‫أﺳﻠﻮب ﺗﺮﺟﻤﺔ اﻟﻨﺼﻮص اﻷدﺑﻴﺔ إﻟﻰ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ‬

‫اﻟﺪﻛﺘﻮر ﻋﺎرف ﻛﺮﺧﻲ أﺑﻮﺧﻀﻴﺮي‬

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‫‪-1‬اﻟﺘﺮﺟﻤﺔ اﻷدﺑﻴﺔ‪:‬‬

‫ﻳﺮى ﺑﻌﺾ اﳌﺆﻟﻔﲔ أن اﻟﱰﲨﺔ اﻷدﺑﻴﺔ ﲡﻤﻊ ﲢﺖ ﺳﻘﻔﻬﺎ ﻛﻞ ﻣﺎ ﻳﻜﺘﺐ ﺑﺄﺳﻠﻮب أدﰊ وﳛﻤﻞ ﻃﺎﺑﻊ اﻷدب ﻋﻠﻰ ﳓﻮ ﻣﻦ‬

‫اﻷﳓﺎء )‪(17‬وﻣﻦ ﰒ ﺗﻀﻢ اﻟﱰﲨﺔ اﻷدﺑﻴﺔ ﻋﻨﺪﻩ ﺗﺮﲨﺎت اﳌﺆﻟﻔﺎت اﻟﺘﺎرﳜﻴﺔ ﻛﺘﺎرﻳﺦ اﻟﻄﱪي ﲝﻜﻢ أﺳﻠﻮﺑﻪ‪ ،‬ﺑﻞ ﻛﻞ ﻣﺆﻟﻔﺎت اﻟﻌﻠﻮم اﻷﺧﺮى‬

‫ﻛﺎﻟﻔﻠﺴﻔﺔ واﻟﺘﺼﻮف واﳉﻐﺮاﻓﻴﺎ ﻓﺘﺪﺧﻞ ﺗﺮﲨﺎت اﳉﻤﻬﻮرﻳﺔ ﻹﻓﻼﻃﻮن واﻟﻐﺼﻦ اﻟﺬﻫﱯ ﻟﻠﺴﲑ ﺟﻴﻤﺲ ﻓﺮﻳﺰر وﻗﺼﺔ اﳋﻀﺎرة ﻟﻮﻳﻞ دﻳﻮراﻧﺖ ﲢﺖ‬

‫ﺳﻘﻒ اﻟﱰﲨﺔ اﻷدﺑﻴﺔ‪.‬‬

‫وﻳﺮى آﺧﺮون أن اﻟﱰﲨﺔ اﻷدﺑﻴﺔ ﻫﻲ ﺗﺮﲨﺔ اﻷدب ﺑﻔﺮوﻋﻪ اﳌﺨﺘﻠﻔﺔ أو ﻣﺎ ﻳﻄﻠﻖ ﻋﻠﻴﻪ اﻷﻧﻮاع اﻷدﺑﻴﺔ اﳌﺨﺘﻠﻔﺔ ‪literary‬‬

‫‪ genres‬ﻣﺜﻞ اﻟﺸﻌﺮ واﻟﻘﺼﺔ واﳌﺴﺮح وﻣﺎ إﻟﻴﻬﺎ)‪. (18‬‬

‫وواﺿﺢ أن اﻟﻔﺮﻗﺔ اﻷوﱃ ‪ ,‬وﻫﻲ اﻷﻗﻞ‪ ،‬ﺗﻨﻈﺮ إﱃ اﻟﺸﻜﻞ ﰲ اﻟﻨﺺ اﳌﱰﺟﻢ أو ﺑﻌﺒﺎرة أدق إﱃ أﺳﻠﻮﺑﻪ وﻫﻲ ﺑﺬﻟﻚ ﺗﻮﺳﻊ ﻣﻦ داﺋﺮة‬

‫اﻟﱰﲨﺔ اﻷدﺑﻴﺔ ﻟﺘﻀﻢ إﱃ اﻷدب اﻟﻌﻠﻮم اﻷﺧﺮى اﳌﺨﺘﻠﻔﺔ‪.‬‬

‫أﻣﺎ اﻟﻔﺮﻗﺔ اﻟﺜﺎﻧﻴﺔ‪ ،‬وﻫﻲ اﻷﻛﺜﺮ‪ ،‬ﻓﻬﻲ ﺗﺒﲎ ﺗﻌﺮﻳﻔﻬﺎ ﻋﻠﻰ أﺳﺎس ﻣﻮﺿﻮع اﻟﻨﺼﻮص‪ ،‬وﻣﻦ ﰒ ﺗﻘﺼﺮ اﻟﱰﲨﺔ اﻷدﺑﻴﺔ ﻋﻠﻰ ﻣﺎ ﻳﺘﺼﻞ‬

‫ﺑﺎﻷدب ﲟﻌﻨﺎﻩ اﳋﺎص أي اﻟﺸﻌﺮ واﻟﻨﺜﺮ اﳉﻤﻴﻠﲔ واﳌﺆﺛﺮﻳﻦ ﻓﺤﺴﺐ‪.‬‬

‫أﻣﺎ ﳓﻦ ﻓﺎﻟﱰﲨﺔ اﻷدﺑﻴﺔ ﻋﻨﺪﻧﺎ ﻓﻬﻲ ﺗﺮﲨﺔ اﻷدب أي اﻷﻋﻤﺎل اﻹﺑﺪاﻋﻴﺔ ﻣﻦ ﻗﺼﺎﺋﺪ ﺷﻌﺮﻳﺔ ﻏﻨﺎﺋﻴﺔ وﻣﺴﺮﺣﻴﺎت ﺷﻌﺮﻳﺔ وﻣﻼﺣﻢ‬

‫ورواﻳﺎت وﻗﺼﺺ ﻗﺼﲑة وﺣﻜﺎﻳﺎت ﺧﺮاﻓﻴﺔ وﻗﺼﺺ ﻋﻠﻰ أﻟﺴﻨﺔ اﳊﻴﻮان وﻣﻘﺎﻣﺎت ورﺳﺎﺋﻞ وﻣﻘﺎﻻت أدﺑﻴﺔ وﺣﻜﻢ وأﻣﺜﺎل وﺧﻄﺐ وﻣﺎ إﱃ‬

‫ذﻟﻚ ﻣﻦ أﻋﻤﺎل ﻓﻨﻴﺔ ﺗﻨﺪرج ﲢﺖ اﻷدب ﲟﻔﻬﻮﻣﻪ اﳋﺎص ﺑﺎﻹﻧﺘﺎج اﻟﺸﻌﺮي واﻟﻨﺜﺮي اﻟﺬي ﻳﺘﺴﻢ ﺑﺴﻤﺘﲔ أﺳﺎﺳﻴﺘﲔ ﳘﺎ اﳉﻤﺎل واﻟﺘﺄﺛﲑ‪.‬‬

‫وﺗﺘﻜﻮن اﻟﱰﲨﺔ اﻷدﺑﻴﺔ ﰲ ﻧﻈﺮ ﳏﻤﺪ ﻋﻨﺎﱐ ﻣﻦ ﻣﺮﺣﻠﺘﲔ ‪ :‬اﻷوﱃ ﻫﻲ اﻟﺘﻔﺴﲑ اﳋﺎص اﻟﺬي ﳜﺮج ﺑﻪ اﳌﱰﺟﻢ ﻣﻦ اﻟﻨﺺ اﻟﺬي‬

‫ﻳﺘﺼﺪى ﻟﻪ‪ ،‬وﻫﻮ ﻳﻔﻌﻞ ذﻟﻚ ﺷﺎء أم أﰉ ﰲ إﻃﺎر اﻟﻠﻐﺔ اﻟﱵ وﻟﺪ ﰲ ﻛﻨﻔﻬﺎ ودرج ﻋﻠﻰ اﻟﺘﻔﻜﲑ واﻹﺣﺴﺎس ﻬﺑﺎ‪ ،‬وﻫﻲ ﻟﻐﺔ ﻻ ﺗﻨﻔﺼﻞ ﻋﻦ‬

‫اﻷدب اﻟﺬي ﻗﺮأﻩ واﻟﺜﻘﺎﻓﺔ اﻟﱵ ﻫﻲ أﺳﻠﻮب ﺣﻴﺎﺗﻪ‪ .‬أي أن ﻋﻤﻠﻴﺔ اﻟﺘﻔﺴﲑ ﰲ ﺟﻮﻫﺮﻫﺎ ﻋﻤﻠﻴﺔ أدب ﻣﻘﺎرن‪ ،‬ﻷ�ﺎ ﺗﺘﻀﻤﻦ ﻣﻀﺎﻫﺎة ﻻ ﺷﻌﻮرﻳﺔ‬

‫أي ﻋﻦ ﻏﲑ وﻋﻲ وﻋﻦ ﻏﲑ ﻗﺼﺪ ﺑﲔ ﻣﺎ ﻳﻘﺮؤﻩ اﳌﱰﺟﻢ وﻣﺎ ﺗﺮاﻛﻢ ﰲ وﺟﺪاﻧﻪ وﻋﻘﻠﻪ ﻣﻦ ﺗﺮاث أدﰊ وﺛﻘﺎﰲ )‪.(19‬‬

‫واﳌﺮﺣﻠﺔ اﻟﺜﺎﻧﻴﺔ ﻫﻲ ﻣﺮﺣﻠﺔ اﻟﺼﻴﺎﻏﺔ‪ ،‬ﻓﺎﳌﱰﺟﻢ ﺷﺄﻧﻪ ﰲ ذﻟﻚ ﺷﺄن اﻟﺸﺎﻋﺮ اﻷﺻﻠﻲ‪ ,‬ﻳﺴﺘﻜﺸﻒ ﻣﻌﺎﱐ اﻟﻌﻤﻞ اﻷدﰊ وﺻﻮرﻫﺎ ﰲ‬

‫اﳌﺮﺣﻠﺘﲔ‪ .‬وﻫﻮ ﰲ ﻣﺮﺣﻠﺔ اﻟﺼﻴﺎﻏﺔ ﻣﻔﺴﺮ أﻳﻀﺎ‪ ،‬وإن ﻛﺎﻧﺖ اﻟﺼﻴﺎﻏﺔ ﺑﺎﻋﺘﺒﺎرﻫﺎ ﻣﺮﺣﻠﺔ ﻻﺣﻘﺔ ﺗﻘﺘﻀﻲ أﺧﺬ ﻋﻮاﻣﻞ أﺧﺮى ﰲ اﳊﺴﺒﺎن‪ ،‬ﺗﺘﻌﻠﻖ‬

‫)‪(17‬أﲪﺪ ﻋﺼﺎم اﻟﺪﻳﻦ‪ ،‬ﺣﺮﻛﺔ اﻟﱰﲨﺔ ﰲ ﻣﺼﺮ ﰲ اﻟﻘﺮن اﻟﻌﺸﺮﻳﻦ‪ ،‬اﳍﻴﺌﺔ اﳌﺼﺮﻳﺔ اﻟﻌﺎﻣﺔ ﻟﻠﻜﺘﺎب‪1986 ،‬م‪ ،‬ص ‪.71‬‬
‫)‪(18‬ﳏﻤﺪ ﻋﻨﺎﱐ‪ ،‬اﻟﱰﲨﺔ اﻷدﺑﻴﺔ‪ ،‬ص ‪.5‬‬
‫)‪ (19‬ﳏﻤﺪ ﻋﻨﺎﱐ‪ ،‬اﻟﱰﺟﻢ اﻷدﺑﻴﺔ ﺑﲔ اﻟﻨﻈﺮﻳﺔ واﻟﺘﻄﺒﻴﻖ‪ ،‬اﻟﻄﺒﻌﺔ اﻟﺜﺎﻧﻴﺔ‪ ،‬ﻟﻮﳒﻤﺎن‪ ،‬اﻟﻘﺎﻫﺮة‪2003 ،‬م‪218 ،‬‬
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‫ﰲ اﳌﻘﺎم اﻷول ﺑﺎﳉﻤﻬﻮر اﻟﺬي ﳜﺎﻃﺒﻪ‪ ،‬ﻓﺎﳌﱰﺟﻢ ﻳﻀﻊ ﻧﻔﺴﻪ ﰲ اﳌﻮﻗﻊ اﻟﺬي أرادﻩ اﻷدﻳﺐ ﻣﻦ ﺳﺎﻣﻌﻪ وﻫﻮ اﻻﻧﺘﻤﺎء إﱃ ﺗﺮاث ﻗﺪﱘ‪ ،‬وﺗﻘﺪﱘ‬
‫)‪(20‬‬
‫ﺻﻮرة ﻣﻌﺎﺻﺮة ﻟﻪ ﻳﻘﺮﺑﻪ ﻬﺑﺎ ﻣﻦ أﻓﻬﺎم ﺳﺎﻣﻌﻴﻪ‪ ،‬أي ﳛﻴﻴﻪ ﻳﻬﺎ‪ ،‬وﻫﺬا ﻫﻮ ﻣﻌﲎ ﺣﺮﻛﺔ اﻹﺣﻴﺎء أو اﻟﺒﻌﺚ!‬

‫واﻟﱰﲨﺔ اﻷدﺑﻴﺔ ﻟﻴﺴﺖ ﳎﺮد ﻧﺸﺎط ﻟﻐﻮي ﳚﺘﻬﺪ ﻓﻴﻪ اﳌﱰﲨﻮن واﻟﻠﻐﻮﻳﻮن‪ ،‬وﻟﻜﻦ ﺗﻌﺘﱪ ﻋﻤﻼ أدﺑﻴﺎ ﳛﺘﻞ ﻣﻜﺎﻧﺘﻪ اﳋﺎﺻﺔ ﺑﲔ‬

‫اﻷﺟﻨﺎس اﻷدﺑﻴﺔ اﳌﺨﺘﻠﻔﺔ‪ ،‬وﻫﻮ ﻋﻤﻞ ﻳﻘﱰب ﻣﻦ اﻹﺑﺪاع اﻷدﰊ ﻟﻠﻜﺘّﺎب واﻟﺸﻌﺮاء) ‪.(1‬‬
‫‪F4‬‬

‫وﻋﻤﻞ اﳌﱰﺟﻢ اﻷدﰊ ‪ -‬ﻋﻠﻰ ﺣ ّﺪ ﻗﻮل اﻟﺰﻳﺎت ‪ -‬ﻳﺘﻤﺜﻞ ﰲ ﺟﻬﺪﻳﻦ أﺳﺎﺳﲔ‪ :‬أوﳍﻤﺎ ﺟﻬﺪﻩ ﰲ ﺗﻄﻮﻳﻊ اﻟﻠﻐﺔ اﻟﻌﺼﻴﺔ ﻟﻘﺒﻮل اﳌﻌﺎﱐ‬

‫اﻷﺟﻨﺒﻴﺔ ﻗﺒﻮﻻ ﻻ ﻳﻈﻬﺮ ﻓﻴﻪ ﺷﺬوذ وﻻ ﻧﺸﻮز‪ .‬وﺟﻬﺪﻩ اﻵﺧﺮ اﻧﺪﻣﺎج ﻓﻴﻤﻦ ﻳﱰﺟﻢ ﻋﻨﻪ‪ ،‬ﻓﻴﺸﻌﺮ ﺑﻘﻠﺒﻪ‪ ،‬وﻳﻨﻈﺮ ﺑﻌﻴﻨﻪ‪ ،‬وﻳﻨﻄﻖ ﺑﻠﺴﺎﻧﻪ) ‪.(2‬‬
‫‪F5‬‬

‫ﻓﺎﳉﻬﺪ اﻷول ﻟﻐﻮي ﺧﺎﻟﺺ‪ ،‬واﻟﺜﺎﱐ ﻓﲏ ﺻﺮف‪ ،‬وﻫﻮ ﺗﻘﻤﺺ ﺷﺨﺼﻴﺔ اﳌﺆﻟﻒ "ﻓﻴﺸﻌﺮ ﺑﻘﻠﺒﻪ‪ ،‬وﻳﻨﻈﺮ ﺑﻌﻴﻨﻪ‪ ،‬وﻳﻨﻄﻖ ﺑﻠﺴﺎﻧﻪ"‪ .‬وﻫﺬا‬

‫ﺗﻌﺒﲑ ﻣﺴﺮﺣﻲ دﻗﻴﻖ وﻛﺄن اﳌﱰﺟﻢ ﳑﺜﻞ ﻳﺆدي دور اﳌﺆﻟﻒ وﻳﻌﱪ ﻋﻦ ﺷﺨﺼﻴﺘﻪ وﻳﺼﺒﺢ ﻫﻮ ﻫﻮ‪ .‬وﻳﺘﻀﻤﻦ ﻫﺬا اﻟﺘﻘﻤﺺ ﻋﻨﺼﺮﻳﻦ‪ :‬اﻷول ﻧﻘﻞ‬

‫ﺷﺨﺼﻴﺔ اﻟﻜﺎﺗﺐ‪ ،‬وروﺣﻪ وﻣﺸﺎﻋﺮﻩ‪ ،‬واﻟﺜﺎﱐ ﻧﻘﻞ أﺳﻠﻮﺑﻪ‪ ،‬وﻃﺮﻳﻘﺘﻪ‪ ،‬وﻣﺬﻫﺒﻪ اﻟﻔﲏ ﰲ اﻟﺘﺄﻟﻴﻒ واﻟﻜﺘﺎﺑﺔ‪.‬‬

‫وﻗﺪ وﺿﻊ اﻟﺰﻳﺎت ﻃﺮﻳﻘﺔ ﳑﻴﺰة ﻟﻨﻘﻞ اﻟﻨﺼﻮص اﻷدﺑﻴﺔ‪ ،‬وﻣﻦ ﺑﻴﻨﻬﺎ اﻟﺸﻌﺮ ﻣﻦ اﻟﻔﺮﻧﺴﻴﺔ إﱃ اﻟﻌﺮﺑﻴﺔ ﺧﺎﺻﺔ‪ ،‬وﺗﺘﻤﺜّﻞ ﻫﺬﻩ اﻟﻄﺮﻳﻘﺔ ﰲ‬

‫ﺛﻼث ﺧﻄﻮات‪ .‬ﰲ اﳋﻄﻮة اﻷوﱃ ﻳﻨﻘﻞ اﻟﻘﺼﻴﺪة ﺣﺴﺐ ﻧﻈﺎم اﻟﻠﻐﺔ اﳌﺼﺪر ﻣﻦ ﺣﻴﺚ اﻟﱰاﻛﻴﺐ واﻷﺑﻨﻴﺔ وﻧﻈﺎم اﳉﻤﻠﺔ‪ .‬وﰲ اﳋﻄﻮة اﻟﺜﺎﻧﻴﺔ‬

‫ﻳﻌﻴﺪ ﺻﻴﺎﻏﺔ اﻟﻨﺺ اﳌﱰﺟﻢ ﺣﺴﺐ ﻧﻈﺎم اﻟﻠﻐﺔ اﳍﺪف‪ .‬وﰲ اﳋﻄﻮة اﻟﺜﺎﻟﺜﺔ ﻳﻌﻤﺪ اﳌﱰﺟﻢ إﱃ إﻓﺮاغ روح اﻟﺸﺎﻋﺮ ﰲ اﻟﻘﺼﻴﺪة اﳌﱰﲨﺔ‪ .‬وﻫﺬﻩ‬

‫ﻃﺮﻳﻘﺔ ﺟﻴّﺪة وﻟﻜﻨﻬﺎ ﺻﻌﺒﺔ وﳎﻬﺪة؛ ﻷﻧﻬﺎ ﺗﺴﺘﻐﺮق وﻗﺘﺎ‪ ،‬ﻛﻤﺎ أﻧﻬﺎ ﲢﺎول أن ﺗﺆدي ﺣﻖ اﳌﺆﻟﻒ اﻷﺻﻠﻲ ﰲ اﳋﻄﻮة اﻷوﱃ‪ ،‬ﰒ ﺣﻖ اﻟﻘﺎرئ ﰲ‬

‫اﳋﻄﻮة اﻟﺜﺎﻧﻴﺔ‪ .‬أﻣﺎ اﳋﻄﻮة اﻟﺜﺎﻟﺜﺔ ﻓﻬﻲ أﺻﻌﺐ اﳋﻄﻮات وأﺷﻘﻬﺎ ﻋﻠﻰ اﻹﻃﻼق؛ إذ ﳛﺎول اﳌﱰﺟﻢ ﻓﻴﻬﺎ ﺟﻬﺪﻩ أن ﻳﺒﻌﺚ روح اﻟﺸﺎﻋﺮ ﰲ‬

‫اﻟﻨﺺ اﳌﱰﺟﻢ) ‪ (3‬ﻛﻤﺎ أنﻬﺎ ﻫﻲ اﻟﱴ ﲢﺪد ﳒﺎح اﻟﱰﲨﺔ وﻗﻴﻤﺘﻬﺎ وﻣﻜﺎﻧﺘﻬﺎ اﻷدﺑﻴﺔ‪.‬‬ ‫‪F6‬‬

‫وﻗﺪ ﺳﺎر ﻋﻠﻰ ﻫﺬﻩ اﻟﻄﺮﻳﻘﺔ ﻣﱰﲨﻮن آﺧﺮون‪ ،‬ﺑﻞ ﺣﺎول ﺑﻌﻀﻢ أن ﻳﻄﺒﻘﻬﺎ ﻋﻠﻰ ﻧﻘﻞ اﻟﺸﻌﺮ اﻹﺳﻼﻣﻲ ﲞﺎﺻﺔ‪ ،‬وﺣﺎول أن ﻳﻠﺘﺰم‪،‬‬

‫ﻻ ﺑﻨﻘﻞ روح اﻟﺸﺎﻋﺮ ﻓﺤﺴﺐ‪ ،‬ﻛﻤﺎ ﻓﻌﻞ اﻟﺰﻳﺎت‪ ،‬ﺑﻞ ﺣﺎول ﻛﺬﻟﻚ أن ﻳﻨﻘﻞ أوزاﻧﻪ وﻗﻮاﻓﻴﻪ‪ ،‬ﻛﻤﺎ ﻧﺮى ﰲ ﺗﺮﲨﺎت ﻋﺒﺪ اﻟﻮﻫﺎب ﻋﺰام ﻣﻦ‬

‫اﻟﺸﻌﺮ اﻟﻔﺎرﺳﻲ) ‪.(4‬ﻓﻘﺪ ﻛﺎﻧﺖ ﻃﺮﻳﻘﺘﻪ ﰲ اﻟﱰﲨﺔ أن ﳛﺎﻓﻆ ﻋﻠﻰ اﳌﻌﺎﱐ اﻷﺻﻠﻴﺔ واﻟﺼﻮر اﻟﱵ ﺗﱪز ﻓﻴﻬﺎ‪ ,‬ﺑﻞ ﻋﻠﻰ أوزان اﻟﺸﻌﺮ وأﺳﻠﻮب اﻟﺘﻘﻔﻴﺔ‬ ‫‪F7‬‬

‫)‪(20‬اﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ص ‪232-231‬‬

‫)‪ - (1‬ﺑﺎﻫﺮ اﳉﻮﻫﺮي‪" ،‬إﺷﻜﺎﻟﻴﺔ ﺗﺮﲨﺔ اﻟﺸﻌﺮ ﺑﲔ اﻟﻠﻐﺘﲔ اﻟﻌﺮﺑﻴﺔ واﻷﳌﺎﻧﻴﺔ"‪ ،‬ﺿﻤﻦ ﻛﺘﺎب ﻧﺪوة اﻟﱰﲨﺔ واﻟﺘﻨﻤﻴﺔ اﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ص‪.92-91‬‬

‫)‪ - (2‬ﳏﻤﺪ دﻳﺪاوي‪ ،‬اﳌﺮﺟﻊ اﻟﺴﺎﺑﻖ‪ ،‬ص‪.168‬‬

‫)‪ - (3‬راﺟﻊ ﳏﻤﺪ ﻋﺒﺪ اﻟﻐﲏ ﺣﺴﻦ‪ ،‬اﳌﺮﺟﻊ اﻟﺴﺎﺑﻖ‪ ،‬ص‪.21-20‬‬

‫)‪ - (4‬ﳏﻤﺪ ﻋﺒﺪ اﻟﻐﲏ ﺣﺴﻦ‪ ،‬اﳌﺮﺟﻊ اﻟﺴﺎﺑﻖ‪ ،‬ص‪.25‬‬

 ‫‪3‬‬
‫ﺟﻬﺪ اﻟﻄﺎﻗﺔ‪ .‬وﻗﺪ اﺿﻄﺮ ﻣﱰﺟﻢ "ﺑﻴﺎم ﻣﺸﺮق" ﰲ ﺑﻌﺾ ﻗﺼﺎﺋﺪﻩ أن ﻳﻨﻈﻤﻬﺎ ﻋﻠﻰ اﻟﻌﺮوض اﻟﻔﺎرﺳﻲ‪ ,‬ﻓﺠﻌﻞ اﻟﺮﻣﻞ ﲦﺎﻧﻴﺎ‪-‬أو ﻣﺜﻤﻨﺎ‪ -‬ﺑﺪﻻ ﻣﻦ‬

‫أن ﻳﻘﻴﻤﻪ ﻋﻠﻰ ﺳﺖ ﺗﻔﻌﻴﻼت ﻛﻤﺎ ﻫﻮ ﰲ اﻟﺸﻌﺮ اﻟﻌﺮﰊ‪ .‬ﻣﻦ ﻫﻨﺎ ﺟﺎءت اﳌﻘﻄﻮﻋﺔ اﻟﺘﺎﻟﻴﺔ ﻋﻠﻰ ﻫﺬا اﻟﻨﺤﻮ‪:‬‬

‫ﻓﺎﻏﺴﻠﻦ ﻗﻠﺒﺎ وﻋﻴﻨﺎ ﻣﻦ ﺧﻴﺎل ّاﻻﺧﺮﻳﻦ‬ ‫أﻧﺖ ﻛﺎﳌﺮاة ﺗﻔﲎ ﰲ ﲨﺎل ّاﻻﺧﺮﻳﻦ‬

‫ذﻟﻚ اﻟﻌﺶ اﻟﺬي ﺷﺪت ﲟﺎل اﻻّﺧﺮﻳﻦ‬ ‫ﻣﻦ ﻧﻮاح اﻟﻄﲑ ﰲ اﻷﺣﺮام ﻓﺎﻗﺒﺲ وأﺣﺮﻗﻦ‬

‫أﻧﺖ ﻻ ﺗﺴﻄﻴﻊ ﻃﲑا ﲝﺒﺎل ّاﻻﺧﺮﻳﻦ‬ ‫وﺗﻌﻠﻢ ﺟﺎﻫﺪا ﺧﻔﻖ ﺟﻨﺎﺣﻴﻚ وﻃﺮ‬

‫ﳑﻜﻦ ﻗﺘﻠﻲ ﺑﻜﺄس ﻣﻦ زﻻل ّاﻻﺧﺮﻳﻦ‬ ‫أﻧﺎ ﺣﺮ وﻏﻴﻮر ﻣﺴﺮف ﰲ ﻏﲑﰐ‬

‫ﻋﻨﺪﻧﺎ ﻫﺠﺮك أﺣﻠﻰ ﻣﻦ وﺻﺎل ّاﻻﺧﺮﻳﻦ‬ ‫اﻳﻪ ﻳﺎ أﻗﺮب ﻣﻦ روﺣﻲ وﻻ أﺑﺼﺮﻩ‬

‫وﻗﺪ ﺣﺎوﻟﺖ أن أﺣﺬو ﺣﺬو ﻫﺬﻳﻦ اﳌﱰﲨﲔ اﻟﺒﺎرﻋﲔ ﻓﻴﻤﺎ ﻧﻘﻠﺘﻪ ﻣﻦ دواوﻳﻦ اﻟﺸﻌﺮ اﻟﻜﻮرﻳﺔ واﳌﻼﻳﻮﻳﺔ واﻟﻔﺎرﺳﻴﺔ واﻹﳒﻠﻴﺰﻳﺔ‪ .‬وﺣﺴﱯ‬

‫ﻫﻨﺎ أن أﻗ ّﺪم ﳕﻮذﺟﺎ واﺣﺪا ﻟﻌﻤﻠﻲ ﺗﻮﺿﻴﺤﺎ ﳍﺬﻩ اﻟﻄﺮﻳﻘﺔ وﻟﻴﻜﻦ ﻗﺼﻴﺪة ))اﻟﻜﻌﺒﺔ(( ‪ Kaabah‬ﻟﻠﺸﺎﻋﺮ اﻟﱪوﻧﺎوي ﺷﻜﺮي زﻳﻦ‪ ،‬واﻟﱵ ﻳﻘﻮل‬

‫ﻓﻴﻬﺎ‪:‬‬

‫‪Rinduku imanku padamu‬‬

‫‪Air mata cucurannya sesalanku‬‬
‫‪Pada masa yang lalu‬‬
‫‪Dengan dosa dengan lalai‬‬
‫‪Tuhanku.‬‬
‫‪Terasa kecilnya diriku ini‬‬
‫‪Aku kelilingi rumah suci‬‬
‫‪Tujuh keliling sempurna‬‬
‫‪Semata-mata untukmu rabbana,‬‬

‫‪Rinduku imanku pada-mu‬‬

‫‪Aku kucup sunat nabi-mu‬‬
‫‪Terasa kecilnya hamba-mu ini‬‬
‫‪Terasa berdosa diriku ini.‬‬

‫‪Di Kaabah‬‬
‫‪Aku junjung keampunan‬‬
 ‫‪4‬‬
‫‪Pada-mu rinduku‬‬
‫‪Pada-mu imanku(1 ).‬‬

‫وﻗﺪ ﻣﺮت ﺗﺮﲨﺔ اﻟﻘﺼﻴﺪة ﺑﺜﻼث ﻣﺮاﺣﻞ‪ ،‬ﻓﻔﻲ اﳌﺮﺣﻠﺔ اﻷوﱃ ﻧﻘﻠﺖ اﻟﻘﺼﻴﺪة إﱃ اﻟﻌﺮﺑﻴﺔ ﻧﻘﻼ ﺣﺮﻓﻴﺎ ﻋﻠﻰ اﻟﻨﺤﻮ اﻟﺘﺎﱄ‪:‬‬

‫أؤﻣﻦ ﺑﻚ ﻳﺎ رﰊ وأﻓﻜﺮ ﻓﻴﻚ‬

‫دﻣﻮﻋﻲ ﺗﻨﻬﻤﺮ‪ ،‬وأﲢﺴﺮ ﻋﻠﻰ‬

‫ﻣﺎﺿﻲ‪ ،‬وآﺛﺎﻣﻲ‪ ،‬وإﳘﺎﱄ‬

‫ﻳﺎ رﰊ‪.‬‬

‫أﺷﻌﺮ ﺑﺎﻟﻀﺂﻟﺔ‬

‫أﻃﻮف ﺣﻮل ﺑﻴﺘﻚ‬

‫ﺳﺒﻊ ﻣﺮات ﻛﺎﻣﻼت ﻟﻚ‬

‫ﻳﺎ رﺑﻨﺎ‪.‬‬

‫أؤﻣﻦ ﺑﻚ ﻳﺎ رﰊ وأﻓﻜﺮ ﻓﻴﻚ‬

‫أﻗﺒّﻞ ﺳﻨﺔ ﻧﺒﻴﻚ‬

‫ﺿﺌﻴﻞ ﻋﺒﺪك ﻫﺬا ﲝﻖ‬

‫أﺷﻌﺮ ﺑﺄﻧﲏ ﻣﺬﻧﺐ أﻣﺎﻣﻚ‪.‬‬

‫ﻋﻨﺪ اﻟﻜﻌﺒﺔ‬

‫أﻃﻠﺐ اﳌﻐﻔﺮة‬

‫أﻓﻜﺮ ﻓﻴﻚ‬

‫أؤﻣﻦ ﺑﻚ‪.‬‬

‫)‪Shukri Zain,damai dalam sentuhan,p23. (1‬‬

 ‫‪5‬‬

‫وﰲ اﳌﺮﺣﻠﺔ اﻟﺜﺎﻧﻴﺔ أﺟﺮﻳﺖ ﺗﻌﺪﻳﻼت ﺷﻜﻠﻴﺔ وﻟﻔﻈﻴﺔ ﰲ اﻟﱰﲨﺔ ﻓﺠﺎءت ﻋﻠﻰ اﻟﻨﺤﻮ اﻟﺘﺎﱄ‪:‬‬

‫ﺷﻮﻗﻲ وإﳝﺎﱐ ﻟﻚ‬

‫دﻣﻌﻲ ﻳﻨﻬﻤﺮ‪ ،‬وأﻧﺪم‬

‫ﻋﻠﻰ اﻟﺰﻣﻦ اﳌﺎﺿﻲ‪ ،‬وآﺛﺎﻣﻲ‪ ،‬وإﳘﺎﱄ‬

‫ﻳﺎ رﰊ‪.‬‬

‫أﺷﻌﺮ ﺑﺎﻟﻀﺂﻟﺔ‬

‫أﻃﻮف ﺣﻮل ﺑﻴﺘﻚ‬

‫ﺳﺒﻊ ﻣﺮات ﻛﺎﻣﻠﺔ ﻷﺟﻠﻚ‬

‫ﻳﺎ رﺑﻨﺎ‪.‬‬

‫ﺷﻮﻗﻲ وإﳝﺎﱐ ﻟﻚ‬

‫أﻗﺒّﻞ ﺳﻨﺔ ﻧﺒﻴﻚ‬

‫ﻋﺒﺪك ﻫﺬا ﻳﺸﻌﺮ ﺑﺄﻧﻪ ﺿﺌﻴﻞ‬

‫أﺷﻌﺮ أﻣﺎﻣﻚ ﺑﺄﻧﲏ ﻣﺬﻧﺐ‪.‬‬

‫ﻋﻨﺪ اﻟﻜﻌﺒﺔ‬

‫أﻃﻠﺐ اﳌﻐﻔﺮة‬

‫ﻓﺎﻟﺸﻮق ﻟﻚ‬

‫واﻹﳝﺎن ﻟﻚ‪.‬‬

‫أﻣﺎ اﳌﺮﺣﻠﺔ اﻟﺜﺎﻟﺜﺔ ﻓﻘﺪ ﺻﻐﺖ ﻓﻴﻬﺎ ﺗﺮﲨﺔ اﻟﻘﺼﻴﺪة ﺻﻴﺎﻏﺔ ﺷﻌﺮﻳﺔ ﻓﺠﺎءت ﻋﻠﻰ اﻟﻨﺤﻮ اﻟﺘﺎﱄ‪:‬‬
 ‫‪6‬‬

‫ﻟﻚ ﺷﻮﻗﻲ وإﳝﺎﱐ ﻷﺟﻠﻚ‬

‫ﺗﻨﻬﻤﺮ دﻣﻮﻋﻲ وأﲢﺴﺮ‬

‫ﻋﻠﻰ ﻣﺎﺿﻲ ﻋﻤﺮي وآﺛﺎﻣﻲ‬

‫ﻋﻠﻰ ﻛﻞ ﺿﺮوب اﻹﳘﺎل‬

‫ﻳﺎ رﰊ‪.‬‬

‫وأﺣﺲ‬

‫ﻣﺎ أﺿﺄل ﻧﻔﺴﻲ‬

‫وأﻃﻮف ﺑﺒﻴﺘﻚ ﻣﺒﺘﻬﻼ‬

‫ﻣﺮات ﺳﺒﻌﺎ‬

‫ﻳﺎ رﰊ‪.‬‬

‫ﻟﻚ ﺷﻮﻗﻲ وإﳝﺎﱐ ﻷﺟﻠﻚ‬

‫ﻗﺒﻼﰐ ﻟﺴﻨﻦ اﳌﺮﺳﻞ‬

‫أﺷﻌﺮ ﺑﺘﺼﺎﻏﺮ‬

‫ﰲ ﻧﻔﺴﻲ‬

‫وﺑﺄﱐ ﰲ ﺣﻘﻚ ﻣﺬﻧﺐ‬

‫ﻳﺎ رﰊ‪.‬‬

‫ﲜﻮار اﻟﻜﻌﺒﺔ أﺗﻮﺳﻞ‬

‫ﰲ ﻃﻠﺐ ﻣﻐﻔﺮﺗﻚ ﻋﲏ‬

 ‫‪7‬‬
‫ﻟﻚ ﺷﻮﻗﻲ وإﳝﺎﱐ ﻷﺟﻠﻚ) ‪.(1‬‬
‫‪F9‬‬

‫‪-2‬ﺗﺮﺟﻤﺔ اﻟﺨﺮاﻓﺎت‪:‬‬

‫ﺷﺎﻋﺮا ﻣﻮﻫﻮﺑﺎ‪ ،‬ﻛﺬﻟﻚ ﺗﺴﺘﻠﺰم ﺗﺮﲨﺔ اﻟﻨﺜﺮ اﻟﻔﲏ ﻣﻦ ﺣﻜﺎﻳﺔ وﻗﺼﺔ ورواﻳﺔ وﻣﺴﺮﺣﻴﺔ‬
‫ﻣﺜﻠﻤﺎ ﺗﺘﻄﻠﺐ ﺗﺮﲨﺔ اﻟﺸﻌﺮ ﻣﻦ اﳌﱰﺟﻢ أن ﻳﻜﻮن ً‬
‫ﻣﺎﻫﺮا ﰲ اﻟﻜﺘﺎﺑﺔ بﻬﺎ‪.‬‬
‫ﺑﺎرﻋﺎ ﻣﺘﻤﻜﻨًﺎ ﻣﻦ ﻟﻐﺘﻪ اﻟﱵ ﻳﻨﻘﻞ إﻟﻴﻬﺎ‪ ،‬ﳏﻴﻄًﺎ ﺑﺄﺳﺮارﻫﺎ‪ً ،‬‬
‫وﳓﻮﻫﺎ أن ﻳﻜﻮن ﻣﱰﲨﻬﺎ أدﻳﺒًﺎ ﻣﻮﻫﻮﺑًﺎ وﻛﺎﺗﺒًﺎ ً‬
‫وﻟﻨﺒﺪأ ﻫﻨﺎ ﺑﺄﺑﺴﻂ اﻟﻔﻨﻮن اﻟﻨﺜﺮﻳﺔ اﻟﻘﺼﺼﻴﺔ وﻫﻲ اﳋﺮاﻓﺔ ‪ Fables‬أو اﻟﻘﺼﺺ ﻋﻠﻰ أﻟﺴﻨﺔ اﳊﻴﻮان وﻫﻲ ﺣﻜﺎﻳﺎت ذات ﻃﺎﺑﻊ‬

‫ﺧﻠﻘﻲ ﰲ ﻗﺎﻟﺒﻬﺎ اﻷدﰊ اﳋﺎص ﻬﺑﺎ ‪ ،‬وﻫﻲ ﺗﻨﺤﻮ ﻣﻨﺤﻰ اﻟﺮﻣﺰ ﰲ ﻣﻌﺎﻧﺎﻩ اﻟﻠﻐﻮي اﻟﻌﺎم ‪ ،‬ﻻ ﰲ ﻣﻌﻨﺎﻩ اﳌﺬﻫﱯ ؛ ﻓﺎﻟﺮﻣﺰ ﻓﻴﻬﺎ ﻣﻌﻨﺎﻩ أن ﻳﻌﺮض‬

‫اﻟﻜﺎﺗﺐ أو اﻟﺸﺎﻋﺮ ﺷﺨﺼﻴﺎت وﺣﻮادث ‪ ،‬ﻋﻠﻰ ﺣﲔ ﻳﺮﻳﺪ ﺷﺨﺼﻴﺎت وﺣﻮادث أﺧﺮى ﻋﻦ ﻃﺮﻳﻖ اﳌﻘﺎﺑﻠﺔ واﳌﻨﺎﻇﺮة ‪ ،‬ﲝﻴﺚ ﻳﺘﺒﻊ اﳌﺮء ﰲ‬

‫ﻗﺮاءﻬﺗﺎ ﺻﻮر اﻟﺸﺨﺼﻴﺎت اﻟﻈﺎﻫﺮة اﻟﱵ ﺗﺸﻒ ﻋﻦ وﺟﻮد ﺷﺨﺼﻴﺎت أﺧﺮى ﺗﱰاءى ﺧﻠﻒ ﻫﺬﻩ اﻟﺸﺨﺼﻴﺎت اﻟﻈﺎﻫﺮة ‪ ،‬وﻏﺎﻟﺒﺎ ﻣﺎ ﲢﻜﻰ ﻋﻠﻰ‬

‫ﻟﺴﺎن اﳊﻴﻮان أو اﻟﻨﺒﺎت أو اﳉﻤﺎد‪ ،‬وﻟﻜﻨﻬﺎ ﻗﺪ ﲢﻜﻰ ﻛﺬﻟﻚ ﻋﻠﻰ أﻟﺴﻨﺔ ﺷﺨﺼﻴﺎت إﻧﺴﺎﻧﻴﺔ ﺗﺘﺨﺬ رﻣﻮزا ﻟﺸﺨﺼﻴﺎت أﺧﺮى‪ .‬ﻛﺘﻠﻚ‬

‫اﳊﻜﺎﻳﺎت اﻟﱵ ﳒﺪﻫﺎ ﻋﻨﺪ راﺋﺪﻫﺎ أﻳﺴﻮب اﻟﻴﻮﻧﺎﱐ وﻣﻦ ﺑﻴﻨﻬﺎ ﻗﺼﺔ ﺑﺪﻳﻌﺔ ﻋﻦ "اﻷرﻧﺐ واﻟﺴﻠﺤﻔﺎة" ‪ ،‬ﻧﻘﻠﻬﺎ ﻣﱰﲨﻮن ﻋﺪﻳﺪون ﰲ ﻟﻐﺎت‬

‫ﻋﺎﳌﻴﺔ ﻋﺪﻳﺪة ‪ ،‬ﺳﻨﻌﺮض ﻫﻨﺎ ﻟﻌﺪد ﻣﻨﻬﺎ ﻟﻨﺮى ﻛﻴﻒ ﻧﻘﻠﻬﺎ ﻛﻞ ﻣﱰﺟﻢ ﺣﺴﺐ إﻣﻜﺎﻧﺎﺗﻪ وﻣﻮﻫﺒﺘﻪ وﺑﺮاﻋﺘﻪ اﻷدﺑﻴﺔ‪.‬‬

‫ﻓﻔﻲ ﺗﺮﲨﺔ إﳒﻠﻴﺰﻳﺔ ﻧﻘﻠﻬﺎ س‪ .‬أ‪ .‬ﻫﺎﻧﺪﻓﻮرد) ‪ (1954) S. A. Handford (2‬أورد ﻟﻠﻘﺼﺔ ﺗﺮﲨﺔ ﻛﻤﺎ ﻳﻠﻲ‪:‬‬

‫‪A tortoise and a hare started to dispute which of them was the swifter, and‬‬
‫‪before separating they made an appointment for a certain time and place to settle the‬‬
‫‪matter. The hare had such confidence in its natural fleetness that it did not trouble‬‬
‫‪about the race but lay down by the wayside and went to sleep. The tortoise, acutely‬‬
‫‪conscious of its slow movements, padded along without ever stopping until it passed‬‬
‫‪the sleeping hare and won the race.‬‬
‫وﰲ ﺗﺮﲨﺔ إﳒﻠﻴﺰﻳﺔ أﺧﺮى ﳉﺎك زﻳﺒﺰ) ‪ (1999) Jack Zipes (3‬ﺟﺎءت ﺗﺮﲨﺘﻪ ﻟﻠﻘﺼﺔ ﻛﻤﺎ ﻳﻠﻲ‪:‬‬

‫)‪ (1‬ﻋﺎرف ﻛﺮﺧﻲ أﺑﻮﺧﻀﲑي‪ ,‬ﳌﺴﺔ ﺳﻼم ‪ ,‬ص ‪.62-61‬‬

‫)‪Hansford, Aesop’s Fables, p.68. - (2‬‬

‫)‪Zipes, Jack, Aesop’s Fables, p.41. -(3‬‬

 8
A hare once ridiculed the short feet and slow pace of tortoise. But the tortoise
laughed and replied, “Though you may be as swift as the wind, I’ll beat you in a
race.”
“All right,” said the hare, “you’ll soon live to regret those words.”
So they agreed that the fox would choose the course and fix the goal. On the
day appointed for the race, the tortoise started crawling at his usual steady pace
without stopping a solitary moment. Of course, the hare soon left the tortoise far
behind. Once he reached the midway mark, he began to nibble some juicy grass and
amuse himself in different ways. Since the day was warm, he thought he would take a
little nap in a shady spot. Even if the tortoise might pass him while he slept, he was
confident that he could easily overtake him again before he reached the goal.
Meanwhile, the unwavering tortoise plodded on straight toward the goal. When the
hare finally awoke, he was surprised to find that the tortoise was nowhere to be seen
and headed for the finish line as fast as he could. However, he dashed across the line
only to see that the tortoise had crossed it before him and was comfortably resting
and waiting for his arrival.
(1996) Animal Stories "‫ ﰲ ﻛﺘﺎبﻬﺎ "ﻗﺼﺺ اﳊﻴﻮان‬Jane Oliver (1 )‫وﻧﻘﻠﺖ اﻟﻘﺼﺔ ذاﺗﻬﺎ اﳌﱰﲨﺔ ﺟﺎن أوﻟﻴﻔﺮ‬

:‫وﲡﺮي اﻟﻘﺼﺔ ﻛﻤﺎ ﻳﻠﻲ‬

It was a cold winter’s night. It was snowing on the rooftops and on the streets.
It was snowing on the forests and on the fields. The birds had taken to their nests, the
badgers huddled together in their sets, and foxes lay shivering in their dens.
Somewhere, in a warm, cosy bed in a warm, cosy room in a warm, cosy house, lay a
warm, cosy little girl. Beside the bed sat her father who was about to read her a story.
This is how it began:
“Once upon a time...”
“When was it, Daddy?” asked the little girl. She asked a lot of questions.

pp.25-35. - (1)
 9
“When this story began, love. Now don’t interrupt, please… Once upon a
time,” he went on quickly, “in the middle of the forest, a hare bumped into a tortoise.
The hare took one look at the tortoise and burst out laughing.
‘What ridiculous creature you are,’ he said. ‘Look at your funny little legs and
your funny little head poking out of that great, heavy shell you hump about on your
back. It’s a wonder you can move at all.’
‘That’s most unkind,’ Tortoise said, sniffing. He was very hurt but he was not
going to cry. ‘If you think you’re so much better than me, why don’t you prove it?
We could have a race. Yes, that’s it: I challenge you to a race!’
‘A race. Ha, ha. Ha! Why, you wouldn’t stand a chance!’ Hare giggled. ‘It’d be
a complete waste of time; like pitting a tortoise against a hare.’ He thought this was a
tremendous joke.
‘You can laugh, Hare, you can laugh. Just you wait.’
But Hare only laughed even louder, so Tortoise decided to be rude to him.
‘Of course, if you daren’t risk it, big ears...’
Hare stopped laughing and rose to his full height.
‘Dare! Me dare race you, you cheeky little hard-topped toad! I’ll show you.’
So the following day Hare and Tortoise went to the middle of the forest to start
their race. Hare had invited all his friends to come and watch. They stood by the
starting-line and laughed at Tortoise. Tortoise ignored them.
Hare ran like the wind. Tortoise crawled along at a snail’s pace. By the time
hare came into sight of the finishing-post, Tortoise was still in sight of the start.
‘I might as well sit down here for an hour or two,’ thought Hare out loud, ‘This
is very boring. It’ll be much more fun if Tortoise actually sees me finish. I can’t wait
to see the look on his face!’
Hare lay down under a tree and waited. He waited for ages and ages, until it
felt as though he had been waiting for ever. In the end he decided to have a snooze. It
would pass the time nicely.
 10
He was woken by the sound of great waves crashing against the rocks. Hare rubbed
his eyes and looked toward the finishing-post. Then he realized that the waves
weren’t waves at all.
Hundreds of animals had gathered at the finish and every single one of them
was cheering on Tortoise. He was going to win. By the time Hare came haring up
behind him it was too late. Tortoise had already crossed the line.
‘Oh, Hare,’ chortled Rabbit, ‘fancy losing a race to a tortoise!’
‘What a joke!’ screeched Squirrel, pointing at Hare.
‘A disgrace! Shocking! Not fit to be called a hare!’ muttered all the hares and
refused to speak to him. Hare hung his head. He wished he had never been born.
‘That’ll teach him,’ murmured Mole.
‘Quite,’ agreed Owl. ‘Pride comes before a fall.’
All the birds began to sing ‘For he’s a jolly good Tortoise’ and the rest of the
animals joined in. Tortoise beamed with delight.
‘Slow but sure,’ he kept saying, ‘Slow but sure.’ It was the happiest day of his
life.”
“There,” said the little girl’s father, closing the book. “What did you think of
that? Served old Hare right, didn’t it?”
“Mmmm,” she replied rather dreamily. Secretly she felt rather sorry for Hare.
“Time to sleep now.” Her father kissed her.
“Goodnight,” she mumbled into her pillow.
The little girl slowly drifted into sleep. She was thinking about the story. It did
seem extraordinary that the tortoise won, no matter how careless the hare was. After
all, tortoises are very slow.
As soon as she was asleep she began to dream. As soon as she began to dream
she met an old man with a long white beard who looked very sad.
“Why are you sad, old man?” she asked.
“Why am I sad? Anyone in my position would be sad.”
 11
He stared fiercely at the little girl who was pestering him, so she waited
patiently for him to explain what his position was. She had to be patient because it
was a long time before he spoke.
“I’ll tell you why I’m sad,” he said at last. “They’ve stolen all my stories, that’s
why. They were all stories about animals I know. Friends of mine, you might say.
People stole the stories and changed them. Gave them meanings I didn’t mean at all.
They even call them Aesop’s Fables now. As though they weren’t even true. Might
just as well call them Aesop’s Fibs.”
“What’s Aesop?” asked the little girl.
“Me, silly. I’m Aesop. Didn’t they even tell you that? They’ll be pretending
that I don’t exist next. Really!”
Aesop went very red in the face and looked as if he was going to explode.
Then he looked sad again.
“Perhaps it’s better that way. Better to be incognito.”
“What’s ink-hog-thingummy?”
“You do ask a lot of questions, don’t you? Incognito means that nobody knows
who you are.”
The little girl was still confused. “I’m afraid that I don’t really understand
about your stories. How can a story be changed?”
The old man looked at her and shook his head.
“Don’t children learn anything these days? Honestly. Oh, all right then. I might
as well explain. Let’s take an example. Do you know the story of the tortoise and the
hare?”
“Yes I do. My daddy just read it to me.”
“Well I bet I know how the story went,” said Aesop gloomily.
“Why, the tortoise won because the stupid old hare fell asleep,” said the little
girl.
“And everyone said that it served Hare right,” sighed Aesop.
“That’s right,” she replied. “How did you know?”
 12
“Because I wrote the story, of course. Except that it wasn’t like that at all. Do
you want me to tell you what really happened?”
“Oh, yes please,” she said eagerly.
“Well it was like this,” began Aesop. “One day, Hare was skipping through the
woods enjoying himself. He usually did.”
“He usually did what?” asked the little girl.
“Enjoy himself. I just said no. Now don’t start interrupting. Where was I? Oh
yes, there was Hare, having a good time in the woods, when up came Badger.
‘Hello, Hare,’ boomed Badger. ‘You’re just the chap I wanted to see. There’s a
bit of a problem with Tortoise and I think you might be able to help.’
‘I’d be delighted to,’ replied Hare, who was extremely king-hearted and only
slightly mad.
‘Poor old Tortoise is very unhappy, poor chap. Thinks he’s slow and dull,
which he is if course, but it’s not his fault; it’s what comes of being a tortoise. Me
and the others, Mole, Owl, Rabbit, and the rest, think he needs a bit of a boost. Which
is where you come in.’
‘I come in?’ frowned Hare.
‘Yes. You see, Tortoise is always going on about you. He says you’re so lucky,
always smiling and leaping around without a care in the world. You’re so easy-going
and athletic – everything he’s not. So we thought you should have a race together.’
‘A race? You mean a running race?’ asked Hare, unable to believe his ears; he
was so much faster than Tortoise that he couldn’t at all see how a race would help.
‘A running race, exactly,’ repeated Badger, rubbing his big paws together.
‘Only you let Tortoise win. Of course, you can’t just run slower than he does. That
would be impossible, except for a snail. But you can make a mistake, get lost, run
into a tree and knock yourself out, anything to make Tortoise think he beat you
because he’s got something you haven’t. Not speed, certainly but endurance and a
sense of direction. Should cheer the old reptile up no end. If you don’t mind, that is.’
‘Not at all,’ beamed Hare. ‘Great idea, yippee!’ And he leapt around with
pleasure at the thought of making Tortoise happy.
 13
‘But I shan’t knock myself out, if you don’t mind. Not necessary and very
painful. I’ve got it. I’ll pretend to need a rest and fall asleep. That’ll give him time to
finish.’
And that’s the way it happened. Tortoise only just won so it really did look as
if Hare was trying. Tortoise was overjoyed and Hare was the first to congratulate
him.
‘Well done, Tortoise, well done. It just goes to show that speed isn’t
everything.’
‘Quite,’ agreed Badger, slapping Tortoise on the back. ‘Ouch, ow and ouch!’ It
was a very hard shell. ‘Slow but sure, slow but sure, that’s my Tortoise,’ he added,
shaking his injured paw.
‘You’re all too kind,’ said Tortoise, who was blushing so much that even his
shell seemed to go red. ‘It was nothing really.’
Tortoise never knew how right he was.”
“So there it is, young lady,” said Aesop, “the true story of the tortoise and the
hare. It’s been surprisingly nice talking to you, I must say. I feel much better now.”
Aesop looked at his watch.
“Heavens, just look at the time. I must be off at once. I’m already late for
someone else’s dream.”
And without more ado the old man vanished.
“Hmmm,” thought the little girl, when he had gone, “I don’t know what to
think anymore. But I know one thing: it’s not who wins that counts, it’s who tells the
story.”
She smiled to herself and started another dream.

‫ اﻷوﱃ ﺗﺮﲨﺔ ﻣﺼﻄﻔﻰ اﻟﺴﻘﺎ وﺳﻌﻴﺪ‬،‫ ﺳﻨﺬﻛﺮ ﻣﻨﻬﺎ ﻫﻨﺎ ﺗﺮﲨﺘﲔ ﻓﺤﺴﺐ‬،‫وﺗﺮﲨﺖ اﻟﻘﺼﺔ ﻋﻴﻨﻬﺎ إﱃ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ أﻛﺜﺮ ﻣﻦ ﻣﺮة‬

:‫ وﺟﺎءت اﻟﱰﲨﺔ ﻛﺎﻵﰐ‬،1947 ‫( ﰲ ﺳﻨﺔ‬1 )‫ﺟﻮدة اﻟﺴﺤﺎر‬

.31-30‫ ص‬- (1)

 ‫‪14‬‬
‫ﻫﻠﻢ ﻧﺘﺴﺎﺑﻖ‪ ،‬ﻓﺈﻧﻚ إن ﻛﻨﺖ‬
‫ﻳﻮﻣﺎ ﺳﻠﺤﻔﺎة ﺑﻘﺼﺮ ﻳﺪﻳﻬﺎ ورﺟﻠﻴﻬﺎ‪ ،‬وﺑﻂء ﺣﺮﻛﺘﻬﺎ‪ ،‬ﻓﻀﺤﻜﺖ اﻟﺴﻠﺤﻔﺎة وﻗﺎﻟﺖ‪ّ :‬‬
‫ﻋﲑت أرﻧﺐ ً‬
‫ّ‬
‫أﺑﺰك ﰲ اﻟﺴﺒﺎق‪ .‬ﻓﻘﺒﻠﺖ اﻷرﻧﺐ ذﻟﻚ‪ ،‬ﻷﻧﻬﺎ اﻋﺘﻘﺪت أن ﻛﻼم اﻟﺴﻠﺤﻔﺎة ﺑﻌﻴﺪ اﻟﻮﻗﻮع‪ ،‬واﺗّﻔﻘﺘﺎ ﻋﻠﻰ أن‬
‫ﺳﺮﻳﻌﺔ اﻟﻘﻔﺰ ﻛﺎﻟﺮﻳﺢ‪ ،‬ﻓﺈﱐ ﺟﺪﻳﺮة أن ّ‬
‫ﻣﻌﺎ‪ ،‬ﻓﻠﻢ ﺗﺘﻮان اﻟﺴﻠﺤﻔﺎة ﳊﻈﺔ ﻋﻦ اﳌﺴﲑ‪ ،‬وﺳﺎرت ﳓﻮ اﻟﻐﺎﻳﺔ ﰲ زﺣﻒ‬
‫ﳛ ّﺪد ﳍﻤﺎ اﻟﺜﻌﻠﺐ ﻣﺪى اﻟﺴﺒﺎق وﻏﺎﻳﺘﻪ‪ .‬وﰲ اﻟﻴﻮم اﳌﻮﻋﻮد‪ ،‬اﻧﻄﻠﻘﺘﺎ ً‬
‫ﺑﻄﻰء وﻟﻜﻨﻪ داﺋﺐ‪ ،‬أﻣﺎ اﻷرﻧﺐ ﻓﻠﺜﻘﺘﻬﺎ ﺑﺴﺮﻋﺘﻬﺎ‪ ،‬ﱂ ﺗﻬﺘﻢ ﺑﺎﻟﺴﺒﺎق ﻛﺒﲑ اﻫﺘﻤﺎم‪ ،‬واﺿﻄﺠﻌﺖ ﻋﻠﻰ ﺟﺎﻧﺐ اﻟﻄﺮﻳﻖ‪ ،‬وﻏﻠﺒﻬﺎ اﻟﻨﻮم ﻓﻨﺎﻣﺖ‪.‬‬

‫ﻓﻠﻤﺎ اﺳﺘﻴﻘﻈﺖ ﻣﻦ ﻧﻮﻣﻬﺎ‪ ،‬أﺧﺬت ﺗﻘﻔﺰ ﺑﻜﻞ ﻗﻮاﻫﺎ‪ ،‬وﻟﻜﻨﻬﺎ وﺟﺪت اﻟﺴﻠﺤﻔﺎة ﻗﺪ أدرﻛﺖ اﻟﻐﺎﻳﺔ‪ ،‬وﻧﺎﻣﺖ ﻣﺴﱰﳛﺔ ﺑﻌﺪ ﻛ ّﺪﻫﺎ‪.‬‬

‫واﻟﱰﲨﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺜﺎﻧﻴﺔ ﻷﲪﺪ ﳒﻴﺐ) ‪ ،(1‬ووردت ﰲ ﻛﺘﺎﺑﻪ "ﺣﻜﺎﻳﺎت وأﺳﺎﻃﲑ"‪ ،‬وﻧﺼﻬﺎ ﻛﻤﺎ ﻳﻠﻲ‪:‬‬
‫‪F14‬‬

‫ﰲ ﻏﺎﺑﺔ ‪ ..‬ﲢﺖ اﻷﺷﺠﺎر اﳋﻀﺮاء ‪..‬‬

‫ﻛﺎن ﻳﻌﻴﺶ أرﻧﺐ ‪ ..‬وﺳﻠﺤﻔﺎة ‪..‬‬

‫داﺋﻤﺎ ﻣﻦ اﻟﺴﻠﺤﻔﺎة ‪ ..‬وﻳﻘﻮل‪:‬‬

‫اﻷرﻧﺐ ﻳﻀﺤﻚ ً‬
‫))أﻧﺖ ﺑﻄﻴﺌﺔ ‪ ..‬وأرﺟﻠﻚ ﻗﺼﲑة ‪((..‬‬

‫ﻂ ‪ ..‬وﻳﻀﺤﻚ ‪..‬‬
‫ﰒ ﻳﻨ ّ‬

‫وﰲ ﻳﻮم ‪ ..‬اﺗﻔﻘﺖ اﻟﺴﻠﺤﻔﺎة ﻣﻌﻪ ﻋﻠﻰ أن ﻳﺘﺴﺎﺑﻘﺎ ‪..‬‬

‫ﺿﺤﻚ اﻷرﻧﺐ وﺳﺨﺮ ﻣﻦ اﻟﺴﻠﺤﻔﺎة ‪ ..‬اﻟﱵ ﻗﺎﻟﺖ‪:‬‬

‫أﺧﲑا ‪((..‬‬
‫اﳌﻬﻢ ‪ ..‬ﻣﻦ ﻳﻀﺤﻚ ً‬
‫))اﺿﺤﻚ اﻵن وﻟﻜﻦ ّ‬
‫واﺗّﻔﻘﺖ ﻣﻊ اﻟﺜﻌﻠﺐ ﻋﻠﻰ أن ﻳﻜﻮن اﳊﻜﻢ ‪..‬‬

‫وﺑﺪأ اﻟﺴﺒﺎق ‪..‬‬

‫اﻟﺴﻠﺤﻔﺎة ﲤﺸﻲ ﺑﺒﻂء ‪ ..‬وﻟﻜﻦ ﺑﺎﺳﺘﻤﺮار واﻧﺘﻈﺎم‪.‬‬

‫ﻂ ﺑﺴﺮﻋﺔ ‪ ..‬وﺳﺒﻘﻬﺎ ﻣﺴﺎﻓﺔً ﻃﻮﻳﻠﺔً ‪..‬‬

‫اﻷرﻧﺐ ﻧ ّ‬

‫رأى اﻷرﻧﺐ اﳉﺰر اﻷﲪﺮ اﻟﻠﺬﻳﺬ ‪ ..‬ﻓﻘﻌﺪ ﻳﺄﻛﻞ ‪..‬‬

‫وﻳﻘﻮل‪)) :‬أﻣﺎﻣﻲ وﻗﺖ ﻃﻮﻳﻞ(( ‪..‬‬

‫ورأى اﳌﺎء ‪ ..‬ﻓﺸﺮب ‪ ..‬وﺟﻠﺲ ﲢﺖ ﺷﺠﺮة ‪ ..‬وﻧﺎم‪.‬‬

‫اﻟﺴﻠﺤﻔﺎة ﲤﺸﻲ ‪ ..‬ﺑﺒﻂء ‪ ..‬وﻟﻜﻦ ﺑﺎﺳﺘﻤﺮار ‪..‬‬

‫)‪ -(1‬ص‪.10‬‬
 15
.. ‫ ﻓﻠﻢ ﺗﺴﱰح‬.. ‫ وﺗﻌﺒﺖ‬.. ‫ ﻓﻠﻢ ﺗﺄﻛﻞ‬.. ‫ﺟﺎﻋﺖ‬

.. ‫ وﻗﻌﺪت ﺗﺴﱰﻳﺢ وﺗﻀﺤﻚ‬.. ‫ وﺻﻠﺖ‬.. ‫أﺧﲑا‬

ً ‫و‬
.‫ وﻟﻜﻦ ﺑﻌﺪ ﻓﻮات اﻷوان‬.. ‫ﻂ ﺑﺴﺮﻋﺔ‬
ّ ‫ﺻﺤﺎ اﻷرﻧﺐ وﻧ‬

.((‫ﻛﺜﲑا‬
ً ‫ ﻳﻀﺤﻚ‬.. ‫أﺧﲑا‬
ً ‫ ))اﻟﺬي ﻳﻀﺤﻚ‬:‫اﻟﺜﻌﻠﺐ ﻗﺎل‬

‫ واﻟﱰﲨﺔ اﳌﻼﻳﻮﻳﺔ ﻟﻠﻘﺼﺔ ﻣﺪوﻧﺔ ﰲ‬. ‫أﺧﲑا ﺗﺮﲨﺔ ﻣﻼﻳﻮﻳﺔ ﻟﻠﻘﺼﺔ اﻟﻴﻮﻧﺎﻧﻴﺔ ﻧﻘﻠﺖ ﰲ أﻏﻠﺐ اﻟﻈﻦ ﻋﻦ ﺗﺮﲨﺔ إﳒﻠﻴﺰﻳﺔ‬
ً ‫وﻧﻌﺮض ﻫﻨﺎ‬
:‫“ وﻫﻲ ﺗﺮد ﻛﻤﺎ ﻳﻠﻲ‬Arnab Dengan Kura-Kura” ‫ﻛﺘﺎب‬

Pada suatu hari, arnab terserempak dengan kura-kura lalu mengejeknya, “Oh,
kura-kura! Kamu sangat lembap dan saya pasti kamu tidak dapat berjalan jauh!”
Kura-kura berasa sedih kerana diejek oleh arnab lalu berkata, “Marilah kita
berlumba lari dan lihatlah siapa yang lebih pantas.”
Arnab ketawa dan berkata, “Kamu tentunya sedang bergurau! Tetapi, kita
lihatlah siapa yang sampai terlebih dahulu di sebelah bukit sana.”
Arnab pun berlari meninggalkan kura-kura. Kura-kura berjalan dengan
perlahan.
Selepas berlari seketika, arnab berhenti untuk menunggu kura-kura. Dia
menunggu beberapa lama hingga berasa mengantuk. “Biarlah aku tidur dahulu.” Fikir
arnab, “Kalau kura-kura sampai, aku dapat tinggalkannya dengan mudah sahaja.”
Arnab pun baring di bawah pokok lalu tidur.
Tidak lama kemudian, kura-kura sampai di tempat arnab tidur. Dia terus
berjalan perlahan-perlahan sehingga hampir ke garisan penamat. Ketika itu arnab
terjaga daripada tidur lalu berlari pantas. Apabila sampai di garisan penamat, dia
mendapati kura-kura sudah sampai terlebih dahulu.
Kura-kura itu menang dalam perlumbaan itu!(1 )

Arnab Dengan Kura-Kura Dan Cerita-Cerita Lain, pp.2-6. - (1)

 ‫‪16‬‬
‫ﺿﻤﻨﻬﺎ إﻳﺴﻮب ﺧﺮاﻓﺎﺗﻪ اﻟﺸﻬﲑة‪ ،‬إﻻ أﻧﻬﺎ ﲣﺘﻠﻒ ﰲ إﻳﺮاد‬
‫وﻳﻼﺣﻆ ﻋﻠﻰ ﻫﺬﻩ اﻟﱰﲨﺎت اﻟﺴﺎﺑﻘﺔ أنﻬﺎ ﺗﻨﻘﻞ اﳊﻜﺎﻳﺔ اﻟﻴﻮﻧﺎﻧﻴﺔ اﻟﱵ ّ‬
‫أﻳﻀﺎ – وﻟﻌﻞ اﻟﺴﺒﺐ ﰲ ذﻟﻚ أن اﻟﱰﲨﺎت اﻹﳒﻠﻴﺰﻳﺔ واﻟﻌﺮﺑﻴﺔ واﳌﻼﻳﻮﻳﺔ‬
‫اﻟﻘﺼﺔ اﺧﺘﻼﻓﺎت واﺿﺤﺔ ﰲ اﳊﺠﻢ واﻟﻌﺒﺎرات – واﻟﻌﻨﺎوﻳﻦ ً‬

‫اﻋﺘﻤﺪت ﻋﻠﻰ ﺗﺮﲨﺎت أﺧﺮى ﳐﺘﻠﻔﺔ‪ ،‬أو ﻟﻌﻞ اﻻﺧﺘﻼﻓﺎت أن اﳌﱰﲨﲔ ﱂ ﻳﻜﻮﻧﻮا ﻣﱰﲨﲔ ﻓﺤﺴﺐ‪ ،‬ﺑﻞ ﻛﺎﻧﻮا ﻣﱰﲨﲔ وﻣﺆﻟﻔﲔ ﰲ آن واﺣﺪ‪،‬‬

‫أي ﻛﺎﻧﻮا ﻳﺒﺪﻋﻮن أو ﻳﻌﻴﺪون ﺻﻴﺎﻏﺔ اﻟﻘﺼﺔ ﻛﻞ ﺣﺴﺐ ﻣﻮﻫﺒﺘﻪ وﺧﻴﺎﻟﻪ وﻣﻘﺪرﺗﻪ اﻟﻠﻐﻮﻳﺔ‪ .‬وﻟﻌﻞ ذﻟﻚ ﻳﻈﻬﺮ ﺑﻮﺿﻮح ﰲ ﺗﺮﲨﺔ أﲪﺪ ﳒﻴﺐ‬

‫اﻟﻌﺮﺑﻴﺔ‪ ،‬واﻟﱰﲨﺔ اﳌﺎﻟﻴﺰﻳﺔ‪ ،‬وﺗﺮﲨﺔ ﺟﺎن أوﻟﻴﻔﺮ اﻹﳒﻠﻴﺰﻳﺔ ﻋﻠﻰ وﺟﻪ اﳋﺼﻮص‪.‬‬

‫‪-3‬ﺗﺮﺟﻤﺔ اﻟﺤﻜﺎﻳﺔ اﻟﺸﻌﺒﻴﺔ‪:‬‬

‫وإﺑﺪاﻋﺎ ورﻗﻴًﺎ ﻛﻔﻦ اﳊﻜﺎﻳﺔ اﻟﺸﻌﺒﻴﺔ ‪) Folk Tales‬وﻻ‬

‫ً‬ ‫ﻟﻮ ﺗﺮﻛﻨﺎ اﳋﺮاﻓﺎت واﻧﺘﻘﻠﻨﺎ إﱃ ﻓﻦ آﺧﺮ ﻣﻦ اﻟﻔﻨﻮن اﻟﻨﺜﺮﻳﺔ اﻷﻛﺜﺮ ﻓﻨًﺎ‬

‫ﺳﻴﻤﺎ ﺗﻠﻚ اﳊﻜﺎﻳﺎت اﻟﺸﻌﺒﻴﺔ اﻟﺮاﺋﻌﺔ اﻟﱵ ﺻﺎﻏﻬﺎ ﻛﺘّﺎب ﻣﺒﺪﻋﻮن ﻛﺎﻷﺧﻮﻳﻦ ﺟﺮﱘ وﻛﺎﻣﻞ ﻛﻴﻼﱐ وﻣﺴﻠﻢ ﺑﺮﻣﺖ وأﻣﺜﺎﳍﻢ( ووﻗﻔﻨﺎ ﻋﻨﺪ‬

‫ﺣﻜﺎﻳﺎت اﳌﺒﺪع اﻟﺪﳕﺎرﻛﻲ ﻫﺎﻧﺰ ﻛﺮﻳﺴﺘﺎن أﻧﺪرﺳﻦ‪ ،‬ﻫﺬا اﳊ ّﻜﺎء اﻟﻌﻈﻴﻢ ﻛﻤﺎ ﻛﺎن ﻳﻄﻠﻖ ﻋﻠﻴﻪ أﺳﺘﺎذﻧﺎ وراﺋﺪ اﻷدب اﻟﺸﻌﱯ اﻟﻌﻈﻴﻢ ﻋﺒﺪ اﳊﻤﻴﺪ‬

‫ﻳﻮﻧﺲ‪ ،‬وﻋﺮﺿﻨﺎ ﻟﱰﲨﺘﲔ ﳊﻜﺎﻳﺔ ﻣﻦ ﺣﻜﺎﻳﺎﺗﻪ اﻟﺮاﺋﻌﺔ وﻟﺘﻜﻦ ﺣﻜﺎﻳﺘﻪ ‪) The Princess and The Pea‬اﻷﻣﲑة وزﻫـﺮة اﻟﺒﺎزﻻء(‪ ،‬ﻻ‬

‫أﻓﻀـﻞ ﻋﻠﻴﻬﺎ ‪) The Little Mermaid‬ﻋﺮوس اﻟﺒﺤﺮ اﻟﺼﻐﲑة(‪ ،‬وﻟﻜﻦ ﻷﻧﻬﺎ ﻗﺼﲑة اﳊﺠﻢ‪ .‬وﻗﺪ ﺗﺮﲨﺖ اﻟﻘﺼﺔ‬
‫ﻷﻧﻬﺎ أروﻋﻬﺎ‪ ،‬ﻷﻧﻲ ّ‬

‫ﺿﻤﻦ ﳎﻤﻮﻋﺔ اﳊﻜﺎﻳﺎت اﻷﺧﺮى إﱃ ﻟﻐﺎت ﻋﺪﻳﺪة‪ ،‬ﻣﻨﻬﺎ اﻹﳒﻠﻴﺰﻳﺔ ﺑﺎﻟﻄﺒﻊ‪ .‬وﺳﻨﻌﺮض ﻫﻨﺎ ﻟﱰﲨﺔ ﻧﺎﻋﻮﻣﻲ ﻟﻮﻳﺲ ‪ Naomi Lewis‬وﻫﻲ‬

‫ﲡﺮي ﻛﻤﺎ ﻳﻠﻲ‪:‬‬

‫‪There was once a prince who wished to marry a princess – but a real princess‬‬
‫‪she had to be. So he travelled all the world over to find one; yet in every case‬‬
‫‪something was wrong. Princesses were there in plenty, yet he could never be sure that‬‬
‫‪they were the genuine article; there was always something, this or that, that just‬‬
‫‪didn’t seem as it should be. At last he came back home, quite downhearted, for he did‬‬
‫‪so want to have a real princess.‬‬
‫‪One evening there was a fearful storm; thunder raged, lightning flashed, rain‬‬
‫‪poured down in torrents – it was terrifying. In the midst of it all, someone knocked at‬‬
‫‪the palace door, and the old King went to open it.‬‬
 17
Standing there was a princess. But, goodness! What a state she was in! The
water ran down her hair and her clothes, through the tips of her shoes and out at her
heels. Still, she said she was a real princess.
‘Well, we’ll find out soon enough,’ the old Queen thought. She didn’t say a
word, though, but went into the spare bedroom, took off all the bedclothes, and laid a
little pea on the mattress. Then she piled up twenty more mattresses on top of it, and
twenty eiderdowns over that. There the Princess was to sleep that night.
When morning came, they asked her how she had slept.
‘Oh, shockingly! Not a wink of sleep the whole night long! Heaven knows
what was in the bed, but I lay on something hard that has made me black and blue all
over. It was quite dreadful.’
Now they were sure that here was a real princess, since she had felt the pea
through twenty eiderdowns and twenty mattresses. Only a real princess could be so
sensitive.
So the Prince married her; no need to search any further. The pea was put in
the museum; you can go and see it for yourself if no one has taken it.
There’s a fine story for you!(1 )

،(2 )‫ إﺣﺪاﳘﺎ ﻷﲪﺪ ﳒﻴﺐ‬،‫ وﺳﻨﻌﺮض ﻫﻨﺎ ﻟﱰﲨﺘﲔ ﻋﺮﺑﻴﺘﲔ‬.‫ إﱃ اﻟﻌﺮﺑﻴﺔ‬، ‫ ﻣﻊ ﻏﲑﻫﺎ ﻣﻦ ﺣﻜﺎﻳﺎت أﻧﺪرﺳﻦ‬، ‫وﺗﺮﲨﺖ اﳊﻜﺎﻳﺔ‬

:‫ وﲡﺮي اﻟﱰﲨﺔ ﻋﻠﻰ اﻟﻨﺤﻮ اﻟﺘﺎﱄ‬.‫م ﰲ ﻛﺘﺎﺑﻪ "ﺣﻜﺎﻳﺎت وأﺳﺎﻃﲑ" اﻟﺴﺎﺑﻖ اﻟﺬﻛﺮ‬1992 ‫وﺻﺪرت ﰲ ﺳﻨﺔ‬

‫ ﲝﺚ اﻷﻣﲑ‬.. ‫ ﺑﺸﺮط أن ﺗﻜﻮن أﻣﲑة ﺣﻘﻴﻘﻴﺔ‬.. ‫ ﻳﺒﺤﺚ ﻟﻪ ﻋﻦ زوﺟﺔ‬.. ‫ ﻛﺎن ﻳﻮﺟﺪ أﻣﲑ‬.. ‫ ﰲ ﻣﺮة ﻣﻦ زﻣﺎن‬.. ‫ﻛﺎن ﻳﺎ ﻣﺎ ﻛﺎن‬

.. ‫ ﻋﻨﺪﻣﺎ ﻫﺒّﺖ ﻋﺎﺻﻔﺔ ﺷﺪﻳﺪة‬.. ‫ ﻛﺎن اﻷﻣﲑ ﰲ اﻟﻘﺼﺮ‬.. ‫ وﰲ ﻳﻮم ﻣﻦ اﻷﻳﺎم‬.. ‫ وﻟﻜﻨﻪ ﱂ ﻳﻌﺮف ﻛﻴﻒ ﳚﺪ أﻣﲑة ﺣﻘﻴﻘﻴﺔ‬.. ‫ﻛﺜﲑا‬
ً
.. ‫ ﺗﺮﺗﻌﺶ ﻣﻦ اﻟﱪد‬.. ‫ ودﺧﻠﺖ ﻓﺘﺎة ﻣﺒﻠﻠﺔ ﺑﺎﳌﺎء‬.. ‫دق اﻟﺒﺎب‬
ّ .. ً‫ ﻓﺠﺄة‬.. ‫ ودوى ﺻﻮت اﻟﺮﻋﺪ ﻋﺎﻟﻴًﺎ ﳐﻴ ًﻔﺎ‬.. ‫ﻛﺜﲑا‬
ً ‫ﻣﻄﺮا‬
ً ‫وأﻣﻄﺮت اﻟﺴﻤﺎء‬
‫ ﻟﻨﻌﺮف إذا ﻛﺎﻧﺖ‬.. ‫ ﻫﺬﻩ ﻓﺮﺻﺔ‬: ‫ ﻗﺎﻟﺖ اﳌﻠﻜﺔ أم اﻷﻣﲑ ﻟﻪ‬.. ‫ وﺗﺮﻳﺪ أن ﺗﺒﻘﻰ ﰲ اﻟﻘﺼﺮ ﺣﱴ ﺗﻨﺘﻬﻲ اﻟﻌﺎﺻﻔﺔ‬.. ‫وﻗﺎﻟﺖ إﻧﻬﺎ أﻣﲑة ﺣﻘﻴﻘﻴﺔ‬

‫ وﻓﻮﻗﻬﺎ أﻛﺜﺮ‬.. ‫ ووﺿﻌﺖ ﻓﻮق اﻷﻟﻮاح ﺑﻌﺾ ﺣﺒﺎت اﳊﻤﺺ‬.. ‫ أﺣﻀﺮت اﳌﻠﻜﺔ ﺳﺮ ًﻳﺮا ﻟﻪ أﻟﻮاح ﺧﺸﺒﻴﺔ‬.. ‫ وﰲ اﳌﺴﺎء‬.. ‫أﻣﲑة ﺣﻘﻴﻘﻴﺔ أم ﻻ‬

Anderson’s Fairy Tales, pp.11-12. - (1)

. 5 ‫ ص‬- (2 )
 ‫‪18‬‬
‫ﻣﻦ ﺛﻼﺛﲔ ﺣﺸﻴﺔ )ﻣﺮﺗﺒﺔ( ‪ ..‬وﺗﺮﻛﺖ اﻷﻣﲑة ﺗﻨﺎم ‪ ..‬وﰲ اﻟﺼﺒﺎح ﺳﺄﻟﺘﻬﺎ ‪ " :‬ﻛﻴﻒ ﳕﺖ ‪ ..‬؟ " ﻓﻘﺎﻟﺖ اﻷﻣﲑة ‪ :‬ﱂ أﺳﺘﻄﻊ اﻟﻨﻮم ‪ ..‬ﻷن‬

‫ﺗﺰوج‬
‫ﺣﺴﺎﺳﺔ ‪ " ..‬اﻷﻣﲑ ّ‬
‫ﳛﺲ ﲝﺒﺎت اﳊﻤﺺ ﲢﺖ ﺛﻼﺛﲔ ﻣﺮﺗﺒﺔ إﻻ أﻣﲑة ﺣﻘﻴﻘﻴﺔ ّ‬
‫ﺷﻴﺌًﺎ ﲢﱵ ﻛﺎن ﻳﻀﺎﻳﻘﲏ ‪ ..‬ﻗﺎﻟﺖ اﳌﻠﻜﺔ ‪ " :‬ﻻ ﳝﻜﻦ أن ّ‬
‫ﻣﻦ اﻷﻣﲑة اﳊﻘﻴﻘﻴﺔ ‪..‬‬

‫أﻣﺎ اﻟﱰﲨﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺜﺎﻧﻴﺔ ﻓﺼﺪرت ﺑﻌﺪ ﺗﺮﲨﺔ أﲪﺪ ﳒﻴﺐ ﰲ ﺳﻨﺔ ‪ 2005‬وﻫﻲ ﻟﻠﻤﱰﺟﻢ اﻟﻜﺒﲑ اﳌﻐﻔﻮر ﻟﻪ اﻟﺪﻛﺘﻮر ﻋﺒﺪ اﳊﻤﻴﺪ‬

‫ﻳﻮﻧﺲ ﺿﻤﻦ ﻛﺘﺎﺑﻪ "ﺣﻜﺎﻳﺎت أﻧﺪرﺳﻦ"‪ ،‬وﻫﻲ ﲡﺮي ﻋﻠﻰ ﻫﺬا اﻟﻨﺤﻮ‪:‬‬

‫داﺋﻤﺎ ﺷﻲء ﻻ‬
‫ذات ﻳﻮم‪ ،‬أراد أﻣﲑ أن ﻳﺘﺰوج أﻣﲑة‪ ،‬ﻓﺴﺎﻓﺮ إﱃ ﲨﻴﻊ أرﺟﺎء اﻟﻌﺎﱂ‪ ،‬ﻣﺆﻣﻼ أن ﳚﺪ ﻫﺬﻩ اﻷﻣﲑة‪ ،‬وﻟﻜﻦ ﻛﺎن ﻳﻮﺟﺪ ً‬
‫ﻳﺮﺿﻰ ﻋﻨﻪ‪ .‬ﻓﻘﺪ وﺟﺪ اﻷﻣﲑات ﺑﺎﻟﻌﺸﺮات‪ ،‬وﻟﻜﻨﻪ ﱂ ﻳﺴﺘﻄﻊ أن ﻳﻘﺮر ﻣﺎ إذا ﻛﻦ أﻣﲑات ﺣﻘﻴﻘﻴﺎت أم ﻻ‪ ،‬إذ ﻛﺎن ﻳﺒﺪو ﻟﻪ أن ﻓﻴﻬﻦ ﻋﻴﺒًﺎ‬

‫ﻛﺜﲑا أن ﻳﺘﺰوج أﻣﲑة ﺣﻘﻴﻘﻴﺔ‪ ،‬وﱂ ﻳﺴﺘﻄﻊ أن ﳚﺪ واﺣﺪة‪.‬‬

‫أﺧﲑا؛ ﻋﺎد إﱃ ﻗﺼﺮﻩ‪ ،‬وﻫﻮ ﺣﺰﻳﻦ ﻷﻧﻪ ﻛﺎن ﻳﻮد ً‬
‫ﻟﺴﺒﺐ أو ﻵﺧﺮ‪ .‬و ً‬
‫ﻇﻼﻣﺎ ﺣﺎﻟ ًﻜﺎ‬
‫وذات ﻣﺴﺎء؛ ﻫﺒﺖ رﻳﺢ ﻋﺎﺻﻔﺔ ﲣﻠﻠﻬﺎ رﻋﺪ وﺑﺮق‪ ،‬وﻫﻄﻞ اﳌﻄﺮ ﰲ ﺳﻴﻮل ﺟﺎرﻓﺔ‪ .‬وإﱃ ﺟﺎﻧﺐ ذﻟﻚ‪ ،‬ﻛﺎﻧﺖ اﻟﺪﻧﻴﺎ ً‬
‫ﰲ ﺳﻮاد اﻟﻘﺎر‪ .‬وﻓﺠﺄةً؛ ﲰﻊ ﻃﺮق ﺷﺪﻳﺪ ﻋﻠﻰ اﻟﺒﺎب؛ ﻓﺬﻫﺐ اﳌﻠﻚ اﻟﺸﻴﺦ واﻟﺪ اﻷﻣﲑ ﺑﻨﻔﺴﻪ ﻟﻴﻔﺘﺤﻪ‪.‬‬

‫ﻛﺎﻧﺖ ﻫﻨﺎك أﻣﲑة ﺗﻘﻒ ﺧﺎرﺟﻪ‪ ،‬وﻫﻲ ﰲ ﺣﺎﻟﺔ ﻳﺮﺛﻰ ﳍﺎ ﺑﺴﺒﺐ اﳌﻄﺮ واﻟﺮﻳﺢ‪ ،‬واﳌﺎء ﻳﻘﻄﺮ ﻣﻦ ﺷﻌﺮﻫﺎ‪ ،‬ﻓﻘﺪ ﻛﺎﻧﺖ ﺛﻴﺎﺑﻬﺎ ﻣﻠﺘﺼﻘﺔ‬

‫ﲜﺴﺪﻫﺎ‪ ،‬وﻗﺎﻟﺖ إﻧﻬﺎ أﻣﲑة ﺣﻘﻴﻘﻴﺔ‪ .‬ﻓﻘﺎﻟﺖ اﳌﻠﻜﺔ اﻟﻮاﻟﺪة اﻟﻌﺠﻮز ﻟﻨﻔﺴﻬﺎ‪" :‬آﻩ؛ ﺳﻮف ﻧﺮى ﺣﺎﻻً ﺣﻘﻴﻘﺔ ذﻟﻚ!"‪ .‬وﻣﻬﻤﺎ ﻳﻜﻦ ﻣﻦ أﻣﺮ‪،‬‬

‫ﻓﺈﻧﻬﺎ ﱂ ﺗﺒﺪ أﻳﺔ إﺷﺎرة ﺗﻨﻢ ﻋﻤﺎ ﺗﻌﺘﺰم أن ﺗﻔﻌﻠﻪ‪ ،‬وﻣﻀﺖ ﰲ ﻫﺪوء إﱃ ﻏﺮﻓﺔ اﻟﻨﻮم‪ ،‬وﻧﺰﻋﺖ ﻛﻞ ﻣﻼءات اﻟﺴﺮﻳﺮ‪ ،‬ووﺿﻌﺖ ﺛﻼث ﺣﺒﺎت‬

‫ﺻﻐﲑة ﻣﻦ اﻟﺒﺴﻠﺔ ﻋﻠﻰ اﻟﺴﺮﻳﺮ‪ .‬ﰒ وﺿﻌﺖ ﻋﺸﺮﻳﻦ ﺣﺸﻴﺔ‪ ،‬واﺣﺪة ﻓﻮق اﻷﺧﺮى ﻋﻠﻰ ﺣﺒﺎت اﻟﺒﺴﻠﺔ اﻟﺜﻼث‪ ،‬ووﺿﻌﺖ ﻓﻮق اﳊﺸﺎﻳﺎ وﺳﺎﺋﺪ‬

‫ﻣﻦ اﻟﺮﻳﺶ‪ .‬وﻛﺎن ﻋﻠﻰ اﻷﻣﲑة أن ﲤﻀﻰ اﻟﻠﻴﻠﺔ ﻧﺎﺋﻤﺔ ﻋﻠﻰ ﻫﺬا اﻟﻔﺮاش‪.‬‬

‫وﰲ ﺻﺒﺎح اﻟﻴﻮم اﻟﺘﺎﱄ‪ ،‬ﺳﺌﻠﺖ ﻛﻴﻒ أﻣﻀﺖ ﻟﻴﻠﺘﻬﺎ ﰲ اﻟﻔﺮاش؟‪ ،‬ﻓﺮدت ﻗﺎﺋﻠﺔ‪" :‬أواﻩ؛ ﻟﻘﺪ ﻛﺎن ﻧﻮﻣﻲ ﺳﻴﺌًﺎ ﺣ ًﻘﺎ! إﻧﲏ ﱂ أﻏﻤﺾ‬

‫ﻋﻴﲏ ﺗﻘﺮﻳﺒًﺎ ﻃﻮال اﻟﻠﻴﻞ‪ .‬وأﻧﺎ ﻻ أدري ﻣﺎذا ﻛﺎن ﰲ ﻓﺮاﺷﻲ‪ ،‬وﻟﻜﻨﲏ ﺷﻌﺮت ﺑﺄن ﻫﻨﺎك ﺷﻴﺌًﺎ ﺻﻠﺒًﺎ ﲢﺖ ﺟﺴﺪي‪ ،‬وﻫﺎ ﻫﻮ ﺟﺴﺪي ﻛﻠﻪ‬

‫ﻛﺜﲑا! وأﺻﺒﺢ ﻣﻦ اﻟﻮاﺿﺢ اﻵن أن ﻫﺬﻩ ﻻ ﺑﺪ أن ﺗﻜﻮن أﻣﲑة ﺣ ًﻘﺎ‪ ،‬ﻷﻧﻬﺎ اﺳﺘﻄﺎﻋﺖ أن ﲢﺲ ﺑﻮﺟﻮد ﺣﺒﺎت‬
‫ﻛﺪﻣﺎت‪ .‬ﻟﻘﺪ آذاﱐ ذﻟﻚ ً‬
‫اﻟﺒﺴﻠﺔ اﻟﺼﻐﲑة اﻟﺜﻼث‪ ،‬ﺧﻼل اﻟﻌﺸﺮﻳﻦ ﻣﻦ وﺳﺎﺋﺪ اﻟﺮﻳﺶ‪ .‬وﻻ ﳝﻜﻦ ﻟﻮاﺣﺪة إﻻ إذا ﻛﺎﻧﺖ أﻣﲑة ﺣ ًﻘﺎ أن ﻳﻜﻮن ﳍﺎ ﻣﺜﻞ ﻫﺬا اﻹﺣﺴﺎس‬

‫اﻟﺮﻗﻴﻖ‪.‬‬

‫وﻋﻠﻰ ﻫﺬا‪ ،‬اﲣﺬﻫﺎ اﻷﻣﲑ زوﺟﺔ ﻟﻪ‪ ،‬ﺑﻌﺪ أن اﻗﺘﻨﻊ ﺑﺄﻧﻪ وﺟﺪ أﻣﲑة ﺣﻘﻴﻘﻴﺔ‪ .‬وﻣﻬﻤﺎ ﻳﻜﻦ ﻣﻦ أﻣﺮ‪ ،‬ﻓﺈن ﺣﺒﺎت اﻟﺒﺴﻠﺔ اﻟﺜﻼث‬

‫وﺿﻌﺖ ﰲ اﳌﺘﺤﻒ اﳌﻠﻜﻲ‪ ،‬وﻫﻲ ﻻ ﺗﺰال ﺗﺸﺎﻫﺪ ﻓﻴﻪ‪ ،‬إذا ﱂ ﺗﻜﻦ ﻗﺪ ﺳﺮﻗﺖ‪.‬‬
 19
.(1 )‫ﻻﺣﻆ أن ﻫﺬﻩ ﻗﺼﺔ ﺣﻘﻴﻘﻴﺔ‬
F18

‫ ﻻ ﻷﻧﻬﺎ أﻗﺮب إﱃ اﳊﻜﺎﻳﺔ اﻟﺪﳕﺎرﻛﻴﺔ اﻷﺻﻠﻴﺔ ﰲ ﻣﻀﻤﻮﻧﻬﺎ‬،‫وواﺿﺢ أن اﻟﱰﲨﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺜﺎﻧﻴﺔ أروع ﺑﻜﺜﲑ ﻣﻦ اﻟﱰﲨﺔ اﻷوﱃ‬

.‫ ﺑﻞ ﻟﻘﺮﺑﻬﺎ ﻣﻦ ﻓﻦ أﻧﺪرﺳﻦ اﳌﺘﻤﻴّﺰ وﻃﺮﻳﻘﺘﻪ اﻟﻔﺮﻳﺪة ﰲ اﳊﻜﻰ‬،‫وﺗﻔﺼﻴﻠﻬﺎ ﻓﺤﺴﺐ‬

:‫ﺗﺮﺟﻤﺔ اﻟﻘﺼﺔ اﻟﻘﺼﻴﺮة‬-4

‫وﻓﲑا ﻣﻦ اﻟﱰﲨﺎت ﻣﻦ اﻟﻠﻐﺎت‬

ً ‫وﺟﺪﻧﺎ ﻛﻤﺎ‬،‫إذا ﻣﺎ ﺗﺮﻛﻨﺎ اﳊﻜﺎﻳﺔ اﻟﺸﻌﺒﻴﺔ إﱃ ﺷﻜﻞ آﺧﺮ ﻣﻦ اﻟﻔﻨﻮن اﻟﻨﺜﺮﻳﺔ اﳊﺪﻳﺜﺔ وﻫﻮ اﻟﻘﺼﺔ اﻟﻘﺼﲑة‬
la Ficille‫وﺳﻨﻮرد أوﻻ ﻓﻘﺮة ﻣﻦ ﻗﺼﺔ )ﳊﺒﻞ( ا‬.‫ واﻟﺜﺎﻧﻴﺔ روﺳﻴﺔ‬,‫ اﻷوﱃ ﻓﺮﻧﺴﻴﺔ‬,‫ وﻟﻜﻨﻨﺎ ﺳﻨﻜﺘﻔﻲ ﺑﺬﻛﺮ ﺗﺮﲨﺎت ﻗﺼﺘﲔ ﻓﺤﺴﺐ‬،‫اﳌﺨﺘﻠﻔﺔ‬

.Guy De Mapassant ‫ﻟﻠﻜﺎﺗﺐ اﻟﻔﺮﻧﺴﻲ ﺟﻲ دي ﻣﻮﺑﺴﺎن‬

Maître Hauchecorne, de Bréauté, venait d'arriver à Goderville, et il se dirigeait vers

la place, quand il aperçut par terre un petit bout de ficelle. Maître Hauchecorne,
économe en vrai Normand, pensa que tout était bon à ramasser qui peut servir; et il se
baissa péniblement, car il souffrait de rhumatismes. Ilprit, par terre, le morceau de
corde mince, et il se disposait à le rouler avec
soin, quand il remarqua, sur le seuil de sa porte, maître Malandain, le bourrelier, qui
le regardait. Ils avaient eu des affaires ensemble au sujet d'un licol, autrefois, et ils
étaient restés fâchés, étant rancuniers tous deux. Maître Hauchecorne fut pris d'une
sorte de honte d'être vu ainsi, par son ennemi, cherchant dans la crotte un bout de
ficelle. Il cacha brusquement sa trouvaille sous sa blouse, puis dans la poche de sa
culotte; puis il fit semblant de chercher encore par terre quelque chose qu'il ne
trouvait point, et il s'en alla vers le marché - la tête en avant, courbé en deux par
sesdouleurs,

The Necklace and Other Short Stories ‫ﰒ ﻧﻮرد ﺗﺮﲨﺔ إﳒﻠﻴﺰﻳﺔ ﻟﻠﻔﻘﺮة اﻟﺴﺎﺑﻘﺔ وردت ﺿﻤﻦ ﻛﺘﺎب‬

:‫( وﻫﻲ ﲡﺮي ﻋﻠﻰ ﻫﺬا اﻟﻨﺤﻮ‬1992)

Maitre Hauchecome, of Breaute, had just arrived at Goderville, and he was

directing his steps toward the public square, when he perceived upon the ground a
little piece of string. Maitre Hauchecome, economical like a true Norman, thought
that everything useful ought to be picked up, and he bent painfully, for he suffered

.206-205‫ ص‬- (1)

 20
from rheumatism. He took the bit of thin cord from the ground and began to roll it
carefully when he noticed Maitre Malandain, the harness-maker, on the threshold of
his door, looking at him. They had heretofore had business together on the subject of
a halter, and they were on bad terms, being both good haters. Maitre Hauchecome
was seized with a sort of shame to be seen thus by his enemy, picking a bit of string
out of the dirt. He concealed his “find” quickly under his blouse, then in his trousers’
pocket; then he pretended to be still looking on the ground for something which he
did not find, and he went toward the market, his head forward, bent double by his
pains(1 ).

:Selected Short Stories (1998) ‫ودوﻧﻚ اﻵن ﺗﺮﲨﺔ إﳒﻠﻴﺰﻳﺔ ﺛﺎﻧﻴﺔ ﻟﻠﻔﻘﺮة ﻧﻔﺴﻬﺎ وردت ﰲ ﻛﺘﺎب‬

Maitre Hauchecorne, of Breaute, had just arrived at Goderville, and was

making his way towards the square, when he perceived on the ground a little piece of
string, Maitre Hauchecorne, economical, like all true Normans, reflected that
everything was worth picking up which could be of any use; and he stooped down –
but painfully, because he suffered from rheumatism. He took the bit of thin cord from
the ground, and was carefully preparing to roll it up when he saw Maitre Malandain,
the harness-maker, on his door-step, looking at him. They had once had a quarrel
about a halter, and they had remained angry, bearing malice on both sides. Maitre
Hauchecorne was overcome with a sort of shame at being seen by his enemy looking
in the dirt so for a bit of string. He quickly hid his find beneath his blouse; then in the
pocket of his breeches; then pretended to be still looking for something on the ground
which he did not discover, and at last went off towards the market-place, with his
head bent forward, and a body almost doubled in two by rheumatic pains(2 ).

The Necklace and Other Short Stories, p.39. - (1)

Selected Short Stories, p.71. - (2)

 ‫‪21‬‬
‫وﻫﺬﻩ ﺗﺮﲨﺔ ﻋﺮﺑﻴﺔ ﻟﻠﻔﻘﺮة ﻋﻴﻨﻬﺎ وردت ﰲ ﻛﺘﺎب "اﻟﻘﺼﺔ اﻟﻘﺼﲑة‪ :‬دراﺳﺔ وﳐﺘﺎرات" )‪:(1992‬‬

‫وﻛﺎن اﻟﺴﻴﺪ "ﻫﻮﺷﻜﻮرن" – وﻫﻮ ﻣﻦ أﻫﺎﱄ ﺑﻠﺪة "ﺑﺮوﺗﺘﻴﻴﻪ" – ﰲ ﻃﺮﻳﻘﻪ إﱃ اﳌﻴﺪان ﻋﻨﺪﻣﺎ ﳌﺢ ﻋﻠﻰ اﻷرض ﻗﻄﻌﺔ ﺣﺒﻞ ﺻﻐﲑة‪.‬‬

‫وﻛﺎن اﻟﺮﺟﻞ ﻋﻠﻰ ﺟﺎﻧﺐ ﻛﺒﲑ ﻣﻦ اﳊﺮص ﻛﻜﻞ ﻧﻮرﻣﺎﻧﺪي ﺻﻤﻴﻢ‪ ،‬ﻳﺮى أن ﻛﻞ ﻣﺎ ﻳﻔﻴﺪ ﳚﺐ أن ﻳﻠﺘﻘﻂ ﻓﻘﺪ ﻳﻨﺘﻔﻊ ﺑﻪ‪ ،‬ﻓﺄﺣﲎ ﻗﺎﻣﺘﻪ ﰲ ﺟﻬﺪ‬

‫ﻇﺎﻫﺮ‪ ،‬ﻋﻠﻰ اﻟﺮﻏﻢ ﳑﺎ ﻛﺎن ﻳﺸﻜﻮﻩ ﻣﻦ آﻻم اﻟﺮوﻣﺎﺗﻴﺰم‪ ،‬وأﺧﺬ ﻳﻠﻒ ﻗﻄﻌﺔ اﳊﺒﻞ ﰲ ﺗﺆدة وﻋﻨﺎﻳﺔ‪ .‬ﰒ وﻗﻌﺖ ﻋﻴﻨﺎﻩ ﰲ ﺗﻠﻚ اﻟﻠﺤﻈﺔ ﻋﻠﻰ اﻟﺴﻴﺪ‬

‫"ﻣﺎﻻﻧﺪان" ﺻﺎﻧﻊ اﻟﺴﺮوج واﻗ ًﻔﺎ ﺑﺒﺎب ﺣﺎﻧﻮﺗﻪ وﻫﻮ ﳛﺪﺟﻪ ﺑﻨﻈﺮاﺗﻪ‪.‬‬

‫ﻛﺎن ﺑﲔ "ﻣﺎﻻﻧﺪان" و "ﻫﻮﺷﻜﻮرن" ﺧﻼف ﻗﺪﱘ‪ ،‬إذ ﻛﺎن اﻟﺮﺟﻼن ﻗﺪ ﺗﻨﺎزﻋﺎ ذات ﻣﺮة ﻣﻦ أﺟﻞ رﺳﻦ‪ ،‬وﻷﻧﻬﻤﺎ ﻛﺎﻧﺎ ﺣﻘﻮدﻳﻦ‬

‫ﻓﻘﺪ اﺳﺘﺤﻜﻤﺖ اﻟﻌﺪاوة ﺑﻴﻨﻬﻤﺎ ﻣﻨﺬ ذﻟﻚ اﳊﲔ‪ .‬وأﺣﺲ اﻟﺴﻴﺪ "ﻫﻮﺷﻜﻮرن" ﺑﺸﻲء ﻣﻦ اﳋﺠﻞ ﺣﲔ رآﻩ ﻋﺪوﻩ ﻳﺄﺧﺬ ﻗﻄﻌﺔ ﻣﻦ اﳊﺒﻞ ﻣﻦ‬

‫اﻷرض اﳌﻠﻮﺛﺔ ﺑﺎﻷﻗﺬار‪ ،‬ﻓﺄﺳﺮع ﺑﺈﺧﻔﺎﺋﻬﺎ ﲢﺖ ﺳﱰﺗﻪ‪ ،‬ﰒ دﺳﻬﺎ ﰲ ﺟﻴﺐ "ﺑﻨﻄﻠﻮﻧﻪ" وأﺧﺬ ﻳﺘﻈﺎﻫﺮ ﺑﺄﻧﻪ ﻻ ﻳﺰال ﻳﺒﺤﺚ ﰲ اﻷرض ﻋﻦ ﺷﻲء‬

‫ﱂ ﻳﻌﺜﺮ ﻋﻠﻴﻪ ﺑﻌﺪ‪ .‬وﻣﻀﺖ ﳊﻈﺔ ﻗﺼﺪ ﺑﻌﺪﻫﺎ إﱃ اﻟﺴﻮق‪ ،‬ورأﺳﻪ إﱃ اﻷﻣﺎم وﻇﻬﺮﻩ ﻣﻘﻮس ﻣﻦ اﻷﱂ) ‪.(1‬‬
‫‪F21‬‬

‫واﻟﱰﲨﺘﺎن اﻹﳒﻠﻴﺰﻳﺘﺎن ﺟﻴﺪﺗﺎن وﻣﺘﻘﺎرﺑﺘﺎن إﱃ ﺣﺪ ﻛﺒﲑ ﰲ اﳌﻌﺠﻢ اﻟﻠﻐﻮي‪ ،‬وإن اﺧﺘﻠﻔﺘﺎ ﺑﻌﺾ اﻟﺸﻲء ﰲ رﺻﻒ اﻟﻌﺒﺎرات وﺗﺄﻟﻴﻒ‬

‫اﳉﻤﻞ‪ .‬وﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ ﺳﻬﻮﻟﺔ ﻣﻮﺑﺴﺎن ﰲ ﻟﻐﺘﻪ اﻟﻔﺮﻧﺴﻴﺔ وﲤﻴّﺰ أﺳﻠﻮﺑﻪ ﺑﺎﻟﺒﺴﺎﻃﺔ واﳊﻼوة واﻟﻮﺿﻮح‪ ،‬ﻓﺈن اﳌﱰﲨﲔ‪ ،‬ﰲ اﻟﻐﺎﻟﺐ‪ ،‬ﻳﻌﺠﺰون ﻋﻦ‬

‫اﳊﻔﺎظ ﻋﻠﻰ ﻫﺬﻩ اﻟﺒﺴﺎﻃﺔ ﰲ ﺗﺮﲨﺎﺗﻬﻢ ﻷﻋﻤﺎﻟﻪ اﻷدﺑﻴﺔ وﻻ ﺳﻴﻤﺎ ﻗﺼﺼﻪ اﻟﻘﺼﲑة‪ .‬وﻫﺎﺗﺎن اﻟﱰﲨﺘﺎن ﻟﻘﺼﺔ "اﳊﺒﻞ" ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ روﻋﺘﻬﻤﺎ‬

‫ﱂ ﺗﻔﻠﺤﺎ ﰲ اﳊﻔﺎظ ﻋﻠﻰ ﺳﻬﻮﻟﺔ ﻣﻮﺑﺴﺎن وﺑﺴﺎﻃﺘﻪ‪ ،‬وإن ﺑﺪت اﻟﱰﲨﺔ اﻟﺜﺎﻧﻴﺔ أﻓﻀﻞ ﻣﻦ اﻷوﱃ ﰲ ﻧﻈﺮي‪.‬‬

‫أﻣﺎ اﻟﱰﲨﺔ اﻟﻌﺮﺑﻴﺔ ﻓﱰﲨﺔ ﻣﻮﻓﻘﺔ إﱃ ﺣﺪ ﺑﻌﻴﺪ‪ ،‬ﺑﺎﻟﺮﻏﻢ ﻣﻦ أن اﳌﱰﺟﻢ ﱂ ﻳﻠﺘﺰم ﺑﺸﻜﻞ اﳉﻤﻞ اﻹﳒﻠﻴﺰﻳﺔ‪ ،‬وﻋﻤﺪ إﱃ ﺗﻘﺴﻴﻢ اﻟﻔﻘﺮة‬

‫اﻹﳒﻠﻴﺰﻳﺔ اﻟﻄﻮﻳﻠﺔ إﱃ ﻓﻘﺮﺗﲔ‪ ،‬ﻛﻤﺎ أدﻣﺞ ﺟﺰءًا ﻣﻦ ﻣﻄﻠﻊ اﻟﻔﻘﺮة اﻟﺜﺎﻟﺜﺔ ﰲ ﺧﺎﲤﺔ اﻟﻔﻘﺮة اﻟﺜﺎﻧﻴﺔ‪.‬‬

‫أﻣﺎ اﻟﻘﺼﺔاﻟﺮوﺳﻴﺔ ﻓﻬﻲ ﻗﺼﺔ )ﺷﻘﺎء( ﻟﻠﻜﺎﺗﺐ اﻟﺮوﺳﻲ اﻧﻄﻮن ﺗﺸﻴﻜﻮف ‪ ،‬وﻫﻰ ﲤﻀﻰ ﻛﻤﺎ ﻳﻠﻲ‪:‬‬

‫‪"I must go out and have a look at the horse," Iona thinks. "There will be time‬‬
‫"‪enough for sleep. You will have enough sleep, no fear...‬‬
‫‪He gets dressed and goes into the stable where his horse is standing. He‬‬
‫‪thinks about oats, hay, the weather. When he is alone, he dares not think of his son. It‬‬
‫‪is possible to talk about him with someone, but to think of him when one is alone, to‬‬
‫‪evoke his image is unbearable painful.‬‬
‫‪"You chewing?" Iona asks his mare seeing her shining eyes.‬‬

‫)‪ - (1‬اﻟﻄﺎﻫﺮ أﲪﺪ ﻣﻜﻲ‪ ،‬اﻟﻘﺼﺔ اﻟﻘﺼﲑة‪ :‬دراﺳﺔ وﳐﺘﺎرات‪ ،‬ص‪.440-439‬‬

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‫‪"There, chew away… If we haven't earned enough for oats, we'll eat hay….‬‬
‫"‪Yes…. I've grown too old to drive. My son had ought to have lived….‬‬
‫‪Iona is silent for a space and then goes on: "That's how it is, old girl…. Kuzma‬‬
‫‪Ionych is gone…. Departed this life…. He went and died to no purpose…. Now let's‬‬
‫‪say you had a little colt's own mother. And suddenly, let's say, that same little colt‬‬
‫"?‪departed this life…. You'd be sorry, wouldn't you‬‬
‫‪The nag chews, listens, and breathes on her master's hands. Iona is carried‬‬
‫‪away and tells her everything.‬‬

‫وﻫﺬﻩ ﺗﺮﲨﺔ ﳍﺎ ﺑﻘﻠﻢ رﺷﺎد رﺷﺪى‪:‬‬

‫ﻗﺎل أﻳﻮﻧﺎ ﻟﻨﻔﺴﻪ‪:‬‬

‫‪ - ..‬دﻋﻨﺎ ﳔﺮج وﻧﻠﻘﻰ ﻧﻈﺮة ﻋﻠﻰ اﳌﻬﺮة‪ ،‬ﰲ اﻟﻮﻗﺖ ﻣﺘﺴﻊ ﻟﻠﻨﻮم داﺋﻤﺎ‪ ،‬ﻻ ﲣﻒ ﻓﺴﺘﻨﺎم ﲟﺎ ﻓﻴﻪ اﻟﻜﻔﺎﻳﺔ‪.‬‬

‫وﻟــﺒﺲ أﻳﻮﻧــﺎ ﻣﻌﻄﻔــﻪ وذﻫــﺐ إﱃ اﻷﺳــﻄﺒﻞ ﺣﻴــﺚ ﺗﻘــﻒ اﳌﻬــﺮة وﻫــﻮ ﻳﻔﻜــﺮ ﰲ اﻟﺸــﻮﻓﺎن وﰲ اﻟﻌﺸــﺐ وﰲ اﳉــﻮ‪ .‬وﻫــﻮ ﻻ ﻳﺴــﺘﻄﻴﻊ أن‬

‫ﻳﻔﻜﺮ ﰲ اﺑﻨﻪ وﻫﻮ وﺣﻴﺪ‪ ...‬ﻣﻦ اﳌﻤﻜﻦ أن ﻳﺘﺤﺪث ﻋﻨﻪ ﻣﻊ ﺷﺨﺺ ﻣﺎ‪ ،‬وﻟﻜﻦ اﻟﺘﻔﻜﲑ ﻓﻴﻪ وﺗﺼﻮرﻩ أﱂ ﳏﺾ ﻻ ﳝﻜﻦ ﻟﻺﻧﺴﺎن ﲢﻤﻠﻪ‪.‬‬

‫وﺳﺄل أﻳﻮﻧﺎ ﻣﻬﺮﺗﻪ ﻋﻨﺪﻣﺎ رأى ﻋﻴﻨﻴﻬﺎ اﻟﻼﻣﻌﺘﲔ )ﻫﻞ ﺗﺄﻛﻠﲔ؟ ﺣﺴﻨﺎ‪ ،‬ﻛﻠﻰ‪ ،‬ﻛﻠﻰ‪ ...‬إن ﱂ ﻧﺴﺘﻄﻴﻊ أن ﻧﻜﺴﺐ ﻣﺎ ﻳﻜﻔـﻰ ﻟﻠﺸـﻮﻓﺎن‬

‫ﻓﻠﻨﺄﻛﻞ اﻟﻌﺸـﺐ‪ ..‬ﻧﻌـﻢ‪ ..‬ﻟﻘـﺪ ﻛـﱪت ﻋﻠـﻰ ﻗﻴـﺎدة اﻟﻌﺮﺑـﺎت ‪ ..‬ﻛـﺎن ﻳﻨﺒﻐـﻰ أن ﻳﻜـﻮن اﺑـﲎ ﻫـﻮ اﻟـﺬى ﻳﻘـﻮد ﻻ أﻧـﺎ‪ ..‬ﻛـﺎن ﻗﺎﺋـﺪا ﲟﻌـﲎ اﻟﻜﻠﻤـﺔ‪..‬‬

‫ﻛﺎن ﻳﻨﺒﻐﻰ أن ﻳﻌﻴﺶ‪ (..‬وﻳﺴﻜﺖ أﻳﻮﻧﺎ وﻫﻠﺔ ﰒ ﻳﺴﺘﻤﺮ ﰲ ﻛﻼﻣﻪ‪.‬‬

‫‪) -‬ﻫﺬﻩ ﻫﻰ اﳌﺴﺄﻟﺔ ﻳﺎ ﻓﺘﺎﺗﻰ اﻟﻌﺰﻳﺰة‪ .‬ﻟﻘـﺪ ذﻫـﺐ ﻛﻮزﻣـﺎ أﻳـﻮﻧﺘﺶ‪ ..‬ﻗـﺎل وداﻋـﺎ‪ ..‬ذﻫـﺐ وﻣـﺎت دون ﺳـﺒﺐ ﻣـﺎ ‪ ..‬واﻵن ﺗﺼـﻮرى أن‬

‫ﻟــﻚ ﻣﻬــﺮة ﺻــﻐﲑة‪ ،‬وﻛﻨــﺖ أﻧــﺖ أم ﻫــﺬﻩ اﳌﻬــﺮة اﻟﺼــﻐﲑة‪ ...‬وﻓﺠــﺄة ذﻫﺒــﺖ ﻧﻔــﺲ ﻫــﺬﻩ اﳌﻬــﺮة اﻟﺼــﻐﲑة وﻣﺎﺗــﺖ ﺳﺘﺄﺳــﻔﲔ ﳌﻮﻬﺗــﺎ أﻟــﻴﺲ ﻛــﺬﻟﻚ؟(‬

‫واﺳﺘﻤﺮت اﳌﻬﺮة اﻟﺼﻐﲑة ﲤﻀﻊ وﺗﻨﺼﺖ‪ ،‬وﺗﺘﻨﻔﺲ ﺑﺎﻟﻘﺮب ﻣﻦ ﻳﺪى ﺳﻴﺪﻫﺎ وﲢﺮﻛﺖ ﻟﻮاﻋﺞ أﻳﻮﻧﺎ ﻓﺄﺧﱪ ﳌﻬﺮة ﺑﺎﻟﻘﺼﺔ ﻛﺎﻣﻠﺔ‪..‬‬

‫وﻫﺬﻩ ﺗﺮﲨﺔ أﺧﺮى ﻟﻠﻄﺎﻫﺮ أﲪﺪ ﻣﻜﻰ‪:‬‬

‫وﻗﺎل إﻳﻮﻧﺎ ﻟﻨﻔﺴﻪ‪:‬‬

‫دﻋﻨﺎ ﳔﺮج وﻧﻠﻘﻰ ﻧﻈﺮة ﻋﻠﻰ اﳊﺼﺎن‪ ،‬وﰲ اﻟﻮﻗﺖ ﻣﺘﺴﻊ داﺋﻤﺎً ﻟﻠﻨﻮم‪ ،‬ﻻ ﲣﻒ ﺳﺘﻨﺎم ﲟﺎ ﻓﻴﻪ اﻟﻜﻔﺎﻳﺔ‪.‬‬
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‫وﻟﺒﺲ إﻳﻮﻧﺎ ﻣﻌﻄﻔﻪ وﺗﻮﺟﻪ إﱃ اﻹﺳﻄﺒﻞ‪ ،‬ﺣﻴﺚ ﺣﺼـﺎﻧﻪ‪ ،‬وﺑـﺪأ ﻳﻔﻜـﺮ ﰲ اﻟﻘـﺮﻃﻢ وﰲ اﻟـﺪرﻳﺲ‪ ،‬وﰲ اﳉـﻮ‪ ،‬وﰲ اﺑﻨـﻪ‪ ...‬ﻋﻨـﺪﻣﺎ ﻳﻜـﻮن‬

‫وﺣﺪﻩ ﻻ ﻳﺴﺘﻄﻴﻊ أن ﻳﻔﻜﺮ ﻓﻴﻪ‪ .‬ﻣﻦ اﳌﻤﻜﻦ أن ﻳﺘﺤـﺪث ﻋﻨـﻪ إﱃ ﺷـﺨﺺ ﻣـﺎ‪ ،‬وﻟﻜـﻦ اﻟﺘﻔﻜـﲑ ﻓﻴـﻪ وﻫـﻮ وﺣـﺪﻩ‪ ،‬وﺗﺼـﻮرﻩ‪ ،‬أﱂ ﻣﺮﻋـﺐ ﻻ ﳝﻜـﻦ‬

‫ﻹﻧﺴﺎن أن ﻳﺘﺤﻤﻠﻪ‪.‬‬

‫وﺳــﺄل اﳊﺼــﺎن‪ ،‬وﻫــﻮ ﻳﺘﺄﻣــﻞ ﻋﻴﻨﻴــﻪ اﻟﻼﻣﻌﺘــﲔ‪ :‬ﻣــﺎذا ﺗﻌﻤــﻞ؟‪ ...‬ﻫــﻞ ﺗﺄﻛــﻞ؟‪ ...‬ﻛــﻞ‪ ،‬ﻛــﻞ‪ ...‬إن ﱂ ﺗ ـﺮﺑﺢ ﻣــﺎ ﻳﻜﻔــﻰ ﻟﺸ ـﺮاء اﻟﻘــﺮﻃﻢ‬

‫ﻓﻠﺘﻘﻨﻊ ﺑﺎﻟـﺪرﻳﺲ‪ ،‬ﻧﻌـﻢ ﻟﻘـﺪ أﺻـﺒﺤﺖ ﻋﺠـﻮزاً ﻋﻠـﻰ ﻗﻴـﺎدة اﻟﻌﺮﺑـﺎت‪ ...‬ﻛـﺎن ﻳﻨﺒﻐـﻰ أن ﻳﻜـﻮن اﺑـﲎ اﻟﻮﺣﻴـﺪ ﻫـﻮ اﻟـﺬى ﻳﻘـﻮد ﻻ أﻧـﺎ‪ ...‬ﻛـﺎن ﻗﺎﺋـﺪاً‬

‫ﲟﻌﲎ اﻟﻜﻠﻤﺔ‪ ....‬ﻛﺎن ﳚﺐ أن ﻳﻌﻴﺶ‪ ،‬وﺳﻜﺖ إﻳﻮﻧﺎ ﺑﺮﻫﺔ‪ ،‬ﰒ ﺗﺎﺑﻊ ﺣﺪﻳﺜﻪ‪:‬‬

‫‪ -‬ﻫــﺬﻩ ﻫــﻰ اﻟﻘﻀــﻴﺔ ﻳﺎﺣﺼــﺎﱏ اﻟﻌﺰﻳــﺰ‪ ...‬ﻟﻘــﺪ ذﻫــﺐ وﻟــﺪى‪ ،‬ﱂ ﻳﻌــﺪ ﻫﻨــﺎك ﻣــﻦ ﻳﺴــﻤﻰ ))ﻛﻮزﻣــﺎ أﻳــﻮﻧﺘﺶ((‪ ،‬ﻗــﺎل ﱃ وداﻋـﺎً‪ ،‬وﻣــﺎت‬

‫دون ﺳﺒﺐ ﻣﺎ‪ ،‬واﻵن ﺗﺼﻮر أن ﻟﻚ ﻣﻬﺮة ﺻﻐﲑة‪ ،‬وأﻧﻚ واﻟﺪﻫﺎ‪ ،‬ﻓﺠﺄة ذﻫﺒﺖ ﻫﺬﻩ اﳌﻬﺮة وﻣﺎﺗﺖ‪ ،‬أﻻ ﺗﺘﺄﺳﻒ ﳌﻮﻬﺗﺎ؟ أﻟﻴﺲ ﻛﺬﻟﻚ؟‬

‫ﻛﺎن اﳊﺼﺎن ﻳﻌﻠﻚ وﳚﱰ وﻳﻨﺨﺮ ﻓﻮق ﻳﺪى ﺳﻴﺪﻩ‪ ،‬وأﺧﺬت اﳊﻤﻴﺔ إﻳﻮﻧﺎ‪ ،‬ﻓﺒﺪأ ﳛﻜﻰ ﺑﻪ اﻟﻘﺼﺔ ﻛﺎﻣﻠﺔ‪.‬‬

‫أول ﻣﺎ ﻧﻼﺣﻈﻪ ﰲ ﻫﺬﻳﻦ اﻟﻨﺼﲔ ﺗﻘﺎرﻬﺑﻤﺎ ﰲ ﻛﺜﲑ ﻣﻦ اﻟﻌﺒﺎرات واﻷﻟﻔﺎظ ﳑﺎ ﻳﺪﻓﻌﻨﺎ إﱃ اﻓﱰاض إﻃﻼع اﳌﱰﺟﻢ اﻟﺜﺎﱐ ﻋﻠﻰ ﺗﺮﲨﺔ‬

‫اﳌﱰﺟﻢ اﻷول‪ ,‬وﻻﺳﻴﻤﺎ أن اﻟﱰﲨﺔ اﻷوﱃ ﻇﻬﺮت ﰲ ﻛﺘﺎب" ﻓﻦ اﻟﻘﺼﺔ اﻟﻘﺼﲑة" ﰲ ﻃﺒﻌﺘﻪ اﻷوﱃ ﺳﻨﺔ ‪ ,1959‬ﰲ ﺣﲔ أن اﻟﱰﲨﺔ اﻟﺜﺎﻧﻴﺔ‬

‫ﻇﻬﺮت ﰲ ﻛﺘﺎب " اﻟﻘﺼﺔ اﻟﻘﺼﲑة‪ :‬دراﺳﺎت وﳐﺘﺎرات " ﰲ ﻃﺒﻌﺘﻪ اﻷوﱃ ﺳﻨﺔ ‪ . 1977‬وﲦﺔ ﻣﻮاﺿﻊ ﻛﺜﲑة ﰲ اﻟﱰﲨﺘﲔ ﺗﺮﺟﺢ ذﻟﻚ‬

‫ﻛﻌﺒﺎرات دﻋﻨﺎ ﳔﺮج‪ ,‬داﺋﻤﺎ‪ ,‬ﻟﺒﺲ إﻳﻮﻧﺎ ﻣﻌﻄﻔﻪ ‪ ,‬ﺗﺼﻮرﻩ‪ ,‬ﻗﺎل وداﻋﺎ‪ ,‬اﻟﻘﺼﺔ ﻛﺎﻣﻠﺔ‪ ,‬إﱁ‪ .‬وﻣﻊ ذﻟﻚ‪ ,‬ﻓﻬﻨﺎك‪ ,‬ﺑﻄﺒﻴﻌﺔ اﳊﺎل‪ ,‬اﺧﺘﻼﻓﺎت ﻛﺜﲑة‬

‫ﺑﲔ اﻟﱰﲨﺘﲔ ﻳﺘﻌﻠﻖ ﺑﻌﻀﻬﺎ ﺑﺎﳌﻔﺮدات‪ ,‬ﻛﺎﺳﺘﺨﺪام اﳌﱰﺟﻢ اﻷول ﻟﻠﻔﻈﺔ ﻣﻬﺮة‪ ,‬واﺧﺘﻴﺎر اﻟﺜﺎﱐ ﻟﻠﻔﻈﺔ ﺣﺼﺎن‪ ,‬وإن ﻛﺎن اﻷﺻﻮب اﺳﺘﺨﺪام‬

‫ﻟﻔﻈﺔ ﻓﺮس‪ ,‬وﻻﺳﻴﻤﺎ أن ﻛﻠﻤﺔ ‪ mare‬واﻟﻀﻤﲑ ‪ her‬اﻟﻌﺎﺋﺪ ﻋﻠﻴﻬﺎ اﺳﺘﺨﺪﻣﺎ ﰲ اﻟﱰﲨﺔ اﻹﳒﻠﻴﺰﻳﺔ ﻟﻠﻘﺼﺔ اﻟﺮوﺳﻴﺔ‪ ,‬ﻛﻤﺎ أن ﺗﺸﻴﻜﻮف ﻧﻔﺴﻪ‬

‫ﻗﺪ ذﻛﺮ ﰲ ﻣﻮﺿﻊ ﻣﺘﻘﺪم ﻣﻦ ﻗﺼﺘﻪ أﻧﻪ ﻣﻦ اﻷﻓﻀﻞ أن ﻳﺘﺤﺪث إﱃ اﻟﻨﺴﺎء ﻓﻬﻦ ﻳﺪﻣﻌﻦ ﻋﻨﺪ اﻟﻜﻠﻤﺔ اﻷوﱃ‪ .‬وﻳﻼﺣﻆ أﻳﻀﺎ أن اﳌﱰﲨﲔ‬

‫ﻳﺰﻳﺪان ﺑﻌﺾ اﳌﻔﺮدات اﻟﱴ ﻻ وﺟﻮد ﳍﺎ ﰲ اﻟﻨﺺ اﻹﳒﻠﻴﺰي اﻟﺬي ﻳﺮﺟﺢ ﻧﻘﻠﻬﻤﺎ ﻋﻨﻪ ﻻ ﻋﻦ اﻷﺻﻞ اﻟﺮوﺳﻲ‪ ,‬وﻣﻦ ذﻟﻚ ﻛﻠﻤﺔ داﺋﻤﺎ‪ ,‬و‬

‫ﻣﻌﻄﻔﻪ‪ ,‬واﺳﺘﻤﺮت‪ ,‬و ﳏﺾ ﻋﻨﺪ اﳌﱰﺟﻢ اﻷول‪ ,‬و ﻣﺮﻋﺐ‪ ,‬و ﺑﺪأ ﻋﻨﺪ اﳌﱰﺟﻢ اﻟﺜﺎﱐ‪.‬‬

‫‪ -5‬ﺗﺮﺟﻤﺔ اﻟﺮواﻳﺔ‪:‬‬
‫اﻧﺘﺸﺎرا ﰲ ﻫﺬا اﻟﻌﺼﺮ‬
‫ً‬ ‫ﻟﻨﻨﺘﻘﻞ ﻣﻦ اﻟﻘﺼﺔ اﻟﻘﺼﲑة إﱃ ﻓﻦ آﺧﺮ ﻣﻦ ﻓﻨﻮن اﻟﻨﺜﺮ ﻗﺮﻳﺐ ﻣﻦ اﻟﻘﺼﺔ اﻟﻘﺼﲑة وأﻛﺜﺮ اﻟﻔﻨﻮن اﻟﻘﺼﺼﻴﺔ‬
‫)ﻣﺰرﻋﺔ ‪Animal Farm‬اﻟﺬي ﻧﻌﻴﺶ ﻓﻴﻪ‪ ،‬وﻫﻮ ﻓﻦ اﻟﺮواﻳﺔ‪ .‬وﺳﻮف أورد ﻫﻨﺎ ﳕﻮذﺟﲔ ﻟﻠﱰﲨﺎت‪ ،‬اﻷوﱃ ﻓﻘﺮة ﻣﻦ ﺗﺮﲨﺔ ﻋﺮﺑﻴﺔ ﻟﺮواﻳﺔ‬
‫‪George Orwell.‬اﳊﻴﻮاﻧﺎت( ﻟﻠﻜﺎﺗﺐ اﻹﳒﻠﻴﺰي ﺟﻮرج أوروﻳﻞ‬
‫ﻓﻔﻲ ﺧﺘﺎم اﻟﻔﺼﻞ اﻟﻌﺎﺷﺮ واﻷﺧﲑ ﻣﻦ اﻟﺮواﻳﺔ ﻳﻘﻮل أورﻳﻞ‪:‬‬
 24
He had only one criticism, he said, to make of Mr. Pilkington’s excellent and
neighbourly speech. Mr. Pilkington had referred throughout to ‘Animal Farm’. He
could not of course know - for he, Napoleon, was only now for the first time
announcing it - that the name ‘Animal Farm’ had been abolished. Henceforward the
farm was to be known as ‘The Manor Farm’ - which, he believed, was its correct and
original name.
‘Gentlemen,’ concluded Napoleon, ‘I will give you the same toast as before,
but in a different form. Fill your glasses to the brim. Gentlemen, here is my toast: To
the prosperity of The Manor Farm!’
There was the same hearty cheering as before, and the mugs were emptied to
the dregs. But as the animals outside gazed at the scene, it seemed to them that some
strange thing was happening. What was it that had altered in the faces of the pigs?
Clover’s old dim eyes flitted from one face to another. Some of them had five chins,
some had four, some had three. But what was it that seemed to be melting and
changing? Then, the applause having come to an end, the company took up their
cards and continued the game that had been interrupted, and the animals crept silently
away.
But they had not gone twenty yards when they stopped short. An uproar of
voices was coming from the farmhouse. They rushed back and looked through the
window again. Yes, a violent quarrel was in progress. There were shoutings,
bangings on the table, sharp suspicious glances, furious denials. The source of the
trouble appeared to be that Napoleon and Mr. Pilkington had each played an ace of
spades simultaneously.
Twelve voices were shouting in anger, and they were all alike. No question,
now, what had happened to the faces of the pigs. The creatures outside looked from
pig to man again: but already it was impossible to say which was which(1 ).

:‫وﻧﻮرد ﻫﻨﺎ اﻟﱰﲨﺔ اﻟﻌﺮﺑﻴﺔ ﳍﺬﻩ اﻟﻔﻘﺮات وﻫﻲ ﻛﺎﻟﺘﺎﱄ‬

Orwell, George, animal Farm, pp.94-95. - (1 )

 ‫‪25‬‬
‫ﳎﺮد ﻋﺎدة ﺛﺒﺖ اﻵن أﻧﻪ ﻻ ﻣﻌﲎ ﳍﺎ وﳍﺬا ﺗﻘﺮر إﻟﻐﺎء ﻫﺬﻩ اﻟﻜﻠﻤﺔ‪.‬‬

‫وﻛﺬﻟﻚ اﻟﻌﻠﻢ اﻷﺧﻀﺮ اﻟﺬي ﻳﺮﻓﺮف ﻋﻠﻰ اﳌﺰرﻋﺔ‪ .‬ﻻ داﻋﻲ ﻟﻮﺟﻮد رﺳﻢ اﳊﺎﻓﺮ واﻟﻘﺮن ﻋﻠﻴﻪ‪ ،‬وﳍﺬا ﺗﻘﺮر إﻟﻐﺎء ﻫﺬا اﻟﺮﺳﻢ وﺳﻴﻜﻮن‬

‫ﻟﻮن اﻟﻌﻠﻢ أﺧﻀﺮ ﺻﺎﻓﻴﺎ‪.‬‬

‫وﻗﺪ ﻻﺣﻆ أن ﻣﺴﱰ ﺑﻠﻜﻨﺠﺘﻮن أﺷﺎر إﱃ ﻣﺰرﻋﺘﻨﺎ ﺑﺎﺳﻢ ﻣﺰرﻋﺔ اﳊﻴﻮاﻧﺎت‪ .‬إﻧﲏ أﻋﻠﻦ اﻵن ﻷول ﻣﺮة اﻟﻌﻮدة إﱃ اﻻﺳﻢ اﻟﻘﺪﱘ وﻫﻮ‬

‫اﺳﻢ )ﻣﺰرﻋﺔ ﻣﺎﻧﻮر( ‪ ..‬ﻓﻬﻮ اﺳﻢ ﺗﺎرﳜﻲ ﳚﺐ أن ﳓﺮص ﻋﻠﻴﻪ‪.‬‬

‫وارﺗﻔﻌﺖ اﳍﺘﺎﻓﺎت اﳊﻤﺎﺳﻴﺔ ﻋﻨﺪﻣﺎ ﺧﺘﻢ ﻛﻠﻤﺘﻪ ورﻓﻊ ﻧﺎﺑﻠﻴﻮن ﻛﺄﺳﻪ وﺷﺮب ﳔﺐ اﻟﺘﺤﻴﺔ ﻟﻀﻴﻮﻓﻪ ‪..‬‬

‫وأﺧﺬت اﳊﻴﻮاﻧﺎت ﰲ اﳋﺎرج ﺗﺰﺣﻒ ﻟﱰى ﻣﺎذا ﳛﺪث ﻫﻨﺎك ‪ ..‬وﺑﺪا ﳍﺎ أن وﺟﻮﻩ اﳋﻨﺎزﻳﺮ ﻗﺪ ﺗﻐﲑت ﻗﻠﻴﻼ ‪ ..‬وأﺧﺬت ﻛﻠﻮﻓﺮ ﺗﻨﻘﻞ ﻋﻴﻨﻴﻬﺎ‬

‫اﻟﻀﻌﻴﻔﺘﲔ ﻣﻦ وﺟﻪ إﱃ آﺧﺮ ‪..‬‬

‫إﻧﻬﺎ ﻻ ﺗﺴﺘﻄﻴﻊ أن ﲤﻴﺰ ﺑﲔ اﳋﻨﺎزﻳﺮ وﺑﲔ اﻵدﻣﻴﲔ‪ .‬وأﺧﺬت اﳊﻴﻮاﻧﺎت ﺗﻨﺼﺮف وﻫﻲ ﻣﺬﻫﻮﻟﺔ ﳑﺎ ﺣﺪث ‪..‬‬

‫وﻓﺠﺄة ارﺗﻔﻌﺖ اﻷﺻﻮات داﺧﻞ اﻟﺒﻴﺖ ‪ ..‬ﻓﻌﺎدت اﳊﻴﻮاﻧﺎت ﻣﺴﺮﻋﺔ وأﻃﻠﺖ ﻣﻦ اﻟﻨﺎﻓﺬة ‪ ..‬ﻓﻮﺟﺪت ﻣﻌﺮﻛﺔ ﺣﺎﻣﻴﺔ ‪ ..‬ﻫﺘﺎﻓﺎت وﺻﻴﺎﺣﺎ‬

‫وﺿﺮﺑﺎ ﻋﻠﻰ اﳌﺎﺋﺪة ‪ ..‬وﻧﻈﺮات ﺣﺎدة ﻣﺮﻳﺒﺔ ‪ .‬واﻋﱰاﺿﺎت ﻋﻨﻴﻔﺔ ‪ ..‬وﺗﺒﲔ أن ﺳﺒﺐ اﻟﺸﺠﺎر ﻫﻮ أن ﻧﺎﺑﻠﻴﻮن وﻣﺴﱰ ﺑﻠﻜﻨﺠﺘﻮن ﻛﺎن ﻳﻠﻌﺒﺎن‬

‫اﻟﻜﻮﺗﺸﻴﻨﺔ ‪ ..‬وﺿﺮب ﻛﻞ ﻣﻨﻬﺎ )آس( ﰲ ﻧﻔﺲ اﻟﻮﻗﺖ ‪..‬‬

‫وارﺗﻔﻌﺖ أﺻﻮات اﳉﻤﻴﻊ ‪ ..‬وﻛﺎﻧﺖ ﻛﻠﻬﺎ ﻣﺘﺸﺎﺑﻬﺔ ‪ ..‬وﺗﺸﻨﺠﺖ ﻋﻀﻼت اﻟﻮﺟﻮﻩ وﻛﻠﻬﺎ ﻣﺘﺸﺎبﻬﺔ ‪ ..‬وأﺧﺬت اﳊﻴﻮاﻧﺎت اﻟﻮاﻗﻔﺔ‬

‫ﰲ اﳋﺎرج ﺗﻨﻘﻞ ﺑﺼﺮﻫﺎ ﻣﻦ ﺧﻨﺰﻳﺮ إﱃ رﺟﻞ‪ ،‬وﻣﻦ رﺟﻞ إﱃ ﺧﻨﺰﻳﺮ ‪ ..‬وﻣﻦ ﺧﻨﺰﻳﺮ إﱃ رﺟﻞ ﻣﺮة أﺧﺮى ‪ ..‬وﻛﺎن ﻣﻦ اﳌﺴﺘﺤﻴﻞ اﻟﺘﻤﻴﻴﺰ‬

‫ﺑﻴﻨﻬﻤﺎ) ‪.(1‬‬
‫‪F23‬‬

‫واﻟﱰﲨﺔ ردﻳﺌﺔ ﻟﻌﺪة أﺳﺒﺎب‪ .‬اﻟﺴﺒﺐ اﻷول اﻓﺘﻘﺎرﻫﺎ إﱃ اﻷﻣﺎﻧﺔ ﰲ اﻟﻨﻘﻞ‪ .‬واﻟﺴﺒﺐ اﻟﺜﺎﱐ ﺧﻠﻮﻫﺎ ﻣﻦ ﻋﻼﻣﺎت اﻟﱰﻗﻴﻢ‪ .‬واﻟﺴﺒﺐ‬

‫اﻟﺜﺎﻟﺚ اﺿﻄﺮاﺑﻬﺎ وﺗﺸﻮﻳﺸﻬﺎ‪ .‬واﻟﺴﺒﺐ اﻟﺮاﺑﻊ اﻟﺘﺴﺮع واﻹﳘﺎل‪ .‬وﺳﻮف ﻳﺘﺒﺪى ﻟﻚ ﻗﺼﻮر ﻫﺬﻩ اﻟﱰﲨﺔ إذا ﻗﺎرﻧﺖ ﺑﻴﻨﻬﺎ وﺑﲔ اﻷﺻﻞ اﻹﳒﻠﻴﺰي‬

‫اﻟﺬي أوردﻧﺎﻩ ﻗﺒﻠﻬﺎ‪ ،‬وإذا ﻗﺎرﻧﺖ ﺑﻴﻨﻬﺎ وﺑﲔ اﻟﱰﲨﺔ اﻟﺘﺎﻟﻴﺔ ﻟﻠﻨﺺ ﻧﻔﺴﻪ‪:‬‬

‫ﻗﺎل إﻧﻪ ﻛﺎن ﻟﺪﻳﻪ اﻧﺘﻘﺎد وﺣﻴﺪ ﻓﺤﺴﺐ وﻫﻮ أن ﳚﻌﻞ ﺧﻄﺎب اﻟﺴﻴﺪ ﺑﻴﻠﻜﻨﺠﺘﻮن ﻃﻮاﻟﻪ إﱃ "ﻣﺰرﻋﺔ اﳊﻴﻮاﻧﺎت"‪ .‬وﱂ ﻳﻌﺮف ﻷﻧﻪ‪،‬‬

‫ﻓﺼﺎﻋﺪا ﲟﺰرﻋﺔ ﻣﺎﻧﻮر وﻫﻮ ﻳﻌﺘﻘﺪ أن ذﻟﻚ‬

‫ً‬ ‫أي ﻧﺎﺑﻠﻴﻮن‪ ،‬ﻗﺪ أﻋﻠﻦ ﻟﻠﻤﺮة اﻷوﱃ أن اﺳﻢ "ﻣﺰرﻋﺔ اﳊﻴﻮاﻧﺎت" ﻗﺪ أﻟﻐﻰ‪ .‬وﺳﺘﻌﺮف اﳌﺰرﻋﺔ ﻣﻦ اﻵن‬

‫اﲰﻬﺎ اﳊﻘﻴﻘﻲ واﻷﺻﻠﻲ‪.‬‬

‫)‪ -(1‬ﻋﺒﺪ اﳊﻤﻴﺪ اﻟﻜﺎﺗﺐ‪ ،‬ﻣﺰرﻋﺔ اﳊﻴﻮاﻧﺎت‪ ،‬ص‪.136‬‬

 ‫‪26‬‬
‫وﺧﺘﻢ ﻧﺎﺑﻠﻴﻮن ﺧﻄﺎﺑﻪ ﻗﺎﺋﻼً‪ :‬ﺳﺎدﰐ‪ ،‬إﻧﲏ ﺳﺄﺷﺮب اﻟﻨﺨﺐ ﻧﻔﺴﻪ اﻟﺬي ﺷﺮﺑﺖ ﻣﻦ ﻗﺒﻞ‪ ،‬وﻟﻜﻦ ﺑﺸﻜﻞ ﳐﺘﻠﻒ‪ .‬اﻣﻸوا ﻛﺌﻮﺳﻜﻢ‬

‫ﺣﱴ ﺣﺎﻓﺎﺗﻬﺎ‪ .‬وﻫﺎك ﻧﺨﱯ ﻳﺎ ﺳﺎدﰐ‪ :‬إﻧﲏ أﺷﺮب ﳔﺐ ﳒﺎح ﻣﺰرﻋﺔ ﻣﺎﻧﺪور‪.‬‬

‫وارﺗﻔﻊ اﳍﺘﺎف اﳊﻤﺎﺳﻲ ﻧﻔﺴﻪ ﻣﺜﻠﻤﺎ ﺣﺪث ﻣﻦ ﻗﺒﻞ‪ ،‬وأﻓﺮﻏﺖ اﻟﻄﺎﺳﺎت ﻋﻦ آﺧﺮﻫﺎ‪ ،‬ﺑﻴﺪ أﻧﻪ ﻋﻨﺪﻣﺎ ﺣ ّﺪﻗﺖ اﳊﻴﻮاﻧﺎت ﻣﻦ اﳋﺎرج‬

‫ﺗﻐﲑ ﰲ وﺟﻮﻩ اﳋﻨﺎزﻳﺮ؟ ﺗﻨﻘﻠﺖ ﻋﻴﻨﺎ ﻛﻠﻮﻓﺮ اﳍﺮﻣﺘﺎن اﻟﻜﻠﻴﻠﺘﺎن ﻣﻦ واﺣﺪ ﻵﺧﺮ‪ .‬ﺑﻌﻀﻬﺎ‬
‫ﰲ اﳌﺸﻬﺪ ﺧﻴّﻞ ﳍﺎ وﻛﺄن ﺷﻴﺌًﺎ ﻏﺮﻳﺒًﺎ ﻗﺪ وﻗﻊ‪ .‬ﻣﺎ اﻟﺬي ّ‬
‫ﻟﺪﻳﻪ ﲬﺴﺔ ذﻗﻮن‪ ،‬وﺑﻌﻀﻬﺎ ﻟﻪ أرﺑﻌﺔ‪ ،‬وﺑﻌﻀﻬﺎ ﻟﻪ ﺛﻼﺛﺔ‪ .‬وﻟﻜﻦ ﻣﺎ اﻟﺬي ﻛﺎن ﻳﺒﺪو أﻧﻪ ﻳﺬوب وﻳﺘﺒﺪل؟ ﰒ ﻋﻨﺪﻣﺎ اﻧﺘﻬﻰ اﻟﺘﺼﻔﻴﻖ واﻟﺘﻘﻂ‬

‫اﻟﺮﻓﺎق أوراق اﻟﻠﻌﺐ واﺳﺘﺄﻧﻔﻮا اﻟﻠﻌﺐ اﻟﺬي ﺗﻮﻗﻒ‪ ،‬زﺣﻔﺖ اﳊﻴﻮاﻧﺎت ﺗﻨﺴﻞ ﻣﺒﺘﻌﺪة ﻋﻦ اﳌﻜﺎن ﰲ ﻫﺪوء‪.‬‬

‫ﺑﻴﺪ أﻧﻬﺎ ﱂ ﺗﺒﻌﺪ ﻋﺸﺮﻳﻦ ﻳﺎردة ﺣﱴ ﺗﻮﻗﻔﺖ‪ .‬ﻓﻘﺪ أﻗﺒﻠﺖ أﺻﻮات زﺋﲑ ﻋﺎل ﻣﻦ ﺑﻴﺖ اﳌﺰرﻋﺔ‪ .‬ﻓﺎﻧﺪﻓﻌﺖ ﻋﺎﺋﺪة وﻧﻈﺮت ﻣﻦ ﺧﻼل‬

‫اﻟﻨﺎﻓﺬة ﻣﺮة أﺧﺮى‪ .‬ﻧﻌﻢ‪ ،‬ﻛﺎن ﲦﺔ ﻋﺮاك ﻋﻨﻴﻒ ﳚﺮي‪ .‬ﻛﺎن ﻫﻨﺎك ﺻﻴﺎح وﺿﺮﺑﺎت ﻋﻨﻴﻔﺔ ﻋﻠﻰ اﳌﺎﺋﺪة‪ ،‬وﻧﻈﺮات ﻣﺮﺗﺎﺑﺔ‪ ،‬وإﻧﻜﺎر ﻏﺎﺿﺐ‪ .‬وﻛﺎن‬

‫ﻳﺒﺪو أن ﻣﺼﺪر اﻟﺸﻐﺐ أن ﻧﺎﺑﻠﻴﻮن واﻟﺴﻴﺪ ﺑﻴﻠﻜﻨﺠﺘﻮن ﻟﻌﺐ ﻛﻞ ﻣﻨﻬﻤﺎ اﻵص اﻟﺒﺴﺘﻮﱐ ﰲ وﻗﺖ واﺣﺪ‪.‬‬

‫ﻛﺎن ﲦﺔ اﺛﻨﺎ ﻋﺸﺮ ﺻﻮﺗًﺎ ﺗﺼﻴﺢ ﰲ ﻏﻀﺐ‪ ،‬وﻛﺎﻧﺖ ﻛﻠﻬﺎ ﻣﺘﺸﺎﺑﻬﺔ‪ .‬وﻻ رﻳﺐ‪ ،‬اﻵن‪ ،‬ﻓﻴﻤﺎ ﻗﺪ ﺣﺪث ﻟﻮﺟﻮﻩ اﳋﻨﺎزﻳﺮ‪ .‬وﻧﻘﻠﺖ‬

‫اﳊﻴﻮاﻧﺎت ﰲ اﳋﺎرج ﺑﺼﺮﻫﺎ ﻣﻦ ﺧﻦﺰﻳﺮ ﻟﺮﺟﻞ‪ ،‬وﻣﻦ رﺟﻞ ﳋﻨﺰﻳﺮ‪ ،‬وﻣﻦ ﺧﻨﺰﻳﺮ ﻟﺮﺟﻞ ﻣﺮة أﺧﺮى‪ ،‬ﻟﻜﻦ ﻛﺎن اﳌﺴﺘﺤﻴﻞ اﻟﺘﻤﻴﻴﺰ ﺑﻴﻨﻬﺎ) ‪.(1‬‬
‫‪F24‬‬

‫واﻟﻨﻤﻮذج اﻟﺜﺎﱐ ﺗﺮﲨﺔ ﻋﺮﺑﻴﺔ ﳋﺎﲤﺔ رواﻳﺔ ‪) The Prophet‬اﻟﻨﱯ( ﳉﱪان ﺧﻠﻴﻞ ﺟﱪان وﻫﻲ ﲡﺮي ﻋﻠﻰ ﻫﺬا اﻟﻨﺤﻮ‪:‬‬

‫‪So saying he made a signal to the seamen, and straightaway they weighed‬‬
‫‪anchor and cast the ship loose from its moorings, and they moved eastward.‬‬
‫‪And a cry came from the people as from a single heart, and it rose into the dusk‬‬
‫‪and was carried out over the sea like a great trumpeting.‬‬
‫‪Only Almitra was silent, gazing after the ship until it had vanished into the‬‬
‫‪mist.‬‬
‫‪And when all the people were dispersed she still stood alone upon the sea-wall,‬‬
‫‪remembering in her heart his saying,‬‬
‫‪“A little while, a moment of rest upon the wind, and another woman shall bear‬‬
‫) ‪me.”(2‬‬

‫أﻣﺎ اﻟﱰﲨﺔ اﻟﻌﺮﺑﻴﺔ اﻷوﱃ ﻟﻠﻨﺺ اﻟﺴﺎﺑﻖ ﻓﺠﺎءت ﻛﻤﺎ ﻳﻠﻲ‪:‬‬

‫)‪ - (1‬ﻫﺬﻩ اﻟﱰﲨﺔ ﺑﻘﻠﻢ اﳌﺆﻟﻒ‪.‬‬

‫) ‪Khalil Gibran, The Prophet, pp.104-105. - (2‬‬

 ‫‪27‬‬
‫وﻋﻨﺪﻣﺎ ﻗﺎل ﻫﺬا أﺷﺎر إﱃ اﳌﻼّﺣﲔ إﺷﺎرة ﺗﺆذن ﺑﺎﻟﺴﻔﺮ‪ ،‬ﻓﺮﻓﻌﻮا ﻣﺮﺳﺎة اﻟﺴﻔﻴﻨﺔ ﰲ اﳊﺎل وﺣﻠﻮ ﺣﺒﺎﳍﺎ‪ ،‬وﺳﺎروا ﳓﻮ اﻟﺸﺮق‪.‬‬

‫ﻓﺼﺮخ اﻟﺸﻌﺐ ﻛﻠﻪ ﺑﺼﻮت ﻋﻈﻴﻢ ﻛﻤﺎ ﻣﻦ ﻗﻠﺐ واﺣﺪ‪ ،‬وﺗﻌﺎﱃ ﺻﺮاﺧﻬﻢ ﰲ اﻟﺸﻔﻖ ﻓﺤﻤﻠﺘﻪ دﻗﺎﺋﻖ اﳍﻮاء ﻓﻮق اﻟﺒﺤﺮ ﻛﺄﻧﻪ ﺻﻮت‬

‫ﺑﻮق ﻋﻈﻴﻢ‪.‬‬

‫أﻣﺎ اﳌﻄﺮة اﻟﻌﺮاﻓﺔ ﻓﻜﺎﻧﺖ ﺻﺎﻣﺘﺔ وﺣﺪﻫﺎ‪ ،‬ﺗﺸﻴﻊ اﻟﺴﻔﻴﻨﺔ ﺑﻨﻈﺮﻫﺎ ﺣﱴ ﺗﻮارت ﰲ اﻟﻀﺒﺎب‪.‬‬

‫ﰒ ﺗﻔﺮق اﻟﺸﻌﺐ ﻛﻞ ﰲ ﺳﺒﻴﻠﻪ‪ ،‬ﺑﻴﺪ أﻧﻬﺎ ﻇﻠﺖ وﺣﺪﻫﺎ واﻗﻔﺔ ﻋﻠﻰ ﺷﺎﻃﻰء اﻟﺒﺤﺮ ﺗﺮدد ﰲ ﻗﻠﺒﻬﺎ ﻛﻠﻤﺎت اﳌﺼﻄﻔﻰ اﻷﺧﲑة‪:‬‬
‫) ‪(1‬‬
‫‪F26‬‬ ‫"ﻗﻠﻴﻼً وﻻ ﺗﺮوﱐ‪ ،‬وﻗﻠﻴﻼً وﺗﺮوﱐ‪ ،‬ﻷن اﻣﺮأة أﺧﺮى ﺳﺘﻠﺪﱐ‪".‬‬

‫وﻫﺬﻩ اﻟﱰﲨﺔ‪ ،‬وإن ﱂ ﺗﺮﺗﻖ إﱃ ﻣﺴﺘﻮى ﺷﺎﻋﺮﻳﺔ ﺟﱪان‪ ،‬ﻓﺈﻧﻬﺎ اﻗﱰﺑﺖ ﻣﻨﻬﺎ‪.‬ﺻﺤﻴﺢ أن اﳌﱰﺟﻢ زاد ﻟﻔﻈﺔ اﻟﻌﺮاﻓﺔ ﰲ ﻓﻘﺮة‪ ،‬وﻛﻠﻤﱵ‬

‫اﳌﺼﻄﻔﻰ واﻷﺧﲑة ﰲ أﺧﺮى‪ ،‬ﻛﻤﺎ أﻧﻪ ﱂ ﻳﺆد ﻣﻌﲎ ﻋﺒﺎرة ”‪، “a moment of rest upon the wind‬ﻛﻤﺎ ﺗﺮﺟﻢ ﻛﻠﻤﺔ‬

‫”‪ “bear‬ﺑـ "ﺗﻠﺪ" ﺑﺪل "ﲢﻤﻞ" – ﺑﺎﻟﺮﻏﻢ ﻣﻦ ذﻟﻚ ﻛﻠﻪ ﻓﺈن اﻟﱰﲨﺔ ﳒﺤﺖ ﰲ ﻧﻘﻞ روح ﻛﺘﺎب ﺟﱪان وﻓﻜﺮﻩ إﱃ اﻟﻘﺎرئ اﻟﻌﺮﰊ ﰲ أﺳﻠﻮب‬

‫أدﰊ ﺑﺪﻳﻊ‪.‬‬

‫أﻣﺎ اﻟﱰﲨﺔ اﻟﺜﺎﻧﻴﺔ ﻟﻨﺺ ﺟﱪان ﻓﺠﺎءت ﻛﻤﺎ ﻳﻠﻲ ‪:‬‬

‫وﻣﺎ إن ﻓﺮغ ﻣﻦ ﺣﺪﻳﺜﻪ ﺣﱴ أﺷﺎر إﱃ اﳌﻼﺣﲔ ﻓﺮﻓﻌﻮا اﳌﺮﺳﺎة ﻋﻠﻰ اﻟﻔﻮر ‪ ،‬وأﻃﻠﻘﻮا اﻟﺴﻔﻴﻨﺔ ﻣﻦ ﻋﻘﺎﳍﺎ ‪ ،‬وﻣﻀﻮا ﺷﻄﺮ اﳌﺸﺮق‪.‬‬

‫دوي ﺑﻮق ﻋﻈﻴﻢ‪.‬‬

‫وﺻﺮخ اﻟﻨﺎس ﻛﺄ�ﻢ ﻣﻦ ﻗﻠﺐ واﺣﺪ ﻳﺼﺮﺧﻮن ‪ ،‬وﺗﻌﺎﱃ ﺻﺮاﺧﻬﻢ ﰲ ﻋﺘﻤﺔ اﳌﺴﺎء ‪ ،‬وﲪﻠﺘﻪ اﻟﺮﻳﺢ إﱃ اﻟﺒﺤﺮ ﻛﺄﻧﻪ ّ‬
‫))اﳌﻄﺮا(( وﺣﺪﻫﺎ ﻟﺰﻣﺖ اﻟﺼﻤﺖ ‪ ،‬وراﺣﺖ ﺗﺸﻴﻊ اﻟﺴﻔﻴﻨﺔ ﺑﻨﻈﺮﻫﺎ ﺣﱴ ﺗﻮارت ﰲ اﻟﻀﺒﺎب‪.‬‬

‫وﺗﻔﺮق ﴰﻞ اﻟﻨﺎس ﲨﻴﻌﺎ ‪ ،‬ووﻗﻔﺖ ﻫﻲ وﺣﻴﺪة ﻓﻮق ﺳ ّﺪ اﻟﺒﺤﺮ ﺗﺘﻤﺜّﻞ ﰲ ﻓﻠﺒﻬﺎ ﻗﻮﻟﻪ ‪:‬‬

‫))أﺟﻞ ‪ ،‬ﻫﻨﻴﻬﺔ ‪ ،‬ﺑﻞ ﳊﻈﺔ ﻗﺼﲑة أﺧﻠﺪ ﻓﻴﻬﺎ إﱃ اﻟﺴﻜﻴﻨﺔ ﻋﻠﻰ ﻣﱳ اﻟﺮﻳﺢ ‪ ،‬ﰒ ﲢﻤﻞ ﰊ اﻣﺮأة أﺧﺮى((‪.‬‬

‫واﻟﱰﲨﺔ اﻟﺜﺎﻧﻴﺔ ﲣﺘﻠﻒ ﻋﻦ اﻟﱰﲨﺔ اﻷوﱃ ﰲ اﻟﻠﻐﺔ واﻷﺳﻠﻮب ‪ ،‬إذ ﺧﺮﺟﺖ اﻟﱰﲨﺔ اﻷوﱃ ﰲ ﻟﻐﺔ ﺳﻬﻠﺔ ﻗﺮﻳـﺒﺔ وأﺳﻠﻮب ﻋﺎدي ﺑﺴﻴﻂ‬

‫ﻧﻠﻤﺤﻪ ﰲ ﻋﺒﺎرات ﻋﺪﻳﺪة ﻣﺜﻞ ‪ :‬ﰲ اﳊﺎل ‪ ،‬وﻛﻤﺎ ﰲ ﻗﻠﺐ واﺣﺪ ‪ ،‬وﻛﺄﻧﻪ ﺻﻮت ‪ ،‬وﻛﺎﻧﺖ ﺻﺎﻣﺘﺔ وﺣﺪﻫﺎ ‪ ،‬ﻛﻤﺎ ﻧﻠﻤﺤﻪ ﰲ ﺧﻠﻮﻫﺎ ﻣﻦ‬

‫اﻟﻜﻠﻤﺎت اﻟﻐﺮﻳﺒﺔ اﻟﻨﺎدرة‪ .‬أﻣﺎ اﻟﱰﲨﺔ اﻟﺜﺎﻧﻴﺔ ‪ ،‬ﻓﻌﻠﻰ اﻟﻌﻜﺲ ﻣﻦ اﻟﱰﲨﺔ اﻷوﱃ ‪ ،‬ﺗﺒﺪت ﰲ ﻟﻐﺔ ﻓﺼﻴﺤﺔ راﻗﻴﺔ ﺗﺘﺴﻢ ﺑﺎﻟﺮﺻﺎﻧﺔ واﳉﺰاﻟﺔ واﻟﻘﻮة ‪،‬‬

‫ﻧﻠﻤﺲ ذﻟﻚ ﰲ ﻋﺒﺎرات ﻣﺜﻞ ‪ :‬ﻓﺮﻓﻌﻮا اﳌﺮﺳﺎة ﻋﻠﻰ اﻟﻔﻮر ‪ ،‬وأﻃﻠﻘﻮا اﻟﺴﻔﻴﻨﺔ ﻣﻦ ﻋﻘﺎﳍﺎ ‪ ،‬وﻣﻀﻮا ﺷﻄﺮ اﳌﺸﺮق ‪ ،‬وﻛﺄ�ﻢ ﻣﻦ ﻗﻠﺐ واﺣﺪ‬

‫ﻳﺼﺮﺧﻮن ‪ ،‬وﻧﺘﺒﻴﻨﻪ ﰲ اﻷﻟﻔﺎظ اﻟﱵ اﺧﺘﺎرﻫﺎ اﳌﱰﺟﻢ ﰲ دﻗﺔ وﻋﻨﺎﻳﺔ ﻟﺘﺪل ﻋﻠﻰ ﻣﻌﺎﱐ اﻟﻨﺺ اﻷﺻﻠﻲ ﻛﻤﺜﻞ دوي ‪ ،‬وﺳﺪ اﻟﺒﺤﺮ ‪ ،‬واﻟﺴﻜﻴﻨﺔ‪.‬‬

‫وﻗﺪ ﳒﺢ اﳌﱰﺟﻢ اﻟﺜﺎﱐ ﰲ ﻧﻘﻞ اﳌﻘﻄﻊ اﻷﺧﲑ ﻣﻦ اﻟﻨﺺ ﺧﺎﺻﺔ ﻧﻘﻼ ﺗﺎﻣﺎ راﺋﻌﺎ ﱂ ﻳﻈﻔﺮ اﳌﱰﺟﻢ اﻷول إﻻ ﺑﻨﺼﻒ ﻫﺬا اﻟﻨﺠﺎح‪ .‬ﻫﺬا ﻓﻀﻼ‬

‫)‪ -(1‬أﻧﻄﻮﻧﻴﻮس ﺑﺸﲑ‪ ،‬اﻟﻨﱯ‪ ،‬ص‪.119-118‬‬

 ‫‪28‬‬
‫ﻋﻦ أن اﺳﺘﺨﺪام اﳌﱰﺟﻢ اﻟﺜﺎﱐ ﳌﻔﺮدات داﻟﺔ ﻣﻮﺣﻴﺔ ﻛﻌﺘﻤﺔ اﳌﺎء ‪ ،‬وﺗﺘﻤﺜﻞ ‪ ،‬واﻟﺴﻜﻴﻨﺔ ‪ ،‬واﳌﺸﺮق ‪ ،‬واﻟﻀﺒﺎب ‪ّ ،‬ﻗﺮب أﺳﻠﻮب ﺗﺮﲨﺘﻪ ﻣﻦ‬

‫أﺳﻠﻮب ﺟﱪان وﻟﻐﺘﻪ اﻟﺸﻌﺮﻳﺔ وروح اﻟﻘﺼﺔ وﻏﻤﻮﺿﻬﺎ ورﻣﺰﻳﺘﻬﺎ اﻟﱵ ﺗﺒ ّﺪت ﺑﺸﻜﻞ ﻣﻜﺜﻒ وﻣﺮﻛﺰ ﰲ اﳌﻘﻄﻊ اﻷﺧﲑ ﻣﻦ ﻫﺬا اﻟﻌﻤﻞ اﻟﺮواﺋﻲ‬

‫واﻟﻔﻠﺴﻔﻲ اﻟﺸﻬﲑ‪.‬‬

‫وﳑﺎ ﺳﺒﻖ ﻧﺘﺒﲔ أن اﻟﱰﲨﺔ اﻷدﺑﻴﺔ ﻟﻴﺴﺖ ﻧﻘﻼ ﻟﻠﻌﻤﻞ اﻷدﰊ اﻷﺻﻠﻲ؛ ﻷن اﻟﻨﻘﻞ ﳎﺮد ﺗﻘﻠﻴﺪ ﺻﻨﺎﻋﻲ‪ ،‬ﻛﻤﺎ أﻧﻬﺎ ﻟﻴﺴﺖ ﻧﺴﺨﺎ ﻟﻪ؛‬

‫ﻷن اﻟﻨﺴﺦ ﳎﺮد ﺑﺮاﻋﺔ ودﻗﺔ ﺷﻜﻠﻴﺔ‪ ،‬إﳕﺎ ﻫﻲ إﺑﺪاع أدﰊ ﺟﺪﻳﺪ ﻣﻐﺎﻳﺮ ﻟﻠﻌﻤﻞ اﻷدﰊ اﻷﺻﻠﻲ ﰲ ﻟﻐﺔ اﳌﺼﺪر‪.‬‬

‫‪-6‬ﺗﺮﺟﻤﺔ اﻟﻤﺴﺮﺣﻴﺔ ‪:‬‬

‫ﻟﻨﻨﺘﻘﻞ اﻵن إﱃ ﻓـﻦ ﻣـﻦ اﻟﻔﻨـﻮن اﻟﻘﺼﺼـﻴﺔ اﻟـﱵ ﺗﻌﺘﻤـﺪ ﰲ ﺟﻮﻫﺮﻫـﺎ ﻋﻠـﻰ اﳊـﻮار وﺗﻜﺘـﺐ أﺳﺎﺳـﺎ ﻟﻠﺘﻤﺜﻴـﻞ ﻻ ﻟﻠﻘـﺮاءة ﻛﻐﲑﻫـﺎ ﻣـﻦ ﻓﻨـﻮن‬

‫ﺗﻐﲑت ﻟﻐﺘﻪ ﻣﻨﺬ ﻧﺸﺄﻬﺗﺎ ﻋﻨﺪ اﻹﻏﺮﻳﻖ ﺣـﱴ اﻟﻴـﻮم؛ ﻓﻘـﺪ ﻧﺸـﺄت ﺷـﻌﺮﻳﺔ ﻋﻨـﺪ ﺳـﻮﻓﻮﻛﻠﻴﺲ وأرﻳﺒـﺪوس‬
‫اﳊﻜﻲ اﻷﺧﺮى‪ ،‬وأﻗﺼﺪ اﳌﺴﺮﺣﻴﺔ‪ ،‬وﻫﻲ ﻓﻦ ّ‬
‫وأرﻳﺴﺘﻮﻓﺎن وأﺳﺨﻴﻠﻮس وﻏﲑﻫﻢ‪ ،‬وﺻﺎرت اﻟﻴﻮم ﻧﺜﺮﻳﺔ ﰲ أﻏﻠﺒﻬﺎ اﻷﻋﻢ‪ .‬ﻛﻤﺎ أﺛﺎرت ﻟﻐﺘﻬﺎ اﻟﻨﺜﺮﻳﺔ ﺧﻼﻓًﺎ وﺟﺪﻻً ﻋﻨﺪﻧﺎ‪ ،‬ﻓﺮأى اﻟـﺒﻌﺾ أن ﺗﻜـﻮن‬

‫ﻋﺎﻣﻴﺔ‪ ،‬ورأى آﺧﺮون أن ﺗﻠﺘﺰم اﻟﻔﺼﺤﻰ‪ ،‬وﺣﺎول ﻓﺮﻳﻖ ﺛﺎﻟﺚ أن ﳚﻤﻊ ﺑـﲔ اﻟﻠﻬﺠـﺔ اﻟﻌﺎﻣﻴـﺔ واﻟﻌﺮﺑﻴـﺔ اﻟﻔﺼـﺤﻰ‪ .‬وﻛـﺎن ﻟـﺬﻟﻚ ﻛﻠـﻪ أﺛـﺮ واﺿـﺢ ﰲ‬

‫ﺗﺮﲨﺔ اﳌﺴﺮﺣﻴﺎت اﻷﺟﻨﺒﻴﺔ إﱃ اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ‪.‬‬

‫وﺳﻮف ﻧﻌﺮض ﻫﻨﺎ ﻟﱰﲨﺔ إﺣﺪى اﳌﺴﺮﺣﻴﺎت اﻹﳒﻠﻴﺰﻳﺔ اﻟﱵ اﺷﺘﻬﺮت وﺗﻌﺪدت ﺗﺮﲨﺎﻬﺗﺎ ﻋﻨﺪﻧﺎ وﻫـﻲ ﻣﺴـﺮﺣﻴﺔ ‪Romeo and‬‬

‫ذﻳﻮﻋــﺎ ﺑــﲔ اﻟﻨﻈــﺎرة‬

‫‪))Juliet‬روﻣﻴــﻮ وﺟﻮﻟﻴﻴــﺖ(( ﻟـﻮﻟﻴﻢ ﺷﻜﺴــﺒﲑ‪ ،‬واﻟــﱵ ﺗــﺪل ﺷـﻮاﻫﺪ اﻷﻣــﻮر ﻋﻠــﻰ أ�ــﺎ أﻛﺜــﺮ ﻣﺴــﺮﺣﻴﺎت ﺷﻜﺴــﺒﲑ اﳌﺄﺳــﺎوﻳﺔ ً‬
‫اﳌﺼﺮﻳﲔ ﰲ اﻟﻌﻘﻮد اﻟﺜﻼﺛـﺔ اﻷوﱃ ﻣـﻦ اﻟﻘـﺮن اﻟﻌﺸـﺮﻳﻦ‪ .‬وﻣـﻦ اﻟﺜﺎﺑـﺖ أﻧـﻪ ﲝﻠـﻮل ﻋـﺎم ‪ 1900‬ﻛـﺎن ﻫﻨـﺎك ﻋﻠـﻰ اﻷﻗـﻞ ﺗﻌﺮﻳﺒـﺎن ﳌﺴـﺮﺣﻴﺔ ))روﻣﻴـﻮ‬

‫وﺟﻮﻟﻴﻴﺖ(( وﳘﺎ اﻟﺘﻌﺮﻳﺒﺎن اﻟﻠﺬان ﻗﺎم ﻬﺑﻤﺎ ﳒﻴﺐ ﺣﺪاد وﻧﻘﻮﻻ رزق اﷲ ﰒ ﺗﻮاﻟﺖ ﺑﻌﺪ ذﻟﻚ ﺗﺮﲨﺎت أﺧﺮى ﻋﺪﻳﺪة‪.‬‬

‫وﺳــﻨﻜﺘﻔﻲ ﻫﻨــﺎ ﺑﻌــﺮض اﳌﺸــﻬﺪ اﳋــﺎﻣﺲ ﻣــﻦ اﻟﻔﺼــﻞ اﻟﺜﺎﻟــﺚ ﻣــﻦ ﻣﺴــﺮﺣﻴﺔ ))روﻣﻴــﻮ وﺟﻮﻟﻴﻴــﺖ(( واﻟــﺬي ﻳﻘــﻊ ﰲ ﺣﺪﻳﻘــﺔ ﻛﺎﺑﻴﻮﻟــﺖ‪،‬‬

‫وﺳﻨﻌﺮض أوﻻً ﻟﻠﻨﺺ اﻟﺸﻜﺴﺒﲑي‪ ،‬ﰒ ﻧﻌﺮض ﺑﻌﺪ ذﻟﻚ ﻟﺜﻼث ﺗﺮﲨﺎت ﻋﺮﺑﻴﺔ ﻟﻪ‪.‬‬

‫ﻓﻔﻲ ﻣﺸﻬﺪ اﻟﺸﺮﻓﺔ اﻟﺸﻬﲑ ﳚﺮي ﺷﻜﺴﺒﲑ اﳊﻮار اﻟﺘﺎﱄ ﺑﲔ روﻣﻴﻮ وﺟﻮﻟﻴﻴﺖ‪:‬‬

‫‪JULIET:‬‬ ‫‪Wilt thou be gone? It is not yet near dark:‬‬

‫‪It was the nightingale, and not the lark,‬‬
‫‪That pierc'd the fearful hollow of thine ear,‬‬
‫‪Nightly she sings on yond pomegranate tree,‬‬
‫‪Believe me love, it was the nightingale.‬‬
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‫‪ROMEO:‬‬ ‫‪It was the lark, the herald of the morn:‬‬
‫‪No nightingale: look love what envious streaks‬‬
‫‪Do lace the severing clouds in yonder East‬‬
‫‪Night's candles are burnt out, and jocund day‬‬
‫‪Stands tiptoe on the misty mountain tops,‬‬
‫‪I must be gone and live, or stay and die.‬‬
‫وﻧﻜﺘﻔﻲ ﻬﺑﺬا اﻟﻘﺪر ﻣﻦ اﳌﺸﻬﺪ‪ ،‬وﳕﻀﻲ ﻟﻨﻌﺮض ﻟﱰﲨﺘﻪ ﻋﻠﻰ أﲪﺪ ﺑﺎﻛﺜﲑ ﻟﻪ‪:‬‬

‫أﻣﻮل أﻧﺖ وﳌﺎ ﻳﺪن اﻟﺼﺒﺢ؟‬ ‫ﺟﻮﻟﻴﺖ‪:‬‬

‫إن ﻫﺬا اﻟﺼﻮت اﳌﺮ ﱠن اﻟﺬى‬

‫ُ‬
‫ﻳﻔﺮى ﺟﻮف ﻣﺴﻤﻌﻚ اﳌﺮﺗﺎع ﺻﺪاﻩ‪،‬‬

‫ﻟﻴﺲ ﺻﻮت اﻟ ُﻘ ﱠﱪ ﺑﻞ ﺻﻮت اﻟﻌﻨﺪﻟﻴﺐ‪.‬‬

‫ﻓﻬﻮ ﻳﺸﺪو ﻋﻠﻰ ﺗﻠﻚ اﻟﺮﻣﺎﻧﺔ ﰱ ﻛﻞ ﻟﻴﻠﺔ‪.‬‬

‫ﻳﺎ ﺣﺒﻴﺒـﻲ ﺻﺪﻗﲎ‪ ،‬أﻧﻪ ﺻﻮت اﻟﻌﻨﺪﻟﻴﺐ‪.‬‬

‫ﺑﻞ ﻫﺬا اﻟ ُﻘ ﱠﱪ ﻫﺬا ﺑﺸﲑ اﻟﺼﺒﺎح‪،‬‬ ‫روﻣﻴﻮ‪:‬‬

‫ﻟﻴﺲ اﻟﻌﻨﺪﻟﻴﺐ _ ﺗﻌﺎل اﻧﻈﺮ ﻳﺎ ﺣﺒﻴﺒـﻲ‪ ،‬ﻓﺘﻠﻚ‬

‫اﻟﺴﻴﺎط اﳌﺨﻴﻔﺔ ﰱ اﻟﺸﺮق‪،‬‬

‫ﺗﻀﺮب ﰱ أﻋﻄﺎف اﻟﺴﺤﺐ ﺑﻐﲑ رﺛﺎء‪.‬‬

‫ﻫﺎﺗﻴﻚ ﴰﻮع اﻟﻠﻴﻞ اﻧﻄﻔﺄن‪ ،‬وﻫﺬا‬

‫ﻃﺮوب اﻟﻨﻬﺎر ﻋﻠﻰ ﻗﻤﻢ اﻟﺸﺎﳐﺎت‪،‬‬

‫ﺧﻼل اﻟﻀﺒﺎب ﻋﻠﻰ ﻣﺜﻞ ﲨﺮ اﻟﻐﻀﺎ ﻳﻨﺘﻈﺮ!‬

‫وأﻧﺎ اﻵن ﺑﲔ اﺛﻨﺘﲔ رﻫﲔ‪.‬‬

‫ﻓﺈﻣﺎ اﳌﻀﻰ ﻓﺄﺣﻴﺎ‪ ،‬وإﻣﺎ اﻟﺒﻘﺎء وأﻫﻠﻚ‪.‬‬

‫وﻟﻨﻌﺮض اﻵن ﺗﺮﲨﺔ ﻣﺆﻧﺲ ﻃﻪ ﺣﺴﲔ ﻟﻠﻤﺸﻬﺪ ﻧﻔﺴﻪ‪:‬‬

‫ﺑﻌﻴﺪا‪.‬‬
‫ﺟﻮﻟﻴﻴﺖ‪ :‬أﺗﺮﻳﺪ أن ﲤﻀﻰ؟ ﻣﺎزال اﻟﺼﺒﺢ ً‬
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‫إﻧﻪ ﺻﻮت اﻟﺒﻠﺒﻞ اﻟﺬى ﻧﻔﺬ‬

‫إﱃ أذﻧﻚ اﳋﺎﺋﻔﺔ ﻻ ﺻﻮت اﻟﻘﱪة‪.‬‬

‫إﻧﻪ ﻳﻐﲎ ﻛﻞ ﻟﻴﻠﺔ إذا ﺟﺎء اﻟﻠﻴﻞ ﻫﻨﺎك ﻋﻠﻰ ﺷﺠﺮة اﻟﺮﻣﺎن‪.‬‬

‫ﺻﺪﻗﲎ أﻳﻬﺎ اﳊﺒﻴﺐ ﻟﻘﺪ ﻛﺎن ﺻﻮت اﻟﺒﻠﺒﻞ‪.‬‬

‫ﻟﻘﺪ ﻛﺎن ﺻﻮت اﻟﻘﱪة ﻣﺆذن اﻟﺼﺒﺢ‪،‬‬ ‫روﻣﻴﻮ‪:‬‬

‫ﻻ ﺻﻮت اﻟﺒﻠﺒﻞ‪ .‬اﻧﻈﺮى ﺣﺒﻴﺒﱴ أى ﺷﻌﺎع ﻏﲑان‬

‫ﻳﻄﺮز اﻟﺴﺤﺐ اﳌﻔﺮﻗﺔ اﻟﱴ ﺗﻐﺮق ﰱ اﻟﺸﺮق اﻟﺒﻌﻴﺪ‪.‬‬

‫ﻟﻘﺪ اﺣﱰﻗﺖ ﴰﻮع اﻟﻠﻴﻞ‪ .‬وﻫﺬا اﻟﺼﺒﺢ اﻟﻔﺮح‬

‫ﻳﻘﻒ ﻋﻠﻰ أﻃﺮاف أﺻﺎﺑﻌﻪ ﻓﻮق ﻗﻤﻢ اﳉﺒﺎل وﻋﻠﻴﻬﺎ اﻟﻀﺒﺎب‪.‬‬

‫ﳚﺐ أن أﻣﻀﻰ ﻷﺣﻴﺎ أو أﺑﻘﻰ ﻷﻣﻮت‪.‬‬

‫وﻟﻨﻌﺮض ﺛﺎﻟﺜًﺎ ﺗﺮﲨﺔ ﳏﻤﺪ ﻋﻨﺎﱐ ﻟﻠﻤﺸﻬﺪ ذاﺗﻪ‪:‬‬

‫ﺟﻮﻟﻴﻴﺖ‪ :‬ﻫﻞ ﺳﱰﺣﻞ؟‬

‫إﳕﺎ اﻟﻔﺠﺮ ﺑﻌﻴﺪ‬

‫ﻫﻞ ﲰﻌﺖ اﻟﻘﱪة؟‬ ‫روﻣﻴﻮ‪:‬‬

‫ﺟﻮﻟﻴﻴﺖ‪ :‬ﱂ ﺗﻜﻦ ﻗﱪة ﺗﻠﻚ ﻟﻜﻦ‬

‫ﻛﺎن اﻟﺼﻮت اﻟﺒﻠﺒﻞ‬

‫إن آذاﻧﻚ ﲣﺸﻰ ﻛﻞ ﺻﻮت!‬

‫ذﻟﻚ اﻟﺒﻠﺒﻞ ﻳﺸﺪو ﻛﻞ ﻟﻴﻠﺔ‬

‫ﻓﻮق رﻣﺎن اﳊﺪﻳﻘﺔ‪..‬‬

‫ﺑﻞ ﻛﺎن ﺻﻮت اﻟﻘﱪة‬ ‫روﻣﻴﻮ‪:‬‬

‫ﺑﺴﲑة اﻟﺼﺒﺎح‬

‫ﻫﻴﺎ اﻧﻈﺮى ﺣﺒﻴﺒﱵ‬

‫إن ﺧﻴﻮط اﻟﻨﻮر‬

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‫ﺗﻨﺴﺠﻬﺎ أﺻﺎﺑﻊ اﻟﻨﻬﺎر‬

‫ذﻟﻚ اﻟﻐﻴﻮر‬

‫ﻓﻮق أﻫﺪاب اﻟﺴﺤﺐ‬

‫ﻋﻨﺪ ﺣﺎﻓﺔ اﻷﻓﻖ‬

‫وﻫﺎ ﻫﻮ اﻟﺼﺒﺎح ﻳﺸﺮﺋﺐ‬

‫ﰲ وﺳﻂ اﻟﻀﺒﺎب‬

‫ﻓﻮق ﻗﻤﺔ اﳉﺒﻞ!‬

‫ﻻ ﺑﺪ أن أرﺣﻞ!‬

‫ﻻ ﺑﺪ أن أﳒﻮ ﺑﻨﻔﺴﻲ‬

‫أو أﻣﻮت ﻟﻮ ﺑﻘﻴﺖ!‬

‫ﻟﻘــﺪ ﻇﻬــﺮت ﻣﺴــﺮﺣﻴﺔ ))روﻣﻴــﻮ وﺟﻮﻟﻴﻴــﺖ(( ﻷول ﻣــﺮة ﺳــﻨﺔ ‪1597‬م وﻟﻜــﻦ ﲟﻘﺘﻀــﻰ اﻟﱰﺗﻴــﺐ اﻟﺘــﺎرﳜﻲ اﳌﺘﻔــﻖ ﻋﻠﻴــﻪ اﻵن ﺑﻮﺟــﻪ ﻋــﺎم‬

‫ﻳﻘﺎل إ�ﺎ ﻛﺘﺒﺖ ﺑـﻞ ﻣﺜﻠـﺖ ﻋـﺎم ‪1594‬م ﻓﺘﻜـﻮن ﻋﻠـﻰ ﻫـﺬا اﻟﻌﺎﺷـﺮة ﻣـﻦ ﻣﺴـﺮﺣﻴﺎت ﺷﻜﺴـﺒﲑ‪ ،‬وﻳﻜـﻮن ﺷﻜﺴـﺒﲑ ﻗـﺪ ﻛﺘﺒﻬـﺎ وﻗـﺪ ﺑﻠـﻎ اﻟﺜﻼﺛـﲔ‬

‫ﻣــﻦ ﻋﻤــﺮﻩ‪ .‬واﳌﺴــﺮﺣﻴﺔ ﺷــﻌﺮﻳﺔ ﻳﺘﺨﻠﻠﻬــﺎ ﺷــﻌﺮ ﻣﺮﺳــﻞ وﻣﻘﻄﻮﻋــﺎت ﻣﻘﻔــﺎة ﻣﻮزوﻧــﺔ ﺗﺼــﻮر اﻟﻐﻨــﺎء ﰱ أﺑــﺮع ﺻــﻮرﻩ وﻣــﻦ ﻧﺜــﺮ ﻗــﻮي ﻣــﺄﻟﻮف ﺑــﻞ ﻣﺒﺘــﺬل‬

‫أﺣﻴﺎﻧﺎ وﻣﻦ اﳌﻼﺣﻆ أن ﻣﺸﻬﺪ اﻟﺸﺮﻓﺔ اﻟﺬى أوردﻧﺎﻩ ﻣﻨـﺬ ﻗﻠﻴـﻞ ﰲ أﻏﻠﺒـﻪ ﻣـﻦ اﻟﺸـﻌﺮ اﳌﺮﺳـﻞ‪ ،‬وﱂ ﻳﺴـﺘﻌﻤﻞ ﻓﻴـﻪ ﺷﻜﺴـﺒﲑ اﻟﻘـﻮاﰲ إﻻ ﰲ ﻣﻮاﺿـﻊ‬

‫ﻗﻠﻴﻠﺔ ﺟﺪا‪.‬‬

‫وﺗﺮﲨﺔ ﻣﺆﻧﺲ ﻃﻪ ﺣﺴﲔ ﺗﺮﲨﺔ ﻧﺜﺮﻳﺔ ﺑﺪﻳﻌﺔ‪ ،‬وﻫﻲ ﺑﺎﺳﺘﺜﻨﺎء ﻣﻮاﺿﻊ ﻗﻠﻴﻠﺔ أﻳﻀﺎ‪ ,‬ﺗﻘﱰب ﻣﻦ اﻟﺸﻌﺮ اﳌﻨﺜﻮر‪.‬‬

‫أﻣــﺎ ﺗﺮﲨــﺔ ﻋﻠــﻰ أﲪــﺪ ﺑــﺎﻛﺜﲑ اﻟﺸــﺎﻋﺮ ﻓﱰﲨــﺔ ﺷــﻌﺮﻳﺔ وﻫــﻲ ﲡﺮﺑﺘــﻪ اﻷوﱃ ﰲ ﻗــﺮض اﻟﺸــﻌﺮ اﳌﺮﺳــﻞ‪ ،‬وﻗــﺪ دﻓﻌــﻪ إﱃ ذﻟــﻚ اﻧﺘﻬﺎﺟــﻪ روح‬

‫ـﻌﺮا ﻋﻠـﻰ وﺟـﻪ آﺧـﺮ )أي اﻟـﻨﻤﻂ اﳌـﺄﻟﻮف اﻟـﺬي ﺳـﻠﻜﻪ ﺷـﻮﻗﻲ ﺑـﻚ ﰲ ﻣﺴـﺮﺣﻴﺎﺗﻪ‬
‫ﺷﻜﺴﺒﲑ ﻧﻔﺴﻪ وﳕﻄﻪ ﰲ اﻟﺘﻌﺒﲑ ﳑﺎ ﺟﻌﻠـﻪ ﻳﻌﺘﻘـﺪ أن ﺗﺮﲨﺘـﻪ ﺷ ً‬
‫اﻟﺸﻌﺮﻳﺔ واﻟﺬي ﺟﺮﺑﻪ ﺑﺎﻛﺜﲑ ﻧﻔﺴﻪ ﰲ ﺗﺮﲨﺔ "اﻟﻠﻴﻠﺔ اﻟﺜﺎﻧﻴﺔ ﻋﺸﺮة"( ﻻ ﳝﻜﻦ أن ﺗﻔﻲ ﺑﺎﻟﻐﺮض‪ ،‬وﺗﺮﲨﺘﻪ ﻫﻨﺎ ﻫﻲ ﻣـﺰﻳﺞ ﻣـﻦ اﻟـﻨﻈﻢ اﳌﺮﺳـﻞ اﳌﻨﻄﻠـﻖ‬

‫واﻟﻨﻈﻢ اﳊﺮ‪ ،‬ﻓﻬﻮ ﻣﺮﺳﻞ ﻣﻦ اﻟﻘﺎﻓﻴﺔ‪ ،‬وﻫﻮ ﻣﻨﻄﻠـﻖ ﻻﻧﺴـﻴﺎﺑﻪ ﺑـﲔ اﻟﺴـﻄﻮر‪ .‬ﻓﺎﻟﺒﻴـﺖ ﻫﻨـﺎ ﻟـﻴﺲ وﺣـﺪة وإﳕـﺎ اﻟﻮﺣـﺪة ﻫـﻲ اﳉﻤﻠـﺔ اﻟﺘﺎﻣـﺔ اﳌﻌـﲎ اﻟـﱵ‬

‫ﻗﺪ ﺗﺴﺘﻐﺮق ﺑﻴﺘﲔ أو ﺛﻼﺛﺔ أو أﻛﺜﺮ دون أن ﻳﻘﻒ اﻟﻘﺎرئ إﻻ ﻋﻨﺪ �ﺎﻳﺘﻬﺎ‪ .‬وﻫﻲ ﺣﺮة ﻛـﺬﻟﻚ ﻟﻌـﺪم اﻟﺘـﺰام ﻋـﺪد ﻣﻌـﲔ ﻣـﻦ اﻟﺘﻔﻌـﻴﻼت ﰲ اﻟﺒﻴـﺖ‬

‫اﻟﻮاﺣﺪ اﳉﺪﻳﺪ ﻣﻦ اﻟﻨﻈﻢ‪ .‬وﻳﻌﺘﻘﺪ ﺑﺎﻛﺜﲑ أن ﻫﺬﻩ اﻟﻄﺮﻳﻘﺔ ﰲ اﻟﻨﻈﻢ ﻫﻲ أﺳﻠﻢ ﻣﺎ ﻳﱰﺟﻢ ﺑﻪ ﺷﻜﺴﺒﲑ إﱃ اﻟﺸﻌﺮ اﻟﻌﺮﰊ وأﻋﻮﻧـﻪ ﻋﻠـﻰ اﻻﺣﺘﻔـﺎظ‬

‫ﺑﺮوﺣﻪ ﻗﺪر اﻹﻣﻜﺎن‪.‬‬

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‫وﻳﺒﺪو أن ﺑﺎﻛﺜﲑ وﻓﻖ ﺣ ًﻘﺎ ﰲ اﺧﺘﻴﺎر ﳕﻂ اﻟﺸﻌﺮ اﳌﺮﺳﻞ ‪ ،‬وﻳﻜﻔﻲ أن ﻧﺘﺬﻛﺮ ﻣﺎ ﺻﻨﻌﻪ اﻟﻌﻘﺎد ﰲ ﺗﺮﲨﺘﻪ ﳍـﺬا اﳌﺸـﻬﺪ ﰲ ﻗﻄﻌـﺔ ﻟـﻪ ﰲ‬

‫دﻳﻮاﻧﻪ أﻃﻠﻖ ﻋﻠﻴﻬﺎ ))ﻻ ﻃﻠﻊ اﻟﺼﺒﺎح(( ﻳﻘﻮل ﻋﻨﻬﺎ ))ﻣﱰﲨﺔ ﺑﺒﻌﺾ ﺗﻮﺳﻊ ﻋﻦ رواﻳﺔ روﻣﻴﻮ وﺟﻮﻟﻴﻴﺖ(( وﻫﻲ ﲡﺮي ﻋﻠﻰ ﳓﻮ اﻟﺘﺎﱄ ‪:‬‬

‫ﻛﺄن اﻟﺪﻫﺮ ﺷﻴﻤﺘﻪ اﻟﺴﻤﺎح‬ ‫أﻣﺒﺘﻌﺪ وﻣﺎ اﻗﱰب اﻟﺼﺒﺎح؟‬

‫ﻓﺨﻠﺖ اﻟﻠﻴﻞ ﻳﻨﻌﺎﻩ اﻟﺼﺒﺎح؟‬ ‫أراﻋﻚ ﺻﺎﺋﺢ اﻟﻄﲑ اﳌﻐﲏ‬

‫ﻓﻠﻴﺲ ﻋﻠﻴﻚ ﻣﻦ رﻓﻖ ﺟﻨﺎح‬ ‫ﺗﺮﻓﻖ ﻻ ﻋﺪﻣﺘﻚ ﻣﻦ ﺣﺒﻴﺐ‬

‫ﻓﻴﻄﺮﺑﻪ ﻛﻤﺎ ﺳﺎء اﻟﻨﻮاح‬ ‫ﻓﺬﻟﻚ اﻟﺒﻠﺒﻞ اﳌﺴﻜﲔ ﻳﺒﻜﻲ‬

‫ﻋﻠﻰ رﻣﺎن دوﺣﺘﻨﺎ ﺟﻨﺎح‬ ‫ﻳﺮف ﻟﻪ وﺟﻨﺢ اﻟﻠﻴﻞ داج‬

‫ﻟﻘﺪ واﷲ ﺟﺪ ﺑﻚ اﳌﺰاح‬ ‫أﻛﻨﺖ ﺣﺴﺒﺘﻬﺎ اﻟﻮرﻗﺎء ﺣﻴﻴﺖ ؟‬

‫ﻗﺒﻴﻞ اﻟﻔﺠﺮ ﻻ ﻃﻠﻊ اﻟﺼﺒﺎح‬ ‫ﻗﻠﻴﻼ ﻣﺎ أﻗﻤﺖ ﻓﻘﻒ ﻣﻠﻴﺎ‬

‫وأﻏﻠﺐ اﻟﻈﻦ أن اﻟﺘﺰام اﻟﻌﻘﺎد ﺑﺎﻟﻨﻤﻂ اﻟﺘﻘﻠﻴﺪي اﺿـﻄﺮﻩ إﱃ ﻫـﺬا ))اﻟﺘﻮﺳـﻊ(( ﳑـﺎ أﺑﻌـﺪﻩ ﻻ ﻣـﻦ ﻣﻌـﺎﱐ وأﻟﻔـﺎظ اﻟـﻨﺺ اﻹﳒﻠﻴـﺰي ﻓﺤﺴـﺐ ‪ ،‬ﻛﻤـﺎ‬

‫ﻫــﻮ واﺿــﺢ ﲜــﻼء ﰲ ﺗﺮﲨﺘــﻪ ﺣــﱴ إﻧــﻪ ﻏـ ﱠـﲑ اﻟﻘــﱪة إﱃ اﻟﻮرﻗــﺎء ‪ ،‬وﺟﻌﻠــﻪ ﻳﻀــﻴﻒ ﻣــﻦ ﻋﻨــﺪﻩ اﻟﺸــﻄﺮ اﻟﺜــﺎﱐ ﻟﻜــﻞ ﺑﻴــﺖ ﻣــﻦ أﺑﻴﺎﺗــﻪ اﻟﺴــﺒﻌﺔ ﻓﻴﻤــﺎ ﻋــﺪا‬

‫اﻟﺸﻄﺮ اﻟﺜﺎﱐ ﻟﻠﺒﻴﺖ اﻟﺴﺎدس ‪ ،‬وأﳉﺄﻩ إﱃ أن ﻳﻀﻴﻒ ))ﻟﻘﺪ واﷲ ﺟﺪ ﺑﻚ اﳌﺰاح(( ﳑـﺎ أﻓﺴـﺪ ﺟ ّـﻮ اﳋـﻮف واﻟﻘﻠـﻖ واﳊـﺰن‪ .‬وﻗـﺪ اﳉـﺄﻩ اﻟﺘﻘﻠﻴـﺪي‬

‫ﻳﻌﱪ ﻋﻦ ﻛﻼم اﻟﺬي أداﻩ ﺷﻜﺴﺒﲑ ﰲ أرﺑﻌﺔ أﺳﻄﺮ ﰲ أرﺑﻌﺔ ﻋﺸﺮ ﺷﻄﺮا‪ .‬وﻣﻦ ﰒ أﺑﻌـﺪﻩ ذﻟـﻚ ﻛﻠـﻪ ))ﺑﻌـﺾ اﻟﺒﻌـﺪ(( ﻋـﻦ اﻟـﻨﺺ‬
‫ﻛﺬﻟﻚ إﱃ أﻧﻪ ّ‬
‫اﻷﺻﻠﻲ وروح ﺻﺎﺣﺐ اﻟﻨﺺ أﻳﻀﺎ‪.‬‬

‫ﻟﻘﺪ ﳒﺢ ﺑﺎﻛﺜﲑ ﰲ ﺗﺮﲨﺘﻪ ﻟﺮوﻣﻴﻮ وﺟﻮﻟﻴﻴﺖ إﱃ أﻗﺼـﻰ ﺣـﺪ ﳑﻜـﻦ‪ .‬وﺣﺴـﺒﻚ أن ﺗﻄـﺎﻟﻊ ﻣﻄﻠـﻊ اﳌﺸـﻬﺪ اﻟـﺬي ﻧﻘﻠـﻪ ﻣـﺆﻧﺲ ﻋﻠـﻰ ﻫـﺬا‬

‫اﻟﻨﺤﻮ ‪:‬‬

‫ﺑﻌﻴﺪا‪.‬‬
‫ﺟﻮﻟﻴﻴﺖ‪ :‬أﺗﺮﻳﺪ أن ﲤﻀﻰ؟ ﻣﺎزال اﻟﺼﺒﺢ ً‬

‫إﻧﻪ ﺻﻮت اﻟﺒﻠﺒﻞ اﻟﺬى ﻧﻔﺬ‬

‫إﱃ أذﻧﻚ اﳋﺎﺋﻔﺔ ﻻ ﺻﻮت اﻟﻘﱪة‪.‬‬

‫إﻧﻪ ﻳﻐﲎ ﻛﻞ ﻟﻴﻠﺔ إذا ﺟﺎء اﻟﻠﻴﻞ ﻫﻨﺎك ﻋﻠﻰ ﺷﺠﺮة اﻟﺮﻣﺎن‪.‬‬

‫ﺻﺪﻗﲎ أﻳﻬﺎ اﳊﺒﻴﺐ ﻟﻘﺪ ﻛﺎن ﺻﻮت اﻟﺒﻠﺒﻞ‪.‬‬

‫ﻟﻘﺪ ﻛﺎن ﺻﻮت اﻟﻘﱪة ﻣﺆذن اﻟﺼﺒﺢ‪،‬‬ ‫روﻣﻴﻮ‪:‬‬

‫ﻻ ﺻﻮت اﻟﺒﻠﺒﻞ‪ .‬اﻧﻈﺮى ﺣﺒﻴﺒﱵ أى ﺷﻌﺎع ﻏﲑان‬

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‫ﻳﻄﺮز اﻟﺴﺤﺐ اﳌﻔﺮﻗﺔ اﻟﱴ ﺗﻐﺮق ﰱ اﻟﺸﺮق اﻟﺒﻌﻴﺪ‪.‬‬

‫ﻟﻘﺪ اﺣﱰﻗﺖ ﴰﻮع اﻟﻠﻴﻞ‪ .‬وﻫﺬا اﻟﺼﺒﺢ اﻟﻔﺮح‬

‫ﻳﻘﻒ ﻋﻠﻰ أﻃﺮاف أﺻﺎﺑﻌﻪ ﻓﻮق ﻗﻤﻢ اﳉﺒﺎل وﻋﻠﻴﻬﺎ اﻟﻀﺒﺎب‪.‬‬

‫ﳚﺐ أن أﻣﻀﻰ ﻷﺣﻴﺎ أو أﺑﻘﻰ ﻷﻣﻮت‪.‬‬

‫وﺗﻄﺎﻟﻊ ﺗﺮﲨﺔ ﺑﺎﻛﺜﲑ ﻟﻠﻤﻄﻠﻊ ﻧﻔﺴﻪ اﻟﺬي ﺟﺎء ﻋﻠﻰ اﻟﻨﺤﻮ اﻟﺘﺎﱄ‪:‬‬

‫أﻣﻮل أﻧﺖ وﳌﺎ ﻳﺪن اﻟﺼﺒﺢ؟‬ ‫ﺟﻮﻟﻴﺖ‪:‬‬

‫إن ﻫﺬا اﻟﺼﻮت اﳌﺮ ﱠن اﻟﺬى‬

‫ُ‬
‫ﻳﻔﺮى ﺟﻮف ﻣﺴﻤﻌﻚ اﳌﺮﺗﺎع ﺻﺪاﻩ‪،‬‬

‫ﻟﻴﺲ ﺻﻮت اﻟ ُﻘ ﱠﱪ ﺑﻞ ﺻﻮت اﻟﻌﻨﺪﻟﻴﺐ‪.‬‬

‫ﻓﻬﻮ ﻳﺸﺪو ﻋﻠﻰ ﺗﻠﻚ اﻟﺮﻣﺎﻧﺔ ﰱ ﻛﻞ ﻟﻴﻠﺔ‪.‬‬

‫ﻳﺎ ﺣﺒﻴـﱯ ﺻﺪﻗﲎ‪ ،‬أﻧﻪ ﺻﻮت اﻟﻌﻨﺪﻟﻴﺐ‪.‬‬

‫ﺑﻞ ﻫﺬا اﻟ ُﻘ ﱠﱪ ﻫﺬا ﺑﺸﲑ اﻟﺼﺒﺎح‪،‬‬ ‫روﻣﻴﻮ‪:‬‬

‫ﻟﻴﺲ اﻟﻌﻨﺪﻟﻴﺐ _ ﺗﻌﺎل اﻧﻈﺮ ﻳﺎ ﺣﺒﻴـﱯ‪ ،‬ﻓﺘﻠﻚ‬

‫اﻟﺴﻴﺎط اﳌﺨﻴﻔﺔ ﰱ اﻟﺸﺮق‪،‬‬

‫ﺗﻀﺮب ﰱ أﻋﻄﺎف اﻟﺴﺤﺐ ﺑﻐﲑ رﺛﺎء‪.‬‬

‫ﻫﺎﺗﻴﻚ ﴰﻮع اﻟﻠﻴﻞ اﻧﻄﻔﺄن‪ ،‬وﻫﺬا‬

‫ﻃﺮوب اﻟﻨﻬﺎر ﻋﻠﻰ ﻗﻤﻢ اﻟﺸﺎﳐﺎت‪،‬‬

‫ﺧﻼل اﻟﻀﺒﺎب ﻋﻠﻰ ﻣﺜﻞ ﲨﺮ اﻟﻐﻀﺎ ﻳﻨﺘﻈﺮ!‬

‫وأﻧﺎ اﻵن ﺑﲔ اﺛﻨﺘﲔ رﻫﲔ‪.‬‬

‫ﻓﺈﻣﺎ اﳌﻀﻰ ﻓﺄﺣﻴﺎ‪ ،‬وإﻣﺎ اﻟﺒﻘﺎء وأﻫﻠﻚ‪.‬‬

‫وﺑﻌﺪ أن ﺗﻔﺮغ ﻣﻦ ﻣﻄﺎﻟﻌﺔ اﻟﱰﲨﺘﲔ ﻗﺎرن ﺑﻴﻨﻬﻤﺎ ﻟﺘﻌﱰف ﺑﺄﻧﻪ ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ دﻗﺔ وﲨﺎل ﺗﺮﲨـﺔ ﻣـﺆﻧﺲ اﻟـﱵ أﺗـﻴﺢ ﳍـﺎ ﻣﺮاﺟﻌـﺔ دﻗﻴﻘـﺔ ﻣـﻦ ﻋﻠﻤـﲔ‬

‫ﻛﺒﲑﻳﻦ ﰲ ﻋﺎﱂ اﻟﱰﲨﺔ ﰲ ﻋﺼﺮﻧﺎ وﳘﺎ ﳏﻤﺪ ﻋﻮض ﳏﻤﺪ وﺳﻬﲑ اﻟﻘﻠﻤﺎوي‪ ،‬واﻟﱵ ﺗﻘﱰب ﰲ ﻣﻮاﺿﻊ ﻗﻠﻴﻠﺔ ﻣﻨﻬﺎ ﻣﻦ اﻟﺸﻌﺮ اﳌﻨﺜﻮر وﻻ ﺳﻴﻤﺎ ﰲ‬

‫اﻟﺴﻄﻮر اﳋﻤﺴﺔ اﻷوﱃ – ﻋﻠﻰ اﻟﺮﻏﻢ ﻣـﻦ ذﻟـﻚ ﻛﻠـﻪ ﻓـﺈن ﺗﺮﲨـﺔ ﺑـﺎﻛﺜﲑ – ﰲ رأﻳﻨـﺎ – أروع وأﲨـﻞ؛ إذ ﻫـﻲ ﻓﻀـﻼً ﻋـﻦ أ�ـﺎ ﺗﺮﲨـﺔ ﺷـﻌﺮﻳﺔ‪ ،‬ﺑـﻞ‬
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‫رﲟــﺎ ﻟــﺬﻟﻚ اﻟﺴــﺒﺐ ﻋﻴﻨــﻪ‪ ،‬وﻓّــﺮ ﳍــﺎ ﺑــﺎﻛﺜﲑ ﻣــﺎ ﳛﺘﺎﺟــﻪ اﻟﺸــﻌﺮ ﻣــﻦ ﺗﻘــﺪﱘ وﺗــﺄﺧﲑ‪ ،‬وﻣــﻦ ﺗﺮاﻛﻴــﺐ ﺑﻼﻏﻴــﺔ ﺧﺎﺻــﺔ ﻛﻄــﺮوب اﻟﻨﻬــﺎر‪ ،‬واﳌﺮﺗــﺎع ﺻــﺪاﻩ‪،‬‬

‫وﻋﻠﻰ ﻣﺜﻞ ﲨـﺮ اﻟﻐﻀـﺎ ﻳﻨﺘﻈـﺮ‪ ،‬ﻛﻤـﺎ اﻧﺘﺨـﺐ ﻣـﻦ اﻷﻟﻔـﺎظ ﻣﺜـﻞ ﻣـﻮل وﻳـﺪﻧﻮ وﻣـﺮن وﻳﻔـﺮى وﻣﺮﺗـﺎع وأﻋﻄـﺎف وﻫﺎﺗﻴـﻚ واﻟﻘﻀـﺎ واﻟﺸـﺎﳐﺎت ورﻫـﲔ‬

‫وﳓﻮﻫﺎ ﻣﺎ ﺟﻌﻞ ﺗﺮﲨﺘﻪ أﻛﺜﺮ ﲨﺎﻻ ورﻫﺎﻓﺔ وﻗﺮﺑًﺎ ﻣﻦ ﻣﺴﺮﺣﻴﺔ ﺷﻜﺴﺒﲑ وروﺣﻬﺎ ﻣﻦ اﻟﱰﲨﺔ اﻷﺧﺮى‪.‬‬

‫أﻣـﺎ ﺗﺮﲨــﺔ ﻋﻨـﺎﱐ ﻓﻬــﻲ أﺣــﺪث اﻟﱰﲨـﺎت اﻟــﺜﻼث‪ ،‬وﻫــﻮ ﻓﻴﻬـﺎ ﻳــﺪرك أن ﻣﻔﻬـﻮم اﻟﻠﻐــﺔ اﻷدﺑﻴــﺔ ﻗـﺪ ﺗﻐـ ّـﲑ وذﻟــﻚ ﻳﻔـﺮض ﻋﻠــﻰ اﳌــﱰﺟﻢ أن‬

‫ﻣﺴﺘﻤﺪا ﻣﻦ ﻟﻐﺔ اﳋﻠﻒ‪ .‬وﻣـﺬﻫﺐ‬

‫ً‬ ‫ﻣﻌﺎﺻﺮا‬
‫ً‬ ‫ﳜﺘﺎر ﻣﺎ إذا ﻛﺎن ﺳﻴﺠﻨﺢ ﰲ أﺳﻠﻮﺑﻪ إﱃ اﻟﻠﻐﺔ اﻟﻘﺪﳝﺔ اﻟﱵ أﺑﺪﻋﻬﺎ اﻟﺴﻠﻒ‪ ،‬أو أن ﻳﺴﺘﺨﺪم أﺳﻠﻮﺑًﺎ‬

‫ﻋﻨــﺎﱐ ﻫــﻮ اﺳــﺘﺨﺪام اﻟﻠﻐــﺔ اﳌﻌﺎﺻــﺮة اﻟــﱵ ﺗﻨﻬــﻞ ﻣــﻦ ﻟﻐــﺔ اﻷﻗــﺪﻣﲔ‪ ،‬وﺗﺴــﺘﻔﻴﺪ ﺑﺈﺑــﺪاﻋﺎت اﶈــﺪﺛﲔ‪ ،‬ﲝﻴــﺚ ﻳﺴــﺘﺨﺪم ﰲ ﺗﺮﲨﺘــﻪ ﻟﻐــﺔ ﺣﺎﻓﻠــﺔ ﺑﺈﻳﻘــﺎع‬

‫اﻟﻌﺮﺑﻴــﺔ اﻟﻌﺮﻳﻘــﺔ‪ ،‬وﻗــﺎدرة ﰲ اﻟﻮﻗــﺖ ﻧﻔﺴــﻪ ﻋﻠــﻰ اﻟﻮﺻــﻮل إﱃ أﲰــﺎع وأﻓﻬــﺎم وﻗﻠــﻮب اﳌﻌﺎﺻ ـﺮﻳﻦ‪ .‬وذﻟــﻚ ﻣــﺎ ﻓﻌﻠــﻪ ﰲ ﺗﺮﲨﺘــﻪ ﻣﺴــﺮﺣﻴﺔ ﺷﻴﻜﺴــﺒﲑ‬

‫))روﻣﻴﻮ وﺟﻮﻟﻴﻴﺖ(( اﻟﱵ ﻇﻬﺮت أول ﻣﺮة ﰲ ﻗﺎﻟﺐ ﻧﺜﺮي ﻋﺎم ‪1965‬م ﰲ ﳎﻠﺔ اﳌﺴﺮح‪ ،‬وأﻋﻴـﺪ ﻃﺒﻌﻬـﺎ ﻋـﺎم ‪1983‬م ﰲ ﳎﻠـﺔ اﳌﺴـﺮح اﻟﺜﺎﻧﻴـﺔ‪،‬‬

‫ﰒ أﻋــﺎد ﺻــﻴﺎﻏﺘﻬﺎ ﻟﻠﺘﻘــﺪﱘ ﰲ ﻗﺎﻟــﺐ ﻏﻨــﺎﺋﻲ ﻋﻠــﻰ اﳌﺴــﺮح ﻋــﺎم ‪1985‬م‪ ،‬وﺻــﺪرت ﰲ ﻛﺘــﺎب ﻋــﺎم ‪1986‬م‪ .‬وﻗــﺪ اﺳــﺘﺨﺪم ﻓﻴﻬــﺎ ﻣﺰﳚًــﺎ ﺑــﲔ‬

‫ﻣﻨﻈﻮﻣﺎ وﻫﻜﺬا‪.‬‬
‫ً‬ ‫ﻣﻨﺜﻮرا‪ ،‬وﻳﻜﻮن اﳊﻮار اﻟﺸﻌﺮي‬
‫ﺧﺼﻮﺻﺎ ﰲ اﳌﺸﺎﻫﺪ اﻟﻜﻮﻣﻴﺪﻳﺔ‪ً -‬‬
‫ً‬ ‫اﻟﺸﻌﺮ واﻟﻨﺜﺮ ﲝﻴﺚ ﻳﻜﻮن اﳊﻮار اﻟﻌﺎدي –‬

‫وﺗﺮﲨﺔ ﻋﻨﺎﱐ ﻻ ﺗﻌﲎ ﺑﺎﻟﻠﻐﺔ اﻷدﺑﻴﺔ وﺣﺪﻫﺎ‪ ،‬ﺑﻞ ﺗﻌﲎ إﱃ ﺟﺎﻧﺒﻬﺎ ﺑﺎﻟﻌﻨﺎﺻﺮ اﻟﺸﻌﺮﻳﺔ ﰲ اﳌﺴﺮﺣﻴﺔ‪ ،‬ﻓﻬﻲ ﺗﺮﲨﺔ ﺷﻌﺮﻳﺔ ﰲ ﻗﺎﻟﺐ اﻟﺸـﻌﺮ‬

‫اﳊﺮ‪ ،‬ﻛﻤﺎ ﺗﻌﲎ ﺑﺎﻟﻐﻨﺎء ‪ ,‬وﻣﻦ ﻫﻨﺎ ﺟﺎءت ﲨﻠﻬـﺎ ﻗﺼـﲑة ﺳـﺮﻳﻌﺔ‪ ،‬وﻫـﻲ ﺑـﺬﻟﻚ ﲣﻄـﻮ ﺧﻄـﻮة أﺑﻌـﺪ ﻣـﻦ ﺑـﺎﻛﺜﲑ‪ ،‬ﳑـﺎ ﳚﻌﻠﻬـﺎ‪ ،‬ﻛﻤـﺎ ﻗﺼـﺪ ﻣﱰﲨﻬـﺎ‪،‬‬

‫ﺗﺼــﻠﺢ ﻟﻠﺘﻘــﺪﱘ ﰲ ﻗﺎﻟ ــﺐ ﻏﻨــﺎﺋﻲ ﻋﻠــﻰ اﳌﺴ ــﺮح‪ .‬وواﺿــﺢ أن اﳌ ــﱰﺟﻢ‪ ،‬وﻫــﻮ ﻣﺘﺨﺼــﺺ ﰲ ﺗﺮﲨ ــﺔ ﻣﺴــﺮﺣﻴﺎت ﺷﻜﺴــﺒﲑ وﻳﺘﻤﺘ ــﻊ ﲟﻮﻫﺒــﺔ ﺷ ــﻌﺮﻳﺔ‬

‫ﺿﺨﻤﺎ ﺣﱴ وﺻﻞ ﺑﱰﲨﺘﻪ إﱃ ﻫﺬا اﳌﺴﺘﻮى اﻟﺸﻌﺮي اﻟﺮﻓﻴﻊ‪.‬‬

‫ﺟﻬﺪا ً‬
‫ﺣﻘﻴﻘﻴﺔ‪ ،‬ﻗﺪ ﺑﺬل ً‬

‫‪-7‬ﺗﺮﺟﻤﺔ اﻟﺸﻌﺮ ‪:‬‬

‫اﻟﺸﻌﺮ‪ ،‬ﻛﻤﺎ ﻫﻮ ﻣﻌﺮوف‪ ،‬أﺻﻌﺐ ﻣﺎ ﳝﻜﻦ ﺗﺮﲨﺘﻪ ﻣﻦ اﻟﻨﺼﻮص اﻷدﺑﻴﺔ؛ ﻷﻧﻪ ﳛﺘﺎج‪ ،‬ﻓﻴﻤﺎ ﳛﺘﺎج‪ ،‬إﱃ ﺗﺬوق اﻟﻘﻄﻌﺔ وإﱃ ﻗﺮﳛﺔ‬

‫ﻣﺘﻔﺘﺤﺔ‪ .‬وﻟﺬﻟﻚ ﻻ ﻳﺴﺘﻄﻴﻊ اﳌﱰﺟﻢ اﻻﻋﺘﻴﺎدي‪ ،‬ﰲ رأي اﻟﺒﻌﺾ‪ ،‬أن ﻳﻨﺼﻒ ﺷﺎﻋﺮا ﺑﱰﲨﺔ ﻗﺼﺎﺋﺪﻩ ﻧﺜﺮا‪ .‬وﺑﻌﺒﺎرة أوﺿﺢ ﻻ ﻳﺴﺘﻄﻴﻊ ﺗﺮﲨﺔ‬

‫اﻟﺸﻌﺮ إﻻ ﺷﺎﻋﺮ‪ .‬وﻗﺪ ﺑﺎﻟﻎ ﺑﻌﻀﻬﻢ ﻓﻘﺎل ﺑﺎﺳﺘﺤﺎﻟﺔ ﺗﺮﲨﺔ اﻟﺸﻌﺮ وﻣﻨﻬﻢ داﻧﱵ اﻟﻴﺠﲑي اﻟﺬي ذﻫﺐ إﱃ أﻧﻪ ﻻ ﳝﻜﻦ ﻧﻘﻞ ﻣﺎ أﻟﻔﺖ ﺑﻴﻨﻪ‬

‫ﻋﺮاﺋﺲ اﻟﻔﻦ ‪) MUSES‬أي اﻟﺸﻌﺮ( ﻣﻦ ﻟﻐﺘﻪ اﻷﺻﻠﻴﺔ إﱃ ﻟﻐﺔ أﺧﺮى دون ﲢﻄﻴﻢ أﻧﺴﺎﻗﻪ وﻋﺬوﺑﺘﻪ‪ .‬وﻫﺬا ﻫﻮ اﻟﺴﺒﺐ اﻟﺬي ﺣﺎل دون‬

‫ﺗﺮﲨﺔ ﺷﻌﺮ ﻫﻮﻣﲑوس ﻣﻦ اﻟﻴﻮﻧﺎﻧﻴﺔ إﱃ اﻟﻼﺗﻴﻨﻴﺔ ﻛﻤﺎ ﺗﺮﲨﺖ ﻛﺘﺎﺑﺎﻬﺗﻢ اﻷﺧﺮى اﻟﱵ ﺑﲔ أﻳﺪﻳﻨﺎ‪ .‬وﻫﺬا ﻫﻮ اﻟﺴﺒﺐ ﳋﻠﻮ ﻣﺰاﻣﲑ داود ﻣﻦ ﻋﺬوﺑﺔ‬

‫اﳌﻮﺳﻴﻘﻰ واﻷﻧﺴﺎق ﻷ�ﺎ ﺗﺮﲨﺖ ﻣﻦ اﻟﻌﱪﻳﺔ إﱃ اﻟﻴﻮﻧﺎﻧﻴﺔ وﻣﻦ اﻟﻴﻮﻧﺎﻧﻴﺔ إﱃ اﻟﻼﺗﻴﻨﻴﺔ ‪ ،‬وﰲ أول ﺗﺮﲨﺔ ﺗﻼﺷﺖ ﻛﻞ ﺗﻠﻚ اﻟﻌﺬوﺑﺔ‪ .‬وﻗﺪ ﺗﺎﺑﻊ‬
 ‫‪35‬‬
‫داﻧﱵ ﰲ رأﻳﻪ ﻓﺮﻳﻖ ﻣﻦ اﻟﻌﺮب اﶈﺪﺛﲔ ﻣﻨﻬﻢ اﳌﺮﺣﻮم ﻋﻠﻰ أدﻫﻢ اﻟﺬي ذﻫﺐ إﱃ اﺳﺘﺤﺎﻟﺔ ﻧﻘﻞ اﻟﺸﻌﺮ ﻣﻦ ﻟﻐﺔ إﱃ أﺧﺮى ﻣﻬﻤﺎ ﺗﻘﺎرﺑﺖ اﻟﻠﻐﺘﺎن‬

‫ﰲ اﻷﺻﻞ‪.‬‬

‫ﻟﻜﻨﻨﺎ ﻧﺮى‪ ،‬ﰲ ﻣﻘﺎﺑﻞ ذﻟﻚ‪ ،‬ﻣﻦ ﻳﺮى أﻧﻪ ﻣﻦ اﳌﻤﻜﻦ أن ﻳﱰﺟﻢ اﻟﺸﻌﺮ ﻋﻠﻰ ﺷﺮﻳﻄﺔ أن ﻳﻜﻮن اﳌﱰﺟﻢ ﻣﻮﻫﻮﺑﺎ ﳛﺲ ﺑﺈﺣﺴﺎس‬

‫اﻟﺸﺎﻋﺮ وﻳﻨﻘﻞ اﻟﺸﻌﺮ ﺑﺄﺳﻠﻮب أﻗﺮب إﱃ اﻟﺸﻌﺮ اﳌﻨﺜﻮر‪ .‬ﻛﻤﺎ أﻧﻨﺎ ﳒﺪ ﰲ اﻟﻌﺮﺑﻴﺔ أن آﺛﺎر ﺷﻜﺴﺒﲑ ﻗﺪ ﺗﺮﲨﺖ ﺑﺎﻟﻨﺜﺮ ﺣﱴ ﰲ اﻟﱰﲨﺎت اﻟﱵ ﻬﺑﺎ‬

‫ﺷﻌﺮاء ﻣﺜﻞ ﺧﻠﻴﻞ ﻣﻄﺮان‪ .‬ﺻﺤﻴﺢ أن اﻟﻮزن ﻳﻀﻴﻊ )ﰲ اﻟﱰﲨﺔ اﻟﻨﺜﺮﻳﺔ(‪ ،‬وﻟﻜﻦ ﻫﻨﺎك ﻣﻮﺳﻴﻘﻰ أﺧﺮى ﺗﻔﺮغ ﰲ اﻟﱰﲨﺔ‪ ،‬ﻛﻤﺎ أن اﻟﻮزن ﻟﻴﺲ ﻫﻮ‬

‫ﻛﻞ ﺷﻲء ﰲ اﻟﱰﲨﺔ؛ ﻷن اﳌﻬﻢ ﻫﻮ اﻷﻣﺎﻧﺔ ﰲ ﻧﻘﻞ اﳌﻌﺎﱏ واﻟﺼﻮر واﳋﻴﺎل ﻣﻊ اﶈﺎﻓﻈﺔ ﻋﻠﻰ اﻟﺮوح ﰲ اﻷﺛﺮ اﳌﻨﻘﻮل‪ .‬وﲦﺔ ﳕﺎذج راﺋﻌﺔ ﻣﻦ‬

‫اﻟﱰﲨﺎت اﻟﻨﺜﺮﻳﺔ ﻣﻦ أﺷﻬﺮﻫﺎ ﺗﺮﲨﺔ أﲪﺪ ﺣﺴﻦ اﻟﺰﻳﺎت ﻟﻘﺼﻴﺪة اﻟﺒﺤﲑة ‪ Le Lac‬ﻟﻼﻣﺎرﺗﲔ‪ .‬ﻓﻼ ﻳﻀﲑ اﻟﺸﻌﺮ إذا أن ﻳﱰﺟﻢ ﻧﺜﺮا ﻣﺎ داﻣﺖ‬

‫ﻣﻌﺎﻧﻴﻪ وﻇﻼل ﻣﻌﺎﻧﻴﻪ وأﺣﺎﺳﻴﺴﻪ وﻋﻮاﻃﻔﻪ وﺷﺨﺼﻴﺔ اﻟﺸﺎﻋﺮ ﻗﺪ ﻧﻘﻠﺖ ﻧﻘﻼ أﻣﻴﻨﺎ ﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ اﻟﻘﺎﻟﺐ اﻟﺬي ﺻﺒﺖ ﻓﻴﻪ‪ :‬أﺷﻌﺮ ﻫﻮ أم‬

‫ﻧﺜﺮ‪ .‬وﻟﻨﺪﻟﻞ ﻋﻠﻰ ذﻟﻚ ﳛﺴﻦ ﺑﻨﺎ أن ﻧﻘﺪم ﻫﻨﺎ ﺗﺮﲨﺎت ﺷﻌﺮﻳﺔ وﻧﺜﺮﻳﺔ ﻟﺜﻼث ﻗﺼﺎﺋﺪ ‪ :‬وﻫﻲ اﻟﺒﺤﲑة ﻟﻼﻣﺎرﺗﲔ ‪)) ،‬اﻟﺸﺆم(( ﻟﺒﻮدﻟﲑ ‪،‬‬

‫))اﳌﻮﻋﺪ(( ﻟﻄﺎﻏﻮر‪.‬‬

‫وﺳﻨﺒﺪأ ﺑﻘﺼﻴﺪة ))اﻟﺒﺤﲑة(( ﻟﻠﻔﻮﻧﺲ دي ﻻﻣﺎرﺗﲔ‪ .‬وﻷن اﻟﱰﲨﺎت اﻟﻌﺮﺑﻴﺔ اﻟﱵ ﺑﲔ أﻳﺪﻳﻨﺎ أﻛﺜﺮﻫﺎ ﻓﺼﲑة وﻏﲑ ﻣﺘﻜﺎﻣﻠﺔ ‪،‬‬

‫ﻓﺴﻨﻜﺘﻔﻲ ﺑﺎﳌﻘﻄﻊ اﻷول ﻣﻨﻬﺎ ‪ ،‬وﺳﻨﺜﺒﺖ أوﻻً اﳌﻘﻄﻊ اﻟﻔﺮﻧﺴﻲ ‪:‬‬

‫‪Ainsi, toujours poussés vers de nouveaux rivages,‬‬

‫‪Dans la nuit éternelle emportés sans retour,‬‬
‫‪Ne pourrons nous jamais sur l'océan des âges‬‬
‫?‪Ne pourrons nous jamais jeter l'ancre un seul jour‬‬

‫وﺳﻨﺜﺒﺖ ﺑﻌﺪ ذﻟﻚ ﺗﺮﲨﺘﲔ إﳒﻠﻴﺰﻳﺘﲔ ﲡﺮي اﻟﱰﲨﺔ اﻷوﱃ ﻣﻨﻬﻤﺎ ﻋﻠﻰ اﻟﻨﺤﻮ اﻟﺘﺎﱄ ‪:‬‬

‫‪Constantly pushed toward new coasts like this,‬‬

‫‪Swept away into eternal night, with no return,‬‬
‫‪On the ocean of the ages – can we never‬‬
‫?‪Throw down an anchor for a single day‬‬
‫أﻣﺎ اﻟﱰﲨﺔ اﻟﺜﺎﻧﻴﺔ ‪ ،‬وﻫﻲ أﻗﺮب إﱃ اﻟﻨﺺ اﻟﻔﺮﻧﺴﻲ وإﱃ ﻧﻔﺴﻲ ‪ ،‬ﻓﺘﻤﻀﻲ ﻋﻠﻰ ﻫﺬا اﻟﻨﺤﻮ ‪:‬‬

‫‪◌And‬‬
‫ِ‬ ‫‪so, driven on ceaselessly towards new shores,‬‬
‫‪Carried beyond return into eternal darkness,‬‬
‫‪Shall we never cast anchor for a‬‬
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‫?‪Single day in the ocean of time‬‬
‫وﺳﻨﺜﺒﺖ ﺑﻌﺪ ذﻟﻚ ﺳﺒﻊ ﺗﺮﲨﺎت ﻋﺮﺑﻴﺔ ‪ ,‬ﺛﻼﺛﺔ ﻣﻨﻬﺎ ﺷﻌﺮﻳﺔ واﻷرﺑﻌﺔ اﻷﺧﺮى ﻧﺜﺮﻳﺔ‪.‬‬

‫واﻟﱰﲨﺔ اﻟﺸﻌﺮﻳﺔ اﻷوﱃ ﻹﺑﺮاﻫﻴﻢ ﻧﺎﺟﻲ ‪:‬‬

‫ﻳﺮﻣﻲ ﺑﻨﺎ ﻟﻴﻞ ﻣﻦ اﻷﺑﺪ‬ ‫ﻣﻦ ﺷﺎﻃﺊ ﻟﺸﻮاﻃﺊ ﺟﺮر‬

‫ﻫﻴﻬﺎت ﻣﺮﺳﻰ ﻳﻮﻣﻪ ﻟﻐﺪ‬ ‫ﻣﺎ ﻣﺮ ﻣﻨﻪ ﻣﻀﻰ ﻓﻠﻢ ﻳﻌﺪ‬

‫واﻟﺜﺎﻧﻴﺔ ﻟﻌﻠﻲ ﳏﻤﻮد ﻃﻪ ‪:‬‬

‫ﻟﻴﺖ ﺷﻌﺮي أﻫﻜﺬا ﳓﻦ ﳕﻀﻰ ﰲ ﻋﺒﺎب إﱃ ﺷﻮاﻃﺊ ﻏﻤﺾ‬

‫وﳔﻮض اﻟﻠﺠﻲ ﰲ ﺟﻨﺢ ﻟﻴﻞ أﺑﺪي ﻳﻔﲏ اﻟﻨﻔﻮس وﻳﻘﻀﻰ‬

‫واﻟﺜﺎﻟﺜﺔ ﻟﻨﻘﻮﻻ ﻓﻴﺎض‪:‬‬

‫ﻧﻄﻮي اﳊﻴﺎة وﻟﻴﻞ اﳌﻮت ﻳﻄﻮﻳﻨﺎ‬ ‫أﻫﻜﺬا أﺑﺪا ﲤﻀﻲ أﻣﺎﻧﻴﻨﺎ‬

‫ﲝﺮ اﻟﻮﺟﻮد وﻻ ﻧﻠﻘﻲ ﻣﺮاﺳﻴﻨﺎ‬ ‫ﲡﺮي ﺑﻨﺎ ﺳﻔﻦ اﻷﻋﻤﺎر ﻣﺎﺧﺮة‬

‫أﻣﺎ اﻟﱰﲨﺎت اﻟﻨﺜﺮﻳﺔ اﻷرﺑﻊ ‪ ،‬ﻓﺄوﳍﺎ ﶈﻤﻮد ﳏﻤﺪ ﻣﺼﻄﻔﻰ ‪:‬‬

‫ﲝﺮ اﳊﻴﺎة ﻣﻌﺘﻠﺞ اﳌﻮﺟﺎت ‪ ،‬ﻣﱰاﻛﺐ اﻟﻈﻠﻤﺎت ‪ ،‬ﻧﺎﺋﻲ اﳌﺮاﻣﻲ ‪ ،‬ﻣﺸﻜﻞ اﳌﻘﺎﺻﺪ ‪ ،‬ﻗﺪ ﺧﻠﻘﻪ اﷲ ﺑﻼ ﺳﺎﺣﻞ ‪ ،‬ﻓﻤﺎ ﻋﺮﺟﺖ ﺳﻔﻴﻨﺔ ﰲ ﻛﻞ‬

‫ﻣﺮﺳﻰ ‪ ،‬وﻻ ﻫﻮن ﻋﻠﻴﻬﺎ ﺑﺴﻮﻳﻌﺔ ﺗﺘﻨﻔﺲ ﻓﻴﻬﺎ اﻟﺮاﺣﺔ ‪ ،‬وﺗﺴﺘﻨﺸﻖ ﻧﺴﻴﻤﻬﺎ‪.‬‬

‫واﻟﺜﺎﻧﻴﺔ ﳊﻤﺎدة إﺑﺮاﻫﻴﻢ ‪:‬‬

‫أو ﻫﻜﺬا ﺳﻨﻈﻞ ﳕﻀﻰ ﳓﻮ ﺷﻈﺂن ﺟﺪﻳﺪة‬

‫ﰲ ﺟﻨﺢ ﻟﻴﻞ أﺑﺮي ﻣﺎض ﺑﻼ ﻋﻮدة‬

‫أﻟﻦ ﻧﺴﺘﻄﻴﻊ ﻳﻮﻣﺎ أن ﻧﻠﻘﻰ اﳍﻠﺐ وﻧﺮﺳﻮ‬

‫ﻋﻠﻰ ﳏﻴﻂ اﻟﻌﺼﻮر واﻷزﻣﺎن؟‬

‫واﻟﺜﺎﻟﺜﺔ ﶈﻤﺪ ﻏﻨﻴﻤﻲ ﻫﻼل ‪:‬‬

‫وﻫﻜﺬا ﻧﻈﻞ ﻣﻨﺪﻓﻌﲔ ﳓﻮ ﺷﻄﺂن ﺟﺪﻳﺪة ‪ ،‬ﻧﻀﺮب ﰲ ﻟﻴﻞ اﻷﺑﺪ إﱃ ﻏﲑ ﻋﻮدة‬

‫أﻓﻼ ﻧﺴﺘﻄﻴﻊ أﺑﺪا – ﻓﻮق ﳏﻴﻂ اﻟﺴﻨﲔ – أن ﻧﺮﺳﻲ اﻟﻘﻼع ﻳﻮﻣﺎ؟‬

 ‫‪37‬‬
‫واﻟﺮاﺑﻌﺔ ﻷﲪﺪ ﺣﺴﻦ اﻟﺰﻳﺎت‪:‬‬

‫أﻫﻜﺬا ﻗﻀﻰ اﷲ أن ﳕﺨﺮ ﰲ ﻋﺒﺎب اﳊﻴﺎة‬

‫ﻣﺪﻓﻮﻋﲔ ﰲ ﻇﻼم اﻷﺑﺪ ﻣﻦ ﺷﺎﻃﻲء إﱃ ﺷﺎﻃﻲء‬

‫دون أن ﳕﻠﻚ اﻟﺮﺟﻮع إﱃ ﻣﻠﺠﺄ‪ ,‬أو اﻟﺮﺳﻮ ذات ﻳﻮم ﻋﻠﻰ ﻣﺮﻓﺄ ؟‬

‫وﺣﲔ ﻧﻘﺎرن ﺑﲔ ﻫﺬﻩ اﻟﱰﲨﺎت اﻟﻌﺮﺑﻴﺔ اﻟﺴﺒﻊ ﻧﻠﺤﻆ أن ﻋﻠﻲ ﳏﻤﻮد ﻃﻪ وﳏﻤﻮد ﻣﺼﻄﻔﻰ ﻗﺪ ﺑﻌﺪا ﺑﱰﲨﺘﻴﻬﺎ ﻛﺜﲑا ﻋﻦ ﲝﲑة‬

‫ﻻﻣﺎرﺗﲔ‪ .‬أﻣﺎ إﺑﺮاﻫﻴﻢ ﻧﺎﺟﻲ وﳏﻤﺪ ﻏﻨﻴﻤﻲ ﻫﻼل ﻓﻘﺪ اﻗﱰﺑﺎ ﻣﻦ اﻟﻨﺺ اﻟﻔﺮﻧﺴﻲ ﻗﺪر اﺑﺘﻌﺎد اﳌﱰﲨﲔ اﻟﺴﺎﺑﻘﲔ ﻋﻨﻬﺎ‪ .‬أﻣﺎ ﺗﺮﲨﺔ ﻓﻴﺎض ﻓﻘﺪ‬

‫اﳑﺤﺖ ﻓﻴﻬﺎ اﻟﺸﻮاﻃﻲء‪ ,‬وﺑﺪل ﻟﻴﻞ اﻷﺑﺪ ﺑﺒﺤﺮ اﻟﻮﺟﻮد وﻏﲑ ﳏﻴﻂ اﻟﻮﺟﻮد ﺑﺴﻔﻦ اﻷﻋﻤﺎر وﺻﺮح ﲟﻀﻲ اﻷﻣﺎﱐ‪ ,‬وﻃﻲ اﳌﻮت ﺣﱴ ﺑﺪت‬

‫ﲝﲑﺗﻪ ﻣﻐﺎﻳﺮة ﻟﺒﺤﲑة ﻻﻣﺎرﺗﲔ‪ .‬أﻣﺎ ﲪﺎدة إﺑﺮاﻫﻴﻢ ﻓﻬﻮ أﻗﺮب ﰲ ﺗﺮﲨﺘﻪ إﱃ أﺑﻴﺎت ﻻﻣﺎرﺗﲔ‪.‬أﻣﺎ أﲪﺪ ﺣﺴﻦ اﻟﺰﻳﺎت ﻓﻘﺪ اﻣﺘﺎز‪-‬ﻋﻠﻰ ﺣﺪ ﻗﻮل‬

‫ﳏﻤﺪ ﻋﺒﺪ اﻟﻐﲏ ﺣﺴﻦ‪-‬ﺑﱰﲨﺘﻪ اﻟﺪﻗﻴﻘﺔ اﻷﻧﻴﻘﺔ‪ .‬ﺑﻴﺪ أن أﺑﺪع ﻫﺬﻩ اﻟﱰﲨﺎت ﻛﻠﻬﺎ وأﻗﺮﻬﺑﺎ إﱃ اﻟﻨﻔﺲ ﺗﺮﲨﺔ إﺑﺮاﻫﻴﻢ ﻧﺎﺟﻲ ﻟﺮﺷﺎﻗﺔ أﻟﻔﺎﻇﻪ‬

‫وﺣﻼوة وزﻧﻪ اﻟﺸﻌﺮي وروﻋﺔ ﻗﻮاﻓﻴﻪ‪.‬‬

‫أﻣﺎ اﻟﻘﺼﻴﺪة اﻟﺜﺎﻧﻴﺔ ﻓﻘﺼﻴﺪة ‪)) Le Guignon‬اﻟﺸﺆم(( ﻟﺸﺎرل ﺑﻮدﻟﲑ ‪ ،‬وﺳﻨﻮرد ﻫﻨﺎ أوﻻ اﻟﻨﺺ اﻟﻔﺮﻧﺴﻲ ‪:‬‬

‫‪Pour souveler un poids si lourd,‬‬

‫!‪Sisyphe, il faudrait ton courage‬‬
‫‪Bien qu' on ait du coeur a' l'ouvrage,‬‬
‫‪l'Art est long et le Temps est court.‬‬

‫‪Loin des sepultures celebres,‬‬

‫‪vers un cimitiere isole',‬‬
‫‪mon coeur, comme un tambour voile',‬‬
‫‪va battant des marche funebres.‬‬

‫‪-Maint joyau dort enseveli‬‬

‫‪dans les tenebres et l'oubli,‬‬
‫;‪bien loin des pioches et des sondes‬‬
 ‫‪38‬‬
‫‪mainte fleur epanche a' regret‬‬
‫‪son parfum doux comme un secret‬‬
‫‪dans les solitudes profondes.‬‬

‫ﰒ ﻧﻮرد ﺗﺮﲨﺔ إﺑﺮاﻫﻴﻢ ﻧﺎﺟﻲ ﻟﻘﺼﻴﺪة ﺑﻮدﻟﲑ ‪:‬‬

‫ﺳﻴﺴﻔﻮس‪..‬إﱐ ﰲ ﺣﺎﺟﺔ إﱃ ﻛﻞ ﺷﺠﺎﻋﺘﻚ‬

‫ﻟﺮﻓﻊ ﻫﺬا اﻟﻌﺐء اﻟﺜﻘﻴﻞ‬

‫ﺑﺎﻟﺮﻏﻢ ﻣﻦ اﻹرادة واﻟﻌﺰم‬

‫ﻓﺈن اﻟﻔﻦ ﻃﻮﻳﻞ ‪ ،‬واﻟﻌﻤﺮ ﻗﺼﲑ‬

‫ﻻ أﺑﺘﻐﻲ ﺻﺮﳛﺎ ﺷﻬﲑا‬

‫وﻟﻜﲏ أﲤﲏ ﻗﱪا ﻣﺘﻮاﺿﻌﺎ‬

‫ﻷن ﻗﻠﱯ ﻳﻀﺮب ﻛﻄﺒﻞ ﻏﺎﻣﺾ اﻟﺪوي‬

‫ﻛﺄﻧﻪ ﳊﻦ ﺟﻨﺎﺋﺰي ﻳﺰﻓﲏ ﻟﻠﻤﻮت‬

‫ﻛﻢ ﻣﻦ ﺟﻮﻫﺰة ﺗﻨﺎم ﻣﻜﻔﻨﺔ‬

‫ﰲ ﺛﻨﺎﻳﺎ ﻇﻼل ﻗﺎﲤﺔ ﲢﺠﺒﻬﺎ‬

‫وﲡﻌﻠﻬﺎ ﻻ ﻳﻨﻈﺮ إﻟﻴﻬﺎ أﺣﺪ وﻻ ﳛﺲ ﻬﺑﺎ أﺣﺪ‬

‫وﻛﻢ ﻣﻦ زﻫﺮة ﺣﻴﻴﺔ ﺧﺠﻮﻟﺔ ﺗﻘﻄﺮ ﻋﻄﺮﻫﺎ اﳋﻔﻲ‬

‫وﺗﻀﻴﻌﻪ ﰲ ﻗﻔﺎر اﻟﻮﺣﺪة‪.‬‬

‫ﰒ ﻧﻮرد ﺑﻌﺪﻫﺎ ﺗﺮﲨﺔ ﻳﺎﺳﺮ ﻳﻮﻧﺲ ﳍﺎ ‪:‬‬

‫ﺳﻴﺰﻳﻒ ﻳﻌﻮز ﳘﱵ‬

‫ﻋﺰم ﻛﻌﺰﻣﻚ ﰲ اﻷﻣﻮر‬

‫ﻛﻴﻤﺎ أﻗﻮم ﲝﻤﻞ ﻋﺐء‬

‫ﻣﺜﻞ ذا اﻟﻌﺐء اﻟﻜﺒﲑ‬

 ‫‪39‬‬
‫وﻳﺰﻋﻢ أن اﻟﻘﻠﺐ ﻻ‬

‫ﻳﻨﻔﻚ ﻳﻨﺒﺾ ﺑﺎﻟﺸﻌﻮر‬

‫ﻓﺎﻟﻮﻗﺖ ﳏﺪود ﻗﺼﲑ‬

‫واﻟﻔﻦ ﳛﺘﺎج اﻟﻜﺜﲑ‬

‫***‬

‫وﻫﻨﺎك ﺣﻴﺚ ﻣﻘﺎﺑﺮ‬

‫اﻷﺷﺮاف ﺗﺒﺪو ﻣﻦ ﺑﻌﻴﺪ‬

‫وﻷﺟﻞ ﻗﻠﺐ ﻣﻔﺮد‬

‫ﻓﻮق اﻟﺜﺮى ﳚﺜﻮ وﺣﻴﺪ‬

‫ﻗﻠﱯ ﻛﺪف ﺻﺎﻣﺖ‬

‫ﺳﻴﺪق ﻟﻠﻤﻮﺗﻰ ﻧﺸﻴﺪ‬

‫***‬

‫ﻛﻢ ﺣﻠﻴﻠﺔ ﰲ ذا اﻟﻈﻼم‬

‫ﻏﺪت ﻛﻨﺴﻲ ﰲ ﻛﻔﻦ‬

‫وﻧﺄت ﺑﻌﻴﺪا ﺣﻴﺚ ﻻ‬

‫ﺗﺄﺗﻰ اﳌﻌﺎول أو ﲢﻦ‬

‫ﻛﻢ زﻫﺮة ﻧﺰﻓﺖ ﻋﻠﻰ‬

‫ﻣﻀﺾ أرﳚﺎ أو رﺣﻴﻖ‬

‫ﻋﺬﺑﺎ ﻛﺴﺮ ﻟﻴﺲ ﻳﻜﺸﻒ‬

‫وﻫﻮ ﰲ ﻏﻮر ﺳﺤﻴﻖ‪.‬‬

‫ﺳﻄﺮا ﻓﻘﻂ‪ ،‬وﱂ ﻳﻌﻦ ﺑﻨﻘﻠﻬﺎ ﺷﻌﺮا‬

‫ﺷﻄﺮا ﰲ ﺛﻼﺛﺔ ﻋﺸﺮ ً‬
‫وﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ أن ﻧﺎﺟﻲ أﳒﺰ ﺗﺮﲨﺘﻪ اﻟﻨﺜﺮﻳﺔ ﻟﻠﻘﺼﻴﺪة ذات اﻷرﺑﻌﺔ ﻋﺸﺮ ً‬
‫ﺷﻌﺮا ﰲ أﺣﺪ ﻋﺸﺮ ﺑﻴﺘﺎ ‪ ،‬ﻓﺈن اﻟﱰﲨﺘﲔ ﻗﺪ وﻓﻘﺘﺎ إﱃ ﺣﺪ‬
‫وﻻ ﺑﺘﻘﻄﻴﻌﻬﺎ إﱃ ﻣﻘﺎﻃﻊ ﺛﻼث ﻛﺎﻷﺻﻞ ‪ ،‬وﺑﺎﻟﺮﻏﻢ ﻣﻦ أن ﻳﺎﺳﺮ ﻳﻮﻧﺲ أﳒﺰ ﺗﺮﲨﺘﻪ ً‬
 40
‫ ﺑﻴﺪ أﻧﻪ ﻳﺆﺧﺬ ﻋﻠﻴﻬﻤﺎ ﻋﺪم اﻟﺘﺰاﻣﻬﻤﺎ ﺑﺸﻜﻞ اﻟﻘﺼﻴﺪة اﻷﺻﻠﻴﺔ ﻛﻤﺎ ﺻﻨﻊ ﻧﻮرﻣﺎن‬، ‫ﻛﺒﲑ ﰲ اﳊﻔﺎظ ﻋﻠﻰ ﻣﻌﺎﱐ اﻟﻨﺺ اﻟﺸﻌﺮي اﻟﻔﺮﻧﺴﻲ‬

: ‫ ﰲ ﺗﺮﲨﺘﻪ اﻹﳒﻠﻴﺰﻳﺔ اﻟﺒﺪﻳﻌﺔ اﻟﺘﺎﻟﻴﺔ‬Norman R. Shapiro ‫ﺷﺎﺑﺮو‬

Sisyphus, one must be as strong

And brave as you to lift this weight!
Though one be tireless, obdurate,
Yet Life is short and Art is long.

Far from the tombs of glorydom,

In some lone graveyard, set apart,
Beating the dead-man’s-march, my heart,
Pounds out its pace, like muffled drum.

-Many a gem lies buried deep

In darkness, overlooked, asleep,
Far from the pick and probe, alone.

Many a flower, alas, was meant

To spread the fragrance of its scent
In secret solitude, unknown.
:‫أﻣﺎ اﻟﻘﺼﻴﺪة اﻟﺜﺎﻟﺜﺔ ﻓﻘﺼﻴﺪة ﻃﺎﻏﻮر ))اﳌﻮﻋﺪ(( وﺳﻨﺜﺒﺖ ﻫﻨﺎ أوﻻ اﻟﻨﺺ اﻹﳒﻠﻴﺰي واﻟﺬي ﳚﺮي ﻋﻠﻰ ﻫﺬا اﻟﻨﺤﻮ‬

When I go alone at night to my love-tryst, birds do not sing, the wind does not stir,
the houses on both sides of the street stand silent. It is my own anklets that grow loud
at every step and I am ashamed. When I sit on my balcony and listen for his
footsteps, leaves do not rustle on the trees, and the water is still in the river like the
sword on the knees of a sentry fallen asleep. It is my own heart that beats wildly – I
do not know how to quiet it. When my love comes and sits by my side, when my
body trembles and my eyelids droop, the night darkens, the wind blows out the lamp,
and the clouds draw veil over the stars. It is the jewel at my own breast that shines
and gives light. I do not know how to hide it.
 ‫‪41‬‬
‫ﰒ ﻧﺜﺒﺖ ﺗﺮﲨﺘﲔ ﻟﻮدﻳﻊ اﻟﺒﺴﺘﺎﱐ ﻟﻠﻘﺼﻴﺪة ‪ .‬اﻷوﱃ ﺗﺮﲨﺔ ﺷﻌﺮﻳﺔ وﻫﻲ ﻛﻤﺎ ﻳﻠﻲ ‪:‬‬

‫ﺳﺮﻳﺖ ﺑﻨﺠﻢ اﳍﻮى أﻫﺘﺪي‬ ‫إذا ﻣﺎ دﻧﺖ ﺳﺎﻋﺔ اﳌﻮﻋﺪ‬

‫وأوﺣﻰ إﱃ اﻟﻄﲑ ﻻ ﺗﻨﺸﺪي‬ ‫إﱃ اﻟﺮﻳﺢ أوﻣﻰء ﻻ ﻬﺗﻤﺴﻰ‬

‫ﲤﺎﺛﻴﻞ ﺻﻴﻐﺖ ﻣﻦ اﳉﻠﻤﺪ‬ ‫وأﻋﺪد ﺑﻴﻮﺗﺎ ﻛﺄن ذوﻳﻬﺎ‬

‫ﺟﺒﻴﲎ وﻣﻦ ﻟﻠﺠﺒﲔ اﻟﻨﺪى‬ ‫وﻟﻜﻦ ﲨﺎﱃ ﻳﻨﻢ ﻓﻴﻨﺪي‬

‫ﲣﺬت ﻋﻠﻰ ﺷﺮﻓﱵ ﻣﺮﺻﺪي‬ ‫إذا ﻣﺎ دﻧﺖ ﺳﺎﻋﺔ اﳌﻮﻋﺪ‬

‫أﺧﺎل اﻟﺴﻜﻴﻨﺔ ﺳﺎدت وﻫﻴﻬﺎ ت ﻣﻦ ﻟﻠﺴﻜﻴﻨﺔ ﺑﺎﻟﺴﺆدد‬

‫ﻓﻤﺎ ﻣﻦ ﺿﻌﻴﻒ ﻛﺄن اﻟﺘﻌﺎﻧﻖ ﺑﲔ اﻟﻌﺮاﺋﺲ ﱂ ﻳﻌﻬﺪ‬

‫وﰲ اﳉﺪول اﳌﺎء رﻫﻦ اﳉﻤﻮد ﻓﻼ ﺷﺒﻪ ﻣﺮغ وﻻ ﻣﺰﺑﺪ‬

‫ﻋﻠﻰ ﺣﺪﻩ ﺧﺎﻓﺘﺎ ﻳﻌﺘﺪي‬ ‫وﻟﻜﻦ ﻗﻠﱯ ﻳﻌﺪ اﻟﺴﻜﻮن‬

‫وﻧﺎوﻟﺖ ﻛﻒ ﺣﺒﻴـﱯ ﻳﺪي‬ ‫إذ ﻣﺎ دﻧﺖ ﺳﺎﻋﺔ اﳌﻮﻋﺪ‬

‫وﻳﺎ ﻟﻠﻤﻘﻴﻢ وﻟﻠﻤﻘﻌﺪ‬ ‫ﺟﻠﺴﺖ إﻟﻴﻪ وﰊ ﻫﺰة‬

‫وﻳﻜﺴﺮ ﺟﻔﻦ اﳊﻴﺎء ﻓﻴﺼﺒﺢ ﺳﻴﻒ اﻟﻠﻮاﺣﻆ ﻛﺎﳌﻐﻤﺪ‬

‫وﻳﻬﻔﻮ اﻟﻨﺴﻴﻢ ﻓﻴﺨﺒﻮ اﻟﺴﺮاج وﻳﺪﺟﻮ اﻟﻈﻼم ﻛﻤﺎ اﻹﲦﺪ‬

‫ﺗﻨﲑ وﺗﺴﻄﻊ ﻛﺎﻟﻔﺮﻗﺪ‬ ‫وﻟﻜﻦ ﻋﻠﻰ ﻟﺒﱵ درة‬

‫واﻟﺜﺎﻧﻴﺔ ﻧﺜﺮﻳﺔ وﻫﻲ ﲤﻀﻲ ﻋﻠﻰ ﻫﺬا اﻟﻨﺤﻮ ‪:‬‬

‫ﻋﻨﺪﻣﺎ أذﻫﺐ وﺣﺪي ﻟﻴﻼ إﱃ اﳌﻮﻋﺪ ‪ ،‬ﻓﻼ اﻟﻄﻴﻮر ﺗﺪف ‪ ،‬وﻻ اﻟﺮﻳﺢ ﺗﺘﺤﺮك ‪ ،‬وﺗﻘﻒ اﻟﺒﻴﻮت ﻋﻠﻰ ﺟﺎﻧﺐ اﻟﺸﺎرع ﺻﺎﻣﺘﺔ ‪ ،‬وﻣﺎ‬

‫ﺗﻠﻚ إﻻ ﺣﻠﻲ اﻟﱵ ﻳﻌﻠﻮ ﺻﻮﻬﺗﺎ ﻛﻠﻤﺎ ﺧﻄﻮت ﺧﻄﻮة ‪ ،‬ﻓﺄﺳﺘﺤﻲ‪.‬‬

‫وﻋﻨﺪﻣﺎ أﺟﻠﺲ ﰲ ﺷﺮﻓﱴ ﻷﺳﺘﻤﻊ وﻗﻊ ﺧﻄﺎﻩ ‪ ،‬ﻓﻼﺣﻔﻴﻒ ﻷوراق اﻷﺷﺠﺎر ‪ ،‬واﳌﺎء ﰲ اﻟﻨﻬﺮ ﻛﺄﻧﻪ ﺳﻴﻒ ﻋﻠﻲ رﻛﺒﱵ اﳊﺎرس اﻟﻨﺎﺋﻢ‬

‫‪ ،‬وﻣﺎ ﻫﻮ إﻻ ﻗﻠﱯ ذﻟﻚ اﳋﺎﻓﻖ ﲜﻨﻮن وﻻ أﻋﻠﻢ ﻛﻴﻒ أﺳﻜﻨﻪ‪.‬‬

‫وﻋﻨﺪﻣﺎ ﻳﺄﰐ ﺣﺒﻴﺒـﻲ وﳚﻠﺲ إﱃ ﺟﺎﻧﱯ ‪ ،‬ﻳﺮﺗﻌﺶ ﺑﺪﱐ ‪ ،‬وﺟﻔﻮﱐ ‪ ،‬ﻋﻨﺪﺋﺬ ﻳﻈﻠﻢ اﻟﻠﻴﻞ ‪ ،‬وﺗﻄﻔﺊ اﻟﺮﻳﺢ اﻟﺴﺮاج وﲢﺠﺐ اﻟﻐﻴﻮم‬

‫اﻟﻨﺠﻮم‪.‬‬

‫وﺗﻠﻚ ﻫﻲ اﳉﻮﻫﺮة اﻟﱵ ﻋﻠﻰ ﺻﺪري اﻟﱵ ﺗﺴﻄﻊ وﺗﻨﲑ ‪ ،‬ﻻ أﻋﻠﻢ ﻛﻴﻒ أﺧﺒﻴﺌﻬﺎ وأﺧﻔﻴﻬﺎ‪.‬‬
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‫ﰒ ﻧﺜﺒﺖ أﺧﲑا ﺗﺮﲨﺔ ﺧﻠﻴﻔﺔ ﳏﻤﺪ اﻟﺘﻠﻴﺴﻲ ﻟﻠﻘﺼﻴﺪة ذاﻬﺗﺎ ‪:‬‬

‫ﻋﻨﺪا أذﻫﺐ وﺣﺪي ﰲ اﻟﻠﻴﻞ‬

‫ﻟﻠﻘﺎﺋﻲ اﻟﻐﺮاﻣﻲ‬

‫ﺗﻜﻮن اﻟﻌﺼﺎﻓﲑ ﻗﺪ ﺗﻮﻗﻔﺖ ﻋﻦ اﻟﻐﻨﺎء‬

‫واﻟﺮﻳﺢ ﻗﺪ اﻧﻘﻄﻌﺖ ﻋﻦ اﳍﺒﻮب‬

‫واﻟﺒﻴﻮت اﳌﻨﺘﺸﺮة ﻋﻠﻰ ﺟﺎﻧﱯ اﻟﻄﺮﻳﻖ‬

‫ﺻﺎﻣﺘﺔ ﺳﺎﻛﻨﺔ‬

‫إن أﺳﻮرﰐ ﻓﻘﻂ ﻫﻲ اﻟﱵ ﺗﺮن ﻣﻊ ﻛﻞ ﺧﻄﻮة‬

‫ﻓﻴﻤﻠﺆﱐ ذﻟﻚ ﺑﺎﳋﺠﻞ اﻟﺸﺪﻳﺪ‬

‫وﺣﲔ أﺟﻠﺲ ﻋﻨﺪ اﻟﺸﺮﻓﺔ‬

‫أﺗﺴﻤﻊ ﺻﺪى ﺧﻄﻮاﺗﻪ‬

‫ﻓﺎﻷوراق ﺗﻨﻘﻄﻊ ﻋﻦ ﺣﻔﻴﻔﻬﺎ ﺑﲔ اﻷﻏﺼﺎن‬

‫وﺗﺴﻜﻦ ﻣﻴﺎﻩ اﻟﻨﻬﺮ‬

‫ﺣﺎرس ﻧﺎﺋ ٍﻢ‬

‫ﻛﻤﺎ ﻳﺴﻜﻦ اﻟﺴﻴﻒ ﻓﻮق رﻛﺒﱵ ٍ‬

‫إن ﻗﻠﱯ ﻓﻘﻂ ﻫﻮ اﻟﺬي ﻳﺪق ﺑﻮﺣﺸﻴﺔ‬

‫وﻻ أﻋﺮف ﻛﻴﻒ أﻫﺪﺋﻪ‬

‫وﺣﲔ ﻳﺄﰐ ﺣﺒﻴﺒـﻲ‬

‫وﳚﻠﺲ إﱃ ﺟﺎﻧﱯ‬

‫وﺣﲔ ﻳﺮﲡﻒ ﺟﺴﺪي‬

‫وﺗﻔﱰ ﺟﻔﻨﺎي‬

‫واﻟﻠﻴﻞ ﻳﺰداد ﺣﻠﻜﺔ‬

‫وﺗﻄﻔﺊ اﻟﺮﻳﺢ اﳌﺼﺎﺑﻴﺢ‬

‫وﺗﺒﺴﻂ اﻟﺴﺤﺐ ﺣﺠﺎﺑًﺎ ﻋﻠﻰ اﻟﻨﺠﻮم‬

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‫ﻓﺈن ﺟﻮﻫﺮة ﻗﻠﱯ ﻫﻲ اﻟﱵ ﺗﺘﺄﻟﻖ ‪ ،‬وﺗﺸﻊ‬

‫وﻻ أدري ﻛﻴﻒ أﺧﻔﻴﻬﺎ‪.‬‬

‫وﺗﺮﲨﺔ اﻟﺘﻠﻴﺴﻲ ‪ ،‬ﻛﻤﺎ ﻫﻮ واﺿﺢ ‪ ،‬أروع اﻟﱰﲨﺎت وأﲨﻠﻬﺎ وأﻗﺮﻬﺑﺎ إﱃ روح اﻟﺸﺎﻋﺮ اﳍﻨﺪي اﻟﻌﻈﻴﻢ‪.‬‬

‫وﻣﻦ اﳌﻼﺣﻆ أن ﻣﻦ ﻣﱰﲨﻲ اﻟﺸﻌﺮ ﻣﻦ ﳝﻴﻠﻮن إﱃ اﳊﺮﻓﻴﺔ ﰲ ﻧﻘﻠﻬﻢ‪ ،‬وﻗﺪ ﻛﺎن اﳌﱰﲨﻮن اﻹﳒﻠﻴﺰ ﰲ اﻟﻘﺮن اﻟﺴﺎدس ﻋﺸﺮ وﻣﻌﻈﻢ‬

‫اﻟﺴﺎﺑﻊ ﻋﺸﺮ ﻳﺄﺧﺬون ﺟﺎﻧﺐ اﳊﺮﻓﻴﺔ ﰲ ﻧﻘﻞ اﻷﺷﻌﺎر اﻷﺟﻨﺒﻴﺔ‪ ،‬ﻓﻜﺎﻧﻮا ﻛﻤﺎ ﻳﻘﻮل دﻳﻨﻬﺎم "ﳛﺘﻔﻈﻮن ﺑﺎﻟﺮﻣﺎد وﻳﻔﻮﻬﺗﻢ اﻟﻠﻬﺐ" إﱃ أن ﺟﺎء‬

‫دراﻳﺪن ﻓﺤﺮر اﻟﱰﲨﺔ اﻟﺸﻌﺮﻳﺔ ﻣﻦ ﻗﻴﻮدﻫﺎ‪.‬‬

‫وﳓﻦ ﻣﻦ ﺟﺎﻧﺒﻨﺎ ﻻ ﳕﻴﻞ إﻻ اﳌﻐﺎﻻة ﰲ اﳊﺮﻓﻴﺔ ﰲ ﻧﻘﻞ اﻟﺸﻌﺮ‪ ،‬وﻧﺮى أن اﻟﺘﺼﺮف ﰲ اﻟﺸﻌﺮ أﻛﺜﺮ ﺟﻮازا ﻣﻨﻪ ﰲ اﻟﻨﺜﺮ ﳌﺎ ﳛﺘﻤﻪ‬

‫اﻹﻳﻘﺎع واﻟﻘﺎﻓﻴﺔ واﳋﺼﺎﺋﺺ اﻟﺸﻌﺮﻳﺔ‪ .‬وﻣﻦ أﺷﻬﺮ أﻧﺼﺎر ﻫﺬا اﻟﺮأي اﻟﺴﲑ ﺟﻮن دﻳﻨﻬﺎم اﻟﺬي ﻳﻘﻮل ﰲ ﻣﻘﺪﻣﺘﻪ ﻟﻠﻜﺘﺎب اﻟﺜﺎﱐ ﻣﻦ إﻧﻴﺎدة‬

‫ﻓﺮﺟﻴﻞ‪" :‬ﻣﻦ اﳋﻄﺄ اﻟﻔﺎﺿﺢ ﰲ ﺗﺮﲨﺔ اﻟﺸﻌﺮ اﳌﻐﺎﻻة ﰲ اﻷﻣﺎﻧﺔ – اﻷﻣﺎﻧﺔ اﻟﱵ إن ﺻﺤﺖ ﰲ اﳊﻘﺎﺋﻖ اﻟﻌﻠﻤﻴﺔ واﳌﺴﺎﺋﻞ اﻟﺪﻳﻨﻴﺔ ﻓﻼ ﺗﺼﺢ ﰲ‬

‫اﻟﺸﻌﺮ‪ .‬ﻓﻤﻦ أرادﻫﺎ ﻓﻴﻪ أراد ﺷﻴﺌﺎ ﻏﲑ ﻣﺴﺘﻠﺰم وأدى ذﻟﻚ إﱃ إﺧﻔﺎﻗﻪ ﰲ ﲢﻘﻴﻖ ﻏﺮﺿﻪ؛ إذ ﻟﻴﺴﺖ ﻣﻬﻤﺘﻪ ﻣﻘﺘﺼﺮة ﻋﻠﻰ ﺗﺮﲨﺔ ﻟﻐﺔ إﱃ ﻟﻐﺔ‬

‫أﺧﺮى ‪ ،‬ﺑﻞ ﺷﻌﺮ إﱃ ﺷﻌﺮ‪ ،‬وإن روح اﻟﺸﻌﺮ ﺷﻔﺎﻓﺔ رﻗﻴﻘﺔ ﲝﻴﺚ إﻧﻚ إذا ﻣﺎ ﺻﺒﺒﺘﻪ ﻣﻦ ﻗﺎﻟﺐ ﻟﻐﺔ إﱃ ﻟﻐﺔ أﺧﺮى ﺗﺒﺨﺮ وﺿﺎع ‪ ،‬ﻓﺈذا ﱂ ﺗﻀﻒ‬

‫إﻟﻴﻪ روﺣﺎ ﺟﺪﻳﺪة أﺛﻨﺎء اﻟﻨﻘﻞ ﱂ ﻳﺒﻖ ﻟﺪﻳﻚ ﻣﻨﻪ ﺳﻮى اﻟﻮﻋﺎء‪.‬‬

‫أﻣﺎ ﻋﻦ ﻣﺬاﻫﺐ ﺗﺮﲨﺔ اﻟﺸﻌﺮ – واﻷدب ﻋﻤﻮﻣﺎ – ﻓﻘﺪ ﺣﺼﺮﻫﺎ دراﻳﺪن ﰲ ﺛﻼﺛﺔ ﻣﺬاﻫﺐ ﻻ ﻏﲑ‪ ،‬وﻫﻲ‪:‬‬

‫اﻷول ﻫﻮ اﻟﻨﻘﻞ اﳊﺮﰲ ﻟﻸﻟﻔﺎظ ﰲ ﺳﻴﺎﻗﻬﺎ اﻷﺻﻠﻲ‪ ،‬وﻳﺴﻤﻰ ﻫﺬا ‪.Metaphrase‬‬

‫واﻟﺜﺎﱐ ﻫﻮ ﻧﻘﻞ اﳌﻌﺎﱐ ﻓﺤﺴﺐ ﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ ﻧﺴﻖ اﳉﻤﻠﺔ أو اﻧﺘﻈﺎم اﻟﻜﻠﻤﺎت ﰲ اﻟﻌﺒﺎرة وﻣﺎ ﳍﺬا ﻣﻦ دﻻﻻت‪ ،‬وﻫﺬا ﻫﻮ‬

‫ﻣﺎ ﻳﺴﻤﻴﻪ ‪.Prapharase‬‬

‫واﻟﺜﺎﻟﺚ ﻫﻮ إﻋﺎدة ﺻﻴﺎﻏﺔ اﻟﻌﺒﺎرات ﺑﻞ اﻟﻘﺼﻴﺪة ﻛﻠﻬﺎ إذا اﻗﺘﻀﻰ اﻷﻣﺮ ﲝﻴﺚ ﻳﺴﺘﻄﻴﻊ ﺗﻘﺪﱘ اﳌﺜﻴﻞ أو اﻟﺒﺪﻳﻞ ﻟﻠﻌﻤﻞ اﻷﺻﻠﻲ‬

‫ﺑﺎﻟﻠﻐﺔ اﳌﱰﺟﻢ إﻟﻴﻬﺎ – وﻫﻮ ﻳﻄﻠﻖ ﻋﻠﻰ ﻫﺬا اﺻﻄﻼح ‪ imitation‬أو اﶈﺎﻛﺎة – أي ﳏﺎﻛﺎة اﻟﺸﺎﻋﺮ ﻓﻴﻤﺎ ﻓﻌﻞ ﻣﻦ وزن وﻗﻮاف وﺻﻮر‬

‫وﻣﻌﺎن‪.‬‬

‫وأﺣﺴﻦ ﻫﺬﻩ اﳌﺬاﻫﺐ ﺑﺎﻟﻄﺒﻊ ﻫﻮ اﳌﺬﻫﺐ اﻷﺧﲑ‪ .‬وﻳﻘﻮل اﻟﺪﻛﺘﻮر ﳏﻤﺪ ﻋﻨﺎﱐ"ﻓﺈذا ﻃﺒﻘﻨﺎ ﻫﺬا اﳌﻨﻬﺞ ﻋﻠﻰ اﻟﺸﻌﺮ اﻟﻐﻨﺎﺋﻲ وﺟﺪﻧﺎ‬

‫أن ﻋﻠﻰ اﳌﱰﺟﻢ أن ﻳﻀﻊ ﻧﻔﺴﻪ ﻣﻜﺎن اﻟﺸﺎﻋﺮ وأن ﳛﺎول أن ﻳﻘﺪم ﻣﺜﻴﻼ ﻟﻘﺼﻴﺪﺗﻪ ﺑﻠﻐﺘﻪ ﻫﻮ وﺑﺈﻳﻘﺎﻋﺎت ﻫﺬﻩ اﻟﻠﻐﺔ وﻗﻮاﻓﻴﻬﺎ وﺻﻮرﻫﺎ‪ .‬وﻗﺪ‬

‫ﻳﻘﱰب أو ﻳﺒﺘﻌﺪ ﻋﻦ اﳌﻌﺎﱐ اﺑﺘﻐﺎء ﳍﺬﻩ اﻟﺪﻗﺔ ﰲ اﶈﺎﻛﺎة‪.‬‬

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‫ﻫﺬا ﻋﻦ ﻣﺬاﻫﺐ ﺗﺮﲨﺔ اﻟﺸﻌﺮ‪ ،‬أﻣﺎ ﻋﻦ ﻣﻨﺎﻫﺞ اﳌﱰﲨﲔ ﻣﻦ ﺣﻴﺚ ﻣﻮﻗﻔﻬﻢ ﻣﻦ اﻟﻨﺺ اﻷﺻﻠﻲ‪ ،‬ﻓﺜﻤﺔ اﲡﺎﻫﺎن رﺋﻴﺴﺎن ﰲ ﺗﺮﲨﺔ‬

‫اﻟﻨﺼﻮص اﻷدﺑﻴﺔ ﺑﺼﻔﺔ ﻋﺎﻣﺔ واﻟﺸﻌﺮ ﺑﺼﻔﺔ ﺧﺎﺻﺔ‪ .‬أﻣﺎ اﻻﲡﺎﻩ اﻷول ﻓﻴﻤﻴﻞ ﻓﻴﻪ اﳌﱰﺟﻢ إﱃ اﻟﻠﻐﺔ اﳍﺪف وﻳﻠﻮن اﻟﻨﺺ ﺑﺜﻘﺎﻓﺘﻬﺎ وﻳﻨﻈﺮ إﱃ‬

‫ﻗﺎرئ ﺗﺮﲨﺘﻪ وﻋﺎﳌﻪ وﺛﻘﺎﻓﺘﻪ وذوﻗﻪ‪ ،‬وﳝﺜﻞ ﻫﺬا اﻻﳒﺎﻩ ﺗﺮﲨﺔ أﻧﻄﻮن ﺟﺎﻻن ﻷﻟﻒ ﻟﻴﻠﺔ وﻟﻴﻠﺔ؛ ﻓﻘﺪ "ﻛﺎن ﺟﺎﻻن ﻣﻦ أﺳﺎﺗﺬة اﻟﻜﻮﻟﻴﺞ دي‬

‫ﻓﺮاﻧﺲ وﻣﻦ اﳌﺘﺸﺒﻌﲔ ﺑﻘﻮاﻋﺪ اﳌﺪرﺳﺔ اﻟﻜﻼﺳﻴﻜﻴﺔ اﻟﱵ ﺗﻘﻮم ﻋﻠﻰ ﻣﺮاﻋﺎة اﻟﺬوق واﻟﻠﻴﺎﻗﺔ وﲢﺎﺷﻰ اﳌﺒﺎﻟﻐﺔ‪ .‬وﻣﻦ ﻫﻨﺎ ﺟﺎء رد ﻓﻌﻠﻪ ﺣﻴﺎل‬

‫اﻟﻘﺼﺺ اﳉﺮﻳﺌﺔ ﳑﺎﺛﻼ ﳌﻮﻗﻒ اﻟﺸﺮﻗﻴﲔ ﻣﻨﻬﺎ‪ ،‬وﻟﻜﻨﻪ أدرك ﻗﻴﻤﺔ اﻟﻜﺘﺎب‪ ،‬وﱂ ﳛﻜﻢ ﻋﻠﻴﻪ ﺑﺎﳌﻮت ﻣﻦ ﺟﺮاء ﻋﻴﻮب ﳝﻜﻦ ﻋﻼﺟﻬﺎ‪ .‬ﻗﺎم ﻫﺬا‬

‫ﻣﺮ اﻟﻘﺮون‪ ،‬واﺧﺘﺎر ﻣﻦ اﻟﻘﺼﺺ ﻣﺎ ﻳﺘﻨﺎﺳﺐ ﻣﻊ ذوق اﳉﻤﻬﻮر‪ ،‬ﰒّ "ﻓﺮﻧﺲ"‬

‫اﳌﺴﺘﺸﺮق ﺑﻌﻤﻠﻴﺔ ﺗﻄﻬﲑ ﻟﻠﻨﺺ ﻣﻦ اﻟﺸﻮاﺋﺐ اﻟﱵ ﻋﻠﻘﺖ ﺑﻪ ﻋﻠﻰ ّ‬
‫ﻣﺎ اﻧﺘﻘﺎﻩ ﻣﺜﻠﻤﺎ ﻓﻌﻞ ﻛﻮرﱏ وراﺳﲔ ﻋﻨﺪﻣﺎ ﻋﺎﳉﺎ ﺑﺎﻟﻔﺮﻧﺴﺔ رواﺋﻊ اﳌﺴﺮح اﻟﻴﻮﻧﺎﱐ واﻟﺮوﻣﺎﱐ وﻗﺎﻣﺎ ﺑﻌﻤﻠﻴﺔ "ﻓﺮﻧﺴﺔ" ﻷﺑﻄﺎل اﻟﻌﺼﺮ اﳍﻠﻴﻨﺴﱵ‪.‬‬

‫وﻳﺪﺧﻞ ﰲ ﻫﺬا اﻻﲡﺎة ﺗﺮﲨﺔ اﻟﺸﺎﻋﺮ اﳌﱰﺟﻢ اﻹﳒﻠﻴﺰي إدوارد ﻓﺘﺰﺟﺮاﻟﺪ ‪ Fitzgerald‬ﻟﺮﺑﺎﻋﻴﺎت اﳋﻴﺎم ‪ ،‬ﻓﻘﺪ ﺗﺮﺟﻢ رﺑﺎﻋﻴﺎت‬

‫اﳋﻴﺎم ﻋﻦ اﻟﻨﺺ اﻟﻔﺎرﺳﻲ اﻷﺻﻠﻲ‪ ،‬وﻟﻜﻨﻪ أﺳﺒﻎ ﻋﻠﻴﻬﺎ روح اﻟﻐﺮب‪ ،‬أي أﻋﺎد ﻃﺒﻊ اﻟﺮﺑﺎﻋﻴﺎت ﰲ ﻗﺎﻟﺐ ﺟﺪﻳﺪ وروح ﺗﺘﻨﺎﺳﺐ ﻣﻊ روح اﻟﻘﺎرئ‬

‫اﻟﻐﺮﰊ ﰲ ﻋﺼﺮﻩ وﻣﺎ ﳛﺲ ﺑﻪ ﻣﻦ ﻗﻠﻖ وﺣﲑة وﺷﻚ‪ ،‬وﻣﺎ ﻳﻘﺒﻞ ﻋﻠﻴﻪ ﻣﻦ ﺣﺐ ﻟﻠﺨﻤﺮ واﻟﻠﺬة واﳉﻤﺎل‪ .‬وﺣﺴﺒﻨﺎ أن ﻧﻘﺪم اﻟﺮﺑﺎﻋﻴﺔ اﻟﺘﺎﻟﻴﺔ ﻣﺜﺎﻻ‬

‫ﳍﺬا اﻻﲡﺎﻩ‪:‬‬

‫ﻛﻮﻧﻴﺪ ﻬﺑﺸﺖ وﺣﻮر وﻛﻮﺛﺮ ﺑﺎﺷﺪ‬

‫ﺟﻮى ﻣﻰ وﺷﲑ وﺷﻬﺪ وﺷﻜﺮ ﺑﺎﺷﺪ‬

‫ﻳﻚ ﺟﺎم ﺑﺪﻩ ﺑﻪ ﻳﺎدان أى ﺳﺎﻗﻰ‬

‫ﻧﻘﺪى زﻫﺰار ﻧﺴﻴﻪ ﻬﺑﱰ ﺑﺎﺷﺪ‬

‫وﻫﺬﻩ ﺗﺮﲨﺔ ﻓﺘﺰﺟﲑاﻟﺪ ﳍﺎ‪:‬‬

‫‪‘How sweet is mortal Sovranty!’ - think some:‬‬

‫’!‪Others - ‘How blest the Paradise to come‬‬
‫;‪Ah, take the Cash in hand and waive the Rest‬‬
‫) ‪Oh, the brave Music of a distant drum!(1‬‬

‫ﻓﺎﻟﱰﲨﺔ اﻹﳒﻠﻴﺰﻳﺔ ﻟﻠﺮﺑﺎﻋﻴﺔ ﺗﻮﺣﻰ ﺑﺎﻟﺴﺨﺮﻳﺔ واﻟﺘﺸﻜﻴﻚ واﻹﻧﻜﺎر ﻛﻤﺎ ﻧﻠﻤﺢ ﰲ اﻟﺒﻴﺘﲔ اﻷول واﻟﺜﺎﱐ‪ ،‬وﺗﻨﺒﺊ ﻋﻦ ﻧﺰﻋﺔ ﻣﺎدﻳﺔ ﲢﺮص‬

‫ﻋﻠﻰ ﻣﺎ ﰲ اﻟﻴﺪ‪ ،‬وإﻳﺜﺎر ﻟﻠﺤﺎﺿﺮ ﻋﻠﻰ اﳌﺴﺘﻘﺒﻞ‪ ،‬وﻟﻠﺤﻴﺎة ﻋﻠﻰ اﻵﺧﺮة‪ ،‬وﺷﻐﻒ ﺑﺎﳌﻮﺳﻴﻘﻰ واﻟﺮﻗﺺ واﳌﺘﻌﺔ اﻵﻧﻴﺔ اﻟﻌﺎﺟﻠﺔ ﻛﻤﺎ ﻧﻠﺤﻆ ﰲ‬

‫اﻟﺒﻴﺘﲔ اﻟﺜﺎﻟﺚ واﻷﺧﲑ‪.‬‬

‫)‪ - (1‬ﺣﻠﻤﻲ ﺑﺪﻳﺮ‪ ،‬اﳌﺮﺟﻊ اﻟﺴﺎﺑﻖ‪ ،‬ص‪.136‬‬

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‫أﻣﺎ اﳌﻨﻬﺞ اﻟﺜﺎﱐ ﻓﻌﻠﻰ اﻟﻌﻜﺲ ﻣﻦ اﳌﻨﻬﺞ اﻷول ‪ ،‬ﳝﻴﻞ ﻓﻴﻪ اﳌﱰﺟﻢ ﳓﻮ اﻟﻠﻐﺔ اﳌﺼﺪر ﻻ اﻟﻠﻐﺔ اﳍﺪف ‪ ،‬ﻓﻬﻮ ﻳﻨﻈﺮ إﱃ اﻟﻨﺺ‬

‫اﻷﺻﻠﻲ وإﱃ اﳌﺆﻟﻒ وأﺳﻠﻮﺑﻪ وﻟﻐﺘﻪ وﺛﻘﺎﻓﺘﻪ ‪ ،‬وﻻ ﻳﻬﻤﻪ أن ﺗﺄﰐ اﻟﱰﲨﺔ ﻏﺮﻳﺒﺔ ﰲ أﺳﻠﻮﻬﺑﺎ وﺻﻮرﻫﺎ وﺛﻘﺎﻓﺘﻬﺎ ﻋﻦ ﻗﺎرئ اﻟﻠﻐﺔ اﳍﺪف‪ .‬وﻣﻦ‬

‫اﻟﱰﲨﺎت اﻟﱵ اﺗﺒﻌﺖ ﻫﺬا اﳌﻨﻬﺞ ﺗﺮﲨﺔ ﺧﻠﻴﻞ ﻣﻄﺮان ﻟﻘﺼﻴﺪة "اﳌﺴﺎء واﳌﺪﻳﻨﺔ" ﻟﻠﺸﺎﻋﺮ اﻹﻳﻄﺎﱄ ﻣﺎرﻳﻨﱵ) ‪ (1‬وﻫﻲ ﻛﻤﺎ ﻳﻠﻲ‪:‬‬
‫‪F28‬‬

‫ﻛﺎﻧﺖ اﳌﺪﻳﻨﺔ ﻣﺴﻮرة ﺑﺎﻟﻜﱪﻳﺎء‪ ،‬ﻣﺴﻴﺠﺔ ﺑﺄﺷﻌﺔ اﻟﺸﻤﺲ‬

‫وﻛﺎﻧﺖ ﺗﺰدري ﳐﺎوف اﻟﻈﻠﻤﺎت اﻟﱵ ﺗﻄﺎرد اﻷﻧﻮار ﻋﻦ ﺑﻌﺪ‬

‫وإﻧﻬﺎ ﻟﻜﺬﻟﻚ إذ ﻫﺠﻢ ﻋﻠﻴﻬﺎ اﳌﺴﺎء ﻓﺄﺷﻌﻠﺖ ﺑﺄﻳﺪﻳﻬﺎ اﳊﻤﺮاء ﻣﻨﺎﺋﺮ أﺟﺮاﺳﻬﺎ‬

‫وﻫﺰﺗﻬﺎ ﻫﺰ اﻷﺳﻨﺔ اﻟﺮﻧﺎﻧﺔ‬

‫ﻓﺪﻣﺖ ﺟﻮاﻧﺐ اﳌﺴﺎء ﺑﻄﻌﻨﺎﺗﻬﺎ اﻟﻨﺠﻼء‪ ،‬واﻧﻘﻄﻊ إرﻧﺎن ﺻﻮﺗﻪ‬

‫وﻫﺒﻂ ﲜﺜﻤﺎﻧﻪ اﳌﻤﺰق ﻋﻠﻰ اﳌﺪﻳﻨﺔ واﻗﻌﺎ ﻋﻠﻰ ﺗﻮﻗﻴﻊ ﻧﻐﻤﺎت اﳌﻼﺣﲔ‬

‫ﻓﺒﻜﺖ اﳌﻨﺎﺋﺮ ﲟﺪاﻣﻊ زﻣﺮدﻳﺔ ﺟﺰﻋﺎ ﳑﺎ ﺟﻨﺘﻪ ﺣﺮاﺑﻬﺎ‬

‫وﺟﺜﻤﺖ اﳌﺪﻳﻨﺔ ﺳﻜﺮى ﻣﻦ اﳋﻴﻼء‪ ،‬ﻧﺎﻇﺮة ﻧﻈﺮة اﻻزدراء‬

‫ﻣﻀﻄﺮﺑﺔ اﻟﺴﺮاﺋﺮ ﳌﺎ ﺗﺴﻤﻌﻪ ﻣﻦ ﳓﻴﺐ اﻟﺴﻤﺎء‬

‫ﳐﻀﺒﺔ اﻟﻮﺟﻪ ﺑﺎﻟﺪم واﻻرﺗﻴﺎع‪ ،‬ﺗﻠﻎ ﻣﺎء اﻟﻨﻬﺮ اﳌﺨﻀﺐ‬

‫واﻟﻨﻬﺮ ﳚﺮي ﻣﺘﺜﺎﻗﻼ ﺗﻌﺒﺎ ﲟﺎ ﺗﻘﺬﻓﻪ أﻣﻮاﺟﻪ اﳌﺘﺘﺎﻟﻴﺔ‬

‫ﻣﻦ اﻷﻓﻼك اﳌﻨﺘﺸﺮة واﻟﺴﻤﻮات اﳌﺘﻮاﻟﻴﺔ‬

‫وﻗﺪ ﺗﻐﻠﻐﻠﺖ ﻓﻴﻪ ﺣﺪود اﳊﺮاب اﳌﱰاﺋﻴﺔ‬

‫ﻋﻨﺪﺋﺬ رﻓﻊ اﳌﺴﺎء ﺟﺒﻬﺘﻪ اﳌﻘﻄﺒﺔ وﻫﻮ ﻣﻨﻬﻮك ﲢﺖ وﻗﺮ اﻟﻈﻼم اﻟﻜﺜﻴﻒ‬

‫وﺗﻔﻜﺮ ﻓﺘﻤﺜﻞ أن اﻟﻨﺎس إذا ﻫﺒﻮا ﻣﻦ ﻣﻀﺎﺟﻌﻬﻢ ﰲ ﺻﺒﻴﺤﺔ اﻟﻐﺪ‪،‬‬

‫راﻋﻬﻢ ﻣﺸﻬﺪ دﻣﻪ اﳌﺴﻔﻮك ﻋﻠﻰ اﳉﺪران اﻟﻌﺎﻟﻴﺔ‪.‬‬

‫ﻓﻤﺪ وﻃﺎﺑﻪ ﳝﻸﻩ ﻣﻦ اﻟﺴﻴﻮل اﳌﻨﺤﺪرة‪.‬‬

‫ﰒ رﻓﻌﻪ وﺑﺴﻂ ذراﻋﻪ ﺑﺴﻄﺔ ﺷﺎﻣﻠﺔ‬

‫وأﻏﺮق اﳌﺎء ﻓﻐﺴﻞ ﻣﻮاﻗﻊ اﳉﻨﺎﻳﺔ‪ ،‬وﺻﻔﺢ ﻋﻦ اﳌﺪﻳﻨﺔ اﻟﻌﺎﺗﻴﺔ‪.‬‬

‫)‪ - (1‬ﺣﻠﻤﻲ ﺑﺪﻳﺮ‪ ،‬اﳌﺮﺟﻊ اﻟﺴﺎﺑﻖ‪ ،‬ص‪.37-36‬‬

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‫ﰒ راح ﳏﺘﻀﺮا وﻫﻮ رﺣﻴﻢ‪ ،‬ﻳﺒﺪو إﺷﻔﺎﻗﻪ ﰲ آﻣﺎﻗﻪ‪،‬‬

‫وﻳﺴﻌﻰ ﻣﺘﺤﺎﻣﻼ ﳐﺎﻓﺔ أن ﻳﻄﺄ ﺑﻌﻀﺎ ﰲ ﻣﺴﲑﻩ‪.‬‬

‫وﻛﺎﻧﺖ اﳌﻨﺎﺋﺮ ﺗﱰاءى ﰲ اﻟﻈﻠﻤﺎء‪ ،‬وﰲ ﳏﺎﺟﺮﻫﺎ ﻣﺪاﻣﻊ زرﻗﺎء‪.‬‬

‫إن ﻣﱰﺟﻢ اﻟﺸﻌﺮ أوﻻ ﳜﺎﻃﺐ ﻗﺮاءﻩ ﺣﺴﺐ اﻟﺘﻌﺮﻳﻒ اﻟﺘﻘﻠﻴﺪي ﻟﻠﱰﲨﺔ اﻟﺘﺨﺎﻃﺒﻴﺔ ‪ ،‬وﻫﻮ ﻓﻌﻼ ﻳﻘﻮم ﺑﺬﻟﻚ ﳏﺎوﻻ ﺧﻠﻖ اﻟﺘﺄﺛﲑ ﻧﻔﺴﻪ‬

‫ﻋﻠﻰ ﻗﺮاﺋﻪ‪ .‬ﳏﺎوﻟﺘﻪ اﻟﺮﺋﻴﺴﻴﺔ أن "ﻳﱰﺟﻢ" اﻟﺘﺄﺛﲑ اﻟﺬي أﺣﺪﺛﺘﻪ اﻟﻘﺼﻴﺪة ﻋﻠﻴﻪ ﻫﻮ ﻧﻔﺴﻪ‪.‬‬

‫وﻗﺒﻞ اﻟﺸﺮوع ﰲ اﻟﱰﲨﺔ ﻋﻠﻰ اﳌﱰﺟﻢ أن ﻳﻘﺮر ﰲ ﻣﻌﻈﻢ أﻣﺜﻠﻪ ﺗﺮﲨﺔ اﻟﺸﻌﺮ ‪ ،‬أوﻻ اﺧﺘﻴﺎر اﻟﺼﻴﻐﺔ اﻟﺸﻌﺮﻳﺔ ﰲ ال)ل‪-‬ه( )أي‬

‫ﺳﻮﻧﻴﺘﻪ ‪ ،‬أو ﻗﺼﻴﺪة ﻏﻨﺎﺋﻴﺔ ‪ ،‬أو رﺑﺎﻋﻴﺔ ‪ ،‬أو ﺷﻌﺮ اﻟﺘﻔﻌﻴﻠﻴﺔ ‪ ،‬أﱁ‪ (..‬اﻟﱵ ﺗﻜﻮن أﻗﺮب ﻣﺎ ﳝﻜﻦ ﻟﺼﻴﻐﺔ ال)ل‪-‬م(‪ .‬ورﻏﻢ أن ﳐﻄﻂ اﻟﻘﺎﻓﻴﺔ‬

‫ﺟﺰء ﻣﻦ اﻟﺼﻴﻐﺔ ‪ ،‬ﻓﻘﺪ ﻳﺘﺤﺘﻢ ﻋﻠﻴﻪ إﻏﻔﺎل ﺗﺮﺗﻴﺒﻬﺎ اﻟﺪﻗﻴﻖ‪ .‬ﺛﺎﻧﻴﺎ ‪ ،‬ﻳﻘﻮم ﺑﺈﻧﺘﺎج اﻟﻠﻐﺔ اﺠﻤﻟﺎزﻳﺔ ‪ ،‬وﻫﻲ اﻟﺼﻮر اﶈﺴﻮﺳﺔ ﻟﻠﻘﺼﻴﺪة‪ .‬أﺧﲑا اﶈﻴﻂ ‪،‬‬

‫واﻟﻜﻠﻤﺎت ‪ ،‬واﻷﻓﻜﺎر ‪ ،‬وﻋﻠﻰ اﻷﻏﻠﺐ اﻟﻄﺮق اﻟﺘﻘﻨﻴﺔ اﳌﺘﻌﺪدة ﻟﻠﺘﺄﺛﲑات اﻟﺼﻮﺗﻴﺔ اﻟﱵ ﺗﻨﺘﺞ اﻟﺘﺄﺛﲑ اﻟﻔﺮدي اﻟﺴﺎﻟﻒ اﻟﺬﻛﺮ(‪.‬‬

‫وﺗﺮﲨﺔ ﻗﺼﻴﺪة ﺷﻌﺮﻳﺔ – ﻛﻤﺎ ﻳﻘﻮل ﺟﺎﻛﺴﻮن ﻣﺎﺗﻴﻮز – ﻫﻲ ﰲ اﻟﻮاﻗﻊ ﻋﺒﺎرة ﻋﻦ ﺗﺄﻟﻴﻒ ﻗﺼﻴﺪة أﺧﺮى‪ .‬واﻟﱰﲨﺔ اﻟﻜﺎﻣﻠﺔ ﻟﻠﻔﺤﻮى‬

‫أﻣﻴﻨﺔ ‪ ،‬ﺗﻘﺎرب اﻷﺻﻞ ﺷﻜﻼ ‪ ،‬ﻛﻤﺎ أ�ﺎ ﺗﻜﻮن ﳍﺎ روح ﺧﺎﺻﺔ ﻬﺑﺎ‪ ،‬ﻳﺘﻘﻤﺼﻬﺎ اﳌﱰﺟﻢ‪ 1 .‬وﻫﺬا رأي ﺻﺤﻴﺢ ﲤﺎﻣﺎ ‪ ،‬وﻟﻠﺘﺪﻟﻴﻞ ﻋﻠﻰ ذﻟﻚ ﻧﻀﻊ‬
‫‪F29‬‬

‫أﻣﺎم اﻟﻘﺎريء ﺗﺮﲨﺔ ﻓﻴﺘﺰﺟﺮاﻟﺪ ﻷﺷﻬﺮ رﺑﺎﻋﻴﺔ ﻣﻦ راﻋﻴﺎت اﳋﻴﺎم وﻫﻲ اﻟﱵ ﻳﻘﻮل ﻓﻴﻬﺎ ‪:‬‬

‫‪Here with a Loaf of Bread beneath the Bough,‬‬

‫‪A Flask of Wine, a Book of Verse- And Thou‬‬
‫‪Beside me singing in the Wilderness-‬‬
‫‪And Wilderness is Paradise enow.‬‬
‫واﻟﻘﺎريء ﻻ ﳜﻄﻲء ﰲ ﻫﺬﻩ اﻟﱰﲨﺔ روح ﻫﺬا اﻟﺸﺎﻋﺮ اﻹﳒﻠﻴﺰي اﻟﻼﻫﻲ واﶈﺐ ﻟﻠﺸﻌﺮ واﳋﻤﺮ واﻟﻐﻨﺎء ‪ ،‬واﳌﻔﺘﻮن ﺑﺎﳊﺪاﺋﻖ واﻟﺮﻳﺎض‪.‬‬

‫وإذا ﻣﺎ ﺗﺮﻛﻨﺎ ﺗﺮﲨﺔ ﻓﻴﺘﺰﺟﺮاﻟﺪ إﱃ ﺗﺮﲨﺎت ﺛﻼث أﺧﺮى ﻟﻨﻔﺲ اﻟﺮﺑﺎﻋﻴﺔ ﻗﺎم ﻬﺑﺎ ﺛﻼﺛﺔ ﻣﻦ اﳌﱰﲨﲔ اﻟﻌﺮب اﶈﺪﺛﲔ وﻫﻢ ﳏﻤﺪ‬

‫اﻟﺴﺒﺎﻋﻲ وأﲪﺪ راﻣﻲ وإﺑﺮاﻫﻴﻢ اﳌﺎزﱐ ‪ ،‬ﳒﺪ ﰲ ﻛﻞ ﻣﻨﻬﺎ روح ﺻﺎﺣﺒﻬﺎ‪ .‬ﻓﺎﻷوﱃ ﻳﱰﲨﻬﺎ اﻟﺴﺒﺎﻋﻰ ﻋﻠﻰ ﻫﺬا اﻟﻨﺤﻮ ‪:‬‬

‫ﰒ ﻧﻠﻬﻮ ﺑﻨﺸﻴﺪ ﳕﻘﺎ‬ ‫وأﺧﻞ ﰉ ﳓﺲ ﺷﺮاﺑﺎ ﻋﺘﻘﺎ‬

‫وأﺷﺪو ﺑﺎﻷﳊﺎن ﻳﺮﺗﺪ اﳋﻼ‬ ‫ورﻏﻴﻒ ﲢﺖ ﻇﻞ أورﻗﺎ‬

‫ﺟﻨﺔ راق ﻬﺑﺎ اﳊﺴﻦ وراع‬

‫)‪ - (1‬اﻟﻄﺎﻫﺮ أﲪﺪ ﻣﻜﻲ ‪ ،‬اﻟﻘﺼﺔ اﻟﻘﺼﲑة ‪ :‬دراﺳﺔ وﳐﺘﺎرات ‪ ،‬ص ‪.440-439‬‬
 ‫‪47‬‬
‫ﻓﻠﺠﻮء اﻟﺴﺒﺎﻋﻲ ﰲ ﻫﺬﻩ اﻟﱰﲨﺔ إﱃ ﲣﻤﻴﺲ اﻟﺮﺑﺎﻋﻴﺔ ‪ ،‬أﺑﻌﺪﻫﺎ ‪ ،‬ﻻ ﻋﻦ ﺷﻜﻞ اﻟﺮﺑﺎﻋﻴﺔ اﻷﺻﻠﻴﺔ وﺣﺪﻩ ‪ ،‬ﺑﻞ أﺑﻌﺪﻫﺎ ﻛﺬﻟﻚ ﻋﻦ روﺣﻬﺎ‬

‫وﻗﺮﻬﺑﺎ ﻣﻦ اﻟﻨﺜﺮﻳﺔ اﻟﱵ ﺗﺒﺪو ﰲ زﻳﺎداﺗﻪ ﰲ اﻟﻠﻔﻆ وﰲ اﻟﺸﻄﻮر ﲨﻴﻌﺎ‪.‬‬

‫اﻟﺸﻌﺮﻳﺔ ‪ّ ،‬‬
‫واﻟﺜﺎﻧﻴﺔ ﻳﱰﲨﻬﺎ راﻣﻲ ﻋﻦ اﻟﻔﺎرﺳﻴﺔ ﻋﻠﻰ ﻫﺬا اﻟﻨﺤﻮ ‪:‬‬

‫زﺟﺎﺟﺔ اﳋﻤﺮ وﻧﺼﻒ اﻟﺮﻏﻴﻒ وﻣﺎ ﺣﻮى دﻳﻮان ﺷﻌﺮ ﻃﺮﻳﻒ‬

‫أﺣﺐ ﱄ إن ﻛﻨﺖ ﱄ ﻣﺆﻧﺴﺎ ﰲ ﺑﻠﻘﻊ ﻣﻦ ﻛﻞ ﻣﻠﻚ ﻣﻨﻴﻒ‬

‫ﻓﻴﺒﺪو ﰲ ﺗﺮﲨﺘﻪ اﳉﻮ اﻷﺻﻠﻲ ﻟﻠﺮﺑﺎﻋﻴﺔ ﻣﻦ ﺑﺴﺎﻃﺔ وﺧﻔﺔ وﺳﻬﻮﻟﺔ ‪ ،‬ﻛﻤﺎ ﺗﺒﺪو ﻓﻴﻬﺎ روح اﳋﻴﺎم وﻓﻠﺴﻔﺘﻪ وﺟﻮﻩ اﻟﻔﺎرﺳﻲ اﻟﺮوﺣﻲ اﻟﻌﻤﻴﻖ‪.‬‬

‫واﻟﺜﺎﻟﺜﺔ ﻧﻘﻠﻬﺎ اﳌﺎزﱐ ﻋﻦ اﻹﳒﻠﻴﺰﻳﺔ ﻋﻠﻰ ﻫﺬا اﻟﻨﺤﻮ ‪:‬‬

‫زق ﲬﺮ ورﻏﻴﻒ وﻛﺘﺎب‬ ‫وﲝﺴﻦ ﲢﺖ أﻓﻨﺎن رﻃﺎب‬

‫ﻣﺜﻞ ﳘﻰ ﻣﻦ ﻓﺮادﻳﺲ رﻏﺎب‬ ‫وﺗﻐﻨﻴﲎ ﻓﲑﺗﺪ اﻟﻴﺒﺎب‬

‫وواﺿﺢ وﻋﻰ اﳌﺎزﱐ وﻓﻬﻤﻪ ﻟﻔﻦ ﻓﻴﺘﺰﺟﺮاﻟﺪ ﰲ ﺗﺮﲨﺘﻪ ﻟﻠﺮﺑﺎﻋﻴﺎت ‪.1‬‬

‫‪F 30‬‬

‫وﻣﻦ اﻟﻄﺮﻳﻒ أﻧﻪ إذا أﺗﻴﺢ ﻟﺸﺎﻋﺮ أن ﻳﱰﺟﻢ ﻗﺼﻴﺪة واﺣﺪة ﰱ ﺣﺎﻟﲔ ﳐﺘﻠﻔﲔ ﲡﺊ اﻟﱰﲨﺘﺎن ﻛﺈﺑﺪاﻋﲔ ﳐﺘﻠﻔﲔ ﻣﺘﻤﻴﺰﻳﻦ‪ .‬وﳒﺪ‬

‫ﻫﺬﻩ اﳊﺎﻟﺔ اﻟﻔﺮﻳﺪة ﻋﻨﺪ ﺷﺎﻋﺮ روﻣﺎﻧﺴﻰ ﻫﻮ ﻋﻠﻰ ﳏﻤﻮد ﻃﻪ اﻟﺬى ﻧﻘﻞ اﻟﻘﺼﻴﺪة اﻟﺘﺎﻟﻴﺔ ‪" to a skylark‬إﱃ اﻟﻄﺎﺋﺮ اﻟﺼﺪاح " ﻟﱪس‬

‫ﺑﻮش ﺷﻴﻠﻠﻰ‪:‬‬

‫‪Hail to thee, bliche spirit.‬‬

‫‪Bird thou never wert.‬‬
‫‪That from heaven, or near it.‬‬
‫‪Pourest thy full heart.‬‬
‫‪In profuse strains of unparemiditated art.‬‬
‫‪Higher still and higher.‬‬
‫‪From the earth thou springest.‬‬
‫‪Like a cloud of fire.‬‬
‫‪The blue deep thou wingest.‬‬
‫‪And singing still dost soar, and souring ever singest.‬‬
‫ﻓﻬﺬان اﳌﻘﻄﻌﺎن ﻣﻦ ﻗﺼﻴﺪة ﺷﻴﻠﻠﻰ ﻳﱰﲨﻬﻤﺎ ﻋﻠﻰ ﳏﻤﻮد ﻃﻪ ﻋﻠﻰ ﻫﺬا اﻟﻨﺤﻮ‪:‬‬

‫)‪ - (1‬ﻋﺒﺪ اﳊﻤﻴﺪ اﻟﻜﺎﺗﺐ ‪ ،‬ﻣﺰرﻋﺔ اﳊﻴﻮاﻧﺎت ‪ ،‬ص‪.136‬‬

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‫ﲢﻴﺔ ﻟﻚ ﻳﺎ ﺻــﺪاح وادﻳﻨﺎ‬ ‫ﻳﺄﻳﻬﺎ اﻟﺮوح ﺟـﺬﻻﻧﺎ ﻳﻐﻨﻴﻨـﺎ‬

‫ﻟﻪ اﻟﺼـﻮادح ﻣﻦ ﻗﺒﻞ أﻓﺎﻧﻴﻨﺎ‬ ‫ﻃﻮﰉ ﻟﺴﺎﺣﺮ ﳊﻦ ﻣﻨﻚ ﻣﺎ ﻋﺮﻓﺖ‬

‫ﻧﻮاﺣﻰ اﻷﻓﻖ اﻷﻋﻠﻰ ﻓﻴﺼﻐﻴﻨﺎ‬ ‫وﻫﻞ ﻣﻦ اﻟﻄﲑ ﻣﻦ ﺗﺮﺗﺎد ﺻﺪﺣﺘﻪ‬

‫ﻣﻦ ﻣﻠﻬﻢ اﻟﻔﻦ وﺣﻰ ﻻ ﻳﻐﺎدﻳﻨﺎ‬ ‫ﻳﻔﻴﺾ ﻗﻠﺒﻚ أﻧﻐﺎﻣﺎ ﻳﺴـﻠﺴـﻠﻬﺎ‬

‫ﺣﺒﺎﳍﺎ ﺗﺼﻞ اﻵﻓـﺎق آﻣـﺎدا‬ ‫وﻋﺎﻟﻴﺎ أﻧﺖ ﺗﺮﻗﻰ اﻷرض ﻣﻌﺘﻠﻴﺎ‬

‫ﺳﻬﻤﺎ ﻣﻦ اﻟﻨﻮر ﻳﺮﻣﻰ اﻷﻓﻖ وﻗﺎدا‬ ‫ﲣﺎﻟﻚ اﻟﻌﲔ ﰱ اﻷﺟﻮاء ﻣﻨﻄﻠﻘﺎ‬

‫أﻳﺎن ﺗﻀﺮب ﰱ اﻷﺟﻮاء ﻣﺮﺗﺎدا‬ ‫ﻳﻬﻔﻮ ﺟﻨﺎﺣﻚ ﰱ أﻋﻤﺎق زرﻗﺘﻬﺎ‬

‫ﻓﺈن ﻋﻠﻮت ﻬﺑﺎ أﻣﻌﻨﺖ إﻧﺸـﺎدا‬ ‫ﺗﺸﺪو ﻓﺘﻤﻀﻲ ﰱ أﺟﻮازﻫﺎ ﺻﻌﺪا‬

‫وﻟﻜﻨﻪ ﻳﻌﻮد إﱃ اﻟﻘﺼﻴﺪة ﻣﺮة أﺧﺮى ﻋﻨﺪﻣﺎ ﻳﺼﺪر ﻛﺘﺎﺑﻪ "أرواح ﺷﺎردة" وﻗﺒﻞ أن ﻳﻘﺪم اﻟﻘﺼﻴﺪة ﺑﻌﻨﻮان "اﻟﻘﱪة" ﻳﻘﺪم ﳍﺎ ﻧﺒﺬة ﻋﻦ ﺣﻴﺎة‬

‫اﻟﺸﺎﻋﺮ"ﺑﲑس ﺑﻮش ﺷﻴﻠﻠﻰ" وإذا ﺑﻨﺎ ﻧﺮاﻩ ﻳﻐﲑ ﰱ ﻛﺜﲑ ﻣﻦ ﻛﻠﻤﺎت اﻟﻘﺼﻴﺪة ﺣﱴ ﺑﺪت ﰱ أﺳﻠﻮب ﺟﺪﻳﺪ ﻓﺨﺮﺟﺖ اﳌﻘﻄﻮﻋﺘﺎن اﻟﺴﺎﺑﻘﺘﺎن‬

‫ﻋﻠﻰ ﻫﺬا اﻟﻨﺤﻮ‪:‬‬

‫ﲢﻴﺔ أﻳﻬﺎ اﻟﺼـﺎدح اﳌـﺮح‬ ‫ﻳﺄﻳﻬﺎ اﻟﺮوح ﻳﻬـﻔﻮ ﺣـﻮﻟﻪ اﻟﻔﺮح‬

‫ﲟﺜﻠﻪ اﻷرض ﻻ روض وﻻ ﺻﺪح‬ ‫ﻣﻦ أﻣﺔ اﻟﻄﲑ ﻫﺬا اﻟﻠﺤﻦ ﻣﺎ ﲰﻌﺖ‬

‫ﲬﺮ إﳍﻴﺔ ﱂ ﲢـﻮﻫﺎ ﻗـﺪح‬ ‫أﻧﺖ اﻟﺬى ﻣﻦ ﲰﺎء اﻟﺮوح ﻣﻨﻬﻠﻪ‬

‫ﻣﻨﻪ ﻃﻠﻴﻖ ﻣﻦ اﻟﻮﺟﺪان ﻣﻨﺴﺮح‬ ‫ﻳﻔﻴﺾ ﻗﻠﺒﻚ أﳊـﺎﻧﺎ ﻳﺴﻠﺴـﻠﻬﺎ‬

‫ﻋﻦ اﻟﺜﺮى‪ ،‬ﺗﺼﻞ اﻵﻓﺎق آﻣﺎدا‬ ‫وﻋـﺎﻟﻴﺎ ﻋـﺎﻟﻴﺎ‪ ،‬ﻻزﻟﺖ ﻣﻨﻄﻠﻘﺎ‬

‫واﻟﱪق ﻣﺆﺗﻠﻘﺎ واﻟﻨﺠـﻢ وﻗﺎدا‬ ‫ﻣﺜﻞ اﻟﺴﺤـﺎﺑﺔ ﻣﻦ ﻧﺎر ﻣﺴﻌﺮة‬

‫وأﻧﺖ ﺗﻀﺮب ﰱ اﻵﻓﺎق ﻣﺮﺗﺎدا‬ ‫ﻳﻬﻔﻮ ﺟﻨﺎﺣﺎك ﰱ أﻋﻤﺎق زرﻗﺘﻬﺎ‬

‫ﻓﺈن ﻋﻠﻮت ﻬﺑﺎ أﻣﻌﻨﺖ إﻧﺸـﺎدا‬ ‫ﺗﺸﺪو ﻓﺘﻤﻌﻦ ﰱ أﺟﻮازﻫﺎ ﺻﻌﺪا‬

 49
‫ ﻣﺸﻜﻠﺔ ﺗﺮﲨﺔ‬،‫وﺑﺎﳌﻘﺎﺑﻠﺔ ﻳﺘﻀﺢ أن ﻣﻌﺎودة اﻟﻨﻈﺮ أﺿﻔﺖ ﻋﻠﻰ اﻟﻘﺼﻴﺪة ﺑﻌﺾ اﻟﺮﻗﺔ ﰱ اﻟﻨﻘﻞ وإن ﻛﺎﻧﺖ اﳌﺸﻜﻠﺔ ﻻﺗﺰال ﻗﺎﺋﻤﺔ‬

.1 ‫ وﻣﺎ ﺗﻘﺎﺑﻠﻬﺎ ﻣﻦ ﺻﻌﺎب‬،‫اﻟﺸﻌﺮ ﺷﻌﺮا‬

F31

:‫أﺳﻠﻮب ﺗﺮﺟﻤﺔ اﻟﻨﺼﻮص اﻷدﺑﻴﺔ‬-8

‫ وﺳﻨﺤﺎول ﻓﻴﻪ أن ﻧﺘﺒﲔ اﳌﻨﻬﺞ اﻟﺬي ﻳﺘﺒﻌﻪ‬،‫ﺳﻨﺠﻌﻞ ﻫﺬا اﳉﺰء اﻷﺧﲑ ﻣﻦ اﻟﺒﺤﺚ دراﺳﺔ ﺗﻄﺒﻴﻘﻴﺔ ﻷﺳﻠﻮب ﺗﺮﲨﺔ اﻟﻨﺼﻮص اﻷدﺑﻴﺔ‬

‫( ﻟﻠﻜﺎﺗﺐ‬1895) ‫ أو آﻟﺔ اﻟﺰﻣﺎن‬The Time Machine ‫ وﻟﻴﻜﻦ ﻫﺬا اﻟﻨﺺ اﻟﺘﺎﱄ ﻣﻦ رواﻳﺔ‬،‫اﳌﱰﺟﻢ ﰲ ﻧﻘﻞ ﻧﺺ أدﰊ ﻧﺜﺮي‬

:H. G. Wells ‫ وﻳﻠﺰ‬.‫ ﺟﻲ‬.‫اﻹﳒﻠﻴﺰي إﻳﺞ‬

The darkness grew apace; a cold wind began to blow in freshening gusts from
the east, and the showering white flakes in the air increased in number. From the
edge of the sea came a ripple and whisper. Beyond these lifeless sounds the world
was silent. Silent? It would be hard to convey the stillness of it. All the sounds of
man, the bleating of sheep, the cries of birds, the hum of insects, the stir that makes
the background of our lives-all that was over. As the darkness thickened, the eddying
flakes grew more abundant, dancing before my eyes: and the cold of the air more
intense. At last, one by one, swiftly, one after the other, the white peaks of the distant
hills vanished into blackness.
The breeze rose to a moaning wind. I saw the black central shadow of the
eclipse sweeping towards me. In another moment the pale stars alone were visible.
All else was rayless obscurity. The sky was absolutely black.
A horror of this great darkness came on me. The cold that smote to my marrow
and the pain I felt in breathing overcame me. I shivered and a deadly navsea seized
me. Then like a red-hot bow in the sky appeared the edge of the sun. I got off the
machine to recover myself. I felt giddy and incapable of facing the return journey(2 ).

.‫ ﻫﺬﻩ اﻟﱰﲨﺔ ﺑﻘﻠﻢ اﳌﺆﻟﻒ‬- (1)

.123‫ ص‬،‫ اﳌﺮﺟﻊ اﻟﺴﺎﺑﻖ‬،‫ ﳏﻤﺪ دﻳﺪاوي‬- (2)
 ‫‪50‬‬
‫إن أول ﺧﻄﻮة ﻳﺘﺨﺬﻫﺎ اﳌﱰﺟﻢ ﺣﻴﺎل ﻫﺬا اﻟﻨﺺ ﻫﻲ أن ﻳﻘﺮأﻩ ﻣﺮة أو ﻣﺮﺗﲔ ﻗﺮاءة ﻓﺎﺣﺼﺔ ﻣﺘﻌﻤﻘﺔ ﺣﱴ ﻳﻔﻬﻢ ﻣﻐﺰى اﳌﺆﻟﻒ ﻣﻦ‬

‫اﳌﻮﺿﻮع اﻟﺬي ﻳﺘﻨﺎوﻟﻪ وﻳﺘﻌﺮف ﻋﻠﻰ ﻣﺮادﻩ أي ﻣﻮﻗﻔﻪ ﻣﻦ ﻓﻜﺮة اﻟﺰﻣﻦ واﻟﺘﻘﺪم اﻹﻧﺴﺎﱐ ﺑﺼﻔﺔ ﻋﺎﻣﺔ وﻣﻦ "آﻟﺔ اﻟﺰﻣﺎن" وﻣﻦ اﻟﺒﻄﻞ‪ ،‬وﻣﻦ ﻋﻼﻗﺔ‬

‫اﻹﻧﺴﺎن ﺑﺎﻵﻟﺔ وﺑﺎﻟﻄﺒﻴﻌﺔ وﺑﺎﻟﻜﻮن‪ .‬ﻛﻤﺎ ﻋﻠﻴﻪ أﻳﻀﺎ أن ﻳﺘﻌﺮف ﻋﻠﻰ أﺳﻠﻮب اﻟﻜﺎﺗﺐ )ﻗﺼﺼﻲ ‪ /‬وﺻﻔﻲ ‪ /‬ﺧﻴﺎﱄ ‪ /‬واﻗﻌﻲ ‪ /‬ﻛﻼﺳﻴﻜﻲ ‪/‬‬

‫ﲤﺎﻣﺎ ﻛﻤﺎ ﰲ اﻟﻨﺺ‪.‬‬

‫ﺣﺪﻳﺚ م ﺳﻬﻞ ‪ /‬ﺻﻌﺐ ‪ /‬واﺿﺢ ‪ /‬ﻏﺎﻣﺾ‪ ..‬إﱁ( ﺣﱴ ﻳﺘﻤﻜﻦ ﻣﻦ ﻧﻘﻠﻪ ً‬
‫ﻓﻬﻤﺎ دﻗﻴ ًﻘﺎ‪ ،‬وإذا وﺟﺪ ﺑﻌﻀﻬﺎ ﻏﲑ واﺿﺢ ﰲ ذﻫﻨﻪ ﻓﻌﻠﻴﻪ أن ﻳﺒﺤﺚ ﻋﻦ ﻣﻌﺎﻧﻴﻬﺎ‬
‫ﰒ ﻋﻠﻴﻪ ﻛﺬﻟﻚ أن ﻳﻔﻬﻢ ﻣﻌﺎﱐ اﻷﻟﻔﺎظ واﻟﻌﺒﺎرات ً‬
‫ﰲ ﻗﺎﻣﻮس إﳒﻠﻴﺰي‪ -‬ﻋﺮﰊ ﻣﻨﺎﺳﺐ ﻛﺎﻟﻘﺎﻣﻮس اﻟﻌﺼﺮي أو اﳌﻮرد أو أي ﻗﺎﻣﻮس آﺧﺮ ﻳﻔﻲ ﺑﺎﻟﻐﺮض‪ .‬وﻟﻌﻠﻪ ﳚﺪ أن ﺑﻌﺾ اﻟﻜﻠﻤﺎت ﰲ اﻟﻨﺺ‬

‫ﻣﺜﻞ ‪ ،apace‬و ‪ ،gusts‬و ‪ ،ripple‬و ‪ ،hum‬و ‪ ،eddying‬و ‪ ،smote‬و ‪ ،marrow‬و ‪ ،giddy‬و ‪ navsea‬ﲢﺘﺎج‬

‫ﲢﺪﻳﺪا دﻗﻴ ًﻘﺎ‪ ،‬ﻓﻴﺒﺤﺚ ﻋﻨﻬﺎ ﰲ اﳌﻮرد ﻣﺜﻼً ﻓﻴﺠﺪ ﻣﻌﺎﱐ ﲦﺎﻧﻴﺔ ﻣﻨﻬﺎ ﻛﻤﺎ ﻳﻠﻲ‪:‬‬
‫إﱃ ﲢﺪﻳﺪ ﻣﻌﺎﻧﻴﻬﺎ ً‬

‫ﻣﻌﻨﺎﻫﺎ‬ ‫اﻟﻜﻠﻤﺔ‬

‫ﺑﺴﺮﻋﺔ‬ ‫‪apace‬‬

‫ﻣﻴﻞ‪ ،‬ذوق‪ ،‬اﺳﺘﻤﺘﺎع‪ ،‬ﺗﻘﺪﻳﺮ‪ ،‬ﻋﺼﻔﺔ رﻳﺢ‪ ،‬ﺗﻔﺠﺮ ﻣﺎء أو ﻧﺎر أو دﺧﺎن أو ﺻﻮت إﱁ‪ ،‬ﺛﻮرة ﻧﻔﺲ‪ ،‬اﻧﻔﺠﺎر ﻋﺎﻃﻔﻲ‬ ‫‪Gusts‬‬

‫ﲤﻮج‪ ،‬ﺗﺮﻗﺮق‪ ،‬ﻣﻮﳚﺔ‪ ،‬ﻣﻮﺟﺔ ﺻﻐﲑة‪ ،‬ﺧﺮﻳﺮ اﳌﺎء‬ ‫‪Ripple‬‬

‫ﳘﻬﻤﺔ‪ ،‬دﻧﺪﻧﺔ‪ ،‬ﻃﻨﲔ‪ ،‬ﺗﺮﱎ‬ ‫‪hum‬‬

‫دواﻣﺔ‪ ،‬دردور‪ ،‬ﺗﻴﺎر ﻣﻌﺎﻛﺲ أو داﺋﺮي‬ ‫‪eddying‬‬

‫ﺷﺪﻳﺪا‪ ،‬اﳌﺼﺎب ﺑﺂﻓﺔ‪ ،‬اﳌﺬﻋﻮر ﺑﺸﺪة ﻓﺠﺄة‪ ،‬اﳌﺼﺎب ﺑﻌﺮ ﺷﺪﻳﺪ ﻣﻔﺎﺟﺊ‪،‬‬
‫اﳌﻀﺮوب ﺑﻘﻮة‪ ،‬اﳌﻘﺘﻮل أو اﻟﺬي أوذى أذى ً‬ ‫‪Smote‬‬

‫اﳌﺴﺤﻮر‪ ،‬اﳌﻔﺘﻮن‪ ،‬اﳌﺴﺪد إﻟﻴﻪ ﺿﺮﺑﺔ‪ ،‬ﻣﺼﺎب أو ﻣﺒﺘﻠﻰ‪ ،‬ﻣﺘﻴﻢ‬

‫اﻟﻨﻘﻲ‪ :‬ﻣﺦ اﻟﻌﻈﻢ‪ ،‬ﻓﻀﻞ اﻟﻄﻌﺎ ﻣﻦ ﻟﺐ اﻟﺸﻲء أو ﺟﻮﻫﺮﻩ‪ ،‬اﻟﻜﻮﺳﺎ‬ ‫‪marrow‬‬

‫ﻃﺎﺋﺶ‪ ،‬ﻣﺴﺘﻬﱰ‪ ،‬ﻣﺼﺎب ﺑﺪوار‪ ،‬ﻣﺴﺒﺐ ﻟﻠﺪوار‪ ،‬داﺋﺮ ﺑﺴﺮﻋﺔ ﻣﺬﻫﻠﺔ‪ ،‬ﻳﺼﻴﺐ )أو ﻳﺼﺎب( ﺑﺪوار‬ ‫‪Giddy‬‬

‫‪.......‬‬ ‫‪navsea‬‬

‫داﺋﻤﺎ‪ ،‬ﻓﻔﻲ ﺣﲔ أن اﳌﱰﺟﻢ ﻻ ﻳﻮاﺟﻪ أﻳﺔ ﻣﺸﻜﻠﺔ‬

‫وﻳﺘﻀﺢ ﻣﻦ اﳉﺪول أن ﻋﻤﻠﻴﺔ اﻟﺒﺤﺚ ﻋﻦ ﻣﻌﺎﱐ اﻟﻜﻠﻤﺎت ﻟﻴﺴﺖ ﺳﻬﻠﺔ ً‬
‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻜﻠﻤﺔ اﻷوﱃ ‪ apace‬ﻷن ﻣﺎ ﻳﺬﻛﺮ أﻣﺎﻣﻬﺎ ﻣﻌﲎ واﺣﺪ ﻓﻘﻂ )ﺑﺴﺮﻋﺔ( وﻫﻮ اﳌﻨﺎﺳﺐ ﻟﻠﻨﺺ‪ ،‬ﻓﺈﻧﻪ ﻟﻦ ﻳﻌﺜﺮ ﻟﻜﻠﻤﺔ ‪ navsea‬ﻋﻠﻰ‬
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‫أﺛﺮ‪ .‬ﻛﻤﺎ أﻧﻪ ﻋﻠﻰ اﳌﱰﺟﻢ أن ﳜﺘﺎر ﻣﻦ ﺑﲔ اﳌﻌﺎﱐ اﻟﻜﺜﲑة اﳌﺬﻛﻮرة ﰲ اﻟﻘﺎﻣﻮس اﳌﻌﲎ اﻟﺬي ﻳﺘﻨﺎﺳﺐ ﻣﻊ اﻟﺴﻴﺎق‪ ،‬وﺳﻴﻨﺘﻬﻲ ﺑﻪ اﻟﺒﺤﺚ إﱃ‬

‫أن ‪ gust‬ﺗﻌﲏ ﻋﺼﻔﺔ رﻳﺢ‪ ،‬و ‪ ripple‬ﺧﺮﻳﺮ‪ ،‬و ‪ hum‬ﻃﻨﲔ‪ ،‬و ‪ smote‬أﺻﺎب‪ ،‬و ‪ marrow‬اﻟﻨﻘﻲ‪ :‬ﻣﺦ اﻟﻌﻈﺎم‪ ،‬و ‪giddy‬‬

‫أﺻﺒﺖ ﺑﺪوار‪ .‬أﻣﺎ ﻛﻠﻤﺔ ‪ eddying‬ﻓﻼ ﻳﻨﺎﺳﺒﻬﺎ ﺷﻲء ﳑﺎ ذﻛﺮ‪ ،‬ﻟﻜﻦ اﻟﺴﻴﺎق ﻳﻮﺣﻰ ﺑﻜﻠﻤﺔ "ﻣﺘﻮاﺻﻞ"‪.‬‬

‫وﺑﻌﺪ ﻣﺮﺣﻠﺔ اﻟﻘﺮاءة واﻻﺳﺘﻴﻌﺎب‪ ،‬ﺗﺄﰐ اﳌﺮﺣﻠﺔ اﻟﺜﺎﻧﻴﺔ وﻫﻲ ﻣﺮﺣﻠﺔ اﻟﺘﻌﺒﲑ أو اﻟﺘﻌﺮﻳﺐ‪ ،‬وﺗﺸﺘﻤﻞ ﻋﻠﻰ ﻋﻤﻠﲔ‪ :‬اﻷول اﻟﻨﻘﻞ اﳊﺮﰲ أي‬

‫ﺗﺮﲨﺔ اﻟﻌﺒﺎرات واﳉﻤﻞ ﺣﺴﺐ اﻟﻠﻐﺔ اﻹﳒﻠﻴﺰﻳﺔ‪ .‬أﻣﺎ اﻟﺜﺎﱐ ﻓﺼﻴﺎﻏﺔ اﳌﻌﺎﱐ ﻃﺒ ًﻘﺎ ﻟﻸﺳﻠﻮب اﻟﻌﺮﰊ ﰲ اﻟﱰﻛﻴﺐ اﻟﻨﺤﻮي وﺑﻨﺎء اﳉﻤﻠﺔ‪.‬‬

‫واﳌﺮﺣﻠﺔ اﻟﺜﺎﻟﺜﺔ ﻫﻲ اﳌﺮاﺟﻌﺔ وﺗﻜﻮن ﺑﺈﻋﺎدة اﻟﻨﻈﺮ ﰲ اﻟﱰﲨﺔ ﻣﻦ ﺣﻴﺚ اﻟﻨﺤﻮ واﻟﺼﺮف واﻟﺒﻴﺎن وﻋﻼﻣﺎت اﻟﱰﻗﻴﻢ واﻟﻮﺻﻞ واﻟﻔﺼﻞ‬

‫وﺑﻨﺎء اﻟﻔﻘﺮات‪ .‬وﳛﺮص اﳌﱰﺟﻢ ﻋﻠﻰ اﻟﺘﺄﻛﺪ ﻣﻦ أﻧﻪ ﱂ ﻳﻐﻔﻞ ﺷﻴﺌًﺎ ﻣﻦ اﻷﻟﻔﺎظ أو اﻟﻌﺒﺎرات أو اﳌﻌﺎﱐ اﻷﺻﻠﻴﺔ‪.‬‬

‫واﳌﺮﺣﻠﺔ اﻟﺮاﺑﻌﺔ ﻫﻲ ﻣﻘﺎرﻧﺔ اﻟﱰﲨﺔ ﺑﺎﻟﻨﺺ اﻷﺻﻠﻲ ﻣﻦ ﺣﻴﺚ اﳌﻌﺎﱐ واﻷﺳﻠﻮب وﻣﻘﺎرﺑﺔ ﺗﺄﺛﲑ اﻟﱰﲨﺔ ﻟﺘﺄﺛﲑ اﻟﻨﺺ اﻷﺻﻠﻲ‪.‬‬

‫أﻣﺎ اﳌﺮﺣﻠﺔ اﻷﺧﲑة ﻓﻬﻲ ﻣﺮﺣﻠﺔ ﻧﻘﺪ اﻟﱰﲨﺔ وﻳﻜﻮن اﻟﻨﻘﺪ ﻋﻠﻰ أﺳﺎس ﻃﺒﻴﻌﻴﺔ اﻟﱰﲨﺔ وﻃﻼﻗﺘﻬﺎ وﺑﻌﺪﻫﺎ ﻋﻦ اﻟﻌﺠﻤﺔ أو اﻟﻐﻤﻮض‪،‬‬

‫ﻓﺘﺒﺪو ﻋﻨﺪ ﻗﺮاءﺗﻬﺎ وﻛﺄﻧﻬﺎ ﻣﺆﻟﻔﺔ أﺻﻼ ﺑﻠﻐﺔ اﳍﺪف‪ .‬ﻛﻤﺎ ﻳﻜﻮن اﻟﻨﻘﺪ ﺑﺎﳌﻘﺎرﻧﺔ ﺑﲔ اﻟﱰﲨﺔ واﻷﺻﻞ ﻣﻦ ﺣﻴﺚ اﻟﺘﺄﺛﲑ ﰲ اﻟﻘﺮاء‪ ،‬أو ﻣﻦ ﺣﻴﺚ‬

‫دﻗﺔ اﻟﻨﻘﻞ وﳝﻜﻦ أن ﻳﺘﻢ ذﻟﻚ ﺑﱰﲨﺔ اﻟﱰﲨﺔ اﻟﻌﺮﺑﻴﺔ ﻟﻺﳒﻠﻴﺰﻳﺔ‪ .‬وﻫﺬا ﻣﺎ ﻳﺴﻤﻰ ﺑﺎﻟﱰﲨﺔ اﳌﻌﻜﻮﺳﺔ‪ ،‬وﻣﻦ ﻣﺰاﻳﺎ ﻫﺬﻩ اﻟﱰﲨﺔ اﻟﺘﺄﻛﺪ ﻣﻦ ﻣﺪى‬

‫دﻗﺔ اﻟﱰﲨﺔ أﺻﻼً وﻣﻦ أن ﻛﻞ ﻋﻨﺎﺻﺮ اﻟﻨﺺ ﻗﺪ ﻧﻘﻠﺖ ﺑﻼ زﻳﺎدة أو ﻧﻘﺼﺎن) ‪.(1‬‬
‫‪F3‬‬

‫وﺑﻌﺪ ﻫﺬﻩ اﳌﺮاﺣﻞ اﳋﻤﺲ ﻣﻦ ﻗﺮاءة وﻓﻬﻢ‪ ،‬وﺗﻌﺒﲑ وﻧﻘﻞ‪ ،‬وﻣﺮاﺟﻌﺔ‪ ،‬وﻣﻘﺎرﻧﺔ‪ ،‬وﻧﻘﺪ‪ ،‬ﺗﺄﱐ اﻟﱰﲨﺔ ﻋﻠﻰ ﳓﻮ ﻗﺮﻳﺐ ﻣﻦ اﻟﺸﻜﻞ‬

‫اﻟﺘﺎﱄ‪:‬‬

‫وأﺧﺬ اﻟﻈﻼم ﻳﺸﺘﺪ وﻫﺒﺖ رﻳﺢ ﺻﺮﺻﺮ ﻣﻦ اﻟﺸﺮق‪ ،‬وﻛﺜﺮت اﻟﺜﻠﻮج ﰲ اﳉﻮ‪ ،‬وارﺗﻔﻌﺖ ﻣﻦ ﻧﺎﺣﻴﺔ اﻟﺒﺤﺮ ﳘﺴﺔ وﺣﺮﻛﺔ‪ ،‬وﻛﺎﻧﺖ اﻟﺪﻧﻴﺎ‬

‫ﻓﻴﻤﺎ ﺧﻼ ذﻟﻚ ﺳﺎﻛﻨﺔ‪ .‬أأﻗﻮل ﺳﺎﻛﻨﺔ؟ إن ﻣﻦ اﻟﻌﺴﲑ أن أﺻﻮر ﻟﻜﻢ ﺳﻜﻮنﻬﺎ ووﻗﻌﻪ‪ ،‬ﻓﻤﺎ ﺑﻘﻲ ﺷﻲء ﻣﻦ أﺻﻮات اﻹﻧﺴﺎن واﳊﻴﻮان واﻟﻄﲑ‬

‫واﳊﺸﺮات واﳍﻮام‪ ،‬أو ﻣﻦ اﳊﺮﻛﺔ اﳌﺄﻟﻮﻓﺔ ﰲ ﺣﻴﺎﺗﻨﺎ‪ ،‬وﺟﻌﻞ اﻟﺜﻠﺞ اﳌﺘﺴﺎﻗﻂ ﻳﺰداد ﻣﻊ اﻟﻈﻼم‪ ،‬وﻳﺄﰐ ﻣﻦ ﻛﻞ أوب‪ .‬واﺷﺘﺪ اﻟﱪد وﻫﺮاﱐ‪،‬‬

‫أﺧﲑا اﻟﻘﻤﻢ اﻟﺒﻴﻀﺎء ﻟﻠﺘﻼل اﻟﻨﺎﺋﻴﺔ‪ ،‬وﻟﻔﻬﺎ اﻟﻠﻴﻞ ﰲ ﺳﻮادﻩ‪ .‬وﺻﺎرت اﻟﺮﻳﺎح ﺗﻨﻮح وتﻬﺠﻬﺞ‪ .‬ورأﻳﺖ ﻏﱪة اﻟﻜﺴﻮف ﺗﺪﻧﻮ ﻣﲏ‪ ،‬وﱂ‬
‫واﺧﺘﻔﺖ ً‬
‫ﻳﺒﻖ ﻣﺎ ﻳﺮى ﻏﲑ اﻟﻨﺠﻮم اﻟﺸﻮاﺣﺐ‪ .‬واﺣﻠﻮﻟﻜﺖ اﻟﺴﻤﺎء ﻓﻤﺎ ﻳﻠﻤﻊ ﻓﻴﻬﺎ ﺷﻌﺎع واﺣﺪ‪.‬‬

‫)‪ - (1‬ﺻﻔﺎء ﺧﻠﻮﺻﻲ‪ ،‬اﳌﺮﺟﻊ اﻟﺴﺎﺑﻖ‪ ،‬ص‪.22-20‬‬

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‫ﻋﻠﻲ اﻟﱪد ووﻗﻒ ﻣﻨﻪ ﺟﻠﺪي‪ ،‬وﺗﻌﺬر اﻟﺘﻨﻔﺲ‪ ،‬ﻓﺎﻧﺘﻔﻀﺖ‪ ،‬وﻋﺎﻧﻴﺖ ﻣﻦ ذﻟﻚ‬
‫وﺛﻘﻠﺖ ﻋﻠﻰ ﻧﻔﺴﻲ وﻃﺄة اﻟﻈﻼم اﻟﻜﺜﻴﻒ‪ .‬واﺷﺘﺪ ّ‬
‫ﺷﺪﻳﺪا‪ ،‬ﰒ ﻇﻬﺮ ﻗﻮس اﻟﺸﻤﺲ‪ ،‬ﻓﻨﺰﻟﺖ ﻋﻦ اﻟﺴﺮج ﺣﱴ ﺗﺜﻮب ﻧﻔﺴﻲ إﱄ‪ ،‬ﻓﻘﺪ ﻛﺎن رأﺳﻲ ﻳﺪور وﻛﻨﺖ أﺣﺲ أﱐ ﻏﲑ ﻗﺎدر ﻋﻠﻰ رﺣﻠﺔ‬
‫ﻛﺮﺑًﺎ ً‬

‫اﻷﻳﺎب) ‪.(1‬‬
‫‪F34‬‬

‫واﳌﱰﺟﻢ – ﻛﻤﺎ ﻫﻮ واﺿﺢ – ﻳﻨﺘﻘﻞ ﰲ ﻋﻤﻠﻪ ﰲ ﺣﺮﻛﺔ ﺗﺘﺠﻪ ﻣﻦ اﳌﺼﺪر إﱃ اﻟﻠﻐﺔ اﳍﺪف‪ ،‬أو ﺑﻌﺒﺎرة أﺧﺮى‪ ،‬ﻣﻦ اﳌﺆﻟﻒ إﱃ‬

‫اﻟﻘﺎرئ‪ .‬وﻫﻮ ﰲ ﻧﻘﻠﻪ ﻟﻨﺺ اﻟﻜﺎﺗﺐ اﻷﺻﻠﻲ إﱃ اﻟﻘﺎرئ اﻷﺟﻨﱯ‪ ،‬ﻻ ﻳﻘﻮم ﲝﻤﻞ اﻟﻨﺺ وﻧﻘﻠﻪ ﻛﻤﺎ ﻫﻮ – ﻛﺴﺎﻋﻲ اﻟﱪﻳﺪ – إﱃ اﻟﻘﺎرئ‪ ،‬ﺑﻞ‬

‫ﻳﻌﱪ ﻋﻨﻪ وﻳﺼﻮﻏﻪ ﰲ ﻋﺒﺎرة دﻗﻴﻘﺔ وواﺿﺤﺔ‪ ،‬ﳏﺎوﻻ أن ﻳﺘﻘﻤﺺ ﺷﺨﺼﻴﺔ اﳌﺆﻟﻒ اﻷﺻﻠﻲ‪ ،‬وأن ﻳﺴﺘﺨﺪم أﺳﻠﻮﺑﻪ وﻣﺬﻫﺒﻪ ﰲ‬
‫ﻳﻘﺮأﻩ وﻳﺴﺘﻮﻋﺒﻪ ﰒ ّ‬
‫اﻟﻜﺘﺎﺑﺔ‪.‬‬

‫وﰲ اﻟﱰﲨﺔ ﻳﻘﻮم اﳌﱰﺟﻢ ﺑﺈﺟﺮاءات ﻋﺪﻳﺪة ﺗﺴﺎﻋﺪﻩ ﻋﻠﻴﻬﺎ ﻣﻌﺮﻓﺘﻪ اﻟﻌﻤﻴﻘﺔ ﺑﺜﻘﺎﻓﱵ اﻟﻠﻐﺘﲔ اﳌﺼﺪر واﳍﺪف‪ ،‬وﻣﻌﺮﻓﺘﻪ اﻟﺘﺎﻣﺔ ﺑﺎﻟﻠﻐﺘﲔ‪،‬‬

‫وﻣﻬﺎرﺗﻪ وﺣﺴﻦ ﺗﺼﺮﻓﻪ ﰲ اﻟﻨﻘﻞ‪ ،‬وﺑﺮاﻋﺘﻪ ﰲ اﻷداء‪ ،‬وإﳌﺎﻣﻪ ﺑﺎﳌﻮﺿﻮع اﻟﺬي ﻳﱰﲨﻪ‪ ،‬وﻣﻦ ﻫﺬﻩ اﻹﺟﺮاءات اﻟﻌﺪﻳﺪة‪ :‬اﻻﺳﺘﻌﺎرة )اﻟﺘﻌﺮﻳﺐ(‪،‬‬

‫واﳌﻄﺎﺑﻘﺔ‪ ،‬وﲡﺪﻳﺪ اﻟﱰﻛﻴﺐ‪ ،‬واﻷﺧﺬ ﺑﺎﻟﻨﻈﲑ دون اﻟﺘﻤﺴﻚ ﺑﺎﳌﻔﺮدات‪ ،‬واﻟﺘﻄﻮﻳﻊ ﻟﺜﻘﺎﻓﺔ اﻟﻠﻐﺔ اﻟﻨﺎﻗﻠﺔ‪ ،‬واﻟﺘﺼﺮف اﻟﻔﲏ ﺑﺘﺒﺎدل اﳌﻀﺎﻣﲔ‪،‬‬

‫واﳊﺬف واﻟﺘﺨﻔﻴﻒ‪ ،‬وﻧﻘﻞ اﻹﺣﺴﺎس اﻟﺘﻌﺒﲑي) ‪.(2‬‬

‫‪F35‬‬

‫ﺧﺎﺗﻤﺔ‪:‬‬

‫ﻋﺮﺿــﻨﺎ ﰲ اﻟﺼــﻔﺤﺎت اﻟﺴــﺎﺑﻘﺔ ﻟﻠﱰﲨــﺔ اﻷدﺑﻴــﺔ أي ﺗﺮﲨــﺔ اﻷدب أو اﻷﻋﻤــﺎل اﻷدﺑﻴــﺔ اﻟــﱵ ﺗﻨــﺪرج ﲢــﺖ اﻷدب ﲟﻔﻬﻮﻣــﻪ اﳋــﺎص‬

‫ﲨﻴﻌﺎ‪.‬‬
‫اﻟﺬي ﻳﻘﺘﺼﺮ ﻋﻠﻰ اﻹﻧﺘﺎج اﻟﺸﻌﺮي واﻟﻨﺜﺮي اﻟﺬي ﻳﺘﺴﻢ ﺑﺎﳉﻤﺎل واﻟﺘﺄﺛﲑ ً‬
‫وﻋﺮﺿﻨﺎ ﻟﱰﲨﺔ اﻷﻋﻤﺎل اﻹﺑﺪاﻋﻴﺔ ﰲ ﲨﻠﺔ ﻣﻦ اﻷﺟﻨﺎس اﻷدﺑﻴﺔ ورﺗﺒﻨﺎﻫﺎ ﺣﺴـﺐ ﺗـﺪرﺟﻬﺎ ﻣـﻦ اﻟﺴـﻬﻮﻟﺔ إﱃ اﻟﺼـﻌﻮﺑﺔ ‪ ,‬ﻓﺘﺤـﺪﺛﻨﺎ ﻋـﻦ‬

‫ﺗﺮﲨﺔ اﳋﺮاﻓﺔ ﻓﺎﳊﻜﺎﻳﺔ اﻟﺸﻌﺒﻴﺔ ﻓﺎﻟﻘﺼﺔ اﻟﻘﺼﲑة ﻓﺎﻟﺮواﻳﺔ ﻓﺎﳌﺴﺮﺣﻴﺔ ﻓﺎﻟﺸﻌﺮ ﺑﻮﺻﻔﻪ أﺻﻌﺐ أﻟﻮان اﻟﱰﲨﺔ اﻷدﺑﻴﺔ وأﺷﻘﻬﺎ‪.‬‬

‫ﻛﻤﺎ ﻗ ّﺪﻣﻨﺎ ﰲ ﺧﺎﲤﺔ اﳌﻄﺎف رأﻳﻨﺎ ﰲ أﺳﻠﻮب ﺗﺮﲨﺔ اﻟﻨﺼﻮص اﻷدﺑﻴﺔ‪ ،‬وﺑﻴﱠﻨﺎ اﳌﻨﻬﺞ اﻟﺬي ﻳﺘﺒﻌـﻪ اﳌـﱰﺟﻢ ﰲ ﻧﻘـﻞ ﻧـﺺ أدﰊ‪ ،‬وﻋﺮﺿـﻨﺎ‬

‫ﳌﺮاﺣﻠﻪ اﳋﻤﺲ ﻣﻦ اﻟﻘﺮاءة اﻟﻔﺎﺣﺼﺔ ‪ ،‬واﺳﺘﻴﻌﺎب اﻟﻨﺺ‪ ،‬واﻟﺘﻌﺒـﲑ أو اﻟﺘﻌﺮﻳـﺐ‪ ،‬واﳌﺮاﺟﻌـﺔ‪ ،‬وﻣﻘﺎرﻧـﺔ اﻟﱰﲨـﺔ ﺑـﺎﻟﻨﺺ اﻷﺻـﻠﻲ‪ ،‬وأوﺿـﺤﻨﺎ أن أﻫـﻢ‬

‫ﻣﺎ ﻳﺮﱢﻛﺰ ﻋﻠﻴﻪ ﻫﺬا اﻟﻨﻘﺪ ﻫـﻮ ﻃﺒﻴﻌﻴـﺔ اﻟﱰﲨـﺔ وﻃﻼﻗﺘﻬـﺎ وﺑﻌـﺪﻫﺎ ﻋـﻦ اﻟﻌﺠﻤـﺔ أو اﻟﻐﻤـﻮض‪ ،‬ﻓﺘﺒـﺪو ﻋﻨـﺪ ﻗﺮاءﻬﺗـﺎ وﻛﺄ�ـﺎ ﻣﺆﻟﻔـﺔ أﺻـﻼً ﺑﻠﻐـﺔ اﳍـﺪف‪،‬‬

‫ﻛﻤﺎ ﻳﻜﻮن اﻟﻨﻘﺪ ﺑﺎﳌﻘﺎرﻧﺔ ﺑﲔ اﻟﱰﲨﺔ واﻷﺻﻞ ﻣﻦ ﺣﻴﺚ اﻟﺘﺄﺛﲑ ﰲ اﻟﻘﺮاء‪ ،‬وﻣﻦ ﺣﻴﺚ دﻗﺔ اﻟﻨﻘﻞ‪.‬‬

‫)‪ - (1‬اﻧﻈﺮ‪ ،‬رﺿﺎ اﳉﻤﻞ‪" ،‬اﻟﺘﻨﻤﻴﺔ واﻟﱰﲨﺔ ﻣﻦ اﻟﻔﻦ إﱃ اﻟﺼﻨﺎﻋﺔ"‪ ،‬ﺿﻤﻦ ﻛﺘﺎب اﻟﱰﲨﺔ واﻟﺘﻨﻤﻴﺔ اﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ص‪.105‬‬

‫)‪ - (2‬ﳏﻤﺪ دﻳﺪاوي‪ ،‬اﳌﺮﺟﻊ اﻟﺴﺎﺑﻖ‪ ،‬ص‪.164‬‬

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‫وﻗﺪ ﺣﺮﺻﻨﺎ ﻃﻮال رﺣﻠﺘﻨﺎ ﰲ ﻫﺬا اﻟﺒﺤـﺚ ﻋﻠـﻰ ﻋـﺮض ﳕـﺎذج ﻋﺪﻳـﺪة ﻟﱰﲨـﺎت اﻟﻨﺼـﻮص اﻷدﺑﻴـﺔ‪ ،‬وﱂ ﻧﻜﺘـﻒ ﺑﺎﻟﱰﲨـﺎت اﻟﻌﺮﺑﻴـﺔ‪ ،‬ﺑـﻞ‬

‫ﻋﺮﺿﻨﺎ ﻛﺬﻟﻚ ﻟﻨﻤﺎذج ﻣﻦ اﻟﱰﲨﺎت اﳌﻼﻳﻮﻳﺔ واﻹﳒﻠﻴﺰﻳـﺔ‪ ،‬وﻗﻤﻨـﺎ ﺑﺘﺤﻠﻴﻠﻬـﺎ وﻧﻘـﺪﻫﺎ وﺗﻘﻴﻴﻤﻬـﺎ وإﺑـﺪاء اﻟـﺮأي ﻓﻴﻬـﺎ‪ ،‬وﺣﺮﺻـﻨﺎ ﻋﻠـﻰ اﻟﻘﻴـﺎم ﲟﻘﺎرﻧـﺎت‬

‫وﻓﲑة ﺑﻴﻨﻬﺎ ﻹﳝﺎﻧﻨﺎ ﺑﺄن ﻫﺬﻩ اﻟﱰﲨﺎت اﻷدﺑﻴﺔ ﻟﻮن ﻣﻦ اﻷدب‪ ،‬وأن اﻟﱰﲨﺔ‪ ،‬ﻣﻦ وﺟﻬـﺔ ﻧﻈﺮﻧـﺎ‪ ،‬ﻋﻤـﻞ إﺑـﺪاﻋﻲ ر ٍاق ﻳﻜـﻮن ﻓﻴـﻪ اﳌـﱰﺟﻢ ﻣﺒـﺪﻋﺎ ﰲ‬

‫ـﺪﻋﺎ ﰲ ﻟﻐــﺔ اﳌﺼــﺪر ﺳ ـﻮاء ﺑﺴ ـﻮاء‪ ،‬وﻣــﻦ ﰒ ﺑــﺪا اﻟﻜﺘــﺎب وﻛﺄﻧــﻪ ﻛﺘــﺎب ﰲ اﻷدب اﳌﻘــﺎرن‪ ،‬أو ﺑﻌﺒــﺎرة أﺧــﺮى‬
‫ﻟﻐــﺔ اﳍــﺪف ﻛﻤــﺎ ﻳﻜــﻮن اﳌﺆﻟــﻒ ﻣﺒـ ً‬
‫ﻛﺘــﺎب ﰲ ﻋﻠــﻢ ﺟﺪﻳــﺪ ﻫــﻮ ﻋﻠــﻢ اﻟﱰﲨــﺔ اﳌﻘــﺎرن‪ ،‬وإﻧﻨــﺎ ﻟﻨﺮﺟــﻮ أن ﻳﻌــﲎ ﺑــﻪ اﻟﺪارﺳــﻮن ﺣــﱴ ﻳﻐــﺪو ﰲ اﳌﺴــﺘﻘﺒﻞ اﻟﻘﺮﻳــﺐ ﻓﺮﻋــﺎ ﻣﺴــﺘﻘﻼ ﻣــﻦ ﻓــﺮوع‬

‫اﻷدب اﳌﻘﺎرن‪.‬‬

‫أﻳﻀــﺎ ﻋﻠــﻰ ﻋــﺮض ﳕــﺎذج ﻛﺜــﲑة‬

‫وﻣﺜﻠﻤــﺎ ﺣﺮﺻــﻨﺎ ﰲ اﻟﺒﺤــﺚ‪ ،‬ﻛﻤــﺎ ﻣــﺮ‪ ،‬ﻋﻠــﻰ ﺗﻘــﺪﱘ ﻣــﻨﻬﺞ ﺟﺪﻳــﺪ ﻟﱰﲨــﺔ اﻟﻨﺼــﻮص اﻷدﺑﻴــﺔ‪ ،‬ﺣﺮﺻــﻨﺎ ً‬
‫ﻟﱰﲨــﺎت اﳌﱰﲨــﲔ ﺗﻜﺸــﻒ ﻋــﻦ ﻣﻨــﺎﻫﺠﻬﻢ‪ ،‬وﺗﺒــﲔ أن ﺣﺼــﻴﻠﺔ اﻟﱰﲨــﺔ )اﻟــﻨﺺ اﳌــﱰﺟﻢ( ﻧﺘﻴﺠــﺔ ﻃﺒﻴﻌﻴــﺔ ﳌﻔﻬــﻮم اﳌــﱰﺟﻢ ﳍــﺎ؛ إذ أن ﻓﻬــﻢ اﳌــﱰﺟﻢ‬

‫ﳌﺎﻫﻴﺔ اﻟﱰﲨﺔ واﻟﻐﺮض ﻣﻨﻬﺎ ﳛﺪد ﻋﻤﻠﻴﺔ اﻟﱰﲨﺔ اﻟﱵ ﻳﻘﻮم ﻬﺑﺎ‪ ،‬ﻛﻤﺎ ﳛﺪد اﻟﻄﺮﻳﻘﺔ اﻟﱵ ﻳﺴﻠﻜﻬﺎ ﰲ اﻟﱰﲨﺔ‪.‬‬

‫وﻓﻀـﻼً ﻋــﻦ ﻫــﺬا وذاك‪ ،‬ﺣﺮﺻــﻨﺎ ﻋﻠــﻰ ﺗﺼــﺤﻴﺢ ﺑﻌــﺾ اﳌﻔــﺎﻫﻴﻢ اﳋﺎﻃﺌــﺔ ﺣــﻮل اﻟﱰﲨــﺔ‪ ،‬ﻛــﺎﻟﺰﻋﻢ ﺑــﺄن ﻛــﻞ ﻣــﻦ ﻳــﺘﻘﻦ ﻟﻐﺘــﲔ ﻳﺼــﻠﺢ أن‬

‫ﻳﻜــﻮن ﻣﱰﲨًــﺎ‪ ،‬أو أ�ــﺎ ﳎــﺮد ﻧﻘــﻞ أﻟﻔــﺎظ ﻟﻐــﺔ ﻣــﺎ إﱃ أﻟﻔــﺎظ ﻟﻐــﺔ أﺧــﺮى‪ ،‬أو اﳋﻠــﻂ ﺑــﲔ اﻟﱰﲨــﺔ اﳊﺮﻓﻴــﺔ واﻟﱰﲨــﺔ اﻟﻠﻔﻈﻴــﺔ‪ ،‬وﺑﻴًّﻨــﺎ أن اﻷﺧــﲑة ﻣﻌﻴﺒــﺔ‬

‫ﻣﺬﻣﻮﻣﺔ ﰲ ﺣﲔ أن اﻷوﱃ أﺻﺪق وﺟﻮﻩ اﻟﱰﲨﺔ؛ إذ ﻳﺘﻘﻴﺪ ﻓﻴﻬﺎ اﳌﱰﺟﻢ ﲝﺮﻓﻴﺔ اﻟﻨﺺ اﳌﺮاد ﻧﻘﻠﻪ إﱃ ﻟﻐﺔ أﺧﺮى ﻣﻊ ﻣﺮاﻋﺎة اﳌﻌﲎ‪.‬‬

‫وﺣﺮﺻﻨﺎ ﰲ ﻫﺬا اﻟﺒﺤﺚ ﻛﺬﻟﻚ ﻋﻠﻰ ﻋﺮض ﳕﺎذج ﻣﻦ اﻟﱰﲨﺎت اﻟﺒﺪﻳﻌﺔ ﰲ ﻟﻐﺘﻨﺎ اﻟﻌﺮﺑﻴﺔ ﻛﱰﲨﺎت أﲪﺪ ﺣﺴﻦ اﻟﺰﻳﺎت وإﺑـﺮاﻫﻴﻢ ﻋﺒـﺪ‬

‫اﻟﻘﺎدر اﳌﺎزﱐ وﻋﻠﻰ أﲪﺪ ﺑﺎﻛﺜﲑ وأﲪﺪ راﻣﻲ وأﻣﺜﺎﳍﻢ ﻣـﻦ ﻛﺒـﺎر اﳌﱰﲨـﲔ اﻟﺒـﺎرﻋﲔ ﺣـﱴ ﻳﻔﻴـﺪ ﻣﻨﻬـﺎ ﺷـﺪاة اﳌﱰﲨـﲔ ﻋﻨـﺪﻧﺎ‪ ،‬وﺣـﱴ ﺗـﺄﰐ ﺗﺮﲨـﺎﻬﺗﻢ‬

‫ﰲ ﻧﻔﺲ اﳌﺴﺘﻮى ﻣﻦ اﻟﺮوﻋـﺔ واﻹﺟـﺎدة واﳉﻤـﺎل‪ ،‬وﺣـﱴ ﻳﺴـﺘﻤﺘﻊ ﻬﺑـﺎ اﻟﻘـﺮاء ﻏـﲑ اﳌﱰﲨـﲔ اﺳـﺘﻤﺘﺎﻋﻬﻢ ﺑﻘـﺮاءة اﻷﻋﻤـﺎل اﻷدﺑﻴـﺔ اﻟﺮﻓﻴﻌـﺔ ﰲ ﻟﻐﺎﻬﺗـﺎ‬

‫اﻷﺻﻠﻴﺔ ﺳﻮاء ﺑﺴﻮاء‪.‬‬