‬ﻣﻊ أن ﺷﻌﺮ اﳌﺘﻨﱯ ﰲ ﻣﺪﻳﺢ ﻛﺎﻓﻮر‬ ‫)ﺣﻘﻴﻘﺔ(‪ :‬ﻛﺎن اﻟﺸﺎﻋﺮ ﻳﺘﻜﺴﺐ ﺎﺑﳌﺪح‪ ،‬ﻓﺈن‬
‫ﲢﻮل ﻋﻨﻪ‬
‫ﻳﺸﲑ ‪-‬ﳌﻦ ﳛﺴﻦ ﻗﺮاءﺗﻪ‪ -‬أﻧﻪ ّإﳕﺎ ّ‬ ‫ﻛﺎن اﳌﻤﺪوح ﲞﻴﻼً‪ ،‬ﻳﺘﺤﻮل اﻟﺸﺎﻋﺮ إﱃ‬
‫ﻋﻨﺪﻣﺎ ﱂ ﻳﻈﻔﺮ ﺑﻮﻻﻳﺔ ﻋﻨﺪﻩ‪ 30 ،‬وﻟﻴﺲ اﳌﺎل ﻫﻮ‬ ‫ﻫﺠﺎﺋﻪ‪ ،‬ﰒ ﺗﻀﺮب اﳌﺘﻨﱯ ﻣﺜﻼً ﳍﺬا اﻟﺘﺤﻮل ﻣﻦ‬
‫اﻟﺪاﻓﻊ‪ ،‬ﻛﻤﺎ ﲢﺪدﻩ ﻫﻨﺎ‪.‬‬ ‫اﳌﺪﻳﺢ إﱃ اﳍﺠﺎء‪ ،‬ﻷﻧﻪ ﱂ ﻳﻜﺎﻓﺌﻪ ﻋﻠﻰ ﻣﺪﺣﻪ‬
‫ﻛﻤﺎ ﻛﺎن �ﻣﻞ‪ ،‬وﺗﻄﻠﻖ ﺑﻌﺪ ذﻟﻚ ﺣﻜﻤﺎً ﺄﺑن‬
‫وﻟﻌﻞ وﺻﻒ إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﻷﰊ ﻧﻮاس ﺄﺑﻧﻪ ﺷﺎذ‬
‫ﺷﻌﺮ اﳌﺘﻨﱯ ﰲ ﻫﺠﺎء ﻛﺎﻓﻮر اﻷﺳﻮد ﻛﺎن‬
‫ﺟﻨﺴﻴﺎً )‪ (gay‬ﻣﻦ ﲨﻠﺔ اﻹﺳﻘﺎﻃﺎت اﻟﱵ‬
‫ﺻﺎﺣﺐ )أﺷﻬﺮ ﻫﺠﺎء ﻋﻨﺼﺮي ﻋﻠﻰ ﻣﺮ‬
‫ﺣﺎوﻟﺖ ﲢﻤﻴﻠﻬﺎ ﻣﺎ ﻻ ﲢﺘﻤﻞ‪ ،‬وﺟﻌﻠﺖ ﻣﻦ‬
‫اﻟﺘﺎرﻳﺦ(؛ ﻷن ﻛﺎﻓﻮر ‪ -‬وﺗﻀﻊ ذﻟﻚ ﺑﲔ‬
‫ذﻟﻚ ﻣﻨﻔﺬاً ﻟﺘﻘﺮﻳﺮ ﺑﻌﺾ اﻷﺣﻜﺎم‪ ،‬واﺳﺘﺨﻼص‬
‫ﻣﻌﻘﻮﻓﺘﲔ ﻛﺎن أﺳﻮد اﻟﻠﻮن‪ ،-‬وﻫﺬا اﳌﺸﻬﺪ‬
‫ﺳﻨﺒﲔ‬
‫ﺑﻌﺾ اﻻﺳﺘﻨﺘﺎﺟﺎت اﻟﱵ ﻻ ﺗﺼﺢ ﻛﻤﺎ ّ‬
‫إﺷﻜﺎﻻت ﻛﺜﲑة ﺗﺴﺘﺪﻋﻲ اﳌﺴﺎءﻟﺔ‬‫ٍ‬ ‫ﻳﺘﻀﻤﻦ‬
‫ﰲ اﻷﺳﻄﺮ اﻟﻘﺎدﻣﺔ‪ .‬ﻫﺬا اﻟﻮﺻﻒ وإن ﻛﺎﻧﺖ ﱂ‬
‫واﻟﻨﻘﺎش؛ ﻣﻦ أﺑﺮزﻫﺎ ﺗﻮﻇﻴﻒ ﻣﺼﻄﻠﺢ‬
‫ﺗﺼﺮح ﺑﻪ ﰲ ﻣﻘﺪﻣﺔ اﻟﻜﺘﺎب اﳌﻄﺒﻮع ّإﻻ أ�ﺎ‬
‫ّ‬ ‫"ﻋﻨﺼﺮي" )‪ (racist‬ﺑﻜﻞ ﻇﻼﻟﻪ اﳊﺪﻳﺜﺔ ﻋﻠﻰ‬
‫ﻛﺎﻧﺖ ﻗﺪ ذﻛﺮﺗﻪ ﺿﻤﻦ ﻣﱪراﻬﺗﺎ ﻻﺧﺘﻴﺎر‬
‫ﻋﻬﺪ زﻣﲏ ﻗﺪﱘ‪ ،‬ﰒ اﳌﺪح ﻬﺑﺬﻩ اﻟﻠﻐﺔ اﻟﺒﺎردة‪،‬‬
‫ﺷﺨﺼﻴﺘﻪ ﺿﻤﻦ ﻣﻘﺎﺑﻠﺘﻬﺎ اﻟﱵ ﻧﺸﺮت ﻗﺒﻴﻞ‬
‫اﻟﱵ رﲟﺎ ﺗﻜﻮن ﻣﻦ ﺎﺑب اﻟﱰﺧﺺ اﻟﻔﲏ؛ وﲞﺎﺻﺔ‬
‫إﺻﺪار اﻟﻜﺘﺎب ﻣﻊ ﳎﻠﺔ اﻷدب اﻟﻌﺮﰊ‬
‫ﻋﻨﺪﻣﺎ ﻳﻜﻮن اﳌﻘﺼﻮد ﻫﻮ ﺿﺮب اﳌﺜﻞ ﻻ اﻟﺸﻌﺮ‬
‫اﳌﱰﺟﻢ‪ 31 ،‬وأوردت ﻣﺸﺎﻫﺪ ورﺳﻮﻣﺎت ﺗﺸﲑ‬
‫ﻳﻨﻈﺮ‪ :‬أﺑﻮ اﻟﻌﻼء أﲪﺪ ﺑﻦ ﻋﺒﺪ ﷲ اﳌﻌﺮي‪ ،‬اﻟﻼﻣﻊ اﻟﻌﺰﻳﺰي‬ ‫‪� 30‬ﺋﻴّﺔ اﳌﺘﻨﱯ ﰲ ﻣﺪح ﻛﺎﻓﻮر ﺗﺘﻀﻤﻦ ﺑﻌﺾ اﻹﺷﺎرات إﱃ‬
‫ﺷﺮح دﻳﻮان اﳌﺘﻨﱯ‪ ،‬ﲢﻘﻴﻖ‪ :‬ﳏﻤﺪ ﺳﻌﻴﺪ اﳌﻮﻟﻮي‪ ،‬اﻟﺮ�ض‪:‬‬ ‫ﻣﻘﺼﺪﻩ ﻣﻦ اﻟﻘﺪوم ﻋﻠﻰ ﻛﺎﻓﻮر‪ ،‬وﻫﻮ اﻟﻈﻔﺮ ﻋﻨﺪﻩ ٍ‬
‫ﺑﻮﻻﻳﺔ ﻣﺎ‪،‬‬
‫ﻣﺮﻛﺰ اﳌﻠﻚ ﻓﻴﺼﻞ ﻟﻠﺒﺤﻮث واﻟﺪراﺳﺎت‪1429 ،‬ﻫـ‪/‬‬ ‫وﱂ ﻳﻜﻦ اﳌﺎل ﳘﱠﻪ اﻷول ﻋﻠﻰ ﻣﺎ ﻳﺒﺪو‪ ،‬وﻣﻨﻬﺎ ﻗﻮﻟﻪ‪:‬‬
‫‪2008‬م‪ ،‬ص‪.1473‬‬ ‫اﺟﻞ *** ﻓﲑﺟﻊ ﻣﻠﻜﺎً ﻟﻠﻌﺮاﻗﲔ واﻟﻴﺎً‪.‬‬
‫وﻟﻴﺲ ﻛﺜﲑاً أن ﻳﺰورك ر ٌ‬
‫‪ 31‬ﻣﻘﺎﺑﻠﺘﻬﺎ ﻣﻊ ﳎﻠﺔ اﻷدب اﻟﻌﺮﰊ اﳌﱰﺟﻢ‪ ،‬ﻣﺼﺪر ﺳﺎﺑﻖ‪.‬‬
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‫ﻛﺮرت اﻟﻘﻮل‪" :‬إﻧﻪ ﻣﻦ اﳉﻬﻞ اﻟﺘﺼﺪﻳﻖ ﱠ‬

‫ﺄﺑن‬ ‫ﺑﻮﺿﻮح إﱃ ﺷﺬوذﻩ اﳉﻨﺴﻲ‪ ،‬وﻫﻮ ﻣﻮﻗﻒ‬
‫ﻫﺬﻩ اﻷﺻﻮات ]اﻟﺸﻮاذ[ واﳌﻮﺿﻮﻋﺎت ]اﺠﻤﻟﻮن[‬ ‫ﻣﻘﺮظ اﻟﻜﺘﺎب ﻓﺎن ﺟﻴﻠﺪر‬ ‫إﺷﻜﺎﱄ ﻳﺸﲑ إﻟﻴﻪ ّ‬
‫ﻛﺎﻧﺖ ﻫﺎﻣﺸﻴﺔ ﰲ اﺠﻤﻟﺘﻤﻌﺎت اﻟﻌﺒﺎﺳﻴﺔ‪ ،‬و ﱠ‬
‫أن‬ ‫ﰲ ﺗﺼﺪﻳﺮﻩ ﻋﻠﻰ ﺳﺒﻴﻞ اﳌﻔﺎرﻗﺔ اﻟﺘﺎرﳜﻴﺔ ﰲ زﻣﺎﻧﻨﺎ‬
‫أن ﻫﺬﻩ‬‫اﻟﻮاﻗﻊ اﻟﺬي ﻧﺸﻬﺪﻩ ﰲ اﻷدب اﻟﻌﺒﺎﺳﻲ ﱠ‬ ‫ﻫﺬا ادﻋﺎء ﲨﺎﻋﺎت ﺣﺪﻳﺜﺔ ‪ -‬ﻣﺜﻞ )ﳎﺘﻤﻌﺎت‬
‫اﻷﺻﻮات واﳌﻮﺿﻮﻋﺎت ﻛﺎﻧﺖ ﻣﺮﻛﺰﻳﺔ وﺣﺎﺿﺮة‬ ‫اﻟﺸﺬوذ اﳉﻨﺴﻲ ‪ -(LGBTQ‬أن أﺎﺑ ﻧﻮاس ﻳﻌﺪ‬
‫وﻗﻮﻳﺔ اﻟﻮﺿﻮح‪ ،‬ﺑﻞ ﻛﺎﻧﺖ ﻣﺆﺛﺮة ﰲ ﻛﻞ ﺷﻲء‬ ‫أن‬
‫ﻣﻦ اﻟﺮواد اﳌﺆﻳﺪﻳﻦ ﳍﻢ‪ ،‬وأن اﳉﺎﺣﻆ ﳝﻜﻦ ْ‬
‫ﺗﻘﺮﻳﺒﺎً"‪ 34 ،‬وﺗﻘﻮﳍﺎ ﺻﺮﳛﺔ‪ّ :‬إ�ﺎ ﺗﺮى ﻣﻴﺰة إﺿﺎﻓﻴﺔ‬ ‫ﻳﻌﺪ ﳑﺜﻼً ﺠﻤﻟﺘﻤﻊ )اﻷﻗﻠﻴﺎت اﻟﻌﺮﻗﻴﺔ اﻵﺳﻴﻮﻳﺔ‬ ‫ﱠ‬
‫أن اﳉﺎﺣﻆ ﻛﺎن أﺳﻮداً‪ ،‬وأ� أﺎﺑ‬‫ﰲ ﻋﻤﻠﻬﺎ ﻫﺬا ﱠ‬ ‫واﻹﻓﺮﻳﻘﻴﺔ ‪ 32 ،(BAME‬وﻳﺒﺪو أﻧﻪ ﺑﻨﺎﻩ ﻋﻠﻰ ﻣﺎ‬
‫ﻧﻮاس ﻛﺎن ﺷﺎذ ﺟﻨﺴﻴﺎً ﻣﺴﺘﻌﻤﻠﺔ اﻟﻠﻔﻈﺔ‬ ‫أوردﺗﻪ إﻣﻴﻠﻲ ﰲ ﻣﺸﻬﺪ ﺣﻮل رﺳﺎﻟﺔ اﳉﺎﺣﻆ‬
‫اﻹﳒﻠﻴﺰﻳﺔ )‪ (gay‬اﻟﱵ ﺗﺸﲑ ﰲ أﺣﺪث‬ ‫"ﻓﺨﺮ اﻟﺴﻮدان"‪ 33 .‬وإﺷﺎرة ﻓﺎن ﺟﻴﻠﺪر وإن‬
‫ﻣﻌﺎﻧﻴﻬﺎ‪ 35 ،‬إﱃ اﻟﺸﺎذﻳﻦ ﺟﻨﺴﻴﺎً ﺑﻌﺪ ﻗﺒﻮل‬ ‫ﻛﺎن اﳍﺪف اﻟﻈﺎﻫﺮي ﻣﻨﻬﺎ ﺑﻴﺎن اﳌﻔﺎرﻗﺔ ﰲ‬
‫اﺠﻤﻟﺘﻤﻌﺎت اﻟﻐﺮﺑﻴﺔ ﳍﻢ‪ ،‬وإﻗﺮار ﻗﻮاﻧﲔ ﺗﺸﺮﻋﻦ‬ ‫ﻫﺬﻳﻦ اﻹﺳﻘﺎﻃﲔ إﻻ أ�ﺎ ﻻ ﺗﺼﺮف ذﻫﻦ‬
‫ﻟﻮﺟﻮدﻫﻢ وﳑﺎرﺳﺎﻬﺗﻢ وﺗﺰاوﺟﻬﻢ وﺟﻌﻠﻬﻢ ﺟﺰءًا‬ ‫اﻟﻘﺎرئ ﻋﻦ ﺄﺗﻣﻞ ﻫﺬﻩ اﻻﺳﺘﻨﺘﺎﺟﺎت؛ ﺑﻞ رﲟﺎ‬
‫ﻣﻦ )ﻃﺒﻴﻌﺔ اﺠﻤﻟﺘﻤﻌﺎت اﻟﻐﺮﺑﻴﺔ(‪.‬‬ ‫ﻋﺪﻫﺎ إﺣﺪى‬ ‫ﺗﺪﻓﻌﻪ ﳓﻮ إﻋﺎدة ﺄﺗﻣﻠﻬﺎ‪ ،‬أو ّ‬
‫اﻻﺣﺘﻤﺎﻻت اﻟﻘﺎﺋﻤﺔ اﻟﱵ ﺗﻌﺰزﻫﺎ اﳌﺸﺎﻫﺪ‬
‫إن ﻣﺜﻞ ﻫﺬا اﳌﻔﻬﻮم اﻟﺜﻘﺎﰲ ﻻ ﻳﻨﺘﻤﻲ إﱃ ﺣﺎﺿﺮ‬
‫اﳌﺘﻜﺮرة ﰲ اﻟﻜﺘﺎب‪ ،‬ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ اﳌﻔﺎرﻗﺔ‬
‫اﻟﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﻴﺔ اﳊﺪﻳﺜﺔ ﻓﻀﻼً ﻋﻦ ﻣﺎﺿﻴﻬﺎ‪ ،‬وﻣﻊ‬
‫اﻟﺘﺎرﳜﻴﺔ اﳌﺬﻛﻮرة‪.‬‬
‫ذﻟﻚ ﺗﺴﻘﻄﻪ اﻟﻜﺎﺗﺒﺔ ﻋﻠﻰ ﺛﻘﺎﻓﺔ اﻟﻨﺺ اﻟﻌﺮﰊ‪،‬‬
‫ﱡ‬
‫وﺗﺴﺘﺪل ﻋﻠﻰ ﻫﺬا اﻟﺘﻮﺻﻴﻒ ﻷﰊ ﻧﻮاس ﺑﺬﻛﺮﻩ‬ ‫وﻟﻌﻞ ﻣﻦ أﻛﺜﺮ اﻹﺷﻜﺎﻟﻴﺎت اﳌﻨﻬﺠﻴﺔ ﰲ ﻫﺬا‬
‫ﻟﻠﻐﻠﻤﺎن ﰲ ﺷﻌﺮﻩ‪ ،‬وﺗﻨﻔﻲ ﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ أن‬ ‫اﻟﻜﺘﺎب ﺗﻜﺮار إﻣﻴﻠﻲ ﺳﻴﻠﻮف اﻻﻧﻄﻼق ﻣﻦ‬
‫ﺗﻜﻮن ﻫﺬﻩ اﻟﻈﻮاﻫﺮ ﻫﺎﻣﺸﻴﺔ ﰲ اﺠﻤﻟﺘﻤﻊ‬ ‫ﻓﺮﺿﻴﺎت ﻏﲑ ﺻﺤﻴﺤﺔ‪ ،‬ﰒ ﳏﺎوﻟﺔ إﺛﺒﺎت‬
‫اﻟﻌﺒﺎﺳﻲ‪ ،‬ﺑﻞ ﲡﻌﻠﻬﺎ ﻣﺮﻛﺰﻳﺔ ﻣﺆﺛﺮة ﰲ ﻛﻞ ﺷﻲء!‬ ‫ﺻﺤﺘﻬﺎ ﺎﺑﳌﺸﻬﺪ ﺗﻠﻮ اﳌﺸﻬﺪ‪ ،‬واﻟﺘﺄوﻳﻞ ﺑﻌﺪ‬
‫وﻫﺬا ﳚﻌﻠﻨﺎ ﻧﺴﺎﺋﻞ اﳌﻨﻬﺞ اﻟﺬي ﺗﻌﺘﻤﺪ ﻋﻠﻴﻪ ﻣﻦ‬ ‫اﻟﺘﺄوﻳﻞ‪ ،‬واﻹﺷﺎرة اﻟﱵ ﻳﺘﺒﻌﻬﺎ اﻟﺘﺼﺮﻳﺢ؛ ﺣﻴﺚ‬
‫‪ 35‬ﻟﺘﺘﺒﻊ اﻟﺘﻄﻮر اﻟﺘﺎرﳜﻲ ﳌﻌﲎ ﻫﺬﻩ اﻟﻜﻠﻤﺔ ﻳﻨﻈﺮ‪ :‬ﻗﺎﻣﻮس‬

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‫‪Emily Selove, Popeye and Curly, p. i-ii.‬‬
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‫‪Ibid., ep. 90.‬‬
‫أﻛﺴﻔﻮرد ﻟﻺﳒﻠﻴﺰﻳﺔ‪ ،‬ﻋﻠﻰ اﻟﺮاﺑﻂ‪:‬‬ ‫‪ 34‬ﻳﻨﻈﺮ‪ :‬ﻣﻘﺎﺑﻠﺘﻬﺎ ﻣﻊ ﳎﻠﺔ اﻷدب اﻟﻌﺮﰊ اﳌﱰﺟﻢ‪ ،‬ﻣﺼﺪر‬
‫‪https://www.oed.com/oed2/00093147‬‬
‫ﺳﺎﺑﻖ‪ ،‬و‪Emily Selove, Popeye and Curly, p. iv.‬‬
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‫وﻟﻌﻞ ﻫﺬا اﻹﺷﻜﺎل ﻋﺎﺋﺪ أﻳﻀﺎً إﱃ ﻃﺒﻴﻌﺔ‬ ‫ﺧﻼل ﳏﺎوﻟﺔ إﻋﺎدة رﺳﻢ اﳊﻘﻴﻘﺔ اﻟﺘﺎرﳜﻴﺔ‬
‫اﳉﻤﻬﻮر اﳌﺘﻠﻘﻲ ﳍﺬا اﻟﻌﻤﻞ ﻣﻦ اﻟﻘﺮاء اﻟﻴﺎﻓﻌﲔ‪،‬‬ ‫ﺎﺑﺳﺘﻘﺮاء اﳌﺎدة اﻷدﺑﻴﺔ ﻋﻦ اﻟﻌﺼﺮ ﻣﺎ ﺑﲔ‬
‫اﻟﺬﻳﻦ ﻗﺪ ﻻ ﻳﺴﺘﺤﻀﺮون ﻓﻜﺮة اﻟﻔﺼﻞ ﺑﲔ‬ ‫اﻷﺧﺒﺎر اﻷدﺑﻴﺔ وﻛﺘﺐ اﻟﱰاﺟﻢ‪ ،‬وﻛﻠﻴﻠﺔ ودﻣﻨﺔ‬
‫اﳋﻴﺎل اﻷدﰊ واﻟﻮاﻗﻊ اﻟﺘﺎرﳜﻲ‪ ،‬وﻗﺪ ﻻ ﳛﻈﻰ‬ ‫وﺣﻜﺎ�ت أﻟﻒ ﻟﻴﻠﺔ وﻟﻴﻠﺔ واﳌﺪو�ت‬
‫أﻛﺜﺮﻫﻢ ﺑﻔﺮﺻﺔ إﻋﺎدة اﻛﺘﺸﺎف ﻫﺬﻩ )اﳊﻘﺎﺋﻖ‬ ‫واﳌﺼﻨﻔﺎت ﺣﻮل ﻣﻮﺿﻮﻋﺎت اﻷدب‪ ،‬ﺑﻞ ﺣﱴ‬
‫اﻟﺘﺎرﳜﻴﺔ( ﻣﻦ ﻣﺼﺎدرﻫﺎ اﻟﺼﺤﻴﺤﺔ واﳌﻮﺛﻮﻗﺔ‪،‬‬ ‫اﻟﺪواوﻳﻦ اﻟﺸﻌﺮﻳﺔ‪ ،‬ودراﺳﺎت اﳌﺴﺘﺸﺮﻗﲔ‬
‫ﻓﻌﻠﻰ ﺳﺒﻴﻞ اﳌﺜﺎل‪ :‬ﰲ ﻣﺸﻬﺪ )‪ (93‬ﲢﺖ‬ ‫اﶈﺪﺛﲔ ﻋﻦ اﻟﻌﺼﺮ‪.‬‬
‫ﻋﻨﻮان )ﺣﻘﻴﻘﺔ( ﺑﻌﺪ أن رﲰﺖ ﻣﺸﻬﺪاً ﲣﻴﻠﻴﺎً‬
‫إن اﻷدب ‪-‬ﻋﻤﻮﻣﺎً‪ -‬واﻟﺸﻌﺮ ‪-‬ﺧﺼﻮﺻﺎً‪-‬‬
‫ﺟﲏ ﻳﻼﻗﻲ اﳉﺎﺣﻆ وﳜﱪﻩ ﲟﺎ ﻛﺘﺐ ﻣﻦ‬ ‫ﻋﻦ ٍّ‬ ‫ﻳﺴﺘﻘﻲ ﻣﺎدﺗﻪ اﳋﻴﺎل واﺠﻤﻟﺎزات اﻟﻠﻐﻮﻳﺔ‪ ،‬وﻣﻦ‬
‫اﻟﺸﻌﺮ ﻷﰊ ﻧﻮاس‪ ،‬ﺗﺴﺘﺸﻬﺪ ﲟﻘﺎﻣﺔ إﺑﻠﻴﺲ‬
‫ﻓﺎﻟﻨﺺ اﻷدﰊ‬
‫ﱡ‬ ‫ﻃﺒﻴﻌﺘﻪ اﻟﺘﺼﻮﻳﺮ ﻻ ﺗﻘﺮﻳﺮ اﳊﻘﺎﺋﻖ‪،‬‬
‫ﻟﻠﻬﻤﺬاﱐ‪ ،‬وﺗﺸﲑ إﱃ أن اﳉﻦ ﻛﺎﻧﻮا ﻳﻠﻬﻤﻮن‬
‫ﻟﻴﺲ ﻣﺼﺪراً ﻣﻦ ﻣﺼﺎدر ﺗﻘﺮﻳﺮ اﳊﻘﺎﺋﻖ اﻟﺘﺎرﳜﻴﺔ‬
‫اﻟﺸﻌﺮاء ﻓﻴﻤﺎ ﻳﻜﺘﺒﻮن‪ ،‬وﺳﺨﻒ ﻫﺬﻩ اﻟﻔﻜﺮة‬
‫اﻟﱵ ﺗﻀﻌﻬﺎ إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﺑﻌﺪ ﻛﻞ رﺳﻢ ﲢﺖ‬
‫وﺳﻄﺤﻴﺘﻬﺎ ﻻ ﳛﺘﺎج ﻟﺒﻴﺎن‪ ،‬ﻟﻜﻦ اﳌﻀﻠِّﻞ ﻟﻠﻘﺎرئ‬
‫ﻋﻨﻮان‪ :‬ﺣﻘﻴﻘﺔ )‪ (fact‬ﺑﻞ ﻻ ﻳﻌﺪو اﻷدب أن‬
‫أن ْﲡﻌﻞ اﻟﻜﺎﺗﺒﺔُ ﻫﺬا اﻻﺳﺘﺸﻬﺎد ﲢﺖ ﻋﻨﻮان‬
‫ﻳﻜﻮن ﺗﺴﺠﻴﻼً ﻟﻠﺤﻈﺔ ﺷﻌﻮرﻳﺔ‪ ،‬أو وﻣﻀﺔ ﻓﻜﺮﻳﺔ‬
‫)ﺣﻘﻴﻘﺔ(‪ ،‬ﻓﺮﲟﺎ ﳜﺘﻠﻂ ﻋﻠﻴﻪ اﻷﻣﺮ‪ِّ ،‬‬
‫ﻓﻴﺼﺪق أن‬
‫ﳊﻈﺔ ﻣﺎ‪ ،‬وﻻ ﻳﺼﺢ اﻋﺘﻤﺎدﻩ‬‫ﻟﺸﺎﻋﺮ ﻣﺎ ﰲ ٍ‬‫ٍ‬ ‫ﻋﻨّﺖ‬
‫اﻟﺒﻐﺪادﻳﲔ ﻛﺎﻧﻮا ﻳﺆﻣﻨﻮن ﺣﻘﺎً ﲟﺜﻞ ﻫﺬﻩ اﳋﺮاﻓﺔ!‬
‫ﻟﻌﻞ ﻫﺬا‬
‫ﻣﺼﺪراً ﻣﻮﺛﻮﻗﺎً ﻟﺘﻘﺮﻳﺮ ﺣﻘﺎﺋﻖ اﻟﺘﺎرﻳﺦ‪ ،‬و ﱠ‬
‫ﰒﱠ ﻳﺒﲏ ﻋﻠﻴﻬﺎ ﺗﺼﻮرﻩ ﻏﲑ اﻟﺼﺤﻴﺢ ﻋﻨﻬﻢ‪.‬‬
‫ﻳﱪز أﺣﺪ أﺧﻄﺎء اﳌﻨﻬﺞ اﻟﺬي ﺳﺎرت ﻋﻠﻴﻪ‬
‫وﻗﺮﻳﺐ ﻣﻦ ﻫﺬا اﻹﺷﻜﺎل اﲣﺎذ اﻟﻜﺎﺗﺒﺔ ﺑﻌﺾ‬ ‫اﻟﻜﺎﺗﺒﺔ؛ ﺣﻴﺚ اﺳﺘﻘﺖ ﻣﺎ ﺗﺴﻤﻴﻪ )ﺣﻘﻴﻘﺔ( ﻣﻦ‬
‫اﻷﻓﻜﺎر اﳊﺪﻳﺜﺔ واﻷﻳﺪﻳﻮﻟﻮﺟﻴﺎت اﳌﻌﺎﺻﺮة‬ ‫ﻛﺘﺐ اﻷﺧﺒﺎر اﻷدﺑﻴﺔ‪ ،‬أو ﻣﻦ ﻗﺼﺎﺋﺪ ﺷﻌﺮﻳﺔ‪،‬‬
‫ﻣﻨﻄﻠﻘﺎً ﰲ ﺗﺼﻮراﻬﺗﺎ ﻋﻦ اﻟﱰاث اﻟﻌﺮﰊ وﻣﻌﺎﻣﻠﺘﻪ‬ ‫وﻣﻌﻠﻮم أن اﻷﺧﺒﺎر اﻷدﺑﻴﺔ واﻷﺷﻌﺎر ﻣﺎدﻬﺗﺎ‬
‫ﰲ ﺿﻮء ﻫﺬﻩ اﻟﺘﺼﻮرات اﳌﻌﺎﺻﺮة‪ ،‬وﻣﻦ ذﻟﻚ ﻣﺎ‬ ‫اﳋﻴﺎل وﻋﻨﺎﻳﺘﻬﺎ ﺎﺑﻟﻮاﻗﻊ اﻟﺘﺎرﳜﻲ ﳏﺪودة ﺟﺪاً‪،‬‬
‫ﻳﻠﻤﺲ ﻋﻠﻰ أﻧﻪ ﺗﺒﲏ ﳌﻮاﻗﻒ ﻧﺴﻮﻳﺔ ﰲ اﻟﺘﻌﺎﻣﻞ‬ ‫وإن وﺟﺪت ﻓﻬﻲ ﺎﺛﻧﻮﻳﺔ وﲤﺜّﻞ رؤﻳﺔ اﻷدﻳﺐ‬
‫ﻣﻊ اﻟﺮﺟﻞ‪ ،‬ﺣﻴﺚ ﺗﻈﻬﺮ ﰲ ﻛﺘﺎﻬﺑﺎ ﻣﺸﺎﻫﺪ ﳝﻜﻦ‬ ‫اﳋﺎﺻﺔ‪ ،‬وﻟﻴﺴﺖ أدﻟﺔ ﺎﺗرﳜﻴﺔ ﻋﻠﻰ )اﳊﻘﻴﻘﺔ(‬ ‫ّ‬
‫ات ﻧﺴﻮﻳﺔ ﻣﻌﺎﺻﺮة ﻣﻊ‬ ‫ﻠﻤﺢ ﻓﻴﻬﺎ ﺗﺼﻮر ٌ‬ ‫أن ﺗُ َ‬ ‫اﻟﱵ ﲢﻮﻳﻬﺎ ﻫﺬﻩ اﻟﺮﺳﻮم‪.‬‬
‫إﺳﻘﺎﻃﻬﺎ ﺄﺑﺛﺮ رﺟﻌﻲ ﻋﻠﻰ اﻟﻌﺼﺮ اﻟﻌﺒﺎﺳﻲ‪.‬‬
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‫ﺗﺬﻣﺮ اﻟﻨﺴﺎء ﻣﻦ‬

‫ﻛﻤﺎ ﺗﺮﺳﻢ ﰲ ﻣﺸﻬﺪ )‪ (45‬ﱡ‬ ‫ﻓﻤﻦ ذﻟﻚ ﻣﺎ ﻳﺮد إﺷﺎرة ﻋﺎرﺿﺔ ﻛﻘﻮﳍﺎ ﰲ‬
‫اﻟﺮﺟﻞ اﻟﻨّﻜﺪ اﻟﺬي ﻳﺼﺎدﻓﻬﻦ ﻣﺎﺷﻴﺎت ﰲ‬ ‫)ﻣﺸﻬﺪ ‪" :(40‬اﻟﺮﺟﻞ ﻋﺎﱂ ﻣﻦ اﳌﺘﻨﺎﻗﻀﺎت"‪،‬‬
‫اﻟﻠﻴﻞ؛ ﻓﻴﺴﺄل ﻣﺴﺘﻐﺮﺎﺑً ﻋﻦ ﺧﺮوﺟﻬﻦ ﰲ ﻫﺬا‬ ‫و�ﰐ ﺑﻌﺪﻩ ﻣﺒﺎﺷﺮة ﻓﺼﻞ ﻋﻦ ﺳﻴﺪات ﺑﻐﺪاد‪،‬‬
‫ﻋﺎﺷﻖ أو‬
‫اﻟﻮﻗﺖ اﳌﺘﺄﺧﺮ‪ ،‬اﻟﺬي ﻻ ﳜﺮج ﻓﻴﻪ إﻻ ٌ‬ ‫)‪ (Baghdad Ladies‬ﻓﺘﺼﻮر ﰲ )ﻣﺸﻬﺪ ‪(42‬‬
‫ذو رﻳﺒﺔ‪ ،‬وﺗﻌﻤﺪ إﱃ ﺗﻐﻴﲑ أﺻﻞ اﻟﻘﺼﺔ اﻟﱰاﺛﻴﺔ‪،‬‬ ‫ﺧﻠﻴﻔﺔ ﻛﺘﺒﺖ ﻟﻪ ﻓﻀﻞ اﻟﺸﺎﻋﺮة ﺧﻄﺒﺘﻪ اﻟﱵ‬
‫ﻛﻤﺎ ﰲ ﻣﺸﻬﺪ )‪ (46‬اﻟﺬي ﺗﺴﺘﻮﺣﻴﻪ ﻣﻦ‬ ‫ﻳﻠﻘﻴﻬﺎ ﻋﻠﻰ اﻟﻨﺎس‪ ،‬واﻟﺮﻣﺰﻳﺔ ﻫﻨﺎ ﻻ ﲣﻄﺌﻬﺎ‬
‫ﺣﻜﺎ�ت أﰊ اﻟﻘﺎﺳﻢ‪ ،‬وأﺻﻠﻪ ﺑﻴﺖ ﻣﻦ اﻟﺸﻌﺮ‬ ‫اﻟﻌﲔ‪ ،‬ﺣﱴ ﻟﻮ ﱂ ﺗﻌﻠّﻖ ﻋﻠﻰ اﻟﺮﺳﻢ‪ ،‬وﻟﻜﻨﻬﺎ ﻣﻊ‬
‫ﻟﺮﺟﻞ ﻳﺸﺒّﻪ اﻣﺮأة ﺑﺰﻫﺮة ﺳﺎﻗﻬﺎ أﺧﻀﺮ ووﺟﻬﻬﺎ‬ ‫ذﻟﻚ ﱂ ﺗﱰك اﻟﺮﺳﻢ دون ﺗﻮﺿﻴﺢ‪ ،‬إذ ﺗﺴﺎءﻟﺖ‬
‫أﺻﻔﺮ‪ ،‬وﺷﻌﺮﻫﺎ أﺑﻴﺾ‪ ،‬وﻟﻜﻦ إﻣﻴﻠﻲ ﺳﻴﻠﻮف‬ ‫ﻋﻤﺎ ﻻ ﳛﺼﻰ ﻣﻦ اﻟﻨﺴﺎء اﺠﻤﻟﻬﻮﻻت اﻟﻼﰐ ﻛﺘﱭ‬
‫ﺣﻴﻨﻤﺎ رﲰﺖ اﳌﺸﻬﺪ‪ ،‬ﺟﻌﻠﺖ ﻫﺬﻩ اﻟﻌﺒﺎرات‬ ‫ﻷﲰﺎء ﻣﻌﺮوﻓﺔ ﻋﱪ اﻟﺘﺎرﻳﺦ‪ ،‬وﱂ ُﲣﻠّﺪ أﲰﺎؤﻫﻦ‪.‬‬
‫ﻋﻠﻰ ﻟﺴﺎن اﻣﺮأة؛ ﺗﺘﻌﺎﱃ ﻋﻠﻰ رﺟﻞ ﻳﺒﺪو ﻣﻌﺠﺒﺎً‬
‫ﻟﻘﺪ ﺣﺸﺪت إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﰲ اﻟﻔﺼﻞ اﻟﺮاﺑﻊ‬
‫ﻬﺑﺎ‪ ،‬ﻓﺘﺴﺨﺮ ﻣﻨﻪ ﻣﻊ ﺻﺎﺣﺒﺘﻬﺎ‪ ،‬ﻓﺘﺼﻔﻪ ﺄﺑﻧﻪ‬
‫)ﺳﻴﺪات ﺑﻐﺪاد( ﻣﺸﺎﻫﺪ ﻣﺘﻌﺪدة ﲤﺜﻞ اﳌﻮﻗﻒ‬
‫أﺑﻴﺾ اﻟﺸﻌﺮ أﺻﻔﺮ اﻟﻮﺟﻪ دﻗﻴﻖ اﻟﺴﺎﻗﲔ‪ .‬وﻧﺮاﻫﺎ‬
‫اﻟﻨﺴﻮي ﻣﻦ اﻟﺮﺟﻞ؛ ‪ 36‬إذ ﻧﺮاﻫﺎ ﻗﺪ وﻇّﻔﺖ ﰲ‬
‫ﰲ اﻟﻮﻗﺖ اﻟﺬي ﲢﺎول رﺳﻢ ﻗﻮة اﳌﺮأة ﺗﺸﲑ إﱃ‬
‫ﻣﺸﺎﻫﺪﻩ ﻗﺼﺼﺎً ﻋﻦ رﺟﻞ ﻣﻬﺰوز اﻟﺸﺨﺼﻴﺔ ﰲ‬
‫ﺿﻌﻒ اﻟﺮﺟﻞ ﰲ ﻣﻮﻃﻦ اﳊﺐ‪ ،‬ﺣﱴ إﻧﻪ ﻟﺘﺸﺘﻤﻪ‬
‫)ﻣﺸﻬﺪ ‪ ،(43‬وآﺧﺮ ﺳﺎﻗﻂ اﳌﺮوءة ﻛﻤﺎ ﰲ‬
‫اﶈﺒﻮﺑﺔ ﻓﻴﻔﺮح ﻷ�ﺎ ذﻛﺮت اﲰﻪ )ﻣﺸﻬﺪ ‪.(52‬‬
‫)ﻣﺸﻬﺪ ‪ ،(46‬وﺎﺛﻟﺚ ﳐﻨﱠﺚ ﺗﻨﻴﻜﻪ اﻣﺮأة‬
‫وﻻ ﳜﻔﻰ ﻋﻠﻰ اﳌﺘﺄﻣﻞ ﻣﺎ ﳚﻤﻊ ﺑﲔ ﻫﺬﻩ اﳌﺸﺎﻫﺪ‬ ‫وﲢﻴﻞ ﻋﻠﻰ ﻣﺮاﺟﻊ‬ ‫ﺑﻜﲑﻧﺞ ﰲ )ﻣﺸﻬﺪ ‪ُ ،(48‬‬
‫واﻟﺼﻮرة اﻟﱵ ﺗﺮﻳﺪ إﻣﻴﻠﻲ ﺳﻴﻠﻮف إﻳﺼﺎﳍﺎ ﻋﻦ‬ ‫ﰲ ﻣﻜﺎﺋﺪ اﻟﻨﺴﺎء ﻣﻦ أﻣﺜﺎل اﻟﺮوض اﻟﻌﺎﻃﺮ‬
‫ﻫﺬا اﻟﻌﺼﺮ‪ ،‬وﻋﻦ ﺳﻠﻄﺔ اﳌﺮأة اﳌﻐﻴّﺒﺔ‪،‬‬ ‫ﻟﻠﻨﻔﺰاوي )ت‪837 .‬ﻫـ( ‪-‬ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ ﺄﺗﺧﺮﻩ‬
‫ﺎﺑﺳﺘﺤﻀﺎر ﻣﺎ أﺷﺎرت إﻟﻴﻪ ﰲ ﻣﻘﺪﻣﺘﻬﺎ ﺣﻴﻨﻤﺎ‬ ‫اﻟﺰﻣﲏ‪ -‬ﻛﻤﺎ ﺗﺮﺳﻢ ﻣﺸﺎﻫﺪ ﻣﺴﺘﻮﺣﺎة ﻣﻦ‬
‫ﻗﺮﻧﺖ ﺷﺨﺼﻴﺔ ﻣﺮﺟﺎن )اﻟﻘﻴﻨﺔ( ﺑﺸﺨﺼﻴﺔ‬ ‫اﳌﻘﺎﻣﺎت واﳊﻜﺎ�ت ﻟﻨﺴﺎء ﻣﻦ ذوات اﻟﺮدود‬
‫اﳋﻠﻴﻔﺔ وﺟﻌﻠﺘﻬﻤﺎ أﻋﻠﻰ اﻷﺻﻮات ﰲ اﻷدب‬ ‫اﳌﺴﻜﺘﺔ ﻋﻠﻰ اﻟﺮﺟﺎل ﻛﻤﺎ ﰲ )ﻣﺸﻬﺪ ‪.(44‬‬
‫اﻟﻌﺮﰊ "ﺻﻮت اﻟﺮﺟﻞ ﺻﺎﺣﺐ اﻟﺴﻠﻄﺔ‪ ،‬اﻟﻘﻴﻨﺔ‬
‫‪See: Chimamanda Ngozi Adichie, We Should‬‬ ‫ﻟﻼﺳﺘﺰادة ﻋﻦ اﻟﻨﺴﻮﻳﺔ واﳌﻮﻗﻒ ﻣﻦ اﻟﺮﺟﻞ ﻳﻨﻈﺮ‪:‬‬ ‫‪36‬‬
‫‪All Be Feminists, London: Harper Collins,‬‬
‫‪2014.‬‬
‫‪154‬‬
‫وﻣﻦ اﻹﺷﻜﺎﻻت اﳌﻨﻬﺠﻴﺔ ﻛﺬﻟﻚ ﰲ ﻋﻤﻞ‬ ‫اﳌﻤﻠﻮﻛﺔ ﻏﺰﻳﺮة اﻟﻌﻠﻢ واﻷدب"‪ 37 .‬ﻛﻤﺎ اﺳﺘﻮﺣﺖ‬
‫إﻣﻴﻠﻲ ﺳﻴﻠﻮف إﻃﻼق أﺣﻜﺎم وﺗﻌﻤﻴﻤﺎت ﺿﻤﻦ‬ ‫ﻣﻦ ﻧﺜﺮ اﻟﺪر ﺧﱪاً ﳛﻜﻰ ﻋﻦ ﺷﻴﺦ ٍ‬
‫ﺎﺑد ﻛﱪﻩ‬
‫ﺗﻌﻠﻴﻘﺎﻬﺗﺎ ﻋﻠﻰ اﻟﺮﺳﻮﻣﺎت ﺑﻨﺘﻬﺎ ﻋﻠﻰ اﺳﺘﻘﺮاء‬ ‫وﺷﻴﺒﺘﻪ وﻟﻜﻨﻪ ﻳﺮﻳﺪ ﺷﺮاء ﺟﺎرﻳﺔ ﺷﺎﺑﺔ وﳜﱪﻫﺎ أﻧﻪ‬
‫�ﻗﺺ وﻣﻌﺘﻤﺪة ﻋﻠﻰ آراء ﻣﻦ ﻣﺼﺎدر ﺎﺛﻧﻮﻳﺔ‪،‬‬ ‫ﻻ ﻳﺰال ﻗﻮ�ً ﰲ اﻟﻔﺮاش‪) ،‬ﻣﺸﻬﺪ ‪ (53‬ﰒ‬
‫ﻻ ﺗﻌﱪ ﺎﺑﻟﻀﺮورة ﻋﻦ اﻟﻮاﻗﻊ ﰲ اﳌﺼﺎدر‬ ‫ﺗﺘﺴﺎءل ﻋﻦ ﻛﺜﺮة اﻟﺮواة ﻣﻦ اﻟﺮﺟﺎل ﳌﺜﻞ ﻫﺬﻩ‬
‫اﻷﺻﻠﻴﺔ‪ ،‬وﻣﻦ ذﻟﻚ ﺗﻌﻠﻴﻘﻬﺎ ﺑﻌﺪ ﻣﺸﻬﺪ )‪(39‬‬ ‫اﳊﻜﺎ�ت‪ ،‬وﲢﻴﻞ اﻟﻘﺮاء إﱃ ﲝﺚ ﻋﻦ اﻟﻘﻀﺎ�‬
‫‪ -‬وﻫﻮ ﻣﺸﻬﺪ ﻋﻦ ﺗﻀﺮع ﻛﻞ أﻫﻞ دﻳﻦ‬ ‫واﻷﺳﺌﻠﺔ اﳉﻨﺴﻴﺔ ﻟﻠﻤﺮأة ﰲ اﻟﻌﺼﻮر اﻹﺳﻼﻣﻴﺔ‬
‫ﺑﻄﺮﻳﻘﺘﻬﻢ ﺣﻴﻨﻤﺎ ﻋﺼﻔﺖ ﺑﺴﻔﻴﻨﺘﻬﻢ رﻳﺢ ﻋﺎﺗﻴﺔ‬ ‫‪38‬‬
‫اﳌﺒﻜﺮة‪.‬‬
‫‪ -‬ﺎﺑﺳﺘﺸﻬﺎد ﺟﺎء ﻓﻴﻪ‪" :‬ﻏﺎﻟﺒﺎً ﻻ ﳒﺪ ﰲ أدب‬
‫واﻟﺼﻮت اﳌﺆﻧﺚ ﰲ اﻟﻜﺘﺎب ﻳﻌﻮد أﻛﺜﺮﻩ‬
‫اﻟﺮﺣﻠﺔ وﻛﺘﺎﺎﺑت اﳉﻐﺮاﻓﻴﲔ ﺗﻌﺎﻃﻔﺎً وﻻ ﻓﻬﻤﺎ وﻻ‬
‫ﻟﻠﺠﻮاري واﻟﻘﻴﺎن‪ ،‬وﻗﻠّﻤﺎ ﺗﺮﺳﻢ إﻣﻴﻠﻲ ﺳﻴﻠﻮف‬
‫ﺗﺼﻮﻳﺮاً ﳌﻌﺎ�ة اﺠﻤﻟﺘﻤﻌﺎت اﻟﱵ ﻳﻜﺘﺒﻮن ﻋﻨﻬﺎ إذا‬
‫ﰲ اﻟﻜﺘﺎب ﻣﺸﺎﻫﺪ ﻣﺴﺘﻮﺣﺎةٍ ﻣﻦ ﺳﲑ اﻟﻨﺴﺎء‬
‫ﻛﺎﻧﻮا ﻣﻦ أﻋﺮاف أو أد�ن ﳐﺘﻠﻔﺔ ﻋﻨﻬﻢ‪،‬‬
‫اﳊﺮاﺋﺮ ﻛﻌﻠﻴﺔ ﺑﻨﺖ اﳌﻬﺪي اﻟﱵ رﲰﺘﻬﺎ ﰲ‬
‫‪39‬‬
‫ﺎﺑﺳﺘﺜﻨﺎء )ﻋﺠﺎﺋﺐ اﳍﻨﺪ ﻟﱪزك ﺑﻦ ﺷﻬﺮ�ر("‪،‬‬
‫)ﻣﺸﻬﺪ ‪ (54‬اﻟﱵ ذﻛﺮت أ�ﺎ ﺣﺴﻨﺔ اﻟﺪﻳﻦ‪،‬‬
‫وﻣﻦ اﳌﻌﻠﻮم أﻧﻪ ﻛﺘﺎب ﻣﻠﺊ ﺎﺑﳋﺮاﻓﺎت‬
‫أدﻳﺒﺔ‪ ،‬ﻛﺜﲑة اﻟﻌﺒﺎدة وﻗﺮاءة اﻟﻘﺮآن‪ ،‬وﻻ ﺗﺸﺮب‬
‫واﻷﺳﺎﻃﲑ‪ 40 ،‬وﻗﺪ ﻧﻘﻠﺖ ﻫﺬا اﻻﻧﻄﺒﺎع ﻋﻦ‬
‫ﺎﺑﺣﺚ آﺧﺮ ﻣﺴﻠّﻤﺔ ﺑﻪ‪ ،‬دون اﻟﺘﺤﻘﻖ ﻣﻨﻪ أو‬ ‫اﻟﻨﺒﻴﺬ وﻻ ﺗﻐ ِّﲏ إﻻ إذا ﻛﺎﻧﺖ ﺣﺎﺋﻀﺎً؛ و ّ‬
‫ﻛﺎن ﻣﻘﺼﻮداً؛ ﲝﻴﺚ ﲡﻌﻞ اﻟﻘﻴﺎن ﻗﻮة ﻧﺴﻮﻳﺔ‬
‫ﺣﱴ ﻣﻨﺎﻗﺸﺘﻪ‪ .‬وﰲ ﺳﻴﺎق إﻃﻼق اﻷﺣﻜﺎم ﺑﻨﺎء‬
‫ﻣﻘﺎﺑﻠﺔ ﻟﺴﻄﻠﺔ اﻟﺮﺟﻞ‪ ،‬ﻓﻴﻜﻮن اﻓﱰاض ﺣﻀﻮر‬
‫ﻋﻠﻰ اﻻﺳﺘﻘﺮاء اﳉﺰﺋﻲ ﻣﺎ رﲰﺘﻪ ﰲ ﻣﺸﻬﺪ )‪(89‬‬
‫ﺻﻮت اﻟﻨﺴﺎء اﳊﺮاﺋﺮ وﺳﻠﻄﺘﻬﻦ ﰲ ذﻟﻚ اﺠﻤﻟﺘﻤﻊ‬
‫وﻋﻠّﻘﺖ ﻋﻠﻴﻪ ﺄﺑن ﰲ اﻷدب اﻟﻌﺮﰊ ﺟﻨﺴﺎً أدﺑﻴﺎً‬
‫أﻛﺜﺮ ﻗﻮة ﻣﻦ ﺎﺑب اﻷَْوﱃ‪.‬‬
‫)‪ (genre‬اﲰﻪ )اﻷﻳﺮ�ت(‪ ،‬وﺗﺴﺘﺸﻬﺪ ﺑﺒﺤﺚ‬
‫‪ 40‬ﺑﺪر اﻟﺮﺷﻴﺪي وﻓﻴﺼﻞ ﺣﺎﻓﻆ‪ ،‬واﻗﻊ اﳋﺮاﻓﺔ واﻷﺳﻄﻮرة‪:‬‬

‫‪37‬‬
‫‪38‬‬
‫‪Ch. Pernilla Myrne, Female Sexuality in the‬‬
‫دراﺳﺔ ﺎﺗرﳜﻴﺔ ﻣﻘﺎرﻧﺔ ﺑﲔ ﻛﺘﺎﰊ ﻋﺠﺎﺋﺐ اﳍﻨﺪ ﻟﺒﺰرك ﺑﻦ‬ ‫‪Early Medieval Islamic World: Gender and sex‬‬
‫‪in Arabic literature, London: Sydney I.B.‬‬
‫ﺷﻬﺮ�ر وﲢﻔﺔ اﻟﻨﻈﺎر ﰲ ﻏﺮاﺋﺐ اﻷﻣﺼﺎر ﻻﺑﻦ ﺑﻄﻮﻃﺔ‪،‬‬ ‫‪Tauris, 2020, Ch. 4.‬‬
‫ﺣﻮﻟﻴﺎت آداب ﻋﲔ ﴰﺲ‪ ،‬ﻣﺞ ‪ 44‬ﺳﺒﺘﻤﱪ ‪2016‬م‪،‬‬
‫‪39‬‬
‫‪Emily Selove, Popeye and Curly, ep. 39, also‬‬
‫‪see: Dionisius A. Agius, ‘Where Facts and‬‬
‫)‪ ،(352-334‬ص ‪337‬‬ ‫‪History Meet Myth and Legend: Groups or‬‬
‫‪Communities in the Marvels of India Stories‬‬
‫‪Model’ in India Quarterly, vol. 76 (3) 2020,‬‬
‫‪(pp.392-410), p. 401.‬‬
‫‪155‬‬
‫اﳌﻌﻠﻦ ﰲ ﺑﺪاﻳﺔ اﻟﻜﺘﺎب‪ ،‬أو ﰲ أﺣﺴﻦ اﻷﺣﻮال‬ ‫ﻳﺪرس ﺑﻌﺾ أﺑﻴﺎت أﰊ ﺣﻜﻴﻤﺔ ﰲ أﻳﺮﻩ‪ ،‬وﻫﺬا‬
‫ﻻ ﳛﻘﻖ اﳍﺪف اﻟﺬي ﺗﺘﻐﻴّﺎﻩ إﻣﻴﻠﻲ ﺳﻴﻠﻮف‪.‬‬ ‫ﺗﻀﺨﻴﻢ ﳌﻮﺿﻮع ﺷﻌﺮي ﻳﺮد ﻋﻨﺪ ﺑﻌﺾ اﻟﺸﻌﺮاء‪،‬‬
‫وﳛﺘﺎج ﻣﺎ ادﻋﺘﻪ ﻣﻦ وﺟﻮد ﺟﻨﺲ أدﰊ )‪(genre‬‬
‫وﳔﺘﻢ ﻫﺬا اﳌﺒﺤﺚ ﺎﺑﻹﺷﺎرة إﱃ أن اﻋﺘﻤﺎدﻫﺎ‬
‫إﱃ دﻟﻴﻞ ﻳﺆﻛﺪ ﻫﺬا اﻟﺰﻋﻢ‪ ،‬وﻻ وﺟﻪ ﳍﺬا إﻻ أن‬
‫ﻋﻠﻰ اﺳﱰاﺗﻴﺠﻴﺔ اﻟﺘﻘﺮﻳﺐ ﻗﺪ أدى ﻬﺑﺎ ﻣﻦ ﺣﻴﺚ‬
‫ﻳـُ َﻔ ّﺴﺮ اﺳﺘﻌﻤﺎﳍﺎ ﳌﺼﻄﻠﺢ ﺟﻨﺲ أدﰊ أﻧﻪ ﻣﻌﲎ‬
‫ﻻ ﺗﺸﻌﺮ إﱃ ﺗﻨﺎﺳﻲ اﻷﺻﻞ اﻟﺜﻘﺎﰲ اﻟﺬي ﺗﺼﻮرﻩ‬
‫ﺷﻌﺮي‪ ،‬أو ﻓﻜﺮة ﺷﻌﺮﻳﺔ أو ﻣﺎ ﻳﺴﻤﻴﻪ اﻟﺒﻌﺾ‬
‫ﰲ رﺳﻮﻣﺎﻬﺗﺎ وﺗﻌﻠّﻖ ﻋﻠﻴﻪ؛ ﻓﻔﻲ )ﻣﺸﻬﺪ ‪(12‬‬
‫)ﺛﻴﻤﺎت ﺷﻌﺮﻳﺔ(‪.‬‬
‫ﳒﺪ أ�ﺎ ﺗﺪﺧﻞ ﻣﻀﺎﻣﲔ دﻳﻨﻴﺔ ﻣﻦ اﳌﺴﻴﺤﻴﺔ‬
‫ﻋﻠﻰ ﻣﺸﻬﺪ ﺻﻮرت ﻓﻴﻪ اﻟﺸﻴﺦ اﳌﺴﺘﻔﱵ ﰲ‬ ‫وﻣﻦ اﻟﻌﺠﻴﺐ أن ﺗﺰﻋﻢ إﻣﻴﻠﻲ ﺳﻴﻠﻮف أ�ﺎ‬
‫اﳌﻘﺎﻣﺔ اﳊﺮاﻣﻴﺔ‪ ،‬ﺣﻴﺚ ﺟﻌﻠﺘﻪ ﻳﻘﻒ أﻣﺎم‬ ‫ﺗﺮﻏﺐ أن ﻳَـ ْﻮ ِﺻ َﻞ ُ‬
‫ﻛﺘﺎﻬﺑﺎ إﱃ اﻟﻘﺮاء ﰲ اﻟﻐﺮب‬
‫اﳊﺎﺿﺮﻳﻦ ﰲ اﳌﺴﺠﺪ ﻟﻴﻌﱰف ﺑﺬﻧﻮﺑﻪ وﻳﺴﺄل‬ ‫ﻓﻜﺮة ﻋﻈﻤﺔ ﺑﻐﺪاد وﻋﺒﻘﺮﻳﺘﻬﺎ‪ ،‬ﺑﻮﺻﻔﻬﺎ ﻣﺪﻳﻨﺔ ﻻ‬
‫اﻟﻐﻔﺮان‪ ،‬ﻛﻤﺎ ﻟﻮ ﻛﺎن ﰲ ﻛﻨﻴﺴﺔ! ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ‬ ‫ﺗﻘﻞ ﰲ ﻣﻴﺰان اﳊﻀﺎرة ﻋﻦ روﻣﺎ وأﺛﻴﻨﺎ‪ ،‬ﻷ�ﺎ‬
‫أن ﺳﻴﺎق اﳌﻘﺎﻣﺔ اﳊﺮاﻣﻴﺔ ﻛﺎن ﻏﲑ ﻣﺎ ﺻﻮرﺗﻪ ﰲ‬ ‫ﺣﺪ وﺻﻔﻬﺎ‪ ،‬ﰒ ﰲ‬ ‫ﻏﲑت وﺟﻪ اﻟﻌﺎﱂ ‪-‬ﻋﻠﻰ ّ‬ ‫ّ‬
‫ﻫﺬا اﳌﺸﻬﺪ‪ 41 .‬وﺳﻨﻌﺮض ﻵﺎﺛر ذﻟﻚ وﻏﲑﻩ ﰲ‬ ‫اﻟﻮﻗﺖ ﻧﻔﺴﻪ ﺗﺮﺳﻢ ﻣﺸﺎﻫﺪ ﺗﺆﻛﺪ ﺣﻀﻮر اﳋﺮاﻓﺔ‬
‫اﳌﺒﺎﺣﺚ اﻟﺘﺎﻟﻴﺔ‪ ،‬ﺑﻌﺪ أن ﻧﻨﺎﻗﺶ اﻟﻄﺒﻴﻌﺔ ﻏﲑ‬ ‫واﻟﺸﻌﻮذة واﻟﻄﻼﺳﻢ واﻧﺘﺸﺎرﻫﺎ ﰲ ﺑﻐﺪاد؛ وﺗﺮﺳﻢ‬
‫اﻟﺘﻘﻠﻴﺪﻳﺔ ﻟﻠﻜﺘﺎب وﲨﻬﻮرﻩ‪ ،‬وﺧﺼﻮﺻﻴﺘﻪ ﻣﻦ‬ ‫ﰲ ﻣﺸﻬﺪ )‪ (72‬ﺳﺎذﺟﺎ ﻳﺬﻫﺐ إﱃ ﻣﺸﻌﻮذ‬
‫ﺣﻴﺚ أﺳﻠﻮب ﺄﺗﻟﻴﻔﻪ واﻟﻮﺳﺎﺋﻂ اﻟﱵ ﲪﻠﺖ ﻫﺬا‬ ‫وﻳﻌﻮد ﺑﻄﻠﺴﻤﺎن ﻣﻜﺘﻮب ﻓﻴﻪ ﻛﻠﻤﺘﲔ ﺎﺑﻟﻠﻐﺔ‬
‫اﻟﻜﺘﺎب إﱃ اﳌﺘﻠﻘﲔ‪.‬‬ ‫اﻟﻌﱪﻳﺔ‪ ،‬وﻛﺄ�ﺎ ﻛﺎﻧﺖ ﺳﺤﺮاً أو ﺷﻌﻮذة ﻻ ﻳﻌﻠﻢ‬
‫ﻋﻨﻪ ﺣﺎﻣﻠﻪ‪ ،‬وﰲ ﻣﺸﻬﺪ )‪ (82‬ﻣﺸﻌﻮذاً دﺟﺎﻻً‬
‫اﳌﺒﺤﺚ اﻟﺜﺎﱐ‪ :‬ﺧﺼﻮﺻﻴﺔ اﻟﻜﺘﺎب ﺎﺑﻋﺘﺒﺎر‬
‫وﻳﻘﺮ ﺄﺑﻧﻪ ﻻ ﻳﻌﻠﻢ‬
‫ﻳﺒﻴﻊ اﻟﻜﺬب ﻋﻠﻰ اﻟﻨﺎس‪ّ ،‬‬
‫ﻏﺎﻳﺘﻪ وأﺳﻠﻮﺑﻪ وﲨﻬﻮرﻩ‬
‫ﺗﺼ ُﺪق ﺗﻮﻗﻌﺎﺗﻪ ﻣﻦ ﺣﻴﺚ‬‫ﻋﻨﻬﺎ‪ ،‬وﻳﺼﺎدف أن ْ‬
‫ﰲ ﻫﺬا اﳌﺒﺤﺚ ﺳﻨﻨﺎﻗﺶ ﻣﺪى ﻣﻼءﻣﺔ‬ ‫ﻻ ﻳﻌﻠﻢ‪ .‬إن ﻣﺜﻞ ﻫﺬا ﻻ ﻳﺴﺘﻘﻴﻢ ﻣﻊ اﳍﺪف‬
‫اﻷﺳﻠﻮب اﻟﺬي ﻇﻬﺮ ﺑﻪ اﻟﻜﺘﺎب ﻟﻐﺎﻳﺘﻪ اﳌﻌﻠﻨﺔ‬
‫ﻫﺬا اﻹﺷﻜﺎل‪ .‬ﻳﻨﻈﺮ‪ :‬أﺑﻮ ﻋﺒﺎس أﲪﺪ ﺑﻦ ﻋﺒﺪ اﳌﺆﻣﻦ ﺑﻦ‬ ‫‪ 41‬ﻟﻌﻞ أﻗﺮب ﻋﺒﺎراﺗﻪ إﱃ ﻓﻜﺮة اﻻﻋﱰاف اﻟﻜﻨﺴﻲ اﻟﱵ ﺗﺬﻛﺮﻫﺎ‬
‫اﻟﺸﺮﻳﺸﻲ‪ ،‬ﺷﺮح ﻣﻘﺎﻣﺎت اﳊﺮﻳﺮي‪) ،‬ﺑﲑوت‪:‬‬
‫اﻟﻘْﻴﺴﻲ ﱡ‬
‫ﻣﻮﺳﻰ َ‬ ‫ﺻﺪري‪،‬‬
‫ﺣﺎك ﰲ ْ‬ ‫ﻜﻢ ﻣﺎ َ‬ ‫إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﻗﻮﻟﻪ‪" :‬وﺳﺄﺑـُﺜّ ْ‬
‫دار اﻟﻜﺘﺐ اﻟﻌﻠﻤﻴﺔ‪1427 ،‬ﻫـ‪2006/‬م(‪.428 /3 ،‬‬ ‫ﺻﱪي" وﺷﺘّﺎن ﻣﺎ ﺑﲔ اﳌﻔﻬﻮﻣﲔ ﰲ‬ ‫ِ‬
‫ﻋﻴﻞ ﻓﻴﻪ ْ‬
‫ﺘﻴﻜ ْﻢ ﻓﻴﻤﺎ َ‬
‫وأﺳﺘَـ ْﻔ ُ‬
‫اﻟﺜﻘﺎﻓﺘﲔ‪ ،‬وﻟﻜﻦ ﻟﻌﻞ ﻓﻜﺮة ﺗﻘﺮﻳﺐ اﳌﻔﻬﻮم اﻟﻐﺮﻳﺐ أوﻗﻌﻬﺎ ﰲ‬
‫‪156‬‬
‫اﻟﺘﺨﻴﻠﻴﺔ‪ ،‬ﺎﺑﻋﺘﺒﺎر اﳉﻤﻬﻮر واﻟﻮﺳﺎﺋﻂ اﳊﺎﻣﻠﺔ‬ ‫وﲨﻬﻮر اﳌﺘﻠﻘﲔ اﻟﺬﻳﻦ ﺧﻮﻃﺒﻮا ﺑﻪ‪ ،‬وﺳﻨﻌﺮض‬
‫ﻟﻠﻌﻤﻞ‪.‬‬ ‫ﻵﺎﺛر اﻧﺘﻘﺎل اﻟﻌﻤﻞ ﺑﲔ أﻛﺜﺮ ﻣﻦ وﺳﻴﻂ ﺣﺎﻣﻞ‪،‬‬
‫ﻣﺎ ﺑﲔ ﻣﻨﺸﻮرات ﻳﻮﻣﻴﺔ ﰲ وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ‬
‫ﻻ ﺷﻚ أن ﻫﺬا اﻟﻌﻤﻞ ﻏﲑ ﻣﺄﻟﻮف ﰲ ﺳﻴﺎق‬
‫‪42‬‬ ‫اﻻﺟﺘﻤﺎﻋﻲ )ﻓﻴﺴﺒﻮك‪ /‬اﻧﺴﺘﺠﺮام( إﱃ ﻛﺘﺎب‬
‫اﻷﻋﻤﺎل اﻟﱵ ﺗﺘﻨﺎول اﻷدب اﻟﻌﺮﰊ‪ّ ،‬‬
‫ﻗﺪ ْﻣﺘﻪ‬
‫ٍ‬
‫ﻣﺼﻨﻒ ﰲ أﺑﻮاب وﻣﻄﺒﻮع ورﻗﻴﺎً‪ ،‬ﰒ ﻋﻮدﺗﻪ‬ ‫ﻣﻠﻮن‬
‫اﻟﻜﺎﺗﺒﺔ ﻟﻠﻘﺎرئ اﻹﳒﻠﻴﺰي اﻟﻴﺎﻓﻊ ﺄﺑﺳﻠﻮب ﳐﺘﻠﻒ‬
‫‪43‬‬ ‫ﻣﺮة أﺧﺮى إﱃ ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘﻤﺎﻋﻲ أﺛﻨﺎء‬
‫ﻋﻤﺎ ﻳـُ ْﻌﻬﺪ ﻋﻨﺪ اﳌﺴﺘﺸﺮﻗﲔ أو اﳌﺴﺘﻌﺮﺑﲔ‪،‬‬
‫ﻃﺒﻊ اﻟﻜﺘﺎب وﺑﻌﺪ اﻛﺘﻤﺎﻟﻪ وﺧﺮوﺟﻪ وﺗﻔﺎﻋﻞ‬
‫ﺗﻨﺺ‬
‫ﻏﲑ أﻧﻪ ﻻ ﳜﻠﻮ ﻣﻦ ﻣﻔﺎرﻗﺎت ﻣﻠﻔﺘﺔ؛ إذ ﱡ‬
‫اﳌﺘﻠﻘﲔ ﻣﻌﻪ‪ ،‬واﻟﺪور اﻟﺬي أﺳﻬﻢ ﺑﻪ اﳌﺘﻠﻘﻲ ﻣﻦ‬
‫إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﻋﻠﻰ أن ﺑﻐﺪاد وﻣﺎ ﲤﺜﻠﻪ ﰲ ﺳﻴﺎق‬
‫ﺧﻼل اﻟﺘﻔﺎﻋﻞ ﻣﻊ اﻟﺮﺳﻮﻣﺎت اﻟﱵ ﻛﺎﻧﺖ ﺗﻨﺸﺮ‬
‫اﳊﻀﺎرة اﻹﺳﻼﻣﻴﺔ ﳚﺐ أن ﺗﺪرس ﰲ اﻟﻌﺼﺮ‬
‫ﺑﺸﻜﻞ ﻳﻮﻣﻲ إﺎﺑن أ�م اﻹﻏﻼق واﳊﻈﺮ ﺑﺴﺒﺐ‬
‫اﳊﺪﻳﺚ‪ ،‬ﻟﻸﺳﺒﺎب ﻧﻔﺴﻬﺎ اﻟﱵ ﻣﻦ أﺟﻠﻬﺎ‬
‫ﺗﻔﺸﻲ وﺎﺑء ﻛﻮرو� ﻋﺎم ‪2020‬م‪ ،‬وﻣﺎ ﺻﺎﺣﺐ‬
‫ﺗُ ْﺪ َرس ﺣﻀﺎرات اﳌﺪن اﻟﻌﺮﻳﻘﺔ ﻣﺜﻞ أﺛﻴﻨﺎ وروﻣﺎ‪.‬‬
‫أﺛﺮ ﰲ‬
‫ذﻟﻚ ﻣﻦ ﺄﺗﺛﲑ ﺷﻌﻮري ﻋﺎم؛ رﲟﺎ ﻛﺎن ﻟﻪ ٌ‬
‫وﻟﻜﻦ اﳌﻄﺎﻟﻊ ﳌﺎ ﺟﺎء ﰲ ﻛﺘﺎﻬﺑﺎ )اﳉﺎﺣﻆ وأﺑﻮ‬
‫ﺗﻮﺟﻴﻪ اﻟﻜﺎﺗﺒﺔ ﳓﻮ اﺧﺘﻴﺎر اﻟﻄﺮﻳﻒ ﻣﻦ اﳌﺸﺎﻫﺪ‬
‫ﻧﻮاس( ﳚﺪ أن ﻛﺜﲑاً ﳑﺎ ﺗﺮﲰﻪ وﺗﺼﻮرﻩ ﻳﺴﲑ ﰲ‬
‫ﺳﻴﺎق اﳍﺰل واﻟﺴﺨﻒ واﺠﻤﻟﻮن واﻟﺘﺬاﻛﻲ‪ِ ،‬‬ ‫واﻷﻓﻜﺎر واﳌﻮﺿﻮﻋﺎت وإﻳﺜﺎر اﳍﺰل ﻋﻠﻰ اﳉﺪ‪،‬‬
‫وﺣﻴَ ِﻞ‬
‫ﻛﻤﺎ ﺳﻨﻨﺎﻗﺶ ﻧﻮع اﳉﻤﻬﻮر اﳌﺘﻠﻘﻲ ﻟﻠﻌﻤﻞ ﰲ‬
‫وﺗﺼﺮ ﰲ‬ ‫اﻟﺴﺤﺎﻗﺎت‪ّ ،‬‬
‫أﻫﻞ اﻟﻜﺪﻳﺔ‪ ،‬واﻟﺸﻮاذ و ّ‬
‫ﻣﺮاﺣﻠﻪ اﳌﺨﺘﻠﻔﺔ ﻣﻌﺮﺟﲔ ﻋﻠﻰ اﻷﳘﻴﺔ اﳋﺎﺻﺔ‬
‫ِ‬
‫وﺄﺗﺛﲑﻫﻢ‪،‬‬ ‫اﻟﻮﻗﺖ ﻧﻔﺴﻪ ﻋﻠﻰ ﻣﺮﻛﺰﻳِّﺔ ﻫﺆﻻء‬
‫ﳍﺬا اﻟﻌﻤﻞ اﻟﺬي ﲨﻊ ﺑﲔ اﻟﺼﻮرة واﻟﻨﺺ‪ ،‬وﺑﲔ‬
‫ِ‬
‫وﺟﻬﻞ َﻣ ْﻦ ﻳﻘﻮل ﻬﺑﺎﻣﺸﻴﺔ وﺟﻮدﻫﻢ أو ﺄﺗﺛﲑﻫﻢ‪،‬‬
‫اﳌﻌﻠﻮﻣﺎت واﳊﻘﺎﺋﻖ اﻟﺘﺎرﳜﻴﺔ واﻟﺮﺳﻮﻣﺎت‬
‫‪medieval Iraq, translated and illustrated by:‬‬ ‫‪ 42‬ﺳﺒﻖ أن ﻗﺪﻣﺖ إﻣﻴﻠﻲ ﰲ ﻛﺘﺎﻬﺑﺎ اﺧﺘﻴﺎرات ﻣﻦ ﺣﻜﺎ�ت‬
‫‪Emily Selove, Syracuse University Press:‬‬
‫‪Syracuse, New York, 2012, p.vii, 103.‬‬ ‫اﻟﺘﻄﻔﻴﻞ ﻟﻠﺨﻄﻴﺐ اﻟﺒﻐﺪادي أن ﻗﺪﻣﺖ ‪ 10‬رﺳﻮﻣﺎت‬
‫ﻃﻔﻴﻠﻲ ﻋﻠﻰ اﻟﺮاﺑﻂ‪:‬‬
‫ٍّ‬ ‫وﻳﻨﻈﺮ راﺑﻂ رﺳﻢ ﻧـَ ْﻮ ِح‬ ‫ﺗﻮﺿﻴﺤﻴﺔ )‪ ،(illustrations‬وﻛﺎﻧﺖ دورﻫﺎ ﰲ اﻟﻜﺘﺎب‬
‫ﻫﺎﻣﺸﻴﺎً‪ ،‬ﺑﻞ إن ﺑﻌﻀﻬﺎ اﺳﺘﻄﺮاد‪ ،‬ﻛﻤﺎ ﰲ رﲰﻬﺎ ﻟﻄﻔﻴﻠﻲ ﻳﻨﻮح‬
‫‪https://www.instagram.com/p/CHfCgxyAiuo/‬‬
‫‪?utm_medium=copy_link‬‬ ‫اﻳﻞ )‪ ،(Waylon‬اﺷﺘﻘﺎﻗﺎً ﻣﻦ اﻹﳒﻠﻴﺰﻳﺔ ) ‪to‬‬ ‫وﺗﺴﻤﻴﺘﻪ و ٌ‬
‫‪ 43‬ﺗﺴﺘﻌﻤﻞ اﻟﻴﻮم ﰲ اﻟﺴﻴﺎﻗﺎت اﻟﻌﻠﻤﻴﺔ اﻟﻐﺮﺑﻴﺔ ﻛﻠﻤﺔ ﻣﺴﺘﻌﺮب‬ ‫‪ (wail‬أي ﻳﻨﻮح ‪ ...‬أﻣﺎ ﻛﺘﺎﻬﺑﺎ اﻟﺬي ﳓﻦ ﺑﺼﺪدﻩ ﻓﻔﻜﺮﺗﻪ‬
‫)‪ (Arabist‬أﻛﺜﺮ ﻣﻦ ﻛﻠﻤﺔ ﻣﺴﺘﺸﺮق )‪ (orientalist‬اﻟﱵ‬ ‫ﻣﺒﻨﻴﺔ ﺑﺸﻜﻞ رﺋﻴﺲ ﻋﻠﻰ اﻟﺮﺳﻢ واﻟﺘﻌﻠﻴﻘﺎت واﻹﺣﺎﻻت‬
‫ﻛﺎن ﻳﻮﺻﻒ ﻬﺑﺎ ﺳﺎﺑﻘﺎً دارس اﳌﺸﺮق وﺛﻘﺎﻓﺎﺗﻪ‪.‬‬ ‫اﳌﺼﺎﺣﺒﺔ‪ .‬ﻳﻨﻈﺮ ﻛﺘﺎﻬﺑﺎ‪:‬‬
‫‪Abu Bakr Ahmad ibn ‘Ali Khatib al-Baghdadi,‬‬
‫‪Selections from the art of party-crashing in‬‬
‫‪157‬‬
‫اﳉﺎﺣﻆ )اﳊﻘﻴﻘﻲ( ﻬﺑﺬا اﻟﺮﺳﻢ اﻟﺬي ﳜﻴّﻞ ﺷﻴﺌﺎً‬ ‫ﻓﻬﻞ ﻫﺆﻻء ﻫﻢ ﺻﺎﻧﻌﻮ اﳊﻀﺎرة اﻟﻌﺒﺎﺳﻴﺔ‪ ،‬أو‬
‫ﻗﺪ ﻳﻜﻮن وﻗﻊ ﻟﻐﲑﻩ‪.‬‬ ‫أﻣﺜﺎﳍﻢ ﻣﻦ ﻗﺒﻞ‬
‫ﺑـُﻨَﺎةُ ﻋﻈﻤﺔ ﺑﻐﺪاد؟! وﻫﻞ ﺑﲎ ُ‬
‫ﺣﻀﺎرة أﺛﻴﻨﺎ أو روﻣﺎ؟! إن ﻫﺬا اﻟﺰﻋﻢ ِ‬
‫ﻳﻌﻮزﻩ‬
‫إن ﻛﻞ وﺳﻴﻠﺔ )‪- (medium‬ﻛﻤﺎ ﻳﻘﻮل رﳚﻴﺲ‬
‫ﻋﺎﻗﻞ‪.‬‬ ‫اﻟﺪﻟﻴﻞ‪ ،‬وﻻ ﻳﻘﺒﻠُﻪ ﻣﺘﺄﻣﻞ أو ِّ‬
‫دوﺑﺮﻳﻪ‪" -‬ﲣﻀﻊ ﻟﻘﻮاﻧﲔ ﺗﻨﺒﺜﻖ ﺎﺑﻟﻀﺮورة ﻣﻦ‬ ‫ﻳﺼﺪﻗُﻪ ٌ‬ ‫ٌّ‬
‫وﺗﻌﱪ ﻋﻨﻬﺎ"‪ 46 ،‬واﻟﻘﺮاءة اﻟﻮﺳﺎﺋﻄﻴﺔ‬‫ﻃﺒﻴﻌﺘﻬﺎ‪ّ ،‬‬ ‫إن ﻟﻠﺼﻮرة اﻟﺒﺼﺮﻳﺔ اﻟﻴﻮم ﰲ ﺟﻴﻞ اﻟﻴﺎﻓﻌﲔ أﺛﺮاً‬ ‫ﱠ‬
‫ﲤﻜﻨﻨﺎ أن "ﻧﻜﺸﻒ ﺑﺸﻜﻞ أﻓﻀﻞ دور‬ ‫ﺑﺪ أن‬
‫ﻗﺪ ﻻ ﺗﺒﻠﻐﻪ اﻟﻨﺼﻮص اﳌﻜﺘﻮﺑﺔ – وﻻ ّ‬
‫اﳌﺨﻄﻮﻃﺔ اﻧﻄﻼﻗﺎً ﻣﻦ اﳌﻄﺒﻮﻋﺔ‪ ،‬ودور اﳌﻜﺘﻮب‬ ‫إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﺗﺪرك ﻫﺬا اﻷﺛﺮ‪ ،‬وﻟﺬا‬
‫اﻧﻄﻼﻗﺎً ﻣﻦ اﻟﺼﻮرة"‪ 47 .‬وﻟﻮ ﻧﻈﺮ� إﱃ ﻛﺘﺎب‬ ‫ﺗﻨﺎﺳﺖ‬
‫ْ‬ ‫ﻧﺴﻴﺖ أو‬
‫ْ‬ ‫اﺳﺘﻌﻤﻠﺘﻬﺎ ‪ -44‬وﻟﻜﻨﱠﻬﺎ ﱠرﲟﺎ‬
‫)اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس( ﺑﻮﺻﻔﻪ ﻧﺼﺎً رﻗﻤﻴﺎً ﻣﻦ‬ ‫ﻣﺖ ﰲ ﺑﻌﺾ رﺳﻮﻣﺎﻬﺗﺎ ﻣﺎ ﻻ ﺣﻘﻴﻘﺔَ‬ ‫ذﻟﻚ‪ ،‬ﱠ‬
‫ﻓﻘﺪ ْ‬
‫ﺣﻴﺚ ﻃﺒﻴﻌﺘﻪ اﻟﱵ ﻧﺸﺄ ﻣﻨﻬﺎ ﻗﺒﻞ أن ﻳﻜﻮن‬ ‫ﻟﻪ وﻻ أﺻﻞ‪ ،‬ﻛﻤﺎ ﻓﻌﻠﺖ ﰲ ﻣﺸﻬﺪ )‪(34‬؛‬
‫ﻛﺘﺎﺎﺑً‪ ،‬ﰒ ﻋﻮدﺗﻪ إﱃ وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘﻤﺎﻋﻲ‬ ‫ﺣﻴﺚ رﲰﺖ ﺑﻌﺾ اﳊﻨﺎﺑﻠﺔ ﻳﻐﻠﻘﻮن ﺎﺑب ﺑﻴﺖ‬
‫ﻋﻠﻰ ﺷﻜﻞ ﻣﻘﺘﻄﻔﺎت ﻣﻦ اﻟﻜﺘﺎب اﳌﻄﺒﻮع‪ ،‬ﻣﺎ‬ ‫اﳉﺎﺣﻆ ﻟﻴﻼً وﻫﻮ �ﺋﻢ‪ ،‬ﻷ�ﻢ اﺧﺘﻠﻔﻮا ﻣﻌﻪ ﰲ‬
‫ﳚﻌﻠﻪ ﻧﺼﺎً ﺗﻔﺎﻋﻠﻴﺎً أﻳﻀﺎً ﻓﺈﻧﻪ ﻣﻦ اﳌﻤﻜﻦ أن ﻳُﻘﺮأ‬ ‫ﺑﻌﺾ اﳌﺴﺎﺋﻞ‪ ،‬ﰒ ﺗﻌﻠﻖ ﲢﺖ ﻋﻨﻮان‪" :‬ﺣﻘﻴﻘﺔ"‬
‫ﻳﻌﺮﻓﻬﺎ‬
‫ﻗﺮاءة وﺳﺎﺋﻄﻴﺔ )ﻣﻴﺪﻳﻮﻟﻮﺟﻴﺔ( وﻫﻲ ﻛﻤﺎ ّ‬ ‫أن ﻫﺬا ﺣﺪث ﻟﻠﺨﻄﻴﺐ اﻟﺒﻐﺪادي وأ�ﻢ ﻓﻌﻠﻮا‬
‫ﲨﻴﻞ ﲪﺪاوي "ﻣﻘﺎرﺑﺔ وﺳﺎﺋﻄﻴﺔ ﺗُﻌﲎ ﺑﺪراﺳﺔ‬ ‫ذﻟﻚ ﺑﻪ ﻟﺘﻔﻮﺗﻪ ﺻﻼة اﻟﻔﺠﺮ‪ 45 ،‬وﻻ ﻳﻐﲏ ﻋﻨﻬﺎ‬
‫اﻷدب اﻟﺮﻗﻤﻲ دراﺳﺔ ﺗﺸﺮﳛﻴﺔ ﻣﺘﻜﺎﻣﻠﺔ‬ ‫ﻧﺼﺖ ﻋﻠﻴﻪ ﰲ ﻣﻘﺪﻣﺘﻬﺎ ﻣﻦ أن ﻫﺬا اﻟﻜﺘﺎب‬ ‫ﻣﺎ ّ‬
‫اﳌﺴﺘﻮ�ت ﺎﺑﻟﱰﻛﻴﺰ ﻋﻠﻰ اﻟﻮﺳﻴﻂ اﻟﺮﻗﻤﻲ ﰲ‬ ‫ﻫﻮ ﻧﻮع ﻣﻦ اﳋﻴﺎل اﻟﺘﺎرﳜﻲ‪ ،‬ﻷن ﻣﺎ ﻳﻨﻄﺒﻊ ﰲ‬
‫ﳐﺘﻠﻒ ﲡﻠﻴﺎﺗﻪ اﻟﻨﺼﻴﺔ واﻟﱰاﺑﻄﻴﺔ واﻟﺘﻘﻨﻴﺔ‬ ‫اﻟﺬﻫﻦ ﺑﺘﺄﺛﲑ اﻟﺼﻮرة‪ ،‬ﻳﺬﻫﺐ ﺎﺑﻟﻔﻜﺮ إﱃ رﺑﻂ‬
‫ﻧﻘﺎﺷﻪ‪ ،‬ﻳﻨﻈﺮ‪ :‬ﴰﺲ اﻟﺪﻳﻦ أﺑﻮ اﳌﻈﻔﺮ ﻳﻮﺳﻒ ﺑﻦ ﻗِْﺰأُوﻏﻠﻲ ﺑﻦ‬ ‫‪ 44‬أﺛﺮ وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘﻤﺎﻋﻲ‪ ،‬واﻟﺘﻔﺎﻋﻞ ﺑﲔ اﳌﺆﻟﻒ‬
‫ﻋﺒﺪ ﷲ اﳌﻌﺮوف ﺑـﺴﺒﻂ اﺑﻦ اﳉﻮزي‪ ،‬ﻣﺮآة اﻟﺰﻣﺎن ﰲ ﺗﻮارﻳﺦ‬ ‫واﳌﺘﻠﻘﻲ‪ ،‬ﻻ ﻳﻐﻴﺐ ﻋﻦ اﻷذﻫﺎن اﻟﻴﻮم‪ ،‬وﻟﺬا ﻛﺎﻧﺖ اﻟﻜﺎﺗﺒﺔ‬
‫اﻷﻋﻴﺎن‪ ،‬ﲢﻘﻴﻖ‪ :‬ﳏﻤﺪ ﺑﺮﻛﺎت وآﺧﺮون‪ ،‬دﻣﺸﻖ‪ :‬دار اﻟﺮﺳﺎﻟﺔ‬ ‫ﺗﻨﺸﺮ اﻟﺮﺳﻮﻣﺎت ﻳﻮﻣﻴﺎً ﻋﻠﻰ ﺻﻔﺤﺘﻬﺎ ﰲ )ﻓﻴﺴﺒﻮك( وأﻧﺸﺄت‬
‫اﻟﻌﺎﳌﻴﺔ‪1434 ،‬ﻫـ‪2013/‬م‪.246 /19 ،‬‬ ‫ﺻﻔﺤﺔ ﺧﺎﺻﺔ ﺎﺑﻟﻜﺘﺎب ﻋﻠﻰ اﻧﺴﺘﺠﺮام‪ ،‬ﺗﻨﺸﺮ ﻓﻴﻪ رﺳﻮﻣﺎﻬﺗﺎ‬
‫‪ 46‬رﳚﻴﺲ دوﺑﺮﻳﻪ‪ ،‬اﳌﻴﺪﻳﻮﻟﻮﺟﻴﺎ اﻟﻮﺳﺎﺋﻄﻴﺔ وﺣﻘﻬﺎ‬ ‫وأﺧﺒﺎر اﻟﻌﻤﻞ ﻋﻠﻰ اﻟﻜﺘﺎب‪ ،‬وﺗﺘﻔﺎﻋﻞ ﻣﻊ اﻟﻘﺮاء‪ ،‬ﺑﻞ وﺗﺸﺮﻛﻬﻢ‬
‫ﺎﺑﻻﺳﺘﻘﻼل‪ ،‬ﺗﺮﲨﺔ‪ :‬ﻣﺮﻛﺰ اﻹﳕﺎء اﻟﻘﻮﻣﻲ‪ ،‬ﳎﻠﺔ اﻟﻔﻜﺮ اﻟﻌﺮﰊ‬ ‫ﰲ اﻟﺘﺼﻮﻳﺖ ﻋﻠﻰ اﺧﺘﻴﺎراﻬﺗﺎ‪ ،‬ﻳﻨﻈﺮ اﻟﺮاﺑﻂ‪:‬‬
‫اﳌﻌﺎﺻﺮ‪ ،‬ع‪ ،90،91‬أﻏﺴﻄﺲ )‪ ،(1991‬ص ‪.38‬‬ ‫‪https://www.instagram.com/popeyeandcurly/‬‬
‫‪ 45‬ذﻛﺮ ﺳﺒﻂ اﺑﻦ اﳉﻮزي ﻣﺜﻞ ﻫﺬا‪ ،‬واﳋﻼف ﺑﲔ أﺗﺒﺎع‬
‫‪ 47‬اﳌﺼﺪر اﻟﺴﺎﺑﻖ‪.‬‬
‫اﳌﺬاﻫﺐ واﻟﻔﺮق واﻟﺘﻌﺼﺐ ﻋﻠﻰ اﳌﺨﺎﻟﻒ ﻟﻴﺲ ﻫﺬا ﳏﻞ‬
‫‪158‬‬
‫اﻹﻋﻼﻣﻴﺔ اﻷﺧﺮى ﺣﱴ ﻳﺴﺘﻮي ﻧﺼﺎً أدﺑﻴﺎ رﻗﻤﻴﺎً‬ ‫واﻟﺘﻔﺎﻋﻠﻴﺔ واﻟﻮﻇﻴﻔﻴﺔ واﻟﺴﻴﻤﻴﺎﺋﻴﺔ‪ ،‬ﰲ ﻋﻼﻗﺔ‬
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‫أﺻﻴﻼً"‪.‬‬ ‫وﻃﻴﺪة ﲟﺎ ﻫﻮ ﻓﲏ وأدﰊ وﲨﺎﱄ وﻣﻮﺿﻮﻋﺎﰐ‬
‫‪48‬‬
‫وﺷﻜﻠﻲ"‪.‬‬
‫ﻳﺒﺪو أن اﻟﺘﻔﺎﻋﻞ اﻟﺬي ﻧﺸﺄ ﺑﲔ إﻣﻴﻠﻲ ﺳﻴﻠﻮف‬
‫وﺑﲔ ﲨﻬﻮرﻫﺎ ﰲ ﻓﻀﺎء وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ‬ ‫وﻟﻜﻨﻨﺎ ﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ ﻻ ﻧﺮﻳﺪ ﺗﺸﻌﻴﺐ اﻟﺒﺤﺚ‬
‫اﻻﺟﺘﻤﺎﻋﻲ ﻗﺪ أﺳﻬﻢ ﰲ ﺗﻮﺟﻴﻪ اﺧﺘﻴﺎراﻬﺗﺎ‬ ‫ﰲ ﻣﺴﺎرات ﻣﺘﺒﺎﻳﻨﺔ؛ ﺣﻴﺚ إن اﻟﻘﺮاءة اﻟﻮﺳﺎﺋﻄﻴﺔ‬
‫ﺑﺸﻜﻞ ﻣﻠﻤﻮس‪ ،‬وﻗﺪ أﺷﺎرت ﻫﻲ إﱃ ﺷﻲء ﻣﻦ‬ ‫ﺗﺼﻒ وﲢﻠﻞ ﻛﻞ ﺷﻲء ﺗﻘﺮﻳﺒﺎً‪ ،‬وﻟﻌﻞ اﻟﺸﻤﻮﻟﻴﺔ‬
‫ﺄﺗﺛﲑ اﳌﺘﻠﻘﲔ ﻋﻠﻴﻬﺎ‪ ،‬وإذا اﺳﺘﺤﻀﺮ� أن أﺻﻞ‬ ‫ﻟﻜﻞ ﻣﺴﺘﻮ�ت اﻟﻘﺮاءة ﻫﻲ أﺑﺮز ﺟﺪﻳﺪ ﺗﻘﺪﻣﻪ؛‬
‫اﻟﻜﺘﺎب اﳌﻄﺒﻮع ﻛﺎن ﺗﺪوﻳﻨﺎت ﻳﻮﻣﻴﺔ ﺗﺮﲰﻬﺎ‬ ‫وﺳﻨﻜﺘﻔﻲ ﺈﺑﺷﺎرة ﻋﺎﺑﺮة ﺗﻮﺿﺢ ﻣﺪى ﻣﻼءﻣﺔ‬
‫وﺗﻌﻠﻖ ﻋﻠﻴﻬﺎ ﰒ ﺗﻨﺸﺮﻫﺎ ﻋﻠﻰ ﺣﺴﺎﺎﺑﻬﺗﺎ ﰲ ﻣﻮاﻗﻊ‬ ‫ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﻘﺮاءات ﻟﻸدب اﻟﺘﻔﺎﻋﻠﻲ‪ .‬ﻟﻌﻞ‬
‫اﻟﺘﻮاﺻﻞ اﻻﺟﺘﻤﺎﻋﻲ؛ ﻓﺈن ﻫﺬا ﻳﻌﲏ ﺣﻀﻮر‬ ‫أﺑﺮز ﻣﺎ ﻟﻪ ﺻﻠﺔ واﺿﺤﺔ وﻣﺒﺎﺷﺮة ﻣﻦ آﻟﻴﺎت‬
‫اﳌﺘﻠﻘﻲ وﺄﺗﺛﲑﻩ اﳌﺒﺎﺷﺮ ﰲ ﺳﲑ اﻟﻌﻤﻞ وﺗﻮﺟﻴﻪ‬ ‫ﺗﺼﻮر ﲪﺪاوي ﳍﺎ ‪-‬‬ ‫اﻟﻘﺮاءة اﻟﻮﺳﺎﺋﻄﻴﺔ ‪ -‬وﻓﻖ ّ‬
‫اﳌﺆﻟِّﻒ ﳓﻮ ﻣﺎ ﳛﻈﻰ ﺈﺑﻋﺠﺎب )‪ (like‬ﻣﻦ‬ ‫ﺗﻘﺪﻣﻪ اﳌﺴﺘﻮ�ت اﻟﱵ ﺗﺒﺤﺚ اﻟﻨﺺ‬ ‫ﻣﺎ ﳝﻜﻦ أن ّ‬
‫اﳌﺘﺎﺑﻌﲔ‪ ،‬ﻣﺎ ﻳﻌﲏ ﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ أن‬ ‫اﻟﺮﻗﻤﻲ وﻣﻨﻬﺎ‪ :‬اﳌﺴﺘﻮى اﻟﻮﺳﺎﺋﻄﻲ اﻟﺬي ﻳﺒﺤﺚ‬
‫اﳌﻮﺿﻮﻋﺎت اﳉﺎدة أو اﻟﺮﺗﻴﺒﺔ أو ﻏﲑ اﳌﺴﻠﻴﺔ ﻗﺪ‬ ‫ﻳﻮﻇّﻔﻪ اﻟﻨﺺ أو اﻷدب‬ ‫ﰲ ﻧﻮع "اﻟﻮﺳﻴﻂ اﻟﺬي ِ‬
‫ﻻ ﲢﻈﻰ ﺈﺑﻋﺠﺎب اﳌﺘﺎﺑﻌﲔ‪ ،‬ﻻ ﺳﻴّﻤﺎ ﰲ اﻟﻮﻗﺖ‬ ‫اﻹﺑﺪاﻋﻲ ﰲ إﻃﺎر ﻣﺎ ﻳﺴﻤﻰ ﺎﺑﻟﻮﺳﺎﺋﻂ‬
‫اﻟﺬي ﻇﻬﺮت ﻓﻴﻪ ﻣﻨﺸﻮراﻬﺗﺎ ﻣﻊ إﻏﻼق اﻷﻧﺸﻄﺔ‬ ‫اﳌﺘﻌﺪدة"‪ 49 ،‬واﳌﺴﺘﻮى اﻟﺘﻔﺎﻋﻠﻲ اﻟﺬي ﻳﻬﺘﻢ‬
‫واﻟﺘﻌﻠﻴﻖ أو اﳊﻈﺮ ﻷﻛﺜﺮ ﻣﻨﺎﺣﻲ اﳊﻴﺎة ﻋﺎم‬ ‫ﺑﻘﺮاءة "اﻟﻌﻼﻗﺎت اﻟﺘﻔﺎﻋﻠﻴﺔ اﳌﻮﺟﻮدة ﺑﲔ‬
‫‪2020‬م‪.‬‬ ‫ﻗﻤﻴﲔ"‪ 50 ،‬واﳌﺴﺘﻮى‬ ‫اﻟﻜﺎﺗﺐ واﳌﺘﻠﻘﻲ اﻟﺮ ْ‬
‫اﻟﱰاﺑﻄﻲ اﻟﺬي ﻳﻘﺮأ "اﻟﻌﻼﻗﺎت اﻟﱰاﺑﻄﻴﺔ اﻟﱵ‬
‫أن ﻃﺒﻴﻌﺔ اﻟﻮﺳﻴﻂ ﻗﺪ‬
‫وﻣﻦ اﳌﺘﻮﻗﻊ ﻛﺬﻟﻚ ّ‬
‫ﺗﻜﻮن ﺑﲔ اﻟﻨﺺ اﻷدﰊ وﳐﺘﻠﻒ اﻟﻮﺳﺎﺋﻂ‬
‫ﻓﺮﺿﺖ ﻧﻔﺴﻬﺎ ﻋﻠﻰ اﻟﻌﻤﻞ اﳌﻘﺪم ﺧﻼﳍﺎ‪ ،‬وﻗﺪ‬
‫أﺷﺎرت إﻣﻴﻠﻲ ﰲ ﻟﻘﺎﺋﻬﺎ ﻣﻊ ﺷﻮﻛﺔ ﻃﺮاوة إﱃ‬
‫‪49‬‬
‫اﳌﺼﺪر اﻟﺴﺎﺑﻖ‪ ،‬ص ‪) ،343‬ﺑﺘﺼﺮف ﻳﺴﲑ(‪.‬‬ ‫‪ 48‬ﲨﻴﻞ ﲪﺪاوي‪ ،‬ﻗﺮاءة ﺟﺪﻳﺪة‪ :‬اﻟﻘﺮاءة اﳌﻴﺪﻳﻮﻟﻮﺟﻴﺔ أو‬
‫‪50‬‬
‫ﻧﻔﺴﻪ‪ ،‬ص ‪.344‬‬ ‫اﻟﻘﺮاءة اﻟﻮﺳﺎﺋﻄﻴﺔ‪ ،‬دراﺳﺎت ﻣﻌﺎﺻﺮة‪ ،‬اﳌﺮﻛﺰ اﳉﺎﻣﻌﻲ‬
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‫ﻧﻔﺴﻪ‪ ،‬ص ‪.345‬‬ ‫اﻟﻮﻧﺸﺮﻳﺴﻲ ﺗﻴﺴﻤﺴﻴﻠﺖ ‪ -‬ﳐﱪ اﻟﺪراﺳﺎت اﻟﻨﻘﺪﻳﺔ واﻷدﺑﻴﺔ‬
‫اﳌﻌﺎﺻﺮة‪ ،‬ع ‪ ،4‬ﻳﻮﻟﻴﻮ ‪2018‬م‪ ،‬ص ‪.340‬‬
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‫اﻟﺼﻮرة واﻟﻨﺺ‪ ،‬ﺑﻞ إن اﻟﺼﻮرة ﻧﻔﺴﻬﺎ ﻫﻲ‬ ‫اﻋﺘﻤﺎدﻫﺎ ﻋﻠﻰ ﺛﻼﺛﺔ ﻣﺮﺑﻌﺎت ﻟﺘﺼﻮﻳﺮ ﻛﻞ‬
‫اﻷﺻﻞ ﰲ ﺑﻌﺾ ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ وﻣﻨﻬﺎ‬ ‫ﻣﺸﻬﺪ ﺑﺪﻻً ﻣﻦ اﻟﻨﻤﻂ اﳌﻌﺘﺎد ﰲ ﻛﺘﺐ‬
‫)اﻧﺴﺘﺠﺮام( واﻟﻨﺼﻮص ّإﳕﺎ ﻫﻲ ﺗﻌﻠﻴﻖ ﻋﻠﻰ ﻣﺎ‬ ‫اﻟﺮﺳﻮﻣﺎت ذات اﳌﺮﺑﻌﺎت اﻷرﺑﻌﺔ‪ ،‬أﻋﺎدت ذﻟﻚ‬
‫ﰲ اﻟﺼﻮرة أو ﺷﺮح ﻟﻪ‪ .‬وﻫﺬا ِّ‬
‫ﻣﺆﺷٌﺮ ﻋﻠﻰ ﻣﺮﻛﺰﻳﺔ‬ ‫إﱃ ﻗﻴﻮد ﺧﺎﺻﺔ ﺑﻨﻮع اﻟﻮرق اﻟﺬي ﻛﺎﻧﺖ ﺗﺮﺳﻢ‬
‫اﻟﻌﻨﺼﺮ اﻟﺒﺼﺮي )اﻟﺼﻮرة‪ /‬اﻟﺮﺳﻮﻣﺎت( وأﳘﻴﺘﻬﺎ‬ ‫ﻋﻠﻴﻪ ﺑﻌﺮض اﻟﺼﻔﺤﺔ وﳏﺪودﻳﺔ ﺣﺠﻤﻪ أﻛﺜﺮ‬
‫ﰲ ﻫﺬا اﻟﻌﻤﻞ‪ ،‬وﳚﻌﻞ ﻣﺎ ﺑﻌﺪﻫﺎ ﰲ ﻣﺮﺗﺒﺔ أﻗﻞ‬ ‫ﻣﻦ أي أﻣﺮ آﺧﺮ‪ 52 ،‬وﻫﺬا اﻟﻘﻴﺪ ﲝﺪ ذاﺗﻪ ﻣﻬﻢ‬
‫ﻣﻦ ﺣﻴﺚ اﻷﳘﻴﺔ؛ وﻟﺬا ﻓﺈن اﻻﻧﻄﺒﺎع اﻟﺬي‬ ‫ﰲ اﻟﻘﺮاءة اﻟﻮﺳﺎﺋﻄﻴﺔ اﻟﱵ ﺗﺪرس ﻃﺒﻴﻌﺔ اﻟﻮﺳﺎﺋﻂ‬
‫ﻧﺺ ﺷﺎرح ﲢﺘﻬﺎ‬‫ﺗﱰﻛﻪ اﻟﺼﻮرة أﺑﻠﻎ أﺛﺮاً ﻣﻦ ﻛﻞ ٍّ‬ ‫وﻣﺎ ﺗﻔﺮﺿﻪ ﻋﻠﻰ اﻟﻜﺎﺗﺐ ﻣﻦ ﻗﻴﻮد ﺗﻌﻮد إﱃ‬
‫ﺳﻮاء ﻛﺎن ﺗﻔﺴﲑاً‪ ،‬أو ﺗﺼﺤﻴﺤﺎً‪ ،‬أو إﺣﺎﻟﺔ‬ ‫اﻟﻮﺳﻴﻂ ﻧﻔﺴﻪ وﻻ ﺷﺄن ﳍﺎ ﺎﺑﻟﻌﻤﻞ اﻷدﰊ‪،‬‬
‫ﳌﺮﺟﻊ‪ ،‬أو ﺗﻌﻠﻴﻘﺎً ﻋﻠﻰ ﻓﻜﺮة ﻣﺎ‪ .‬ﻛﻤﺎ أن اﻟﺘﻮﻗﻴﺖ‬ ‫وﻣﺜﻠﻬﺎ ﻛﺬﻟﻚ اﻟﻌﺮف اﳌﺮﺗﺒﻂ ﺎﺑﳌﺴﺘﻮى اﻟﺘﻔﺎﻋﻠﻲ‬
‫ﺮت ﻓﻴﻪ ﻫﺬﻩ اﻟﺮﺳﻮﻣﺎت أول ﻣﺮة ﻳﺆﺷﺮ‬ ‫اﻟﺬي ﻧُ ِﺸ ْ‬ ‫اﻟﺬي ﳛﺪث ﻃﺒﻴﻌﻴﺎً ﺑﲔ اﳌﺪوﻧﲔ ﰲ وﺳﺎﺋﻞ‬
‫إﱃ ﺄﺗﺛﱡِﺮ اﻟﻜﺎﺗﺒﺔ ﲟﺎ ﺳﺎد ﻣﻦ اﳊﺎﺟﺔ إﱃ إﻇﻬﺎر‬ ‫اﻟﺘﻮاﺻﻞ اﻻﺟﺘﻤﺎﻋﻲ وﻣﺘﺎﺑﻌﻴﻬﻢ‪ ،‬ﻣﺎ ﳚﻌﻞ‬
‫ﻧﻮع ﻣﻦ اﻟﺒﺴﻤﺔ ﰲ وﺟﻪ اﳋﻮف واﳌﻠﻞ اﻟﺬي‬ ‫ﻟﻠﻤﺘﻠﻘﲔ – ﲝﻜﻢ ﻃﺒﻴﻌﺔ اﻟﻮﺳﻴﻂ – ﺳﻠﻄﺔ‬
‫أﻟﻘﻰ ﺑﻪ اﻟﻮﺎﺑء ﻋﻠﻰ ﺣﻴﺎة اﻟﻨﺎس‪ ،‬و ﱠ‬ ‫ﺿﻤﻨﻴﺔ ﺗﺒﺪأ ﻣﻦ اﺧﺘﻴﺎر ﻣﻦ ﻳﺘﺎﺑِﻌﻮن‪،‬‬
‫ﻔﺴﺮ ﺟﺰﺋﻴﺎً اﲡﺎﻩ اﻟﻜﺎﺗﺒﺔ ﳓﻮ إﻇﻬﺎر ﻣﺎ ﺗﻌﺮﻓﻪ‬ ‫ِ‬ ‫واﻻﻫﺘﻤﺎﻣﺎت اﻟﱵ ﳛﺪدﻫﺎ ُﻛ ّﻞ ﻣﺘﺎﺑﻊ ﻟﻠﻈﻬﻮر ﰲ‬
‫ﻳُ ّ‬
‫ﻣﻦ اﳍﺰل واﺧﺘﻴﺎر اﻟﻄَُﺮف )‪ (jokes‬ﺑﺸﻜﻞ ﻛﺒﲑ‪،‬‬ ‫ﺻﻔﺤﺘﻪ‪ ،‬ﰒ ﻗﺮاءﺗﻪ ﳌﺎ ﻳﻨﺸﺮ‪ ،‬وﺗﻔﺎﻋﻠﻪ ﻣﻌﻪ‬
‫ﻹﻇﻬﺎر اﻟﻌﻤﻞ ﰲ ﻣﻈﻬﺮ ﳑﺘﻊ )‪.(funny‬‬ ‫إﻋﺠﺎﺎﺑً‪ ،‬أو ﲡﺎﻫﻼً‪ ،‬أو ﺗﻌﻠﻴﻘﺎً‪ ،‬أو رﻓﻀﺎً‪ ،‬ﺑﻞ إن‬
‫ِ‬ ‫اﻟﻨﺎﺷﺮ إذا رأى ﰲ‬
‫َ‬ ‫اﳌﺘﺎﺑِﻊ ﳝﻜﻦ ﻟﻪ أن ﻳﺸﻜﻮ‬
‫ﻴﺖ إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﺑﺘﻘﺮﻳﺐ اﻟﺮﺳﻢ‬ ‫ﻟﻘﺪ ﻋُﻨ ْ‬
‫اﻟﻌﻤﻞ ﻣﺎ ﳜﻞ ﺑﺴﻴﺎﺳﻴﺎت ﳎﺘﻤﻊ اﳌﻮﻗﻊ وأﻋﺮاﻓﻪ‪،‬‬
‫واﻟﺘﺼﻮﻳﺮ ﻟﺒﻴﺌﺔ اﳌﺘﻠﻘﻲ اﻹﳒﻠﻴﺰي أﻛﺜﺮ ﻣﻦ‬
‫وﻫﺬﻩ اﻟﻄﺒﻴﻌﺔ ﻟﻠﻮﺳﻴﻂ اﳊﺎﻣﻞ ﻟﻠﻌﻤﻞ ﺗﺆﺛﺮ ‪-‬‬
‫ﻋﻨﺎﻳﺘﻬﺎ ﺎﺑﻟﻮﻓﺎء ﻷﺻﻞ اﻟﻌﻤﻞ اﻟﻌﺮﰊ اﻟﺬي ﺗﻨﻘﻞ‬
‫دون ﺷﻚ‪ -‬ﰲ اﺧﺘﻴﺎرات اﻟﻜﺎﺗﺐ‪.‬‬
‫ﻋﻨﻪ‪ ،‬أو ﲤﺜّﻞ ﺛﻘﺎﻓﺘﻪ وﺷﺨﺼﻴﺎﺗﻪ وﻓﻜﺮﻩ؛ وﻟﺬا‬
‫ﻓﺈن اﻟﻘﺎرئ اﻟﻌﺮﰊ ﺳﻴﺠﺪ ﰲ ﻛﺜﲑ ﳑﺎ ﺟﺎء ﰲ‬ ‫ﻛﻤﺎ أن ﻃﺒﻴﻌﺔ اﻟﻮﺳﻴﻂ اﻟﺬي اﺧﺘﺎرﺗﻪ اﻟﻜﺎﺗﺒﺔ‬
‫اﻟﻜﺘﺎب روﺣﺎً ﻏﺮﺑﻴﺔ ﻟﺸﺨﺼﻴﺎت ﻋﺮﺑﻴﺔ‪ ،‬وآﺎﺛراً‬ ‫اﺑﺘﺪاءً ﻛﺎﻧﺖ ﺗﻼﺋﻢ ﻃﺒﻴﻌﺔ اﻟﻌﻤﻞ‪ ،‬ﻓﻤﻌﻈﻢ‬
‫ﻣﻘﺪﻣﺔً ﰲ ﺟﻠﺒﺎب‬ ‫ﻟﻔﻜﺮ أوروﰊ ﺣﺪﻳﺚ ّ‬ ‫وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘﻤﺎﻋﻲ ﺗﻘﻮم ﻋﻠﻰ ﺛﻨﺎﺋﻴﺔ‬
‫‪https://youtu.be/eXCtlAMxYME‬‬ ‫ﻳﻨﻈﺮ ﻣﻘﺎﺑﻠﺘﻬﺎ ﻣﻊ ﺷﻮﻛﺔ ﻃﺮاوة ﻋﻠﻰ ﻣﻮﻗﻊ ﻳﻮﺗﻴﻮب‪:‬‬ ‫‪52‬‬
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‫ﰲ اﻟﺘﻠﻘﻲ‪ -‬ﺑﻄﺮﻳﻘﺔ ﲣﺘﻠﻒ ﻋﻦ اﻟﺘﺪوﻳﻨﺎت‬ ‫إﺳﻼﻣﻲ ﻗﺪﱘ‪ ،‬وﻣﻐﺎﻟﻄﺎت ﺗﱪزﻫﺎ اﻟﻌﻨﺎﺻﺮ‬

‫اﻟﻴﻮﻣﻴﺔ اﻟﱵ ﻗﺪ ﻳﺼﻠﺢ أن ﺗُﻨﺸﺮ ﰲ ﻣﻮاﻗﻊ‬ ‫ﺗﺼﺤﺤﻬﺎ اﻹﺣﺎﻻت اﻟﻨﺼﻴﺔ‬ ‫ِ‬
‫اﳌﺮﺳﻮﻣﺔ‪ ،‬وﻗﺪ ﻻ ّ‬
‫اﻟﺘﻮاﺻﻞ اﻻﺟﺘﻤﺎﻋﻲ‪.‬‬ ‫أو اﻟﺘﻌﻠﻴﻘﺎت اﳌﺪوﻧﺔ ﲢﺖ اﻟﺮﺳﻮﻣﺎت‪ .‬ﻻ ﺳﻴﱠﻤﺎ‬
‫إن ﻛﺎن اﳌﺘﻠﻘﻲ �ﻓﻌﺎً ﻏﲑ ﻣﻜﲔ‪ ،‬أو ﻋﺎﻣﻴﺎً ﻏﲑ‬ ‫ْ‬
‫ﻛﻤﺎ ﻳﺒﺪو أﻧﻪ ﻏﺎب ﻋﻨﻬﺎ ﺿﺮورة ﻣﻘﺎرﺑﺔ ﻫﺬا‬
‫ﻋﺎﺑﺊ ﺑﺘﺘﺒّﻊ أﺻﻞ ﻫﺬا اﻷﺧﺒﺎر وﺣﻘﻴﻘﺘﻬﺎ‬
‫اﻟﻌﻤﻞ ﺑﻄﺮﻳﻘﺔ أﻛﺜﺮ ﻣﻼءﻣﺔً ووﻓﺎءً ﻟﻸﺻﻞ‬
‫اﻟﺘﺎرﳜﻴﺔ ‪ -‬ﻻ ﺣﻘﺎﺋﻖ اﻟﻜﺎﺗﺒﺔ اﻟﱵ ﻗﺪﻣﺘﻬﺎ أﺣﻴﺎ�‬
‫)اﻟﻌﺮﰊ اﻟﻘﺪﱘ(‪ ،‬وﺗُﻨﺎﺳﺐ ﻓﺌﺔ ﻣﻬﻤﺔ ﻣﻦ‬
‫ﻣﺴﺘﻮﺣﺎة ﻣﻦ ﺧﻴﺎل ﺷﺎﻋﺮ ﰲ ﻗﺼﻴﺪة أو‬
‫اﳉﻤﻬﻮر اﳌﺘﻐﻴّﺎ ﻣﻦ اﻟﻘﺮاء اﻟﻴﺎﻓﻌﲔ؛ إذ ﱂ ﺗﺸﺮ‬
‫ﻣﺼﻨِّﻒ ﻟﻜﺘﺎب ﰲ اﻷﺧﺒﺎر اﻷدﺑﻴﺔ ﻻ ﺣﻆ ﻟﻪ‬
‫إﻣﻴﻠﻲ ﺳﻴﻠﻮف إﺷﺎرة ﻣﻼءﻣﺔ إﱃ ﻣﻮاﻗﻒ اﳌﺘﻠﻘﲔ‬
‫ﻣﻦ اﻟﺘﺎرﻳﺦ أو اﻟﻮاﻗﻊ‪.‬‬
‫ﰲ اﻟﱰاث ﻣﻦ ﺷﻌﺮ أﰊ ﻧﻮاس‪ ،‬وﲞﺎﺻﺔ ﻣﺎ ﻳﺘﻌﻠﻖ‬
‫ﺂﺑﺎﺛرﻩ اﻟﺴﻴﺌﺔ ﻋﻠﻰ اﻷﺣﺪاث‪ ،‬ﻻ ﺳﻴّﻤﺎ وﻛﺘﺎﻬﺑﺎ‬ ‫إن اﻧﺘﻘﺎل ﻫﺬا اﻟﻌﻤﻞ ﻣﻦ وﺳﻴﻄﻪ اﳊﺎﻣﻞ ﻟﻪ‬
‫ﻣﻮﺟﻪ ﳍﻢ‪ ،‬ﻓﻘﺪ ﺟﺎء ﰲ ﲨﻊ اﳉﻮاﻫﺮ ﻟﻠﺤﺼﺮي‬ ‫اﺑﺘﺪاءً ‪ -‬ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘﻤﺎﻋﻲ ‪ -‬اﻟﱵ ﻗﺪ‬
‫أن أﺎﺑ ﺑﻜﺮ ﳏﻤﺪ ﺑﻦ اﻟﻘﺎﺳﻢ اﻷﻧﺒﺎري ﻋﺎﺗﺐ‬ ‫اﳉﺪ‪ ،‬أو اﳌﻴﻞ إﱃ‬‫اﻟﺘﺨﻔﻒ ﻣﻦ ِّ‬ ‫ﻳﺴﻮغ ﻓﻴﻬﺎ ﱡ‬
‫اﻷﻣﲑ ﻋﺒﺪﷲ ﺑﻦ اﳌﻌﺘﺰ ﻋﻠﻰ ﺗﺪاول ﺷﻲء ﻣﻦ‬ ‫اﳍﺰل‪ ،‬أو اﳉﻨﻮح إﱃ ﲣﻴّﻞ ﺎﺗرﻳﺦ ﻣﺎ وﲣﻴﻴﻠﻪ‬
‫ﺷﻌﺮ ﻣﺎﺟﻦ ﻷﰊ ﻧﻮاس ﰲ ﳎﻠﺴﻪ‪ ،‬وﳑﺎ ﺟﺎء ﰲ‬ ‫ﻟﻠﻨﺎس‪ ،‬إﱃ وﺳﻴﻂ آﺧﺮ ﻟﻪ ﺛﻘﺎﻓﺔ أﺧﺮى‪ ،‬ﻣﻦ‬
‫ذﻟﻚ ﻗﻮﻟﻪ إن "ﺣﻖ ﺷﻌﺮ ﻫﺬا اﳋﻠﻴﻊ أﻻ ﻳﺘﻠﻘﺎﻩ‬ ‫وﺗﻠﻘﻲ‬
‫ﺣﻴﺚ ﻃﺒﻴﻌﺘﻪ‪ ،‬واﻟﺘﺼﻮرات اﳌﺮﺗﺒﻄﺔ ﺑﻪ‪ّ ،‬‬
‫اﻟﻨﺎس ﺄﺑﻟﺴﻨﺘﻬﻢ؛ وﻻ ﻳﺪوﻧﻮﻧﻪ ﰲ ﻛﺘﺒﻬﻢ‪ ،‬وﻻ‬ ‫اﳌﺘﻠﻘﲔ ﻟﻪ؛ وﻫﻮ اﻟﻜﺘﺎب اﻟﺬي ﻟﻪ ﺛﻘﺎﻓﺔ ﳐﺘﻠﻔﺔ‬
‫ﻣﺘﺄﺧﺮﻫﻢ؛ ﻷن ذوي اﻷﻗﺪار‬‫ِ‬ ‫ﳛﻤﻠﻪ ِّ‬
‫ﻣﺘﻘﺪﻣﻬﻢ إﱃ ّ‬ ‫أﻳﻀﺎً‪ ،‬ﻳﻮﺟﺐ ﻣﺮاﻋﺎة ﻣﺘﻄﻠﺒﺎت اﻟﻮﺳﻴﻂ اﳉﺪﻳﺪ‪،‬‬
‫واﻷﺳﻨﺎن ﳚﻠﻮن ﻋﻦ رواﻳﺘﻪ‪ ،‬واﻷﺣﺪاث ﻳـُﻐَ ﱡﺸﻮن‬ ‫وﻫﺬا ﻣﺎ ﱂ ﳛﺪث ﻓﻴﻤﺎ ﻳﻈﻬﺮ‪ ،‬ﻓﻐﺎﻟﺐ ﻣﺎ ﻇﻬﺮ‬
‫ﻳﺘﺤﻤﻞ‬
‫ﲝﻔﻈﻪ‪ ،‬وﻻ ﻳﻨﺸﺪ ﰲ اﳌﺴﺎﺟﺪ‪ ،‬وﻻ ّ‬ ‫ﻣﻦ ﺗﻐﻴﲑات ﻛﺎن إﺿﻔﺎء اﻟﻠﻮن ﻋﻠﻰ اﻟﺼﻮر‬
‫ﺑﺬﻛﺮﻩ ﰲ اﳌﺸﺎﻫﺪ؛ ﻓﺈن ﺻﻨﻊ ﻓﻴﻪ ﻏﻨﺎء ﻛﺎن‬ ‫اﳌﺮﺳﻮﻣﺔ ﺑﻠﻮن أﺳﻮد‪ ،‬ﻟﻜﻦ ﻃﺒﻴﻌﺔ اﻟﺮﺳﻮﻣﺎت ﱂ‬
‫أﻋﻈﻢ ﻟﺒﻠﻴﺘﻪ؛ ﻷﻧﻪ إﳕﺎ ﻳﻈﻬﺮ ﰲ ﻏﻠﺒﺔ ﺳﻠﻄﺎن‬ ‫ﺗﺘﻐﲑ‪ 53 .‬وﻟﻌﻠّﻪ ﻏﺎب ﻋﻦ اﻟﻜﺎﺗﺒﺔ ﺿﺮورة اﳌﻌﺎﳉﺔ‬
‫ﻘﺪم ﰲ وﺳﻴﻂ ﳐﺘﻠﻒ ‪-‬ﻛﺘﺎب‬ ‫اﳌﻼﺋﻤﺔ ﳌﺎ ﻳُ ﱠ‬
‫ﻣﻄﺒﻮع ﳜﺎﻃﺐ ﲨﻬﻮراً ﳐﺘﻠﻔﺎً وﻟﻪ ﻃﺒﻴﻌﺔ ﳐﺘﻠﻔﺔ‬
‫‪https://www.instagram.com/popeyeandcurly/‬‬ ‫‪ 53‬ﻳﻨﻈﺮ‪ :‬ﺻﻔﺤﺔ )اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس( ﻋﻠﻰ ﻣﻮﻗﻊ اﻧﺴﺘﺠﺮام‪،‬‬

‫ﻋﻠﻰ اﻟﺮاﺑﻂ‪:‬‬
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‫ﻋﻦ ﻃﺒﻴﻌﺔ اﻷﺻﻞ اﻟﻌﺮﰊ اﻟﺬي ﲢﺎول ﺗﺼﻮﻳﺮﻩ؛‬ ‫اﳍﻮى‪ ،‬ﻓﻴﻬﻴﺞ اﻟﺪواﻋﻲ اﻟﺪﻧﻴﺌﺔ‪ ،‬وﻳﻘﻮي اﳋﻮاﻃﺮ‬
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‫ﻓﻔﻲ اﻟﻔﺼﻞ اﻟﺜﺎﻣﻦ اﻟﺬي ﻋﻨﻮﻧﺘﻪ )أﺣﺎدﻳﺚ‬ ‫اﻟﺮدﻳﺌﺔ"‪.‬‬
‫اﳊﻔﻼت( رﲰﺖ ﻣﺸﺎﻫﺪ ﺟﻌﻠﺖ ﻓﻴﻬﺎ‬
‫وﺑﻴﻨﻤﺎ ﺗﺰﻋﻢ اﻟﻜﺎﺗﺒﺔ أ�ﺎ ﲢﺎول أن ﺗﻘﺪم ﻟﻠﻘﺮاء‬
‫ﺷﺨﺼﻴﺎت ﺑﻐﺪاد ﺗﺒﺪو أﻗﺮب ﻣﺎ ﺗﻜﻮن إﱃ‬
‫اﻟﺼﻐﺎر ﻣﺼﺪراً ﻣﻮﺛﻮﻗﺎً‪ ،‬ﳒﺪﻫﺎ ﺗﻌﻮد إﱃ أﻟﻒ‬
‫ﻣﺸﺎﻫﺪ أﻓﻼم ﻫﻮﻟﻴﻮد اﻷﻣﺮﻳﻜﻴﺔ اﻟﻴﻮم‪ ،‬اﺑﺘﺪاءً ﻣﻦ‬
‫ﻟﻴﻠﺔ وﻟﻴﻠﺔ ﰲ ﺑﻌﺾ اﳌﺸﺎﻫﺪ ﻛﻤﺎ ﰲ )ﻣﺸﻬﺪ‬
‫ﻓﻜﺮة اﻟﻄﻔﻴﻠﻴﲔ اﻟﱵ ﺗﺮﺑﻄﻬﺎ ﰲ ﻣﺸﻬﺪ )‪(101‬‬
‫ﲣﻔﻲ اﳋﻠﻴﻔﺔ وﺣﺎﺷﻴﺘﻪ ﰲ‬ ‫‪ (28‬اﻟﺬي ﺗﺮﺳﻢ ﻓﻴﻪ ّ‬
‫ﲟﺸﺎﻫﺪ ﺳﻴﻨﻤﺎﺋﻴﺔ ﻣﺄﻟﻮﻓﺔ ﻋﻦ ِﺣﻴَ ِﻞ َﻣ ْﻦ ﻻ‬
‫ﺛﻴﺎب اﻟﻌﺎﻣﺔ وﺧﺮوﺟﻬﻢ ﻟﻠﺘﻨﺰﻩ ﰒ ﺗﻌﻮد ﻟﻜﺘﺎب‬
‫ﳝﻠﻜﻮن دﻋﻮة ﳊﻀﻮر اﳊﻔﻠﺔ‪ ،‬وﻛﻴﻒ ﺗﺘﻔﺘّﻖ‬
‫ﻛﻠﻴﻠﺔ ودﻣﻨﺔ ﰲ )ﻣﺸﻬﺪ ‪ (29‬وﺗﺸﲑ إﺷﺎرة‬
‫ﺣﻴﻞ ﻃﺮﻳﻔﺔ‪ ،‬ﻳﻠﻴﻪ ﻣﺸﻬﺪ )‪(102‬‬ ‫أذﻫﺎ�ﻢ ﻋﻦ ٍ‬
‫ﺑﻌﻴﺪة إﱃ اﳋﻠﻔﺎء اﻟﻔﺎﺗﻜﲔ ﺷﺪﻳﺪي اﻟﻐﻀﺐ‬
‫ﻋﻦ ﺣﻔﻠﺔ اﺧﺘﻠﻂ ﻓﻴﻬﺎ اﻟﺮﺟﺎل ﺎﺑﻟﻨﺴﺎء ﳛﺘﺴﻮن‬
‫اﻟﺬﻳﻦ ﻻ ﻳﺴﺘﻄﻴﻊ ﺟﻠﺴﺎؤﻫﻢ وﻧﺼﺤﺎؤﻫﻢ ﺗﻘﺪﱘ‬
‫اﳋﻤﺮ وﻳﺘﺠﺎذﺑﻮن أﻃﺮاف اﳊﺪﻳﺚ ﻛﻤﺎ ﻟﻮ ﻛﺎﻧﻮا‬
‫اﳌﺸﻮرة ﳍﻢ ﺑﺸﻜﻞ ﻣﺒﺎﺷﺮ ﻓﺎﺧﱰﻋﻮا ﳍﻢ‬
‫ﰲ ﻣﻘﺼﻒ ﳍﻮ أو ﺣﺎﻧﺔ ﲬﺮ ورﻗﺺ ﰲ اﻟﻘﺮن‬
‫أﺷﺎرت‬
‫ْ‬ ‫وﻗﺪ‬
‫اﳊﻜﺎ�ت ﻋﻠﻰ أﻟﺴﻨﺔ اﳊﻴﻮا�ت‪ْ .‬‬
‫اﳊﺎدي واﻟﻌﺸﺮﻳﻦ‪ ،‬ﰒ ﺗﺬﻛﺮ ﳕﺎذج ﻣﻦ‬
‫وﺿﻌﺖ ﻓﻬﺮﺳﺎً ﰲ �ﺎﻳﺔ‬‫ْ‬ ‫ﰲ اﳌﻘﺪﻣﺔ إﱃ أ�ﺎ‬
‫اﻷﺣﺎدﻳﺚ اﳌﻤﻠﺔ اﻟﱵ ﻗﺪ ﻳﺘﺒﺎدﳍﺎ اﶈﺘﻔﻠﻮن‪،‬‬
‫اﻟﻜﺘﺎب "ﻟﻠﻤﺴﺎﻋﺪة ﰲ اﻟﻌﺜﻮر ﻋﻠﻰ ﻣﻮﺿﻮﻋﺎت‬
‫وﺗﻨﺺ ﻋﻠﻰ أَ ﱠن "ﻫﺬﻩ أﻣﺜﻠﺔ ﺣﻘﻴﻘﺔ ﻟﻸﺣﺎدﻳﺚ‬ ‫ﱡ‬
‫ﳏﺪدة‪ ،‬وﻟﻠﺘﻨﺒﻴﻪ ﻋﻠﻰ اﳌﻮاﻃﻦ اﻟﱵ ﻗﺪ ﻬﺗﻢ اﻟﻘﺮاء‬
‫اﳌﻤﻠﺔ اﻟﱵ ﻛﺎﻧﺖ ﰲ ﺣﻔﻼت ﺑﻐﺪاد ﰲ اﻟﻌﺼﻮر‬
‫ﺗﺘﻀﻤﻦ ﺷﺘﺎﺋﻢ أو إﺷﺎرات‬
‫اﻟﺼﻐﺎر‪ ،‬أو اﻟﱵ ﻻ ّ‬
‫اﻟﻮﺳﻄﻰ"‪these are real examples of ) ،‬‬
‫‪boring party conversations in medieval‬‬
‫ﺟﻨﺴﻴﺔ ﺻﺮﳛﺔ‪ ،‬أو ﻣﻮﺿﻮﻋﺎت ذات ﻃﺎﺑﻊ‬
‫‪ (Baghdad‬ﰒ ﺗﺴﺘﺸﻬﺪ ﲝﻜﺎ�ت أﰊ اﻟﻘﺎﺳﻢ‬ ‫ﲝﺜﻲ"‪ 55 .‬وﻣﻊ ذﻟﻚ ﻓﻘﺪ ﺑﻠﻎ ﻋﺪد اﳌﺸﺎﻫﺪ ﻏﲑ‬
‫اﻟﺒﻐﺪادي ﻋﻠﻰ ﻫﺬﻩ )اﳊﻘﺎﺋﻖ( وﻛﺄن اﳊﻜﺎ�ت‬ ‫اﳌﻨﺎﺳﺒﺔ ﻟﻠﺼﻐﺎر ﰲ اﻟﻜﺘﺎب وﻓﻖ ﺗﺼﻨﻴﻔﻬﺎ ِﻫ َﻲ‪:‬‬
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‫واﳌﻘﺎﻣﺎت واﻷﺧﺒﺎر اﻷدﺑﻴﺔ أدﻟﺔٌ ﻋﻠﻰ اﳊﻘﺎﺋﻖ‬ ‫)‪ (50‬ﻣﺸﻬﺪاً!‬
‫اﻟﺘﺎرﳜﻴﺔ!‬
‫وﻟﻌﻞ اﻋﺘﻤﺎدﻫﺎ ﻋﻠﻰ اﺳﱰاﺗﻴﺠﻴﺔ ﺗﻘﺮﻳﺐ اﻟﻌﻤﻞ‬
‫ﳉﻤﻬﻮرﻫﺎ اﳌﺘﻠﻘﻲ أﻳﻀﺎً ﻫﻮ ﻣﺎ ﺟﻌﻠﻬﺎ ﺗﺒﺘﻌﺪ ﻛﺜﲑاً‬
‫اﻟﻘﺎﻫﺮة‪ :‬دار إﺣﻴﺎء اﻟﻜﺘﺐ اﻟﻌﺮﺑﻴﺔ‪1372 ،‬ﻫـ‪1953 /‬م‪،‬‬ ‫‪ 54‬أﺑﻮ إﺳﺤﺎق إﺑﺮاﻫﻴﻢ ﺑﻦ ﻋﻠﻲ اﻷﻧﺼﺎري اﳊﺼﺮي‪ ،‬ﲨﻊ‬
‫ص ‪.40‬‬ ‫اﳉﻮاﻫﺮ ﰲ اﳌﻠﺢ واﻟﻨﻮادر‪ ،‬ﲢﻘﻴﻖ‪ :‬ﻋﻠﻲ ﳏﻤﺪ اﻟﺒﺠﺎوي‪،‬‬
‫‪55‬‬
‫‪56‬‬
‫‪Ibid., p.159.‬‬
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‫وﻣﻦ اﻟﺘﻘﺮﻳﺐ اﳌﻀﻠِّﻞ اﻟﺬي ﻇﻬﺮ ﰲ اﻟﻜﺘﺎب أن‬ ‫وﱂ ﻳﻜﻦ اﻟﺒﻐﺪادي وﺣﺪﻩ ﻫﻮ ﻣﺼﺪر )ﺣﻘﺎﺋﻘﻬﺎ(‬
‫إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ إﺷﺎرﻬﺗﺎ إﱃ أن‬ ‫ﻫﺬﻩ؛ ﺣﻴﺚ ﺗﺮﺳﻢ ﰲ ﻣﺸﻬﺪ )‪ (103‬رﺳﻮﻣﺎً‬
‫ﺷﺨﺼﻴﺔ أﰊ ﻧﻮاس ﲤﺜﻞ ﻃﻴﻔﺎً واﺳﻌﺎً ﻣﻦ‬ ‫ﳌﺨﻨّﺚ �ﰉ اﻟﺰواج ﻷﻧﻪ ﱂ ﻳﻌﺪ ﰲ )رﺟﺎل( زﻣﺎﻧﻪ‬
‫اﻟﺸﺨﺼﻴﺎت اﻟﱵ ﳒﺪﻫﺎ ﰲ ﻛﺘﺐ اﻷدب إﻻ أ�ﺎ‬ ‫ﺧﲑ‪ ،‬وﲢﻴﻞ ﻋﻠﻰ ﻧﺜﺮ اﻟﺪر ﻟﻶﰊ ﻋﻠﻰ ﻟﺘﺆﺷﺮ‬
‫ﳕّﻄﺘﻪ ﰲ أﻛﺜﺮ اﳌﺸﺎﻫﺪ ﳑﺜﻼً ﻟﺸﺨﺼﻴﺔ اﶈﺘﺎل‬ ‫ﻋﻠﻰ وﺟﻮد ﻫﺬﻩ اﻟﻄﺎﺋﻔﺔ‪ 57 ،‬وﻣﺜﻠﻪ ﻣﺸﻬﺪ‬
‫اﻟﱵ ﻧﻠﻤﺲ ﻣﻨﻬﺎ اﻟﺘﺄﺛﺮ اﻟﻜﺒﲑ ﺑﺸﺨﺼﻴﺎت‬ ‫)‪ (109‬اﻟﺬي ﺗﺮﺳﻢ ﻓﻴﻪ ﳐﻨّﺜﲔ ﻳﺮﺎﺗدون‬
‫ﻃﻼب اﻟﻜﺪﻳﺔ ﰲ اﳌﻘﺎﻣﺎت ﻛﻤﺎ ﰲ اﳌﺸﻬﺪ‬ ‫اﳊﻔﻼت ﻣﺘﻨﻜﺮﻳﻦ ﰲ زي ﻧﺴﺎء‪ ،‬وﻛﺄن اﻟﻘﺎرئ‬
‫أن ﺷﺨﺼﻴﺎت اﳌﻘﺎﻣﺎت‬ ‫)‪ .(6‬وﻣﻦ اﳌﻌﻠﻮم ﱠ‬ ‫أﻣﺎم ﻣﺸﻬﺪ ﻣﻦ ﻣﺸﻬﺪ ﺳﻴﻨﻤﺎﺋﻲ ﻟﺬاﻫﺒﲔ إﱃ‬
‫ﺧﻴﺎﻟﻴﺔ‪ ،‬وﻟﻜﻦ ﲤﺜﻴﻠﻬﺎ ﺑﺸﺨﺼﻴﺔ ﳍﺎ وﺟﻮد‬ ‫ﺗﻨﻜﺮﻳﺔ! ﰒ ﺗُﺸﲑ إﱃ ﻧﺼﻴﺤﺔ أﰊ اﻟﻘﺎﺳﻢ‬‫ﺣﻔﻠﺔ ّ‬
‫ﺣﻘﻴﻘﻲ )أﺑﻮ ﻧﻮاس( ﳝﺰج اﳊﻘﻴﻘﻲ ﺎﺑﳌﺘﺨﻴﻞ‪،‬‬ ‫اﻟﺒﻐﺪادي ﳌﻦ ﻳﻄﻠﺐ أﻣﺘﻊ اﳊﻔﻼت أن ﻳﺘﺒّﻊ‬
‫ﻳﺘﻌﺬر ﻋﻠﻰ اﻟﻘﺎرئ اﻟﻴﺎﻓﻊ أو اﻟﻌﺎﻣﻲ أن‬
‫ورﲟﺎ ّ‬ ‫ﻓﻬﻢ اﻷﻋﻠﻢ ﻬﺑﺎ‪ ،‬وﺗﺴﺘﻄﺮد ﻟﺘﺸﲑ ﰲ‬ ‫ﻫﺆﻻء ُ‬
‫ﻳﺘﺒﲔ ﺣﺪود اﳋﻴﺎل ﻣﻦ اﳊﻘﻴﻘﺔ ﻋﻦ ﺑﻴﺌﺔ ﻻ‬ ‫ّ‬ ‫اﻟﺘﻌﻠﻴﻖ إﱃ ﻃﺎﺋﻔﺔ اﻟﺮﺟﺎل اﳌﺨﻨّﺜﲔ‪ ،‬ووﺟﻮدﻫﻢ‬
‫ﻳﻌﺮف ﻋﻨﻬﺎ إﻻ ﻣﺎ ﻳﺸﺎﻫﺪﻩ ﰲ ﻫﺬﻩ اﻟﺮﺳﻮﻣﺎت‪،‬‬ ‫ﰲ اﺠﻤﻟﺘﻤﻌﺎت اﻹﺳﻼﻣﻴﺔ اﺑﺘﺪاء ﻣﻦ اﻟﻌﻬﺪ اﻟﻨﺒﻮي‬
‫وﻛﺬﻟﻚ ﺗﻔﻌﻞ ﺣﻴﻨﻤﺎ ﺗﻘﺘﻄﻊ ﻣﻘﺘﻄﻔﺎً ﻣﻦ ﺣﻜﺎﻳﺔ‬ ‫إﱃ اﻟﻌﺼﺮ اﻟﻌﺒﺎﺳﻲ‪ ،‬وﻣﺎ ُﻛﺘﺐ ﰲ ذﻟﻚ ﻣﻦ‬
‫وردت ﰲ ﺣﻜﺎ�ت أﰊ اﻟﻘﺎﺳﻢ اﳌﺘﺨﻴﻠﺔ‪ ،‬وﲡﻌﻞ‬ ‫أﲝﺎث‪ ،‬وﻫﻮ ﺗﻌﻠﻴﻖ ﻳﺸﲑ ﻓﻴﻤﺎ ﻳﺸﲑ إﱃ ﳏﺎوﻟﺘﻬﺎ‬
‫أﺎﺑ ﻧﻮاس ﺑﻄﻠﻬﺎ ﻣﺎزﺟﺔً ﺑﲔ اﳊﻘﻴﻘﻲ واﳌﺘﺨﻴﻞ‪،‬‬ ‫ﻨﻤﻲ ﻣﻦ‬ ‫ﺄﺗﻛﻴﺪ وﺟﻮدﻫﻢ إﱃ ِّ‬
‫ﺣﺪ اﻟﻈﺎﻫﺮة‪ ،‬وﻳُ ّ‬
‫ﻓﱰﲰﻪ ﰲ )ﻣﺸﻬﺪ ‪ (23‬ﻳﻠﻘﻲ ﻗﺼﻴﺪة أﻣﺎم‬ ‫أن ﻫﺬﻩ‬‫ﻃﺮ ٍﻳﻖ آﺧﺮ ﻣﺎ زﻋﻤﺘﻪ ﰲ ﻣﻘﺪﻣﺘﻬﺎ ﱠ‬
‫اﳋﻠﻴﻔﺔ ﰒ ﻳﻄﻠﺒﻪ ﺟﻮاﺋﺰ ﻛﺜﲑة وﳜﺘﻢ ﻃﻠﺒﻪ ﺄﺑﻧﻪ ﻻ‬ ‫اﻟﺸﺨﺼﻴﺎت واﳌﺸﺎﻫﺪ اﻟﱵ ﺗﺮﲰﻬﺎ ﱂ ﺗﻜﻦ ﻋﻠﻰ‬
‫ﻳﺮﻳﺪ أن ﻳﺸﻖ ﻋﻠﻴﻪ ﻬﺑﺬﻩ اﻟﻄﻠﺒﺎت وإﳕﺎ ﻫﻮ‬ ‫ﻳﻈﻦ اﳉﺎﻫﻞ ‪ -‬ﺑﻞ ﻛﺎﻧﺖ ﻣﺮﻛﺰﻳﺔ‬‫اﳍﺎﻣﺶ ‪-‬ﻛﻤﺎ ﱡ‬
‫ﻣﺴﺘﺠﻴﺐ ﻟﺪﻋﻮة اﳋﻠﻴﻔﺔ ﺄﺑن ﻳﺴﺄل ﻣﺎ ﻳﺮﻳﺪ‬ ‫‪-‬ﲝﺴﺐ ﺗﻌﺒﲑﻫﺎ‪ -‬وﺣﺎﺿﺮة وﻣﺆﺛﺮة ﰲ ﻛﻞ ﺷﻲء‬
‫ﺟﺎﺋﺰة ﻋﻠﻰ اﳌﺪح‪.‬‬ ‫ﰲ ﺑﻐﺪاد‪.‬‬
‫‪ 57‬ﻣﻨﺼﻮر ﺑﻦ اﳊﺴﲔ اﻟﺮازي‪ ،‬أﺑﻮ ﺳﻌﺪ اﻵﰊ‪ ،‬ﻧﺜﺮ اﻟﺪر ﰲ‬

‫اﶈﺎﺿﺮات‪ ،‬ﲢﻘﻴﻖ‪ :‬ﺧﺎﻟﺪ ﻋﺒﺪ اﻟﻐﲏ ﳏﻔﻮظ‪ ،‬ﺑﲑوت‪ :‬دار‬
‫اﻟﻜﺘﺐ اﻟﻌﻠﻤﻴﺔ‪١٤٢٤ ،‬ﻫـ‪٢٠٠٤ /‬م‪.191 /5 ،‬‬
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‫ﻟﻜﻦ ﻳﺒﺪو أ�ﺎ ﱂ ﺗﻜﻦ ﻣﻮﻓّﻘﺔ ﰲ اﺧﺘﻴﺎراﻬﺗﺎ ﳌﺎ‬

‫ْ‬ ‫اﳌﺒﺤﺚ اﻟﺜﺎﻟﺚ‪ :‬ﺗﺼﻮر إﻣﻴﻠﻲ ﺳﻴﻠﻮف‬
‫ﳝﺜّﻞ اﳉﻮاﻧﺐ اﳌﺸﺮﻗﺔ واﳌﻠﻬﻤﺔ ﰲ ﻫﺬﻩ اﳊﻀﺎرة‪،‬‬ ‫وﺗﺼﻮﻳﺮﻫﺎ ﻟﻠﻌﺮﰊ وﺣﻀﺎرﺗﻪ‬
‫أو ﰲ ﻋﺮﺿﻬﺎ ﻟﻜﺜﲑ ﻣﻦ اﻷﻓﻜﺎر اﻟﻜﻠﻴﺔ أو‬
‫ﰲ ﻫﺬا اﳌﺒﺤﺚ ﺳﻨﺮﻛﺰ اﳊﺪﻳﺚ ﻋﻠﻰ ﺗﺼﻮرات‬
‫اﳉﺰﺋﻴﺔ ﰲ اﻟﻜﺘﺎب‪ ،‬وﻟﻌﻞ ﻫﺬا ﻳﻌﻮد إﱃ ﺗﺼﻮراﻬﺗﺎ‬
‫إﻣﻴﻠﻲ ﺳﻴﻠﻮف وآﺎﺛر ذﻟﻚ ﰲ ﺗﺼﻮﻳﺮﻫﺎ ﻟﻠﻌﺮﰊ‬
‫ﺷﻜﻠﻬﺎ اﻫﺘﻤﺎﻣﻬﺎ اﳋﺎص ﺎﺑﻟﻄﺮﻓﺔ‪ ،‬وﺣﺸﺪ‬ ‫اﻟﱵ ّ‬
‫وﺣﻀﺎرﺗﻪ ﰲ ﻛﺘﺎﻬﺑﺎ )اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس( ﻣﻦ‬
‫اﳍﺰل ﰲ اﻟﻜﺘﺎب؛ ﻣﺎ أوﻗﻌﻬﺎ ﰲ ﻛﺜﲑ ﻣﻦ‬
‫ﺧﻼل ﲢﻠﻴﻞ أﺑﺮز اﻟﺼﻮر اﻟﺬﻫﻨﻴﺔ اﻟﱵ ﻗﺪﻣﺘﻬﺎ أو‬
‫اﻷﺣﻴﺎن ﰲ ﻣﻔﺎرﻗﺎت ﺑﲔ ﻣﺎ ﺗﻌﻠﻨﻪ ﻣﻦ أﻫﺪاف‬
‫ﻋﺰزﻬﺗﺎ ﻋﻦ اﻟﻌﺮﰊ‪ ،‬وﺑﻴﺎن أﺛﺮ اﻫﺘﻤﺎﻣﺎﻬﺗﺎ اﻟﻌﻠﻤﻴﺔ‬
‫وﻣﻮاﻗﻒ ﻣﻦ اﻟﻌﺮب وﺣﻀﺎرﻬﺗﻢ ﺑﺸﻜﻞ ﻋﺎم وﻣﻦ‬
‫واﻟﺒﺤﺜﻴﺔ اﻟﺴﺎﺑﻘﺔ ﰲ ﺗﺸﻜﻴﻞ ﺗﺼﻮراﻬﺗﺎ وﺗﻮﻇﻴﻔﻬﺎ‬
‫ﺷﺨﺼﻴﺘﻴﻬﺎ اﻟﺮﺋﻴﺴﺘﲔ )اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس(‬
‫ﻟﻠﱰاث اﻟﻌﺮﰊ وﺷﺨﺼﻴﺎﺗﻪ ﰲ ﻫﺬا اﻟﻜﺘﺎب‪.‬‬
‫اﻟﻠﺬﻳﻦ ﺟﻌﻠﺘﻬﻤﺎ رأس اﻷدﺎﺑء ﻧﺜﺮاً وﺷﻌﺮاً؛ وﻣﺎ‬
‫واﺑﺘﺪاء ﳝﻜﻦ اﻟﻘﻮل إﻧﻪ ﻻ ﻳﻈﻬﺮ اﻧﻄﻼق إﻣﻴﻠﻲ‬
‫ﻳﻀﺎد أﻫﺪاﻓﻬﺎ‬
‫ﺗﻘﺪﻣﻪ ﰲ ﻛﺜﲑ ﻣﻦ اﻟﺮﺳﻮﻣﺎت ﳑﺎ ﱡ‬
‫ﺳﻴﻠﻮف ﻣﻦ ﻣﻮﻗﻒ ﺳﻠﱯ ﲡﺎﻩ اﻟﺪﻳﻦ اﻹﺳﻼﻣﻲ‬
‫وﻣﻮاﻗﻔﻬﺎ وﻻ ﻳﺘﻔﻖ ﻣﻌﻬﺎ‪ .‬ﻓﻌﻠﻰ اﻟﺮﻏﻢ ﻣﻦ‬
‫واﳌﺴﻠﻤﲔ أو ﻣﻦ اﳊﻀﺎرة اﻟﻌﺮﺑﻴﺔ ﻗﺪﳝﺎً أو‬
‫إﺷﺎراﻬﺗﺎ اﳌﺘﻌﺪدة إﱃ ﻋﺒﻘﺮﻳﺔ اﳉﺎﺣﻆ‪ ،‬وﺳﻌﺔ‬
‫ﺣﺪﻳﺜﺎً؛ ﺑﻞ ﻣﺎ ﺗُﻌﻠﻨُﻪ ﻣﺮاراً ﻫﻮ اﻟﻌﻜﺲ‪ ،‬ﺎﺑﻟﻨﻈﺮ‬
‫ﻣﻌﺎرﻓﻪ إﻻ أن ﺑﻌﺾ اﳌﺸﺎﻫﺪ اﻟﱵ رﲰﺘﻪ ﻓﻴﻬﺎ‪،‬‬
‫إﱃ ﻣﺎ ﺧﻄﺘﻪ ﰲ دﻳﺒﺎﺟﺔ اﻟﻜﺘﺎب‪ ،‬وﻣﺎ ّﻗﺮرﺗﻪ ﰲ‬
‫ِّ‬
‫ﺗﺼﻮرﻩ ﺳﺎذﺟﺎً أو ﻏﺒﻴﺎً‪ ،‬ﻓﺎﳌﺸﻬﺪان ‪ 15‬و‪،16‬‬
‫ﻣﻮاﻃﻦ ﻛﺜﲑة ﻣﻨﻪ ﻋﻦ أﳘﻴﺔ ﺑﻐﺪاد واﳊﻀﺎرة‬
‫ﻳﺒﺪو زاﻋﻤﺎً ﺗﻌﻠﱡﻤﻪ اﻟﺴﺒﺎﺣﺔ ﻣﻦ ﻛﺘﺎب ﻗﺮأﻩ‪،‬‬
‫اﻟﻌﺒﺎﺳﻴﺔ‪ ،‬واﻷﺛﺮ اﻟﺬي ﺗﺮﻛﻪ اﳌﺴﻠﻤﻮن ﰲ دورة‬
‫وﻗﺼﲑ اﻟﻨﻈﺮ ﻳﻨﱯ ﺑﻴﺘﻪ ﻣﻦ اﻟﻄﲔ ﰲ ﺷﺘﺎء ﺑﻐﺪاد‬
‫اﳊﻀﺎرة وﻧﻘﻞ اﻟﻌﻠﻮم واﳌﻌﺎرف اﻟﻘﺪﳝﺔ وإﻏﻨﺎﺋﻬﺎ‪،‬‬
‫اﳌﻄﲑ‪.‬‬
‫وإﻗﺮارﻫﺎ ﲞﺼﻮﺑﺔ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ وﺷﺎﻋﺮﻳﺘﻬﺎ ﰲ‬
‫وﻣﻦ اﳌﻮاﻃﻦ اﻟﱵ ﻗﺪﻣﺖ ﻓﻴﻬﺎ ﺻﻮراً ﻣﻀﻴﺌﺔً ﻋﻦ‬ ‫ﻣﺸﻬﺪ )‪ (65‬وﰲ )ﻣﺸﻬﺪ ‪ (85‬اﻟﺬي ﺗﺆّﻛﺪ ﻓﻴﻪ‬
‫اﳊﻀﺎرة اﻟﻌﺮﺑﻴﺔ ﻣﺎ ﳛﺪث أﺣﻴﺎ�ً ﺣﻴﻨﻤﺎ ﺗﺘﺨﻠﻰ‬ ‫ﻋﻠﻰ ﻓﻀﻞ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ ﰲ ﺗﻮﻟﻴﺪ أﻟﻔﺎظ ﻋﻠﻤﻴﺔ‬
‫ﻋﻦ اﳍﺰل وﺗﺸﲑ ﰲ ﻟﻐﺔ ﺟﺎدة ﲟﺎ ﻳﺪل ﻋﻠﻰ‬ ‫ﻛﺜﲑة ﻻ ﺗﺰال ﺣﺎﺿﺮة إﱃ اﻟﻴﻮم ﰲ اﻟﻠﻐﺎت‬
‫اﻹﻋﺠﺎب ﺎﺑﻟﺘﻘﺪم اﻟﻌﻠﻤﻲ ﰲ اﻟﻌﺼﺮ اﻟﻌﺒﺎﺳﻲ‪،‬‬ ‫اﻷورﺑﻴﺔ‪ ،‬وﲤﺜِّ ُﻞ ﻋﻠﻰ ذﻟﻚ ﺎﺑﻟﻜﻠﻤﺎت اﳌﺒﺪوءة‬
‫وﺗﺴﺘﺸﻬﺪ ﻋﻠﻰ ذﻟﻚ ﺄﺑن اﳌﺄﻣﻮن أﻣﺮ ﺑﺪراﺳﺔ‬ ‫ﺄﺑل ﻣﺜﻞ‪) :‬اﻟﻜﺤﻮل‪ ،‬اﻟﻜﻴﻤﻴﺎء‪ ،‬اﳉﱪ‪،‬‬
‫اﳍﺮم اﻷﻛﱪ ﰲ اﳉﻴﺰة‪ ،‬وإن ﻛﺎﻧﺖ اﻟﺪراﺳﺔ ﱂ‬ ‫اﳋﻮارزم(‪.‬‬
‫ﺗﺼﻞ إﱃ ﻧﺘﺎﺋﺞ �ﺎﺋﻴﺔ )ﻣﺸﻬﺪ ‪ .(20‬ﻛﻤﺎ ﺗﺮﺳﻢ‬
‫‪164‬‬
‫وﺗُﺘﺒﻌﻪ ﲟﺸﻬﺪ )‪ (67‬ﻋﻦ ﺗﻨﺎﻗﻀﺎت اﳉﺎﺣﻆ‬ ‫ﺻﻮرة إﳚﺎﺑﻴﺔ ﻋﻦ ﺗﻮرع ﻛﺜﲑ ﻣﻦ اﻟﻘﻀﺎة ﻋﻦ ﺗﻮﱄ‬
‫أﻳﻀﺎً؛ ﺣﻴﺚ ﺟﻌﻞ رﺳﺎﻟﺘﻪ ﻋﻦ ﻓﻀﻴﻠﺔ اﻟﺼﻤﺖ‬ ‫ﲢﺮﺟﺎً‪ ،‬ورﲟﺎ ادﻋﻰ ﺑﻌﻀﻬﻢ‬ ‫ﻣﻨﺼﺐ اﻟﻘﻀﺎء ﱡ‬
‫أﻃﻮل ﺑﺜﻼﺛﺔ أﺿﻌﺎف ﻣﻦ رﺳﺎﻟﺘﻪ ﻋﻦ ﻓﻀﻴﻠﺔ‬ ‫اﳉﻨﻮن ﺣﱴ ﻻ ُﳚﱪ ﻋﻠﻴﻪ ﻛﻤﺎ ﰲ )ﻣﺸﻬﺪ ‪،(21‬‬
‫اﻟﻜﻼم! ﻓﱰﺳﻢ ﻬﺑﺬا ﺻﻮرة ﻣﻀﻄﺮﺑﺔً ﻋﻦ‬ ‫وﺗﺬﻛﺮ ﺳﻌﺔ اﻟﻔﻜﺮ اﻟﻔﻘﻬﻲ اﻟﺬي ﺟﻌﻞ اﻟﻔﻘﻬﺎء‬
‫اﳌﺼﻨﻔﲔ اﻟﻌﺮب اﻟﻘﺪﻣﺎء‪ .‬وﰲ ﻣﺸﻬﺪ )‪(87‬‬ ‫ﻳﺘﻮﺳﻌﻮن ﰲ دراﺳﺔ اﳌﺴﺎﺋﻞ اﻟﻔﻘﻴﻬﺔ ﺣﱴ‬
‫ﲣﺘﺎر ﻣﻦ أﺧﺒﺎر اﳊﻤﻘﻰ ﺧﱪاً ﻋﻦ رﺟﻞ ﻃﻮﻳﻞ‬ ‫اﻻﻓﱰاﺿﻴﺔ ﻣﻨﻬﺎ‪ ،‬ﻛﺰواج اﻹﻧﺲ ﻣﻦ اﳉﻦ‪،‬‬
‫اﻟﻠﺤﻴﺔ ﻳﻀﺮب ﲪﺎراً‪ ،‬ﻓﻠﻤﺎ ﻧُﺼﺢ ﰲ ذﻟﻚ‪ ،‬ﻗﺎل‪:‬‬ ‫ﻟﻴﺘﻨﺎوﻟﻮا ﻣﺎ ﳝﻜﻦ أن ﻳﱰﺗﺐ ﻋﻠﻴﻬﺎ ﻣﻦ أﺣﻜﺎم‬
‫إذا ﱂ ﻳﻘﺪر ﻋﻠﻰ اﳌﺸﻲ ﻓﻠﻢ ﺻﺎر ﲪﺎراً‪ ،‬وﻻ‬ ‫ﻓﻘﻬﻴﺔ‪ ،‬وﰲ ﻫﺬا اﻟﺴﻴﺎق اﻹﳚﺎﰊ ﻣﺎ ﺗﺮﲰﻪ ﰲ‬
‫ﳜﻔﻰ ﻣﺎ ﰲ اﺧﺘﻴﺎر ﻫﺬا اﳋﱪ ﺑﻌﻴﻨﻪ ﻣﻦ رﻣﺰﻳﺔ‬ ‫)ﻣﺸﻬﺪ ‪ (92‬ﻣﻦ ﻋﻨﺎﻳﺔ اﻟﺒﻐﺪادﻳﲔ ﺎﺑﺧﺘﻴﺎر‬
‫وﻣﺎ ﺗﻌﻨﻴﻪ ﻣﻦ إﺳﻘﺎﻃﺎت ﲢﺎول ﻣﻦ ﺧﻼﳍﺎ‬ ‫وﺗﻀﻤﻨِﻬﺎ ﻣﻌﺎﱐ رﻣﺰﻳﺔ ورﺳﺎﺋﻞ ﻣﻮﺣﻴﺔ‬
‫ﱡ‬ ‫اﳍﺪا�‪،‬‬
‫إﻇﻬﺎر اﳌﻔﺎرﻗﺔ ﺑﲔ )اﺗﺒﺎع اﻟﺴﻨﺔ ﰲ إﻃﺎﻟﺔ‬ ‫)إﳚﺎﺑﻴﺔ أو ﺳﻠﺒﻴﺔ(‪ ،‬ﻛﻤﺎ ﺗﺸﲑ ﰲ آﺧﺮ ﻣﺸﻬﺪ‬
‫اﻟﻠﺤﻴﺔ( وارﺗﻜﺎب اﶈﺮم ‪-‬ﺿﺮب اﳊﻴﻮان‪،‬‬ ‫ﺧﺘﻤﺖ ﺑﻪ اﻟﻜﺘﺎب )ﻣﺸﻬﺪ ‪ (120‬إﱃ ﻣﻌﺮﻓﺔ‬
‫ﺗﺴﺘﻬﻞ ﺑﻪ‬
‫ّ‬ ‫وﻗﺮﻳﺐ ﻣﻦ ذﻟﻚ اﻟﻠﻤﺰ اﳌﺒﻄﻦ اﻟﺬي‬ ‫اﻟﺒﻐﺪادﻳﲔ ﺑﺘﺄوﻳﻞ اﻷﺣﻼم‪ ،‬وﻋﺪﻫﻢ إ�ﻫﺎ‬
‫ﻓﺼﻞ )اﻷدب واﻟﺸﻌﺮ( ﺗﺮﺳﻢ ﰲ )ﻣﺸﻬﺪ ‪(86‬‬ ‫ﻣﺼﺪراً ﻣﻦ ﻣﺼﺎدر اﳌﻌﺮﻓﺔ‪ ،‬وﲤﻴﻴﺰﻫﻢ ﺑﲔ‬
‫ﺳﺎﺧﺮة ﺳﻠﺴﻠﺔ اﻟﺮواة اﻟﺬﻳﻦ ﻳﺬﻛﺮﻫﻢ ﺑﻌﺾ‬ ‫أﺿﻐﺎﺛﻬﺎ وﺻﺪق ﻧﺒﻮءاﻬﺗﺎ اﻋﺘﻤﺎداً ﻋﻠﻰ ﺄﺗوﻳﻞ‬
‫اﻟﻜﺘﺎب ﻗﺒﻞ إﻳﺮاد اﻷﺧﺒﺎر‪ ،‬وﺗﺼﻒ وﻇﻴﻔﺘﻪ ﲟﺎ‬ ‫اﻟﻌﺎرﻓﲔ ﻬﺑﺬا اﻟﻔﻦ‪.‬‬
‫اﻟﻜﺘﱠﺎب‬
‫ﻳﺸﺒﻪ اﻟﺘﻮﺛﻴﻖ ﰲ اﳊﻮاﺷﻲ اﻟﻴﻮم‪ ،‬وﻟﻜﻦ ُ‬
‫ﻟﻜﻨﻬﺎ ﻻ ﺗﺴﲑ ﻋﻠﻰ ﻫﺬا اﻟﻨﻤﻂ داﺋﻤﺎً‪ ،‬إذ‬
‫– ﻛﻤﺎ ﺗﺰﻋﻢ – إذا ﱂ ﳚﺪوا ﺳﻨﺪاً ﺟﻴﺪاً اﺧﱰﻋﻮا‬
‫ﻳﺸﻮب اﳌﺪح ﻗﺪح ﰲ ﺑﻌﺾ اﳌﻮاﻃﻦ‪ ،‬ﻓﻔﻲ‬
‫أﺳﺎﻧﻴﺪ ﳐﺘﻠﻘﺔ‪.‬‬
‫اﻟﻮﻗﺖ اﻟﺬي ﺗﺼﻒ ﻓﻴﻪ ﻣﺼﻨﻔﺎت اﻟﻌﺮب ﰲ‬
‫ﻳﺘﺤﻮل ﻫﺬا اﳌﺴﻠﻚ إﱃ ﲰﺎﺟﺔ ﻓﺠﺔ ﻛﻤﺎ‬ ‫وﻗﺪ ّ‬ ‫اﻟﻘﺮون اﻟﻮﺳﻄﻰ ﺎﺑﻟﻄﺒﻴﻌﺔ اﳌﻮﺳﻮﻋﻴﺔ‪ ،‬ﺗﻠﻤﺰﻫﺎ ﰲ‬
‫ﰲ ﻓﺼﻞ )اﻟﻄﺐ واﻟﻔﻠﺴﻔﺔ اﻟﺴﺤﺮ( ﺣﲔ ﲣﻠﻂ‬ ‫)ﻣﺸﻬﺪ ‪ (66‬ﺄﺑن اﻟﻘﺎرئ اﳊﺪﻳﺚ ﻻ ﻳﺴﺘﻄﻴﻊ‬
‫ﺖ ﻋﻠﻴﻪ‬ ‫ِ‬
‫اﳉﺪ ﺎﺑﳍﺰل‪ ،‬واﻟﻌﻠﻢ ﺎﺑﳋﺮاﻓﺔ واﻷﺳﻄﻮرة‪ ،‬ﻓﺘﺼﻮر‬ ‫أن ﻳﺴﺘﺸﻒ اﻷﺳﺎس اﳌﻨﻬﺠﻲ اﻟﺬي ﺑُﻨﻴَ ْ‬
‫ﰲ ﻣﺸﻬﺪ )‪ (70‬اﳉﺎﺣﻆ ﻣﺘﺴﺎﺋﻼً ﻋﻦ ﻃﺒﻴﻌﺔ‬ ‫ﻫﺬﻩ اﻟﻜﺘﺐ؟! ﻣﻊ أ�ﺎ ﻏﺎﻟﺒﺎً ﻏﲑ ﻣﻬﺘﻤﺔ‬
‫اﻷﺷﻴﺎء )اﳋَْﻠﻖ‪ ،‬واﻟﻔﺎﺻﻮﻟﻴﺎ( وﺗﺴﺘﺜﻤﺮ اﻟﺘﺠﺎﻧﺲ‬ ‫ﺎﺑﳌﺼﻨﻔﲔ اﻵﺧﺮﻳﻦ ﻏﲑ اﳉﺎﺣﻆ‪ ،‬اﻟﺬي ﺗﺮﲰﻪ‬
‫اﻟﺼﻮﰐ ﺑﲔ اﻟﻜﻠﻤﺘﲔ ﰲ اﻹﳒﻠﻴﺰﻳﺔ‬ ‫ﻳﻨﺘﻘﻞ ﻣﻦ ﻣﻮﺿﻮع إﱃ آﺧﺮ ﺑﻌﺸﻮاﺋﻴﺔ وارﲡﺎﻟﻴﺔ‪،‬‬
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‫وﳛﺴﻦ ﺑﻨﺎ ﰲ ﻫﺬا اﳌﻘﺎم أن ﻧﺸﲑ إﱃ ﻣﺴﺄﻟﺔ‬ ‫)‪ (bean/being‬ﰒ ﺗﻌﻠِّﻖ ﺄﺑن ﺑﻐﺪاد ﻛﺎﻧﺖ ﻣﺮﻛﺰ‬
‫اﺠﻤﻟﻮن اﳌﺪون ﰲ اﻟﱰاث‪ ،‬وﻗﺪ أﺎﺛر ﻣﻌﻬﺎ ﺷﻮﻛﺔ‬ ‫اﻟﻔﻜﺮ واﻟﻔﻠﺴﻔﺔ وﻣﻦ ﺿﻤﻨﻬﺎ ﻋﻠﻢ اﻟﻮﺟﻮد أو‬
‫ﻃﺮاوة ﰲ ﻟﻘﺎﺋﻬﻤﺎ ﻋﻠﻰ اﻟﻴﻮﺗﻴﻮب ﻣﺴﺄﻟﺔ‬ ‫اﻟﻄﺒﻴﻌﺔ‪ ،‬ﰒ ﺗﺘﺒﻌﻪ ﲟﺸﻬﺪﻳﻦ ﻫﺎزﻟﲔ )‪(75 ،71‬‬
‫اﻻﺧﺘﻴﺎر‪ ،‬وﻛﺜﺮة اﻟﻄُﺮف اﳌﺎﺟﻨﺔ ﰲ ﻛﺘﺎﻬﺑﺎ‪ ،‬وﻛﺎن‬ ‫اس ﻳﺘﺪاوى ﺎﺑﳋﻤﺮ )اﻧﻄﻼﻗﺎً –‬ ‫ِّ‬
‫ﺗﺼﻮر ﻓﻴﻪ أﺎﺑ ﻧﻮ ٍ‬
‫ﻣﻦ ﺟﻮاﻬﺑﺎ أَ ﱠن ﻣﺎ ﻧﻘﻠﺖ ﻟﻴﺲ ﺄﺑﻛﺜﺮ ﳎﻮ�ً ﳑﺎ ﰲ‬ ‫ﻋﻠﻰ ﻣﺎ ﻳﺒﺪو – ﻣﻦ ﻗﻮﻟﻪ‪ :‬داوﱐ ﺎﺑﻟﱵ ﻛﺎﻧﺖ‬
‫اﻟﱰاث ﻧﻔﺴﻪ‪ ،‬وأﻳﱠ َﺪﻫﺎ ﺷﻮﻛﺔ ﺑﺬﻛﺮ ﺳﻴﺎق اﺧﺘﻴﺎرﻩ‬ ‫ﻫﻲ اﻟﺪاء( وﺗﻌﻠِّﻖ ﺄﺑن أﻃﺒﺎء ﺑﻐﺪاد ﻛﺎﻧﻮا ﻳﺼﻔﻮن‬
‫ﻛﺘﺎب ﻧﺴﺎء اﳋﻠﻔﺎء ﻟﻠﱰﲨﺔ إﱃ اﻟﻠﻐﺔ‬ ‫َ‬ ‫ﻫﻮ‬ ‫اﳋﻤﺮ دواءً‪ ،‬وﻛﺎن اﻟﺸﻌﺮاء ﻳﺸﺮﺑﻮﻧﻪ ﻣﺴﺘﻤﺘﻌﲔ‬
‫اﻹﳒﻠﻴﺰﻳﺔ‪ ،‬وﻣﺎ ﺟﻮﺑﻪ ﺑﻪ ﻣﻦ اﻧﺘﻘﺎدات‪ ،‬ﳎﻴﺒﺎً ﺄﺑن‬ ‫ﺑﻪ‪ ،‬وﻛﺬﻟﻚ ﰲ ﻣﺸﻬﺪ )‪ (82‬ﺗﺬﻛﺮ ﱠ‬
‫أن ﻧﻮﻋﺎً‬
‫ﻫﺬا ﻣﻦ ﻃﺒﻴﻌﺔ اﻟﱰاث اﻟﻌﺮﰊ اﻟﺬي ﳛﻤﻞ اﳉﺎد‬ ‫ﳏﺪداً ﻣﻦ اﻟﻨﺒﻴﺬ ‪-‬ﻛﺎن ﻳُﺘﺪاوى ﺑﻪ‪ -‬ﻣﺼﻨﻮعٌ ﻣﻦ‬
‫واﳍﺎزل‪ ،‬وأن اﻟﻠﻮم ﻳﺘﺠﻪ ﻋﻠﻰ ﻣﻦ ﺳﺒﻘﻪ ﻣﻦ‬ ‫اﳉﺰر واﻟﺰﳒﺒﻴﻞ واﻟﻌﺴﻞ‪.‬‬
‫اﳉﺎد واﻟﻨﺨﺒﻮي ﻋﻦ‬
‫اﻟﻌﻠﻤﺎء اﻟﺬﻳﻦ ﱂ ﻳﻨﻘﻠﻮا إﻻ ّ‬ ‫اﻟﺒﺎرز ﻟﻠﺴﺨﻴﻒ واﳍﺎزل ﻣﻦ‬ ‫َ‬ ‫اﳊﻀﻮر‬
‫َ‬ ‫ﱠ‬
‫إن‬
‫ﻫﺬا اﻟﻌﺼﺮ‪ ،‬ﻣﻊ أﻧﻪ ﻛﺄي ﳎﺘﻤﻊ إﻧﺴﺎﱐ ﻳﻮﺟﺪ‬
‫اﻷﺧﺒﺎر‪ ،‬واﻟﺬي رﲟﺎ ﻧﻌﻴﺪﻩ إﱃ ﻃﻮل ﻣﻌﺎﻳﺸﺔ‬
‫ﻓﻴﻪ اﻷدب اﻟﻨﺨﺒﻮي اﳋﺎص واﻟﺴﻮﻗﻲ اﻟﻌﺎﻣﻲ‪،‬‬
‫إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﳊﻜﺎ�ت اﻟﺘﻄﻔﻴﻞ‪ ،‬ﻗﺪ ﻳﻜﻮن أﺛﺮاً‬
‫ﻛﻤﺎ ﻳﺸﻴﻊ ﰲ أدﺑﻪ اﻟﻔﺎﺣﺶ واﻟﻌﻔﻴﻒ‪ ،‬وﻛﺎﻧﺖ‬
‫أو ﻧﺘﻴﺠﺔ ﺟﻌﻠﺘﻬﺎ ﺗﻨﺠﺬب إﱃ ﻣﺎ ﳚﺎﻧﺴﻬﺎ ﻣﻦ‬
‫إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﻣﻮاﻓﻘﺔ ﻟﻪ ﰲ ﻛﺜﲑ ﳑﺎ ﻃﺮح‪،‬‬
‫أﻣﺜﺎل ﻣﺎ وﺟﺪﺗﻪ ﰲ ﻛﺘﺎﺎﺑت ﻓﺎن ﺟﻴﻠﺪر )وﻏﲑﻩ(‬
‫وأﺿﺎﻓﺖ أ�ﺎ أراد أن ﺗﻘﺪم ﺻﻮت اﳌﺮأة اﻷدﻳﺒﺔ‬
‫اﻟﺬﻳﻦ اﺳﺘﺸﻬﺪت ﻬﺑﻢ ﻛﺜﲑاً ﻛﻤﺎ أﺳﻠﻔﻨﺎ‪،‬‬
‫اﳌﺘﻌﻠﻤﺔ ﻣﻦ ﺧﻼل ﺷﺨﺼﻴﺎت اﻟﻘﻴﺎن‪ ،‬ﻷ�ﺎ ‪-‬‬
‫ﻓﻜﺎﻧﺖ ﻋﻨﺎﻳﺘﻬﺎ ﺎﺑﳌﻮﺿﻮﻋﺎت اﻟﱵ ﺗﺪور ﰲ ﻓﻠﻚ‬
‫ﺑﻮﺻﻔﻬﺎ ﻗﺎرﺋﺔ أﻧﺜﻰ‪ -‬ﺗﺸﻌﺮ ﺎﺑﻟﻀﺠﺮ ﻣﻦ ﻗﺮاءة‬
‫اﺠﻤﻟﻮن واﻟﻔﺤﺶ واﻟﺒﺬاءة‪ ،‬وﻣﻨﻬﺎ ﻋﻠﻰ ﺳﺒﻴﻞ‬
‫ﻟﺮﺟﻞ ﺑﻌﺪ آﺧﺮ دون أن ﳛﻀﺮ ﺻﻮت‬ ‫ﻣﺆﻟﱠﻒ ٍ‬
‫اﳌﺜﺎل‪ ،‬ﻣﺎ اﺧﺘﺎرﺗﻪ ﻣﻦ ﺷﻌﺮ أﰊ ﻧﻮاس ﰲ اﳍﺠﺎء‪،‬‬
‫اﳌﺮأة‪.‬‬
‫ﺣﻴﺚ اﺧﺘﺎرت ﻟﻪ ﺑﻴﺘﲔ ﻣﻦ ﺳﺨﻴﻒ اﻟﻘﻮل‬
‫وﻧﻘﺎش ﻣﺴﺄﻟﺔ اﳊﻀﻮر اﻟﻈﺎﻫﺮ ﻟﻸدب اﳌﺎﺟﻦ‬ ‫وﻣﺮذوﻟﻪ ﰲ ﻫﺠﺎء زﻧﺒﻮر اﺑﻦ أﰊ ﲪﺎد‪ ،‬وﻛﺄن أﺎﺑ‬
‫ﰲ اﻟﱰاث اﻟﻌﺮﰊ اﻟﻘﺪﱘ‪ ،‬ﺷﻌﺮاً وﻧﺜﺮاً‪ ،‬وﻣﺎ ﺣﻮﺗﻪ‬ ‫ﻧﻮاس ﻟﻴﺲ ﻟﻪ ﰲ ﻫﺬا اﻟﻐﺮض إﻻ ﻫﺬان اﻟﺒﻴﺘﺎن!‬
‫ﻛﺘﺐ اﻟﱰاث ﻣﻦ أﺻﻨﺎف اﺠﻤﻟﻮن‪ ،‬واﺧﺘﺼﺎص‬ ‫ﻳﺪل ﻋﻠﻰ‬‫أن اﺧﺘﻴﺎر اﳌﺮء ﻷﻣﺮ ﻣﺎ ﱡ‬ ‫ﺷﻚ ّ‬‫وﻻ ّ‬
‫ﺑﻌﺾ اﻷدﺎﺑء ﺎﺑﻟﻜﺘﺎﺑﺔ ﻓﻴﻪ‪ ،‬وﻋﻨﺎﻳﺔ اﳌﺼﻨﻔﲔ‬ ‫ﻣﻨﺰﻟﺘﻪ ﻋﻨﺪﻩ‪ ،‬وﻳﺼﻌﺐ اﻟﻘﻮل إِ ﱠن ﻣﺜﻞ ﻫﺬﻩ‬
‫ﺄﺗوﻟﻮﻫﺎ ﻟﺘﺪوﻳﻦ‬
‫ﺈﺑﺛﺒﺎﺗﻪ وﺗﺪوﻳﻨﻪ‪ ،‬وﻣﺴﻮﻏﺎﻬﺗﻢ اﻟﱵ ّ‬ ‫اﻻﺧﺘﻴﺎرات ﻛﺎﻧﺖ ﻋﺸﻮاﺋﻴﺔ داﺋﻤﺎً‪.‬‬
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‫واﻟﺴﻠﻄﺔ" ‪ 60‬وأﺛﺮ ذﻟﻚ ﰲ ﺳﺎﺋﺮ ﻣﻦ دو�ﻢ ﻣﻦ‬ ‫ذﻟﻚ ﻛﻠﻪ‪ ،‬وﻫﺬﻩ اﳌﺴﺎﺋﻞ اﻟﻮاﺳﻌﺔ ﻗﺪ أﻓﺎض ﻓﻴﻬﺎ‬
‫اﻟﻨﺎس‪ ،‬واﻋﺘﺒﺎر ﺑﻌﺾ اﳌﺼﻨﻔﲔ "اﺠﻤﻟﻮن ﺷﻄﺮ ﻣﻦ‬ ‫اﻟﺪﻛﺘﻮر ﻋﺒﺪﷲ ﺑﻦ ﺳﻠﻴﻢ اﻟﺮﺷﻴﺪ اﻟﺒﺤﺚ‬
‫اﻟﻌﻠﻢ وﺳﺒﻴﻞ إﻟﻴﻪ"‪ 61 ،‬وﺳﻌﻲ ﺑﻌﻀﻬﻢ إﱃ‬ ‫واﻻﺳﺘﻘﺼﺎء ﰲ ﻛﺘﺎﺑﻪ "ﺗﺪوﻳﻦ اﺠﻤﻟﻮن ﰲ اﻟﱰاث‬
‫"اﻹﻏﺮاب ﺎﺑﺠﻤﻟﻮن واﻟﺘﻌﺠﻴﺐ ﻣﻨﻪ"‪ 62 ،‬أو اﻋﺘﺒﺎر‬ ‫ﻓﺈن‬ ‫ٍ‬
‫وﺈﺑﳚﺎز‪ ،‬ﱠ‬ ‫اﻟﻌﺮﰊ‪ :‬ﻋﺮض وﻛﺸﻒ وﺄﺗوﻳﻞ"‪،‬‬
‫اﺠﻤﻟﻮن "إﺑﺪاع وإن ﻓَ ُﺤﺶ" ‪ 63‬وأﻛﺜﺮ ﻣﺪوﻧﻴﻪ‬ ‫ﻣﻦ أﺑﺮز ﻣﺎ ﻫﻨﺎﻟﻚ ﰲ ﻣﺒﺤﺚ اﻻﺣﺘﺠﺎج‬
‫ﻳﻌﻠﻠﻮن ﻟﺬﻟﻚ ﺑﻘﺼﺪﻫﻢ "اﻟﱰوﻳﺢ‬ ‫ﻟﺘﺪوﻳﻦ اﺠﻤﻟﻮن‪ ،‬إﺷﺎرة اﻟﺮﺷﻴﺪ إﱃ أن ﻣﺪوﻧﻴﻪ‬
‫"اﻟﺘﻤﺮد ﻋﻠﻰ‬
‫ﱡ‬ ‫واﻹﲪﺎض"‪ 64 ،‬أو ﳌﻴﻠﻬﻢ إﱃ‬ ‫اﻋﺘﻤﺪوا ﻋﻠﻰ "ﺳﻠﻄﺎت أرﺑﻊ‪ :‬ﺳﻠﻄﺔ اﻟﺪﻳﻦ‬
‫أﻋﺮاف اﻟﺘﺼﻨﻴﻒ اﳉﺎد"‪ 65 ،‬أو اﻧﻄﻼﻗﺎً ﻣﻦ "أﺛﺮ‬ ‫اﻟﺬي ﻗﺒﻞ ﻧﺒﻴﻪ ﺻﻠﻰ ﷲ ﻋﻠﻴﻪ وﺳﻠﻢ اﳌﺰاح‪... ،‬‬
‫ﻣﻔﻬﻮم اﻟﺘﺼﻨﻴﻒ"‪ 66 ،‬اﻟﺬي ﺟﻌﻞ ﻛﺜﲑاً ﻣﻨﻬﻢ‬ ‫وﺳﻠﻄﺔ اﻟﻘﺒﻮل اﻟﻌﺎم ﻟﻠﻤﺠﻮن‪ ،‬واﻟﺮﺿﺎ اﳉﻤﻌﻲ‬
‫ِّ‬
‫ﻳﺪون ﻛﻞ ﻣﺎ وﺟﺪ‪.‬‬ ‫ﺑﻪ‪ ،‬وﺳﻄﻠﺔ اﻟﺸﻴﻮع ﺑﲔ ﻓﻀﻼء اﻟﻨﺎس‪ ،‬وﺳﻠﻄﺔ‬
‫اﻟﻠﻐﺔ‪ ،‬وﻫﺬﻩ اﻷﺧﲑة ﻇﺎﻫﺮة ﰲ ﻛﻼم اﳉﺎﺣﻆ‬
‫ﺗﻮﺻﻞ اﻟﺮﺷﻴﺪ ﺑﻌﺪ ﻃﻮل ﻧﻈﺮ وﺗﺘﺒﻊ إﱃ أن‬ ‫وﻗﺪ ﱠ‬
‫اﻟﺬي ذﻛﺮ أن أﻟﻔﺎظ اﻟﻌﻮرات ﻣﺎ وﺿﻌﺖ إﻻ‬
‫ﺑﺪأت ﺎﺑﻟﺘﺴﺎﻣﺢ ﻣﻊ‬
‫ﻣﺮ ﺄﺑﻃﻮار ْ‬ ‫ﺗﺪوﻳﻦ اﺠﻤﻟﻮن ﱠ‬ ‫‪58‬‬
‫ﻟﻴﺘﻜﻠﻢ ﻬﺑﺎ اﻟﻨﺎس"‪.‬‬
‫"ﻣﺰج اﳉﺪ ﺎﺑﳍﺰل اﺑﺘﺪاء"‪ ،‬ﰒ اﺗﺴﻊ ﺣﻀﻮر‬
‫اﺠﻤﻟﻮن "إﻃﺮاﻓﺎً وإﲪﺎﺿﺎً"‪ ،‬ﰒ "ﺗﻄﻮرت اﻟﻨﻈﺮة إﻟﻴﻪ‬ ‫ﻳﻘﺪم‬
‫وﻟﻌﻞ اﻟﻔﺼﻞ اﻟﺜﺎﻟﺚ ﻣﻦ ﻛﺘﺎب اﻟﺮﺷﻴﺪ ّ‬
‫ﻓﻐﺪا ﺎﺑﺎﺑً ﻣﻦ اﻟﺘﺄﻟﻴﻒ اﻷدﰊ واﻟﻌﻠﻤﻲ" ﺣﱴ‬ ‫ﺗﻔﺼﻴﻼً واﻓﻴﺎً ﻷﺳﺒﺎب ﺗﺪوﻳﻦ اﺠﻤﻟﻮن ﰲ ﻛﺘﺐ‬
‫وﺻﻞ ﻣﺮﺣﻠﺔ "اﻟﺘﺼﻨﻴﻒ اﻟﻔﺎﺣﺶ اﻟﺬي ﻛﺜﺮ ﰲ‬ ‫اﳌﺼﻨﻔﲔ‪ ،‬وﻗﺪ ﻋﺮض ﻓﻴﻪ آراءﻫﻢ‪ ،‬وأﻣﺜﻠﺔ ﻋﻠﻰ‬
‫اﻟﻘﺮون اﳌﺘﺄﺧﺮة ﺣﱴ ﺑﺪاﻳﺔ ﻣﺎ ﻳﺴﻤﻰ )ﻋﺼﺮ‬ ‫ﺣﺠﺠﻬﻢ وﻣﻨﻄﻠﻘﺎﻬﺗﻢ‪ ،‬وذﻛﺮ ﻓﻴﻪ أﻛﺜﺮ ﻣﻦ ﺳﺘﺔ‬
‫ﺺ إﱃ أَ ﱠن َ‬
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‫اﺠﻤﻟﻮن ﻛﺎن "ﻏﺮﺿﺎً‬ ‫ُ‬ ‫ﻠ‬
‫ُ‬ ‫وﳜ‬
‫ْ‬ ‫اﻟﻨﻬﻀﺔ("‪.‬‬ ‫ﻋﺸﺮ ﺳﺒﺒﺎً ﻟﺘﺪوﻳﻨﻬﻢ اﺠﻤﻟﻮن‪ ،‬ﻣﻦ أﺑﺮزﻫﺎ‪" :‬ﻣﻀﺎدة‬
‫ﺷﻌﺮ�ً وﻣﺴﻠﻜﺎً أدﺑﻴﺎً ﻋﻨﺪ ﲨﻬﻮر ﻣﻦ اﳌﻨﺸﺌﲔ‬ ‫اﳌﻮﻗﻒ اﳌﺘﺰﻣﺖ ﻣﻦ اﻻﺷﺘﻐﺎل ﺑﻐﲑ ﻋﻠﻮم‬
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‫اﲡﺎﻫﺎت‬ ‫‪ ...‬وﺗﺪوﻳﻦ ِ‬
‫اﺠﻤﻟﻮن ﻛﺎن اﲡﺎﻫﺎ ﻣﻦ‬ ‫اﻟﺸﺮﻳﻌﺔ"‪ 59 ،‬و"رواج اﺠﻤﻟﻮن ﻋﻨﺪ أوﱄ اﳉﺎﻩ‬
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‫‪ 62‬ﻧﻔﺴﻪ‪ ،‬ص ‪313‬‬ ‫‪ 58‬ﻋﺒﺪ ﷲ ﺑﻦ ﺳﻠﻴﻢ اﻟﺮﺷﻴﺪ‪ ،‬ﺗﺪوﻳﻦ اﺠﻤﻟﻮن ﰲ اﻟﱰاث اﻟﻌﺮﰊ‪:‬‬
‫‪ 63‬ﻧﻔﺴﻪ‪ ،‬ص ‪329‬‬ ‫ﻋﺮض وﻛﺸﻒ وﺄﺗوﻳﻞ‪ ،‬ﻋﻤﺎن‪ :‬دار ﻛﻨﻮز اﳌﻌﺮﻓﺔ ﻟﻠﻨﺸﺮ‬
‫‪ 64‬ﻧﻔﺴﻪ‪ ،‬ص ‪358‬‬ ‫واﻟﺘﻮزﻳﻊ‪1442 ،‬ﻫـ‪2021/‬م‪ ،‬ص ‪.212-211‬‬
‫‪ 65‬ﻧﻔﺴﻪ‪ ،‬ص ‪388‬‬ ‫‪ 59‬اﳌﺼﺪر اﻟﺴﺎﺑﻖ‪ ،‬ص ‪280-278‬‬
‫‪ 66‬ﻧﻔﺴﻪ‪ ،‬ص ‪.392‬‬ ‫‪ 60‬ﻧﻔﺴﻪ‪ ،‬ص ‪287‬‬
‫‪ 67‬ﻧﻔﺴﻪ‪ ،‬ص ‪.683‬‬ ‫‪ 61‬ﻧﻔﺴﻪ‪ ،‬ص ‪294‬‬
‫‪167‬‬
‫اﶈﺘﻮى ﻟﻠﻮﺳﻴﻠﺔ اﻟﱵ ﻋُﺮض ﻬﺑﺎ اﻟﻌﻤﻞ‪ ،‬ﻻ ﺳﻴﱠﻤﺎ‬ ‫اﻟﺘﺼﻨﻴﻒ‪ ،‬ﻟﻘﻲ ﺣﻈﻮة وﻗﺒﻮﻻً‪ ،‬وﻋُ ّﺪ ﻣﻦ ﻣﺴﺎﻟﻚ‬
‫ﺎﺑﻟﻨﻈﺮ إﱃ اﳉﻤﻬﻮر اﻟﺬي ﻳﺸﻤﻞ اﻟﻴﺎﻓﻌﲔ‪،‬‬ ‫اﻟﺘﺄﻟﻴﻒ اﻟﱵ ﱂ ﻳﻜﺪ ﳜﻠﻮ ﻣﻨﻬﺎ ﻛﺘﺎب"‪ 68 .‬وﻣﻦ‬
‫وﻋﺎﻣﺔ اﻟﻘﺮاء ﻏﲑ اﳌﺘﺨﺼﺼﲔ‪ ،‬إﺿﺎﻓﺔ إﱃ‬ ‫ﺗﻮﺻﻞ إﻟﻴﻪ اﻟﺮﺷﻴﺪ ﻛﺬﻟﻚ‪ ،‬ﱠ‬
‫أن "ﺗﺪوﻳﻦ‬ ‫أﻫﻢ ﻣﺎ ّ‬
‫اﻟﻄﺒﻴﻌﺔ اﳍﺠﻴﻨﺔ ﻟﻠﻜﺘﺎب اﻟﱵ ﻣﺰﺟﺖ اﳉﺪ‬ ‫اﺠﻤﻟﻮن ﺻﺪر ﻋﻨﺪ ﻛﺜﲑ ﻣﻦ اﳌﺼﻨﻔﲔ ﻋﻦ ﺷﻬﻮةٍ‬
‫ﺎﺑﳍﺰل‪ ،‬واﳊﻘﻴﻘﻲ ﺎﺑﳌﺘﺨﻴﻞ ﺣﻴﻨﻤﺎ ﺟﻌﻠﺖ‬ ‫ﻛﺄن ﺑﻌﻀﻬﻢ ﻳﺰداد‬ ‫ٍ‬
‫وﺗﻠﺬذ ﺑﻌﺮض اﻟﻨﺘﺎج اﳌﺎﺟﻦ‪ ،‬و ﱠ‬
‫اﻟﺸﺨﺼﻴﺎت اﳌﺘﺨﻴﱠﻠﺔ ﻣﻦ اﶈﺘﺎﻟﲔ واﻟﻄﻔﻴﻠﻴﲔ ﰲ‬ ‫ﻣﺘﻌﺔ ﻛﻠﻤﺎ أوﻏﻞ ﰲ اﺠﻤﻟﻮن"‪ ،‬وﻳﺴﺘﺸﻬﺪ ﻋﻠﻰ‬
‫اﻷﻋﻤﺎل اﻷدﺑﻴﺔ اﻟﻘﺪﳝﺔ ﺷﺨﻮﺻﺎً ﺣﻘﻴﻘﲔ ﳑﺜﻠﲔ‬ ‫ذﻟﻚ ﲟﺎ وﺟﺪ "ﻋﻨﺪ اﳌﺼﻨﻔﲔ ﰲ اﺠﻤﻟﻮن اﳋﺎﻟﺺ‪،‬‬
‫ﰲ ﺷﺨﺼﻴﺎت ﻋﻤﻠﻬﺎ اﳉﺎﺣﻆ وأﰊ ﻧﻮاس‬ ‫وﻣﻦ ﻗﺒﻠﻬﻢ ﻃﺎﺋﻔﺔ أﺳﺮﻓﺖ ﰲ ﺗﺪوﻳﻦ ﻧﻮادر اﺠﻤﻟﺎن‬
‫وﻏﲑﳘﺎ‪ .‬إن اﻟﺼﻮر اﻟﱵ ﺗﻌﻠﻖ ﺄﺑذﻫﺎن اﳌﺘﻠﻘﲔ‬ ‫‪69‬‬
‫اﻟﻔﺎﺣﺸﺔ"‪.‬‬
‫ﻋﻦ اﻟﻌﺮﰊ اﶈﺘﺎل‪ ،‬ﺗﻌﺰزﻫﺎ اﻟﺮﺳﻮﻣﺎت أﻛﺜﺮ‬
‫إن اﻟﺬي ﻧﻨﻌﺎﻩ ﻋﻠﻰ إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﰲ ﻋﻤﻠﻬﺎ‬
‫ﻋﺰزت ﻣﺸﺎﻫﺪ اﻟﺴﻴﻨﻤﺎ اﳍﻮﻟﻴﻮدﻳﺔ‬‫ﻓﺄﻛﺜﺮ‪ ،‬ﻛﻤﺎ ّ‬ ‫ﰲ ﻛﺘﺎب )اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس( ﻟﻴﺲ اﺧﺘﻼق‬
‫ﺻﻮراً ﳕﻄﻴﺔ ﻏﲑ ﺣﻘﻴﻘﻴﺔ ﻋﻦ ﺷﺨﺼﻴﺎت‬
‫اﺠﻤﻟﻮن‪ ،‬ﻓﻬﻮ ﻣﻮﺟﻮد وﺣﺎﺿﺮ ﰲ ﻛﺘﺐ اﻟﱰاث؛‬
‫وأﺣﺪاث ﺎﺗرﳜﻴﺔ ﺣﻘﻴﻘﻴﺔ‪ ،‬وﻛﺎن أﺻﻞ ﻛﺜﲑ ﻣﻨﻬﺎ‬
‫ﺑﻞ اﻟﺬي ﳓﺎول ﻣﻘﺎرﺑﺘﻪ وﻧﻘﺎﺷﻪ ﻫﻨﺎ ﻫﻮ‬
‫ﺧﻴﺎﻻت وﺣﻜﺎ�ت أﻟﻒ ﻟﻴﻠﺔ وﻟﻴﻠﺔ‪ ،‬وﻫﺬا‬
‫وﺗﻌﻤﺪ اﻹﻛﺜﺎر ﻣﻦ‬
‫ﻣﺴﻠﻜﻬﺎ ﰲ اﻻﺧﺘﻴﺎرات‪ّ ،‬‬
‫ﻣﺴﻠﻚ ﻳﺆدي إﱃ إﺷﻜﺎﻻت ﺛﻘﺎﻓﻴﺔ ﻣﺘﻌﺪدة‬
‫ﺗﻠﻚ اﻟﻨﻤﺎذج اﳌﺎﺟﻨﺔ واﳍﺎزﻟﺔ‪ ،‬واﺳﺘﻨﺒﺎط ﻣﺎ‬
‫ﺳﻨﻌﺮض ﻟﺒﻌﺾ ﻣﻨﻬﺎ ﰲ اﳌﺒﺤﺚ اﻟﺘﺎﱄ‪.‬‬
‫ﺧﻴﺎل ٍ‬
‫أدﻳﺐ‬ ‫ﺗﺴﻤﻴﻪ )ﺣﻘﺎﺋﻖ( ﳑﺎ ﻫﻮ ﰲ أﺻﻠﻪ ُ‬
‫اﳌﺒﺤﺚ اﻟﺮاﺑﻊ‪ :‬ﻣﻘﺎرﺑﺔ اﻟﻜﺎﺗﺒﺔ ﻟﻠﻘﻀﺎ�‬ ‫ﺷﻌﺮاً أو ﻧﺜﺮاً‪ ،‬وﻻ وﺟﻮد ﻷﻛﺜﺮﻩ ﻣﻦ ﺣﻴﺚ‬
‫اﻹﺷﻜﺎﻟﻴﺔ‬ ‫اﳊﻘﻴﻘﺔ اﻟﺘﺎرﳜﻴﺔ‪ ،‬وﻣﺎ ﻳﺆدي إﻟﻴﻪ ﻛﻞ ذﻟﻚ ﻣﻦ‬
‫ٍ‬
‫ﺻﺤﻴﺤﺔ‬ ‫ﺗﻜﻮﻳﻦ ﺻﻮر ذﻫﻨﻴﺔ ﳕﻄﻴﺔ ﻣﻀﻠِّﻠﺔ وﻏﲑ‬
‫ﺳﻨﻌﺮض ﰲ ﻫﺬا اﳌﺒﺤﺚ ﻷﺑﺮز اﻹﺷﻜﺎﻻت اﻟﱵ‬
‫ﻋﻦ اﻟﻌﺮﰊ وواﻗﻌﻪ اﳊﻀﺎري واﻟﺜﻘﺎﰲ ﰲ اﻟﻌﺼﺮ‬
‫ﺗﻈﻬﺮ ﰲ ﻣﻌﺎﳉﺔ إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﻟﺒﻌﺾ اﻟﻘﻀﺎ�‪،‬‬
‫اﻟﻌﺒﺎﺳﻲ‪ ،‬إﺿﺎﻓﺔ إﱃ اﻹﺳﻔﺎف ﰲ اﺧﺘﻴﺎر ﳕﺎذج‬
‫واﻟﱵ ﻗﺪ ﺗﻜﻮن ﻋﺎﺋﺪة إﱃ اﳌﻨﻄﻠﻘﺎت اﻟﱵ‬
‫ﺳﻴﺌﺔ ﻣﻦ اﺠﻤﻟﻮن‪ ،‬وﲞﺎﺻﺔ ﻣﺎ ﻟﻪ ﺻﻠﺔ‬
‫ارﺗﻀﺘﻬﺎ أو ﻟﻸﺳﻠﻮب اﻟﺬي ﻋﺮﺿﺖ ﺑﻪ اﻟﻌﻤﻞ‬
‫ﺎﺑﳌﺴﺘﻘﺬرات ﻛﻤﺎ ﰲ ﻣﺸﻬﺪ )‪ (108‬ﻋﻦ‬
‫أو اﻟﻄﺒﻴﻌﺔ اﳍﺠﻴﻨﺔ ﻟﻠﻜﺘﺎب‪ ،‬أو ﺣﱴ ﻟﻮﺟﻬﺔ ﻧﻈﺮ‬
‫اﻟﻌ ِﺬرة‪ ،‬ﻛﻤﺎ ﻳﺆﺧﺬ ﻋﻠﻴﻬﺎ ﻋﺪم اﻟﻌﻨﺎﻳﺔ ﲟﻼءﻣﺔ‬
‫َ‬
‫‪69‬‬
‫ﻧﻔﺴﻪ‪ ،‬ص ‪.684‬‬ ‫‪ 68‬ﻧﻔﺴﻪ‪.‬‬
‫‪168‬‬
‫واﻟﺘﺼﻮﻳﺮ اﻟﺬي وﺿﻌﺘﻪ إﻣﻴﻠﻲ ﳍﺬﻩ اﻟﻔﻜﺮة ﻳﺘﺠﻪ‬ ‫اﳌﺘﻠﻘﻲ ﻣﻦ ﺧﻼل ﻣﺎ ﻇﻬﺮ ﻟﻠﺒﺎﺣﺚ‪ .‬وﻟﻌﻞ أﺑﺮزﻫﺎ‬
‫إﱃ اﻟﺘﻬﻮﻳﻦ ﻣﻦ ﺷﺄن اﻟﻔﺘﻮﺣﺎت اﻟﺘﺎرﳜﻴﺔ‬ ‫ﻋﻼﻗﺔ اﻹﺳﻼم واﳌﺴﻠﻤﲔ ﺎﺑﻷد�ن واﻷﻣﻢ‬
‫اﳉﺪﻳﺔ‬
‫واﳌﻐﺎزي اﻹﺳﻼﻣﻴﺔ‪ ،‬وﲣﻔﻴﻒ ﻣﻼﻣﺢ ّ‬ ‫اﻷﺧﺮى‪ ،‬ﻣﻦ ﺧﻼل ﻣﻌﺎﳉﺘﻬﺎ ﻟﻠﻘﻀﺎ� اﻟﺘﺎرﳜﻴﺔ‬
‫ﻓﻴﻬﺎ‪ ،‬ﻓﻬﻞ ﻛﺎﻧﺖ ﲢﺎول اﻹﺷﺎرة إﱃ ﺗﺴﺎﻣﺢ‬ ‫ذات اﻟﺒﻌﺪ اﻟﺪﻳﲏ ﰲ ﻋﺪد ﻣﻦ اﳌﺸﺎﻫﺪ‪ .‬ﻓﻤﻦ‬
‫اﻹﺳﻼم واﳌﺴﻠﻤﲔ ﻣﻊ اﻷد�ن اﻷﺧﺮى ﻣﻦ‬ ‫ذﻟﻚ ﺗﺼﻮﻳﺮﻫﺎ ‪ -‬ﻟﺴﺒﺐ ﻏﲑ واﺿﺢ ‪ -‬أن‬
‫ﺧﻼل إﻇﻬﺎر اﳌﻐﺎزي واﻟﻔﺘﻮﺣﺎت اﻹﺳﻼﻣﻴﺔ‬ ‫اﳌﻐﺎزي واﻟﻔﺘﻮح اﻹﺳﻼﻣﻴﺔ ﻛﺎﻧﺖ ﰲ ﺑﻌﺾ‬
‫ﻟﻠﻤﺘﻠﻘﻲ اﻟﻐﺮﰊ ﻋﻠﻰ ّأ�ﺎ ﻣﻨﺎورات ﺳﻴﺎﺳﻴﺔ‬ ‫اﻷﺣﻴﺎن اﺳﺘﻌﺮاﺿﺎت ﻃﻘﻮﺳﻴﺔ ﻳﻘﻮم ﻬﺑﺎ ﺑﻌﺾ‬
‫وﻣﻐﺎﻣﺮات ﻳﻘﻮم ﻬﺑﺎ ﺑﻌﺾ اﳋﻠﻔﺎء‪ ،‬ﻟﺮﺳﻢ ﺻﻮرﻫﻢ‬ ‫اﳋﻠﻔﺎء ﻟﻴُ ﱠﻠﻘﺐ ﺎﺑﻟﻐﺎزي‪ ،‬ﻣﻊ اﺧﺘﻴﺎر أن ﺗﻜﻮن‬
‫اﻟﻨﻤﻄﻴﺔ ﻋﻨﺪ ﺷﻌﻮﻬﺑﻢ )اﻟﻔﺎﺗﺢ‪ ،‬واﺠﻤﻟﺎﻫﺪ‪ ،‬و ‪...‬‬ ‫اﻟﻐﺰوة ﰲ ﻏﲑ وﻗﺖ اﳊﺞ ﻟﻴﻈﻔﺮ ﺑﻠﻘﺐ اﳊﺎج‬
‫إﱁ( أو ﺗﻌﺰﻳﺰ ﻣﻜﺎﻧﺘﻬﻢ اﻟﺴﻴﺎﺳﻴﺔ‪ ،‬وإﺿﻔﺎء‬ ‫أﻳﻀﺎً‪ ،‬واﳊﺮص ﻋﻠﻰ ﲡﻨﺐ اﻟﻐﺰو ﰲ ﻓﺼﻞ‬
‫اﻟﺸﺮﻋﻴﺔ ﻋﻠﻰ ﺣﻜﻤﻬﻢ؟ أم ﻛﺎﻧﺖ ﲢﺎول أن‬ ‫اﻟﺸﺘﺎء وأن ﺗﻜﻮن اﻟﻐﺰوة ﰲ ﻓﺼﻞ اﻟﺼﻴﻒ‪.‬‬
‫ﺗﻘﺪم ﻓﻜﺮة ﺣﺮوب اﳌﺴﻠﻤﲔ ﺿﺪ اﻟﺮوم ﻟﻠﻤﺘﻠﻘﻲ‬ ‫ِّ‬ ‫وﺗﺸﲑ إﱃ أن ﻫﺬﻩ اﻟﻐﺰوات ﻛﺎﻧﺖ ﺗﺘﻀﻤﻦ ﰲ‬
‫اﻟﻐﺮﰊ اﻟﻴﻮم ﺄﺑ�ﺎ ﻟﻴﺴﺖ ﻧﻮﻋﺎ ﻣﻦ اﳊﺮوب‬ ‫ﺑﻌﺾ اﻷﺣﻴﺎن ﺗﺒﺎدل اﳍﺪا� ﻣﻦ اﳊﺮﻳﺮ واﻟﻄﻴﺐ‬
‫اﳌﻘﺪﺳﺔ )‪(holy wars‬؛ وﺎﺑﻟﺘﺎﱄ ﻓﺈ�ﺎ ﺗﺴﻌﻰ‬ ‫ﺑﲔ اﳋﻠﻴﻔﺔ واﻟﺮوم‪ ،‬ﻛﻤﺎ رﲰﺖ ﰲ )ﻣﺸﻬﺪ ‪(25‬‬
‫ﺿﺪ‬
‫ﻟﻠﺘﺨﻔﻴﻒ ﻣﻦ اﻻﺣﺘﻘﺎن اﻟﺸﻌﻮري ّ‬ ‫وﻋﻠﻘﺖ ﻋﻠﻴﻪ ﻣﺴﺘﺸﻬﺪة ﺎﺑﻟﺒﺎﺣﺚ ﻫﻴﻮ ﻛﻴﻨﻴﺪي‬
‫اﳌﺴﻠﻤﲔ ﺎﺑﻟﻨﻈﺮ إﱃ ﻣﺎ ﻳـُﻨْ َﺸ ُﺮ ﰲ اﻹﻋﻼم ﻋﻦ‬ ‫ﰲ ﻛﺘﺎﺑﻪ )ﺣﲔ ﺣﻜﻤﺖ ﺑﻐﺪاد اﻟﻌﺎﱂ( ‪ 70‬ﻣﻊ أن‬
‫اﳌﺴﻠﻤﲔ ﺑﻌﺪ ﻛﻞ ﻋﻤﻞ إرﻫﺎﰊ ورﺑﻄﻪ ﺑﻔﻜﺮة‬ ‫اﻟﺴﻴﺎق اﻟﺬي ﻳﺬﻛﺮﻩ ﻛﻴﻨﻴﺪي ﻋﻦ ﻏﺰو اﳌﺴﻠﻤﲔ‬
‫اﳉﻬﺎد اﻟﺘﺎرﳜﻴﺔ‪ .‬ﻟﻌﻞ ﻫﺬا ﻫﻮ ﻣﺎ ﺳﻌﺖ إﻟﻴﻪ‬ ‫ﰲ اﻟﺼﻴﻒ‪ ،‬وﺗﻌﻠﻴﻞ ذﻟﻚ ﺑﺴﻌﻴﻬﻢ ﻟﺘﺠﻨﺐ‬
‫اﻟﻜﺎﺗﺒﺔ‪ ،‬ﺑﺪﻟﻴﻞ ﻏﻴﺎب أي إﺷﺎرة إﱃ اﻟﻌﻨﻒ ﰲ‬ ‫أﺧﻄﺎر اﻟﺸﺘﺎء اﻟﻘﺎرس ﰲ ﺟﺒﺎل أوروﺎﺑ‪ .‬وﻗﺮﻳﺒﺎ‬
‫اﻟﻜﺘﺎب )ﺎﺑﺳﺘﺜﻨﺎء ﻣﺎ ورد ﻣﻦ إﺷﺎرة إﱃ ﺑﻌﺾ‬ ‫ﻣﻦ ذﻟﻚ إﺷﺎرﻬﺗﺎ إﱃ أن اﻟﺮﺷﻴﺪ ﻛﺎﻧﺖ ﻟﻪ‬
‫اﳋﻠﻔﺎء ﺳﺮﻳﻌﻲ اﻟﻐﻀﺐ( أﻣﺎ ﻣﺎ ﻳﺘﺼﻞ ﺎﺑﻟﻘﺘﻞ‪،‬‬ ‫)ﻏﺎز وﺣﺎج( ﻣﻊ أن‬ ‫ﻗﻠﻨﺴﻮة ﻛﺘﺐ ﻋﻠﻴﻬﺎ ٍ‬
‫أو اﳊﺮوب‪ ،‬أو اﳊﺪود‪ ،‬أو اﻟﺒﻄﺶ اﻟﺴﻴﺎﺳﻲ‪،‬‬ ‫ﻛﻴﻨﻴﺪي ﻳﺬﻛﺮﻫﺎ ﰲ ﺳﻴﺎق ﺳﺮد ﺎﺗرﳜﻲ ﻟﻠﺴﻨﻮات‬
‫أو اﻻﻗﺘﺘﺎل اﻟﻄﺎﺋﻔﻲ ﻓﻠﻢ ﻳﺮد ﻟﻪ إﺷﺎرة ﰲ ﻛﺘﺎﻬﺑﺎ‪.‬‬ ‫اﻷﺧﲑة ﻣﻦ ﻋﻤﺮ اﻟﺮﺷﻴﺪ وأﻧﻪ ﻣﻸﻫﺎ ﺎﺑﳉﻬﺎد ﺿﺪ‬
‫و ّأ�ً ﻣﺎ ﻛﺎن اﻟﺪاﻓﻊ ﻟﺬﻟﻚ‪ ،‬ﻓﺈن ﻣﻌﺎﳉﺘﻬﺎ ﳍﺬﻩ‬ ‫اﻟﺒﻴﺰﻧﻄﻴﲔ واﳊﺞ‪.‬‬
‫‪greatest dynasty Cambridge: Da Capo Press,‬‬ ‫‪Hugh Kennedy, When Baghdad ruled the‬‬
‫‪70‬‬
‫‪2006, p.55‬‬ ‫‪Muslim world: the rise and fall of Islam's‬‬
‫‪169‬‬
‫وﻓﺮﺳﻬﻢ‪ ،‬ﻣﺴﻠﻤﻬﻢ وﳎﻮﺳﻴﻬﻢ( ﻛﺎﻧﻮا ﳛﺘﻔﻠﻮن‬ ‫اﻟﻘﻀﻴﺔ ﻻ ﺗﺘﻔﻖ ﻣﻊ وﻗﺎﺋﻊ اﻟﺘﺎرﻳﺦ وﻻ ﺗﻨﻄﻠﻖ ﻣﻦ‬
‫ﺎﺑﻟﻨﲑوز‪.‬‬ ‫أﺳﺎس ﺻﺤﻴﺢ‪.‬‬
‫وﻫﺬا اﳋﻠﻞ ﻻ ﻳﻘﺘﺼﺮ ﻋﻠﻰ اﻟﺮﺳﻮﻣﺎت ﰲ ﻛﺘﺎب‬ ‫ﻛﻤﺎ ﺣﻮى ﻛﺘﺎﻬﺑﺎ ﻣﻌﻠﻮﻣﺎت ﻣﻀﻠِّﻠﺔ ﺗﺘﻌﻠﻖ‬
‫)اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس( اﻟﱵ ﲣﻠﻂ اﳊﻘﻴﻘﻲ‬ ‫ﲝﻘﺎﺋﻖ ﺎﺗرﻳﺦ اﳊﻀﺎرة اﻟﻌﺒﺎﺳﻴﺔ؛ ورﲟﺎ ﳝﻜﻦ‬
‫ﺎﺑﳌﺘﺨﻴﻞ‪ ،‬ﺑﻞ إن ﻛﺘﺎﻬﺑﺎ اﻵﺧﺮ )ﺑﻐﺪاد ﻣﺮﻛﺰ‬ ‫ﺗﻔﺴﲑﻫﺎ ﺎﺑﳊﻀﻮر اﻟﺒﺎرز ﻟﺒﻌﺾ اﻷﻃﺮوﺣﺎت‬
‫أن ِّ‬
‫ﻳﻘﺪم اﳊﻘﻴﻘﺔ اﻟﻌﻠﻤﻴﺔ‬ ‫اﻟﻌﺎﱂ( اﻟﺬي ﻳـُ ْﻔ َﱰض ْ‬ ‫واﻟﺪراﺳﺎت اﻟﻐﺮﺑﻴﺔ اﻟﱵ ﺗﺴﻌﻰ ﻟﻠﱰﻛﻴﺰ ﻋﻠﻰ‬
‫دون ﲣﻴﻴﻞ ﻳَﺬﻛﺮ أن اﳌﺴﻠﻤﲔ ﱡ‬
‫ﻳﻌﺪون أﺗﺒﺎع‬ ‫إﻇﻬﺎر اﻷﺛﺮ اﻟﻔﺎرﺳﻲ ﰲ اﳊﻀﺎرة اﻟﻌﺒﺎﺳﻴﺔ‬
‫اﻟﺰرادﺷﺘﻴﺔ أﻫﻞ ﻛﺘﺎب‪ ،‬وﻳﻌﺎﻣﻠﻮ�ﻢ ﻣﻌﺎﻣﻠﺔ اﻟﻴﻬﻮد‬ ‫وﺗﻌﻈﻴﻤﻪ ﻗﺪر اﳌﺴﺘﻄﺎع‪ ،‬وﻗﺪ ﻳﻜﻮن ﻫﺬا ﻣﻦ‬
‫ﻳﻌﺪ إﱃ ﻛﺘﺐ اﻟﱰاث ﳚﺪ أن‬ ‫‪72‬‬
‫واﻟﻨﺼﺎرى‪ ،‬وﻣﻦ ْ‬ ‫ﻋﺎم ﰲ ﻛﺘﺎب إﻣﻴﻠﻲ‬ ‫أﺳﺒﺎب ﻇﻬﻮر ﻣﻠﻤﺢ ٍ‬
‫اﺠﻤﻟﻮﺳﻴﺔ اﻟﱵ ﻣﻦ أﻫﻢ ﻣﻜﻮ�ﻬﺗﺎ اﻟﺰرادﺷﺘﻴﺔ ﱂ ﺗﻜﻦ‬ ‫ﺳﻴﻠﻮف ﳛﺎول إﺑﺮاز اﳉﺎﻧﺐ اﻟﻔﺎرﺳﻲ ﰲ ﻛﻞ‬
‫ﺗﻌﺎﻣﻞ ﻣﻌﺎﻣﻠﺔ اﻟﻴﻬﻮدﻳﺔ واﻟﻨﺼﺮاﻧﻴﺔ‪ ،‬وﱂ ﻳﺬﻛﺮﻫﻢ‬ ‫ﻣﻨﺎﺳﺒﺔ ﳑﻜﻨﺔ ﰲ اﻟﻜﺘﺎب؛ ‪ 71‬إذ ﺗﺰﻋﻢ أن‬
‫اﻟﻘﺮآن ﻣﻊ أﻫﻞ اﻟﻜﺘﺎب‪ ،‬وﱂ ﻳُﺬﻛﺮ ﳍﻢ ﻛﺘﺎب‪،‬‬ ‫اﻟﺒﻐﺪادﻳﲔ ﻣﻦ ﲨﻴﻊ اﻷد�ن ﻛﺎﻧﻮا ﳛﺘﻔﻠﻮن‬
‫وﱂ ﻳﻌﺎﻣﻠﻮا ﻋﻨﺪ ﻓﻘﻬﺎء اﻹﺳﻼم ﻣﻌﺎﻣﻠﺔ‬ ‫ﺎﺑﻟﻨﲑوز رأس اﻟﺴﻨﺔ اﻟﻔﺎرﺳﻴﺔ‪ ،‬وﺗﺮﺳﻢ ذﻟﻚ ﰲ‬
‫اﻟﻜﺘﺎﺑﻴﲔ‪ 73 .‬وﻳﺸﲑ ﻫﺬا اﳌﻠﻤﺢ إﱃ ﺟﺰء ﻣﻦ‬‫ّ‬ ‫)ﻣﺸﻬﺪ ‪ 31‬و‪ (32‬وﺗﻌﻠِّ ُﻖ ﻋﻠﻴﻪ ﻣﺆّﻛِ ً‬
‫ﺪة ﻫﺬﻩ‬
‫اﻹﺷﻜﺎﻻت اﻟﱵ ﳛﻤﻠﻬﺎ اﻟﻜﺘﺎب‪ ،‬وﻣﺮدﻩ إﱃ‬ ‫)اﳊﻘﻴﻘﺔ(‪ ،‬وﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺎﺑﺣﺚ ﺣﺪﻳﺚ )ﺷﺎﺑﻮر‬
‫اﻻﻋﺘﻤﺎد ﻋﻠﻰ اﳌﺼﺎدر اﻟﺜﺎﻧﻮﻳﺔ وإﳘﺎل ﻣﺼﺎدر‬ ‫ﺷﻬﺒﺎزي(‪ ،‬وﻻ ﺗﻌﻮد إﱃ اﳌﺼﺎدر اﻟﻌﺮﺑﻴﺔ اﻟﻘﺪﳝﺔ؛‬
‫ﻟﺘﺪﻟِّﻞ ﻣﻨﻬﺎ ﻋﻠﻰ أن ﻋﻤﻮم اﻟﺒﻐﺪادﻳﲔ )ﻋﺮﻬﺑﻢ‬
‫اﻟﺼ َﺤﺎﺑَِﺔ َر ِﺿ َﻲ‬

‫ﺎب ِﻋْﻨ َﺪ ﱠ‬
‫ﺎب‪ ،‬وﻟَﻮ َﻛﺎﻧُﻮا أَ ْﻫﻞ ﻛِﺘَ ٍ‬
‫َ‬ ‫ﺎن َﳍُْﻢ ﻛﺘَ ٌ َ ْ‬
‫َﻛ َ ِ‬ ‫‪ 71‬اﻻﻫﺘﻤﺎم ﺈﺑﺑﺮاز اﻷﺛﺮ اﻟﻔﺎرﺳﻲ أو اﺠﻤﻟﻮﺳﻲ ﰲ اﳊﻀﺎرة‬
‫اﻪﻠﻟُ َﻋْﻨﻪُ ِﰲ أَْﻣ ِﺮِﻫ ْﻢ"‪ .‬ﳏﻤﺪ ﺑﻦ‬
‫ﻒ ُﻋ َﻤُﺮ َر ِﺿ َﻲ ﱠ‬‫اﻪﻠﻟُ َﻋْﻨـ ُﻬ ْﻢ َﱂْ ﻳـَﺘَـ َﻮﻗﱠ ْ‬
‫ﱠ‬ ‫اﻟﻌﺮﺑﻴﺔ ﻗﺪﱘ ﰲ ﻛﺘﺎﺎﺑت اﳌﺴﺘﺸﺮﻗﲔ‪ ،‬ﻳﻨﻈﺮ‪ :‬ﻣﻨﺎﻗﺸﺔ إدوارد‬
‫أﰊ ﺑﻜﺮ ﺑﻦ أﻳﻮب ﺑﻦ ﺳﻌﺪ ﴰﺲ اﻟﺪﻳﻦ اﺑﻦ ﻗﻴﻢ اﳉﻮزﻳﺔ‪،‬‬ ‫ﺳﻌﻴﺪ‪ ،‬ﻟـ "اﻟﺸﺨﺼﻴﺔ اﺠﻤﻟﻮﺳﻴﺔ اﻟﱵ ﳝﺜﻠﻬﺎ اﻟﺸﺮﻗﻲ اﳌﺴﻠﻢ‪،‬‬
‫أﺣﻜﺎم أﻫﻞ اﻟﺬﻣﺔ‪ ،‬ﲢﻘﻴﻖ‪ :‬ﻳﻮﺳﻒ ﺑﻦ أﲪﺪ اﻟﺒﻜﺮي ‪ -‬ﺷﺎﻛﺮ‬ ‫اﻻﺳﺘﺸﺮاق‪ ،‬ص ‪.327‬‬
‫ﺑﻦ ﺗﻮﻓﻴﻖ اﻟﻌﺎروري‪ ،‬اﻟﺪﻣﺎم‪ :‬رﻣﺎدي ﻟﻠﻨﺸﺮ‪١٤١٨ ،‬ﻫـ ‪/‬‬
‫‪72‬‬
‫‪Paul L. Heck, ‘Non-Muslims in Baghdad and‬‬
‫‪Beyond’, in Baghdad at the Centre of a world,‬‬
‫‪١٩٩٧‬م‪ ،90-89/1 ،‬وﻳﻨﻈﺮ‪ :‬أﺑﻮ ﺑﻜﺮ ﳏﻤﺪ ﺑﻦ إﺑﺮاﻫﻴﻢ‬ ‫‪8th-13th Century: An introductory textbook,‬‬
‫‪ed. By Emily Selove, Fargo: Tehran Press,‬‬
‫ﺑﻦ اﳌﻨﺬر اﻟﻨﻴﺴﺎﺑﻮري‪ ،‬اﻹﺷﺮاف ﻋﻠﻰ ﻣﺬاﻫﺐ اﻟﻌﻠﻤﺎء‪،‬‬ ‫‪2019, p. 58‬‬
‫ﲢﻘﻴﻖ‪ :‬ﺻﻐﲑ أﲪﺪ اﻷﻧﺼﺎري‪ ،‬رأس اﳋﻴﻤﺔ‪ :‬ﻣﻜﺘﺒﺔ ﻣﻜﺔ‬ ‫ﻳﻨﺺ اﺑﻦ اﻟﻘﻴﻢ ﻋﻠﻰ أن اﻟﺰرادﺷﺘﻴﲔ واﺠﻤﻟﻮس ﻟﻴﺴﻮا ﻣﻦ‬ ‫ّ‬
‫‪73‬‬
‫اﻟﺜﻘﺎﻓﻴﺔ‪١٤٢٥ ،‬ﻫـ ‪ ٢٠٠٤ /‬م‪.40 /4 ،‬‬ ‫ﺼ ﱡﺢ أَﱠ�ُﻢ ِﻣﻦ أَ ْﻫ ِﻞ اﻟْﻜِﺘَ ِ‬

‫ﺎب َوَﻻ‬ ‫أﻫﻞ اﻟﻜﺘﺎب‪ ،‬ﺑﻘﻮﻟﻪ‪" :‬وَﻻ ﻳ ِ‬
‫ْ ْ‬ ‫َ َ‬
‫‪170‬‬
‫رﺳﻮﻣﺎﻬﺗﺎ اﺳﺘﻤﺮار ِ‬
‫ﺄﺗﺛﲑ اﻟﺘﻘﺎﻟﻴﺪ اﻟﻔﺎرﺳﻴﺔ وإرﺛﻬﺎ‬ ‫اﻟﱰاث اﻟﻌﺮﰊ‪ ،‬واﻻﻧﻄﻼق ﻣﻦ ﺑﻌﺾ اﻟﺘﺄوﻳﻼت‬
‫َ‬
‫اﻟﺜﻘﺎﰲ واﻟﺪﻳﲏ ﰲ ﺑﻐﺪاد اﻟﻌﺒﺎﺳﻴﺔ؛ ﰲ إﺷﺎرة‬ ‫اﻟﺒﻌﻴﺪة وﺗﺮك ﺻﺮﻳﺢ اﻟﻨﺼﻮص ﰲ ﻛﺘﺐ اﻟﱰاث‪.‬‬
‫ﺑﻌﻴﺪة إﱃ اﺗﺼﺎل اﻷﻣﺔ اﻟﻔﺎرﺳﻴﺔ ﲟﺎﺿﻴﻬﺎ ﰲ‬
‫وﰲ اﻟﺴﻴﺎق ﻧﻔﺴﻪ ﺣﻮل ﻇﻬﻮر ﻫﺬا )اﻷﺛﺮ‬
‫ﻣﻘﺎﺑﻞ اﻧﻔﺼﺎل اﻟﻌﺮﺑﻴﺔ ﻋﻦ إرﺛﻬﺎ اﻟﺜﻘﺎﰲ‬
‫اﻟﻔﺎرﺳﻲ( ﰲ ﻛﺘﺎﻬﺑﺎ ﻣﺎ ﳒﺪﻩ ﻣﻦ إﺷﺎرات ﻣﺘﻌﺪدة‬
‫وﻣﺎﺿﻴﻬﺎ اﻟﺬي اﺳﺘﺒﺪﻟﺖ ﺑﻪ ﺗﺮاث اﻟﻔﺮس‪.‬‬
‫وﻳﻘﱰب ﻣﻦ ﻫﺬا اﻷﺛﺮ ﻣﺎ ﳒﺪﻩ ﻣﻦ ﺗﻮﺻﻴﻒ‬
‫ﻛﻞ ﻣﻦ اﻟﻌﻨﺼﺮ‬ ‫ﺗُـ ْﻠ َﻤﺢ ﻣﻨﻬﺎ اﳌﻘﺎرﻧﺔ ﺑﲔ دور ِّ‬
‫اﻟﻌﺮﰊ واﻟﻌﻨﺼﺮ اﻟﻔﺎرﺳﻲ ﰲ اﳊﻀﺎرة اﻟﻌﺒﺎﺳﻴﺔ‪،‬‬
‫اﳋﻠﻴﻔﺔ ﺎﺑﻟﺒﻄﺶ واﻟﻐﻀﺐ )ﻣﺸﻬﺪ ‪ (29‬اﻟﺬي‬
‫وﻣﻦ ذﻟﻚ ﳏﺎوﻟﺘﻬﺎ رﺳﻢ ﻗﻮة ﺄﺗﺛﲑ اﳊﻀﺎرة‬
‫رﲟﺎ ﲪﻞ ﻧـَ َﻔﺴﺎً ﺷﻌﻮﺑﻴﺎً‪ ،‬ﺧﺎﺻﺔً ﺣﻴﻨﻤﺎ ﺗﺮﺳﻢ‬
‫اﻟﻔﺎرﺳﻴﺔ ﻋﻠﻰ اﻟﺒﻐﺪادﻳﲔ ﲟﺎ ﰲ ذﻟﻚ ﻋﺎداﻬﺗﻢ ﰲ‬
‫إﻣﻴﻠﻲ ﰲ اﳌﻘﺎﺑﻞ ﻣﺸﺎﻫﺪ ﻟﻐﲑ اﻟﻌﺮب داﻟﺔ ﻋﻠﻰ‬
‫اﳌﻄﻌﻢ واﳌﺸﺮب واﳌﻠﺒﺲ واﺣﺘﻔﺎﻻﻬﺗﻢ‪ ،‬وﺄﺗﺛﺮ‬
‫اﻟﻌﻤﻖ واﻟﺘﺄﻣﻞ‪ ،‬وﺗﻮرد اﺳﺘﺸﻬﺎدات ﺑﻔﻼﺳﻔﺔ‬
‫اﻟﻌﺮب ﺄﺑﺳﺎﻟﻴﺐ اﳊﻴﺎة اﻟﱵ وﺟﺪوﻫﺎ ﰲ اﻟﺒﻠﺪان‬
‫إﺧﻮان اﻟﺼﻔﺎ وﺗﺮﺑﻄﻬﻢ ﺎﺑﻟﻌﻬﺪ اﻟﺼﻔﻮي ﰲ إﻳﺮان‬
‫اﻟﱵ ﻓﺘﺤﻮﻫﺎ ﻣﻌﻠﻮم ﻻ ﳛﺘﺎج ﺑﻴﺎن‪ ،‬ﻟﻜﻦ‬
‫ﻛﻤﺎ ﰲ ﻣﺸﻬﺪ )‪.(37‬‬
‫اﻹﺷﻜﺎل اﻟﺬي ﺗﻘﺪﻣﻪ ﺑﻌﺾ ﻣﺸﺎﻫﺪ إﻣﻴﻠﻲ‬
‫وﻣﻦ اﻹﺷﻜﺎﻻت اﻟﺜﻘﺎﻓﻴﺔ اﻟﱵ ﳝﻜﻦ اﺳﺘﻨﺘﺎﺟﻬﺎ‬ ‫ﻣﻨﺒﺖ اﻟﺼﻠﺔ‬
‫ّ‬ ‫ﺳﻴﻠﻮف ّأ�ﺎ ِّ‬
‫ﺗﺼﻮر اﻟﺒﻐﺪادي‬
‫ﻣﻦ ﻋﻤﻞ إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﰲ ﻫﺬا اﻟﻜﺘﺎب اﳌﻮﻗﻒ‬ ‫ﻓﱰﺳﻢ أﺎﺑ ﻧﻮاس ﰲ‬‫ﺑﺘﺎرﳜﻪ اﻟﻌﺮﰊ وإرﺛﻪ اﻟﺜﻘﺎﰲ‪ُ ،‬‬
‫ﻣﻦ اﳍﺰل ﰲ اﻟﱰاث اﻟﻌﺮﰊ‪ ،‬واﳌﺰج ﺑﻴﻨﻪ وﺑﲔ‬ ‫ﻣﺸﻬﺪ )‪ (94‬ﻻ ﻳﻌﺮف اﻟﻨﺎﻗﺔ‪ ،‬وﻻ أﺳﻠﻮب‬
‫ٍ‬
‫وذﻟﻮل ﻹﺛﺒﺎت‬ ‫ٍ‬
‫ﺻﻌﺐ‬ ‫ﻛﻞ‬ ‫ِ‬ ‫اﳊﻴﺎة ﰲ اﻟﺼﺤﺮاء إﻻ ﻣﻦ ﺧﻼل ﻣﺎ ﻳﺮد ﰲ‬
‫ﺐ ّ‬‫اﳉ ّﺪ؛ إذ ﺗﺮَﻛ ُ‬
‫ﺟﺎداً ﻋﻠﻰ‬
‫أن ﺑﻐﺪاد ﱂ ﺗﻜﻦ ﳎﺘﻤﻌﺎً ّ‬ ‫ﻓﻜﺮﻬﺗﺎ ّ‬ ‫اﻟﺸﻌﺮ ﺗﺼﻮﻳﺮاً ﻻ ﻋﻼﻗﺔ ﻟﻪ ﺑﻮاﻗﻌﻪ أو واﻗﻊ اﻟﻨﺎس‬
‫اﻟﺪوام‪ ،‬وأ�ﺎ ﻛﺎﻧﺖ ﳎﺘﻤﻌﺎً ﻣﻠﻴﺌﺎً ﺎﺑﳌﺘﻊ‬ ‫ﰲ ﺑﻐﺪاد‪ ،‬وﻣﻮﻗﻒ أﰊ ﻧﻮاس ﻣﻦ ﺗﻘﺎﻟﻴﺪ اﻟﻘﺼﻴﺪة‬
‫واﳊﻔﻼت واﻟﺒﻬﺠﺔ‪ ،‬وﻗﺪ أﻓﻀﻰ ﺎﺑﻟﻜﺎﺗﺒﺔ إﱃ‬ ‫اﻟﻄﻠَﻠِﻴﱠﺔ ﻣﻌﻠﻮم أﻳﻀﺎً وﻻ ﳛﺘﺎج إﱃ ﻣﺰﻳﺪ ﺑﻴﺎن‪،‬‬
‫اﻻﺳﺘﻄﺮاد واﻟﺘﻤﺎﻫﻲ ﻣﻊ ﺗﺘﺒﱡ ِﻊ اﳌﺮح‪ ،‬وﺗﺴﻘﻂ‬ ‫إﻻ أَ ﱠن ﰲ ﻫﺬا اﻟﺮﺑﻂ ﺑﲔ أﰊ ﻧﻮاس اﳌﻌﺮوف‬
‫أﺧﺒﺎر اﻟﺴﺨﻒ وأﺑﻴﺎت اﳍﺰل واﺠﻤﻟﻮن اﻟﺬي‬ ‫ﺑﺴﺨﺮﻳﺘﻪ ﻣﻦ ﺗﻘﺎﻟﻴﺪ اﻟﻘﺼﻴﺪة اﻟﻌﺮﺑﻴﺔ اﻟﻘﺪﳝﺔ‬
‫ﻣﻠﻚ ﻋﻠﻴﻬﺎ ﻓﻜﺮﻫﺎ‪ ،‬وﻫﺬا ﻣﺎ ﻻ ﲣﻄﺌﻪ اﻟﻌﲔ ﰲ‬ ‫واﻟﻮﻗﻮف ﻋﻠﻰ اﻷﻃﻼل ﺧﻠﻂ ﺑﲔ ﻣﻮﻗﻒ أﰊ‬
‫أﻛﺜﺮ ﻣﻮاﻃﻦ اﻟﻜﺘﺎب؛ واﺳﺘﻤﺮت ﰲ ﻫﺬا اﳌﻨﻬﺞ‬ ‫ﻧﻮاس اﳋﺎص ﺎﺑﺧﺘﻴﺎراﺗﻪ اﻟﻔﻨﻴﺔ ﰲ ﺷﻌﺮﻩ‪ ،‬وﺑﲔ‬
‫ﺣﱴ ﻋﻨﺪﻣﺎ ﻛﺎﻧﺖ ﲢﺎول أَ ْن ِ‬
‫ﺗﺼﻒ ﻓﻜﺮةً ﺟﺎدةً؛‬ ‫ﻣﻮﻗﻒ اﻟﺒﻐﺪادﻳﲔ ‪-‬ﻋﻤﻮﻣﺎً‪ -‬ﻣﻦ إرث اﻟﻌﺮب‬
‫اﻟﺴﺨﻒ واﳍﺰل‪ ،‬ﻓﻤﺜﻼ ﰲ‬ ‫ب إﻟﻴﻬﺎ ﱡ‬ ‫إِ ْذ ﱠ‬
‫ﻳﺘﺴﺮ ُ‬ ‫اﻟﺜﻘﺎﰲ واﳊﻀﺎري‪ ،‬وﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ ﺗُ ِ‬
‫ﻈﻬ ُﺮ‬
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‫اﻟﺬي ﺗﺮﺳﻢ ﻓﻴﻪ اﳉﺎﺣﻆ زاﺋﺮاً ﺧﻴﻤﺔ ﺑﺪوي ﻳﺴﺄﻟﻪ‬ ‫ﻣﺸﻬﺪ ‪ 17‬و‪ 27‬اﻟﻔﻜﺮة ﺑﺴﻴﻄﺔ ﻣﻔﺎدﻫﺎ أن‬
‫ﻋﻦ اﺳﻢ ﻃﺎﺋﺮ ﻓﻴﺠﻴﺒﻪ اﻟﺮﺟﻞ ﰲ ﻳﺪﻳﻪ ﻓﻴﺠﻴﺒﻪ أن‬ ‫اﻟﺸﻌﺮاء ﻛﺎﻧﻮا ﳝﺪﺣﻮن اﳋﻠﻔﺎء ﻣﻨﻮﻫﲔ‬
‫اﲰﻪ "وﻃﻮاط"‪) ،‬وﰲ ﻣﺸﻬﺪ ‪ 61‬ﻓﻜﺮة ﻣﺸﺎﻬﺑﺔ‬ ‫ﺑﻔﻀﺎﺋﻠﻬﻢ ﺑﲔ اﻟﻨﺎس وﰲ اﳌﻘﺎﺑﻞ ﳛﻈﻰ اﻟﺸﺎﻋﺮ‬
‫ﻋﻦ ﻣﻌﲎ ﻛﻠﻤﺔ "ﺧﺬوف"(‪ ،‬ﰒ ﺗﻌﻠﻖ ﰲ ﺧﺎﻧﺔ‬ ‫ﻓﺈن ﻛﺎﻧﺖ اﻟﻌﻄﻴﺔ ﻏﲑ ﺳﻨﻴﺔ ﱠ‬
‫ﻓﺈن‬ ‫ﺑﻌﻄﻴﺔ اﳋﻠﻴﻔﺔ‪ْ ،‬‬
‫)اﳊﻘﻴﻘﺔ( ﲢﺖ اﻟﺮﲰﺘﲔ أن أﻫﻞ اﳌﺪن ﻛﺎﻧﻮا‬ ‫ﳛﻮل ﻣﺪﺣﻪ إﱃ ﻫﺠﺎء‪ .‬ﻟﻜﻦ اﻟﻜﺎﺗﺒﺔ‬ ‫اﻟﺸﺎﻋﺮ ﻗﺪ ّ‬
‫ﻳﺮﲢﻠﻮن إﱃ اﻟﺼﺤﺮاء ﻟﺘﻘﻮﻳﺔ ﻟﻐﺘﻬﻢ‪ ،‬واﻟﺘﻌﻠﻢ ﻣﻦ‬ ‫وﻛﺄ�ﺎ ﻻ ﺗﻌﺮف ﻣﻦ ﻣﻌﺎﱐ اﳍﺠﺎء إﻻ ﻣﺎ اﺗﺼﻞ‬
‫ﻓﺼﺎﺣﺔ اﻷﻋﺮاب‪ ،‬ﰒ ﺗﺘﺴﺎءل ﻫﻞ ﳝﻜﻦ أن‬ ‫ﺎﺑﻟﺴﻘﻮط اﻟﻠﻔﻈﻲ‪ ،‬ﻓﺘﺠﻌﻠﻪ ﻳﺼﻒ ﰲ ﻫﺠﺎﺋﻪ‬
‫ﻳﻜﻮن ﺳﻜﺎن اﻟﺒﻮادي ﻗﺪ ﻛﺎﻧﻮا ﻳﺼﻨﻌﻮن اﻟﻜﻼم‬ ‫ﺿﺮاط اﳋﻠﻴﻔﺔ‪ ،‬ﰒ ﺗﺼﻮر اﳋﻠﻴﻔﺔ ﻋﺎﺗﺒﺎً ﻋﻠﻴﻪ ﰲ‬
‫وﻳﻜﺬﺑﻮن ﻋﻠﻰ زاﺋﺮﻳﻬﻢ وﻳﺰﻳﻔﻮن اﻷﻟﻔﺎظ‪.‬‬ ‫اﳌﺸﻬﺪ اﻵﺧﺮ‪ ،‬وﻳﻬﺪﻳﻪ ﻛﺴﻮة ﺗﻌﺠﺒﻪ‪ ،‬ﻓﻴﺤﻮل‬
‫اﻋﺘﺪوا‬
‫وأﺷﺎرت إﱃ أن ﳓﻮﻳﻲ اﻟﻜﻮﻓﺔ ﻗﺪ ّ‬ ‫وﳛﻮل ﺿﺮاط اﳋﻠﻴﻔﺔ إﱃ‬‫اﻟﺸﺎﻋﺮ ﻫﺠﺎﺋﻪ ﻣﺪﺣﺎً‪ّ ،‬‬
‫ﺄﺑﻋﺮاب اﻟﺒﺎدﻳﺔ ﻣﺼﺪراً ﻟﻐﻮ�ً ﻣﻮﺛﻮﻗﺎً‪ ،‬وإﻣﻴﻠﻲ‬ ‫ﺿﺮاط أﻋﺪاﺋﻪ اﻟﺒﻴﺰﻧﻄﻴﲔ ‪ -‬ﻣﻨﺎﻓﺴﻲ ﺑﻐﺪاد ﰲ‬
‫ﺳﻴﻠﻮف ﻬﺑﺬا اﻟﺘﺴﺎؤل ﺗﺒﺪو ﻣﺜﲑة ﻟﺒﻌﺾ‬ ‫ﻋﻈﻤﺘﻬﺎ‪ -‬اﻟﺬﻳﻦ ﺗﺼﻴﺒﻬﻢ اﻟﺮﻋﺪة ﻣﻦ ذﻛﺮﻩ‬
‫اﻟﺸﻜﻮك ﺣﻮل ﻣﻮﺛﻮﻗﻴﺔ ﻣﺎ ﻳﻨﻘﻞ ﻋﻦ اﻟﻠﻐﺔ ﻣﻦ‬ ‫وﻫﻴﺒﺘﻪ‪ ،‬وﺗﺴﺘﺜﻤﺮ ﻫﺬا ﰲ ﺳﻴﺎق اﳊﺪﻳﺚ ﻋﻦ‬
‫اﻷﻋﺮاب ﺑﺸﻜﻞ ﻋﺎم‪ ،‬ﺧﺼﻮﺻﺎً ﰲ ﻫﺬا اﻟﺴﻴﺎق‬ ‫ﺳﻴﺎق اﻟﺼﺮاع ﺑﲔ اﳊﻀﺎرﺗﲔ! وﺗﺰﻳﺪ اﻟﻔﻜﺮة‬
‫ﺷﻚ أن ﻣﺜﻞ اﳌﺴﻠﻚ ﻫﺬا ﻟﻪ أﺛﺮﻩ‬ ‫اﳍﺰﱄ‪ ،‬وﻻ ّ‬ ‫ﺳﺨﻔﺎً ﺣﻴﻨﻤﺎ ﺗﺴﺘﻄﺮد ﰲ ﻫﺬا اﻟﺴﻴﺎق وﺗﺴﺄل‬
‫ﻋﻠﻰ اﻟﻘﺎرئ اﻟﻌﺎم واﻟﻴﺎﻓﻊ ﻋﻠﻰ وﺟﻪ اﻟﺘﺤﺪﻳﺪ‪.‬‬ ‫– وإِ ْن ﻋﻠﻰ ﺳﺒﻴﻞ اﳍﺰل – ﻣﻦ ﻛﺎن أﻃﻮل‬
‫ﺿﺮاﻃﺎً ‪ ...‬اﻟﻌﺒﺎﺳﻴﻮن أم اﻟﺒﻴﺰﻧﻄﻴﻮن؟ وﻛﺄن ﻓﻜﺮة‬
‫وﻗﺪ ﻻ ﻳﺘﻀﺢ ﻣﻮﺿﻊ اﻹﺷﻜﺎل ﺎﺑﻟﻨﻈﺮ إﱃ ﻫﺬا‬
‫اﻟﺘﻨﺎﻓﺲ ﺑﲔ اﳊﻀﺎرﺗﲔ واﻟﻘﻮﺗﲔ اﻟﻌﺴﻜﺮﻳﺘﲔ ﻻ‬
‫اﳌﺸﻬﺪ وﺣﺪﻩ‪ ،‬وﻟﻜﻦ ﺣﻴﻨﻤﺎ ﻧﺘﺎﺑﻊ اﻟﻨﻈﺮ ﰲ‬
‫ﺗﺼﻞ ﺄﺑﻟﻔﺎظ ﻏﲑ ﻫﺬﻩ!‬
‫اﳌﺸﺎﻫﺪ اﻟﺘﺎﻟﻴﺔ‪ ،‬ﻧﺼﻞ ﳌﺎ ﻳﺆﻛﺪ ﻳﻌﺰز وﺟﻮد ﻫﺬا‬
‫�ﺳﺦ ﻛﺘﺐ‬
‫اﻹﺷﻜﺎل‪ ،‬ﻓﱰﺳﻢ ﰲ ﻣﺸﻬﺪ )‪َ (57‬‬ ‫وﻣﻦ اﻹﺷﻜﺎﻻت ﻛﺬﻟﻚ ﻣﺎ ﻳﺆدي إﻟﻴﻪ أﺳﻠﻮب‬
‫ﻧﺼﻪ‪" :‬ﻟﻠﺼﺪاع‪ :‬ﻣﻘﺪارﻳﻦ ﻣﻦ‬
‫ﻃﺒﻴﺔ‪ ،‬وﻛﺘﺒﺖ ﻣﺎ ّ‬ ‫اﻟﻜﺎﺗﺒﺔ ﻣﻦ إﻟﻘﺎء ﻇﻼل اﻟﺸﻚ ﻋﻠﻰ ﻣﻨﺰﻟﺔ‬
‫ﺳﻴﻘﺎن اﻟﺴﻤﻚ وﺑﺬرة ﻣﻦ رأس ﺟﺪة ﺿﻔﺪع!!"‬ ‫اﳊﻀﺎرة اﻟﻌﻠﻤﻴﺔ اﻟﻌﺮﺑﻴﺔ‪ ،‬واﻟﻘﻴﻤﺔ اﻟﻌﻠﻤﻴﺔ ﳌﺎ‬
‫وﺗﻨﺴﺐ ﻟﻠﻨﺎﺳﺦ أﻧﻪ ﻳﻘﻮل‪" :‬ﱂ أﻋﺮف ﻗﺮاءة‬ ‫أﻧﺘﺠﻪ اﻟﻌﺮب ﻣﻦ اﳌﻌﺎرف‪ ،‬وﻣﻮﺛﻮﻗﻴﺔ ﻣﺎ أﻧﺘﺠﻮﻩ‬
‫اﳌﻜﺘﻮب ﻓﺎرﲡﻠﺖ ﻣﻦ ﻋﻨﺪي!"‪ ،‬ﰒ ﺗﻌﻠﻖ ﺄﺑن‬ ‫دوﻧﻮﻩ ﻣﻦ ﻟﻐﺔ؛ إذ ﺗَ ْﺴﺘَـ ْﻔﺘِﺢ ﻓﺼﻞ‬
‫ﻣﻦ ﻋﻠﻢ‪ ،‬وﻣﺎ ّ‬
‫اﻟﻜﺘﺐ ﻛﺎﻧﺖ ﺗﻨﺴﺦ ﲞﻂ اﻟﻴﺪ ﻗﺒﻞ ﻋﺼﺮ‬ ‫اﻟﻌﻠﻮم واﳌﻌﺎرف واﻟﺘﻌﻠﻴﻢ ﺎﺑﳌﺸﻬﺪ رﻗﻢ )‪(55‬‬
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‫وﺗﺴﺘﻤﺮ إﻣﻴﻠﻲ ﰲ ﻫﺬا اﻟﺴﻴﺎق اﻹﺷﻜﺎﱄ‬ ‫اﻟﻄﺒﺎﻋﺔ وأن اﻟﻨﺴﺎخ ﻗﺪ ﳜﻄﺌﻮن‪ ،‬وﻻ ﺷﻚ أن‬
‫ﻓﺘﻘﺘﺒﺲ ﻣﻦ ﺧﲑت ﻓﺎن ﺟﻴﻠﺪر؛ ‪ 74‬ﺣﻴﺚ ﻧﻘﻠﺖ‬ ‫ﻣﺜﻞ ﻫﺬا اﻻﺧﺘﻴﺎر ﻗﺪ ﻳﻘﻮد إﱃ اﻟﺘﺴﺎؤل ﻋﻦ‬
‫ﻋﻨﻪ إﻣﻴﻠﻲ )ﰲ ﻣﺸﻬﺪ‪ (63‬اﻗﺘﺒﺎﺳﺎً ﻋﻦ ﲪﺎﺳﺔ‬ ‫اﺧﺘﻴﺎر إﻣﻴﻠﻲ ﻟﻠﻜﺘﺐ اﻟﻄﺒﻴﺔ ﲢﺪﻳﺪاً ‪ -‬وﻣﻌﻠﻮم‬
‫اﻟﻈﺮﻓﺎء ﻟﻠﺰوزﱐ ﻳﻮرد ﻓﻴﻪ أﻟﻔﺎﻇﺎً ﳐﱰﻋﺔ )اﻟﻌﻀﻨّﻖ‬ ‫أن أﻛﺜﺮﻫﺎ ﻣﻨﺴﻮخ ﻋﻦ اﻟﺴﺮ�ﻧﻴﲔ واﻟﻴﻮ�ﻧﻴﲔ‪-‬‬
‫واﻟﻌﺒﻨّﻖ واﻟﻌﻔﻨّﻖ( وﺗﻔﺴﲑاﻬﺗﺎ‪ ،‬ﰒ ﺗﻌﻠّﻖ ﻋﻠﻰ ذﻟﻚ‬ ‫ادت اﻟﻘﻮل‪ :‬إِ ّن ﺟﻬﺪ اﻟﻌﺮب ﰲ ﻫﺬا‬ ‫ﻓﻬﻞ أر ْ‬
‫ﺄﺑن واﺿﻌﻲ اﳌﻌﺎﺟﻢ اﻟﻌﺮﺑﻴﺔ ﻛﺎﻧﻮا ﻣﻮﻟﻌﲔ ﲜﻤﻊ‬ ‫اﳊﻘﻞ ﻫﻮ اﻟﻨﻘﻞ اﳌﻀﻠّﻞ‪ ،‬ﻟﻌﻠﻮم اﻵﺧﺮﻳﻦ ﻣﻊ‬
‫اﻷﻟﻔﺎظ اﻟﻨﺎدرة واﻟﻐﺮﻳﺒﺔ وذات اﻻﺳﺘﻌﻤﺎﻻت‬ ‫اﳉﻬﻞ ﲟﺎ ﻓﻴﻪ‪ ،‬ﺑﻞ وﺗﻘﺪﳝﻪ ﻣﺸﻮﻫﺎً ﺄﺑﺧﻄﺎء‬
‫اﶈﺪدة‪ ،‬واﻟﻌﺒﺎرة ﰲ ذاﻬﺗﺎ ودون اﻟﻨﻈﺮ إﱃ ﺳﻴﺎﻗﻬﺎ‬ ‫ﻳﻔﺴﺮ ﻋﻠﻰ أ�ﺎ‬ ‫اﻟﻨﺴﺎخ واﺧﱰاﻋﺎﻬﺗﻢ؟! ﻣﺎ ﻗﺪ ﱠ‬
‫ﻻ إﺷﻜﺎل ﻓﻴﻬﺎ‪ ،‬ﻟﻜﻦ إذا روﻋﻲ اﻟﺴﻴﺎق اﻟﻌﺎم‬ ‫ﺗﺼﻮر اﻟﻌﺮب ﻛﺄ�ﻢ ﻻ ﳛﺴﻨﻮن ﻫﺬﻩ اﻟﻌﻠﻮم؛ ﺑﻞ‬ ‫ّ‬
‫واﻷﺳﻠﻮب اﻟﺬي ﻇﻬﺮت ﺑﻪ اﻟﺮﺳﻮﻣﺎت ﻓﻘﺪ‬ ‫ﻫﻢ ﳎﺮد ﻧﻘﻠﺔ ﻣﻀﻠﻠِّﲔ؟! ﻻ ﺷﻚ أن اﻟﺼﻮرة –‬
‫ﺄﺑن اﳉﻤﻊ ﺑﲔ ﻫﺬا اﻟﺘﻌﻠﻴﻖ اﻟﺬي ﻳﺴﻢ‬ ‫ﻳُﺴﺘَـْﻨـﺘَ ُﺞ ﱠ‬ ‫ﻋﻠﻰ ﺳﲑ�ﻟﻴﺘﻬﺎ – ﻗﺪ ﺗﻘﻮد إﱃ ﻫﺬا اﻟﺘﺄوﻳﻞ أو‬
‫ﻣﻨﺤﻰ إﳚﺎﺑﻴﺎً وﺑﲔ اﻟﺮﺳﻢ واﻻﻗﺘﺒﺎس‬ ‫ﻇﺎﻫﺮاً‬ ‫ﺑﻌﺾ ﻣﻨﻪ ﰲ �ﺎﻳﺔ اﳌﻄﺎف‪ ،‬وﻗﺪ ﻳﻘﻮد ﻫﺬا‬ ‫ٍ‬
‫ً‬
‫اﳌﺬﻛﻮر ﻗﺪ أﺧﺮﺟﻪ إﱃ ﺄﺗوﻳﻞ ﺳﺎﺧﺮ ﻳﺴﺘﺴﺨﻒ‬ ‫ﺗﺼﻮر اﻟﻌﺮب أﻣﺔً ﻋﻠﻰ ﻫﺎﻣﺶ‬ ‫اﳌﺴﻠﻚ إﱃ ﱡ‬
‫ﺟﻬﺪ ﺟﺎﻣﻌﻲ اﻟﻠﻐﺔ وﻣﺪوﻧﻴﻬﺎ وﺻﺎﻧﻌﻲ اﳌﻌﺎﺟﻢ‬ ‫اﳊﻀﺎرة واﳌﻌﺮﻓﺔ؛ ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ ﱠأ�ﺎ ﺗﺬﻛﺮ ﰲ‬
‫ﰲ ﺎﺗرﻳﺦ اﻟﻌﺮﺑﻴﺔ‪.‬‬ ‫أن اﻟﻌﺮب اﺳﺘﻌﻤﻠﻮا‬ ‫ﻣﺸﻬﺪ ﻻﺣﻖ رﻗﻢ )‪ّ (80‬‬
‫ﺑﻌﺾ اﳌﺼﻄﻠﺤﺎت اﻟﻄﺒﻴﺔ اﻹﻏﺮﻳﻘﻴﺔ‪ ،‬وأَ ﱠن ِﻣ ْﻦ‬
‫وﻣﻦ اﻹﺷﻜﺎﻻت اﻟﱵ ﳝُْ ِﻜ ُﻦ ﻋﺰوﻫﺎ إﱃ ﳏﺎوﻟﺔ‬
‫أن ﺣﻔﻈﺘﻬﺎ ﻛﺘﺒﻬﻢ اﻟﻌﺮﺑﻴﺔ؛ ﻓﺎﺳﺘﺜﻤﺮﻫﺎ‬ ‫ﻓﻀﻠﻬﻢ ْ‬
‫إﻣﻴﻠﻲ اﻻﻧﺘﺼﺎر ﻟﻠﻤﻴﻮل اﻟﺸﺨﺼﻲ اﻟﻨﺎﺑﻊ ﻣﻦ‬
‫اﻟﻄﺐ اﳊﺪﻳﺚ ﰲ أوروﺎﺑ‪ ،‬وﲤﺜِّ ُﻞ ﻋﻠﻰ ذﻟﻚ‬
‫ﻟﻠﺨﻄﻴﺐ اﻟﺒﻐﺪادي اﻟﺬي ﻋﺎﻳﺸﺖ أﻋﻤﺎﻟﻪ ﻛﺜﲑاً‬
‫ﺑﺒﻌﺾ اﳌﻔﺮدات اﳌﺴﺘﻌﻠﻤﺔ ﰲ ﻫﺬﻩ اﻟﻜﺘﺐ‪،‬‬
‫ﻣﺎ ﺗﺬﻛﺮﻩ ﰲ اﳍﺠﻮم ﻋﻠﻰ اﳊﻨﺎﺑﻠﺔ ﰲ ﺗﺼﻮﻳﺮﻫﺎ‬
‫وﺗﺸﲑ ﰲ ﻣﺸﻬﺪ ﻻﺣﻖ )‪ (116‬إﱃ ﻧﺒﻮغ ﺣﻨﲔ‬
‫ﳍﻢ ﺎﺑﻟﺘﺨﺮﻳﺐ وﺗﻜﺴﲑ آﻻت اﻟﻄﺮب‪ ،‬وإراﻗﺔ‬
‫ﺑﻦ إﺳﺤﺎق ﰲ اﻟﻄﺐ‪ ،‬وﺟﻬﺪﻩ ﰲ اﻟﱰﲨﺔ‪ ،‬وﻻ‬
‫اﳋﻤﻮر‪ ،‬و�ﺐ اﻷﻣﻮال‪ ،‬وﺿﺮب اﳌﺨﺎﻟﻒ‬
‫ﺗُﻐﻔﻞ اﻹﺷﺎرة إﱃ ﻣﺴﻴﺤﻴّﺘﻪ‪.‬‬
‫ﻏﲑ اﻟﺒﺎرﻋﺔ )‪ (clumsiness‬أو اﻟﺸﺎذة )‪ (oddities‬ﰲ‬ ‫‪ 74‬ﺗﻈﻬﺮ ﰲ ﺑﻌﺾ أﲝﺎث ﻓﺎن ﺟﻴﻠﺪر اﳌﺒﻜﺮة إﺷﺎرات ﻋﻠﻰ‬
‫اﻟﻘﺮآن اﻟﻜﺮﱘ‪ ،‬وﺗﱪﻳﺮﻫﻢ ﱠ‬
‫ﺄﺑن ﳍﺎ ﻗﻴﻤﺔ أدﺑﻴﺔ‪ ،‬ﻳﻨﻈﺮ‪:‬‬ ‫اﻟﺘﻌﺎﻣﻞ ﻣﻊ اﻟﱰاث اﻟﻌﺮﰊ ﺑﻨﻮع ﻣﻦ ﻋﺪم اﻟﻠﺒﺎﻗﺔ ‪-‬ﻛﻤﺎ أراﻫﺎ‪-‬‬
‫‪Geert Jan van Gelder, ‘The Abstracted Self in‬‬ ‫وﻣﻦ ذﻟﻚ ﻣﺎ أوردﻩ ﻋﻦ ﺑﻼﻏﺔ اﻟﻘﺮآن اﻟﻜﺮﱘ وأﺳﻠﻮب‬
‫‪Arabic Poetry’ in: Journal of Arabic Literature,‬‬
‫‪1983, vol. 14 (1983), pp. 22-30 (p.24).‬‬ ‫اﻻﻟﺘﻔﺎت ﻓﻴﻪ اﻟﺬي ﻋﺰاﻩ إﱃ ﳏﺎوﻟﺔ اﻟﺒﻼﻏﻴﲔ ﺄﺗوﻳﻞ اﻷﺳﺎﻟﻴﺐ‬
‫‪173‬‬
‫وﻟﻌﻞ ﺗﻌﻠﻴﻘﻬﺎ ﺑﻌﺪ ﻣﺸﻬﺪ )‪ (106‬اﻟﺬي‬ ‫اﳌﺴﻠﻢ وﺣﺒﺴﻪ‪ ،‬واﻋﺘﺪاﺋﻬﻢ ﻋﻠﻰ ﺳﻠﻄﺔ اﳊﺎﻛﻢ‬
‫اﺳﺘﻘﺖ ﻣﺎ رﲰﺘﻪ ﻓﻴﻪ ﻣﻦ أﺧﺒﺎر اﳊﻤﻘﻰ ﻻﺑﻦ‬ ‫اﻟﺸﺮﻋﻲ‪ ،‬وﺗﺪﺧﻠﻬﻢ ﰲ ﺣﻴﺎة اﻟﻨﺎس وﺷﺆون‬
‫اﳉﻮزي ﻋﻦ رﺟﻞ ﻳﺪﻏﺪغ ﻧﻔﺴﻪ ﻷﻧﻪ ﳏﺘﺎج‬ ‫ﺣﻴﺎﻬﺗﻢ وﻣﻌﺎﺷﻬﻢ‪ ،‬وﺗﻠﺼﺼﻬﻢ ﻋﻠﻰ اﻟﺒﻴﻮت‪ ،‬ﰒ‬
‫ﻟﻠﻀﺤﻚ‪ ،‬ﺣﻴﺚ أﺷﺎرت إﱃ ﻋﺪم إﻋﺠﺎﻬﺑﺎ ﺎﺑﺑﻦ‬ ‫ﺗﺴﺘﺸﻬﺪ ﺎﺑﻟﱪﻬﺑﺎري ‪ 75‬وأﺗﺒﺎﻋﻪ وﺗﺸﲑ إﻟﻴﻬﻢ‬
‫اﳉﻮزي اﻟﺬي ﳜﻠﻂ اﳉﺪ ﺎﺑﳍﺰل! وﻛﺎن ﻳﻘﺪح ﰲ‬ ‫ﺎﺑﳊﻨﺎﺑﻠﺔ‪) ،‬ﻣﺸﻬﺪ ‪ ،(35‬وﻫﺬا ﻣﺜﺎر إﺷﻜﺎل ﻻ‬
‫ﻣﻘﺎم اﳍﺰل ﰲ ﺧﺼﻮﻣﻪ وﻳﻘﺪﻣﻪ ﰲ ﻣﻌﺮض ﺳﺎﺧﺮ‬ ‫ﺳﻴّﻤﺎ وأﺗﺒﺎع ﻫﺬا اﳌﺬﻫﺐ ﻟﻴﺴﻮا ﻛﻠﻬﻢ ﻋﻠﻰ ﻫﺬا‬
‫أو ﻫﺎزل ﰒ ﺗﺸﲑ إﱃ أﻧﻪ ﺣﻨﺒﻠﻲ وﻣﺒﻐﺾ ﻷﰊ‬ ‫اﻟﻨﻬﺞ‪ ،‬ﻣﺎ ﳚﻌﻠﻨﺎ ﻧﺘﺴﺎءل ﻋﻦ اﳍﺪف ﻣﻦ ﻫﺬا‬
‫اﻟﻘﺎﺳﻢ اﻟﺒﻐﺪادي وﺗﺸﲑ إﱃ أن اﻟﺒﻐﺪادي ﻛﺎن‬ ‫اﻟﺮﺑﻂ وﻫﺬا اﻟﺘﻮﺻﻴﻒ‪ ،‬وﺗﻘﺪﳝﻪ ﳍﺬﻩ اﻟﺸﺮﳛﺔ ﻣﻦ‬
‫وﻳﻀﻤﻦ ﻣﺸﺎﻫﺪﻩ‬ ‫أﻳﻀﺎً ﻣﺒﻐﻀﺎً ﻟﻠﺤﻨﺎﺑﻠﺔ ِّ‬ ‫اﻟﻘﺮاء؟! ﺧﺎﺻﺔً إذا ﻗُﺮئ ﻫﺬا اﻟﺘﻮﺻﻴﻒ ﻣﺘﺼﻼً‬
‫اﻟﺴﺎﺧﺮة رﺳﺎﺋﻞ ﻣﺒﻄﻨﺔً وﺗﻜﻮن ﻫﻲ اﳌﻘﺼﻮدة‬ ‫ﲟﺎ ﺟﺎء ﺑﻌﺪﻩ ﰲ اﳌﺸﻬﺪ اﻟﺘﺎﱄ )ﻣﺸﻬﺪ ‪(36‬؛‬
‫ﻗﺪﻣﺘﻪ إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﰲ ﻛﺘﺎﻬﺑﺎ‬‫ﻛﺄن ﻣﺎ ّ‬
‫ﺿﻤﻨﻴﺎً! و ّ‬ ‫ﺣﻴﺚ ﺗﺮﺳﻢ ﺻﻮرة ﻣﺴﺘﻮﺣﺎة ﻣﻦ رﺳﺎﻟﺔ اﳉﺎﺣﻆ‬
‫ﳜﺘﻠﻒ ﻋﻤﺎ ﻛﺮﻫﺘﻪ ﻋﻨﺪ اﺑﻦ اﳉﻮزي‪ .‬وﳝﻜﻦ‬ ‫"اﻟﺮد ﻋﻠﻰ اﻟﻨﺼﺎرى"‪ ،‬وﻋﺠﺰﻩ ﻋﻦ ﻓﻬﻢ اﻟﺪ�ﻧﺔ‬
‫إن اﺗﺼﺎل اﻟﻜﺎﺗﺒﺔ اﳌﺴﺘﻤﺮ ﺑﻜﺘﺐ‬ ‫اﻟﻘﻮل‪ّ :‬‬ ‫اﻟﻨﺼﺮاﻧﻴﺔ‪ ،‬وﳏﺎوﻟﺘﻪ اﺳﺘﻴﻌﺎب ﻋﻘﻴﺪﻬﺗﺎ ﻋﻦ ﻃﺮﻳﻖ‬
‫ﺗﺘﺒﲎ ﻣﺎ‬
‫اﻟﺘﻄﻔﻴﻞ وﺻﺎﺣﺒﻬﺎ ﳚﻌﻠﻬﺎ أﻗﺮب إﱃ أن ّ‬ ‫ﺳﺆال ﻓﺮق ﳐﺘﻠﻔﺔ ﻣﻦ اﻟﻨﺼﺎرى ﻋﻦ ﻃﺒﻴﻌﺘﻬﺎ‬
‫�ﰐ ﻓﻴﻬﺎ ﻣﻦ ﻣﻮاﻗﻒ ﺿﻤﻨﻴﺔ ﺳﻮاء ﻗﺼﺪت‬ ‫وﻓﻬﻤﻬﻢ ﻟﻔﺤﻮاﻫﺎ‪ ،‬وﺗﻌﻠّﻖ ﻋﻠﻰ ذﻟﻚ ﺄﺑن اﻟﻌﻠﻤﺎء‬
‫ﻟﺬﻟﻚ أم ﱂ ﺗﻘﺼﺪ‪ ،‬واﶈﺼﻠﺔ اﻟﻨﻬﺎﺋﻴﺔ ﻋﻨﺪ اﳌﺘﻠﻘﻲ‬ ‫اﳌﺴﻠﻤﲔ ﻛﺎﻧﻮا ﳛﺎورون أﺗﺒﺎع اﻷد�ن اﻷﺧﺮى‬
‫ﻫﻲ ﻏﻠﺒﺔ اﻟﺼﻮرة اﻟﺴﻠﺒﻴﺔ اﻟﱵ ﺗﺮﲰﻬﺎ ﻣﺸﺎﻫﺪﻫﺎ‬ ‫وﳚﺎدﻟﻮن ﺑﻠﻄﻒ‪ ،‬وﻻ ﲣﻄﺊ اﻟﻌﲔ ﻫﺬﻩ اﳌﻔﺎرﻗﺔ‬
‫ﻋﻦ اﳊﻨﺎﺑﻠﺔ ﻗﺪﳝﺎً واﻣﺘﺪادﻫﻢ ﰲ اﻟﻌﺼﺮ اﳊﺪﻳﺚ‪.‬‬ ‫ﰲ اﻟﺘﻌﺎﻣﻞ اﳌﺘﺒﺎﻳﻦ ﻣﻊ اﳌﺨﺎﻟﻒ اﳌﺴﻠﻢ‪،‬‬
‫وﻣﻦ اﻹﺷﻜﺎﻻت اﻟﺜﻘﺎﻓﻴﺔ اﻟﱵ ﺗﻈﻬﺮ ﰲ اﻟﻜﺘﺎب‬ ‫واﳌﺨﺎﻟﻒ ﻏﲑ اﳌﺴﻠﻢ‪.‬‬
‫ﻛﺬﻟﻚ ﻣﺎ �ﰐ ﰲ ﺳﻴﺎق ﳏﺎوﻟﺔ إﻣﻴﻠﻲ ﺗﺼﻮﻳﺮ‬
‫ﻣﺴﻜﻮﻳﻪ‪ :‬ﲡﺎرب اﻷﻣﻢ‪ ،‬ﲢﻘﻴﻖ‪ :‬آﻣﺪروز‪ ،‬اﻟﻘﺎﻫﺮة‪،1914 ،‬‬ ‫‪ 75‬اﻹﻣﺎم أﺑﻮ ﳏﻤﺪ اﻟﱪﻬﺑﺎري ﺻﺎﺣﺐ ﻛﺘﺎب "ﺷﺮح اﻟﺴﻨﺔ"‪،‬‬
‫ج ‪ ،1‬ص‪ ،323 – 322 :‬وﺎﺗرﻳﺦ اﺑﻦ اﻷﺛﲑ‪،113/7 ،‬‬ ‫ﻛﺎن ﻋﻠﻰ ﻣﺎ ﻳﺒﺪو ﻗﻮ�ً ﰲ اﻟﺘﺤﺬﻳﺮ ﻣﻦ اﻟﺒﺪع وإﻧﻜﺎر اﳌﻨﻜﺮ‬
‫وﺳﻠﻄﺎن اﻟﻌﻤﲑي‪ ،‬ﺗﻌﻘﺒﺎت ﻋﻠﻰ ﻛﺘﺎب "ﺷﺮح اﻟﺴﻨﺔ" ﻟﻺﻣﺎم‬ ‫ﻣﺮد‬
‫‪ ،‬ﻓﺎﻬﺗﻤﻪ ﺧﺼﻮﻣﻪ ﲟﺨﺎﻟﻔﺔ اﻟﻌﻘﻴﺪة اﻹﺳﻼﻣﻴﺔ‪ ،‬ورﲟﺎ ﻳﻜﻮن ﱡ‬
‫اﻟﱪﻬﺑﺎري‪ ،‬ﻣﻮﻗﻊ اﻷﻟﻮﻛﺔ‪ ،‬ﻧﺸﺮ ﺑﺘﺎرﻳﺦ ‪،2013 /10 /26‬‬ ‫اﻷﺧﺬ ﻋﻠﻴﻪ وﻋﻠﻰ أﺻﺤﺎﺑﻪ اﻟﺸﺪة ﰲ إﻧﻜﺎر اﳌﻨﻜﺮ‪ ،‬واﻧﺘﻬﻰ‬
‫ﻋﻠﻰ اﻟﺮاﺑﻂ‪:‬‬ ‫أﻣﺮﻩ وأﻣﺮ أﺻﺤﺎﺑﻪ أ�م اﳋﻠﻴﻔﺔ اﻟﺮاﺿﻲ‪ ،‬وﻟﻠﺘﻮﺳﻊ ﰲ أﻣﺮﻫﻢ‪،‬‬
‫‪/https://majles.alukah.net/t122344‬‬ ‫وﻣﺎ ﻧﻘﻠﻪ اﺑﻦ ﻣﺴﻜﻮﻳﻪ واﺑﻦ اﻷﺛﲑ ﰲ ﺷﺄ�ﻢ ﻳﻨﻈﺮ‪ :‬اﺑﻦ‬
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‫ﳊﻤﺎد ﻋﺠﺮد؛‬
‫ﻛﺎن أول ﺣﻴﺎﺗﻪ ﻻﻫﻴﺎً‪ ،‬ﻣﻼزﻣﺎً ّ‬ ‫ﺗﻘﺎرب اﻷد�ن ﰲ ﺑﻐﺪاد؛ وﻟﻜﻦ ﺑﻄﺮﻳﻘﺔ ﲤﻴﻴﻊ‬
‫ﺣﻴﺚ ﺗﺮﺳﻢ إﻣﻴﻠﻲ ﺳﻴﻠﻮف ﰲ )ﻣﺸﻬﺪ ‪(39‬‬ ‫ﺗﺼﻮر ﰲ‬ ‫اﻷﺣﻜﺎم اﻟﻔﻘﻬﻴﺔ اﳌﻌﺮوﻓﺔ؛ إذ ّ‬
‫اﳋﻤﺮ ﻳﺸﺮﺑﻮن اﳉﺎﻟﺴﻮن ﻗﺎﺋﻠﲔ إ�ﻢ ﻳﺘﺒﻌﻮن رأي‬
‫َ‬ ‫)ﻣﺸﻬﺪ‪ (33‬اﻟﺸﻌﺮاء اﳌﺴﻠﻤﲔ ﻳﺰورون اﻷدﻳﺮة‪،‬‬
‫أﰊ ﺣﻨﻴﻔﺔ ﰲ اﳋﻤﺮ!‬ ‫وﻳﺴﺘﻤﺘﻌﻮن ﻓﻴﻬﺎ ﺑﺸﺮب اﳋﻤﺮ ﺑﺮﻓﻘﺔ اﻟﻐﻠﻤﺎن‬
‫وﰲ ﺳﻴﺎق اﻟﺘﻤﻴﻴﻊ ﻛﺬﻟﻚ ﳒﺪﻫﺎ ﺗﺼﻒ ﰲ‬ ‫اﻟﻨﺼﺮاﻧﻴﲔ اﻟﻈﺮﻓﺎء‪ ،‬ﺗﺰﺟﻴﺔ ﻟﻠﻮﻗﺖ‪ ،‬ﻣﻌﻠِّﻘﺔً ّأ�ﻢ‬
‫ﺑﻼط اﳋﻼﻓﺔ ﰲ ﺑﻐﺪاد اﻟﺬي ﻛﺎن‬ ‫)ﻣﺸﻬﺪ ‪َ (84‬‬ ‫ﻛﺎﻧﻮا ﳚﺪون أﻧﻔﺴﻬﻢ ﻫﻨﺎك أﻗﺮب إﱃ ﷲ!‬
‫ﺎت ﻷﻣﺮاض اﻟﻨﺴﺎء‬ ‫ِ‬ ‫ﻌﺪ إﱃ اﻵﻳﺔ "و ﱠ‬
‫ﻟﺘﺠﺪن أﻗﺮﻬﺑﻢ‬ ‫ﻛﺄ�ﺎ ﺗﺸﲑ ِﻣﻦ ﺑ ٍ‬
‫و ﱠ‬
‫ـﺠ ٌ‬ ‫ﻗﺎﺑﻼت وﻣﻌﺎﻟ َ‬
‫ٌ‬ ‫ﻓﻴﻪ‬ ‫ُ ْ ُ‬
‫واﻟﻮﻻدة‪ ،‬وﰲ اﻟﻮﻗﺖ ﻧﻔﺴﻪ ﻛﺎن ﻫﻨﺎك أﻃﺒﺎء‬ ‫ﻣﻮدة ﻟﻠﺬﻳﻦ آﻣﻨﻮا اﻟﺬﻳﻦ ﻗﺎﻟﻮا ّإ� ﻧﺼﺎرى ‪،"...‬‬
‫ً‬
‫رﺟﺎل‪ ،‬وﺗﻌﻠّﻖ ﺄﺑﻧﻪ ﱂ ﻳﻜﻦ ﻣﻦ اﳌﺴﺘﻐﺮب أن‬ ‫وﻳُﻠﻤﺢ ِﻣ ْﻦ ﻫﺬا اﻟﺘﻮﻇﻴﻒ ﺄﺗﺛﲑُ اﳍﺰل واﻟﺴﺨﻒ‬
‫ﻳﻔﺤﺺ اﻟﺮﺟﺎل أﻋﻀﺎء اﻟﻨﺴﺎء اﻟﺘﻨﺎﺳﻠﻴﺔ‬ ‫ﰲ اﻟﺘﻼﻋﺐ ﺑﺘﻮﻇﻴﻒ اﳌﻌﲎ اﻟﻠﻐﻮي ﻟﻘﺮب ﻣﻮدة‬
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‫ﻟﻌﻞ اﳌﻨﻄﻠﻖ اﻟﺬي ﺗﻨﻄﻠﻖ‬‫ّ‬ ‫و‬ ‫ﻷﻏﺮاض ﻃﺒﻴﺔ!‬ ‫اﻟﻨﺼﺎرى إﱃ اﻗﱰاب اﳌﺴﻠﻤﲔ ﻣﻦ اﻟﻨﺼﺎرى‬
‫ﻣﻨﻪ اﻟﻜﺎﺗﺒﺔ ﻫﻮ ﻧﻔﺴﻪ اﻟﺬي ﺑﻨﺖ ﻋﻠﻴﻪ ﺳﺎﺋﺮ‬ ‫ﻛﺬﻟﻚ ﻣﻦ ﺧﻼل ﳑﺎرﺳﺎﻬﺗﻢ وﺳﻠﻮﻛﻴﺎﻬﺗﻢ وز�رة‬
‫اﻟﻜﺘﺎب‪ :‬أن اﳊﻀﺎرة اﻟﻌﺒﺎﺳﻴﺔ ﰲ ﺑﻐﺪاد ﻛﺎﻧﺖ‬ ‫أﻣﺎﻛﻦ ﻋﺒﺎدﻬﺗﻢ‪.‬‬
‫ﻣﺘﺸﺪدة ﰲ‬
‫ً‬ ‫ﻣﻠﻴﺌﺔً ﺎﺑﳌﺘﻌﺔ واﻟﺘﺴﺎﻣﺢ‪ ،‬وﱂ ﺗﻜﻦ‬ ‫وﻻ ﳜﻔﻰ ﻣﺎ ﻳَ ِﺸﻲ ﺑﻪ ﺗﻐﻴﻴﺐ اﻟﺘﻤﻴﻴﺰ ﺑﲔ ﻣﺎ ﻫﻮ‬
‫ﺷﻲء اﻟﺒﺘﺔ؛ ﺣﱴ ﻟﻮ ﻛﺎن ذﻟﻚ ﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ‬ ‫ﳛﻞ ﻓﻴﻪ وﻣﺎ ﳛﺮم‪،‬‬‫ﻣﻦ اﻟﺪﻳﻦ وﻣﺎ ﻟﻴﺲ ﻣﻨﻪ‪ ،‬وﻣﺎ ﱡ‬
‫ﺄﺑﺣﻜﺎم اﻟﺪﻳﻦ‪ ،‬واﻟﻌﺒﺎدات‪ ،‬واﳌﻌﺎﻣﻼت‪،‬‬ ‫اﺿﺢ‬
‫ﻴﻴﻊ و ٍ‬ ‫وﻣﺎ ﰲ ﺑﻌﺾ ﻫﺬﻩ اﳌﻨﻄﻠﻘﺎت ﻣﻦ ﲤ ٍ‬
‫واﻟﻌﻼﻗﺎت‪ .‬وﻟﻌﻠﻬﺎ اﺟﺘﻬﺪت ﻓﻴﻤﺎ اﺧﺘﺎرت‬ ‫ﻷﺣﻜﺎم اﻟﺪﻳﻦ وآ�ﺗﻪ اﻟﻮاﺿﺤﺔ ﻛﻤﺎ ﻓﻌﻠﺖ ﻋﻨﺪ‬
‫وأﺛﺒﺘﺖ‪ ،‬ﻓﺄﺻﺎﺑﺖ وأﺧﻄﺄت ﺣﺴﺒﻤﺎ ﺑﻴﻨﺎﻩ ﰲ‬ ‫ﰲ ﻣﺸﺎﻫﺪ ُﺷﺮب اﳋﻤﺮ؛ إذ ﺗﺴﺘﺜﻤﺮ إﻣﻴﻠﻲ ﻣﺎ‬
‫اﳌﺒﺎﺣﺚ اﻷرﺑﻌﺔ ﰲ ﻫﺬﻩ اﻟﻮرﻗﺔ‪.‬‬ ‫ورد ﻣﻦ اﺧﺘﻼﻓﺎت ﺑﲔ اﻷﺣﻨﺎف وﻏﲑﻫﻢ ﻣﻦ‬
‫ﻓﺼﻠﻮﻫﺎ‬
‫اﻟﻔﻘﻬﺎء ﰲ اﻟﻨﺒﻴﺬ وأﻧﻮاﻋﻪ واﻷﺣﻜﺎم اﻟﱵ ّ‬
‫أن أﺎﺑ ﺣﻨﻴﻔﺔ‬‫ﰲ ﻛﺘﺒﻬﻢ ﺣﻮل ذﻟﻚ‪ ،‬وﻣﺎ ﺟﺎء ﻣﻦ ﱠ‬
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‫وﺗﻘﺪﻳﺮﻫﺎ ﺑﻘﺪرﻫﺎ‪ ،‬وﻟﻴﺲ ﺎﺑﻹﻃﻼق اﻟﺬي ﻋﺮﺿﺘﻪ اﻟﻜﺎﺗﺒﺔ ﻫﻨﺎ‪.‬‬ ‫) ‪Peter‬‬ ‫اﻋﺘﻤﺪت ﺎﺑﻧﺘﻘﺎﺋﻴﺔ ﻋﻠﻰ ﲝﺚ ﻟﺒﻴﱰ ﺑﻮرﻣﺎن‬
‫ْ‬
‫ﻳﻨﻈﺮ‪:‬‬ ‫أﺷﺎرت إﻟﻴﻪ ﻣﺮﺟﻌﺎً؛ ﻣﻊ أﻧﻪ ﻳﻘﺪم ﻋﺪداً ﻣﻦ‬
‫‪ ،(Pormann‬و ْ‬
‫;‪Peter E Pormann, ‘The Art of Medicine‬‬ ‫اﳌﻮاﻗﻒ اﻟﱵ ﺗﻈﻬﺮ ﺗﺒﺎﻳﻨﺎً ﰲ اﳌﺼﺎدر اﻟﱰاﺛﻴﺔ ﺣﻮل اﲡﺎﻫﺎت‬
‫‪Female patients and practitioners in medieval‬‬
‫‪Islam’ in Perspectives, The Lancet, vol. 373‬‬ ‫اﻷﻃﺒﺎء واﳌﺮﺿﻰ ﰲ اﻟﺘﻌﺎﻣﻞ اﻟﻄﱯ ﻣﻊ اﳉﻨﺲ اﻵﺧﺮ‪ ،‬وﺗﺒﲔ‬
‫‪May 9, 2009, pp. 1598-99.‬‬
‫ﺑﻮﺿﻮح وﺟﻮد آراء ﻗﻮﻳﺔ ﺣﻮل ﺗﻘﻴﻴﺪ ذﻟﻚ ﺎﺑﻟﻀﺮورة اﻟﻄﺒﻴﺔ‬
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‫ﺗﺒﲔ أن ﻋﻤﻠﻬﺎ )اﳉﺎﺣﻆ وأﺑﻮ ﻧﻮاس( ﻗﺪ‬ ‫ﻛﻤﺎ ّ‬ ‫اﳋﺎﲤﺔ‪:‬‬

‫ﺑﺘﺤﻮﻻت وﺳﺎﺋﻄﻴﺔ ﻣﺘﻌﺪدة‪ ،‬إذ ﻛﺎن ﰲ‬ ‫ّ‬ ‫ﻣﺮ‬
‫ّ‬ ‫ﻋﺮﺿﻨﺎ ﰲ ﻫﺬﻩ اﻟﻮرﻗﺔ ﻟﺘﻮﻇﻴﻒ إﻣﻴﻠﻲ ﺳﻴﻠﻮف‬
‫أﺻﻠﻪ ﻣﻨﺸﻮرات ﻳﻮﻣﻴﺔ ﻋﻠﻰ ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ‬ ‫ﻟﻠﺸﺨﺼﻴﺎت اﻟﱰاﺛﻴﺔ اﻟﻌﺮﺑﻴﺔ ﰲ أدب اﻟﻴﺎﻓﻌﲔ‬
‫اﻻﺟﺘﻤﺎﻋﻲ‪ ،‬أﻧﺘﺞ ﰲ ﺳﻴﺎﻗﺎت رﲟﺎ ﱂ ﺗﻜﻦ ﻣﻌﻴﻨﺔ‬ ‫ﺎﺑﻟﻠﻐﺔ اﻹﳒﻠﻴﺰﻳﺔ ﻣﻦ ﺧﻼل ﻛﺘﺎﻬﺑﺎ‪) :‬اﳉﺎﺣﻆ‬
‫ﻋﻠﻰ أن ﻳﻈﻬﺮ اﻟﻌﻤﻞ ﺧﺎﻟﻴﺎً ﻣﻦ اﳌﺆﺛﺮات‬ ‫وأﺑﻮ ﻧﻮاس‪ :‬ﻣﺌﺔ وﻋﺸﺮون ﻳﻮﻣﺎً ﰲ ﺑﻐﺪاد اﻟﻘﺮون‬
‫اﳋﺎرﺟﻴﺔ؛ ﻓﺴﻴﺎق إﻏﻼق ﻣﻨﺎﺷﻂ اﳊﻴﺎة أو ﺣﻈﺮ‬ ‫اﻟﻮﺳﻄﻰ(‪ ،‬ﻟﺘﻘﺪﱘ ﻗﺮاءة ﻧﻘﺪﻳﺔ ﻟﺘﺠﺮﺑﺘﻬﺎ‪،‬‬
‫اﻟﺘﻨﻘﻞ واﻟﺘﺠﻮال ﺑﺴﺒﺐ ﺟﺎﺋﺤﺔ ﻛﻮرو�‪ ،‬أﺳﻬﻢ‬ ‫وﻣﻘﺎرﺑﺘﻬﺎ ﺎﺑﻟﻨﻈﺮ إﱃ اﻋﺘﻤﺎدﻫﺎ ﻋﻠﻰ اﺳﱰاﺗﻴﺠﻴﺔ‬
‫ﰲ ﺧﻠﻖ ﻣﻨﺎخ ﻣﻦ اﻟﻘﻠﻖ واﻹﺣﺒﺎط ودﻓﻊ اﻟﻜﺎﺗﺒﺔ‬ ‫اﻟﺘﻘﺮﻳﺐ ﰲ ﺗﻘﺪﱘ اﻟﺸﺨﺼﻴﺎت اﻟﱰاﺛﻴﺔ إن ﻋﻠﻰ‬
‫‪ -‬ﻋﻠﻰ ﻣﺎ ﻳﺒﺪو‪ -‬ﻻﺧﺘﻴﺎر أﻛﺜﺮ ﻣﻮﺿﻮﻋﺎت‬ ‫ﻣﺴﺘﻮى اﻻﺧﺘﻴﺎرات اﻟﻠﻐﻮﻳﺔ أو اﳌﻀﺎﻣﲔ اﻟﻔﻜﺮﻳﺔ‬
‫ﻣﻨﺸﻮراﻬﺗﺎ ورﺳﻮﻣﺎﻬﺗﺎ ﳑﺎ ﻟﻪ ﺻﻠﺔ ﺎﺑﳍﺰل ﳏﺎوﻟﺔ‬ ‫واﻟﺜﻘﺎﻓﻴﺔ‪ ،‬وﻛﻴﻒ أﺳﻬﻢ ذﻟﻚ ﰲ ﻇﻬﻮر اﳌﻨﺘﺞ‬
‫ﺑﺬﻟﻚ ﺑﺚ اﳌﺮح‪ ،‬ورﺳﻢ اﻟﺒﺴﻤﺔ ﻋﻠﻰ اﻟﺸﻔﺎﻩ‬ ‫اﻟﻨﻬﺎﺋﻲ ﻟﻠﻘﺮاء اﻟﻴﺎﻓﻌﲔ‪ ،‬وﺣﺎوﻟﻨﺎ اﺳﺘﺠﻼء‬
‫واﻧﺘﺰاع إﻋﺠﺎب ﻣﺘﺎﺑﻌﻴﻬﺎ ﰲ وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ‬ ‫ﻣﻈﺎﻫﺮ اﻹﺟﺎدة وﻣﻮاﻃﻦ اﻹﺷﻜﺎل ﰲ ﻫﺬا‬
‫اﻻﺟﺘﻤﺎﻋﻲ‪ ،‬وأدى ذﻟﻚ ﰲ ﻏﻠﺒﺔ اﳌﺴﻠﻚ اﳍﺎزل‬ ‫اﻟﻌﻤﻞ وﺗﻘﻮﳝﻬﺎ‪.‬‬
‫ﺣﱴ ﻋﻨﺪ ﺗﻨﺎوﳍﺎ ﻟﻠﻘﻀﺎ� ذات اﻟﻄﺎﺑﻊ اﳉﺎد‪،‬‬ ‫ﺗﺒﲔ أن ﻫﺬا ﱂ ﻳﻜﻦ اﻟﻌﻤﻞ اﻷول ﻟﻠﺒﺎﺣﺜﺔ‬ ‫وﻗﺪ ّ‬
‫اﳉﺎدة‪ ،‬ورﺳﻢ ﺻﻮر‬
‫ﻧﺘﺞ ﻋﻨﻪ ﺗﺴﺨﻴﻒ اﳌﻮاﻗﻒ ّ‬ ‫ﻣﻦ ﺣﻴﺚ اﻋﺘﻤﺎدﻫﺎ ﻋﻠﻰ دﻋﻢ أﻓﻜﺎرﻫﺎ اﳌﺒﺜﻮﺛﺔ‬
‫ﳕﻄﻴﺔ ﻣﺴﻴﺌﺔ أﺣﻴﺎ�ً‪ ،‬وﻣﻀﻄﺮﺑﺔ ﻗﻠﻘﺔ ﰲ أﺣﻴﺎن‬ ‫ﰲ اﻟﻨﺼﻮص ﺑﺮﺳﻮﻣﺎت ﺗﻮﺿﻴﺤﻴﺔ ذات ﻃﺎﺑﻊ‬
‫أﺧﺮى‪.‬‬ ‫)ﻛﺎرﺗﻮﱐ( ﻓﻘﺪ ﺳﺒﻖ أن ﻓﻌﻠﺖ ذﻟﻚ ﰲ ﻛﺘﺎﻬﺑﺎ‬
‫أن ﺟﻬﺪ اﻟﺒﺎﺣﺜﺔ‬‫وﻣﻊ ذﻟﻚ ﻻﺑﺪ أن ﻧﺸﲑ إﱃ ﱠ‬ ‫اﻟﺬي ﺻﺪر ﻋﺎم ‪2012‬م )ﳐﺘﺎرات ﻣﻦ ﻓﻦ‬
‫ﰲ ﺗﻘﺪﱘ اﻷدب اﻟﻌﺮﰊ وﺷﺨﺼﻴﺎﺗﻪ إﱃ اﻟﻘﺎرئ‬ ‫اﻟﺘﻄﻔﻴﻞ(‪ ،‬وﻇﻬﺮ أن ﻃﻮل ﻣﻌﺎﻳﺸﺔ اﻟﺒﺎﺣﺜﺔ‬
‫ﻣﻘﺪر وذو أﳘﻴﺔ‬‫ﻳﻈﻞ ﻋﻤﻼً ّ‬
‫اﻹﳒﻠﻴﺰي اﻟﻴﺎﻓﻊ ﱡ‬ ‫ﳌﻮﺿﻮع اﻟﺘﻄﻔﻴﻞ وﻣﺎ اﺗﺼﻞ ﺑﻪ ﻣﻦ أدب وأﺧﺒﺎر‬
‫ﺎﺑﻟﻐﺔ‪ ،‬وﺟﺎء ﺑﻄﺮﻳﻘﺔ ﻏﲑ ﻣﺄﻟﻮﻓﺔ‪ ،‬إن ﰲ أﺳﻠﻮﺑﻪ‬ ‫وأﺷﻌﺎر وﻣﻮاﻗﻒ‪ ،‬إﺿﺎﻓﺔ إﱃ اﻫﺘﻤﺎﻣﺎﻬﺗﺎ اﻟﺒﺤﺜﻴﺔ‬
‫أو ﻏﺎﻳﺘﻪ أو ﲨﻬﻮرﻩ اﳌﺨﺎﻃﺐ ﺑﻪ‪ ،‬وﻫﺬا ﻣﺎ‬ ‫ﻏﲑ اﳌﺄﻟﻮﻓﺔ ﻛﺎن ﳍﺎ دور ﰲ ﺗﻜﻮﻳﻦ ﺗﺼﻮراﻬﺗﺎ‬
‫ﺟﻌﻠﻨﺎ ﻧﺘﺘﺒﱠﻌﻪ ﺎﺑﻟﺪرس واﻟﺘﺤﻠﻴﻞ؛ إﳝﺎ�ً ﺄﺑﳘﻴﺔ‬ ‫اﳋﺎﺻﺔ ﻋﻦ ﺣﻴﺎة اﻟﺒﻐﺪادﻳﲔ واﳊﻀﺎرة اﻟﻌﺒﺎﺳﻴﺔ‪،‬‬
‫ﺗﻘﻮﳝﻪ واﻹﺷﺎرة إﱃ ﻣﻮاﻃﻦ اﻹﺷﻜﺎل ﻓﻴﻪ‪،‬‬ ‫ﻓﺠﺎء ﻧﻘﻠﻬﺎ وﲤﺜﻴﻠﻬﺎ ﳍﺎ ﻣﻦ زاوﻳﺔ ﻧﻈﺮ واﺣﺪة‬
‫وﺗﺼﻮﻳﺐ ﻣﺎ ﳝﻜﻦ ﺗﺼﻮﻳﺒﻪ ﻣﻨﻬﺎ؛ ﻻﺳﻴﻤﺎ وأن‬ ‫ﻳﺆﺧﺬ ﻋﻠﻴﻬﺎ اﻻﺟﺘﺰاء‪.‬‬
‫ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻷﻋﻤﺎل ﻳُﻜﺘﺐ ﳍﺎ اﻟﺬﻳﻮع‬
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‫اﳉﻨﺴﻲ‪ ،‬واﳌﻨﻄﻠﻘﺎت اﻟﻨﺴﻮﻳﺔ اﻟﱵ ﻛﺎﻧﺖ ﲢﺎول‬ ‫واﻻﻧﺘﺸﺎر‪ ،‬وﺗﺆﺛﺮ ﰲ أﻃﻴﺎف ﻣﺘﻌﺪدة ﻣﻦ اﻟﻘﺮاء؛‬
‫ﻓﺮﺿﻬﺎ ﻋﻠﻰ اﻟﺴﻴﺎق اﻟﺜﻘﺎﰲ اﻟﻌﺮﰊ اﻟﻘﺪﱘ ﺑﻄﺮﻳﻘﺔ‬ ‫ﻻﻋﺘﻤﺎدﻫﺎ وﺳﺎﺋﻂ ذات ﲨﺎﻫﲑﻳﺔ ﻋﺎﻟﻴﺔ‪.‬‬
‫ﻏﲑ ﻋﻠﻤﻴﺔ‪.‬‬ ‫إن ﲤﺜﻴﻞ اﻷﻓﻜﺎر اﻷدﺑﻴﺔ ﰲ ﻗﺎﻟﺐ ﻣﺮﺳﻮم ٍّ‬
‫ﲢﺪ‬
‫وأﺧﲑاً‪ :‬ﻻ ﺗﺰال ﺟﻬﻮد اﳌﱰﲨﲔ واﻟﺒﺎﺣﺜﲔ ﻣﻦ‬ ‫ﻛﺒﲑ؛ ﺑﺼﺮف اﻟﻨﻈﺮ ﻋﻦ ﻛﻔﺎءة اﻟﺒﺎﺣﺜﺔ أو‬
‫ﺧﺎرج اﻟﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﻴﺔ دون اﳌﺄﻣﻮل ﰲ اﻟﻘﺪرة ﻋﻠﻰ‬ ‫ﻗﺪراﻬﺗﺎ ﰲ اﻟﺮﺳﻢ واﻟﺘﺼﻮﻳﺮ‪ ،‬وﻟﻌﻞ اﺟﺘﻬﺎد‬
‫ﻓﻬﻢ اﳌﻀﺎﻣﲔ اﻟﺜﻘﺎﻓﻴﺔ اﻟﺪﻗﻴﻘﺔ‪ ،‬واﻻﺳﺘﻌﺪاد‬ ‫اﻟﺒﺎﺣﺜﺔ ﰲ اﺳﺘﺨﻼص أﻓﻜﺎرﻫﺎ ﻣﻦ ﺧﻴﺎﻻت‬
‫ﺣﺴﻨﺖ‬‫ﻟﺘﻘﺒّﻠﻬﺎ‪ ،‬وﻧﻘﻠﻬﺎ ﻧﻘﻼً ﺻﺎدﻗﺎً‪ ،‬ﻣﻬﻤﺎ ُ‬ ‫اﻷدﺎﺑء وﳎﺎزات اﻟﺸﻌﺮاء ﻓﺎﻗﻢ ﻣﻦ ﺻﻌﻮﺑﺔ اﳌﻬﻤﺔ‬
‫اﻟﻨﻮا�‪ ،‬وﺑُﺬﻟﺖ ﻣﻦ ﺟﻬﻮد؛ وﻟﺬا ﻓﻘﺪ ﳛﺴﻦ ﺑﻨﺎ‬ ‫ﻓﺠﺎءت ﻛﺜﲑ ﻣﻦ ﻣﺸﺎﻫﺪﻫﺎ ﳐﺘﻠﺔ ﻣﻨﻬﺠﻴﺎً‪ ،‬وﱂ‬
‫اﻟﺘﻤﺜﱡﻞ ﻫﻨﺎ ﺑﻘﻮل اﻟﺸﺎﻋﺮ‪:‬‬ ‫ﻳـُ ْﻐ ِﻦ ﻋﻨﻬﺎ اﻟﺸﺮح أو اﻟﺘﻌﻠﻴﻖ‪ ،‬ﺑﻞ زاد اﻷﻣﺮ‬
‫ﺜﻞ ِ‬
‫ﻇﻔﺮ َك‬ ‫ﻚ َ ِ‬ ‫ﻣﺎ َﺣ ﱠ‬
‫ﺟﻠﺪك ﻣ ُ‬ ‫ﺻﻌﻮﺑﺔ ﺣﻴﻨﻤﺎ ﻛﺎﻧﺖ ﺗﻀﻊ ﺗﻌﻠﻴﻘﺎﻬﺗﺎ وﺷﺮوﺣﺎﻬﺗﺎ‬
‫ﲨﻴﻊ ِ‬
‫أﻣﺮ َك‬ ‫أﻧﺖ َ‬ ‫ﱠ‬
‫ﻓﺘﻮل َ‬ ‫ﲢﺖ ﻋﻨﻮان )ﺣﻘﻴﻘﺔ( وﲞﺎﺻﺔ ﻋﻨﺪﻣﺎ ﺗﻜﻮن ﻫﺬﻩ‬
‫اﳊﻘﺎﺋﻖ اﳌﻔﱰﺿﺔ ﻻ ﻋﻼﻗﺔ ﳍﺎ ﺑﻮﻗﺎﺋﻊ اﻟﺘﺎرﻳﺦ‬
‫أن ﻳﻨﻬﺾ اﻟﻌﺎرﻓﻮن اﻟﻘﺎدرون ﻣﻦ‬
‫اﳌﺆﻣﻞ ْ‬
‫وإن ﱠ‬‫ﱠ‬
‫وأﺣﺪاﺛﻪ‪ ،‬وإﳕﺎ ﻣﻨﺒﻌﻬﺎ اﳋﻴﺎل اﻷدﰊ واﺠﻤﻟﺎزات‬
‫أﺑﻨﺎء اﻟﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﻴﺔ ﺑﻮاﺟﺒﻬﻢ ﰲ ﺗﻘﺪﱘ اﻟﱰاث‬
‫اﻟﻠﻐﻮﻳﺔ‪.‬‬
‫اﻟﻌﺮﰊ ﻟﻠﻘﺎرئ اﻷﺟﻨﱯ؛ ﻣﻦ ﺧﻼل ﺗﺮﲨﺔ‬ ‫ﻛﻤﺎ ﻇﻬﺮ إﺷﻜﺎل ﻣﻨﻬﺠﻲ آﺧﺮ ﰲ ﺗﻮﻇﻴﻒ‬
‫اﻷﻋﻤﺎل اﻟﱵ ﻳُﺘﻐﻴّﺎ ﻣﻨﻬﺎ ﻧﻘﻞ ﺻﻮرة اﳊﻀﺎرة‬ ‫اﻟﺒﺎﺣﺜﺔ ﺟﻮاﻧﺐ اﻟﺘﺸﺎﺑﻪ ﺑﲔ ﺑﻌﺾ ﻣﺎ وﺟﺪﺗﻪ ﰲ‬
‫اﻟﻌﺮﺑﻴﺔ اﻟﻘﺪﳝﺔ‪ ،‬وﺷﺨﺼﻴﺎﻬﺗﺎ‪ ،‬وﺗﺮاﺛﻬﺎ‪ ،‬ﻟﻔﺌﺎت‬ ‫اﳌﺼﺎدر اﻟﱰاﺛﻴﺔ اﻟﻘﺪﳝﺔ‪ ،‬واﳌﻮاﻗﻒ اﻟﻔﻜﺮﻳﺔ‬
‫اﻟﻘﺮاء ﻛﺎﻓﺔً؛ ﺑﺼﻮرة ﺗﻨﺎﺳﺐ اﳌﻨﺠﺰ اﳊﻀﺎري‬ ‫اﳊﺪﻳﺜﺔ‪ ،‬ﻟﺘﺤﺎول إﺛﺒﺎت وﺟﻮد ﻇﻮاﻫﺮ اﺟﺘﻤﺎﻋﻴﺔ‬
‫اﻟﺬي أﺿﺎﻓﺘﻪ اﻷﻣﺔ اﻟﻌﺮﺑﻴﺔ ﻟﺴﺠﻞ اﳊﻀﺎرة‬ ‫وﻓﻜﺮﻳﺔ وﺛﻘﺎﻓﻴﺔ ﻣﻌﻴﻨﺔ وﺄﺗﻛﻴﺪ ﺣﻀﻮرﻫﺎ اﻟﺒﺎرز‬
‫وﻣﺮﻛﺰﻳّﺘﻬﺎ ﰲ اﳊﻀﺎرة اﻟﻌﺒﺎﺳﻴﺔ‪ ،‬وﻗﺪ ﺑﻴّﻨﺎ ذﻟﻚ‬
‫اﻹﻧﺴﺎﻧﻴﺔ‪.‬‬
‫ﰲ ﻧﻘﺎﺷﻨﺎ ﳌﺎ أﺎﺛرﺗﻪ ﺣﻮل ﻇﺎﻫﺮة اﻟﺸﺬوذ‬
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‫اﳌﺮاﺟﻊ اﻟﻌﺮﺑﻴﺔ‬
‫ﺳﻠﻴﻢ‪.‬‬ ‫ﺑﻦ‬ ‫ﷲ‬ ‫ﻋﺒﺪ‬ ‫اﻟﺮﺷﻴﺪ‪،‬‬ ‫اﻵﰊ‪ ،‬ﻣﻨﺼﻮر ﺑﻦ اﳊﺴﲔ اﻟﺮازي‪ ،‬أﺑﻮ ﺳﻌﺪ‪،‬‬
‫)‪1442‬ﻫـ‪2021/‬م( ﺗﺪوﻳﻦ اﺠﻤﻟﻮن ﰲ‬ ‫)‪١٤٢٤‬ﻫـ‪٢٠٠٤ /‬م(‪ .‬ﻧﺜﺮ اﻟﺪر ﰲ‬
‫اﻟﱰاث اﻟﻌﺮﰊ‪ :‬ﻋﺮض وﻛﺸﻒ وﺄﺗوﻳﻞ‪.‬‬ ‫اﶈﺎﺿﺮات‪ .‬ﲢﻘﻴﻖ‪ :‬ﺧﺎﻟﺪ ﻋﺒﺪ اﻟﻐﲏ‬
‫ﻋﻤﺎن‪ :‬دار ﻛﻨﻮز اﳌﻌﺮﻓﺔ ﻟﻠﻨﺸﺮ واﻟﺘﻮزﻳﻊ‪.‬‬ ‫ﳏﻔﻮظ‪ .‬ﺑﲑوت‪ :‬دار اﻟﻜﺘﺐ اﻟﻌﻠﻤﻴﺔ‪،‬‬
‫اﻟﺮﺷﻴﺪي‪ ،‬ﺑﺪر‪ .‬وﺣﺎﻓﻆ‪ ،‬وﻓﻴﺼﻞ‪) .‬ﺳﺒﺘﻤﱪ‬ ‫اﳊﺼﺮي‪ ،‬أﺑﻮ إﺳﺤﺎق إﺑﺮاﻫﻴﻢ ﺑﻦ ﻋﻠﻲ‬
‫‪2016‬م(‪ .‬واﻗﻊ اﳋﺮاﻓﺔ واﻷﺳﻄﻮرة‪:‬‬ ‫اﻷﻧﺼﺎري‪1372) .‬ﻫـ‪1953 /‬م(‪.‬‬
‫دراﺳﺔ ﺎﺗرﳜﻴﺔ ﻣﻘﺎرﻧﺔ ﺑﲔ ﻛﺘﺎﰊ ﻋﺠﺎﺋﺐ‬ ‫ﲨﻊ اﳉﻮاﻫﺮ ﰲ اﳌﻠﺢ واﻟﻨﻮادر‪ .‬ﲢﻘﻴﻖ‪:‬‬
‫اﳍﻨﺪ ﻟﺒﺰرك ﺑﻦ ﺷﻬﺮ�ر وﲢﻔﺔ اﻟﻨﻈﺎر ﰲ‬ ‫ﻋﻠﻲ ﳏﻤﺪ اﻟﺒﺠﺎوي‪ .‬اﻟﻘﺎﻫﺮة‪ :‬دار إﺣﻴﺎء‬
‫ﻏﺮاﺋﺐ اﻷﻣﺼﺎر ﻻﺑﻦ ﺑﻄﻮﻃﺔ‪ ،‬ﺣﻮﻟﻴﺎت‬ ‫اﻟﻜﺘﺐ اﻟﻌﺮﺑﻴﺔ‪.‬‬
‫آداب ﻋﲔ ﴰﺲ‪-334 :(44) ،‬‬ ‫ﲪﺪاوي‪ ،‬ﲨﻴﻞ‪) .‬ﻳﻮﻟﻴﻮ ‪2018‬م(‪" .‬ﻗﺮاءة‬
‫‪.352‬‬ ‫ﺟﺪﻳﺪة‪ :‬اﻟﻘﺮاءة اﳌﻴﺪﻳﻮﻟﻮﺟﻴﺔ أو اﻟﻘﺮاءة‬
‫ﺳﺒﻂ اﺑﻦ اﳉﻮزي‪ ،‬ﴰﺲ اﻟﺪﻳﻦ أﺑﻮ اﳌﻈﻔﺮ‬ ‫اﻟﻮﺳﺎﺋﻄﻴﺔ"‪ .‬دراﺳﺎت ﻣﻌﺎﺻﺮة‪ .‬اﳌﺮﻛﺰ‬
‫ﻳﻮﺳﻒ ﺑﻦ ﻗِْﺰأُوﻏﻠﻲ ﺑﻦ ﻋﺒﺪ ﷲ‪.‬‬ ‫اﳉﺎﻣﻌﻲ اﻟﻮﻧﺸﺮﻳﺴﻲ ﺗﻴﺴﻤﺴﻴﻠﺖ )ﳐﱪ‬
‫)‪1434‬ﻫـ‪2013/‬م(‪ .‬ﻣﺮآة اﻟﺰﻣﺎن ﰲ‬ ‫اﻟﺪراﺳﺎت اﻟﻨﻘﺪﻳﺔ واﻷدﺑﻴﺔ اﳌﻌﺎﺻﺮة(‪2 .‬‬
‫ﺗﻮارﻳﺦ اﻷﻋﻴﺎن‪ .‬ﲢﻘﻴﻖ‪ :‬ﳏﻤﺪ ﺑﺮﻛﺎت‬ ‫)‪.349-339 :(2‬‬
‫ﻛﺎﻣﻞ ﳏﻤﺪ اﳋﺮاط‪ ،‬وآﺧﺮون‪ .‬دﻣﺸﻖ‪:‬‬ ‫دوﺑﺮﻳﻪ‪ ،‬رﳚﻴﺲ‪) .‬أﻏﺴﻄﺲ ‪1991‬م(‪.‬‬
‫دار اﻟﺮﺳﺎﻟﺔ اﻟﻌﺎﳌﻴﺔ‪.‬‬ ‫وﺣﻘﻬﺎ‬ ‫اﻟﻮﺳﺎﺋﻄﻴﺔ‬ ‫اﳌﻴﺪﻳﻮﻟﻮﺟﻴﺎ‬
‫ﺳﻌﻴﺪ‪ ،‬إدوارد‪2006) .‬م(‪ .‬اﻻﺳﺘﺸﺮاق‪:‬‬ ‫ﺎﺑﻻﺳﺘﻘﻼل‪ .‬ﺗﺮﲨﺔ‪ :‬ﻣﺮﻛﺰ اﻹﳕﺎء اﻟﻘﻮﻣﻲ‪،‬‬
‫اﳌﻔﺎﻫﻴﻢ اﻟﻐﺮﺑﻴﺔ ﻟﻠﺸﺮق‪ ،‬ﺗﺮﲨﺔ ﳏﻤﺪ‬ ‫ﳎﻠﺔ اﻟﻔﻜﺮ اﻟﻌﺮﰊ اﳌﻌﺎﺻﺮ‪:(90،91) ،‬‬
‫ﻋﻨﺎﱐ‪ .‬اﻟﻘﺎﻫﺮة‪ :‬رؤﻳﺔ ﻟﻠﻨﺸﺮ واﻟﺘﻮزﻳﻊ‪.‬‬ ‫‪.41-30‬‬
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References
‫ أﺑﻮ ﻋﺒﺎس أﲪﺪ ﺑﻦ ﻋﺒﺪ اﳌﺆﻣﻦ ﺑﻦ‬،‫اﻟﺸﺮﻳﺸﻲ‬
‫ﱡ‬
Agius, Dionisius A. (2020). "Where Facts
and History Meet Myth and Legend: .(‫م‬2006/‫ﻫـ‬1427) .‫اﻟﻘْﻴﺴﻲ‬
َ ‫ﻣﻮﺳﻰ‬
Groups or Communities in the Marvels of
India Stories Model". India Quarterly. 76 :‫ ﺑﲑوت‬.2 ‫ ط‬،‫ﺷﺮح ﻣﻘﺎﻣﺎت اﳊﺮﻳﺮي‬
(3): 392-410.
.‫دار اﻟﻜﺘﺐ اﻟﻌﻠﻤﻴﺔ‬
Al-Baghdadi, Abu Bakr Ahmad ibn ‘Ali
Khatib. (2012). Selections from the art of
party-crashing in medieval Iraq. Translated ‫ ﴰﺲ اﻟﺪﻳﻦ ﳏﻤﺪ ﺑﻦ أﰊ ﺑﻜﺮ‬،‫اﺑﻦ ﻗﻴﻢ اﳉﻮزﻳﺔ‬
and illustrated by: Emily Selove. Syracuse,
New York: Syracuse University Press. / ‫ﻫـ‬١٤١٨) .‫ﺑﻦ أﻳﻮب ﺑﻦ ﺳﻌﺪ‬
Cai, Mingshui. (2011). Multicultural :‫ ﲢﻘﻴﻖ‬.‫ أﺣﻜﺎم أﻫﻞ اﻟﺬﻣﺔ‬.(‫م‬١٩٩٧
Literature for Children and Young Adults:
Reflections on critical issues. Westport: ‫ﻳﻮﺳﻒ ﺑﻦ أﲪﺪ اﻟﺒﻜﺮي وﺷﺎﻛﺮ ﺑﻦ‬
Greenwood Press.
Selove, Emily (edr). (2019). Baghdad at
.‫ رﻣﺎدي ﻟﻠﻨﺸﺮ‬:‫ اﻟﺪﻣﺎم‬.‫ﺗﻮﻓﻴﻖ اﻟﻌﺎروري‬
the Centre of a world, 8th-13th Century:
An introductory textbook. Fargo: Tehran .(‫م‬2013 /10 /26) .‫ ﺳﻠﻄﺎن‬،‫اﻟﻌﻤﲑي‬
Press.
"‫ﺗﻌﻘﺒﺎت ﻋﻠﻰ ﻛﺘﺎب "ﺷﺮح اﻟﺴﻨﺔ‬
Selove, Emily. (2021). Popeye and Curly:
120 days in medieval Baghdad. Moorhead, ،‫ ﻣﻮﻗﻊ اﻷﻟﻮﻛﺔ‬،‫ﻟﻺﻣﺎم اﻟﱪﻬﺑﺎري‬
Minnesota: Tehran Press, 2021.
Gelder, Geert Jan van. (1983). "The https://majles.alukah.net/t122344/
Abstracted Self in Arabic Poetry". Journal
of Arabic Literature. 14 (1): 22-30.
.‫ أﺑﻮ اﻟﻌﻼء أﲪﺪ ﺑﻦ ﻋﺒﺪ ﷲ‬،‫اﳌﻌﺮي‬
Heck, Paul L. (2019). "Non-Muslims in
Baghdad and Beyond", Baghdad at the ‫ اﻟﻼﻣﻊ اﻟﻌﺰﻳﺰي‬.(‫م‬2008 /‫ﻫـ‬1429)
Centre of a world, 8th-13th Century: An
introductory textbook, ed. by: Emily ‫ ﳏﻤﺪ ﺳﻌﻴﺪ‬:‫ ﲢﻘﻴﻖ‬.‫ﺷﺮح دﻳﻮان اﳌﺘﻨﱯ‬
Selove. Fargo: Tehran Press.
Kennedy, Hugh. (2006). When Baghdad
‫ ﻣﺮﻛﺰ اﳌﻠﻚ ﻓﻴﺼﻞ‬:‫ اﻟﺮ�ض‬.‫اﳌﻮﻟﻮي‬
Ruled the Muslim World: The rise and fall
of Islam's greatest dynasty. Cambridge: Da
.‫ﻟﻠﺒﺤﻮث واﻟﺪراﺳﺎت‬
Capo Press.
‫ أﺑﻮ ﺑﻜﺮ ﳏﻤﺪ ﺑﻦ إﺑﺮاﻫﻴﻢ ﺑﻦ‬،‫اﻟﻨﻴﺴﺎﺑﻮري‬
.(‫ م‬٢٠٠٤ / ‫ﻫـ‬١٤٢٥) .‫اﳌﻨﺬر‬
:‫ ﲢﻘﻴﻖ‬.‫اﻹﺷﺮاف ﻋﻠﻰ ﻣﺬاﻫﺐ اﻟﻌﻠﻤﺎء‬
:‫ رأس اﳋﻴﻤﺔ‬.‫ﺻﻐﲑ أﲪﺪ اﻷﻧﺼﺎري‬
.‫ﻣﻜﺘﺒﺔ ﻣﻜﺔ اﻟﺜﻘﺎﻓﻴﺔ‬
179
Volume 12, Issue 13, May 2022 https://www.dragoman-journal.org
‫اﻟـﺘــﺮﺟــﻤـــﺔ‬
ISSN: 2295-1210 180 © ATI & Garant

Volume 12, Issue 13, May 2022 https://www.dragoman-journal.org Saeed A. Al-Ghamdy
ّ ْ
:‫َﺳ َﺮﻧ ِﺪ ّﺑﻴﺔ أﻣﺮاء ﺳﺮﻧﺪﻳﺐ اﻟﺜﻼﺛﺔ‬
ّ ‫إﻳﻄﺎﻟﻴﺔ ﻣﻦ ﻋﺼﺮ‬
‫اﻟ��ﻀﺔ‬ ّ ّ ‫ﺣ�ﺎﻳﺎت‬
‫ﻋﺮ�ﻴﺔ �� ﻣﺠﻤﻮﻋﺔ ﻗﺼﺺ ﻗﺼ��ة‬
َْ ْ
‫ ِرﻧ ُﺰو ﺑﺮاﻏﻨ ِتﻴ�ي‬:‫ﺗﺄﻟﻴﻒ‬
‫ ﺳﻌﻴﺪ اﻟﻐﺎﻣﺪي‬:‫ﺗﺮﺟﻤﺔ‬
Abstract
This paper is about the origins of The Peregrinaggio, one of the most widespread
Italian books outside of Italy. One could even go so far as saying that its influence
on western literatures is unparalleled by other Italian Renaissance fiction. The
collection owes its popularity to the explicit exoticism of the plot. And one of the
reasons for the success of the book is that the collection is based upon the
outstanding sagacity of the three princes. While the exoticism made the
Peregrinaggio popular in France, the combination of exoticism with sagacity met
with the tastes of a public like the English, accustomed to the detective novel
Key Words: The Peregrinaggio, Italian Renaissance fiction, Serendipity, Detective

novel.
--------------------------------------------------------
Translator :Saeed bin Abdulaziz Al-Ghamdy, Master's student at Umm Al-Qura
University's Literature department at Arabic language college.
Author: Renzo Bragantini, Full Professor of Italian Literature, "Sapienza" Universit

à di Roma.Lectures and seminars at Harvard University; Yale University; Columbia
University; New York University; Brown University; The Johns Hopkins
University; University of Pennsylvania; University of California-Davis; University
of California, Los Angeles; Arizona State University-Tempe; University of
Virginia; University of Minnesota; University ät Passau, Philipps Universit ät-
Marburg, Universit ät Bonn, Freie Universit ät Berlin (Germany ); Université de
Paris, Sorbonne; University of Edinburgh; University of Sydney; University of
Melbourne; Universidade de São Paulo; University of Toronto (Goggio Lectures);
NUI Galway.
ISSN: 2295-1210 181 © ATI & Garant

‫‪Volume 12, Issue 13, May 2022‬‬ ‫‪https://www.dragoman-journal.org Saeed A. Al-Ghamdy‬‬
‫ّ‬ ‫ْ‬
‫َﺳ َﺮﻧ ِﺪ ّﺑﻴﺔ أﻣﺮاء ﺳﺮﻧﺪﻳﺐ اﻟﺜﻼﺛﺔ‪:‬‬
‫إﻳﻄﺎﻟﻴﺔ ﻣﻦ ﻋﺼﺮ ّ‬
‫اﻟ��ﻀﺔ ‪1‬‬ ‫ّ‬ ‫ﺣ�ﺎﻳﺎت ّ‬
‫ﻋﺮ�ﻴﺔ �� ﻣﺠﻤﻮﻋﺔ ﻗﺼﺺ ﻗﺼ��ة‬
‫ﺗﺮﺟﻤﺔ‪ :‬ﺳﻌﻴﺪ ﺑﻦ ﻋﺒﺪ اﻟﻌﺰ�ﺰ اﻟﻐﺎﻣﺪي‬
‫ّ‬ ‫ّ‬
‫ﺗﺒ�ن ﺻﻔﺤﺔ ﻋﻨﻮا��ﺎ‪ -‬ﻣ��ﺟﻢ �ﺎن ُﻳﺪ��‬ ‫ﺳﺄﺑﺪأ ﺑﺄن ّ‬
‫أﺗﻨﺼﻞ‪ ،‬إذ إ�ﻲ أﻧﺎ اﻷﺳﺘﺎذ �� اﻷدب‬
‫َ‬ ‫ّ‬
‫ﻛﺮ ْﺳﺘﻮﻓﺮاﻷرﻣ�ي‪.‬‬
‫ِ‬
‫اﻹﻳﻄﺎ�� ﻻ أﻋﺮف ﺗﺮاث ّ‬
‫اﻟﺴﺮد اﻟﻌﺮ�ﻲ إﻻ‬
‫ﺑﻮاﺳﻄﺔ‪ ،‬ﻓﻠﻦ آﺑﮫ ﺑﻤﻮﺿﻮع ﻋﺮ�ﻲ ّ‬
‫ﻣﺘﺼﻞ‬
‫وﻣﻦ اﻟﻐﺮ�ﺐ ّأن هﺬﻩ ا�جﻤﻮﻋﺔ ﻳ�ﺎد ﻳﺠهﻠهﺎ ّ‬
‫ﺣ�ى‬ ‫ّ‬
‫ﺑﺎﻟ��اث اﻹﻳﻄﺎ��‪.‬‬
‫"ا�ح ﱠجﺔ" ‪�� 4‬‬
‫أﺳﺎﺗﺬة اﻷدب اﻹﻳﻄﺎ��‪ .‬ﻟﻜﻦ ِ‬
‫ّ‬
‫اﻹﻳﻄﺎﻟﻴﺔ ﺧﺎرج إﻳﻄﺎﻟﻴﺎ‪ .‬ﺑﻞ‬ ‫إﺣﺪى أﺷهﺮ اﻟﻜﺘﺐ‬ ‫اهﺘﻤﺎﻣﻲ هﻮ ﺣﺎدﺛﺔ ‪ �� 2‬ﺑﺪء ‪Peregrinaggio di‬‬
‫ّ ُ‬
‫ّإن اﳌﺮء ﻳ�ﺎد ﻳﺰﻋﻢ أن ﺗﺄﺛ��هﺎ ﻋ�� اﻷدب اﻟﻐﺮ�ﻲ‬ ‫‪tre giovani figliuoli del re di Serendippo 3‬‬
‫ّ‬ ‫ّ‬
‫أي إﺑﺪاع أد�ﻲ إﻳﻄﺎ�� ﻣﻦ ﻋﺼﺮ‬ ‫ﻻ �ﻌﺪﻟﮫ ّ‬ ‫}ح ّجﺔ اﻟﺸ ّﺒﺎن اﻟﺜﻼﺛﺔ أﺑﻨﺎء ﻣﻠﻚ ﺳﺮﻧﺪﻳﺐ{*‪،‬‬ ‫ِ‬
‫ّ ْ ّ‬ ‫ّ‬ ‫ً‬ ‫ُ‬
‫ﺣ�ى ﺑﺎﻧ ِﺪﻟﻮ ‪- Bandello‬اﻟﺬي ﻋﺮف‬ ‫اﻟ��ﻀﺔ‪.‬‬ ‫و�� ﻣﺠﻤﻮﻋﺔ ﻗﺼﺺ ﻗﺼ��ة �ﺸﺮت ّأوﻻ ﻋﺎم‬
‫ﺳﻴﺔ ‪-‬ﻛﻤﺎ‬‫اﻟﺒﻨﺪﻗﻴﺔ‪ ،‬ﺗﺮﺟﻤهﺎ ﻣﻦ اﻟﻔﺎر ّ‬
‫ّ‬ ‫‪1557‬م ��‬
‫ّ‬ ‫ّ ُ‬ ‫* ا�حﻮا�ىي وﻣﺎ ﺑ�ن ﻣﻨﻔﺮﺟﺘ�ن } { �� ّ‬

‫اﻟﻨﺺ ﻣﻦ إﺿﺎﻓﺔ اﳌ��ﺟﻢ‪ ،‬إﻻ ﻣﺎ �ﺴﺐ ﻣﻦ ا�حﻮا�ىي إ�� اﳌﺆﻟﻒ‪.‬‬
‫ُْ ْ‬ ‫ّ‬ ‫ّ‬
‫وأﻧﺘﻮﻧﻼ ِﻏ ْﺮ ِﺳ ّ�ي ‪ Antonella Ghersetti‬وأﻟ ِﺮ�ﺶ‬
‫ِ‬ ‫ﻓﺮ ْد ِرك ُﺑﻮدان ‪ Frédéric Baudin‬وأﺑﻮ ﺑﻜﺮ اﻟﺸﺮاﻳ�ي‬
‫‪” -‬أﺷﻜﺮ اﻷﺳﺎﺗﺬة ِ‬
‫‪1‬‬
‫ﻓﻮرِ�ﻲ ‪Pier Massimo‬‬‫ﻣﺎﺳﻴﻤﻮ ْ‬‫أﻋ�� ﻋﻦ اﻣﺘﻨﺎ�ﻲ ﻟﻸﺳﺎﺗﺬة ﺑﻴ�� ّ‬ ‫ﻣﺎر ُز ْوﻟﻒ ‪ Ulrich Marzolph‬ﻋ�� اﻗ��اﺣﺎ��ﻢ‪ .‬ﻛﻤﺎ ّ‬ ‫ْ‬
‫ّ‬ ‫ﺘﻮر�ﺎ ﻛ ْ�� َﻛﻢ ‪ Victoria kirkham‬ﻋ�� ﻣﺮاﺟﻌ��ﻢ ّ‬ ‫ْ‬
‫ﻧ�ىي اﻹﻧݠﻠ�� ّي“‪) .‬اﳌﺆﻟﻒ(‪.‬‬ ‫وﻓﻜ ْ ِ‬ ‫‪ِ Forni‬‬
‫‪ -2‬أو ﺳﻤﺔ‪.‬‬
‫ّ ُ‬ ‫أﺑﻨﺎء ﳌﻠﻚ ﺳﺮﻧﺪﻳﺐ‪ّ .‬‬ ‫حج أو رﺣﻠﺔ أو ﺳﻔﺮ ﺛﻼﺛﺔ ّ‬ ‫‪ّ -3‬‬
‫وحج هﻨﺎ ﻟهﺎ ذات ﻣﻌ�ى ‪ �� pilgrimage‬اﻹﻧݠﻠ��ﻳﺔ‪ ،‬و�ﺴﺘﺨﺪم‬ ‫ﺷﺒﺎن ٍ‬
‫ﻣﻘﺪس أو ﻣ�ﺎن ﻣﺠهﻮل أو ﻏﺮ�ﺐ ﻟﻼﺳﺘﻜﺸﺎف‪ ،‬وﺗﺤﻤﻞ هﺬﻩ اﻟﺮﺣﻠﺔ ً‬
‫ﻣﻌ�ى‪.‬‬ ‫اﻟﺮﺣﻠﺔ إ�� ﻣ�ﺎن ّ‬ ‫ﻟﻠﺘﻌﺒ�� ﻋﻦ ّ‬
‫اﻟﺮﺣﻠﺔ‪ ،‬أو ا�جﻤﻮﻋﺔ‪.‬‬ ‫ّ‬
‫اﻟﻘﺼﺔ‪ ،‬أو ّ‬ ‫‪ -4‬أو‬
‫‪ISSN: 2295-1210‬‬ ‫‪182‬‬ ‫‪© ATI & Garant‬‬

‫اﻟﺒﻨﺪﻗﻴﺔ؛ ﳌﻮﻗﻌهﺎ ا�جﻐﺮا�� ّ‬

‫اﻟﺴﻴﺎ��ي‪ .‬ﻟﻜﻦ ّﺛﻤﺔ‬ ‫ّ‬ ‫اﻟﻔﺮ�ﺴﻴﻮن ﻋﻤﻠﮫ ‪} 5Novelle‬ﺣ�ﺎﻳﺎت{‪ ،‬ﻋ��‬ ‫ّ‬
‫ّ‬
‫ﺳبﺐ آﺧﺮ ﻟﻨﺠﺎح اﻟﻜﺘﺎب‪.‬‬ ‫ﺑﻮ ْﺳتﺸﻮ ‪ Boaistuau‬ﻟﮫ ��‬ ‫ﻗﻠﺔ‪ ،‬ﻣﻦ ﺗﻨﻘﻴﺢ ِ‬
‫�ﺨﻴﺔ ‪"Histoires Trgiques‬‬ ‫"اﳌﺂ��ي ّ‬
‫اﻟﺘﺎر ّ‬
‫ﻄﻨﺔ ّ‬
‫اﻟﺒيﻨﺔ ﻟﻸﻣﺮاء‬ ‫ُﺑﻨيﺖ ا�جﻤﻮﻋﺔ ﻋ�� اﻟﻔ َ‬
‫ِ‬ ‫ْ‬
‫ً‬ ‫ّ‬ ‫)‪1559‬م(‪ ،‬وﻋﺮﻓﮫ اﻹﻧݠﻠ�� ﻣﻦ ِوﻟ َﻴﻢ َﺑ ْي ْﻨ��‬
‫"ا�ح ﱠجﺔ" ﺷﺎئﻌﺔ ��‬
‫اﻟﺜﻼﺛﺔ‪ ،‬و�ذ ﺟﻌﻠﺖ اﻟﻐﺮاﺑﺔ ِ‬
‫َ ََ ّ‬ ‫ّ‬ ‫‪" �� William Painter‬ﻗﺼﺮ اﻟﺒ�جﺔ ‪Palace of‬‬
‫ﻟﻘﻮم‬
‫واﻟﻔﻄﻨﺔ ﻳﻠﺬ ٍ‬ ‫ﻓﺮ�ﺴﺎ‪ ،‬ﻓﺈن ﻣﺰ�ﺞ اﻟﻐﺮاﺑﺔ ِ‬
‫�ﺎﻹﻧݠﻠ�� اﺳﺘﻤﺮؤوا رواﻳﺔ ّ‬
‫اﻟﺘ ّ‬ ‫‪1567-1566) "Pleasure‬م(‪ -‬ﻟﻢ �ﻌﺮف ﻣﺜﻞ‬
‫ﺤﺮي ‪.6‬‬
‫"ا�ح ﱠجﺔ"‪.‬‬
‫ﻧﺠﺎح ِ‬
‫ُْ‬ ‫ّ َ ْ‬
‫"ﺳ َﺮﻧ ِﺪﺑ ّﻴﺔ" �� ﻣ�جﻢ أﻛ ْﺴ ُﻔﺮد ّأن‬ ‫ﻧﻘﺮأ �� اﳌﺎدة‬ ‫ّ ّ‬
‫ْ‬ ‫ّ‬ ‫ّ‬
‫اﻷﳌﺎﻧﻴﺔ‬ ‫ﺗﺘﻀﻤﻦ اﻟن�خﺔ‬ ‫وﺗﺮﺟﻤﺎ��ﺎ وﺗﻨﻘﻴﺤﺎ��ﺎ‬
‫هﺬﻩ اﻟ�ﻠﻤﺔ ”ﺳﻜهﺎ هﻮراس واﻟ ُﺒﻞ ‪Horace‬‬
‫ّ‬
‫واﻟﻔﺮ�ﺴﻴﺔ )‪1719‬م(‪ ،‬ﺛﻢ ﻣ��ﺎ‬ ‫)‪1583‬م(‪،‬‬
‫‪ Walpole‬ﻣﻦ ﻋﻨﻮان ا�ح�ﺎﻳﺔ أﻣﺮاء ﺳﺮﻧﺪﻳﺐ‬
‫ّ‬ ‫ّ‬
‫واﻟهﻮﻟﻨﺪﻳﺔ )‪1766‬م(‪ .‬وﻣﻦ‬ ‫ّ‬
‫اﻹﻧݠﻠ��ﻳﺔ )‪1722‬م(‬
‫اﻟﺜﻼﺛﺔ‪ ،‬اﻟ�ي �ﺎن أﺑﻄﺎﻟهﺎ ’ ً‬
‫داﺋﻤﺎ ﻳﻜتﺸﻔﻮن‬
‫ّ‬ ‫ّ‬
‫َ‬ ‫ﺪﻓ ًﺔ أو ﺑﻔ َ‬‫ُ َ‬ ‫أﳌﺎﻧﻴﺔ ﻣﺘﺄﺧﺮة )‪1723‬م( أﺧﺬت‬ ‫ﺗﺮﺟﻤﺔ‬
‫أﺷﻴﺎء ﻟﻢ �ﺴﻌﻮا إﻟ��ﺎ‘“‪.‬‬ ‫ﻄﻨﺔ‬ ‫ِ‬ ‫ﺻ‬
‫ﺮﻛﻴﺔ )‪1729‬م(‪ .‬ﻧﺎهﻴﻚ ﻋﻦ ِذﻛﺮ ﻣﺎ ﻗﺪ‬ ‫ّ‬
‫اﻟﺪ َﻧﻤ ّ‬
‫ُ‬ ‫ََ‬ ‫ﻌﺮف ّ‬ ‫ُ‬
‫ﺑﺄ��ﺎ ” َﻣﻠﻜﺔ اﻛتﺸﺎف اﳌ ِﺒ�جﺎت‬ ‫ﻓﺘ ّ‬
‫اﳌُﻔﺎﺟﺂت ُ‬ ‫"ا�ح ﱠجﺔ" و��‪Le voyage :‬‬ ‫ّ‬
‫ﺗ�ﻮن أهﻢ ﺗﻨﻘﻴﺤﺎت ِ‬
‫��جﻴﺐ ّأن اﳌ�جﻢ ﻻ‬
‫ٍ‬ ‫ﺻﺪﻓﺔ“‪ .‬وﻟيﺲ‬ ‫ِ‬
‫"‪} "des princes fortunes‬رﺣﻠﺔ اﻷﻣﺮاء‬
‫"ا�ح ﱠجﺔ"‪ ،‬ﻏ�� ّأن ﺣ�ﺎﻳﺔ أﻣﺮاء ﺳﺮﻧﺪﻳﺐ‬
‫ﻳﺬﻛﺮ ِ‬ ‫ْ‬
‫ّ‬
‫واﻷﺷﺪ ً‬ ‫اﻟﺜﻼﺛﺔ �� َﻗ ً‬‫ّ‬ ‫ا�حﻈﻮﻇ�ن{ ِﻟ� ْ�واﻟﺪ دو ِﻓ ْﺮ ِﻓﻴﻞ ‪Béroalde de‬‬
‫�جﺒﺎ ﻣﺎ ﻧﻘﺮؤﻩ ��‬ ‫ﻄﻌﺎ ﻣ��ﺎ‪.‬‬ ‫َ‬
‫"ا�ح ﱠجﺔ" ﺗﺪﻳﻦ �ﺸهﺮ��ﺎ‬ ‫ّ ّ‬
‫‪Grande dizionario della lingua italiana‬‬ ‫‪ .Verville‬وﻻ ﺷﻚ أن ِ‬
‫ً‬ ‫ّ‬ ‫ّ‬ ‫ﺷﻚ ّأن هﺬﻩ‬
‫ا�جﻠ ّﻴﺔ �� ﻋﻘﺪ��ﺎ‪ ،‬وﻻ ّ‬ ‫َ‬
‫ﻟﻠﻐﺮاﺑﺔ ِ‬
‫ﺗﻔﺴ��ا‬ ‫اﻹﻳﻄﺎﻟﻴﺔ(‬ ‫)اﻟﻘﺎﻣﻮس اﻟﻌﻈﻴﻢ ﻟﻠﻐﺔ‬
‫ّ‬
‫إﻳﻄﺎﻟﻴﺔ ﻏ��‬ ‫اﻟﻐﺮاﺑﺔ ﻟﻢ ﺗﻜﻦ ﻟﺘﻨبﺜﻖ �� ّ‬
‫أي ﻣﺪﻳﻨﺔ‬
‫ﺗﺄﺛﻴﻠﻴﺎ ‪ 7‬ﻟ�ﻠﻤﺔ ‪” :8Serendipità‬ﻣﻦ اﻟ�ﻠﻤﺔ‬ ‫�‬
‫َ ْ‬ ‫ّ‬
‫)ﺳ َﺮﻧ ِﺪ ّﺑﻴﺔ(‪ ،‬و�� ﻠﻤﺔ‬ ‫اﻹﻧݠﻠ��ﻳﺔ ‪Serendipity‬‬
‫‪ -7‬ﻣﻦ ﻋﻠﻢ ّ‬
‫اﻟﺘﺄﺛﻴﻞ )أو اﻹﺗﻴﻤﻮﻟﻮﺟﻴﺎ( اﻟﺬي ﻳﺪرس‬ ‫‪ -5‬وﻟﻮ ﺗﺮﺟﻤﻨﺎ ﻋﻨﻮاﻧﮫ هﺬا ﻓﻘﺪ ﺗ�ﻮن أﻗﺮب �ﻠﻤﺔ ﻟﮫ ��‬
‫أﺻﻮل اﻟ�ﻠﻤﺎت‪.‬‬ ‫"ﺣ�ﺎﻳﺎت"‪.‬‬
‫ْ‬ ‫‪ -6‬أو ّ‬
‫ّ‬
‫ﺑﺎﻹﻳﻄﺎﻟﻴﺔ‪.‬‬ ‫‪َ -8‬ﺳ َﺮﻧ ِﺪ ّﺑﻴﺔ‬ ‫اﻟﺘﺤﻘﻴﻖ؛ ‪.Detective Novel‬‬
‫‪ISSN: 2295-1210‬‬ ‫‪183‬‬ ‫‪© ATI & Garant‬‬

‫ْ‬
‫ﱠ‬
‫اﻟﻴﻮﻧﺎ�ﻲ رأﻳﮫ ��‬ ‫رﻏﻴﻒ ّ‬
‫�ﻞ ﻳﻮم‪ .‬ﺛﻢ �ﺴﺄل اﳌﻠﻚ‬ ‫أ�ﺸﺄهﺎ هﻮراس واﻟ ُﺒﻞ ‪ Horace Walpole‬ﻋﺎم‬
‫اﻟﻴﻮﻧﺎ�ﻲ ّ‬
‫ّ‬ ‫ّ‬
‫ﺑﺄن داﺧﻠﮫ‬ ‫ﻋﺰ�ﺰ ﻋﻠﻴﮫ‪ ،‬ﻓﻴﺠﻴﺒﮫ‬
‫حجﺮ ٍ‬
‫ٍ‬ ‫‪1754‬م �� رواﻳﺘﮫ ’أﻣﺮاء ﺳﺮﻧﺪﻳﺐ اﻟﺜﻼﺛﺔ‘‬
‫دودة‪ ،‬ﻓﻴﺠﺪ اﳌﻠﻚ ّأن ا�حﻜﻴﻢ ﺻﺎدق ﻓﻴ�ﺎﻓﺌﮫ‬ ‫ﻗﺼﺔ ﺛﻼﺛﺔ ّ‬
‫ﺷﺒﺎن ﻣﻮهﻮ��ن ��‬ ‫)ﻳﺤ�ﻲ ﻓ��ﺎ ّ‬
‫�ﺸﻚ اﳌﻠﻚ �� واﻟﺪﻩ‪،‬‬‫ّ‬ ‫ﺑﺮﻏﻴﻒ‪ .‬و�ﻌﺪ ّ‬
‫ﻣﺪة‬ ‫اﻟﻨﺎدر دون أن ﻳﺒﺤﺜﻮا ﻋﻨﮫ(“‪ .‬وﻻ‬ ‫اﻛتﺸﺎف ّ‬
‫ّ‬ ‫َ ّ‬ ‫ْ‬
‫اﻟﺮﺟﻞ أن ﻳﺼﺪﻗﮫ ﻋﻦ ﻣﻮﻟﺪﻩ‪،‬‬ ‫ﻓيﺴﺘﺤﺚ ّ‬ ‫ﺣﺎﺟﺔ ﺑﻨﺎ أن ﻧﻘﻮل ّأن واﻟ ُﺒﻞ ﻣﺎ ﻛﺘﺐ ﻗﻂ اﻷﻣﺮاء‬
‫اﻟﻴﻮﻧﺎ�ﻲ ّأﻧﮫ اﺑﻦ ّ‬
‫ّ‬ ‫اﻟﺜﻼﺛﺔ‪ّ ،‬‬‫ّ‬
‫ﺧﺒﺎز‪ .‬ﺛﻢ �ﻌﺪ أن ﺳﺄل‬ ‫ﻓﻴﺨ��ﻩ‬ ‫وأ��ﺎ ‪-‬ﻋ�� ِذﻛﺮهﺎ‪ -‬ﻟيﺴﺖ رواﻳﺔ‪.‬‬
‫ّ‬ ‫ّأﻣﮫ ّ‬
‫ﻳﻘﺮ اﳌﻠﻚ ﺑﻔﻄﻨﺔ �جﻴﻨﮫ‪ ،‬ﻏ�� أﻧﮫ ﺳﺄﻟﮫ‬ ‫ّ‬
‫واﻟﻐﺮ�ﺐ ّأن اﻟﻘﺎﻣﻮس اﻹﻳﻄﺎ�� ﻻ ﻳﺒﺪو أﻧﮫ ��‬
‫ﺗﻮﺻﻞ ﻟ�حﻘﻴﻘﺔ �� ّ‬
‫�ﻞ ﺣﺎدﺛﺔ‪ ،‬وهﻨﺎ‬ ‫آﺧﺮا ﻛﻴﻒ ّ‬ ‫ً‬
‫"ا�ح ﱠجﺔ"‪،‬‬ ‫ّ‬
‫اﻷﺟﻮ�ﺔ‪ُ -1 :‬ﻏﺬي ا�حﺼﺎن ﺑﻠ�ن اﻷﺗﺎن ّ‬ ‫أن أﺻﻞ اﻟ�ﻠﻤﺔ ﻣﻦ اﻟﻜﺘﺎب اﻹﻳﻄﺎ�� ِ‬
‫ﻷن أذﻧﻴﮫ‬
‫ﺑﻞ اﻷﻏﺮب ﻣﻦ هﺬا اﻹهﻤﺎل إذا ﻋﻠﻤﻨﺎ ّأن‬
‫ﻏ�� ﺑﺎ�� ا�خﻴﻞ‪� -‬ﺎﻧﺘﺎ َﻣ ّ‬
‫ﺤﻨيﺘ�ن‪� -2 .‬ﺎن ��‬ ‫‪َ -‬‬
‫ﻷﻧﮫ �ﺎن ً‬ ‫ّ‬ ‫"ا�ح ﱠجﺔ" ﺿﻤﻦ ﻣﺼﺎدر اﻟﻘﺎﻣﻮس ﻧﻔﺴﮫ‪.‬‬
‫ِ‬
‫داﻓﺌﺎ إذ اﻷحجﺎر ﺑﺎردة‪،‬‬ ‫ا�حجﺮ دودة‬
‫ّ ّ َ‬
‫ّ‬
‫وهﺬا ﻻ ﻳ�ﻮن إﻻ إذا ﻋﺎش ﻓﻴﮫ ��يء‪ -3 .‬ﻟﻮ ﻟﻢ‬ ‫ﺤﺮي اﻟﻔ ِﻄﻦ �� اﻷدب‬ ‫ﻳﻮﺟﺪ أﺣﺪ ّأول أﻣﺜﻠﺔ اﻟﺘ‬
‫ﺧﺒﺎز‪ ،‬ﻓﻤﺎ �ﺎن ﻟﻴ�ﺎﻓﺌﮫ ﺑﺨ��‪،‬‬ ‫ﻳﻜﻦ اﳌﻠﻚ اﺑﻦ ّ‬ ‫اﻹﺑﺪا�� اﻹﻳﻄﺎ�� إﺣﺪى أواﺋﻞ ا�ح�ﺎﻳﺎت ﻣﻦ‬
‫َ‬ ‫ّ‬ ‫"اﻟـ‪} "Novellino‬اﻷﻟﻒ ﺣ�ﺎﻳﺔ{‪ ،‬و�� ﻣﺠﻤﻮﻋﺔ‬
‫ﻓﺈﻧﮫ ﻟﻮ �ﺎن اﺑﻦ ﻣﻠﻚ ﻟ�ﺎﻓﺄﻩ ﺑﺈﻗﻄﺎﻋﮫ ﻣﺪﻳﻨﺔ‪.‬‬
‫ﻓﺄﻗﺮ اﳌﻠﻚ ّ‬
‫اﻟﻀ ّ‬ ‫ّ‬ ‫ﻗﺼﺺ ﻗﺼ��ة وﺿﻌهﺎ �� ّ‬
‫اﻟﺮ�ﻊ اﻷﺧ�� ﻣﻦ اﻟﻘﺮن‬
‫ﺎل ﺑﺒﺨﻠﮫ وأﺟﺰل ﻋﻠﻴﮫ هﺪاﻳﺎ‬
‫ّ‬ ‫ّ‬
‫ﺛﻤﻴﻨﺔ‪.‬‬ ‫ﻓﻠﻮر��ي ﻣﺠهﻮل‪�� .‬‬ ‫اﻟﺜﺎﻟﺚ ﻋﺸﺮ اﳌﻴﻼدي‬
‫اﻟﺮا�ﻌﺔ ﻣﻦ هﺬﻩ ا�جﻤﻮﻋﺔ ﻳﺤبﺲ ﻣﻠﻚ‬ ‫ّ‬
‫اﻟﻘﺼﺔ ّ‬
‫ُ‬ ‫ّ‬
‫"ا�ح ﱠجﺔ"‬
‫وﻋ�� أ��ﺎ ﻻ ﺗﻄﺎﺑﻖ ﺣ�ﺎﻳﺔ اﻹﻃﺎر �� ِ‬ ‫اﺳﻤﮫ ِﻓ ِﻠﺐ )رّ�ﻤﺎ ِﻓ ِﻠﺐ اﳌﻘﺪو�ﻲ واﻟﺪ اﻹﺳﻜﻨﺪر‬
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‫اﻟﻘﺼﺔ ﻋﻨﺎﺻﺮ ﺗﻘﺎر��ﺎ‪ .‬ﻓ��ﺎ ﻣﺴﺄﻟﺔ‬ ‫ّ‬
‫ﻓﺈن �� هﺬﻩ‬ ‫ﺣﻜﻴﻤﺎ ﻳ �‬
‫ﻮﻧﺎﻧﻴﺎ �� جﻨﮫ‪.‬‬ ‫ً‬ ‫اﻷﻛ��(‬
‫ا�حﻴﻮان اﻟﺬي ُﻏﺬي ﺑﻠ�ن آﺧﺮ‪ّ ،‬‬
‫ﻟﻜﻦ اﻷﻛ��‬
‫اﻟﻴﻮﻧﺎ�ﻲ ّأن‬
‫ّ‬ ‫ً‬ ‫ﺣﻴﻨﻤﺎ ُ��ﺪى اﳌﻠﻚ‬
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‫ﺗﺨﺺ‬ ‫أهﻤﻴﺔ ﺣﻘﻴﻘﺔ ّأن ﻧتﻴﺠﺔ اﻟﻔﺤﺺ اﻷﺧ��‬
‫ّ‬ ‫ﺣﺼﺎﻧﺎ ﻳﺨ��ﻩ‬
‫ّ‬ ‫ُ‬
‫"ا�ح ﱠجﺔ" ‪-‬ﻋ�� ﻧﻘﻴﺾ‬‫اﳌﻠﻚ ﻋﻴﻨﮫ )ﻏ�� أﻧﮫ �� ِ‬ ‫ا�حﺼﺎن ﻗﺪ ﻏﺬي ﺑﻠ�ن أﺗﺎن‪ ،‬وﺣ�ن �ﺴتﺒ�ن‬
‫ﺷﻚ �� واﻟﺪ‬ ‫ّ‬ ‫"اﻷﻟﻒ ﺣ�ﺎﻳﺔ"‪ -‬ﻻ ﻳ�ﻮن‬ ‫ﻓﻴﻤﺎ �ﻌﺪ ﺻﺪق اﻟﻴﻮﻧﺎ�ﻲ ﻳ�ﺎﻓﺌﮫ اﳌﻠﻚ ﺑﻨﺼﻒ‬
‫‪ISSN: 2295-1210‬‬ ‫‪184‬‬ ‫‪© ATI & Garant‬‬

‫‪prima veste dei discorsi degli animali‬‬ ‫اﻹﻣ��اﻃﻮر َ� ْ�ﺮام(‪ .‬وأﻗﺮب ��يء ﻻﺳ��ﻼل ّ‬
‫ﻗﺼﺔ‬
‫ّ‬
‫)اﻟﺜﻮب ّ‬
‫اﻷول �خﻄﺐ ا�حﻴﻮاﻧﺎت( اﻟﺬي ﻛﺘﺒﮫ‬ ‫اﻟﻘﺼﺔ اﻷو�� ‪��) De Sapiensia‬‬‫ّ‬ ‫"ا�ح ﱠجﺔ" ��‬
‫ِ‬
‫ْ‬ ‫َّ‬
‫ﻓﺮﻧﺰوﻻ ْأﻳﻨﻮﻟﻮ ‪ Firenzuola Agnolo‬ﻋﺎم‬ ‫ِ‬ ‫}ا�ح�ﺎء{‬ ‫ا�حﻜﻤﺔ( ﻣﻦ " اﻟـ‪"Novelliere‬‬
‫ّ‬
‫‪1541‬م و�ﺸﺮت ﻋﺎم ‪1548‬م‪" .‬اﻟﺜﻮب ّ‬ ‫ُ‬ ‫�جﻴﻮﻓﺎ�ﻲ ﺳ ْﺮ ْ‬
‫اﻷول" هﻮ‬ ‫�ﺎﻣ�ي ‪.Giovanni Sercambi‬‬ ‫ِ‬
‫َ ْ‬
‫ﺗﻨﻘﻴﺢ ﻹﺣﺪى ﻛﺘﺐ َ"ﺑ ْﻨﭽﺎﺗ ْﻨ��ا ‪"Pañcatantra 9‬‬ ‫اﻟﺮا�ﻊ ﻋﺸﺮ‬‫"ا�ح ّ�ﺎء" ﺑ�ن ��ﺎﻳﺔ اﻟﻘﺮن ّ‬ ‫ُﻛﺘبﺖ َ‬
‫ّ‬ ‫ّ‬
‫ا�خﻤﺴﺔ‪ ،‬واﻟ�ي ﻗﺪ اﻗﺘبﺴهﺎ �� اﻟﻘﺮن اﻟﺜﺎﻟﺚ‬ ‫اﳌﻴﻼدﻳ�ن‪،‬‬ ‫و�ﺪاﻳﺔ اﻟﻘﺮن ا�خﺎﻣﺲ ﻋﺸﺮ‬
‫َ‬
‫ﻳﻮﺣﻨﺎ اﻟ�ﺎﺑﻮ�ﻲ ‪Giovanni da‬‬ ‫ّ‬ ‫ﻋﺸﺮ اﳌﻴﻼدي‬ ‫ﻛﺮ ْﺳ ُﺘﻮﻓﺮ اﻷرﻣ�ي ��ﺎ‪،‬‬ ‫ً‬
‫و�ﺴﺘﻄﻴﻊ ﻳﻘﻴﻨﺎ ﻧﻔﻲ ﻋﻠﻢ ِ‬
‫اﻟﻼ ّ‬ ‫ّ‬ ‫ﻌﺮف ّأﻧﮫ أدﻳﺐ إﺑﺪا�� ّ‬ ‫ﻓﻤﺆﻟﻔهﺎ ﻟﻢ ُ� َ‬‫ّ‬
‫ﺗﻴنﻴﺔ ا�خﺘﺼﺮة ‪The‬‬ ‫‪ �� Capua‬ﺗﺮﺟﻤﺘﮫ‬ ‫ﺣ�ى اﻟﻘﺮن‬
‫ّ‬ ‫ّ‬ ‫ّ‬
‫‪) Directorium Humanae Vitae‬دﻟﻴﻞ ا�حﻴﺎة‬ ‫اﻟﺘﺎﺳﻊ ﻋﺸﺮ‪ ،‬ﺑﻞ إﻧﮫ ﻻ ﺗﻮﺟﺪ إﻻ ﻣﺨﻄﻮﻃﺔ‬
‫��ﻮدﻳﺔ ﻟﻜﺘﺎب اﺑﻦ ّ‬ ‫َّ‬
‫اﳌﻘﻔﻊ‬ ‫اﻟبﺸﺮ�ﺔ( ﻣﻦ ﺗﺮﺟﻤﺔ ّ‬
‫ّ‬ ‫"ا�ح�ﺎء"‪ ،‬ﻓﻼ ُﺑ ّﺪ أن ﻧﻔ��ض‬ ‫واﺣﺪة ﻧﺎﻗﺼﺔ ﻣﻦ‬
‫�ﻠﻴﻠﺔ ودﻣﻨﺔ ‪.10‬‬ ‫"ا�ح ﱠجﺔ" َﻳ ْﻤ َﺘﺤﺎن ﻣﻦ ﻧﻔﺲ‬ ‫ْ‬ ‫ّ‬
‫أن ِﺳ ْﺮ�ﺎﻣ�ي و�ﺎﺗﺐ ِ‬
‫ّ‬ ‫ْ‬ ‫اﳌﺼﺪر‪ .‬وﺣﺴﺒﻤﺎ أﻋﺮف ﻟﻢ ﻳﻈهﺮ اﳌﺼﺪر‬
‫ﻳﻮﺣﻨﺎ‬ ‫ﻓﺮﻧﺰوﻻ ْأﻳﻨﻮﻟﻮ ﻋ�� ﺗﺮﺟﻤﺔ‬‫ﻟﻢ �ﻌﺘﻤﺪ ِ‬ ‫ا�حﻘﻴﻘﻲ �ﻌﺪ‪ّ ،‬‬
‫ّ‬ ‫ﻇﻦ اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫ﺣ�ى إن ّ‬
‫�‬
‫إﺳﺒﺎﻧﻴﺎ ﻣﻦ‬ ‫ﺎﺳﺎ‬ ‫ﺗﻴنﻴﺔ‪ ،‬ﺑﻞ َ‬
‫ﺗﺎ�ﻊ اﻗﺘﺒ ً‬ ‫اﻟﻼ ّ‬ ‫اﻟ�ﺎﺑﻮ�ﻲ‬ ‫ّ‬ ‫ّ‬
‫ً‬ ‫ُ‬ ‫َ ْ‬ ‫اﻟﺪارﺳ�ن أﻧﮫ ﻗﺪ ﻳﻮﺟﺪ �� ﻌﺾ اﻗﺘﺒﺎﺳﺎت‬
‫َ"ﺑ ْﻨﭽﺎﺗ ْﻨ��ا" �ﺸﺮ ّأوﻻ �� ﺳﺮﻗﺴﻄﺔ ﻋﺎم‬
‫اﻟﻌﺮ�ﻴﺔ‪ ،‬اﻟ�ي ّ‬
‫ﺗ��دد �� إﺳﺒﺎﻧﻴﺎ اﻟﻘﺮون‬ ‫ّ‬ ‫ا�ح�ﺎﻳﺎت‬
‫‪1493‬م ‪ 11‬هﻮ ‪The Exemplario contra los‬‬ ‫ًّ‬
‫ﺧﺎﺻﺔ ‪La‬‬ ‫اﻟﻮﺳﻄﻰ‪ .‬ﻗﺪ ﺗ�ﻮن هﺬﻩ �� ّ‬
‫اﻟﺒيﻨﺔ‪.‬‬
‫ٌ‬
‫)دﻟﻴﻞ‬ ‫‪12Engaños y Peligros del Mundo‬‬
‫‪� ،898 -11‬ﻌﺪ ﺳﻘﻮط ﻣﻤﻠﻜﺔ ﻏﺮﻧﺎﻃﺔ آﺧﺮ اﳌﻤﺎﻟﻚ‬ ‫‪ -9‬وهﻮ اﺳﻢ اﻷﺻﻞ اﻟهﻨﺪي ﻟ�ﻠﻴﻠﺔ ودﻣﻨﺔ‪.‬‬
‫َ َ َ‬
‫ّ‬
‫اﻹﺳﻼﻣﻴﺔ �� اﻷﻧﺪﻟﺲ �ﻌﺎم واﺣﺪ‪.‬‬ ‫اﻟﺒ ْﻨﭽﺎﺗ ْﻨ��ا �� اﻟﻌﺎﻟﻢ اﻟﻐﺮ�ﻲ ‪-‬ﻛﻤﺎ هﻮ‬ ‫‪” -10‬اﻧتﺸﺮت‬
‫ً‬ ‫ّ‬ ‫ّ‬
‫اﺳتﻨﺎدا ﻋ��‬ ‫إﺳﺒﺎﻧﻴﺔ ﺳﺎﺑﻘﺔ ﻟهﺎ‬ ‫‪” -12‬ﺻﺪرت ��خﺔ‬ ‫ﻣﻌﺮوف‪ -‬ﻣﻦ �ﻠﻴﻠﺔ ودﻣﻨﺔ‪ ،‬ﻓﺒﺎﻹﺿﺎﻓﺔ ﻟﻠن�خﺔ‬
‫ّ‬
‫اﻟ��ﻮدﻳﺔ اﻟ�ي ﺗﺮﺟﻤهﺎ ا�حﺎﺧﺎم ﻳﻮﺋﻴﻞ )�� اﻟﻘﺮن اﻟﻌﺎﺷﺮ‬
‫�ﻠﻴﻠﺔ ودﻣﻨﺔ ٍ‬
‫ﺑﻄﻠﺐ ﻣﻦ اﳌﻠﻚ أﻟﻔﻮ�ﺴﻮ اﻟﻌﺎﺷﺮ ا�حﻜﻴﻢ‬
‫َ‬ ‫اﻟﺬي �ﺎن �‬ ‫ّ‬ ‫ّ‬
‫ﺻبﻴﺎ وﻗ��ﺎ‪ ،‬و�ﻌﻮد إ�� ﺣﻮا�� ﺳﻨﺔ ‪1251‬م‪،‬‬ ‫اﻟﻴﻮﻧﺎﻧﻴﺔ )ﺑ��ﺟﻤﺔ‬ ‫اﳌﻴﻼدي( ﺗﻨﺤﺪر ﻣ��ﺎ اﻟن�خﺔ‬
‫ّ‬ ‫ّ‬ ‫ً‬ ‫ّ‬ ‫ّ‬
‫اﻹﺳﺒﺎﻧﻴﺔ ﻳﺠﺐ أن ﻧﺬﻛﺮ‬ ‫و�ﺿﺎﻓﺔ إ�� اﻟ��ﺟﻤﺔ‬ ‫اﻹﺳﺒﺎﻧﻴﺔ‬ ‫ﺷﻤﻌﻮن ِﺳيﺚ ﺣﻮا�� ‪1080‬م(‪ ،‬واﻟن�خﺔ‬
‫ّ‬ ‫)اﻧﻈﺮ ا�حﺎﺷﻴﺔ ّ‬
‫اﻻﻗﺘﺒﺎس اﻷﳌﺎ�ﻲ ) ‪Anton von Pforr, Buch der‬‬ ‫اﻟﺘﺎﻟﻴﺔ(“‪) .‬اﳌﺆﻟﻒ(‪.‬‬
‫‪ISSN: 2295-1210‬‬ ‫‪185‬‬ ‫‪© ATI & Garant‬‬

‫ّ‬ ‫ّ‬
‫و�ﻜﻤﻞ ﺑﺤﺜﮫ‪ .‬ﺛﻢ �ﻌﻮد ّﻳ��ﻢ اﻟﺜﻼﺛﺔ ﺑﺘﻀﻠﻴﻠﮫ‪،‬‬ ‫ﺿﺪ ﺧﺪع اﻟﻌﺎﻟﻢ وﺷﺮورﻩ(‪ .‬وﻗﺪ ﻳ�ﻮن ٌ‬
‫��يء ﻣﻦ‬
‫َ ْ‬ ‫ﻷﻧﮫ ﻟﻢ ﻳﺠﺪ ّ‬ ‫ّ‬ ‫ّ‬
‫اﻟﺴ َﺮﻧ ِﺪ ّﺑﻴﺔ‬ ‫اﻟﺪاﺑﺔ‪ .‬و�� ا�حﺎدﺛﺔ‬ ‫"ا�ح ﱠجﺔ" رﻏﻢ أﻧﮫ ﻻ دﻟﻴﻞ‬
‫هﺬا ﺣﺪث �� ﺣﺎﻟﺔ ِ‬
‫ﻳﺪﻟﻞ اﻷﻣﺮاء ّ‬‫ّ‬ ‫ّ‬
‫ﻟﻠﺮا�� ﻌﻼﻣﺎت ﺟﺪﻳﺪة‬ ‫اﻟﺜﺎﻧﻴﺔ‬ ‫ﻋ�� هﺬا إ�� اﻵن‪.‬‬
‫ّ‬
‫ﻳتﺒ�ن‪ ،‬و��‪-1 :‬‬ ‫ﻳﻀﻠﻠﻮﻩ ﻗﻂ ﻛﻤﺎ ﻗﺪ ّ‬ ‫ّأ��ﻢ ﻟﻢ‬ ‫ﻓﻔﻲ ﻣﻄﻠﻊ "ا�ح ﱠجﺔ" �ﺴتﺒ�ن اﳌﺮء ّأن ّ‬
‫ً‬ ‫ﻣﺎدة‬ ‫ِ‬
‫ً‬
‫ﻣﻀﺎﻋﻔﺎ‪ ،‬ز ً�ﺪا �� ﺟﺎﻧﺐ‪،‬‬ ‫ﻳﺤﻤﻞ اﻟﺒﻌ�� ِﺣﻤﻼ‬ ‫ٌ‬ ‫ّ‬
‫ً‬ ‫اﻟﺴﺮد آﺗﻴﺔ ﻣﻦ أﺳﻄﻮرة أﺑﻨﺎء ﻧﺰار اﻟﻌﺮ�ﻴﺔ‪ ،‬ﻛﻤﺎ‬
‫وﻋﺴﻼ �� اﻵﺧﺮ )أﻛ�� اﻹﺧﻮة(‪ -2 .‬ﻳﺤﻤﻞ اﻟﺒﻌ��‬ ‫َ‬ ‫رواهﺎ اﳌُ ّ‬
‫ﻔﻀﻞ ﺑﻦ َﺳﻠ َﻤﺔ واﳌﺴﻌﻮدي واﺑﻦ‬
‫أﻳﻀﺎ اﻣﺮأة )أوﺳﻄهﻢ(‪ -3 .‬واﳌﺮأة ﺣﺎﻣﻞ‬ ‫ً‬
‫ﻏ�� ّأن ّ‬
‫ﻋﺪة �ﻐﻴ��ات ﻃﺮأت‬ ‫ا�جﻮزي وآﺧﺮون‪َ .‬‬
‫)أﺻﻐﺮهﻢ(‪.‬‬
‫ﻋﻠ��ﺎ‪ .‬إذ ﻳﺪﻋﻮ ﺟﻌﻔﺮ ﻣﻠﻚ ﺳﺮﻧﺪﻳﺐ أﺑﻨﺎءﻩ‬
‫اﻟﺮا�� ً‬ ‫ّ‬
‫ﻳﻘﻴﻨﺎ ّأ��ﻢ ﺳﺮﻗﻮا �ﻌ��ﻩ‪ ،‬ﻓيﺸ�ﻮ‬ ‫ّ‬
‫ﻓﻴﻈﻦ ّ‬ ‫"ا�ح ﱠجﺔ"(‬
‫اﻟﺜﻼﺛﺔ )اﻟﺬﻳﻦ ﻳﺒﻘﻮن �ﻐ�� اﺳﻢ �� ِ‬
‫ً‬
‫ﻗﺎﺋﻼ ّأﻧﮫ ﻳﺮ�ﺪ ﺗﺮك اﻟﻌﺮش‪ ،‬وﺣ�ن ﻻ ﻳﻘﺒﻞ ٌ‬
‫ﺳﺮﻗ��ﻢ إ�� َ� ْ�ﺮام ﻋﺎز ًﻣﺎ أن ﻳﻨﺼﻔﮫ‪ .‬ﻓﻴﺤبﺲ‬ ‫أﺣﺪ‬
‫اﻟﺜﻼﺛﺔ‪ّ ،‬‬ ‫ّ‬ ‫ّ‬ ‫َُ‬
‫ﻟﻜﻨﮫ ﻳﻄﻠﻘهﻢ �ﻌﺪ أن‬ ‫اﻹﻣ��اﻃﻮر اﻷﻣﺮاء‬ ‫ﻣ��ﻢ أن َﻳﺨﻠﻔﮫ ﻳﻨﻔﻲ ﺟﻌﻔﺮ أﺑﻨﺎءﻩ اﻟﺜﻼﺛﺔ ﻣﻦ‬
‫ﺗﺒيﻨﻮا ﺻﻔﺔ‬‫داﺑﺘﮫ‪ ،‬ويﺴﺄﻟهﻢ ﻛﻴﻒ ّ‬ ‫اﻟﺮا�� ّ‬
‫ﻳﺠﺪ ّ‬ ‫ﻳﺘﺼﻨﻊ اﻟﻐﻀﺐ ﻣ��ﻢ ﻟﺮﻓﻀهﻢ‪ .‬ﺛﻢ‬ ‫ّ‬ ‫ﻣﻤﻠﻜﺘﮫ وهﻮ‬
‫ّ‬ ‫ّ‬
‫اﻟﺒﻌ�� ودﻗﻴﻖ ِﺣ ْﻤ ِﻠﮫ‪ .‬وهﻨﺎ أﺟﻮ�ﺔ ا�حﺎدﺛﺔ‬ ‫اﻟﺸﺒﺎن اﻟﺜﻼﺛﺔ ‪-‬وهﻢ ﻳﺪﺧﻠﻮن ﺑﻠﺪ‬ ‫ﻳﻠﺘﻘﻲ‬
‫ﻷن اﻟﻌﺸﺐ‬ ‫اﻟﺴ َﺮْﻧﺪ ّﺑﻴﺔ اﻷو��‪ :‬اﻟﺒﻌ�� ‪ -1‬أﻋﻮر ّ‬
‫َ‬ ‫اﻹﻣ��اﻃﻮر َ� ْ�ﺮام‪ -‬ا�� إﺑﻞ َأ َ‬
‫ﺿ ّﻞ َ‬
‫�ﻌ��ﻩ �ﺴﺄﻟهﻢ‬
‫ِ‬ ‫ر‬
‫ُ‬ ‫ُر�� ﻣﻦ ﻧﺎﺣﻴﺔ‪ ،‬وﻟﻢ ُﻳ َﻤ ّ‬
‫ﺲ ﻣﻦ اﻷﺧﺮى‪ -2 .‬وﺛﻠﻢ‬ ‫ا�حﻮادث ‪13‬‬ ‫إن �ﺎﻧﻮا رأوﻩ‪ ،‬وهﻨﺎ ﺗﺒﺪأ أو��‬
‫ﻀﻤﺎت ﻣﻦ اﻟﻌﺸﺐ‬ ‫ﻷن �� ﻃﺮ�ﻘﮫ َﻗ َ‬ ‫ﺳﻦ ّ‬
‫ﻓﻴﮫ ﱞ‬ ‫َ ْ‬
‫اﻟﺴ َﺮﻧ ِﺪ ّﺑﻴﺔ‪.‬‬
‫ﻷن‬‫ﺳﻦ ﻣﺜﻠﻮم‪ -3 .‬وهﻮ أﻋﺮج ّ‬‫ﻛﺒ��ة ﺳﻘﻄﺖ ﻣﻦ ّ‬
‫ّ‬
‫اﻟﺜﻼﺛﺔ ّ‬
‫اﻟﺮا��‪ -1 :‬أﻟيﺲ اﻟﺒﻌ��‬ ‫�ﺴﺄل اﻷﻣﺮاء‬
‫اﳌﺮء ﻳﺮى ﻣﻦ أﺛﺮﻩ ّأن إﺣﺪى أﺧﻔﺎﻓﮫ �ﺎن ُﻳ َﺠ ّﺮ‬ ‫أﻋﻮر؟ ‪ -2‬أﻟيﺲ ﻓﻴﮫ ّ‬
‫َ ْ‬ ‫ﺳﻦ ﻣﺜﻠﻮم؟ ‪ -3‬أﻟيﺲ‬
‫اﻟﺴ َﺮﻧ ِﺪ ّﺑﻴﺔ‬ ‫اﻟﺮﻣﻞ‪ّ .‬أﻣﺎ أﺟﻮ�ﺔ ا�حﺎدﺛﺔ‬
‫ﻋ�� ّ‬
‫أﻋﺮج؟ و�ﻌﺪ أن ﻳﺠﻴ��ﻢ ﻋﻠ��ﺎ �ﺸﻜﺮهﻢ ّ‬
‫اﻟﺮا��‬
‫‪ -13‬أو ّ‬
‫اﻟﺴﻤﺎت‪.‬‬ ‫‪ Beispiele der alten Weisen, 1480‬أﻧﻄﻮن ﻓﻮن‬
‫َ‬
‫ﻓﻮر ْر‪ ،‬ﻛﺘﺎب أﻣﺜﻠﺔ ا�حﻜﻤﺎء اﻟﻘﺪﻣﺎء ‪1480 ،‬م(“‪.‬‬
‫ّ‬
‫)اﳌﺆﻟﻒ(‪.‬‬
‫‪ISSN: 2295-1210‬‬ ‫‪186‬‬ ‫‪© ATI & Garant‬‬

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‫اﻟﺜﺎﻟﺚ(‪ .‬ﺛﻢ �ﺴﺄل اﻟﺸ ّﺒﺎن ﻛﻴﻒ اهﺘﺪوا إ�� ﻣﺎ‬ ‫اﻟﺜﺎﻧﻴﺔ ﻓ�ي‪ّ :‬أن اﻟﺒﻌ�� ‪ -1‬ﻳﺤﻤﻞ ز ً�ﺪا ﻋ��‬
‫وﻋﺴﻼ ﻋ�� ا�جﺎﻧﺐ اﻵﺧﺮ‪ّ ،‬‬ ‫ً‬
‫اﺳﺘنﺘﺠﻮﻩ‪ -1 :‬ﻓ�ﺎﻧﺖ ا�خﻤﺮ ﻣﺰروﻋﺔ �� ﻣﻘ��ة‬ ‫ﻷن اﳌﺮء ﻳﺮى‬ ‫ﺟﺎﻧﺐ‪،‬‬
‫َ‬ ‫ّ‬ ‫ّ‬ ‫ّأﻣﺔ ﻣﻦ ّ‬
‫ﻷ��ﺎ ‪-‬وا�خﻤﺮ � ُﺴ ّﺮ اﳌﺮء ﻋﺎدة‪ -‬ﺟﻌﻠﺖ أﻛ��هﻢ‬ ‫اﻟﻄﺮ�ﻖ‪ّ ،‬‬
‫وأﻣﺔ ﻣﻦ‬ ‫اﻟﻨﻤﻞ ﻋ�� ﺟﺎﻧﺐ‬
‫َ‬ ‫وﻗ��ﺎ ً‬ ‫ّ‬
‫ﻣﻜﺘئﺒﺎ‪ -2 .‬و�ﺎن اﻟ َـﺠﺬع ﻗﺪ أرﺿﻌﺘﮫ‬
‫ً‬ ‫ﺣﺰ�ﻨﺎ‬ ‫اﻟﺬﺑﺎب ﻋ�� ا�جﺎﻧﺐ اﻵﺧﺮ‪ -2 .‬و�ﺎن ﻳﺤﻤﻞ اﻣﺮأة‬
‫ً‬
‫�ﻠﺒﺔ ﻷن ﺛﺎﻧ��ﻢ ﻣﺎ إن أ�ﻞ ﻣﻨﮫ ﺷﻌﺮ ّأن ﻓﻤﮫ ﻣﺎ�ح‬ ‫ﻷن أوﺳﻄهﻢ رأى ﺑﻮﻻ ﻗﺮب �ﻌﺾ اﻵﺛﺎر‪ ،‬ووﺿﻊ‬ ‫ّ‬
‫ً‬ ‫ْ َ‬
‫ُﻣﺰ�ﺪ‪ -3 .‬وﺗﺒيﻴﺖ اﳌﺴتﺸﺎر ﻗﺘﻞ اﻹﻣ��اﻃﻮر ّ‬
‫ﻷن‬ ‫ِ‬
‫ﺣﺎﻣﻼ ّ‬
‫ﻷ��ﺎ �ﻌﺪ‬ ‫ﻳﺪﻩ ﻓﻴﮫ ﻓﺎﻏ َﺘﻠﻢ‪ -3 .‬و�ﺎﻧﺖ اﳌﺮأة‬
‫َ‬
‫أﺻﻐﺮهﻢ ﻻﺣﻆ �� ﻣﺠﻠﺲ َﻟ� ْ�ﺮام ﻣﻊ َﺣﺸﻤﮫ ّأن‬ ‫ﻗﻀﺎء ﺣﺎﺟ��ﺎ ‪-‬ﻛﻤﺎ ﻳﺒﺼﺮ اﳌﺮء ﻣﻦ اﻵﺛﺎر ﻋ��‬
‫أﺳﺎر�ﺮ اﳌﺴتﺸﺎر اﺿﻄﺮ�ﺖ ﺣ�ن ﻗﺎل َ� ْ�ﺮام ّأن‬ ‫اﻟﺮﻣﻞ‪ -‬اﻋﺘﻤﺪت ﻋ�� ﻳﺪ��ﺎ ﻟﺘﻌﺎود اﻟﻮﻗﻮف‪.‬‬ ‫ّ‬
‫أهﻞ ﻟﻠﻌﻘﻮ�ﺔ‪ .‬ورآﻩ اﻷﻣ�� ً‬ ‫ْ‬
‫أﻳﻀﺎ ﻳﻄﻠﺐ‬ ‫ا�خﺒيﺜ�ن ٌ‬
‫ِ‬ ‫ﻓﺪﻋﺎهﻢ َ� ْ�ﺮام ‪-‬وﻗﺪ أدهﺸﺘﮫ َﺳ َﺮﻧ ِﺪ ّﺑﻴﺔ اﻷﻣﺮاء‬
‫ّ ّ‬ ‫ً‬
‫ﻣﺎء ﻟﻴﻄﻔﺊ ّ‬ ‫اﻟﺜﻼﺛﺔ‪ -‬أن ﻳﺒﻘﻮا ﻋﻨﺪﻩ ً‬ ‫ّ‬
‫ﻓﻈﻦ أﻧﮫ ﻻ ﻳﻮﺟﻌﮫ هﺬا‬ ‫ﺣﺮ ﻛﺒﺪﻩ‪،‬‬ ‫ﻣﺎﻧﺎ‪.‬‬‫ز‬
‫ﺛﻢ ﻧﻔﻰ اﻹﻣ�� ُ‬
‫اﻃﻮر‬ ‫اﻟﻮﺟﻊ ﻏ�� ﻗﺘﻞ وﻟﺪﻩ‪ّ .‬‬
‫ﻳﻮم ‪-‬وهﻮ ﻳﻨﺼﺖ إ�� ﺣﺪﻳ��ﻢ‬ ‫َْ‬
‫َ‬ ‫وﺳﻤﻊ ��ﺮام �� ٍ‬
‫اﳌﺴتﺸﺎر ﻣﻦ ﻣﻤﻠﻜﺘﮫ‪.‬‬ ‫ﺳﺮا‪ -‬ﻣﺎ ﻗﺎﻟﻮﻩ ﻋﻦ ﺧﻤﺮ وﻃﻌﺎم ّ‬ ‫�‬
‫ﻗﺪﻣﮫ ﻟهﻢ‪ .‬وهﻨﺎ‬ ‫ٍ‬ ‫ٍ‬
‫ّ ّ‬ ‫ّ‬ ‫َ ْ‬
‫"ا�ح ﱠجﺔ" ﺗﻤﺘﺢ ﻣﻦ‬
‫ﻻ ﺷﻚ أن هﺬﻩ ا�ح�ﺎﻳﺔ �� ِ‬ ‫اﻟﺴ َﺮﻧ ِﺪ ّﺑﻴﺔ اﻟﺜﺎﻟﺜﺔ‪ -1 :‬ﻗﺎل أﻛ��هﻢ‬ ‫ﺗﻘﻊ ا�حﺎدﺛﺔ‬
‫َ‬ ‫ّأﻧﮫ ﻻ ّ‬
‫أﺳﻄﻮرة أﺑﻨﺎء ﻧﺰار‪ .‬ﻟﻜﻦ هﻞ ﺗﻤﺘﺢ ﻣ��ﺎ ﻣﺒﺎﺷﺮة؟‬ ‫�ﺸﻚ ّأن ا�خﻤﺮ ﻣﻦ ﻛ ْﺮ َﻣﺔ ُز ِر َﻋﺖ �� ﻣﻘ��ة‪.‬‬
‫َ‬
‫ّ‬
‫اﻟﻌﺮ�ﻴﺔ ﻟيﺴﺖ ﻓ��ﺎ‬ ‫أﻇﻦ‪ .‬وﻋﺪا ّأن اﻷﺳﻄﻮرة‬‫ﻻ ّ‬ ‫‪ -2‬وأﻗﺴﻢ ﺛﺎﻧ��ﻢ ّأن اﻟ َـﺠﺬع اﻟﺬي ﻳﺄ�ﻠﻮﻧﮫ‬
‫ّ‬ ‫اﻟﺴ َﺮْﻧﺪ ّﺑﻴﺔ اﻟﺜﺎﻧﻴﺔ‪ّ ،‬‬
‫ا�حﺎدﺛﺔ َ‬ ‫ّ‬
‫اﻟﺒ ْﻮن اﻟﺸﺎﺳﻊ‬
‫ﻓﺈن َ‬
‫ِ‬ ‫أرﺿﻌﺘﮫ ﻟﺒ��ﺎ �ﻠﺒﺔ‪ -3 .‬وﻗﺎل أﺻﻐﺮهﻢ أﻧﮫ ﻻﺣﻆ‬
‫ّ ّ‬
‫ﻗﺼﺔ ﻧﺰار‬ ‫اﻟﺸ ّﺒﺎن ﻓ��ﺎ أر�ﻌﺔ ‪-‬ﺑﻤﺎ ّأ��ﺎ ّ‬ ‫هﻮ أن‬ ‫ّأن ﻣﺴتﺸﺎر َ� ْ�ﺮام ﻳﺮ�ﺪ ﻗﺘﻞ اﳌﻠﻚ‪ ،‬اﻟﺬي ﻗﺘﻞ‬
‫"ا�ح ﱠجﺔ"‬ ‫ّ ّ ّ‬ ‫ّ‬ ‫�جﺮم اﻗ��ﻓﮫ‪ .‬و�ﻌﺪ أن ّ‬
‫ﺗﺤﺮى‬ ‫ُ‬
‫ﻣﻮﺣﺪ اﻟﻘﺒﺎﺋﻞ اﻟﻌﺮ�ﻴﺔ اﻟﺸﻤﺎﻟﻴﺔ‪ -‬و�� ِ‬ ‫اﺑﻦ اﻟﻮز�ﺮ ﻗﺒﻠهﺎ ٍ‬
‫َ‬ ‫)وﻋﻨﺪ ﺳ ْﺮ ْ‬ ‫ﻓﻴﻤﺎ اﺳﺘنﺒﻄﮫ ﺿﻴﻮﻓﮫ ﻋﻠﻢ َ� ْ�ﺮام ﺻﺪﻗهﻢ ً‬
‫�ﺎﻣ�ي( هﻢ ﺛﻼﺛﺔ‪ .‬وﻓ ْﺮق آﺧﺮ ﻣﺮ�ﺐ‪،‬‬ ‫ِ‬ ‫أﻳﻀﺎ‬
‫ﺷﺮ�� ‪ 14‬ﺧﻼف ُﻣﻀﻴﻒ أﺑﻨﺎء‬ ‫ّ‬ ‫هﻮ ّأن َ� ْ�ﺮام ٌ‬
‫اﺑﻦ‬ ‫)وهﻮ �‬
‫ﺣﻘﺎ ﻟيﺲ ﺑﺤﺎﺟﺔ أن ّ‬
‫ﻳﺘﺤﺮى �� اﻻﺳﺘنﺒﺎط‬
‫ﻓﺈﻧﺎ ﻧﺠﺪ ّ‬‫ّ‬

‫ﺑﻨﻮة‬ ‫‪” -14‬وﻋ�� ﻧﻘﻴﺾ "اﻟـ‪،"Novellino‬‬
‫ّ‬ ‫ﺮﻋﻴﺔ ً‬
‫أﻳﻀﺎ ﻋﻨﺪ ﺳ ْﺮ ْ‬ ‫ّ‬
‫اﻟﺸ ّ‬ ‫ُ‬
‫�ﺎﻣ�ي“‪) .‬اﳌﺆﻟﻒ(‪.‬‬ ‫ِ‬ ‫اﳌﻀﻴﻒ‬
‫‪ISSN: 2295-1210‬‬ ‫‪187‬‬ ‫‪© ATI & Garant‬‬

‫ُ‬ ‫ﻟﻜﻦ هﺬا اﻟﻔﺮق ﻻ ُﺑ ّﺪ أن ﻳ�ﻮن‬

‫اﻷﺳﻄﻮرة ﻳﺠﺐ أن ﺗﺮى ّأ��ﺎ اﳌﺼﺪر اﻟﺒﻌﻴﺪ ِﻟﻜﻼ‬ ‫ً‬
‫ﻣﻘﺼﻮدا‬ ‫ﻧﺰار‪ّ .‬‬
‫اﻟﻌﻤﻠ�ن‪ -1 :‬واﻟﺪ اﻷﻣﺮاء هﻮ ﻣﻠﻚ ﺳﺮﻧﺪﻳﺐ‪-2 .‬‬ ‫ﻳ��وج‬ ‫ﻷﻣﺮ�ﻦ ﻣ��اﺑﻄ�ن‪�� -1 :‬ﺎﻳﺔ "ا�ح ﱠجﺔ" ّ‬
‫ِ‬
‫اﻟﺴ َﺮْﻧﺪ ّﺑﻴﺔ ً‬ ‫ْ‬
‫أﻳﻀﺎ‬ ‫ِ‬
‫اﻷﻣﺮاء ﺛﻼﺛﺔ‪ -3 .‬وﺣﻮادث َ‬ ‫أﺻﻐﺮ اﻷﻣﺮاء ﺑنﺖ َ� ْ�ﺮام‪ ،‬و�ﻌﺪ وﻓﺎﺗﮫ َﻳﺨﻠﻔﮫ‬
‫َ‬ ‫ً‬
‫�ﻌﺾ اﻟ��يء ﻣﻊ ﺗﻠﻚ‬ ‫إﺗﻘﺎن‬
‫ﺛﻼﺛﺔ‪ ،‬وﺗﺘﻮاﻓﻖ �� ٍ‬ ‫ﻋ�� ﻋﺮﺷﮫ‪ .‬وﻻ �ﺴﺘﻘﻴﻢ أن ﻳﺒﺪو ﺧﻠﻴﻔﺔ‬
‫"ا�ح ﱠجﺔ" ﻣﺘﺘﺎ�ﻌﺔ‪ -4 .‬وأﺟﻮ�ﺔ اﻷﻣﺮاء‬
‫اﻟ�ي �� ِ‬ ‫ﺟﻤهﻮر�ﺔ‬‫ّ‬ ‫ّ‬
‫وﺧﺎﺻﺔ ��‬ ‫اﻃﻮر �ﺎن اﺑﻦ زﻧﺎ‪-2 .‬‬
‫ﻹﻣ�� ٍ‬
‫ً ّ‬
‫أﻳﻀﺎ‪ ،‬إﻻ ّأن‬ ‫ﻟﻠﻤﻠﻚ اﻟﺬي ُﻳﻀﻴﻔهﻢ ﺗ�ﺎد ﺗﺘﻄﺎﺑﻖ‬ ‫ّ‬
‫اﻟﻘﻴﺼﺮ�ﺔ‬ ‫اﻟﺒﻨﺪﻗﻴﺔ اﳌﺸهﻮرة ﺑﺎﳌﺰج ﺑ�ن‬‫ّ‬
‫"ا�ح ﱠجﺔ"‬ ‫واﻟﺒﺎﺑﻮ�ﺔ ‪ ،15‬وهﺬﻩ ّ‬
‫ّ‬
‫اﻟﻔﺮق اﻟﻮﺣﻴﺪ ﺑ�ن "هﺸﺖ ��ﺸﺖ" و ِ‬ ‫اﻟﻨتﻴﺠﺔ ﺳﺘ�ﻮن ﺻﺎدﻣﺔ ��‬
‫ً ّ‬
‫ّأن اﻷﺧ��ة ‪-‬أﻣﻴﻨﺔ ﻟﻠ��اث ‪ -16‬ﺗﺠﻌﻞ ُﻣﻀﻴﻒ‬ ‫ّ‬
‫ﺳﻴﺎﺳﻴﺔ‪.‬‬ ‫داﺋﻤﺎ ً‬
‫ﻗﻮى‬ ‫أد��ﺎ اﻟﺬي ﻳﻨﺼﺮ ً‬
‫ﻟﻄﺒﺎخ‪ ،‬ﻏ�� ّأن هﺬا اﻟﻔﺎرق ‪-‬ﻛﻤﺎ‬ ‫اﻷﻣﺮاء ً‬
‫اﺑﻨﺎ ّ‬ ‫َ‬ ‫ّ‬
‫ﻛﺮ ْﺳ ُﺘﻮﻓﺮ ﻳﺒﺪو ّأ��ﻤﺎ ﻗﺪ‬ ‫ْ ْ‬
‫ﻋ�� أﻧﮫ ﻻ ِﺳﺮ�ﺎﻣ�ي وﻻ ِ‬
‫رأﻳﻨﺎ‪ -‬ﻻ ّ‬
‫��ﻢ‪.‬‬ ‫ّ‬ ‫ّ‬
‫دوﻧﺎﻩ ﻣﻦ اﻟ��اث اﻟﺸﻔﻮي‪ .‬وﻟﻮ ﻓﻌﻼ‬ ‫اﺳﺘﻘﻴﺎ ﻣﺎ ّ‬
‫ّ‬
‫ﻓهﻞ ﻳﻤﻜﻨﻨﺎ أن ﻧﻘﻮل ‪-‬ﻣﻊ هﺬﻩ اﻟتﺸﺎ��ﺎت‪ّ -‬أن‬ ‫ﺼ ُﻌﺐ ﻋﻠ��ﻤﺎ أن ﻳ�ﻮﻧﺎ ﺑﺎﻟ�� اﻷﻣﺎﻧﺔ ﻟ�ﺎﻣﻞ ﺳ��‬ ‫َﻟ َ‬
‫"هﺸﺖ ��ﺸﺖ" �� اﳌﺼﺪر ا�حﻘﻴﻘﻲ ﻟـ‬ ‫ﺛﻢ‬‫ﺮﻧﺪ ّﺑﻴﺎت وﺗﻔﺴ��هﺎ‪ .‬ﺑﻞ ّ‬ ‫ّ‬ ‫ّ‬
‫اﻟﺴﺮد �� ِﻛﻼ اﻟﺴ ِ‬
‫"ا�ح ﱠجﺔ"‪ ،‬ﻋﺪا ا�حﺎدﺛﺔ اﻟ�ي ﺗﺼﺪر ﻋﻦ أﺳﻄﻮرة‬
‫ِ‬
‫ﻧﺺ ﻓﻴﮫ �ﻌﺾ اﻟﻔﺮوﻗﺎت اﻟ�ي ﻋﻨﺪ ﺳ ْﺮ ْ‬
‫�ﺎﻣ�ي‬ ‫ِ‬
‫ّ‬
‫�‬ ‫اﻟﺪا ﺳ�ن ّ‬‫ّ‬ ‫ُ َ‬
‫"ا�ح ﱠجﺔ" وﺣﺪهﺎ‬
‫أﺑﻨﺎء ﻧﺰار؟ ﺣﻘﺎ ﻻ‪ ،‬ﻓﻠيﺴﺖ ِ‬ ‫ﻓﺈن‬ ‫وﻛﺮ ْﺳﺘﻮﻓﺮ‪ .‬ﻓﻜﻤﺎ أﺷﺎر �ﻌﺾ ر‬ ‫ِ‬
‫ً‬ ‫�‬
‫ً‬
‫ﻗﺼﺼﺎ ﻣﺎ زال ﻣﺼﺪرهﺎ ﻣﺠهﻮﻻ‪،‬‬ ‫ّ‬
‫ﺗﺘﻀﻤﻦ‬ ‫ﻣﻦ‬ ‫"ا�ح ﱠجﺔ" ﺷﺪﻳﺪة اﻟﻘﺮب ﺣﻘﺎ ﻣﻦ "هﺸﺖ‬ ‫ِ‬
‫ﻟﻜﻦ �ﺴبﺐ ﺣﻮادث أﺧﺮى �� ا�جﻤﻮﻋﺔ ً‬ ‫ّ‬
‫أﻳﻀﺎ‬ ‫��ﺸﺖ" )ا�جﻨﺎن اﻟﺜﻤﺎن( ﻷﻣ�� ﺧﺴﺮو‪.‬‬
‫ﻟيﺲ ﻓ��ﺎ ٌ‬
‫��يء ﻣﻦ "هﺸﺖ ��ﺸﺖ"‪ .‬أﺣﺪهﺎ ﻳﺒﺪو‬ ‫ﺗﻮﺣﺪ هﺸﺖ ��ﺸﺖ ﺑـ‬ ‫ﻓﺎ�خﺼﺎﺋﺺ اﻟ�ي ّ‬
‫ّ‬ ‫ّ‬ ‫"ا�ح ﱠجﺔ" أ ٌ�ﻊ ﻣﻦ ﻧﺎﺣﻴﺔ‪ ،‬وﻣﻦ ّ‬
‫اﻟﻨﺎﺣﻴﺔ اﻷﺧﺮى‬
‫اﻟهﻨﺪﻳﺔ‬ ‫‪-‬ﻟﻮهﻠﺔ‪ -‬أﻧﮫ �ﻌﻮد إ�� ا�جﻤﻮﻋﺔ‬ ‫ر‬ ‫ِ‬
‫‪� Kathasaritsagara‬ﺎﺗﺎﺳﺎ ْ� َ‬
‫ﺴﺎݠﺮا ‪ .17‬ﻓﻌﻠﻴﻨﺎ‬ ‫ﺗﻤ��هﺎ ﻋﻦ أﺳﻄﻮرة أﺑﻨﺎء ﻧﺰار‪ْ ،‬‬
‫و�ن �ﺎﻧﺖ‬ ‫ّ‬
‫ِر‬
‫‪ -16‬أو ﻷﺻﻠهﺎ‪.‬‬ ‫ً‬

‫اﻗﺘﺒﺎﺳﺎ ﻟﻠﻤﻘﻮﻟﺔ‬ ‫اﻟﺪﻳﻦ ّ‬
‫واﻟﺪﻧﻴﺎ؛ وﻗﺪ ﻳ�ﻮن‬ ‫‪ -15‬أي‪ :‬ﺑ�ن ّ‬
‫‪ -17‬أي‪ :‬ﺑﺤﺮ اﻟﻘﺼﺺ‪.‬‬ ‫اﳌنﺴﻮ�ﺔ ﻟﻠﻤﺴﻴﺢ‪" :‬أﻋﻄﻮا ﻣﺎ ﻟﻘﻴﺼﺮ ﻟﻘﻴﺼﺮ وﻣﺎ‬
‫ﻟ�خﺎﻟﻖ ﻟ�خﺎﻟﻖ"‪.‬‬
‫‪ISSN: 2295-1210‬‬ ‫‪188‬‬ ‫‪© ATI & Garant‬‬

‫ّ‬ ‫ﻣﺒنﻴﺔ ﻋ�� ّ‬

‫ﻧﻘﺮر ّأن "ا�ح ﱠجﺔ" ّ‬
‫أن ّ‬
‫‪ Giovanni Francesco Straparola‬ﻣﺆﻟﻒ ‪Le‬‬ ‫ﻋﺪة ﻣﺼﺎدر‪،‬‬ ‫ِ‬
‫ُ‬ ‫َ‬ ‫ّ‬ ‫ّ‬
‫اﻟﺘﺎ �� ّ‬
‫وﺟﺪت‬ ‫‪) Piacevoli Notti‬اﻟﻠﻴﺎ�� اﳌ ِﺮ َﺣﺔ( ‪ .18‬وﻗﺪ‬ ‫ﻟﺘﻌﺪد اﳌﺼﺎدر ّ‬
‫حجﺔ ��‬ ‫وﻣﺎ زال اﻟﺪﻟﻴﻞ ر‬
‫ّ‬
‫اﻟﺒﻨﺪﻗﻴﺔ ‪-‬وأﻧﺎ أﺑﺤﺚ ﻋﻦ‬ ‫ّ‬ ‫�� جﻼت ﺣ�ﻮﻣﺔ‬ ‫"ا�ح ﱠجﺔ" ﻳﺒﺪو ‪-‬ﻟﻮهﻠﺔ‪-‬‬
‫�ﻌﺾ اﻟﻘﻀﺎﻳﺎ‪ .‬و�ﺎﺗﺐ ِ‬
‫ﻣﻨﻴﺎ ﻳﺠﻴﺪ ّ‬ ‫ْ ُ َ‬ ‫ّ‬
‫ﻋﺪة‬ ‫ﻮﻓﺮ‪ -‬أر �‬ ‫ﻛﺮﺳﺘ‬ ‫دﻟﻴﻞ �� ﺣﻘﻴﻘﺔ ِ‬
‫ٍ‬ ‫ﻣﻄﻠ ًﻌﺎ ﻋ�� ﻗﺼﻴﺪة ﻧﻈﺎﻣﻲ "هﻔﺖ ﺑﻴ�ﺎر"‬
‫)اﻟﻌﺮ�ﻴﺔ‪ ،‬اﻟﻔﺎر ّ‬
‫ّ‬ ‫ّ‬ ‫ّ‬ ‫)اﻟﺼﻮر ّ‬
‫ﺳﻴﺔ‪ ،‬إ�خ‪ (.‬و�ﺎن‬ ‫ﺷﺮﻗﻴﺔ‬ ‫ﻟﻐﺎت‬ ‫�ﻐﺮ�ﺐ ﻗﻂ‪ ،‬إذ‬
‫ٍ‬ ‫اﻟﺴﺒﻊ(‪ .‬وهﺬا ﻟيﺲ‬
‫ﻗﺮ�ﺒﺎ ﻣﻦ ﺟﻮز��ي ﺗﺮاﻣ��ﻳﻨﻮ ‪Giuseppe‬‬ ‫ً‬
‫ﺻﺪﻳﻘﺎ ً‬ ‫اﻟﻘﺼﻴﺪة �� اﳌﺼﺪر اﻷﺳﺎ��ي ﻟـ"هﺸﺖ‬
‫‪ Tramezzino‬اﻟﺬي ّﻳﺘﻔﻖ أن ﻳ�ﻮن اﺑﻦ أ��‬ ‫��ﺸﺖ"‪ .‬ﻣﺎ زاﻟﺖ ﺗﻮﺟﺪ �ﻌﺾ ا�خﻄﻮﻃﺎت اﻟ�ي‬
‫"ا�ح ﱠجﺔ"‪ ،‬ﻓﻘﺪ ﻳ�ﻮن اﻷر ّ‬
‫ﻣ�ي‬ ‫ﻣيﺸﻴﻞ ﻧﺎﺷﺮ ِ‬ ‫ﺗﻈهﺮ ﻓ��ﺎ ﻗﺼﻴﺪﺗﺎن ﻣﻘﺎﺑﻠﺘﺎن ﻟﺒﻌﻀهﻤﺎ‪،‬‬
‫ّ‬ ‫ّ‬ ‫اﻟﺮ�ﻊ ّ‬
‫وﺗﺎر�ﺨهﺎ �ﻌﻮد ﳌﺎ ﻻ ﻳﺘﺄﺧﺮ ﻋﻦ ّ‬
‫ﻣﺘﻌﺪد اﻟﻠﻐﺎت وﺻﺪﻳﻘﮫ ﺗﺮاﻣ��ﻳﻨﻮ هﻤﺎ‬ ‫اﻷول ﻣﻦ‬
‫�ﺎﺗﺒﺎ‪/‬ﻣ��ﺟﻤﺎ هﺬﻩ ا�جﻤﻮﻋﺔ اﻟ�ي ﻣﺎ زاﻟﺖ‬ ‫اﻟﻘﺮن ا�خﺎﻣﺲ ﻋﺸﺮ اﳌﻴﻼدي‪ .‬هﺬا ّ‬
‫اﻟﺪﻟﻴﻞ‬
‫أﻇ��ﻤﺎ ﻛﺬﻟﻚ‪.‬‬ ‫ّ‬
‫ﻣﺘﻤﻨﻌﺔ‪ ،‬وأﻧﺎ ّ‬ ‫ﻣﺘﺎﺣﺎ �ح�ﺎﻳﺎت أﺧﺮى ﺗﺤﺘﻮ��ﺎ‬ ‫اﻟﺘﺎر�� ﻣﺎ زال ً‬ ‫ّ‬
‫ّ‬
‫ﻓﺈﻧﮫ ‪-‬ﻛﻤﺎ رأﻳﻨﺎ‪ -‬ﻟيﺲ ُﻳ ّ‬
‫ﺮجح‬ ‫"ا�ح ﱠجﺔ"‪ ،‬وﻣﻊ هﺬا‬
‫ِ‬
‫‪.‬‬ ‫ُ‬
‫ﻣﺒ�ي ﻋ�� ﺗﺮاث ﺷﻔﻮي‪ .‬ﻓﻠﻦ ﺗﻘﺎل‬ ‫ّأن هﺬا اﻟﻌﻤﻞ ّ‬
‫اﻟﻔﺼﻞ �� هﺬﻩ ا�جﻤﻮﻋﺔ ّ‬ ‫َ‬
‫ﺣ�ى ُ�ﻌ�� ﻋ��‬ ‫اﻟ�ﻠﻤﺔ‬
‫اﳌﺼﺪر اﳌﻜﺘﻮب‪.‬‬
‫��يء واﺣﺪ‪ ،‬وهﻮ ّأن اﻟﻌﺪﻳﺪ‬

‫وﻗﺪ �ﻐﺎﻣﺮ �� ﻗﻮل ٍ‬
‫ﻮﻓﺮ اﻷرﻣ�ي ً‬ ‫ْ ُ َ‬ ‫ّ‬ ‫ّ‬
‫اﺳﻤﺎ‬ ‫ﻛﺮﺳﺘ‬
‫ﻣﻦ اﻟﺪارﺳ�ن ﻇﻨﻮا ِ‬
‫وهﻤﻴﺎ‪ ،‬ﻣ��ﻢ ﺛﻴﻮدور ِﺑ ْﻨﻔﻲ ‪.Theodor Benfey‬‬
‫�‬
‫اﻟﺼﺪﻳﻖ اﻟﺬي أﻋﺎن‬ ‫أﻳﻀﺎ ّأن ّ‬‫واﻓ��ض ﺛﻴﻮدور ً‬
‫ْ ُ َ‬
‫ﻮﻓﺮ هﻮ ﺟﻴﻮﻓﺎ�ﻲ ﻓﺮ ْا�ﺸ ْﺴ ُ�ﻮ ﺳ�� ُ‬
‫اﺑﺎروﻻ‬ ‫ِ‬ ‫ﻛﺮﺳﺘ‬
‫ِ‬
‫دﻟﻴﻞ ﻳﻨﺼﺮ اﻓ��اﺿﮫ“‪.‬‬ ‫ّ‬ ‫ّ ْ‬

‫‪” -18‬وﻟﻜﻦ ِﺑﻨﻔﻲ ﻻ �ﻌﻄﻴﻨﺎ أي ٍ‬
‫ّ‬
‫)اﳌﺆﻟﻒ(‪.‬‬
‫‪ISSN: 2295-1210‬‬ ‫‪189‬‬ ‫‪© ATI & Garant‬‬

Source Text
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191
192
The Serendipity of the Three Princes of Serendib:
Arabic Tales in a Collection of Italian Renaissance
Short Stories1
Renzo BRAGANTINI
Università di Udine
Allow me to begin with a disclaimer. As a scholar of Italian literature I

have only indirect knowledge of the Arabian narrative tradition. Thus I will
concern myself with an Arabian topic connected with Italian culture. My focus
is an episode found at the very beginning of the Peregrinaggio di tre giovani
figliuoli del re di Serendippo, a collection of short stories first published in
1557 in Venice and translated from Persian—as the title page expressly
states—by an author simply known as Cristoforo Armeno.2
Strange as it may seem, this collection is almost unknown, even to schol
ars of Italian literature. And yet, the Peregrinaggio is one of the most wide
spread Italian books outside of Italy. One could even go so far as saying that
its influence on western literatures is unparalleled by other Italian Renaissance
fiction. Even Bandello, whose Novelle were partially known to French readers
through the rewriting of Boaistuau’s XVIII Histoires tragiques (1559), and to
English ones through Painter’s Palace of Pleasure (15661567), did not have
such success as the Peregrinaggio. Translations and rewritings include the
German version (1583), the French one (1719), and then, from the latter, the
English (1722) and the Dutch (1766). From a later German translation (1723)
derives the Danish one (1729).3 This is not to mention what is perhaps the
most important rewriting of the Peregrinaggio: Le voyage des princes for
tunez by Béroalde de Verville.4 No doubt, the Peregrinaggio owes its popular
ity to the explicit exoticism of the plot. And no doubt, such an exoticism could
flourish in no other Italian city than Venice, because of its geopolitical posi
tion. But there is one more reason for the success of the book. The collection
1
I thank professors Frédéric Bauden, Aboubakr Chraïbi, Antonella Ghersetti, Ulrich Mar
zolph for their suggestions. I also want to express my gratitude to professors Pier Massimo
Forni and Victoria Kirkham for revising my English text.
2
I will refer to the following edition: C. Armeno, Peregrinaggio, ed. Bragantini. For the
identification of the author (or rather the authors, since in the dedicatory letter Cristoforo says
he has been helped for the translation by a friend of his), see there the Introduzione, pp. XIX
XXIII.
3
See Reise, ed. Fischer and Bolte, pp. 192197; E. Cerulli, Raccolta, pp. 341346.
4
See I. Zinguer, Roman, pp. 97128.
193
302 RENZO BRAGANTINI
is based upon the outstanding sagacity of the three princes. While the exoti
cism made the Peregrinaggio popular in France, the combination of exoticism
with sagacity met with the tastes of a public like the English, accustomed to
the detective novel.
In the entry Serendipity in the Oxford English Dictionary we read that the
word was “formed by Horace Walpole upon the title of the fairytale The
Three Princes of Serendip, the heroes of which ‘were always making discov
eries, by accident or sagacity, of things they were not in quest of’ ”. Thus, it is
defined as “The faculty of making happy and unexpected discoveries by acci
dent”. It is not very surprising that the dictionary does not mention the Pere
grinaggio. However, The Three Princes of Serendip is a fairytale that surely
derives from it. Much more surprising is what we read in the Grande Dizion
ario della Lingua Italiana, as an etymological explanation of Serendipità:
“from the English Serendipity, a word created in 1754 by H. Walpole in his
novel ‘Three princes of Serendip’ (where he tells the story of three youngsters
who have a natural gift for discovering rare things without looking for them)”.
Needless to say, Walpole never wrote The Three Princes (which, by the way,
is not a novel). It is odd that the Italian dictionary seems to be unaware that the
origin of the word dates back to the Italian book, that is to say to the Peregri
naggio. Even odder is this negligence if we consider that the Peregrinaggio is
among the sources of the same dictionary.
One of the first examples of sagacious detection in Italian fiction is found
in one of the first tales of the Novellino, a collection of short stories assembled
in the last quarter of the thirteenth century by an anonymous Florentine.5 In
the fourth story of this collection, a king named Philip (probably Philip of
Macedon, father of Alexander the Great) keeps in prison a wise Greek man.
When the king is presented with a horse, the Greek tells him that the horse has
been fed with ass’s milk. Having found out that the Greek is right, the king
rewards him with a daily half a loaf of bread. Later, the king asks the Greek’s
opinion on a precious stone of his, and the Greek answers that it has a worm
inside. Again the king finds that the wise man is right, and rewards him with a
loaf of bread. Later on, the king has doubts about being a legitimate son, and
he urges the man to tell him the truth about his birth. The Greek tells him that
he is son of a baker. Having asked his mother, the king must acknowledge the
sagacity of the prisoner. Finally, he asks him how he managed to discover the
truth in all instances. Here are the answers: 1) The horse was fed with ass’s
milk because, unlike other horses, its ears were bowed; 2) The stone had a
worm inside because, whilst stones are usually cold, that stone was warm, and
this can only happen if something is living in it; 3) Had not the king been the
son of a baker, he never would have rewarded him with bread. The legitimate
son of a king would have rewarded him with the gift of a city. The chastened
5
See Novellino, ed. Conte (especially the Introduzione, pp. XVXVI, and the Nota al testo,
pp. 281284).
194
THE SERENDIPITY OF THE THREE PRINCES OF SERENDIB 303
king finally acknowledges his miserliness and presents him with precious
gifts.6
Although it does not coincide perfectly with the frametale of the Peregri
naggio, this story has elements in common with it. There is the detail of an
animal fed with the milk of another, but, even more important, the fact that the
investigation’s final result directly concerns the king (unlike the Novellino,
however, in the Peregrinaggio there is no doubt about the legitimate birth of
the emperor Bahram). Much closer to the opening story of the Peregrinaggio
is the first story, De sapiensia (On Wisdom), of the Novelliere by Giovanni
Sercambi. The Novelliere was written between the end of the fourteenth and
the beginning of the fifteenth centuries, and we can absolutely exclude that
Cristoforo Armeno knew it, since until the nineteenth century the author was
completely unknown as a writer of fiction. Furthermore, only one incomplete
manuscript of the Novelliere is extant. We must then assume that both Ser
cambi and the author of the Peregrinaggio drew from the same source. As far
as I know, the real source has not yet come to light, even if many scholars
think that it could be found in some adaptations of Arabic tales, which so fre
quently appear in medieval Spain. This indeed may be the case. Consider La
prima veste dei discorsi degli animali by Agnolo Firenzuola, written in 1541
and published in 1548. The Prima veste is the rewriting of one of the five
books of Pañcatantra, already adapted in the thirteenth century by Giovanni
da Capua, in his abridged Latin version (the Directorium humanae vitae) from
a Jewish translation of Ibn alMuqaffaʿ’s Kalīla wa Dimna.7 Firenzuola
doesn’t depend on the Latin of Giovanni da Capua; rather, he closely follows
the Spanish adaptation of the Pañcatantra, first published in 1493 at Saragossa
(the Exemplario contra los engaños y peligros del mundo).8 Something similar
could have happened in the case of the Peregrinaggio, although there is, up to
now, no evidence of it.
At the very beginning of the Peregrinaggio one realizes that the narrative
material comes from the Arabic legend of the sons of Nizār, as told by
Mufaḍḍal b. Salama, alMasʿūdī, Ibn alĞawzī and others. However, many
changes occur in it.9 Gia’far, king of Sarendib, summons his three sons (who
6
See ibid., pp. 1013, 170173. For the sources of this tale, see there, pp. 303306.
7
As well known, the Pañcatantra spread over the western world through Kalīla wa
Dimna: besides the Jewish version, due to Rabbi Joel (twelfth century), directly from it derive
the Greek (Simeon of Seth, about 1080), and the Spanish one (see the following note). For the
Greek translation see LO. Sjöberg, Stephanites; for Giovanni da Capua see the still unsur
passed L. Hervieux, Fabulistes, particularly the fifth volume (Jean de Capoue et ses dérivés).
8
See A. Firenzuola, Le novelle, ed. Ragni, pp. 203204. A previous Spanish version based
on Kalīla wa Dimna, accomplished on demand of the then infante, later on king Alphonso X
the Sage, dates probably from 1251; in addition to the Spanish translation, it has to be remem
bered the German adaptation (Anthon von Pforr, Buch der Beispiele der alten Weisen, 1480).
9
See R. Blachère, Histoire, vol. III, pp. 758760; alMasʿūdī, Prairies, transl. Barbier de
Meynard and Pavet de Courteille, rev. Pellat, vol. II, pp. 414417; Ibn elǦauzi, Adkijâ, transl.
Rescher, pp. 120122. See also T. Fahd, La Divination, pp. 374375.
195
remain nameless throughout the Peregrinaggio), pretending he wants to resign

from the throne. Since none of them agreed to succeed him, Gia’far, under the
false pretext of being angry with them because of their refusal, banishes his
three sons from the kingdom. Entering the country of the emperor Bahram, the
three youngsters meet a cameleer who, having lost his camel, asks them if they
have seen it. Here begins the first episode of serendipity. The three princes ask
the cameleer: 1) Isn’t the camel blind in one eye? 2) Isn’t it missing one tooth?
3) Isn’t it lame? Having answered yes, the cameleer thanks the three princes
and continues his search. Later, he comes back and accuses the three of duping
him, since he has not found the animal. In the second episode of serendipity
the princes assure the cameleer they didn’t dupe him at all, as he may deduce
from a new series of signs: 1) The camel was carrying a double burden, butter
on one side, honey on the other (oldest brother); 2) The camel was also
carrying a woman (middle brother); 3) The woman is pregnant (youngest
brother). Definitively persuaded that the three princes have stolen his camel,
the cameleer, determined to obtain justice, charges them with theft before
Bahram. The emperor puts the three princes in prison, but later, once the
cameleer has found his animal, the former frees them, and asks them how they
managed to divine the camel’s distinctive features and the peculiarities of its
burden. Here are the answers to the first episode of serendipity: the camel
1) lacks one eye because the grass was gnawed on one side, untouched on the
other; 2) it lacks one tooth because in its path were to be found many bits of
grass, big enough to pass trough a missing tooth; 3) it’s lame because from the
tracks of the animal one could see that one hoof was dragged on the sand. The
answers to the second episode of serendipity are as follows: the camel was
1) loaded with butter on one side, honey on the other, because one could see
an incredible amount of ants from one side of the path, of flies from the other;
2) it was carrying a woman because, when the middle brother noticed that
there was urine near some footsteps, he put his fingers in it and suddenly was
overwhelmed by lust; 3) the woman is pregnant because from the traces left on
the sand one could see that, after having urinated, she needed to use her hands
in order to stand up again. Astonished by the serendipity of the three princes,
Bahram invites them to remain with him for some time.
One day, secretly listening to their conversations, Bahram hears what they
say about some wine and food with which he has presented them. Here takes
place the third episode of serendipity: 1) the oldest brother says he has no
doubt that the wine comes from a vineyard planted on a cemetery; 2) the sec
ond brother affirms that the lamb they are eating was fed with shedog’s milk;
3) the youngest brother says he has noticed that a councillor of Bahram wants
to kill the king, who had previously sentenced to death his son because of a
crime he had committed. Having inquired about the deductions of his guests,
Bahram finds they are right again (of course he needs no inquiry about the
third deduction). Then he asks the youngsters how they came to their conclu
sions: 1) The vineyard was planted on a cemetery because, whilst wine usually
196
makes men happy, the oldest brother became suddenly sad and melancholic;
2) the lamb was fed with shedog’s milk because, as soon as the second
brother began to eat it, he felt his mouth salty and foamy;10 3) the councillor
plans to kill the emperor because, during a meeting Bahram was having with
his courtiers, the youngest brother noticed that the councillor’s expression
suddenly changed while Bahram was saying wicked people deserve punish
ment. The prince also saw that the councillor asked for some water to cool his
liver. Hence he thought that only the death sentence on his son could hurt him
this way. The emperor eventually banishes the councillor from the kingdom.11
There is no doubt that this tale of the Peregrinaggio derives from the leg
end of the sons of Nizār. But does it derive directly from it? I do not think so.
Apart from the fact that the Arabian legend lacks the second episode of seren
dipity, the most evident difference is that while in it the youngsters are four,
since the story goes back to Nizār as founder of northern Arabian tribes, in the
Peregrinaggio (as in Sercambi) they are three. One more conspicuous differ
ence is that, unlike the host of Nizār’s sons, Bahram is a legitimate son.12 But
this last variation has to be considered intentional for two linked reasons: 1) At
the end of the Peregrinaggio the youngest prince marries a daughter of Bah
ram, and, after the death of the latter, succeeds to the throne. It would have
been unseemly to show him as the successor of an emperor who is an illegiti
mate son; 2) especially in the Republic of Venice, renowned for combining
Cæsarism and Papism, and for having literature constantly supporting political
power, such a conclusion could sound shocking. Neither Sercambi nor Cristo
foro, however, seem to derive their histories from the oral tradition. Had they
followed it, it would have been difficult for them to be so perfectly faithful to
the entire sequence of the narrative including both the serendipities and their
clarification. As a matter of fact, a text does exist where some of the changes
that occur both in Sercambi and in Cristoforo are to be found. As some schol
ars have shown, the Peregrinaggio seems indeed to be very close to Amīr
Ḫusraw’s Hašt Bihišt (“The Eight Paradises”).13 Four are the main peculiari
ties that on one hand unite Hašt Bihišt and the Peregrinaggio, and on the other
distinguish them from the legend of the sons of Nizār, even if the latter has to
be regarded as the remote source of both the works: 1) The father of the
princes is the king of Sarendib; 2) the princes are three; 3) three also are the
episodes of serendipity, and they coincide almost perfectly with those of the
10
The three episodes of serendipity combine two close motives; see A. Aarne, Types, 655,
655A (p. 231). See also K. Ranke, “Brüder: Die scharfsinnigen B.”, col. 87487: Ranke indi
cates erroneously (col. 877) the date 1577 for the printing of the Peregrinaggio, 1557 being
the right one.
11
See C. Armeno, Peregrinaggio, I, §§ 199, pp. 933.
12
Besides the Novellino, the illegitimacy of the host is to be found also in Sercambi.
13
See A. Wesselski, “Quellen”, pp. 106119; S.V.R. Cammann, “Christopher”, pp. 229
258; A.M. Piemontese, “Fonti”, pp. 185221, and “Otto Paradisi”, pp. 317417; Amir Khusrau
da Delhi, Le otto novelle.
197
Peregrinaggio; accordingly 4) the answers the princes give to the king who
hosts them almost perfectly coincide, too. The only difference between Hašt
Bihišt and the Peregrinaggio is that the former, faithful to the tradition, shows
the host of the princes as the illegitimate son of a cook. As we have seen,
however, this difference has no real importance.
Given such affinities, can we say that Hašt Bihišt is the real source of the
Peregrinaggio, apart from the episode that derives from the legend of the sons
of Nizār? Not really, not only because the Peregrinaggio includes stories
whose source still remains unknown, but also because other episodes in the
collection have nothing to do with Hašt Bihišt. One of them, for instance,
seems to go back to the Indian collection Kathasaritsagara.14 We are com
pelled to conclude that the Peregrinaggio relies on different sources. Histori
cal proof of multiple sources is still evident in some cases. The author of the
Peregrinaggio seems to be acquainted, for instance, with Niẓāmī’s Haft
Paykar (“The Seven Images”). This is not surprising at all, since the latter
poem is the main source for Hašt Bihišt. Some manuscripts where both poems
appear opposite one another are still extant. They date not later than from the
first quarter of the fifteenth century. Such historical evidence is still to be
found for other tales included in the Peregrinaggio, and yet, as we have seen,
it is not likely that the work is based on oral tradition. Until a textual source is
found, the last word on its composition cannot be said.
One thing we can venture to say. Many scholars thought Cristoforo Ar
meno to be a fictitious name, among them, Theodor Benfey. Benfey also sup
posed the friend who helped Cristoforo to be Giovan Francesco Straparola, the
author of the Piacevoli notti.15 Looking for some proof of the real existence of
Cristoforo, I found in the Venice State Archives that an Armenian proficient in
many oriental languages (Arabian, Persian, etc.) was a close friend of
Giuseppe Tramezzino, himself so skilled in oriental languages (among them
Arabic), that he was regularly paid as an interpreter by the Republic of Venice.
Giuseppe Tramezzino also happens to be the nephew of Michele, the publisher
of the Peregrinaggio. The Armenian polyglot and his friend Tramezzino may
well be, and I think they are, the authors/translators of this still elusive collec
tion.16
Bibliography
Sources
Amir Khusrau da Delhi, Le otto novelle del Paradiso, Introduzione di Paola Mildo
nian, Postfazione di Angelo Michele Piemontese, Soveria Mannelli: Rubbet
tino, 1996.
14
See C. Armeno, Peregrinaggio, I, §§ 140153, pp. 4143. For a list of the hitherto identi
fied sources see there my Introduzione, pp. XXXIIIXXXV.
15
See Th. Benfey, “Ein alter”, pp. 257288 (especially pp. 257270). Benfey, anyway,
brings no real proof to support his supposition.
16
See R. Bragantini, Introduzione, in C. Armeno, Peregrinaggio, pp. XXVIIIXXXI.
198
Armeno, Cristoforo, Peregrinaggio di tre giovani figliuoli del re di Serendippo, a

cura di Renzo Bragantini, Roma: Salerno Editrice, 2000.
Firenzuola, Agnolo, Le novelle, a cura di Eugenio Ragni, Roma: Salerno Editrice,
1971.
Hervieux, Léopold, Les Fabulistes latins. Depuis le siècle d’Auguste jusqu’à la fin du
moyen âge, Paris: F. Didot, 18931899 (reprint: HildesheimNew York:
G. Olms, 1970), 5 vols.
Ibn elǦauzi, Das ‘Kitâb eladkijâ’ des Ibn elǦauzi, […] aus dem Arabischen über
setzt von Oskar Rescher, Galata: [Gesetzt von Breitling & Preis in der Drucke
rei, “Annuaire oriental”], 1925.
AlMasʿūdī, Les Prairies d’or, traduction française de Barbier De Meynard et Pavet
De Courteille, revue et corrigée par Charles Pellat, Paris: Société Asiatique,
19621989, 5 vols.
Novellino (Il), a cura di Alberto Conte, Presentazione di Cesare Segre, Roma: Salerno
Editrice, 2001.
Reise (Die) der Söhne Giaffers aus dem Italienischen des Christoforo Armeno über
setzt durch Johann Wetzel, hrsg. von Hermann Fischer und Johannes Bolte,
Tübingen: Gedruckt für den Litterarischen Verein in Stuttgart, 1895 (actually
1896).
Sjöberg, LarsOlof, Stephanites und Ichnelates, Überlieferungsgeschichte und Text,
Uppsala: Almquist & Wiksell, 1962.
References
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Kuusi, Kurt Ranke, Dag Strömbäck, Archer Taylor, vol. LXXV, no. 184, Third
Printing), 1973.
Benfey, Theodor, “Ein alter christlichpersicher Roman: Die Reisen der drei Söhne
des Königs von Serendippo”, in Orient und Occident III (1865), pp. 257288.
Blachère, Régis, Histoire de la littérature arabe des origines à la fin du XVe siècle de
J.C., Paris: Librairie d’Amérique et d’Orient Adrien Maisonneuve, 19521966,
3 vols.
Cammann, Schuyler Van Rensselaer, “Christopher the Armenian and the Three
Princes of Serendip”, in Comparative Literature Studies IV (1967), pp. 229
258.
Cerulli, Enrico, Una raccolta persiana di novelle tradotte a Venezia nel 1557, Roma:
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Fahd, Toufic, La Divination arabe. Études religieuses, sociologiques et folkloriques
sur le milieu natif de l’Islam, Leiden: Brill, 1966.
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Armeno e gli ‘Otto Paradisi’ di Amir Khusrau da Delhi”, in Filologia e Critica
XII (1987), pp. 185221.
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—, “Gli ‘Otto Paradisi’ di Amir Khusrau da Delhi. Una lezione persiana del ‘Libro di
Sindbad’ fonte del ‘Peregrinaggio’ di C. Armeno”, in Atti della Accademia Na
zionale dei Lincei, Classe di Scienze morali, storiche e filologiche, Memorie, s.
IX, VI (1995), fasc. 3, pp. 317417.
Ranke, Kurt, “Brüder: Die scharfsinnigen B.”, in Enzyklopädie des Märchens, Hand
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200
Volume 12, Issue 13, May 2022 https://www.dragoman-journal.org Abied Alsulaiman
‫ﻣﻦ ﻛبﺶ ﻓﺪاء إ�� ﺣﻤﺎروﺣ�ىي‬

‫ ﻣﻘﺎر�ﺔ ﺟﺪﻳﺪة ﻟﺼﻨﻊ اﻟﻘﺮار واﻟﺴﻴﻄﺮة ﻋ�� اﻟن�اع‬:‫اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ اﻟﻌﻤﻴﻘﺔ‬
‫ ﻋﺒﺪاﻟﺮﺣﻤﻦ اﻟﺴﻠﻴﻤﺎن‬:‫ﻋﺮض وﺗﻘﻴﻴﻢ‬
Short Bio
Abied Alsulaiman. A Professor of Arabic at KU Leuven, Antwerp campus.

He lectures in history of Arabic culture, legal translation and interpreting at the
Facluty of Arts and in history of Islamic Theology at the Faculty of Theology
(from 2020 – 2021). He is also in charge of evaluating candidate court
interpreters and translators (Arabic-Dutch) in Antwerp. Born in Syria, where
he attended primary and secondary school, Abied Alsulaiman continued his
studies in Greece and Belgium (Greek, Semitic languages and cultures and
Biblical Hebrew). He obtained his PhD on the translation problems of legal
texts from the Moroccan legal system into the Belgian legal system. He
continued his career with the city of Antwerp as coordinator of the city advisory
council for migrants (1992 - 1997) and in the corporate world (1997 - 2007) as
managing director of an international translation office. From the academic
year 2003-2004 onwards, he built the Bachelor's and Master's degree
programme in Arabic within the Applied Linguistics programme, along with
his late colleague Herman Talloen, at the former Lessius Hogeschool in
Antwerp. This programme was integrated into the Faculty of Arts in
2013.Abied Alsulaiman is also a co-founder of ‘Arabic Translators
International’ (ATI), an international association uniting translators of Arabic
worldwide and co-editor of the English-language series, ATI Publications,
issued by the Association.His research interests cover issues of legal translation
related to the various legal systems that use Arabic and arise within the Dutch-
speaking Belgian legal system and subsequently in the legal system in the
Netherlands, along with their system bound legal terminologies. His research
includes the following areas: translation studies and translation technology;
legal translation and legal terminology (Arab states, Belgium and the
Netherlands); Wiretap interpreting (Folitex); literary and religious translation;
Arabic language and linguistics; Islamic studies and history; Semitic languages
and linguistics; Hebrew Studies and Judeo-Arabic literature.
ISSN: 2295-1210 201 © ATI & Garant

‫‪Volume 12, Issue 13, May 2022‬‬ ‫‪https://www.dragoman-journal.org Abied Alsulaiman‬‬
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‫"ﻣﻦ ﻛبﺶ ﻓﺪاء إ�� ﺣﻤﺎروﺣ�ىي‪ .‬اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ اﻟﻌﻤﻴﻘﺔ‪ :‬ﻣﻘﺎر�ﺔ ﺟﺪﻳﺪة ﻟﺼﻨﻊ اﻟﻘﺮار‬
‫واﻟﺴﻴﻄﺮة ﻋ�� اﻟن�اع"‪.‬‬
‫اﻟ�ﺎﺗﺐ‪ :‬ﻓﺎ�ﻲ ﻣﺎﺗﻴﻮﺳﻦ )‪(Fanny Matheusen‬‬
‫اﻟﻨﺎﺷﺮ‪ :‬دارﺑﻴﻠﻜﻤﺎﻧﺰﺑﺮو – �ﺎﳌ��ﺎوت‪ ،‬ﺑ�جﻴ�ﺎ‬
‫اﻟﻠﻐﺔ‪ :‬اﻟهﻮﻟﻨﺪﻳﺔ‬
‫ﻋﺪد اﻟﺼﻔﺤﺎت‪ 221 :‬ﺻﻔﺤﺔ )ا�جﺰء اﻟﻨﻈﺮي( و‪ 223‬ﺻﻔﺤﺔ )ا�جﺰء اﻟﺘﻄﺒﻴﻘﻲ(‪.‬‬
‫ﺳﻨﺔ اﻟنﺸﺮ‪2020 :‬‬
‫رﻗﻢ اﻹﻳﺪاع اﻟﺪو��‪9789463371476 :‬‬
‫‪ISSN: 2295-1210‬‬ ‫‪202‬‬ ‫‪© ATI & Garant‬‬

‫ﻣﻦ ﻛبﺶ ﻓﺪاء إ�� ﺣﻤﺎروﺣ�ىي‬
‫اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ اﻟﻌﻤﻴﻘﺔ‪ :‬ﻣﻘﺎر�ﺔ ﺟﺪﻳﺪة ﻟﺼﻨﻊ اﻟﻘﺮار واﻟﺴﻴﻄﺮة ﻋ�� اﻟن�اع‬
‫ﻋﺮض وﺗﻘﻴﻴﻢ‪ :‬ﻋﺒﺪاﻟﺮﺣﻤﻦ اﻟﺴﻠﻴﻤﺎن‬

‫أﺳﺘﺎذ اﻟ��ﺟﻤﺔ‪ ،‬ﺟﺎﻣﻌﺔ ﻟﻮﻓﺎن‪ ،‬ﺑ�جﻴ�ﺎ‬
‫واﳌﺘﻨﻮﻋﺔ واﻟﻔﺮ�ﺪة و��ﺟﻢ هﺬﻩ اﻟﺮؤ�ﺔ ��‬ ‫�ﻌﺎ�ج هﺬا اﻟﻜﺘﺎب ﻣﻮﺿﻮع‬
‫اﻟﻮاﻗﻊ إ�� إﺳهﺎم ﻓﺮ�ﺪ �� ا�خﻄﺎب‬ ‫"اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ اﻟﻌﻤﻴﻘﺔ"‪ ،‬و�� ﻣﻨ�ج‬
‫اﻻﺟﺘﻤﺎ��‪ .‬و�ﺘﻤﺜﻞ اﻟﺘﺤﺪي �� هﺬﻩ ا�حﺎﻟﺔ‬ ‫ﺗﺮ�ﻮي ﺣﺪﻳﺚ �ﺸﺄ �� ﺟﻨﻮب إﻓﺮ�ﻘﻴﺎ‬
‫�� ﺗﻮﺣﻴﺪ اﻟﺘﻨﻮع اﻟﻜﺒ�� اﳌﻮﺟﻮد ��‬ ‫واﻧتﺸﺮ ﻣ��ﺎ ﺣﻮل اﻟﻌﺎﻟﻢ‪ .‬ﺗﺘﻤﺤﻮر ﺣﻮل‬
‫اﻷﺻﻮات اﻟبﺸﺮ�ﺔ ﺑﺪون اﻟﺴﻘﻮط ��‬ ‫ﻓﻜﺮة اﳌﻨ�ج ﺣﻮل اﻹﻧﺼﺎت إ�� ﺻﻮت‬
‫�ﺴﻮ�ﺎت ﻣﺒﺘﺬﻟﺔ أو ﻣﻘﺎر�ﺎت ﻋﻤﻠﻴﺔ‬ ‫اﻷﻗﻠﻴﺔ ا�خﺘﻠﻒ ﻋﻦ ﺻﻮت اﻷﻛ��ﻳﺔ‪ ،‬إذ‬
‫ﻟﺘﺼنﻴﻒ ﺗﻠﻚ اﻷﺻﻮات‪ .‬ﻟﺬﻟﻚ ﻳﺤﺎول‬ ‫ً‬
‫ﻏﺎﻟﺒﺎ ﻣﺎ ﺗﻨﻈﺮ اﳌﻨﺎ�ج اﻟ��ﺑﻮ�ﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ‬
‫اﻟﻜﺘﺎب ﺗﻘﺪﻳﻢ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻷﻓ�ﺎر‬ ‫إ�� ﺻﻮت اﻷﻗﻠﻴﺔ ﻋ�� أﻧﮫ اﻟﺼﻮت‬
‫واﻷدوات إ�� اﻵﺑﺎء واﻷﻣهﺎت واﳌﺪراء‬ ‫اﳌﻌﺎرض ﻟﺼﻮت اﻷﻛ��ﻳﺔ‪ُ ،‬ﻓ��ى ﺻﺎﺣﺒﮫ‬
‫اﻟﺘﻨﻔﻴﺬﻳ�ن واﳌﻮﺟه�ن اﻟ��ﺑﻮ��ن واﳌﻌﻠﻤ�ن‬ ‫ﺑﺄﻧﮫ ذﻟﻚ اﻟ�خﺺ اﻵﺧﺮ‪ ،‬اﻟﻐﺮ�ﺐ‬
‫وﻣنﺸﻄﻲ اﻟﺸﺒﺎب واﻟﻔﺎﻋﻠ�ن اﻻﺟﺘﻤﺎﻋﻴ�ن‬ ‫واﳌﺸﺎﻏﺐ‪ُ ،‬و� َنﺒﺬ ﻟﺬﻟﻚ‪ .‬أﻣﺎ ﻣﻨ�ج‬
‫ﺗﻤﻜ��ﻢ ﻣﻦ ﺗﻄﺒﻴﻖ ﻣﻨ�ج "اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ‬ ‫اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ اﻟﻌﻤﻴﻘﺔ ﻣﻮﺿﻮع هﺬا‬
‫اﻟﻌﻤﻴﻘﺔ" هﺬا أﺛﻨﺎء اﻟﻘﻴﺎم �ﻌﻤﻠهﻢ اﻟ��ﺑﻮي‬ ‫اﻟﻜﺘﺎب ﻓ��ى �� هﺬا اﻟﺼﻮت ا�خﺎﻟﻒ‬
‫واﻟﻘﻴﺎدي واﻟﺘﻮﺟﻴ�ي و�� ﻋﻤﻠﻴﺔ اﻟ��ﺑﻴﺔ‬ ‫ﻟﺼﻮت اﻷﻛ��ﻳﺔ ﻣﺼﺪ ًرا ﻣﻦ ﻣﺼﺎدر‬
‫�ﺸ�ﻞ ﻋﺎم‪.‬‬ ‫ا�حﻜﻤﺔ‪ ،‬و�ﺮى أن �� داﺧﻞ �ﻞ إ�ﺴﺎن‬
‫ﻏﻨﻴﺎ ﺑﺎ�خﻄﻮط اﻟﻜﺜ��ة‬ ‫وﺣﺸﻴﺎ ً‬
‫ً‬ ‫ﺣﻤﺎ ًرا‬
‫‪ISSN: 2295-1210‬‬ ‫‪203‬‬ ‫‪© ATI & Garant‬‬

‫هﺬﻩ اﳌﺸﺎ�ﻞ اﻟ�ي �ﺸﺄت ﻧتﻴﺠﺔ ﻟﺘﻠﻚ‬ ‫ﻃﻮرت ﻣﻨ�ج "اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ اﻟﻌﻤﻴﻘﺔ"‬ ‫ّ‬
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‫اﻟﺘﻐ��ات ﻣﻦ ﺧﻼل دﻣﺞ ﻣﻨ�ج ﻋﻠﻢ اﻟﻨﻔﺲ‬ ‫ﺳﻴﺪة ﻣﻦ ﺟﻨﻮب إﻓﺮ�ﻘﻴﺎ ﺗﺪ�� ﻣ��ﻧﺎ ﻟﻮيﺲ‬
‫اﳌﻮﺟﮫ ﻧﺤﻮ اﻟﻌﻤﻠﻴﺎت ) ‪Proces Oriented‬‬ ‫)‪ (Myrna Lewis‬ﺑﻤﻌﻴﺔ زوﺟهﺎ اﻟﺮاﺣﻞ‬
‫‪ (Psychology‬اﻟﺬي �ﺸﻤﻞ اﻟﻌﻼج واﻟﻌﻤﻞ‬ ‫ﺟﺮ�ﺞ ﻟﻮيﺲ )‪�� (Greg Lewis‬ﺪف اﻟﺘﺄﺛ��‬
‫وا�جﻤﻮﻋﺎت‬ ‫اﳌﺆﺳﺴﺎت‬ ‫ﺿﻤﻦ‬ ‫�� اﻵﻟﻴﺎت اﻻﺟﺘﻤﺎﻋﻴﺔ اﻟ�ي ﺗﺘﺤﻜﻢ ��‬
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‫اﻻﺟﺘﻤﺎﻋﻴﺔ ﻣﻦ ﺟهﺔ‪ ،‬و�ﻤﻜﻦ اﳌﺪراء‬ ‫ﻣﻮاﻗﻒ اﻷﻓﺮاد واﳌﺆﺳﺴﺎت اﻻﺟﺘﻤﺎﻋﻴﺔ‬
‫ورؤﺳﺎء اﻷﻗﺴﺎم واﻷ�خﺎص اﻟﻌﺎﻣﻠ�ن ﻣﻦ‬ ‫�ﺸ�ﻞ ﻋﺎم ��ﺪف ﺗﻮﺟ��هﺎ ﻧﺤﻮ اﻷﻓﻀﻞ‪.‬‬
‫ذﻟﻚ اﳌﻨ�ج واﳌﻌﺎرف اﳌﺘﻌﻠﻘﺔ ﺑﮫ ﻣﻦ ﺟهﺔ‬ ‫و�ﺸﺄت ﻓﻜﺮة "اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ اﻟﻌﻤﻴﻘﺔ"‬
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‫أﺧﺮى‪.‬‬ ‫ﻋﻨﺪﻣﺎ ﻃ ِﻠ َﺐ ﻣﻦ اﻟﺰوﺟ�ن اﳌﺬ�ﻮر�ﻦ ﻋﺸﻴﺔ‬
‫ا��ﻴﺎر ﻧﻈﺎم اﻟﻔﺼﻞ اﻟﻌﻨﺼﺮي )أﺑﺎرﺗﻴﺪ( ��‬
‫ﻳﺘ�ﻮن هﺬا اﻟﻜﺘﺎب ﻣﻦ ﺟﺰﺋ�ن ﺻﺪرا ��‬ ‫ﺟﻨﻮب أﻓﺮ�ﻘﻴﺎ ﺗﺤﻮ�ﻞ ﺷﺮﻛﺔ اﻟﻜهﺮ�ﺎء‬
‫ﻛﺘﺎﺑ�ن ﻣﺨﺘﻠﻔ�ن‪ .‬ﻳﺘ�ﻮن ا�جﺰء اﻷول ﻣﻦ‬ ‫)إﺳ�ﻮم( ﻣﻦ ﺷﺮﻛﺔ ﻋﻨﺼﺮ�ﺔ ﻣﺆﺳﺴﺔ ﻋ��‬
‫اﻟﺸﻖ اﻟﻨﻈﺮي‪ ،‬ﺑيﻨﻤﺎ ﻳﺤﺘﻮي ا�جﺰء اﻟﺜﺎ�ﻲ‬ ‫ﻧﻈﺎم اﻟﻔﺼﻞ اﻟﻌﻨﺼﺮي إ�� ﺷﺮﻛﺔ ﻏ��‬
‫ﻋ�� اﻟﺸﻖ اﻟﺘﻄﺒﻴﻘﻲ‪ .‬و�ﺘ�ﻮن ا�جﺰء‬ ‫اﻟﺰوﺟ ْ�ن أﺛﻨﺎء ﻋﻤﻠﻴﺔ‬
‫َ‬ ‫ﻋﻨﺼﺮ�ﺔ‪ .‬واﺟهﺖ‬
‫اﻟﻨﻈﺮي ﻣﻦ ﻣﻘﺪﻣﺔ وﺳﺒﻌﺔ ﻓﺼﻮل‪،‬‬ ‫اﺑﺎت ﻋﺪﻳﺪة‪.‬‬‫ﻣﺸﺎ�ﻞ واﺿﻄﺮ ٌ‬
‫ُ‬ ‫اﻟﺘﺤﻮ�ﻞ‬
‫�ﺴﺒﻘهﺎ ﺗﻮﻃﺌﺔ ﺑﻘﻠﻢ ﻣ��ﻧﺎ ﻟﻮيﺲ ﺗﻄﺮح ﻓ��ﺎ‬ ‫ﻓﻤﻦ ﺟهﺔ وﺟﺪ اﻟﺴ�ﺎن اﻟﺒﻴﺾ‪ ،‬اﻟﺬﻳﻦ‬
‫اﻹﺷ�ﺎﻟﻴﺔ اﻟﺮﺋيﺴﺔ ﻟﻠﻜﺘﺎب وﺗﻨﻄﻠﻖ ﻓ��ﺎ‬ ‫�ﻌﻮدوا ﻋ�� ﻣﻤﺎرﺳﺔ ﺳﻠﻄ��ﻢ اﳌﻄﻠﻘﺔ‬
‫ﻣﻦ اﻟﻘﻮل‪�" :‬ﺸهﺪ اﻹ�ﺴﺎﻧﻴﺔ اﻟﻴﻮم �� زﻣﻦ‬ ‫ﺑﺪون ﺣﺪود‪ ،‬أﻧﻔﺴهﻢ وﻗﺪ ﺧﺴﺮوا‬
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‫ﻳﻮاﺟهﻨﺎ �� أﺛﻨﺎ��ﺎ‬ ‫اﻟﻌﻮﳌﺔ ﻣﺮﺣﻠﺔ اﻧﺘﻘﺎﻟﻴﺔ‬ ‫ﺳﻠﻄ��ﻢ ﺗﻠﻚ ﺑﺎ�جﻤﻠﺔ‪ .‬وﻣﻦ ﺟهﺔ أﺧﺮى‬
‫اﺟﻊ اﻟﻌﺪاﻟﺔ اﻻﺟﺘﻤﺎﻋﻴﺔ وﻛﺬﻟﻚ ﺗﻨﻮع‬ ‫ﺗﺮ ُ‬ ‫وﺟﺪ اﻟﺴ�ﺎن اﻟﺴﻮد‪ ،‬اﻟﺬﻳﻦ ﻟﻢ ﺗﻜﻦ ﻟهﻢ‬
‫اﻟﺜﻘﺎﻓﺎت وا�خﻠﻔﻴﺎت واﻷﻓ�ﺎر‪ .‬وﻧﺠﺪ‬ ‫ﱠأﻳﺔ ﺳﻠﻄﺔ �� ﻧﻈﺎم اﻟﻔﺼﻞ اﻟﻌﻨﺼﺮي‪،‬‬
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‫أﻧﻔﺴﻨﺎ‪ �� ،‬ﺣﺎﻻت ﻛﺜ��ة‪ ،‬ﻣﻀﻄﺮ�ﻦ إ��‬ ‫أﻧﻔﺴهﻢ وﻗﺪ أﺻﺒﺤﻮا ﻓﺠﺄة ﺷﺮ�ﺎء ��‬
‫اﻻﺧﺘﻴﺎر ﺑ�ن ﻧﻘﻴﻀ�ن – ﻣﻊ أو ﺿﺪ – ��‬ ‫اﻟﺴﻠﻄﺔ و�� ﺻﻨﻊ اﻟﻘﺮار‪ .‬ﻓﻘﺎرب اﻟﺰوﺟﺎن‬
‫‪ISSN: 2295-1210‬‬ ‫‪202‬‬ ‫‪© ATI & Garant‬‬

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‫ﻣﻦ ﺧﻼﻟهﺎ ﻋﻦ أﻓ�ﺎرهﻢ ا�خﺘﻠﻔﺔ‪ .‬ﺗﻤﻜﻦ‬ ‫اﻟﻘﻀﺎﻳﺎ اﻟﺴﻴﺎﺳﻴﺔ واﻻﺟﺘﻤﺎﻋﻴﺔ وﻋ��‬
‫هﺬﻩ اﳌﺴﺎﺣﺎت �ﻞ ﻃﺮف ﻣﻦ اﻷﻃﺮاف ﻣﻦ‬ ‫اﻟﺼﻌﻴﺪﻳﻦ اﻟﺪو�� وا�ح��"‪ .‬وﺗﻨﻄﻠﻖ ﻓﻜﺮة‬
‫اﻛتﺴﺎب ﺣﻜﻤﺔ ﺟﻤﺎﻋﻴﺔ ﻋﻤﻴﻘﺔ ﻳﻔﻴﺪون‬ ‫اﻟﻜﺘﺎب اﻟﺮﺋيﺴﺔ ﻣﻦ اﻻﻋ��اف ��ﺬا اﻟﺘﻨﻮع‬
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‫ﺟﻤﻴﻌﺎ‪" ،‬ذﻟﻚ أن اﻟهﺪﻳﺔ اﻟﻀﺎﻣﺮة ��‬ ‫ﻣ��ﺎ‬ ‫�ﻠﻴﺎ وﻋﺪم اﻟهﺮوب أﻣﺎم اﻟﺘﺤﺪﻳﺎت‬ ‫اﻋ�� ًاﻓﺎ ً‬
‫�ﻞ ﻧﺰاع �� ﺗﻠﻚ ا�حﻜﻤﺔ ا�جﻤﺎﻋﻴﺔ اﻟ�ي‬ ‫اﻟ�ي ﺗنﺘﺞ ﻋﻦ اﻟﺘﻨﻮع اﻟﺜﻘﺎ�� واﻟﻔﻜﺮا�ﻲ‪.‬‬
‫ﺗ��ﺟﻢ ﻧﻔﺴهﺎ إ�� ﺣﻠﻮل ﻣﺘﺠﺪدة ﺗﺘﻘﺒﻠهﺎ‬ ‫وﻷن اﻹ�ﺴﺎن ﻳﺘﺠﻨﺐ ا�خﻼﻓﺎت واﻟن�اﻋﺎت‬
‫ﻣﺠﻤﻮﻋﺔ ﻣﺎ ﻣﻦ اﻟﻨﺎس"‪ .‬وهﻜﺬا ﺗنﺸﺄ‬ ‫ﺑﻄﺒﻌﮫ "ﻓﺈﻧﮫ" وا�حﺎﻟﺔ هﺬﻩ "ﻳﻤﻴﻞ إ��‬
‫ﻧﻤﺎذج ﺟﺪﻳﺪة �� ﺳﻴﺎق اﳌﺴﺆوﻟﻴﺔ‬ ‫اﻻ��حﺎب ﻋﻨﺪ ا�خﻼف ﻟﺘﻔﺎدي اﻟﺼﺪام‪،‬‬
‫وﻣﻤﺎرﺳ��ﺎ‪.‬‬ ‫ﻣﻤﺎ ﻳﺆدي إ�� اﻧ��ﺎء اﻟﻌﻼﻗﺔ" اﻟ�ي ﺗﻔﺎدﻳﻨﺎ‬
‫اﻟﺼﺪام ﻣﻦ أﺟﻞ دﻳﻤﻮﻣ��ﺎ‪" ،‬وﻛﺬﻟﻚ إ��‬
‫وﺗﺘﻤﺤﻮر ﻓﻜﺮة اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ اﻟﻌﻤﻴﻘﺔ‬ ‫ﻧﻮع ﻣﻦ اﻻﺳﺘﻐﺮاب ﺑﺤﻴﺚ ﻳﺤﺪث ﺗﺒﺎﻋﺪ‬
‫ﻛﻤﺎ ﻳﻄﺮﺣهﺎ اﳌﺆﺳﺴﺎن ﺣﻮل ﺗﺤﻘﻴﻖ‬ ‫ﺗﻠﻘﺎئﻲ ﻓﻴنﺘﺞ ﻋﻦ ذﻟﻚ اﺳﺘﻤﺮار آﻟﻴﺎت‬
‫ا�حﻴﻮ�ﺔ واﻻﻧﺪﻣﺎج وا�حﺮﻛﻴﺔ واﻟﻔﻌﺎﻟﻴﺔ ��‬ ‫اﻟﺘﻌﺎﻣﻞ اﻟﻘﺪﻳﻤﺔ وﻣ��ﺎ �ﺴﻠﻂ اﻟﻮاﺣﺪ ﻋ��‬
‫ا�جﺘﻤﻊ‪ .‬ﻓﺎ�حﻴﻮ�ﺔ اﻻﺟﺘﻤﺎﻋﻴﺔ ﺿﺮورة‬ ‫اﻵﺧﺮ واﺿﻄهﺎدﻩ إﻳﺎﻩ"‪ .‬وﻣﻦ ﺷﺄن ذﻟﻚ أن‬
‫"�ﻲ ﻻ �ﺴﺘﺤﻴﻞ ا�جﺘﻤﻊ وﻣﺆﺳﺴﺎﺗﮫ‬ ‫ﻳﺮ�خ ﻗﻮاﻟﺐ اﻟﻌﻼﻗﺎت اﻟﺒﺪاﺋﻴﺔ اﻟﻀﺎﻣﺮة‬ ‫ّ‬
‫ﺟﻤﺎدا ��جﺰ ﻋﻦ ﺗﺄدﻳﺔ دورﻩ ﺑﺤﻴﻮ�ﺔ ��‬ ‫ً‬ ‫�� اﻟﺜﻘﺎﻓﺔ أو �� اﳌﺆﺳﺴﺎت �ﺸ�ﻞ ﻋﺎم‪.‬‬
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‫واﻟﺘﻄﻮر"‪ .‬واﻻﻧﺪﻣﺎج‬ ‫ﻋﺎﻟﻢ ﺷﺪﻳﺪ ّ‬
‫اﻟﺘﻐ��‬ ‫"ﻟﺬﻟﻚ ﻳنﺒ�� اﻟﺒﺤﺚ ﻋﻦ أﺷ�ﺎل ﺟﺪﻳﺪة‬
‫ﺑﺪورﻩ ﺿﺮورة ﻣ�حﺔ "�ﻲ ﻻ ��جﺰ اﻟﻀﻌﻔﺎء‬ ‫ﻣﻦ اﻟﺘﻮاﺻﻞ ﻣﻦ أﺟﻞ ﺗﻔﺎدي اﻟﺼﺪام‬
‫ً‬
‫واﺟﺘﻤﺎﻋﻴﺎ ﻋﻦ اﻟ�حﺎق ﺑﺮﻛﺐ‬ ‫ً‬
‫اﻗﺘﺼﺎدﻳﺎ‬ ‫واﺳﺘﻤﺮار�ﺔ اﻻرﺗﺒﺎط ﺑ�ن اﳌ�ﻮﻧﺎت‬
‫ا�جﺘﻤﻊ اﻟﺴﺮيﻊ ا�حﺮﻛﺔ"‪ .‬وا�حﺮﻛﻴﺔ ﻻزﻣﺔ‬ ‫ا�خﺘﻠﻔﺔ ﻟﻺ�ﺴﺎﻧﻴﺔ ﻋ�� اﳌﺴﺘﻮى اﻟﻌﺎﳌﻲ‬
‫َ َ‬
‫"ﻣﻦ أﺟﻞ �ح�حﺔ اﻷﻣﻮر ﻋﻨﺪﻣﺎ ﺗﺼﻞ إ��‬ ‫واﳌﺴﺘﻮى ا�ح��"‪ .‬وﺗﻀﻴﻒ ﺑﺄن اﻟﻜﺘﺎب‬
‫ُ ّ‬ ‫ً‬
‫ﻃﺮ�ﻖ ﻣﺴﺪودة وﺗﻤﻜﻦ اﻷﻓﺮاد اﻟﺬﻳﻦ‬ ‫ﻣﻨ�جﺎ ﻳتﻴﺢ ﻟﻠﻨﺎس ﻋ�� اﺧﺘﻼﻓهﻢ‬ ‫ﻳﻘﺪم‬
‫�ﻌﺎﻧﻮن ﻣﻦ ﻋﺪم اﻟﻘﺪرة ﻋ�� اﻟﺘﻮاﺻﻞ ﻣﻦ‬ ‫وﺗﻨﻮﻋهﻢ ﻣﺴﺎﺣﺎت �ﺴﺘﻄﻴﻌﻮن أن �ﻌ��وا‬
‫‪ISSN: 2295-1210‬‬ ‫‪203‬‬ ‫‪© ATI & Garant‬‬

‫ﺧﻤﺲ ﻗﻮاﻋﺪ رﺋيﺴﺔ ﻳﺘ�ﻮن ﻣ��ﺎ ﻣﻨ�ج‬ ‫ﺻ��ور��ﻢ ﻣﺸﺎرﻛ�ن ﻓﺎﻋﻠ�ن" �� اﻟنﺸﺎط‬
‫اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ اﻟﻌﻤﻴﻘﺔ ��ﺪف إ�� اﻟﺒﺤﺚ‬ ‫اﻻﻗﺘﺼﺎدي واﻻﺟﺘﻤﺎ��‪ .‬ﻛﻤﺎ �ﺴﺎﻋﺪ‬
‫ﻋﻦ ﺻﻮت اﻷﻗﻠﻴﺔ ا�خﺎﻟﻒ وأﺧﺬﻩ �ﻌ�ن‬ ‫اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ اﻟﻌﻤﻴﻘﺔ ﻋ�� "اﻟﺮﻓﻊ ﻣﻦ‬
‫اﻻﻋﺘﺒﺎر ﻋﻨﺪ اﺗﺨﺎذ اﻟﻘﺮار اﻟ��ﺎئﻲ ﺑﺤﻴﺚ‬ ‫اﻷداء اﳌﺆﺳﺴﺎ�ﻲ ﻋ�� اﻟﺼﻌﻴﺪﻳﻦ اﻟﻨﻮ��‬
‫ﺟﺎﻣﻌﺎ ً‬
‫ﻣﺎ�ﻌﺎ �ﻌ�� ﻋﻦ ﺟﻤﻴﻊ‬ ‫ً‬ ‫ﻳ�ﻮن اﻟﻘﺮار‬ ‫واﻟﻜ�ي"‪ .‬وهﺬا ُﻳﻼﺣﻆ �� ﻣﺠﺎﻻت ﻛﺜ��ة‬
‫اﻵراء واﻷﻓ�ﺎر اﳌﻮﺟﻮدة �� ا�جﺘﻤﻊ أو‬ ‫"وﻣ��ﺎ اﻻﺟﺘﻤﺎﻋﺎت اﻟﻌﻤﻠﻴﺔ اﻟ�ي ﺗﺼﺒﺢ‬
‫اﳌﺆﺳﺴﺔ أو ا�جﻤﻮﻋﺔ‪.‬‬ ‫ﻗﺼ��ة اﻷﻣﺪ ﻋﺎﻟﻴﺔ اﻟﻔﻌﺎﻟﻴﺔ"‪.‬‬
‫ﻓﺎﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ اﻟﻌﻤﻴﻘﺔ ﺗﻨﻄﻠﻖ ﻣﻦ ﻣﺒﺪأ‬
‫اﻟﻘﺎﻋﺪة اﻷو��‪" :‬اﺟﻤﻊ �ﻞ اﻵراء واﻷﻓ�ﺎر‬ ‫اﻟﺘﻌﺎون ﻣﻊ ﺟﻤﻴﻊ اﻷﻃﻴﺎف اﳌ�ﻮﻧﺔ‬
‫واﳌﻨﻄﻠﻘﺎت"‪ .‬اﺟﻤﻊ �ﻞ اﻵراء ﻣﻦ ﺧﻼل‬ ‫ﻟﻠﻤﺠﺘﻤﻊ أو اﳌﺆﺳﺴﺔ أو ا�جﻤﻮﻋﺔ "ﻣﻤﺎ‬
‫دﻋﻮة ا�جﻤﻴﻊ ﻹﺑﺪاء آرا��ﻢ أو أﻓ�ﺎرهﻢ‬ ‫ﻳﻤﻜﻨﻨﺎ ﻣﻦ اﺳ��داد ُ�ﻌﺪ اﻟﺘﻌﺎون اﻟﺬي‬
‫واﻟﺘﻌﺒ�� ﻋﻦ ﻣﻨﻄﻠﻘﺎ��ﻢ‪" ،‬ﺑﻤﺎ �� ذﻟﻚ‬ ‫أﺿﻌﻨﺎﻩ �� ﺣﻴﺎﺗﻨﺎ" �ﺴبﺐ ﻃﻐﻴﺎن‬
‫اﻵراء واﻷﻓ�ﺎر واﳌﻨﻄﻠﻘﺎت اﻟ�ي �� ﻋ��‬ ‫اﻟﻔﻠﺴﻔﺔ اﻟﻔﺮداﻧﻴﺔ ﻋﻠ��ﺎ‪ .‬ﻓﺎﻟﻔﻠﺴﻔﺔ‬
‫اﻟﻨﻘﻴﺾ ﻣﻦ آراﺋﻚ وأﻓ�ﺎرك وﻣﻨﻄﻠﻘﺎﺗﻚ"‬ ‫اﳌﻌﻤﻮل ��ﺎ هﻨﺎ �� "أﻧﺎ ﻣﻮﺟﻮد ﻷﻧﻨﺎ‬
‫اﻟ�خﺼﻴﺔ‪ .‬وهﺬا ﻳﺘﻄﻠﺐ ﻣﻨﻚ أن ّ‬
‫ﺗﺘﺤﺮر‬ ‫ﻣﻮﺟﻮدون" وذﻟﻚ �� ﺟﺪل ﺻﺮ�ﺢ ﻣﻊ أﺣﺪ‬
‫ﻣﻦ �ﻞ اﻷﺣ�ﺎم اﳌﺴﺒﻘﺔ‪" .‬وهﺬا اﻟﺘﺤﺮر ﻣﻦ‬ ‫ﻣﻨﻄﻠﻘﺎت اﻟﻔﻜﺮ اﻟﻐﺮ�ﻲ اﳌﺆﺳﺲ ﻋ��‬
‫اﻷﺣ�ﺎم اﳌﺴﺒﻘﺔ ﻻ ﻳﺤﻮل دون اﻟﺘﻌﺒ�� ﻋﻦ‬ ‫ﻋ�� ﻋﻨﮫ ر�نﻴﮫ دﻳ�ﺎرت ��‬ ‫اﻟﻔﺮداﻧﻴﺔ ﻛﻤﺎ ﱠ‬
‫رأﻳﻚ اﻟ�خ��ي" ﻋﻨﺪﻣﺎ ﻳ�ﻮن ﻟﻚ رأي‬ ‫ﻣﻘﻮﻟﺘﮫ اﻟﺸه��ة "أﻧﺎ أﻓﻜﺮ إذن أﻧﺎ ﻣﻮﺟﻮد"‪.‬‬
‫�خ��ي �� اﳌﺴﺄﻟﺔ اﳌﻄﺮوﺣﺔ‪" ،‬وﻟﻜﻦ‬ ‫ﻛﻤﺎ ﺗﺤﺎول هﺬﻩ اﻟﻔﻠﺴﻔﺔ أن ﺗﺘﺠﺎوز‬
‫ﺑﻄﺮ�ﻘﺔ ﻳﺮى ﻣﺨﺎﻟﻔﻚ �� اﻟﺮأي ﻓ��ﺎ أﻧﻚ‬ ‫إﺷ�ﺎﻟﻴﺔ اﻟ َـﻤ ْﺤ َﻮ َرة داﺧﻞ ا�جﺘﻤﻊ أو‬
‫�ت ﻋ��ﺎ ﺑﺪون إﻗﺤﺎم ﻣﺮﺟﻌﻴﺘﻚ‬ ‫ﻋ� َ‬
‫ﱠ‬ ‫اﳌﺆﺳﺴﺔ أو ا�جﻤﻮﻋﺔ ﻣﻦ ﺧﻼل إﺣﻼل اﻟـ‬
‫ً‬
‫ورﻏﺒﺎﺗﻚ‬ ‫وﻣﻨﻄﻠﻘﺎﺗﻚ‬ ‫اﻟﻔﻜﺮاﻧﻴﺔ‬ ‫"ﻧﺤﻦ" ﺑﺪﻻ ﻣﻦ "ﻧﺤﻦ َو ُهﻢ" اﻟﺴﺎﺋﺪة اﻵن‬
‫اﻟ�خﺼﻴﺔ �� ﻋﻤﻠﻴﺔ اﻟﺘﻌﺒ�� ﻋﻦ رأﻳﻚ"‬ ‫"واﻻﻧﻄﻼق ﻣﻦ ﻣﺒﺪأ �ﻌﺎو�ﻲ" ﻳﺘ�ﻮن ﻣﻦ‬
‫‪ISSN: 2295-1210‬‬ ‫‪204‬‬ ‫‪© ATI & Garant‬‬

‫هﺬا اﳌﻘ��ح" ﻷن ﻣﻦ ﺷﺄن ذﻟﻚ أن ﻳﺠﻌﻞ‬ ‫ً‬

‫ﻣﻮﺿﻮﻋﻴﺎ‪ .‬ﻛﻤﺎ أن‬ ‫ﺑﺤﻴﺚ ﻳ�ﻮن رأﻳﻚ‬
‫وﺣﻴﺪا داﺧﻞ ا�جﻤﻮﻋﺔ‪.‬‬ ‫ً‬ ‫ذﻟﻚ اﻟ�خﺺ‬ ‫اﻻهﺘﻤﺎم ﺑﺂراء اﻵﺧﺮ�ﻦ وأﻓ�ﺎرهﻢ‬
‫ذﻟﻚ ﻷن اﻟﻮاﻗﻊ �ﻌﻠﻤﻨﺎ أن ﻣﻦ ﻳﺄ�ﻲ ﺑﻔﻜﺮة‬ ‫وﻣﻨﻄﻠﻘﺎ��ﻢ‪ ،‬ﻣهﻤﺎ �ﺎﻧﺖ ﻣﻐﺎﻳﺮة‪ ،‬وأﺧﺬ‬
‫ً‬
‫ﺟﺪﻳﺪة أو ﻣﻘ��ح ﺟﺪﻳﺪ "ﻗﺪ ﻳﺼﺒﺢ ﻋﺮﺿﺔ‬ ‫ﺟﻤﻴﻊ اﳌﻨﻄﻠﻘﺎت �ﻌ�ن اﻻﻋﺘﺒﺎر "ﺑﻄﺮ�ﻘﺔ‬
‫ﻟﻠ��ﻜﻢ واﻟﺘﻐﺎﻣﺰ واﻟﻨﻈﺮات اﳌﺮ�ﺒﺔ"‬ ‫ﻣﻨﻔﺘﺤﺔ وﻣﺤﺎﻳﺪة"‪ ،‬ﻋﺎﻣﻼن ﻣهﻤﺎن‬
‫و�ﻌﻠﻴﻘﺎت ﻣﺜﻞ "ﻋﺎدت ﺣﻠﻴﻤﺔ ﻟﻌﺎد��ﺎ‬ ‫ﻟﺘﺤﻘﻴﻖ اﳌﻮﺿﻮﻋﻴﺔ اﳌنﺸﻮدة ً‬
‫أﻳﻀﺎ ﻣﻦ‬
‫اﻟﻘﺪﻳﻤﺔ" أو ﻣﺜﻞ "ﻛﻨﺎ ﺷﺎرﻓﻨﺎ ﻋ�� اﻻﻧ��ﺎء‬ ‫هﺬﻩ اﻟﻘﺎﻋﺪة‪.‬‬
‫ﻣﻦ اﻟﻌﻤﻞ ﻟﻮﻻ هﺬا اﳌﻘ��ح" اﻟﺬي ﺳﻴﻄﻴﻞ‬
‫أﻣﺪ اﻻﺟﺘﻤﺎع‪ .‬ﻓﺈذا ﻇهﺮت �ﻌﺾ‬ ‫اﻟﻘﺎﻋﺪة اﻟﺜﺎﻧﻴﺔ‪" :‬اﺑﺤﺚ ﺑﻄﺮ�ﻘﺔ ّ‬
‫ﻓﻌﺎﻟﺔ‬
‫اﳌﻘ��ﺣﺎت ﻧتﻴﺠﺔ ﻟﺘﻮﻇﻴﻒ هﺬﻩ اﻟﻨﻘﺎط‬ ‫ﻋﻦ اﻟﺒﺪﻳﻞ"‪ .‬ﺗﻈهﺮ‪ ،‬أﺛﻨﺎء اﻟﺒﺤﺚ ﻋﻦ اﻵراء‬
‫اﻟﺜﻼث واﺳتﻨﻔﺎذهﺎ ﺑﻄﺮ�ﻘﺔ ﻓﻌﺎﻟﺔ ﻓﻴﻤﻜﻦ‬ ‫واﻷﻓ�ﺎر واﳌﻨﻄﻠﻘﺎت ا�خﺘﻠﻔﺔ �ﻌﺾ‬
‫هﻨﺎ ﻃﺮح هﺬﻩ اﳌﻘ��ﺣﺎت ﻋ�� ﺟﻤﻴﻊ‬ ‫اﳌﻘ��ﺣﺎت ﺑﺼﻮرة ﻋﻔﻮ�ﺔ‪ .‬ﺗﻘﺘ��ي اﻟن�ﻋﺔ‬
‫أﻋﻀﺎء ا�جﻤﻮﻋﺔ ﻟﻠﻨﻈﺮ ﻓ��ﺎ واﻟﺘﺼﻮ�ﺖ‬ ‫اﻟﻘﺎﺋﻤﺔ �� ﻃﺮق اﻟﻌﻤﻞ اﻟﺘﻘﻠﻴﺪﻳﺔ "أن‬
‫ﻋﻠ��ﺎ‪ .‬إذا �ﺎﻧﺖ ﻧتﻴﺠﺔ اﻟﺘﺼﻮ�ﺖ ﺑﺎﻹﺟﻤﺎع‬ ‫ﺗتﺒﻠﻮر هﺬﻩ اﻵراء ﻟﺘﺼﺒﺢ ﻣﻘ��ﺣﺎت ﺗﺆﺧﺬ‬
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‫ﻓﻴنﺒ�� هﺬﻩ ا�حﺎﻟﺔ ﺗﻨﻔﻴﺬ ﻣﺎ ﻗ ّ ِﺮ َر‬ ‫�ﻌ�ن ا�حﺴﺒﺎن ﻋﻨﺪ اﺗﺨﺎذ اﻟﻘﺮار اﻟ��ﺎئﻲ"‪.‬‬
‫ﺑﺎﻹﺟﻤﺎع‪" .‬و�ذا �ﺎﻧﺖ ﻧتﻴﺠﺔ اﻟﺘﺼﻮ�ﺖ‬ ‫ﻟﻜﻦ اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ اﻟﻌﻤﻴﻘﺔ ﻻ �ﺴتﺴﻴﻎ‬
‫ﻣﻨﻘﺴﻤﺔ ﻓﻴﺠﺐ ﻋﻠﻴﻚ اﻟﺮﺟﻮع إ��‬ ‫هﺬﻩ اﻟﻄﺮ�ﻘﺔ "وﺗﻄﻠﺐ ﻣﻨﻚ أن ﺗﺒﺤﺚ‬
‫اﻟﻘﺎﻋﺪة اﻷو�� واﻟﻄﻠﺐ ﻣﻦ �ﻞ أﺣﺪ أن‬ ‫ﻓﻌﺎﻟﺔ و�ﺼﺮاﺣﺔ ﻋﻦ اﻟﺮأي اﻵﺧﺮ‬ ‫ﺑﻄﺮ�ﻘﺔ ّ‬
‫�ﻌ�� ﻣﻦ ﺟﺪﻳﺪ ﻋﻦ رأﻳﮫ وأن ﻳﺼﻴﻎ ﻓﻜﺮﺗﮫ‬ ‫ﱠ‬ ‫اﻟﺬي �ﺸ�ﻞ اﻟﺒﺪﻳﻞ اﳌنﺸﻮد"‪.‬‬
‫أو ﻣﻘ��ﺣﮫ ﺑﺪﻗﺔ وﺻﺮاﺣﺔ ﻣﺘﻨﺎهﻴﺘ�ن وأن‬ ‫اﻟﻘﺎﻋﺪة اﻟﺜﺎﻟﺜﺔ‪" :‬ا�ﺸﺮ اﻟﺒﺪﻳﻞ"‪ .‬ﱠ‬
‫ﺗﺠﻨﺐ‬
‫ﻳﺤﺸﺪ اﻵﺧﺮ�ﻦ ﻟﻔﻜﺮﺗﮫ ﺣ�ى ُﻳﻜﺘﺐ ﻟهﺎ‬ ‫أﺛﻨﺎء اﻟﺘﻌﺒ�� ﻋﻦ اﻟﺮأي اﻵﺧﺮ وﺗﻘﺪﻳﻢ‬
‫ً‬
‫اﻟﻘﺒﻮل ﻟﺪى أﻛ��ﻳﺔ أﻋﻀﺎء ا�جﻤﻮﻋﺔ‬ ‫اﳌﻘ��ح أن ﺗﻄﺮح ﺳﺆاﻻ ﻋ�� ا�جﻤﻊ ﻣﺜﻞ‬
‫ﻓﺘﻜتﺴﺐ ﻓﻜﺮﺗﮫ اﻟﻘﻴﻤﺔ وﺗﺮﺗﻘﻲ إ��‬ ‫"ﻣﻦ ﻣﻨﻜﻢ ﻳﺘﻌﺮف ﻋ�� ﻧﻔﺴﮫ ﻣﻦ ﺧﻼل‬
‫‪ISSN: 2295-1210‬‬ ‫‪205‬‬ ‫‪© ATI & Garant‬‬

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‫ﻣﺼﺎف ا�خﻴﺎرات اﻷﺧﺮى"‪ .‬ﻋﻨﺪﻣﺎ ﺗﺘﺤﻘﻖ‬
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‫اﻟﻘﺎﻋﺪة ا�خﺎﻣﺴﺔ‪" :‬ﻏﺺ إ�� اﻷﻋﻤﺎق"‪.‬‬ ‫هﺬﻩ اﻟﻌﻤﻠﻴﺔ و�ﺤﺼﻞ اﻟﺮأي ا�خﺎﻟﻒ ﻋ��‬
‫ﻣهﻤﺎ �� هﺬﻩ‬ ‫ﺗﺆدي اﻟﻌﻮاﻃﻒ ً‬
‫دورا ً‬ ‫أﻛ��ﻳﺔ‪" ،‬ﻧنﺘﻘﻞ إ�� اﻟﻘﺎﻋﺪة اﻟﺮا�ﻌﺔ"‪.‬‬
‫اﻟﻘﺎﻋﺪة‪" .‬ﻓﺒﻌﺪ ﺗﻮﺻﻴﻒ ﻣﺎ ﻳﺠﺮي داﺧﻞ‬
‫ا�جﻤﻮﻋﺔ ﺑﺎﻗﺘﻀﺎب‪ ،‬ﻧﻄﻠﺐ ﻣﻦ أﻋﻀﺎء‬ ‫اﻟﻘﺎﻋﺪة اﻟﺮا�ﻌﺔ‪" :‬أﺿﻒ ﺣﻜﻤﺔ اﻷﻗﻠﻴﺔ "‪.‬‬
‫ﺟﻤﻴﻌﺎ ﺑﺎﻷﺷﻴﺎء‬ ‫ً‬ ‫ا�جﻤﻮﻋﺔ أن ﻳﺒﻮﺣﻮا‬ ‫ﻧﺒﺤﺚ ﺑﺘﻄﺒﻴﻖ هﺬﻩ اﻟﻘﺎﻋﺪة ﻋﻦ‬
‫اﻟﻀﺎﻣﺮة اﳌﻮﺟﻮدة �� اﻟﺒﺎﻃﻦ واﻟ�ي ﺗﺤﻮل‬ ‫اﻷ�خﺎص اﻟﺬﻳﻦ ﺧﺴﺮوا أﺻﻮا��ﻢ ��‬
‫ً‬
‫دون ﺗﺤﻘﻴﻖ اﻹﺟﻤﺎع"‪ .‬وﺛﻤﺔ ��‬ ‫رهﺎن اﻟﺘﺼﻮ�ﺖ‪� .‬ﻌ��ف ﻟهﻢ أوﻻ ﺑﺄن‬
‫اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ اﻟﻌﻤﻴﻘﺔ �ﻌﺾ اﻟﺘﻘﻨﻴﺎت‬ ‫ً‬
‫إﻳﺠﺎﺑﻴﺎ‪ .‬ﺛﻢ �ﺴﺘﻔﺴﺮ‬ ‫ا�خﺴﺎرة ﻟيﺴﺖ ً‬
‫أﻣﺮا‬
‫اﻟ�ي ﺗﻮﻇﻒ ﻣﻦ أﺟﻞ اﺳﺘﺨﺮاج‬ ‫ﻣ��ﻢ ﻋﻦ ﻣﻘ��ﺣﺎ��ﻢ اﻟﻼزﻣﺔ ﻻﻋﺘﻤﺎد ﻗﺮار‬
‫اﻟﺘﻨﺎﻗﻀﺎت اﻟﻀﺎﻣﺮة ﺑﻄﺮ�ﻘﺔ آﻣﻨﺔ‬ ‫اﻷﻛ��ﻳﺔ‪" .‬وهﻜﺬا �ﺴﺘﻄﻴﻊ إﺿﺎﻓﺔ ﺣﻜﻤﺔ‬
‫وﻣﻨﺎﻗﺸ��ﺎ وا�حﺼﻮل ﻋ�� ﺣﻠﻮل ﻣﻨﺎﺳﺒﺔ‬ ‫اﻷﻗﻠﻴﺔ إ�� ﻗﺮار اﻷﻛ��ﻳﺔ"‪ .‬ﺛﻢ ﺗﻀﺎف‬
‫�ﺸﺄ��ﺎ‪" .‬ﻣﻦ هﺬﻩ اﻟﺘﻘﻨﻴﺎت‪ :‬ﺗﻘﻨﻴﺔ‬ ‫ﻣﻘ��ﺣﺎت اﻷﻗﻠﻴﺔ إ�� ﻗﺮار اﻷﻛ��ﻳﺔ و�ﻌﺮض‬
‫َ‬
‫ا�حﺎدﺛﺔ اﳌﺴﻤﺎة ﺑﺮﻣﻲ اﻟﺴهﺎم اﻟ ُـﻤ َﺮﱠيﺸﺔ"‪.‬‬ ‫ﻋ�� ا�جﻤﻮﻋﺔ ﻟﻠﺘﺼﻮ�ﺖ ﻣﻦ ﺟﺪﻳﺪ‪" .‬إذا‬
‫ﻟﻢ ﻧﺤﺼﻞ ﻋ�� ﺗﺼﻮ�ﺖ ﺑﺎﻷﻛ��ﻳﺔ �ﻌﺪ‬
‫وﺗﻀﻴﻒ اﻟ�ﺎﺗﺒﺔ ﺑﺄن ﺗﻮﻇﻴﻒ هﺬﻩ‬ ‫ﺛﻼث ﻣﺤﺎوﻻت ﻓﺈن هﺬا اﻹﺧﻔﺎق �ﻌ�ي أن‬
‫اﻟﻘﻮاﻋﺪ ا�خﻤﺲ ﻳﺆدي ﺑﻄﺒﻴﻌﺔ ا�حﺎل إ��‬ ‫ﺷيﺌﺎ �� اﻟﺒﺎﻃﻦ ﻳﺤﻮل دون ﺗﺤﻘﻴﻖ‬ ‫ﺛﻤﺔ ً‬
‫ﻣﺴﺎءﻟﺔ اﻟﻨﻤﺎذج اﳌﺴﺘﻌﻤﻠﺔ اﻵن‪ .‬ﺗﻘﻮل‪:‬‬ ‫ﻌ�� ﻋﻨﮫ‬ ‫اﻹﺟﻤﺎع‪ .‬إﻧﮫ ��يء ﻣهﻢ ﻟﻜﻨﮫ ﻻ ُ� ﱠ‬
‫"�ﻌ�ي هﺬﻩ اﳌﺴﺎءﻟﺔ ﻟﻠﻨﻤﺎذج اﳌﺴﺘﻌﻤﻠﺔ‬ ‫ﺑﺎﻟﻜﻼم ﺑﻞ �ﻌﺮﻗﻠﺔ ﻋﻤﻠﻴﺔ ا�حﺼﻮل ﻋ��‬
‫ﺧﺴﺎرة ﻟﺘﻠﻚ اﻟﺮاﺣﺔ اﻟ�ي �ﺸﻌﺮ ��ﺎ �� أﺛﻨﺎء‬ ‫وﻏﺎﻟﺒﺎ ﻣﺎ ﻳ�ﻮن ﻟﺬﻟﻚ ﻋﻼﻗﺔ‬ ‫ً‬ ‫اﻹﺟﻤﺎع"‪.‬‬
‫ﻣﻘﺎر�تﻨﺎ ﻟﻸﺷﻴﺎء ﺑﻄﺮ�ﻘﺔ ﺗﻘﻠﻴﺪﻳﺔ"‪ .‬ﻣﻦ‬ ‫ﺑﺎﻟﻌﻮاﻃﻒ واﳌﻌﻀﻼت اﻟﻀﺎﻣﺮة‬
‫ذﻟﻚ‪" :‬اﻻﻋﺘﻤﺎد اﳌﻄﻠﻖ ﻋ�� اﻟﻌﻘﻞ ﻋﻨﺪ‬ ‫واﻟﺘﻨﺎﻗﻀﺎت اﻟ�ﺎﻣﻨﺔ �� اﻟﺒﺎﻃﻦ‪ ��" .‬هﺬﻩ‬
‫ﻣﻘﺎر�ﺔ اﻷﺷﻴﺎء"‪ ،‬ﺑيﻨﻤﺎ ﺗﻘ��ح‬ ‫ا�حﺎﻟﺔ ﻧنﺘﻘﻞ إ�� اﻟﻘﺎﻋﺪة ا�خﺎﻣﺴﺔ"‪.‬‬
‫‪ISSN: 2295-1210‬‬ ‫‪206‬‬ ‫‪© ATI & Garant‬‬

‫– أي اﻟﻨﻈﺮة – ﻣﻤﺎ ورﺛﻨﺎﻩ ﻋﻦ ﻧﻈﺮ�ﺔ‬ ‫اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ اﻟﻌﻤﻴﻘﺔ ﻣﻨﺢ ﻣﺴﺎﺣﺔ‬

‫اﻟنﺸﻮء واﻻرﺗﻘﺎء ﻟﺪارو�ﻦ‪ .‬ﺗﻘﻮل‪" :‬إن هﺬﻩ‬ ‫ﻟﻠﻌﺎﻃﻔﺔ إ�� ﺟﺎﻧﺐ اﻟﻌﻘﻞ وأﺧﺬ ﻟﻐﺔ‬
‫ﺟﺰﺋﻴﺎ ﻷن اﻹ�ﺴﺎن ورث‬ ‫اﻟﻨﻈﺮة �حﻴﺤﺔ ً‬ ‫ا�جﺴﺪ وﻋﺎﻟﻢ اﳌﺸﺎﻋﺮ واﻷﺣﻼم �ﻌ�ن‬
‫�� ﻣﺨﮫ وﻋﻘﻠﮫ اﻟﺒﺎﻃ�ي أر�ﻌﺔ ﺛﻮاﺑﺖ ﻋﻦ‬ ‫اﻻﻋﺘﺒﺎر‪ .‬وﻛﺬﻟﻚ ﻣﺴﺎءﻟﺔ "اﻟﺴ�� ا�حﺜيﺚ‬
‫ﻣﺮاﺣﻞ ﻃﻔﻮﻟﺘﮫ اﻟﺘﺎر�ﺨﻴﺔ ﻳﺤﺘﺎج إﻟ��ﺎ ﻣﻦ‬ ‫واﳌﻄﻠﻖ ﻧﺤﻮ ﺗﺤﻘﻴﻖ اﻻ��جﺎم" �� ﻞ‬
‫أﺟﻞ اﻟﺒﻘﺎء واﻻﺳﺘﻤﺮار و�� اﻟﻘﺘﺎل‬ ‫�ىيء‪ ،‬ﺑيﻨﻤﺎ ﺗﺮى اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ اﻟﻌﻤﻴﻘﺔ ��‬
‫واﻟهﺮوب واﻟﻐﺬاء واﻹﻧﺠﺎب"‪ .‬وﺗﻀﻴﻒ ﺑﺄن‬ ‫ﺑﺬرة ا�خﻼف آﻟﻴﺔ ﻟﻠﻨﻤﻮ واﻟﺘﻄﻮر! ويﻌ�ي‬
‫اﻹ�ﺴﺎن أﻛ�� ﻣﻦ أن ُﻳﺨ��ل �� هﺬﻩ‬ ‫هﺬا ﺣﺴﺐ اﻟ�ﺎﺗﺒﺔ ﻋﺪم ﺗﻔﺎدي ا�خﻼف‬
‫اﻟﺜﻮاﺑﺖ اﻷر�ﻌﺔ ﻓﺤﺴﺐ‪" .‬ﻓﻠﻘﺪ ﻃﻮرﻧﺎ‬ ‫ﺑﺎﻟﺴ�ﻮت ﻋﻨﮫ ﺑﻞ "اﻻﻋ��اف ﺑﻮﺟﻮدﻩ‬
‫ﻧﺤﻦ اﻟبﺸﺮ ﻃﺎﻗﺔ ﻻ ﺗﻔ�ى ﻣﻦ أﺟﻞ ﺧ��‬ ‫واﻟ��ﺣﻴﺐ ﺑﮫ ��ﺪف ﻣﻌﺎ�جﺘﮫ وﺣﻠﮫ" وﻓﻖ‬
‫اﻵﺧﺮ�ﻦ‪ ،‬ﻳﻤﻜﻦ أن �ﺴﻤ��ﺎ اﻟﺸﻌﻮر ﺑﺄﺣﺰان‬ ‫ﻣﻨ�ج اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ اﻟﻌﻤﻴﻘﺔ وﻗﻮاﻋﺪﻩ‬
‫اﻵﺧﺮ�ﻦ واﻟﺘﺄﻟﻢ ﻵﻻﻣهﻢ"‪ .‬وﺗﻀﻴﻒ ﺑﺄن‬ ‫ا�خﻤﺲ‪ .‬وﺗﺮى اﻟ�ﺎﺗﺒﺔ �� هﺬا اﻟﺴﻴﺎق أن‬
‫هﺬﻩ اﻟﻄﺎﻗﺔ اﻟ�ي ﺗﺠﻌﻠﻨﺎ �ﺸﻌﺮ ﻣﻊ أﺧﻴﻨﺎ‬ ‫اﻻﻋ��اف ﺑﺎ�خﻼف واﻟن�اع ﻟيﺲ ً‬
‫ﺷيﺌﺎ‬
‫ً‬
‫اﻹ�ﺴﺎن ﻓﻨﻘﺎﺳﻤﮫ أﺣﺰاﻧﮫ وهﻤﻮﻣﮫ‪،‬‬ ‫ﻣﺄﻟﻮﻓﺎ ﺑﻞ هﻮ أﻣﺮ ﻣﺨﻴﻒ ﻟﻠﻜﺜ��ﻳﻦ ﻟﺬﻟﻚ‬
‫ُ‬
‫�ﺴﺘﺤﻴﻞ �� ﻣﻨ�ج اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ اﻟﻌﻤﻴﻘﺔ‬ ‫ﻳﺘﻔﺎدى ﻛﺜ�� ﻣﻦ اﻟﻨﺎس ا�خﻼف ﺑﺘﺠﺎهﻠﮫ‪.‬‬
‫إﻳﺜﺎ ًرا ﻳﺪﻋﻮ إ�� اﻟﺘﻌﺎﻣﻞ ﻣﻊ ا�خﻼف ﺑﺮوح‬ ‫ﻣﻦ ﺛﻤﺔ أهﻤﻴﺔ ﻣﻨ�ج اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ‬
‫ُ‬
‫"و� ّ‬
‫ﻌﺪ هﺬﻩ اﻟﻄﺎﻗﺔ‬ ‫اﻹﻳﺜﺎر واﻟتﺴﺎﻣﺢ‪.‬‬ ‫اﻟﻌﻤﻴﻘﺔ "اﻟ�ي ﺗﺨﻠﻖ ﻣﺴﺎﺣﺔ آﻣﻨﺔ ﺗﻤﻜﻦ‬
‫واﺣﺪة ﻣﻦ أهﻢ ﻣﻨﻄﻠﻘﺎت اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ‬ ‫ا�جﻤﻴﻊ ﻣﻦ اﺳتﻴﻌﺎب أﺷﺪ ا�خﻼﻓﺎت‬
‫ً‬
‫اﻟﻌﻤﻴﻘﺔ وأدوا��ﺎ"‪.‬‬ ‫ﺣﺪة"‪ .‬ﻛﻤﺎ ﻳﺆدي ﺗﻮﻇﻴﻒ هﺬﻩ اﻟﻘﻮاﻋﺪ‬
‫ا�خﻤﺲ "إ�� ﻣﺴﺎءﻟﺔ ﻧﻈﺮﺗﻨﺎ اﻟﺜﺎﺑﺘﺔ إ��‬
‫اﻟﻜﺘﺎب – �ﺸﻘﻴﮫ اﻟﻨﻈﺮي واﻟﺘﻄﺒﻴﻘﻲ –‬ ‫أﻧﺎﻧﻴﺎ ��‬ ‫ذﺋﺒﺎ أو ً‬
‫�ﺎﺋﻨﺎ ً‬ ‫اﻹ�ﺴﺎن ﺑﺎﻋﺘﺒﺎرﻩ ً‬
‫ﻣﺎدة ﺟﺪﻳﺪة ﻣﺆﺳﺴﺔ ﻋ�� ﺣﻜﻢ إ�ﺴﺎﻧﻴﺔ‬ ‫ﺟﻮهﺮﻩ"‪ .‬وﺗﺮى اﻟ�ﺎﺗﺒﺔ أن هﺬﻩ اﻟﻨﻈﺮة إ��‬
‫اﻹ�ﺴﺎن اﳌﻌﺎﺻﺮ ﻏ�� حﻴﺤﺔ ً‬
‫�ﻠﻴﺎ وأ��ﺎ‬
‫ﻋﺎﻣﺔ وﻗﻴﻢ ﻣﺮﺗﺒﻄﺔ ﺑﺠﻮهﺮ اﻹ�ﺴﺎن‬
‫‪ISSN: 2295-1210‬‬ ‫‪207‬‬ ‫‪© ATI & Garant‬‬

‫ً‬ ‫ً‬
‫اﻻﻋﺘﺒﺎر ﺑﻄﺮ�ﻘﺔ ﺣﻘﻴﻘﺔ ﻻ ﻣﺠﺎز�ﺔ‪.‬‬ ‫ﻣﻨ�جﺎ ﻗﺎﺑﻼ ﻟﻠﺘﻄﺒﻴﻖ ��‬ ‫ﺗﺒﻠﻮرت ﻟﺘﺼﺒﺢ‬
‫وﻧﻘ��ح ﺗﺮﺟﻤﺘﮫ إ�� اﻟﻌﺮ�ﻴﺔ ﻷهﻤﻴﺘﮫ و�خﻠﻮ‬ ‫ﺳﻴﺎق ﺧﻼ�� ﺷﺪﻳﺪ �� ﺟﻨﻮب إﻓﺮ�ﻘﻴﺎ �ﻌﺪ‬
‫ً‬
‫ﺧﺼﻮﺻﺎ‬ ‫اﳌﻜﺘﺒﺔ اﻟﻌﺮ�ﻴﺔ ﻣﻦ ﻛﺘﺎب ﻣﺜﻠﮫ‬ ‫ﺳﻘﻮط ﻧﻈﺎم اﻟﻔﺼﻞ اﻟﻌﻨﺼﺮي ﻓ��ﺎ ﻳﺮى‬
‫�� زﻣﻦ ﺗﻜ�� اﻟن�اﻋﺎت ﻓﻴﮫ �� اﻟﻌﺎﻟﻢ اﻟﻌﺮ�ﻲ‬ ‫أن �ﻞ ﺻﻮت �� ا�جﺘﻤﻊ أو اﳌﺆﺳﺴﺔ أو‬
‫ﻷﺳﺒﺎب ﻛﺜ��ة ﻣ��ﺎ اﻟﺘﻨﻮع اﻹﺛ�ي واﳌﺬه�ي‬ ‫ا�جﻤﻮﻋﺔ أو ﺣ�ى اﻟﻌﺎﺋﻠﺔ – ﻣهﻤﺎ �ﺎن‬
‫ٌ‬ ‫ً‬ ‫ً‬
‫واﻟﻔﻜﺮا�ﻲ واﻧﺤﺴﺎر اﳌﺴﺎﺣﺔ اﳌﺘﺎﺣﺔ‬ ‫ﺻﻮت ﻣهﻢ‬ ‫ﻣﺨﺎﻟﻔﺎ أو ﺣ�ى ﺷﺎذا – إﻧﻤﺎ هﻮ‬
‫ﻻﺣﺘﻮاء ﺗﻠﻚ اﻟن�اﻋﺎت اﻟﻨﺎﺗﺠﺔ ﻋﻦ هﺬا‬ ‫ﻳنﺒ�� اﻹﺻﻐﺎء إﻟﻴﮫ ودﻣﺞ ﺻﺎﺣﺒﮫ ��‬
‫اﻟﺘﻨﻮع‪.‬‬ ‫اﳌﻨﻈﻮﻣﺔ اﻟﻌﺎﻣﺔ �ﻌﺪ أﺧﺬ رأﻳﮫ �ﻌ�ن‬
‫‪ISSN: 2295-1210‬‬ ‫‪208‬‬ ‫‪© ATI & Garant‬‬

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Dragoman

Journal of Translation Studies

Volume 12, Issue 13, May 2022

Dragoman is an annual international peer-reviewed digital journal published by Arabic

Director, Editorial & Advisory Boards

International Advisory Board (in first name alphabetical order):

1 Gharīb al-Qur’an and its English Translations: An Evaluation 4

ISSN: 2295-1210 iii © ATI & Garant

Gharīb al-Qur’an and its English Translations: An Evaluation

Translation is a challenging task, especially in the face of vast differences in the

ISSN: 2295-1210 4 © ATI & Garant

Gharīb al-Qur’an and its English Translations: An Evaluation

ISSN: 2295-1210 5 © ATI & Garant

2. Methodology and research framework

1. A sample representing corpus of gharīb, i.e. ‘unfamiliar’ words was collected,

ISSN: 2295-1210 6 © ATI & Garant

ISSN: 2295-1210 7 © ATI & Garant

ISSN: 2295-1210 8 © ATI & Garant

4.1. Ḥanīfan (Q2:135)

ISSN: 2295-1210 9 © ATI & Garant

4.2. Fitnatun (Q2:193)

ISSN: 2295-1210 10 © ATI & Garant

4.3. Al-ʿanata (Q4:25)

ISSN: 2295-1210 11 © ATI & Garant

4.4. Darasta (Q6:105)

ISSN: 2295-1210 12 © ATI & Garant

ISSN: 2295-1210 13 © ATI & Garant

4.5. Yuthkhina (Q8:67)

4.6. Waqaḍayna (Q17:4)

4.7. Wakhasha’at and Hamsa (Q20:108)

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Table 7. Wakhasha’at / Hamsa ‫ﺖ‬ َ ‫ َو َﺧ‬/ ‫ﺴﺎ‬

4.8. wa al-jibillata (Q26:184)

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4.9. Ma’ād (Q28:85)

4.10. Ṣayāṣīhim (Q33:26)

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4.11. Yansilūna (Q36:51)

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4.12. Ḍīzā (Q53:22)

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4.13. Allamam (Q53:32)

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4.14. Saghat (Q66:4)

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Abdul-Raof, H. (2012). Theological Al-Khuḍayrī, M. (2008). Al-Sirāj fī Bayān

of Arts, University of Basrah 51: 1- http://www.trans-

Translation Norms and the Arab Legacy of Translation

Mohammad Ahmad Thawabteh

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Translation Norms and the Arab Legacy of Translation

Mohammad Ahmad Thawabteh

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2.1 Significance of the Study

2.2 Data of the Study

3. Data Analysis and Discussion