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‫ﺍﳊﺐ‬ ‫ﺩﺭﺍﺳﺎﺕ‬

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‫ﺩﺭﺍﺳــﺎﺕ ﻓـﻲ ﺍﳊـﺐ‪‬‬
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‫ﺗﺄﻟﻴـﻒ ‪ :‬ﺧﻮﺳِﻪ ﺃﻭﺭﺗِﻐﺎ ﺇﻱ ﻏﺎﺳﻴ‪‬ﺖ‬
‫ﺗﺮﲨﺔ‪ :‬ﻋـﻠﻰ ﺇﺑﺮﺍﻫﻴـﻢ ﺃﺷــﻘﺮ‬

‫ﻣﻨﺸﻮﺭﺍﺕ ﺍﳍﻴﺌﺔ ﺍﻟﻌﺎﻣﺔ ﺍﻟﺴﻮﺭﻳﺔ ﻟﻠﻜﺘﺎﺏ‬

‫ﻭﺯﺍﺭﺓ ﺍﻟﺜﻘﺎﻓﺔ – ﺩﻣﺸﻖ ‪٢٠١٣‬ﻡ‬
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 ‫ﺍﻟﻌﻨﻮﺍﻥ ﺍﻷﺻﻠﻲ ﻟﻠﻜﺘﺎﺏ‪:‬‬
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‫‪Estudios sobre el amor‬‬
‫‪Por‬‬
‫‪José Ortega y Gasset‬‬
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‫ﺩﺭﺍﺳﺎﺕ ﰲ ﺍﳊﺐ ‪ /‬ﺗﺄﻟﻴﻒ ﺧﻮﺳﻪ ﺃﻭﺭﺗِﻐﺎ ﺇﻱ ﻏﺎﺳﻴﺖ؛ ﺗﺮﲨﺔ ﻋﻠﻲ‬

‫ﺇﺑﺮﺍﻫﻴﻢ ﺃﺷﻘﺮ ‪ -.‬ﺩﻣﺸﻖ ‪ :‬ﺍﳍﻴﺌﺔ ﺍﻟﻌﺎﻣﺔ ﺍﻟﺴﻮﺭﻳﺔ ﻟﻠﻜﺘﺎﺏ‪-. ٢٠٠٩ ،‬‬
‫‪ ١٤٤‬ﺹ؛ ‪ ٢٤‬ﺳﻢ‪.‬‬

‫‪ -٣‬ﻏﺎﺳﻴﺖ‬ ‫‪ -٢‬ﺍﻟﻌﻨﻮﺍﻥ‬ ‫‪ ١٥٢,٤ -١‬ﻍ ﺍ ﺱ ﺩ‬

‫‪ -٤‬ﺃﺷﻘﺮ‬
‫ﻣﻜﺘﺒﺔ ﺍﻷﺳﺪ‬

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 ‫ﻧﺒﺬﺓ ﻣﻦ ﺣﻴﺎﺓ ﺃﻭﺭﺗِﻐﺎ ﺇﻱ ﻏﺎﺳ‪‬ﻴﺖ‬

‫ﻭُﻟﺪَ ﺧﻮﺳِﻪ ﺃﻭﺭﺗِﻐﺎ ﺇﻱ ﻏﺎﺳّﻴﺖ ﻋﺎﻡ ‪ ١٨٨٣‬ﰲ ﻣﺪﺭﻳﺪ ﻷﺳﺮﺓ ﺗﻌﻤﻞ ﰲ‬

‫ﺍﻟﺼّﺤﺎﻓﺔ‪ .‬ﻭﺣﺼﻞ ﻋﻠﻰ ﺍﻹﺟﺎﺯﺓ ﰲ ﺍﻟﻔﻠﺴﻔﺔ ﻋﺎﻡ ‪ ،١٩٠٢‬ﰒﱠ ﻋﻠﻰ ﺍﻟﺪّﻛﺘﻮﺭﺍﻩ‬
‫ﻋﺎﻡ ‪ ١٩٠٤‬ﺑﺮﺳﺎﻟﺔ ﻋﻨﻮﺍﻧﻬﺎ‪" :‬ﻣﺨﺎﻭﻑ ﺍﻟﺴّﻨﺔ ﺍﻷﻟﻔﻴﺔ‪ :‬ﻧﻘﺪ ﺍﻷﺳﻄﻮﺭﺓ"‪.‬‬
‫ﻭﺭﺣﻞ ﺑﻌﺪ ﺫﻟﻚ ﺇﻟﻰ ﺃﳌﺎﻧﻴﺎ‪ ،‬ﻭﺣﻀﺮ ﻫﻨﺎﻙ ﺍﶈﺎﺿﺮﺍﺕ ﺍﻟﺘﻲ ﻛﺎﻧﺖ ﺗُﻠﻘﻰ‬
‫ﰲ ﺟﺎﻣﻌﺔ ﻟﻴﺒﺘﺴﻚ ﻭﺑﺮﻟﲔ ﻭﻣﺎﻳﺮﺑﻮﺭﻍ ﺣﺘﻰ ﻋﺎﻡ ‪ .١٩٠٧‬ﻓﺪﺭﺱ ﻫﻨﺎﻙ ﻋﻠﻰ‬
‫ﺩﻟﺘﺎﻱ ﻭﺩﺭﻳﺶ ﺻﺎﺣﺒﻲ ﺍﻟﻔﻠﺴﻔﺔ ﺍﳊﻴﻮﻳﺔ‪ ،‬ﻭﻋﻠﻰ ﻫﺮﻣﺎﻥ ﻛﻮﻫﻦ ﻭﺇﺭﻧﺴﺖ‬
‫ﻛﺎﺳﻴﺮﺭ‪ ،‬ﻭﻧﺎﺗﻮﺭﺏ ﳑﺜﻠﻲ ﺍﻟﻨﺰﻋﺔ ﺍﻟﻜﺎﻧﻄﻴﺔ ﺍﳉﺪﻳﺪﺓ‪ .‬ﻭﳌﱠﺎ ﻋﺎﺩ ﺇﻟﻰ ﻭﻃﻨﻪ ﺷﻐﻞ‬
‫ﻛﺮﺳﻲّ ﻣﺎ ﺑﻌﺪ ﺍﻟﻄﱠﺒﻴﻌﺔ ﰲ ﺟﺎﻣﻌﺔ ﻣﺪﺭﻳﺪ ﺣﺘﱠﻰ ﻋﺎﻡ ‪. ١٩٣٦‬‬
‫‪Revista de‬‬‫ﻭﺃﺳﱠﺲَ ﰲ ﻋﺎﻡ ‪ ١٩١٥‬ﻣﺠﻠّﺔ "ﺇﺳﺒﺎﻧﻴﺎ"‪ ،‬ﰒﱠ ﻣﺠﻠّﺔ ﺍﻟﻐﺮﺏ‬
‫‪ .Occidente‬ﻭﻛﺎﻧﺖ ﺃﻫﻢ ﻣﺠﻠﺔ ﺃﺩﺑﻴﺔ ﻭﻓﻜﺮﻳﱠﺔ ﻋﺮﻓﺘﻬﺎ ﺇﺳﺒﺎﻧﻴﺎ‪ ،‬ﻭﻣﻦ ﺧﻴﺮ‬
‫ﺍ‪‬ﻼﱠﺕ ﺍﻷﺩﺑﻴﱠﺔ ﻭﺍﻟﺜﱠﻘﺎﻓﻴﱠﺔ ﰲ ﺍﻟﻌﺎﻟﻢ‪.‬‬
‫ﺩﺧﻞ ﻣﻴﺪﺍﻥ ﺍﻟﺴﻴﺎﺳﺔ ﰲ ﻋﻬﺪ ﺩﻳﻜﺘﺎﺗﻮﺭﻳﺔ ﺑﺮﳝﻮﺩﻳﺮﻳﺒﻴﺮﺍ )‪-١٩٢٣‬‬
‫‪ ،( ١٩٣٠‬ﻣﻜﺎﻓﺤﺎً ﻫﺬﻩ ﺍﻟﺪﻳﻜﺘﺎﺗﻮﺭﻳﺔ ﺩﺍﻋﻴﺎً ﰲ ﻣﺠﻠﱠﺘﻪ ﺇﻟﻰ ﺍﳊﺮﻳﱠﺎﺕ ﻭﻋﻮﺩﺓ‬
‫ﺍﳊﻴﺎﺓ ﺍﻟﻨﻴﺎﺑﻴﱠﺔ ﻭﺇﻗﺎﻣﺔ ﺍﳉﻤﻬﻮﺭﻳﱠﺔ‪ .‬ﻭﳌﱠﺎ ﺳﻘﻄﺖ ﺍﻟﺪﻳﻜﺘﺎﺗﻮﺭﻳﱠﺔ ﻋﺎﻡ ‪ ١٩٣١‬ﺃﺳﱠﺲَ‬
‫ﺟﻤﻌﻴﱠﺔ ﺍﻟﻌﻤﻞ ﺍﻟﺴﱢﻴﺎﺳﻲ ﺗﺤﺖ ﺍﺳﻢ "ﰲ ﺧﺪﻣﺔ ﺍﳉﻤﻬﻮﺭﻳﱠﺔ"‪ .‬ﻭﺍﻧﺘُﺨﺐ ﻧﺎﺋﺒﺎً ﰲ‬
‫ﺍﳉﻤﻌﻴﱠﺔ ﺍﻟﺘﺄﺳﻴﺴﻴﱠﺔ‪ ،‬ﻟﻜﻨﱠﻪ ﺳﺮﻋﺎﻥ ﻣﺎ ﺧﺎﺏ ﺃﻣﻠﻪ ﰲ ﺍﳉﻤﻬﻮﺭﻳﱠﺔ ﻭﻣﺎ ﺭﺟﺎﻩ‬
‫ﻣﻨﻬﺎ‪ ،‬ﰒﱠ ﺃﺻﺒﺢ ﻋﻠﻰ ﻏﻴﺮ ﻭﻓﺎﻕ ﻣﻊ ﺃﺻﺤﺎﺏ ﺍﻟﺴﻠﻄﺔ ﺍﻟﻨﱠﺎﺷﺌﺔ ﻓﻴﻬﺎ‪.‬‬
‫ﻭﳌﱠﺎ ﻧﺸﺒﺖ ﺍﳊﺮﺏ ﺍﻷﻫﻠﻴﱠﺔ ﰲ ﺇﺳﺒﺎﻧﻴﺎ ﻋﺎﻡ ‪ ،١٩٣٦‬ﻏﺎﺩﺭ ﺍﻟﺒﻠﺪ ﻭﺭﺍﺡ‬
‫ﻳﺘﺠﻮﱠﻝ ﰲ ﻣﺎ ﺑﲔ ﻓﺮﻧﺴﺎ ﻭﻫﻮﻟﻨﺪﺍ ﻭﺍﻷﺭﺟﻨﺘﲔ ﺣﺘﻰ ﻋﺎﻡ ‪ .١٩٤٥‬ﻓﻌﺎﺩ ﺇﻟﻰ‬
‫ﺇﺳﺒﺎﻧﻴﺎ ﺍﻟﺘﻲ ﻇﻞّ ﻳﺘﻨﻘﱠﻞ ﺑﻴﻨﻬﺎ ﻭﺑﲔ ﺍﻟﺒﺮﺗﻐﺎﻝ ﻭﺑﻌﺾ ﺍﻟﺪﻭﻝ ﺍﻷﻭﺭﻭﺑﻴﱠﺔ ﺣﺘﱠﻰ‬
‫ﻭﻓﺎﺗﻪ ﻋﺎﻡ ‪. ١٩٥٥‬‬
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 ‫ﻛﺘﺐ ﺃﻭﺭﺗِﻐﺎ ﰲ ﻛﻞﱢ ﺍ‪‬ﺎﻻﺕ ﺍﻟﺘﻲ ﺗﻬﻢﱡ ﺍﻹﻧﺴﺎﻥ ﺑﺪﺀﺍً ﻣﻦ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﺎ ﺣﺘﱠﻰ‬
‫ﻣﺼﺎﺭﻋﺔ ﺍﻟﺜﻴﺮﺍﻥ‪ .‬ﻭﺟﺎﺀﺕ ﻣﺆﻟﻔﺎﺗﻪ ﻛﻠﻬﺎ ﻋﻠﻰ ﺷﻜﻞ ﺳﻠﺴﻠﺔ ﻣﻘﺎﻻﺕ ﰲ‬
‫ﺍﻟﺼّﺤﻒ ﺃﻭ ﻣﺤﺎﺿﺮﺍﺕ ﰲ ﺍﳉﺎﻣﻌﺔ‪ ،‬ﰒﱠ ﺗُﻀﻢﱡ ﺑﻌﺪ ﺫﻟﻚ ﰲ ﻛﺘﺎﺏ‪ .‬ﻭﻻ ﻳﺸ ﺬّ‬
‫ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﻋﻦ ﺫﻟﻚ‪.‬‬
‫ﻣﻦ ﻣﺆﻟﱠﻔﺎﺗﻪ‪ :‬ﺇﺳﺒﺎﻧﻴﺎ ﺍﻟﻼﻓﻘﺮﻳﱠﺔ‪ ،‬ﲤﺮﱡﺩ ﺍﳉﻤﺎﻫﻴﺮ‪ ،‬ﻣﻮﺿﻮﻉ ﻋﺼﺮﻧﺎ‪ ،‬ﺍﻟﺮﱠﺟﻞ‬
‫ﺍﳌُﻔﺮﺩ ﻭﺍﻟﻨﱠﺎﺱ‪ ،‬ﺩﺭﻭﺱ ﰲ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﺎ‪ ،‬ﺇﻟﺦ‪ ...‬ﻭﺟُﻤﻊ ﺍﻟﻜﺜﻴﺮ ﻣﻦ ﻣﻘﺎﻻﺗﻪ ﰲ ﻣﺠﻠﱠﺪﺍﺕ‬
‫ﺳُﻤﱢﻴﺖ‪ :‬ﺍﳌُﺸﺎﻫﺪ ﺃﻭ ﺍﳌﺘﻔﺮﱢﺝ‪.‬‬

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‫ﻫﺬﻩ ﺍﻟﻄﱠﺒﻌﺔ )ﻟﺪﺭﺍﺳﺎﺕ ﰲ ﺍﳊﺐ( ﻷﻭﺭﺗِﻐﺎ ﺇﻱ ﻏﺎﺳّﻴﺖ ‪ Ortega y Gasset‬ﻫﻲ‬
‫ﺃﻛﻤﻞ ﺍﻟﻄﱠﺒﻌﺎﺕ‪ ،‬ﻓﻘﺪ ﺿﻤﱠﺖ ﺃﻋﻤﺎﻝ ﺍﳌﺆﻟﱢﻒ ﺍﳋﺎﺻﱠﺔ ﺑﺎﳊﺐّ ﻛﻠّﻬﺎ‪ ،‬ﻭﺍﳌﺒﻌﺜﺮﺓ ﰲ ﻛﺘﺐ‬
‫ﺃﺧﺮﻯ ﻭﰲ ﻃﺒﻌﺎﺕ ﺃﺧﺮﻯ ﻟﻠﻌﻤﻞ ﺫﺍﺗﻪ ﻣﺎ ﻋﺪﺍ ﺗﻠﻚ ﺍﻟﺘﻲ ﺗﺸﻜﻞ ﺟﺰﺀﺍً ﻛﺎﻣﻼً ﻭﺃﺳﺎﺳﻴﱠﺎً‬
‫ﻣﻦ ﻣﺆﻟﱠﻔﺎﺕ ﺃﺧﺮﻯ‪ .‬ﻭﻟﻘﺪ ﻧُﺸﺮﺕ ﺃﻭﱠﻝ ﻃﺒﻌﺔ ﺇﺳﺒﺎﻧﻴﱠﺔ ﻋﺎﻡ ‪ ١٩٤٠‬ﺑﻌﺪ ﺍﻟﺘﱠﺮﺟﻤﺔ ﺍﻷﳌﺎﻧﻴﱠﺔ‬
‫ﺑﻌﻨﻮﺍﻥ‪ .uber die liebe :‬ﻭﺍﻟﻄﱠﺒﻌﺔ ﺍﳊﺎﻟﻴﺔ ﻫﻲ ﺍﻟﺜﱠﺎﻟﺜﺔ ﻋﺸﺮﺓ‪ .‬ﻭﻳﺒﻴﱢﻦ ﻫﺬﺍ ﺍﳌُﻌﻄﻰ‬
‫ﺷﻬﺮﺓ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺍﻟﺪﱠﺍﺋﻤﺔ‪ .‬ﻋﻤﻞ ﺗﺒﺮﺯ ﰲ ﻋﻨﻮﺍﻧﻪ ﺧﺎﺻﻴﱠﺔ ﺇﻧﺘﺎﺝ ﺍﳌﺆﻟﱢﻒ ﻛﻠّﻪ‪.‬‬
‫"ﻓﺪﺭﺍﺳﺎﺕ" ﺗﻌﻨﻲ ﻣﻦ ﺟﻬﺔ‪ ،‬ﺑﺤﺜﺎً ﻭﺗﺄﻣﱡﻼً ﻭﻧﻈﺮﻳﱠﺔ؛ ﻭ "ﺣﺐّ" ﺗﻌﻨﻲ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‬
‫ﺣﺪﺛﺎً ﺩﺍﺋﻤﺎً ﰲ ﺍﳊﻴﺎﺓ ﺍﻟﺒﺸﺮﻳﱠﺔ‪ ،‬ﻭﺷﻌﻮﺭﺍً ﻻ ﳝﻜﻦ ﺃﻥ ﻳﻜﻮﻥ ﰲ ﻧﻈﺮ ﺍﻟﻔﻠﺴﻔﺔ ﺍﻟﻌﻘﻠﻴﱠﺔ‬
‫ﺍﻟﺴﱠﺎﺑﻘﺔ ﻏﻴﺮ ﺧﻠﻴﻂ ﻣﺸﻮﱠﺵ ﻭﻏﺎﻣﺾ‪ ،‬ﻻ ﳝﻜﻦ ﺇﺟﺮﺍﺀ ﺑﺤﺚ ﻓﻜﺮﻱ ﺣﻮﻟﻪ‪ .‬ﻭﰲ ﻫﺬﻩ‬
‫"ﺍﻟﺪﱢﺭﺍﺳﺎﺕ" ﻛﻤﺎ ﰲ ﻋﻤﻞ ﺍﳌﺆﻟﱢﻒ ﻛﻠّﻪ ﻳﻔﻲ ﺃﻭﺭﺗِﻐﺎ ﺇﻱ ﻏﺎﺳّﻴﺖ ﺑﺎﻟﻮﺍﺟﺐ ﺍﻵﻣﺮ ﺍﻟﺬﻱ‬
‫ﻛﺎﻥ ﻗﺪ ﺻﺎﻏﻪ ﰲ ﺍ‪‬ﻠﱠﺪ ﺍﻷﻭﱠﻝ ﻣﻦ ﺍﳌﺸﺎﻫﺪ ‪" :(١٩١٦) El Espectador‬ﻳﺠﺐ ﻋﻠﻰ‬
‫ﺍﻟﻨﱠﻈﺮﻳﱠﺔ ﺃﻥ ﺗﻔﺘﺢ ﻋﻴﻨﻬﺎ ﺍﻟﺼﱠﺎﻓﻴﺔ ﻋﻠﻰ ﺍﳊﻴﺎﺓ ﺍﻟﺘﻠﻘﺎﺋﻴﱠﺔ ﻣﻦ ﺣﲔ ﻵﺧﺮ ‪" ...‬ﻓﺎﳌﺸﺎﻫﺪ"‬
‫ﻳﺨﻤﱢﻦ ﻭﻳﻨﻈﺮ؛ ﻟﻜﻦّ ﻣﺎ ﻳﺮﻳﺪ ﺃﻥ ﻳﺮﺍﻩ ﻫﻮ ﺍﳊﻴﺎﺓ ﻛﻤﺎ ﺗﺘﺪﻓﱠﻖ ﺃﻣﺎﻣﻪ"‪.‬‬
‫ﻭﻳﻘﻮﻝ ﰲ ﺍ‪‬ﻠﱠﺪ ﺫﺍﺗﻪ ﻣﻦ ﺍﳌﺸﺎﻫﺪ‪" :‬ﺇﻧﱢﻲ ﺃﺗﺒﻨﱠﻰ ﺍﻻﻋﺘﻘﺎﺩ ﺃﻥﱠ ﻋﺼﺮﻧﺎ ﺳﻮﻑ‬
‫ﻳﻬﺘﻢّ ﺑﺎﳊﺐ ﺑﺠﺪﱟ ﺃﻛﺒﺮ ﻗﻠﻴﻼً ﳑﱠﺎ ﻫﻮ ﻣﻌﺘﺎﺩ‪...‬ﻓﻘﺪ ﻛﺎﻧﺖ ﺍﻹﻳﺮﻭﺳﻴﱠﺔ ﺧﻼﻝ ﺍﻟﻌﺼﻮﺭ‬
‫ﻛﻠّﻬﺎ ﺧﺎﺿﻌﺔ ﻟﻨﻈﺎﻡ ﻣﻦ ﺍﻹﺧﻔﺎﺀ‪ .‬ﻭﺍﳌﺸﺎﻫﺪ ﻳﺮﻓﺾ ﻗﺒﻮﻝ ﻭﺟﻮﺩ ﻣﻨﻄﻘﺔ ﻣﺤﻈﻮﺭﺓ ﰲ‬
‫ﻣﺸﻬﺪ ﺍﳊﻴﺎﺓ‪ .‬ﺳﻮﻑ ﻧﺘﻜﻠﱠﻢ ﺇﺫﺍً‪ ،‬ﺑﺸﻜﻞ ﺷﺎﺋﻊ ﻋﻦ ﻫﺬﻩ ﺍﻷﺷﻴﺎﺀ‪ ،‬ﻭﻫﻲ ﺍﻷﺷﻴﺎﺀ‬
‫ﺍﻟﻮﺣﻴﺪﺓ ﺍﻟﺘﻲ ﻛﺎﻥ ﺳﻘﺮﺍﻁ ‪ Sócrates‬ﻳﻌﻠﻦ ﻋﻦ ﻧﻔﺴﻪ ﺍﺧﺘﺼﺎﺻﻴﱠﺎً ﻓﻴﻬﺎ"‪ .‬ﻭﻟﻘﺪ‬
‫ﺗﺤﺪﱠﺙ ﻋﻦ ﺍﳊﺐ ﻛﺜﻴﺮﺍً ﻓﻴﻠﺴﻮﻓُﻨﺎ ﺍﳌُﻔﺘﻘﺪ ﻃﻴﻠﺔ ﻋﻤﻠﻪ ﺍﻟﻔﻜﺮﻱ ﻛﻠﻪ‪ ،‬ﻟﻜﻨﱠﻪ ﻳﻌﺰﻝ ﰲ‬
‫ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﻣﺎﻫﻴﱠﺔ ﺍﳊﺐ ﻭﻳﻨﻘﱢﻴﻬﺎ‪ ،‬ﻧﺎﺯﻋﺎً ﻋﻨﻪ ﺍﻹﺿﺎﻓﺎﺕ ﻛﻠّﻬﺎ ﺍﻟﺘﻲ ﺗﻌﺘّﻢ ﻋﻠﻰ‬
‫ﺣﻘﻴﻘﺘﻪ ﺍﻟﻮﺍﻗﻌﻴﱠﺔ ﻭﺗﻌﻘّﺪ ﺳﻴﺮﻭﺭﺗﻪ‪ .‬ﺇﻧﱠﻪ ﺍﳊﺐّ ﺍﳌُﻔﺴﱠﺮ ﺍﺳﺘﻨﺎﺩﺍً ﺇﻟﻰ ﺑﺤﺚ ﺳﻴﻜﻮﻟﻮﺟﻲ‬
‫ﻭﻇﺎﻫﺮﺍﺗﻲ ﰲ ﺁﻥ ﻭﺍﺣﺪ‪ ،‬ﻭﺣﺘﱠﻰ ﺇﻟﻰ ﺑﺤﺚ ﺍﺟﺘﻤﺎﻋﻲ ﳌﱠﺎ ﻋﺪﱠ ﺍﻻﺧﺘﻴﺎﺭ ﰲ ﺍﳊﺐ ﺃﺣﺪ‬
‫ﺍﻟﻌﻮﺍﻣﻞ ﺍﻷﻛﺜﺮ ﻓﻌﺎﻟﻴﱠﺔً ﰲ ﺍﻟﺘﱠﺎﺭﻳﺦ‪.‬‬
‫ﺍﻟﻨ‪‬ﺎﺷﺮﻭﻥ‬
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 ‫ﻣﻼﺣﻈﺔ‬

‫ﻟﻘﺪ ﺧﻀﻊ ﺗﺮﺗﻴﺐ ﻓﺼﻮﻝ ﺍﻟﻜﺘﺎﺏ ﻟﺘﻐﻴﻴﺮ ﺑﺴﻴﻂ‪ ،‬ﻷﻥﱠ ﺍﳌﺆﻟﱢﻒ ﺭﺗﱠﺒﻬﺎ ﺣﺴﺐ‬
‫ﺗﺴﻠﺴﻞ ﺻﺪﻭﺭﻫﺎ ﺍﻟﺰﱠﻣﻨﻲ ﰲ ﺍﻟﺼّﺤﻒ ﻭﺍ‪‬ﻼﱠﺕ‪ .‬ﻓﺮﺃﻳﻨﺎ ﺃﻥ ﻧﺮﺗّﺒﻬﺎ ﺣﺴﺐ ﺗﺴﻠﺴﻞ‬
‫ﺍﳌﻮﺿﻮﻉ ﻭﺍﻹﺣﺎﻟﺔ ﺇﻟﻰ ﻣﺎ ﺳﺒﻖ‪ .‬ﻭﺻﺎﺭﺕ ﻫﻜﺬﺍ‪ :‬ﻣﻼﻣﺢ ﺍﳊﺐ‪ ،‬ﺳﻴﻜﻮﻟﻮﺟﻴﺔ ﺍﻟﺮﱠﺟﻞ‬
‫ﺍﳉﺬﱠﺍﺏ‪ ،‬ﺍﳊﺐّ ﻋﻨﺪ ﺳﺘﻨﺪﺍﻝ‪ ،‬ﺍﻻﺧﺘﻴﺎﺭ ﰲ ﺍﳊﺐّ‪ ،‬ﻣﻦ ﺃﺟﻞ ﺗﺎﺭﻳﺦ ﺍﳊﺐّ‪ ،‬ﺧﺎﲤﺔ‬
‫ﻟﻜﺘﺎﺏ‪ :‬ﻣﻦ ﻓﺮﻧﺴﻴﺴﻜﺎ ﺇﻟﻰ ﺑﻴﺎﺗﺮﻳﺲ‪ ،‬ﻣﻨﻈﺮ ﻣﻊ ﻇﺒﻴﺔ ﰲ ﺍﳋﻠﻔﻴﱠﺔ‪.‬‬

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 ‫ﻣﻼﻣــﺢ ﺍﳊــﺐ‪‬‬

‫ﻓَﻠْﻨﺘﻜﻠﱠﻢ ﻋﻦ ﺍﳊﺐّ؛ ﻟﻜﻦ ﻓﻠْﻨﺒﺪﺃ ﺑﺄﻻﱠ ﻧﺘﻜﻠﱠﻢ ﻋﻦ "ﻏﺮﺍﻣﻴﱠﺎﺕ"‪ ،‬ﻷﻥﱠ "ﺍﻟﻐﺮﺍﻣﻴﱠﺎﺕ"‬

‫ﻗﺼﺺ ﻋﺎﺭﺿﺔ ﺇﻟﻰ ﺣﺪﱟ ﻣﺎ ﺗﺤﺪﺙ ﺑﲔ ﺭﺟﺎﻝ ﻭﻧﺴﺎﺀ‪ ،‬ﻭﻓﻴﻬﺎ ﺗﺘﺪﺧﱠﻞ ﻋﻮﺍﻣﻞ ﻋﺪﻳﺪﺓ‬
‫ﺗﻌﻘّﺪ ﺳﻴﺮﻭﺭﺗﻬﺎ ﻭﺗُﺮﺑﻜﻬﺎ ﺇﻟﻰ ﺩﺭﺟﺔ ﺗﺒﻠﻎ ﺃﻥ ﺗُﻮﺟﺪ ﰲ ﻣﻌﻈﻢ ﺍﳊﺎﻻﺕ "ﻏﺮﺍﻣﻴﱠﺎﺕٌ"‬
‫ﻣﻦ ﻛﻞﱢ ﺿﺮﺏ ﻋﺪﺍ ﻣﺎ ﻳﺴﺘﺤﻖّ ﺃﻥ ﻳﺴﻤﱠﻰ ﰲ ﺍﻟﻮﺍﻗﻊ ﺣﺒﱠﺎً‪ .‬ﻭﺇﻧﱠﻪ ﻟﺬﻭ ﺃﻫﻤﻴﱠﺔ ﻛﺒﺮﻯ ﺃﻥ‬
‫ﳓﻠﱢﻞ "ﺍﻟﻐﺮﺍﻣﻴﱠﺎﺕ" ﺗﺤﻠﻴﻼً ﻧﻔﺴﻴﱠﺎً ﻣﻊ ﺑﻌﺾ ﻗﻀﺎﻳﺎﻫﺎ ﺍﳋﻠﻘﻴﱠﺔ ﺍﻟﻄﱠﺮﻳﻔﺔ‪ .‬ﻟﻜﻨﱠﻨﺎ ﻗﺪ‬
‫ﻧﺴﻲﺀ ﺍﻟﻔﻬﻢ ﺇﺫﺍ ﻟﻢ ﻧﺘﺤﻘﱠﻖ ﻣﻦ ﻗﺒﻞُ ﳑﺎ ﻫﻮ ﺣﺐّ ﺑﺤﻖّ ﻭﺻﻔﺎﺀ‪ .‬ﻭﻓﻮﻕ ﺫﻟﻚ‪ ،‬ﻗﺪ‬
‫ﻳﻜﻮﻥ ﺗﻬﻮﻳﻨﺎً ﻣﻦ ﺷﺄﻥ ﺍﳌﻮﺿﻮﻉ ﺇﺫﺍ ﻗﺼﺮﻧﺎ ﺍﻟﺪﱢﺭﺍﺳﺔ ﻋﻠﻰ ﺍﳊﺐّ ﺍﻟﺬﻱ ﻧﺸﻌﺮ ﺑﻪ‬
‫ﺑﻌﻀﻨﺎ ﳓﻮ ﺍﻟﺒﻌﺾ ﺍﻵﺧﺮ‪ ،‬ﺭﺟﺎﻻً ﻭﻧﺴﺎﺀ‪ .‬ﻭﺍﳌﻮﺿﻮﻉ ﺃﻭﺳﻊ ﻣﻦ ﺫﻟﻚ ﻛﺜﻴﺮﺍً‪ .‬ﻭﻛﺎﻥ‬
‫ﺩﺍﻧﺘﻲ ‪ Dante‬ﻳﺆﻣﻦ ﺃﻥﱠ ﺍﳊﺐّ ﻳﺤﺮّﻙ ﺍﻟﺸﱠﻤﺲ ﻭﺍﻟﻨّﺠﻮﻡ ﺍﻷﺧﺮﻯ‪.‬‬
‫ﻭﻣﻦ ﺍﳌﻨﺎﺳﺐ ﺃﻥ ﻧﺘﻨﺒﱠﻪ ﺇﻟﻰ ﻇﺎﻫﺮﺓ ﺍﳊﺐّ ﰲ ﻋﻤﻮﻣﻴّﺘﻬﺎ ﻛﻠّﻬﺎ‪ ،‬ﻣﻦ ﻏﻴﺮ ﺃﻥ‬
‫ﻧﺼﻞ ﺇﻟﻰ ﻫﺬﺍ ﺍﻟﺘﱠﻮﺳﱡﻊ ﺍﻟﻔﻠﻜﻲ ﰲ ﺍﻹﻳﺮﻭﺳﻴﱠﺔ‪ .‬ﻓﻼ ﻳﺤﺐّ ﺍﻟﺮﱠﺟﻞ ﺍﳌﺮﺃﺓ‪ ،‬ﻭﻻ ﺍﳌﺮﺃﺓُ‬
‫ﺍﻟﺮﱠﺟﻞَ ﻓﻘﻂ‪ .‬ﻭﺇﻧﱠﻤﺎ ﳓﻦُ ﳓﺐّ ﺍﻟﻔﻦّ ﻭﺍﻟﻌﻠﻢ‪ ،‬ﻭﺗﺤﺐﱡ ﺍﻷﻡﱡ ﺍﻻﺑﻦَ‪ ،‬ﻭﻳﺤﺐﱡ ﺍﻟﺮﱠﺟﻞ‬
‫ﺍﳌﺘﺪﻳﱢﻦُ ﺍﷲَ‪ .‬ﻭﻫﺬﺍ ﺍﻟﺘﱠﻨﻮﱡﻉ ﺍﳉﻢّ ﰲ ﻫﺬﻩ ﺍﳌﻮﺍﺿﻴﻊ ﻭﺍﻟﺒُﻌﺪ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﻭﺍﻟﺘﻲ ﻳﻨﺘﻈﻤﻬﺎ‬
‫ﺍﳊﺐّ ﲡﻌﻠﻨﺎ ﺣﺬِﺭﻳﻦ‪ ،‬ﻓﻼ ﻧﻌﺪّ ﻣﻦ ﺃﺳﺲ ﺍﳊﺐّ ﺻﻔﺎﺕٍ ﻭﺷﺮﻭﻃﺎً ﺗﺄﺗﻲ ﻋﻠﻰ‬
‫ﺍﻷﻏﻠﺐ ﻣﻦ ﺍﻷﺷﻴﺎﺀ ﺍﻟﺘﻲ ﳝﻜﻦ ﺃﻥ ﺗﻜﻮﻥ ﻣﺤﺒﻮﺑﺔ‪.‬‬
‫ﻣﻨﺬ ﻗﺮﻧﲔ ﻭﺍﻟﻜﻼﻡ ﺟﺎﺭٍ ﻋﻦ ﺍﻟﻐﺮﺍﻣﻴﱠﺎﺕ ﻛﺜﻴﺮﺍً ﻭﻋﻦ ﺍﳊﺐّ ﻗﻠﻴﻼً‪ .‬ﻓﺈﺫﺍ ﻛﺎﻥ‬
‫ﻟﻠﻌﺼﻮﺭ ﻛﻠّﻬﺎ ﻣﻨﺬ ﺍﻟﻌﺼﺮ ﺍﻟﻴﻮﻧﺎﻧﻲ‪ ،‬ﻧﻈﺮﻳﱠﺔٌ ﻛﺒﺮﻯ ﻋﻦ ﺍﳌﺸﺎﻋﺮ‪ ،‬ﻓﺈﻥﱠ ﻫﺬﻳﻦ ﺍﻟﻘﺮﻧﲔ‬
‫ﺍﻷﺧﻴﺮﻳﻦ ﻗﺪ ﺧَﻠﻮَﺍ ﻣﻨﻬﺎ‪ .‬ﻓﻘﺪ ﳓﺎ ﺍﻟﻌﺎﻟﻢ ﺍﻟﻘﺪﱘ ﳓْﻮ ﻧﻈﺮﻳﱠﺔ ﺃﻓﻼﻃﻮﻥ ‪ ،Platón‬ﰒﱠ‬
‫ﳓْﻮ ﻧﻈﺮﻳﱠﺔ ﺍﻷﺑﻴﻘﻮﺭﻳﻴّﻦ‪ .‬ﻭﺗﻌﻠﱠﻤﺖ ﺍﻟﻌﺼﻮﺭ ﺍﻟﻮﺳﻄﻰ ﻧﻈﺮﻳﱠﺔ ﺍﻟﻘﺪﻳﺲ ﺗﻮﻣﺎ ‪Tomas‬‬
‫ﻭﺍﻟﻌﺮﺏ‪ .‬ﻭﺩﺭﺱ ﺍﻟﻘﺮﻥ ‪ ١٧‬ﺑﺤﻤﻴﱠﺔ ﻧﻈﺮﻳﱠﺔ ﺍﻻﻧﻔﻌﺎﻻﺕ ﻟﺪﻳﻜﺎﺭﺕ ‪Descartes‬‬
‫ﻭﺍﺳﺒﻴﻨﻮﺯﺍ ‪ .Espinosa‬ﻭﻻ ﳒﺪ ﻓﻴﻠﺴﻮﻓﺎً ﻛﺒﻴﺮﺍً ﰲ ﺍﳌﺎﺿﻲ ﻭﻟﻢ ﻳﺤﺴﺐ ﻧﻔﺴﻪ ﻣُﻠﺰﻣﺎً‬
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 ‫ﺑﺄﻥ ﻳُﻌﺪّ ﻧﻈﺮﻳﱠﺘﻪ‪ .‬ﺃﻣﱠﺎ ﳓﻦ ﻓﻼ ﳕﻠﻚ ﺑﺤﺜﺎً ﻣﻦ ﻃﺮﺍﺯٍ ﻛﺒﻴﺮٍ ﻟﻨﻈْﻢِ ﺍﳌﺸﺎﻋﺮ ﰲ ﻧﺴﻖ‬
‫ﻣﺎ ﻋﺪﺍ ﺃﻋﻤﺎﻻً ﻻﺑْﻔﺎﻧﺪﺭ ‪ Pfander‬ﻭﺷﻴﻠﺮ ‪ Scheler‬ﺣﺮﱠﻛﺖ ﺍﳌﻮﺿﻮﻉ ﺣﺪﻳﺜﺎً‪.‬‬
‫ﻟﺬﻟﻚ ﻻ ﻳﻜﻔﻲ ﺃﻥ ﻧﻠﺠﺄ ﺇﻟﻰ ﻫﺬﻩ ﺍﻟﻨﱠﻈﺮﻳﱠﺎﺕ ﺫﺍﺕ ﺍﻟﺼﱢﻠﺔ‪ ،‬ﻭﻛﺬﻟﻚ ﺍﻟﻔﻜﺮﺓ‬
‫ﺍﻟﺘﻲ ﻳﻌﺮﺿﻬﺎ ﻟﻨﺎ ﺍﻟﻘﺪﱢﻳﺲ ﺗﻮﻣﺎ ﻋﻦ ﺍﳊﺐّ ﺑﻌﺪ ﺗﻠﺨﻴﺼﻪ ﺍﻟﺘﺮﺍﺙ ﺍﻹﻏﺮﻳﻘﻲ ‪.‬‬
‫ﻭﻫﻲ ﻓﻜﺮﺓ ﺧﺎﻃﺌﺔ ﺑﻮﺿﻮﺡ‪ .‬ﺇﺫِ ﺍﳊﺐّ ﻭﺍﻟﺒﻐﺾ ‪ -‬ﰲ ﻧﻈﺮﻩ ‪ -‬ﺷﻜﻼﻥ ﻣﻦ‬
‫ﺃﺷﻜﺎﻝ ﺍﻟﺮﱠﻏﺒﺔ ﻭﺍﻟﺸﱠﻬﻮﺓ ﺃﻭ ﺍﻟﻘﻮﱠﺓ ﺍﻟﺸﱠﺎﻫﻴﺔ‪ .‬ﻓﺎﳊﺐّ ﺭﻏﺒﺔ ﰲ ﺷﻲﺀ ﺣﺴﻦ‪،‬‬
‫ﺑﺼﻔﺘﻪ ﺣﺴﻨﺎً ‪-concupiscible circa bonum-‬؛ ﻭﺍﻟﺒﻐﺾ ﺭﻏﺒﺔ ﺳﻠﺒﻴﱠﺔ ﻭﻧﻔﻮﺭ‬
‫ﻣﻦ ﺍﻟﺸﱠﺮ ﺑﺼﻔﺘﻪ ﺷﺮﱠﺍً ‪ .-cncupiscible circa malum-‬ﻭ ﻳُﻼﺣﻆ ﻫﻨﺎ ﺍﺧﺘﻼﻁ‬
‫ﺍﻟﺸﱠﻬﻮﺍﺕ ﺃﻭ ﺍﻟﺮﱠﻏﺒﺎﺕ ﻭﺍﳌﺸﺎﻋﺮ ﺍﻟﺘﻲ ﻋﺎﻧﺎﻫﺎ ﻣﺎﺿﻲ ﻋﻠﻢ ﺍﻟﻨﱠﻔﺲ ﻛﻠﻪ ﺣﺘﻰ‬
‫ﺍﻟﻘﺮﻥ ‪١٨‬؛ ﺍﺧﺘﻼﻁ ﺳﻨﻠﺤﻈﻪ ﻣﺮﱠﺓً ﺃﺧﺮﻯ ﰲ ﻋﺼﺮ ﺍﻟﻨﱠﻬﻀﺔ ﻣﻨﻘﻮﻻً ﺑﺼﻮﺭﺓ‬
‫ﺟﻴﱢﺪﺓ ﺇﻟﻰ ﺍ‪‬ﺎﻝ ﺍﳉﻤﺎﻟﻲ‪ .‬ﻭﻫﻜﺬﺍ ﻳﻘﻮﻝ ﻟﻮﺭﻧﺰﻭ ‪ Lorenzo‬ﺍﻟﺮﱠﺍﺋﻊ ‪l'amore è :‬‬
‫‪ : un appetito di belleza‬ﺇﻥﱠ ﺍﳊﺐّ ﺷﻬﻮﺓ ﻟﻠﺠﻤﺎﻝ‪.‬‬
‫ﻟﻜﻦﱠ ﺫﻟﻚ ﺃﺣﺪُ ﺃﻫﻢّ ﺍﻟﻔﺮﻭﻕ ﺍﻟﺬﻱ ﳓﺘﺎﺝ ﺇﻟﻰ ﺇﺩﺭﺍﻛﻪ ﻛﻴﻤﺎ ﻧﺘﺠﻨﱠﺐ ﺃﻥ ﻳﻬﺮﺏَ‬
‫ﻣﻦ ﺑﲔ ﺃﺻﺎﺑﻌﻨﺎ ﻣﺎ ﻫﻮ ﻧﻮﻋﻲّ ﻭﺟﻮﻫﺮﻱّ ﰲ ﺍﳊﺐّ‪ .‬ﻓﻼ ﺷﻲﺀ ﰲ ﺣﻴﺎﺗﻨﺎ ﺍﳊﻤﻴﻤﺔ‬
‫ﺧﺼﺐٌ ﻛﻤﺎ ﺍﻟﺸﱡﻌﻮﺭ ﺑﺎﳊﺐّ‪ .‬ﻫﻮ ﺟﺪّ ﺧﺼﺐ ﺣﺘﱠﻰ ﺻﺎﺭ ﺭﻣﺰﺍً ﻟﻜﻞﱢ ﺧﺼﻮﺑﺔ‪ .‬ﺇﺫﺍً‪ ،‬ﻣﻦ‬
‫ﺍﳊﺐّ ﺗُﻮﻟﺪ ﻟﺪﻯ ﺍﻟﻔﺮﺩ ﺃﻣﻮﺭ ﻛﺜﻴﺮﺓ‪ :‬ﺭﻏﺒﺎﺕ ﻭﺃﻓﻜﺎﺭ‪ ،‬ﻭﺇﺭﺍﺩﺍﺕ ﻭﺃﻓﻌﺎﻝ‪ .‬ﻟﻜﻦﱠ ﻛﻞّ ﻫﺬﺍ‬
‫ﺍﻟﺬﻱ ﻳﻮﻟﺪ ﻣﻦ ﺍﳊﺐ ﻛﻤﺤﺼﻮﻝ ﺑﺬﺍﺭ‪ ،‬ﻟﻴﺲ ﺍﳊﺐّ ﺫﺍﺗﻪ؛ ﺑﻞ ﻫﻮ ﺑﺎﳊﺮﻱّ ﻳﻘﺘﻀﻲ‬
‫ﻭﺟﻮﺩَ ﻫﺬﺍ ﺍﳊﺐ‪ .‬ﻭﺇﻥﱠ ﻣﺎ ﳓﻦ ﻫﻮ ﲟﻌﻨﻰ ﻣﻦ ﺍﳌﻌﺎﻧﻲ ﻣﺎ ﻧﺮﻏﺐ ﻓﻴﻪ ﺃﻳﻀﺎً‪ .‬ﻟﻜﻨﱠﻨﺎ ﰲ‬
‫ﺍﳌﻘﺎﺑﻞ‪ ،‬ﻧﺮﻏﺐ ﺑﺸﻜﻞ ﺫﺍﺋﻊ‪ ،‬ﰲ ﺃﺷﻴﺎﺀ ﻛﺜﻴﺮﺓ ﻻ ﳓﺒّﻬﺎ ﻭﻧﻘﻒ ﺣﻴﺎﻟﻬﺎ ﻻ ﻣﺒﺎﻟﲔ ﻋﻠﻰ‬
‫ﺍﳌﺴﺘﻮﻯ ﺍﻟﻌﺎﻃﻔﻲَ‪ ،‬ﻷﻥﱠ ﺍﻟﺮﱠﻏﺒﺔ ﰲ ﺧﻤﺮٍ ﺟﻴﱢﺪ ﻟﻴﺲ ﺣﺒّﻪ‪ .‬ﻭﺍﳌﺪﻣﻦ ﻋﻠﻰ ﺍﳌﻮﺭﻓﲔ‬
‫ﻳﺮﻏﺐ ﰲ ﺍﳌﺨﺪﱢﺭ ﻭﻳﺒﻐﻀﻪ ﰲ ﺁﻥ ﻭﺍﺣﺪ ﻷﺛﺮﻩ ﺍﻟﻀﱠﺎﺭِ‪.‬‬
‫ﻟﻜﻦﱠ ﻫﻨﺎﻙ ﺳﺒﺒﺎً ﺃﻛﺜﺮ ﺻﺮﺍﻣﺔ ﻭﺩﻗﱠﺔ ﻟﻔﺼﻞ ﺍﳊﺐّ ﻋﻦ ﺍﻟﺮﱠﻏﺒﺔ‪ ،‬ﻷﻥﱠ ﺍﻟﺮﱠﻏﺒﺔ‬
‫ﰲ ﺷﻲﺀ ﻫﻲ ﰲ ﻧﻬﺎﻳﺔ ﺍﳌﻄﺎﻑ ﻣﻴﻞ ﺇﻟﻰ ﺍﻣﺘﻼﻙ ﻫﺬﺍ ﺍﻟﺸﱠﻲﺀ‪ ،‬ﺣﻴﺚ ﺍﻻﻣﺘﻼﻙ ﻳﻌﻨﻲ‬
‫ﺑﺸﻜﻞ ﺃﻭ ﺑﺂﺧﺮ‪ ،‬ﺃﻥ ﻳﺪﺧﻞ ﺍﻟﺸﻲﺀ ﰲ ﻣﺪﺍﺭﻧﺎ ﻭﻳﺸﻜﱢﻞ ﻣﺎ ﻳﺸﺒﻪ ﺟﺎﻧﺒﺎً ﻣﻨﱠﺎ‪ .‬ﻟﺬﻟﻚ‬
‫ﲤﻮﺕ ﺍﻟﺮﱠﻏﺒﺔ ﺁﻟﻴﱠﺎً ﺇﺫﺍ ﺣُﺼﻞ ﻋﻠﻴﻬﺎ‪ ،‬ﻭﺗﺘﻼﺷﻰ ﻋﻨﺪ ﺇﺷﺒﺎﻋﻬﺎ‪ .‬ﺃﻣﱠﺎ ﺍﳊﺐﱡ‪ ،‬ﻓﻬﻮ ﻋﻠﻰ‬
‫ﺍﻟﻌﻜﺲ‪ ،‬ﻋﺪﻡ ﺇﺷﺒﺎﻉ ﺩﺍﺋﻢ‪ .‬ﻭﻟﻠﺮﱠﻏﺒﺔ ﻃﺎﺑﻊ ﺳﻠﺒﻲ‪ ،‬ﻭﻣﺎ ﺃﺭﻏﺐ ﻓﻴﻪ ﻋﻨﺪ ﺭﻏﺒﺘﻲ ﻫﻮ ﰲ‬
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 ‫ﺍﻟﻮﺍﻗﻊ‪ ،‬ﺃﻥ ﻳﺄﺗﻲ ﺇﻟﻲﱠ‪ .‬ﻓﺄﻧﺎ ﻣﺮﻛﺰ ﺟﺎﺫﺑﻴﱠﺔ ﺃﻧﺘﻈﺮ ﺃﻥ ﺗﺴﻘﻂ ﻋﻠﻴﻪ ﺍﻷﺷﻴﺎﺀ‪ .‬ﻭﺍﻟﻌﻜﺲ‬
‫ﺻﺤﻴﺢ‪ ،‬ﻓﻔﻲ ﺍﳊﺐّ ﻛﻞّ ﺷﻲﺀ ﻧﺸﺎﻁ ﻛﻤﺎ ﺳﻨﺮﻯ‪ .‬ﻭﻫﻮ ﻻ ﻳﻜﻤﻦ ﰲ ﺃﻥ ﻳﺄﺗﻲ‬
‫ﺍﻟﺸﱠﻲﺀ ﺇﻟﻲﱠ‪ ،‬ﺑﻞ ﺃﻧﺎ ﺃﺫﻫﺐ ﺇﻟﻰ ﺍﻟﺸﱠﻲﺀ ﻭﺃﻛﻮﻥ ﻓﻴﻪ‪ .‬ﻭﺍﻟﺸﱠﺨﺺ ﰲ ﻓﻌﻞ ﺍﳊﺐّ‬
‫ﻳﺨﺮﺝ ﻣﻦ ﺫﺍﺗﻪ‪ .‬ﻭﺭﺑﱠﻤﺎ ﻛﺎﻧﺖ ﺗﻠﻚ ﺍﶈﺎﻭﻟﺔ ﺍﻟﻘﺼﻮﻯ ﺍﻟﺘﻲ ﺗﻘﻮﻡ ﺑﻬﺎ ﺍﻟﻄﱠﺒﻴﻌﺔ‪،‬‬
‫ﻛﻴﻤﺎ ﻳﺨﺮﺝ ﻛﻞّ ﺍﻣﺮﺉ ﻣﻦ ﺫﺍﺗﻪ ﺫﺍﺗﻬﺎ ﳓﻮ ﺷﻲﺀ ﺁﺧﺮ‪ ،‬ﻓﻼ ﻳﻨﺠﺬﺏ ﺍﻟﺸﱠﻲﺀ‬
‫ﺑﺎﺗﱢﺠﺎﻫﻲ ﻭﺇﻧﱠﻤﺎ ﺃﻧﺎ ﺃﳒﺬﺏ ﺑﺎﺗﱢﺠﺎﻫﻪ‪.‬‬
‫ﻭﻗﺪ ﺍﺳﺘﻄﺎﻉ ﺍﻟﻘﺪّﻳﺲ ﺃﻏﺴﻄﲔ ‪ ،Agustin‬ﻭﻫﻮ ﺃﺣﺪ ﺍﻟﺮﱢﺟﺎﻝ ﺍﻟﺬﻳﻦ ﻓﻜﱠﺮﻭﺍ‬
‫ﺃﻋﻤﻖ ﺗﻔﻜﻴﺮ ﰲ ﺍﳊﺐ‪ ،‬ﻭﺭﺑﱠﻤﺎ ﻛﺎﻥ ﺃﻋﻈﻢ ﻣﺎ ﻭُﺟﺪ ﻣﻦ ﺫﻭﻱ ﺍﻟﻄﱢﺒﺎﻉ ﺣﺒﱠﺎً‪ ،‬ﺃﻥ ﻳﺘﺤﺮﱠﺭ‬
‫ﺃﺣﻴﺎﻧﺎً ﻣﻦ ﻫﺬﺍ ﺍﻟﺘﱠﻔﺴﻴﺮ ﺍﻟﺬﻱ ﻳﺠﻌﻞ ﻣﻦ ﺍﳊﺐّ ﺭﻏﺒﺔ ﺃﻭ ﺷﻬﻮﺓ‪ .‬ﻭﻫﻜﺬﺍ ﻳﻘﻮﻝ ﰲ‬
‫ﻋﺮﺽ ﺷﻌﺮﻱ‪Amor meus, pondus meum; illo feror quocumque feror :‬‬
‫)"ﺣﺒﻲ ﺛﻘﻠﻲ؛ ﻭﺑﻪ ﺃﺳﻌﻰ ﺣﻴﺜﻤﺎ ﺃﺳﻌﻰ"(‪ .‬ﻭﺍﳊﺐّ ﺍﳒﺬﺍﺏ ﳓﻮ ﺍﶈﺒﻮﺏ‪.‬‬
‫ﻟﻘﺪ ﺣﺎﻭﻝ ﺍﺳﺒﻴﻨﻮﺯ ﺃﻥ ﻳﺼﺤﱢﺢ ﻫﺬﺍ ﺍﳋﻄﺄ‪ ،‬ﻓﺄﺑْﻌﺪَ ﺍﻟﺸﻬﻮﺍﺕ ﺑﺎﺣﺜﺎً ﰲ‬
‫ﺍﻟﺸﻌﻮﺭﺑﺎﳊﺐ ﻭﺍﻟﺒﻐﺾ ﻋﻦ ﻗﺎﻋﺪﺓ ﻋﺎﻃﻔﻴﱠﺔ‪ .‬ﻓﺎﳊﺐّ ﰲ ﻧﻈﺮﻩ ﺍﻟﻔﺮﺡُ ﺍﳌﻘﺘﺮﻥ‬
‫ﲟﻌﺮﻓﺔ ﺳﺒﺒﻪ؛ ﻭﺍﻟﺒﻐﺾ ﰲ ﺍﳌﻘﺎﺑﻞ‪ ،‬ﻫﻮ ﺍﳊﺰﻥ ﲟﻌﺮﻓﺔ ﻣﺴﺒّﺒﻪ‪ .‬ﻓﺈﺫﺍ ﺃﺣﺒﺒﻨﺎ ﺷﻴﺌﺎً ﺃﻭ‬
‫ﺃﺣﺪﺍً‪ ،‬ﻓﺬﻟﻚ ﺃﻥ ﻧﻜﻮﻥ ﺑﺒﺴﺎﻃﺔ ﻓﺮِﺣﲔ ﻭﻣﺪﺭﻛﲔ ﰲ ﺁﻥٍ ﻭﺍﺣﺪ ﺃﻥﱠ ﺍﻟﻔﺮﺡ ﻳﺄﺗﻴﻨﺎ ﻣﻦ‬
‫ﻫﺬﺍ ﺍﻟﺸﱠﻲﺀ ﺃﻭ ﻫﺬﺍ ﺍﻟﺸﱠﺨﺺ‪ .‬ﻭﻫﻨﺎ ﳒﺪ ﻣﺮﱠﺓً ﺃﺧﺮﻯ‪ ،‬ﺍﳊﺐﱠ ﻣﺨﺘﻠﻄﺎً ﺑﻨﺘﺎﺋﺠﻪ‬
‫ﺍﳌﻤﻜﻨﺔ‪ .‬ﻓﻤﻦ ﻳﺸﻚّ ﰲ ﺇﻣﻜﺎﻧﻴﱠﺔ ﺃﻥ ﻳﺘﻠﻘﱠﻰ ﺍﳌُﺤﺐﱡ ﺍﻟﻔﺮﺡَ ﳑﱠﻦ ﻳﺤﺐﱡ؟ ﻟﻜﻦ‪ ،‬ﻻ ﻳﻘﻞّ ﻋﻦ‬
‫ﺫﻟﻚ ﺻﺤﱠﺔً ﺃﻥّ َﺍﳊﺐ ﻳﻜﻮﻥ ﺃﺣﻴﺎﻧﺎً ﺣﺰﻳﻨﺎً‪ ،‬ﺣﺰﻳﻨﺎً ﻛﺎﳌﻮﺕ ﻭﻋﺬﺍﺑﺎً ﻛﺒﻴﺮﺍً ﻭﻗﺎﺗﻼً‪.‬‬
‫ﻭﺃﺯﻳﺪ‪ :‬ﺇﻥﱠ ﺍﳊﺐ ﺍﳊﻘﻴﻘﻲ ﻳُﺪﺭﻙ ﻧﻔﺴﻪ‪ ،‬ﺃﻭ ﺑﺎﻟﻘﻮﻝ ﻫﻜﺬﺍ‪ :‬ﻳﻘﻴﺲ ﻧﻔﺴﻪ ﺫﺍﺗﻬﺎ‬
‫ﻭﻳﺤﺴُﺒُﻬﺎ ﺑﻘﺪﺭﺗﻬﺎ ﻋﻠﻰ ﺍﻷﻟﻢ ﻭﺍﳌﻌﺎﻧﺎﺓ‪ .‬ﻓﺎﳌﺮﺃﺓ ﺍﻟﻌﺎﺷﻘﺔ ﺗُﺆﺛﺮ ﺿﺮﻭﺏ ﺍﻟﻘﻠﻖ ﺍﻟﺘﻲ‬
‫ﻳﺴﺒﱢﺒﻬﺎ ﻟﻬﺎ ﺍﻟﺮﱠﺟﻞ ﺍﶈﺒﻮﺏ ﻋﻠﻰ ﺍﻟﻼﻣﺒﺎﻻﺓ ﻏﻴﺮ ﺍﳌﺆﳌﺔ‪ .‬ﻭﻧﻘﺮﺃ ﰲ ﺭﺳﺎﺋﻞ ﺍﻟﺮﱠﺍﻫﺒﺔ‬
‫ﺍﻟﺒﺮﺗﻐﺎﻟﻴﱠﺔ ﻣﺎﺭﻳﺎﻧﺎ ﺃﻟﻜﻮﻓﻮﺭﺍﺩﻭ ‪ Mariana Alcoforado‬ﺟﻤﻼً ﻣﻮﺟﱠﻬﺔً ﺇﻟﻰ ﻣﻐﻮﻳﻬﺎ‬
‫ﺍﳋﺎﺋﻦ ﻛﻬﺬﻩ‪" :‬ﺃﺷﻜﺮ ﻟﻚ ﻣﻦ ﺃﻋﻤﺎﻕ ﻗﻠﺒﻲ ﺍﻟﻴﺄﺱَ ﺍﻟﺬﻱ ﺳﺒﱠﺒﺘﻪ ﻟﻲ‪ ،‬ﻭﺃﻛﺮﻩ ﺍﻟﻬﺪﻭﺀ‬
‫ﺍﻟﺬﻱ ﻛﻨﺖ ﺃﻋﻴﺶ ﻓﻴﻪ ﻗﺒﻞ ﺃﻥ ﺃﻋﺮﻓﻚ"‪" .‬ﺇﻧﱢﻲ ﺃﺭﻯ ﺑﻮﺿﻮﺡ ﻣﺎ ﻋﺴﺎﻩ ﻳﻜﻮﻥ ﻋﻼﺝ‬
‫ﺁﻻﻣﻲ ﻛﻠّﻬﺎ ﻭﺃﺣﺲّ ﺑﻨﻔﺴﻲ ﻣﺘﺤﺮﱢﺭﺓ ﻣﻨﻬﺎ ﻟﻮ ﺗﺨﻠﱠﻴﺖ ﻋﻦ ﺣﺒّﻚ‪ .‬ﻟﻜﻦ‪ ،‬ﺃﻱّ ﻋﻼﺝ ﻫﻮ!‬
‫ﻛﻼ‪ .‬ﺇﻧﱢﻲ ﺃﺅﺛﺮ ﺍﻟﻌﺬﺍﺏ ﻋﻠﻰ ﻧﺴﻴﺎﻧﻴﻚ‪ .‬ﺁﻱ‪ ،‬ﺃﻭَ ﻫﺬﺍ ﺍﻷﻣﺮ ﻣﻘﻴﱠﺪ ﺑﻲ؟ ﻻ ﺃﺳﺘﻄﻴﻊ ﺃﻥ‬
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‫ﺃﻟﻮﻡ ﻧﻔﺴﻲ ﻋﻠﻰ ﺃﻧّﻲ ﻟﻢ ﺃﺗﺨﻞﱠ ﻋﻦ ﺣﺒّﻚ ﳊﻈﺔ ﻭﺍﺣﺪﺓ‪ .‬ﻭﰲ ﻧﻬﺎﻳﺔ ﺍﳌﻄﺎﻑ‪ ،‬ﺃﻧﺖَ‬
‫ﺃﺟﺪﺭ ﺑﺎﻟﺸﱠﻔﻘﺔ ﻣﻨﱢﻲ‪ ،‬ﻭﺧﻴﺮٌ ﻟﻲ ﺃﻥ ﺃﻋﺎﻧﻲ ﻛﻞّ ﻣﺎ ﺃﻋﺎﻧﻴﻪ ﻣﻦ ﲤﺘﱡﻌﻲ ﺑﺎﳌﻠﺬﱠﺍﺕ ﺍﻟﺘﻲ‬
‫ﺗﻮﻓﱢﺮﻫﺎ ﻟﻚ ﻋﺸﻴﻘﺎﺗُﻚَ ﰲ ﻓﺮﻧﺴﺎ‪ ".‬ﻭﺗﺨﺘﺘﻢ ﺍﻟﺮﱢﺳﺎﻟﺔ ﺍﻷﻭﻟﻰ‪" :‬ﻭﺩﺍﻋﺎً؛ ﺃﺣﺒﺒﻨﻲ ﺩﺍﺋﻤﺎً‬
‫ﻭﺍﺟﻌﻠﻨﻲ ﺃﻋﺎﻥِ ﺃﻳﻀﺎً ﺃﻛﺒﺮ ﺍﻵﻻﻡ"‪ .‬ﻭﺗﻜﺘﺐ ﺍﻵﻧﺴﺔ ﺩﻩ ﻟﻴﺒﻴﻨﺎﺱ ‪ Lespinasse‬ﺑﻌﺪ‬
‫ﻗﺮﻧﲔ ﻣﻦ ﺫﻟﻚ‪" :‬ﺃﺣﺒّﻚ ﻛﻤﺎ ﻳﺠﺐ ﺃﻥ ﺃﺣﺒّﻚ‪ :‬ﺑﺎﻟﻴﺄﺱ!"‪.‬‬
‫ﻭﻟﻢ ﻳُﺤﺴﻦ ﺍﺳﺒﻴﻨﻮﺯﺍ ﺍﻟﻨﱠﻈﺮ‪ .‬ﻷﻥﱠ ﺍﳊﺐّ ﻟﻴﺲ ﻓﺮﺣﺎً‪ .‬ﻓﻤﻦ ﻳﺤﺐّ ﺍﻟﻮﻃﻦ‪ ،‬ﺭﺑﱠﻤﺎ‬
‫ﳝﺖْ ﰲ ﺳﺒﻴﻠﻪ‪ ،‬ﻭﺍﻟﺸﱠﻬﻴﺪ ﻳﺴﻘﻂ ﺣﺒﱠﺎً‪ .‬ﻭﺍﻟﻌﻜﺲ ﺻﺤﻴﺢ‪ .‬ﻓﻬﻨﺎﻙ ﺃﺣﻘﺎﺩ ﺗﺘﻠﺬﱠﺫ ﺑﺬﺍﺗﻬﺎ‬
‫ﻭﺗﺴﻜﺮ ﻋﻠﻰ ﺷﻜﻞ ﺟﺰﻳﻞ ﺑﺎﻟﺸﱠﺮﱢ ﺍﳊﺎﺻﻞ ﻟﻠﻤﺒﻐﻮﺽ‪.‬‬
‫ﻓﺈﺫﺍ ﻛﺎﻧﺖ ﻫﺬﻩ ﺍﻟﺘﱠﻌﺎﺭﻳﻒ ﺍﻟﻼﻣﻌﺔ ﻻ ﺗﺮﺿﻴﻨﺎ‪ ،‬ﻓﻤﻦ ﺍﳋﻴﺮ ﻟﻨﺎ ﺃﻥ ﳓﺎﻭﻝ‬
‫ﻭﺻﻒ ﻭﺍﻗﻌﺔ ﺍﳊﺐّ ﻣﺒﺎﺷﺮﺓ ﺑﺘﺼﻨﻴﻔﻬﺎ ﻛﻤﺎ ﻳﻔﻌﻞ ﻋﺎﻟﻢ ﺍﳊﺸﺮﺍﺕ ﺑﺤﺸﺮﺓ‬
‫ﻳﺼﻄﺎﺩﻫﺎ ﰲ ﺍﻟﻐﺎﺑﺔ؛ ﻭﺁﻣﻞ ﺃﻥ ﻳﻜﻮﻥ ﺍﻟﻘﺮﱠﺍﺀ ﻳﺤﺒﱡﻮﻥ ﺃﻭ ﻛﺎﻧﻮﺍ ﺃﺣﺒﱡﻮﺍ ﺃﺣﺪﺍً ﻣﺎ‪.‬‬
‫ﻭﳝﻜﻨﻬﻢ ﺍﻵﻥ ﺃﻥ ﻳُﻨﺸﺒﻮﺍ ﺷﻌﻮﺭﻫﻢ ﺑﺎﻷﺟﻨﺤﺔ ﺍﻟﺸﱠﻔﱠﺎﻓﺔ ﻭﻳﺒﻘﻮﻩ ﺛﺎﺑﺘﺎً ﺃﻣﺎﻡ ﺍﻟﻨﱠﻈﺮﺓ‬
‫ﺍﻟﺪﱠﺍﺧﻠﻴﱠﺔ‪ .‬ﻭﺳﻮﻑ ﺃﻋﺪﱢﺩ ﺍﳋﺼﺎﺋﺺ ﺍﻷﻋﻢّ ﻭﺍﻷﻛﺜﺮ ﲡﺮﻳﺪﺍً ﻟﻬﺬﻩ ﺍﻟﻨﱠﺤﻠﺔ ﺍﳌﺮﺗﻌﺸﺔ‬
‫ﺍﻟﺘﻲ ﻟﻬﺎ ﻋﻠﻢ ﺑﺎﻟﻌﺴﻞ ﻭﺗﻠﺴﻊ‪ .‬ﻭﺳﻮﻑ ﻳﺤﻜﻢ ﺍﻟﻘﺮﱠﺍﺀ ﻋﻠﻰ ﺻﻴﻐﻲ ﺇﻥ ﻛﺎﻧﺖ ﺗﺘﻄﺎﺑﻖ ﺃﻡ‬
‫ﻻ ﺗﺘﻄﺎﺑﻖ ﻣﻊ ﻣﺎ ﻳﺮﻭﻧﻪ ﺩﺍﺧﻞ ﺃﻧﻔﺴﻬﻢ‪.‬‬
‫ﺍﳊﺐ ﰲ ﺑﺪﺍﻳﺘﻪ ﻳﺸﺒﻪ ﺍﻟﺮﱠﻏﺒﺔ ﻳﻘﻴﻨﺎً‪ ،‬ﻷﻥﱠ ﻣﻮﺿﻮﻋﻪ –ﺃﻛﺎﻥ ﺷﻴﺌﺎً ﺃﻡ ﺷﺨﺼﺎً‪-‬‬
‫ﻳﺤﺜّﻪ ﻋﻠﻰ ﺫﻟﻚ‪ .‬ﻓﺎﻟﻨﱠﻔﺲ ﺗﺸﻌﺮ ﺃﻧﱠﻬﺎ ﻣﺜﺎﺭﺓ ﻭﻣﺠﺮﻭﺣﺔ ﰲ ﻧﻘﻄﺔ ﻣﻌﻴﱠﻨﺔ ﻋﻠﻰ ﺷﻜﻞ‬
‫ﻧﺎﻋﻢ ﺑﺤﺎﻓﺰ ﻳﺄﺗﻲ ﻣﻦ ﺍﳌﻮﺿﻮﻉ ﺇﻟﻴﻬﺎ‪ .‬ﻭﻟﻬﺬﺍ ﺍﳊﺎﻓﺰ ﺇﺫﺍً‪ ،‬ﺍﺗﱢﺠﺎﻩٌ ﺟﺎﺫﺏ ﺇﻟﻰ ﺍﳌﺮﻛﺰ‪:‬‬
‫ﻫﻮ ﻳﺄﺗﻲ ﻣﻦ ﺍﳌﻮﺿﻮﻉ ﺇﻟﻴﻨﺎ‪ .‬ﻟﻜﻦﱠ ﻓﻌﻞ ﺍﳊﺐ ﻻ ﻳﺒﺪﺃ ﺇﻻ ﺑﻌﺪ ﻫﺬﻩ ﺍﻹﺛﺎﺭﺓ‪ ،‬ﻭﺧﻴﺮ ﻣﻦ‬
‫ﺫﻟﻚ‪ ،‬ﺍﳊﺚﱡ‪ .‬ﻭﻳﻨﺒﻊ ﺍﳊﺐّ ﻣﻦ ﻫﺬﺍ ﺍﳌﺴﺎﻡّ ﺍﻟﺬﻱ ﻓﺘﺤﻪ ﺳﻬﻢ ﺍﳌﻮﺿﻮﻉ ﺍﳊﺎﺙّ‪ ،‬ﻭﻳﺘﱠﺠﻪ‬
‫ﺑﻔﻌﺎﻟﻴﱠﺔ ﳓﻮﻩ‪ :‬ﻫﻮ ﻳﺴﻴﺮ ﺇﺫﺍً‪ ،‬ﺑﺎﺗﱢﺠﺎﻩ ﻣﻌﺎﻛﺲ ﻟﻠﺤﺎﺛﱠﺔ ﻭﻟﻜﻞﱢ ﺭﻏﺒﺔ‪ .‬ﺇﻧﱠﻪ ﻳﺬﻫﺐ ﻣﻦ‬
‫ﺍﶈﺐّ ﺇﻟﻰ ﺍﶈﺒﻮﺏ ‪ -‬ﻭﻣﻨﱢﻲ ﺇﻟﻰ ﺍﻵﺧﺮ ‪ -‬ﰲ ﺍﺗﱢﺠﺎﻩ ﻧﺎﺑﺬ ﻋﻦ ﺍﳌﺮﻛﺰ‪ .‬ﻭﻫﺬﺍ ﺍﻟﻄﱠﺎﺑﻊ‬
‫ﰲ ﺃﻥ ﻳﺠﺪ ﺍﳌﺮﺀ ﻧﻔﺴﻪ ﰲ ﺣﺮﻛﺔ‪ ،‬ﻭﰲ ﺍﻟﻄﱠﺮﻳﻖ ﳓﻮ ﺍﳌﻮﺿﻮﻉ‪ ،‬ﻭﺍﻟﺴﱠﻴﺮ ﺑﺎﺳﺘﻤﺮﺍﺭ‬
‫ﻋﻠﻰ ﺷﻜﻞ ﺣﻤﻴﻢ ﻣﻦ ﻛﻴﺎﻧﻨﺎ ﺇﻟﻰ ﻛﻴﺎﻥ ﺍﻟﻐﻴﺮ‪ ،‬ﻫﻮ ﺃﻣﺮ ﺟﻮﻫﺮﻱ ﰲ ﺍﳊﺐّ ﻭﰲ‬
‫ﺍﻟﺒﻐﺾ‪ .‬ﻭﺳﻨﺮﻯ ﻓﻴﻤﺎ ﻳﺨﺘﻠﻔﺎﻥ ﻛﻼﻫﻤﺎ‪ .‬ﻭﻫﺬﺍ ﻻ ﻳﻌﻨﻲ ﻣﻊ ﺫﻟﻚ‪ ،‬ﺃﻧﱠﻨﺎ ﻧﺘﺤﺮﱠﻙ‬
‫ﻓﻴﺰﻳﻘﻴﱠﺎً ﳓﻮ ﺍﶈﺒﻮﺏ ﺍﻟﺬﻱ ﳓﺎﻭﻝ ﺍﻻﻗﺘﺮﺍﺏ ﻣﻨﻪ ﻭﺍﻟﺘﱠﻌﺎﻳﺶ ﺍﳋﺎﺭﺟﻲ ﻣﻌﻪ‪ .‬ﻭﻫﺬﻩ‬
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 ‫ﺍﻷﻓﻌﺎﻝ ﺍﳋﺎﺭﺟﻴﱠﺔ ﻛﻠّﻬﺎ ﺗﻨﺸﺄ ﻳﻘﻴﻨﺎً ﻣﻦ ﺍﳊﺐّ ﻛﺂﺛﺎﺭٍ ﻟﻪ‪ .‬ﻟﻜﻨﱠﻬﺎ ﻻ ﺗﻬﻤﱡﻨﺎ ﰲ ﺗﻌﺮﻳﻔﻪِ‪،‬‬
‫ﻭﻋﻠﻴﻨﺎ ﺃﻥ ﻧﻨﺤﱢﻴﻬﺎ ﺗﻨﺤﻴﺔً ﻛﺎﻣﻠﺔً ﻋﻦ ﺍﶈﺎﻭﻟﺔ ﺍﻟﺘﻲ ﻧﻘﻮﻡ ﺑﻬﺎ‪ .‬ﻭﻻ ﺑﺪﱠ ﻟﻜﻠﻤﺎﺗﻲ ﻛﻠﱢﻬﺎ ﻣﻦ‬
‫ﺃﻥ ﺗﺸﻴﺮ ﺇﻟﻰ ﻓﻌﻞ ﺍﳊﺐّ ﰲ ﺣﻤﻴﻤﻴﱠﺘﻪ ﺍﻟﻨﱠﻔﺴﻴﱠﺔ ﻛﻌﻤﻠﻴﱠﺔٍ ﺗﺤﺪﺙ ﺩﺍﺧﻞَ ﺍﻟﻨﱠﻔﺲ‪.‬‬
‫ﻓﻼ ﳝﻜﻦ ﺍﻟﺬﱠﻫﺎﺏ ﺇﻟﻰ ﺍﷲ ﺍﻟﺬﻱ ﻳُﺤﺐّ‪ ،‬ﺑﺴﺎﻗﻲّ ﺍﳉﺴﺪ‪ ،‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﺣﺒّﻪ‬
‫ﻫﻮ ﰲ ﺍﻟﺬﱠﻫﺎﺏ ﳓﻮﻩ‪ .‬ﻭﳓﻦ ﻧﺘﺨﻠﱠﻰ ﰲ ﺍﳊﺐّ ﻋﻦ ﺍﻟﻬﺪﻭﺀ ﻭﻋﻦ ﺣﻜﻤﺘﻨﺎ‬
‫ﺍﻟﺪﱠﺍﺧﻠﻴﱠﺔ‪ ،‬ﻭﻧﻬﺎﺟﺮ ﺑﺸﻜﻞ ﻣُﻀﻤﺮ ﳓﻮ ﺍﳌﻮﺿﻮﻉ‪ .‬ﻭﻛﻮﻥُ ﺍﳌﺮﺀ ﻣﻬﺎﺟﺮﺍً ﺑﺎﺳﺘﻤﺮﺍﺭ‪،‬‬
‫ﻫﻮ ﻛﻮﻧﻪ ﻣﺤﺒﱠﺎً ﺩﺍﺋﻤﺎً‪ .‬ﻷﻥﱠ ﻓﻌﻞ ﺍﻟﺘﱠﻔﻜﻴﺮ ﻭﺍﻹﺭﺍﺩﺓ ﻭﻗﺘﻴﱠﺎﻥ‪ ،‬ﻭﻗﺪ ﻟﻮﺣﻆ ﺫﻟﻚ‪.‬‬
‫ﻓﻨﺤﻦ ﻧﺒﻄﺊ ﺇﻟﻰ ﻫﺬﺍ ﺍﳊﺪّ ﺃﻭ ﺫﺍ ﻙ‪ ،‬ﰲ ﺗﺤﻀﻴﺮﻫﻤﺎ‪ ،‬ﻟﻜﻦﱠ ﺗﻨﻔﻴﺬﻫﻤﺎ ﻻ ﻳﺪﻭﻡ ‪.‬‬
‫ﺑﻞ ﻫﻮ ﻳﺤﺪﺙ ﰲ ﻣﺜﻞ ﻓﺘﺢ ﺍﻟﻌﲔ ﻭﺇﻏﻤﺎﺿﻬﺎ؛ ﺇﻧﱠﻬﻤﺎ ﻓﻌﻼﻥ ﻓﻮﺭﻳﱠﺎﻥ‪ .‬ﺇﻧﱢﻲ ﺃﻓﻬﻢ‬
‫ﺟﻤﻠﺔ‪ ،‬ﺇﻥْ ﻓﻬِﻤْﺘﻬﺎ‪ ،‬ﻓﺠﺄﺓ ﻭﰲ ﳊﻈﺔ ﻭﺍﺣﺪﺓ‪ .‬ﺃﻣﱠﺎ ﺍﳊﺐّ‪ ،‬ﻓﻌﻠﻰ ﺍﻟﻌﻜﺲ‪ ،‬ﳝﺘﺪّ ﰲ‬
‫ﺍﻟﺰﱠﻣﻦ‪ .‬ﻭﻻ ﻳﻜﻮﻥ ﰲ ﺳﻠﺴﻠﺔ ﻣﻦ ﺍﻟﻠﺤﻈﺎﺕ ﺍﻟﻔﺠﺎﺋﻴﱠﺔ‪ ،‬ﻭﻻ ﰲ ﺳﻠﺴﻠﺔ ﻣﻦ ﺍﻟﻨّﻘﺎﻁ‬
‫ﺍﻟﺘﻲ ﺗﺸﺘﻌﻞ ﻭﺗﻨﻄﻔﺊ ﻛﺎﻟﺸﱠﺮﺍﺭﺓ ﰲ ﺍﶈﺮﱢﻙ ﺍﻻﻧﻔﺠﺎﺭﻱ‪ .‬ﻭﺇﻧﱠﻤﺎ ﻳُﺤَﺐّ ﺍﶈﺒﻮﺏ‬
‫ﺑﺎﺳﺘﻤﺮﺍﺭ‪ .‬ﻭﻫﺬﺍ ﺍﻷﻣﺮ ﻳﺤﺪﱢﺩ ﻋﻼﻣﺔ ﺟﺪﻳﺪﺓ ﻣﻦ ﻋﻼﻣﺎﺕ ﺍﻟﺸﱡﻌﻮﺭ ﺍﻟﺬﻱ ﳓﻠﱢﻠﻪ؛‬
‫ﻭﺍﳊﺐّ ﺳَ ﻴَﻼﻥ ﻭﺗﺪﻓﱡﻖ ﻣﻦ ﻣﺎ ﺩﱠﺓ ﻧﻔﺴﺎﻧﻴﱠﺔ‪ ،‬ﻭﺳﺎﺋﻞٌ ﻳﻔﻴﺾ ﺑﺎﺳﺘﻤﺮﺍﺭ ﻛﻤﺎ ﻣﻦ‬
‫ﻳﻨﺒﻮﻉ‪ .‬ﻭﻧﺴﺘﻄﻴﻊ ﺍﻟﻘﻮﻝ ﺇﺫﺍ ﺑﺤﺜﻨﺎ ﻋﻦ ﺗﻌﺎﺑﻴﺮ ﻣﺠﺎﺯﻳﱠﺔ ﻗﺪ ﺗﺒﺮﺯ ﰲ ﺍﳊﺪﺱ‪،‬‬
‫ﻭﺗﺤﺪّﺩ ﺍﻟﻄﱠﺎﺑﻊ ﺍﻟﺬﻱ ﺃﺷﻴﺮ ﺇﻟﻴﻪ ﺍﻵﻥ‪ ،‬ﻧﺴﺘﻄﻴﻊ ﺍﻟﻘﻮﻝ ﺇﻥﱠ ﺍﳊﺐّ ﻟﻴﺲ ﻃﻠْﻘﺔ‪،‬‬
‫ﻭﺇﻧﱠﻤﺎ ﻫﻮ ﻓﻴﺾ ﻣﺴﺘﻤﺮّ ﻭﺇﺷﻌﺎﻉ ﻧﻔﺴﻲ ﻳﺬﻫﺐ ﻣﻦ ﺍﶈﺐّ ﺇﻟﻰ ﺍﶈﺒﻮﺏ‪ .‬ﻫﻮ‬
‫ﻟﻴﺲ ﺩﻓﻘﺔ ﻭﺍﺣﺪﺓ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﺗﻴﱠﺎﺭ ‪.‬‬
‫ﻟﻘﺪ ﺃﻟﺢﱠ ﺍﺑْﻔﺎﻧﺪﺭ ﺑﺪﻗﱠﺔ ﻛﺒﻴﺮﺓ ﻋﻠﻰ ﻫﺬﺍ ﺍﳌﻈﻬﺮ ﺍﻟﺴﱠﻴﱠﺎﻝ ﻭﺍﳌﺴﺘﻤﺮّ ﻟﻠﺤﺐّ‬
‫ﻭﺍﻟﺒﻐﺾ‪.‬‬
‫ﻭﻟﻘﺪ ﺃﺑﺮﺯﻧﺎ ﺛﻼﺛﺔ ﻣﻼﻣﺢ ﺃﻭ ﺛﻼﺙ ﻋﻼﻣﺎﺕ ﻣﺸﺘﺮﻛﺔ ﺑﲔ ﺍﳊﺐّ‬
‫ﻭﺍﻟﺒﻐﺾ‪ :‬ﺇﻧﱠﻬﻤﺎ ﻧﺎﺑﺬﺍﻥ‪ ،‬ﻭﻫﻤﺎ ﺫﻫﺎﺏ ﻣُﻀﻤﺮ ﺑﺎﺗﱢﺠﺎﻩ ﺍﳌﻮﺿﻮﻉ‪ ،‬ﻭﻫﻤﺎ ﻣﺴﺘﻤﺮﱠﺍﻥ‬
‫ﻭﺳﻴﱠﺎﻻﻥ ‪.‬‬
‫ﻟﻜﻨﱠﻨﺎ ﻧﺴﺘﻄﻴﻊ ﺍﻵﻥ ﺃﻥ ﳓﺪﱢﺩ ﺍﻟﻔﺮﻕ ﺍﻷﺳﺎﺱ ﺑﲔ ﺍﳊﺐّ ﻭﺍﻟﺒﻐﺾ ‪.‬‬
‫ﻓﻠﻬﻤﺎ ﻛﻠﻴﻬﻤﺎ ﺍﻻﺗﱢﺠﺎ ﻩُ ﺫﺍﺗﻪُ‪ ،‬ﻷﻧﱠﻬﻤﺎ ﻗﻮﱠﺗﺎﻥ ﻧﺎﺑﺬﺗﺎﻥ‪ ،‬ﻭﻳﺘﱠﺠﻪ ﺍﻟﺸﱠﺨﺺ‬
‫ﻓﻴﻬﻤﺎ ﳓﻮ ﺍﳌﻮﺿﻮﻉ؛ ﻟﻜﻨﱠﻬﻤﺎ ﻳﺤﻤِﻼﻥ ﺩﺍﺧﻞ ﻫﺬﺍ ﺍﻻﺗﱢﺠﺎﻩ ﺍﻟﻮﺣﻴﺪ ﻣﻌﻨﻰً ﻣﺨﺘﻠﻔﺎً‬
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 ‫ﻭﻫﺪﻓﺎً ﻣﻌﺎﻛﺴﺎً‪ .‬ﰲ ﺍﻟﺒﻐﺾ ﻳﺘﻢﱡ ﺍﻻﺗﱢﺠﺎﻩ ﳓﻮ ﺍﳌﻮﺿﻮﻉ‪ ،‬ﻟﻜﻦﱠ ﺍﻟﺬﱠﻫﺎﺏ ﻳﻜﻮﻥ‬
‫ﻣﻀﺎﺩﱠﺍً ﻟﻪ؛ ﻓﻤﻌﻨﺎﻩ ﺳﻠﺒﻲ‪ .‬ﻭﰲ ﺍﳊﺐّ ﻳﺘﻢﱡ ﺍﻻﺗﱢﺠﺎﻩ ﺃﻳﻀﺎً ﳓﻮ ﺍﳌﻮﺿﻮﻉ‪ ،‬ﻟﻜﻦﱠ‬
‫ﺍﻟﺬﱠﻫﺎﺏ ﻳﻜﻮﻥ ﰲ ﺻﺎﳊﻪ‪.‬‬
‫ﻭﻫﻨﺎﻙ ﻣﻼﺣﻈﺔ ﺃﺧﺮﻯ ﺗﻄﻠﻊ ﻟﻨﺎ ﻋﺮﺿﺎً ﻛﺨﺼﻴﺼﺔ ﻣﺸﺘﺮﻛﺔ ﺑﲔ ﻫﺬﻳﻦ‬
‫ﺍﻟﺸﻌﻮﺭﻳﻦ ﻭﺗﻌﻠﻮ ﻋﻠﻰ ﺍﻟﻔﺮﻭﻕ ﺑﻴﻨﻬﻤﺎ‪ ،‬ﻭﻫﻲ ﺍﻟﺘﱠﺎﻟﻴﺔ‪ :‬ﺇﻥﱠ ﺍﻟﺘﱠﻔﻜﻴﺮ ﻭﺍﻹﺭﺍﺩﺓ ﻳَﺨﻠﻮﺍﻥ‬
‫ﳑﱠﺎ ﳝﻜﻦ ﺃﻥ ﻧﺴﻤّﻴﻪ ﺩﺭﺟﺔ ﺣﺮﺍﺭﺓ ﻧﻔﺴﻴﱠﺔ‪ .‬ﻭﻋﻠﻰ ﺍﻟﻌﻜﺲ ﻣﻨﻬﻤﺎ ﺍﳊﺐّ ﻭﺍﻟﺒﻐﺾ‬
‫ﺍﻟﻠﺬﺍﻥ ﳒﺪ ﻓﻴﻬﻤﺎ ﺣﺮﺍﺭﺓ‪ ،‬ﻭﻫﻤﺎ ﺳﺎﺧﻨﺎﻥ ﻣﻘﺎﺭﻧﺔً ﺑﺎﻟﺘﱠﻔﻜﻴﺮ ﺍﻟﺬﻱ ﻳﺘﺼﻮﱠﺭ ﻧﻈﺮﻳﱠﺔ‬
‫ﺭﻳﺎﺿﻴﱠﺔ‪ .‬ﻭﺗﺘﻤ ﺘﱠﻊ ﻧﺎﺭﻫﻤﺎ ﻓﻮﻕ ﺫﻟﻚ‪ ،‬ﺑﺄﻛﺜﺮ ﺍﻟﻔﺮﻭﻕ ﺍﳊﺮﺍﺭﻳﱠﺔ ﺻِﻐﺮﺍً‪ .‬ﻓﻜﻞﱡ ﺣﺐﱟ‬
‫ﻳﺠﺘﺎﺯ ﻣﺮﺍﺣﻞ ﻣﻦ ﺩﺭﺟﺎﺕ ﺣﺮﺍﺭﺓ ﻣﺨﺘﻠﻔﺔ؛ ﻭﺗﺘﻜﻠﱠﻢ ﺍﻟﻠﻐﺔ ﺍﳌﺘﺪﺍﻭﻟﺔ ﺑﺪﻗﱠﺔ ﻋﻦ‬
‫ﻏﺮﺍﻣﻴﱠﺎﺕ ﺗﺒﺮﺩ‪ ،‬ﻭﻳﺸﻜﻮ ﺍﶈﺐّ ﻓﺘﻮﺭ ﺍﶈﺒﻮﺑﺔ ﻭﺑﺮﻭﺩﺗﻬﺎ‪ .‬ﻭﻳﻘﻮﺩﻧﺎ ﻫﺬﺍ ﺍﻟﻔﺼﻞ‬
‫ﻣﻦ ﺩﺭﺟﺔ ﺍﳊﺮﺍﺭﺓ ﺍﻟﻌﺎﻃﻔﻴﺔ‪ ،‬ﺇﻟﻰ ﺃﻥ ﻧﻠﺤﻆ ﻣﺤﻄﱠﺎﺕ ﻋﻠﻢ ﻧﻔﺴﻴﱠﺔ ﻣﺴﻠﱢﻴﱠﺔٍ‪ .‬ﺇﺫْ‬
‫ﺗﻈﻬﺮ ﻓﻴﻬﺎ ﻭﺟﻮﻩ ﻣﻦ ﺍﻟﺘﱠﺎﺭﻳﺦ ﺍﻟﻌﺎﳌﻲ ﻟﻢ ﺗﻜﻦ ﺗﻌﺮﻓﻬﺎ ﺣﺴﺐ ﺍﻋﺘﻘﺎﺩﻱ‪ ،‬ﺍﻷﺧﻼﻕُ‬
‫ﻭﺍﻟﻔﻦّ ﺣﺘﱠﻰ ﺍﻟﻴﻮﻡ‪ .‬ﻭﺇﻧﱠﻨﺎ ﻧﺘﻜﻠﱠﻢ ﻋﻦ ﺗﻨﻮﱡﻉ ﺩﺭﺟﺎﺕ ﺍﳊﺮﺍﺭﺓ ﻟﺪﻯ ﺍﻷﻣﻢ ﺍﻟﺘﱠﺎﺭﻳﺨﻴﱠﺔ‬
‫ﺍﻟﻜﺒﺮﻯ ‪ -‬ﺑﺮﻭﺩﺓ ﺍﻹﻏﺮﻳﻖ ﻭﺍﻟﺼﱢﲔ‪ ،‬ﻭﺑﺮﻭﺩﺓ ﺍﻟﻘﺮﻥ ‪١٨‬؛ ﻭﺣﺮﺍﺭﺓ ﺍﻟﻌﺼﻮﺭ‬
‫ﺍﻟﻮﺳﻄﻰ ﺍﻷﻭﺭﻭﺑﻴﱠﺔ ﺍﻟﺮﱡﻭﻣﺎﻧﺴﻴﱠﺔ‪ ،‬ﺇﻟﺦ ‪ -..‬ﻭﻧﺘﻜﻠﱠﻢ ﻋﻦ ﺗﺄﺛﻴﺮ ﺍﺧﺘﻼﻑ ﺩﺭﺟﺔ‬
‫ﺍﳊﺮﺍﺭﺓ ﺑﲔ ﺍﻷﺭﻭﺍﺡ ﻋﻠﻰ ﺍﻟﻌﻼﻗﺎﺕ ﺍﻟﺒﺸﺮﻳﱠﺔ‪ .‬ﻓﺈﺫﺍ ﺍﻟﺘﻘﻰ ﻛﺎﺋﻨﺎﻥ‪ ،‬ﻓﺈﻥﱠ ﺃﻭﱠﻝ ﻣﺎ‬
‫ﻳﻠﺤﻈﻪ ﺃﺣﺪﻫﻤﺎ ﻋﻠﻰ ﺍﻵﺧﺮ ﺩﺭﺟﺔ ﺣﺮﻳﺮﺍﺗﻪ ﺍﻟﻌﺎﻃﻔﻴﱠﺔ‪ .‬ﻭﻧﺘﻜﻠﱠﻢ ﺃﺧﻴﺮﺍً ﻋﻦ‬
‫ﺍﻟﺼﱢﻔﺔ ﺍﻟﺘﻲ ﺗﺴﺘﺤﻖّ ﺃﻥ ﻧﺴﻤﱢﻴﻬﺎ ﺣﺮﺍﺭﺓ ﰲ ﺍﻷﺳﺎﻟﻴﺐ ﺍﻟﻔﻨﻴﱠﺔ‪ ،‬ﺧﺎﺻﱠﺔً ﺍﻷﺩﺑﻴﱠﺔ‬
‫ﻣﻨﻬﺎ‪ .‬ﻟﻜﻦ‪ ،‬ﻗﺪ ﻳﻜﻮﻥ ﻣﺤﺎﻻً ﺗﻨﺎﻭﻝ ﺍﳌﻮﺿﻮﻉ ﺑﺸﻤﻮﻟﻪ‪.‬‬
‫ﻭﺃﻳﱠﺎً ﺗﻜﻦْ ﺩﺭﺟﺔ ﺣﺮﺍﺭﺓ ﺍﳊﺐّ ﻭﺍﻟﺒﻐﺾ‪ ،‬ﻓﺈﻧﱠﻨﺎ ﻧﻔﻬﻤﻬﺎ ﻓﻬﻤﺎً ﺃﻓﻀﻞ ﺇﺫﺍ‬
‫ﻧﻈﺮﻧﺎ ﺇﻟﻰ ﺍﻷﻣﺮ ﺍﻧﻄﻼﻗﺎً ﻣﻦ ﺍﳌﻮﺿﻮﻉ‪ .‬ﻣﺎﺫﺍ ﻳﻔﻌﻞ ﺍﳊﺐّ ﻓﻴﻤﺎ ﺣﻮﻝ ﻣﻮﺿﻮﻉ‬
‫ﺍﳊﺐّ؟ ﻓﺴﻮﺍﺀ ﺃﻛﺎﻥ ﻣﻮﺿﻮﻉ ﺍﳊﺐ ﻗﺮﻳﺒﺎً ﺃﻡ ﺑﻌﻴﺪﺍً‪ ،‬ﻭﺳﻮﺍﺀ ﺃﻛﺎﻥ ﺍﳌﺮﺃﺓ ﺃﻡ ﺍﻻﺑﻦ‪،‬‬
‫ﺍﻟﻔﻦّ ﺃﻡ ﺍﻟﻌﻠﻢ‪ ،‬ﺍﻟﻮﻃﻦ ﺃﻡ ﺍﷲ‪ ،‬ﻓﺈﻥّ ﺍﳊﺐّ ﻳُﻀﻨﻲ ﻧﻔﺴﻪ ﺑﺪﻭﺭﺍﻧﻪ ﺣﻮﻝ ﺍﶈﺒﻮﺏ‪.‬‬
‫ﻓﺎﻟﺮﱠﻏﺒﺔ ﺗﺘﻤﺘﱠﻊ ﺑﺎﳌﺮﻏﻮﺏ ﻓﻴﻪ ﻭﺗﺘﻠﻘﱠﻰ ﻣﻨﻪ ﻣﺴﺮﱠﺓ‪ ،‬ﻟﻜﻦ‪ ،‬ﻟﻴﺲ ﻗﺮﺑﺎﻧﺎً‪ .‬ﻓﻬﻮ ﻻ‬
‫ﻳُﻬﺪﻱ ﻫﺪﻳﱠﺔً ﻭﻻ ﻳﺴﺘﺄﺛﺮ ﺑﺸﻲﺀ ﻟﻨﻔﺴﻪ‪ .‬ﻭﺍﳊﺐّ ﻭﺍﻟﺒﻐﺾ ﻳﻌﻤﻼﻥ ﺑﺎﺳﺘﻤﺮﺍﺭ ‪.‬‬
‫ﻓﺎﻷﻭﱠﻝ ﻳﻠﻒّ ﺍﳌﻮﺿﻮﻉ ﺑﺠﻮ ﻣﻼﺋﻢ‪ ،‬ﻭﻫﻮ‪ ،‬ﺇﻥْ ﻛﺎﻥ ﻗﺮﻳﺒﺎً ﺃﻡ ﺑﻌﻴﺪﺍً‪ ،‬ﻣﺪﺍﻋَﺒﺔٌ ﻭﺗﺮﻭﻳﺢ‬
‫‪-١٤-‬‬
‫ﻭﺩﻋﻢ ﻭﺩﻻﻝ‪ ،‬ﺑﺎﺧﺘﺼﺎﺭ‪ .‬ﺃﻣﱠﺎ ﺍﻟﺒﻐﺾ ﻓﻴﺤﻴﻄﻪ ﺑﺠﻮﱟ ﻏﻴﺮ ﻣﻼﺋﻢ ﻭﺑﻨﺎﺭٍ ﻟﻴﺴﺖ‬
‫ﺃﺩﻧﻰ ﻣﻦ ﺍﻷﻭﻟﻰ‪ .‬ﺇﻧﱠﻪ ﻳﻔﺴﺪﻩ ﻭﻳﺠﻔّﻒ ﻋﺼﺎﺭﺗﻪ ﻛﺮﻳﺢ ﺳﻤﻮﻡ ﺣﺎﺭﱠﺓ‪Siroco 1‬‬
‫ﻭﻳﺤﻄّﻤﻪ ﺇﺿﻤﺎﺭﺍً‪ ،‬ﻭﻳﻨﺤﺮﻩ‪ .‬ﻭﻻ ﺿﺮﻭﺭﺓ‪ ،‬ﺃﺅﻛﱢﺪ‪ ،‬ﳊﺪﻭﺙ ﺫﻟﻚ ﰲ ﺍﻟﻮﺍﻗﻊ‪ .‬ﻭﺇﻧﱠﻤﺎ‬
‫ﺃﺷﻴﺮ ﺍﻵﻥ ﺇﻟﻰ ﺍﻟﻨﻴﱠﺔ ﺍﻟﻜﺎﻣﻨﺔ ﰲ ﺍﻟﺒﻐﺾ‪ ،‬ﻭﺇﻟﻰ ﻫﺬﺍ ﺍﻟﻔﻌﻞ ﺍﻟﻼﻭﺍﻗﻌﻲ ﺍﻟﺬﻱ‬
‫ﻳﻜﻮﱢﻥ ﺍﻟﺸﻌﻮﺭ ﺫﺍﺗﻪ‪ .‬ﻟﻨﻘﻞْ‪ ،‬ﺇﺫﺍً‪ ،‬ﺇﻥﱠ ﺍﳊﺐّ ﻳﺴﻴﻞ ﰲ ﻋﻤﻠﻴﱠﺔ ﺗﺄﻛﻴﺪ ﺣﺎﺭﱠﺓ‬
‫ﺴﻢﱢ ﺃﻛﱠﺎﻟﺔ‪.‬‬
‫ﻟﻠﻤﺤﺒﻮﺏ‪ ،‬ﻭﺍﻟﺒﻐﺾ ﻳﻔﺮﺯ ﻓَﻮْﻋﺔ ﻣﻦ ﺍﻟ ﱡ‬
‫ﻭﺇﻥﱠ ﺍﳌﻐﺰﻯ ﺍﳌﺘﻨﺎﻗﺾ ﻟﻠﻨﱠﺘﻴﺠﺘﲔ ﻛﻠﺘﻴﻬﻤﺎ ﻳﺘﺠﻠﱠﻰ ﺑﺸﻜﻞ ﺁﺧﺮ‪ :‬ﰲ ﺍﳊﺐّ‬
‫ﻧﺸﻌﺮ ﺑﺄﻧﻔﺴﻨﺎ ﻣﺘﱠﺤﺪﻳﻦ ﺑﺎﳌﻮﺿﻮﻉ‪ .‬ﻓﻤﺎﺫﺍ ﻳﻌﻨﻲ ﻫﺬﺍ ﺍﻻﺗﱢﺤﺎﺩ؟ ﺇﺫْ ﻫﻮ ﺑﺬﺍﺗﻪ‬
‫ﻟﻴﺲ ﺍﺗﱢﺤﺎﺩﺍً ﻓﻴﺰﻳﻘﻴﱠﺎً ﻭﻻ ﺍﻗﺘﺮﺍﺑﺎً ﺃﻳﻀﺎً‪ .‬ﻓﺮﺑﱠﻤﺎ ﻳﻘﻄﻦ ﺍﻟﺼﱠﺪﻳﻖ )ﻭﻻ ﻧﻨﺲَ‬
‫ﺍﻟﺼﱠﺪﺍﻗﺔ ﺇﺫﺍ ﺗﻜﻠﱠﻤﻨﺎ ﻋﻦ ﺍﳊﺐّ ﺑﻌﺎﻣﱠﺔ(‪ ،‬ﺑﻌﻴﺪﺍً ﻋﻨﱠﺎ‪ ،‬ﻭﻻ ﻧﻌﺮﻑ ﻋﻨﻪ ﺷﻴﺌﺎً‪ .‬ﻟﻜﻨﱠﻨﺎ‬
‫ﻣﻌﻪ ﰲ ﺗﻌﺎﻳﺶ ﺭﻣﺰﻱ‪ ،‬ﻭﻳﺒﺪﻭ ﺃﻥﱠ ﻧﻔﺴﻨﺎ ﺗﺘﱠﺤﺪ ﻋﻠﻰ ﺷﻜﻞ ﺃﺳﻄﻮﺭﻱ‪ ،‬ﻭﳓ ﺲﱡ‬
‫ﻋﻠﻰ ﺍﻟﺮﱠﻏﻢ ﻣﻦ ﺍﳌﺴﺎﻓﺎﺕ ﻭﺣﻴﺜﻤﺎ ﻳﻜﻮﻥ ﺑﺎﺗﱢﺤﺎﺩ ﺟﻮﻫﺮﻱ ﻣﻌﻪ‪ .‬ﺇﻧﱠﻪ ﻳﺸﺒﻪ ﻣﺎ‬
‫ﻧﻌﺒﱢﺮ ﻋﻨﻪ ﺇﺫﺍ ﻗﻠﻨﺎ ﻷﺣﺪٍ ﰲ ﺳﺎﻋﺔ ﻣﺸﻘﱠﺔ‪ :‬ﺍﻋﺘﻤﺪْ ﻋﻠﻲّ‪ ،‬ﻓﺄﻧﺎ ﺇﻟﻰ ﺟﺎﻧﺒﻚ‪ .‬ﺃﻱ‪،‬‬
‫ﺇﻥﱠ ﻗﻀﻴﱠﺘﻪ ﻗﻀﻴﱠﺘﻲ ﻭﺇﻧﱢﻲ ﺃﻧﻀﻢﱡ ﺇﻟﻰ ﺷﺨﺼﻪ ﻭﻛﻴﺎﻧﻪ‪.‬‬
‫ﻭﻋﻠﻰ ﺍﻟﻌﻜﺲ ﻣﻨﻪ ﺍﻟﺒﻐﺾ ﺍﻟﺬﻱ ﻳُﺒﻌﺪﻧﺎ ﻋﻦ ﺍﳌﻮﺿﻮﻉ ﺑﺎﳌﻌﻨﻰ ﺍﻟﺮﱠﻣﺰﻱ ﺫﺍﺗﻪ‪،‬‬
‫ﻋﻠﻰ ﺍﻟﺮﱠﻏﻢ ﻣﻦ ﺫﻫﺎﺑﻪ ﺑﺎﺳﺘﻤﺮﺍﺭ ﳓﻮ ﺍﳌﺒﻐﻮﺽ‪ .‬ﺇﻧﱠﻪ ﻳﺒﻘﻴﻨﺎ ﻋﻠﻰ ﻣﺴﺎﻓﺔ ﻫﺎﻣﱠﺔ ﻭﻳﻔﺘﺢ‬
‫ﻫﻮﱠﺓ‪ .‬ﻭﺍﳊﺐّ ﻫﻮ ﻗﻠﺐ ﺇﻟﻰ ﺟﺎﻧﺐ ﻗﻠﺐ‪ :‬ﺇﻧﱠﻪ ﺗﻮﺍﻓﻖ‪ ،‬ﻭﺍﻟﺒﻐﺾ ﺍﺧﺘﻼﻑ ﻭﺗﻨﺎﺑﺬ‬
‫ﻣﻴﺘﺎﻓﻴﺰﻳﻘﻲ‪ ،‬ﻭﻋﺪﻡ ﻭﺟﻮﺩ ﻣﻄﻠﻖ ﻣﻊ ﺍﳌﺒﻐﻮﺽ‪.‬‬
‫ﻭﻟﻨﻨﻈﺮ ﺍﻵﻥ ﻋﻠﻰ ﺃﻱﱢ ﺷﻲﺀ ﻳﻘﻮﻡ ﻫﺬﺍ ﺍﻟﻨﺸﺎﻁ ﺃﻭ ﺷﺒﻪ ﺍﻟﻜﺪّ ﻫﺬﺍ ﺍﻟﺬﻱ ﳔﻤّﻦ‬
‫ﻭﺟﻮﺩﻩ ﰲ ﺍﻟﺒﻐﺾ ﻭﰲ ﺍﳊﺐّ ﺧﻼﻓﺎً ﻟﻼﻧﻔﻌﺎﻻﺕ ﺍﻟﺴﱠﻠﺒﻴﱠﺔ ﻛﺎﻟﻔﺮﺡ ﺃﻭ ﺍﳊﺰﻥ‪ .‬ﻭﻻ‬

‫)‪ (١‬ﻫــﻲ ﺍﻟــﺮﻳﺢ ﺍﳉﻨﻮﺑﻴﱠــﺔ ﺍﻟ ـﺸﱠﺮﻗﻴﱠﺔ ﺍﻟﺘــﻲ ﺗﻬ ـﺐّ ﻋﻠــﻰ ﺇﺳــﺒﺎﻧﻴﺔ‪ .‬ﻭﺍﳌﻔــﺮﺩﺓ ﻣــﻦ ﺃﺻــﻞ ﻋﺮﺑــﻲ ) ‪ =xoruc‬ﺷــﺮﻭﻕ(‪.‬‬
‫ﻭﺷــﺮﻗﺖ ﺍﻷﺭﺽ‪ ،‬ﺣــﺴﺐ ﺍﳌﻌﺠــﻢ ﺍﻟﻮﺳــﻴﻂ‪ ،‬ﺟﻔﱠــﺖ ﻣــﻦ ﻋــﺪﻡ ﺍﻟ ـﺮﱠﻱ‪ - .‬ﻭﺷ ـﺮﱠﻗﺖ‪ :‬ﻣُﻨــﻊ ﻋﻨﻬــﺎ ﺍﻟ ـﺮﱠﻱّ ﺣﺘﱠــﻰ‬
‫ﺟﻔﱠــﺖ‪ - .‬ﻭﺍﻟــﺸﺮﺍﻗﻲ ﺑﻜــﻼﻡ ﺃﻫــﻞ ﻣــﺼﺮ‪ :‬ﺍﻷﺭﺽ ﺍﻟﺘــﻲ ﻟــﻢ ﻳــﺼﻠﻬﺎ ﻣــﺎﺀ ﺍﻟﻨﻴــﻞ‪ .‬ﻭﻛﻠﱠﻬــﺎ ﻣُﻮﻟﱠــﺪﺓ‪ .‬ﻭﺭﺑﱠﻤــﺎ ﺃﻃﻠــﻖ‬
‫ﺍﻷﻧﺪﻟــﺴﻴﱡﻮﻥ ﻭﺑﻌــﺪَﻫﻢ ﺍﻹﺳــﺒﺎﻥ ﺑــﺎﻟﻄﱠﺒﻊ‪ ،‬ﻫــﺬﺍ ﺍﻻﺳــﻢ ﻋﻠــﻰ ﺗﻠــﻚ ﺍﻟــﺮﻳﺢ ﻣــﻦ ﻟــﻮﻥ ﺍﻟﺘــﺮﺍﺏ ﺍﻟــﺬﻱ ﺗﺤﻤﻠــﻪ‪.‬‬
‫ﻳُﻘــﺎﻝ‪ :‬ﺷ ـﺮِﻕ ﻟﻮﻧُــﻪ ﺷــﺮﻗﺎً‪ :‬ﺍﺣﻤ ـﺮﱠ ‪ -‬ﻭﻳُﻘــﺎﻝ ﺷ ـﺮِﻕ ﺍﻟــﺒﻠﺢ‪ :‬ﻟ ـﻮﱠﻥ ﺑﺤﻤــﺮﺓ‪ - .‬ﻭﺷــﺮﻗﺖ ﺍﻟﻌــﲔ ﺑﺎﻟ ـﺪﱠﻡ‪ :‬ﺍﻣــﺘﻸﺕ‬
‫ﺑﻪ‪ .‬ﻭﺷﺮﻗﺖ ﺍﻟﺸﻤﺲ‪ :‬ﻟﻮّﻧﺖ ﺑﻜﺪﺭﺓ )ﺃﺳﺎﺱ ﺍﻟﺒﻼﻏﺔ(‪ - .‬ﺍﳌﺘﺮﺟﻢ‪.‬‬
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 ‫ﻳﻘﺎﻝ ﻋﺒﺜﺎً‪ :‬ﺇﻥّ َﺍﳌﺮﺀ ﻓﺮِﺡ‪ ،‬ﻭﺇﻧﱠﻪ ﺣﺰﻳﻦ‪ .‬ﻫﻤﺎ ﰲ ﺍﻟﻮﺍﻗﻊ ﺣﺎﻟﺘﺎﻥ ﻭﻟﻴﺴﺎ ﺟﻬﺪﻳﻦ ﻭﻻ‬
‫ﻧﺸﺎﻃﲔ‪ .‬ﻓﺎﳊﺰﻳﻦ ﻻ ﻳﻌﻤﻞ ﺷﻴﺌﺎً ﻣﺎﺩﺍﻡ ﺣﺰﻳﻨﺎً‪ ،‬ﻭﻻ ﺍﻟﻔﺮﺡ ﺑﻴﻨﻤﺎ ﻳﻜﻮﻥ ﻓﺮِﺣﺎً‪ .‬ﺃﻣﱠﺎ‬
‫ﺍﳊﺐّ ﻓﻌﻠﻰ ﺍﻟﻌﻜﺲ‪ ،‬ﻳﺼﻞ ﺑﺘﻤﺪّﺩ ﺷﻌﺎﻉ ﺍﻟﺒﺼﺮ ﻫﺬﺍ ﺣﺘﱠﻰ ﺍﳌﻮﺿﻮﻉ ﻭﻳﻨﻬﻤﻚ ﰲ‬
‫ﻋﻤﻞ ﻏﻴﺮ ﻣﻨﻈﻮﺭ‪ ،‬ﻟﻜﻨﱠﻪ ﻋﻤﻞ ﺇﻟﺁﻬﻲ‪ ،‬ﻭﻫﻮ ﺃﻋﻈﻢ ﺍﻷﻧﺸﻄﺔ ﺍﳌﻤﻜﻨﺔ‪ :‬ﺇﻧﱠﻪ ﻳﻨﺸﻐﻞ ﰲ‬
‫ﺗﻌﺰﻳﺰ ﻣﻮﺿﻮﻋﻪ‪ .‬ﻓﻜﱢﺮﻭﺍ ﻳﺎ ﺳﺎﺩﺓ‪ ،‬ﻓﻴﻤﺎ ﻫﻮ ﺣﺐّ ﺍﻟﻔﻦّ ﺃﻭ ﺍﻟﻮﻃﻦ؛ ﺇﻧﱠﻪ ﻛﻌﺪﻡ ﺍﻟﺸّﻚّ‬
‫ﳊﻈﺔ ﻭﺍﺣﺪﺓ ﰲ ﺣﻘﱢﻬﻤﺎ ﺑﺎﻟﻮﺟﻮﺩ‪ ،‬ﻫﻮ ﻛﺎﻹﻗﺮﺍﺭ ﻭﺍﻟﺘﱠﺄﻛﻴﺪ ﻛﻞّ ﳊﻈﺔ ﻋﻠﻰ ﺃﻧﱠﻬﻤﺎ‬
‫ﺟﺪﻳﺮﺍﻥ ﺑﺎﻟﻮﺟﻮﺩ‪ .‬ﻭﻟﻴﺲ ﻋﻠﻰ ﻃﺮﻳﻘﺔ ﺍﻟﻘﺎﺿﻲ ﺍﻟﺬﻱ ﻳﺼﺪﺭ ﺍﳊﻜﻢ ﻣﻘﺮّﺍً ﺑﺤﻖﱟ ﻣﺎ‪،‬‬
‫ﻭﺇﻧﱠﻤﺎ ﻋﻠﻰ ﺷﻜﻞ ﻳﻜﻮﻥ ﻓﻴﻪ ﺍﳊﻜﻢ ﺍﳌﻼﺋﻢ ﻣﺪﺍﺧﻠﺔ ﻭﺗﻨﻔﻴﺬﺍً ﰲ ﺁﻥٍ ﻭﺍﺣﺪ‪ .‬ﻭﺍﻟﺒﻐﺾ‬
‫ﻋﻠﻰ ﺍﻟﻨﱠﻘﻴﺾ ﻣﻦ ﺫﻟﻚ‪ ،‬ﻗﺘﻞُ ﻣﺎ ﻧﺒﻐﻀﻪ ﺿﻤﻨﺎً‪ ،‬ﻭﺇﻓﻨﺎﺅﻩ ﰲ ﺍﻟﻨﻴﱠﺔ ﻭﻣﺤﻮ ﺣﻘّﻪ ﰲ‬
‫ﺍﻟﺘﱠﻨﻔّﺲ‪ .‬ﻭﺑﻐﺾ ﺃﺣﺪٍ ﻣﺎ ﻫﻮ ﻏﻴﺮ ﺍﻟﺸﱡﻌﻮﺭ ﺑﺎﻟﻬﻴﺎﺝ ‪‬ﺮﱠﺩ ﻭﺟﻮﺩﻩ‪ .‬ﻭﻻ ﻳُﺮﺿﻲ ﺍﻟﺒﻐﺾَ‬
‫ﺳﻮﻯ ﺍﺧﺘﻔﺎﺋﻪ ﺍﺧﺘﻔﺎﺀً ﻛﻠﱢﻴﱠﺎً‪.‬‬
‫ﻭﻻ ﺃﺣﺴﺐ ﻭﺟﻮﺩ ﻋَﺮَﺽٍ ﰲ ﺍﳊﺐّ ﻭﺍﻟﺒﻐﺾ ﺃﻫﻢّ ﻣﻦ ﻫﺬﺍ ﺍﻟﻌَﺮَﺽ ﺍﻷﺧﻴﺮ‪.‬‬
‫ﻓﺤﺐﱡ ﺷﻲﺀٍ ﻫﻮ ﺑﺬﻝ ﺟﻬﺪ ﻛﻴﻤﺎ ﻳﻮﺟﺪ‪ ،‬ﻭﻋﺪﻡُ ﻗﺒﻮﻝ ﻋﺎﻟﻢ ﻳﻐﻴﺐ ﻋﻨﻪ ﺫﻟﻚ ﺍﳌﻮﺿﻮﻉ‬
‫ﺇﻥ ﺗﻌﻠﱠﻖ ﺍﻷﻣﺮ ﺑﺸﺨﺺ‪ .‬ﻟﻜﻦ‪ ،‬ﻻﺣﻆْ ﺃﻥﱠ ﺫﻟﻚ ﻳﺴﺎﻭﻱ ﺑﺎﻟﻀﱠﺒﻂ ﻣﻨﺤَﻪُ ﺍﳊﻴﺎﺓَ ﰲ‬
‫ﺍﻟﻨﻴﱠﺔ ﺑﺎﺳﺘﻤﺮﺍﺭ‪ ،‬ﺇﺫﺍ ﺗﻌﻠﱠﻖَ ﺍﻷﻣﺮ ﺑﻨﺎ‪ .‬ﻭﺍﳊﺐّ ﺇﺣﻴﺎﺀ ﺩﺍﺋﻢ ﻟﻠﻤﺤﺒﻮﺏ ﻭﺧﻠﻖٌ ﻟﻪ ﻭﺣﻔﺎﻅ‬
‫ﻋﻠﻴﻪ‪ .‬ﻭﺍﻟﺒﻐﺾ ﺇﻟﻐﺎﺀ ﻭﺍﻏﺘﻴﺎﻝ ﻣﻀﻤﺮ‪ ،‬ﻟﻜﻨﱠﻪ ﻟﻴﺲ ﺍﻏﺘﻴﺎﻻً ﻳُﻨﻔﱠﺬُ ﻣﺮﱠﺓً ﻭﺍﺣﺪﺓ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻮ‬
‫ﺍﻏﺘﻴﺎﻝ ﻣﻦ ﻏﻴﺮ ﺭﺍﺣﺔ ﳝﺤﻮ ﻣﻦ ﺍﻟﻮﺟﻮﺩ ﺍﻟﻜﺎﺋﻦ ﺍﻟﺬﻱ ﻧﺒﻐﻀﻪ‪.‬‬
‫ﻓﺈﺫﺍ ﳋﱠﺼﻨﺎ ﰲ ﻫﺬﺍ ﺍﳌﺴﺘﻮﻯ ﺍﻟﺼﱢﻔﺎﺕ ﺍﻟﺘﻲ ﺗﻜﺸﱠﻔﺖ ﻟﻨﺎ ﰲ ﺍﳊﺐّ‪ ،‬ﻧﻘﻮﻝ ﺇﻧﱠﻪ‬
‫ﻓﻌﻞٌ ﻧﺎﺑﺬٌ ﻳﻨﻄﻠﻖ ﻣﻦ ﺍﻟﻨﱠﻔﺲ ﺍﻟﺘﻲ ﺗﺬﻫﺐ ﺑﺎﺗﱢﺠﺎﻩ ﺍﳌﻮﺿﻮﻉ ﰲ ﺗﺪﻓﱡﻖ ﻣﺴﺘﻤﺮّ ﻭﺗﻠﻔّﻪ‬
‫ﺑﺘﺄﻳﻴﺪ ﺣﺎﺭّ ﻣﺘﱠﺤﺪﻳﻦ ﺑﻪ ﻣﺆﻛﱢﺪﻳﻦ ﻭﺟﻮﺩﻩ ﻓﻌﻠﻴﱠﺎً‪) .‬ﺍﺑﻔﺎﻧﺪﺭ(‪.‬‬

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 ‫ﳓﻮ ﺳﻴﻜﻮﻟﻮﺟﻴﺎ ﺍﻟﺮ‪‬ﺟﻞ ﺍﳉﺬﱠﺍﺏ‬

‫‪I‬‬

‫ﻻ ﺷﻲﺀ ﺃﺑﻌﺚ ﻋﻠﻰ ﺍﻟﺴﱡﺮﻭﺭ ﻟﺬَﻛَﺮٍ ﻛﺴﻤﺎﻋﻪ ﻗﻮﻝَ ﺍﻟﻨﱢﺴﺎﺀ ﻋﻨﻪ ﺇﻧﱠﻪ ﺭﺟﻞ ﺟﺬﱠﺍﺏ‪.‬‬
‫ﻟﻜﻦ‪ ،‬ﻣﺘﻰ ﻳﻜﻮﻥ ﺭﺟﻞٌ ﺟﺬﱠﺍﺑﺎً ﰲ ﻧﻈﺮ ﺍﻣﺮﺃﺓ؟ ﺍﳌﺴﺄﻟﺔ ﻫﻲ ﻣﻦ ﺃﺩﻕّ ﺍﳌﺴﺎﺋﻞ ﺍﻟﺘﻲ ﳝﻜﻦ‬
‫ﻃﺮﺣﻬﺎ؛ ﻟﻜﻨﱠﻬﺎ ﻣﻦ ﺃﺻﻌﺒﻬﺎ ﺃﻳﻀﺎً ﰲ ﺁﻥٍ ﻭﺍﺣﺪ‪ .‬ﻭﻗﺪ ﻳﻜﻮﻥ ﻣﻦ ﺍﻟﻀﱠﺮﻭﺭﻱ ﳌﻮﺍﺟﻬﺘﻬﺎ‬
‫ﺑﺸﻲﺀ ﻣﻦ ﺍﻟﺪﱢﻗﱠﺔ‪ ،‬ﺃﻥ ﻧﻌﺮِﺽ ﻣﺬﻫﺒﺎً ﺟﺪﻳﺪﺍً‪ ،‬ﻟﻢ ﻳﺤﺎﻭﻟﻪ ﺃﺣﺪ ﺣﺘﱠﻰ ﺍﻵﻥ‪ ،‬ﻭﻳﺸﻐﻠﻨﻲ‬
‫ﻭﻳﻬﻤّﻨﻲ ﻣﻨﺬ ﺳﻨﲔ ﻋﺪﱠﺓ‪ .‬ﻭﻗﺪ ﺍﻋﺘﺪﺕ ﺃﻥ ﺃﺳﻤﱢﻴﻪ )ﻣﻌﺮﻓﺔ ﺍﻹﻧﺴﺎﻥ( ﺃﻭ ﺃﻧﺘﺮﻭﺑﻮﻟﻮﺟﻴﺎ‬
‫)ﺃﻭ ﺇﻧﺎﺳﺔ( ﻓﻠﺴﻔﻴﱠﺔ‪ .‬ﻭﻫﺬﺍ ﺍﳌﺬﻫﺐ ﻳﻌﻠﱢﻤﻨﺎ ﺃﻥﱠ ﻟﻠﻨﻔﻮﺱ ﺃﺷﻜﺎﻻً ﻣﺨﺘﻠﻔﺔ ﻛﻤﺎ‬
‫ﻟﻸﺟﺴﺎﻡ‪ .‬ﻓﻨﺤﻦ ﻧﺪﺭﻙ ﺟﻤﻴﻌﺎً ﰲ ﺗﻌﺎﻣﻠﻨﺎ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻫﺬﺍ ﺍﳌﻈﻬﺮ ﺍﳌﺘﻨﻮﱢﻉ ﺍﳊﻤﻴﻢ‬
‫ﻟﻸﺷﺨﺎﺹ ﺑﻮﺿﻮﺡ ﻳﻘﻞﱡ ﺃﻭ ﻳﻜﺜﺮ ﺣﺴﺐ ﻧﺒﺎﻫﺔ ﻛﻞّ ﻣﻨﱠﺎ‪ .‬ﻟﻜﻦ‪ ،‬ﻳﻜﻠﱢﻔﻨﺎ ﺟﻬﺪﺍً ﻛﺒﻴﺮﺍً‬
‫ﺗﺤﻮﻳﻞُ ﺇﺩﺭﺍﻛﻨﺎ ﺍﻟﻮﺍﺿﺢ ﺇﻟﻰ ﺗﺼﻮﱡﺭﺍﺕ )ﺃﻭ ﻣﻔﺎﻫﻴﻢ( ﻭﺍﺿﺤﺔ ﻭﺇﻟﻰ ﻣﻌﺮﻓﺔ ﻛﺎﻣﻠﺔ‪ .‬ﺇﻧﱠﻨﺎ‬
‫ﻧﺸﻌﺮ ﺑﺎﻵﺧﺮﻳﻦ ﻟﻜﻨﱠﻨﺎ ﻻ ﻧﻌﺮﻓﻬﻢ‪.‬‬
‫ﻭﻗﺪ ﺭﺍﻛﻤﺖِ ﺍﻟﻠﻐﺔ ﺍﳌﺘﺪﺍﻭﻟﺔ‪ ،‬ﻣﻊ ﺫﻟﻚ‪ ،‬ﻛﻨﺰﺍً ﻣﻦ ﺍﻟﻠﻤﺢ ﺍﻟﺪﱠﻗﻴﻘﺔ‪ ،‬ﺗﺤﻔﻆ ﰲ‬
‫"ﻛﺒﺴﻮﻻﺕ" ﻟﻔﻈﻴﱠﺔ ﺫﺍﺕ ﺇﺷﺎﺭﺍﺕ ﻣﻮﺣﻴﺔ‪ .‬ﻳﺠﺮﻱ ﺍﻟﻜﻼﻡ‪ ،‬ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻋﻦ ﻧﻔﻮﺱ‬
‫ﺟﺎﻓﻴﺔ‪ ،‬ﻭﻧﻔﻮﺱ ﻟﻄﻴﻔﺔ‪ ،‬ﻭﻋﻦ ﻧﻔﻮﺱ "ﻋﻔِﺼﺔ" ﻭﻧﻔﻮﺱ ﺣﻠﻮﺓ‪ ،‬ﻭﻋﻤﻴﻘﺔ ﻭﺳﻄﺤﻴﱠﺔ‪،‬‬
‫ﻗﻮﻳﱠﺔ ﻭﺿﻌﻴﻔﺔ‪ ،‬ﺛﻘﻴﻠﺔ ﻭﺧﻔﻴﻔﺔ‪ .‬ﻭﻧﺘﻜﻠﱠﻢ ﻋﻦ ﺭﺟﺎﻝ ﻛﺒﺎﺭ ﻭﺟﺒﻨﺎﺀ‪ .‬ﻣﻘﺮﱢﻳﻦ ﺑﺬﻟﻚ‬
‫ﺑﺤﺠﻢ ﻟﻠﻨﻔﻮﺱ ﻛﻤﺎ ﻟﻸﺟﺴﺎﻡ‪ .‬ﻳُﻘﺎﻝ ﻋﻦ ﺃﺣﺪ ﻣﺎ ﺇﻧﱠﻪ ﺭﺟﻞ ﻋﻤﻞ ﺃﻭ ﻫﻮ ﺭﺟﻞ ﺗﺄﻣﱡﻠﻲّ‬
‫ﺃﻭ ﻫﻮ "ﻣﻔﻜﱢﺮ ‪ "Cerebral‬ﺃﻭ ﻋﺎﻃﻔﻲ‪ ،‬ﺇﻟﺦ‪ ...‬ﻭﻟﻢ ﻳﻬﺘﻢّ ﺃﺣﺪ ﺃﻥ ﻳﺘﺤﻘﱠﻖ ﻣﻨﻬﺠﻴﱠﺎً ﻣﻦ‬
‫ﺍﳌﻌﻨﻰ ﺍﻟﺪﱠﻗﻴﻖ ﻟﻬﺬﻩ ﺍﻟﺘﱠﺴﻤﻴﺎﺕ ﺍﳌﺨﺘﻠﻔﺔ ﺍﻟﺘﻲ ﻧﻠﻤﺢ ﻭﺭﺍﺀﻫﺎ ﺗﻨﻮﱡﻉ ﺍﳌﻤﻠﻜﺔ ﺍﻹﻧﺴﺎﻧﻴﱠﺔ‪،‬‬
‫ﺍﻟﻌﺠﻴﺐ‪ .‬ﻭﻛﻞّ ﻫﺬﻩ ﺍﻟﺘﱠﻌﺎﺑﻴﺮ ﻻ ﺗﻌﻤﻞ ﺍﻵﻥ ﺷﻴﺌﺎً ﺳﻮﻯ ﺍﻹﺷﺎﺭﺓ ﺇﻟﻰ ﺍﻻﺧﺘﻼﻑ ﰲ‬
‫ﺻﻮﺭﺓ ﺍﻟﺸﱠﺨﺼﻴﱠﺔ ﺍﻟﺪﱠﺍﺧﻠﻴﱠﺔ‪ ،‬ﻭﺍﳊﺚّ ﻋﻠﻰ ﺑﻨﺎﺀ ﺗﺸﺮﻳﺢ ﺳﻴﻜﻮﻟﻮﺟﻲ‪ .‬ﻭﳓﻦ ﻧﻌﻠﻢ ﺃﻥﱠ‬
‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺍﻟﺤﺏ ﻡ ‪٢-‬‬ ‫‪-١٧-‬‬
 ‫ﻧﻔﺲ ﺍﻟﻄّﻔﻞ ﻟﻬﺎ ﺑﺎﻟﻀﱠﺮﻭﺭﺓ ﺑﻨﻴﺔٌ ﻣﺨﺘﻠﻔﺔ ﻋﻦ ﻧﻔﺲ ﺍﻟﻌﺠﻮﺯ‪ .‬ﻭﺇﻥﱠ ﺍﻟﻄﱠﻤﻮﺡ ﳝﺘﻠﻚ‬
‫ﺷﻜﻼً ﻣﺨﺘﻠﻔﺎً ﻋﻦ ﺷﻜﻞ ﺣﺎﻟﻢ‪ .‬ﻭﻫﺬﻩ ﺍﻟﺪﱢﺭﺍﺳﺔ‪ ،‬ﻭﻗﺪ ﲤﱠﺖ ﺑﻘﻠﻴﻞ ﻣﻦ ﺍﻟﺘﱠﻨﻈﻴﻢ‪،‬‬
‫ﺗﻘﻮﺩﻧﺎ ﺇﻟﻰ ﻋﻠﻢ ﻃﺒﺎﻉ ﻣﻠﺢّ ﺫﻱ ﺃﺳﻠﻮﺏ ﺟﺪﻳﺪ‪ ،‬ﺑﻔﻀﻠﻪ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﺼﻒ ﺑﺪﻗﱠﺔ‬
‫ﻏﻴﺮِ ﻣﺸﻜﻮﻙ ﻓﻴﻬﺎ‪ ،‬ﺗﻨﻮﱡﻉ ﺍﻟﺪﱠﺧﻴﻠﺔ ﺍﻟﺒﺸﺮﻳﱠﺔ‪ .‬ﻭﻳﺒﺮﺯ ﻭﺳﻂ ﻫﺬﺍ ﺍﻟﺘﱠﻨﻮﱡﻉ‪ :‬ﺍﻟﺮﱠﺟﻞ‬
‫ﺍﳉﺬﱠﺍﺏ ﰲ ﻧﻈﺮ ﺍﳌﺮﺃﺓ‪.‬‬
‫ﻭﺇﻥﱠ ﻣﺤﺎﻭﻟﺘﻲ ﺍﻟﺘﱠﻐﻠﻐﻞ ﺑﻌﻤﻖٍ ﰲ ﺗﺤﻠﻴﻠﻪ‪ ،‬ﺗُﺤﺪﺙُ ﰲﱠ ﺭﻋﺒﺎً‪ ،‬ﻷﻧﱠﻨﺎ ﺳﺮﻋﺎﻥ ﻣﺎ‬
‫ﳒﺪ ﺃﻧﻔﺴﻨﺎ ﻣﺤﺎﻃﲔ ﺑﻐﺎﺑﺔٍ ﺣﻴﺚ ﻛﻞّ ﺷﻲﺀ ﻓﻴﻬﺎ ﻣﺸﻜﻠﺔ‪ .‬ﻷﻥﱠ ﺃﻭﱠﻝ ﻣﺎ ﳝﻜﻦ ﻗﻮﻟﻪ‬
‫ﻋﻦ ﺍﻟﺮﱠﺟﻞ ﺍﳉﺬﱠﺍﺏ ﻭﺃﻗﺼﺎﻩ‪ :‬ﺍﻟﺮﱠﺟﻞ ﺍﳉﺬﱠﺍﺏ ﻫﻮ ﺍﻟﺮﱠﺟﻞ ﺍﻟﺬﻱ ﺗﺘﻌﻠﱠﻖ ﺑﻪ ﺍﻟﻨﱢﺴﺎﺀ‪.‬‬
‫ﻭﻫﺬﺍ ﺍﻷﻣﺮ ﻳﻀﻴﱢﻌﻨﺎ ﺑﻘﺬﻓﻨﺎ ﻭﺳﻂ ﺃﻛﺒﺮ ﺍﳌﺨﺎﻃﺮ‪ .‬ﺇﻧﱠﻨﺎ ﻧﺴﻘﻂ ﻭﺳﻂ ﻏﺎﺑﺔ ﺍﳊﺐّ‪.‬‬
‫ﻭﻭﺍﻗﻊ ﺍﳊﺎﻝ ﻫﻮ ﺃﻧﱠﻪ ﻻ ﺗﻮﺟﺪ ﰲ ﺍﻟﻄﻮﺑﻮﻏﺮﺍﻓﻴﺎ ﺍﻟﺒﺸﺮﻳﱠﺔ ﻣﻨﻄﻘﺔٌ ﺍﻟﻨﱠﺎﺱُ ﺃﻗﻞّ ﺍﺭﺗﻴﺎﺩﺍً‬
‫ﻟﻬﺎ ﻣﻦ ﻣﻨﻄﻘﺔ ﺍﻟﻐﺮﺍﻣﻴﱠﺎﺕ‪ .‬ﻭﳝﻜﻦ ﺍﻟﻘﻮﻝ ﺇﻥﱠ ﻛﻞّ ﺷﻲﺀ ﻟﻢ ﻳُﻘﻞ ﺑﻌﺪُ‪ ،‬ﺑﺎﳊﺮﻱّ‪ ،‬ﺇﻥﱠ ﻛﻞّ‬
‫ﺷﻲﺀ ﻟﻢ ﻳُﻔﻜﱠﺮ ﻓﻴﻪ ﺑﻌﺪ‪.‬‬
‫ﻟﻘﺪ ﺍﺳﺘﻘﺮﱠﺕ ﺟﻤﻠﺔ ﻣﻦ ﺍﻷﻓﻜﺎﺭ ﺍﻟﻔﺠﱠﺔ ﰲ ﺍﻟﺮّﺅﻭﺱ‪ ،‬ﻭﲤﻨﻊ ﻣﻦ ﺭﺅﻳﺔ ﺍﻟﻮﻗﺎﺋﻊ‬
‫ﺑﻮﺿﻮﺡ ﻣﻘﺒﻮﻝ‪ .‬ﻭﻛﻞّ ﺫﻟﻚ ﻣﺸﻮﱠﺵ ﻭﻣﻀﻄﺮﺏ؛ ﻭﻫﻨﺎﻙ ﺃﺳﺒﺎﺏ ﻣﺘﻌﺪﱢﺩﺓ ﻛﻴﻤﺎ ﻳﻜﻮﻥ‬
‫ﻛﺬﻟﻚ‪ .‬ﻓﺎﻟﻐﺮﺍﻣﻴﱠﺎﺕ ﺑﺠﻮﻫﺮﻫﺎ ﺣﻴﺎﺓ ﺳﺮﱢﻳﱠﺔ ﰲ ﺍﳌﻘﺎﻡ ﺍﻷﻭﱠﻝ‪ .‬ﻭﺇﻥﱠ ﺣﺒﱠﺎً ﻻ ﻳُﻤﻜﻦ ﺃﻥ‬
‫ﻳُﻘﺺّ‪ :‬ﻓﻬﻮ ﻋﻨﺪ ﻧﻘﻠﻪ‪ ،‬ﻳﺘﻼﺷﻰ ﻭﻳﺘﻄﺎﻳﺮ‪ .‬ﻭﻛﻞّ ﺍﻣﺮﺉ ﻳﺘﻨﺒﱠﻪ ﺇﻟﻰ ﲡﺮﺑﺘﻪ ﺍﻟﺸﱠﺨﺼﻴﱠﺔ‬
‫ﺍﻟﻀﱠﺌﻴﻠﺔ ﺩﺍﺋﻤﺎً ﺗﻘﺮﻳﺒﺎً‪ ،‬ﻭﻟﻴﺲ ﻣﻦ ﺍﻟﺴﱠﻬﻞ ﻣﺮﺍﻛﻤﺔ ﲡﺮﺑﺔ ﺍﻵﺧﺮﻳﻦ‪ .‬ﻓﻤﺎﺫﺍ ﻋﺴﺎﻫﺎ‬
‫ﺗﻜﻮﻥ ﺍﻟﻔﻴﺰﻳﺎﺀ ﻟﻮ ﺃﻥﱠ ﻛﻞ ﻓﻴﺰﻳﺎﺋﻲ ﳝﺘﻠﻚ ﺃﻓﻜﺎﺭﻩ ﺍﻟﺸﱠﺨﺼﻴﱠﺔ ﻓﻘﻂ؟ ﻟﻜﻦ‪ ،‬ﻳﺤﺪﺙ ﰲ‬
‫ﺍﳌﻘﺎﻡ ﺍﻟﺜﱠﺎﻧﻲ ﺃﻥﱠ ﺍﻟﺮﱢﺟﺎﻝ ﺍﻟﻘﺎﺩﺭﻳﻦ ﻋﻠﻰ ﺍﻟﺘﱠﻔﻜﻴﺮ ﻋﺎﺩﺓً ﰲ ﺍﳊﺐّ‪ ،‬ﻫﻢ ﻣﻦ ﺃﻗﻞّ ﺍﻟﻨﱠﺎﺱ‬
‫ﻋﻴﺸﺎً ﻟﻪ؛ ﻭﻣﻦ ﻋﺎﺷﻪ ﻫﻢ ﻋﺎﺟﺰﻭﻥ ﰲ ﺍﻟﻌﺎﺩﺓ ﻋﻦ ﺃﻥ ﻳﻔﻜﱢﺮﻭﺍ ﻓﻴﻪ‪ ،‬ﻭﻳﺤﻠﱢﻠﻮﺍ ﺑﺪﻗﱠﺔ‬
‫ﻣﻈﻬﺮﻩ ﺍﻟﺼﱠﻌﺐ ﻭﺍﳌﻠﺘﺒﺲ ﺩﺍﺋﻤﺎً‪ .‬ﻭﺇﻥﱠ ﺑﺤﺜﺎً ﰲ ﺍﳊﺐّ‪ ،‬ﺃﺧﻴﺮﺍً‪ ،‬ﻋﻤﻞ ﻻ ﻳُﺸﻜﺮ ﻋﻠﻴﻪ‬
‫ﺍﳌﺮﺀ ﺑﺸﻜﻞ ﻣﻔﺮﻁ‪ .‬ﻭﻟﻮ ﺗﺤﺪﱠﺙ ﻃﺒﻴﺐ ﻋﻦ ﺍﻟﻬﻀﻢ ﻻﺳﺘﻤﻊ ﺍﻟﻨﱠﺎﺱ ﺇﻟﻴﻪ ﺑﺘﻮﺍﺿﻊ‬
‫ﻭﻓﻀﻮﻝ‪ .‬ﻟﻜﻦ‪ ،‬ﺇﻥْ ﺗﻜﻠﱠﻢَ ﻋﺎﻟﻢ ﻧﻔﺲ ﻋﻦ ﺍﳊﺐّ‪ ،‬ﻻﺳﺘﻤﻌﻮﺍ ﺇﻟﻴﻪ ﺟﻤﻴﻌﺎً ﺑﺎﺯﺩﺭﺍﺀ‪ ،‬ﺃﻭ‬
‫ﺑﻘﻮﻝ ﺃﻓﻀﻞ‪ ،‬ﻻ ﻳﺴﻤﻌﻮﻧﻪ ﻭﻻ ﻳﺴﺘﻄﻴﻌﻮﻥ ﺃﻥ ﻳﻌﻠﻤﻮﺍ ﺷﻴﺌﺎً ﳑﺎ ﻳﻌﻠﻨﻪ‪ ،‬ﻷﻧﱠﻬﻢ ﻳﺤﺴﺒﻮﻥ‬
‫ﺃﻧﻔﺴﻬﻢ ﺟﻤﻴﻌﺎً ﻋﻠﻤﺎﺀ ﰲ ﺍﳌﺎﺩﱠﺓ‪ .‬ﻭﻗﻠﱠﻤﺎ ﺗﻈﻬﺮ ﺑﺠﻼﺀ ﻛﺒﻴﺮ ﻛﻤﺎ ﺗﻈﻬﺮ ﰲ ﻫﺬﺍ ﺍﻷﻣﺮ‪،‬‬
‫ﺣﻤﺎﻗﺔُ ﺍﻟﻨﱠﺎﺱ ﺍﳌﺄﻟﻮﻓﺔ‪ .‬ﻭﻛﺄﻥﱠ ﺍﳊﺐّ ﻟﻢ ﻳﻜﻦ‪ ،‬ﰲ ﻧﻬﺎﻳﺔ ﺍﳌﻄﺎﻑ‪ ،‬ﻣﻮﺿﻮﻋﺎً ﻧﻈﺮﻳﱠﺎً ﻣﻦ‬
‫‪-١٨-‬‬
 ‫ﺳﻼﻟﺔ ﺍﳌﻮﺍﺿﻴﻊ ﺍﻷﺧﺮﻯ ﺫﺍﺗﻬﺎ‪ ،‬ﺑﺎﻟﺘﱠﺎﻟﻲ‪ ،‬ﻫﻮ ﻣﻐﻠﻖ ﻋﻠﻰ ﻣﻦ ﻻ ﻳﻘﺘﺮﺏ ﻣﻨﻪ ﺑﺄﺩﻭﺍﺕ‬
‫ﻓﻜﺮﻳﱠﺔ ﺣﺎﺩﱠﺓ! ﻭﺍﻷﻣﺮ ﺫﺍﺗﻪ ﻳﺤﺪﺙ ﻣﻊ ﺩﻭﻥ ﺧﻮﺍﻥ‪ .‬ﻓﻜﻞّ ﺍﻟﻨﱠﺎﺱ ﺗﺤﺴﺐ ﺃﻧﱠﻬﺎ ﲤﺘﻠﻚ‬
‫ﺍﻟﻨﱠﻈﺮﻳﱠﺔ )ﺃﻭ ﺍﳌﺬﻫﺐ( ﺍﳊﻘﻴﻘﻴﱠﺔ ﻋﻨﻪ ‪ -‬ﺣﻮﻝ ﺩﻭﻥ ﺧﻮﺍﻥ ﺍﳌﺸﻜﻠﺔ ﺑﻞ ﺃﺧﻔﻰ ﻣﺸﺎﻛﻞ‬
‫ﻋﺼﺮﻧﺎ ﻭﺃﺩﻗّﻬﺎ ﻭﺃﻛﺜﺮﻫﺎ ﲡﺮﻳﺪﺍً ‪ . -‬ﺫﻟﻚ ﺃﻥﱠ ﺍﻟﺒﺸﺮ ﳝﻜﻦ ﺃﻥ ﻳﻨﻘﺴﻤﻮﺍ ﻣﻊ‬
‫ﺍﺳﺘﺜﻨﺎﺀﺍﺕ ﻗﻠﻴﻠﺔ‪ ،‬ﺇﻟﻰ ﺛﻼﺙ ﻓﺌﺎﺕ‪ :‬ﺍﻟﺬﻳﻦ ﻳﻈﻨﱡﻮﻥ ﺃﻧﻔﺴﻬﻢ ﺩﻭﻥ ﺧﻮﺍﻧﻴّﲔ‪ ،‬ﻭﺍﻟﺬﻳﻦ‬
‫ﻳﻈﻨﱡﻮﻥ ﺃﻧﻔﺴﻬﻢ ﺃﻧﱠﻬﻢ ﻛﺎﻧﻮﺍ ﻛﺬﻟﻚ‪ ،‬ﻭﺍﻟﺬﻳﻦ ﻳﺆﻣﻨﻮﻥ ﺃﻧﱠﻬﻢ ﻳﺴﺘﻄﻴﻌﻮﻥ ﺃﻥ ﻳﻜﻮﻧﻮﺍ ﻛﺬﻟﻚ‪،‬‬
‫ﻟﻜﻨﱠﻬﻢ ﻟﻢ ﻳﺸﺎﺅﻭﺍ‪ .‬ﻭﻫﺆﻻﺀ ﺍﻷﺧﻴﺮﻭﻥ ﻫﻢ ﺍﻟﺬﻳﻦ ﳝﻴﻠﻮﻥ ﺑﻨﻴﱠﺔٍ ﻃﻴﱢﺒﺔ ﺇﻟﻰ ﺃﻥ ﻳﻬﺎﺟﻤﻮﺍ‬
‫ﺩﻭﻥ ﺧﻮﺍﻥ‪ ،‬ﻭﺭﺑﱠﻤﺎ ﺇﻟﻰ ﺃﻥ ﻳﻘﺮﱢﺭﻭﺍ ﺇﺣﺎﻟﺘﻪ ﺇﻟﻰ ﺍﳌﻌﺎﺵ‪.‬‬
‫ﺗﻮﺟﺪ ﺇﺫﺍً‪ ،‬ﺃﺳﺒﺎﺏ ﻓﺎﺋﻀﺔ ﻛﻴﻤﺎ ﺗﻜﻮﻥ ﺍﳌﺴﺎﺋﻞ ﺍﻟﺘﻲ ﻳﺰﻋﻢ ﺍﻟﻨﱠﺎﺱ ﻓﻬﻤﻬﺎ ﰲ‬
‫ﺍﳊﺐﱢ ﻭﺍﻟﺴﱢﻴﺎﺳﺔ‪ ،‬ﺃﻗﻞّ ﺍﳌﺴﺎﺋﻞ ﺗﻘﺪﱡﻣﺎً‪ .‬ﻭﻟﻘﺪ ﺁﺛﺮ ﺃﻥ ﻳﺴﻜﺖ ﺃﻭﻟﺌﻚ ﺍﻟﺬﻳﻦ ﻳُﺤﺴﻨﻮﻥ‬
‫ﺍﻟﻜﻼﻡ ﻋﻨﻬﺎ ﻟﺌﻼ ﻳﺴﺘﻤﻌﻮﺍ ﺇﻟﻰ ﺍﻟﺘﱠﻔﺎﻫﺎﺕ ﺍﻟﺘﻲ ﻳﺒﺎﺩﺭ ﺳﻔﻠﺔ ﺍﻟﻨﱠﺎﺱ ﺇﻟﻰ ﺇﺻﺪﺍﺭﻫﺎ ﻣﺎ‬
‫ﺇﻥ ﺗُﺘﻨﺎﻭﻝ ﻣﺴﺄﻟﺔ ﻣﻨﻬﺎ‪.‬‬
‫ﻳﺠﺪﺭ ﺑﻨﺎ ﺃﻥ ﻧﺆﻛﱢﺪ ﺇﺫﺍً‪ ،‬ﺃﻧﱠﻪ ﻻ ﺍﻟﺪﻭﻥ ﺧﻮﺍﻧﻴﱡﻮﻥ ﻭﻻ ﺍﻟﻌﺸﱠﺎﻕ ﻳﻌﺮﻓﻮﻥ ﺷﻴﺌﺎً ﻛﺒﻴﺮﺍً‬
‫ﻋﻦ ﺩﻭﻥ ﺧﻮﺍﻥ ﻭﻻ ﻋﻦ ﺍﳊﺐّ؛ ﻭﺍﻟﻌﻜﺲ ﺻﺤﻴﺢ‪ .‬ﺇﻧﱠﻤﺎ ﻳﺘﻜﻠﱠﻢ ﺑﺪﻗﱠﺔ ﻋﻦ ﺍﳌﺎﺩﱠﺗﲔ‬
‫ﻛﻠﺘﻴﻬﻤﺎ ﻣﻦ ﻳﻘﻒ ﻋﻠﻰ ﻣﺴﺎﻓﺔ ﻣﻨﻬﻤﺎ‪ ،‬ﻣﺘﻨﺒﱢﻬﺎً ﻣﺴﺘﻄﻠﻌﺎً ﻛﻤﺎ ﻳﺼﻨﻊ ﺍﻟﻔﻠﻜﻲّ ﻣﻊ‬
‫ﺍﻟﺸﱠﻤﺲ‪ .‬ﻭﻣﻌﺮﻓﺔ ﺍﻷﺷﻴﺎﺀ ﻟﻴﺲ ﺍﻷﺷﻴﺎﺀ‪ ،‬ﻭﻻ ﺍﻷﺷﻴﺎﺀ ﻣﻌﺮﻓﺘﻬﺎ‪ .‬ﻭﳌﻌﺮﻓﺔ ﺷﻲﺀ ﻻ ﺑﺪﱠ‬
‫ﻟﻨﺎ ﻣﻦ ﺍﻻﺑﺘﻌﺎﺩ ﻋﻨﻪ؛ ﻭﺍﻟﺒﻌﺪ ﻳﺤﻮﱢﻟﻪ ﻣﻦ ﻭﺍﻗﻊ ﻣﻌﻴﺶ ﺇﻟﻰ ﻣﻮﺿﻮﻉ ﻣﻌﺮﻓﺔ‪ .‬ﻭﺧﻼﻑ‬
‫ﺫﻟﻚ ﻳﻘﻮﺩﻧﺎ ﺇﻟﻰ ﺍﻟﺘﱠﻔﻜﻴﺮ ﰲ ﺃﻥﱠ ﻋﺎﻟِﻢ ﺍﳊﻴﻮﺍﻥ ﻳﺠﺐ ﻋﻠﻴﻪ ﺃﻥ ﻳﺼﺒﺢ ﻧﻌﺎﻣﺔً ﻛﻴﻤﺎ‬
‫ﻳﺪﺭﺱ ﺍﻟﻨّﻌﺎﻡ‪ .‬ﻭﻫﺬﺍ ﻣﺎ ﻳﺆﻭﻝ ﺇﻟﻴﻪ ﺩﻭﻥ ﺧﻮﺍﻥ ﺇﺫﺍ ﺗﻜﻠﱠﻢ ﻋﻦ ﻧﻔﺴﻪ‪.‬‬
‫ﻣﻦ ﺟﻬﺘﻲ‪ ،‬ﺃﻗﻮﻝ ﺇﻧﱢﻲ ﻟﻢ ﺃﺳﺘﻄﻊ ﺃﻥ ﺃﺩﺭﻙ ﺑﻮﺿﻮﺡٍ ﻛﺎﻑٍ ﻫﺬﻩ ﺍﻷﻣﻮﺭ ﺍﻟﻜﺒﺮﻯ‪،‬‬
‫ﻋﻠﻰ ﺍﻟﺮّﻏﻢ ﻣﻦ ﺃﻧّﻲ ﻓﻜﺮﺕ ﻓﻴﻬﺎ ﻛﺜﻴﺮﺍً‪ .‬ﻭﻣﻦ ﺣﺴﻦ ﺍﳊﻆّ ﺃﻧﱠﻪ ﻻ ﻳﻮﺟﺪ ﺳﺒﺐ ﻟﻨﺘﻜﻠﱠﻢ‬
‫ﺍﻵﻥ ﻋﻦ ﺩﻭﻥ ﺧﻮﺍﻥ‪ .‬ﺭﺑﱠﻤﺎ ﻛﺎﻥ ﻣﻦ ﺍﻟﻀﱠﺮﻭﺭﺓ ﺍﻟﻘﻮﻝ ﺇﻥﱠ ﺩﻭﻥ ﺧﻮﺍﻥ ﻫﻮ ﺩﺍﺋﻤﺎً ﺭﺟﻞٌ‬
‫ﺟﺬﱠﺍﺏ‪ ،‬ﻭﺧﻼﻓﺎً ﻟِﻤﺎ ﻳﺮﻳﺪ ﺃﻋﺪﺍﺅﻩ ﺃﻥ ﻳﺠﻌﻠﻮﻧﺎ ﻧﺆﻣﻦ ﺑﻪ‪ .‬ﻟﻜﻦ‪ ،‬ﻟﻴﺲ ﻛﻞّ ﺭﺟﻞ ﺟﺬﱠﺍﺏ‬
‫ﺩﻭﻥ ﺧﻮﺍﻥ ﺑﺎﻟﻄﱠﺒﻊ‪ .‬ﻭﺑﺬﻟﻚ ﻧﻜﺘﻔﻲ ﻛﻴﻤﺎ ﻧﻨﺤّﻲ ﻣﻦ ﻫﺬﻩ ﺍﻷﻓﻜﺎﺭ ﺻﻮﺭﺗﻪ ﺍﳋﻄﺮﺓ‪ .‬ﺃﻣﱠﺎ‬
‫ﺍﳊﺐّ ﻓﺴﻮﻑ ﻳﻜﻮﻥ ﺃﻗﻞّ ﺳﻬﻮﻟﺔً ﻟﻨﺎ ﲡﻨّﺐ ﺇﺩﺧﺎﻟﻪ ﰲ ﻣﻮﺿﻮﻋﻨﺎ‪ .‬ﻭﺳﻮﻑ ﺃﺭﻯ‬
‫ﻧﻔﺴﻲ ﺇﺫﺍً‪ ،‬ﻣﻀﻄﺮﺍً ﺇﻟﻰ ﺃﻥ ﺃﺻﻮﻍ ﺑﺪﻏﻤﺎﺋﻴﱠﺔ ﻇﺎﻫﺮﻳﱠﺔ ﻭﻣﻦ ﻏﻴﺮ ﻋﺮﺽ ﻭﻻ ﺑﺮﻫﺎﻥ‪،‬‬
‫‪-١٩-‬‬
‫ﺑﻌﻀﺎً ﻣﻦ ﺃﻓﻜﺎﺭﻱ ﺣﻮﻝ ﺍﳊﺐ‪ ،‬ﻭﻫﻲ ﺗﺨﺘﻠﻒ ﺍﺧﺘﻼﻓﺎً ﻛﺒﻴﺮﺍً ﻋﻦ ﺍﻷﻓﻜﺎﺭ ﺍﳌﺘﻠﻘﱠﺎﺓ‪.‬‬
‫ﻭﻳﺤﺴﻦ ﺑﺎﻟﻘﺎﺭﺉ ﺃﻥْ ﻳﻌﺪّﻫﺎ ﺗﻮﺿﻴﺤﺎً ﻻ ﻏِﻨﻰ ﻋﻨﻪ ﳌﺎ ﺃﻗﻮﻝ "ﻋﻦ ﺍﻟﺮﱠﺟﻞ ﺍﳉﺬﱠﺍﺏ"؛‬
‫ﻭﻻ ﻳُﻠﺤﱠﻦﱠ ﺍﻟﻴﻮﻡ ﻛﺜﻴﺮﺍً ﻋﻠﻰ ﺍﻟﻘﻮﻝ ﺇﻥْ ﻛﺎﻧﺖ ﻣﻌﻘﻮﻟﺔً ﺃﻡ ﻻ‪.‬‬

‫‪II‬‬

‫ﺇﻥﱠ ﺃﻭﱠﻝ ﻣﺎ ﳝﻜﻦ ﻗﻮﻟﻪ ﻋﻦ ﻫﺬﺍ ﺍﻟﺮﱠﺟﻞ ﻛﻤﺎ ﺃﻭﺣﻴﺖُ ﻣﻦ ﻗﺒﻞُ‪ ،‬ﺇﻧﱠﻪ ﺍﻟﺮﱠﺟﻞ‬
‫ﺍﻟﺬﻱ ﺗﻌﺸﻘﻪ ﺍﻟﻨﱢﺴﺎﺀ‪ .‬ﻟﻜﻦ‪ ،‬ﺳﺮﻋﺎﻥ ﻣﺎ ﻳﻌﺘﺮﺿﻨﺎ ﺃﻥﱠ ﻛﻞّ ﺍﻟﺮّﺟﺎﻝ ﺍﻟﻄﱠﺒﻴﻌﻴﲔ‬
‫ﻳﺤﺼﻠﻮﻥ ﻋﻠﻰ ﺣﺐّ ﺍﻣﺮﺃﺓ ﻣﺎ‪ ،‬ﺑﺎﻟﺘﱠﺎﻟﻲ‪ ،‬ﻫﻢ ﺟﻤﻴﻌﺎً ﺟﺬﱠﺍﺑﻮﻥ‪ .‬ﻭﺇﻧﱢﻲ ﺃﺣﺘﺎﺝ ﺇﻟﻰ ﺃﻥ‬
‫ﺃﺟﻴﺐ ﻋﻦ ﺫﻟﻚ‪ ،‬ﺃﻭﱠﻻً ﺑﻬﺬﻳﻦ ﺍﻷﻣﺮﻳﻦ‪ .‬ﺍﻷﻣﺮ ﺍﻷﻭﱠﻝ‪ :‬ﻫﻮ ﺃﻥﱠ ﺍﻟﺮﱠﺟﻞ ﺍﳉﺬﱠﺍﺏ ﻳﻌﺸﻖ‬
‫ﻧﺴﺎﺀ ﻛﺜﻴﺮﺍﺕ ﻭﻟﻴﺲ ﺍﻣﺮﺃﺓ ﻭﺍﺣﺪﺓ ﻓﻘﻂ‪ .‬ﻛﻢ ﻫﻦﱠ؟ ﻻ ﻳﻬﻢّ ﺍﻹﺣﺼﺎﺀ‪ .‬ﻟﻜﻦ ﺍﻷﻣﺮ‬
‫ﺍﻟﺜﱠﺎﻧﻲ ﺣﺎﺳﻢ‪ :‬ﺇﻥﱠ ﺍﻟﺮﱠﺟﻞ ﻏﻴﺮَ ﺍﳉﺬﱠﺍﺏ ﻻ ﺗﻌﺸﻘﻪ ﺃﻳﱠﻤﺎ ﺍﻣﺮﺃﺓ‪ .‬ﻟﻜﻦ‪ ،‬ﻋﻠﻴﻨﺎ ﺃﻥ ﻧﻔﻬﻢ‬
‫ﺃﻥﱠ "ﺍﻟﻜﻞﱠ"‪ ،‬ﻭ "ﺍﻟﻼﺷﻲﺀ" ﻭ "ﻛﺜﻴﺮﺍﺕ" ﻭ "ﻭﻻ ﻭﺍﺣﺪﺓ" ﻣﺒﺎﻟﻐﺎﺕٌ ﻣﺒﺴﱠﻄﺔ ﻻ ﲤﻴﻞ ﺇﻟﻰ‬
‫ﺍﻟﺪﱢﻗﱠﺔ‪ .‬ﻷﻥﱠ ﺍﻟﺪﱢﻗﱠﺔ ﰲ ﻛﻞﱢ ﻣﺸﻜﻠﺔ ﻣﻦ ﻣﺸﺎﻛﻞ ﺍﳊﻴﺎﺓ ﻫﻲ ﺃﺑﻌﺪ ﻣﺎ ﺗﻜﻮﻥ ﻋﻦ‬
‫ﺍﻟﺼﱢﺤﱠﺔ‪ ،‬ﻭﺇﻥﱠ ﺍﻟﺘﱠﻮﺻﻴﻔﺎﺕ ﺍﻟﻜﻤﱢﻴﱠﺔ ﺗﺘﻘﻠﱠﺺ ﻟﻠﺘﱠﻌﺒﻴﺮ ﻋﻦ ﻣﻮﺍﻗﻒ ﳕﻮﺫﺟﻴﱠﺔ‪ ،‬ﻭﻋﻦ‬
‫ﺍﳊﺎﻻﺕ ﺍﻟﺴﱠﻮﻳﱠﺔ ﻭﺫﺍﺕ ﺍﻟﻐﻠﺒﺔ‪.‬‬
‫ﻭﻫﺬﺍ ﺍﻻﻋﺘﻘﺎﺩ ﺑﺄﻥﱠ ﺍﳊﺐّ ﻋﻤﻠﻴﱠﺔ ﻏﺮﻳﺒﺔ ﻭﺗﺎﻓﻬﺔ ﻳﻌﻴﻖ ﺃﻛﺜﺮ ﻣﺎ ﻳﻌﻴﻖ ﻓﻬﻢ‬
‫ﻇﻮﺍﻫﺮ ﺍﻟﻐﺮﺍﻡ‪ ،‬ﻭﻫﻮ ﻗﺪ ﺗﺸﻜﱢﻞ ﰲ ﻇﻞﱢ ﺍﻟﺘﺒﺎﺱ ﻛﺒﻴﺮ‪ .‬ﻷﻧﱠﻨﺎ ﻧﻄﻠﻖ ﺍﺳﻢ ﺍﳊﺐّ ﻭﺣﺪﻩ‬
‫ﻋﻠﻰ ﺃﻛﺜﺮ ﺍﻟﻮﻗﺎﺋﻊ ﺍﻟﻨﱠﻔﺴﻴﱠﺔ ﺗﻨﻮﱡﻋﺎً‪ ،‬ﻭﻫﺬﺍ ﻣﺎ ﻳﺤﺼﻞ ﺇﺫﺍ ﻟﻢ ﺗﺘﻄﺎﺑﻖ ﺗﺼﻮﱡﺭﺍﺗﻨﺎ‬
‫ﻭﺗﻌﻤﻴﻤﺎﺗﻨﺎ ﻣﻊ ﺍﻟﻮﺍﻗﻊ‪ .‬ﻭﺇﻥﱠ ﻣﺎ ﻳﺼﺢّ ﻋﻠﻰ ﺍﳊﺐّ ﲟﻌﻨﻰ ﺍﻟﻜﻠﻤﺔ‪ ،‬ﻻ ﻳﺼﺢّ ﻋﻠﻰ ﺷﻲﺀ‬
‫ﺁﺧﺮ‪ ،‬ﻭﺇﻥﱠ ﻣﻼﺣﻈﺘﻨﺎ ﺍﻟﺘﻲ ﻗﺪ ﺗﻜﻮﻥ ﺻﺤﻴﺤﺔ ﰲ ﻣﺠﺎﻝ ﺍﻹﻳﺮﻭﺳﻴﱠﺔ‪ ،‬ﺣﻴﺚ ﺣﺼﻠﻨﺎ‬
‫ﻋﻠﻴﻬﺎ‪ ،‬ﺗﺒﺪﻭ ﺯﺍﺋﻔﺔ ﺇﺫﺍ ﺑﺴﻄﻨﺎﻫﺎ ﻋﻠﻰ ﺍﻷﻣﻮﺭ ﺍﻷﺧﺮﻯ‪.‬‬
‫ﻭﺃﺻﻞ ﺍﻻﻟﺘﺒﺎﺱ ﻏﻴﺮ ﻣﻠﺘﺒﺲ؛ ﻷﻥﱠ ﺍﻟﺘﱠﺼﺮﱡﻓﺎﺕ ﺍﻻﺟﺘﻤﺎﻋﻴﱠﺔ ﻭﺍﻟﻔﺮﺩﻳﱠﺔ ﺍﻟﺘﻲ‬
‫ﺗﺘﺠﻠﱠﻰ ﻓﻴﻬﺎ ﺃﻛﺜﺮ ﺍﻟﺘﱠﺠﺎﺫﺑﺎﺕ ﺗﻔﺎﻭﺗﺎً ﺑﲔ ﺍﻟﺮﱠﺟﻞ ﻭﺍﳌﺮﺃﺓ ﻫﻲ‪ ،‬ﺑﺨﻄﻮﻃﻬﺎ ﺍﻟﻌﺎﻣﱠﺔ‪،‬‬
‫ﻣﺠﻤﻮﻋﺔ ﺿﺌﻴﻠﺔ ﻣﻦ ﺍﻟﺘﱠﺼﺮﱡﻓﺎﺕ‪ .‬ﻷﻥﱠ ﺍﻟﺮﱠﺟﻞ ﺍﻟﺬﻱ ﻳﻌﺠﺒﻪ ﺷﻜﻞ ﺟﺴﻢ ﺍﳌﺮﺃﺓ‪ ،‬ﻭﻣﻦ‬
‫ﻳﻬﺘﻢّ ﺑﺸﺨﺼﻬﺎ ﻏﺮﻭﺭﺍً‪ ،‬ﻭﻣﻦ ﻳﻔﻘﺪ ﺭﺃﺳﻪ ﻧﺘﻴﺠﺔ ﺍﻷﺛﺮ ﺍﳌﻴﻜﺎﻧﻴﻜﻲ ﺍﻟﺬﻱ ﳝﻜﻦ ﻟﻠﻤﺮﺃﺓ‬
‫‪-٢٠-‬‬
 ‫ﺃﻥ ﺗُﺤﺪﺛﻪ ﺑﺘﻜﻨﻴﻚ ﻭﺛﻴﻖ ﻣﻦ ﺍﳉﺎﺫﺑﻴﱠﺔ ﻭﺍﻟﺼّﺪﻭﺩ‪ ،‬ﻭﻣﻦ ﻳُﻌﻠﱠﻖ ﺑﺒﺴﺎﻃﺔ ﺍﻣﺮﺃﺓ ﻋﻄﻔﺎً‬
‫ﻭﺇﺧﻼﺻﺎً ﻭﺗﻌﺎﻃﻔﺎً "ﻭﺷﻔﻘﺔ"‪ ،‬ﻭﻣﻦ ﻳﺴﻘﻂ ﰲ ﺣﺎﻟﺔ ﻫﻮﻯ‪ ،‬ﻭﺃﺧﻴﺮﺍً ﻣﻦ ﻳﺤﺐّ ﺣﺒﱠﺎً‬
‫ﺣﻘﻴﻘﻴﱠﺎً‪ ،‬ﻳﺘﺼﺮﱠﻓﻮﻥ ﺟﻤﻴﻌﺎً ﺑﺸﻜﻞ ﻣﺘﻤﺎﺛﻞ ﻣﻊ ﺯﻳﺎﺩﺓ ﺃﻭ ﻧﻘﺼﺎﻥ ﻗﻠﻴﻞ‪ .‬ﻭﺇﻥﱠ ﻣﻦ ﻳﺮﺍﻗﺐ‬
‫ﺗﺼﺮﱡﻓﺎﺗﻪ ﻣﻦ ﺑﻌﻴﺪ‪ ،‬ﻻ ﻳﻔﻄﻦ ﺇﻟﻰ ﻫﺬﺍ "ﻣﻊ ﺯﻳﺎﺩﺓ ﻗﻠﻴﻠﺔ ﺃﻭ ﻧﻘﺺ ﻗﻠﻴﻞ"‪ ،‬ﻭﺇﺫﺍ ﺍﻗﺘﺼﺮ‬
‫ﻋﻠﻰ ﺗﺤﻠﻴﻞ ﺳﻠﻮﻛﻪ ﺑﺨﻄﻮﻃﻪ ﺍﻟﻌﺮﻳﻀﺔ ﻓﻘﻂ ﻳﺤﻜﻢ ﺃﻥﱠ ﻫﺬﺍ ﺍﻟﺴﱡﻠﻮﻙ ﻻ ﻳﺨﺘﻠﻒ ﻋﻦ‬
‫ﻏﻴﺮﻩ‪ ،‬ﺑﺎﻟﺘﱠﺎﻟﻲ‪ ،‬ﻭﻻ ﺍﻟﺸﱡﻌﻮﺭ ﺍﻟﺬﻱ ﻳﻮﺣﻲ ﺑﻪ ﺃﻳﻀﺎً‪ .‬ﻟﻜﻦ‪ ،‬ﻳﻜﻔﻲ ﺃﻥ ﻧﺄﺧﺬ ﻋﺪﺳﺔً‬
‫ﻣﻜﺒﱢﺮﺓً ﻭﻧﺪﺭﺳﻪ ﻣﻦ ﻗﺮﻳﺐ ﺣﺘﱠﻰ ﻧﻼﺣﻆ ﺃﻥﱠ ﺍﻟﺘﱠﺼﺮﱡﻓﺎﺕ ﺗﺘﺸﺎﺑﻪ ﻓﻘﻂ ﰲ ﺧﻄﻮﻃﻬﺎ‬
‫ﺍﻟﻜﺒﺮﻯ‪ ،‬ﻟﻜﻨﱠﻬﺎ ﺗُﺒﺪﻱ ﺗﻨﻮﱡﻋﺎً ﰲ ﺍﻟﺘﱠﻀﺎﺭﻳﺲ‪ .‬ﻭﺇﻧﱠﻪ ﳋﻄﺄ ﻛﺒﻴﺮ ﺗﻔﺴﻴﺮ ﺣﺐّ ﺑﺄﻓﻌﺎﻟﻪ‬
‫ﻭﻛﻠﻤﺎﺗﻪ‪ :‬ﻓﻼ ﺍﻷﻓﻌﺎﻝ ﻭﻻ ﺍﻟﻜﻠﻤﺎﺕ ﺗﺄﺗﻲ ﻣﻨﻪ ﻋﺎﺩﺓً‪ ،‬ﻭﺇﻧﱠﻤﺎ ﺗﺸﻜّﻞ ﺟﻤﻠﺔ ﻣﻦ ﺇﺷﺎﺭﺍﺕ‬
‫ﻛﺒﺮﻯ‪ ،‬ﻭﻃﻘﻮﺱ ﻭﺻﻴﻎ ﺧﻠﻘﻬﺎ ﺍ‪‬ﺘﻤﻊ ﻭﻳﺠﺪﻫﺎ ﺍﻟﺸﻌﻮﺭ ﺇﺯﺍﺀﻩ ﻛﺄﻧﱠﻬﺎ ﺟﻬﺎﺯ ﻣُﻌَﺪﱞ‬
‫ﻭﻣﻔﺮﻭﺽ ﻳﺮﻯ ﻧﺎﺑﻀﻪ ﻧﻔﺴﻪ ﻣﺮﻏﻤﺎً ﻋﻠﻰ ﺍﻻﻧﺪﻓﺎﻉ‪ .‬ﻭﺇﻧﱠﻤﺎ ﺍﻹﺷﺎﺭﺓ ﺍﻷﺻﻴﻠﺔ‬
‫ﺍﻟﺼﱠﻐﻴﺮﺓ‪ ،‬ﻭﺍﻟﻨﱠﺒﺮﺓ ﻭﺍﳌﻌﻨﻰ ﺍﻷﻋﻤﻖ ﻟﻠﺴﱡﻠﻮﻙ ﻫﻲ ﻭﺣﺪﻫﺎ ﻓﻘﻂ ﻣﺎ ﻳﺴﻤﺢ ﺑﺘﻤﻴﻴﺰ‬
‫ﺍﻟﻔﺮﻭﻕ ﺑﲔ ﺃﺷﻜﺎﻝ ﺍﳊﺐّ ﺍﳌﺨﺘﻠﻔﺔ‪.‬‬
‫ﺃﻧﺎ ﺃﺗﻜﻠﱠﻢ ﻓﻘﻂ ﻋﻦ ﺍﳊﺐّ ﺑﺎﳌﻌﻨﻰ ﺍﻟﻜﺎﻣﻞ ﻟﻠﺤﺐ ﺍﻟﺬﻱ ﻫﻮ ﻣﺨﺘﻠﻒ ﺟﺬﺭﻳﱠﺎً ﻋﻦ‬
‫ﺍﻟﻬﻴﺎﺝ ﺍﳊﺴﱢﻲ‪ ،‬ﻭﻋﻦ ﺣﺐّ ﺍﻟﻈﱡﻬﻮﺭ ‪ ،amour-vanité‬ﻭﺍﻹﻏﻮﺍﺀ ﺍﳌﻴﻜﺎﻧﻴﻜﻲ‪ ،‬ﻭ"ﺍﻟﺸﱠﻔﻘﺔ"‬
‫ﻭ"ﺍﻟﻬﻮﻯ"‪ .‬ﻫﺎ ﻫﻨﺎ ﳒﺪ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺿﺮﻭﺏ ﺍﳊﺐّ ﺍﳌﺘﻨﻮﱢﻋﺔ ﻛﺎﻥ ﻣﻮﺣﻴﺎً ﺫﻛﺮُ‬
‫ﺃﻭﺻﺎﻓﻬﺎ ﰲ ﺗﺮﻛﻴﺒﻬﺎ ﺍﳌﺘﻌﺪﱢﺩ ﺍﻷﺷﻜﺎﻝ‪.‬‬
‫ﺇﻥﱠ ﺍﳊﺐّ ﲟﻌﻨﻰ ﺍﻟﻌﺸﻖ ﺍﻟﺬﻱ ﻫﻮ ﺑﺮﺃﻳﻲ‪ ،‬ﺃﳕﻮﺫﺝ ﳕﻮﺫﺟﻲ ﻭﻗﻤﺔ ﻛﻞ‬
‫ﺃﻧﻮﺍﻉ ﺍﻹﻳﺮﻭﺳﻴﱠﺔ‪ ،‬ﻳﺘﱠﺼﻒ ﺑﺎﺣﺘﻮﺍﺋﻪ ﻋﻠﻰ ﻫﺬﻳﻦ ﺍﻟﻌﻨﺼﺮﻳﻦ ﰲ ﺁﻥٍ ﻭﺍﺣﺪ‪ :‬ﺷﻌﻮﺭ‬
‫ﺍﳌﺮﺀ ﺑﻨﻔﺴﻪ "ﻣﻔﺘﻮﻧﺎً"‪ ،‬ﻳﻔﺘِﻨﻪ ﻛﺎﺋﻦ ﺁﺧﺮ ﻳُﺤﺪﺙُ ﻓﻴﻨﺎ "ﻭﻫﻢَ ﺃﻣﻞ" ﻛﺎﻣﻼً‪ ،‬ﻭﺷﻌﻮﺭﻧﺎ‬
‫ﺑﺄﻧﱠﻪ ﳝﺘﱠﺼﻨﺎ ﺣﺘﱠﻰ ﺟﺬﺭ ﺷﺨﺼﻨﺎ‪ ،‬ﻭﻛﺄﻧﱠﻪ ﺍﻧﺘﺰﻋﻨﺎ ﻣﻦ ﺃﺳﺎﺳﻨﺎ ﺍﳊﻴﻮﻱ ﺫﺍﺗﻪ‬
‫ﻭﻧﻌﻴﺶ ﻣﻨﻘﻮﻟﲔ ﺇﻟﻴﻪ ﻣﻊ ﺟﺬﻭﺭﻧﺎ ﺍﳊﻴﻮﻳﱠﺔ ﺿﺎﺭﺑﺔ ﻓﻴﻪ‪ .‬ﻭﺍﻷﻣﺮ ﺍﻵﺧﺮ ﻣﺎ ﻫﻮ‬
‫ﻏﻴﺮ ﺃﻥﱠ ﺍﶈﺐّ ﻳﺤ ﺲّ ﺑﻨﻔﺴﻪ ﻣﺴﺘﺴﻠﻤﺎً ﺍﺳﺘﺴﻼﻣﺎً ﻛﺎﻣﻼً ﳌﻦ ﻳﺤﺐَ ﺣﻴﺚ ﻻ ﻳﻬ ﻢّ‬
‫ﺃﻥ ﻳﺘﻢّ ﺃﻡ ﻻ ﻳﺘﻢّ ﺍﻻﺳﺘﺴﻼﻡ ﺍﳉﺴﺪﻱ ﺃﻭ ﺍﻟﺮﻭﺣﻲ‪ .‬ﻭﻗﺪ ﺗﺴﺘﻄﻴﻊ ﺍﻹﺭﺍﺩﺓ ﻓﻮﻕ‬
‫ﺫﻟﻚ‪ ،‬ﺃﻥ ﲤﻨﻊ ﺍﺳﺘﺴﻼﻣﻬﺎ ﺍﳋﺎﺹ ﳌﻦ ﺗﺤﺐّ ﻧﺘﻴﺠﺔ ﺍﻋﺘﺒﺎﺭﺍﺕ ﺟﻠﻴﱠﺔ ‪ -‬ﺍﳌﻨﺰﻟﺔ‬
‫ﺍﻻﺟﺘﻤﺎﻋﻴﱠﺔ ﻭﺍﳋﻠﻘﻴﱠﺔ ﻭﺍﻟﺼﱡﻌﻮﺑﺎﺕ ﻣﻦ ﻛﻞﱢ ﺿﺮﺏ ‪ . -‬ﻭﺍﻷﻣﺮ ﺟﻮﻫﺮﻱّ ﺃﻥ ﻳﺤ ﺲّ‬
‫ﺍﳌﺮﺀ ﺃﻧﱠﻪ ﻣﺴﺘﺴﻠﻢ ﻟﻶﺧﺮ‪ ،‬ﺃﻳﱠﺎً ﻳﻜﻦ ﻗﺮﺍﺭ ﺇﺭﺍﺩﺗﻪ‪.‬‬
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 ‫ﻭﻻ ﺗﻨﺎﻗﺾ ﰲ ﺫﻟﻚ‪ :‬ﻷﻥﱠ ﺍﻻﺳﺘﺴﻼﻡ ﻻ ﻳﻘﻮﻡ ﺑﻪ ﺍﻟﺸﱠﺨﺺ ﺍﶈﺐّ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻮ‬
‫ﻳﺘﻢّ ﰲ ﺃﻋﻤﺎﻗﻪ ﺍﻷﻋﻤﻖِ ﻛﺜﻴﺮﺍً ﻣﻦ ﺳﻄﺢ ﺇﺭﺍﺩﺗﻪ‪ .‬ﻓﺎﻻﺳﺘﺴﻼﻡ ﻟﻴﺲ ﺇﺭﺍﺩﺓ‪ ،‬ﺇﻧﱠﻪ‬
‫ﺍﺳﺘﺴﻼﻡ ﻣﻦ ﻏﻴﺮ ﺇﺭﺍﺩﺓ‪ .‬ﻭﺃﻳﻨﻤﺎ ﺗﺬﻫﺐ ﺑﻨﺎ ﺍﻹﺭﺍﺩﺓ‪ ،‬ﻧﺴﺘﺴﻠﻢ ﻋﻠﻰ ﺷﻜﻞ ﻻ ﻓﻜﺎﻙ‬
‫ﻣﻨﻪ ﻟﻠﻜﺎﺋﻦ ﺍﶈﺒﻮﺏ‪ ،‬ﺣﺘﱠﻰ ﻟﻮ ﺫﻫﺒﺖ ﺑﻨﺎ ﺇﻟﻰ ﺍﻟﻄﱠﺮﻑ ﺍﻵﺧﺮ ﻣﻦ ﺍﻟﻌﺎﻟﻢ ﻟﺘﺒﻌﺪﻧﺎ ﻋﻨﻪ‪.1‬‬
‫ﻭﺗﺼﻠﺢ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ﺍﻟﻘﺼﻮﻯ ﻣﻦ ﺍﻧﻔﻜﺎﻙ ﺍﻹﺭﺍﺩﺓ ﻋﻦ ﺍﳊﺐّ‪ ،‬ﻭﺍﻟﺘﱠﻌﺎﺭﺽ‬
‫ﺑﻴﻨﻬﻤﺎ‪ ،‬ﰲ ﺇﺑﺮﺍﺯ ﺧﺎﺻﻴﱠﺔ ﻫﺬﺍ ﺍﳊﺐّ‪ ،‬ﻭﻫﻲ ﺗﺼﻠﺢ ﺃﻳﻀﺎً ﻟﻼﻋﺘﻤﺎﺩ ﻋﻠﻴﻬﺎ ﻣﻦ ﺃﺟﻞ‬
‫ﺗﺮﻛﻴﺐ ﳑﻜﻦ ﻟﻬﻤﺎ‪ .‬ﳑﻜﻦ‪ ،‬ﻟﻜﻨﱠﻪ ﻗﻠﻴﻞ ﺍﻻﺣﺘﻤﺎﻝ ﻳﻘﻴﻨﺎً‪ .‬ﺇﺫْ ﻳﺼﻌﺐ ﺟﺪﱠﺍً ﺃﻥ ﺗﻨﺒﺜﻖ‬
‫ﺑﻘﻮﱠﺓ ﰲ ﻧﻔﺲ ﺷﺨﺺٍ ﻣﺤﺐﱟ ﺣﻘﱠﺎً‪ ،‬ﺍﻋﺘﺒﺎﺭﺍﺕ ﺗﺤﺚّ ﺇﺭﺍﺩﺗﻪ ﻟﺘﺘﻮﻗﱠﻰ ﺍﶈﺒﻮﺏ‪ ،‬ﺣﺘﱠﻰ ﺇﺫﺍ‬
‫ﻭُﺟﺪَ ﻋﻤﻠﻴﱠﺎً ﺃﻥﱠ ﺍﻹﺭﺍﺩﺓ ﲤﺘﺪﱡ ﺇﻟﻰ ﺍﻟﺸﱠﺨﺺ ﺍﶈﺒﻮﺏ‪ ،‬ﻭﺃﻥﱠ ﺻﺎﺣﺒﻬﺎ "ﻳﺘﺼﻨﱠﻊ ﺃﻓﻜﺎﺭﺍً"‬
‫ﻭ "ﻳﺠﺪ ﺃﺳﺒﺎﺑﺎً ﻣﺤﺘﺮﻣﺔ" ﻛﻴﻼ ﻳﺤﺐّ ﺃﻭ ﻟﻜﻲ ﻳﺤﺐّ ﺣﺒﱠﺎً ﺃﺩﻧﻰ‪ ،‬ﻓﻬﺬﺍ ﻋﺎﺩﺓً‪ ،‬ﺍﻟﻌﺮﺽُ‬
‫ﺍﻷﻛﺜﺮ ﺍﻟﺘﺒﺎﺳﺎً ﺃﻧﱠﻪ ﻻ ﻳﺤﺐّ ﰲ ﺍﻟﻮﺍﻗﻊ‪ .‬ﻓﻴﺸﻌﺮ ﺫﻟﻚ ﺍﻟﺸﱠﺨﺺ ﻣﻨﺠﺬﺑﺎً ﺑﺸﻜﻞٍ ﻏﺎﻣﺾٍ‬
‫ﺇﻟﻰ ﺷﺨﺺٍ ﺁﺧﺮ‪ ،‬ﻟﻜﻨﱠﻪ ﻟﻢ ﻳُﻨﺘﺰﻉ ﻣﻦ ﺫﺍﺗﻪ‪ ،‬ﺃﻱ ﺃﻧﱠﻪ ﻏﻴﺮ ﻣﺤﺐّ‪.‬‬
‫ﺇﺫﺍً‪ ،‬ﺃﻣﺮ ﺟﻮﻫﺮﻱ ﰲ ﺍﳊﺐّ ﺍﻟﺬﻱ ﻧﺘﻜﻠﱠﻢ ﻋﻨﻪ‪ ،‬ﺗﺮﻛﻴﺒﻪ ﻣﻦ ﺍﻟﻌﻨﺼﺮﻳﻦ‬
‫ﺍﳌﺬﻛﻮﺭﻳﻦ ﺁﻧﻔﺎً‪ :‬ﺍﻻﻓﺘﺘﺎﻥ ﻭﺍﻻﺳﺘﺴﻼﻡ‪ .‬ﻭﺗﺮﻛﻴﺒﻪ ﻟﻴﺲ ﻣﺠﺮﱠﺩ ﺗﻮﺍﺟﺪ‪ ،‬ﻭﻻ ﻳﻜﻤﻦ ﰲ‬
‫ﻭﺟﻮﺩ ﺍﻟﻌﻨﺼﺮﻳﻦ ﻣﻌﺎً ﺇﻟﻰ ﺟﺎﻧﺐ ﺑﻌﻀﻬﻤﺎ ﺍﻟﺒﻌﺾ‪ ،‬ﻷﻥﱠ ﺃﺣﺪﻫﻤﺎ ﻳُﻮﻟﺪ ﻭﻳﺘﻐﺬﱠﻯ ﻣﻦ‬
‫ﺍﻵﺧﺮ‪ .‬ﺇﻧﱠﻪ ﺍﻻﺳﺘﺴﻼﻡ ﺑﻔﻌﻞ ﺍﻻﻓﺘﺘﺎﻥ‪.‬‬
‫ﺍﻷﻡ ﺗﺴﺘﺴﻠﻢ ﻻﺑﻨﻬﺎ‪ ،‬ﻭﺍﻟﺼﱠﺪﻳﻖ ﻟﺼﺪﻳﻘﻪ‪ ،‬ﻟﻜﻦ‪ ،‬ﻟﻴﺲ ﲟﻮﺟﺐ "ﺃﻣﻞ ﻣﻮﻫﻮﻡ" ﻭﻻ‬
‫"ﺍﻓﺘﺘﺎﻥ"‪ .‬ﺇﻧﱠﻤﺎ ﺍﻷﻡّ ﺗﺼﻨﻊ ﺫﻟﻚ ﺑﻐﺮﻳﺰﺓ ﻣﺘﺠﺬﱢﺭﺓ‪ ،‬ﺗﻜﺎﺩ ﺗﻜﻮﻥ ﻏﺮﻳﺒﺔ ﻋﻦ ﺭﻭﺣﺎﻧﻴﱠﺘﻬﺎ؛‬
‫ﻭﺍﻟﺼﱠﺪﻳﻖ ﻳﺴﺘﺴﻠﻢ ﻟﻠﺼﱠﺪﻳﻖ ﺑﻘﺮﺍﺭٍ ﻭﺍﺿﺢ ﻣﻦ ﺇﺭﺍﺩﺗﻪ‪ .‬ﻭﻫﺬﺍ ﻋﻨﺪﻩ ﺇﺧﻼﺹ‪ .‬ﻭﺑﺎﻟﺘﱠﺎﻟﻲ‪،‬‬
‫ﺗﻠﻚ ﻣﻴﱢﺰﺓ ﺑﺼﻔﺘﻬﺎ ﲤﺘﻠﻚ ﺟﺬﺭﺍً ﻓﻜﺮﻳﱠﺎً‪ .‬ﻭﻧﻘﻮﻝ‪ ،‬ﺇﻥﱠ ﺍﻟﺼﱠﺪﻳﻖ ﻳﺄﺧﺬ ﻧﻔﺴﻪ ﺑﻴﺪﻩ ﺫﺍﺗﻬﺎ‬
‫ﻭﻳﺴﺘﺴﻠﻢ ﻟﻠﺼﱠﺪﻳﻖ‪ .‬ﻭﺍﻟﻨّﻤﻮﺫﺟﻲ ﰲ ﺍﳊﺐّ‪ ،‬ﺃﻥﱠ ﺍﻟﻨﱠﻔﺲ ﺗﻬﺮﺏ ﻣﻦ ﺑﲔ ﺃﻳﺪﻳﻨﺎ ﻭﻛﺄﻧﱠﻤﺎ‬
‫ﺍﻣﺘﱠﺼﺘﻬﺎ ﺍﻟﻨﱠﻔﺲ ﺍﻷﺧﺮﻯ‪ .‬ﻭﻫﺬﺍ ﺍﻻﻣﺘﺼﺎﺹ ﺍﻟﺬﻱ ﲤﺎﺭﺳﻪ ﺍﻟﺸﱠﺨﺼﻴﱠﺔ ﺍﻷﺧﺮﻯ ﻋﻠﻰ‬
‫ﺣﻴﺎﺗﻨﺎ ﺗﺒﻘﻴﻬﺎ ﻣﺮﻓﻮﻋﺔً ﰲ ﺍﻟﻬﻮﺍﺀ ﻭﺗﻨﺰﻋﻬﺎ ﻣﻦ ﲡﺬﱡﺭِﻫﺎ ﰲ ﺫﺍﺗﻬﺎ ﻭﺗﻨﻘﻠﻬﺎ ﺇﻟﻰ ﺍﻟﻜﺎﺋﻦ‬
‫ﺍﶈﺒﻮﺏ‪ ،‬ﺣﻴﺚ ﺍﳉﺬﻭﺭ ﺍﻷﻭﻟﻰ ﺗﺒﺪﻭ ﺃﻧﱠﻬﺎ ﺛﺒﺘﺖ ﻣﺮﱠﺓ ﺃﺧﺮﻯ ﻛﻤﺎ ﰲ ﺃﺭﺽ ﺟﺪﻳﺪﺓ‪.‬‬

‫)‪ (١‬ﰲ ﺑﺤﺜﻲ "ﺣﻴﻮﻳﱠﺔ‪ ،‬ﻧﻔﺲ‪ ،‬ﺭﻭﺡ" ﻳﺴﺘﻄﻴﻊ ﺍﳌﺮﺀ ﺃﻥ ﻳﺮﻯ ﺍﻷﺳﺎﺱ ﺍﻟﻨﱠﻔﺴﻲ ﻟﻬـﺬﺍ ﺍﻟﻔـﺮﻕ ﺑـﲔ ﺍﻟـﻨﱠﻔﺲ‬
‫ﻭﺍﻹﺭﺍﺩﺓ‪) .‬ﺍﳌﺸﺎﻫﺪ‪ .‬ﺟﺰﺀ ‪ - .(٧‬ﺍﳌﺆﻟﻒ‬
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‫ﻭﻳﻌﻴﺶ ﺍﶈﺐّ ﻧﺘﻴﺠﺔ ﺫﻟﻚ ﻟﻴﺲ ﺍﻧﻄﻼﻗﺎً ﻣﻦ ﺫﺍﺗﻪ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﺍﻧﻄﻼﻗﺎً ﻣﻦ ﺍﻵﺧﺮ‪ ،‬ﻛﻤﺎ‬
‫ﻳﻌﻴﺶ ﺍﻻﺑﻦ ﻗﺒﻞ ﺃﻥ ﻳﻮﻟﺪ ﺟﺴﺪﻳﱠﺎً ﻣﻦ ﺍﻷﻡّ ﺍﻟﺘﻲ ﺯُﺭﻉ ﰲ ﺣﺸﺎﻫﺎ ﻭﻏﺎﺹ‪.‬‬
‫ﺇﺫﺍً‪ ،‬ﺍﻣﺘﺼﺎﺹ ﺍﶈﺒﻮﺏ ﻟﻠﻤﺤﺐّ ﻣﺎ ﻫﻮ ﻏﻴﺮ ﻧﺘﻴﺠﺔ ﺍﻻﻓﺘﺘﺎﻥ‪ .‬ﻫﻨﺎﻙ ﻛﺎﺋﻦ ﺁﺧﺮ‬
‫ﻳﻔﺘِـﻨﻨﺎ‪ ،‬ﻭﻧﺸﻌﺮ ﺑﻬﺬﺍ ﺍﻻﻓﺘﺘﺎﻥ ﻋﻠﻰ ﺷﻜﻞ ﺷﺪﱟ ﻣﺴﺘﻤﺮّ ﻭﻣﺮِﻥ ﺑﻠﻄﻒٍ ﳝﺘﺪّ ﻣﻦ‬
‫ﺷﺨﺼﻨﺎ‪ .‬ﺃﻣﱠﺎ ﻛﻠﻤﺔ "ﺍﻓﺘﺘﺎﻥ" ﻋﻠﻰ ﺍﺑﺘﺬﺍﻟﻬﺎ ﺍﻟﺸﱠﺪﻳﺪ‪ ،‬ﻫﻲ ﻣﻊ ﺫﻟﻚ‪ ،‬ﺧﻴﺮ ﻣﺎ ﻳﻌﺒّﺮ ﻋﻦ‬
‫ﻫﺬﺍ ﺍﻟﻨﱠﻮﻉ ﻣﻦ ﺍﻟﻔﻌﻞ ﺍﻟﺬﻱ ﳝﺎﺭﺳﻪ ﺍﶈﺒﻮﺏ ﻋﻠﻰ ﻣﻦ ﻳﺤﺒّﻪ‪ .‬ﻓﺎﻷﻭﻓﻖ ﺇﺫﺍً‪ ،‬ﺃﻥ ﻧﻌﻴﺪ‬
‫ﺍﺳﺘﻌﻤﺎﻟﻬﺎ‪ ،‬ﺑﺎﻋﺜﲔ ﻓﻴﻬﺎ ﺍﳌﻌﻨﻰ ﺍﻟﺴّﺤﺮﻱ ‪ mágico‬ﺍﻟﺬﻱ ﻛﺎﻥ ﻟﻬﺎ ﰲ ﺍﻷﺻﻞ‪.‬‬
‫ﻭﻻ ﻳﻮﺟﺪ ﰲ ﺍﻻﳒﺬﺍﺏ ﺍﳉﻨﺴﻲ ﺟﺎﺫﺑﻴﱠﺔ ﺑﺎﳌﻌﻨﻰ ﺍﳊﻖّ‪ .‬ﻓﺎﳉﺴﻢ ﻏﻴﺮ‬
‫ﺍﶈﺘﺸﻢ ﻳﺜﻴﺮ ﺷﻬﻮﺓ‪ 1‬ﻭﺭﻏﺒﺔ ﻓﻴﻪ‪ .‬ﻟﻜﻨﱠﻨﺎ ﻻ ﻧﺬﻫﺐ ﰲ ﺍﻟﺮﱠﻏﺒﺔ ﺇﻟﻰ ﺍﳌﺮﻏﻮﺏ ﻓﻴﻪ‪ ،‬ﺑﻞ‬
‫ﺭَﻭﺣُﻨﺎ ﻋﻠﻰ ﺍﻟﻌﻜﺲ‪ ،‬ﺗﺸﺪّ ﺍﳌﺮﻏﻮﺏ ﻓﻴﻪ ﳓﻮﻫﺎ‪ .‬ﻟﺬﻟﻚ ﻳُﻘﺎﻝ ﺑﺸﻜﻞ ﺻﺤﻴﺢ ﺟﺪﱠﺍ‪ :‬ﺇﻥﱠ‬
‫ﺍﳌﻮﺿﻮﻉ "ﻳﻮﻗﻆ" ﺭﻏﺒﺔ‪ ،‬ﻭﻛﺄﻧﱠﻤﺎ ﻳﺸﻴﺮ ﺇﻟﻰ ﺃﻧﱠﻪ ﻻ ﻳﺘﺪﺧﱠﻞ ﰲ ﺍﻟﺮﱠﻏﺒﺔ‪ ،‬ﻭﺇﻥﱠ ﺩﻭﺭﻩ ﻳﻨﺘﻬﻲ‬
‫ﺣﻴﻨﻤﺎ ﻳﺠﻌﻞ ﺍﻟﺮﱠﻏﺒﺔ ﺗﻨﺒﺜﻖ؛ ﻭﳓﻦ ﻧﻌﻤﻞ ﺑﻬﺬﻩ ﺍﻟﺮﱠﻏﺒﺔ ﻛﻞ ﺷﻲﺀ‪ .‬ﻭﺇﻥﱠ ﻟﻈﺎﻫﺮﺓ‬
‫ﺍﻟﺮﱠﻏﺒﺔ‪ ،‬ﺍﻟﻨﱠﻔﺴﻴﱠﺔ ﻭﻇﺎﻫﺮﺓ "ﺍﻟﻜﺎﺋﻦ ﺍﳌﻔﺘﻮﻥ" ﻋﻼﻣﺔً ﻣﺘﻌﺎﻛﺴﺔ‪ .‬ﻓﺎﻟﻈﱠﺎﻫﺮﺓ ﺍﻷﻭﻟﻰ ﲤﻴﻞ‬
‫ﺇﻟﻰ ﺍﻣﺘﺼﺎﺹ ﺍﳌﻮﺿﻮﻉ‪ ،‬ﻭﰲ ﺍﻟﺜﱠﺎﻧﻴﺔ ﺗﻜﻮﻥ ﺍﻟﺬﺍﺕ ﻣُﻤﺘﱠﺼﺔً‪ .‬ﻟﺬﻟﻚ ﻻ ﻳﻮﺟﺪ ﰲ‬
‫ﺍﻟﺸﱠﻬﻮﺓ ﺍﺳﺘﺴﻼﻡ ﻣﻦ ﻛﻴﺎﻧﻲ‪ ،‬ﻭﺇﻧﱠﻤﺎ‪ ،‬ﻋﻠﻰ ﺍﻟﻌﻜﺲ‪ ،‬ﻓﻴﻬﺎ ﺃﺳْﺮٌ ﻟﻠﻤﻮﺿﻮﻉ‪.‬‬
‫ﻛﺬﻟﻚ ﻻ ﻳﻮﺟﺪ ﺍﺳﺘﺴﻼﻡ ﺣﻘﻴﻘﻲّ ﰲ "ﺍﻟﻬﻮﻯ ‪ ."pasión‬ﻟﻘﺪ ﺃُﺿﻔﻲَ ﰲ ﻫﺬﻩ‬
‫ﺍﻷﺯﻣﻨﺔ ﺍﻷﺧﻴﺮﺓ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﺸﱠﻜﻞ ﺍﻷﺩﻧﻰ ﻣﻦ ﺍﳊﺐّ‪ ،‬ﻣﺴﺘﻮﻯ ﻭﻓﻀﻞ ﻻ ﻳﺴﺘﺤﻘﻬﻤﺎ‬
‫ﻳﻘﻴﻨﺎً‪ .‬ﻓﻬﻨﺎﻙ ﻣﻦ ﻳﺤﺴﺐ ﺍﳊﺐّ ﻛﺒﻴﺮﺍً ﲟﻘﺪﺍﺭ ﺍﻗﺘﺮﺍﺑﻪ ﻣﻦ ﺍﻻﻧﺘﺤﺎﺭ ﺃﻭ ﺍﻻﻏﺘﻴﺎﻝ‬
‫ﻛﻤﺎ ﻓﻌﻞ ﻭﺍﺭﺗﺮ ﻭﻋُﻄﻴﻞ‪ ،‬ﻭﻳُﻮﺣﻲ ﺃﻥﱠ ﻛﻞﱠ ﺷﻜﻞٍ ﺁﺧﺮ ﻣﻦ ﺍﳊﺐّ‪ ،‬ﻭﻫْﻢ ﻭ "ﻋﻘﻠﻲ"‪ .‬ﻭﺃﻧﺎ‬

‫)‪ (١‬ﻳﻨﻄﻮﻱ ﻫﺬﺍ ﺍﻻﺻﻄﻼﺡ "ﺷﻬﻮﺓ" ﻋﻠـﻰ ﺧﻄـﺄ ﰲ ﺍﻟﺘﱠﻮﺻـﻴﻒ ﺍﻟـﺴﻴﻜﻮﻟﻮﺟﻲ‪ .‬ﻭﻫـﻮ ﺷـﺎﺋﻊ ﺟـﺪﱠﺍً ﻣـﻦ‬
‫ﺟﻬﺔ ﺃﺧﺮﻯ؛ ﺇﻧﱠﻪ ﻳﺨﻠﻂ ﺍﻟﻈﱠﺎﻫﺮﺓ ﺍﻟﻨﱠﻔﺴﻴﱠﺔ ﺍﻟﺘﻲ ﻳﺰﻋﻢ ﻭﺻﻔﻬﺎ‪ ،‬ﺑﺎﻟﻨﱠﺘﺎﺋﺞ ﺍﳌﺄﻟﻮﻓﺔ ﻋﻨﻬﺎ‪ .‬ﻓـﺈﺫﺍ ﻛﻨـﺖ‬
‫ﺃﺭﻏﺐ ﰲ ﺷﻲﺀ‪ ،‬ﻓـﺈﻧﱢﻲ ﺃﺣـﺎﻭﻝ ﺃﻥ ﺃﺗﺤـﺮﱠﻙ ﺑﺎﺗﱢﺠﺎﻫـﻪ "ﻷﺧـﺬﻩ"‪ .‬ﻭﻫـﺬﺍ ﺍﻟـﺬﱠﻫﺎﺏ ﳓـﻮ ‪ - petere‬ﻫـﻮ‬
‫ﺍﻟﻮﺳﻴﻠﺔ ﺍﻟﺘـﻲ ﲡـﺪﻫﺎ ﺍﻟﺮﱠﻏﺒـﺔ ﻛﻴﻤـﺎ ﺗُـﺸﺒﻊ‪ ،‬ﻟﻜﻨﱠﻬـﺎ ﻟﻴـﺴﺖ ﺍﻟﺮﱠﻏﺒـﺔ ﺫﺍﺗﻬـﺎ‪ .‬ﻭﺇﻥﱠ ﺍﻟﻮﺍﻗﻌـﺔ ﺍﻷﺧﻴـﺮﺓ‪،‬‬
‫ﻭﻓﻬﻢ ﺍﳌﻮﺿﻮﻉ ﻭﺟﺬﺑﻪ ﳓﻮﻱ ﻭﺍﻧﻄﻮﺍﺀﻩ ﰲﱠ‪ ،‬ﻫﻲ ﰲ ﺍﳌﻘﺎﺑﻞ‪ ،‬ﺍﻟﺘﱠﻌﺒﻴﺮ ﺍﻷﺻﻴﻞ ﻋﻦ ﺍﻟﺮﱠﻏﺒﺔ‪.‬‬
‫ﻭﻛـﺬﻟﻚ ﻋﺘﱠﻤـﺖ ﻋﻠـﻰ ﻭﺻـﻒ ﺍﳊـﺐّ ﻛﺜﻴـﺮﺍً ﻋــﺎﺩﺓ ﺧﻠﻄـﻪ ﺑﻨﺘﺎﺋﺠـﻪ‪ .‬ﺇﺫْ ﺗﺜﻴـﺮ ﺍﻟـﺸﱡﻌﻮﺭَ ﺑﺎﳊـﺐّ‪ ،‬ﻭﻫــﻮ‬
‫ﺃﺧﺼﺐ ﻣﺎ ﰲ ﺍﳊﻴـﺎﺓ ﺍﻟﻨﱠﻔـﺴﻴﱠﺔ‪ ،‬ﻣـﺎ ﻻ ﻳﺤـﺼﻰ ﻣـﻦ ﺃﻓﻌـﺎﻝ ﺗﺮﺍﻓﻘـﻪ ﻛﻤـﺎ ﻳﺮﺍﻓـﻖ ﺍﻟﻨﱠﺒﻴـﻞَ ﺍﻟﺮﱡﻭﻣـﺎﻧﻲ‬
‫ﺃﺗﺒﺎﻋُﻪ‪ .‬ﻭﻫﻜﺬﺍ ﺗﻨـﺸﺄ ﻣـﻦ ﻛـﻞﱢ ﺣـﺐّ ﺭﻏﺒـﺎﺕ ﺣﻴـﺎﻝ ﺍﶈﺒـﻮﺏ؛ ﻟﻜـﻦﱠ ﻫـﺬﻩ ﺍﻟﺮﱠﻏﺒـﺎﺕ ﻟﻴـﺴﺖ ﺍﳊـﺐ‪،‬‬
‫ﻭﺇﻧﱠﻤﺎ ﻋﻠﻰ ﺍﻟﻌﻜﺲ‪ ،‬ﺗﻔﺘﺮﺿﻪ ﺍﻓﺘﺮﺍﺿﺎً ﻟﻜﻮﻧﻬﺎ ﻧﺎﺷﺌﺔ ﻣﻨﻪ‪ – .‬ﺍﳌﺆﻟﱢﻒ‪.‬‬
‫‪-٢٣-‬‬
‫ﺃﺅﻣﻦ ﻋﻜﺲ ﺫﻟﻚ‪ ،‬ﺃﻧﱠﻪ ﻣﻦ ﺍﻟﻀﱠﺮﻭﺭﺓ ﺃﻥ ﻧﻌﻴﺪ ﺇﻟﻰ ﻛﻠﻤﺔ "ﻫﻮﻯ" ﻣﻌﻨﺎﻫﺎ ﺍﻟﻘﺪﱘ‬
‫ﺍﻟﺴﻲّﺀ‪ .‬ﻓﻼ ﺇﻃﻼﻕ ﻃﻠﻘﺔ ﻋﻠﻰ ﺍﻟﻨﱠﻔﺲ ﺃﻭ ﻗﺘﻠﻬﺎ ﻳﻀﻤﻦ ﺃﺩﻧﻰ ﻧﻮﻋﻴﱠﺔ ﻭﻻ ﺃﺩﻧﻰ ﻛﻤﱢﻴﱠﺔ‬
‫ﻣﻦ ﺍﻟﺸﱡﻌﻮﺭ‪ .‬ﻭﻣﺎ "ﺍﻟﻬﻮﻯ" ﻏﻴﺮُ ﺣﺎﻟﺔ ﻣَﺮَﺿﻴﱠﺔ ﺗﻔﺘﺮﺽ ﺧﻠﻼً ﰲ ﺍﻟﻨﱠﻔﺲ‪ .‬ﻓﺎﻟﺸﱠﺨﺺ‬
‫ﺍﻟﻀﱠﻌﻴﻒ ﺃﻣﺎﻡ ﻣﻴﻜﺎﻧﻴﺰﻡ ﺍﻟﻮﺳﻮﺍﺱ ﻭﺫﻭ ﺍﻟﺒﻨﻴﺔ ﺍﻟﺒﺴﻴﻄﺔ ﺟﺪﱠﺍً ﻭﺍﳉﺎﻓﻴﺔ‪ ،‬ﻳﺤﻮّﻝ ﺇﻟﻰ‬
‫"ﻫﻮﻯ"‪ ،‬ﺃﻱ ﺇﻟﻰ ﻫﻮﺱ ﻛﻞﱠ ﺑﺬﺭﺓ ﻣﻦ ﺍﻟﺸﱡﻌﻮﺭ ﺗﺴﻘﻂ ﻋﻠﻴﻪ‪ .1‬ﻓﻠْﻨَﻨﺰﻉ ﻋﻦ ﺍﻟﻬﻮﻯ‬
‫ﺍﳊِﻠْﻴﺔ ﺍﻟﺘﻲ ﺯﻳﱠﻨﺘﻪ ﺑﻬﺎ ﺍﻟﺮﱡﻭﻣﺎﻧﺴﻴﱠﺔ‪ .‬ﻭﻟﻨﻜﻒﱠ ﻋﻦ ﺍﻻﻋﺘﻘﺎﺩ ﺃﻥﱠ ﺍﻟﺮﱠﺟﻞ ﻋﺎﺷﻖ ﲟﻘﺪﺍﺭ‬
‫ﻣﺎ ﻳﺼﺒﺢ ﺃﺣﻤﻖَ ﺃﻭ ﻣﺘﺄﻫﱢﺒﺎً ﻛﻴﻤﺎ ﻳﻘﻮﻡ ﺑﺤﻤﺎﻗﺎﺕ‪.‬‬
‫ﻭﺇﺫﺍ ﺍﺑﺘﻌﺪﻧﺎ ﻋﻦ ﺫﻟﻚ‪ ،‬ﻳُﺴﺘﺤﺴﻦ ﺃﻥ ﳒﻌﻞ ﻣﻦ ﻫﺬﻩ ﺍﻟﻘﺎﻋﺪﺓ ﺍﳌﻮﺟﺰﺓ‬
‫ﻣﻮﺿﻮﻋﺎً ﻋﺎﻣﱠﺎً ﻟﺴﻴﻜﻮﻟﻮﺟﻴﺎ ﺍﳊﺐ‪ :‬ﺇﺫﺍ ﻛﺎﻥ ﺍﳊﺐّ ﺃﺩﻕّ ﻓﻌﻞ ﺗﻔﻌﻠﻪ ﺍﻟﻨﱠﻔﺲ‬
‫ﻭﺃﺷﻤﻠﻪ‪ ،‬ﻓﺴﻮﻑ ﻳﻨﻌﻜﺲ ﻓﻴﻪ ﻭﺿﻊ ﻫﺬﻩ ﺍﻟﻨﱠﻔﺲ ﻭﻃﺒﻴﻌﺘﻬﺎ‪ .‬ﻭﻻ ﺿﺮﻭﺭﺓ ﺇﻟﻰ ﺃﻥ‬
‫ﻧﻌﺰﻭ ﺇﻟﻰ ﺍﳊﺐّ ﺍﳋﺼﺎﺋﺺ ﺍﻟﺘﻲ ﻳﻌﺰﻭﻫﺎ ﺇﻟﻴﻪ ﺍﻟﺸﱠﺨﺺ ﺍﻟﺬﻱ ﻳﺸﻌﺮ ﺑﻪ‪ .‬ﻓﺈﺫﺍ ﻛﺎﻥ‬
‫ﻫﺬﺍ ﺍﻟﺸﱠﺨﺺ ﻗﻠﻴﻞ ﺍﻟﻔﻄﻨﺔ‪ ،‬ﻓﻜﻴﻒ ﻳﻜﻮﻥ ﺍﳊﺐّ ﻣُﺒﻴﻨﺎً؟ ﻭﺇﺫﺍ ﻛﺎﻥ ﻗﻠﻴﻞ ﺍﻟﺘﱠﻌﻤﱡﻖ‪،‬‬
‫ﻓﻜﻴﻒ ﻳﻜﻮﻥ ﺣﺒّﻪ ﻋﻤﻴﻘﺎً؟ ﺇﺫ ﻛﻴﻔﻤﺎ ﻳﻜﻦ ﺍﳌﺮﺀ ﻳﻜﻦْ ﺣﺒّﻪ‪ .‬ﻟﻬﺬﺍ ﺍﻟﺴﱠﺒﺐ ﻧﺴﺘﻄﻴﻊ ﺃﻥ‬
‫ﳒﺪ ﰲ ﺍﳊﺐّ ﺍﻟﻌَﺮَﺽ ﺍﻷﻛﺜﺮ ﺣﺴﻤﺎً ﻳﻨﺒﺊ ﻋﻤﱠﺎ ﻳﻜﻮﻥ ﻋﻠﻴﻪ ﺍﻟﺸﱠﺨﺺ‪ .‬ﻓﻘﺪ‬
‫ﺗﺨﺪﻋﻨﺎ ﺳﺎﺋﺮ ﺍﻷﻓﻌﺎﻝ ﻭﺍﳌﻈﺎﻫﺮ ﺑﺸﺄﻥ ﻃﺒﻴﻌﺘﻪ ﺍﳊﻘﻴﻘﻴﱠﺔ‪ :‬ﺇﻧﱠﻤﺎ ﺗﻜﺸﻒ ﻟﻨﺎ‬
‫ﻏﺮﺍﻣﻴﱠﺎﺗﻪ ﻋﻦ ﺳﺮّ ﻛﻴﺎﻧﻪ ﺍﳌﺨﻔﻲّ ﺑﻌﻨﺎﻳﺔ ﺷﺪﻳﺪﺓ ﺧﺎﺻﱠﺔ ﺳﺮّ ﺍﺧﺘﻴﺎﺭ ﺍﶈﺒﻮﺏ‪ .‬ﻭﻻ‬
‫ﻳﺘﺠﻠﱠﻰ ﺃﺧﺺّ ﻃﺒﺎﻋﻨﺎ ﰲ ﺷﻲﺀ ﻛﻤﺎ ﻓﻴﻤﺎ ﻧﻔﻀّﻠﻪ ﰲ ﺍﳊﺐّ‪.‬‬
‫ﻭﻟﻄﺎﳌﺎ ﺳﻤﻌﻨﺎ ﺍﻟﻘﻮﻝ ﺇﻥﱠ ﺍﻟﻨﱢﺴﺎﺀ ﺍﻟﺬﱠﻛﻴﱠﺎﺕ ﻳﻌﺸﻘﻦ ﺍﻟﺮﱢﺟﺎﻝ ﺍﳊﻤﻘﻰ‪ ،‬ﻭﺍﻟﻌﻜﺲ‬
‫ﺑﺎﻟﻌﻜﺲ‪ ،‬ﺇﻥﱠ ﺍﻟﺮﱢﺟﺎﻝ ﺍﻷﺫﻛﻴﺎﺀ ﻳﻌﺸﻘﻮﻥ ﺍﻟﻨﱢﺴﺎﺀ ﺍﳊﻤﻘﺎﻭﺍﺕ‪ .‬ﻭﻟﺌﻦْ ﺳﻤﻌﺖُ ﻫﺬﺍ ﺍﻷﻣﺮَ‬
‫ﻣﺮﱠﺍﺕٍ ﻛﺜﻴﺮﺓ‪ ،‬ﻓﺈﻧﱢﻲ ﺃﻋﺘﺮﻑ ﺃﻧّﻲ ﻟﻢ ﺃﺅﻣﻦ ﺑﻪ ﻗﻂّ‪ .‬ﻭﻟﻘﺪ ﻭﺟﺪﺕ ﰲ ﻛﻞﱢ ﺍﻷﺣﻮﺍﻝ ﺍﻟﺘﻲ‬
‫ﺍﺳﺘﻄﻌﺖ ﺍﻻﻗﺘﺮﺍﺏ ﻓﻴﻬﺎ‪ ،‬ﻭﺍﺳﺘﻌﻤﺎﻝ ﺍﻟﻌﺪﺳﺔ ﺍﻟﺴﻴﻜﻮﻟﻮﺟﻴﱠﺔ ﺍﳌﻜﺒﱢﺮﺓ‪ ،‬ﺃﻥﱠ ﺃﻭﻟﺌﻚ ﺍﻟﻨﱢﺴﺎﺀ‬
‫ﻭﺍﻟﺮﱢﺟﺎﻝ ﻟﻢ ﻳﻜﻮﻧﻮﺍ ﰲ ﺍﳊﻘﻴﻘﺔ ﺃﺫﻛﻴﺎﺀ‪ ،‬ﺃﻭ ﺍﻟﻌﻜﺲ ﺻﺤﻴﺢ‪ ،‬ﻟﻢ ﻳﻜﻦ ﺍﳌﺨﺘﺎﺭﻭﻥ ﺣﻤﻘﻰ‪.‬‬
‫ﻟﻴﺲ ﺍﻟﻬﻮﻯ‪ ،‬ﺇﺫﺍً‪ ،‬ﺫﺭﻭﺓ ﺍﻟﺮﱠﻏﺒﺔ ﰲ ﺍﳊﺐّ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻮ ﻋﻠﻰ ﺍﻟﻌﻜﺲ‪،‬‬
‫ﺗﺪﻫﻮﺭﻫﺎ ﰲ ﻧﻔﻮﺱ ﺩﻧﻴﺎ‪ .‬ﻭﻟﻴﺲ ﻓﻴﻪ ‪ -‬ﺃﻱ‪ ،‬ﻳﺠﺐ ﺃﻻ ﻳﻜﻮﻥ ﻓﻴﻪ ‪ -‬ﺳﺤﺮ ﻭﻻ‬
‫ﺍﺳﺘﺴﻼﻡ‪ .‬ﻭﻳﻌﻠﻢ ﻋﻠﻤﺎﺀ ﺍﻟﻨﱠﻔﺲ ﺃﻥﱠ ﺍﳌﻮﺳﻮﺱ ﻳﺼﺎﺭﻉ ﰲ ﻣﻮﺍﺟﻬﺔ ﻭﺳﻮﺍﺳﻪ‪ ،‬ﻭﻻ‬

‫)‪ (١‬ﻣـﻦ ﻳﻘﺘــﻞ ﻧﻔــﺴﻪ ﻻ ﻳﻘﺘﻠﻬــﺎ ﺣﺒﱠ ـﺎً‪ .‬ﻭﻛــﺎﻥ ﺳﻴـﺼﻨﻊ ﺫﻟــﻚ ﻷﻱّ ﺳــﺒﺐ‪ ،‬ﺑــﺴﺒﺐ ﻧــﺰﺍﻉ ﺃﻭ ﻓﻘــﺪﺍﻥ ﺛــﺮﻭﺓ‪،‬‬
‫ﺇﻟﺦ‪ – ...‬ﺍﳌﺆﻟﱢﻒ‪.‬‬
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 ‫ﻳﻘﺒﻞ ﺑﻪ ﰲ ﺫﺍﺗﻪ‪ ،‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻳﺴﻴﻄﺮ ﻋﻠﻴﻪ ﺍﻟﻮﺳﻮﺍﺱ‪ .‬ﺇﺫﺍً‪ ،‬ﻳﻮﺟﺪ ﻫﻮﻯ ﺿﺨﻢ‬
‫ﻣﻦ ﻏﻴﺮ ﻣﺤﺘﻮﻯ ﻫﺎﻡّ ﻣﻦ ﺍﳊﺐّ‪.‬‬
‫ﻭﻫﺬﺍ ﻳﺪﻝّ ﺍﻟﻘﺎﺭﺉَ ﻋﻠﻰ ﺃﻥﱠ ﺗﻔﺴﻴﺮﻱ ﻇﺎﻫﺮﺓَ ﺍﳊﺐّ ﻳﺴﻴﺮ ﰲ ﺍﺗﱢﺠﺎﻩ ﻣﻌﺎﻛﺲ‬
‫ﻟﻠﻤﻴﺜﻮﻟﻮﺟﻴﺎ ﺍﻟﺰﱠﺍﺋﻔﺔ ﺍﻟﺘﻲ ﲡﻌﻞ ﻣﻨﻪ ﻗﻮﱠﺓ ﺃﻭﱠﻟﻴﱠﺔ ﻭﺑﺪﺍﺋﻴﱠﺔ ﺗﺘﻮﱠﻟﺪ ﰲ ﺃﺣﻀﺎﻥ ﺍﳊﻴﻮﺍﻧﻴﱠﺔ‬
‫ﺍﻟﺒﺸﺮﻳﱠﺔ ﺍﻟﻐﺎﻣﻀﺔ‪ ،‬ﻭﺗﺴﻴﻄﺮ ﺑﺸﻜﻞ ﻓﻆّ ﻋﻠﻰ ﺍﻹﻧﺴﺎﻥ ﻣﻦ ﻏﻴﺮ ﺃﻥ ﺗﺴﻤﺢ ﻷﻗﺴﺎﻡ‬
‫ﺍﻟﻨﱠﻔﺲ ﺍﻟﻌﻠﻴﺎ ﻭﺃﺩﻗّﻬﺎ‪ ،‬ﺑﺘﺪﺧّﻞ ﺫﻱ ﺃﻫﻤﻴﱠﺔ‪.‬‬
‫ﻟﻦ ﺃﻧﺎﻗﺶ ﺍﻵﻥ ﺍﻻﺭﺗﺒﺎﻁ ﺍﻟﺬﻱ‪ ،‬ﻗﺪ ﻳﻜﻮﻥ ﻟﻠﺤﺐّ ﻣﻊ ﺑﻌﺾ ﺍﻟﻐﺮﺍﺋﺰ ﺍﻟﻜﻮﻧﻴﱠﺔ‬
‫ﺍﻟﺮﱠﺍﻗﺪﺓ ﰲ ﻛﻴﺎﻧﻨﺎ؛ ﻓﺄﻧﺎ ﺃﻋﺘﻘﺪ ﺃﻥﱠ ﺍﳊﺐّ ﻫﻮ ﻛﻠﻴﱠﺎً ﻧﻘﻴﺾ ﻗﻮﱠﺓ ﺃﻭﱠﻟﻴﱠﺔ‪ .‬ﻭﺃﻛﺎﺩ‪ ،‬ﺃﻛﺎﺩ‬
‫ﺃﻗﻮﻝ ‪ -‬ﻣﻊ ﻋﻠﻤﻲ ﺑﺠﺎﻧﺐ ﻣﻦ ﺍﳋﻄﺄ ﰲ ﻗﻮﻟﻲ ‪ -‬ﺇﻥﱠ ﺍﳊﺐّ ﻳﺒﺪﻭ ﺟﻨﺴﺎً ﺃﺩﺑﻴﱠﺎً ﺃﻛﺜﺮ‬
‫ﳑﱠﺎ ﻫﻮ ﻗﻮﱠﺓ ﺃﻭﱠﻟﻴﱠﺔ‪ .‬ﺻﻴﻐﺔ ﻗﺪ ﺗﺜﻴﺮ – ﺑﺎﻟﻄﱠﺒﻊ ‪ -‬ﻧﻔﻮﺭ ﻛﺜﻴﺮ ﻣﻦ ﺍﻟﻘﺮﱠﺍﺀ‪ ،‬ﻗﺒﻞ ﺃﻥ‬
‫ﻳﺘﺄﻣﱠﻠﻮﻫﺎ ‪ -‬ﺑﺎﻟﻄﱠﺒﻊ ﺃﻳﻀﺎً‪ .‬ﻭﻫﻲ ﻣﺴﺮﻓﺔ ﻭﻏﻴﺮ ﻣﻘﺒﻮﻟﺔ ﺇﺫﺍ ﺯﻋﻤﺖُ ﺃﻧﱠﻬﺎ ﺍﻟﺼﱢﻴﻐﺔ‬
‫ﺍﻷﺧﻴﺮﺓ؛ ﻟﻜﻨﱢﻲ ﻻ ﺃﺯﻋﻢ ﺑﻬﺎ ﺳﻮﻯ ﺃﻥْ ﺃﻭﺣﻲ ﺃﻥﱠ ﺍﳊﺐّ ﺇﺑﺪﺍﻉ ﺃﻛﺜﺮ ﳑﱠﺎ ﻫﻮ ﻏﺮﻳﺰﺓ‪.‬‬
‫ﻭﻫﻮ ﻛﺈﺑﺪﺍﻉ ﻟﻴﺲ ﺑﺪﺍﺋﻴﱠﺎً ﰲ ﺷﻲﺀ ﻋﻨﺪ ﺍﻹﻧﺴﺎﻥ‪ .‬ﻓﺎﳌﺘﻮﺣﱢﺶ ﻻ ﻳﺘﺼﻮّﺭﻩ‪ ،‬ﻭﺍﻟﺼّﻴﻨﻲّ‬
‫ﻭﺍﻟﻬﻨﺪﻱ ﻻ ﻳﻌﺮﻓﺎﻧﻪ‪ ،‬ﻭﺇﻏﺮﻳﻘﻲ ﻋﺼﺮ ﺑﻴﺮﻛﻠﻴﺲ ﻳﻜﺎﺩ ﻳﻠﻤﺤﻪ ﶈﺎً‪ .1‬ﻓﻠﻴُﻘﻞ ﻟﻲ ﺇﻥ‬
‫ﻛﺎﻧﺖ ﺍﻟﻔﻜﺮﺗﺎﻥ‪ :‬ﻛﻮﻥ ﺍﳊﺐ ﺇﺑﺪﺍﻋﺎً ﺭﻭﺣﻴﱠﺎً‪ ،‬ﻭﻇﻬﻮﺭﻩ ﻓﻘﻂ ﰲ ﺑﻌﺾ ﺍﳌﺮﺍﺣﻞ‬
‫ﻭﺍﻷﺷﻜﺎﻝ ﰲ ﺍﻟﺜﱠﻘﺎﻓﺔ ﺍﻟﺒﺸﺮﻳﱠﺔ‪ ،‬ﻓﻴﻬﻤﺎ ﻣﺎ ﻳﺴﻲﺀ ﺇﻟﻰ ﺗﻌﺮﻳﻒ ﺟﻨﺲ ﺃﺩﺑﻲّ‪.‬‬
‫ﻭﺇﺫْ ﻣﻴﱠﺰﻧﺎ ﺍﻟﻔﻮﺭﺍﻥ ﺍﳊﺴّﻲ ﻣﻦ "ﺍﻟﻬﻮﻯ"‪ ،‬ﻓﺈﻧﱠﻨﺎ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﳕﻴﱢﺰ ﺑﻮﺿﻮﺡ‬
‫ﺍﳊﺐّ ﻣﻦ ﺃﺷﻜﺎﻟﻪ ﺍﻟﺰﱠﺍﺋﻔﺔ‪ ،‬ﻭﻛﺬﻟﻚ ﳑﱠﺎ ﺳﻤّﻴﻨﺎﻩ "ﺷﻔﻘﺔ"‪ .‬ﰲ ﺍﻟﺸﱠﻔﻘﺔ ﺍﻟﺘﻲ ﻫﻲ ﰲ‬
‫ﺍﻟﻌﺎﺩﺓ ﺷﻜﻞُ ﺍﳊﺐّ ﺍﻷﻣﻮﻱ‪ ،‬ﰲ ﺃﺣﺴﻦ ﺍﻷﺣﻮﺍﻝ‪ ،‬ﻳﺸﻌﺮ ﺷﺨﺼﺎﻥ ﺑﺘﻌﺎﻃﻒ ﻣﺘﺒﺎﺩﻝ‬

‫)‪ (١‬ﺇﻥﱠ ﺃﻓﻼﻃﻮﻥ ﻋﻠﻰ ﻭﻋـﻲ ﻛﺎﻣـﻞ ﺑﻬـﺬﺍ ﺍﻟـﺸﱡﻌﻮﺭ ﻭﻳـﺼﻔﻪ ﺑـﺸﻜﻞ ﻣﻌﺠـﺐ‪ .‬ﻟﻜـﻦ‪ ،‬ﻟـﻢ ﻳﺨﻄـﺮ ﰲ ﺫﻫﻨـﻪ ﺃﻧﱠـﻪ ﻳﺨﻠﻄـﻪ‬
‫ﲟــﺎ ﻛــﺎﻥ ﺇﻏﺮﻳﻘ ـﻲّ ﻣــﻦ ﻋــﺼﺮﻩ ﻳﺤ ـﺲّ ﺑــﻪ ﳓــﻮ ﺍﳌــﺮﺃﺓ‪ .‬ﻭﺍﳊ ـﺐّ ﻋﻨــﺪ ﺃﻓﻼﻃــﻮﻥ ﻛــﺎﻥ ﺣﺒﱠ ـﺎً ﲟﻌﻨــﻰ ﺍﻟﻌــﺸﻖ‪،‬‬
‫ﻭﺭﺑﱠﻤـــﺎ ﻛـــﺎﻥ ﺍﻟﻈﱡﻬـــﻮﺭ ﺍﻷﻭﱠﻝ ﻟﻬـــﺬﺍ ﺍﳊـ ـﺐّ ﰲ ﺍﻟﺘﱠـــﺎﺭﻳﺦ‪ .‬ﻟﻜﻨﱠـــﻪ ﺣـ ـﺐّ ﺍﻟﺮّﺟـــﻞ ﺍﻟﻜﻬـــﻞ ﺍﻷﻛﺜـــﺮ ﺛﻘﺎﻓـ ـﺔً‪ ،‬ﺍﻟـ ـﺸﱠﺎﺏّ‬
‫ﺍﳉﻤﻴـﻞ ﺍﳊـﺼﻴﻒ‪ .‬ﻭﻳــﺮﻯ ﺃﻓﻼﻃـﻮﻥ ﰲ ﻫــﺬﺍ ﺍﳊـﺐّ ﻣــﻦ ﻏﻴـﺮ ﺗــﺮﺩﱡﺩ‪ ،‬ﺍﻣﺘﻴـﺎﺯﺍً ﻟﻠﺜﱠﻘﺎﻓــﺔ ﺍﻹﻏﺮﻳﻘﻴﱠـﺔ ﻭﺇﺑــﺪﺍﻋﺎً‬
‫ﺭﻭﺣﻴﱠﺎً‪ ،‬ﺑـﺎﳊﺮﻱّ‪ ،‬ﻣﺆﺳـﺴﺔ ﺍﺟﺘﻤﺎﻋﻴﱠـﺔ ﻣﺮﻛﺰﻳﱠـﺔ ﰲ ﺍﳊﻴـﺎﺓ ﺍﻟﺒـﺸﺮﻳﱠﺔ ﺍﳉﺪﻳـﺪﺓ‪ .‬ﻭﳓـﻦ ﻳﺜﻴـﺮ ﺍﺳـﺘﻬﺠﺎﻧﻨﺎ ﻋﻠـﻰ‬
‫ﺷـﻜﻞ ﺧﻄﻴـﺮ ﻭﻟـﺴﺒﺐ ﻛﺒﻴــﺮ‪ ،‬ﻫـﺬﻩ ﺍﻟﻄﱠﺮﻳﻘـﺔ ﺍﻟﺪﱠﻭﺭﻳﱠـﺔ ‪ Dórica‬ﰲ ﺍﳊــﺐ؛ ﻟﻜـﻦ ﺍﳊﻘﻴﻘـﺔ ﺍﳋﺎﻟـﺼﺔ ﺗﺮﻏﻤﻨــﺎ‬
‫ﻋﻠــﻰ ﺍﻹﻗــﺮﺍﺭ ﺃﻥﱠ ﻓﻴــﻪ ﺃﺣــﺪ ﺍﳉــﺬﻭﺭ ﺍﻟﺘﱠﺎﺭﻳﺨﻴﱠــﺔ ﻟﻬــﺬﺍ ﺍﻹﺑــﺪﺍﻉ ﺍﻟﻐﺮﺑ ـﻲّ ﺍﳌُﻌﺠــﺐ ﻣــﻦ ﺣ ـﺐّ ﺍﳌــﺮﺃﺓ‪ .‬ﻭﻟــﻮ ﲤﻌﱠــﻦ‬
‫ﺍﻟﻘــﺎﺭﺉ ﻗﻠـــﻴﻼً ﻟﻼﺣـــﻆ ﺃﻥﱠ ﺍﻷﻣـــﻮﺭ ﺃﻋﻘـــﺪ ﻭﺃﺩﻕّ ﳑﱠـــﺎ ﻳﺤـــﺴﺒﻪ ﺍﻟﻌﺎﻣﱠـــﺔ‪ ،‬ﻭﺳـــﻮﻑ ﻳﺠـــﺪ ﺃﻥﱠ ﻣﻘﺎﺭﻧـــﺔ ﺍﳊـ ـﺐّ‬
‫ﺑﺠﻨﺲ ﺃﺩﺑﻲّ‪ ،‬ﺃﻗﻞّ ﻏﺮﺍﺑﺔ‪ – .‬ﺍﳌﺆﻟﻒ‪.‬‬
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‫ﻭﺇﺧﻼﺹ ﻭﺍﺭﺗﺒﺎﻁ‪ ،‬ﻟﻜﻦ‪ ،‬ﻻ ﻳﻮﺟﺪ ﻓﻴﻬﺎ ﺃﻳﻀﺎً ﺳﺤﺮ ﻭﻻ ﺍﺳﺘﺴﻼﻡ‪ .‬ﺇﺫْ ﻛﻞ ﻓﺮﺩ‬
‫ﻳﻌﻴﺶ ﳊﺴﺎﺑﻪ ﻣﻦ ﻏﻴﺮ ﺍﳒﺬﺍﺏ ﳓﻮ ﺍﻵﺧﺮ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻳﺮﺳﻞ ﻟﻶﺧﺮﻳﻦ ﻣﻦ ﺫﺍﺗﻪ‬
‫ﺃﺿﻮﺍﻋﺎً ﻋﺬﺑﺔ ﻣﻦ ﺍﻟﺘﱠﻘﺪﻳﺮ ﻭﺍﻟﺘﱠﺄﻳﻴﺪ‪.‬‬
‫ﻣﺎ ﻗﻠﻨﺎﻩ ﻳﻜﻔﻲ ﻛﻴﻤﺎ ﻧﺼﺒﻎ ﻫﺬﺍ ﺍﻟﺘﱠﺄﻛﻴﺪ ﺑﺸﻲﺀ ﻣﻦ ﺍﳌﻌﻨﻰ‪ ،‬ﻭﻻ ﺃﺯﻋﻢ ﺍﻵﻥ ﺃﻛﺜﺮ‬
‫ﻣﻦ ﺫﻟﻚ‪ :‬ﺇﺫﺍ ﺃﺭﺩﻧﺎ ﺃﻥ ﻧﻨﻈﺮ ﺑﻮﺿﻮﺡ ﰲ ﻇﺎﻫﺮﺓ ﺍﳊﺐّ‪ ،‬ﻓﻤﻦ ﺍﻟﻼﺯﻡ ﻗﺒﻞ ﻛﻞّ ﺷﻲﺀ‬
‫ﺃﻥ ﻧﺘﺨﻠﱠﻰ ﻋﻦ ﺍﻟﻔﻜﺮﺓ ﺍﳌﺒﺘﺬﻟﺔ ﺍﻟﺘﻲ ﺗﺮﻯ ﻓﻴﻬﺎ ﺷﻌﻮﺭﺍً ﺑﺴﻴﻄﺎً‪ ،‬ﻳﺴﺘﻄﻴﻊ ﺍﻟﻜﻞّ‪ ،‬ﺃﻭ ﺍﻟﻜﻞّ‬
‫ﺗﻘﺮﻳﺒﺎً ﺍﻟﺸﱡﻌﻮﺭ ﺑﻪ ﻭﻳﺤﺪﺙ ﻛﻞّ ﺳﺎﻋﺔ ﻓﻴﻤﺎ ﺣﻮﻟﻨﺎ‪ ،‬ﺃﻳﱠﺎً ﻳﻜﻦ ﺍ‪‬ﺘﻤﻊ ﻭﺍﻟﻌﺮﻕ ﻭﺍﻟﺸّﻌﺐ‬
‫ﻭﺍﻟﻌﺼﺮ ﺍﻟﺬﻱ ﻧﻌﻴﺶ ﻓﻴﻪ‪ .‬ﻭﺇﻥﱠ ﺍﻟﻔﺮﻭﻕ ﺍﻟﺘﻲ ﺗﺮﺳﻤﻬﺎ ﺍﻟﺼﱠﻔﺤﺎﺕ ﺍﻟﺴﱠﺎﺑﻘﺎﺕ‪ ،‬ﺗﺨﺘﺰﻝ‬
‫ﺑﺸﻜﻞ ﻛﺒﻴﺮ ﺷﻴﻮﻉ ﺍﳊﺐّ ﻣﺒﻌﺪﺓ ﻋﻦ ﻓﻀﺎﺋﻪ ﺃﺷﻴﺎﺀَ ﻛﺜﻴﺮﺓً ﺗﻨﻀﻮﻱ ﻓﻴﻪ ﺧﻄﺄ‪ .‬ﻭﺇﺫﺍ‬
‫ﺧﻄﻮﻧﺎ ﺧﻄﻮﺓ ﺃﺧﺮﻯ‪ ،‬ﻧﺴﺘﻄﻴﻊ ﺍﻟﻘﻮﻝ ﻣﻦ ﻏﻴﺮ ﻣﺒﺎﻟﻐﺔ ﻣﻔﺮﻃﺔ‪ :‬ﺇﻥﱠ ﺍﳊﺐّ ﻭﺍﻗﻌﺔ‬
‫ﻗﻠﻴﻠﺔ ﺍﻟﺸّﻴﻮﻉ‪ ،‬ﻭﻫﻮ ﺷﻌﻮﺭ ﺗﺴﺘﻄﻴﻊ ﺑﻌﺾ ﺍﻟﻨﱡﻔﻮﺱ ﻓﻘﻂ ﺃﻥ ﺗﺸﻌﺮ ﺑﻪ‪ .‬ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻫﻮ‬
‫ﻣﻮﻫﺒﺔ ﲤﺘﻠﻜﻬﺎ ﺑﻌﺾ ﺍﻟﻨّﻔﻮﺱ‪ ،‬ﺗﻮﺟﺪ ﻣﺘﱠﺤﺪﺓ ﲟﻮﺍﻫﺐ ﺃﺧﺮﻯ‪ ،‬ﻟﻜﻨﱠﻬﺎ ﳝﻜﻦ ﻟﻬﺎ ﺃﻥ‬
‫ﺗﻮﺟﺪ ﻣﻨﻌﺰﻟﺔ ﻭﻣﻦ ﺩﻭﻧﻬﺎ‪.‬‬
‫ﺃﺟﻞ؛ ﺍﻟﻌﺸﻖ ﻣﻮﻫﺒﺔ ﻋﺠﻴﺒﺔ ﲤﺘﻠﻜﻬﺎ ﺑﻌﺾُ ﺍﳌﺨﻠﻮﻗﺎﺕ‪ ،‬ﻛﻤﻮﻫﺒﺔ ﻧﻈﻢ ﺍﻟﺸﻌﺮ‪،‬‬
‫ﻭﻛﺮﻭﺡ ﺍﻟﺘﱠﻀﺤﻴﺔ ﻭﺍﻹﻟﻬﺎﻡ ﺍﳌﻮﺳﻴﻘﻲ ﻭﺍﻟﺸﱠﺠﺎﻋﺔ ﺍﻟﺸﱠﺨﺼﻴﱠﺔ‪ ،‬ﻭﻛﻤﻌﺮﻓﺔ ﺍﳊﻜﻢ‬
‫ﻭﺍﻟﻘﻴﺎﺩﺓ‪ .‬ﻓﺎﻟﻘﺎﺩﺭ ﻻ ﻳﻌﺸﻖ ﻣﻦ ﻛﺎﻥ‪ ،‬ﻭﻻ ﻳﻌﺸﻘﻪ ﻣﻦ ﻛﺎﻥ‪ .‬ﺇﻧﱠﻤﺎ ﻳﻨﺸﺄ ﺍﳊﺪﺙ ﺍﻵﻟﻬﻲ‬
‫ﺇﺫﺍ ﺗﻮﻓﱠﺮﺕ ﺑﻌﺾ ﺍﻟﺸّﺮﻭﻁ ﺍﻟﺪّﻗﻴﻘﺔ ﻋﻨﺪ ﺍﻟﺬﱠﺍﺕ ﻭﺍﳌﻮﺿﻮﻉ‪ .‬ﺇﻥﱠ ﻗﻼﺋﻞَ ﺟﺪﱠﺍً ﻳﺴﺘﻄﻴﻌﻮﻥ‬
‫ﺃﻥ ﻳﻜﻮﻧﻮﺍ ﻣﺤﺒّﲔ‪ ،‬ﻭﻗﻼﺋﻞ ﺟﺪﱠﺍً ﻣﺤﺒﻮﺑﲔ‪ .‬ﻓﻠﻠﺤﺐ ﺳﺒﺒﻪ ﻭﻗﺎﻧﻮﻧﻪ ﻭﺟﻮﻫﺮﻩ ﺍﳌﻮﺣﱢﺪ‬
‫ﺍﳌﺘﻤﺎﺛﻞ ﺍﻟﺬﻱ ﻻ ﻳﺴﺘﺒﻌﺪ ﺩﺍﺧﻞ ﻧﻄﺎﻕ ﻫﺎﻣﺸﻪ ﻭﻓﺮﺓ ﺍﻟﻔﺘﺎﻭﻯ ﻭﺃﺧﺼﺐ ﺍﻟﺘﱠﻨﻮﱡﻉ‪.1‬‬

‫)‪ (١‬ﻳﻮﺟــﺪ ﰲ ﺍﻟﻌــﺎﻟﻢ ﺍﻟﻴــﻮﻡ ﻣﺠﻤﻮﻋــﺔ ﻣــﻦ ﺍﻟﺮﱢﺟــﺎﻝ ﺍﻟـــﺬﻳﻦ ﺃﻓﺨــﺮ ﺃﻥ ﺃﺟــﺪ ﻧﻔــﺴﻲ ﺑﻴــﻨﻬﻢ‪ ،‬ﻳﻮﺍﺟﻬــﻮﻥ ﺍﻟﺘﱠﻘﻠﻴـــﺪ‬
‫ﺍﻟﺘﱠﺠﺮﻳﺒـﻲ ﺍﻟـﺬﻱ ﻳـﺮﻯ ﺃﻥﱠ ﻛـﻞّ ﺷــﻲﺀ ﻳﺤـﺪﺙ ﺑﺎﳌـﺼﺎﺩﻓﺔ ﻭﻣـﻦ ﻏﻴـﺮ ﺷــﻜﻞ ﻣﻮﺣّـﺪ‪ ،‬ﻫﻨـﺎ ﻭﺍﻵﻥ ﺑـﺸﻜﻞ‪ ،‬ﻭﻫﻨــﺎﻙ‬
‫ﻭﻣــﻦ ﺑﻌ ـﺪُ ﺑــﺸﻜﻞ ﺁﺧــﺮ ﻣــﻦ ﻏﻴــﺮ ﺇﻣﻜﺎﻧﻴﱠــﺔ ﻟﻮﺟــﻮﺩ ﻗــﺎﻧﻮﻥ ﺁﺧــﺮ ﻟﻸﺷــﻴﺎﺀ ﺳــﻮﻯ ﺍﻻﺳــﺘﻘﺮﺍﺀ ﺍﻹﺣــﺼﺎﺋﻲ ﺇﻟــﻰ‬
‫ﺣﺪﱟ ﻣـﺎ‪ .‬ﻭﰲ ﻣﻌﺎﺭﺿـﺔ ﻫـﺬﻩ ﺍﻟﻔﻮﺿـﻰ ﺍﻟﻮﺍﺳـﻌﺔ ﺍﺳـﺘﺄﻧﻔﻨﺎ ﺗﻘﻠﻴـﺪ ﺍﻟﻔﻠـﺴﻔﺔ ﺍﻵﺧـﺮ ﺍﻟـﺪﱠﺍﺋﻢ ﻭﺍﻷﻭﺳـﻊ ﻭﺍﻷﻋﻤـﻖ‬
‫ﺍﻟـﺬﻱ ﻳﺒﺤـﺚ ﻋــﻦ "ﺍﳉـﻮﻫﺮ" ﻭﺍﻟ ـﺸﱠﻜﻞ ﺍﻟﻔﺮﻳـﺪ ﰲ ﻛ ـﻞّ ﺷـﻲﺀ‪ .‬ﺑــﺎﻟﻄﱠﺒﻊ‪ ،‬ﻗـﺪ ﻳﻜــﻮﻥ ﺃﺳـﻬﻞ ﻛﺜﻴــﺮﺍً ﻭﺃﻛﺜـﺮ ﺭﺍﺣ ـﺔً‬
‫ﺍﻟﺘﱠﻔﻜﻴــﺮ ﰲ ﺃﻥﱠ ﺍﳊـ ـﺐّ ﺫﻭ ﺃﺷــﻜﺎﻝ ﻻ ﺗُﺤـــﺼﻰ‪ ،‬ﻭﺃﻧﱠــﻪ ﻣﺨﺘﻠـــﻒ ﰲ ﻛـ ـﻞﱢ ﺣﺎﻟــﺔ‪ ...‬ﺇﻟـــﺦ‪ .‬ﻭﺇﻧﱢــﻲ ﺁﻣـــﻞ ﺃﻥ ﺃُﺑﻘـــﻲ‬
‫ﺑﻌﻴﺪﺍً ﻋﻨﱢﻲ ﺩﺍﺋﻤﺎً ﺍﻻﳓﻄـﺎﻁ ﺍﻟﻔﻜـﺮﻱ ﺍﻟـﺬﻱ ﻳُﺜﻴـﺮ ﻫـﺬﺍ ﺍﻟـﺸﱠﻜﻞ ﻣـﻦ ﺍﻟﺘﱠﻔﻜﻴـﺮ ﺍﻟـﺬﻱ ﻃﺎﳌـﺎ ﺳُـﺮﱠﺕ ﺑـﻪ ﺍﻟﻌﻘـﻮﻝ‬
‫ﺍﳋﺎﻣﻠـﺔ‪ .‬ﻋﻠـﻰ ﺃﻥﱠ ﺭﺳـﺎﻟﺔ ﺍﳌﻔﻜﱢـﺮ ﺍﻷﺧﻴـﺮﺓ ﺳــﺘﻜﻮﻥ ﺩﺍﺋﻤـﺎً ﺻـﻴﺪ "ﺍﳉـﻮﻫﺮ"‪ ،‬ﺃﻱ‪ ،‬ﺍﻟـﺸﱠﻜﻞ ﺍﻟﻮﺣﻴـﺪ ﰲ ﻭﺟــﻮﺩ‬
‫ﻛﻞّ ﻭﺍﻗﻊ‪ – .‬ﺍﳌﺆﻟﻒ‪.‬‬
‫‪-٢٦-‬‬
 ‫‪III‬‬

‫ﻳﻜﻔﻲ ﺃﻥ ﻧﻌﺪﱢﺩ ﺑﻌﻀﺎً ﻣﻦ ﺷﺮﻭﻁ ﺍﻟﻌﺸﻖ ﻭﻓﺮﻭﺿﻪ ﻛﻴﻤﺎ ﺗﺼﺒﺢ ﻧﺪﺭﺗﻪ‬

‫ﺍﳌﺘﻄﺮﱢﻓﺔ ﻗﺎﺑﻠﺔ ﻟﻠﺘﱠﺼﺪﻳﻖ ﺑﺸﻜﻞ ﻣﺮﺗﻔﻊ‪ .‬ﻭﺇﺫﺍ ﻛﻨﺖ ﻻ ﺃﺯﻋﻢ ﺍﻟﻜﻤﺎﻝ ﰲ ﺫﻟﻚ‪ ،‬ﻓﺈﻧﱠﻨﺎ‬
‫ﻧﺴﺘﻄﻴﻊ ﺍﻟﻘﻮﻝ ﺇﻥﱠ ﻫﺬﻩ ﺍﻟﺸّﺮﻭﻁ ﺗﺸﻜﱢﻞ ﺛﻼﺙ ﺭﺗﺐ ﻛﻤﺎ ﻫﻲ ﻣﻜﻮﱢﻧﺎﺕ ﺍﳊﺐّ ﺍﻟﻜﺒﺮﻯ‬
‫ﺛﻼﺛﺔ‪ :‬ﺇﻧﱠﻬﺎ ﺷﺮﻭﻁ )ﺇﺩﺭﺍﻙ( ﻛﻴﻤﺎ ﻧﺮﻯ ﺍﻟﺸﱠﺨﺺ ﺍﻟﺬﻱ ﺳﻴﺼﺒﺢ ﻣﺤﺒﻮﺑﺎً‪ ،‬ﺷﺮﻭﻁ‬
‫)ﺍﻧﻔﻌﺎﻝ( ﺑﻬﺎ ﻧﺴﺘﺠﻴﺐ ﻋﺎﻃﻔﻴﱠﺎً ﻟﺮﺅﻳﺔ ﺍﶈﺒﻮﺏ‪ ،‬ﻫﺬﻩ‪ ،‬ﻭﺷﺮﻭﻁ )ﺗﻜﻮﻳﻦ( ﰲ ﻛﻴﺎﻧﻨﺎ‪،‬‬
‫ﺃﻭ ﻛﻴﻒ ﺳﺘﻜﻮﻥ ﺑﻘﻴﱠﺔ ﻧﻔﺴﻨﺎ‪ .‬ﻷﻧﱠﻪ ﺣﺘﱠﻰ ﻟﻮ ﺗﻮﻓﱠﺮ ﺍﻟﺸﱠﺮﻃﺎﻥ ﺍﻵﺧﺮﺍﻥ ﰲ ﺍﻹﺩﺭﺍﻙ‬
‫ﻭﺍﻟﺸﱡﻌﻮﺭ‪ ،‬ﻓﻤﺎ ﺯﺍﻝ ﺑﺎﻹﻣﻜﺎﻥ ﺃﻻ ﻳﻨﺴﺤﺐ ﻋﻠﻰ ﺷﺨﺼﻨﺎ ﻛﻠّﻪ ﻭﺃﻻ ﻳﺠﺘﺎﺣﻪ ﻭﻳﺸﻜّﻠﻪ‪،‬‬
‫ﻟﻜﻮﻥ ﻫﺬﺍ ﺍﻟﺸﱠﺨﺺ ﻗﻠﻴﻞ ﺍﻟﺼﱠﻼﺑﺔ ﻭﺍﳌﺮﻭﻧﺔ ﻭﻣﻨﺪﻟﻘﺎً ﺃﻭ ﻣﻦ ﻏﻴﺮ ﻧﻮﺍﺑﺾ ﻗﻮﻳﱠﺔ‪.‬‬
‫ﻓﻠْﻨﻮﺡِ ﺑﺈﻳﺤﺎﺀﺍﺕ ﻗﺼﻴﺮﺓ ﺣﻮﻝ ﻛﻞّ ﻣﻦ ﻫﺬﻩ ﺍﻟﺮّﺗﺐ‪.‬‬
‫ﻓﻨﺤﻦ ﳓﺘﺎﺝ ﻛﻴﻤﺎ ﻧﻔﺘﺘِﻦ‪ ،‬ﺇﻟﻰ ﺃﻥ ﻧﻜﻮﻥ ﻗﺎﺩﺭﻳﻦ ﻗﺒﻞ ﻛﻞّ ﺷﻲﺀ ﻋﻠﻰ )ﺭﺅﻳﺔ(‬
‫ﺷﺨﺺ ﺁﺧﺮ‪ .‬ﻭﻻ ﻳﻜﻔﻲ ﻣﻦ ﺃﺟﻞ ﺫﻟﻚ ﺃﻥ ﻧﻔﺘﺢ ﻋﻴﻨﻴﻨﺎ ﻓﻘﻂ‪ .1‬ﺑﻞ ﻳﻠﺰﻣﻨﺎ ﻓﻀﻮﻝ‬
‫ﻣﺴﺒﻖ ﺫﻭ ﺩﺭﺏ ﳑﻴﱠﺰ ﻭﺃﻭﺳﻊ ﻛﺜﻴﺮﺍً ﻭﺃﻛﻤﻞ ﻭﺃﻛﺜﺮ ﺟﺬﺭﻳﱠﺔ ﻣﻦ ﺿﺮﻭﺏ ﺍﻟﻔﻀﻮﻝ‬
‫ﺍﳌﻮﺟﱠﻬﺔ ﳓﻮ ﺍﻷﺷﻴﺎﺀ )ﻛﺎﻟﻔﻀﻮﻝ ﺍﻟﻌﻠﻤﻲ ﻭﺍﻟﺘّﻘﻨﻲ ﻭﺍﻟﺴﱢﻴﺎﺣﺔ ﻭ "ﺭﺅﻳﺔ ﺍﻟﻌﺎﻟﻢ‬
‫ﺍﳉﺪﻳﺪ"‪ ،‬ﺇﻟﺦ‪ ،(..‬ﻭﳓﻮ ﺃﻓﻌﺎﻝ ﺧﺎﺻﱠﺔ ﺑﺎﻷﺷﺨﺎﺹ ﺃﻳﻀﺎً )ﻛﺒﺚﱢ ﺍﻟﻨﱠﻤﺎﺋﻢ ﻣﺜﻼً(‪ .‬ﺇﺫ‬
‫ﻳﺠﺐ ﺃﻥ ﻳﻜﻮﻥ ﺍﻟﺸﱠﺨﺺ ﻓﻀﻮﻟﻴﱠﺎً ﺇﻧﺴﺎﻧﻴﱠﺎً ﺑﺄﻛﺜﺮ ﺍﻷﺷﻜﺎﻝ ﺗﻌﻴﻴﻨﺎً‪ :‬ﺍﻟﺸﱠﺨﺺ ﺑﺼﻔﺘﻪ‬
‫ﻛﻼّ ً ﺣﻴﱠﺎً‪ ،‬ﻭﳕﻮﺫﺝَ ﻭﺟﻮﺩٍ ﻓﺮﺩﻳﱠﺎً‪ .‬ﻭﻣﻦ ﻏﻴﺮ ﻫﺬﺍ ﺍﻟﻔﻀﻮﻝ ﺳﺘﻤﺮّ ﻣﻦ ﺃﻣﺎﻣﻨﺎ‬
‫ﺍﳌﺨﻠﻮﻗﺎﺕ ﺑﺄﻛﺜﺮ ﺗﻨﻮّﻋﺎﺗﻬﺎ ﻣﻦ ﻏﻴﺮ ﺃﻥ ﻧﻠﻤﺤﻬﺎ‪ .‬ﻭﺇﻥﱠ ﻣﺼﺒﺎﺡ ﻋﺬﺍﺭﻯ ﺍﻹﳒﻴﻞ‪،‬‬
‫ﺍﳌﺸﺘﻌﻞ ﺩﺍﺋﻤﺎً‪ ،‬ﺭﻣﺰ ﻟﻬﺬﻩ ﺍﻟﻔﻀﻴﻠﺔ ﺍﻟﺘﻲ ﺗﺸﻜﱢﻞ ﻣﺎ ﻳﺸﺒﻪ ﻋﺘﺒﺔ ﺍﳊﺐّ‪.‬‬
‫ﻟﻜﻨﱠﻨﺎ ﻧﻼﺣﻆ ﺃﻥﱠ ﻓﻀﻮﻻً ﻛﻬﺬﺍ ﻳﻔﺘﺮﺽ ﻣﻦ ﺟﻬﺘﻪ ﺃﻣﻮﺭﺍً ﺃﺧﺮﻯ ﻛﺜﻴﺮﺓ‪ .‬ﺫﻟﻚ‬
‫ﺃﻧﱠﻪ ﺗﺮﻑ ﺣﻴﻮﻱ ﻻ ﳝﻜﻦ ﺃﻥ ﳝﺘﻠﻜﻪ ﺳﻮﻯ ﻛﺎﺋﻨﺎﺕ ﺣﻴﱠﺔ ﺫﺍﺕ ﻣﺴﺘﻮﻯ ﺣﻴﻮﻱ ﻋﺎﻝٍ‪.‬‬
‫ﻓﺎﻟﻀﱠﻌﻴﻒ ﻋﺎﺟﺰ ﻋﻦ ﻫﺬﺍ ﺍﻻﻫﺘﻤﺎﻡ ﺍ‪‬ﺮﱠﺩ ﻋﻦ ﺍﻟﻐﺮﺽ ﻭﺍﻟﺴﱠﺎﺑﻖ ﻋﻠﻰ ﻣﺎ ﳝﻜﻦ ﺃﻥ‬

‫)‪ (١‬ﺃﺣﻴﻞ ﺍﻟﻘﺎﺭﺉ ﺑﺎﻟﻨﱢﺴﺒﺔ ﻟﻬﺬﺍ ﺍﻟﻠﻐﺰ ﺍﻟﻜﺒﻴﺮ‪ :‬ﻛﻴﻒ ﻧـﺮﻯ ﺍﻟـﺸﱠﺨﺺ ﺍﻵﺧـﺮ‪ ،‬ﺇﻟـﻰ ﺑﺤـﺜﲔ ﻟـﻲ‪" :‬ﺇﺩﺭﺍﻙ‬
‫ﺍﻵﺧــﺮ"‪) ،‬ﺍﻷﻋﻤــﺎﻝ ﺍﻟﻜﺎﻣﻠــﺔ ﻣﺠﻠﱠــﺪ ‪ .VI‬ﺹ ‪ .(/١٥٣/‬ﻭ "ﺣــﻮﻝ ﺍﻟﺘﱠﻌﺒﻴــﺮ ﻭﺍﻟﻈﱠــﺎﻫﺮﺓ ﺍﻟﻜﻮﻧﻴﱠــﺔ"‪.‬‬
‫)ﺍﳌﺸﺎﻫﺪ ‪ .VII‬ﺍﻷﻋﻤﺎﻝ ﺍﻟﻜﺎﻣﻠﺔ‪ ،‬ﻣﺠﻠﱠﺪ ‪ ،II‬ﺹ ‪ - .(/٥٧٧/‬ﺍﳌﺆﻟﻒ‬
‫‪-٢٧-‬‬
‫ﻳﺤﺪﺙ ﺧﺎﺭﺟﻪ؛ ﺑﺎﳊﺮﻱّ‪ ،‬ﻳﺨﺸﻰ ﻏﻴﺮ ﺍﳌﻨﺘﻈَﺮ ﺍﻟﺬﻱ ﻗﺪ ﲡﻠﺒﻪ ﺍﳊﻴﺎﺓ ﻣﻠﻔﻮﻓﺎً ﰲ‬
‫ﻃﻴﱠﺎﺕ ﺗﻨّﻮﺭﺗﻬﺎ ﺍﳋﺼﺒﺔ‪ ،‬ﻭﻳﺼﺒﺢ ﻣﻐﻠﻘﺎً ﻋﻦ ﻛﻞّ ﻣﺎ ﻟﻴﺲ ﻟﻪ ﻋﻼﻗﺔ ﲟﺼﻠﺤﺘﻪ‬
‫ﺍﻟﺬﱠﺍﺗﻴﱠﺔ‪ .‬ﺇﻥﱠ ﻫﺬﻩ ﺍﳌﻔﺎﺭﻗﺔ ﰲ ﺍﳌﺼﻠﺤﺔ ﺍ‪‬ﺮﱠﺩﺓ ﺗﺨﺘﺮﻕ ﺍﳊﺐّ ﰲ ﻭﻇﺎﺋﻔﻪ ﻭﺭﺗﺒﻪ ﻛﻠّﻬﺎ‪،‬‬
‫ﻛﻤﺎ ﺍﳋﻴﻂ ﺍﻷﺣﻤﺮ ﺍﳌﺘﻀﻤﱠﻦ ﰲ ﺣﺒﺎﻝ ﺍﻟﺒﺤﺮﻳﱠﺔ ﺍﳌﻠﻜﻴﱠﺔ ﺍﻹﻧﻜﻠﻴﺰﻳﱠﺔ ﻛﻠّﻬﺎ‪.‬‬
‫ﻭﻗﺪ ﻗﺎﻝ ﺳﻴﻤّﻴﻞ ‪ Simmel‬ﻋﻠﻰ ﺇﺛﺮ ﻧﻴﺘﺸﻪ‪ :‬ﺇﻥﱠ ﺟﻮﻫﺮ ﺍﳊﻴﺎﺓ ﻳﻜﻤﻦ ﺗﺤﺪﻳﺪﺍً‬
‫ﰲ ﺍﻟﺮﱠﻏﺒﺔ ﰲ ﻣﺰﻳﺪ ﻣﻦ ﺍﳊﻴﺎﺓ‪ .‬ﺍﳊﻴﺎﺓ ﻫﻲ ﻣﺰﻳﺪ ﻣﻦ ﺍﳊﻴﺎﺓ ﻭﺍﻟﻌﻤﻞ ﻋﻠﻰ ﺯﻳﺎﺩﺓ‬
‫ﺧﻔﻘﺎﺕ ﺍﻟﻘﻠﺐ ﺫﺍﺗﻬﺎ‪ .‬ﻭﺇﺫﺍ ﻟﻢ ﺗﻜﻦ ﺍﳊﻴﺎﺓ ﻛﺬﻟﻚ‪ ،‬ﻓﻬﻲ ﻣﺮﻳﻀﺔ‪ ،‬ﻭﲟﻘﻴﺎﺳﻬﺎ ﻟﻴﺴﺖ‬
‫ﺣﻴﺎﺓ‪ .‬ﺇﻥﱠ ﺍﻻﺳﺘﻌﺪﺍﺩ ﻟﻼﻫﺘﻤﺎﻡ ﺑﺸﻲﺀ ﻟِﻤﺎ ﻫﻮ ﺑﺬﺍﺗﻪ ﻭﻟﻴﺲ ﺑﺎﻟﻨﱠﻈﺮ ﺇﻟﻰ ﺍﻟﻔﺎﺋﺪﺓ ﺍﻟﺘﻲ‬
‫ﻳﺮﺩّﻫﺎ ﻋﻠﻴﻨﺎ‪ ،‬ﻫﻮ ﻫﺒﺔ ﺳﺨﻴﱠﺔ ﺭﺍﺋﻌﺔ ﺗﺰﺩﻫﺮ ﰲ ﺃﻋﻠﻰ ﺍﻟﻘﻨﻦ ﺣﻴﻮﻳﱠﺔ ﻓﻘﻂ‪ .‬ﻟﺌﻦ ﻳﻜﻦ‬
‫ﺍﳉﺴﻢ ﺿﻌﻴﻔﺎً ﻃﺒﻴﱠﺎً ﻟﻨﻘﺺ ﰲ ﺍﳉﻬﺎﺯ ﺍﻟﺘﱠﺸﺮﻳﺤﻲ ﻻ ﻳﺴﺘﻠﺰﻡ ﺗﻠﻘﺎﺋﻴﱠﺎً ﻧﻘﺼﺎً ﺣﻴﻮﻳﱠﺎً‪،‬‬
‫ﻭﺍﻟﻌﻜﺲ ﺻﺤﻴﺢ‪ ،‬ﺇﺫْ ﻻ ﺗﻀﻤﻦ ﺍﳉﺴﺎﻣﺔ ﺍﻟﻬﺮﻗﻠﻴﱠﺔ ﻃﺎﻗﺎﺕ ﻋﻀﻮﻳﱠﺔ ﻛﺒﺮﻯ‪) .‬ﻭﻫﺬﺍ ﻣﺎ‬
‫ﻳﺤﺪﺙ ﻋﻠﻰ ﺷﻜﻞ ﺷﺎﺋﻊ ﺟﺪﱠﺍً ﻣﻊ ﺍﻟﺮّﻳﺎﺿﻴﱠﲔ(‪.‬‬
‫ﺇﻥﱠ ﺍﻟﺮﱢﺟﺎﻝ ﻭﺍﻟﻨﱢﺴﺎﺀ ﻛﻠّﻬﻢ ﺗﻘﺮﻳﺒﺎً ﻳﻌﻴﺸﻮﻥ ﻏﺎﺭﻗﲔ ﰲ ﺟﻮﱟ ﻣﻦ ﻣﺼﺎﳊﻬﻢ‬
‫ﺍﻟﺬﱠﺍﺗﻴﱠﺔ؛ ﻭﺑﻌﻀﻬﻢ ﻋﻠﻰ ﻛﻮﻧﻪ ﺟﻤﻴﻼً ﻭﻣﺤﺘﺮﻣﺎً ﺑﻼ ﺭﻳﺐ‪ ،‬ﻋﺎﺟﺰ ﻋﻦ ﺍﻟﺸّﻌﻮﺭ ﺑﺎﻟﻘﻠﻖ‬
‫ﻟﻠﻬﺠﺮﺓ ﺇﻟﻰ ﺃﺑﻌﺪ ﻣﻦ ﺫﻭﺍﺗﻬﻢ ﺫﺍﺗﻬﺎ‪ :‬ﺳﻮﺍﺀ ﺃﻛﺎﻧﻮﺍ ﻣﺴﺮﻭﺭﻳﻦ ﺃﻡ ﻣﺴﺘﺎﺋﲔ ﻣﻦ ﺗﻔﺎﺻﻴﻞ‬
‫ﻣﺎ ﻳﺤﻴﻂ ﺑﻬﻢ؛ ﻓﻬﻢ ﻳﻌﻴﺸﻮﻥ ﰲ ﺍﻟﻨﱢﻬﺎﻳﺔ ﺭﺍﺿﲔ ﺑﺨﻂّ ﺃﻓﻖ ﺣﻴﺎﺗﻬﻢ‪ ،‬ﻭﻻ ﻳﻔﺘﻘﺪﻭﻥ‬
‫ﺍﻹﻣﻜﺎﻧﻴﱠﺎﺕ ﺍﻟﻐﺎﻣﻀﺔ ﺍﻟﺘﻲ ﳝﻜﻦ ﺃﻥ ﺗﻮﺟﺪ ﺑﻮﻓﺮﺓ‪ .‬ﻭﺇﻥﱠ ﺍﺳﺘﻌﺪﺍﺩﺍً ﻧﻔﺴﻴﱠﺎً ﻛﻬﺬﺍ‬
‫ﻻﻳﺘﻤﺎﺷﻰ ﻣﻊ ﻏﺮﻳﺰﺓ ﻟﻠﻬﺠﺮﺓ ﻻ ﺗﻜﻞّ‪ ،‬ﻭﻟﺮﻏﺒﺔ ﻗﺎﺳﻴﺔ ﰲ ﺍﻟﺬﱠﻫﺎﺏ ﻣﻦ ﺍﻟﺬﱠﺍﺕ ﺇﻟﻰ‬
‫ﺍﻵﺧﺮ‪ .1‬ﻟﺬﻟﻚ ﻳﺼﻌﺐ ﻋﻠﻰ ﺍﻟﺒﺮﺟﻮﺍﺯﻱ ﺍﻟﺼﱠﻐﻴﺮ ﻭﺍﳌﺮﺃﺓ ﺍﻟﺒﺮﺟﻮﺍﺯﻳﱠﺔ ﺍﻟﺼﱠﻐﻴﺮﺓ ﺃﻥ‬

‫)‪ (١‬ﰲ ﻛ ـﻞﱢ ﻣﺠﺘﻤــﻊ ﻭﻋــﺮﻕ ﺃﻭ ﻋــﺼﺮ ﺗﻐﻴــﺐ ﺇﻣﻜﺎﻧﻴﱠــﺔ ﺍﳊ ـﺐّ ﺍﻟ ـﺸﱠﺎﺋﻊ ﻟــﻨﻘﺺٍ ﰲ ﻫــﺬﺍ ﺍﻟ ـﺸﱠﺮﻁ ﺃﻭ ﺫﺍﻙ ﺍﻟ ـﺸﱠﺮﻁ‬
‫ﺍﻵﺧﺮ‪ .‬ﰲ ﺇﺳﺒﺎﻧﻴﺎ ﻻ ﺣﺎﺟﺔ ﺑﻨﺎ ﺇﻟـﻰ ﺍﻟﺒﺤـﺚ ﺑﻌﻴـﺪﺍً ﻋـﻦ ﺍﻟـﺴﱠﺒﺐ ﰲ ﻧـﺪﺭﺓ ﺗﻮﻓ ـّﺮ ﺍﻟﻮﺍﻗﻌـﺔ ﺍﻹﻳﺮﻭﺳـﻴﺔ‪ ،‬ﻟﻐﻴـﺎﺏ‬
‫ﺍﻟﻔــﺮﺽ ﺍﻷﻭﻝ‪ .‬ﻗﻠﻴﻠــﻮﻥ ﻫــﻢ ﺍﻹﺳــﺒﺎﻥ ﺧﺎﺻّــﺔ ﺍﻹﺳــﺒﺎﻧﻴﱠﺎﺕ‪ ،‬ﺍﳌــﺰﻭﱠﺩﻭﻥ ﺑﺎﻟﻔــﻀﻮﻝ‪ .‬ﻭﻳــﺼﻌﺐ ﺃﻥ ﲡــﺪ ﺃﺣــﺪﺍً‬
‫ﻳﺸﻌﺮ ﺑﺎﻟﺸﱠﻬﻮﺓ ﻟﻴﺤـﺐّ ﺍﳊﻴـﺎﺓ ﻛﻴﻤـﺎ ﻳـﺮﻯ ﻣـﺎ ﲡﻠﺒـﻪ ﺃﻭ ﻣـﺎ ﳝﻜـﻦ ﺃﻥ ﲡﻠﺒـﻪ‪ .‬ﻭﻃﺮﻳـﻒ ﺃﻥ ﳓـﻀﺮ ﺍﺟﺘﻤﺎﻋـﺎً‬
‫"ﺍﺟﺘﻤﺎﻋﻴﱠ ـﺎً" ﰲ ﺑﻠــﺪﻧﺎ‪ :‬ﺇﻥﱠ ﻏﻴــﺎﺏ ﺍﻟﺘﱠــﻮﺗﱡﺮ ﰲ ﺍﳊــﻮﺍﺭ ﻭﰲ ﺍﳊﺮﻛــﺎﺕ ﻳﻜــﺸﻒ ﺳــﺮﻳﻌﺎً ﺃﻧﱠــﻚ ﺑــﲔ ﻧــﺎﺱ ﻧﻴــﺎﻡ‪.‬‬
‫ﻭﻳُﺴﻤﱠﻲ ﺍﻟﺒﻴﻮﻟﻮﺟﻴﱡﻮﻥ ﺣﻴﺎﺓً ﺩﻧﻴﺎ ﺍﻟﺴﱡﺒﺎﺕ ﺍﻟﺸﱠﺘﻮﻱ ﻟـﺒﻌﺾ ﺍﻷﻧـﻮﺍﻉ‪ .‬ﻧـﺎﺱ ﻻ ﻳﻄﻠﺒـﻮﻥ ﺷـﻴﺌﺎً ﻣـﻦ ﺍﻟـﺴﱠﺎﻋﺔ ﺍﻟﺘـﻲ‬
‫ﲤـﺮّ‪ ،‬ﻭﻻ ﻳﺘﻮﻗﱠﻌـﻮﻥ ﺷــﻴﺌﺎً ﻣـﻦ ﺑﻌـﻀﻬﻢ ﺍﻟــﺒﻌﺾ‪ ،‬ﻭﻻ ﺷـﻴﺌﺎً ﻣـﻦ ﺍﻟﻮﺟــﻮﺩ ﺑﻌﺎﻣﱠـﺔ‪ .‬ﻭﻫـﻮ ﻻ ﺃﺧﻼﻗــﻲ‪ ،‬ﻣـﻦ ﻭﺟﻬــﺔ‬
‫ﻧﻈﺮﻱ‪ ،‬ﻣﻦ ﻻ ﻳﺠﻬﺪ ﻟﻴﺠﻌﻞ ﻛﻞّ ﳊﻈﺔ ﻣﻦ ﺣﻴﺎﺗﻪ ﺃﺷﺪّ ﻣﺎ ﳝﻜﻦ ﺗﻮﺗﱡﺮﺍً‪ - .‬ﺍﳌﺆﻟﱢﻒ‪.‬‬
‫‪-٢٨-‬‬
 ‫ﻳﺤﺒﱠﺎ ﺑﺸﻜﻞٍ ﺻﺎﺩﻕ؛ ﻓﺎﳊﻴﺎﺓ ﰲ ﻧﻈﺮﻫﻤﺎ ﺇﳊﺎﺡ ﻋﻠﻰ ﻣﺎ ﻫﻮ ﻣﻌﺮﻭﻑ ﻭﻣﺄﻟﻮﻑ ﻭﺭﺿﺎ‬
‫ﻻ ﻳﺘﺰﻋﺰﻉ ﺩﺍﺧﻞ ﺟﻤﻠﺔ ﺍﻷﻣﻮﺭ ﺍﳌﻌﺘﺎﺩﺓ‪.‬‬
‫ﻭﻫﺬﺍ ﺍﻟﻔﻀﻮﻝ ﺍﻟﺬﻱ ﻫﻮ ﻧﺰﻭﻉ ﺇﻟﻰ ﺍﳊﻴﺎﺓ‪ ،‬ﻻ ﳝﻜﻦ ﺃﻥ ﻳﻮﺟﺪ ﺇﻻ ﰲ ﻧﻔﻮﺱ‬
‫ﻣﺴﺎﻣﻴﱠﺔ ﺣﻴﺚ ﻳﺠﺮﻱ ﺍﻟﻬﻮﺍﺀ ﺍﻟﻄﱠﻠﻖ ﻏﻴﺮ ﻣﺤﺪﻭﺩ ﺑﺠﺪﺍﺭ ﺗﺤﺪﻳﺪ‪ .‬ﺇﻧﱠﻪ ﺍﻟﻬﻮﺍﺀ ﺍﻟﻜﻮﻧﻲّ‬
‫ﻣﺤﻤﱠﻼً ﺑﻐﺒﺎﺭ ﺍﻟﻨﺠﻮﻡ ﺍﻟﺒﻌﻴﺪﺓ‪ .‬ﻟﻜﻦ ﺫﻟﻚ ﻻ ﻳﻜﻔﻲ ﻛﻴﻤﺎ ﻧﺮﻯ ﻫﺬﺍ ﺍﻟﻜﻴﺎﻥ ﺍﻟﺪﱠﻗﻴﻖ‬
‫ﺍﳌﻌﻘﱠﺪ‪ ،‬ﺍﻟﺬﻱ ﻫﻮ ﺷﺨﺺ‪ .‬ﺇﻥﱠ ﺍﻟﻔﻀﻮﻝ ﻳُﻌِﺪﱡ ﻋﻀﻮ ﺍﻟﺒﺼﺮ‪ ،‬ﻟﻜﻦﱠ ﻫﺬﺍ ﺍﻟﻌﻀﻮ ﻳﺠﺐ ﺃﻥ‬
‫ﻳﻜﻮﻥ ﺣﺎﺩﱠﺍً‪ .‬ﻭﺣﺴﻦ ﺍﻟﺒﺼﺮ ﻫﻮ ﺍﳌﻮﻫﺒﺔ ﺍﻷﻭﻟﻰ ﻭﺍﻟﺰﱠﺍﺩ ﺍﻟﻌﺠﻴﺐ ﺍﻟﺬﻱ ﻳﻔﻌﻞ ﻓﻌﻠﻪ‬
‫ﻛﻌﻨﺼﺮ ﰲ ﺍﳊﺐّ‪ .‬ﺇﻧﱠﻨﺎ ﺑﺼﺪﺩ ﺣﺪﺱ ﺧﺎﺹ ﻳﺘﻴﺢ ﻟﻨﺎ ﺃﻥ ﻧﻜﺘﺸﻒ ﺳﺮﻳﻌﺎً ﺩﺧﻴﻠﺔ‬
‫ﺭﺟﺎﻝ ﺁﺧﺮﻳﻦ‪ ،‬ﻭﺻﻮﺭﺓ ﻧﻔﺴﻬﻢ ﻣﺘﱠﺤﺪﺓ ﺑﺎﳌﻌﻨﻰ ﺍﻟﺬﻱ ﻳﻌﺒّﺮ ﻋﻨﻪ ﺍﳉﺴﻢ‪ .‬ﻭﺑﻔﻀﻞ ﻫﺬﺍ‬
‫ﺍﻟﻔﻀﻮﻝ ﻧﺴﺘﻄﻴﻊ ﺃﻥ "ﳕﻴّﺰ" ﺃﺷﺨﺎﺻﺎً‪ ،‬ﻭﺗﻘﺪﻳﺮ ﻧﻮﻋﻴﺘﻬﻢ ﻭﺗﻔﺎﻫﺘﻬﻢ ﺃﻭ ﺗﻔﻮّﻗﻬﻢ‪،‬‬
‫ﻭﻣﺴﺘﻮﻯ ﻛﻤﺎﻟﻬﻢ ﺍﳊﻴﻮﻱ‪ ،‬ﺃﺧﻴﺮﺍً‪ .‬ﻭﻻ ﻳُﻈﻨﱠﻦﱠ ﺃﻧﱢﻲ ﺑﺴﺒﺐ ﺫﻟﻚ ﺃﺗﻄﻠﱠﻊ ﺇﻟﻰ ﺃﻥ ﺃﻋﻘﻠﻦ‬
‫ﺍﻟﺸﻌﻮﺭ ﺑﺎﳊﺐ‪ .‬ﻭﻫﺬﺍ ﺍﻟﺘﱠﺒﺼﱡﺮ ﻻ ﻋﻼﻗﺔ ﻟﻪ ﺑﺎﻟﻌﻘﻞ‪ ،‬ﻭﻟﺌﻦ ﻳﺮﺟّﺢ ﺣﻀﻮﺭﻩ ﻟﺪﻯ‬
‫ﻣﺨﻠﻮﻗﺎﺕ ﺫﺍﺕ ﻋﻘﻞ ﺻﺎﻑٍ‪ ،‬ﻓﺈﻧﱠﻪ ﳝﻜﻦ ﺃﻥ ﻳﻮﺟﺪ ﻭﺟﻮﺩﺍً ﻻ ﻣﺜﻴﻞ ﻟﻪ؛ ﻛﺎﳌﻮﻫﺒﺔ‬
‫ﺍﻟﺸﻌﺮﻳﱠﺔ ﺍﻟﺘﻲ ﺗﺴﺘﻜﻦّ ﻣﺮﱠﺍﺕ ﻛﺜﻴﺮﺓ ﻟﺪﻯ ﺭﺟﺎﻝ ﻳﻜﺎﺩﻭﻥ ﻳﻜﻮﻧﻮﻥ ﺣﻤﻘﻰ‪ .‬ﰲ ﺍﻟﻮﺍﻗﻊ‪،‬‬
‫ﻟﻴﺲ ﺳﻬﻼً ﺃﻥ ﳒﺪﻩ ﺇﻻ ﻟﺪﻯ ﺃﺷﺨﺎﺹ ﻣﺰﻭﱠﺩﻳﻦ ﺑﺸﻲﺀ ﻣﻦ ﺣﺪﱠﺓ ﺍﻟﻔﻜﺮ‪ ،‬ﻟﻜﻦﱠ ﺯﻳﺎﺩﺗﻪ‬
‫ﻭﻧﻘﺼﺎﻧﻪ ﻻ ﻳﺘﻤﺎﺷﻰ ﻭﻫﺬﻩ ﺍﳊﺪﱠﺓ‪ .‬ﻭﻫﻜﺬﺍ ﻳﺤﺪﺙ ﻋﺎﺩﺓً ﺃﻥ ﻳﺘﻮﻓﱠﺮ ﻫﺬﺍ ﺍﳊﺲ ﻧﺴﺒﻴﱠﺎً‬
‫ﻟﺪﻯ ﺍﻟﻨّﺴﺎﺀ ﺃﻛﺜﺮ ﻣﻦ ﺗﻮﻓّﺮﻩ ﻟﺪﻯ ﺍﻟﺮﱢﺟﺎﻝ‪ ،‬ﻋﻠﻰ ﻋﻜﺲ ﻣﻮﻫﺒﺔ ﺍﻟﺘﱠﻔﻜﻴﺮ‪ ،‬ﻓﻬﻲ ﺗﺘﱠﺼﻒ‬
‫ﻣﻦ ﻧﺎﺣﻴﺔ ﺍﳉﻨﺲ ﺑﺎﻟﺬّﻛﻮﺭﺓ‪.1‬‬
‫ﺃﻣﱠﺎ ﺍﻟﺬﻳﻦ ﻳﺘﺼﻮﱠﺭﻭﻥ ﺍﳊﺐﱠ ﻓﻌﺎﻟﻴﺔً ﻭﺳَﻄﺎً ﺑﲔ ﺳﺤﺮﻳّﺔ ﻭﻣﻴﻜﺎﻧﻴﻜﻴﱠﺔ ﺗﺤﺪﺙ ﰲ‬
‫ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻓﺈﻧﱠﻬﻢ ﻳﺴﺘﻬﺠﻨﻮﻥ ﺃﻥ ﻳُﺠﻌﻞ ﻣﻦ ﺑُﻌﺪ ﺍﻟﺒﺼﺮ ﺇﺣﺪﻯ ﺻﻔﺎﺗﻪ ﺍﻟﺮﱠﺋﻴﺴﺔ‪.‬‬
‫ﻓﺎﳊﺐّ ﰲ ﺭﺃﻳﻬﻢ‪ ،‬ﻳﻮﻟﺪ ﺩﺍﺋﻤﺎً ﻣﻦ ﻏﻴﺮ ﺳﺒﺐ‪ ،‬ﻭﻫﻮ ﻻ ﻣﻨﻄﻘﻲ ﻭﻣﻨﺎﻑٍ ﻟﻠﻌﻘﻞ‪ ،‬ﺑﺎﻟﺘﱠﺎﻟﻲ‬
‫ﻳﺴﺘﺒﻌﺪ ﻛﻞّ ﺗﺒﺼّﺮ‪ .‬ﻭﻫﺬﻩ ﻫﻲ ﺇﺣﺪﻯ ﺍﻟﻨﱢﻘﺎﻁ ﺍﻟﺮﱠﺋﻴﺴﺔ ﺍﻟﺘﻲ ﺃﺭﻯ ﻧﻔﺴﻲ ﻣُﻠﺰﻣﺎً ﺃﻥ‬
‫ﺃﻧﺎﻗﺾ ﻓﻴﻬﺎ ﺑﺸﻜﻞٍ ﻗﺎﻃﻊ ﺍﻟﻔِﻜَﺮ ﺍﳌﺘﻠﻘﱠﺎﺓ‪.‬‬

‫)‪ (١‬ﻛــﻞّ ﻭﻇﻴﻔـــﺔ ﺑﻴﻮﻟﻮﺟﻴﱠــﺔ ﺗُﺒـــﺮﺯ ﺇﻟــﻰ ﺟﺎﻧـــﺐ ﺍﻟﻘﺎﻋـــﺪﺓ‪ ،‬ﺷــﺬﻭﺫﻫﺎ‪ ،‬ﺧﻼﻓـ ـﺎً ﻟﻠﻈﱠــﻮﺍﻫﺮ ﺍﻟﻔﻴﺰﻳﺎﺋﻴﱠـــﺔ ﺍﻟﻜﻴﻤﻴﺎﺋﻴﱠـــﺔ‪.‬‬
‫ﻭﻫﻜـﺬﺍ ﺍﻷﻣـﺮ ﰲ ﺍﳊ ـﺐّ‪ .‬ﻓـﺈﺫﺍ ﺗــﻮﻓﱠﺮﺕ ﺍﻟـﺸﺮﻭﻁ ﺍﻷﺧــﺮﻯ ﻛﻴﻤـﺎ ﻳﻮﻟـﺪ ﺍﳊ ـﺐّ‪ ،‬ﻭﻛـﺎﻥ ﺣــﺴﻦ ﺍﻟﺒـﺼﻴﺮﺓ ﻏﻴــﺮ‬
‫ﻛﺎﻑٍ ﺃﻭ ﻣﻌﺪﻭﻣﺎً‪ ،‬ﻓﺴﻮﻑ ﳓﺼﻞ ﻋﻠﻰ ﺣﺎﻟﺔ ﻣﺮﺿﻴﺔ ﻋﺎﻃﻔﻴﱠﺎً ﻣﻦ ﺣﺐّ ﻏﻴﺮ ﻃﺒﻴﻌﻲ‪ - .‬ﺍﳌﺆﻟﱢﻒ‬
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‫ﻧﻘﻮﻝ ﻋﻦ ﺗﻔﻜﻴﺮ ﺇﻧﱠﻪ ﻣﻨﻄﻘﻲ ﺇﺫﺍ ﻟﻢ ﻳﻨﺸﺄ ﻓﻴﻨﺎ ﻣﻌﺰﻭﻻً ﻭﺗﻠﻘﺎﺋﻴﱠﺎً؛ ﺑﺎﳊﺮﻱّ‪ ،‬ﻧﺮﺍﻩ‬
‫ﻳﻨﺒﻊ ﻭﻳﺘﻐﺬﱠﻯ ﻣﻦ ﺗﻔﻜﻴﺮ ﺁﺧﺮ‪ ،‬ﻫﻮ ﻳﻨﺒﻮﻋﻪ ﺍﻟﻨﱠﻔﺴﻲ‪ .‬ﻭﺍﳌﺜﺎﻝ ﺍﻟﺘﱠﻘﻠﻴﺪﻱ ﻋﻠﻰ ﺫﻟﻚ ﻫﻮ‬
‫ﻧﺘﻴﺠﺔ ﺍﻟﻘﻴﺎﺱ‪ :‬ﳓﻦ ﻧﻘﺒﻞ ﺍﻟﻨﱠﺘﻴﺠﺔ )ﻷﻧﱠﻨﺎ( ﺗﺼﻮﱠﺭﻧﺎ ﺍﳌﻘﺪّﻣﺘﲔ‪ .‬ﻓﺈﺫﺍ ﻛﺎﻧﺖ ﺗﻠﻜﻤﺎ‬
‫ﺍﳌﻘﺪﻣﺘﺎﻥ ﰲ ﻣﻮﺿﻊ ﺷﻚ‪ ،‬ﻓﺈﻥﱠ ﺍﻟﻨﱠﺘﻴﺠﺔ ﺗﻈﻞّ ﻣﻌﻠﱠﻘﺔ‪ ،‬ﻭﻧﻜﻒﱡ ﻋﻦ ﺗﺼﺪﻳﻘﻬﺎ‪ .‬ﻭﺍﻟﻠﻢّ )ﺃﻭ‬
‫ﺍﻟﺴﱠﺒﺐ( ﻫﻮ ﺍﻷﺳﺎﺱ ﻭﺍﻟﺪﱠﻟﻴﻞ ﻭﺍﳊﺠﱠﺔ ﻭﺍﻟﻠﻮﻏﻮﺱ ‪ ،logos‬ﺍﻟﺬﻱ ﻳُﺤﻀّﺮ‪ ،‬ﺑﺎﺧﺘﺼﺎﺭ‪،‬‬
‫ﻟﻠﺘﱠﻔﻜﻴﺮ ﻋﻘﻼﻧﻴﱠﺘﻪ‪ .‬ﻟﻜﻨﱠﻪ‪ ،‬ﰲ ﺁﻥٍ ﻭﺍﺣﺪ‪ ،‬ﺍﻟﻴﻨﺒﻮﻉ ﺍﻟﺴﻴﻜﻮﻟﻮﺟﻲ ﺍﻟﺬﻱ ﻧﺸﻌﺮ ﺃﻥﱠ ﻗﻮﺓ‬
‫ﺗﻨﺒﻊ ﻣﻨﻪ‪ ،‬ﺍﻟﻘﻮﱠﺓ ﺍﳊﻘﻴﻘﻴﱠﺔ ﺍﻟﺘﻲ ﺗﺜﻴﺮﻩ ﻭﺗﺒﻘﻴﻪ ﰲ ﺍﻟﺮﱡﻭﺡ‪.‬‬
‫ﻟﺌﻦ ﺧﻼ ﺍﳊﺐّ ﻣﻦ ﺃﻳﺔ ﻋﻤﻠﻴﱠﺔ ﻓﻜﺮﻳﱠﺔ‪ ،‬ﻓﺈﻧﱠﻪ ﻳﺸﺒﻪ ﺍﳊﺠﱠﺔ ﺍﻟﻌﻘﻠﻴﱠﺔ ﰲ ﺃﻧﱠﻪ‬
‫ﻻﻳﻨﺸﺄ ﻋﻔﺎﺭﺍً‪ ،‬ﺃﻭ ﻣﻦ ﻻ ﺷﻲﺀ ‪ ،Nihilo‬ﺇﺫﺍ ﻗﻠﻨﺎ ﻫﻜﺬﺍ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻟﻪ "ﻳﻨﺒﻮﻋﻪ ﺍﻟﻨﱠﻔﺴﻲ"‬
‫ﺍﻟﻜﺎﻣﻦ ﰲ ﺻﻔﺎﺕ ﺍﳌﻮﺿﻮﻉ ﺍﶈﺒﻮﺏ‪ .‬ﻭﺇﻥﱠ ﺣﻀﻮﺭ ﻫﺬﻩ ﺍﻟﺼﱢﻔﺎﺕ ﻳﻮﻟﱢﺪ ﺍﳊﺐّ‬
‫ﻭﻳﻐﺬﱢﻳﻪ‪ ،‬ﺃﻭ ﺑﻘﻮﻝٍ ﺁﺧﺮ‪ ،‬ﻻ ﻳﺤﺐّ ﺃﺣﺪٌ ﻣﻦ ﻏﻴﺮ ﺳﺒﺐ‪ ،‬ﺃﻭ ﺗﻠﻘﺎﺋﻴﱠﺎً‪ .‬ﻭﻛﻞّ ﻣﻦ ﻳﺤﺐ ﻫﻮ‬
‫ﻋﻠﻰ ﻗﻨﺎﻋﺔ ﰲ ﺁﻥ ﻭﺍﺣﺪ‪ ،‬ﺑﺄﻥﱠ ﺣﺒّﻪ ﻣﺴﻮﱠﻍ‪ :‬ﺑﺎﳊﺮﻱّ‪ ،‬ﺍﳊﺐّ ﻫﻮ "ﺍﻋﺘﻘﺎﺩ" )ﺷﻌﻮﺭ( ﺃﻥﱠ‬
‫ﺍﶈﺒﻮﺏ ﻫﻮ ‪ ،‬ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻣﺤﺒﻮﺏ ﺑﺬﺍﺗﻪ‪ ،‬ﻛﻤﺎ ﺃﻥﱠ ﺍﻟﺘﱠﻔﻜﻴﺮ ﻫﻮ ﺍﻻﻋﺘﻘﺎﺩ ﺃﻥﱠ ﺍﻷﺷﻴﺎﺀ‬
‫ﻫﻲ ﰲ ﺍﳊﻘﻴﻘﺔ‪ ،‬ﻃِﺒﻘﺎً ﻟِﻤﺎ ﻓﻜﱠﺮﻧﺎ ﻓﻴﻬﺎ‪ .‬ﻭﳝﻜﻦ ﻟﻨﺎ ﺃﻥ ﻧﻌﺎﻧﻲ ﺍﳋﻄﺄ ﰲ ﻫﺬﻩ ﺍﳊﺎﻟﺔ‬
‫ﺃﻭ ﺗﻠﻚ‪ ،‬ﻭﺃﻥﱠ ﺍﶈﺒﻮﺏ ﻟﻢ ﻳﻜﻦ ﻃﺒﻘﺎً ﳌﺎ ﺷﻌﺮﻧﺎ ﺑﻪ‪ ،‬ﻭﻻ ﺍﻟﻮﺍﻗﻊ ﻭﺍﻗﻌﺎً ﺣﺴﺒﻤﺎ ﻓﻜﱠﺮﻧﺎ‬
‫ﻓﻴﻪ؛ ﻟﻜﻦ ﻭﺍﻗﻊ ﺍﳊﺎﻝ ﻫﻮ ﺃﻧﱠﻨﺎ ﳓﺐ ﻭﻧﻔﻜﺮ ﻣﺎ ﺩﺍﻣﺖ ﺗﻠﻚ ﻗﻨﺎﻋﺘﻨﺎ‪ .‬ﻷﻥﱠ ﻃﺎﺑﻊ ﺍﻟﺘﱠﻔﻜﻴﺮ‬
‫ﺍﳌﻨﻄﻘﻲ ﻳﻜﻤﻦ ﰲ ﻫﺬﻩ ﺍﳋﺎﺻﻴﱠﺔ ﺑﺸﻌﻮﺭﻩ ﻣﺴﻮﱠﻏﺎً ﻭﻋﻴﺸﻪ ﺗﺤﺪﻳﺪﺍً ﻣﻦ ﻫﺬﺍ ﺍﻟﺘﱠﺴﻮﻳﻎ‬
‫ﻣﺘﻐﺬﱢﻳﺎً ﻛﻞ ﳊﻈﺔ ﻣﻨﻪ ﻣﻌﺰﱢﺯﺍً ﺑﻮﺿﻮﺡ ﺳﺒﺒَﻪ‪ .‬ﻭﻟﻘﺪ ﻋﺒﱠﺮ ﻟﻴﺒﻨﻴﺘﺲ ‪ Leibniz‬ﻋﻦ ﺫﻟﻚ‬
‫ﺍﻷﻣﺮ ﻧﻔﺴﻪ ﻗﺎﺋﻼً ﺇﻥﱠ ﺍﻟﺘﱠﻔﻜﻴﺮ ﻟﻴﺲ ﺃﻋﻤﻰ؛ ﺑﻞ ﻫﻮ ﻳﻔﻜﱢﺮ ﰲ ﺷﻲﺀ "ﻷﻧﱠﻪ ﻳﺮﻯ" ﺃﻧﱠﻪ‬
‫ﻛﺬﻟﻚ ﻭﻛﻤﺎ ﻳﻔﻜﱢﺮ ﻓﻴﻪ‪ .‬ﻭﺍﳊﺐّ‪ ،‬ﺑﺎﳌﺜﻞ‪ ،‬ﻳﺤﺐ ﻷﻧﱠﻪ ﻳﺮﻯ ﺍﳌﻮﺿﻮﻉ ﺟﺪﻳﺮﺍً ﺑﺄﻥ ﻳﺤﺐ‪،‬‬
‫ﻭﺑﺬﻟﻚ ﻳﺼﺒﺢ ﻋﻨﺪ ﺍﶈﺐ ﺍﳌﻮﻗﻒ ﺍﻟﺬﻱ ﻻ ﺧﻴﺎﺭ ﻓﻴﻪ‪ ،‬ﻭﺍﳌﻮﻗﻒ ﺍﻟﻮﺣﻴﺪ ﺍﳌﻼﺋﻢ‬
‫ﻟﻠﻤﻮﺿﻮﻉ‪ ،‬ﻭﻻ ﻳﻔﻬﻢ ﺃﻻ ﻳﺤﺒّﻪ ﺍﻵﺧﺮﻭﻥ ‪ -‬ﻭﻫﻮ ﻣﺼﺪﺭ ﺍﻟﻐﻴﺮﺓ ﺍﻟﺘﻲ ﻫﻲ ﺑﻌﺒﺎﺭﺓ ﻣﺎ‬
‫ﻭﻣﻘﻴﺎﺱ ﻣﺎ ﻣﻦ ﺟﻮﻫﺮ ﺍﳊﺐّ ﺫﺍﺗﻪ‪.‬‬
‫ﺇﺫﺍً‪ ،‬ﺍﳊﺐّ ﻟﻴﺲ ﻻ ﻣﻨﻄﻘﻴﱠﺎً ﻭﻣﻀﺎﺩﱠﺍً ﻟﻠﻌﻘﻞ‪ .‬ﻗﺪ ﻳﻜﻮﻥ ﺑﻼ ﺭﻳﺐ‪ ،‬ﺧﺎﺭﺝ ﺍﳌﻨﻄﻖ‬
‫ﻭﺍﻟﻌﻘﻞ؛ ﻷﻥﱠ ﺍﳌﻨﻄﻖ ‪ logo‬ﻭﺍﻟﻌﻘﻞ ‪ ratio‬ﻳﺸﻴﺮﺍﻥ ﺣﺼﺮﺍً ﺇﻟﻰ ﺍﻟﻌﻼﻗﺔ ﺑﲔ ﻣﻔﺎﻫﻴﻢ‪.‬‬
‫ﻟﻜﻦ ﻫﻨﺎﻙ ﺍﺳﺘﻌﻤﺎﻻً ﳌﻔﺮﺩﺓ "ﻋﻘﻞ" ﲟﻌﻨﻰ ﺃﻭﺳﻊ ﻳﻀﻢّ ﻛﻞ ﻣﺎ ﻟﻴﺲ ﺑﺄﻋﻤﻰ‪ ،‬ﻭﻛﻞّ ﻣﺎ‬
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 ‫ﻟﻪ "ﻣﻌﻨﻰ" ‪ .nous‬ﻭﻛﻞ ﺣﺐّ ﻃﺒﻴﻌﻲ ﻟﻪ ﰲ ﺭﺃﻳﻲ‪ ،‬ﻣﻌﻨﻰ‪ ،‬ﻭﻗﺎﺋﻢ ﺑﺸﻜﻞ ﺟﻴﱢﺪ ﰲ ﺫﺍﺗﻪ‪،‬‬
‫ﻭﻫﻮ ﺑﺎﻟﻨﱠﺘﻴﺠﺔ ﺷﺒﻪ "ﻣﻨﻄﻘﻲ" ‪.logoide‬‬
‫ﻭﺃﻧﺎ ﺃﺣﺲّ ﻛﻞّ ﻣﺮﱠﺓ ﺃﻧﻲ ﺃﻛﺜﺮ ﺑُﻌﺪﺍً ﻋﻦ ﺍﳌﻴﻞ ﺍﳌﻌﺎﺻﺮ ﺇﻟﻰ ﺍﻻﻋﺘﻘﺎﺩ ﺃﻥﱠ ﺍﻷﺷﻴﺎﺀ‬
‫ﺗﺨﻠﻮ ﻣﻦ ﺍﳌﻌﻨﻰ‪ ،‬ﻣﻦ ﺍﻟـ ‪ ،nous‬ﻭﺗﺄﺗﻲ ﺑﺸﻜﻞ ﺃﻋﻤﻰ ﻛﺤﺮﻛﺎﺕ ﺍﻟ ﱠﺬﺭﱠﺍﺕ ﺍﻟﺘﻲ ﺭﻓﻌﺘﻬﺎ‬
‫ﺁﻟﻴﱠﺔ ﻣﺪﻣّﺮﺓ ﺇﻟﻰ ﳕﻮﺫﺝ ﳕﻮﺫﺟﻲ ﻟﻜﻞّ ﻭﺍﻗﻊ‪.‬‬
‫ﻟﺬﻟﻚ ﺃﺭﻯ ﺃﻧﱠﻪ ﻻ ﻏﻨﻰ ﰲ ﻛﻞّ ﺣﺐّ ﺣﻘﻴﻘﻲ ﻋﻦ ﳊﻈﺔ ﺗﺒﺼﱡﺮ ﺗﻮﺿّﺢ ﻟﻨﺎ‬
‫ﺍﻟﺸﱠﺨﺺ ﺍﻵﺧﺮ ﺣﻴﺚ ﺍﻟﺸّﻌﻮﺭ ﻳﺠﺪ "ﺃﺳﺒﺎﺑﺎً" ﻛﻴﻤﺎ ﻳﻨﺸﺄ ﻭﻳﻜﺒﺮ‪.‬‬
‫ﻭﻗﺪ ﻳﻜﻮﻥ ﻫﺬﺍ ﺍﻟﺘﱠﺒﺼﱡﺮ ﻛﺒﻴﺮﺍً ﺃﻭ ﺻﻐﻴﺮﺍً‪ ،‬ﻭﻗﺪ ﻳﻜﻮﻥ ﻣﺒﺘﺬﻻً ﺃﻭ ﻋﺒﻘﺮﻳﱠﺎً‪ .‬ﻭﻫﺬﺍ‬
‫ﻫﻮ ﺃﺣﺪ ﻭﻟﻴﺲ ﺃﻫﻢ ﺍﻷﺳﺒﺎﺏ ﺍﻟﺘﻲ ﲡﻌﻠﻨﻲ ﺃﺻﻒ ﺍﳊﺐّ ﺑﺎﳌﻮﻫﺒﺔ ﺍﻟﻔﺬﱠﺓ ‪Sui‬‬
‫‪ generis‬ﺍﻟﺘﻲ ﺗﻘﺒﻞ ﻛﻞّ ﺍﻟﺪﱠﺭﺟﺎﺕ ﻭﺻﻮﻻً ﺣﺘﱠﻰ ﺍﻟﻌﺒﻘﺮﻳﱠﺔ‪ .‬ﻟﻜﻦ‪ ،‬ﻣﻦ ﺍﻟﻮﺍﺿﺢ ﺃﻳﻀﺎً ﺃﻥ‬
‫ﻳﺸﺘﺮﻙ ﺍﻻﺗﱢﺠﺎﻩ ﺑﺈﻣﻜﺎﻧﻴﱠﺔ ﺍﳋﻄﺄ ﻣﻊ ﺍﻟﺮﺅﻳﺔ ﺍﳉﺴﺪﻳﱠﺔ ﻭﺍﻟﺬﱠﻛﺎﺀ‪ .‬ﻭﺍﳌﻴﻜﺎﻧﻴﻜﻴﱠﺔ ﺍﻟﻌﻤﻴﺎﺀ‬
‫ﻻ ﺗﺨﻄﺊ ﻗﻂّ‪ .‬ﻭﺗﺮﺗﺪّ ﻛﺜﻴﺮ ﻣﻦ ﺣﺎﻻﺕ ﺍﻟﺸّﺬﻭﺫ ﰲ ﺍﳊﺐّ ﺇﻟﻰ ﺍﺿﻄﺮﺍﺏ ﰲ ﺇﺩﺭﺍﻙِ‬
‫ﺍﻟﺸﱠﺨﺺِ ﺍﶈﺒﻮﺏ‪ :‬ﺧﺪﺍﻉ ﺑﺼﺮﻱ ﻭﺳﺮﺍﺑﺎﺕ ﻟﻴﺴﺖ ﺃﻛﺜﺮ ﻏﺮﺍﺑﺔ ﻭﻻ ﺃﻗﻞّ ﻭﺿﻮﺣﺎً‬
‫ﳑﱠﺎ ﺗﺮﺗﻜﺒﻪ ﺍﻟﻌﻴﻨﺎﻥ ﻛﺜﻴﺮﺍً ﻣﻦ ﻏﻴﺮ ﺩﺍﻉٍ ﻛﻴﻤﺎ ﻧﻌﻠﻦ ﻋﻦ ﺃﻧﻔﺴﻨﺎ ﻋُﻤﻴﺎً‪ .‬ﺃﻣَﺎ ﻭﺇﻥﱠ ﺍﳊﺐّ‬
‫ﺑﺎﻟﺘﱠﺤﺪﻳﺪ ﻳﺨﻄﺊ ﺃﺣﻴﺎﻧﺎً –ﻭﺇﻥ ﻛﺎﻥ ﺍﳋﻄﺄ ﺃﻗﻞّ ﻛﺜﻴﺮﺍً ﳑﱠﺎ ﻳُﻘﺎﻝ –ﻳﺠﺐ ﻋﻠﻴﻨﺎ ﺃﻥ‬
‫ﻧﺮﺩﱠ ﺇﻟﻴﻪ ﺻﻔﺔ ﺍﻟﺮﱡﺅﻳﺔ ﻛﻤﺎ ﺃﺭﺍﺩ ﺑﺎﺳﻜﺎﻝ ‪" :Pascal‬ﻻ ﻳﺤﻖّ ﻟﻠﺸﱡﻌﺮﺍﺀ ﺃﻥ ﻳﺼﻔﻮﺍ ﻟﻨﺎ‬
‫ﺍﳊﺐّ ﺃﻧﱠﻪ ﺃﻋﻤﻰ‪ :‬ﻳﺠﺐ ﺃﻥ ﻧﻨﺰﻉ ﻋﻨﻪ ﺍﻟﻌﺼﺎﺑﺔ‪ ،‬ﻭﻧﺮﺩّ ﻣﻨﺬ ﺍﻵﻥ ﺍﻟﻔﺮﺡ ﺇﻟﻰ ﻋﻴﻨﻴﻪ"‪.‬‬

‫‪-٣١-‬‬
 ‫ﺍﳊﺐ‪ ‬ﻋﻨﺪ ﺳﺘﻨﺪﺍﻝ‬

‫‪I‬‬

‫ﺇﻥﱠ ﺭﺃﺱ ﺳﺘﻨﺪﺍﻝ ‪ Stendhal‬ﳑﻠﻮﺀ ﺑﺎﻟﻨﱠﻈﺮﻳﱠﺎﺕ‪ ،‬ﻟﻜﻨﱠﻪ ﻻ ﳝﺘﻠﻚ ﻣﻮﺍﻫﺐ‬

‫ﺍﳌﻨﻈﱢﺮ‪ .‬ﻭﻫﻮ ﻳﺸﺒﻪ ﰲ ﺫﻟﻚ ﻛﻤﺎ ﰲ ﺑﻌﺾ ﺍﻷﺷﻴﺎﺀ ﺍﻷﺧﺮﻯ ﻛﺎﺗﺒﻨﺎ ﺑﺎﺭﻭﺧﺎ ‪،Baroja1‬‬
‫ﺍﻟﺬﻱ ﻳﻜﻮﻥ ﺭﺩّ ﻓﻌﻠﻪ ﻋﻠﻰ ﻛﻞ ﺷﺄﻥ ﺇﻧﺴﺎﻧﻲ ﺑﺸﻜﻞ ﻣﺬﻫﺒﻲ )ﺗﻨﻈﻴﺮﻱ( ﺃﻭﱠﻻً‪ .‬ﻛﻼﻫﻤﺎ‬
‫ﺇﺫﺍ ﻧﻈﺮﻧﺎ ﺇﻟﻴﻪ ﻣﻦ ﻏﻴﺮ ﺣﺬﺭ ﻣﻨﺎﺳﺐ‪ ،‬ﻳﻈﻬﺮ ﲟﻈﻬﺮ ﻓﻴﻠﺴﻮﻑ ﺍﳓﺮﻑ ﻋﻦ ﻃﺮﻳﻖ‬
‫ﺍﻷﺩﺏ‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻫﻤﺎ ﻧﻘﻴﻀﺎ ﺫﻟﻚ ﲤﺎﻣﺎً‪ .‬ﻳﻜﻔﻲ ﺃﻥ ﻧﻼﺣﻆ ﺃﻧﱠﻬﻤﺎ ﻛﻠﻴﻬﻤﺎ ﳝﺘﻠﻜﺎﻥ‬
‫ﻣﺠﻤﻮﻋﺔ ﻏﺰﻳﺮﺓ ﻣﻦ ﺍﻟﻨﱠﻈﺮﻳﱠﺎﺕ‪ .‬ﺃﻣﱠﺎ ﺍﻟﻔﻴﻠﺴﻮﻑ‪ ،‬ﻓﻌﻠﻰ ﺍﻟﻌﻜﺲ ﻣﻦ ﺫﻟﻚ‪ ،‬ﻻ ﳝﺘﻠﻚ‬
‫ﻣﻨﻬﺎ ﺳﻮﻯ ﻧﻈﺮﻳﱠﺔ ﻭﺍﺣﺪﺓ‪ .‬ﻭﻫﺬﺍ ﻫﻮ ﺍﻟﻌَﺮَﺽ ﺍﻟﺬﻱ ﳝﻴﱢﺰ ﺃﺳﺎﺳﺎً ﺍﻟﻄﱠﺒﻊ ﺍﻟﻨﱠﻈﺮﻱّ‬
‫ﺍﳊﻘﻴﻘﻲّ ﻣﻦ ﺍﻟﻄﱠﺒﻊ ﺍﻟﺬﻱ ﻳﻜﻮﻥ ﻧﻈﺮﻳﱠﺎً ﰲ ﺍﻟﻈّﺎﻫﺮ ﻓﺤﺴْﺐ‪.‬‬
‫ﻭﻳﺒﻠﻎ ﺍﳌﻨﻈﱢﺮ ﺍﻟﺼّﻴﻐﺔ ﺍﳌﺬﻫﺒﻴﱠﺔ ﻣﺪﻓﻮﻋﺎً ﺑﺮﻏﺒﺔ ﻣﻠﺤﱢﺔ ﻟﻠﺘﱠﻄﺎﺑﻖ ﻣﻊ ﺍﻟﻮﺍﻗﻊ‪.‬‬
‫ﻭﻳﺘﱠﺨﺬ ﻣﻦ ﺃﺟﻞ ﻫﺬﻩ ﺍﻟﻐﺎﻳﺔ ﺍﺣﺘﻴﺎﻃﺎﺕٍ ﻛﺜﻴﺮﺓ‪ ،‬ﺃﺣﺪﻫﺎ ﺃﻥ ﻳُﺒﻘﻲ ﺣﺸﺪ ﺃﻓﻜﺎﺭﻩ ﰲ‬
‫ﻭﺣﺪﺓ ﺻﺎﺭﻣﺔ ﻭﲤﺎﺳﻚ‪ .‬ﻷﻥﱠ ﺍﳊﻘﻴﻘﺔ ﻭﺍﺣﺪﺓ ﺑﺸﻜﻞ ﺭﻫﻴﺐ‪ .‬ﻭﻣﺎ ﻛﺎﻥ ﺃﺷﺪّ ﺫﻋﺮ‬
‫ﺑﺮﻣﻨﻴﺪﺱ ‪ Parmenides‬ﳌﱠﺎ ﺍﻛﺘﺸﻒ ﺫﻟﻚ ! ﺃﻣﱠﺎ ﺃﺫﻫﺎﻧﻨﺎ ﻭﺣﺴﺎﺳﻴﺘﻨﺎ ﻓﻬﻲ ﻋﻠﻰ‬
‫ﺍﻟﻌﻜﺲ ﻣﻦ ﺫﻟﻚ‪ ،‬ﻣﺘﻘﻄﻌﺔ ﻭﻣﺘﻨﺎﻗﻀﺔ ﻭﻣﺘﻌﺪّﺩﺓ ﺍﻷﺷﻜﺎﻝ‪ .‬ﻭﻳﻨﺰﻝ ﺍﳌﺬﻫﺐ ﻋﻨﺪ‬
‫ﺳﺘﻨﺪﺍﻝ ﻭﺑﺎﺭﻭﺧﺎ ﺇﻟﻰ ﻟﻐﺔ ﻣﺤﻀﺔ ﻭﺟﻨﺲ ﺃﺩﺑﻲ ﻳﺼﻠﺢ ﺃﻥ ﻳﻜﻮﻥ ﺃﺩﺍﺓ ﻟﻠﻔﻴﺾ‬
‫ﺍﻟﺸّﻌﺮﻱ‪ .‬ﻭﻧﻈﺮﻳّﺎﺗﻬﻤﺎ ﺃﻏﺎﻥٍ‪ .‬ﺇﻧﱠﻬﻤﺎ ﻳﻔﻜﱢﺮﺍﻥ ﰲ "ﺍﳌﻊ" ﻭ"ﺍﻟﻀﺪ"‪ ،‬ﻭﻫﺬﺍ ﺷﻲﺀ ﻻ ﻳﻌﻤﻠﻪ‬
‫ﺍﳌﻔﻜّﺮ‪ :‬ﺇﻧﱠﻬﻤﺎ ﻳﺤﺒّﺎﻥ ﻭﻳﺒﻐﻀﺎﻥ ﺑﺎﻟﺘﱠﺼﻮﺭﺍﺕ‪ .‬ﻟﺬﻟﻚ ﻛﺎﻧﺖ ﻣﺬﺍﻫﺒﻬﻤﺎ ﻣﺘﻌﺪّﺩﺓ ﻭﺗﺘﻜﺎﺛﺮ‬
‫ﻋﻠﻰ ﺷﻜﻞ ﺑﻜﺘﻴﺮﻱ ﻣﺘﺨﺎﻟﻔﺔ ﻣﺘﻌﺎﺭﺿﺔ‪ ،‬ﻛﻞ ﻣﻨﻬﺎ ﻭﻟﻴﺪ ﺍﻻﻧﻄﺒﺎﻉ ﺍﻵﻧﻲ‪ .‬ﺇﻧﱠﻬﻤﺎ ﻳﻘﻮﻻﻥ‬
‫ﺍﳊﻘﻴﻘﺔ ﻃِﺒﻘﺎً ﻟﻸﻏﺎﻧﻲ‪ ،‬ﻟﻜﻦ‪ ،‬ﻟﻴﺲ ﺣﻘﻴﻘﺔ ﺍﻷﺷﻴﺎﺀ ﺑﻞ ﺣﻘﻴﻘﺔ ﺍﳌﻐﻨّﻲ‪.‬‬

‫)‪ (١‬ﻣﻦ ﻛﺒﺎﺭ ﺍﻟﺮﻭﺍﺋﻴﲔ ﰲ ﺇﺳﺒﺎﻧﻴﺎ ﰲ ﺍﻟﻨﺼﻒ ﺍﻷﻭﱠﻝ ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ‪ - .‬ﺍﳌﺘﺮﺟﻢ‪.‬‬
‫‪-٣٢-‬‬
‫ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻻ ﺃﺗﻄﻠﱠﻊ ﺇﻟﻰ ﺍﻹﻳﺤﺎﺀ ﺑﺬﻡّ ﻣﺎ‪ .‬ﻓﻼ ﺳﺘﻨﺪﺍﻝ ﻭﻻ ﺑﺎﺭﻭﺧﺎ ﻛﺎﻧﺎ‬
‫ﻳﻄﻤﺤﺎﻥ ﺑﻌﺎﻣﱠﺔ ﺇﻟﻰ ﺃﻥ ﻳُﺼﻨّﻔﺎ ﻛﻔﻴﻠﺴﻮﻓﲔ‪ ،‬ﻭﺇﺫْ ﺑﻴّﻨﺖُ ﻫﺬﺍ ﺍﳌﻈﻬﺮ ﺍﻟﻘﻠِﻖ ﻣﻦ‬
‫ﻃﺒﻌﻬﻤﺎ ﺍﻟﻔﻜﺮﻱ‪ ،‬ﻓﻠﻢ ﻳﻜﻦ ﺫﻟﻚ ﺇﻻّ ﺑﺪﺍﻓﻊ ﺍﻟﺸﻌﻮﺭ ﺑﺎﻟﻠﺬﺓ ﺍﻟﻜﺒﺮﻯ ﺑﺄﻥ ﺁﺧﺬ ﺍﻟﺒﺸﺮ‬
‫ﻛﻤﺎ ﻫﻢ‪ .‬ﻛﺎﻧﺎ ﻳﺒﺪﻭﺍﻥ ﻓﻴﻠﺴﻮﻓَﲔ‪ ،‬ﻓﺒﺌﺴﻤﺎ! ‪ .tant pis‬ﻟﻜﻨﱠﻬﻤﺎ ﻟﻴﺴﺎ ﻛﺬﻟﻚ‪ ،‬ﻓﺤﺒﱠﺬﺍ!‬
‫‪.tant mieux‬‬
‫ﺣﺎﻟﺔ ﺳﺘﻨﺪﺍﻝ ﻣﻊ ﺫﻟﻚ‪ ،‬ﺃﻋﻮﺹ ﻣﻦ ﺣﺎﻟﺔ ﺑﺎﺭﻭﺧﺎ‪ .‬ﻷﻥﱠ ﻫﻨﺎﻙ ﻣﻮﺿﻮﻋﺎً ﺃﺭﺍﺩ‬
‫ﺃﻥ ﻳﻨﻈﱢﺮ ﻋﻨﻪ ﺑﺠﺪﱟ ﻛﺎﻣﻞ‪ .‬ﻭﻫﻮ ﺑﺎﳌﺼﺎﺩﻓﺔ‪ ،‬ﺍﳌﻮﺿﻮﻉ ﺫﺍﺗﻪ ﺍﻟﺬﻱ ﻛﺎﻥ ﻳﻌﺘﻘﺪ ﺳﻘﺮﺍﻁ‬
‫ﺭﺃﺱُ ﺍﻟﻔﻼﺳﻔﺔ ﺃﻧﱠﻪ ﻣﻦ ﺍﺧﺘﺼﺎﺻﻪ‪ ،ta erotiká :‬ﺃﻱ‪ ،‬ﺷﺆﻭﻥ ﺍﳊﺐ‪.‬‬
‫ﺩﺭﺍﺳﺔ "ﰲ ﺍﳊﺐ"‪ ،‬ﻛﺘﺎﺏ ﻣﻘﺮﻭﺀ ﺃﻛﺜﺮ ﳑﺎ ﻳُﻘﺮﺃ ﻣﻦ ﺍﻟﻜﺘﺐ‪ .‬ﻳﺼﻞ ﺃﺣﺪﻫﻢ‬
‫ﺇﻟﻰ ﺣﺠﺮﺓ ﺍﳌﺮﻛﻴﺰﺓ ﺃﻭ ﺍﳌﻤﺜﱢﻠﺔ‪ ،‬ﺃﻭ ﺑﺒﺴﺎﻃﺔ ﺍﻟﺴﱠﻴﱢﺪﺓ ﺍﻟﻜﻮﺳﻤﻮﺑﻮﻟﻴﺘﻴﱠﺔ‪ .‬ﻭﻳﺠﺐ ﺍﻻﻧﺘﻈﺎﺭ‬
‫ﳊﻈﺎﺕ‪ .‬ﻭﲡﺘﺬﺏ ﺍﻟﻠﻮﺣﺎﺕُ –ﻭﻟﻢَ ﻳﺘﻌﻴﱠﻦ ﻭﺟﻮﺩ ﻟﻮﺣﺎﺕ ﻋﻠﻰ ﺍﳉﺪﺭﺍﻥ ﻻ ﻣﺤﺎﻟﺔ؟‪-‬‬
‫ﲡﺘﺬﺏ ﻧﻈﺮﺗﻨﺎ ﺃﻭﱠﻻً‪ .‬ﻭﻻ ﻣﻨﺪﻭﺣﺔ ﻟﻨﺎ ﻋﻦ ﺫﻟﻚ‪ .‬ﺇﻧﱠﻪ ﺍﻻﻧﻄﺒﺎﻉ ﺍﻟﻨﺰِﻕ ﺫﺍﺗﻪ ﺍﻟﺬﻱ‬
‫ﻳﺤﺪﺛﻪ ﻓﻴﻨﺎ ﺍﻟﻌﻤﻞ ﺍﻟﻔﻨّﻲ ﺩﺍﺋﻤﺎً ﺗﻘﺮﻳﺒﺎً‪ .‬ﺍﻟﻠﻮﺣﺔ ﻫﻲ ﻛﻤﺎ ﻫﻲ‪ .‬ﻟﻜﻨﱠﻬﺎ ﻛﺎﻥ ﳝﻜﻦ ﺃﻥ‬
‫ﺗﻜﻮﻥ ﺷﻴﺌﺎً ﺁﺧﺮ ﺃﻳﻀﺎً‪ .‬ﺇﺫْ ﳓﺘﺎﺝ ﺩﺍﺋﻤﺎً ﺇﻟﻰ ﻫﺬﺍ ﺍﻻﻧﻔﻌﺎﻝ ﺍﻟﺪﺭﺍﻣﻲ ﻋﻨﺪ ﺍﻟﻌﺜﻮﺭ ﻋﻠﻰ‬
‫ﺷﻲﺀ ﺿﺮﻭﺭﻱ‪ .‬ﰒﱠ ﻗﻄﻊ ﺍﻷﺛﺎﺙ ﻭﺑﻴﻨﻬﺎ ﺑﻌﺾ ﺍﻟﻜﺘﺐ‪ .‬ﰒﱠ ﻣﱳ ﻛﺘﺎﺏ‪ .‬ﻓﻤﺎﺫﺍ ﻳﻘﻮﻝ؟‬
‫"ﰲ ﺍﳊﺐ"‪ ،‬ﻛﺒﺤﺚ ﰲ ﺃﻣﺮﺍﺽ ﺍﻟﻜﺒﺪ ﰲ ﺑﻴﺖ ﺍﻟﻄﱠﺒﻴﺐ‪ .‬ﻭﺗﻄﻤﺢ ﺍﳌﺮﻛﻴﺰﺓ ﻭﺍﳌﻤﺜﱢﻠﺔ‬
‫ﻭﺍﻟﺴﻴﺪﺓ ﺍﻟﻜﻮﺳﻤﻮﺑﻮﻟﻴﺘﻴﱠﺔ ﺇﻟﻰ ﺃﻥ ﻳﻜﻦﱠ ﺑﺸﻜﻞ ﻻ ﻣﺤﻴﺪ ﻋﻨﻪ ﺍﺧﺘﺼﺎﺻﻴﱠﺎﺕٍ ﰲ ﺍﳊﺐّ‪،‬‬
‫ﻭﻳُﺮﺩﻥَ ﺃﻥ ﻳﻜﻦﱠ ﻋﻠﻰ ﻋﻠﻢٍ ﺑﻪ‪ ،‬ﻛﻤﻦ ﻳﺸﺘﺮﻱ ﺳﻴﱠﺎﺭﺓ ﻓﻴﺤﺼﻞ ﺗﻜﻤﻠﺔً ﻟﻬﺎ ﻋﻠﻰ ﻛﺘﻴﱢﺐ ﺣﻮﻝ‬
‫ﺍﶈﺮﱢﻛﺎﺕ ﺍﻻﻧﻔﺠﺎﺭﻳﱠﺔ‪.‬‬
‫ﻭﻗﺮﺍﺀﺓ ﺍﻟﻜﺘﺎﺏ ﺗﺒﻌﺚ ﻋﻠﻰ ﺍﻟﻠﺬﱠﺓ‪ .‬ﻓﺪﺃﺏ ﺳﺘﻨﺪﺍﻝ ﺃﻥ ﻳﻘﺺّ‪ ،‬ﺣﺘﱠﻰ ﺣﻴﻨﻤﺎ‬
‫ﻳﻌﺮﱢﻑ ﻭﻳﻌﻠﱢﻞ ﻭﻳﻨﻈﱢﺮ‪ .‬ﰲ ﺭﺃﻳﻲ ﻫﻮ ﺧﻴﺮ ﺳﺎﺭﺩ ﻣﻮﺟﻮﺩ‪ ،‬ﻭﻫﻮ ﺭﺃﺱ ﺍﻟﺴﺎﺭﺩﻳﻦ ﺃﻣﺎﻡ‬
‫ﺍﻟﻌﻠﻲّ ﺍﻟﻘﺪﻳﺮ‪ .‬ﻟﻜﻦ‪ ،‬ﺃﺻﺤﻴﺤﺔ ﻫﺬﻩ ﺍﻟﻨﱠﻈﺮﻳﱠﺔ ﺍﳌﺸﻬﻮﺭﺓ ﻋﻦ ﺍﳊﺐّ ﺑﺼﻔﺘﻪ ﺑﻠﻮﺭﺓ؟‬
‫ﻭﻟِﻢَ ﻟﻢْ ﺗُﺠﺮَ ﺃﻳﱠﺔ ﺩﺭﺍﺳﺔ ﻣﻌﻤﱠﻘﺔ ﻋﻨﻬﺎ؟ ﻳُﺸﺎﻉ ﻋﻨﻬﺎ ﺇﺷﺎﻋﺔ ﻭﻻ ﻳُﺨﻀﻌﻬﺎ ﺃﺣﺪ ﺇﻟﻰ‬
‫ﺗﺤﻠﻴﻞ ﻣﻮﺍﺋﻢ‪.‬‬
‫ﺃﻻ ﺗﺴﺘﺤﻖّ ﻋﻨﺎﺀ ﺍﻟﺘﱠﺤﻠﻴﻞ؟ ﺑﺎﺧﺘﺼﺎﺭ‪ ،‬ﻳُﻼﺣﻆ ﺃﻥﱠ ﻫﺬﻩ ﺍﻟﻨﱠﻈﺮﻳﱠﺔ ﺗﺼﻒ ﺍﳊﺐﱠ‬
‫ﺃﻧﱠﻪ ﻭﻫﻢ ﰲ ﺍﻷﺳﺎﺱ‪ .‬ﻻ ﻷﻥﱠ ﺍﳊﺐّ ﻳُﺨﻄﺊ ﺍﻟﻄﱠﺮﻳﻖ ﺃﺣﻴﺎﻧﺎً‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻮ ﰲ ﺟﻮﻫﺮﻩ‬
‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺍﻟﺤﺏ ﻡ ‪٣-‬‬ ‫‪-٣٣-‬‬
‫ﺧﻄﺄ‪ .‬ﳓﻦ ﻧﻌﺸﻖ ﺇﺫﺍ ﺃﺳﻘﻄﺖ ﻣﺨﻴﱠﻠﺘﻨﺎ ﻋﻠﻰ ﺷﺨﺺ ﺁﺧﺮ ﻛﻤﺎﻻﺕٍ ﻏﻴﺮَ ﻣﻮﺟﻮﺩﺓ‬
‫ﻓﻴﻪ‪ .‬ﻭﺳﻮﻑ ﻳﺘﻼﺷﻰ ﺍﻟﻮﻫﻢ ﺫﺍﺕ ﻳﻮﻡ‪ ،‬ﻭﻣﻌﻪ ﳝﻮﺕ ﺍﳊﺐّ‪ .‬ﻭﻫﺬﺍ ﺃﺳﻮﺃ ﻣﻦ ﺍﻟﺘﱠﺼﺮﻳﺢ‬
‫ﺃﻥﱠ ﺍﳊﺐّ ﺃﻋﻤﻰ ﺗﺒﻌﺎً ﻟﻌﺎﺩﺓ ﻗﺪﳝﺔ‪ .‬ﻭﰲ ﻧﻈﺮ ﺳﺘﻨﺪﺍﻝ‪ ،‬ﻫﻮ ﺃﻗﻞّ ﻣﻦ ﺃﻋﻤﻰ‪ :‬ﺇﻧﱠﻪ ﺭﺍﺀٍ‪،‬‬
‫ﻻ ﻷﻧﱠﻪ ﻳﺮﻯ ﺍﻟﻮﺍﻗﻊ ﺑﻞ ﻳﺤﻞّ ﻣﺤﻠّﻪ‪.‬‬
‫ﻳﻜﻔﻴﻨﺎ ﺍﻟﻨﱠﻈﺮ ﺇﻟﻰ ﻫﺬﺍ ﺍﳌﺬﻫﺐ ﻣﻦ ﺍﳋﺎﺭﺝ ﺣﺘﱠﻰ ﻧﻌﻴّﻨﻪ ﰲ ﺍﻟﺰﱠﻣﺎﻥ ﻭﺍﳌﻜﺎﻥ‪ .‬ﺇﻧﱠﻪ‬
‫ﺇﻓﺮﺍﺯ ﳕﻮﺫﺟﻲ ﻟﻺﻧﺴﺎﻥ ﺍﻷﻭﺭﻭﺑﻲ ﰲ ﺍﻟﻘﺮﻥ ‪ .١٩‬ﻭﻫﻮ ﻳﺰﺩﻫﻲ ﺑﺎﳌﻠﻤﺤﲔ ﺍﳌﻤﻴﱠﺰﻳﻦ‪:‬‬
‫ﺍﳌﺜﺎﻟﻴﱠﺔ ﻭﺍﻟﺘﺸﺎﺅﻡ‪ .‬ﻓﻨﻈﺮﻳﱠﺔ "ﺍﻟﺒﻠﻮﺭﺓ" ﻣﺜﺎﻟﻴﱠﺔ ﻷﻧﱠﻬﺎ ﲡﻌﻞ ﻣﻦ ﺍﳌﻮﺿﻮﻉ ﺍﳋﺎﺭﺟﻲ ﺍﻟﺬﻱ‬
‫ﻧﺘﱠﺠﻪ ﳓﻮﻩ ﻣﺠﺮﱠﺩ ﺇﺳﻘﺎﻁ ﻣﻦ ﺍﻟﺬﱠﺍﺕ‪ .‬ﻭﺍﻷﻭﺭﻭﺑﻲ ﳝﻴﻞ ﻣﻨﺬ ﻋﺼﺮ ﺍﻟﻨﱠﻬﻀﺔ ﺇﻟﻰ ﻫﺬﻩ‬
‫ﺍﻟﻄﱠﺮﻳﻘﺔ ﰲ ﺗﻔﺴﻴﺮﻩ ﺍﻟﻌﺎﻟَﻢ ﻛﻔﻴﺾ ﺭﻭﺣﻲ‪ .‬ﻭﻗﺪ ﻛﺎﻧﺖ ﻫﺬﻩ ﺍﳌﺜﺎﻟﻴﱠﺔ ﺣﻮﺍﻟﻲ ﺍﻟﻘﺮﻥ ‪١٩‬‬
‫ﻓﺮِﺣﺔ ﻧﺴﺒﻴﱠﺎً‪ .‬ﻓﺎﻟﻌﺎﻟﻢ ﺍﻟﺬﻱ ﺗُﺴﻘﻄﻪ ﺍﻟﺬﺍﺕ ﻋﻠﻰ ﻣﺎ ﺣﻮﻟﻬﺎ‪ ،‬ﻫﻮ ﻋﻠﻰ ﻃﺮﻳﻘﺘﻬﺎ‪،‬‬
‫ﻭﺍﻗﻌﻲ ﻭﺣﻘﻴﻘﻲ ﻭﳑﻠﻮﺀ ﺑﺎﳌﻌﻨﻰ‪ .‬ﻟﻜﻦﱠ ﻧﻈﺮﻳﱠﺔ "ﺍﻟﺒﻠﻮﺭﺓ" ﻣﺘﺸﺎﺋﻤﺔ‪ .‬ﺇﻧﱠﻬﺎ ﲤﻴﻞ ﻟﺘﺒﻴﱢﻦ ﻟﻨﺎ‬
‫ﺃﻥﱠ ﻣﺎ ﻧﻌﺪّﻩ ﻭﻇﺎﺋﻒ ﻃﺒﻴﻌﻴﱠﺔ ﻟﺮﻭﺣﻨﺎ‪ ،‬ﻟﻴﺴﺖ ﻏﻴﺮ ﺣﺎﻻﺕ ﺧﺎﺻﱠﺔ ﻣﻦ ﺍﻟﻨﱠﺸﺎﺯ‪ .‬ﻭﻫﻜﺬﺍ‬
‫ﻳﺮﻳﺪ ﺗﲔ ‪ Taine‬ﺃﻥ ﻳُﻘﻨﻌﻨﺎ ﺃﻥﱠ ﺍﻹﺩﺭﺍﻙ ﺍﻟﻄﱠﺒﻴﻌﻲ ﻣﺎ ﻫﻮ ﻏﻴﺮ ﻫﻠﻮﺳﺔ ﻣﺴﺘﻤﺮﱠﺓ‬
‫ﻭﺟﻤﺎﻋﻴﱠﺔ‪ .‬ﻭﻗﺪ ﻛﺎﻥ ﻫﺬﺍ ﻣﻦ ﺧﻮﺍﺹّ ﺇﻳﺪﻳﻮﻟﻮﺟﻴﺎ ﺍﻟﻘﺮﻥ ‪ .١٩‬ﺇﺫ ﻳُﻔﺴﱠﺮ ﻓﻴﻪ ﺍﻟﻄﱠﺒﻴﻌﻲ‬
‫ﺑﺎﻟﻼﻃﺒﻴﻌﻲ‪ ،‬ﻭﺍﻷﻋﻠﻰ ﺑﺎﻷﺩﻧﻰ‪ .‬ﻭﻫﻨﺎﻙ ﺟﻬﺪ ﻏﺮﻳﺐ ﻟﺘﺒﻴﺎﻥ ﺃﻥﱠ ﺍﻟﻌﺎﻟَﻢ ﻓﻮﺿﻰ ﻣﻄﻠﻘﺔ‬
‫‪ ،quid pro quo‬ﻭﻗﺼﻮﺭ ﺟﻮﻫﺮﻱ‪ .‬ﻭﺳﻮﻑ ﻳﺤﺎﻭﻝ ﻋﺎﻟِﻢ ﺍﻷﺧﻼﻕ ﺃﻥ ﻳﻮﺣﻲ ﺇﻟﻴﻨﺎ ﺃﻥﱠ‬
‫ﻛﻞّ ﻏِﻴﺮﺓ ﻫﻲ ﺃﻧﺎﻧﻴﱠﺔ ﻣﺒﻄﱠﻨﺔ‪ .larvada‬ﻭﻗﺪ ﻭﺻﻒ ﺩﺍﺭﻭﻳﻦ ﺑﺄﻧﺎﺓ ﺍﻟﻌﻤﻞ ﺍﳌﻜﻴﱢﻒ ﺍﻟﺬﻱ‬
‫ﻳﺤﻘّﻘﻪ ﺍﳌﻮﺕ ﰲ ﺍﳊﻴﺎﺓ‪ ،‬ﻭﺟﻌﻞ ﺍﻟﺼﺮﺍﻉ ﻣﻦ ﺃﺟﻞ ﺍﻟﻮﺟﻮﺩ ﺍﻟﻘﻮﱠﺓ ﺍﳊﻴﻮﻳﱠﺔ ﺍﻟﻌﻈﻤﻰ‪،‬‬
‫ﻭﺑﺎﳌﺜﻞ‪ ،‬ﺳﻴﻀﻊ ﻛﺎﺭﻝ ﻣﺎﺭﻛﺲ ﺻﺮﺍﻉ ﺍﻟﻄﱠﺒﻘﺎﺕ ﰲ ﺃﺱﱢ ﺍﻟﺘﱠﺎﺭﻳﺦ‪.‬‬
‫ﻟﻜﻦﱠ ﺍﳊﻘﻴﻘﺔ ﻫﻲ ﻋﻜﺲ ﺫﻟﻚ ﺍﻟﺘﱠﺸﺎﺅﻡ ﺍﻟﻌﻨﻴﺪ ﲤﺎﻣﺎً‪ ،‬ﻭﺗﻨﺠﺢ ﰲ ﺃﻥ ﺗﺴﺘﻘ ّﺮ‬
‫ﺩﺍﺧﻠﻪ ﻣﻦ ﻏﻴﺮ ﺃﻥ ﻳﻠﺤﻆ ﺍﳌﻔﻜّﺮ ﺍﻷﻧﻜﺪ ﺫﻟﻚ‪ .‬ﻭﻫﺬﺍ ﻫﻮ ﻭﺍﻗﻊ ﺍﳊﺎﻝ ﰲ ﻧﻈﺮﻳﱠﺔ‬
‫"ﺍﻟﺒﻠﻮﺭﺓ"‪ .‬ﺇﺫ ﻧﻌﺘﺮﻑ ﻓﻴﻬﺎ ﰲ ﻧﻬﺎﻳﺔ ﺍﳌﻄﺎﻑ‪ ،‬ﺃﻥﱠ ﺍﻟﺮﺟﻞ ﻳُﺤﺐّ ﻓﻘﻂ ﻣﺎ ﳝﻜﻦ ﺃﻥ‬
‫ﻳُﺤَﺐّ‪ ،‬ﻭﻣﺎ ﻫﻮ ﺟﺪﻳﺮ ﺑﺄﻥ ﻳُﺤَﺐّ‪ :‬ﻟﻜﻨﱠﻪ‪ ،‬ﺇﺫْ ﻻ ﻳﺠﺪﻩ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻛﻤﺎ ﻳﺒﺪﻭ‪ ،‬ﻳُﻀﻄﺮّ ﺇﻟﻰ‬
‫ﺃﻥ ﻳﺘﺨﻴﱠﻠﻪ‪ ،‬ﻭﻫﺬﻩ ﺍﻟﻜﻤﺎﻻﺕ ﺍﳌُﺘﺨﻴﱠﻠﺔ ﻫﻲ ﺍﻟﺘﻲ ﺗﺜﻴﺮ ﺍﳊﺐّ‪ .‬ﻭﺳﻬﻞ ﺟﺪﱠﺍً ﺃﻥ ﻧﺼﻒ‬
‫ﺍﻷﺷﻴﺎﺀ ﺍﻟﺮﱠﺍﺋﻌﺔ ﺃﻧﱠﻬﺎ ﺗﺨﻴّﻠﻴﺔ‪ .‬ﻟﻜﻦﱠ ﻣﻦ ﻳﺼﻨﻊ ﺫﻟﻚ ﻳﻨﺴﻰ ﺃﻥ ﻳﻄﺮﺡ ﻋﻠﻰ ﻧﻔﺴﻪ‬
‫ﺍﳌﺸﻜﻠﺔ ﺍﻟﺘﻲ ﺗﺒﺮﺯ ﺣﻴﻨﺌﺬ‪ .‬ﻓﺈﺫﺍ ﻛﺎﻧﺖ ﻫﺬﻩ ﺍﻷﺷﻴﺎﺀ ﺍﳌﺜﺎﺭﺓ ﻏﻴﺮ ﻣﻮﺟﻮﺩﺓ‪ ،‬ﻓﻜﻴﻒ ﻧﻌﻠﻢ‬
‫‪-٣٤-‬‬
‫ﺑﻬﺎ؟ ﻭﺇﺫﺍ ﻟﻢ ﻳﻜﻦ ﰲ ﺍﳌﺮﺃﺓ ﺍﳊﻘﻴﻘﻴﱠﺔ ﺃﺳﺒﺎﺏ ﻛﺎﻓﻴﺔ ﻹﺛﺎﺭﺓ ﻫﻴﺎﺝ ﺍﳊﺐّ ﻓﻔﻲ ﺃﻱّ‬
‫"ﻣﻨﺘﺠﻊ‪ "1‬ﻏﻴﺮ ﻣﻮﺟﻮﺩ‪ ،‬ﻋﺮﻓﻨﺎ ﺍﳌﺮﺃﺓ ﺍﳌُﺘﺨﻴﱠﻠﺔ ﺍﻟﻘﺎﺩﺭﺓ ﻋﻠﻰ ﺟﻌﻠﻨﺎ ﻧﻠﺘﻬﺐ؟‬
‫ﺑﺎﻟﻄﱠﺒﻊ‪ ،‬ﻳُﺒﺎﻟﻎ ﺑﻘﻮﱠﺓ ﺍﻟﺘﱠﺰﻳﻴﻒ ﺍﻟﻜﺎﻣﻨﺔ ﰲ ﺍﳊﺐّ‪ .‬ﻓﺈﺫﺍ ﻻﺣﻈﻨﺎ ﺃﻧﱠﻪ ﻳﺘﺨﻴﱠﻞ‬
‫ﺃﺣﻴﺎﻧﺎً ﺻﻔﺎﺕٍ ﻻ ﳝﺘﻠﻜﻬﺎ ﰲ ﺍﻟﻮﺍﻗﻊ ﺍﻟﻜﺎﺋﻦ ﺍﶈﺒﻮﺏ‪ ،‬ﻓﻌﻠﻴﻨﺎ ﺃﻥ ﻧﺴﺄﻝ ﺃﻧﻔﺴﻨﺎ ﺇﻥ ﻟﻢ‬
‫ﻳﻜﻦ ﺍﻟﺘﱠﺰﻳﻴﻒ ﺍﳊﺐﱠ ﺫﺍﺗﻪ‪ .‬ﻭﻳﻨﺒﻐﻲ ﻟﺴﻴﻜﻮﻟﻮﺟﻴﺔ ﰲ ﺍﳊﺐّ ﺃﻥ ﺗﻜﻮﻥ ﻣﺮﺗﺎﺑﺔ ﺟﺪﱠﺍً ﰲ‬
‫ﺻﺪﻕ ﺍﻟﺸّﻌﻮﺭ ﺍﻟﺬﻱ ﺗﺤﻠﻠﻪ‪ .‬ﻭﺇﻥ ﺃﻋﻘﺪ ﻣﺎ ﰲ ﺑﺤﺚ ﺳﺘﻨﺪﺍﻝ ﰲ ﺭﺃﻳﻲ‪ ،‬ﻫﻮ ﻫﺬﺍ‬
‫ﺍﻻﻋﺘﻘﺎﺩ ﺑﻮﺟﻮﺩ ﺿﺮﻭﺏ ﻣﻦ ﺍﳊﺐّ ﻏﻴﺮ ﻣﻮﺟﻮﺩﺓ‪ .‬ﻭﻻ ﻳﻌﻨﻲ ﺷﻴﺌﺎً ﺁﺧﺮ ﺗﺼﻨﻴﻔﻪ‬
‫ﺍﳌﺸﻬﻮﺭ ﻟﻀﺮﻭﺏ ﺍﳊﺐّ‪ :‬ﺍﳊﺐّ ﻫﻮﺍﻳﺔ ‪ ،amour-goŭt‬ﺍﳊﺐّ ﻇﻬﻮﺭﺍً ‪،amour-vanité‬‬
‫ﺍﳊﺐّ ﻫﻮﻯً‪ .‬ﻓﺈﺫﺍ ﺑﺪﺃ ﺍﳊﺐّ ﺑﺄﻥ ﻳﻜﻮﻥ ﻣﺰﻳﱠﻔﺎً ﺑﺼﻔﺘﻪ ﺣﺒﱠﺎً‪ ،‬ﻓﻤﻦ ﺍﻟﻄﱠﺒﻴﻌﻲّ ﺟﺪﱠﺍً ﺃﻥ‬
‫ﻳﻜﻮﻥ ﻛﻞّ ﻣﺎ ﻳﺤﻴﻂ ﺑﻪ ﻣﺰﻳﱠﻔﺎً‪ ،‬ﻻ ﺳﻴﱠﻤﺎ ﺍﳌﻮﺿﻮﻉ ﺍﻟﺬﻱ ﺃﻭﺣﻰ ﺑﻪ‪.‬‬
‫ﻭﺇﻥﱠ ﺍﳊﺐّ ﻫﻮﻯ ‪ pasión‬ﻭﺣﺪﻩ ﺷﺮﻋﻲّ ﰲ ﻧﻈﺮ ﺳﺘﻨﺪﺍﻝ‪ .‬ﻭﺃﺣﺴﺐ ﺃﻧﱠﻪ ﻣﺎﺯﺍﻝ‬
‫ﻳﺠﻌﻞ ﺣﻠﻘﺔ ﻣﺼﺪﺍﻗﻴﱠﺔ ﺍﳊﺐّ ﻓﻀﻔﺎﺿﺔ ﺟﺪﱠﺍ‪ .‬ﻭﻛﺎﻥ ﻳﺠﺐ ﺃﻥ ﺗُﺪﺧﻞ ﺃﻳﻀﺎً ﰲ‬
‫"ﺍﳊﺐ‪-‬ﻫﻮﻯ" ﺿﺮﻭﺏ ﻣﺨﺘﻠﻔﺔ‪ .‬ﻭﻟﻴﺲ ﺍﳊﺐّ ﻇﻬﻮﺭﺍً ﺃﻭ ﻫﻮﺍﻳﺔ ﻳﺒﻌﺜﺎﻥ ﻋﻠﻰ ﺍﳋﻄﺄ‬
‫ﻓﻘﻂ‪ .‬ﺑﻞ ﻳﻮﺟﺪ ﻣﺼﺪﺭ ﺁﺧﺮ ﻟﻠﺘﱠﺰﻳﻴﻒ ﻣﺒﺎﺷﺮ ﻭﺃﻛﺜﺮ ﺛﺒﺎﺗﺎً‪ .‬ﻓﺎﳊﺐّ ﻫﻮ ﺍﻟﻨﱠﺸﺎﻁ ﺍﻟﺬﻱ‬
‫ﺃُﻃﺮﻱ ﺃﻛﺒﺮ ﺇﻃﺮﺍﺀ‪ .‬ﻓﻘﺪ ﺯﻳﱠﻨﻪ ﺍﻟﺸﱡﻌﺮﺍﺀ ﺩﺍﺋﻤﺎً ﻭﻫﺬﱠﺑﻮﻩ ﺑﺄﺩﻭﺍﺗﻬﻢ ﺍﻟﺘﱠﺠﻤﻴﻠﻴﱠﺔ ﲟﻨﺤﻪ‬
‫ﻭﺍﻗﻌﺎً ﻣﺠﺮﱠﺩﺍً ﻏﺮﻳﺒﺎً‪ ،‬ﺣﺘﱠﻰ ﺇﻧﱠﻨﺎ ﻋﺮﻓﻨﺎﻩ ﻗﺒﻞ ﺃﻥ ﻧﺸﻌﺮ ﺑﻪ‪ ،‬ﻭﻗﺪﱠﺭﻧﺎﻩ ﻭﺃﺧﺬﻧﺎ ﻋﺪﱠﺗﻨﺎ‬
‫ﳌﻤﺎﺭﺳﺘﻪ ﻛﻔﻦّ ﻭﻭﻇﻴﻔﺔ‪ .‬ﻓﺘﺼﻮﱠﺭﻭﺍ ﺭﺟﻼً ﺃﻭ ﺍﻣﺮﺃﺓ ﻳﺠﻌﻼﻥ ﻣﻦ ﺍﳊﺐّ ﰲ ﻛﻞﱢ ﺣﺎﻝٍ ‪in‬‬
‫‪ ،genere‬ﻭﺑﺼﻮﺭﺓ ﻣﺠﺮﱠﺩﺓ‪ ،‬ﺍﳌﺜﺎﻝ ﺍﻷﻋﻠﻰ ﻟﻨﺸﺎﻃﻬﻤﺎ ﺍﳊﻴﻮﻱ‪ .‬ﺇﻥﱠ ﻛﺎﺋﻨﲔ ﻛﻬﺬﻳﻦ‬
‫ﻳﻌﻴﺸﺎﻥ ﺑﺎﺳﺘﻤﺮﺍﺭ ﻋﺎﺷﻘﲔ ﻋﻠﻰ ﺷﻜﻞ ﻭﻫﻤﻲّ‪ .‬ﻓﻬﻤﺎ ﻻ ﻳﺤﺘﺎﺟﺎﻥ ﺇﻟﻰ ﻣﻮﺿﻮﻉ ﻣﻌﻴﱠﻦ‬
‫ﻳﺠﻌﻞ ﺷﺮﻳﺎﻥ ﺍﳊﺐّ ﻓﻴﻬﻤﺎ ﻳﺠﺮﻱ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻳﺼﻠﺢ ﻟﻬﺬﻩ ﺍﳊﺎﻟﺔ ﻛﻞّ ﺷﻲﺀ‪ .‬ﺇﻧﱠﻬﻤﺎ ﻳﺤﺒﱠﺎﻥ‬
‫ﺍﳊﺐّ‪ .‬ﻭﻣﺎ ﺍﶈﺒﻮﺏ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻏﻴﺮ ﺣﺠﱠﺔ‪ .‬ﻓﺈﺫﺍ ﺣﺪﺙ ﻟﺮﺟﻞ ﻣﺎ ﻫﺬﺍ ﺍﻷﻣﺮ ﻭﻋﻨﺪﻩ‬
‫ﻣﻴﻞٌ ﺇﻟﻰ ﺍﻟﺘﱠﻔﻜﻴﺮ‪ ،‬ﻓﺴﻮﻑ ﻳﺨﺘﺮﻉ ﻋﻠﻰ ﺷﻜﻞ ﻻ ﻓﻜﺎﻙ ﻣﻨﻪ ﻧﻈﺮﻳﱠﺔ ﺍﻟﺒﻠﻮﺭﺓ‪.‬‬
‫ﻭﺳﺘﻨﺪﺍﻝ ﺃﺣﺪ ﻣﺤﺒﱢﻲ ﺍﳊﺐّ ﻫﺆﻻﺀ‪ .‬ﻳﻘﻮﻝ ﺁﺑﻞ ﺑﻮﻧﱠﺎﺭ ‪ A. Bonnard‬ﰲ ﻛﺘﺎﺑﻪ‬
‫ﺍﳊﺪﻳﺚ ﺣﻮﻝ "ﺣﻴﺎﺓ ﺳﺘﻨﺪﺍﻝ ﺍﻟﻐﺮﺍﻣﻴﱠﺔ"‪" :‬ﻫﻮ ﻻ ﻳﻄﻠﺐ ﻣﻦ ﺍﻟﻨﱢﺴﺎﺀ ﺷﻴﺌﺎً ﺁﺧﺮ ﺳﻮﻯ‬

‫)‪ ،ville d 'eaux (١‬ﻭﻫﻲ ﺗﻌﻨﻲ ﺑﺎﻟﻔﺮﻧﺴﻴﱠﺔ ﻣﺪﻳﻨﺔ ﻳﻨﺎﺑﻴﻊ ﺣﺎﺭﱠﺓ‪ ،‬ﻭﺍﺧﺘﺼﺮﻧﺎﻫﺎ ﲟﻨﺘﺠﻊ‪ – .‬ﺍﳌﺘﺮﺟﻢ‪.‬‬
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‫ﺃﻥ ﻳُﺠﺰْﻥَ ﺃﻭﻫﺎﻣﻪ‪ .‬ﻛﺎﻥ ﻳﺤﺐّ ﻟﺌﻼﱠ ﻳﺸﻌﺮ ﺑﻨﻔﺴﻪ ﻭﺣﻴﺪﺍً‪ .‬ﻟﻜﻨﱠﻪ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻛﺎﻥ ﻫﻮ‬
‫ﻭﺣﺪﻩ ﻳﺨﺘﻠﻖ ﺛﻼﺛﺔ ﺃﺭﺑﺎﻉ ﻏﺮﺍﻣﻴﱠﺎﺗﻪ"‪.‬‬
‫ﻫﻨﺎﻙ ﻓﺌﺘﺎﻥ ﻣﻦ ﺍﻟﻨﱠﻈﺮﻳﱠﺎﺕ ﺣﻮﻝ ﺍﳊﺐّ‪ .‬ﺇﺣﺪﺍﻫﻤﺎ ﺗﺘﻀﻤﱠﻦ ﻣﺬﺍﻫﺐ ﺗﻘﻠﻴﺪﻳﱠﺔ‪،‬‬
‫ﻭﺁﺭﺍﺀ ﻋﺎﻣﱠﺔ ﺧﺎﻟﺼﺔ ﺗﺘﻜﺮﱠﺭ ﻣﻦ ﻏﻴﺮ ﺣﺪﺱ ﺳﺎﺑﻖ ﺑﺎﻟﻮﻗﺎﺋﻊ ﺍﻟﺘﻲ ﺗﻔﺼﺢ ﻋﻨﻬﺎ‪.‬‬
‫ﻭﺍﻷﺧﺮﻯ ﺗﺸﺘﻤﻞ ﻋﻠﻰ ﻣﻌﺎﻥٍ ﺃﻫﻢّ ﺗﺄﺗﻲ ﻣﻦ ﺍﻟﺘﱠﺠﺮﺑﺔ ﺍﻟﺸﱠﺨﺼﻴﱠﺔ‪ .‬ﻭﻫﻜﺬﺍ ﻳﺮﺗﺴﻢ‬
‫ﻭﻳﺘﻜﺸﱠﻒ ﺷﻜﻞ ﻏﺮﺍﻣﻴﱠﺎﺗﻨﺎ ﻓﻴﻤﺎ ﻧﺘﺼﻮﱠﺭﻩ ﺣﻮﻝ ﺍﳊﺐّ‪.‬‬
‫ﻭﻻ ﻳﻮﺟﺪ ﺷﻚّ ﻣﺎ ﰲ ﺣﺎﻟﺔ ﺳﺘﻨﺪﺍﻝ‪ .‬ﺇﻧﱠﻨﺎ ﺇﺯﺍﺀ ﺭﺟﻞ ﻟﻢ ﻳُﺤِﺐّ ﺣﻘﱠﺎً‪ ،‬ﺧﺎﺻﱠﺔ ﺃﻧﱠﻪ‬
‫ﻟﻢ ﻳُﺤَﺐّ ﺣﻘﱠﺎً‪ .‬ﻭﺣﻴﺎﺗﻪ ﻣﻸﻯ ﺑﻀﺮﻭﺏ ﺍﳊﺐّ ﺍﻟﺰﱠﺍﺋﻔﺔ‪ .‬ﻭﻣﻦ ﺿﺮﻭﺏ ﺍﳊﺐّ ﺍﻟﺰﱠﺍﺋﻔﺔ‬
‫ﻳﺒﻘﻰ ﰲ ﺍﻟﺮّﻭﺡ ﺍﻟﻜﺂﺑﺔ ﺍﳌُﻨﺒﺌﺔ ﺑﺰﻳﻔﻬﺎ‪ ،‬ﻭﲡﺮﺑﺔ ﺗﺒﺨّﺮﻫﺎ‪ .‬ﻓﺈﺫﺍ ﺣُﻠّﻠﺖ ﻭﻓُﻜﻜﺖ ﻧﻈﺮﻳﺔ‬
‫ﺳﺘﻨﺪﺍﻝ‪ ،‬ﺷﺎﻫﺪﻧﺎ ﺑﻮﺿﻮﺡ ﺃﻧﱠﻪ ﻓُﻜﱢﺮ ﻓﻴﻬﺎ ﺑﺎﻟﻌﻜﺲ؛ ﺃﻱ‪ ،‬ﺃﻥﱠ ﺍﻟﺬﺭﻭﺓ ﰲ ﺍﳊﺐّ ﻋﻨﺪ‬
‫ﺳﺘﻨﺪﺍﻝ ﻧﻬﺎﻳﺘُﻪ‪ .‬ﻓﻜﻴﻒ ﻧﻔﻬﻢ ﺃﻥﱠ ﺍﳊﺐّ ﻳﻨﺘﻬﻲ ﺇﺫﺍ ﻇﻞﱠ ﺍﳌﻮﺿﻮﻉ ﺍﶈﺒﻮﺏ ﻫﻮ ﻫﻮ‬
‫ﺫﺍﺗﻪ؟ ﻭﺳﻴﻜﻮﻥ ﻣﻦ ﺍﻟﻼﺯﻡ‪ ،‬ﺑﺎﳊﺮﻱّ‪ ،‬ﺍﻻﻓﺘﺮﺍﺽُ‪ ،‬ﻛﻤﺎ ﻓﻌﻞ ﻛﺎﻧﻂ ﰲ ﻧﻈﺮﻳﱠﺔ ﺍﳌﻌﺮﻓﺔ‪،‬‬
‫ﺃﻥﱠ ﺍﻧﻔﻌﺎﻻﺗﻨﺎ ﺍﻹﻳﺮﻭﺳﻴﱠﺔ ﻻ ﻳﻀﺒﻄﻬﺎ ﺍﳌﻮﺿﻮﻉ ﺍﻟﺬﻱ ﺗﺴﻌﻰ ﳓﻮﻩ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻋﻠﻰ‬
‫ﺍﻟﻌﻜﺲ‪ ،‬ﺧﻴﺎﻟُﻨﺎ ﺍﳌﻐﺮﻡُ ﺍﻟﺬﻱ ﻳُﻌﺪﱡ ﺍﳌﻮﺿﻮﻉ‪ .‬ﻭﺍﳊﺐّ ﳝﻮﺕ ﻷﻥﱠ ﻭﻻﺩﺗﻪ ﻛﺎﻧﺖ ﺧﻄﺄ‪.‬‬
‫ﺃﻣﱠﺎ ﺷﺎﺗﻮﺑﺮﻳﺎﻥ ‪ Chateaubriand‬ﻓﻠﻢ ﻳﻔﻜﱢﺮ ﻫﻜﺬﺍ‪ .‬ﻷﻥﱠ ﲡﺮﺑﺘﻪ ﻛﺎﻧﺖ‬
‫ﻋﻜﺲ ﺗﻠﻚ‪ .‬ﻫﺎ ﳓﻦ ﺃﻣﺎﻡ ﺭﺟﻞ ﺍﻣﺘﻠﻚ ﻣﻮﻫﺒﺔ ﺇﺛﺎﺭﺓ ﺣﺐّ ﺣﻘﻴﻘﻲ‪ ،‬ﻟﻜﻨﱠﻪ ﻛﺎﻥ‬
‫ﻋﺎﺟﺰﺍً ﻋﻦ ﺍﻟﺸّﻌﻮﺭ ﺑﺎﳊﺐّ ﺣﻘﱠﺎً‪ .‬ﻟﻘﺪ ﻣﺮﱠﺕ ﺑﺠﺎﻧﺒﻪ ﻫﺬﻩ ﺍﳌﺮﺃﺓ ﺃﻭ ﺗﻠﻚ‪ ،‬ﻭﺗﻠﻚ‬
‫ﺍﻷﺧﺮﻯ ﻭﻗﺪ ﺃُﺿﻨﲔ ﺣﺒﱠﺎً ﻓﺠﺄﺓ ﻭﺇﻟﻰ ﺍﻷﺑﺪ‪" .‬ﻓﺠﺄﺓ ﻭﺇﻟﻰ ﺍﻷﺑﺪ"‪ .‬ﻭﻟﺴﻮﻑ‬
‫ﻳﺤﻮﻙ ﺷﺎﺗﻮﺑﺮﻳﺎﻥ ﺑﺎﻟﻀﱠﺮﻭﺭﺓ ﻣﺬﻫﺒﺎً ﻛﺎﻥ ﻣﻦ ﺃﺳﺎﺱ ﺍﳊﺐّ ﺍﳊﻘﻴﻘﻲ ﻓﻴﻪ ﺃﻻّ‬
‫ﳝﻮﺕ ﺃﺑﺪﺍً‪ ،‬ﻭﺃﻧﱠﻪ ﻳُﻮﻟﺪ ﻓﺠﺄﺓ‪.‬‬

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‫ﺇﻥﱠ ﺣﺐّ ﺷﺎﺗﻮﺑﺮﻳﺎﻥ ﻭﺣﺐّ ﺳﺘﻨﺪﺍﻝ ﺇﺫﺍ ﻗﺎﺭﻧﺎﻫﻤﺎ ﺑﺒﻌﻀﻬﻤﺎ‪ ،‬ﺭﺑﱠﻤﺎ ﺷﻜﱠﻼ‬
‫ﻣﻮﺿﻮﻋﺎً ﺫﺍ ﻓﺎﺋﺪﺓ ﺳﻴﻜﻮﻟﻮﺟﻴﱠﺔ ﺗﻌﻠّﻢ ﺍﻟﺬﻳﻦ ﻳﺘﻜﻠﱠﻤﻮﻥ ﺑﺨﻔﱠﺔ ﻋﻦ ﺩﻭﻥ ﺧﻮﺍﻥ‪ ،‬ﺑﻌﺾَ‬
‫ﺍﻷﺷﻴﺎﺀ‪ .‬ﻫﺎﻛﻢ ﺭﺟﻠﲔ ﺫﻭَﻱ ﻗﺪﺭﺓ ﺇﺑﺪﺍﻋﻴﱠﺔ ﻋﻤﻼﻗﺔ‪ .‬ﻭﻟﻦ ﻳُﻘﺎﻝ ﻋﻨﻬﻤﺎ ﺇﻧﱠﻬﻤﺎ ﺳﻴﱢﺪﺍﻥ‬
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 ‫ﺻﻐﻴﺮﺍﻥ ﻏﺰِﻻﻥ )ﻓﻮﱠﺍﺭﺍﻥ(‪ .‬ﻭﻫﻲ ﺍﻟﺼﱡﻮﺭﺓ ﺍﻟﺴﱠﺨﻴﻔﺔ ﺍﻟﺘﻲ ﻗُﻠﱢﺼﺖ ﺇﻟﻴﻬﺎ ﺻﻮﺭﺓ ﺩﻭﻥ‬
‫ﺧﻮﺍﻥ ﰲ ﺑﻌﺾ ﺍﻷﺫﻫﺎﻥ ﺍﻟﻀﱠﻴﱢﻘﺔ ﻭﺍﻟﻔﺎﺭﻏﺔ‪ .‬ﻭﻗﺪ ﻛﺮﱠﺱ ﻫﺬﺍﻥ ﺍﻟﺮﱠﺟﻼﻥ ﻣﻊ ﺫﻟﻚ‬
‫ﺧﻴﺮَ ﻃﺎﻗﺎﺗﻬﻤﺎ ﺳﻌﻴﺎً ﻟﻠﻌﻴﺶ ﻣُﺤِﺒﱠﻴْﻦ ﺩﺍﺋﻤﺎً‪ .‬ﻭﻟﻢ ﻳﺤﺼﻼ ﻋﻠﻰ ﺫﻟﻚ ﻳﻘﻴﻨﺎً‪ .‬ﻭﺇﻧﱠﻪ ﻷﻣﺮ‬
‫ﺻﻌﺐ‪ ،‬ﻛﻤﺎ ﺃﺭﻯ‪ ،‬ﻟﻨﻔﺲٍ ﻭﻗﱠﺎﺩﺓ ﺃﻥ ﺗﺴﻘﻂ ﰲ ﺟﻨﻮﻥ ﺍﳊﺐّ‪ .‬ﻟﻜﻦﱠ ﻭﺍﻗﻊ ﺍﳊﺎﻝ ﺃﻧﱠﻬﻤﺎ‬
‫ﺣﺎﻭﻻ ﻳﻮﻣﺎً ﺑﻌﺪ ﻳﻮﻡ‪ ،‬ﻭﺍﺳﺘﻄﺎﻋﺎ ﺩﺍﺋﻤﺎً ﺗﻘﺮﻳﺒﺎً ﺃﻥ ﻳﺨﻠﻘﺎ ﻟﻨﻔﺴﻴﻬﻤﺎ ﺍﻟﻮﻫﻢ ﺃﻧﱠﻬﻤﺎ ﻛﺎﻧﺎ‬
‫ﻳﺤﺒﱠﺎﻥ‪ .‬ﻟﻘﺪ ﻛﺎﻧﺎ ﻳﺄﺧﺬﺍﻥ ﻣﺄﺧﺬ ﺍﳉِﺪّ ﻏﺮﺍﻣﻬﻤﺎ ﺃﻛﺜﺮ ﻛﺜﻴﺮﺍً ﻣﻦ ﺃﺧﺬﻫﻤﺎ ﻋﻤﻠَﻬﻤﺎ‬
‫ﺍﻷﺩﺑﻲ‪ .‬ﻭﺍﻟﻄﱠﺮﻳﻒ ﺃﻥﱠ ﺍﻟﻌﺎﺟﺰﻳﻦ ﻋﻦ ﺍﻹﺗﻴﺎﻥ ﺑﻌﻤﻞ ﻛﺒﻴﺮ ﻭﺣﺪﻫﻢ ﻳﻌﺘﻘﺪﻭﻥ ﺃﻥﱠ ﻣﺎ‬
‫ﻳﺠﺐ ﻋﻤﻠُﻪ ﻋﻜﺲ ﺫﻟﻚ‪ :‬ﺃﻥ ﻳﺄﺧﺬﻭﺍ ﻣﺄﺧﺬ ﺍﳉِﺪّ ﺍﻟﻌﻠﻢ ﻭﺍﻟﻔﻦّ ﺃﻭ ﺍﻟﺴﱢﻴﺎﺳﺔ‪،‬‬
‫ﻭﻳﺤﺘﻘﺮﻭﺍ ﺍﳊﺐ ﻟﻜﻮﻧﻪ ﻣﺎﺩّﺓ ﺗﺎﻓﻬﺔ‪ .‬ﻭﺃﻧﺎ ﻻ ﺃﺅﻳﺪ ﻭﻻ ﺃﻋﺎﺭﺽ‪ :‬ﻭﺇﻧﱠﻤﺎ ﺃﻗﺘﺼﺮ ﻋﻠﻰ ﺃﻥ‬
‫ﺃﺛﺒﺖ ﺃﻥ ﺍﳌﺒﺪﻋﲔ ﺍﻹﻧﺴﺎﻧﻴﲔ ﺍﻟﻜﺒﺎﺭ ﻛﺎﻧﻮﺍ ﰲ ﺍﻟﻌﺎﺩﺓ ﻗﻠﻴﻠﻲ ﺍﳉِﺪّ ﺟﺪﱠﺍً ﺗﺒﻌﺎً ﻟﻠﻔﻜﺮﺓ‬
‫ﺍﻟﺒﺮﺟﻮﺍﺯﻳﱠﺔ ﺍﻟﺼﱠﻐﻴﺮﺓ ﻋﻦ ﻫﺬﻩ ﺍﻟﻔﻀﻴﻠﺔ‪.‬‬
‫ﻟﻜﻦﱠ ﺍﳌﻬﻢّ ﻣﻦ ﻭﺟﻬﺔ ﻧﻈﺮ ﺍﻟﺪﻭﻥ ﺧﻮﺍﻧﻴﻪ ﻣﻌﺎﺭﺿﺔُ ﺳﺘﻨﺪﺍﻝ ﺑﺸﺎﺗﻮﺑﺮﻳﺎﻥ‪ .‬ﻭﻗﺪ‬
‫ﻛﺎﻥ ﺳﺘﻨﺪﺍﻝ ﻣَﻦْ ﺗﻬﺎﻟﻚ ﺑﺈﻗﺪﺍﻡٍ ﺃﻛﺒﺮ ﰲ ﺍﻟﺪﱠﻭﺭﺍﻥ ﺣﻮﻝ ﺍﳌﺮﺃﺓ‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻫﻮ ﻧﻘﻴﺾ‬
‫ﺩﻭﻥ ﺧﻮﺍﻥ ﲤﺎﻣﺎً‪ .‬ﺃﻣﱠﺎ ﺩﻭﻥ ﺧﻮﺍﻥ ﻓﻬﻮ ﺍﻟﺸﱠﺨﺺ ﺍﻵﺧﺮ‪ ،‬ﺍﻟﻐﺎﺋﺐ ﺩﺍﺋﻤﺎً ﻭﺍﳌﻠﻔﻮﻑ‬
‫ﺑﻀﺒﺎﺏ ﻛﺂﺑﺘﻪ‪ ،‬ﻭﺍﻷﺭﺟﺢ ﺃﻧﱠﻪ ﻟﻢ ﻳﻐﺎﺯﻝ ﻗﻂّ ﺍﻣﺮﺃﺓ ﻣﺎ‪.‬‬
‫ﻭﺍﳋﻄﺄ ﺫﻭ ﺍﻟﻌﻴﺎﺭ ﺍﻷﻛﺒﺮ ﺍﻟﺬﻱ ﳝﻜﻦ ﺍﻗﺘﺮﺍﻓﻪ ﺇﺫﺍ ﺣﺎﻭﻟﻨﺎ ﺗﺤﺪﻳﺪَ ﺻﻮﺭﺓ ﺩﻭﻥ‬
‫ﺧﻮﺍﻥ‪ ،‬ﺍﻻﻟﺘﻔﺎﺕُ ﺇﻟﻰ ﺭﺟﺎﻝ ﻳﻘﻀﻮﻥ ﺣﻴﺎﺗﻬﻢ ﰲ ﺣﺐّ ﺍﻟﻨﺴﺎﺀ‪ .‬ﻭﻫﺬﺍ ﻳﻘﻮﺩ ﰲ ﺃﺣﺴﻦ‬
‫ﺣﺎﻝ ﺇﻟﻰ ﺍﻟﻌﺜﻮﺭ ﻋﻠﻰ ﳕﻮﺫﺝ ﺃﺩﻧﻰ ﻭﺗﺎﻓﻪٍ ﻣﻦ ﺩﻭﻥ ﺧﻮﺍﻥ‪ .‬ﺑﻞ ﻧﺼﻞ ﺑﺎﳊﺮﻱّ‪ ،‬ﻋﺒﺮ ﻫﺬﺍ‬
‫ﺍﻟﺪﱠﺭﺏ ﺇﻟﻰ ﺍﻟﻨﱠﻤﻮﺫﺝ ﺍﳌﻌﺎﻛﺲ‪ ،‬ﻋﻠﻰ ﺍﻷﻏﻠﺐ‪ .‬ﻓﻤﺎﺫﺍ ﻳﺤﺪﺙ ﺇﺫﺍ ﺃﺭﺩﻧﺎ ﻋﻨﺪ ﺗﻌﺮﻳﻒ‬
‫ﺍﻟﺸﱠﺎﻋﺮ ﺃﻥ ﻧﻮﺟﱢﻪ ﺍﻧﺘﺒﺎﻫﻨﺎ ﺇﻟﻰ ﺍﻟﺸﱡﻌﺮﺍﺀ ﺍﻟﺮﱠﺩﻳﺌﲔ؟ ﺑﺎﻟﻀﱠﺒﻂ ﻷﻥﱠ ﺍﻟﺸﱠﺎﻋﺮ ﺍﻟﺮﱠﺩﻱﺀ ﻟﻴﺲ‬
‫ﺷﺎﻋﺮﺍً‪ ،‬ﻭﺇﻧﱠﻤﺎ ﳒﺪ ﻋﻨﺪﻩ ﺍﻟﺮﱠﻏﺒﺔ ﻓﻘﻂ‪ ،‬ﻭﺍﻟﻜﺪّ ﻭﺍﻟﻌﺮﻕ ﻭﺍﳉﻬﻮﺩ ﺍﻟﺘﻲ ﻳﺘﻄﻠﱠﻊ ﺑﻬﺎ ﻋﺒﺜﺎً‬
‫ﺇﻟﻰ ﻣﺎ ﻻ ﻳﺴﺘﻄﻴﻊ‪ .‬ﻷﻥﱠ ﺍﻟﺸﱠﺎﻋﺮ ﺍﻟﺮﱠﺩﻱﺀ ﻳﺴﺘﺒﺪﻝ ﺑﺎﻹﻟﻬﺎﻡ ﺍﻟﻐﺎﺋﺐ ﺍﻟﺒﻬﺮﺟﺔَ ﺍﻟﺘﱠﻘﻠﻴﺪﻳﱠﺔ‪:‬‬
‫ﻟِﻤﱠﺔ ﻭﺳﺘﺮﺓ‪ .‬ﻭﻛﺬﻟﻚ ﻫﺬﺍ ﺍﻟﺪﻭﻥ ﺧﻮﺍﻥ ﺍﳌﻜﺪّ ﺍﻟﺬﻱ ﻳﻘﻮﻡ ﻛﻞّ ﻳﻮﻡ ﺑﻌﻤﻠﻪ ﺍﻟﻐﺮﺍﻣﻲ‪ .‬ﻫﺬﺍ‬
‫ﺍﻟﺪﻭﻥ ﺧﻮﺍﻥ ﺍﻟﺬﻱ ﻃﺎﳌﺎ "ﺃﺷﺒﻪ" ﺩﻭﻥ ﺧﻮﺍﻥ‪ ،‬ﻫﻮ ﻧﻔﻴﻪ ﻭﻓﺮﺍﻏﻪ ﺑﺎﻟﻀﱠـﺒﻂ‪.‬‬
‫ﺩﻭﻥ ﺧﻮﺍﻥ ﻟﻴﺲ ﺍﻟﺮﱠﺟﻞ ﺍﻟﺬﻱ ﻳﻘﻮﻡ ﲟﻐﺎﺯﻟﺔ ﺍﻟﻨﺴﺎﺀ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻮ ﺍﻟﺮﱠﺟﻞ ﺍﻟﺬﻱ‬
‫ﺗﻐﺎﺯﻟﻪ ﺍﻟﻨﱢﺴﺎﺀ‪ .‬ﻫﺬﻩ‪ ،‬ﻫﺬﻩ ﻫﻲ ﺍﻟﻮﺍﻗﻌﺔ ﺍﻹﻧﺴﺎﻧﻴﱠﺔ ﺍﻷﻛﻴﺪﺓ ﺍﻟﺘﻲ ﻛﺎﻥ ﻳﺠﺐ ﺃﻥ ﻳﺘﺄﻣﱠﻠﻬﺎ‬
‫‪-٣٧-‬‬
 ‫ﺃﻛﺜﺮ ﻗﻠﻴﻼً ﺍﻟﻜﺘﱠﺎﺏُ ﺍﻟﺬﻳﻦ ﻃﺮﺣﻮﺍ ﺃﺧﻴﺮﺍً ﻣﻮﺿﻮﻉ ﺍﻟﺪﻭﺍﻥ ﺧﻮﺍﻧﻴﱠﺔ ﺍﳋﻄﻴﺮ‪ .‬ﰲ‬
‫ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻳﻮﺟﺪ ﺭﺟﺎﻝ ﺗﻌﺸﻘﻬﻢ ﺍﻟﻨﱢﺴﺎﺀ ﺑﺸﺪﱠﺓ ﻭﺗﺮﺩﺍﺩ ﻓﺎﺋﻖ‪ .‬ﻭﻫﺎﻫﻨﺎ ﻣﺎﺩﱠﺓ ﻭﺍﻓﺮﺓ ﺗﺪﻋﻮ‬
‫ﻟﻠﺘﱠﻔﻜﻴﺮ‪ .‬ﻓﻴﻤﺎ ﺗﻜﻤﻦ ﻫﺬﻩ ﺍﳌﻮﻫﺒﺔ ﺍﻟﻐﺮﻳﺒﺔ؟ ﺃﻱ ﺳﺮّ ﺣﻴﻮﻱّ ﻳﺨﺘﻔﻲ ﻭﺭﺍﺀ ﻫﺬﺍ ﺍﻻﻣﺘﻴﺎﺯ؟‬
‫ﺃﻣﱠﺎ ﺍﻷﻣﺮ ﺍﻵﺧﺮ‪ ،‬ﺃﻣﱠﺎ ﺍﻟﺘﱠﻔﻜﻴﺮ ﺧﻠﻘﻴﱠﺎً ﺣﻮﻝ ﻛﻞّ ﺻﻮﺭﺓ ﺳﺨﻴﻔﺔ ﻟﺪﻭﻥ ﺧﻮﺍﻥ ﺭﻏﺒﺔً ﰲ‬
‫ﺍﻟﺘﱠﻜﻠﱡﻒ‪ ،‬ﻓﺘﺒﺪﻭ ﻟﻲ ﺟﺪّ ﺳﺎﺫﺟﺔ ﺣﺘﱠﻰ ﺗﻜﻮﻥ ﺧﺼﺒﺔ‪ .‬ﻭﻫﺬﺍ ﻋﻴﺐ ﺍﻟﻮﻋﱠﺎﻅ ﺍﻷﺑﺪﻱ‪:‬‬
‫ﺍﺧﺘﺮﺍﻉ ﺛﻨﻮﻳﺔ ﺧﺮﻗﺎﺀ ﺑﻐﺎﻳﺔ ﺍﻟﺘﱠﻤﺘﱡﻊ ﺑﺮﻓﺾ ﻛﻞّ ﺛﻨﻮﻳﱠﺔ‪.1‬‬
‫ﻟﻘﺪ ﻛﺮﱠﺱ ﺳﺘﻨﺪﺍﻝ ﺃﺭﺑﻌﲔ ﻋﺎﻣﺎً ﰲ ﻃﺮْﻕ ﺃﺳﻮﺍﺭ ﺍﻷﻧﻮﺛﺔ‪ ،‬ﻭﺗﺼﻮﱡﺭِ ﻣﻨﻈﻮﻣﺔ‬
‫ﺍﺳﺘﺮﺍﺗﻴﺠﻴﱠﺔ ﻛﺎﻣﻠﺔ‪ ،‬ﲟﺒﺎﺩﺉ ﻭﺗﺒﻌﺎﺕ‪ .‬ﻛﺎﻥ ﻳﺮﻭﺡ ﻭﻳﺠﻲﺀ ﻭﻳﺘﻌﻨﱠﺖ ﻭﻳﺘﻬﺎﻟﻚ ﰲ ﺍﳌﻬﻤﱠﺔ‬
‫ﺑﻌﻨﺎﺩ‪ .‬ﻭﺍﻟﻨﱠﺘﻴﺠﺔ ﻋﺪﻡ‪ .‬ﻓﻠﻢ ﻳﺴﺘﻄﻊ ﺃﻥ ﻳﻜﻮﻥ ﻣﺤﺒﻮﺑﺎً ﻣﻦ ﺃﻳﱠﺔ ﺍﻣﺮﺃﺓ ﺣﺒﱠﺎً ﺣﻘﻴﻘﻴﱠﺎً‪ .‬ﻭﻻ‬
‫ﻣﻮﺟﺐ ﻟﻠﺪﱠﻫﺸﺔ ﻣﻦ ﺫﻟﻚ ﻛﺜﻴﺮﺍً‪ .‬ﻷﻥﱠ ﻣﻌﻈﻢ ﺍﻟﺮﱢﺟﺎﻝ ﻳﻌﺎﻧﻮﻥ ﻣﺼﻴﺮﺍً ﳑﺎﺛﻼً‪ ،‬ﺣﺘﱠﻰ‬
‫ﺍﺑﺘُﻜﺮﺕ ﳌﻌﺎﺩﻟﺔ ﻋِﺜﺎﺭ ﺍﳊﻆّ ﻫﺬﺍ‪ ،‬ﺍﻟﻌﺎﺩﺓُ ﻭﺍﻟﻮﻫﻢ ﺑﻘﺒﻮﻝ ﺍﺭﺗﺒﺎﻁٍ ﻣﺎ ﻏﺎﻣﺾ ﺑﺎﻣﺮﺃﺓ ﺃﻭ‬
‫ﺗﺴﺎﻫﻞٍ ﻣﻨﻬﺎ ﻳُﺤﺼﻞ ﻋﻠﻴﻪ ﺑﺄﻟﻒ ﺟﻬﺪ‪ ،‬ﻋﻠﻰ ﺃﻧﱠﻪ ﺣﺐّ ﺟﻴﱢﺪ‪ .‬ﻭﻳﺤﺼﻞ ﺍﻷﻣﺮ ﺫﺍﺗﻪ ﰲ‬
‫ﺍ‪‬ﺎﻝ ﺍﳉﻤﺎﻟﻲّ‪ .‬ﻷﻥﱠ ﻣﻌﻈﻢ ﺍﻟﺒﺸﺮ ﳝﻮﺗﻮﻥ ﻣﻦ ﻏﻴﺮ ﺃﻥ ﻳﺘﺬﻭﱠﻗﻮﺍ ﻗﻂّ ﺍﻧﻔﻌﺎﻻً ﺣﻘﻴﻘﻴﱠﺎً‬
‫ﺑﺎﻟﻔﻦّ؛ ﻭﻣﻊ ﺫﻟﻚ ﺍﺗﱡﻔِﻖَ ﻋﻠﻰ ﻗﺒﻮﻝ ﺍﻟﺪﱠﻏﺪﻏﺔ ﺍﻟﺘﻲ ﻳُﺤﺪﺛﻬﺎ ﳊﻦ ﻓﺎﻟﺲ‪ ،‬ﺃﻭ ﺍﻟﺘﱠﺸﻮﻳﻖ‬
‫ﺍﻟﺪّﺭﺍﻣﻲ ﺍﻟﺬﻱ ﺗﺜﻴﺮﻩ ﻗﺼﱠﺔ‪ ،‬ﻋﻠﻰ ﺃﻧﱠﻬﻤﺎ ﺍﻧﻔﻌﺎﻻﻥ ﻓﻨّﻴﱠﺎﻥ‪.‬‬
‫ﻭﻛﺎﻧﺖ ﻏﺮﺍﻣﻴﱠﺎﺕ ﺳﺘﻨﺪﺍﻝ ﻏﺮﺍﻣﻴﱠﺎﺕ ﺯﺍﺋﻔﺔ ﻣﻦ ﻫﺬﺍ ﺍﻟﻄّﺮﺍﺯ‪ ،‬ﻭﻟﻢ ﻳُﻠﺢّ ﺁﺑِﻞ ﺑﻮﻧﱠﺎﺭ‬
‫ﻛﻤﺎ ﻳﺠﺐ ﻋﻠﻰ ﺫﻟﻚ ﰲ ﻛﺘﺎﺑﻪ‪ :‬ﺣﻴﺎﺓ ﺳﺘﻨﺪﺍﻝ ﺍﻟﻐﺮﺍﻣﻴﱠﺔ‪ ،‬ﺍﻟﺬﻱ ﺃﻧﻬﻴﺖ ﻗﺮﺍﺀﺗﻪ ﻣﻨﺬ‬
‫ﻋﻬﺪ ﻗﺮﻳﺐ‪ ،‬ﻭﺩﻓﻌﻨﻲ ﻟﻜﺘﺎﺑﺔ ﻫﺬﻩ ﺍﻷﻓﻜﺎﺭ‪ .‬ﻭﺍﳌﻼﺣﻈﺔ ﻫﺎﻣﱠﺔ ﻷﻧﱠﻬﺎ ﺗﻔﺴﱢﺮ ﺍﳋﻄﺄ‬
‫ﺍﳉﺬﺭﻱّ ﰲ ﻧﻈﺮﻳﱠﺘﻪ ﻋﻦ ﺍﳊﺐّ‪ ،‬ﻓﻘﺎﻋﺪﺓ ﻫﺬﻩ ﺍﻟﻨﱠﻈﺮﻳﱠﺔ ﲡﺮﺑﺔ ﺯﺍﺋﻔﺔ‪.‬‬
‫ﺳﺘﻨﺪﺍﻝ ﻳﻌﺘﻘﺪ ﺍﻧﺴﺠﺎﻣﺎً ﻣﻊ ﻭﻗﺎﺋﻊ ﲡﺮﺑﺘﻪ‪ ،‬ﺃﻥّ َﺍﳊﺐّ "ﻳُﺨﻠﻖ"‪ ،‬ﻭﻓﻮﻕ ﺫﻟﻚ‪،‬‬
‫ﻳﻨﺘﻬﻲ‪ .‬ﻭﺍﻟﺼﱢﻔﺘﺎﻥ ﻛﻠﺘﺎﻫﻤﺎ ﺧﺎﺻﻴّﺘﺎﻥ ﻣﻦ ﺧﻮﺍﺹّ ﺍﻟﻐﺮﺍﻣﻴﱠﺎﺕ ﺍﻟﺰﱠﺍﺋﻔﺔ‪.‬‬
‫ﺃﻣﱠﺎ ﺷﺎﺗﻮﺑﺮﻳﺎﻥ ﻓﻴﺠﺪ ﻧﻔﺴﻪ ﻋﻠﻰ ﺍﻟﻌﻜﺲ‪ ،‬ﰲ "ﺧﻠﻖ" ﺍﳊﺐّ ﺩﺍﺋﻤﺎً‪ .‬ﻭﻣﺎ ﻛﺎﻥ‬
‫ﺑﺤﺎﺟﺔ ﺇﻟﻰ ﺃﻥ ﻳُﺠﻬﺪ ﻧﻔﺴﻪ‪ ،‬ﻷﻥﱠ ﺍﳌﺮﺃﺓ ﲤﺮّ ﺇﻟﻰ ﺟﺎﻧﺒﻪ ﻓﺘﺤﺲّ ﻓﺠﺄﺓ ﻣﺸﺤﻮﻧﺔ‬
‫ﺑﻜﻬﺮﺑﺎﺀ ﺳﺤﺮﻳﱠﺔ‪ .‬ﺇﻧﱠﻬﺎ ﺗﺴﺘﺴﻠﻢ ﺣﺎﻻً ﻭﻛﻠﱢﻴﱠﺎً‪ ،‬ﻭﻟِﻢَ؟ ﺁﻩ‪ ،‬ﻫﺬﺍ ﻫﻮ ﺍﻟﺴّﺮّ ﺍﻟﺬﻱ ﻛﺎﻥ ﻳﺠﺐ‬
‫ﻋﻠﻰ ﺍﻟﺒﺤﱠﺎﺛﺔ ﰲ ﺍﻟﺪﻭﻥ ﺧﻮﺍﻧﻴﺔ‪ ،‬ﺃﻥ ﻳﻜﺸﻔﻮﻩ ﻟﻨﺎ‪ .‬ﻭﻟﻢ ﻳﻜﻦ ﺷﺎﺗﻮﺑﺮﻳﺎﻥ ﻭﺳﻴﻤﺎً‪ .‬ﺑﻞ ﻛﺎﻥ‬

‫)‪ (١‬ﰲ ﺍﻷﺻﻞ ‪ = maniqueo‬ﻣﺎﻧﻮﻳﺔ‪ ،‬ﺃﻱ ﺛﻨﻮﻳﺔ ﺍﳋﻴﺮ ﻭﺍﻟﺸﺮ‪ – .‬ﺍﳌﺘﺮﺟﻢ‪.‬‬

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‫ﺻﻐﻴﺮ ﺍﳊﺠﻢ‪ ،‬ﻣﺤﻨﻲّ ﺍﻟﻜﺘﻔﲔ ﻭﺟﺎﰲ ﺍﻟﻄﱠﺒﻊ ﻭﻣﺴﺘﺎﺀً ﻭﺷﺎﺭﺩﺍً ﺩﺍﺋﻤﺎً‪ .‬ﻭﻛﺎﻥ ﺍﺭﺗﺒﺎﻃﻪ‬
‫ﺑﺎﳌﺮﺃﺓ ﺍﶈﺒﱠﺔ ﻳﺪﻭﻡ ﲦﺎﻧﻴﺔ ﺃﻳﱠﺎﻡ‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﺗﻌﺸﻖ ﺗﻠﻚ ﺍﳌﺮﺃﺓُ "ﺍﻟﻌﺒﻘﺮﻳﱠﺔَ" ﻭﻫﻲ ﰲ‬
‫ﺍﻟﻌﺸﺮﻳﻦ‪ ،‬ﻭﺗﻈﻞﱡ ﻭﻫﻲ ﰲ ﺍﻟﺜﱠﻤﺎﻧﲔ ﻣﺸﻐﻮﻓﺔً ﺑﻬﺎ‪ ،‬ﻋﺒﻘﺮﻳﱠﺔ ﺭﺑﱠﻤﺎ ﻟﻢ ﺗﺮﻫﺎ ﻣﺮﱠﺓ ﺃﺧﺮﻯ‪.‬‬
‫ﻭﻫﺬﻩ ﻟﻴﺴﺖ ﺗﺨﻴﱡﻼﺕ‪ :‬ﺇﻧﱠﻬﺎ ﻭﻗﺎﺋﻊ ﻣﻮﺛﱠﻘﺔ‪.‬‬
‫ﻭﺍﳌﺜﺎﻝ ﻋﻠﻰ ﺫﻟﻚ ﻭﺳْﻂ ﺃﻣﺜﻠﺔ ﻛﺜﻴﺮﺓ‪ :‬ﻣﺮﻛﻴﺰﺓ ﺩﻳﻜﻮﺳﺘﲔ ‪de CUSTINE‬‬
‫"ﻓﺎﺭﺳﺔ ﻓﺮﻧﺴﺎ ﺍﻷﻭﻟﻰ"‪ .‬ﻛﺎﻧﺖ ﺗﻨﺘﻤﻲ ﺇﻟﻰ ﺇﺣﺪﻯ ﺃﻧﺒﻞ ﺍﻟﻌﺎﺋﻼﺕ‪ ،‬ﻭﻛﺎﻧﺖ ﺑﺎﺭﻋﺔ‬
‫ﺍﳉﻤﺎﻝ‪ .‬ﻭﻗﺪ ﻛﺎﻧﺖ ﺇﺑﱠﺎﻥ ﺍﻟﺜﱠﻮﺭﺓ ﻃﻔﻠﺔ ﺗﻘﺮﻳﺒﺎً ﻭﺣُﻜﻢ ﻋﻠﻴﻬﺎ ﺑﺎﻹﻋﺪﺍﻡ ﺑﺎﳌﻘﺼﻠﺔ‪.‬‬
‫ﻓﺄُﻧﻘﺬﺕ ﺑﻔﻀﻞ ﺍﳊﺐّ ﺍﻟﺬﻱ ﺃﻳﻘﻈﺘﻪ ﰲ ﺇﺳﻜﺎﰲّ ﻋﻀﻮ ﰲ ﺍﶈﻜﻤﺔ‪ .‬ﻭﻫﺎﺟﺮﺕ ﺇﻟﻰ‬
‫ﺇﻧﻜﻠﺘﺮﺍ‪ .‬ﻭﳌﱠﺎ ﻋﺎﺩﺕ ﻛﺎﻥ ﺷﺎﺗﻮﺑﺮﻳﺎﻥ ﻗﺪ ﻃﺒﻊ ﻟﻠﺘﱠﻮّ ﺁﺗﺎﻻ ‪ .Atala‬ﻓﻌﺮﻓﺖِ ﺍﳌﺆﻟﻒ‪ ،‬ﻭﺍﻧﺒﺜﻖ‬
‫ﻓﻮﺭﺍً ﰲ ﺩﺍﺧﻠﻬﺎ ﺟﻨﻮﻥ ﺍﳊﺐّ‪ .‬ﻭﻗﺪ ﺷﺎﺀ ﺷﺎﺗﻮﺑﺮﻳﺎﻥ ﺍﻟﻨﺰﻕ ﺩﺍﺋﻤﺎً ﺃﻥ ﺗﺒﺘﺎﻉ ﻣﺪﺍﻡ ﺩﻩ‬
‫ﻛﻮﺳﺘﲔ ﻗﺼﺮ ﻓﻴﺮﻓﺎﻙ ‪ ،Fervaques‬ﻭﻫﻮ ﻣﻘﺮّ ﺇﻗﺎﻣﺔ ﺇﻗﻄﺎﻋﻴﱠﺔ ﻗﺪﱘ ﺑﺎﺕ ﻓﻴﻪ ﻫﻨﺮﻱ‬
‫ﺍﻟﺮﱠﺍﺑﻊ ﺫﺍﺕ ﻟﻴﻠﺔ‪ .‬ﻓﺠﻤﻌﺖ ﺍﳌﺮﻛﻴﺰﺓ ﻛﻞّ ﻣﺎ ﺍﺳﺘﻄﺎﻋﺖ ﻣﻦ ﺛﺮﻭﺗﻬﺎ ﺍﻟﺘﻲ ﻟﻢ ﺗﻜﻦ ﻗﺪ‬
‫ﺃﻋﺎﺩﺕ ﺑﻨﺎﺀﻫﺎ ﺑﻌﺪ ﺍﻟﻬﺠﺮﺓ‪ ،‬ﻭﺍﺷﺘﺮﺕ ﺍﻟﻘﺼﺮ‪ .‬ﻟﻜﻦﱠ ﺷﺎﺗﻮﺑﺮﻳﺎﻥ ﻟﻢ ﻳُﺒﺪِ ﻟﻄﻔﺎً ﰲ‬
‫ﺯﻳﺎﺭﺗﻪ‪ .‬ﻟﻜﻨﱠﻪ ﻗﻀﻰ ﰲ ﻧﻬﺎﻳﺔ ﺍﳌﻄﺎﻑ ﻓﻴﻪ ﺑﻀﻌﺔ ﺃﻳﱠﺎﻡ‪ ،‬ﻭﻛﺎﻧﺖ ﺳﺎﻋﺎﺕ ﺳﺎﻣﻴﺔ ﰲ‬
‫ﻧﻈﺮ ﺗﻠﻚ ﺍﳌﺮﺃﺓ ﺍﳌﺸﻐﻮﻓﺔ‪ .‬ﻓﻘﺮﺃ ﺷﺎﺗﻮﺑﺮﻳﺎﻥ ﺑﻴﺘﲔ ﻣﻦ ﺍﻟﺸّﻌﺮ ﺣﻔﺮﻫﻤﺎ ﻫﻨﺮﻱ ﺍﻟﺮﱠﺍﺑﻊ‬
‫ﻋﻠﻰ ﺍﳌﺪﻓﺄﺓ ﺑﺴﻜﱢﲔ ﺍﻟﺼﱠﻴﺪ‪:‬‬
‫ﻣﺪﺍﻡ ﺩﻳﻔﺮﻓﺎﻙ‬
‫ﺗﺴﺘﺤﻖّ ﻏﺎﺭﺍﺕ ﺷﻌﻮﺍﺀ‪.‬‬
‫ﻭﻗﺪ ﺍﻧﻘﻀﺖ ﺳﺎﻋﺎﺕ ﺍﻟﺴﱠﻌﺎﺩﺓ ﻣﺘﺴﺎﺭﻋﺔً ﻣﻦ ﻏﻴﺮ ﻋﻮﺩﺓ ﳑﻜﻨﺔ‪ .‬ﻭﺍﺑﺘﻌﺪ‬
‫ﺷﺎﺗﻮﺑﺮﻳﺎﻥ ﻛﻴﻼ ﻳﻌﻮﺩ‪ ،‬ﺃﻭ ﺃﻧﱠﻪ ﻓﻌﻞ ﺃﻗﻞّ ﻣﻦ ﺫﻟﻚ ﻗﻠﻴﻼً‪ :‬ﺃﺑﺤﺮ ﳓﻮ ﺟﺰﺭ ﺣﺐّ‬
‫ﺟﺪﻳﺪﺓ‪ .‬ﻭﻣﺮﱠﺕ ﺍﻟﺸﱡﻬﻮﺭ ﻭﺍﻷﻋﻮﺍﻡ‪ ،‬ﻭﻧﺎﻫﺰﺕ ﺍﳌﺮﻛﻴﺰﺓ ﺩﻩ ﻛﻮﺳﺘﲔ‪ ،‬ﺍﻟﺴﱠﺒﻌﲔ‪ .‬ﻭﺃﺭﺕِ‬
‫ﺍﻟﻘﺼﺮ ﺃﺣﺪ ﺍﻟﺰّﻭّﺍﺭ ﺫﺍﺕ ﻳﻮﻡ‪ .‬ﻭﳌﱠﺎ ﻭﺻﻞ ﻫﺬﺍ ﺇﻟﻰ ﺣﺠﺮﺓ ﺍﳌﺪﻓﺄﺓ ﺍﻟﻜﺒﻴﺮﺓ‪ ،‬ﻗﺎﻝ‪" :‬ﺇﺫﺍً‪،‬‬
‫ﻫﺬﺍ ﻫﻮ ﺍﳌﻜﺎﻥ ﺣﻴﺚ ﺷﺎﺗﻮﺑﺮﻳﺎﻥ ﺭﻛﻊ ﻋﻨﺪ ﻗﺪﻣﻴﻚ؟" ﻭﺑﺎﺩﺭﺕ ﻫﻲ ﻣﺴﺘﻐﺮﺑﺔً ﻭﻛﺄﻧﻬﺎ‬
‫ﻣﻬﺎﻧﺔ‪" :‬ﺁﻩ‪ ،‬ﻻ‪ ،‬ﻻ‪ ،‬ﻳﺎ ﺳﻴﱢﺪﻱ‪ .‬ﺃﻧﺎ ﺭﻛﻌﺖُ ﻋﻠﻰ ﻗﺪﻣﻲ ﺷﺎﺗﻮﺑﺮﻳﺎﻥ‪".‬‬
‫ﻭﻛﺎﻥ ﺳﺘﻨﺪﺍﻝ ﻳﺠﻬﻞ ﻫﺬﺍ ﺍﻟﻄﱢﺮﺍﺯ ﻣﻦ ﺍﳊﺐّ ﺍﻟﺬﻱ ﻳﻈﻞّ ﻓﻴﻪ ﻛﺎﺋﻦ ﻣﺮﺗﺒﻄﺎً ﻣﺮﱠﺓ‬
‫ﻭﺍﺣﺪﺓ ﻭﺇﻟﻰ ﺍﻷﺑﺪ ﺍﺭﺗﺒﺎﻃﺎً ﻛﻠﱢﻴﱠﺎً ﺑﻜﺎﺋﻦ ﺁﺧﺮ‪ ،‬ﻛﻨﻮﻉ ﻣﻦ ﺍﻟﻄﱡﻌﻢ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻲ‪ .‬ﻟﺬﻟﻚ‬
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 ‫ﻳﻌﺘﻘﺪ ﺃﻥﱠ ﻣﻦ ﺟﻮﻫﺮ ﺍﳊﺐّ ﻧﻔﺎﺩَﻩ‪ ،‬ﰲ ﺣﲔ ﺃﻥﱠ ﺍﳊﻘﻴﻘﺔ‪ ،‬ﻋﻠﻰ ﺍﻷﺭﺟﺢ‪ ،‬ﻫﻲ ﻋﻠﻰ‬
‫ﺍﻟﻨﱠﻘﻴﺾ ﻣﻦ ﺫﻟﻚ‪ .‬ﻷﻥﱠ ﺣﺒﱠﺎً ﻭُﻟﺪ ﺗﺎﻣﱠﺎً ﰲ ﺟﺬﺭ ﺍﻟﺸﱠﺨﺺ ﻻ ﳝﻜﻦ ﻟﻪ ﻛﻤﺎ ﻳﺒﺪﻭ ﺃﻥ‬
‫ﳝﻮﺕ‪ ،‬ﺑﻞ ﻫﻮ ﻣﻨﺨﺮﻁ ﺇﻟﻰ ﺍﻷﺑﺪ ﰲ ﺍﻟﺮﱡﻭﺡ ﺍﳊﺴﱠﺎﺳﺔ‪ .‬ﻗﺪ ﲤﻨﻊ ﺍﻟﻈﺮﻭﻑ –ﻛﺎﻟﺒُﻌﺪ‬
‫ﻣﺜﻼً‪ -‬ﻣﻦ ﻣﺪّﻩ ﺑﺎﻟﻐﺬﺍﺀ ﺍﻟﻀﱠﺮﻭﺭﻱ‪ ،‬ﻓﻴﻔﻘﺪ ﻫﺬﺍ ﺍﳊﺐّ ﺣﻴﻨﺌﺬٍ ﺣﺠﻤﺎً ﻭﻳﺘﺤﻮﱠﻝ ﺇﻟﻰ‬
‫ﺧﻴﻂ ﻋﺎﻃﻔﻲ ﺻﻐﻴﺮ‪ ،‬ﻭﺇﻟﻰ ﻋِﺮْﻕٍ ﻗﺼﻴﺮ ﻣﻦ ﺍﻻﻧﻔﻌﺎﻝ ﻳﻈﻞﱡ ﻳﻨﺒﻊ ﳑﱠﺎ ﺗﺤﺖ ﺍﻟﺸﱡﻌﻮﺭ‪،‬‬
‫ﻟﻜﻨﱠﻪ ﻻ ﳝﻮﺕ‪ :‬ﻭﺗﻈﻞﱡ ﺻﻔﺘﻪ ﺍﻟﻌﺎﻃﻔﻴﱠﺔ ﺳﻠﻴﻤﺔ‪ .‬ﻭﻳﻈﻞﱡ ﺍﻟﺸﱠﺨﺺ ﺍﶈﺐّ ﻳﺸﻌﺮ ﰲ‬
‫ﻫﺬﺍ ﺍﻟﻘﺎﻉ ﺍﻷﺳﺎﺱ ﺃﻧﱠﻪ ﻣﺮﺗﺒﻂ ﺑﺎﶈﺒﻮﺑﺔ ﺍﺭﺗﺒﺎﻃﺎً ﻣﻄﻠﻘﺎً‪ .‬ﻭﻗﺪ ﺗﺤﻤﻠﻬﺎ ﺍﳌﺼﺎﺩﻓﺔ ﻣﻦ‬
‫ﻫﻨﺎ ﺇﻟﻰ ﻫﻨﺎﻙ ﰲ ﺍ‪‬ﺎﻝ ﺍﻟﻔﻴﺰﻳﻘﻲ ﻭﺍﻻﺟﺘﻤﺎﻋﻲّ‪ ،‬ﻓﻼ ﻳﻬﻢّ‪ .‬ﻓﺴﻮﻑَ ﺗﻈﻞّ ﻛﺎﺋﻨﺔ ﺇﻟﻰ‬
‫ﺟﺎﻧﺐ ﻣﻦ ﻳﺤﺒّﻬﺎ‪ .‬ﻫﺬﻩ ﻫﻲ ﺍﻟﺴّﻤﺔ ﺍﻟﻌﻠﻴﺎ ﻟﻠﺤﺐّ ﺍﳊﻘﻴﻘﻲ‪ :‬ﺃﻥ ﻳﻜﻮﻥ ﺇﻟﻰ ﺟﺎﻧﺐ‬
‫ﺍﶈﺒﻮﺏ ﻭﰲ ﺍﺣﺘﻜﺎﻙ ﻭﻗﺮﺏ ﺃﻋﻤﻖ ﻣﻦ ﺍﻷﺑﻌﺎﺩ ﺍﳌﻜﺎﻧﻴﱠﺔ‪ .‬ﺫﻟﻚ ﻳﻌﻨﻲ ﺃﻧﱠﻪ ﻳﻮﺟﺪ ﺣﻴﻮﻳﱠﺎً‬
‫ﻣﻊ ﺍﻵﺧﺮ‪ .‬ﻭﻗﺪ ﺗﻜﻮﻥ ﺍﻟﻜﻠﻤﺔ ﺍﻷﺩﻕّ‪ ،‬ﻭﺇﻥ ﺗﻜﻦ ﻣﻔﺮﻃﺔ ﰲ ﺗﻘﻨﻴﺘﻬﺎ‪ ،‬ﻫﻲ ﻫﺬﻩ‪ :‬ﺃﻥ ﻳﻜﻮﻥ‬
‫ﺃﻭﻧﻄﻮﻟﻮﺟﻴﱠﺎً ﻣﻊ ﺍﶈﺒﻮﺏ‪ ،‬ﻭﻓﻴﱠﺎً ﳌﺼﻴﺮﻩ‪ ،‬ﻣﻬﻤﺎ ﻳﻜﻦ ﺍﻷﻣﺮ‪ .‬ﻓﺎﳌﺮﺃﺓ ﺍﻟﺘﻲ ﺗﺤﺐّ ﻟﺼﱠﺎً‬
‫ﺗﻈﻞﱡ ﺗﺤﺲّ ﺃﻧﱠﻬﺎ ﰲ ﺍﻟﺴﱢﺠﻦ ﻭﺇﻥ ﻭُﺟﺪﺕ ﺑﺎﳉﺴﻢ ﰲ ﺃﻳﱠﻤﺎ ﻣﻜﺎﻥ‪.‬‬

‫‪III‬‬

‫ﳓﻦ ﻧﻌﺮﻑ ﺍ‪‬ﺎﺯ ﺍﻟﺬﻱ ﻳﺴّﺮ ﻟﺴﺘﻨﺪﻝ ﻣﻔﺮﺩﺓ "ﺑﻠﻮﺭﺓ" ﻟﺘﺴﻤﻴﺔ ﻧﻈﺮﻳﱠﺘﻪ ﻋﻦ‬
‫ﺍﳊﺐّ‪ .‬ﻓﻠﻮ ﺃُﻟﻘﻲ ﰲ ﻣﻨﺎﺟﻢ ﺳﺎﻟِﺰﺑﻮﺭﻍ ﺑﻐﺼﻦ ﺷﺠﻴﺮﺓ ﻭﺍﻟﺘُﻘﻂ ﰲ ﺍﻟﻴﻮﻡ ﺍﻟﺘﱠﺎﻟﻲ ﻳﻈﻬﺮ‬
‫ﻋﻠﻴﻪ ﺗﺤﻮﱡﻝ‪ .‬ﺇﺫْ ﻳﺘﻐﻄﱠﻰ ﺍﻟﺸﱠﻜﻞ ﺍﻟﻨﱠﺒﺎﺗﻲ ﺍﻟﺒﺴﻴﻂ ﺑﺒﻠﻮﺭﺍﺕ ﻣﻠﻮﱠﻧﺔ ﺗﻮﺷّﻲ ﻣﻈﻬﺮﻩ ﻋﻠﻰ‬
‫ﺷﻜﻞ ﻋﺠﻴﺐ‪ .‬ﻭﺗﺤﺪﺙ ﰲ ﺣﺐّ ﺳﺘﻨﺪﺍﻝ‪ ،‬ﻋﻤﻠﻴﱠﺔ ﻣﺸﺎﺑﻬﺔ ﰲ ﺍﻟﻨﱠﻔﺲ ﺍﻟﻘﺎﺩﺭﺓ ﻋﻠﻰ‬
‫ﺍﳊﺐّ‪ .‬ﻭﺫﻟﻚ ﺃﻥﱠ ﺻﻮﺭﺓ ﺍﳌﺮﺃﺓ ﺍﳊﻘﻴﻘﻴﱠﺔ ﺗﺴﻘﻂ ﺩﺍﺧﻞ ﺍﻟﻨﱠﻔﺲ ﺍﻟﺬﱠﻛﺮﻳﱠﺔ‪ ،‬ﻭﺗﺄﺧﺬ ﺷﻴﺌﺎً‬
‫ﻓﺸﻴﺌﺎً ﺑﺄﻥ ﺗﻮﺷّﻰ ﲟﺮﻛّﺒﺎﺕ ﺧﻴﺎﻟﻴﱠﺔ ﺗﺮﺍﻛﻢ ﻓﻮﻕ ﺍﻟﺼﱡﻮﺭﺓ ﺍ‪‬ﺮﱠﺩﺓ ﻛﻞ ﻛﻤﺎﻝ ﳑﻜﻦ‪.‬‬
‫ﻭﻟﻘﺪ ﺑﺪﺕ ﻟﻲ ﺩﺍﺋﻤﺎً ﻫﺬﻩ ﺍﻟﻨﱠﻈﺮﻳﱠﺔ ﺍﻟﻼﻣﻌﺔ ﻣﺰﻳﱠﻔﺔ ﺯﻳﻔﺎً ﻣﻔﺮﻃﺎً‪ .‬ﻭﺭﺑﱠﻤﺎ ﻛﺎﻥ‬
‫ﺍﻟﺸﱠﻲﺀ ﺍﻟﻮﺣﻴﺪ ﺍﻟﺬﻱ ﻧﺴﺘﻄﻴﻊ ﺇﻧﻘﺎﺫﻩ ﻓﻴﻬﺎ‪ ،‬ﺍﻻﻋﺘﺮﺍﻑ ﺍﻟﻀّﻤﻨﻲّ ‪ -‬ﺣﺘﱠﻰ ﻏﻴﺮ‬
‫ﺍﻟﺼﱠﺮﻳﺢ ‪ -‬ﺃﻥﱠ ﺍﳊﺐّ ﲟﻌﻨﻰ ﻣﺎ ﻭﺷﻜﻞ ﻣﺎ‪ ،‬ﺩﺍﻓﻊٌ ﳓﻮ ﺍﻟﻜﻤﺎﻝ‪ ،‬ﻟﺬﻟﻚ ﺁﻣﻦ ﺳﺘﻨﺪﺍﻝ‬
‫ﺑﻀﺮﻭﺭﺓ ﺍﻻﻓﺘﺮﺍﺽ ﺃﻧﱠﻨﺎ ﻧﺘﺼﻮﱠﺭ ﻛﻤﺎﻻﺕ‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻫﻮ ﻟﻢ ﻳﻬﺘﻢّ ﺑﻬﺬﻩ ﺍﻟﻨﻘﻄﺔ‪ .‬ﺇﺫْ‬
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 ‫ﻋﺪﱠﻫﺎ ﻣُﺜﺒﺘﺔ‪ ،‬ﻭﺃﻏﻔﻠﻬﺎ ﰲ ﻧﻈﺮﻳﱠﺘﻪ‪ ،‬ﺣﺘﱠﻰ ﻟﻢ ﻳﻼﺣﻆ ﺃﻧّﻬﺎ ﺍﻟﻠﺤﻈﺔ ﺍﻷﺧﻄﺮ ﻭﺍﻷﻋﻤﻖ‬
‫ﻭﺍﻷﻏﻤﺾ ﰲ ﺍﳊﺐّ‪ .‬ﺇﻥﱠ ﻧﻈﺮﻳﱠﺔ "ﺍﻟﺒﻠﻮﺭﺓ" ﺗﻬﺘﻢ‪ ،‬ﺑﺎﳊﺮﻱّ‪ ،‬ﺑﺘﻔﺴﻴﺮ ﺍﻹﺧﻔﺎﻕ ﰲ‬
‫ﺍﳊﺐّ‪ ،‬ﻭﺧﻴﺒﺔ ﺍﻷﻣﻞ ﺑﺎﻹﻋﺠﺎﺏ ﺍﳌﺘﻬﺎﻓﺖ؛ ﺑﺎﺧﺘﺼﺎﺭ‪ ،‬ﻋﺪﻡ ﺍﳊﺐ ﻭﻟﻴﺲ ﺍﳊﺐّ‪.‬‬
‫ﻭﺳﺘﻨﺪﺍﻝ ﺑﺼﻔﺘﻪ ﻓﺮﻧﺴﻴﱠﺎً‪ ،‬ﻳﺼﺒﺢ ﺳﻄﺤﻴﱠﺎً ﻣﻨﺬ ﺍﻟﻠﺤﻈﺔ ﺍﻟﺘﻲ ﻳﺄﺧﺬ ﻓﻴﻬﺎ‬
‫ﺑﺎﻟﻜﻼﻡ ﻛﻼﻣﺎً ﻋﺎﻣﱠﺎً‪ .‬ﻫﻮ ﳝﺮّ ﺑﺠﺎﻧﺐ ﺍﻟﻮﺍﻗﻌﺔ ﺍﻟﺮﱠﻫﻴﺒﺔ ﻭﺍﻷﺳﺎﺳﻴﱠﺔ ﻣﻦ ﻏﻴﺮ ﺃﻥ ﻳﺘﻨﺒﱠﻪ‬
‫ﺃﻭ ﻳﺪﻫﺶ ﻟﻬﺎ‪ .‬ﺃﻣﱠﺎ ﺍﻟﺪﱠﻫﺸﺔ ﻟِﻤَﺎ ﻳﺒﺪﻭ ﻭﺍﺿﺤﺎً ﻭﻃﺒﻴﻌﻴﱠﺎً ﻟﻠﻐﺎﻳﺔ‪ ،‬ﻓﻬﻲ ﻣﻮﻫﺒﺔ‬
‫ﺍﻟﻔﻴﻠﺴﻮﻑ‪ .‬ﺍﻧﻈﺮﻭﺍ ﻛﻴﻒ ﻳﺴﻌﻰ ﺃﻓﻼﻃﻮﻥ ﻣﺒﺎﺷﺮﺓً ﻭﻣﻦ ﻏﻴﺮ ﺗﺮﺩﱡﺩ ﻟﻴﻘﺒﺾ‬
‫ﺑﻜﻤﱠﺎﺷﺎﺗﻪ ﺍﻟﺬّﻫﻨﻴﱠﺔ ﻋﻠﻰ ﻋﺼﺐ ﺍﳊﺐّ ﺍﳌﺨﻴﻒ‪ ،‬ﻓﻴﻘﻮﻝ‪" :‬ﺍﳊﺐّ ﻧﺰﻭﻉ ﺇﻟﻰ ﺍﻟﻮﻻﺩﺓ ﰲ‬
‫ﺍﳉﻤﺎﻝ"‪ .‬ﻣﺎ ﺃﻛﺒﺮ ﻫﺬﻩ ﺍﻟﺴﱠﺬﺍﺟﺔ! –ﺗﻘﻮﻝ ﺍﻟﺴﱠﻴﱢﺪﺍﺕ ﺍﻟﻌﺎﳌﺎﺕ ﺑﺎﳊﺐّ ﻭﻫﻦﱠ ﻳﺘﻨﺎﻭﻟﻦ‬
‫ﺍﻟﻜﻮﻛﺘﻴﻞ ﰲ ﻛﻞﱢ ﻓﻨﺎﺩﻕ ﺭﻳﺘﻮ ‪ Ritz‬ﰲ ﺍﻟﻌﺎﻟﻢ‪ .‬ﻭﻻ ﺗﺨﻤّﻦ ﺍﻟﺴﻴﺪﺍﺕُ ﺭﺿﺎ ﺍﻟﻔﻴﻠﺴﻮﻑ‬
‫ﺍﻟﺴﱠﺎﺧﺮ ﺣﻴﻨﻤﺎ ﻳﺮﻯ ﻫﺬﻩ ﺍﻟﻮﺻﻤﺔ ﺑﺎﻟﺴﱠﺬﺍﺟﺔ ﺗﺘﻸﻷ ﺇﺯﺍﺀ ﻛﻠﻤﺎﺗﻪ ﰲ ﻋﻴﻮﻥ ﺍﻟﺴﱠﻴﱢﺪﺍﺕ‬
‫ﺍﳌﺴﺤﻮﺭﺓ‪ .‬ﻭﻫﻦﱠ ﻳﻨﺴﲔ ﻗﻠﻴﻼً ﺃﻥﱠ ﺍﻟﻔﻴﻠﺴﻮﻑ ﺇﺫﺍ ﻛﻠﱠﻤﻬﻦ ﻋﻦ ﺍﳊﺐّ ﻓﺈﻧﱠﻪ ﻻ ﻳﺒﺎﺩﻟﻬﻦّ‬
‫ﺍﳊﺐّ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻮ ﻋﻠﻰ ﺍﻟﻌﻜﺲ ﲤﺎﻣﺎً‪ .‬ﻷﻥﱠ ﺍﻟﺘﱠﻔﻠﺴﻒ ﻛﻤﺎ ﻳﺸﻴﺮ ﻓﻴﺸﺘﻪ‪ ،‬ﻳﻌﻨﻲ ﺑﺎﳌﻌﻨﻰ‬
‫ﺍﻟﺼﱠﺤﻴﺢ ﻋﺪﻡ ﺍﳊﻴﺎﺓ‪ ،‬ﻛﻤﺎ ﺃﻥﱠ ﺍﳊﻴﺎﺓ ﺗﻌﻨﻲ ﺑﺎﳌﻌﻨﻰ ﺍﳊﻖّ ﻋﺪﻡ ﺍﻟﺘﱠﻔﻠﺴﻒ‪ .‬ﻓﻤﺎ ﺃﻟﺬّ‬
‫ﻫﺬﻩ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺍﻟﻐﻴﺎﺏ ﻋﻦ ﺍﳊﻴﺎﺓ ﻭﺍﻟﻬﺮﺏ ﺑﺴﺒﺐ ﺑُﻌﺪ ﻣﻔﺘﺮﺽ ﳝﺘﻠﻜﻪ ﺍﻟﻔﻴﻠﺴﻮﻑ‬
‫ﺍﻟﺬﻱ ﻳﺪﺭﻙ ﺍﳌﺮﺃﺓَ ﺑﺸﻜﻞ ﺑﺎﺭﺯ ﺣﻴﻨﻤﺎ ﻳﺒﺪﻭ ﺳﺎﺫﺟﺎً! ﻭﻣﺎ ﻳﻬﻢّ ﺍﳌﺮﺃﺓ –ﻛﻤﺎ ﺳﺘﻨﺪﺍﻝ‪-‬‬
‫ﰲ ﻣﺬﻫﺐ ﺍﳊﺐّ‪ ،‬ﺍﻟﺴﻴﻜﻮﻟﻮﺟﻴﺎ ﺍﻟﺴﱠﻄﺤﻴﱠﺔ ﻭﺍﻟﻨّﻜﺘﺔ‪ .‬ﻭﺃﻧﺎ ﻻ ﺃﻧﻔﻲ ﺃﻧﱠﻬﻤﺎ ﻫﺎﻣﱠﺎﻥ‪ .‬ﺇﻧﱠﻤﺎ‬
‫ﺃﺳﻤﺢ ﻟﻨﻔﺴﻲ ﺑﺄﻥ ﺃﻭﺣﻲ ﺃﻥﱠ ﻣﺸﺎﻛﻞ ﺍﻟﻌﺸﻖ ﺍﻟﻜﺒﺮﻯ ﺗﻜﻤﻦ ﻓﻴﻤﺎ ﻭﺭﺍﺀ ﺫﻟﻚ ﻛﻠّﻪ‪،‬‬
‫ﻭﻫﺬﺍ ﻣﺎ ﺻﺎﻏﻪ ﺃﻓﻼﻃﻮﻥ ﰲ ﻣﺴﺘﻮﻯ ﺃﺭﻗﻰ ﻣﻨﺬ ﺃﺭﺑﻌﺔ ﻭﻋﺸﺮﻳﻦ ﻗﺮﻧﺎً‪.‬‬
‫ﻓﻠﻨﺘﺄﻣﱠﻞ ﻟﻠﺤﻈﺔ‪ ،‬ﻭﺇﻥْ ﻋَﺮَﺿﺎً‪ ،‬ﺍﳌﺴﺄﻟﺔ ﺍﻟﻀﱠﺨﻤﺔ‪.‬‬
‫ﺇﻥﱠ "ﺍﳉﻤﺎﻝ" ﰲ ﺍﳌﻔﺮﺩﺍﺕ ﺍﻷﻓﻼﻃﻮﻧﻴﱠﺔ ﻫﻮ ﺍﻻﺳﻢ ﺍﳌﻌﻴﱠﻦ ﳌﺎ ﺍﻋﺘﺪﻧﺎ ﺗﺴﻤﻴﺘﻪ‬
‫ﺑﺄﻋﻢّ ﺻﻮﺭﺓ "ﻛﻤﺎﻻً"‪ .‬ﻭﻓﻜﺮﺓ ﺃﻓﻼﻃﻮﻥ ﺇﺫﺍ ﺻﻐﻨﺎﻫﺎ ﺑﺸﻲﺀ ﻣﻦ ﺍﳊﺬﺭ ﻣﻊ ﻣﺮﺍﻋﺎﺓ‬
‫ﺗﻔﻜﻴﺮﻩ ﺑﺪﻗﱠﺔ‪ ،‬ﺗﺼﺒﺢ ﻫﻜﺬﺍ‪ :‬ﰲ ﻛﻞّ ﺣﺐّ ﺗﻜﻤﻦ ﺭﻏﺒﺔ ﰲ ﺍﺗﱢﺤﺎﺩ ﻣﻦ ﻳﺤﺐّ ﺑﻜﺎﺋﻦ‬
‫ﺁﺧﺮ ﻳﺒﺪﻭ ﻣﺰﻭﱠﺩﺍً ﺑﻜﻤﺎﻝٍ ﻣﺎ‪ .‬ﺇﺫﺍً‪ ،‬ﻫﻲ ﺣﺮﻛﺔ ﻣﻦ ﺭﻭﺣﻨﺎ ﺑﺎﺗﱢﺠﺎﻩ ﺷﻲﺀ ﳑﻴﱠﺰ‪،‬‬
‫ﺑﺎﳊﺮﻱّ‪ ،‬ﻓﺎﺋﻖ ﲟﻌﻨﻰ ﻣﺎ‪ .‬ﻭﺳﻮﺍﺀ ﺃﻛﺎﻥ ﻫﺬﺍ ﺍﻟﺘﱠﻤﻴﱡﺰ ﺣﻘﻴﻘﺔ ﺃﻡ ﻣُﺘﺨﻴﱠﻼً ﻻ ﻳﻐﻴّﺮ ﺃﺩﻧﻰ‬
‫ﺗﻐﻴﻴﺮ ﻣﻦ ﻭﺍﻗﻌﺔ ﺃﻥﱠ ﺍﻟﺸّﻌﻮﺭ ﺍﻹﻳﺮﻭﺳﻲّ ‪ -‬ﻭﺑﻘﻮﻝٍ ﺃﺩﻕّ ﺍﳊﺐّ ﺍﳉﻨﺴﻲّ ‪ -‬ﻻ ﻳﺤﺪُﺙ‬
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 ‫ﻓﻴﻨﺎ ﺇﻻ ﲟﻮﺟﺐ ﺷﻲﺀ ﻧﻌﺪّﻩ ﻛﻤﺎﻻً‪ .‬ﻓﻠْﻴﺠﺮﱢﺏ ﺍﻟﻘﺎﺭﺉ ﺃﻥ ﻳﺘﻤﺜّﻞ ﺣﺎﻟﺔ ﺣﺐّ –ﺣﺐّ‬
‫ﺟﻨﺴﻲّ‪ -‬ﻻ ﳝﺜﱢﻞ ﻓﻴﻬﺎ ﺍﶈﺒﻮﺏُ ﰲ ﻋﻴﻨﻲ ﻣﻦ ﻳﺤﺐّ ﺃﻱ ﻭﺟﻪ ﻟﻠﺮﱠﻭﻋﺔ‪ ،‬ﻳﺮَ ﻛﻴﻒ ﺃﻥﱠ‬
‫ﻫﺬﺍ ﺍﳊﺐّ ﻣﺤﺎﻝ‪ .‬ﺍﳊﺐّ ﻫﻮ‪ ،‬ﺑﺎﻟﺘﱠﺎﻟﻲ‪ ،‬ﺷﻌﻮﺭ ﺑﺎﻻﻓﺘﺘﺎﻥ ﺑﺸﻲﺀ )ﻭﺳﻮﻑ ﻧﺮﻯ ﺑﺸﻲﺀ‬
‫ﻣﻦ ﺍﻟﺘﱠﻔﺼﻴﻞ ﻣﺎ ﻫﻮ ﻫﺬﺍ "ﺍﻻﻓﺘﺘﺎﻥ"(؛ ﻭﻳﺴﺘﻄﻴﻊ ﺷﻲﺀ ﻣﺎ ﺃﻥ ﻳﻔﱳ ﺇﺫﺍ ﻛﺎﻥ ﻛﺎﻣﻼً‬
‫ﺃﻭ ﻳﺒﺪﻭ ﻛﺎﻣﻼً‪ .‬ﻻ ﺃﻋﻨﻲ ﺑﺬﻟﻚ ﺃﻥﱠ ﺍﻟﺸﱠﺨﺺ ﺍﶈﺒﻮﺏ ﻗﺪ ﻳﺒﺪﻭ ﻛﺎﻣﻼً ﲤﺎﻡ ﺍﻟﻜﻤﺎﻝ‪.‬‬
‫ﻭﻫﺬﺍ ﺧﻄﺄ ﺳﺘﻨﺪﺍﻝ‪ .‬ﺇﺫ ﻳﻜﻔﻲ ﺃﻥ ﻳﻜﻮﻥ ﻓﻴﻪ ﻛﻤﺎﻝ ﻣﺎ؛ ﺑﺎﻟﻄﱠﺒﻊ‪ ،‬ﻻ ﻳﻌﻨﻲ ﺍﻟﻜﻤﺎﻝ ﰲ‬
‫ﺍﻷﻓﻖ ﺍﻟﺒﺸﺮﻱّ ﻣﺎ ﻫﻮ ﺧﻴﺮ ﺑﺈﻃﻼﻕ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻮ ﺧﻴﺮٌ ﻣﻦ ﺍﻟﺒﻘﻴﱠﺔ‪ ،‬ﻭﻣﺎ ﻳﺒﺮﺯ ﰲ ﻣﺠﺎﻝٍ‬
‫ﻧﻮﻋﻲّ ﻣﺎ‪ .‬ﺑﺎﺧﺘﺼﺎﺭ‪ ،‬ﻫﻮ ﺍﻟﺘﱠﻤﻴﱡﺰ‪.‬‬
‫ﻫﺬﺍ ﺃﻭﱠﻻً‪ ،‬ﺍﻷﻣﺮ ﺍﻟﺜﱠﺎﻧﻲ ﻫﻮ ﺃﻥّ َﺍﻟﺘﱠﻤﻴﱡﺰ ﻳﺤﺚﱡ ﻋﻠﻰ ﺍﻟﺒﺤﺚ ﻋﻦ ﺍﻟﻮﺣﺪﺓ ﻣﻊ‬
‫ﺍﻟﺸﱠﺨﺺ ﺫﻱ ﺍﻻﻣﺘﻴﺎﺯ‪ .‬ﻭﻣﺎ ﻫﻲ ﻫﺬﻩ "ﺍﻟﻮﺣﺪﺓ"؟ ﺇﻥﱠ ﺃﺻﺪﻕ ﺍﻟﻌﺸﱠﺎﻕ ﺳﻴﻘﻮﻟﻮﻥ ﻋﻦ‬
‫ﺣﻖّ ﺃﻧﱠﻬﻢ ﻟﻢ ﻳﺸﻌﺮﻭﺍ ‪ -‬ﻋﻠﻰ ﺍﻷﻗﻞّ ﰲ ﺍﻟﻮﻫﻠﺔ ﺍﻷﻭﻟﻰ‪ -‬ﺑﺸﻬﻮﺓ ﰲ ﺍﻻﺗﱢﺤﺎﺩ ﺍﳉﺴﺪﻱّ‪.‬‬
‫ﺍﳌﺴﺄﻟﺔ ﺩﻗﻴﻘﺔ ﻭﺗﺘﻄﻠﱠﺐ ﺃﻛﺒﺮ ﺩﻗﱠﺔ‪ .‬ﻭﻟﻴﺲ ﺍﳌﺮﺍﺩ ﺃﻥ ﺍﶈﺐّ ﻻ ﻳﺮﻏﺐ ﰲ ﺍﺗﱢﺤﺎﺩٍ‬
‫ﺟﺴﺪﻱ ﻣﻊ ﺍﶈﺒﻮﺑﺔ‪ .‬ﻟﻜﻦ‪ ،‬ﺇﺫﺍ ﻛﺎﻥ ﻳﺮﻏﺐ ﰲ ﻫﺬﺍ ﺍﻻﺗﱢﺤﺎﺩ ﺃﻳﻀﺎً‪ ،‬ﻓﻤﻦ ﺍﻟﺰﱠﻳﻒ‬
‫ﺍﻟﻘﻮﻝ ﺇﻥﱠ ﺫﻟﻚ ﻛﺎﻥ ﻛﻞّ ﻣﺎ ﻳﺮﻏﺐ ﻓﻴﻪ‪.‬‬
‫ﻭﺗﻠﺢﱡ ﻫﻨﺎ ﻣﻼﺣﻈﺔ ﻫﺎﻣﱠﺔ‪ .‬ﺇﺫْ ﻟﻢ ﻳُﻔﺮﱠﻕ ﻗﻂّ ﺑﺸﻜﻞٍ ﻛﺎﻑٍ ‪ -‬ﺭﺑﱠﻤﺎ ﺑﺎﺳﺘﺜﻨﺎﺀ ﻣﺎ‬
‫ﻋﻤﻠﻪ ﺷﻴﻠﺮ ﻓﻘﻂ ‪ -‬ﺑﲔ "ﺍﳊﺐّ ﺍﳉﻨﺴﻲ" ﻭ"ﺍﻟﻐﺮﻳﺰﺓ ﺍﳉﻨﺴﻴﱠﺔ"‪ ،‬ﺣﺘﱠﻰ ﺇﺫﺍ ﺫُﻛﺮ ﺫﺍﻙ‬
‫ﻓُﻬﻢ ﻣﻨﻪ ﺗﻠﻚ‪ .‬ﻳﻘﻴﻨﺎً ﺃﻥﱠ ﺍﻟﻐﺮﺍﺋﺰ ﰲ ﺍﻹﻧﺴﺎﻥ ﺗﺒﺪﻭ ﺩﺍﺋﻤﺎً ﺗﻘﺮﻳﺒﺎً ﻣﻘﻴﱠﺪﺓ ﺑﺄﺷﻜﺎﻝٍ ﻓﻮﻕ‬
‫ﻏﺮﻳﺰﻳﱠﺔ ﺫﺍﺕ ﻃﺎﺑﻊ ﻧﻔﺴﻲ ﻭﺣﺘﱠﻰ ﺭﻭﺣﻲ‪ .‬ﻭﻗﻠﱠﻤﺎ ﳒﺪ ﻏﺮﻳﺰﺓً ﺧﺎﻟﺼﺔً ﺗﻌﻤﻞ ﺑﺸﻜﻞٍ‬
‫ﻣﺴﺘﻘﻞّ‪ .‬ﻭﺍﻟﻔﻜﺮﺓ ﺍﳌﺄﻟﻮﻓﺔ ﻋﻦ "ﺍﳊﺐّ ﺍﻟﻔﻴﺰﻳﻘﻲّ" ﻣﺒﺎﻟﻎ ﻓﻴﻬﺎ‪ ،‬ﻛﻤﺎ ﺃﺭﻯ‪ .‬ﻭﻟﻴﺲ ﺳﻬﻼً‬
‫ﻭﻻ ﺷﺎﺋﻌﺎً ﺟﺪﱠﺍً ﺍﻟﺸﻌﻮﺭُ ﺑﺎﳒﺬﺍﺏ ﺟﺴﺪﻱّ ﻣﻄﻠﻖ‪ .‬ﻭﺗﺪﻋﻢ ﺍﳉﻨﺴﻴﱠﺔَ ﻭﺗﺨﺘﻠﻂ ﺑﻬﺎ ﰲ‬
‫ﻣﻌﻈﻢ ﺍﻷﺣﻮﺍﻝ‪ ،‬ﺃﺻﻮﻝٌ ﻣﻦ ﺍﳊﻤﺎﺳﺔ ﺍﻟﻌﺎﻃﻔﻴﱠﺔ ﻭﺍﻹﻋﺠﺎﺏ ﺑﺎﳉﻤﺎﻝ ﺍﳉﺴﺪﻱّ‬
‫ﻭﺍﳉﺎﺫﺑﻴﱠﺔ‪ ،‬ﺇﻟﺦ‪ .‬ﻭﺣﺎﻻﺕ ﺍﳌﻤﺎﺭﺳﺔ ﺍﳉﻨﺴﻴﱠﺔ ﺍﻟﻐﺮﻳﺰﻳﱠﺔ ﺑﺸﻜﻞٍ ﺧﺎﻟﺺ‪ ،‬ﻫﻲ ﻣﻊ ﺫﻟﻚ‪،‬‬
‫ﻋﺪﻳﺪﺓ ﺟﺪﱠﺍً ﺣﺘﱠﻰ ﻻ ﻧﺴﺘﻄﻴﻊ ﲤﻴﻴﺰﻫﺎ ﻣﻦ "ﺍﳊﺐّ ﺍﳉﻨﺴﻲّ" ﺍﳊﻘﻴﻘﻲّ‪ .‬ﻭﺍﻟﻔﺮﻕ‬
‫ﻳﺒﺪﻭ ﻭﺍﺿﺤﺎً ﺧﺎﺻﱠﺔً ﰲ ﺍﳌﻮﻗﻔﲔ ﺍﳌﺘﻄﺮّﻓﲔ‪ :‬ﺇﺫﺍ ﻗُﻤﻌﺖ ﳑﺎﺭﺳﺔ ﺍﳉﻨﺲ ﻷﺳﺒﺎﺏ‬
‫ﺧﻠﻘﻴﱠﺔ ﺃﻭ ﻇﺮﻓﻴﱠﺔ‪ ،‬ﺃﻭ ﻋﻠﻰ ﺍﻟﻌﻜﺲ‪ ،‬ﺇﺫﺍ ﻛﺎﻥ ﺍﻹﻓﺮﺍﻁ ﻓﻴﻬﺎ ﻳﺘﺪﻫﻮﺭ ﺇﻟﻰ ﺩﻋﺎﺭﺓ‪ .‬ﰲ‬
‫ﻛﻠﺘﺎ ﺍﳊﺎﻟﺘﲔ ﻧﻼﺣﻆ ﺃﻥﱠ ﺍﻟﻠّﺬﺓ ﺍﳋﺎﻟﺼﺔ ‪ -‬ﻟﻨﻘﻞ ﻋﺪﻡ ﺍﻟﻄﱠﻬﺎﺭﺓ ﺍﳋﺎﻟﺼﺔ ‪ -‬ﺗﻮﺟﺪ‬
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 ‫ﻣﻊ ﺫﻟﻚ‪ ،‬ﻗﺒﻞ ﻣﻮﺿﻮﻋﻬﺎ‪ .‬ﺇﺫْ ﻳُﺤﺲّ ﺑﺎﻟﺸﱠﻬﻮﺓ ﻗﺒﻞ ﻣﻌﺮﻓﺔ ﺍﻟﺸﱠﺨﺺ ﺃﻭ ﺍﳌﻮﻗﻒ ﺍﻟﺬﻱ‬
‫ﻳﺸﺒﻌﻬﺎ‪ .‬ﻭﻧﺘﻴﺠﺔ ﺫﻟﻚ‪ ،‬ﻫﻮ ﺇﻣﻜﺎﻧﻴﱠﺔ ﺇﺷﺒﺎﻋﻬﺎ ﻣﻊ ﻣﻦ ﻛﺎﻥ‪ ،‬ﻷﻥﱠ ﺍﻟﻐﺮﻳﺰﺓ ﻻ ﲤﻴّﺰ ﺇﺫﺍ‬
‫ﻛﺎﻧﺖ ﻏﺮﻳﺰﺓ ﻓﻘﻂ‪ .‬ﻭﻫﻲ ﻟﻴﺴﺖ ﺑﺬﺍﺗﻬﺎ ﺩﺍﻓﻌﺎً ﳓﻮ ﺍﻟﻜﻤﺎﻝ‪.‬‬
‫ﻭﺭﺑﱠﻤﺎ ﺿﻤﻨﺖ ﺍﻟﻐﺮﻳﺰﺓُ ﺍﳉﻨﺴﻴﱠﺔ ﺣﻔﻆَ ﺍﻟﻨﱠﻮﻉ‪ ،‬ﻟﻜﻦ‪ ،‬ﻟﻴﺲ ﻛﻤﺎﻟﻪ‪ .‬ﺑﻴﻨﻤﺎ ﺍﳊﺐّ‬
‫ﺍﳉﻨﺴﻲ ﺍﳊﻘﻴﻘﻲ‪ ،‬ﺃﻱ‪ ،‬ﺍﻹﻋﺠﺎﺏ ﺍﻟﺸﱠﺪﻳﺪ ﺑﺸﺨﺺ ﺁﺧﺮ ﺭﻭﺣﺎً ﻭﺟﺴﻤﺎً ﰲ ﻭﺣﺪﺓٍ ﻻ‬
‫ﺗﻨﻔﺼﻢ‪ ،‬ﻫﻮ ﻋﻠﻰ ﺍﻟﻌﻜﺲ‪ ،‬ﰲ ﺫﺍﺗﻪ ﻭﻋﻠﻰ ﺷﻜﻞ ﺃﺻﻴﻞ‪ ،‬ﻗﻮﱠﺓ ﻋﻤﻼﻗﺔ ﻣﻜﻠّﻔﺔ ﺑﺘﺤﺴﲔ‬
‫ﺍﻟﻨﱠﻮﻉ‪ .‬ﻭﻋﻮﺿﺎً ﻋﻦ ﻭﺟﻮﺩ ﻫﺬﺍ ﺍﳊﺐّ ﻗﺒﻞ ﻣﻮﺿﻮﻋﻪ‪ ،‬ﻳﻮﻟﺪ ﺩﺍﺋﻤﺎً ﺑﺤﺚّ ﻣﻦ ﻛﺎﺋﻦٍ‬
‫ﻳﻈﻬﺮ ﺇﺯﺍﺀﻧﺎ‪ ،‬ﰒﱠ ﺗﻄﻠﻖ ﻋﻤﻠﻴﱠﺔَ ﺍﳊﺐّ ﺻﻔﺔٌ ﻣﺨﺘﺎﺭﺓ ﻣﻦ ﻫﺬﺍ ﺍﻟﻜﺎﺋﻦ‪.‬‬
‫ﻭﻣﺎ ﺇﻥ ﺗﺒﺪﺃ ﻫﺬﻩ ﺍﻟﻌﻤﻠﻴﱠﺔ ﺣﺘﱠﻰ ﻳﺸﻌﺮ ﺍﶈﺐّ ﺑﻐﺮﻳﺰﺓ ﻏﺮﻳﺒﺔ ﻟﻴُﺤﻞّ ﻓﺮﺩﻳﱠﺘﻪ ﰲ‬
‫ﻓﺮﺩﻳﱠﺔ ﺍﻵﺧﺮ؛ ﻭﺍﻟﻌﻜﺲ ﺻﺤﻴﺢ‪ ،‬ﳝﺘﺺّ ﰲ ﻓﺮﺩﻳّﺘﻪ ﻓﺮﺩﻳﱠﺔ ﺍﻟﻜﺎﺋﻦ ﺍﶈﺒﻮﺏ‪ .‬ﻭﻣﺎ‬
‫ﺃﻏﻤﺾ ﻫﺬﺍ ﺍﳉﻬﺪ! ﻓﺈﺫﺍ ﻛﻨﱠﺎ ﻻ ﻧﺴﺘﻬﺠﻦ ﺷﻴﺌﺎً ﰲ ﺃﻣﻮﺭ ﺍﳊﻴﺎﺓ ﺍﻷﺧﺮﻯ ﻗﺪْﺭ‬
‫ﺍﺳﺘﻬﺠﺎﻧﻨﺎ ﺭﺅﻳﺔَ ﻛﺎﺋﻦ ﺁﺧﺮ ﻳﻐﺰﻭ ﺗﺨﻮﻡ ﻭﺟﻮﺩﻧﺎ ﺍﻟﻔﺮﺩﻱّ‪ ،‬ﻓﺈﻥﱠ ﻟﺬﱠﺓ ﺍﳊﺐّ ﺗﻜﻤﻦ ﰲ‬
‫ﺷﻌﻮﺭ ﺍﳌﺮﺀ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﻴﱠﺎً ﻧَﻔَﻮﺫﺍً ﺇﺯﺍﺀ ﺍﻟﻔﺮﺩﻳﱠﺔ ﺍﻷﺧﺮﻯ ﺑﺸﻜﻞٍ ﻻ ﲡﺪ ﺇﺷﺒﺎﻋﺎً ﻟﻬﺎ ﺇﻻﱠ‬
‫ﰲ ﺫﻭﺑﺎﻧﻬﻤﺎ ﻛﻠﻴﻬﻤﺎ ﰲ "ﻓﺮﺩﻳﱠﺔٍ ﻭﺍﺣﺪﺓٍ ﻟﺸﺨﺼﲔ"‪ .‬ﻭﻫﺬﺍ ﻳﺬﻛّﺮﻧﺎ ﲟﺬﻫﺐ‬
‫ﺍﻟﺴﺎﻧﺴﻴﻤﻮﻧﻴﻴّﻦ ﺍﻟﺬﻱ ﻳﺮﻯ ﺃﻥﱠ ﺍﻟﻔﺮﺩ ﺍﻹﻧﺴﺎﻧﻲ ﺍﳊﻘﻴﻘﻲ ﻫﻮ ﺍﻟﺜﱡﻨﺎﺋﻲ ﺍﻟﺮﱠﺟﻞ ‪ -‬ﺍﳌﺮﺃﺓ‪.‬‬
‫ﻣﻊ ﺫﻟﻚ‪ ،‬ﻻ ﺗﻘﻒ ﺍﻟﻌﻤﻠﻴﱠﺔ ﻋﻨﺪ ﻫﺬﻩ ﺍﻟﺮﱠﻏﺒﺔ ﰲ ﺍﻟﺬﱠﻭﺑﺎﻥ‪ .‬ﻓﺈﺫﺍ ﻛﺎﻥ ﺍﳊﺐّ ﺗﺎﻣﱠﺎً‪ ،‬ﻓﺈﻧﱠﻪ‬
‫ﻳُﺘﻮﱠﺝ ﺑﺮﻏﺒﺔٍ ﻭﺍﺿﺤﺔٍ ﺇﻟﻰ ﺣﺪﱟ ﻣﺎ‪ ،‬ﰲ ﺃﻥ ﻳُﺠﻌﻞ ﺍﻻﺗﱢﺤﺎﺩ ﻣﺸﺨﱠﺼﺎً ﰲ ﺍﺑﻦ ﻳﻜﻮﻥ ﺍﻣﺘﺪﺍﺩﺍً‬
‫ﻟﻬﻤﺎ ﻭﻳﺆﻛﱢﺪﺍﻥ ﻛﻤﺎﻝ ﺍﻟﻜﺎﺋﻦ ﺍﶈﺒﻮﺏ‪ .‬ﻭﻫﺬﺍ ﺍﻟﻌﻨﺼﺮ ﺍﻟﺜﱠﺎﻟﺚ ﺍﻟﺬﻱ ﻫﻮ ﻣﻦ ﻣﺨﻠﱠﻔﺎﺕ‬
‫ﺍﳊﺐّ‪ ،‬ﻳﺒﺪﻭ ﺃﻧﱠﻪ ﻳﺠﻤﻊ ﺑﻜﻞﱢ ﻧﻘﺎﺀٍ ﻣﻌﻨﻰ ﺍﳊﺐّ ﺍﻷﺳﺎﺱ‪ .‬ﻓﺎﻻﺑﻦ ﻟﻴﺲ ﻣﻦ ﺍﻷﺏ‪ ،‬ﻭﻻ ﻫﻮ‬
‫ﻣﻦ ﺍﻷﻡّ‪ :‬ﺇﻧﱠﻪ ﺍﺗﱢﺤﺎﺩﻫﻤﺎ ﻣﻌﺎً ﻣُﺸﺨﱠﺼﺎً‪ ،‬ﻭﻫﻮ ﺳﻌﻲﱞ ﻟﻠﻜﻤﺎﻝ ﺍﳌﺸﻜّﻞ ﻣﻦ ﳊﻢ ﻭﺭﻭﺡ‪ .‬ﻭﻗﺪ‬
‫ﻛﺎﻥ ﺃﻓﻼﻃﻮﻥ )ﺍﻟﺴﱠﺎﺫﺝ( ﻋﻠﻰ ﺻﻮﺍﺏ‪ :‬ﺍﳊﺐّ ﺭﻏﺒﺔ ﻣﻠﺤّﺔ ﻟﻠﻮﻻﺩﺓ ﰲ ﺍﻟﻜﻤﺎﻝ‪ ،‬ﻭﻛﻤﺎ ﻛﺎﻥ‬
‫ﻳﻘﻮﻝ ﻟﻮﺭﻧﺰﻭ ﺩِﻩ ﻣﻴﺪﻳﺘﺸﻲ‪ ،‬ﻭﻫﻮ ﺃﻓﻼﻃﻮﻧﻲ ﺁﺧﺮ‪ :‬ﺇﻧﱠﻪ ﺷﻬﻮﺓ ﻟﻠﺠﻤﺎﻝ‪.‬‬
‫‪cosmológica‬‬ ‫ﻟﻘﺪ ﻓﻘﺪﺕ ﺇﻳﺪﻳﻮﻟﻮﺟﻴﺎ ﺍﻷﺯﻣﻨﺔ ﺍﻷﺧﻴﺮﺓ ﺍﻹﻟﻬﺎﻡ ﺍﻟﻜﻮﻧﻲ‬
‫ﻭﺻﺎﺭﺕ ﻋﻠﻤﻴﱠﺔ ﻧﻔﺴﻴﱠﺔ ﻛﻠﻴﱠﺎً ﺗﻘﺮﻳﺒﺎً‪ .‬ﻭﻗﺪ ﺟﻠﺐ ﺍﻧﺘﺒﺎﻫَﻨﺎ ﺗﻔﻨﱡﻦُ ﻋﻠﻢ ﻧﻔﺲ ﺍﳊﺐّ‬
‫ﲟﺮﺍﻛﻤﺘﻪ ﺣﻠﻮﻻً ﺩﻗﻴﻘﺔ ﺇﻟﻰ ﻫﺬﺍ ﺍﻟﻮﺟﻪ ﺍﻟﻜﻮﻧﻲّ ﻭﺍﻷﻭﱠﻟﻲّ ﰲ ﺍﳊﺐّ‪ .‬ﻭﺳﻮﻑ ﻧﺘﻮﻏﱠﻞ‬
‫ﺍﻵﻥ ﺃﻳﻀﺎً ﰲ ﺍﳌﻨﻄﻘﺔ ﺍﻟﻌﻠﻤﻴﱠﺔ ﺍﻟﻨﱠﻔﺴﻴﱠﺔ‪ .‬ﺇﻧﱠﺎ ﻭﺇﻥْ ﻛﻨﱠﺎ ﻧﻨﻘﺾّ ﻋﻠﻰ ﺃﻫﻢّ ﻣﺎ ﻓﻴﻬﺎ‪ ،‬ﻳﺠﺐ‬
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‫ﺃﻻﱠ ﻧﻨﺴﻰ ﺃﻥﱠ ﻗﺼّﺔ ﻏﺮﺍﻣﻴﺎﺗﻨﺎ ﺍﳌﺘﻌﺪﱢﺩﺓ ﺍﻟﺸﱠﻜﻞ ﺗﻌﻴﺶ ﺑﻜﻞﱢ ﺗﻌﻘﻴﺪﺍﺗﻬﺎ ﻭﺃﺣﻮﺍﻟﻬﺎ ﺃﺧﻴﺮﺍً‬
‫ﰲ ﺍﻟﻘﻮﱠﺓ ﺍﻷﻭﱠﻟﻴﱠﺔ ﻭﺍﻟﻜﻮﻧﻴﱠﺔ ﺍﻟﺘﻲ ﻻ ﺗﺼﻨﻊ ﻧﻔﺴﻨﺎ ﺍﻷﻭﱠﻟﻴﱠﺔ ﺃﻭ ﺍﻟﻨﱠﻘﻴﱠﺔ‪ ،‬ﺍﻟﺒﺴﻴﻄﺔ ﺃﻭ‬
‫ﺍﳌﻌﻘﱠﺪﺓ ﺷﻴﺌﺎً ﻣﻦ ﻗﺮﻥٍ ﺇﻟﻰ ﻗﺮﻥٍ ﺳﻮﻯ ﺗﺪﺑﻴﺮﻫﺎ ﻭﺗﺸﻜﻴﻠﻬﺎ ﺑﺸﻜﻞ ﻣﺘﻨﻮﱢﻉ‪ .‬ﻛﻤﺎ ﻳﺠﺐ ﺃﻻ‬
‫ﺗﻨﺴﻴﻨﺎ ﺍﻟﻌﻨﻔﺎﺕ ﻭﺍﳌﻨﺸﺂﺕ ﺍﳌﺨﺘﻠﻔﺔ ﺍﻷﺣﺠﺎﻡ ﺍﻟﺘﻲ ﻧﻐﻤﺮﻫﺎ ﰲ ﻣﺠﺮﻯ ﺍﻟﺴﱠﻴﻞ‪ ،‬ﻗﻮﱠﺓَ‬
‫ﻫﺬﺍ ﺍﻷﻭﱠﻟﻴﱠﺔ ﺍﻟﺘﻲ ﺗﺤﺮﱢﻛﻨﺎ ﻋﻠﻰ ﺷﻜﻞٍ ﺳﺮﱢﻱ‪.‬‬

‫‪IV‬‬

‫ﻻ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻨﻔﻲ ﻋﻦ ﻓﻜﺮﺓ "ﺍﻟﺒﻠﻮﺭﺓ" ﻫﺬﻩ‪ ،‬ﳒﺎﺣﺎً ﺃﻭﱠﻟﻴﱠﺎً ﻭﺍﺿﺤﺎً ﺑﺸﻜﻞٍ ﻛﺒﻴﺮ‪.‬‬
‫ﻓﻤﻦ ﺍﻟﺸﱠﺎﺋﻊ ﺟﺪﱠﺍً‪ ،‬ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﺃﻥ ﻧﻜﺘﺸﻒ ﺧﻄﺄﻧﺎ ﻃﻴﻠﺔ ﻏﺮﺍﻣﻴﱠﺎﺗﻨﺎ ﻛﻠّﻬﺎ‪ .‬ﻟﻘﺪ ﺍﻓﺘﺮﺿﻨﺎ‬
‫ﰲ ﺍﶈﺒﻮﺏ ﻟﻄﺎﺋﻒ ﻭﺟﻤﺎﻻً ﻏﺎﺋﺒﺔ ﻋﻨﻪ‪ .‬ﺃﻻ ﻳﻨﺒﻐﻲ ﻟﻨﺎ ﺃﻥ ﻧﺴﺘﺼﻮﺏ ﺳﺘﻨﺪﺍﻝ؟ ﺃﻧﺎ ﻻ‬
‫ﺃﺣﺴﺐ ﺫﻟﻚ‪ .‬ﻧﻌﻢ‪ ،‬ﳝﻜﻦ ﺃﻥ ﻳﻜﻮﻥ ﻋﻠﻰ ﺻﻮﺍﺏ‪ ،‬ﻟﻜﻮﻧﻪ ﻋﻠﻰ ﺻﻮﺍﺏ ﺑﺈﻓﺮﺍﻁ‪ .‬ﺇﻧﱠﺎ ﻭﺇﻥ‬
‫ﻛﻨﱠﺎ ﻧُﺨﻄﺊ ﻛﻞ ﺳﺎﻋﺔ ﰲ ﺗﻌﺎﻣﻠﻨﺎ ﻣﻊ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﺇﻻﱠ ﺃﻧﱠﻨﺎ ﺑﺤﺎﺟﺔ ﺇﻟﻰ ﺃﻥ ﻧﻜﻮﻥ ﰲ ﺍﳊﺐّ‬
‫ﻋﻠﻰ ﺻﻮﺍﺏ‪ .‬ﻭﺇﻥﱠ ﺇﺳﻘﺎﻁ ﻋﻨﺎﺻﺮ ﺧﻴﺎﻟﻴﱠﺔ ﻋﻠﻰ ﻣﻮﺿﻮﻉ ﺣﻘﻴﻘﻲّ ﺗﺤﺪﺙ ﺑﺎﺳﺘﻤﺮﺍﺭ‪.‬‬
‫ﻭﺇﻥﱠ ﺭﺅﻳﺔ ﺍﻟﺮﺟﻞِ ﺍﻷﺷﻴﺎﺀَ –ﻋﺪﺍﻙ ﻋﻦ ﺗﺜﻤﻴﻨﻬﺎ‪ -‬ﻳﻌﻨﻲ ﺩﺍﺋﻤﺎً ﺇﻛﻤﺎﻟﻬﺎ‪ .‬ﻭﻟﻘﺪ ﺳﺒﻖ‬
‫ﻟﺪﻳﻜﺎﺭﺕ ﺃﻥ ﻻﺣﻆ ﺃﻧﱠﻪ ﻛﺎﻥ ﻳﺤﺴﺐ ﻧﻔﺴﻪ ﻳﺮﻯ ﺑﺸﺮﺍً ﳝﺮﱡﻭﻥ ﰲ ﺍﻟﺸﱠﺎﺭﻉ ﻋﻨﺪ ﻓﺘﺢ‬
‫ﺍﻟﻨﱠﺎﻓﺬﺓ‪ ،‬ﺇﻻﱠ ﺃﻧﱠﻪ ﻛﺎﻥ ﻳﺮﺗﻜﺐ ﺧﻄﺄ‪ .‬ﻓﻤﺎﺫﺍ ﻛﺎﻥ ﻳﺮﻯ ﰲ ﺍﻟﻮﺍﻗﻊ؟ ﻛﺎﻥ ﻳﺮﻯ‪:‬‬
‫‪Chapeaux et manteaux: rien de plus‬‬
‫"ﻗﺒﱠﻌﺎﺕ ﻭﻣﻌﺎﻃﻒ ﻭﻻ ﺷﻲﺀ ﺁﺧﺮ‪) "،‬ﺇﻧﱠﻬﺎ ﻣﻼﺣﻈﺔ ﺭﺳﱠﺎﻡ ﺍﻧﻄﺒﺎﻋﻲ‪ ،‬ﻇﺮﻳﻔﺔ‪،‬‬
‫ﲡﻌﻠﻨﺎ ﻧﻔﻜﱢﺮ ﰲ "ﺍﻟﻔﺮﺳﺎﻥ ﺍﻟﺼﱢﻐﺎﺭ‪ "1‬ﻟﺒﻼﺛﻜﻴﺚ ﺍﶈﻔﻮﻇﺔ ﰲ ﻣﺘﺤﻒ ﺍﻟﻠﻮﻓﺮ ﻭﺍﻟﺘﻲ‬
‫ﻧﺴﺨﻬﺎ ﻣﺎﻧﻴﻪ ‪ .(Manet‬ﻭﻻ ﻳﻮﺟﺪ ﺃﺣﺪ‪ ،‬ﺇﺫﺍ ﺗﻜﻠﱠﻤﻨﺎ ﺑﺪﻗﱠﺔ‪ ،‬ﻳﺮﻯ ﺍﻷﺷﻴﺎﺀ ﰲ ﻋﺮﻳﻬﺎ‬
‫ﺍﳊﻘﻴﻘﻲ‪ .‬ﻭﻳﻮﻡ ﻳﺤﺪﺙ ﺫﻟﻚ‪ ،‬ﺳﻴﻜﻮﻥ ﺁﺧﺮ ﻳﻮﻡ ﰲ ﺍﻟﻌﺎﻟﻢ‪ ،‬ﺇﻧﱠﻪ ﻳﻮﻡ ﺍﻟﻜﺸﻒ ﺍﻟﻌﻈﻴﻢ‪.‬‬
‫ﻭﺭﻳﺜﻤﺎ ﻳﺤﺪﺙ ﺫﻟﻚ‪ ،‬ﻧﻌﺪّ ﻣﻼﺋﻤﺎً ﺇﺩﺭﺍﻙُ ﺍﻟﻮﺍﻗﻊ ﺍﻟﺬﻱ ﻳﺠﻌﻠﻨﺎ ﻭﺳْﻂ ﺿﺒﺎﺏ‬
‫ﻓﺎﻧﺘﺎﺯﻱ‪ ،‬ﻭﻧﻘﺒﺾ ﻋﻠﻰ ﻫﻴﻜﻞ ﺍﻟﻌﺎﻟﻢ ﻭﻋﻠﻰ ﺧﻄﻮﻃﻪ ﺍﻷﺭﺿﻴﱠﺔ ﺍﻟﻜﺒﺮﻯ‪ .‬ﻭﺇﻥﱠ ﻛﺜﻴﺮﺍً‬
‫ﻣﻦ ﺍﻟﻨﱠﺎﺱ‪ ،‬ﺑﻞ ﺃﻏﻠﺒﻬﻢ‪ ،‬ﻻ ﻳﺼﻠﻮﻥ ﺇﻟﻰ ﻫﺬﺍ‪ :‬ﺇﻧﱠﻬﻢ ﻳﻌﻴﺸﻮﻥ ﻣﻦ ﺍﻟﻜﻠﻤﺎﺕ‬

‫)‪ =Les petits chevaliers (١‬ﻫﻜﺬﺍ ﻫﻲ ﺑﺎﻟﻔﺮﻧﺴﻴﱠﺔ ﰲ ﺍﻷﺻﻞ‪ – .‬ﺍﳌﺘﺮﺟﻢ‪.‬‬

‫‪-٤٤-‬‬
‫ﻭﺍﻹﻳﺤﺎﺀﺍﺕ؛ ﻭﻳﺘﻘﺪﱠﻣﻮﻥ ﰲ ﺍﻟﻮﺟﻮﺩ ﻋﻠﻰ ﺷﻜﻞٍ ﻣُﺴﺮﻧَﻢ ﻭﻫﻢ ﻳﺨﺒّﻮﻥ ﺩﺍﺧﻞ‬
‫ﻫﺬﻳﺎﻧﻬﻢ‪ .‬ﻭﺇﻥﱠ ﻣﺎ ﻧﺴﻤﱢﻴﻪ ﻋﺒﻘﺮﻳﱠﺔ ﻣﺎ ﻫﻮ ﻏﻴﺮ ﺍﻟﻘﻮﱠﺓ ﺍﻟﺮﱠﺍﺋﻌﺔ ﺍﻟﺘﻲ ﳝﺘﻠﻜﻬﺎ ﺇﻧﺴﺎﻥ ﻣﺎ‬
‫ﻟﻴﻮﺳّﻊ ﻣﺴﺎﻣﱠﺎً ﰲ ﻫﺬﺍ ﺍﻟﻀﱠﺒﺎﺏ ﺍﳋﻴﺎﻟﻲّ ﻭﻳﻜﺘﺸﻒ ﻣﻦ ﺧﻼﻟﻪ ﻭﻫﻮ ﻳﺮﺗﻌﺪ ﻣﻦ‬
‫ﻋﺮﻱٍ ﺧﺎﻟﺺ‪ ،‬ﻗﻄﻌﺔ ﺟﺪﻳﺪﺓ ﺣﻘﻴﻘﻴﱠﺔ ﻣﻦ ﺍﻟﻮﺍﻗﻊ‪.‬‬
‫ﻭﺇﻥﱠ ﻣﺎ ﻳﺒﺪﻭ ﻭﺍﺿﺤﺎً ﰲ ﻧﻈﺮﻳﱠﺔ "ﺍﻟﺒﻠﻮﺭﺓ" ﻳﺘﺠﺎﻭﺯ ﻣﺸﻜﻠﺔ ﺍﳊﺐّ‪ .‬ﻷﻥﱠ ﺣﻴﺎﺗﻨﺎ‬
‫ﺍﻟﺬّﻫﻨﻴﱠﺔ ﻛﻠّﻬﺎ ﻫﻲ ﲟﻘﻴﺎﺱ ﻣﺎ‪ ،‬ﺑﻠﻮﺭﺓ‪ .‬ﺑﺎﻟﺘﱠﺎﻟﻲ‪ ،‬ﻟﺴﻨﺎ ﺑﺼﺪﺩ ﺷﻲﺀ ﻧﻮﻋﻲّ ﰲ ﻣﺴﺄﻟﺔ‬
‫ﺍﳊﺐّ‪ .‬ﺇﻧﱠﻤﺎ ﻧﺴﺘﻄﻴﻊ ﻓﻘﻂ ﺍﻻﻓﺘﺮﺍﺽ ﺃﻥﱠ ﺍﻟﺒﻠﻮﺭﺓ ﺗﺰﺩﺍﺩ ﺑﻨﺴﺒﺔ ﻏﻴﺮ ﻃﺒﻴﻌﻴﱠﺔ ﺧﻼﻝ‬
‫ﻣﺴﻴﺮﺓ ﺍﳊﺐّ‪ .‬ﻟﻜﻦﱠ ﻫﺬﺍ ﺯﺍﺋﻒ ﺯﻳﻔﺎً ﻛﺎﻣﻼً ﻋﻠﻰ ﺍﻷﻗﻞّ ﺑﺎﳌﻌﻨﻰ ﺍﻟﺬﻱ ﻳﻔﺘﺮﺿﻪ‬
‫ﺳﺘﻨﺪﺍﻝ‪ .‬ﻭﺇﻥﱠ ﺍﳔﺪﺍﻉ ﺍﶈﺐّ ﰲ ﺗﻘﺪﻳﺮﻩ‪ ،‬ﻻ ﻳﺰﻳﺪ ﻋﻦ ﺍﳔﺪﺍﻉ ﺍﳌﺘﺤﺰّﺏ ﺍﻟﺴﻴﺎﺳﻲّ‪ ،‬ﺃﻭ‬
‫ﺍﻟﻔﻨﱠﺎﻥ ﺃﻭ ﺍﻟﺘﱠﺎﺟﺮ ﰲ ﺗﻘﺪﻳﺮﻫﻢ‪ .‬ﻭﻳﻜﻮﻥ ﺍﳌﺮﺀ ﰲ ﺍﳊﺐّ ﻏﺒﻴﱠﺎً ﺃﻭ ﻧﺒﻴﻬﺎً ﺇﻟﻰ ﻫﺬﺍ ﺍﳊﺪّ‬
‫ﺃﻭ ﺫﺍﻙ‪ ،‬ﻛﺤﺎﻟﻪ ﻋﺎﺩﺓ ﰲ ﺍﳊﻜﻢ ﻋﻠﻰ ﺍﻟﻐﻴﺮ‪ .‬ﻭﻣﻌﻈﻢ ﺍﻟﻨﱠﺎﺱ ﺑﻠﻴﺪﻭﻥ ﰲ ﺇﺩﺭﺍﻛﻬﻢ‬
‫ﺍﻷﺷﺨﺎﺹَ ﺍﻟﺬﻳﻦ ﻫﻢ ﺃﺻﻌﺐ ﺍﻷﺷﻴﺎﺀ ﻭﺃﺩﻗّﻬﺎ ﰲ ﺍﻟﻌﺎﻟﻢ‪.‬‬
‫ﻳﻜﻔﻴﻨﺎ ﻛﻴﻤﺎ ﻧﻘﻀﻲ ﻋﻠﻰ ﻧﻈﺮﻳﱠﺔ ﺍﻟﺒﻠﻮﺭﺓ ﺃﻥ ﻧﺘﻨﺒﱠﻪ ﺇﻟﻰ ﺍﳊﺎﻻﺕ ﺍﻟﺘﻲ ﻻ ﳒﺪ‬
‫ﻓﻴﻬﺎ ﻫﺬﻩ ﺍﻟﻨﱠﻈﺮﻳﱠﺔ ﺑﻮﺿﻮﺡ‪ :‬ﺇﻧﱠﻬﺎ ﺣﺎﻻﺕ ﺍﳊﺐّ ﺍﻟﻨﱠﻤﻮﺫﺟﻴﱠﺔ ﺍﻟﺘﻲ ﳝﺘﻠﻚ ﻓﻴﻬﺎ ﻛﻼ‬
‫ﺍﻟﺸﱠﺮﻳﻜﲔ ﺭﻭﺣﺎً ﺻﺎﻓﻴﺔً ﻭﻻ ﻳﻌﺎﻧﻴﺎﻥ ﰲ ﻧﻄﺎﻕ ﺍﳊﺪﻭﺩ ﺍﻟﺒﺸﺮﻳﱠﺔ‪ ،‬ﺧﻄﺄ‪ .‬ﻓﻼ ﺑﺪﱠ‬
‫ﻟﻨﻈﺮﻳﱠﺔ ﻋﻦ ﺍﳊﺐّ ﻣﻦ ﺃﻥ ﺗﺒﺪﺃ ﻓﺘﺒﻴّﻦ ﻟﻨﺎ ﺃﺷﻜﺎﻟﻪ ﺍﻷﻛﻤﻞ ﻋﻮﺿﺎً ﻣﻦ ﺃﻥ ﻧﺘﻮﺟﱠﻪ ﺇﻟﻰ‬
‫ﺑﺎﺗﻮﻟﻮﺟﻴﺎ ﺍﻟﻈﱠﺎﻫﺮﺓ ﺍﻟﺘﻲ ﺗﺪﺭﺳﻬﺎ‪ .‬ﻭﺍﻟﻮﺍﻗﻊ ﻫﻮ ﺃﻥﱠ ﺍﻟﺮﱠﺟﻞ ﻳﻌﺜﺮ ﰲ ﺗﻠﻚ ﺍﳊﺎﻻﺕ‬
‫ﻋﻠﻰ ﺻﻔﺎﺕ ﻧﻮﻋﻴﱠﺔ ﻣﻮﺟﻮﺩﺓ ﰲ ﺍﳌﺮﺃﺓ ﻛﺎﻥ ﻳﺠﻬﻠﻬﺎ ﺣﺘﱠﻰ ﺫﻟﻚ ﺍﳊﲔ‪ ،‬ﺑﺪﻻً ﻣﻦ ﺃﻥ‬
‫ﻳُﺴﻘﻂ ﻋﻠﻴﻬﺎ ﻛﻤﺎﻻﺕٍ ﻏﻴﺮ ﻣﻮﺟﻮﺩﺓ‪ ،‬ﻭﻛﺎﻧﺖ ﺗﻮﺟﺪ ﰲ ﺫﻫﻨﻪ ﻣﻦ ﻗﺒﻞ‪ .‬ﻭﻻﺣﻆْ ﺃﻥﱠ‬
‫ﺍﳌﺮﺍﺩ ﺻﻔﺎﺕ ﺃﻧﺜﻮﻳﱠﺔ ﺗﺤﺪﻳﺪﺍً‪ .‬ﻓﻜﻴﻒ ﳝﻜﻦ ﻟﻬﺬﻩ ﺍﻟﺼﱢﻔﺎﺕ ﺃﻥ ﺗﻮﺟﺪ ﻣﻦ ﻗﺒﻞ ﰲ‬
‫ﺫﻫﻦ ﺫﻛﺮٍ ﺇﻥْ ﻛﺎﻥ ﻓﻴﻬﺎ ﻗﻠﻴﻞ ﻣﻦ ﺍﻷﺻﺎﻟﺔ؟ ﺃﻭ ﺍﻟﻌﻜﺲ‪ ،‬ﻭﺟﻮﺩ ﺻﻔﺎﺕ ﳑﺘﺎﺯﺓ ﺫﻛﺮﻳﱠﺔ‬
‫ﻣﺴﺒﻘﺔ ﰲ ﺫﻫﻦ ﺍﳌﺮﺃﺓ‪ .‬ﻭﺇﻥﱠ ﺟﺎﻧﺐ ﺍﳊﻘﻴﻘﺔ ﺍﻟﺬﻱ ﻳﻮﺟﺪ ﰲ ﺇﻣﻜﺎﻧﻴﱠﺔ ﺍﺳﺘﺒﺎﻕ‬
‫ﺍﺧﺘﺮﺍﻉ ﺃﺷﻜﺎﻝ ﻣﻦ ﺍﻟﻜﻤﺎﻝ ﻗﺒﻞ ﺃﻥ ﺗﻮﺟﺪ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻻ ﺻﻠﺔ ﻟﻪ ﺍﻟﺒﺘﱠﺔ ﺑﻔﻜﺮﺓ‬
‫ﺳﺘﻨﺪﺍﻝ‪ .‬ﻭﻋﻦ ﻫﺬﺍ ﺍﻷﻣﺮ ﺍﻟﺪﱠﻗﻴﻖ ﺳﻨﺘﻜﻠﱠﻢ‪.‬‬
‫ﻫﻨﺎﻙ ﻗﺒﻞ ﻛﻞّ ﺷﻲﺀ‪ ،‬ﺧﻄﺄ ﺟﺴﻴﻢ ﰲ ﺍﻟﺮﱡﺅﻳﺔ ﰲ ﻫﺬﻩ ﺍﻟﻨﱠﻈﺮﻳﱠﺔ‪ .‬ﻫﻲ‬
‫ﺗﻔﺘﺮﺽ‪ ،‬ﻛﻤﺎ ﻳﺒﺪﻭ‪ ،‬ﺃﻥﱠ ﺣﺎﻟﺔ ﺍﳊﺐّ ﺗﺴﺘﻠﺰﻡ ﻧﺸﺎﻃﺎً ﻓﻴﱠﺎﺿﺎً ﰲ ﺍﻟﻮﻋﻲ‪ .‬ﻭﻳﺒﺪﻭ ﺃﻥﱠ‬
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‫ﺍﻟﺒﻠﻮﺭﺓ ﺍﻟﺴﺘﻨﺪﺍﻟﻴﱠﺔ ﺗﺸﻴﺮ ﺇﻟﻰ ﺗﺮﻑ ﰲ ﺍﻟﻌﻤﻞ ﺍﻟﺮﱡﻭﺣﻲ‪ ،‬ﻭﺇﻟﻰ ﺛﺮﺍﺀ ﻭﺗﺮﺍﻛﻢ‪.‬‬
‫ﻭﺍﻷﻧﺴﺐ ﺑﺸﻜﻞ ﻗﺎﻃﻊ ﺃﻥ ﻧﻘﻮﻝ ﺍﻵﻥ‪ :‬ﺍﻟﻌﺸﻖ ﺣﺎﻟﺔ ﻣﻦ ﺍﻟﺒﺆﺱ ﺍﻟﺬّﻫﻨﻲّ ﺗﻀﻴﻖ ﻓﻴﻪ‬
‫ﺣﻴﺎﺓ ﻭﻋﻴﻨﺎ ﻭﺗُﻔﻘﺮ ﻭﺗُﺸﻞ‪.‬‬
‫ﻟﻘﺪ ﻗﻠﺖ "ﺍﻟﻌﺸﻖ"‪ .‬ﻭﻣﻦ ﺍﻟﻼﺯﻡ ﺃﻥ ﻧﻀﻊ ﺷﻴﺌﺎً ﻣﻦ ﺍﻟﺪّﻗﱠﺔ ﰲ ﺍﳌﻔﺮﺩﺓ‪ ،‬ﺗﺤﺖ‬
‫ﻭﻃﺄﺓ ﺍﻻﺳﺘﻤﺮﺍﺭ ﺑﺈﻃﻼﻕ ﺣﻤﺎﻗﺎﺕ ﻛﺎﻟﻌﺎﺩﺓ‪ ،‬ﰲ ﻣﻮﺿﻮﻉ ﺍﳊﺐّ‪ .‬ﻭﻧﻄﻠﻖ ﻣﻔﺮﺩﺓ "ﺣﺐّ"‬
‫ﺍﻟﺒﺴﻴﻄﺔ ﺟﺪﱠﺍً‪ ،‬ﻭﻗﻠﻴﻠﺔ ﺍﻷﺣﺮﻑ ﺟﺪﱠﺍً‪ ،‬ﻋﻠﻰ ﻇﻮﺍﻫﺮ ﻻ ﺣﺼﺮ ﻟﻬﺎ ﻭﺟﺪّ ﻣﺨﺘﻠﻔﺔ ﺣﺘﱠﻰ‬
‫ﺻﺎﺭ ﻣﻦ ﺍﳊﻜﻤﺔ ﺃﻥ ﻧﺸﻚّ ﰲ ﻭﺟﻮﺩ ﺷﻲﺀ ﻣﺎ ﻣﺸﺘﺮﻙ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ‪ .‬ﳓﻦ ﻧﺘﻜﻠﱠﻢ ﻋﻦ‬
‫"ﺣﺐّ" ﺍﻣﺮﺃﺓ؛ ﻟﻜﻨﱠﻨﺎ ﻧﺘﻜﻠﱠﻢ ﻋﻦ "ﺣﺐّ ﺍﷲ"‪ ،‬ﻭﻋﻦ "ﺣﺐّ ﺍﻟﻮﻃﻦ"‪ ،‬ﻭ "ﺣﺐّ ﺍﻟﻔﻦّ"‪،‬‬
‫ﻭ"ﺍﳊﺐّ ﺍﻷﻣﻮﻱ"‪ ،‬ﻭ"ﺣﺐ ﺍﻷﺑﻨﺎﺀ"‪ ،‬ﺇﻟﺦ‪ .‬ﺇﻧﱠﻬﺎ ﻛﻠﻤﺔ ﻭﺍﺣﺪﺓ ﺗﺸﻤﻞ ﻭﺗﺴﻤّﻲ ﺟِﻤﺎﻉ‬
‫ﺍﳌﻤﻠﻜﺔ ﺍﻟﻌﺎﻃﻔﻴﱠﺔ ﺍﻷﻛﺜﺮ ﺗﻨﻮﱡﻋﺎً‪.‬‬
‫ﻭﺗﻜﻮﻥ ﻣﻔﺮﺩﺓ ﻣﻠﺘﺒﺴﺔ ﺇﺫﺍ ﺳﻤّﻴﻨﺎ ﺑﻬﺎ ﺃﺷﻴﺎﺀ ﻻ ﻣﺸﺘﺮَﻙَ ﺟﻮﻫﺮﻳﱠﺎً ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ‬
‫ﻭﻣﻦ ﻏﻴﺮ ﺷﻲﺀ ﻫﺎﻡ ﻳﻜﻮﻥ ﻣﺘﻤﺎﺛﻼً ﻓﻴﻬﺎ ﻛﻠّﻬﺎ‪ .‬ﻭﻫﻜﺬﺍ ﻧﺴﺘﻌﻤﻞ ﻛﻠﻤﺔ "‪) "león‬ﻟﻴﻮﻥ(‬
‫ﻟﻨﺴﻤّﻲ ﺑﻬﺎ ﺍﳊﻴﻮﺍﻥ ﺍﻟﺴّﻨﻮﺭﻱ ﺍﳌﺸﻬﻮﺭ‪ ،‬ﻭﻟﻨﺸﻴﺮ ﺑﻬﺎ ﰲ ﺁﻥ ﻭﺍﺣﺪ ﺇﻟﻰ ﺑﺎﺑﺎﻭﺍﺕ ﺭﻭﻣﺎ‬
‫ﻭﺇﻟﻰ ﺍﳌﺪﻳﻨﺔ ﺍﻹﺳﺒﺎﻧﻴﱠﺔ ‪ .león‬ﻭﻗﺪ ﻋﻤﻠﺖ ﺍﳌﺼﺎﺩﻓﺔ ﻋﻠﻰ ﺃﻥ ﻳُﺤﻤﱠﻞ ﻟﻔﻆ ﲟﻌﺎﻥٍ ﺷﺘﱠﻰ‬
‫ﺗﺸﻴﺮ ﺇﻟﻰ ﻣﻮﺍﺿﻴﻊ ﻣﺨﺘﻠﻔﺔ ﺟﺬﺭﻳﱠﺎً‪ ،‬ﻭﺗﺴﻤّﻴﻬﺎ‪ .‬ﺣﻴﻨﺌﺬٍ ﻳﺘﻜﻠﱠﻢ ﺍﻟﻨﱠﺤﻮﻳﱡﻮﻥ ﻭﺍﳌﻨﻄﻘﻴﱡﻮﻥ‬
‫ﻋﻦ "ﺗﻌﺪﱡﺩ ﺍﳌﻌﺎﻧﻲ ‪"polisemia‬؛ ﻭﺍﳌﻔﺮﺩﺓ ﲤﺘﻠﻚ ﻣﻌﺎﻧﻲَ ﻣﺘﻌﺪﱢﺩﺓ‪.‬‬
‫ﺃﻫﺬﺍ ﻫﻮ ﺣﺎﻝ ﻛﻠﻤﺔ "ﺣﺐّ" ﰲ ﺍﻟﺘﱠﻌﺎﺑﻴﺮ ﺍﳌﺬﻛﻮﺭﺓ ﺳﺎﺑﻘﺎً؟ ﺃﻳﻮﺟﺪ ﺑﲔ "ﺣ ّ‬
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‫ﺍﻟﻌﻠﻢ" ﻭ "ﺣﺐّ ﺍﳌﺮﺃﺓ" ﺗﺸﺎﺑﻪ ﻣﺎ ﺫﻭ ﺃﻫﻤﻴﱠﺔ؟ ﺇﺫﺍ ﻗﺎﺭﻧﱠﺎ ﺣﺎﻟﺘﻲ ﺍﻟﺮﱡﻭﺡ ﻛﻠﺘﻴﻬﻤﺎ ﳒﺪ ﺃﻥﱠ‬
‫ﺍﻟﻌﻨﺎﺻﺮ ﻛﻠّﻬﺎ ﻣﺨﺘﻠﻔﺔ ﻓﻴﻬﻤﺎ‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻳﻮﺟﺪ ﻋﻨﺼﺮ ﻣﺘﻤﺎﺛﻞ ﻳﺴﻤﺢ ﻟﻨﺎ ﺗﺤﻠﻴﻞٌ ﺩﻗﻴﻖ‬
‫ﺑﻌﺰﻟﻪ ﰲ ﻫﺬﻩ ﺍﻟﻈﱠﺎﻫﺮﺓ ﺃﻭ ﺗﻠﻚ‪ .‬ﻓﺈﺫﺍ ﺭﺃﻳﻨﺎﻩ ﺧﺎﻟﻴﺎً ﻭﻣﻨﻔﺮﺩﺍً ﻋﻦ ﺑﻘﻴﱠﺔ ﺍﻟﻌﻮﺍﻣﻞ ﺍﻟﺘﻲ‬
‫ﺗﺸﻜّﻞ ﺣﺎﻟﺘﻲ ﺍﻟﺮﱡﻭﺡ ﻛﻠﺘﻴﻬﻤﺎ ﻧﺪﺭﻙ ﺃﻧﱠﻪ ﻭﺣﺪﻩ ﻳﺴﺘﺤﻖّ ﺍﺳﻢ "ﺍﳊﺐّ" ﺑﺸﻜﻞ ﺩﻗﻴﻖ‪ .‬ﻭﺇﻧﱠﻨﺎ‬
‫ﻧﻄﻠﻘﻪ ﺑﻔﻌﻞ ﺗﻮﺳﱡﻊ ﻋﻤﻠﻲ‪ ،‬ﻟﻜﻨﱠﻪ ﻏﻴﺮ ﺩﻗﻴﻖ‪ ،‬ﻋﻠﻰ ﺣﺎﻟﺔ ﺍﻟﻨﱠﻔﺲ ﺑﻜﺎﻣﻠﻬﺎ ﻋﻠﻰ ﺍﻟﺮّﻏﻢ ﻣﻦ‬
‫ﺃﻥﱠ ﻫﺬﻩ ﺗﺤﺘﻮﻱ ﺃﺷﻴﺎﺀ ﺃﺧﺮﻯ ﻟﻴﺴﺖ "ﺣﺒﱠﺎً" ﺑﺎﳌﻌﻨﻰ ﺍﻟﺼﱠﺤﻴﺢ‪ ،‬ﺣﺘﱠﻰ ﻭﻻ ﻫﻲ ﺷﻌﻮﺭ‪.‬‬
‫ﻭﺍﳌﺆﺳﻒ ﺃﻥﱠ ﻋﻤﻞ ﻋﻠﻢ ﺍﻟﻨﱠﻔﺲ ﰲ ﺍﻷﻋﻮﺍﻡ ﺍﳌﺎﺋﺔ ﺍﻷﺧﻴﺮﺓ ﻟﻢ ﻳﺼﺐّ ﺑﻌﺪ ﰲ‬
‫ﺍﻟﺜﱠﻘﺎﻓﺔ ﺍﻟﻌﺎﻣﱠﺔ‪ ،‬ﻭﻛﺎﻥ ﻣﻀﻄﺮﱠﺍً ﺇﻟﻰ ﺃﻥ ﻳﻜﺘﻔﻲ ﲟﻨﻈﺎﺭ ﻏﻠﻴﻆ ﻣﺎﺯﺍﻝ ﻳُﺴﺘﻌﻤﻞ ﻋﺎﺩﺓً ﰲ‬
‫ﺗﺄﻣﱡﻞ ﺍﻟﻨﱠﻔﺲ ﺍﻟﺒﺸﺮﻳﱠﺔ‪.‬‬
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‫ﻭﺍﳊﺐّ ﺇﺫﺍ ﺗﻜﻠﱠﻤﻨﺎ ﺑﺸﻜﻞٍ ﺣﺼﺮﻱّ‪ ،‬ﻫﻮ ﻣﺤﺾ ﻧﺸﺎﻁ ﻋﺎﻃﻔﻲ ﳓﻮ‬
‫ﻣﻮﺿﻮﻉ ﳝﻜﻦ ﺃﻥ ﻳﻜﻮﻥ ﺷﺨﺼﺎً ﺃﻭ ﺷﻴﺌﺎً‪ .‬ﻭﺗﺒﻌﺎً ﻟﻠﻨﱠﺸﺎﻁ "ﺍﻟﻌﺎﻃﻔﻲّ" ﻳﻜﻮﻥ‬
‫ﻣﻌﺰﻭﻻً ﻋﻦ ﺍﻟﻮﻇﺎﺋﻒ ﺍﻟﻔﻜﺮﻳﱠﺔ ﻛﻠّﻬﺎ‪ :‬ﻛﺎﻹﺩﺭﺍﻙ‪ ،‬ﻭﺍﻻﻧﺘﺒﺎﻩ‪ ،‬ﻭﺍﻟﺘﱠﻔﻜﻴﺮ ﻭﺍﻟﺘﺬﻛﱡﺮ‬
‫ﻭﺍﻟﺘﱠﺨﻴﱡﻞ‪ ،‬ﻫﺬﺍ ﻣﻦ ﺟﻬﺔ؛ ﻭﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‪ ،‬ﻋﻦ ﺍﻟﺮﱠﻏﺒﺔ ﺍﻟﺘﻲ ﻛﺜﻴﺮﺍً ﻣﺎ ﺗﺨﺘﻠﻂ‬
‫ﺑﻪ‪ .‬ﻳﺮﻏﺐ ﺍﳌﺮﺀ ﰲ ﻛﺄﺱ ﻣﺎ‪ ،‬ﺇﺫﺍ ﻛﺎﻥ ﻋﻄﺸﺎﻥ‪ ،‬ﻟﻜﻨﱠﻪ ﻻ ﻳﺤﺒّﻬﺎ‪ .‬ﻻ ﺭﻳﺐ ﰲ ﺃﻧﱠﻪ‬
‫ﺗُﻮﻟﺪ ﻣﻦ ﺍﳊﺐّ ﺭﻏﺒﺎﺕ؛ ﻟﻜﻦﱠ ﺍﳊﺐّ ﺫﺍﺗﻪ ﻟﻴﺲ ﺭﻏﺒﺔ‪ .‬ﳓﻦ ﻧﺮﻏﺐ ﰲ ﺳﻌﺎﺩﺓ‬
‫ﺍﻟﻮﻃﻦ‪ ،‬ﻭﻧﺮﻏﺐ ﰲ ﺍﻟﻌﻴﺶ ﻓﻴﻪ "ﻷﻧﱠﻨﺎ" ﳓﺒﱡﻪ‪ .‬ﻓﺤﺒﱡﻨﺎ ﺳﺎﺑﻖ ﻋﻠﻰ ﻫﺬﻩ ﺍﻟﺮﱠﻏﺒﺎﺕ‬
‫ﺍﻟﺘﻲ ﺗﻨﺸﺄ ﻣﻨﻪ ﻛﻤﺎ ﺗﻨﺸﺄ ﺍﻟﻨﱠﺒﺘﺔ ﻣﻦ ﺍﻟﺒﺬﺭﺓ‪.‬‬
‫ﻭﳝﺘﺎﺯ ﺍﳊﺐّ ﻃِﺒﻘﺎً ﻟﻠﻨﱠﺸﺎﻁ ﺍﻟﻌﺎﻃﻔﻲّ‪ ،‬ﻣﻦ ﺍﳌﺸﺎﻋﺮ ﺍﳋﺎﻣﻠﺔ ﻛﺎﻟﻔﺮﺡ ﺃﻭ‬
‫ﺍﳊﺰﻥ‪ .‬ﻓﻬﺬﺍﻥ ﲟﺜﺎﺑﺔ ﺗﻠﻮﻳﻦ ﻳﺼﺒﻎ ﻧﻔﺴﻨﺎ‪" .‬ﻳﻜﻮﻥ" ﺍﳌﺮﺀ ﺣﺰﻳﻨﺎً ﺃﻭ ﻓﺮِﺣﺎً ﰲ ﺳﻠﺒﻴﱠﺔٍ‬
‫ﻣﺤﻀﺔٍ‪ .‬ﻓﺎﻟﻔﺮﺡ ﺑﺬﺍﺗﻪ ﻻ ﻳﻨﻄﻮﻱ ﻋﻠﻰ ﻧﺸﺎﻁٍ ﻣﺎ‪ ،‬ﻭﺇﻥْ ﻗﺎﺩ ﺭﺑﱠﻤﺎ ﺇﻟﻰ ﺫﻟﻚ ﺍﻟﻨﱠﺸﺎﻁ‪،‬‬
‫ﺃﻣﱠﺎ ﺣﺐﱡ ﺷﻲﺀ‪ ،‬ﻓﻌﻠﻰ ﺍﻟﻨﱠﻘﻴﺾ ﻟﻴﺲ ﺑﺒﺴﺎﻃﺔ "ﺣﺎﻟﺔ ﺳﺎﻛﻨﺔ"‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻮ ﻧﺸﺎﻁ ﳓﻮ‬
‫ﺍﶈﺒﻮﺏ‪ .‬ﻭﺃﻧﺎ ﻻ ﺃﺷﻴﺮ ﺑﺬﻟﻚ ﺇﻟﻰ ﺍﳊﺮﻛﺎﺕ ﺍﳉﺴﺪﻳﱠﺔ ﺃﻭ ﺍﻟﺮﱡﻭﺣﻴﱠﺔ ﺍﻟﺘﻲ ﻳﺜﻴﺮﻫﺎ‬
‫ﺍﳊﺐّ‪ ،‬ﺑﻞ ﺇﻥّ َﺍﳊﺐّ ﰲ ﺫﺍﺗﻪ ﻭﺗﻜﻮﻳﻨﻪ ﻓﻌﻞٌ ﻣﺘﻌﺪﱟ ﻧﺴﻌﻰ ﺑﻪ ﺳﻌﻴﺎً ﳓﻮ ﻣﻦ ﳓﺐّ‪.‬‬
‫ﻓﻠﻮ ﻣﻜﺜﻨﺎ ﻋﻠﻰ ﺑﻌﺪ ﻣﺎﺋﺔ ﻓﺮﺳﺦ ﻣﻦ ﺍﳌﻮﺿﻮﻉ‪ ،‬ﻓﺈﻧﱠﻨﺎ ﻧﻔﻴﺾ ﳓﻮﻩ ﺇﻥْ ﻛﻨﱠﺎ ﳓﺒّﻪ‬
‫ﺣﺘﱢﻰ ﻣﻦ ﻏﻴﺮ ﺗﻔﻜﻴﺮ ﻓﻴﻪ‪ ،‬ﺑﻔﻴﺾٍ ﻏﻴﺮ ﻣﺤﺪﱠﺩ ﻭﺫﻱ ﻃﺎﺑﻊٍ ﺇﻳﺠﺎﺑﻲﱟ ﻭﺣﺎﺭّ‪ .‬ﻭﻫﺬﺍ ﻣﺎ‬
‫ﻧﻠﺤﻈﻪ ﺑﻮﺿﻮﺡ ﺇﺫﺍ ﻋﺎﺭﺿﻨﺎ ﺍﳊﺐّ ﺑﺎﻟﺒﻐﺾ‪ .‬ﻷﻥﱠ ﺑﻐﺾ ﺃﺣﺪ ﺃﻭ ﺷﻲﺀ ﻟﻴﺲ "ﺣﺎﻟﺔ"‬
‫ﺳﻠﺒﻴﱠﺔ ﻛﺤﺎﻟﺔ ﺍﳊﺰﻥ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻮ ﺑﺸﻜﻞٍ ﻣﺎ ﻓﻌﻞٌ‪ ،‬ﻭﻓﻌﻞ ﺳﻠﺒﻲ ﺭﻫﻴﺐ ﻳﺪﻣﱢﺮ ﺍﳌﻮﺿﻮﻉ‬
‫ﺍﳌﺒﻐﻮﺽ ﺑﺸﻜﻞٍ ﻣﺜﺎﻟﻲﱟ‪ .‬ﻭﻫﺬﻩ ﺍﳌﻼﺣﻈﺔ ﺑﻮﺟﻮﺩ ﻧﺸﺎﻁ ﻋﺎﻃﻔﻲ ﻧﻮﻋﻲّ ﻣﺨﺘﻠﻒ ﻋﻦ‬
‫ﺍﻷﻧﺸﻄﺔ ﺍﳉﺴﻤﻴﱠﺔ ﻭﺍﻟﺮﱡﻭﺣﻴﱠﺔ ﺍﻷﺧﺮﻯ ﻛﻠّﻬﺎ ﻛﺎﻟﻨﱠﺸﺎﻁ ﺍﻟﻔﻜﺮﻱّ ﻭﺍﻟﺮﱠﻏﺒﺔ ﻭﺍﻟﻨﱢﺸﺎﻁ‬
‫ﺍﻹﺭﺍﺩﻱ‪ ،‬ﺗﺒﺪﻭ ﻟﻲ ﺫﺍﺕ ﺃﻫﻤﻴﱠﺔ ﺣﺎﺳﻤﺔ ﻣﻦ ﺃﺟﻞ ﻋﻠﻢ ﻧﻔﺲ ﺩﻗﻴﻖ ﻟﻠﺤﺐّ‪ .‬ﻷﻧﱠﻨﺎ ﺇﺫﺍ‬
‫ﺗﻜﻠﱠﻤﻨﺎ ﻋﻦ ﺍﳊﺐّ ﻓﺈﻧﱠﻨﺎ ﻧﺼﻒ ﺩﺍﺋﻤﺎً ﺗﻘﺮﻳﺒﺎً ﻋﻮﺍﻗﺒﻪ ﺃﻭ ﺗﺒﻌﺎﺗِﻪِ ﻭﺃﺳﺒﺎﺑﻪ ﺍﳌﻮﻟّﺪﺓ ﺃﻭ‬
‫ﻧﺘﺎﺋﺠﻪ‪ .‬ﻭﻧﻜﺎﺩ ﻻ ﻧﺘﻨﺎﻭﻝ ﺍﳊﺐّ ﺫﺍﺗﻪ ﲟﻼﻗﻂ ﺍﻟﺘﱠﺤﻠﻴﻞ ﻓﻴﻤﺎ ﻫﻮ ﺧﺎﺹّ ﺑﻪ ﻭﻳﺨﺘﻠﻒ‬
‫ﻓﻴﻪ ﻋﻦ ﺑﻘﻴﱠﺔ ﺍﻷﻣﻮﺭ ﺍﻟﻨﱠﻔﺴﻴﱠﺔ‪.‬‬
‫ﻭﺍﻵﻥ‪ ،‬ﻗﺪ ﻳﺒﺪﻭ ﻣﻘﺒﻮﻻً ﺃﻥ ﻳﻜﻮﻥ "ﳊﺐّ ﺍﻟﻌﻠﻢ" ﻭ"ﳊﺐﱢ ﺍﳌﺮﺃﺓ" ﻋﻨﺼﺮ‬
‫ﻣﺸﺘﺮﻙ‪ .‬ﻭﳝﻜﻦ ﻟﻬﺬﺍ ﺍﻟﻨﱠﺸﺎﻁ ﺍﻟﻌﺎﻃﻔﻲ‪ ،‬ﻭﻟﻬﺬﺍ ﺍﻻﻫﺘﻤﺎﻡ ﺍﳊﺎﺭّ ﻭﺍﻹﻳﺠﺎﺑﻲ ﺑﻜﺎﺋﻦ‬
‫‪-٤٧-‬‬
 ‫ﺁﺧﺮ ﻟﺬﺍﺗﻪ‪ ،‬ﺃﻥ ﻳﺘﱠﺠﻪ ﻋﻠﻰ ﺣﺪّ ﺳﻮﺍﺀ ﺇﻟﻰ ﺷﺨﺺٍ ﺃﻧﺜﻮﻱّ ﺃﻭ ﺇﻟﻰ ﻗﻄﻌﺔ ﻣﻦ ﺍﻷﺭﺽ‬
‫)ﺍﻟﻮﻃﻦ ﻣﺜﻼً(‪ ،‬ﺇﻟﻰ ﺿﺮﺏ ﻣﻦ ﺍﳌﻤﺎﺭﺳﺔ ﺍﻟﺮﱢﻳﺎﺿﻴﱠﺔ‪ :‬ﻛﺎﻟﺮﱢﻳﺎﺿﺔ ﻭﺍﻟﻌﻠﻢ‪ ،‬ﺇﻟﺦ‪ ..‬ﻭﻛﺎﻥ‬
‫ﻳﺠﺐ ﺃﻥ ﺃﺿﻴﻒ ﰲ ﺍﻟﻨﱢﻬﺎﻳﺔ‪ ،‬ﺃﻥﱠ ﻛﻞّ ﻣﺎ ﻟﻴﺲ ﺑﻨﺸﺎﻁ ﻋﺎﻃﻔﻲ ﻣﺤﺾ‪ ،‬ﻭﻛﻞّ ﻣﺎ ﻫﻮ‬
‫ﻣﺨﺘﻠﻒ ﻋﻦ "ﺣﺐّ ﺍﻟﻌﻠﻢ" ﻭ "ﺣﺐّ ﺍﳌﺮﺃﺓ" ﻟﻴﺲ ﺑﺤﺐﱟ ﺑﺎﳌﻌﻨﻰ ﺍﻟﺼﱠﺤﻴﺢ‪.‬‬
‫ﻫﻨﺎﻙ "ﺿﺮﻭﺏٌ ﻣﻦ ﺍﳊﺐﱢ" ﺣﻴﺚ ﻳﻮﺟﺪ ﻣﻦ ﻛﻞﱢ ﺷﻲﺀ ﻣﺎ ﻋﺪﺍ ﺣﺒﱠﺎً ﺣﻘﻴﻘﻴﱠﺎً‪.‬‬
‫ﻫﻨﺎﻙ ﺭﻏﺒﺔ ﻭﻓﻀﻮﻝ ﻭﺇﺻﺮﺍﺭ ﻭﻫﻮﺱ ﻭﻭﻫﻢ ﻋﺎﻃﻔﻲ ﺻﺮﻳﺢ؛ ﻟﻜﻦ‪ ،‬ﻟﻴﺲ ﻫﺬﺍ ﺍﻟﻮﺛﻮﻕ‬
‫ﺍﳊﺎﺭّ ﺑﻜﺎﺋﻦ ﺁﺧﺮ ﺃﻳﱠﺎً ﻳﻜﻦ ﻣﻮﻗﻔﻪ ﻣﻨﱠﺎ‪ .‬ﺃﻣﱠﺎ "ﺿﺮﻭﺏ ﺍﳊﺐّ" ﺣﻴﺚ ﳒﺪﻫﺎ ﻓﻌﻠﻴﱠﺎً‪،‬‬
‫ﻓﻴﺠﺐ ﺃﻻﱠ ﻧﻨﺴﻰ ﺃﻧﱠﻬﺎ ﺗﺤﺘﻮﻱ ﻋﻨﺎﺻﺮ ﺃﺧﺮﻯ ﻛﺜﻴﺮﺓ ﺇﺿﺎﻓﺔً ﺇﻟﻰ ﺍﳊﺐﱢ ﺑﺎﳌﻌﻨﻰ‬
‫ﺍﻟﺪﱠﻗﻴﻖ ‪.sensu stricto‬‬
‫ﺃﻣﱠﺎ ﺑﺎﳌﻌﻨﻰ ﺍﻟﻔﻀﻔﺎﺽ‪ ،‬ﻓﻨﺤﻦ ﻧﺴﻤﱢﻲ "ﺍﻟﻌﺸﻖ" ﺣﺒﱠﺎً‪ ،‬ﻭﻫﻮ ﺣﺎﻟﺔ ﻣﻦ‬
‫ﺣﺎﻻﺕ ﺍﻟﻨﱠﻔﺲ ﺷﺪﻳﺪﺓ ﺍﻟﺘﱠﻌﻘﻴﺪ‪ ،‬ﺣﻴﺚ ﻟﻠﺤﺐّ ﺑﺎﳌﻌﻨﻰ ﺍﻟﺪﱠﻗﻴﻖ ﺩﻭﺭ ﺛﺎﻧﻮﻱ‪،‬‬
‫ﻭﺳﺘﻨﺪﺍﻝ ﻳﺸﻴﺮ ﺇﻟﻰ ﻫﺬﺍ ﺍﳊﺐّ ﳌﱠﺎ ﻋﻨﻮَﻥَ ﻛﺘﺎﺑﻪ‪ :‬ﰲ ﺍﳊﺐّ‪ ،‬ﺑﺘﻌﻤﻴﻢ ﻣﺘﻌﺴﱢﻒ‬
‫ﻳﻜﺸﻒ ﻋﻦ ﻋﺪﻡ ﻛﻔﺎﻳﺔ ﺃﻓﻘﻪ ﺍﻟﻔﻠﺴﻔﻲ‪.‬‬
‫ﻭﺃﻧﺎ ﺃﻗﻮﻝ ﻋﻦ ﻫﺬﺍ "ﺍﻟﻌﺸﻖ" ﺍﻟﺬﻱ ﺗﻌﺮﺿﻪ ﻟﻨﺎ ﻧﻈﺮﻳﱠﺔ ﺍﻟﺒﻠﻮﺭﺓ ﻭﺗﻌﺪّﻩ ﻧﺸﺎﻃﺎً‬
‫ﻓﻴﱠﺎﺿﺎً ﰲ ﺍﻟﻨﱠﻔﺲ‪ ،‬ﺇﻧﱠﻪ ﺿِﻴْﻖ ﻭﺷﻠﻞ ﻧﺴﺒﻲّ ﰲ ﺣﻴﺎﺗﻨﺎ ﺍﻟﻮﺍﻋﻴﺔ‪ .‬ﻭﳓﻦ ﺗﺤﺖ ﺳﻠﻄﺎﻧﻪ‬
‫ﻧﻜﻮﻥ ﺃﺩﻧﻰ ﻭﻟﻴﺲ ﺃﻛﺜﺮ ﰲ ﺍﻟﻮﺟﻮﺩ ﺍﳌﺄﻟﻮﻑ‪ .‬ﻭﻫﺬﺍ ﻳﻘﻮﺩﻧﺎ ﺇﻟﻰ ﺃﻥ ﻧﺮﺳﻢ ﺑﺨﻄﻮﻁٍ‬
‫ﻋﺎﻣﱠﺔ ﺳﻴﻜﻮﻟﻮﺟﻴﺔ ﻓﻮﺭﺓ ﺍﳊﺐّ‪.‬‬

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‫ﺍﻟﻌﺸﻖ ﺑﺎﻟﺘﱠﺎﻟﻲ ﻇﺎﻫﺮﺓ ﻣﻦ ﻇﻮﺍﻫﺮ ﺍﻻﻧﺘﺒﺎﻩ‪.‬‬

‫ﰲ ﻛﻞﱢ ﳊﻈﺔ ﻧﻜﺘﺸﻒ ﻓﻴﻬﺎ ﺣﻴﺎﺓ ﻭﻋﻴﻨﺎ ﳒﺪﻫﺎ ﻣﺸﻐﻮﻟﺔ ﺑﺠﻤﻊ ﻣﻦ ﺍﻷﺷﻴﺎﺀ‬
‫ﺍﳋﺎﺭﺟﻴﱠﺔ ﻭﺍﻟﺪﱠﺍﺧﻠﻴﱠﺔ‪ .‬ﻭﻫﺬﻩ ﺍﻷﺷﻴﺎﺀ ﺍﻟﺘﻲ ﲤﻸ ﺣﺠﻢ ﺫﻫﻨﻨﺎ ﰲ ﻛﻞﱢ ﺣﺎﻟﺔ‪ ،‬ﻟﻴﺴﺖ‬
‫ﺭُﻛﺎﻣﺎً ﻣُﺒﻬﻤﺎً‪ .‬ﺑﻞ ﻓﻴﻬﺎ ﺩﺍﺋﻤﺎً ﺣﺪﱞ ﺃﺩﻧﻰ ﻣﻦ ﺍﻟﻨﱢﻈﺎﻡ ﻭﺗﺴﻠﺴﻞ ﻫﺮﻣﻲّ‪ .‬ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﳒﺪ‬
‫ﺑﻴﻨﻬﺎ ﺷﻴﺌﺎً ﺑﺎﺭﺯﺍً ﻓﻮﻕ ﺍﻷﺷﻴﺎﺀ ﺍﻷﺧﺮﻯ ﻭﻣﻔﻀﱠﻼً ﻋﻠﻴﻬﺎ ﻭﻣُﻀﺎﺀ ﺑﺸﻜﻞٍ ﺧﺎﺹّ ﻭﻛﺄﻥﱠ‬
‫ﺑﺆﺭﺓ ﺫﻫﻨﻨﺎ ﻇﻠﱠﻠﺘﻪ ﺑﻮﻫﺠﻬﺎ ﻭﻋﺰﻟﺘﻪ ﻋﻦ ﺍﻟﺒﻘﻴﱠﺔ‪ .‬ﻭﺇﻥﱠ ﻣﻦ ﺃﺳﺲ ﻭﻋﻴﻨﺎ ﺃﻥ ﻧﺘﻨﺒﱠﻪ ﺇﻟﻰ‬
‫‪-٤٨-‬‬
 ‫ﺷﻲﺀ‪ .‬ﻟﻜﻨﱠﻨﺎ ﻻ ﳝﻜﻨﻨﺎ ﺍﻻﻧﺘﺒﺎﻩ ﺇﻟﻰ ﺷﻲﺀ ﻣﻦ ﻏﻴﺮ ﺻﺮﻑ ﺍﻻﻧﺘﺒﺎﻩ ﻋﻦ ﺃﺷﻴﺎﺀ ﺃﺧﺮﻯ‬
‫ﺗﻈﻞﱡ ﺑﺴﺒﺐ ﺫﻟﻚ ﰲ ﺷﻜﻞٍ ﻣﻦ ﺍﳊﻀﻮﺭ ﺍﻟﺜﱠﺎﻧﻮﻱ ﻋﻠﻰ ﺷﻜﻞِ ﺟﻮﻗﺔ ﺃﻭ ﺧﻠﻔﻴﱠﺔ‪.‬‬
‫ﻓﺈﺫﺍ ﻛﺎﻥ ﻋﺪﺩ ﺍﻷﺷﻴﺎﺀ ﺍﻟﺘﻲ ﺗﺸﻜّﻞ ﻋﺎﻟﻢ ﻛﻞّ ﻓﺮﺩٍ ﻛﺒﻴﺮﺍً ﺟﺪﱠﺍً‪ ،‬ﻭﻛﺎﻥ ﺣﻘﻞ‬
‫ﻭﻋﻴﻨﺎ ﻣﺤﺪﻭﺩﺍً ﺟﺪﱠﺍً‪ ،‬ﻓﺴﻮﻑ ﻳﻘﻮﻡ ﺑﻴﻨﻬﺎ ﻧﻮﻉ ﻣﻦ ﺍﻟﺼﱢﺮﺍﻉ ﻣﻦ ﺃﺟﻞ ﻏﺰﻭ ﻭﻋﻴﻨﺎ‪ .‬ﻭﺇﻥﱠ‬
‫ﺣﻴﺎﺓ ﻧﻔﺴﻨﺎ ﻭﺭﻭﺣﻨﺎ ﻫﻲ ﺑﺸﻜﻞٍ ﺧﺎﺹ ﻣﺎ ﻳﺘﺤﻘﱠﻖ ﻓﻘﻂ ﰲ ﻫﺬﻩ ﺍﳌﻨﻄﻘﺔ ﺫﺍﺕ‬
‫ﺍﻹﺿﺎﺀﺓ ﺍﻟﻘﺼﻮﻯ‪ .‬ﺃﻣﱠﺎ ﺍﻟﺒﻘﻴﱠﺔ‪ ،‬ﺃﻱ ﺍﳌﻨﻄﻘﺔ ﺍﳌُﻐﻔﻠﺔ‪ ،‬ﻭﺃﺑﻌﺪ ﻣﻦ ﺫﻟﻚ‪ ،‬ﻣﻨﻄﻘﺔ ﻣﺎ ﺗﺤﺖ‬
‫ﺍﻟﻮﻋﻲ‪ ،‬ﺇﻟﺦ‪ ...‬ﻓﻬﻲ ﺣﻴﺎﺓ ﺑﺎﻟﻘﻮﱠﺓ ﻭﺗﺤﻀﻴﺮ ﻭﺗﺮﺳﺎﻧﺔ ﻭﺍﺣﺘﻴﺎﻁ ﻓﺤﺴﺐ‪ .‬ﻭﳝﻜﻨﻨﺎ‬
‫ﺗﺼﻮﱡﺭ ﺍﻟﻮﻋﻲ ﺍﳌﺘﻨﺒﱢﻪ ﻛﺎ‪‬ﺎﻝ ﺍﳋﺎﺹ ﺑﺸﺨﺼﻴّﺘﻨﺎ‪ .‬ﺇﺫﺍً‪ ،‬ﻳﺴﺘﻮﻱ ﺍﻟﻘﻮﻝ ﺇﻧﱠﻨﺎ ﻧﺘﻨﺒﱠﻪ ﺇﻟﻰ‬
‫ﺷﻲﺀ ﻭﺍﻟﻘﻮﻝ ﺇﻥﱠ ﻫﺬﺍ ﺍﻟﺸﱠﻲﺀ ﻳﻨﺘﺰﻉ ﻣﻜﺎﻧﺎً ﻣﺎ ﻣﻦ ﺷﺨﺼﻴّﺘﻨﺎ‪.‬‬
‫ﻭﻳﺤﺘﻞّ ﺍﻟﺸﱠﻲﺀ ﺍﳌﺘﻨﺒﱠﻪ ﻟﻪ ﰲ ﺍﻟﻨﱢﻈﺎﻡ ﺍﻟﻄﱠﺒﻴﻌﻲّ‪ ،‬ﻫﺬﺍ ﺍﳌﺮﻛﺰَ ﺍﳌﻤﺘﺎﺯ ﻣﺪﱠﺓ‬
‫ﳊﻈﺎﺕ‪ ،‬ﰒﱠ ﺳﺮﻋﺎﻥ ﻣﺎ ﻳُﻄﺮﺩ ﻣﻨﻪ ﻟﻴُﺨﻠﻲ ﺍﳌﻜﺎﻥ ﻟﺸﻲﺀٍ ﺁﺧﺮ‪ .‬ﻭﺍﻟﻮﻋﻲ‪،‬‬
‫ﺑﺎﺧﺘﺼﺎﺭ‪ ،‬ﻳﺘﻨﻘﱠﻞ ﻣﻦ ﺷﻲﺀٍ ﺇﻟﻰ ﺁﺧﺮ ﻣﺘﻮﻗﱢﻔﺎً ﻋﻨﺪﻩ ﻗﻠﻴﻼً ﺃﻭ ﻛﺜﻴﺮﺍً ﺣﺴﺐ ﺃﻫﻤﻴﱠﺘﻪ‬
‫ﺍﳊﻴﻮﻳﱠﺔ‪ .‬ﻓﻠﻨﺘﺼﻮﱠﺭ ﺃﻥﱠ ﺍﻧﺘﺒﺎﻫﻨﺎ ﺷُﻞﱠ ﺫﺍﺕ ﻳﻮﻡ‪ ،‬ﻭﻇﻞﱠ ﻣُﺜﺒﺘﺎً ﻋﻠﻰ ﺷﻲﺀ‪ .‬ﻓﺴﻮﻑ‬
‫ﺗﻈﻞّ ﺑﻘﻴﱠﺔ ﺍﻟﻌﺎﻟﻢ ﻣﻬﻤﻠﺔً‪ ،‬ﻣُﺒﻌﺪﺓ ﻭﻛﺄﻧﱠﻬﺎ ﻏﻴﺮ ﻣﻮﺟﻮﺩﺓ؛ ﻭﻟﺴﻮﻑ ﻳﻜﺘﺴﺐ ﺍﻟﺸﱠﻲﺀ‬
‫ﺍﳌﺘﻨﺒﱠﻪ ﻟﻪ ﺑﺸﻜﻞ ﻏﻴﺮ ﻃﺒﻴﻌﻲ ﰲ ﻧﻈﺮﻧﺎ ﺃﺑﻌﺎﺩﺍً ﺿﺨﻤﺔ ﻟﻐﻴﺎﺏ ﻛﻞ ﻣﻘﺎﺭﻧﺔ‬
‫ﳑﻜﻨﺔ‪ .‬ﺃﺑﻌﺎﺩ ﺟﺪّ ﺿﺨﻤﺔ ﺣﺘﱠﻰ ﻳﺤﺘﻞّ ﻫﺬﺍ ﺍﻟﺸﱠﻲﺀُ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻣﺠﺎﻝ ﺫﻫﻨﻨﺎ ﻛﻠّﻪ‪،‬‬
‫ﻭﺳﻮﻑ ﻳﻜﻮﻥ ﻭﺣﺪﻩ‪ ،‬ﻭﻭﺣﺪﻩ ﻓﻘﻂ ﻣﺴﺎﻭﻳﺎً ﰲ ﻧﻈﺮﻧﺎ ﻫﺬﺍ ﺍﻟﻌﺎﻟَﻢ ﻛﻠّﻪ ﺍﻟﺬﻱ‬
‫ﺗﺮﻛﻨﺎﻩ ﰲ ﺍﳋﺎﺭﺝ ﺑﺴﺒﺐ ﺻﺮﻑ ﺍﻧﺘﺒﺎﻫﻨﺎ ﻋﻨﻪ ﻛﻠﱢﻴﱠﺎً‪ .‬ﻳﺤﺪﺙ ﺇﺫﺍً‪ ،‬ﻛﻤﺎ ﻳﺤﺪﺙ ﺇﺫﺍ‬
‫ﻗﺮﱠﺑﻨﺎ ﻣﻦ ﻋﻴﻮﻧﻨﺎ ﻳﺪَﻧﺎ‪ :‬ﻓﻬﻲ ﻋﻠﻰ ﻛﻮﻧﻬﺎ ﺻﻐﻴﺮﺓ ﺍﳊﺠﻢ ﺟﺪﱠﺍً‪ ،‬ﺗﻜﻔﻲ ﻟﺘﻐﻄﻴﺔ‬
‫ﺑﻘﻴﱠﺔ ﺍﳌﺸﻬﺪ ﻭﲤﻸ ﻣﻠﺌﺎً ﻛﺎﻣﻼً ﺣﻘﻞ ﺭﺅﻳﺘﻨﺎ‪ .‬ﻭﳝﺘﻠﻚ ﺍﻟﺸﱠﻲﺀ ﺍﳌﺘﻨﺒﱠﻪ ﻟﻪ ﺑﺴﺒﺐ‬
‫ﺍﻟﻮﺍﻗﻌﺔ ﺫﺍﺗﻬﺎ ﻭﺍﻗِﻌﺎً ﺃﻛﺒﺮ ﻭﻭﺟﻮﺩﺍً ﺃﻗﻮﻯ ﳑﱠﺎ ﻟﻢ ﻧﺘﻨﺒﱠﻪ ﻟﻪ ﻭﻳﺸﻜﱢﻞ ﺧﻠﻔﻴﱠﺔً ﺑﺎﻫﺘﺔً‬
‫ﻭﺷﺒﺤﻴﱠﺔ ﺗﻘﺮﻳﺒﺎً ﺗﻨﺘﻈﺮ ﰲ ﻣﺤﻴﻂ ﺫﻫﻨﻨﺎ‪ .‬ﻭﺑﺎﻣﺘﻼﻛﻪ ﻭﺍﻗﻌﺎً ﺃﻛﺒﺮ ﻳُﺸﺤﻦ ﺑﺎﻟﻄﱠﺒﻊ‪،‬‬
‫ﺑﺘﻘﺪﻳﺮٍ ﺃﻛﺒﺮ‪ ،‬ﻭﻳﺼﺒﺢ ﺃﲦﻦ ﻭﺃﻫﻢّ ﻭﻳﻌﺎﺩﻝ ﺑﻘﻴﱠﺔ ﺍﻟﻌﺎﻟﻢ ﺍﳌﻈﻠﻤﺔ‪.‬‬
‫ﻭﺇﺫﺍ ﺗﺮﻛﱠﺰ ﺍﻻﻧﺘﺒﺎﻩ ﺯﻣﻨﺎً ﺃﻃﻮﻝ ﺃﻭ ﺑﺘﺮﺩﺍﺩ ﺃﻋﻈﻢ ﳑﱠﺎ ﻫﻮ ﻃﺒﻴﻌﻲّ‪ ،‬ﻋﻠﻰ ﺷﻲﺀ‪،‬‬
‫ﻓﺈﻧﱠﻨﺎ ﻧﺘﻜﻠﱠﻢ ﻋﻦ "ﻫﻮﺱ"‪ .‬ﻓﺎﳌﻬﻮﻭﺱ ﺇﻧﺴﺎﻥ ﺫﻭ ﻧﻈﺎﻡ ﺗﻨﺒﱡﻬﻲ ﻏﻴﺮ ﻃﺒﻴﻌﻲّ‪ .‬ﻭﻗﺪ ﻛﺎﻥ‬
‫ﻋﻈﻤﺎﺀ ﺍﻟﺒﺸﺮ ﺟﻤﻴﻌﺎً ﺗﻘﺮﻳﺒﺎً ﻣﻬﻮﻭﺳﲔ‪ ،‬ﺳﻮﻯ ﺃﻥﱠ ﻋﻮﺍﻗﺐ ﻫﻮﺳﻬﻢ‪ ،‬ﻭ "ﻓﻜﺮﺗﻬﻢ‬
‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺍﻟﺤﺏ ﻡ ‪٤-‬‬ ‫‪-٤٩-‬‬
‫ﺍﻟﺜﱠﺎﺑﺘﺔ" ﺗﺒﺪﻭ ﻟﻨﺎ ﻧﺎﻓﻌﺔً ﺃﻭ ﻣﺤﺘَﺮَﻣﺔ‪ .‬ﳌﱠﺎ ﺳُﺌﻞ ﻧﻴﻮﺗﻦ ‪ Newton‬ﻛﻴﻒ ﺍﺳﺘﻄﺎﻉ ﺍﻛﺘﺸﺎﻑ‬
‫ﻧﻈﺎﻣﻪ ﺍﳌﻴﻜﺎﻧﻴﻜﻲ ﺍﻟﻜﻮﻧﻲّ‪ ،‬ﺃﺟﺎﺏ‪:‬‬
‫‪Nocte dieque incubando‬‬
‫)ﺑﺎﻟﺘﱠﻔﻜﻴﺮ ﻓﻴﻪ ﻟﻴﻞَ ﻧﻬﺎﺭ(‪ .‬ﻭﻫﺬﺍ ﺗﺼﺮﻳﺢ ﺇﻧﺴﺎﻥ ﻣﻮﺳﻮﺱ‪ .‬ﰲ ﺍﳊﻘﻴﻘﺔ‪ ،‬ﻻ ﺃﺣﺪ‬
‫ﻳﺤﺪﱢﺩ ﻟﻨﺎ ﻛﻴﻒ ﻫﻮ ﻧﻈﺎﻣﻨﺎ ﺍﻟﺘﱠﻨﺒﱡﻬﻲ‪ .‬ﺇﻧﱠﻪ ﻳﺘﺸﻜﱠﻞ ﻟﺪﻯ ﻛﻞّ ﺍﻣﺮﺉ ﺑﻄﺮﻳﻘﺔٍ ﻣﺨﺘﻠﻔﺔ‪.‬‬
‫ﻭﻫﻜﺬﺍ ﺗﻜﻮﻥ ﺍﳋﻔﱠﺔ ﺍﻟﺘﻲ ﻳﻨﺰﻟﻖ ﺑﻬﺎ ﺍﻧﺘﺒﺎﻩ ﺍﻟﺮﺟﻞ ﺍﻟﻌﺎﺩﻱّ ﻣﻦ ﻣﻮﺿﻮﻉ ﺇﻟﻰ ﺁﺧﺮ ﺳﺒﺒﺎً‬
‫ﻟﻠﺪّﻭﺍﺭ ﻟﺪﻯ ﺭﺟﻞ ﺃﻟِﻒَ ﺍﻟﺘﱠﻔﻜﻴﺮ ﻣﻠﺤﱠﺎً ﻋﻠﻰ ﻛﻞﱢ ﻣﻮﺿﻮﻉ ﺑﻐﺎﻳﺔ ﺟﻌﻠِﻪِ ﻳﻄﻠﻖ ﻋﺼﺎﺭﺗﻪ‬
‫ﺍﻟﺴّﺮّﻳﱠﺔ‪ .‬ﻭﺍﻟﻌﻜﺲ ﺻﺤﻴﺢ‪ .‬ﺇﺫْ ﻳﺴﺒﱢﺐ ﻟﻠﺮﺟﻞ ﺍﻟﻌﺎﺩﻱّ ﺍﻟﺘﱠﻌﺐَ ﻭﺍﻟﻘﻠﻖ‪ ،‬ﺍﻟﺒﻂﺀُ ﺍﻟﺬﻱ ﻳﺘﻘﺪﱠﻡ‬
‫ﺑﻪ ﺍﻧﺘﺒﺎﻩُ ﺍﳌﻔﻜﱢﺮ ﺍﻟﺬﻱ ﻳﺴﻴﺮ ﻛﺸﺒﻜﺔ ﺃﻋﻤﺎﻕ ﻣﺴﺘﺨﺮﺟﺎً ﺣﺸﺎ ﺍﻟﻬﺎﻭﻳﺔ ﺍﻟﻮﻋﺮ‪ .‬ﰒﱠ ﻫﻨﺎﻙ‬
‫ﺃﻓﻀﻠﻴﱠﺎﺕُ ﺍﻻﻧﺘﺒﺎﻩ ﺍﳌﺨﺘﻠﻔﺔ ﺍﻟﺘﻲ ﺗﺸﻜّﻞ ﻗﺎﻋﺪﺓ ﺍﻟﻄﱠﺒﻊ ﺫﺍﺗﻬﺎ‪ .‬ﻫﻨﺎﻙ ﻣﻦ ﻳُﺼﺎﺏ‬
‫ﺑﺎﻟﺬﱡﻫﻮﻝ ﻭﻛﺄﻧﱠﻪ ﻗﺪ ﺳﻘﻂ ﻣﻦ ﺧﻼﻝ ﺑﺎﺏ ﻣﺴﺤﻮﺭ‪ ،‬ﺇﺫﺍ ﺑﺮﺯ ﺃﺛﻨﺎﺀ ﺍﶈﺎﺩﺛﺔ ﻣُﻌﻄﻰ‬
‫ﺍﻗﺘﺼﺎﺩﻱ‪ .‬ﻭﻳﺘﱠﺠﻪ ﺍﻻﻧﺘﺒﺎﻩ ﻋﻨﺪ ﺷﺨﺺ ﺁﺧﺮ ﺗﻠﻘﺎﺋﻴﱠﺎً ﺑﺎﳓﺪﺍﺭ ﺫﺍﺗﻲ ﳓﻮ ﺍﻟﻔﻦّ ﺃﻭ ﺍﻷﻣﻮﺭ‬
‫ﺍﳉﻨﺴﻴﱠﺔ‪ .‬ﻭﳝﻜﻨﻨﺎ ﻗﺒﻮﻝ ﻫﺬﻩ ﺍﻟﺼﱢﻴﻐﺔ‪ :‬ﻗﻞْ ﻟﻲ ﺇﻟﻰ ﻣﺎ ﺗﺘﻨﺒﱠﻪ‪ ،‬ﺃﻗﻞْ ﻟﻚَ ﻣَﻦْ ﺃﻧﺖ‪.‬‬
‫ﺇﺫﺍً‪ :‬ﺃﻧﺎ ﺃﺣﺴَﺐ "ﺍﻟﻌﺸﻖ" ﻇﺎﻫﺮﺓً ﻣﻦ ﻇﻮﺍﻫﺮ ﺍﻻﻧﺘﺒﺎﻩ‪ ،‬ﻭﺣﺎﻟﺔ ﻏﻴﺮ ﻃﺒﻴﻌﻴﱠﺔ‬
‫ﻣﻨﻬﺎ ﺗﺤﺪﺙ ﺩﺍﺧﻞ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺴﱠﻮﻱّ‪.‬‬
‫ﻭﻳﺪﻝّ ﻋﻠﻰ ﺫﻟﻚ ﻭﺍﻗﻌﺔ "ﺍﻟﻌﺸﻖ" ﺍﻟﺒﺪﺋﻴﱠﺔ‪ .‬ﺇﺫْ ﻳﺘﻘﺎﺑﻞ ﰲ ﺍ‪‬ﺘﻤﻊ ﻧﺴﺎﺀ ﻛﺜﻴﺮﺍﺕ‬
‫ﻭﺭﺟﺎﻝ ﻛﺜﻴﺮﻭﻥ‪ .‬ﻓﻔﻲ ﺣﺎﻟﺔ ﺍﻟﻼﻣﺒﺎﻻﺓ‪ ،‬ﻳﺘﻨﻘﱠﻞ ﺍﻧﺘﺒﺎﻩ ﻛﻞّ ﺭﺟﻞ ﻭﻛﺬﻟﻚ ﻛﻞ ﺍﻣﺮﺃﺓ ﻣﻦ‬
‫ﺃﺣﺪ ﳑﺜﱢﻠﻲ ﺍﳉﻨﺲ ﺍﳌﻘﺎﺑﻞ ﺇﻟﻰ ﳑﺜﱢﻞ ﺁﺧﺮ‪ .‬ﻭﲡﻌﻞ ﺃﺳﺒﺎﺏٌ ﻣﻦ ﺍﳒﺬﺍﺏٍ ﻗﺪﱘ‪،‬‬
‫ﻭﻗﺮﺏ ﺃﻛﺒﺮ‪ ،‬ﺇﻟﺦ‪ ،‬ﺍﻧﺘﺒﺎﻩَ ﺍﳌﺮﺃﺓ ﻳﻘﻊ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﺬﱠﻛﺮ ﺃﻛﺜﺮ ﻗﻠﻴﻼً ﳑﱠﺎ ﻳﻘﻊ ﻋﻠﻰ ﺫﻛﺮٍ‬
‫ﺁﺧﺮ؛ ﻟﻜﻦﱠ ﺍﳋﻠﻞ ﰲ ﺍﻟﺘﱠﻨﺎﺳﺐ ﺑﲔ ﺍﻻﻧﺘﺒﺎﻩ ﺇﻟﻰ ﻫﺬﺍ ﻭﺻﺮﻑ ﺍﻻﻧﺘﺒﺎﻩ ﻋﻦ ﺍﻵﺧﺮﻳﻦ‬
‫ﻟﻴﺲ ﻛﺒﻴﺮﺍً‪ .‬ﻭﺇﺫﺍ ﺍﺳﺘﺜﻨﻴﻨﺎ ﺑﻌﺾ ﺍﻟﻔﺮﻭﻕ ﺍﻟﻀﱠﺌﻴﻠﺔ ﻧﻘﻮﻝ ﻫﻜﺬﺍ‪ :‬ﺇﻥﱠ ﻛﻞّ ﺍﻟﺮﱢﺟﺎﻝ ﺍﻟﺬﻳﻦ‬
‫ﺗﻌﺮﻓﻬﻢ ﺍﳌﺮﺃﺓ ﻳﻜﻮﻧﻮﻥ ﺑﺨﻂﱟ ﻣﺴﺘﻘﻴﻢ‪ ،‬ﻋﻠﻰ ﻣﺴﺎﻓﺔٍ ﺗﻨﺒﱡﻬﻴﱠﺔٍ ﻣﺘﺴﺎﻭﻳﺔ ﻣﻨﻬﺎ‪ .‬ﻟﻜﻦﱠ ﺗﻮﺯﱡﻉ‬
‫ﺍﻻﻧﺘﺒﺎﻩ ﺍﳌﺘﺴﺎﻭﻱ ﻫﺬﺍ ﻳﻘﻒ ﺫﺍﺕ ﻳﻮﻡ‪ .‬ﻷﻥﱠ ﺍﻧﺘﺒﺎﻩ ﺍﳌﺮﺃﺓ ﳝﻴﻞ ﺇﻟﻰ ﺃﻥ ﻳﻘﻊ ﻣﻦ ﺫﺍﺗﻪ‬
‫ﻋﻠﻰ ﺃﺣﺪ ﻫﺆﻻﺀ ﺍﻟﺮﱢﺟﺎﻝ‪ .‬ﻭﺳﺮﻋﺎﻥ ﻣﺎ ﻳﻘﺘﻀﻲ ﻣﻨﻬﺎ ﺟﻬﺪٌ ﻛﻴﻤﺎ ﺗﺼﺮﻑ ﺗﻔﻜﻴﺮﻫﺎ‬
‫ﻋﻨﻪ‪ ،‬ﻭﺗُﻌﺒّﺊَ ﺍﻫﺘﻤﺎﻣﻬﺎ ﺑﺎﺗﱢﺠﺎﻩ ﺭﺟﺎﻝ ﺁﺧﺮﻳﻦ ﺃﻭ ﺃﺷﻴﺎﺀ ﺃﺧﺮﻯ‪ .‬ﻭﺑﺬﻟﻚ ﻳﻨﻜﺴﺮ ﺍﳋﻂّ‬
‫ﺍﳌﺴﺘﻘﻴﻢ‪ .‬ﻓﻴﺒﺮﺯ ﺃﺣﺪُ ﺍﻟﺬّﻛﻮﺭ ﻋﻠﻰ ﻣﺴﺎﻓﺔ ﺗﻨﺒﱡﻬﻴﱠﺔ ﺻﻐﺮﻯ ﻣﻦ ﺗﻠﻚ ﺍﳌﺮﺃﺓ‪.‬‬
‫‪-٥٠-‬‬
 ‫ﻭﻟﻴﺲ "ﺍﻟﻌﺸﻖ" ﰲ ﺑﺪﺍﻳﺘﻪ ﻏﻴﺮَ ﻫﺬﺍ‪ :‬ﺍﻧﺘﺒﺎﻩٌ ﻳﻘﻊ ﺑﺸﻜﻞ ﻏﻴﺮ ﻃﺒﻴﻌﻲّ ﻋﻠﻰ‬
‫ﺷﺨﺺٍ ﺁﺧﺮ‪ .‬ﻓﺈﺫﺍ ﻋﺮﻑ ﻫﺬﺍ ﺍﻟﺸﱠﺨﺺ ﺃﻥ ﻳﻔﻴﺪ ﻣﻦ ﻣﻮﻗﻔﻪ ﺍﳌﻤﻴﱠﺰ ﻭﻳﻐﺬﱢﻱ ﺑﺸﻜﻞ‬
‫ﻣﺎﻫﺮ ﺫﻟﻚ ﺍﻻﻧﺘﺒﺎﻩ‪ ،‬ﻓﺈﻥﱠ ﻣﺎ ﺗﺒﻘﱠﻰ ﻳﺤﺪﺙ ﺑﺂﻟﻴﱠﺔ ﻻ ﺭﺍﺩﱠ ﻟﻬﺎ‪ .‬ﻭﻳﺠﺪ ﻧﻔﺴﻪ ﻛﻞﱠ ﻳﻮﻡٍ‬
‫ﻳﺘﻘﺪﱠﻡ ﺻﻒّ ﺍﻵﺧﺮﻳﻦ‪ ،‬ﺻﻒّ ﺍﻟﻼﻣُﺒﺎﻟﻰ ﺑﻬﻢ‪ .‬ﻭﻛﻞّ ﻳﻮﻡ ﻳﻨﺘﺰﻉ ﻣﻜﺎﻧﺎً ﺃﻛﺒﺮ ﻣﻦ ﻧﻔﺲ‬
‫ﺍﳌﺮﺃﺓ ﺍﳌﺘﻨﺒﱢﻬﺔ‪ .‬ﰒﱠ ﺗﺄﺧﺬ ﻫﺬﻩ ﺍﳌﺮﺃﺓ ﺗﺸﻌﺮ ﺑﻌﺠﺰﻫﺎ ﻋﻦ ﺻﺮﻑ ﺍﻻﻧﺘﺒﺎﻩ ﻋﻦ ﻫﺬﺍ‬
‫ﺍﻟﺮﱠﺟﻞ ﺍﳌﻔﻀﱠﻞ‪ .‬ﺃﻣﱠﺎ ﺍﻟﻜﺎﺋﻨﺎﺕ ﻭﺍﻷﺷﻴﺎﺀ ﺍﻷُﺧَﺮ ﻓﺘُﻨﺘَﺰَﻉ ﺷﻴﺌﺎً ﻓﺸﻴﺌﺎً ﻣﻦ ﻣﺠﺎﻝ ﺍﻟﻮﻋﻲ‪.‬‬
‫ﻭﺣﻴﺜﻤﺎ ﺗﻜﻦ ﺍﳌﺮﺃﺓ "ﺍﻟﻌﺎﺷﻘﺔ"‪ ،‬ﻭﺃﻳﱠﺎً ﻳﻜﻦ ﺍﻫﺘﻤﺎﻣﻬﺎ ﺍﻟﻈﱢﺎﻫﺮﻱ‪ ،‬ﻳﻨﺠﺬﺏْ ﺍﻧﺘﺒﺎﻫﻬﺎ ﺑﻔﻌﻞ‬
‫ﺍﻟﺜﱠﻘﺎﻟﺔ ﺫﺍﺗﻬﺎ ﳓﻮ ﺫﻟﻚ ﺍﻟﺮﱠﺟﻞ‪ .‬ﻭﺍﻟﻌﻜﺲ ﺻﺤﻴﺢ؛ ﺇﺫْ ﻳﻜﻠﱢﻔﻬﺎ ﺟﻬﺪ‪ 1‬ﻛﺒﻴﺮ ﺃﻥ ﺗﻨﺘﺰﻋﻪ‬
‫ﻟﻠﺤﻈﺔ ﻭﺍﺣﺪﺓ ﻣﻦ ﺫﻟﻚ ﺍﻻﺗﱢﺠﺎﻩ‪ ،‬ﻭﺗﺘﱠﺠﻪ ﺑﻪ ﳓﻮ ﺿﺮﻭﺭﺍﺕ ﺍﳊﻴﺎﺓ‪ .‬ﻭﻟﻘﺪ ﺭﺃﻯ ﺳﺎﻥ‬
‫ﺃﻏﺴﻄﲔ ﺑﺬﻛﺎﺀ ﺣﺎﺩّ ﺃﻥﱠ ﺍﻹﻟﻘﺎﺀ ﺑﺜﻘﻠﻨﺎ ﻫﺬﺍ ﺗﻠﻘﺎﺋﻴﱠﺎً ﳓﻮ ﺷﻲﺀ‪ ،‬ﻫﻮ ﻣﻦ ﺧﻮﺍﺹّ‬
‫ﺍﳊﺐّ‪) :‬ﺣﺒﱢﻲ ﺛﻘﻠﻲ‪ :‬ﻭﺑﻪ ﺃﺳﻌﻰ ﺣﻴﺚ ﺃﺳﻌﻰ(‪.‬‬
‫ﺇﺫﺍً‪ ،‬ﻟﺴﻨﺎ ﺑﺼﺪﺩ ﺇﺛﺮﺍﺀ ﳊﻴﺎﺗﻨﺎ ﺍﻟﺬّﻫﻨﻴﱠﺔ‪ .‬ﺑﻞ ﻋﻠﻰ ﺍﻟﻌﻜﺲ ﲤﺎﻣﺎً‪ ،‬ﻫﻨﺎﻙ ﺇﺑﻌﺎﺩ‬
‫ﻣﻄﱠﺮﺩ ﻷﺷﻴﺎﺀ ﻛﺎﻧﺖ ﺗﺸﻐَﻠﻨﺎ ﻣﻦ ﻗﺒﻞ‪ .‬ﻓﻴﻀﻴﻖ ﺍﻟﻮﻋﻲ ﻭﻻ ﻳﺤﺘﻮﻱ ﺇﻻﱠ ﻋﻠﻰ ﺷﻲﺀ‬
‫ﻭﺍﺣﺪ‪ .‬ﻭﻳُﺸﻞّ ﺍﻻﻧﺘﺒﺎﻩ‪ ،‬ﻓﻼ ﻳﺘﻘﺪﱠﻡ ﻣﻦ ﺷﻲﺀ ﺇﻟﻰ ﺁﺧﺮ‪ .‬ﻭﻳُﻤﺴﻲ ﺛﺎﺑﺘﺎً ﻣﺘﺼﻠﱢﺒﺎً ﻭﺃﺳﻴﺮ‬
‫ﻛﺎﺋﻦ ﻭﺣﻴﺪ! ‪") theia mania‬ﻫﻮﺱ ﺇﻟﻬﻲ"( ﻛﻤﺎ ﻛﺎﻥ ﻳﻘﻮﻝ ﺃﻓﻼﻃﻮﻥ‪) .‬ﻭﻟﺴﻮﻑ ﻧﺮﻯ‬
‫ﻣﻦ ﺃﻳﻦ ﺟﺎﺀﺕ ﺍﻟﺼﻔﺔ "ﺇﻟﻬﻲ" ﺍﳌﺪﻫﺸﺔ ﻭﺍﳌﺴﺮﻓﺔ ﺟﺪﱠﺍً(‪.‬‬
‫ﻣﻊ ﺫﻟﻚ‪ ،‬ﻟﺪﻯ ﺍﻟﻌﺎﺷﻖ ﺍﻧﻄﺒﺎﻉ ﺃﻥﱠ ﺣﻴﺎﺗﻪ ﺍﻟﻮﺍﻋﻴﺔ ﺃﻛﺜﺮ ﺛﺮﺍﺀً‪ .‬ﻓﺈﺫﺍ ﻗُﻠﱢﺺَ ﻋﺎﻟَﻤُﻪُ‬
‫ﻳﺼﺒﺢ ﺃﻛﺜﺮ ﺗﺮﻛﻴﺰﺍً‪ .‬ﻭﺗﺘﻼﻗﻰ ﻗﻮﺍﻩ ﺍﻟﻨﱠﻔﺴﻴﱠﺔ ﻛﻠّﻬﺎ ﻟﺘﻨﺸﻂ ﺑﺎﺗﱢﺠﺎﻩ ﻭﺍﺣﺪ‪ .‬ﻭﻫﺬﺍ ﻳُﻌﻄﻲ‬
‫ﻭﺟﻮﺩﻩ ﻣﻈﻬﺮﺍً ﺯﺍﺋﻔﺎً ﻣﻦ ﺗﻮﺗﱡﺮ ﻣﻔﺮﻁٍ‪.‬‬
‫ﻭﻳُﻀﻔﻲ ﺍﳓﺼﺎﺭ ﺍﻻﻧﺘﺒﺎﻩ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﺸﱠﻲﺀ ﺍﳌﻔﻀﱠﻞ‪ ،‬ﺻﻔﺎﺕٍ ﻋﺠﻴﺒﺔً ﰲ ﺁﻥٍ‬
‫ﻭﺍﺣﺪٍ‪ .‬ﻻ ﻷﻥﱠ ﻛﻤﺎﻻﺕ ﻏﻴﺮَ ﻣﻮﺟﻮﺩﺓ ﻣﻔﺘﻌﻠﺔ ﺗﻈﻬﺮ ﻓﻴﻪ‪) .‬ﻟﻘﺪ ﺳﺒﻖ ﻟﻲ ﺃﻥ ﺑﻴﱠﻨﺖ ﺃﻥﱠ‬
‫ﺫﻟﻚ ﳝﻜﻦ ﺃﻥ ﻳﺤﺪﺙ‪ .‬ﻟﻜﻨﱠﻪ ﻟﻴﺲ ﺟﻮﻫﺮﻳﱠﺎً ﻭﻻ ﺿﺮﻭﺭﻳﱠﺎً ﻛﻤﺎ ﺍﻓﺘﺮﺽ ﺳﺘﻨﺪﺍﻝ ﺧﻄﺄً(‪.‬‬
‫ﻭﲟﻘﺪﺍﺭ ﻣﺎ ﻳﻼﻣﺲ ﺍﻻﻧﺘﺒﺎﻩُ ﺷﻴﺌﺎً ﻭﻳﻨﺰﻟﻖ ﻋﻠﻴﻪ‪ ،‬ﻳﻜﺘﺴﺐ ﻫﺬﺍ ﺍﻟﺸﱠﻲﺀ ﰲ ﺍﻟﻮﻋﻲ ﻗﻮﱠﺓَ‬
‫ﻭﺍﻗﻊٍ ﻻ ﻳُﻀﺎﻫﻰ‪ .‬ﺇﻧﱠﻪ ﻣﻮﺟﻮﺩ ﻛﻞّ ﺳﺎﻋﺔ ﺑﺎﻟﻨﱢﺴﺒﺔ ﻟﻨﺎ‪ .‬ﺇﻧﱠﻪ ﻫﻨﺎ ﺩﺍﺋﻤﺎً‪ ،‬ﻗﺮﺑﻨﺎ ﻭﺃﻛﺜﺮ‬

‫)‪ (١‬ﻋﻨﻒ‪ ،‬ﰲ ﺍﻷﺻﻞ‪ – .‬ﺍﳌﺘﺮﺟﻢ‪.‬‬

‫‪-٥١-‬‬
‫ﻭﺍﻗﻌﻴﱠﺔ ﻣﻦ ﻛﻞﱢ ﺷﻲﺀٍ ﺁﺧﺮ‪ .‬ﺃﻣﱠﺎ ﺍﻷﺷﻴﺎﺀ ﺍﻷﺧﺮﻯ ﻓﻴﺠﺐ ﻋﻠﻴﻨﺎ ﺃﻥ ﻧﺒﺤﺚ ﻋﻨﻬﺎ‬
‫ﻣﻮﺟﱢﻬﲔ ﳓﻮﻫﺎ ﺑﻌﻨﺎﺀ ﺍﻧﺘﺒﺎﻫﻨﺎ ﺍﻟﺬﻱ ﻫﻮ ﺑﺬﺍﺗﻪ ﻧﺎﺷﺐ ﺑﺎﶈﺒﻮﺏ‪.‬‬
‫ﺇﻧﱠﻨﺎ ﻧﻌﺜﺮ ﻫﻨﺎ ﻋﻠﻰ ﺷَﺒَﻪٍ ﻛﺒﻴﺮ ﺑﲔ ﺍﻟﻌﺸﻖ ﻭﺍﻻﻧﻔﻌﺎﻝ ﺍﻟﺼﱡﻮﰲ‪ .‬ﻓﻤﻦ ﻋﺎﺩﺓ‬
‫ﺍﻟﺼﱡﻮﰲ ﺃﻥ ﻳﺘﻜﻠﱠﻢ ﻋﻦ "ﺣﻀﻮﺭ ﺍﷲ"‪ .‬ﻭﻫﺬﻩ ﻟﻴﺴﺖ ﻣﺠﺮﱠﺩ ﺟﻤﻠﺔ‪ .‬ﺑﻞ ﻭﺭﺍﺀﻫﺎ‬
‫ﻇﺎﻫﺮﺓ ﺣﻘﻴﻘﻴﱠﺔ‪ .‬ﻓﻠﻜﺜﺮﺓ ﺍﻟﺼﱠﻼﺓ ﻭﺍﻟﺘﱠﺄﻣﱡﻞ ﻭﺍﻟﺘﱠﻮﺟﱡﻪ ﺇﻟﻰ ﺍﷲ‪ ،‬ﻳﻜﺘﺴﺐ ﺍﷲ ﰲ‬
‫ﻧﻈﺮ ﺍﻟﺼﱡﻮﰲ ﺻﻼﺑﺔ ﺟﺪّ ﻣﻮﺿﻮﻋﻴﱠﺔ ﺣﺘﱠﻰ ﺗﺴﻤﺢ ﻟﻪ ﺃﻻﱠ ﻳﺨﺘﻔﻲ ﻗﻂّ ﻣﻦ ﺣﻘﻠﻪ‬
‫ﺍﻟﺬّﻫﻨﻲّ‪ .‬ﺇﻧﱠﻪ ﻣﻮﺟﻮﺩ ﻫﻨﺎﻙ ﺩﺍﺋﻤﺎً‪ ،‬ﻣﺎﺩﺍﻡ ﻻ ﻳﻨﻔﻚّ ﺍﻻﻧﺘﺒﺎﻩ ﻋﻨﻪ‪ .‬ﻭﻛﻞّ ﻣﺤﺎﻭﻟﺔ ﰲ‬
‫ﺍﳊﺮﻛﺔ ﲡﻌﻠﻪ ﻳﻌﺜﺮ ﻋﻠﻰ ﺍﷲ‪ ،‬ﺃﻱ‪ ،‬ﻳﺴﻘﻂ ﻣﺮﱠﺓً ﺃﺧﺮﻯ ﰲ ﺍﻟﻔﻜﺮﺓ ﻋﻨﻪ‪ .‬ﻭﺫﻟﻚ‬
‫ﻟﻴﺲ ﺷﻴﺌﺎً ﳑﻴﱠﺰﺍً ﻟﻠﻤﺠﺎﻝ ﺍﻟﺪﱢﻳﻨﻲّ‪ .‬ﻓﺈﺫﺍ ﻛﺎﻥ ﻻ ﻳﻮﺟﺪ ﺷﻲﺀ ﳝﻜﻦ ﺃﻥ ﻳﺤﻈﻰ‬
‫ﺑﺎﳊﻀﻮﺭ ﺍﻟﺪﱠﺍﺋﻢ ﻋﻨﺪ ﺍﻟﺼﱡﻮﰲ ﻛﻤﺎ ﻳﺤﻈﻰ ﺑﻪ ﻋﻨﺪﻩ ﺍﷲ‪ ،‬ﻛﺬﻟﻚ ﺍﻟﻌﺎﻟِﻢ ﺍﻟﺬﻱ‬
‫ﻳﻌﻴﺶ ﺳﻨﲔ ﻛﺎﻣﻠﺔ ﻭﻫﻮ ﻳﻔﻜﱢﺮ ﰲ ﻣﺸﻜﻠﺔ ﺃﻭ ﺍﻟﺮّﻭﺍﺋﻲ ﺍﻟﺬﻱ ﻳﻨﺸﻐﻞ ﺑﺎﺳﺘﻤﺮﺍﺭ‬
‫ﺑﺸﺨﺼﻴﱠﺔ ﺧﻴﺎﻟﻴﱠﺔ ﻳﻌﺮﻓﺎﻥ ﻛﻼﻫﻤﺎ ﺍﻟﻈﱠﺎﻫﺮﺓ ﻧﻔﺴﻬﺎ‪ .‬ﻭﻫﻜﺬﺍ ﻛﺎﻥ ﺑﻠﺰﺍﻙ ‪Balzac‬‬
‫ﺇﺫﺍ ﻗﻄﻊ ﻣﺤﺎﺩﺛﺔ ﲡﺎﺭﻳﱠﺔ‪ ،‬ﻗﺎﺋﻼً‪":‬ﺣﺴﻦ؛ ﻟﻨﻌﺪْ ﺇﻟﻰ ﺍﻟﻮﺍﻗﻊ! ﻭﻟﻨﺘﻜﻠﱠﻢ ﻋﻦ ﺳﻴﺰﺍﺭ‬
‫ﺑﻴﺮّﻭﺗﻮ‪ ".‬ﻭﻛﺬﻟﻚ ﺍﶈﺒﻮﺑﺔ ﰲ ﻧﻈﺮ ﺍﻟﻌﺎﺷﻖ‪ ،‬ﺗﻜﺘﺴﺐ ﺣﻀﻮﺭﺍً ﻛﻠﱢﻴﱠﺎً ﻭﺩﺍﺋﻤﺎً‪،‬‬
‫ﻭﻛﺄﻧﱠﻤﺎ ﺍﻟﻌﺎﻟﻢ ﻛﻠّﻪ ﻣُﺸﺮﺏ ﺑﻬﺎ‪ .‬ﻭﻣﺎ ﻳﺤﺪﺙ ﰲ ﺍﻟﻮﺍﻗﻊ ﻫﻮ ﺃﻥﱠ ﺍﻟﻌﺎﻟَﻢ ﻏﻴﺮ ﻣﻮﺟﻮﺩ‬
‫ﰲ ﻧﻈﺮ ﺍﶈﺐّ‪ .‬ﻓﻘﺪ ﺍﻧﺘﺰﻋﺘﻪ ﺍﶈﺒﻮﺑﺔ ﻣﻨﻪ ﻭﺣﻠﱠﺖ ﻓﻴﻪ‪ ،‬ﻟﺬﻟﻚ ﻳﻘﻮﻝ ﺍﻟﻌﺎﺷﻖ ﰲ‬
‫ﺃﻏﻨﻴﺔ ﺇﻳﺮﻟﻨﺪﻳﱠﺔ‪" :‬ﺣﺒﻴﺒﺘﻲ‪ ،‬ﺃﻧﺖ ﺣﺼﱠﺘﻲ ﻣﻦ ﺍﻟﺪﱡﻧﻴﺎ"‪.‬‬

‫‪VI‬‬

‫ﻓﻠﻨﻘﻤﻊ ﺍﳊﺮﻛﺎﺕ ﺍﻟﺮﱡﻭﻣﺎﻧﺴﻴﱠﺔ‪ ،‬ﻭﻟﻨﻌﺘﺮﻑْ ﺃﻥﱠ ﺍﳊﺐّ ‪ -‬ﻭﺃﻛﺮﱢﺭ ﺃﻧّﻲ ﻻ ﺃﺗﻜﻠﱠﻢ ﻋﻦ‬
‫ﺍﳊﺐّ ﺑﺎﳌﻌﻨﻰ ﺍﻟﺪﱠﻗﻴﻖ ‪ -‬ﺣﺎﻟﺔ ﺭﻭﺣﻴﱠﺔ ﺩﻧﻴﺎ ﻭﻧﻮﻉ ﻣﻦ ﺍﳊﻤﺎﻗﺔ ﺍﳌﺆﻗﱠﺘﺔ‪ .‬ﻓﻼ ﻧﺴﺘﻄﻴﻊ‬
‫ﺃﻥ ﻧﻌﺸﻖ ﻣﻦ ﻏﻴﺮ ﺇﻓﻨﺎﺀ ﺍﻟﺬّﻫﻦ ﻭﻣﻦ ﻏﻴﺮ ﺗﻘﻠﻴﺺ ﻋﺎﳌﻨﺎ ﺍﳌﺄﻟﻮﻑ‪.‬‬
‫ﻭﺇﻥﱠ ﻭﺻﻒ "ﺍﳊﺐّ" ﻫﺬﺍ ﺍﻟﻮﺻﻒَ‪ ،‬ﻫﻮ ﻛﻤﺎ ﻳُﻼﺣﻆ‪ ،‬ﻋﻜﺲ ﺍﻟﻮﺻﻒ ﺍﻟﺬﻱ‬
‫ﻭﺻﻔﻪ ﺑﻪ ﺳﺘﻨﺪﺍﻝ‪ .‬ﻓﻌﻮﺿﺎً ﻋﻦ ﻣﺮﺍﻛﻤﺔ ﺃﺷﻴﺎﺀ ﻛﺜﻴﺮﺓ‪) ،‬ﻛﻤﺎﻻﺕ( ﻓﻮﻕ ﺷﻲﺀ ﻛﻤﺎ‬
‫ﺗﺰﻋﻢ ﻧﻈﺮﻳﺔ ﺍﻟﺒﻠﻮﺭﺓ‪ ،‬ﻓﺈﻥﱠ ﻣﺎ ﻧﺼﻨﻌﻪ ﻫﻮ ﻋﺰﻝ ﺷﻲﺀ ﺑﺸﻜﻞٍ ﻏﻴﺮ ﻃﺒﻴﻌﻲّ‪ ،‬ﻭﻧﻈﻞّ‬
‫‪-٥٢-‬‬
‫ﻭﺣﻴﺪﻳﻦ ﻣﻌﻪ ﺟﺎﻣﺪﻳﻦ ﻣﺸﻠﻮﻟﲔ ﻛﺎﻟﺪﱢﻳﻚ ﺇﺯﺍﺀ ﺍﳋﻂّ ﺍﻷﺑﻴﺾ ﺍﻟﺬﻱ ﻳﻨﻮّﻣﻪ‬
‫ﻣﻐﻨﺎﻃﻴﺴﻴﱠﺎً‪.‬‬
‫ﻭﻻ ﺃﺯﻋﻢ ﺑﺬﻟﻚ ﺃﻥ ﺃﻫﻮﻱ ﺑﺴﻤﻌﺔ ﻭﺍﻗﻌﺔ ﺍﳊﺐّ ﺍﻟﻜﺒﺮﻯ ﺍﻟﺘﻲ ﻭﻫﺒﺖ‬
‫ﺍﻟﺘﱠﺎﺭﻳﺦَ ﺍﻟﻌﺎﻡّ ﻭﺍﳋﺎﺹ ﻭﻫﺠﺎً ﻋﺠﻴﺒﺎً‪ .‬ﺍﳊﺐّ ﻋﻤﻞ ﻣﻦ ﺃﻋﻤﺎﻝ ﺍﻟﻔﻦّ ﺍﻟﻜﺒﺮﻯ‪،‬‬
‫ﻭﻋﻤﻠﻴﱠﺔ ﺭﺍﺋﻌﺔ ﺗﻘﻮﻡ ﺑﻬﺎ ﺍﻟﻨﱡﻔﻮﺱ ﻭﺍﻷﺟﺴﺎﻡ‪ .‬ﻟﻜﻨﱠﻪ ﻳﺤﺘﺎﺝ ﺑﻼ ﺭﻳﺐ‪ ،‬ﻛﻴﻤﺎ ﻳﺤﺪﺙ‬
‫ﺇﻟﻰ ﺃﻥ ﻳﻌﺘﻤﺪ ﻋﻠﻰ ﺟﺎﻧﺐ ﻣﻦ ﻋﻤﻠﻴﱠﺎﺕ ﻣﻴﻜﺎﻧﻴﻜﻴﱠﺔ‪ ،‬ﺃﻭﺗﻮﻣﺎﺗﻴﱠﺔ‪ ،‬ﻣﻦ ﻏﻴﺮ ﺭﻭﺣﺎﻧﻴﱠﺔ‬
‫ﺣﻘﻴﻘﻴﱠﺔ‪ .‬ﻭﺇﻥﱠ ﻓﺮﺿﻴﱠﺎﺕ ﺍﳊﺐّ ﺍﻟﺜﱠﻤﻴﻨﺔ ﺟﺪﱠﺍً ﻛﻼً ﲟﻔﺮﺩﻫﺎ‪ ،‬ﻏﺒﻴﱠﺔ ﺇﻟﻰ ﺣﺪﱟ ﻣﺎ‪،‬‬
‫ﻭﻫﻲ ﻛﻤﺎ ﻗﻠﺖ ﺗﻌﻤﻞ ﺑﺸﻜﻞٍ ﻣﻴﻜﺎﻧﻴﻜﻲّ‪.‬‬
‫ﻭﻫﻜﺬﺍ‪ ،‬ﻻ ﻭﺟﻮﺩَ ﳊﺐﱟ ﻣﻦ ﻏﻴﺮ ﻏﺮﻳﺰﺓ ﺟﻨﺴﻴﱠﺔ‪ .‬ﻭﺍﳊﺐّ ﻳﻔﻴﺪ ﻣﻨﻬﺎ‪ ،‬ﻛﻤﺎ ﻣﻦ‬
‫ﻗﻮﱠﺓٍ ﺧﺎﻡ‪ ،‬ﻭﻛﻤﺎ ﺗﻔﻴﺪ ﺳﻔﻴﻨﺔ ﺷﺮﺍﻋﻴﱠﺔ ﻣﻦ ﺍﻟﺮﱢﻳﺢ‪ .‬ﻭﺍﻟﻐﺮﻳﺰﺓ ﺍﳉﻨﺴﻴﱠﺔ ﺁﻟﻴﱠﺔ ﺃﺧﺮﻯ ﻣﻦ‬
‫ﺗﻠﻚ ﺍﻵﻟﻴﱠﺎﺕ ﺍﳊﻤﻘﺎﺀ ﺍﳉﺎﻫﺰﺓ ﺩﺍﺋﻤﺎً ﻟﻼﻧﻄﻼﻕ ﺑﺸﻜﻞٍ ﺃﻋﻤﻰ‪ ،‬ﻭﺍﻟﺘﻲ ﻳﻔﻴﺪ ﻣﻨﻬﺎ‬
‫ﺍﳊﺐّ ﻭﳝﺘﻄﻴﻬﺎ ﺑﺼﻔﺘﻪ ﻓﺎﺭﺳﺎً ﺟﻴﱢﺪﺍً‪ .‬ﻭﻻ ﻧﻨﺲَ ﺃﻥﱠ ﻛﻞﱠ ﺣﻴﺎﺓ ﺭﻭﺣﻴﱠﺔ ﻋﻠﻴﺎ ﻭﺍﳌﻘﺪﱠﺭﺓ‬
‫ﺟﺪﱠﺍً ﰲ ﺛﻘﺎﻓﺘﻨﺎ‪ ،‬ﻣﺤﺎﻟﺔٌ ﻣﻦ ﻏﻴﺮ ﺍﳋﺪﻣﺔ ﺍﻟﺘﻲ ﺗﺆﺩّﻳﻬﺎ ﺁﻟﻴﱠﺎﺕ ﺩﻧﻴﺎ ﻻ ﺗُﺤﺼﻰ‪.‬‬
‫ﻭﺇﺫﺍ ﺳﻘﻄﻨﺎ ﰲ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ﻣﻦ ﺍﻟﻀﱢﻴﻖ ﺍﻟﺬّﻫﻨﻲ‪ ،‬ﻭﺍﳋُﻨﺎﻕ ﺍﻟﻨﱠﻔﺴﻲ ﺍﻟﺬﻱ ﻫﻮ‬
‫ﺍﻟﻌﺸﻖ‪ ،‬ﻓﻘﺪ ﻫﻠﻜﻨﺎ‪ .‬ﰲ ﺍﻷﻳﱠﺎﻡ ﺍﻷﻭﻟﻰ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﺼﺎﺭﻉ‪ .‬ﻟﻜﻦ‪ ،‬ﺇﺫﺍ ﺣﺪﺙ ﲟﻘﻴﺎﺱ‬
‫ﻣﺎ ﺧﻠﻞ ﺑﲔ ﺍﻻﻧﺘﺒﺎﻩ ﺍﳌﺼﺮﻭﻑ ﺇﻟﻰ ﺍﻣﺮﺃﺓ ﻭﺍﻻﻧﺘﺒﺎﻩ ﺍﻟﺬﻱ ﻧﻮﻟﻴﻪ ﺍﻵﺧﺮﻳﻦ ﻭﺑﻘﻴﱠﺔ ﺍﻟﻜﻮﻥ‪،‬‬
‫ﻓﻠﻦ ﻳﻜﻮﻥ ﰲ ﻗﺪﺭﺗﻨﺎ ﻭﻗﻒ ﺍﻟﻌﻤﻠﻴﱠﺔ‪.‬‬
‫ﻭﺍﻻﻧﺘﺒﺎﻩ ﻫﻮ ﺃﺩﺍﺓ ﺍﻟﺸّﺨﺼﻴﱠﺔ‪ ،‬ﺍﻟﻔﺎﺋﻘﺔ؛ ﺇﻧﱠﻪ ﺍﳉﻬﺎﺯ ﺍﻟﺬﻱ ﻳﻨﻈﱢﻢ ﺣﻴﺎﺗﻨﺎ‬
‫ﺍﻟﺬﻫﻨﻴﱠﺔ‪ .‬ﻓﺈﺫﺍ ﺃﺻﻴﺐ ﺑﺎﻟﺸﱠﻠﻞ‪ ،‬ﻻ ﻳُﺒﻘﻲ ﻟﻨﺎ ﺣﺮﻳﱠﺔً ﻣﺎ ﰲ ﺍﳊﺮﻛﺔ‪ .‬ﻭﻳﺠﺐ ﻋﻠﻴﻨﺎ ﺃﻥ‬
‫ﻧﻮﺳّﻊ ﻣﺮﱠﺓ ﺃﺧﺮﻯ ﺣﻘﻞ ﻭﻋﻴﻨﺎ ﻛﻴﻤﺎ ﻧﻨﻘﺬ ﺃﻧﻔﺴﻨﺎ‪ .‬ﻟﺬﻟﻚ ﻛﺎﻥ ﻣﻦ ﺍﻟﻀﱠﺮﻭﺭﺓ ﲟﻜﺎﻥ ﺃﻥ‬
‫ﻧﺪﺧﻞ ﻓﻴﻪ ﺃﺷﻴﺎﺀ ﺃﺧﺮﻯ ﺗﻨﺘﺰﻉ ﻣﻦ ﺍﶈﺒﻮﺏ ﺍﺣﺘﻜﺎﺭﻩ ﻟﻪ‪ .‬ﻓﺈﺫﺍ ﺍﺳﺘﻄﻌﻨﺎ ﺃﻥ ﻧﺮﻯ‪ ،‬ﺇﺑﱠﺎﻥ‬
‫ﺍﺣﺘﺪﺍﻡ ﺍﻟﻌﺸﻖ‪ ،‬ﺍﶈﺒﻮﺏَ ﻓﺠﺄﺓ ﰲ ﻣﻨﻈﻮﺭ ﺍﻧﺘﺒﺎﻫﻨﺎ ﺍﻟﻄﱠﺒﻴﻌﻲ‪ ،‬ﻓﻘﺪ ﺗﺘﻼﺷﻰ ﻗﺪﺭﺗﻪ‬
‫ﺍﻟﺴّﺤﺮﻳﱠﺔ‪ .‬ﻟﻜﻦ‪ ،‬ﻳﻨﺒﻐﻲ ﻟﻨﺎ ﻣﻦ ﺃﺟﻞ ﺻﻨﻊ ﺫﻟﻚ‪ ،‬ﺃﻥ ﻧﺘﻨﺒﱠﻪ ﺇﻟﻰ ﻫﺬﻩ ﺍﻷﺷﻴﺎﺀ ﺍﻷﺧﺮﻯ‪،‬‬
‫ﺃﻱ ﻳﻨﺒﻐﻲ ﻟﻨﺎ ﺃﻥ ﳔﺮﺝ ﻣﻦ ﻭﻋﻴﻨﺎ ﺫﺍﺗﻪ‪ ،‬ﺍﻟﺬﻱ ﻳﺤﺘﻠّﻪ ﻣﻦ ﳓﺐّ ﺍﺣﺘﻼﻻً ﻛﺎﻣﻼً‪.‬‬
‫ﻟﻘﺪ ﺳﻘﻄﻨﺎ ﰲ ﺣُﺠﺮﺓٍ ﻣﻐﻠﻘﺔٍ ﻣﻦ ﻏﻴﺮ ﻣَﻨْﻔَﺬٍ ﻓﻴﻬﺎ ﺇﻟﻰ ﺍﳋﺎﺭﺝ‪ .‬ﻭﻻ ﳝﻜﻦ‬
‫ﻟﺸﻲﺀٍ ﻣﻦ ﺍﳋﺎﺭﺝ ﺃﻥ ﻳﺘﻐﻠﻐﻞ ﻓﻴﻬﺎ ﻭﻳﺴﻬّﻞ ﻟﻨﺎ ﺍﻟﻬﺮﺏ ﻋﺒﺮ ﺍﻟﺜّﻘﺐ ﺍﻟﺬﻱ ﺗﻔﺘﺤﻪ ﻟﻨﺎ‪.‬‬
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 ‫ﻭﺇﻥﱠ ﻧﻔﺲ ﺍﻟﻌﺎﺷﻖ ﺗﻔﻮﺡ ﺑﺮﺍﺋﺤﺔ ﺣﺠﺮﺓ ﻣﺮﻳﺾ ﻣﻄﺒﻘﺔ‪ ،‬ﺫﺍﺕِ ﻫﻮﺍﺀٍ ﺣﺒﻴﺲ ﺗﻐﺬﱢﻳﻪ‬
‫ﺍﻟﺮﱢﺋﺎﺕُ ﺫﺍﺗﻬﺎ ﺍﻟﺘﻲ ﺗﺘﻨﻔﱠﺴﻪ‪.‬‬
‫ﻟﺬﻟﻚ ﳝﻴﻞ ﻛﻞ ﻋﺸﻖ ﺁﻟﻴﱠﺎً ﳓﻮ ﺍﳉﻨﻮﻥ‪ .‬ﻓﺈﺫﺍ ﺗُﺮﻙ ﻟﺬﺍﺗﻪ ﻓﺈﻧﱠﻪ ﻳﺘﻀﺎﻋﻒ ﺣﺘﱠﻰ‬
‫ﺍﳊﺪﻭﺩ ﺍﻟﻘﺼﻮﻯ ﺍﳌﻤﻜﻨﺔ‪.‬‬
‫ﻭﻫﺬﺍ ﻣﺎ ﻳﻌﺮﻓﻪ "ﺍﻟﻐﺰﺍﺓ" ﻣﻦ ﻛﻼ ﺍﳉﻨﺴﲔ‪ .‬ﻓﺈﺫﺍ ﻣﺎ ﺗﺮﻛﱠﺰ ﺍﻧﺘﺒﺎﻩ ﺍﻣﺮﺃﺓ ﻋﻠﻰ‬
‫ﺭﺟﻞ‪ ،‬ﻳﺴﻬُﻞ ﺟﺪﱠﺍً ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﺮﱠﺟﻞ ﺃﻥ ﳝﻸ ﺑﺎﻟَﻬﺎ ﻣﻠﺌﺎً ﻛﺎﻣﻼً‪ .‬ﻳﻜﻔﻴﻪ ﻟﺬﻟﻚ ﻟﻌﺒﺔٌ‬
‫ﺑﺴﻴﻄﺔٌ ﻣﻦ ﺍﻟﺸﱠﺪﱢ ﻭﺍﻹﺭﺧﺎﺀ‪ ،‬ﻣﻦ ﺍﻟﺮﱠﺟﺎﺀ ﻭﺍﻻﺯﺩﺭﺍﺀ‪ ،‬ﻭﻣﻦ ﺍﳊﻀﻮﺭ ﻭﺍﻟﻐﻴﺎﺏ‪ .‬ﻭﻳﻌﻤﻞ‬
‫ﻧﺒْﺾ ﻫﺬﻩ ﺍﻟﺘﻘﻨﻴﱠﺔ ﻛﻤِﺨﻼﺓِ ﻫﻮﺍﺀ ﰲ ﺍﻧﺘﺒﺎﻩ ﺍﳌﺮﺃﺓ‪ ،‬ﻭﻳﻨﺘﻬﻲ ﺇﻟﻰ ﺇﻓﺮﺍﻏﻪ ﻣﻦ ﻛﻞﱢ ﻣﺎ‬
‫ﺗﺒﻘﱠﻰ ﻣﻦ ﺍﻟﻌﺎﻟﻢ‪ .‬ﻭﻣﺎ ﺃﺟﻤﻞ ﻗﻮﻝَ ﺷﻌﺒﻨﺎ‪" :‬ﳝﺘﺺّ ﺍﻟﺪﱢﻣﺎﻍ"! ﰲ ﺍﻟﻮﺍﻗﻊ‪ :‬ﺍﳌﺮﺃﺓ ﻳﺬﻫﻠﻬﺎ‬
‫ﻭﳝﺘﺼّﻬﺎ ﺷﻲﺀ‪ .‬ﻭﺇﻥﱠ ﻣﻌﻈﻢ "ﺍﻟﻐﺮﺍﻣﻴﱠﺎﺕ" ﺗﺘﻘﻠّﺺ ﺇﻟﻰ ﻫﺬﻩ ﺍﻟﻠﻌﺒﺔ ﺍﳌﻴﻜﺎﻧﻴﻜﻴﱠﺔ ﺍﻟﺘﻲ‬
‫ﺗﻠﻌﺐ ﻋﻠﻰ ﺍﻧﺘﺒﺎﻩ ﺍﻵﺧﺮ‪.‬‬
‫ﻭﻻ ﻳُﻨﻘِﺬ ﺍﻟﻌﺎﺷﻖَ ﺳﻮﻯ ﺻﺪﻣﺔ ﻳﺘﻠﻘﱠﺎﻫﺎ ﺑﻌﻨﻒ ﻣﻦ ﺍﳋﺎﺭﺝ‪ ،‬ﻭﻣﻌﺎﻣﻠﺔ‬
‫ﻳﺮﻏﻤﻪ ﺃﺣﺪٌ ﻣﺎ ﻋﻠﻴﻬﺎ‪ .‬ﻭﻧﻌﻠﻢ ﺃﻥﱠ ﺍﻟﻐﻴﺎﺏ ﻭﺍﻷﺳﻔﺎﺭ ﻗﺪ ﺗﻜﻮﻥ ﻋﻼﺟﺎً ﺟﻴﱢﺪ ﺍً‬
‫ﻟﻠﻌﺎﺷﻘﲔ‪ .‬ﻭﻟْﻴُﻼﺣَﻆ ﺃﻧﱠﻬﺎ ﺗﻌﺎﻟﺞ ﺍﻻﻧﺘﺒﺎﻩ‪ .‬ﻓﺒُﻌﺪ ﺍﻟﺸﱠﻲﺀ ﺍﶈﺒﻮﺏ ﻳﻘﻄﻊ ﻋﻨﻪ‬
‫ﺍﻟﻐﺬﺍﺀ ﺗﻨﺒّﻬﻴّﺎً‪ ،‬ﺇﺫْ ﳝﻨﻊ ﺍﻟﺒﻌﺪُ ﻋﻨﺎﺻﺮَ ﺟﺪﻳﺪﺓ ﰲ ﺍﻟﺸﻲﺀ‪ ،‬ﻣﻦ ﺇﺑﻘﺎﺀ ﺍﻻﻧﺘﺒﺎﻩ ﺣﻴﱠﺎً ‪.‬‬
‫ﻭﺍﻷﺳﻔﺎﺭ ﺇ ﺫْ ﺗُﺠﺒﺮ ﺍﻟﻌﺸﱠﺎﻕ ﻋﻠﻰ ﺧﺮﻭﺟﻬﻢ ﻣﻦ ﺫﻭﺍﺗﻬﻢ ﻣﺎﺩﻳﱠﺎً‪ ،‬ﻭﺗﺤﻞّ ﺃﻟﻒ ﻣﺸﻜﻠﺔ‬
‫ﺻﻐﻴﺮﺓ ﺑﺎﻧﺘﺰﺍﻋﻨﺎ ﻣﻦ ﺍﻹﻃﺎﺭ ﺍﳌﺄﻟﻮﻑ ﻭﺗﻀﻐﻂ ﻋﻠﻴﻨﺎ ﺑﺄﻟﻒ ﺷﻲﺀ ﻏﺮﻳﺐ‪،‬‬
‫ﺗﺴﺘﻄﻴﻊ ﺃﻥ ﺗﻜﺴﺮ ﻛﻠﻤﺔ ﺳﺮّ ﺍﻟﻬﻮﺱ ﻭﺗﻔﺘﺢ ﻣﺴﺎﻣﺎﺕٍ ﰲ ﺍﻟﻮﻋﻲ ﺍﳌﻐﻠﻖ ﺍﻟﺬﻱ‬
‫ﻳﺪﺧﻠﻪ ﻣﻊ ﺍﻟﻬﻮﺍﺀ ﺍﻟﻄّﻠﻖ‪ ،‬ﺍﳌﻨﻈﻮﺭُ ﺍﻟﻄﱠﺒﻴﻌﻲّ‪.‬‬
‫ﻭﻳﺼﺢّ ﻫﻨﺎ ﺃﻥ ﻧﻮﺍﺟﻪ ﺍﻋﺘﺮﺍﺿﺎً ﻗﺪ ﻳﻜﻮﻥ ﺧﻄﺮ ﻟﻠﻘﺎﺭﺉ ﺑﻌﺪ ﻗﺮﺍﺀﺗﻪ ﺍﻟﻔﺼﻞ‬
‫ﺍﻟﺴﱠﺎﺑﻖ‪ .‬ﳌﱠﺎ ﻋﺮﱠﻓﻨﺎ ﺍﻟﻌﺸﻖ ﺃﻧﱠﻪ ﺗﺜﺒﻴﺖ )ﺃﻭ ﺗﺮﻛﻴﺰ( ﺍﻻﻧﺘﺒﺎﻩ ﻋﻠﻰ ﺷﺨﺺٍ ﺁﺧﺮ‪ ،‬ﻟﻢ ﻧﻌﺰﻟﻪ‬
‫ﺑﺸﻜﻞٍ ﻛﺎﻑٍ ﻋﻦ ﺃﻟﻒ ﺣﺎﻟﺔ ﰲ ﺍﳊﻴﺎﺓ ﺣﻴﺚ ﺷﺆﻭﻥ ﺳﻴﺎﺳﻴﱠﺔ ﻭﺍﻗﺘﺼﺎﺩﻳﱠﺔ ﺫﺍﺕُ ﺧﻄﻮﺭﺓٍ‬
‫ﻭﺿﺮﻭﺭﺓٍ‪ ،‬ﺗﺤﺠﺰ ﺍﻫﺘﻤﺎﻣﻨﺎ ﺑﺈﻓﺮﺍﻁ‪ .‬ﻓﺈﻥﱠ ﻣﻌﻈﻢ ﺇﺛﺎﺭﺓ ﺍﳌﺜﻴﺮ ﺗﻘﺮﻳﺒﺎً ﺗﺄﺗﻲ ﻣﻦ‬
‫ﺍﻻﺳﺘﺠﺎﺑﺔ ﻟﻠﻤﻨﺒﱢﻪ ﺑﺎﻟﻀﱠﺮﻭﺭﺓ‪ .‬ﻭﻟﻘﺪ ﻛﺎﻥ ﻭﻧﺪﺕ ‪ Wundt‬ﺃﻭﱠﻝ ﻣﻦ ﻓﺮﱠﻕَ ‪ -‬ﻣﻨﺬ ﺳﺒﻌﲔ‬
‫ﻋﺎﻣﺎً ﻋﻠﻰ ﺍﻷﻗﻞّ ‪ -‬ﺑﲔ ﺍﻻﻧﺘﺒﺎﻩ ﺍﻹﻳﺠﺎﺑﻲ ﻭﺍﻻﻧﺘﺒﺎﻩ ﺍﻟﺴﱠﻠﺒﻲ‪ .‬ﻫﻨﺎﻙ ﺗﻨﺒّﻪ ﺳﻠﺒﻲّ ﺇﺫﺍ‬
‫ﺩﻭﱠﺕ ﻃﻠﻘﺔ ﰲ ﺍﻟﺸﱠﺎﺭﻉ‪ ،‬ﺇﺫْ ﺗﻔﺮﺽ ﺍﻟﻀﱠﻮﺿﺎﺀ ﻏﻴﺮُ ﺍﳌﺄﻟﻮﻓﺔ ﻧﻔﺴﻬﺎ ﻋﻠﻰ ﺳﻴﺮﻭﻋﻴﻨﺎ‬
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 ‫ﺍﻟﺘﻠﻘﺎﺋﻲ ﻭﺗﺮﻏﻤﻪ ﻋﻠﻰ ﺍﻻﻧﺘﺒﺎﻩ‪ .‬ﻭﻻ ﻭﺟﻮﺩَ ﻟﻬﺬﺍ ﺍﻟﻔﺮﺽ ﻋﻨﺪ ﻣﻦ ﻳﻌﺸﻖ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻳﺘﱠﺠﻪ‬
‫ﺍﻧﺘﺒﺎﻫﻪ ﻣﻦ ﺗﻠﻘﺎﺀ ﺫﺍﺗﻪ ﺇﻟﻰ ﺍﶈﺒﻮﺏ‪.‬‬
‫ﻭﻗﺪ ﺗﺼﻒ ﻫﻨﺎ ﺳﻴﻜﻮﻟﻮﺟﻴﺎ ﺩﻗﻴﻘﺔ ﻟﻬﺬﻩ ﺍﻟﻈﱠﺎﻫﺮﺓ‪ ،‬ﻣﻮﻗﻔﺎً ﻇﺮﻳﻔﺎً ﺫﺍ ﻭﺟﻬﲔ‬
‫ﻧﺘﻨﺒّﻪ ﻓﻴﻪ ﻃﻮﻋﺎً ﻭﻗﺴﺮﺍً ﰲ ﺁﻥٍ ﻭﺍﺣﺪ‪.‬‬
‫ﺇﺫﺍ ﻓﻬﻤﻨﺎ ﺫﻟﻚ ﻓﻬﻤﺎً ﺩﻗﻴﻘﺎً‪ ،‬ﳝﻜﻨﻨﺎ ﺍﻟﻘﻮﻝ ﺇﻥﱠ ﻛﻞّ ﻣﻦ ﻳﻌﺸﻖ‪ ،‬ﻳﺮﻳﺪ ﺃﻥ ﻳَﻌﺸﻖ‪.‬‬
‫ﻭﻫﺬﺍ ﻳﺒﻌﺪ ﺍﻟﻌﺸﻖ ﺍﻟﺬﻱ ﻫﻮ ﰲ ﺍﻟﻨﻬﺎﻳﺔ‪ ،‬ﻇﺎﻫﺮﺓ ﻃﺒﻴﻌﻴﱠﺔ‪ ،‬ﻋﻦ ﺍﻟﻮﺳﻮﺍﺱ ﺍﻟﺬﻱ ﻫﻮ‬
‫ﻇﺎﻫﺮﺓ ﻣﺮﺿﻴﱠﺔ‪ .‬ﻓﺎﳌﻮﺳﻮﺱ ﻻ "ﻳﺜﺒﺖ" ﻋﻨﺪ ﻓﻜﺮﺓ ﲟﻴْﻞٍ ﺫﺍﺗﻲّ‪ .‬ﻭﺍﳌﺨﻴﻒ ﰲ ﺣﺎﻟﺘﻪ‬
‫ﺗﺤﺪﻳﺪﺍً‪ ،‬ﻫﻮ ﺃﻥﱠ ﺍﻟﻔﻜﺮﺓ‪ ،‬ﻭﺇﻥْ ﺗﻜﻦ ﻓﻜﺮﺗﻪ‪ ،‬ﺗﻈﻬﺮ ﰲ ﺩﺍﺧﻠﻪ ﺑﻄﺎﺑﻊ ﻣﻔﺮﻭﺽ ﺷﺮِﺱ‬
‫ﻭﻏﺮﻳﺐ‪ ،‬ﻭﺗﻨﺒﻊ ﻣﻦ "ﺁﺧﺮ" ﻣﺠﻬﻮﻝ ﻭﻏﻴﺮ ﻣﻮﺟﻮﺩ‪.‬‬
‫ﺗﻮﺟﺪ ﺣﺎﻟﺔ ﻭﺍﺣﺪﺓ ﻓﻘﻂ ﻳﺴﻴﺮ ﻓﻴﻬﺎ ﺍﻧﺘﺒﺎﻫﻨﺎ ﺑﻘﺪﻣﻪ ﺫﺍﺗﻬﺎ ﻟﻴﺘﺜﺒﱠﺖ )ﺃﻭ ﻟﻴﺘﺮﻛّﺰ(‬
‫ﻋﻠﻰ ﺷﺨﺺ ﺁﺧﺮ‪ ،‬ﻭﻟﻴﺴﺖ ﻣﻊ ﺫﻟﻚ‪ ،‬ﺣﺎﻟﺔ ﻋﺸﻖ‪ .‬ﺇﻧﱠﻬﺎ ﺣﺎﻟﺔ ﺍﻟﺒﻐﺾ‪ .‬ﻷﻥﱠ ﺍﳊﺐّ‬
‫ﻭﺍﻟﺒﻐﺾ ﺗﻮﺀﻣﺎﻥ ﻋﺪﻭّﺍﻥ ﻣﺘﻤﺎﺛﻼﻥ ﻭﻣﺘﻀﺎﺩﱠﺍﻥ ﰲ ﻛﻞﱢ ﺷﻲﺀ‪ .‬ﻭﻛﻤﺎ ﻳﻮﺟﺪ ﻋﺸﻖ‪،‬‬
‫ﻳﻮﺟﺪ "ﺗﺒﺎﻏﺾ" ﻭﻟﻴﺲ ﺑﻮﻓﺮﺓٍ ﺃﻗﻞّ‪.‬‬
‫ﻭﺇﺫﺍ ﻃﻠﻌﻨﺎ ﻣﻦ ﻓﺘﺮﺓ ﻋﺸﻖ‪ ،‬ﳓﺲّ ﺑﺎﻧﻄﺒﺎﻉ ﺷﺒﻴﻪ ﺑﺎﻧﻄﺒﺎﻉ ﺍﻻﺳﺘﻴﻘﺎﻅ ﺍﻟﺬﻱ‬
‫ﻳﺠﻌﻠﻨﺎ ﳔﺮﺝ ﻣﻦ ﻓﺞّ ﺣﻴﺚ ﺗﺰﺩﺣﻢ ﺍﻷﺣﻼﻡ‪ .‬ﻭﻧﺪﺭﻙ ﺣﻴﻨﺌﺬٍ ﺃﻥﱠ ﺍﳌﻨﻈﺮ ﺍﻟﻌﺎﻡ ﺃﻭﺳﻊُ‬
‫ﻭﺃﻛﺜﺮ ﺗﻬﻮﻳﺔً‪ ،‬ﻭﻧﻠﻤﺢ ﺍﻻﻧﻐﻼﻕ ﻭﺧﻠﺨﻠﺔ ﺍﻟﻬﻮﺍﺀ ﻛﻠّﻬﺎ‪ ،‬ﺍﻟﺘﻲ ﻛﺎﻥ ﻳﻌﺎﻧﻴﻬﺎ ﺫﻫﻨﻨﺎ ﺍﻟﻬﺎﻭﻱ‪.‬‬
‫ﻭﻧﺸﻌﺮ ﺧﻼﻝ ﻣﺪﱠﺓٍ ﻣﺎ ﺑﺘﺄﺭﺟﺤﺎﺕ ﺍﻟﻨﱠﺎﻗﻬﲔ ﻭﺿﻌﻔﻬﻢ ﻭﻛﺂﺑﺘﻬﻢ‪.‬‬
‫ﻭﺇﺫﺍ ﺑﺪﺃﺕ ﻋﻤﻠﻴﱠﺔ ﺍﻟﻌﺸﻖ‪ ،‬ﻓﺈﻧﱠﻬﺎ ﲡﺮﻱ ﺑﺮﺗﺎﺑﺔ ﻣﻮﺋﺴﺔ‪ .‬ﺃﻱ‪ ،‬ﺃﻥّ ﻛﻞّ ﻣﻦ ﻳﻌﺸﻖ‬
‫ﻳﻌﺸﻖ ﺫﺍﺕ ﺍﻟﻌﺸﻖ‪ :‬ﺍﻟﺬﻛﻲ ﻛﺎﻷﺣﻤﻖ‪ ،‬ﻭﺍﻟﺸّﺎﺏّ ﻛﺎﻟﻌﺠﻮﺯ‪ ،‬ﻭﺍﻟﺒﺮﺟﻮﺍﺯﻱ ﻛﺎﻟﻔﻨﱠﺎﻥ‪ .‬ﻭﻫﺬﺍ‬
‫ﺍﻷﻣﺮ ﻳﺆﻛﺪ ﻃﺎﺑﻌﻪ ﺍﳌﻴﻜﺎﻧﻴﻜﻲ‪.‬‬
‫ﺃﻣﱠﺎ ﺍﻟﺸﱠﻲﺀ ﺍﻟﻮﺣﻴﺪ ﺍﻟﺬﻱ ﻟﻴﺲ ﻣﻴﻜﺎﻧﻴﻜﻴﱠﺎً ﺧﺎﻟﺼﺎً ﻓﻴﻪ‪ ،‬ﻓﻬﻮ ﺑﺪﺍﻳﺘﻪ‪ .‬ﻟﺬﻟﻚ‬
‫ﻫﻲ ﺗﻠﻔِﺖ ﺍﻧﺘﺒﺎﻩ ﻋﻠﻤﺎﺀ ﺍﻟﻨﱠﻔﺲ ﺃﻛﺜﺮ ﳑﱠﺎ ﻳﻠﻔﺘﻪ ﺃﻳﱠﻤﺎ ﺟﺎﻧﺐ ﺁﺧﺮ ﻣﻦ ﺍﻟﻈﱠﺎﻫﺮﺓ‪ .‬ﻣﺎ‬
‫ﺍﻟﺬﻱ ﻳﺠﻌﻞ ﺍﻧﺘﺒﺎﻩ ﺍﻣﺮﺃﺓٍ ﻳﺘﺜﺒﱠﺖ ﻋﻠﻰ ﺭﺟﻞٍ ﻣﻌﻴﱠﻦ‪ ،‬ﺃﻭ ﺍﻧﺘﺒﺎﻩ ﺭﺟﻞٍ ﻋﻠﻰ ﺍﻣﺮﺃﺓ؟ ﺃﻱّ‬
‫ﺻﻨﻒ ﻣﻦ ﺍﻟﺼّﻔﺎﺕ ﺗَﻬَﺐ ﺷﺨﺼﺎً ﻣﺰﻳﱠﺔ ﺗﺘﻘﺪﱠﻡ ﺻﻒّ ﺍﻵﺧﺮﻳﻦ‪ ،‬ﻏﻴﺮ ﺍﳌﻤﻴﱠﺰ؟‬
‫ﻻﺭﻳﺐ ﰲ ﺃﻥﱠ ﻫﺬﺍ ﻫﻮ ﺍﳌﻮﺿﻮﻉ ﺍﻷﻫﻢّ‪ .‬ﻟﻜﻨﱠﻪ ﰲ ﺁﻥ ﻭﺍﺣﺪٍ ﺫﻭ ﺗﻌﻘﻴﺪ ﻛﺒﻴﺮ‪ .‬ﻷﻧﱠﻪ‬
‫‪-٥٥-‬‬
‫ﺇﺫﺍ ﻛﺎﻥ ﻣﻦ ﻳﺤﺐ ﻳﺤﺐّ ﺍﳊﺐّ ﺫﺍﺗﻪ‪ ،‬ﻓﻠﻴﺴﻮﺍ ﺟﻤﻴﻌﺎً ﻳﺤﺒﱡﻮﻥ ﻟﻠﺴﺒﺐ ﺫﺍﺗﻪ‪ .‬ﻓﻼ‬
‫ﺗﻮﺟﺪ ﺧَﻠﱠﺔ ﻣﺎ ﺗُﺤﺐّ ﺑﺸﻜﻞٍ ﺷﺎﻣﻞ ‪.‬‬
‫ﻟﻜﻦ‪ ،‬ﺃﺣﺮﻯ ﺑﻨﺎ ﺃﻥ ﻧﺒﻴﱢﻦ ﻗﺒﻞ ﺃﻥ ﻧﺪﺧﻞ ﰲ ﻣﻮﺿﻮﻉ ﺟﺪّ ﺷﺎﺋﻚ ﻛﻤﻮﺿﻮﻉ ﻋﻤﱠﺎ‬
‫ﻫﻮ ﺍﶈﺒﻮﺏ‪ ،‬ﻭﻋﻤﱠﺎ ﻫﻲ ﳕﺎﺫﺝ ﺃﻭﻟﻮﻳﱠﺎﺕ ﺍﳊﺐّ ﺍﳌﺨﺘﻠﻔﺔ‪ ،‬ﺃﻥ ﻧﺒﻴﱢﻦ ﺍﻟﺸﱠﺒﻪ ﻏﻴﺮ ﺍﳌﻨﺘﻈﺮ‬
‫ﺑﲔ ﺍﻟﻌﺸﻖ ﺑﺼﻔﺘﻪ ﺷﻠﻼً ﰲ ﺍﻻﻧﺘﺒﺎﻩ‪ ،‬ﻭﺍﻟﺘﱠﺼﻮﱡﻑ ﻭﻣﺎ ﻫﻮ ﺃﺧﻄﺮ ﻣﻦ ﺫﻟﻚ‪ ،‬ﺣﺎﻟﺔ‬
‫ﺍﻟﺘﱠﻨﻮﱘ ﺍﳌﻐﻨﺎﻃﻴﺴﻲ‪.‬‬

‫‪VII‬‬
‫ﻋﺸﻖ ﻭﺟﺬﺏ )ﺃﻭ ﻏﻴﺒﻮﺑﺔ ﻭﻭﺟﺪ(‬
‫ﻭﺗﻨﻮﻳﻢ ﻣﻐﻨﺎﻃﻴﺴﻲ‬

‫ﺗﻌﺮﻑ ﺭﺑﱠﺔ ﺍﻟﺒﻴﺖ ﺧﺎﺩﻣﺘَﻬﺎ ﻋﺎﺷﻘﺔً ﺇﺫﺍ ﻻﺣﻈﺖ ﻋﻠﻴﻬﺎ ﺷﺮﻭﺩﻫﺎ‪ ..‬ﺇﺫ ﻻ ﲤﻠﻚ‬
‫ﺍﳌﺮﺃﺓ ﺍﳌﺴﻜﻴﻨﺔ ﺍﻧﺘﺒﺎﻫﻬﺎ ﺣﺮﱠﺍً ﻟﺘﻌﺒّﺌﻪ ﺟﻬﺔ ﺍﻷﺷﻴﺎﺀ ﺍﶈﻴﻄﺔ ﺑﻬﺎ‪ .‬ﺇﻧﱠﻬﺎ ﺗﻌﻴﺶ ﻣﻐﻔّﻠﺔ‬
‫ﻭﻣﻨﻜﻔﺌﺔ ﻋﻠﻰ ﻧﻔﺴﻬﺎ ﻣﺘﺄﻣﻠﺔ ﰲ ﺩﺍﺧﻠﻬﺎ ﺫﺍﺗﻬﺎ‪ ،‬ﺻﻮﺭﺓَ ﺍﶈﺒﻮﺏ ﺍﳊﺎﺿﺮ ﺩﺍﺋﻤﺎً‪.‬‬
‫ﻭﻳُﻀﻔﻲ ﻫﺬﺍ ﺍﻟﺘﱠﺮﻛﻴﺰُ ﻋﻠﻰ ﺍﻟﺪﱠﺍﺧﻞ ﺍﻟﺬﱠﺍﺗﻲ ﻋﻠﻰ ﺍﻟﻌﺎﺷﻖ ﻣﻈﻬﺮَ ﻣﺴﺮﻧَﻢٍ ﺃﻭ ﻣﺠﻨﻮﻥٍ‬
‫"ﻭﻣﺴﺤﻮﺭ"‪ .‬ﻭﺍﻟﻌﺸﻖ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻓﺘﻨﺔ ﻭﺳﺤﺮ‪ .‬ﻭﻟﻘﺪ ﺭﻣﺰ ﺷﺮﺍﺏ ﺗﺮﻳﺴﺘﺎﻥ ‪Tristán‬‬
‫ﺍﻟﺴﺤﺮﻱ ﺩﺍﺋﻤﺎً ﺑﺈﻳﺤﺎﺀ ﻣﺮﻥ‪ ،‬ﺇﻟﻰ ﻋﻤﻠﻴﱠﺔ "ﺍﳊﺐّ" ﺍﻟﻨﱠﻔﺴﻴﱠﺔ‪.‬‬
‫ﰲ ﺟﻤﻞ ﺍﻟﻠﻐﺔ ﺍﳌﺴﺘﻌﻤﻠﺔ ﺍﻟﺘﻲ ﺗﺘﻜﺜﱠﻒ ﻓﻴﻬﺎ ﻟُﻤﺢ ﻗﺪﳝﺔ ﺟﺪﱠﺍً‪ ،‬ﻳﻨﺎﺑﻴﻊُ ﺭﺍﺋﻌﺔٌ ﻣﻦ‬
‫ﻋﻠﻢ ﻧﻔﺲ ﺻﺤﻴﺢ ﺑﺈﻓﺮﺍﻁ‪ ،‬ﻭﻟﻢ ﺗُﺴﺘﻐﻞّ ﺑﻌﺪُ‪ .‬ﺇﻥﱠ ﻣﺎ ﻳُﻌﺸﻖ ﻫﻮ "ﺳﺤﺮ" ﺩﺍﺋﻤﺎً‪ .‬ﻭﻟﻘﺪ‬
‫ﺑﻴﱠﻦَ ﻟﻨﺎ ﺍﺳﻢ ﺍﻟﺘﻘﻨﻴﱠﺔ ﺍﻟﺴﺤﺮﻳﺔ ﺍﳌﻌﻄﻰ ﳌﻮﺿﻮﻉ ﺍﳊﺐّ‪ ،‬ﺃﻥﱠ ﺍﻟﺬّﻫﻦ ﺍﻟﻐُﻔﻞ ﻣﺒﺪَﻉ ﺍﻟﻠﻐﺔ‪،‬‬
‫ﻻﺣﻆ ﺍﻟﻄﱠﺎﺑﻊ ﺍﻟﻔﺎﺋﻖ ﻟﻠﻌﺎﺩﺓ ﻏﻴﺮ ﺍﻟﻘﺎﺑﻞ ﺍﻟﺸﱢﻔﺎﺀ ﺍﻟﺬﻱ ﻳﺴﻘﻂ ﻓﻴﻪ ﺍﻟﻌﺎﺷﻖ‪.‬‬
‫ﺇﻥﱠ ﺃﻗﺪﻡ ﺑﻴﺖ ﺷﻌﺮﻱ ﻫﻮ ﺍﻟﺼّﻴﻐﺔ ﺍﻟﺴﺤﺮﻳﺔ ﺍﻟﺘﻲ ﺗﺴﻤﱠﻰ ‪.cantus y carmen‬‬
‫ﻟﻘﺪ ﻛﺎﻥ ﻓﻌﻞ ﺍﻟﺼﻴﻐﺔ ﻭﻧﺘﻴﺠﺘﻬﺎ ﺍﻟﺴﺤﺮﻳﺔ ‪ .la incantatio‬ﻭﻣﻦ ﻫﻨﺎ ﺟﺎﺀﺕ ‪encanto‬‬
‫ﺳﺤﺮ ﻭﻓﺘﻨﺔ ﻭﰲ ﺍﻟﻔﺮﻧﺴﻴﺔ ﺟﺎﺀﺕ ‪ charme‬ﻣﻦ ‪.carmen‬‬
‫ﻟﻜﻦ‪ ،‬ﻳﻮﺟﺪ ﰲ ﺭﺃﻳﻲ‪ ،‬ﺃﻳﱠﺎً ﺗﻜﻦ ﺻﻼﺕ ﺍﻟﻌﺸﻖ ﺑﺎﻟﺴﺤﺮ‪ ،‬ﺷَﺒَﻪٌ ﺃﻋﻤﻖ ﻣﻦ ﻛﻞﱢ ﻣﺎ‬
‫ﻟُﺤﻆ ﺣﺘﱠﻰ ﺍﻵﻥ‪ ،‬ﺑﲔ ﺍﻟﻌﺸﻖ ﻭﺍﻟﺘﱠﺼﻮﱡﻑ‪ .‬ﻭﻛﺎﻥ ﻳﺠﺐ ﺃﻥ ﺗُﺴﺘﺸﻒّ ﻫﺬﻩ ﺍﻟﻘﺮﺍﺑﺔ‬
‫‪-٥٦-‬‬
‫ﺍﻟﻮﺛﻴﻘﺔ ﻣﻦ ﻭﺍﻗﻌﺔ ﺃﻥﱠ ﺍﻟﺼﻮﰲ ﻳﺘﺒﻨﱠﻰ ﺩﺍﺋﻤﺎً ﺑﺘﻄﺎﺑﻖٍ ﻣﺬﻫﻞ ﻛﻠﻤﺎﺕٍ ﻭﺻﻮﺭﺍً ﺇﻳﺮﻭﺳﻴﱠﺔ‬
‫ﻛﻴﻤﺎ ﻳﻌﺒّﺮ ﻋﻦ ﻧﻔﺴﻪ‪ .‬ﻭﻗﺪ ﻻﺣﻆ ﺫﻟﻚ ﻛﻞﱞ ﻣﻦ ﺷُﻐﻞ ﺑﻬﺬﻩ ﺍﻟﻈﺎﻫﺮﺓ ﺍﻟﺪﻳﻨﻴّﻴﺔ‪ ،‬ﻟﻜﻨﱠﻬﻢ‬
‫ﺣﺴﺒﻮﺍ ﻛﺎﻓﻴﺎً ﺍﻹﻋﻼﻥ ﺃﻥﱠ ﺍﻷﻣﺮ ﻣﺠﺎﺯﺍﺕ ﻻ ﺃﻛﺜﺮ‪.‬‬
‫ﻭﻳﺤﺪﺙ ﻣﻊ ﺍ‪‬ﺎﺯ ﻣﺎ ﻳﺤﺪﺙ ﻣﻊ )ﺍﳌﻮﺿﺔ(‪ .‬ﻫﻨﺎﻙ ﺃﻧﺎﺱ ﻳﺤﺴﺒﻮﻥ ﺇﺫﺍ‬
‫ﻭﺻﻔﻮﺍ ﺷﻴﺌﺎً ﺑﺎ‪‬ﺎﺯ ﺃﻭ ﺍﳌﻮﺿﺔ ﺃﻧﻬﻢ ﻗﺪ ﺃﺯﺍﻟﻮﻩ‪ ،‬ﻭﻻ ﺣﺎﺟﺔ ﺑﻬﻢ ﺇﻟﻰ ﻣﺰﻳﺪ ﻣﻦ‬
‫ﺍﻟﺒﺤﺚ‪ .‬ﻭﻛﺄﻥ ﺍ‪‬ﺎﺯ ﻭ)ﺍﳌﻮﺿﺔ( ﻟﻢ ﻳﻜﻮﻧﺎ ﻭﺍﻗﻌﲔ ﻣﻦ ﻃﺮﺍﺯ ﺍﻟﻮﻗﺎﺋﻊ ﺍﻷﺧﺮﻯ ﺫﺍﺗﻬﺎ‪،‬‬
‫ﻭﻛﺄﻧﱠﻬﻤﺎ ﻏﻴﺮ ﻣﺰﻭﱠﺩﻳﻦ ﲟﺎ ﻻ ﻳﻘﻞّ ﻋﻨﻬﺎ ﺑﺎﻟﺜﱠﺒﺎﺕ‪ ،‬ﻭﻏﻴﺮ ﺧﺎﺿﻌﲔ ﻷﺳﺒﺎﺏ ﻭﻗﻮﺍﻧﲔ‬
‫ﺟﺪّ ﻓﻌﱠﺎﻟﺔ ﻛﺘﻠﻚ ﺍﻟﺘﻲ ﺗﺤﻜﻢ ﺍﳌﺪﺍﺭﺍﺕ ﺍﻟﻨﱠﺠﻤﻴﱠﺔ‪.‬‬
‫ﻟﻜﻦ‪ ،‬ﻟﺌﻦ ﻻﺣﻆ ﻛﻞّ ﻣﻦ ﺩﺭﺱ ﺍﻟﺘﺼﻮﻑ ﻛﺜﺮﺓ ﺍﳌﻔﺮﺩﺍﺕ ﺍﳉﻨﺴﻴﱠﺔ ﻓﻴﻪ‪ ،‬ﻟﻢ‬
‫ﻳﻼﺣﻈﻮﺍ ﺍﻟﻮﺍﻗﻌﺔ ﺍﳌﻤّﻠﺔ ﺍﻟﺘﻲ ﺗﻀﻔﻲ ﻋﻠﻰ ﺍﻟﺘﱠﺼﻮﱡﻑ ﺧﻄﻮﺭﺗﻪ ﺍﳊﻘﻴﻘﻴﱠﺔ‪ .‬ﻷﻥﱠ ﺍﻟﻌﻜﺲ‬
‫ﺻﺤﻴﺢ‪ .‬ﻓﺎﻟﻌﺎﺷﻖ ﳝﻴﻞ ﺇﻟﻰ ﺍﺳﺘﻌﻤﺎﻝ ﺗﻌﺎﺑﻴﺮ ﺩﻳﻨﻴﱠﺔ‪ .‬ﻓﺎﳊﺐّ ﻋﻨـ ـﺪ ﺃﻓﻼﻃ ـﻮﻥ ﻫﻮﺱ‬
‫" ﺁﺇﻟﻬﻲ "‪ .‬ﻭﻛﻞّ ﻋﺎﺷﻖ ﻳﺴﻤّﻲ ﻣﺤﺒﻮﺑﺘﻪ "ﺇﻟﻬﻴﱠﺔ"‪ ،‬ﻭﻳﺤﺲّ ﺑﻘﺮﺑﻬﺎ "ﻛﺄﻧﱠﻪ ﰲ ﺍﻟﺴﱠﻤﺎﺀ"‪،‬‬
‫ﺇﻟﺦ‪ ...‬ﻭﻫﺬﺍ ﺍﻟﺘﱠﺒﺎﺩﻝ ﺍﻟﻄﱠﺮﻳﻒ ﰲ ﺍﻟﻜﻼﻡ ﺑﲔ ﺍﳊﺐّ ﻭﺍﻟﺘﺼﻮّﻑ ﻳﺠﻌﻠﻨﺎ ﳔﻤّﻦ ﻭﺟﻮﺩ‬
‫ﺃﺱّ ﻣﺸﺘﺮﻙ ﺑﻴﻨﻬﻤﺎ‪.‬‬
‫ﻭﺍﻟﻌﻤﻠﻴﱠﺔ ﺍﻟﺼﻮﻓﻴﺔ ﻛﻤﻴﻜﺎﻧﻴﺰﻡ ﺳﻴﻜﻮﻟﻮﺟﻲ‪ ،‬ﺗﺸﺒﻪ ﺍﻟﻌﺸﻖ ﰲ ﺍﻟﻮﺍﻗﻊ‪ .‬ﺇﻧﱠﻬﺎ‬
‫ﺗﺸﺒﻬﻪ ﺟﺪﱠﺍً ﺇﻟﻰ ﺩﺭﺟﺔ ﺗﺘﻄﺎﺑﻖ ﻣﻌﻪ ﺣﺘﱠﻰ ﺑﺎﻟﺘﱠﻔﺼﻴﻞ ﺑﻜﻮﻧﻬﺎ ﺭﺗﻴﺒﺔ ﺑﺸﻜﻞٍ ﻣﻀﺠﺮ‪.‬‬
‫ﻭﺇﺫﺍ ﻛﺎﻥ ﻛﻞّ ﻣﻦ ﻳﺤﺐّ ﻳﺤﺐ ﺍﳊﺐّ ﺫﺍﺗﻪ‪ ،‬ﻓﺈﻥﱠ ﺍﻟﺼﻮﻓﻴﲔ ﰲ ﻛﻞ ﺍﻷﺯﻣﻨﺔ ﻭﺍﻷﻣﻜﻨﺔ ﻗﺪ‬
‫ﺧﻄﻮﺍ ﺍﳋﻄﻮﺍﺕ ﺫﺍﺗﻬﺎ ﻭﻗﺎﻟﻮﺍ‪ ،‬ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﺍﻷﺷﻴﺎﺀ ﺫﺍﺗﻬﺎ‪.‬‬
‫ﺧﺬﻭﺍ ﺃﻱّ ﻛﺘﺎﺏ ﺻﻮﰲ –ﻣﻦ ﺍﻟﻬﻨﺪ ﺃﻭ ﻣﻦ ﺍﻟﺼﲔ‪ ،‬ﻭﺳﻮﺍﺀ ﺃﻛﺎﻥ ﺇﺳﻜﻨﺪﺭﻳﱠﺎً ﺃﻡ‬
‫ﻋﺮﺑﻴﱠﺎً‪ ،‬ﺟﺮﻣﺎﻧﻴﱠﺎً ﺃﻡ ﺇﺳﺒﺎﻧﻴﱠﺎً‪ ،‬ﲡﺪﻭﻩ ﺩﺍﺋﻤﺎً ﺑﺼﺪﺩ ﺩﻟﻴﻞ ﻣﺘﻌﺎﻝٍ‪ ،‬ﻭﺑﺼﺪﺩ ﻃﺮﻳﻖ‬
‫ﺍﻟﺬﻫﻦ ﺇﻟﻰ ﺍﷲ‪ .‬ﻭﺇﻥﱠ ﺍﶈﻄﱠﺎﺕ ﻭﺍﻟﻌﺮﺑﺎﺕ ﻫﻲ ﻫﻲ ﺫﺍﺗﻬﺎ ﺩﺍﺋﻤﺎً ﻣﺎ ﻋﺪﺍ ﻓﺮﻭﻗﺎً‬
‫ﺧﺎﺭﺟﻴﱠﺔ ﻭﻋَﺮَﺿﻴﱠﺔ‪.1‬‬

‫)‪ (١‬ﺍﻟﻔﺮﻕ ﺍﻟﻮﺣﻴﺪ‪ ،‬ﻭﻳﻜﻮﻥ ﺃﺣﻴﺎﻧﺎً ﻫﺎﻣﱠﺎً‪ ،‬ﻫﻮ ﻫﺬﺍ‪ :‬ﻟﻘـﺪ ﻛـﺎﻥ ﺑﻌـﺾ ﺍﻟـﺼﻮﻓﻴﲔ "ﻓـﻮﻕ ﺫﻟـﻚ" ﻣﻔﻜـﺮﻳﻦ‬
‫ﻛﺒﺎﺭﺍً‪ .‬ﻭﻗﺪ ﻧﻘﻠﻮﺍ ﺇﻟﻴﻨﺎ ﺇﻟﻰ ﺟﺎﻧﺐ ﺗﺼﻮّﻓﻬﻢ‪ ،‬ﺇﻳﺪﻳﻮﻟﻮﺟﻴﺎ ﻋﺒﻘﺮﻳﱠـﺔ ﺃﺣﻴﺎﻧـﺎً‪ .‬ﻭﻫﻜـﺬﺍ ﻛـﺎﻥ ﺃﻓﻠـﻮﻃﲔ‬
‫ﻭﺍﳌﻌﻠﻢ ﺇﻳﻜﻬﺎﺭﺕ‪ .‬ﻟﻜﻦ ﺻﻮﻓﻴّﺘﻬﻢ ﲟﻌﻨﺎﻫﺎ ﺍﻟﺼﱠﺤﻴﺢ ﻣﻄﺎﺑﻘﺔ ﺇﻟﻰ ﺃﻛﺜـﺮ ﺃﺷـﻜﺎﻝ ﺍﳉـﺬﺏ ﺍﻟـﺼﻮﰲ‬
‫ﺍﺑﺘﺬﺍﻻً‪ – .‬ﺍﳌﺆﻟﱢﻒ‪.‬‬
‫‪-٥٧-‬‬
 ‫ﻭﺇﻧﻲ ﺃﻓﻬﻢ ﲤﺎﻡ ﺍﻟﻔﻬﻢ ﻏﻴﺎﺏ ﺍﻟﺘﱠﻌﺎﻃﻒ ﺍﻟﺬﻱ ﺃﺑﺪﺗﻪ ﺍﻟﻜﻨﺎﺋﺲ ﺩﺍﺋﻤﺎً ﳓﻮ‬
‫ﺍﻟﺼﻮﻓﻴﲔ‪ ،‬ﻭﻛﺄﻧﱠﻬﺎ ﺗﺨﺸﻰ ﺃﻥ ﲡﻠﺐ ﻣﻐﺎﻣﺮﺍﺕُ ﺍﳉﺬﺏِ ﻫﺪﺭﺍً ﻟﺴﻤﻌﺔ ﺍﻟﺪﻳﻦ‪.‬‬
‫ﻭﺻﺎﺣﺐ ﺍﳉﺬﺏ ﻫﻮ ﺇﻟﻰ ﻫﺬﺍ ﺍﳊﺪّ ﺃﻭ ﺫﺍﻙ‪ ،‬ﻣﺠﻨﻮﻥ‪ .‬ﺇﺫْ ﻳﻨﻘﺼﻪ ﺍﻻﻋﺘﺪﺍﻝ‬
‫ﻭﺍﻟﻮﺿﻮﺡ ﺍﻟﺬّﻫﻨﻲ‪ .‬ﻭﻫﻮ ﻳﻀﻔﻲ ﻋﻠﻰ ﻋﻼﻗﺘﻪ ﺑﺎﷲ ﻃَﺎﺑﻊَ ﻗﺼْﻒٍ ﻳﺜﻴﺮ ﻧﻔﻮﺭ ﺻﻔﺎﺀ‬
‫ﺭﺟﻞ ﺍﻟﺪﻳﻦ ﺍﳊﻘﻴﻘﻲ‪ ،‬ﺍﳋﻄﻴﺮ‪ .‬ﻭﰲ ﺗﻄﺎﺑﻖ ﻧﺎﺩﺭ ﻣﻊ ﺫﻟﻚ‪ ،‬ﻳﺸﻌﺮ ﺍﳌﻌﻠّﻢ‬
‫ﺍﻟﻜﻮﻧﻔﻮﺷﻴﻮﺳﻲ ﺑﺎﺣﺘﻘﺎﺭ ﳓﻮ ﺍﻟﺼﻮﰲ ﺍﻟﻄﺎﻭﻱ‪ ،‬ﻧﻈﻴﺮ ﺍﻻﺣﺘﻘﺎﺭ ﺍﻟﺬﻱ ﻳﺸﻌﺮ ﺑﻪ‬
‫ﺍﻟﻼﻫﻮﺗﻲ ﺍﻟﻜﺎﺛﻮﻟﻴﻜﻲ ﳓﻮ ﺍﻟﺮﺍﻫﺒﺔ ﺍﳌﺴﺘﻨﻴﺮﺓ‪ .‬ﻭﺇﻥﱠ ﺃﻧﺼﺎﺭ ﺍﻟﻬﺮْﺝ ﰲ ﻛﻞّ ﻧﻈﺎﻡ ﻳﺆﺛﺮﻭﻥ‬
‫ﺩﺍﺋﻤﺎً ﻓﻮﺿﻰ ﺍﻟﺼﻮﻓﻴﲔ ﻭﺳﻜﺮﻫﻢ ﻋﻠﻰ ﻭﺿﻮﺡ ﺫﻫﻦ ﺍﻟﻜﻬﱠﺎﻥ ﺍﻟﺼﱠﺎﰲ ﻭﺍﳌﻨﻈﱠﻢ‪ ،‬ﺃﻱ‬
‫ﻋﻠﻰ ﺍﻟﻜﻨﻴﺴﺔ‪ .‬ﻭﺃﻧﺎ ﺁﺳﻒ ﻟﻌﺪﻡ ﺍﺳﺘﻄﺎﻋﺘﻲ ﺃﻥ ﺃﻭﺍﻓﻘﻬﻢ ﻋﻠﻰ ﻫﺬﺍ ﺍﻻﺧﺘﻴﺎﺭ‪ .‬ﳝﻨﻌﻨﻲ‬
‫ﻣﻦ ﺫﻟﻚ ﻣﺴﺄﻟﺔ ﺻﺪﻕ‪ .‬ﺫﻟﻚ ﺃﻥﱠ ﻛﻞّ ﻻﻫﻮﺕ ﻳﺒﺪﻭ ﻟﻲ ﺃﻧﱠﻪ ﻳﻨﻘﻞ ﺇﻟﻴﻨﺎ ﻛﻤﻴﺔً ﺃﻛﺒﺮ ﻣﻦ‬
‫ﺍﻷﻟﻮﻫﺔ‪ ،‬ﻭﶈﺎﺕٍ ﻭﻣﻌﺎﻧﻲ ﺃﻛﺜﺮ ﻣﻦ ﻣﻮﺍﺟﺪ ﺍﻟﺼﻮﻓﻴﲔ ﻛﻠﻬﺎ ﻣﻌﺎً‪ .‬ﻓﻌﻮﺿﺎً ﻣﻦ ﺍﻗﺘﺮﺍﺑﻨﺎ‬
‫ﻣﻦ ﺻﺎﺣﺐ ﺍﳉﺬْﺏ )ﺃﻭ ﺍﻟﻮﺟﺪ( ﻳﺠﺐ ﺃﻥ ﳕﺴﻚ ﺑﻪ ﺑﻜﻠﻤﺘﻪ‪ ،‬ﻭﻧﺘﻠﻘﱠﻰ ﻛﻞ ﻣﺎ ﻳﺄﺗﻴﻨﺎ ﺑﻪ‬
‫ﻣﻦ ﺍﻧﻐﻤﺎﺳﺎﺗﻪ ﺍﳌﺘﻌﺎﻟﻴﺔ‪ ،‬ﰒﱠ ﻧﻨﻈﺮ ﺑﻌﺪ ﺫﻟﻚ ﺇﻥ ﻛﺎﻥ ﻣﺎ ﻳﻘﺪّﻣﻪ ﻟﻨﺎ ﻳﺴﺘﺤﻖّ ﺍﻟﻌﻨﺎﺀ‪.‬‬
‫ﻭﺍﳊﻘﻴﻘﺔ ﻫﻲ ﺃﻥﱠ ﻣﺎ ﻳﺴﺘﻄﻴﻊ ﺃﻥ ﻳﻨﻘﻠﻪ ﺇﻟﻴﻨﺎ ﺑﻌﺪ ﻣﺮﺍﻓﻘﺘﻪ ﰲ ﺳﻔﺮﻩ ﺍﻟﺴﱠﺎﻣﻲ‪ ،‬ﺷﻲﺀ‬
‫ﺿﺌﻴﻞ ﺍﻟﻘﻴﻤﺔ‪ .‬ﻭﺃﻧﺎ ﺃﺣﺴﺐ ﺃﻥﱠ ﺍﻟﺮﻭﺡ ﺍﻷﻭﺭﻭﺑﻴﱠﺔ ﲡﺪ ﻧﻔﺴﻬﺎ ﻗﺮﻳﺒﺔ ﻣﻦ ﺷﻌﻮﺭ ﺟﺪﻳﺪ‬
‫ﺑﺎﷲ‪ ،‬ﻭﻣﻦ ﺗﺤﻘّﻘﺎﺕ ﺟﺪﻳﺪﺓ ﺣﻮﻝ ﻫﺬﻩ ﺍﻟﻮﺍﻗﻌﺔ‪ ،‬ﻭﻫﻲ ﺃﻫﻢّ ﺍﻟﻮﻗﺎﺋﻊ ﻛﻠﻬﺎ‪ .‬ﻟﻜﻨﻲ ﺃﺷﻚّ‬
‫ﻛﺜﻴﺮﺍً ﺃﻥ ﻳﺄﺗﻲ ﺛﺮﺍﺀُ ﺃﻓﻜﺎﺭﻧﺎ ﺣﻮﻝ ﺍﻷﻟﻮﻫﺔ ﻣﻦ ﻃﺮﻕ ﺍﻟﻘﺼﻒ ﺍﻟﺘﱠﺤﺘﻴﱠﺔ‪ ،‬ﻭﻟﻴﺲ ﻋﺒﺮ‬
‫ﻃﺮﻕ ﺍﻟﻔﻜﺮ ﺍﳌﻨﻬﺠﻲ ﺍﻟﻨﻴﱢﺮ‪ .‬ﻋﺒﺮ ﺍﻟﻼﻫﻮﺕ ﻭﻟﻴﺲ ﻋﺒﺮ ﺍﳉﺬْﺏ )ﺃﻭ ﺍﻟﻐﻴﺒﻮﺑﺔ(‪.‬‬
‫ﻟﻜﻦ‪ ،‬ﻓﻠﻨﻌﺪ ﺇﻟﻰ ﻣﻮﺿﻮﻋﻨﺎ‪.‬‬
‫ﻭﺍﻟﺘﺼﻮﻑ ﺃﻳﻀﺎً ﻇﺎﻫﺮﺓ ﻣﻦ ﻇﻮﺍﻫﺮ ﺍﻻﻧﺘﺒﺎﻩ‪.‬‬
‫ﻭﺃﻭﱠﻝ ﻣﺎ ﺗﻘﺘﺮﺣﻪ ﻋﻠﻴﻨﺎ ﺍﻟﺘﻘﻨﻴﺔ ﺍﻟﺼﻮﻓﻴﺔ ﺃﻥ ﻧﺮﻛّﺰ ﺍﻧﺘﺒﺎﻫﻨﺎ ﻋﻠﻰ ﺷﻲﺀ‪ .‬ﻋﻠﻰ‬
‫ﺃﻱّ ﺷﻲﺀ؟ ﺗﻜﺸﻒ ﻟﻨﺎ ﺍﻟﻴﻮﻏﺎ ﻭﻫﻲ ﺗﻘﻨﻴﺔ ﺍﳉﺬﺏ ﺍﻷﺻﺮﻡ ﻭﺍﻷﻋﻠﻢ ﻭﺍﻷﺷﻬﺮ‪ ،‬ﺑﺬﻛﺎﺀ‬
‫ﻋﻦ ﺍﻟﻄﺎﺑﻊ ﺍﳌﻴﻜﺎﻧﻴﻜﻲ ﻟﻜﻞﱢ ﻣﺎ ﺳﻮﻑ ﻳﺤﺪﺙ ﻟﻨﺎ ﻣﻦ ﰒّ‪ ،‬ﻷﻧﱠﻬﺎ ﲡﻴﺒﻨﺎ ﻋﻦ ﺫﻟﻚ‬
‫ﺍﻟﺴﱡﺆﺍﻝ‪ :‬ﻧﺮﻛّﺰﻩ ﻋﻠﻰ ﺃﻱّ ﺷﻲﺀ‪ .‬ﻟﻴﺲ ﺍﻟﺸﻲﺀ ﺇﺫﺍً‪ ،‬ﻣﺎ ﻳﺼﻒ ﺍﻟﻌﻤﻠﻴﱠﺔ ﻭﻳﻮﺣﻲ ﺑﻬﺎ‪،‬‬
‫ﻭﺇﻧﱠﻤﺎ ﻫﻮ ﻳﺼﻠﺢ ﻓﻘﻂ ﻛﺤﺠﱠﺔ ﻛﻴﻤﺎ ﻳﺪﺧُﻞ ﺍﻟﺬﻫﻦ ﰲ ﻣﻮﻗﻒ ﻏﻴﺮ ﻃﺒﻴﻌﻲ‪ .‬ﰲ ﺍﻟﻮﺍﻗﻊ‪،‬‬
‫ﻳﺠﺐ ﺍﻻﻧﺘﺒﺎﻩ ﺇﻟﻰ ﺷﻲﺀ ﺑﺒﺴﺎﻃﺔ ﻋﻠﻰ ﺃﻧﱠﻪ ﻭﺳﻴﻠﺔ ﻟﺼﺮﻑ ﺍﻻﻧﺘﺒﺎﻩ ﻋﻦ ﺳﺎﺋﺮ ﺃﺷﻴﺎﺀ‬
‫‪-٥٨-‬‬
‫ﺍﻟﻌﺎﻟﻢ ﺍﻷﺧﺮﻯ‪ .‬ﻭﻳﺒﺪﺃ ﺍﻟﻄﺮﻳﻖ ﺍﻟﺼﻮﰲ ﺑﺈﻓﺮﺍﻍ ﺍﻟﻮﻋﻲ ﻣﻦ ﺗﻌﺪﱡﺩ ﺍﻷﺷﻴﺎﺀ ﺍﳌﻮﺟﻮﺩﺓ‬
‫ﻓﻴﻪ ﻋﺎﺩﺓ‪ ،‬ﻭﻳﺴﻤﺢ ﺑﺤﺮﻛﺔ ﺍﻻﻧﺘﺒﺎﻩ ﺍﻟﻄﱠﺒﻴﻌﻴﱠﺔ‪ .‬ﻟﺬﻟﻚ ﻛﺎﻧﺖ ﻧﻘﻄﺔ ﺍﻻﻧﻄﻼﻕ ﻋﻨﺪ ﺳﺎﻥ‬
‫ﺧﻮﺍﻥ ﺩﻳﻼﻛﺮﻭﺙ ﻣﻦ ﺃﺟﻞ ﻛﻞّ ﺗﻘﺪّﻡ ﻻﺣﻖ "ﺍﻟﺒﻴﺖ ﺍﻟﻬﺎﺩﺉ"‪ ،‬ﻭﻛﺴﺮَ ﺣﺪّﺓ ﺍﻟﺸﻬﻮﺍﺕ‬
‫ﻭﺍﻟﻔﻀﻮﻝ؛ ﻭﻛﻤﺎ ﺗﻘﻮﻝ ﺳﺎﻧﺘﺎﺗﺮﻳﺴﺎ‪" :‬ﺗﺨﻞﱟ ﻛﺒﻴﺮ ﻋﻦ ﻛﻞﱢ ﺷﻲﺀ"؛ ﺃﻱ‪ ،‬ﻗﻄﻊ ﺟﺬﻭﺭ‬
‫ﻣﺼﺎﳊﻨﺎ ﺍﻟﺪﻧﻴﻮﻳﱠﺔ ﺍﳌﺘﻌﺪﱢﺩﺓ ﻛﻴﻤﺎ ﻧﺴﺘﻄﻴﻊ "ﺍﻻﳒﺬﺍﺏ" ﳓﻮ ﺷﻲﺀ ﺁﺧﺮ )ﺣﺴﺐ‬
‫ﺳﺎﻧﺘﺎ ﺗﺮﻳﺴﺎ(‪ .‬ﺑﺎﳌﺜﻞ ﻳﺴﺘﻄﻴﻊ ﺍﻟﻬﻨﺪﻭﺳﻲ ‪ ،navatam na pasyati‬ﺃﻥ ﻳﻜﻒّ ﻋﻦ ﺭﺅﻳﺔ‬
‫ﺍﻟﺘﻌﺪﺩ ﻭﺍﻟﺘﻨﻮّﻉ ﻛﺸﺮﻁ ﻟﻠﺪﺧﻮﻝ ﰲ ﺍﻟﺘﺼﻮﻑ‪.‬‬
‫ﻭﺗُﻨﺎﻝ ﻫﺬﻩ ﺍﻟﻌﻤﻠﻴﱠﺔ ﺑﺈﺑﻌﺎﺩ ﺍﻷﺷﻴﺎﺀ ﺍﻟﺘﻲ ﻳﺮﻭﺡ ﻭﻳﺠﻲﺀ ﺑﻴﻨﻬﺎ ﺍﻧﺘﺒﺎﻫﻨﺎ ﰲ ﺍﻟﻌﺎﺩﺓ‪،‬‬
‫ﺑﺘﺜﺒﻴﺖ ﺍﻻﻧﺘﺒﺎﻩ ﺗﺜﺒﻴﺘﺎً ﺧﺎﻟﺼﺎً‪ .‬ﻭﺗُﺴﻤﱠﻰ ﻫﺬﻩ ﺍﳌﻤﺎﺭﺳﺔ ﰲ ﺍﻟﻬﻨﺪ ﻛﺎﺳﻴﻨﺎ ‪ ،kasina‬ﺍﻟﺘﻲ‬
‫ﳝﻜﻨﻬﺎ ﺃﻥ ﺗﻔﻴﺪ ﻣﻦ ﻛﻞّ ﺷﻲﺀ‪ .‬ﻣﺜﻼً‪ :‬ﻳﺼﻨﻊ ﺍﳌﺘﺄﻣّﻞ ﻟﻨﻔﺴﻪ ﻗﺮﺻﺎً ﻣﻦ ﺍﻟﻄﲔ ﻭﻳﺠﻠﺲ‬
‫ﻗﺮﺑﻪ ﻭﻳﺜﺒّﺖ ﻧﻈﺮﺗﻪ ﻋﻠﻴﻪ‪ .‬ﺃﻭ ﻳﻨﻈﺮ ﻣﻦ ﻣﺮﺗﻔﻊ ﻣﺎ ﺇﻟﻰ ﺟﺮﻳﺎﻥ ﺟﺪﻭﻝ ﺃﻭ ﻳﺘﺄﻣﱠﻞ ﺑﻘﻌﺔ‬
‫ﻣﺎ ﻳﻨﻌﻜﺲ ﻋﻠﻴﻬﺎ ﺍﻟﻀﱠﻮﺀ‪ .‬ﺃﻭ ﻳُﺸﻌﻞ ﻧﺎﺭﺍً ﺃﻭ ﻳﻀﻊ ﺷﺎﺷﺔ ﻳﻔﺘﺢ ﻓﻴﻬﺎ ﺛﻘﺒﺎً ﻭﻳﻨﻈﺮ ﺇﻟﻰ‬
‫ﺍﻟﻮﻫﺞ ﻣﻦ ﺧﻼﻟﻪ‪ ،‬ﺇﻟﺦ‪ ..‬ﻭﻳُﺒﺤﺚ ﻋﻦ ﺃﺛﺮ ﻣﺨﻼﺓ ﺍﻟﻬﻮﺍﺀ ﺫﺍﺗﻪ ﺍﳌﺸﺎﺭ ﺇﻟﻴﻪ ﻣﻦ ﻗﺒﻞُ‬
‫ﻭﺍﻟﺬﻱ ﳝﺘﺺّ ﺍﻟﻌﺸﺎﻕ ﲟﻮﺟﺒﻪ‪" :‬ﺃﺩﻣﻐﺔ ﺑﻌﻀﻬﻢ ﺑﻌﻀﺎً"‪.‬‬
‫ﻭﻻ ﻳﻮﺟﺪ ﺟﺬْﺏ ﺻﻮﰲ ﻣﻦ ﻏﻴﺮ ﺇﻓﺮﺍﻍ ﻣﺴﺒﻖ ﻟﻠﺬﻫﻦ‪ .‬ﻳﻘﻮﻝ ﺳﺎﻥ ﺧﻮﺍﻥ‬
‫ﺩﻳﻼﻛﺮﻭﺙ‪" :‬ﻟﺬﻟﻚ ﻳﺄﻣﺮ ﺍﷲ ﺃﻥ ﻳﻜﻮﻥ ﺍﳌﺬﺑﺢ ﺍﻟﺬﻱ ﺗُﻘﺪﱠﻡ ﻓﻴﻪ ﺍﻟﺬﱠﺑﺎﺋﺢ ﻣﻔﺮﻏﺎً ﻣﻦ‬
‫ﺍﻟﺪﱠﺍﺧﻞ"‪" .‬ﻟﺘُﺪﺭﻙ ﺍﻟﻨﱠﻔﺲ ﻛﻢ ﻳﺮﻳﺪﻫﺎ ﺍﷲ ﻓﺎﺭﻏﺔ ﻣﻦ ﺍﻷﺷﻴﺎﺀ ﻛﻠّﻬﺎ"‪ .‬ﻭﻳﻌﺒّﺮ ﺻﻮﰲ‬
‫ﺃﳌﺎﻧﻲ ﺑﻘﻮّﺓ ﺃﻋﻈﻢ ﻋﻦ ﺍﺑﺘﻌﺎﺩ ﺍﻻﻧﺘﺒﺎﻩ ﻫﺬﺍ ﻋﻦ ﻛﻞّ ﻣﺎ ﻟﻴﺲ ﺷﻴﺌﺎً ﻭﺍﺣﺪﺍً‪ ،‬ﺃﻱ ﺍﷲ‪،‬‬
‫ﻓﻴﻘﻮﻝ‪" :‬ﻟﻘﺪ ﻓﻨﻴﺖُ)‪ ."(١‬ﻭﻳﻘﻮﻝ ﺳﺎﻥ ﺧﻮﺍﻥ ﻧﻔﺴﻪ ﻋﻠﻰ ﺷﻜﻞٍ ﺟﻤﻴﻞ‪" :‬ﺃﻧﺎ ﻻﺃﺭﻋﻰ‬
‫ﻗﻄﻴﻌﺎً"‪ ،‬ﺃﻱ‪ ،‬ﻻ ﺃﺣﺘﻔﻆ ﺑﺎﻧﺸﻐﺎﻝٍ ﻣﺎ‪.‬‬
‫ﻭﺍﻵﻥ ﻳﺠﻲﺀ ﻣﺎ ﻫﻮ ﺃﻛﺜﺮ ﺇﺩﻫﺎﺷﺎً‪ :‬ﻣﺎ ﺇﻥ ﻳُﻔﺮﻍ ﺍﻟﺬﻫﻦ ﻣﻦ ﺍﻷﺷﻴﺎﺀ ﻛﻠّﻬﺎ‪ ،‬ﺣﺘﱠﻰ‬
‫ﻳﺆﻛﺪ ﻟﻨﺎ ﺍﻟﺼﻮﰲ ﺃﻧﱠﻪ ﻳﺠﺪ ﺍﷲ ﺃﻣﺎﻣﻪ‪ ،‬ﻭﺃﻧﱠﻪ ﻳﺠﺪ ﻧﻔﺴﻪ ﳑﻠﻮﺀﺍً ﺑﺎﷲ‪ .‬ﺃﻱ‪ ،‬ﺃﻥﱠ ﺍﷲ‬
‫ﻳﻜﻤﻦ ﺑﺎﻟﻀﱠﺒﻂ ﰲ ﻫﺬﺍ ﺍﻟﻔﺮﺍﻍ‪ .‬ﻟﺬﻟﻚ ﻳﺘﺤﺪﱠﺙ ﺍﳌﻌﻠﻢ ﺇﻳﻜﻬﺎﺭﺕ ‪ Eckhart‬ﻋﻦ ‪":‬ﺻﺤﺮﺍﺀ‬
‫ﺍﷲ ﺍﻟﺼﱠﺎﻣﺘﺔ"‪ ،‬ﻭﺳﺎﻥ ﺧﻮﺍﻥ ﻋﻦ "ﻟﻴﻞ ﺍﻟﺮﻭﺡ ﺍﳌﻈﻠﻢ"؛ ﻣﻈﻠﻢ‪ ،‬ﻣﻊ ﺫﻟﻚ‪ ،‬ﻣﻶﻥ ﻧﻮﺭﺍً‪ ،‬ﺟﺪّ‬
‫ﻣﻶﻥ ‪‬ﺮﺩ ﻭﺟﻮﺩ ﺍﻟﻨﻮﺭ ﻓﻘﻂ‪ ،‬ﺣﺘﱠﻰ ﻻ ﻳﺼﻄﺪﻡ ﺍﻟﻨﻮﺭَ ﺷﻲﺀ ﻓﻴﺼﺒﺢ ﻇﻼﻣﺎً"‪ .‬ﺇﻥﱠ‬

‫)‪ (١‬ﰲ ﺍﻷﺻﻞ‪ :‬ﺃﻧﺎ ﻟﻢ ﺃﻭﻟﺪ‪ - .‬ﺍﳌﺘﺮﺟﻢ‬

‫‪-٥٩-‬‬
‫ﺧﺎﺻﻴّﺔ ﺍﻟﺮﻭﺡ ﺍﳌﻄﻬّﺮﺓ ﻭﺍﳌﻔﻨﺎﺓ ﺣِﻴﺎﻝ ﻋﻮﺍﻃﻔﻬﺎ ﺍﳋﺎﺻﱠﺔ ﻭﻣﺪﺍﺭﻛﻬﺎ ﻛﻠّﻬﺎ ﻫﻲ ﰲ ﺃﻻﱠ‬
‫ﺗﺘﻤﺘﱠﻊ ﺑﺸﻲﺀ ﻭﻻ ﺗﻔﻬﻢ ﺷﻴﺌﺎً ﻋﻠﻰ ﺷﻜﻞ ﺧﺎﺹ‪ ،‬ﻣﻘﻴﻤﺔً ﰲ ﻓﺮﺍﻏﻬﺎ ﻣﻦ ﺍﻟﻈﻠﻤﺔ ﻭﺍﻟﺪﺟﻰ‬
‫ﻭﺗﻌﺎﻧﻖ ﻛﻞّ ﺷﻲﺀ ﺑﺎﺳﺘﻌﺪﺍﺩٍ ﻛﺒﻴﺮٍ ﻛﻴﻤﺎ ﻳﺘﺤﻘﱠﻖ ﻓﻴﻬﺎ ﻗﻮﻝ ﺍﻟﻘﺪّﻳﺲ ﺑﻮﻟﺲ‪.‬‬
‫‪Nihili habentes et omnia possidentes‬‬
‫"ﻻ ﲤﻠﻚ ﺷﻴﺌﺎً ﻭﲤﻠﻚ ﻛﻞّ ﺷﻲﺀ"‪ .‬ﻭﻳﺴﻤّﻲ ﺳﺎﻥ ﺧﻮﺍﻥ ﰲ ﻣﻮﺿﻊ ﺁﺧﺮ‪ ،‬ﻫﺬﺍ‬
‫ﺍﻟﻔﺮﺍﻍ ﺍﳌﻤﻠﻮﺀ ﻭﺍﻟﻈﻠﻤﺔ ﺍﳌﻀﻴﺌﺔ ﺑﺄﻋﺬﺏ ﺻﻴﻐﺔ‪ ،‬ﻓﻴﻘﻮﻝ‪" :‬ﺇﻧﱠﻬﺎ ﺍﻟﻮﺣﺪﺓ ﺍﻟﺼﱠﺎﺧﺒﺔ"‪.‬‬
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‫ﺇﺫﺍً‪ ،‬ﻧﺼﻞ ﺇﻟﻰ ﺃﻥﱠ ﺍﻟﺼﻮﰲ ﻛﻤﺎ ﺍﻟﻌﺎﺷﻖ‪ ،‬ﻳﺒﻠﻎ ﺣﺎﻟﺘﻪ ﻏﻴﺮ ﺍﻟﻄﱠﺒﻴﻌﻴﱠﺔ "ﻣﺜﺒّﺘﺎً"‬
‫ﺍﻻﻧﺘﺒﺎﻩ ﻋﻠﻰ ﺷﻲﺀ ﻟﻴﺲ ﻟﻪ ﻣﻦ ﺩﻭﺭ ﺁﺧﺮ ﻣﺆﻗﱠﺘﺎً ﻏﻴﺮ ﺻﺮﻑ ﺍﻻﻧﺘﺒﺎﻩ ﻋﻦ ﻛﻞﱢ ﺷﻲﺀ‬
‫ﺁﺧﺮ ﻭﻳﺠﻌﻞ ﻓﺮﺍﻍ ﺍﻟﺬّﻫﻦ ﳑﻜﻨﺎً‪.‬‬
‫ﻷﻧﱠﻪ‪ ،‬ﻻ "ﺍﳌﻨﺰﻝ ﺃﻭ ﺍﳌﻘﺎﻡ" ﺍﻷﺧﻔﻰ ﻭﻻ ﻣﺴﺘﻮﻯ ﺍﳊﻴﺎﺓ ﺍﻟﻮﺟﺪﻳﺔ‪ ،‬ﺍﻷﻛﺒﺮ ﻫﻮ‬
‫ﻓﻘﻂ ﺫﻟﻚ ﺍﻟﺬﻱ ﻳﻨﻈﺮ ﻣﻨﻪ ﺍﻟﺼﻮﰲ ﺇﻟﻰ ﺍﷲ‪ ،‬ﺻﺎﺭﻓﺎً ﺍﻻﻧﺘﺒﺎﻩ ﻋﻦ ﻛﻞّ ﺷﻲﺀ ﺁﺧﺮ‪.‬‬
‫ﻓﻬﺬﺍ ﺍﻹﻟﻪ ﺍﻟﺬﻱ ﳝﻜﻦ ﺍﻟﻨﱠﻈﺮ ﺇﻟﻴﻪ ﻟﻴﺲ ﺇﻟﻬﺎً ﺣﻘﱠﺎً‪ .‬ﻭﺍﷲ ﺍﻟﺬﻱ ﻟﻪ ﺣﺪﻭﺩ ﻭﺷﻜﻞ‪ ،‬ﺍﷲ‬
‫ﺍﳌﻔﻜﱠﺮ ﻓﻴﻪ ﺗﺤﺖ ﻫﺬﻩ ﺍﻟﺼﻔﺔ ﺃﻭ ﺗﻠﻚ‪ ،‬ﺑﺎﺧﺘﺼﺎﺭ‪ ،‬ﺍﷲ ﺍﻟﺬﻱ ﳝﻜﻦ ﺃﻥ ﻳﻜﻮﻥ ﻣﻮﺿﻮﻋﺎً‬
‫ﻟﻼﻧﺘﺒﺎﻩ ﻭﻳﺸﺒﻪ ﰲ ﺣﺎﻟﺘﻪ ﺗﻠﻚ ﺷﺒﻬﺎً ﻣﻔﺮﻃﺎً ﺍﻷﺷﻴﺎﺀ ﺍﻟﺪﻧﻴﻮﻳﱠﺔ‪ ،‬ﻟﻴﺲ ﺇﻟﻬﺎً ﺣﻘﻴﻘﻴﱠﺎً‪.‬‬
‫ﻭﻣﻦ ﻫﻨﺎ ﺍﳌﺬﻫﺐ ﺍﻟﺬﻱ ﻳﻌﺮﺽ ﻟﻨﺎ ﻣﻦ ﺣﲔٍ ﻵﺧﺮ ﻣﻦ ﺻﻔﺤﺎﺕ ﺍﻟﺘﱠﺼﻮّﻑ ﺑﺸﻜﻞ ﻓﻴﻪ‬
‫ﻣﻔﺎﺭﻗﺔ‪ ،‬ﻟﻴﺆﻛﺪ ﻟﻨﺎ ﺃﻥﱠ ﺍﻟﻐﺎﻳﺔ ﻫﻲ ﻋﺪﻡ ﺍﻟﺘﱠﻔﻜﻴﺮ "ﺣﺘﱠﻰ" ﰲ ﺍﷲ‪ .‬ﻭﺳﺒﺐ ﺫﻟﻚ ﻭﺍﺿﺢ‪:‬‬
‫ﺇﺫْ ﻟﺸﺪﱠﺓ ﺍﻟﺘﱠﻔﻜﻴﺮ ﻓﻴﻪ‪ ،‬ﻭﻟﻔﺮﻁ ﺍﻻﳒﺬﺍﺏ ﺇﻟﻴﻪ‪ ،‬ﻳﺄﺗﻲ ﺣﲔ ﻣﻦ ﺍﻟﺪﱠﻫﺮ ﻳﻜﻒّ ﻓﻴﻪ ﻋﻦ‬
‫ﺃﻥ ﻳﻜﻮﻥ ﺷﻴﺌﺎً ﺧﺎﺭﺝ ﺍﻟﺬّﻫﻦ ﻭﻣﺨﺘﻠﻔﺎً ﻋﻨﻪ‪ ،‬ﻭﻣﻮﺿﻮﻋﺎً ﺧﺎﺭﺝ ﺍﻟﺬﺍﺕ ﻭﺇﺯﺍﺀﻫﺎ‪ .‬ﺃﻱ‪،‬‬
‫ﻳﻜﻒّ ﻋﻦ ﺃﻥ ﻳﻜﻮﻥ ﺷﻴﺌﺎً ﰲ ﺍﳋﺎﺭﺝ ‪ objectun‬ﻓﻴﺘﺤﻮﱠﻝ ﺇﻟﻰ ﺷﻲﺀ ﰲ ﺍﻟﺪﱠﺍﺧﻞ‬
‫‪ .injectun‬ﻭﻳﻨﺴﺎﺏ ﺍﷲ ﰲ ﺍﻟﺮﻭﺡ ﻭﻳﺨﺘﻠﻂ ﺑﻬﺎ‪ ،‬ﺃﻭ ﺑﻘﻮﻝٍ ﻣﻌﺎﻛﺲ‪ ،‬ﺗﺬﻭﺏ ﺍﻟﺮﻭﺡ ﰲ‬
‫ﺍﷲ ﻭﺗﻜﻒّ ﻋﻦ ﺍﻟﺸّﻌﻮﺭ ﺑﻪ ﻛﺄﻧﱠﻪ ﻣﺨﺘﻠﻒ ﻋﻨﻬﺎ‪ .‬ﻫﺬﻱ ﻫﻲ ﺍﻟﻮَﺣﺪﺓ )‪ la (unio‬ﺍﻟﺘﻲ‬
‫ﻳﻄﻤﺢ ﺇﻟﻴﻬﺎ ﺍﻟﺼﻮﰲّ‪" .‬ﺗﺼﺒﺢ ﻫﺬﻩ ﺍﻟﺮﻭﺡ‪ ،‬ﺃﻗﻮﻝ ﺭﻭﺡ ﻫﺬﻩ ﺍﻟﺮﻭﺡ‪ ،‬ﺷﻴﺌﺎً ﻭﺍﺣﺪﺍً‬
‫ﻭﺍﷲ"‪ ،‬ﺗﻨﻘﻞ ﺇﻟﻴﻨﺎ ﺳﺎﻧﺘﺎ ﺗﻴﺮﻳﺴﺎ ﰲ "ﺍﳌﻨﺰﻝ ﺃﻭ ﺍﳌﻘﺎﻡ ﺍﻟﺴﱠﺎﺑﻊ"‪ .‬ﻭﻻ ﻳﻈﻨﱠﻦَ ﺃﺣﺪٌ ﺃﻥﱠ‬
‫ﻫﺬﻩ ﺍﻟﻮﺣﺪﺓ ﻳُﺤﺲّ ﺑﻬﺎ ﻛﺸﻲﺀ ﻣﺆﻗﱠﺖ ﻳُﺤﺼﻞ ﻋﻠﻴﻪ ﺍﻵﻥ‪ ،‬ﰒﱠ ﻳُﻔﻘﺪ ﺑﻌﺪ ﺫﻟﻚ‪ .‬ﻭﻳﻠﻤﺢ‬
‫ﺍﻟﺼﻮﰲ ﺍﳉﺬْﺏ )ﺃﻭ ﺍﻟﻐﻴﺒﻮﺑﺔ( ﰲ ﻃﺎﺑﻊ ﺍﻻﺗﺤﺎﺩ ﺍﻟﻨﻬﺎﺋﻲ ﻭﺍﻟﺪﺍﺋﻢ ﻛﻤﺎ ﻳُﻘﺴﻢ ﺍﻟﻌﺎﺷﻖ‬
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 ‫ﺑﺼﺪﻕ ﻋﻠﻰ ﺣﺒّﻪ ﺍﻷﺑﺪﻱّ‪ .‬ﻭﲤﻴّﺰ ﺳﺎﻧﺘﺎ ﺗﻴﺮﻳﺰﺍ ﺑﻘﻮﺓ ﺷﻜﻠَﻲ ﺍﻻﺗﺤﺎﺩ ﻣﻦ ﺑﻌﻀﻬﻤﺎ‪:‬‬
‫ﺍﻷﻭﱠﻝ "ﻫﻮ ﻣﺜﻞ ﺷﻤﻌﺘﲔ ﺗﺘﱠﺤﺪﺍﻥ ﺍﺗﱢﺤﺎﺩﺍً ﻭﺛﻴﻘﺎً ﺣﺘﱠﻰ ﻳﺼﺒﺢ ﺍﻟﻨﻮﺭ ﻧﻮﺭﺍً ﻭﺍﺣﺪﺍً‪ ...‬ﻟﻜﻦ‪،‬‬
‫ﳝﻜﻦ ﺑﻌﺪ ﺫﻟﻚ ﻓﺼﻞ ﺍﻟﻮﺍﺣﺪﺓ ﻋﻦ ﺍﻷﺧﺮﻯ ﻭﺗﻈﻼﱠﻥ ﺷﻤﻌﺘﲔ"‪ .‬ﻭﺍﻟﺜﱠﺎﻧﻲ ﻣﻊ ﺫﻟﻚ‪،‬‬
‫ﻫﻮ "ﻛﻤﺎﺀ ﻳﺴّﺎﻗﻂ ﻣﻦ ﺍﻟﺴﱠﻤﺎﺀ ﻋﻠﻰ ﻧﻬﺮٍ ﺃﻭ ﻳﻨﺒﻮﻉ ﺣﻴﺚ ﻳﺼﺒﺢ ﺍﳌﺎﺀ ﻛﻠّﻪ ﻣﺎﺀً ﻭﺍﺣﺪﺍً‪،‬‬
‫ﺣﺘﱠﻰ ﻻ ﳝﻜﻦ ﲤﻴﻴﺰ ﻣﺎﺀ ﺍﻟﻨﱠﻬﺮ ﻣﻦ ﻣﺎﺀ ﺍﻟﺴﱠﻤﺎﺀ ﻭﻻ ﺍﻟﻔﺼﻞ ﺑﻴﻨﻬﻤﺎ‪ .‬ﺃﻭ ﻛﻨﻬﺮ ﺻﻐﻴﺮ‬
‫ﻳﺪﺧﻞ ﺍﻟﺒﺤﺮ ﻓﻼ ﺗﻮﺟﺪ ﻭﺳﻴﻠﺔ ﻟﻠﻔﺼﻞ ﺑﻴﻨﻬﻤﺎ‪ ،‬ﺃﻭ ﻛﺤﺠﺮﺓ ﺫﺍﺕ ﻧﺎﻓﺬﺗﲔ ﻳﺪﺧﻞ‬
‫ﻣﻨﻬﻤﺎ ﺿﻮﺀ ﻛﺒﻴﺮ‪ ،‬ﻭﺇﻥْ ﻳﻜﻦ ﻣﻨﻘﺴﻤﺎً‪ ،‬ﻳﺼﺒﺢ ﺿﻮﺀﺍً ﻭﺍﺣﺪﺍً"‪.‬‬
‫ﻭﻟﻘﺪ ﻋﻠﱠﻞ ﺇﻳﻜﻬﺎﺭﺕ ﺟﻴﱢﺪﺍً ﺟﺪﱠﺍً ﺍﻟﺘﺪﻧّﻲ ﺍﻟﻨﺴﺒﻲ ﻟﻠﺤﺎﻟﺔ ﺍﻟﺘﻲ ﻳﻜﻮﻥ ﻓﻴﻬﺎ ﺍﷲ‬
‫ﻣﻮﺿﻮﻋﺎً ﻟﻠﺬﻫﻦ‪" .‬ﺇﻥﱠ ﺍﻻﻧﺸﻐﺎﻝ ﺍﳊﻘﻴﻘﻲ ﺑﺎﷲ ﻫﻮ ﰲ ﺍﻟﺮﻭﺡ‪ ،‬ﻭﻟﻴﺲ ﰲ ﺍﻟﺘﱠﻔﻜﻴﺮ ﰲ‬
‫ﺍﷲ ﻋﻠﻰ ﳕﻂ ﻭﺍﺣﺪ ﻭﺑﺎﺳﺘﻤﺮﺍﺭ‪ .‬ﻓﻼ ﻳﻨﺒﻐﻲ ﻟﻠﻤﺮﺀ ﺃﻥ ﻳﻜﻮﻥ ﺇﻟﻬﻪ ﻣُﻔﻜﱠﺮﺍً ﻓﻴﻪ ﻓﻘﻂ‪،‬‬
‫ﻷﻥﱠ ﺍﻟﺘﱠﻔﻜﻴﺮ ﺇﺫﺍ ﺗﻮﻗﱠﻒ‪ ،‬ﻓﺴﻮﻑ ﻳﺘﻮﻗﱠﻒ ﺃﻳﻀﺎً ﺫﻟﻚ ﺍﻹﻟﻪ"‪ .‬ﺑﺎﻟﺘﱠﺎﻟﻲ‪ ،‬ﺳﺘﻜﻮﻥ ﺍﻟﺪﺭﺟﺔ‬
‫ﺍﻟﻌﻠﻴﺎ ﰲ ﺍﻟﻄﺮﻳﻖ ﺍﻟﺼﻮﰲ ﺗﻠﻚ ﺍﻟﺘﻲ ﻳﻜﻮﻥ ﻓﻴﻬﺎ ﺍﻹﻧﺴﺎﻥ ﻣﺸﺒﻌﺎً ﺑﺎﷲ‪ ،‬ﻭﻳﺼﻴﺮ‬
‫ﺇﺳﻔﻨﺠﺔ ﻣﻦ ﺍﻷﻟﻮﻫﺔ‪ .‬ﻭﳝﻜﻨﻪ ﺣﻴﻨﺌﺬٍ ﺃﻥ ﻳﻌﻮﺩ ﻣﺮﱠﺓً ﺃﺧﺮﻯ ﺇﻟﻰ ﺍﻟﻌﺎﻟﻢ ﻭﻳﻬﺘﻢّ ﺑﺸﺆﻭﻧﻪ‬
‫ﺍﻷﺭﺿﻴﱠﺔ‪ ،‬ﻷﻧﱠﻪ ﺳﻴﻌﻤﻞ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻛﺄﺩﺍﺓ ﷲ‪ .‬ﻭﻟﻦ ﺗﻜﻮﻥ ﺭﻏﺒﺎﺗﻪ ﻭﺧﻄﺎﻩ ﻭﺃﻋﻤﺎﻟﻪ ﰲ‬
‫ﺍﻟﻌﺎﻟﻢ ﺷﻴﺌﺎً ﺧﺎﺻﱠﺎً ﺑﻪ‪ .‬ﻭﻻ ﻳﻬﻤّﻪ ﺷﻲﺀ ﳑﱠﺎ ﻳﻌﻤﻠﻪ ﺃﻭ ﻳﺤﺪﺙ ﻟﻪ‪ ،‬ﻷﻧﱠﻪ "ﻫﻮ" ﻳﻜﻮﻥ‬
‫ﻏﺎﺋﺒﺎً ﻋﻦ ﺍﻷﺭﺽ‪ ،‬ﻏﺎﺋﺒﺎً ﻋﻦ ﺭﻏﺒﺘﻪ ﺃﻭ ﻋﻤﻠﻪ ﺫﺍﺗﻪ‪ ،‬ﻭﻣﺤﺼﱠﻨﺎً ﺃﻭ ﻛﺘﻴﻤﺎً ﺇﺯﺍﺀ ﻛﻞّ ﻣﺎ ﻫﻮ‬
‫ﻣﺤﺴﻮﺱ‪ .‬ﻓﻘﺪْ ﻫﺎﺟﺮَ ﺷﺨﺼُﻪ ﺍﳊﻘﻴﻘﻲ ﺇﻟﻰ ﺍﷲ‪ ،‬ﻭﺍﻧﺼﺐﱠ ﻓﻴﻪ ﺍﷲ‪ ،‬ﻭﻳﺼﺒﺢ ﺩﻣﻴﺔ‬
‫ﻣﻴﻜﺎﻧﻴﻜﻴﱠﺔ ﻓﺤﺴْﺐ ﻭ "ﺻﻨﻴﻌﺔ" ﻳﺸﻐّﻠﻬﺎ ﺍﷲ‪) .‬ﻭﺍﻟﺘﱠﺼﻮﱡﻑ ﰲ ﺫﺭﻭﺗﻪ ﻳﻼﻣﺲ ﺩﺍﺋﻤﺎً‬
‫ﺣﺪﻭﺩ "ﺍﻟﺘﻌﻄﻴﻞ" ‪.(quietimo‬‬
‫ﻭﻳﺠﺪ ﻫﺬﺍ ﺍﳌﻮﻗﻒ ﺍﳌﺘﻄﺮﱢﻑ ﻧﻈﻴﺮﻩ ﰲ ﻋﻤﻠﻴﱠﺔ "ﺍﻟﻌﺸﻖ"‪ .‬ﻓﺈﺫﺍ ﺍﺳﺘﺠﺎﺏ‬
‫ﺍﻵﺧﺮ ﺗﻄﺮﺃ ﻓﺘﺮﺓ ﻣﻦ " ﺍﻻﺗﱢﺤﺎﺩ" ﺍﻻﻧﺘﻘﺎﻟﻲ‪ ،‬ﻳﻨﻘﻞ ﻓﻴﻬﺎ ﻛﻞّ ﻓﺮﺩ ﺇﻟﻰ ﺍﻵﺧﺮ ﺟﺬﻭﺭ‬
‫ﻛﻴﺎﻧﻪ‪ ،‬ﻭﻳﺤﻴﺎ ‪ -‬ﺃﻱ ﻳﻔﻜّﺮ ﻭﻳﺮﻏﺐ ﻭﻳﻌﻤﻞ ‪ -‬ﻟﻴﺲ ﺍﻧﻄﻼﻗﺎً ﻣﻦ ﺫﺍﺗﻪ‪ ،‬ﻭﺇﻧﱠﻤﺎ‬
‫ﺍﻧﻄﻼﻗﺎً ﻣﻦ ﺍﻵﺧﺮ‪ .‬ﻭﺑﺬﻟﻚ ﻳﻜﻒّ ﻋﻦ ﺍﻟﺘﱠﻔﻜﻴﺮ ﰲ ﺍﶈﺒﻮﺏ ﻟﻔﺮﻁ ﻭﺟﻮﺩﻩ ﰲ‬
‫ﺩﺍﺧﻠﻪ‪ .‬ﻭﻳُﻼﺣﻆ ﺫﻟﻚ ﻓﻴﻤﺎ ﺗﺮﻣﺰ ﺇﻟﻴﻪ ﻣﻼﻣﺢُ ﺍﻟﻮﺟﻪ‪ ،‬ﻛﻤﺎ ﻳﺤﺪﺙ ﰲ ﻛﻞﱢ‬
‫ﺍﳊﺎﻻﺕ ﺍﳊﻤﻴﻤﺔ‪ .‬ﺇﺫْ ﺗُﻨﺎﻇﺮ ﻓﺘﺮﺓ "ﺗﺜﺒﻴﺖ" ﺍﻻﻧﺘﺒﺎﻩ ﺍﳌﺸﺪﻭﻩ ﻭﺍﳌﻘﺼﻮﺭ ﻋﻠﻰ‬
‫ﺍﶈﺒﻮﺑﺔ ﺍﻟﺘﻲ ﻣﺎ ﺗﺰﺍﻝ ﺧﺎﺭﺝ ﺍﳌﺮﺀ‪ ،‬ﺣﺮﻛﺔٌ ﻣﻦ ﺍﻻﻧﻜﻔﺎﺀ ﻋﻠﻰ ﺍﻟﻨﱠﻔﺲ ﻭﺍﻟﺘﱠﺮﻛﻴﺰ‪.‬‬
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‫ﻓﺎﻟﻌﻴﻨﺎﻥ ﺟﺎﻣﺪﺗﺎﻥ ﻭﺍﻟﻨﻈﺮﺓ ﺻﻠﺒﺔ‪ ،‬ﻭﺍﻟﺮﱠﺃﺱ ﳝﻴﻞ ﺇﻟﻰ ﺍﻟﺘﻄﺎﻣﻦ ﻓﻮﻕ ﺍﻟﺼﱠﺪﺭ‪،‬‬
‫ﻭﺍﳉﺴﻢ ﻳﻨﻜﻤﺶ ﺇﻥ ﺃﻣﻜﻦ ﺫﻟﻚ‪ .‬ﻭﳝﻴﻞ ﺍﳌﻈﻬﺮ ﻛﻠّﻪ ﻟﻴﻤﺜّﻞ ﻣﻊ ﺍﻟﺸﱠﻜﻞ ﺍﻟﺒﺸﺮﻱ‬
‫ﺷﻴﺌﺎً ﻣﺤﺪﱠﺑﺎً ﻭﻛﺄﻧﻪ ﻣﻐﻠﻖ‪ .‬ﻓﻨﺤﻦُ ﳓﻀﻦُ ﺻﻮﺭﺓ ﺍﶈﺒﻮﺏ ﰲ ﺣﺠﺮﺓ ﺍﻧﺘﺒﺎﻫﻨﺎ‬
‫ﺍﳌُﻄﺒﻘﺔ‪ .‬ﻟﻜﻦ‪ ،‬ﺇﺫﺍ "ﺟﺎﺀﺕ" ﻏﻴﺒﻮﺑﺔ ﺍﳊﺐّ ﻭﺻﺎﺭﺕ ﺍﶈﺒﻮﺑﺔ ﻟﻨﺎ‪ ،‬ﺑﺎﳊﺮﻱّ‪ ،‬ﺃﻛﻮﻥ‬
‫ﺃﻧﺎ ﺫﺍﺗﻲ‪ ،‬ﻭﺃﻧﺎ ﺍﶈﺒﻮﺑﺔ‪ ،‬ﻳﻈﻬﺮ ﻋﻠﻰ ﺍﻟﻮﺟﻪ ﻫﺬﺍ ﺍﻟﺘﱠﻔﺘﱡﺢ ﺍﻟﻈﺮﻳﻒ ﺍﻟﺬﻱ ﺗﺘﺠﻠﱠﻰ‬
‫ﻓﻴﻪ ﺍﻟﺴﱠﻌﺎﺩﺓ‪ .‬ﻓﺘﺮﻗّﻖ ﺍﻟﻌﻴﻨﺎﻥ ﺍﻟﻨﻈﺮﺓ ﺍﻟﺘﻲ ﺗﺼﺒﺢ ﺻﻤﻐﺎً‪ ،‬ﻭﺗﻨﺰﻟﻖ ﻋﻠﻰ ﻛﻞّ ﺷﻲﺀ‬
‫ﻣﻦ ﻏﻴﺮ ﺃﻥ ﺗﺘﺮﻛﱠﺰ‪ ،‬ﻋﻠﻰ ﺷﻲﺀ‪ .‬ﻭﺗﺘﻜﺮﱠﻡ ﻓﺘﺪﺍﻋﺐ ﺍﻷﺷﻴﺎﺀ ﺃﻛﺜﺮ ﳑﱠﺎ ﺗﺮﺍﻫﺎ ‪.‬‬
‫ﻭﻛﺬﻟﻚ ﻳﻜﻮﻥ ﺍﻟﻔﻢ ﺷﺒﻪ ﻣﻔﺘﻮﺡ ﻋﻠﻰ ﺑﺴﻤﺔ ﺷﺎﻣﻠﺔ ﺗﻘﻄﺮُ ﻣﻦ ﻏﻴﺮ ﺍﻧﻘﻄﺎﻉ ﻣﻦ‬
‫ﺻﻮﺍﺭَﻱْ ﺍﻟﺸﱠﻔﺘﲔ‪ .‬ﺇﻧﱠﻬﺎ ﻫﻴﺌﺔ ﺍﻷﺑﻠﻪ‪ ،‬ﻭﻫﻜﺬﺍ ﻫﻲ ﻫﻴﺌﺔ ﺍﻟﺒﻼﻫﺔ‪ .‬ﻭﺗﻔﻘﺪ ﺃﻧﻔﺴﻨﺎ‬
‫ﺍﻟﻨﻈﺎﻡ ﻭﺩﻗّﺔ ﺍﳌﻮﻗﻒ ﺇﺫﺍ ﻟﻢ ﲡﺪ ﺷﻴﺌﺎً ﺧﺎﺭﺟﻴﱠﺎً ﻭﻻ ﺩﺍﺧﻠﻴﱠﺎً ﻧﺜﺒّﺖ ﻋﻠﻴﻪ ﺍﻧﺘﺒﺎﻫﻨﺎ‪.‬‬
‫ﻭﻧﺸﻌﺮ ﺑﺄﻧﻔﺴﻨﺎ ﻫﺎﺋﻤﲔ ﺧﻔﻴﻔﲔ‪ .‬ﻭﻳﻘﺘﺼﺮ ﻧﺸﺎﻃﻨﺎ ﻋﻠﻰ ﺍﻟﺴﱠﻤﺎﺡ ﺑﺄﻥ ﺗﻨﻄﻠﻖ‬
‫ﳓﻮ ﺍﻟﺸﱠﻤﺲ ﺍﻷﺑﺨﺮﺓ ﺍﳌﻤﺘَﺼﱠﺔ ﻣﻦ ﺻﻔﺤﺔ ﻧﻔﺴﻨﺎ‪ ،‬ﻛﻤﺎ ﺗﻨﻄﻠﻖ ﻣﻦ ﻣﺎﺀ ﺭﺍﻛﺪ‪.‬‬
‫ﺇﻧﱠﻬﺎ ﺣﺎﻟﺔ "ﺍﳉﺬْﺏ" ﺍﳌﺸﺘﺮﻛﺔ ﺑﲔ ﺍﻟﻌﺎﺷﻖ ﻭﺍﻟﺼﻮﰲ‪ ،1‬ﻓﻼ ﺗﻌﻨﻴﻬﻤﺎ ﰲ ﺧﻴﺮ‬
‫ﺃﻭ ﺷﺮّ ﻫﺬﻩ ﺍﳊﻴﺎﺓُ ﻭﻻ ﻫﺬﺍ ﺍﻟﻌﺎﻟﻢ‪ .‬ﻷﻧﱠﻬﻤﺎ ﻛﻔﱠﺎ ﻋﻦ ﺃﻥ ﻳﻜﻮﻧﺎ ﻣﺴﺄﻟﺔ ﻟﻬﻤﺎ‪ .‬ﻓﺎﻷﺷﻴﺎﺀ‬
‫ﺍﻟﺘﻲ ﻧﻌﻤﻠﻬﺎ ﻭﻧﻌﺎﻧﻴﻬﺎ ﻟﻜﻮﻧﻬﺎ ﲤﺲّ ﺃﻋﻤﻖ ﺩﻭﺍﺧﻠﻨﺎ‪ ،‬ﺗﺘﺤﻮﱠﻝ ﰲ ﺍﳌﻮﻗﻒ ﺍﻟﻄﱠﺒﻴﻌﻲّ‪ ،‬ﺇﻟﻰ‬
‫ﻣﺸﺎﻛﻞ ﻟﻨﺎ‪ ،‬ﻭﺗُﻘﻠﻘﻨﺎ ﻭﺗﺮﻫﻘﻨﺎ‪ .‬ﻟﺬﻟﻚ ﻧﺸﻌﺮ ﺑﻮﺟﻮﺩﻧﺎ ﺫﺍﺗﻪ ﻛﺜﻘﻞ ﻧﺪﻋﻤﻪ ﺑﺮﺍﺣﺔ ﻳﺪﻧﺎ‪،‬‬
‫ﺑﻌﻨﺎﺀ‪ .‬ﻟﻜﻨﱠﻨﺎ ﺇﺫﺍ ﻧﻘﻠﻨﺎ ﻫﺬﻩ ﺍﻟﻨﱠﻮﺍﺓ ﺍﳊﻤﻴﻤﺔ ﺇﻟﻰ ﻣﻨﻄﻘﺔ ﺃﺧﺮﻯ‪ ،‬ﻭﺇﻟﻰ ﻭﺟﻮﺩ ﺁﺧﺮ ﺧﺎﺭﺝ‬
‫ﺍﻟﻌﺎﻟﻢ‪ ،‬ﻓﺈﻥﱠ ﻣﺎ ﻳﺤﺪﺙ ﻟﻨﺎ ﻓﻴﻪ ﻳﻔﻘﺪ ﻓﻌﺎﻟﻴﺘﻪ ﻭﻳﻈﻞّ ﻣﻦ ﻏﻴﺮ ﺗﺄﺛﻴﺮ ﻋﻠﻴﻨﺎ‪ ،‬ﻭﻛﺄﻧﱠﻪ‬
‫ﻣﻮﺿﻮﻉ ﺑﲔ ﻣﺰﺩﻭﺟﺘﲔ‪ .‬ﻭﺇﺫﺍ ﺳﺮْﻧﺎ ﻭﺳْﻂ ﺍﻷﺷﻴﺎﺀ ﻧﺸﻌﺮ ﺑﺄﻧﻔﺴﻨﺎ ﻗﺪ ﻓﻘﺪﻧﺎ ﺍﻟﻮﺯْﻥ‪.‬‬
‫ﻭﻛﺄﻧﱠﻤﺎ ﻳﻮﺟﺪ ﻋﺎﳌﺎﻥ ﺫﻭﺍ ﺃﺑﻌﺎﺩ ﻣﺨﺘﻠﻔﺔ‪ ،‬ﻟﻜﻨﱠﻬﻤﺎ ﻣﺘﺪﺍﺧﻼﻥ‪ ،‬ﻳﻌﻴﺶ ﻓﻴﻬﻤﺎ ﺍﻟﺼّﻮﰲ؛‬
‫ﻫﻮ ﻳﻌﻴﺶ ﰲ ﺍﻟﻌﺎﻟﻢ ﺍﻷﺭﺿﻲ ﰲ ﺍﳌﻈﻬﺮ ﻓﻘﻂ‪ ،‬ﺑﻴﻨﻤﺎ ﻳﻌﻴﺶ ﰲ ﺍﳊﻘﻴﻘﺔ‪ ،‬ﰲ ﻋﺎﻟﻢ‬
‫ﺁﺧﺮ‪ ،‬ﻭﰲ ﻣﻨﻄﻘﺔ ﻣﻨﻌﺰﻟﺔ ﻳﻌﻴﺶ ﻓﻴﻬﺎ ﻭﺣﻴﺪﺍً ﻣﻊ ﺍﷲ‪.‬‬
‫‪Deum et animan. Nihilne plus? Nihil omnio.‬‬

‫)‪ (١‬ﻻ ﺃﺷﻴﺮ‪ ،‬ﻛﻤﺎ ﻳُﻼﺣﻆ‪ ،‬ﰲ ﺷﻲﺀ ﺇﻟﻰ "ﺍﻟﻘﻴﻤـﺔ" ﺍﻟﺪﻳﻨﻴﱠـﺔ ﺍﻟﺘـﻲ ﺗﻨـﺎﻇﺮ "ﺣﺎﻟـﺔ ﺍﳉـﺬﺏ"‪ .‬ﻓﻬـﺬﻩ ﻫﻨـﺎ‬
‫ﺍﺳﻢٌ ﺑﺎﳌﻌﻨﻰ ﺍﻟﺪﱠﻗﻴﻖ ﳊﺎﻟﺔ ﻧﻔﺴﻴﱠﺔ ﺧﺎﺻﱠﺔ ﺑﺎﻟﺼﻮﻓﻴﲔ ﻛﻠّﻬﻢ ﰲ ﻛﻞﱢ ﺍﻷﺩﻳﺎﻥ‪ – .‬ﺍﳌﺆﻟﱢﻒ‪.‬‬
‫‪-٦٢-‬‬
‫"ﺍﷲ ﻭﺍﻟﺮﻭﺡ‪ .‬ﻭﻻ ﺷﻲﺀ ﺁﺧﺮ؟ ﻻ ﺷﻲﺀ ﺍﻟﺒﺘﱠﺔ"‪ ،‬ﻳﻘﻮﻝ ﺍﻟﻘﺪﻳﺲ ﺃﻏﺴﻄﲔ‪.‬‬
‫ﻭﻛﺬﻟﻚ ﺍﻟﻌﺎﺷﻖ ﻳﺘﻨﻘّﻞ ﺑﻴﻨﻨﺎ ﻣﻦ ﻏﻴﺮ ﺃﻥ ﻧﻨﻔﻌﻪ ﺑﺸﻲﺀ ﺁﺧﺮ ﺳﻮﻯ ﺍﻻﺣﺘﻜﺎﻙ ﲟﺤﻴﻂ‬
‫ﺣﺴﺎﺳﻴﺘﻪ‪ .‬ﻫﻮ ﻳﺮﻯ ﺣﻴﺎﺗﻪ ﻭﻳﻌﺘﻘﺪ ﺃﻧﱠﻬﺎ ﻗُﺮّﺭﺕ ﻣﺴﺒﻘﺎً ﻭﺇﻟﻰ ﺍﻷﺑﺪ‪.‬‬
‫ﻭﺍﳊﻴﺎﺓ ﰲ "ﺣﺎﻟﺔ ﺍﳉﺬﺏ" ﺻﻮﻓﻴﱠﺔ ﻛﺎﻧﺖ ﺃﻡ ﻋﺸﻘﻴﱠﺔ ﺗﻔﻘﺪ ﺛﻘﻼً ﻭﺧﺸﻮﻧﺔ‪.‬‬
‫ﻓﻴﺒﺘﺴﻢ ﺍﻟﺴﱠﻌﻴﺪ ﻟﻜﻞﱢ ﻣﺎ ﻳﺤﻴﻂ ﺑﻪ ﺑﺄﺭﻳﺤﻴﱠﺔ ﺳﻴﺪ ﻋﻈﻴﻢ‪ .‬ﻟﻜﻦﱠ ﺃﺭﻳﺤﻴﱠﺔ ﺍﻟﺴﻴﺪ ﺍﻟﻌﻈﻴﻢ‬
‫ﺿﺌﻴﻠﺔ ﺩﺍﺋﻤﺎً ﻭﻻ ﺗﺴﺘﻠﺰﻡ ﺟﻬﺪﺍً‪ .‬ﻭﺃﺭﻳﺤﻴﱠﺘﻪ ﻗﻠﻴﻠﺔ ﺍﻟﺴﱠﺨﺎﺀ ﺟﺪﱠﺍً‪ .‬ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻫﻲ‬
‫ﺻﺎﺩﺭﺓ ﻋﻦ ﺍﻻﺯﺩﺭﺍﺀ‪ .‬ﻓﻤﻦ ﻳﺤﺴﺐ ﻧﻔﺴﻪ ﻣﻦ ﻃﺒﻴﻌﺔ ﻋﻠﻴﺎ ﻳﺪﺍﻋﺐ ﺑﺄﺭﻳﺤﻴﱠﺔٍ ﺍﻟﻜﺎﺋﻨﺎﺕ‪،‬‬
‫ﻛﺎﺋﻨﺎﺕ ﻣﻦ ﺭﺗﺒﺔٍ ﺩﻧﻴﺎ ﻻ ﺗﺴﺘﻄﻴﻊ ﺃﻥ ﺗُﻠﺤﻖ ﺑﻪ ﺿﺮﺭﺍً‪ ،‬ﻟﺴﺒﺐ ﺑﺴﻴﻂ ﻛﻮﻧﻪ "ﻻ ﻳﺘﻌﺎﻣﻞ‬
‫ﻣﻌﻬﻢ" ﻭﻻ ﻳﻌﻴﺶ ﻣﻌﻬﻢ‪ .‬ﻭﻗﻤّﺔ ﺍﻻﺯﺩﺭﺍﺀ ﺃﻧﱠﻨﺎ ﻻ ﻧﺘﻔﻀّﻞ ﻓﻨﻜﺸﻒ ﻋﻴﻮﺏ ﺍﻵﺧﺮ‪ .‬ﻭﺇﻧﱠﻤﺎ‬
‫ﻧُﺴﻘﻂ ﻋﻠﻴﻪ ﻣﻦ ﻋﻠﻴﺎﺋﻨﺎ ﺍﻟﺘﻲ ﻻ ﺗُﺪﺭﻙ‪ ،‬ﺿﻮﺀَ ﺳﻌﺎﺩﺗﻨﺎ ﺍﳌﻼﺋﻢ‪ :‬ﻭﻫﻜﺬﺍ ﻛﻞّ ﺷﻲﺀ‬
‫ﺟﻤﻴﻞ ﻭﻟﻄﻴﻒ ﰲ ﻧﻈﺮ ﺍﻟﺼﻮﰲ ﻭﻧﻈﻴﺮﻩ ﺍﶈﺐّ‪ .‬ﻓﺈﺫﺍ ﻧﻈﺮ ﺇﻟﻰ ﺍﻷﺷﻴﺎﺀ ﻣﺮﱠﺓ ﺃﺧﺮﻯ‬
‫ﺑﻌﺪ ﻣﺮﺣﻠﺔ ﺍﻟﺬﻫﻮﻝ‪ ،‬ﻓﺈﻧﱠﻪ ﻻ ﻳﺮﺍﻫﺎ ﰲ ﺫﺍﺗﻬﺎ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻣﻌﻜﻮﺳﺔ ﰲ ﺍﻟﺸﻲﺀ ﺍﻟﻮﺣﻴﺪ‬
‫ﺍﳌﻮﺟﻮﺩ ﻟﻪ‪ :‬ﺍﷲ ﺃﻭ ﺍﶈﺒﻮﺏ‪ .‬ﻭﻣﺎ ﻳﻨﻘﺼﻬﺎ ﻣﻦ ﻟﻄﻒ‪ ،‬ﺗﻀﻔﻴﻪ ﻋﻠﻴﻬﺎ ﺍﳌﺮﺁﺓ ﺍﻟﺮﺍﺋﻌﺔ‬
‫ﺍﻟﺘﻲ ﻳﺘﺄﻣﻠﻬﺎ ﻓﻴﻬﺎ‪ .‬ﻭﻫﻜﺬﺍ ﺇﻳﻜﻬﺎﺭﺕ ﺍﻟﺬﻱ ﻧﺒﺬ ﺍﻷﺷﻴﺎﺀ ﻓﺘﻠﻘﱠﺎﻫﺎ ﻣﺮﱠﺓً ﺃﺧﺮﻯ ﻣﻦ ﺍﷲ‪،‬‬
‫ﻛﻤﻦ ﻳُﻮﻟﻲ ﺍﳌﻨﻈﺮ ﺍﻟﻄﱠﺒﻴﻌﻲ ﻇﻬﺮﻩ ﻓﻴﺠﺪﻩ ﻣﻌﻜﻮﺳﺎً ﻣﺠﺴﱠﺪﺍً ﰲ ﺳﻄﺢ ﺍﻟﺒﺤﻴﺮﺓ‬
‫ﺍﻟﺼﱠﻘﻴﻞ ﺍﻟﺮﱠﺍﺋﻊ‪ .‬ﺃﻭ ﻛﺄﺷﻌﺎﺭ ﻣﻮﺍﻃﻨﻨﺎ ﺳﺎﻥ ﺧﻮﺍﻥ ﺩﻳﻼﻛﺮﻭﺙ‪ ،‬ﺍﳌﺸﻬﻮﺭﺓ‪:‬‬
‫ﻣﻀﻰ ﻋﺒﺮ ﻫﺬﻩ ﺍﻷﻳﻜﺔ ﺑﺴﺮﻋﺔ‬
‫ﺳﺎﻛﺒﺎً ﺃﻟﻒ ﺟﻤﺎﻝ‪.‬‬
‫ﻭﺇﺫْ ﺳﺎﺭ ﻧﺎﻇﺮﺍً ﺇﻟﻴﻬﺎ‬
‫ﺑﺼﻔﺤﺔ ﻭﺟﻬﻪ ﻭﺣﺪﻫﺎ‬
‫ﺟﻌﻠﻬﺎ ﺗﻜﺘﺴﻲ ﺑﺎﳉﻤﺎﻝ‪.‬‬
‫ﻭﻳﻀﻐﻂ ﺍﻟﺼﻮﰲ ﻧﻔﺴﻪ ﺇﺳﻔﻨﺠﺔ ﺍﻷﻟﻮﻫﺔ‪ ،‬ﻗﻠﻴﻼً ﻋﻠﻰ ﺍﻷﺷﻴﺎﺀ‪ :‬ﺣﻴﻨﺌﺬٍ ﺗﺮﺷﺢ‬
‫ﺍﻷﻟﻮﻫﺔُ ﺳﺎﺋﻠﺔ ﻭﺗﻄﻠﻴﻬﺎ‪ .‬ﻭﻛﺬﻟﻚ ﺍﶈﺐّ‪.‬‬
‫ﻟﻜﻨﱠﻨﺎ ﺳﻨﺴﻘﻂ ﰲ ﺍﳋﻄﺄ ﺇﺫﺍ ﺷﻜﺮﻧﺎ ﻟﻠﺼّﻮﰲ ﺃﻭ ﻟﻠﻌﺎﺷﻖ ﻫﺬﻩ‬
‫"ﺍﻷﺭﻳﺤﻴﱠﺔ"‪ .‬ﺇﻧﱠﻬﻤﺎ ﻳﺤﺘﻔﻴﺎﻥ ﺑﺎﻟﻜﺎﺋﻨﺎﺕ ﺑﺬﺍﺕ ﻋﺪﻡ ﺍﻻﻫﺘﻤﺎﻡ ﺑﻬﻢ ﰲ ﺍﳊﻘﻴﻘﺔ‪.‬‬
‫ﺇﻧﱠﻬﻤﺎ ﳝﻀﻴﺎﻥ ﻟﺸﺄﻧﻬﻤﺎ ﺑﺴﺮﻋﺔ‪ .‬ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻳﺰﻋﺠﻬﻤﺎ ﻗﻠﻴﻼً ﺃﻥ ﻳُﺤﺘﺠﺰَﺍ ﻛﺜﻴﺮﺍً‪،‬‬
‫‪-٦٣-‬‬
‫ﻛﻤﺎ ﻳﺰﻋﺞ ﺍﻟﺴﻴﺪَ ﺍﻟﻌﻈﻴﻢَ "ﺍﻫﺘﻤﺎﻡُ ﺍﻟﻔﻼﱠﺣﲔ"‪ .‬ﻟﺬﻟﻚ ﻛﺎﻧﺖ ﻟﻄﻴﻔﺔً ﻋﺒﺎﺭﺓُ ﺳﺎﻥ‬
‫ﺧﻮﺍﻥ ﺩﻳﻼﻛﺮﻭﺙ ﺣﻴﻨﻤﺎ ﻳﻘﻮﻝ‪:‬‬
‫ﺃﺑﻌﺪﻫﻢ‪ ،‬ﻳﺎ ﺣﺒﻴﺒﻲ‬
‫ﻓﺄﻧﺎ ﺃﻃﻴﺮ ﻃﻴﺮﺍﻧﺎً‪.‬‬
‫ﻭﺇﻥﱠ ﻟﺬّﺓ "ﺣﺎﻟﺔ ﺍﳉﺬﺏ"‪ ،‬ﺃﻳﻨﻤﺎ ﻣﺜُﻠﺖ‪ ،‬ﺗﻜﻤﻦ ﰲ ﺃﻥ ﻳﻜﻮﻥ ﺍﳌﺮﺀ ﺧﺎﺭﺝ ﺍﻟﻌﺎﻟﻢ‬
‫ﻭﺧﺎﺭﺝ ﺫﺍﺗﻪ‪ .‬ﻭﻫﺬﺍ ﻣﺎ ﺗﻌﻨﻴﻪ ﺣﺮﻓﻴﱠﺎً ‪ :ex-tasis‬ﺧﺎﺭﺝ ﺍﻟﺬﺍﺕ ﻭﺧﺎﺭﺝ ﺍﻟﻌﺎﻟﻢ‪.‬‬
‫ﻭﻳﺼﻠﺢ ﺃﻥ ﻧﻼﺣﻆ ﻫﻨﺎ‪ ،‬ﺃﻥﱠ ﻫﻨﺎﻙ ﳕﻮﺫﺟﲔ ﻣﻦ ﺍﻟﺒﺸﺮ ﻻ ﻳﻠﺘﻘﻴﺎﻥ‪ :‬ﺃﻭﻟﺌﻚ‬
‫ﺍﻟﺬﻳﻦ ﻳﺸﻌﺮﻭﻥ ﺑﺎﻟﺴﻌﺎﺩﺓ ﺃﻧﱠﻬﺎ ﺧﺎﺭﺝ ﺍﻟﺬﺍﺕ‪ ،‬ﻭﺍﻟﺬﻳﻦ ﻳﺸﻌﺮﻭﻥ ﻋﻠﻰ ﺍﻟﻌﻜﺲ ﻣﻨﻬﻢ‪،‬‬
‫ﺑﺎﻟﻬﻨﺎﺀ ﺇﺫﺍ ﻛﺎﻧﻮﺍ ﰲ ﻛﺎﻣﻞ ﻭﻋﻴﻬﻢ‪ .‬ﻭﻛﺜﻴﺮﺓ ﻟﻠﻐﺎﻳﺔ ﺍﻟﻮﺳﺎﺋﻞ ﺍﳌﻮﺟﻮﺩﺓ ﻟﻠﺨﺮﻭﺝ ﻣﻦ‬
‫ﺍﻟﺬﺍﺕ ﺑﺪﺀﺍً ﻣﻦ ﺍﳋﻤﺮﺓ ﺣﺘﻰ ﺍﻟﻐﻴﺒﻮﺑﺔ ﺍﻟﺼﻮﻓﻴﱠﺔ‪ .‬ﻛﻤﺎ ﻫﻲ ﻛﺜﻴﺮﺓ ﺟﺪﱠﺍً ﺍﻟﻮﺳﺎﺋﻞ ﺍﻟﺘﻲ‬
‫ﺗُﺤﺪﺙ ﺣﺎﻟﺔ ﺍﻟﻮﻋﻲ ﺑﺪﺀﺍً ﻣﻦ ﺍﻟﺪﻭﺵ ﺣﺘﱠﻰ ﺍﻟﻔﻠﺴﻔﺔ‪ .‬ﻭﻫﺎﺗﺎﻥ ﺍﻟﻔﺌﺘﺎﻥ ﻣﻦ ﺍﻟﺒﺸﺮ‬
‫ﺗﺒﺘﻌﺪﺍﻥ ﻋﻦ ﺑﻌﻀﻬﻤﺎ ﰲ ﻛﻞﱢ ﻣﺴﺘﻮﻳﺎﺕ ﺍﳊﻴﺎﺓ‪ .‬ﻭﻫﻜﺬﺍ ﻳﻮﺟﺪ ﺃﻧﺼﺎﺭ ﺍﻟﻔﻦ‬
‫"ﺍﻟﻮﺟﺪﻱ" ﺃﻭ ﺍﳉﺬﺑﻲ‪ ،‬ﺍﻟﺬﻳﻦ ﻳﺮﻭﻥ ﺃﻥﱠ ﺍﻟﺘﱠﻤﺘﱡﻊ ﺑﺎﳉﻤﺎﻝ ﻳﻜﻮﻥ "ﺑﺎﻻﻧﻔﻌﺎﻝ"‪ .‬ﻭﻫﻨﺎﻙ‬
‫ﺁﺧﺮﻭﻥ ﺑﺎﳌﻘﺎﺑﻞ‪ ،‬ﻳﺤﻜﻤﻮﻥ ﻋﻠﻰ ﺍﳌﺘﻌﺔ ﺍﻟﻔﻨﻴﺔ ﺍﳊﻘﻴﻘﻴﱠﺔ ﺑﺎﳊﻔﺎﻅ ﻋﻠﻰ ﺍﻟﺼﻔﺎﺀ‬
‫ﺍﻟﺬﻫﻨﻲ ﺍﻟﺬﻱ ﻳﺴﻤﺢ ﺑﺘﺄﻣّﻞ ﺍﳌﻮﺿﻮﻉ ﺫﺍﺗﻪ ﺗﺄﻣﱡﻼً ﺑﺎﺭﺩﺍً ﻭﻭﺍﺿﺤﺎً‪.‬‬
‫ﻟﻘﺪ ﺻﺮﱠﺡَ ﺑﻮﺩﻟﻴﺮ ‪ Beaudelaire‬ﺗﺼﺮﻳﺤﺎً ﺟﺬﺑﻴﱠﺎً ﳌﱠﺎ ﺃﺟﺎﺏ ﻋﻦ ﺳﺆﺍﻝ‬
‫ﺣﻮﻝ ﺃﻳﻦ ﻳُﻔﻀﱢﻞ ﺃﻥ ﻳﻌﻴﺶ‪" :‬ﰲ ﺃﻳﱠﻤﺎ ﻣﻜﺎﻥ‪ ،‬ﰲ ﺃﻳﱠﻤﺎ ﻣﻜﺎﻥ‪ ...‬ﺷﺮﻁ ﺃﻥ ﻳﻜﻮﻥ‬
‫ﺧﺎﺭﺝ ﺍﻟﻌﺎﻟﻢ!"‪.‬‬
‫ﺇﻥﱠ ﺍﻟﺮﱠﻏﺒﺔ ﰲ ﺍﳋﺮﻭﺝ ﻣﻦ ﺍﻟﺬﱠﺍﺕ ﺧﻠﻘﺖ ﺃﺷﻜﺎﻝَ ﺍﻟﻘﺼْﻒ ﻛﻠﻬﺎ‪ :‬ﺳﻮﺍﺀ ﺃﻛﺎﻧﺖ‬
‫ﺳﻜﺮﺍً ﺃﻡ ﺗﺼﻮﱡﻓﺎً ﺃﻡ ﻋﺸﻘﺎً‪ ،‬ﺇﻟﺦ‪ .‬ﻭﺃﻧﺎ ﻻ ﺃﻗﻮﻝ ﺑﺬﻟﻚ ﺇﻧﱠﻬﺎ ﻛﻠّﻬﺎ ﺗﺤﻤﻞ "ﺍﻟﻘﻴﻤﺔ" ﺫﺍﺗﻬﺎ‪.‬‬
‫ﺇﻧﱠﻤﺎ ﺃﻭﺣﻲ ﺃﻧﱠﻬﺎ ﺗﻨﺘﻤﻲ ﺇﻟﻰ ﺍﻟﺼﻨﻒ ﺫﺍﺗﻪ ﻭﻟﻬﺎ ﺟﺬﺭ ﻳﻐﻮﺹ ﰲ ﺍﻟﻘﺼْﻒ‪ .‬ﻟﺬﻟﻚ ﻟﻢ‬
‫ﻳﻜﻦ ﻣﺼﺎﺩﻓﺔً ﺍﺳﺘﻌﻤﺎﻝ ﺻﻮﺭﺓ ﺍﳋﻄﻒ ﺃﻭ ﺍﻻﻧﺘﺰﺍﻉ ﺍﺳﺘﻌﻤﺎﻻً ﻣﺘﻄﺎﺑﻘﺎً ﰲ ﺍﻟﺘﺼﻮﻑ‬
‫ﻭﺍﳊﺐّ‪ .‬ﻭﺍﻧﺘﺰﺍﻉ ﺍﳌﺮﺀ ﻫﻮ ﺃﻻ ﻳﺴﻴﺮ ﻋﻠﻰ ﻗﺪﻣﻴﻪ ﺫﺍﺗﻬﻤﺎ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻮ ﺷﻌﻮﺭﻩ ﺑﺄﻥﱠ ﺃﺣﺪﺍً‬
‫ﺃﻭ ﺷﻴﺌﺎً ﻣﺎ ﻳﺤﻤﻠﻪ‪ .‬ﻭﺍﳋﻄﻒ ﻫﻮ ﺃﻭﱠﻝ ﺃﺷﻜﺎﻝ ﺍﳊﺐّ ﻣﺤﻔﻮﻇﺎً ﰲ ﺍﳌﻴﺜﻮﻟﻮﺟﻴﺎ ﺗﺤﺖ‬
‫ﻧﻮﻉ ﺍﻟﺴﻨﻄﻮﺭ‪ 1‬ﺻﻴﺎﺩ ﺍﳊﻮﺭﻳﱠﺎﺕ ﺍﻟﻼﺗﻲ ﻳﺠﻠﺴﻦ ﻋﻠﻰ ﻛﻔﻠﻴﻪ‪.‬‬

‫)‪ (١‬ﻛﺎﺋﻦ ﺧﺮﺍﰲ ﻟﻪ ﺭﺃﺱ ﺇﻧﺴﺎﻥ ﻭﺟﺴﻢ ﺣﺼﺎﻥ ﻭﻣﺨﺎﻟﺐ ﺃﺳﺪ‪ – .‬ﺍﳌﺘﺮﺟﻢ‪.‬‬
‫‪-٦٤-‬‬
 ‫ﻭﻟﻘﺪ ﻇﻠﱠﺖ ﰲ ﻃﻘﺲ ﺍﻟﺰﱠﻭﺍﺝ ﺍﻟﺮﻭﻣﺎﻧﻲ ﺑﻘﻴﱠﺔٌ ﻣﻦ ﺍﳋﻄﻒ ﺍﻷﺻﻠﻲ‪ :‬ﺇﺫْ ﻣﺎ‬
‫ﻛﺎﻧﺖ ﺗﺪﺧﻞ ﺍﻟﺰﱠﻭﺟﺔ ﺑﻴﺖ ﺍﻟﺰﱠﻭﺟﻴﱠﺔ ﺑﻘﺪﻣﻬﺎ ﺫﺍﺗﻬﺎ ﻭﺇﻧﱠﻤﺎ ﻳﺤﻤﻠﻬﺎ ﺍﻟﺰﱠﻭﺝ ﰲ ﺍﻟﻬﻮﺍﺀ ﻟﺌﻼﱠ‬
‫ﺗﻄﺄ ﺍﻟﻌﺘﺒﺔ‪ .‬ﻭﺁﺧﺮ ﺗﺼﻌﻴﺪ ﺭﻣﺰﻱ ﻟﻬﺬﺍ ﺍﻟﺸﱠﻜﻞ "ﻏﻴﺒﻮﺑﺔ" ﺍﻟﺮﺍﻫﺒﺔ ﺍﻟﺼﻮﻓﻴﺔ ﻭﺍﺭﺗﻔﺎﻋﻬﺎ‬
‫ﰲ ﺍﻟﻬﻮﺍﺀ‪ ،‬ﻭﺇﻏﻤﺎﺀﺓُ ﺍﻟﻌﺸﱠﺎﻕ‪.‬‬
‫ﻟﻜﻦﱠ ﻫﺬﺍ ﺍﻟﺘﱠﻮﺍﺯﻱ ﺍﳌﺪﻫﺶ ﺑﲔ ﺍﳉﺬﺏ ﻭ"ﺍﳊﺐ" ﻳﻜﺘﺴﺐ ﻣﻈﻬﺮﺍً ﺃﺧﻄﺮ‬
‫ﻣﻦ ﺫﻟﻚ ﺇﺫﺍ ﻗﺎﺭ ﻧﱠﺎ ﺍﻟﺸﻴﺌﲔ ﻛﻠﻴﻬﻤﺎ ﺑﺤﺎﻟﺔ ﺃﺧﺮﻯ ﻏﻴﺮ ﻃﺒﻴﻌﻴﱠﺔ ﻟﻠﺸﱠﺨﺺ‪ :‬ﻭﻫﻲ‬
‫ﺍﻟﺘﱠﻨﻮﱘ ﺍﳌﻐﻨﺎﻃﻴﺴﻲ‪.‬‬
‫ﻟﻘﺪ ﻟﻮﺣﻆ ﻣﺎﺋﺔ ﻣﺮﱠﺓ ﺃﻥﱠ ﺍﻟﺘﱠﺼﻮّﻑ ﻳﺸﺒﻪ ﺍﻟﺘﻨﻮﱘ ﺍﳌﻐﻨﺎﻃﻴﺴﻲ ﺑﺈﻓﺮﺍﻁ‪ .‬ﺇﺫْ‬
‫ﻳﻮﺟﺪ ﰲ ﻫﺬﺍ ﺃﻭ ﺫﺍﻙ ﻏﻴﺒﻮﺑﺔ ﻭﻫﻠﻮﺳﺎﺕ ﻭﺣﺘﱠﻰ ﺁﺛﺎﺭ ﺟﺴﻤﺎﻧﻴﱠﺔ ﻣﺘﻄﺎﺑﻘﺔ‪ ،‬ﻛﻌﺪﻡ‬
‫ﺍﳊﺴﺎﺳﻴﱠﺔ ﻭﺍﻟﺘﱠﺨﺸﱡﺐ‪.‬‬
‫ﻭﺃﻧﺎ‪ ،‬ﻣﻦ ﺟﻬﺘﻲ‪ ،‬ﻛﻨﺖ ﺃﺧﻤّﻦ ﺩﺍﺋﻤﺎً ﻭﺟﻮﺩ ﺗﻘﺎﺭﺏ ﺑﲔ ﺍﻟﺘﻨﻮﱘ ﺍﳌﻐﻨﺎﻃﻴﺴﻲ‬
‫ﻭﺍﻟﻌﺸﻖ‪ .‬ﻭﻟﻢ ﺃﺟﺮﺅ ﻗﻂّ ﻋﻠﻰ ﺻﻮﻍ ﻫﺬﺍ ﺍﻟﺘﱠﻔﻜﻴﺮ‪ ،‬ﻭﺳﺒﺐ ﺫﻟﻚ ﻳﻮﺟﺪ ﻛﻤﺎ ﺃﺭﻯ‪ ،‬ﰲ ﺃﻥّ‬
‫َﺍﻟﺘّﻨﻮﱘ ﺍﳌﻐﻨﺎﻃﻴﺴﻲ ﻳﺒﺪﻭ ﻟﻲ ﺃﻳﻀﺎً ﻇﺎﻫﺮﺓ ﻣﻦ ﻇﻮﺍﻫﺮ ﺍﻻﻧﺘﺒﺎﻩ‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻟﻢ ﻳﺪﺭﺱ‬
‫ﺃﺣﺪٌ ﻋﻠﻰ ﻋﻠﻤﻲ‪ ،‬ﺍﻟﺘﻨﻮﱘ ﺍﳌﻐﻨﺎﻃﻴﺴﻲ ﺍﻧﻄﻼﻗﺎً ﻣﻦ ﻭﺟﻬﺔ ﺍﻟﻨﱠﻈﺮ ﻫﺬﻩ‪ ،‬ﻋﻠﻰ ﺍﻟﺮّﻏﻢ ﻣﻦ‬
‫ﺃﻧﱠﻪ ﺗﻮﺟﺪ ﰲ ﻣﺘﻨﺎﻭﻝ ﺍﻟﻴﺪ ﻭﺍﻗﻌﺔ ﻛﺎﻟﻨﱠﻮﻡ ﺍﻟﺬﻱ ﻳﺮﺗﺒﻂ ﻣﻦ ﺍﳉﺎﻧﺐ ﺍﻟﻨﱠﻔﺴﻲ‪ ،‬ﺑﺎﳊﺎﻟﺔ‬
‫ﺍﻟﺘﱠﻨﺒﱡﻬﻴﱠﺔ‪ .‬ﻓﻘﺪ ﻻﺣﻆ ﻛﻼﺑﺎﺭﻳﺪ ‪ Claparide‬ﻣﻨﺬ ﺳﻨﲔ ﻛﺜﻴﺮﺓ‪ ،‬ﺃﻧﱠﻨﺎ ﻧﻘﺎﺭﺏ ﺍﻟﻨﱠﻮﻡ ﲟﻘﺪﺍﺭ‬
‫ﻣﺎ ﻧﺴﺘﻄﻴﻊ ﺻﺮﻑ ﺍﻻﻫﺘﻤﺎﻡ ﺑﺎﻷﺷﻴﺎﺀ‪ ،‬ﻭﺇﻟﻐﺎﺀ ﺍﻻﻧﺘﺒﺎﻩ ﻟﻬﺎ‪ .‬ﻭﺗﻜﻤﻦ ﺍﻟﺘﻘﻨﻴﱠﺔ ﺍﻟﺘﻲ ﺗﺴﻬّﻞ‬
‫ﺍﻟﻨﱠﻮﻡ ﰲ ﺃﻥ ﻧﺴﺘﺠﻤﻊ ﺍﻧﺘﺒﺎﻫﻨﺎ ﻋﻠﻰ ﺷﻲﺀ ﻣﺎ ﺃﻭ ﻋﻠﻰ ﻧﺸﺎﻁ ﻣﻴﻜﺎﻧﻴﻜﻲ‪ ،‬ﻛﺎﳊﻜﻲ ﻣﺜﻼً‪.‬‬
‫ﻭﻟْﻨﻘﻞْ ﺇﻥﱠ ﺍﻟﻨﱠﻮﻡ ﺍﻟﻄﱠﺒﻴﻌﻲ ﻛﻤﺎ ﺍﻟﻐﻴﺒﻮﺑﺔ ﻫﻤﺎ ﺗﻨﻮﱘ ﻣﻐﻨﺎﻃﻴﺴﻲ ﺫﺍﺗﻲ‪.‬‬
‫ﻟﻜﻦ‪ ،‬ﻫﺎﻫﻮ ﺑﺎﺑﻠﻮ ﺷﻴﻠﺪﺭ ‪ ،Schilder‬ﻭﻫﻮ ﺃﺣﺪ ﺃﺫﻛﻰ ﻋﻠﻤﺎﺀ ﺍﻟﻨﻔﺲ ﰲ‬
‫ﻋﺼﺮﻧﺎ‪ ،‬ﺭﺃﻯ ﺃﻥْ ﻻ ﻣﺤﻴﺪ ﻋﻦ ﻗﺒﻮﻝ ﻭﺟﻮﺩ ﻗﺮﺍﺑﺔ ﻭﺛﻴﻘﺔ ﺑﲔ ﺍﻟﺘﱠﻨﻮﱘ ﺍﳌﻐﻨﺎﻃﻴﺴﻲ‬
‫ﻭﺍﳊﺐّ‪ .‬ﻭﺳﻮﻑ ﺃﺣﺎﻭﻝ ﺗﻠﺨﻴﺺ ﺃﻓﻜﺎﺭﻩ ﺍﻟﺘﻲ‪ ،‬ﻭﺇﻥ ﻛﺎﻧﺖ ﻣﺴﺘﻮﺣﺎﺓ ﻣﻦ ﺃﺳﺒﺎﺏ ﺟﺪّ‬
‫ﻣﺨﺘﻠﻔﺔ ﻋﻦ ﺃﺳﺒﺎﺑﻲ‪ ،‬ﺗُﻘﻔﻞ ﻫﺬﻩ ﺍﳊﻠﻘﺔ ﻣﻦ ﺍﻟﺘﻄﺎﺑﻖ ﺑﲔ ﺍﻟﻌﺸﻖ ﻭﺍﳉﺬﺏ ﺍﻟﺼّﻮﰲ‬
‫ﻭﺍﻟﺘﱠﻨﻮﱘ ﺍﻟﺬﻱ ﺣﺎﻭﻝ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺃﻥ ﻳﺒﺮﺯﻩ‪.‬‬
‫ﻭﻫﺎﻛﻢ ﺳﻠﺴﻠﺔ ﺃﻭﻟﻰ ﻣﻦ ﺗﻄﺎﺑﻘﺎﺕ ﺍﻟﻌﺸﻖ ﻣﻊ ﺍﻟﺘﱠﻨﻮﱘ ﺍﳌﻐﻨﺎﻃﻴﺴﻲ‪ ،‬ﺇﻥﱠ‬
‫ﺍﻟﺘﱠﺪﺍﺑﻴﺮ ﺍﻟﺘﻲ ﺗُﺴﻬّﻞ ﺍﻟﺪﺧﻮﻝ ﰲ ﺍﻟﺘﱠﻨﻮﱘ ﺍﳌﻐﻨﺎﻃﻴﺴﻲ ﲤﺘﻠﻚ ﻗﻴﻤﺔ ﺟﻨﺴﻴﱠﺔ‪ :‬ﻣﺮﻭﺭ‬
‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺍﻟﺤﺏ ﻡ ‪٥-‬‬ ‫‪-٦٥-‬‬
 ‫ﺍﻟﻴﺪ ﺍﳊﻠﻮ ﻛﺎﳌﺪﺍﻋﺒﺎﺕ؛ ﻭﺍﻟﻜﻼﻡ ﺍﳌﻮﺣﻲ ﻭﺍﳌﻬﺪّﺉ ﰲ ﺁﻥٍ ﻭﺍﺣﺪ‪ ،‬ﻭ"ﺍﻟﻨﻈﺮﺓ ﺍﻟﻔﺎﺗﻨﺔ"؛‬
‫ﻭﺑﻌﺾ ﺍﻟﻌﻨﻒ ﺍﻵﻣﺮ ﺃﺣﻴﺎﻧﺎً ﺳﻮﺍﺀ ﺑﺎﳊﺮﻛﺔ ﺃﻡ ﺑﺎﻟﺼﱠﻮﺕ‪ .‬ﻓﺈﺫﺍ ﻧُﻮﱢﻣﺖ ﺍﻟﻨﺴﺎﺀ‬
‫ﻣﻐﻨﺎﻃﻴﺴﻴﱠﺎً ﻓﻤﻦ ﺍﻟﺸﱠﺎﺋﻊ ﺃﻥ ﻳﺘﻠﻘﱠﻰ ﺍﳌﻨﻮﱢﻡ ﳊﻈﺔ ﺍﻟﺪﺧﻮﻝ ﰲ ﺍﻟﻨﱠﻮﻡ ﺃﻭ ﺍﻟﻠﺤﻈﺔ ﺍﻟﺘﺎﻟﻴﺔ‬
‫ﻟﻼﺳﺘﻴﻘﺎﻅ‪ ،‬ﺗﻠﻚ ﺍﻟﻨﻈﺮﺓَ ﺍﻟﻜﺴﻴﺮﺓ ﺍﳌﻤﻴﱠﺰﺓ ﺟﺪﱠﺍً ﻟﻺﺛﺎﺭﺓ ﺃﻭ ﺍﻹﺷﺒﺎﻉ ﺍﳉﻨﺴﻴﲔ‪.‬‬
‫ﻭﻏﺎﻟﺒﺎً ﻣﺎ ﻳُﻌﻠﻦ ﺍﳌﻨﻮﱠﻡ ﺃﻧﱠﻪ ﺷﻌﺮ ﺧﻼﻝ ﺍﻟﻐﻴﺒﻮﺑﺔ ﺑﺎﻧﻄﺒﺎﻉ ﻟﺬﻳﺬ ﺑﺎﳊﺮﺍﺭﺓ ﻭﺍﻟﺮﱠﺍﺣﺔ ﰲ‬
‫ﺃﳓﺎﺀ ﺟﺴﻤﻪ ﻛﻠّﻬﺎ‪ .‬ﻭﻻ ﻏﺮﺍﺑﺔ ﰲ ﺃﻥ ﻳﻠﻤﺢ ﺃﺣﺎﺳﻴﺲ ﺟﻨﺴﻴﱠﺔ ﺑﺸﻜﻞ ﻗﺎﻃﻊ‪ .‬ﻭﺗﺘﱠﺠﻪ‬
‫ﺍﻹﺛﺎﺭﺓ ﺍﳉﻨﺴﻴﱠﺔ ﺇﻟﻰ ﺍﳌﻨﻮﱢﻡ ﺍﻟﺬﻱ ﻳﻜﻮﻥ ﻣﻮﺿﻮﻉ ﻣﺮﺍﻭﺩﺓ ﻏﺮﺍﻣﻴﱠﺔ ﺑﺠﻼﺀ‪ .‬ﻭﺗﺘﻜﺜﱠﻒ‬
‫ﺃﺣﻴﺎﻧﺎً ﺗﺨﻴﱡﻼﺕ ﺍﳌﻨﻮﱠﻣﺔِ ﺍﳉﻨﺴﻴﱠﺔُ‪ ،‬ﰲ ﺫﻛﺮﻳﺎﺕٍ ﺯﺍﺋﻔﺔ‪ ،‬ﻭﺗﺘّﻬﻢ ﺍﳌﻨﻮﱢﻡ ﺃﻧﱠﻪ ﻋﺒﺚ ﺑﻬﺎ‪.‬‬
‫ﻭﻳﻘﺪﱢﻡ ﻟﻨﺎ ﺍﻟﺘﻨﻮﱘ ﺍﳌﻐﻨﺎﻃﻴﺴﻲ ﻋﻨﺪ ﺍﳊﻴﻮﺍﻥ ﺑﻌﺾ ﺍﳌﻌﻄﻴﺎﺕ ﺫﺍﺕ ﺍﻟﺼﻠﺔ‬
‫ﺑﺎﳌﻮﺿﻮﻉ‪ .‬ﺇﺫْ ﺗﺤﺎﻭﻝ ﺍﻷﻧﺜﻰ ﰲ ﺍﻟﺼﻨﻒ ﺍﻟﺮﱠﻫﻴﺐ ﻣﻦ ﺍﻟﻌﻨﺎﻛﺐ ﺍﳌﺴﻤﱠﺎﺓ ‪galeodes‬‬
‫‪ ،kaspicus Turkestanus‬ﺃﻥ ﺗﻠﺘﻬﻢ ﺍﻟﺬﻛﻮﺭ ﺍﻟﺘﻲ ﺗﻐﺎﺯﻟﻬﺎ‪ .‬ﻓﺈﺫﺍ ﻭُﻓﱢﻖَ ﺍﻟﺬﱠﻛﺮُ ﰲ ﺍﻟﻘﺒﺾ‬
‫ﺑﻜﻤﱠﺎﺷﺘﻴﻪ ﻋﻠﻰ ﺑﻄﻦ ﺍﻷﻧﺜﻰ ﰲ ﻧﻘﻄﺔ ﻣﻌﻴﱠﻨﺔ‪ ،‬ﺗﺴﻤﺢ ﻫﺬﻩ ﻭﺑﺴﻠﺒﻴﱠﺔ ﻛﺎﻣﻠﺔ ﺃﻥ ﺗﺘﻢّ‬
‫ﺍﻟﻌﻤﻠﻴﱠﺔ ﺍﳉﻨﺴﻴﱠﺔ‪ .‬ﻭﳝﻜﻦ ﺃﻥ ﺗﺘﻜﺮﱠﺭ ﻋﻤﻠﻴﱠﺔُ ﺷﻞّ ﺍﻷﻧﺜﻰ ﰲ ﺍﳌﺨﺘﺒﺮ ﺑﻠﻤﺲ ﺍﻟﺪﻭﻳّﺒﺔ ﰲ‬
‫ﻫﺬﺍ ﺍﳌﻜﺎﻥ‪ ،‬ﻓﺘﺴﻘﻂ ﻫﺬﻩ ﻟﺘﻮﱢﻫﺎ ﰲ ﺣﺎﻟﺔ ﻣﻦ ﺍﻟﺘﱠﻨﻮﱘ ﺍﳌﻐﻨﺎﻃﻴﺴﻲ‪ .‬ﻟﻜﻨﱠﻨﺎ ﻧﻼﺣﻆ ﺃﻥﱠ‬
‫ﺗﻠﻚ ﺍﻟﻨﱠﺘﻴﺠﺔ ﻳُﺤﺼﻞ ﻋﻠﻴﻬﺎ ﻓﻘﻂ ﰲ ﻓﺘﺮﺓ ﺍﻟﺸﱠﺒﻖ‪.‬‬
‫ﻭﻳﺨﺘﺘﻢ ﺷﻴﻠﺪﺭ ﺑﻌﺪ ﻫﺬﻩ ﺍﳌﻼﺣﻈﺎﺕ‪" :‬ﻛﻞ ﺫﻟﻚ ﻳﺠﻌﻠﻨﺎ ﻧﺸﺘﺒﻪ ﰲ ﺃﻥﱠ ﺍﻟﺘﱠﻨﻮﱘ‬
‫ﺍﳌﻐﻨﺎﻃﻴﺴﻲ ﻋﻨﺪ ﺍﻟﺒﺸﺮ ﻫﻮ ﺃﻳﻀﺎً ﻭﻇﻴﻔﺔ ﺑﻴﻮﻟﻮﺟﻴﱠﺔ ﺗﺴﺎﻋﺪ ﺍﻟﻮﻇﻴﻔﺔ ﺍﳉﻨﺴﻴﱠﺔ"‪.‬‬
‫ﰒﱠ ﻳﻨﺤﻮ ﳓْﻮَ ﺍﻟﻔﺮﻭﻳﺪﻳﱠﺔ ﺍﻟﺪﱠﺍﺋﻤﺔ ﺍﻟﺘﻲ ﻳُﻨﺒﺬ ﺑﻬﺎ ﻛﻞّ ﺗﻔﺴﻴﺮ ﻭﺍﺿﺢ ﻟﻠﻌﻼﻗﺔ ﺑﲔ‬
‫ﺍﻟﺘﱠﻨﻮﱘ ﻭ"ﺍﳊﺐّ"‪.‬‬
‫ﻭﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﺴﺘﺨﺮﺝ ﺃﻛﺒﺮ ﺍﻟﻔﻮﺍﺋﺪ ﻣﻦ ﺍﳌﻌﺎﻧﻲ ﺍﻟﺘﻲ ﲤﻴﱠﺰﺕ ﺑﻬﺎ ﺣﺎﻟﺔ ﺍﳌﻨﻮﱠﻡ‬
‫ﺍﻟﻨﻔﺴﻴﱠﺔ‪ .‬ﺇﻧﱠﻨﺎ‪ ،‬ﺣﺴﺐ ﺷﻴﻠﺪﺭ‪ ،‬ﺇﺯﺍﺀ ﺳﻘﻮﻁ ﺟﺪﻳﺪ ﰲ ﺣﺎﻟﺔ ﻃﻔﻠﻴﱠﺔ ﻣﻦ ﺍﻟﻮﻋﻲ‪ :‬ﺇﺫْ‬
‫ﻳُﺤﺲّ ﺍﻟﺸﱠﺨﺺ ﰲ ﻧﻔﺴﻪ ﻣﺴﺘﺴﻠﻤﺎً ﺑﻠﺬﱠﺓ ﺍﺳﺘﺴﻼﻣﺎً ﻛﺎﻣﻼً ﻟﺸﺨﺺ ﺁﺧﺮ‬
‫ﻭﻣﺴﺘﺮﻳﺤﺎً ﻟﺴﻠﻄﺎﻧﻪ‪ .‬ﻭﻣﻦ ﻏﻴﺮ ﻫﺬﻩ ﺍﻟﻌﻼﻗﺔ ﺑﺎﳌﻨﻮﱢﻡ ﻓﺈﻥﱠ ﺗﺄﺛﻴﺮﻩ ﻳﺼﺒﺢ ﻣﺤﺎﻻً‪ .‬ﻟﺬﻟﻚ‬
‫ﻳﺴﻬّﻞ ﻋﻤﻞَ ﺍﳌﻨﻮﱢﻡ ﻛﻞﱡ ﻣﺎ ﻳﺴﺎﻫﻢ ﰲ ﺭﻓﻊ ﺳﻠﻄﺎﻧﻪ‪ .‬ﻛﺎﻟﺸﻬﺮﺓ ﻭﺍﻟﻮﺿﻊ ﺍﻻﺟﺘﻤﺎﻋﻲ‬
‫ﻭﺍﳌﻈﻬﺮ ﺍﻟﻜﺮﱘ‪ .‬ﻭﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‪ ،‬ﻻ ﳝﻜﻦ ﻟﻠﺘﱠﻨﻮﱘ ﺍﳌﻐﻨﺎﻃﻴﺴﻲ ﺃﻥ ﻳﺘﻢّ ﻟﺪﻯ ﺍﻟﻜﺎﺋﻦ‬
‫ﺍﻟﺒﺸﺮﻱ ﺇﻻﱠ ﺇﺫﺍ ﻛﺎﻥ ﻣﺮﻏﻮﺑﺎً ﻓﻴﻪ‪.‬‬
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‫ﻭﻟﻴُﻼﺣﻆ ﺃﻥﱠ ﻫﺬﻩ ﺍﻟﺼﱢﻔﺎﺕ ﺟﻤﻴﻌﻬﺎ ﳝﻜﻦ ﺃﻥ ﺗﺮﺣّﻞ ﻣﻦ ﻏﻴﺮ ﺗﺤﻔّﻆ ﺇﻟﻰ‬
‫ﺍﻟﻌﺸﻖ‪ .‬ﻭﻗﺪ ﻻﺣﻈﻨﺎ ﺃﻥّ َﺍﻟﻌﺸﻖ "ﻣﺮﻏﻮﺏ ﻓﻴﻪ" ﺩﺍﺋﻤﺎً ﻭﻳﺴﺘﻠﺰﻡ ﺭﻏﺒﺔ ﰲ ﺍﺳﺘﺴﻼﻡ‬
‫ﺍﻟﺬﺍﺕ ﻭﺍﻻﺳﺘﺮﺍﺣﺔ ﻟﺪﻯ ﺍﻟﻜﺎﺋﻦ ﺍﻵﺧﺮ‪ .‬ﺭﻏﺒﺔٌ ﻫﻲ ﰲ ﺫﺍﺗﻬﺎ ﻟﺬﻳﺬﺓ‪ .‬ﺃﻣﱠﺎ ﺍﻟﺴﻘﻮﻁ‬
‫ﺛﺎﻧﻴﺔً ﰲ ﺣﺎﻟﺔٍ ﺫﻫﻨﻴﱠﺔ ﻃﻔﻠﻴﱠﺔ ﻧﺴﺒﻴﱠﺎً‪ ،‬ﻓﻴﻌﻨﻲ ﺫﺍﺕ ﻣﺎ ﺳﻤّﻴﺘﻪ "ﺿﻴﻘﺎً ﺭﻭﺣﻴﱠﺎً" ﻭﺍﻧﻜﻤﺎﺷﺎً‬
‫ﻭﻓﻘﺮﺍً ﰲ ﺍﳊﻘﻞ ﺍﻟﺘﱠﻨﺒﱡﻬﻲ‪.‬‬
‫ﻭﻻ ﺃﻓﻬﻢ ﺃﻻ ﻳﺸﻴﺮ ﺷﻴﻠﺪﺭ ﺇﻟﻰ ﻣﻴﻜﺎﻧﻴﺰﻡ ﺍﻻﻧﺘﺒﺎﻩ ﻛﺄﻭﺿﺢ ﻋﺎﻣﻞ ﰲ ﺍﻟﺘﱠﻨﻮﱘ‪،‬‬
‫ﻋﻠﻰ ﻛﻮﻥ ﺗﻘﻨﻴﺔ ﺍﻟﺘﱠﻨﻮﱘ ﺗﻜﻤﻦ ﺃﺳﺎﺳﺎً ﰲ ﻟﻔﺖ ﺍﻻﻧﺘﺒﺎﻩ ﺇﻟﻰ ﺷﻲﺀ‪ :‬ﻣﺮﺁﺓ‪ ،‬ﻃﺮﻑ‬
‫ﻣﺎﺳﺔ‪ ،‬ﺿﻮﺀ‪ ،‬ﺇﻟﺦ‪ .‬ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‪ ،‬ﺗﺒﻴّﻦ ﻣﻘﺎﺭﻧﺔٌ ﺑﲔ ﻣﺨﺘﻠﻒ ﳕﺎﺫﺝ ﺍﻟﺸﱠﺨﺼﻴﱠﺔ‬
‫ﺣﺴﺐ ﺗﺮﺗﻴﺐ ﻗﺪﺭﺗﻬﺎ ﻋﻠﻰ ﺃﻥ ﺗُﻨﻮﱠﻡ ﺗﻄﺎﺑﻘﺎً ﻛﺒﻴﺮﺍً ﻣﻊ ﺍﻟﺴﻠْﻢ ﺍﻟﺬﻱ ﻧﺸﻜﻠﻪ ﻋﻦ ﻫﺬﻩ‬
‫ﺍﻟﻨﱠﻤﺎﺫﺝ ﺫﺍﺗﻬﺎ ﺣﺴﺐ ﺗﺮﺗﻴﺐ ﻗﺎﺑﻠﻴّﺘﻬﺎ ﻟﺘُﻌﺸﻖ‪.‬‬
‫ﻟﺬﻟﻚ ﻛﺎﻧﺖ ﺍﳌﺮﺃﺓ ﻋﻨﺼﺮﺍً ﺧﻴﺮﺍً ﻗﺎﺑﻠﻴﱠﺔً ﻟﻠﺘﻨﻮﱘ ﻣﻦ ﺍﻟﺬﱠﻛﺮ‪ ،‬ﺇﺫﺍ ﺃُﺧﺬﺕ ﺍﻟﻌﻮﺍﻣﻞ‬
‫ﻛﻠّﻬﺎ ﺑﺎﳊﺴﺒﺎﻥ ‪ .ceteris paribus‬ﻟﻜﻦﱠ ﻭﺍﻗﻊ ﺍﳊﺎﻝ ﺃﻧﱠﻬﺎ ﺃﻃﻮﻉ ﻣﻦ ﺍﻟﺬﱠﻛﺮ ﺃﻳﻀﺎً ﻟﻌﺸﻖ‬
‫ﺣﻘﻴﻘﻲ‪ .‬ﻭﺃﻳﱠﺎً ﺗﻜﻦ ﺍﻷﺳﺒﺎﺏ ﺍﻷﺧﺮﻯ ﻟﺘﻔﺴﻴﺮ ﻫﺬﺍ ﺍﳌﻴﻞ‪ ،‬ﻓﻼ ﺷﻚّ ﺃﻥﱠ ﺍﺧﺘﻼﻑ‬
‫ﺗﺮﻛﻴﺐ ﺍﻟﻨﻔﻮﺱ ﺍﻟﺘﱠﻨﺒﱡﻬﻲ ﻟﺪﻯ ﺍﳉﻨﺴﲔ‪ ،‬ﻳﺆﺛّﺮ ﰲ ﺍﻷﻣﺮ ﺑﺈﻓﺮﺍﻁ‪ .‬ﻭﺇﺫﺍ ﺗﺴﺎﻭﺕ‬
‫ﺍﻟﺸﺮﻭﻁ ﺗﻜﻮﻥ ﺍﻟﻨﻔﺲ ﺍﻷﻧﺜﻮﻳﱠﺔ ﺃﻗﺮﺏ ﺇﻟﻰ ﺿﻴﻖ ﳑﻜﻦ ﻣﻦ ﺍﻟﺬﻛﺮﻳّﺔ‪ :‬ﻭﻟﺴﺒﺐ ﺑﺴﻴﻂ‬
‫ﻫﻮ ﺃﻥﱠ ﻟﻠﻤﺮﺃﺓ ﻧﻔﺴﺎً ﻣﺮﻧﺔ؛ ﻭﺍﻻﻧﺘﺒﺎﻩ‪ ،‬ﺣﺴﺒﻤﺎ ﻻﺣﻈﻨﺎ‪ ،‬ﻫﻮ ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﺘﱠﺎﻣﱠﺔ ﺍﻷﻛﺜﺮ‬
‫ﲤﺮﻛﺰﺍً ﻭﲡﻤﱡﻌﺎً ﻣﻊ ﺫﺍﺗﻬﺎ ﺫﺍﺗﻬﺎ‪ ،‬ﻭﻫﻮ ﺃﻛﺜﺮ ﻣﺎ ﻳﻌﻄﻲ ﺍﻟﺬّﻫﻦ ﺑﻨﺎﺀﻩ ﻭﻭﺿﻮﺣﻪ‪ .‬ﻭﺇﻥﱠ‬
‫ﻧﻔﺴﺎً ﻣﻮﺣّﺪﺓ ﺟﺪﱠﺍً ﺗﺴﺘﻠﺰﻡ ﻧﻈﺎﻣﺎً ﺗﻨﺒﱡﻬﻴﱠﺎً ﻣﻮﺣﱠﺪﺍً ﺟﺪﱠﺍً‪ .‬ﻭﻳﺨﻴّﻞ ﺇﻟﻰ ﺍﳌﺮﺀ ﺃﻥﱠ ﺍﻟﻨﻔﺲ‬
‫ﺍﻷﻧﺜﻮﻳﱠﺔ ﲤﻴﻞ ﻟﻠﻌﻴﺶ ﲟﺤﻮﺭ ﺗﻨﺒﱡﻬﻲ ﻭﺍﺣﺪ ﻳﺤﻂﱡ ﰲ ﻛﻞﱢ ﻓﺘﺮﺓ ﻣﻦ ﺣﻴﺎﺗﻬﺎ ﻋﻠﻰ ﺷﻲﺀ‬
‫ﻭﺍﺣﺪ‪ .‬ﺇﺫْ ﻳﻜﻔﻲ ﻣﻦ ﺃﺟﻞ ﺗﻨﻮﳝﻬﺎ ﻭﻋﺸﻘﻬﺎ‪ ،‬ﺍﻟﻘﺒﺾُ ﻋﻠﻰ ﺷﻌﺎﻉ ﺍﻧﺘﺒﺎﻫﻬﺎ ﺍﻟﻮﺣﻴﺪ‬
‫ﻫﺬﺍ‪ .‬ﻭﻣﻘﺎﺑﻞ ﺗﺮﻛﻴﺐ ﺍﻟﻨﱠﻔﺲ ﺍﻷﻧﺜﻮﻳﱠﺔ ﺫﺍﺕ ﺍﳌﺮﻛﺰ ﺍﻟﻮﺍﺣﺪ‪ ،‬ﺗﻮﺟﺪ ﺩﺍﺋﻤﺎً ﻣﺮﺍﻛﺰ ﻣﺘﻌﺪﱢﺩﺓ‬
‫ﰲ ﺍﻟﻨﱠﻔﺲ ﺍﻟﺬﱠﻛﺮﻳﱠﺔ‪ .‬ﻭﻛﻠﱠﻤﺎ ﻛﺎﻥ ﺍﳌﺮﺀ ﺃﻛﺜﺮ ﺫﻛﻮﺭﺓ ﲟﻌﻨﻰ ﺭﻭﺣﻲ‪ ،‬ﻳﺠﺪ ﻧﻔﺴﻪ ﺃﻛﺜﺮ‬
‫ﺗﻔﻜّﻜﺎً ﻭﻛﺄﻧﱠﻬﺎ ﻣﻘﺴﱠﻤﺔ ﺇﻟﻰ ﻗﻄﺎﻋﺎﺕ ﻛﺘﻴﻤﺔ‪ .‬ﻓﺠﺎﻧﺐ ﻣﻨﻪ ﻳﻨﻀﻢّ ﺟﺬﺭﻳﱠﺎً ﺇﻟﻰ ﺍﻟﺴﻴﺎﺳﺔ‬
‫ﺃﻭ ﺇﻟﻰ ﺍﻟﺘﺠﺎﺭﺓ‪ ،‬ﺑﻴﻨﻤﺎ ﺟﺎﻧﺐ ﺁﺧﺮ ﻳﺘﻌﺎﻃﻰ ﺍﻟﻔﻀﻮﻝ ﺍﻟﻔﻜﺮﻱّ‪ ،‬ﻭﺟﺎﻧﺐ ﺛﺎﻟﺚ ﻳﻨﻬﻤﻚ‬
‫ﰲ ﺍﻟﻠﺬﱠﺓ ﺍﳉﻨﺴﻴﱠﺔ‪ .‬ﻳﻨﻘﺼﻪ ﺇﺫﺍً‪ ،‬ﺍﳌﻴﻞُ ﺇﻟﻰ ﲤﺮﻛﺰ ﻣﻮﺣّﺪ ﻟﻼﻧﺘﺒﺎﻩ‪ .‬ﻭﺇﻧﱠﻤﺎ ﻳﺴﻮﺩ ﻟﺪﻳﻪ‬
‫ﺍﻟﻌﻜﺲ ﺍﻟﺬﻱ ﻳﻘﻮﺩ ﺇﻟﻰ ﺍﻟﺘﱠﻔﻜﱡﻚ ﰲ ﺍﻟﻮﺍﻗﻊ‪ .‬ﻷﻥﱠ ﻣﺤﻮﺭ ﺍﻻﻧﺘﺒﺎﻩ ﻋﻨﺪﻩ ﻣﺘﻌﺪﱢﺩ‪ .‬ﻭﻟﻘﺪ‬
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 ‫ﺗﻌﻮﱠﺩﻧﺎ ﺍﻟﻌﻴﺶ ﻋﻠﻰ ﻫﺬﻩ ﺍﻟﻘﺎﻋﺪﺓ ﺍﳌﺘﻌﺪﱢﺩﺓ ﻭﻋﻠﻰ ﺗﻌﺪﱡﺩﻳﱠﺔ ﺍ‪‬ﺎﻻﺕ ﺍﻟﺬﻫﻨﻴﱠﺔ ﺍﻟﺘﻲ ﻫﻲ‬
‫ﻫﺸﱠﺔ ﺍﻟﺘﱠﺮﺍﺑﻂ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ‪ ،‬ﻭﻻ ﻳﺤﺪﺙ ﺷﻲﺀ ﺇﺫﺍ ﻇﻔﺮ ﺑﺎﻧﺘﺒﺎﻫﻨﺎ ﺃﺣﺪُﻫﺎ ﻷﻧﱠﻨﺎ ﻧﻈﻞﱡ‬
‫ﺃﺣﺮﺍﺭﺍً ﻣﻦ ﻏﻴﺮ ﺃﻥ ﺗُﻤﺲّ ﺑﻘﻴﱠﺔ ﺍ‪‬ﺎﻻﺕ‪.‬‬
‫ﺃﻣﱠﺎ ﺍﳌﺮﺃﺓ ﺍﻟﻌﺎﺷﻘﺔ ﻓﻬﻲ ﺗﻴﺄﺱ ﻋﺎﺩﺓً‪ ،‬ﺇﺫْ ﻳﺒﺪﻭ ﻟﻬﺎ ﺃﻧﱠﻬﺎ ﻻ ﲡﺪ ﺃﻣﺎﻣﻬﺎ ﺍﻟﺮﺟﻞ‬
‫ﺍﻟﺬﻱ ﺗﺤﺐّ ﺑﻜﻠّﻴّﺘﻪ‪ .‬ﺑﻞ ﲡﺪﻩ ﺩﺍﺋﻤﺎً ﺷﺎﺭﺩ ﺍﻟﺬّﻫﻦ ﺷﻴﺌﺎً ﻣﺎ‪ ،‬ﻭﻛﺄﻧﱠﻪ ﺇﺫﺍ ﺣﻀﺮ ﺍﳌﻮﻋﺪ‪،‬‬
‫ﻳﺘﺮﻙ ﻣﻘﺎﻃﻌﺎﺕ ﻣﻦ ﺭﻭﺣﻪ ﻣﺒﻌﺜﺮﺓً ﰲ ﺍﻟﻌﺎﻟﻢ‪ .‬ﻭﺍﻟﻌﻜﺲ ﺻﺤﻴﺢ‪ .‬ﻗﺪ ﺃﺧﺠﻞ ﺍﻟﺮﺟﻞَ‬
‫ﺍﳊﺴّﺎﺱ ﻛﺜﻴﺮﺍً ﺷﻌﻮﺭُﻩ ﺑﺎﻟﻌﺠﺰ ﻋﻦ ﺍﻻﺳﺘﺴﻼﻡ ﺟﺬﺭﻳﱠﺎً‪ ،‬ﻭﻋﻦ ﻛﻠﻴّﺔ ﺍﳊﻀﻮﺭ ﺍﻟﺬﻱ‬
‫ﺗﻀﻌﻪ ﺍﳌﺮﺃﺓ ﰲ ﺍﳊﺐّ‪ .‬ﻟﻬﺬﺍ ﺍﻟﺴﱠﺒﺐ‪ ،‬ﻳُﻌﻠﻢ ﻋﻦ ﺍﻟﺮﱠﺟﻞ ﺃﻧﱠﻪ ﻏﺒﻲّ ﰲ ﺍﳊﺐّ ﻭﻗﺎﺻﺮ‬
‫ﻋﻦ ﺍﻟﻜﻤﺎﻝ ﺍﻟﺬﻱ ﺗﺴﺘﻄﻴﻊ ﺍﳌﺮﺃﺓ ﺃﻥ ﲤﻨﺤﻪ ﻟﻬﺬﺍ ﺍﻟﺸﻌﻮﺭ‪ .‬ﻭﺗﺒﻌﺎً ﻟﺬﻟﻚ‪ ،‬ﻓﺈﻥﱠ ﻣﺒﺪﺃ‬
‫ﻭﺍﺣﺪﺍً ﻗﺪ ﻳﻔﺴّﺮ ﻣﻴﻞ ﺍﳌﺮﺃﺓ ﺇﻟﻰ ﺍﻟﺘﺼﻮﱡﻑ ﻭﺍﻟﻨﻮﻡ ﺍﳌﻐﻨﺎﻃﻴﺴﻲ ﻭﺍﻟﻌﺸﻖ‪.‬‬
‫ﻭﺇﺫﺍ ﻋﺪﻧﺎ ﺍﻵﻥ ﺇﻟﻰ ﺩﺭﺍﺳﺔ ﺷﻴﻠﺪﺭ‪ ،‬ﻧﺮﻯ ﺃﻧﱠﻪ ﻳﻀﻴﻒ ﺇﻟﻰ ﺃﺧﻮﱠﺓ ﺍﳊﺐّ‬
‫ﻭﺍﻟﺘﱠﺼﻮﱡﻑ‪ ،‬ﻣﻼﺣﻈﺔً ﻃﺮﻳﻔﺔ ﻭﻫﺎﻣﱠﺔ ﻭﻣﻦ ﳕﻮﺫﺝ ﺟﺴﺪﻱ‪.‬‬
‫ﺇﻥﱠ ﺍﻟﻨﱠﻮﻡ ﺍﳌﻐﻨﺎﻃﻴﺴﻲ ﻻ ﻳﺨﺘﻠﻒ ﰲ ﺍﳌﻘﺎﻡ ﺍﻷﺧﻴﺮ‪ ،‬ﻋﻦ ﺍﻟﻨﱠﻮﻡ ﺍﻟﻄﱠﺒﻴﻌﻲ‪.‬‬
‫ﻟﺬﻟﻚ‪ ،‬ﻛﺎﻥ ﺍﻟﻔﺮﺩ ﺍﻟﻨﺆﻭﻡ ﺫﺍ ﻗﺎﺑﻠﻴﱠﺔ ﳑﺘﺎﺯﺓ ﻟﻠﺘﻨﻮﱘ ﺍﳌﻐﻨﺎﻃﻴﺴﻲ‪ .‬ﺇﺫﺍً‪ :‬ﻳﺒﺪﻭ ﺃﻧﱠﻪ‬
‫ﺗﻮﺟﺪ ﻋﻼﻗﺔ ﻭﺛﻴﻘﺔ ﺑﲔ ﻭﻇﻴﻔﺔ ﺍﻟﻨﱠﻮﻡ ﻭﻣﻜﺎﻥ ﻣﻦ ﺍﻟﻘﺸﺮﺓ ﺍﻟﺪﱢﻣﺎﻏﻴﱠﺔ ﻳُﺴﻤﱠﻰ‬
‫ﺍﻟﺒﻄﲔ ﺍﻟﺜﱠﺎﻟﺚ‪ .‬ﺇﺫْ ﺗﺘﻮﺍﻓﻖ ﺍﺿﻄﺮﺍﺑﺎﺕُ ﺍﻟﻨﱠﻮﻡ ﻭﺍﻟﺘﻬﺎﺏ ﺍﻟﺪﱢﻣﺎﻍ ﺍﻟﺴﺒﺎﺗﻲ‪،‬‬
‫ﻭﺗﻐﻴﱡﺮﺍﺕ ﰲ ﻫﺬﺍ ﺍﻟﻌﻀﻮ‪ .‬ﻭﻳﺤﺴﺐ ﺷﻴﻠﺪﺭ ﺃﻧﱠﻪ ﻭﺟﺪ ﻓﻴﻪ ﺍﻟﻘﺎﻋﺪﺓ ﺍﳉﺴﺪﻳﱠﺔ‬
‫ﻟﻠﺘﱠﻨﻮﱘ ﺍﳌﻐﻨﺎﻃﻴﺴﻲ‪ .‬ﻟﻜﻦﱠ ﺍﻟﺒﻄﲔ ﺍﻟﺜﺎﻟﺚ ﻫﻮ ﰲ ﺁﻥٍ ﻭﺍﺣﺪ "ﻋﻘﺪﺓ ﻋﻀﻮﻳﱠﺔ‬
‫ﺟﻨﺴﻴﱠﺔ" ﺗﺄﺗﻲ ﻣﻨﻬﺎ ﺍﺿﻄﺮﺍﺑﺎﺕ ﺟﻨﺴﻴﱠﺔ ﻏﻴﺮ ﻗﻠﻴﻠﺔ‪.‬‬
‫ﻟﻜﻦﱠ ﺇﳝﺎﻧﻲ ﺑﺎﳌﻮﺍﺿﻊ ﺍﻟﺪﻣﺎﻏﻴﱠﺔ ﺿﻌﻴﻒ ﺇﻟﻰ ﺣﺪﱟ ﻣﺎ‪ .‬ﺣﻘﱠﺎً ﻻ ﻳﻜﻠﱢﻔﻨﺎ ﺟﻬﺪ ًﺍ‬
‫ﺍﻹﳝﺎﻥ ﺃﻧﱠﻪ ﺇﺫﺍ ﺍﺟﺘُﺚﱠ ﺭﺃﺱ ﺭﺟﻞ ﻣﻦ ﺃﺳﺎﺳﻪ ﻳﻜﻒّ ﻋﻦ ﺍﻟﺘﱠﻔﻜﻴﺮ ﻭﺍﻟﺸﻌﻮﺭ‪ .‬ﻟﻜﻦﱠ ﻫﺬﺍ‬
‫ﺍﳌﻮﺿﻮﻉ ﺍﻟﺮﺍﺋﻊ ﻳﺄﺧﺬ ﺑﺎﻟﺘﻼﺷﻲ ﺑﺎﻃّﺮﺍﺩ ﺇﺫﺍ ﺣﺎﻭﻟﻨﺎ ﺃﻥ ﳓﺪﱢﺩ ﻛﻞ ﻭﻇﻴﻔﺔ ﻭﻧﺒﺤﺚ ﻟﻬﺎ‬
‫ﻋﻦ ﻣﻜﺎﻥ ﻋﺼﺒﻲ‪ .‬ﻭﺃﺳﺒﺎﺏ ﻫﺬﺍ ﺍﻹﺧﻔﺎﻕ ﻻ ﺗُﺤﺼﻰ‪ ،‬ﻟﻜﻦﱠ ﺃﻗﺮﺑﻬﺎ ﻳﻜﻤﻦ ﰲ ﺃﻧﱠﻨﺎ ﳒﻬﻞ‬
‫ﺗﺮﺍﺑﻂ ﺍﻟﻮﻇﺎﺋﻒ ﺍﻟﻨﻔﺴﻴﱠﺔ ﺍﳊﻘﻴﻘﻲّ‪ ،‬ﻭﺍﻟﻨﻈﺎﻡ ﻭﺍﻟﺘﺴﻠﺴﻞ ﺍﻟﻬﺮﻣﻲ ﺍﻟﺬﻱ ﺗﻌﻤﻞ ﺑﻪ‪.‬‬
‫ﻭﻟﻴﺲ ﺳﻬﻼً ﻋﺰﻝُ ﻭﻇﻴﻔﺔ ﻭﺻﻔﻴﱠﺎً‪ ،‬ﻭﺍﻟﻜﻼﻡ ﻋﻦ "ﺭﺅﻳﺔ" ﺃﻭ "ﺳﻤﻊ" ﻭ "ﺗﺨﻴﱡﻞ" ﻭ"ﺗﺬﻛّﺮ"‬
‫ﻭ"ﺗﻔﻜﻴﺮ" ﻭ "ﺍﻧﺘﺒﺎﻩ"‪ ،‬ﺇﻟﺦ‪ .‬ﻟﻜﻨﱠﻨﺎ ﻻ ﻧﻌﺮﻑ ﺇﻥ ﻛﺎﻥ ﻳﺘﺪﺧﱠﻞ ﰲ ﺍﻟﺮﺅﻳﺔ "ﺍﻟﺘﱠﻔﻜﻴﺮُ"‪ .‬ﻭﺇﻥ ﻛﺎﻥ‬
‫‪-٦٨-‬‬
 ‫ﻻ ﻳﺴﺎﻫﻢ ﰲ "ﺍﻻﻧﺘﺒﺎﻩ" "ﺍﻟﺸﻌﻮﺭ"‪ ،‬ﺃﻭ ﺍﻟﻌﻜﺲ‪ .‬ﻟﻴﺲ ﺳﻬﻼً ﺃﻥ ﻧﻮﻓّﻖ ﺇﻟﻰ ﺃﻥ ﻧﻌﻴّﻦ ﻣﻜﺎﻥ‬
‫ﺍﻟﻮﻇﺎﺋﻒ ﻛﻞّ ﻭﻇﻴﻔﺔ ﻋﻠﻰ ﺣﺪﺓ‪ ،‬ﻭﻇﺎﺋﻒ ﻋﺰﻟﻬﺎ ﻏﻴﺮ ﳑﻜﻦ‪.‬‬
‫ﺸﻚّ‪ ،‬ﻣﻊ ﺫﻟﻚ‪ ،‬ﻳﺠﺐ ﺃﻥ ﻳﺤﺚّ ﻋﻠﻰ ﺑﺤﺚٍ ﻣﻄﱠﺮﺩٍ ﻳﺰﺩﺍﺩ ﻗﻮﺓ ﺃﻛﺜﺮ‬ ‫ﻭﻫﺬﺍ ﺍﻟ ّ‬
‫ﻓﺄﻛﺜﺮ‪ ،‬ﻭﻫﻜﺬﺍ ﻳﺼﻠﺢ ﺃﻥ ﻧﺘﻠﻤﱠﺲ ﰲ ﺍﳊﺎﻟﺔ ﺍﻟﺮﱠﺍﻫﻨﺔ‪ ،‬ﺇﻥ ﻛﺎﻧﺖ ﻗﺪﺭﺓ ﺍﻻﻧﺘﺒﺎﻩ ﻟﻬﺎ‬
‫ﺻﺪﻯً ﻣﺎ ﻣﺒﺎﺷﺮ ﺃﻭ ﻣﻌﻜﻮﺱ ﰲ ﻫﺬﻩ ﺍﻟﻘﻄﻌﺔ ﻣﻦ ﺍﻟﻘﺸﺮﺓ ﺍﻟﺪﻣﺎﻏﻴﱠﺔ ﺍﳌﻮﺿﻮﻋﺔ‪،‬‬
‫ﺣﺴﺐ ﺷﻴﻠﺪﺭ‪ ،‬ﰲ ﺧﺪﻣﺔ ﻣﺠﻤﻮﻋﺔ ﺍﻟﻨﱠﻮﻡ‪ ،‬ﻭﺍﻟﻨﱠﻮﻡ ﺍﳌﻐﻨﺎﻃﻴﺴﻲّ ﻭﺍﳊﺐ‪ .‬ﺇﻥﱠ ﺍﻟﺼﱢﻠﺔ‬
‫ﺍﻟﻮﺛﻴﻘﺔ ﺍﻟﺘﻲ ﺃﻭﺣﻰ ﺑﻬﺎ ﻫﺬﺍ ﺍﻟﺒﺤﺚُ‪ ،‬ﺑﲔ ﻫﺬﻩ ﺍﳊﺎﻻﺕ ﺍﻟﺜﻼﺙ‪ ،‬ﻭ"ﺍﳉﺬﺏ" ﺍﻟﺼﻮﰲ‬
‫ﲡﻌﻠﻨﺎ ﳔﻤّﻦ ﺃﻥﱠ ﺍﻟﺒﻄﲔ ﺍﻟﺜﱠﺎﻟﺚ ﻳﺴﺎﻫﻢ ﺃﻳﻀﺎً ﰲ ﺍﻟﻐﻴﺒﻮﺑﺔ ﺍﻟﺼﻮﻓﻴﱠﺔ‪ .‬ﻭﻗﺪ ﻳﻔﺴّﺮ‬
‫ﻫﺬﺍ ﺍﻷﻣﺮ ﺍﻟﺒﻘﺎﺀ ﺍﻟﺸﱠﺎﻣﻞ ﻟﻠﻤﻔﺮﺩﺍﺕ ﺍﳉﻨﺴﻴﱠﺔ ﰲ ﺍﻻﻋﺘﺮﺍﻓﺎﺕ ﺍﳉﺬﺑﻴﱠﺔ‪ ،‬ﻭﻟﻠﻤﻔﺮﺩﺍﺕ‬
‫ﺍﻟﺼﱡﻮﻓﻴﱠﺔ ﰲ ﺍﳌﺸﺎﻫﺪ ﺍﻟﻐﺮﺍﻣﻴﱠﺔ‪.‬‬
‫ﻭﻟﻘﺪ ﺭﻓﺾ ﺣﺪﻳﺜﺎً ﻋﺎﻟﻢ ﺍﻟﻨﱠﻔﺲ ﺁﻟّﺮ ‪ Allers‬ﰲ ﻣﺤﺎﺿﺮﺓٍ ﻟﻪ ﰲ ﻣﺪﺭﻳﺪ ﻛﻞّ‬
‫ﻣﺤﺎﻭﻟﺔ ﺗﻌﺪّ ﺍﻟﺘﱠﺼﻮﱡﻑ ﻣﺸﺘﻘﱠﺎً ﻣﻦ ﺍﳊﺐّ ﺍﳉﻨﺴﻲّ ﻭﺗﺼﻌﻴﺪﺍً ﻟﻪ‪ .‬ﻭﻳﺒﺪﻭ ﻟﻲ ﻫﺬﺍ‬
‫ﺍﳌﻮﻗﻒ ﺻﺤﻴﺤﺎً ﺟﺪﱠﺍً‪.‬‬
‫ﻭﻗﺪ ﻛﺎﻧﺖ ﺗﺎﻓﻬﺔً ﺑﺸﻜﻞٍ ﻓﻆّ ﺍﻟﻨﱠﻈﺮﻳﱠﺎﺕ ﺍﳉﻨﺴﻴﱠﺔ ﺍﳌﺄﻟﻮﻓﺔ ﻗﺪﳝﺎً ﻋﻦ‬
‫ﺍﻟﺘﱠﺼﻮﱡﻑ‪ .‬ﻟﻜﻦﱠ ﺍﳌﺴﺄﻟﺔ ﻣﺨﺘﻠﻔﺔ ﺍﻵﻥ‪ .‬ﻭﺇﻧﱠﻤﺎ ﻫﺬﺍ ﻭﺫﺍﻙ ﺍﻵﺧﺮ ﳝﺘﻠﻜﺎﻥ ﺟﺬﻭﺭﺍً‬
‫ﻣﺸﺘﺮﻛﺔ ﻭﻳﻌﻨﻴﺎﻥ ﺣﺎﻟﺘﲔ ﺫﻫﻨﻴﱠﺘﲔ ﺫﺍﺗَﻲ ﺗﻨﻈﻴﻢ ﻣﺘﻤﺎﺛﻞ‪ .‬ﻭﺍﻟﻮﻋﻲ ﰲ ﻫﺬﺍ ﺃﻭ ﺫﺍﻙ‬
‫ﻳﺘﱠﺨﺬ ﺷﻜﻼً ﻣﺘﻄﺎﺑﻘﺎً ﺗﻘﺮﻳﺒﺎً ﻳﺜﻴﺮ ﺻﺪﻯً ﻋﺎﻃﻔﻴﱠﺎً ﻭﺍﺣﺪﺍً‪ ،‬ﺗُﺴﺘﺨﺪﻡ ﻹﻇﻬﺎﺭﻩ ﺍﻟﺼﻴﻎُ‬
‫ﺍﻟﺼﻮﻓﻴﱠﺔ ﻭﺍﻹﻳﺮﻭﺳﻴﱠﺔ ﻋﻠﻰ ﺍﻟﺴﱠﻮﺍﺀ‪.‬‬
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‫ﻭﻳﻬﻤّﻨﻲ ﻋﻨﺪ ﺍﺧﺘﺘﺎﻡ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﺃﻥ ﺃﺫﻛّﺮ ﺃﻧّﻲ ﺣﺎﻭﻟﺖ ﻓﻴﻪ ﺃﻥ ﺃﺻﻒ ﺣﺼﺮﺍً‬
‫ﻣﺮﺣﻠﺔ ﻭﺍﺣﺪﺓ ﻣﻦ ﺳﻴﺮﻭﺭﺓ ﺍﳊﺐّ ﺍﻟﻜﺒﺮﻯ‪ :‬ﻭﻫﻲ "ﺍﻟﻌﺸﻖ"‪ .‬ﻷﻥﱠ ﺍﳊﺐّ ﻋﻤﻠﻴﱠﺔ ﺃﻭﺳﻊ‬
‫ﻣﻦ ﺫﻟﻚ ﻭﺃﻋﻤﻖ ﻛﺜﻴﺮﺍً‪ ،‬ﻭﺃﻛﺜﺮ ﺇﻧﺴﺎﻧﻴﱠﺔ ﺑﺠﺪّ‪ ،‬ﻟﻜﻨﱠﻬﺎ ﺃﻗﻞﱡ ﻋﻨﻔﺎً‪ .‬ﻭﻛﻞّ ﺣﺐّ ﻳﻌﺒُﺮ ﻣﻨﻄﻘﺔ‬
‫ﺟﻨﻮﻥ "ﺍﻟﻌﺸﻖ"‪ .‬ﻟﻜﻦ‪ ،‬ﻳﻮﺟﺪ "ﻋﺸﻖ" ﰲ ﺍﳌﻘﺎﺑﻞ ﻻ ﻳﺘﺒﻌﻪ ﺣﺐّ ﺣﻘﻴﻘﻲّ‪ .‬ﻓﻼ ﳔﻠﻂ‬
‫ﺇﺫﺍً‪ ،‬ﺍﳉﺰﺀَ ﺑﺎﻟﻜﻞّ‪.‬‬
‫ﻭﻛﺜﻴﺮﺍً ﻣﺎ ﺗُﻘﺎﺱ ﻧﻮﻋﻴﱠﺔ ﺍﳊﺐّ ﺑﻌﻨﻔﻪ‪ .‬ﻭﻟﻘﺪ ﻛُﺘﺒﺖ ﻫﺬﻩ ﺍﻟﺼﱠﻔﺤﺎﺕ ﺍﻟﺴﱠﺎﺑﻘﺎﺕ‬
‫ﳌﻨﺎﻫﻀﺔ ﻫﺬﺍ ﺍﳋﻄﺄ ﺍﻟﺸﱠﺎﺋﻊ‪ .‬ﻓﻠﻴﺲ ﻟﻠﻌﻨﻒ ﺻﻠﺔ ﺑﺎﳊﺐ‪ ،‬ﺑﺼﻔﺘﻪ ﺣﺒﱠﺎً‪ .‬ﺑﻞ ﻫﻮ ﺻﻔﺔ‬
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‫"ﻟﻠﻌﺸﻖ" ﻭﳊﺎﻟﺔٍ ﺫﻫﻨﻴﱠﺔٍ ﺩﻧﻴﺎ ﻭﻣﻴﻜﺎﻧﻴﻜﻴﱠﺔ ﺗﻘﺮﻳﺒﺎً ﳝﻜﻦ ﺃﻥ ﺗﺤﺪﺙ ﻣﻦ ﻏﻴﺮ ﺗﺪﺧﱡﻞ‬
‫ﻓﻌﱠﺎﻝ ﻣﻦ ﺍﳊﺐّ‪.‬‬
‫ﻭﺇﻥﱠ ﺭﺫﻳﻠﺔ ﺍﻟﻌﻨﻒ ﺭﺑﱠﻤﺎ ﺃﺗﺖ ﻣﻦ ﻧﻘﺺ ﰲ ﺍﻟﻄﱠﺎﻗﺔ ﻋﻨﺪ ﺍﻟﺸﱠﺨﺺ‪ ،‬ﻟﻜﻦ‪،‬‬
‫ﺑﺎﺳﺘﺜﻨﺎﺀ ﺫﻟﻚ‪ ،‬ﳓﻦ ﻣﻀﻄﱠﺮﻭﻥ ﺇﻟﻰ ﺍﻟﻘﻮﻝ ﺇﻥﱠ ﻓﻌﻼً ﻧﻔﺴﻴﱠﺎً ﻛﻠﱠﻤﺎ ﻛﺎﻥ ﻋﻨﻴﻔﺎً ﻛﺎﻥ‬
‫ﺃﺩﻧﻰ ﰲ ﺗﺴﻠﺴﻞ ﺍﻟﻨﻔﺲ ﺍﻟﻬﺮَﻣﻲّ‪ ،‬ﻭﺃﻗﺮﺏ ﺇﻟﻰ ﺍﻟﻌﻤﻞ ﺍﳌﻴﻜﺎﻧﻴﻜﻲّ ﺍﳉﺴﺪﻱّ‪،‬‬
‫ﻭﺃﺑﻌﺪ ﻋﻦ ﺍﻟﺮّﻭﺡ‪ .‬ﻭﺍﻟﻌﻜﺲ ﺻﺤﻴﺢ‪ .‬ﻓﻜﻠﱠﻤﺎ ﺍﺻﻄﺒﻐﺖ ﻣﺸﺎﻋﺮﻧﺎ ﺑﺮﻭﺣﺎﻧﻴﱠﺔ ﺃﻛﺒﺮ‪،‬‬
‫ﺗﻔﻘﺪ ﻋﻨﻔﺎً ﻭﻗﻮﱠﺓ ﻣﻴﻜﺎﻧﻴﻜﻴﱠﺔ‪ .‬ﻭﻳﻜﻮﻥ ﺇﺣﺴﺎﺱ ﺍﳉﺎﺋﻊ ﺑﺎﳉﻮﻉ ﺩﺍﺋﻤﺎً ﺃﻋﻨﻒ ﻣﻦ‬
‫ﺭﻏﺒﺔ ﺍﻟﻌﺎﺩﻝ ﰲ ﺍﻟﻌﺪﻝ‪.‬‬

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 ‫ﺍﳊﺐ‪‬‬ ‫ﺍﻻﺧﺘﻴﺎﺭ‬

‫‪I‬‬

‫ﺧﻄﺮ ﻟﻲ ﰲ ﻣﺤﺎﺿﺮﺓ ﺣﺪﻳﺜﺔ ﺃﻥ ﺃﻭﺣﻲ ﺑﻔﻜﺮﺗﲔ ﻭﺳْﻂ ﺃﻓﻜﺎﺭ ﺃُﺧَﺮ‪ ،‬ﺍﻟﺜﺎﻧﻴﺔ‬

‫ﻣﻨﻬﻤﺎ ﺗﺮﺗﺒﻂ ﺑﺎﻷﻭﻟﻰ‪ .‬ﻭﻫﺬﻩ ﺗﻘﻮﻝ ﻫﻜﺬﺍ‪ :‬ﺇﻥﱠ ﺍﻷﺳﺎﺱ ﺍﳊﺎﺳﻢ ﰲ ﻓﺮﺩﻳﱠﺘﻨﺎ ﻟﻢ‬
‫ﺗﻨﺴﺠﻪ ﺁﺭﺍﺅﻧﺎ ﻭﲡﺎﺭﺑﻨﺎ ﰲ ﺍﳊﻴﺎﺓ؛ ﻭﻻ ﻳﻜﻤﻦ ﰲ ﻃﺒﻌﻨﺎ ﻭﺇﻧﱠﻤﺎ ﰲ ﺷﻲﺀ ﺃﺩﻕﱠ ﻭﺃﺧﻒﱠ‬
‫ﻭﺳﺎﺑﻖ ﻋﻠﻰ ﻛﻞﱢ ﺫﻟﻚ‪ .‬ﳓﻦ ﻗﺒﻞ ﻛﻞﱢ ﺷﻲﺀ ﺁﺧﺮ‪ ،‬ﻣﻨﻈﻮﻣﺔ ﺧِﻠْﻘﻴﱠﺔٌ ﻣﻦ ﺍﻷﻓﻀﻠﻴﱠﺎﺕ‬
‫ﻭﺍﻻﺯﺩﺭﺍﺀﺍﺕ‪ .‬ﻭﻛﻞﱡ ﻓﺮﺩ ﻳﺤﻤﻞ ﰲ ﺩﺍﺧﻠﻪ ﻣﻨﻈﻮﻣﺘﻪ ﺍﳌﺘﻄﺎﺑﻘﺔ ﺇﻟﻰ ﻫﺬﺍ ﺍﳊﺪﱢ ﺃﻭ ﺫﺍﻙ‬
‫ﻣﻊ ﻣﻨﻈﻮﻣﺔ ﺍﻟﻐﻴﺮ ﻭﺍﳌﺬﺧﱠﺮﺓ ﻭﺍﳉﺎﻫﺰﺓ ﻟﺘﻘﺬﻑ ﺑﻨﺎ ﻓﻴﻤﺎ ﻫﻮ ﻟﺼﺎﳊﻨﺎ ﺃﻭ ﺿﺪﱠﻧﺎ‬
‫ﻛﺒﻄﱠﺎﺭﻳﺔ ﻣﻦ ﺍﻟﺘﱠﺠﺎﺫﺏ ﻭﺍﻟﺘﱠﻨﺎﻓﺮ‪ .‬ﻭﺍﻟﻘﻠﺐ ﺁﻟﺔ ﺍﻟﺘﱠﻔﻀﻴﻞ ﻭﺍﻻﺯﺩﺭﺍﺀ‪ ،‬ﻫﻮ ﺩﻋﺎﻣﺔ‬
‫ﺷﺨﺼﻴﱠﺘﻨﺎ‪ ،‬ﺇﻧﱠﻬﺎ ﺗﺮﻣﻲ ﺑﻨﺎ ﻗﺒﻞ ﺃﻥْ ﻧﻌﺮﻑ ﻣﺎ ﻳﺤﻴﻂ ﺑﻨﺎ‪ ،‬ﰲ ﻫﺬﺍ ﺍﻻﺗﱢﺠﺎﻩ ﺃﻭ ﺫﺍﻙ‪،‬‬
‫ﻭﳓﻮ ﻫﺬﻩ ﺍﻟﻘﻴﻢ ﺃﻭ ﺗﻠﻚ‪ .‬ﻭﳓﻦ ﺑﻔﻀﻞ ﺫﻟﻚ‪ ،‬ﻳَﻘِﻈﻮﻥ ﺟﺪﱠﺍً ﺇﻟﻰ ﺍﻷﺷﻴﺎﺀ ﺍﻟﱠﺘﻲ ﺗﺘﺤﻘﱠﻖ‬
‫ﻓﻴﻬﺎ ﺍﻟﻘﻴﻢ ﺍﻟﱠﺘﻲ ﻧﻔﻀﱢﻠﻬﺎ‪ ،‬ﻭﻋُﻤﻲٌ ﻋﻦ ﺍﻷﺷﻴﺎﺀ ﺍﻟﱠﺘﻲ ﺗﻜﻤﻦ ﻓﻴﻬﺎ ﻗﻴﻢ ﻣﺴﺎﻭﻳﺔ ﺃﻭ ﺃﻋﻠﻰ‪،‬‬
‫ﻟﻜﻨﱠﻬﺎ ﻏﺮﻳﺒﺔ ﻋﻦ ﺣﺴﺎﺳﻴﱠﺘﻨﺎ‪.‬‬
‫ﻭﺃﺿﻴﻒ ﺇﻟﻰ ﻫﺬﻩ ﺍﻟﻔﻜﺮﺓ ﺍﻟﱠﺘﻲ ﻳﺪﻋﻤﻬﺎ ﻓﺮﻳﻖ ﻣﻦ ﺍﻟﻔﻼﺳﻔﺔ ﺑﺤﺠﺞٍ ﻗﻮﻳﱠﺔ‪،‬‬
‫ﻓﻜﺮﺓً ﺛﺎﻧﻴﺔ ﻟﻢ ﺃﺭﻫﺎ ﺣﺘﱠﻰ ﺍﻵﻥ ﻣﻠﺤﻮﻇﺔ‪.‬‬
‫ﻧﻌﻠﻢ ﺃﻥْ ﻻ ﺷﻲﺀ ﻧﻬﺘﻢﱡ ﺑﻪ ﰲ ﺗﻌﺎﻳﺸﻨﺎ ﻣﻊ ﺍﻟﻐﻴﺮ ﻗﺪْﺭَ ﺍﻫﺘﻤﺎﻣﻨﺎ ﺑﺎﻟﺘﱠﺤﻘﱡﻖ ﻣﻦ‬
‫ﻣﺸﻬﺪ ﻗﻴﻤﻪ ﻭﻣﻨﻈﻮﻣﺔ ﺃﻓﻀﻠﻴّﺎﺗﻪ‪ ،‬ﺍﻟﱠﺘﻲ ﻫﻲ ﺍﻷﺱﱡ ﺍﳉﻮﻫﺮﻱﱡ ﰲ ﺷﺨﺼﻪ ﻭﺃﺳﺎﺱ‬
‫ﻃﺒﻌﻪ‪ .‬ﻭﻛﺬﻟﻚ ﻳﺤﺘﺎﺝ ﺍﳌﺆﺭﱢﺥ ﺍﻟﱠﺬﻱ ﻳﺮﻳﺪ ﺃﻥْ ﻳﻔﻬﻢ ﻋﺼﺮﺍً‪ ،‬ﺇﻟﻰ ﺃﻥْ ﻳﺤﺪﱢﺩ ﻻﺋﺤﺔ ﺍﻟﻘﻴﻢ‬
‫ﺍﳌﻬﻴﻤﻨﺔ ﻋﻠﻰ ﺃﻧﺎﺱ ﺫﻟﻚ ﺍﻟﻌﺼﺮ‪ .‬ﺑﺸﻜﻞ ﺁﺧﺮ‪ ،‬ﺇﻥﱠ ﻭﻗﺎﺋﻊ ﺫﻟﻚ ﺍﻟﻌﺼﺮ ﻭﺃﻗﻮﺍﻟﻪ ﺍﻟﱠﺘﻲ‬
‫ﺗﺴﺠﱢﻠﻬﺎ ﺍﻟﻮﺛﺎﺋﻖ ﺗﺼﺒﺢ ﺣﺮﻓﺎً ﻣﻴﱢﺘﺎً ﻭﻟﻐﺰﺍً ﺃﻭ ﺃﺣﺠﻴﺔ‪ ،‬ﻛﻤﺎ ﻫﻲ ﺃﻓﻌﺎﻝ ﻏﻴﺮﻧﺎ ﻭﺃﻗﻮﺍﻟﻬﻢ‬
‫ﺇﺫﺍ ﻟﻢ ﻧﺘﻐﻠﻐﻞ ﺇﻟﻰ ﻣﺎ ﻭﺭﺍﺋﻬﺎ ﻭﶈﻨﺎ ﰲ ﻏﻮﺭﻫﺎ ﺍﻟﺴﱢﺮﱢﻱّ ﺃﻱﱡ ﺍﻟﻘﻴﻢ ﺗﺼﻠﺢ ﻟﻬﺎ‪ .‬ﻭﻫﺬﺍ‬
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‫ﺍﻟﻐﻮﺭ‪ ،‬ﺃﻱْ ﻧﻮﺍﺓ ﺍﻟﻘﻠﺐ ﻫﺬﻩ‪ ،‬ﺳﺮﱢﻱّ‪ ،‬ﰲ ﺍﻟﻮﺍﻗﻊ‪ .‬ﻫﻮ ﻛﺬﻟﻚ ﰲ ﺟﺎﻧﺐ ﻛﺒﻴﺮ ﻣﻨﻪ ﺑﺎﻟﻨﱢﺴﺒﺔ‬
‫ﻟﻨﺎ ﺫﺍﺗﻨﺎ ﺍﻟﱠﺬﻳﻦ ﳓﻤﻠﻪ ﰲ ﺩﺍﺧﻠﻨﺎ‪ -‬ﻭﺑﻘﻮﻝ ﺃﻓﻀﻞ‪ :‬ﻫﻮ ﻳﺤﻤﻠﻨﺎ ‪ .-‬ﺇﻧﱠﻪ ﻳﻌﻤﻞ ﰲ ﺍﻟﻌﺘﻤﺔ‬
‫ﺍﻟﺴﱡﻔﻠﻴﱠﺔ‪ ،‬ﻭﰲ ﺃﻗﺒﻴﺔ ﺍﻟﺸﱠﺨﺼﻴﱠﺔ‪ ،‬ﻭﻳﺼﻌﺐ ﻋﻠﻴﻨﺎ ﺟﺪﱠﺍً ﺃﻥْ ﻧﻠﻤﺤﻪ ﻛﻤﺎ ﺗﺼﻌﺐ ﻋﻠﻴﻨﺎ‬
‫ﺭﺅﻳﺔ ﺷﺒﺮ ﺍﻷﺭﺽ ﺍﻟﱠﺬﻱ ﺗﻄﺆﻩ ﺃﻗﺪﺍﻣﻨﺎ‪ ،‬ﻛﻤﺎ ﻻ ﻳﺴﺘﻄﻴﻊ ﺑﺆﺑﺆ ﺍﻟﻌﲔ ﺃﻥ ﻳﺘﺄﻣﱠﻞ ﻧﻔﺴﻪ‪.‬‬
‫ﻟﻜﻦﱠ ﻗﺴﻤﺎً ﻛﺒﻴﺮﺍً ﻣﻦ ﺣﻴﺎﺗﻨﺎ ﻓﻮﻕ ﺫﻟﻚ‪ ،‬ﻳﻜﻤﻦ ﰲ ﺧﻴﺮ ﻣﺴﺮﺣﻴﱠﺔ ﻫﺎﺩﻓﺔ ﳕﺜﱢﻠﻬﺎ‬
‫ﻷﻧﻔﺴﻨﺎ‪ .‬ﳓﻦ ﻧﺘﺼﻨﱠﻊ ﺣﺎﻻﺕ ﻣﻦ ﺍﻟﻮﺟﻮﺩ‪ ،‬ﻟﻴﺴﺖ ﻭﺟﻮﺩﻧﺎ‪ ،‬ﻭﻧﺘﺼﻨﱠﻌﻬﺎ ﺑﺼﺪﻕٍ‪ ،‬ﻟﻴﺲ‬
‫ﺑﻬﺪﻑ ﺧﺪﺍﻉ ﺍﻵﺧﺮﻳﻦ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻟﻨﺰﻳﲔ ﺃﻧﻔﺴﻨﺎ ﺇﺯﺍﺀ ﻧﻈﺮﺗﻨﺎ ﺫﺍﺗﻬﺎ‪ .‬ﳓﻦ ﳑﺜﱢﻠﻮ ﺩﻭﺭ‬
‫ﺫﻭﺍﺗﻨﺎ‪ ،‬ﻭﻧﺘﻜﻠﱠﻢ ﻭﻧﻌﻤﻞ ﻣﺪﻓﻮﻋﲔ ﲟﺆﺛﱢﺮﺍﺕ ﺳﻄﺤﻴﱠﺔ ﳝﺎﺭﺳﻬﺎ ﻋﻠﻰ ﻋﻀﻮﻳﱠﺘﻨﺎ ﺍﶈﻴﻂ‬
‫ﺍﻻﺟﺘﻤﺎﻋﻲّ‪ ،‬ﺃﻭ ﺇﺭﺍﺩﺗﻨﺎ‪ ،‬ﻭﺗﺤﻞﱡ ﻣﺤﻞﱠ ﺣﻴﺎﺗﻨﺎ ﺍﳊﻘﻴﻘﻴﱠﺔ‪ .‬ﻭﻟﻮ ﻛﺮﱠﺱ ﺍﻟﻘﺎﺭﺉ ﻣﺪّﺓ ﻣﻦ‬
‫ﺍﻟﻮﻗﺖ ﻟﺘﺤﻠﻴﻞ ﻧﻔﺴﻪ ﻻﻛﺘﺸﻒ ﺑﺪﻫﺸﺔ – ﻭﺭﺑﱠﻤﺎ ﺑﺬﻋﺮ‪ -‬ﺃﻥﱠ ﺟﺎﻧﺒﺎً ﻛﺒﻴﺮﺍً ﻣﻦ ﺁﺭﺍﺋـ)ـﻪ(‬
‫ﻭﻣﺸﺎﻋﺮﻩ ﻟﻴﺴﺖ ﺁﺭﺍﺀﻩ‪ ،‬ﻭﻟﻢ ﺗﻨﺒﻊ ﺗﻠﻘﺎﺋﻴّﺎً ﻣﻦ ﻏﻮﺭﻩ ﺍﻟﺸﱠﺨﺼﻲّ ﺫﺍﺗﻪ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻲ ﻏﺮﻳﺒﺔ‬
‫ﺣﻘﱠﺎً ﺳﻘﻄﺖ ﻣﻦ ﺍﶈﻴﻂ ﺍﻻﺟﺘﻤﺎﻋﻲّ ﺩﺍﺧﻞ ﺣﻮﺿﻪ ﺍﳊﻤﻴﻢ ﻛﻤﺎ ﻳﺴﻘﻂ ﻋﻠﻰ ﺍﺑﻦ‬
‫ﺍﻟﺴﱠﺒﻴﻞ ﻏُﺒﺎﺭ ﺍﻟﻄﱠﺮﻳﻖ‪.‬‬
‫ﺇﺫﺍً‪ ،‬ﻟﻴﺴﺖ ﺍﻷﻓﻌﺎﻝ ﻭﺍﻟﻜﻠﻤﺎﺕ ﺧﻴﺮ ﻣﻌﻄﻰ ﻟﻜﺸﻒ ﺳﺮﱢ ﺍﻟﻐﻴﺮ ﺍﻟﻘﻠﺒﻲّ‪ ،‬ﻭﻫﺬﻩ ﺃﻭ‬
‫ﺗﻠﻚ ﺗﻮﺟﺪ ﰲ ﻣﺘﻨﺎﻭﻝ ﺍﻟﻴﺪ‪ ،‬ﻭﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﺘﺼﻨﱠﻌﻬﺎ‪ .‬ﻭﺍﻟﺸﱢﺮﻳﺮ ﺍﻟﱠﺬﻱ ﺿﺨﱠﻢ ﺛﺮﻭﺗﻪ‬
‫ﺑﻔﻌﻞ ﺟﺮﺍﺋﻤﻪ ﳝﻜﻦ ﻟﻪ ﺫﺍﺕ ﻳﻮﻡ ﺃﻥ ﻳﻨﻔﱢﺬ ﻋﻤﻼً ﺧﻴﺮﻳّﺎً‪ ،‬ﻣﻦ ﻏﻴﺮ ﺃﻥ ﻳﻜﻒّ ﺑﺴﺒﺐ‬
‫ﺫﻟﻚ ﻋﻦ ﺃﻥ ﻳﻜﻮﻥ ﺁﲦﺎً‪ .‬ﻭﺍﻷﺻﻠﺢ ﺃﻥ ﳕﻌﻦ ﺍﻟﻨﱠﻈﺮ ﰲ ﻣﺎ ﻫﻮ ﺃﻗﻞﱡ ﺃﻫﻤﱢﻴﱠﺔ‪ :‬ﰲ ﺗﻌﺎﺑﻴﺮ‬
‫ﺍﻟﻮﺟﻪ ﻭﺍﻷﺳﺎﺭﻳﺮ ﺃﻛﺜﺮ ﳑﺎ ﳕﻌﻨﻪ ﰲ ﺍﻷﻋﻤﺎﻝ ﻭﺍﻟﻜﻠﻤﺎﺕ‪ .‬ﻓﻬﻲ ﺗﺴﻤﺢ ﻟﻜﻮﻧﻬﺎ ﺗﻠﻘﺎﺋﻴﱠﺔ‬
‫ﺑﻬﺮﺏ ﺃﻧﺒﺎﺀ ﻣﻦ ﺍﻟﻌﻤﻖ ﺍﻟﺴﱢﺮﱢﻱّ ﻭﺗﻌﻜﺴﻬﺎ ﺑﺪﻗﱠﺔ ﻭﻋﻠﻰ ﺷﻜﻞٍ ﻃﺒﻴﻌﻲﱟ ) ‪.(١‬‬
‫ﻟﻜﻦﱠ ﻫﻨﺎﻙ ﻣﻮﺍﻗﻒ ﻭﳊﻈﺎﺕ ﰲ ﺍﳊﻴﺎﺓ ﻳﻔﺼﺢ ﻓﻴﻬﺎ ﺍﻟﻜﺎﺋﻦ ﺍﻟﺒﺸﺮﻱّ ﻣﻦ ﻏﻴﺮ‬
‫ﺃﻥْ ﻳﻠﺤﻆ ﺫﻟﻚ‪ ،‬ﻋﻦ ﺃﻗﺴﺎﻡ ﻛﺒﻴﺮﺓ ﻣﻦ ﺩﺧﻴﻠﺘﻪ )‪ (Intimidad‬ﺫﺍﺕ ﺍﳊﺴﻢ‪ ،‬ﻳﻔﺼﺢ‬
‫ﻋﻤﱠﺎ ﻫﻮ ﺣﻘﱠﺎً‪ .‬ﻭﺍﳊﺐﱡ ﺃﺣﺪ ﺗﻠﻚ ﺍﳌﻮﺍﻗﻒ؛ ﰲ ﺍﺧﺘﻴﺎﺭ ﺍﶈﺒﻮﺑﺔ ﻳﻜﺸﻒ ﺍﻟﺬﱠﻛﺮ ﻋﻦ‬
‫ﻏﻮﺭﻩ ﺍﳉﻮﻫﺮﻱّ‪ ،‬ﻭﻛﺬﻟﻚ ﺍﳌﺮﺃﺓ ﰲ ﺍﺧﺘﻴﺎﺭﻫﺎ ﺍﶈﺒﻮﺏ‪ .‬ﻭﺇﻥﱠ ﺃﳕﻮﺫﺝ ﺍﻟﺒﺸﺮﻳﱠﺔ ﺍﻟﱠﺬﻱ‬

‫)‪ (١‬ﺍﻟﻌﻠﻞ ﺍﻟﱠﺘﻲ ﺗﻔﺴّﺮ ﻫﺬﻩ ﺍﻟﻘﻮﱠﺓ ﺍﻟﻜﺎﺷﻔﺔ ﺍﻟﱠﺘﻲ ﲤﺘﻠﻜﻬﺎ ﺗﻌـﺎﺑﻴﺮ ﺍﻟﻮﺟـﻪ ﻭﺍﻷﺳـﺎﺭﻳﺮ ﻭﺍﻟﻜﺘﺎﺑـﺔ ﻭﻃﺮﻳﻘـﺔ‬
‫ﺍﻟﻠﱠﺒﺲ‪ ،‬ﳝﻜﻦ ﺃﻥ ﺗُﺮﻯ ﰲ ﺍﻟﺒﺤﺚ "ﺣﻮﻝ ﺍﻟﺘﱠﻌﺎﺑﻴﺮ ﻛﻈﺎﻫﺮﺓ ﻛﻮﻧﻴﱠﺔ" )ﺍﳌﺸﺎﻫﺪ‪ - .( VII،‬ﺍﳌﺆﻟﱢﻒ‪.‬‬
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 ‫ﻧﻔﻀﱢﻠﻪ ﰲ ﺍﻟﻜﺎﺋﻦ ﺍﻵﺧﺮ ﻳﺮﺳﻢ ﺻﻮﺭﺓ ﻗﻠﺒﻨﺎ‪ .‬ﺫﻟﻚ ﺃﻥﱠ ﺍﳊﺐﱠ ﻗﻮﱠﺓ ﺗﻄﻠﻊ ﻣﻦ ﺃﻋﻤﻖ ﻣﺎ‬
‫ﺗﺤﺖ ﺃﺭﺽ ﺷﺨﺼﻨﺎ‪ ،‬ﻭﺇﺫﺍ ﻭﺻﻠﺖ ﺇﻟﻰ ﺳﻄﺢ ﺍﳊﻴﺎﺓ ﺍﳌﺮﺋﻲ ﲡﺮﻑ ﰲ ﻓﻴﻀﺎﻧﻬﺎ‬
‫ﻃﺤﺎﻟﺐ ﻭﺃﺻﺪﺍﻓﺎً ﻣﻦ ﺍﻟﻬﺎﻭﻳﺔ ﺍﻟﺪﱠﺍﺧﻠﻴﱠﺔ‪ .‬ﻭﻟﻮ ﺻﻨﱠﻒ ﻋﺎﻟﻢ ﻃﺒﻴﻌﺔ ﺟﻴﱢﺪ ﻫﺬﻩ ﺍﳌﻮﺍﺩ‬
‫ﻻﺳﺘﻄﺎﻉ ﺇﻋﺎﺩﺓ ﺑﻨﺎﺀ ﻗﻌﺮ ﺍﻟﺒﺤﺮ ﺍﻟﱠﺬﻱ ﺍﻧﺘُﺰﻋﺖْ ﻣﻨﻪ‪.‬‬
‫ﻗﺪ ﻳُﺮﺍﺩ ﻣﻌﺎﺭﺿﺔ ﺫﻟﻚ ﺑﺎﻟﺘﱠﺠﺮﺑﺔ ﺍﻟﱠﺘﻲ ﺗﺰﻋﻢ ﺃﻥﱠ ﺍﻣﺮﺃﺓ ﻧﻌﺪﱠﻫﺎ ﺫﺍﺕ ﻃﺒﻊ‬
‫ﻣﺨﺘﺎﺭ ﺗﺮﻛﱢﺰ ﻫﻮﺍﻫﺎ ﻏﺎﻟﺒﺎً ﻋﻠﻰ ﺭﺟﻞ ﻏﻨﻲﱟ ﻣﺒﺘﺬﻝ‪ ،‬ﻟﻜﻨﱠﻲ ﺃﺧﻤﱢﻦ ﺃﻥﱠ ﻣﻦ ﻳﺤﻜﻤﻮﻥ‬
‫ﻫﻜﺬﺍ ﻳﻌﺎﻧﻮﻥ ﺩﺍﺋﻤﺎً ﺗﻘﺮﻳﺒﺎً ﺧﺪﺍﻋﺎً ﺑﺼﺮﻳﺎً‪ :‬ﺇﻧﱠﻬﻢ ﻳﺘﻜﻠﱠﻤﻮﻥ ﻣﻦ ﺑُﻌْﺪٍ ﻗﻠﻴﻼً‪ ،‬ﻭﺍﳊﺐﱡ‬
‫ﻫﻮ ﺧﻴﻂ ﺣﺮﻳﺮ ﻧﺎﻋﻢُ ﺍﳊﺒﻜﺔ ﺟﺪﱠﺍً ﻳُﺮﻯ ﻣﻦ ﻗﺮﺏٍ ﻗﺮﻳﺐ ﻓﻘﻂ‪ .‬ﻭﺇﻥﱠ ﻣﺜﻞ ﻫﺬﺍ‬
‫ﺍﻟﻬﻮﻯ ﰲ ﺃﺣﻮﺍﻝ ﻛﺜﻴﺮﺓ ﻇﺎﻫﺮﻱﱞ ﻓﺤﺴﺐ‪ .‬ﻭﻫﻮ ﰲ ﺍﳊﻘﻴﻘﺔ ﻏﻴﺮ ﻣﻮﺟﻮﺩ؛ ﻷﻥﱠ‬
‫ﺍﳊﺐﱠ ﺍﳊﻘﻴﻘﻲﱠ ﻭﺍﻟﺰﱠﺍﺋﻒ ﻳﺴﻠﻜﺎﻥ ﻣﺴﺎﻟﻚ ﻣﺘﺸﺎﺑﻬﺔ ﺇﺫﺍ ﻧُﻈِﺮَ ﺇﻟﻴﻬﻤﺎ ﻣﻦ ﺑﻌﻴﺪ‪.‬‬
‫ﻟﻜﻦ‪ ،‬ﻟﻨﻔﺘﺮﺽ ﺣﺎﻟﺔ ﻳﻜﻮﻥ ﻓﻴﻬﺎ ﺍﻟﻬﻮﻯ ﻓﻌﻠﻴّﺎً‪ :‬ﻓﺒﺄﻱّ ﺷﻲﺀ ﻳﻨﺒﻐﻲ ﻟﻨﺎ ﺃﻥْ ﻧﻈﻦﱠ؟‬
‫ﺑﺄﺣﺪ ﺷﻴﺌﲔ‪ :‬ﺇﻣﱠﺎ ﺇﻥﱠ ﺍﻟﺮﱠﺟﻞ ﻗﻠﻴﻞ ﺍﻷﻫﻤﱢﻴﱠﺔ ﻛﻤﺎ ﺣﺴِﺒﻨﺎ‪ ،‬ﺃﻭ ﺇﻥﱠ ﺍﳌﺮﺃﺓ ﻟﻢ ﺗﻜﻦ‬
‫ﻓﻌﻼً ﺫﺍﺕ ﻭﺿﻊ ﻣﺨﺘﺎﺭ ﻛﻤﺎ ﻛﻨﱠﺎ ﻧﺘﺼﻮﱠﺭﻫﺎ ‪.‬‬
‫ﻟﻘﺪ ﻋﺮﺿﺖُ ﺗﻜﺮﺍﺭﺍً ﻫﺬﺍ ﺍﻟﺘﱠﻔﻜﻴﺮ ﰲ ﻣﺤﺎﺩﺛﺎﺕ ﻭﻓﺼﻮﻝ ﺟﺎﻣﻌﻴﱠﺔ )ﲟﻨﺎﺳﺒﺔ‬
‫ﺗﺤﺪﻳﺪ ﺃﻱّ ﺷﻲﺀ ﻫﻮ ﻣﺎ ﻧﺴﻤﱢﻴﻪ ﻃﺒﻌﺎً(‪ ،‬ﻭﺍﺳﺘﻄﻌﺖ ﺃﻥ ﺃﻻﺣﻆ ﺃﻧﱠﻪ ﻳﺜﻴﺮ ﺑﺸﻜﻞٍ ﺁﻟﻲﱟ‬
‫ﺣﺮﻛﺔ ﺃﻭﻟﻰ ﻣﻦ ﺍﻻﺣﺘﺠﺎﺝ ﻭﺍﳌﻘﺎﻭﻣﺔ‪ .‬ﻭﺇﺫْ ﻛﺎﻧﺖ ﺍﻟﻔﻜﺮﺓ ﻻ ﺗﺤﺘﻮﻱ ﰲ ﺫﺍﺗﻬﺎ ﻋﻨﺼﺮﺍً ﻣﺎ‬
‫ﻣﺜﻴﺮﺍً ﻟﻠﻐﻴﻆ ﻭﻗﺎﺭﺻﺎً‪ ،‬ﻓﺈﻥﱠ ﻫﺬﻩ ﺍﳌﻘﺎﻭﻣﺔ ﺍﻵﻟﻴﱠﺔ ﺗﻌﺎﺩﻝ ﺇﺛﺒﺎﺗﺎً ﻟﺼﺤﱠﺔ ﻫﺬﻩ ﺍﻟﻔﻜﺮﺓ‪ .‬ﻭﻟﻢَ‬
‫ﻻ ﻧُﺴﺮّ ﰲ ﺃﻃﺮﻭﺣﺔ ﻋﺎﻣﱠﺔ‪ ،‬ﺃﻥ ﺗﻜﻮﻥ ﺃﻣﻨﻴﺎﺗﻨﺎ ﺗﻌﺒﻴﺮﺍً ﻋﻦ ﻛﻴﺎﻧﻨﺎ ﺍﳋﻔﻲﱢ؟ ﻭﺫﻟﻚ ﺃﻥﱠ‬
‫ﺍﻟﻔﺮﺩ ﻳﺸﻌﺮ ﺑﻨﻔﺴﻪ ﺃﻧﱠﻪ ﺗﻌﺮﱠﺽ ﻋﻠﻰ ﺣﲔ ﻏﺮﱠﺓ ﻭﻣﻦ ﻏﻴﺮ ﺣﻤﺎﻳﺔ ﻟﻬﺠﻮﻡ ﻟﻢ ﻳﺤﺘﻂ ﻟﻪ‪.‬‬
‫ﻭﻳُﻐﻀﺒﻨﺎ ﺩﺍﺋﻤﺎً ﺃﻥ ﻳﺤﻜﻢ ﻋﻠﻴﻨﺎ ﺃﺣﺪٌ ﻣﻦ ﺫﻟﻚ ﺍﻟﻮﺟﻪ ﻣﻦ ﺷﺨﺼﻨﺎ ﺍﻟﱠﺬﻱ ﻧُﺒﺪﻳﻪ ﰲ‬
‫ﻏﻔﻠﺔ ﻣﻨﱠﺎ‪ .‬ﻓﻴﻤﺴﻚ ﺑﻨﺎ ﻭﳓﻦ ﻏﻴﺮ ﻣﻬﻴﱠﺌﲔ‪ ،‬ﻭﻫﺬﺍ ﻳﺜﻴﺮ ﻏﻀﺒﻨﺎ‪ .‬ﺇﻧﱠﻨﺎ ﻧﺮﻳﺪ ﺃﻥ ﻳُﺤﻜﻢ‬
‫ﻋﻠﻴﻨﺎ ﺑﻌﺪ ﺇﺧﻄﺎﺭ ﻣﺴﺒﻖ ﻭﺣﺴﺐ ﺍﳌﻮﺍﻗﻒ ﺍﳌﻘﻴﱠﺪﺓ ﺑﺈﺭﺍﺩﺗﻨﺎ‪ ،‬ﻛﻴﻤﺎ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﺮﺗﱢﺒﻬﺎ‬
‫ﻛﻤﺎ ﻧﻔﻌﻞ ﺃﻣﺎﻡ ﺍﳌﺼﻮﱢﺭ ﺍﻟﻔﻮﺗﻮﻏﺮﺍﰲ‪) .‬ﺇﻧﱠﻪ ﺍﻟﺮﱡﻋﺐ ﻣﻦ "ﺍﻟﺘﱢﻠﻘﺎﺋﻴﱠﺔ" ‪ .(Instantanea‬ﺃﻣﱠﺎ‬
‫ﻣﻦ ﻭﺟﻬﺔ ﻧﻈﺮ ﺍﻟﺒﺎﺣﺚ ﰲ ﺍﻟﻘﻠﺐ ﺍﻹﻧﺴﺎﻧﻲ‪ ،‬ﻓﺈﻥ ﻣﺎ ﻳﻬﻤﱡﻪ ﺑﺎﻟﻄﱠﺒﻊ‪ ،‬ﺩﺧﻮﻟُﻪ ﺍﻟﻐﻴﺮ ﻣﻦ‬
‫ﺣﻴﺚ ﺃﻗﻞّ ﻣﺎ ﻳُﺨﻤﱠﻦ‪ ،‬ﻭﻳﻔﺎﺟﺌﻪ "ﻣﺘﻠﺒﱢﺴﺎً ﺑﺎﳉﺮﻡ ﱠ" ‪.Infraganti‬‬
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‫ﻭﻟﻮ ﺍﺳﺘﻄﺎﻋﺖ ﺇﺭﺍﺩﺓ ﺍﻹﻧﺴﺎﻥ ﺃﻥ ﺗﺤﻞﱠ ﺑﺸﻜﻞٍ ﻛﺎﻣﻞٍ ﻣﺤﻞﱠ ﺗﻠﻘﺎﺋﻴﱠﺘﻪ‪ ،‬ﳌَﺎ ﺍﺣﺘﻴﺞ‬
‫ﺇﻟﻰ ﺍﻟﻐﻮﺹ ﰲ ﺃﻏﻮﺍﺭ ﺷﺨﺼﻴﱠﺘﻪ‪ ،‬ﺍﻟﺴﱢﺮﱢﻳﱠﺔ‪ .‬ﻟﻜﻦﱠ ﺍﻹﺭﺍﺩﺓ ﺗﺴﺘﻄﻴﻊ ﻓﻘﻂ ﺃﻥ ﺗﻮﻗﻒ ﻣﺪﱠﺓ‬
‫ﳊﻈﺎﺕ ﻗﻮﱠﺓ ﺍﻟﺘﱢﻠﻘﺎﺋﻲ‪ .‬ﻭﺇﻥﱠ ﺗﺪﺧﱠﻞ ﺍﻹﺭﺍﺩﺓ ﻃﻴﻠﺔ ﺣﻴﺎﺓ ﻛﺎﻣﻠﺔ‪ ،‬ﰲ ﻣﻨﺎﻫﻀﺔ ﺍﻟﻄﱠﺒﻊ‪ ،‬ﻫﻮ‬
‫ﻋﻤﻠﻴّﺎً ﻭﺍﻟﻌﺪﻡ ﺳﻮﺍﺀ‪ .‬ﺇﻥﱠ ﻃﺒﻌﻨﺎ ﻳﺘﺴﺎﻫﻞ ﺑﺠﺮﻋﺔ ﻣﺎ ﻣﻦ ﺍﻟﺘﱠﺰﻳﻴﻒ ﺗﺄﺗﻲ ﺑﻪ ﺍﻹﺭﺍﺩﺓ‪.‬‬
‫ﻭﺧﻴﺮ ﻣﻦ ﺍﻟﻜﻼﻡ ﻋﻦ ﺗﺰﻳﻴﻒ‪ ،‬ﺃﻥ ﻧﺘﻜﻠﱠﻢ ﺿﻤﻦ ﻫﺬﺍ ﺍﳌﻘﻴﺎﺱ ﺣﻘﱠﺎً‪ ،‬ﻋﻦ ﺃﻧﱠﻨﺎ ﻧﺘﻤﱢﻢ‬
‫ﺃﻧﻔﺴﻨﺎ ﻭﻧﻜﻤﱢﻠﻬﺎ‪ .‬ﺇﻧﱠﻬﺎ ﺑﺼﻤﺔ ﺍﻹﺑﻬﺎﻡ ﺍﻟﱠﺘﻲ ﺗﻀﻔﻴﻬﺎ ﺍﻟﺮﱡﻭﺡ )ﺍﻟﻌﻘﻞ ﻭﺍﻹﺭﺍﺩﺓ(‪ ،‬ﻋﻠﻰ‬
‫ﻃﻴﻨﻨﺎ ﺍﻷﺻﻠﻲ‪ .‬ﻭﻟﻨﺤﺎﻓﻆْ ﺑﻜﻞﱢ ﺷﺮﻑٍ ﻋﻠﻰ ﺗﺪﺧﱡﻞ ﺍﻟﻘﻮﱠﺓ ﺍﻟﺮﱡﻭﺣﻴﱠﺔ‪ ،‬ﺍﻵﻟﻬﻲ‪ .‬ﻟﺬﻟﻚ ﻛﺎﻥ‬
‫ﻟﺰﺍﻣﺎً ﺃﻥ ﳔﻔﱢﻒ ﻣﻦ ﺍﻷﺣﻼﻡ‪ ،‬ﻭﺃﻻﱠ ﻧﺆﻣﻦ ﺃﻥﱠ ﺫﻟﻚ ﺍﻷﺛﺮ ﺍﻟﻌﺠﻴﺐ ﳝﻜﻦ ﺃﻥ ﻳﺘﺠﺎﻭﺯ‬
‫ﺗﻠﻚ ﺍﳉﺮﻋﺔ‪ .‬ﻭﺇﺫﺍ ﻣﺎ ﺗﻌﺪﱠﺍﻫﺎ ﻳﺒﺪﺃ ﺍﻟﺘﱠﺰﻳﻴﻒ ﺍﻟﻔﻌﻠﻲّ‪ .‬ﻭﺇﺫﺍ ﺳﺎﺭ ﺭﺟﻞ ﻃﻴﻠﺔ ﺣﻴﺎﺗﻪ‬
‫ﺧﻼﻓﺎً ﻟﻄﺒﻌﻪ ﺍﻟﻔﻄﺮﻱّ‪ ،‬ﻓﺈﻧﱠﻪ ﺑﺎﻟﻔﻄﺮﺓ ﻣﻴﱠﺎﻝ ﺇﻟﻰ ﺍﻟﺘﱠﺰﻳﻴﻒ‪ .‬ﻓﻬﻨﺎﻙ ﻣﻦ ﻫﻮ ﻣﺮﺍﺀٍ‬
‫ﺑﺸﻜﻞٍ ﺻﺮﻳﺢ‪ .‬ﻭﻣﻦ ﻫﻮ ﻣﺘﻜﻠﱢﻒ ﺑﺸﻜﻞٍ ﻃﺒﻴﻌﻲّ‪.‬‬
‫ﻛﻠﱠﻤﺎ ﺗﻐﻠﻐﻞ ﻋﻠﻢ ﺍﻟﻨﱠﻔﺲ ﺍﳊﺎﻟﻲ ﰲ ﻣﻴﻜﺎﻧﻴﺰﻡ ﺍﻟﻜﺎﺋﻦ ﺍﻟﺒﺸﺮﻱّ‪ ،‬ﺑﺪﺕ ﻭﻇﻴﻔﺔ‬
‫ﺍﻹﺭﺍﺩﺓ ﺑﺸﻜﻞٍ ﻭﺍﺿﺢ‪ ،‬ﻭﻣﻴﻜﺎﻧﻴﺰﻡ ﺍﻟﺮﱡﻭﺡ ﺑﻌﺎﻣﱠﺔ‪ ،‬ﺃﻧﱠﻬﺎ ﻟﻴﺴﺖ ﺧﻼﱠﻗﺔ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻲ ﺑﺒﺴﺎﻃﺔ‬
‫ﻣﺼﺤﱢﺤﺔ‪ .‬ﻭﺍﻹﺭﺍﺩﺓ ﻻ ﺗﺤﺮﱢﻙ ﺑﻞ ﺗﻮﻗﻒ ﻫﺬﺍ ﺍﻻﻧﺪﻓﺎﻉ ﻣﺎ ﻗﺒﻞ ﺍﻹﺭﺍﺩﻱ ﺃﻭ ﺫﺍﻙ ﺍﻟﱠﺬﻱ‬
‫ﻳﺼﻌﺪ ﻛﻤﺎ ﺍﻟﻨﱠﺒﺎﺕ‪ ،‬ﻣﻦ ﺗﺤﺖ ﺃﺭﺿﻴﱠﺔ ﻧﻔﺴﻨﺎ‪ .‬ﻓﺘﺪﺧﱡﻠﻬﺎ ﺇﺫﺍً‪ ،‬ﺳﻠﺒﻲ‪ .‬ﻓﺈﺫﺍ ﻣﺎ ﺑﺪﺍ ﺍﻷﻣﺮ‬
‫ﻋﻜﺲ ﺫﻟﻚ ﺃﺣﻴﺎﻧﺎً‪ ،‬ﻓﺬﻟﻚ ﻟﻠﺴﺒﺐ ﺍﻟﺘﱠﺎﻟﻲ‪ :‬ﻳﺤﺪﺙ ﺃﻥ ﻳﻌﻤﻞ ﺃﺣﺪ ﻣﻴﻮﻟﻨﺎ ﺃﻭ ﺇﺣﺪﻯ‬
‫ﺷﻬﻮﺍﺗﻨﺎ ﻭﺭﻏﺒﺎﺗﻨﺎ ﺍﳌﺘﺸﺎﺑﻜﺔ‪ ،‬ﻛﻜﺎﺑﺢ ﳌﻴﻞ ﻭﺭﻏﺒﺔ ﺃﺧﺮﻯ‪ .‬ﻓﺈﺫﺍ ﺃﻭﻗﻔﺖ ﺍﻹﺭﺍﺩﺓ ﻫﺬﺍ‬
‫ﺍﻟﻜﺎﺑﺢ‪ ،‬ﻓﺈﻧﱠﻬﺎ ﺗﺴﻤﺢ ﻟﻠﻤﻴﻞ ﺍﳌﻜﺒﱠﻞ ﻣﻦ ﻗﺒﻞُ‪ ،‬ﺃﻥ ﻳﻨﺴﺎﺏ ﻭﻳﺘﻤﺪﱠﺩ ﺑﺸﻜﻞ ﻛﺎﻣﻞ‪ .‬ﺣﻴﻨﺌﺬ‪،‬‬
‫ﺗﺒﺪﻭ ﺇﺭﺍﺩﺗﻨﺎ ﺃﻧﱠﻬﺎ ﲤﺘﻠﻚ ﻗﻮﱠﺓ ﺇﻳﺠﺎﺑﻴﱠﺔ‪ ،‬ﰲ ﺣﲔ‪ ،‬ﺃﻥﱠ ﺍﻟﺸﱠﻲﺀ ﺍﻟﻮﺣﻴﺪ ﺍﻟﱠﺬﻱ ﻋﻤﻠﺘﻪ ﰲ‬
‫ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻛﺎﻥ ﺭﻓﻊ ﺍﳊﻮﺍﺟﺰ ﺍﻟﱠﺘﻲ ﻛﺎﻧﺖ ﺗﻜﺒﺢ ﺫﻟﻚ ﺍﻻﻧﺪﻓﺎﻉ ﺍﳌﻮﺟﻮﺩ ﻣﻦ ﻗﺒﻞ‪.‬‬
‫ﻭﺍﳋﻄﺄ ﺍﻷﻛﺒﺮ ﻣﻨﺬ ﻋﺼﺮ ﺍﻟﻨﱠﻬﻀﺔ ﺣﺘﱠﻰ ﺃﻳﱠﺎﻣﻨﺎ ﻫﺬﻩ ﻣﺮﻭﺭﺍً ﺑﺪﻳﻜﺎﺭﺕ‪ ،‬ﻛﺎﻥ‬
‫ﺍﻹﳝﺎﻥ ﺃﻧﱠﻨﺎ ﻧﻌﻴﺶ ﻣﻦ ﻭﻋﻴﻨﺎ‪ ،‬ﻣﻦ ﺫﻟﻚ ﺍﻟﻘﺴﻢ ﺍﻟﺼﱠﻐﻴﺮ ﻣﻦ ﻛﻴﺎﻧﻨﺎ ﺍﻟﱠﺬﻱ ﻧﺮﺍﻩ ﺑﻮﺿﻮﺡ‬
‫ﻭﺍﻟﱠﺬﻱ ﺗﻌﻤﻞ ﻓﻴﻪ ﺇﺭﺍﺩﺗﻨﺎ‪ .‬ﻭﻳﺒﺪﻭ ﻟﻲ ﺍﻟﻘﻮﻝ ﺇﻥﱠ ﺍﻹﻧﺴﺎﻥ ﻋﻘﻼﻧﻲّ ﻭﺣﺮﱞ ﻋﺒﺎﺭﺓ ﻗﺮﻳﺒﺔ‬
‫ﻣﻦ ﺃﻥ ﺗﻜﻮﻥ ﺯﺍﺋﻔﺔ‪ .‬ﻷﻧﱠﻨﺎ ﳕﺘﻠﻚ ﰲ ﺍﻟﻮﺍﻗﻊ ﻋﻘﻼً ﻭﺣﺮﱢﻳﱠﺔ‪ .‬ﻟﻜﻦﱠ ﺍﻟﻘﻮﱠﺗﲔ ﻛﻠﺘﻴﻬﻤﺎ‬
‫ﺗﺸﻜﱢﻼﻥ ﻗﺸﺮﺓ ﺭﻗﻴﻘﺔ ﺗﻐﻠﱢﻒ ﻛﺘﻠﺔ ﻛﻴﺎﻧﻨﺎ ﺍﻟﱠﺬﻱ ﺩﺍﺧﻠﻪ ﻟﻴﺲ ﻋﻘﻼﻧﻴّﺎً ﻭﻻ ﺣﺮﱠﺍً‪ .‬ﻭﺇﻥﱠ‬
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‫ﺍﻷﻓﻜﺎﺭ ﺫﺍﺗﻬﺎ ﺍﻟّﺘﻲ ﺗﺸﻜﱢﻞ ﺍﻟﻌﻘﻞ ﺗﺼﻠﻨﺎ ﺟﺎﻫﺰﺓ ﻧﺎﺟﺰﺓ ﻣﻦ ﻗﻌﺮ ﻣﻈﻠﻢ ﺿﺨﻢ ﻳﻘﻊ‬
‫ﻓﻴﻤﺎ ﺗﺤﺖ ﻭﻋﻴﻨﺎ‪ .‬ﻭﺭﻏﺒﺎﺗﻨﺎ ﺑﺎﳌﺜﻞ‪ ،‬ﲤﺜُﻞ ﻋﻠﻰ ﻣﺴﺮﺡ ﺫﻫﻨﻨﺎ ﺑﻮﺿﻮﺡ‪ ،‬ﻛﻤﻤﺜﱢﻠﲔ ﻳﺄﺗﻮﻥ‬
‫ﻻﺑﺴﲔ ﺛﻴﺎﺑﻬﻢ ﻭﻳﺘﻠﻮﻥ ﺃﺩﻭﺍﺭﻫﻢ ﻣﻦ ﺑﲔ ﺃﻃﺮ ﺍﳌﺴﺮﺡ ﺍﻟﻐﺎﻣﻀﺔ ﺍﳌﻈﻠﻤﺔ‪ .‬ﻭﺇﺫﺍ ﻛﺎﻥ‬
‫ﺍﻟﻘﻮﻝ ﺇﻥﱠ ﻣﺴﺮﺣﺎً ﻫﻮ ﺍﻟﻘﻄﻌﺔ ﺍﻟﱠﺘﻲ ﺗُﻤﺜّﻞ ﻋﻠﻰ ﺧﺸﺒﺘﻪ ﺍﳌﻀﺎﺀﺓ‪ ،‬ﻳﺒﺪﻭ ﻟﻲ ﻋﻠﻰ ﺍﻷﻗﻞﱢ‪،‬‬
‫ﻏﻴﺮ ﺻﺤﻴﺢ ﺍﻟﻘﻮﻝ ﺇﻥﱠ ﺭﺟﻼً ﻳﻌﻴﺶ ﻣﻦ ﻭﻋﻴﻪ‪ ،‬ﻭﻣﻦ ﺭﻭﺣﻪ‪ .‬ﻭﺍﳊﻘﻴﻘﺔ‪ ،‬ﺇﺫﺍ ﺍﺳﺘﺜﻨﻴﻨﺎ‬
‫ﺗﺪﺧﱡﻞ ﺍﻹﺭﺍﺩﺓ ﺍﻟﺴﱠﻄﺤﻲ‪ ،‬ﻫﻲ ﺃﻧﱠﻨﺎ ﻧﻌﻴﺶ ﻣﻦ ﺣﻴﺎﺓ ﻻ ﻋﻘﻼﻧﻴﱠﺔ ﺗﺼﺐﱡ ﰲ ﺍﻟﻮﻋﻲ‬
‫ﺃﺻﻞ ﺍﳊﻮﺽ ﺍﻟﻜﺎﻣﻦ‪ ،‬ﻭﺗﻌﻴﺶ ﻣﻦ ﺍﻟﻘﻌﺮ ﻏﻴﺮ ﺍﳌﺮﺋﻲ ﺍﻟﱠﺬﻱ ﻫﻮ ﳓﻦ ﺫﺍﺗﻨﺎ‪ ،‬ﰲ‬
‫ﺍﻟﻮﺍﻗﻊ‪ .‬ﻟﺬﻟﻚ ﻛﺎﻥ ﻋﻠﻰ ﻋﺎﻟﻢ ﺍﻟﻨﱠﻔﺲ ﺃﻥ ﻳﺘﺤﻮﱠﻝ ﺇﻟﻰ ﻏﻮﱠﺍﺹ ﻳﻐﻮﺹ ﺗﺤﺖ ﺳﻄﺢ‬
‫ﻛﻠﻤﺎﺕ ﺍﻟﻐﻴﺮ ﻭﺃﻓﻌﺎﻟﻪ ﻭﺃﻓﻜﺎﺭﻩ ﺍﻟﱠﺘﻲ ﻫﻲ ﻣﺠﺮﱠﺩ ﺧﺸﺒﺔ ﻣﺴﺮﺡ‪ .‬ﻭﺍﳌﻬﻢﱡ ﻣﺎ ﻭﺭﺍﺀ ﺫﻟﻚ‬
‫ﻛﻠّﻪ‪ .‬ﻷﻥﱠ ﺍﳌﺸﺎﻫﺪ ﻳﻜﻔﻴﻪ ﺃﻥ ﻳﺮﻯ ﻫﺎﻣﻠﺖ ﺍﻟﱠﺬﻱ ﻳﺠﺮﱡ ﺗﻌﺒﻪ ﺇﻟﻰ ﺣﺪﻳﻘﺔ ﻭﻫﻤﻴﱠﺔ‪ .‬ﺃﻣﱠﺎ‬
‫ﻋﺎﻟﻢ ﺍﻟﻨﱠﻔﺲ ﻓﻴﻨﺘﻈﺮﻩ ﻣﺘﻰ ﺧﺮﺝ‪ ،‬ﻋﻨﺪ ﺑﺎﺏ ﺧﺸﺒﺔ ﺍﳌﺴﺮﺡ‪ ،‬ﻭﻳﺮﻳﺪ ﺃﻥ ﻳﻌﺮﻑ ﰲ‬
‫ﻋﺘﻤﺔ ﺍﻟﺴﱠﺘﺎﺋﺮ ﻭﺍﳌﺘﺎﻉ‪ ،‬ﻣﻦ ﻫﻮ ﺍﳌﻤﺜﱢﻞ ﺍﻟﱠﺬﻱ ﻣﺜﱠﻞ ﻫﺎﻣﻠﺖ‪.‬‬
‫ﺇﺫﺍً‪ ،‬ﻃﺒﻴﻌﻲﱞ ﺃﻥ ﻳﺒﺤﺚ ﻋﻦ ﺍﻷﺑﻮﺍﺏ ﺍﳌﺴﺤﻮﺭﺓ ﻭﺍﻟﻔﺘﺤﺎﺕ ﺍﻟﱠﺘﻲ ﻳﻨﺰﻟﻖ ﻣﻨﻬﺎ ﺇﻟﻰ‬
‫ﺃﻋﻤﺎﻕ ﺍﻟﺸﱠﺨﺺ‪ .‬ﻭﺍﳊﺐﱡ ﺃﺣﺪ ﻫﺬﻩ ﺍﻷﺑﻮﺍﺏ ﺍﳌﺴﺤﻮﺭﺓ‪ .‬ﻭﺑﺎﻃﻞٌ ﺟﻬﺪ ﺍﳌﺮﺃﺓ ﺍﻟﱠﺘﻲ‬
‫ﺗﺰﻋﻢ ﻛﻮﻧﻬﺎ ﻣﺨﺘﺎﺭﺓ‪ ،‬ﰲ ﺃﻥ ﺗﺨﺪﻋﻨﺎ‪ .‬ﻟﻘﺪ ﺭﺃﻳﻨﺎ ﺃﻧﱠﻬﺎ ﻛﺎﻧﺖ ﺗﺤﺐُ ﻓﻼﻧﺎً‪ .‬ﻭﻓﻼﻥ ﺃﺧﺮﻕ‬
‫ﻭﻏﻴﺮ ﺣﺴﱠﺎﺱ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻮ ﻣﻬﺘﻢﱞ ﺑﺈﺗﻘﺎﻥ ﺭﺑﻄﺔ ﺍﻟﻌﻨﻖ ﻭﺗﻠﻤﻴﻊ ﺳﻴﱠﺎﺭﺓ "ﺍﻟﺮﱠﻭﻟﺰ"‪.‬‬

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‫ﻭﺗُﺜﺎﺭ ﺍﻋﺘﺮﺍﺿﺎﺕ ﻻ ﻧﻬﺎﻳﺔ ﻟﻬﺎ ﳌﻨﺎﻫﻀﺔ ﻫﺬﻩ ﺍﻟﻔﻜﺮﺓ ﺍﻟﱠﺘﻲ ﻧﻜﺸﻒ ﺑﻬﺎ ﰲ‬
‫ﺍﺧﺘﻴﺎﺭ ﺍﶈﺒﻮﺏ ﻋﻦ ﺃﺻﺪﻕ ﺃﻋﻤﺎﻗﻨﺎ‪ .‬ﻭﺇﻥﱠ ﺇﻣﻜﺎﻧﻴﱠﺔ ﻭﺟﻮﺩ ﺑﻌﺾٍ ﻣﻨﻬﺎ ﻛﺎﻑٍ ﻟﻠﻘﻀﺎﺀ‬
‫ﻋﻠﻰ ﺻﺪﻕ ﺇﺛﺒﺎﺗﻨﺎ‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﺗﺒﺪﻭ ﻟﻲ ﺗﻠﻚ ﺍﻻﻋﺘﺮﺍﺿﺎﺕ ﺍﻟﱠﺘﻲ ﺗﻌﺘﺮﺿﻨﺎ ﻋﺎﺩﺓ ﻏﻴﺮ‬
‫ﻓﺎﻋﻠﺔ ﺣﻘﱠﺎً‪ ،‬ﻭﺿﺌﻴﻠﺔ ﺍﻟﺪﱢﻗﱠﺔ ﺍﺭﲡﻠﻬﺎ ﺭﺃﻱٌ ﻣﻦ ﻏﻴﺮ ﺗﺤﻔّﻈﺎﺕ‪ ،‬ﻭﻧﺴﻲ ﺃﻥﱠ ﻋﻠﻢ ﻧﻔﺲ‬
‫ﺍﳊﺐﱢ ﳝﻜﻨﻪ ﺃﻥ ﻳﻌﻤﻞ ﺑﺸﻜﻞ ﻣﺠﻬﺮﻱﱟ ﻓﺤﺴﺐ‪ .‬ﻓﻜﻠﱠﻤﺎ ﻛﺎﻥ ﺍﳌﻮﺿﻮﻉ ﺍﻟﺴﱢﻴﻜﻮﻟﻮﺟﻲ‬
‫ﻣﺜﺎﺭُ ﺍﻟﺒﺤﺚ ﺃﻛﺜﺮ ﺣﻤﻴﻤﻴﱠﺔ‪ ،‬ﻛﺎﻥ ﺗﺄﺛﻴﺮ ﺍﻟﺘﱠﻔﺼﻴﻞ ﺃﻋﻈﻢ‪ .‬ﺇﺫﺍً‪ ،‬ﺍﳊﺎﺟﺔ ﺇﻟﻰ ﺍﳊﺐﱢ ﻫﻲ‬
‫ﻭﺍﺣﺪﺓ ﻣﻦ ﺃﻋﻤﻖ ﺍﳊﺎﺟﺎﺕ‪ .‬ﻭﻻ ﻳﻮﺟﺪ ﺷﻲﺀ ﺃﺷﺪ ﺣﻤﻴﻤﻴﱠﺔ ﻣﻨﻬﺎ ﺳﻮﻯ ﺣﺎﺟﺔ‬
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‫ﻭﺍﺣﺪﺓ‪ ،‬ﻋﻠﻰ ﺍﻷﺭﺟﺢ‪ .‬ﺇﻧﱠﻬﺎ ﺗﻠﻚ ﺍﻟﱠﺘﻲ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﺴﻤﱢﻴﻬﺎ "ﺍﻟﺸﱡﻌﻮﺭ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻲ"‪ ،‬ﺃﻭ‬
‫ﺍﻟﺸﱡﻌﻮﺭ ﺍﳉﺬﺭﻱ ﻭﺍﻷﻫﻢﱠ ﻭﺍﻷﺳﺎﺱ ﺍﻟّﺬﻱ ﳕﺘﻠﻜﻪ ﻋﻦ ﺍﻟﻜﻮﻥ‪.‬‬
‫ﻭﻫﺬﺍ ﺍﻟﺸﱡﻌﻮﺭ ﻳﺼﻠﺢ ﺃﻥ ﻳﻜﻮﻥ ﺃﺳﺎﺳﺎً ﻭﺩﻋﺎﻣﺔ ﻟﺒﻘﻴﱠﺔ ﺃﻧﺸﻄﺘﻨﺎ ﺃﻳّﺎً ﺗﻜﻦ ﻫﺬﻩ‬
‫ﺍﻷﻧﺸﻄﺔ‪ .‬ﻭﻻ ﻳﻌﻴﺶ ﺃﺣﺪ ﻣﻦ ﺩﻭﻧﻪ ﻭﺇﻥ ﻟﻢ ﳝﺘﻠﻜﻪ ﺟﻤﻴﻊ ﺍﻟﻨﱠﺎﺱ ﺑﺎﺭﺯﺍً ﰲ ﺫﻭﺍﺗﻬﻢ‬
‫ﺑﺎﻟﻮﺿﻮﺡ ﺫﺍﺗﻪ‪ .‬ﻓﻬﻮ ﻳﺤﺘﻮﻱ ﻋﻠﻰ ﻣﻮﻗﻔﻨﺎ ﺍﻷﻭﱠﻝ ﻭﺍﳊﺎﺳﻢ ﺇﺯﺍﺀ ﺍﻟﻮﺍﻗﻊ ﺍﻟﻜﻠﱢﻲّ‪ ،‬ﻭﻋﻠﻰ‬
‫ﻃﻌﻢ ﺍﳊﻴﺎﺓ ﻭﺍﻟﻌﺎﻟﻢ ﺑﺎﻟﻨﱢﺴﺒﺔ ﻟﻨﺎ‪ .‬ﺃﻣﱠﺎ ﺑﻘﻴﱠﺔ ﻣﺸﺎﻋﺮﻧﺎ ﻭﺃﻓﻜﺎﺭﻧﺎ ﻭﺭﻏﺒﺎﺗﻨﺎ‪ ،‬ﻓﺈﻧﱠﻬﺎ‬
‫ﺗﺘﺤﺮﱠﻙ ﻓﻮﻕ ﻫﺬﺍ ﺍﳌﻮﻗﻒ ﺍﻷﻭﱠﻟﻲ ﻭﺗﺘﺮﻛﱠﺐ ﻋﻠﻴﻪ ﻭﺗﺘﻠﻮﱠﻥ ﺑﻠﻮﻧﻪ‪ .‬ﺫﻟﻚ ﻷﻥﱠ ﺷﻜﻞ‬
‫ﻏﺮﺍﻣﻴﱠﺎﺗﻨﺎ ﺗﺤﺪﻳﺪﺍً ﻫﻮ ﺃﺣﺪ ﺍﻷﻋﺮﺍﺽ ﺍﻷﻗﺮﺏ ﺇﻟﻰ ﻫﺬﺍ ﺍﻟﺸﱡﻌﻮﺭ ﺍﻷﻭﱠﻝ‪ .‬ﻭﻟﻘﺪ ﺃﺗﻴﺢ‬
‫ﻟﻨﺎ ﺃﻥ ﳔﻤﱢﻦ ﻣﻦ ﺧﻼﻟﻪ ﻷﻱﱢ ﺷﻲﺀ ﻭﰲ ﺃﻱﱢ ﺷﻲﺀ ﻭﺿﻊ ﺍﻟﻐﻴﺮ ﺣﻴﺎﺗﻪ‪ .‬ﻭﻫﺬﺍ ﺃﻫﻢﱡ ﻣﺎ‬
‫ﻳﻬﻤﱡﻨﺎ ﺍﻟﺘﱠﺤﻘّﻖ ﻣﻨﻪ‪ :‬ﻟﻴﺲ ﺣﻜﺎﻳﺎﺕ ﻋﻦ ﻭﺟﻮﺩ ﻫﺬﺍ ﺍﻟﻐﻴﺮ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﺍﻟﻮﺭﻗﺔ ﺍﻟﱠﺘﻲ ﻳﻠﻌﺐ ﺑﻬﺎ‬
‫ﺣﻴﺎﺗﻪ‪ .‬ﻛﻠّﻨﺎ ﺟﻤﻴﻌﺎً ﻧﺪﺭﻙ ﺑﻌﺾ ﺍﻹﺩﺭﺍﻙ ﺃﻥﱠ ﳕﻮﺫﺝ ﺍﳊﻴﺎﺓ ﺍﻟﱠﺬﻱ ﺃُﳊﻘﻨﺎ ﺑﻪ ﻗﺪ ﺗﻘﺮﱠﺭ‬
‫ﰲ ﻣﻨﺎﻃﻖ ﻣﻦ ﻛﻴﺎﻧﻨﺎ ﺃﻋﻤﻖ ﻣﻦ ﺗﻠﻚ ﺍﻟﱠﺘﻲ ﺗﻨﺸﻂ ﻓﻴﻬﺎ ﺍﻹﺭﺍﺩﺓ‪ .‬ﻭﻋﺒﺚٌ ﺗﺮﺩﺍﺩ ﺍﻟﺘﱠﺠﺎﺭﺏ‬
‫ﻭﺍﳊﺠﺞ‪ :‬ﻷﻥﱠ ﻗﻠﺒﻨﺎ ﻳﺸﻌﺮ ﺑﻨﻔﺴﻪ ﻣﻠﺤﻘﺎً ﲟﺪﺍﺭ ﻣﻘﺮﱠﺭ ﻣﻦ ﻗﺒﻞ ﻭﺳﻮﻑ ﻳﺪﻭﺭ ﺑﻌﻨﺎﺩ‬
‫ﳒﻢ ﺑﺜﻘﺎﻟﺔ ﺟﺎﺫﺑﻴﱠﺘﻪ ﺫﺍﺗﻬﺎ ﳓﻮ ﺍﻟﻔﻦﱢ ﺃﻭ ﺍﻟﻄﱡﻤﻮﺡ ﺍﻟﺴﱢﻴﺎﺳﻲّ ﺃﻭ ﺍﻟﻠﱠﺬﺓ ﺍﳉﻨﺴﻴﱠﺔ ﺃﻭ‬
‫ﺍﳌﺎﻝ‪ .‬ﻭﻛﺜﻴﺮﺍً ﻣﺎ ﻳﺴﻴﺮ ﻭﺟﻮﺩ ﺍﻟﻔﺮﺩ ﺍﻟﻈﱠﺎﻫﺮﻱّ ﺧﻼﻓﺎً ﳌﺼﻴﺮﻩ ﺍﳊﻤﻴﻢ ﻣﺘﻴﺤﺎً‬
‫ﺍﻟﻔﺮﺻﺔ ﻟﻈﻬﻮﺭ ﺃﻗﻨﻌﺔ ﻣﻔﺎﺟﺌﺔ‪ :‬ﻗﻨﺎﻉ ﺭﺟﻞ ﺍﻟﺘّﺠﺎﺭﺓ ﺍﻟﺬﻱ ﻳُﺨﻔﻲ ﺭﺟﻼً ﺷﻬﻮﺍﻧﻴﱠﺎً‪ ،‬ﺃﻭ‬
‫ﻗﻨﺎﻉ ﺍﻟﻜﺎﺗﺐ ﺍﻟﺬﻱ ﻫﻮ ﰲ ﺍﳊﻘﻴﻘﺔ ﻃﺎﻣﻊ ﰲ ﺍﻟﺴﱡﻠﻄﺔ ﺍﻟﺴﱢﻴﺎﺳﻴَﺔ ﻓﻘﻂ‪.‬‬
‫ﻭﺍﻟﺮﱠﺟﻞ ﺍﻟﻄﱠﺒﻴﻌﻲّ "ﻳُﻌﺠﺐ" ﺗﻘﺮﻳﺒﺎً ﺑﺎﻟﻨﱢﺴﺎﺀ ﺍﻟﻼﺋﻲ ﳝﺮﺭﻥ ﻗﺮﺑﻪ ﺟﻤﻴﻌﺎً‪ .‬ﻭﻫﺬﺍ‬
‫ﻳﺴﻤﺢ ﺑﺰﻳﺎﺩﺓ ﺇﺑﺮﺍﺯ ﻃﺎﺑﻊ ﺍﳋﻴﺎﺭ ﺍﻟﻌﻤﻴﻖ ﺍﻟﱠﺬﻱ ﳝﺘﻠﻜﻪ ﺍﳊﺐّ‪ .‬ﻳﻜﻔﻲ ﻣﻦ ﺃﺟﻞ ﺫﻟﻚ‬
‫ﺃﻻﱠ ﳔﻠﻂ ﺍﻟﺬﱠﻭﻕ ﺑﺎﳊﺐﱢ‪ .‬ﺇﺫ ﺗُﺤﺪﺙ ﺍﻟﺼﺒﻴﱠﺔ ﺍﳉﻤﻴﻠﺔ ﺍﻟﻌﺎﺑﺮﺓ ﻫﻴﺎﺟﺎً‪ -‬ﻭﻟﻴﻜﻦ ﺫﻟﻚ‬
‫ﺗﻜﺮﳝﺎً ﻟﻬﺎ‪ -‬ﰲ ﻣﺤﻴﻂ ﺣﺴﺎﺳﻴﱠﺔ ﺍﻟﺬﱠﻛﺮ ﺃﺑﻌﺪ ﺃﺛﺮﺍً ﰲ ﺍﻟﻨﱠﻔﺲ ﻣﻦ ﺍﻟﻬﻴﺎﺝ ﺍﻟﱠﺬﻱ‬
‫ﺗﺤﺪﺛﻪ ﺍﳌﺮﺃﺓ )ﺍﻟﻨﱠﺎﺿﺠﺔ(‪ .‬ﻭﻳﺜﻴﺮ ﻫﺬﺍ ﺍﻟﻬﻴﺎﺝ ﺑﺸﻜﻞٍ ﺁﻟﻲﱟ ﺣﺮﻛﺔ ﺃﻭﻟﻰ ﰲ ﺍﻻﺗﱢﺠﺎﻩ‬
‫ﳓﻮﻫﺎ‪ .‬ﻭﺭﺩﱡ ﺍﻟﻔﻌﻞ ﻫﺬﺍ ﺟﺪّ ﺁﻟﻲﱞ ﻭﻣﻴﻜﺎﻧﻴﻜﻲﱞ ﺣﺘﱠﻰ ﻟﻢ ﲡﺮﺅ ﺍﻟﻜﻨﻴﺴﺔ ﻋﻠﻰ ﻋﺪﱢﻩ‬
‫ﺻﻮﺭﺓ ﻣﻦ ﺻﻮﺭ ﺍﳋﻄﻴﺌﺔ‪ .‬ﻭﻗﺪ ﻛﺎﻧﺖ ﺍﻟﻜﻨﻴﺴﺔ ﰲ ﻋﺼﺮ ﺁﺧﺮ ﻋﺎﳌﺔ ﻧﻔﺲ ﳑﺘﺎﺯﺓ‪،‬‬
‫ﻭﻳﺒﻌﺚ ﻋﻠﻰ ﺍﻷﺳﻒ ﺃﻥْ ﺗﺮﺍﺟﻌﺖ ﰲ ﻫﺬﻳﻦ ﺍﻟﻘﺮﻧﲔ ﺍﻷﺧﻴﺮﻳﻦ‪ .‬ﻓﻘﺪ ﻛﺎﻧﺖ ﺗﻘﺮﱡ‬
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 ‫ﺑﻮﺿﻮﺡ ﺑﺒﺮﺍﺀﺓ "ﺍﳊﺮﻛﺎﺕ ﺍﻷﻭﻟﻰ" ﻛﻠّﻬﺎ‪ .‬ﻭﻛﺬﻟﻚ ﺑﺒﺮﺍﺀﺓ ﺷﻌﻮﺭ ﺍﻟﺬﱠﻛﺮ ﺍﳌﻨﺠﺬﺏ‬
‫ﻭﺍﳌﺸﺪﻭﺩ ﺇﻟﻰ ﺍﳌﺮﺃﺓ ﺍﻟﱠﺘﻲ ﺗﻀﺮِﺏ ﺍﻷﺭﺽ ﺑﻜﻌﺒﻬﺎ ﺃﻣﺎﻣﻪ‪ .‬ﻭﻟﻮﻻ ﺫﻟﻚ ﳌﺎ ﻭُﺟِﺪ ﺷﻲﺀ‬
‫ﳑﱠﺎ ﻋﺪﺍﻩ‪ ،‬ﳌﺎ ﻭُﺟﺪ ﺷﺮّ ﻭﻻ ﺧﻴﺮ‪ ،‬ﻻ ﺭﺫﻳﻠﺔ ﻭﻻ ﻓﻀﻴﻠﺔ‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻻ ﺗﻘﻮﻝ ﻋﺒﺎﺭﺓ‬
‫"ﺣﺮﻛﺔ ﺃﻭﻟﻰ" ﻛﻞﱠ ﻣﺎ ﻳﺠﺐ ﺃﻥ ﻳُﻘﺎﻝ‪ .‬ﺇﻧﱠﻬﺎ "ﺃﻭﻟﻰ" ﻷﻥﱠ ﻗﺴﻤﺎً ﻣﻦ ﺍﶈﻴﻂ ﺫﺍﺗﻪ ﻗﺪ‬
‫ﺗﻠﻘﱠﻰ ﺍﻹﺛﺎﺭﺓ‪ ،‬ﻣﻦ ﻏﻴﺮ ﺃﻥ ﻳﺴﺎﻫﻢ ﻓﻴﻬﺎ ﺍﻟﻘﺴﻢ ﺍﻟﺪﱠﺍﺧﻠﻲ ﻣﻦ ﺍﻟﺸﱠﺨﺺ‪.‬‬
‫ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻫﺬﻩ ﺍﳉﺎﺫﺑﻴﱠﺔ ﺍﻟﱠﺘﻲ ﲤﺎﺭﺳﻬﺎ ﻛﻞﱡ ﺍﻣﺮﺃﺓ ﺗﻘﺮﻳﺒﺎً ﻋﻠﻰ ﺍﻟﺮﱠﺟﻞ‪،‬‬
‫ﻭﺗﻜﺎﺩ ﺗﻜﻮﻥ ﻧﺪﺍﺀ ﺗﻮﺟّﻬﻪ ﺍﻟﻐﺮﻳﺰﺓ ﺇﻟﻰ ﺍﳌﺮﻛﺰ ﺍﻟﻌﻤﻴﻖ ﻣﻦ ﺷﺨﺼﻴﱠﺘﻨﺎ‪ ،‬ﻻ ﻳﺘﺒﻌﻬﺎ‬
‫ﻋﺎﺩﺓ ﺟﻮﺍﺏ ﺃﻭ ﻳﺘﺒﻌﻬﺎ ﺟﻮﺍﺏ ﺳﻠﺒﻲﱞ ﻓﻘﻂ‪ .‬ﻟﻜﻨﱠﻪ ﻗﺪ ﻳﺼﺒﺢ ﺟﻮﺍﺑﺎً ﺇﻳﺠﺎﺑﻴّﺎً ﺇﺫﺍ‬
‫ﺍﻧﺒﺜﻖ ﻣﻦ ﻫﺬﺍ ﺍﳌﺮﻛﺰ ﺍﻟﺸﱠﺨﺼﻲّ ﺟﺪﱠﺍً‪ ،‬ﺷﻌﻮﺭٌ ﺑﺎﻟﺘﱠﻌﻠﱡﻖ ﲟﺎ ﺟﺬﺏ ﻣﺤﻴﻂ‬
‫ﺣﺴﺎﺳﻴﱠﺘﻨﺎ‪ .‬ﻭﺇﻥﱠ ﺷﻌﻮﺭﺍً ﻛﻬﺬﺍ ﺇﺫﺍ ﺍﻧﺒﺜﻖ‪ ،‬ﻳﺮﺑﻂ ﻣﺮﻛﺰ ﻧﻔﺴﻨﺎ ﺃﻭ ﻣﺤﻮﺭﻫﺎ ﺑﺬﻟﻚ‬
‫ﺍﻹﺣﺴﺎﺱ ﺍﳋﺎﺭﺟﻲ؛ ﺃﻭ ﻗﻮﻟﻪ ﺑﺸﻜﻞ ﺁﺧﺮ‪ :‬ﺇﻧﱠﻨﺎ ﻻ ﻧﻨﺠﺬﺏ ﻓﻘﻂ ﲟﺴﺘﻮﻯ‬
‫ﻣﺤﻴﻂ ﺇﺣﺴﺎﺳﻨﺎ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻧﺴﻌﻰ ﺑﻘﺪﻣﻨﺎ ﺇﻟﻰ ﻫﺬﺍ ﺍﳉﺎﺫﺏ ﻭﻧﻀﻊ ﻓﻴﻪ ﻛﻴﺎﻧﻨﺎ‬
‫ﻛﻠّﻪ‪ .‬ﺑﺎﺧﺘﺼﺎﺭ‪ :‬ﳓﻦ ﻻ ﻧﻨﺠﺬﺏ ﻓﻘﻂ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﳓﻦ ﻣﻮﻟَﻌﻮﻥ‪ .‬ﻭﺍﻷﻣﺮ ﺍﻷﻭﱠﻝ‬
‫ﻳﺨﺘﻠﻒ ﻋﻦ ﺍﻟﺜﱠﺎﻧﻲ ﺍﺧﺘﻼﻑ ﻣﻦ ﻳُﺠﺮّ ﺟﺮّﺍً ﻋ ﻤﱠﻦ ﻳﺬﻫﺐ ﺑﺬﺍﺗﻪ‪.‬‬
‫ﻭﻫﺬﺍ ﺍﻟﻮﻟﻮﻉ ﻫﻮ ﺍﳊﺐﱡ ﺍﻟﱠﺬﻱ ﻳﻌﻤﻞ ﻋﻤﻠﻪ ﰲ ﺍﻻﳒﺬﺍﺑﺎﺕ ﺍﻟﻌﺪﻳﺪﺓ‬
‫ﺍﶈﺴﻮﺱ ﺑﻬﺎ‪ ،‬ﻣُﺒﻌﺪﺍً ﺍﻟﻘﺴﻢ ﺍﻷﻛﺒﺮ ﻣﻨﻬﺎ‪ ،‬ﻣﺘﺮﻛﱢﺰﺍً ﻋﻠﻰ ﻭﺍﺣﺪ ﻣﻨﻬﺎ‪ .‬ﺇﺫ ﺍً‪ ،‬ﻳُﺤﺪﺙ‬
‫ﺍﺻﻄﻔﺎﺀً ﰲ ﻣﻨﻄﻘﺔ ﺍﻟﻐﺮﻳﺰﺓ ﺍﻟﺘﻲ ﻳﻜﻮﻥ ﺩﻭﺭﻫﺎ ﺑﺬﻟﻚ‪ ،‬ﻣﻌﺘﺮﻓﺎً ﺑﻪ ﻭﻣﺤﺪﱠﺩﺍً ﰲ‬
‫ﺁﻥٍ ﻭﺍﺣﺪ‪ .1‬ﻻ ﺷﻲﺀ ﺃﻛﺜﺮ ﺿﺮﻭﺭﺓ ﻣﻦ ﺃﺟﻞ ﺗﻮﺿﻴﺢ ﻭﻗﺎﺋﻊ ﺍﳊﺐّ ﻗﻠﻴﻼً‪ ،‬ﻣﻦ ﺃﻥ‬
‫ﳓﺪﱢﺩ ﺑﺸﻲﺀ ﻣﻦ ﺍﻟﺼﱠﺮﺍﻣﺔ ﺗﺪﺧّﻞ ﺍﻟﻐﺮﻳﺰﺓ ﺍﳉﻨﺴﻴﱠﺔ ﻓﻴﻪ‪ .‬ﻓﺈﺫﺍ ﻛﺎﻥ ﺣﻤﺎﻗﺔً‬
‫ﺍﻟﻘﻮﻝُ ﺇﻥﱠ ﺣﺐّ ﺍﻟﺮﺟﻞ ﺍﳌﺮﺃﺓ ﺣﺒﱠﺎً ﺣﻘﻴﻘﻴﱠﺎً‪ ،‬ﻭﺍﻟﻌﻜﺲ ﺑﺎﻟﻌﻜﺲ‪ ،‬ﻟﻴﺲ ﻓﻴﻪ ﻣﻦ‬
‫ﺍﳉﻨﺲ ﺷﻲﺀ‪ ،‬ﻓﺈﻧﱠﻬﺎ ﺣﻤﺎﻗﺔ ﺃﺧﺮﻯ ﺍﻻﻋﺘﻘﺎﺩ ﺃﻥﱠ ﺍﳊﺐّ ﺟﻨﺲ ﻣﺤﺾ‪ .‬ﺇﺫْ ﺗﻮﺟﺪ‬
‫ﺑﲔ ﺍﻟﻌﻼﻣﺎﺕ ﺍﻟﻜﺜﻴﺮﺓ ﺍﻟﺘﻲ ﲤﻴّﺰﻫﻤﺎ ﻣﻦ ﺑﻌﻀﻬﻤﺎ‪ ،‬ﻋﻼﻣﺔ ﺃﺳﺎﺳﻴﱠﺔ ﻫﻲ ﺃﻥﱠ‬
‫ﺍﻟﻐﺮﻳﺰﺓ ﲤﻴﻞ ﺇﻟﻰ ﺗﻮﺳﻴﻊ ﺍﳌﻮﺍﺿﻴﻊ ﺍﻟﺘﻲ ﺗُﺸﺒﻌﻬﺎ ﻣﻦ ﻏﻴﺮ ﺣﺪّ‪ ،‬ﺑﻴﻨﻤﺎ ﺍﳊﺐّ‬

‫)‪ (١‬ﺇﻥﱠ ﻛـﻮﻥَ ﺍﻟﻐﺮﻳــﺰﺓ ﺍﳉﻨــﺴﻴﱠﺔ ﺑــﺬﺍﺗﻬﺎ ﺍﺻـﻄﻔﺎﺀً‪ ،‬ﻛــﺎﻥ ﺃﺣــﺪ ﺃﻓﻜــﺎﺭ ﺩﺍﺭﻭﻳـﻦ ﺍﻟﻜﺒــﺮﻯ‪ .‬ﻭﺳــﻮﻑ ﻳﻜــﻮﻥ‬
‫ﺍﳊﺐّ ﻗﻮﱠﺓ ﺛﺎﻧﻴﺔ ﰲ ﺍﻻﺻﻄﻔﺎﺀ ﺃﺷﺪّ ﺻﺮﺍﻣﺔ‪ – .‬ﺍﳌﺆﻟﱢﻒ‪.‬‬
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‫ﳝﻴﻞ ﺇﻟﻰ ﺍﳊﺼﺮ‪ .‬ﻭﻳﺘﺠﻠﱠﻰ ﻫﺬﺍ ﺍﻟﺘﱠﻌﺎﺭﺽ ﺑﻮﺿﻮﺡ ﺑﲔ ﺍﳌﻴﻠﲔ ﺑﻮﺍﻗﻌﺔ ﺃﻥْ ﻻﺷﻲﺀ‬
‫ﻳﺤﺼّﻦ ﺍﻟﺬﱠﻛﺮ ﺇﺯﺍﺀ ﺟﺎﺫﺑﻴﱠﺎﺕ ﺃﺧﺮﻯ‪ ،‬ﻛﺎﻹﻋﺠﺎﺏ ﺍﳌﻔﺮﻁ ﺑﺎﻣﺮﺃﺓ ﻣﻌﻴﱠﻨﺔ‪.‬‬
‫ﺍﳊﺐّ ﺇﺫﺍً ﲟﺎﻫﻴّﺘﻪ ﺫﺍﺗﻬﺎ‪ ،‬ﺍﺧﺘﻴﺎﺭ‪ .‬ﻭﺇﺫْ ﻳﻨﺒﻊ )ﻫﺬﺍ ﺍﻻﺧﺘﻴﺎﺭ( ﻣﻦ ﻣﺮﻛﺰﻧﺎ‬
‫ﺍﻟﺸﱠﺨﺼﻲّ‪ ،‬ﻭﻣﻦ ﺃﻋﻤﺎﻗﻨﺎ ﺍﻟﺮﱡﻭﺣﻴﱠﺔ‪ ،‬ﻓﺈﻥﱠ ﺍﳌﺒﺎﺩﺉ ﺍﻻﺻﻄﻔﺎﺋﻴﱠﺔ ﺍﻟﺘﻲ ﺗﻘﺮّﺭﻩ ﻫﻲ‪ ،‬ﰲ ﺁﻥٍ‬
‫ﻭﺍﺣﺪ‪ ،‬ﺍﻷﻭﻟﻮﻳﱠﺎﺕ ﺍﻷﻋﻤﻖ ﻭﺍﻷﺧﻔﻰ ﺍﻟﺘﻲ ﺗﺸﻜﱢﻞ ﻃﺒﻌﻨﺎ ﺍﻟﻔﺮﺩﻱّ‪.‬‬
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‫ﻟﻘﺪ ﺑﻴﱠﻨﺖُ ﺃﻥﱠ ﺍﳊﺐّ ﻳﻌﻴﺶ ﻣﻦ ﺍﻟﺘﱠﻔﺼﻴﻞ ﻭﻳﻨﺸﺄ ﻣﺠﻬﺮﻳﱠﺎً‪ .‬ﺃﻣﱠﺎ ﺍﻟﻐﺮﻳﺰﺓ ﻓﻌﻠﻰ‬
‫ﺍﻟﻌﻜﺲ‪ ،‬ﺗُﺮﻯ ﺑﺎﻟﻌﲔ ﺍ‪‬ﺮﱠﺩﺓ‪ ،‬ﻭﺗﻨﺪﻓﻊ ﺇﺯﺍﺀ ﺍ‪‬ﺎﻣﻴﻊ‪ .‬ﻭﻳُﺨﻴﱠﻞ ﺇﻟﻰ ﺍﳌﺮﺀ ﺃﻧﱠﻬﻤﺎ ﻳﻌﻤﻼﻥ‬
‫ﺍﻧﻄﻼﻗﺎً ﻣﻦ ﺑُﻌﺪﻳﻦ ﻣﺨﺘﻠﻔﲔ‪ .‬ﻓﺎﳉﻤﺎﻝ ﺍﳉﺎﺫﺏ ﻗﻠﱠﻤﺎ ﻳﺘﻮﺍﻓﻖ ﻣﻊ ﺍﳉﻤﺎﻝ ﺍﻟﺬﻱ‬
‫ﻳُﻌﺸﻖ‪ .‬ﻓﺈﺫﺍ ﺍﺳﺘﻄﺎﻉ ﻓﺎﺭﻍُ ﺍﻟﻘﻠﺐ ﻭﺍﻟﻌﺎﺷﻖُ ﺃﻥ ﻳﻘﺎﺭﻧﺎ ﻣﺎ ﻳﺸﻜّﻠﻪ ﰲ ﻧﻈﺮﻫﻤﺎ ﺍﳉﻤﺎﻝُ‬
‫ﻭﻓﺘﻨﺔُ ﺍﻣﺮﺃﺓ ﺑﻌﻴﻨﻬﺎ‪ ،‬ﻟﺪُﻫﺸﺎ ﻣﻦ ﻋﺪﻡ ﺗﻮﺍﻓﻘﻬﻤﺎ‪ .‬ﻓﻔﺎﺭﻍ ﺍﻟﻘﻠﺐ ﻳﺠﺪ ﺍﳉﻤﺎﻝ ﰲ‬
‫ﺍﳋﻄﻮﻁ ﺍﻟﻜﺒﺮﻯ ﻟﻠﻮﺟﻪ ﻭﺍﻟﺸﱠﻜﻞ‪ ،‬ﻭﻫﺬﺍ ﻣﺎ ﻳُﺴﻤﱠﻰ ﰲ ﺍﻟﻌﺎﺩﺓ ﺟﻤﺎﻻً‪ .‬ﻟﻜﻦﱠ ﻫﺬﻩ‬
‫ﺍﳋﻄﻮﻁ ﺍﻟﻜﺒﺮﻯ ﻏﻴﺮ ﻣﻮﺟﻮﺩﺓ ﰲ ﻧﻈﺮ ﺍﻟﻌﺎﺷﻖ‪ ،‬ﻭﻗﺪ ﺍﻣّﺤﺖ ﻣﻦ ﻫﻴﻜﻞ ﺍﻟﺸﱠﺨﺺ‬
‫ﺍﶈﺒﻮﺏ ﺍﻟﺬﻱ ﻳُﻠﻤﺢ ﻣﻦ ﺑﻌﻴﺪ‪ .‬ﻭﻟﻮ ﻛﺎﻥ ﺻﺎﺩﻗﺎً ﻟﺴﻤﱠﻰ ﺟﻤﺎﻻً ﻣﻼﻣﺢَ ﺩﻗﻴﻘﺔ ﺣﺮﱠﺓ‬
‫ﻭﻣﺘﺒﺎﻋﺪﺓ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ‪ :‬ﻛﻠﻮﻥ ﺑﺆﺑﺆ ﺍﻟﻌﻴﻨﲔ ﻭﺻﻮﺍﺭ ﺍﻟﺸﱠﻔﺘﲔ ﻭﺟﺮْﺱ ﺍﻟﺼﱠﻮﺕ‪.‬‬
‫ﻭﻟﻮ ﺣﻠﱠﻞ ﺷﻌﻮﺭﻩ ﻭﺗﺎﺑﻊ ﻣﺴﺎﺭ ﻫﺬﺍ ﺍﻟﺸّﻌﻮﺭ ﺍﻟﺬﻱ ﻳﻨﻄﻠﻖ ﻣﻦ ﺩﺍﺧﻠﻪ ﺇﻟﻰ ﺍﻟﻜﺎﺋﻦ‬
‫ﺍﶈﺒﻮﺏ‪ ،‬ﻟﻼﺣﻆ ﺃﻥ ﺧﻴﻂ ﺍﳊﺐّ ﻳﺘﻮﻗﱠﻒ ﻋﻨﺪ ﺍﳌﻼﻣﺢ ﺍﻟﺪﱠﻗﻴﻘﺔ ﻭﻳﺘﻐﺬﱠﻯ ﻣﻨﻬﺎ ﰲ ﻛﻞّ‬
‫ﳊﻈﺔ‪ .‬ﻷﻥﱠ ﺍﳊﺐّ ﻳﺘﻐﺬﱠﻯ ﺑﺎﺳﺘﻤﺮﺍﺭ ﺑﻼ ﺭﻳﺐ‪ ،‬ﻭﻳﺘﺸﺒﱠﻊ ﺑﻌﻠّﺔ ﺣﺒّﻪ ﻭﻣﺴﻮّﻏﻪ ﻣﺘﺄﻣﱢ ً‬
‫ﻼ‬
‫ﻟﻄﺎﺋﻒ ﺍﶈﺒﻮﺏ ﺣﻘﻴﻘﺔً ﻭﺗﺼﻮﱡﺭﺍً‪ .‬ﺇﻧﱠﻪ ﻳﻌﻴﺶ ﻋﻠﻰ ﺷﻜﻞ ﺗﺜﺒﻴﺖ ﻻ ﻳﻨﻘﻄﻊ‪) .‬ﺍﳊﺐّ‬
‫ﺭﺗﻴﺐ ﻭﻣﻠﺤﺎﺡ ﻭﺷﺪﻳﺪ ﺍﻹﺯﻋﺎﺝ؛ ﻻ ﻳﻄﻴﻖ ﺃﺣﺪ ﺃﻥ ﺗُﻜﺮﱠﺭ ﻋﻠﻴﻪ ﻣﺮﱠﺍﺕ ﻛﺜﻴﺮﺓ ﺃﺑﺮﻉ‬
‫ﺍﳉﻤﻞ‪ ،‬ﺃﻣﱠﺎ ﻫﻮ ﻓﻴﻄﻠﺐ ﺗﻜﺮﺍﺭﺍً ﻻ ﺣﺼﺮ ﻟﻪ ﺃﻥﱠ ﺍﻟﺸﱠﺨﺺ ﺍﶈﺒﻮﺏ ﻳﺤﺒﻪ‪ .‬ﻭﺍﻟﻌﻜﺲ‬
‫ﺻﺤﻴﺢ‪ :‬ﺇﺫﺍ ﻛﺎﻥ ﺃﺣﺪٌ ﻓﺎﺭﻍَ ﺍﻟﻘﻠﺐ ﻣﻦ ﺍﳊﺐّ ﻓﺈﻥﱠ ﺍﳊﺐﱠ ﺍﻟﺬﻱ ﻳُﺨﺺﱡ ﺑﻪ ﻳﻮﺋﺴﻪ‬
‫ﻭﻳُﺘﻌﺒﻪ ﻟﻔﺮﻁ ﺇﺯﻋﺎﺟﻪ ﻟﻪ(‪.‬‬
‫ﻭﻣﻦ ﺍﻷﻫﻤﻴﱠﺔ ﲟﻜﺎﻥ ﺇﺑﺮﺍﺯ ﻫﺬﺍ ﺍﻟﺪﱠﻭﺭ ﺍﻟﺬﻱ ﺗﻠﻌﺒﻪ ﺗﻔﺎﺻﻴﻞ ﺍﻷﺳﺎﺭﻳﺮ ﻭﺗﻌﺎﺑﻴﺮ‬
‫ﺍﻟﻮﺟﻪ ﰲ ﺍﳊﺐّ‪ ،‬ﻷﻧﱠﻬﺎ ﺍﻟﻌﻨﺼﺮ ﺍﳌﻌﺒّﺮ ﺃﻋﻈﻢ ﺗﻌﺒﻴﺮ ﻋﻦ ﻛﻴﺎﻥ ﺍﻟﺸﱠﺨﺺ ﺍﳊﻘﻴﻘﻲّ‪،‬‬
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‫ﻭﻳﺘﺠﻠﱠﻰ ﻓﻴﻬﺎ ﻫﺬﺍ ﺍﻟﻜﻴﺎﻥُ ﺍﻟﺬﻱ ﻣﻦ ﺧﻼﻟﻬﺎ ﻧﻔﻀﱢﻠﻪ‪ .‬ﺃﻣﱠﺎ ﺍﳉﻤﺎﻝ ﺍﻵﺧﺮ ﺍﻟﺬﻱ ﻳُﻠﻤﺢ‬
‫ﻣﻦ ﺑﻌﻴﺪ‪ ،‬ﻓﻠﻪ ﻭﺇﻥ ﺍﻣﺘﻠﻚ ﻣﻌﻨﻰ ﺗﻌﺒﻴﺮﻳﱠﺎً‪ ،‬ﻭﺃﻇﻬﺮ ﺣﺎﻟﺔ ﻣﻦ ﺣﺎﻻﺕ ﺍﻟﻜﺎﺋﻦ‪ ،‬ﻗﻴﻤﺔٌ‬
‫ﺟﻤﺎﻟﻴﱠﺔ ‪ valor estético‬ﻣﺴﺘﻘﻠﱠﺔ ﻭﺳﺤﺮٌ ﺷﻜﻠﻲّ ﻣﻮﺿﻮﻋﻲّ ﻳﺸﻴﺮ ﺇﻟﻴﻪ ﺍﺳﻢ ﺍﳉﻤﺎﻝ‪.‬‬
‫ﻭﻗﺪ ﻳﻜﻮﻥ ﺧﻄﺄ ﻛﻤﺎ ﻳﺒﺪﻭ ﻟﻲ ﺍﻻﻋﺘﻘﺎﺩُ ﺃﻥﱠ ﻫﺬﺍ ﺍﳉﻤﺎﻝ ﻫﻮ ﻣﺎ ﻳﺘﺜﺒﱠﺖ ﻋﻠﻴﻪ‬
‫ﺍﻹﻋﺠﺎﺏ‪ .‬ﻭﻟﻘﺪ ﺭﺃﻳﺖ ﺃﻥﱠ ﺍﻟﺮﱢﺟﺎﻝ ﻗﻠﱠﻤﺎ ﻳﻌﺸﻘﻮﻥ ﺍﻟﻨﱢﺴﺎﺀ ﺍﻷﻛﺜﺮ ﺟﻤﺎﻻً ﺷﻜﻠﻴﱠﺎً‪ .‬ﺇﺫ‬
‫ﻳﻮﺟﺪ ﰲ ﻛﻞﱢ ﻣﺠﺘﻤﻊ ﺑﻌﻀﺎً ﻣﻦ ﺿﺮﻭﺏ "ﺍﳉﻤﺎﻝ ﺍﻟﺮﱠﺳﻤﻴﱠﺔ"‪ ،‬ﺍﻟﺘﻲ ﻳﺸﻴﺮ ﺇﻟﻴﻬﺎ ﺍﻟﻨﺎﺱ‬
‫ﺑﺎﻟﺒﻨﺎﻥ ﰲ ﺍﳌﺴﺎﺭﺡ ﻭﺍﳊﻔﻼﺕ ﻛﻤﺎ ﻳُﺸﺎﺭ ﺇﻟﻰ ﻧُﺼﺐ ﻋﺎﻣﱠﺔ‪ .‬ﺇﺫﺍً‪ ،‬ﻳﻜﺎﺩ ﻻ ﻳﺘﱠﺠﻪ ﺇﻟﻴﻬﺎ‬
‫ﻗﻂّ ﺇﻋﺠﺎﺏ ﺍﻟﺬﻛﻮﺭ ﺍﳋﺎﺹ‪ .‬ﻭﻫﺬﺍ ﺍﳉﻤﺎﻝ ﺟﺪﱡ ﺟﻤﺎﻟﻲ ﻋﻠﻰ ﺷﻜﻞ ﻗﺎﻃﻊ‪ ،‬ﺣﺘﱠﻰ‬
‫ﻳﺤﻮّﻝ ﺍﳌﺮﺃﺓ ﺇﻟﻰ ﻣﻮﺿﻮﻉ ﻓﻨّﻲ‪ ،‬ﻭﺑﺬﻟﻚ ﻳُﻘﺼﻴﻬﺎ ﻭﻳﺒﻌﺪﻫﺎ‪ ،‬ﻭﺗﻜﻮﻥ ﻣﻮﺿﻊ ﺇﻋﺠﺎﺏ –‬
‫ﻭﻫﺬﺍ ﺷﻌﻮﺭ ﻳﺴﺘﻠﺰﻡ ﺑُﻌﺪﺍً‪ -‬ﻟﻜﻨﱠﻬﺎ ﻻ ﺗُﺤَﺐّ‪ .‬ﻭﻣﻦ ﰒﱠ ﺗﺼﺒﺢ ﺍﻟﺮﱠﻏﺒﺔ ﰲ ﺍﻟﺘﱠﻘﺮﱡﺏ‪ ،‬ﺍﻟﺘﻲ‬
‫ﻫﻲ ﻣﻘﺪّﻣﺔ ﺍﳊﺐّ‪ ،‬ﻣﺤﺎﻟﺔ‪.‬‬
‫ﻭﺇﻥﱠ ﺍﳉﻤﺎﻝ ﺍﳌﻌﺒّﺮ ﻋﻦ ﺣﺎﻟﺔ ﻣﻦ ﺣﺎﻻﺕ ﺍﻟﻜﺎﺋﻦ‪ ،‬ﻭﻟﻴﺲ ﺍﳌﻌﺒﺮ ﻋﻦ ﺣﺴﻦ‬
‫ﺍﻟﺸﱠﻜﻞ ﺃﻭ ﻛﻤﺎﻟﻪ‪ ،‬ﻫﻮ ﰲ ﺭﺃﻳﻲ ﻣﺎ ﻳﺜﻴﺮ ﺍﳊﺐّ ﺑﺸﻜﻞ ﻓﻌﱠﺎﻝ‪ .‬ﻭﺍﻟﻌﻜﺲ ﺻﺤﻴﺢ‪ :‬ﺇﺫﺍ‬
‫ﻭﺟﺪ ﺍﻟﻔﺮﺩ ﻧﻔﺴﻪ ﻣﺪﻓﻮﻋﺎً –ﺑﺪﺍﻓﻊ ﻣﻦ ﺣﺐﱢ ﺍﻟﺬﱠﺍﺕ ﺃﻭ ﺑﺎﻟﻔﻀﻮﻝ ﺃﻭ ﻋﻤﻰ ﺍﻟﺒﺼﻴﺮﺓ‪-‬‬
‫ﺇﻟﻰ ﺇﻋﺠﺎﺏ ﻣﺰﻳّﻒ ﺑﺪﻻً ﻣﻦ ﺣﺐّ ﺣﻘﻴﻘﻲّ‪ ،‬ﻓﺈﻥﱠ ﺍﻟﻨّﻔﻮﺭ ﺍﻷﺻﻢّ ﺍﻟﺬﻱ ﻳﺤﺲّ ﺑﻪ ﰲ‬
‫ﻗﺮﺍﺭﺓ ﻧﻔﺴﻪ ﺇﺯﺍﺀ ﺑﻌﺾ ﺍﻟﺘﱠﻔﺎﺻﻴﻞ ﰲ ﺍﻟﺸﱠﺨﺺ ﺍﻵﺧﺮ‪ ،‬ﻫﻮ ﺇﻋﻼﻥ ﻋﻦ ﺃﻧﱠﻪ ﻻ ﻳُﺤﺐّ‪.‬‬
‫ﺑﺎﳌﻘﺎﺑﻞ ﻻ ﻳﻘﻒ ﻋﺎﺋﻘﺎً ﺃﻣﺎﻡ ﺍﳊﺐّ ﻋﺪﻡُ ﺻﺤﱠﺔ ﺗﻨﺎﺳﺐ ﺍﻟﻮﺟﻪ ﺃﻭ ﻛﻤﺎﻟﻪ ﻣﻦ ﻭﺟﻬﺔ‬
‫ﻧﻈﺮٍ ﺟﻤﺎﻟﻴﱠﺔ ﻣﺤﻀﺔ ﺇﻥ ﻟﻢ ﺗﻜﻦ ﺗﻠﻚ ﺍﻟﻨﺴﺐ ﻣﺸﻮّﻫﺔ‪.‬‬
‫ﻭﺑﻔﻜﺮﺓ ﺍﳉﻤﺎﻝ ﺳُﺤﻘﺖ ﻛﻤﺎ ﺑﺒﻼﻃﺔ ﺭﺧﺎﻡ ﺭﺍﺋﻊ‪ ،‬ﻛﻞّ ﺭﻗﱠﺔ ﳑﻜﻨﺔ ﻭﻏﻀﺎﺭﺓ ﰲ‬
‫ﻋﻠﻢ ﻧﻔﺲ ﺍﳊﺐّ‪ .‬ﻭﺇﺫﺍ ﻗﻴﻞ ﺇﻥﱠ ﺍﻟﺮﱠﺟﻞ ﻳﻌﺸﻖ ﺍﳌﺮﺃﺓ ﺍﻟﺘﻲ ﺗﺒﺪﻭ ﻟﻪ ﺟﻤﻴﻠﺔ‪ ،‬ﻳُﻈﻦّ ﺃﻧﱠﻪ‬
‫ﻗﺪ ﻗﻴﻞ ﻛﻞّ ﺷﻲﺀ‪ ،‬ﰲ ﺣﲔ ﺃﻧﱠﻪ ﻟﻢ ﻳُﻘﻞ ﰲ ﺍﻟﻮﺍﻗﻊ ﺷﻲﺀ‪ .‬ﻭﺍﳋﻄﺄ ﻣﺼﺪﺭﻩ ﺍﻹﺭﺙ‬
‫ﺍﻷﻓﻼﻃﻮﻧﻲّ‪) .‬ﻻ ﳝﻜﻦ ﺃﻥ ﻳُﺤﺴﺐ ﺇﻟﻰ ﺃﻳﱠﺔ ﻓﺌﺔ ﻣﻦ ﺍﻹﻧﺴﺎﻧﻴﱠﺔ ﺍﻟﻐﺮﺑﻴﱠﺔ ﺗﻐﻠﻐﻠﺖ‬
‫ﻋﻨﺎﺻﺮ ﻣﻦ ﺍﻟﻔﻠﺴﻔﺔ ﺍﻟﻘﺪﳝﺔ‪ .‬ﺇﻥﱠ ﺃﻛﺜﺮ ﺍﻟﻨﺎﺱ ﺟﻬﻼً ﺑﺎﻟﺜﻘﺎﻓﺔ ﻳﺴﺘﻌﻤﻞ ﻣﻔﺮﺩﺍﺕ‬
‫ﻭﻣﻔﺎﻫﻴﻢ ﻷﻓﻼﻃﻮﻥ ﻭﺃﺭﺳﻄﻮ ﻭﺍﻟﺮﻭﺍﻗﻴﲔ(‪.‬‬
‫ﻛﺎﻥ ﺃﻓﻼﻃﻮﻥ ﻣﻦ ﺭﺑﻂَ ﺍﳊﺐّ ﻧﻬﺎﺋﻴﱠﺎً ﺑﺎﳉﻤﺎﻝ‪ .‬ﻭﻟﻢ ﻳﻜﻦ ﺍﳉﻤﺎﻝ ﻳﻌﻨﻲ ﻟﻪ‬
‫ﻋﻠﻰ ﺷﻜﻞ ﺩﻗﻴﻖ‪ ،‬ﻛﻤﺎﻝَ ﺍﳉﺴﻢ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻛﺎﻥ ﺍﺳﻤﺎً ﻟﻜﻞﱢ ﻛﻤﺎﻝ؛ ﻭﺍﻟﺸﱠﻜﻞ‪ ،‬ﺇﺫﺍ ﻗﻠﻨﺎ‬
‫‪-٧٩-‬‬
‫ﻫﻜﺬﺍ‪ ،‬ﻛﺎﻥ ﳝﺜُﻞ ﻓﻴﻪ ﻛﻞّ ﲦﲔ ﻟﻌﻴﻮﻥ ﺍﻹﻏﺮﻳﻖ‪ .‬ﻭﻛﺎﻥ ﺍﳉﻤﺎﻝ ﺍﻟﻜﻤﺎﻝ ﺍﻷﻣﺜﻞ‪ .‬ﻭﻟﻘﺪ‬
‫ﺣﺮﻓﺖ ﺧﺎﺻﻴﱠﺔ ﺍﳌﻔﺮﺩﺍﺕ ﻫﺬﻩ‪ ،‬ﺍﻟﺘّﻔﻜﻴﺮ ﺍﻟﻼﺣﻖ ﺣﻮﻝ ﺍﳊﺐّ ﻋﻦ ﻣﺴﺎﺭﻩ‪.‬‬
‫ﻭﺍﳊﺐّ ﺷﻲﺀ ﺃﺧﻄﺮ ﻭﺃﻛﺜﺮ ﺩﻻﻟﺔ ﻣﻦ ﺍﻹﻋﺠﺎﺏ ﺑﺨﻄﻮﻁ ﻭﺟﻪ ﻭﻟﻮﻥ ﻭﺟﻨﺔ؛ ﺇﻧﱠﻪ‬
‫ﻗﺮﺍﺭ ﻟﺼﺎﻟﺢ ﺃﳕﻮﺫﺝ ﻣﻌﻴﱠﻦ ﻣﻦ ﺍﻹﻧﺴﺎﻧﻴﱠﺔ ﻳﻌﻠﻦ ﻋﻨﻪ ﺭﻣﺰﻳﱠﺎً ﰲ ﺗﻔﺎﺻﻴﻞ ﺍﻟﻮﺟﻪ‬
‫ﻭﺍﻟﺼﱠﻮﺕ ﻭﺍﻹﺷﺎﺭﺍﺕ‪.‬‬
‫ﻭﺍﳊﺐّ ﺗﻄﻠﱡﻊ ﻟﻠﻮﻻﺩﺓ ﰲ ﺍﳉﻤﺎﻝ ‪ - Tiktein en tôkalô‬ﻛﻤﺎ ﻛﺎﻥ ﻳﻘﻮﻝ‬
‫ﺃﻓﻼﻃﻮﻥ‪ .‬ﻭﻻﺩﺓ‪ ،‬ﺃﻱ ﺧﻠﻖُ ﻣﺴﺘﻘﺒﻞ‪ .‬ﻭﺍﳉﻤﺎﻝ ﺣﻴﺎﺓ ﻣﺜﻠﻰ‪ .‬ﻭﺍﳊﺐّ ﻳﺴﺘﻠﺰﻡ ﺍﻟﺘﺼﺎﻗﺎً‬
‫ﺣﻤﻴﻤﺎً ﺑﻨﻤﻮﺫﺝ ﻣﺎ ﻣﻦ ﺍﳊﻴﺎﺓ ﺍﻟﺒﺸﺮﻳﱠﺔ ﺗﺒﺪﻭ ﻟﻨﺎ ﺃﻧﱠﻬﺎ ﺍﻷﻓﻀﻞ‪ ،‬ﻭﳒﺪﻫﺎ ﻣﺸﻜّﻠﺔ ﻣﻦ‬
‫ﻗﺒﻞُ ﻭﻣﺪﻣﺠﺔ ﰲ ﻛﺎﺋﻦٍ ﺁﺧﺮ‪.‬‬
‫ﻗﺪ ﻳﺒﺪﻭ ﺫﻟﻚ ﻣﺠﺮﱠﺩﺍً ﻭﻣُﺤﺎﻻً ﻭﺑﻌﻴﺪﺍً ﻋﻦ ﺍﻟﻮﺍﻗﻊ ﺍﳌﻌﻴﱠﻦ‪ ،‬ﻳﺎ ﺳﻴﱢﺪﺗﻲ‪ .‬ﻣﻊ ﺫﻟﻚ‬
‫ﺍﻛﺘﺸﻔﺖُ ﺑﺘﻮﺟﻴﻪ ﻣﻦ ﻫﺬﺍ ﺍﻟﺘﱠﺠﺮﻳﺪ‪ ،‬ﰲ ﺍﻟﻨﱠﻈﺮﺓ ﺍﻟﺘﻲ ﺗﻮﺟّﻬﻴﻨﻬﺎ ﺇﻟﻰ ﺱ ﻣﻦ ﺍﻟﻨﱠﺎﺱ‪ ،‬ﻣﺎ‬
‫ﻳُﻌﺪّ ﰲ ﻧﻈﺮﻙ ﺍﳊﻴﺎﺓ‪ .‬ﻓﻠْﻨﺸﺮﺏ ﻛﻮﻛﺘﻴﻼً ﺁﺧﺮ‪.‬‬

‫‪III‬‬

‫ﺇﻥﱠ ﺍﻷﻛﺜﺮ ﺷﻴﻮﻋﺎً ﺃﻥ ﻳﺤﺐّ ﺍﻟﺮﱠﺟﻞ ﻣﺮﱠﺍﺕٍ ﻋﺪﱠﺓ ﰲ ﺣﻴﺎﺗﻪ‪ .‬ﻭﻫﺬﺍ ﻳﻔﺴﺢ ﺍ‪‬ﺎﻝ‬
‫ﻟﻘﺴﻢ ﻣﻦ ﺍﳌﺴﺎﺋﻞ ﺍﻟﻨﱠﻈﺮﻳﱠﺔ ﻓﻮﻕ ﺍﳌﺴﺎﺋﻞ ﺍﻟﻌﻤﻠﻴﱠﺔ ﺍﻟﺘﻲ ﻳﺠﺐ ﻋﻠﻰ ﺍﶈﺐّ ﺃﻥ ﻳﺤﻠّﻬﺎ‬
‫ﻋﻠﻰ ﻣﺴﺆﻭﻟﻴﱠﺘﻪ‪ .‬ﻣﺜﻼً‪ :‬ﺃﻫﻮ ﺟﻮﻫﺮﻱّ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻄﺒﻴﻌﺔ ﺍﳊﺐّ‪ ،‬ﻫﺬﻩ ﺍﻟﺘﱠﻌﺪﱡﺩﻳﱠﺔ ﺍﳌﺘﺘﺎﻟﻴﺔ‬
‫ﰲ ﺍﳊﺐّ‪ ،‬ﺃﻡ ﻫﻮ ﻋﻴﺐ ﻭﺑﻘﻴﱠﺔ ﻓﺎﺳﺪﺓ ﻣﻦ ﺍﻟﺒﺪﺍﺋﻴﱠﺔ ﻭﺍﻟﺒﺮﺑﺮﻳﱠﺔ؟ ﺃﻳﻜﻮﻥ ﺍﳌﺜﺎﻟﻲّ ﻭﺍﻟﻜﺎﻣﻞ‬
‫ﻭﺍﳌﺮﻏﻮﺏ ﻓﻴﻪ‪ ،‬ﺍﳊﺐﱠ ﺍﻟﻮﺣﻴﺪ؟ ﺃﻳﻮﺟﺪ ﻓﺮﻕ ﻣﺎ ﻓﻴﻤﺎ ﻳﻌﻮﺩ ﺇﻟﻰ ﺫﻟﻚ ﺑﲔ ﺍﻟﺮﱠﺟﻞ‬
‫ﺍﻟﻄﱠﺒﻴﻌﻲّ ﻭﺍﳌﺮﺃﺓ ﺍﻟﻄﱠﺒﻴﻌﻴﱠﺔ؟‬
‫ﺳﻮﻑ ﳓﺎﻭﻝ ﺍﻵﻥ ﲡﻨﱡﺐ ﺍﻹﺟﺎﺑﺔ ﻋﻦ ﻫﺬﻩ ﺍﻷﺳﺌﻠﺔ ﺍﳋﻄﺮﺓ‪ .‬ﻭﻻ ﻧﺴﻤﺢ‬
‫ﻷﻧﻔﺴﻨﺎ ﺑﺈﺑﺪﺍﺀ ﺍﻟﺮﱠﺃﻱ ﻓﻴﻬﺎ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻧﺄﺧﺬ ﻓﻘﻂ ﺍﻟﻮﺍﻗﻌﺔ ﺍﳌﻔﺮﻭﻍ ﻣﻨﻬﺎ ﺃﻥﱠ ﺍﻟﺮﱠﺟﻞ ﻣﺘﻌﺪﱢﺩ‬
‫ﰲ ﺍﳊﺐّ ﺩﺍﺋﻤﺎً ﺗﻘﺮﻳﺒﺎً‪ .‬ﻭﺇﺫ ﻧﺸﻴﺮ ﺇﻟﻰ ﺍﻷﺷﻜﺎﻝ ﺍﻟﻜﺎﻣﻠﺔ ﻣﻦ ﻫﺬﺍ ﺍﻟﺸّﻌﻮﺭ‪ ،‬ﻓﺈﻧﱠﻨﺎ‬
‫ﻧﺴﺘﺒﻌﺪ ﺗﻌﺪﱡﺩﻳﱠﺔ ﺣﺐّ ﺗﻌﺎﻳﺸﻴﱠﺔ ﻭﻧﻘﺘﺼﺮ ﻋﻠﻰ ﺗﻌﺪﱡﺩﻳﱠﺔ ﻣﺘﻌﺎﻗﺒﺔ ﺃﻭ ﻣﺘﺘﺎﻟﻴﺔ ﻓﻘﻂ‪.‬‬
‫‪-٨٠-‬‬
 ‫ﺃﻻ ﺗﺘﻀﻤﱠﻦ ﻫﺬﻩ ﺍﻟﻮﺍﻗﻌﺔُ ﺻﻌﻮﺑﺔً ﺟﺎﺩﱠﺓً ﺃﻣﺎﻡ ﺍﳌﺬﻫﺐ ﺍﳌﻄﺮﻭﻕ ﻫﻨﺎ‪ ،‬ﰲ ﺃ ﱠﻥ‬
‫ﺍﻻﺧﺘﻴﺎﺭ ﰲ ﺍﳊﺐّ ﻳﻜﺸﻒ ﻋﻦ ﺃﺳﺎﺱ ﻛﻴﺎﻥ ﺍﻟﺸﱠﺨﺺ؟ ﺭﺑﱠﻤﺎ؛ ﻟﻜﻦ‪ ،‬ﻳﺼﻠﺢ ﻗﺒﻞ‬
‫ﺫﻟﻚ ﺃﻥ ﻧﻨﻌﺶ ﻟﺪﻯ ﺍﻟﻘﺎﺭﺉ ﺍﳌﻼﺣﻈﺔَ ﺍﻟﺴﻄﺤﻴﱠﺔ ﺃﻥﱠ ﻫﺬﺍ ﺍﻟﺘﱠﻨﻮﱡﻉ ﰲ ﺍﳊﺐّ ﳝﻜﻦ‬
‫ﺃﻥ ﻳﻜﻮﻥ ﻣﻦ ﻓﺌﺘﲔ‪ .‬ﻫﻨﺎﻙ ﺃﻓﺮﺍﺩ ﻳﺤﺒّﻮﻥ ﻃﻴﻠﺔ ﺣﻴﺎﺗﻬﻢ ﻧﺴﺎﺀ ﻋﺪﻳﺪﺍﺕ‪ ،‬ﻟﻜﻨﱠﻬﻦّ‬
‫ﺟﻤﻴﻌﺎً ﻳﻜﺮّﺭﻥ ﺑﺈﳊﺎﺡ ﻭﺍﺿﺢ ﺍﻟﻨﱠﻤﻮﺫﺝ ﺫﺍﺗﻪ ﻣﻦ ﺍﻷﻧﻮﺛﺔ‪ .‬ﻭﻳﺼﻞ ﺍﻟﺘﱠﻄﺎﺑﻖ ﺃﺣﻴﺎﻧﺎً‬
‫ﺣﺘﱠﻰ ﻳﻈﻞّ ﺿﻤﻦ ﺣﺠﻢ ﻓﻴﺰﻳﻘﻲّ ﺑﻌﻴﻨﻪ‪ .‬ﻭﻫﺬﺍ ﺍﻟﻨﱠﻮﻉ ﻣﻦ ﺍﻟﻮﻓﺎﺀ ﺍﻟﻜﺎﻣﻦ ﰲ ﺃﻥ‬
‫ﺗُﺤَﺐﱠ ﻣﻦ ﺧﻼﻝ ﻧﺴﺎﺀ ﻛﺜﻴﺮﺍﺕ ﺍﻣﺮﺃﺓٌ ﻭﺍﺣﺪﺓٌ ﻧﻮﻋﻴﱠﺔٌ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻫﻮ ﺷﺎﺋﻊ ﺑﺈﻓﺮﺍﻁ‬
‫ﻭﻳﺸﻜّﻞ ﺍﻟﺒﺮﻫﺎﻥ ﺍﻷﻗﺼﺮ ﻋﻠﻰ ﺍﻟﻔﻜﺮﺓ ﺍﻟﺘﻲ ﻧﻌﺮﺿﻬﺎ‪ .‬ﻟﻜﻦﱠ ﺍﻟﻨﺴﺎﺀ ﺍﻟﻼﺗﻲ‬
‫ﻳُﺤﺒّﻬﻦّ ﺭﺟﻞ ﻭﺍﺣﺪ ﻋﻠﻰ ﺍﻟـﺘﱠﻮﺍﻟﻲ‪ ،‬ﺃﻭ ﺍﻟ ﺮﱢﺟﺎﻝ ﺍﻟﺬﻳﻦ ﺗﺆﺛﺮﻫﻢ ﺍﻣﺮﺃﺓ ﰲ ﺃﺣﻮﺍﻝ‬
‫ﺃُﺧَﺮ‪ ،‬ﻫﻢ ﺃﻭ ﻫﻦﱠ ﰲ ﺍﳊﻘﻴﻘﺔ ﻣﻦ ﻭﺿﻊ ﻣﺨﺘﻠﻒ ﺟﺪﱠﺍً‪ .‬ﻭﺇﺫﺍ ﻧﻈﺮﻧﺎ ﺇﻟﻰ ﺍﻟﻮﺍﻗﻌﺔ‬
‫ﺍﻧﻄﻼﻗﺎً ﻣﻦ ﺗﻠﻚ ﺍﻟﻔﻜﺮﺓ‪ ،‬ﻓﻬﺬﺍ ﻳﻌﻨﻲ ﺃﻥﱠ ﺃﺳﺎﺱ ﻛﻴﺎﻥ ﺍﻟﺮﱠﺟﻞ ﻗﺪ ﺗﻐﻴﱠﺮ ﺑﲔ ﻓﺘﺮﺓ‬
‫ﻣﻦ ﺍﻟﺰﱠﻣﻦ ﻭﺃﺧﺮﻯ‪ .‬ﺃﻭ ﳝﻜﻦ ﺃﻥ ﻳﺤﺪﺙ ﻫﺬﺍ ﺍﻟﺘﱠﻐﻴﱡﺮ ﰲ ﺃﺱّ ﻛﻴﺎﻧﻨﺎ ﺫﺍﺗﻪ؟‬
‫ﻭﺍﳌﺸﻜﻠﺔ ﻣﻦ ﺍﻟﻌﻴﺎﺭ ﺍﻟﺜﱠﻘﻴﻞ ﻭﺍﳊﺎﺳﻢ ﺭﺑﱠﻤﺎ‪ ،‬ﻭﺻﻮﻻً ﺇﻟﻰ ﻋﻠﻢ ﻟﻠﻄﱢﺒﺎﻉ‪ .‬ﻓﻘﺪ ﻛﺎﻥ‬
‫ﻣﺄﻟﻮﻓﺎً ﺧﻼﻝ ﺍﻟﻨّﺼﻒ ﺍﻟﺜﱠﺎﻧﻲ ﻣﻦ ﺍﻟﻘﺮﻥ ‪ ،١٩‬ﺍﻟﺘﱠﻔﻜﻴﺮُ ﰲ ﺃﻥﱠ ﻃﺒﻊ ﺍﻟﺸﱠﺨﺺ‬
‫ﻳﺄﺧﺬ ﺑﺎﻟﺘﱠﺸﻜﱡﻞ ﻣﻦ ﺍﳋﺎﺭﺝ ﺇﻟﻰ ﺍﻟﺪﱠﺍﺧﻞ‪ .‬ﻓﺘﺠﺎﺭﺏ ﺍﳊﻴﺎﺓ ﻭﺍﻟﻌﺎﺩﺍﺕ ﺍﻟﺘﻲ‬
‫ﺗﻮﻟّﺪﻫﺎ ﻭﻣﺆﺛّﺮﺍﺕ ﺍﶈﻴﻂ ﻭﺗﺬﺑﺬﺑﺎﺕ ﺍﳌﺼﻴﺮ ﻭﺍﳊﺎﻻﺕ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴﱠﺔ ﺳﻮﻑ‬
‫ﺗﺼﻔّﻖ ﻣﺎ ﻧﺴﻤّﻴﻪ ﻃﺒﻌﺎً ﻛﻤﺎ ﻳُﺼﻔّﻖ ﺳﺎﺋﻞ‪ .‬ﺑﺎﻟﺘّﺎﻟﻲ‪ ،‬ﻻ ﻭﺟﻮﺩ ﻟﻜﻴﺎﻥ ﺟﻮﻫﺮ ﻱّ‬
‫ﻟﻠﺸﱠﺨﺺ‪ ،‬ﻭﻻ ﻭﺟﻮﺩ ﻟﺒﻨﻴﺔ ﻋﻤﻴﻘﺔ ﺳﺎﺑﻘﺔ ﻋﻠﻰ ﺃﺣﺪﺍﺙ ﺍﻟﻮﺟﻮﺩ ﻭﻣﺴﺘﻘﻠﱠﺔٍ ﻋﻨﻬﺎ ‪.‬‬
‫ﺇﻧﱠﻤﺎ ﳓﻦ ﻣﺠﺒﻮﻟﻮﻥ ﻛﻜﺮﺓ ﺍﻟﺜﱠﻠﺞ ﻣﻦ ﻏﺒﺎﺭ ﺍﻟﻄﱠﺮﻳﻖ ﺍﻟﺬﻱ ﳒﻮﺑﻪ‪ .‬ﻭﺣﺴﺐَ ﻫﺬﻩ‬
‫ﺍﻟﻄﱠﺮﻳﻘﺔ ﰲ ﺍﻟﺘﱠﻔﻜﻴﺮ ﺍﻟﺘﻲ ﺗﺴﺘﺒﻌﺪ ﻭﺟﻮﺩ ﻧﻮﺍﺓ ﺟﺬﺭﻳﱠﺔ ﰲ ﺍﻟﺸﱠﺨﺼﻴﱠﺔ‪ ،‬ﻻ ﻭﺟﻮﺩ‬
‫ﺑﺎﻟﻄﱠﺒﻊ ﳌﺸﻜﻠﺔ ﺍﻟﺘﱠﻐﻴﱡﺮﺍﺕ ﺍﻷﺳﺎﺳﻴﱠﺔ‪ .‬ﻭﻣﺎ ﻳُﺴﻤﱠﻰ ﻃﺒﻌﺎً ﻳﺘﻐﻴﱠﺮ ﺑﺎﺳﺘﻤﺮﺍﺭ‪ :‬ﻭﻫﻮ ﺇ ﺫْ‬
‫ﻳﺘﺸﻜﱠﻞ ﻳﺘﻔﻜﱠﻚ ﺃﻳﻀﺎً‪.‬‬
‫ﻟﻜﻨﻲ ﺃﻣﻴﻞ‪ ،‬ﻷﺳﺒﺎﺏ ﺫﺍﺕ ﺛﻘﻞ ﻛﺎﻑٍ ﻟﻴﺲ ﻣﻦ ﺍﳌﻨﺎﺳﺐ ﻣﺮﺍﻛﻤﺘﻬﺎ ﻫﻨﺎ‪ ،‬ﺇﻟﻰ‬
‫ﺍﻻﻋﺘﻘﺎﺩ ﺍﳌﻌﺎﻛﺲ ﺍﻟﺬﻱ ﻳﺒﺪﻭ ﻣﻦ ﺍﻷﺻﺢّ ﺃﻥ ﻧﻘﻮﻝ ﻃِﺒﻘﺎً ﻟﻪ‪ ،‬ﺇﻧﱠﻨﺎ ﻧﻌﻴﺶ ﻣﻦ ﺍﻟﺪﱠﺍﺧﻞ‬
‫ﺇﻟﻰ ﺍﳋﺎﺭﺝ‪ .‬ﻓﺸﺨﺼﻨﺎ ﺍﻟﺪﱠﺍﺧﻠﻲّ ﻳﻜﻮﻥ ﰲ ﺟﻮﻫﺮﻩ ﻗﺪ ﺗﺸﻜّﻞ ﻗﺒﻞ ﺣﺪﻭﺙ‬
‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺍﻟﺤﺏ ﻡ ‪٦-‬‬ ‫‪-٨١-‬‬
‫ﺍﳌﺼﺎﺩﻓﺎﺕ ﺍﳋﺎﺭﺟﻴﱠﺔ‪ .‬ﻫﻮ ﻭﺇﻥْ ﺃﺛﱠﺮﺕ ﻓﻴﻪ ﻣﺼﺎﺩﻓﺎﺕ ﺍﻟﻮﺟﻮﺩ ﺷﻴﺌﺎً ﻣﺎ‪ ،‬ﻓﺈﻥﱠ ﺍﻟﺘﱠﺄﺛﻴﺮ‬
‫ﺍﻟﺬﻱ ﳝﺎﺭﺳﻪ ﻋﻠﻰ ﻫﺬﻩ ﺍﳌﺼﺎﺩﻓﺎﺕ ﻫﻮ ﺃﻛﺒﺮ ﻛﺜﻴﺮﺍً‪ .‬ﻓﻨﺤﻦ ﻛﺘﻴﻤﻮﻥ ﺑﺸﻜﻞٍ ﻻ ﻳُﺼﺪﱠﻕ‬
‫ﻋﻠﻰ ﻛﻞّ ﻣﺎ ﻳﺴﻘُﻂ ﻋﻠﻴﻨﺎ ﺇﻥ ﻟﻢ ﻳﻜﻦ ﻋﻠﻰ ﺻﻠﺔ ﺑﻬﺬﺍ "ﺍﻟﺸﱠﺨﺺ" ﺍﻟﻔﻄﺮﻱّ ﺍﻟﺬﻱ ﻫﻮ‬
‫ﳓﻦ ﺫﺍﺗﻨﺎ ﰲ ﺍﳌُﻘﺎﻡ ﺍﻷﺧﻴﺮ‪ .‬ﻭﺳﻮﻑ ﻳُﻘﺎﻝ ﺣﻴﻨﺌﺬٍ‪ ،‬ﻻ ﳝﻜﻨﻨﺎ ﺍﻟﻜﻼﻡ ﺃﻳﻀﺎً ﻋﻦ‬
‫ﺗﻐﻴﱡﺮﺍﺕ ﺟﺬﺭﻳﱠﺔ‪ .‬ﻭﻣﺎ ﻧﻜﻮﻧﻪ ﻋﻨﺪ ﺍﻟﻮﻻﺩﺓ ﺳﻨﻜﻮﻧﻪ ﻋﻨﺪ ﺍﳌﻮﺕ‪.‬‬
‫ﻛﻼﱠ‪ ،‬ﰒﱠ ﻛﻼﱠ‪ .‬ﺇﻥﱠ ﻫﺬﺍ ﺍﻟﺮﱠﺃﻱ ﺗﺤﺪﻳﺪﺍً ﻳﺘﻤﺘﱠﻊ ﲟﺮﻭﻧﺔ ﻛﺎﻓﻴﺔ ﲡﻌﻠﻪ ﻳﻘﺒﻞ ﻗﻮﺍﻟﺐ‬
‫ﺍﻟﻮﻗﺎﺋﻊ ﺑﻜﻞﱢ ﺍﻋﻮﺟﺎﺟﻬﺎ‪ .‬ﻭﻫﺬﺍ ﺍﻷﻣﺮ ﻳﺴﻤﺢ ﻟﻨﺎ ﺃﻥ ﳕﻴﱢﺰ ﺍﻟﺘﱠﻐﻴﱡﺮﺍﺕ ﺍﻟﺼﱠﻐﻴﺮﺓ ﺍﻟﺘﻲ‬
‫ﺗُﺪﺧﻠﻬﺎ ﺍﻷﺣﺪﺍﺙ ﺍﳋﺎﺭﺟﻴﱠﺔ ﰲ ﺣﻴﺎﺗﻨﺎ‪ ،‬ﻣﻦ ﺗﻐﻴﱡﺮﺍﺕ ﺃﻋﻤﻖ ﻻ ﺗﺨﻀﻊ ﻟﺪﻭﺍﻋﻲ‬
‫ﺍﳌﺼﺎﺩﻓﺔ ﻫﺬﻩ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻟﻄﺒﻴﻌﺔ ﺍﻟﻄﱠﺒﻊ ﺫﺍﺗﻬﺎ‪ .‬ﻭﺃﻧﺎ ﺃﻗﻮﻝ ﺇﻥﱠ ﺍﻟﻄﱠﺒﻊ ﻳﺘﻐﻴﱠﺮ‪ ،‬ﺇﺫﺍ ﻓُﻬﻢ ﻣﻦ‬
‫ﺍﻟﺘﱠﻐﻴﱡﺮ ﺗﻄﻮﱡﺭﺍً‪ ،‬ﺑﺎﳌﻌﻨﻰ ﺍﻟﺪﱠﻗﻴﻖ‪ .‬ﻭﻫﺬﺍ ﺍﻟﺘﱠﻄﻮﱡﺭ ﻣﺜﻠﻪ ﻣﺜﻞ ﺗﻄﻮﱡﺭ ﻛﻞّ ﻋﻀﻮﻳﱠﺔ‪ ،‬ﺗﺜﻴﺮﻩ‬
‫ﻭﺗﻮﺟّﻬﻪ ﺃﺳﺒﺎﺏ ﺩﺍﺧﻠﻴﱠﺔ ﺗﻮﻟﺪ ﻣﻊ ﺍﻟﺸﱠﺨﺺ‪ ،‬ﻭﻫﻲ ﻓﻄﺮﻳﱠﺔ ﻛﻄﺒﻌﻪ‪ .‬ﻭﻗﺪ ﻳﻜﻮﻥ ﺍﻧﻄﺒﺎﻉ‬
‫ﺍﻟﻘﺎﺭﺉ ﻳﻘﻴﻨﺎً ﺃﻥﱠ ﺗﻐﻴﱡﺮﺍﺕ ﺃﺷﺒﺎﻫﻪ ﺗﺒﺪﻭ ﻟﻪ ﺃﺣﻴﺎﻧﺎً ﺗﺎﻓﻬﺔ ﻭﻏﻴﺮ ﻣﺴﻮّﻏﺔ‪ ،‬ﺇﻥ ﻟﻢ ﺗﻜﻦ‬
‫ﺻﺎﺩﺭﺓ ﻋﻤﱠﺎ ﻻ ﻳُﻌﺘﺮﻑ ﺑﻪ؛ ﻟﻜﻦ ﺍﻟﺘﱠﻐﻴﱡﺮ ﳝﺘﻠﻚ ﰲ ﺃﺣﻮﺍﻝ ﺃﺧﺮﻯ ﻛﻞّ ﺟﺪﺍﺭﺓ ﺍﻟﻨّﻤﻮ‪،‬‬
‫ﻭﻣﻌﻨﺎﻩ ﻛﻠّﻪ‪ ،‬ﺇﻧﱠﻪ ﺍﻟﺒﺮﻋﻢ ﺍﻟﺬﻱ ﻳﺼﻴﺮ ﺷﺠﺮﺓ‪ ،‬ﺇﻧﱠﻪ ﻋﺮﻱ ﺍﻟﺸﱠﺠﺮ ﺍﻟﺬﻱ ﻳﺴﺒﻖ ﺍﻹﻳﺮﺍﻕ‪،‬‬
‫ﻭﺍﻟﺜﱠﻤﺮﺓ ﺍﻟﺘﻲ ﺗﻠﻲ ﺗﺎﺝ ﺍﻟﺸﱠﺠﺮﺓ‪.‬‬
‫ﺃﻧﺎ ﺃﺭﺩّ ﺇﺫﺍً‪ ،‬ﻋﻠﻰ ﺍﻻﻋﺘﺮﺍﺽ ﺍﻟﺴﱠﺎﺑﻖ‪ .‬ﻫﻨﺎﻙ ﺃﺷﺨﺎﺹ ﻻ ﻳﺘﻄﻮﱠﺭﻭﻥ‪ ،‬ﻭﺫﻭﻭ‬
‫ﻃﺒﺎﻉ ﻣﺘﺼﻠّﺒﺔ ﻧﺴﺒﻴﱠﺎً‪) .‬ﻫﻢ ﺍﻷﻗﻞّ ﺣﻴﻮﻳﱠﺔ ﺑﻌﺎﻣﱠﺔ‪ .‬ﻭﺃﳕﻮﺫﺟﻬﻢ ﺍﻟﻨﱠﻤﻮﺫﺟﻲّ "ﺍﻟﺒﺮﺟﻮﺍﺯﻱّ‬
‫ﺍﳊﻖّ"(‪ .‬ﻭﻫﺆﻻﺀ ﻳﻈﻠّﻮﻥ ﺿﻤﻦ ﻣﺨﻄﱠﻂ ﻻ ﻳﺘﻐﻴﱠﺮ ﰲ ﺍﺧﺘﻴﺎﺭﻫﻢ ﺍﻟﻐﺮﺍﻣﻲّ‪ .‬ﻟﻜﻦّ ﻫﻨﺎﻙ‬
‫ﺃﺷﺨﺎﺻﺎً ﺫﻭﻱ ﻃﺒﻊ ﺧﺼﺐ ﻭﺛﺮٌ ﺑﺎﻹﻣﻜﺎﻧﻴﺎﺕ ﻭﺍﻻﻫﺘﻤﺎﻣﺎﺕ‪ ،‬ﻭﻫﻢ ﻳﻨﺘﻈﺮﻭﻥ ﺑﻨﻈﺎﻡ‬
‫ﺟﻴﱢﺪ ﺳﺎﻋﺔ ﺗﻔﺘّﺤﻬﻢ‪ .‬ﻭﺑﺎﻹﻣﻜﺎﻥ ﺍﻟﺘﱠﺄﻛﻴﺪ ﺃﻥﱠ ﻫﺬﺍ ﺍﻷﻣﺮ ﻫﻮ ﺍﳊﺎﻟﺔ ﺍﻟﻄﱠﺒﻴﻌﻴﱠﺔ ﺗﻘﺮﻳﺒﺎً‪.‬‬
‫ﻓﺎﻟﺸﱠﺨﺼﻴﱠﺔ ﺗﻌﺎﻧﻲ ﺧﻼﻝ ﻣﺠﺮﻯ ﺣﻴﺎﺗﻬﺎ ﺗﻐﻴﱡﺮﻳّﻦ ﺃﻭ ﺛﻼﺛﺔ ﺗﻐﻴﱡﺮﺍﺕ ﻛﺒﺮﻯ ﻫﻲ ﲟﺜﺎﺑﺔ‬
‫ﻣﺮﺍﺣﻞ ﻣﺨﺘﻠﻔﺔ ﻣﻦ ﻣﺴﺎﺭ ﺧﻠﻘﻲّ ﻭﺍﺣﺪ‪ .‬ﺇﺫْ ﻧﻼﺣﻆ ﺫﺍﺕ ﻳﻮﻡ ﺃﻧﱠﻨﺎ ﺩﺧﻠﻨﺎ ﰲ ﻣﺮﺣﻠﺔ‬
‫ﺟﺪﻳﺪﺓ‪ ،‬ﺃﻭ ﺣﺪﺙ ﺗﻐﻴّﺮ ﰲ ﻃﺒﻌﻨﺎ ﻣﻦ ﻏﻴﺮ ﺃﻥ ﻧﻔﻘﺪ ﺍﻟﺘﱠﻄﺎﺑﻖ‪ ،‬ﺑﺎﳊﺮﻱّ ﺍﻟﺘﱠﺠﺎﻧﺲ‬
‫ﺍﻷﺳﺎﺱ‪ ،‬ﻣﻊ ﺷﻌﻮﺭﻧﺎ ﺑﺎﻷﻣﺲ‪ .‬ﻭﻫﺬﺍ ﻣﺎ ﺃﺳﻤّﻴﻪ ﺗﻐﻴﱡﺮﺍً ﺟﺬﺭﻳﱠﺎً‪ .‬ﻻ ﻫﻮ ﺃﻛﺜﺮ ﻣﻦ ﺫﻟﻚ‪،‬‬
‫‪-٨٢-‬‬
‫ﻭﻻ ﻫﻮ ﺃﻳﻀﺎً ﺃﻗﻞّ ﻣﻦ ﺫﻟﻚ‪ .1‬ﻭﻳﺒﺪﻭ ﻛﻴﺎﻧﻨﺎ ﺍﻟﻌﻤﻴﻖ ﰲ ﻛﻞﱟ ﻣﻦ ﻫﺎﺗﲔ ﺍﳌﺮﺣﻠﺘﲔ ﺃﻭ‬
‫ﺍﳌﺮﺍﺣﻞ ﺍﻟﺜﱠﻼﺙ‪ ،‬ﻳﺪﻭﺭ ﻋﻠﻰ ﻧﻔﺴﻪ ﺩﺭﺟﺎﺕٍ ﻣﻌﻴﱠﻨﺔ‪ .‬ﻭﻳﻨﺘﻘﻞ ﳓﻮ ﺇﻃﺎﺭ ﺁﺧﺮ ﻣﻦ ﺍﻟﻜﻮﻥ‬
‫ﻭﻳﺘﱠﺠﻪ ﳓﻮ ﻣﺠﺮﱠﺍﺕ ﺟُﺪُﺩ‪.‬‬
‫ﺃﻟﻴﺴﺖ ﻣﺼﺎﺩﻓﺔً ﻣﻮﺣﻴﺔ ﺃﻥ ﻳﻜﻮﻥ ﻋﺪﺩ ﻣﺮﱠﺍﺕ ﺍﳊﺐّ ﺍﳊﻘﻴﻘﻲّ ﺍﻟﺘﻲ ﳝﺮّ ﺑﻬﺎ‬
‫ﺍﻟﺮﱠﺟﻞ ﺍﻟﻄﱠﺒﻴﻌﻲّ ﻋﺎﺩﺓ‪ ،‬ﺗﺤﻤﻞ ﺩﺍﺋﻤﺎً ﺗﻘﺮﻳﺒﺎً ﺍﻟﻌﺪﺩ ﺫﺍﺗﻪ‪ ،‬ﻭﻫﻮ ﻣﺮﱠﺗﺎﻥ ﺃﻭ ﺛﻼﺙ ﻣﺮﱠﺍﺕ؟‬
‫ﻭﻓﻮﻕ ﺫﻟﻚ‪ ،‬ﺗﻈﻬﺮ ﻛﻞّ ﻣﺮﱠﺓ ﻣﻦ ﻣﺮﱠﺍﺕ ﺍﳊﺐّ ﻫﺬﻩ ﻣﺤﺪﱠﺩﺓ ﺯﻣﻨﻴﱠﺎً ﰲ ﻛﻞﱢ ﻣﺮﺣﻠﺔ ﻣﻦ‬
‫ﻣﺮﺍﺣﻞ ﺍﻟﻄﱠﺒﻊ؟ ﻻ ﻳﺒﺪﻭ ﻟﻲ ﺇﺫﺍً‪ ،‬ﺇﻓﺮﺍﻃﺎً ﺃﻥ ﻧﺮﻯ ﰲ ﺗﻌﺪﱡﺩ ﺍﳊﺐّ ﺃﻋﻈﻢ ﺇﺛﺒﺎﺕ ﻟﻠﻤﺬﻫﺐ‬
‫ﺍﳌﻌﺮﻭﺽ ﻫﻨﺎ‪ .‬ﻭﻳﺘﻄﺎﺑﻖ ﺑﺪﻗﱠﺔ ﻣﻊ ﻫﺬﺍ ﺍﻟﻄّﺮﺍﺯ ﺍﳉﺪﻳﺪ ﻣﻦ ﺍﻟﺸّﻌﻮﺭ ﺑﺎﳊﻴﺎﺓ‪ ،‬ﺗﻔﻀﻴﻞُ‬
‫ﳕﻮﺫﺝ ﻣﻌﻴﱠﻦ ﻣﻦ ﺍﻟﻨﱢﺴﺎﺀ‪ .‬ﻓﻘﺪ ﺗﻐﻴﱠﺮَ ﻧﺴﻖ ﻗﻴﻤﻨﺎ ﻗﻠﻴﻼً ﺃﻭ ﻛﺜﻴﺮﺍً‪ ،‬ﻭﺑﻮﻓﺎﺀ ﻛﺎﻣﻦ ﻟﻠﻘﺪﱘ‬
‫ﺩﺍﺋﻤﺎً‪ .‬ﻓﺘﺘﻘﺪﱠﻡ ﺇﻟﻰ ﺍﻟﺒُﻌﺪِ ﺍﻷﻭﱠﻝ ﺻﻔﺎﺕٌ ﻣﺎ ﻛﻨﱠﺎ ﻧﻘﺪّﺭﻫﺎ‪ ،‬ﺑﻞ ﺭﺑﱠﻤﺎ ﻣﺎ ﻛﻨﱠﺎ ﻧﺪﺭﻛﻬﺎ‪،‬‬
‫ﻭﻳﻌﺘﺮﺽ ﻧﻮﻉ ﺟﺪﻳﺪ ﻣﻦ ﺍﻻﺧﺘﻴﺎﺭ ﰲ ﺍﳊﺐّ ﺑﲔ ﺍﻟﺮﱠﺟﻞ ﻭﺍﻟﻨﱢﺴﺎﺀ ﺍﻟﻌﺎﺑﺮﺍﺕ‪.‬‬
‫ﻭﺇﻥﱠ ﺭﻭﺍﻳﺔً ﻭﺣﺪﻫﺎ ﺗﻘﺪّﻡ ﻟﻨﺎ ﺃﺩﺍﺓ ﻣﻼﺋﻤﺔ ﻟﺘﻮﺿﻴﺢ ﻫﺬﺍ ﺍﻟﺘﱠﻔﻜﻴﺮ‪ .‬ﻟﻘﺪ ﻗﺮﺃﺕ‬
‫ﻗﻄﻌﺎً ﻣﻨﻬﺎ ‪ -‬ﻭﻗﺪ ﻻ ﺗُﻨﺸﺮ ﺃﺑﺪﺍً ‪ . -‬ﻣﻮﺿﻮﻋﻬﺎ ﺑﺎﻟﻀﱠﺒﻂ ﻣﺎ ﻳﻠﻲ‪ :‬ﺍﻟﺘﱠﻄﻮﱡﺭ ﺍﻟﻌﻤﻴﻖ‬
‫ﻟﻄﺒﻊ ﺍﻟﺬﱠﻛﺮ ﻣﻨﻈﻮﺭﺍً ﺇﻟﻴﻪ ﻣﻦ ﺧﻼﻝ ﻏﺮﺍﻣﻴﱠﺎﺗﻪ‪ .‬ﻭﻳﻠﺢﱡ ﺍﳌﺆﻟﱢﻒ ‪ -‬ﻭﻫﻮ ﺍﻟﻬﺎﻡّ ﻫﻨﺎ ‪-‬‬
‫ﺇﳊﺎﺣﺎً ﻣﺘﺴﺎﻭﻳﺎً ﻋﻠﻰ ﺗﺒﻴﺎﻥ ﺍﺳﺘﻤﺮﺍﺭ ﺍﻟﻄﱠﺒﻊ ﻃﻴﻠﺔ ﺗﻐﻴﱡﺮﺍﺗﻪ ﻭﺍﻟﺸﱠﻜﻞ ﺍﳌﺘﺒﺎﻳﻦ ﺍﻟﺬﻱ‬
‫ﲤﺘﻠﻜﻪ ﻫﺬﻩ ﺍﻟﺘﱠﻐﻴﱡﺮﺍﺕ‪ ،‬ﻣﻮﺿﱢﺤﺎً ﺑﺬﻟﻚ ﻣﻨﻄﻖ ﻫﺬﻩ ﺍﻟﺘﱠﺒﺪﱡﻻﺕ ﺍﳊﻲّ‪ ،‬ﻭﺃﺻﻠﻬﺎ ﺍﶈﺘﻮﻡ‪.‬‬
‫ﻭﺇﻥﱠ ﺻﻮﺭﺓ ﺍﻣﺮﺃﺓ ﲡﻤﻊ ﻭﺗﻜﺜّﻒ ﰲ ﻛﻞﱢ ﻣﺮﺣﻠﺔٍ ﺁﻣﺎﺩَ ﺗﻠﻚ ﺍﳊﻴﻮﻳﱠﺔ ﺍﻟﺘﻲ ﺗﺘﻄﻮﱠﺭ‪ ،‬ﻛﺘﻠﻚ‬
‫ﺍﻷﺷﺒﺎﺡ ﺍﻟﺘﻲ ﳝﻜﻦ ﺗﺸﻜﻴﻠﻬﺎ ﺑﺎﻷﺿﻮﺍﺀ ﻭﺍﻟﻌﻮﺍﻛﺲ ﻋﻠﻰ ﺟﻮﱟ ﻛﺜﻴﻒ‪.‬‬
‫← ﲨﻠﺔ ﻣﻌﱰﺿﺔ →‬

‫ﻟﻘﺪ ﻫﻴﱠﺄﺕ ﻟﻲ ﺃﺑﺤﺎﺛﻲ ﺍﻟﺘﻲ ﺗﻈﻬﺮ ﰲ ﺍﻟﻌﺎﺩﺓ ﻣﻨﺠّﻤﺔ ﻛﻘﻄﻊ ﺩﻭﺩﺓ ﺣﻠْﻘﻴﱠﺔ ﰲ‬
‫ﺻﺤﻴﻔﺔ ﺇﻳﻞ ﺻﻮﻝ ‪ ،El Sol‬ﺣﺠﱠﺔ ﻃﻴﱢﺒﺔ ﻷﻋﺮﻑ ﻧﻔﻮﺱ ﺍﻹﺳﺒﺎﻥ ﻭﺍﻹﺳﺒﺎﻧﻴﱠﺎﺕ ﺍﻟﺬﻳﻦ‬
‫ﻫﻢ ﺑﻌﻴﺪﻭﻥ ﻋﻨﱢﻲ ﻭﺃﺟﻬﻠﻬﻢ‪ .‬ﻭﺇﻧﱢﻲ ﺃﺗﻠﻘﱠﻰ ﰲ ﺍﻟﻮﺍﻗﻊ ﺑﻜﺜﺮﺓ ﺳﺎﺭﱠﺓ‪ ،‬ﺭﺳﺎﺋﻞ ﺗﺄﻳﻴﺪ ﺃﻭ‬

‫)‪ (١‬ﺇﻥﱠ ﺍﻟﻈﱠﺎﻫﺮﺓ ﺍﻷﻛﺜـﺮ ﻃﺮﺍﻓـﺔ ﻭﺗﻄﺮﱡﻓـﺎً ﻫـﻲ "ﺍﻟﺘﱠﺤـﻮﱡﻝ ﺇﻟـﻰ ﺩﻳـﻦ ﺁﺧـﺮ"‪ ،‬ﻭﺍﻟﺘﱠﻐﻴﱡـﺮ ﺍﳌﻔـﺎﺟﺊ ﺫﻭﺍﳌﻈﻬـﺮ‬
‫ﺍﻟﻜﺎﺭﺛﻲّ ﺍﻟﺬﻱ ﻳﻌﺎﻧﻴﻪ ﺍﻟـﺸﱠﺨﺺ ﺃﺣﻴﺎﻧـﺎً‪ .‬ﻭﺍﺳـﻤﺤﻮﺍ ﻟـﻲ ﺍﻵﻥ ﺃﻥ ﺃﺩﻉ ﻫـﺬﺍ ﺍﳌﻮﺿـﻮﻉ ﺍﻟـﺼﱠﻌﺐ ﻣـﻦ‬
‫ﻏﻴﺮ ﻣﻌﺎﳉﺔ‪ – .‬ﺍﳌﺆﻟﱢﻒ‪.‬‬
‫‪-٨٣-‬‬
 ‫ﺍﺣﺘﺠﺎﺝ ﺃﻭ ﺧﺼﺎﻡ‪ .‬ﻭﲤﻨﻌﻨﻲ ﻣﺸﺎﻏﻠﻲ ﺃﻥ ﺃﺟﻴﺐ‪ ،‬ﻃﺒﻘﺎً ﻟﻠﻌﺮﻑ ﺍﻟﺼﱠﺤﻴﺢ‪ ،‬ﻋﻦ ﻫﺬﻩ‬
‫ﺍﳌﺮﺍﺳﻼﺕ ﺍﻟﻨﱠﺎﻓﻌﺔ ﺟﺪﱠﺍً ﻭﺍﳋﺼﺒﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻜﺎﺗﺐ‪ .‬ﻭﺳﻮﻑ ﺃﺣﺎﻭﻝ ﰲ ﻭﻗﺖٍ ﺗﺎﻝٍ ﺃﻥ‬
‫ﺃﻗﺘﻄﻒ ﻣﻦ ﻫﺬﻩ ﺍﳌﺮﺍﺳﻼﺕ ﻣﺎ ﻳﺒﺪﻭ ﻟﻲ ﺃﻛﺜﺮﻫﺎ ﺧﺼﺒﺎً ﻭﺃﻋﻤّﻬﺎ ﻧﻔﻌﺎً‪.‬‬
‫ﻭﻛﺒﺪﺍﻳﺔ‪ ،‬ﺃﻧﻘﻞ ﺭﺳﺎﻟﺔ ﻏُﻔﻼً ﻭﺻﻠﺘﻨﻲ ﻣﻦ ﻗﺮﻃﺒﺔ‪ ،‬ﻭﻳﺒﺪﻭ ﻣَﻦْ ﺧﻄﱠﻬﺎ ﺷﺨﺼﺎً‬
‫ﺣﺼﻴﻔﺎً ﺟﺪﱠﺍً‪ ،‬ﻣﺎ ﻋﺪﺍ ﺍﻟﺘﺰﺍﻣﻪ ﺑﺈﺧﻔﺎﺀ ﺍﺳﻤﻪ‪.‬‬
‫"ﻟﻘﺪ ﻗﺮﺃﺕ ﻣﻘﺎﻟﻚ ﰲ ﺻﺤﻴﻔﺔ ﺇﻳﻞ ﺻﻮﻝ ‪" El Sol‬ﺍﻻﺧﺘﻴﺎﺭ ﰲ ﺍﳊﺐّ"‪ ،‬ﻛﻤﺎ‬
‫ﻗﺮﺃﺕ ﻛﻞّ ﻣﺎ ﺗﻜﺘﺒﻪ ﻭﻳﺼﻞ ﺇﻟﻰ ﻳﺪﻱ‪ ،‬ﻷﻟﺘﺬّ ﲟﻼﺣﻈﺎﺗﻚ ﺍﻟﺪﱠﻗﻴﻘﺔ ﻭﺍﻷﺻﻴﻠﺔ‪ .‬ﻭﻟﻘﺪ‬
‫ﺷﺠﱠﻌﻨﻲ ﺍﺳﺘﻌﺪﺍﺩﻱ ﺍﻟﺮﱡﻭﺣﻲّ ﺍﳌﺴﺒﻖ ﺍﳌﺆﻳﱢﺪ ﻟﻌﻤﻠﻚ‪ ،‬ﻛﻴﻤﺎ ﺃﺑﻴﱢﻦ ﻟﻚ ﺷﻴﺌﺎً ﺃﻋﺪّﻩ ﺧﺎﻃﺌﺎً‬
‫ﰲ ﻣﻘﺎﻟﻚ ﺍﻷﺧﻴﺮ‪.‬‬
‫"ﳓﻦ ﻣﺘﻮﺍﻓﻘﺎﻥ ﰲ ﺃﻥﱠ ﺗﻌﺎﺑﻴﺮ ﺍﻟﻮﺟﻪ ﻭﺍﻷﺳﺎﺭﻳﺮ ﺗﺴﻤﺢ ﻟﻨﺎ ﺃﻥ ﻧﺘﻐﻠﻐﻞ‪ ،‬ﻛﻤﺎ‬
‫ﻳﺪﺧﻞ ﺑﻄﺮﺱ ﺑﻴﺘﻪ‪ ،‬ﰲ ﺭﻭﺡ ﺍﳉﺎﺭ ﺍﻟﻐﺎﻓﻠﺔ‪) ،‬ﻭﺭﺑﱠﻤﺎ ﺍﻟﻴﻘﻈﺔ ﺃﻳﻀﺎً(‪ ،‬ﺑﺸﻜﻞٍ ﺃﺗﻄﺎﺑﻖ‬
‫ﻓﻴﻪ ﻣﻌﻚ ﰲ ﻫﺬﻩ ﺍﻟﻨّﻘﻄﺔ ﺍﻟﺘﻲ ﻛﺘﺒﺖ ﻭﻧﺸﺮﺕ ﺣﻮﻟﻬﺎ ﺷﻴﺌﺎً ﻣﺎ‪.‬‬
‫"ﺃﻣﱠﺎ ﻣﺎ ﻻ ﳝﻜﻦ ﺩﻋﻤﻪ ﰲ ﺭﺃﻳﻲ ﺑﺤﻖّ ﻓﻬﻮ ﺃﻥﱠ "ﺍﻟﺬﱠﻛﺮ ﻳﻜﺸﻒ ﰲ ﺍﺧﺘﻴﺎﺭ‬
‫ﺍﶈﺒﻮﺑﺔ ﻋﻦ ﻏﻮﺭﻩ ﺍﳉﻮﻫﺮﻱّ؛ ﻭﻛﺬﻟﻚ ﺍﳌﺮﺃﺓ ﰲ ﺍﺧﺘﻴﺎﺭﻫﺎ ﺍﶈﺒﻮﺏ"‪ .‬ﻭﻻ ﰲ ﺃﻥﱠ‬
‫ﺍﻟﻨﱠﻤﻮﺫﺝ ﺍﳌﻔﻀﱠﻞ ﻳﺮﺳﻢ ﺑﺮﻭﻓﻴﻞ ﻗﻠﺒﻨﺎ‪.‬‬
‫"ﺣﺘﱠﻰ ﺇﻧّﻲ ﺃﺟﺮﺅ ﻋﻠﻰ ﺍﻟﺘﱠﺄﻛﻴﺪ ﺃﻥﱠ ﻫﺬﻩ ﺍﻻﺣﺘﺠﺎﺟﺎﺕ )ﺍﻵﻟﻴﱠﺔ( ﺍﻟﺘﻲ ﻳﺜﻴﺮﻫﺎ‬
‫ﻋﺎﺩﺓً ﺗﺄﻛﻴﺪ ﻛﻬﺬﺍ ﺑﲔ ﺳﺎﻣﻌﻴﻚ ﺃﻛﺜﺮ ﳑﱠﺎ ﻳﺜﻴﺮﻩ ﺍﻹﺯﻋﺎﺝ ﺍﳌﻘﻠﻖ ﺑﺈﺣﺴﺎﺱ ﺍﳌﺮﺀ ﻧﻔﺴﻪ‬
‫ﻋﺎﺭﻳﺎً ﺃﻣﺎﻡ ﺍﳌﺮﺍﻗﺐ‪ ،‬ﻫﻲ ﺍﻻﺷﻤﺌﺰﺍﺯ ﻏﻴﺮ ﺍﳌﺴﻮّﻍ ﺭﺑﱠﻤﺎ‪ ،‬ﺍﻟﺬﻱ ﺗﻈﻬﺮﻩ ﻓﻜﺮﺓ ﻻ ﻧﻘﺒﻠﻬﺎ‪،‬‬
‫ﻭﻻ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﻘﺒﻠﻬﺎ ﻭﺇﻥ ﻛﻨﱠﺎ ﻻ ﻧﻌﻠﻢ ﺳﺒﺐ ﺫﻟﻚ ﺑﻌﺪ‪.‬‬
‫"ﺍﳊﺐّ )ﺃﻱ ﺍﻻﻧﻔﻌﺎﻝ ﺍﳉﻨﺴﻲّ ﻣﻊ ﺑﻬﺮﺟﺔ ﻏﻨﺎﺋﻴﱠﺔ ﺃﻭ ﻣﻦ ﻏﻴﺮﻫﺎ( ﺍﺳﻢ ﻟﻔﻌﻞ‬
‫ﻣﺘﻌﺪﱟ ﺑﺸﻜﻞ ﺑﺎﺭﺯ‪ ،‬ﻫﻮ ﲟﻌﻨﻰ ﻣﺎ ﺃﻛﺜﺮ ﺍﻷﻓﻌﺎﻝ ﻟﺰﻭﻣﺎً ﻭﺃﻛﺜﺮﻫﺎ ﺍﻧﻐﻼﻗﺎً ﺟﻤﻴﻌﺎً‪ ،‬ﻷﻧﱠﻪ ﻳﺒﺪﺃ‬
‫ﻭﻳﻨﺘﻬﻲ ﰲ ﺍﻟﻔﺮﺩ‪ ،‬ﻓﻬﻮ ﻣﻦ ﺭﻭﺣﻪ ﻳﺘﻐﺬﱠﻯ ﻭﻟﻴﺲ ﻟﻪ ﺣﻴﺎﺓ ﺃﺧﺮﻯ ﺳﻮﻯ ﻣﺎ ﻳﻌﻄﻴﻬﺎ ﻟﻪ‬
‫ﺍﻟﻔﺮﺩ ﺫﺍﺗﻪ‪ .‬ﺑﺎﻟﻄﱠﺒﻊ‪ ،‬ﻳﺒﺤﺚ ﺍﶈﺐّ ﻣﺪﻓﻮﻋﺎً ﺑﺎﻟﺸﱠﻬﻮﺓ ﺍﳉﻨﺴﻴﱠﺔ‪ ،‬ﻋﻦ ﺍﻟﻔﺮﺩ ﻣﻦ ﺍﳉﻨﺲ‬
‫ﺍﻵﺧﺮ‪ ،‬ﻭﻛﻞّ ﻭﺍﺣﺪ ﻣﻨﻬﻤﺎ ﻳﺮﻳﺪ ﺃﻥ ﻳﺠﺪ ﰲ ﺍﻵﺧﺮ ﺗﻨﺎﺳﺒﺎً ﺟﺴﺪﻳﱠﺎً ﻣﻌﻴﱠﻨﺎً‪ .‬ﻭﻻ ﻏﺮﺍﺑﺔ ﰲ‬
‫ﺷﻲﺀ ﺃﻥ ﻳﺜﺒﱠﺖ ﻃﺒﻊ ﺍﳌﺮﺃﺓ ﺍﻟﻨّﺨﺒﺔ ﺇﻋﺠﺎﺑﻪ ﻋﻠﻰ ﺭﺟﻞ ﻣﺒﺘﺬﻝ‪ ،‬ﻭﺍﻟﻌﻜﺲ ﺻﺤﻴﺢ‪.‬‬
‫‪-٨٤-‬‬
‫"ﻧﻌﻢ‪ ،‬ﺑﺎﳊﺐّ ﳝﻜﻦ ﻣﻌﺮﻓﺔ ﺍﶈﺐّ‪ ،‬ﻟﻜﻦ‪ ،‬ﻟﻴﺲ ﺑﺎﳌﻮﺿﻮﻉ ﺍﶈﺒﻮﺏ‪ .‬ﻭﻛ ّﻞ‬
‫ﺷﺨﺺ ﻳﺤﺐّ ﲟﻞﺀ ﺭﻭﺣﻪ ﻭﺑﻘﻮﱠﺓ ﻛﺎﻓﻴﺔ ﻛﻴﻤﺎ )ﻳﺨﻠﻊ ﻋﻠﻰ( ﺍﶈﺒﻮﺏ ﻛﻞّ ﺍﶈﺎﺳﻦ‬
‫ﻭﺍﻟﺮﻗﱠﺔ ﺍﻟﺘﻲ ﺗﺤﺘﺎﺝ ﺇﻟﻴﻬﺎ ﻧﻔﺲ ﺍﶈﺐّ )ﺃﻭ ﻳﺨﻠﻊ ﻋﻠﻴﻪ ﻧﻔﺴﻪ ﺫﺍﺗﻬﺎ(‪ ،‬ﻛﻤﺎ ﻳﻀﻊ‬
‫ﺍﳌﺼﺒﺎﺡ ﺍﻟﺴﺤﺮﻱّ ﺃﻭ ﺟﻬﺎﺯ ﺍﻟﻌﺮﺽ ﺍﻟﺴﻴﻨﻤﺎﺋﻲ ﻋﻠﻰ ﻗﻤﺎﺵ ﺍﻟﺸﱠﺎﺷﺔ ﺍﳋﻂّ ﻭﺍﻟﻠﱠﻮﻥ‬
‫ﺍﳌﻮﺟﻮﺩﻳﻦ ﻓﻴﻬﻤﺎ‪ ،‬ﻭﻛﻤﺎ ﻭﺿﻊ ﺩﻭﻥ ﻛﻴﺨﻮﺗﻪ ﰲ ﺁﻟﻮﻧﺜﺎ ﻟﻮﺭِﻧﺜﻮ‪ ،‬ﻭﻧﻴﻠﺴﻮﻥ ﰲ ﺍﻟﻠﻴﺪﻱ‬
‫ﻫﺎﻣﻴﻠﺘﻮﻥ )ﻇﺒﻴﺔ ﺍﻟﺮﻳﻒ ﰲ ﺑﺪﺍﻳﺎﺕ ﺍﻟﻘﺮﻥ ‪ ،(١٩‬ﻣﺎ ﻫﻮ ﺿﺮﻭﺭﻱّ ﻛﻴﻤﺎ ﺗﺮﻛﻊ ﺭﻭﺣﺎﻫﻤﺎ‬
‫ﺃﻣﺎﻡ ﻫﺎﺗﲔ ﺍﳌﺮﺃﺗﲔ‪.‬‬
‫"ﻭﺃﻗﻒ ﻫﻨﺎ‪ ،‬ﻷﻥ ﺍﻋﺘﺮﺍﺿﻲ ﺻﻴﻎ ﺑﺎﺧﺘﺼﺎﺭ‪ ،‬ﻭﻻ ﺃﺭﻳﺪ ﺃﻥ ﺃﺯﻋﺠﻚ ﻣﻦ‬
‫ﻏﻴﺮ ﻃﺎﺋﻞ"‪.‬‬
‫ﺃﺷﻜﺮ ﺷﻜﺮﺍً ﻓﺎﺋﻘﺎً ﻋﻠﻰ ﺍﻻﻋﺘﺮﺍﺽ ﺳﻮﻯ ﺃﻧّﻲ ﻛﻨﺖ ﺃﺅﺛﺮ ﺃﻥ ﺃﺗﻠﻘﱠﺎﻩ ﺑﻔﻌﺎﻟﻴﱠﺔ‬
‫ﺃﻛﺒﺮ‪ .‬ﻷﻥﱠ ﻣﺤﺎﻭﻟﺔ ﻗﺼْﺮ ﺍﳊﺐّ ﻋﻠﻰ ﺍﳉﻨﺲ ﻳﻌﻜّﺮ ﺍﳌﺴﺄﻟﺔ ﻣﻦ ﺍﻟﺒﺪﺍﻳﺔ‪ .‬ﻭﺃﺣﺴﺒﻨﻲ‬
‫ﻗﺪ ﺑﻴّﻨﺖ ﺍﳋﻄﺄ ﺍﻟﺒﻴﱢﻦ ﺍﳌﻮﺟﻮﺩ ﰲ ﻫﺬﺍ ﺍﻟﻘﺼْﺮ ﰲ ﺳﻠﺴﻠﺔ ﻣﻘﺎﻻﺕ "ﺍﳊﺐّ ﻋﻨﺪ‬
‫ﺳﺘﻨﺪﺍﻝ" ﺍﻟﺘﻲ ﻧﺸﺮﺗﻬﺎ ﺻﺤﻴﻔﺔ ﺇﻳﻞ ﺻﻮﻝ ﻫﺬﺍ ﺍﳋﺮﻳﻒ‪ .‬ﻳﻜﻔﻲ ﺃﻥ ﻧﻼﺣﻆ ﺍﻟﻮﺍﻗﻌﺔ‬
‫ﺍﻟﺜﱠﺎﺑﺘﺔ ﺃﻥﱠ ﺍﻟﺮﱠﺟﻞ ﻳﺮﻏﺐ ﺟﻨﺴﻴﱠﺎً ﺑﻬﺬﻩ ﺍﻟﺸﱠﺪﺓ ﺃﻭ ﺗﻠﻚ‪ ،‬ﰲ ﻧﺴﺎﺀ ﻻ ﻳُﺤﺼﲔ‪ ،‬ﺑﻴﻨﻤﺎ‬
‫ﺣﺒّﻪ ﻣﻬﻤﺎ ﻳﻜﻦ ﻣﺘﻀﺨﱢﻤﺎً ﻭﻣﺴﺘﻌﺮﺍً ﻳﺘﺜﺒﱠﺖ ﻋﻠﻰ ﺑﻌﺾ ﻣﻨﻬﻦّ‪ ،‬ﺣﺘﱠﻰ ﻳﺒﺪﻭ ﻣﺤﺎﻻً ﺃﻥ‬
‫ﻧﻄﺎﺑﻖ ﺑﲔ ﺍﻟﺪﱠﺍﻓﻌﲔ‪ .‬ﻟﻜﻦﱠ ﺍﳌﺮﺍﺳﻞ ﺍﻟﻠﻄﻴﻒ ﻳﻘﻮﻝ ﻓﻮﻕ ﺫﻟﻚ‪":‬ﺇﻥﱠ ﻛﻞّ ﺷﺨﺺ ﻳﺤﺐّ‬
‫ﲟﻞﺀ ﺭﻭﺣﻪ"‪ .‬ﺇﺫﺍً‪ ،‬ﻳﺼﻌﺐ ﺃﻥ ﻳﻜﻮﻥ ﺍﳊﺐّ "ﺷﻬﻮﺓ ﺟﻨﺴﻴﱠﺔ" ﻓﻘﻂ‪ .‬ﻟﻜﻦ‪ ،‬ﺇﺫﺍ ﺿﻤﱠﺖ‬
‫ﺍﻟﺮّﻭﺡ ﺇﻟﻰ ﺧﻮﺍﺭ ﺍﳉﻨﺲ ﻣﻌﻮﻧﺘَﻬﺎ ﺍﳌﺘﻨﻮﱢﻋﺔ‪ ،‬ﻓﺴﻮﻑ ﳓﺼﻞ ﻋﻠﻰ ﺣﺮﺍﻙٍ ﻧﻔﺴﻲّ‬
‫ﻣﺨﺘﻠﻒ ﺟﺪﱠﺍً ﻋﻦ ﺍﻟﻐﺮﻳﺰﺓ ﺧﺎﻟﺼﺔ‪ ،‬ﻭﻫﺬﺍ ﻣﺎ ﻧﺴﻤّﻴﻪ ﺣﺒﱠﺎً‪.‬‬
‫ﻭﻻ ﻳﺤﺴﻦ ﺑﻨﺎ ﺃﻥ ﻧﺼﻒ ﻫﺬﻩ ﺍﻹﺿﺎﻓﺔ ﺍﳉﻮﻫﺮﻳﱠﺔ ﺃﻧﱠﻬﺎ "ﺑﻬﺮﺟﺔ ﻏﻨﺎﺋﻴﱠﺔ"‪ .‬ﻓﻘﺪ‬
‫ﻛﺎﻥ ﻳﻜﻔﻲ ﺍﳌﻔﻜّﺮ ﺍﻟﻘﺮﻃﺒﻲ ﺃﻥ ﻳﺘﺴﻠﱠﻰ ﰲ ﳊﻈﺔ ﻫﺪﻭﺀ ﻗﺮﺏ ﺍﳉﺐّ ﻭﺳﻂ‬
‫ﺍﳉﻴﺮﺍﻧﻴﻮﻡ ﺑﻴﻨﻤﺎ ﺍﻟﺴﺤﺐ ﺍﻟﻌﺎﺑﺮﺓ ﺗﻨﺰﻟﻖ ﻓﻮﻕ ﺍﻟﻔﻨﺎﺀ ﺍﻟﻘﺮﻃﺒﻲّ‪ ،‬ﺑﺘﺤﺪﻳﺪ ﺍﻟﻔﺮﻕ ﺑﲔ‬
‫ﻣﻌﻨﻰ ﺍﻟﻜﻠﻤﺘﲔ‪ :‬ﺍﳊﺐﱢ ﻭﺍﻟﺮﱠﻏﺒﺔ‪ .‬ﻭﻟﺴﻮﻑ ﻳﺮﻯ ﺃﻥﱠ ﺍﳊﺐّ ﻭﺍﻟﺮﱠﻏﺒﺔ ﺃﻭ ﺍﻟﺸﱠﻬﻮﺓ‬
‫ﻻﻳُﺸﺒﻬﺎﻥ ﺑﻌﻀﻬﻤﺎ ﰲ ﺷﻲﺀ‪ ،‬ﻭﺇﻥ ﻛﺎﻥ ﺃﻭﱠﻟﻬﻤﺎ ﻳُﺜﺎﺭ ﺑﺎﻷﺧﺮﻯ‪ :‬ﻷﻥﱠ ﻣﺎ ﻳُﺮﻏﺐ ﻓﻴﻪ‬
‫ﳝﻜﻦ ﺃﻥ ﻳُﺒﻠﻎ ﺫﺍﺕ ﻣﺮﱠﺓ ﻓﻴُﺤﺐّ‪ .‬ﻭﻣﺎ ﳓﺒّﻪ ﻧﺮﻏﺐ ﻓﻴﻪ )ﻷﻧﱠﻨﺎ( ﳓﺒّﻪ‪.‬‬
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 ‫ﻟﻘﺪ ﺟﺎﺀ ﺣﲔ ﻣﻦ ﺍﻟﺰﱠﻣﻦ ‪ -‬ﺯﻣﻦ "ﺍﳌﺄﺳﻮﻑ ﻋﻠﻴﻪ" ﺭﳝﻴﺨﻴﻮ ﺩﻱ ﻏﻮﺭﻣﻮﻥ‪،‬‬
‫ﻣﺜﻼً ‪ -‬ﻇﻬﺮﺕ ﻓﻴﻪ ﺳﻄﺤﻴﱠﺔ ﺗﺤﻠﻴﻞ ﺳﻤﺤﺖ ﻟﻨﻔﺴﻬﺎ ﺃﻥ "ﺗﺨﺪﻋﻬﺎ" ﺑﻼﻏﺔُ ﺍﳊﺐّ‪،‬‬
‫ﻓﺒﺮﺯﺕ ﻣﻦ ﺗﺤﺘﻬﺎ ﺟﺎﺫﺑﻴﱠﺔ ﺍﳉﻨﺲ )‪ – physique de l'amour‬ﻓﻴﺰﻳﺎﺀ ﺍﳊﺐّ(‪ .‬ﰲ‬
‫ﺍﳊﻘﻴﻘﺔ‪ ،‬ﺑُﻮﻟﻎ ﻛﺜﻴﺮﺍً ﺑﺪﻭﺭ ﻫﺬﻩ ﺍﻟﻐﺮﻳﺰﺓ ﻋﻨﺪ ﺍﻟﺮﱠﺟﻞ‪ .‬ﻟﻘﺪ ﻗﺎﻝ ﺑﻮﻣﺎﺭﺷﻴﻪ ‪Beau‬‬
‫‪ marchais‬ﺇﻥﱠ "ﺍﻟﺸﺮﺏَ ﻣﻦ ﻏﻴﺮ ﻋﻄﺶ ﻭﺍﳊﺐّ ﰲ ﻛﻞّ ﻭﻗﺖ ﻫﻮ ﺍﻷﻣﺮ ﺍﻟﻮﺣﻴﺪ ﺍﻟﺬﻱ‬
‫ﳝﻴّﺰ ﺍﻹﻧﺴﺎﻥ ﻣﻦ ﺍﳊﻴﻮﺍﻥ"‪ .‬ﻻ ﺑﺄﺱ؛ ﻟﻜﻦ‪ ،‬ﻣﺎ ﺍﻟﺬﻱ ﻳﺠﺐ ﺇﺿﺎﻓﺘﻪ ﺇﻟﻰ ﺍﳊﻴﻮﺍﻥ‬
‫ﺍﻟﺬﻱ "ﻳﺤﺐّ" ﻣﺮﺓ ﻭﺍﺣﺪﺓ ﰲ ﺍﻟﻌﺎﻡ‪ ،‬ﻟﻨﺠﻌﻞ ﻣﻨﻪ ﻣﺨﻠﻮﻗﺎً "ﻳﺤﺐّ" ﺧﻼﻝ ﺍﻟﻔﺼﻮﻝ‬
‫ﺍﻷﺭﺑﻌﺔ؟ ﻭﺇﺫْ ﻣﺎ ﻧﺰﺍﻝ ﰲ ﺍﻟﻄﱠﺎﺑﻖ ﺍﻟﺴّﻔﻠﻲّ ﻣﻦ ﺍﳉﻨﺴﻴﱠﺔ‪ ،‬ﻓﻜﻴﻒ ﳝﻜﻦ ﺃﻥ ﻳﻨﺸﺄ ﻣﻦ‬
‫ﺍﳊﻴﻮﺍﻥ ﺍﳌﺘﺜﺎﻗﻞ ﺟﺪﱠﺍً ﰲ ﺍﳊﺐّ‪ ،‬ﺇﻧﺴﺎﻥٌ ﻳُﻔﺼﺢ ﻋﻦ ﻧﻔﺴﻪ ﰲ ﻣﻮﺿﻮﻉٍ ﺷﺎﻕّ‬
‫ﺑﺈﻓﺮﺍﻁ؟ ﻭﺳﺮﻋﺎﻥ ﻣﺎ ﻧﺪﺭﻙ ﺃﻥﱠ ﺍﻟﻐﺮﻳﺰﺓ ﺍﳉﻨﺴﻴﱠﺔ ﺇﺫﺍ ﺗﻜﻠﱠﻤﻨﺎ ﺑﺪﻗﱠﺔ‪ ،‬ﻻ ﺗﻮﺟﺪ ﻋﻤﻠﻴﱠﺎً‬
‫ﻟﺪﻯ ﺍﻟﺮﱠﺟﻞ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻲ ﺗُﻌﻄﻰ ﻟﻪ ﺩﺍﺋﻤﺎً ﺗﻘﺮﻳﺒﺎً‪ ،‬ﻣﺮﺗﺒﻄﺔً ﻋﻠﻰ ﺍﻷﻗﻞّ ﺍﺭﺗﺒﺎﻃﺎً‬
‫ﻻﺍﻧﻔﻜﺎﻙ ﻟﻪ‪ ،‬ﺑﺎﳋﻴﺎﻝ‪.‬‬
‫ﻭﺇﺫﺍ ﻟﻢ ﳝﺘﻠﻚ ﺍﻟﺮﱠﺟﻞ ﻫﺬﺍ ﺍﳋﻴﺎﻝ ﺍﻟﻨﱠﺒﻴﻞ ﺟﺪﱠﺍً ﻭﺍﳋﺼﻴﺐ ﻓﻠﻦ "ﻳﺤﺐّ"‬
‫ﺟﻨﺴﻴﱠﺎً‪ ،‬ﻛﻤﺎ ﻳﻔﻌﻞ ﰲ ﻛﻞﱢ ﻣﻨﺎﺳﺒﺔ ﳑﻜﻨﺔ‪ ،‬ﻷﻥﱠ ﻣﻌﻈﻢ ﺍﻵﺛﺎﺭ ﺍﻟﺘﻲ ﺗُﺤﻤّﻞ ﻋﻠﻰ ﺍﻟﻐﺮﻳﺰﺓ‬
‫ﺍﳉﻨﺴﻴﱠﺔ ﻻ ﺗﺼﺪﺭ ﻋﻨﻬﺎ‪ .‬ﻭﻟﻮ ﻛﺎﻥ ﺍﻷﻣﺮ ﻛﺬﻟﻚ‪ ،‬ﻟﻈﻬﺮﺕ ﺃﻳﻀﺎً ﻟﺪﻯ ﺍﳊﻴﻮﺍﻥ‪ .‬ﻭﺇﻥﱠ‬
‫ﺗﺴﻌﺔ ﺃﻋﺸﺎﺭ ﳑﱠﺎ ﻳُﻨﺴﺐ ﺇﻟﻰ ﺍﳉﻨﺴﻴﱠﺔ ﻫﻮ ﻣﻦ ﻋﻤﻞ ﻗﺪﺭﺗﻨﺎ ﺍﻟﺮﱠﺍﺋﻌﺔ ﻋﻠﻰ ﺍﻟﺘﱠﺨﻴﱡﻞ‪.‬‬
‫ﻭﺍﻟﺘﱠﺨﻴﱡﻞ ﻟﻴﺲ ﻏﺮﻳﺰﺓ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻮ ﻋﻠﻰ ﺍﻟﻌﻜﺲ ﻣﻦ ﺫﻟﻚ‪ :‬ﺇﺑﺪﺍﻉ‪ .‬ﻭﺃُﺑﺪﻱ ﻫﻨﺎ ﻣﻼﺣﻈﺔ‬
‫ﻓﻘﻂ‪ ،‬ﻭﻫﻲ ﺃﻥﱠ ﺍﳋﻠﻞ ﺍﻟﻮﺍﺿﺢ ﰲ ﺍﻟﺘﱠﻨﺎﺳﺐ ﺑﲔ ﺍﻟﻘﻮﱠﺓ ﺍﳉﻨﺴﻴﱠﺔ ﻋﻨﺪ ﺍﻟﺮﱠﺟﻞ ﻭﻋﻨﺪ‬
‫ﺍﳌﺮﺃﺓ ﺍﻟﺘﻲ ﲡﻌﻞ ﻣﻦ ﻫﺬﻩ ﺑﺸﻜﻞ ﻃﺒﻴﻌﻲّ ﻭﺗﻠﻘﺎﺋﻲ ﺟﺪّ ﻣﻌﺘﺪﻟﺔ ﰲ "ﺍﳊﺐّ"‪ ،‬ﺗﺘﻄﺎﺑﻖ‬
‫ﻋﻠﻰ ﺍﻷﺭﺟﺢ‪ ،‬ﻣﻊ ﻭﺍﻗﻌﺔِ ﺃﻥﱠ ﺍﻷﻧﺜﻰ ﺍﻟﺒﺸﺮﻳﱠﺔ ﺗﺘﻤﺘﱠﻊ ﻋﺎﺩﺓً ﺑﻘﺪﺭﺓٍ ﺗﺨﻴﻠﻴﱠﺔ ﺃﻗﻞّ ﻣﻦ ﻗﺪﺭﺓ‬
‫ﺍﻟﺮﱠﺟﻞ‪ .‬ﻟﻘﺪ ﺃﺭﺍﺩﺕ ﺍﻟﻄﱠﺒﻴﻌﺔ ﺫﻟﻚ ﺑﻠﺒﺎﻗﺔٍ ﻭﺣﺮﺹٍ‪ .‬ﻭﻟﻮ ﺣﺪﺙ ﺍﻟﻌﻜﺲ ﻭﻭﺟﺪﺕ ﺍﳌﺮﺃﺓ‬
‫ﻧﻔﺴﻬﺎ ﻣﺰﻭّﺩﺓ ﺑﺨﻴﺎﻝ ﻛﺎﻟﺬﱠﻛﺮ ﻷﻏﺮﻗﺖ ﻛﻮﻛﺐ ﺍﻷﺭﺽ ﺑﺎﻟﺪﱠﻋﺎﺭﺓ ﻭﻟﻜﺎﻥ ﺍﺧﺘﻔﻰ ﺍﻟﻨﱠﻮﻉ‬
‫ﺍﻟﺒﺸﺮﻱّ ﻣﺘﻄﺎﻳﺮﺍً ﰲ ﺍﳌﻠﺬﱠﺍﺕ‪.1‬‬

‫)‪ (١‬ﺍﻟﺪﱠﻋﺎﺭﺓ ﻟﻴﺴﺖ ﻏﺮﻳﺰﺓ ﻭﺇﻧﱠﻤﺎ ﺇﺑﺪﺍﻉ ﺑﺸﺮﻱّ ﻧﻮﻋﻲّ ﻛﺎﻷﺩﺏ‪ .‬ﻭﺍﻟﻌﺎﻣﻞ ﺍﻟﻬﺎﻡّ ﻓﻴﻬﻤﺎ ﻛﻠﻴﻬﻤـﺎ ﺍﳋﻴـﺎﻝُ‪.‬‬
‫ﻓﻠِﻢَ ﻻ ﻳﺪﺭﺱ ﺍﻷﻃﺒﱠـﺎﺀ ﺍﻟﻨﱠﻔـﺴﻴﱡﻮﻥ ﺍﻟـﺪﱠﻋﺎﺭﺓ ﻣـﻦ ﻫـﺬﻩ ﺍﻟﺰﱠﺍﻭﻳـﺔ ﻛﺠـﻨﺲٍ ﺃﺩﺑـﻲّ ﻟـﻪ ﺃﺻـﻮﻟﻪ ﻭﻗﻮﺍﻧﻴﻨـﻪ‬
‫ﻭﺗﻄﻮﱡﺭﻩ ﻭﺣﺪﻭﺩﻩ؟ ‪ -‬ﺍﳌﺆﻟﱢﻒ‪.‬‬
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‫ﻭﺇﺫﺍ ﻛﺎﻧﺖ ﻫﺬﻩ ﺍﻟﻔﻜﺮﺓ ﻻ ﺗﺮﻯ ﰲ ﺍﳊﺐّ ﻣﻦ ﻭﺍﻗﻊ ﺁﺧﺮ ﺳﻮﻯ ﺍﻟﻐﺮﻳﺰﺓ‬
‫ﺍﳉﻨﺴﻴﱠﺔ)‪ (1‬ﺗﺘﻤﺪﱠﺩ ﺟﺪﱠﺍً ﻭﺗﺴﺘﻘﺮّ ﰲ ﺍﻷﺫﻫﺎﻥ‪ ،‬ﻓﻘﺪ ﺑﺪﺍ ﻟﻲ ﻣﻔﻴﺪﺍً ﻧﺸﺮُ ﺭﺳﺎﻟﺔ‬
‫ﺍﻟﻘﺮﻃﺒﻲّ ﺍﻟﺘﻲ ﲤﺪّﻧﺎ ﺑﺤﺠﺞ ﻛﺜﻴﺮﺓ ﻛﻴﻤﺎ ﳓﺎﻭﻝ ﺗﻔﺮﻳﻐﻬﺎ ‪.‬‬
‫ﻭﻳﺨﺘﺘﻢ ﺍﻟﻜﺎﺗﺐ ﺍﻟﻐُﻔﻞ ﻣﻌﺘﺮﻓﺎً »ﺑﺎﳊﺐّ ﻭﻟﻴﺲ ﺑﺎﳌﻮﺿﻮﻉ ﺍﶈﺒﻮﺏ‪ .‬ﳝﻜﻦ‬
‫ﻣﻌﺮﻓﺔ ﺍﶈﺐّ«‪ ،‬ﻭﺃﻧﺎ ﺃﺟﻴﺐ ﻋﻦ ﺫﻟﻚ ﻣﺘﺤﺎﺷﻴﺎً ﻛﻠﻤﺎﺕ ﻛﺜﻴﺮﺓ‪ -١ً :‬ﻛﻴﻒ ﳝﻜﻦ‬
‫ﻣﻌﺮﻓﺔ ﺣﺐّ ﺍﶈﺒﻮﺏ ﲟﻨﻬﺞ ﻣﺒﺎﺷﺮ‪ ،‬ﺇﺫﺍ ﻛﺎﻥ ﺑﺤﻜﻢ ﺍﻟﺸﻌﻮﺭ‪ ،‬ﻳﻨﺘﻤﻲ ﺇﻟﻰ ﺳﺮّ‬
‫ﺍﻟﺒﺎﻃﻦ؟ ﻷﻥﱠ ﺍﺧﺘﻴﺎﺭ ﺍﳌﻮﺿﻮﻉ ﻫﻮ ﺍﻹﺷﺎﺭﺓ ﺍﻟﺘﻲ ﺗﺴﻤﺢ ﻟﻨﺎ ﺑﺎﻟﺘﱠﻜﻬﱡﻦ ﺑﻪ‪ -٢ً .‬ﺇﺫﺍ‬
‫ﻛﺎﻥ ﺍﶈﺐّ ﻳﻀﻊ ﻛﻞّ ﺷﻲﺀ ﰲ ﺍﳊﺐّ‪ :‬ﻓﺒﺄﻱّ ﻣﺼﺎﺩﻓﺔ ﻳﺤﻂّ ﺑﻪ ﻋﻠﻰ ﻫﺬﻩ ﺍﳌﺮﺃﺓ‬
‫ﻭﻟﻴﺲ ﻋﻠﻰ ﺗﻠﻚ؟ ﻭﻟِﻢَ ﻻ ﻳﺘﺤﺎﺷﻰ ﻫﺬﺍ ﺍﻟﻘﺎﺭﺉ ﺍﻟﻨﱠﺒﻴﻪ ﻟﻠﻐﺎﻳﺔ ﺃﻥ ﻳﺴﻘﻂ ﰲ‬
‫ﺍﻟﻔﻜﺮﺓ ﺍﻷﺧﺮﻯ ‪ -‬ﻓﻜﺮﺓ "ﺍﻟﺒﻠﻮﺭﺓ" ﻟﺴﺘﻨﺪﺍﻝ ﺍﻟﺘﻲ ﺗﺴﺪّ ﻣﻊ ﺍﻟﺘﱠﻔﺴﻴﺮ ﺍﳉﻨﺴ ّ‬
‫ﻲ‬
‫ﻣﺰﻳﺪﺍً ﻣﻦ ﺍﻟﺪﺭﻭﺏ ﰲ ﻋﻠﻢ ﻧﻔﺲ ﺍﳊﺐّ‪ .‬ﻭﺳﻮﻑ ﺗﻜﻮﻥ ﺿﺮﻭﺏ ﺍﳉﻤﺎﻝ ﻛﻠّﻬﺎ‬
‫ﺍﻟﺘﻲ ﻧﻔﺘﺮﺿﻬﺎ ﰲ ﺍﶈﺒﻮﺏ ﻭﻫﻤﻴﱠﺔ ﺩﺍﺋﻤﺎً‪ ،‬ﺣﺴﺐ ﻫﺬﻩ ﺍﻟﻔﻜﺮﺓ‪ .‬ﻭﺳﻮﻑ ﻳﻜﻮﻥ‬
‫ﺍﳊﺐّ ﺧﻄﺄ‪ .‬ﻭﻟﻄﺎﳌﺎ ﻛﺎﻓﺤﺖ ﰲ ﺳﻠﺴﻠﺔ ﺍﳌﻘﺎﻻﺕ ﺍﳌﺬﻛﻮﺭﺓ ﺃﻋﻼﻩ ﻫﺬﺍ ﺍﻟﺘﱠﻔﻜﻴﺮ‪،‬‬
‫ﻳﺸﺠّﻌﻨﻲ ﻋﻠﻰ ﺫﻟﻚ ﺣﻆّ ﺧﻴﺮٌ ﻛﺜﻴﺮﺍً ﳑﱠﺎ ﺃﺳﺘﺤﻖّ‪ .‬ﻭﳝﻜﻨﻨﻲ ﺍﺧﺘﺼﺎﺭ ﺣﺠﺠﻲ‬
‫ﺍﳌﻌﺎﻛﺴﺔ ﰲ ﺣﺠّﺘﲔ ﺍﺛﻨﺘﲔ‪ ،‬ﺃﻭﻻﻫﻤﺎ‪ :‬ﻻ ﻳﺒﺪﻭ ﺻﺤﻴﺤﺎً ﺃﻥﱠ ﺃﻱ ﻧﺸﺎﻁ ﻃﺒﻴﻌﻲّ‬
‫ﻟﻺﻧﺴﺎﻥ ﻳﻘﻮﻡ ﻋﻠﻰ ﺧﻄﺄ ﺟﻮﻫﺮﻱّ‪ .‬ﻧﻌﻢ‪ ،‬ﻗﺪ ﻳﺨﻄﺊ ﺍﳊﺐّ ﺃﺣﻴﺎﻧﺎً‪ ،‬ﻛﻤﺎ ﺗﺨﻄﺊ‬
‫ﺍﻟﻌﻴﻨﺎﻥ ﻭﺍﻷﺫﻧﺎﻥ‪ .‬ﻟﻜﻦﱠ ﺣﺎﻟﺘﻪ ﺍﻟﻄﱠﺒﻴﻌﻴﱠﺔ ﻛﺤﺎﻟﺔ ﻫﺎﺗﲔ ﺍﳊﺎﺳﱠﺘﲔ‪ ،‬ﺗﻘﻮﻡ ﻋﻠﻰ‬
‫ﺻﻮﺍﺏٍ ﻛﺎﻑٍ‪ .‬ﻭﺍﳊﺠﱠﺔ ﺍﻷﺧﺮﻯ ﺗﻘﻮﻡ ﻋﻠﻰ ﺃﻥﱠ ﺍﳊﺐّ ﻳﺘﱠﺠﻪ ﺇﻟﻰ ﺑﻌﺾ ﺍﳉﻤﺎﻟﻴﱠﺎﺕ‬
‫ﻭﺍﻟﺼﱢﻔﺎﺕ ﺳﻮﺍﺀ ﺃﻛﺎﻧﺖ ﻣﺘﺨﻴﱠﻠﺔ ﺃﻡ ﻏﻴﺮ ﻣﺘﺨﻴﱠﻠﺔ‪ .‬ﻓﻬﻮ ﻟﻪ ﻫﺪﻑ ﺃﻭ ﻣﻮﺿﻮﻉ‬
‫ﺩﺍﺋﻤﺎً‪ :‬ﺣﺘﱠﻰ ﺇﺫﺍ ﻟﻢ ﻳﺘﻄﺎﺑﻖ ﺍﻟﺸﱠﺨﺺ ﺍﳊﻘﻴﻘﻲّ ﻣﻊ ﻫﺬﺍ ﺍﻟﻬﺪﻑ ﺍﳋﻴﺎﻟ ﻲّ‪ ،‬ﻓﺈ ﻥﱠ‬
‫ﺳﺒﺒﺎً ﺫﺍ ﺻﻠﺔ ﻳﻮﺟﺪ ﺑﻴﻨﻬﻤﺎ ﻛﻠﻴﻬﻤﺎ ﻳﺤﻤﻠﻨﺎ ﻋﻠﻰ ﺍﻓﺘﺮﺍﺽ ﻫﺬﻩ ﺍﳌﺮﺃﺓ ﻭﻟﻴﺴﺖ‬
‫ﺗﻠﻚ ﺍﻷﺧﺮﻯ‪ ،‬ﺃﻧﱠﻬﺎ ﺃﺳﺎﺱ ﺗﻠﻚ ﺍﻟﻔﱳ ﻭﻣﺴﺒﺒّﺘﻬﺎ‪.‬‬

‫)‪ (١‬ﺇﺫﺍ ﻛﺎﻥ ﻟﻠﻨﱠﻔﺲ ﻏﺮﺍﺋﺰ ﻭﻫﺬﺍ ﻣﺎ ﺃﻋﺘﻘﺪﻩ‪ ،‬ﻛﻤﺎ ﺍﻟﻐﺮﺍﺋﺰ ﺍﳉـﺴﺪﻳﱠﺔ‪ ،‬ﻳﺠـﺐ ﻃـﺮﺡ ﺍﳌﻨﺎﻗـﺸﺔ ﺑﻄﺮﻳﻘـﺔ‬
‫ﻣﺨﺘﻠﻔﺔ ﺟﺪﱠﺍً‪ - .‬ﺍﳌﺆﻟﱢﻒ‪.‬‬
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 ‫‪IV‬‬

‫ﺇﻥﱠ ﻫﺬﻩ ﺍﻟﻔﻜﺮﺓ ﰲ ﻭﺟﻮﺩ ﺍﺧﺘﻴﺎﺭ ﰲ ﺍﳊﺐّ‪ ،‬ﻭﺇﻥّ ﻫﺬﺍ ﺍﻻﺧﺘﻴﺎﺭ ﻏﻴﺮ ﺣﺮّ ‪-‬‬
‫ﺍﺧﺘﻴﺎﺭ ﺃﻛﺜﺮ ﻓﻌﺎﻟﻴﱠﺔ ﻣﻦ ﻛﻞّ ﻣﺎ ﳝﻜﻦ ﺻﻨﻌﻪ ﺑﻮﻋﻲ ﻭﻋﻦ ﻋﻤﺪ‪ ،-‬ﻭﺇﻧﱠﻤﺎ ﻫﻮ ﻣﻘﻴﱠﺪ ﲟﺎ‬
‫ﻳﻜﻮﻥ ﻋﻠﻴﻪ ﻃﺒﻊ ﺍﻟﻔﺮﺩ ﺍﻷﺳﺎﺱ‪ ،‬ﻻ ﻣﺤﻴﺪ ﻣﻦ ﺃﻥ ﺗﺒﺪﻭ ﻏﻴﺮ ﻣﻘﺒﻮﻟﺔ ﳌﻦ ﻳﺤﺎﻓﻆ ﻋﻠﻰ‬
‫ﺗﻔﺴﻴﺮ ﻟﻺﻧﺴﺎﻥ ﺗﻔﺴﻴﺮﺍً ﻧﻔﺴﻴﱠﺎً ﺻﺎﺭ ﰲ ﺭﺃﻳﻲ ﻣﺘﺨﻠّﻔﺎً ﻭﻳﺠﺐ ﺗﺒﺪﻳﻠﻪ‪ .‬ﺇﻧﱠﻪ ﺗﻔﺴﻴﺮ‬
‫ﻳﻘﻮﻡ ﻋﻠﻰ ﺍﳌﺒﺎﻟﻐﺔ ﰲ ﺗﺪﺧّﻞ ﺍﳌﺼﺎﺩﻓﺔ ﻭﺍﻷﺣﺪﺍﺙ ﺍﳌﻴﻜﺎﻧﻴﻜﻴﱠﺔ ﰲ ﺍﳊﻴﺎﺓ ﺍﻟﺒﺸﺮﻳﱠﺔ‪.‬‬
‫ﻟﻘﺪ ﺟﺮﱠﺏ ﺭﺟﺎﻝ ﺍﻟﻌﻠﻢ ﺑﻌﻨﺎﻳﺔ ﻣﻨﺬ ﺳﺒﻌﲔ ﻋﺎﻣﺎً ﺃﻭ ﺗﺰﻳﺪ‪ ،‬ﻭﺟﻬﺔ ﺍﻟﻨﱠﻈﺮ ﻫﺬﻩ‬
‫ﻭﺗﻄﻠﱠﻌﻮﺍ ﺇﻟﻰ ﺑﻨﺎﺀ ﻋﻠﻢ ﻧﻔﺲ ﻣﻴﻜﺎﻧﻴﻜﻲّ‪ .‬ﻭﻛﻤﺎ ﻳﺤﺪﺙ ﺩﺍﺋﻤﺎً‪ ،‬ﺗﺄﺧّﺮﺕ ﺃﻓﻜﺎﺭﻫﻢ ﺟﻴﻼً‬
‫ﻛﺎﻣﻼً ﺣﺘﱠﻰ ﻭﺻﻠﺖ ﺇﻟﻰ ﻭﻋﻲ ﺍﻹﻧﺴﺎﻥ ﻣﺘﻮﺳﱢﻂ ﺍﻟﺜﱠﻘﺎﻓﺔ‪ ،‬ﻭﻛﻞّ ﻣﺤﺎﻭﻟﺔ ﺍﻵﻥ ﻟﺮﺅﻳﺔ‬
‫ﺍﻷﺷﻴﺎﺀ ﻋﻠﻰ ﺷﻜﻞ ﺃﺻﺢّ ﲡﺪ ﺍﻟﺮﺅﻭﺱ ﺍﳌﺰﻭّﺩﺓ ﺑﺄﺩﻭﺍﺕ ﺛﻘﻴﻠﺔ ﻣﺘﻬﺎﻓﺘﺔ‪ .‬ﻭﺳﻮﺍﺀ ﺃﻛﺎﻧﺖ‬
‫ﺍﻷﻃﺮﻭﺣﺔ ﺍﻟﺘﻲ ﺃﻭﺣﻲ ﺑﻬﺎ ﻫﻨﺎ ﺻﺤﻴﺤﺔ ﺃﻡ ﺧﺎﻃﺌﺔ‪ ،‬ﻓﻼ ﺑﺪﱠ ﻟﻬﺎ ﻣﻦ ﺃﻥ ﺗﺼﺪﻡ‬
‫ﺗﻴﺎﺭﺍﺕٍ ﻋﺎﻣﱠﺔً ﻣﻦ ﺍﻟﺘﱠﻔﻜﻴﺮ ﺗﺘﱠﺠﻪ ﺍﺗﱢﺠﺎﻫﺎً ﻣﻌﺎﻛﺴﺎً‪ .‬ﻟﻘﺪ ﺗﻌﻮﱠﺩ ﺍﻟﻨﱠﺎﺱ ﺍﻟﺘﱠﻔﻜﻴﺮ ﰲ ﺃﻥﱠ‬
‫ﺍﻷﺣﺪﺍﺙ ﺍﻟﺘﻲ ﻳﺸﻜﻞ ﻧﺴﻴﺠﻬﺎ ﺍﻟﻮﺟﻮﺩ ﻟﻴﺲ ﻟﻬﺎ ﻣﻌﻨﻰ ﺣﺴﻦٌ ﺃﻡ ﺳﻴّﺊ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﺗﺤﺪﺙ‬
‫ﺑﻔﻌﻞ ﺧﻠﻴﻂ ﻣﻦ ﺍﳌﺼﺎﺩﻓﺔ ﻭﺍﳊﺘﻤﻴﱠﺔ ﻭﺍﳌﻴﻜﺎﻧﻴﻜﻴﱠﺔ‪.‬‬
‫ﻭﻛﻞّ ﻓﻜﺮﺓ ﺗﻘﻠّﻞ ﻣﻦ ﺩﻭﺭ ﻫﺬﻳﻦ ﺍﻟﻌﻨﺼﺮﻳﻦ ﰲ ﺣﻴﺎﺓ ﺍﻟﺸﱠﺨﺺ‪ ،‬ﻭﺗﺮﻳﺪ ﺃﻥ‬
‫ﺗﻜﺘﺸﻒ ﰲ ﻫﺬﻩ ﺍﳊﻴﺎﺓ ﻗﺎﻧﻮﻧﺎً ﺩﺍﺧﻠﻴﱠﺎً ﻣﺘﺠﺬﱢﺭﺍً ﰲ ﻃﺒﻊ ﺍﻟﻔﺮﺩ‪ ،‬ﺳﺘﻠﻘﻰ ﺍﻟﺮﱠﻓﺾ ﻓﻮﺭﺍً‪.‬‬
‫ﻭﺇﻥﱠ ﻃﺎﺋﻔﺔ ﻣﻦ ﺍﳌﻼﺣﻈﺎﺕ ﺍﻟﺰﱠﺍﺋﻔﺔ –ﰲ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ﺗﺪﻭﺭ ﺣﻮﻝ "ﺣﺐّ" ﻣﻦ ﻳﺤﻴﻂ‬
‫ﺑﻨﺎ‪ ،‬ﺃﻭ ﺣﺒّﻨﺎ ﺍﻟﺬﱠﺍﺗﻲّ –ﺗﺴﺪّ ﺍﳌﺼﻴﺮ ﺍﻟﺬﻱ ﳝﻜﻦ ﺃﻥ ﺗﺘﻐﻠﻐﻞ ﻓﻴﻪ ﺍﻟﻔﻜﺮﺓ ﺇﻟﻰ ﺫﻫﻨﻨﺎ‬
‫ﻭﺗﺼﺒﺢ ﻣﻔﻬﻮﻣﺔ‪ ،‬ﰒﱠ ﻳُﺤﻜﻢ ﻋﻠﻴﻬﺎ‪ .‬ﻳﻀﺎﻑ ﺇﻟﻰ ﺫﻟﻚ ﺍﳌﻔﺎﻫﻴﻢُ ﺍﳌﺄﻟﻮﻓﺔ ﺍﻟﺘﻲ ﺗﻘﻮﻡ‬
‫ﺩﺍﺋﻤﺎً ﻋﻠﻰ ﺇﺿﺎﻓﺎﺕ ﺗﻠﻘﺎﺋﻴﱠﺔ ﻳُﺪﺧﻠﻬﺎ ﺍﻟﻘﺎﺭﺉ ﰲ ﻓﻜﺮﺓ ﺍﳌﺆﻟﱢﻒ‪ .‬ﻭﺇﻟﻰ ﻫﺬﺍ ﺍﻟﻨﱠﻮﻉ ﺗﻨﺘﻤﻲ‬
‫ﺃﻛﺜﺮ ﺍﻻﻋﺘﺮﺍﺿﺎﺕ ﺍﻟﺘﻲ ﺃﺗﻠﻘﱠﺎﻫﺎ‪ .‬ﻭﺃﻏﻠﺐ ﻫﺬﻩ ﺍﻻﻋﺘﺮﺍﺿﺎﺕ ﻳﻜﻤﻦ ﰲ ﻣﻼﺣﻈﺔ ﺃﻧﱠﻨﺎ‬
‫ﺇﺫﺍ ﺃﺣﺒﺒﻨﺎ ﺍﻣﺮﺃﺓ ﻳﻌﻜﺲ ﺷﺨﺼُﻬﺎ ﺣﺎﻟﺔ ﻛﻴﺎﻧﻨﺎ ﺍﳊﻤﻴﻤﺔ ﻓﻠﻦ ﻧﻠﻘﻰ ﺗﻌﺎﺳﺔ ﺗﻠﻲ ﺍﻟﻬﻮﻯ‬
‫ﰲ ﺍﻟﻐﺎﻟﺐ ﺃﻭ ﺗﻮﻟﺪ ﻓﻴﻪ ﺫﺍﺗﻪ‪ .‬ﺃﻣﺮ ﻳﻮﺣﻲ ﺃﻥﱠ ﺍﻟﻘﺮﱠﺍﺀ ﺍﻷﻋﺰﱠﺍﺀ ﺿﻤّﻮﺍ ﺑﺘﻌﺴّﻒ ﺇﻟﻰ‬
‫ﻋﻼﻗﺔ ﺍﶈﺐّ ﲟﻮﺿﻮﻋﻪ ﻫﺬﻩ ﺍﻟﺘﻲ ﺃﺩﻋﻤﻬﺎ‪ ،‬ﻋﻼﻗﺔ ﺳﻌﺎﺩﺓ ﻧﺎﲡﺔ ﻋﻨﻬﺎ‪.‬‬
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‫ﻟﻜﻨّﻲ ﺃﺣﺴﺐ ﺃﻥْ ﻻ ﻋﻼﻗﺔ ﻟﻬﺬﻩ ﺑﺘﻠﻚ‪ .‬ﻓﻘﺪ ﻳﻌﺸﻖ ﺭﺟﻞ ﻣﻐﺮﻭﺭ ﰲ ﺃﺳّﻪ‬
‫ﺍﻷﻋﻤﻖ –ﻛﻤﺎ ﻫﻢ ﺃﺭﺳﺘﻘﺮﺍﻃﻴﻮ ﺍﻟﺪﻡ ﻋﺎﺩﺓ ﺑﺴﺒﺐ ﺍﳓﻄﺎﻃﻬﻢ‪ -‬ﺍﻣﺮﺃﺓ ﻣﻐﺮﻭﺭﺓ ﺃﻳﻀﺎً‪.‬‬
‫ﻭﻧﺘﻴﺠﺔ ﻫﺬﺍ ﺍﻻﺧﺘﻴﺎﺭ ﺳﺘﻜﻮﻥ ﺍﻟﺘﱠﻌﺎﺳﺔ ﻻ ﻣﺤﺎﻟﺔ‪ .‬ﻓﻼ ﳔﻠﻂ ﻧﺘﺎﺋﺞ ﺍﻻﺧﺘﻴﺎﺭ‬
‫ﺑﺎﻻﺧﺘﻴﺎﺭ ﺫﺍﺗﻪ‪ .‬ﻭﺃﺟﻴﺐ ﰲ ﺁﻥٍ ﻭﺍﺣﺪٍ ﻋﻦ ﺿﺮﺏ ﻣﻦ ﺍﻻﻋﺘﺮﺍﺿﺎﺕ ﺃﻭﱠﻟﻴﺔ ﺟﺪﱠﺍً‪،‬‬
‫ﻭﻭﺍﺿﺤﺔ ﺟﺪﱠﺍً‪ ،‬ﻟﺬﻟﻚ ﻫﻲ ﻣﻜﺮﱠﺭﺓ ﺟﺪﱠﺍً‪ .‬ﻳﻘﺎﻝ ﰲ ﻣﻌﻈﻢ ﺍﻷﺣﻮﺍﻝ ﺇﻥﱠ ﻫﺬﺍ ﺃﻭ ﺫﺍﻙ ﻣﻦ‬
‫ﺍﶈﺒّﲔ ﻗﺪ ﺿﻞﱠ ﺍﻟﺴﱠﺒﻴﻞ ﰲ ﺣﺒّﻪ‪ .‬ﻟﻘﺪ ﺗﺼﻮﱠﺭ ﻣﻦ ﺍﺧﺘﺎﺭﻩ ﺑﺸﻜﻞٍ ﻣﺎ‪ ،‬ﰒﱠ ﺗﺒﻴﱠﻦ ﺃﻧﱠﻪ ﻣﻦ‬
‫ﺷﻜﻞٍ ﺁﺧﺮ‪ .‬ﺃﻟﻴﺴﺖ ﻫﺬﻩ ﺇﺣﺪﻯ ﺍﻷﻏﺎﻧﻲ ﺍﻷﻛﺜﺮ ﺗﻜﺮﺍﺭﺍً ﰲ ﺳﻴﻜﻮﻟﻮﺟﻴﺎ ﺍﳊﺐّ‬
‫ﺍﳌﺄﻟﻮﻓﺔ؟ ﻭﺇﺫﺍ ﺻﺪّﻗﻨﺎﻫﺎ ﻓﺴﻮﻑ ﻳﻜﻮﻥ ﺍﳋﻄﺄ ﺗﻘﺮﻳﺒﺎً ﺍﻟﺒﺪﻳﻞ ‪ el quid pro quo1‬ﻣﻦ‬
‫ﺍﻟﻮﺿﻊ ﺍﻟﻄﱠﺒﻴﻌﻲّ‪ .‬ﻭﻫﻨﺎ ﺗﻔﺘﺮﻕ ﻃﺮﻗﻨﺎ‪ .‬ﻓﺄﻧﺎ ﻻ ﺃﺳﺘﻄﻴﻊ ﺃﻥ ﺃﻗﺒﻞ ﻣﻦ ﻏﻴﺮ ﺃﺳﺒﺎﺏ‬
‫ﻓﺎﺋﻀﺔ ﺃﻳﱠﺔ ﻧﻈﺮﻳﱠﺔ ﺗﻜﻮﻥ ﲟﻮﺟﺒﻬﺎ ﺍﳊﻴﺎﺓ ﺍﻟﺒﺸﺮﻳﱠﺔ ﰲ ﺃﻋﻤﻖ ﺃﻧﺸﻄﺘﻬﺎ ﻭﺃﺧﻄﺮﻫﺎ –‬
‫ﻛﻤﺎ ﻫﻮ ﺍﳊﺐّ ‪ -‬ﻣﺤﺾ ﺍﺳﺘﺤﺎﻟﺔ ﻣﺴﺘﻤﺮّﺓ ﺗﻘﺮﻳﺒﺎً‪ ،‬ﻭﺑُﻌﺪﺍً ﻋﻦ ﺍﻟﻘﺼﺪ ﻭﺧﻄﺄ‪.‬‬
‫ﻭﻻ ﺃﻧﻔﻲ ﺃﻥﱠ ﻫﺬﻩ ﺍﻷﻣﻮﺭ ﻗﺪ ﺗﺤﺪﺙ ﺫﺍﺕ ﻣﺮﱠﺓ‪ ،‬ﻛﻤﺎ ﻳﺤﺪﺙ ﰲ ﺍﻟﺮﺅﻳﺔ‬
‫ﺍﳉﺴﺪﻳﱠﺔ ﻣﻦ ﻏﻴﺮ ﺃﻥ ﺗُﺒﻄﻞ ﺻﻮﺍﺏ ﺇﺩﺭﺍﻛﻨﺎ ﺍﻟﺴﱠﻠﻴﻢ‪ .‬ﻟﻜﻦ ﺇﺫﺍ ﺃُﻟﺢّ ﻋﻠﻰ ﺗﻘﺪﱘ‬
‫ﺍﳋﻄﺄ ﺃﻧﱠﻪ ﻭﺍﻗﻌﺔ ﻃﺒﻴﻌﻴﱠﺔ ﻣﺄﻟﻮﻓﺔ ﻓﺴﻮﻑ ﺃﻗﻮﻝ ﺇﻧﱠﻪ ﻳﺒﺪﻭ ﻟﻲ ﺯﻳﻔﺎً ﻭﻧﺎﲡﺎً ﻋﻦ‬
‫ﻣﻼﺣﻈﺔ ﻏﻴﺮ ﻛﺎﻓﻴﺔ‪ .‬ﻭﻻ ﻭﺟﻮﺩ ﻟﻠﺨﻄﺄ ﰲ ﻣﻌﻈﻢ ﺍﳊﺎﻻﺕ ﺍﳌﺰﻋﻮﻣﺔ‪ :‬ﻓﺎﻟﺸﱠﺨﺺ‬
‫ﻫﻮ ﻣﺎ ﺑﺪﺍ ﻋﻠﻴﻪ ﺣﻴﻨﺌﺬٍ‪ ،‬ﺇﻻﱠ ﺃﻧﱠﻨﺎ ﻧﻌﺎﻧﻲ ﺑﻌﺪ ﺫﻟﻚ ﻧﺘﺎﺋﺞ ﻫﺬﺍ ﺍﻟﻮﺿﻊ‪ ،‬ﻭﻫﺬﺍ ﻣﺎ‬
‫ﺃﺳﻤّﻴﻪ ﺧﻄﺄﻧﺎ‪ .‬ﻣﺜﻼً‪ :‬ﻟﻴﺲ ﻧﺎﺩﺭﺍً ﺃﻥ ﺗﻌﺸﻖ ﺷﺎﺑﱠﺔ ﺑﺮﺟﻮﺍﺯﻳﱠﺔ ﻣﺪﺭﻳﺪﻳﱠﺔ ﺷﺎﺑﱠﺎً ﻟﻄﻼﻗﺔ‬
‫ﻛﺎﻓﻴﺔ ﺗُﺸﺒﻪ ﺟﺮﺃﺓ ﺗﺮﺷﺢ ﻣﻦ ﺷﺨﺼﻪ‪ .‬ﻭﻫﻮ ﺩﺍﺋﻤﺎً ﻓﻮﻕ ﺍﻟﻈﺮﻭﻑ ﻭﻣﺴﺘﻌﺪّ ﳊﻠّﻬﺎ‬
‫ﺑﻴﺴﺮ ﻭﺳﻴﻄﺮﺓ ﺗﺜﻴﺮﺍﻥ ﺍﻹﻋﺠﺎﺏ‪ ،‬ﻭﺗﺼﺪﺭﺍﻥ ﰲ ﺍﻟﻨﻬﺎﻳﺔ‪ ،‬ﻋﻦ ﻏﻴﺎﺏ ﻣﻄﻠﻖ‬
‫ﻟﻼﺣﺘﺮﺍﻡ‪ ،‬ﺍﺣﺘﺮﺍﻡ ﻛﻞّ ﻣﺎ ﻫﻮ ﺇﺁﻟﻬﻲّ ﻭﻣﺎ ﻫﻮ ﺑﺸﺮﻱّ‪ .‬ﻭﻻ ﳝﻜﻨﻨﺎ ﺇﻧﻜﺎﺭ ﺃﻥﱠ ﺗﻠﻚ ﺍﳌﺮﻭﻧﺔ‬
‫ﰲ ﺍﳊﺮﻛﺔ ﺗُﻜﺴﺐ ﻫﺬﺍ ﺍﻟﻨﱠﻤﻮﺫﺝ ﻣﻦ ﺍﻟﺬﻛﺮ ﺟﻤﺎﻻً ﻣﻦ ﺍﻟﻄﺮﺍﺯ ﺍﻷﻭﱠﻝ ﻳﻔﺘﻘﺮ ﺇﻟﻴﻪ‬

‫)‪ (١‬ﻋﺒﺎﺭﺓ ﻻﺗﻴﻨﻴﱠﺔ ﺗﻜﺘﺐ ﺃﻳﻀﺎً ﻣﺘﱠﺼﻠﺔ ‪ ،quiproquo‬ﻭﺗﻌﻨﻲ‪ - ١ :‬ﺍﻟﺒـﺪﻳﻞ‪ ،‬ﻭﺗـﺴﺘﻌﻤﻞ ﺑـﺸﻜﻞ ﺧـﺎﺹ ﰲ‬
‫ﺍﻟﺼﻴﺪﻟﺔ ﺩﻻﻟﺔ ﻋﻠﻰ ﺇﺑﺪﺍﻝ ﺩﻭﺍﺀ ﺑﺪﻭﺍﺀ ﺁﺧﺮ ﻋﻤﺪﺍً ﺃﻡ ﻋﻦ ﻏﻴﺮ ﻋﻤﺪ‪ - ٢ .‬ﺍﻟﻠﺒﺲ ﰲ ﻋﺪّ ﺷـﺨﺺ‬
‫ﺃﻭ ﺷﻲﺀ ﺷﺨﺼﺎً ﺃﻭ ﺷﻴﺌﺎً ﺁﺧﺮﻳﻦ؛ ﻭﻣﺎ ﻳﻨﺠﻢ ﻋﻦ ﺫﻟﻚ‪ .‬ﻭﻗﺪ ﺍﺳـﺘﻌﻤﻠﻬﺎ ﺍﳌﺆﻟـﻒ ﺑـﺎﳌﻌﻨﻴﲔ ﰲ ﻫـﺬﺍ‬
‫ﺍﻟﻜﺘﺎﺏ‪ – .‬ﺍﳌﺘﺮﺟﻢ‪.‬‬
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 ‫ﻋﺎﺩﺓً ﺫﻭﻭ ﺍﻟﻄﺒﺎﻉ ﺍﻷﻋﻤﻖ‪ .‬ﺑﺎﺧﺘﺼﺎﺭ‪ ،‬ﻫﻮ ﳕﻮﺫﺝ ﻟﻠﻤﺎﺟﻦ ‪ .calavera1‬ﺇﺫﺍً‪ ،‬ﺗﻌﺸﻖ‬
‫ﺍﻟﻔﺘﺎﺓُ ﺍﳌﺎﺟﻦَ ﻗﺒﻞ ﺃﻥ ﳝﺎﺭﺱ ﻣﺠﻮﻧﻪ‪ .‬ﻟﻜﻦﱠ ﺍﻟﺰﻭﺝ ﻳﺮﻫﻦ ﺑﻌﺪ ﺫﻟﻚ ﺍ‪‬ﻮﻫﺮﺍﺕ‬
‫ﻭﻳﻬﺠﺮﻫﺎ‪ .‬ﻓﺘﻌﺰّﻱ ﺍﻟﺴﻴﺪﺓَ ﺍﻟﺼﻐﻴﺮﺓَ ﺍﻟﺘﻌﻴﺴﺔَ ﺻﺪﻳﻘﺎﺗُﻬﺎ ﻋﻦ "ﺧﻄﺌﻬﺎ"‪ .‬ﻟﻜﻦ ﻫﺬﻩ‬
‫ﺗﻌﺮﻑ ﺟﻴﱢﺪﺍً ﺟﺪﱠﺍً ﰲ ﺍﻟﻘﺎﻉ ﺍﻷﺧﻴﺮ ﻣﻦ ﻭﻋﻴﻬﺎ ﺃﻥﱠ ﺍﻷﻣﺮ ﻟﻢ ﻳﻜﻦ ﻛﺬﻟﻚ‪ ،‬ﻭﺃﻥﱠ ﺷﻜﱠﺎً ﻣﺎ‬
‫ﰲ ﺗﻠﻚ ﺍﻹﻣﻜﺎﻧﻴﱠﺎﺕ ﻗﺪ ﺃﺣﺴّﺖ ﺑﻪ ﻣﻨﺬ ﺍﻟﺒﺪﺍﻳﺔ‪ ،‬ﻭﺃﻥﱠ ﻫﺬﺍ ﺍﻟﺸّﻚّ ﻛﺎﻥ ﻋﻨﺼﺮﺍً ﰲ‬
‫ﺣﺒّﻪ‪ ،‬ﻭﻫﻮ ﺧﻴﺮ ﻣﺎ ﻛﺎﻧﺖ "ﺗﻌﺮﻓﻪ" ﰲ ﺫﻟﻚ ﺍﻟﺮﱠﺟﻞ‪.‬‬
‫ﺃﺣﺴﺐ ﺃﻧﱠﻨﺎ ﺑﺤﺎﺟﺔ ﺇﻟﻰ ﺇﺻﻼﺡ ﺍﻷﻓﻜﺎﺭ ﺍﳌﺒﺘﺬﻟﺔ ﺣﻮﻝ ﻫﺬﺍ ﺍﻟﺸّﻌﻮﺭ ﺍﻟﺮﱠﺍﺋﻊ‪،‬‬
‫ﻷﻥﱠ ﺍﳊﺐّ ﺻﺎﺭ ﰲ ﺷﺒﻪ ﺍﳉﺰﻳﺮﺓ ﺧﺎﺻﺔ ﻣﺘﺒﻠّﺪﺍً ﺟﺪﱠﺍً‪ .‬ﻭﺇﺫْ ﻛﺎﻥ ﺣﺎﻓﺰﺍً ﳑﺘﺎﺯﺍً‬
‫ﻟﻠﺤﻴﻮﻳﱠﺔ ﺍﻟﺒﺸﺮﻳﱠﺔ ﺍﻟﺘﻲ ﻻ ﺗﺤﻈﻰ ﺑﻜﺜﻴﺮ ﻣﻦ ﺍﳊﻮﺍﻓﺰ ﺑﻌﺪ ﻛﻞّ ﺷﻲﺀ‪ ،‬ﻓﻤﻦ ﺍﳌﻨﺎﺳﺐ ﺃﻥ‬
‫ﳒﻬّﺰﻩ ﻭﳓﺮّﺭﻩ ﻣﻦ ﺍﻻﻟﺘﺼﺎﻗﺎﺕ ﺍﻟﻐﺒﻴّﺔ ﻓﻴﻪ‪ .‬ﺇﺫﺍً‪ ،‬ﻟﻨﻜﻦ ﺑﻄﻴﺌﲔ ﰲ ﺍﻹﺳﺮﺍﻉ ﺇﻟﻰ ﻓﻜﺮﺓ‬
‫"ﺍﳋﻄﺄ" ﻛﻠﱠﻤﺎ ﺣﺎﻭﻟﻨﺎ ﺇﻳﻀﺎﺡ ﺩﺭﺍﻣﺎ ﺍﻹﻳﺮﻭﺳﻴﱠﺔ ﺍﳌﺄﻟﻮﻓﺔ‪ .‬ﻭﻳﺤﺰﻧﻨﻲ ﺃﻥ ﻳﻠﺠﺄ ﺍﻟﻜﺎﺗﺐ‬
‫ﺍﻟﻘﺮﻃﺒﻲّ ﺍﳊﺼﻴﻒ ﺍﻟﻐُﻔﻞ ﰲ ﺍﺗﱢﺼﺎﻝ ﺟﺪﻳﺪ ﺑﻲ‪ ،‬ﺇﻟﻰ ﺍﻟﺘﱠﻔﻜﻴﺮ ﰲ ﺃﻧﱠﻨﺎ ﻧﻌﺸﻖ "ﺣﺴﻦ‬
‫ﺍﻟﺘﱠﻨﺎﺳﺐ ﺍﳉﺴﺪﻱ" ﻟﺪﻯ ﻛﺎﺋﻦ ﺁﺧﺮ‪ .‬ﻭﺇﺫْ ﻛﺎﻧﺖ ﺗﻮﺟﺪ ﰲ ﻇﻼﻝ ﳕﻮﺫﺝ ﺟﺴﺪﻱّ‬
‫ﻭﺍﺣﺪ "ﺃﻛﺜﺮ ﺍﻟﻨّﻔﻮﺱ ﺍﺧﺘﻼﻓﺎً ﻭﺣﺘﱠﻰ ﺗﻌﺎﺭﺿﺎً"‪ ،‬ﺗﺤﺪﺙ ﺍﻷﺧﻄﺎﺀ‪ ،‬ﻭﻳﺒﺪﻭ ﻣﺤﺎﻻً ﺇﺛﺒﺎﺕ‬
‫ﻭﺟﻮﺩ ﺻﻠﺔ ﺑﲔ ﺍﳌﻮﺿﻮﻉ ﺍﶈﺒﻮﺏ ﻭﻃﺒﻴﻌﺔ ﺍﳊﺐّ‪ .‬ﻭﻭﺍﻗﻊ ﺍﳊﺎﻝ ﻫﻮ ﺃﻥﱠ ﻫﺬﺍ‬
‫ﺍﻟﻘﺮﻃﺒﻲّ ﺍﳊﺼﻴﻒ ﺍﺑﻦ ﻣﺪﻳﻨﺔ ﺍﺑﻦ ﺭﺷﺪ ﺍﻋﺘﺮﻑ ﰲ ﺭﺳﺎﻟﺘﻪ ﺍﻷﻭﻟﻰ ﺃﻥﱠ ﺗﻌﺎﺑﻴﺮ ﺍﻟﻮﺟﻪ‬
‫ﻭﺃﺳﺎﺭﻳﺮﻩ ﺗﺸﻒّ ﻋﻦ ﻛﻴﺎﻧﻪ ﺍﳊﻤﻴﻢ‪ .‬ﻭﺁﺳﻒ ﻛﺜﻴﺮﺍً ﺃﻧﻲ ﻻ ﺃﺳﺘﻄﻴﻊ ﻗﺒﻮﻝ ﻫﺬﺍ ﺍﻟﻔﺼﻞ‬
‫ﺑﲔ ﺍﳉﺴﺪﻱّ ﻭﺍﻟﻨﱠﻔﺴﻲّ؛ ﻭﻫﻮ ﻫﻮﺱ ﺁﺧﺮ ﻣﻦ ﺍﳊﻘﺒﺔ ﺍﳌﺎﺿﻴﺔ‪ .‬ﻭﺇﻧﱠﻪ ﻟﺰﻳﻒٌ ﻛﻞﱠ‬
‫ﺍﻟﺰﱠﻳﻒ ﺃﻥ ﻧﺮﻯ ﺟﺴﻤﺎً "ﻓﻘﻂ" ﺇﺫﺍ ﺭﺃﻳﻨﺎ ﺇﺯﺍﺀﻧﺎ ﺷﻜﻼً ﺑﺸﺮﻳﱠﺎً‪ .‬ﻭﻛﺄﻧﻨﱠﺎ ﻧﻀﻴﻒ ﺑﻌﻤﻞ‬
‫ﺫﻫﻨﻲ ﺟﺪﻳﺪ ﻭﻻﺣﻖ ﻣﻦ ﻏﻴﺮ ﺃﻥ ﻳُﻌﺮﻑ ﻛﻴﻒ‪ ،‬ﺇﻟﻰ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﺍﳌﺎﺩﻱّ‪ ،‬ﻧﻔﺴﺎً‬

‫)‪ (١‬ﺇﻧﱢﻲ ﺃﺟﻬﻞ ﻣﻦ ﺃﻳﻦ ﺟﺎﺀ ﻫﺬﺍ ﺍﻟﺘﱠﻌﺒﻴـﺮ ﺍﻟﻄﱠﺮﻳـﻒ ﺟـﺪﱠﺍً ﰲ ﻟﻐﺘﻨـﺎ‪ .‬ﻭﺇﺫﺍ ﻋـﺮﻑ ﺃﺣـﺪ ﺍﻟﻘـﺮﱠﺍﺀ ﻣـﺼﺪﺭﻩ‬
‫ﺑﻄﺮﻳﻘﺔ ﻣﻮﺛﻮﻗﺔ‪ ،‬ﻓﺈﻧﻲ ﺃﺷﻜﺮ ﻟﻪ ﺟﺪﱠﺍً ﺇﻥ ﻧﻘﻞ ﻣﻌﺮﻓﺘﻪ ﺇﻟﻲّ‪ .‬ﺃﺧﻤّﻦ ﺃﻥﱠ ﺍﻷﻣﺮ ﻟﻪ ﻋﻼﻗـﺔ ﲟـﺸﺎﻫﺪ‬
‫ﺍﻧﺘﻬــﺎﻙ ﺣﺮﻣــﺔ ﺍﳌﻘــﺎﺑﺮ ﺍﻟــﺬﻱ ﺟﻌﻠﺘــﻪ ﺍﻟــﺸﺒﻴﺒﺔ ﺍﻟﺬﻫﺒﻴﱠــﺔ "ﻣﻮﺿــﺔ" ﻟﻬــﺎ ﰲ ﻋــﺼﺮ ﺍﻟﻨﱠﻬــﻀﺔ‪- .‬‬
‫ﺍﳌﺆﻟﱢﻒ‪.‬‬
‫ﻣﻼﺣﻈﺔ‪ :‬ﻣﻔﺮﺩﺓ ‪ calavera‬ﺗﻌﻨﻲ "ﺟﻤﺠﻤﺔ" ﺃﻳﻀﺎً‪ .‬ﻭﻫﺬﺍ ﻳﻔﺴﱢﺮ ﺗﻌﻠﻴﻖ ﺍﳌﺆﻟﱢﻒ ﻋﻠﻴﻬﺎ‪ - .‬ﺍﳌﺘﺮﺟﻢ‪.‬‬
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 ‫ﻣﺄﺧﻮﺫﺓ ﻣﻦ ﺣﻴﺚ ﻻ ﻳُﺪﺭﻯ‪ .1‬ﻭﺑﻌﻴﺪﺍً ﻋﻦ ﺃﻥ ﲡﺮﻱ ﺍﻷﻣﻮﺭ ﻫﻜﺬﺍ‪ ،‬ﻳﺤﺪﺙ ﺃﻧﱠﻨﺎ ﳒﺪ‬
‫ﺻﻌﻮﺑﺎﺕ ﻛﺒﺮﻯ ﰲ ﻓﺼﻞ ﺍﻟﺮﻭﺡ ﻋﻦ ﺍﳉﺴﺪ ﻭﻋﻦ ﲡﺮﻳﺪﻫﺎ ﻣﻨﻪ‪ ،‬ﻋﻠﻰ ﻓﺮﺽ ﺃﻧﱠﻨﺎ‬
‫ﻧﺴﺘﻄﻴﻊ ﺫﻟﻚ‪ .‬ﻷﻥﱠ ﺭﺅﻳﺘﻨﺎ ﺷﻜﻼً ﻣﺎ ﺭﺅﻳﺔً ﺟﺴﺪﻳﱠﺔ ﻟﻴﺲ ﰲ ﻣﺠﺎﻝ ﺍﻟﺘﱠﻌﺎﻳﺶ ﺍﻟﺒﺸﺮﻱّ‬
‫ﻓﻘﻂ‪ ،‬ﺑﻞ ﺣﺘﱠﻰ ﰲ ﺗﻌﺎﻣﻠﻨﺎ ﻣﻊ ﺃﻱّ ﻛﺎﺋﻦ ﺣﻲّ‪ ،‬ﻫﻲ ﰲ ﺁﻥ ﻭﺍﺣﺪ ﺇﺩﺭﺍﻙٌ ﻋﻘﻠﻲّ ﻟﻨﻔﺴﻪ‪،‬‬
‫ﺃﻭ ﻣﺎ ﻳﺸﺒﻪ ﺃﻥ ﻳﻜﻮﻥ ﻧﻔﺴﺎً‪ .‬ﳓﻦ ﻧﻠﻤﺢ ﰲ ﻋﻮﺍﺀ ﺍﻟﻜﻠﺐ ﺃﳌﻪ‪ ،‬ﻭﰲ ﺇﻧﺴﺎﻥ ﻋﲔ ﺍﻟﻨﱠﻤﺮ‬
‫ﺷﺮﺍﺳﺘﻪ‪ .‬ﻟﺬﻟﻚ ﳕﻴﱢﺰ ﺍﳊﺠﺮ ﻭﺍﻵﻟﺔ ﻣﻦ ﺷﻜﻞ ﺑﺠﺴﺪ‪ .‬ﻭﺍﳉﺴﺪ ﰲ ﺍﳉﻮﻫﺮ‬
‫ﻭﺍﻷﺳﺎﺱ ﺟﺮﻡ ﻓﻴﺰﻳﻘﻲ ﻣﺸﺤﻮﻥ ﺑﻜﻬﺮﺑﺎﺀ ﻧﻔﺴﺎﻧﻴﱠﺔ‪ ،‬ﺑﻄﺒﻊ‪ ،‬ﺑﺎﺧﺘﺼﺎﺭ‪ .‬ﻭﻭﺍﻗﻌﺔ ﺃﻧﱠﻪ‬
‫ﺗﻮﺟﺪ ﺃﺷﻜﺎﻝ ﺧﺎﻃﺌﺔ‪ ،‬ﻭﺃﻧﱠﻨﺎ ﳔﻄﺊ ﰲ ﺇﺩﺭﺍﻙ ﻧﻔﺲ ﺍﻟﻐﻴﺮ‪ ،‬ﻻ ﻳﺼﻠﺢ‪ ،‬ﺃﻛﺮّﺭ‪ ،‬ﻛﻴﻤﺎ‬
‫ﻳﺒﻄﻞ ﺍﻟﺼﻮﺍﺏ ﺍﻟﻄﱠﺒﻴﻌﻲّ‪ .2‬ﻓﺈﺫﺍ ﻗﺎﺑﻠﻨﺎ ﻣﺨﻠﻮﻗﺎً ﻣﻦ ﻧﻮﻋﻨﺎ‪ ،‬ﻳﻜﺸﻒ ﻟﻨﺎ ﻓﻮﺭﺍً ﻋﻦ‬
‫ﻭﺿﻌﻪ ﺍﳊﻤﻴﻢ‪ .‬ﻭﺗﻐﻠﻐﻠُﻨﺎ ﰲ ﻏﻴﺮﻧﺎ ﻳﻜﻮﻥ ﻛﺒﻴﺮﺍً ﻭﺻﻐﻴﺮﺍً ﻃﺒﻘﺎً ﳌﺎ ﻳﻜﻮﻥ ﻋﻠﻴﻪ ﺫﻛﺎﺅﻧﺎ‬
‫ﺍﻟﻔﻄﺮﻱّ‪ .‬ﻭﻣﻦ ﻏﻴﺮ ﻫﺬﻩ ﺍﻟﻔﻄﻨﺔ ﻟﻦ ﻳﻜﻮﻥ ﳑﻜﻨﺎً ﺍﻟﺘﱠﻌﺎﻣﻞُ ﰲ ﺣﺪّﻩ ﺍﻷﻭﱠﻝ‪ ،‬ﻭﻻ‬
‫ﺍﻟﺘﱠﻌﺎﻳﺶ ﺍﻻﺟﺘﻤﺎﻋﻲّ‪ .‬ﻓﻜﻞّ ﺇﺷﺎﺭﺓ ﻭﻛﻞّ ﻛﻠﻤﺔ ﻧﻘﻮﻡ ﺑﻬﺎ ﻗﺪ ﲡﺮﺡ ﻣﺤﺪّﺛﻨﺎ‪ .‬ﻭﺇﺫْ ﻧﺪﺭﻙ‬
‫ﻧﻌﻤﺔ ﺍﻟﺴّﻤﻊ ﺇﺫﺍ ﺗﻜﻠﱠﻤﻨﺎ ﺇﻟﻰ ﺃﺻﻢّ‪ ،‬ﻧﻼﺣﻆ ﻭﺟﻮﺩ ﻫﺬﺍ ﺍﳊﺪﺱ ﺍﻟﻄﱠﺒﻴﻌﻲّ ﺍﻟﺬﻱ‬
‫ﳝﺘﻠﻜﻪ ﺍﳌﺮﺀ ﺇﺯﺍﺀ ﺃﺷﺒﺎﻫﻪ ﺣﻴﻨﻤﺎ ﳓﺘﻚّ ﺑﻄﺎﺋﺶ‪ ،‬ﺑﺸﺨﺺ ﻣﻦ ﻏﻴﺮ‪ ،tacto 3‬ﺗﻌﺒﻴﺮ‬
‫ﻣﺪﻫﺶ ﻳﺸﻴﺮ ﺇﻟﻰ ﻫﺬﺍ ﺍﳌﻌﻨﻰ ﰲ ﺍﻹﺩﺭﺍﻙ ﺍﻟﺮﱡﻭﺣﻲّ ﺍﻟﺬﻱ ﻳﺒﺪﻭ ﺃﻧﱠﻨﺎ ﳕﺲﱡ ﺑﻪ ﺭﻭﺡ‬
‫ﺍﻟﻐﻴﺮ ﻭﻧﻠﻤﺲ ﺷﻜﻠﻪ ﻭﺟﻔﺎﺀ ﻃﺒﻌﻪ ﺃﻭ ﺣﻼﻭﺗﻪ‪ ،‬ﺇﻟﺦ‪ .‬ﺃﻣﱠﺎ ﻣﺎ ﻻ ﻳﺴﺘﻄﻴﻌﻪ ﻣﻌﻈﻢ‬
‫ﺍﻷﺷﺨﺎﺹ ﻓﻬﻮ "ﺍﻟﻘﻮﻝ" ﻛﻴﻒ ﻫﻮ ﺍﻵﺧﺮ ﺍﳌﺎﺛﻞ ﺃﻣﺎﻣﻬﻢ‪ .‬ﻟﻜﻦﱠ ﻣﺎ ﻻ ﻳُﺴﺘﻄﺎﻉ "ﻗﻮﻟﻪُ"‬
‫ﻻﻳﺴﺘﻠﺰﻡ ﺃﻧﱠﻨﺎ ﻻ ﻧﺮﺍﻩ‪ .‬ﻭ"ﺍﻟﻘﻮﻝ" ﻫﻮ ﺍﻟﺘﱠﻌﺒﻴﺮ ﻋﻦ ﺍﻟﻨﱠﻔﺲ ﺑﺎﻟﺘﺼﻮّﺭﺍﺕ‪ ،‬ﻭﺍﻟﺘّﺼﻮﱡﺭ‬
‫ﻳﻔﺘﺮﺽ ﻧﺸﺎﻃﺎً ﺗﺤﻠﻴﻠﻴﱠﺎً ﺧﺎﺻّﺔ ﻓﻜﺮﻳﱠﺎً‪ ،‬ﻗﻠﻴﻞٌ ﻣﻦ ﺍﻟﻨﱠﺎﺱ ﻣﺎﺭﺳﻮﻩ‪ .‬ﻭﺍﳌﻌﺮﻓﺔ ﺍﻟﺘﻲ ﻳُﻌﺒﱠﺮ‬

‫)‪ (١‬ﺍﻧﻈــﺮ ﺑﺤﺜــﻲ "ﺇﺩﺭﺍﻙ ﺍﻟﻐﻴــﺮ"‪) .‬ﺍﻷﻋﻤــﺎﻝ ﺍﻟﻜﺎﻣﻠــﺔ‪ ،‬ﺍ‪‬ﻠــﺪ ‪ VI‬ﺹ ‪ .(١٥٣‬ﻭﺧﺎﺻــﺔ ﻋﻤــﻞ ﺷــﻴﻠﺮ‬
‫ﺍﻟﻜﺒﻴﺮ ‪ – .Wesen unformen des Sympatie‬ﺍﳌﺆﻟﻒ‪.‬‬
‫)‪ (٢‬ﺣﻮﻝ ﻣﺴﺄﻟﺔ ﻗﻴﻤﺔ ﺍﳉﺴﻢ ﺍﻟﺘﱠﻌﺒﻴﺮﻳﱠﺔ‪ ،‬ﺍﻟﻜﺒﺮﻯ‪ ،‬ﺃﺣﻴـﻞ ﺍﻟﻘـﺎﺭﺉ ﺍﻟﻔـﻀﻮﻟﻲّ ﻣـﺮﱠﺓ ﺃﺧـﺮﻯ ﺇﻟـﻰ ﺑﺤﺜـﻲ‬
‫"ﺣﻮﻝ ﺍﻟﺘﱠﻌﺒﻴﺮ ﻛﻈﺎﻫﺮﺓ ﻛﻮﻧﻴﱠﺔ"‪) .‬ﺍﳌﺸﺎﻫﺪ ‪ – .(VII‬ﺍﳌﺆﻟّﻒ‪.‬‬
‫)‪ (٣‬ﻳــﺴﺘﻌﻤﻠﻬﺎ ﲟﻌﻨﺎﻫــﺎ ﺍﳌﺒﺎﺷــﺮ‪ :‬ﳌ ـﺲٌ‪ ،‬ﻣ ـﺲّ‪ ،‬ﻟﻴﻮﻇّﻔــﻪ ﰲ ﺍﳉﻤﻠــﺘﲔ ﺍﻟﺘﱠــﺎﻟﻴﺘﲔ‪ .‬ﺃﻣﱠــﺎ ﺍﳌﻌﻨــﻰ ﺍﻵﺧــﺮ‬
‫ﻟﻠﻜﻠﻤﺔ ﻓﻬﻮ‪ :‬ﻟﺒﺎﻗﺔ‪ ،‬ﻛﻴﺎﺳﺔ‪ – .‬ﺍﳌﺘﺮﺟﻢ‪.‬‬
‫‪-٩١-‬‬
 ‫ﻋﻨﻬﺎ ﲟﻔﺮﺩﺍﺕ‪ ،‬ﺃﻋﻠﻰ ﻣﻦ ﺍﳌﻌﺮﻓﺔ ﺍﻟﺘﻲ ﺗﻜﺘﻔﻲ ﺑﻮﺟﻮﺩ ﺷﻲﺀ ﺇﺯﺍﺀ ﺍﻟﻌﻴﻨﲔ‪ ،‬ﻟﻜﻦﱠ ﻫﺬﻩ‬
‫ﺍﳌﻌﺮﻓﺔ ﺍﻷﺧﻴﺮﺓ ﻫﻲ ﻣﻌﺮﻓﺔ ﺃﻳﻀﺎً‪ .‬ﻓﻠْﻴﺤﺎﻭﻝ ﺍﻟﻘﺎﺭﺉ ﺃﻥ ﻳﺼﻒ ﺑﺎﻟﻜﻠﻤﺎﺕ ﻣﺎ ﻳﺮﺍﻩ ﻛﻞّ‬
‫ﳊﻈﺔ‪ ،‬ﻳﺪﻫﺶْ ﻟﻘﻠﱠﺔ ﻣﺎ ﻳﺴﺘﻄﻴﻊ ﻗﻮﻟﻪ ﺣﻮﻝ ﺫﻟﻚ ﺍﻟﺬﻱ ﻳﺠﺪﻩ ﻣﺎﺛﻼً ﺃﻣﺎﻣﻪ ﺑﻮﺿﻮﺡ‬
‫ﺷﺪﻳﺪ‪ .‬ﻭﻫﺬﻩ ﺍﳌﻌﺮﻓﺔ ﻣﻊ ﺫﻟﻚ‪ ،‬ﺗﺨﺪﻣﻨﺎ ﻟﻜﻲ ﻧﺘﺤﺮﱠﻙ ﻭﺳْﻂ ﺍﻷﺷﻴﺎﺀ ﻭﻟﻜﻲ ﳕﻴّﺰﻫﺎ‬
‫ﻣﻦ ﺑﻌﻀﻬﺎ ‪ -‬ﻣﺜﻼً ﲤﻴﻴﺰ ﻓﺮﻭﻕ ﺍﻟﻠﻮﻥ )ﺃﻭ ﺍﻟﻠﻮﻳﻨﺎﺕ( ﺍﻟﺘﻲ ﻻ ﺗﻮﺻﻒ ﻭﺗﻮﺟﺪ ﰲ ﻟﻮﻥ‬
‫ﻭﺍﺣﺪ‪ -‬ﻭﻟﻜﻲ ﻧﺒﺤﺚ ﻋﻨﻬﺎ ﺃﻭ ﻧﺘﺤﺎﺷﺎﻫﺎ‪ .‬ﺑﻬﺬﺍ ﺍﻟﺸﱠﻜﻞ ﺍﻟﺪﱠﻗﻴﻖ ﻳﻨﺸﻂ ﻓﻴﻨﺎ ﺍﻹﺩﺭﺍﻙ‬
‫ﺍﻟﺬﻱ ﳕﺘﻠﻜﻪ ﻋﻦ ﺍﻟﻐﻴﺮ ﻭﻋﻠﻰ ﺷﻜﻞ ﺧﺎﺹّ ﺟﺪﱠﺍً ﰲ ﻣﺴﺄﻟﺔ ﺍﳊﺐّ‪.‬‬
‫ﻓﻼ ﻧﺮﺩّﺩْ ﺇﺫﺍً‪ ،‬ﺑﻬﺪﻭﺀ ﺷﺪﻳﺪ‪ ،‬ﻫﺪﻭﺀ ﻣﻦ ﻳﻘﻮﻝ ﺷﻴﺌﺎً ﻭﺍﺿﺤﺎً ﻭﺑﺴﻴﻄﺎً‪ ،‬ﺃﻥﱠ ﺍﻟﺮﱠﺟﻞ‬
‫ﻳﻌﺸﻖ ﺍﳌﺮﺃﺓ "ﺟﺴﺪﻳﱠﺎً"‪ ،‬ﺃﻭ ﺑﺎﻟﻌﻜﺲ‪ ،‬ﰒﱠ ﺗﺄﺗﻲ ﺑﻌﺪ ﺫﻟﻚ ﺍﻟﺼﱠﺪﻣﺔُ ﺑﻄﺒﻊ ﻣﻦ ﻛﻨﱠﺎ ﳓﺐّ‪.‬‬
‫ﺃﻣﱠﺎ ﻣﺎ ﻳﺤﺪﺙ ﻓﻬﻮ ﺃﻥﱠ ﺑﻌﺾ ﺍﻷﺷﺨﺎﺹ ﻣﻦ ﻛﻼ ﺍﳉﻨﺴﲔ ﻳﻌﺸﻖ ﺟﺴﺪﺍً ﻓﻌﻼً‪ .‬ﻟﻜﻦﱠ‬
‫ﻫﺬﺍ ﺍﻷﻣﺮ ﻳﻜﺸﻒ ﺗﺤﺪﻳﺪﺍً ﻋﻦ ﺣﺎﻟﺔ ﻛﻴﺎﻧﻪ ﺍﻟﻨّﻮﻋﻴﱠﺔ‪ .‬ﻷﻥﱠ ﻃﺒﻊ ﺍﶈﺐّ ﺍﻟﺸّﻬﻮﺍﻧﻲّ ﻫﻮ ﻣﺎ‬
‫ﻳﻮﺣﻲ ﺑﻬﺬﻩ ﺍﻷﻓﻀﻠﻴﱠﺔ‪ .‬ﻟﻜﻦ‪ ،‬ﻳﺠﺐ ﺃﻥ ﻧﻀﻴﻒ ﺃﻥﱠ ﺫﻟﻚ ﺍﻟﻄﺒﻊ ﻳﻮﺟﺪ ﺑﺬﻳﻮﻉ ﺃﻗﻞّ ﳑﺎ‬
‫ﻳُﻈﻦّ ﻋﺎﺩﺓً‪ .‬ﻭﻫﺬﺍ ﺍﻟﺸﱠﺮﻁ ﻧﺎﺩﺭ ﺑﺸﻜﻞٍ ﺧﺎﺹ ﻟﺪﻯ ﺍﳌﺮﺃﺓ‪ .‬ﻟﺬﻟﻚ ﻳﺸﻚّ ﻣﻦ ﻳﺮﺍﻗﺐ‬
‫ﺍﻟﻨﱠﻔﺲ ﺍﻷﻧﺜﻮﻳﱠﺔ ﺑﺸﻲﺀ ﻣﻦ ﺍﻹﻣﻌﺎﻥ‪ ،‬ﰲ ﺇﻋﺠﺎﺏ ﺍﳌﺮﺃﺓ ﺍﻹﻳﺮﻭﺳﻲّ ﺑﺎﳉﻤﺎﻝ ﺍﻟﺬﻛﺮﻱّ‬
‫ﻋﻠﻰ ﺃﻧﱠﻪ ﺣﺎﺩﺛﺔ ﻃﺒﻴﻌﻴﱠﺔ‪ .‬ﺣﺘﱠﻰ ﳝﻜﻨﻨﺎ ﺍﻟﺘﱠﻜﻬﻦ ﺑﻨﻤﻮﺫﺝ ﺍﳌﺮﺃﺓ ﺍﻟﺘﻲ ﺳﻴﻜﻮﻥ ﺍﺳﺘﺜﻨﺎﺀ ﻣﻦ‬
‫ﺍﻟﻘﺎﻋﺪﺓ‪ .‬ﻭﻫﺎ ﻫﻦّ‪ :‬ﺃﻭﱠﻻً‪ ،‬ﺍﻟﻨﺴﺎﺀ ﺫﻭﺍﺕ ﺍﻟﻨﱠﻔﺲ ﺍﻟﺬﱠﻛﺮﻳﱠﺔ ﻗﻠﻴﻼً؛ ﺛﺎﻧﻴﺎً‪ ،‬ﺗﻠﻚ ﺍﻟﻠﻮﺍﺗﻲ‬
‫ﻣﺎﺭﺳﻦ ﺍﳊﻴﺎﺓ ﺍﳉﻨﺴﻴﱠﺔ ﻣﻦ ﻏﻴﺮ ﺣﺪﻭﺩ )ﻛﺎﻟﻌﻮﺍﻫﺮ(؛ ﺛﺎﻟﺜﺎً‪ :‬ﺍﻟﻨﺴﺎﺀ ﺍﻟﻄﱠﺒﻴﻌﻴﱠﺎﺕ ﺍﻟﻼﺗﻲ‬
‫ﻭﺭﺍﺀﻫﻦّ ﺣﻴﺎﺓ ﺟﻨﺴﻴﱠﺔ ﻣﻮﺭﺳﺖ ﺑﺸﻜﻞ ﻛﺎﻣﻞ‪ ،‬ﻭﺗﺒﻠﻐﻦ ﺳﻦّ ﺍﻟﻜﻬﻮﻟﺔ؛ ﺭﺍﺑﻌﺎً‪ ،‬ﺍﻟﻼﺗﻲ‬
‫ﺑﺘﺮﻛﻴﺒﻬﻦّ ﺍﳉﺴﺪﻱّ ﺍﻟﻨﱠﻔﺴﻲّ ﻭُﻟﺪﻥ‪ 1‬ﻣﺰﻭّﺩﺍﺕ "ﺑﻄﺒﻊ ﻗﻮﻱّ‪."2‬‬
‫ﻫﺬﻩ ﺍﻟﻨﱠﻤﺎﺫﺝ ﺍﻷﺭﺑﻌﺔ ﻣﻦ ﺍﳌﺮﺃﺓ ﲤﺘﻠﻚ ﻋﻼﻣﺔ ﻣﺸﺘﺮﻛﺔ ﲡﻌﻠﻬﺎ ﺗﺘﻄﺎﺑﻖ ﰲ‬
‫ﺿﻌﻔﻬﺎ ﺍﳌﻠﺤﻮﻅ ﺇﺯﺍﺀ ﺟﻤﺎﻝ ﺍﻟﺬّﻛﺮ‪ .‬ﻭﺍﻟﻨﱠﻔﺲ ﺍﻷﻧﺜﻮﻳﱠﺔ‪ ،‬ﻛﻤﺎ ﻫﻮ ﻣﻠﺤﻮﻅ‪ ،‬ﻣﻮﺣّﺪﺓ ﺃﻛﺜﺮ‬
‫ﻛﺜﻴﺮﺍً ﻣﻦ ﻧﻔﺲ ﺍﻟﺮﱠﺟﻞ‪ :‬ﺃﻱ‪ ،‬ﺗﻮﺟﺪ ﻋﻨﺎﺻﺮ ﻣﻌﻴﱠﻨﺔ ﰲ ﺍﻟﻨﱠﻔﺲ ﺍﻷﻧﺜﻮﻳﱠﺔ ﺃﻗﻞّ ﺍﻧﻔﺼﺎﻻً ﻋﻦ‬
‫ﺍﻟﻌﻨﺎﺻﺮ ﺍﻷﺧﺮﻯ ﳑﱠﺎ ﻫﻲ ﻋﻠﻴﻪ ﻟﺪﻯ ﺍﻟﻨﱠﻔﺲ ﺍﻟﺬﱠﻛﺮﻳﱠﺔ‪ .‬ﻟﺬﻟﻚ‪ ،‬ﻛﺎﻥ ﺍﻧﻔﺼﺎﻡ ﺍﻟﻠّﺬّﺓ‬

‫– ﺍﳌﺘﺮﺟﻢ‪.‬‬ ‫)‪ (١‬ﰲ ﺍﻷﺻﻞ‪ :‬ﺟِﺌﻦَ‪.‬‬

‫– ﺍﳌﺘﺮﺟﻢ‪.‬‬ ‫)‪ (٢‬ﰲ ﺍﻷﺻﻞ ﻛﺒﻴﺮ‪.‬‬
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 ‫ﺍﳉﻨﺴﻴﱠﺔ ﻋﻦ ﺍﻟﻌﺎﻃﻔﺔ ﺃﻭ ﺍﻹﻋﺠﺎﺏ ﻟﺪﻳﻬﺎ‪ ،‬ﺃﻗﻞّ ﺷﻴﻮﻋﺎً ﳑﱠﺎ ﻫﻮ ﻟﺪﻯ ﺍﻟﺮﱠﺟﻞ‪ .‬ﻓﻼ‬
‫ﺗﺴﺘﻴﻘﻆ ﺍﻟﻠّﺬّﺓ ﻟﺪﻯ ﺍﳌﺮﺃﺓ ﻣﻦ ﺩﻭﻥ ﺍﻟﻌﺎﻃﻔﺔ ﺑﺴﻬﻮﻟﺔ ﻛﻤﺎ ﻫﻲ ﻋﻨﺪﻧﺎ ﳓﻦ ﺍﻟﺬّﻛﻮﺭ‪ .‬ﺇﺫْ‪،‬‬
‫ﻣﻦ ﺍﻟﻀﱠﺮﻭﺭﺓ ﺃﻥ ﻳﻮﺟﺪ ﺳﺒﺐ ﺧﺎﺹّ ﺟﺪﱠﺍً ﻛﻴﻤﺎ ﺗﺼﺒﺢ ﺷﻬﻮﺍﻧﻴﱠﺔ ﺍﳌﺮﺃﺓ ﻣﺴﺘﻘﻠﱠﺔ ﻭﺗﻌﻤﻞ‬
‫ﳊﺴﺎﺑﻬﺎ ﻭﻃﺒﻘﺎً ﻟﻘﺎﻧﻮﻧﻬﺎ ﺍﳋﺎﺹّ‪ .‬ﺇﺫﺍً‪ ،‬ﺗﻮﺟﺪ ﰲ ﳕﺎﺫﺝ ﺍﳌﺮﺃﺓ ﺍﻷﺭﺑﻌﺔ ﻫﺬﻩ‪ ،‬ﺍﻟﺒﺬﺭﺓ‬
‫ﻛﻴﻤﺎ ﻳﺤﺪﺙ ﻫﺬﺍ ﺍﻻﻧﻔﺼﺎﻡ ﰲ ﺍﻟﺸﱠﻬﻮﺍﻧﻴﱠﺔ‪ .‬ﰲ ﺍﻟﻨﱠﻤﻮﺫﺝ ﺍﻷﻭﱠﻝ‪ ،‬ﺗﻜﻮﻥ ﻗﻮﺍﻫﺎ ﺍﳌﺨﺘﻠﻔﺔ‬
‫ﺃﻗﻞّ ﺗﻮﺣﱡﺪﺍً ﺃﻭ ﺫﺍﺕ ﺍﻧﻔﺼﺎﻡ ﺧِﻠﻘﻲ ﻋﻦ ﺑﻌﻀﻬﺎ‪ ،‬ﺑﺴﺒﺐ ﺟﺮﻋﺔ ﺍﻟﺬّﻛﻮﺭﺓ ﺍﳌﻮﺟﻮﺩﺓ ﻓﻴﻪ؛‬
‫)ﻭﺍﻟﺬّﻛﻮﺭﺓ ﰲ ﺍﳌﺮﺃﺓ ﺃﺣﺪ ﺍﳌﻮﺍﺿﻴﻊ ﺍﻷﻫﻢّ ﰲ ﻋﻠﻢ ﺍﻟﻨﱠﻔﺲ ﺍﻟﺒﺸﺮﻱّ ﻭﻛﺎﻧﺖ ﺗﺴﺘﺤﻖّ‬
‫ﺩﺭﺍﺳﺔ ﻣﺴﺘﻘﻠﱠﺔ(‪ .‬ﰲ ﺍﻟﻨﱠﻤﻮﺫﺝ ﺍﻟﺜﱠﺎﻧﻲ‪ ،‬ﻳﺤﺪﺙ ﺍﻻﻧﻔﺼﺎﻡ ﺑﺴﺒﺐ ﺍﻟﻮﻇﻴﻔﺔ ﺫﺍﺗﻬﺎ‪ .‬ﻟﺬﻟﻚ‪،‬‬
‫ﻛﺎﻧﺖ ﺍﻟﻌﺎﻫﺮﺓ ﺃﺷﺪّ ﺗﺤﺴﱡﺴﺎً ﻣﻦ ﺃﻱّ ﺷﺨﺺ ﺁﺧﺮ‪ ،‬ﺑﺎﻟﺬﱠﻛﺮ ﺍﳉﻤﻴﻞ‪) .‬ﺑﻔﺮﺽ ﺃﻻّ ﺗﻜﻮﻥ‬
‫ﺍﻟﻌﺎﻫﺮﺓ ﺣﺎﻟﺔ ﺧﺎﺻّﺔ ﺟﺪﱠﺍً ﻣﻦ ﺍﻟﺬﻛﻮﺭﺓ ﻟﺪﻯ ﺍﳌﺮﺃﺓ(‪ .‬ﺃﻣﱠﺎ ﺍﻟﻨﱠﻤﻮﺫﺝ ﺍﻟﺜﱠﺎﻟﺚ ﻭﻫﻮ ﻃﺒﻴﻌﻲّ‬
‫ﲤﺎﻣﺎً‪ ،‬ﻓﺄﺷﻴﺮ ﺇﻟﻰ ﻭﺍﻗﻌﺔ ﺃﻥﱠ "ﺣﻮﺍﺱّ ﺍﳌﺮﺃﺓ ﺗﺒﻄﺊ ﺣﺘﱠﻰ ﺗﺴﺘﻴﻘﻆ"‪ ،‬ﻛﻤﺎ ﻳُﻘﺎﻝ ﻋﺎﺩﺓً‪.‬‬
‫ﻭﺍﳊﻘﻴﻘﺔ ﺃﻧﱠﻬﺎ ﺗﺒﻄﺊ ﻛﻴﻤﺎ ﺗﺼﺒﺢ ﻣﺴﺘﻘﻠﱠﺔ‪ ،‬ﺳﻮﻯ ﺃﻥﱠ ﺍﳌﺮﺃﺓ ﺍﻟﺘﻲ ﻣﺎﺭﺳﺖ ﺿﻤﻦ ﺣﺪﻭﺩ‬
‫ﺍﻟﻘﻮﺍﻋﺪ ﻛﻠّﻬﺎ‪ ،‬ﺣﻴﺎﺓ ﺟﻨﺴﻴﱠﺔ ﻃﻮﻳﻠﺔ ﻭﻓﻌﱠﺎﻟﺔ‪ ،‬ﺗﺤﺎﻓﻆ ﻓﻌﻠﻴﱠﺎً ﻋﻠﻰ ﺣﺴّﻴﺘﻬﺎ‪ .‬ﺃﻣﱠﺎ ﻟﺪﻯ‬
‫ﺍﻟﺮﱠﺟﻞ‪ ،‬ﻓﺈﻥﱠ ﻓﺮﻁ ﺍﳋﻴﺎﻝ ﳝﻜﻦ ﺃﻥ ﻳﺤﻞّ ﻣﺤﻞّ ﺍﳌﻤﺎﺭﺳﺔ ﺍﻟﻔﻌﻠﻴﱠﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺘﱠﻄﻮﱡﺭ‬
‫ﺍﳊﺴّﻲ‪ .‬ﻭﺍﳋﻴﺎﻝ ﻟﺪﻯ ﺍﳌﺮﺃﺓ ﻣﺎ ﻟﻢ ﺗﻜﻦ ﺫﻛﺮﻳﱠﺔ‪ ،‬ﻳﻜﻮﻥ ﰲ ﺍﻟﻌﺎﺩﺓ ﻓﻘﻴﺮﺍً ﺟﺪﱠﺍً! ﻭﻳﺼﻠﺢ‬
‫ﺃﻥ ﻧﻨﺴﺐ ﺇﻟﻰ ﻫﺬﺍ ﺍﻟﻨﱠﻘﺺ ﺍﻟﺸﺮﻑ ﺍﳌﻌﺮﻭﻑ ﻟﺪﻯ ﺍﳌﺮﺃﺓ ﰲ ﺟﺎﻧﺐ ﻛﺒﻴﺮ ﻣﻨﻪ‪.‬‬

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‫ﺇﺫﺍ ﻛﺎﻥ ﺍﳊﺐّ ﺧﻴﺎﺭﺍً ﺣﺎﺳﻤﺎً ﻛﻤﺎ ﺃﻓﺘﺮﺽ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻓﺈﻥﱠ ﻟﺪﻳﻨﺎ ﻋﻨﻪ ﻧﻈﺮﻳﱠﺔ‬
‫ﻣﻌﺮﻓﺔ ‪ ratio cognoscentis‬ﻟﻠﻔﺮﺩ‪ ،‬ﻭﻧﻈﺮﻳﺔ ﻭﺟﻮﺩ‪ .‬ﺇﻧﱠﻪ ﻳﺨﺪﻣﻨﺎ ﻣﻌﻴﺎﺭﺍً ﻭﺩﻟﻴﻼً ﳌﻌﺮﻓﺔ‬
‫ﻣﺎ ﺗﺤﺖ ﺃﺭﺽ ﺃﺧﻼﻕ ﺫﻟﻚ ﺍﻟﻔﺮﺩ‪ ،‬ﻛﻘِﻄﻊ ﺍﻟﻔﻠّﲔ ﻭﺳْﻂ ﺯﺑﺪ ﺃﻣﻮﺍﺝ ﺍﻟﺒﺤﺮ ﺍﻟﺘﻲ ﺗﺸﻲ‬
‫ﺑﺎﻟﺸّﺒﻜﺔ ﺍﻟﺘﻲ ﲤﺴﺢ ﺍﻟﻘﻌﺮ ﺍﳋﺸﻦ‪ ،‬ﻋﻠﻰ ﺣﺪّ ﺗﺸﺒﻴﻪ ﺃﺳﺨﻴﻠﻮﺱ ‪ .Esquilo‬ﻭﻫﻮ ﻣﻦ‬
‫ﺟﻬﺔ ﺃﺧﺮﻯ‪ ،‬ﻳﻌﻤﻞ ﻋﻤﻠﻪ ﻋﺮﺿﺎً ﰲ ﺳﻴﺮﺓ ﺍﻟﺸﱠﺨﺺ ﺟﺎﻟﺒﺎً ﺇﻟﻴﻪ ﻭﺇﻟﻰ ﺃﻋﻤﻖ ﻣﺮﻛﺰ‬
‫ﻓﻴﻪ‪ ،‬ﻛﺎﺋﻨﺎﺕ ﻣﻦ ﳕﻮﺫﺝ ﻣﻌﻴﱠﻦ‪ ،‬ﻣﻨﺤّﻴﺎً ﺍﻟﺒﻘﻴﱠﺔ ﻣﻨﻬﺎ‪ .‬ﻓﺎﳊﺐّ ﻳﻌﺪّﻝ ﺑﻬﺬﺍ ﺍﻟﺸﱠﻜﻞ‬
‫ﺍﳌﺼﻴﺮ ﺍﻟﻔﺮﺩﻱّ‪ .‬ﻭﺃﺣﺴﺐ ﺃﻧﱠﻨﺎ ﻟﻢ ﻧﺪﺭﻙ ﺟﻴﱢﺪﺍً ﺍﻟﺘﱠﺄﺛﻴﺮ ﺍﻟﻀﱠﺨﻢ ﺍﻟﺬﻱ ﲤﺎﺭﺳﻪ‬
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 ‫ﻏﺮﺍﻣﻴﱠﺎﺗﻨﺎ ﻋﻠﻰ ﻣﺠﺮﻯ ﺣﻴﺎﺗﻨﺎ‪ .‬ﻷﻧﱠﻨﺎ ﻧﻔﻜّﺮ ﻓﻮﺭﺍً ﺑﺎﳌﺆﺛّﺮﺍﺕ ﺍﻷﻛﺜﺮ ﺳﻄﺤﻴﱠﺔ ﻓﻘﻂ‪ ،‬ﻭﺇﻥ‬
‫ﺗﻜﻦ ﺩﺭﺍﻣﻴﱠﺔ ‪ -‬ﻛﺎﳉﻨﻮﻥ‪ -‬ﺍﻟﺬﻱ ﻳﺒﺪﻳﻪ ﺭﺟﻞ ﻣﻦ ﺃﺟﻞ ﺍﻣﺮﺃﺓ‪ ،‬ﺃﻭ ﺍﻟﻌﻜﺲ ﺑﺎﻟﻌﻜﺲ‪ .‬ﻭﺇﺫْ‬
‫ﻛﺎﻥ ﺍﻟﻘﺴﻢ ﺍﻷﻋﻈﻢ ﻣﻦ ﺣﻴﺎﺗﻨﺎ‪ ،‬ﺇﻥ ﻟﻢ ﻳﻜﻦ ﻛﻠﻬﺎ‪ ،‬ﺧﺎﻟﻴﺎً ﻣﻦ ﺿﺮﻭﺏ ﺍﳉﻨﻮﻥ ﺗﻠﻚ‪،‬‬
‫ﻓﺈﻧﱠﻨﺎ ﳕﻴﻞ ﺇﻟﻰ ﺍﻟﺘﱠﻘﻠﻴﻞ ﻣﻦ ﻣﻘﺪﺍﺭ ﺫﻟﻚ ﺍﻟﺘﱠﺄﺛﻴﺮ‪ .‬ﻟﻜﻦﱠ ﻭﺍﻗﻊ ﺍﳊﺎﻝ ﻫﻮ ﺃﻥﱠ ﻫﺬﺍ ﺍﻟﺘﱠﺄﺛﻴﺮ‬
‫ﺧﺎﺻّﺔ ﺗﺄﺛﻴﺮ ﺍﻣﺮﺃﺓ ﰲ ﺣﻴﺎﺓ ﺭﺟﻞ‪ ،‬ﻳﺘْﺨﺬ ﰲ ﺍﻟﻌﺎﺩﺓ ﻣﻈﻬﺮﺍً ﺩﻗﻴﻘﺎً ﻟﻠﻐﺎﻳﺔ‪ .‬ﺇﻥﱠ ﺍﳊﺐّ‬
‫ﻳﺠﻤﻊ ﺍﻷﻓﺮﺍﺩ ﰲ ﺗﻌﺎﻳﺶ ﺟﺪّ ﻭﺛﻴﻖ ﻭﺷﺎﻣﻞ ﺣﺘﱠﻰ ﻻ ﻳﺪﻉ ﺑﻴﻨﻬﻢ ﻣﺴﺎﻓﺔ ﻛﻴﻤﺎ ﻳُﻠﻤﺢ‬
‫ﺍﻹﺻﻼﺡ ﺍﻟﺬﻱ ﻳﺤﺪﺛﻪ ﺃﺣﺪﻫﻢ ﻋﻠﻰ ﺍﻵﺧﺮ‪ .‬ﻭﺗﺄﺛﻴﺮ ﺍﳌﺮﺃﺓ ﺑﺨﺎﺻّﺔ "ﺟﻮّﻱ"‬
‫‪ Atmosférico‬ﻟﺬﻟﻚ ﻫﻮ ﻛﻠّﻲ ﻭﻏﻴﺮ ﻣﺮﺋﻲّ‪ .‬ﻭﻻ ﺗﻮﺟﺪ ﻭﺳﻴﻠﺔ ﻟﺘﻮﻗّﻌﻪ ﻭﺗﺤﺎﺷﻴﻪ‪ .‬ﺇﻧﱠﻪ‬
‫ﻳﺘﻐﻠﻐﻞ ﻋﺒﺮ ﻓﺠﻮﺍﺕ ﺍﳊﺬﺭ‪ ،‬ﻭﳝﺎﺭﺱ ﻓﻌﻠﻪ ﻋﻠﻰ ﺍﻟﺮﱠﺟﻞ ﺍﶈﺒﻮﺏ‪ ،‬ﻛﻤﺎ ﺍﳌُﻨﺎﺥ ﻋﻠﻰ‬
‫ﺍﻟﻨﱠﺒﺎﺕ‪ .‬ﻭﺇﻥﱠ ﻃﺮﻗﻬﺎ ﺍﻷﺳﺎﺳﻴﱠﺔ ﰲ ﺍﻟﺸّﻌﻮﺭ ﺑﺎﻟﻮﺟﻮﺩ‪ ،‬ﺗﺴﺤﻖ ﺑﻌﺬﻭﺑﺔ ﻭﺍﺳﺘﻤﺮﺍﺭ‬
‫ﻣﻼﻣﺢ ﻧﻔﺴﻨﺎ ﻭﺗﻨﻘﻞ ﺇﻟﻴﻬﺎ ﲤﻌّﺠﺎﺗﻬﺎ ﺍﳌﻤﻴّﺰﺓ‪.‬‬
‫ﻭﻫﺬﺍ ﻳﻘﻮﺩﻧﺎ ﺇﻟﻰ ﺃﻥ ﻧﻜﺘﺸﻒ ﺁﻓﺎﻗﺎً ﻫﺎﻣﱠﺔ ﰲ ﺍﻟﻔﻜﺮﺓ ﺍﻟﻘﺎﺋﻠﺔ ﺇﻥﱠ ﺍﳊﺐّ ﺧﻴﺎﺭ‬
‫ﻋﻤﻴﻖ‪ .‬ﻓﺈﺫﺍ ﺃﺳﻘﻄﻨﺎ ﺍﳌﺬﻫﺐ ﻋﻠﻰ ﺃﻓﺮﺍﺩ ﻋﺼﺮ ﺃﺟﻤﻌﲔ –ﻋﻠﻰ ﺟﻴﻞ ﻣﺜﻼً‪ -‬ﻋﻮﺿ ًﺎ‬
‫ﻣﻦ ﺍﻹﺷﺎﺭﺓ ﺇﻟﻰ ﻓﺮﺩ ﺑﻌﻴﻨﻪ‪ ،‬ﳓﺼﻞ ﻋﻠﻰ ﺍﻟﺘﱠﺎﻟﻲ‪ :‬ﻛﻠّﻤﺎ ﺗﻜﻠّﻤﻨﺎ ﻋﻦ ﺟﻤﻮﻉ ﻭﺟﻤﺎﻫﻴﺮ‪،‬‬
‫ﻓﺈﻥﱠ ﺍﻟﻔﺮﻭﻕ ﺍﻟﻔﺮﺩﻳﱠﺔ ﺍﳌﺘﻄﺮّﻓﺔ ﺑﺸﻜﻞ ﺧﺎﻟﺺ‪ ،‬ﺗﺘﻌﺎﺩﻝ ﻭﺗﺼﺒﺢ ﻣﻬﻴﻤﻨﺔ ﻋﻠﻰ ﳕﻮﺫﺝ‬
‫ﻣﺘﻮﺳّﻂ ﻣﻦ ﺍﻟﺴّﻠﻮﻙ؛ ﰲ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ﳕﻮﺫﺝ ﻭﺳﻂ ﻣﻦ ﺍﻟﺘﱠﻔﻀﻴﻞ ﰲ ﺍﳊﺐّ‪ .‬ﺃﻱ‪ ،‬ﺃﻥﱠ‬
‫ﻛﻞّ ﺟﻴﻞ ﻳﻔﻀّﻞ ﳕﻮﺫﺟﺎً ﻋﺎﻣﱠﺎً ﻟﻠﺬﱠﻛﺮ‪ ،‬ﻭﳕﻮﺫﺟﺎً ﺁﺧﺮ ﻋﺎﻣﱠﺎً ﻟﻠﻤﺮﺃﺓ‪ ،‬ﺃﻭ ﻣﺎ ﻳﻌﺎﺩﻝ ﺫﻟﻚ‪،‬‬
‫ﺗُﻔﻀّﻞ ﻣﺠﻤﻮﻋﺔ ﻣﻌﻴﱠﻨﺔ ﻣﻦ ﺍﻟﻨﱠﻤﺎﺫﺝ ﻣﻦ ﻫﺬﺍ ﺍﳉﻨﺲ ﺃﻭ ﺫﺍﻙ‪ .‬ﻭﺇﺫﺍ ﻛﺎﻥ ﺍﻟﺰﱠﻭﺍﺝ ﰲ‬
‫ﺍﻟﻨﱢﻬﺎﻳﺔ ﺍﻟﺸﱠﻜﻞ ﺍﻷﻫﻢّ ﻋﺪﺩﻳﱠﺎً ﻟﻠﻌﻼﻗﺔ ﺍﳉﻨﺴﻴﱠﺔ‪ ،‬ﻧﺴﺘﻄﻴﻊ ﺍﻟﻘﻮﻝ ﺇﻧﱠﻪ ﰲ ﻛﻞﱢ ﻋﺼﺮ‬
‫ﻧﺴﺎﺀ ﻳﺘﺰﻭّﺟﻦ ﻣﻦ ﳕﻮﺫﺝ ﻣﻌﻴﱠﻦ ﺃﻛﺜﺮ ﳑﱠﺎ ﻳﺘﺰﻭّﺟﻦ ﻣﻦ ﳕﺎﺫﺝ ﺃﺧﺮﻯ‪.1‬‬

‫)‪ (١‬ﻻ ﺃﺣﺴﺐ ﺿﺮﻭﺭﻳﱠﺎً ﺃﻥ ﻧﺘﺬﻛﱠﺮ ﺑﺴﺒﺐ ﻫﺬﺍ ﺍﻟﺘﱠﻄﺒﻴﻖ ﺍﳋـﺎﺹّ‪ ،‬ﺍﻟﻘﻮﺍﻋـﺪ ﺍﳌﻌﺮﻭﻓـﺔ ﰲ ﻛـﻞﱢ ﻗـﺎﻧﻮﻥ ﺃﻭ‬
‫ﺗﻘﺪﻳﺮ‪ ،‬ﺣﻮﻝ ﻛﺘﻞ ﻛﺒﻴﺮﺓ ﻣﻦ ﺍﳊـﺎﻻﺕ‪ ،‬ﻗﻮﺍﻋـﺪ ﻳﺆﺳـﺲ ﻋﻠﻴﻬـﺎ ﺍﻹﺣـﺼﺎﺀ ﺩﻗّﺘـﻪ‪ .‬ﺗﻮﺟـﺪ ﺑـﺎﻟﻄﱠﺒﻊ ﰲ‬
‫ﻋﺪﺩ ﻫﺎﻡّ ﻣﻦ ﺍﳊﺎﻻﺕ‪ ،‬ﺣـﺎﻻﺕ ﻣـﻦ ﺃﻛﺜـﺮ ﺍﻷﻧـﻮﺍﻉ ﺍﺧﺘﻼﻓـﺎً‪ .‬ﻟﻜـﻦﱠ ﺇﺣـﺪﺍﻫﺎ ﺗﻬـﻴﻤﻦ ﻭﺍﻻﺳـﺘﺜﻨﺎﺀﺍﺕ‬
‫ﺗُﻠﻐﻲ ﺑﻌﻀﻬﺎ ﺑﻌﻀﺎً‪ .‬ﻭﰲ ﻛﻞﱢ ﻋﺼﺮ ﻳﺘﺰﻭﱠﺝ ﻧﺴﺎﺀ ﻣﻦ ﺍﻟﻨﱠﻤﺎﺫﺝ ﻛﻠّﻬـﺎ‪ .‬ﻟﻜـﻦ‪ ،‬ﻳﻬـﻴﻤﻦ ﻋﻠﻴﻬـﺎ ﳕـﻮﺫﺝ ﻟـﻪ‬
‫ﺍﳊﻈﻮﺓ ﻧﻮﻋﻴﱠﺎً ﻭﻛﻤّﻴﱠﺎً‪ - .‬ﺍﳌﺆﻟﻒ‪.‬‬
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 ‫ﻛﻞّ ﺟﻴﻞ ﻳﻜﺸﻒ ﻛﻤﺎ ﺍﻟﻔﺮﺩ‪ ،‬ﰲ ﺍﺧﺘﻴﺎﺭ ﻏﺮﺍﻣﻴﱠﺎﺗﻪ ﻋﻦ ﺗﻴﱠﺎﺭﺍﺕ ﺳﻔﻠﻴﱠﺔ ﺗﻌﻄﻴﻪ‬
‫ﺷﻜﻠﻪ ﺇﻟﻰ ﺣﺪﱟ ﺗﺼﺒﺢ ﺍﻷﺭﻛﺎﻥَ ﺍﻷﻛﺜﺮ ﺩﻻﻟﺔ‪ ،‬ﺍﻟﺘﻲ ﰲ ﻇﻠّﻬﺎ ﳝﻜﻦ ﻟﻠﺘﱠﻄﻮﱡﺭ ﺍﻟﺒﺸﺮﻱّ‬
‫ﺃﻥ ﻳﺒﺪﺃ ﺗﺎﺭﻳﺨﺎً ﻟﻠﻨﱠﻤﺎﺫﺝ ﺍﻷﻧﺜﻮﻳﱠﺔ ﺍﻟﺘﻲ ﻛﺎﻥ ﻟﻬﺎ ﺍﻷﻓﻀﻠﻴﱠﺔ ﺑﺸﻜﻞ ﻣﺘﺘﺎﺑﻊ‪ .‬ﻭﻛﻞ ﻋﺮﻕ‬
‫ﻛﻤﺎ ﻛﻞّ ﺟﻴﻞ‪ ،‬ﻳﺼﻄﻔﻲ ﳕﻮﺫﺟﺎً ﳕﻮﺫﺟﻴﱠﺎً ﻟﻸﻧﻮﺛﺔ ﻻ ﻳﻨﺘﺞ ﺗﻠﻘﺎﺋﻴﱠﺎً‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻳﺘﺸﻜﱠﻞ ﰲ‬
‫ﻋﻤﻞ ﻃﻮﻳﻞ ﻃﻴﻠﺔ ﻗﺮﻭﻥ ﺗﺒﻌﺎً ﳌﺎ ﻳﺘﻮﺍﻓﻖ ﻣﻌﻈﻢ ﺍﻟﺮﺟﺎﻝ ﻋﻠﻰ ﺗﻔﻀﻴﻠﻪ‪ .‬ﻭﻫﻜﺬﺍ ﺇﺫﺍ‬
‫ﺃﺧﺬﻧﺎ ﻣﺨﻄﱠﻄﺎً ﻣﺠﻤﻼً ﺩﻗﻴﻘﺎً ﻭﺻﺎﺭﻣﺎً ﻋﻤﱠﺎ ﻫﻲ ﺍﳌﺮﺃﺓ ﺍﻹﺳﺒﺎﻧﻴﱠﺔ ﺍﳌُﺜﻠﻰ‪ ،‬ﻷﻟﻘﻰ‬
‫ﺑﺄﺿﻮﺍﺀ ﻣﺨﻴﻔﺔ ﻋﻠﻰ ﺍﻟﻜﻬﻮﻑ ﺍﻟﺴﺮﻳﺔ ﰲ ﻧﻔﺲ ﺷﺒﻪ ﺍﳉﺰﻳﺮﺓ‪ .‬ﺑﺎﻟﻄﱠﺒﻊ‪ ،‬ﻳﺠﺐ ﺇﺑﺮﺍﺯ‬
‫ﺻﻮﺭﺗﻬﺎ ﺑﻔﻀﻞ ﻣﻘﺎﺭﻧﺎﺕ ﻣﻊ ﺍﳌﺮﺃﺓ ﺍﻟﻔﺮﻧﺴﻴﱠﺔ ﺍﳌﺜﻠﻰ‪ ،‬ﻭﺍﻟﺴﻼﻓﻴﱠﺔ ﺍﳌﺜﻠﻰ‪ ،‬ﺇﻟﺦ‪.‬‬
‫ﻭﺍﳋﺼﻴﺐ ﰲ ﻫﺬﺍ ﺍﻷﻣﺮ ﻛﻤﺎ ﰲ ﻏﻴﺮﻩ‪ ،‬ﻫﻮ ﻋﺪﻡ ﺍﻹﳝﺎﻥ ﺑﺄﻥﱠ ﺍﻷﺷﻴﺎﺀ ﻭﺍﻟﻜﺎﺋﻨﺎﺕ‬
‫ﻫﻲ ﻣﺎ ﻫﻲ ﻋﻔﺎﺭﺍً‪ ،‬ﲟﻮﺟﺐ ﺗﻮﻟّﺪ ﺫﺍﺗﻲّ ﻣﺤﺾ‪ .‬ﻛﻼﱠ؛ ﻓﻜﻞّ ﻣﺎ ﻫﻮ ﻣﻮﺟﻮﺩ‪ ،‬ﻛﻞّ ﻣﺎ‬
‫ﻫﻮ ﻫﻨﺎﻙ‪ ،‬ﻭﻛﻞّ ﻣﺎ ﻟﻪ ﺷﻜﻞ ﺃﻳﱠﺎً ﻳﻜﻦ ﻫﺬﺍ ﺍﻟﺸﱠﻜﻞ‪ ،‬ﲦﺮﺓُ ﻗﻮﱠﺓ‪ ،‬ﻭﺃﺛﺮ ﻣﻦ ﻃﺎﻗﺔ‬
‫ﻭﻋَﺮَﺽ ﻟﻨﺸﺎﻁٍ ﻣﺎ‪ .‬ﺑﻬﺬﺍ ﺍﳌﻌﻨﻰ "ﻛﻞّ ﺷﻲﺀ ﻣﻌﻤﻮﻝ ﻋﻤﻼً"‪ ،‬ﻭﳝﻜﻦ ﺩﺍﺋﻤﺎً ﺗﺒﻴﺎﻥ ﻣﺎ‬
‫ﻫﻲ ﺍﻟﻘﻮﺓ ﺍﻟﺘﻲ ﺷﻜّﻠﺘﻪ‪ ،‬ﻭﺃﻧﱠﻬﺎ ﺗﺘﺮﻙ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺩﻣﻐﺘﻬﺎ ﺍﻟﺬﱠﺍﺗﻴﱠﺔ ﺇﻟﻰ ﺍﻷﺑﺪ‪.‬‬
‫ﻭﻗﺪ ﺣُﻔﻈﺖ ﰲ ﺻﻮﺭﺓ ﺍﳌﺮﺃﺓ ﺍﻹﺳﺒﺎﻧﻴﱠﺔ ﺍﳋُﻠﻘﻴﱠﺔ ﻃﺮْﻗﺎﺕُ ﺗﺎﺭﻳﺨﻨﺎ ﻛﻠّﻪ ﻛﻤﺎ ﺗﺒﻘﻰ‬
‫ﻃﺮﻗﺎﺕ ﺍﳌﻄﺮﻗﺔ ﻣﻨﻘﻮﺷﺔً ﻋﻠﻰ ﺍﻟﻜﺄﺱ ﺍﳌﻘﺪﱠﺳﺔ‪.‬‬
‫ﻟﻜﻦﱠ ﺍﳌﻬﻢّ ﰲ ﺃﻓﻀﻠﻴّﺔ ﺍﳊﺐّ ﻟﺪﻯ ﺟﻴﻞ‪ ،‬ﻗﺪﺭﺗﻪ ﺍﻟﺴﱠﺒﺒﻴﺔ‪ .‬ﺑﺎﻟﻄﱠﺒﻊ‪ ،‬ﻷﻥﱠ ﳕﻮﺫﺝ‬
‫ﺍﳌﺮﺃﺓ ﺍﻟﺘﻲ ﻳﺨﺘﺎﺭﻫﺎ ﻳﺘﻌﻠﱠﻖ ﺑﻪ ﻟﻴﺲ ﻭﺟﻮﺩﻩ ﻓﻘﻂ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﺟﺎﻧﺐ ﻛﺒﻴﺮ ﻣﻦ ﺍﻟﺰﱠﻣﻦ‬
‫ﺍﻟﺘﱠﺎﻟﻲ‪ .‬ﻓﻔﻲ ﺍﻟﺒﻴﺖ ﻳﻬﻴﻤﻦ ﺩﺍﺋﻤﺎً ﺍﳌُﻨﺎﺥ ﺍﻟﺬﻱ ﲡﻠﺒﻪ ﺍﳌﺮﺃﺓ ﻭﺗُﻮﺟﺪﻩ‪ .‬ﻓﻤﻬﻤﺎ ﻳﻜﻦ ﺣﻜﻢ‬
‫ﺍﻟﺮﱠﺟﻞ‪ ،‬ﻓﺈﻥﱠ ﺗﺪﺧﻠﻪ ﰲ ﺍﳊﻴﺎﺓ ﺍﻟﻌﺎﺋﻠﻴﱠﺔ ﻣﺘﻘﻄّﻊ ﻭﻣﺤﻴﻄﻲّ ﻭﺭﺳﻤﻲّ‪ .‬ﻭﺍﻟﺒﻴﺖ ﻫﻮ‬
‫ﺍﻟﻴﻮﻣﻲ ﺍﻟﻌﺎﺩﻱ ﰲ ﺍﳉﻮﻫﺮ‪ ،‬ﻭﺍﳌﺴﺘﻤﺮّ‪ ،‬ﻭﻫﻮ ﺳﻠﺴﻠﺔ ﻣﻦ ﺍﻟﺪﱠﻗﺎﺋﻖ ﺍﳌﺘﻄﺎﺑﻘﺔ ﻭﺍﻟﻬﻮﺍﺀ‬
‫ﺍﳌﺄﻟﻮﻑ ﺍﻟﺬﻱ ﺗﻠﺘﻘﻄﻪ ﺍﻟﺮﺋﺘﺎﻥ ﻭﺗﻄﺮﺣﺎﻧﻪ ﺑﻌﻨﺎﺩ‪ .‬ﻭﻳﻔﻴﺾ ﻫﺬﺍ ﺍﳉﻮّ ﻣﻦ ﺍﻷﻡّ ﻭﻳﺸﻤﻞ‬
‫ﻣﻦ ﰒﱠ ﺟﻴﻞ ﺍﻷﺑﻨﺎﺀ‪ .‬ﻭﻗﺪ ﻳﻜﻮﻥ ﻫﺆﻻﺀ ﺫﻭﻱ ﺃﻣﺰﺟﺔ ﻭﻃﺒﺎﺋﻊ ﺷﺪﻳﺪﺓ ﺍﻻﺧﺘﻼﻑ‪ ،‬ﻟﻜﻨﱠﻬﻢ‬
‫ﻗﺪ ﳕﻮﺍ ﻻ ﻣﺤﺎﻟﺔ ﺗﺤﺖ ﺿﻐﻂ ﺫﻟﻚ ﺍﳉﻮّ‪ ،‬ﻭﺍﳌﺴﺘﻮﻯ ﺍﳌﺸﺘﺮﻙ ﺍﻟﺬﻱ ﻭﻟﺪﻭﺍ ﻓﻴﻪ‪،‬‬
‫ﻭﺍﻟﺮّﻳﺢ ﺍﳌﺪﺍﺭﻳﱠﺔ ﺍﻟﺪﱠﺍﺋﻤﺔ ﺍﻟﺘﻲ ﻓﺮﺿﺖ ﻋﻠﻴﻬﻢ ﻣﻴﻼً‪) 1‬ﺃﻭ ﺍﺗﱢﺠﺎﻫﺎً( ﻣﻌﻴﱠﻨﺎً‪ .‬ﻭﺇﻥﱠ ﻓﺮﻗﺎً‬

‫)‪ curvatura (١‬ﰲ ﺍﻷﺻﻞ‪ ،‬ﺃﻱ ﺍﳓﻨﺎﺀ ﻭﺗﻘﻮّﺱ ﺍﻧﺴﺠﺎﻣﺎً ﻣﻊ ﻛﻠﻤﺔ ﺍﻟﺮﻳﺢ‪ – .‬ﺍﳌﺘﺮﺟﻢ‪.‬‬
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 ‫ﺿﺌﻴﻼً ﰲ ﺍﻟﻄﱠﺮﻳﻘﺔ ﺍﻟﺘﻲ ﻳﺤﻜﻢ ﺑﻬﺎ ﺭﺟﺎﻝ ﺍﻟﻴﻮﻡ ﻋﻠﻰ ﺍﳌﺮﺃﺓ ﺍﳌﻔﻀّﻠﺔ ﻟﺪﻳﻬﻢ‪،‬‬
‫ﻭﺗﻀﺎﻋﻒَ ﻫﺬﺍ ﺍﻟﻔﺮﻕ ﺑﺪﻭﺍﻡ ﺗﺄﺛﻴﺮﻩ ﻭﺑﺰﻳﺎﺩﺓ ﻋﺪﺩ ﺍﻟﺒﻴﻮﺕ ﺍﻟﺘﻲ ﻳﺘﻜﺮﱠﺭ ﻓﻴﻬﺎ‪ ،‬ﻳﻨﺘﺞ ﻋﻨﻪ‬
‫ﺗﻐﻴّﺮ ﺗﺎﺭﻳﺨﻲّ ﺿﺨﻢ ﺧﻼﻝ ﺛﻼﺛﲔ ﻋﺎﻣﺎً ﻣﻨﻈﻮﺭﺍً‪ .‬ﻭﻻ ﺃﺯﻋﻢ ﺑﺄﻱ ﺷﻜﻞ‪ ،‬ﺃﻥ ﻳﻜﻮﻥ ﺫﻟﻚ‬
‫ﺍﻟﺘﱠﺄﺛﻴﺮ ﺍﻟﻌﺎﻣﻞَ ﺍﻟﻬﺎﻡّ ﺍﻟﻮﺣﻴﺪ ﰲ ﺍﻟﺘﱠﺎﺭﻳﺦ‪ .‬ﻟﻜﻨﱠﻪ‪ ،‬ﻧﻌﻢ‪ ،‬ﻣﻦ ﺃﻛﺜﺮﻫﺎ ﻓﻌﺎﻟﻴﱠﺔ‪ .‬ﺗﺼﻮّﺭﻭﺍ ﺃﻥﱠ‬
‫ﳕﻮﺫﺝ ﺍﳌﺮﺃﺓ ﺍﻟﻌﺎﻡّ ﺍﳌﻔﻀﱠﻞ ﻟﺪﻯ ﺷﺒﱠﺎﻥ ﺍﻟﻴﻮﻡ ﺃﻛﺜﺮ ﺩﻳﻨﺎﻣﻴﱠﺔ ﻗﻠﻴﻼً ﺃﻭ ﻗﻠﻴﻼً ﺟﺪﱠﺍً ﻣﻦ‬
‫ﺍﻟﻨﱠﻤﻮﺫﺝ ﺍﻟﺬﻱ ﻛﺎﻥ ﻳﺤﺒّﻪ ﺟﻴﻞ ﺍﻵﺑﺎﺀ‪ .‬ﻓﺴﻮﻑ ﻳُﻠﻘﻰ ﺑﺎﻷﺑﻨﺎﺀ ﻣﻦ ﰒﱠ ﳓﻮ ﻭﺟﻮﺩٍ ﺃﻛﺜﺮ‬
‫ﻗﻠﻴﻼً ﺟﺮﺃﺓً ﻭﺇﻗﺪﺍﻣﺎً ﻭﺍﻣﺘﻼﺀً ﺑﺎﻟﺮﱠﻏﺒﺎﺕ ﻭﺍﳌﺒﺎﺩﺭﺍﺕ‪ .‬ﻓﻤﻬﻤﺎ ﻳﻜﻦ ﺻﻐﻴﺮﺍً ﺗﻐﻴﱡﺮ ﺍﳌﻴﻞ‬
‫ﺍﳊﻴﻮﻱّ ﺍﳌﻌﻤﱠﻢ ﻋﻠﻰ ﺍﳊﻴﺎﺓ ﺍﳌﺘﻮﺳّﻄﺔ ﻟﻸﻣﱠﺔ ﻛﻠﻬﺎ‪ ،‬ﻓﺴﻮﻑ ﻳﺠﻠﺐ ﺑﺸﻜﻞٍ ﻻ ﻓﻜﺎﻙ‬
‫ﻣﻨﻪ ﺗﺤﻮﱡﻻً ﺿﺨﻤﺎً ﰲ ﺇﺳﺒﺎﻧﻴﺎ‪.‬‬
‫ﻭﻳُﻼﺣﻆ ﺃﻥﱠ ﺍﻟﺮﱠﺟﻞ ﺍﳌﺘﻮﺳّﻂ ﺍﻟﻌﺎﺩﻱّ ﻫﻮ ﺍﻟﻌﻨﺼﺮ ﺍﳊﺎﺳﻢ ﰲ ﺗﺎﺭﻳﺦ ﻛ ّﻞ‬
‫ﺷﻌﺐ‪ ،‬ﻭﺑﻪ ﺗﺘﻌﻠﱠﻖ ﺻﺒﻐﺔ ﺍﳉﺴﻢ ﺍﻟﻮﻃﻨﻲّ‪ .‬ﻭﻻ ﺃﺭﻳﺪ ﺑﺬﻟﻚ‪ ،‬ﻭﻟﻮ ﻣﻦ ﺑﻌﻴﺪ‪ ،‬ﺃﻥ ﻧﻨﻔﻲ‬
‫ﺧﻼً ﻗﻮﻳﱠﺎً ﰲ ﻣﺼﺎﺋﺮ ﻋﺮﻕ ﻣﺎ‪ .‬ﻭﻣﻦ ﺩﻭﻧﻬﻢ ﻣﺎ‬ ‫ﻋﻦ ﺍﻷﻓﺮﺍﺩ ﺍﻟﻨﺨﺒﺔ ﻭﺍﻟﻮﺟﻮﻩ ﺍﳌﻤﻴﱠﺰﺓ ﺗﺪ ﱡ‬
‫ﻛﺎﻥ ﺷﻲﺀ ﻳﺴﺘﺤﻖّ ﺍﻻﻫﺘﻤﺎﻡ‪ .‬ﻟﻜﻦ‪ ،‬ﻣﻬﻤﺎ ﻳﻜﻦ ﺍﻣﺘﻴﺎﺯﻫﻢ ﻭﻛﻤﺎﻟﻬﻢ‪ ،‬ﻓﻠﻦ ﻳﻨﺸﻄﻮﺍ‬
‫ﺗﺎﺭﻳﺨﻴﱠﺎً ﺇﻻﱠ ﲟﻘﺪﺍﺭ ﻣﺎ ﻳﻄﺒﻌﻮﻥ ﺍﻹﻧﺴﺎﻥ ﺍﻟﻌﺎﺩﻱّ ﲟﺜﺎﻟﻬﻢ ﻭﺃﺛﺮﻫﻢ‪ .‬ﻭﻣﺎﺫﺍ ﺑﻮﺳﻌﻨﺎ ﺃﻥ‬
‫ﻧﻌﻤﻞ! ﻷﻥﱠ ﺍﻟﺘﱠﺎﺭﻳﺦ ﳑﻠﻜﺔ ﺍﻟﻌﺎﺩﻳﲔ ﻣﺘﻮﺳّﻄﻲ ﺍﻟﺸﱠﺄﻥ ﺑﻼ ﻫﻮﺍﺩﺓ‪ .‬ﻭﺣﺪﻫﺎ‬
‫‪) Humanidad‬ﺍﻹﻧﺴﺎﻧﻴﱠﺔ( ﻓﻴﻬﺎ ‪ H‬ﺑﺤﺮﻑ ﻛﺒﻴﺮ ﻧﺰﻳّﻨﻬﺎ ﺑﻪ ﻃﺒﺎﻋﻴﱠﺎً‪ .‬ﻭﺍﻟﻌﺒﻘﺮﻳﱠﺔ ﺍﻟﻜﺒﺮﻯ‬
‫ﺗﻨﻔﺠﺮ ﻣﺘﻨﺎﺛﺮﺓ ﺇﺯﺍﺀ ﺍﻟﻘﻮﱠﺓ ﺍﻟﻼﻣﺤﺪﻭﺩﺓ ﻟﻼﺑﺘﺬﺍﻝ؛ ﻭﺇﻥﱠ ﺍﻟﻜﺮﺓ ﺍﻷﺭﺿﻴﱠﺔ ﻣﺼﻨﻮﻋﺔ ﻛﻤﺎ‬
‫ﻳﺒﺪﻭ‪ ،‬ﻣﻦ ﺃﺟﻞ ﺃﻥ ﻳﺤﻜﻤﻬﺎ ﺍﻟﺮﱠﺟﻞ ﻣﺘﻮﺳّﻂ ﺍﻟﺸﱠﺄﻥ ﺩﺍﺋﻤﺎً‪ .‬ﻭﻟﻦ ﻳﺮﺗﻔﻊ ﺍﳌﺴﺘﻮﻯ‬
‫ﺍﳌﺘﻮﺳﱢﻂ ﰲ ﺭﺃﻳﻲ ﺃﺑﺪﺍً‪ ،‬ﻣﻦ ﻏﻴﺮ ﻭﺟﻮﺩ ﺭﺟﺎﻝٍ ﻗﺪﻭﺓ ﺃﻋﻠﲔ‪ ،‬ﻭﳕﺎﺫﺝ ﺗﺸﺪﱡ ﳓﻮ ﺍﻟﻌﻠﻴﺎﺀ‬
‫ﻋﻄﺎﻟﺔ ﺍﳉﻤﺎﻫﻴﺮ‪ .‬ﻟﺬﻟﻚ‪ ،‬ﻛﺎﻥ ﺍﳌﻬﻢّ ﺃﻥ ﻳﻜﻮﻥ ﺍﳌﺴﺘﻮﻯ ﺍﳌﺘﻮﺳﱢﻂ ﺃﻋﻠﻰ ﻣﺎ ﳝﻜﻦ‪ .‬ﻭﻣﺎ‬
‫ﻳﺠﻌﻞ ﺍﻷﻓﺮﺍﺩ ﺭﺍﺋﻌﲔ ﻟﻴﺲ ﺭﺟﺎﻻﺗﻬﻢ ﺍﻟﻜﺒﺎﺭ ﺃﻭﱠﻻً‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻣﺴﺘﻮﻯ ﻣﺘﻮﺳﻄﻲ ﺍﻟﺸﺄﻥ‬
‫ﺍﻟﺬﻳﻦ ﻻ ﻳُﺤﺼﻮﻥ‪ .‬ﻟﺬﻟﻚ ﻛﺎﻥ ﺗﺪﺧﱡﻞ ﺍﻟﺮﱠﺟﻞ ﺍﻟﻜﺒﻴﺮ ﺛﺎﻧﻮﻳﱠﺎً ﻭﻏﻴﺮ ﻣﺒﺎﺷﺮ ﻓﻘﻂ‪ .‬ﻟﻴﺴﻮﺍ‬
‫ﻫﻢ ﺍﻟﻮﺍﻗﻊ ﺍﻟﺘﱠﺎﺭﻳﺨﻲّ‪ ،‬ﻭﻗﺪ ﻳﺤﺪﺙ ﺃﻥ ﳝﺘﻠﻚ ﺷﻌﺐ ﺃﻓﺮﺍﺩﺍً ﻋﺒﺎﻗﺮﺓ ﻣﻦ ﻏﻴﺮ ﺃﻥ ﺗﻜﻮﻥ‬
‫ﺍﻷﻣﱠﺔ ﺑﺴﺒﺐ ﺫﻟﻚ ﺫﺍﺕ ﻭﺯﻥ ﺃﻛﺒﺮ ﺗﺎﺭﻳﺨﻴﱠﺎً‪ .‬ﻭﻫﺬﺍ ﻣﺎ ﻳﺤﺪﺙ ﻛﻠﱠﻤﺎ ﲤﺮﱠﺩ ﺍﳉﻤﻬﻮﺭ ﻋﻠﻰ‬
‫ﻫﺬﻩ ﺍﻟﻨﱠﻤﺎﺫﺝ ﺍﳌﺜﺎﻟﻴﱠﺔ‪ ،‬ﻓﻼ ﻳﺘﺒﻌﻬﻢ ﻭﻻ ﻳﺼﻞ ﺣﺪّ ﺍﻟﻜﻤﺎﻝ‪.‬‬
‫‪-٩٦-‬‬
 ‫ﻭﺍﻟﻄﱠﺮﻳﻒ ﺃﻥﱠ ﺍﳌﺆﺭﱢﺧﲔ ﺍﻫﺘﻤّﻮﺍ ﺣﺘﻰ ﻋﻬﺪ ﻗﺮﻳﺐ ﺍﻫﺘﻤﺎﻣﺎً ﻛﻠﻴﱠﺎً ﲟﺎ ﻫﻮ ﻓﺎﺋﻖ‬
‫ﻭﺑﺎﻟﻮﻗﺎﺋﻊ ﺍﳌﺪﻫﺸﺔ‪ .‬ﻭﻟﻢ ﻳﻠﺤﻈﻮﺍ ﺃﻥﱠ ﺫﻟﻚ ﻛﻠّﻪ ﳝﺘﻠﻚ ﻗﻴﻤﺔ ﺣﻜﺎﺋﻴﱠﺔ‪ ،‬ﺃﻭ ﻋﻠﻰ ﺍﻷﻏﻠﺐ‬
‫ﻗﻴﻤﺔ ﺟﺰﺋﻴﱠﺔ ﻓﻘﻂ‪ ،‬ﻭﺃﻥﱠ ﺍﻟﻮﺍﻗﻊ ﰲ ﺍﻟﺘﱠﺎﺭﻳﺦ ﻫﻮ ﺗﺤﺪﻳﺪﺍً ﺍﳌﺄﻟﻮﻑ ﺍﻟﻌﺎﺩﻱ‪ ،‬ﺃﻱ ﺍﶈﻴﻂ‬
‫ﺍﻟﻀﱠﺨﻢ ﺍﻟﺬﻱ ﻳﻐﺮﻕ ﰲ ﺑُﻌﺪﻩ ﺍﻟﻮﺍﺳﻊ ﻛﻞّ ﻣﺎ ﻫﻮ ﻏﻴﺮ ﻋﺎﺩﻱ ﻭﺑﺎﺭﺯ‪.‬‬
‫ﻭﺣﻴﺜﻤﺎ ﻳﺴُﺪِ ﺍﳌﺄﻟﻮﻑ ﺗﻜﻦِ ﺍﳌﺮﺃﺓ ﺍﻟﺘﻲ ﻫﻲ ﻧﻔﺴﻬﺎ "ﻳﻮﻣﻴﱠﺔ" ﺑﺪﺭﺟﺔ ﻛﺒﻴﺮﺓ‪،‬‬
‫ﻋﺎﻣﻼً ﻣﻦ ﺍﻟﻄﺮﺍﺯ ﺍﻷﻭﱠﻝ‪ .‬ﻓﺎﻟﺮﱠﺟﻞ ﺃﻛﺜﺮ ﻣﻴﻼً ﺩﺍﺋﻤﺎً ﺇﻟﻰ ﺍﳋﺎﺭﻕ ﻟﻠﻤﺄﻟﻮﻑ‪ ،‬ﻋﻠﻰ‬
‫ﺍﻷﻗﻞّ‪ ،‬ﻫﻮ ﻳﺤﻠﻢ ﺑﺎﳌﻐﺎﻣﺮﺓ ﻭﺍﻟﺘﱠﻐﻴﱡﺮ ﻭﲟﻮﺍﻗﻒ ﻣﺘﻮﺗّﺮﺓ ﻭﺻﻌﺒﺔ ﻭﺃﺻﻴﻠﺔ‪ .‬ﺃﻣﱠﺎ ﺍﳌﺮﺃﺓ‪،‬‬
‫ﻓﻌﻠﻰ ﺍﻟﻌﻜﺲ‪ ،‬ﺗﺸﻌﺮ ﺣﻘﱠﺎً ﺑﺴﺮﻭﺭ ﻏﺮﻳﺐ ﺑﺎﻟﻴﻮﻣﻲّ‪ .‬ﺇﻧﱠﻬﺎ ﺗﺴﺘﻘﺮّ ﰲ ﺍﳌﺄﻟﻮﻑ ﺍﻟﺜﱠﺎﺑﺖ‬
‫ﻭﲡﻌﻞ ﻣﻦ ﺍﻟﻴﻮﻡ ﺍﳊﺎﺿﺮ ﺃﻣﺲِ ﻣﺎ ﺍﺳﺘﻄﺎﻋﺖ‪ .‬ﻭﻗﺪ ﺑﺪﺍ ﻟﻲ ﺩﺍﺋﻤﺎً ﺣﻤﺎﻗﺔً ﺍﻟﻘﻮﻝُ ﺇﻥﱠ‬
‫ﺍﳌﺮﺃﺓ ﻣﺘﻘﻠّﺒﺔ ﻏﺎﻟﺒﺎً ‪ ،Souvent femme varie‬ﻭﻫﻮ ﺭﺃﻱ ﺻﺎﻏﻪ ﺑﺘﻌﺜّﺮ ﺍﻟﺮﺟﻞ ﺍﻟﻌﺎﺷﻖ‬
‫ﺍﻟﺬﻱ ﻟﻌﺒﺖ ﺑﻪ ﺍﳌﺮﺃﺓ ﻣﺪﱠﺓ ﻣﻦ ﺍﻟﺰﱠﻣﻦ‪ .‬ﻟﻜﻦﱠ ﻭﺟﻬﺔ ﻧﻈﺮ ﺍﻟﻌﺎﺷﻖ ﺍﻟﻐﺰِﻝ ﺫﺍﺕ ﺃﻓﻖ‬
‫ﻣﺤﺪﻭﺩ ﺟﺪﱠﺍً‪ .‬ﻓﺈﺫﺍ ﺗﺄﻣّﻠﻨﺎ ﺍﳌﺮﺃﺓ ﻣﻦ ﻣﺴﺎﻓﺔ ﻛﺒﻴﺮﺓ ﻭﺑﺮﺅﻳﺔ ﺻﺎﻓﻴﺔ ﻭﻧﻈﺮﺓ ﺧﺒﻴﺮ ﻧﺮﻯ‬
‫ﺃﻧﱠﻬﺎ ﲤﻴﻞ ﺑﺈﻓﺮﺍﻁ ﺇﻟﻰ ﺍﳌﻜﻮﺙ ﻓﻴﻤﺎ ﻫﻲ ﻓﻴﻪ ﻭﺗﺘﺠﺬﱠﺭ ﰲ ﺍﻟﻌُﺮﻑ ﻭﺍﻟﻔﻜﺮﺓ ﻭﺍﳌﻬﻤﱠﺔ‬
‫ﺍﻟﺘﻲ ﺃُﻧﻴﻄﺖ ﺑﻬﺎ؛ ﺑﺎﺧﺘﺼﺎﺭ‪ ،‬ﺇﻧﱠﻬﺎ ﲡﻌﻞ ﻣﻦ ﻛﻞﱢ ﺷﻲﺀ ﻋﺎﺩﺓ‪ .‬ﻭﻳﺒﻌﺚ ﻋﻠﻰ ﺍﻟﺘﱠﺄﺛﱡﺮ ﺳﻮﺀُ‬
‫ﺍﻟﻔﻬﻢ ﺍﻟﺪﱠﺍﺋﻢ ﺍﳌﻮﺟﻮﺩ ﺑﲔ ﺍﳉﻨﺴﲔ ﰲ ﻫﺬﻩ ﺍﻟﻨﱠﺎﺣﻴﺔ‪ :‬ﺍﻟﺮﱠﺟﻞ ﻳﺴﻌﻰ ﳓﻮ ﺍﳌﺮﺃﺓ ﻭﻛﺄﻧﱠﻪ‬
‫ﺫﺍﻫﺐ ﺇﻟﻰ ﺣﻔﻠﺔ‪ ،‬ﺃﻭ ﻣُﻘﺪﻡ ﻋﻠﻰ ﻧﺸﻮﺓ ﺃﻭ ﻏﻴﺒﻮﺑﺔ ﺗﻘﻄﻊ ﺭﺗﺎﺑﺔ ﺍﻟﻮﺟﻮﺩ‪ ،‬ﻓﻴﺠﺪ ﺩﺍﺋﻤﺎً‬
‫ﺗﻘﺮﻳﺒﺎً ﻛﺎﺋﻨﺎً ﻻ ﻳﺴﻌﺪﻩ ﺷﻲﺀ ﺳﻮﻯ ﺍﻻﻫﺘﻤﺎﻡ ﲟﻬﺎﻡ ﻳﻮﻣﻴﱠﺔ‪ ،‬ﺳﻮﺍﺀ ﺃﻛﺎﻥ ﺭﻓﻮ ﺍﻟﺜﻮﺏ‬
‫ﺍﻷﺑﻴﺾ ﺃﻡ ﺍﻟﺬﻫﺎﺏ ﺇﻟﻰ ﺍﻟﺮﱠﻗﺺ‪ .‬ﻭﺇﻥﱠ ﺍﻷﻣﺮ ﻫﻮ ﻛﺬﻟﻚ ﺣﺘﱠﻰ ﺃﻥﱠ ﺍﻹﺛﻨﻴﻴّﻦ ‪Etnicos‬‬
‫ﻳﺒﻴّﻨﻮﻥ ﻟﻨﺎ ﺑﺪﻫﺸﺔ ﻛﺒﻴﺮﺓ‪ ،‬ﺃﻥﱠ ﺍﻟﻌﻤﻞ ﻛﺎﻥ ﻣﻦ ﺍﺧﺘﺮﺍﻉ ﺍﳌﺮﺃﺓ؛ ﺍﻟﻌﻤﻞ‪ ،‬ﺃﻱ ﺍﳌﻬﻤﱠﺔ ﺍﻟﻴﻮﻣﻴﱠﺔ‬
‫ﺍﻟﻘﺴﺮﻳﱠﺔ‪ ،‬ﰲ ﻣﻘﺎﺑﻞ ﺍﳌﺒﺎﺩﺭﺓ ﻭﺍﳉﻬﺪ ﺍﻟﺮﻳﺎﺿﻲّ ﺍﳌﺘﻘﻄّﻊ‪ ،‬ﻭﺍﳌﻐﺎﻣﺮﺓ‪ .‬ﻟﺬﻟﻚ ﻛﺎﻧﺖ ﺍﳌﺮﺃﺓ‬
‫ﻣَﻦْ ﺧَﻠَﻖَ ﺍﻟﻮﻇﺎﺋﻒ ﻭﺍﻷﻋﻤﺎﻝ‪ :‬ﺇﻧﱠﻬﺎ ﺃﻭﱠﻝ ﻣﺰﺍﺭﻉ‪ ،‬ﻭﺃﻭﱠﻝ ﻣﺤﺼّﻞ ﻭﺃﻭﱠﻝ ﺻﺎﻧﻊ‬
‫ﻟﻠﺴﻴﺮﺍﻣﻴﻚ‪) .‬ﻟﻘﺪ ﺃﺩﻫﺸﻨﻲ ﺩﺍﺋﻤﺎً ﰲ ﺑﺤﺚ ﻏَﺮﻳﻐﻮﺭﻳﻮ ﻣﺎﺭﻧﻴﻮﻥ ﺍﳌﻌﻨﻮﻥ‪" :‬ﺍﳉﻨﺲ‬
‫ﻭﺍﻟﻌﻤﻞ" ﺃﻻ ﻳﻬﺘﻢ ﺑﻬﺬﻩ ﺍﻟﻮﺍﻗﻌﺔ ﺍﻷﻭﱠﻟﻴﱠﺔ ﻭﺍﳌﻠﺤﻮﻇﺔ ﺟﺪﱠﺍً(‪.‬‬
‫ﻓﺈﺫﺍ ﻣﺎ ﳌﺢ ﺍﳌﺮﺀ ﰲ ﺍﻟﻴﻮﻣﻲّ ﺍﻟﻘﻮﱠﺓ ﺍﳌﻬﻴﻤﻨﺔ ﰲ ﺍﻟﺘﱠﺎﺭﻳﺦ‪ ،‬ﻳﺴﺘﻄﻴﻊ ﺃﻥ ﻳﻔﻬﻢ‬
‫ﺍﻟﺘﱠﺄﺛﻴﺮ ﺍﻟﻀﱠﺨﻢ ﻟﻸﻧﻮﺛﺔ ﻋﻠﻰ ﺍﳌﺼﺎﺋﺮ ﺍﻟﻌﺮﻗﻴﱠﺔ‪ ،‬ﻭﻳﻬﺘﻢّ ﺑﺈﻓﺮﺍﻁ ﺑﺎﻟﻨﱠﻤﻮﺫﺝ ﺍﻟﺒﺎﺭﺯ ﰲ‬
‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺍﻟﺤﺏ ﻡ ‪٧-‬‬ ‫‪-٩٧-‬‬
 ‫ﻣﺎﺿﻲ ﺷﻌﺒﻨﺎ‪ ،‬ﺃﻱ ﺍﻟﻨّﻤﻮﺫﺝ ﺍﻟﺬﻱ ﺃﺧﺬ ﻳﻔﻀّﻠﻪ ﰲ ﻋﺼﺮﻧﺎ‪ .‬ﻭﺇﻧﱢﻲ ﺃﺩﺭﻙ ﻣﻊ ﺫﻟﻚ‪ ،‬ﺃ ﱠﻥ‬
‫ﻫﺬﺍ ﺍﻻﻫﺘﻤﺎﻡ ﻟﻴﺲ ﺷﺎﺋﻌﺎً ﺑﻴﻨﻨﺎ‪ ،‬ﻷﻧﱠﻨﺎ ﻋﻨﺪ ﻛﻼﻣﻨﺎ ﻋﻦ ﺍﳌﺮﺃﺓ ﺍﻹﺳﺒﺎﻧﻴﱠﺔ ﻳُﺤﻞّ ﻛﻞ‬
‫ﺷﻲﺀ ﺑﺬﻛﺮ ﺇﺭﺛﻨﺎ ﺍﻟﻌﺮﺑﻲّ ﻭﺗﺪﺧّﻞ ﺍﳋﻮﺭﻱ‪ .‬ﻭﻟﻦ ﺃﻧﺎﻗﺶ ﺍﻵﻥ ﺟﺎﻧﺐ ﺍﳊﻘﻴﻘﺔ ﺍﻟﻜﺎﻣﻦ‬
‫ﰲ ﻣﺜﻞ ﻫﺬﻩ ﺍﻷﻃﺮﻭﺣﺔ‪ .‬ﻭﺍﻋﺘﺮﺍﺿﻲ ﻋﻠﻰ ﺫﻟﻚ ﻣﺨﺘﺼﺮ ﻭﻳﻜﻤﻦ ﰲ ﻣﻼﺣﻈﺔ ﺃﻥﱠ‬
‫ﺍﻟﻨﱠﻤﻮﺫﺝ ﺍﻷﻧﺜﻮﻱ ﺍﻹﺳﺒﺎﻧﻲ ﺇﺫﺍ ﻓﺮﺿﻨﺎ ﺻﺤّﺔ ﻫﺬﻳﻦ ﺍﻟﻌﺎﻣﻠﲔ ﻓﻴﻪ‪ ،‬ﻧﺎﺗﺞ ﻛﻠّﻲ ﻋﻦ‬
‫ﺍﳌﺆﺛﱠﺮ ﺍﻟﺬﱠﻛﺮﻱ‪ ،‬ﺑﺎﻟﺘﱠﺎﻟﻲ ﻻ ﺗﺒﺪﻱ ﻫﺬﻩ ﺍﻷﻃﺮﻭﺣﺔ ﺷﻜﱠﺎً ﰲ ﺍﻟﺘﱠﺄﺛﻴﺮ ﺍﳌﺘﺒﺎﺩﻝ ﻟﻠﻤﺮﺃﺓ ﻋﻠﻰ‬
‫ﻧﻔﺴﻬﺎ ﻭﻋﻠﻰ ﺍﻟﺘﱠﺎﺭﻳﺦ ﺍﻟﻮﻃﻨﻲ‪.‬‬

‫‪VI‬‬

‫ﻣﺎ ﳕﻮﺫﺝ ﺍﳌﺮﺃﺓ ﺍﻟﺬﻱ ﻛﺎﻥ ﻳﻔﻀّﻠﻪ ﰲ ﺇﺳﺒﺎﻧﻴﺔ ﺍﳉﻴﻞ ﺍﻟﺴﱠﺎﺑﻖ ﻋﻠﻴﻨﺎ؟ ﻭﻣﺎ ﺫﺍﻙ‬
‫ﺍﻟﺬﻱ ﺃﺣﺒﺒﻨﺎﻩ ﳓﻦ؟ ﻭﻣﺎ ﺍﻟﻨﱠﻤﻮﺫﺝ ﺍﳌﺘﻮﻗﱠﻊ ﺍﻟﺬﻱ ﺳﻴﺨﺘﺎﺭﻩ ﺍﳉﻴﻞ ﺍﳉﺪﻳﺪ؟ ﺇﻧﱠﻪ‬
‫ﻣﻮﺿﻮﻉ ﺭﻗﻴﻖ ﻭﺩﻗﻴﻖ ﻭﺇﺷﻜﺎﻟﻲّ ﻛﻤﺎ ﻳﺠﺐ ﺃﻥ ﺗﻜﻮﻥ ﺍﳌﻮﺍﺿﻴﻊ ﺍﻟﺘﻲ ﻳُﻜﺘﺐ ﻋﻨﻬﺎ‪ .‬ﻭﻟِﻢَ‬
‫ﺍﻟﻜﺘﺎﺑﺔ ﺇﺫﺍ ﻟﻢ ﻳُﺘﺢ ﻟﻬﺬﻩ ﺍﻟﻌﻤﻠﻴﱠﺔ ﺍﻟﺴﱠﻬﻠﺔ ﻟﻠﻐﺎﻳﺔ ﺍﻟﻜﺎﻣﻨﺔ ﺑﺪﻓﻊ ﻗﻠﻢ ﻋﻠﻰ ﺍﻟﻮﺭﻕ‪ ،‬ﺷﻲﺀ‬
‫ﻣﻦ ﺍﳌﺨﺎﻃﺮﺓ ﺍﻟﺸّﺠﺎﻋﺔ‪ ،1‬ﻭﺇﺫﺍ ﻟﻢ ﻧﻘﺘﺮﺏ ﻣﻦ ﺃﻣﻮﺭ ﺧﻄﺮﺓ ﻃﺎﺭﺋﺔ ﻭﻣﻌﻀﻠﺔ؟ ﺃﺿﻒ‬
‫ﺇﻟﻰ ﺫﻟﻚ ﺃﻧﱠﻨﺎ ﰲ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ﺑﺼﺪﺩ ﻣﺴﺄﻟﺔ ﻫﺎﻣﱠﺔ ﺑﺈﻓﺮﺍﻁ؛ ﻭﻻ ﺃﻓﻬﻢ ﻟِﻢَ ﻟﻢ ﺗﻌﺎﻟﺞ‬
‫ﻫﻲ ﻭﻧﻈﺎﺋﺮﻫﺎ ﺍﻷﺧﺮﻯ ﺑﺸﻜﻞٍ ﺃﻋﻢّ‪ .‬ﳓﻦ ﻧﻨﺎﻗﺶ ﻃﻮﻳﻼً ﻗﺎﻧﻮﻧﺎً ﻣﺎﻟﻴﱠﺎً‪ ،‬ﺃﻭ ﻗﻮﺍﻋﺪ‬
‫ﺍﻟﺴﱠﻴﺮ‪ .‬ﰲ ﺍﳌﻘﺎﺑﻞ ﻻ ﺗﺸﺮﺡ ﻭﻻ ﺗُﺤﻠﱠﻞ ﺍﳌﻴﻮﻝ ﺍﻟﻌﺎﻃﻔﻴﱠﺔ ﺍﻟﺘﻲ ﺗﺤﻤﻞ ﺣﻴﺎﺓ ﻣﻌﺎﺻﺮﻳﻨﺎ‬
‫ﻛﻤﺎ ﺑﲔ ﺫﺭﺍﻋﻴﻬﺎ‪ .‬ﻭﻣﻊ ﺫﻟﻚ ﺗُﻘﻴﱠﺪ ﺍﳌﺆﺳﺴﺎﺕ ﺍﻟﺴﻴﺎﺳﻴﱠﺔ ﻭﲟﻘﻴﺎﺱ ﻏﻴﺮ ﺿﺌﻴﻞ‪،‬‬
‫ﺑﻨﻤﻮﺫﺝ ﺍﳌﺮﺃﺓ ﺍﳌﻬﻴﻤﻦ‪ ،‬ﻭﺇﻧﱠﻪ ﺃﻋﻤﻰ ﻣﻦ ﻻ ﻳﺠﺪ ﺭﺍﺑﻄﺎً ﻭﺛﻴﻘﺎً ﺑﲔ ﺍﻟﺒﺮﳌﺎﻥ ﺍﻹﺳﺒﺎﻧﻲّ‬
‫ﻋﺎﻡ ‪ ١٩١٠‬ﻣﺜﻼً‪ ،‬ﻭﳕﻮﺫﺝ ﺍﳌﺮﺃﺓ ﺍﻟﺬﻱ ﺣﺼﺮﻩ ﺳﻴﺎﺳﻴّﻮ ﺗﻠﻚ ﺍﻷﻳﺎﻡ ﰲ ﺍﻟﺸﺆﻭﻥ‬
‫ﺍﳌﻨﺰﻟﻴﱠﺔ‪ .‬ﻭﻟﻘﺪ ﺃﺭﺩﺕ ﺃﻥ ﺃﻛﺘﺐ ﻋﻦ ﺫﻟﻚ ﻛﻠّﻪ‪ ،‬ﺣﺘﱠﻰ ﻣﻊ ﺗﻮﻗّﻌﻲ ﺃﻥ ﺃﺧﻄﺊ ﰲ ﺗﺴﻌﺔ‬
‫ﺃﻋﺸﺎﺭ ﺭﺃﻳﻲ‪ .‬ﻟﻜﻦ ﻫﺬﻩ ﺍﻟﺘّﻀﺤﻴﺔ ﺑﺄﻥ ﻳﺨﻄﺊ ﺍﳌﺮﺀ ﺷﺮﻋﺎً ﻫﻲ ﺗﻘﺮﻳﺒﺎً ﺍﻟﻔﻀﻴﻠﺔ‬

‫)‪ taurom aquico (١‬ﰲ ﺍﻷﺻـﻞ‪ ،‬ﻧـﺴﺒﺔ ﺇﻟـﻰ ﻣـﺼﺎﺭﻋﺔ ﺍﻟﺜﻴـﺮﺍﻥ ﺍﻟﺘـﻲ ﺗﺤﺘـﺎﺝ ﺇﻟـﻰ ﺟﺮﻋـﺔ ﻛﺒﻴـﺮﺓ ﻣـﻦ‬
‫‪ -‬ﺍﳌﺘﺮﺟﻢ‪.‬‬ ‫ﺍﻟﺸّﺠﺎﻋﺔ‪.‬‬
‫‪-٩٨-‬‬
‫ﺍﻟﻌﺎﻣﱠﺔ ﺍﻟﻮﺣﻴﺪﺓ ﺍﻟﺘﻲ ﻳﺴﺘﻄﻴﻊ ﺃﻥ ﻳﻘﺪّﻣﻬﺎ ﺍﻟﻜﺎﺗﺐ ﳌﻦ ﻳﻌﺎﻳﺸﻬﻢ‪ .‬ﻭﻣﺎ ﺧﻼ ﺫﻟﻚ‬
‫ﺣﺮﻛﺎﺕ ﺳﻤﺴﺎﺭ ﻋﺎﺑﺜﺔ‪ ،‬ﺃﻭ ﺻﺎﺣﺐ ﻣﻘﻬﻰ‪ ،‬ﻭﺑﻄﻮﻻﺕ ﺗﺎﻓﻬﺔ ﻻ ﺗﻨﺸﺄ ﻣﻦ ﺍﳉﻬﺎﺯ‬
‫ﺍﳋﺎﺹّ ﺑﻮﻇﻴﻔﺘﻬﺎ‪ :‬ﻭﻫﻮ ﺍﻟﻌﻘﻞ )ﻣﻨﺬ ﻋﺸﺮ ﺳﻨﻮﺍﺕ ﻭﺍﻟﻜﺘﱠﺎﺏ ﺍﻹﺳﺒﺎﻥ ﻳﺒﺤﺜﻮﻥ ﰲ‬
‫ﺍﻟﺴّﻴﺎﺳﺔ ﻋﻦ ﺣﺠﱠﺔ ﻛﻴﻼ ﻳﻜﻮﻧﻮﺍ ﻋﻘﻼﺀ(‪ .‬ﻟﻜﻨّﻲ ﺃﺭﻳﺪ ﻗﺒﻞ ﺃﻥ ﺃﺣﺎﻭﻝ ﺭﺳﻢ ﺻﻮﺭ‬
‫ﺃﻧﺜﻮﻳﱠﺔ ﻣﻬﻴﻤﻨﺔ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﻌﺼﺮ ‪)-‬ﻣﺤﺎﻭﻟﺔ ﺗﺼﻠﺢ ﻟﻬﺎ ﺩﺭﺍﺳﺔ ﻣﻨﻔﺮﺩﺓ(‪ -‬ﺃﻥ ﺃﺻﻞ‬
‫ﺑﻔﻜﺮﺓ ﺍﻻﺧﺘﻴﺎﺭ ﰲ ﺍﳊﺐّ ﺇﻟﻰ ﻧﺘﻴﺠﺘﻬﺎ ﺍﻟﻘﺼﻮﻯ ﺫﺍﺕ ﺍﳌﺪﻯ ﺍﻟﻜﺒﻴﺮ‪.‬‬
‫ﻭﻟﻘﺪ ﺗﺤﻮﱠﻝ ﺍﻻﺧﺘﻴﺎﺭ ﰲ ﺍﳊﺐّ ﺇﻟﻰ ﺍﺻﻄﻔﺎﺀٍ ﺑﺎﻧﺘﻘﺎﻟﻪ ﻣﻦ ﺍﻟﻔﺮﺩ ﺍﳌﻔﺮﺩ ﺇﻟﻰ‬
‫ﺟﻤﻬﻮﺭ ﺟﻴﻞ‪ .‬ﻭﺗﺼﺐّ ﻓﻜﺮﺗﻨﺎ ﰲ ﻓﻜﺮﺓ ﺩﺍﺭﻭﻳﻦ ﺍﻟﻜﺒﻴﺮﺓ )ﺍﻻﺻﻄﻔﺎﺀ ﺍﳉﻨﺴﻲّ(‪ ،‬ﻭﻫﻮ‬
‫ﺍﻟﻘﻮﱠﺓ ﺍﻟﻌﻈﻤﻰ ﺍﻟﺘﻲ ﺗﺴﺎﻫﻢ ﰲ ﺗﺸﻜﻴﻞ ﺃﺷﻜﺎﻝ ﺑﻴﻮﻟﻮﺟﻴﱠﺔ ﺟﺪﻳﺪﺓ‪ .‬ﻭﺟﺪﻳﺮ ﺑﺎﳌﻼﺣﻈﺔ‬
‫ﺃﻥﱠ ﻫﺬﻩ ﺍﻟﻔﻜﺮﺓ ﺍﻟﺮﱠﺍﺋﻌﺔ ﻣﺎ ﻛﺎﻥ ﺑﺎﳌُﺴﺘﻄﺎﻉ ﺗﻄﺒﻴﻘُﻬﺎ ﺑﺨﺼﻮﺑﺔ ﻋﻠﻰ ﺍﻟﺘﱠﺎﺭﻳﺦ ﺍﻟﺒﺸﺮﻱّ‪:‬‬
‫ﻟﻘﺪ ﻇﻠﱠﺖ ﻣﻘﺼﻮﺭﺓ ﻋﻠﻰ ﺍﻟﺰﺭﻳﺒﺔ ﻭﺍﳊﻈﻴﺮﺓ ﻭﺍﻟﻐﺎﺑﺔ‪ .‬ﻭﻛﺎﻧﺖ ﺗﺤﺘﺎﺝ ﺇﻟﻰ ﺩﻭﻻﺏ ﻛﻴﻤﺎ‬
‫ﺗﺆﺩّﻱ ﻭﻇﻴﻔﺘﻬﺎ ﻛﻔﻜﺮﺓ ﺗﺎﺭﻳﺨﻴﱠﺔ‪ .‬ﻭﺍﻟﺘﱠﺎﺭﻳﺦ ﺍﻟﺒﺸﺮﻱّ ﺩﺭﺍﻣﺎ ﺩﺍﺧﻠﻴﱠﺔ‪ :‬ﺗﺤﺪﺙ ﺩﺍﺧﻞ‬
‫ﺍﻟﻨّﻔﻮﺱ‪ .‬ﻭﻛﺎﻥ ﻳﺠﺐ ﺃﻥ ﻳُﻨﻘﻞ ﺍﻻﺻﻄﻔﺎﺀ ﺍﳉﻨﺴﻲّ ﺇﻟﻰ ﻫﺬﺍ ﺍﳌﺴﺮﺡ ﺍﳊﻤﻴﻢ‪.‬‬
‫ﻭﻟﺴﻮﻑ ﻧﺮﻯ ﺍﻵﻥ ﺃﻥﱠ ﻫﺬﺍ ﺍﻻﺻﻄﻔﺎﺀ ﻟﺪﻯ ﺍﻹﻧﺴﺎﻥ ﻳﺼﻨﻌﻪ ﺍﻻﺧﺘﻴﺎﺭ‪ ،‬ﻭﺃﻥﱠ ﻫﺬﺍ‬
‫ﺍﻻﺧﺘﻴﺎﺭ ﺗﺤﻜﻤﻪ ﻣُﺜﻞٌ ﻋﻠﻴﺎ ﻋﻤﻴﻘﺔ ﻣﺘﺨﻤّﺮﺓ ﰲ ﺃﻋﻤﻖ ﺃﻏﻮﺍﺭ ﺍﻟﺸﱠﺨﺼﻴﱠﺔ‪.‬‬
‫ﻭﻓﻜﺮﺓ ﺩﺍﺭﻭﻳﻦ ﻳﻨﻘﺼﻬﺎ ﻫﺬﺍ ﺍﻟﺪّﻭﻻﺏ ﻭﻳﻔﻴﺾ ﻋﻨﻬﺎ ﺩﻭﻻﺏ ﺁﺧﺮ‪ :‬ﰲ‬
‫ﺍﻻﺻﻄﻔﺎﺀ ﺍﳉﻨﺴﻲّ ﻳُﺨﺘﺎﺭ ﻭﻳُﻔﻀّﻞ ﺍﻷﺣﺴﻦ ﺗﻜﻴﱡﻔﺎً‪ .‬ﻭﻓﻜﺮﺓ ﺍﻟﺘﱠﻜﻴﱡﻒ ﻫﺬﻩ ﻫﻲ‬
‫ﺍﻟﺪﻭﻻﺏ ﺍﻟﻔﺎﺋﺾ‪ .‬ﺇﻧﱠﻨﺎ‪ ،‬ﻛﻤﺎ ﻫﻮ ﻣﻌﻠﻮﻡ‪ ،‬ﺇﺯﺍﺀ ﺗﻔﻜﻴﺮ ﻏﺎﻣﺾ ﻏﻴﺮ ﻣﺤﺪﱠﺩ‪ .‬ﻓﻤﺘﻰ ﺗﻜﻮﻥ‬
‫ﻋﻀﻮﻳّﺔ ﻣﺎ ﻣُﺘﻜﻴّﻔﺔ ﺑﺸﻜﻞٍ ﺟﻴﱢﺪ ﻧﻮﻋﻴﱠﺎً؟ ﺃﻭ ﻟﻴﺴﺖ ﺍﻟﻌﻀﻮﻳﺎﺕ ﻛﻠّﻬﺎ ﻛﺬﻟﻚ ﻣﺎ ﻋﺪﺍ‬
‫ﺍﳌﺮﻳﻀﺔ ﻣﻨﻬﺎ؟ ﺃﻭَﻻ ﳝﻜﻨﻨﺎ ﺍﻟﻘﻮﻝ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‪ ،‬ﺇﻥﱠ ﺃﻳﱠﺎً ﻣﻨﻬﺎ ﻟﻴﺲ ﻣﺘﻜﻴّﻔﺎً ﺑﺸﻜﻞ‬
‫ﻛﺎﻣﻞ؟ ﺇﻟﺦ‪ ،‬ﺇﻟﺦ‪ .‬ﻭﻻ ﻳﻌﻨﻲ ﺫﻟﻚ ﺃﻧّﻲ ﺃﻛﺮﻩ ﻣﺒﺪﺃ ﺍﻟﺘﱠﻜﻴﱡﻒ ﺍﻟﺬﻱ ﻣﻦ ﺩﻭﻧﻪ ﻻ ﳝﻜﻦ‬
‫ﺍﻟﺘﱠﺤﺮﱡﻙ ﻗُﺪُﻣﺎً ﰲ ﺍﻟﺒﻴﻮﻟﻮﺟﻴﺎ‪ .‬ﻟﻜﻦ‪ ،‬ﻳﺠﺐ ﺇﻋﻄﺎﺅﻩ ﺃﺷﻜﺎﻻً ﺃﻋﻘﺪ ﻭﺃﺩﻕّ ﻛﺜﻴﺮﺍً ﻣﻦ‬
‫ﺍﻷﺷﻜﺎﻝ ﺍﻟﺘﻲ ﺃﻋﻄﺎﻫﺎ ﻟﻪ ﺩﺍﺭﻭﻳﻦ‪ ،‬ﻭﺑﺨﺎﺻّﺔ‪ ،‬ﻳﺠﺐ ﻭﺿﻌﻪ ﰲ ﻣﺮﻛﺰ ﺛﺎﻧﻮﻱ‪ .‬ﻷﻥﱠ‬
‫ﺗﻌﺮﻳﻒ ﺍﳊﻴﺎﺓ ﺑﺄﻧﱠﻬﺎ ﺗﻜﻴﱡﻒ ﺃﻣﺮ ﺯﺍﺋﻒ‪ .‬ﻟﻜﻦ‪ ،‬ﻻ ﳝﻜﻦ ﺍﻟﺒﻘﺎﺀ ﰲ ﺍﳊﻴﺎﺓ ﻣﻦ ﻏﻴﺮ‬
‫ﻣﻘﺪﺍﺭ ﺃﺩﻧﻰ ﻣﻦ ﻫﺬﺍ ﺍﻟﺘﱠﻜﻴﱡﻒ؛ ﻟﻜﻦ ﺍﳌﺪﻫﺶ ﰲ ﺍﳊﻴﺎﺓ ﺃﻧﱠﻬﺎ ﺗﺨﻠﻖ ﺃﺷﻜﺎﻻً ﺟﺮﻳﺌﺔ‬
‫‪-٩٩-‬‬
 ‫ﻭﺟﺴﻮﺭﺓ ﻟﻠﻐﺎﻳﺔ ﻏﻴﺮ ﻣﻜﻴﱠﻔﺔ ﰲ ﺍﻟﺒﺪﺀ‪ ،‬ﻭﺍﻟﺘﻲ ﺗﻨﺘﻈﻢ ﻣﻊ ﺫﻟﻚ ﻟﺘﺘﻜﻴﱠﻒ ﻣﻊ ﻣﻘﺪﺍﺭ ﺃﺩﻧﻰ‬
‫ﻣﻦ ﺍﻟﺸﺮﻭﻁ‪ ،‬ﻭﺗﺴﺘﻄﻴﻊ ﺍﻟﺒﻘﺎﺀ ﻋﻠﻰ ﻗﻴﺪ ﺍﳊﻴﺎﺓ؛ ﺑﺸﻜﻞ ﳝﻜﻦ ﻭﻳﺠﺐ ﺃﻥ ﻳُﺪﺭﺱ ﻛﻞّ‬
‫ﻧﻮﻉ ﺣﻲّ ﺍﻧﻄﻼﻗﺎً ﻣﻦ ﻭﺟﻬﲔ ﻣﺘﻌﺎﻛﺴﲔ‪ :‬ﺃﻭﱠﻻً‪ ،‬ﻛﻈﺎﻫﺮﺓ ﺗَﺮَﻓﻴﱠﺔ ﻣﻦ ﻋﺪﻡ ﺍﻟﺘﱠﻜﻴﱡﻒ‬
‫ﻭﺍﻟﻨﱠﺰﻭﺓ‪ ،‬ﰒﱠ ﺛﺎﻧﻴﺎً‪ ،‬ﻛﻤﻴﻜﺎﻧﻴﺰﻡ ﺑﺎﺭﻉ ﻣﻦ ﺍﻟﺘﱠﻜﻴﱡﻒ‪ .‬ﻭﻳﺨﻴّﻞ ﺇﻟﻲﱠ ﺃﻥﱠ ﺍﳊﻴﺎﺓ ﻟﺪﻯ ﻛﻞّ ﻧﻮﻉ‬
‫ﺗﻄﺮﺡ ﻣﺸﻜﻠﺔ ﻋﻠﻰ ﻧﻔﺴﻬﺎ ﺫﺍﺕ ﻣﻈﻬﺮ ﻏﻴﺮ ﻗﺎﺑﻞ ﻟﻠﺤﻞّ‪ ،‬ﻛﻴﻤﺎ ﺗُﺴﺮّ ﺑﺤﻠﱢﻬﺎ ﻫﻲ‬
‫ﻧﻔﺴﻬﺎ‪ ،‬ﺑﺜﺮﺍﺀ ﻭﺃﻧﺎﻗﺔ ﻋﻠﻰ ﺷﻜﻞ ﻋﺎﻡ‪ ،‬ﺇﻟﻰ ﺣﺪّ ﺃﻥﱠ ﺍﳌﺮﺀ ﺇﺫﺍ ﺩﺭﺱ ﺍﻷﺷﻜﺎﻝ ﺍﳊﻴﱠﺔ‪،‬‬
‫ﻳﻨﻈﺮ ﺣﻮﺍﻟﻴﻪ ﰲ ﻋﺮﺽ ﺍﻷﻛﻮﺍﻥ ﺑﺎﺣﺜﺎً ﻋﻦ ﻣﺸﺎﻫﺪ ﻓﻬﻴﻢ ﲟﻘﺘﻀﻰ ﺗﺼﻔﻴﻘﻪ ﺗﺄﺧﺬ‬
‫)ﺍﻟﻄﱠﺒﻴﻌﺔ( ﻋﻠﻰ ﻋﺎﺗﻘﻬﺎ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺍﳌﻔﺮِﺡ‪.‬‬
‫ﻭﺇﻧﱠﻨﺎ ﳒﻬﻞ ﺟﻬﻼً ﻛﺎﻣﻼً ﺍﻷﻫﺪﺍﻑ ﺍﻟﺘﻲ ﺗﻮﺟّﻪ ﺍﻻﺻﻄﻔﺎﺀ ﺍﳉﻨﺴﻲّ ﻟﺪﻯ ﺍﻟﻨﱠﻮﻉ‬
‫ﺍﻟﺒﺸﺮﻱّ‪ .‬ﺇﻧﱠﻤﺎ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﻜﺘﺸﻒ ﻧﺘﺎﺋﺞ ﺟﺰﺋﻴﱠﺔ ﻓﺤﺴْﺐ‪ ،‬ﻭﻧﻄﺮﺡ ﻋﻠﻰ ﺃﻧﻔﺴﻨﺎ‬
‫ﺃﺳﺌﻠﺔ ﻏﻴﺮ ﻣﺘﺤﻔّﻈﺔ ﺑﺸﻜﻞ ﻟﺬﻳﺬ‪ .‬ﻛﻬﺬﺍ ﺍﻟﺴﺆﺍﻝ ﻣﺜﻼً‪ :‬ﻫﻞ ﺃﺗﻰ ﻋﺼﺮ ﻃﺒﻴﻌﻲّ‬
‫ﺍﺧﺘﺎﺭﺕ ﺍﳌﺮﺃﺓ ﳕﻮﺫﺝ ﺍﻟﺮﱠﺟﻞ ﺍﻷﻓﻀﻞ ﻓﻴﻪ؟ ﻣﺎ ﺇﻥ ﻧﻄﺮﺡ ﺍﻟﺴﱡﺆﺍﻝ ﺣﺘﱠﻰ ﻧﻠﻤﺢ‬
‫ﺍﻻﺯﺩﻭﺍﺟﻴﱠﺔ ﺍﳋﻄﻴﺮﺓ‪ .‬ﻷﻥﱠ ﺍﻟﺮﱠﺟﻞ ﺍﻷﻓﻀﻞ ﻛﻤﺎ ﻳﺮﺍﻩ ﺍﻟﺮﱠﺟﻞ‪ ،‬ﻭﺍﻟﺮﱠﺟﻞ ﺍﻷﻓﻀﻞ ﻛﻤﺎ‬
‫ﺗﺮﺍﻩ ﺍﳌﺮﺃﺓ ﻻ ﻳﺘﻄﺎﺑﻘﺎﻥ‪ .‬ﻭﻫﻨﺎﻙ ﺷﻜﻮﻙ ﺣﺎﺩﱠﺓ ﰲ ﺃﻧﱠﻬﻤﺎ ﻟﻢ ﻳﺘﻄﺎﺑﻘﺎ ﻗﻂّ‪.‬‬
‫ﻟﻨﻘﻞْ ﺫﻟﻚ ﺑﻜﻞﱢ ﺟﻔﺎﺀ‪ :‬ﺇﻥﱠ ﺍﳌﺮﺃﺓ ﻻ ﺗﻬﺘﻢّ ﺑﺎﻟﻌﺒﺎﻗﺮﺓ ﻗﻂ‪ ،‬ﺇﻥ ﻟﻢ ﻳﻜﻦ ﺑﺎﳌﺼﺎﺩﻓﺔ؛‬
‫ﺃﻱ‪ ،‬ﺇﺫﺍ ﺃﺿﻴﻔﺖ ﺇﻟﻰ ﻋﺒﻘﺮﻳّﺔ ﺍﻟﺮﱠﺟﻞ ﺷﺮﻭﻁ ﺗﺘﻮﺍﻓﻖ ﻗﻠﻴﻼً ﻣﻊ ﺍﻟﻌﺒﻘﺮﻳﱠﺔ‪ .‬ﻭﺍﻟﺜﱠﺎﺑﺖ ﺃﻥﱠ‬
‫ﺍﻟﺼﱢﻔﺎﺕ ﺍﻟﺘﻲ ﺗُﻘﺪﱠﺭ ﺃﻛﺜﺮ ﳑﱠﺎ ﺗُﻘﺪﱠﺭ ﰲ ﺍﻟﺮﱠﺟﻞ ﻷﺛﺮﻫﺎ ﰲ ﺍﻟﺘﱠﻘﺪﱡﻡ ﻭﺍﻟﻌﻈﻤﺔ ﺍﻟﺒﺸﺮﻳّﲔ‬
‫ﻻ ﺗﻬﻢّ ﺍﳌﺮﺃﺓ ﰲ ﺷﻲﺀ ﻏﺮﺍﻣﻴﱠﺎً‪ .‬ﻭﻗﺪ ﻳُﻘﺎﻝ ﻟﻲ‪ :‬ﻭﻣﺎﺫﺍ ﻳﻬﻢّ ﺍﻣﺮﺃﺓ ﺃﻥ ﻳﻜﻮﻥ ﺭﺟﻞ ﻋﺎﻟﻢَ‬
‫ﺭﻳﺎﺿﻴﱠﺎﺕ ﻛﺒﻴﺮﺍً‪ ،‬ﺃﻭ ﻓﻴﺰﻳﺎﺋﻴﱠﺎً ﻛﺒﻴﺮﺍً‪ ،‬ﺃﻭ ﺳﻴﺎﺳﻴﱠﺎً ﻛﺒﻴﺮﺍً؟ ﻭﻫﻜﺬﺍ ﻋﻠﻰ ﺍﻟﺘﱠﻮﺍﻟﻲ‪ :‬ﺇﻥﱠ ﻛﻞّ‬
‫ﺍﳌﻮﺍﻫﺐ ﺍﻟﺬﻛﺮﻳﺔ ﻧﻮﻋﻴﱠﺎً ﻭﺍﳉﻬﻮﺩ ﺍﻟﺘﻲ ﻭﻟﱠﺪﺕ ﺍﻟﺜﻘﺎﻓﺔ ﻭﺿﺨّﻤﺘﻬﺎ ﻭﺗﺒﻌﺚ ﻋﻠﻰ‬
‫ﺍﻹﻋﺠﺎﺏ ﺍﻟﺬﱠﻛﺮﻱّ ﻣﻌﺪﻭﻣﺔ ﺍﻟﻘﻴﻤﺔ ﰲ ﺫﺍﺗﻬﺎ ﻣﻦ ﺃﺟﻞ ﺟﺬﺏ ﺍﳌﺮﺃﺓ‪ .‬ﻭﺇﺫﺍ ﺑﺤﺜﻨﺎ ﰲ‬
‫ﺍﳌﻘﺎﺑﻞ‪ ،‬ﻋﻦ ﺍﻟﺼﻔﺎﺕ ﺍﻟﺘﻲ ﺗﺒﻌﺚ ﺍﳊﺐّ ﻓﻴﻬﺎ ﳒﺪ ﺃﻧﱠﻬﺎ ﺃﻗﻞّ ﺍﻟﺼﻔﺎﺕ ﺧﺼﻮﺑﺔ ﻣﻦ‬
‫ﺃﺟﻞ ﻛﻤﺎﻝ ﺍﻟﻨﱠﻮﻉ ﺍﻟﻌﺎﻡ‪ ،‬ﻭﻫﻲ ﺃﻗﻞّ ﻣﺎ ﻳﻬﺘﻢّ ﺑﻪ ﺍﻟﺮﱢﺟﺎﻝ‪ .‬ﻭﺍﻟﻌﺒﻘﺮﻳﱠﺔ ﻟﻴﺴﺖ "ﺭﺟﻼً‬
‫ﺟﺬﱠﺍﺑﺎً" ﺣﺴﺐ ﺍﳌﺮﺃﺓ‪ ،‬ﻭﺍﻟﻌﻜﺲ ﺻﺤﻴﺢ‪" ،‬ﺍﻟﺮﱠﺟﻞ ﺍﳉﺬﱠﺍﺏ" ﻻ ﻳﻬﻢّ ﺍﻟﺮﱢﺟﺎﻝ‪.‬‬
‫ﻭﻧﺎﺑﻠﻴﻮﻥ ﻫﻮ ﺍﳌﺜﺎﻝ ﺍﳌﺘﻄﺮّﻑ ﻋﻠﻰ ﻋﺪﻡ ﺗﺄﺛﻴﺮ ﺍﻟﺮﱠﺟﻞ ﺍﻟﻌﻈﻴﻢ ﻋﻠﻰ ﺍﳌﺮﺃﺓ‪.‬‬
‫ﻭﳓﻦ ﻧﻌﺮﻑ ﺣﻴﺎﺗﻪ ﺩﻗﻴﻘﺔ ﻓﺪﻗﻴﻘﺔ‪ .‬ﻭﻟﺪﻳﻨﺎ ﻻﺋﺤﺔ ﻛﺎﻣﻠﺔ ﺑﺘﻘﺮّﺑﺎﺗﻪ ﻣﻦ ﺍﻷﻧﻮﺛﺔ‪ .‬ﻓﻤﺎ‬
‫‪-١٠٠-‬‬
 ‫ﻛﺎﻧﺖ ﺗﻨﻘﺺ ﻧﺎﺑﻠﻴﻮﻥ ﺳﻼﻣﺔ ﺑﺪﻧﻴﱠﺔ‪ .‬ﰲ ﺷﺒﺎﺑﻪ ﻛﺎﻧﺖ ﺗﻀﻔﻲ ﻋﻠﻴﻪ ﳓﺎﻓﺘﻪ ﺍﳊﺎﺩﱠﺓ‬
‫ﻫﻴﺌﺔ ﻟﻄﻴﻔﺔ ﻟﺜﻌﻠﺐ ﻛﻮﺭﺳﻴﻜﻲ ﻧﺎﻋﻢ‪ ،‬ﰒﱠ ﺗﻜﻮﱠﺭ ﺇﻣﺒﺮﺍﻃﻮﺭﺍً‪ .‬ﻭﻛﺎﻥ ﺭﺃﺳﻪ ﻣﻦ ﺃﺟﻤﻞ‬
‫ﺍﻟﺮﺅﻭﺱ ﻣﻦ ﻭﺟﻬﺔ ﻧﻈﺮ ﺫﻛﺮﻳﱠﺔ‪ .‬ﺣﺘﱠﻰ ﺷﻜﻠﻪ ﺍﳉﺴﺪﻱّ ﺃﺛﺎﺭ ﺣﻤﺎﺱ ﺍﻟﻔﻨﱠﺎﻧﲔ‬
‫ﻭﺧﻴﺎﻟﻬﻢ‪ :‬ﻣﻦ ﺭﺳﱠﺎﻣﲔ ﻭﳓﱠﺎﺗﲔ ﻭﺷﻌﺮﺍﺀ ‪ -‬ﻭﻛﺎﻥ ﲟﺴﺘﻄﺎﻉ ﺍﻟﻨﺴﺎﺀ ﺣﻘﱠﺎً ﺃﻥ ﻳُﻌﺠﱭَ‬
‫ﺑﻪ ﻗﻠﻴﻼً‪ .‬ﻟﻜﻦ‪ ،‬ﻻ ﺷﻲﺀ ﻣﻦ ﺫﻟﻚ ﻗﺪ ﺣﺼﻞ‪ :‬ﺇﺫْ ﳝﻜﻦ ﺍﻟﺘﱠﺄﻛﻴﺪ‪ ،‬ﻣﻊ ﺍﺣﺘﻤﺎﻝٍ ﻛﺒﻴﺮ‬
‫ﺑﻘﻮﻝ ﺍﳊﻘﻴﻘﺔ‪ ،‬ﺃﻥ ﺃﻳﱠﻤﺎ ﺍﻣﺮﺃﺓ ﻟﻢ ﺗﻌﺸﻖ ﻧﺎﺑﻠﻴﻮﻥ ﺳﻴﱢﺪ ﺍﻟﻌﺎﻟﻢ‪ .‬ﻓﻜﻦّ ﻳﺤﺴﺴﻦ ﻗﺮﺑﻪ‬
‫ﺑﺎﻟﻘﻠﻖ ﻭﺍﻟﻐﻢّ ﻭﺍﻟﻀّﻴﻖ‪ .‬ﻭﻛﻦﱠ ﻳﻔﻜﱢﺮﻥ ﺟﻤﻴﻌﺎً ﰲ ﻣﺎ ﻛﺎﻧﺖ ﺗﻘﻮﻝ ﺟﻮﺳﻴﻔﲔ ‪josefine‬‬
‫ﺑﺼﺪﻕ ﻋﻨﻪ‪.‬ﻓﺒﻴﻨﻤﺎ ﻛﺎﻥ ﺍﳉﻨﺮﺍﻝ ﺍﻟﺸﱠﺎﺏّ ﺍﳌﻐﺮﻡ ﻳﻠﻘﻲ ﰲ ﺣﻀﻦ ﻫﺬﻩ ﺑﺎﳉﻮﺍﻫﺮ‬
‫ﻭﺍﳌﻼﻳﲔ ﻭﺃﻋﻤﺎﻝ ﺍﻟﻔﻦّ‪ ،‬ﻭﺑﺎﳌﻘﺎﻃﻌﺎﺕ ﻭﺍﻟﺘﻴﺠﺎﻥ‪ ،‬ﻛﺎﻧﺖ ﻫﺬﻩ ﺗﺨﻮﻧﻪ ﻣﻊ ﺃﻭﱠﻝ ﺃﻓﱠﺎﻕ‬
‫ﻳﻄﺮﺃ‪ .‬ﻭﻛﺎﻧﺖ ﺗﺼﻴﺢ ﻋﻨﺪ ﺗﻠﻘّﻴﻬﺎ ﻫﺬﻩ ﺍﻟﻜﻨﻮﺯ‪:‬‬
‫"‪ =il est drôle, ce Bonaparte‬ﻣﻀﺤﻚ ﻫﺬﺍ ﺍﻟﺒﻮﻧﺎﺑﺮﺕ"‬
‫ﻭﻟﺴﺎﻧﻬﺎ ﻳﻨﺰﻟﻖ ﻣﻦ ﻓﻮﻕ ﺣﺮﻑ ‪ R‬ﻭﺗﺸﺪّﺩ ﻋﻠﻰ ‪ 1L‬ﻛﻌﺎﺩﺓ ﺍﳌﻮﻟّﺪﺍﺕ‬
‫ﺍﻟﻔﺮﻧﺴﻴﱠﺎﺕ‪.‬‬
‫ﻭﻳﺸﻖّ ﻋﻠﻴﻨﺎ ﻣﻼﺣﻈﺔ ﻏﻴﺎﺏ ﺍﳊﺮﺍﺭﺓ ﺍﻷﻧﺜﻮﻳﱠﺔ ﺍﻟﺘﻲ ﺍﻋﺘﺎﺩ ﺃﻥ ﻳﻌﻴﺶ ﻓﻴﻬﺎ‬
‫ﺍﻟﺮﱢﺟﺎﻝ ﺍﻟﻌﻈﻤﺎﺀ ﺍﳌﺴﺎﻛﲔ‪ :‬ﻭﻳُﺨﻴﱠﻞ ﺇﻟﻰ ﺍﳌﺮﺀ ﺃﻥّ َﺍﻟﻌﺒﻘﺮﻳﱠﺔ ﺗﺮﻫﺐ ﺍﳌﺮﺃﺓ‪ .‬ﻭﺍﻻﺳﺘﺜﻨﺎﺀﺍﺕ‬
‫ﺗﺒﺮﺯ ﺻﺤّﺔ ﺍﻟﻮﺍﻗﻌﺔ‪ .‬ﻭﻫﺬﻩ ﺍﻟﻮﺍﻗﻌﺔ ﺍﻟﻮﺍﺿﺤﺔ ﺑﺬﺍﺗﻬﺎ ﺗﺒﺪﻭ ﺟﺎﺭﺣﺔ ﺃﻛﺜﺮ ﺇﺫﺍ ﺣﺪﺛﺖ‬
‫ﻓﻴﻬﺎ ﻋﻤﻠﻴﱠﺔ ﻣﻀﺎﻋﻔﺔ ﻳﺘﻄﻠّﺒﻬﺎ ﺍﻟﻮﺍﻗﻊ‪ .‬ﻭﺃﻧﺎ ﺃﺷﻴﺮ ﺇﻟﻰ ﻣﺎ ﻳﻠﻲ‪ :‬ﻳﺠﺐ ﺃﻥ ﳕﻴّﺰ ﰲ‬
‫ﻋﻤﻠﻴّﺔ ﺍﳊﺐّ ﳊﻈﺘﲔ ﻳﻌﻜّﺮ ﺍﺿﻄﺮﺍﺑﻬﻤﺎ ﻋﻠﻢ ﻧﻔﺲ ﺍﳊﺐّ ﻣﻦ ﺍﻟﺒﺪﺍﻳﺔ ﺣﺘﱠﻰ ﺍﻟﻨﻬﺎﻳﺔ‪.‬‬
‫ﻭﻟﻜﻲ ﺗﺤﺐ ﺍﻣﺮﺃﺓ ﺭﺟﻼً‪ ،‬ﺃﻭ ﺍﻟﻌﻜﺲ‪ ،‬ﻳﺠﺐ ﺃﻥ )ﺗﺮﻛّﺰ( ﻣﻦ ﻗﺒﻞُ‪ ،‬ﻋﻠﻴﻪ‪ .‬ﻭﻫﺬﺍ ﺍﻟﺘﱠﺮﻛﻴﺰ‬
‫ﻣﺎ ﻫﻮ ﻏﻴﺮ ﺗﻜﺜﻴﻒ ﺍﻻﻧﺘﺒﺎﻩ ﻋﻠﻰ ﺍﻟﺸﱠﺨﺺ‪ ،‬ﺍﻟﺬﻱ ﻳﺼﺒﺢ ﺑﻔﻀﻞ ﺫﻟﻚ ﺑﺎﺭﺯﺍً ﻭﻳﻌﻠﻮ‬
‫ﻋﻠﻰ ﺍﳌﺴﺘﻮﻯ ﺍﻟﻌﺎﻡّ‪ .‬ﻭﻟﻴﺲ ﰲ ﻫﺬﻩ ﺍﳊﻈﻮﺓ ﺍﻟﺘﻨﺒّﻬﻴﱠﺔ ﺷﻲﺀٌ ﻣﻦ ﺍﳊﺐّ ﺑﻌﺪُ‪ ،‬ﻟﻜﻨﱠﻬﺎ‬
‫ﻣﻮﻗﻒ ﲤﻬﻴﺪﻱ ﻟﻪ‪ .‬ﻭﻻ ﺗﺤﺪﺙ ﺍﻟﻈﱠﺎﻫﺮﺓ ﺍﻟﻐﺮﺍﻣﻴﱠﺔ ﻣﻦ ﻏﻴﺮ ﺗﺮﻛﻴﺰ )ﺃﻭ ﺗﺜﺒﻴﺖ( ﺳﺎﺑﻖ‪،‬‬
‫ﻭﺇﻥ ﻳﻜﻦ ﺑﺎﻹﻣﻜﺎﻥ ﺃﻻﱠ ﺗﺘﺒﻊ ﺍﻟﻈﺎﻫﺮﺓُ ﺍﻟﺘﱠﺮﻛﻴﺰ‪ .‬ﺑﺎﻟﻄﱠﺒﻊ‪ ،‬ﻳﺨﻠﻖ ﺍﻟﺘﱠﺮﻛﻴﺰ ﺟﻮﱠﺍً ﺟﺪّ ﻣﻼﺋﻢ‬
‫ﻟﺒﺮﻋﻤﺔ ﺍﻹﻋﺠﺎﺏ ﺍﻟﺬﻱ ﻳﺴﺎﻭﻱ‪ ،‬ﺇﺫﺍ ﺣُﺼﻞ ﻋﻠﻴﻪ‪ ،‬ﺑﺸﻜﻞ ﻃﺒﻴﻌﻲّ ﺑﺪﺍﻳﺔ ﺣﺐّ‪ .‬ﻟﻜﻦﱠ‬

‫)‪ (١‬ﺃﻱ ﺣﺮﻑ ‪ r‬ﻭ‪ l‬ﰲ ﻛﻠﻤﺔ ‪ – .drôle‬ﺍﳌﺘﺮﺟﻢ‪.‬‬

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‫ﺍﻟﺘﱠﻔﺮﻳﻖ ﺑﲔ ﺍﻟﻠﺤﻈﺘﲔ ﺫﻭ ﺃﻫﻤﻴﱠﺔ ﻗﺼﻮﻯ ﻷﻧﱠﻬﻤﺎ ﻛﻠﻴﻬﻤﺎ ﺗﺴﻮﺩ ﻓﻴﻪ ﻣﺒﺎﺩﺉ ﻣﺨﺘﻠﻔﺔ‪.‬‬
‫ﺇﺫْ ﻳﺄﺗﻲ ﻋﺪﺩ ﻛﺒﻴﺮ ﻣﻦ ﺃﺧﻄﺎﺀ ﻋﻠﻢ ﻧﻔﺲ ﺍﳊﺐّ ﻣﻦ ﺧﻠﻂ ﺍﻟﺼﱢﻔﺎﺕ ﺍﻟﺘﻲ "ﺗﻠﻔﺖ‬
‫ﺍﻻﻧﺘﺒﺎﻩ"‪ ،‬ﺑﺎﻟﺘﱠﺎﻟﻲ‪ ،‬ﺗُﺒﺮﺯ ﺍﻟﻔﺮﺩ ﺑﺸﻜﻞ ﻣﻼﺋﻢ‪ ،‬ﺑﺘﻠﻚ ﺍﻟﺼﱢﻔﺎﺕ ﺍﻷﺧﺮﻯ ﺍﻟﺘﻲ ﺗﺒﻌﺚ‬
‫ﺍﳊﺐّ ﺑﺎﳌﻌﻨﻰ ﺍﻟﺼﱠﺤﻴﺢ‪ .‬ﻓﻠﻴﺴﺖ ﺍﻟﺜﱠﺮﻭﺍﺕ ﻣﺎ ﻳُﺤﺐّ ﰲ ﺍﻟﺮﱠﺟﻞ‪ ،‬ﻣﺜﻼً‪ .‬ﻟﻜﻦﱠ ﺍﻟﺮﱠﺟﻞ‬
‫ﺍﻟﺜﱠﺮﻱّ ﻳﺒﺮﺯ ﺇﺯﺍﺀ ﺍﳌﺮﺃﺓ ﺑﺜﺮﻭﺗﻪ‪ .‬ﻻ ﺑﺄﺱ ﺇﺫﺍً‪ ،‬ﰲ ﺃﻥﱠ ﺭﺟﻼً ﺑﺎﺭﺯﺍً ﲟﻮﺍﻫﺒﻪ ﳝﺘﻠﻚ‬
‫ﺍﺣﺘﻤﺎﻻً ﺃﻋﻠﻰ ﰲ ﺃﻥ ﺗﺘﻨﺒﱠﻪ ﺍﳌﺮﺃﺓ ﻟﻪ‪ :‬ﺣﺘﱠﻰ ﺇﺫﺍ ﻟﻢ ﺗﻌﺸﻘﻪ ﻳﻜﻮﻥ ﺍﻟﻌﺬﺭ ﺻﻌﺒﺎً‪ .‬ﻫﺬﺍ ﻫﻮ‬
‫ﺣﺎﻝ ﺍﻟﺮﱠﺟﻞ ﺍﻟﻌﻈﻴﻢ ﺍﻟﺬﻱ ﻳﺘﻤﺘﱠﻊ ﻋﻤﻮﻣﺎً ﺑﺸﻬﺮﺓ ﺳﺎﻃﻌﺔ‪ .‬ﻭﻻ ﺑﺪﱠ ﻟﻼﺑﺘﻌﺎﺩ ﺍﻟﺬﻱ‬
‫ﻳُﺤﺲ ﺑﻪ ﺍﳉﻨﺲ ﺍﻷﻧﺜﻮﻱ ﻋﻨﻪ‪ ،‬ﻣﻦ ﺃﻥ ﻳﺘﻀﺎﻋﻒ ﺑﺴﺒﺐ ﻫﺬﺍ ﺍﻟﻌﺎﻣﻞ ﺍﻟﻬﺎﻡّ‪ .‬ﻭﺍﳌﺮﺃﺓ‬
‫ﺗﺰﺩﺭﻱ ﺍﻟﺮﱠﺟﻞ ﺍﻟﻌﻈﻴﻢ ﻋﻦ ﻭﻋﻲ ﻭﻟﻴﺲ ﻣﺼﺎﺩﻓﺔ ﺃﻭ ﺇﻫﻤﺎﻻً‪.‬‬
‫ﻭﺗﻌﻨﻲ ﻫﺬﻩ ﺍﻟﻮﺍﻗﻌﺔ ﻣﻦ ﻭﺟﻬﺔ ﻧﻈﺮ ﺍﻻﺻﻄﻔﺎﺀ ﺍﳉﻨﺴﻲّ ﺃﻥﱠ ﺍﳌﺮﺃﺓ ﻻ ﺗﺴﺎﻋﺪ‬
‫ﻓﻴﻤﺎ ﺗﻔﻀّﻠﻪ ﻋﺎﻃﻔﻴﱠﺎً ﰲ ﻛﻤﺎﻝ ﺍﻟﻨﱠﻮﻉ‪ ،‬ﻋﻠﻰ ﺍﻷﻗﻞّ ﺑﺎﳌﻌﻨﻰ ﺍﻟﺬﻱ ﻳﻌﺰﻭﻩ ﺍﻟﺮﱢﺟﺎﻝ ﺇﻟﻰ‬
‫ﻫﺬﺍ ﺍﻟﻜﻤﺎﻝ‪ .‬ﺑﻞ ﲤﻴﻞ ﺑﺎﳊﺮﻱّ‪ ،‬ﺇﻟﻰ ﺇﻗﺼﺎﺀ ﺍﻷﻓﺮﺍﺩ ﺍﻷﻓﻀﻞ‪ ،‬ﺇﺫﺍ ﺗﻜﻠﱠﻤﻨﺎ ﺫﻛﻮﺭﻳﱠﺎً‪،‬‬
‫ﻭﺍﳌﺒﺪﻋﲔ ﻭﺃﺻﺤﺎﺏ ﺍﳌﺸﺎﺭﻳﻊ ﺍﻟﻌﻠﻴﺎ‪ ،‬ﻭﺗﺒﺪﻱ ﺇﻋﺠﺎﺑﺎً ﻣﺼﻤﱢﻤﺎً ﺑﺎﻟﻌﺎﺩﻱ‪ .‬ﻓﺈﺫﺍ ﺍﻧﻘﻀﻰ‬
‫ﺟﺎﻧﺐ ﻛﺒﻴﺮ ﻣﻦ ﺍﳊﻴﺎﺓ ﻭﺍﻟﻌﲔ ﻳﻘﻈﺔ ﰲ ﻣﺮﺍﻗﺒﺔ ﺫﻫﺎﺏ ﺍﳌﺮﺃﺓ ﻭﺇﻳﱠﺎﺑﻬﺎ‪ ،‬ﻓﻠﻴﺲ ﺳﻬﻼً‬
‫ﻧﺴﺞُ ﺃﻭﻫﺎﻡ ﺣﻮﻝ ﻗﺎﻋﺪﺓ ﺃﻓﻀﻠﻴﱠﺎﺗﻬﺎ! ﺇﻧﱠﻬﺎ ﺗُﺨﻔﻖ ﻋﺎﺩﺓً ﻓﻴﻤﺎ ﺗﺒﺪﻳﻪ ﺃﺣﻴﺎﻧﺎً ﻣﻦ ﺭﻏﺒﺔ‬
‫ﻃﻴﱢﺒﺔ ﺇﻋﺠﺎﺑﺎً ﺑﺄﻓﻀﻞ ﺍﻟﺮﱢﺟﺎﻝ‪ .‬ﺑﻞ ﻋﻠﻰ ﺍﻟﻌﻜﺲ ﻣﻦ ﺫﻟﻚ‪ ،‬ﻧﺮﺍﻫﺎ ﺗﺴﺒﺢ ﻋﻠﻰ ﻫﻮﺍﻫﺎ‬
‫ﻛﻤﺎ ﰲ ﻋﻨﺼﺮﻫﺎ‪ ،‬ﺣﻴﻨﻤﺎ ﺗﺴﻴﺮ ﺑﲔ ﺭﺟﺎﻝٍ ﻣﺘﻮﺳﱢﻄﻲ ﺍﻟﺸﱠﺄﻥ‪.‬‬
‫ﻫﺬﻩ ﻫﻲ ﺍﻟﻮﺍﻗﻌﺔ ﺍﻟﺘﻲ ﺗﺄﺗﻲ ﺑﻬﺎ ﺍﳌﺮﺍﻗﺒﺔ‪ .‬ﻟﻜﻦ‪ ،‬ﻻ ﻳﺤﺴﱭﱠ ﺃﺣﺪٌ ﺃﻧﱠﻨﺎ ﻋﻨﺪ‬
‫ﺻﻴﺎﻏﺘﻬﺎ ﺿﻤﱠﻨﺎﻫﺎ ﻧﻘﺪﺍً ﻟﻄﺒﻊ ﺍﳌﺮﺃﺓ ﺍﻟﻄﱠﺒﻴﻌﻲّ‪ .‬ﺃﻛﺮﱢﺭ ﺇﻥﱠ ﺃﻫﺪﺍﻑ ﺍﻟﻄﱠﺒﻴﻌﺔ ﺗﻈﻞﱡ ﺳﺮﻳﱠﺔ‬
‫ﺑﺈﻓﺮﺍﻁ‪ .‬ﻓﻤﻦ ﻳﺪﺭﻱ ﺃﻥ ﻳﻜﻮﻥ ﺍﺑﺘﻌﺎﺩ ﳌﺮﺃﺓ ﻋﻦ ﺍﻷﻓﻀﻞ ﻣﻨﺎﺳﺒﺎً ﰲ ﻧﻬﺎﻳﺔ ﺍﻷﻣﺮ؟ ﻭﻟﻌﻞﱠ‬
‫ﺩﻭﺭﻫﺎ ﰲ ﻣﻴﻜﺎﻧﻴﻜﺎ ﺍﻟﺘﱠﺎﺭﻳﺦ ﺃﻥ ﺗﻜﻮﻥ ﻗﻮﱠﺓ ﻣﺜﺒّﻄﺔ ﺇﺯﺍﺀ ﺍﻟﻘﻠﻖ ﺍﻟﻌﺎﺻﻒ‪ ،‬ﻭﺍﻟﺮﱠﻏﺒﺔ ﰲ‬
‫ﺍﻟﺘﱠﻐﻴﻴﺮ ﻭﺍﻟﺘﱠﻘﺪﱡﻡ ﺍﻟﺬﻱ ﻳﻨﺒﻊ ﻣﻦ ﺍﻟﺮﱡﻭﺡ ﺍﻟﺬﱠﻛﺮﻳﱠﺔ‪ .‬ﺫﻟﻚ ﺃﻧﱠﻨﺎ ﻟﻮ ﺗﻨﺎﻭﻟﻨﺎ ﺍﳌﺴﺄﻟﺔ ﺑﺄﻓﻘﻬﺎ‬
‫ﺍﻷﻭﺳﻊ ﻭﻋﻠﻰ ﺷﻜﻞ ﺣﻴﻮﻱّ‪ ،‬ﻓﺈﻥﱠ ﺍﳌﻴﻞ ﺍﻟﻌﺎﻡّ ﰲ ﺃﻓﻀﻠﻴﱠﺎﺕ ﺍﻷﻧﺜﻰ ﻳﺒﺪﻭ ﻣُﺼﻤﱠﻤﺎً ﻋﻠﻰ‬
‫ﺇﺑﻘﺎﺀ ﺍﻟﻨﱠﻮﻉ ﺿﻤﻦ ﺣﺪﻭﺩ ﻣﺘﻮﺍﺿﻌﺔ ﻟﺘﺠﻨّﺐ ﺍﻻﺻﻄﻔﺎﺀ ﳓﻮ ﺍﻷﻣﺜﻞ ﻭﻟﻠﺤﻴﻠﻮﻟﺔ ﺑﲔ‬
‫ﺍﻟﺮﱠﺟﻞ ﻭﺑﲔ ﺃﻥ ﻳﻜﻮﻥ ﻧﺼﻒ ﺇﻟﻪ ﺃﻭ ﺭﺃﺱ ﻣﻼﺋﻜﺔ‪.‬‬
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 ‫ﻣﻦ ﺃﺟﻞ ﺗﺎﺭﻳﺦ ﺍﳊﺐ‪‬‬

‫‪I‬‬
‫ﺗﻐﻴ‪‬ﺮ ﺍﻷﺟﻴﺎﻝ‬

‫ﺍﳊﺐّ ﰲ ﺍﳓﻄﺎﻁ‪ ،‬ﻭﺃﺻﺒﺢ ﻻ ﻳُﻄﺎﻕ‪ .‬ﻭﺭﺑﱠﻤﺎ ﺳﺄﻝ ﺍﻟﻘﺎﺭﺉ‪ :‬ﺃﺗﻮﺟﺪ "ﺃﺯﻳﺎﺀ"‬

‫)ﻣﻮﺿﺎﺕ( ﰲ ﻋﺎﻟﻢ ﺍﳌﺸﺎﻋﺮ؟ ﻭﺍﻟﺴﺆﺍﻝ ﺗﺎﻓﻪ‪ .‬ﻓﻬﻨﺎﻙ ﻧﺎﺱ ﻳﻬﺮﻋﻮﻥ ﺇﻟﻰ ﺍﳌﺒﺎﻫﺎﺓ‬
‫ﺑﻌﻤﻖ ﻣﺰﻋﻮﻡ ﻣﺒﺪﻳﻦ ﺍﺯﺩﺭﺍﺀ "ﻟﻸﺯﻳﺎﺀ"‪ .‬ﻭﺃﻧﺎ ﻣﻦ ﺟﻬﺘﻲ‪ ،‬ﺇﺫﺍ ﻗﺮﺃﺕ ﻟﻜﺎﺗﺐ ﺃﻥﱠ ﺃﺳﻠﻮﺑﺎً‬
‫ﰲ ﺍﻟﺮﱠﺳﻢ ﺃﻭ ﺷﻜﻼًُ ﻣﻌﻴﻨﺎً ﻣﻦ ﺍﻹﻳﺪﻳﻮﻟﻮﺟﻴﺎ ﻻ ﻳﻌْﺪﻭَﺍﻥِ "ﻛﻮﻧﻬﻤﺎ ﻣﻮﺿﺔ" ﻭﻏﻴﺮ‬
‫ﺟﺬﺍﺑﲔ ﰲ ﻧﻈﺮﻩ –ﺭﺑﱠﻤﺎ ﻷﻧﱠﻪ ﻻ ﻳﻔﻬﻤﻬﻤﺎ‪ -‬ﻓﺈﻧّﻲ ﺃﻭﻗﻒ ﺍﻟﻘﺮﺍﺀﺓ ﻭﻻ ﺃﺗﺎﺑﻊ‪ .‬ﺇﻥﱠ ﺫﻟﻚ‬
‫ﻋَﺮَﺽ ﻻ ﻳﺨﻴﺐ ﻋﻠﻰ ﺃﻥ ﺍﻟﻜﺎﺗﺐ ﻗﻠﻴﻞ ﺍﻟﺬﻛﺎﺀ ﻭﺳﻄﺤﻲ‪.‬‬
‫ﻭﺇﻥﱠ ﺍﳊﻴﺎﺓ ﺍﻟﺒﺸﺮﻳﱠﺔ ﰲ ﺟﻮﻫﺮﻫﺎ ﺫﺍﺗﻪ ﻭﰲ ﺇﺷﻌﺎﻋﺎﺗﻬﺎ ﻛﻠّﻬﺎ‪ ،‬ﺧﻼﱠﻗﺔ ﺃﺯﻳﺎﺀ‪ ،‬ﺃﻭ‬
‫ﺍﻟﻘﻮﻝ ﺑﻌﺒﺎﺭﺓ ﺃﺧﺮﻯ‪ ،‬ﻫﻲ "ﺇﺣﺪﺍﺙ ‪ -‬ﺃﺯﻳﺎﺀ ‪ ."modi-ficación‬ﺍﳊﻴﺎﺓ ﺍﻟﺒﺸﺮﻳﱠﺔ؟‪...‬‬
‫ﺭﺑﱠﻤﺎ ﻛﻞّ ﺣﻴﺎﺓ‪ .‬ﺣﺘﱠﻰ ﻻ ﻳﻮﺟﺪ ﺷﻜﻞ ﺁﺧﺮ ﻟﺘﺠﻠّﻲ ﺍﻟﻌﻤﻠﻴﱠﺔ ﺍﻟﺮﱡﻭﺣﻴﱠﺔ ﺳﻮﻯ ﺍﻟﺴﻠﺴﻠﺔ‬
‫ﺍﳌﺘﱠﺼﻠﺔ ﻣﻦ "ﺍﳌﻮﺿﺎﺕ" ﺍﻟﻔﻜﺮﻳﱠﺔ ﻭﺍﳉﻤﺎﻟﻴﱠﺔ ﻭﺍﳋﻠﻘﻴﱠﺔ ﻭﺍﻟﺪﱢﻳﻨﻴﱠﺔ‪ .‬ﻭﻳﺤﺪﺙ ﻟﻸﻓﻜﺎﺭ‬
‫ﻭﺍﻷﺷﻜﺎﻝ ﺍﻟﺸﱡﻌﻮﺭﻳﱠﺔ ﻛﻤﺎ ﻳﺤﺪﺙ ﰲ ﺍﻟﺒﺰﱠﺍﺕ ﻭﺍﻟﻄﱠﺮﺍﺋﻖ‪ :‬ﺃﻥ ﻳﺒﺪﻋﻬﺎ ﺑﻌﺾ ﺍﻟﺮﱢﺟﺎﻝ ﰒﱠ‬
‫ﻳﺘّﺒﻌﻬﺎ ﺁﺧﺮﻭﻥ‪ .‬ﻭﻻ ﻧﻌﺪﻡ ﻗﻂّ ﺃﻓﺮﺍﺩﺍً ﻳﻌﺎﺭﺿﻮﻥ ﺍﻟﺘﻴﱠﺎﺭ ﻛﻤﺎ ﺳﻤﻚ ﺍﳊﻔﺶ‪ ،‬ﻭﻫﻢ ﻋﻠﻰ‬
‫ﺍﻟﺮﻏﻢ ﻣﻦ ﺳﻴﺮﻫﻢ ﻋﻜﺲ )ﺍﻟﺰﻱ( ﻓﺈﻥﱠ ﻫﺬﺍ ﻳﻨﻈّﻢ ﺃﻳﻀﺎً ﺳﻠﻮﻛﻬﻢ ﰲ ﻧﻬﺎﻳﺔ ﺍﻷﻣﺮ ﻛﻴﻤﺎ‬
‫ﻳﺒﺪﻭ ﺍﻟﺸﱠﺒﻪ ﻓﻴﻤﺎ ﻧﺴﻤّﻴﻪ ﻋﺎﺩﺓً "ﺃﺯﻳﺎﺀ" ﺃﻛﺜﺮ ﻛﻤﺎﻻً‪.‬‬
‫ﺃﻗﻮﻝ ﺇﺫﺍً‪ ،‬ﺇﻥﱠ ﺍﻷﺷﻴﺎﺀ ﺍﳌﺸﻬﻮﺭﺓ ﺑﻜﻮﻧﻬﺎ ﺍﻷﻛﺜﺮ ﺟﺪﻳّﺔ‪ ،‬ﺗﺴﻴﺮ ﻭﺗﺘﻐﻴﱠﺮ ﻣﺤﻜﻮﻣﺔ‬
‫ﺑﺎﻵﻟﻴﱠﺔ ﺍﻟﺒﻴﻮﻟﻮﺟﻴﱠﺔ ﺍﳉﻮﻫﺮﻳﱠﺔ ﻟﻠﺰﻱّ ﺍﻟﺬﻱ ﻳﺮﺗﻘﻲ ﺑﺬﻟﻚ ﺇﻟﻰ ﻣﺴﺘﻮﻯ ﻗﺎﻧﻮﻥ ﺍﻟﻮﺍﻗﻊ‬
‫ﺍﻟﻌﻤﻴﻖ‪ .‬ﻭﺇﺫﺍ ﻛﺎﻥ ﻫﻜﺬﺍ‪ ،‬ﻳﺠﺐ ﺃﻥ ﻳﻜﻮﻥ ﺍﻷﻣﺮ ﻛﺬﻟﻚ ﺑﺎﻟﻄﱠﺒﻊ‪ .‬ﻟﻜﻦ‪ ،‬ﻳﺼﻠﺢ ﺃﻥ‬
‫ﻧﻀﻴﻒ ﰲ ﺁﻥٍ ﻭﺍﺣﺪ‪ ،‬ﺃﻥﱠ ﺍﻷﺯﻳﺎﺀ ﰲ ﺍﻷﻣﻮﺭ ﺫﺍﺕ ﺍﻟﻌﻴﺎﺭ ﺍﻷﺩﻧﻰ ﻇﺎﻫﺮﻳﱠﺎً ‪ -‬ﻛﺎﻟﺒﺰﱠﺍﺕ‬
‫‪-١٠٣-‬‬
 ‫ﻭﺍﻟﻌﺎﺩﺍﺕ ﺍﻻﺟﺘﻤﺎﻋﻴﱠﺔ‪ ،‬ﺇﻟﺦ‪ -.‬ﻟﻬﺎ ﺩﺍﺋﻤﺎً ﻣﻌﻨﻰ ﺃﻋﻤﻖ ﻛﺜﻴﺮﺍً ﻭﺃﻛﺜﺮ ﺟﺪﻳﱠﺔ ﳑﺎ ﻳُﻌﺰﻯ‬
‫ﺇﻟﻴﻬﺎ ﺑﺨﻔﱠﺔ‪ ،‬ﻭﺇﻥﱠ ﻭﺻْﻤﻬﺎ ﺑﺎﻟﺴﻄﺤﻴﱠﺔ ﺑﺎﻟﺘﱠﺎﻟﻲ‪ ،‬ﻛﻤﺎ ﺟﺮﺕ ﺍﻟﻌﺎﺩﺓ‪ ،‬ﻳﺴﺎﻭﻱ ﺍﻻﻋﺘﺮﺍﻑ‬
‫ﺑﺴﻄﺤﻴﺔ ﺍﳌﺮﺀ ﺫﺍﺗﻪ ﻭﻻ ﺷﻲﺀ ﺁﺧﺮ‪ .‬ﻭﺃﻗﺮﺏ ﺇﻟﻰ ﺍﳊﻘﻴﻘﺔ ﺑﺸﻜﻞٍ ﻛﺒﻴﺮ ﺃﻥﱠ ﻳﻮﻣﺎً ﻟﻴﺲ‬
‫ﺑﻌﻴﺪﺍً ﻳﻜﺸﻒ ﻓﻴﻪ ﻣﺴﺒﻘﺎً ﺗﺤﻠﻴﻞٌ ﻣﺠﻬﺮﻱّ ﻭﻛﻴﻤﻴﺎﺋﻲ ﳉﻔﻦ ﻋﻦ ﻣﺮﺽ ﺍﻟﺴّﻞّ ﰲ‬
‫ﻋﻀﻮﻳّﺔ‪ ،‬ﺃﻭ ﻋﻦ ﺍﻟﺴﱠﺮﻃﺎﻥ ﺍﻟﺬﻱ ﺳﻴﺼﺎﺏ ﺑﻪ ﺭﺟﻞ ﰲ ﺍﻟﻌﺸﺮﻳﻦ ﻣﻦ ﻋﻤﺮﻩ ﻣﺘﻰ ﺻﺎﺭ‬
‫ﰲ ﺍﻷﺭﺑﻌﲔ‪ .‬ﻭﺇﻥﱠ "ﺍﻟﺰﻱّ" ﺍﳌﻨﺘﺼﺮ ﺍﻟﻴﻮﻡ ﰲ ﻣﺨﺎﻃﺒﺔ ﺍﻷﺷﺨﺎﺹ ﺑﻌﻀﻬﻢ ﺑﻌﻀﺎً ﻣﻦ‬
‫ﻏﻴﺮ ﻣﺠﺎﻣﻠﺔ ﻣﺎ ﺇﻥ ﻳﺘﻘﺎﺭﺑﻮﺍ ﻗﻠﻴﻼً‪ ،‬ﻳﺴﺘﺪﻋﻲ ﳌﻦ ﻳُﺤﺴﻦ ﺍﻟﻨﱠﻈﺮ‪ ،‬ﺑﻘﻴﱠﺔ ﺍﻟﺘﱠﻐﻴﱡﺮﺍﺕ‬
‫ﺍﻟﻜﺒﺮﻯ ﺍﻟﺴﻴﺎﺳﻴﱠﺔ ﻭﺍﻷﺧﻼﻗﻴﱠﺔ ﺍﳌﺘﺠﺎﻭﺭﺓ‪.‬‬
‫ﺇﺫﺍً‪ ،‬ﻫﻨﺎﻙ ﺃﺯﻳﺎﺀ ﰲ ﺍﳌﺸﺎﻋﺮ‪ .‬ﻭﻣﺎ ﻛﺎﻥ ﻳﻨﻘﺺ ﻏﻴﺮ ﺫﻟﻚ! ﻭﻫﻜﺬﺍ ﺃﺧﺬ ﺍﳊﺐّ‬
‫ﻳﺼﺒﺢ ﻻ ﻳﺤﺘﻤﻞ‪ ،‬ﻛﻤﺎ ﻛﻨﺖ ﺃﻗﻮﻝ ﰲ ﺍﻟﺒﺪﺍﻳﺔ‪ .‬ﻭﺇﺫﺍ ﻛﻨﱠﺎ ﻋﺒﱠﺮﻧﺎ ﻋﻦ ﺍﻟﻮﺍﻗﻌﺔ ﺑﻬﺬﻩ‬
‫ﺍﻟﻜﻠﻤﺎﺕ ﻓﺈﻧﻨﺎ ﻧﻀﻔﻲ ﻋﻠﻰ ﻣﻼﺣﻈﺘﻨﺎ ﺻﺒﻐﺔ ﺳﺎﺧﺮﺓ ﺃﻭ ﻣﺰﺩﺭﻳﺔ‪ .‬ﺇﺫْ ﻻ ﻳﻮﺟﺪ ﺷﻲﺀ‬
‫ﺣﻲّ ﺃﻭ ﻳﻨﺘﻤﻲ ﲟﻌﻨﻰ ﻣﺎ ﻟﻠﺤﻴﺎﺓ ﺇﻻ ﻭﻳُﺒﺪﻱ ﻭﺟﻬﺎً ﻗﺎﺑﻼً ﻟﻼﺯﺩﺭﺍﺀ‪ .‬ﻟﻜﻦ ﻫﺬﺍ ﺍﻟﺸﱠﻲﺀ‬
‫ﺫﺍﺗﻪ ﻟﻪ ﺩﺍﺋﻤﺎً ﻭﺟﻪ ﺁﺧﺮ ﺟﺎﺩّ ﻭﻣﺤﺘﺮﻡ ﻭﺭﺍﺋﻊ ﺃﻭ ﻣﺨﻴﻒ‪ .‬ﻭﺍﺧﺘﻴﺎﺭ ﻭﺟﻬﺔ ﺍﻟﻨﻈﺮ ﻣﻘﻴﱠﺪ‬
‫ﺑﻄﺒﻌﻨﺎ‪ .‬ﻭﻛﻼ ﺍﳌﻈﻬﺮﻳﻦ ﺣﻘﻴﻘﻲّ ﺑﺸﻜﻞ ﻣﺘﺴﺎﻭٍ‪ .‬ﻭﺍﳋﻄﺄ ﻛﺎﻣﻦ ﰲ ﺍﻓﺘﺮﺍﺽ ﺃﻥﱠ‬
‫ﺃﺣﺪﻫﻤﺎ ﺣﻘﻴﻘﻲّ‪ .‬ﺣﻴﻨﺌﺬٍ ﺳﺘﺘﺄﺫﱠﻯ ﺭﺅﻳﺘﻨﺎ ﺑﺎﻻﳓﻴﺎﺯ‪ .‬ﻭﳌﻌﺎﻧﻘﺔ ﺍﻟﻮﺍﻗﻊ ﺟﻴﱢﺪﺍً ﻭﻷﺳﺮﻩ‬
‫ﰲ ﻛﻠّﻴﺘﻪ‪ ،‬ﻋﻠﻴﻨﺎ ﺃﻥ ﻧﻠﻘﻲ ﳓﻮﻩ ﺑﺎ‪‬ﺴﱠﻴْﻦ ﺍﻟﻜﺒﻴﺮَﻳﻦ‪ :‬ﺍﳋﻮﻑ ﻭﺍﻟﺴﺨﺮﻳﺔ‪ .‬ﻭﻣﻦ‬
‫ﻻﻳﺨﻒْ ﻻ ﻳﺘﻌﻤﱠﻖ‪) .‬ﺃﻋﺠﻮﺑﺔ ﺃﻓﻼﻃﻮﻥ ‪ .(Él thaumazein de Platón‬ﻭﻣﻦ ﻻ ﻳﺴﺨﺮ‬
‫ﻳﺴﻤﺢ ﻟﻨﻔﺴﻪ ﺑﺎﻻﳒﺮﺍﻑ ﺇﻟﻰ ﺍﻟﻘﺎﻉ ﻭﻳﻐﺮﻕ‪ ،‬ﻭﻳﻬﻠﻚ ﻣﺨﺘﻨﻘﺎً‪ .‬ﻭﺍﳋﻴﺮ ﰲ ﺃﻥ ﻳﻌﻤﻞ‬
‫ﺍﳌﺮﺀ ﻛﻤﺎ ﻋﻤﻞ ﻏﻮﱠﺍﺹ ﻛﻮﺭﻭﻣﺎﻧﺪﻝ‪ :‬ﺑﺎﻟﻐﻮﺹ ﺣﺘﱠﻰ ﻳﺠﺪ ﺍﻟﺼﱠﺪَﻓﺔ ﺍﻟﺜﱠﻤﻴﻨﺔ ﰲ ﺍﻟﻘﻌﺮ؛‬
‫ﻟﻜﻨﱠﻪ ﻳﺨﺮﺝ ﻣﻦ ﺛَﻢﱠ ﺇﻟﻰ ﺍﻟﺴﻄﺢ ﺍﳌﻀﻲﺀ ﺟﺎﻟﺒﺎً ﺍﻟﺪّﺭّﺓ ﺑﲔ ﺃﺳﻨﺎﻧﻪ ‪ -‬ﻋﻼﻣﺔ ﺑﺴﻤﺔ‪-‬‬
‫ﻳﻀﺎﻋﻒ ﻣﻨﻬﺎ ﺯﺑﺪ ﺍﻷﻣﻮﺍﺝ ﺍﻟﻜﺜﻴﺮﺓ ﻓﻮﻕ ﻭﺟﻪ ﺍﻟﺒﺤﺮ‪.‬‬
‫ﻭﻟﻠﺸﻌﻮﺭ ﺑﺎﳊﺐّ ﻛﻤﺎ ﻟﻜﻞ ﺷﻲﺀ ﺇﻧﺴﺎﻧﻲّ‪ ،‬ﺗﻄﻮّﺭﻩ ﻭﺗﺎﺭﻳﺨﻪ‪ ،‬ﻳﺸﺒﻬﺎﻥ ﺑﺈﻓﺮﺍﻁ‬
‫ﺗﻄﻮﱡﺭ ﻓﻦّ ﻭﺗﺎﺭﻳﺨﻪ‪ .‬ﻭﻓﻴﻪ ﺗﺘﺎﺑﻊ ﺍﻷﺳﺎﻟﻴﺐ‪ .‬ﻭﻛﻞ ﻋﺼﺮ ﳝﺘﻠﻚ ﺃﺳﻠﻮﺑﻪ ﰲ ﺍﳊﺐّ‪ .‬ﰲ‬
‫ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻛﻞّ ﺟﻴﻞ ﻳﻌﺪّﻝ ﺑﻬﺬﻩ ﺍﻟﺪﱠﺭﺟﺔ ﺃﻭ ﺗﻠﻚ‪ ،‬ﻧﻈﺎﻡ ﺣﺐّ ﺍﳉﻴﻞ ﺍﻟﺴﺎﺑﻖ ﻋﻠﻴﻪ‪ .‬ﻭﺍﻟﺘﱠﻌﺪﻳﻞ‬
‫ﻳﻜﻮﻥ ﰲ ﺍﻷﻋﻢّ ﺍﻟﺸﱠﺎﺋﻊ ﺟﺪّ ﺿﻌﻴﻒ ﺣﺘﱠﻰ ﻳﻬﺮﺏ ﻣﻦ ﺍﻟﺘﱠﺤﻠﻴﻞ ﻭﻻ ﻳﺴﻤﺢ ﺑﺘﺤﺪﻳﺪﻩ‬
‫ﺑﻮﺿﻮﺡ‪ .‬ﻫﺬﺍ ﻫﻮ ﺃﺣﺪ ﺍﻷﺳﺒﺎﺏ ﺍﻟﺘﻲ ﺗﻔﺴّﺮ ﻭﺍﻗﻌﺔً ﻗﻠﱠﻤﺎ ﻟُﺤﻈﺖ؛ ﻭﻫﻲ‪ ،‬ﻣﻊ ﺫﻟﻚ‪،‬‬
‫‪-١٠٤-‬‬
‫ﻫﺎﻣﱠﺔ ﻟﺪﺭﺍﺳﺔ ﺍﳊﺐّ‪ ،‬ﻭﺃﻧﺎ ﺃﺷﻴﺮ ﺇﻟﻰ ﺃﻥﱠ ﺭﺟﻼً ﰲ ﲤﺎﻡ ﻋﻤﺮﻩ ﻻ ﻳﺴﺘﻄﻴﻊ ﺃﻥ ﻳﻌﺸﻖ‬
‫ﺑﺸﻜﻞٍ ﻃﺒﻴﻌﻲّ ﺳﻮﻯ ﻧﺴﺎﺀ ﻳﻨﺘﻤﲔ ﺇﻟﻰ ﺟﻴﻠﻪ )ﺃﻱ ﻳﺼﻐﺮﻧﻪ ﺑﺨﻤﺲ ﺳﻨﲔ ﺃﻭ ﻋﺸﺮ(‪.‬‬
‫ﻓﺎﻟﺸﱠﺎﺏ ﻳﻌﺸﻖ ﰲ ﺍﻟﻐﺎﻟﺐ ﻳﻘﻴﻨﺎً ﻧﺴﺎﺀ ﺃﻛﺒﺮ ﻣﻨﻪ ﺳﻨﱠﺎً‪ .‬ﻭﻫﺬﺍ ﻳﻌﻨﻲ ﺃﻧﱠﻪ ﻳﺘﺒﻨﱠﻰ ﺑﺴﻬﻮﻟﺔ‬
‫ﻭﻋﻠﻰ ﺷﻜﻞ ﻣﺆﻗﱠﺖ ﺃﺳﻠﻮﺏ ﺍﳉﻴﻞ ﺍﻟﺴﱠﺎﺑﻖ‪ ،‬ﺍﻟﻐﺮﺍﻣﻲّ‪ .‬ﻭﺍﻷﻣﺮ ﺫﺍﺗﻪ ﻳﺤﺪﺙ ﻟﻸﻓﻜﺎﺭ‪.‬‬
‫ﻓﺎﻟﺸﱠﺎﺏ ﻳﻌﻴﺶ ﺃﻭﱠﻝ ﻓﺘﺮﺓ ﻣﻦ ﺍﻟﺘﱠﻠﻘﻲ‪ .‬ﻭﻫﻮ ﻳﻨﺠﺬﺏ ﺇﻟﻰ ﻣﻌﻠﱢﻤﻲ ﺍﻟﺰﱠﻣﻦ ﺍﻟﺴﱠﺎﺑﻖ‪ .‬ﻭﰲ‬
‫ﻫﺬﺍ ﺍﻟﺘﱠﻠﻘﻲ ﺗﺘﺤﻘﱠﻖ ﻭﺗﺘﻘﻮﻟﺐ ﺻﻮﺭﺗﻪ ﺍﻟﺮﻭﺣﻴﱠﺔ ﺧﺎﺭﺟﻴﱠﺎً‪ .‬ﻟﻜﻦ‪ ،‬ﺗﻄﺮﺃ ﺑﻌﺪ ﺫﻟﻚ ﻓﺘﺮﺓ‬
‫ﺛﺎﻧﻴﺔ ﻣﻦ ﺍﻟﺼﱢﺪﻕ ﺍﳋﻼﱠﻕ ﻭﺍﻟﺼﱠﺮﺍﺣﺔ ﺍﳊﻴﻮﻳﱠﺔ ﻳﺒﺪﺃ ﻓﻴﻬﺎ ﺑﺄﻥ ﻳﻜﻮﻥ ﻭﻓﻴﱠﺎً ﻟﺬﺍﺗﻪ ﺑﻌﺪ ﺃﻥ‬
‫ﺗﻜﻮﻥ ﻗﺪ ﻧﻀﺠﺖ ﻣﻴﻮﻟﻪ ﺍﻟﺬﺍﺗﻴﱠﺔ ﻭﺍﻷﺻﻴﻠﺔ‪ .‬ﺣﻴﻨﺌﺬٍ ﻳﻔﻜّﺮ ﺑﺄﻓﻜﺎﺭﻩ ﺍﳋﺎﺻﱠﺔ ﻭﻳُﺒﻌﺪ‬
‫ﺍﳌﺘﻠﻘﱠﺎﺓ‪ ،‬ﻭﺣﻴﻨﺌﺬٍ ﻳﺘﺨﻠﱠﻰ ﻋﻦ ﻋﺸﻖ ﺍﻟﻨﺴﺎﺀ ﺍﻟﻼﺗﻲ ﻳﻜﺒﺮﻧﻪ‪ ،‬ﻭﻳﺸﺮﻉ ﺇﻟﻰ ﺍﻷﺑﺪ ﰲ ﺗﺸﻜﻴﻞ‬
‫ﺟﺎﻧﺐ ﻣﻦ ﻗﺎﻓﻠﺔ ﺟﻴﻠﻪ ﻣﻊ ﻧﺴﺎﺀ ﺯﻣﺎﻧﻪ ﻭﺍﻟﺸﻌﺮﺍﺀ ﻣﻦ ﺃﺗﺮﺍﺑﻪ‪ ،‬ﻭﺍﻷﻓﻜﺎﺭ ﺍﻟﺴﻴﺎﺳﻴﱠﺔ‬
‫ﻭﻃﺮﻳﻘﺔ ﺍﻟﺴﻠﻮﻙ ﺍﻟﺘﻲ ﺍﺑﺘُﻜﺮﺕ ﰲ ﺍﳋﺎﻣﺴﺔ ﻭﺍﻟﻌﺸﺮﻳﻦ ﻣﻦ ﺍﻟﻌﻤﺮ‪ .‬ﻭﻗﺪ ﻳﻌﺸﻖ ﺭﺟﻞ‬
‫ﰲ ﺍﻷﺭﺑﻌﲔ ﺍﻣﺮﺃﺓً ﰲ ﺍﻟﻌﺸﺮﻳﻦ‪ ،‬ﻟﻜﻦﱠ ﻫﺬﺍ ﺍﻟﺮﱠﺟﻞ ﺍﺳﺘﺜﻨﺎﺀ‪ .‬ﻭﻟﻘﺪ ﻳﺤﺲ ﺍ‪‬ﺘﻤﻊ ﻣﻦ‬
‫ﻏﻴﺮ ﺃﻥ ﻳﺪﺭﻱ ﺑﺸﻲﺀ ﻏﻴﺮ ﻃﺒﻴﻌﻲ‪ ،‬ﻭﺑﺸﻜﻞ ﻣﺎ ﻣﺸﻮﱠﻩ‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻳﺒﺪﻭ ﻃﺒﻴﻌﻴﱠﺎً ﺃﻛﺜﺮ ﻣﻦ‬
‫ﻋﻜﺴﻪ‪ ،‬ﺇﻥْ ﻟﻢ ﻳﻜﻦ ﻳﻮﺟﺪ ﺳﺒﺐ ﻣﺎ ﺳﺮّﻱ ﻭﻋﻤﻴﻖ‪ .‬ﺃﻣﱠﺎ ﻣﺎ ﻳﺤﺘﺎﺝ ﺇﻟﻰ ﺗﻔﺴﻴﺮ ﻓﻬﻮ ﺃﻥ‬
‫ﻳﻔﻀّﻞ ﺭﺟﻞ ﰲ ﺍﻷﺭﺑﻌﲔ ﺑﺸﻜﻞ ﻃﺒﻴﻌﻲّ ﺍﻣﺮﺃﺓ ﰲ ﺍﻟﺜﻼﺛﲔ ﻭﻗﺪ ﻣﺴّﺘﻬﺎ ﻗﻠﻴﻼً ﻟﻴﻮﻧﺔ‬
‫ﺍﳋﺮﻳﻒ ﺍﻟﻮﺷﻴﻚ‪ ،‬ﻋﻠﻰ ﺍﻣﺮﺃﺓ ﰲ ﺍﻟﻌﺸﺮﻳﻦ‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻫﺬﺍ ﻫﻮ ﺍﻟﻮﺿﻊ‪ .‬ﻓﺎﻟﺮﱠﺟﻞ‬
‫ﺍﻷﺭﺑﻌﻴﻨﻲّ ﻻ "ﻳﺴﺘﺬﻭﻕ" ﺍﳌﺮﺃﺓ ﰲ ﺭﺑﻴﻊ ﺷﺒﺎﺑﻬﺎ ﻏﺮﺍﻣﻴﱠﺎً‪ ،‬ﻷﻧﱠﻪ ﻻ ﻳﺴﺘﻄﻴﻊ ﺃﻥ ﻳﻌﻠّﻖ ﻋﻠﻴﻬﺎ‬
‫ﺃﺳﻠﻮﺑﻪ ﰲ ﺍﻹﻋﺠﺎﺏ‪ .‬ﺑﺎﳌﺜﻞ‪ ،‬ﻛﻞّ ﺃﺳﻠﻮﺏ ﻓﻨّﻲ ﻳﺒﺪﺃ ﺑﺘﻔﻀﻴﻞ ﺑﻌﺾ ﺍﳌﻮﺍﺿﻴﻊ ﺍﻟﺘﻲ ﻫﻲ‬
‫ﻗﺎﺑﻠﺔ ﻟﻠﺘﱠﻌﺪﻳﻞ ﻛﻤﺎﺩﱠﺓ ﻣﺘﺸﺎﺑﻬﺔ ﻭﻣﻜﻮﱠﻧﺔ ﻣﻦ ﻗﺒﻞ‪ ،‬ﻋﻠﻰ ﺫﻟﻚ ﺍﻷﺳﻠﻮﺏ ﺍﻟﺬﻱ ﺳﻴُﻔﺮَﺽ‬
‫ﻋﻠﻴﻪ‪ .‬ﺇﻧﱠﻤﺎ ﺗُﻔﻀﱠﻞ ﺍﳌﺮﺃﺓ ﺍﻟﺸﱠﺎﺑﱠﺔ ﺟﺪﱠﺍً ﺇﺫﺍ ﻟﻢ ﻳﻜﻦ ﺫﻟﻚ ﺑﺼﺪﺩ ﺭﻏﺒﺔ ﰲ ﺍﳊﺐّ‪ ،‬ﻭﺇﻧﱠﻤﺎ‬
‫ﺑﺼﺪﺩ ﻟﺬﱠﺓ ﺣﺴﻴﱠﺔ ﺧﺎﻟﺼﺔ ﻭﺧﺎﻟﻴﺔ ﻣﻦ ﺍﻷﺳﻠﻮﺏ ﺍﳌﺸﺘﺮﻙ ﰲ ﻛﻞﱢ ﺍﻷﻣﺎﻛﻦ ﻭﺍﻟﻌﺼﻮﺭ‪.‬‬
‫ﻻ ﻣﻬﺮﺏَ ﻃﺒﻴﻌﻴﱠﺎً ﻭﻣُﺮْﺿﻴﺎً ﻣﻦ ﺍﻟﻘﺎﻓﻠﺔ ﺍﻟﺘﻲ ﺗﺸﻜّﻞ ﺟﻴﻠﻨﺎ‪ .‬ﳓﻦ ﻧﺴﻴﺮ ﻓﻴﻬﺎ‬
‫ﺃﺳﺎﺭﻯ ﻭﻣﺨﺘﺎﺭﻳﻦ ﻭﺭﺍﺿﲔ ﺳﺮﱠﺍً ﰲ ﺁﻥٍ ﻭﺍﺣﺪ‪ .‬ﻭﺗُﺮﻯ ﻣﻦ ﺣﲔ ﺇﻟﻰ ﺣﲔ ﻗﺎﻓﻠﺔ ﺃﺧﺮﻯ‬
‫ﲤﺮﱡ ﲟﻈﻬﺮﻫﺎ ﺍﻟﻐﺮﻳﺐ ﻭﺍﻟﻨﱠﺎﺩﺭ‪ .‬ﻭﺭﺑﱠﻤﺎ ﺟﻤﻊ ﺍﻟﻘﺼﻒ ﰲ ﻳﻮﻡ ﺍﺣﺘﻔﺎﻟﻲّ ﺍﻟﻘﺎﻓﻠﺘﲔ ﻣﻌﺎً‪:‬‬
‫ﻟﻜﻦﱠ ﺍﻟﻮﺣﺪﺓ ﺍﻟﻔﻮﺿﻮﻳﱠﺔ ﺗﺘﻔﻜﱠﻚ ﺇﻟﻰ ﺍ‪‬ﻤﻮﻋﺘﲔ ﺍﻟﻌﻀﻮﻳﱠﺘﲔ ﺍﳊﻘﻴﻘﻴﱠﺘﲔ ﺳﺎﻋﺔ‬
‫ﻋﻮﺩﺗﻬﻤﺎ ﻟﻌﻴﺶ ﻭﺟﻮﺩﻫﻤﺎ ﺍﻟﻄﱠﺒﻴﻌﻲّ‪ .‬ﻭﻛﻞّ ﻓﺮﺩ ﻳﺘﻌﺮﱠﻑ ﺑﺸﻜﻞٍ ﺳﺮّﻱ ﺇﻟﻰ ﺍﻷﻓﺮﺍﺩ‬
‫‪-١٠٥-‬‬
 ‫ﺍﻵﺧﺮﻳﻦ ﻣﻦ ﺟﻤﺎﻋﺘﻪ‪ ،‬ﻛﻤﺎ ﺗُﻤﻴّﺰ ﺍﻟﻨِﻤﺎﻝ ﰲ ﻛﻞّ ﻋﺶﱟ ﻟﻬﺎ ﺑﺮﺍﺋﺤﺘﻬﺎ ﺍﳌﻤﻴﱠﺰﺓ‪ .‬ﻭﺇﻥﱠ‬
‫ﺍﻛﺘﺸﺎﻓﻨﺎ ﺃﻧﱠﻨﺎ ﻧﺘﺒﻊ ﺑﺸﻜﻞٍ ﻣﺤﺘﻮﻡ ﻓﺌﺔ ﻣﻌﻴﱠﻨﺔ ﻭﺃﺳﻠﻮﺑﺎً ﰲ ﺍﳊﻴﺎﺓ ﻫﻮ ﺃﺣﺪ ﺍﻻﻛﺘﺸﺎﻓﺎﺕ‬
‫ﺍﻟﻜﺌﻴﺒﺔ ﺍﻟﺘﻲ ﻳﻘﻮﻡ ﺑﻬﺎ ﻣﻦ ﻗﺒﻞُ ﻭﻣﻦ ﺑﻌﺪُ‪ ،‬ﻛﻞﱡ ﺭﺟﻞٍ ﺣﺴﱠﺎﺱ‪ .‬ﻭﺇﻥﱠ ﺟﻴﻼً ﻫﻮ )ﺯﻱّ(‬
‫ﻛﺎﻣﻞ ﻣﻦ ﺍﻟﻮﺟﻮﺩ ﻳﺜﺒُﺖ ﺑﺸﻜﻞٍ ﻻ ﻳُﻤﺤﻰ ﻋﻠﻰ ﺍﻟﻔﺮﺩ‪ .‬ﻭﻳُﻌﺮﻑ ﺃﻋﻀﺎﺀُ ﻛﻞّ ﻋﻤﺮ ﰲ‬
‫ﺑﻌﺾ ﺍﻟﺸﱡﻌﻮﺏ ﺍﻟﺒﺪﺍﺋﻴﱠﺔ‪ ،‬ﺑﻮﺷْﻤﻪ‪ .‬ﻷﻥﱠ ‪/‬ﺯﻱّ‪ /‬ﺍﻟﺮﺳﻢ ﻋﻠﻰ ﺍﻟﺒَﺸَﺮﺓ ﺍﻟﺬﻱ ﻳُﺒﺪﺃ ﺑﻪ‬
‫ﺣﻴﻨﻤﺎ ﻳﻜﻮﻥ ﺍﻷﻋﻀﺎﺀ ﺭﺍﺷﺪﻳﻦ‪ ،‬ﻳﻈﻞﱡ ﻣﻨﻘﻮﺷﺎً ﰲ ﻛﻴﺎﻧﻬﻢ ﺑﺸﻜﻞٍ ﻻ ﻓﻜﺎﻙ ﻋﻨﻪ‪.‬‬
‫ﻭﻳﺘﺠﻠﱠﻰ ﺍﻟﻔﺮﻕ ﺑﲔ ﺃﺳﻠﻮﺑﻲ ﺟﻴﻠﲔ ﻣﺘﺘﺎﻟﲔ‪ ،‬ﰲ ﻛﻞﱢ ﺍﻷﻧﺸﻄﺔ‪ ،‬ﺣﺘﱠﻰ ﰲ ﺃﻛﺜﺮﻫﺎ‬
‫ﲡﺮﻳﺪﺍً‪ ،‬ﻭﻫﻮ ﻳﺒﺪﻭ ﺃﻗﻞّ ﺧﻀﻮﻋﺎً ﻟﻴﺪ ﺍﻟﺰﱠﻣﺎﻥ‪ .‬ﻓﺈﺫﺍ ﻓﺘﺤﻨﺎ ﺍﻟﻴﻮﻡ ﻛﺘﺎﺑَﲔ ﰲ ﺃﺭﻗﻰ‬
‫ﺭﻳﺎﺿﻴﱠﺎﺕ ﻋُﻠﻴﺎ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﻜﺘﺸﻒ ﻣﻦ ﻏﻴﺮ ﺃﻧﺒﺎﺀ ﺳﺎﺑﻘﺔ ﺃﻱﱡ ﺍﳌﺆﻟﱠﻔَﻴْﻦ ﰲ ﺍﻟﺜﱠﻼﺛﲔ‬
‫ﻭﺃﻳّﻬﻤﺎ ﰲ ﺍﻟﺴﺘﲔ‪ .‬ﻟﻜﻦ‪ ،‬ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﻔﺮﻕ ﺍﻷﺳﻠﻮﺑﻲّ ﻳﺰﺩﺍﺩ ﻃﺒﻘﺎً ﻷﻛﺜﺮ ﺍﻟﻮﻇﺎﺋﻒ‬
‫ﲡﺮﻳﺪﺍً ﻭﻻ ﺷﺨﺼﻴﱠﺔ‪ ،‬ﻓﻬﻮ ﻳﻬﺒﻂ ﻃﺒﻘﺎً ﻷﻛﺜﺮﻫﺎ ﺗﻌﻴﻴﻨﺎً ﻭﺣﻤﻴﻤﻴﱠﺔ‪ .‬ﻟﺬﻟﻚ ﻛﺎﻥ ﺍﳊﺐّ‬
‫ﺍﳌﻤﺎﺭﺳﺔ ﺍﻟﺘﻲ ﻳﻠﺤﻆ ﻓﻴﻬﺎ ﺍﻟﺮﱠﺟﻞ ﺑﺪﻗﱠﺔ ﻛﺒﺮﻯ‪ ،‬ﻋﺪﻡ ﺗﻮﺍﻓﻘﻪ ﻣﻊ ﺃﺳﺎﻟﻴﺐ ﺟﺪﻳﺪﺓ ﰲ‬
‫ﺍﳊﻴﺎﺓ‪ .‬ﻭﺇﻧﱠﻪ ﻟﺸﺎﻕّ ﺣﻘﱠﺎً ﺃﻥ ﻧﻠﺤﻆ ﺍﻟﺘﱠﻌﺜﱡﺮ ﻭﻋﺪﻡ ﺍﻟﺘﱠﻮﺍﻓﻖ ﺍﻟﺬﻱ ﻳﻐﺎﺯﻝ ﺑﻬﻤﺎ ﺭﺟﻞٌ ﻛﻬﻞٌ‬
‫ﻓﺘﺎﺓ‪ .‬ﻭﺫﻟﻚ‪ ،‬ﻟﻴﺲ ﺑﺴﺒﺐ ﺍﻟﻔﺮﻕ ﺍﳌﻄﻠﻖ ﰲ ﺍﻟﻌﻤﺮ‪ .‬ﻓﺮﺑﱠﻤﺎ ﻛﺎﻥ ﺍﻟﺮﱠﺟﻞ ﺍﻟﻜﻬﻞ ﻳﺤﺘﻔﻆ‬
‫ﺑﻨﻀﺎﺭﺓ ﺟﺴﺪﻳﱠﺔ ﺑﺸﻜﻞٍ ﻛﺒﻴﺮ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻷﻧﱠﻨﺎ ﻧﺮﻯ ﺃﺳﻠﻮﺑَﻲ ﺣﺐّ ﻣﺘﻘﺎﺑﻠَﲔ ﻭﻣﺘﻌﺎﺭﺿَﲔ‬
‫ﻟﻴﺲ ﺑﺎﳌﺴﺘﻄﺎﻉ ﺩﻣﺞُ ﺃﺣﺪﻫﻤﺎ ﺑﺎﻵﺧﺮ‪.‬‬
‫ﻟﻜﻨﱠﻨﺎ ﻟﻢ ﻧﺴﺘﻄﻊ ﻣﻊ ﺫﻟﻚ ﻛﻠّﻪ‪ ،‬ﺍﻻﻗﺘﺮﺍﺏ ﻣﻦ ﺍﳌﻮﺿﻮﻉ ﺍﻟﺬﻱ ﺑﺪﺃﻧﺎ ﺑﻪ ﻫﺬﻩ‬
‫ﺍﻟﻔﻘﺮﺍﺕ‪ .‬ﻓﻠْﻨُﺒﻖِ ﺇﻟﻰ ﻳﻮﻡٍ ﺁﺧﺮ ﻣﺤﺎﻭﻟﺔ ﺗﺤﺪﻳﺪ "ﺯﻱّ" ﺍﳊﺐّ ﺍﳉﺪﻳﺪ ﺍﳌﺨﺘﻠﻒ‬
‫ﺟﺪﱠﺍً ﻋﻦ ﺫﺍﻙ ﺍﻟﺬﻱ ﺃﻟﻬﻢَ ﺍﻷﺟﻴﺎﻝَ ﺍﻟﺴﱠﺎﺑﻘﺔ‪ .‬ﻭﺇﺫﺍ ﻧﻈﺮﻧﺎ ﺇﻟﻴﻪ ﺍﻧﻄﻼﻗﺎً ﻣﻦ ﻫﺬﻩ‬
‫ﺍﻷﺟﻴﺎﻝ ﻟﺒﺪﺍ ﻟﻨﺎ ﺑﺎﳊﺮﻱّ‪ ،‬ﻧﻔﻴﺎً ﻟﻠﺤﺐﱢ‪ ،‬ﻭﺯﻳﱠﺎً ﻳﺠﻌﻞ ﺍﻟﺸﱡﻴﻮﺥ ﻳﻘﻮﻟﻮﻥ ﺇﻥﱠ ﺍﳊﺐّ ﰲ‬
‫ﺍﳓﻄﺎﻁٍ ﻭﺻﺎﺭ ﻻ ﻳُﺤﺘﻤﻞ‪.‬‬
‫‪II‬‬
‫ﻣﻼﺣﻈﺔ ﺣﻮﻝ "ﺍﳊﺐ‪ ‬ﺍﳌﻬﺬّﺏ ﺍﻟﻌﻔﻴﻒ" ‪.amor cortés‬‬

‫ﺇﻧﱠﻨﺎ ﻧﺮﻯ ﺍﳊﺐﱠ ﺍﳉﺪﻳﺪ ﳝﺮﱡ ﺑﻜﺂﺑﺔ ﻏﺎﻣﻀﺔ‪ ،‬ﻭﻛﺄﻧﱠﻨﺎ ﻣﺪﻋﻮﻭﻥ ﻳﺼﻠﻮﻥ ﺇﻟﻰ‬
‫ﻭﻟﻴﻤﺔٍ ﻣﺘﺄﺧﺮﻳﻦ‪ .‬ﻟﺌﻦ ﻧﻜﻦ ﺃﻭﻓﻴﺎﺀَ ﻭﻓﺎﺀً ﻻ ﻣﺤﻴﺪَ ﻋﻨﻪ ﻟﺸﻜﻞٍ ﺁﺧﺮ ﻣﻦ ﺍﳊﺐّ ﺃﻗﻞّ‬
‫‪-١٠٦-‬‬
 ‫ﺣﺪﺍﺛﺔ‪ ،‬ﻓﺈﻧﱠﻨﺎ ﻧﺴﺘﺸﻌﺮ ﻟﻄﺎﺋﻒَ ﻫﺬﺍ ﺍﻷﺳﻠﻮﺏ ﺍﻷﺣﺪﺙ‪ ،‬ﺍﳌﻤﻴﱠﺰﺓَ‪ ،‬ﻭﳓﺒﱡﻬﺎ ﺃﻳﻀﺎً‪.‬‬
‫ﻭﺍﳊﻴﺎﺓُ ﺷﻬﻴﱠﺔٌ ﺩﺍﺋﻤﺎً‪ ،‬ﻭﺇﻥﱠ ﻋﺸﺮ ﺣﻴﻮﺍﺕ‪ 1‬ﻣﺨﺘﻠﻔﺔ ﻟﻦ ﺗﺴﻤﺢ ﻟﻨﺎ ﺃﻥ ﻧﺮﻓﺾ ﺍﳊﺎﺩﻳﺔ‬
‫ﻋﺸﺮﺓ ﻣﻦ ﻏﻴﺮ ﻧﻮﺳﺘﺎﳉﻴﺎ‪ .‬ﺫﻟﻚ ﺃﻧﱠﻨﺎ ﻧﺮﻯ ﻣﻦ ﺍﳋﺎﺭﺝ ﺍﳌﺸﻬﺪَ ﺍﻹﻳﺮﻭﺳﻲّ‪ ،‬ﻭﺇﺫْ ﻛﻨﱠﺎ ﻻ‬
‫ﻧﺸﺎﺭﻙ ﰲ ﺍﻷﺱﱢ ﺍﳊﻴﻮﻱّ ﺍﻟﺬﻱ ﻳﻮﻟّﺪﻩ‪ ،‬ﻓﺈﻧﱠﻨﺎ ﻧﺴﺘﻄﻴﻊ ﺍﻻﻗﺘﺮﺍﺏَ ﻣﻦ ﻣﺎﻫﻴﱠﺘﻪ ﻓﻜﺮﻳﱠﺎً‬
‫ﻓﺤﺴﺐ‪ .‬ﻭﺍﻟﻔﻜﺮ ﻋﻤﻠﻴﱠﺔ ﻣﻘﺎﺭﻧﺔ‪ .‬ﻭﻫﻜﺬﺍ ﻳﻈﻬﺮ ﻟﻨﺎ ﺍﳊﺐّ ﺍﳉﺪﻳﺪ ﻋﻠﻰ ﺧﻠﻔﻴﱠﺔِ ﺍﳊﺐّ‬
‫ﺍﻟﺬﻱ ﻛﻨﱠﺎ ﳕﺎﺭﺳﻪ ﻣﺘﻤﺎﻳﺰﺍً ﻣﻨﻪ ﺑﻌﻼﻣﺎﺗﻪ ﺍﻟﻔﺮﻗﻴﱠﺔ‪ .‬ﻭﺣﺒﱡﻨﺎ ﻛﺎﻥ ﻳﻨﺘﻤﻲ ﻣﻊ ﻫﺬﻩ‬
‫ﺍﻟﺘﱠﻌﺪﻳﻼﺕ ﺃﻭ ﺗﻠﻚ‪ ،‬ﺇﻟﻰ ﺳﻼﻟﺔ ﺍﻟﻘﺮﻥ ‪ .١٩‬ﺇﻧﱠﻪ "ﺍﳊﺐّ ﺍﻟﺮﱡﻭﻣﺎﻧﺴﻲّ"‪ .‬ﻛﺎﻧﺖ ﻓَﺘَﺮَﺕْ ﰲ‬
‫ﺃﻭﺍﺧﺮِ ﺫﻟﻚ ﺍﻟﻘﺮﻥ ﻧﺎﺭُ ﻫﻮﻯ ﺑﺪﺍﻳﺎﺗﻪ ﰲ ﺍ‪‬ﺎﻻﺕِ ﺍﳊﻴﻮﻳﱠﺔ ﻛﻠّﻬﺎ‪ .‬ﻭﻟﻬﺬﺍ ﺍﻟﺴﱠﺒﺐ ﺭﺑﱠﻤﺎ‬
‫ﻛﻨﱠﺎ ﻧﺼﻨﻊ ﻷﻧﻔﺴﻨﺎ ﺍﻟﻮﻫﻢ ﺃﻧﱠﻨﺎ ﻟﻢ ﻧﻜﻦ ﺭﻭﻣﺎﻧﺴﻴّﲔ ﰲ ﺍﻟﺸﱡﻌﻮﺭ ﻭﺍﻷﺩﺏ‪ .‬ﻟﻜﻦ‪ ،‬ﺣﺴﺒُﻨﺎ‬
‫ﺃﻥ ﻧﻮﺍﺟﻪ ﺍﻟﻔﺌﺔ ﺍﻟﺸﱠﺎﺑﱠﺔ ﻣﻦ ﺍﻟﻨﱠﺎﺱ ﻛﻴﻤﺎ ﻧﺸﻌﺮ ﺑﺎﳉﺬﺏِ ﺍﻟﺘﱠﺎﺭﻳﺨﻲّ ﻳﺒﻘﻴﻨﺎ ﻻﺻﻘﲔ‬
‫ﺑﺄﺟﺪﺍﺩﻧﺎ ﺍﻟﺮﱡﻭﻣﺎﻧﺴﻴّﲔ‪ .‬ﳓﻦُ ﺧَﻠَﻔﻪُ ﺍﻟﻘﺮﻳﺐ ﻭﻣﻦ ﻧﻮﻉٍ ﺟﺪﻳﺪ ﺃﻛﺜﺮ ﺍﻋﺘﺪﺍﻻً ﻭﺣﻜﻤﺔ‪.‬‬
‫ﻭﻗﺪ ﻛﺎﻥ ﻫﺎﻳﻨﻲ ﻳﺰﻋﻢ ﺑﺸﻜﻞٍ ﻏﻴﺮ ﺩﻗﻴﻖ ﺃﻧﱠﻪ ﻟﻴﺲ ﺭﻭﻣﺎﻧﺴﻴﱠﺎً ﺍﻟﺒﺘﱠﺔ‪ ،‬ﻭﻳﺴﻤﱢﻲ ﻧﻔﺴﻪ‪:‬‬
‫"ﺍﳌﻠﻚ ﺍﳌﺘﻨﺎﺯﻝ ﻋﻦ ﻋﺮﺵ ﺍﻹﻣﺒﺮﺍﻃﻮﺭﻳﱠﺔ ﺍﻟﺮﱡﻭﻣﺎﻧﺴﻴﱠﺔ ﺍﻟﻌﺘﻴﻘﺔ"‪.‬‬
‫ﻭ"ﺍﳊﺐﱡ ﺍﻟﺮﱡﻭﻣﺎﻧﺴﻲّ" ﺃﺣﺪ ﺃﻛﺜﺮ ﺍﻹﺑﺪﺍﻋﺎﺕ ﺇﻳﺤﺎﺀً ﰲ ﺍﻟﺘﱠﻄﻮﱡﺭ ﺍﻟﺒﺸﺮﻱّ‪ ،‬ﻭﻳﺒﺪﻭ‬
‫ﺷﻴﺌﺎً ﻻ ﻳُﺼﺪﱠﻕ ﺃﻥ ﻟﻢ ﻳﺤﺎﻭﻝ ﺃﺣﺪٌ ﻗﻂّ‪ ،‬ﺣﺴﺐَ ﻋﻠﻤﻲ ﻋﻠﻰ ﺍﻷﻗﻞّ‪ ،‬ﺗﺤﻠﻴﻠﻪ ﺃﻭ‬
‫ﺗﺼﻨﻴﻔﻪ‪ .‬ﻭﻫﺬﺍ ﻳﺪﻝﱡ ﻋﻠﻰ ﺃﻧﱠﻪ ﻟﻢ ﻳُﻌﻤﻞ ﻛﻞّ ﺷﻲﺀ ﺗﻘﺮﻳﺒﺎً ﺑﻌﺪُ‪ ،‬ﻭﻣﺎ ﻳﺰﺍﻝُ ﳑﻜﻨﺎً ﺇﻧﺘﺎﺝُ‬
‫ﻛﺘﺐٍ ﺃﻛﺜﺮَ ﺃﻫﻤﻴﱠﺔ‪.‬‬
‫"ﺍﳊﺐﱡ ﺍﻟﺮﱡﻭﻣﺎﻧﺴﻲّ"! ﻫﺎﻫﻨﺎ ﻣﺜﺎﻝٌ ﻋﻤﱠﺎ ﺳﻤّﻴﻨﺎﻩ ﻣﻦ ﻗﺒﻞُ "ﻣﻮﺿﺎﺕ ﺍﳊﺐّ"‪.‬‬
‫ﻟﻘﺪ ﺧَﻠَﻒَ ﻏَﺰَﻝَ ﺍﻟﻘﺮﻥ ‪ ١٨‬ﺍﻟﺬﻱ ﻟﻢ ﻳﻜﻦ ﺑﺪﻭﺭﻩ ﺳﻮﻯ ﺯﻱّ ﺁﺧﺮ ﺗﻼ "ﺍﻻﺣﺘﺸﺎﻡ" ﰲ‬
‫ﺍﻟﻘﺮﻥ ‪١٧‬؛ ﻭﺍﳊﺐّ ﺍﻷﻓﻼﻃﻮﻧﻲّ ﰲ ﺍﻟﻘﺮﻥ ‪١٥‬؛ ﻭﺃﺧﻴﺮﺍً "ﺍﳊﺐّ ﺍﻟﻌﻔﻴﻒ ‪"cortés‬ﰲ‬
‫ﺍﻟﻘﺮﻥ ‪ -١٣‬ﻭﺍﳊﺐّ ﺍﻷﺭﺳﺘﻘﺮﺍﻃﻲ ﺍﻟﺪّﻣﺚ ‪ gentil‬ﰲ ﺍﻟﻘﺮﻥ ‪ .١٤‬ﻭﻟﺴﻨﺎ ﺑﺤﺎﺟﺔٍ ﺇﻟﻰ‬
‫ﺍﻻﻗﺘﺮﺍﺏ ﻭﺍﻟﻌﺪﺳﺔُ ﰲ ﻳﺪﻧﺎ‪ ،‬ﻣﻦ ﺍﻟﺘﱠﻔﺼﻴﻞ ﺍﻟﺘﱠﺎﺭﻳﺨﻲّ ﻛﻴﻤﺎ ﺗﻨﺒﺜﻖ ﺃﻣﺎﻣﻨﺎ ﺍﳌﻤﻠﻜﺔ‬
‫ﺍﻹﻳﺮﻭﺳﻴﱠﺔ ﺍﳌﺘﻨﻮﱢﻋﺔ ﺑﻮﺟﻬﻬﺎ ﺍﳌﺨﺘﻠﻒ‪.‬‬
‫ﻭﺇﻥﱠ ﺗﺤﺪﻳﺪ ﺧﻮﺍﺹّ ﻫﺬﻩ ﺍﻷﻧﻮﺍﻉ ﻣﻦ ﺍﳊﺐّ‪ ،‬ﺧﺎﺻﻴﱠﺔ ﺑﻌﺪ ﺃﺧﺮﻯ‪ ،‬ﺳﺘﻜﻮﻥ‬
‫ﻣﻬﻤﱠﺔً ﺻﻌﺒﺔً ﻗﻠﻴﻼً‪ .‬ﻭﺇﺫﺍ ﺗﻜﻠﱠﻤﻨﺎ ﻋﻦ ﺍﻻﺧﺘﻼﻑ ﻭﺍﻟﺘﻨﻮﱡﻉ ﰲ ﺍﻷﻣﻮﺭ ﺍﻟﺒﺸﺮﻳﱠﺔ ﻓﺈﻧﱠﻨﺎ‬

‫)‪ existencias (١‬ﰲ ﺍﻷﺻﻞ‪ ،‬ﺃﻱ‪ ،‬ﻭﺟﻮﺩ ﺑﺼﻴﻐﺔ ﺍﳉﻤﻊ‪ – .‬ﺍﳌﺘﺮﺟﻢ‪.‬‬

‫‪-١٠٧-‬‬
 ‫ﻧﻌﻨﻲ ﺃﺷﻴﺎﺀ ﻧﺴﺒﻴﱠﺔ ﺩﺍﺋﻤﺎً‪ .‬ﻓﺎﻟﻌﻨﺎﺻﺮ ﺍﻟﺘﻲ ﺗﻜﻮﱢﻥ ﺍﻹﻧﺴﺎﻥ ﻫﻲ ﺫﺍﺗﻬﺎ ﺗﻘﺮﻳﺒﺎً‪ ،‬ﻋﻠﻰ‬
‫ﺍﻷﻗﻞﱢ ﺿﻤﻦ ﻛﻞّ ﺣﻠﻘﺔ ﺗﺎﺭﻳﺨﻴﱠﺔ‪ .‬ﻭﺍﻻﺧﺘﻼﻑ ﻳﻨﺸﺄ ﻣﻦ ﺍﳌﺮﻛﱠﺐ ﺍﳌﺘﺒﺎﻳﻦ ﺍﻟﺬﻱ ﺗﺪﺧﻞ‬
‫ﻓﻴﻪ ﻫﺬﻩ ﺍﻟﻌﻨﺎﺻﺮ ﻹﺣﺪﺍﺙ ﺍﻟﺘﱠﻔﺎﻋﻞ ﺍﻟﻨﱠﻔﺴﻲّ‪ .‬ﻭﺍﳌﺮﺍﺩ ﺩﺍﺋﻤﺎً ﺍﻟﺸﻲﺀ ﺫﺍﺗﻪ‪ ،‬ﻟﻜﻦ‬
‫ﺑﺸﻜﻞٍ ﻣﺨﺘﻠﻒ ﻛﻞﱠ ﻣﺮﱠﺓ‪ .Idem sed aliter :‬ﰲ ﺍﳊﺐّ ﻳﺘﺴﺎﻧﺪ ﺍﳋﻴﺎﻝ ﻭﺍﻹﻋﺠﺎﺏ‬
‫ﻭﺍﳊﺲّ ﻭﺍﳊﻨﺎﻥ ﻭﺃﺷﻴﺎﺀ ﺃﺧﺮﻯ ﻛﺜﻴﺮﺓ ﻣﻦ ﺍﻟﻜﻴﻤﻴﺎﺀ ﺍﳊﻤﻴﻤﺔ‪ .‬ﻭﺇﻥﱠ ﺍﳉﺮﻋﺔ ﺍﻟﺘﻲ‬
‫ﻳﺪﺧﻞ ﺑﻬﺎ ﻛﻞّ ﻣﻨﻬﺎ‪ ،‬ﻭﺍﳌﺴﺘﻮﻯ ﺍﻟﺬﻱ ﻳﺤﺘﻠّﻪ ﰲ ﺍﳌﻨﻈﻮﺭ ﺍﻟﻜﻠّﻲ ﺗﻘﺮّﺭ ﺍﻟﺸﱠﻜﻞ ﺍﻟﺬﻱ‬
‫ﺳﻴﻤﺜّﻠﻪ ﺍﻟﺸﱡﻌﻮﺭ ﺑﺎﳊﺐّ‪.‬‬
‫ﻟﺬﻟﻚ ﻛﺎﻥ ﺍﻷﻭﻓﻖ ﻟﻨﺎ ﺃﻥ ﻧﺪﺭﻙ ﺍﻟﺘﱠﺎﻟﻲ‪ :‬ﺇﻥﱠ ﺍﻟﺸﱠﺨﺺ ﺍﻟﺒﺸﺮﻱّ ﻛﻴﺎﻥ‬
‫ﻣُﺴﺘﻘﻄَﺐ‪ .‬ﻭﻫﻮ ﻣﺮﻛﱠﺐ ﻣﻦ ﺟﺴﻢ ﻭﻧﻔﺲ ﻳﻜﻮﻥ ﺷﻜﻼﻫﻤﺎ ﺍﻷﻗﺼﻴﺎﻥ ﻗﻄﺒﻲ‬
‫ﺍﻟﺸﱠﺨﺼﻴﱠﺔ‪ .‬ﻭﺫﻟﻚ ﻳﺴﻤﺢ ﻟﻨﺎ ﺃﻥ ﳕﺴﻚ ﺍﻟﻜﺎﺋﻦ ﺍﻟﺒﺸﺮﻱّ ﻣﻦ ﺃﺣﺪﻫﻤﺎ ﻭﻧﻀﻌﻪ ﰲ‬
‫ﺍﻟﺒُﻌﺪ ﺍﻷﻭﱠﻝ ﻣﺒﺮﺯﻳﻨﻪ‪ ،‬ﺑﻴﻨﻤﺎ ﻳﻈﻞّ ﺍﻵﺧﺮ ﺷﺒﻪ ﻣﺨﻔﻲّ ﻭﻛﺎﻣﻨﺎً ﺃﻭ ﰲ ﺍﻟﻈّﻞﱢ‪ .‬ﺗﻮﺟﺪ ﰲ‬
‫ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻋﺼﻮﺭ ﺟﺴﺪﻳﱠﺔ ﺗﺮﻛّﺰ ﻋﻠﻰ ﺍﻹﻧﺴﺎﻥ ﰲ ﺟﺴﺪﻩ ﺧﺎﺻﱠﺔً؛ ﺑﻴﻨﻤﺎ ﻋﺼﻮﺭ ﺃﺧﺮﻯ‬
‫ﻻ ﺗﺮﻯ ﰲ ﺍﳉﺴﺪ ﺳﻮﻯ ﻣﺮﺁﺓ ﻟﻠﻨﱠﻔﺲ ﻭﻗﻄﻌﺔ ﻣﻦ ﻣﺎﺩﱠﺓ ﺗﺘﺠﻠﱠﻰ ﻓﻴﻬﺎ ﺗﻠﻚ ﺍﻟﻨﱠﻔﺲ‪ .‬ﻭﺇﻥﱠ‬
‫ﻫﺬﺍ ﺍﳌَﻴْﻞ ﻟﺘﻔﻀﻴﻞ ﺍﳉﺴﺪ ﺃﻭ ﺍﻟﺮﱡﻭﺡ ﺃﺣﺪُ ﺃﻫﻢّ ﺍﻷﻋﺮﺍﺽ ﺍﻟﺘﻲ ﺗﺤﺪّﺩ ﻋﺼﺮﺍً‬
‫ﺗﺎﺭﻳﺨﻴﱠﺎً‪ .‬ﻭﻧﺪﺭﻙ ﺃﻥﱠ ﺇﻣﻜﺎﻧﻴﱠﺔﻫﺬﺍ ﺍﳌﻨﻈﻮﺭ ﺍﳌﺰﺩﻭﺝ ﻳُﻨﺘﺞ ﻧﻮﻋَﲔ ﻣﺨﺘﻠﻔﲔ ﻣﻦ ﺍﳊﺐّ‪،‬‬
‫ﻭﺗﻔﻴﺪﻧﺎ ﰲ ﺗﺼﻨﻴﻔﻪ‪.‬‬
‫ﻭﻫﻜﺬﺍ "ﺍﳊﺐّ ﺍﳌﻬﺬّﺏ ﺍﻟﻌﻔﻴﻒ" ﺍﻟﺬﻱ ﺍﻛﺘﺸﻔﺘﻪ ﻭﺭﻋﺘﻪ "ﺑﻼﻃﺎﺕ ﺍﳊﺐّ"‬
‫ﺍﳌﺸﻬﻮﺭﺓ ﻣﻨﺬ ﺍﻟﻘﺮﻥ ‪ ،١٢‬ﻫﻮ ﺷﻜﻞ ﻣﺘﻄﺮﱢﻑ ﻣﻦ ﺍﻹﻳﺮﻭﺳﻴﱠﺔ ﺍﻟﺮﱡﻭﺣﻴﱠﺔ‪ .‬ﻭﻗﺪ ﳋﱠﺺَ‬
‫ﺩﺍﻧﺘﻲ ﰲ ﺍﻟﻘﺮﻥ ‪ ،١٤‬ﻗﺮﻧﺎً ﻭﻧﺼﻒ ﺍﻟﻘﺮﻥ ﻣﻦ "ﺍﻟﻜﻮﺭﺗﺰﻳﺎ" ﳌﱠﺎ ﺃﺭﺍﺩ ﻣﻦ ﺑﻴﺎﺗﺮﻳﺲ‬
‫‪ Beatriz‬ﺗﻌﺎﺑﻴﺮ ﺍﻟﻮﺟﻪ ﺍﻟﺬﻱ ﻫﻮ ﺍﳉﺴﺪ ﺑﺼﻔﺘﻪ ﺗﻌﺒﻴﺮﺍً ﻋﻦ ﺍﻟﻨﱠﻔﺲ‪ .‬ﻭﻛﺎﻧﺖ ﺗﺒﻌﺚ‬
‫ﺍﳊﺐﱠ ﰲ ﺩﺍﻧﺘﻲ‪ ،‬ﺑﺴﻤﺔُ ﺍﳌﺮﺃﺓ ﺍﳌﺜﺎﻟﻴﱠﺔ ‪ ،disiato riso‬ﺍﻟﺘﻲ ﻛﺎﻧﺖ ﻋﻨﺪﻩ "ﻏﺎﻳﺔ ﺍﳊﺐّ‬
‫ﻭﻛﻤﺎﻟﻪ"‪:‬‬
‫‪"cose appariscon nello suo aspetto‬‬
‫‪che mostran de piacer del Paradiso‬‬
‫"‪Dico negli occhie nel suo dolce riso‬‬
‫)‪(convivio,tratto II‬‬
‫‪-١٠٨-‬‬
 ‫"ﻇﻬﺮﺕ ﺃﻣﻮﺭٌ ﻋﻠﻰ ﻫﻴﺌﺘﻬﺎ‬
‫ﺗﺪﻝﱡ ﻋﻠﻰ ﻧﻌﻴﻢ ﺍﻟﻔﺮﺩﻭﺱ‬
‫ﺃﻗﻮﻝ ﻋﻠﻰ ﻋﻴﻨﻴﻬﺎ ﻭﰲ ﺑﺴﻤﺘﻬﺎ ﺍﳊﻠﻮﺓ‪".‬‬
‫ﻭﺍﻟﺒُﻌﺪُ ﻫﺎﻡﱞ ﰲ ﺍﳊﺐﱢ ﺍﻟﻌﻔﻴﻒ ﻫﺬﺍ‪ .‬ﺇﻧﱠﻪ ﺣﺐّ ﻣﺄﻣﻮﻝ ﰲ ﺍﻟﻐﻴﺐ‪ ،‬ﺃﻭ ﻫﻮ‬
‫ﻧﻮﺳﺘﺎﳉﻴﺎ ﻭﺑُﻌْﺪٌ ﰲ ﺍﳌﻜﺎﻥ ﻭﺍﻟﺰﱠﻣﺎﻥ‪ .‬ﺇﻧﱠﻪ ﺣﺐﱞ ﻳﻀﻊ ﺍﶈﺐﱡ ﻓﻴﻪ ﻛﻞﱠ ﺷﻲﺀ ﻭﻳﻌﻴﺶ ﻣﻦ‬
‫ﻗﻮﱠﺗﻪ ﺍﳊﻤﺎﺳﻴﱠﺔ‪ .‬ﻭﻻ ﻳﺤﺘﺎﺝ ﺇﻟﻰ ﺭﺅﻳﺔ ﺍﶈﺒﻮﺑﺔ‪ .‬ﻭﺗﺘﻔﺠﱠﺮ ﻛﻴﻤﻴﺎﺅﻩ ﺍﻟﺬﱠﻫﻨﻴﱠﺔ ﻗﻠﻴﻼً‬
‫ﲟﺠﺮﱠﺩ ﺳﻤﺎﻋﻪ ﺇﻃﺮﺍﺀً ﻳﻨﻬﺎﻝ ﻋﻠﻰ ﺳﻴﱢﺪﺓٍ‪ .‬ﻭﻫﻜﺬﺍ ﺣﺎﻝ ﺍﻟﺸﱠﺎﻋﺮ ﺍﻟﺘﺮﻭﺑﺎﺩﻭﺭﻱ‬
‫ﺃﻣﻴﻨﻴﻮﺩﻱ ﺳﻴﻜﺎﺱ ‪:Amenieu de Sescas‬‬
‫‪"E sabetz que vers es:‬‬
‫‪c' om ama, de cor fi‬‬
‫‪femme que anc non vi,‬‬
‫"‪sol per auzir,lauzar.‬‬
‫"ﻭﺍﻋﻠﻤﻮﺍ ﺃﻧﱠﻪ ﺣﻖﱞ‪:‬‬
‫ﺇﻥﱠ ﺭﺟﻼً ﻳﺤﺐﱡ ﺑﻘﻠﺐٍ ﺭﻗﻴﻖ‬
‫ﺍﻣﺮﺃﺓ ﻟﻢ ﻳﺮﻫﺎ ﻗﻂّ‬
‫ﺳﻮﻯ ﺳﻤﺎﻋﻪ ﺇﻃﺮﺍﺀ ﻟﻬﺎ‪".‬‬
‫ﻭﺍﳌﻮﺿﻮﻉ ﻳﻌﻜﺲ ﰲ ﻛﻞﱢ ﺷﻲﺀ ﺟﻮﻗﺔ ﺍﻟﺘﺮﻭﺑﺎﺩﻭﺭﻳﲔ ﻧﺼﻒ ﺍﳌﻼﺋﻜﻴﱠﺔ‪ .‬ﻭﻫﺎﻛﻢ‬
‫ﺟﻮﻓﺮ ﺭﻭﺩﻳﻞ ‪ ،Joufer Rudel‬ﺍﻟﺬﻱ ﺃﺳﻤّﻴﻪ ﺑﺴﺮﻭﺭ "ﺷﺎﻋﺮ ﺍﳊﺐّ ﺍﻟﺒﻌﻴﺪ"‪ ،‬ﻛﺎﻧﺖ‬
‫ﺃﻏﻨﻴﺘﻪ ﺍﻟﺪﱠﺍﺋﻤﺔ ﺗﻘﻮﻝ ﺩﺍﺋﻤﺎً ﺑﻜﻠﻤﺎﺕٍ ﺃﻭ ﺃﺧﺮﻯ‪:‬‬
‫‪"qu 'el cor joi d'autr 'amor non a,‬‬
‫‪mas d'aiseella que anc non vi".‬‬
‫"ﺇﻥﱠ ﺍﻟﻘﻠﺐ ﺍﻟﺴﱠﻌﻴﺪ ﻟﻴﺲ ﻟﻪ ﻣﻦ ﺣﺐّ‬
‫ﺳﻮﻯ ﺣﺐّ ﺗﻠﻚ ﺍﻟﺘﻲ ﻟﻢ ﻳﺮﻫﺎ ﻗﻂّ"‪.‬‬
‫ﻟﺬﻟﻚ ﻛﺎﻧﺖ ﺍﻟﻘﺼﻴﺪﺓ ﺍﻟﺘﺮﻭﺑﺎﺩﻭﺭﻳﱠﺔ ﻣﺪﻳﺤﺎً ‪ loa‬ﰲ ﺟﺎﻧﺐٍ ﻛﺒﻴﺮٍ ﻣﻨﻬﺎ؛ ﺃﻱ‪،‬‬
‫ﺇﺑﺪﺍﻉ ﺧﻴﺎﻟﻲ ﻳﻮﺣﻲ ﺑﻪ ﺍﻹﻋﺠﺎﺏ‪ ،‬ﻭﻟﻴﺴﺖ ﺳﺮﺩﺍً ﻭﻻ ﻭﺻﻔﺎً‪ ،‬ﻭﻟﻴﺴﺖ ﺩﺭﺍﻣﺎ ﻭﻻ‬
‫ﺃﻏﻨﻴﺔ‪ .‬ﻭﳓﻦ ﻧﻌﺮﻑ ﺑﻴﺎﺗﺮﻳﺲ ﳌﱠﺎ ﻏﺎﺑﺖ‪ ،‬ﳌﱠﺎ ﻣﺎﺗﺖ‪ :‬ﻓﻼ ﻧﺮﻯ ﺳﻮﻯ ﻭﺟﻬﻬﺎ ﻭﻗﺪ‬
‫‪-١٠٩-‬‬
 ‫ﺍﻟﺘﻔﺘﺖ ﳌﱠﺎ ﺍﺑﺘﻌﺪﺕ ﻟﺘﻬﺪﻱ ﺇﻟﻰ ﺍﻟﺸﱠﺎﻋﺮ ﺍﻟﺘﱠﺤﻴﱠﺔ ﺍﻟﻌﺠﻴﺒﺔ ‪ ،el mirabile salute‬ﻭﻛﻠﻤﺔ‪:‬‬
‫ﻭﺩﺍﻋﺎً! ﺗﻈﻞﱡ ﺗﺘﺬﺑﺬﺏ ﻓﻴﻤﺎ ﻭﺭﺍﺀ ﺍﻟﻮﺍﻗﻊ ﰲ ﺧﻔﻖ ﺇﻳﺮﻭﺳﻲ ﺳﺮّﻱ ﻛﺼﺪﻯ ﻣﻮﺳﻴﻘﻰ‬
‫ﻳﻌﺰﻓﻬﺎ ﻭﺭﺍﺀ ﺃﻳﻜﺔ ﺃﺣﺪٌ ﻣﺎ ﻏﻴﺮُ ﻣﺮﺋﻲّ‪.‬‬
‫ﻭﻳﺒﺪﻭ ﻟﻨﺎ ﻫﺬﺍ ﺍﳊﺐّ ﺍﳌﻬﺬﱠﺏ ﻣﺼﻌّﺪﺍً ﺭﻭﺣﻴﱠﺎً ﺑﺈﻓﺮﺍﻁ‪ .‬ﻟﻜﻦ‪ ،‬ﺃﺣﺮﻯ ﺑﻨﺎ‪ ،‬ﺃﻥ‬
‫ﻧﺪﺭﻙ ﻣﺎ ﻳﻌﻨﻴﻪ ﺳﺎﻋﺔ ﺍﺯﺩﻫﺎﺭﻩ‪ .‬ﻛﺎﻥ ﺍﻟﻌﺼﺮ ﺍﻟﻮﺳﻴﻂ ﺍﻷﻭﱠﻝ ﰲ ﺍﳊﻀﻴﺾ‪ ،‬ﻭﻛﺎﻥ‬
‫ﺍﻟﺮﱠﺟﻞ ﻳﻌﻴﺶ ﰲ ﺃﺣﻠﻚ ﻣﺮﺣﻠﺔ ﻣﻨﻪ ﻭﺃﺷﻘّﻬﺎ ﲟﻌﺰﻝ ﻋﻦ ﺍﳌﺮﺃﺓ‪ .‬ﻭﻣﺎ ﻛﺎﻥ ﺍﻟﻌﺼﺮ‬
‫ﺍﻟﻮﺳﻴﻂ ﺍﻷﻭﱠﻝ ﻳﻌﺮﻑ ﺳﻮﻯ ﻣﺠﺘﻤﻊ ﻣﻦ ﺍﻟﺮﱢﺟﺎﻝ ﻓﻘﻂ‪ .‬ﻛﺎﻥ ﻋﺼﺮ ﺭﻳﺎﺿﺔ ﻭﻗﻨْﺺ‬
‫ﻭﻧَﻬَﻢ ﻭﺳُﻜْﺮ‪ .‬ﻭﻛﺎﻧﺖ ﺍﻟﻜﻨﻴﺴﺔ ﺗﺸﺪﱡ ﻣﻦ ﺟﻬﺔٍ ﺃﺧﺮﻯ‪ ،‬ﺻﻤﻮﻻﺕ ﺯﻫﺪٍ ﺷﺮﺱ‪ .‬ﻭﻫﻜﺬﺍ‬
‫ﺑﺪﺃﺕ ﺑﺠﺮﺃﺓ ﰲ ﺑﻌﺾ ﻣﻨﺎﻃﻖ ﻓﺮﻧﺴﺎ ﺍﳌﻨﻌﱠﻤﺔ ﻣﻮﺿﺔ ﺗﺄﻛﻴﺪ ﺷﻲﺀ ﺃﺭﺿﻲّ‪ ،‬ﻫﻮ ﺍﳊﺐّ‪.‬‬
‫ﻭﻣﺎ ﻛﺎﻥ ﺑﺎﻹﻣﻜﺎﻥ ﺃﻥ ﻳﺤﺪﺙ ﺫﻟﻚ ﺇﻻ ﺑﺸﻜﻞٍ ﻧﺎﻋﻢٍ ﻭﻣﻘﻨّﻊ‪ .‬ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻛﺎﻥ "ﺍﳊﺐﱡ‬
‫ﺍﳌﻬﺬّﺏ" ﻳﺘﺄﺭﺟﺢ ﺑﲔ ﺷﻌﻮﺭ ﻭﺍﻗﻌﻲّ ﻭﻭﻫﻢٍ ﺭﻣﺰﻱّ‪ .‬ﻭﻛﺎﻥ ﺍﻟﺘﺮﻭﺑﺎﺩﻭﺭﻳّﻮﻥ ﺃﻧﻔﺴﻬﻢ‬
‫ﻳﻘﻮﻟﻮﻥ ﺫﻟﻚ‪ :‬ﺇﻥﱠ ﺍﻷﻣﺮ ﺃﻣﺮ ‪fenher‬؛ ﺃﻣﺮ ﺗﺼﻨﱡﻊ‪ ،‬ﺃﻭ "ﺃﻛﺬﻭﺑﺔ ﻣﻬﺬّﺑﺔ"‪ ،‬ﻭﻟﻌﺒﺔ ﺑﻼﻁ‪.‬‬
‫ﻟﻜﻦ ﺫﻟﻚ ﻳﻔﺘﺮﺽ ﺃﻥ ﻳﻜﻮﻥ ﺇﺑﺪﺍﻋﺎً ﺭﻭﺣﻴﱠﺎً‪ ،‬ﺃﻭ ﺷﻴﺌﺎً ﻣﺎ ﻳُﻌﻠﱠﻖ ﻓﻮﻕ ﺍﻟﻐﺮﻳﺰﺓ ﻛﻨﺘﺎﺝ ﻧﺒﻴﻞ‬
‫ﻟﻢ ﻳﻜﺘﻤﻞ ﻣﻦ ﻧﺘﺎﺝ ﺍﻟﻨﱡﻔﻮﺱ‪ .‬ﻭﻫﺬﺍ ﺍﳊﺐّ ﻻ ﻳﺘﻮﺍﻓﻖ ﻣﻊ ﺃﻱّ ﺗﺤﻘﱡﻖ ﺷﻬﻮﺍﻧﻲّ‪ :‬ﺇﻧﱠﻪ‬
‫ﻳﻌﻴﺶ ﰲ ﺍﻟﺒُﻌﺪِ ﻭﺍﻟﻮﺣﺪﺓ ﻛﺎﻟﻌﻨﺪﻟﻴﺐ‪ .‬ﻟﺬﻟﻚ ﻛﺎﻥ ﻏﻴﺮ ﻣﻨﺴﺠﻢ ﻣﻊ ﺍﳊﺐﱢ ﺍﻟﺰﱠﻭﺟﻲّ‬
‫ﺍﻟﻘﺎﺋﻢ ﻋﻠﻰ ﺗﺤﻘﱡﻖ ﻛﺎﻣﻞ‪ .‬ﻭﻫﻮ ﺩﻳﻨﺎﻣﻴﱠﺔ ﻏﺮﺍﻣﻴﱠﺔ ﺑﺤﺘﺔ ﺧﺎﻟﻴﺔ ﻣﻦ ﺍﳌﺎﺩﱠﺓ‪ .‬ﻭﻫﻮ ﺷﻜﻞ‬
‫ﺍﳊﺐّ ﻣﻦ ﻏﻴﺮ ﻋﻄﺎﻟﺔ ﺍﳉﺴﺪ‪ .‬ﻭﺍﳊﺐﱡ ﺍﳋﺎﻟﺺ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻫﻮ ﺍﳊﺐّ ﺍﻟﺬﻱ‬
‫ﻻﻳﺘﺤﻘﱠﻖ‪ ،‬ﻭﻛﻠّﻪ ﺗﻮﺗﱡﺮ ﻭﻛﺪّ ﻭﺭﻏﺒﺔ ﺣﺎﺭﻗﺔ‪.‬‬
‫ﻭﻟﺘﻜﻦ ﻫﺬﻩ ﺍﳌﻼﺣﻈﺔ ﺍﻟﻘﺼﻴﺮﺓ ﻋﻦ "ﺍﳊﺐﱢ ﺍﻟﻌﻔﻴﻒ" ﻛﺪﻻﻟﺔ ﻟِﻤَﺎ ﻛﺎﻥ ﳝﻜﻦ‬
‫ﺃﻥ ﻳﺼﺒﺢ ﻇﺎﻫﺮﺗﻴّﺔ ﺍﻷﻧﻮﺍﻉ ﺍﻹﻳﺮﻭﺳﻴﱠﺔ‪.‬‬

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‫ﺧﺎﲤﺔ ﻟِﻜﺘﺎﺏ ﻣﻦ "ﻓﺮﻧﺴﻴﺴﻜﺎ ﺇﱃ ﺑﻴﺎﺗﺮﻳﺲ"‬
‫‪de Francesca a Beatrice‬‬

‫ﺳﻴﱢﺪﺗﻲ‪:‬‬
‫ﻛﺎﻧﺖ ﺍﻟﺮﺣﻠﺔ ﻃﻴﱢﺒﺔ‪ .‬ﻭﻟﻘﺪ ﻗﺪﺗِﻨﻲ ﺑﺸﻜﻞٍ ﻋﺠﻴﺐ ﰲ ﺟﺎﺩﱠﺓِ ﻣﺜﻠﱠﺜﺔ ﻣﻦ ﻣﻘﻄﱠﻌﺎﺕ‬
‫ﺛﻼﺛﻴﱠﺔ ﺍﻷﺑﻴﺎﺕ ﺍﻟﺘﻲ ﺗﺮﺗﻌﺶ ﺗﺎﺭﻛﺔً ﻫﻨﺎ ﻭﻫﻨﺎﻙ ﺑﺤﺮﻛﺔ ﺧﻔﻴﻔﺔ‪ ،‬ﻧﺒﺮﺓً ﻣﻮﺣﻴﺔً ﺗُﻀﻔﻲ‬
‫ﻋﻠﻰ ﺍﳌﺸﻬﺪ ﺍﻟﻘﺪﱘ ﻣﺎ ﻳﺸﺒﻪ ﺃﻓﻘﺎً ﺟﺪﻳﺪﺍً‪ .‬ﺑﺎﻟﻄﱠﺒﻊ‪ ،‬ﻛﺎﻧﺖ ﻧﻈﺮﺗﻨﺎ ﺗﺘﺨﻠﱠﻰ ﺃﺣﻴﺎﻧﺎً ﻋﻦ‬
‫ﺻﻮﺭ ﺩﺍﻧﺘﻲ ﻟﺘﺘﻨﺒﱠﻪ ﺇﻟﻰ ﺣﺮﻛﺎﺗﻚ ﻛﻤﺎ ﻓﻌﻞ ﺍﻟﺸﱠﺎﻋﺮ ﻏﺎﻟﺒﺎً ﻣﻊ ﺧﻴﺮ ﺩﻟﻴﻞ ﻟﻪ ﺑﻌﺪ ﻛﻞﱢ‬
‫ﺷﻲﺀ‪ .‬ﻭﻣﺎﺫﺍ ﻧﻌﻤﻞ ﻟﻪ! ﻷﻥﱠ ﺷﻬﻮﺓ ﺭﺑﱠﻤﺎ ﻏﻴﺮ ﻣﻌﺘﺪﻟﺔ‪ ،‬ﻟﻠﻌﺼﺮ ﺍﳊﺎﻟﻲ ﺟﻌﻠﺘﻨﻲ ﺃﺅﺛﺮ ﻋﻠﻰ‬
‫ﺍﳌﺸﻬﺪ ﺍﻟﻌﺒﻘﺮﻱّ ﺍﻟﻘﺪﱘ‪ ،‬ﻟﻜﻦ ﺍﻟﺒﺎﻫﺖِ‪ ،‬ﻣﺸﻬﺪﺍً ﺁﺧﺮ ﺟﺪﻳﺪﺍً ﻛﺎﻥ ﺍﻧﻌﻜﺎﺳﺎً ﻟﺬﺍﻙ‪ .‬ﻭﻻ‬
‫ﺃﺣﺴﺐ ﺩﺍﻧﺘﻲ ﺍﳌُﻌَﺎﺩَ ﺇﺣﻴﺎﺅﻩ ﻳﺠﺪ ﰲ ﺫﻟﻚ ﻣﻨﺎﺳﺒﺔً ﻟﻠﻨﱠﻘﺪِ‪ .‬ﻓﻘﺪ ﻛﺎﻥ ﻋﺎﳌﺎً ﺟﻴﱢﺪﺍً‬
‫ﺑﺎﳌﻠﺬﱠﺍﺕ‪ ،‬ﻓﻼ ﻳﺠﻬﻞ ﻫﺬﻩ ﺍﻟﻠّﺬﺓ ﺍﳌﺰﺩﻭﺟﺔ ﺍﻟﺘﻲ ﻫﻲ ﻋﺪﻡ ﺍﻟﻨﱠﻈﺮ ﺃﺣﻴﺎﻧﺎً ﺇﻟﻰ ﺍﻟﻌﺎﻟﻢ‬
‫ﻣﺒﺎﺷﺮﺓ ﻭﺇﻧﱢﻤﺎ ﺑﺸﻜﻞ ﻣﻠﺘﻮٍ‪ ،‬ﻣﻨﻌﻜﺴﺎً ﰲ ﺗﺒﺪﱡﻻﺕ ﻭﺟﻪ‪ .‬ﻓﻬﻮ ﻳﺘﻜﻠﱠﻢ ﺃﺣﻴﺎﻧﺎً –ﻭﻗﺒﻞ‬
‫ﻫﻴﺮﻳﺪﺍ ﺑﺴﺒﻌﺔ ﻗﺮﻭﻥ‪ -‬ﺃﻧﱠﻪ ﻳﺮﻯ ﺍﻟﺴﱠﻔﻴﻨﺔ ﺗﻨﻌﻜﺲ ﻫﺎﺑﻄﺔ ﺍﻟﺘﻴﺎﺭَ‪ ،‬ﰲ ﺑﺆﺑﺆ ﻋﲔ‪.‬‬
‫)ﺍﻟﻔﺮﺩﻭﺱ ‪ .(٤٢ ،٤١-XVII‬ﺇﻧﱠﻪ ﺍﻋﺘﺮﺍﻑ ﺧﻄﻴﺮ‪ .‬ﺃﻟﻴﺲ ﻛﺬﻟﻚ؟ ﻷﻧﱠﻪ ﻳﻔﺘﺮﺽ ﺑﺸﻜﻞٍ‬
‫ﻻ ﻣﺤﻴﺪ ﻋﻨﻪ‪ ،‬ﺷﻌﻮﺭﺍً ﺑﺎﳓﺪﺍﺭﺍﺕٍ ﻣﺘﻘﺎﺭﺑﺔ ﺟﺪﱠﺍً ﺗﻨﺼﺐﱡ ﻋﻠﻰ ﻋﻴﻮﻥ ﺟﺪّ ﻃﺒﻴﻌﻴﱠﺔ‪ .‬ﻭﻳﻠﺬﱡ‬
‫ﻟﻨﺎ ﺃﻥ ﻧﻜﺘﺸﻒ ﰲ ﻏﻨﺎﺋﻴّﺘﻨﺎ ﺍﻟﻘﺎﺳﻴﺔ‪ 2‬ﺃﻧﱠﻬﺎ ﰲ ﻣﻮﻗﻒ ﺣﻤﻴﻢ ﺣﻠﻮ ﻛﻬﺬﺍ ﺍﳌﻮﻗﻒ‪،‬‬
‫ﺟﻐﺮﺍﰲﱡ ﺃﻧﻬﺎﺭٍ ﺗﺴﻴﻞ ﻋﺒﺮ ﺍﻟﻌﻴﻮﻥ‪ ،‬ﻭﺭﺑﱠﺎﻥُ ﺳﻔﻦ ﲤﺨﺮ ﺩﺍﺧﻞ ﺑﺆﺑﺆ ﻋﲔ‪ .‬ﻭﻫﺬﺍ ﺍﻟﺒﻴﺖ‬
‫ﺍﻟﺸّﻌﺮﻱّ ﻳﻨﻄﻮﻱ ﻋﻠﻰ ﻣﻌﻄﻰ ﺑﻴﻮﻟﻮﺟﻲّ ﻓﻴﻪ ﺗﻬﻮﱡﺭ ﳕﻮﺫﺟﻲّ‪ ،‬ﻭﻫﻮ ﻭﺛﻴﻘﺔ ﺻﺎﺩﻗﺔ ﰲ‬
‫ﻭﺭﻗﺔ ﺍﳋﺪﻣﺎﺕ ﺍﻟﻌﺎﻃﻔﻴﱠﺔ ﺍﻟﺼﱠﺎﺩﺭﺓ ﻋﻦ ﺍﻟﺸﱠﺎﻋﺮ‪ .‬ﺃﻣَﺎ ﻭﺇﻧﱠﺎ ﺳﻨﺘﻜﻠﱠﻢ ﺑﻌﺪ ﺫﻟﻚ ﻋﻦ‬
‫ﺗﻜﺘﻴﻜﻪ ﰲ ﺍﻻﺑﺘﻌﺎﺩ‪ ،‬ﻓﻤﻦ ﺍﳋﻴﺮ ﺍﻵﻥ ﺃﻥ ﻧﺒﺮﺯ ﻣﺂﺛﺮﻩ ﰲ ﺍﻟﺘﱠﻘﺮﱡﺏ‪ .‬ﻓﻘﺪ ﻛﺎﻥ ﺟﺴﻮﺭﺍً ﰲ‬
‫ﺍﳊﺐّ ﻋﻠﻰ ﺍﻟﺮّﻏﻢ ﻣﻦ ﺣﻴﺎﺋﻪ‪ ،‬ﻭﺍﻗﺘﺮﺏ ﻣﻦ ﺳﺎﺣﺔ ﺍﻟﺼﱢﺮﺍﻉ‪ .‬ﻷﻥﱠ ﻗﺎﺭﺑﺎً ﰲ ﺳﺎﺋﻞ ﺧﻠﻴﺞ‬

‫)‪ (١‬ﳌﺆﻟﱢﻔﺘﻪ ﻓﻴﻜﺘﻮﺭﻳﺎ ﺃﻭﻛﺎﻣﺒﻮ‪ .‬ﺃﻋﺎﺩ ﺃﻭﺭﺗِﻐﺎ ﻧﺸﺮﻩ ﰲ ﻣﺠﻠﱠﺔ ﺍﻟﻐﺮﺏ ‪ ،revista de occidente‬ﺍﻟﺘﻲ ﻛﺎﻥ ﳝﻠﻜﻬﺎ‪.‬‬
‫)‪ (٢‬ﰲ ﺍﻷﺻﻞ ‪ ،hiena‬ﺿﺒُﻊ‪.‬‬
‫‪-١١١-‬‬
‫ﺑﺆﺑﺆ ﻫﻮ ﺷﻲﺀ ﺟﺪّ ﺩﻗﻴﻖ ﻻ ﻳُﺮﻯ ﺇﻻ ﺑﺎﻹﻃﻼﻝ ﻣﻦ ﻗﺮﺏ ﻗﺮﻳﺐ ﻋﻠﻰ ﺍﻟﻘﺰﺣﻴﱠﺔ‬
‫ﺍﻟﺴّﺤﺮﻳﱠﺔ‪ .‬ﻭﻋﻠﻰ ﺍﻟﻌﻜﺲ ﻣﻦ ﺫﻟﻚ ﺍﳊﺎﻟﺔُ ﺍﻟﺘﻲ ﺃﺷﺎﺭ ﺇﻟﻴﻬﺎ ﺑﻠﻮﺗﺎﺭﻙ‪ .‬ﻓﺒﻴﻨﻤﺎ ﻛﺎﻥ ﺳﺎﺋﺮ‬
‫ﺍﶈﺎﺭﺑﲔ ﻳﺴﻴﺮ ﺇﻟﻰ ﺍﳌﻌﺮﻛﺔ ﺭﺍﻓﻌﲔ ﺭﺍﻳﺎﺕٍ ﺭُﺳﻤﺖ ﻋﻠﻴﻬﺎ ﺷﻌﺎﺭﺍﺕٌ ﻛﺒﻴﺮﺓٌ ﻻﻓﺘﺔٌ ﻟﻠﻨﱠﻈﺮ‪،‬‬
‫ﻛﺎﻥ ﺑﻴﻨﻬﻢ ﻣﺤﺎﺭﺏٌ ﻳﺤﻤﻞ ﺷﻌﺎﺭﺍً ﳑﺜﱠﻼً ﺑﺬﺑﺎﺑﺔٍ‪" .‬ﺃﻧﺖَ ﺟﺒﺎﻥ! ‪ -‬ﻭﺻﻤﻪ ﺍﻵﺧﺮﻭﻥ‪.-‬‬
‫ﺗﺮﻳﺪ ﺃﻥ ﺗﺬﻫﺐ ﺇﻟﻰ ﺍﳌﻌﺮﻛﺔ ﻣﻦ ﻏﻴﺮ ﺃﻥ ﺗُﺮﻯ‪ ،‬ﻭﺷﻌﺎﺭﻙ ﻻ ﻳﺠﻌﻠﻚ ﺗﻘﺘﺮﺏ ﻣﻦ ﺍﻟﻌﺪﻭّ!"‪.‬‬
‫"ﻋﻠﻰ ﺍﻟﻌﻜﺲ ﻣﻦ ﺫﻟﻚ ﲤﺎﻣﺎً‪ - .‬ﺃﺟﺎﺏ ﺍﶈﺎﺭﺏ ﺍﳌﻬﺎﻥ ﺑﻬﺪﻭﺀ‪ ،-‬ﺫﻟﻚ ﺃﻧّﻲ ﺃﻓﻜّﺮ ﰲ‬
‫ﺍﻻﻗﺘﺮﺍﺏ ﻣﻨﻪ ﺣﺘﱠﻰ ﻻ ﻳﺠﺪ ﻣﻨﺎﺻﺎً ﻣﻦ ﺭﺅﻳﺔ ﺍﻟﺬّﺑﺎﺑﺔ‪ ،‬ﺷﺎﺀ ﺃﻡ ﺃﺑﻰ"‪.‬‬
‫ﻟﻜﻦﱠ ﻫﺬﺍ ﺍﻟﺘﱠﻔﺼﻴﻞ ﺍﻟﺒﻴﻮﻏﺮﺍﰲ ﻣﻦ ﻃﺮﺍﺯٍ ﺟﺪﱡ ﺣﻤﻴﻢ‪ ،‬ﺑﺎﻟﺘﱠﺎﻟﻲ‪ ،‬ﺟﺪّ ﺗﺎﻓﻪ‪،‬‬
‫ﻻﻳﻨﻔﻌﻨﺎ ﳓﻦُ ‪ -‬ﺃﺻﺪﻗﺎﺀﻙ‪ -‬ﰲ ﺃﻥ ﻧﺴﻮﱢﻍَ ﺑﻮﺳﺎﻃﺔ ﺍﻟﺸﱠﺎﻋﺮ ﺫﺍﺗﻪ‪ ،‬ﺯﻟﱠﺔ ﺍﻧﺘﺒﺎﻫﻨﺎ‪ ،‬ﺇﺫﺍ‬
‫ﺍﺗّﺠﻪ ﳓﻮﻙ ﻋﻨﺪ ﻗﺮﺍﺀﺓ ﺍﻟﻜﺘﺎﺏ ﺑﺈﻟﻔﺔٍ ﻭﻃﺮﺍﻓﺔٍ ﺗﻔﻮﻕ ﺍﻧﺘﺒﺎﻫﻨﺎ ﺇﻟﻰ ﻗﺼﻴﺪﺓ ﺍﻟﺸﱠﺎﻋﺮ‬
‫ﺍﳌﻌﺘﺒﺮﺓ‪ .‬ﻭﺍﻟﺘﱠﺴﻮﻳﻎ ﻳﻬﺒﻂ ﻋﻠﻴﻨﺎ ﻣﺒﺎﺷﺮﺓً ﻣﻦ ﺃﻋﻠﻰ ﺍﻷﻓﻼﻙ ﻭﻳﺘﻐﺬﱠﻯ ﻣﻦ ﻣﺒﺪﺃ ﻫﻮ‬
‫ﺃﻋﻈﻢ ﻣﺒﺎﺩﺉ ﺩﺍﻧﺘﻲ ﻛﻠّﻬﺎ‪.‬‬
‫ﺇﻧﱠﻚِ‪ ،‬ﻳﺎ ﺳﻴﱢﺪﺗﻲ‪ ،‬ﻣﻈﻬﺮٌ ﳕﻮﺫﺟﻲﱞ ﻟﻸﻧﻮﺛﺔ‪ .‬ﻭﰲ ﻣﺎ ﺣﻮﻝ ﺷﺨﺼﻚ ﺗﻠﺘﻘﻲ‬
‫ﺑﻠﻄﻒٍ ﻣﺸﻊﱟ ﺃﻛﺜﺮ ﺍﻟﻜﻤﺎﻻﺕ ﻏﺮﺍﺑﺔً‪ .‬ﻭﻛﻴﻒ ﻻ ﻳﺜﻴﺮ ﻓﻀﻮﻟَﻨﺎ ﺭﺅﻳﺘُﻚِ ﺗﻨﺰﻟﲔ ﺇﻟﻰ ﻛﻮﻥ‬
‫ﺩﺍﻧﺘﻲ ﺍﳌﻬﻠﻮﺱ ﺣﻴﺚ ﺗﻮﺟﺪ ﺃﺷﻜﺎﻝ ﺍﻟﻮﺟﻮﺩ ﺍﻟﺒﺸﺮﻱّ ﻛﻠّﻬﺎ؟! ﺇﻥﱠ ﺍﻟﺴﱠﻔﺮ ﺇﻟﻰ ﻣﺎ ﻭﺭﺍﺀ‬
‫ﺍﻟﻌﺎﻟَﻢ ﺍﻟﺬﻱ ﻗﻤﻨﺎ ﺑﻪ ﻣﺮﱠﺍﺕٍ ﻋﺪﱠﺓ ﻳﻜﺘﺴﺐ ﺑﻬﺬﺍ ﺍﻟﺸﱠﻜﻞ ﺩﺭﺍﻣﻴﱠﺔ ﺟﺪﻳﺪﺓ ﻭﻳُﻤﻸ‬
‫ﺑﺘﺤﻮﱡﻻﺕٍ ﻣﻮﺣﻴﺔ‪ .‬ﻷﻥﱠ ﻗﻠﺒﻚ‪ ،‬ﻳﺎ ﺳﻴﱢﺪﺗﻲ‪ ،‬ﻋﺶّ ﻣﻦ ﺍﳊﻤﺎﺳﺔ ﺍﻟﻜﺎﻣﻠﺔ‪ ،‬ﻭﻣﻦ ﺍﻟﺼﱡﺪﻭﺩ‬
‫ﺍﻟﺼﱠﺎﺭﻡ‪ .‬ﻓﻤﺎ ﺃﻟﺬﱠ ﻣﺘﺎﺑﻌﺘﻚ ﻭﺷﻬﻮﺩَ ﻃﻴﺮﺍﻥِ ﻫﺬﻩ ﺍﳊﻤﺎﺳﺔ ﺃﻭ ﺫﺍﻙ ﺍﻟﺼﱡﺪﻭﺩ ﻓﻮﻕ‬
‫ﺍﳌﺸﻬﺪ ﻭﻣﻼﺣﻈﺔ ﺃﻳﻦ ﻳﻘﻒ ﻭﺩّﻙ‪ ،‬ﺃﻭ ﺇﻟﻰ ﺃﻳﻦ ﺗﻨﺤﺮﻓﲔ‪ ،‬ﰲ ﺍﳌﻘﺎﺑﻞ‪ ،‬ﺑﻘﺪﻡٍ ﺭﺷﻴﻘﺔٍ‬
‫ﻭﻛﺄﻧﱠﻚِ ﰲ ﻫﺮﺏٍ ﻣﺘﻌﻤﱠﺪ! ﻭﻛﻞﱡ ﺣﺮﻛﺔٍ ﻣﻦ ﺣﺮﻛﺎﺗﻚِ ﻟﻬﺎ ﰲ ﻧﻈﺮﻧﺎ ﻣﻌﻨﻰً ﻣﻌﻴﺎﺭﻱّ ﻷﻧﱠﻪ‬
‫ﻓﻴﻬﺎ ﻳﻨﻜﺸﻒ ﺳﺮّ ﻗﺒﻮﻟﻚ ﻭﺻﺪﻭﺩﻙ‪.‬‬
‫ﺃﻭَ ﻟﻴﺲَ ﺫﻟﻚ ‪ -‬ﺃﻱ‪ ،‬ﺍﳌﺮﺃﺓ ﻣﻌﻴﺎﺭﺍً‪ -‬ﺃﻋﻈﻢ ﺍﻛﺘﺸﺎﻑٍ ﻗﺎﻡ ﺑﻪ ﺩﺍﻧﺘﻲ؟ ﻭﺇﻧﱠﻪ ﶈﺰﻥٌ‬
‫ﺃﻥ ﻳﻜﻮﻥ ﺗﺄﺛﻴﺮ ﺍﳌﺮﺃﺓ ﺍﻟﻨﱠﻮﻋﻲّ ﰲ ﺍﻟﺘﱠﺎﺭﻳﺦ‪ ،‬ﻏﻴﺮَ ﻣُﺪﺭَﻙٍ ﻭﻻ ﻳﻌﺮﻑ ﺍﻟﻨﱠﺎﺱ ﻋﻨﻪ ﺷﻴﺌﺎً‪.‬‬
‫ﻭﺍﳊﻘﻴﻘﺔ ﺃﻧﱠﻪ ﻟﻢ ﻳُﺒﺤﺚ ﺃﻳﻀﺎً ﺣﺘﱠﻰ ﺍﻟﻴﻮﻡ ﺍﻟﺸﻌﻮﺭ ﺍﻟﺬﱠﻛﺮﻱّ ﳓﻮ ﺍﳌﺮﺃﺓ‪ .‬ﻭﻳُﻔﺘﺮَﺽ ﺃﻧﱠﻪ‬
‫ﻫﻮ ﻫﻮ ﺫﺍﺗﻪ ﺩﺍﺋﻤﺎً ﺑﺰﻳﺎﺩﺓٍ ﻗﻠﻴﻠﺔٍ ﺃﻭ ﻧﻘﺺٍ ﻗﻠﻴﻞ‪ .‬ﰲ ﺣﲔ ﺃﻧﱠﻪ ﺳﻠﻚ‪ ،‬ﰲ ﺍﻟﻮﺍﻗﻊ ﺗﻄﻮﱡﺭﺍً‬
‫ﺑﻄﻴﺌﺎً ﻭﻭﻋﺮﺍً ﻭﳑﻠﻮﺀﺍً ﺑﺎﻹﺑﺪﺍﻋﺎﺕِ ﻭﺍﻟﺘﱠﺮﺍﺟﻌﺎﺕ‪.‬‬
‫‪-١١٢-‬‬
‫ﺑﺎﻟﺘﱠﺎﻟﻲ‪ ،‬ﻛﺎﻥ ﻣﻦ ﺍﳋﻴﺮ ﺃﻥ ﻧﻼﺣﻆ ﺃﻥﱠ ﺍﻟﺘﱠﺎﺭﻳﺦ ﻗﺪ ﺗﻘﺪﱠﻡ ﺗَﺒَﻌﺎً ﻹﻳﻘﺎﻉٍ ﺟﻨﺴﻲﱟ‪.‬‬
‫ﻓﻬﻨﺎﻙ ﻋﺼﻮﺭٌ ﻫﻴﻤﻨﺖ ﻓﻴﻬﺎ ﺍﻟﻘﻴﻢ ﺍﻟﺬﻛﺮﻳﱠﺔ‪ ،‬ﻭﻫﻨﺎﻙَ ﻋﺼﻮﺭٌ ﺃﺧﺮﻯ‪ ،‬ﻛﺎﻧﺖ ﺍﻟﻬﻴﻤﻨﺔ ﻓﻴﻬﺎ‬
‫ﻟﻘﻴﻢ ﺍﻷﻧﻮﺛﺔ‪ .‬ﻻﺣﻈﻲ ﻳﺎ ﺳﻴﱢﺪﺗﻲ‪ ،‬ﺃﻥﱠ ﺍﻟﻌﺼﺮ ﺍﻟﻮﺳﻴﻂ ﺍﻷﻭﱠﻝ‪ ،‬ﺇﺫﺍ ﻟﻢ ﻧﺘﻜﻠﱠﻢ ﺇﻻﱠ ﻋﻦ‬
‫ﺣﻀﺎﺭﺗﻨﺎ‪ ،‬ﻛﺎﻥ ﻋﺼﺮﺍً ﺫﻛﻮﺭﻳﱠﺎً‪ .‬ﻓﻤﺎ ﻛﺎﻧﺖ ﺍﳌﺮﺃﺓ ﺗﺘﺪﺧﱠﻞ ﰲ ﺍﳊﻴﺎﺓ ﺍﻟﻌﺎﻣﱠﺔ‪ ،‬ﻭﻛﺎﻥ‬
‫ﺍﻟﺮﱢﺟﺎﻝ ﻳﻀﻄﻠﻌﻮﻥ ﺑﺎﳌﻬﻤﱠﺔ ﺍﳊﺮﺑﻴﱠﺔ‪ ،‬ﻭﻛﺎﻥ ﺭﻓﺎﻕ ﺍﻟﺴﱢﻼﺡ ﻳﻠﻬﻮﻥ ﺑﻌﻴﺪﺍً ﻋﻦ ﺍﻟﺴﱠﻴﱢﺪﺍﺕ‪،‬‬
‫ﺑﺎﺣﺘﻔﺎﻻﺕٍ ﺑﺮﺑﺮﻳﱠﺔٍ ﻣﻦ ﺍﻟﺸﺮﺏ ﻭﺍﻟﻐﻨﺎﺀ‪ .‬ﺃﻣﱠﺎ ﺍﻟﻌﺼﺮ ﺍﻟﻮﺳﻴﻂ ﺍﻟﺜﱠﺎﻧﻲ‪ ،‬ﻭﻫﻮ ﰲ ﺭﺃﻳﻲ‬
‫ﺃﻛﺜﺮ ﻋﺼﻮﺭ ﻣﺎﺿﻲ ﺃﻭﺭﻭﺑﺎ ﺟﺎﺫﺑﻴﱠﺔً‪ ،‬ﻓﻴﺘﻤﻴﱠﺰ ﺑﺼﻌﻮﺩ ﳒﻢ ﺍﻷﻧﻮﺛﺔ ﻓﻮﻕ ﺃﻓﻖ ﺍﻟﺘﱠﺎﺭﻳﺦ‪.‬‬
‫ﻭﻟﻘﺪ ﺃﺷﺮﺕِ ﺃﻧﺖِ ﺇﻟﻰ ﺫﻟﻚ ﳌﱠﺎ ﺍﺧﺘﺘﻤﺖِ ﺗﻌﻠﻴﻘﻚِ ﻋﻠﻰ "ﺑﻼﻃﺎﺕِ ﺍﳊﺐّ"‪ .‬ﻭﺇﻟﻰ ﺍﻵﻥ ﻟﻢ‬
‫ﺗﻮﺿﻊ ﰲ ﻣﺴﺘﻮﺍﻫﺎ ﺍﻟﺘﱠﺎﺭﻳﺨﻲّ ﺍﻟﺬﻱ ﺗﺴﺘﺤﻘّﻪ ﺛﻘﺎﻓﺔ "ﺍﻟﻜﻮﺭﺗِﺰﻳﱠﺎ" )ﺍﻟﺘﻬﺬﻳﺐ ﻭﺁﺩﺍﺏ‬
‫ﺍﻟﺴﱡﻠﻮﻙ(‪ ،‬ﺍﻟﺘﻲ ﺍﺯﺩﻫﺮﺕ ﰲ ﺍﻟﻘﺮﻥ ‪ ،١٢‬ﻭﻫﻲ ﰲ ﺭﺃﻳﻲ ﺇﺣﺪﻯ ﺍﻟﻮﻗﺎﺋﻊ ﺍﳊﺎﺳﻤﺔ ﰲ‬
‫ﺍﳊﻀﺎﺭﺓِ ﺍﻟﻐﺮﺑﻴﱠﺔ‪ .‬ﻭﻣﻦ "ﺍﻟﻜﻮﺭﺗِﺰﻳﱠﺎ" ﺧﺮﺝ ﺳﺎﻥ ﻓﺮﻧﺴﻴﺴﻜﻮ ‪ ،S.Francisco‬ﻭﺩﺍﻧﺘﻲ‪،‬‬
‫ﻭﺍﻟﺒﻼﻁ ﺍﻟﺒﺎﺑﻮﻱ ﰲ ﺁﻓﻴﻨﻴﻮﻥ ‪ Avignon1‬ﻭﺍﻟﻨﱠﻬﻀﺔ ﺍﻟﺘﻲ ﰲ ﺇﺛﺮﻫﺎ ﺗﺴﺎﺭﻋﺖ ﺍﻟﺜﻘﺎﻓﺔ‬
‫ﺍﳊﺪﻳﺜﺔ ﻛﻠﻬﺎ‪ .‬ﻭﻗﺪ ﺟﺎﺀ ﻫﺬﺍ ﺍﶈﺼﻮﻝ ﺍﻟﻀﱠﺨﻢ ﻛﺎﻣﻼً ﻣﻦ ﺍﳉﺮﺃﺓ ﺍﻟﻌﺒﻘﺮﻳﱠﺔ ﺍﻟﺘﻲ‬
‫ﻭﻃﱠﺪﺕ ﺑﻬﺎ ﺑﻌﺾ ﺳﻴﱢﺪﺍﺕٍ ﻣﻦ ﺍﻟﺒﺮﻭﻓﺎﻧﺲ ‪ Provence‬ﻣﻮﻗﻔﺎً ﺟﺪﻳﺪﺍً ﺇﺯﺍﺀ ﺍﳊﻴﺎﺓ‪ .‬ﻓﻘﺪ‬
‫ﲡﺮﱠﺃﺕ ﻫﺆﻻﺀ ﺍﻟﻨﱢﺴﻮﺓ ﺍﻟﺮﱠﺍﻗﻴﺎﺕ ﻋﻠﻰ ﺍﻹﻳﺤﺎﺀ ﲟﺬﻫﺐٍ ﻣﻦ ﺍﻟﺘﱠﻬﺬﻳﺐ ﺍﻟﺪﱠﺍﺧﻠﻲّ ﻭﺍﻟﺮﱢﻗﱠﺔ‬
‫ﺍﻟﻔﻜﺮﻳﱠﺔ ﰲ ﻣﻘﺎﺑﻞ ﺍﻟﺰّﻫﺪ ﺍﳌﺰﺩﻭﺝ ﻭﺍﳌُﺤﺎﻝ ﺃﻳﻀﺎً ﻋﻨﺪ ﺍﻟﺮﱠﺍﻫﺐ ﻭﺍﶈﺎﺭﺏ‪ .‬ﻭﻗﺪ ﺑُﻌﺜﺖ‬
‫ﰲ ﻇﻞﱢ ﻫﺬﺍ ﺍﻹﻟﻬﺎﻡ ﻗﺎﻋﺪﺓ ﺍﻟﻴﻮﻧﺎﻥ ﺍﻟﻌﻠﻴﺎ ‪ el metrón‬ﺃﻭ "ﺍﻻﻋﺘﺪﺍﻝ"‪ .‬ﻭﺇﺫْ ﻛﺎﻥ ﺍﻟﻌﺼﺮ‬

‫)‪ (١‬ﻻ ﻳُﻌـﺮﻑ ﺑـﺸﻜﻞٍ ﻛـﺎﻑٍ ﺇﻥ ﻛـﺎﻥ ﻫـﺬﺍ ﺍﻟـﺒﻼﻁ ﺍﻟﻔﺮﻧـﺴﻲّ ﺍﻹﻳﻄـﺎﻟﻲ ﺍﳌﻨﺎﺳـﺒﺔ ﺍﻷﻭﻟـﻰ ﺍﻟﺘـﻲ ﺷــﺮﻋﺖ‬
‫ﻓﻴﻬﺎ ﺍﻟﺴﱠﻴﱢﺪﺍﺕ ﰲ ﺗﺸﻜﻴﻞ ﺟﺎﻧﺐ ﻣـﻦ "ﺍ‪‬ﺘﻤـﻊ" ﺑـﺸﻜﻞٍ ﻣـﺄﻟﻮﻑٍ ﻭﺛﺎﺑـﺖ‪ .‬ﺇﺫﺍً‪ ،‬ﻣﻨـﻪ ﻳﺠـﺐ ﺃﻥ ﻧـﺆﺭﱢﺥ‬
‫ﺑﺎﳌﻌﻨﻰ ﺍﻟﺼﱠﺤﻴﺢ ﻟﻬﺬﻩ ﺍﻟﻬﻴﺌﺔ ﺍﻻﺟﺘﻤﺎﻋﻴﱠـﺔ ﺍﻟﺘـﻲ ﺳـﻤﱠﺎﻫﺎ ﺍﻟﺮﱢﺟـﺎﻝ ﺍﳌﻌﺎﺻـﺮﻭﻥ )‪ = corte‬ﺑﻼﻃـﺎً(‪.‬‬
‫ﻭﺇﺫْ ﺷﻜﱠﻠﻪ ﰲ ﺁﻓﻴﻨﻴﻮﻥ ﰲ ﺟﺎﻧﺐٍ ﻛﺒﻴﺮٍ ﻣﻨﻪ‪ ،‬ﺭﺟﺎﻝُ ﺩﻳﻦٍ ﻛﺒﺎﺭ‪ ،‬ﺑﺎﻟﺘﱠﺎﻟﻲ‪ ،‬ﻋﺰﱠﺍﺏ‪ ،‬ﻇﻬـﺮ ﳕـﻮﺫﺝ ﺃﺻـﻴﻞ‬
‫ﻣــﻦ ﺍﻟﻨﱢــﺴﺎﺀ ﻛ ـﻦﱠ ﻳــﺴﻠﻜﻦ ﺣﻴــﺎﺓً ﻣــﺴﺘﻘﻠﱠﺔً ﻭﻣﺜﻘﱠﻔ ـﺔً‪ .‬ﻭﻟﻘــﺪ ﺳُ ـﻜﱠﺖ ﻣــﻦ ﺃﺟﻠﻬ ـﻦﱠ ﻟﻠﻤ ـﺮﱠﺓ ﺍﻷﻭﻟــﻰ ﻛﻠﻤــﺔ‬
‫‪ .Cortesana‬ﻟﻜـﻦ‪ ،‬ﻋــﺎﺭٌ ﻋﻠــﻰ ﻣــﻦ ﻳﻈ ـﻦّ ﰲ ﺍﻷﻣـﺮ ﺳــﻮﺀﺍً‪ .‬ﻭﺇﻥﱠ ﺇﺣــﺪﺍﻫﻦّ ﻻﻭﺭﺍﺩِﻩ ﻧــﻮﺑِﺲ ‪L. De‬‬
‫‪ Noves‬ﻛﺎﻧﺖ ﺻﺪﻳﻘﺔ ﺑﻴﺘﺮﺍﺭﻙ‪ – .‬ﺍﳌﺆﻟﻒ‪.‬‬
‫ﻣﻼﺣﻈــﺔ‪ Cortesana :‬ﺗﻌﻨــﻲ‪- ١ :‬ﺍﻣــﺮﺃﺓ ﻣــﻦ ﺍﳊﺎﺷـــﻴﺔ ﰲ ﺍﻟــﺒﻼﻁ‪- ٢ .‬ﻣﻮﻣــﺴﺎً‪ .‬ﻟــﺬﻟﻚ ﻭﺿـــﻊ‬
‫ﺍﳌﺆﻟﻒ ﻣﻼﺣﻈﺔَ ﻋﻨﻬﺎ‪ – .‬ﺍﳌﺘﺮﺟﻢ‪.‬‬
‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺍﻟﺤﺏ ﻡ ‪٨-‬‬ ‫‪-١١٣-‬‬
‫ﺍﻟﻮﺳﻴﻂ ﺍﻷﻭﱠﻝ ﻛﻠّﻪ ﺇﺳﺮﺍﻑ ﻛﺎﻟﺬﱠﻛﺮ‪ ،‬ﻓﺈﻥﱠ ﻗﺎﻧﻮﻥ ﺍﻟﻜﻮﺭﺗِﺰﻳﱠﺎ‪ la lei de cortezia‬ﻳﻌﻠﻦ‬
‫ﺍﻟﻬﻴﻤﻨﺔ ﺍﳉﺪﻳﺪﺓ "ﻟﻼﻋﺘﺪﺍﻝ"‪ ،‬ﻭﻫﻮ ﺍﻟﻌﻨﺼﺮ ﺍﻟﺬﻱ ﺗﺸﺠّﻊ ﻋﻠﻴﻪ ﺍﻷﻧﻮﺛﺔ‪.‬‬
‫ﻭﻗﺪ ﺍﻧﺴﻜﺒﺖ ﻫﻴﻤﻨﺔ ﺍﻻﻋﺘﺪﺍﻝ ﻭﺣﺴﻦ ﺍﻟﺘﱠﺼﺮﱡﻑ ﻛﺰﻳﺖ ﺭﻭﺣﻲ ﻋﺬﺏ ﺣﺘﱠﻰ‬
‫ﺃﻗﺼﻰ ﺍﻷﻣﺎﻛﻦ‪ .‬ﻭﺇﻧﱠﻪ ﻟﺒﺎﻋﺚ ﻋﻠﻰ ﺍﻟﺘﺄﺛﱡﺮ ﺃﻥ ﻧﻜﺘﺸﻒ ﰲ ﺃﺭﺽٍ ﺧﺸﻨﺔٍ ﺧﺸﻮﻧﺔ‬
‫ﻗﺼﻴﺪﺓ ﺍﳌﻴّﻮ ﺳِﻴْﺪ‪ ،‬ﺃﺑﻴﺎﺗﺎً ﻣﻦ ﺍﻟﺸﻌﺮ ﺑﻬﺬﻩ ﺍﳌﻔﺮﺩﺍﺕ‪:‬‬
‫‪Fabló myo cid, bien e tan mesurado‬‬
‫ﺗﻜﻠﱠﻢ ﻣﻴﻮﺳِﻴْﺪ ﻛﻼﻣﺎً ﻃﻴﱢﺒﺎً ﻭﻣﺘﱠﺰﻧﺎً ﺟﺪﱠ ًﺍ‬
‫ﻭﻗﺪ ﺟﺎﺀ ﻫﺬﺍ ﺍﻻﺗﱢﺰﺍﻥُ ﺍﳌﻠﺤﻤﺔَ ﺍﻟﻘﺸﺘﺎﻟﻴﱠﺔ ﺍﳉﺎﻓﻴﺔ ﻣﻦ ﺍﻟﺒﻼﻃﺎﺕ ﺍﻟﺒﺮﻭﻓَﻨْﺴﻴﱠﺔ‬
‫ﺍﻟﺒﻌﻴﺪﺓ ﺣﻴﺚ ﻛﺎﻧﺖ ﺗﻌﻴﺶ ﺑﺎﻧﺴﺠﺎﻡ ﺇﻧﺎﺙ ﻣﺘﺤﻀﱢﺮﺍﺕ‪ .‬ﻭﺑﺎﳌﺜﻞ‪ ،‬ﺣﺮّﺭﺕ ﺷﺎﺭﻟﻮﺕ ﺩﻭ‬
‫ﺷﺘﺎﻳﻦ ‪ Carlota de Stein‬ﻏﻮﺗﻪ ‪ Goethe‬ﻣﻦ ﺟﺮﻣﺎﻧﻴﱠﺘﻪ ﺍﻟﺸﱠﺮﺳﺔ ﰲ ﺷﺒﺎﺑﻪ‪ .‬ﻟﺬﻟﻚ‬
‫ﻛﺎﻥ ﻳﺴﻤﻴﻬﺎ ﻋﺎﺩﺓً "ﺍﳌﺮﻭﱢﺿﺔ" ﻭﻳﻨﺼﺤﻨﺎ‪" :‬ﺇﺫﺍ ﺃﺭﺩﺕَ ﺃﻥ ﺗﻌﺮﻑَ ﻣﺎﺫﺍ ﻳﺠﺐ ﺃﻥ ﺗﻌﻤﻞ‬
‫ﰲ ﻛﻞﱢ ﺣﺎﻟﺔ‪ ،‬ﻓﺎﻧﻈﺮ ﺇﻟﻰ ﺃﺭﺽ ﺍﻟﻨﱢﺴﺎﺀ"‪.‬‬
‫ﻛﺎﻧﺖ ﺍﳌﺮﺃﺓ ﺑﺎﻟﻨﱢﺴﺒﺔ ﻟﻠﺮﱠﺟﻞ ﻧﻬْﺒﺎً ﺃﻭﱠﻻً‪ ،‬ﺃﻭ ﺟﺴﻤﺎً ﺑﺎﻹﻣﻜﺎﻥ ﺧﻄﻔُﻪ‪ .‬ﻭﻗﺪ ﺗﻼ‬
‫ﻫﺬﺍ ﺍﻻﻧﻔﻌﺎﻝَ ﺍﻟﻘﻨﺼﻲّ ﺷﻌﻮﺭٌ ﺃﺭﻕّ ﻭﻳﺤﻤﻞ ﻋﻼﻣﺔً ﻣﻌﺎﻛﺴﺔً ﻟﻢ ﻳﻌﺮﻓﻬﺎ ﺍﻹﻏﺮﻳﻘﻲّ‬
‫ﺟﻴﱢﺪﺍً‪ .1‬ﻭﻣﺎ ﰲ ﺍﳌﺮﺃﺓ ﻣﻦ ﻏﻨﻴﻤﺔ ﺃﻭ ﻧﻬﺐ‪ ،‬ﻳﺆﺧﺬ ﺧﻄﻔﺎً ﺃﺻﺒﺢ ﻻ ﻳُﺮﺿﻲ‪ .‬ﻷﻥﱠ ﺗﺮﻗّﻲ‬
‫ﺍﻟﺮﱠﺟﻞ ﺭﻗﻴﱠﺎً ﻛﺒﻴﺮﺍً ﺟﻌﻠﻪ ﻳﺮﻏﺐ ﰲ ﺃﻥ ﺗﻜﻮﻥ ﺍﻟﻐﻨﻴﻤﺔ ﻟﻪ ﺑﺪﺍﻓﻊ ﺗﻠﻘﺎﺋﻲّ ﻣﻨﻬﺎ‪ .‬ﻭﻏﻨﻴﻤﺔ‬
‫ﺃﻧﻮﺛﺘﻬﺎ ﻻ ﺗُﻤﺘﻠﻚ ﰲ ﺍﻟﻮﺍﻗﻊ ﺇﻥْ ﻟﻢ ﺗُﻜﺴﺐ ﻛﺴﺒﺎً‪ .‬ﻭﺃﺻﺒﺤﺖ ﺍﻟﻐﻨﻴﻤﺔ ﺟﺎﺋﺰﺓً‪ ،‬ﻟﻨﻴﻠﻬﺎ‬
‫ﻳﺠﺐ ﻋﻠﻰ ﺍﳌﺮﺀ ﺃﻥ ﻳﺼﺒﺢ ﺟﺪﻳﺮﺍً ﺑﻬﺎ‪ ،‬ﻭﻳﻜﻮﻥ ﻭﻓْﻖَ ﺍﳌﺜﺎﻝ ﺍﻷﻋﻠﻰ ﻟﻠﺮّﺟﻞ‪ ،‬ﺍﻟﺬﻱ ﻳﻐﻔﻮ‬
‫ﺩﺍﺧﻞ ﻧﻔﺲ ﺍﳌﺮﺃﺓ‪ .‬ﻭﻗﺪ ﺍﻧﻘﻠﺒﺖ ﺍﻷﺩﻭﺍﺭ ﺑﺴﺒﺐ ﻫﺬﻩ ﺍﻵﻟﻴﱠﺔ ﺍﻟﻄﱠﺮﻳﻔﺔ‪ :‬ﺇﺫ ﻳﺴﻘﻂ‬
‫ﺍﻟﻐﺎﻟﺐُ ﺳﺠﻴﻨﺎً‪ ،‬ﻓﺈﺫﺍ ﻛﺎﻥ ﻣﻮﻗﻒ ﺍﻟﺬﱠﻛﺮ ﰲ ﻋﺼﺮ ﺍﻟﻐﺮﻳﺰﺓ ﺍﳉﻨﺴﻴﱠﺔ ﺍﶈﻀﺔ ﻳﻘﻮﻡ‬
‫ﻋﻠﻰ ﺍﻟﻨﱠﻬﺐ ﻭﺍﻻﻧﻘﻀﺎﺽ ﻋﻠﻰ ﺍﳉﻤﺎﻝ ﺍﻟﻌﺎﺑﺮ ﺃﻣﺎﻣﻪ‪ ،‬ﻓﻘﺪ ﺻﺎﺭ ﰲ ﻫﺬﻩ ﺍﳌﺮﺣﻠﺔ ﻣﻦ‬
‫ﺍﳊﻤﺎﺳﺔ ﺍﻟﺮﱡﻭﺣﻴﱠﺔ ﻋﻠﻰ ﺍﻟﻌﻜﺲ ﻣﻦ ﺫﻟﻚ‪ ،‬ﻳﻘﻒ ﻋﻠﻰ ﻣﺴﺎﻓﺔ ﻭﻳﺘﱠﺠﻪ ﻣﻦ ﺑﻌﻴﺪ ﺇﻟﻰ‬
‫ﺍﻟﻮﺟﻪ ﺍﻷﻧﺜﻮﻱّ ﻟﻴﻜﺘﺸﻒ ﻓﻴﻪ ﺍﻟﺮﱢﺿﺎ ﻭﺍﻟﺼﱡﺪﻭﺩ‪ .‬ﻟﻘﺪ ﺩﺷّﻨﺖ ﺛﻘﺎﻓﺔ "ﺍﻟﻜﻮﺭﺗﺰﻳﱠﺎ" ﻫﺬﻩ‬

‫)‪ (١‬ﻗﺪ ﻳﻜـﻮﻥ ﻣﺰﻋﺠـﺎً ﻫﻨـﺎ ﻣﺤﺎﻭﻟﺘﻨـﺎ ﺗﺤﻠﻴـﻞ ﺍﻟـﺸﻌﻮﺭ ﺑﺎﳊـﺐّ ﻋﻨـﺪ ﺍﻟﻴﻮﻧـﺎﻥ ﻣﻬﻤـﺎ ﻳﻜـﻦ ﻫـﺬﺍ ﺍﻟﺘﱠﺤﻠﻴـﻞ‬
‫ﻣﺨﺘﺼﺮﺍً‪ .‬ﻟﺴﻮﺀ ﺍﳊﻆّ‪ ،‬ﻣﺎﺯﺍﻝ ﺗﺴﻮﺩ ﰲ ﺑﻠﺪﻱ ﻛﻤﺎ ﰲ ﺍﻟﺒﻠﺪ ﺍﻟﺬﻱ ﺗﻌﻴـﺸﲔ ﻓﻴـﻪ ﻧﺰﻋـﺔ ﻣﺤﺎﻓﻈـﺔ‬
‫– ﺍﳌﺆﻟﻒ‪.‬‬ ‫ﺻﺎﺭﻣﺔ ﺣﺘّﻰ ﻻ ﺗﺪﻉ ﻫﺎﻣﺸﺎً ﻟﻠﻜﻼﻡ ﺑﻮﺿﻮﺡ ﻛﺒﻴﺮ ﻋﻦ ﺃﻋﻤﻖ ﺍﳌﻮﺍﺿﻴﻊ ﺍﻹﻧﺴﺎﻧﻴﱠﺔ‪.‬‬
‫‪-١١٤-‬‬
 ‫ﺍﻟﻌﻼﻗﺔ ﺍﳉﺪﻳﺪﺓ ﺑﲔ ﺍﳉﻨﺴﲔ‪ ،‬ﺍﻟﺘﻲ ﺃﺻﺒﺤﺖ ﺍﳌﺮﺃﺓ ﺑﻔﻀﻠﻬﺎ ﻣﺜﻘﱢﻔﺔ ﺍﻟﺮﱠﺟﻞ‪ .‬ﻭﳝﺜﱢﻞ‬
‫ﺩﺍﻧﺘﻲ ﺫﺭﻭﺗﻬﺎ‪ .‬ﻭﻗﺪ ﻛُﺘﺐ ﻛﺘﺎﺏ "ﺍﳊﻴﺎﺓ ﺍﳉﺪﻳﺪﺓ" ﺑﺸﻜﻞٍ ﻣﺮﺗﻌﺶٍ ﰲ ﻇﻞﱢ ﺍﻧﻔﻌﺎﻝ‬
‫ﺍﻟﺸﺎﻋﺮ ﻹﺣﺴﺎﺳﻪ ﺃﻧﱠﻪ ﺳﻴﺘﺤﻮﱠﻝ ﺇﻟﻰ ﺭﺟﻞٍ ﺟﺪﻳﺪ ﺗﺤﺖ ﻭﻃﺄﺓ ﺇﺯﻣﻴﻞ ﺍﻷﻧﻮﺛﺔ‬
‫ﺍﻟﻼﻭﺍﻗﻌﻲ‪ .‬ﻭﻛﺎﻥ ﺩﺍﻧﺘﻲ ﻳﺘﻄﻠﱠﻊ ﺇﻟﻰ ﻣﻮﺍﻓﻘﺔ ﺑﻴﺎﺗﺮﻳﺲ ﻭﺭﺿﺎﻫﺎ ﻓﺤﺴﺐ‪ .‬ﻫﺎ ﳓﻦ‬
‫ﻧﺮﺍﻫﺎ ﲤﺮﱡ ﺑﻌﻴﺪﺓً ﺩﺍﺋﻤﺎً ﻭﺭﺗﻴﺒﺔ ﺍﳊﺮﻛﺎﺕ ﻗﻠﻴﻼً ﻭﺗﻘﻠﻴﺪﻳﱠﺔ‪ .1‬ﻭﻛﺎﻥ ﻫﻢّ ﺍﻟﺸﺎﻋﺮ ﺇﻥْ‬
‫ﻛﺎﻧﺖ ﺗﺤﻴّﻴﻪ ﺃﻡ ﻻ ﺗﺤﻴّﻴﻪ‪ .‬ﻓﺈﺫﺍ ﻛﺎﻧﺖ ﺑﻴﺎﺗﺮﻳﺲ ﻣﺴﺘﺎﺀﺓ ﺗﺘﺤﺎﺷﻰ ﺗﺤﻴّﺘﻪ‪ ،‬ﻓﻴﺮﺗﻌﺪ‬
‫ﺩﺍﻧﺘﻲ‪ .‬ﻳﻘﻮﻝ ﳌﱠﺎ ﺭﺁﻫﺎ ﺃﻭﱠﻝ ﻣﺮّﺓ‪" :‬ﻟﻘﺪ ﺣﻴﱠﺘﻨﻲ ﺑﺎﺣﺘﺮﺍﻡ ﺣﺘﱠﻰ ﺑﺪﺍ ﻟﻲ ﺣﻴﻨﺌﺬٍ ﺃﻧّﻲ ﻟﻘﻴﺖ‬
‫ﻣﻔﺮﺩﺍﺕ ﺍﻟﺴﱠﻌﺎﺩﺓ ﻛﻠّﻬﺎ"‪.‬‬
‫‪“Mi Salutó vertuosamente che mi parve allora vedere tutti e termini‬‬
‫”‪della beatitudine‬‬
‫ﻭﰲ ﻳﻮﻡٍ ﺁﺧﺮ‪ :‬ﻋﺮﻓﺖُ ﻣَﻦ ﻫﻲ ﺍﻟﺴﻴﺪﺓ ﺻﺎﺣﺒﺔ ﺍﻟﺘﺤﻴﺔ ﺍﻟﺘﻲ ﺗﻜﺮﱠﻣﺖ ﺍﻟﻴﻮﻡ‬
‫ﻓﺤﻴﺘﻨﻲ"‪ .‬ﻭﻣﻨﺬ ﺫﻟﻚ ﺍﳊﲔ ﻭﺩﺍﻧﺘﻲ ﻳﻌﻴﺶ ﺣﺰﻳﻨﺎً ﻳﺘﻤﻠﱠﻜﻪ "ﺍﻧﺘﻈﺎﺭ ﺍﻟﺘﺤﻴﱠﺔ‬
‫ﺍﻟﻌﺠﻴﺒﺔ" ﻓﻘﻂ‪.‬‬
‫ﻭﺗﺴﻴﻄﺮ ﺍﻟﻔﺘﺎﺓ ﺍﶈﺘﺮِﺳﺔ ﻋﻠﻰ ﻓﺘﻮّﺓ ﺍﻟﺸﺎﻋﺮ ﺍﻟﻬﺎﺋﺠﺔ ﺑﺘﺤﻴّﺘﻬﺎ ﻭﺻﺪﻭﺩﻫﺎ‬
‫ﺍﻟﺸﺒﻴﻬﲔ ﺑﻠﺠﺎﻣﲔ ﻏﻴﺮ ﻣﻨﻈﻮﺭﻳﻦ‪ ،‬ﻏﻴﺮ ﻣﻨﻈﻮﺭﻳﻦ ﻛﺨﻄﱠﻲ ﺍﻟﺬﱠﻧَﺐ ﺍﻟﻔﻠﻜﻴﱠﲔ‪ .‬ﺑﺎﻟﻄﱠﺒﻊ‪،‬‬
‫ﻻ ﳝﻜﻦ ﻟﻬﺬﻩ ﺍﻟﻘﻮﱠﺓ ﺍﻟﺴﱠﺎﺣﺮﺓ ﺟﺪﱠﺍً ﻭﻏﻴﺮ ﺍ‪‬ﺴﱠﻤﺔ ﺗﻘﺮﻳﺒﺎً‪ ،‬ﺃﻥ ﺗﺴﺘﻘﺮّ ﺇﻻ ﰲ ﺍﳌﺮﺃﺓ‬
‫ﺍﻟﺘﻲ ﺗﻬﺬﱠﺑﺖ‪ ،‬ﻭﻳﻘﻮﻝ ﺩﺍﻧﺘﻲ ﺑﻮﻋﻲ ﻛﺎﻣﻞ‪ :‬ﺗﻠﻚ ﺍﻟﻠﻄﻴﻔﺔ ﻭﺧﺎﻟﺼﺔ ﺍﻷﻧﻮﺛﺔ‪ .‬ﻭﻳُﻠﺢّ ﺑﺈﺷﺎﺭﺓ‬
‫ﻣﻔﺮﻃﺔ ﻗﻠﻴﻼً ﺇﻟﻰ ﺍﺣﺘﻘﺎﺭ ﺍﳉﺴﺪ‪ ،‬ﻋﻠﻰ ﺃﻧﱠﻪ ﺇﻥ ﺗﻜﻠﱠﻢ ﻋﻦ ﺍﻟﻌﻴﻨﲔ ﺍﻟﻠﺘﲔ ﻫﻤﺎ ﻣﺒﺪﺃ‬
‫ﺍﳊﺐ ‪ ،sono principio de amore‬ﻭﻋﻦ ﺍﻟﻔﻢ ﺍﻟﺬﻱ ﻫﻮ ﻏﺎﻳﺔ ﺍﳊﺐّ ‪ch' è fine de‬‬
‫"‪"amore‬؛ ﻓﺈﻧﱠﻪ ﻳﺘﺤﺎﺷﻰ ﻛﻞّ ﺗﻔﻜﻴﺮ ﺳﻲﺀ‪" .‬ﺍﻧﺰﻉْ ﻋﻨﻚ ﻛﻞّ ﺗﻔﻜﻴﺮ ﻣﻌﻴﺐ‪ .‬ﻭﺍﺫﻛﺮ ﻣﺎ‬
‫ﻗﺮﺃﺕ ﻣﻦ ﻗﺒﻞ ﺃﻥﱠ ﺍﻟﺘﱠﺤﻴﱠﺔ ﺍﳌﻨﻄﻠﻘﺔ ﻣﻦ ﻓﻢ ﺗﻠﻚ ﺍﻟﺴﻴﺪﺓ ﻛﺎﻧﺖ ﻏﺎﻳﺔ ﺭﻏﺒﺘﻲ ﻣﺎﺩﻣﺖ‬
‫ﺃﺳﺘﻄﻴﻊ ﺃﻥ ﺃﺗﻠﻘﱠﺎﻫﺎ ﻣﻨﻬﺎ"‪.‬‬

‫)‪ Prerrafaelista (١‬ﰲ ﺍﻷﺻــﻞ ﻭﺗﻌﻨــﻲ ‪ - ١‬ﻃﺮﻳﻘــﺔ ﺍﻟﺮﺳــﻢ ﺍﻟــﺴﺎﺋﺪﺓ ﻗﺒــﻞ ﺭﻓﺎﺋﻴــﻞ‪ - ٢ .‬ﻃﺮﻳﻘــﺔ ﰲ‬
‫ﺍﻟﺮﺳﻢ ﺗﻘﻠّﺪ ﺍﻷﳕﺎﻁ ﺍﻟﺴﺎﺑﻘﺔ‪ - ٣ .‬ﺣﺮﻛﺔ ﻓﻨﻴﱠﺔ ﻭﺃﺩﺑﻴﱠﺔ ﻧﺸﺄﺕ ﰲ ﺑﺮﻳﻄﺎﻧﻴـﺎ ﰲ ﺍﻟﻘـﺮﻥ ‪ ١٩‬ﺗـﺪﻋﻮ‬
‫ﻟﻠﻌﻮﺩﺓ ﺇﻟﻰ ﺍﻷﺻﻮﻝ ﻭﺑﺪﺍﺋﻴﱠﺔ ﺍﻟﻘﺮﻭﻥ ﺍﻟﻮﺳﻄﻰ‪ – .‬ﺍﳌﺘﺮﺟﻢ‪.‬‬
‫‪-١١٥-‬‬
‫ﻭﻳﻘﺎﻝ ﺇﻥﱠ ﺳﺎﻥ ﻓﺮﻧﺴﻴﺴﻜﻮ ﺍﺳﺘﻄﺎﻉ ﺍﻟﻌﻴﺶ ﻣﺪﱠﺓ ﺃﺳﺒﻮﻉ ﻛﺎﻣﻞ ﻣﻦ ﻏﻨﺎﺀ‬
‫ﺟﺪﺟﺪ‪ .‬ﻭﻛﺎﻥ ﺩﺍﻧﺘﻲ ﻳﺴﺘﻤﺪّ ﻣﻦ ﺍﻟﻔﻢ ﻭﺍﻟﺒﺆﺑﺆ ﺍﻟﻜﻬﺮﺑﺎﺀ ﺍﻟﺼﻮﻓﻴﱠﺔ ﻟﺘﻠﻚ ﺍﻟﺒﺴﻤﺔ ﺍﻟﺘﻲ‬
‫ﺗﺤﻴّﻴﻪ‪ .‬ﻭﻫﺬﻩ ﺍﻟﺒﺴﻤﺔ ﺍﻟﺘﻲ ﺳﺘﻈﻬﺮ ﻣﺮﱠﺍﺕٍ ﻛﺜﻴﺮﺓ ﰲ ﺃﻋﻤﺎﻝ ﺩﺍﻧﺘﻲ ﺍﻷﺧﻴﺮﺓ‪ ،‬ﻫﺬﻩ‬
‫ﺍﻟﻀﺤﻜﺔ ﺍﳌﺮﻏﻮﺏ ﻓﻴﻬﺎ ﻫﻲ ﺍﻻﺑﺘﺴﺎﻣﺔ ﺍﻟﻐﻮﻃﻴﱠﺔ ‪ gotica‬ﺍﻟﺘﻲ ﺧﻠﱠﺪﺗﻬﺎ ﻋﺬﺍﺭﻯ ﺍﳊﺠﺮ‬
‫ﺍﻟﻘﺎﲤﺔ ﰲ ﻣﺪﺍﺧﻞ ﺍﻟﻜﺎﺗﺪﺭﺍﺋﻴﺎﺕ ﺍﻷﻭﺭﻭﺑﻴﱠﺔ‪.‬‬
‫‪Che dentro agli acchi suoi ardeva un riso‬‬
‫‪Tal ch'io co'miei tocar lo fondo‬‬
‫‪Della mia grazia e del mio paradiso‬‬

‫"ﻛﺎﻧﺖ ﺗﺘﻮﻫﱠﺞ ﰲ ﻋﻴﻨﻴﻬﺎ ﺗﻠﻚ ﺍﻟﺒﺴﻤﺔ ﺣﺘﱠﻰ ﻇﻨﻨﺖ ﺃﻧﻲ ﺃﻻﻣﺲُ ﺑﻌﻴﻨﻲّ ﻣﻨﺘﻬﻰ‬
‫ﺳﻌﺎﺩﺗﻲ ﻭﺟﻨﱠﺘﻲ‪ ".‬ﻳﻘﻮﻝ ﺩﺍﻧﺘﻲ ﰲ ﺃﻭﺍﺧﺮ ﻋﻤﻠﻪ ﺍﳊﻲّ ﻣﺨﺘﺘﻤﺎً ﺍﻧﻔﻌﺎﻻﺗﻪ ﺍﻷﻭﱠﻟﻴﱠﺔ ﳌﱠﺎ‬
‫ﺑﺪﺃ ﺷﺎﺑﱠﺎً ﺣﻴﺎﺗﻪ ﺍﳉﺪﻳﺪﺓ‪.‬‬
‫ﻟﻘﺪ ﺷﻐﻔﻨﻲ ﺍﳌﻮﺿﻮﻉ ﻳﺎ ﺳﻴﱢﺪﺗﻲ‪ ،‬ﻭﻟﻦ ﻳﻨﻘﻀﻲ ﺷﻐﻔﻲ ﺃﺑﺪﺍً‪ .‬ﻟﻜﻦ‪ ،‬ﺍﺳﻤﺤﻲ ﻟﻲ‬
‫ﺃﻻ ﺃﺿﻴﻊ ﺍﻟﻔﺮﺻﺔ ﻷﳋﱢﺺ ﺃﻓﻜﺎﺭﻱ ﺣﻮﻝ ﺍﻟﺮﱢﺳﺎﻟﺔ ﺍﻟﺒﻴﻮﻟﻮﺟﻴﱠﺔ ﺍﻟﻌﻠﻴﺎ ﺍﻟﺘﻲ ﺃﻧﻴﻄﺖ‬
‫ﺑﺎﻷﻧﺜﻰ ﺍﻟﺒﺸﺮﻳﱠﺔ ﰲ ﺍﻟﺘﱠﺎﺭﻳﺦ‪ .‬ﻭﺃﺭﺟﻮﻙ‪ ،‬ﻗﺒﻞ ﻛﻞّ ﺷﻲﺀ‪ ،‬ﺃﻻ ﻳﺜﻴﺮ ﻧﻔﻮﺭَﻙ ﺑﺸﻜﻞٍ ﺧﻄﻴﺮ‬
‫ﺟﻔﺎﺀُ ﻫﺬﻩ ﺍﳌﻔﺮﺩﺓ‪ :‬ﺃﻧﺜﻰ ﺑﺸﺮﻳﱠﺔ‪ .‬ﻭﺁﻣﻞ ﻣﻦ ﺍﺗﺰﺍﻧﻚ ﺃﻥ ﻳﺨﻮﱢﻟﻨﻲ ﺳﺮﻳﻌﺎً ﺟﺪﱠﺍً ﺷﺮﻋﻴﱠﺔ‬
‫ﺍﺳﺘﻌﻤﺎﻟﻬﺎ ﻣﻌﺘﺮﻓﺎً ﺃﻧﱠﻬﺎ ﺿﺮﻭﺭﻳﱠﺔ ﻟﻲ‪.‬‬
‫ﺇﻥﱠ ﺭﺳﺎﻟﺔ ﺍﻷﻧﺜﻰ ﺍﻟﺒﺸﺮﻳﱠﺔ ﺍﻟﺘﱠﺎﺭﻳﺨﻴﱠﺔ ﺍﳊﻘﻴﻘﻴﱠﺔ ﺗﻈﻬﺮ ﻣﻦ ﻏﻴﺮ ﻭﺿﻮﺡ‬
‫ﻟﻨﺴﻴﺎﻧﻨﺎ ﺃﻥﱠ ﺍﳌﺮﺃﺓ ﻟﻴﺴﺖ ﺍﻟﺰﱠﻭﺟﺔ ﻭﻻ ﻫﻲ ﺍﻷﻡ ﻭﻻ ﺍﻷﺧﺖ ﻭﻻ ﺍﻟﺒﻨﺖ‪ .‬ﻭﻛﻞّ ﻫﺬﻩ‬
‫ﺍﻷﺷﻴﺎﺀ ﺭﻭﺍﺳﺐ ﺗﻀﻔﻲ ﻋﻠﻰ ﺍﻷﻧﻮﺛﺔ ﺃﺷﻜﺎﻻً ﺗﺘﺒﻨﱠﺎﻫﺎ ﺍﳌﺮﺃﺓ ﺣﻴﻨﻤﺎ ﺗﺘﺨﻠﱠﻰ ﻋﻦ ﺃﻥ‬
‫ﺗﻜﻮﻥ ﺍﻣﺮﺃﺓ‪ ،‬ﺃﻭ ﺣﻴﻨﻤﺎ ﻻ ﺗﻜﻮﻥ ﺍﻣﺮﺃﺓ‪ .‬ﻻ ﺷﻚّ ﰲ ﺃﻥﱠ ﺍﻟﻌﺎﻟﻢ ﻳﻈﻞﱡ ﻣﺒﺘﻮﺭﺍً ﺑﺸﻜﻞٍ‬
‫ﻣﺨﻴﻒ ﺇﻥ ﺃُﺑﻌﺪﺕ ﻣﻨﻪ ﻫﺬﻩ ﺍﻟﻘﻮﻯ ﺍﻟﺮﱡﻭﺣﻴﱠﺔ ﺍﻟﻌﺠﻴﺒﺔ ﺍﻟﺘﻲ ﻫﻲ ﺍﻟﺰﱠﻭﺟﺔ ﻭﺍﻷﻡّ ﻭﺍﻷﺧﺖ‬
‫ﻭﺍﻟﺒﻨﺖ‪ ،‬ﺍﳌﻘﺪﱠﺭﺓ ﻭﺍﳌﻤﺘﺎﺯﺓ ﺟﺪﱠﺍً ﺣﺘﱠﻰ ﻳﺒﺪﻭ ﻣﺤﺎﻻً ﺃﻥ ﻳﻮﺟﺪ ﺷﻲﺀ ﻳﻔﻮﻗﻬﺎ‪ .‬ﻟﻜﻦ‪ ،‬ﻣﻦ‬
‫ﺍﻟﻀﱠﺮﻭﺭﺓ ﺍﻟﻘﻮﻝ ﺇﻧﱠﻪ ﻻ ﺗﻜﺘﻤﻞ ﺑﻬﺎ ﻃﺒﻘﺎﺕ ﺍﻷﻧﻮﺛﺔ‪ ،‬ﻭﻫﻲ ﺃﺩﻧﻰ ﻭﺛﺎﻧﻮﻳﱠﺔ ﺇﺫﺍ ﻗﻮﺭﻧﺖ ﲟﺎ‬
‫ﻫﻲ ﺍﳌﺮﺃﺓ ﺣﻴﻨﻤﺎ ﺗﻜﻮﻥ ﺍﻣﺮﺃﺓ ﻭﻻ ﺷﻲﺀ ﺁﺧﺮ‪.‬‬
‫‪-١١٦-‬‬
‫ﻭﻛﻞّ ﻟﻘﺐ ﻣﻘﺪﱠﺱ ﻣﻦ ﺃﻟﻘﺎﺏ ﺍﻟﻜﺎﺋﻦ ﺍﻷﻧﺜﻮﻱ ﻫﺬﻩ‪ ،‬ﻳﺨﺘﻠﻒ ﻋﻦ ﺍﻵﺧﺮ‪،‬‬
‫ﻭﻳﺘﺤﺪﱠﺩ ﺑﻮﻇﻴﻔﺘﻪ ﺍﻟﻔﻌﱠﺎﻟﺔ‪ .‬ﻭﻻ ﻳﺠﻬﻞ ﺃﺣﺪ ﻣﺎ ﻫﻲ ﺍﻷﻡّ ﻭﺍﻟﺰﱠﻭﺟﺔ ﻭﺍﻷﺧﺖ ﻭﺍﻟﺒﻨﺖ‪.‬‬
‫ﻟﻜﻦ ﻻ ﻭﺟﻮﺩ ﻟﻬﺬﻩ ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﺮﺑﺎﻋﻴﱠﺔ ﺍﳌﺆﺛّﺮﺓ ﺇﻥ ﻟﻢ ﺗﻜﻦ ﺍﻷﻧﺜﻰ ﺍﻟﺒﺸﺮﻳﱠﺔ ﻓﻮﻕ ﺫﻟﻚ –‬
‫ﺑﻞ ﻭﻗﺒﻞ ﺫﻟﻚ ﻛﻠّﻪ‪ -‬ﺍﻣﺮﺃﺓ‪.‬‬
‫ﻟﻜﻦ‪ ،‬ﻣﺎ ﻫﻲ ﺍﳌﺮﺃﺓ ﺇﺫﺍ ﻟﻢ ﺗﻜﻦ ﻏﻴﺮ ﺍﻣﺮﺃﺓ؟‬
‫ﺃﻧﺎ ﻻ ﺃﺳﺘﻄﻴﻊ ﺃﻥ ﺃﺟﻴﺐ ﻋﻦ ﻫﺬﺍ ﺍﻟﺴﱡﺆﺍﻝ ﻣﻦ ﻏﻴﺮ ﺃﻥ ﺃﺻﺤﱢﺢ ﺃﻭﱠﻻً ﻣﻌﻨﻰ‬
‫ﺍﳌُﺜُﻞ ﺍﻟﻌﻠﻴﺎ‪ ،‬ﺍﻟﺘﱠﻘﻠﻴﺪﻱّ‪ .‬ﻓﻤﻨﺬ ﻣﺎﺋﺘﻲ ﻋﺎﻡ‪ ،‬ﻳﺎ ﺳﻴﱢﺪﺗﻲ‪ ،‬ﻭﻫﻢ ﻳﻜﻠﱢﻤﻮﻧﻨﺎ ﺑﺜﺒﺎﺕٍ ﻣﺮﻫﻖ ﻋﻦ‬
‫ﺍﳌﺜﺎﻟﻴﱠﺔ‪ .‬ﻭﻫﺬﻩ ﺍﳌﻮﻋﻈﺔ ﺍﻟﺘﻲ ﻃﺎﳌﺎ ﺍﺳﺘﻌﻤﻠﻬﺎ ﺍﻟﻔﻼﺳﻔﺔ ﻭﺍﳌﺮﺑّﻮﻥ ﻋﻦ ﺍﳌُﺜﻞ ﺍﻟﻌﻠﻴﺎ –‬
‫ﻭﺍﻟﺘﱠﺄﻛﻴﺪ ﻋﻠﻰ ﺃﻥﱠ ﺍﳊﻴﺎﺓ ﻟﻬﺎ ﻗﻴﻤﺔ ﻣﺎ‪ ،‬ﺇﺫﺍ ﻭُﺿﻌﺖ ﰲ ﺧﺪﻣﺔ ﺍﳌُﺜُﻞ ﻓﻘﻂْ‪ ،‬ﺃﻳﱠﺎً ﻳﻜﻦ‬
‫ﺟﺎﻧﺐ ﺍﳊﻘﻴﻘﺔ ﺍﻟﺬﻱ ﺗﺤﺘﻮﻳﻪ‪ ،‬ﺗﻜﺸﻒ ﻋﻦ ﺗﺼﻮﱡﺭ ﺧﺎﻃﺊ ﻋﻤﱠﺎ ﻫﻲ ﻫﺬﻩ ﺍﳌُﺜُﻞ‪ ،‬ﻭﻛﺎﻧﺖ‬
‫ﻋﺎﺋﻘﺎً ﰲ ﺍﻟﻘﺮﻭﻥ ﺍﻷﺧﻴﺮﺓ ﺣﺘﱠﻰ ﺻﺎﺭ ﺿﺮﻭﺭﺓً ﻣﻠﺤﱠﺔً ﻧﻘﻀُﻬﺎ‪ .‬ﻟﻘﺪ ﺟﺮﻯ ﻛﻼﻡ ﻛﺜﻴﺮ‬
‫ﻋﻦ ﻣﺜﺎﻝ ﺍﻟﻌﺪﺍﻟﺔ ﺍﻷﻋﻠﻰ‪ ،‬ﻭﻣﺜﺎﻝ ﺍﳊﻘﻴﻘﺔ ﺃﻭ ﺍﳉﻤﺎﻝ ﺍﻷﻋﻠﻰ؛ ﻟﻜﻦ‪ ،‬ﻟﻢ ﻳﺴﺄﻝ ﺃﺣﺪٌ‬
‫ﻧﻔﺴَﻪُ ﻣﺎﺫﺍ ﻳﻨﺒﻐﻲ ﻟﺸﻲﺀٍ ﺃﻥ ﻳﻜﻮﻥ ﻛﻴﻤﺎ ﻳﺼﺒﺢ ﻣﺜﺎﻻً ﺃﻋﻠﻰ‪ .‬ﺇﺫْ ﻻ ﻳﻜﻔﻲ ﺍﻟﺜﱠﻨﺎﺀ ﺑﺸﻜﻞٍ‬
‫ﻣﺆﺛﱢﺮ ﻋﻠﻰ ﻫﺬﻩ ﺍﻟﻘﺎﻋﺪﺓ ﺃﻭ ﺗﻠﻚ ﻛﻴﻤﺎ ﻧﻮﺿﱢﺢ ﻋﻤﻠﻬﺎ ﻛﻤﺜﺎﻝ‪ .‬ﻓﻤﺜﺎﻝ ﺍﻷﻣﺲ ﻛﻒّ ﻋﻦ‬
‫ﺃﻥ ﻳﻜﻮﻥ ﺍﻟﻴﻮﻡ ﻛﺬﻟﻚ ﰲ ﻧﻈﺮﻧﺎ‪ .‬ﻭﺍﻟﺘﱠﺎﺭﻳﺦ ﺷﻬﺪ ﻣﺎﺋﺔ ﻣﺮﱠﺓ ﺩﺭﺍﻣﺎ ﻣﺜﺎﻝ ﺃﻋﻠﻰ ﻳُﻮﻟﺪ‬
‫ﻭﻳُﺜﻤﺮ ﰒﱠ ﳝﻮﺕ‪ .‬ﻓﻜﻴﻒ ﳝﻜﻦ ﺫﻟﻚ‪ ،‬ﺇﻥْ ﻟﻢ ﻳﺘﻐﻴﱠﺮ ﻣﺤﺘﻮﺍﻩ ﻭﺃﻫﻤﻴﱠﺘﻪ ﺍﳌﻮﺿﻮﻋﻴﱠﺔ؟‬
‫ﺑﺎﻟﻄﱠﺒﻊ‪ ،‬ﺧﻄﺄ ﺃﻥ ﻧﻨﻈﺮ ﺇﻟﻰ ﺍﳌُﺜﻞ ﰲ ﺫﺍﺗﻬﺎ ﻓﻘﻂ ﺑﻌﻴﺪﺍً ﻋﻦ ﺻﻠﺘﻬﺎ ﺑﻨﺎ‪ .‬ﻓﻼ ﻳﻜﻔﻲ ﺃﻥ‬
‫ﻳﻜﻮﻥ ﺷﻲﺀ ﻛﺎﻣﻼً ﻛﻴﻤﺎ ﻳﻜﻮﻥ ﻣﺜﺎﻻً ﺃﻋﻠﻰ ﺑﺤﻖّ‪ .‬ﻷﻥﱠ ﺍﳌﺜﺎﻝ ﻭﻇﻴﻔﺔ ﺣﻴﻮﻳﱠﺔ ﻭﺃﺩﺍﺓ ﻟﻠﺤﻴﺎﺓ‬
‫ﺑﲔ ﺃﺩﻭﺍﺕٍ ﺃﺧﺮﻯ ﻻ ﺗُﺤﺼﻰ‪ .‬ﻭﻗﺪ ﻳﻜﻮﻥ ﲟﺴﺘﻄﺎﻉ ﻋﻠﻢ ﺍﻷﺧﻼﻕ ﻭﺍﳉﻤﺎﻝ ﺃﻥ‬
‫ﻳﺤﺪﱢﺩﺍ ﰲ ﻛﻞﱢ ﳊﻈﺔ ﺍﻟﺼﱡﻮﺭ ﺍﻟﺘﻲ ﺗﺴﺘﺤﻖّ ﺃﻥ ﺗﻌﻤﻞ ﻛﻤُﺜﻞ‪ ،‬ﺃﻣﱠﺎ ﻭﻇﻴﻔﺔ ﺍﳌﺜﺎﻝ ﺫﺍﺗُﻬﺎ‬
‫ﻓﺈﻧﱠﻨﺎ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﺘﻌﻠﱠﻤﻬﺎ ﻣﻦ ﺍﻟﺒﻴﻮﻟﻮﺟﻴﺎ ﻓﺤﺴْﺐ‪.‬‬
‫ﻗﺪ ﻳُﻘﺎﻝ ﺇﻥﱠ ﺍﳌُﺜﻞ ﺍﻟﻌﻠﻴﺎ ﻫﻲ ﺃﺷﻴﺎﺀ ﺳﺎﻣﻴﺔ ﻭﻏﺮﻳﺒﺔ ﻋﻦ ﺍﳊﻴﺎﺓ‪ ،‬ﻭﺇﻥﱠ ﻫﺬﻩ‬
‫ﺍﳊﻴﺎﺓ ﺇﺫﺍ ﺍﺭﺗﻘﺖ ﺇﻟﻴﻬﺎ‪ ،‬ﻓﺈﻧﱠﻬﺎ ﺗﺨﺮﺝ ﻣﻦ ﺫﺍﺗﻬﺎ ﻭﺗﺮﺗﻔﻊ ﻓﻮﻕ ﻣﺪﺍﺭﻫﺎ ﺍﻟﻄﱠﺒﻴﻌﻲ‬
‫ﺍﳌﺘﻮﺍﺿﻊ‪ .‬ﻭﻻ ﻳُﺪﺭﻙ ﺃﻭﻟﺌﻚ ﺍﻟﺬﻳﻦ ﻳﺤﺒﱢﺬﻭﻥ ﻫﺬﺍ ﺍﳋﻄﺄ‪ ،‬ﺍﻟﻀﱠﺮَﺭَ ﺍﻟﺬﻱ ﻳﻠﺤﻘﻮﻧﻪ‬
‫ﲟﺜﺎﻟﻴﱠﺘﻬﻢ ﺫﺍﺗﻬﺎ‪ .‬ﻷﻧﱠﻬﻢ ﻳُﻔﺴﺤﻮﻥ ﺍ‪‬ﺎﻝ ﻟﻼﻓﺘﺮﺍﺽ ﺃﻥﱠ ﺍﳊﻴﺎﺓ ﳝﻜﻦ ﻟﻬﺎ ﺃﻥ ﺗﺆﺩّﻱ‬
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‫ﻭﻇﻴﻔﺘﻬﺎ ﺑﺬﺍﺗﻬﺎ ﻣﻦ ﻏﻴﺮ ﺗﺪﺧﱡﻞ ﺍﳌﺜﻞ ﺍﻟﻌﻠﻴﺎ‪ ،‬ﻋﻠﻰ ﺷﻜﻞ ﺗﻜﻮﻥ ﻓﻴﻪ ﻫﺬﻩ ﺍﳌﺜﻞ ﺍﻟﺪﻭﻻﺏَ‬
‫ﺍﳋﺎﻣﺲ ﰲ ﺍﻟﻌﺮﺑﺔ ﻭﺇﺿﺎﻓﺔً ﺷﺮﻓﻴﱠﺔ ﺑﻘﺪﺭِ ﻣﺎ ﻫﻲ ﺳﻄﺤﻴﱠﺔ‪.‬‬
‫ﻭﺃﻧﺎ ﺃﺣﺴﺐ ﺃﻥْ ﻻ ﻭﺟﻮﺩ ﻟﺸﻲﺀٍ ﻣﻦ ﻫﺬﺍ‪ .‬ﻓﺎﳊﻴﺎﺓ‪ ،‬ﻋﻠﻰ ﺍﻷﻗﻞّ ﻛﻞّ ﺣﻴﺎﺓ‬
‫ﺑﺸﺮﻳﱠﺔ ﻣُﺤﺎﻟﺔٌ ﻣﻦ ﻏﻴﺮ ﻣﺜﺎﻝٍ ﺃﻋﻠﻰ‪ ،‬ﺃﻭ ﺍﻟﻘﻮﻝ ﺑﻄﺮﻳﻘﺔ ﺃﺧﺮﻯ‪ ،‬ﺇﻥﱠ ﺍﳌﺜﺎﻝ ﻋﻀﻮ ﻣﻜﻮﱢﻥ‬
‫ﻣﻦ ﺃﻋﻀﺎﺀ ﺍﳊﻴﺎﺓ‪.‬‬
‫ﻭﻳﺒﻴﱢﻦ ﻋﻠﻢ ﺍﳊﻴﺎﺓ ﺍﳉﺪﻳﺪ ﺃﻥﱠ ﺍﻟﻌﻀﻮﻳﱠﺔ ﺍﳊﻴﱠﺔ ﻻ ﺗﺘﻜﻮﱠﻥ ﻣﻦ ﺟﺴﻢ ﻓﺮﺩٍ ﻓﻘﻂ‪،‬‬
‫ﺃﻭ ﺇﺫﺍ ﻛﻨﱠﺎ ﺑﺼﺪﺩ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻣﻦ ﺟﺴﻤﻪ ﻭﻧﻔﺴﻪ؛ﺟﺴﻢ ﻭﻧﻔﺲ‪ ،‬ﻭﻫﻤﺎ ﺟِﻤﺎﻉ ﺷﺨﺼﻨﺎ‪،‬‬
‫ﻟﻴﺴﺎ ﺳﻮﻯ ﺟﻤﻠﺔ ﻣﻦ ﺍﻷﻋﻀﺎﺀ ﺍﳌﺎﺩﻳﱠﺔ ﻭﺍﻟﺮﻭﺣﻴﱠﺔ‪ ،‬ﺑﺎﻟﺘﱠﺎﻟﻲ‪ ،‬ﻫﻤﺎ ﻧﺴﻖ ﻣﻦ ﺍﻷﺟﻬﺰﺓ‬
‫ﺍﻟﺘﻲ ﺗﺆﺩﻱ ﻭﻇﻴﻔﺘﻬﺎ‪ .‬ﻭﺍﳊﻴﺎﺓ ﺗﻜﻤﻦ ﰲ ﻧﺴﻖ ﻣﻦ ﺍﻟﻮﻇﺎﺋﻒ ﺍﳉﺴﻤﻴﱠﺔ ﻭﺍﻟﻨﱠﻔﺴﻴﱠﺔ‪،‬‬
‫ﻭﻣﻦ ﻋﻤﻠﻴﱠﺎﺕ ﻭﺃﻧﺸﻄﺔ‪ .‬ﻭﺗﺘﻮﺟﱠﻪ ﻫﺬﻩ ﺍﻷﻧﺸﻄﺔ ﺑﺼﻮﺭﺓ ﻣﺒﺎﺷﺮﺓ ﻭﻏﻴﺮ ﻣﺒﺎﺷﺮﺓ ﺇﻟﻰ‬
‫ﺍﻟﻌﺎﻟﻢ ﺍﶈﻴﻂ ﺑﻬﺎ‪ ،‬ﻭﺗﺼﺐّ ﻓﻴﻪ‪ .‬ﻓﺎﻟﻌﲔ ﺗﺮﻯ ﺃﺷﻴﺎﺀ ﺍﳌﻨﻈﺮ ﻭﺍﻟﻴﺪ ﺗﺘﻘﺪﱠﻡ ﻛﻴﻤﺎ‬
‫ﺗﺴﺘﻮﻟﻲ ﻋﻠﻴﻬﺎ‪ .‬ﻟﻜﻦ‪ ،‬ﻗﺪ ﻳﻜﻮﻥ ﺧﻄﺄً ﺍﻻﻓﺘﺮﺍﺽُ ﺃﻥ ﺍﻟﻌﺎﻟﻢ ﺍﶈﻴﻂ ﺑﻨﺎ‪ ،‬ﻭﻣﺎ ﻧﺴﻤﱢﻴﻪ‬
‫ﺍﻟﻮﺳَﻂ ﻣﻮﺟﻮﺩٌ ﺑﺒﺴﺎﻃﺔ ﻛﻴﻤﺎ ﻳﺘﻠﻘﱠﻰ ﺃﻧﺸﻄﺘﻨﺎ ﻃﺒﻘﺎً ﻟﺘﺤﻘﱡﻘﻬﺎ‪ .‬ﻭﻛﻞّ ﻳﻮﻡ ﻳﺼﺒﺢ ﺃﻛﺜﺮ‬
‫ﻭﺿﻮﺣﺎً ﺃﻥﱠ ﺃﻧﺸﻄﺔ ﺍﻟﻌﻀﻮﻳﺔ ﺣﺘﱠﻰ ﺃﻛﺜﺮﻫﺎ ﺃﻭﱠﻟﻴﱠﺔ‪ ،‬ﻛﺎﻟﻐﺬﺍﺀ‪ ،‬ﻻ ﺗﺆﺩّﻱ ﻭﻇﻴﻔﺘﻬﺎ ﺇﻥ ﻟﻢ‬
‫ﺗﻜﻦ ﻣﻨﺒﱠﻬﺔ‪ .‬ﻓﺎﳌﻨﺒﱢﻪ ﺃﻭ ﺍﳊﺎﻓﺰ ﻫﻮ ﺍﻟﻌﻨﺼﺮ ﺍﻷﻭﱠﻝ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻜﺎﺋﻦ ﺍﳊﻲّ‪ .‬ﻭﻛﻞّ ﻣﺎ‬
‫ﻋﺪﺍﻩ ﻣﻘﻴﱠﺪ ﺑﻪ ﺣﺘﱠﻰ ﳝﻜﻨﻨﺎ ﺍﻟﻘﻮﻝ‪ :‬ﺍﳊﻴﺎﺓ ﻫﻲ ﺃﻥ ﺗﻜﻮﻥ ﻣﻨﺒﱠﻬﺔ‪ .‬ﻓﺎﻟﻮﺳَﻂ‪ ،‬ﺇﺫﺍً‪ ،‬ﻫﻮ‬
‫ﻗﺒﻞ ﻛﻞّ ﺷﻲﺀ ﺁﺧﺮ‪ ،‬ﻣﺨﺰﻥ ﺍﳊﻮﺍﻓﺰ ﻭﺗﺮﺳﺎﻧﺔ ﺍﳌﻨﺒّﻬﺎﺕ ﺍﻟﺘﻲ ﺗﺤﻔّﺰ ﺑﻌﻤﻠﻬﺎ ﺍﳌﺘﻮﺍﺻﻞ‬
‫ﻋﻠﻰ ﺍﻟﻌﻀﻮﻳﱠﺔ ﺍﻟﺴﻴﻞَ ﺍﻟﺪﻳﻨﺎﻣﻴﻜﻲ ﺍﻟﺬﻱ ﻫﻮ ﺍﳊﻴﺎﺓ‪ .‬ﻭﻛﻞّ ﻧﻮﻉ‪ ،‬ﺑﻞ ﻛﻞ ﻓﺮﺩٍ‪ ،‬ﳝﺘﻠﻚ‬
‫ﻭﺳﻄﻪ ﺍﳋﺎﺹّ‪ :‬ﻓﺎﻟﺪﺑّﻮﺭ ﺍﻟﺬﻱ ﻳﺮﻯ ﺑﻌﻴﻨﻴﻪ ﺫﺍﺗﻲ ﺍﻟﺴﺘﺔ ﺁﻻﻑ ﻭﺟﻪ ﺃﺷﻴﺎﺀَ ﺃﺧﺮﻯ‬
‫ﻻﻧﺮﺍﻫﺎ ﳓﻦ‪ ،‬ﻟﻪ ﻭﺳﻂ ﺑﺼﺮﻱّ ﻣﺨﺘﻠﻒ‪ ،‬ﺑﺎﻟﺘﱠﺎﻟﻲ‪ ،‬ﻳﺘﻠﻘﱠﻰ ﻣﻨﺒّﻬﺎﺕ ﻣﺨﺘﻠﻔﺔ‪.‬‬
‫ﻭﺗﺪﻟّﻨﺎ ﻫﺬﻩ ﺍﳌﻼﺣﻈﺔ ﺍﻟﺒﺴﻴﻄﺔ ﻋﻠﻰ ﺃﻥﱠ ﺍﻟﻮﺳﻂ ﻟﻴﺲ ﺷﻴﺌﺎً ﺧﺎﺭﺝ ﺍﻟﻌﻀﻮﻳﱠﺔ‬
‫ﺍﻟﺒﻴﻮﻟﻮﺟﻴﱠﺔ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻮ ﻋﻀﻮ ﻓﻴﻬﺎ‪ ،‬ﺇﻧﱠﻪ ﻋﻀﻮ ﺍﻟﺘﱠﻨﺒﻴﻪ‪ .‬ﻭﺇﺫﺍ ﻧُﻈﺮَ ﺇﻟﻰ ﺍﳊﻴﺎﺓ ﻫﻜﺬﺍ‪،‬‬
‫ﺑﺪﺕ ﻟﻨﺎ ﺣﻮﺍﺭﺍً ﻓﻌﱠﺎﻻً ﻣﻊ ﺍﶈﻴﻂ ﺍﻟﺬﻱ ﻳﻜﻮﻥ ﺷﺨﺼُﻨﺎ ﺃﺣﺪَ ﺍﳌﺘﺤﺎﻭﺭﻳﻦ ﻓﻴﻪ‪،‬‬
‫ﻭﺍﻟﺸﱠﺨﺺ ﺍﻵﺧﺮ ﻣﺎ ﻳﺤﻴﻂ ﺑﻨﺎ‪ .‬ﻭﺇﺫﺍ ﻛﺎﻥ ﺍﻟﻀﱠﻐﻂ ﺍﳉﻮﻱّ ﻭﺩﺭﺟﺔ ﺍﳊﺮﺍﺭﺓ‬
‫ﻭﺍﳉﻔﺎﻑ ﻭﺍﻟﻀﱡﻮﺀ ﺗﻨﺒّﻪ ﺃﻧﺸﻄﺘﻨﺎ ﺍﳉﺴﻤﻴﱠﺔ ﻭﺗﺜﻴﺮﻫﺎ‪ ،‬ﻛﺬﻟﻚ ﻳﻮﺟﺪ ﰲ ﺍﶈﻴﻂ ﺻﻮﺭ‬
‫ﻣﺠﺴﱠﻤﺔ ﺃﻭ ﺧﻴﺎﻟﻴﱠﺔ ﻭﻇﻴﻔﺘﻬﺎ ﺗﻘﻮﻡ ﻋﻠﻰ ﺇﻃﻼﻕ ﺃﻧﺸﻄﺘﻨﺎ ﺍﻟﺮﱡﻭﺣﻴﱠﺔ ﺍﻟﺘﻲ ﺑﺪﻭﺭﻫﺎ ﲡﺮﱡ‬
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 ‫ﻭﺭﺍﺀﻫﺎ ﺍﳉﻬﺎﺯ ﺍﻟﺒﺪﻧﻲّ‪ .‬ﻭﻫﺬﻩ ﺍﳌﻨﺒّﻬﺎﺕ ﺍﻟﻨﱠﻔﺴﻴﱠﺔ ﻫﻲ ﺍﳌﺜﻞ ﺍﻟﻌﻠﻴﺎ ﻻ ﺃﻛﺜﺮ ﻭﻻ ﺃﻗﻞّ‪.‬‬
‫ﻓﻠﺘﻜﻒّ ﺇﺫﺍً‪ ،‬ﻫﺬﻩ ﺍﳌﻮﻋﻈﺔ ﺍﻟﻐﺎﻣﻀﺔ ﺍﳌﺪﺍﻫﻨﺔ ﺍﻟﺼﱡﻮﻓﻴﱠﺔ ﺍﳌﺰﻳﱠﻔﺔ‪ ،‬ﻋﻦ ﺍﳌﺜﻞ ﺍﻟﻌﻠﻴﺎ‪.‬‬
‫ﺑﺎﺧﺘﺼﺎﺭ‪ ،‬ﻫﻲ ﻣﺜﻞ ﻋﻠﻴﺎ ﲟﻘﺪﺍﺭ ﻣﺎ ﲡﺬﺏ ﺣﻴﻮﻳﺘﻨﺎ ﺍﻟﺮﻭﺣﻴﱠﺔ ﻭﺗﻨﺒّﻬﻬﺎ‪ ،‬ﻫﻲ ﻧﻮﺍﺑﺾ‬
‫ﺑﻴﻮﻟﻮﺟﻴﱠﺔ‪ ،‬ﻭﺻﻮﺍﻋﻖ ﻟﺘﻔﺠﻴﺮ ﺍﻟﻄﱠﺎﻗﺎﺕ‪ .‬ﻭﻣﻦ ﺩﻭﻧﻬﺎ ﻻ ﺗﺆﺩّﻱ ﺍﳊﻴﺎﺓ ﻭﻇﻴﻔﺘﻬﺎ‪.‬‬
‫ﻭﻣﺤﻴﻄﻨﺎ ﺍﻟﺬﻱ ﻟﻴﺲ ﻣﺴﻜﻮﻧﺎً ﺑﺄﺷﻴﺎﺀ ﻭﺍﻗﻌﻴﱠﺔ ﻓﻘﻂ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﺑﻮﺟﻮﻩٍ )ﺧﺎﺭﺝ ﺃﺭﺿﻴﱠﺔ(‬
‫ﻭﺣﺘﱠﻰ ﻣﺤﺎﻟﺔ ﺃﻳﻀﺎً‪ ،‬ﻳﺤﺘﻮﻱ ﻋﻠﻰ ﺟﻤﻠﺔ ﺷﺪﻳﺪﺓ ﺍﻟﺘﻨﻮﱡﻉ ﻣﻨﻬﺎ‪ .‬ﺑﻌﻀﻬﺎ ﺻﻐﻴﺮ‬
‫ﻭﻣﺘﻮﺍﺿﻊ ﺣﺘﱠﻰ ﻻ ﻧﺪﺭﻱ ﺑﻪ ﺗﻘﺮﻳﺒﺎً؛ ﻭﺑﻌﻀﻬﺎ ﺿﺨﻢ ﻭﺫﻭ ﺣﺠﻢ ﺗﺎﺭﻳﺨﻲ ﻳﺠﻌﻞ‬
‫ﻭﺟﻮﺩَﻧﺎ ﰲ ﺗﻮﺗّﺮ ﻛﺎﻣﻞ‪ ،‬ﻭﺃﺣﻴﺎﻧﺎً ﻭﺟﻮﺩَ ﺷﻌﺐٍ ﻛﺎﻣﻞ ﻭﻋﺼﺮ ﺑﺄﺳﺮﻩ‪ .‬ﻭﺇﺫﺍ ﺃﺭﻳﺪ ﺃﻥ‬
‫ﻳﻘﺘﺼﺮ ﻋﺪﺩُ ﺍﳌﺜﻞ ﻋﻠﻰ ﻫﺬﻩ ﺍﳌﺜﻞ ﺍﻟﻜﺒﻴﺮﺓ‪ ،‬ﻓﻼ ﺗﻮﺟﺪ ﻋﻘﺒﺔ ﰲ ﺍﻟﺘﺬﻛﱡﺮ ﺃﻥﱠ ﻣﺎ ﻓﻴﻬﺎ‬
‫ﻣﻦ ﺍﳌﺜﻞ ﻟﻴﺲ ﺑﺴﺒﺐ ﻣﺎ ﻓﻴﻬﺎ ﻣﻦ ﺍﻟﻜِﺒﺮ ﻭﻻ ﺑﺴﺒﺐ ﺃﻫﻤﻴّﺘﻬﺎ ﺍﳌﻮﺿﻮﻋﻴﱠﺔ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﳌﺎ‬
‫ﻓﻴﻬﺎ ﻣﻦ ﻣُﺸﺘَﺮَﻙ ﻣﻊ ﺃﺻﻐﺮ ﺣﻮﺍﻓﺰ ﺍﳊﻴﺎﺓ‪ :‬ﻛﺎﻻﻓﺘﺘﺎﻥ‪ ،‬ﻭﺍﳉﺎﺫﺑﻴﱠﺔ ﻭﺍﻹﺛﺎﺭﺓ ﻭﺇﻃﻼﻕ‬
‫ﻗﻮﺍﻧﺎ‪ .‬ﻭﺍﳌﺜﺎﻝ ﻋﻀﻮ ﰲ ﻛﻞّ ﺣﻴﺎﺓ ﻣﻜﻠﱠﻒ ﺑﺘﻨﺒﻴﻬﻬﺎ‪ .‬ﻭﺍﳊﻴﺎﺓ ﻛﻤﺎ ﺍﻟﻔﺮﺳﺎﻥ ﺍﻟﻘﺪﻣﺎﺀ‪،‬‬
‫ﺳﻴّﺪﺓ ﺗﺴﺘﻌﻤﻞ ﻣﻬﺎﻣﻴﺰ‪ .‬ﻟﺬﻟﻚ ﻛﺎﻥ ﻭﺍﺟﺒﺎً ﻋﻠﻰ ﺑﻴﻮﻟﻮﺟﻴﺎ ﻛﻞّ ﻛﺎﺋﻦ ﺃﻥ ﺗﺤﻠﱢﻞ ﻟﻴﺲ‬
‫ﺟﺴﻤﻪ ﻭﻧﻔﺴﻪ ﻭﺇﻧﱠﻤﺎ ﺃﻥ ﺗﻜﺘﺸﻒ ﺃﻳﻀﺎً ﻻﺋﺤﺔ ﻣﺜﻠﻪ‪ .‬ﻭﳓﻦ ﻧﻌﺎﻧﻲ ﺃﺣﻴﺎﻧﺎً ﺗﺪﻫﻮﺭﺍً‬
‫ﻻﻳﺄﺗﻲ ﻣﻦ ﻣﺮﺽٍ ﰲ ﺟﺴﻤﻨﺎ ﻭﻻ ﰲ ﻧﻔﺴﻨﺎ ﻭﺇﻧﱠﻤﺎ ﻣﻦ ﺳﻮﺀ ﰲ ﺻﺤّﺔ ﻣﺜﻠﻨﺎ‪.‬‬
‫ﻭﺑﺬﻟﻚ ﻧﺼﻞ ﺇﻟﻰ ﺍﻟﻨﱠﺘﻴﺠﺔ ﺍﻟﺘﱠﺎﻟﻴﺔ‪ :‬ﻟﻜﻲ ﻳﻜﻮﻥ ﺷﻲﺀ ﻣﺎ ﻣﺜﺎﻻً ﻻ ﻳﻜﻔﻲ ﺃﻥ ﻳﺒﺪﻭ‬
‫ﺟﺪﻳﺮﺍً ﺑﺄﻥ ﻳﻜﻮﻥ ﻛﺬﻟﻚ ﻷﺳﺒﺎﺏ ﺧﻠﻘﻴﱠﺔ ﺃﻭ ﺫﻭﻗﻴﱠﺔ ﺃﻭ ﻋُﺮْﻓﻴﱠﺔ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻻ ﺑﺪﱠ ﻟﻪ ﻣﻦ ﺃﻥ‬
‫ﳝﺘﻠﻚ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻫﺬﻩ ﺍﻟﻘﺪﺭﺓَ ﻋﻠﻰ ﺍﻟﺴّﺤﺮ‪ ،‬ﻭﺟﺬﺏ ﺃﻋﺼﺎﺑﻨﺎ‪ ،‬ﻭﻳﺘﻐﻠﻐﻞ ﺗﻐﻠﻐﻼً ﻛﺎﻣﻼً‬
‫ﰲ ﺣﺴﺎﺳﻴّﺘﻨﺎ‪ .‬ﻭﺇﻣﱠﺎ ﻻ‪ ،‬ﻓﺴﻮﻑ ﻳﻜﻮﻥ ﺷﺒﺢَ ﻣﺜﺎﻝ‪ ،‬ﺃﻭ ﻣﺜﺎﻻً ﻣﺸﻠﻮﻻً ﻋﺎﺟﺰﺍً ﻋﻦ ﺷﺪﱢ‬
‫ﻗﻮﺱ ﺍﳊﺎﻓﺰ‪ .‬ﻟﻘﺪ ﺍﻧﺼﺐﱠ ﺍﻻﻫﺘﻤﺎﻡ ﺣﺘﱠﻰ ﺍﻟﻴﻮﻡ‪ ،‬ﻋﻠﻰ ﺃﺣﺪ ﻭﺟﻬﻲ ﺍﳌﺜﺎﻝ‪ ،‬ﺍﻟﺬﻱ ﻳﻄﻞّ‬
‫ﻋﻠﻰ ﺍﳌﻄﻠﻖ‪ ،‬ﻭﻧُﺴﻲ ﺍﻟﻮﺟﻪ ﺍﻵﺧﺮ‪ ،‬ﺫﺍﻙ ﺍﻟﺬﻱ ﻳﺘﺠﻪ ﳓﻮ ﺩﺍﺧﻞ ﺍﻟﺘﱠﻨﻈﻴﻢ ﺍﳊﻴﻮﻱ‪.‬‬
‫ﻭﳓﻦ ﻧﻌﺒّﺮ ﻋﻦ ﻫﺬﻩ ﺍﻟﻮﻇﻴﻔﺔ ﺍﳉﺬﱠﺍﺑﺔ ﺍﻟﺘﻲ ﻫﻲ ﻣﺎﻫﻴﱠﺔ ﺍﳌﺜﺎﻝ ﺑﺄﻛﺜﺮ ﺍﻟﻜﻠﻤﺎﺕ‬
‫ﺍﺑﺘﺬﺍﻻً‪ ،‬ﺃﻱ ﻛﻠﻤﺔ "ﺃﺣﻼﻡ"‪.‬‬
‫ﻭﺍﻵﻥ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﳒﻴﺐ ﺑﺴﺮﻭﺭٍ ﻋﻦ ﺍﻟﺴﺆﺍﻝ ﺍﻟﺴﱠﺎﺑﻖ‪ .‬ﻓﻮﻇﻴﻔﺔ ﺍﳌﺮﺃﺓ‪ ،‬ﺇﺫﺍ ﻟﻢ‬
‫ﺗﻜﻦ ﻏﻴﺮ ﺍﻣﺮﺃﺓ‪ ،‬ﻫﻲ ﻛﻮﻧﻬﺎ ﻣﺜﺎﻝَ ﺍﻟﺬﱠﻛﺮ ﺍﶈﺪﱠﺩ )"ﻓﺘﻨﺔً" ﻭ "ﺣﻠﻤﺎً"( ﻻ ﺃﻛﺜﺮ ﻣﻦ ﺫﻟﻚ‪،‬‬
‫ﻭﻻ ﺃﻗﻞّ ﻣﻦ ﺫﻟﻚ ﺃﻳﻀﺎً‪ .‬ﺇﺫ ﻳﺴﺘﻄﻴﻊ ﺍﻟﺮﱠﺟﻞ ﺃﻥ ﻳﺤﺐّ ﺑﺤﻤﺎﺱ ﻣﻔﺮﻁٍ ﺍﻷﻡّ ﻭﺍﻟﺰﱠﻭﺟﺔ‬
‫‪-١١٩-‬‬
 ‫ﻭﺍﻟﺒﻨﺖ ﺃﻭ ﺍﻷﺧﺖ ﻣﻦ ﻏﻴﺮ ﺃﻥ ﻳﻜﻮﻥ ﰲ ﺷﻌﻮﺭﻩ ﺃﺩﻧﻰ ﻧﻐﻤﺔ ﻣﻦ ﺍﳊﻠﻢ‪ .‬ﻭﻳﺴﺘﻄﻴﻊ ﻋﻠﻰ‬
‫ﻋﻜﺲ ﺫﻟﻚ‪ ،‬ﺃﻥ ﻳﺸﻌﺮ ﺑﻨﻔﺴﻪ ﺣﺎﳌﺎً ﻣﻔﺘﻮﻧﺎً ﻣﻨﺠﺬﺑﺎً ﻣﻦ ﻏﻴﺮ ﺃﻥ ﻳﺸﻌﺮ ﺑﺸﻲﺀ ﻣﻦ‬
‫ﻫﺬﺍ ﳑﱠﺎ ﻧﺴﻤّﻴﻪ ﺑﺪﻗّﺔ ﺣﺒﱠﺎً ﺑﻨﻮﻳﱠﺎً‪ ،‬ﻭﺃﺑﻮﻳﱠﺎً ﻭﺯﻭﺟﻴﱠﺎً ﺃﻭﺃﺧﻮﻳﱠﺎً‪ .‬ﻭﺍﻟﻨﺴﺎﺀ ﳝﻴﱢﺰﻥَ ﺑﺤﺪﺱ‬
‫ﺣﺎﺩّ ﲤﻴﻴﺰﺍً ﻛﺎﻣﻼً ﻫﺬﺍ ﺍﻟﻠّﻮﻳﻦَ ﻣﻦ ﺍﳊﻠﻢ ﻣﺘﻰ ﻭُﺟﺪ ﰲ ﺍﻻﻧﻔﻌﺎﻻﺕ ﺍﻟﺘﻲ ﺗﺤﺚﱡ؛‬
‫ﻭﻳﺸﻌﺮﻥ ﺣﻴﻨﺌﺬٍ ﻓﻘﻂ ﰲ ﺳﺮّﻫﻦ ﺃﻧﱠﻬﻦّ ﻣﺴﺮﻭﺭﺍﺕ ﺭﺍﺿﻴﺎﺕ‪ .‬ﻛﺎﻥ ﺧﻮﺳِﻪ ﺩﻳﻜﺎﻣﺒﻮ ‪J.‬‬
‫‪ ،de Campo‬ﻭﻫﻮ ﻛﺎﺗﺐ ﺇﺳﺒﺎﻧﻲّ ﺫﻛﻲّ ﰲ ﺃﻭﺍﺧﺮ ﺍﻟﻘﺮﻥ ‪ ،١٨‬ﻳﻘﻮﻝ‪" :‬ﺇﻥﱠ ﺷﻴﺌﺎً ﻭﺍﺣﺪﺍً‬
‫ﻓﻘﻂ ﳝﻜﻨﻪ ﺃﻥ ﳝﻸ ﻣﻠﺌﺎً ﻛﺎﻣﻼً ﻗﻠﺐ ﺍﻟﺮﱠﺟﻞ‪ ،‬ﻭﻫﻮ ﻗﻠﺐ ﺍﳌﺮﺃﺓ‪".‬‬
‫ﺇﺫﺍً‪ ،‬ﺍﳌﺮﺃﺓ ﺗﻜﻮﻥ ﺍﻣﺮﺃﺓ ﲟﻘﺪﺍﺭ ﻣﺎ ﺗﻜﻮﻥ ﻓﺘﻨﺔ )ﺳﺤﺮﺍً( ﺃﻭ ﻣﺜﺎﻻً‪ .‬ﺇﺫْ ﳝﻜﻦ ﻷﻡّ‬
‫ﻛﺎﻣﻠﺔ ﺃﻥ ﺗﻜﻮﻥ ﻣﺜﺎﻻً ﻟﻸﻡّ‪ ،‬ﻟﻜﻦﱠ ﻛﻮﻧﻬﺎ ﺃﻣﱠﺎً ﻻ ﻳﻌﻨﻲ ﺃﻥ ﺗﻜﻮﻥ ﻣﺜﺎﻻً ﺃﻋﻠﻰ‪ .‬ﻭﺃﻟﻘﺎﺏ‬
‫ﺍﻷﻧﺜﻰ ﺍﻟﺒﺸﺮﻳﱠﺔ ﺍﳌﺘﻨﻮﱢﻋﺔ ﻣﺘﺒﺎﻳﻨﺔٌ ﺑﻮﺿﻮﺡ‪ ،‬ﻭﺗﺘﺒﻊ ﻛﻼً ﻣﻨﻬﺎ ﺟﻤﻠﺔٌ ﻣﺨﺘﻠﻔﺔٌ ﻣﻦ ﺍﻟﻠﻄﺎﺋﻒ‬
‫ﻭﺍﻟﻔﻀﺎﺋﻞ‪ .‬ﻭﳝﻜﻦ ﻟﻠﺰﱠﻭﺟﺔ ﻭﺍﻷﻡ ﻭﺍﻷﺧﺖ ﻭﺍﻟﺒﻨﺖ ﺃﻥ ﺗﻜﻦﱠ ﻛﺎﻣﻼﺕٍ ﻣﻦ ﻏﻴﺮ ﺃﻥ‬
‫ﳝﺘﻠﻜﻦ ﻛﻤﺎﻝ ﺍﳌﺮﺃﺓ‪ ،‬ﻭﺍﻟﻌﻜﺲ ﺻﺤﻴﺢ‪.‬‬
‫ﻭﻳُﻼﺣَﻆ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﺃﻥﱠ ﺭﺳﺎﻟﺔ ﺍﳌﺮﺃﺓ ﺍﻟﺴﺎﺣﺮﺓ ﻫﻲ ﺍﳌﺒﺪﺃ ﺍﻟﺬﻱ ﻳﺠﻌﻞ‬
‫ﺑﻘﻴﱠﺔ ﺃﺷﻜﺎﻝ ﺍﻷﻧﻮﺛﺔ ﳑﻜﻨﺔ‪ .‬ﻭﺇﺫﺍ ﻟﻢ ﺗﻔﺘِﻦِ ﺍﳌﺮﺃﺓ ﺍﻟﺮﱠﺟﻞَ ﻻ ﻳﺨﺘﺎﺭﻫﺎ ﻟﻴﺠﻌﻞ ﻣﻨﻬﺎ‬
‫ﺯﻭﺟﺔً ﺳﺘﻜﻮﻥ ﺃﻡﱠ ﺑﻨﺎﺗﻪ ﺃﺧﻮﺍﺕ ﺃﺑﻨﺎﺋﻪ‪ .‬ﻭﻛﻞّ ﺷﻲﺀ ﻳﻨﺸﺄ ﻣﻦ ﻫﺬﻩ ﺍﻟﻘﺪﺭﺓ ﺍﻟﺴّﺤﺮﻳﱠﺔ‬
‫ﻋﻠﻰ ﺇﺛﺎﺭﺓ ﺍﻻﻓﺘﺘﺎﻥ‪.‬‬
‫ﳌﱠﺎ ﻛﺎﻥ ﺍﳉﻨﺮﺍﻝ ﺍﻟﺮّﻭﻣﺎﻧﻲ ﻳﺴﻬﺮ ﻣﺴﻬّﺪﺍً ﻛﺌﻴﺒﺎً ﰲ ﺣﺼﻨﻪ ﺗﺤﺖ ﺧﻔﻖ ﺍﻟﻨﺠﻮﻡ‬
‫ﺍﻟﻐﺎﻣﺾ‪ ،‬ﲤﺜﱠﻠﺖ ﻟﻪ –ﺣﺴﺐ ﺷﺎﺗﻮﺑﺮﻳﺎﻥ ﰲ ﻛﺘﺎﺏ ﺍﻟﺸﱡﻬﺪﺍﺀ‪ -‬ﺑﻴﻠﻴﺪﺍ ﺍﻟﻌﺮﱠﺍﻓﺔُ ﺍﳉﻤﻴﻠﺔ‬
‫ﺍﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺤﺒّﻪ‪ ،‬ﺷﺒﺤﺎً ﺇﺛﻴﺮﻳﱠﺎً ﺑﻨﺎﺻﻴﺘﻬﺎ ﺍﻟﻄﱠﻮﻳﻠﺔ ﺍﻟﺸﱠﻘﺮﺍﺀ‪ ،‬ﻭﺍﳌﻨﺠﻞ ﺍﻟﺬﱠﻫﺒﻲ‬
‫ﺍﻟﻄﱠﻘﺴﻲ ﺑﲔ ﺛﺪﻳﻴﻬﺎ‪ ،‬ﻭﻗﺎﻟﺖ ﻟﻪ‪ :‬ﺃﺗﻌﻠﻢ ﺃﻧّﻲ ﺟﻨّﻴﱠﺔ؟ ‪ .sais-tu que je suis feé‬ﺇﺫﺍً‪،‬‬
‫ﻳﻨﺒﻐﻲ ﻟﻠﻤﺮﺃﺓ ﺃﻥ ﺗﺒﺪﻭ ﻟﻠﺮﱠﺟﻞ‪ ،‬ﻗﺒﻞ ﺃﻥ ﺗﻜﻮﻥ ﺃﻱ ﺷﻲﺀ ﺁﺧﺮ‪ ،‬ﻣﺜﻞ ﺑﻴﻠﻴﺪﺍ‪ ،‬ﺟﻨّﻴّﺔ‬
‫ﻭﻣﺎﻫﻴﱠﺔ ﺳﺤﺮﻳﱠﺔ‪ .‬ﻭﺍﳊﻠﻢ ﳝﻜﻦ ﻟﻪ ﺃﻥ ﻳﻌﻴﺶ ﳊﻈﺔ ﻭﺍﺣﺪﺓ‪ ،‬ﺃﻭ ﺃﻻ ﳝﻮﺕ ﺃﺑﺪﺍً‪:‬‬
‫ﻭﺳﻮﺍﺀ ﺃﻛﺎﻥ ﻗﺼﻴﺮ ﺍﻟﻌﻤﺮ‪ ،‬ﺃﻡ ﺩﺍﺋﻤﺎً ﻓﻬﻮ ﻣﻨﺎﺳﺒﺔ ﻟﺘﺆﺛّﺮ ﺍﳌﺮﺃﺓُ ﺑﻪ ﺃﻋﻈﻢ ﺗﺄﺛﻴﺮ ﻋﻠﻰ‬
‫ﺍﻟﺮﱠﺟﻞ ﺍﻟﺬﻱ ﳝﺜُﻞ ﻟﻬﺎ‪.‬‬
‫ﻭﺇﻧﱠﻪ ﻷﻣﺮ ﻻ ﻳﺼﺪﱠﻕ ﺃﻥ ﺗﻮﺟﺪ ﺃﺫﻫﺎﻥ ﻋُﻤﻲ ﺇﻟﻰ ﺣﺪﱟ ﺗﻘﺒﻞ ﺃﻥﱠ ﺍﳌﺮﺃﺓ ﳝﻜﻦ ﺃﻥ‬
‫ﺗﺆﺛّﺮ ﰲ ﺍﻟﺘﱠﺎﺭﻳﺦ ﺑﻮﺍﺳﻄﺔ ﺍﻟﺘﱠﺼﻮﻳﺖ ﺍﻻﻧﺘﺨﺎﺑﻲّ ﺃﻭ ﺩﺭﺟﺔ ﺍﻟﺪّﻛﺘﻮﺭﺍﻩ ﺍﳉﺎﻣﻌﻴﱠﺔ ﻛﻤﺎ‬
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‫ﺗﺆﺛﺮ ﺑﻘﻮﺓ ﺍﳊﻠﻢ ﺍﻟﺴﺤﺮﻳّﺔ ﻫﺬﻩ‪ .‬ﻭﺇﺫْ ﻻ ﺗﻮﺟﺪ ﺩﺍﺧﻞ ﺍﻟﺸﺮﻁ ﺍﻟﺒﺸﺮﻱ ﻗﻮﺓ ﺑﻴﻮﻟﻮﺟﻴﱠﺔ‬
‫ﻣﻮﺛﻮﻗﺔ ﻭﻓﻌﱠﺎﻟﺔ ﻛﻬﺬﻩ ﺍﻟﻘﺪﺭﺓ ﺍﻟﺘﻲ ﲤﺘﻠﻜﻬﺎ ﺍﳌﺮﺃﺓ ﻟﺘﺠﺬﺏَ ﺍﻟﺮﱠﺟﻞ ﺇﻟﻴﻬﺎ‪ ،‬ﻓﻘﺪ ﺟﻌﻠﺖ‬
‫ﺍﻟﻄﱠﺒﻴﻌﺔ ﻣﻦ ﻫﺬﻩ ﺍﻟﻘﻮﺓ ﺃﻗﻮﻯ ﺃﺩﺍﺓ ﻟﻼﺻﻄﻔﺎﺀ‪ ،‬ﻭﻗﻮﺓً ﺭﺍﻗﻴﺔً ﻟﺘﻐﻴﻴﺮ ﺍﻟﻨﱠﻮﻉ ﻭﺗﻜﻤﻴﻠﻪ‪.‬‬
‫ﻭﺍﻟﻄﺮﻳﻒ ﺃﻥ ﺗﻈﻬﺮ ﺍﳌﺮﺃﺓ ﰲ ﺑﺪﺍﻳﺎﺕ ﺍﻟﺘﺎﺭﻳﺦ ﺍﻷﻭﺭﻭﺑﻲ ﰲ ﺍﻟﻨﺸﻴﺪ ﺍﻷﻭﱠﻝ ﻣﻦ‬
‫ﺍﻹﻟﻴﺎﺫﺓ ﺟﺎﺋﺰﺓً ﳌﻦ ﻳﻐﻠِﺐ ﰲ ﺍﻷﻟﻌﺎﺏ ﺃﻭ ﰲ ﺍﳊﺮﺏ‪ .‬ﺍﳌﺮﺃﺓ ﺍﻷﺟﻤﻞ ﻟﻠﺮﺟﻞ ﺍﻷﻣﻬﺮ‬
‫ﻭﺍﻷﻗﻮﻯ‪ ،‬ﺣﺘﱠﻰ ﺃﻧﱠﻨﺎ ﳒﺪ ﺍﻟﺬﻛﻮﺭ‪ ،‬ﻣﻦ ﺛَﻢﱠ‪ ،‬ﻳﺘﻄﻠﱠﻌﻮﻥ ﺇﻟﻰ ﻏﺰﻭ ﺍﳌﺮﺃﺓ ﻣﻨﺎﻓَﺴَﺔً ﻭﻣﺒﺎﺭﺯَﺓً‪.‬‬
‫ﻭﰲ ﻭﻗﺖٍ ﻻﺣﻖ‪ ،‬ﻟﻢ ﺗﻜﻦ ﺟﺎﺋﺰﺓً ﺗُﻤﻨﺢ ﻟﻸﻓﻀﻞ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻲ ﻧﻔﺴﻬﺎ ﻣﻜﻠﱠﻔﺔ ﺃﻥ ﺗﺤﻜﻢ‬
‫ﻋﻠﻰ ﻣﻦ ﻫﻮ ﺍﻷﺻﻠﺢ ﻭﺗﻔﻀﱢﻞ ﺍﻟﻔﺎﺋﺰ‪ .‬ﻭﺃﺻﺒﺤﺖ ﺍﳊﻴﺎﺓ ﺍﻻﺟﺘﻤﺎﻋﻴﱠﺔ ﻣﺒﺎﺭﺍﺓ ﻣﺴﺘﻤﺮﱠﺓ‬
‫ﻣﻔﺘﻮﺣﺔ ﺑﲔ ﺍﻟﺮﺟﺎﻝ ﻟﻘﻴﺎﺱ ﺍﺳﺘﻌﺪﺍﺩﺍﺗﻬﻢ ﺑﻨﻴّﺔ ﺃﻥ ﺗﻔﻀّﻠﻬﻦﱠ ﺍﳌﺮﺃﺓ‪ .‬ﻭﺗﺴﻤﺢ ﺍﻟﻌﺎﺩﺍﺕ‬
‫ﺑﺸﺪﱠﺓ ﻧﻮﻋﻴﺔ ﺧﺎﺻّﺔ ﰲ ﺍﻟﻌﺼﻮﺭ ﺍﻷﺧﺼﺐ ﻭﺍﻷﻣﺠﺪ –ﺍﻟﻘﺮﻥ ‪ -١٣‬ﻭﺍﻟﻨﱠﻬﻀﺔ ﻭﺍﻟﻘﺮﻥ‬
‫‪ -١٨‬ﺃﻥ ﺗﻜﻮﻥ ﺍﻟﻨﺴﺎﺀ ﻛﻤﺎ ﻗﺎﻝ ﺳﺘﻨﺪﺍﻝ‪ :‬ﺣﻜﱠﺎﻡ ﺍﻣﺘﻴﺎﺯ ‪ .juges des mérites‬ﻟﻜﻦ‪،‬‬
‫ﻳُﻌﺘﺮﺽ ﻋﻠﻴﻨﺎ ﺃﻥﱠ ﺍﳌﺮﺃﺓ ﻻ ﺗﺨﺘﺎﺭ ﺍﻷﻓﻀﻞ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻣﺎ ﻳﺒﺪﻭ ﻟﻬﺎ ﺃﻧﱠﻪ ﺍﻷﻓﻀﻞ‪ ،‬ﺗﻔﻀﱢﻞ‬
‫ﺍﻟﻔﺮﺩ ﺍﻟﺬﻱ ﺗﺮﻯ ﻣﺠﺴﱠﺪﺍً ﻓﻴﻪ ﻣﺜﺎﻝَ ﺍﻟﺬﱠﻛﺮ ﺍﻷﻋﻠﻰ‪ .‬ﻭﻫﻜﺬﺍ ﻫﻮ ﺍﳊﺎﻝ‪ ،‬ﰲ ﺍﻟﻮﺍﻗﻊ‪.‬‬
‫ﻓﺎﳌﺜﺎﻝ‪ ،‬ﺃﻭ ﺍﻟﺼﻮﺭﺓ ﺍ‪‬ﻴﺪﺓ ﺍﻟﺘﻲ ﲤﺘﻠﻜﻬﺎ ﺍﳌﺮﺃﺓ ﻋﻦ ﺍﻟﺮﱠﺟﻞ‪ ،‬ﺗﻌﻤﻞ ﻛﺠﻬﺎﺯ ﺍﺻﻄﻔﺎﺀ‬
‫ﰲ ﺟﻤﻬﻮﺭ ﺍﻟﺬﻛﻮﺭ ﻭﺗُﺒﺮﺯ ﻣﻦ ﺑﻴﻨﻬﻢ ﺍﻟﺬﻳﻦ ﻳﺘﻄﺎﺑﻘﻮﻥ ﻣﻌﻬﺎ‪ .‬ﻭﻫﺬﻩ ﺍﻟﺼﱡﻮﺭﺓ ﺗﺤﺪﻳﺪﺍً‪،‬‬
‫ﺃﺳﻴﺮﺓ ﺍﻟﺘﱠﺎﺭﻳﺦ ﺍﻟﺬﻱ ﻫﻮ ﰲ ﺟﺎﻧﺐ ﻛﺒﻴﺮ ﻣﻨﻪ ﺗﺎﺭﻳﺦ ﺍﳌُﺜﻞ ﺍﻟﻌﻠﻴﺎ ﺍﻟﺬﱠﻛﺮﻳﱠﺔ ﺍﻟﺘﻲ ﺃﺑﺪﻋﺘﻬﺎ‬
‫ﺍﳌﺮﺃﺓ‪ .‬ﻭﻫﻜﺬﺍ ﻗﺮﱠﺭﺕ ﺳﻴﺪﺍﺕ ﺍﻟﺒﺮﻭﻓﺎﻧﺲ ‪ provence‬ﺃﻥﱠ ﻣﻦ ﻭﺍﺟﺐ ﺍﻟﺮﱠﺟﻞ ﺃﻥ ﻳﻜﻮﻥ‬
‫‪ prou‬ﻭ ‪) courtois‬ﺃﻱ‪ ،‬ﺷﺠﺎﻋﺎً ﻭﻣﻬﺬﱠﺑﺎً(‪ .‬ﺑﻄﻮﻟﺔ ﻭﺗﻬﺬﻳﺐ! ﻟﻘﺪ ﺧَﻠﻘﻦَ ﻣﺜﺎﻝ‬
‫"ﺍﻟﻔﺮﻭﺳﻴﱠﺔ" ﺍﻟﺬﻱ ﻇﻞﱠ ﻭﺇﻥ ﺍﳓﻂﱠ ﻭﺗﻬﺎﻓﺖ‪ ،‬ﻳﺸﻜﻞ ﻟﺐﱠ ﺍ‪‬ﺘﻤﻊ ﺍﻷﻭﺭﻭﺑﻲّ‪.‬‬
‫ﰲ ﻛﻞﱢ ﺟﻴﻞ ﻳُﻔﻀﱠﻞ ﺍﻟﺬﻛﻮﺭ ﺍﻟﺬﻳﻦ ﻳﺘﻄﺎﺑﻘﻮﻥ ﻣﻊ ﺍﳌﺜﺎﻝ ﺍﻷﻋﻢّ ﺍﻟﺴﱠﺎﺋﺪ ﺑﲔ‬
‫ﻓﺘﻴﺎﺕ ﺫﻟﻚ ﺍﻟﻌﺼﺮ‪ :‬ﻓﻬﻢ ﻳﻨﺸﺌﻮﻥ ﺍﻟﺒﻴﻮﺕ ﺍﻷﳒﺢ ﻭﺍﻷﺳﻌﺪ‪ ،‬ﺣﻴﺚ ﻳﺮﺑﱠﻰ ﺧﻴﺮ ﺍﻷﺑﻨﺎﺀ‬
‫ﺍﻟﺬﻳﻦ ﻳﻨﻘﻠﻮﻥ‪ ،‬ﻭﻗﺪ ﺗﺄﺛﱠﺮﻭﺍ ﺑﻨﻔﻮﺱ ﺁﺑﺎﺋﻬﻢ ﺍﳌﺘﺠﺎﻧﺴﺔ ﻷﺟﻴﺎﻝٍ ﻣﺘﻌﺎﻗﺒﺔ ﻣﻌﻴﺎﺭﺍً ﻭﻭﺿﻌﺎً‬
‫ﻣﻌﻴﱠﻨﺎً ﻣﻦ ﺍﻟﺒﺸﺮﻳﱠﺔ‪.‬‬
‫ﻓﻤﺎﺫﺍ ﻧﺼﻨﻊ ﻟﻚِ‪ ،‬ﻳﺎ ﺳﻴﱢﺪﺗﻲ! ﻫﻜﺬﺍ ﻫﻲ ﺍﳊﻴﺎﺓ ﻣﺪﻫﺸﺔ ﻭﻣﻸﻯ ﺑﺪﺭﻭﺏ ﻟﻢ‬
‫ﻳﺨﻤّﻨﻬﺎ ﺃﺣﺪ! ﺍﻧﻈﺮﻭﺍ ﺇﻟﻰ ﺍﳊﻠﻢ ﺍﻟﻼﻣﻠﻤﻮﺱ ﻭﺍﻟﺴﱠﻴﱠﺎﻝ ﻭﺍﻷﺛﻴﺮﻱ ﺍﻟﺬﻱ ﺗﺤﻠﻢ ﺑﻪ‬
‫ﺍﻟﻌﺬﺍﺭﻯ ﰲ ﺣﺠﺮﺍﺗﻬﻦّ‪ ،‬ﻭﻛﻴﻒ ﻳﻄﺒﻊ ﺃﺛﺮﻩ ﻋﻠﻰ ﺍﻟﻘﺮﻭﻥ ﺑﺸﻜﻞٍ ﺃﻋﻤﻖ ﳑﱠﺎ ﻳﻄﺒﻌﻪ‬
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‫ﻋﻠﻴﻬﺎ ﻓﻮﻻﺫ ﻗﻮﱠﺍﺩ ﺍﳉﻴﻮﺵ! ﻭﻣﺎ ﺗﻨﺴﺠﻪ ﺍﻟﻴﺎﻓﻌﺎﺕ ﰲ ﻋﻤﻖ ﺧﻴﺎﻟﻬﻦّ ﻣﻨﻜﻔﺌﺎﺕٍ ﻋﻠﻰ‬
‫ﻧﻔﻮﺳﻬﻦّ‪ ،‬ﻳُﻨﺎﻁ ﺑﻪ ﺍﻻﻧﻌﻄﺎﻑ ﺍﻟﺬﻱ ﻳﺘﱠﺨﺬﻩ ﰲ ﺟﺎﻧﺐٍ ﻛﺒﻴﺮٍ ﻣﻨﻪ‪ ،‬ﺍﻟﺘﱠﺎﺭﻳﺦ ﺿﻤﻦ ﻗﺮﻥٍ‬
‫ﻭﺍﺣﺪ‪ .‬ﻭﻟﺬﺍ ﻛﺎﻥ ﺷﻜﺴﺒﻴﺮ ﻋﻠﻰ ﺻﻮﺍﺏ‪ :‬ﺇﻥﱠ ﺣﻴﺎﺗﻨﺎ ﻣﺼﻨﻮﻋﺔ ﻣﻦ ﺣﺒﻜﺔِ ﺃﺣﻼﻣﻨﺎ‪.‬‬
‫ﺃﻧﺎ ﻻ ﺃﺭﻳﺪ‪ ،‬ﻳﺎ ﺳﻴﱢﺪﺗﻲ‪ ،‬ﺃﻥ ﺃﺗﱠﺨﺬ ﰲ ﻫﺬﻩ ﺍﳌﻨﺎﺳﺒﺔ ﻣﻮﺍﻗﻒ ﻣﻦ ﺍﳊﺮﻛﺔ‬
‫ﺍﻟﻨﺴﻮﻳﱠﺔ ﺍﳌﻌﺎﺻﺮﺓ‪ .‬ﻭﻟﺮﺑﱠﻤﺎ ﺑﺪﺕ ﻟﻲ ﺗﻄﻠﱡﻌﺎﺗﻬﺎ ﺍﳌﻌﻴﱠﻨﺔ ﺟﺪﻳﺮﺓ ﺑﺎﻻﺣﺘﺮﺍﻡ ﻭﺍﻟﺘﺸﺠﻴﻊ‪.‬‬
‫ﻟﻜﻨﱢﻲ‪ ،‬ﻧﻌﻢ‪ ،‬ﺃﺟﺮﺅ ﻋﻠﻰ ﺍﻟﻘﻮﻝ ﺇﻥﱠ ﻛﻞّ ﺣﺮﻛﺔ ﻧﺴﺎﺋﻴﱠﺔ ﺗﺪﻉ ﺍﳌﺴﺄﻟﺔ ﺍﻟﻜﺒﺮﻯ ﻣﻦ ﻏﻴﺮ ﺃﻥ‬
‫ﺗُﻤﺲّ‪ ،‬ﻫﻲ ﺣﺮﻛﺔ ﺳﻄﺤﻴﱠﺔ ﻭﺇﻥْ ﺗﻜﻦ ﻧﺎﺟﺤﺔ‪ .‬ﺇﻧﱠﻬﺎ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﺘﻲ ﺗﺆﺛﺮ ﺑﻬﺎ ﺍﻷﻧﻮﺛﺔ ﰲ‬
‫ﺍﻟﺘﱠﺎﺭﻳﺦ‪ ،‬ﻭﺇﻥﱠ ﻧﻘﺼﺎً ﰲ ﺍﻻﺣﺘﻴﺎﻁ ﺍﻟﻔﻜﺮﻱّ ﻳﻘﻮﺩ ﺇﻟﻰ ﺍﻟﺒﺤﺚ ﻋﻦ ﻓﻌﺎﻟﻴﱠﺔ ﺍﳌﺮﺃﺓ ﰲ‬
‫ﺃﺷﻜﺎﻝٍ ﺷﺒﻴﻬﺔٍ ﺑﺎﻷﺷﻜﺎﻝ ﺍﳋﺎﺻﱠﺔ ﺑﻌﻤﻞ ﺍﻟﺬﱠﻛﺮ‪ .‬ﻭﺑﻬﺬﻩ ﺍﻟﻄﱠﺮﻳﻘﺔ ﺳﻨﻌﺜﺮ ﺑﺎﻟﻄﱠﺒﻊ ﻋﻠﻰ‬
‫ﻣﺎ ﻻ ﻳﻮﺟﺪ‪.‬‬
‫ﻭﻧﻨﺴﻰ ﺃﻥﱠ ﻛﻞّ ﻛﺎﺋﻦ ﳝﺘﻠﻚ ﺻﻨﻔﺎً ﻣﻌﻴﱠﻨﺎً ﻣﻦ ﺍﻷﺳﺒﺎﺏ‪ ،‬ﻭﻳﺠﺐ ﻋﻠﻰ ﺍﻟﺬّﻫﻦ‬
‫ﺍﻟﻴﻘﻆ ﺃﻥ ﻳﻌﺮﻑ ﺍﻟﻜﺸﻒ ﻋﻨﻬﺎ‪.‬‬
‫ﻟﻘﺪ ﺳﺄﻝ ﺍﳌﺴﺮﺣﻲّ ﺍﻟﻌﺒﻘﺮﻱّ ﻫﻴﺒّﻞ ‪ Hebbel‬ﻧﻔﺴﻪ ﺇﻥْ ﻛﺎﻥَ ﳑﻜﻨﺎً ﺗﺄﻟﻴﻒُ‬
‫ﺗﺮﺍﺟﻴﺪﻳﱠﺎﺕ ﻳﻜﻮﻥ ﺑﻄﻠﻬﺎ ﺃﻧﺜﻮﻳﱠﺎً‪ .‬ﻷﻥﱠ ﺍﻟﺒﻄﻮﻟﺔ ﺗﺒﺪﻭ ﻗﺎﺋﻤﺔ ﻋﻠﻰ ﻧﺸﺎﻁ ﻓﻴﱠﺎﺽ‬
‫ﻻﻳﺘﻮﺍﻓﻖ ﺗﻘﺮﻳﺒﺎً ﻣﻊ ﻭﺿﻊ ﺍﳌﺮﺃﺓ ﺍﻟﻄﺒﻴﻌﻲّ‪ .‬ﻭﳌﱠﺎ ﺣﻠﱠﻞَ ﻭﺍﻗﻌﺔ ﺟﻮﺩﻳﺚ ‪ judith‬ﺍﻷﺭﻣﻠﺔ‬
‫ﺍﻟﻌﺬﺭﺍﺀ‪ ،‬ﻭﺟﺪ ﺃﻧﱠﻬﺎ ﺇﻥ ﻛﺎﻧﺖ ﻏﺎﻣﺮﺕ ﺑﺪﺧﻮﻝ ﺧﻴﻤﺔ ﻫﻮﻟﻮﻓِﺮْﻧِﺲ ‪ ،Holofernes‬ﻓﻘﺪ‬
‫ﻛﺎﻥ ﺫﻟﻚ ﺇﻋﺠﺎﺑﺎً ﺑﺎﶈﺎﺭﺏ ﺍﻟﺸﱡﺠﺎﻉ ﻭﺗﺤﻤﱡﺴﺎً ﻟﻪ؛ ﻭﺇﺫﺍ ﻛﺎﻧﺖ ﺟﺰﱠﺕ ﺭﺃﺳﻪ ﺑﻌﺪ ﺫﻟﻚ‪،‬‬
‫ﻓﻘﺪ ﻛﺎﻥ ﺫﻟﻚ ﻧﺘﻴﺠﺔ ﺁﻟﻴﱠﺔ ﻟﻠﺒﻐﺾ ﺃﻭ ﻟﻠﺤﻘﺪ ﳌﺎ ﺷﻌﺮﺕ ﺑﻨﻔﺴﻬﺎ ﻣﺬﻟﱠﺔ ﻣﻬﺎﻧﺔ‪.‬‬
‫ﻓﺒﻄﻮﻟﺘﻬﺎ ﺗُﺸﺒﻪ ﺍﻟﺒﻄﻮﻟﺔ ﺇﺫﺍ ﻧُﻈﺮ ﺇﻟﻴﻬﺎ ﻣﻦ ﺑﻌﻴﺪ‪ .‬ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻛﺎﻧﺖ ﻧﺴﻴﺠﺎً ﻣﻜﻮﱠﻧﺎً ﻣﻦ‬
‫ﺭﺩﻭﺩ ﺍﻟﻔﻌﻞ ﻭﺣﺎﻻﺕ ﺍﻟﻀﱠﻌﻒ؛ ﻭﻟﺘﺼﺤﻴﺢ ﻫﺬﻩ ﺍﶈﺎﻭﻟﺔ‪ ،‬ﻋﺪﱠﻝ ﻫﻴﺒّﻞ ﰲ ﻣﺴﺮﺣﻴّﺔ‬
‫ﺟﻴﻨﻮﻓﻴﻴﻒ ﺩﻩ ﺑﺮﺍﺑﺎﻧﺖ ‪ j.de Brabante‬ﺍﻟﺘﻲ ﻟﻢ ﺗﺼﻨﻊ ﺷﻴﺌﺎً ﺳﻮﻯ ﺍﳌﻌﺎﻧﺎﺓ ﻭﺍﻷﻟﻢ‬
‫ﺧﺎﻟﻘﺔ ﺑﺬﻟﻚ ﺭﻣﺰ ﺑﻄﻮﻟﺔ ﺳﻠﺒﻴﱠﺔ ﺑﺎﳌﻌﻨﻰ ﺍﳋﺎﺹ ﺣﻴﺚ ﻳﻜﻮﻥ ﺍﻟﻨﺸﺎﻁ ﲟﺎﻫﻴﱠﺘﻪ ﺳﻠﺒﺎً‬
‫ﻭﻣﻌﺎﻧﺎﺓ ‪Durch dulden tu‬؛ ﺍﻟﻌﻤﻞ ﰲ ﺍﳌﻌﺎﻧﺎﺓ‪ .‬ﻫﺬﻱ ﻫﻲ ﺻﻴﺎﻏﺘﻪ ﻟﻠﺪﱠﻋﻮﻯ ﺍﻷﻧﺜﻮﻳﱠﺔ‪.‬‬
‫ﻭﻳﺒﺪﻭ ﻟﻲ ﺣﻞّ ﻫﻴﺒّﻞ ﻟﻠﻤﺸﻜﻠﺔ ﺍﻟﺘﻲ ﻃﺮﺣﻬﺎ ﺑﺪﻗّﺔ‪ ،‬ﻣﻔﺮﻃﺎً‪ .‬ﻳﻘﻴﻨﺎً ﺃﻥﱠ ﻣﺼﻴﺮ‬
‫ﺍﳌﺮﺃﺓ ﻟﻴﺲ ﺍﻟﻨﺸﺎﻁ؛ ﻟﻜﻦ‪ ،‬ﺑﲔ ﻫﺬﺍ ﺍﻟﻨﺸﺎﻁ ﻭﺍﳌﻌﺎﻧﺎﺓ ﻳﻮﺟﺪ ﺷﻜﻞ ﻭﺳﻂ ﻫﻮ‪:‬‬
‫ﺍﻟﻄﱠﺒﻴﻌﺔ ﺃﻭ ﺍﳌﺎﻫﻴﺔ‪.‬‬
‫‪-١٢٢-‬‬
 ‫ﻛﻞّ ﺭﺟﻞ ﺫﻭ ﺣﺴﺎﺳﻴﱠﺔ ﻭﻣﺘﱠﺰﻥ ﺟﻴﱢﺪﺍً ﻋﺎﻧﻰ ﻗﺮﺏ ﺍﻣﺮﺃﺓ ﺍﻻﻧﻄﺒﺎﻉ ﺃﻧﱠﻪ ﻳﺠﺪ‬
‫ﻧﻔﺴﻪ ﺃﻣﺎﻡ ﺷﻲﺀ ﻋﺠﻴﺐ ﻭﺃﻋﻠﻰ ﻣﻨﻪ ﺑﺸﻜﻞٍ ﻣﻄﻠﻖ‪ .‬ﻭﺗﻠﻚ ﺍﳌﺮﺃﺓ ﺃﻗﻞّ ﻋﻠﻤﺎً ﻣﻨﱠﺎ‪،‬‬
‫ﻭﻟﺪﻳﻬﺎ ﻗﺪﺭﺓ ﻋﻠﻰ ﺍﻹﺑﺪﺍﻉ ﺍﻟﻔﻨﻲ ﺃﺩﻧﻰ‪ ،‬ﻭﻟﻴﺴﺖ ﻗﺎﺩﺭﺓ ﰲ ﺍﻟﻌﺎﺩﺓ ﻋﻠﻰ ﺣﻜﻢ ﺷﻌﺐ ﻭﻻ‬
‫ﻛﺴﺐ ﻣﻌﺎﺭﻙ‪ ،‬ﻭﻣﻊ ﺫﻟﻚ ﻧﻠﻤﺢ ﰲ ﺷﺨﺼﻬﺎ ﺗﻔﻮّﻗﺎً ﻋﻠﻴﻨﺎ ﺫﺍ ﻃﺒﻴﻌﺔ ﺃﻫﻢّ ﻣﻦ ﻛﻞّ‬
‫ﺍﻟﻄﱠﺒﺎﺋﻊ ﺍﻟﺘﻲ ﳝﻜﻦ ﺃﻥ ﺗﻮﺟﺪ ﺑﲔ ﺭﺟﻠﲔ ﻣﻦ ﻭﻇﻴﻔﺔ ﻭﺍﺣﺪﺓ‪ .‬ﺫﻟﻚ ﺃﻥﱠ ﺍﻻﻣﺘﻴﺎﺯﺍﺕ‬
‫ﺍﻟﺬﱠﻛﺮﻳﱠﺔ –ﻛﺎﳌﻮﻫﺒﺔ ﺍﻟﻌﻠﻤﻴﱠﺔ ﺃﻭ ﺍﻟﻔﻨﻴﺔ‪ ،‬ﻭﺍﳌﻬﺎﺭﺓ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﳌﺎﻟﻴﱠﺔ ﻭﺍﻟﺒﻄﻮﻟﺔ ﺍﳋﻠُﻘﻴﱠﺔ‪-‬‬
‫ﻫﻲ ﺑﺸﻜﻞ ﻣﺎ ﻃﺎﺭﺋﺔ ﻋﻠﻰ ﺫﺍﺕ ﺍﻟﺸﱠﺨﺺ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻲ ﺃﺩﺍﺗﻴﱠﺔ‪ ،‬ﺇﺫﺍ ﺻﺢﱠ ﺍﻟﻘﻮﻝ ﻫﻜﺬﺍ‪.‬‬
‫ﻭﺍﳌﻮﻫﺒﺔ ﺗﻘﻮﻡ ﻋﻠﻰ ﻗﺎﺑﻠﻴﱠﺔٍ ﳋﻠﻖ ﺑﻌﺾ ﺍﳌﻨﺘﺠﺎﺕ ﺍﳌﻔﻴﺪﺓ ﺍﺟﺘﻤﺎﻋﻴﱠﺎً‪ ،‬ﻣﻦ ﺍﻟﻌﻠﻢ ﻭﺍﻟﻔﻦ‬
‫ﺇﻟﻰ ﺍﻟﺜﺮﻭﺓ ﻭﺍﻟﻨﻈﺎﻡ ﺍﻻﺟﺘﻤﺎﻋﻲ‪ .‬ﺃﻣﱠﺎ ﻣﺎ ﻧﻘﺪﺭﻩ ﺣﻘﱠﺎ ﻓﻬﻮ ﻫﺬﻩ ﺍﳌﻨﺘﺠﺎﺕ‪ ،‬ﻭﺇﻥﱠ ﺷﻌﺎﻋﺎً‬
‫ﻣﻦ ﺍﻟﻘﻴﻤﺔ ﻧﻌﺰﻭﻩ ﺇﻟﻴﻬﺎ ﻳﻨﻌﻜﺲ ﻋﻠﻰ ﺍﳌﻮﺍﻫﺐ ﺍﻟﻀﺮﻭﺭﻳﱠﺔ ﻹﻧﺘﺎﺟﻬﺎ‪ .‬ﻓﻠﻴﺲ ﺍﻟﺸﱠﺎﻋﺮ ﻣﺎ‬
‫ﻳﻬﻤﱡﻨﺎ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﺍﻟﺸّﻌﺮ‪ ،‬ﻭﻟﻴﺲ ﺍﻟﺴﻴﺎﺳﻲّ ﻭﺇﻧّﻤﺎ ﺳﻴﺎﺳﺘﻪ‪ .‬ﻭﻃﺎﺑَﻊ ﺍﳌﻮﺍﻫﺐ ﻏﻴﺮ‬
‫ﺍﳉﻮﻫﺮﻱّ ﺃﻭ ﺍﳋﺎﺭﺟﻲ ﻫﺬﺍ‪ ،‬ﻳﺼﺒﺢ ﺟﻠﻴﱠﺎً ﻟﻮﺟﻮﺩﻩ ﺑﺸﻜﻞٍ ﺷﺎﺋﻊ ﰲ ﺍﻟﺮﱠﺟﻞ ﺇﻟﻰ ﺟﺎﻧﺐ‬
‫ﺃﺧﻄﺮ ﺍﻟﻌﻴﻮﺏ ﺍﻟﺸﺨﺼﻴﱠﺔ‪ .‬ﺇﺫﺍً‪ ،‬ﺍﻣﺘﻴﺎﺯ ﺍﻟﺬﱠﻛﺮ ﻳﺘﺠﺬﱠﺭ ﰲ )ﻋﻤﻞ(؛ ﻭﺍﻣﺘﻴﺎﺯ ﺍﳌﺮﺃﺓ ﰲ‬
‫)ﻭﺟﻮﺩ( ﻭ )ﺣﻀﻮﺭ(‪.‬‬
‫ﺃﺧﻴﺮﺍً‪ ،‬ﺇﻥﱠ ﻣﺎ ﻳﺠﺬﺏ ﺍﻟﺮﱠﺟﻞ ﺇﻟﻴﻬﻦﱠ ﻟﻴﺲ ﺃﻓﻌﺎﻟﻬﻦّ ﻭﺇﻧﱠﻤﺎ ﻣﺎﻫﻴﺘﻬﻦّ‪ .‬ﻟﺬﻟﻚ‪ ،‬ﻟﻢ‬
‫ﻳﻜﻦ ﺗﺪﺧﱡﻞُ ﺍﻷﻧﻮﺛﺔ ﺍﻟﻌﻤﻴﻖ ﰲ ﺍﻟﺘﱠﺎﺭﻳﺦ ﻳﺤﺘﺎﺝ ﺇﻟﻰ ﺃﻥ ﻳﻘﻮﻡ ﻋﻠﻰ ﺃﻋﻤﺎﻝٍ ﻭﻣﻬﺎﻡ ﻭﺇﻧﱠﻤﺎ‬
‫ﺇﻟﻰ ﺣﻀﻮﺭ ﺷﺨﺼﻴّﺘﻬﺎ ﺍﻟﺴﱠﺎﻛﻦ ﻭﺍﻟﻬﺎﺩﺉ‪ .‬ﻭﺍﳌﺮﺃﺓ ﺗﻌﻤﻞ ﻛﻞّ ﻣﺎ ﺗﻌﻤﻠﻪ ﻣﻦ ﻏﻴﺮ ﺃﻥ‬
‫ﺗﻌﻤﻠﻪ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻷﻧﱠﻬﺎ ﻭﺑﻄﺒﻴﻌﺘﻬﺎ ﻣﺸﻌﱠﺔ ﻛﻤﺎ ﺗﻀﺎﺀ ﺍﻷﺷﻴﺎﺀ ﻭﺗﻐﻨﻲ ﰲ ﺟﻨﺒﺎﺗﻬﺎ ﺍﻷﻟﻮﺍﻥ‬
‫ﻋﻨﺪ ﺍﻧﺒﺜﺎﻕ ﺍﻟﻨﱡﻮﺭ ﻣﻦ ﻏﻴﺮ ﻗﺼﺪٍ ﻣﻨﻪ‪ ،‬ﻭﻳﺘﺤﻘﱠﻖ ﺫﻟﻚ ﻣﻦ ﻏﻴﺮ ﺟﻬﺪٍ ﻷﻧﱠﻪ ﻧﻮﺭ‪ .‬ﻭﻣﻦ‬
‫ﺍﻟﻄﺮﻳﻒ ﺃﻥ ﻧﻼﺣﻆ ﺃﻥﱠ ﻫﺬﺍ ﺍﻟﻄﱠﺎﺑَﻊ ﺍﻟﺬﻱ ﻳﻀﻔﻲ ﻋﻠﻰ ﻛﻞﱢ ﺣﺮﻛﺔ ﺃﻧﺜﻮﻳﱠﺔ ﻣﻠﻤﺢَ ﻓﻴﺾٍ‬
‫ﺃﻛﺜﺮ ﳑﱠﺎ ﻫﻮ ﻳُﺪﺍﺭ ﺑﻐﺎﻳﺎﺕٍ ﺧﺎﺭﺟﻴﱠﺔ‪ ،‬ﻳﺰﺩﻫﺮ ﰲ ﻛﻞّ ﻭﻇﻴﻔﺔ ﻣﻦ ﻭﻇﺎﺋﻔﻬﺎ ﺍﳋﺎﺻّﺔ‪ .‬ﺃﻡْ‬
‫ﻫﻮ ﺷﻐﻞٌ ﻣﺎ ﺗﻘﻮﻡ ﺑﻪ ﺍﻷﻡّ ﺣﻴﻨﻤﺎ ﺗﻬﺘﻢّ ﺑﺄﺑﻨﺎﺋﻬﺎ‪ ،‬ﺃﻭ ﻣﺎ ﺗﻌﻨﻰ ﺑﻪ ﺍﻟﺰﱠﻭﺟﺔ ﺃﻭ ﺍﻷﺧﺖ‬
‫ﻋﻨﺎﻳﺔ ﻣﻔﺮﻃﺔ؟ ﻓﻤﺎ ﺍﻟﺴﺮ ﺍﻟﻐﺮﻳﺐ ﰲ ﻫﺬﻩ ﺍﻷﻋﻤﺎﻝ‪ ،‬ﺍﻟﺬﻱ ﻳﺠﻌﻠﻬﺎ ﻭﻛﺄﻧﻬﺎ ﲤّﺤﻲ ﻣﺎ‬
‫ﺇﻥْ ﺗﺘﺤﻘﱠﻖ ﻭﻻ ﻳﺒﻘﻰ ﻣﻨﻬﺎ ﰲ ﺍﻟﻬﻮﺍﺀ ﺧﻂّ ﻳﻨﻢّ ﻋﻦ ﻋﻤﻞٍ ﺃﻭ ﺟﻬﺪ؟ ﻷﻥﱠ ﺳﻴﻮﻟﺔ ﺍﻟﻌﻤﻞ‬
‫ﺑﺎﺭﺯﺓ ﰲ ﻋﻤﻞ ﺍﳌﺮﺃﺓ ﺍﻷﺻﻠﻲ‪ .‬ﺇﺫْ ﺗﺒﺪﻭ ﺍﳌﺮﺃﺓ ﺃﻧﱠﻬﺎ ﻻ ﺗﺘﺪﺧﱠﻞ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﰲ ﺷﻲﺀ؛‬
‫ﻭﻟﻴﺲ ﻟﺘﺄﺛﻴﺮﻫﺎ ﺍﳌﻈﻬﺮ ﺍﻟﻌﻨﻴﻒ‪ ،‬ﻭﺍﻟﺪﺅﻭﺏ ﺍﳋﺎﺹّ ﺑﺘﺪﺧﱡﻞ ﺍﻟﺬﱠﻛﺮ‪ .‬ﻓﺎﻟﺮﱠﺟﻞ ﻳﻀﺮﺏ‬
‫‪-١٢٣-‬‬
 ‫ﺑﺬﺭﺍﻋﻪ ﰲ ﺍﳌﻌﺮﻛﺔ ﻭﻳﺴﻌﻰ ﻻﻫﺜﺎً ﰲ ﻣﻨﺎﻛﺐ ﺍﻷﺭﺽ ﰲ ﺍﺳﺘﻜﺸﺎﻓﺎﺕٍ ﺧﻄﺮﺓ‪ ،‬ﻭﻳﻀﻊ‬
‫ﺣﺠﺮﺍً ﻓﻮﻕ ﺣﺠﺮ ﰲ ﻧﺼﺐٍ ﺗﺬﻛﺎﺭﻱّ‪ ،‬ﻭﻳﻜﺘﺐ ﻛﺘﺒﺎً ﻭﻳﺠﻠﺪ ﺍﻟﻬﻮﺍﺀ ﰲ ﺧُﻄﺐ‪ ،‬ﺣﺘﱠﻰ ﺇﺫﺍ‬
‫ﻟﻢ ﻳﻌﻤﻞ ﺷﻴﺌﺎً ﺳﻮﻯ ﺍﻟﺘﱠﻔﻜﻴﺮ ﻓﺈﻧﱠﻪ ﻳﻘﻠﱢﺺ ﻋﻀﻼﺗﻪ ﻋﻠﻰ ﻧﻔﺴﻬﺎ ﰲ ﻫﺪﻭﺀ ﺟﺪّ ﻧﺸﻴﻂ‬
‫ﺣﺘﱠﻰ ﻳﺒﺪﻭ ﺍﻟﺘﱠﻘﻠﱡﺺ ﺗﺤﻀﻴﺮﺍً ﻟﻘﻔﺰﺓ ﺟﺮﻳﺌﺔ‪ .‬ﺑﻴﻨﻤﺎ ﺍﳌﺮﺃﺓ ﻻ ﺗﺼﻨﻊ ﺷﻴﺌﺎً‪ ،‬ﻭﺇﺫﺍ ﻣﺎ‬
‫ﺗﺤﺮﻛﺖ ﻳﺪﺍﻫﺎ ﻓﺬﻟﻚ ﺇﺷﺎﺭﺓ ﺃﻛﺜﺮ ﳑﱠﺎ ﻫﻮ ﻋﻤﻞ‪ .‬ﺇﻧﱠﻨﺎ ﻧﻘﺮﺃ ﻋﻠﻰ ﺿﺮﻳﺢٍ ﰲ ﺭﻭﻣﺎ‬
‫ﺍﳉﻤﻬﻮﺭﻳﱠﺔ ﺍﻟﻘﺪﳝﺔ ﺣﻴﺚ ﻳﺮﻗﺪ ﺟﺜﻤﺎﻥ ﺇﺣﺪﻯ ﺍﻟﺴﱠﻴﱢﺪﺍﺕ ﺍﻟﻌﻘﺎﺋﻞ ﻭﺍﻟﺪﺓ ﺃﺣﺪ ﺃﺑﻨﺎﺀ‬
‫ﺃﻗﻮﻯ ﺍﻟﺸﻌﻮﺏ‪ ،‬ﻧﻘﺮﺃ ﺇﻟﻰ ﺟﺎﻧﺐ ﺍﺳﻤﻬﺎ ﻫﺎﺗﲔ ﺍﻟﻜﻠﻤﺘﲔ ‪ Domiseda, lanifica‬ﺃﻱ‬
‫ﺻﺎﻧﺖ ﻧﻔﺴﻬﺎ ﻭﻏﺰﻟﺖ ﺻﻮﻓﻬﺎ‪ ،‬ﻭﻻ ﺷﻲﺀ ﺁﺧﺮ‪ .‬ﻭﻳُﺨﻴﱠﻞ ﺇﻟﻴﻨﺎ ﺃﻧﱠﻨﺎ ﻧﺮﻯ ﺷﻜﻞ ﺍﳌﺮﺃﺓ‬
‫ﺍﻟﻨﱠﺒﻴﻞ ﺍﻟﻬﺎﺩﺉ ﺟﺎﻟﺴﺔ ﰲ ﻋﺘﺒﺔ ﺍﻟﺒﻴﺖ ﻭﺃﺻﺎﺑﻌﻬﺎ ﺍﻟﻄﻮﻳﻠﺔ ﺍﳉﻠﻴﻠﺔ ﻣﺸﺘﺒﻜﺔ ﺑﺠﺰﱠﺓ‬
‫ﺍﻟﺼﱡﻮﻑ ﺍﻟﺒﻴﻀﺎﺀ‪.‬‬
‫ﻭﺇﻥﱠ ﺗﺄﺛﻴﺮ ﺍﳌﺮﺃﺓ ﻣﺮﺋﻲّ ﻗﻠﻴﻼً‪ ،‬ﺗﺤﺪﻳﺪﺍً ﻷﻧﱠﻪ ﻣﻨﺘﺸﺮ ﺍﻧﺘﺸﺎﺭﺍً ﻭﻳﻮﺟﺪ ﰲ ﻛﻞﱢ‬
‫ﻣﻜﺎﻥ‪ .‬ﻓﻬﻮ ﻟﻴﺲ ﻣﻀﻄﺮﺑﺎً ﻛﺘﺄﺛﻴﺮ ﺍﻟﺮﱠﺟﻞ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻮ ﺳﺎﻛﻦ‪ ،‬ﻛﺘﺄﺛﻴﺮ ﺍﻟﻐﻼﻑ ﺍﳉﻮﻱ‪.‬‬
‫ﺇﺫْ ﻳﻮﺟﺪ ﺑﻮﺿﻮﺡٍ ﰲ ﻣﺎﻫﻴﱠﺔ ﺍﻷﻧﺜﻰ ﻃﺒﻴﻌﺔ ﺟﻮﻳﱠﺔ ﺗﻌﻤﻞ ﺑﺒﻂﺀٍ ﻋﻠﻰ ﻃﺮﻳﻘﺔ ﺍﳌُﻨﺎﺥ‪ .‬ﻫﺬﺍ‬
‫ﻣﺎ ﻛﻨﺖ ﺃﺭﻳﺪ ﺍﻹﻳﺤﺎﺀ ﺑﻪ ﳌﱠﺎ ﺃﻛﱠﺪﺕُ ﺃﻥﱠ ﻗﻴﻤﺔ ﺍﻟﺮﱠﺟﻞ ﻣﺎ ﻳﻌﻤﻠﻪ ﻭﻗﻴﻤﺔ ﺍﳌﺮﺃﺓ ﻣﺎﻫﻴﱠﺘﻬﺎ‪.‬‬
‫ﻭﺑﺬﻟﻚ ﻧﻔﻬﻢ ﺃﻥﱠ ﺛﻘﺎﻓﺔ ﺍﻷﻧﺜﻰ ﺍﻟﺒﺸﺮﻳﱠﺔ ﻭﻛﻤﺎﻟﻬﺎ‪ ،‬ﺗﺴﻠﻚ ﺩﺍﺋﻤﺎً ﻣﺴﺎﺭﺍً ﻣﺨﺘﻠﻔﺎً‬
‫ﻋﻦ ﻣﺴﺎﺭ ﺍﻟﺮﱠﺟﻞ‪ .‬ﻓﺒﻴﻨﻤﺎ ﻳﻘﻮﻡ ﺗﻘﺪﱡﻡ ﺍﻟﺬﱠﻛﺮ ﺑﺸﻜﻞٍ ﺭﺋﻴﺲ ﻋﻠﻰ ﺻﻨﻊ ﺃﺷﻴﺎﺀ ﺃﻓﻀﻞ –‬
‫ﻛﺎﻟﻌﻠﻮﻡ ﻭﺍﻟﻔﻨﻮﻥ ﻭﺍﻟﻘﻮﺍﻧﲔ ﻭﺍﻟﺘﻘﻨﻴﱠﺎﺕ‪ ،-‬ﻭﺗﻘﺪﱡﻡ ﺍﳌﺮﺃﺓ ﻳﻘﻮﻡ ﻋﻠﻰ ﺃﻥ ﲡﻌﻞ ﻧﻔﺴﻬﺎ‬
‫ﺃﻛﺜﺮ ﻛﻤﺎﻻً ﺧﺎﻟﻘﺔً ﰲ ﺫﺍﺗﻬﺎ ﳕﻮﺫﺟﺎً ﺟﺪﻳﺪﺍً ﻣﻦ ﺍﻷﻧﻮﺛﺔ ﺃﻛﺜﺮ ﺩﻗﱠﺔ ﻭﺗﻄﻠﱡﺒﺎً‪.‬‬
‫ﺃﻛﺜﺮ ﺗﻄﻠﱡﺒﺎً! ﰲ ﺭﺃﻳﻲ ﻫﺬﻱ ﻫﻲ ﺭﺳﺎﻟﺔ ﺍﳌﺮﺃﺓ ﺍﻟﻌﻈﻤﻰ ﻋﻠﻰ ﻭﺟﻪ ﺍﻷﺭﺽ‪ :‬ﺃﻥ‬
‫ﺗﺘﻄﻠﱠﺐ‪ ،‬ﻭ ﻭﺗﺘﻄﻠﱠﺐ ﺍﻟﻜﻤﺎﻝ ﻟﻠﺮﱠﺟﻞ‪ .‬ﺇﺫْ ﻳﻘﺘﺮﺏ ﻣﻨﻬﺎ ﺍﻟﺬﱠﻛﺮ ﺳﺎﻋﻴﺎً ﺇﻟﻰ ﺃﻥ ﻳﻜﻮﻥ‬
‫ﺍﳌﻔﻀﱠﻞ ﻟﺪﻳﻬﺎ؛ ﻭﻳﺤﺎﻭﻝ ﻣﻦ ﺛَﻢﱠ‪ ،‬ﺗﺤﻘﻴﻘﺎً ﻟﻬﺬﻩ ﺍﻟﻐﺎﻳﺔ‪ ،‬ﺃﻥ ﻳﺠﻤﻊ ﰲ ﺣﺰﻣﺔ ﺧﻴﺮ ﻣﺎ ﰲ‬
‫ﺷﺨﺼﻪ ﻛﻴﻤﺎ ﻳﻘﺪّﻣﻪ ﻟﻠﺠﻤﺎﻝ ﺍﳊﺎﻛﻢ‪ .‬ﻭﺇﻥﱠ ﺍﻟﺰﱢﻳﻨﺔ ﺍﻟﺘﻲ ﻳﺰﻳﱢﻦ ﺑﻬﺎ ﺃﻛﺜﺮ ﺍﻟﻨﺎﺱ ﺇﻫﻤﺎﻻً‬
‫ﺟﺴﻤﻪ ﻭﻗﺖ َ ﺍﻟﺘﱠﻄﻠﱡﻊ ﺇﻟﻰ ﺍﳊﺐّ‪ ،‬ﻣﺎ ﻫﻲ ﻏﻴﺮ ﺗﻌﺒﻴﺮ ﺧﺎﺭﺟﻲّ ﻭﺳﺎﺫﺝ ﻗﻠﻴﻼً ﻋﻦ‬
‫ﺍﻟﻨﱠﻈﺎﻓﺔ ﺍﻟﺮﻭﺣﻴﱠﺔ ﺍﻟﺘﻲ ﺗﺤﺜﱡﻨﺎ ﺍﳌﺮﺃﺓ ﻋﻠﻴﻬﺎ‪ .‬ﺣﻘﱠﺎً‪ ،‬ﺇﻥﱠ ﻫﺬﺍ ﺍﳋﻴﺎﺭ ﺍﻟﺘﻠﻘﺎﺋﻲّ ﻭﺻﻘﻞ‬
‫ﺟﻤﻠﺘﻨﺎ ﺍﳊﻴﻮﻳﱠﺔ‪ ،‬ﻫﻮ ﺃﻭﱠﻝ ﺩﺍﻓﻊ ﳓﻮ ﺍﻟﻜﻤﺎﻝ ﻧﺪﻳﻦ ﺑﻪ ﻟﻠﻤﺮﺃﺓ‪ .‬ﺑﻞ ﻫﻨﺎﻙ ﺃﻛﺜﺮ ﻣﻦ‬
‫ﺫﻟﻚ‪ :‬ﻳﻘﻒ ﺍﻟﺮﱠﺟﻞ ﲟﺎ ﻟﺪﻳﻪ ﺇﺯﺍﺀ ﺍﳌﺮﺃﺓ ﻭﻳﻌﺮﺿﻪ ﻋﻠﻴﻬﺎ؛ ﻳﻘﻮﻝ ﻛﻠﻤﺎﺗﻪ ﻭﻳﻘﻮﻡ ﺑﺤﺮﻛﺎﺗﻪ‬
‫‪-١٢٤-‬‬
 ‫ﻣﺜﺒﱢﺘﺎً ﻧﻈﺮﺗﻪ ﻋﻠﻰ ﻭﺟﻬﻬﺎ ﻟﻴﻜﺘﺸﻒ ﺭﺿﺎﻫﺎ ﺃﻭ ﺻﺪﻭﺩﻫﺎ‪ .‬ﻓﺘُﺴﻘِﻂ ﻋﻠﻰ ﻛﻞﱢ ﻓﻌﻞٍ ﻣﻦ‬
‫ﺃﻓﻌﺎﻟﻪ ﺇﺷﺎﺭﺓً ﺧﻔﻴﻔﺔً ﺯﺍﺟﺮﺓ ﺃﻭ ﺑﺴﻤﺔ ﺩﺍﻋﻤﺔ؛ ﻭﺍﻟﻨﱠﺘﻴﺠﺔ ﻫﻲ ﺃﻥﱠ ﺍﻟﺮﱠﺟﻞ ﻳﺴﻌﻰ ﺇﺭﺍﺩﻳﱠﺎً‬
‫ﺃﻡ ﻣﻦ ﻏﻴﺮ ﺇﺭﺍﺩﺓ ﺇﻟﻰ ﺇﻟﻐﺎﺀ ﺃﻓﻌﺎﻟﻪ ﺍﳌﻠﻮﻡ ﻋﻠﻴﻬﺎ ﻭﺗﺤﻀﻴﻨﻬﺎ‪ ،‬ﻭﻳﺸﺠّﻊ ﺗﻠﻚ ﺍﻟﺘﻲ ﺗﺤﻈﻰ‬
‫ﺑﺎﳌﻮﺍﻓﻘﺔ‪ .‬ﺣﺘﱠﻰ ﻧﻜﺘﺸﻒ ﰲ ﻧﻬﺎﻳﺔ ﺍﻷﻣﺮ ﺃﻧﱠﻨﺎ ﻗﺪ ﺃُﺻﻠﺤﻨﺎ ﻭﺗﻄﻬﱠﺮﻧﺎ ﻃﺒﻘﺎً ﻷﺳﻠﻮﺏٍ‬
‫ﻭﳕﻮﺫﺝٍ ﺟﺪﻳﺪ ﰲ ﺍﳊﻴﺎﺓ‪ .‬ﻓﻘﺪ ﳓﺘﺖ ﺍﳌﺮﺃﺓ ﺍﻟﻔﺎﺗﻨﺔ ﰲ ﻛﺘﻠﺘﻨﺎ ﺍﳊﻴﻮﻳﱠﺔ ﲤﺜﺎﻻً ﺟﺪﻳﺪﺍً‬
‫ﻟﻠﺬﱠﻛﺮ‪ ،‬ﻣﻦ ﻏﻴﺮ ﺃﻥ ﺗﻌﻤﻞ ﺷﻴﺌﺎً‪ ،‬ﺑﻞ ﺗﻜﻮﻥ ﻫﺎﺩﺋﺔ ﻛﺎﻟﻮﺭﺩﺓ ﰲ ﺷﺠﻴﺮﺗﻬﺎ‪ ،‬ﻋﻠﻰ ﺍﻷﻏﻠﺐ‬
‫ﺑﻮﺳﺎﻃﺔ ﻓﻴﺾٍ ﺳﻴﱠﺎﻝ ﻣﻦ ﺍﳊﺮﻛﺎﺕ ﺍﳋﻔﻴﻔﺔ ﺍﻟﺴﱠﺮﻳﻌﺔ ﺍﻟﺘﻲ ﺗﻌﻤﻞ ﻛﻀﺮﺑﺎﺕٍ‬
‫ﻛﻬﺮﺑﺎﺋﻴﱠﺔ ﺗﻀﺮﺏ ﲟﻨﺤﺖٍ ﻏﻴﺮ ﺣﻘﻴﻘﻲّ‪ .‬ﻭﻳُﺨﻴﱠﻞ ﺇﻟﻰ ﺍﳌﺮﺀ ﺃﻧﱠﻪ ﺗﻮﺟﺪ ﺩﺍﺧﻞ ﺍﻟﻨﱠﻔﺲ‬
‫ﺍﻷﻧﺜﻮﻳﱠﺔ ﺻﻮﺭﺓ ﺧﻴﺎﻟﻴﱠﺔ ﺗﻄﺒﻘﻬﺎ ﻋﻠﻰ ﻛﻞﱢ ﺭﺟﻞ ﻳﻘﺘﺮﺏ‪ .‬ﻭﺃﻧﺎ ﺃﺣﺴﺐ ﺃﻥّ َﺍﻷﻣﺮ ﻫﻮ‬
‫ﻛﺬﻟﻚ‪ :‬ﺇﻥﱠ ﻛﻞّ ﺍﻣﺮﺃﺓ ﺗﺤﻤﻞ ﰲ ﺩﺧﻴﻠﺘﻬﺎ ﺻﻮﺭﺓً ﻟﻠﺬﱠﻛﺮ ﻣﺸﻜﱠﻠﺔً ﻣﻦ ﻗﺒﻞ ﺳﻮﻯ ﺃﻧﱠﻬﺎ‬
‫ﻻﺗﻌﻠﻢ ﺃﻧﱠﻬﺎ ﺗﺤﻤﻠﻬﺎ‪ .‬ﻓﻘﻮﱠﺓ ﺍﳌﺮﺃﺓ ﻟﻴﺲ ﰲ ﺃﻥ ﺗﻌﺮﻑ ﺑﻞ ﰲ ﺃﻥ ﺗﺸﻌﺮ‪ .‬ﻭﻣﻌﺮﻓﺔ ﺍﻷﺷﻴﺎﺀ‬
‫ﻫﻲ ﺍﻣﺘﻼﻙ ﺗﺼﻮﱡﺭﺍﺕ ﻭﺗﻌﺎﺭﻳﻒ‪ ،‬ﻭﻫﺬﺍ ﻫﻮ ﻋﻤﻞ ﺍﻟﺬﱠﻛﺮ‪ .‬ﻭﺍﳌﺮﺃﺓ ﻻ ﺗﻌﺮﻑ ﻫﺬﺍ‬
‫ﺍﻟﻄﺮﺍﺯ ﻣﻦ ﺍﻟﺬﻛﻮﺭﺓ‪ ،‬ﻭﻟﻢ ﺗﺤﺪﱢﺩﻩ ﻟﻨﻔﺴﻬﺎ‪ ،‬ﻟﻜﻦﱠ ﺍﻹﻋﺠﺎﺏ ﻭﺍﻟﻨﻔﻮﺭ ﺍﻟﺬﻱ ﺗﺤﺲّ ﺑﻪ‬
‫ﰲ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻟﺮﺟﻞ ﻳﺴﺎﻭﻱ ﰲ ﻧﻈﺮﻫﺎ ﺍﻛﺘﺸﺎﻓﻬﺎ ﻋﻤﻠﻴﱠﺎً ﻫﺬﺍ ﺍﻟﻌﺐﺀَ ﺍﳌﺜﺎﻟﻲ ﺍﻟﺬﻱ‬
‫ﻛﺎﻧﺖ ﺗﺤﻤﻠﻪ ﰲ ﻗﻠﺒﻬﺎ ﻣﻦ ﻏﻴﺮ ﺃﻥ ﺗﺨﻤّﻨﻪ‪ .‬ﻭﺑﺬﻟﻚ ﻓﻘﻂ ﺗﺘﱠﻀﺢ ﻭﺍﻗﻌﺔ ﺃﻥﱠ ﻛﻞّ ﺣﺐّ‬
‫ﺣﻘﻴﻘﻲّ ﻻﺳﻴّﻤﺎ ﺣﺐّ ﺍﳌﺮﺃﺓ‪ ،‬ﻳﻮﻟﺪ ﰲ ﻣﺜﻞ ﺍﻧﻔﺠﺎﺭ ﺍﻟﺼﱠﺎﻋﻘﺔ ‪ coup de foudre‬ﻭﻫﻮ‬
‫ﺭﻣﻴﺔ ﺳﻬﻢ‪ .‬ﻭﺳﻮﻑ ﺃﺩﻉ ﺍﻵﻥ ﺁﻟﻴﺔ ﻫﺬﻩ ﺍﻟﻮﺍﻗﻌﺔ ﻣﻦ ﻏﻴﺮ ﺑﺤﺚ‪.‬‬
‫ﻭﻗﻠﱠﻤﺎ ﻳُﺮﺍﻫﻦ ﻋﻠﻰ ﺣﺐﱟ ﻳﻮﻟﺪ ﺑﺒﻂﺀ‪ .‬ﻓﺈﺫﺍ ﻛﺎﻥ ﻛﺎﻣﻨﺎً ﻳﻨﺒﺜﻖ ﻓﺠﺄﺓ ﺑﺸﻜﻞ ﺟﺪّ‬
‫ﺗﻠﻘﺎﺋﻲ ﻭﻣﻘﺘﺤﻢ ﺣﺘﱠﻰ ﺃﻥﱠ ﺍﳌﺮﺃﺓ ﺗﻠﺤﻆ ﺃﻭﱠﻝ ﻣﺎ ﺗﻠﺤﻈﻪ ﻣﻨﻪ ﺗﻼﺷﻴﺎً ﺃﺳﻄﻮﺭﻳﱠﺎً ﻻﻳﻘﺎﻭﻡ‪.‬‬
‫ﻭﻻ ﺗُﻔﻬﻢ ﻫﺬﻩ ﺍﻟﻈﺎﻫﺮﺓ ﺇﻻ ﺑﺎﻟﺘﱠﻄﺎﺑﻖ ﺍﻟﻔﺠﺎﺋﻲ ﺑﲔ ﺫﻟﻚ ﺍﻟﻘﺎﻟﺐ ﺍﳌﺜﺎﻟﻲ ﻭﺭﺟﻞٍ ﻋﺎﺑﺮ‪.‬‬
‫ﻭﺇﻥﱠ ﺣﺐّ ﺗﻠﻚ ﺍﻟﺼﻮﺭﺓ ﺍﳋﻴﺎﻟﻴﱠﺔ ﻛﺎﻧﺖ ﻣﻮﺟﻮﺩﺓ ﻣﻦ ﻗﺒﻞ‪ .‬ﻭﺇﱠﳕﺎ ﻛﺎﻧﺖ ﺗﻨﺘﻈﺮ ﻣﻨﺎﺳﺒﺔ‬
‫ﻣﻼﺋﻤﺔ ﻛﻴﻤﺎ ﺗﻨﻄﻠﻖ‪.‬‬
‫ﻭﺍﻟﻘﺴﻢ ﺍﻷﻋﻈﻢ ﻣﻦ ﺍﻟﺮﺟﺎﻝ ﻳﻌﻴﺸﻮﻥ ﻣﻦ ﺟﻤﻞ ﺟﺎﻫﺰﺓ ﻭﻓِﻜَﺮٍ ﻣﺘﻠﻘﱠﺎﺓ ﻭﻣﺸﺎﻋﺮ‬
‫ﺗﻘﻠﻴﺪﻳﱠﺔ ﻭﺃﺟﻨﺒﻴﱠﺔ ﻋﻨﻬﻢ‪ .‬ﻭﻛﺬﻟﻚ ﺍﻟﻨﺴﺎﺀ ﺍﳌﺒﺘﺬﻻﺕ ﻳﺤﻤﻠﻦ ﰲ ﺫﻭﺍﺗﻬﻦّ ﻣﺜﺎﻻً ﺃﻋﻠﻰ‬
‫ﻣﺒﺘﺬﻻً ﻟﻠﺬﱠﻛﺮ ﻭﳕﻮﺫﺟﺎً ﻣﻦ ﺫﺧﻴﺮﺓٍ ﲡﺪ ﺗﺤﻘﻴﻘﺎً ﻗﺮﻳﺒﺎً ﻟﻬﺎ ﰲ ﺍﻟﻮﺍﻗﻊ‪ .‬ﻟﻜﻦ‪ ،‬ﻛﻤﺎ‬
‫ﻳﻮﺟﺪ ﺭﺟﺎﻝ ﻋﺒﺎﻗﺮﺓ ﻳﺨﺘﺮﻋﻮﻥ ﺃﻓﻜﺎﺭﺍً ﰲ ﻏﺎﻳﺔ ﺍﳉﺪﱠﺓ‪ ،‬ﻭﻳﺒﺪﻋﻮﻥ ﺃﺳﺎﻟﻴﺐ ﻓﻨﻴﱠﺔ‬
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 ‫ﻭﻳﻜﺘﺸﻔﻮﻥ ﻗﻮﺍﻋﺪ ﻗﺎﻧﻮﻥ ﺟﺪﻳﺪ‪ ،‬ﺗﻮﺟﺪ ﻛﺬﻟﻚ ﻧﺴﺎﺀ ﻋﺒﺎﻗﺮﺓ ﳝﻜﻦ ﺃﻥ ﻳﻨﺸﺄ ﻟﺪﻳﻬ ﱠﻦ‬
‫ﻣﺜﺎﻝ ﺟﺪﻳﺪ ﻟﻠﺬﱠﻛﺮ ﻭﻏﻴﺮ ﻣﻌﺮﻭﻑ‪ ،‬ﺑﻔﻀﻞِ ﻣﺎﺩﱠﺓ ﻣﺎﻫﻴﺘﻬﻦﱠ ﺍﳌﻤﺘﺎﺯﺓ ﻭﺗﻨﻤﻴﺔ ﺣﺴﺎﺳﻴﺘﻬﻦّ‬
‫ﺗﻨﻤﻴﺔً ﻗﻮﻳﱠﺔ‪ .‬ﻭﺗﺆﺛﺮ ﻫﺬﻩ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺴﺎﻣﻴﺔ ﰲ ﻛﻞﱢ ﻣﺠﺘﻤﻊ ﺑﺠﻌﻠﻬﺎ ﻫﺪﻓﺎً ﺭﺍﻗﻴﺎً ﻣﺜﺎﻟﻴﱠﺎً‬
‫ﳕﻮﺫﺟﻴﱠﺎً‪ ،‬ﺭﺍﻓﻌﺔً ﺑﺬﻟﻚ ﻣﻦ ﺍﳌﺴﺘﻮﻯ ﺍﳋﻠﻘﻲ ﻟﻨﻤﻮﺫﺝ ﺍﻟﺮﺟﻞ ﺑﻮﺳﺎﻃﺔ ﺍﳉﺎﺫﺑﻴﺔ‬
‫ﺍﻟﺴﺤﺮﻳﺔ ﺍﻟﺘﻲ ﲤﺎﺭﺳﻬﺎ ﺍﳌﺮﺃﺓ‪.‬‬
‫ﺇﺫﺍ‪ ً،‬ﻳﻮﺟﺪ ﰲ ﻭﻇﻴﻔﺔ ﺍﳌﺮﺃﺓ ﺍﻟﻨﻮﻋﻴﺔ ﺯﻳﺎﺩﺓ ﺃﻭ ﻧﻘﺺ ﰲ ﺍﻟﻌﺒﻘﺮﻳﱠﺔ‪ ،‬ﻛﻤﺎ ﺗﻮﺟﺪ‬
‫ﰲ ﺍﻟﻌﻠﻢ ﺃﻭ ﺍﻟﻔﻦ‪ .‬ﻭﻫﺬﺍ ﻳﻌﻨﻲ ﺃﻥﱠ ﺍﻷﻧﻮﺛﺔ ﺍﳋﺎﻟﺼﺔ ﻫﻲ ﺑﻌﺪٌ ﺟﻮﻫﺮﻱّ ﰲ ﺍﻟﺜﱠﻘﺎﻓﺔ؛‬
‫ﻭﻳﻌﻨﻲ ﺃﻧﱠﻪ ﺗﻮﺟﺪ ﺛﻘﺎﻓﺔ ﺃﻧﺜﻮﻳﱠﺔ ﺑﺸﻜﻞ ﻧﻮﻋﻲ ﲟﻮﺍﻫﺒﻬﺎ ﻭﻋﺒﻘﺮﻳﱠﺎﺗﻬﺎ ﻭﻣﺤﺎﻭﻻﺗﻬﺎ‬
‫ﻭﺇﺧﻔﺎﻗﺎﺗﻬﺎ ﻭﳒﺎﺣﺎﺗﻬﺎ ﺗﺤﻘﻖ ﺍﳌﺮﺃﺓ ﻣﻦ ﺧﻼﻟﻬﺎ ﻣﺴﺎﻫﻤﺘﻬﺎ ﺍﻷﺻﻴﻠﺔ ﰲ ﺍﻟﺘﱠﺎﺭﻳﺦ‪.‬‬
‫ﻭﻟﻮ ﺃﻥﱠ ﺑﻀﻊ ﺩﺳﺘﺎﺕ ﻣﻦ ﺍﻟﻨﺴﺎﺀ ﻣﻦ ﺫﻭﺍﺕ ﺍﳌﻨﺰﻟﺔ ﺍﻟﻬﺎﻣﱠﺔ ﰲ ﺍ‪‬ﺘﻤﻊ‪ ،‬ﺛﻘﱠﻔﻦَ‬
‫ﺷﺨﺼﻬﻦﱠ ﻭﻫﺬﱠﺑْﻨَﻪُ ﺣﺘﱠﻰ ﻳﺠﻌﻠﻦَ ﻣﻨﻪ ﻣﻌﻴﺎﺭﺍً ﻛﺎﻣﻼً ﻟﻺﻧﺴﺎﻧﻴﱠﺔ ﻭﺟﻬﺎﺯﺍً ﻟﻠﻀﺒﻂ‬
‫ﺍﻟﻌﺎﻃﻔﻲ ﻭﻋﻀﻮﺍً ﺫﺍ ﺣﺴﺎﺳﻴﱠﺔ ﻣﺮﻫﻔﺔ ﻣﻦ ﺃﺟﻞ ﺃﺷﻜﺎﻝ ﳑﻜﻨﺔ ﻣﻦ ﺣﻴﺎﺓ ﺃﻓﻀﻞ‪،‬‬
‫ﳊﻘﱠﻘﻦَ ﺃﻛﺜﺮ ﳑﱠﺎ ﻳﺒﻠﻐﻪ ﺍﳌﺮﺑّﻮﻥ ﻭﺍﻟﺴﻴﺎﺳﻴﱡﻮﻥ ﺟﻤﻴﻌﺎً‪ .‬ﻭﺍﳌﺮﺃﺓ ﺍﳌﺘﻄﻠّﺒﺔ ﻻ ﺗﺮﺿﻰ‬
‫ﺑﺎﻟﻌﻤﻞ ﺍﳌﺒﺘﺬﻝ ﺍﻟﺬﱠﻛﺮﻱ‪ ،‬ﻭﺍﻟﺘﻲ ﺗﺘﻄﻠﱠﺐ ﻣﻦ ﺍﻟﺮﱠﺟﻞ ﺻﻔﺎﺕٍ ﻧﺎﺩﺭﺓً‪ ،‬ﺗُﺤﺪﺙ ﺑﺼﺪﱢﻫﺎ‬
‫ﻧﻮﻋﺎً ﻣﻦ ﺍﻟﻔﺮﺍﻍ ﰲ ﺍﳌﺴﺘﻮﻳﺎﺕ ﺍﻻﺟﺘﻤﺎﻋﻴﱠﺔ ﺍﻟﻌﻠﻴﺎ؛ ﻭﺇﺫ ﻛﺎﻧﺖ ﺍﻟﻄﱠﺒﻴﻌﺔ "ﺗﺨﺸﻰ"‬
‫ﺍﻟﻔﺮﺍﻍ ﻓﺴﺮﻋﺎﻥ ﻣﺎ ﺳﻮﻑ ﻧﺮﺍﻫﺎ ﲤﺘﻠﺊ ﺑﻮﻗﺎﺋﻊ‪ :‬ﻓﺘﺒﺪﺃ ﻗﻠﻮﺏ ﺍﻟﺮﺟﺎﻝ ﺗﻨﺒﺾ ﺑﺈﻳﻘﺎﻉٍ‬
‫ﺟﺪﻳﺪ‪ ،‬ﻭﺗﺴﺘﻴﻘﻆ ﺃﻓﻜﺎﺭ ﻏﻴﺮ ﻣﻨﺘﻈﺮﺓ ﰲ ﺍﻟﺮﺅﻭﺱ‪ ،‬ﻭﺗﺸﻖﱡ ﺍﻷﻓﻀﻴﺔُ ﺍﳊﻴﻮﻳﱠﺔ ﻣﻄﺎﻣﺢ‬
‫ﺟﺪﻳﺪﺓ ﻭﻣﺸﺎﺭﻳﻊ ﻭﺧﻄﻄﺎً‪ ،‬ﻭﻳﺸﺮﻉ ﺍﻟﻮﺟﻮﺩ ﻛﻠّﻪ ﰲ ﺍﻟﺴﱠﻴﺮ ﺑﺈﻳﻘﺎﻉٍ ﻣﺘﺼﺎﻋﺪٍ‪ ،‬ﻭﻳﺰﺩﻫﺮ‬
‫ﰲ ﺍﻟﺒﻠﺪ ﺍﻟﺴﱠﻌﻴﺪ ﺍﻟﺬﻱ ﻇﻬﺮﺕ ﻓﻴﻪ ﻫﺬﻩ ﺍﻷﻧﻮﺛﺔ ﺭﺑﻴﻊٌ ﺗﺎﺭﻳﺨﻲّ ﻣﻨﺘﺼﺮ ﻭﻏﺎﺯٍ ﻭﺣﻴﺎﺓ‬
‫ﺟﺪﻳﺪﺓ ﻛﺎﻣﻠﺔ‪ .‬ﺣﻴﺎﺓ ﺟﺪﻳﺪﺓ!! ‪Vita Nuova‬‬

‫ﺍﻧﻈﺮﻱ‪ ،‬ﻳﺎ ﺳﻴﱢﺪﺗﻲ‪ ،‬ﻛﻴﻒ ﻋﺪﺕُ ﺑﺈﺧﻼﺹ ﺇﻟﻰ ﺍﻟﻨﻘﻄﺔ ﺍﻟﺘﻲ ﺍﻧﻄﻠﻘﺖُ ﻣﻨﻬﺎ‬
‫ﺑﻌﺪ ﺟﻮﻟﺔٍ ﻃﻮﻳﻠﺔٍ ﻭﺭﺑﱠﻤﺎ ﻣُﺮﻫﻘﺔ ﻗﻠﻴﻼً‪ .‬ﻭﻛﻞّ ﻣﺎ ﻗﻠﺘﻪ ﺍﻵﻥ ﺃﺭﺩﺕُ ﺃﻥ ﻳﻜﻮﻥ ﺗﻌﻠﻴﻘﺎً ﻋﻠﻰ‬
‫ﺍﻧﻔﻌﺎﻝ ﺍﻟﺸﱠﺒﺎﺏ ﺍﻟﺬﻱ ﻋﺒﱠﺮ ﻋﻨﻪ ﺩﺍﻧﺘﻲ ﰲ ﻛﺘﺎﺑﻪ ﺍﻷﻭﱠﻝ‪ .‬ﻭﺍﳊﻴﺎﺓ ﺍﳉﺪﻳﺪﺓ ﻫﻲ ﺍﻟﻘﺼﱠﺔ‬
‫ﺍﳌﺮﺳﻮﻣﺔ ﺍﳌﻠﻮﱠﻧﺔ ﻋﻠﻰ ﻧﺎﻓﺬﺓ ﺯﺟﺎﺟﻴّﺔ ﻏﻮﻃﻴﱠﺔ ‪ gótica‬ﻓﻴﻬﺎ ﺛﻼﺙ ﺣﺮﻛﺎﺕ ﺃﻭ ﺃﺭﺑﻊ‬
‫ﺗﻌﺒّﺮ ﺑﻬﺎ ﺍﻟﻔﺘﺎﺓ ﺍﻟﻔﻠﻮﺭﻧﺴﻴﱠﺔ ﻋﻦ‪ :‬ﺑﺴﻤﺔٍ ﻓﻴﻬﺎ ﺗﺤﻴﱠﺔ ﻣﺸﺠﱢﻌﺔ‪ ،‬ﻭﺇﺷﺎﺭﺓٍ ﻓﻴﻬﺎ ﺍﺯﺩﺭﺍﺀ )ﺃﻭ‬
‫ﺻﺪﻭﺩ( ﻏﺎﻣﺾ‪ ،‬ﻭﻻ ﺷﻲﺀ ﺁﺧﺮ‪ .‬ﻭﺳﺎﺭﺕ ﺇﻟﻰ ﺍﻷﺑﺪ ﺣﻴﺎﺓ ﺩﺍﻧﺘﻲ‪ ،‬ﺍﻟﺘﻲ ﻛﺎﻧﺖ ﺑﺪﺍﻳﺔ‬
‫‪-١٢٦-‬‬
‫‪donna‬‬ ‫ﻋﺼﻮﺭ ﺟﺪﻳﺪﺓ‪ ،‬ﰲ ﺩﺭﺑﻬﺎ ﻣﻮﺟﱠﻬﺔً ﺑﺘﻠﻚ ﺍﻟﺒﺴﻤﺔ ﻣﻦ ﺍﻟﺴﻴﺪﺓ ﺫﺍﺕ ﺍﻟﺘﺤﻴﱠﺔ‬
‫‪ ،della saluto‬ﻛﺎﻟﺴﱡﻔﻦ ﻋﻠﻰ ﻣﱳ ﺍﻟﺒﺤﺮ ﺗﻌﺮﻑ ﻃﺮﻳﻘﻬﺎ ﰲ ﺗﻸﻟﺆ ﳒﻢ ﻣﺮﺗﻌﺶ‪.‬‬
‫ﻭﻻ ﻳﺘﻮﺟﱠﻪ ﺷﺎﻋﺮ ﺍﻟﻔﺮﺩﻭﺱ ﺇﻟﻰ ﺍﻟﻜﻤﺎﻝ ﻣﺒﺎﺷﺮﺓً‪ ،‬ﺑﻞ ﻳﺤﺴﺐ ﺑﺪﻻً ﻣﻦ ﺫﻟﻚ‪،‬‬
‫ﺃﻧﱠﻪ ﻳﻠﺘﻘﻂ ﻣﻌﻴﺎﺭﻩ ﻣﻦ ﻭﺟﻪ ﺑﻴﺎﺗﺮﻳﺲ‪ ،‬ﻟﺬﻟﻚ ﻳﻘﻮﻝ‪:‬‬
‫‪Beatrice tutta nelle eterne rote‬‬
‫‪Fissa con gli occhi stava; ed io in lei‬‬
‫‪Le luci fisse, di lassu remote.‬‬
‫"ﻛﺎﻧﺖ ﺑﻴﺎﺗﺮﻳﺲ ﲤﻌﻦ ﺍﻟﻨﱠﻈﺮ ﰲ ﺍﻟﺴﱠﻤﺎﻭﺍﺕ ﺍﳋﺎﻟﺪﺓ‪ ،‬ﻭﺃﻧﺎ ﻛﻨﺖُ ﺃﻣﻌﻦ ﻓﻴﻬﺎ‬
‫ﻋﻴﻨﻲّ ﻭﻗﺪ ﺣﺪﺕُ ﺑﻬﻤﺎ ﻋﻦ ﺍﻟﺴﱠﻤﺎﺀ"‪.‬‬
‫ﺇﻧﱠﻪ ﺍﳊﺪﺙ ﺍﻟﻌﻤﻴﻖ ﺍﻟﺬﻱ ﻳﻀﻄﺮﺏ ﺩﺍﺋﻤﺎً ﺗﺤﺖ ﺍﻟﺴﱠﻄﺢ ﺍﻟﺘﱠﺎﺭﻳﺨﻲّ‪ .‬ﻭﻗﺪ ﻋﺒﱠﺮ‬
‫ﻏﻮﺗﻪ ﻋﻦ ﺫﻟﻚ ﺑﻜﻠﻤﺎﺕ ﻏﻴﺮ ﻣﺴﺒﻮﻗﺔ ﺗﻘﺮﻳﺒﺎً‪:‬‬
‫ﺇﻥﱠ ﺍﻷﻧﺜﻮﻱ ﺍﳋﺎﻟﺪ‬
‫ﻳﺠﺬﺑﻨﺎ ﳓﻮ ﺍﻟﻌُﻠﻰ‪.‬‬
‫ﺃﻭ ﻛﻤﺎ ﺗﻘﻮﻝ ﺑﻌﺪ ﺫﻟﻚ )ﺍﻷﻡّ ﺍ‪‬ﻴﺪﺓ( ﻣﻮﺟّﻬﺔً ﺍﻟﻜﻼﻡ ﳌﺎﺭﻏﺮﻳﺘﺎ‪.‬‬
‫ﺗﻌﺎﻟﻲ! ﻭﺍﺻﻌﺪﻱ ﺇﻟﻰ ﺍﻟﺴﱠﻤﺎﻭﺍﺕِ ﺍﻟﻌﻠﻰ‬
‫ﻭﺇﺫﺍ ﻣﺎ ﺃﺣﺲﱠ ﺑﺤﻀﻮﺭﻙ ﻓﺴﻮﻑ ﻳﺘﺒﻌﻚِ‪.‬‬
‫ﻷﻥﱠ ﻛﻤﺎﻝ ﺍﻟﺮﱠﺟﻞ ﰲ ﺃﺳﺎﺳﻪ ﻻ ﻳﺄﺗﻴﻪ ﻓﻘﻂ ﻣﻦ ﺗﻘﺪﱡﻣﻪ ﰲ ﺍﻟﻌﻠﻢ ﺃﻭ ﺍﻟﻔﻦّ ﺃﻭ‬
‫ﺍﻟﺴﻴﺎﺳﺔ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻳﺄﺗﻴﻪ ﻋﺎﺩﺓ ﺑﺎﻟﻨﱠﻈﺮ ﺇﻟﻰ ﺍﻟﻼﻧﻬﺎﻳﺔ ﻣﻦ ﺧﻼﻝ ﻧﻔﺲ ﺃﻧﺜﻮﻳﱠﺔ ﻭﺷﺒﻪ‬
‫ﺑﻠّﻮﺭﻳﱠﺔ ﺗﻨﻌﻜﺲ ﻓﻴﻬﺎ ﺍﳌُﺜُﻞ ﺍﻟﻌﻠﻴﺎ ﺍﻟﻜﺒﺮﻯ ﺍﶈﺪﱠﺩﺓ‪ .‬ﻭﻫﻜﺬﺍ ﲤﻜﱠﻦ ﺷﻴﻠﻲ ‪ Schelly‬ﻣﻦ‬
‫ﺃﻥ ﻳﻘﻮﻝ ﳊﺒﻴﺒﺘﻪ‪ :‬ﺣﺒﻴﺒﺘﻲ! ﺃﻧﺖِ ﺫﺍﺗﻲ ﺍﳌُﺜﻠﻰ‪.‬‬
‫ﻭﻛﻞّ ﺿﺮﻭﺏ ﺍﻟﺘﱠﻘﺪﱡﻡ ﺍﻟﺘﻲ ﻳﺤﺮﺯﻫﺎ ﺍﻟﺮﱠﺟﻞ ﺑﻌﻤﻠﻪ ﺟﺰﺋﻴﱠﺔ ﻭﺻﻔﺎﺕ ﲤﺲّ ﻣﺤﻴﻂ‬
‫ﺣﻴﺎﺗﻪ ﺍﳊﻤﻴﻢ‪ ،‬ﻭﻋﻠﻰ ﺍﻟﻌﻜﺲ ﻣﻦ ﺫﻟﻚ‪ ،‬ﻛﻞّ ﺷﻜﻞٍ ﻋﺎﻝٍ ﻣﻦ ﻛﻤﺎﻝٍ ﺃﻧﺜﻮﻱّ ﻫﻮ ﺗﻘﺪﱡﻡ‬
‫ﺍﳊﻴﺎﺓ ﺗﻘﺪﱡﻣﺎً ﺷﺎﻣﻼً ﻭﻳﺸﺒﻪ ﺑﺬﺭﺓ ﺇﻧﺴﺎﻧﻴﱠﺔ ﺟﺪﻳﺪﺓ‪ .‬ﻭﻣﻦ ﻫﻨﺎ ﺍﻟﺮﱠﻏﺒﺔ ﺍﻟﻼﻣﺤﺪﻭﺩﺓ‬
‫ﻭﺍﳊﻠﻢ ﺍﳌﻠﺘﻬﺐ ﺍﻟﺬﻱ ﺃﺣﺲّ ﺑﻪ ﺧﻴﺮُ ﺍﻟﺮﺟﺎﻝ ﳌﱠﺎ ﺍﻋﺘﺮﺿﺖ ﻣﺠﺮﻯ ﻭﺟﻮﺩﻫﻢ ﺍﻣﺮﺃﺓ‬
‫ﻫﺎﻣﱠﺔ‪ .‬ﻭﻟﻮ ﺗﺄﻣﱠﻠﻨﺎ ﺑﺠﻼﺀ ﻣﺎ ﻛﺘﺒﻮﻩ ﻭﻣﺎ ﺭﺳﻤﻮﻩ ﻭﺷﺮﱠﻋﻮﻩ‪ ،‬ﻻﻛﺘﺸﻔﻨﺎ ﰲ ﻋﻤﻠﻬﻢ ﺍﻟﻔﻨّﻲ‬
‫ﺻﻮﺭﺓ ﺭﻗﻴﻘﺔ ﻋﺎﺑﺮﺓ ﻟﺴﻴﺪﺓ ﻟﻄﻴﻔﺔ‪ .‬ﻭﻟﻴﺲ ﺍﳌﺮﺍﺩ ﺣﻜﺎﻳﺎﺕٍ ﻏﺮﺍﻣﻴﱠﺔً ﻣﺒﺘﺬﻟﺔ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﺗﻠﻚ‬
‫‪-١٢٧-‬‬
 ‫ﺍﻟﻌﻮﺍﻃﻒ ﺍﻟﺮﺍﻗﻴﺔ ﺍﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺸﺮﺣﻬﺎ ﰲ ﺷﻔﻖ ﻣﺎﻧﺘﻴﻨﻴﺎ ‪ Mantinea1‬ﺍﻟﺸﺎﺣﺐ‪،‬‬
‫ﺍﳊﻜﻴﻤﺔُ ﺍﳌﺮﺗﻌﺸﺔ ﺩﻳﻮﺗﻴﻤﺎ ‪ Diotima‬ﺍﻷﺟﻨﺒﻴﱠﺔ ﻟﺴﻘﺮﺍﻁ ﺍﻹﻟﻬﻲّ‪ .‬ﺍﳌﺮﺍﺩ ﺗﻄﻠﱡﻊ ﻟﻠﻜﻤﺎﻝ‬
‫ﺗﺰﺭﻋﻪ ﰲ ﻧﻔﺲ ﻛﻞّ ﺫﻛﺮ ﻧُﺨﺒﺔٍ ﺣﻮﱠﺍﺀُ ﳕﻮﺫﺟﻴﱠﺔٌ ﻋﻨﺪ ﻣﺮﻭﺭﻫﺎ ﻣﻦ ﻏﻴﺮ ﺗﻮﻗﱡﻒ‪.‬‬
‫ﻭﺇﻥﱠ ﻓﺮﺩﺍً ﻛﺸﻌﺐٍ ﻳُﺤﺪﱠﺩ ﲟﺜﻠﻪ ﺍﻟﻌﻠﻴﺎ ﺑﺸﻜﻞٍ ﺃﺻﺢّ ﳑﱠﺎ ﻳُﺤﺪﱠﺩ ﺑﺎﻟﻮﻗﺎﺋﻊ‪ .‬ﻭﺇﻥﱠ‬
‫ﺣﺼﻮﻟﻨﺎ ﻋﻠﻰ ﻫﺪﻓﻨﺎ ﻣﻘﻴﱢَﺪ ﺑﺤﺴﻦِ ﺣﻈّﻨﺎ؛ ﻟﻜﻦ ﺍﻟﻄﻤﻮﺡ ﻋﻤﻞ ﻣﺤﺼﻮﺭ ﺑﻘﻠﻮﺑﻨﺎ‪.‬‬
‫ﻭﺗﺒﻴّﻦ ﳕﺎﺫﺝُ ﺍﻷﻧﻮﺛﺔ ﺍﻟﺘﻲ ﻫﻲ ﺃﺷﻜﺎﻝ ﻣﻦ ﺍﳌُﺜﻞ‪ ،‬ﺃُﻓﻖ ﺍﻟﻘﺪﺭﺍﺕ ﺍﻟﻜﺎﻣﻨﺔ ﰲ ﻛﻞﱢ ﺷﻌﺐ‪.‬‬
‫ﻭﺗﺮﺗﻔﻊ ﰲ ﻛﻞﱢ ﻣﻜﺎﻥ ﻭﺯﻣﺎﻥ ﻇﻼﻝ ﺍﻷﻧﻮﺛﺔ ﺍﳋﺎﻟﺪﺓ ﺇﻟﻰ ﺍﻟﺴﱠﻤﺎﺀ ﻛﻤﺠﺮﱠﺍﺕٍ ﻣﻘﺮﱢﺭﺓ‬
‫ﺑﺸﻜﻞٍ ﻣﺴﺒﻖ ﻣﺼﺎﺋﺮ ﺍﻟﻌﺮﻭﻕ‪.‬‬
‫ﻟﻘﺪ ﻛﺎﻥ ﻟﻲ ﺷﺮﻑ ﻣﻌﺮﻓﺘﻚ ﻳﺎ ﺳﻴﱢﺪﺗﻲ‪ ،‬ﺃﻧﺖ ﻭﺃﺻﺪﻗﺎﺋﻚ‪ ،‬ﻣﻨﺬ ﲦﺎﻧﻴﺔ ﺃﻋﻮﺍﻡ‬
‫ﳌﱠﺎ ﻛﻨﺖُ ﻋﻠﻰ ﻭﺷْﻚِ ﺃﻥ ﺃُﻧﻬﻲ ﺇﻗﺎﻣﺘﻲ ﰲ ﺍﻷﺭﺟﻨﺘﲔ‪ .‬ﻭﻟﻦ ﺃﻧﺴﻰ ﺍﻻﻧﻄﺒﺎﻉ ﺍﻟﺬﻱ ﺃﺛﺎﺭﻩ‬
‫ﰲﱠ ﻭﺟﻮﺩ ﺗﻠﻚ ﺍﻟﺰﻣﺮﺓ ﻣﻦ ﺍﻟﻨﺴﺎﺀ ﺍﻟﻬﺎﻣﱠﺎﺕ ﺑﺒﺮﻭﺯﻫﻦّ ﻋﻠﻰ ﺧﻠﻔﻴﱠﺔ ﺃﻣﱠﺔ ﺷﺎﺑﱠﺔ‪ .‬ﻛﺎﻥ‬
‫ﻓﻴﻜﻦّ ﺫﻟﻚ ﺍﳊﻤﺎﺱ ﻟﻠﻜﻤﺎﻝ‪ ،‬ﻭﺗﻠﻚ ﺍﻹﺭﺍﺩﺓُ ﺍﻟﻮﺍﺛﻘﺔ ﺍﻟﺼﱠﺎﺭﻣﺔ ﻭﺍﻟﻐﻴﺮﺓ ﻋﻠﻰ ﻛﻞﱢ ﻧﻈﺎﻡ‬
‫ﺷﺪﻳﺪ‪ .‬ﺣﺘﱠﻰ ﻛﺎﻧﺖ ﻛﻞّ ﻣﺤﺎﺩﺛﺔ ﻣﻦ ﻣﺤﺎﺩﺛﺎﺗﻨﺎ ﺍﻟﺪﱠﻭﺭﻳﱠﺔ ﺗﺘﺮﻙ ﰲ ﻧﻔﺴﻲ ﺃﻣﺮﺍً‬
‫ﺿﺎﻏﻄﺎً ﻛﺄﻧﱠﻪ ﺛﻘﻞ ﺧﻠﻘﻲ ﺑﺎﻻﺗﺰﺍﻥ "‪ "mezura‬ﻭﺍﻻﺧﺘﻴﺎﺭ‪ .‬ﻭﺇﻥﱠ ﻇﻬﻮﺭ ﺃﺷﻜﺎﻝ ﻣﻦ‬
‫ﺍﻷﻧﻮﺛﺔ ﻟﺪﻯ ﺷﻌﺐٍ ﺫﻱ ﺛﻘﺎﻓﺔ ﻗﺪﳝﺔ ﻣﺰﺩﻫﺮﺓ‪ ،‬ﺃﻣﺮ ﻣﻔﻬﻮﻡ‪ ،‬ﻭﺇﻥ ﻳﻜﻦ ﻏﻴﺮ ﺷﺎﺋﻊ‪ .‬ﻟﻘﺪ‬
‫ﻗﺎﻝ ﻧﻴﺘﺸﻪ ‪" :Nietsche‬ﺇﻥﱠ ﺍﳌﺮﺃﺓ ﺍﻟﻜﺎﻣﻠﺔ ﳕﻮﺫﺝ ﻣﻦ ﺍﻹﻧﺴﺎﻧﻴﱠﺔ ﺃﺭﻗﻰ ﻣﻦ ﺍﻟﺮﱠﺟﻞ‬
‫ﺍﻟﻜﺎﻣﻞ‪ ،‬ﻭﻓﻮﻕ ﺫﻟﻚ ﻫﻮ ﺃﻛﺜﺮ ﻧﺪﺭﺓ"‪ .‬ﺃﻣﱠﺎ ﺃﻥ ﻳﻨﺒﺜﻖ ﻣﺜﻞ ﻫﺬﻩ ﺍﳌﺨﻠﻮﻗﺎﺕ ﻓﺠﺄﺓ ﻭﺳﻂ‬
‫ﻋﺮﻕ ﺟﺪﻳﺪ ﻭﻣﺎ ﻳﺰﺍﻝ ﰲ ﺣﺎﻟﺔ ﺗﺸﻜّﻞ‪ ،‬ﻓﺈﻧﱠﻪ ﻳﻨﻄﻮﻱ ﻋﻠﻰ ﺳﺮّ ﻋﻀﻮﻱّ ﻭﻳﺒﻌﺚ ﻋﻠﻰ‬
‫ﺍﻟﺘﱠﻔﻜﻴﺮ ﻛﺜﻴﺮﺍً‪ .‬ﺑﺎﻟﻄﱠﺒﻊ‪ ،‬ﻟﻢ ﻳﻜﻦ ﺫﻟﻚ ﻧﺘﻴﺠﺔ ﻟﻠﻮﺳﻂ ﻛﻤﺎ ﻛﺎﻥ ﺍﳊﺎﻝ ﰲ ﺍﳊﻀﺎﺭﺍﺕ‬
‫ﺍﻟﻘﺪﳝﺔ‪ .‬ﻛﻞّ ﺫﻟﻚ ﻋﻠﻰ ﺍﻟﻌﻜﺲ ﲤﺎﻣﺎً‪ .‬ﻷﻥﱠ ﺍﳊﻴﻮﻳﱠﺔ ﺍﻟﺼﱠﺎﻋﺪﺓ ﻟﻠﻌﺮﻕ ﺍﳉﺪﻳﺪ ﻳﺨﻠﻖ‬
‫ﻣﻦ ﺗﺮﻓﻪ ﺍﻟﺪﱠﺍﺧﻠﻲّ ﻫﺬﻩ ﺍﻟﻮﺟﻮﻩَ ﺍﳌﺨﺘﺎﺭﺓ ﺑﻨﻴّﺔ ﺟﻌﻠﻬﺎ ﻣﺜﻼً ﻋﻠﻴﺎ‪ .‬ﺇﻧﱠﻬﺎ ﳕﺎﺫﺝ ﻭﻗﻮﺍﻋﺪ‬
‫ﺗﺸﺮﻉ ﰲ ﺗﻜﻤﻴﻞ ﺍﻟﻮﺳﻂ‪ .‬ﻭﺇﻥﱠ ﻭﺍﻗﻌﺔ ﻇﻬﻮﺭﻛﻦّ ﻟﻲ ﻣﺰﺩﻫﺮﺍﺕٍ ﺳﺎﻋﺔ ﺗﺒﺮﻋﻢ ﺃﻣﱠﺔ‬
‫ﻛﺒﻴﺮﺓ‪ ،‬ﺟﻌﻠﺘﻨﻲ ﺃﺗﺼﻮﱠﺭ ﻫﺬﻩ ﺍﻷﻓﻜﺎﺭ ﺣﻮﻝ ﺗﺄﺛﻴﺮ ﺍﳌﺮﺃﺓ ﰲ ﺍﻟﺘﱠﺎﺭﻳﺦ‪ .‬ﻭﻛﺎﻥ ﺗﻄﺎﺑﻘﻬﺎ ﻣﻊ‬
‫ﻋﻮﺍﻃﻒ ﺩﺍﻧﺘﻲ ﻳﺪﻋﻮﻧﻲ ﺇﻟﻰ ﺃﻥ ﺃﻋﻴﺪﻫﺎ ﺇﻟﻴﻜﻦّ ﻋﻼﻣﺔَ ﺗﻜﺮﱘ ﻭﻋﺮﻓﺎﻧﺎً ﺑﺎﳉﻤﻴﻞ‪.‬‬

‫– ﺍﳌﺘﺮﺟﻢ‪.‬‬ ‫)‪ (١‬ﺇﺣﺪﻯ ﻣﺪﻥ ﺃﺭﻛﺎﺩﻳﺎ ﺍﻟﻘﺪﳝﺔ‪.‬‬

‫‪-١٢٨-‬‬
‫ﻻ ﺃﺩﺭﻱ ﺇﻥ ﻛﺎﻥ ﺍ‪‬ﺘﻤﻊ ﺍﶈﻴﻂ ﺑﻚ ﺳﻴﻌﺮﻑ ﺃﻥ ﻳﻔﻴﺪ ﻣﻦ ﻏﻴﺮ ﻫﺪﺭ‬
‫ﻭﻗﺖ‪ :‬ﻣﻦ ﺍﻟﻔﻀﻴﻠﺔ ﺍﳌﻌﻴﺎﺭﻳﱠﺔ ﺍﳌﻮﺟﻮﺩﺓ ﻓﻴﻚ‪ .‬ﺃﻟﻴﺲ ﻣﺼﻴﺮ ﺍﻷﺭﺟﻨﺘﲔ ﺃﻥ ﺗﺴﻠﻚ‬
‫ﻣﺴﺎﺭﺍً ﻳﻌﺎﺩﻝ ﻣﺴﺎﺭ ﺷﻌﺐ ﺍﻟﻴﺎﻧﻜﻲ ﻣﻮﺍﺯﻧﺎً ﺑﺬﻟﻚ ﺍﻟﻜﺘﻠﺘﲔ ﺍﻟﻌﻤﻼﻗﺘﲔ ﰲ‬
‫ﺍﻟﻘﺎﺭﱠﺓ؟ ﻭﺇﺫْ ﺍﳓﺮﻓﺖ ﺍﻟﺸﻤﺎﻝ –ﻛﻤﺎ ﻳﺒﺪﻭ‪ -‬ﳓﻮ ﺭﻋﺎﻳﺔ ﺍﻟﻜﻢّ ﻓﺴﻮﻑ ﻳﻜﻮﻥ‬
‫ﳑﺘﺎﺯﺍً ﺃﻥ ﺗﻔﻀّﻞ ﺷﻌﻮﺏُ )ﺍﻟﺒﻼﺗﺎ( ﺍﻟﻨﻮﻉ ﻃﺎﻣﺤﺔً ﳋﻠﻖ ﳕﻮﺫﺝ ﺇﻧﺴﺎﻥ ﺻﻔﻮﺓ‪.‬‬
‫ﻭﺍﻟﻌَﺮَﺽ ﺍﻟﻮﺍﺿﺢ ﻟﻬﺬﺍ ﺍﳌﺼﻴﺮ ﻫﻮ ﺃﻥﱠ ﻫﺬﻩ ﺍﻟﺸﱡﻌﻮﺏ ﲤﻠﻚ ﻓﻴﻚ ﺷﻴﺌﺎً ﻳﺸﺒﻪ ﺃﻥ‬
‫ﻳﻜﻮﻥ ﺟﻴﻮﻛﻮﻧﺪﺍ ‪ Gioconda‬ﺟﻨﻮﺑﻴﱠﺔ‪.‬‬
‫ﻟِﻢَ ﻛﺎﻥ ﻧﺜﺮﻙ ﻳﺎ ﺳﻴﱢﺪﺗﻲ‪ ،‬ﻟﻴﱢﻨﺎً‪ ،‬ﻭﻛﻞّ ﺟﻤﻠﺔ ﺗﺤﻤﻞ ﻧﺎﺑﻀﺎً ﻳﺪﻓﻊ ﺑﻨﺎ ﲟﺮﻭﻧﺔ ﻋﻦ‬
‫ﺍﻷﺭﺽ‪ ،‬ﻭﻳﻬﻴﱢﺊ ﻟﻨﺎ ﺻﻌﻮﺩﺍً؟ ﺫﻟﻚ ﺃﻥﱠ ﺍﺣﺘﺮﺍﻣﺎً ﻧﺎﻋﻤﺎً ﻟﺪﺍﻧﺘﻲ –ﻭﻣﻦ ﻳﻌﺮﻓﻪ ﻣﺜﻠﻚ!‪-‬‬
‫ﻳﺠﻌﻠﻚ ﺗﻜﺒﺤﲔ ﺇﻟﻬﺎﻣﺎﺗﻚِ ﺍﻟﺸﱠﺨﺼﻴﱠﺔ‪ .‬ﺇﺫْ ﳌﱠﺎ ﻗﻤﺖ ﺑﺪﻭﺭ ﺍﻟﺪﱠﻟﻴﻞ ﻟﻨﺎ‪ ،‬ﺃﺛﺮْﺕِ ﻣﺸﺎﻛﻞ‬
‫ﺗﺮﻛﺘِﻬﺎ ﻃﻮﻋﺎً ﻣﻦ ﻏﻴﺮ ﺣﻞّ‪ .‬ﻭﺇﻧﱠﻨﺎ ﻧﻨﺘﻈﺮ ﺇﺛْﺮَ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﻛﺘﺎﺑﺎً ﺁﺧﺮ ﺗﻠﻘﻰ ﻓﻴﻪ ﻫﺬﻩ‬
‫ﺍﳌﺸﺎﻛﻞ ﺇﻳﻀﺎﺣﺎﺕ‪ .‬ﻭﻻ ﺗﻨﺴﻲ ﺃﻥﱠ ﺫﻟﻚ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻜﺜﻴﺮﻳﻦ ﻛﻤﺎ ﻛﺎﻥ ﺍﻟﺸﱠﺎﻋﺮ ﻳﻘﻮﻝ‪:‬‬
‫‪Quella and 'io aspetto il come e il quando‬‬
‫‪Del dire del callar‬‬
‫)‪(Par. XXI‬‬
‫]ﺗﻠﻚ ﺍﻟﺘﻲ ﻛﻨﺖ ﺃﻧﺘﻈﺮ ﻣﻨﻬﺎ ﻛﻴﻒ ﻭﻣﺘﻰ ﻳﻜﻮﻥ ﺍﻟﻜﻼﻡ ﻭﺍﻟﺴﻜﻮﺕ‪[.‬‬
‫)ﺍﻟﻔﺮﺩﻭﺱ ‪.(XXI‬‬
‫ﺳﻴﺪﺗﻲ‪ ،‬ﻛﺎﻧﺖ ﺍﻟﺮﺣﻠﺔ ﺷﺎﺋﻘﺔ‪ .‬ﻭﺍﻟﺴﻮﺀ ﺃﻧﻚ ﺗﺮﻛﺘﻨﺎ ﺍﻵﻥ ﻭﺣﻴﺪﻳﻦ ﺑﻌﺪ ﺃﻥ‬
‫ﻗﺪﺗِﻨﺎ ﺑﺠﺎﺫﺑﻴّﺔ ﺭﻭﺣﻴﱠﺔ ﺣﺘﱠﻰ ﺃﻋﻠﻰ ﺍﻟﻌﻠﻮّ؛ ﻭﺇﺫْ ﺗُﺮﻛﻨﺎ ﻟﻔﻌﻞ ﺛﻘﻠﻨﺎ ﺫﺍﺗﻪ‪ ،‬ﻓﻤﺎﺫﺍ ﺑﻮﺳﻌﻨﺎ ﺃﻥ‬
‫ﻧﻌﻤﻞ ﺳﻮﻯ ﺍﻟﻨﺰﻭﻝ؟ ﻭﺑﻜﻞﱢ ﻗﻮﺍﻱ ﻗﺪ ﺃﲤﻜﱠﻦ ﻓﻘﻂ ﻣﻦ ﻣﺤﺎﻭﻟﺔ ﺩﺭﺍﺳﺔ ﻋﻨﻮﺍﻧﻬﺎ‪ :‬ﻣﻦ‬
‫ﺑﻴﺎﺗﺮﻳﺲ ﺇﻟﻰ ﻓﺮﻧﺴﻴﺴﻜﺎ‪ ،‬ﻣﺤﺎﻭﻟﺔ ﻧﺰﻭﻝ ﻭﻟﻦ ﻧﻌﺪﻡ ﺳﺎﺑﻘﺔ ﻟﻬﺎ‪ .‬ﺃﺣﺮﻯ ﺑﻨﺎ ﺃﻥ ﻧﺘﺬﻛﱠﺮ‬
‫ﺃﻥﱠ ﺍﻟﺮﺣﻠﺘﲔ ﺍﻟﻜﺒﻴﺮﺗﲔ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﳌﺮﺃﺓ ﻛﺎﻧﺘﺎ ﺫﺍﺗﻲ ﺍﲡﺎﻩ ﻣﺘﻌﺎﻛﺲ‪ .‬ﻟﻘﺪ ﺻﻌﺪ‬
‫ﺩﺍﻧﺘﻲ ﻟﻴﺠﺪ ﺑﻴﺎﺗﺮﻳﺲ ﰲ ﺍﳉﻨﱠﺔ‪ ،‬ﻟﻜﻦﱠ ﺃﻭﺭﻓﻴﻮﺱ ‪ Orpheo‬ﻧﺰﻝ ﺇﻟﻰ ﺍﳉﺤﻴﻢ ﻭﻫﻮ‬
‫ﻳﻌﺰﻑ ﺍﳌﻮﺳﻴﻘﻰ ﻟﻴﻠﻘﻰ ﺃﻭﺭﻳﺪﻳﺚ‪.‬‬
‫ﻭﻳﺠﺐ ﺃﻥ ﺃﻋﺘﺮﻑ ﺃﻧﻲ ﻭﺇﻥْ ﻛﻨﺖ ﺃُﺳﺮﱡ ﺑﺼﺤﺒﺔِ ﺩﺍﻧﺘﻲ ﻭﺃﺣﺎﻭﻝ ﺃﻥ ﺃﺗﻌﻠﱠﻢ ﻣﻨﻪ‬
‫ﻓﻘﺪ ﻛﺎﻥ ﻣﺬﻫﺒﻪ ﻳﺒﺪﻭ ﻟﻲ ﰲ ﺍﻟﻨﻬﺎﻳﺔ‪ ،‬ﺟﺰﺋﻴﱠﺎً ﻭﻏﻴﺮ ﻛﺎﻑٍ‪ .‬ﻭﻻ ﳝﻜﻦ ﳌﺮﺣﻠﺔ ﺍﻟﺘﱠﻄﻮﱡﺭ‬
‫ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺍﻟﺤﺏ ﻡ ‪٩-‬‬ ‫‪-١٢٩-‬‬
‫ﺍﻟﻌﺎﻃﻔﻲّ ﺍﻟﺘﻲ ﳝﺜّﻠﻬﺎ ﺃﻥ ﺗﻜﻮﻥ ﺍﳌﺮﺣﻠﺔ ﺍﻷﺧﻴﺮﺓ‪ .‬ﻓﻘﺪ ﻛﺎﻥ ﺿﺮﻭﺭﻳﱠﺎً ﻳﻘﻴﻨﺎً ﺍﻛﺘﺸﺎﻑُ‬
‫ﺍﻟﻌﺎﻃﻔﺔ ﺍﻟﺮﻭﺣﻴﱠﺔ ﳓﻮ ﺍﳌﺮﺃﺓ‪ ،‬ﻭﻫﻲ ﻋﺎﻃﻔﺔ ﻟﻢ ﺗﻜﻦ ﻣﻮﺟﻮﺩﺓ ﻣﻦ ﻗﺒﻞ‪ .‬ﻟﻜﻦ‪ ،‬ﻏﺎﺏ‬
‫ﻋﻨﻪ ﺃﻥ ﻳﺮﺩّﻫﺎ ﺇﻟﻰ ﺍﳉﺴﻢ ﺑﻌﺪ ﺃﻥ ﻛﺎﻥ ﺍﺭﺗﻘﻰ ﺇﻟﻴﻬﺎ‪ .‬ﻭﺃﻧﺎ ﺃﺣﺴﺐ ﺃﻥﱠ ﺗﻜﺎﻣﻞ ﺍﻟﺸﻌﻮﺭ‬
‫ﻫﺬﺍ‪ ،‬ﻭﻫﺬﻩ ﺍﶈﺎﻭﻟﺔ ﻟﺘﺬﻭﻳﺐ ﺍﻟﺮﻭﺡ ﰲ ﺍﳉﺴﺪ‪ ،‬ﻫﻮ ﺭﺳﺎﻟﺔ ﻋﺼﺮﻧﺎ‪.‬‬
‫ﺇﻥﱠ ﻟﺪﻯ ﺩﺍﻧﺘﻲ ﻛﻤﺎ ﻟﺪﻯ ﻋﺼﺮﻩ ﺛﻨﺎﺋﻴﱠﺔ ﻻ ﺗﻘﺪﱠﺭ ﺑﺜﻤﻦ‪ .‬ﻓﺪﺍﻧﺘﻲ ﻣﻦ ﺟﻬﺘﻪ‪ ،‬ﻛﺎﻥ‬
‫ﺍﻟﺮﺟﻞ ﺍﻟﺬﻱ ﺃﺣﺴﻦ ﺍﻟﻨﻈﺮ ﺇﻟﻰ ﺃﺷﻜﺎﻝ ﺍﻷﺷﻴﺎﺀ‪ .‬ﻭﻗﺪ ﻛﺎﻧﺖ ﺣﻮﺍﺳّﻪ ﺍﳉﺎﻫﺰﺓ‬
‫ﻭﺍﳌﺘﻨﺒّﻬﺔ ﻣﻨﻔﺘﺤﺔ ﻋﻠﻰ ﺍﻟﻌﺎﻟﻢ ﺑﺸﻜﻞٍ ﺭﺍﺋﻊ‪ ،‬ﻭﻛﺎﻧﺖ ﺗﻨﺒﻊ ﻣﻦ ﺷﺨﺼﻪ ﺷﻬﻮﺓٌ ﺿﺨﻤﺔ‬
‫ﻟﻠﺤﻴﺎﺓ‪ ،‬ﻭﻟﻢ ﻳﻜﻦ ﺷﺒﺤﺎً‪ .‬ﻓﺤﻴﺜﻤﺎ ﻳﺬﻫﺐ "ﻳﺤﺮﻙ ﻣﺎ ﻛﺎﻥ ﻳﻠﻤﺴﻪ"‪ .‬ﻓﺈﺫﺍ ﻫﺮﺏ ﺇﻟﻰ ﻣﺎ‬
‫ﻭﺭﺍﺀ ﻋﺎﻟﻢ ﺍﻟﻔﺎﻧﲔ‪ ،‬ﻓﺬﻟﻚ ﻛﻴﻤﺎ ﻳﺠﻌﻞ ﻣﻨﻪ ﻣﻜﺎﻧﺎً ﻏﺎﻳﺔً ﰲ ﺍﻟﻜﻤﺎﻝ ﻳﺘﺄﻣﱠﻞ ﻣﻨﻪ ﺳﻴﻞ‬
‫ﻋﺎﳌﻨﺎ‪ ،‬ﺍﻟﺪﺭﺍﻣﻲّ‪ .‬ﻭﺇﺫﺍ ﻋﺒﺮ ﺗﺨﻮﻡ ﻣﺎ ﻭﺭﺍﺀ ﺍﻟﻘﺒﺮ‪ ،‬ﺣﻤﻞ ﻣﻌﻪ ﻣﺘﺎﻋﻪ ﻛﺎﻣﻼً ﻣﻦ ﺍﻷﻫﻮﺍﺀ‬
‫ﺍﻷﺭﺿﻴﱠﺔ‪ ،‬ﻭﻧﺴﻤﻊ ﰲ ﺃﺷﻌﺎﺭﻩ ﺍﳌﺘﻌﺎﻟﻴﺔ ﺻﻔﻴﺮﺍً ﻛﺼﻔﻴﺮ ﺭﻳﺢ ﺍﻟﺸﻤﺎﻝ ﺍﻟﺒﺎﺭﺩﺓ‪.‬‬
‫ﻭﺍﻟﻜﻮﻣﻴﺪﻳﺎ ﺍﻹﻟﻬﻴﱠﺔ ﻫﻲ ﻗﺒﻞ ﻛﻞّ ﺷﻲﺀ ﻛﺘﺎﺏ ﻣﺬﻛﱠﺮﺍﺕ‪.‬‬
‫ﻟﻜﻦ‪ ،‬ﺇﻟﻰ ﺟﺎﻧﺐ ﻫﺬﺍ ﺍﳊﻤﺎﺱ ﻟﻸﺭﺿﻲ ﻣﻦ ﻏﻴﺮ ﺍﺗﱢﻔﺎﻕ ﻣﻌﻪ‪ ،‬ﺗﻨﺘﺼﺮ ﻟﺪﻯ‬
‫ﺩﺍﻧﺘﻲ ﺍﻟﻨﺰﻋﺔ ﺍﻟﻐﻮﻃﻴﱠﺔ ‪ goticismo‬ﺑﺮﻭﺣﻬﺎ ﻛﺎﻟﺴﱠﻬﻢ ﺍﳌﻨﻄﻠﻖ ﺇﻟﻰ ﻣﺎ ﻭﺭﺍﺀ ﺍﻟﻮﺍﻗﻊ‪،‬‬
‫ﻭﺑﺴُﻜﺮﻫﺎ ﺑﺎﳌُﺤﺎﻝ ﻭﺭﻏﺒﺘﻬﺎ ﺍﳊﺎﺭﻗﺔ ﰲ ﺍﻟﻬﺮﺏ‪ .‬ﻭﻓﻮﻕ ﺫﻟﻚ ﻳﻮﺟﺪ ﻟﺪﻯ ﺍﻟﺸﺎﻋﺮ‬
‫ﺑﺪﺍﻳﺔ ﻣﻴﻞ ﻟﻠﻌﻘﻼﻧﻴﱠﺔ ﺍﻟﺘﻲ ﺳﻴﻜﻮﻥ ﻟﻬﺎ ﺍﻟﻬﻴﻤﻨﺔ ﰲ ﻋﺼﺮ ﺍﻟﻨﱠﻬﻀﺔ ﰒﱠ ﰲ ﺍﻟﻌﺼﺮ‬
‫ﺍﳊﺪﻳﺚ ﻛﻠّﻪ‪ .‬ﻭﺇﻧﱠﻨﺎ ﻧﻌﺎﻟﺞ ﺍﻟﻴﻮﻡ ﺃﻧﻔﺴﻨﺎ ﻣﻦ ﻫﺬﻩ ﺍﻟﻌﻘﻼﻧﻴﱠﺔ ﺍﻟﺘﻲ ﺗﻄﻤﺢ ﻟﺘُﺤﻞّ ﺍﻟﻔﻜﺮ‬
‫ﻣﺤﻞﱠ ﺍﳊﻴﺎﺓ‪ .‬ﻭﻛﺎﻥ ﻋﺼﺮﻩ ﻋﻠﻰ ﺍﻟﻌﻜﺲ ﳝﻴﻞ ﺇﻟﻰ ﺿﺮﻭﺏ ﺍﻟﻬﻠﻮﺳﺔ ﻛﻠّﻬﺎ‪ .‬ﺇﻧﱠﻪ ﺍﻟﻌﺼﺮ‬
‫ﺍﻟﺬﻱ ﻛﺎﻥ ﻳُﺒﺤﺚ ﻓﻴﻪ ﻋﻦ ﺍﻟﻜﺄﺱ ﺍﳌﻘﺪﱠﺳﺔ‪ .‬ﻭﻛﺎﻥ ﺧﺎﲤﺔ ﻓﺎﻧﺘﺎﺳﻤﺎ‪ 1‬ﺍﳊﺮﻭﺏ‬
‫ﺍﻟﺼﱠﻠﻴﺒﻴﱠﺔ ﺍﻟﺒﻄﻮﻟﻴﱠﺔ‪ .‬ﻭﲡﻌﻠﻨﺎ ﻓﺎﻧﺘﺎﺳﻤﺎﻏﻮﺭﻳﺎ ﺍﻷﻃﻔﺎﻝ ﺍﳌﺸﻬﻮﺭﺓ ﻧﻠﻤﺢ ﺧﻠﻔﻴﺔً ﻣﺎ ﻣﻦ‬
‫ﺍﻟﺸﺬﻭﺫ‪ ،‬ﻭﻣﺮﺿﺎً ﰲ ﺍﻷﺧﻴﻠﺔ‪ .‬ﻛﺎﻥ ﺍﻟﻨﺎﺱ ﻳﻌﻴﺸﻮﻥ ﰲ ﺳﺤﺮ ﺍﳌﻠﻚ ﺁﺭﺛﺮ ﻭﻣﻴﺮﻟﲔ‪.‬‬
‫ﻭﺃﻧﺎ ﺃﻃﻠﺐ ﻳﺎ ﺳﻴﺪﺗﻲ‪ ،‬ﺃﻥ ﻧﻨﻈﱢﻢ ﺻﺤﺔً ﺟﺪﻳﺪﺓ‪ ،‬ﻭﻫﺬﻩ ﺍﻟﺼﺤﺔ ﻣﺤﺎﻟﺔ ﺇﺫﺍ ﻟﻢ‬
‫ﻳﻘﻢ ﺍﳉﺴﻢ ﲟﻮﺍﺯﻧﺔ ﺛﻘﻞ ﺍﻟﺮّﻭﺡ‪ .‬ﻓﺈﺫﺍ ﻣﺎ ﺍﻛﺘُﺸﻔﺖ ﺣﻴﺎﺓ ﺍﻟﺮﻭﺡ ﺫﺍﺕ ﻣﺮﱠﺓ‪ ،‬ﻓﺈﻥﱠ ﻫﺬﻩ‬
‫ﺗﺼﺒﺢ ﻣﻔﺮﻃﺔ ﰲ ﺳﻬﻮﻟﺘﻬﺎ ﻷﻧﱠﻬﺎ ﺧﻴﺎﻟﻴﱠﺔ‪ .‬ﻭﻛﺎﻥ ﻧﻴﺘﺸﻪ ﻳﻘﻮﻝ‪" :‬ﺳﻬﻞ ﺟﺪﱠﺍً ﺃﻥ ﺗﺘﺼﻮﱠﺭ‬

‫)‪ (١‬ﺃﻭﻓﺎﻧﺘﺎﺳــﻤﺎﻏﻮﺭﻳﺎ ‪ :fantasmagoria‬ﺳﻠــﺴﻠﺔ ﻣــﻦ ﺍﻷﻭﻫــﺎﻡ ﺗﺘﻌﺎﻗــﺐ ﰲ ﺍﻟــﺬﻫﻦ ﻧﺘﻴﺠــﺔ ﻟﻜــﺎﺑﻮﺱ ﺃﻭ‬
‫ﺣﻤﱠﻰ‪ – .‬ﺍﳌﺘﺮﺟﻢ‪.‬‬
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 ‫ﺍﻷﺷﻴﺎﺀ‪ ،‬ﻟﻜﻦ‪ ،‬ﺻﻌﺐ ﺟﺪﱠﺍً ﺃﻥ ﺗﻜﻮﻧﻬﺎ"‪ .‬ﻭﺍﳉﺴﻢ ﻳﻌﻨﻲ ﺃﻣﺮﺍً ﻭﺍﺟﺒﺎً ﺑﺎﻹﳒﺎﺯ ﳝﺜُﻞ‬
‫ﺃﻣﺎﻡ ﺍﻟﺮﱡﻭﺡ‪ .‬ﻭﺃﻧﺎ ﺃﻗﻮﻝ‪ ،‬ﻓﻮﻕ ﺫﻟﻚ‪ ،‬ﺇﻥﱠ ﺍﳉﺴﻢ ﻫﻮ ﻭﺍﻗﻊ )ﺃﻭ ﺣﻘﻴﻘﺔ( ﺍﻟﺮﻭﺡ‪ .‬ﻭﻣﻦ ﻏﻴﺮ‬
‫ﺗﻌﺎﺑﻴﺮ ﻭﺟﻬﻚ ﻳﺎ ﺳﻴﱢﺪﺗﻲ‪ ،‬ﻣﺎ ﻛﺎﻥ ﻳُﻌﺮﻑ ﺍﻟﺴّﺮ ﺍﻟﺬﱠﻫﺒﻲّ ﺍﻟﺬﻱ ﻫﻮ ﻧﻔﺴﻚ‪.‬‬
‫ﻟﻘﺪ ﺍﻧﻄﻠﻖ ﺍﻟﻨﱠﺎﺱ ﻣﻦ ﲡﺮﻳﺪ ﺯﺍﺋﻒ؛ ﻓﻘﺪ ﻓُﺼﻞ ﺍﳉﺴﻢ ﻋﻦ ﺍﻟﺮﱡﻭﺡ ﺑﺘﻌﺴﱡﻒ‪،‬‬
‫ﻭﻛﺄﻧﱠﻬﻤﺎ ﻛﻠﻴﻬﻤﺎ ﻗﺎﺑﻼﻥ ﻟﻼﻧﻔﺼﺎﻝ ﻋﻦ ﺑﻌﻀﻬﻤﺎ‪ .‬ﻟﻜﻦﱠ ﺍﳉﺴﻢ ﺍﳊﻲّ ﻟﻴﺲ ﻛﺎﳌﻌﺪﻥ‪:‬‬
‫ﻣﺎﺩﱠﺓ ﺑﺤﺘﺔ‪ .‬ﺍﳉﺴﻢ ﳊﻢ ﻭﺍﻟﻠﺤﻢ ﺣﺴﺎﺳﻴﱠﺔ ﻭﺗﻌﺒﻴﺮ‪ .‬ﻭﺇﻥﱠ ﻳﺪﺍً ﻭﻭﺟﻨﺔ ﻭﺷﻔﺔ )ﺗﻘﻮﻝ(‬
‫ﺩﺍﺋﻤﺎً ﺷﻴﺌﺎً ﻣﺎ‪ ،‬ﺇﻧﱠﻬﺎ ﰲ ﺍﻷﺳﺎﺱ ﺇﺷﺎﺭﺍﺕ ﻭﻛﺒﺴﻮﻻﺕ ﺭﻭﺣﻴﱠﺔ ﻭﻣﻈﻬﺮ ﺧﺎﺭﺟﻲّ ﻟﻬﺬﺍ‬
‫ﺍﻟﺒﺎﻃﻦ ﺍﻟﻬﺎﻡّ ﺍﻟﺬﻱ ﻧﺴﻤّﻴﻪ ﻧﻔﺴﺎً ‪ ،psique‬ﻭﺍﳉﺴﻤﻴﱠﺔ ﻳﺎ ﺳﻴﱢﺪﺗﻲ‪ ،‬ﻣﻘﺪﱠﺳﺔ ﻷﻥﱠ ﻟﻬﺎ‬
‫ﺭﺳﺎﻟﺔً ﻫﺎﻣﱠﺔ ﰲ ﺃﻥ ﺗﺼﺒﺢ ﺭﻣﺰ ﺍﻟﺮﻭﺡ‪.‬‬
‫ﻭﻟﻢَ ﺍﺣﺘﻘﺎﺭ ﺍﻷﺭﺽ؟ ﻓﻬﺎ ﻫﻮ ﺍﻟﻨﱠﺎﺳﻚ ﺑﺪﺭﻭﺩﺍﻣﻴﺎﻥ ﻧﻔﺴﻪ ﻻ ﻳﻨﺴﻰ ﻭﻫﻮ ﰲ‬
‫ﺍﳉﻨﱠﺔ‪ ،‬ﺯﻳﺖ ﺍﻟﺼّﻮﻡ ﺍﻟﺬﻱ ﺑﻠﻎ ﺑﻪ ﺍﻟﺴﱠﻤﺎﺀ‪:‬‬
‫ﺇﻥﱠ ﺇﳝﺎﻧﻲ ﰲ ﺧﺪﻣﺔ ﺍﷲ ﺟﺪّ ﺛﺎﺑﺖ‬
‫ﺣﺘﱠﻰ ﻛﻨﺖ ﺃﻛﺘﻔﻲ ﺑﺄﻃﻌﻤﺔ ﺧﻔﻴﻔﺔ ﻣﻦ ﺯﻳﺖ‬
‫ﺍﻟﺰﻳﺘﻮﻥ ﺳﺎﺧﻨﺔ ﻭﺑﺎﺭﺩﺓ‬
‫ﻣﺴﺮﻭﺭﺍً ﺑﺎﻷﻓﻜﺎﺭ ﺍﻟﺘﱠﺄﻣﱡﻠﻴﱠﺔ‬
‫ﻭﺍﻟﺜﱠﺎﺑﺖ ﺃﻥﱠ ﻗﺎﻃﻨﻲّ ﺍﻟﻌﺎﻟﻢ ﺍﻵﺧﺮ ﻳﺘﺰﺍﺣﻤﻮﻥ ﺳﺮﺍﻋﺎً ﺣﻮﻝ ﺩﺍﻧﺘﻲ‬
‫ﻛﺤﺸﺮﺍﺕ ﺣﻮﻝ ﺍﻟﻀﱠﻮﺀ‪ ،‬ﻛﻴﻤﺎ ﻳﺸﺮﺑﻮﺍ ﻋﻨﺪﻩ ﻗﻠﻴﻼً ﻣﻦ ﺍﳊﻴﺎﺓ‪ ،‬ﻭﻳﺘﻌﺜﱠﺮﻭﻥ‬
‫ﻟﻴﺴﺄﻟﻮﻩ ﺃﺧﺒﺎﺭﺍً ﻋﻦ ﺍﻷﺭﺽ‪.‬‬
‫ﻳﻠﺰﻣﻨﺎ ﻳﺎ ﺳﻴﱢﺪﺗﻲ‪ ،‬ﺃﻥ ﻧﺴﻤﻊ ﺇﻟﻬﺎﻣﺎً ﺟﺪﻳﺪﺍً ﻟﻚ ﺣﻮﻝ ﻫﺬﻩ ﺍﳌﻮﺍﺿﻴﻊ‬
‫ﺍﻟﻜﺒﺮﻯ‪ .‬ﻓﻨﺤﻦ ﰲ ﺳﺎﻋﺔ ﻣﻦ ﺷﻔﻖ ﻛﻮﻧﻲّ‪ .‬ﻭﻳﻨﺰﻝ ﻋﺎﻟﻢ ﻛﺎﻣﻞ ﻣُﺤﺘﻀَﺮ ﻣﺤﺎﻃﺎً‬
‫ﺑﺤﻔﻠﺔ ﻧﺰْﻋﻪ ﺍﻟﺮﱠﺍﺋﻌﺔ‪ .‬ﻭﻳﻠﻤﺲ ﺍﻟﻘﺮﺹُ ﺍﳌﻠﺘﻬﺐ ﺧﻂﱠ ﻗﺒﺮﻩ ﺍﻟﺴﱠﺎﻛﻦ ﺍﻟﺒﺎﺭﺩ‬
‫ﻭﺍﻷﺧﻀﺮ‪ .‬ﻭﺗﻈﻞﱡ ﺃﺧﻴﺮﺍً ﺑﻘﻴﱠﺔ ﻣﻦ ﺿﻴﺎﺀ‪:‬‬
‫ﺍﻟﺸﱠﻤﺲُ ﺗﻐﻴﺐُ ﻭﺍﻟﻠﻴﻞُ ﻳُﻘﺒﻞ‬
‫ﻓﻼ ﺗﺘﻮﻗﱠﻔﻮﺍ ﻭﺇﻧﱠﻤﺎ ﺍﺑﺤﺜﻮﺍ ﻋﻦ ﻣﺨﺮﺝ‬
‫ﻭﳌﱠﺎ ﻳﻐﺮﻕِ ﺍﻟﻐﺮﺏُ ﰲ ﺍﻟﻈﱠﻼﻡ‪.‬‬

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 ‫ﺍﳋﻠﻔﻴ‪‬ﺔ‬ ‫ﻣﻨﻈﺮ ﻣﻊ ﻇﺒﻴﺔ‬

‫ﻛﺎﻥ ﰲ ﺃﻭﺭﻭﺑﺎ ﺣﻮﺍﻟﻲ ﺍﻟﻌﺎﻡ ‪ ١٧٩٣‬ﺭﺟﺎﻝ ﻛﺜﻴﺮﻭﻥ‪ .‬ﻟﻜﻦﱠ ﺍﻟﺮﱠﺟﻞ ﺍﻷﻛﺜﺮ ﺭﺟﻮﻟﺔ‬
‫ﰲ ﺃﻭﺭﻭﺑﺎ ﺣﻴﻨﺌﺬٍ‪ ،‬ﻛﺎﻥ ﻋﻠﻰ ﺍﻷﺭﺟﺢ ﻧﻴﻠﺴﻮﻥ ‪ .Nelson‬ﻭﻧﺎﺑﻠﻴﻮﻥ؟ ﻧﺎﺑﻠﻴﻮﻥ ﻛﺎﻥ ﺃﻛﺜﺮ ﻣﻦ‬
‫ﺭﺟﻞ‪ .‬ﻛﺎﻥ )ﺳﻮﺑﺮ ﻣﺎﻥ( ﺃﻭ ﻧﺼﻒ ﺁﻟﻪ‪.‬‬
‫ﻟﺌﻦ ﻛﺎﻥ ﻧﻴﻠﺴﻮﻥ ﺭﺟﻼً ﻋﻠﻰ ﺷﻜﻞ ﻛﻠﻲّ ﻭﺿﺨﻢ‪ ،‬ﻓﻜﺎﻥ ﻳﺒﺪﻭ ﺃﺷﻴﺎﺀ ﺃﺧﺮﻯ‬
‫ﻛﺜﻴﺮﺓ‪ .‬ﻭﺇﺫﺍ ﻛﺎﻥ ﺍﻹﻧﺴﺎﻥ "ﻣﻘﻴﺎﺱ ﺍﻷﺷﻴﺎﺀ ﻛﻠّﻬﺎ" ﻓﻬﻮ ﻣُﻔﺘﺮﻕ ﻃﺮﻕ ﺍﻟﻌﺎﻟﻢ‪ ،‬ﻭﻣﻨﻪ‬
‫ﺗﻨﻄﻠﻖ ﺍﻟﺪﺭﻭﺏ ﺑﺎﺗﱢﺠﺎﻩ ﺳﺎﺋﺮِ ﻣﺎ ﻋﺪﺍﻩ‪ .‬ﻭﺇﺫْ ﳝﺪّ ﻣﻼﻣﺤﻪ ﰲ ﺍﺗﱢﺠﺎﻩ ﺃﻭ ﰲ ﺁﺧﺮ ﻓﺈﻧﱠﻪ‬
‫ﻳﺼﻞ ﺣﺘﱠﻰ ﺇﻟﻰ ﺻﻮﺭ ﺭﺍﺋﻌﺔ ﻭﻣﺨﻴﻔﺔ‪ .‬ﻭﺍﳌﺨﻴﱠﻠﺔ ﺍﻟﺒﺸﺮﻳﱠﺔ ﺟﻮّ ﻛﺜﻴﻒ ﺗﺤﺪﺙ ﻓﻴﻪ ﺩﺍﺋﻤﺎً‬
‫ﻇﺎﻫﺮﺓ ﺍﻟﺴﱠﺮﺍﺏ ‪ .fata Morgana‬ﻭﻫﻜﺬﺍ ﻛﺎﻥ ﻧﻴﻠﺴﻮﻥ ﻋﺒﻘﺮﻳﱠﺔ ﺃﻃﻠﺴﻴﱠﺔ ﺁﺧﺬﺓ ﺑﻔﺮﺽ‬
‫ﻧﻈﺎﻣﻬﺎ ﻋﻠﻰ ﺍﻟﺒﺤﺎﺭ ﰲ ﻧﻈﺮ ﺍﺑﻦ ﺍﻟﺮﻳﻒ ﺍﻟﻜﻼﺳﻴﻜﻲ ﺍﳉﺪﻳﺪ ﺍﻟﺬﻱ ﻛﺎﻥ ﻳﻮﺟﺪ ﻣﻦ‬
‫ﺃﻣﺜﺎﻟﻪ ﻛﺜﻴﺮﻭﻥ ﰲ ﺫﻟﻚ ﺍﻟﻌﺼﺮ‪ ،‬ﻭﳑﱠﻦ ﻳﻘﺮﺃ ﺍﻷﺧﺒﺎﺭ ﰲ ﺍﻟﺼﱡﺤﻒ‪ .‬ﻭﺇﺫﺍ ﻧُﻈﺮَ ﺇﻟﻴﻪ‬
‫ﻫﻜﺬﺍ ﻣﻦ ﺑﻌﻴﺪ ﻛﺎﻥ ﻧﺒﺘﻮﻥ‪ .‬ﻭﻛﺎﻥ ﺍﺑﻦ ﺍﻟﺮّﻳﻒ ﻳﻘﺮﺃ ﺍﻟﺼﱠﺤﻴﻔﺔ ﻗﺮﺏ ﺍﳌﺪﻓﺄﺓ ﺍﳉﺪﺍﺭﻳﱠﺔ‬
‫ﺍﻟﺘﻲ ﻳﻀﻊ ﻓﻮﻗﻬﺎ ﺳﺎﻋﺔ ﻣﻦ ﺍﻟﺒﺮﻭﻧﺰ؛ ﻭﻛﺎﻥ ﻣﺤﻴﻄﻬﺎ ﺍﻟﻜﺮﻭﻱّ ﻳﻘﺒﻊ ﺩﺍﺧﻞ ﺍﳊﻀﻦ‬
‫ﺍﳌﺴﺘﺪﻳﺮ ﳌﻮﺟﺔ ﻣﻌﺪﻧﻴﱠﺔ ﻳﺴﺘﻨﺪ ﺇﻟﻴﻬﺎ ﻃﺎﻓﻴﺎً ﺇﻟﻪ ﻋﺎﺭٍ ﻳﺤﻤﻞ ﰲ ﻳﺪﻩ ﺭﻣﺤﺎً ﻣﺜﻠﱠﺚ‬
‫ﺍﻟﺴّﻨﺎﻥ‪ .‬ﺇﻧﱠﻪ ﻧﻴﻠﺴﻮﻥ‪ .‬ﻟﻜﻨﱠﻪ ﺇﺫﺍ ﻧُﻈﺮ ﺇﻟﻴﻪ ﻣﻦ ﻗﺮﻳﺐ ﻛﺎﻥ ﺷﻴﺌﺎً ﺁﺧﺮ‪ ،‬ﻛﺎﻥ ﺃﺷﻴﺎﺀ ﺃﺧﺮﻯ‬
‫ﻛﺜﻴﺮﺓ‪ :‬ﻛﺎﻥ ﺭﺟﻼً ﺻﻐﻴﺮ ﺍﳊﺠﻢ‪ ،‬ﻗﺎﺳﻲ ﺍﳌﻼﻣﺢ ﻭﺧﺸﻨﺎً ﻛﻤﺼﺮﺍﻉ ﺻﺪﻓﺔ ﺭﺧﻮﻱ‪،‬‬
‫ﻭﺫﺍ ﻧﻔﺲ ﻗﺎﲤﺔ ﻭﻋﺎﺻﻔﺔ ﻣﺜﻞ ﺗﺮﻳﺘﻮﻥ‪ 1‬ﺇﻧﻜﻠﻴﺰﻱّ‪ ،‬ﺇﻧﱠﻪ ﻛﺎﺋﻦ ﻻ ﻳﺤﺘﺎﺝ ﻛﻴﻤﺎ ﻳﻌﻴﺶ ﺇﻟﻰ‬
‫ﺍﻟﺸﻌﺮﺍﻟﺬﻱ ﻛﺎﻥ ﻳﻜﺮﻫﻪ ﻭﻳﺒﻌﺪﻩ ﻋﻨﻪ ﻛﻤﺎ ﻳُﻨﻔﺾ ﻏﺒﺎﺭ ﺍﻟﻄﱠﺮﻳﻖ ﺁﻧﺎﺀ ﺍﻟﻨﱠﻬﺎﺭ‪ ،‬ﻭﻛﻤﺎ ﺗﺒﻌُﺪ‬
‫ﺍﳉﺪﺍﺟﺪ ﺍﻟﺼﺨﱠﺎﺑﺔ ﺧﻼﻝ ﺍﻟﻠﻴﻞ‪) .‬ﻭﻛﻞّ ﻣﺎ ﺧﻄﺮ ﻟﻪ ﺃﻥ ﻳﻘﻮﻝ ﻋﻦ ﺇﻳﻄﺎﻟﻴﺎ ﺑﻌﺪ ﻋﻴﺸﻪ‬
‫ﰲ ﻧﺎﺑﻮﻟﻲ ﺃﻣﺘﻊ ﺳﺎﻋﺎﺕ ﺣﻴﺎﺗﻪ‪ -‬ﺳﺎﻋﺎﺕ ﻣﻦ ﺣﺮﻳﻖ ﻏﺮﺍﻣﻲّ ﻋﻠﻰ ﻣﻨﻄﻘﺔ ﺍﻟﻜﻬﻮﻟﺔ‬
‫ﺍﻟﺘﻲ ﺻﺎﺭﺕ ﻗﺎﺣﻠﺔ ﻗﻠﻴﻼً‪ -‬ﺇﻧﱠﻬﺎ ﺑﻠﺪ ﻻ ﻳُﻄﺎﻕ ﻣﻦ ﻋﺎﺯﰲ ﺍﻟﻜﻤﺎﻥ ﻭﺍﻟﺸﻌﺮﺍﺀ‬

‫)‪ (١‬ﺃﺣﺪ ﺁﻟﻬﺔ ﺍﻟﺒﺤﺎﺭ ﻋﻨﺪ ﺍﻹﻏﺮﻳﻖ‪ ،‬ﻧﺼﻔﻪ ﺑﺸﻜﻞ ﺇﻧﺴﺎﻥ ﻭﻧﺼﻔﻪ ﺍﻵﺧﺮ ﺑﺸﻜﻞ ﺳﻤﻜﺔ‪ – .‬ﺍﳌﺘﺮﺟﻢ‪.‬‬
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‫ﻭﺍﻟﻘﻮّﺍﺩﻳﻦ(‪ .‬ﻭﻛﺎﻧﺖ ﺣﻴﺎﺗﻪ ﺍﳌﻼﺣﻴﱠﺔ ﺗﺘﻜﻮﱠﻥ ﻣﻦ ﻫﺒﱠﺎﺕٍ ﻋﻨﻴﻔﺔ ﻣﺮﱠﺕ ﻋﻠﻴﻪ ﺁﺧﺬﺓ ﻣﻌﻬﺎ‬
‫ﺷﻴﺌﺎً ﻣﻨﻪ‪ :‬ﺍﻟﻴﻮﻡ ﺗﺄﺧﺬ ﻋﻀﻮﺍً‪ ،‬ﰒﱠ ﺑﻌﺪ ﺫﻟﻚ‪ ،‬ﻋﻀﻮﺍً ﺁﺧﺮ‪ ،‬ﺳﻮﺍﺀ ﺃﻛﺎﻥ ﻫﺬﺍ ﺍﻟﺬﺭﺍﻉ! ﺃﻡ‬
‫ﺗﻠﻚ ﺍﻟﻌﲔ! ﻭﺍﻟﻄﺮﻳﻒ ﺃﻥﱠ ﻛﻞّ ﻫﺬﻩ ﺍﻷﻋﻀﺎﺀ ﺍﳌﺒﺘﻮﺭﺓ ﻭﻏﻴﺎﺑﻬﺎ ﻛﺎﻥ ﻳُﺒﺮﺯ ﺃﻛﺜﺮ ﻣﺎ ﻳﺒﺮﺯ‬
‫ﻣﺎ ﻛﺎﻥ ﰲ ﻫﺬﺍ ﺍﻟﺮﱠﺟﻞ ﺍﻟﺼﱠﻐﻴﺮ ﻣﻦ ﺭﺟﻮﻟﺔ ﻛﺎﻣﻠﺔ‪ .‬ﻭﻛﺎﻧﺖ ﺷﺠﺎﻋﺘﻪ ﺗﺘﺮﻛﱠﺰ ﻋﻠﻰ ﻣﺎ‬
‫ﺑﻘﻲ ﻟﻪ ﻣﻦ ﺃﻋﻀﺎﺀ‪.‬‬
‫ﻭﺭﺳﺎ ﺫﺍﺕ ﻟﻴﻠﺔ ﺑﻔﺮﻗﺎﻃﺎﺗﻪ ﺍﻟﻀﱠﺨﻤﺔ ﰲ ﺧﻠﻴﺞ ﻧﺎﺑﻮﻟﻲ ﻗﺒﻞ ﻫﺰﳝﺘﻪ ﺃﺳﻄﻮﻝَ‬
‫ﺑﻮﻧﺎﺑﺮﺕ ﰲ ﺃﺑﻲ ﻗﻴﺮ‪ .‬ﻭﺫﻫﺐَ ﺇﻟﻰ ﺍﻟﺴﻔﺎﺭﺓ ﺍﻹﻧﻜﻠﻴﺰﻳﱠﺔ ﺣﻴﺚ ﺍﺳﺘﻘﺒﻠﻪ ﺍﻟﺴﱠﻔﻴﺮ ﺍﻟﺴﻴﺮ‬
‫ﻭﻳﻠﻴﺎﻡ ﻫﺎﻣﻠﺘﻮﻥ‪.S.W Hamilton :‬‬
‫ﺍﻹﻧﺴﺎﻧﻴﱠﺔ ‪ ،Humanidad‬ﻣﻔﻬﻮﻡ ﻓﻀﻔﺎﺽ ﺟﺪﱠﺍً ﻭﻛﺮﱘ‪ :‬ﰲ ﺃﺣﺪ ﻃﺮﻓﻴﻪ‬
‫ﳝﻜﻦ ﺃﻥ ﻳﻘﺒﻊ ﺍﻷﻣﻴﺮﺍﻝ ﻧﻴﻠﺴﻮﻥ‪ ،‬ﻭﰲ ﺍﻟﻄﱠﺮﻑ ﺍﻵﺧﺮ ﻫﺎﻣﻠﺘﻮﻥ ﻣﻦ ﻏﻴﺮ ﺃﻥ‬
‫ﻳﻌﻴﻘﺎ ﺑﻌﻀﻬﻤﺎ ﺑﻌﻀﺎً ‪.‬‬
‫ﻭﻟﻌﻠﱠﻨﺎ ﻧﺮﻳﺪ ﺃﻥ ﻧﻌﺮﻑ ﻫﺬﺍ ﺍﻟﺴﱠﻴﱢﺪ ﺍﻷﺧﻴﺮ‪ ،‬ﻭﻧﻜﻮﻥ ﻣﻦ ﺃﺻﺪﻗﺎﺋﻪ ﻭﻧﻨﻄﻠﻖ ﻣﻌﻪ‪.‬‬
‫ﻷﻧﱠﻪ ﺭﺟﻞ ﻣﺠﺮّﺏ‪ ،‬ﻭﻫﺎﻭﻱ ﺟﻤﻊ ﻛﺒﻴﺮ ﻭﺭﻳﺒﻲ ﻛﺒﻴﺮ‪ .‬ﻭﺍﻟﺮﱠﻳﺒﻲ ﻫﻮ ﺍﻟﺮﱠﺟﻞ ﺍﻷﺧﺼﺐ‬
‫ﺣﻴﺎﺓ ﻭﺍﻷﻏﻨﻰ ﻭﺍﻷﻛﻤﻞ‪ .‬ﻭﺇﻥﱠ ﻓﻜﺮﺓً ﻏﺒﻴﺔً ﺗﺤﻤﻠﻨﺎ ﻋﻠﻰ ﺍﻟﺰّﻋﻢ ﺃﻥﱠ ﺍﻟﺮﻳﺒﻲ ﻻ ﻳﺆﻣﻦ‬
‫ﺑﺸﻲﺀ‪ .‬ﺇﻧﱠﻤﺎ ﻫﻮ ﻋﻠﻰ ﺍﻟﻌﻜﺲ ﻣﻦ ﺫﻟﻚ ﲤﺎﻣﺎً‪ .‬ﻓﺎﻟﺮﱠﻳﺒﻲ ﻳﺨﺘﻠﻒ ﻋﻦ ﺍﻟﺪّﻭﻏﻤﺎﻧﻲّ ﰲ‬
‫ﺃﻥﱠ ﻫﺬﺍ ﺍﻷﺧﻴﺮ ﻳﺆﻣﻦ ﺑﺸﻲﺀ ﻭﺍﺣﺪ‪ ،‬ﻭﺍﻷﻭﱠﻝ ﻳﺆﻣﻦ ﺑﺄﺷﻴﺎﺀ ﻛﺜﻴﺮﺓ‪ ،‬ﻳﺆﻣﻦ ﺑﻬﺎ ﻛﻠّﻬﺎ‬
‫ﺗﻘﺮﻳﺒﺎً‪ .‬ﻭﻫﺬﺍ ﺍﻟﺘﱠﻌﺪﱡﺩ ﰲ ﺍﻻﻋﺘﻘﺎﺩﺍﺕ ﺍﻟﺘﻲ ﺗﻠﺠﻢ ﺑﻌﻀﻬﺎ ﺑﻌﻀﺎً‪ ،‬ﻳﺠﻌﻞ ﺍﻟﺮﻭﺡ ﻟﻴّﻨﺔ‬
‫ﻋﺬﺑﺔ‪ .‬ﻭﻛﺎﻥ ﻫﺎﻣﻠﺘﻮﻥ ﻣﻦ ﺃﻭﺍﺋﻞ ﻣﻦ ﺟﻤﻊ ﺃﺷﻴﺎﺀ "ﻛﻼﺳﻴﻜﻴﱠﺔ"‪ ،‬ﻭﻫﻮ ﻣﻦ ﺑﺪﺃ ﺣﻔﺮﻳﱠﺎﺕ‬
‫ﺑﻮﻣﺒﻲ ‪ .Pompeya‬ﻭﻣﺠﻤﻮﻋﺘﻪ ﺍﻟﻔﺮﻳﺪﺓ ﺗﺴﺘﻘﺮ ﺍﻟﻴﻮﻡ‪ ،‬ﻛﻤﺎ ﺃﻋﺘﻘﺪ‪ ،‬ﰲ ﺍﳌﺘﺤﻒ‬
‫ﺍﻟﺒﺮﻳﻄﺎﻧﻲّ ‪.Britich Museum‬‬
‫ﻗُﺪﱢﻡ ﻧﻴﻠﺴﻮﻥ ﺇﻟﻰ ﺯﻭﺟﺔ ﺍﻟﺴﱠﻔﻴﺮ‪ ،‬ﻓﺄﺣﺲﱠ )ﺍﻟﺘﺮﻳﺘﻮﻥ( ﻷﻭﱠﻝ ﻣﺮﱠﺓ ﺑﻘﻮﱠﺓ ﻏﻴﺮ‬
‫ﻣﺤﺪﱠﺩﺓ ﺗﻨﻬﺸﻪ‪ .‬ﺣﺴﻦ‪ :‬ﻟﻘﺪ ﺍﺳﺘﻘﺮﱠﺕ ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﺃﺳﻄﻮﺭﺓ ﺟﻮﻫﺮﻳﱠﺔ ﺑﺬﻝ ﺍﻟﻜﺘﱠﺎﺏ‬
‫ﻭﺍﻟﻔﻼﺳﻔﺔ ﺟﻤﻴﻌﺎً ﺟﻬﻮﺩﻫﻢ ﻛﻴﻤﺎ ﻳﺘﺤﺎﺷﻮﻫﺎ‪ .‬ﻭﺃﻧﺎ ﺗﺤﺎﺷﻴﺘﻬﺎ ﻳﻘﻴﻨﺎً‪ .‬ﻭﺍﻷﺳﻄﻮﺭﺓ‬
‫ﻫﻲ‪ :‬ﻧﻴﻠﺴﻮﻥ ﻭﻫﺎﻣﻠﺘﻮﻥ ﳕﻮﺫﺟﺎﻥ ﻫﻤﺎ ﺃﺷﺪّ ﳕﺎﺫﺝ ﺍﻟﺬﻛﻮﺭﺓ ﳝﻜﻦ ﺗﺨﻴّﻠﻬﺎ‪ ،‬ﺗﻌﺎﺭﺿﺎً‪،‬‬
‫ﻋﺸﻘﺎ ﺍﻟﻠﻴﺪﻱ ﻫﺎﻣﻠﺘﻮﻥ ﺫﺍﺗﻬﺎ‪ .‬ﺑﺎﻟﻄﱠﺒﻊ‪ ،‬ﻛﻞّ ﺍﻟﺮﺟﺎﻝ ﺍﻵﺧﺮﻳﻦ ﺍﻟﺬﻳﻦ ﻳﺘﻮﺳّﻄﻮﻥ ﻓﻴﻤﺎ‬
‫ﺑﻴﻨﻬﻤﺎ ﺍﻧﻬﺎﺭﻭﺍ ﺃﻳﻀﺎً ﺗﺤﺖ ﻭﻃﺄﺓ ﺳﺤﺮﻫﺎ‪.‬‬
‫‪-١٣٣-‬‬
‫ﻭﺗﻜﻮﻥ ﺍﻷﺳﻄﻮﺭﺓ ﻛﺎﻣﻠﺔ ﻟﻮ ﺃﺟﺒﻨﺎ ﻋﻦ ﻫﺬﺍ ﺍﻟﺴﱡﺆﺍﻝ‪ :‬ﻣﻦ ﻫﻲ ﺍﻟﻠﻴﺪﻱ ﻫﺎﻣﻠﺘﻮﻥ؟‬
‫ﺍﻟﻠﻴﺪﻱ ﻫﺎﻣﻠﺘﻮﻥ ﻫﻲ ﻫﺬﻩ ﺍﻟﺴﻴﺪﺓ ﺍﻟﺘﻲ ﲤﺮﱡ ﺍﻵﻥ ﺑﻘﻨﺰﻋﺔ ﺑﻴﻀﺎﺀ ﺭﺍﻛﺒﺔ ﻓﺮﺳﺎً ﺻﻐﻴﺮﺍً‬
‫ﻛﻤﻴﺘﺎً‪ .‬ﺇﻧﱠﻬﺎ ﺻﺪﻳﻘﺔ ﺣﻤﻴﻤﺔ ﺟﺪﱠﺍً ﳌﻠﻜﺔ ﻧﺎﺑﻮﻟﻲ ﻣﺎﺭﻱ ﻛﺎﺭﻭﻟﻴﻨﺎ ﺃﺧﺖ ﻣﺎﺭﻱ ﺃﻧﻄﻮﺍﻧﻴﺖ‪،‬‬
‫ﻭﺍﻟﺘﻲ ﺃﳒﺒﺖ ﲦﺎﻧﻴﺔ ﻋﺸﺮ ﺍﺑﻨﺎً ﻭﻣﺎ ﺗﺰﺍﻝ ﺗﺤﺘﻔﻆ ﺑﺤﺮﺍﺭﺓ ﻟﺘﺤﺐّ ﻫﺬﻩ ﺍﻹﻧﻜﻠﻴﺰﻳﱠﺔ‪ .‬ﺇﻣﱠﺎ‬
‫ﻫﺎﻣﻠﺘﻮﻥ ‪ Emma H‬ﻛﺎﻧﺖ ﺃﺟﻤﻞ ﺍﻣﺮﺃﺓ ﰲ ﺍﳌﻤﻠﻜﺔ ﺍﳌﺘﱠﺤﺪﺓ‪ .‬ﻭﺟﻤﺎﻟﻬﺎ "ﺟﻤﺎﻝ ﺭﺳﻤﻲّ"‬
‫ﻳﺸﻴﺮ ﺇﻟﻴﻪ ﺍﻟﻨﱠﺎﺱ ﻣﻦ ﺑﻌﻴﺪ ﻛﻤﺎ ﻳُﺸﺎﺭ ﺇﻟﻰ ﺍﻟﻨﱡﺼﺐ ﺍﻟﺘﺬﻛﺎﺭﻳﱠﺔ ﺍﻟﻮﻃﻨﻴﱠﺔ‪ .‬ﻭﻛﺎﻧﺖ ﺗﻐﻨّﻲ‬
‫ﺑﺼﻮﺕ ﻋﺬﺏ‪ ،‬ﻭﺗُﻘﻴﻢ ﰲ ﺍﻟﺴﱠﻬﺮﺍﺕ ﺟﻠﺴﺎﺕ "ﲤﺜﻴﻞ"؛ ﻓﺘﻀﻊ "ﺍﻟﺸﱠﺎﻝ" ﻭﺗﻠﺒﺲ ﻋﻠﻰ‬
‫ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﻬﻴﻠﻴﻨﻴﱠﺔ‪ ،‬ﻓﺘﻤﺜّﻞ ﻛﻠﻴﺘﻤﻨﺴﺘﺮﺍ ﺃﻭ ﻛﺎﺳﺎﻧﺪﺭﺍ‪ ،‬ﻓﺘﻘﻄّﺐ ﺣﺎﺟﺒﻬﺎ ﺍﳌﺄﺳﺎﻭﻱ‬
‫ﻭﲡﻌﻞ ﻭﺟﻬﻬﺎ ﺍﳉﻤﻴﻞ ﻳﻜﺘﺌﺐ‪ ،‬ﺟﺎﻋﻠﺔ ﺍﻟﻨﱡﻮﺭ ﺍﳌﻨﻌﻜﺲ ﻳﻨﻜﺴﺮ ﰲ ﻋﻴﻨﻴﻬﺎ‪ ،‬ﻛﻤﺎ ﰲ‬
‫ﺻﻮﺭ ﻏﻴﺪﻭ ﺭﻳﻨﻲ ‪ .Guido Reni‬ﻭﻛﺎﻥ ﺍﻟﻨﱠﺠﺎﺡ ﺿﺨﻤﺎً‪ :‬ﻓﻜﺎﻥ ﺍﻟﻜﻼﻡ ﻋﻦ ﻫﺬﻩ‬
‫"ﺍﻟﺘﱠﻤﺜﻴﻠﻴﱠﺎﺕ" ﻳﺴﺮﻱ ﰲ ﺃﳓﺎﺀ ﺃﻭﺭﻭﺑّﺎ ﻛﻠّﻬﺎ‪ .‬ﻭﻻ ﻧﻨﺲَ‪ :‬ﺃﻧﱠﻨﺎ ﰲ ﺳﺎﻋﺔ ﺍﻟﺘﱠﺤﻀﻴﺮ‬
‫ﻟﻠﺮّﻭﻣﺎﻧﺴﻴﱠﺔ‪ .‬ﻓﻜﺎﻥ ﺍﻟﻘﻠﺐ ﻳﺼﻌﺪ ﺇﻟﻰ ﺍﻟﺮﱠﺃﺱ‪ ،‬ﻭﺍﻻﻧﻔﻌﺎﻝ ﻣﻘﺒﻮﻝ ﻛﺎﻟﻜﺤﻮﻝ‪ .‬ﺇﻧﱠﻪ ﻃﻌﻢ‬
‫ﺟﺪﻳﺪ ﻣُﺴْﻜﺮ‪ ،‬ﻭﺍﻟﻨﱠﺎﺱ ﻳﺒﺤﺜﻮﻥ ﺍﻵﻥ ﻋﻦ ﺍﻟﺴﱡﻜْﺮ ﺑﺸﻜﻞٍ ﺧﺎﺹّ‪ .‬ﻭﻛﺎﻧﺖ ﺍﳌﺮﺃﺓ ﺗُﺘﱠﺨﺬ‬
‫ﻣﻮﺿﻮﻋﺎً ﺃﻭ ﺣﺠﱠﺔ ﻹﻋﻼﺀ ﺷﺄﻥ ﺍﳌﺸﺎﻋﺮ‪ .‬ﻭﻛﺎﻥ ﻳُﻔﺼﺢ ﻋﻦ ﻧﻐﻤﺔ ﺍﻟﻌﺼﺮ ﲟﻔﺮﺩﺍﺕ‬
‫ﺍﻟﻠﻐﺔ‪ :‬ﻓﻜﻨﺖ ﺗﺴﻤﻊ ﻛﻞّ ﺁﻥ ‪":‬ﺇﻟﻬﻲ"‪" ،‬ﺳﺎﻡٍ"‪" ،‬ﺟﺬﺑﻲ"‪" ،‬ﻣﺸﺆﻭﻡ"‪ ،‬ﻭﻛﺎﻧﺖ ﺍﻟﺪﱠﻣﻌﺔ‬
‫ﺗﺘﺮﻗﺮﻕ ﺇﻟﻰ ﺟﺎﻧﺐ ﺍﻟﻠﺆﻟﺆﺓ‪.‬‬
‫ﻭﺫﻟﻚ ﻛﻠّﻪ ﺇﺫﺍ ﻧُﻈﺮ ﺇﻟﻴﻪ ﻣﻦ ﺑﻌﻴﺪ‪ ،‬ﺟﺬﱠﺍﺏ ﻃﺮﻳﻒ‪ .‬ﻟﻘﺪ ﺫﻫﺐ ﺍﳌﺴﺮﺡ ﺇﻟﻰ‬
‫ﺍﳊﻴﺎﺓ‪ ،‬ﻓﺎﻧﺘﻔﺠﺖْ ﻫﺬﻩ ﺍﳊﻴﺎﺓ ﻭﺍﻧﺘﻔﺨﺖ ﻛﺸﺮﺍﻉ ﺗﺤﺖ ﺍﻟﺮﻳﺢ ﺍﻟﺘﻲ ﺗﻬﺐّ ﻋﻠﻰ ﺧﺸﺒﺔ‬
‫ﺍﳌﺴﺮﺡ‪ .‬ﻻ ﺃﺩﺭﻱ؛ ﻟﻜﻦﱠ ﻣﺴﺮﺣﺔ ﺍﳊﻴﺎﺓ ﺍﻟﺘﻲ ﺗﻔﺴّﺮ ﳒﺎﺡ "ﲤﺜﻴﻠﻴﱠﺎﺕ" ﺇﻣﱠﺎ ﻫﺎﻣﻠﺘﻮﻥ‪،‬‬
‫ﺍﻟﺮﻭﻣﺎﻧﺴﻲّ‪ ،‬ﺗﺒﺪﻭ ﻟﻲ ﺃﺟﺪﺭ ﺑﺎﻟﺘﱠﻘﺪﻳﺮ ﻣﻦ ﺍﳌﺒﺪﺃ ﺍﳌﻌﺎﻛﺲ ﺍﻟﻨﺎﻓﺬ ﺑﻌﺪ ﻣﺎﺋﺔ ﻋﺎﻡ ﻣﻦ‬
‫ﺫﻟﻚ ﳌﱠﺎ ﺍﻧﺸﻐﻞ ﺍﳌﺴﺮﺡ ﺑﺘﻘﻠﻴﺪ ﺍﳊﻴﺎﺓ‪.‬‬
‫ﺣﺴﻦ! ﻟﻜﻦﱠ ﺇﻣﱠﺎ ﻫﺬﻩ ﺻﺪﻳﻘﺔ ﺍﳌﻠﻜﺔ ﻭﺯﻭﺟﺔ ﺍﻟﺴﱠﻔﻴﺮ ﺍﻟﻠﻴﺪﻱ ﻫﺎﻣﻠﺘﻮﻥ‪ ،‬ﻣﺎﺫﺍ‬
‫ﻛﺎﻧﺖ ﻣﻦ ﻗﺒﻞ؟ ﺇﺫﺍً‪ ،‬ﻫﻲ ﻛﺎﻧﺖ ﻋﺸﻴﻘﺔ ﺍﺑﻦ ﺃﺥ ﻫﺎﻣﻠﺘﻮﻥ ﺍﻟﻔﺎﺭﺱ ﻏﺮﻓﻴﻞ ‪Greville‬‬
‫ﺍﻟﺬﻱ ﻣﺮﱠﺭﻫﺎ ﺇﻟﻰ ﻋﻤّﻪ‪ .‬ﻓﻘﺪ ﻛﺎﻥ ﻟﻘﻴﻬﺎ ﰲ ﺑﻴﺖ ﻣﻌﺎﻟﺞ ﺩﺟﱠﺎﻝ ﻛﺎﻥ ﻳﻌﻴﺪ ﻗﻮّﺓ ﺍﳊﺮﻛﺔ‬
‫ﺇﻟﻰ ﺍﻟﻀّﻌﻔﺎﺀ ﺑﻮﺳﺎﻃﺔ ﺍﻻﻫﺘﺰﺍﺯﺍﺕ ﺍﻟﻜﻬﺮﺑﺎﺋﻴﱠﺔ‪ .‬ﻭﻛﺎﻧﺖ ﺗﻘﻒ ﺇﺯﺍﺀ ﺳﺮﻳﺮ ﺍﳌﺮﺽ ﺣﻴﺚ‬
‫ﻳﺘﻠﻘﱠﻰ ﺍﳌﺮﻳﺾ ﺗﻔﺮﻳﻎ ﺍﻟﺸّﺤﻨﺎﺕ‪ ،‬ﻣﺜﻞ )ﻫﻴﺨﻴﺎ( ﺁﻟﻬﺔ ﺍﻟﺼﺤﺔ‪ ،‬ﻫﺬﻩ ﺍﻟﻔﺘﺎﺓُ ﺍﻷﻋﺠﻮﺑﺔ‬
‫‪-١٣٤-‬‬
‫ﺍﻟﺘﻲ ﻛﺎﻧﺖ ﺧﺎﺩﻣﺔً ﺑﺴﻴﻄﺔ ﺑﻨﺖ ﻃﺒﱠﺎﺧﺔ‪ .‬ﻭﻫﻲ ﺍﻵﻥ ﺯﻭﺟﺔ ﺳﻔﻴﺮ ﺇﻧﻜﻠﺘﺮﺍ‪ .‬ﻭﻟﻴﺲ‬
‫ﺳﻬﻼً ﺍﻟﻮﺻﻮﻝ ﻣﻦ ﺣﺎﻟﺔ ﺩﻧﻴﺎ ﺇﻟﻰ ﺃﻛﺜﺮ ﻣﻦ ﺫﻟﻚ‪.‬‬
‫ﻭﻗﺪ ﻳﻘﻮﻝ ﺍﻟﻘﺎﺭﺉ‪ :‬ﻻ ﻳﻜﻔﻲ ﺍﳉﻤﺎﻝ ﻟﺘﻔﺴﻴﺮ ﺻﻌﻮﺩ ﺑﻬﺬﺍ ﺍﻟﻜﺒﺮ! ﻓﻼ ﺑﺪﱠ ﻟﻬﺬﻩ‬
‫ﺍﳌﺮﺃﺓ ﻣﻦ ﺃﻧﱠﻬﺎ ﻛﺎﻧﺖ ﲤﺘﻠﻚ ﻣﻮﻫﺒﺔ ﻛﺒﻴﺮﺓ‪.‬‬
‫ﻭﻫﺬﻱ ﻫﻲ ﺍﻟﻨﻘﻄﺔ ﺍﳊﺎﺳﻤﺔ ﰲ ﺍﻷﺳﻄﻮﺭﺓ ﺍﻟﺘﻲ ﺍﻋﺘﺪﻧﺎ ﺃﻥ ﻧﺘﺤﺎﺷﺎﻫﺎ‬
‫ﺟﻤﻴﻌﺎً‪ .‬ﻷﻥﱠ ﺍﳊﻘﻴﻘﺔ ﺍﻟﻘﺎﺳﻴﺔ ﻫﻲ ﺃﻥﱠ ﺍﻟﻠﻴﺪﻱ ﻫﺎﻣﻠﺘﻮﻥ ﻻ ﲤﺘﻠﻚ ﺃﻳﱠﺔ ﻣﻮﻫﺒﺔ‪ ،‬ﺣﺘﱠﻰ‬
‫ﻭﻻ ﺛﻘﺎﻓﺔ ﺭﻓﻴﻌﺔ ﻭﻻ ﺫﻭﻗﺎً ﺗﻘﺮﻳﺒﺎً‪ ،‬ﺃﻭ ﺇﺩﺭﺍﻛﺎً ﺳﻠﻴﻤﺎً‪ .‬ﺇﻧﱠﻬﺎ ﺍﻟﻄّﻴﺶ ﻛﺎﻣﻼً‪ .‬ﻭﻛﺎﻧﺖ‬
‫ﺍﳊﻴﺎﺓ ﻋﻨﺪﻫﺎ ﺍﺭﺗﺪﺍﺀ ﺑﺰﱠﺍﺕ ﻭﺧﻠﻊ ﺑﺰﱠﺍﺕ‪ ،‬ﻭﺍﻟﺬﱠﻫﺎﺏ ﺇﻟﻰ ﺣﻔﻠﺔ ﺇﺛﺮ ﺣﻔﻠﺔ ﻭﺍﻹﻳﺎﺏ‬
‫ﻣﻨﻬﺎ‪ ،‬ﻭﺗﺒﺬﻳﺮ ﺍﳌﺎﻝ ﻭﻋﺪﻡ ﺍﻟﺘﱠﻮﻗﱡﻒ ﻭﺍﻟﺮﱠﻗﺺ ﻭﺍﳊﺮﻛﺎﺕ ﺍﻟﺘﱠﺎﻓﻬﺔ‪ ،‬ﻭﺩﻋﻮﺓُ ﺍﻟﻨﱠﺎﺱ ﻭﻗﺒﻮﻝ‬
‫ﺍﻟﺪﱠﻋﻮﺍﺕ‪ .‬ﺇﻧﱠﻬﺎ ﺍﻟﺘﱠﻔﺎﻫﺔ ﺍﻷﺑﺪﻳﱠﺔ ﺍﻟﺘﻲ ﻋﺮﻓﻨﺎﻫﺎ ﺟﻤﻴﻌﺎً ﺗﺤﺖ ﻫﺬﺍ ﺍﻻﺳﻢ ﺃﻭ ﺫﺍﻙ‪،‬‬
‫ﻭﻋﺸﻘﻨﺎﻫﺎ ﺫﺍﺕ ﻣﺮﱠﺓ‪ .‬ﻟﺬﻟﻚ ﺃﻗﻮﻝ ﺇﻥﱠ ﺍﻷﺳﻄﻮﺭﺓ ﺃﺳﺎﺳﻴﱠﺔ ﻭﻟﻴﺴﺖ ﻣﺠﺮﱠﺩ ﺣﻜﺎﻳﺔ‪.‬‬
‫ﻟﺬﻟﻚ ﻳﻠﺘﻔﺖ ﺍﻟﻘﺎﺭﺉ ﺇﻟﻰ ﺍﻟﻮﺭﺍﺀ ﻭﻳﻘﻮﻝ‪" :‬ﺭﺑﱠﻤﺎ ﻛﺎﻧﺖ ﻣﻔﺮﻃﺔ ﰲ ﺟﻤﺎﻟﻬﺎ"‪.‬‬
‫ﺃﺟﻞ‪ ،‬ﻳﺒﺪﻭ ﺃﻧﱠﻬﺎ ﻛﺎﻧﺖ ﻛﺬﻟﻚ‪ .‬ﻟﻜﻦﱠ ﺫﻟﻚ ﻻ ﻳﻔﺴﱢﺮ ﺃﻳﻀﺎً ﺃﻥ ﻳﻌﺸﻘﻬﺎ ﻋﻠﻰ ﺷﻜﻞ‬
‫ﺟﺬﺭﻱ ﺭﺟﺎﻝ ﻣﻦ ﺃﻣﺜﺎﻝ ﻧﻴﻠﺴﻮﻥ ﻭﻫﺎﻣﻠﺘﻮﻥ‪ .‬ﻷﻥﱠ ﺍﳉﻤﺎﻝ ﺍﳌﻔﺮﻁ ﻋﻘﺒﺔ ﻛﻴﻤﺎ ﻳﺸﻌﺮ‬
‫ﺑﺄﻧﻔﺴﻬﻢ ﺭﺟﺎﻝ ﺫﻭﻭ ﺷﻌﻮﺭ ﻓﺎﺋﻖ‪ ،‬ﻣﻨﺠﺬﺑﲔ ﳓﻮ ﺍﻣﺮﺃﺓ‪ .‬ﻭﻛﻤﺎﻝ ﻭﺟﻪ ﻛﻤﺎﻻً ﻣﻔﺮﻃﺎً‬
‫ﻳﺪﻋﻮﻧﺎ ﺇﻟﻰ ﺗﺸﻴﻲﺀ ﺍﻟﺸﺨﺺ ﺍﻟﺬﻱ ﳝﻠﻜﻪ‪ ،‬ﻭﺍﻻﺑﺘﻌﺎﺩ ﻋﻨﻪ ﻛﻴﻤﺎ ﻧُﻌﺠﺐ ﺑﻪ ﻛﻤﻮﺿﻮﻉ‬
‫ﺟﻤﺎﻟﻲّ‪ .‬ﻭ"ﺿﺮﻭﺏ ﺍﳉﻤﺎﻝ ﺍﻟﺮﱠﺳﻤﻲّ" ﻳﻌﺸﻘﻬﺎ ﺍﳌﻐﻔﱠﻠﻮﻥ ﻭﺻﺒﻴﺎﻥ ﺍﶈﻼﱠﺕ ﻓﺤﺴﺐ‪.‬‬
‫ﺇﻧﱠﻬﺎ ﻧُﺼﺐ ﻋﺎﻣﱠﺔ ﻭﻃﺮﺍﺋﻒ ﻳﺘﺄﻣّﻠﻬﺎ ﺍﳌﺮﺀ ﻣﻦ ﺑﻌﻴﺪ ﻣﻦ ﻏﻴﺮ ﺃﻥ ﻳﻘﻒ ﻋﻨﺪﻫﺎ‪ ،‬ﻭﻳُﺤﺲﱡ‬
‫ﺇﺯﺍﺀﻫﺎ ﺃﻧﱠﻪ ﺳﺎﺋﺢ ﻭﻟﻴﺲ ﻣﺤﺒﱠﺎً‪.‬‬
‫ﻳﺤﺴﻦُ ﺑﻨﺎ ﺇﺫﺍً‪ ،‬ﺃﻻﱠ ﻧﻬﺮﺏ ﻣﻦ ﺍﳌﺴﺄﻟﺔ ﻋﺒﺮ ﻧﺎﻓﺬﺓ ﺍﳉﻤﺎﻝ‪ .‬ﻓﻤﻦ ﻏﻴﺮ ﺟﺮﻋﺔ‬
‫ﻣﻨﻪ ﻣﺎ ﻛﺎﻥ ﺍﻟﺒﻄﻼﻥ ﺍﳌﺨﺘﻠﻔﺎﻥ ﻧﻴﻠﺴﻮﻥ ﻭﻫﺎﻣﻠﺘﻮﻥ ﺃﺣﺒﱠﺎ ﺇﻣﱠﺎ‪ .‬ﻟﻜﻦﱠ ﻣﺎ ﻛﺎﻥ ﻳﺠﺬﺑﻬﻤﺎ‬
‫ﻣﻮﺿﻮﻋﻴﱠﺎً ﻛﺎﻥ ﺷﻴﺌﺎً ﺁﺧﺮ‪ .‬ﻭﺃﻧﺎ ﺁﻣﻞ ﺃﻥ ﻳﻘﺎﻭﻡ ﺍﻟﻘﺎﺭﺉ ﺍﻹﻏﺮﺍﺀ ﺍﻟﺸﱠﻌﺒﻲ ﺍﳌﺒﺘﺬﻝ ﺍﻟﺬﻱ‬
‫ﻳﻔﺘﺮﺽ ﺃﻥﱠ ﺍﳊﺐّ ﻋﻨﺪ ﺭﺟﻞٍ ﻣﻦ ﻫﺬﺍ ﺍﻟﻄّﺮﺍﺯ ﻳﻨﺸﺄ ﻣﻦ ﺍﻟﺸﱠﻬﻮﺓ ﺍﳉﻨﺴﻴﱠﺔ‪.‬‬
‫ﻛﺎﻧﺖ ﺍﻟﻠﻴﺪﻱ ﻫﺎﻣﻠﺘﻮﻥ ﺍﻟﺮﱠﺷﻴﻘﺔ ﺍﳋﻔﻴﻔﺔ ﺫﺍﺕ ﺍﻟﺸﱠﻌﺮ ﺍﻟﻨﱠﺎﻋﻢ ﻭﺍﻟﺮﺃﺱ‬
‫ﺍﻟﺼﱠﻐﻴﺮ ﺍﻟﻘﻠِﻖ ﺗﻈﻬﺮ ﰲ ﺧﻠﻔﻴﱠﺔ ﺍﳌﻨﻈﺮ ﻛﺎﻟﻈﱠﺒﻴﺔ‪ .‬ﺇﻧﱠﻪ ﺍﳌﻨﻈﺮ ﺍﻟﺬﻱ ﻛﺎﻥ ﻳُﻌﻠﱠﻖ ﰲ ﺑﻴﻮﺕ‬
‫‪-١٣٥-‬‬
‫ﺇﻧﻜﻠﺘﺮﺍ ﻛﻠّﻬﺎ ﺗﻘﺮﻳﺒﺎً‪ .‬ﻭﻟﻢ ﻳﻜﻦ ﻟﺪﻯ ﺍﻟﻠﻴﺪﻱ ﻫﺎﻣﻠﺘﻮﻥ ﻣﻦ ﺳﺪﺍﺩ ﺍﻟﺮﱠﺃﻱ ﺃﻛﺜﺮ ﳑﱠﺎ ﻟﺪﻯ‬
‫ﺍﻟﻈﱠﺒﻴﺔ‪ .‬ﻓﻠِﻢَ ﻳﻌﺸﻘﻬﺎ ﺭﺟﻼﻥ ﻣﺜﻞ ﻧﻴﻠﺴﻮﻥ ﻭﻫﺎﻣﻠﺘﻮﻥ؟‬
‫ﺇﻥﱠ ﺣﻞّ ﺍﻟﻠﻐﺰ ﺍﶈﺘﻤﻞ ﻫﺎﻡّ ﺇﻟﻰ ﺣﺪﱟ ﻣﺎ‪ ،‬ﻭﻻ ﺃﺩﺭﻱ ﺇﻥ ﻛﻨﺖ ﺃﺟﺮﺅ ﻋﻠﻰ ﺍﻟﻮﻋﺪ‬
‫ﺑﻪ ﰲ ﺍﻟﻌﺪﺩ ﺍﻟﻘﺎﺩﻡ‪.‬‬

‫‪Olmedo‬‬ ‫ﺣﻞّ ﺃﻭﳌﻴﺪﻭ‬

‫ﻟﻘﺪ ﻟﻘﻴﺖُ ﺃﻭﳌﻴﺪﻭ‪ ،‬ﻭﻣﻦ ﻫﻮ ﺃﻭﳌﻴﺪﻭ؟ ﰲ ﺭﺃﻳﻲ‪ ،‬ﻫﻮ ﺭﺟﻞ ﻳﺜﻴﺮ ﺍﻹﻋﺠﺎﺏ‪ .‬ﺇﻧﱠﻪ‬
‫ﺫﻛﻲّ ﻭﻟﻴﺲ ﻣﻔﻜﱢﺮﺍً‪ .‬ﻭﺃﺟﻬﻞ ﺇﻥ ﻛﺎﻥ ﺍﻵﺧﺮﻭﻥ ﺫﻭﻱ ﺣﻆّ ﺧﻴﺮ ﻣﻦ ﺣﻈّﻪ‪ .‬ﻟﻜﻦﱠ ﻣﺎ‬
‫ﻭﺿﻌﺘﻪ ﺍﳊﻴﺎﺓ ﺇﺯﺍﺋﻲ ﻳﻔﺮﺽ ﻋﻠﻲّ ﺍﻟﻘﻨﺎﻋﺔ ﺍﳌﻐﻴﻈﺔ ﺃﻧﱠﻪ ﻳﻜﺎﺩ ﻻ ﻳﻮﺟﺪ ﻋﻠﻰ ﺍﻷﻗﻞّ ﰲ‬
‫ﺯﻣﺎﻧﻨﺎ‪ ،‬ﺭﺟﺎﻝ ﺃﺫﻛﻴﺎﺀ ﻏﻴﺮَ ﺍﳌﻔﻜّﺮﻳﻦ‪ .‬ﻭﺇﺫْ ﻛﺎﻥ ﻣﻌﻈﻢ ﺍﳌﻔﻜﱢﺮﻳﻦ ﻏﻴﺮَ ﺃﺫﻛﻴﺎﺀ ﺃﻳﻀﺎً‪ ،‬ﻓﺈﻥﱠ‬
‫ﺍﻟﺬﱠﻛﺎﺀ ﻳﺒﺪﻭ ﺣﺎﺩﺛﺎً ﻃﺎﺭﺋﺎً ﻏﺮﻳﺒﺎً ﺑﺈﻓﺮﺍﻁ ﻋﻠﻰ ﻭﺟﻪ ﺍﻟﻜﺮﺓ ﺍﻷﺭﺿﻴﱠﺔ‪ .‬ﻭﻫﺬﻩ ﺍﻟﻘﻨﺎﻋﺔ‬
‫ﺍﻟﺘﻲ ﺳﻴﺜﻴﺮ ﻣﻀﻤﻮﻧﻬﺎ ﺍﻟﻘﺎﺭﺉ ﻋﻦ ﺣﻖّ‪ ،‬ﻫﻲ ﺃﻳﻀﺎً ﺑﺎﻟﻨﺴﺒﺔ ﳌﻦ ﻳﺘﺒﻨﱠﺎﻫﺎ‪ ،‬ﻣﺮﻫﻘﺔ‬
‫ﻭﻣﺨﺠﻠﺔ ﺑﺸﻜﻞٍ ﻛﺒﻴﺮ‪ .‬ﻭﻷﺳﺒﺎﺏ ﻛﺜﻴﺮﺓ‪ .‬ﻟﻜﻨﱠﻨﺎ ﺇﺫﺍ ﺍﻧﻄﻠﻘﻨﺎ ﻣﻦ ﻫﺬﻩ ﺍﻟﻘﻨﺎﻋﺔ‪ ،‬ﻳﺼﺒﺢ‬
‫ﻣﺤﺘﻤﻼً ﺟﺪﱠﺍً ﺃﻻﱠ ﻳﻜﻮﻥ ﺍﳌﺮﺀ ﺫﺍﺗﻪ ﺫﻛﻴﱠﺎً ﰲ ﺷﻲﺀ‪ ،‬ﺑﺎﻟﺘﱠﺎﻟﻲ‪ ،‬ﺗﻜﻮﻥ ﺃﻓﻜﺎﺭﻩ ﻛﻠّﻬﺎ ﺯﺍﺋﻔﺔ‪،‬‬
‫ﺣﺘﱠﻰ ﺗﻠﻚ ﺍﻟﻔﻜﺮﺓ ﺍﻟﺘﻲ ﻳﻨﻌﺘﻬﺎ ﺑﺎﻟﻔﻌﻞ ﻏﺮﻳﺒﺔ ﻋﻦ ﺍﻟﺬﱠﻛﺎﺀ‪ .‬ﻟﻜﻦ ﺫﻟﻚ ﺃﻣﺮ ﻻ ﻣﺤﻴﺪ‬
‫ﻋﻨﻪ‪ .‬ﻓﻼ ﻳﺴﺘﻄﻴﻊ ﺃﺣﺪ ﺃﻥ ﻳﻘﻔﺰ ﺧﺎﺭﺝ ﻇﻠّﻪ‪ ،‬ﻭﻻ ﺃﻥ ﳝﺘﻠﻚ ﻗﻨﺎﻋﺎﺕٍ ﻏﻴﺮَ ﻣﺎ ﳝﺘﻠﻜﻪ‬
‫ﻣﻨﻬﺎ‪ .‬ﻭﺇﻧﱠﻤﺎ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﻄﻠﺐ ﻣﻦ ﻛﻞّ ﻓﺮﺩ ﺃﻥ ﻳﻐﻨّﻲ ﺃﻏﻨﻴﺘﻪ ﺑﺼﺪﻕ ﻓﻘﻂ‪ .‬ﻭﺃﻏﻨﻴﺘﻲ‬
‫ﳝﻜﻦ ﻟﻬﺎ ﺃﻥ ﺗﺤﻤﻞ ﻋﻨﻮﺍﻥ ﻣﻮﻋﻈﺔ ﻣﺎﺳﻴّﻮﻥ ‪ Massillon‬ﺍﳌﺸﻬﻮﺭﺓ‪ :‬ﺣﻮﻝ ﻗﻠّﺔ ﻋﺪﺩ‬
‫ﺍﻟﻨُﺨﺐ‪ .Sur le petit nombre des élus .‬ﻭﻟﻢ ﻳﺰﺭﻉ ﺷﻲﺀ ﻫﺬﻩ ﺍﻟﻜﺂﺑﺔ ﻛﻠّﻬﺎ ﰲ ﻧﻔﺲ‬
‫ﺍﳌﺮﺀ ﻛﻬﺬﺍ ﺍﻟﺘﱠﺄﻛﻴﺪ ﻋﻠﻰ ﺃﻥﱠ ﻋﺪﺩ ﺍﻷﺫﻛﻴﺎﺀ ﺷﺪﻳﺪ ﺍﻟﻨﺪﺭﺓ‪.‬‬
‫ﻭﻟﻴﺲ ﺍﳌﺮﺍﺩ ﺃﻥ ﻧﻄﻠﺐ ﻣﻦ ﺍﻟﻐﻴﺮ ﻋﺒﻘﺮﻳﱠﺔ‪ .‬ﻓﺄﻧﺎ ﺃﻓﻬﻢ ﻣﻦ ﻛﻠﻤﺔ ﺫﻛﺎﺀ ﺃﻥ ﻳﺘﻔﺎﻋﻞ‬
‫ﺍﻟﺬﻫﻦ ﻣﻊ ﺍﻟﻮﻗﺎﺋﻊ ﺑﺸﻲﺀ ﻣﻦ ﺍﻟﺪّﻗﱠﺔ ﻭﺍﻟﺘﱠﺤﺪﻳﺪ ﻓﺤﺴْﺐ‪ ،‬ﻭﺃﻻ ﻳﺴﻲﺀ ﺍﻟﻔﻬﻢ ﺑﺸﻜﻞ‬
‫ﺩﺍﺋﻢ ﻭﺃﻻ ﳔﻠﻂ ﺍﻷﻣﻮﺭ ﺑﺒﻌﻀﻬﺎ‪ ،‬ﺧﺎﺻﱠﺔ ﺃﻥ ﻳﺮﻯ ﺍﳌﺮﺀ ﻣﺎ ﻳﻘﻒ ﺃﻣﺎﻣﻪ ﺑﻘﻠﻴﻞ ﻣﻦ‬
‫ﺍﻟﺼّﺤّﺔ ﻭﺍﻟﺪﻗّﺔ ﻣﻦ ﻏﻴﺮ ﺃﻥ ﻧﺴﺘﺒﺪﻝ ﺑﺎﻟﺮﺅﻳﺔ ﺍﻟﻜﻠﻤﺎﺕ ﺍﳌﺮﺩﱠﺩﺓ ﺁﻟﻴﱠﺎً‪ .‬ﻟﻜﻦ‪ ،‬ﻳﺴﺎﻭﺭﻧﺎ‬
‫ﺍﻧﻄﺒﺎﻉ ﺃﻧﱠﻨﺎ ﻧﻌﻴﺶ ﰲ ﺍﻟﻌﺎﺩﺓ ﻭﺳﻂ ﻣُﺴﺮﳕﲔ ﻳﺘﻘﺪﱠﻣﻮﻥ ﰲ ﺍﳊﻴﺎﺓ ﻏﺎﺭﻗﲔ ﰲ ﺣﻠﻢ‬
‫‪-١٣٦-‬‬
 ‫ﻣُﻄﺒﻖ ﻻ ﳝﻜﻦ ﺃﻥ ﻳُﻮﻗَﻈﻮﺍ ﻣﻨﻪ ﻟﻠﻔﺖ ﺍﻧﺘﺒﺎﻫﻬﻢ ﺇﻟﻰ ﻣﺎ ﻳﺤﻴﻂ ﺑﻬﻢ‪ .‬ﻭﻳﺮﺟّﺢ ﺃﻥﱠ‬
‫ﺍﻹﻧﺴﺎﻧﻴﱠﺔ ﻗﺪ ﻋﺎﺷﺖ ﺩﺍﺋﻤﺎً ﺗﻘﺮﻳﺒﺎً ﰲ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ﺍﳌﺴﺮﻧَﻤﺔ ﺍﻟﺘﻲ ﺍﻷﻓﻜﺎﺭ ﻓﻴﻬﺎ‬
‫ﻟﻴﺴﺖ ﺭﺩّ ﻓﻌﻞ ﻳﻘﻆ ﻭﻭﺍﻉٍ ﻋﻠﻰ ﺍﻷﺷﻴﺎﺀ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻲ ﺍﺳﺘﻌﻤﺎﻝُ ﺟﻤﻠﺔٍ ﻋﻤﻴﺎﺀ ﻭﺁﻟﻴﺔ ﻣﻦ‬
‫ﺍﻟﺼﻴﻎ ﺍﻟﺘﻲ ﻳﻮﺣﻲ ﺑﻬﺎ ﺍﶈﻴﻂ ﺇﻟﻰ ﺍﻟﻔﺮﺩ‪.‬‬
‫ﻭﻻ ﳝﻜﻨﻨﺎ ﺍﻹﻧﻜﺎﺭ ﺃﻥﱠ ﺟﺎﻧﺒﺎً ﻛﺒﻴﺮﺍً ﻣﻦ ﺍﻟﻌﻠﻢ ﻭﺍﻵﺩﺍﺏ ﻳﺘﺸﻜﱠﻞ ﺃﻳﻀﺎً ﰲ ﻣﺮﺣﻠﺔ‬
‫ﻣﺴﺮﳕﺔ؛ ﺃﻱ‪ ،‬ﺷﻜّﻠﺘﻬﺎ ﻣﺨﻠﻮﻗﺎﺕ ﻟﻴﺴﺖ ﺫﻛﻴﱠﺔ ﰲ ﺷﻲﺀ‪ .‬ﻭﺃﺧﺺّ ﺑﺎﻟﺬّﻛﺮ ﺍﻟﻌﻠﻢ‬
‫ﺍﳌﺘﺨﺼّﺺ ﻭﺍﳌُﻤﻨﻬﺞ ﰲ ﺁﻥٍ ﻭﺍﺣﺪ ﰲ ﺯﻣﺎﻧﻨﺎ ﻭﺍﻟﺬﻱ ﻳﺘﻴﺢ ﻟﻠﻐﺒﻲّ ﺃﻥ ﻳﺴﺘﺜﻤﺮﻩ‪ ،‬ﻭﻫﻜﺬﺍ‬
‫ﻧﺮﻯ ﰲ ﻳﻮﻣﻨﺎ ﺃﺷﺨﺎﺻﺎً ﻳﻘﻮﻣﻮﻥ ﺑﺄﻋﻤﺎﻝ ﺟﺪﻳﺮﺓ ﺑﺎﻟﺘﱠﻘﺪﻳﺮ‪ ،‬ﻻ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﻘﺪّﺭﻫﻢ‪.‬‬
‫ﺇﺫِ ﺍﻟﻌﻠﻢ ﻭﺍﻵﺩﺍﺏ ﻻ ﺗﺴﺘﻠﺰﻡ ﻧﺒﺎﻫﺔ‪ .‬ﻟﻜﻦﱠ ﳑﺎﺭﺳﺘﻬﻤﺎ ﻫﻲ ﺑﻼ ﺭﻳﺐ ﺣﺎﻓﺰ ﻳﺸﺠّﻊ‬
‫ﻳﻘﻈﺔ ﺍﳌﺦّ ﻭﻳﺒﻘﻴﻪ ﰲ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ﻣﻦ ﺍﻻﺳﺘﻨﻔﺎﺭ ﺍﳌﻀﻲﺀ ﺍﻟﺬﻱ ﻳﺸﻜّﻞ ﺍﻟﺬﱠﻛﺎﺀ‪.‬‬
‫ﻷﻥﱠ ﺍﻟﻔﺮﻕ ﺑﻌﺪ ﻛﻞّ ﺷﻲﺀ ﺑﲔ ﺍﻟﺬّﻛﻲّ ﻭﺍﻷﺣﻤﻖ ﻳﻜﻤﻦ ﰲ ﺃﻥﱠ ﺍﻷﻭﱠﻝ ﻳﻌﻴﺶ‬
‫ﻣﺤﺘﺮﺳﺎً ﻣﻦ ﺣﻤﺎﻗﺎﺗﻪ ﺫﺍﺗﻬﺎ ﻭﻳﺘﻌﺮﱠﻑ ﺇﻟﻴﻬﺎ ﻣﺎ ﺇﻥ ﺗﻈﻬﺮ ﻭﻳﺒﺬﻝ ﺟﻬﺪﻩ ﻛﻤﺎ ﻳُﺒﻌﺪﻫﺎ‪،‬‬
‫ﺑﻴﻨﻤﺎ ﺍﻷﺣﻤﻖ ﻳﺴﺘﺴﻠﻢ ﻟﻬﺎ ﻣﻔﺘﻮﻧﺎً ﺑﻬﺎ ﻭﻣﻦ ﻏﻴﺮ ﺗﺤﻔﱡﻆ‪.‬‬
‫ﻭﺑﺴﺒﺐ ﻣﻦ ﻫﺬﺍ ﺍﳊﺎﻓﺰ ﺍﻟﺪﱠﺍﺋﻢ ﺗﻮﺟﺪ ﺍﺣﺘﻤﺎﻻﺕ ﺃﻛﺜﺮ ﰲ ﺃﻥ ﻳﻜﻮﻥ ﺍﳌﻔﻜّﺮ‬
‫ﺫﻛﻴﱠﺎً‪ .‬ﻟﻜﻨّﻲ ﺃﻋﺪّ ﺗﻌﺎﺳﺔ ﺧﻄﻴﺮﺓ ﺃﻥ ﻳﻘﺘﺼﺮ ﺍﻟﺬﱠﻛﺎﺀ ﻋﻤﻠﻴﱠﺎً ﰲ ﻋﺼﺮٍ ﻣﺎ ﺃﻭ ﺃﻣﱠﺔ ﻣﺎ‬
‫ﻋﻠﻰ ﺍﻟﺘﱠﻔﻜﻴﺮ‪ .‬ﻷﻥﱠ ﺍﻟﺬﱠﻛﺎﺀ ﻳﺘﺠﻠﱠﻰ ﺑﺸﻜﻞٍ ﺧﺎﺹّ ﰲ ﺍﳊﺪﺱ ﺑﺎﳊﻴﺎﺓ ﻭﻟﻴﺲ ﰲ ﺍﻟﻔﻦّ‬
‫ﻭﻻ ﰲ ﺍﻟﻌﻠﻢ‪ .‬ﺇﺫﺍً‪ ،‬ﺍﳌﻔﻜّﺮ ﻻ ﻳﻌﻴﺶ ﺗﻘﺮﻳﺒﺎً‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻫﻮ ﰲ ﺍﻟﻌﺎﺩﺓ ﺭﺟﻞ ﻓﻘﻴﺮ ﺟﺪﱠﺍً‬
‫ﺑﺎﳊﺪﻭﺱ‪ ،‬ﻭﻳﻜﺎﺩ ﻻ ﻳﻨﺸﻂ ﰲ ﺍﻟﺪﱡﻧﻴﺎ‪ ،‬ﻭﻗﻠﻴﻞ ﺍﳌﻌﺮﻓﺔ ﺑﺎﳌﺮﺃﺓ ﻭﺍﻟﺘّﺠﺎﺭﺓ ﻭﺍﳌﻠﺬﱠﺍﺕ‬
‫ﻭﺍﻷﻫﻮﺍﺀ‪ .‬ﻭﺇﻧﱠﻤﺎ ﻳﺘﺒﻨﱠﻰ ﻭﺟﻮﺩﺍً ﻣﺠﺮﱠﺩﺍً‪ ،‬ﻭﻗﻠﱠﻤﺎ ﻳﺴﺘﻄﻴﻊ ﺃﻥ ﻳُﻠﻘﻲ ﺑﻘﻄﻌﺔ ﳊﻢ ﺣﻲّ‬
‫ﺣﻘﻴﻘﻲّ ﺑﲔ ﺃﻧﻴﺎﺏ ﻓﻜﺮﻩ ﺍﳊﺎﺩّﺓ‪.‬‬
‫ﻭﺇﻥﱠ ﺫﻛﺎﺀ ﺍﳌﻔﻜّﺮ ﻗﻠﻴﻞ ﺍﻟﻨﱠﻔﻊ ﻟﻨﺎ‪ :‬ﺇﻧﱠﻪ ﻳﻨﻜﺐّ ﺩﺍﺋﻤﺎً ﺗﻘﺮﻳﺒﺎً ﻋﻠﻰ ﻣﻮﺍﺿﻴﻊ ﻏﻴﺮ‬
‫ﻭﺍﻗﻌﻴﱠﺔ ﻭﻋﻠﻰ ﻣﺴﺎﺋﻞ ﻣﻦ ﻭﻇﻴﻔﺘﻪ ﺫﺍﺗﻬﺎ‪ .‬ﻟﺬﻟﻚ ﻛﺎﻧﺖ ﻟﺬﱠﺓ ﻛﺒﺮﻯ ﻟﻲ ﺃﻥ ﻟﻘﻴﺖُ ﺃﻭﳌﻴﺪﻭ‪،‬‬
‫ﻭﺭﺃﻳﺘﻪ ﻳُﻘﺒﻞ ﺑﺎﺳﻤﺎً ﻳﺘﻘﺪﱠﻣﻪ ﺳﻴﻒُ ﻧﻈﺮﺗﻪ ﺍﳌﺰﺩﻭﺝ‪ - ،‬ﻧﻈﺮﺓ ﺛﺎﻗﺒﺔ ﻭﺷﺒﻪ ﻣﺎﺟﻨﺔ ﻳﺒﺪﻭ‬
‫ﺃﻧﱠﻬﺎ ﺗﺮﻓﻊ ﺍﻟﻐﻄﺎﺀ‪ 1‬ﻋﻦ ﺍﻷﺷﻴﺎﺀ ﻛﻠّﻬﺎ ﻟﺘﺮﻯ ﻛﻴﻒ ﻫﻲ ﻣﻦ ﺍﻟﺪﱠﺍﺧﻞ‪ -‬ﻭﺃﻭﳌﻴﺪﻭ ﻣﺼﺮﰲّ‬
‫ﻭﻣﺠﺮّﺏ ﻛﺒﻴﺮ‪ .‬ﻭﳌﱠﺎ ﻋَﺒَﺮ ﺑﺴﺮﻋﺔ ﻭﺟﻮﺩﻱ ﺍﻟﻬﺰﻳﻞ ﻟﻜﻮﻧﻲ ﻣﻔﻜﱢﺮﺍً ﺃﻭﱠﻻً ﻭﺁﺧﺮﺍً‪ ،‬ﺑﺪﺍ ﻟﻲ‬

‫)‪ (١‬ﰲ ﺍﻷﺻﻞ ‪ = faldas‬ﺗﻨﻮّﺭﺍﺕ‪.‬‬

‫‪-١٣٧-‬‬
 ‫ﺷﻬﺎﺑﺎً ﺛﺎﻗﺒﺎً ﻭﺻﻞ ﻣﺤﻤﱠﻼً ﺑﻐﺒﺎﺭ ﺍﻟﻨﺠﻮﻡ ﺍﻟﺬﱠﻫﺒﻲّ‪ .‬ﻭﻟﻴﺄﺕِ ﻣﻦ ﺣﻴﺚ ﺃﺗﻰ‪ ،‬ﺃﻋﺮﻑ ﺃﻧﱠﻪ‬
‫ﻳﺠﻲﺀ ﺩﺍﺋﻤﺎً ﻣﻦ ﺍﻟﻌﺎﻟﻢ‪ ،‬ﻭﺃﻧﱠﻪ ﺭﺃﻯ ﺃﺛﻨﺎﺀ ﺳﻔﺮﻩ ﻣﺎ ﻳﺠﺮﻱ ﰲ "ﺍﻟﺰّﻫﺮﺓ ‪ ،"Venus‬ﻭﺻﻔﻊ‬
‫ﻧﺒﺘﻮﻥ ﻋﻠﻰ ﻛﻔﻠﻪ ﺻﻔﻌﺔ‪ .‬ﻭﺃﻭﳌﻴﺪﻭ ﻳﻌﺮﻑ ﺃﻳﻀﺎً ﻛﺜﻴﺮﺍً ﻣﻦ ﺍﻟﻜﺘﺐ‪ .‬ﻳﻌﺮﻑ ﻣﻨﻬﺎ ﻛﻤﺎ‬
‫ﻳﻌﺮﻑ ﺍﳌﻔﻜّﺮ‪ .‬ﻟﻜﻨﱠﻪ ﻻ ﻳﻌﺮﻑ ﺫﻟﻚ ﻓﻜﺮﻳﱠﺎً ﻭﺇﻧﱠﻤﺎ ﻣﻌﺮﻓﺔ ﺭﺟﻞ ﺧﺒﻴﺮ‪ .‬ﻭﻟﻢ ﻳﺴﻤﺢ ﶈﻮﺭ‬
‫ﺷﺨﺼﻪ ﺃﻥ ﻳﺜﺒُﺖ‪ 1‬ﰲ ﺃﻱّ ﻭﻇﻴﻔﺔ‪ ،‬ﻭﻳﻜﻮﻥ ﻣﺤﺪﻭﺩﺍً ﺑﺴﺒﺐ ﺫﻟﻚ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻳﺪﻋﻪ ﻳﻬﻴﻢ‬
‫ﻋﻠﻰ ﻫﻮﻯ ﻣﺼﻴﺮﻩ ﺍﳌﺒﻬﻢ‪ .‬ﻭﺭﺑﱠﻤﺎ ﻭُﺟﺪ ﰲ ﺃﺯﻣﻨﺔ ﺃﺧﺮﻯ ﻛﺎﻟﻘﺮﻥ ‪ ١٨‬ﻣﺜﻼً‪ ،‬ﺭﺟﺎﻝ‬
‫ﻛﺜﻴﺮﻭﻥ ﻣﻦ ﻫﺬﺍ ﺍﻟﻄّﺮﺍﺯ‪ :‬ﻧﺒﻼﺀ ﻭﻣﺘﻤﻮّﻟﻮﻥ ﻭﻣﻼﱠﻙ ﻭﻗﻀﺎﺓ ﻛﺎﻧﻮﺍ ﻣﻊ ﺫﻟﻚ ﺃﺫﻛﻴﺎﺀ‪،‬‬
‫ﻭﻛﺎﻥ ﻳﺴﺮّﻫﻢ ﺃﻥ ﻳﺴﺘﺨﻠﺼﻮﺍ ﻣﻦ ﲡﺎﺭﺑﻬﻢ ﺍﳊﻴﻮﻳﱠﺔ ﺃﻓﻜﺎﺭﺍً ﻭﺍﺿﺤﺔ ﻭﻣﺘﻤﻴّﺰﺓ‪) .‬ﻭﻻ‬
‫ﻳُﻔﻬﻢ ﻭﺿﻊ ﺃﻭﺭﻭﺑﺎ ﺍﳊﺎﻟﻲّ –ﺃﻱ ﻋﺠﺰﻫﺎ ﻋﻦ ﺣﻞّ ﻣﺸﺎﻛﻠﻬﺎ ﺍﻟﺮﱠﺍﻫﻨﺔ ﺑﻴﺴﺮ‪ -‬ﺇﻻﱠ ﺇﺫﺍ‬
‫ﺍﻓﺘﺮﺿﻨﺎ ﺧﻠﻮﱠﻫﺎ ﻣﻦ ﺭﺟﺎﻝ ﻫﺬﻩ ﺍﻟﻄﱠﺒﻘﺔ‪ .‬ﻭﻛﻤﺎ ﺗﻮﺟﺪ ﻋﺼﻮﺭ ﻛﻨﻬﺎﻳﺔ ﺍﻟﻌﺼﺮ‬
‫ﺍﻟﺮّﻭﻣﺎﻧﻲ ﻣﺜﻼً‪ ،‬ﺗﻨﺪُﺭ ﻓﻴﻬﺎ ﺍﻟﺸﱠﺠﺎﻋﺔ ﻭﻻ ﻳُﻌﺪﱡ ﺷﺠﻌﺎﻧﺎً ﻏﻴﺮ ﺍﻟﻌﺴﻜﺮﻳﲔ‪ ،‬ﻛﺬﻟﻚ ﺗﻮﺟﺪ‬
‫ﻋﺼﻮﺭ ﻳﻘﺘﺼِﺮ ﻓﻴﻬﺎ ﺍﻟﺬﱠﻛﺎﺀ ﻋﻠﻰ ﺍﳌﻔﻜﱢﺮﻳﻦ‪ ،‬ﻭﻳﺼﺒﺢ ﺍﻟﺬّﻛﺎﺀ ﻭﻇﻴﻔﺔ(‪.‬‬
‫ﻭﺍﻟﻜﻼﻡ ﻳﺠﺮﻱ ﺑﺎﺳﺘﻔﺎﺿﺔ ﻋﻦ ﺃﻭﳌﻴﺪﻭ ﰲ ﺗﺎﺭﻳﺦ ﳌﱠﺎ ﻳُﻨﺸَﺮ –ﻭﻗﺪ ﻻ ﻳُﻨﺸﺮ‬
‫ﺃﺑﺪﺍً‪ -‬ﺗﻮﺻﻒ ﻓﻴﻪ ﺑﺘﻘﺮﻳﺐ ﻣﺰﻋﺞ ﻣﻈﺎﻫﺮ‪ 2‬ﺍﳊﻴﺎﺓ ﺍﻷﺑﺪﻳﱠﺔ ﺍﳌﺪﺭﻳﺪﻳﱠﺔ ﰲ ﺃﻳﱠﺎﻣﻨﺎ‬
‫ﺍﻟﺮﱠﺍﻫﻨﺔ‪.‬‬
‫‪ -‬ﻟﻘﺪ ﺭﺃﻳﺖُ ﻣﻘﺎﻟﻚ ﺣﻮﻝ ﺍﻟﻠﻴﺪﻱ ﻫﺎﻣﻠﺘﻮﻥ‪ – .‬ﻗﺎﻝ ﻟﻲ ﺃﻭﳌﻴﺪﻭ‪ .-‬ﻟﻘﺪ ﺃﺣﺴﻨﺖ‬
‫ﺟﺪﱠﺍً ﺑﺈﺑﺮﺍﺯ ﻣﺎ ﻫﻮ ﺟﻮﻫﺮﻱّ ﰲ ﺍﻟﻨﱠﻤﻮﺫﺝ ﺍﳌﺜﺎﻟﻲّ ﰲ ﺗﻠﻚ ﺍﳊﺎﻟﺔ‪ .‬ﻟﻜﻦ‪ ،‬ﻫﺎﺕِ‬
‫ﺣﻞّ ﺍﳌﺸﻜﻠﺔ ﺍﻵﻥ‪.‬‬
‫‪ -‬ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻳﺎ ﺻﺪﻳﻘﻲ ﺃﻭﳌﻴﺪﻭ‪ ،‬ﺃﻧّﻲ ﻻ ﺃﻣﻠﻚ ﺣﻼً‪.‬‬
‫‪ -‬ﺃﺗﻘﻮﻝ ﺟﺎﺩﱠﺍً؟‬
‫‪ -‬ﲤﺎﻡ ﺍﳉِﺪّ‪.‬‬
‫‪ -‬ﺇﺫﺍً‪ ،‬ﺃﻧﺖ ﺍﻟﺒﺮﺟﻮﺍﺯﻱّ ﺍﻟﻨﱠﺒﻴﻞ ﰲ ﻋﻠﻢ ﺍﻟﻨﱠﻔﺲ‪.‬‬
‫‪ -‬ﻭﻟِﻢَ؟‬
‫‪ -‬ﻷﻧﱠﻚَ ﺗﺤﻞﱡ ﺍﳌﺸﺎﻛﻞ ﻣﻦ ﻏﻴﺮ ﺃﻥ ﺗﺪﺭﻱ ﺑﺬﻟﻚ‪.‬‬

‫)‪ Hincado (١‬ﰲ ﺍﻷﺻﻞ ﻣﻨﻐﺮﺯ‪.‬‬

‫)‪ Zonas (٢‬ﰲ ﺍﻷﺻﻞ ﺃﻱ ﻣﻨﺎﻃﻖ ‪.‬‬
‫‪-١٣٨-‬‬
 ‫‪ -‬ﺃﻓﺼﺢْ ! ﺃﻓﺼﺢْ !‬
‫‪ -‬ﳌﱠﺎ ﺻُﻐﺖَ ﺍﳌﺸﻜﻠﺔ ﻧﻄﻘﺖ ﺑﺎﳊﻞّ‪ ،‬ﰲ ﺍﻟﻮﺍﻗﻊ‪ .‬ﻭﻫﺬﺍ ﻣﺎ ﻳﺤﺪﺙ ﺩﺍﺋﻤﺎً‪ .‬ﻷﻥﱠ ﺃﻟﻐﺎﺯﻧﺎ‬
‫ﻭﺃﺳﺌﻠﺘﻨﺎ ﻫﻲ ﰲ ﺍﻟﻌﺎﺩﺓ ﺃﺟﻮﺑﺔ ﻣﻘﻨّﻌﺔ ﺑﻄﻴّﺘﻲ ﻋﻼﻣﺔ ﺍﻻﺳﺘﻔﻬﺎﻡ ﺍﻟﺼّﻨﻌﻴّﺘﲔ‪ .‬ﻭﻫﺬﺍ‬
‫ﻣﺎ ﻳﺤﺪﺙ ﺍﻵﻥ‪ .‬ﻧﻴﻠﺴﻮﻥ ﻭﻫﺎﻣﻠﺘﻮﻥ ﺭﺟﻼﻥ ﻣﺘﻌﺎﺭﺿﺎﻥ ﰲ ﺍﻟﻄﺒﺎﻉ ﻟﻜﻨﱠﻬﻤﺎ ﻛﻠﻴﻬﻤﺎ‬
‫ﻣﻦ ﺍﻟﻄﺮﺍﺯ ﺍﻷﻭﱠﻝ‪ ،‬ﺃﺣﺒﱠﺎ ﺍﻣﺮﺃﺓ ﻗﺎﺭﺑﺖ ﺑﻠﻄﻒ ﺟﻤﺎﻟﻬﺎ ﻭﻓﺴﺎﺩ ﻋﻘﻠﻬﺎ ﺃﻥ ﺗﻜﻮﻥ‬
‫ﻇﺒﻴﺔ‪ .‬ﻭﻫﻨﺎ ﺍﳌﺸﻜﻠﺔ‪ ،‬ﺗﻘﻮﻝ ﺃﻧﺖ‪.‬‬
‫‪ -‬ﺑﺎﻟﻔﻌﻞ‪.‬‬
‫‪ -‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻻ ﺃﺭﻯ ﺃﻳّﻤﺎ ﻣﺸﻜﻠﺔ ﻫﻨﺎ‪ .‬ﺑﻞ ﻫﻲ ﺑﺎﳊﺮﻱّ ﻭﺍﻗﻌﺔ ﳕﻮﺫﺟﻴﱠﺔ ﻭﻣﻀﻴﺌﺔ‬
‫ﻣﺜﻞ ﻣﻌﺎﺩﻟﺔ ﺭﻳﺎﺿﻴﱠﺔ‪ .‬ﻭﺍﳌﺸﻜﻠﺔ‪ ،‬ﺃﻧﺖ ﺃﺿﻔﺘﻬﺎ‪ ،‬ﻷﻧﻚ ﺗﻘﺘﺮﺏ ﻣﻦ ﻭﺍﻗﻌﺔ ﻭﺍﺿﺤﺔ‬
‫ﺟﺪﱠﺍً ﺑﻔﻜﺮﺓٍ ﺗﺼﻮّﺭﺗَﻬﺎ ﻣﻦ ﻗﺒﻞ‪ ،‬ﻭﻫﻲ‪ :‬ﺇﻥﱠ ﺳُﺮﺍﺓ ﺍﻟﺮﱢﺟﺎﻝ ﻻ ﻳﻌﺸﻘﻮﻥ ﺍﻟﻈّﺒﺎﺀ‪.‬‬
‫‪ -‬ﻳﺎ ﺭﺟﻞ ! ﻳﺒﺪﻭ ﻃﺒﻴﻌﻴﱠﺎً ﺃﻻﱠ ﻳﺸﻌﺮ ﺫﻛﺮ ﺫﻭ ﻧﻔﺲ ﻣﻌﻘﱠﺪﺓ ﻭﻣﻨﻈﱠﻤﺔ ﺑﺎﻻﳒﺬﺍﺏ ﺇﻟﻰ‬
‫ﻣﺨﻠﻮﻕ ﺗﺎﻓﻪ ﺫﻱ ﺭﻭﺡ ﻫِﻔﱠﺔ‪ ،‬ﻭﻣﻦ "ﻏﻴﺮ ﺃﺳﺎﺱ" ﻛﻤﺎ ﻳﻘﻮﻝ ﺃﺣﺪ ﺃﺷﺨﺎﺹ ﺑﺎﺭﻭﺧﺎ‪.‬‬
‫‪ -‬ﺃﺟﻞ‪ ،‬ﺃﺟﻞ؛ ﻳﺒﺪﻭ ﺫﻟﻚ ﻃﺒﻴﻌﻴﱠﺎً؛ ﻟﻜﻦﱠ ﺍﻟﻄﱠﺒﻴﻌﻲّ ﻟﻴﺲ ﻣﺎ ﻳﺒﺪﻭ ﻟﻨﺎ ﻛﺬﻟﻚ‪ ،‬ﻭﺇﻧﱠﻤﺎ ﻣﺎ‬
‫ﻳﺒﺪﻭ ﻟﻠﻄﱠﺒﻴﻌﺔ ﺍﻟﺘﻲ ﻫﻲ ﻃﺒﻴﻌﻴﱠﺔ ﺃﻛﺜﺮ ﻣﻦ ﻛﻞﱢ ﺃﻧﺴﺎﻗﻨﺎ ﺍﻟﺬّﻫﻨﻴﱠﺔ‪ ،‬ﻭﻫﻲ ﲤﺘﻠﻚ ﺩﺍﺋﻤﺎً‬
‫ﻣﻌﻨﻰ ﺃﻋﻈﻢ‪ .‬ﻭﺑﻌﺪ ﻛﻞّ ﺷﻲﺀ‪ :‬ﻣﺎ ﺍﻟﺪﱠﺍﻋﻲ ﻛﻴﻤﺎ ﻳﻌﺸﻖ ﺭﺟﻞ ﺫﻛﻲ ﺍﻣﺮﺃﺓ ﺫﻛﻴﱠﺔ؟ ﻟﻮ‬
‫ﻛﻨﱠﺎ ﺑﺼﺪﺩ ﺇﻗﺎﻣﺔ ﺻﻨﺎﻋﺔ‪ ،‬ﺃﻭ ﺗﺄﺳﻴﺲ ﺣﺰﺏ ﺳﻴﺎﺳﻲ ﺃﻭ ﻣﺪﺭﺳﺔ ﻋﻠﻤﻴﱠﺔ ﻓﺈﻧﱠﻨﺎ‬
‫ﻧﻔﻬﻢ ﺃﻥ ﺗﺤﺎﻭﻝ ﺭﻭﺡ ﺻﺎﻓﻴﺔ ﺃﻥ ﺗﻨﻀﻢّ ﺇﻟﻰ ﺃﺭﻭﺍﺡ ﺃﺧﺮﻯ ﺻﺎﻓﻴﺔ‪ .‬ﻟﻜﻦ ﺍﳊﺎﺟﺔ‬
‫ﺍﻟﻐﺮﺍﻣﻴﱠﺔ ﻻ ﻋﻼﻗﺔ ﻟﻬﺎ ﺑﺬﻟﻚ ﺣﺘﱠﻰ ﻟﻮ ﺗﺮﻛﻨﺎ ﺟﺎﻧﺒﺎً ﺑُﻌﺪﻫﺎ ﺍﳉﻨﺴﻲّ‪ .‬ﻫﻲ ﺑﺎﻟﻀﱠﺒﻂ‬
‫ﻋﻜﺲ ﻛﻞّ ﺍﻫﺘﻤﺎﻡ ﻋﻘﻠﻲّ‪ .‬ﻭﺍﳊﺎﻟﺔ ﺍﻟﺘﻲ ﺗﻄﺮﺣﻬﺎ ﺑﻌﻴﺪﺍً ﻋﻦ ﺃﻥ ﺗﻜﻮﻥ ﻟﻐﺰﺍً ﻫﻲ‬
‫ﻣﻔﺘﺎﺡ ﺍﻟﺘّﺠﺮﺑﺔ ﺍﻟﻐﺮﺍﻣﻴﱠﺔ‪ :‬ﺍﻟﺮﱢﺟﺎﻝ ﻳﻌﺸﻘﻮﻥ ﺍﻟﻈّﺒﺎﺀ ﲟﻘﺪﺍﺭ ﻣﺎ ﰲ ﺍﳌﺮﺃﺓ ﻣﻦ‬
‫ﺍﻟﻈﱠﺒﻴﺔ‪ .‬ﻭﺃﻧﺎ ﻻ ﺃﻗﻮﻝ ﺫﻟﻚ ﺃﻣﺎﻡ ﺍﻟﺴﱠﻴﱢﺪﺍﺕ ﻷﻧﱠﻬﻦ ﻗﺪ ﻳﺘﻈﺎﻫﺮﻥ ﺑﻐﻀﺐ ﻛﺒﻴﺮ ﻭﺇﻥ‬
‫ﻛﻦﱠ ﻳﺸﻌﺮﻥ ﺑﺎﻟﺴﺮﻭﺭ ﰲ ﻗﺮﺍﺭﺓ ﻧﻔﻮﺳﻬﻦّ‪.‬‬
‫‪ -‬ﺇﺫﺍً‪ ،‬ﻣﻮﻫﺒﺔ ﺍﳌﺮﺃﺓ ﰲ ﻧﻈﺮﻙ‪ ،‬ﻭﻗﺪﺭﺗﻬﺎ ﻋﻠﻰ ﺍﻟﺘﱠﻀﺤﻴﺔ ﻭﻧﺒﻠﻬﺎ ﺻﻔﺎﺕ ﻻ ﺃﻫﻤﻴﱠﺔ ﻟﻬﺎ‪.‬‬
‫‪ -‬ﻛﻼ! ﻛﻼ! ﺑﻞ ﻟﻬﺎ ﺃﻫﻤﻴﱠﺔ ﻛﺒﻴﺮﺓ‪ ،‬ﻭﺇﻧﱠﻬﺎ ﻋﺠﺎﺋﺐ ﺗﺴﺘﺤﻖّ ﻣﻨﺘﻬﻰ ﺍﻟﺘﱠﻘﺪﻳﺮ‪ ،‬ﻭﺇﻧﱠﻨﺎ‬
‫ﻧﺒﺤﺚ ﻋﻨﻬﺎ ﻭﻧُﻐﻠﻴﻬﺎ ﻟﺪﻯ ﺍﻷﻡّ ﻭﺍﻟﺰﱠﻭﺟﺔ ﻭﺍﻷﺧﺖ ﻭﺍﻟﺒﻨﺖ‪ .‬ﻟﻜﻦ‪ ،‬ﻣﺎﺫﺍ ﺗﺮﻳﺪ ﻣﻨّﻲ‪.‬‬
‫ﺃﻣﱠﺎ ﺇﺫﺍ ﻛﻨﱠﺎ ﺑﺼﺪﺩ ﺍﻟﻌﺸﻖ‪ ،‬ﻓﻘﺪ ﻳﻌﺸﻖُ ﺍﳌﺮﺀُ ﺍﻟﻈﱠﺒﻴﺔ ﺍﻟﻜﺎﻣﻨﺔ ﺩﺍﺧﻞ ﺍﳌﺮﺃﺓ‪.‬‬
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 ‫‪ -‬ﻋﺠﺒﺎً ﳌﺎ ﺗﻘﻮﻝ ﻟﻲ!‬
‫‪ -‬ﺍﻟﺬﱠﻛﺮ ﻛﻠﱠﻤﺎ ﻛﺎﻥ ﺃﻛﺜﺮ ﺫﻛﻮﺭﺓ‪ ،‬ﻳُﻤﻸ ﺣﺘﱠﻰ ﺍﻟﻄﻔﺎﻑ ﺑﺎﻟﻌﻘﻼﻧﻴﱠﺔ‪ .‬ﻓﻜﻞّ ﻣﺎ ﻳﻌﻤﻠﻪ‬
‫ﻭﻳﺤﺼﻞ ﻋﻠﻴﻪ‪ ،‬ﻳﻌﻤﻠﻪ ﻭﻳﺤﺼﻞ ﻋﻠﻴﻪ ﺑﻌﻠﻞ ﻣﻨﻄﻘﻴﱠﺔ‪ ،‬ﺧﺎﺻﱠﺔ ﻋﻠﻞ ﻧﻔﻌﻴﱠﺔ‪ .‬ﺃﻣﱠﺎ ﺍﳊﺐّ‬
‫ﻋﻨﺪ ﺍﳌﺮﺃﺓ‪ ،‬ﻭﻫﺬﺍ ﺍﻻﺳﺘﺴﻼﻡ ﺍﻹﻟﻬﻲ ﻣﻦ ﺷﺨﺼﻬﺎ ﻣﺎ ﻓﻮﻕ ﺍﳊﻤﻴﻢ ﺍﻟﺬﻱ ﲤﺎﺭﺳﻪ‬
‫ﺍﳌﺮﺃﺓ ﺍﻟﻬﺎﻭﻳﺔ‪ ،‬ﻓﺮﺑﱠﻤﺎ ﻛﺎﻥ ﺍﻟﺸﱠﻲﺀ ﺍﻟﻮﺣﻴﺪ ﺍﻟﺬﻱ ﻻ ﻳُﻨﺎﻝ ﺑﻌﻠﻞ ﻣﻨﻄﻘﻴﱠﺔ‪ .‬ﻷﻥﱠ ﻣﺮﻛﺰ‬
‫ﺍﻟﺮﻭﺡ ﺍﻷﻧﺜﻮﻳﱠﺔ ﻣﻬﻤﺎ ﺗﻜﻦ ﺍﳌﺮﺃﺓ ﺫﻛﻴﱠﺔ‪ ،‬ﺗﺸﻐﻠﻪ ﻗﻮﱠﺓ ﻻ ﻋﻘﻼﻧﻴﱠﺔ‪ .‬ﻓﺈﺫﺍ ﻛﺎﻥ ﺍﻟﺬﱠﻛﺮ‬
‫ﺍﻟﺸﱠﺨﺺ ﺍﻟﻌﻘﻼﻧﻲّ ﻓﺈﻥﱠ ﺍﳌﺮﺃﺓ ﺍﻟﺸﱠﺨﺺ ﺍﻟﻼﻋﻘﻼﻧﻲّ‪ .‬ﻭﻫﺬﻩ ﻫﻲ ﺍﻟﻠﺬﱠﺓ ﺍﻟﻌﻈﻤﻰ‬
‫ﺍﻟﺘﻲ ﳒﺪﻫﺎ ﻓﻴﻬﺎ! ﻭﺍﳊﻴﻮﺍﻥ ﻻ ﻋﻘﻼﻧﻲ ﺃﻳﻀﺎً‪ ،‬ﻟﻜﻨﱠﻪ ﻟﻴﺲ ﺷﺨﺼﺎً‪ .‬ﻭﻫﻮ ﻋﺎﺟﺰ‬
‫ﻋﻦ ﺇﺩﺭﺍﻙ ﻧﻔﺴﻪ ﻭﺇﺟﺎﺑﺘﻨﺎ‪ ،‬ﻭﻋﺎﺟﺰ ﻋﻦ ﺇﺩﺭﺍﻛﻨﺎ‪ .‬ﻓﻼ ﳝﻜﻦ ﺍﻟﺘﱠﻌﺎﻣﻞ ﻣﻌﻪ ﻭﻻ‬
‫ﺇﻳﺠﺎﺩ ﺻﻠﺔ ﺣﻤﻴﻤﺔ ﺑﻪ‪ .‬ﺃﻣﱠﺎ ﺍﳌﺮﺃﺓ ﻓﺘﻘﺪّﻡ ﻟﻠﺮﺟﻞ ﺍﳌﻨﺎﺳﺒﺔ ﺍﻟﺴﱠﺎﺣﺮﺓ ﻟﻠﺘﱠﻌﺎﻣﻞ ﻣﻊ‬
‫ﻛﺎﺋﻦ ﺁﺧﺮ ﻣﻦ ﻏﻴﺮ ﻋﻠﻞ ﻣﻨﻄﻘﻴﱠﺔ‪ ،‬ﻭﺍﻟﺘﱠﺄﺛﻴﺮ ﻓﻴﻪ ﻭﺍﻟﺴﻴﻄﺮﺓ ﻋﻠﻴﻪ ﻭﺍﻻﺳﺘﺴﻼﻡ ﻟﻪ‬
‫ﻣﻦ ﻏﻴﺮ ﺃﻥ ﺗﺘﺪﺧﱠﻞ ﻋﻠّﺔ ﻣﺎ‪ .‬ﺻﺪّﻗﻨﻲ ﻳﺎ ﺳﻴﱢﺪ‪ :‬ﻟﻮ ﻛﺎﻥ ﻟﻠﻌﺼﺎﻓﻴﺮ ﺣﺪّ ﺃﺩﻧﻰ ﻣﻦ‬
‫ﺍﻟﺸﱠﺨﺼﻴﱠﺔ ﻟﻌﺸﻘﻨﺎ ﺍﻟﻌﺼﺎﻓﻴﺮ ﻭﻟﻴﺲ ﺍﳌﺮﺃﺓ‪ .‬ﻭﺍﻟﻌﻜﺲ ﺻﺤﻴﺢ‪ ،‬ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﺬﱠﻛﺮ ﻻ‬
‫ﻳﻌﺸﻖ ﺫﻛﺮﺍً ﺁﺧﺮ ﻓﺬﻟﻚ ﻷﻧﱠﻪ ﻳﺮﻯ ﺭﻭﺡ ﻫﺬﺍ ﺍﻷﺧﻴﺮ ﻣﻜﻮﱠﻧﺔ ﻛﻠّﻬﺎ ﻣﻦ ﺍﻟﻌﻘﻼﻧﻴﱠﺔ‬
‫ﻭﺍﳌﻨﻄﻖ ﻭﺍﻟﺮﻳﺎﺿﻴّﺎﺕ ﻭﺍﻟﺸّﻌﺮ ﻭﺍﻟﺼﱢﻨﺎﻋﺔ ﻭﺍﻻﻗﺘﺼﺎﺩ‪ .‬ﻭﻣﺎ ﻧﺴﻤّﻴﻪ ﻋﻨﺪ ﺍﳌﺮﺃﺓ ﻏﻴﺮ‬
‫ﻣﻌﻘﻮﻝ ﻭﻧﺰﻗﺎً ﻫﻮ ﻣﺎ ﻳﺠﺬﺑﻨﺎ ﺇﻟﻴﻬﺎ ﺗﺤﺪﻳﺪﺍً‪ .‬ﻓﺎﻟﻌﺎﻟﻢ ﺻﻨﻌﻪ ﺻﺎﻧﻊ ﳑﺘﺎﺯ ﺑﺸﻜﻞ‬
‫ﻋﺠﻴﺐ‪ ،‬ﻭﺇﻥ ﺗﻮﺍﻓﻖ ﺃﺟﺰﺍﺋﻪ ﻭﺿﺒﻄﻬﺎ ﻟﻬﻮ ﺃﻋﺠﻮﺑﺔ‪.‬‬
‫‪ -‬ﺃﻧﺖ ﻣﺪﻫﺶ‪ ،‬ﻳﺎ ﺻﺪﻳﻘﻲ ﺃﻭﳌﻴﺪﻭ!‬
‫‪ -‬ﺇﺫﺍً‪ ،‬ﻓﻜﺮﺓ ﺃﻥﱠ ﺍﻟﺮﱠﺟﻞ ﺍﻟﺴّﺮﻱّ ﻳﻨﺒﻐﻲ ﻟﻪ ﺃﻥ ﻳﺤﺐّ ﺍﻣﺮﺃﺓ ﺳﺮﻳﱠﺔ ﺑﺎﳌﻌﻨﻰ ﺍﻟﻌﻘﻠﻲّ‪ ،‬ﻫﻮ‬
‫ﺗﺒﺴﻴﻂ ﻣﺤﺾ‪ ،‬ﻷﻥﱠ ﺍﻟﺮﱠﺟﻞ ﺍﻟﺬﻛﻲّ ﻳﺸﻌﺮ ﺑﺸﻲﺀ ﻣﻦ ﺍﻟﻨﻔﻮﺭ ﻣﻦ ﺍﳌﺮﺃﺓ ﺍﳌﻮﻫﻮﺑﺔ ﺇﺫﺍ‬
‫ﻟﻢ ﺗﺘﻜﺎﻓﺄ ﺍﻟﺮﺯﺍﻧﺔ ﻣﻊ ﻓﺮﻁ ﺍﳋِﻔﱠﺔ‪ .‬ﻷﻥﱠ ﺍﳌﺮﺃﺓ ﺍﻟﻌﻘﻼﻧﻴﱠﺔ ﻟﻬﺎ ﺭﺍﺋﺤﺔ ﺭﺟﻞ‪ .‬ﻭﺑﺪﻻً‬
‫ﻣﻦ ﺍﳊﺐّ ﻳﺤﺲّ ﺇﺯﺍﺀﻫﺎ ﺑﺎﻟﺼﱠﺪﺍﻗﺔ ﻭﺍﻹﻋﺠﺎﺏ‪ .‬ﻭﻣﻦ ﺍﻟﺰﻳﻒ ﺍﻻﻓﺘﺮﺍﺽ ﺃﻥﱠ ﺍﻟﺬﱠﻛﺮ‬
‫ﺍﻟﻨّﺨﺒﺔ ﲡﺬﺑﻪ ﺇﻟﻴﻬﺎ ﺍﳌﺮﺃﺓ "ﺍﻟﺬﱠﻛﻴﱠﺔ ﺟﺪﱠﺍً"‪ ،‬ﻛﻤﺎ ﻫﻲ ﺯﺍﺋﻔﺔ ﺍﻟﻔﻜﺮﺓ ﺍﻷﺧﺮﻯ ﺍﻟﺘﻲ‬
‫ﺗﺸﻴﻌﻬﺎ ﺍﻟﻨّﺴﺎﺀ ﺃﻧﻔﺴﻬﻦّ ﺑﺮﻳﺎﺀ ﺃﻧﱠﻬﻦﱠ ﻳﺒﺤﺜﻦ ﻃﺒﻘﺎً ﻟﻬﺎ ﻋﻦ ﺍﳉﻤﺎﻝ ﻟﺪﻯ ﺍﻟﺮﱠﺟﻞ‬
‫ﻗﺒﻞ ﻛﻞّ ﺷﻲﺀ‪ .‬ﻭﺇﻥﱠ ﺭﺟﻼً ﺑﺸِﻌﺎً ﻟﻜﻨﱠﻪ ﺫﻛﻲّ ﻳﻌﺮﻑ ﺟﻴﱢﺪﺍً ﺃﻧﱠﻪ ﰲ ﻧﻬﺎﻳﺔ ﺍﻷﻣﺮ ﻻ ﺑﺪﱠ‬
‫ﻟﻪ ﻣﻦ ﺃﻥ ﻳﻌﺎﻟﺞ ﺍﻟﻨﱢﺴﺎﺀ ﻣﻦ ﺍﻟﻀﱠﺠﺮ ﺍﻟﻨّﺎﺟﻢ ﻋﻦ "ﺣﺒّﻬﻦّ" ﺭﺟﺎﻻً ﺟﻤﻴﻠﲔ‪ .‬ﻓﻬﻮ‬
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 ‫ﻳﺮﺍﻫُﻦﱠ ﻳﻨﺴﺤﱭ ﻭﺍﺣﺪﺓً ﺇﺛﺮ ﺃﺧﺮﻯ ﻭﻳُﻠﻘﲔَ ﻣﺮﺍﺳﻴَﻬﻦّ ﻣﻀﻄﺮﱠﺍﺕ ﻭﺿﺠﺮﺍﺕ ﻏﺎﻳﺔ‬
‫ﺍﻟﻀﱠﺠﺮ ﻣﻦ ﺭﺣﻠﺘﻬﻦّ ﰲ ﺃﺭﺽ ﺍﳉﻤﺎﻝ ﺍﻟﺬﱠﻛﺮﻱّ‪.‬‬
‫‪ -‬ﺻﺪﻳﻘﻲ ﺃﻭﳌﻴﺪﻭ‪ :‬ﻟﻮ ﻛﻨﺖ ﻛﺎﺗﺒﺎً ﻭﻛﺘﺒﺖَ ﻣﺎ ﺃﻧﺖَ ﻗﺎﺋﻠﻪ ﻟﻲ‪ ،‬ﻟﺸﻨﻘﻮﻙَ ﻋﻠﻰ ﻋﻤﻮﺩ‬
‫ﻣﺼﺒﺎﺡ!‬
‫‪ -‬ﻟﺬﻟﻚ ﻻ ﺃﻛﺘﺐ‪ .‬ﻭﻟِﻢَ ﺍﻟﻜﺘﺎﺑﺔ؟ ﻓﻠﻴﺲ ﺑﺎﻹﻣﻜﺎﻥ ﻧﻘﻞ ﺍﻟﻴﻘﻴﻨﻴﱠﺎﺕ ﺍﻟﺬﱠﺍﺗﻴﱠﺔ‪ .‬ﻭﻳﻨﺪﺭ ﺃﻥ‬
‫ﻳﻜﻮﻥ ﺃﺣﺪ ﻋﻠﻰ ﺍﺳﺘﻌﺪﺍﺩ ﻓﻴﺘﻜﺮﱠﻡ ﻟﻴﺴﻤﻌﻨﺎ ﺑﺪﻗﱠﺔ‪ :‬ﻟﻜﻦ ﻣﺎ ﺃﻗﻮﻟﻪ ﻗﺎﻟﻪُ ﻣﺸﻔﱠﺮﺍً ﻣﻨﺬ‬
‫ﺳﻨﲔ ﻃﻮﻳﻠﺔ ﺻﺪﻳﻘﻨﺎ ﻓﻴﺪﻩ ‪) ،Fede‬ﺃﻭﳌﻴﺪﻭ ﻭﻳﺪﻋﻮ ﻓﻴﺪﺭﻳﻚ ﻧﻴﺘﺸﻪ ﻓﻴﺪِﻩ(‪ .‬ﺇ ﺫْ‬
‫ﳒﺪ ﳌﱠﺎ ﻋﺪﱠﺩ ﺧﺼﺎﺋﺺ ﺍﻟﺮﱠﺟﻞ ﺍﻷﻓﻀﻞ )ﻭﻳﺴﻤﱢﻴﻪ ﻫﻮ "ﺍﳌﻤﺘﺎﺯ"(‪ ،‬ﻣﺎ ﻳﻠﻲ‪:‬‬
‫"ﺇﻥﱠ ﺍﻟﺴّﺮﻭﺭ ﻋﻨﺪ ﺍﻟﻨﱢﺴﺎﺀ ﻫﻮ ﺭﺑﱠﻤﺎ ﻛﻤﺎ ﻟﺪﻯ ﺍﻟﻜﺎﺋﻨﺎﺕ ﺍﻷﺩﻧﻰ‪ ،‬ﻟﻜﻨﱠﻪ ﺃﺭﻫﻒ‬
‫ﻭﺃﺩﻕّ‪ .‬ﻭﻣﺎ ﺃﺑﻌﺚ ﻋﻠﻰ ﺍﻟﻠّﺬﱠﺓ ﺃﻥ ﲡﺪ ﻣﺨﻠﻮﻗﺎﺕ ﺭﺃﺳﻬﻦّ ﳑﻠﻮﺀ ﺩﺍﺋﻤﺎً ﺑﺎﻟﺮﱠﻗﺺ ﻭﺍﻟﻨّﺰﻕ‬
‫ﻭﺍﳌﻜﺎﺋﺪ! ﺇﻧﱠﻬﻦﱠ ﺳﺤﺮ ﺗﻠﻚ ﺍﻷﺭﻭﺍﺡ ﺍﻟﺬﱠﻛﺮﻳﱠﺔ ﺍﳌﻔﺮﻃﺔ ﰲ ﺗﻮﺗّﺮﻫﺎ ﻭﻋﻤﻘﻬﺎ‪ ،‬ﻭﺣﻴﺎﺗﻬﺎ‬
‫ﻣﺜﻘﻠﺔ ﲟﺴﺆﻭﻟﻴﱠﺎﺕ ﺟﺴﺎﻡ"‪.‬‬

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 ‫ﺍﻟﻔﻬﺮﺱ‬

‫ﺍﻟﺼﻔﺤﺔ‬
‫‪ .i‬ﻧﺒﺬﺓ ﻣﻦ ﺣﻴﺎﺓ ﺃﻭﺭﺗِﻐﺎ ﺇﻱ ﻏﺎﺳّﻴﺖ ‪٥ .....................................‬‬
‫‪ .ii‬ﻣﻘﺪﱢﻣﺔ ﺍﻟﻨّﺎﺷﺮﻳﻦ ‪٧ ......................................................‬‬
‫‪ .iii‬ﻣﻼﺣﻈﺔ ‪٨ ...............................................................‬‬
‫‪ .iv‬ﻣﻼﻣﺢ ﺍﳊﺐّ ‪٩ ..........................................................‬‬
‫‪ .v‬ﳓﻮ ﺳﻴﻜﻮﻟﻮﺟﻴﺎ ﺍﻟﺮﱠﺟﻞ ﺍﳉﺬﱠﺍﺏ ‪١٧ ......................................‬‬
‫‪ .vi‬ﺍﳊﺐّ ﻋﻨﺪ ﺳﺘﻨﺪﺍﻝ ‪٣٢ ....................................................‬‬
‫‪ .vii‬ﺍﻻﺧﺘﻴﺎﺭ ﰲ ﺍﳊﺐّ ‪٧١ .....................................................‬‬
‫‪ .viii‬ﻣﻦ ﺃﺟﻞ ﺗﺎﺭﻳﺦ ﺍﳊﺐّ ‪١٠٣ ..................................................‬‬
‫‪ .ix‬ﺧﺎﲤﺔ ﻟﻜﺘﺎﺏ ﻣﻦ "ﻓﺮﻧﺴﻴﺴﻜﺎ ﺇﻟﻰ ﺑﻴﺎﺗﺮﻳﺲ" ‪١١١ ..........................‬‬
‫‪ .x‬ﻣﻨﻈﺮ ﻣﻊ ﻇﺒﻴﺔ ﰲ ﺍﳋﻠﻔﻴّﺔ ‪١٣٢ ......................................‬‬

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‫ﺍﻟﻄﺒﻌﺔ ﺍﻟﺜﺎﻧﻴﺔ ‪ ٢٠١٣ /‬ﻡ‬
‫ﻋﺪﺩ ﺍﻟﻄﺒﻊ ‪ ١٠٠٠‬ﻧﺴﺨﺔ‬

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