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‪ 2012-2011:‬م‬

 ‫ﻛﻠــﻤﺔ ﺣــﻖ ‪:‬‬

‫ﺇﻟﻰ ﺭﺑﻲ‪:‬‬

‫ﺍﻟﺤﻤﺪ ﷲ ﺍﻟﺬﻱ ﻫﺪﺍﻧﻲ ﺇﻟﻰ ﻫﺬﺍ ﻭ ﻣﺎ ﻛﻨﺖ ﻷﻫﺘﺪﻱ ﻟﻮﻻ ﺃﻥ ﻫﺪﺍﻧﻲ ﺍﷲ‪ ،‬ﺣﻤﺪﺍ ﻛﺜﻴﺮﺍ ﺑﻜﺮﺓ‬
‫ﻭ ﺃﺻﻴﻼ‪.‬‬

‫ﺇﻟﻰ ﺃﺳﺘﺎﺫﻱ‪:‬‬

‫ﺍﻟﺬﻱ ﻭﻗﻒ ﻣﻌﻲ ﻭﻗﻔﺔ ﺍﻟﺮﺍﻋﻲ ﺍﻟﻐﻴﻮﺭ ﻋﻠﻰ ﺭﻋﻴﺘﻪ‪ ،‬ﻭ ﺍﻟﻨﻮﺭ ﺍﻟﺬﻱ ﻳﻮﺟﻪ ﻓﻠﻚ ﺃﻓﻜﺎﺭﻱ ﻟﻴﺼﻞ‬
‫ﺑﻬﺎ ﺇﻟﻰ ﻣﻘﺎﺻﺪﻫﺎ‪ ،‬ﻟﻜﻢ ﻣﻨﻲ ﺃﺳﺘﺎﺫﻱ ﺍﻟﻜﺮﻳﻢ ﻛﻞ ﻋﺒﺎﺭﺍﺕ ﺍﻟﺸﻜﺮ ﻭ ﺍﻟﺘﻘﺪﻳﺮ‪.‬‬

‫ﺇﻟﻰ ﺃﻣــــﻲ ﺍﻟﺤﻨﻮﻥ‬

‫ﺍﻟﺘﻲ ﻟﻮﻻﻫﺎ ﻟﻤﺎ ﺍﺳﺘﻄﻌﺖ ﺍﻻﺳﺘﻤﺮﺍﺭ ﻓﻲ ﺣﻴﺎﺗﻲ ﻣﺠﺪﺩﺍ‪ ،‬ﻟﻜﻲ ﻣﻨﻲ ﻛﻞ ﺍﻻﺣﺘﺮﺍﻡ ﻭﺍﻟﻌﺮﻓﺎﻥ‬
‫ﻭ ﺍﻟﺘﻘﺪﻳﺮ ﺷﻔﺎﻙ ﺍﷲ ﻭﻋﺎﻓﺎﻙ‬

‫ﺇﻟﻰ ﻋﺎﺋﻠﺘﻲ‪:‬‬

‫ﺃﻭﻻ ﻟﻤﺠﺮﺩ ﻭﺟﻮﺩﻫﺎ ﻣﻌﻲ‪ ،‬ﺛﻢ ﻟﺪﻋﻤﻬﺎ ﻭ ﺇﺭﺷﺎﺩﻫﺎ‪ ،‬ﻭ ﻋﻄﻔﻬﺎ‪ ،‬ﻣﻨﻲ ﻟﻜﻢ ﻛﻞ ﺍﻻﺣﺘﺮﺍﻡ ﻭ ﺍﻟﺘﻘﺪﻳﺮ‬
‫ﻭ ﺃﺩﺍﻣﻜﻢ ﺍﷲ ﺣﻮﻟﻲ‪.‬‬
‫ﺷﻜـــﺮﺍ ﻟﻜــﻢ‬

‫ﺇﻟﻰ ﺃﺑﻲ‪...‬‬

‫ﺍﻟﺬﻱ ﺍﻧﺘﻘﻞ ﻣﻦ ﺣﻘﻴﻘﺔ ﺗﺠﺴﺪﻫﺎ ﺣﻮﺍﺳﻲ ﺇﻟﻰ‪...‬‬

‫ﺫﻛﺮﻯ ﻣﺎ ﺗﻨﻔﻚ ﺗﺪﺍﻋﺐ ﻓﻜﺮﻱ ﻓﻲ ﻛﻞ ﺣﻴﻦ‪...‬‬

 ‫‪ .1‬ﺍﻹﺷﻜﺎﻟﻴﺔ‬
‫‪ .2‬ﺧﻄﺔ ﺍﻟﺒﺤﺚ‬
‫‪ .3‬ﺍﺳﺒﺎﺏ ﺍﺧﺘﻴﺎﺭ ﺍﳌﻮﺿﻮﻉ‬
‫‪ .4‬ﻋﻘﺒﺎﺕ ﺍﻟﺒﺤﺚ‬
‫‪.................................................................................................‬اـــــــــ‬

‫‪ -‬ﺍﻹﺷﻜـــﺎﻟـــﻴﺔ‪:‬‬

‫ﻟﻘﺪ ﺍﻧﻄﻠﻘﺖ ﰲ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻣﻦ ﻓﺮﺿﻴﺔ ﻣﻔﺎﺩﻫﺎ ﺃﻥ ﺗﻘﺪﱘ ﺍﻷﺳﻄﻮﺭﺓ ﻟﻠﻄﻔﻞ ﻻ ﻳﺸﻜﻞ ﺻﻌﻮﺑﺔ ﻛﺒﲑﺓ‬
‫ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭﻫﺎ ﺟﺰﺀ ﻣﻦ ﺍﳋﻴﺎﻝ‪ ،‬ﻣﺎ ﺩﺍﻣﺖ ﻗﺪ ﻛﻴﻔﺖ ﳌﺎ ﻳﻼﺀﻡ ﺗﻮﻗﻌﺎﺕ ﺍﻟﻄﻔﻞ ﻭ ﻣﻴﻮﻻﺗﻪ‪ ،‬ﻭ ﺫﻟﻚ‬
‫ﺑﻌﺪ ﺃﻥ ﺣﺎﻭﻟﺖ ﺣﺼﺮ ﺍﻹﺷﻜﺎﻟﻴﺔ ﰲ ﺍﻟﺘﺴﺎﺅﻻﺕ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬

‫‪ -‬ﺍﻟﺴﺆﺍﻝ ﺍﻷﻭﻝ‪:‬‬

‫ﻣﺎ ﺃﺛﺮ ﺍﳌﻀﻤﻮﻥ ﺍﻷﺳﻄﻮﺭﻱ ﻋﻠﻰ ﳐﺘﻠﻒ ﺍﻟﺜﻘﺎﻓﺎﺕ ﺑﺸﻜﻞ ﻋﺎﻡ‪ ،‬ﺣﱴ ﻳﻜﻮﻥ ﻟﻪ ﻫﺬﺍ ﺍﻷﺛﺮ ﻋﻠﻰ ﺍﻟﻄﻔﻞ؟‬

‫‪ -‬ﺍﻟﺴﺆﺍﻝ ﺍﻟﺜﺎﱐ‪:‬‬
‫ﻫﻞ ﳝﻜﻦ ﺗﻜﻴﻴﻒ ﺍﻷﺳﻄﻮﺭﺓ ﻭ ﺳﺮﺩﻫﺎ ﻋﻠﻰ ﻣﺴﺎﻣﻊ ﺍﻟﻄﻔﻞ؟‬
‫‪ -‬ﺍﻟﺴﺆﺍﻝ ﺍﻟﺜﺎﻟﺚ‪:‬‬
‫ﻳﺎ ﺗﺮﻯ ﻣﺎ ﻳﻜﻮﻥ ﺭﺩ ﻓﻌﻞ ﺍﻟﻄﻔﻞ ﺇﺯﺍﺀ ﺍﻷﺳﻄﻮﺭﺓ ﺍﻷﺟﻨﺒﻴﺔ ﺃﻭ ﺍﻟﻮﺍﻓﺪﺓ ﻟﻪ ﻣﻦ ﺣﻀﺎﺭﺓ ﺃﺧﺮﻯ؟‬

‫ﻭ ﻟﻜﻦ ﺍﻹﺷﻜﺎﻝ ﺍﳉﻮﻫﺮﻱ ﻫﻨﺎ ﻫﻮ ﻛﻴﻒ ﻧﻘﺪﻣﻬﺎ ﻟﻪ ﻣﺘﺮﲨﺔ‪ ،‬ﻭ ﰲ ﺷﻜﻞ ﻗﺼﺺ‪ ،‬ﻭ ﻣﻊ ﺫﻟﻚ ﳒﻌﻠﻬﺎ‬
‫ﲢﺎﻓﻆ ﻋﻠﻰ ﺧﻠﻔﻴﺘﻬﺎ ﺍﻷﺳﻄﻮﺭﻳﺔ‪ ،‬ﻭ ﻫﺬﺍ ﻳﺪﻓﻌﻨﺎ ﺇﱃ ﻃﺮﺣﻪ ﰲ ﺷﻜﻞ ﺍﻷﺳﺌﻠﺔ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬

‫• ﻛﻴﻒ ﳒﻌﻠﻪ ﻳﺴﺘﻤﺘﻊ ﺑﻘﺮﺍﺀ‪‬ﺎ ﻭ ﻣﻊ ﺫﻟﻚ ﻳﺘﻌﺮﻑ ﻋﻠﻴﻬﺎ ﻛﻤﺎ ﻟﻮ ﺃ‪‬ﺎ ﺟﺰﺀ ﻣﻦ ﺛﻘﺎﻓﺘﻪ‬
‫ﺍﳋﺎﺻﺔ‪ ،‬ﺃﻭ ﻋﻠﻰ ﺍﻷﻗﻞ ﺃﻥ ﻻ ﻳﺮﻓﻀﻬﺎ ﺇﺫﺍ ﻣﺎ ﺻﺎﺩﻓﻬﺎ ﻓﻴﻤﺎ ﻳﻘﺮﺃ؟‬
‫• ﻫﻞ ﻟﻴﺘﻌﺮﻑ ﻋﻠﻴﻬﺎ ﻋﻠﻴﻨﺎ ﲡﺮﻳﺪﻫﺎ ﻣﻦ ﺧﻠﻔﻴﺘﻬﺎ ﺍﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﲟﻌﲎ ﻫﻞ ﻋﻠﻴﻨﺎ ﺃﻥ ﳒﺘﺜﻬﺎ ﻣﻦ‬
‫ﺟﺬﻭﺭﻫﺎ ﺍﳊﻀﺎﺭﻳﺔ؟‬
‫• ﰒ ﰲ ﺃﻱ ﺇﻃﺎﺭ ﻧﻘﺪﻡ ﺍﻷﺳﻄﻮﺭﺓ ﻟﻠﻄﻔﻞ؟ ﻷﻥ ﺫﻟﻚ ﳛﺪﺩ ﻧﻮﻉ ﺍﻟﻘﺼﺔ ﻓﺈﺫﺍ ﻗﺪﻣﺖ ﻟﻪ‬
‫ﻛﻤﻌﺘﻘﺪ ﻓﺤﺘﻤﺎ ﺳﺘﻜﻮﻥ ﰲ ﺇﻃﺎﺭ ﺍﻟﻘﺼﺺ ﺍﻟﺪﻳﲏ ﺃﻣﺎ ﻛﺨﺮﺍﻓﺔ ﻓﺴﺘﻜﻮﻥ ﰲ ﺇﻃﺎﺭ ﺍﻟﻘﺼﺺ‬
‫ﺍﳋﻴﺎﱄ؟‬

‫‪2‬‬
‫‪.................................................................................................‬اـــــــــ‬

‫• ﻣﺎ ﻫﻲ ﺃﺷﻜﺎﻝ ﺍﻟﱰﻭﻉ ﺍﻷﺳﻄﻮﺭﻱ ﰲ ﺃﺩﺏ ﺍﻟﻄﻔﻞ؟ ﻫﻞ ﻫﻲ ﻧﻔﺴﻬﺎ ﻋﻨﺪ ﺍﻟﻜﺒﺎﺭ ﺃﻡ‬

‫ﲣﺘﻠﻒ؟‬
‫• ﻫﻞ ﺗﻌﺘﱪ ﺍﻟﻘﺼﺔ ﺷﻜﻼ ﻣﻨﺎﺳﺒﺎ ﻟﺘﻘﺪﱘ ﺍﻷﺳﻄﻮﺭﺓ ﻟﻠﻄﻔﻞ؟‬
‫• ﻣﺎﺫﺍ ﺗﻘﺪﻡ ﺍﻷﺳﻄﻮﺭﺓ ﻷﺩﺏ ﺍﻟﻄﻔﻞ؟‬
‫• ﻣﺎ ﻫﻲ ﺍﻹﺷﻜﺎﻻﺕ ﺍﻟﱵ ﺗﻄﺮﺣﻬﺎ ﺍﻷﺳﻄﻮﺭﺓ ﻭﻗﺖ ﺍﻧﺘﻘﺎﳍﺎ؟‬
‫ﻟﻨﺼﻞ ﺃﺧﲑﺍ ﺇﱃ‪:‬‬
‫• ﻛﻴﻒ ﻧﺘﺮﺟﻢ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ؟‬

‫ﺑﻌﺪ ﺃﻥ ﺣﺼﺮﺕ ﳎﻤﻮﻉ ﺍﻷﺳﺌﻠﺔ ﺍﻟﱵ ﺳﻴﻨﻄﻠﻖ ﻣﻨﻬﺎ ﺍﻟﺒﺤﺚ ﻛﻤﺎ ﺳﻴﺘﺤﺪﺩ ﻣﺴﺎﺭﻩ ﻣﻦ ﺧﻼﳍﺎ‪،‬‬
‫ﺣﺎﻭﻟﺖ ﺟﻌﻠﻬﺎ ﺷﺎﻣﻠﺔ ﺇﱃ ﺃﻗﺼﻰ ﺍﳊﺪﻭﺩ ﻛﻲ ﺗﻼﺀﻡ ﻫﺬﺍ ﺍﻟﺘﻮﺟﻪ‪ ،‬ﻓﻬﻲ ﺃﻭﻻ ﲢﺪﺩ ﺷﻜﻞ ﺍﻷﺳﻄﻮﺭﺓ‬
‫ﻭﻣﻜﺎﻧﺘﻬﺎ ﺍﻟﺘﺎﺭﳜﻴﺔ ﻭ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﰒ ﺷﻜﻞ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻭﻭﺍﻗﻌﻪ ﻛﺄﺩﺏ ﻣﻮﺟﻪ‪ ،‬ﰒ ﺷﻜﻞ ﺍﻟﻠﻘﺎﺀ ﺑﻴﻨﻬﻤﺎ‬
‫ﻭ ﻋﻠﻰ ﺃﻱ ﺃﺳﺎﺱ ﺳﺘﻘﺪﻡ ﺇﱃ ﺍﻟﻘﺎﺭﺉ ﺍﻟﺼﻐﲑ‪.‬‬

‫ﻭﻋﻠﻰ ﻓﺮﺽ ﺇﻣﻜﺎﻧﻴﺔ ﺗﻘﺪﱘ ﺍﻷﺳﻄﻮﺭﺓ ﺇﱃ ﺍﻟﻄﻔﻞ ﳝﻜﻦ ﲢﺪﻳﺪ ﺗﻮﺟﻬﲔ ﻟﺒﻨﺎﺀ ﺍﻟﺪﺭﺍﺳﺔ‪ :‬ﺃﻭﳍﻤﺎ ﺗﻘﺪﱘ‬
‫ﺍﻷﺳﻄﻮﺭﺓ ﻟﻪ ﺑﻌﺪ ﲡﺮﻳﺪﻫﺎ ﻣﻦ ﻛﻞ ﻣﺎ ﻳﻮﺣﻲ ﻋﻠﻰ ﺃﺳﻄﺮ‪‬ﺎ‪ ،‬ﲟﻌﲎ ﺟﻌﻠﻬﺎ ﻣﺄﻟﻮﻓﺔ ﺇﱃ ﺣﺪ ﻗﻄﻊ ﻛﻞ‬
‫ﺭﺍﺑﻂ ﳍﺎ ﻣﻊ ﺃﺻﻠﻬﺎ‪ ،‬ﻭ ﻫﻜﺬﺍ ﻟﻦ ﺗﺒﺪﻭ ﺃﻛﺜﺮ ﻣﻦ ﻗﺼﺔ ﺃﺧﺮﻯ ﺫﺍﺕ ﺃﺑﻌﺎﺩ ﺗﺮﺑﻮﻳﺔ ﺗﺮﻓﻴﻬﻴﺔ‪ .‬ﺛﺎﻧﻴﺎ‪:‬‬
‫ﺗﻘﺪﳝﻬﺎ ﻛﻤﺎ ﻫﻲ ﺑﻜﻞ ﺭﻣﻮﺯﻫﺎ‪ ،‬ﺑﻜﻞ ﳏﻤﻮﳍﺎ ﺍﻟﺜﻘﺎﰲ‪ ،‬ﻭ ﺟﻌﻞ ﺍﻟﺼﺪﺍﻡ ﺑﻴﻨﻬﻤﺎ ﻣﺒﺎﺷﺮﺍ‪ ،‬ﻛﻲ ﻳﺘﻌﺮﻓﻬﺎ‬
‫ﻭ ﻟﻴﺘﺨﺬ ﻣﻨﻬﺎ ﻣﻮﻗﻔﺎ ﻣﻬﻤﺎ ﻛﺎﻥ ﻧﻮﻋﻪ‪ ،‬ﰒ ﻟﻴﺘﻔﺎﻋﻞ ﻣﻌﻬﺎ ﻋﻠﻰ ﺃﺳﺎﺱ ﺃ‪‬ﺎ ﻣﻮﺭﻭﺙ ﺃﺟﻨﱯ‪.‬‬

‫ﻭﻫﻜﺬﺍ ﻳﺒﻘﻰ ﻟﺪﻳﻨﺎ ﻫﻨﺎ ﻃﺮﻓﺎ ﻣﻌﺎﺩﻟﺔ ﻟﻠﻤﻮﺍﺯﻧﺔ ﺑﻴﻨﻬﻤﺎ‪ ،‬ﺍﻟﻄﻔﻞ ﺑﻜﻞ ﺧﺼﻮﺻﻴﺎﺗﻪ ﻛﻜﺎﺋﻦ ﻓﺎﻋﻞ ﻣﻨﻔﻌﻞ‪،‬‬
‫ﻭﺍﻷﺳﻄﻮﺭﺓ ﺑﻜﻞ ﻣﺎ ﲦﺜﻠﻪ ﻣﻦ ﺛﻘﺎﻓﺔ ﻭ ﺣﻀﺎﺭﺓ‪ ،‬ﰒ ﻟﻨﺼﻞ ‪‬ﻤﺎ ﺇﱃ ﻧﻘﻄﺔ ﻟﻘﺎﺀ‪ ،‬ﻟﻴﺲ ﻷﻧﻪ ﻟﻘﺎﺀﳘﺎ‬
‫ﺍﻷﻭﻝ ﻭ ﺇﳕﺎ ﻷﻧﻪ ﺍﺧﺘﻠﻒ ﺷﻜﻠﻪ ﻋﻨﺪﻣﺎ ﺃﺻﺒﺤﺖ ﺍﻷﺳﻄﻮﺭﺓ ﺃﺟﻨﺒﻴﺔ ﻋﻦ ﳏﻴﻂ ﻣﺘﻠﻘﻴﻬﺎ ﺍﻟﺼﻐﲑ ﻭ ﻋﻠﻰ‬
‫ﻫﺬﺍ ﺍﻷﺳﺎﺱ ﺍﺧﺘﻠﻔﺖ ﺍﳌﻌﺎﻳﲑ ﺍﻟﱵ ﺗﺒﲏ ﺟﺴﺮ ﺍﻧﺘﻘﺎﳍﺎ ﺇﱃ ﳏﻴﻄﻪ‪ ،‬ﰒ ﺍﻟﺴﺆﺍﻝ ﺍﻟﻮﺍﺟﺐ ﻃﺮﺣﻪ ﰲ ﻫﺬﻩ‬
‫ﺍﳌﺮﺣﻠﺔ ﻫﻮ ﻋﻠﻰ ﺍﻟﺸﻜﻞ ﺍﻟﺘﺎﱄ‪:‬‬

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‫‪.................................................................................................‬اـــــــــ‬

‫• ﻫﻞ ﻳﺘﻢ ﻧﻘﻞ ﺍﻷﺳﻄﻮﺭﺓ ﺇﱃ ﻋﺎﱂ ﺍﻟﻄﻔﻞ ﺃﻡ ﻧﻘﻞ ﺍﻟﻄﻔﻞ ﺇﱃ ﻋﺎﱂ ﺍﻷﺳﻄﻮﺭﺓ؟‬

‫ﻷﻥ ﺷﻜﻞ ﻫﺬﺍ ﺍﻟﻨﻘﻞ ﻛﻤﺎ ﺳﺒﻖ ﻭ ﺃﻥ ﺫﻛﺮﺕ ﺳﻴﺤﺪﺩ ﺇﺫﺍ ﻣﺎ ﻛﺎﻧﺖ ﺍﻟﻌﻤﻠﻴﺔ ﻣﺒﻨﻴﺔ ﻋﻠﻰ ﻧﻘﻞ ﲟﻌﲎ‬
‫ﻧﺴﺦ ﺃﻭ ﻋﻠﻰ ﺍﻧﺘﻘﺎﻝ ﲟﻌﲎ ﺍﺟﺘﺜﺎﺙ‪.‬‬

‫‪ -‬ﺧﻄـــﺔ ﺍﻟﺒﺤـــﺚ‪:‬‬
‫ﻭﺑﻨﺎﺀﺍ ﻋﻠﻰ ﻣﺎ ﺳﻠﻒ ﻓﻘﺪ ﺣﺎﻭﻟﺖ ﺗﻘﺴﻴﻢ ﺍﻟﺒﺤﺚ ﺇﱃ ﺛﻼﺛﺔ ﻓﺼﻮﻝ‪ ،‬ﻭﺫﻟﻚ ﻷﺣﺎﻭﻝ ﲡﻤﻴﻊ‬
‫ﻓﻜﺮﺓ ﺷﺎﻣﻠﺔ ﻋﻦ ﻣﻮﺿﻮﻉ ﺍﻟﺒﺤﺚ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﺍﻟﻮﺻﻮﻝ ﺑﻪ ﳍﺪﻑ ﳏﺪﺩ ﺍﻧﻄﻠﻘﺖ ﻣﻦ ﺃﺟﻠﻪ ﺑﺪﺀﺍ‬
‫ﻣﻦ ﺍﻹﺷﻜﺎﻟﻴﺔ‪ ،‬ﻭﺻﻮﻻ ﺇﱃ ﺍﳋﺎﲤﺔ‪ ،‬ﻭ ﺃﻣﺎ ﺍﻟﻔﺼﻮﻝ ﻓﻬﻲ ﻋﻠﻰ ﺍﻟﺘﻮﺍﱄ‪:‬‬

‫
ﺍﻟﻔﺼﻞ ﺍﻷﻭﻝ‪:‬‬
‫ﳛﻤﻞ ﻋﻨﻮﺍﻥ ) ﻣﺎﻫﻴﺔ ﺍﻷﺳﻄﻮﺭﺓ(‪:‬‬
‫ﻭ ﻗﺪ ﺧﺼﺼﺘﻪ ﻟﻠﺘﺤﺪﺙ ﻋﻦ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﻛﻞ ﺃﺷﻜﺎﳍﺎ‪ ،‬ﻛﻤﺎ ﺣﺎﻭﻟﺖ ﺣﺼﺮ ﺃﻫﻢ‬
‫ﺗﻮﺟﻬﺎ‪‬ﺎ ﻭ ﺭﻣﻮﺯﻫﺎ‪ ،‬ﺑﺪﺀﺍ ﻣﻦ ﻣﺎﻫﻴﺘﻬﺎ ﻛﺄﺳﻄﻮﺭﺓ‪ ،‬ﺭﻏﻢ ﺃﻧﲏ ﺍﺑﺘﻌﺪﺕ ﻋﻦ ﺍﻟﺘﻌﺎﺭﻳﻒ‬
‫ﻭ ﻗﺪ ﺗﻌﺮﺽ‬ ‫ﺍﻟﻠﻐﻮﻳﺔ ﻣﻦ ﻣﻨﻄﻠﻖ ﺃﻧﻪ ﻻ ﻃﺎﺋﻞ ﻣﻨﻬﺎ ﻓﻬﻲ ﻟﻴﺴﺖ ﻋﻤﻠﻴﺔ ﻣﻦ ﺟﻬﺔ‪،‬‬
‫ﳍﺎ ﺍﻟﻜﺜﲑﻭﻥ ﻓﺄﺻﺒﺤﺖ ﻣﺴﺘﻬﻠﻜﺔ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‪ ،‬ﰒ ﲝﺚ ﻋﻦ ﺃﺻﻞ ﺍﻟﻜﻠﻤﺔ‬
‫ﻛﻜﻠﻤﺔ ﳝﻜﻦ ﺃﻥ ﻳﻀﺮ ﺍﳌﺼﻄﻠﺢ‪ ،‬ﻭ ﺫﻟﻚ ﲜﻌﻠﻪ ﺣﺒﻴﺲ ﺍﻟﺴﻄﺤﻴﺔ‪ ،‬ﻓﻤﺼﻄﻠﺢ ﺃﺳﻄﻮﺭﺓ‬
‫ﺑﺎﳌﻨﻈﻮﺭ ﺍﻟﻠﻐﻮﻱ ﻻ ﻳﻌﺪﻭ ﺃﻥ ﻳﻜﻮﻥ ﳎﺮﺩ ﻛﻠﻤﺔ ﺿﺒﻄﺖ ﻋﻠﻰ ﻭﺯﻥ‪ ،‬ﻭ ﺃﳊﻖ ‪‬ﺎ‬
‫ﺗﻌﺮﻳﻒ ﳏﺪﺩ‪ ،‬ﻭ ﻟﻜﻦ ﻋﻨﺪ ﺩﺭﺍﺳﺘﻬﺎ ﺑﺄﺑﻌﺎﺩﻫﺎ‪ ،‬ﺍﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﺍﳊﻀﺎﺭﻳﺔ‪ ،‬ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭ ﺣﱴ‬
‫ﺍﻟﻌﻠﻤﻴﺔ ﳚﻌﻠﻬﺎ ﺫﺍﺕ ﴰﻮﻟﻴﺔ‪ ،‬ﻭ ﺇﺭﺙ ﺣﻀﺎﺭﻱ ﺗﺸﺘﺮﻙ ﰲ ﻣﻠﻜﻴﺘﻪ ﺍﻟﺒﺸﺮﻳﺔ ﲨﻌﺎﺀ‪.‬‬
‫ﰒ ﺩﺭﺍﺳﺔ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﻋﻼﻗﺘﻬﺎ ﻣﻊ ﺍﻷﺩﺏ‪ ،‬ﻭﻛﻴﻒ ﺟﻌﻠﺘﻪ ﻳﺰﺩﻫﺮ‪ ،‬ﻭ ﻛﻴﻒ ﺿﻤﻦ‬
‫ﺍﺳﺘﻤﺮﺍﺭﻳﺘﻬﺎ‪ ،‬ﻭ ﺳﺎﻋﺪﻫﺎ ﻋﻠﻰ ﺍﻟﺼﻤﻮﺩ ﰲ ﻭﺟﻪ ﺍﻟﺰﻣﻦ‪ ،‬ﰒ ﺣﺼﺮ ﺑﺸﻜﻞ ﻣﺎ ﺃﺷﻜﺎﻝ‬

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‫ﺍﻟﱰﻭﻉ ﺍﻷﺳﻄﻮﺭﻱ ﰲ ﺍﻷﺩﺏ ﻋﺎﻣﺔ‪ ،‬ﻭ ﻣﺎ ﺃﺑﻌﺎﺩﻫﺎ ﻣﻦ ﺯﻣﻦ‪ ،‬ﻣﻜﺎﻥ‪ ،‬ﺩﻳﻦ‪،‬‬

‫ﻭﻓﻠﺴﻔﺔ‪ ...‬ﰲ ﳏﺎﻭﻟﺔ ﻣﻨﺎ ﻹﺛﺒﺎﺕ ﴰﻮﻟﻴﺘﻬﺎ‪ ،‬ﻭﻗﺪﺭ‪‬ﺎ ﻋﻠﻰ ﺍﻟﺘﻜﻴﻴﻒ‪.‬‬

‫
ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﱐ‪:‬‬
‫ﳛﻤﻞ ﻋﻨﻮﺍﻥ ) ﻣﺎﻫﻴﺔ ﺃﺩﺏ ﺍﻟﻄﻔﻞ(‪:‬‬
‫ﻭﻗﺪ ﺧﺼﺼﺘﻪ ﻣﻦ ﺃﺟﻞ ﺩﺭﺍﺳﺔ ﺃﺩﺏ ﺍﻟﻄﻔﻞ‪ ،‬ﻓﻘﺪ ﺍﺭﺗﺄﻳﺖ ﺃﻧﻪ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﻭﺿﻊ‬
‫ﺇﻃﺎﺭ ﻋﺎﻡ ﳌﻮﺿﻮﻉ ﺍﻟﺒﺤﺚ ﻓﺒﻤﺎ ﺃﱐ ﺳﺄﻗﻮﻡ ﺑﺪﺭﺍﺳﺔ ﺗﺮﲨﺔ ﻟﻘﺼﺔ ﻃﻔﻞ‪ ،‬ﻛﺎﻥ ﻣﻦ‬
‫ﺍﻟﻀﺮﻭﺭﻱ ﺍﻟﺘﻌﺮﻳﺞ ﻋﻠﻰ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻭﺧﺼﻮﺻﺎ ﳌﺎ ﻳﻌﺎﻧﻴﻪ ﻫﺬﺍ ﺍﳌﻴﺪﺍﻥ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ‬
‫ﺣﺪﺍﺛﺔ ﻋﻬﺪﻩ‪ ،‬ﻭ ﻣﻦ ﺍﻟﻌﺎﻡ ﺍﲡﻬﺖ ﻣﺒﺎﺷﺮﺓ ﺇﱃ ﺍﳋﺎﺹ ﻭ ﺍﳌﺘﻤﺜﻞ ﰲ ﺍﻟﻘﺼﺔ‪ ،‬ﰒ ﺍﻟﻠﻐﺔ‬
‫ﺍﳌﻨﺎﺳﺒﺔ ﻟﻠﺘﻮﺟﻪ ﺇﱃ ﺍﻟﻄﻔﻞ ﻭ ﻣﻨﻬﺎ ﺇﱃ ﺍﺧﺘﻴﺎﺭ ﺍﻟﻔﺌﺔ ﺍﻟﻌﻤﺮﻳﺔ ﺍﻟﱵ ﺃﻧﻮﻱ ﺍﻟﺘﻮﺟﻪ ﺇﻟﻴﻬﺎ‬
‫ﺑﺎﻟﺘﺮﲨﺔ ﻻ ﺣﻘﺎ ﰲ ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﻟﺚ‪ ،‬ﻭﻗﺪ ﺣﺎﻭﻟﺖ ﺣﺼﺮ ﺑﻌﺾ ﺍﻷﻣﺜﻠﺔ ﺑﺸﻜﻞ ﻋﺎﻡ ﳑﺎ‬
‫ﺗﻮﻓﺮ ﻟﺪﻱ ﻣﻦ ﻣﺎﺩﺓ ﺧﺎﺭﺝ ﺇﻃﺎﺭ ﺍﳌﺪﻭﻧﺔ ﻗﺼﺪﺍ ﻣﲏ ﺇﻋﻄﺎﺀ ﻧﻈﺮﺓ ﺷﺎﻣﻠﺔ ﺃﻛﺜﺮ ﻋﻠﻰ‬
‫ﺍﳌﻮﺿﻮﻉ‪ ،‬ﰒ ﻋﺮﺟﺖ ﻋﻠﻰ ﺩﺭﺍﺳﺔ ﺍﻟﺼﻮﺭﺓ ﰲ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭﻫﺎ ﺃﺩﺍﺓ ﺗﻌﺒﲑ‪،‬‬
‫ﻭ ﰲ ﺃﻏﻠﺐ ﺍﻷﺣﻴﺎﻥ ﺃﺩﺍﺓ ﻓﻌﺎﻟﺔ ﺟﺪﺍ‪ ،‬ﻓﺎﻟﻄﻔﻞ ﳛﺐ ﺍﻷﻟﻮﺍﻥ ﻭ ﻳﺘﻮﺍﺻﻞ ﻣﻌﻬﺎ ﺑﺸﻜﻞ‬
‫ﺃﻓﻀﻞ ﻣﻦ ﺗﻮﺍﺻﻠﻪ ﻣﻊ ﺍﻟﻠﻮﻧﲔ ﺍﻷﺑﻴﺾ ﻭ ﺍﻷﺳﻮﺩ‪.‬‬
‫
ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﻟﺚ‪:‬‬
‫ﻭﳛﻤﻞ ﻋﻨﻮﺍﻥ ) ﺗﺮﲨﺔ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﺃﺩﺏ ﺍﻟﻄﻔﻞ(‪:‬‬
‫ﻭﻗﺪ ﺧﺼﺼﺘﻪ ﻟﺪﺭﺍﺳﺔ ﺍﳌﺪﻭﻧﺔ ﺍﻟﱵ ﺍﺧﺘﺮ‪‬ﺎ ﻋﻠﻰ ﺃﺳﺎﺱ ﺃ‪‬ﺎ ﻧﺎﻟﺖ ﺇﻋﺠﺎﺏ ﻛﻞ‬
‫ﺍﻷﻃﻔﺎﻝ ﺣﻴﺚ ﺻﺎﺭ ﺑﻄﻠﻬﺎ ﺍﻟﺒﻄﻞ ﺍﳌﻔﻀﻞ ﳍﻢ‪ ،‬ﻭﻗﺪ ﺻﻮﺭ ﺳﻴﻨﻴﻤﺎﺋﻴﺎ ﳑﺎ ﺟﻌﻠﻪ ﺍﻷﻛﺜﺮ‬
‫ﺷﻬﺮﺓ ﻣﻦ ﺑﲔ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻘﺼﺺ ﺍﳌﻮﺟﻬﺔ ﻟﻠﻄﻔﻞ‪ ،‬ﻭ ﺃﻥ ﻟﻸﺳﻄﻮﺭﺓ ﺣﻀﻮﺭﺍ ﻗﻮﻳﺎ‬
‫ﻓﻴﻬﺎ‪ ،‬ﻛﻤﺎ ﲣﲑﺕ ﻣﻨﻬﺎ ﺍﻟﻔﺼﻞ ﺍﻷﻛﺜﺮ ﺗﺼﺮﳛﺎ ﰲ ﻋﺮﺿﻪ ﻟﻠﻤﻀﻤﻮﻥ ﺍﻷﺳﻄﻮﺭﻱ‪ ،‬ﰒ‬
‫ﺍﺳﺘﻨﺎﺩﺍ ﺇﱃ ﺗﺮﲨﺘﲔ ﺍﻷﻭﱃ ﻓﺮﻧﺴﻴﺔ ﻭ ﺍﻷﺧﺮﻯ ﻋﺮﺑﻴﺔ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺍﻟﻨﺴﺨﺔ ﺍﳌﺼﻮﺭﺓ‬

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‫ﺳﻴﻨﻴﻤﺎﺋﻴﺎ ﻣﻦ ﺃﺟﻞ ﺍﻟﻮﺻﻮﻝ ‪‬ﺎ ﺇﱃ ﺗﺮﲨﺔ ﻣﻘﺒﻮﻟﺔ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﺍﻟﻮﺻﻮﻝ ‪‬ﺎ ﺇﱃ ﺍﻷﻣﺮ‬
‫ﺍﻟﺬﻱ ﺍﻧﻄﻠﻘﺖ ﻟﺘﺤﻘﻴﻘﻪ ﻣﻨﺬ ﺍﻟﺒﺪﺍﻳﺔ‪.‬‬

‫ﻭ ﻫﺬﺍ ﻛﻠﻪ ﻣﻦ ﺃﺟﻞ ﺍﻟﻮﺻﻮﻝ ﺇﱃ ﺍﺳﺘﻨﺘﺎﺝ ﻣﺎ ﺇﺫﺍ ﻛﺎﻥ ﻣﻦ ﺍﳌﻤﻜﻦ ﺗﺮﲨﺔ ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﺃﻭ ﻣﺎ ﳓﻦ ﺇﻻ‬
‫ﻧﻘﻮﻡ ﺑﻨﺴﺨﻬﺎ‪ ،‬ﻭﻣﻦ ﺍﳌﺴﺘﺤﻴﻞ ﺍﻧﺘﻘﺎﳍﺎ ﻣﻦ ﺣﻀﺎﺭﺓ ﺇﱃ ﺃﺧﺮﻯ‪ .‬ﻭ ﺧﺼﻮﺻﺎ ﻭ ﳓﻦ ﻧﺘﺤﺪﺙ ﻋﻦ‬
‫ﺍﻟﻄﻔﻞ‪ ،‬ﻓﻬﻮﻻ ﻳﺘﻤﺘﻊ ﺑﺎﳋﱪﺓ ﻭ ﺍﻟﻮﻋﻲ ﺍﻟﻜﺎﻓﻴﲔ ﻣﻦ ﺃﺟﻞ ﺍﻧﺘﻘﺎﺀ ﻣﺎ ﻳﻘﺮﺃ‪ ،‬ﺃﻭ ﲢﺪﻳﺪ ﻣﺼﺪﺭ ﺃﻭ ﻫﻮﻳﺔ ﻣﺎ‬
‫ﻳﻘﺮﺃ‪.‬‬

‫‪ -‬ﺃﺳﺒﺎﺏ ﺍﺧﺘﻴﺎﺭ ﺍﳌﻮﺿﻮﻉ‪:‬‬

‫ﰲ ﻣﻘﺪﻭﺭﻧﺎ ﺗﻌﺪﺍﺩ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻷﺳﺒﺎﺏ ﺍﻟﱵ ﻗﺪ ﺗﺪﻓﻊ ﺃﻱ ﺩﺍﺭﺱ ﻟﻠﺒﺤﺚ ﰲ ﺃﻱ ﻣﻮﺿﻮﻉ ‪ ،‬ﻣﻬﻤﺎ‬
‫ﻛﺎﻥ ﻧﻮﻋﻪ ﺃﻭ ﺗﻮﺟﻬﻪ‪ ،‬ﻓﺤﺐ ﺍﻹﻃﻼﻉ ﻭ ﺍﳌﻌﺮﻓﺔ‪ ،‬ﺣﺠﺮﺍ ﺃﺳﺎﺱ ﻟﻘﻴﺎﻡ ﺍﻟﻌﻤﻠﻴﺔ ﻛﻜﻞ‪ ،‬ﰒ ﺗﺄﰐ ﺍﳌﻴﻮﻝ‬
‫ﻟﺘﻮﺟﻬﻪ ﳓﻮ ﻣﻮﺿﻮﻉ ﺑﻌﻴﻨﻪ‪ ،‬ﻟﺘﺘﺪﺧﻞ ﺑﻌﺪ ﺫﻟﻚ ﻗﺪﺭﺗﻪ ﺍﳋﺎﺻﺔ ﻭ ﻗﺎﺑﻠﻴﺘﻪ ﻟﻠﻌﻄﺎﺀ‪ ،‬ﻭ ﺗﻈﻬﺮﺍﻥ ﲟﺠﺮﺩ‬
‫ﲢﺪﻳﺪﻩ ﻟﻠﺨﻄﻮﻁ ﺍﻷﻭﱃ ﺍﻟﱵ ﺳﻴﺒﲎ ﻋﻠﻴﻬﺎ ﻋﻤﻠﻪ‪ ،‬ﰒ ﺗﺘﻄﻮﺭﺍﻥ ﺷﻴﺌﺎ ﻓﺸﻴﺌﺎ ﻛﻠﻤﺎ ﺗﻘﺪﻡ ﰲ ﺫﻟﻚ‪ ،‬ﻭ ﻟﻜﻦ‬
‫ﺑﺎﻟﻨﺴﺒﺔ ﺇﱃ ﻛﻞ ﺑﺎﺣﺚ ﻃﻤﻮﺡ‪ ،‬ﺗﻜﻮﻥ ﺍﻟﻌﻮﺍﺋﻖ ﻭﺍﳌﺸﺎﻛﻞ ﺍﻟﱵ ﻳﻔﺘﺮﺽ ﻭﺟﻮﺩﻫﺎ ﰲ ﺃﻱ ﻣﻴﺪﺍﻥ ﻫﻲ‬
‫ﺍﳊﺎﻓﺰ ﻭ ﺍﻟﺪﺍﻓﻊ ﳓﻮ ﺧﻮﺽ ﻏﻤﺎﺭ ﻟﻌﺒﺔ ﺍﻟﺒﺤﺚ ﺗﻠﻚ ﺑﺎﻟﺪﺭﺟﺔ ﺍﻷﻭﱃ‪ ،‬ﻟﻴﺒﺪﺃ ﰲ ﻓﻚ ﺷﻔﺮﺍ‪‬ﺎ‬
‫ﻭ ﺗﺸﺎﺑﻜﻬﺎ ﻭ ﻟﻴﺨﻠﺺ ﺇﱃ ﻏﲑﻫﺎ‪ ،‬ﺇﱃ ﺃﺧﺮﻯ ﺟﺪﻳﺪﺓ‪ ،‬ﻓﺎﻷﻣﺮ ﻻ ﻳﺘﻮﻗﻒ ﲟﺠﺮﺩ ﺇﳚﺎﺩ ﺍﳊﻠﻮﻝ‪ ،‬ﻓﺘﻠﻚ‬
‫ﻋﻤﻠﻴﺔ ﺗﻌﺎﻗﺒﻴﺔ‪ ،‬ﻻ ﺗﻘﻒ ﻋﻨﺪ ﺯﻣﻦ ﻭ ﻻ ﻋﻨﺪ ﻣﻜﺎﻥ‪ ،‬ﺍﻟﻜﻞ ﳛﺎﻭﻝ‪ ،‬ﻭ ﺍﻟﻜﻞ ﻳﻨﺠﺢ‪ ،‬ﺑﻐﺾ ﺍﻟﻨﻈﺮ ﻋﻤﺎ‬
‫ﳝﻜﻦ ﺃﻥ ﻳﺼﻞ ﺇﻟﻴﻪ ﻛﻞ ﻣﻨﻬﻢ‪ ،‬ﻷﻥ ﻧﻘﻄﺔ ‪‬ﺎﻳﺔ ﻛﻞ ﻭﺍﺣﺪ ﺗﻌﺪ ﻧﻘﻄﺔ ﻟﺒﺪﺍﻳﺔ ﺟﺪﻳﺪﺓ ﻟﺸﺨﺺ ﺁﺧﺮ ‪،‬‬
‫ﻛﻤﺎ ﺃﻥ ﺑﺘﻐﲑ ﺍﻟﺰﻣﺎﻥ ﻭ ﺍﳌﻜﺎﻥ‪ ،‬ﺗﺘﻐﲑ ﺍﳌﻌﻄﻴﺎﺕ ﻭ ﲤﻨﺢ ﻧﻔﺤﺔ ﺃﺧﺮﻯ ﻟﻠﺪﺭﺱ ﲝﻴﺚ ﺗﻔﺘﺢ ﺍ‪‬ﺎﻝ ﻭﺍﺳﻌﺎ‬
‫ﺃﻣﺎﻡ ﺍﺣﺘﻤﺎﻻﺕ ﺟﺪﻳﺪﺓ ﻓﻤﻴﺪﺍﻥ ﺍﻟﻌﻠﻢ ﻧﺒﻊ ﻻ ﻳﻨﻀﺐ ﺃﺑﺪﺍ‪.‬‬

‫ﻭﻗﺪ ﻛﺎﻥ ﻟﻨﺎ ﺃﻥ ﻧﻼﺣﻆ ﺃﻥ ﻫﻨﺎﻙ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻌﻠﻤﺎﺀ ﳑﺎ ﻻ ﳝﻜﻦ ﺣﺼﺮﻩ ﻣﻦ ﺍﻟﺬﻳﻦ ﺍﻫﺘﻤﻮﺍ ﲟﻮﺿﻮﻉ‬
‫ﺍﻷﺳﺎﻃﲑ‪ ،‬ﻓﻘﺪ ﺷﻜﻠﺖ ﻋﻠﻰ ﻣﺮ ﺍﻟﻌﺼﻮﺭ‪ ،‬ﻭ ﺑﺎﳌﻨﺎﺳﺒﺔ ﻣﺎﺯﺍﻟﺖ ﺗﺸﻜﻞ ﻟﻐﺰﺍ ﰲ ﻃﺮﻳﻘﺔ ﺑﻨﺎﺀﻫﺎ‪ ،‬ﻭ ﻋﻠﺔ‬
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‫ﻭﺟﻮﺩﻫﺎ‪ ،‬ﻭ ﻃﺮﻳﻘﺔ ﺗﻔﺎﻋﻠﻬﺎ ﻣﻊ ﳐﺘﻠﻒ ﺍ‪‬ﺘﻤﻌﺎﺕ‪ ،‬ﻭ ﻛﻴﻒ ﺳﻠﻤﺖ ﺇﱃ ﺣﺪ ﻣﺎ ﻣﻦ "ﻗﺎﻧﻮﻥ ﺍﻻﻧﺘﺨﺎﺏ‬
‫ﺍﻟﻄﺒﻴﻌﻲ" ﺍﻟﺬﻱ ﲤﺎﺭﺳﻪ ﺍﻟﻄﺒﻴﻌﺔ ﻋﻠﻰ ﻛﻞ ﺍ‪‬ﻮﺩﺍﺕ‪ ،‬ﺇﺫ ﻣﺎ ﺍﻧﻔﻜﺖ ﺗﻈﻬﺮ ﻭ ﺗﻼﺯﻡ ﺍﻟﺒﺸﺮ ﻋﱪ ﻗﺮﻭﻥ‬
‫ﻭ ﻗﺮﻭﻥ‪ ،‬ﻋﻠﻰ ﻣﺮ ﺍﻟﺘﺎﺭﻳﺦ‪ ،‬ﺗﺰﺩﻫﺮ ﻣﻌﻬﻢ‪ ،‬ﻭ ﺗﺘﺪﻫﻮﺭ ﻣﻌﻬﻢ ﻟﺘﻌﻮﺩ ﺑﻌﺪ ﺫﻟﻚ ﺃﻗﻮﻯ ﻭ ﺃﻛﺜﺮ ﺗﺮﺳﺨﺎ ﰲ‬
‫ﺍ‪‬ﺘﻤﻊ‪ ،‬ﻓﻬﻲ ﺷﺒﻴﻬﺔ ﺑﺎﻹﻧﺴﺎﻥ ﻣﻦ ﺣﻴﺚ ﺃ‪‬ﺎ ﺗﻮﻟﺪ ﻭ ﺗﺘﻔﺮﻉ ﻭ ﲣﺘﻠﻒ ﻟﺘﻠﺘﻘﻲ ﳎﺪﺩﺍ ﻋﻨﺪ ﻧﻘﻄﺔ ﻣﺎ ﻣﻦ‬
‫ﺍﻟﺘﺎﺭﻳﺦ‪ ،‬ﻓﺎﻷﺻﻞ ﻻ ﳜﺘﻔﻲ ﻛﻠﻴﺎ ﻛﻤﺎ ﻻ ﻳﺘﻮﻗﻒ ﺍﻟﻔﺮﻉ ﻋﻦ ﺍﻟﻨﻤﻮ ﻭ ﺍﻻﺯﺩﻫﺎﺭ ﺃﺑﺪﺍ‪ .‬ﺗﻔﺮﺽ ﲢﺪﻳﺎﺕ ﻻ‬
‫ﺣﺼﺮ ﳍﺎ ﻋﻠﻰ ﺍﻟﺒﺎﺣﺚ‪ ،‬ﻓﻤﺎ ﻫﻮ ﺧﺮﺍﻓﺔ ﻟﻨﺎ‪ ،‬ﻗﺪ ﻳﻜﻮﻥ ﺍﻋﺘﻘﺎﺩﺍ ﺭﺍﺳﺨﺎ ﻟﻐﲑﻧﺎ‪ ،‬ﻭ ﺍﻟﻌﻜﺲ ﻳﺼﺢ ﺩﺍﺋﻤﺎ‪.‬‬
‫ﻭ ﻣﻦ ﺍﻟﻌﻠﻤﺎﺀ ﺍﻟﺬﻳﻦ ﺧﺎﺿﻮﺍ ﻏﻤﺎﺭ ﺍﳌﻐﺎﻣﺮﺓ ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ ﻻ ﺍﳊﺼﺮ ﻟﺪﻳﻨﺎ‪" :‬ﺑﻴﺎﺭ ﻏﺮﳝﺎﻝ"‪" ،‬ﻣﲑﺳﻴﺎ‬
‫ﺇﻟﻴﺎﺩ"‪ ،‬ﺃﻟﻜﺴﻲ ﺍﻟﻴﻮﺳﻒ"‪ ،‬ﺭﳝﻮﻧﺪ ﺗﺮﻭﺳﻮ" " ﻓﺮﺍﺱ ﺍﻟﺴﻮﺍﺡ"‪ ...‬ﻭ ﻏﲑﻫﻢ‪.‬‬

‫ﰒ ﳌﺎﺫﺍ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﺩﻭﻧﺎ ﻋﻦ ﻏﲑﻩ‪ ،‬ﻭ ﺫﻟﻚ ﺑﺒﺴﺎﻃﺔ ﻷﻥ ﺍﻟﺪﺭﺍﺳﺎﺕ ﰲ ﻫﺬﺍ ﺍ‪‬ﺎﻝ ﻻ ﺗﺰﺍﻝ ﺑﻜﺮﺍ‬
‫ﺑﻜﻮﺭﺓ ﺍﳌﻴﺪﺍﻥ ﻧﻔﺴﻪ‪ ،‬ﻓﻠﻢ ﻳﻈﻬﺮ ﻛﻤﻴﺪﺍﻥ ﺧﺎﺹ ﻟﻪ ﺩﺭﺍﺳﺎﺗﻪ ﻭ ﺩﺍﺭﺳﻴﻪ ﺇﱃ ﰲ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻣﻦ ﻋﺸﺮ‪،‬‬
‫ﻭ ﻻ ﻭﺟﻪ ﻟﻠﻤﻘﺎﺭﻧﺔ ﺑﻴﻨﻪ ﻭ ﺑﲔ ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﺭﻏﻢ ﺃﻥ ﻟﻘﺎﺀ ﺍﻟﻄﻔﻞ ﺑﺎﻷﺩﺏ ﰲ ﺷﻜﻠﻪ ﺍﻟﺸﻔﻬﻲ ﻗﺪ ﰎ ﻗﺒﻞ‬
‫ﺫﻟﻚ ﺑﻜﺜﲑ ﻣﻦ ﺧﻼﻝ ﻣﺎ ﻭﺻﻞ ﺇﻟﻴﻪ ﻣﻦ ﺍﻟﻜﺒﺎﺭ ‪ ،‬ﺭﻏﻢ ﺃﻧﻪ ﱂ ﻳﻜﻦ ﻣﻮﺟﻬﺎ ﺃﺳﺎﺳﺎ ﺇﻟﻴﻪ‪ ،‬ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ‬
‫ﺣﺪﺍﺛﺔ ﻋﻬﺪﻩ ﺑﺎﻟﺪﻧﻴﺎ ﻭ ﻗﻠﺔ ﺧﱪﺗﻪ ﰲ ﻛﻞ ﳎﺎﻻﺕ ﺍﳊﻴﺎﺓ‪ ،‬ﻓﻤﺎ ﻛﺎﻥ ﻳﻄﺮﺣﻪ ﻫﺬﺍ ﺍﻷﺩﺏ ﻛﺎﻥ ﺃﻋﻤﻖ ﳑﺎ‬
‫ﻳﺼﻞ ﺇﻟﻴﻪ ﻓﻬﻤﻪ ﻭﻭﻋﻴﻪ ﺇﻻ ﺃﻧﻪ ﺃﺑﺪﻯ ﲡﺎﻭﺑﺎ ﻣﻊ ﺃﺣﺪﺍﺛﻪ ﺇﱃ ﺣﺪ ﻣﺎ‪.‬‬

‫ﻭﻣﻊ ﺗﻘﺪﻡ ﻋﻠﻮﻡ ﺍﻟﻨﻔﺲ‪ ،‬ﺃﺻﺒﺢ ﻓﻬﻢ ﺍﻹﻧﺴﺎﻥ ﻷﺧﻴﻪ ﺍﻹﻧﺴﺎﻥ ﺃﻓﻀﻞ ﺳﻮﺍﺀ ﻛﺎﻥ ﻳﻜﱪﻩ ﺳﻨﺎ ﺃﻡ‬
‫ﻳﺼﻐﺮﻩ‪ .‬ﻭ ﻗﺪ ﻋﺮﻑ ﻫﺬﺍ ﺍ‪‬ﺎﻝ ﻣﻦ ﺍﻷﺩﺑﺎﺀ ﺍﻟﺬﻳﻦ ﺍﻫﺘﻤﻮﺍ ﺑﺎﻟﺘﻮﺟﻪ ﰲ ﻛﺘﺎﺑﺎ‪‬ﻢ ﻟﻠﻄﻔﻞ ﺍﻟﻜﺜﲑﻳﻦ‪،‬‬
‫ﻓﻤﻨﻬﻢ ﻣﻦ ﻛﺎﻥ ﻳﻜﺘﺐ ﻟﻠﻜﺒﺎﺭ ﻭ ﺍﻟﺼﻐﺎﺭ ﻣﻌﺎ‪ ،‬ﻭ ﻣﻨﻬﻢ ﻣﻦ ﺳﺨﺮ ﻗﻠﻤﻪ ﻟﻠﻄﻔﻞ ﻓﻘﻂ ﻭ ﻋﻠﻰ ﺳﺒﻴﻞ‬
‫ﺍﳌﺜﺎﻝ ﻻ ﺍﳊﺼﺮ ﻫﻨﺎﻙ‪" :‬ﺩﻳﻜﱰ"‪" ،‬ﻛﻴﺒﻠﻴﻨﻎ"‪" ،‬ﻫﻮﻏﻮ"‪" ،‬ﺳﻮﻳﻔﺖ"‪" ،‬ﳏﻤﺪ ﻋﺜﻤﺎﻥ ﺟﻼﻝ"‪"،‬ﺃﲪﺪ‬
‫ﺷﻮﻗﻲ"‪" ،‬ﻛﺎﻣﻞ ﺍﻟﻜﻴﻼﱐ"‪" ،‬ﺭﻓﺎﻋﺔ ﺍﻟﻄﻬﻄﺎﻭﻱ"‪...‬ﻭﻏﲑﻫﻢ‪.‬‬

‫ﻟﻄﺎﳌﺎ ﺍﻫﺘﻢ ﺍﻟﺪﺍﺭﺳﻮﻥ ﺑﺄﺩﺏ ﺍﻟﻄﻔﻞ ﻣﻨﺬ ﺃﻥ ﺩﺧﻞ ﺣﻴﺰ ﺍﻟﻨﻈﺎﻣﻴﺔ ﻭ ﻟﻜﻞ ﻛﺎﻥ ﻣﺬﻫﺒﻪ‪ ،‬ﻭ ﻟﻜﻞ ﻟﻪ‬
‫ﻏﺎﻳﺘﻪ‪ ،‬ﻭﻟﻜﻦ ﱂ ﺃﺳﺘﻄﻊ ﺇﻻ ﺃﻥ ﺍﺧﺘﺎﺭﻩ ﻛﻤﻮﺿﻮﻉ ﻟﺒﺤﺜﻲ ﺍﻟﺒﺴﻴﻂ ﻷﻧﻪ ﺃﻋﻤﻖ ﻭ ﺃﻛﺜﺮ ﺗﺸﻌﺒﺎ ﳑﺎ ﻗﺪ‬

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‫ﺃﺑﺪﻳﻪ ﻟﻪ ﻣﻦ ﺍﻫﺘﻤﺎﻡ ﻭ ﺩﺭﺍﺳﺔ‪ ،‬ﺇﺫ ﺗﺒﻘﻰ ﻫﺬﻩ ﺍﻷﺧﲑﺓ ﳎﺮﺩ ﻧﻈﺮﺓ ﺷﺨﺼﻴﺔ ﳍﺬﺍ ﺍﳌﻮﺿﻮﻉ‪ ،‬ﻓﺎﻟﻄﻔﻞ ﺃﻭ‬
‫ﺍﻹﻧﺴﺎﻥ ﻋﻤﻮﻣﺎ‪ ،‬ﻳﺒﻘﻰ ﻋﻠﻰ ﺍﺗﺼﺎﻝ ﺑﺎﻷﺳﻄﻮﺭﺓ ﻣﺪﻯ ﺣﻴﺎﺗﻪ‪ ،‬ﺇﻣﺎ ﰲ ﺷﻜﻞ ﺣﻜﺎﻳﺎﺕ ﻭ ﺃﺧﺒﺎﺭ ﻳﺘﻨﺎﻗﻠﻬﺎ‬
‫ﻣﻦ ﺟﻴﻞ ﺇﱃ ﺟﻴﻞ ﻣﺸﺎﻓﻬﺔ‪ ،‬ﺃﻭ ﺗﺪﺧﻞ ﺣﻴﺰ ﺍﻷﺩﺏ ﰲ ﺷﻜﻠﻬﺎ ﺍﻟﺬﻱ ﻧﻌﺮﻓﻪ ‪‬ﺎ‪ ،‬ﻭﻫﻨﺎﻙ ﺳﺒﺒﺎﻥ‬
‫ﺟﻮﻫﺮﻳﺎﻥ ﺩﻓﻌﺎ ﰊ ﺇﱃ ﺗﻜﺒﺪ ﻋﻨﺎﺀ ﺍﶈﺎﻭﻟﺔ ﰲ ﻫﺬﺍ ﺍ‪‬ﺎﻝ ﺃﻭﳍﻤﺎ‪ ،‬ﳏﺎﻭﻟﺔ ﻣﻌﺮﻓﺔ ﻛﻴﻒ ﻳﻨﻈﺮ ﺍﻟﻄﻔﻞ ﺇﱃ‬
‫ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﺇﻣﺎ ﻣﻦ ﻣﻨﻄﻠﻖ ﻛﻴﻨﻮﻧﺘﻬﺎ ﺍﳌﻘﺪﺳﺔ‪ ،‬ﺃﻭ ﻭﺟﻮﺩﻫﺎ ﺍﳊﻜﺎﺋﻲ‪ ،‬ﻭﺛﺎﻧﻴﻬﻤﺎ‪ :‬ﺃﻧﲏ ﻻﺣﻈﺖ ﻭ ﻟﻌﻞ‬
‫ﺍﻟﻜﺜﲑﻳﻦ ﻣﻦ ﺍﻟﺪﺍﺭﺳﲔ ﺍﻟﻴﻮﻡ ﺃﺑﺪﻭ ﻫﺬﻩ ﺍﳌﻼﺣﻈﺔ‪ ،‬ﺃﻥ ﺍﻟﻌﺎﱂ ﺍﻟﻴﻮﻡ ﰲ ﺧﻀﻢ ﻓﻮﺭﺓ ﺍﳌﻌﻠﻮﻣﺎﺗﻴﺔ ﻭ ﺍﻟﺮﻗﻤﻨﺔ‬
‫ﻳﻌﺮﻑ ﺗﻮﺟﻬﺎ ﻗﻮﻳﺎ ﳓﻮ ﻛﻞ ﻣﺎ ﻫﻮ ﺃﺳﻄﻮﺭﻱ ﻭ ﺧﺮﺍﰲ‪ ،‬ﻭ ﻧﻼﺣﻆ ﻫﺬﺍ ﺑﺸﻜﻞ ﺃﻭﺿﺢ ﰲ ﳎﺎﻝ ﺻﻨﺎﻋﺔ‬
‫ﺍﻷﻓﻼﻡ ﺍﻟﱵ ﺗﻌﺮﻑ ﺍﺯﺩﻫﺎﺭﺍ ﺧﺎﺻﺔ ﰲ ﻧﻮﻋﻴﺔ ﺍﻷﻓﻼﻡ ﺍﻟﱵ ﺗﻄﺮﻕ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ‪ ،‬ﳑﺎ ﻳﻌﲏ ﺃﻧﻪ ﺗﻮﺟﻪ‬
‫ﻓﻜﺮﻱ ﺛﻘﺎﰲ ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﺟﺪﻳﺪ ﰲ ﻃﺮﺣﻪ ﻭﺣﻴﺰﻩ ﺍﻟﺬﻱ ﳛﺘﻠﻪ‪ ،‬ﻻ ﰲ ﻋﻬﺪ ﺍﻹﻧﺴﺎﻥ ﺑﻪ‪ ،‬ﻭ ﻻ ﰲ ﺗﻔﺎﻋﻠﻪ‬
‫ﻣﻌﻪ‪ .‬ﻭ ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ ﻭﳉﺖ ﺃﺑﻮﺍﺏ ﺍﻷﺩﺏ ﻭﻣﻨﻪ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻭ ﺑﺎﺏ ﺍﳌﻮﺭﻭﺙ ﺍﻟﺜﻘﺎﰲ ﻭ ﻣﻨﻪ‬
‫ﺍﻷﺳﺎﻃﲑ‪.‬‬

‫‪ -‬ﻋﻘﺒﺎﺕ ﰲ ﻋﻤﻠﻴﺔ ﺍﻟﺒﺤﺚ‪:‬‬

‫ﻓﻜﻞ ﻋﻤﻠﻴﺔ ﲝﺚ ﻭ ﳍﺎ ﻋﻘﺒﺎﺕ ﺗﻌﺘﺮﺽ ﻃﺮﻳﻘﻬﺎ ﻟﻴﺲ ﻟﺘﺜﻨﻴﻨﺎ ﻋﻦ ﺧﻮﺽ ﻏﻤﺎﺭﻫﺎ ﻭ ﺇﳕﺎ ﺗﺄﰐ‬
‫ﻛﺤﺎﻓﺰ ﻟﻠﻤﻀﻲ ﻗﺪﻣﺎ ﳓﻮ ﲢﻘﻴﻖ ﻓﻜﺮﺓ ﻣﺎ ﺃﻭ ﺍﻟﺘﺄﻛﺪ ﻣﻦ ﻓﺮﺿﻴﺔ ﻣﺎ‪ ،‬ﻭ ﱂ ﺗﻜﻮﻥ ﻋﻤﻠﻴﺔ ﺍﻟﺒﺤﺚ‬
‫ﻫﺬﻩ ﺍﺳﺘﺜﻨﺎﺀ‪ ،‬ﻓﺒﲔ ﻧﻘﺺ ﺍﳌﺮﺍﺟﻊ ﻭ ﺻﲑﻭﺭﺓ ﺍﻟﺒﺤﺚ ﻛﻌﻤﻠﻴﺔ ﻗﺎﺋﻤﺔ ﻋﻠﻰ ﺍﻻﺳﺘﺪﻻﻝ ﺍﳌﻨﻄﻘﻲ‪،‬‬
‫ﻭ ﺍﻟﺘﺤﻠﻴﻞ‪ ،‬ﺣﺎﻭﻟﺖ ﺍﻟﻮﺻﻮﻝ ﺑﺒﺤﺜﻨﺎ ﻫﺬﺍ ﺇﱃ ﺃﻗﺼﻰ ﻣﺎ ﳝﻜﻦ ﻣﻦ ﺃﺟﻞ ﺍﺳﺘﺠﻼﺀ ﺣﻘﻴﻘﺔ‬
‫ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﻣﻮﺍﺟﻬﺔ ﺃﺩﺏ ﺍﻟﻄﻔﻞ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﰲ ﻣﻮﺍﺟﻬﺔ ﺍﻟﻄﻔﻞ ﻧﻔﺴﻪ‪ .‬ﻭ ﱂ ﺗﻌﺪﻭ ﻛﻮ‪‬ﺎ‬
‫ﻋﻘﺒﺎﺕ ﻷﻥ ﺗﺴﻤﻴﺘﻬﺎ ﺑﺎﳌﺸﺎﻛﻞ ﻳﻔﺮﺽ ﻋﻠﻴﻨﺎ ﺇﳚﺎﺩ ﺣﻠﻮﻝ ﻗﻄﻌﻴﺔ ﻭ ﻣﺎ ﻗﻤﻨﺎ ﺑﻪ ﻫﻮ ﺍﻓﺘﺮﺍﺽ‬
‫ﻫﺬﻩ ﺍﳊﻠﻮﻝ ﻓﻤﻴﺪﺍﻥ ﺍﻟﺒﺤﺚ ﻣﺎﺯﺍﻝ ﺑﻜﺮﺍ‪ ،‬ﻓﻼ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻫﻮ ﺍﻷﻭﻝ‪ ،‬ﻭ ﺑﺎﻟﺘﺄﻛﻴﺪ ﻟﻦ ﻳﻜﻮﻥ‬
‫ﺍﻷﺧﲑ ﻣﻦ ﻧﻮﻋﻪ‪.‬‬

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 ‫‪ .1‬ﻧﻈﺮﻳﺔ ﺍﻟﺘﺮﲨﺔ‬
‫‪ .2‬ﻧﻘﺪ ﺍﻟﺘﺮﲨﺔ‬
‫‪ .3‬ﺍﻟﺘﺮﲨﺔ‪ :‬ﺻﺮﺍﻉ ﺑﲔ ﺛﻨﺎﺋﻴﺎﺕ‬
‫‪ .4‬ﺑﺆﺭ ﺍﻟﺘﺤﺪﻱ ﰲ ﺍﻟﺘﺮﲨﺔ‬
‫‪ .5‬ﺻﲑﻭﺭﺓ ﺍﻟﻌﻤﻠﻴﺔ ﺍﻟﺘﺮﲨﻴﺔ‬
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‫ﻳﺘﻤﺤﻮﺭ ﺍﳊﺪﻳﺚ ﰲ ﻫﺬﺍ ﺍﳌﻘﺎﻡ ﺣﻮﻝ ﺍﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ ﻭ ﺇﺷﻜﺎﻟﻴﺔ ﺍﳌﻌﲎ‪ ،‬ﻓﻘﺪ ﺃﻗﺎﻣﺖ ﺍﻟﺘﺮﲨﺔ ﺑﺸﻜﻞ‬
‫ﻋﺎﻡ ﺻﺮﺣﺎ ﳛﻤﻲ ﺍﳌﻌﲎ ﻭﻳﻀﻤﻦ ﺍﻧﺘﻘﺎﻟﻪ ﻣﻦ ﺛﻘﺎﻓﺔ ﺇﱃ ﺃﺧﺮﻯ‪ ،‬ﻭ ﻣﻊ ﻫﺬﺍ ﻻ ﳜﻠﻮ ﺍﻷﻣﺮ ﻣﻦ ﺑﻌﺾ‬
‫ﺍﳌﻌﻮﻗﺎﺕ‪ ،‬ﺣﻴﺚ ﻳﻈﻬﺮ ﺍﻟﺘﻌﻘﻴﺪ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﳌﻌﺎﱐ ﺍﻟﱵ ﺗﺘﻤﺎﺯﺝ‪ ،‬ﻭ ﺍﻟﺪﻻﻻﺕ ﺍﻟﱵ ﺗﺘﻌﺪﺩ‪،‬‬
‫ﻭ ﺍﻟﻌﻼﻗﺎﺕ ﺑﲔ ﻣﻜﻮﻧﺎﺕ ﺍﻟﻨﺺ )ﺍﻟﺘﺮﺍﻛﻴﺐ( ﺍﻟﱵ ﺗﺘﺸﺎﺑﻚ ﻭ ﺗﺘﺸﻌﺐ‪ .‬ﻭ ﻣﻨﺬ ﻇﻬﻮﺭﻫﺎ ﻛﻤﻤﺎﺭﺳﺔ ﰒ‬
‫ﻛﻌﻠﻢ ﻗﺎﺋﻢ ﺑﺬﺍﺗﻪ ﻭ ﻫﻲ ﲢﺎﻭﻝ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﻫﺬﻩ ﺍﳌﺴﺎﺋﻞ‪ ،‬ﻋﻠﻰ ﻳﺪ ﳎﻤﻮﻋﺔ ﻛﺒﲑﺓ ﻣﻦ ﺍﻟﻌﻠﻤﺎﺀ ﺍﻟﺬﻳﻦ‬
‫ﺣﺎﻭﻟﻮﺍ ﲢﺪﻳﺪ ﲣﻮﻣﻬﺎ‪ ،‬ﻭ ﺗﺒﻴﲔ ﻣﻌﺎﳌﻬﺎ‪ ،‬ﻟﺮﻓﻌﻬﺎ ﺇﱃ ﻣﺼﺎﻑ ﺍﻟﻌﻠﻮﻡ‪ ،‬ﻣﻦ ﺧﻼﻝ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻨﻈﺮﻳﺎﺕ‬
‫ﻭ ﺍﳌﻘﺎﺭﺑﺎﺕ‪ ،‬ﺍﻟﱵ ﺳﺎﳘﺖ ﺑﺸﻜﻞ ﻛﺒﲑ ﰲ ﺇﻧﺎﺭﺓ ﺩﺭﺏ ﺍﳌﺘﺮﲨﲔ ﻭﻗﺖ ﺍﳌﻤﺎﺭﺳﺔ‪ .‬ﻭ ﺍﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ‬
‫ﻫﻲ ﺗﺮﲨﺔ ﺍﻵﺩﺍﺏ ﺑﻜﻞ ﻓﺮﻭﻋﻬﺎ ﺍﳌﺨﺘﻠﻔﺔ ﻣﻦ ﺷﻌﺮ ﻭ ﻧﺜﺮ ) ﺍﳌﺴﺮﺡ‪ ،‬ﺍﻟﻘﺼﺔ‪ ،‬ﺍﻟﺮﻭﺍﻳﺔ‪ ،(....‬ﻭ ﺗﺸﺘﺮﻙ‬
‫ﻣﻊ ﺍﻟﺘﺮﲨﺔ ﻋﺎﻣﺔ ﰲ ﺃ‪‬ﺎ ‪‬ﺪﻑ ﺇﱃ ﻧﻘﻞ ﺷﻔﺮﺓ ﻟﻐﻮﻳﺔ ﻣﺎ ﺇﱃ ﺷﻔﺮﺓ ﻟﻐﻮﻳﺔ ﺃﺧﺮﻯ‪ ،‬ﺃﻱ ﻣﻦ ﻣﻨﻈﻮﻣﺔ‬
‫ﻟﻐﻮﻳﺔ ﻣﺎ ﺇﱃ ﻣﻨﻈﻮﻣﺔ ﻟﻐﻮﻳﺔ ﺃﺧﺮﻯ‪ .‬ﻣﻊ ﺍﻷﺧﺬ ﺑﻌﲔ ﺍﻻﻋﺘﺒﺎﺭ ﺍﳉﺎﻧﺒﲔ ﺍﻟﺜﻘﺎﰲ ﻭ ﺍﻟﻠﻐﻮﻱ‪ .‬ﻷﻥ ﺍﻟﻨﺺ‬
‫ﺍﻷﺩﰊ ﻳﺘﻀﻤﻦ ﻋﻨﺎﺻﺮ ﺑﻼﻏﻴﺔ‪ ،‬ﺑﻨﺎﺋﻴﺔ‪ ،‬ﻭ ﻣﻮﺳﻴﻘﻴﺔ‪ ،‬ﳑﺎ ﻳﺘﻄﻠﺐ ﻣﻘﺎﺭﻧﺎﺕ ﺩﺍﺋﺒﺔ ﻋﻠﻰ ﻛﻞ ﺍﳌﺴﺘﻮﻳﺎﺕ‬
‫ﺑﲔ ﺍﻟﻠﻐﺎﺕ‪ 1.‬ﻭ ﻟﻜﻦ ﻭﺟﻮﺩ ﺗﺮﲨﺔ ﺃﺩﺑﻴﺔ ﻻ ﻳﻌﲏ " ﻭﺟﻮﺩ ﻟﻐﺔ ﺧﺎﺻﺔ ﺑﺎﻷﺩﺏ* ﻭ ﻻ ﻳﻌﲏ ﻗﻄﻌﺎ‬
‫ﻭ ﺟﻮﺩ ﺃﺳﻠﻮﺏ ﺃﺩﰊ ﻭﺍﺣﺪ‪ ،‬ﻭ ﻟﻜﻦ ﺍﺳﺘﻌﻤﺎﻝ ﺍﻟﻠﻐﺔ ﰲ ﺍﻷﺩﺏ ﻗﺪ ﳜﺘﻠﻒ ﻋﻦ ﺍﺳﺘﻌﻤﺎﻝ ﺍﻟﻠﻐﺔ ﰲ‬
‫ﺍﻟﻜﺘﺎﺑﺎﺕ ﺍﻟﻌﻠﻤﻴﺔ‪ 2".‬ﻓﺎﻷﻣﺮ ﻳﺘﻌﻠﻖ ﻫﻨﺎ ﺑﺎﻹﺑﺪﺍﻉ‪ ،‬ﻓﻠﻜﻞ ﻛﺎﺗﺐ ﺭﺅﻳﺔ ﻭ ﺃﻫﺪﺍﻑ ﺧﺎﺻﺔ ﻳﺴﻌﻰ ﺇﱃ‬
‫ﲢﻘﻴﻘﻬﺎ ﻣﻦ ﻭﺭﺍﺀ ﺫﻟﻚ‪ ،‬ﳍﺬﺍ ﻋﻠﻰ ﺍﳌﺘﺮﺟﻢ ﺃﻥ ﻳﻜﻮﻥ ﻋﻠﻰ ﺩﺭﺍﻳﺔ ﻭ ﺇﻃﻼﻉ ﻭﺍﺳﻌﲔ ﻋﻠﻰ ﺍﻷﺩﺏ‬
‫ﻭ ﺍﻟﻨﻘﺪ‪ ،‬ﻷﻥ ﺍﻟﻔﻌﻞ ﺍﻟﺘﺮﲨﻲ ﺛﻘﺎﻓﺔ‪ ،‬ﻓﻬﻢ‪ ،‬ﻭ ﻗﺮﺍﺀﺍﺕ‪ .‬ﻭ ﻛﻠﻬﺎ ﻋﻮﺍﻣﻞ ﺗﺆﺛﺮ ﰲ ﺷﻜﻞ ﻭ ﻣﺪﻯ ﺗﺬﻭﻕ‬
‫ﺍﻟﻘﺎﺭﺉ ﻟﻠﻤﺎﺩﺓ ﺍﳌﺘﺮﲨﺔ‪.‬‬
‫‪ -1‬ﳏﻤﺪ ﻋﻨﺎﱐ‪" ،‬ﺍﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ ﺑﲔ ﺍﻟﻨﻈﺮﻳﺔ ﻭ ﺍﻟﺘﻄﺒﻴﻖ"‘‪ ،‬ﺍﻟﺸﺮﻛﺔ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻌﺎﳌﻴﺔ ﻟﻠﻨﺸﺮ‪ -‬ﻟﻮﳒﻤﺎﻥ ‪ -‬ﻁ ‪.1997-01‬ﺹ‪.7‬‬
‫‪ -2‬ﻡ‪.‬ﻥ‪ .‬ﺹ‪.34.‬‬

‫*‪ -‬ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﺍﻷﺩﺏ ﺣﻘﻞ ﻣﻌﺮﰲ ﻣﺜﻠﻪ ﻣﺜﻞ ﺃﻱ ﺣﻘﻞ ﺁﺧﺮ ﻭ ﻳﺘﻄﻠﺐ ﻣﻦ ﺍﳌﺘﺮﺟﻢ ‪ ،‬ﻛﻤﺎ ﺣﺪﺩﻩ ﺑﻴﲑ ﻟﻮﺭﺍﺕ‪ ،‬ﻋﻠﻰ ﺃﻥ ﻳﻨﺘﺒﻪ ﻟﻠﻤﺼﻄﻠﺤﻴﺔ ﺃﻭﻋﻠﻴﻨﺎ‬
‫ﺍﻟﻘﻮﻝ ﺍﻷﻟﻔﺎﻅ ﺇﺫ ﺃﻥ ﻫﺬﺍ ﺍﻷﻣﺮ ﻧﻔﺴﻪ ﻫﻮ ﻣﺎ ﻳﺒﻌﺪ ﺍﻷﺩﺏ ﻋﻦ ﺩﺍﺋﺮﺓ ﻟﻐﺔ ﺍﺧﺘﺼﺎﺹ ﺑﺴﺒﺐ ﺃﻥ ﻟﻪ ﺃﻟﻔﺎﻅ ﻓﻘﻂ‪ ،‬ﻭ ﻟﻜﻦ ﻟﺪﻳﻪ ﺑﻌﺪ ﺛﻘﺎﰲ‪ ،‬ﻭ ﻟﻠﻐﺘﲔ ﺧﺼﻮﺻﻴﺔ‪ ،‬ﻛﻤﺎ‬
‫ﻭ ﺍﳌﻬﺎﺭﺓ ﻟﻨﻘﻞ ﺍﻟﻨﺺ‪ .‬ﻳﻨﻈﺮ ‪Pierre Lerat« les langes spécialisées »,PUF,1e‬‬ ‫ﺃﻥ ﺍﳌﺘﺮﺟﻢ ﳛﺘﺎﺝ ﺇﱃ ﺍﶈﻤﻮﻝ ﺍﳌﻌﺮﰲ‬
‫‪édition,1995, France.‬‬

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‫ﻭ ﻫﻲ ﺗﻘﺪﻡ ﺑﺬﻟﻚ ﺧﺪﻣﺔ ﻛﺒﲑﺓ ﻟﻸﺩﺏ ﻓﻬﻲ ﺗﻌﻤﻞ ﻋﻤﻞ ﺍﻟﺮﻗﻴﺐ ﻋﻠﻰ ﺍﻟﻠﻐﺔ‪،‬ﻭ ﲢﺪﺩ ﻣﺴﺎﺭﻫﺎ‬
‫ﻭ ﺗﻄﻮﺭﻫﺎ ﻷﻥ ﺍﻟﻠﻐﺔ ﺍﳍﺪﻑ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃ‪‬ﺎ ﻛﺎﺋﻦ ﺣﻲ‪ ،‬ﺗﺘﻄﻮﺭ‪ ،‬ﻭ ﺗﻨﺘﻌﺶ‪ ،‬ﻭ ﺗﺘﻜﺎﺛﺮ ﻣﻦ ﺧﻼﻝ ﻣﺎ‬
‫ﺗﻔﺮﺿﻪ ﻋﻠﻴﻬﺎ ﺍﻟﻠﻐﺔ ﺍﻷﺻﻞ ﻣﻦ ﲢﺪﻳﺎﺕ ﰲ ﳏﺎﻭﻟﺔ ﺍﺳﺘﻨﺒﺎﻁ ﺍﳌﻌﲎ‪ ،‬ﺗﻮﻟﺪ ﺃﻟﻔﺎﻇﺎ ﺟﺪﻳﺪﺓ‪ ،‬ﻭ ﺗﺴﺘﻘﺒﻞ‬
‫ﺗﺮﺍﻛﻴﺐ ﻏﺮﻳﺒﺔ ﺗﻜﻴﻔﻬﺎ ﻟﺘﺼﺒﺢ ﳍﺎ‪ ،‬ﻭﺑﺎﻟﺘﺎﱄ ﻳﺼﺒﺢ ﺃﻓﻘﻬﺎ ﺃﻛﺜﺮ ﺍﺗﺴﺎﻋﺎ‪ ،‬ﻭ ﻧﻈﺮ‪‬ﺎ ﺇﱃ ﻣﺎ ﻳﻔﺪ ﺇﻟﻴﻬﺎ ﺃﻛﺜﺮ‬
‫ﴰﻮﻟﻴﺔ‪ ،‬ﻭﻟﻜﻦ ﺩﻭﻥ ﺃﻥ ﺗﺘﺨﻠﻰ ﰲ ﻏﻤﺮﺓ ﻛﻞ ﺫﻟﻚ ﻋﻦ ﺧﺼﻮﺻﻴﺘﻬﺎ ﻛﻠﻐﺔ ﻫﺪﻑ‪ ،‬ﲟﻌﲎ ﺃﻥ ﺍﻟﺘﺮﲨﺔ‬
‫ﺗﺘﻨﺎﻭﻝ ﺍﻟﻨﺼﻮﺹ ﺍﻷﺩﺑﻴﺔ ﺍﻟﻘﺪﳝﺔ ﺑﺮﺅﻯ ﻭ ﻣﻌﺎﻳﲑ ﺍﳊﺎﺿﺮ ﻭ ﺍﳌﺴﺘﻘﺒﻞ‪ .‬ﺇﺫ ﺗﻔﺘﺢ ﺫﺭﺍﻋﻴﻬﺎ ﻟﻨﺺ ﺃﺩﰊ‬
‫ﻛﺎﻥ ﻗﺪ ﰎ ﺗﺄﻟﻴﻔﻪ ﰲ ﺯﻣﻦ ﻣﻀﻰ‪ ،‬ﻭ ﺗﻌﻴﺪ ﻗﺮﺍﺀﺗﻪ ﰲ ﺍﳊﺎﺿﺮ ﺃﻭ ﺍﳌﺴﺘﻘﺒﻞ‪ ،‬ﻭ ﻫﻲ ﺑﺬﻟﻚ ﺗﻌﻴﺪ ﺇﺣﻴﺎﺀﻩ‬
‫ﰲ ﻗﺎﻟﺐ ﻳﺘﻨﺎﺳﺐ ﻣﻊ ﺍﻟﺰﻣﻦ ﺍﳊﺎﺿﺮ‪" ،‬ﻓﻬﻲ ﻗﻄﻌﺎ ﻻ ﺗﺮﺍﺩﻑ ﺇﺭﺟﺎﻋﺎ ﺇﱃ ﻋﺎﱂ ﻗﺪﱘ‪ ،‬ﺇ‪‬ﺎ ﺧﺎﺩﻣﺔ‬
‫ﺍﳊﺎﺿﺮ ﻭ ﻋﻠﻴﻬﺎ ﺃﻻ ﺗﺮﺟﻊ ﺍﻟﻨﺺ ﺇﱃ ﺃﺩﻳﺐ ﺃﻭ ﺷﺎﻋﺮ ﻧﻔﲏ ﺍﻟﻌﻤﺮ ﲝﺜﺎ ﻋﻦ ﺻﻴﻐﺘﻪ‪ .‬ﺇ‪‬ﺎ ﻭﺻﺎﻝ ﳚﻤﻊ‬
‫ﻣﺎ ﺑﲔ ﺍﳌﺒﺪﻉ ﻭ ﺍﳌﺘﺮﺟﻢ ﻭ ﺍﳌﺘﻠﻘﻲ ﻟﻜﻨﻪ ﻳﺘﺤﺮﻙ ﺻﻮﺏ ﺍﳊﺎﺿﺮ ﻭ ﺍﳌﺴﺘﻘﺒﻞ‪ ،‬ﺇ‪‬ﺎ ﺳﻠﻄﺔ ﺍﳊﺎﺿﺮ‬
‫ﻭ ﻣﻄﻠﺒﻪ ﻭ ﻗﻮﺗﻪ ﰲ ﺍﺟﺘﺬﺍﺏ ﺍﳌﺎﺿﻲ ﻭ ﺍﻟﺘﻔﺎﻋﻞ ﻣﻌﻪ‪ 1".‬ﻭ ﺑﺎﳌﻨﺎﺳﺒﺔ ﻫﺬﺍ ﻣﺎ ﳝﻨﺤﻪ ﺍﳌﺰﻳﺪ ﻣﻦ ﺍﳊﺮﻳﺔ‬
‫ﻭ ﻳﻌﻄﻲ ﻟﺼﻔﺔ ﺍﳌﺒﺪﻉ ﺩﺍﺧﻠﻪ ﺷﺮﻋﻴﺔ ﺃﻛﺜﺮ‪ ،‬ﻭﺫﻟﻚ ﰲ ﺇﻋﺎﺩﺓ ﺑﻌﺜﻪ ﻟﻠﻨﺺ ﻣﻦ ﺧﻼﻝ ﻗﺮﺍﺀﺍﺕ ﻣﺘﺠﺪﺩﺓ‬
‫ﲢﻜﻤﻬﺎ ﻗﺪﺭﺓ ﺍﳌﺘﺮﺟﻢ ﻭﺣﺪﻫﺎ‪ ،‬ﺑﺈﺳﻘﺎﻁ ﻣﻌﺎﱂ ﺍﻟﺮﺍﻫﻦ ﻋﻠﻰ ﺍﳌﺎﺿﻲ ﺍﻟﻘﺮﻳﺐ ﺃﻭ ﺍﻟﺒﻌﻴﺪ‪ ،‬ﻭ ﻫﺬﺍ ﻣﺎ‬
‫ﻧﻠﻤﺴﻪ ﺑﻮﺿﻮﺡ ﺃﻛﺜﺮ ﻭﻗﺖ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻟﻨﺼﻮﺹ ﺍﻷﺳﻄﻮﺭﻳﺔ‪ ،‬ﻓﻜﻠﻤﺎ ﻣﻀﻰ ﺍﻟﺰﻣﻦ ﻋﻠﻴﻬﺎ ﻇﻬﺮﺕ ﳍﺎ‬
‫ﺯﻭﺍﻳﺎ ﺟﺪﻳﺪﺓ ﻟﻠﺪﺭﺍﺳﺔ ﻣﻦ ﺧﻼﻝ ﺍﻟﻘﺮﺍﺀﺍﺕ ﺍﳉﺪﻳﺪﺓ ﺍﻟﱵ ﺗﺒﲎ ﻋﻠﻴﻬﺎ ﺍﻟﺘﺮﲨﺎﺕ‪ .‬ﻭ ﻋﺎﻣﻞ ﺍﻟﺰﻣﻦ ﻫﺬﺍ‬
‫ﳝﺎﺭﺱ ﺳﻠﻄﺘﻪ ﺣﱴ ﺍﳌﺘﻠﻘﲔ ﻭ ﺍﺳﺘﻌﺪﺍﺩﺍ‪‬ﻢ ﻟﻠﺘﻠﻘﻲ‪ ،‬ﻟﺬﺍ ﻋﻠﻰ ﺍﳌﺘﺮﺟﻢ ﺍﳊﺼﻴﻒ ﺃﻥ ﻳﺘﻘﻤﺺ ﺍﻟﻨﺺ‪،‬‬
‫ﻭ ﻳﺘﻠﺒﺴﻪ ﻟﻴﻔﻬﻤﻪ‪ ،‬ﻭ ﻳﻌﻴﺪ ﺇﺑﺪﺍﻋﻪ ﰲ ﻟﻐﺔ ﺛﺎﻧﻴﺔ‪ .‬ﻓﻌﻨﺪﻣﺎ ﻳﻘﻮﻡ ﺑﺈﺣﺎﻟﺔ ﺍﻟﻘﺎﺭﺉ ﺇﱃ ﻣﻌﻨﺎ ﻣﻌﻴﻨﺎ )ﺍﳌﻌﲎ‬
‫ﺍﻟﺬﻱ ﻳﺮﺍﻩ ﻣﻮﺟﻮﺩﺍ ﰲ ﺍﻟﻨﺺ ﺍﻷﺻﻞ(‪ ،‬ﻋﻠﻴﻪ ﺍﺧﺘﻴﺎﺭ ﻟﻴﺲ ﻓﻘﻂ ﺍﻷﻟﻔﺎﻅ ﺍﳌﻨﺎﺳﺒﺔ ﻟﻠﺴﻴﺎﻕ‪ ،‬ﺑﻞ ﺍﻷﺧﺬ‬
‫ﺑﻌﲔ ﺍﻻﻋﺘﺒﺎﺭ ﺯﻣﻦ ﺍﻟﻨﺺ ﺍﻷﺻﻠﻲ‪ ،‬ﻭ ﺯﻣﻦ ﺍﻟﻨﺺ ﺍﳌﺘﺮﺟﻢ‪ ،‬ﻭ ﺯﻣﻦ ﻓﻌﻞ ﺍﻟﺘﺮﲨﺔ‪ ،‬ﻭ ﺯﻣﻦ ﺍﻟﺘﻠﻘﻲ‪،‬‬
‫ﻭ ﻧﻮﻋﻴﺔ ﺍﳌﺘﻠﻘﻲ ﺍﳌﺴﺘﻬﺪﻑ ﻭ ﺃﺧﲑﺍ ﻣﺴﺘﻮﻯ ﺍﻟﻠﻐﺔ ﻭ ﺍﻟﺘﺮﺍﻛﻴﺐ‪.‬‬
‫‪ -1‬ﻋﻴﺴﻰ ﺑﺮﻳﻬﻤﺎﺕ‪ "،‬ﺣﺪﻭﺩ ﺍﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ" ﳐﱪ ﺗﻌﻠﻴﻤﻴﺔ ﺍﻟﺘﺮﲨﺔ ﻭ ﺗﻌﺪﺩ ﺍﻷﻟﺴﻦ‪ ،‬ﺟﺎﻣﻌﺔ ﻭ ﻫﺮﺍﻥ‪ ،‬ﺩﺍﺭ ﺍﻟﻐﺮﺏ‪،‬ﳎﻠﺔ ﺍﳌﺘﺮﺟﻢ ﻋﺪﺩ‪،07‬‬
‫ﺟﺎﻧﻔﻲ‪-‬ﺟﻮﺍﻥ‪ 2003.‬ﺹ‪.75‬‬

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‫ﻧﻈﺮﻳﺔ ﺍﻟﺘﺮﲨﺔ‪:‬‬

‫ﻇﻬﺮ ﻫﺬﺍ ﺍﳊﻘﻞ ﺍﳌﻌﺮﰲ ﻣﺆﺧﺮﺍ ﰲ ﺷﻜﻠﻪ ﺍﻟﺘﺎﻡ ﻛﺤﻘﻞ ﺩﺭﺍﺳﺔ ﳚﺬﺏ ﺍﻫﺘﻤﺎﻡ ﻛﻞ ﺩﺍﺭﺳﻲ ﻭ ﳑﺎﺭﺳﻲ‬
‫ﺍﻟﺘﺮﲨﺔ‪ ،‬ﺭﻏﻢ ﺃﻧﻪ ﺣﻘﻞ ﻗﺪﱘ ﺟﺪﺍ‪ ،‬ﻭ ﻫﺬﺍ ﺭﺍﺟﻊ ﺇﱃ ﺃﻥ ﺍﻟﺘﺮﲨﺔ ﰲ ﺑﺪﺍﻳﺎ‪‬ﺎ ﻇﻬﺮﺕ ﻛﻤﻤﺎﺭﺳﺔ ﻓﻘﻂ‪،‬‬
‫ﰒ ﻇﻬﺮﺕ ﳍﺎ ﻧﻈﺮﻳﺎﺕ‪ ،‬ﻭ ﺿﻊ ﳍﺎ ﺷﻜﻞ ﻋﻠﻤﻲ ﻣﺘﻤﺎﻳﺰ ﻋﻦ ﺍﻟﻠﺴﺎﻧﻴﺎﺕ‪ ،‬ﻭ ﺑﺪﺃ ﺍﻻﻫﺘﻤﺎﻡ ﲜﺎﻧﺒﻬﺎ‬
‫ﺍﻟﻨﻈﺮﻱ‪ .‬ﻭ ﺗﺰﺍﻳﺪﺕ ﺍﻟﻌﻨﺎﻳﺔ ‪‬ﺬﻩ ﺍﻟﻨﻈﺮﻳﺔ ﺃﻭ ﺍﻟﻨﻈﺮﻳﺎﺕ ﻛﻠﻤﺎ ﺍﻗﺘﺮﺏ ﻣﻮﺿﻮﻉ ﺍﻟﺪﺭﺍﺳﺎﺕ ﻣﻦ ﺍﻷﺩﺏ‪،‬‬
‫ﻓﻔﻲ ﻇﻞ ﻇﻬﻮﺭ ﺍﻟﻨﻈﺮﻳﺎﺕ ﺍﻷﺩﺑﻴﺔ ﺗﺼﺒﺢ ﻧﻈﺮﻳﺔ ﺍﻟﺘﺮﲨﺔ ﺫﺍﺕ ﻋﻼﻗﺔ ﻭﺛﻴﻘﺔ ﺗﺘﺰﺍﻳﺪ ﺑﺎﻃﺮﺍﺩ ﻣﻊ ﻫﺬﻩ‬
‫ﺍﻟﻨﻈﺮﻳﺎﺕ ﲨﻴﻌﺎ ‪ ،‬ﻭﻋﻠﻰ ﺍﻟﻌﻤﻮﻡ ﻇﻬﺮﺕ ﺍﻟﻌﺪﻳﺪ ﻣﻨﻬﺎ ﰲ ﻫﺬﺍ ﺍ‪‬ﺎﻝ‪ ،‬ﻭ ﺍﻟﱵ ‪‬ﺪﻑ ﺇﱃ ﺍﻟﻜﺸﻒ ﰲ‬
‫ﻛﻞ ﻣﺮﺓ ﻋﻦ ﺳﺒﻞ ﺟﺪﻳﺪﺓ ﻻﺳﺘﺨﻼﺹ ﺍﳌﻌﲎ ﻭ ﻧﻘﻠﻪ‪ .1‬ﻭ ﻣﻦ ﺑﻴﻨﻬﺎ‪:2‬‬

‫ﺍﳌﻘﺎﺭﺑﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ‪:‬‬

‫ﺗﻌﺘﱪ ﺍﻟﺘﺮﲨﺔ ﻛﺤﻘﻞ ﻣﺴﺘﻘﻞ ﺑﺸﻜﻠﻪ ﺍﳌﻌﺮﻭﻑ ﺍﻟﻴﻮﻡ ﻣﻴﺪﺍﻧﺎ ﺣﺪﻳﺜﺎ ﻧﺴﺒﻴﺎ‪ ،‬ﺣﻴﺚ ﻇﻬﺮﺕ ﰲ ﻣﻨﺘﺼﻒ‬
‫ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ‪ ،‬ﻭ ﻗﺪ ﺍﺣﺘﻜﺮﺕ ﺍﻟﻠﺴﺎﻧﻴﺎﺕ ﻫﺬﺍ ﺍﳊﻘﻞ ﻟﺰﻣﻦ ﻃﻮﻳﻞ‪ ،‬ﻭ ﻧﻈﺮﺕ ﺇﻟﻴﻪ ﺑﻮﺻﻔﻪ ﺍﻣﺘﺪﺍﺩﺍ ﳍﺎ‬
‫ﺃﻱ ﻭﺳﻴﻠﺔ ﻟﺘﻌﻠﻴﻢ ﺍﻟﻠﻐﺎﺕ‪ ،‬ﻭ ﺟﺰﺀﺍ ﻣﻦ ﺍﻷﺩﺏ ﺍﳌﻘﺎﺭﻥ‪ ،‬ﻭ ﺫﻟﻚ ﳌﺎ ﺗﻮﻓﺮﻩ ﻣﻦ ﻣﺎﺩﺓ ﻋﻨﺪ ﺍﳌﻘﺎﺑﻠﺔ ﺑﲔ‬
‫ﻫﺬﻩ ﺍﳌﻨﻈﻮﻣﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﻣﻦ ﺧﻼﻝ ﺣﺼﺮ ﺍﻻﺧﺘﻼﻓﺎﺕ ﻭ ﺍﳌﻄﺎﺑﻘﺎﺕ ﺑﲔ ﺍﻷﻟﻔﺎﻅ ﻭﺍﻟﺘﺮﺍﻛﻴﺐ ﻭ ﺍﻟﺒﲎ‬
‫ﺍﻟﻨﺼﻴﺔ‪ .‬ﻟﺬﻟﻚ ﻛﺎﻥ ﺍﻟﻠﺴﺎﻧﻴﻮﻥ ﳜﺼﺼﻮﻥ ﻟﺪﺭﺍﺳﺘﻬﺎ ﺟﺰﺀﺍ ﺃﻭ ﻓﺼﻼ ﻣﻦ ﺃﻋﻤﺎﳍﻢ ﺍﳌﻮﺟﻬﺔ ﺃﺳﺎﺳﺎ ﳋﺪﻣﺔ‬
‫ﺍﻟﻠﺴﺎﻧﻴﺎﺕ ﻭ ﺍﻟﺒﺤﺚ ﻓﻴﻬﺎ‪ ،‬ﻭﱂ ﻳﺘﻌﺪﻯ ﺍﻷﻣﺮ ﺇﱃ ﺩﺭﺍﺳﺔ ﺣﻘﻴﻘﻴﺔ ﳍﺎ ﻛﻌﻠﻢ ﻳﻌﺘﺮﻑ ﺑﻪ‪ ،‬ﻭ ﻗﺪ ﺃﻋﻠﻦ‬
‫ﺍﻟﻜﺜﲑﻭﻥ ﻣﻨﻬﻢ ﰲ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﳌﻨﺎﺳﺒﺎﺕ ﻋﻠﻰ ﺃﺣﻘﻴﺔ ﺍﻟﻠﺴﺎﻧﻴﺎﺕ ﰲ ﺿﻤﻬﺎ ﲢﺖ ﺟﻨﺎﺣﻬﺎ ‪ .‬ﻓﻬﻤﺎ‬
‫"ﻓﻴﻨﺎﻱ" ﻭ "ﺩﺍﺭﺑﻠﲏ" ﻳﺆﻛﺪﺍﻥ ﻋﻠﻰ ﺃﻥ ﻣﻜﺎ‪‬ﺎ ﺍﻷﺳﺎﺳﻲ ﻭﺍﻟﺸﺮﻋﻲ ﻫﻮ ﰲ ﺇﻃﺎﺭ ﻫﺬﺍ ﺍﻟﻌﻠﻢ ‪،‬‬
‫ﻭ ﻳﻨﻈﺮﺍﻥ ﺇﻟﻴﻬﺎ ﻋﻠﻰ ﺃ‪‬ﺎ ﺗﻄﺒﻴﻖ ﻓﻌﻠﻲ ﻟﻸﺩﺏ ﺍﳌﻘﺎﺭﻥ‪. 3‬‬
‫‪ -1‬ﺇﺩﻭﻳﻦ ﻏﻴﻨﺘﺴﻠﺮ‪ ":‬ﰲ ﻧﻈﺮﻳﺔ ﺍﻟﺘﺮﲨﺔ‪ :‬ﺍﲡﺎﻫﺎﺕ ﻣﻌﺎﺻﺮﺓ"‪ ،‬ﺕ‪ /‬ﺳﻌﺪ ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ ﻣﺼﻠﻮﺡ‪ ،‬ﺹ‪.39‬‬
‫‪2- C.F : Mathieu Guidere : « introduction à la traductologie », groupe de Boeck, Bruxelles,‬‬
‫‪2008. p 69.‬‬
‫‪3- VINAYJ.P. et DARBELNET J. « stylistique comparée du français et de l’anglais : méthode‬‬
‫‪de traduction », DIDIER, Paris,1958, p 20.‬‬

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‫ﻭ ﻻﺩﻣﲑﺍﻝ ﻗﺪ ﺃﺩﱃ ﺑﻨﻔﺲ ﺍﻟﺰﻋﻢ ﺭﻏﻢ ﺃﻧﻪ ﻛﺎﻥ ﺃﻛﺜﺮ ﻣﻮﺿﻮﻋﻴﺔ ﻣﻦ ﺳﺎﺑﻘﻴﻪ ﺣﻴﺚ ﺃﻗﺮ ﺃﻥ ﺍﻟﻠﺴﺎﻧﻴﺎﺕ‬
‫ﻣﻬﻤﺔ ﰲ ﺩﺭﺍﺳﺔ ﺍﻟﺘﺮﲨﺔ ﻭ ﻟﻜﻨﻬﺎ ﻟﻴﺴﺖ ﻛﺎﻓﻴﺔ ﻷ‪‬ﺎ ﺗﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻟﻠﻐﺔ ﰲ ﺣﲔ ﺗﺘﻌﺎﻣﻞ ﺍﻟﺘﺮﲨﺔ ﻣﻊ‬
‫ﺍﳋﻄﺎﺏ‪ .1‬ﻭﻏﲑﻫﻢ‪....‬‬

‫ﻭ ﺭﻏﻢ ﻫﺬﺍ ﻓﻘﺪ ﻗﺪﻣﻮﺍ ﳍﺎ ﺍﻟﻜﺜﲑ‪ .‬ﺣﻴﺚ ﺃﻥ "ﻧﻴﺪﺍ" ﰲ ﺩﺭﺍﺳﺘﻪ ﻟﻠﺼﲑﻭﺭﺓ ﺍﻟﺘﺮﲨﻴﺔ ﺍﺑﺘﻜﺮ ﻣﺎ ﻳﻌﺮﻑ‬
‫ﺑﻨﻈﺮﻳﺔ ﺍﳌﻌﲎ‪ ،2‬ﻛﻤﺎ ﻗﺎﻡ "ﻛﺎﺗﻔﻮﺭﺩ" ﺑﺈﳚﺎﺩ ﻣﻨﻬﺠﺎ ﻟﺴﺎﻧﻴﺎ ﻣﻘﺎﺭﻧﺎ ﻣﻦ ﺧﻼﻝ ﺩﺭﺍﺳﺔ ﺍﻟﺘﺮﲨﺔ ﻣﻦ ﻣﻨﻈﻮﺭ‬
‫ﲢﻠﻴﻞ ﺍﳋﻄﺎﺏ‪ ،3‬ﻭﻗﺪ ﺍﻗﺘﺮﺡ ﻛﻞ ﻣﻦ "ﻓﻴﻨﺎﻱ ﻭ ﺩﺍﺭﺑﻠﲏ" ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻷﺳﺎﻟﻴﺐ ﳉﻌﻞ ﺍﻟﺘﺮﲨﺔ ﳑﻜﻨﺔ‬
‫ﰲ ﺣﺪﻭﺩ ﻣﺎ ﺗﺴﻤﺢ ﺑﻪ ﻣﻘﺎﺑﻠﺔ ﺍﻟﻠﻐﺎﺕ‪ ،4‬ﻛﻤﺎ ﻛﺎﻥ " ﳉﻮﺭﺝ ﻣﻮﻧﺎﻥ" ﻧﺼﻴﺐ ﺃﻳﻀﺎ ﻭ ﻓﻀﻞ ﰲ ﲢﻮﻳﻞ‬
‫ﺍﻷﻧﻈﺎﺭ ﳓﻮ ﺩﺭﺍﺳﺔ ﺍﻟﺘﺮﲨﺔ ﻣﻦ ﻣﻨﻈﻮﺭ ﺛﻘﺎﰲ ﺑﻮﺍﺳﻄﺔ ﻣﺎ ﺃﲰﺎﻩ "ﺭﺅﻳﺔ ﺍﻟﻌﺎﱂ"*‪ ،‬ﺗﻄﻮﻉ ﻓﻴﻪ ﺍﻟﺜﻘﺎﻓﺔ‬
‫ﺍﳌﺼﺪﺭ ﻭ ﲢﺘﺮﻡ ﺍﻟﺜﻘﺎﻓﺔ ﺍﳍﺪﻑ‪ ....‬ﻭ ﻏﲑﻫﻢ ﻣﻦ ﺍﻟﺪﺍﺭﺳﲔ ‪ ....‬ﰲ ﺧﻀﻢ ﺫﻟﻚ ﻛﻠﻪ ﻇﻬﺮﺕ ﳎﻤﻮﻋﺔ‬
‫ﻣﻦ ﺍﳌﻘﺎﺭﺑﺎﺕ ﺣﻴﺚ ﺗﻨﺎﻭﻟﺖ ﻛﻞ ﻭﺍﺣﺪﺓ ﻣﻨﻬﻢ ﺍﻟﻈﺎﻫﺮﺓ ﺍﻟﺘﺮﲨﻴﺔ ﻣﻦ ﻣﻨﻈﻮﺭ ﳐﺘﻠﻒ ﻭﻣﻨﻬﺎ‪:‬‬

‫‪ -‬ﻣﻘﺎﺭﺑﺔ ﺍﻟﻠﺴﺎﻧﻴﺎﺕ ﺍﻟﺘﻄﺒﻴﻘﻴﺔ ‪ :‬ﻫﻲ ﺟﺰﺀ ﻣﻦ ﺍﻟﻠﺴﺎﻧﻴﺎﺕ ﻳﻬﺘﻢ ﺃﺳﺎﺳﺎ ﺑﺎﳉﺎﻧﺐ ﺍﻟﺘﻄﺒﻴﻘﻲ‬
‫ﻟﻠﻈﺎﻫﺮﺓ ﺍﻟﻠﻐﻮﻳﺔ ﺃﻛﺜﺮ ﻣﻦ ﺍﻟﺘﻨﻈﲑ ﻟﻠﺨﻄﺎﺏ‪ .‬ﺇﺫ ﻳﺆﻛﺪ "ﻛﺎﺗﻔﻮﺭﺩ" ﻋﻠﻰ ﺃﻥ ﺍﻫﺘﻤﺎﻣﻪ‬
‫ﻳﻨﺤﺼﺮ ﰲ ﲢﻠﻴﻞ ﻣﺎﻫﻴﺔ ﺍﻟﺘﺮﲨﺔ ﻛﻤﻤﺎﺭﺳﺔ ﺗﻈﻬﺮ ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﻄﺒﻴﻖ ﺍﻟﻔﻌﻠﻲ ﻟﻠﻐﺔ ﻭﺫﻟﻚ ﻣﻦ‬
‫ﺃﺟﻞ ﺍﻟﻮﺻﻮﻝ ﺇﱃ ﻧﻈﺮﻳﺔ ﻋﺎﻣﺔ ﺻﺎﳊﺔ ﻷﻥ ﺗﻄﺒﻖ ﻋﻠﻰ ﺃﳕﺎﻁ ﺍﻟﺘﺮﲨﺔ‪ .5‬ﻭ ﳛﺎﻭﻝ ﺩﺭﺍﺳﺘﻬﺎ‬
‫‪6‬‬
‫ﻣﻦ ﺧﻼﻝ ﺍﻟﻠﺴﺎﻧﻴﺎﺕ ﺍﻟﺘﻄﺒﻴﻘﻴﺔ ﻟﻜﻨﻪ ﻳﻘﺮ ﺃ‪‬ﺎ ﻓﺮﻉ ﻣﻦ ﺍﻟﻠﺴﺎﻧﻴﺎﺕ ﺍﳌﻘﺎﺭﻧﺔ‪.‬‬

‫‪1-‬‬ ‫‪Ladmiral J.R, « Traduire : théorèmes pour la traduction », Payot, Paris, 1979, p 08.‬‬
‫‪2-‬‬ ‫‪Nida E.A : « toward a science of translating” Brill,Leiden,1964. p30.‬‬
‫‪3-‬‬ ‫‪Catford:”A linguistic theory of translation: Essay in applied linguistics”. 1965 .p07.‬‬
‫‪4-‬‬ ‫‪VINAYJ.P. et DARBELNET J. Ibid p 24.‬‬
‫‪5-‬‬ ‫‪Catford. Ibid.p 07.‬‬
‫‪6- . Ibid.p 20.‬‬
‫« ‪7- *- Georges, Mounin,‬‬ ‫‪les problèmes théoriques de la traduction », Edition‬‬
‫‪Gallimard, 1963.‬‬ ‫‪p 189.‬‬

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‫ﺇﻥ ﺍﻻﻧﺘﻘﺎﻝ ﻣﻦ ﲢﻠﻴﻞ ﺍﻟﻠﻐﺔ ﺇﱃ ﲢﻠﻴﻞ ﺍﳋﻄﺎﺏ ﻗﺪ ﻳﻔﺘﺢ ﳎﺎﻻ ﻭﺍﺳﻌﺎ ﻟﻈﻬﻮﺭ ﺯﻭﺍﻳﺎ ﻋﺪﻳﺪﺓ ﺗﻘﺎﺭﺏ‬
‫ﻣﻨﻬﺎ ﺍﻟﺘﺮﲨﺔ‪ ،‬ﻓﻤﻌﻪ ﳝﻜﻦ ﳍﺎ ﺃﻥ ﲣﺮﺝ ﻣﻦ ﺇﻃﺎﺭ ﻛﻮ‪‬ﺎ ﳎﺮﺩ ﻣﻘﺎﺭﻧﺔ ﺑﲔ ﺍﻟﻠﻐﺎﺕ ﺇﱃ ﻛﻮ‪‬ﺎ ﺫﺍﺕ ﺃﺑﻌﺎﺩ‬
‫ﻟﺴﺎﻧﻴﺔ‪ ،‬ﺛﻘﺎﻓﻴﺔ ‪ ،‬ﺳﻮﺳﻴﻮﻟﻮﺟﻴﺔ‪...،‬ﻭﻏﲑﻫﺎ ﻭ ﺗﻜﻮﻥ ﺍﻟﻠﻐﺔ ﺟﺰﺀﺍ ﻣﻨﻬﺎ ﻻ ﻣﺎﻫﻴﺔ ﺍﻟﻌﻤﻠﻴﺔ ﻭ ﺃﺳﺎﺱ‬
‫ﺍﺭﺗﻜﺎﺯﻫﺎ ﻛﻤﺎ ﻳﻈﻬﺮ ﻣﻦ ﺧﻼﻝ ﻣﻘﺎﺭﺑﺔ "ﻛﺎﺗﻔﻮﺭﺩ"‪.‬‬

‫‪« les‬‬ ‫‪ -‬ﻣﻘﺎﺭﺑﺔ ﺍﻟﻠﺴﺎﻧﻴﺎﺕ ﺍﻟﻨﻈﺮﻳﺔ‪ :‬ﺍﻟﱵ ﻇﻬﺮﺕ ﻋﻠﻰ ﻳﺪ "ﺟﻮﺭﺝ ﻣﻮﻧﺎﻥ" ﻓﻔﻲ ﻛﺘﺎﺑﻪ ‪:‬‬
‫» ‪ problèmes théoriques de la traduction‬ﺩﺭﺱ ﺍﻟﺘﺮﲨﺔ ﻣﻦ ﻣﻨﻄﻠﻖ ﻟﺴﺎﱐ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ‬
‫ﺍﻟﻠﺴﺎﻧﻴﺎﺕ ﺇﻃﺎﺭ ﻣﺮﺟﻌﻲ ﻟﻜﻞ ﺩﺭﺍﺳﺔ ﰲ ﻫﺬﺍ ﺍ‪‬ﺎﻝ‪ ،‬ﺣﻴﺚ ﺍﻧﻄﻠﻖ ﻣﻦ ﻓﻜﺮﺓ ﻣﻔﺎﺩﻫﺎ ﺃ‪‬ﺎ ﻫﻲ‬
‫ﺣﻠﻘﺔ ﻭﺻﻞ ﺑﲔ ﻟﻐﺘﲔ‪ ،‬ﺃﻱ ﻓﻌﻞ ﺗﻮﺍﺻﻞ‪ ،‬ﻭ ﻗﺪ ﻛﺎﻥ ﳘﻪ ﺍﻷﻭﻝ ﻫﻮ ﺿﻤﻬﺎ ﺿﻤﻦ ﺩﺍﺋﺮﺓ‬
‫ﳎﻤﻮﻋﺔ ﺍﻟﻌﻠﻮﻡ ﺍﳌﺴﺘﻘﻠﺔ‪ ،1‬ﳑﺎ ﺩﻓﻌﻪ ﺇﱃ ﺍﻟﺘﺴﺎﺅﻝ ﺍﻵﰐ "ﻫﻞ ﳚﺐ ﻋﻠﻰ ﻛﻞ ﺩﺭﺍﺳﺔ ﰲ ﺍﻟﺘﺮﲨﺔ‬
‫ﺃﻥ ﺗﻨﻄﻠﻖ ﻣﻦ ﺃﺳﺎﺱ ﻟﺴﺎﱐ؟‪ "2‬ﻟﻴﺼﻞ ﺇﱃ ﻣﺎ ﻣﻔﺎﺩﻩ ﺃﻧﻪ ﻻ ﳝﻜﻦ ﺣﻞ ﺍﳌﺸﺎﻛﻞ ﺍﻟﱵ ﺗﻮﺍﺟﻬﻬﺎ‬
‫ﻫﺬﻩ ﺍﻟﻌﻤﻠﻴﺔ ﺇﻻ ﰲ ﺿﻮﺀ ﻣﺎ ﺗﻘﺪﻣﻪ ﺍﻟﻠﺴﺎﻧﻴﺎﺕ ﻣﻦ ﺣﻠﻮﻝ‪ .‬ﺇﺫﻥ ﻫﻮ ﻳﺪﻋﻲ ﳏﺎﻭﻟﺔ ﲢﺮﻳﺮﻫﺎ ﰲ‬
‫ﺣﲔ ﻣﺎ ﻳﻘﻮﻡ ﺑﻪ ﻫﻮ ﺗﺄﻛﻴﺪ ﺍﺭﺗﺒﺎﻃﻬﺎ ﺑﺎﻟﻠﺴﺎﻧﻴﺎﺕ ﺇﺫ ﻻ ﻳﻜﻔﻲ ﺟﻌﻠﻬﺎ ﺃﻛﺜﺮ ﺍﻧﻔﺘﺎﺣﺎ ﰲ ﺑﻨﺎﺀ‬
‫ﺍﺳﺘﻘﻼﻟﻴﺘﻬﺎ‪ ،‬ﺣﻴﺚ ﺃﻥ ﺣﺼﺮﻩ ﻟﻠﻔﻌﻞ ﺍﻟﺘﺮﲨﻲ ﰲ ﺇﻃﺎﺭ ﻟﺴﺎﱐ ﻻ ﻳﻌﻜﺲ ﺣﻘﺎ ﺯﻋﻤﻪ‬
‫ﺑﻀﺮﻭﺭﺓ ﺍﺳﺘﻘﻼﳍﺎ ﺑﺬﺍ‪‬ﺎ‪.‬‬
‫‪ -‬ﺍﳌﻘﺎﺭﺑﺔ ﺍﻟﺴﻮﺳﻴﻮﻟﺴﺎﻧﻴﺔ‪ :‬ﺗﺪﺭﺱ ﻫﺬﻩ ﺍﳌﻘﺎﺭﺑﺔ ﺍﻟﻌﻤﻠﻴﺔ ﺍﻟﺘﺮﲨﻴﺔ ﻣﻦ ﻣﻨﻄﻠﻖ ﺃ‪‬ﺎ ﻓﻌﻞ ﺍﺟﺘﻤﺎﻋﻲ‬
‫ﻣﻦ ﺧﻼﻝ ﲢﻠﻴﻞ ﺍﳋﻄﺎﺏ‪ .‬ﻭ ﻗﺪ ﻇﻬﺮﺕ ﰲ ﺍﻟﺴﺘﻴﻨﻴﺎﺕ ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﳌﺎﺿﻲ ﻋﻠﻰ ﻳﺪ ﳎﻤﻮﻋﺔ ﻣﻦ‬
‫ﺍﻟﻠﺴﺎﻧﻴﲔ ﻣﻨﻬﻢ "ﻻﺑﻮﻑ"‪" ،‬ﻫﺎﳝﺰ"‪ ...‬ﻭﻗﺪ ﺍﻫﺘﻤﺖ ﺑﻜﻞ ﻣﺎ ﳜﺺ ﺍﻟﺘﺮﲨﺔ ﻛﻔﻌﻞ‪ ،‬ﻭﺍﳌﺘﺮﺟﻢ‬
‫ﻛﻔﺎﻋﻞ ﻟﻪ ﺗﺄﺛﲑ ﻣﺒﺎﺷﺮ ﺃﻭ ﻏﲑ ﻣﺒﺎﺷﺮ ﻣﻦ ﻣﻨﻈﻮﺭ ﺍﺟﺘﻤﺎﻋﻲ‪ 3.‬ﻓﺒﺎﻟﻨﺴﺒﺔ "ﻟﱪﻳﻨﻴﻪ"‪ 4‬ﳝﻜﻦ ﺃﻥ‬

‫‪1- Georges, Mounin, Ibid. p04‬‬

‫‪2- Ibid. p10‬‬
‫‪3- Mathieu Guidere. Ibid.p 47.‬‬
‫‪4- Pregnier M, « les fondements sociolinguistiques de la traduction »,p.u.de Lille,France,1978,p02.‬‬

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‫ﺗﺸﺎﻃﺮ ﺍﻟﺘﺮﲨﺔ ﺍﻟﻠﺴﺎﻧﻴﺎﺕ ﰲ ﺍﻫﺘﻤﺎﻣﺎ‪‬ﺎ ﺍﻟﻠﻐﻮﻱ ﻟﻜﻦ ﻻ ﳚﺪﺭ ﺍﻻﻋﺘﻘﺎﺩ ﰲ ﺍﻧﻐﻼﻗﻬﺎ ﻋﻠﻰ‬
‫ﺫﻟﻚ‪ ،‬ﻓﻬﻲ ﻣﻴﺪﺍﻥ ﻣﻨﻔﺘﺢ ﻋﻠﻰ ﻣﻴﺎﺩﻳﻦ ﺃﺧﺮﻯ…‬
‫ﻭﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ ﻳﺮﻯ ﺃﻥ ﻟﻔﻆ ﺍﻟﺘﺮﲨﺔ ﻟﻔﻆ ﻳﻜﺘﻨﻔﻪ ﺍﻟﻐﻤﻮﺽ ﻭ ﻻ ﻳﺘﻀﺢ ﺇﻻ ﻣﻦ ﺧﻼﻝ‬
‫ﺍﳌﻤﺎﺭﺳﺔ ‪ ،‬ﻭﺑﺬﻟﻚ ﻫﻮ ﻳﻌﺮﻓﻬﺎ ﺑﺜﻼﺙ ﻃﺮﺍﺋﻖ ﳐﺘﻠﻔﺔ‪ ،‬ﺇﺫ ﻳﻘﺴﻤﻬﺎ ﺇﱃ ﺻﲑﻭﺭﺓ‪ ،‬ﻣﺎﻫﻴﺔ‪،‬‬
‫ﺣﺎﺻﻞ‪.‬‬
‫‪ -1‬ﺍﻟﻌﻤﻠﻴﺔ ﺍﻟﺘﺮﲨﻴﺔ ﺑﻮﺻﻔﻬﺎ ﺻﲑﻭﺭﺓ‪ :‬ﺃﻱ ﺍﻟﺘﺮﲨﺔ ﻛﻌﻤﻠﻴﺔ‪ ،‬ﻭﻫﻲ ﻛﻴﻒ ﻧﺘﺮﺟﻢ‪.‬‬
‫‪ -2‬ﺍﻟﻌﻤﻠﻴﺔ ﺍﻟﺘﺮﲨﻴﺔ ﻛﻮ‪‬ﺎﻣﺎﻫﻴﺔ‪ :‬ﺃﻱ ﺍﻟﺘﺮﲨﺔ ﻛﻤﻘﺎﺭﻧﺔ‪ ،‬ﻭ ﻫﻲ ﺍﳌﻘﺎﺑﻠﺔ ﺑﲔ ﻣﻨﻈﻮﻣﺘﲔ ﻟﻐﻮﻳﱳ‬
‫ﳐﺘﻠﻔﺘﲔ‪.‬‬
‫‪ -3‬ﺍﻟﻌﻤﻠﻴﺔ ﺍﻟﺘﺮﲨﻴﺔ ﺑﺎﻋﺘﺒﺎﺭﻫﺎﺣﺎﺻﻞ‪ :‬ﻫﻲ ﺍﻟﻨﺎﺗﺞ ﺍﻟﻨﻬﺎﺋﻲ‪ ،‬ﻓﺎﻟﻨﺺ ﺍﳌﺘﺮﺟﻢ ﻫﻮ ﺗﺮﲨﺔ‪.‬‬

‫ﻻ ﳚﺪﺭ ﺃﻥ ﻧﻨﻈﺮ ﺇﱃ ﻣﺎﻫﻴﺘﻬﺎ ﻋﻠﻰ ﺃ‪‬ﺎ ﺇﺣﺪﻯ ﻫﺬﻩ ﺍﳌﻔﺎﻫﻴﻢ‪ ،‬ﻷﻥ ﺫﻟﻚ ﺳﻴﺠﻌﻠﻬﺎ ﻓﻌﻞ ﻏﲑ‬
‫ﺗﺎﻡ‪ ،‬ﻓﻬﻲ ﻟﻴﺴﺖ ﻛﻞ ﻭﺍﺣﺪﺓ ﻋﻠﻰ ﺣﺪﺍ ﻭﺇﳕﺎ ﺇﺫﺍ ﺣﺎﻭﻟﻨﺎ ﺍﺳﺘﻨﺒﺎﻁ ﺟﻮﻫﺮﻫﺎ ﺍﳊﻘﻴﻘﻲ ﻓﺈﻧﻪ ﻛﻠﻬﺎ‬
‫ﻣﻌﺎ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ‪.‬‬

‫‪ -‬ﺍﳌﻘﺎﺭﺑﺔ ﺍﻟﻨﺼﻴﺔ‪ :‬ﺗﻨﻄﻠﻖ ﻣﻦ ﻣﺴﻠﻤﺔ ﻣﻔﺎﺩﻫﺎ ﻛﻞ ﺧﻄﺎﺏ ﻫﻮ ﻧﺺ ﺳﻮﺍﺀ ﻛﺎﻥ ﺷﻔﻬﻲ ﺃﻭ‬
‫ﻛﺘﺎﰊ‪ ،‬ﻟﺪﻳﻪ ﺗﺮﺍﻛﻴﺐ ﺧﺎﺻﺔ ﻭﻣﻌﻨﺎ ﳏﺪﺩ ﳍﺬﺍ ﻓﻌﻠﻰ ﺍﳌﺘﺮﺟﻢ ﺇﺟﺮﺍﺀ ﲢﻠﻴﻞ ﻧﺼﻲ ﻗﺒﻞ ﺍﻟﺸﺮﻭﻉ‬
‫ﰲ ﺍﻟﺘﺮﲨﺔ‪ ،‬ﺃﻭ ﻋﻠﻰ ﺍﻷﻗﻞ ﲢﺪﻳﺪ ﻧﻮﻉ ﺍﻟﻨﺺ ﻟﻴﺴﻬﻞ ﺍﻟﻔﻬﻢ ﻭﺑﺎﻟﺘﺎﱄ ﺍﻟﺘﺄﻭﻳﻞ‪ 1.‬ﻭﻟﻜﻦ ﻫﻨﺎﻙ‬
‫ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﺰﻭﺍﻳﺎ ﺍﻟﱵ ﻳﻘﺎﺭﺏ ﻣﻨﻬﺎ ﺍﻟﻨﺺ ﳑﺎ ﳚﻌﻞ ﺍﻷﻣﺮ ﻣﻌﻘﺪﺍ ﳍﺬﺍ ﺩﻋﺎ "ﺩﻭﻟﻴﻞ" ﺇﱃ‬
‫ﻣﻨﻬﺠﻴﺔ ﰲ ﺍﻟﺘﺮﲨﺔ ﻣﺴﺘﻨﺪﺓ ﻋﻠﻰ ﲢﻠﻴﻞ ﺍﳋﻄﺎﺏ‪ .‬ﻭﻟﻜﻦ ﻛﺎﻥ ﺍﻫﺘﻤﺎﻣﻪ ﻣﻨﺼﺒﺎ ﻋﻠﻰ ﺍﻟﱪﺍﻏﻤﺎﺗﻴﺔ‬
‫ﺍﻟﱵ ﻳﻌﺮﻓﻬﺎ ﺑﺎﻟﺸﻜﻞ ﺍﻟﺘﺎﱄ‪:‬‬

‫‪1- Mathieu Guidere. Ibid.p55.‬‬

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‫"ﻫﻲ ﺍﻟﻨﺼﻮﺹ ﻏﲑ ﺍﻷﺩﺑﻴﺔ ﺍﻟﱵ ﺗﺴﻌﻰ ﺇﱃ ﺇﻳﺼﺎﻝ ﻣﻌﻠﻮﻣﺔ ﻣﺎ"*‬

‫‪« Les écrits servant essentiellement à véhiculer une information et‬‬

‫‪dont l’aspect littéraire n’est pas dominant. »1‬‬
‫ﻣﻦ ﺧﻼﻝ ﲢﻠﻴﻞ ﺍﳋﻄﺎﺏ ﻳﻬﺪﻑ "ﺩﻭﻟﻴﻞ" ﺇﱃ ﺟﻌﻞ ﺍﻟﺘﺮﲨﺔ ﺗﺴﺘﻘﻞ ﻋﻦ ﺍﻟﻠﺴﺎﻧﻴﺎﺕ‬
‫ﻭ ﺇﻧﺸﺎﺀ ﻧﻈﺮﻳﺔ ﻧﺼﻴﺔ‪ .‬ﻭ ﲢﻠﻴﻞ ﺍﳋﻄﺎﺏ ﻳﺴﻌﻰ ﺇﱃ ﲢﺪﻳﺪ ﺍﳌﻌﲎ ﻣﻦ ﺧﻼﻝ ﲢﻠﻴﻞ ﻣﺴﺘﻮﻳﲔ‪:‬‬
‫ﺍﻷﻭﻝ ﻧﻮﻉ ﺍﻟﻨﺺ‪ ،‬ﻭ ﺍﻟﺜﺎﱐ ﺍﻟﻨﺺ ﲝﺪ ﺫﺍﺗﻪ ﰲ ﻛﻴﻨﻮﻧﺘﻪ ﺍﻟﻠﻐﻮﻳﺔ‪.‬‬
‫ﻫﺬﻩ ﺍﳌﻘﺎﺭﺑﺔ ﺗﺴﺘﺜﲏ ﺃﻫﻢ ﺍﻟﺘﺤﺪﻳﺎﺕ ﺍﻟﱵ ﺗﻮﺍﺟﻪ ﺍﻟﺘﺮﲨﺔ ﻭ ﻫﻲ ﺍﻟﱵ ﺗﻔﺮﺿﻬﺎ ﺍﻟﻨﺼﻮﺹ ﺍﻷﺩﺑﻴﺔ‪،‬‬
‫ﻭ ﲢﻮﳍﺎ ﻣﻦ ﻣﻴﺪﺍﻥ ﻟﺴﺎﱐ ﻳﻬﺪﻑ ﺇﱃ ﺇﺟﺮﺍﺀ ﻣﻘﺎﺭﻧﺔ ﺑﲔ ﺍﻟﻨﺼﻮﺹ‪ ،‬ﺇﱃ ﻣﻴﺪﺍﻥ ﻟﺴﺎﱐ ﺍﻧﺘﻘﺎﺋﻲ‬
‫ﺫﻭ ﺃﻫﺪﺍﻑ ﳏﺪﺩﺓ ﺗﺘﻐﲑ ﺣﺴﺐ ﺍﳊﺎﺟﺔ ﻣﻦ ﺍﻟﻨﺺ‪ ،‬ﻭ ﻫﻲ ﺑﺬﻟﻚ ﻻ ﺗﺴﺘﻘﻞ ﺑﻘﺪﺭ ﻣﺎ ﲡﻌﻞ‬
‫ﺍﺭﺗﺒﺎﻃﻬﺎ ﳝﺘﺪ ﻣﻦ ﻣﻴﺪﺍﻥ ﻭﺍﺣﺪ ﺇﱃ ﺍﻧﻔﺘﺎﺡ ﻋﻠﻰ ﻣﻴﺎﺩﻳﻦ ﺃﺧﺮﻯ‪.‬‬

‫ﺍﻟﻨﻈﺮﻳﺎﺕ ﺍﻟﺜﻘﺎﻓﻴﺔ*‪:‬‬

‫ﻗﺪ ﻗﺎﻣﺖ ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺑﺮﻛﻦ ﺍﻟﻨﻈﺮﻳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﺟﺎﻧﺒﺎ ﻭ ﺗﺮﻛﻴﺰ ﺍﻻﻫﺘﻤﺎﻡ ﻋﻠﻰ ﺍﻟﺘﺮﲨﺔ ﺑﺎﻋﺘﺒﺎﺭﻫﺎ‬
‫ﺣﻮﺍﺭ ﺛﻘﺎﰲ ﻣﻔﺘﻮﺡ ﺑﲔ ﳐﺘﻠﻒ ﺍﻟﺜﻘﺎﻓﺎﺕ‪ ،‬ﻭ ﻧﻈﺮﺕ ﺇﱃ ﺍﻟﺘﺮﲨﺔ ﺑﺎﻋﺘﺒﺎﺭﻫﺎ ﺇﻋﺎﺩﺓ ﻛﺘﺎﺑﺔ‪ ،‬ﻭ ﺃ‪‬ﺎ ﺣﺎﳌﺎ‬
‫ﺗﺘﻢ ﺗﻨﻘﻞ ﺍﻟﻨﺺ ﻣﻦ ﻣﻠﻜﻴﺔ ﺍﻟﻠﻐﺔ ﺍﻷﺻﻞ ﺇﱃ ﻣﻠﻜﻴﺔ ﺍﻟﻠﻐﺔ ﺍﳍﺪﻑ‪ ،‬ﻭ ﺍﻟﱵ ﻣﻦ ﺑﻴﻨﻬﺎ ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ ﻻ‬
‫ﺍﳊﺼﺮ‪:‬‬

‫‪ -1‬ﻧﻈﺮﻳﺎﺕ ﺍﻟﺘﺮﲨﺔ ﺍﻟﻮﻇﻴﻔﻴﺔ‪:2‬‬

‫ﻧﻘﻠﺖ ﻧﻈﺮﻳﺎﺕ ﺍﻟﺘﺮﲨﺔ ﺍﻟﻮﻇﻴﻔﻴﺔ‪ ،‬ﺍﻟﱵ ﰎ ﺗﻄﻮﻳﺮﻫﺎ ﰲ ﺃﳌﺎﻧﻴﺎ ﰲ ﺳﺒﻌﻴﻨﻴﺎﺕ ﻭ ﲦﺎﻧﻴﻨﻴﺎﺕ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ‬
‫ﺍﻟﺘﺮﲨﺔ ﻣﻦ ﻛﻮ‪‬ﺎ ﻇﺎﻫﺮﺓ ﻟﻐﻮﻳﺔ ﺇﱃ ﻇﺎﻫﺮﺓ ﺛﻘﺎﻓﻴﺔ‪ ،‬ﻭ ﻋﺪﻫﺎ ﺑﺬﻟﻚ ﻓﻌﻼ ﻣﻦ ﺃﻓﻌﺎﻝ ﺍﻟﺘﻮﺍﺻﻞ ﺍﻟﺜﻘﺎﰲ‪.‬‬
‫*‪ -‬ﺗﺮﲨﻲ ﺍﳋﺎﺻﺔ‪.‬‬

‫‪1-‬‬ ‫‪Jean, Delisle, « L’analyse du discours comme methode de traduction »Ottawa.P.u.d’ottawa. 1980.‬‬
‫‪p22‬‬

‫‪*- C.F.Mathieu Guidère , Ibid p41-47‬‬

‫‪2- Ibid p 73-74.‬‬

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‫ﻭ ﻗﺪ ﻫﺪﻓﺖ ﺃﺳﺎﺳﺎ ﺇﱃ ﺭﺑﻂ ﻭﻇﻴﻔﺔ ﺍﻟﻠﻐﺔ ﻭ ﻧﻮﻉ ﺍﻟﻨﺺ ﻭ ﺍﳉﻨﺲ ﺑﺈﺳﺘﺮﺍﺗﻴﺠﻴﺔ ﺍﻟﺘﺮﲨﺔ‪ .‬ﺃﻱ ﺃﺻﺒﺢ‬
‫« ﻝ " ﻓﲑﻣﲑ"‪،‬‬ ‫‪skopos‬‬ ‫ﺍﻻﻫﺘﻤﺎﻡ ﻣﻮﺟﻬﺎ ﺇﱃ ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﺘﺮﲨﺔ‪ ،‬ﻭ ﻗﺪ ﻇﻬﺮﺕ ﺑﺬﻟﻚ ﻧﻈﺮﻳﺔ »‬
‫« ﻭ ﳘﺎ ﻧﻈﺮﻳﺘﺎﻥ‬ ‫» ‪Holz-Mänttari‬‬ ‫ﻝ‬ ‫‪« la théorie de l’action‬‬ ‫ﻭ ﻧﻈﺮﻳﺔ ﺍﳍﺪﻑ »‬
‫ﻣﺘﻘﺎﺭﺑﺘﺎﻥ ﺣﻴﺚ ﻳﻨﺼﺎﻥ ﻋﻠﻰ ﺃﻥ ﻭﻇﻴﻔﺔ ﺍﻟﻨﺺ ﲢﺪﺩﻫﺎ ﺍﻟﻠﻐﺔ ﺍﳍﺪﻑ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﻳﺘﻢ ﺗﻮﺟﻴﻪ ﺍﻟﺘﺮﲨﺔ ﻋﻠﻰ‬
‫ﻫﺬﺍ ﺍﻷﺳﺎﺱ‪ ،‬ﻭ ﻛﻼﳘﺎ ﺗﻨﻈﺮﺍﻥ ﺇﱃ ﺍﻟﺘﺮﲨﺔ ﺑﻮﺻﻔﻬﺎ ﻓﻌﻼ ﲡﺎﺭﻳﺎ‪ ،‬ﲟﻌﲎ ﻭ ﺟﺐ ﺗﻮﺟﻴﻪ ﺍﳌﻌﲎ ﺣﺴﺐ‬
‫ﻣﺎ ﻳﻄﻠﺒﻪ ﺍﳌﺘﻠﻘﻲ ﺍﳍﺪﻑ‪.‬‬

‫ﺍﻟﻨﻈﺮﻳﺔ ﺍﻟﺘﺄﻭﻳﻠﻴﺔ‪:1‬‬

‫ﻭ ﻫﻲ ﺍﻟﻨﻈﺮﻳﺔ ﺍﻷﻛﺜﺮ ﺷﻴﻮﻋﺎ‪ ،‬ﻋﻠﻰ ﺍﻷﻗﻞ ﰲ ﻭﻗﺘﻨﺎ ﺍﻟﺮﺍﻫﻦ‪ ،‬ﺗﻌﺮﻑ ﺃﻳﻀﺎ ﲟﺪﺭﺳﺔ ﺑﺎﺭﻳﺲ‪ ،‬ﻷﻥ ﺭﺍﻋﻴﻬﺎ‬
‫ﺍﻟﺮﲰﻲ ﻫﻮ ﺍﳌﺪﺭﺳﺔ ﺍﻟﻌﻠﻴﺎ ﻟﻠﺘﺮﺍﲨﺔ ﻭ ﺍﳌﺘﺮﲨﲔ‪ ،‬ﻭ ﻗﺪ ﻃﻮﺭﺕ ﻋﻠﻰ ﻳﺪ ﻛﻞ ﻣﻦ ‪« Danica‬‬
‫» ‪ Seleskovitc‬ﻭ » ‪ ، « Marrianne Lederer‬ﻭ ﳏﻮﺭ ﺍﻫﺘﻤﺎﻡ ﻫﺬﻩ ﺍﻟﻨﻈﺮﻳﺔ ﻫﻮ ﺍﳌﻌﲎ‪ ،‬ﻭ ﻃﺮﻕ‬
‫ﺗﺸﻜﻠﻪ‪ ،‬ﺍﻧﻄﻼﻗﺎ ﳑﺎ ﺻﺮﺡ ﺑﻪ ﺍﻟﻨﺺ ﻭ ﳑﺎ ﱂ ﻳﺼﺮﺡ ﺑﻪ‪ ،‬ﺣﻴﺚ ﻳﻜﻮﻥ ﺯﺍﺩ ﺍﳌﺘﺮﺟﻢ ﰲ ﻫﺬﻩ ﺍﻟﻌﻤﻠﻴﺔ‬
‫ﳏﻤﻮﻝ ﻣﻌﺮﰲ ﺟﻴﺪ‪ ،‬ﻭ ﻗﺪﺭﺓ ﻋﺎﻟﻴﺔ ﻋﻠﻰ ﺗﺄﻭﻳﻞ ﺍﳌﻌﲎ‪ ،‬ﻟﻨﻘﻠﻪ ﻣﻦ ﺍﻟﻠﻐﺔ ﺍﳌﺼﺪﺭ ﺇﱃ ﺍﻟﻠﻐﺔ ﺍﳍﺪﻑ‪ ،‬ﻭﻳﺒﲎ‬
‫ﻛﻞ ﻫﺬﻩ ﻋﻠﻰ ﺍﻟﻔﻬﻢ ﻭ ﻗﺮﺍﺀﺓ ﺍﻟﻨﺺ ﻗﺮﺍﺀﺓ ﺗﺄﻭﻳﻠﻴﺔ ﺗﺼﻞ ﺇﱃ ﺟﻮﻫﺮ ﻗﺼﺪ ﺍﻟﻜﺎﺗﺐ‪ .‬ﻭ ﻟﻘﺪ ﺍﺳﺘﻮﺣﺖ‬
‫» ‪ « Seleskovitch‬ﻫﺬﻩ ﺍﻟﻨﻈﺮﻳﺔ ﻣﻦ ﻭﺍﻗﻊ ﻋﻤﻠﻬﺎ ﻛﺘﺮﲨﺎﻥ ﰲ ﺍﳌﺆﲤﺮﺍﺕ ﻭ ﻗﺪ ﺍﺧﺘﺼﺮﺕ ﻣﻨﻬﺠﻬﺎ‬
‫ﰲ ﺛﻼﺙ ﺧﻄﻮﺍﺕ‪ :‬ﺗﺄﻭﻳﻞ‪ ،‬ﺳﻠﺦ ﻟﻐﻮﻱ‪ ،‬ﺇﻋﺎﺩﺓ ﺻﻴﺎﻏﺔ‪ .‬ﺗﻠﺘﻘﻲ ﻣﻊ ﺩﻭﻟﻴﻞ ﰲ ﺃ‪‬ﻤﺎ ﻳﻨﻄﻠﻘﺎﻥ ﻣﻦ ﲢﻠﻴﻞ‬
‫ﺍﻟﻨﺺ ﻟﻠﻮﺻﻮﻝ ﺇﱃ ﺍﻟﺘﺄﻭﻳﻞ ﻭ ﺑﺎﻟﺘﺎﱄ ﺣﺼﺮ ﺍﳌﻌﲎ‪ .‬ﻭﺗﺸﺎﺭﻛﻬﺎ » ‪ « Lederer‬ﰲ ﻣﻨﻬﺠﻬﺎ ﻫﺬﺍ ﺣﻴﺚ‬
‫ﺗﻘﻮﻝ ﻣﻌﺮﻓﺔ ﻫﺬﻩ ﺍﻟﻨﻈﺮﻳﺔ‪" :‬ﺗﻨﺺ ﺍﻟﻨﻈﺮﻳﺔ ﺍﻟﺘﺄﻭﻳﻠﻴﺔ ﻋﻠﻰ ﻓﻬﻢ ﺍﻟﻨﺺ‪ ،‬ﺗﺄﻭﻳﻠﻪ‪ ،‬ﰒ ﺇﻋﺎﺩﺓ ﺻﻴﺎﻏﺘﻪ ﰲ ﺍﻟﻠﻐﺔ‬
‫ﺍﳍﺪﻑ"‪.2‬‬

‫‪1- .Mathieu Guidère , Ibid p69-70.‬‬

‫‪2- Mariane Lederer « la traduction aujourd’hui »,paris, Hachette, 1994. P13.‬‬

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‫ﻭﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻧﻪ ﺇﺫﺍ ﻛﺎﻧﺖ ﺍﻟﻨﻈﺮﻳﺎﺕ ﺍﻟﺴﺎﺑﻘﺔ ﺗﻨﺒﲏ ﻋﻠﻰ ﺍﻟﻔﻬﻢ‪ ،‬ﻭ ﲡﻌﻠﻪ ﺟﺰﺀﺍ ﻣﻦ ﺍﻟﻌﻤﻠﻴﺔ‬
‫ﺍﻟﺘﺮﲨﻴﺔ ‪ ،‬ﻓﺈﻥ ﻫﺬﻩ ﺍﻟﻨﻈﺮﻳﺔ ﺗﻌﺘﱪﻩ ﺧﻄﻮﺓ ﺳﺎﺑﻘﺔ‪ ،‬ﻭ ﺗﻌﺘﱪ ﺃﻥ ﺍﻧﻄﻼﻗﺔ ﻫﺬﻩ ﺍﻟﻌﻤﻠﻴﺔ ﺗﺒﺪﺃ ﻣﻦ ﺍﻟﺘﺄﻭﻳﻞ ﺇﱃ‬
‫ﺃﻥ ﺗﺼﻞ ﺇﱃ ﺇﻋﺎﺩﺓ ﺍﻟﺼﻴﺎﻏﺔ‪.‬‬

‫ﻧﻘﺪ ﺍﻟﺘﺮﲨﺔ‪:1‬‬

‫ﻳﻌﺪ ﻧﻘﺪ ﺍﻟﺘﺮﲨﺔ ﻣﻦ ﺍﻟﻮﺳﺎﺋﻞ ﺍﳊﺪﻳﺜﺔ ﻧﺴﺒﻴﺎ ﳌﻘﺎﺭﺑﺔ ﺍﳌﻌﲎ‪ ،‬ﻭ ﺫﻟﻚ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﻮﻗﻮﻑ ﻋﻠﻰ ﺩﻗﺎﺋﻖ‬
‫ﺍﻷﻣﻮﺭ ﰲ ﺍﻟﻨﺺ ﺍﳌﺘﺮﺟﻢ‪ ،‬ﻭ ﻫﻮ ﻋﺒﺎﺭﺓ ﻋﻦ ﻋﻤﻠﻴﺔ ﺗﻘﻴﻤﻴﺔ ﻟﻠﺘﺮﲨﺔ ﻣﻦ ﺃﺟﻞ ﺍﻟﻮﺻﻮﻝ ﺇﱃ ﺍﻟﺘﺮﲨﺔ‬
‫ﺍﳌﻨﺸﻮﺩﺓ‪ .‬ﻭ ﻗﺪ ﻛﺎﻥ ﰲ ﺑﺎﺩﺉ ﺍﻷﻣﺮ ﻣﻘﺼﻮﺭﺍ ﻋﻠﻰ ﺍﻟﻨﺼﻮﺹ ﺍﻷﺩﺑﻴﺔ‪ .‬ﻭ ﻗﺪ ﺃﳘﻞ ﻷﻥ ﻛﻞ ﺍﻟﺪﺭﺍﺳﺎﺕ‬
‫ﻋﻨﻴﺖ ﻓﻘﻂ ﺑﺪﺭﺍﺳﺔ ﻧﻈﺮﻳﺎﺕ ﺍﻟﺘﺮﲨﺔ ﺑﻜﻞ ﻣﻌﺎﻳﲑﻫﺎ ﻭ ﺑﺬﻟﻚ ﺑﻘﻲ ﻫﺬﺍ ﺍﻟﻨﺸﺎﻁ ﺍﻟﺬﻱ ﳝﺜﻞ ﺟﺎﻧﺒﺎ ﻣﻦ‬
‫ﺍﻟﻌﻤﻠﻴﺔ ﺍﻟﺘﺮﲨﻴﺔ‪ ،‬ﻟﻔﺘﺮﺓ ﻃﻮﻳﻠﺔ ﺑﻌﻴﺪﺍ ﻋﻦ ﺍﳌﻴﺪﺍﻥ ﻭﻣﻘﺼﻮﺭﺍ ﻋﻠﻰ ﺍﻷﺩﺏ‪ .‬ﺇﱃ ﺃﻥ ﻟﻔﺖ ﺍﻧﺘﺒﺎﻩ ﻭ ﺍﻫﺘﻤﺎﻡ‬
‫"ﻛﺎﺗﺎﺭﻳﻨﺎ ﺭﺍﻳﺲ" ﰒ "ﺃﻧﻄﻮﺍﻥ ﺑﺮﻣﺎﻥ"‪ ،‬ﻭ ﺁﺧﺮﻭﻥ ﺑﻌﺪﻫﻢ‪ ...‬ﻭ ﻫﻨﺎﻙ ﻋﺪﺩ ﻻ ﳛﺼﻰ ﻣﻦ ﺍﳌﻘﺎﻻﺕ‪،‬‬
‫ﻭ ﻣﻘﺪﻣﺎﺕ ﺍﻟﺘﺮﲨﺎﺕ‪ ،‬ﻭ ﻟﻜﻨﻬﺎ ﻣﺒﻌﺜﺮﺓ ﻭ ﻣﺘﻨﺎﺛﺮﺓ ﻭ ﲢﺘﺎﺝ ﺇﱃ ﲨﻌﻬﺎ ﻭ ﺗﻨﻈﻴﻤﻬﺎ ﰒ ﺻﻴﺎﻏﺘﻬﺎ ﺻﻴﺎﻏﺔ‬
‫ﻧﻈﺮﻳﺔ ﲡﻌﻞ ﻣﻨﻬﺎ ﻣﻴﺪﺍﻧﺎ ﻣﺴﺘﻘﻼ ﻟﻠﻤﻌﺎﻳﻨﺔ ﻭ ﺍﻟﺒﺤﺚ‪ .‬ﻭ ﻗﺪ ﺍﻗﺘﺮﺡ "ﺑﻴﺘﺮ ﻧﻴﻮﻣﺎﺭﻙ"‪ 2‬ﺷﻜﻼ ﳍﺬﻩ‬
‫ﺍﻟﻌﻤﻠﻴﺔ ﻭ ﻫﻲ ﺗﺘﻢ ﻋﻠﻰ ﺍﻟﺸﻜﻞ ﺍﻟﺘﺎﱄ‪:‬‬

‫ﲢﻠﻴﻞ ﺍﻟﻨﺺ‪:‬‬ ‫‪-1‬‬

‫ﻗﺮﺍﺀﺓ ﺍﻟﻨﺺ ﻗﺮﺍﺀﺓ ﻭﺍﻓﻴﺔ ﻣﻦ ﺃﺟﻞ ﲢﺪﻳﺪ ﺷﻜﻠﻪ ﻭ ﻣﻀﻤﻮﻧﻪ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﻣﻜﻮﻧﺎﺗﻪ ﺍﳌﻀﻤﻮﻧﻴﺔ‬
‫ﻭ ﺍﻷﺳﻠﻮﺑﻴﺔ‪ ،‬ﻭ ﺍﳌﺴﺘﻮﻯ ﺍﻟﻠﻐﻮﻱ ‪...‬ﻭﻏﲑﻫﺎ‪.‬‬

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‫ص‪258‬‬

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‫‪ -2‬ﻏﺮﺽ ﺍﳌﺘﺮﺟﻢ‪:‬‬

‫ﻭ ﰲ ﻫﺬﻩ ﺍﳌﺮﺣﻠﺔ ﻳﺘﻢ ﲢﺪﻳﺪ ﺳﺒﺐ ﻭ ﻫﺪﻑ ﺍﻟﺘﺮﲨﺔ‪ ،‬ﻭ ﻫﻮ ﻣﺘﻌﻠﻖ ﺃﺳﺎﺳﺎ ﺑﻨﻮﺍﻳﺎ ﺍﳌﺘﺮﺟﻢ ﻭ ﺍﻟﱵ ﳝﻜﻦ‬
‫ﺭﺻﺪﻫﺎ ﻣﻦ ﺍﻟﻨﺺ ﺍﳌﺘﺮﺟﻢ ﻧﻔﺴﻪ‪.‬‬

‫‪ -3‬ﻣﻘﺎﺭﻧﺔ ﺍﻟﺘﺮﲨﺔ ﺑﺎﻷﺻﻞ‪:‬‬

‫ﻭﻟﻴﺲ ﺍﳌﻘﺼﻮﺩ ﻣﻨﻬﺎ ﺃﻥ ﻧﻀﻊ ﺍﻟﻨﺼﲔ ﻋﻠﻰ ﺟﺪﻭﻝ ﺍﳌﻘﺎﺭﻧﺔ ﻭ ﺇﳕﺎ ﻧﻘﻒ ﻋﻨﺪ ﺃﻫﻢ ﺍﳌﺸﺎﻛﻞ ﺍﻟﱵ‬
‫ﻭﺍﺟﻬﺖ ﺍﳌﺘﺮﺟﻢ ﻭ ﻭﻓﻖ ﺇﱃ ﺣﺪ ﻣﺎ ﰲ ﺣﻠﻬﺎ‪ .‬ﻭ ﺗﺘﺪﺧﻞ ﻫﻨﺎ ﻗﺪﺭﺗﻪ ﺍﻟﻠﻐﻮﻳﺔ ﻭ ﺍﳌﻌﺮﻓﻴﺔ ﻭ ﻣﻬﺎﺭﺗﻪ‬

‫‪ -4‬ﺗﻘﻴﻴﻢ ﺍﻟﺘﺮﲨﺔ‪:‬‬

‫ﻭ ﰲ ﻫﺬﻩ ﺍﳌﺮﺣﻠﺔ ﻳﺘﻢ ﻧﻘﺪ ﺍﻟﺘﺮﲨﺔ ﻋﻠﻰ ﺿﻮﺀ ﻣﺎ ﻳﻮﻓﺮﻩ ﺍﻟﻨﺺ ﺍﳌﺘﺮﺟﻢ ﻣﻦ ﻣﻌﻄﻴﺎﺕ‪ ،‬ﺣﻴﺚ ﻳﺘﻢ‬
‫ﺍﻟﻮﻗﻮﻑ ﻋﻠﻰ ﺃﻫﻢ ﺍﳉﺰﺋﻴﺎﺕ ﺍﻟﱵ ﻳﻌﺮﺿﻬﺎ ﺍﻟﻨﺺ‪ .‬ﻭ ﻳﺘﻢ ﺗﻘﻴﻴﻤﻬﺎ ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ‪.‬‬

‫ﻟﻘﺪ ﻗﺪﻣﺖ ﺍﻟﻠﺴﺎﻧﻴﺎﺕ ﻟﻠﺘﺮﲨﺔ ﰲ ﺷﻜﻠﻬﺎ ﺍﻟﻨﻈﺮﻱ ﺍﻧﻄﻼﻗﺔ ﻣﺘﺄﺧﺮﺓ ﺑﻌﺾ ﺍﻟﺸﻲﺀ‪ ،‬ﻟﻜﻨﻬﺎ ﺛﺎﺑﺘﺔ ﰒ‬
‫ﻻ ﳚﺐ ﻧﻜﺮﺍﻥ ﻣﺴﺎﻧﺪ‪‬ﺎ ﳍﺎ ﺣﱴ ﻛﻮﻧﺖ ﺷﻜﻠﻬﺎ ﺍﳌﻌﺮﻭﻑ ﺍﻟﻴﻮﻡ‪ .‬ﻣﻊ ﺃﻧﻪ ﻻ ﳝﻜﻦ ﺑﺄﻱ ﺷﻜﻞ ﻣﻦ‬
‫ﺍﻷﺷﻜﺎﻝ ﺍﻻﳓﻴﺎﺯ ﺇﱃ ﻧﻈﺮﻳﺔ ﺃﻭ ﻣﻘﺎﺭﺑﺔ ﻭ ﺍﻹﻗﺮﺍﺭ ﺑﻨﺠﺎﻋﺘﻬﺎ ﺩﻭﻧﺎ ﻋﻦ ﻏﲑﻫﺎ‪ ،‬ﻓﺤﻘﻞ ﺍﻟﺒﺤﺚ ﻳﺜﺮﻯ‬
‫ﺑﺎﻟﺮﺃﻱ ﻭ ﺍﻟﺮﺃﻱ ﺍﻵﺧﺮ‪ ،‬ﻓﻜﻞ ﻧﻈﺮﻳﺔ ﺃﻭ ﻣﻘﺎﺭﺑﺔ ﻳﺘﺒﻨﺎﻫﺎ ﺑﻌﺾ ﺍﻟﺪﺍﺭﺳﲔ ﻟﻔﺘﺮﺓ ﻣﻦ ﺍﻟﺰﻣﻦ ﺗﻔﺘﺢ ﺍ‪‬ﺎﻝ‬
‫ﻭﺍﺳﻌﺎ ﻟﻈﻬﻮﺭ ﺃﺧﺮﻯ ﺟﺪﻳﺪﺓ‪ .‬ﻭ ﻣﻦ ﺧﻼﻝ ﻫﺬﺍ ﺍﻟﻌﺮﺽ ﺍﳌﻘﺘﻀﺐ ﻟﺒﻌﺾ ﺍﻟﻨﻈﺮﻳﺎﺕ ﺍﻟﱵ ﻳﺸﻬﺪﻫﺎ ﻫﺬﺍ‬
‫ﺍﻟﻌﺼﺮ‪ ،‬ﰲ ﻣﻘﺪﻭﺭﻧﺎ ﺃﻥ ﻧﻼﺣﻆ ﺃﻧﻪ ﻣﻦ ﺍﻟﺼﻌﺐ ﺩﺭﺍﺳﺔ ﻧﻈﺮﻳﺔ ﻣﺎ ﺃﻭ ﺗﻄﺒﻴﻘﻬﺎ ﻟﻮﺣﺪﻫﺎ‪ ،‬ﻭ ﻛﺄ‪‬ﺎ‬
‫ﳎﺘﻤﻌﺔ ﻛﻜﻞ ﻣﺘﻜﺎﻣﻞ ﺑﺴﺒﺐ ﻣﺎ ﺗﻌﺮﺿﻪ ﻛﻞ ﻭﺍﺣﺪﺓ ﻋﻠﻰ ﺣﺪﺍ‪ ،‬ﻓﻤﺜﻼ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺪﺭﺍﺳﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﻭﻣﺎ‬
‫ﺣﺼﻠﺘﻪ ﻣﻦ ﻧﺘﺎﺋﺞ ﻣﻬﻢ ﻧﺴﺒﻴﺎ ﺇﺫﺍ ﻣﺎ ﺩﻋﻢ ﲟﺎ ﻭﺻﻠﺖ ﺇﻟﻴﻪ ﺍﳌﻘﺎﺭﺑﺎﺕ ﺍﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﻓﻼ ﳝﻜﻦ ﺩﺭﺍﺳﺔ ﺍﻟﻈﺎﻫﺮﺓ‬
‫ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺃﻱ ﻧﺺ ﺩﻭﻥ ﺃﻥ ﺗﻌﺮﺽ ﻟﻨﺎ ﺍﻟﻈﻮﺍﻫﺮ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺗﻠﻘﺎﺋﻴﺎ‪ ،‬ﺇﻥ ﺃﳘﻠﻨﺎﻫﺎ ﻛﻨﺎ ﻛﻤﻦ ﳚﺮﺩ‬
‫ﺍﻟﻜﻠﻤﺎﺕ ﻣﻦ ﻛﻞ ﻭﻗﻊ ﳍﺎ ‪ ،‬ﻭ ﺑﺬﻟﻚ ﻟﻦ ﻧﻘﻮﻡ ﺇﻻ ﲟﻄﺎﺑﻘﺔ ﺳﺎﺫﺟﺔ ﺑﲔ ﺍﻟﻠﻐﺎﺕ ﻓﻘﻂ‪ ،‬ﻣﺎ ﺃﺣﺎﻭﻝ ﺃﻥ‬
‫ﺃﻭﺿﺤﻪ ﻫﻨﺎ ﻫﻮ ﺃﻧﻪ ﻻ ﳚﻮﺯ ﺃﻥ ﻧﺘﻌﺼﺐ ﻟﻨﻈﺮﻳﺔ ﻣﺎ ‪‬ﺮﺩ ﺃ‪‬ﺎ ﻃﺮﺣﺖ ﻓﻜﺮﺓ ﺗﻨﺎﺳﺒﻨﺎ‪ ،‬ﻓﻤﻬﻤﺎ ﺃﺑﺪﺕ‬

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‫ﺃ‪‬ﺎ ﴰﻮﻟﻴﺔ ‪ ،‬ﺣﺎﻣﻠﺔ ﻟﻠﻜﻞ ﺍﻷﺟﻮﺑﺔ ﺇﻻ ﺃ‪‬ﺎ ﺗﺒﻘﻰ ﻧﺎﻗﺼﺔ‪ ،‬ﻓﻼ ﳚﺐ ﺃﻥ ﳓﺼﺮ ﺍﻫﺘﻤﺎﻣﻨﺎ ﰲ ﺟﺎﻧﺐ‬
‫ﻭﺍﺣﺪ‪ ،‬ﻛﺄﻥ ‪‬ﺘﻢ ﺑﺎﻟﻠﻐﺔ‪ ،‬ﺃﻭ ﺑﺎﻟﺜﻘﺎﻓﺔ‪ ،‬ﺃﻭ ﺍﳌﺘﻠﻘﻲ ﻛﻞ ﻋﻠﻰ ﺣﺪﺍ‪ ،‬ﻭ ﺃﻋﺘﻘﺪ ﺃﻥ ﺍﻷﻣﺮ ﻫﻮ ﻋﻠﻰ ﻣﺎ ﻫﻮ‬
‫ﻋﻠﻴﻪ ﻷﻥ ﺃﻏﻠﺒﻴﺔ ﺍﻟﺬﻳﻦ ﺩﺭﺳﻮﺍ ﺍﻟﺘﺮﲨﺔ ﻭ ﻧﻈﺮﻭﺍ ﳍﺎ ﻫﻢ ﻣﻦ ﺧﺎﺭﺝ ﺍﻻﺧﺘﺼﺎﺹ ﻟﺬﻟﻚ ﻧﻈﺮﻭﺍ ﺇﻟﻴﻬﺎ‬
‫ﻛﻞ ﻣﻦ ﳎﺎﻝ ﺍﺧﺘﺼﺎﺻﻪ‪ ،‬ﳍﺬﺍ ﺃﺭﻯ ﺃﻧﻪ ﻗﺪ ﺣﺎﻥ ﺍﻟﻮﻗﺖ ﻟﻠﻤﺘﺮﲨﲔ ﺃﻥ ﻳﻮﻟﻮﺍ ﺍﻫﺘﻤﺎﻣﺎ ﺃﻛﱪ ﺑﺎﳉﺎﻧﺐ‬
‫ﺍﻟﻨﻈﺮﻱ ﻷﻧﻪ ﺑﺄﳘﻴﺔ ﺍﳉﺎﻧﺐ ﺍﻟﺘﻄﺒﻴﻘﻲ‪ ،‬ﻭ ﺃﻥ ﺍﻟﻨﻈﺮﻳﺔ ﺍﳌﺜﺎﻟﻴﺔ ﺣﺴﺐ ﻫﺬﻩ ﺍﻟﻨﻈﺮﻳﺎﺕ ﻫﻲ ﺍﺟﺘﻤﺎﻋﻬﺎ‬
‫ﻛﻠﻬﺎ ﰲ ﻧﻈﺮﻳﺔ ﻭﺍﺣﺪﺓ ﻣﻮﺣﺪﺓ‪ ،‬ﻭ ﻫﺬﺍ ﻗﺪ ﳜﺪﻡ ﺍﻟﻜﺎﺗﺐ‪ ،‬ﻭ ﺍﳌﺘﺮﺟﻢ‪ ،‬ﻭ ﺍﳌﺘﻠﻘﻲ ﻣﻌﺎ‪.‬‬

‫ﺍﻟﺘﺮﲨﺔ‪ :‬ﺻﺮﺍﻉ ﺑﲔ ﺛﻨﺎﺋﻴﺎﺕ‪:‬‬

‫ﱂ ﲢﺪﺩ ﻣﺎﻫﻴﺔ ﺍﻟﺘﺮﲨﺔ ﺇﱃ ﺍﻵﻥ‪ ،‬ﻣﺎ ﺩﺍﻡ ﱂ ﻳﻔﺼﻞ ﰲ ﺃﻣﺮ ﺍﻟﺜﻨﺎﺋﻴﺔ ﺍﻟﺘﺎﻟﻴﺔ ﺍﻟﱵ ﻣﺎﺯﺍﻟﺖ ﺗﺜﲑ ﺍﳉﺪﻝ ﺣﻮﳍﺎ‬
‫ﻭ ﺍﻟﱵ ﺗﻄﺮﺡ ﻋﺪﺓ ﺇﺷﻜﺎﻻﺕ ﰲ ﻫﺬﺍ ﺍﻟﺼﺪﺩ‪ :‬ﻫﻞ ﺍﻟﺘﺮﲨﺔ ﺃﻣﺎﻧﺔ ﺃﻡ ﺧﻴﺎﻧﺔ؟‪ ،‬ﺃﻫﻲ ﻋﻠﻢ ﺃﻡ ﻓﻦ؟‪ ،‬ﻫﻞ‬
‫ﻫﻲ ﳑﻜﻨﺔ ﺃﻡ ﻏﲑ ﳑﻜﻨﺔ؟‪ ،‬ﺃﻡ ﻫﻲ ﺷﻜﻞ ‪،‬ﺃﻡ ﻣﻌﻨﺎ‪ ،‬ﻧﻈﺮﻳﺔ ﺃﻡ ﺗﻄﺒﻴﻖ‪ ،‬ﻣﻦ ﺃﻫﻢ ﺍﳌﺒﺪﻉ ﺃﻡ ﺍﳌﺘﺮﺟﻢ ‪...‬‬
‫ﻭ ﻏﲑﻫﺎ‪.‬‬

‫‪ -‬ﺍﻟﺘﺮﲨﺔ ﺑﲔ ﺍﻟﻨﻈﺮﻳﺔ ﻭ ﺍﻟﺘﻄﺒﻴﻖ‪ :‬ﻣﻦ ﺍﳌﺮﺟﺢ ﺃﻥ ﺍﻟﺘﻄﺒﻴﻖ ﻇﻬﺮ ﻗﺒﻞ ﺍﻟﻨﻈﺮﻳﺔ ﰲ ﺍﻟﺘﺮﲨﺔ ﻭ ﺑﻘﻲ‬
‫ﺳﺎﺑﻘﺎ ﳍﺎ ﻋﻠﻰ ﻣﺮ ﺍﻟﺘﺎﺭﻳﺦ‪ .‬ﻗﺪ ﺗﻨﺎﺯﻋﺎ ﻋﻠﻰ ﺍﳊﻖ ﰲ ﺍﻷﳘﻴﺔ ﺍﳌﻄﻠﻘﺔ ﻃﻮﻳﻼ ﺣﻴﺚ ﺍﻧﻘﺴﻢ ﻓﺮﻳﻖ‬
‫ﺍﻟﺪﺍﺭﺳﲔ ﻭ ﺍﳌﻬﺘﻤﲔ ﺑﺎﻟﺘﺮﲨﺔ ﺑﲔ ﻣﻨﻈﺮﻳﻦ ﻭ ﳑﺎﺭﺳﲔ‪ ،‬ﺣﻴﺚ ﻳﺆﻛﺪ "ﻣﺎﺛﻴﻮ ﻏﻴﺪﻳﺮ" "ﺃﻥ‬
‫ﺍﻻﺧﺘﻼﻑ ﺑﻴﻨﻬﻤﺎ ﻟﻄﺎﳌﺎ ﻛﺎﻥ ﺳﺒﺒﺎ ﻟﻠﺘﻔﺮﻗﺔ ﻳﱭ ﺍﻟﺪﺍﺭﺳﲔ ﻋﻠﻰ ﻣﺮ ﺍﻟﺘﺎﺭﻳﺦ‪ ،‬ﻭ ﻣﺎﺯﺍﻝ ﻗﺎﺋﻤﺎ ﺇﱃ‬
‫ﺍﻟﻴﻮﻡ‪".‬‬
‫‪« L’opposition entre la théorie et la pratique parcourt l’histoire de la‬‬
‫‪traduction et continue de diviser, aujourd’hui encore, les formateurs et‬‬
‫‪les professionnel. »1‬‬
‫ﺣﻴﺚ ﻳﺆﻛﺪ "ﺳﺘﺎﻳﻨﺮ" ﺃﻳﻀﺎ ﻋﻠﻰ ﺃﻥ "ﻫﺬﺍ ﺍﻻﻧﺘﺸﺎﺭ ﺍﻟﻮﺍﺳﻊ ﺍﻟﺬﻱ ﺗﻌﻴﺸﻪ ﺍﳌﻤﺎﺭﺳﺔ ﻻ ﻳﻘﺎﺑﻠﻪ‬
‫ﻧﻔﺲ ﺍﻟﻘﺪﺭ ﺣﲔ ﺍﳊﺪﻳﺚ ﻋﻦ ﺍﻟﻨﻈﺮﻳﺔ"‪:‬‬

‫‪1- Mathieu Guidère , Ibid p22.‬‬

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‫‪« L’extension en largueur et en profondeur de l’activité de traduction,‬‬

‫‪à laquelle on assiste sur le plan pratique, ne s’accompagne pas d’un‬‬
‫‪développement parallèle sur le plan théorique. »1‬‬
‫ﻭ ﻳﺒﺪﻭ ﺃﻧﻪ ﰲ ﺍﻷﺧﲑ ﺗﻌﻮﺩ ﺍﻷﺣﻘﻴﺔ ﰲ ﺍﻷﳘﻴﺔ ﻟﻠﺘﻄﺒﻴﻖ ﺭﻏﻢ ﺃﻥ ﺍﻟﱰﺍﻉ ﻻ ﻳﻨﻔﻚ ﳛﺘﺪﻡ ﺑﻴﻨﻬﻤﺎ‪،‬‬
‫ﻭ ﻟﻜﻦ ﻛﺪﺍﺭﺳﲔ ﻭ ﳑﺎﺭﺳﲔ ﻻ ﳝﻜﻦ ﺃﻥ ﻧﺮﺟﺢ ﻛﻔﺔ ﺍﺣﺪﳘﺎ ﻋﻠﻰ ﺣﺴﺎﺏ ﺍﻵﺧﺮ‪ ،‬ﻭ ﻻ‬
‫ﳝﻜﻨﻨﺎ ﺇﻻ ﺃﻥ ﻧﺒﺪﻱ ﺍﳌﻼﺣﻈﺔ ﺍﻟﺘﺎﻟﻴﺔ‪ :‬ﺭﲟﺎ ﻳﻜﻮﻥ ﺍﻷﻣﺮ ﺭﺍﺟﻊ ﺇﱃ ﺃﻥ ﺍﻟﺘﺮﲨﺔ ﱂ ﺗﻨﻞ ﺣﺮﻳﺘﻬﺎ ﺇﻻ‬
‫ﻣﺆﺧﺮﺍ ﻛﻌﻠﻢ ﻗﺎﺋﻢ ﺑﺬﺍﺗﻪ‪ ،‬ﻓﻔﻲ ﺣﲔ ﻛﺎﻧﺖ ﺍﳌﻤﺎﺭﺳﺔ ﺗﺰﺩﻫﺮ‪ ،‬ﺑﻘﻴﺖ ﺍﻟﻨﻈﺮﻳﺔ ﺃﺳﲑﺓ ﺍﳌﻨﻈﺮﻳﻦ‬
‫ﺍﻟﻠﺴﺎﻧﻴﲔ‪.‬‬
‫‪ -‬ﺍﻟﺘﺮﲨﺔ ﺑﲔ ﺍﻻﺳﺘﺤﺎﻟﺔ ﻭ ﺍﻹﻣﻜﺎﻧﻴﺔ‪ :‬ﻭ ﻗﺪ ﻃﺮﺡ ﻫﺬﺍ ﺍﻹﺷﻜﺎﻝ ﺃﺳﺎﺳﺎ ﻭﻗﺖ ﺍﳊﺪﻳﺚ ﻋﻦ‬
‫ﺍﻟﻨﺼﻮﺹ ﺍﳌﻘﺪﺳﺔ‪ ،‬ﻓﻘﺪ ﺍﻧﻘﺴﻢ ﻭﺳﻂ ﺍﻟﺪﺍﺭﺳﲔ ﺇﱃ ﻣﺆﻳﺪ ﻭ ﻣﻌﺎﺭﺽ‪ ،‬ﻓﻔﻲ ﺣﲔ ﻧﻈﺮ ﺇﻟﻴﻬﺎ‬
‫ﺍﻟﺒﻌﺾ ﻣﻦ ﻣﻨﻄﻠﻖ ﺃﻥ ﺗﺮﲨﺘﻬﺎ ﺗﻌﺪ ﻋﻮﻧﺎ ﻹﻧﺎﺭﺓ ﺍﻹﻧﺴﺎﻧﻴﺔ ﲨﻌﺎﺀ‪ ،‬ﻧﻈﺮ ﺇﻟﻴﻬﺎ ﺍﻵﺧﺮﻭﻥ ﻛﺈﰒ‬
‫ﻭ ﺍﻋﺘﺪﺍﺀ ﻋﻠﻰ ﻗﺪﺳﻴﺔ ﺍﻟﺪﻳﻦ‪ ،2‬ﰒ ﲡﺪﺩ ﻫﺬﺍ ﺍﻹﺷﻜﺎﻝ ﻭﻗﺖ ﺍﳊﺪﻳﺚ ﻋﻦ ﺍﻟﻨﺼﻮﺹ ﺍﻷﺩﺑﻴﺔ‬
‫ﻭ ﻧﻘﻞ ﺳﺤﺮﻫﺎ‪ ،‬ﻭ ﻟﻜﻦ ﺑﻐﺾ ﺍﻟﻨﻈﺮ ﻋﻦ ﻛﻼﳘﺎ‪ ،‬ﻳﺒﻘﻰ ﺻﺮﺍﻋﺎ ﺑﲔ ﺍﻟﺸﻜﻞ ﻭ ﺍﳌﻌﲎ‪،‬‬
‫ﻭ ﺍﻟﺬﻱ ﻫﻮ ﰲ ﺟﻮﻫﺮﻩ ﺻﺮﺍﻉ ﺑﲔ ﺍﳋﻴﺎﻧﺔ ﻭ ﺍﻷﻣﺎﻧﺔ‪ ،‬ﻛﻤﺎ ﺃﻧﻪ ﳛﺪﺩ ﺃﺧﲑﺍ ﺇﻣﻜﺎﻧﻴﺔ ﺍﻟﺘﺮﲨﺔ‬
‫ﻣﻦ ﺍﺳﺘﺤﺎﻟﺘﻬﺎ‪ ،‬ﻭ ﻟﻦ ﻳﺘﻮﺿﺢ ﺷﻜﻞ ﻫﺬﺍ ﺍﻟﺼﺮﺍﻉ ﺇﻻ ﻣﻦ ﺧﻼﻝ ﻋﺮﺽ ﺧﺼﻮﺻﻴﺔ ﻛﻞ ﻃﺮﻑ‬
‫ﻓﻴﻪ‪ .‬ﻭ ﳍﺬﺍ ﳚﺪﺭ ﺗﻮﺿﻴﺢ ﺃﻥ " ﺍﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ ﻟﻴﺴﺖ ﻗﺒﻀﺎ ﻭ ﺍﻣﺘﻼﻛﺎ ﺑﻘﺪﺭ ﻣﺎ ﻫﻲ ﲤﻮﺿﻊ‬
‫ﻭ ﻃﺒﻴﻌﺔ ﺣﻮﺍﺭﻳﺔ ﻭ ﺃﺳﺌﻠﺔ ﻳﺜﲑﻫﺎ ﺍﳌﺘﺮﺟﻢ‪ 2".‬ﻓﺎﳌﻌﲎ ﰲ ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﻟﻴﺲ ﰲ ﻣﺘﻨﺎﻭﻝ ﺍﻟﻴﺪ‬
‫ﺩﺍﺋﻤﺎ‪ ،‬ﻭ ﻋﻠﻰ ﺍﳌﺘﺮﺟﻢ ﺃﻥ ﻳﺘﻌﺎﻣﻞ ﻣﻌﻪ ﺑﺬﻛﺎﺀ ﻭ ﺣﺮﻓﻴﺔ ﺃﻛﺜﺮ ﻭ ﻣﻬﺎﺭﺓ‪ .‬ﻓﻌﻠﻰ ﻋﻜﺲ‬
‫ﺍﻟﻨﺼﻮﺹ ﺍﻟﻌﻠﻤﻴﺔ‪ ،‬ﻫﻮ ﻟﻴﺲ ﲢﺼﻴﻞ ﺣﺎﺻﻞ‪ ،‬ﻷﻥ ﺍﻹﺑﺪﺍﻉ ﻫﻮ ﺩﺍﻓﻊ ﻛﺘﺎﺑﺘﻪ‪ ،‬ﺇﺫ ﺃﻥ ﺍﻟﻜﺎﺗﺐ‬

‫‪1-‬‬ ‫‪Steiner, G ,”After Babel :Aspect of language and translation”, London and New York, Oxford‬‬
‫‪university press.1975.p82.‬‬
‫‪2- Mathieu Guidère , Ibid p23.‬‬
‫‪
 -3‬ت ‪.‬م‪.‬س‪ .‬ص ‪73‬‬

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‫ﻟﻴﺲ ﻣﻄﺎﻟﺒﺎ ﺃﻥ ﻳﻜﺘﺐ ﻟﻠﻨﺎﺱ‪ ،‬ﺑﻞ ﻳﺒﺪﻉ ﻣﻦ ﺃﺟﻞ ﺍﻹﺑﺪﺍﻉ ﻧﻔﺴﻪ‪ ،‬ﺇﺫﻥ ﻓﻬﻮ ﻟﻴﺲ ﻭﺳﻴﻠﺔ ﺑﻞ‬
‫ﻫﻮ ﻏﺎﻳﺔ ﰲ ﺣﺪ ﺫﺍﺗﻪ‪ ،‬ﺭﻏﻢ ﺃﻧﻪ ﻳﺘﻮﺟﻪ ﺇﻟﻴﻬﻢ ﰲ ﻫﺬﺍ‪ ،‬ﻓﺄﻭﻻ ﻭ ﺃﺧﲑﺍ ﳛﺘﺎﺝ ﺍﻟﻜﺎﺗﺐ ﺇﱃ ﻣﻦ‬
‫ﻳﺴﻤﻊ ﻧﺪﺍﺀﻩ ‪ ،‬ﺇﱃ ﻣﻦ ﻳﺘﻠﻘﻰ ﺃﻓﻜﺎﺭﻩ‪ ،‬ﻧﻈﺮﺗﻪ ﺇﱃ ﺍﻟﻌﺎﱂ‪ ،‬ﺭﺃﻳﻪ ﻋﻦ ﻣﻘﺘﻀﻴﺎﺕ ﺯﻣﻨﻪ‪ ...‬ﻭ ﻛﻠﻬﺎ‬
‫ﺃﻣﻮﺭ ﺗﺆﺛﺮ ﺑﺸﻜﻞ ﺃﻭ ﺑﺂﺧﺮ ﰲ ﺍﳌﺘﻠﻘﻲ ﺃﻳﺎ ﻛﺎﻥ‪ .‬ﻓﺎﻟﻜﺘﺎﺑﺔ ﻓﻦ ﻭ ﺃﻱ ﻓﻨﺎﻥ ﻟﻪ ﺭﺳﺎﻟﺔ ﻳﻘﺪﻣﻬﺎ ﻣﻦ‬
‫ﺧﻼﻝ ﻓﻨﻪ ﻗﺪ ﺗﻔﻬﻢ ﻣﻦ ﺯﻭﺍﻳﺎ ﻋﺪﻳﺪﺓ‪ ،‬ﻭ ﻟﻜﻨﻬﺎ ﺗﺮﺑﻂ ﺑﺸﻜﻞ ﻣﺎ ﺑﲔ ﺍﻟﻔﻨﺎﻥ ﻭ ﺍﳌﺘﻠﻘﻲ‪ .‬ﺇﺫﻥ‬
‫ﺣﱴ ﻫﺬﻩ ﺍﻟﻨﻮﻋﻴﺔ ﻣﻦ ﺍﻟﻨﺼﻮﺹ ﺫﺍﺕ ﻭﻇﻴﻔﺔ ﺗﻮﺍﺻﻠﻴﺔ*‪ -‬ﻫﺬﺍ ﻛﻠﻪ ﻭ ﺍﻟﻨﺺ ﻟﻴﺲ ﺇﺧﺒﺎﺭﻱ‪.‬‬
‫ﺣﻴﺚ ﻳﻘﻮﻝ ﳏﻤﺪ ﻋﻨﺎﱐ ﰲ ﻫﺬﺍ ﺍﻟﺼﺪﺩ‪ ":‬ﺇﻥ ﻣﺸﻜﻠﺔ ﺍﻹﺣﺎﻟﺔ ﺍﻟﻠﻔﻈﻴﺔ ﰲ ﺍﻷﺩﺏ ﺗﺰﺩﺍﺩ ﺗﻌﻘﻴﺪﺍ‬
‫ﺣﲔ ﳒﺪ ﺍﻷﻟﻔﺎﻅ ﺩﺍﺧﻠﺔ ﰲ ﺗﺮﻛﻴﺒﺎﺕ ﺭﲟﺎ ﻻ ﻳﻌﻴﻬﺎ ﺍﳌﺆﻟﻒ ﻧﻔﺴﻪ ﺍﻟﻮﻋﻲ ﻛﻠﻪ‪ ،‬ﻛﻤﺎ ﺃﺛﺒﺖ‬
‫ﻋﻠﻤﺎﺀ ﺍﻟﻨﻔﺲ ﻣﻦ ﺍﳌﻬﺘﻤﲔ ﺑﺎﻷﺳﺲ ﺍﻟﻨﻔﺴﻴﺔ ﻟﻺﺑﺪﺍﻉ ﺍﻟﻔﲏ"‪ ،1‬ﻭ ﺭﲟﺎ ﻫﺬﺍ ﻫﻮ ﻣﺮﺩ ﺍﻷﻣﺮ ﻛﻠﻪ‪.‬‬
‫ﻓﺎﳌﺒﺪﻉ ﻗﺪ ﻳﻄﻠﻖ ﺍﻟﻌﻨﺎﻥ ﻟﻨﻔﺴﻪ ﻭﰲ ﳊﻈﺔ ﳏﺪﺩﺓ ﻭﻧﺘﻴﺠﺔ ﻟﻈﺮﻭﻑ ﻣﻌﻴﻨﺔ ﻳﺒﺪﻉ ﺗﺮﺍﻛﻴﺐ‬
‫ﻣﺘﻤﻴﺰﺓ‪ ،‬ﻭ ﺇﻥ ﺣﺎﻭﻝ ﺍﻓﺘﻌﺎﻝ ﻧﻔﺲ ﺍﻟﻠﺤﻈﺔ ﳎﺪﺩﺍ ‪ ،‬ﻻ ﻳﻨﺠﺢ ﻓﺎﻹﺑﺪﺍﻉ ﻻ ﳜﻀﻊ ﻟﻘﺎﻧﻮﻥ‬
‫ﺍﳊﺘﻤﻴﺔ‪ .‬ﳍﺬﺍ ﻓﺎﻹﺷﻜﺎﻝ ﰲ ﺍﻷﺩﺏ ﻟﻴﺲ ﻓﻘﻂ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻷﻟﻔﺎﻅ ﻭ ﻣﻌﺎﻧﻴﻬﺎ ﻭ ﺩﻻﻻ‪‬ﺎ ﺑﻞ‬
‫ﺣﱴ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻟﺘﺮﺍﻛﻴﺐ ﺃﻳﻀﺎ‪ ،‬ﻓﻘﺪ ﻳﻘﺎﺑﻞ ﺍﳌﺘﺮﺟﻢ ﺗﺮﺍﻛﻴﺐ ﳐﺘﻠﻔﺔ ﳜﺘﻠﻒ ﻣﻌﻬﺎ ﺍﻟﺴﻴﺎﻕ‬
‫ﻭ ﻣﻌﺎﱐ ﺍﻷﻟﻔﺎﻅ‪ .‬ﳍﺬﺍ "ﻓﺈﻥ ﺍﻟﻜﻠﻤﺎﺕ ﺍﳌﻔﺮﺩﺓ ﻫﻲ ﺃﻗﻞ ﻣﺎ ﻳﻘﻠﻖ ﺍﳌﺘﺮﺟﻢ ﺍﻷﺩﰊ‪ ،‬ﻓﺬﻟﻚ ﻷﻥ‬
‫ﺍﻟﻜﻠﻤﺎﺕ ﺍﳌﻔﺮﺩﺓ ﻗﺪ ﺗﺘﻌﺪﺩ ﺩﻻﻻ‪‬ﺎ ﺧﺎﺭﺝ ﺍﻟﺴﻴﺎﻕ ﻭ ﻟﻜﻦ ﺍﻟﺴﻴﺎﻕ ﻻﺑﺪ ﺃﻥ ﳛﺪﺩ ﺍﻟﺪﻻﻟﺔ‬
‫ﻭ ﻣﻦ ﰒ ﻓﺎﻻﻫﺘﻤﺎﻡ ﳚﺐ ﺃﻥ ﻳﻨﺼﺐ ﻋﻠﻰ ﺍﻟﺴﻴﺎﻕ"‪2 .‬ﻓﺎﻟﻜﻠﻤﺎﺕ ﺍﳌﻔﺮﺩﺓ ﻗﺪ ﺗﺼﻄﺒﻎ ﺑﺄﻛﺜﺮ ﻣﻦ‬

‫*‪ -‬و  ها اد ل ‪:‬‬

‫‪« Mais il reste que l’écriture, comme toute autre forme d’art, est un combat pour l’éternité‬‬
‫‪contre, le silence, la mort l’oubli, qu’elle cherche à s’imposer à toucher un publique, si diffus‬‬
‫» ‪soit-il, et donc à établir, au sens noble du terme, une communication.‬‬
‫‪FORTUNATO ISRAËL, « traduction littéraire et théorie du sens », in « étude traductologiques‬‬
‫‪en hommage à Danica Selescovitch » p 31.‬‬

‫‪. ،!" #$ -1‬م‪.‬س‪.‬ص‪.18‬‬

‫‪ -2‬م‪.‬ن‪ .‬ص‪.29‬‬

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‫ﻟﻮﻥ ﻭ ﻗﺪ ﺗﺘﺨﺬ ﻟﻨﻔﺴﻬﺎ ﺃﻛﺜﺮ ﻣﻦ ﻣﻌﲎ‪ ،‬ﻓﻬﻲ ﺧﺎﺭﺝ ﻗﻴﻮﺩ ﺍﻟﺴﻴﺎﻕ ﺍﻟﺬﻱ ﻳﻔﺮﺿﻪ ﻋﻠﻴﻬﺎ‬
‫ﺍﻟﻜﺎﺗﺐ ﺗﻐﻄﻲ ﻧﻄﺎﻗﺎ ﻣﻌﻨﻮﻳﺎ ﻭﺍﺳﻌﺎ‪ ،‬ﻭﻟﻜﻦ ﺳﺮﻋﺎﻥ ﻣﺎ ﻳﻠﺘﺼﻖ ‪‬ﺎ ﻣﻌﻨﺎ ﻭﺍﺣﺪﺍ ﻭﺍﺿﺢ ﺃﻭ ﺇﺣﺎﱄ‬
‫ﳜﺪﻡ ﻣﻘﺎﺻﺪ ﺍﻟﻜﺎﺗﺐ ﰲ ﺳﻴﺎﻕ ﳏﺪﺩ*‪ .‬ﺇﺫﻥ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﺍﻟﺘﻔﺮﻳﻖ ﺑﲔ "ﺍﳌﻌﲎ ﺍﳌﻌﺠﻤﻲ‬
‫ﻟﻠﻜﻠﻤﺔ ﺃﻱ ﺗﻌﺮﻳﻒ ﺍﻟﻜﻠﻤﺔ ﺇﻥ ﻛﺎﻥ ﳍﺎ ﺗﻌﺮﻳﻒ ﳏﺪﺩ ﻣﻄﻠﻖ )‪ (...‬ﺃﻣﺎ ﺍﻹﺣﺎﻟﺔ ﻓﻬﻲ ﺇﺷﺎﺭﺓ‬
‫ﻫﺬﻩ ﺍﻟﻜﻠﻤﺔ ﺇﱃ ﺷﻲﺀ ﺑﻌﻴﻨﻪ‪ ،‬ﻭ ﻫﻮ ﻣﻦ ﺃﺷﻖ ﺍﻷﻣﻮﺭ ﺣﱴ ﻭﻟﻮ ﻛﺎﻥ ﺍﻟﻜﺎﺗﺐ ﺑﺎﻟﻎ ﺍﻟﺪﻗﺔ )‪(...‬‬
‫ﻭ ﻣﻦ ﰒ ﻓﺎﺧﺘﻼﻑ ﺍﻟﺼﻮﺭﺓ ﺍﻟﱵ ﺗﻔﺪ ﺇﱃ ﺍﻟﺬﻫﻦ ﻋﻨﺪ ﻗﺮﺍﺀﺓ ﻧﺺ ﺃﺩﰊ ﺃﻣﺮ ﳏﺘﻮﻡ‪ 1".‬ﻷﻥ ﻃﺮﺍﺋﻖ‬
‫ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﺍﳌﻮﺟﻮﺩﺍﺕ ﲣﺘﻠﻒ ﻣﻦ ﺑﻴﺌﺔ ﺇﱃ ﺃﺧﺮﻯ‪ ،‬ﻭ ﻣﻦ ﺛﻘﺎﻓﺔ ﺇﱃ ﺃﺧﺮﻯ‪ ،‬ﻭ ﺣﺴﺐ ﻣﺎ‬
‫ﲤﺎﺭﺳﻪ ﻫﺬﻩ ﺍﻻﺧﺘﻼﻓﺎﺕ ﻣﻦ ﺇﻛﺮﺍﻫﺎﺕ ﻋﻠﻰ ﺍﻟﺬﺍﺕ ﺍﳌﺒﺪﻋﺔ‪ ،‬ﻭ ﻣﺎ ﳝﻜﻦ ﻟﻸﻟﻔﺎﻅ ﺃﻥ ﲣﺘﺰﻧﻪ‬
‫ﻛﻄﺎﻗﺎﺕ ﺇﳛﺎﺋﻴﺔ ﺗﻔﺘﺢ ﺍﻷﺑﻮﺍﺏ ﻭﺍﺳﻌﺔ ﺃﻣﺎﻡ ﺍﳌﺘﺮﺟﻢ ﻟﺘﻌﺪﺩ ﺍﻟﻘﺮﺍﺀﺍﺕ‪ .‬ﻓﻬﻲ ﲣﺪﻡ ﺍﳌﺘﺮﺟﻢ ﺑﻘﺪﺭ‬
‫ﻣﺎ ﲣﺪﻡ ﺍﻷﺩﻳﺐ ﻧﻔﺴﻪ‪ .‬ﺇﻥ ﺍﻋﺘﻤﺎﺩ ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﻋﻠﻰ ﺍﳋﻴﺎﻝ ﻭ ﺍﻟﻌﺎﻃﻔﺔ ﻭ ﺍﻟﺘﺼﻮﻳﺮ‬
‫ﻭ ﺍﻻﻧﻔﻌﺎﻝ ‪ ،‬ﻭ ﺑﺎﳌﻨﺎﺳﺒﺔ ﻫﺬﺍ ﻣﺎ ﳝﻨﺤﻪ ﺻﻔﺔ ﺍﻷﺩﺑﻴﺔ ﺃﻭ ﺍﻟﺸﻌﺮﻳﺔ‪ ،‬ﺍﻟﱵ ﻟﻄﺎﳌﺎ ﲢﺪﺙ ﻋﻨﻬﺎ‬
‫ﺍﳌﻨﻈﺮﻭﻥ‪ ،‬ﻭﻫﻲ ﻧﻔﺴﻬﺎ ﺍﻟﱵ ﲤﻨﺢ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺍﳋﺮﻭﺝ ﻋﻦ ﺩﻻﻻ‪‬ﺎ ﺍﻟﻠﻐﻮﻳﺔ ﺍﳌﻌﺠﻤﻴﺔ‬
‫ﻭﺷﺤﻨﻬﺎ ﺑﺪﻻﻻﺕ ﻣﺘﺸﻌﺒﺔ‪ ،‬ﻫﻮ ﻣﺎ ﻳﻌﻄﻴﻪ ﺻﻔﺔ ﺍﳋﺼﻮﺻﻴﺔ ﻭ ﳚﻌﻠﻪ ﻣﺘﻔﺮﺩﺍ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﳚﻌﻞ‬
‫ﺃﻣﺮ ﺍﺳﺘﻨﺒﺎﻁ ﺍﳌﻌﲎ ﺃﻣﺮﺍ ﻏﺎﻳﺔ ﰲ ﺍﻟﺼﻌﻮﺑﺔ‪ " .‬ﻓﺎﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ ﺫﺍﺕ ﺇﻓﺮﺍﺯﺍﺕ ﺩﻻﻟﻴﺔ ﻻ ﻣﺘﻨﺎﻫﻴﺔ‬
‫ﺣﱴ ﻭﺍﻥ ﻛﺎﻧﺖ ﲟﻜﻮﻧﺎﺕ ﳏﺪﻭﺩﺓ ﰲ ﺍﻟﺸﻜﻞ ﻭ ﺍﻟﺘﺮﻛﻴﺐ‪ ،‬ﺇﻥ ﻣﻌﺎﻧﻴﻬﺎ ﻟﻴﺴﺖ ﺩﻻﻻﺕ ﺇﺣﺎﻟﺔ‬
‫ﻓﺤﺴﺐ ﺑﻞ ﻫﻲ ﻣﻌﺎﱐ ﺫﺍﺕ ﻣﺴﺘﻮﻳﺎﺕ ﻭ ﻋﻤﻖ ﺗﺘﺤﻜﻢ ﻓﻴﻬﺎ ﻋﻨﺎﺻﺮ ﺑﻼﻏﻴﺔ‪ ،‬ﻭﺑﻨﺎﺋﻴﺔ‪،‬‬

‫*‪ -‬و ‪5R‬ر ا‪PQ‬رة ه( أن ا ‪ M‬آ) ا‪ L‬ب  ‪ J(K‬ا(‪ H<2 ،I‬ا<= ا‪EF 3G‬ظ دا
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2 fL‬ا ‪e M‬ل ا‪ W‬ر‪= iZ .‬ادة ‪ 34‬ه‪gh‬‬
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‫‪Mohamed Khemri : « sèmiotique et poètique de la traduction »al mutargim,N°08.edition dar el‬‬

‫‪gharb.oran .juillet-décembre.2003.p8.‬‬

‫‪
 -1‬ت‪،‬م‪.‬س‪.‬ص‪.65‬‬

‫‪23‬‬
‫اـــــــــــــ
‪............................................................................‬ه
ا 
‬

‫ﻭ ﺃﻳﻘﻮﻧﻴﺔ‪ ،‬ﻭ ﻣﻮﺳﻴﻘﻴﺔ ‪ ،‬ﺗﺴﺘﻨﻔﺮ ﺍﳌﺘﻠﻘﻲ ﺃﻭ ﺍﳌﺘﺮﺟﻢ ﻟﻜﺪ ﺍﻟﺬﻫﻦ ﺍﺑﺘﻐﺎﺀ ﺍﻟﺘﺄﺛﲑ ﻭ ﺍﻟﺘﺄﺛﺮ"‪ 1.‬ﻭ ﻣﻦ‬
‫ﰒ ﻓﺈﻥ ﺍﻹﺷﻜﺎﻝ ﰲ ﻋﻤﻠﻴﺔ ﺍﺳﺘﻨﺒﺎﻁ ﺍﳌﻌﲎ‪ ،‬ﻫﻮ ﺃﻥ ﻋﻠﻰ ﺍﳌﺘﺮﺟﻢ ﺇﻋﺎﺩﺓ ﺇﻧﺘﺎﺝ ﻧﺺ ﻣﻜﺎﻓﺊ‬
‫ﻟﻠﻨﺺ ﺍﻷﺻﻞ ﻣﻦ ﺣﻴﺚ ﺗﺄﺛﲑﻩ ﰲ ﺍﳌﺘﻠﻘﻲ‪ ،‬ﻭﺫﻟﻚ ﻋﻦ ﻃﺮﻳﻖ ﻧﻘﻞ ﺳﺤﺮﻩ‪ .‬ﻭﺃﻣﺮ ﺃﺛﺮ ﺍﻟﻨﺺ ﺃﻭ‬
‫ﺳﺤﺮﻩ ﺑﺎﻟﻎ ﺍﻷﳘﻴﺔ‪ .‬ﻷﻧﻪ ﻗﺪ ﻳﻔﺸﻞ ﺍﳌﺘﺮﺟﻢ ﰲ ﻧﻘﻞ ﺍﳌﻌﲎ ﺃﺣﻴﺎﻧﺎ ﻭ ﻫﺬﺍ ﺃﻣﺮ ﺑﺪﻳﻬﻲ ‪ ،‬ﻟﻜﻨﻪ‬
‫ﻋﻨﺪ ﳒﺎﺣﻪ‪ ،‬ﻗﺪ ﻳﻔﺸﻞ ﰲ ﻧﻘﻞ ﺳﺤﺮﻩ‪ ،‬ﳑﺎ ﳚﻌﻠﻪ ﻓﺎﺷﻼ ﰲ ﻛﻠﺘﺎ ﺍﳊﺎﻟﺘﲔ‪ .‬ﻓﻌﻠﻰ ﺍﳌﺘﺮﺟﻢ ﺗﻮﺧﻲ‬
‫ﺍﳊﺬﺭ ﺩﺍﺋﻤﺎ ﻛﻤﺎ ﻋﻠﻴﻪ ﺃﻥ ﻳﻜﻮﻥ ﻣﺘﻤﻜﻨﺎ ﻣﻦ ﺃﺩﻭﺍﺕ ﺍﻟﺘﺮﲨﺔ ﻭ ﺍﻟﻨﺺ ﻋﻠﻰ ﺣﺪ ﺳﻮﺍﺀ‪*.‬‬
‫ﻟﺬﻟﻚ ﻛﻠﻪ ﻧﻘﻮﻝ ﺇﻥ ﳏﺎﻭﻟﺔ ﲢﺪﻳﺪ ﺇﻣﻜﺎﻧﻴﺔ ﺍﻟﺘﺮﲨﺔ ﻣﻦ ﺍﺳﺘﺤﺎﻟﺘﻬﺎ ﺗﻌﺪ ﻋﻤﻠﻴﺔ ﻧﺴﺒﻴﺔ ﺇﱃ ﺣﺪ ﻣﺎ‬
‫ﳛﺪﺩﻫﺎ ﺍﳌﺘﻠﻘﻲ‪.‬‬
‫‪ -‬ﺍﻟﺘﺮﲨﺔ ﺑﲔ ﺍﻟﻌﻠﻢ ﻭ ﺍﻟﻔﻦ‪ :‬ﻣﺎﺯﺍﻟﺖ ﺍﻟﺘﺮﲨﺔ ﺗﺘﺮﻧﺢ ﲟﺎﻫﻴﺘﻬﺎ ﺑﲔ ﺍﻟﻌﻠﻢ ﻭ ﺍﻟﻔﻦ‪ ،‬ﻓﺘﻤﻴﻞ ﺇﱃ‬
‫ﺃﺣﺪﳘﺎ ﺗﺎﺭﺓ ﻭ ﺇﱃ ﺍﻵﺧﺮ ﺗﺎﺭﺓ ﺃﺧﺮﻯ ﻛﻠﻤﺎ ﺗﻘﺪﻣﺖ ‪‬ﺎ ﺍﻟﺪﺭﺍﺳﺎﺕ‪ .‬ﻭ ﻟﻜﻨﻬﺎ ﺗﺒﻘﻰ ﻛﻼﳘﺎ ﰲ‬
‫ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﺍﺳﺘﻨﺎﺩﺍ ﺇﻻ ﻣﺎ ﺟﻬﺪ ﻛﻞ ﻣﻦ "ﻓﻴﲏ ﻭ ﺩﺍﺭﺑﻠﻨﻴﻪ" ﻋﻠﻰ ﺍﻇﻬﺎﺭﻩ ﻣﻦ ﺃ‪‬ﺎ ﻋﻠﻢ ﻓﲏ ﺃﻭ‬
‫ﻓﻦ ﻋﻠﻤﻲ ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﻛﻮ‪‬ﺎ ﻓﻦ ﻭﺿﻊ ﻟﻪ ﺍﻃﺎﺭ ﻋﻠﻤﻲ‪ .2‬ﻭ ﻫﺬﻩ ﺍﻟﻨﻘﻄﺔ ﻫﻨﺎ ﺗﺼﻨﻊ ﺍﳌﻔﺎﺭﻗﺔ‪،‬‬
‫ﻓﺈﺫﺍ ﺍﻟﺘﺮﲨﺔ ﺃﺩﺑﻴﺔ ﻛﺎﻧﺖ ﺃﻡ ﻻ ﻋﻠﻤﺎ ﻓﻘﻂ‪ ،‬ﻓﺘﻄﺒﻴﻖ ﺍﻟﻨﻈﺮﻳﺎﺕ ﺍﳉﺎﻓﺔ ﻟﻦ ﳝﻜﻦ ﺍﳌﺘﺮﺟﻢ ﻣﻦ ﻧﻘﻞ‬
‫ﺳﺤﺮ ﺍﻟﻨﺺ ﻭ ﺗﺄﺛﲑﻩ‪ ،‬ﻷﻧﻪ ﰲ ﺣﺎﺟﺔ ﺇﱃ ﺇﺑﺪﺍﻋﻪ ﺍﳋﺎﺹ ﻭ ﻣﻬﺎﺭﺗﻪ ﻟﻴﺼﻞ ﺑﻪ ﺇﱃ ﺍﻟﻀﻔﺔ‬
‫ﺍﻷﺧﺮﻯ‪ ،‬ﻷﻥ ﻏﺎﻳﺘﻪ ﻫﻨﺎ ﻟﻴﺲ ﺇﻳﺼﺎﻝ ﺍﳌﻌﲎ ﻓﻘﻂ ﺭﻏﻢ ﺃﳘﻴﺘﻪ‪ ،‬ﻓﺎﻟﺸﻜﻞ ﻟﻪ ﺃﳘﻴﺔ ﺃﻳﻀﺎ‪ ،‬ﻓﺴﺤﺮﻩ‬
‫ﻫﻮ ﻣﻌﻨﺎ ﻗﺮﻳﺐ ﻭ ﺷﻜﻞ ﻣﻜﺎﻓﺊ‪ ،‬ﻭ ﻣﻦ ﰒ ﺇﻳﻘﺎﻉ ﻭ ﺃﺳﻠﻮﺏ‪ ،‬ﻭ ﻛﻠﻬﺎ ﻣﻦ ﺍﻟﻌﻮﺍﻣﻞ ﺍﻟﱵ ﲢﺪﺩ‬
‫ﻣﺪﻯ ﺇﺑﺪﺍﻉ ﺍﳌﺘﺮﺟﻢ ﻭ ﲤﻜﻨﻪ ﻭ ﺣﺮﻓﻴﺘﻪ‪ *.‬ﻟﺬﻟﻚ ﺗﻌﺘﱪ " ﺍﻟﺘﺮﲨﺔ ﳑﺎﺭﺳﺔ ﻓﻨﻴﺔ ﻭ ﻋﻠﻤﻴﺔ‬
‫‪ ، !" #$ -1‬م‪.‬س‪.‬ص‪.34‬‬

‫*‪-‬‬
‫‪« (…) le processus traductif consiste nom pas à rendre compte des mots ni à mettre au‬‬
‫‪point un instrument de connaissance mais à recréer la magie qui se dégage de toute les‬‬
‫» ‪composantes affectives et notionnelle de l’ œuvre.‬‬
‫‪FORTUNATO ISRAËL, « traduction littéraire et théorie du sens »,in « étude traductologiques en‬‬
‫‪hommage à danica selescovitch » p43.‬‬

‫‪2-‬‬ ‫‪VINAYJ.P. et DARBELNET J. Ibid. p24.‬‬

‫*‪ -‬إ‪K1‬م ‪ 2‬ض‪.‬م‪.‬س‪.‬ص‪.42-41‬‬

‫‪24‬‬
‫اـــــــــــــ
‪............................................................................‬ه
ا 
‬

‫ﺗﻘﻊ ﰲ ﻣﻠﺘﻘﻰ ﺍﻟﺪﺭﺱ ﺍﳌﻘﺎﺭﻥ‪ ،‬ﻭ ﺍﳍﲑﻣﻴﻨﻮﻃﻴﻘﻲ‪ ،‬ﻭ ﺍﻟﻠﺴﺎﱐ‪ ،‬ﻭ ﺍﻟﺴﻴﻤﻴﻮﻃﻴﻘﻲ‪ ،‬ﻭ ﺍﻟﺸﻌﺮﻱ‪،‬‬
‫ﻭ ﺍﻷﺳﻠﻮﰊ‪ ،‬ﻭ ﺍﻟﺴﻴﻤﺎﻧﺘﻴﻜﻲ‪ ،‬ﻭ ﻫﻲ ﲟﺎ ﻫﻲ ﻛﺬﻟﻚ‪ ،‬ﻋﻤﻠﻴﺔ ﻣﻌﻘﺪﺓ ﺗﺒﻠﻎ ﺣﺪ ﺍﻻﺳﺘﺤﺎﻟﺔ ﻟﺪﻯ‬
‫ﺍﻟﺒﻌﺾ ﻣﺘﺠﺎﻭﺯﺓ ﲣﻮﻡ ﺍﳌﻤﻜﻦ"‪ .1‬ﻭ ﻫﻲ ﺑﺬﻟﻚ ﺗﻘﻊ ﺑﲔ ﺣﺪﻳﻦ‪ ،‬ﻓﻬﻲ ﳑﻜﻨﺔ ﰲ ﺍﺳﺘﺤﺎﻟﺘﻬﺎ‬
‫ﻭ ﻣﺴﺘﺤﻴﻠﺔ ﰲ ﺇﻣﻜﺎﻧﻴﺘﻬﺎ‪ ،‬ﻟﺬﻟﻚ ﻻ ﻳﻮﺟﺪ ﺗﺮﲨﺔ ﻛﺎﻣﻠﺔ ﻭ ﻣﺜﺎﻟﻴﺔ ﺗﺄﺧﺬ ﻛﺠﻤﻠﺔ ﻣﻘﺎﺭﻧﺔ‪،‬‬
‫ﻭ ﺇﳕﺎ ﻫﻨﺎﻟﻚ ﺍﻟﺘﺮﲨﺔ ﺍﻟﻘﺮﻳﺒﺔ ﺃﻭ ﺍﳌﻜﺎﻓﺌﺔ ﺇﱃ ﺣﺪ ﻣﺎ‪ ،‬ﺇﺫ ﻻ ﳝﻜﻦ ﺍﻹﻗﺮﺍﺭ ﺑﺎﺳﺘﺤﺎﻟﺔ ﻣﻄﻠﻘﺔ ﻭ ﻻ‬
‫ﺑﺈﻣﻜﺎﻧﻴﺔ ﻣﻄﻠﻘﺔ‪ ،‬ﻭ ﺫﻟﻚ ﰲ ﺣﺪﻭﺩ ﻣﺎ ﲤﻨﺤﻪ ﺍﻟﻠﻐﺘﲔ ﻭ ﺍﻟﺜﻘﺎﻓﺘﲔ ﺍﳌﺼﺪﺭ ﻭ ﺍﳍﺪﻑ ﻣﻦ‬
‫ﺗﻨﺎﺯﻻﺕ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﻣﻬﺎﺭﺓ ﺍﳌﺘﺮﺟﻢ ﻭ ﻧﻈﺮﺗﻪ ﻭ ﺗﻘﺪﻳﺮﻩ ﳌﺂﻝ ﺍﻷﻣﻮﺭ‪.‬‬

‫ﰒ ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﺍﳌﺘﻌﺎﻣﻞ ﻣﻌﻬﺎ ﻟﻴﺠﺰﻡ ﺃ‪‬ﺎ ﺣﻠﻘﺎﺕ ﰲ ﺷﺒﻜﺔ ﻣﺘﺼﻠﺔ‪ ،‬ﻛﻞ ﺣﻠﻘﺔ ﻣﻨﻬﺎ ﲢﻴﻠﻚ‬
‫ﺇﱃ ﻣﺎ ﺑﻌﺪﻫﺎ‪ ،‬ﻭ ﺇﻥ ﻓﻘﺪﺕ ﻭﺍﺣﺪﺓ ﻣﻨﻬﺎ ﺗﻨﺎﺛﺮﺕ ﺑﺎﻗﻲ ﺍﳊﻠﻘﺎﺕ ﻭ ﻛﺄﻥ ﻻ ﺭﺍﺑﻂ ﺑﻴﻨﻬﺎ‪ ،‬ﺇﺫ ﻓﻘﺪﺕ‬
‫ﺗﻨﺎﻏﻤﻬﺎ‪ ،‬ﺣﻠﻘﺎﺕ ﻣﻦ ﺍﳌﺘﻼﺯﻣﺎﺕ‪ .‬ﻷﻥ "ﺟﻮﻫﺮﻫﺎ ﳝﻴﻞ ﺃﻛﺜﺮ ﺇﱃ ﺍﻟﺴﺒﺎﺣﺔ ﰲ ﻓﻠﻚ ﺍﻟﺜﻨﺎﺋﻴﺎﺕ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬
‫ﺷﻜﻞ ﻭ ﻣﻀﻤﻮﻥ‪ ،‬ﻣﻌﻨﺎ ﻭ ﺃﺳﻠﻮﺏ‪ ،‬ﺩﻻﻟﺔ ﻭ ﲨﺎﻟﻴﺔ‪ ،‬ﺃﻱ ﺗﻌﺎﺩﻝ ﻣﻊ ﺍﻟﻨﺺ ﺍﻷﺻﻞ ﰲ ﻫﺬﻩ ﺍﻷﻣﻮﺭ‬
‫ﻛﻠﻬﺎ‪ 2".‬ﻓﺎﳌﻨﻈﺮ ﻟﻸﺩﺏ ﻣﻨﻈﺮ ﻟﻠﻨﻔﺲ ﺍﻟﺒﺸﺮﻳﺔ ﰲ ﺗﻌﺎﻣﻼ‪‬ﺎ ﻣﻊ ﺍ‪‬ﺮﺩ ﻭ ﺍﶈﺴﻮﺱ‪ ،‬ﻭ ﻳﺘﺠﻠﻰ ﺗﻔﺎﻋﻠﻬﺎ‬
‫ﻋﻦ ﻃﺮﻳﻖ ﻣﺎ ﺗﻨﺘﺠﻪ ﻣﻦ ﺃﺩﺏ ﰲ ﺃﲰﻰ ﺻﻮﺭﻩ ﺣﱴ ﻭﻟﻮ ﻛﺎﻥ ﺭﻛﻴﻜﺎ ﺃﻭ ﺍﺳﺘﻬﺠﻨﻪ ﺍﻟﺒﻌﺾ‪ ،‬ﻭ ﻟﻜﻦ‬
‫ﻳﺒﻘﻰ ﻟﻪ ﲰﺔ ﺗﻔﺮﺩ ﻭ ﺧﺼﻮﺻﻴﺔ ﲤﻴﺰﻩ ﻋﻦ ﻏﲑﻩ‪ .‬ﻭ ﻣﻦ ﻫﻨﺎ ﺗﺘﺄﺗﻰ ﺻﻌﻮﺑﺔ ﺍﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﻓﺎﳌﺘﻠﻘﻲ ﰲ‬
‫ﺍﻟﻠﻐﺔ ﺍﳍﺪﻑ ﻗﺪ ﻻ ﻳﺴﻌﻪ ﺍﻹﻃﻼﻉ ﻋﻠﻰ ﺍﻟﻨﺺ ﺍﻷﺻﻠﻲ ﰲ ﺑﻴﺌﺘﻪ ﺍﻟﻄﺒﻴﻌﻴﺔ‪ ،‬ﻭ ﻫﺬﺍ ﻣﺎ ﻳﺪﻓﻌﻪ ﺇﱃ ﺍﻋﺘﺒﺎﺭ‬
‫)ﻭ ﻫﺬﺍ ﺷﺮﻑ ﻋﻠﻰ ﻧﺺ ﺍﻟﻮﺻﻮﻝ ﺍﺳﺘﺤﻘﺎﻗﻪ( ﻭ ﺑﺎﻟﺘﺎﱄ ﳝﻜﻨﻪ ﺍﻟﺮﺟﻮﻉ‬ ‫ﺍﻟﻨﺺ ﺍﳌﺘﺮﺟﻢ ﻧﺼﺎ ﺃﺻﻠﻴﺎ‬
‫ﺇﻟﻴﻪ ﻛﻠﻤﺎ ﺑﺪﺍ ﻟﻪ ﺫﻟﻚ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃﻧﻪ ﺃﺻﺒﺢ ﻣﻠﻜﺎ ﻟﺜﻘﺎﻓﺘﻪ ﺍﳋﺎﺻﺔ‪ .‬ﰒ ﺇﻥ ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﻛﺎﺋﻦ ﺣﻲ‪،‬‬
‫ﻷﻥ ﺍﻷﺩﻳﺐ ﻳﺴﺒﻎ ﻣﻦ ﺭﻭﺣﻪ ﻋﻠﻴﻪ ﺣﱴ ﻻ ﻳﻜﺎﺩ ﻳﻨﺒﺾ ﺑﺎﳊﻴﺎﺓ ﻣﻦ ﺧﻼﻝ ﻛﻠﻤﺎﺗﻪ‪ " ،‬ﻓﺎﻟﺘﺮﲨﺔ ﰲ‬

‫‪ 98 -1‬ا(‪ 39‬ذاآ‪ %qL ":‬ا‪pU‬ن ا;‪P

))i ،"M%‬اع‪ ،‬ا‪K‬د‪ ،1998 ،45‬ص‪.09‬‬
‫‪ - -2‬أ‪*+‬م )(ر‪ "،‬ا‪ 23.‬ا‪0‬د‪ 1 2‬ا‪ /0‬و ا‪#.‬ر" ‪ 2645 78$‬ا‪ 23.‬و ‪45‬د ا‪ 24$3 ،1
0‬و هان‪،‬‬
‫دار ا(ب‪ 26:$ ،‬ا‪ 93.‬د‪-26+ . 10‬د
‪.20047‬ص ‪.57-56‬‬

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‫اـــــــــــــ
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‫ﺍﻟﻨﺼﻮﺹ ﺍﻷﺩﺑﻴﺔ ﺃﺻﻌﺐ ﻣﻨﻬﺎ ﰲ ﺍﻟﻌﻠﻤﻴﺔ ﺃﻭ ﺍﻹﺧﺒﺎﺭﻳﺔ‪ ،‬ﻷﻥ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﻟﻴﺲ ﻓﻜﺮﺓ ﻓﺤﺴﺐ‪ ،‬ﻭ ﻻ‬
‫ﺧﱪﺍ ﳏﻤﻮﻻ ﺑﻞ ﲡﺮﺑﺔ ﺇﻧﺴﺎﻧﻴﺔ ﲢﻤﻞ ﺃﺣﺎﺳﻴﺲ ﺍﻷﺩﻳﺐ‪ ،‬ﻭ ﺗﺼﻮﺭﺍﺗﻪ ﺍﳌﺨﺘﻠﻔﺔ‪ ،‬ﻭ ﻫﻮ ﻧﺘﺎﺝ ﻳﻬﺪﻑ ﺇﱃ‬
‫ﺍﳌﺘﻌﺔ ﺍﳉﻤﺎﻟﻴﺔ‪ 1".‬ﻭ ﻋﻠﻰ ﺍﳌﺘﺮﺟﻢ ﻣﺼﺎﺭﻋﺔ ﻫﺬﺍ ﺍﻟﻜﺎﺋﻦ ﺍﳊﻲ ﻻﺳﺘﺨﻼﺹ ﺣﻴﻮﻳﺘﻪ‪ ،‬ﻭ ﻗﺪﺭﺗﻪ ﻋﻠﻰ‬
‫ﺍﻟﺘﻌﺒﲑ‪ ،‬ﻭ ﳕﻄﻴﺘﻪ ﺍﳌﺘﻐﲑﺓ‪ ،‬ﻭ ﰲ ﻫﺬﺍ ﺍﻟﺼﺮﺍﻉ ﻗﺪ ﻳﻀﻄﺮ ﺍﳌﺘﺮﺟﻢ ﻟﻠﻘﻴﺎﻡ ﺑﺘﻀﺤﻴﺎﺕ ﻭ ﻟﻜﻦ ﻟﻴﺲ ﻋﻠﻴﻪ‬
‫ﺃﻥ ﻳﻘﺪﻡ ﺍﳌﻌﲎ ﻛﻔﺪﻳﺔ‪ ،‬ﻓﺎﳌﻌﲎ ﻫﻮ ﺍﻟﻐﺎﻳﺔ ﻭ ﻟﻴﺲ ﺍﻟﻮﺳﻴﻠﺔ‪ ".‬ﻷﻥ ﺍﻟﺘﺮﲨﺔ ﻭﻗﺖ ﺍﳌﻤﺎﺭﺳﺔ ﺗﻜﺎﺩ ﺗﻌﺠﺰ‬
‫ﻋﻦ ﻧﻘﻞ ﺍﳌﻌﲎ ﺍﳌﻌﺎﺩﻝ ﺑﺪﻭﺍﻝ ﳐﺘﻠﻔﺔ ﻭ ﺑﺪﻭﻥ ﺿﻴﺎﻉ ‪ ،‬ﻭ ﺗﻀﺨﻴﻢ‪ ،‬ﻭ ﺗﺸﻮﻳﻪ‪ ،‬ﻭ ﺧﻴﺎﻃﺔ ﻓﻠﻦ ﺗﻜﻮﻥ‬
‫ﻣﺜﻞ ﺍﻷﺻﻞ ﻷﻥ ﺣﺪﻭﺩﻫﺎ ﻣﻀﺎﻋﻔﺔ ﻭ ﻣﺮﻛﺒﺔ‪2".‬ﻣﻀﺎﻋﻔﺔ ﻷ‪‬ﺎ ﺗﻨﺤﲏ ﺃﻣﺎﻡ ﺣﺪﻭﺩ ﺍﻟﻠﻐﺔ ﺍﻷﺻﻞ‬
‫ﻭ ﺣﺪﻭﺩ ﺍﻟﻠﻐﺔ ﺍﳍﺪﻑ ﻣﻌﺎ‪ .‬ﻭ ﻣﺮﻛﺒﺔ ﻷﻥ ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﺫﻭ ﺗﺮﺍﻛﻴﺐ ﻣﺘﺸﻌﺒﺔ‪ ،‬ﻓﻨﺤﻦ ﳕﻠﻚ ﻣﻨﻪ ﻣﺎ ﻫﻮ‬
‫ﻇﺎﻫﺮ‪.‬‬

‫ﻭ ﻣﺮﺩ ﺫﻟﻚ ﺇﱃ ﺃﻥ " ﺗﺮﲨﺔ ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﺗﻘﺘﻀﻲ ﳑﺎﺭﺳﺔ ﻣﺘﻄﺮﻓﺔ ﻟﻼﻧﺰﻳﺎﺡ ﺑﺸﺮﻁ ﺃﻥ ﻻ ﺗﻨﻜﺴﺮ‬
‫ﺍﻟﺘﺤﻔﺔ ﺍﻟﻔﻨﻴﺔ ﺍﻟﱵ ﺑﲔ ﺃﻳﺪﻳﻨﺎ ﻭ ﺃﻥ ﻧﻌﻤﻞ ﺩﺍﺋﻤﺎ ﻋﻠﻰ ﺇﻋﺎﺩﺓ ﺇﻧﺘﺎﺝ ﲢﻔﺔ ﺃﺧﺮﻯ ﺗﻜﺎﻓﺊ ﺍﻷﺻﻞ ﺃﻭ‬
‫ﺗﻌﺎﺩﻟﻪ ﻭ ﺗﻘﻮﻡ ﺑﻴﻨﻬﻤﺎ ﻭﺷﺎﺋﺞ ﻗﺮﰉ ﻭ ﺗﻨﺎﺹ‪ 3".‬ﻭ ﻣﻊ ﻫﺬﺍ ﻛﻠﻪ ﻳﺒﻘﻰ ﺍﳌﺸﻜﻞ ﺍﻷﻛﺜﺮ ﺗﻌﻘﻴﺪﺍ ﻫﻮ ﻣﺎ‬
‫ﺗﻌﻠﻖ ﻣﻨﻪ ﺑﺎﻟﺪﻻﻟﺔ‪ ،‬ﻓﺎﻟﺪﻻﻟﺔ ﻟﻴﺴﺖ ﻓﻘﻂ ﺍﻟﻜﻠﻤﺔ ﻣﻔﺮﺩﺓ ﻭ ﻣﺎ ﲢﻴﻞ ﺇﻟﻴﻪ ﺃﻭ ﺗﺆﺩﻳﻪ ﻣﻦ ﻣﻌﻨﺎ ﺑﻞ ﻫﻲ‬
‫ﳎﻤﻮﻉ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﱵ ﺗﺆﺩﻱ ﺃﻭ ﲢﻴﻞ ﺇﱃ ﻣﻌﻨﺎ ﻭﺍﺣﺪ ﻭ ﺑﺎﻟﺘﺎﱄ ﺗﺆﺩﻱ ﻭﻇﻴﻔﺔ ﻭﺍﺣﺪﺓ "ﻷﻥ ﻣﺒﺪﺃ‬
‫ﺍﻟﻮﻇﺎﺋﻒ ﻳﻌﺪ ‪ -‬ﲝﻖ‪ -‬ﻣﻦ ﺃﻫﻢ ﻣﺒﺎﺩﺉ ﺍﻟﺘﺮﲨﺔ ﻭ ﺃﺣﺪ ﺍﻟﻮﺳﺎﺋﻞ ﺍﻹﺟﺮﺍﺋﻴﺔ ﺍﳌﻌﺘﻤﺪﺓ ﻟﺘﺤﻘﻴﻖ‬
‫ﺍﳌﺸﺎ‪‬ﺔ ﺍﻟﻘﺼﻮﻯ ﺑﲔ ﺍﻷﺻﻞ ﻭ ﺍﻟﺘﺮﲨﺔ‪ 4".‬ﺃﻳﻦ ﻻ ﻳﻌﻮﻝ ﻋﻠﻰ ﺍﻟﺸﻜﻞ ﲝﺪ ﺫﺍﺗﻪ )ﺍﻟﺒﲎ ﺍﻟﺘﺮﻛﻴﺒﻴﺔ(‬
‫ﻭ ﺇﳕﺎ ﺍﻟﻮﻇﺎﺋﻒ ﺍﻟﱵ ﺗﺆﺩﻳﻬﺎ ﻫﺬﻩ ﺍﻟﺒﲎ ﻭ ﻫﻮ ﻣﺎ ﻳﺸﻜﻞ ﺍﳌﻀﻤﻮﻥ‪ ،‬ﻭ ﰲ ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﻫﻲ‬
‫ﺍﻟﻮﻇﺎﺋﻒ ﺍﻟﺸﻌﺮﻳﺔ ﻟﻠﻨﺺ‪ .‬ﻓﻤﻘﺎﺑﻠﺔ ﺻﻴﻐﺔ ﺑﺼﻴﻐﺔ‪ ،‬ﺃﻭ ﺗﺮﻛﻴﺐ ﺑﺘﺮﻛﻴﺐ ﻟﻦ ﻳﺄﺧﺬ ﺍﳌﺘﺮﺟﻢ ﺇﱃ ﺃﺑﻌﺪ‬
‫‪i -1‬ي < >‪X‬ي‪ " :‬ا‪ ?iW‬ا(‪
 
5d‬ا(‪ H‬ص ا‪W‬د‪ u 34
2‬ء اؤى ا)‪2645 78$ ،"
1‬‬
‫ا‪ 23.‬و ‪45‬د ا‪ 24$3 ،1
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)5 ،‬ا ‪8 M‬د‪ -%(%.01‬ان‪. 2001‬ص‪.67‬‬
‫‪
 -2‬ت‪.‬م‪.‬س‪.‬ص‪.79-78‬‬

‫‪ -3‬ا<ه روا"‪>"2‬ت ا‪<8‬ب ا‪ 3.‬ا‪0‬د و =‪ 24‬ا‪ 2645 78$ ،"23.‬ا‪ 23.‬و ‪45‬د ا‪،1
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‫‪ 24$3‬و هان‪ ،‬دار ا(ب‪ 26:$،‬ا‪ 93.‬د ‪-263.12‬د
‪ 20057‬ص‪.170.‬‬
‫‪ 98 -4‬ا‪ fv‬ر‪" P‬ا‪
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‫ا‪ 23.‬و ‪45‬د ا‪ 24$3 ،1
0‬و هان‪ ،‬دار ا(ب‪ 26:$،‬ا ‪8 M‬د ‪-263 .08‬د
‪ 2003.7‬ص‪.213‬‬

‫‪26‬‬
‫اـــــــــــــ
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ا 
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‫ﻣﻦ ﺇﺟﺮﺍﺀ ﻣﻘﺎﺑﻠﺔ ﺑﲔ ﺍﻟﻨﺼﻮﺹ ﺍﳌﺨﺘﻠﻔﺔ‪ ،‬ﻟﺬﻟﻚ ﳚﺐ ﺍﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ ﺗﻠﻚ ﺍﻟﻌﻼﻗﺔ ﺍﻟﱵ ﺗﺮﺑﻂ ﺑﻴﻨﻬﺎ ﻣﻦ‬
‫ﺃﺟﻞ ﻏﺎﻳﺔ ﻣﺎ ﺃﻭ ﻭﻇﻴﻔﺔ ﻣﺎ‪ ،‬ﻭ ﺗﻠﻚ ﻣﺎ ﻳﻬﻢ ﺍﳌﺘﺮﺟﻢ ﰲ ﻋﻤﻠﻴﺔ ﺍﻟﺘﻨﻘﻴﺐ ﻫﺬﻩ‪ .‬ﻓﺄﻭﻻ ﻭ ﺃﺧﲑﺍ ﺍﳌﻌﻮﻝ‬
‫ﻋﻠﻴﻪ ﻫﻨﺎ ﻫﻮ ﺍﳌﻌﲎ ﻭ ﻻ ﺷﻲﺀ ﺁﺧﺮ ﻭ ﺍﻟﻮﻇﺎﺋﻒ ﺟﺰﺃ ﻻ ﻳﺘﺠﺰﺃ ﻣﻦ ﺍﳌﻌﲎ‪ ،‬ﻓﻬﺬﻩ ﺍﻟﺘﺮﺍﻛﻴﺐ ﻗﺪ ﺗﺘﺨﺬ‬
‫ﻣﻦ ﺍﻟﺘﻔﺮﺩ ﻭ ﺍﻟﺘﻤﻴﺰ ﻋﻨﻮﺍﻧﺎ ﳍﺎ ﻭ ﻣﻌﻬﺎ ﻳﺰﺩﺍﺩ ﺍﳌﻌﲎ ﻏﺮﺍﺑﺔ ﻭ ﻏﻤﻮﺿﺎ‪ .‬ﺭﻏﻢ ﺃﻧﻪ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﺃﻥ ﻻ‬
‫ﻧﺴﻤﺢ ﻟﻠﺤﺪﻳﺚ ﻋﻦ ﺍﳌﻀﻤﻮﻥ ﺑﺄﻥ ﳚﺮﻓﻨﺎ ﺑﻌﻴﺪﺍ‪ ،‬ﻓﺤﱴ ﺍﻟﺸﻜﻞ ﻟﻪ ﺣﺼﺔ ﰲ ﺗﻮﻟﻴﺪ ﺍﳌﻌﲎ ﻷﻥ ﺍﻟﻮﻇﺎﺋﻒ‬
‫ﲢﺪﺩ ﻣﻦ ﺧﻼﻝ ﺭﺻﻒ ﺍﻷﻟﻔﺎﻅ ﻋﻠﻰ ﻃﻮﻝ ﺍﻟﻨﺺ‪ ،‬ﻓﻮﺟﻮﺩ ﻟﻔﻈﺔ ﻣﻌﻴﻨﺔ ﰲ ﺗﺮﻛﻴﺐ ﻣﻌﲔ ﻭ ﰲ ﻣﻜﺎﻥ‬
‫ﻣﻌﲔ ﻣﻦ ﺍﻟﻨﺺ‪ ،‬ﻳﻌﻄﻴﻬﺎ ﻭﻇﻴﻔﺔ ﻣﻌﻴﻨﺔ ﻟﺘﻮﻟﺪ ﺩﻻﻟﺔ ﻣﺎ ﲝﻴﺚ ﺇﺫﺍ ﻏﲑﻧﺎ ﻣﻜﺎ‪‬ﺎ ﺃﻭ ﺍﺳﺘﺒﺪﻟﻨﺎﻫﺎ ﺑﻠﻔﻈﺔ‬
‫ﺃﺧﺮﻯ‪ ،‬ﺗﻐﲑ ﺍﳌﻌﲎ‪ .‬ﻭ ﻳﻈﻬﺮ ﻫﺬﺍ ﺟﻠﻴﺎ ﻣﻦ ﺧﻼﻝ ﺍﻟﻨﺼﻮﺹ ﺍﻟﺸﻌﺮﻳﺔ ﻭ ﻟﻪ ﺣﺼﺔ ﺍﻷﺳﺪ ﰲ ﺩﺭﺍﺳﺘﻬﺎ‬
‫ﺑﺎﻋﺘﺒﺎﺭﻩ ﻣﻦ ﺍﳌﺆﺷﺮﺍﺕ ﺍﻷﺳﺎﺳﻴﺔ ﺇﱃ ﺍﳌﻌﲎ‪ ،‬ﺇﺫ ﰲ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﻨﺼﻮﺹ ﻳﻜﺎﺩ ﻳﺰﺍﺣﻢ ﺍﳌﻀﻤﻮﻥ‬
‫ﻋﻠﻰ ﻣﻜﺎﻧﺘﻪ‪ .‬ﻭ ﻟﻜﻦ ﻳﺘﺮﺍﺟﻊ ﻫﺬﺍ ﺍﻷﻣﺮ ﻧﺴﺒﻴﺎ ﻭﻗﺖ ﺍﻟﺘﻄﺮﻕ ﺇﱃ ﺍﻟﻨﺼﻮﺹ ﺍﻷﺩﺑﻴﺔ ﺍﻟﻨﺜﺮﻳﺔ ﺑﺎﻋﺘﺒﺎﺭ ﺃﻥ‬
‫ﻫﻢ ﺍﳌﺘﺮﺟﻢ ﻳﻨﺼﺐ ﰲ ﻧﻘﻞ ﺍﳌﻌﲎ ﺍﻷﺻﻞ ﻭ ﺻﺒﻪ ﰲ ﺷﻜﻞ ﺍﻟﻠﻐﺔ ﺍﳍﺪﻑ‪ .‬ﻟﺬﻟﻚ ﺗﺪﺭﺟﻪ ﺇﻧﻌﺎﻡ ﺑﻴﻮﺽ‬
‫ﺿﻤﻦ ﺃﺣﺪ ﺃﻫﻢ ﻋﻨﺎﺻﺮ ﺍﻟﺮﺳﺎﻟﺔ ﺣﻴﺚ ﺗﻘﻮﻝ‪ " :‬ﻳﺼﻌﺐ ﺃﻥ ﻳﻜﺘﻔﻲ ﺍﳌﺘﺮﺟﻢ ﺑﺈﻳﺼﺎﻝ ﺍﳌﻌﲎ ﻓﻘﻂ‪ ،‬ﺩﻭﻥ‬
‫ﺃﻥ ﻳﺴﻌﻰ ﺇﱃ ﺗﻮﺻﻴﻞ ﺍﻟﺸﻜﻞ ﻭ ﺍﻹﻳﻘﺎﻉ ﻭ ﺍﻷﺳﻠﻮﺏ‪ ،‬ﻭ ﺣﱴ ﺃﺣﻴﺎﻧﺎ ﺍﻟﺮﻧﲔ ﺍﻟﺪﺍﺧﻠﻲ ﻟﻠﻨﺺ‪ ،‬ﻭ ﺗﻠﻚ‬
‫ﺍﻟﻌﻮﺍﻣﻞ ﺍﻟﱵ ﺗﺴﻬﻢ ﰲ ﺗﺸﻜﻴﻞ ﺍﳉﺎﻧﺐ ﺍﻟﻔﲏ ﻟﻠﺘﺮﲨﺔ ﻭ ﺍﻟﱵ ﳛﺪﺩ ﺍﻟﺘﻮﻓﻴﻖ ﰲ ﻧﻘﻠﻬﺎ ﻣﺪﻯ ﺍﻹﺑﺪﺍﻉ‬
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‫ﻓﻌﻨﺪﻣﺎ ﻳﺘﺴﻊ ﻣﻨﻈﻮﺭﻧﺎ ﻟﻠﺘﺮﲨﺔ ﻋﺎﻣﺔ ﻭ ﺍﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ ﺧﺎﺻﺔ ﻟﻴﺨﺮﺝ‬ ‫ﺍﻟﺬﻱ ﻳﺘﻤﺘﻊ ﺑﻪ ﺍﳌﺘﺮﺟﻢ‪".‬‬
‫ﺧﺎﺭﺝ ﺍﻟﻨﻄﺎﻕ ﺍﻟﻀﻴﻖ ﳍﺬﻩ ﺍﻟﺜﻨﺎﺋﻴﺎﺕ ‪ ،‬ﺭﻏﻢ ﺍﻷﳘﻴﺔ ﺍﻟﱵ ﺗﻜﺘﺴﻴﻬﺎ ‪ ،‬ﻳﺼﺒﺢ ﻟﻠﻤﺘﺮﺟﻢ ﻣﺴﺎﺣﺔ ﺃﻭﺳﻊ‬
‫ﻟﻴﻤﺎﺭﺱ ﻓﻴﻬﺎ ﻗﺮﺍﺀﺍﺗﻪ ﻋﻠﻰ ﺍﻟﻨﺺ ﺩﻭﻥ ﺃﻥ ﻳﺘﺠﲎ ﻋﻠﻴﻪ‪ .‬ﻭ "ﺇﻥ ﳓﻦ ﻋﺪﻧﺎ‪ ...‬ﺇﱃ ﺗﺮﲨﺔ ﺍﻟﻨﺼﻮﺹ ﺍﻷﺩﺑﻴﺔ‬
‫ﻓﺈﻧﻨﺎ ﻧﺴﻌﻰ ﺇﱃ ﻫﺪﻑ ﲨﺎﱄ‪ ،...‬ﻭ ﻻ ﳓﻜﻢ ﲟﻘﺒﻮﻟﻴﺔ ﺍﻟﻌﻤﻞ ﻭ ﺍﺳﺘﺤﺴﺎﻧﻪ ﺇﻻ ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﻮﺍﻓﻖ ﺑﲔ‬

‫‪ -1‬إ‪K1‬م ‪ 2‬ض‪.‬م‪.‬س‪.‬ص‪.40‬‬

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‫ﺷﻜﻞ ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﻭ ﻣﻀﻤﻮﻧﻪ ﻭ ﲝﺴﺐ ﺭﺩﻭﺩ ﻓﻌﻞ ﻗﺮﺍﺋﻪ‪ 1".‬ﻓﺒﻌﻴﺪﺍ ﻋﻦ ﺍﳌﻘﺎﺑﻼﺕ ﺑﲔ ﺍﻟﻨﺺ‬
‫ﺍﻷﺻﻞ ﻭ ﺍﻟﻨﺺ ﺍﳍﺪﻑ ﻭ ﺍﳌﺸﺎﻛﻞ ﺍﻟﱵ ﺗﻔﺮﺿﻬﺎ ﻋﻤﻠﻴﺔ ﺍﻹﻧﺘﻘﺎﻝ ﻫﺬﻩ‪ ،‬ﺟﻞ ﻣﺎ ﻳﺼﺒﻮ ﺇﻟﻴﻪ ﺍﳌﺘﺮﺟﻢ ﻫﻮ‬
‫ﺃﻥ ﻳﻠﻖ ﺍﻟﻨﺺ ﺍﻟﻨﺎﺗﺞ ﺻﺪﻯ ﰲ ﺍﻷﺭﺽ ﺍﳌﻀﻴﻔﺔ ﲟﻌﲎ ﺃﻥ ﻳﻘﺒﻞ ﺍﻟﻘﺮﺍﺀ ﻋﻠﻴﻪ ﻛﻨﺺ ﺃﺻﻞ ﻭ ﺍﳌﺘﺮﺟﻢ‬
‫ﻣﺒﺪﻋﻪ ﺍﻷﺻﻠﻲ‪ ،‬ﻭﻟﻦ ﻳﺘﺄﺗﻰ ﻟﻪ ﺫﻟﻚ ﺇﻻ ﻣﻦ ﺧﻼﻝ ﲢﻘﻴﻖ ﺗﻮﺍﻓﻖ ﻻ ﻧﻘﻮﻝ ﻣﻄﻠﻖ ﻷﻥ ﻫﺬﺍ ﻣﺴﺘﺤﻴﻞ ﺑﻞ‬
‫ﺇﱃ ﺃﺑﻌﺪ ﺍﳊﺪﻭﺩ ﺑﲔ ﺍﻟﺸﻜﻞ ﻭ ﺍﳌﻀﻤﻮﻥ‪.‬‬

‫ﺑﺆﺭ ﺍﻟﺘﺤﺪﻱ ﰲ ﺍﻟﺘﺮﲨﺔ‪:‬‬

‫ﻋﻠﻰ ﺍﳌﺘﺮﺟﻢ ﺍﻷﺩﰊ ﺃﻥ ﻳﻜﻮﻥ ﻋﻠﻰ ﻭﻋﻲ ﺗﺎﻡ ﺑﻄﺮﻕ ﺗﺸﻜﻴﻞ ﺍﳌﻌﲎ ﻭ ﻋﻼﻗﺎﺗﻪ ﻣﻊ ﺍﻟﻜﻠﻤﺔ‪ ،‬ﻭ ﻣﻜﺎﻧﺘﻪ‬
‫ﺿﻤﻦ ﺍﻟﺮﻣﺰ ﺍﻟﻠﻐﻮﻱ ﺇﺫ ﻻ ﻳﻮﺟﺪ ﺣﻞ ﺳﻮﻯ ﺫﻟﻚ‪ ،‬ﻓﻔﻲ ﺇﺩﺭﺍﻛﻪ ﻟﻜﻴﻔﻴﺔ ﺗﺸﻜﻞ ﺍﳌﻌﲎ‪ ،‬ﺇﺩﺭﺍﻙ ﻟﻠﻤﻌﲎ‬
‫ﺫﺍﺗﻪ‪ .‬ﻷﻥ ﺍﳌﺸﺎﻛﻞ ﺳﺮﻋﺎﻥ ﻣﺎ ﲡﺪ ﻃﺮﻳﻘﻬﺎ ﳓﻮ ﺍﻟﺴﻄﺢ ﰲ ﻫﺬﻩ ﺍﻟﻨﻮﻋﻴﺔ ﻣﻦ ﺍﻟﻨﺼﻮﺹ ﻋﻠﻰ ﻣﺴﺘﻮﻯ‬
‫ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺘﺎﻟﻴﺔ‪:1‬‬

‫‪ -‬ﺍﻟﻌﺒﺎﺭﺍﺕ ﺍﻻﺻﻄﻼﺣﻴﺔ‪.‬‬
‫‪ -‬ﻋﺒﺎﺭﺍﺕ ﺍﳌﻌﺘﻘﺪﺍﺕ ﺍﻟﺪﻳﻨﻴﺔ‪.‬‬
‫‪ -‬ﺍﻟﻠﻐﺔ ﺍ‪‬ﺎﺯﻳﺔ‪.‬‬
‫‪ -‬ﻋﺒﺎﺭﺍﺕ ﺍﳌﻔﺮﺩﺍﺕ ﺍﳌﺎﺩﻳﺔ) ﻣﻔﺮﺩﺍﺕ ﺗﻌﱪ ﻋﻦ ﳎﺴﻤﺎﺕ ﻣﺎﺩﻳﺔ(‬
‫‪ -‬ﺍﻟﺘﻮﺭﻳﺔ ﻭ ﺍﻟﺘﻬﻜﻢ‪.‬‬

‫ﻓﻼ ﻳﺴﺘﻄﻴﻊ ﺃﻱ ﻗﺎﻣﻮﺱ ﻣﻬﻤﺎ ﻛﺎﻧﺖ ﺳﻌﺘﻪ ﻭ ﻗﺪﺭﺗﻪ ﻋﻠﻰ ﺍﺣﺘﻮﺍﺀ ﺍﳌﻌﺎﱐ ﺃﻥ ﻳﺪﻟﻨﺎ ﻋﻠﻰ ﺍﻷﻟﻔﺎﻅ ﳎﺘﻤﻌﺔ‬
‫ﲢﺖ ﺭﺍﻳﺔ ﻫﺬﻩ ﺍﻟﻌﻨﺎﺻﺮ‪ ،‬ﻷ‪‬ﺎ ﻣﻦ ﺟﻬﺔ ﺗﺆﺩﻱ ﻭﻇﻴﻔﺔ ﻭﺍﺣﺪﺓ ﻛﻤﺎ ﺃﺳﻠﻔﻨﺎ ﺍﻟﺬﻛﺮ ﻭ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‬
‫ﻗﺪ ﺗﻌﺮﺿﺖ ﻟﺘﺮﺳﺒﺎﺕ ﲡﺎﺭﻳﺒﻴﺔ ﻻ ﲢﺼﻰ ﰲ ﺫﻫﻦ ﺍﻟﻜﺎﺗﺐ‪ ،‬ﲡﻌﻞ ﻣﻨﻬﺎ ﺷﻴﺌﺎ ﻓﺮﻳﺪﺍ‪.‬‬

‫‪i -1‬ي < >‪X‬ي‪. :‬م‪.‬س‪.‬ص‪.61.‬‬

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‫ﻓﻌﻠﻴﻨﺎ ﺍﻟﺘﺨﻠﻲ ﻋﻦ ﻓﻜﺮﺓ ﺃﻥ ﺍﻟﻘﻮﺍﻣﻴﺲ ﺗﻘﺪﻡ ﻛﻞ ﺍﳊﻠﻮﻝ ﻓﻬﻲ ﻻ ﺗﻘﺪﻡ ﲟﻘﺪﺍﺭ ﻣﺎ ﺗﻔﺴﺪ ﻋﻤﻞ ﺍﳌﺘﺮﺟﻢ‪.‬‬
‫ﻓﻔﻲ ﻣﻘﺎﺑﻞ ﺍﻟﻨﺺ ﻳﺘﻔﻨﻦ ﺍﳌﺆﻟﻒ ﰲ ﺍﺳﺘﺤﻀﺎﺭ ﻛﻞ ﲡﺎﺭﺑﻪ ﺍﻟﺴﺎﺑﻘﺔ ﻭ ﻣﺎ ﻛﻮﻧﻪ ﻋﻨﻬﺎ ﻣﻦ ﺃﻓﻜﺎﺭ‪،‬‬
‫ﻭ ﻣﻮﺍﻗﻒ‪ ،‬ﻭ ﻧﺘﺎﺋﺞ ﺻﺪﺍﻣﻪ ﻣﻌﻬﺎ‪ ،‬ﻭ ﳝﺰﺟﻬﺎ ﺑﻘﺼﺪﻳﺔ ﻣﺒﻴﺘﺔ‪ ،‬ﻭ ﺭﺅﻳﺔ ﻣﻌﻴﻨﻪ‪ ،‬ﻭ ﺃﻓﻜﺎﺭ ﳏﺪﺩﺓ‪ .‬ﻭ ﺑﺎﻟﺘﺎﱄ‬
‫ﻧﺺ ﻣﻠﻐﻢ ﺑﺘﺮﺍﻛﻴﺐ ﻏﺮﻳﺒﺔ ﻭ ﻃﺎﻗﺔ ﺇﳛﺎﺋﻴﺔ ﻭﺳﻌﻬﺎ ﺍﻟﻨﺺ ﻛﻠﻪ‪.‬‬

‫ﻭ ﻷﻥ ﻫﺬﻩ ﺍﻟﻌﻨﺎﺻﺮ ﲢﺘﻮﻱ ﻋﻠﻰ ﺩﻻﻻﺕ ﺣﺎﻓﺔ )ﺇﳛﺎﺋﻴﺔ( ﻭ ﻋﻠﻰ ﻋﻜﺲ ﺍﻟﺪﻻﻻﺕ ﺍﻟﺬﺍﺗﻴﺔ ﺍﻟﱵ ﻫﻲ‬
‫ﻋﺒﺎﺭﺓ ﻋﻦ ﻣﺎ ﲢﻤﻠﻪ ﺍﻟﻜﻠﻤﺎﺕ ﻣﻦ ﺩﻻﻻﺕ ﰲ ﺫﺍ‪‬ﺎ ‪ ،‬ﻫﻲ ﺩﻻﻻﺕ ﳛﻤﻠﻬﺎ ﺍﻟﻜﺎﺗﺐ ﻓﻮﻕ ﺍﻟﺪﻻﻻﺕ‬
‫ﺍﻟﺬﺍﺗﻴﺔ ‪ ،‬ﻭ ﻫﻲ ﺑﺬﻟﻚ ﺗﺰﺍﲪﻬﺎ ﰲ ﻧﻔﺲ ﺍﻟﺮﻣﺰ ﺍﻟﻠﻐﻮﻱ ﻷ‪‬ﺎ ﻛﻤﺎ ﺃﺳﻠﻔﺖ ﺍﻟﻘﻮﻝ ﺧﺎﺿﻌﺔ ﳌﺰﺍﺝ ﺍﻟﻜﺎﺗﺐ‬
‫) ﻭ ﻛﻞ ﻣﺎ ﻳﺪﺧﻞ ﰲ ﺗﻔﻌﻴﻞ ﻫﺬﺍ ﺍﳌﺰﺍﺝ(‪ .‬ﻭ ﻣﻦ ﳑﻴﺰﺍ‪‬ﺎ ‪:2‬‬

‫‪ - (1‬ﺗﺘﺴﻢ ﺑﻄﺎﺑﻌﻬﺎ ﺍﳊﺮ‪ :‬ﻻ ﲣﻀﻊ ﺍﻟﺪﻻﻻﺕ ﺍﳊﺎﻓﺔ ﰲ ﺗﻮﻟﻴﺪﻫﺎ ﻭ ﺍﺳﺘﻌﻤﺎﳍﺎ ﻷﻱ ﺿﺎﺑﻂ ‪.‬‬
‫ﻛﻤﺎ ﳝﻜﻦ ﻷﻱ ﻛﻠﻤﺔ ﺃﻥ ﲢﻤﻞ ﰲ ﺫﺍ‪‬ﺎ ﺩﻻﻻﺕ ﺣﺎﻓﺔ ﻭ ﺫﻟﻚ ﻣﺮﻫﻮﻥ ﺑﺎﺳﺘﻌﻤﺎﻻﺕ ﺍﻟﻔﺮﺩ ﳍﺎ‬
‫ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﲡﺮﺑﺘﻪ ﺍﳋﺎﺻﺔ‪.‬‬
‫‪ -‬ﺗﺘﺴﻢ ﺑﻄﺎﺑﻌﻬﺎ ﺍﻟﺬﺍﰐ‪ :‬ﻓﻬﻨﺎﻙ ﺩﻻﻻﺕ ﺇﳛﺎﺋﻴﺔ ﺧﺎﺻﺔ ﺑﻠﻐﺔ ﻛﺎﺗﺐ ﻣﺎ ﻭ ﻫﻲ ﺃﻛﺜﺮﻫﺎ ﺫﺍﺗﻴﺔ‬
‫ﻷ‪‬ﺎ ﻗﺪ ﲢﻤﻞ ﻓﻮﻕ ﺇﳛﺎﺋﻴﺘﻬﺎ ﺍﻷﺻﻠﻴﺔ ﻃﺎﻗﺔ ﺇﳛﺎﺋﻴﺔ ﺃﺧﺮﻯ ﳛﻤﻠﻬﺎ ﺇﻳﺎﻫﺎ ﺍﻟﻜﺎﺗﺐ ‪ .‬ﻭﳝﻜﻦ‬
‫ﺍﳊﺪﻳﺚ ﻋﻦ ﺩﻻﻻﺕ ﺇﳛﺎﺋﻴﺔ ﺧﺎﺻﺔ ﺑﻔﺌﺔ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻣﺎ ﻭ ﻫﻲ ﻧﻮﻉ ﻣﻦ ﺍﻻﺳﺘﻌﻤﺎﻝ ﺍﳌﺘﻄﺮﻑ ﺃﻭ‬
‫ﺍﳌﻨﺤﺮﻑ ﻣﻦ ﻗﺒﻞ ﺗﻠﻚ ﺍﻟﻔﺌﺔ‪ .‬ﻭ ﻫﻲ ﺗﻌﺒﲑ ﺃﻳﻀﺎ ﻋﻦ ﺫﺍﺗﻴﺔ ﻣﺴﺘﻌﻤﻠﻬﺎ ﺇﺯﺍﺀ ﻣﻮﺿﻮﻋﻪ ﻭ ﻣﻮﻗﻔﻪ‬
‫ﻣﻦ ﺍﻟﻠﻐﺔ‪ ،‬ﻭ ﻫﻲ ﻛﻤﺤﺎﻭﻟﺔ ﻟﺘﺠﺎﻭﺯ ﳕﻄﻴﺔ ﺍﻟﻠﻐﺔ‪ ،‬ﻭ ﻋﺠﺰﻫﺎ ﻋﻦ ﺍﻹﻳﻔﺎﺀ ﺑﺄﻛﺜﺮ ﺍﳌﻌﺎﱐ ﺭﺳﻮﺧﺎ‬
‫ﰲ ﺍﻟﺬﺍﺕ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‪.‬‬

‫‪ -1‬ﻋﺒﺪﺍﷲ ﺍﻟﺸﻨﺎﻕ" ﺻﻌﻮﺑﺔ ﺗﺮﲨﺔ ﺃﺩﺏ ﺍﳌﻬﻤﺸﲔ‪ ،‬ﻫﺒﻴﻠﺔ ﺑﺸﺮﻯ ﳕﻮﺫﺟﺎ" ﳐﱪ ﺗﻌﻠﻴﻤﻴﺔ ﺍﻟﺘﺮﲨﺔ ﻭ ﺗﻌﺪﺩ ﺍﻷﻟﺴﻦ‪ ،‬ﺟﺎﻣﻌﺔ ﻭ ﻫﺮﺍﻥ‪ ،‬ﺩﺍﺭ‬
‫ﺍﻟﻐﺮﺏ‪،‬ﳎﻠﺔ ﺍﳌﺘﺮﺟﻢ ﻋﺪﺩ‪ .12‬ﺟﻮﻳﻠﻴﺔ‪-‬ﺩﻳﺴﻤﱪ‪.2005‬ﺹ‪147‬‬
‫‪ -2‬ﻋﺒﺪ ﺍﳋﺎﻟﻖ ﺭﺷﻴﺪ ‪.‬ﻡ‪.‬ﺱ ‪ .‬ﺹ‪.217-218‬‬

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‫)‪(non‬‬ ‫‪ – (2‬ﺗﺘﺴﻢ ﺑﻄﺎﺑﻌﻬﺎ ﺍﻻﺻﻄﻼﺣﻲ‪ :‬ﻓﻬﻲ ﲣﺘﻠﻒ ﻣﻊ ﺍﺧﺘﻼﻑ ﻭ ﺟﻬﺎﺕ ﺍﻟﻨﻈﺮ‬

‫ﻷ‪‬ﺎ ﻣﻌﺎ ﻣﺸﻤﻮﻻﺕ ﺍﻟﺬﺭﺍﺋﻌﻴﺔ‪ ،‬ﻭ ﻋﻠﻢ ﺍﻟﺪﻻﻟﺔ ﻭ ﺍﻷﺳﻠﻮﺑﻴﺔ‪.‬‬ ‫‪conventionnel‬‬

‫ﻭ ﻻ ﻳﺒﻘﻰ ﻟﻠﻤﺘﺮﺟﻢ ﺳﻮﻯ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻌﻬﺎ ﺑﻄﺮﻳﻘﺔ ﺣﺮﻳﺼﺔ ﻷﻥ ﻻ ﲡﺮﻓﻪ ﺑﻌﻴﺪﺍ ﻓﻴﺘﺤﺎﻣﻞ ﻋﻠﻰ ﺍﻟﻨﺺ‬
‫ﻭ ﻳﺘﺪﺧﻞ ﰲ ﺣﻴﺜﻴﺎﺗﻪ‪ ،‬ﺑﻴﻨﻤﺎ ﻋﻠﻴﻪ ﺃﻥ ﻻ ﻳﺘﺪﺧﻞ ﺇﻻ ﲟﻘﺪﺍﺭ ﻣﺎ ﳝﻜﻨﻪ ﻣﻦ ﻧﻘﻞ ﺍﳌﻌﲎ ﻭ ﲢﺪﻳﺪ ﺍﻟﺸﻜﻞ*‪.‬‬
‫ﺇﺫﻥ" ﻳﺪﻓﻊ ﺑﻨﺎ ﻋﺎﱂ ﺍﻷﺩﺏ ﻭ ﺍﻷﺩﺑﻴﺔ ﺇﱃ ﻋﺎﱂ ﻣﺴﺘﻘﻞ ﺍﻟﺪﻻﻻﺕ ﻳﺴﺘﻌﺼﻰ ﻋﻠﻰ ﺍﻟﺘﺮﲨﺔ‪ ،‬ﻷﻥ ﺍﻟﻌﻨﺼﺮ‬
‫ﺍﻟﺪﺍﻝ ﰲ ﺍﻹﺑﺪﺍﻉ ﻟﻴﺲ ﻫﻮ ﺍﻟﻜﻠﻤﺔ ﰲ ﺣﺪ ﺫﺍ‪‬ﺎ ﻭ ﻣﻌﻨﺎﻫﺎ ﺍﳌﻌﺮﻭﻑ ﻭ ﻟﻜﻦ ﻫﻮ ﺷﺒﻜﺔ ﺍﻟﺪﻻﻻﺕ‬
‫ﺍﻟﺜﺎﻧﻮﻳﺔ ﻭ ﺍﻟﺘﺼﻨﻴﻔﺎﺕ ﻭ ﺍﻹﳛﺎﺀﺍﺕ ﺍﻟﱵ ﺗﻔﺮﺿﻬﺎ ﺍﻟﻌﻼﻗﺎﺕ ﺍﳌﺴﺘﺤﺪﺛﺔ ﺍﳌﺒﺪﻋﺔ ﺑﲔ ﺍﻟﻜﻠﻤﺎﺕ‪ 1".‬ﻓﻤﻦ‬
‫ﺍﳌﻼﺣﻆ ﺃﻥ ﺍﻟﻜﺎﺗﺐ ﻛﻠﻤﺎ ﺃﻏﺮﻕ ﰲ ﺍﻷﺩﺑﻴﺔ ﻭ ﲪﻞ ﺍﻟﻨﺺ ﲟﺎ ﺗﻄﺮﺏ ﻟﻪ ﺍﻟﻨﻔﺲ ﻭ ﺍﻷﺫﻥ ﻣﻦ ﻣﻮﺳﻴﻘﻰ‬
‫ﺩﺍﺧﻠﻴﺔ‪ ،‬ﻭ ﻋﺒﺎﺭﺍﺕ ﺭﻧﺎﻧﺔ‪ ،‬ﻭ ﺧﻴﺎﻝ ﻳﻠﻮﺡ ﰲ ﺍﻷﻓﻖ ﻳﻜﺎﺩ ﳜﻔﻴﻪ‪ ،‬ﻛﻠﻤﺎ ﺻﻌﺐ ﺍﻷﻣﺮ ﻋﻠﻰ ﺍﳌﺘﺮﺟﻢ ﰲ‬
‫ﻧﻘﻠﻪ‪ ،‬ﻷﻥ ﺍﻟﻮﺍﻗﻊ ﻳﺆﻛﺪ ﻋﻠﻰ ﺃﻥ ﻣﺎ ﻗﺪ ﻳﻌﺘﱪ ﻳﻼﻣﺲ ﺍﻟﺮﻭﺡ ﻭ ﳛﺎﻛﻲ ﺍﻟﻐﻴﻮﻡ ﺻﻔﺎﺀﺍ ﻭ ﻧﻘﺎﺀﺍ ﰲ ﻟﻐﺔ ﻣﺎ‬
‫ﻗﺪ ﻳﻌﺪ ﻓﺎﺭﻏﺎ ﰲ ﻟﻐﺔ ﺃﺧﺮﻯ ﺃﻭ ﺃﺑﻌﺪ ﻣﻦ ﺫﻟﻚ ﻗﺪ ﳜﺪﺵ ﺍﳊﻴﺎﺀ**‪.‬‬

‫*‪ -‬ﺣﻴﺚ ﺗﻘﻮﻝ ﺇﻧﻌﺎﻡ ﺑﻴﻮﺽ ﰲ ﻫﺬﺍ ﺍﻟﺼﺪﺩ‪ ":‬ﺇﻥ ﺃﻱ ﻣﺘﺮﺟﻢ ﺃﺩﰊ ﻻﺑﺪ ﺃﻥ ﻳﻮﺍﺟﻪ ﺧﻄﺮ ﺍﻟﻘﺮﺍﺀﺓ ﺍﳌﺴﺘﻔﻴﻀﺔ ﻟﻠﻨﺺ ﺍﻷﺩﰊ‬
‫‪...‬ﻭﲢﻤﻴﻞ ﺑﻌﺾ ﺍﻟﻜﻠﻤﺎﺕ‪..‬ﻣﻌﺎﻥ ﺗﻔﻮﻕ ﻃﺎﻗﺘﻬﺎ‪... ،‬ﺃﻭ ﺃﻥ ﻳﻔﺴﺮ ﺑﻌﺾ ﺍﻟﻐﻤﻮﺽ ﰲ ﺍﻟﻨﺺ ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﻣﻌﺮﻓﺘﻪ ﺍﻟﺸﺨﺼﻴﺔ ﳊﺎﻻﺕ‬
‫ﻣﺸﺎ‪‬ﺔ ﻭ ﺇﺳﻘﺎﻃﻪ ﻋﻠﻴﻬﺎ‪ ".‬ﺇﻧﻌﺎﻡ ﺑﻴﻮﺽ‪.‬ﻡ‪.‬ﺱ‪ .‬ﺹ‪.44‬‬
‫ﻋﻴﺴﻰ ﺑﺮﻳﻬﻤﺎﺕ‪. ،‬ﻡ‪.‬ﺱ‪ .‬ﺹ ‪79.-78‬‬ ‫‪-1‬‬

‫**‪ -‬ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﺍﻻﺧﺘﻼﻓﺎﺕ ﻟﻴﺴﺖ ﻓﻘﻂ ﻋﻠﻰ ﺍﳌﺴﺘﻮﻯ ﺍﻟﺜﻘﺎﰲ)ﺍﻟﺒﻴﺌﻲ‪ ،‬ﺍﳊﻀﺎﺭﻱ‪ ،‬ﺍﻹﺩﻳﻮﻟﻮﺟﻲ( ﺑﻞ ﺣﱴ ﻋﻠﻰ ﻣﺴﺘﻮﻯ‬
‫ﺍﻟﻠﻐﺎﺕ ﺑﻌﻀﻬﺎ ﻣﻊ ﺑﻌﺾ‪ ،‬ﻓﻘﺪ ﺗﺴﺘﻌﺺ ﺃﺣﻴﺎﻧﺎ ﻭ ﺗﺄﰉ ﺍﻹﻧﺘﻘﺎﻝ ﺇﻻ ﺑﺼﻌﻮﺑﺔ ﻓﻔﻲ ﺁﺧﺮ ﺍﻷﻣﺮ ﳍﺎ ﺧﺼﻮﺻﻴﺔ ‪‬ﺪﻑ ﺇﱃ ﲪﺎﻳﺘﻬﺎ‪– .‬‬
‫ﻟﻼﺳﺘﺰﺍﺩﺓ ﰲ ﻫﺬﻩ ﺍﻟﻨﻘﻄﺔ ﻳﻨﻈﺮ‪:‬‬

‫‪-Mohamed Khemri : Ibid. p 05.‬‬

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‫ﻓﺈﺫﺍ ﺣﺼﺮﻧﺎ ﻛﺤﻮﺻﻠﺔ ﻋﺎﻣﺔ ﺍﳌﻘﺘﻀﻴﺎﺕ ﺍﻟﱵ ﺗﻌﺮﺽ ﻟﻠﻤﺘﺮﺟﻢ ﻓﻴﻤﺎ ﺣﺼﺮﻩ "ﺇﺩﻣﻮﻥ ﻛﺎﺭﻱ"‬
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‫ﻓﺈﻧﻪ ﻟﺪﻳﻨﺎ ﻣﻨﻬﺎ ﺍﻟﻨﻘﺎﻁ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬

‫‪ -‬ﺗﻮﺧﻲ ﺍﻷﻣﺎﻧﺔ ﻭ ﺍﻟﺪﻗﺔ – ﺇﱃ ﺣﺪ ﻣﺎ‪ -‬ﻭ ﺍﺣﺘﺮﺍﻡ ﺍﻟﻨﺺ‪*.‬‬

‫‪ -‬ﺍﻟﺘﻘﻤﺺ ﺍﳉﻤﺎﱄ‪.‬‬
‫‪ -‬ﻗﺎﺑﻠﻴﺔ ﺍﺳﺘﺜﺮﺍﺀ ﺍﻟﻌﺎﺑﺮ ﻭ ﺍﻟﻴﻮﻣﻲ‪.‬‬
‫‪ -‬ﺭﺑﻂ ﺍﻷﻣﺎﻧﺔ ﺑﺎﳉﻤﺎﻝ ﻣﺎ ﺃﻣﻜﻦ‪.‬‬
‫‪ -‬ﺟﻌﻞ ﺍﻟﺸﻮﺍﻏﻞ ﺍﻹﺳﺘﻴﻄﻴﻘﻴﺔ ﻣﻠﻤﻮﺳﺔ ﻭ ﺣﺎﺿﺮﺓ ﺩﻭﻣﺎ ﰲ ﺍﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ‪.‬‬
‫‪ -‬ﺇﻥ ﺍﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ ﻣﻨﺒﺜﻘﺔ ﻣﻦ ﺍﻷﺟﻨﺎﺱ ﺍ‪‬ﺎﻭﺭﺓ ﻛﺎﻟﺘﻜﻴﻴﻒ ﻭ ﺍﶈﺎﻛﺎﺓ ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺃ‪‬ﺎ‬
‫ﺃﺻﻌﺐ ﺍﻷﺟﻨﺎﺱ‪.‬‬
‫‪ -‬ﺇﻥ ﺍﳌﺘﺮﺟﻢ ﻻ ﺷﻌﻮﺭﻳﺎ ﻳﺴﺘﺒﻴﺢ ﺍﻟﺘﺠﺎﻭﺯﺍﺕ ﺍﻟﱵ ﲤﻨﺤﻬﺎ ﻟﻪ ﺍﳉﻤﻴﻼﺕ ﺍﳋﺎﺋﻨﺎﺕ ﻟﺬﺍ‬
‫ﻓﺈﻣﻜﺎﻧﻴﺔ ﺍﳋﻄﺄ ﻭﺍﺭﺩﺓ‪.‬‬
‫‪ -‬ﻋﻠﻰ ﺍﳌﺘﺮﺟﻢ ﺃﻥ ﻳﻜﻮﻥ ﻭﺍﺳﻊ ﺍﻹﻃﻼﻉ ﺳﻮﺍﺀ ﻋﻠﻰ ﺍﳌﺴﺘﻮﻯ ﺍﻟﻠﻐﻮﻱ‪ ،‬ﺍﻟﻌﻠﻤﻲ‬
‫ﻭ ﺍﳌﻌﺮﰲ‪ ،‬ﻭ ﺃﻥ ﻳﻜﻮﻥ ﻟﻴﻨﺎ‪ ،‬ﻛﻴﺴﺎ‪ ،‬ﻗﺎﺩﺭﺍ ﻋﻠﻰ ﳎﺎﺭﺍﺕ ﺍﻟﻜﺎﺗﺐ ﰲ ﺗﻼﻋﺒﻪ ﲟﺴﺘﻮﻯ‬
‫ﺷﺨﻮﺻﻪ ﺍﻟﻌﻠﻤﻲ ﻭ ﺍﻟﻨﻔﺴﻲ‪ ،‬ﻭ ﺍﻹﺩﺭﺍﻛﻲ‪...‬‬

‫ﺇﺫﻥ‪ ،‬ﻣﺎ ﳝﻜﻨﻨﺎ ﰲ ﺍﻷﺧﲑ ﻗﻮﻟﻪ ﻫﻮ ﺃﻥ ﺣﻘﻞ ﺍﻟﺪﺭﺍﺳﺔ ﰲ ﻫﺬﺍ ﺍﳌﻴﺪﺍﻥ ﻣﺎ ﺯﺍﻝ ﺑﻜﺮﺍ‪ ،‬ﺑﻜﻮﺭﺓ‬
‫ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻷﺩﺑﻴﺔ ﻭ ﺍﻟﺘﺮﲨﻴﺔ ﻋﻠﻰ ﺣﺪ ﺳﻮﺍﺀ ﺭﻏﻢ ﻣﺎ ﻗﻴﻞ ﻭ ﻳﻘﺎﻝ ﻓﻴﻪ‪ ،‬ﻓﺎﳌﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻵﺩﺍﺏ ﺍﻹﻧﺴﺎﻧﻴﺔ‬
‫ﻣﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻟﻨﻔﺲ ﺍﻟﺒﺸﺮﻳﺔ ﺍﻟﱵ ﻻﺯﺍﻟﺖ ﲢﺎﻓﻆ ﺑﻌﻨﺎﺩ ﻋﻠﻰ ﺗﻔﺮﺩﻫﺎ‪ ،‬ﻭ ﻏﻤﻮﺿﻬﺎ‪ ،‬ﻭ ﲤﻴﺰﻫﺎ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ‬
‫ﻋﻠﻰ ﻓﺮﺽ ﺍﻟﺘﺤﺪﻱ ﺗﻠﻮ ﺍﻵﺧﺮ ﻋﻠﻰ ﺍﳌﺘﺮﺟﻢ ﺍﳌﺘﻌﺎﻣﻞ ﻣﻊ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﻨﺼﻮﺹ ﻭ ﺫﻟﻚ ﰲ ﺳﺒﻴﻞ‬

‫‪ -1‬ﺇﺩﻣﻮﻥ ﻛﺎﺭﻱ‪ ":‬ﺍﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ"ﺗﺮﲨﺔ ﻋﺒﺪ ﺍﻟﻨﱯ ﺫﺍﻛﺮ‪ " ،‬ﳐﱪ ﺗﻌﻠﻴﻤﻴﺔ ﺍﻟﺘﺮﲨﺔ ﻭ ﺗﻌﺪﺩ ﺍﻷﻟﺴﻦ‪ ،‬ﺟﺎﻣﻌﺔ ﻭ ﻫﺮﺍﻥ‪ ،‬ﺩﺍﺭ ﺍﻟﻐﺮﺏ‪،‬ﳎﻠﺔ ﺍﳌﺘﺮﺟﻢ‬
‫ﻋﺪﺩ ‪ 12.‬ﺟﻮﻳﻠﻴﺔ‪-‬ﺩﻳﺴﻤﱪ‪.2005.‬ﺹ‪.180-179‬‬

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‫ﺇﻧﺘﺎﺝ ﻣﺎ ﻳﺴﻤﻰ "ﺑﺎﻟﺘﺮﲨﺔ ﺍﳌﺜﻠﻰ"‪ ،‬ﻭ ﻻ ﻧﻌﲎ ﻫﻨﺎ ﺑﺎﳌﺜﻠﻰ ﺍﻟﻜﺎﻣﻠﺔ ﺃﻭ ﺍﻟﺘﺎﻣﺔ ﻷﻧﻪ ﻻ ﻳﻮﺟﺪ ﺷﻲﺀ ﻣﻦ ﻫﺬﺍ‬
‫‪1‬‬
‫ﺍﻟﻘﺒﻴﻞ ﺑﻘﺪﺭ ﻣﺎ ﻧﻌﲏ ‪‬ﺎ ﺍﻷﻗﺮﺏ ﻭ ﺫﻟﻚ ﻋﻠﻰ ﺍﻷﺻﻌﺪﺓ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬

‫‪ - (1‬ﺃﻥ ﺗﻌﻄﻲ ﺍﳌﻌﲎ ﺍﻟﺪﻻﱄ ﺍﻟﺪﻗﻴﻖ ﻟﻠﻨﺺ ﺍﻷﺻﻠﻲ‪.‬‬

‫‪ - (2‬ﺃﻥ ﺗﻌﻄﻲ ﺇﳛﺎﺀﺍﺕ ﺍﻟﻨﺺ ﺍﻷﺻﻠﻲ ﻧﻔﺴﻪ‪.‬‬
‫‪ - (3‬ﺃﻥ ﲢﺪﺙ ﰲ ﺍﻟﻘﺎﺭﺉ ﺍﳍﺪﻑ ﺗﺄﺛﲑﺍ ﻣﻄﺎﺑﻘﺎ ﻟﺘﺄﺛﲑ ﺍﻟﻌﻤﻞ ﺍﻷﺻﻠﻲ ﻋﻠﻰ ﻗﺮﺍﺋﻪ‪.‬‬
‫‪ - (4‬ﺃﻥ ﺗﺴﺘﻮﰲ ﺷﺮﻭﻁ ﺍﳌﻘﺮﻭﺋﻴﺔ ﺍﻟﻄﺒﻴﻌﻴﺔ‪.‬‬

‫ﻭ ﺑﺎﻟﺘﺎﱄ ﻟﺘﺄﺩﻳﺔ ﺍﻟﻐﺮﺽ ﻣﻦ ﻭﺟﻮﺩﻫﺎ ﰲ ﺍﻷﺳﺎﺱ‪ ،‬ﻭ ﺍﳌﺘﻤﺜﻞ ﰲ ﺗﻘﺮﻳﺐ ﺍﻵﺭﺍﺀ ﻭ ﺍﻟﺮﺅﻯ ﺑﲔ ﳐﺘﻠﻒ‬
‫ﺍﳌﺘﻠﻘﲔ ﻭ ﺿﻤﺎﻥ ﺗﻮﺯﻳﻊ ﻋﺎﺩﻝ ﳌﻮﺍﺯﻳﻦ ﺍﻟﻘﻮﻯ ﺍﻟﻌﻠﻤﻴﺔ ﺑﲔ ﺍﻟﺸﻌﻮﺏ‪.‬‬

‫ﺻﲑﻭﺭﺓ ﺍﻟﻌﻤﻠﻴﺔ ﺍﻟﺘﺮﲨﻴﺔ‪:‬‬

‫ﻟﻠﺨﻄﺎﺏ ﺍﻟﺘﺮﲨﻲ ﺍﻷﺩﰊ ﺁﻟﻴﺎﺕ ﻳﺮﺗﻜﺰ ﻋﻠﻴﻬﺎ ﰲ ﺻﲑﻭﺭﺗﻪ‪ .‬ﻭ ﻟﻌﻠﻨﺎ ﻧﻨﺤﻮ ﳓﻮ ﻣﺎ ﳓﻰ ﺇﻟﻴﻪ "ﺍﻟﻄﺎﻫﺮ‬
‫ﺭﻭﺍﻳﻨﻴﺔ" ﺣﻴﻨﻤﺎ ﺃﻗﺼﻰ ﺁﻟﻴﱵ ﺍﻟﻔﻬﻢ ﻭ ﺍﻟﺘﻮﺍﺻﻞ ﲝﺠﺔ ﺃ‪‬ﺎ ﺃﺻﺒﺤﺖ ﻣﻦ ﺍﻟﺒﺪﻳﻬﻴﺎﺕ ﺍﻟﱵ ﺗﺴﺒﻖ ﻋﻤﻠﻴﺔ‬
‫ﺍﻟﺘﺮﲨﺔ ﺣﻴﺚ ﻳﻘﻮﻝ ﰲ ﻫﺬﺍ ﺍﻟﺼﺪﺩ‪ ":‬ﺇﻥ ﺁﻟﻴﱵ ﺍﻟﻔﻬﻢ ﻭ ﺍﻟﺘﻮﺍﺻﻞ ﻻ ﺗﺸﻜﻼﻥ ﺳﻮﻯ ﻟﻮﻥ ﻣﻦ ﺍﻟﻘﺮﺍﺀﺓ‬
‫ﺍﻻﺳﺘﻜﺸﺎﻓﻴﺔ ﻟﻠﻨﺺ ﻣﻦ ﺃﺟﻞ ﺟﻌﻠﻪ ﻗﺎﺑﻼ ﻟﻠﻮﺻﻒ‪ ،‬ﻭ ﻗﺎﺑﻼ ﻟﻠﺘﺤﻴﲔ ﻗﺮﺍﺀﺓ ﺃﻭ ﺗﺮﲨﺔ‪ 2".‬ﰒ ﺇﻥ ﻣﺮﺣﻠﺔ‬
‫ﺍﻟﻔﻬﻢ ﻭ ﺍﻟﺘﻮﺍﺻﻞ ﺃﻭ ﻣﺮﺣﻠﺔ ﺍﻟﻘﺮﺍﺀﺓ ﺗﻌﺪ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻤﺘﺮﺟﻢ‪ ":‬ﻃﻮﺭﺍ ﺩﻳﻨﺎﻣﻴﻜﻴﺎ ﻟﻠﺘﻔﺴﲑ ﺃﻭ ﺍﻟﺘﺄﻭﻳﻞ‪ ،‬ﻓﻴﻬﺎ‬
‫‪-1‬‬
‫ﺇﻧﻌﺎﻡ ﺑﻴﻮﺽ‪.‬ﻡ‪.‬ﺱ‪ .‬ﺹ‪.51.‬‬
‫‪-2‬‬
‫ﺍﻟﻄﺎﻫﺮ ﺭﻭﺍﻳﻨﻴﺔ‪.‬ﻡ‪.‬ﺱ‪ .‬ﺹ‪.161‬‬

‫‪*-‬ﻳﻨﻈﺮ‪ :‬ﻡ‪.‬ﻥ‪ ،‬ﺹ‪46-44‬‬

‫* *ﺭﻏﻢ ﺃﻥ ﺍﻟﻜﻠﻤﺔ ﺍﻟﻔﺼﻞ ﱂ ﺗﻘﻞ ﺑﻌﺪ ﰲ ﻣﺎ ﳜﺺ ﺍﻷﻣﺎﻧﺔ ﻭﺣﺮﻳﺔ ﺍﳌﺘﺮﺟﻢ ﻭ ﺫﻟﻚ ﻟﺴﺒﺐ ﻭﺟﻴﻬﺔ‪ ،‬ﺫﻛﺮﺗﻪ ﺇﻳﻨﺎﺱ‪ ,‬ﺃﻧﺎ ﻣﻌﻬﺎ ﻓﻴﻪ ﺇﱃ ﺣﺪ ﺑﻌﻴﺪ‪:‬‬

‫‪« En ce qui concerne les deux tendances de la traduction, fidélité et liberté on interprète‬‬
‫‪d’une façon plus approfondie la première, la seconde apparait comme privée de tout droit,‬‬
‫» ‪car il reste toujours en plus du communicable un non communicable.‬‬
‫‪Ines Oseki-Dépré « Théorie et pratique de la traduction littéraire », edition Armand‬‬
‫‪Colin.1999.p104.‬‬

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‫ﻳﺴﻌﻰ ﺟﺎﻫﺪﺍ ﺇﱃ ﲢﻴﲔ ﻭ ﲡﺴﻴﺪ ﺍﻟﻨﺺ ﺃﻱ ﻗﺮﺍﺀﺓ ﺍﻟﻨﺺ ﺑﺘﻼﻭﺗﻪ ﻋﻠﻰ ﻧﻔﺴﻪ ﻟﻴﻐﺪﻭ ﺟﺰﺀﺍ ﻣﻦ ﺗﻔﻜﲑﻩ‬
‫ﻭﻭﺟﺪﺍﻧﻪ‪ 2".‬ﻓﺎﻟﻘﺮﺍﺀﺓ ﺗﻔﺴﲑ ﻭ ﻓﻬﻢ ﻟﻠﻨﺺ ﺍﻷﺩﰊ ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﻣﻀﺎﻫﺎﺗﻪ ﻣﻊ ﻣﺎ ﳜﺰﻧﻪ ﺍﳌﺘﺮﺟﻢ ﰲ‬
‫ﺫﺍﻛﺮﺗﻪ ﻣﻦ ﺗﺮﺍﺙ ﺛﻘﺎﰲ ﻭ ﺃﺩﰊ‪ ،‬ﻭ ﻫﻲ ﻣﺮﺣﻠﺔ ﺃﻭﻟﻴﺔ ﻻﺳﺘﻨﺒﺎﻁ ﺍﳌﻌﲎ‪ ،‬ﻭ ﲢﺪﻳﺪ ﺍﳌﻘﺎﺑﻼﺕ‪ ،‬ﻭ ﺍﻟﺒﺪﺍﺋﻞ‬
‫ﺍﳌﺘﺎﺣﺔ ﻟﻪ ﰲ ﺿﻮﺀ ﺍﻟﺘﻄﺎﺑﻘﺎﺕ ﺃﻭ ﺍﻻﺧﺘﻼﻓﺎﺕ ﺍﻟﱵ ﻳﻘﺪﻣﻬﺎ ﺍﻟﻨﺺ ﺍﻷﺻﻞ ﻋﻨﺪ ﻗﺮﺍﺀﺗﻪ‪ .‬ﻭ ﺗﺘﻌﺪﻯ‬
‫ﺍﳌﻀﺎﻫﺎﺓ ﺍﻟﺘﻔﺴﲑﻳﺔ ﺣﺪﻭﺩ ﺯﻣﻦ ﺍﻟﻨﺺ ﻓﻘﺪ ﻳﻀﺎﻫﻰ ﺑﺂﺩﺍﺏ ﻗﺪﳝﺔ‪ ،‬ﺣﺎﺿﺮﺓ)ﻣﻌﺎﺻﺮﺓ ﻟﻠﻨﺺ(‪ ،‬ﻣﺴﺘﻘﺒﻠﻴﺔ‬
‫)ﺑﺎﻟﻨﺴﺒﺔ ﻟﺰﻣﻦ ﺍﻟﻨﺺ(‪ .‬ﻭ ﻛﻞ ﺫﻟﻚ ﳛﺪﺩﻩ ﺍﶈﻤﻮﻝ ﺍﳌﻌﺮﰲ ﻟﻠﻤﺘﺮﺟﻢ‪ ،‬ﻭ ﻫﺬﺍ ﻣﺎ ﻳﺴﺎﻋﺪﻩ ﻋﻠﻰ ﺗﻮﺳﻴﻊ‬
‫ﺍ‪‬ﺎﻻﺕ ﺍﻟﺪﻻﻟﻴﺔ ﳑﺎ ﻳﺆﺩﻱ ﺇﱃ ﺗﻮﺳﻴﻊ ﺍﳌﻨﻄﻘﺔ ﺍﻟﱵ ﻳﺘﺤﺮﻙ ﻓﻴﻬﺎ ﺍﻟﺘﻔﺴﲑ ﻭ ﺑﺎﻟﺘﺎﱄ ﺇﳚﺎﺩ ﺍﳌﻘﺎﺑﻼﺕ‪.‬‬
‫ﻓﺪﺍﺧﻞ ﺍﻟﺸﻔﺮﺓ ﺍﻷﺩﺑﻴﺔ ﺍﻟﻮﺍﺣﺪﺓ ﲢﺪﺩ ﻣﻌﺎﱐ ﺍﻷﻟﻔﺎﻅ ﻭ ﺩﻻﻟﺘﻬﺎ ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﺍﳋﱪﺓ ﺍﻷﺩﺑﻴﺔ)ﺍﻹﻃﻼﻉ‬
‫ﻋﻠﻰ ﺍﻵﺩﺍﺏ ﰲ ﻟﻐﺔ ﻣﻌﻴﻨﺔ( ﻭ ﺍﻟﱵ ﺗﻜﺴﺐ ﺍﻟﻘﺎﺭﺉ ﻭ ﺍﳌﺘﺮﺟﻢ ﻋﻠﻰ ﺣﺪ ﺳﻮﺍﺀ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺭﺻﺪ ﺗﻠﻚ‬
‫ﺍﳌﻌﺎﱐ ﻭ ﺍﻟﺪﻻﻻﺕ ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﻨﺎﺹ‪.‬‬

‫ﺃﻣﺎ ﺍﻵﻟﻴﺎﺕ ﺍﳊﻘﻴﻘﻴﺔ ﰲ ﻧﻈﺮﻩ ﺛﻼﺙ‪ :‬ﺍﻟﺘﻠﻘﻲ ﺍﳉﻤﺎﱄ‪ ،‬ﺍﻟﺘﺄﻭﻳﻞ‪ ،‬ﻭ ﺍﻟﺘﺪﺍﺧﻞ ﺍﻟﺜﻘﺎﰲ‪ .‬ﻓﺄﻣﺎ ﺍﻟﺘﻠﻘﻲ‬
‫ﺍﳉﻤﺎﱄ ﻓﻬﻮ ﻣﻘﺮﻭﻥ ﺑﺎﳌﺘﻠﻘﻲ )ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺍﳌﺘﺮﺟﻢ ﻣﺘﻠﻖ ﺑﺎﻟﺪﺭﺟﺔ ﺍﻷﻭﱃ( ﻭ ﻗﺪﺭﺗﻪ ﻋﻠﻰ ﺍﻟﺘﺄﻭﻳﻞ‬
‫ﻭ ﻛﻔﺎﺀﺗﻪ ﰲ ﺍﺳﺘﺨﻼﺹ ﺍﳌﻌﲎ ﺑﺎﻋﺘﺒﺎﺭ ﺃﻥ ﻫﺬﺍ ﺍﻷﺧﲑ ﻣﺘﻐﲑ ﻭ ﻻ ‪‬ﺎﺋﻲ‪".‬ﻭ ﻫﻮ ﻣﺎ ﻳﺪﻓﻊ ﺍﻟﻘﺎﺭﺉ ﺇﱃ‬
‫ﻗﺒﻮﻝ ﺍﻟﺘﺤﺪﻱ‪ ،‬ﻭ ﺍﻟﺪﺧﻮﻝ ﰲ ﺍﻟﻠﻌﺒﺔ ﺍﻟﻔﻨﻴﺔ ﻟﻠﻨﺺ ﻣﻦ ﺃﺟﻞ ﻓﻚ ﺷﻔﺮﺍ‪‬ﺎ‪ ،‬ﻭ ﺇﻋﺎﺩﺓ ﲢﻴﲔ ﺍﻟﻨﺺ‪،‬‬
‫ﻭ ﺑﻨﺎﺀﻩ ﻭ ﻣﻠﺊ ﻓﺮﺍﻏﺎﺗﻪ‪ ،‬ﻭ ﳊﻢ ﺃﺟﺰﺍﺋﻪ ﺃﺛﻨﺎﺀ ﻋﻤﻠﻴﺔ ﺍﻟﻘﺮﺍﺀﺓ‪ ،‬ﺍﻟﱵ ﺗﻠﻌﺐ ﻓﻴﻬﺎ ﻣﻮﺳﻮﻋﺔ ﺍﻟﻘﺎﺭﺉ‪،‬‬
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‫ﻓﻜﻞ ﻗﺎﺭﺉ‬ ‫ﻭ ﺍﺳﺘﻌﺪﺍﺩﺍﺗﻪ ﺍﻟﺬﻫﻨﻴﺔ ﻭ ﺍﻟﻨﻔﺴﻴﺔ‪ ،‬ﻭ ﳏﻴﻄﻪ ﺍﻻﺟﺘﻤﺎﻋﻲ‪ ،‬ﻭ ﺍﻟﺜﻘﺎﰲ ﺩﻭﺭﺍ ﺃﺳﺎﺳﻴﺎ‪".‬‬
‫ﺭﻏﻮﺏ ﳚﺪ ﺍﻹﻏﺮﺍﺀ ﻛﻞ ﺍﻹﻏﺮﺍﺀ ﰲ ﺗﻠﻚ ﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﱵ ﳜﻠﻔﻬﺎ ﻛﺎﺗﺐ ﺍﻟﻨﺺ ﻭﺭﺍﺀﻩ‪ ،‬ﻓﻬﻲ ﺍﳌﺴﺎﺣﺎﺕ‬
‫ﺍﻟﻮﺣﻴﺪﺓ ﰲ ﺍﻟﻨﺺ ﺍﻟﱵ ﻋﻠﻰ ﺍﻟﻘﺎﺭﺉ ﺃﻳﺎ ﻛﺎﻥ ﻣﻠﺆﻫﺎ‪ ،‬ﻭ ﻳﺸﻜﻠﻬﺎ ﺣﺴﺐ ﺭﺅﻳﺘﻪ ﻭ ﺗﻘﺪﻳﺮﻩ ﳌﺂﻝ ﺍﻷﻣﻮﺭ‬

‫ﻋﻴﺴﻰ ﺑﺮﻳﻬﻤﺎﺕ‪ ،‬ﻡ‪.‬ﺱ‪ .‬ﺹ‪.70.‬‬ ‫‪-1‬‬

‫ﺍﻟﻄﺎﻫﺮ ﺭﻭﺍﻳﻨﻴﺔ‪.‬ﻡ‪.‬ﺱ ‪-166‬ﺹ‪.167‬‬ ‫‪-2‬‬

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‫ﻭ ﺗﺒﻠﻮﺭ ﺍﻷﺣﺪﺍﺙ ﰲ ﺍﻟﻨﺺ‪".‬ﻭ ﳝﻜﻦ ﻟﻌﻤﻠﻴﺔ ﺍﻟﺘﺮﲨﺔ ﰲ ﻫﺬﺍ ﺍﳌﺴﺘﻮﻯ ﺃﻥ ﺗﺴﻘﻂ ﻣﻦ ﺣﺴﺎ‪‬ﺎ ﺛﻨﺎﺋﻴﱵ‬
‫ﺍﻷﻣﺎﻧﺔ ﻭ ﺍﳋﻴﺎﻧﺔ ﻭ ﺃﻥ ﲤﺎﺭﺱ ﻓﻌﻠﻬﺎ ﺍﻟﺘﺮﲨﻲ ﻣﻌﺘﻤﺪﺓ ﻋﻠﻰ ﺣﺮﻳﺔ ﺍﻟﺘﻔﺎﻋﻞ ﻣﻊ ﺍﻟﻨﺺ ﺍﻷﺻﻞ‪ ،‬ﻣﻦ ﺃﺟﻞ‬
‫ﺇﻋﺎﺩﺓ ﻛﺘﺎﺑﺘﻪ ﻣﻦ ﻣﻨﻈﻮﺭﻱ ﲨﺎﻟﻴﺔ ﺍﻟﺘﻠﻘﻲ ﻭ ﺷﻌﺮﻳﺔ ﺍﻟﺘﺮﲨﺔ"‪ 2.‬ﻷﻥ ﺃﺧﺬﳘﺎ ﺑﻌﲔ ﺍﻻﻋﺘﺒﺎﺭ ﻟﻦ ﻳﻜﻮﻥ ﺇﻻ‬
‫ﲟﺜﺎﺑﺔ ﺣﺪ ﻟﻘﺪﺭﺓ ﺍﻟﻨﺺ ﺍﻟﻨﺎﺗﺞ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﻗﺼﻮﺭ ﰲ ﺍﳌﻌﲎ‪ ،‬ﻭ ﻧﺺ ﻻ ﻋﻼﻗﺔ ﻟﻪ ﺑﺎﻷﺻﻞ ﰲ ﺷﻲﺀ‪.‬‬

‫ﻭ ﺃﻣﺎ ﺍﻟﺘﺄﻭﻳﻞ "ﻓﺨﻼﻓﺎ ﻟﻠﻄﻮﺭ ﺍﻟﺪﻳﻨﺎﻣﻴﻜﻲ ﺍﻟﺴﺎﺑﻖ ﻓﺈﻥ ﺍﻟﻄﻮﺭ ﺍﻟﺬﻫﲏ ﻟﻠﺘﺄﻭﻳﻞ ﻳﻌﲎ ﺑﺘﺮﲨﺔ ﺍﳌﻌﺎﱐ‬
‫ﺍﻟﻐﺎﻣﻀﺔ ﻭ ﺍﳌﺨﺒﺄﺓ ﰲ ﺛﻨﺎﻳﺎ ﺍﻟﻨﺺ ﻭﻓﻖ ﺷﺒﻜﺎﺕ ﺍﻟﻘﺮﺍﺀﺍﺕ ﺍﳌﺨﺘﻠﻔﺔ ﻣﻦ ﻗﺒﻞ ﺍﳌﺘﺮﺟﻢ‪ .‬ﻭ ﺫﻟﻚ ﻷﻥ‬
‫ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﻻ ﳝﻨﺢ ﻣﻌﻨﺎﻩ ﻭ ﺭﺅﻳﺘﻪ ﺑﻮﺿﻮﺡ ﺗﺎﻡ ﻭ ﻷﻱ ﻛﺎﻥ‪ 3 ".‬ﰒ ﺇﻥ ﺍﻟﺘﺄﻭﻳﻞ‪ :‬ﻗﺮﺍﺀﺍﺕ‪ ،‬ﻓﻬﻢ‪،‬‬
‫ﺗﻔﺴﲑ ﻟﻠﻨﺺ ﺍﻷﺩﰊ‪ ،‬ﻭ ﻟﻦ ﻳﻜﻮﻥ ﺍﳌﻌﲎ ﺇﻻ ﺇﺣﺎﻟﻴﺎ ﰲ ﺃﻱ ﻧﺺ ﺃﺩﰊ‪ ،‬ﻓﻴﻌﻤﺪ ﺍﳌﺘﺮﺟﻢ ﺇﻟﻴﻪ ﻛﻮﺳﻴﻠﺔ‬
‫ﻟﻔﻚ ﺣﺼﺎﺭ ﺍﻟﻐﻤﻮﺽ ﻟﻠﻤﻌﲎ‪ .‬ﻭﻋﻠﻴﻪ ﻭﻗﺖ ﺍﻟﺸﺮﻭﻉ ﰲ ﺫﻟﻚ ﺃﻥ ﻳﻘﻒ ﻋﻠﻰ ﺃﺭﺿﻴﺔ ﺻﻠﺒﺔ ﲟﻌﲎ ﺃﻥ‬
‫ﻳﺘﻤﻜﻦ ﻣﻦ ﺇﺣﻜﺎﻡ ﻗﺒﻀﺘﻪ ﺣﻮﻝ ﺍﻟﻨﺺ ﻭ ﻳﻜﻮﻥ ﺻﺎﺣﺐ ﺭﺅﻳﺔ ﺛﺎﺑﺘﺔ ﻻ ﺗﺰﻋﺰﻋﻬﺎ ﺗﻘﻠﺒﺎﺕ ﺍﻟﻨﺺ ﻣﻬﻤﺎ‬
‫ﻛﺎﻧﺖ ﺍﻷﺷﻜﺎﻝ ﺍﻟﱵ ﻳﺘﺨﺬﻫﺎ ﺃﻭ ﻳﻮﺣﻲ ﺃﻧﻪ ﺍﲣﺬﻫﺎ ﰲ ﺳﺒﻴﻞ ﲢﻘﻴﻖ ﺍﻹﺣﺎﻻﺕ‪ ،‬ﻭ ﻋﻠﻴﻪ ﺃﻥ ﻳﻜﻮﻥ‬
‫ﻟﺬﻟﻚ ﺳﺮﻳﻊ ﺍﻟﺒﺪﻳﻬﺔ ﻓﻄﻨﺎ‪ ،‬ﻓﺎﻟﺘﺄﻭﻳﻞ ﻟﻴﺲ ﻋﻤﻠﻴﺔ ﺑﺴﻴﻄﺔ ﻷﻧﻪ ﻋﻠﻰ ﺃﺳﺎﺳﻪ ﺳﺘﺘﺨﺬ ﺍﻟﺘﺮﲨﺔ ﻓﻴﻤﺎ ﺑﻌﺪ‬
‫ﺷﻜﻠﻬﺎ ﺍﻟﻨﻬﺎﺋﻲ‪.‬‬

‫‪ -1‬ﺍﻟﻄﺎﻫﺮ ﺭﻭﺍﻳﻨﻴﺔ ﻡ‪.‬ﺱ‪/‬ﺹ‪.167 .‬‬

‫‪ -2‬ﻋﻴﺴﻰ ﺑﺮﻳﻬﻤﺎﺕ‪. ،‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.70‬‬

‫*‪ -‬ﺗﻘﻮﻝ ﰲ ﻫﺬﺍ ﺍﻟﺼﺪﺩ‪Barbara.Kielar :‬‬

‫‪“ A literary text provides inspiration to a better understanding of the world. Interpreted by‬‬
‫‪a reader or listener, it serves his or her personal objectives and may be a source of fresh‬‬
‫‪ideas about certain conflict situations which involve love and hate, good and evil, life and‬‬
‫‪death, loyalty and betrayal, the sublime and the ridiculous, in their various personally and‬‬
‫‪culturally conditioned representations.”BararaZ.Kielar: “textual Equivalence or‬‬
‫‪Relevance- a conceptual dilemma theory and practice”.in. “transfert des cultures par le‬‬
‫‪biais des traduction littéraires”aimav-didier erudition.Paris 1999.p 15.‬‬

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‫ﻭ ﺃﺧﲑﺍ ﻧﺼﻞ ﺇﱃ ﺍﻟﺘﺪﺍﺧﻞ ﺍﻟﺜﻘﺎﰲ ﺍﻟﺬﻱ ﻳﺘﻤﺮﻛﺰ ﺑﲔ ﺍﻟﺸﻌﺮﻳﺔ ﻭ ﺍﻟﺴﻴﺎﺳﺔ‪ ،‬ﻓﻘﺪ ﺃﺻﺒﺤﺖ ﺍﻟﺘﺮﲨﺔ‬
‫ﺍﻟﻴﻮﻡ ﻭﺳﻴﻠﺔ ﳍﻴﻤﻨﺔ ﺍﻟﺪﻭﻝ ﺍﳌﺘﻘﺪﻣﺔ ﻋﻠﻰ ﺍﻟﺪﻭﻝ ﺍﳌﺘﺨﻠﻔﺔ ﻭﻟﻴﺴﺖ ﻭﺳﻴﻠﺔ ﻟﺘﻘﺪﻡ ﺍﻟﺪﻭﻝ ﺍﳌﺘﺨﻠﻔﺔ‬
‫ﺣﻴﺚ ﺩﺧﻠﺖ ﺍﻟﺜﻘﺎﻓﺔ ﰲ ﺇﻃﺎﺭ ﺍﻟﺴﻴﺎﺳﺔ)ﺍﻟﻐﺰﻭ ﺍﻟﺜﻘﺎﰲ(‪ .‬ﻓﺒﺎﻟﻨﺴﺒﺔ ﺇﱃ ﺍﻟﺪﻭﻝ ﺍﳌﺘﺨﻠﻔﺔ ﺃﺻﺒﺤﺖ‬
‫ﺗﺮﲨﺔ ﺍﻵﺩﺍﺏ ﻭ ﺍﻟﻌﻠﻮﻡ ﺍﻷﺟﻨﺒﻴﺔ ﺇﱃ ﻟﻐﺎ‪‬ﺎ ﺍﶈﻠﻴﺔ ﺿﺮﻭﺭﺓ ﻻ ﻧﻮﻋﺎ ﻣﻦ ﺍﻟﻜﻤﺎﻟﻴﺎﺕ‪ ،‬ﺇﺫ ﻣﺎ ﻣﻦ‬
‫ﺣﻠﻮﻝ ﺃﺧﺮﻯ ﻟﺘﻘﺪﻣﻬﺎ ﺍﳊﻀﺎﺭﻱ‪ .‬ﻭ ﺍﻟﺘﺮﲨﺔ ﲡﺴﻴﺪ ﻟﺸﻌﺮﻳﺔ ﻭ ﺳﻴﺎﺳﺔ ﻭ ﻓﻜﺮ ﻋﻠﻰ ﺃﺭﺽ ﺍﻟﻮﺍﻗﻊ‬
‫ﻭ ﺭﺅﻳﺘﻬﺎ ﻭ ﻣﻮﻗﻔﻬﺎ ﻣﻦ ﻫﺬﺍ‬ ‫ﺃﻳﻦ ﳛﻠﻮ ﻟﻠﺬﺍﺕ ﳑﺎﺭﺳﺔ ﻗﺎﻧﻮ‪‬ﺎ ﺍﳋﺎﺹ ﲟﺴﺎﻋﺪﺓ ﺧﺼﻮﺻﻴﺎ‪‬ﺎ‬
‫ﺍﻵﺧﺮ‪ ،1‬ﻭ ﺫﻟﻚ ﻣﻦ ﺧﻼﻝ ﺍﻟﻘﺮﺍﺀﺍﺕ ﺍﻟﱵ ﲤﺎﺭﺳﻬﺎ ﻋﻠﻰ ﺍﶈﺼﻮﻝ ﺍﻟﻔﻜﺮﻱ ﳍﺬﺍ ﺍﻵﺧﺮ ﺍﻧﻄﻼﻗﺎ ﻣﻦ‬
‫ﻛﻴﻨﻮﻧﺘﻬﺎ ﻛﻔﻌﻞ ﻣﺴﺨﺮ ﳋﺪﻣﺔ ﳎﺘﻤﻊ ﻋﻨﺪ ﻧﻈﲑﻩ ﻣﻦ ﺃﻱ ﺑﻘﻌﺔ ﻣﻦ ﻫﺬﺍ ﺍﻟﻜﻮﻥ ﺍﻟﻔﺴﻴﺢ‪ .‬ﻓﻬﻲ ﻓﻌﻞ‬
‫ﲡﺴﲑ ﺑﲔ ﺣﻀﺎﺭﺍﺕ ﻗﻄﻌﺖ ﺍﻟﻮﺻﺎﻝ ﺑﻴﻨﻬﺎ ﺍﳌﺴﺎﻓﺎﺕ‪ ،‬ﻭ ﺩﻟﻴﻞ ﲢﻀﺮ ﻭﺗﻨﺎﺱ ﻟﻠﻔﺮﻭﻕ ﺑﲔ ﺗﻠﻚ‬
‫ﺍﳊﻀﺎﺭﺍﺕ‪ .‬ﺑﺎﺧﺘﺼﺎﺭ ﻋﻠﻰ ﺍﳌﺘﺮﺟﻢ ﺃﻥ"ﻳﺘﻌﺮﻑ ﻋﻠﻰ ﺍﻟﺒﻴﺌﺔ ﻭ ﺍﻟﺴﻴﺎﻕ ﺍﻟﺜﻘﺎﰲ ﻭ ﺍﻟﺘﺎﺭﳜﻲ ﺍﻟﺬﻱ‬
‫ﻳﺮﺗﺒﻂ ﺑﻪ ﺍﻟﻨﺺ ﺍﻷﺻﻠﻲ‪ ،‬ﻭ ﻛﺬﻟﻚ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﻓﻜﺮ ﻛﺎﺗﺐ ﺍﻟﻨﺺ ﻭ ﺃﻥ ﻳﻘﺮﺃ ﺍﻟﺘﺎﺭﻳﺦ ﻭ ﺍﻷﺩﺏ‬
‫ﻭ ﻳﺘﻌﺮﻑ ﻋﻠﻰ ﺍﻟﻌﺎﺩﺍﺕ ﻭ ﺍﻟﺘﻘﺎﻟﻴﺪ ﻭ ﻛﻞ ﻣﺎ ﻟﻪ ﻋﻼﻗﺔ ﺑﺎﻟﻨﺺ ﺍﻹﺑﺪﺍﻋﻲ‪ 2 ".‬ﺇﺫ ﻻ ﳝﻜﻦ ﻋﺰﻝ‬
‫ﺍﻟﻨﺺ ﰲ ﺩﺭﺍﺳﺘﻪ ﻋﻦ ﻛﻞ ﻫﺬﻩ ﺍﳌﻘﺘﻀﻴﺎﺕ‪ ،‬ﻓﺎﻟﻜﺎﺗﺐ ﻧﻔﺴﻪ ﻧﺘﺎﺝ ﳎﺘﻤﻌﻪ‪ ،‬ﻭ ﺑﻘﺪﺭ ﻣﺎ ﳝﺎﺭﺳﻪ ﻋﻠﻴﻪ‬
‫ﳎﺘﻤﻌﻪ ﻫﺬﺍ ﻣﻦ ﺍﻛﺮﺍﻫﺎﺕ ﺑﻘﺪﺭ ﻣﺎ ﻳﺘﻤﺜﻠﻬﺎ ﺃﻭ ﻳﺜﻮﺭ ﻋﻠﻴﻬﺎ ﻫﺬﺍ ﺍﻟﻜﺎﺗﺐ ﻣﻦ ﺧﻼﻝ ﻧﺼﻪ‪.‬‬

‫ﺇﺫ ﻟﻄﺎﳌﺎ ﻛﺜﺮ ﺍﳉﺪﻝ ﻋﻨﺪ ﺍﳊﺪﻳﺚ ﻋﻦ ﻫﺠﺮﺓ ﺍﻟﻨﺼﻮﺹ ﺣﻮﻝ ﺗﻜﻴﻴﻒ ﺍﻟﻨﺺ ﻟﻴﻼﺀﻡ ﺍﻟﺒﻴﺌﺔ ﺍﳌﻀﻴﻔﺔ ﻷﻥ‬
‫ﻻ ﺗﺴﺘﻬﺠﻨﻪ ﻭ ﺗﺘﺨﺬ ﻟﻪ ﻋﻨﺪﻫﺎ ﻣﻮﻗﻒ ﺍﻟﻐﺮﻳﺐ ﺍﳌﺘﻄﻔﻞ ﻭ ﻛﻴﻒ ﺗﻀﺤﻲ ﺍﻟﻠﻐﺔ ﺍﳍﺪﻑ ﻭ ﺗﺘﻨﺎﺯﻝ ﻟﻜﻲ‬
‫ﲢﺎﻓﻆ ﻋﻠﻴﻪ ﻷﻥ ﻻ ﺗﺮﻓﻀﻪ ﺍﻟﻠﻐﺔ ﺍﻷﺻﻞ ﻓﻴﻤﺎ ﺑﻌﺪ ﻭ ﺗﺒﻘﻲ ﺑﻴﻨﻪ ﻭ ﺑﻴﻨﻬﺎ ﺃﻭﺍﺻﺮ ﺍﻟﻘﺮﺍﺑﺔ ﻭ ﺃﺷﻴﺎﺀ ﺃﺧﺮﻯ‬
‫ﻣﻦ ﻫﺬﺍ ﺍﻟﻘﺒﻴﻞ‪ ،‬ﻭ ﰲ ﻛﻴﻔﻴﺔ ﺗﻜﻴﻴﻒ ﻧﺺ ﺍﻟﻠﻐﺔ ﺍﳍﺪﻑ ﻻﺳﺘﻘﺒﺎﻝ ﻫﺬﺍ ﺍﻟﻮﺍﻓﺪ ﺍﳉﺪﻳﺪ ﲟﺤﻤﻮﻟﻪ ﺍﳌﻌﺮﰲ‬

‫‪ -1‬ﺍﻟﻄﺎﻫﺮ ﺭﻭﺍﻳﻨﻴﺔ‪.‬ﻡ‪.‬ﺱ‪ .‬ﺹ‪.169-168‬‬

‫‪ -2‬ﻋﺒﺪ ﺍﷲ ﺍﻟﺸﻨﺎﻕ‪.‬ﻡ‪.‬ﺱ‪ ،‬ﺹ ‪.149‬‬

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‫ﻭﺛﻘﻠﻪ ﺍﻟﺜﻘﺎﰲ‪ ،‬ﻭ ﺍﻟﻮﺍﻗﻊ ﻳﻔﻴﺪ ﺃﻥ ﻫﺬﺍ ﻣﺎ ﻳﺘﻢ ﺣﺎﻟﻴﺎ ﺇﺫ ﺃﺻﺒﺤﻨﺎ ﻧﺴﻤﻊ ﺃﻛﺜﺮ ﻋﻦ ﻣﺎ ﻳﺴﻤﻰ ﺑﺎﻟﻐﺰﻭ‬
‫ﺍﻟﺜﻘﺎﰲ‪ ،‬ﻓﻔﻲ ﻏﻤﺮﺓ ﺍﳊﺪﻳﺚ ﻋﻦ ﺍﻷﻣﺎﻧﺔ ﻭ ﺍﳋﻴﺎﻧﺔ‪ ،‬ﺃﺻﺒﺢ ﻣﻦ ﺍﻷﻣﺎﻧﺔ ﺗﻜﻴﻴﻒ ﺍﻟﺒﻴﺌﺔ ﺍﳌﻀﻴﻔﺔ ﻟﺘﻼﺀﻡ‬
‫ﺍﻟﻨﺺ ﺍﻟﺪﺧﻴﻞ‪ ،‬ﻓﻼ ﺭﲟﺎ ﻛﺎﻥ ﰲ ﺯﻣﻦ ﻣﻀﻰ ﻋﻠﻰ ﺍﻟﻨﺺ ﺍﻟﺪﺧﻴﻞ ﺃﻥ ﻳﻨﺤﲏ ﺃﻣﺎﻡ ﺍﻟﻠﻐﺔ ﻭ ﺍﻟﺜﻘﺎﻓﺔ‬
‫ﺍﳍﺪﻑ ﻭ ﻟﻜﻦ ﻭ ﻋﻨﺪﻣﺎ ﻳﺪﺧﻞ ﻣﻴﺪﺍﻥ ﻛﺎﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ ﺣﻴﺰ ﺍﻟﺼﺮﺍﻉ ﺍﻟﺴﻴﺎﺳﻲ ﻳﺼﺒﺢ ﺃﺩﺍﺓ ﻟﻴﺲ‬
‫ﻟﺘﻌﻠﻴﻢ ﺍﻵﺧﺮ ﺑﻘﺪﺭ ﻣﺎ ﻳﻜﻮﻥ ﺃﺩﺍﺓ ﻹﺧﻀﺎﻉ ﺍﻵﺧﺮ‪ ،‬ﻭ ﺗﺼﺒﺢ ﺑﺬﻟﻚ ﺃﻛﺜﺮ ﺍﻧﺘﻘﺎﺋﻴﺔ ‪ ،‬ﻭ ﻗﺪ ﲢﻴﺪ ﻋﻦ‬
‫ﺍﳉﻮﻫﺮ ﰲ ﺳﺒﻴﻞ ﺍﻟﻔﻮﺯ ﺑﺎﳌﻈﻬﺮ‪ ،‬ﻭ ﺗﺪﺧﻞ ﻣﻴﺪﺍﻥ ﺍﻟﺘﺠﺎﺭﺓ ﻟﺘﺼﺒﺢ ﻣﺒﺎﺩﺋﻬﺎ ﻭ ﻗﻴﻤﻬﺎ ﳎﺮﺩ ﺷﻌﺎﺭﺍﺕ‬
‫ﻳﻠﻘﻰ ‪‬ﺎ ﻋﻠﻰ ﺍﳌﺴﺎﻣﻊ ﰲ ﻛﻞ ﻣﻨﺎﺳﺒﺔ‪ ،‬ﻭ ﺗﺒﺘﻌﺪ ﻋﻦ ﺍﻻﺣﺘﺮﺍﻓﻴﺔ ﻟﺘﺪﺧﻞ ﺍﳌﻬﻨﻴﺔ‪ ،‬ﻭ ﺗﺪﺧﻞ ﺑﺬﻟﻚ ﻗﺎﺋﻤﺔ‬
‫ﺍﳌﻬﻦ ﺫﺍﺕ ﺍﳌﺪﺧﻮﻝ ﺍﳉﻴﺪ‪ ،‬ﺑﻐﺾ ﺍﻟﻨﻈﺮ ﻋﻦ ﺃﻥ ﺍﻟﺒﻌﺾ ﻗﺪ ﺃﻓﻨﻮﺍ ﺣﻴﺎ‪‬ﻢ ﻣﻦ ﺃﺟﻞ ﺍﻟﺘﻘﻌﻴﺪ ﳍﺎ‬
‫ﻭ ﺗﺴﻠﻴﻤﻬﺎ ﺯﻣﺎﻡ ﺃﻣﻮﺭﻫﺎ ﰲ ﻳﺪﻫﺎ‪ ،‬ﻻ ﻟﺘﺼﺒﺢ ﰲ ﻳﺪ ﺃﺻﺤﺎﺏ ﺍﻟﺴﻠﻄﺔ ﻭ ﺍﳌﺎﻝ ﺑﻞ ﻟﺘﻜﻮﻥ ﺃﺩﺍﺓ ﺭﻗﻲ‬
‫ﻭ ﺍﺯﺩﻫﺎﺭ‪*.‬‬

‫ﻭ ﺑﻌﺪ ﺃﻥ ﻳﺄﺧﺬ ﺍﳌﺘﺮﺟﻢ ﻛﻞ ﺫﻟﻚ ﻗﻴﺪ ﺍﳊﺴﺒﺎﻥ ﻳﻨﺘﻘﻞ ﺇﱃ ﺇﻋﺎﺩﺓ ﺍﻟﺼﻴﺎﻏﺔ ﺃﻳﻦ ﻳﻮﻇﻒ ﻛﻞ ﻣﻬﺎﺭﺍﺗﻪ‬
‫ﺍﻟﻠﻐﻮﻳﺔ ﻭ ﺍﻹﺳﺘﻴﺘﻴﻘﻴﺔ ﻭ ﳎﻤﻮﻉ ﻣﺎ ﺍﺳﺘﺨﻠﺼﻪ ﻣﻦ ﺍﻟﻨﺺ ﻹﻋﺎﺩﺓ ﻧﺺ ﳛﺎﻛﻴﻪ ﺇﺑﺪﺍﻋﺎ ﻭ ﻟﻜﻦ ﺑﻠﻐﺔ‬
‫ﺃﺧﺮﻯ ﻣﻊ ﻋﺪﻡ ﺇﳘﺎﻟﻪ ﻟﻠﻤﺘﻠﻘﻲ ﺍﳍﺪﻑ‪ ،‬ﺍﻧﺘﻤﺎﺀ ﺍﻟﻨﺺ‪ ،‬ﳏﺎﻭﻟﺔ ﺗﻘﺮﻳﺒﻪ ﻗﺪﺭ ﺍﻹﻣﻜﺎﻥ ﻣﻦ ﺍﳌﺘﻠﻘﻲ‪ ،‬ﺇﺿﻔﺎﺀ‬
‫ﺻﻮﺭﺓ ﻣﻌﺎﺻﺮﺓ ﻋﻨﻪ ﲟﻌﲎ ﺍﻹﺣﻴﺎﺀ ﻭ ﺍﻟﺒﻌﺚ‪ .‬ﻓﻔﻲ ﻫﺬﻩ ﺍﳌﺮﺣﻠﺔ " ﻳﻨﺒﻐﻲ ﻋﻠﻰ ﺍﳌﺘﺮﺟﻢ ﺃﺛﻨﺎﺀﻫﺎ ﺑﻌﺪ‬
‫ﺣﺼﺮ ﺍﳌﻀﻤﻮﻥ ﻭ ﺍﻟﺸﻜﻞ ﺃﻥ ﻳﻌﻴﺪ ﺧﻠﻖ ﺍﳌﻮﺿﻮﻉ ﰲ ﴰﻮﻟﻴﺘﻪ‪ :‬ﻭ ﻫﻲ ﻋﻤﻠﻴﺔ ﻋﺎﻃﻔﻴﺔ ﺃﻛﺜﺮ ﻣﻨﻬﺎ‬
‫ﻋﻘﻠﻴﺔ‪ ،‬ﺃﺩﺑﻴﺔ ﺃﻛﺜﺮ ﻣﻨﻬﺎ ﻟﺴﺎﻧﻴﺔ‪ ،‬ﺗﺘﻄﻠﺐ ﺣﻀﻮﺭﺍ ﻛﻠﻴﺎ ﻛﻤﺎ ﺗﺘﻄﻠﺐ ﻣﻨﻪ ﰲ ﺍﻟﻮﻗﺖ ﺫﺍﺗﻪ‪ ،‬ﺫﻛﺎﺀﻩ‬
‫ﻭ ﺣﺴﺎﺳﻴﺘﻪ ﻭ ﻣﻮﻫﺒﺘﻪ ﺑﺼﻔﺘﻪ ﻛﺎﺗﺒﺎ"‪ 1.‬ﻓﺈﻋﺎﺩﺓ ﺍﻟﺼﻴﺎﻏﺔ ﻋﻤﻠﻴﺔ ﰲ ﻏﺎﻳﺔ ﺍﻟﺪﻗﺔ ﻭ ﺍﳊﺴﺎﺳﻴﺔ ﻷ‪‬ﺎ ﻣﻴﺰﺍﻥ‬
‫ﺍﳊﻜﻢ ﻋﻠﻰ ﺍﳌﺘﺮﺟﻢ ﰲ ﻣﺪﻯ ﺗﻮﻓﻘﻪ ﰲ ﺍﻟﻮﺻﻮﻝ ﺇﱃ ﺟﻮﻫﺮ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ‪" .‬ﻓﺎﳌﺘﺮﺟﻢ ﻭﺣﺪﻩ ﳛﺪﺩ‬
‫ﻭﺿﻌﻴﺔ ﺗﻠﻘﻲ ﺍﻟﻨﺺ ﻣﻦ ﻃﺮﻑ ﲨﻬﻮﺭﻩ‪ ،‬ﻛﻤﺎ ﳛﺪﺩ ﺍﻻﺳﺘﻌﻤﺎﻝ ﺍﻟﺬﻱ ﻳﻨﺒﻐﻲ ﺃﻥ ﻳﻘﻮﻡ ﺑﻪ ﳌﻮﺍﺭﺩ ﺍﻟﻠﻐﺔ‬
‫*‪ -‬ﻳﻨﻈﺮ‪ :‬ﻋﺒﺪﻩ ﻋﺒﻮﺩ‪" :‬ﻫﺠﺮﺓ ﺍﻟﻨﺼﻮﺹ"‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﻛﺘﺎﺏ ﺍﻟﻌﺮﺏ‪ 1995‬ﺹ‪11-10‬‬

‫‪ -1‬ﻓﻮﺭﻃﻮﻧﺎﻃﻮ ﺇﺳﺮﺍﺋﻴﻞ‪ " :‬ﺍﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ ﲤﻠﻚ ﺍﻟﻨﺺ" ﺗﺮﲨﺔ ﻣﺼﻄﻔﻰ ﺍﳋﺎﻝ‪ ،‬ﳐﱪ ﺗﻌﻠﻴﻤﻴﺔ ﺍﻟﺘﺮﲨﺔ ﻭ ﺗﻌﺪﺩ ﺍﻷﻟﺴﻦ‪ ،‬ﺟﺎﻣﻌﺔ ﻭ ﻫﺮﺍﻥ‪ ،‬ﺩﺍﺭ‬
‫ﺍﻟﻐﺮﺏ‪،‬ﳎﻠﺔ ﺍﳌﺘﺮﺟﻢ ﻋﺪﺩ‪. 04‬ﻳﻨﺎﻳﺮ‪ -‬ﺟﻮﺍﻥ‪.‬ﺹ‪.223‬‬
‫‪ -2‬ﻡ‪.‬ﻥ‪.‬ﺹ ‪.224‬‬

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‫اـــــــــــــ
‪............................................................................‬ه
ا 
‬

‫ﺍﳍﺪﻑ‪ ،‬ﻭﻭﺣﺪﻩ ﻳﻌﱪ ﻋﻠﻰ ﺗﻜﺎﻓﺆﺍﺕ ﺳﻴﺎﻗﻴﺔ ﻏﲑ ﻣﺴﺒﻮﻗﺔ‪ ،‬ﻭ ﺍﻟﱵ ﻻ ﲡﻌﻞ ﻣﻨﻪ ﻣﺆﻭﻻ ﻭﺳﻴﻄﺎ ﻓﺤﺴﺐ‬
‫ﺑﻞ ﲡﻌﻠﻪ ﻛﺬﻟﻚ ﻣﺴﺎﻋﺪﺍ ﺣﻘﻴﻘﻴﺎ ﻟﻠﻜﺎﺗﺐ‪ 1".‬ﺇﺫ ﻳﺘﻤﺘﻊ ﺍﳌﺘﺮﺟﻢ ﺍﻷﺩﰊ ﲝﺮﻳﺔ ﺃﻛﱪ ﰲ ﺇﻋﺎﺩﺓ ﺍﻟﺼﻴﺎﻏﺔ‪،‬‬
‫ﻓﻘﺮﺍﺀﺗﻪ ﻟﻠﻨﺺ ﲢﺪﺩ ﻃﺮﻳﻘﺔ ﻭ ﺷﻜﻞ ﺍﺧﺘﻴﺎﺭﻩ ﻟﻠﻤﻘﺎﺑﻼﺕ‪ ،‬ﻫﻮ ﺑﺬﻟﻚ ﻣﺒﺪﻉ ﺛﺎﻥ‪ ،‬ﻓﻘﺪ ﻻ ﻳﺴﻊ ﺍﳌﺘﻠﻘﻲ‬
‫ﻛﻤﺎ ﺃﺳﻠﻔﺖ ﺍﻟﻘﻮﻝ ﺍﻻﺿﻄﻼﻉ ﻋﻠﻰ ﺍﻟﻨﺺ ﰲ ﺍﻟﻠﻐﺔ ﺍﻷﺻﻞ‪ ،‬ﻟﺬﻟﻚ ﺳﲑﺍﻩ ﻣﻦ ﺧﻼﻝ ﺍﳌﺘﺮﺟﻢ‪ .‬ﻭ ﻟﻜﻦ‬
‫ﺷﺮﻁ ﺃﻥ ﻻ ﻳﻐﺎﱄ ﰲ ﺍﻷﻣﺮ ﻓﻴﻄﻐﻰ ﻋﻠﻰ ﺭﻭﺡ ﺍﻷﺩﻳﺐ ﰲ ﺍﻟﻨﺺ‪ ،‬ﲝﻴﺚ ﻳﻐﻴﺐ ﺍﳌﺒﺪﻉ ﺍﳊﻘﻴﻘﻲ ﻭ ﻳﻈﻬﺮ‬
‫ﻧﻔﺴﻪ ﻛﻤﺒﺪﻉ ﺃﺻﻠﻲ ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﺤﺎﻣﻞ ﻋﻠﻰ ﺍﻟﻨﺺ ﻗﺮﺍﺀﺓ ﻭ ﲢﻤﻴﻠﻪ ﻣﺎ ﻻ ﻃﺎﻗﺔ ﻟﻪ ﻋﻠﻰ ﲪﻠﻪ‪،‬‬
‫ﻭ ﺑﺎﻟﺘﺎﱄ ﳛﻴﺪﻩ ﻋﻦ ﺍﻟﻄﺮﻳﻖ ﺍﻟﱵ ﺭﲰﻬﺎ ﻟﻪ ﻛﺎﺗﺒﻪ ﺍﻷﺻﻠﻲ‪ ،‬ﻓﻴﺼﺒﺢ ﺍﻟﻨﺺ ﺍﻟﻨﺎﺗﺞ ﻧﺺ ﺟﺪﻳﺪ ﻻ ﻋﻼﻗﺔ ﻟﻪ‬
‫ﻣﻊ ﺍﻟﻨﺺ ﺍﻷﺻﻞ ﺇﻻ ﰲ ﺣﺪﻭﺩ ﺍﻟﺘﻨﺎﺹ‪ .‬ﻟﺬﻟﻚ" ﻳﻨﺒﻐﻲ ﻋﻠﻴﻪ ﺧﻼﻓﺎ ﻟﻠﻨﺎﻗﺪ ﺃﻭ ﺍﳌﺆﻭﻝ ﺍﻟﻠﺬﻳﻦ ﺑﺈﻣﻜﺎ‪‬ﻤﺎ‬
‫ﺍﺧﺘﻴﺎﺭ ﻫﺬﻩ ﺍﻟﻮﺟﻬﺔ ﰲ ﺍﻟﻘﺮﺍﺀﺓ ﺃﻭ ﺗﻠﻚ ‪ ،‬ﺃﻥ ﳛﺘﺮﺱ ﻣﻦ ﺍﻻﳓﻴﺎﺯ ﻭ ﻣﻦ ﺇﻋﻄﺎﺀ ﻧﻈﺮﺓ ﺍﺧﺘﺰﺍﻟﻴﺔ ﻣﻦ‬
‫ﺷﺄ‪‬ﺎ ﺃﻥ ﲢﺪ ‪ ،‬ﻓﻴﻤﺎ ﺑﻌﺪ‪ ،‬ﺣﻘﻞ ﺍﻷﲝﺎﺙ ﺍﳌﻤﻜﻨﺔ‪ 2".‬ﻷﻥ ﻗﺮﺍﺀﺓ ﺍﳌﺘﺮﺟﻢ ﻟﻠﻨﺺ ﺗﻔﺘﺢ ﺑﺸﻜﻞ ﺃﻭ ﺑﺂﺧﺮ‬
‫ﺍ‪‬ﺎﻝ ﻭﺍﺳﻌﺎ ﺃﻣﺎﻡ ﻗﺮﺍﺀﺍﺕ ﺟﺪﻳﺪﺓ‪ ،‬ﻓﺎﻟﺘﺮﲨﺔ ﻗﺮﺍﺀﺓ ﻟﻠﻨﺺ ﺍﻟﻮﺍﺣﺪ‪ ،‬ﻭ ﻛﻠﻤﺎ ﺗﻌﺪﺩﺕ ﺍﻟﺘﺮﲨﺎﺕ ﺗﻌﺪﺩﺕ‬
‫ﺍﻟﻘﺮﺍﺀﺍﺕ‪.‬‬

‫ﻭ ﻻ ﻳﺴﻌﲏ ﰲ ﺍﻷﺧﲑ ﺇﻻ ﺃﻥ ﺃﺑﺪﻱ ﺍﳌﻼﺣﻈﺔ ﺍﻟﺘﺎﻟﻴﺔ‪ :‬ﺇﻥ ﺁﻟﻴﺎﺕ ﺍﻷﺳﺘﺎﺫ "ﺭﻭﺍﻳﻨﻴﺔ" ﻣﺎ ﻫﻲ ﺇﻻ ﻭﺟﻪ‬
‫ﺁﺧﺮ ﻟﻠﻨﻈﺮﻳﺔ ﺍﻟﺘﺄﻭﻳﻠﻴﺔ‪ ،‬ﻷﻧﻪ ﻳﻠﺘﻘﻲ ﻣﻌﻬﺎ ﰲ ﻛﺜﲑ ﻣﻦ ﺍﻟﻨﻘﺎﻁ ﻛﺎﻋﺘﺒﺎﺭ ﺍﻟﻔﻬﻢ ﻋﻤﻠﻴﺔ ﺳﺎﺑﻘﺔ‪ ،‬ﻭ ﺍﻵﻟﻴﺎﺕ‬
‫ﺍﻟﺜﻼﺙ ﻣﺎ ﻫﻲ ﰲ ﺟﻮﻫﺮﻫﺎ ﺇﻻ ﺗﺄﻭﻳﻞ‪ ،‬ﺳﻠﺦ ﻟﻐﻮﻱ‪ ،‬ﻭ ﺇﻋﺎﺩﺓ ﺻﻴﺎﻏﺔ‪ .‬ﻭ ﺍﻷﻣﺮ ﺃﻧﻪ ﻗﺪ ﺣﺪﺩ ﺃﻛﺜﺮ‬
‫ﻭ ﻓﺼﻞ ﰲ ﺣﻴﺜﻴﺎﺕ ﺍﻟﻌﻤﻠﻴﺔ ﺑﺮﻣﺘﻬﺎ‪.‬‬

‫‪ -1‬إ‪K1‬م ‪ 2‬ض‪.‬م‪.‬س‪.‬ص‪.40‬‬
‫‪i -2‬ي < >‪X‬ي‪. :‬م‪.‬س‪.‬ص‪.61.‬‬

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 ‫‪ .1‬ﻣﻔﻬﻮﻡ ﺍﻷﺳﻄﻮﺭﺓ‬
‫‪ .2‬ﺃﺻﻞ ﺍﻷﺳﻄﻮﺭﺓ‬
‫‪ .3‬ﺍﻷﺳﻄﻮﺭﺓ ﺍﻷﺩﺑﻴﺔ‬
‫‪ .4‬ﺍﻹﺭﻫﺎﺻﺎﺕ ﺍﻷﻭﱃ ﻟﻠﱰﻭﻉ ﺍﻷﺳﻄﻮﺭﻱ ﰲ ﺍﻷﺩﺏ‬
‫‪ .5‬ﲡﻠﻴﺎﺕ ﺍﻷﺳﻄﻮﺭﺓ‬
‫‪ .6‬ﺃﺑﻌﺎﺩ ﺍﻷﺳﻄﻮﺭﺓ‬
‫‪ .7‬ﺭﻣﻮﺯ ﺍﻷﺳﻄﻮﺭﺓ‬
‫ا  اول‪....................................................................‬ه ا ‬

‫ﻣﻔﻬﻮﻡ ﺍﻷﺳﻄﻮﺭﺓ‪:‬‬

‫ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻘﻮﻝ ﺍﻟﻜﺜﲑ ﻋﻦ ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﻓﻬﻲ ﻣﻮﺿﻮﻉ ﻣﺘﺸﻌﺐ ‪ ،‬ﻭ ﻻ ﺃﻏﺎﱄ ﻋﻨﺪﻣﺎ ﺃﺻﺮﺡ‬
‫ﺑﺄ‪‬ﺎ ﺗﺪﺧﻞ ﰲ ﻛﻞ ﺗﻔﺼﻴﻞ ﻣﻦ ﺗﻔﺼﻴﻼﺕ ﺣﻴﺎﺗﻨﺎ ﺍﻟﻴﻮﻣﻴﺔ‪ :‬ﻛﻴﻒ ﻧﺘﻌﺎﻣﻞ ﻣﻊ ﺑﻌﻀﻨﺎ ﺍﻟﺒﻌﺾ‪،‬‬
‫ﻧﻈﺮﺗﻨﺎ ﺇﱃ ﺍﻵﺧﺮ‪ ،‬ﻣﺎ ﻧﺘﻔﺎﺀﻝ ﺑﻪ ﺃﻭ ﻧﺘﺸﺎﺀﻡ ﻣﻨﻪ‪ ،‬ﺍﻟﻌﺎﺩﺍﺕ ﻭﺍﻟﺘﻘﺎﻟﻴﺪ‪ ...‬ﻭ ﻏﲑﻫﺎ ﻣﻦ ﺍﻷﻣﻮﺭ‬
‫ﺍﻟﱵ ﲤﺜﻞ ﺃﺳﺎﺱ ﺍﻟﺘﻔﺎﻋﻞ ﺍﻟﻔﻜﺮﻱ ﻭ ﺍﻟﺜﻘﺎﰲ ﺑﲔ ﺍﻟﺒﺸﺮ‪ .‬ﻭ ﻗﺪ ﻳﺮﺩ ﻋﻠﻰ ﻗﻮﱄ ﻫﺬﺍ ﺑﺄﻥ‬
‫ﺍﻹﺳﻼﻡ ﰲ ﺍﻟﺪﻭﻝ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﻭ ﺍﻟﺘﻄﻮﺭ ﺍﻟﻌﻠﻤﻲ ﻭ ﺍﻟﺘﻜﻨﻮﻟﻮﺟﻲ ﰲ ﻛﻞ ﺃﺻﻘﺎﻉ ﺍﻟﻌﺎﱂ ﻗﺪ ﻋﻤﻼ‬
‫ﻭ ﻳﻌﻤﻼﻥ ﻋﻠﻰ ﺇﻗﺼﺎﺀﻫﺎ ﻛﻠﻴﺎ ﻣﻦ ﺍ‪‬ﺘﻤﻌﺎﺕ ﺑﺎﻋﺘﺒﺎﺭﻫﺎ ﻣﻦ ﺗﺮﺳﺒﺎﺕ ﺍﳉﺎﻫﻠﻴﺔ ﺍﻷﻭﱃ‪ ،‬ﻟﻜﻦ‬
‫ﻭﺟﻮﺩﻫﺎ ﻇﻞ ﺇﱃ ﺣﺪ ﻛﺒﲑ‪ ،‬ﻭ ﺫﻟﻚ ﻟﻘﺪﺭ‪‬ﺎ ﻋﻠﻰ ﺍﻟﺘﻜﻴﻒ ﻭ ﺍﺣﺘﻮﺍﺀ ﺍﻟﻮﺍﻗﻊ ﺍﳌﺘﺠﺪﺩ‪ ،‬ﻷﻥ‬
‫ﺍ‪‬ﺘﻤﻊ ﳝﺎﺭﺱ ﺛﻮﺭﺗﻪ‪ ،‬ﻭ ﺭﻓﻀﻪ‪ ،‬ﻭ ﺗﻌﺒﲑﻩ ﻋﻤﺎ ﳜﺎﳉﻪ ﺇﺯﺍﺀ ﺍﻟﺘﻐﲑ ﺍﻟﺪﺍﺋﻢ ﺍﻟﺬﻱ ﻫﻮ ﺑﺼﺪﺩﻩ‪ ،‬ﰒ‬
‫ﺣﺮﻳﺘﻪ ﻣﻦ ﺧﻼﳍﺎ‪ ...‬ﻓﻤﺎ ﻫﻲ ﻫﺬﻩ ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﻫﻞ ﻫﻲ ﻃﺮﻳﻘﺔ ﺗﻔﻜﲑ؟‪ ،‬ﺭﺅﻳﺔ ﻟﻠﻌﺎﱂ؟‪ ،‬ﺃﻡ‬
‫ﳑﺎﺭﺳﺎﺕ ﻣﺘﻄﺮﻓﺔ ﻟﺸﻌﻮﺏ ﻗﺪ ﺧﻠﺖ؟‬

‫ﺍﺧﺘﻠﻒ ﺍﳌﺆﺭﺧﻮﻥ ﻭ ﺍﻟﺒﺎﺣﺜﻮﻥ ﰲ ﲢﺪﻳﺪ ﺗﻌﺮﻳﻒ ﻣﻮﺣﺪ ﻟﻸﺳﻄﻮﺭﺓ‪ ،‬ﻓﻘﺪ ﺍﻛﺘﻨﻒ ﻫﺬﺍ‬
‫ﺍﳌﺼﻄﻠﺢ ﺍﻟﻐﻤﻮﺽ‪ ،‬ﻭ ﺍﻋﺘﺮﺗﻪ ﻣﺴﺤﺔ ﺿﺒﺎﺑﻴﺔ ﺑﺴﺒﺐ ﺗﺪﺍﺧﻠﻪ ﻣﻊ ﻣﺼﻄﻠﺤﺎﺕ ﺃﺧﺮﻯ‪.‬‬
‫ﻭ ﻟﻜﻨﻬﻢ ﻳﺘﻔﻘﻮﻥ ﻛﻠﻬﻢ ﻋﻠﻰ ﺃﻥ ﺍﻷﺳﺎﻃﲑ ﺗﻌﻮﺩ ﺇﱃ ﺃﺯﻣﺎﻥ ﻣﻮﻏﻠﺔ ﰲ ﺍﻟﻘﺪﻡ ﺣﱴ ﻗﺒﻞ ﺃﻥ‬
‫ﻳﻜﺘﺸﻒ ﺍﻹﻧﺴﺎﻥ ﺍﻟﻜﺘﺎﺑﺔ‪ ،‬ﳍﺬﺍ ﱂ ﺗﺪﻭﻥ ﺇﻻ ﰲ ﻭﻗﺖ ﻗﺮﻳﺐ‪ .‬ﻭ ﻗﺪ ﲤﻜﻨﺖ ﺍﳊﻤﻼﺕ ﺍﻟﻐﺮﺑﻴﺔ‬
‫ﺍﻟﱵ ﻗﺎﻣﺖ ﺑﺎﻟﺘﻨﻘﻴﺐ ﻋﻦ ﺍﻵﺛﺎﺭ ﻣﻊ ‪‬ﺎﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺘﺎﺳﻊ ﻋﺸﺮ ﺑﺎﻟﻜﺸﻒ ﻋﻦ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻟﺪﻻﺋﻞ‬
‫ﺍﳌﻠﻤﻮﺳﺔ ﺍﻟﱵ ﺃﻭﺻﻞ ﺍﺳﺘﻘﺮﺍﺀﻫﺎ ﺇﱃ ﺍﻟﻜﺸﻒ ﻋﻦ ﺍﻷﺳﺎﻃﲑ) ﺃﻭﺍﱐ ﻋﻠﻴﻬﺎ ﺭﺳﻮﻣﺎﺕ‪ ،‬ﺷﻜﻞ‬
‫ﺍﳌﻌﺎﺑﺪ‪ 1.(...‬ﻓﺎﻟﺘﻌﺮﻑ ﻋﻠﻰ ﺣﻴﺎﺓ ﺍﻟﺸﻌﻮﺏ ﺍﻟﻘﺪﳝﺔ ﻣﻦ ﺧﻼﻝ ﺍﻵﺛﺎﺭ ﺍﻟﱵ ﺧﻠﻔﺘﻬﺎ ﻭﻓﺮ ﻣﺎﺩﺓ‬

‫‪ -1‬ﻳﻨﻈﺮ‪ :‬ﲨﻌﻴﺔ ﺍﻟﺘﺠﺪﻳﺪ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﺳﻠﺴﻠﺔ ﻋﻨﺪﻣﺎ ﻧﻄﻖ ﺍﻟﺴﺮﺍﺓ‪" ،‬ﺍﻷﺳﻄﻮﺭﺓ ﺗﻮﺛﻴﻖ ﺣﻀﺎﺭﻱ"‪ ، ،‬ﻗﺴﻢ ﺍﻟﺪﺭﺍﺳﺎﺕ‬
‫ﻭ ﺍﻟﺒﺤﻮﺙ‪ ،‬ﳑﻠﻜﺔ ﺍﻟﺒﺤﺮﻳﻦ‪،‬ﻁ‪www. 4shred.com .1،2005‬‬

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‫ﻏﻨﻴﺔ ﻟﻠﺘﻌﺮﻑ ﻋﻠﻰ ﺑﻌﺾ ﺍﻷﺳﺎﻃﲑ ﺍﻟﻠﺼﻴﻘﺔ ﺑﺎﳌﻤﺎﺭﺳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻭ ﲢﺪﻳﺪ ﺇﻃﺎﺭﻫﺎ‬
‫ﺍﻟﻌﺎﻡ ﻣﻦ ﺧﻼﻝ ﺩﺭﺍﺳﺔ ﺃﺛﺮﻫﺎ ﻋﻠﻰ ﺗﻠﻚ ﺍ‪‬ﺘﻤﻌﺎﺕ ﻭ ﺍﻟﺪﻭﺭ ﺍﻟﺬﻱ ﻟﻌﺒﺘﻪ ﰲ ﺣﻴﺎ‪‬ﻢ‪،‬‬
‫ﻭ ﺍﻟﱵ ﺑﺪﻭﺭﻫﺎ ﻛﺸﻔﺖ ﻋﻦ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻷﺳﻄﻮﺭﻳﺔ ﰲ ﺍ‪‬ﺘﻤﻌﺎﺕ ﺍﳊﺪﻳﺜﺔ‬
‫ﻭ ﺳﺎﳘﺖ ﰲ ﲢﺪﻳﺪ ﺷﻜﻠﻬﺎ‪ ،‬ﺃﺑﻌﺎﺩﻫﺎ‪ ،‬ﻭ ﺃﺻﻮﳍﺎ‪ ،‬ﻭ ﺃﳘﻴﺘﻬﺎ ﰲ ﻛﻞ ﳎﺘﻤﻊ‪ .‬ﻭ ﲡﻨﺒﺎ‬
‫ﻟﻠﺴﺮﺩ ﺍﻟﺴﻄﺤﻲ ﳉﻤﻠﺔ ﻣﻦ ﺍﻟﺘﻌﺎﺭﻳﻒ ﻟﻸﺳﻄﻮﺭﺓ ﲜﺎﻧﺒﻴﻬﺎ ﺍﻟﻠﻐﻮﻱ ﻭﺍﻻﺻﻄﻼﺣﻲ*‬
‫ﻭ ﺫﻟﻚ ﻷﻣﺮﻳﻦ ﺍﺛﻨﲔ‪ :‬ﺃﺣﺪﳘﺎ ﺃﻥ ﺍﳋﻮﺽ ﰲ ﻫﺬﺍ ﺍﻷﻣﺮ ﻟﻦ ﻳﻮﺻﻠﻨﺎ ‪‬ﺬﻩ ﺍﻟﻄﺮﻳﻘﺔ ﺇﱃ‬
‫ﺍﻟﻐﺎﻳﺔ ﺍﻟﱵ ﺍﻧﻄﻠﻘﻨﺎ ﻟﺘﺤﻘﻴﻘﻬﺎ ﰲ ﺍﳌﻘﺎﻡ ﺍﻷﻭﻝ‪ ،‬ﳍﺬﺍ ﺃﺭﻯ ﺃﻧﻪ ﻣﻦ ﻏﲑ ﺍﻟﻀﺮﻭﺭﻱ ﺍﻟﺘﻌﺮﺽ‬
‫ﻷﺻﻞ ﺍﳌﻔﺮﺩﺓ ﻭ ﺍﺷﺘﻘﺎﻗﺎ‪‬ﺎ‪ ،‬ﻭ ﺍﳊﻴﺰ ﺍﻟﺪﻻﱄ ﺍﻟﻀﻴﻖ ﺍﻟﺬﻱ ﳝﻜﻦ ﺃﻥ ﻧﻠﺼﻘﻪ ‪‬ﺎ ﻛﺮﻫﺎ‬
‫ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ‪ .‬ﻭ ﺍﻵﺧﺮ ﻳﺘﻤﺜﻞ ﰲ ﺃﻧﻨﺎ ﻻ ﻧﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻷﺳﻄﻮﺭﺓ ﻛﻤﺼﻄﻠﺢ ﻓﻘﻂ‬
‫ﺑﻘﺪﺭ ﻣﺎ ﻧﺘﻌﺎﻣﻞ ﻣﻌﻬﺎ ﻛﻤﺼﻄﻠﺢ‪ ،‬ﻭ ﻣﻔﻬﻮﻡ‪ ،‬ﻭﻃﺮﻳﻘﺔ ﻋﻴﺶ‪ ،‬ﻭ ﺭﺅﻳﺔ ﻟﻠﻌﺎﱂ‪ ،‬ﻭ ﻓﻠﺴﻔﺔ‬
‫ﺣﻴﺎﺓ‪ .‬ﻭﻫﺬﺍ ﺍﻷﻣﺮ ﻳﺴﻤﺢ ﻟﻨﺎ ﺑﺎﻗﺘﺮﺍﺡ ﺗﻘﺴﻴﻢ ﺛﺎﻥ‪ ،‬ﺗﻘﺴﻴﻢ ﻋﻠﻰ ﺃﺳﺎﺱ‪:‬ﺃﻭﻻ‪ :‬ﺍﻋﺘﺒﺎﺭ ﺃﻥ‬
‫ﺍﻷﺳﻄﻮﺭﺓ ﺑﻜﻞ ﻫﻴﻠﻤﺎ‪‬ﺎ ﻭ ﺑﻜﻞ ﻣﺎ ﻳﺴﺪﻟﻪ ﻫﺬﺍ ﺍﳌﺼﻄﻠﺢ ﻣﻦ ﻇﻼﻝ ﻋﻠﻰ ﺍﻟﻔﻜﺮ‬
‫ﺍﻹﻧﺴﺎﱐ‪ ،‬ﻣﻔﻬﻮﻡ ﺧﻠﻘﻪ ﺍﻹﻧﺴﺎﻥ ﺍﻟﺒﺪﺍﺋﻲ ﻟﻴﺲ ﺑﺪﺍﻋﻲ ﺍﻻﺑﺘﻜﺎﺭ ﻭ ﺍﻹﺑﺪﺍﻉ ﻭ ﺇﳕﺎ ﰲ‬
‫ﺇﻃﺎﺭ ﻣﻐﺎﻣﺮﺓ ﻣﻦ ﻣﻐﺎﻣﺮﺍﺕ ﺍﻟﻌﻘﻞ ﺍﻷﻭﱃ‪ .‬ﺣﻴﺚ ﻳﻨﻄﻠﻖ ﻫﺬﺍ ﺍﻟﻘﺴﻢ ﻣﻦ ﻣﺴﻠﻤﺔ ﻣﻔﺎﺩﻫﺎ‬
‫ﺃﻥ ﺍﻟﻌﻘﻞ ﺍﻟﺒﺸﺮﻱ ﰲ ﺑﺪﺍﻳﺎﺗﻪ ﻛﺎﻥ ﺫﻭ ﲰﺔ ﺗﺼﻮﻳﺮﻳﺔ ﻭﺻﻔﻴﺔ‪ ،‬ﻻ ﻳﺘﻌﺪﻯ ﺃﻥ ﻳﻼﺣﻆ‬
‫ﰒ ﻳﺘﺄﺛﺮ ﻭ ﻳﺘﺮﺟﻢ ﺗﺄﺛﺮﻩ ﺫﻟﻚ ﰲ ﺷﻜﻞ ﺃﺳﺎﻃﲑ ﳝﻨﺤﻬﺎ ﺷﺮﻋﻴﺔ ﻣﺎ ﻭ ﳜﻠﻖ ﳍﺎ ﻧﻮﻋﺎ ﻣﻦ‬

‫*‪ -‬ﻫﻨﺎﻙ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﳌﺼﺎﺩﺭ ﺍﻟﱵ ﺗﻌﺮﺿﺖ ﳍﺬﻳﻦ ﺍﳉﺎﻧﺒﲔ ﰲ ﻣﻘﺎﺭﺑﺎ‪‬ﺎ ﻟﻸﺳﻄﻮﺭﺓ ﺇﻥ ﱂ ﻧﻘﻞ ﻣﻌﻈﻤﻬﺎ ﳑﻦ ﺗﻌﺮﺿﻮﺍ ﻟﺪﺭﺍﺳﺘﻬﺎ‪ ،‬ﻣﻨﻬﺎ ﻳﻨﻈﺮ‪:‬‬

‫‪ -‬ﺇﺑﻦ ﻣﻨﻈﻮﺭ‪ "،‬ﻟﺴﺎﻥ ﺍﻟﻌﺮﺏ"‪ ،‬ﺟﺰﺀ "ﺱ ﻁ ﺭ"‪ ،‬ﻃﺒﻌﺔ ﻣﺸﻜﻮﻟﺔ ﻭ ﻣﻨﻘﺤﺔ ﻣﻦ ﻃﺮﻑ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻷﺳﺎﺗﺬﺓ‪ ،‬ﺩﺍﺭ ﺍﳌﻌﺎﺭﻑ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ،‬ﻣﺼﺮ‪.‬‬

‫‪ -‬ﺳﻠﺴﻠﺔ ﻋﻨﺪﻣﺎ ﻧﻄﻖ ﺍﻟﺴﺮﺍﺓ ﻡ‪.‬ﺱ ﺹ‪.28 -12‬‬

‫‪ -‬ﺩ‪/‬ﻧﻀﺎﻝ ﺻﺎﱀ‪ " ،‬ﺍﻟﱰﻭﻉ ﺍﻷﺳﻄﻮﺭﻱ ﰲ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﳌﻌﺎﺻﺮﺓ"‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ‪ ،‬ﺳﻮﺭﻳﺔ‪ .2001 ،‬ﺹ‪.10‬‬

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‫ﺍﳌﺼﺪﺍﻗﻴﺔ ﻟﻴﺴﺘﻨﺪ ﺇﻟﻴﻬﺎ ﰲ ﺗﻌﺎﻣﻼﺗﻪ ﻣﻊ ﻏﲑﻩ‪ .‬ﻭ ﻣﻨﻬﺎ ﻧﻮﺭﺩ ﻣﺎﻳﻠﻲ ‪:‬‬
‫‪" -‬ﺍﻷﺳﻄﻮﺭﺓ ﻫﻲ ﳎﺮﺩ ﺭﻭﺍﻳﺔ ﻷﻓﻌﺎﻝ ﺇﻟﻪ ﺃﻭ ﺷﺒﻪ ﺇﻟﻪ‪ ...‬ﻭ ﻗﺪ ﻭﺟﺪﺕ ﻛﺬﻟﻚ ﻟﺘﻔﺴﲑ‬
‫‪1‬‬
‫ﺍﻟﻈﻮﺍﻫﺮ ﺍﻟﻄﺒﻴﻌﻴﺔ ﲟﻌﲎ ﻫﻲ ﻧﺘﺎﺝ ﻟﻄﻔﻮﻟﺔ ﺍﻟﻌﻘﻞ ﺍﻟﺒﺸﺮﻱ ﺍﻷﻭﱃ ﻭ ﻻ ﺗﺘﻌﺪﻯ ﺫﻟﻚ"‪.‬‬
‫‪" -‬ﺇﻥ ﺍﻷﺳﺎﻃﲑ ﻫﻲ ﻃﻔﻮﻟﺔ ﺍﻟﻌﻘﻞ ﺍﻷﻭﱃ‪ ،‬ﻭ ﺗﻌﱪ ﻋﻦ ﺟﻬﻞ ﻹﻧﺴﺎﻥ ﺍﻷﻭﻝ ﺑﻈﺮﻭﻑ‬
‫ﺍﻟﻄﺒﻴﻌﺔ‪ ،‬ﻭ ﺍﺧﺘﺮﻋﺖ ﻷﻥ ﺍﻹﻧﺴﺎﻥ ﺍﻷﻭﻝ ﺣﺎﻭﻝ ﺇﳚﺎﺩ ﺃﻭ ﺧﻠﻖ ﺩﻳﻦ ﻟﻪ ﺗﺄﺛﺮﺍ ﲜﻬﻠﻪ‬
‫‪2‬‬
‫ﻟﺘﻔﺴﲑ ﻗﻮﻯ ﺍﻟﻄﺒﻴﻌﺔ"‪.‬‬
‫‪" -‬ﺍﻷﺳﻄﻮﺭﺓ ﻋﺒﺎﺭﺓ ﻋﻦ ﺣﻜﺎﻳﺔ ﺫﺍﺕ ﺃﺣﺪﺍﺙ ﻋﺠﻴﺒﺔ ﺧﺎﺭﻗﺔ ﻟﻠﻌﺎﺩﺓ ﺃﻭ ﻭﻗﺎﺋﻊ ﺗﺎﺭﳜﻴﺔ‬
‫‪3‬‬
‫ﻗﺎﻣﺖ ﺍﻟﺬﺍﻛﺮﺓ ﺍﳉﻤﺎﻋﻴﺔ ﺑﺘﻐﻴﲑﻫﺎ ﻭ ﲢﻮﻳﻠﻬﺎ ﻭ ﺗﺰﻳﻴﻨﻬﺎ‪".‬‬
‫‪" -‬ﺍﻷﺳﻄﻮﺭﺓ ﻫﻲ ﺣﻜﺎﻳﺔ ﻏﺮﻳﺒﺔ ﻋﻦ ﻛﺎﺋﻨﺎﺕ ﺗﺘﺠﺎﻭﺯ ﺗﺼﻮﺭﺍﺕ ﺍﻟﻌﻘﻞ ﺍﳌﻮﺿﻮﻋﻲ ﻭ ﻣﺎ‬
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‫ﳝﻴﺰﻫﺎ ﻋﻦ ﺍﳋﺮﺍﻓﺔ ﻫﻮ ﺍﻻﻋﺘﻘﺎﺩ ﻓﻴﻬﺎ‪ :‬ﻓﺎﻷﺳﻄﻮﺭﺓ ﻣﻮﺿﻮﻉ ﺍﻋﺘﻘﺎﺩ‪".‬‬

‫ﻓﺎﻷﺳﻄﻮﺭﺓ‪ ،‬ﺇﺫﻥ‪ ،‬ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ ﺍﻧﻔﻌﺎﻝ ﺻﺮﻑ ﻳﻐﺬﻳﻪ ﺟﻬﻞ ﺍﻹﻧﺴﺎﻥ ﺍﻷﻭﻝ‪ ،‬ﻭ ﻗﻠﺔ‬
‫ﺧﱪﺗﻪ ﰲ ﺗﻌﺎﻣﻠﻪ ﻣﻊ ﻣﻮﺟﻮﺩﺍﺕ ﻋﺼﺮﻩ‪ ،‬ﻓﻬﻮ ﻳﻼﺣﻆ‪ ،‬ﻳﻨﻔﻌﻞ‪ ،‬ﰒ ﻳﻌﱪ‪ .‬ﻓﻜﺎﻧﺖ ﺑﺬﻟﻚ ﺍﻵﳍﺔ‬
‫ﻭ ﺍﻟﻄﺮﻳﻘﺔ‬ ‫ﻭ ﺟﻮﻫﺎ ﺃﺧﺮﻯ ﻟﻠﻈﻮﺍﻫﺮ ﺍﻟﻄﺒﻴﻌﻴﺔ‪ ،‬ﻭ ﺍﻟﺼﻴﻎ ﺍﻟﱵ ﺟﺎﺀﺕ ﰲ ﺷﻜﻠﻬﺎ ﺍﻷﺳﺎﻃﲑ‬
‫ﺍﻟﱵ ﺃﻗﻴﻤﺖ ‪‬ﺎ ﺍﻟﻄﻘﻮﺱ ﻫﻲ ﺍﻟﺸﻜﻞ ﺍﻟﺒﺪﺍﺋﻲ ﰲ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﺗﻠﻚ ﺍﻟﻈﻮﺍﻫﺮ ﺇﻣﺎ ﰲ ﺍﺗﻘﺎﺋﻬﺎ ﺃﻭ‬
‫ﻃﻠﺒﺎ ﳍﺎ ﺃﻭ ﺣﱴ ﺍﻟﺘﻨﺒﺆ ‪‬ﺎ‪ .‬ﺃﻱ ﻛﻤﺎ ﺟﺎﺀ ﻋﻠﻰ ﻟﺴﺎﻥ "ﻓﺮﺍﺱ ﺍﻟﺴﻮﺍﺡ" ﻓﺈﻥ ﺍﻷﻣﺮ ﻻ ﻳﻌﺪﻭ ﺃﻥ‬
‫ﻳﻜﻮﻥ ﻃﻔﻮﻟﺔ ﺍﻟﻌﻘﻞ ﺍﻷﻭﱃ‪.‬‬

‫‪ -1‬ﳏﻤﺪ ﻣﺮﺗﻀﻰ ﺍﳊﺴﻴﲏ ﺍﻟﺰﺑﻴﺪﻱ‪" ،‬ﺗﺎﺝ ﺍﻟﻌﺮﻭﺱ "‪ ،‬ﲢﻘﻴﻖ ﻋﺒﺪ ﺍﻟﺴﺘﺎﺭ ﺃﲪﺪ ﻓﺮﺍﺝ‪ ،‬ﺝ‪ ،1‬ﻭﺯﺍﺭﺓ ﺍﻹﻧﺒﺎﺀ ﻭ ﺍﻹﺭﺷﺎﺩ‪ ،‬ﺍﻟﻜﻮﻳﺖ‪.1965،‬‬
‫‪ -2‬ﺳﻠﺴﻠﺔ ﻋﻨﺪﻣﺎ ﻧﻄﻖ ﺍﻟﺴﺮﺍﺓ‪ .،‬ﻡ ‪.‬ﺱ ‪ .‬ﺹ‪.29.‬‬
‫‪ -3‬ﻣﻮﺳﻮﻋﺔ ﻭﻳﻜﻴﺒﻴﺪﻳﺎ‪/http://ar.wikipedia.org/wiki :‬‬
‫‪ -2 -4‬ﺧﻠﻴﻞ ﺃﲪﺪ ﺧﻠﻴﻞ‪ " :‬ﻣﻀﻤﻮﻥ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﺍﻟﻔﻜﺮ ﺍﻟﻌﺮﰊ"‪ ،‬ﺩﺍﺭ ﺍﻟﻄﻠﻴﻌﺔ ﻟﻠﻄﺒﺎﻋﺔ ﻭ ﺍﻟﻨﺸﺮ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﻁ‪،1986 ، 03‬‬
‫ﺹ ‪. 09‬‬

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‫ﺛﺎﻧﻴﺎ‪ :‬ﻫﻨﺎﻙ ﻣﻦ ﺭﺃﻯ ﺍﻷﺳﻄﻮﺭﺓ ﻋﻠﻰ ﺃ‪‬ﺎ ﻟﻴﺴﺖ ﺑﺎﻟﺒﺴﺎﻃﺔ ﺍﻟﱵ ﺭﻭﺟﺖ ﳍﺎ ﺍﻟﺘﻌﺮﻳﻔﺎﺕ‬
‫ﺍﻟﺴﺎﺑﻘﺔ‪ ،‬ﻣﻦ ﻣﻨﻄﻠﻖ ﺃ‪‬ﺎ ﻛﺎﻧﺖ ﻣﻌﺘﻘﺪﺍ ﲟﻌﲎ ﺩﻳﻨﺎ ﻟﻠﺸﻌﻮﺏ ﺍﻟﻘﺪﳝﺔ‪ ،‬ﻭ ﺍﳌﻌﺮﻭﻑ ﺃﻥ ﺍﻟﺪﻳﻦ‬
‫ﳝﺲ ﲨﻴﻊ ﺟﻮﺍﻧﺐ ﺍﳊﻴﺎﺓ‪ ،‬ﻣﺘﻜﺎﻣﻞ ﻭ ﺷﺎﻣﻞ ﺣﻴﺚ ﳛﻤﻞ ﰲ ﺫﺍﺗﻪ ﺍﳉﻮﺍﺏ ﺍﻟﺸﺎﰲ ﻋﻦ ﻛﻞ‬
‫ﻭ ﺩﺭﺍﻳﺔ‬ ‫ﺗﺴﺎﺅﻻﺗﻪ‪ .‬ﻭ ﺍﻟﺪﻳﻦ ﻧﻈﺎﻡ ﺣﻴﺎﺓ‪ ،‬ﻭ ﺑﻨﺎﺀ ﻧﻈﺎﻡ ﻛﻬﺬﺍ ﳛﺘﺎﺝ ﺇﱃ ﻭ ﺫﻛﺎﺀ ﻭ ﺣﻜﻤﺔ‪،‬‬
‫ﺑﺎﻷﻣﻮﺭ ﻛﺎﻓﺔ‪ ،‬ﻭ ﺳﺎﳘﺖ ﺍﻟﺬﺍﻛﺮﺓ ﺍﻟﺒﺸﺮﻳﺔ ﻭ ﺍﳊﻜﻤﺔ ﺍﳉﻤﺎﻋﻴﺔ ﰲ ﺇﺿﺎﻓﺔ ﻭ ﺗﻔﺴﲑ ﺍﻟﻜﺜﲑ ﻣﻦ‬
‫ﺍﻷﻣﻮﺭ ﻟﺬﻟﻚ ﺍﻟﺰﻣﺎﻥ ﻫﺬﺍ ﻣﻦ ﺟﻬﺔ‪ .‬ﻭ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﻓﺈﻥ ﺍﻷﺳﻄﻮﺭﺓ ﻫﻲ ﻧﺴﻖ ﺭﻣﺰﻱ‬
‫ﺟﺎﰒ ﻋﻠﻰ ﺩﻻﻻﺕ ﺗﺘﻤﺎﻫﻰ ﺑﻌﻀﻬﺎ ﺑﺒﻌﺾ ﻟﺘﻠﻘﻲ ﺑﻈﻼﳍﺎ ﻋﻠﻰ ﺍﻟﻔﻜﺮ ﺍﻟﺒﺸﺮﻱ‪.‬‬

‫ﳍﺬﺍ ﺍﺑﺘﻌﺪ ﺭﻭﺍﺩ ﻫﺬﺍ ﺍﻟﻘﺴﻢ ﺍﻟﺜﺎﱐ ﻋﻦ ﻓﻜﺮﺓ ﺃﻥ ﻳﻜﻮﻥ ﺍﻹﻧﺴﺎﻥ ﺟﺎﻫﻼ ﰲ ﺫﻟﻚ ﺍﻟﺰﻣﺎﻥ‪،‬‬
‫ﻭ ﺍﻓﺘﺮﺿﻮﺍ ﺃﻧﻪ ﻗﺪ ﻳﻜﻮﻥ ﺣﺪﻳﺚ ﺍﻟﻌﻬﺪ ﺑﻌﻘﻠﻪ ﻭ ﺟﺴﺪﻩ ﻭ ﻟﻜﻨﻪ ﺃﺑﺪﺍ ﱂ ﻳﻜﻦ ﺟﺎﻫﻼ ﰲ ﺃﻱ‬
‫ﻣﺮﺣﻠﺔ ﻣﻦ ﻣﺮﺍﺣﻞ ﺍﻟﺘﺎﺭﻳﺦ ﻷﻧﻪ ﺳﺮﻋﺎﻥ ﻣﺎ ﲤﻜﻦ ﻣﻦ ﻛﻞ ﻭﻇﺎﺋﻔﻪ ﺍﳊﻴﻮﻳﺔ‪ ،‬ﰒ ﺇﻥ ﺍﻟﻌﻤﻠﻴﺔ‬
‫ﺍﻟﺘﻄﻮﺭﻳﺔ ﻋﻤﻠﻴﺔ ﺗﻌﺎﻗﺒﻴﺔ‪ ،‬ﲝﻴﺚ ﺗﺒﲎ ﻋﻠﻰ ﻣﺎ ﺳﺒﻘﻬﺎ‪ ،‬ﻓﺎﻛﺘﺸﺎﻑ ﻣﻌﺎﺭﻑ ﺟﺪﻳﺪﺓ ﺗﻔﺘﺢ ﻟﻪ ﺁﻓﺎﻕ‬
‫ﺟﺪﻳﺪ ﻟﺘﻌﻠﻢ ﺍﳌﺰﻳﺪ‪...‬ﻭ ﻫﻜﺬﺍ‪ ،‬ﻭ ﺇﺫﺍ ﻣﺎ ﻗﻮﺭﻧﺖ ﻓﻌﺎﻟﻴﺘﻪ ﺍﻟﻌﻘﻠﻴﺔ ﺑﻔﻌﺎﻟﻴﺔ ﺇﻧﺴﺎﻥ ﺍﻟﻴﻮﻡ ﻓﻬﻲ‬
‫ﻧﻔﺴﻬﺎ ﺃﻭ ﺗﻘﺎﺭ‪‬ﺎ ﻓﻌﺎﻟﻴﺔ‪ .‬ﻭ ﻋﺎﳉﻮﺍ ﺍﳌﺴﺄﻟﺔ ﻣﻦ ﻣﻨﻄﻠﻖ ﺃﻥ ﺍﻷﺳﺎﻃﲑ ﺗﻌﱪ ﻟﻴﺲ ﻋﻠﻰ ﺍﳋﻴﺎﻝ‬
‫ﻭ ﺍﻟﻼﻣﻌﻘﻮﻟﻴﺔ ﻭ ﺇﳕﺎ ﻛﻮ‪‬ﺎ ﺳﺠﻠﺖ ﺣﻘﻴﻘﺔ ﻭ ﺣﻔﻈﺖ ﺗﺎﺭﳜﺎ‪ .‬ﻓﺠﺎﺀﺕ ﺗﻌﺮﻳﻔﺎ‪‬ﻢ ﻋﻠﻰ ﺍﻟﻨﺤﻮ‬
‫ﺍﻟﺘﺎﱄ‪:‬‬

‫‪" -‬ﺍﻷﺳﻄﻮﺭﺓ ﻫﻲ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺮﻳﺔ ﺍﳌﺼﻔﻮﻓﺔ ﺯﺟﻼ ﺃﻭ ﺷﻌﺮﺍ ﲝﻴﺚ ﲢﺘﻮﻱ ﻣﻮﺿﻮﻋﺎ ﺩﻳﻨﻴﺎ‬
‫ﻳﺘﻌﻠﻖ ﺑﺎﻟﻘﻮﻯ ﺍﻟﻌﻠﻮﻳﺔ ﻭ ﺍﳋﻔﻴﺔ‪ ،‬ﻭ ﺗﻌﱪ ﻋﻦ ﻣﻌﺎﺭﻑ ﺍﻹﻧﺴﺎﻥ ﺍﻷﻭﻝ ﻭ ﺃﺧﻼﻗﻪ‬
‫ﻭ ﻣﺴﺘﻮﻳﺎﺕ ﻋﻠﻮﻣﻪ ﻭ ﺗﺄﻣﻼﺗﻪ‪ ،‬ﻭ ﻫﻲ ﻣﻮﺿﻮﻋﺔ ﰲ ﻗﺎﻟﺐ ﺫﻱ ﺇﻳﻘﺎﻉ ﺷﻌﺮﻱ ﻣﻮﺳﻴﻘﻲ‬
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‫ﻳﺘﻀﻤﻦ ﺍﳊﺪﺙ ﺍﳌﺮﺍﺩ ﺗﺄﺭﳜﻪ ﺳﻮﺍﺀ ﻛﺎﻥ ﻣﻦ ﺻﻨﻊ ﺍﻹﻧﺴﺎﻥ ﺃﻭ ﺍﻟﻄﺒﻴﻌﺔ ﺃﻭ ﺍﻟﺮﺏ‪".‬‬

‫‪ - 1‬ﺳﻠﺴﻠﺔ ﻋﻨﺪﻣﺎ ﻧﻄﻖ ﺍﻟﺴﺮﺍﺓ‪ "،‬ﻡ‪ .‬ﺱ ﺹ‪ – 22‬ﺹ‪.23‬‬

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‫ا  اول‪....................................................................‬ه ا ‬

‫‪ " -‬ﺍﻷﺳﻄﻮﺭﺓ ﻫﻲ ﺇﺧﺮﺍﺝ ﻟﺪﻭﺍﻓﻊ ﺩﺍﺧﻠﻴﺔ ﰲ ﺷﻜﻞ ﻣﻮﺿﻮﻋﻲ‪ ،‬ﻭ ﺍﻟﻐﺮﺽ ﻣﻦ ﺫﻟﻚ ﻫﻮ‬
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‫ﲪﺎﻳﺔ ﺍﻹﻧﺴﺎﻥ ﻣﻦ ﺩﻭﺍﻓﻊ ﺍﳋﻮﻑ ﻭ ﺍﻟﻘﻠﻖ‪".‬‬
‫‪ " -‬ﺍﻷﺳﻄﻮﺭﺓ ﻫﻲ ﻧﺎﺗﺞ ﺍﻧﻔﻌﺎﱄ ﻏﲑ ﻋﻘﻼﱐ‪ .‬ﺃﻱ ﺃ‪‬ﺎ ﺗﺼﺪﺭ ﻋﻦ ﺣﺎﻟﺔ ﺍﻧﻔﻌﺎﻟﻴﺔ ﺗﺘﺨﻄﻰ‬
‫ﺍﻟﻌﻘﻞ ﺍﻟﺘﺤﻠﻴﻠﻲ‪ ،‬ﻟﺘﻨﺘﺞ ﺻﻮﺭﺍ ﺫﻫﻨﻴﺔ ﻣﺒﺎﺷﺮﺓ ﺗﻌﻜﺲ ﺗﻠﻚ ﺍﻟﻌﻘﻼﻧﻴﺔ ﺍﻟﻜﻼﻧﻴﺔ ﺑﲔ‬
‫ﺍﻟﺬﺍﺕ‪-‬ﺍﻟﻮﻋﻲ‪-‬ﺍﻟﻌﺎﱂ‪-‬ﺍﳌﺎﺩﺓ‪ .‬ﰒ ﻳﻀﻴﻒ ﺻﺎﺣﺐ ﺍﻟﺘﻌﺮﻳﻒ‪:‬‬

‫ﺇﻻ ﺃ‪‬ﺎ ﻟﻴﺴﺖ ﺍﻧﻔﻌﺎﻻ ﺻﺮﻓﺎ ﻷ‪‬ﺎ ﺗﻮﺳﻂ ﺍﻷﻓﻜﺎﺭ ﰲ ﳏﺎﻭﻟﺘﻬﺎ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺫﻟﻚ ﺍﻻﻧﻔﻌﺎﻝ‬
‫ﻭ ﻣﻮﺿﻌﺘﻪ ﰲ ﺍﳋﺎﺭﺝ ﻓﻬﻲ ﻧﻮﻉ ﻣﻦ ﺍﳊﺪﺱ ﺑﺎﻟﻜﻠﻴﺎﺕ ﳝﻮﺿﻊ ﻣﻌﺮﻓﺘﻪ ﺍﻟﻜﻠﻴﺔ ﰲ ﺻﻮﺭ‬
‫ﻭ ﻣﺸﺎﻫﺪ ﻭ ﺷﺨﺼﻴﺎﺕ ﺑﺮﻣﻮﺯ ﺫﺍﺕ ﺩﻻﻻﺕ ﺑﻌﻀﻬﺎ ﻳﺘﺼﻞ ﺑﻌﺎﱂ ﺍﻟﻮﻋﻲ ﻭ ﺑﻌﻀﻬﺎ ﻳﺘﺼﻞ‬
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‫ﺑﻌﺎﱂ ﺍﻟﻼﻭﻋﻲ‪".‬‬

‫‪ " -‬ﱂ ﺗﻌﺪ ﺍﻷﺳﻄﻮﺭﺓ ﳎﺮﺩ ﻗﺼﺔ ﺗﻘﻠﻴﺪﻳﺔ ﻣﺘﻮﺍﺗﺮﺓ ﻭ ﺗﺘﻨﺎﻭﻝ ﺍﻷﺷﺨﺎﺹ ﻣﻦ ﺫﻭﻱ‬
‫ﺍﻟﻄﺒﺎﺋﻊ ﺍﳋﺎﺭﻗﺔ‪ ،‬ﺃﻭ ﺍﻷﺣﺪﺍﺙ ﺍﳋﻴﺎﻟﻴﺔ ﻟﺪﻯ ﺷﻌﺐ ﻣﻦ ﺍﻟﺸﻌﻮﺏ‪ ،‬ﻭ ﺇﳕﺎ ﺃﺻﺒﺤﺖ‬
‫ﺭﻣﺰﺍ ﳝﻜﻦ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﺘﻐﻠﻐﻞ ﻓﻴﻪ ﻭ ﺍﻟﻮﻟﻮﺝ ﺇﱃ ﻣﻄﺎﻭﻳﻪ ﺍﻟﺴﺮﻳﺔ ﻟﻠﻜﺸﻒ ﻋﻦ‬
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‫ﺍﳉﺎﻧﺐ ﺍﳌﺴﺘﺘﺮ ﻣﻦ ﺍﻟﺘﻄﻮﺭ ﺍﻟﻌﻘﻠﻲ ﻟﺪﻯ ﺍﻟﺸﻌﺐ ﺃﻭ ﺍﳉﻤﺎﻋﺔ ﺃﻭ ﺍﻟﻔﺮﺩ‪".‬‬

‫ﺇﺫﻥ‪ :‬ﻫﻲ ﻟﻴﺴﺖ ﻃﻔﻮﻟﺔ ﺍﻟﻌﻘﻞ ﺍﻷﻭﱃ‪ ،‬ﻭ ﻟﻴﺴﺖ ﺍﻧﻔﻌﺎﻻ ﺻﺮﻓﺎ‪ ،‬ﺑﻘﺪﺭ ﻣﺎ ﻫﻲ ﺣﻘﻴﻘﺔ‪،‬‬
‫ﻭ ﺣﺪﺙ ﻣﻬﻤﺎ ﻳﻜﻦ ﺟﻮﻫﺮﳘﺎ‪ ،‬ﺃﻱ ﺃ‪‬ﺎ ﲢﻤﻞ ﰲ ﺫﺍ‪‬ﺎ ﺃﺧﺒﺎﺭ ﺍﻷﻭﻟﲔ‪ ،‬ﲟﻌﲎ ﺃﻥ ﺍﻹﻧﺴﺎﻥ‬
‫ﺍﻟﻘﺪﱘ ﺍﻣﺘﻠﻚ ﺍﳊﻜﻤﺔ ﻭ ﺍﻟﺬﻛﺎﺀ ﻭ ﺍﻟﺮﺅﻳﺔ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﺃﺳﺲ ﻣﻦ ﻭﺭﺍﺀﻫﺎ ﺣﻀﺎﺭﺓ ﳍﺎ ﻗﻴﻤﺔ‬

‫ﺩ‪ /‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ " ،‬ﺍﻷﺳﻄﻮﺭﺓ"‪ ،‬ﺍﳌﻮﺳﻮﻋﺔ ﺍﻟﺼﻐﲑﺓ"‪ ،"54‬ﻣﻨﺸﻮﺭﺍﺕ ﻭﺯﺍﺭﺓ ﺍﻟﺜﻘﺎﻓﺔ ﻭ ﺍﻹﻋﻼﻡ‪ ،‬ﺍﻟﻌﺮﺍﻕ‪ 1979 ،‬ﺹ ‪.11‬‬ ‫‪-1‬‬
‫‪ -2‬ﻓﺮﺍﺱ ﺍﻟﺴﻮﺍﺡ‪ " ،‬ﺍﻷﺳﻄﻮﺭﺓ ﻭ ﺍﳌﻌﲎ"‪ .‬ﻣﻠﺨﺺ ﻋﻠﻰ ‪www. 4shred.com.‬‬

‫‪ -3‬ﳎﻠﺔ ﺍﳌﻌﺮﻓﺔ‪ " ،‬ﺍﻟﺘﻘﺪﱘ" ﻭﺯﺍﺭﺓ ﺍﻟﺜﻘﺎﻓﺔ ﻭ ﺍﻹﺭﺷﺎﺩ ﺍﻟﻘﻮﻣﻲ‪ ،‬ﺳﻮﺭﻳﺔ‪ ،‬ﺍﻟﻌﺪﺩ‪ ،197‬ﲤﻮﺯ ‪ .1978‬ﺹ‪05.‬‬

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‫ﻓﻜﺮﻳﺔ ﻋﻈﻴﻤﺔ‪ ،‬ﻭ ﻟﻴﺲ ﺑﺎﻟﺴﺬﺍﺟﺔ ﻭ ﺍﻟﺒﺴﺎﻃﺔ ﺍﻟﱵ ﻗﺪ ﺗﻮﺣﻲ ‪‬ﺎ ﺍﻷﺳﻄﻮﺭﺓ ﻟﻠﻮﻫﻠﺔ ﺍﻷﻭﱃ‪،‬‬
‫ﻭ ﺃﻥ ﻫﺬﺍ ﺍﻹﻧﺴﺎﻥ ﻧﻔﺴﻪ ﻗﺪ ﲤﻜﻦ ﻣﻦ ﺭﺻﻔﻬﺎ ﻓﻴﻤﺎ ﲰﺎﻩ ﺷﻌﺮﺍ‪ ،‬ﻭ ﺟﻌﻞ ﻟﻪ ﺑﻨﻴﺎﻧﺎ ﻣﺘﻤﺎﻳﺰﺍ ﻋﻦ‬
‫ﻏﲑﻩ ﻣﻦ ﺍﻟﻔﻨﻮﻥ ﻛﻤﺎ ﺟﻌﻞ ﻟﻪ ﺃﻭﺯﺍﻥ ﻳﺼﺐ ﰲ ﻗﺎﻟﺒﻬﺎ‪.‬‬

‫ﰒ ﺇﻥ ﻫﺬﻩ ﺍﻷﺳﺎﻃﲑ ﻫﻲ ﻋﺒﺎﺭﺓ ﻋﻦ ﺑﻨﺎﺀ ﺭﻣﺰﻱ ﲪﻠﻪ ﺍﻹﻧﺴﺎﻥ ﲟﻌﺎﺭﻑ ﻛﻮﻧﻴﺔ‪ ،‬ﻛﻮﻧﺖ ﺟﻮﻫﺮ‬
‫ﺍﻟﺘﻔﺎﻋﻞ ﺍﻟﺒﺸﺮﻱ ﻭ ﱂ ﻳﻜﻦ ﺍﻷﻣﺮ ﳎﺮﺩ ﺇﺧﺮﺍﺝ ﻻﻧﻔﻌﺎﻻﺕ ﻻ ﺿﺎﺑﻂ ﺣﻴﺚ ﺧﺼﺺ ﳍﺎ ﺃﺯﻣﻨﺔ‬
‫ﻭﺃﻣﻜﻨﺔ ﳑﺎﺭﺳﺔ‪.‬‬

‫ﺇﺫﺍ ﲨﻌﻨﺎ ﻛﻼ ﺍﻟﺮﺃﻳﲔ ﻣﻌﺎ ﺍﺳﺘﻘﺎﻡ ﻟﻨﺎ ﺭﺃﻱ ﺛﺎﻟﺚ ﻳﻘﺘﺮﺏ ﺷﻴﺌﺎ ﻣﺎ ﻣﻦ ﺟﻮﻫﺮ‬
‫ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﻓﻬﻲ ﺑﺬﻟﻚ ﺗﻠﻚ ﺍﻟﻘﺼﺔ ﺍﻟﱵ ﺗﺮﻭﻱ ﻋﻦ ﺣﻴﺎﺓ ﺍﻵﳍﺔ ﺃﻭ ﺃﺷﺒﺎﻩ ﺍﻵﳍﺔ ﻣﺎ ﺗﺮﻭﻱ‪،‬‬
‫ﻭ ﳍﺎ ﻣﻦ ﺍﻟﻌﻤﻖ ﻣﺎ ﳝﻴﺰﻫﺎ‪ ،‬ﻓﺒﻨﺎﺀﻫﺎ ﻭ ﳕﻂ ﺍﺧﺘﻴﺎﺭ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭ ﺍﻟﻈﻮﺍﻫﺮ ﺍﻟﻄﺒﻴﻌﻴﺔ ﺍﻟﱵ ﻳﺘﻢ‬
‫ﺍﻹﺳﻘﺎﻁ ﻋﻠﻴﻬﺎ )ﺃﻭ ﺗﻔﺴﲑﻫﺎ( ﻳﻨﻤﻮﻥ ﻋﻦ ﻓﻜﺮ ﻣﺘﻄﻮﺭ ﻭ ﻋﻘﻠﻴﺔ ﱂ ﺗﻔﺴﺮ ﺍﳌﻮﺿﻮﻋﻴﺔ ﺑﺎﳋﻴﺎﻝ‬
‫ﻷ‪‬ﺎ ﲣﻀﻊ ﻟﻘﺎﻧﻮﻥ ﺳﺒﺒﻴﺔ ﻣﻄﻠﻖ‪ ،‬ﻭ ﻻ ﺃﻋﲏ ﺑﺬﻟﻚ ﺳﺒﺐ ﺍﻟﻈﻮﺍﻫﺮ ﺍﻟﻄﺒﻴﻌﻴﺔ ﺍﻟﱵ ﺗﺒﺪﻭ ﻟﻠﻮﻫﻠﺔ‬
‫ﺍﻷﻭﱃ ﺃ‪‬ﺎ ﺗﻔﺴﺮﻩ ﻭ ﺇﳕﺎ ﺳﺒﺐ ﺍﺧﺘﻴﺎﺭ ﺍﻟﺮﻣﺰ ﻓﻴﻬﺎ ﻛﺮﻣﺰ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺣﻘﻴﻘﺔ ﻣﻄﻠﻘﺔ‪ ،‬ﻭ ﻟﺬﻟﻚ‬
‫ﺟﺎﺀﺕ ﻣﻮﺿﻮﻋﺎ‪‬ﺎ ﻣﺘﺸﻌﺒﺔ ﻻ ﻋﺸﻮﺍﺋﻴﺔ ﻛﻤﺎ ﻳﺒﺪﻭ‪ ،‬ﻓﻬﻲ ﻧﻈﺎﻡ ﺳﻴﺎﺳﻲ ﻭ ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﻭﺛﻘﺎﰲ‪،‬‬
‫ﻷﻥ ﺍﻟﺮﻣﻮﺯ ﺍﻷﺳﻄﻮﺭﻳﺔ )ﺍﳊﻴﻮﺍﻧﺎﺕ‪ ،‬ﺍﻟﻨﺒﺎﺗﺎﺕ‪ ،‬ﺍﻟﺸﺨﺼﻴﺎﺕ‪ (....‬ﰲ ﺗﻔﺎﻋﻼ‪‬ﺎ ﻣﻊ ﺑﻌﻀﻬﺎ‬
‫ﺍﻟﺒﻌﺾ ﺗﻈﻬﺮ ﻣﺪﻯ ﺗﻄﻮﺭ ﻋﻠﻮﻡ ﺍﻹﻧﺴﺎﻥ ﺍﻷﻭﻝ ﻭ ﻣﺪﻯ ﺗﻌﺎﻣﻠﻪ ﻣﻊ ﻣﻮﺟﻮﺩﺍﺕ ﻋﺼﺮﻩ‬
‫ﻭ ﻛﻴﻒ ﺍﺳﺘﻄﺎﻉ ﳎﺎ‪‬ﺔ ﺍﻟﻜﻮﺍﺭﺙ‪.‬‬

‫ﻛﻤﺎ ﺃ‪‬ﺎ ﱂ ﺗﻜﺘﻔﻲ ﺑﺎﻛﺘﺴﺎﺡ ﺍﻟﻌﻠﻮﻡ ﻭ ﺍﻷﻧﻈﻤﺔ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭ ﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‬

‫ﺑﻞ ﺗﻌﺪﺕ ﺫﻟﻚ ﺇﱃ ﺍﻟﻔﻨﻮﻥ‪ :‬ﻓﻬﻲ ﺃﻡ ﺍﻟﻔﻨﻮﻥ ﺣﻴﺚ ﻇﻬﺮ ﻣﺎ ﻳﻌﺮﻑ ﺑﺎﻷﺳﻄﻮﺭﺓ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﺍﻟﱵ‬
‫ﻫﻲ ﺃﺻﻞ ﺍﻟﺸﻌﺮ‪ ،‬ﺍﻟﻨﺜﺮ‪ ،‬ﺍﳌﺴﺮﺡ‪ ،‬ﺍﳌﻮﺳﻴﻘﻰ‪ ،‬ﺍﻟﺮﺳﻢ‪ ،‬ﻭ ﻏﲑﻫﺎ‪...‬ﻛﻤﺎ ﺳﺎﳘﺖ ﰲ ﺍﺯﺩﻫﺎﺭﻫﺎ‬
‫ﻛﻠﻬﺎ‪ .‬ﻭ ﻣﻦ ﻭﺟﻮﻫﻬﺎ‪ :‬ﺍﳊﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ‪ ،‬ﺣﻜﺎﻳﺔ ﺍﻟﺒﻄﻞ‪ ،‬ﺍﻟﻘﺼﺔ‪ ،‬ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ‪،‬‬
‫ﻭ ﺍﻟﺮﻭﺍﻳﺔ‪...‬ﻭ ﻛﻠﻬﺎ ﺗﺴﺘﻘﻲ ﻣﻨﻬﺎ ﻭ ﲢﺎﻛﻲ ﺇﻣﺎ ﻣﻮﺿﻮﻋﺎ‪‬ﺎ ‪ ،‬ﺑﻨﺎﺀﻫﺎ ﺃﻭ ﺷﺨﻮﺻﻬﺎ‪ .‬ﻭ ﻫﻲ‬

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‫ﺃﻭﺟﻪ ﺍﺣﺘﻮ‪‬ﺎ ﺩﺍﺧﻠﻬﺎ ﺑﺮﻫﺔ ﻣﻦ ﺍﻟﺰﻣﺎﻥ ﻛﺠﺰﺀ ﻣﻨﻬﺎ ﻟﺘﺴﺘﻘﻞ ﻋﻨﻬﺎ ﻓﻴﻤﺎ ﺑﻌﺪ ﻭ ﺗﺼﺒﺢ‬
‫ﺍﻷﺳﻄﻮﺭﺓ ﻫﻲ ﺍﻟﺮﺍﺑﻂ ﻭ ﺍﳉﺎﻣﻊ ﺑﻴﻨﻬﺎ‪.‬‬

‫ﻭ ﻟﻜﻦ ﺍﻷﺳﻄﻮﺭﺓ ﻟﻄﺎﳌﺎ ﺍﺣﺘﻔﻈﺖ ﲞﺼﻮﺻﻴﺘﻬﺎ ﻭ ﺗﻔﺮﺩﻫﺎ ﻷ‪‬ﺎ ﺗﺒﻘﻰ ﻣﺴﺄﻟﺔ ﺍﻋﺘﻘﺎﺩ‬
‫ﻭ ﺍﻋﺘﻘﺎﺩ ﺭﺍﺳﺦ ﻋﻨﺪ ﻣﺘﺪﺍﻭﻟﻴﻬﺎ ‪ .‬ﻓﻬﻲ ﺍﻟﺪﻳﻦ‪ ،‬ﻭ ﺍﻟﺴﻴﺎﺳﺔ‪ ،‬ﻭ ﺍ‪‬ﺘﻤﻊ‪ ،‬ﻭ ﺣﱴ ﰲ ﻃﺎﺑﻌﻬﺎ‬
‫ﺍﻷﺩﰊ ﻓﺈ‪‬ﺎ ﺗﻌﻄﻲ ﺻﻮﺭﺓ ﻭﺍﺿﺤﺔ ﻋﻠﻰ ﺍﻟﺘﻜﻮﻳﻦ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻭ ﻃﺒﻴﻌﺔ ﺍﻟﺘﻔﺎﻋﻼﺕ ﺍﻟﺒﺸﺮﻳﺔ‬
‫ﻓﻮﻕ ﺭﻗﻌﺔ ﺟﻐﺮﺍﻓﻴﺔ ﻣﻌﻴﻨﺔ ﻟﺬﻟﻚ ﻫﻲ‪":‬ﻟﻴﺴﺖ ﻓﻨﺎ‪ ،‬ﻭ ﻻ ﺇﺑﺪﺍﻋﺎ‪ ،‬ﺑﻞ ﻫﻲ ﻣﻌﺮﻓﺔ ﻭ ﻗﻨﺎﻋﺔ‬
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‫ﻭ ﺇﳝﺎﻥ ﰒ ﻓﻌﻞ ﻭ ﻋﺮﻑ ﻭ ﳑﺎﺭﺳﺔ‪".‬‬

‫ﻭ ﻟﻜﻦ ﺳﻮﺍﺀ ﻛﺎﻧﺖ ﺃﺩﺑﻴﺔ ﺃﻡ ﻻ )ﻷﻥ ﺍﻟﺘﺴﻤﻴﺔ ﻟﺘﺰﺍﻝ ﺗﺸﻬﺪ ﺍﺧﺘﻼﻓﺎ ﺣﻮﳍﺎ(‬
‫ﻓﺎﻷﺳﻄﻮﺭﺓ ﺑﻨﻤﻄﻴﺘﻬﺎ ﺗﻘﺒﻞ ﻛﻞ ﺗﻌﺮﻳﻒ ﻳﻐﺪﻕ ﻋﻠﻴﻬﺎ ﻣﻦ ﻛﻞ ﳎﺎﻝ ﻣﻌﺮﰲ ﰲ ﺣﲔ ﺗﺄﰉ ﺃﻥ‬
‫ﻭ ﻫﻲ‬ ‫ﲢﺼﺮ ﻧﻔﺴﻬﺎ ﺩﺍﺧﻞ ﺗﻌﺮﻳﻒ ﻭﺍﺣﺪ ﳏﺪﺩ ﻓﻬﻲ ﺃﻭﺟﻪ ﺍﳊﻴﺎﺓ ﺍﻟﺒﺸﺮﻳﺔ ﺑﻜﻞ ﺗﻘﻠﺒﺎ‪‬ﺎ‪،‬‬
‫ﲝﻖ ﳕﻂ ﺣﻴﺎﺓ‪ ،‬ﻋﻘﻴﺪﺓ ﺭﺍﺳﺨﺔ‪ ،‬ﺭﺅﻳﺔ ﳏﺪﺩﺓ‪ ،‬ﻭ ﺃﺭﺿﻴﺔ ﺻﻠﺒﺔ ﺗﺴﻨﺪ ﺍﻹﻧﺴﺎﻥ ﻋﻨﺪ ﺍﳊﺎﺟﺔ‪.‬‬
‫ﻟﺬﻟﻚ ﺗﻜﺘﺴﺐ ﺃﳘﻴﺔ ﺑﺎﻟﻐﺔ ﰲ ﻛﻞ ﺍ‪‬ﺎﻻﺕ ﺍﳌﻌﺮﻓﻴﺔ ﻭ ﺍﻷﲝﺎﺙ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻭ" ﺗﻌﺪﺩ ﺍﻟﺘﻌﺮﻳﻒ‬
‫ﻳﺘﺮﺟﻢ ﺍﺧﺘﻼﻓﺎ ﺣﻮﻝ ﻣﺎﻫﻴﺔ ﺍﻷﺳﻄﻮﺭﺓ ﻛﻈﺎﻫﺮﺓ ﺛﻘﺎﻓﻴﺔ ﻭ ﻳﻨﻢ ﻋﻦ ﺍﻫﺘﻤﺎﻡ ﻣﺘﺰﺍﻳﺪ ‪‬ﺬﻩ‬
‫ﺍﻟﻈﺎﻫﺮﺓ‪ 2 ".‬ﻓﻜﻞ ﻣﻴﺪﺍﻥ ﻣﻦ ﻣﻴﺎﺩﻳﻦ ﺍﻟﻌﻠﻮﻡ ﻳﻨﻈﺮ ﺇﻟﻴﻬﺎ ﻣﻦ ﺯﺍﻭﻳﺘﻪ ﺍﳋﺎﺻﺔ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﺗﻌﺪﺩ‬
‫ﺍﻟﺮﺅﻯ ﻫﺬﺍ ﻳﻔﺘﺢ ﺍ‪‬ﺎﻝ ﻭﺍﺳﻌﺎ ﺃﻣﺎﻡ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﳊﺪﻳﺜﺔ ﳌﻘﺎﺭﺑﺘﻬﺎ ﻣﻦ ﺯﻭﺍﻳﺎ ﺟﺪﻳﺪﺓ‪.‬‬

‫‪ - 1‬ﻋﺒﺪ ﺍﳊﻠﻴﻢ ﻣﻨﺼﻮﺭﻱ‪ "،‬ﺍﳌﻼﻣﺢ ﺍﻷﺳﻄﻮﺭﻳﺔ ﰲ ﺭﻭﺍﻳﺔ ﺍﳊﻮﺍﺕ ﻭ ﺍﻟﻘﺼﺮ ﻟﻠﻄﺎﻫﺮ ﻭﻃﺎﺭ – ﺩﺭﺍﺳﺔ ﻧﻘﺪﻳﺔ ﺃﺳﻄﻮﺭﻳﺔ – " ﺹ‪.16‬‬

‫‪www. 4shred.com‬‬

‫‪ - -2‬ﻋﺒﺪ ﺍﳊﻠﻴﻢ ﻣﻨﺼﻮﺭﻱ ﻡ‪.‬ﺱ ﺹ‪.12‬‬

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‫ﻭ ﻻ ﻳﺴﻌﲏ ﰲ ﻫﺬﺍ ﺍﳌﻘﺎﻡ ﺇﻻ ﺃﻥ ﺃﺑﺪﻱ ﺍﳌﻼﺣﻈﺔ ﺍﻟﺘﺎﻟﻴﺔ‪ :‬ﺇﻥ ﺟﻬﻞ ﺍﻹﻧﺴﺎﻥ ﺍﻷﻭﻝ‬
‫ﺑﻌﻤﻞ ﺍﻟﻜﻮﻥ ﺟﻌﻠﻪ ﺃﻛﺜﺮ ﺍﲢﺎﺩﺍ ﻣﻌﻪ‪ ،‬ﺃﻳﻦ ﻳﺒﲏ ﺟﺴﺮﺍ ﺭﻣﺰﻳﺎ ﻣﻦ ﺍﻷﺳﺎﻃﲑ ﻳﻀﻤﻦ ﺍﺳﺘﻤﺮﺍﺭﻳﺔ‬
‫ﻋﺎﳌﻪ‪ ،‬ﺃﻣﺎ ﺍﻹﻧﺴﺎﻥ ﺍﻟﻴﻮﻡ ﻻ ﻳﺮﻯ ﰲ ﺍﻟﻜﻮﻥ ﻏﲑ ﺗﻠﻚ ﺍﻵﻟﺔ ﺍﻟﻜﱪﻯ ﺍﳋﺎﺿﻌﺔ ﳊﺘﻤﻴﺎﺕ ﺍﺧﺘﱪﻫﺎ‬
‫ﻭ ﻻ ﺃﻋﲏ ﺑﺬﻟﻚ ﺃﻥ ﺍﻟﻔﻜﺮ ﺍﻷﺳﻄﻮﺭﻱ ﻭ ﺇﻗﺒﺎﻝ‬ ‫ﻭ ﻓﻬﻢ ﻧﻈﻢ ﻗﻴﺎﻣﻬﺎ ﻭ ﻋﻠﺔ ﻭﺟﻮﺩﻫﺎ‪.‬‬
‫ﺍﻹﻧﺴﺎﻥ ﻋﻠﻰ ﺍﻷﺳﺎﻃﲑ ﻛﺎﻥ ﻋﻤﻞ ﲣﻠﻒ ﻭ ﺍﻧﻐﻼﻕ ﻋﻠﻰ ﺍﻟﺬﺍﺕ‪ ،‬ﺃﺑﺪﺍ ﻣﺎ ﻛﺎﻥ ﺍﻷﻣﺮ ﻛﺬﻟﻚ‬
‫ﰲ ﺃﻱ ﻣﺮﺣﻠﺔ ﺗﺎﺭﳜﻴﺔ ﺑﻞ ﻛﺎﻥ ﺩﺍﻓﻌﺎ ﺣﻴﻨﺎ ﻭ ﺳﺎﻋﺪ ﻋﻠﻰ ﺍﻟﺘﻜﻴﻒ ﺣﻴﻨﺎ ﺃﺧﺮ‪ ،‬ﺳﻨﺪﺍ ﻃﻮﺭﺍ‬
‫ﻭ ﻣﺮﺍﻗﺒﺎ ﻃﻮﺭﺍ ﺁﺧﺮ‪ ،‬ﳍﺬﺍ ﻋﻠﻴﻨﺎ ﺃﻥ ﻧﺪﺭﻙ ﺃﻥ ﰲ ﺍﻷﺳﻄﻮﺭﺓ ﺃﻛﺜﺮ ﳑﺎ ﻳﺒﺪﻭ ﺑﻜﺜﲑ ﻓﻬﻲ ﺩﻋﺎﻣﺔ‬
‫ﻳﺮﺗﻜﺰ ﻋﻠﻴﻬﺎ ﺍﻟﺘﺎﺭﻳﺦ ﻭ ﺍﻟﻮﺟﻮﺩ ﺍﻟﺒﺸﺮﻱ ﻣﻨﺬ ﻇﻬﻮﺭ ﺍﻹﻧﺴﺎﻥ ﻋﻠﻰ ﻭﺟﻪ ﺍﻷﺭﺽ*‪.‬‬

‫ﻋﻦ ﺃﺻﻞ ﺍﻷﺳﺎﻃﲑ‪:‬‬

‫ﳚﻤﻊ ﺍﻟﻌﻠﻤﺎﺀ ﻭ ﺍﳌﺆﺭﺧﻮﻥ ﻋﻠﻰ ﺃﻥ ﺍﻷﺳﺎﻃﲑ ﰲ ﺃﺻﻠﻬﺎ ﺗﻌﻮﺩ ﺇﱃ ﻧﻔﺲ ﺍﳌﻨﺸﺄ ﰒ ﺍﻧﺘﺸﺮﺕ‬
‫ﻭ ﺍﺧﺘﻠﻔﺖ ﻭ ﻳﺮﺟﺢ ﺃﻏﻠﺒﻬﻢ ﻋﻠﻰ ﺃ‪‬ﺎ ﺧﻠﻘﺖ ﻟﺘﻔﺴﲑ ﺍﻟﻈﻮﺍﻫﺮ ﺍﻟﻄﺒﻴﻌﻴﺔ ﺩﺍﺧﻠﻴﺔ)ﺩﺍﺧﻞ ﻧﻔﺲ‬
‫ﺍﻹﻧﺴﺎﻥ ﻣﻦ ﺣﺰﻥ ﻭ ﻗﻠﻖ ﻭﺧﻮﻑ‪ (...‬ﻭ ﺧﺎﺭﺟﻴﺔ)ﺧﺎﺭﺝ ﺫﺍﺕ ﺍﻹﻧﺴﺎﻥ ﻣﻦ ﻛﺴﻮﻑ‬
‫ﻭ ﺧﺴﻮﻑ ﻭﺗﻌﺎﻗﺐ ﺍﻟﻠﻴﻞ ﻭ ﺍﻟﻨﻬﺎﺭ‪ ،*(...‬ﻭ ﻣﻦ ﻫﺬﺍ ﺍﳌﻨﻄﻠﻖ ﺟﻌﻞ ﻟﻜﻞ ﻇﺎﻫﺮﺓ ﺇﻟﻪ ﻳﻘﻮﻡ‬
‫ﻋﻠﻴﻬﺎ ﻭ ﺑﺎﻟﺘﺎﱄ ﺇﺫﺍ ﺃﺭﺍﺩ ﺍﻹﻧﺴﺎﻥ ﺍﺗﻘﺎﺀ ﺷﺮﻫﺎ ﻓﻤﺎ ﻋﻠﻴﻪ ﺇﻻ ﺍﻟﺘﻀﺮﻉ ﻭ ﺗﻘﺪﱘ ﺍﻷﺿﺎﺣﻲ‬
‫*‪ -‬ﻋﻠﻰ ﻋﻜﺲ ﻣﺎ ﺫﻫﺐ ﺇﻟﻴﻪ ﺧﻠﻴﻞ ﺃﲪﺪ ﺧﻠﻴﻞ ﰲ ﻛﺘﺎﺑﻪ ﻣﻀﻤﻮﻥ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﺍﻟﻔﻜﺮ ﺍﻟﻌﺮﰊ" ﻣﻦ ﺃﻥ ﺃﺳﻄﻮﺭﺓ ﺃﺩﺍﺓ ﻟﺘﺮﺳﻴﺦ ﺍﻟﻌﺒﻮﺩﻳﺔ‬
‫ﻭ ﻫﻲ ﻓﻜﺮ ﺭﺟﻌﻲ‪ ،‬ﺇﺫ ﱂ ﺗﻜﻦ ﻛﺬﻟﻚ ﻭ ﻻ ﰲ ﻣﺮﺣﻠﺔ ﻣﻦ ﻣﺮﺍﺣﻞ ﻭﺟﻮﺩ ﺍﻹﻧﺴﺎﻥ ﻋﻠﻰ ﻭﺟﻪ ﺍﻷﺭﺽ‪ .‬ﺑﻞ ﻛﺎﻧﺖ ﺃﺩﺍﺓ ﻳﺘﺼﺎﱀ ‪‬ﺎ ﺍﻹﻧﺴﺎﻥ‬
‫ﻣﻊ ﻧﻔﺴﻪ ﻭ ﻣﻊ ﳏﻴﻄﻪ‪ .‬ﻳﻨﻈﺮ‪ :‬ﺧﻠﻴﻞ ﺃﲪﺪ ﺧﻠﻴﻞ‪ ،‬ﻡ‪.‬ﻥ ﺹ‪.83‬‬

‫‪*-Cf. :Ernest cassirer : « langage et mythe, à propos des noms des dieux », traduit par‬‬
‫‪les éditions minuit, paris:« Dans le cadre de mon étude sur Tchicaya, j’avais défini le‬‬
‫‪mythe comme« une construction idéale - un modèle - touchant aux grands problèmes‬‬
‫‪de la condition humaine, à partir d’un ensemble de données issues de l’expérience ou‬‬
‫‪de la tradition. Il se présente sous la forme d’un récit doté de portée symbolique,‬‬
‫‪fusionnant indistinctement éléments réels et éléments fictionnels, compilant à un‬‬
‫» ‪niveau d’appréhension identique réalité naturelles et réalités supranaturelles‬‬
‫‪(L’univers mythique, p. 4).p04.‬‬

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‫ﻋﻠﻰ ﺍﺧﺘﻼﻑ ﺃﻧﻮﺍﻋﻬﺎ ﻟﺬﻟﻚ ﺍﻹﻟﻪ‪ .‬ﻭ ﳚﻤﻊ ﺁﺧﺮﻭﻥ ﻋﻠﻰ ﺃ‪‬ﺎ ﺧﻠﻘﺖ ﻟﺘﺄﺭﻳﺦ ﺣﺪﺙ ﻣﺎ‬
‫ﻭ ﺗﻔﻨﻨﺖ ﺍﻟﺬﺍﻛﺮﺓ ﺍﻟﺒﺸﺮﻳﺔ ﰲ ﺇﺳﺒﺎﻍ ﺃﻟﻮﺍﻥ ﻣﻦ ﺍﳋﻴﺎﻝ ﻋﻠﻴﻬﺎ ﺣﱴ ﺃﺻﺒﺢ ﻣﻦ ﺍﻟﺼﻌﺐ ﺍﻟﺘﻌﺮﻑ‬
‫ﻋﻠﻰ ﺫﻟﻚ ﺍﳊﺪﺙ‪ .‬ﻭ ﻛﻠﻤﺎ ﺗﻮﻏﻠﻨﺎ ﰲ ﺍﻟﻘﺪﻡ ﲤﺎﺯﺟﺖ ﺍﻷﺣﺪﺍﺙ ﻭ ﺫﺍﺑﺖ ﻟﺘﺼﺒﺢ ﺣﺪﺙ‬
‫ﻭﺍﺣﺪﺍ ﻭ ﻫﺬﺍ ﻣﺎ ﻳﻔﺴﺮ ﻛﻮﻥ ﺍﻷﺳﻄﻮﺭﺓ ﻭﺍﺣﺪﺓ ﻋﻨﺪ ﻛﺎﻓﺔ ﺍﻟﺸﻌﻮﺏ‪.‬‬

‫ﻭ ﻟﺬﻟﻚ ﺟﺎﺀﺕ ﺃﻧﻮﺍﻉ ﺍﻷﺳﺎﻃﲑ ﺗﺒﻌﺎ ﻷﺻﻮﻝ ﻧﺸﺄ‪‬ﺎ ﻭ ﻫﻲ ﺛﻼﺙ ﺃﻧﻮﺍﻉ ﳝﻜﻦ ﻭ ﰎ ﻓﻌﻼ‬
‫ﺗﻮﻟﻴﺪ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻷﻧﻮﺍﻉ ﺍﻟﻔﺮﻋﻴﺔ ﻣﻨﻬﺎ ﻭﻟﻜﻦ ﻫﺬﻩ ﺍﻷﻧﻮﺍﻉ ﺍﻟﺜﻼﺙ ﲤﺜﻞ ﻓﻌﻠﻴﺎ ﻛﻴﻔﻴﺔ ﻧﺸﺄﺓ‬
‫ﺍﻷﺳﺎﻃﲑ* ﻭ ﻫﻲ‪:‬‬

‫ﺍﻷﺳﻄﻮﺭﺓ ﺍﻟﺪﻳﻨﻴﺔ‪ :‬ﻭ ﻟﻘﺪ ﺍﺭﺗﺒﻄﺖ ﺑﻌﻤﻠﻴﺎﺕ ﺍﻟﻌﺒﺎﺩﺓ ﻭ ﺍﻟﻄﻘﻮﺱ‪ ،‬ﻭ ﻟﻘﺪ ﻇﻬﺮﺕ ﻣﻌﻬﺎ‬
‫ﺍﻟﺘﺮﺍﺗﻴﻞ ﻭ ﺍﻷﻧﺎﺷﻴﺪ ﺍﻟﱵ ﺗﺘﻠﻰ ﻣﺼﺎﺣﺒﺔ ﳍﺎ ﻭ ﺗﻘﻮﻡ ﺑﻮﺻﻒ ﻃﺮﻳﻘﺔ ﻭ ﺳﺒﺐ ﻗﻴﺎﻡ ﻫﺬﻩ ﺍﻟﻌﺒﺎﺩﺍﺕ‬
‫ﻭ ﺍﻟﻄﻘﻮﺱ‪ ،‬ﺍﻟﱵ ﺗﺘﻤﺜﻞ ﰲ ﻛﻮ‪‬ﺎ ﻭﺳﻴﻠﺔ ﻳﺘﻤﻜﻦ ﺍﻹﻧﺴﺎﻥ ﺍﻷﻭﻝ ﻣﻦ ﺧﻼﳍﺎ ﻣﻦ ﺍﺗﻘﺎﺀ ﺷﺮﻭﺭ‬
‫ﺍﻟﻄﺒﻴﻌﺔ‪.‬‬

‫ﻭ ﻳﺴﺘﻨﺪ‬ ‫ﺍﻷﺳﻄﻮﺭﺓ ﺍﻟﻄﺒﻴﻌﻴﺔ‪ :‬ﻭ ﺗﻔﻴﺪ ﺑﺄﻥ ﺍﻷﺳﺎﻃﲑ ﻗﺪ ﺧﻠﻘﺖ ﻟﺘﻔﺴﲑ ﺍﻟﻈﻮﺍﻫﺮ ﺍﻟﻄﺒﻴﻌﻴﺔ‪،‬‬
‫ﺃﺻﺤﺎﺏ ﻫﺬﺍ ﺍﻟﺰﻋﻢ ﺇﱃ ﺃﻥ ﺍﻹﻧﺴﺎﻥ ﺍﻟﻘﺪﱘ ﺟﻌﻞ ﺍﻟﺒﻌﺾ ﻣﻦ ﻫﺬﻩ ﺍﻟﻈﻮﺍﻫﺮ ﺁﳍﺔ ) ﺍﻟﺸﻤﺲ‪،‬‬
‫ﺍﻟﻘﻤﺮ‪ ،‬ﺍﻷﺭﺽ‪ (...‬ﻳﺘﻀﺮﻉ ﺇﻟﻴﻬﺎ ﻟﺘﻘﻴﻪ ﻣﻦ ﺷﺮ ﻏﻀﺒﻬﺎ) ﺍﻟﻜﺴﻮﻑ‪ ،‬ﺍﳋﺴﻮﻑ‪ ،‬ﺍﻟﺰﻻﺯﻝ‪(...‬‬
‫ﻭ ﻳﺴﺄﳍﺎ ﻛﻞ ﺧﲑﻫﺎ‪.‬‬

‫ﺍﻷﺳﻄﻮﺭﺓ ﺍﻟﺘﺎﺭﳜﻴﺔ‪ :‬ﺃﻣﺎ ﻋﻦ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻓﻨﺠﺪﻩ ﳚﻨﺢ ﺇﱃ ﺍﻟﺘﺄﻛﻴﺪ ﺃﻥ ﻛﻞ ﺃﺳﻄﻮﺭﺓ ﻫﻲ ﰲ‬

‫ﺍﻷﺻﻞ ﺣﺪﺙ ﺗﺎﺭﳜﻲ ﺃﺣﺎﻃﺘﻪ ﺍﻟﺬﺍﻛﺮﺓ ﺍﻟﺒﺸﺮﻳﺔ ﺑﻄﺒﻘﺎﺕ ﻣﻦ ﺍﻷﺣﺪﺍﺙ ﻧﺴﺠﺘﻬﺎ ﺃﺧﻴﻠﺘﻬﻢ‪.‬‬
‫ﻓﺈﺫﻥ‪ ،‬ﺇﺫﺍ ﺣﺎﻭﻟﻨﺎ ﺍﻟﺘﻌﺮﻑ ﺇﱃ ﺃﻱ ﺑﻴﺌﺔ ﺗﻨﺘﻤﻲ ﻫﺬﻩ ﺍﻷﺳﻄﻮﺭﺓ ﺃﻭ ﺗﻠﻚ ﻧﻘﺒﻨﺎ ﻋﻦ ﺍﳊﺪﺙ‬
‫ﺍﻷﺻﻠﻲ ﻭ ﺃﺳﻨﺪﻧﺎﻩ ﺇﱃ ﺑﻴﺌﺘﻪ ﺍﻷﺻﻠﻴﺔ ﻭ ﻫﺬﺍ ﺍﻷﻣﺮ ﻟﻴﺲ ﺑﺎﻟﻴﺴﲑ ﻛﻤﺎ ﻳﺒﺪﻭ ﺑﻞ ﻗﺪ ﻳﻜﻮﻥ‬
‫*‪ -‬ﻣﻮﺳﻮﻋﺔ ﻭﻳﻜﻴﺒﻴﺪﻳﺎ‪/http://ar.wikipedia.org/wiki :‬‬

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‫ﺃﺣﻴﺎﻧﺎ ﻣﻦ ﺍﳌﺴﺘﺤﻴﻞ ﺍﻟﻜﺸﻒ ﻋﻨﻪ‪ .‬ﻓﻼ ﳝﻜﻦ ﺇﺯﺍﺣﺔ‪.‬ﺗﺮﺍﻛﻤﺎﺕ ﻗﺮﻭﻥ ﻣﻦ ﺍﻷﺧﺒﺎﺭ ﺣﻮﻟﻪ‪ ،‬ﻭ‬
‫ﻫﺬﺍ ﺃﻣﺮ ﺁﺧﺮ ﻗﺪ ﻳﻄﻮﻝ ﺷﺮﺣﻪ ﺇﺫﺍ ﻣﺎ ﺧﻀﻨﺎ ﻓﻴﻪ‪ .‬ﻓﻬﻲ ﺇﺫﻥ ﺑﺬﻟﻚ ﻧﻮﻉ ﻣﻦ ﺍﻟﺘﺪﻭﻳﻦ ﺍﻟﺒﺪﺍﺋﻲ‬
‫ﻟﻠﺘﺎﺭﻳﺦ ﻭ ﻟﻪ ﺑﻌﺪﻩ ﺍﻷﺧﻼﻗﻲ‪.‬‬

‫ﳝﻜﻨﻨﺎ ﺍﺳﺘﻘﺮﺍﺀ ﻧﺸﺄﺓ ﺍﻷﺳﺎﻃﲑ ﻣﻦ ﺧﻼﻝ ﺍﻟﻘﺮﺁﻥ‪.‬ﺳﺘﻘﻮﻟﻮﻥ ﻛﻴﻒ ﺫﻟﻚ؟ ﺃﻭﱂ ﳛﺎﻭﻝ‬
‫ﺍﺳﺘﺌﺼﺎﳍﺎ ﻣﻦ ﺍ‪‬ﺘﻤﻌﺎﺕ ﺍﻹﺳﻼﻣﻴﺔ ﻋﻠﻰ ﺃﺳﺎﺱ ﺧﻠﻔﻴﺘﻴﻬﺎ ﺍﻟﺪﻳﻨﻴﺔ ﻭ ﺍﻟﻌﻘﺎﺋﺪﻳﺔ‪ ،‬ﻓﺄﺟﻴﺐ ﱂ‬
‫ﻳﻔﺼﻞ ﰲ ﺍﻷﻣﺮ ﻭ ﻟﻜﻦ ﺫﻛﺮ ﺍﻷﺭﺿﻴﺔ ﺍﻷﻭﱃ ﺍﻟﱵ ﻋﻠﻰ ﺃﺳﺎﺳﻬﺎ ﺧﻠﻘﺖ ﻫﺬﻩ ﺍﻷﺳﺎﻃﲑ ‪،‬ﻓﻘﺼﺔ‬
‫ﺳﻴﺪﻧﺎ ﺃﺩﻡ ﻛﺎﻧﺖ ﺍﻟﻘﺎﻋﺪﺓ ﺍﳊﻘﻴﻘﻴﺔ ﺍﻟﱵ ﺑﻨﻴﺔ ﻓﻮﻗﻬﺎ ﺍﻷﺳﺎﻃﲑ ﻓﻴﻤﺎ ﺑﻌﺪ‪،‬ﻣﻦ ﻣﻨﻄﻠﻖ ﺃ‪‬ﺎ ﺣﻘﻴﻘﺔ‬
‫ﺗﺮﺍﻛﻤﺖ ﺣﻮﳍﺎ ﺍﳋﺮﺍﻓﺎﺕ ﻓﺼﺎﺭﺕ ﺍﳊﻘﻴﻘﺔ ﻓﻴﻬﺎ ﺧﻴﺎﻻ ﺑﺎﻫﺘﺎ ﺃﻋﺎﺩﻩ ﺍﻟﻘﺮﺁﻥ ﺇﱃ ﺍﻟﻈﻬﻮﺭ ﳎﺪﺩﺍ‬
‫ﻭ ﳝﻜﻦ ﺃﻥ ﻳﻔﺴﺮ ﺃﻭ ﳛﻜﻰ ﻋﻠﻰ ﺍﻟﺸﻜﻞ ﺍﻟﺘﺎﱄ‪:‬‬

‫ﺑﺴﻢ ﺍﷲ ﺍﻟﺮﲪﻦ ﺍﻟﺮﺣﻴﻢ‪:‬‬

‫ﻗﺎﻝ ﺍﷲ ﺗﻌﺎﱃ‪:‬‬
‫‪1‬‬
‫"ﻭ ﻋﻠﻢ ﺁﺩﻡ ﺍﻷﲰﺎﺀ ﻛﻠﻬﺎ‪"....‬‬

‫ﺧﻠﻖ ﺍﷲ ﺍﻟﺴﻤﻮﺍﺕ ﻭ ﺍﻷﺭﺽ ﻭ ﻛﻞ ﺍﳋﻠﻴﻘﺔ‪ ...‬ﰒ ﺧﻠﻖ ﺍﻹﻧﺴﺎﻥ"ﺁﺩﻡ" ﻋﻠﻤﻪ ﺍﻷﺷﻴﺎﺀ‬

‫ﻭ ﻣﺴﻤﻴﺎ‪‬ﺎ ﻛﻠﻬﺎ – ﻭﻟﻠﺸﻲﺀ ﺣﻆ ﻣﻦ ﺍﲰﻪ‪ -‬ﻭ ﺿﻌﻪ ﰲ ﺍﳉﻨﺔ ﻭ ﺧﻠﻖ ﻟﻪ ﻣﻦ ﻧﻔﺴﻪ ﺯﻭﺟﺔ‪،‬‬
‫ﺣﺪﺛﺖ ﺃﻣﻮﺭ ﺟﻌﻠﺖ ﺍﳋﺎﻟﻖ ﻳﻄﺮﺩ ﺍﳌﺨﻠﻮﻕ ﻣﻦ ﺟﻨﺘﻪ ﺇﱃ ﺍﻷﺭﺽ‪.‬ﺃﳒﺐ ﺁﺩﻡ ‪ ،‬ﰒ ﻋﻠﻢ ﺃﺑﻨﺎﺀﻩ‬
‫ﻣﺎ ﻋﻠﻤﻪ ﺭﺑﻪ‪ .‬ﺗﻨﺎﻗﻞ ﺍﻷﺑﻨﺎﺀ ﺍﻷﺧﺒﺎﺭ ﻭ ﺗﺪﺧﻠﺖ ﺃﻣﻮﺭ ﻛﺎﻟﻨﺴﻴﺎﻥ ﻭ ﻣﻴﻞ ﺍﻹﻧﺴﺎﻥ ﺇﱃ ﺗﻀﺨﻴﻢ‬
‫ﺍﻷﻣﻮﺭ ﻭ ‪‬ﻮﻳﻠﻬﺎ‪ .‬ﰒ ﻧﻔﻮﺭ ﺍﻹﻧﺴﺎﻥ ﻣﻦ ﺍﶈﺴﻮﺱ ﺇﱃ ﺍﳌﻠﻤﻮﺱ ﺟﻌﻠﻪ ﻳﺒﺘﻜﺮ ﺁﳍﺔ ﻭ ﳚﺴﺪﻫﺎ ﰲ‬
‫ﺃﺷﻜﺎﻝ ﻣﻌﻴﻨﺔ‪ ،‬ﻭ ﳛﻴﻚ ﺣﻮﳍﺎ ﺍﻟﻌﺠﻴﺐ ﻣﻦ ﺍﻟﻘﺼﺺ‪ .‬ﻓﻜﺎﻧﺖ ﺍﻟﻮﺟﻪ ﺍﳌﻠﻤﻮﺱ ﷲ ﺍﻟﻮﺍﺣﺪ‬
‫ﻭ ﺍﻟﺘﺠﺴﻴﺪ ﺍﻟﻔﻌﻠﻲ ﻷﲰﺎﺋﻪ ﺍﳊﺴﲎ‪ :‬ﻓﺎﻟﺮﺯﺍﻕ ﻳﻘﺎﺑﻠﻪ ﺇﻟﻪ ﺍﳋﺼﺐ‪ ،‬ﺍﻟﻨﻮﺭ ﻳﻘﺎﺑﻠﻪ ﺇﻟﻪ ﺍﻟﺸﻤﺲ‪،‬‬
‫ﺳﻮﺭﺓ ﺍﻟﺒﻘﺮﺓ‪ ،‬ﺍﻵﻳﺔ ‪.31‬‬

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‫ﺍﶈﻲ ﻭ ﺍﳌﻤﻴﺖ ﻳﻘﺎﺑﻠﻬﻤﺎ ﺇﳍﺎ ﺍﻟﻌﺎﱂ ﺍﻟﻌﻠﻮﻱ ﻭ ﺍﻟﺴﻔﻠﻲ ﻭ ﻏﲑﻫﺎ‪ ...‬ﺃﻣﺎ ﻋﻦ ﺍﳌﺨﻠﻮﻗﺎﺕ‬
‫ﺍﻷﺳﻄﻮﺭﻳﺔ ﻓﺠﺎﺀﺕ ﻭ ﺟﻮﻩ ﺃﺧﺮﻯ ﻟﻠﻤﻼﺋﻜﺔ ﻭ ﺍﳉﻦ ﻭ ﺍﻟﺸﻴﺎﻃﲔ‪.‬‬

‫ﻭ ﺟﺎﺀ ﺗﺮﻛﻴﺐ ﺗﻠﻚ ﺍﻟﺼﻮﺭ ﺍﻷﺳﻄﻮﺭﻳﺔ ﺍﻋﺘﻤﺎﺩﺍ ﻋﻠﻰ ﻣﺎ ﺭﺃﻯ ﺁﺩﻡ ﻭ ﻣﺎ ﺍﺧﺘﱪ ﰲ ﺍﳉﻨﺔ‬
‫ﻣﻀﺎﻓﺎ ﺇﻟﻴﻪ ﻣﻦ ﺧﻴﺎﻝ ﺍﻟﺬﺍﻛﺮﺓ ﺍﻟﺒﺸﺮﻳﺔ‪ .‬ﻭ ﺇﺫﺍ ﺃﺭﺩﻧﺎ ﺍﻻﺳﺘﺪﻻﻝ ﺑﺄﺩﻟﺔ ﻓﻠﻨﺎ ﺃﻥ ﳔﺘﺎﺭ ﻣﻨﻬﺎ ﻣﺎ‬
‫ﺷﺌﻨﺎ ﻋﻠﻰ ﺍﺧﺘﻼﻑ ﺍﳌﻮﺍﺿﻴﻊ ﺍﳌﻄﺮﻭﻗﺔ ﻣﻨﻬﺎ‪ :‬ﻓﻤﺜﻼ ﻋﻦ ﺑﺪﺍﻳﺔ ﺍﳋﻠﻖ ﻟﺪﻳﻨﺎ‪:‬‬

‫ﺑﺴﻢ ﺍﷲ ﺍﻟﺮﲪﻦ ﺍﻟﺮﺣﻴﻢ‪:‬‬

‫ﻗﺎﻝ ﺍﷲ ﺗﻌﺎﱃ‪:‬‬

‫"‪ ...‬ﺃﻭ ﱂ ﻳﺮ ﺍﻟﺬﻳﻦ ﻛﻔﺮﻭﺍ ﺃﻥ ﺍﻟﺴﻤﺎﻭﺍﺕ ﻭ ﺍﻷﺭﺽ ﻛﺎﻧﺘﺎ ﺭﺗﻘﺎ ﻓﻔﺘﻘﻨﺎﳘﺎ ﻭ ﺟﻌﻠﻨﺎ ﻣﻦ ﺍﳌﺎﺀ‬
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‫ﻛﻞ ﺷﻲﺀ ﺣﻴﺎ ﺃﻓﻼ ﻳﺆﻣﻨﻮﻥ"‬

‫ﻭ ﺗﺄﻭﻳﻞ ﺍﻟﻜﻼﻡ ﺃﻥ ﺍﻟﺴﻤﺎﻭﺍﺕ ﻭ ﺍﻷﺭﺽ ﻛﺎﻧﺘﺎ ﻣﻠﺘﺼﻘﺘﲔ‪ ،‬ﻭ ﺑﻘﺪﺭﺗﻪ ﺗﻌﺎﱃ ﻓﺼﻠﻬﻤﺎ ﻓﺄﻧﺰﻝ‬
‫ﺑﺮﲪﺘﻪ ﺍﻟﻐﻴﺚ ﻣﻦ ﺍﻟﺴﻤﺎﺀ ﻭ ﺃﻧﺒﺖ ﺑﻘﺪﺭﺗﻪ ﺍﻟﻨﺒﺎﺕ ﻣﻦ ﺍﻷﺭﺽ ﻭ ﺟﻌﻞ ﺍﳌﺎﺀ ﺃﺳﺎﺱ ﺍﳋﻠﻖ‪.‬‬

‫ﻭ ﻳﻘﺎﺑﻞ ﻫﺬﺍ ﰲ ﺍﳊﻀﺎﺭﺍﺕ ﺍﻟﻘﺪﳝﺔ)ﻋﻠﻰ ﺣﺪ ﺯﻋﻢ ﺍﳌﺨﺘﺼﲔ ﺃﻥ ﺍﳊﻀﺎﺭﺓ ﺍﻟﺒﺎﺑﻠﻴﺔ ﻭ ﺍﻟﺴﻮﻣﺮﻳﺔ‬

‫ﻭ ﺍﻟﻔﺮﻋﻮﻧﻴﺔ ﺗﻌﺪ ﻣﻦ ﺃﻗﺪﻡ ﺍﳊﻀﺎﺭﺍﺕ ﰲ ﺍﻟﻌﺎﱂ ﻭ ﺍﳌﻨﺒﻊ ﺍﻟﺬﻱ ﺍﺳﺘﻘﺖ ﻣﻨﻪ ﺍﳊﻀﺎﺭﺍﺕ‬
‫ﺍﻷﺧﺮﻯ ﺃﺳﺎﻃﲑﻫﺎ( ﻣﺎﻳﻠﻲ‪:‬‬

‫" ﻓﻔﻲ ﺍﳊﻀﺎﺭﺓ ﺍﻟﺒﺎﺑﻠﻴﺔ ﺗﺮﺩ ﺍﻷﻡ ﺍﻷﻭﱃ "ﺗﻌﺎﻣﺔ" ﻋﻠﻰ ﺷﻜﻞ ﻣﻴﺎﻩ ﺑﻼ ﺣﺪﻭﺩ ﻭ ﻻ ﺃﻃﺮﺍﻑ‪ .‬ﰲ ﺃﻋﻤﺎﻗﻬﺎ‬
‫ﻭﻟﺪ ﺍﳉﻴﻞ ﺍﻷﻭﻝ ﻣﻦ ﺍﻵﳍﺔ‪ ،‬ﻭ ﺗﻨﺎﺳﻞ ﺇﱃ ﺃﻥ ﺧﺮﺝ ﺟﻴﻞ ﻣﺘﻤﺮﺩ ﻣﻦ ﺍﻵﳍﺔ ﺍﻟﻔﺘﻴﺔ‪ ،‬ﻗﺮﺭ ﺍﳋﺮﻭﺝ ﻋﻠﻰ‬
‫ﺳﻠﻄﺔ "ﺗﻌﺎﻣﺔ" ﻭ ﺇﺣﻼﻝ ﻧﻈﺎﻡ ﺟﺪﻳﺪ‪ .‬ﻓﻘﻌﺪﻭﺍ ﺍﻟﻠﻮﺍﺀ ﻷﺷﺠﻌﻬﻢ "ﻣﺮﺩﻭﺥ" ﺍﻟﺬﻱ ﺩﺧﻞ ﰲ ﺻﺮﺍﻉ ﳑﻴﺖ‬
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‫ﻣﻊ "ﺗﻌﺎﻣﺔ" ﻓﻘﺘﻠﻬﺎ ﰒ ﻗﺴﻢ ﺟﺴﺪﻫﺎ ﻧﺼﻔﲔ‪ ،‬ﻓﻤﻦ ﻧﺼﻒ ﺭﻓﻊ ﺍﻟﺴﻤﺎﺀ ﻭ ﻣﻦ ﻧﺼﻒ ﺛﺒﺖ ﺍﻷﺭﺽ‪"...‬‬

‫‪ -1‬ﺳﻮﺭﺓ ﺍﻷﻧﺒﻴﺎﺀ‪ ،‬ﺍﻵﻳﺔ ‪30‬‬

‫‪ -2‬ﻓﺮﺍﺱ ﺍﻟﺴﻮﺍﺡ‪" :‬ﻟﻐﺰ ﻋﺸﺘﺎﺭ‪ :‬ﺍﻷﻟﻮﻫﺔ ﺍﳌﺆﻧﺜﺔ ﻭ ﺃﺻﻞ ﺍﻟﺪﻳﻦ ﻭ ﺍﻷﺳﻄﻮﺭﺓ"‪ ،‬ﺩﺍﺭ ﻋﻼﺀ‪ ،‬ﻁ‪01‬ﺹ‪54‬‬

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‫ﻭ ﺃﻣﺎ ﺍﳊﻀﺎﺭﺓ ﺍﻟﺴﻮﻣﺮﻳﺔ‪ :‬ﻓﻮﺭﺩ ﻣﺎﻳﻠﻲ‪:‬‬

‫" ﰲ ﺍﻟﺒﺪﺀ ﻛﺎﻧﺖ ﺍﻹﳍﺔ "ﳕﻮ"ﺃﺻﻞ ﺍﻟﻜﻮﻥ ﻭ ﺃﻡ ﺍﳉﻴﻞ ﺍﻷﻭﻝ ﻣﻦ ﺍﻵﳍﺔ‪ .‬ﻭ ﻗﺪ ﲣﻴﻞ‬
‫ﺍﻟﺴﻮﻣﺮﻳﻮﻥ ﺍﻣﺘﺪﺍﺩﻫﺎ ﺍﻟﺒﺪﺋﻲ ﻛﻤﻴﺎﻩ ﺃﻭﱃ ﲤﻸ ﺣﻴﺰ ﺍﳌﻜﺎﻥ ﻗﺒﻞ ﺑﺪﺀ ﺍﻟﺰﻣﺎﻥ‪.‬ﰒ ﺃﳒﺒﺖ ﺃﻭﻝ ﻛﺘﻠﺔ‬
‫ﻣﺘﻤﺎﻳﺰﺓ ﻋﻦ ﺍﳌﺎﺀ ﻭ ﻫﻲ ﻛﺘﻠﺔ ﺍﻟﺴﻤﺎﺀ ﻭ ﺍﻷﺭﺽ ﻣﻠﺘﺼﻘﺘﲔ ﰲ ﺟﺒﻞ ﺑﺪﺋﻲ ﺗﻐﻤﺮﻩ ﺍﳌﻴﺎﻩ ﻣﻦ ﻛﻞ‬
‫ﺟﺎﻧﺐ ﰲ ﺩﺍﺧﻞ ﻫﺬﺍ ﺍﳉﺒﻞ ﻭﻟﺪ ﺍﳉﻴﻞ ﺍﻷﻭﻝ ﻣﻦ ﺍﻵﳍﺔ‪ ،‬ﰒ ﺍﻧﻘﺴﻢ ﺍﳉﺒﻞ ﺇﱃ ﻧﺼﻔﲔ ﻛﻤﺎ‬
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‫ﺍﻟﺼﺪﻓﺔ‪ ،‬ﻓﺼﺎﺭ ﺍﻟﺸﻖ ﺍﻷﻋﻠﻰ ﲰﺎﺀ ﻭ ﺍﺭﺗﻔﻊ‪ ،‬ﻭ ﺻﺎﺭ ﺍﻟﺸﻖ ﺍﻷﺳﻔﻞ ﺃﺭﺿﺎ ﻭﺍﺳﺘﻘﺮ‪".‬‬

‫ﺃﻣﺎ ﻋﻦ ﺍﳊﻀﺎﺭﺓ ﺍﳌﺼﺮﻳﺔ‪ :‬ﻓﻮﺭﺩﺕ ﺍﻟﺮﻭﺍﻳﺔ ﻋﻠﻰ ﺍﻟﺸﻜﻞ ﺍﻟﺘﺎﱄ‪:‬‬

‫ﻛﺎﻥ ﺍﻹﻟﻪ "ﺟﻴﺐ" ﺇﻟﻪ ﺍﻷﺭﺽ ‪ ،‬ﻭ "ﻧﻮﺕ" ﺇﳍﺔ ﺍﻟﺴﻤﺎﺀ ﻣﺘﺤﺪﻳﻦ‪ .‬ﻭﻗﺪ ﺗﺰﻭﺟﺎ ﺳﺮﺍ ﺩﻭﻥ‬
‫ﻣﻌﺮﻓﺔ ﺍﻹﻟﻪ "ﺭﻉ"‪ ،‬ﻭ ﳌﺎ ﻋﻠﻢ ﺑﺎﻷﻣﺮ ﺃﺭﺳﻞ "ﺷﻮ"ﺇﻟﻪ ﺍﳍﻮﺍﺀ ﻟﻴﻔﺮﻗﻬﻤﺎ‪.2‬‬

‫ﺇﺫﻥ‪ ،‬ﻳﺮﺩ ﺃﻣﺮ ﻧﺸﺄﺓ ﺍﻟﻜﻮﻥ ﰲ ﻛﻞ ﺍﳊﻀﺎﺭﺍﺕ ﻗﺪﳝﻬﺎ ﻭ ﺣﺪﻳﺜﻬﺎ ﺑﺎﻟﺸﻜﻞ ﻧﻔﺴﻪ‪ ،‬ﻭ ﻳﺼﻒ‬
‫ﺍﳊﻘﻴﻘﺔ ﻧﻔﺴﻬﺎ ﺃﻥ ﺍﻟﺴﻤﺎﺀ ﻭ ﺍﻷﺭﺽ ﻛﺎﻧﺘﺎ ﻛﺘﻠﺔ ﻭﺍﺣﺪﺓ ﰒ ﺟﺮﻯ ﺍﻟﺘﻔﺮﻳﻖ ﺑﻴﻨﻬﻤﺎ‪ ،‬ﻭ ﺃﻥ ﺍﳌﺎﺀ‬
‫ﺃﺳﺎﺱ ﺧﻠﻖ ﻛﻞ ﺷﻲﺀ‪ ،‬ﻭ ﳜﺘﻠﻒ ﻓﻘﻂ ﰲ ﺍﻟﻌﻨﺎﺻﺮ ﺍﶈﺮﻛﺔ ﻟﻠﺤﺪﺙ ﺃﻱ ﺍﻵﳍﺔ ﺣﺴﺐ ﻣﻌﺘﻘﺪ‬
‫ﻛﻞ ﺣﻀﺎﺭﺓ‪ ،‬ﻓﺴﻮﺀﺍ ﻛﺎﻧﺖ ﺍﻟﺴﻤﺎﺀ ﻭ ﺍﻷﺭﺽ ﻛﺘﻠﺔ ﻭﺍﺣﺪﺓ‪ ،‬ﺃﻭ ﻛﺎﻧﺖ ﺷﺨﺼﺎ ﺇﳍﻴﺎ ﻭﺍﺣﺪ‬
‫ﺃﻭ ﺯﻭﺟﲔ ﺇﺛﻨﲔ‪ ،‬ﻻ ﻳﻨﻔﻲ ﺍﺗﺼﺎﳍﻤﺎ ﻭ ﺣﻘﻴﻘﺔ ﻓﺼﻠﻬﻤﺎ ﻭ ﲢﻮﳍﻤﺎ ﺇﱃ ﺍﻟﺸﻜﻞ ﺍﻟﺬﻱ ﻧﻌﺮﻓﻪ‬
‫ﺍﻟﻴﻮﻡ ﻭﺫﻟﻚ ﺇﻣﺎ ﺑﻔﻌﻞ ﻗﻮﻯ ﻋﻠﻮﻳﺔ ﺃﻭ ﺃﻥ ﺍﻷﻣﺮ ﻭﻟﻴﺪ ﺍﻟﺼﺪﻓﺔ ﺍﻟﺒﺤﺘﺔ‪.‬‬

‫ﻓﺘﺠﺘﻤﻊ ﻟﺪﻳﻨﺎ ﺍﳌﻼﺣﻈﺔ ﺍﻟﺘﺎﻟﻴﺔ ﺃﻧﻪ ﻣﻬﻤﺎ ﺍﺧﺘﻠﻔﺖ ﺍﻷﺯﻣﻨﺔ ﻭ ﺍﻷﻣﻜﻨﺔ ﻓﺈﻥ ﺍﳊﻤﻮﻻﺕ‬
‫ﺍﻷﺳﻄﻮﺭﻳﺔ ﺍﻟﱵ ﺗﺼﻞ ﺇﻟﻴﻨﺎ ﻭﺍﺣﺪﺓ ‪ ،‬ﻓﻘﺪ ﺗﺘﻐﲑ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﱵ ﲢﺮﻛﻬﺎ‪ ،‬ﻭ ﻗﺪ ﺗﺘﻔﺎﻭﺕ‬

‫‪ -1‬ﻓﺮﺍﺱ ﺍﻟﺴﻮﺍﺡ ‪ .‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.53‬‬

‫‪ -2‬ﺟﻴﻤﺲ ﻭﻳﻐﻞ‪ : :‬ﺩﺭﺍﺳﺔ ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﺗﺮﲨﺔ ‪ :‬ﻓﺘﺢ ﻛﺴﺎﺏ ﺹ‪www. 4shred.com.02‬‬

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‫ﻧﺴﺒﺔ ﻓﻌﺎﻟﻴﺘﻬﺎ ﻣﻦ ﺣﻀﺎﺭﺓ ﺇﱃ ﺃﺧﺮﻯ‪ ،‬ﻟﻜﻦ ﺗﺒﻘﻰ ﺍﻷﺣﺪﺍﺙ ﻧﻔﺴﻬﺎ ﻋﻠﻰ ﻣﺮ ﺍﻟﻌﺼﻮﺭ ﻭ ﻫﺬﺍ‬
‫ﺇﻥ ﺩﻝ ﻋﻠﻰ ﺷﻲﺀ ﻓﺈﳕﺎ ﻳﺪﻝ ﻋﻠﻰ ﺃﻥ ﺍﻷﺻﻞ ﻭﺍﺣﺪ‪ .‬ﰒ ﺇﺫﺍ ﺃﺟﺮﻳﻨﺎ ﻣﻘﺎﺑﻠﺔ ﺳﺮﻳﻌﺔ ﺑﲔ ﺑﻌﺾ‬
‫ﺍﻟﻐﻴﺒﻴﺎﺕ ﺍﻟﱵ ﻣﺎﺯﺍﻝ ﻳﺘﺮﺩﺩ ﺻﺪﺍﻫﺎ ﺇﱃ ﻏﺎﻳﺔ ﺍﻟﻴﻮﻡ ﳒﺪ ﳍﺎ ﺻﺪﻯ ﰲ ﺍﻟﻔﻜﺮ ﺍﻟﻌﺮﰊ ﻭ ﺍﻟﻔﻜﺮ‬
‫ﺍﻷﺟﻨﱯ ﻋﻠﻰ ﺣﺪ ﺳﻮﺍﺀ‪ ،‬ﻓﺈﻧﻨﺎ ﻧﻌﺪﺩﻫﺎ ﰲ ﺍﻟﻨﻘﺎﻁ ﺍﻟﺘﺎﻟﻴﺔ ﻋﻠﻰ ﻋﺠﺎﻟﺔ‪:‬‬

‫‪ -‬ﻣﻮﺿﻮﻉ ﺍﳌﻮﺕ ﻭ ﺍﻻﻧﺒﻌﺎﺙ ﻟﻪ ﺣﻀﻮﺭ ﰲ ﻛﻞ ﺍﳊﻀﺎﺭﺍﺕ ﻭ ﺍ‪‬ﺘﻤﻌﺎﺕ ﻭ ﺍﻟﺜﻘﺎﻓﺎﺕ ﺇﺫ‬

‫ﻟﻄﺎﳌﺎ ﺃﺛﺎﺭﺕ ﻣﺮﺣﻠﺔ ﻣﺎ ﺑﻌﺪ ﺍﳌﻮﺕ ﺗﺴﺎﺅﻻﺕ ﺍﻟﺒﺸﺮ ﻋﻠﻰ ﻣﺮ ﺍﻟﻌﺼﻮﺭ‪ .‬ﺣﻴﺚ ﺍﻋﺘﱪﻫﺎ ﻫﺆﻻﺀ‬
‫ﺭﺣﻠﺔ ﺃﺯﻟﻴﺔ ﺗﻮﺍﺯﻱ ﺭﺣﻠﺔ ﺍﳊﻴﺎﺓ‪ ،‬ﻭ ﻟﻄﺎﳌﺎ ﻋﻨﻮﺍ ﺑﺎﻟﺘﺤﻀﲑ ﳍﺎ ﲢﻀﲑﻫﻢ ﻟﻠﺤﻴﺎﺓ‪ ،‬ﻓﻜﺎﻧﺖ ﺣﻴﺎﺓ‬
‫ﻣﻦ ﻧﻮﻉ ﺁﺧﺮ‪ ،‬ﻭ ﺭﺣﻠﺔ ﺗﺴﺘﺤﻖ ﺃﻥ ﺗﺮﲢﻞ‪ ،‬ﻓﺤﺒﻜﻮﺍ ﺣﻮﳍﺎ ﺍﳊﻜﺎﻳﺎﺕ ﻭ ﺻﻨﻌﻮﺍ ﳍﺎ ﻋﺎﳌﺎ‬
‫ﻣﺘﻔﺮﺩﺍ‪ ،‬ﻓﻴﻪ ﻛﻞ ﻭﺟﻮﻩ ﻣﺎ ﻣﺮ ﻋﻠﻰ ﺍﻹﻧﺴﺎﻥ ﻣﻊ ﻣﺴﺤﺔ ﺇﻣﺎ ﺳﻮﺩﺍﺀ ﻟﻠﻤﺬﻧﺐ ﺃﻭ ﺑﻴﻀﺎﺀ‬
‫ﻟﻠﻤﺤﺴﻦ‪ ،‬ﻓﺄﻗﺎﻣﻮﺍ ﺍﻟﻌﺎﱂ ﻋﻠﻰ ﺻﺮﺡ ﻣﻦ ﺍﻷﺳﺎﻃﲑ ﳑﺎ ﺃﺑﺪﻋﺘﻪ ﳐﻴﻠﺘﻬﻢ ﺍﻟﻐﻀﺔ‪.‬‬

‫‪ -‬ﺍﻟﺴﺤﺮ ﻭ ﺍﻟﺸﻌﻮﺫﺓ‪ :‬ﻭ ﻗﺪ ﺍﺭﺗﺒﻄﺎ ﺃﺳﺎﺳﺎ ﺑﺎﳌﻤﺎﺭﺳﺎﺕ ﺍﻟﺪﻳﻨﻴﺔ ﻭ ﻗﺪ ﺗﻜﺎﺩ ﺃﺳﺒﺎﺏ ﺍﻟﻠﺠﻮﺀ‬
‫ﺇﻟﻴﻬﺎ ﻭﺍﺣﺪ ﺓ ﻋﻨﺪ ﺍﻟﺒﺸﺮﻳﺔ ﲨﻌﺎﺀ‪ .‬ﻓﻌﻨﺪﻣﺎ ﻳﻌﺠﺰ ﺍﻟﻌﻘﻞ ﻋﻦ ﺗﻔﺴﲑ ﺍﻷﻣﻮﺭ ﻳﻠﺘﺠﺄ ﺍﻟﻨﺎﺱ ﻋﻠﻰ‬
‫ﺍﺧﺘﻼﻓﻬﻢ ﺇﱃ ﺍﻟﺴﺤﺮ ﻛﺤﻞ ﻳﻘﻴﻬﻢ ﺷﺮ ﺍﳌﺴﺎﺀﻟﺔ ﺃﻣﺎﻡ ﺃﻧﻔﺴﻬﻢ ﻭ ﺃﻣﺎﻡ ﺃﻗﺮﺍ‪‬ﻢ‪ ،‬ﻓﻜﺎﻥ ﻭﺳﻴﻠﺘﻬﻢ‬
‫ﻟﻠﻌﻼﺝ‪ ،‬ﻭ ﺍﻟﺘﻘﺮﺏ ﻣﻦ ﺍﻵﳍﺔ‪ ،‬ﻭ ﺍﻟﻌﻘﺎﺏ ﺍﻟﻘﺎﺳﻲ ﻟﻠﻤﺴﻴﺌﲔ‪ ،‬ﻭ ﲪﻞ ﰲ ﻃﻴﺎﺗﻪ ﺍﳉﻮﺍﺏ ﻟﻜﻞ‬
‫ﺇﺷﻜﺎﻝ‪ .‬ﻭ ﻫﻜﺬﺍ ﻛﺎﻥ ﺍﻟﺴﺤﺮ‪ ،‬ﻭ ﻫﻜﺬﺍ ﻛﺎﻧﺖ ﺍﻟﺸﻌﻮﺫﺓ‪.‬‬

‫‪ -‬ﺍﻟﺼﺮﺍﻉ ﺍﻷﺯﱄ ﺑﲔ ﺍﳋﲑ ﻭ ﺍﻟﺸﺮ‪ :‬ﻓﻤﺎ ﻣﻦ ﺇﻟﻪ ﺃﻭ ﺑﻄﻞ ﻣﺆﻟﻪ ﺇﻻ ﻭ ﻟﻪ ﻋﺪﻭ‪ ، .‬ﻓﻌﺎﱂ‬
‫ﺍﻷﺳﻄﻮﺭﺓ ﻫﺬﺍ‪ ،‬ﺍﺧﺘﻠﻔﺖ ﻓﻴﻪ ﺍﻟﻔﻮﺍﺭﻕ ﻛﻠﻬﺎ ﺇﺫ ﺃﺻﺒﺤﺖ ﺍﻵﳍﺔ ﺑﺸﺮﻳﺔ ﰲ ﺗﻌﺎﻣﻠﻬﺎ ﻣﻊ ﺑﻌﻀﻬﺎ‬
‫ﺍﻟﺒﻌﺾ‪ ،‬ﺃﺻﺒﺤﺖ ﺗﻐﻀﺐ ﻣﻦ ﺑﻌﻀﺎﻫﺎ ﺍﻟﺒﻌﺾ ﻭ ﲢﻴﻚ ﺍﳌﻜﺎﺋﺪ ﻭ ﺗﺪﺑﺮ ﺍﳌﺆﺍﻣﺮﺍﺕ*‪ ،‬ﻓﻴﻤﺎ‬
‫*‪-‬ﺃ‪.‬ﻧﻴﻬﺎﺭﺩﺕ‪ " :‬ﺍﻵﳍﺔ ﺍﻷﺑﻄﺎﻝ ﰲ ﺍﻟﻴﻮﻧﺎﻥ ﺍﻟﻘﺪﳝﺔ"‪/‬ﺗﺮﲨﺔ ﻫﺎﺷﻢ ﲪﺎﺩﻱ‪،‬ﻁ‪ : 1994 1‬ﳝﻜﻦ ﺍﻹﻃﻼﻉ ﻋﻠﻴﻪ‪ ،‬ﻓﺈﻧﻪ ﳛﻤﻞ ﻣﺜﺎﻻ ﻭﺍﺿﺢ‬
‫ﻋﻦ ﺣﻴﺎﺓ ﺍﻵﳍﺔ ﻭ ﺗﻌﺎﻣﻼ‪‬ﻢ ﻣﻊ ﺑﻌﻀﻬﻢ ﺍﻟﺒﻌﺾ‪.‬‬

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‫ﺃﺻﺒﺢ ﺍﻟﺒﺸﺮ ﺁﳍﺔ ﰲ ﺗﻌﺎﻣﻠﻬﻢ ‪ ,‬ﺣﻴﺚ ﺃﺻﺒﺤﻮﺍ ﻣﺜﺎﻻ ﻟﻠﻌﻄﺎﺀ ﻭ ﺍﳌﺴﺎﳏﺔ‪ ،‬ﻛﻤﺎ ﺍﻧﺪﳎﺖ‬
‫ﺍﳊﻴﻮﺍﻧﺎﺕ ﻣﻊ ﺃﻭﻟﺌﻚ ﻭ ﻫﺆﻻﺀ‪ ،‬ﻓﺄﺻﺒﺤﺖ ﺟﺰﺀﺍ ﻣﻦ ﺗﻜﻮﻳﻨﻬﻢ ﺍﻟﻌﻘﻠﻲ ﻭ ﺍﳉﺴﻤﺎﱐ‪.‬‬
‫ﻭ ﺳﺮﺩﺕ ﺃﺧﺒﺎﺭﻫﻢ ﰲ ﺷﻜﻞ ﻗﺼﺔ" ‪‬ﺪﻑ ﻣﻦ ﺑﲔ ﺃﻫﺪﺍﻓﻬﺎ ﺇﱃ ﻃﺮﺡ ﺇﺷﻜﺎﻟﻴﺔ ﺍﻟﺼﺮﺍﻉ‬
‫ﺍﻷﺯﱄ ﺑﲔ ﺍﳋﲑ ﻭ ﺍﻟﺸﺮ ﻋﻦ ﻃﺮﻳﻖ ‪‬ﻮﻳﻞ ﺍﻷﺣﺪﺍﺙ ﻭ ﺗﺸﺎﺑﻜﻬﺎ ﻭ ﺗﻌﻘﹼﺪﻫﺎ ﰒ ﺣﻠﹼﻬﺎ‪ ،‬ﻣﻌﺘﻤﺪﺓ‬
‫ﻋﻠﻰ ﺇﺑﺮﺍﺯ ﻋﺪﺩ ﻣﻦ ﺍﻟﺜﻨﺎﺋﻴﺎﺕ ﺍﻟﻀﺪ‪‬ﻳﺔ ﺍﻟﱵ ﺗﺴﻮﺩ ﰲ ﺍ‪‬ﺘﻤﻌﺎﺕ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻣﻦ ﺷ ‪‬ﺮ ﻭ ﺧﲑ‪،‬‬
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‫ﻭ ﻗﺒﺢ ﻭ ﲨﺎﻝ‪ ،‬ﻭ ﺿﻌﻒ ﻭ ﻗﻮﺓ‪ ،‬ﻭ ﻃﻴﺶ ﻭ ﺣﻜﻤﺔ‪ ،‬ﻭ ﻏﺒﺎﺀ ﻭ ﺫﻛﺎﺀ ‪ ...‬ﺇﱁ"‬

‫‪ -‬ﻧﻔﺲ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻣﺘﺪﺍﻭﻟﺔ ﻣﻦ ﺁﳍﺔ ﻭ ﺃﺑﻄﺎﻝ ﻣﺆﳍﺔ ﻭ ﲣﺘﻠﻒ ﻓﻘﻂ ﻣﺴﻤﻴﺎ‪‬ﻢ ﻭ ﻭﺟﻬﺔ‬
‫ﺍﻟﻨﻈﺮ ﺇﻟﻴﻬﻢ‪ .‬ﻓﺎﻷﺳﻄﻮﺭﺓ ﻭﺍﺣﺪﺓ ﰲ ﺍﻟﻌﺎﱂ ﻭ ﲣﺘﻠﻒ ﻓﻘﻂ ﺃﻭﺟﻬﻬﺎ ﻭ ﻃﺮﻳﻘﺔ ﲡﺴﺪﻫﺎ‬
‫ﻭ ﺗﻔﺎﻋﻠﻬﺎ ﰲ ﺍ‪‬ﺘﻤﻊ ﻣﻦ ﺛﻘﺎﻓﺔ ﺇﱃ ﺃﺧﺮﻯ‪.‬‬

‫ﻭ ﻏﲑﻫﺎ ﻣﻦ ﺍﳌﻮﺍﺿﻴﻊ ﺍﳌﻄﺮﻭﻗﺔ ﺍﻟﱵ ﺗﻌﻄﻲ ﻛﻞ ﻣﺮﺓ ﺑﺘﻐﻴﲑ ﺗﻔﺼﻴﻞ ﻣﻦ ﺗﻔﺼﻴﻼ‪‬ﺎ ﻧﻔﺤﺔ‬
‫ﺟﺪﻳﺪﺓ ﺗﺒﲎ ﻋﻠﻰ ﺃﻧﻘﺎﺿﻬﺎ ﺃﺳﻄﻮﺭﺓ ﺟﺪﻳﺪﺓ‪ ،‬ﳎﺘﻤﻊ ﺟﺪﻳﺪ‪ ،‬ﺣﻀﺎﺭﺓ ﺟﺪﻳﺪﺓ‬
‫ﻭ ﺑﺎﻟﺘﺎﱄ ﺣﻴﺎﺓ ﺟﺪﻳﺪﺓ‪ .‬ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‪ ،‬ﻫﻨﺎﻙ ﺃﻣﺮ ﻭﺍﺣﺪ ﺑﺴﻴﻂ ﳝﻜﻨﻨﺎ ﺍﻻﺳﺘﺪﻻﻝ ﺑﻪ ﻋﻦ‬
‫ﺻﺤﺔ ﻣﺎ ﺫﻫﺒﻨﺎ ﺇﻟﻴﻪ‪ .‬ﻓﻠﻮ ﺣﺎﻭﻟﻨﺎ ﺩﺭﺍﺳﺔ ﺍﻟﺘﻮﺯﻳﻊ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻭ ﻳﺒﺪﺃ ﺍﻷﻣﺮ ﻣﻦ ﺍﻟﻌﺎﺋﻠﺔ ﻓﻬﻲ‬
‫ﺍﳌﻜﻮﻥ ﺍﻷﺳﺎﺳﻲ ﻟﻠﻤﺠﺘﻤﻊ ﻗﺪﳝﺎ ﻭ ﺣﺪﻳﺜﺎ‪ ،‬ﳒﺪ ﻧﻔﺲ ﺍﻟﺘﻘﺴﻴﻢ ﻋﻨﺪ ﻛﻞ ﺍ‪‬ﺘﻤﻌﺎﺕ ﻋﻠﻰ‬
‫ﺍﺧﺘﻼﻑ ﺃﻋﺮﺍﻗﻬﺎ ﻭ ﺛﻘﺎﻓﺎ‪‬ﺎ ﻭ ﺍﻟﺒﻴﺌﺎﺕ ﺍﻟﱵ ﺗﻮﺍﺟﺪﺕ ‪‬ﺎ ﻋﻠﻰ ﻣﺮ ﺍﻟﻌﺼﻮﺭ‪ ،‬ﲝﻴﺚ ﺗﺒﺪﻱ ﻧﻔﺲ‬
‫ﺍﻻﻫﺘﻤﺎﻣﺎﺕ ﺍﻟﻴﻮﻣﻴﺔ ﻣﻦ ﺗﺄﻣﲔ ﻟﻠﻐﺬﺍﺀ ﻭ ﺍﻻﺳﺘﻘﺮﺍﺭ‪...‬ﻭ ﻏﲑﻫﺎ* ‪ ،‬ﻭ ﲣﺘﻠﻒ ﻣﻦ ﻋﺼﺮ ﺇﱃ‬
‫ﺁﺧﺮ ﻭ ﻣﻦ ﺑﻴﺌﺔ ﺇﱃ ﺃﺧﺮﻯ ﰲ ﺷﻜﻞ ﻣﻦ ﻳﺘﺴﻠﻢ ﻣﻘﺎﻟﻴﺪ ﺍﳊﻜﻢ ﺍﻟﱵ ﻛﺎﻧﺖ ﰲ ﺑﺎﺩﺉ ﺍﻷﻣﺮ ﰲ‬
‫ﻳﺪ ﺍﻷﻡ ﰒ ﺳﺮﻋﺎﻥ ﻣﺎ ﺍﻧﺘﻘﻠﺖ ﺇﱃ ﺍﻷﺏ‪ ،‬ﻟﺬﻟﻚ ﳒﺪ ﺃﺳﺎﻃﲑ ﺍﳋﻠﻖ ﻭ ﺍﻟﺘﻜﻮﻳﻦ ﺑﺪﺃﺕ ﺍﳋﻠﻖ‬

‫‪ - 1‬ﺩ‪ .‬ﳏﻤ‪‬ﺪ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﻳﻮﻧﺲ‪ ":‬ﻣﻘﺎﺭﺑﺎﺕ ﻧﻈﺮﻳﺔ ﰲ ﺃﳘﻴﺔ ﺍﻷﺳﻄﻮﺭﺓ ﻭﻣﻜﺎﻧﺘﻬﺎ ﻭﻣﺼﺎﺩﺭﻫﺎ ﻭﺁﻓﺎﻕ ﺗﻮﻇﻴﻔﻬﺎ ﰲ ﺍﳋﻄﺎﺏ ﺍﻟﺸﻌﺮﻱ ﺍﻟﻌﺮﰊ‬
‫ﺍﳌﻌﺎﺻﺮ"ﳎﻠﺔ ﺟﺴﻮﺭ ﺍﻹﻟﻜﺘﺮﻭﻧﻴﺔ ﺹ‪02‬‬

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‫ﺑﺈﳍﺔ ﺃﻧﺜﻰ ﰒ ﺃﺻﺒﺢ ﺍﻹﻟﻪ ﺍﻟﺬﻛﺮ ﻣﺴﻴﻄﺮﺍ ﻋﻠﻰ ﻛﺎﻣﻞ ﺍﳊﻴﺎﺓ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭ ﺗﺮﺍﺟﻌﺖ ﺳﻠﻄﺔ ﺍﻷﻡ‬
‫ﻧﺴﺒﻴﺎ‪ ،‬ﻭ ﺍﻟﺼﺮﺍﻋﺎﺕ ﺍﻟﱵ ﻧﺘﺠﺖ ﻋﻦ ﺍﻧﺘﻘﺎﻝ ﺍﳊﻜﻢ ﺃﺑﺪﺕ ﺃﺛﺮﺍ ﻭﺍﺿﺤﺎ ﰲ ﺍﻷﺳﺎﻃﲑ‪ .‬ﻭﻳﻜﻮﻥ‬
‫ﺫﻟﻚ ﻋﺎﺩﺓ ﰲ ﺷﻜﻞ ﺛﻮﺭﺓ ﺃﻭ ﺍﻧﻘﻼﺏ ﻳﻘﻮﺩﻩ ﺃﻗﻮﻯ ﺍﻵﳍﺔ ﺿﺪ ﺍﻷﻡ ﺍﻟﻜﱪﻯ ﻭ ﻳﺴﺘﻠﻢ ﺑﺬﻟﻚ‬
‫ﺍﳊﻜﻢ‪ ،‬ﻭ ﺗﺪﺧﻞ ﺍﻟﺒﺸﺮﻳﺔ ﻋﺼﺮﺍ ﺟﺪﻳﺪﺍ ﻳﺴﺘﻠﻢ ﻓﻴﻪ ﺍﻟﺬﻛﺮ ﻋﺠﻠﺔ ﺍﻟﻘﻴﺎﺩﺓ‪ ،‬ﻭ ﻫﻜﺬﺍ ﻛﻠﻤﺎ‬
‫ﻋﺮﻓﺖ ﺍﻟﺒﺸﺮﻳﺔ ﻣﻨﻌﺮﺟﺎ ﺟﺪﻳﺪﺍ ﰲ ﺣﻴﺎ‪‬ﺎ ﻇﻬﺮ ﺫﻟﻚ ﻋﻠﻰ ﻣﺎ ﺗﻨﺘﺠﻪ ﻣﻦ ﺃﺳﺎﻃﲑ‪.‬‬

‫ﻭ ﻣﺎ ﺃﻗﺼﺪﻩ ﻣﻦ ﻫﺬﺍ ﻛﻠﻪ ﺃﻥ ﻟﻠﺒﺸﺮ ﻋﻠﻰ ﻣﺮ ﺍﻟﻌﺼﻮﺭ ﻧﻔﺲ ﺍﻻﻫﺘﻤﺎﻣﺎﺕ‪ ،‬ﻭ ﻧﻔﺲ ﺍﳌﺸﺎﻛﻞ‪،‬‬
‫ﳜﺘﻠﻔﻮﻥ ﰲ ﺷﻜﻞ ﻃﺮﺣﻬﺎ ﻭ ﻣﻨﻈﻮﺭ ﻣﻘﺎﺭﺑﺘﻬﺎ ﻣﻦ ﳎﺘﻤﻊ ﺇﱃ ﺁﺧﺮ‪ ،‬ﺃﻱ ﻧﻔﺲ ﺍﻷﺭﺿﻴﺔ ﺍﳋﺼﺒﺔ‬
‫ﺍﻟﱵ ﺗﺒﲎ ﻋﻠﻴﻬﺎ ﺍﻷﺳﺎﻃﲑ ﻭ ﺗﺰﺩﻫﺮ‪ ،‬ﻷ‪‬ﺎ ﺗﻨﺒﻊ ﻣﻦ ﻭﺍﻗﻊ ﺍﳊﻴﺎﺓ ﺍﻟﻴﻮﻣﻴﺔ ﻟﻠﺒﺸﺮ‪ ،‬ﻭ ﺗﺮﺻﺪ ﺃﺩﻕ‬
‫ﺗﻐﻴﲑ ﻳﻄﺮﺃ ﻋﻠﻴﻬﺎ‪ ،‬ﳍﺬﺍ ﻛﺎﻧﺖ ﻭﺍﺣﺪﺓ ﻋﻨﺪ ﻛﻞ ﺍﻟﺸﻌﻮﺏ ﻋﻠﻰ ﻣﺮ ﺍﻟﺘﺎﺭﻳﺦ‪ ،‬ﻭﻋﱪﺕ ﻋﻦ‬
‫ﺣﻘﻴﻘﺔ ﻭﺍﺣﺪﺓ‪.‬‬

‫ﺍﻷﺳﻄﻮﺭﺓ ﺍﻷﺩﺑﻴﺔ‪:‬‬

‫"ﺇﻥ ﺍﻷﺩﺏ ﻓﻌﺎﻟﻴﺔ ﺇﺑﺪﺍﻋﻴﺔ ﺫﺍﺕ ﻛﻴﻔﻴﺔ ﺧﺎﺻﺔ ﻭﻣﺘﻌﺎﻟﻴﺔ ﻹﻋﺎﺩﺓ ﺇﻧﺘﺎﺝ ﺍﻟﻮﺟﻮﺩ ﺍﻟﺒﺸﺮﻱ ﺑﺼﻔﺔ‬
‫ﺟﺬﺭﻳﺔ ﻭ ﺷﺎﻣﻠﺔ‪ 1"..‬ﻫﻜﺬﺍ ﻫﻮ ﺍﻷﺩﺏ‪ ،‬ﺃﻭ ﻣﺎ ﻧﻌﺘﻘﺪ ﺃﻧﻪ ﺣﱴ ﺍﻵﻥ‪ .‬ﻭ ﻫﻮ ﳛﺎﻛﻲ ﺑﺸﻜﻞ ﺃﻭ‬
‫ﺑﺂﺧﺮ ﺟﻮﻫﺮ ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﻓﻌﻠﻰ ﻋﻜﺲ ﺍﻟﻌﻠﻢ ﺍﻟﺬﻱ ﳛﺎﻭﻝ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﺍﳊﺘﻤﻴﺔ ﺍﻟﱵ ﲢﻜﻢ‬
‫ﻫﺬﺍ ﺍﻟﻌﺎﱂ‪ ،‬ﻭ ﺗﺴﺨﲑﻫﺎ ﻣﺎ ﺃﻣﻜﻦ ﳋﺪﻣﺘﻪ‪ ،‬ﻭ ﻋﻜﺲ ﺍﻟﻔﻠﺴﻔﺔ ﺍﻟﱵ ﺗﺘﺨﺬ ﻟﻨﻔﺴﻬﺎ ﻣﻮﻗﻒ‬
‫ﺍﳌﺮﺍﻗﺐ‪ ،‬ﻓﻬﻲ ﺗﻜﺘﻔﻲ ﲟﻘﺎﺭﺑﺘﻬﺎ ﻧﻈﺮﻳﺎ ﺩﻭﻥ ﺃﻥ ﺗﻐﺮﻡ ﻋﻨﺎﺀ ﺍﻟﺘﺪﺧﻞ‪ ،‬ﻭ ﻋﻜﺲ ﺍﻟﺪﻳﻦ ﺍﻟﺬﻱ ﻫﻮ‬
‫ﺍﺳﺘﺴﻼﻡ ﻭ ﺗﺴﻠﻴﻢ‪ ،‬ﻓﺈﻥ ﺍﻷﺩﺏ ﳛﺎﻭﻝ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﻭﻗﻊ ﻫﺬﻩ ﺍﳊﺘﻤﻴﺔ ﻋﻠﻰ ﺍﻟﻨﻔﺲ ﺍﻟﺒﺸﺮﻳﺔ‬
‫ﻭ ﺑﺎﻟﺘﺎﱄ ﺗﻌﺎﻣﻠﻪ ﻣﻌﻬﺎ ﻳﻨﺤﺼﺮ ﰲ ﺍﺳﺘﻘﺮﺍﺀ ﻫﺬﺍ ﺍﻟﺘﺄﺛﲑ ﻭ ﺍﻟﺘﻌﺒﲑ ﻋﻨﻪ ﺑﻜﻞ ﺃﺷﻜﺎﻟﻪ ﻑ" ﺍﻷﺩﺏ‬
‫*‪ -‬ﻳﻨﻈﺮ‪ :‬ﻓﺮﺍﺱ ﺍﻟﺴﻮﺍﺡ‪ . :‬ﻡ‪.‬ﺱ‪ .‬ﺹ‪15-14‬‬

‫ﻭ ﻫﻨﺎﻙ ﺃﺳﺎﻃﲑ ﻟﻠﺰﺭﻉ‪ ،‬ﻭ ﺍﳊﺼﺎﺩ‪ ،‬ﻭ ﺍﻟﺼﻴﺪ‪ ،‬ﻭ ﺍﳊﺮﺏ ﻭ ﺍﻟﺴﻠﻢ ﻭ ﻏﲑﻫﺎ‪...‬‬

‫ﻋﻠﻲ ﺍﳌﺼﺮﻱ‪ " :‬ﰲ ﺭﺣﺎﺏ ﺍﻟﻔﻜﺮ ﻭ ﺍﻷﺩﺏ" ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻌﺮﺏ ‪ ،‬ﺩﺭﺍﺳﺔ ‪1998‬ﺹ‪. 32‬‬ ‫‪-1‬‬

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‫ﰲ ﺣﻮﺍﺭﻩ ﻣﻊ " ﻭﻗﻊ ﺍﻟﻘﺎﻧﻮﻥ " ﻳﻨﻄﻠﻖ ﻣﻦ ﺍﻟﻮﺍﻗﻊ ﺍﻟﻮﺍﻗﻌﻲ ﺍﳊﺪﺛﻲ ﺍﻟﻈﺎﻫﺮﻱ ﻛﻤﺎ ﻳﻘﻴﻢ ﻭﺍﻗﻌﻪ‬
‫ﺍﻟﻔﲏ ﺍ‪‬ﺎﻭﺭ"‪ ، 1‬ﻭ ﺃﻋﺘﻘﺪ ﺃﻥ ﻫﺬﺍ ﺍﻟﺘﺄﺛﲑ ﺃﻭ ﻫﺬﺍ ﺍﻟﻮﻗﻊ ﻫﻮ ﻧﻔﺴﻪ ﺍﻟﺬﻱ ﻭﻟﺪ ﺍﻷﺳﻄﻮﺭﺓ ﰲ‬
‫ﻣﺮﺣﻠﺔ ﻣﺎ ﻭﻫﻲ ﺃﻗﺎﻣﺖ ﺑﺪﻭﺭﻫﺎ ﻋﺎﳌﻬﺎ ﺍﻟﻔﲏ ﺍ‪‬ﺎﻭﺭ –ﺇﻥ ﺟﺎﺯ ﱄ ﺍﻟﺘﻌﺒﲑ‪ ، -‬ﻓﻬﻲ ﻛﻤﺎ ﺍﻷﺩﺏ‬
‫ﺷﻜﻞ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﺘﻌﺒﲑ‪ ،‬ﻭﺍﻟﺘﻘﺖ ﻣﻌﻪ ﻟﻴﺸﻜﻼ ﻣﻌﺎ ﻣﺎ ﻳﻌﺮﻑ ﺏ"ﺍﻷﺳﻄﻮﺭﺓ ﺍﻷﺩﺑﻴﺔ"‪.‬‬

‫ﰒ ﺇﻥ ﺗﺴﻤﻴﺔ ﺍﻷﺳﻄﻮﺭﺓ ﺍﻷﺩﺑﻴﺔ ﺗﻌﱪ ﰲ ﻧﻈﺮﻱ ﺃﻛﺜﺮ ﻋﻠﻰ ﳕﻄﻴﺔ ﺍﻷﺳﻄﻮﺭﺓ ﺍﳌﺘﻐﲑﺓ ﻓﻬﻲ ﰲ‬
‫ﺍﺑﺘﻌﺎﺩﻫﺎ ﻋﻦ ﺍﻟﻌﺼﻮﺭ ﺍﻟﱵ ﻭﻟﺪﺕ ﻓﻴﻬﺎ ﺣﺎﻭﻟﺖ ﺍﻻﻧﺪﻣﺎﺝ ﰲ ﺣﻠﺔ ﺟﺪﻳﺪﺓ ﲤﺎﺷﻴﺎ ﻣﻊ ﻋﺼﺮ ﻏﲑ‬
‫ﻋﺼﺮﻫﺎ ﻷﻥ ﻋﻼﻗﺔ ﺍﻷﺩﺏ ﺑﺎﻷﺳﻄﻮﺭﺓ ﻗﺪﳝﺔ ﻗﺪﻡ ﺍﻟﺰﻣﺎﻥ‪ ،‬ﺃﻭ ﺑﺎﻷﺣﺮﻯ ﻋﻼﻗﺔ ﻛﻞ ﻣﻨﻬﻤﺎ‬
‫ﻋﻠﻰ ﺣﺪﺍ ﺑﺎﻹﻧﺴﺎﻥ‪ ،‬ﻓﻈﻬﻮﺭﳘﺎ ﻛﺎﻥ ﻣﻼﺯﻣﺎ ﻟﻈﻬﻮﺭ ﺍﻹﻧﺴﺎﻥ ﻓﻮﻕ ﺍﻷﺭﺽ‪ ،‬ﺇﺫ ﻳﻌﺘﱪ ﻛﻼﳘﺎ‬
‫ﺃﻗﺮﺏ ﺃﻧﺴﺎﻕ ﺍﻟﺘﻌﺒﲑ ﻭ ﺃﺳﺒﻘﻬﻤﺎ ﻟﻪ‪ .‬ﻭ ﺭﻏﻢ ﺫﻟﻚ ﻛﻠﻪ ﻓﺈﻥ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﱵ ﺗﻨﺎﻭﻟﺖ ﻫﺬﻩ‬
‫ﺍﻟﻌﻼﻗﺔ ﻗﺪ ﺩﺧﻠﺖ ﺍﻟﺴﺎﺣﺔ ﻣﺘﺄﺧﺮﺓ ﻓﻬﻲ ﻭﻟﻴﺪﺓ ﺍﻟﺜﻼﺛﻴﻨﻴﺎﺕ ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ‪.‬‬

‫ﻭ ﳎﻤﻞ ﻣﺎ ﳝﻜﻦ ﺃﻥ ﻧﻘﻮﻟﻪ ﻋﻨﻬﺎ ﺃ‪‬ﺎ" ﻛﻢ ﺳﺮﺩﻱ‪ ،‬ﻭ ﻛﻴﻒ ﻓﲏ‪ ،‬ﻭ ﻛﻴﻒ ﺇﺑﺪﺍﻋﻲ )‪(...‬‬
‫ﳒﺪﻫﺎ ﰲ ﳎﺎﻻﺕ ﻋﺪﺓ‪ :‬ﺍﳌﺴﺮﺡ ﻭ ﺍﳌﻮﺳﻴﻘﻰ ﻭ ﺍﻷﺩﺏ‪...‬ﻭ ﻫﻲ ﻣﻌﺮﻭﻓﺔ ﺍﳌﺆﻟﻒ‪ ،‬ﻭ ﻫﺬﺍ ﻣﺎ‬
‫ﻣﻦ ﻫﺬﺍ ﺍﳌﻨﻄﻠﻖ ﳚﻮﺯ ﺍﻋﺘﺒﺎﺭ ﻛﻞ ﻧﺘﺎﺝ‬ ‫‪2‬‬
‫ﻳﻔﻘﺪﻫﺎ ﻗﺪﺍﺳﺘﻬﺎ ﺍﻟﱵ ﺗﻠﺘﻒ ﺣﻮﳍﺎ ﻭ ﺗﺘﺒﻨﺎﻫﺎ‪".‬‬
‫ﺃﺩﰊ ﳛﺎﻛﻲ ﰲ ﻛﻠﻴﺘﻪ ﺃﻭ ﺟﺰﺋﻴﺔ ﻣﻦ ﺟﺰﺋﻴﺎﺗﻪ ﺍﻷﺳﻄﻮﺭﺓ ﺃﺳﻄﻮﺭﺓ ﺃﺧﺮﻯ ﻭﻟﻴﺪﺓ ﻗﺪ ﻻ ﺗﺘﻤﺘﻊ‬
‫ﲞﻠﻔﻴﺔ ﺍﻷﺻﻞ ﺍﻟﺪﻳﻨﻴﺔ ﺃﻭ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺃﻭ ﺍﳊﻀﺎﺭﻳﺔ ﻭ ﻣﻊ ﺫﻟﻚ ﲡﺪ ﻟﻨﻔﺴﻬﺎ ﺑﺸﻜﻞ ﺃﻭ ﺑﺂﺧﺮ ﺷﺮﻋﻴﺔ‬
‫ﻭ ﺟﻮﺩ ﰲ ﻧﻄﺎﻕ ﺍﻷﺩﺏ‪ ،‬ﻓﺈﺫﺍ ﺣﺎﻭﻟﺖ ﺍﳋﺮﻭﺝ ﻋﻨﻪ ﺃﺻﺒﺤﺖ ﺧﻴﺎﻻ ﺑﺎﻫﺘﺎ ﻻ ﻳﻠﻤﻊ ﳒﻤﻪ ﺇﻻ‬
‫ﰲ ﻇﻞ ﺍﻷﺻﻞ ﺃﻭ ﺍﻷﺻﻮﻝ ﺍﻟﱵ ﻭﻟﺪ ﻋﻨﻬﺎ‪ .‬ﳍﺬﺍ "ﻓﺈﻥ ﻛﻞ ﺃﺳﻄﻮﺭﺓ "ﻣﻮﺿﻮﻉ" ﻟﻨﺺ ﻣﻌﲔ‪،‬‬

‫‪ -1‬ﻋﻠﻲ ﺍﳌﺼﺮﻱ ﻡ‪.‬ﻥ ﺹ‪33‬‬

‫‪ -2‬ﻋﺒﺪ ﺍﳊﻠﻴﻢ ﻣﻨﺼﻮﺭﻱ‪.‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.20-19‬‬

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‫ﺑﺎﳌﻌﲎ ﺍﻟﻮﺍﺳﻊ ﻟﻠﻜﻠﻤﺔ‪ ،‬ﻭ ﻟﻜﻦ ﻟﻴﺲ ﻛﻞ ﻣﻮﺿﻮﻉ ﺃﺳﻄﻮﺭﺓ ‪ ،‬ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺃﻥ‬
‫ﺍﳌﻮﺿﻮﻋﺎﺕ ﻭ ﺍﻷﺳﺎﻃﲑ ﺗﺪﺧﻞ ﰲ ﺑﻨﻴﺔ ﺍﻟﻨﺺ‪ 1".‬ﻓﻬﻲ ﺗﺪﺧﻞ ﻋﻠﻰ ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﰲ ﻛﺎﻣﻞ‬
‫ﺃ‪‬ﺘﻬﺎ‪ ،‬ﲟﻌﲎ ﺃ‪‬ﺎ ﺗﺪﺧﻞ ﺑﻌﺎﱂ ﺃﻗﻴﻢ ﳍﺎ ﺗﺎﻡ ﺍﻟﺮﻣﻮﺯ‪ ،‬ﳏﺪﺩ ﺍﳌﻮﺿﻮﻉ‪ ،‬ﻣﻜﺘﻤﻞ ﺍﻟﺸﺨﺼﻴﺎﺕ‪،‬‬
‫ﻭ ﻻ ﻳﻜﻮﻥ ﻣﻨﻬﺎ ﺇﻻ ﺃﻥ ﺗﺘﻨﺎﺯﻝ ﻭ ﺗﺘﺒﻊ ﺍﻟﺘﻴﺎﺭ ﺍﻟﺬﻱ ﳚﺮﻱ ﺩﺍﺧﻞ ﺍﻟﻨﺺ ﺃﻭ ﻗﺪ ﺗﺘﺪﺧﻞ ﻫﻲ‬
‫ﻭ ﲤﻨﺢ ﻟﻪ ﺍﲡﺎﻫﺎ ﳏﺪﺩﺍ‪ ،‬ﻓﻬﻲ ﰲ ﺍﻷﺳﺎﺱ ﻣﻜﻮﻥ ﻣﻦ ﻣﻜﻮﻧﺎﺕ ﺑﻨﻴﺔ ﺍﻟﻨﺺ‪ .‬ﺇﺫ ﺗﺒﻘﻰ "ﺑﺎﻟﻨﺴﺒﺔ‬
‫ﻟﻸﺩﺏ ﻧﺺ ﺃﻭﱄ ﺃﻭ ﻧﺺ ﲤﻬﻴﺪﻱ ﻣﺴﺘﻮﺣﻰ ﰲ ﺣﺎﻟﺔ ﺍﻷﺳﺎﻃﲑ ﺍﻟﻘﺪﳝﺔ ﻣﻦ ﺍﻟﺘﺮﺍﺙ ﺍﻟﺸﻔﻮﻱ‪..‬‬
‫ﻣﺜﻠﻤﺎ ﺃ‪‬ﺎ ﺗﺎﺭﻳﺦ ﻳﺪﺧﻞ ﰲ ﺍﻷﺩﺏ"‪ .2‬ﻭﺍﻷﻛﻴﺪ ﺃﻥ ﺍﻷﺩﻳﺐ ﻻ ﻳﻨﺘﻈﺮ ﻣﻨﻬﺎ ﺃﻛﺜﺮ ﻣﻦ ﺫﻟﻚ‪،‬‬
‫ﻓﺄﻭﻻ ﻭﺃﺧﲑ ﻟﻦ ﺗﻜﻮﻥ ﺃﻛﺜﺮ ﻣﻦ ﺇﺿﺎﻓﺔ ﻟﻨﺼﻪ‪ ،‬ﻓﻬﺪﻓﻪ ﻣﻦ ﺇﻋﺎﺩﺓ ﺑﻌﺜﻬﺎ ﻻ ﻳﻜﻤﻦ ﰲ ﳎﺮﺩ ﺑﻌﺜﻬﺎ‬
‫ﻭ ﻫﺬﺍ ﺃﻣﺮ ﺑﺪﻳﻬﻲ‪ ،‬ﻭ ﺇﳕﺎ ﻫﻮ ﻧﻮﻉ ﻣﻦ ﺍﻹﺑﺪﺍﻉ ﺩﺍﺧﻞ ﺍﻟﺬﺍﻛﺮﺓ ﺍﳉﻤﻌﻴﺔ‪ ،‬ﻓﻌﻨﺪﻣﺎ ﻳﻜﺴﺒﻬﺎ‬
‫ﺑﻌﻀﺎ ﻣﻦ ﲡﺮﺑﺘﻪ ﺍﻟﺸﺨﺼﻴﺔ ﻭ ﺭﺅﻳﺘﻪ ﻣﺴﺘﻐﻼ ﰲ ﺫﻟﻚ ﺯﺍﻭﻳﺔ ﳏﺪﺩﺓ ﻳﻔﺪ ﺇﻟﻴﻬﺎ ﻣﻦ ﺧﻼﳍﺎ‪،‬‬
‫ﳛﺎﻭﻝ ﺃﻥ ﳚﺪ ﻟﻨﻔﺴﻪ ﻣﻮﺿﻌﺎ ﺩﺍﺧﻞ ﺫﻟﻚ ﺍﳌﻮﺭﻭﺙ ﺍﻟﺜﻘﺎﰲ ﺍﻟﺬﻱ ﳝﺘﺪ ﺇﱃ ﺣﻘﺐ ﻣﻦ ﺍﻟﺘﺎﺭﻳﺦ‬
‫ﻭ ﳛﺎﻭﻝ ﺍﻟﺘﺄﺛﲑ ﻋﻠﻴﻪ ﺑﺸﻜﻞ ﺃﻭ ﺑﺂﺧﺮ‪ .‬ﻭ ﻫﻮ ﻳﻘﻮﻡ ﺿﻤﻨﻴﺎ ﺑﻔﺘﺢ ﺍ‪‬ﺎﻝ ﻭﺍﺳﻌﺎ ﺃﻣﺎﻡ ﺍﻷﺟﻴﺎﻝ‬
‫ﺍﳌﺘﻌﺎﻗﺒﺔ ﻟﻜﻲ ﺗﻌﻴﺪ ﺳﺮﺩ ﺍﳊﻜﺎﻳﺔ ﻣﻦ ﺯﻭﺍﻳﺎ ﻋﺪﺓ‪ ،‬ﻭ ﺍﺳﺘﺨﺪﺍﻡ ﻧﻔﺲ ﺍﻟﺮﻣﻮﺯ ﰲ ﺩﻻﻻﺕ‬
‫ﻣﻐﺎﻳﺮﺓ‪ ،‬ﻓﺎﻷﺳﻄﻮﺭﺓ ﻣﻨﻔﺘﺤﺔ ﺇﱃ ﺣﺪ ﻣﺎ ﻋﻠﻰ ﻛﻞ ﺍﺳﺘﻌﻤﺎﻝ ﻣﺘﺠﺪﺩ ﻭ ﻣﺒﺪﻉ‪ ،‬ﻭ ﻗﺪ ﺗﺘﻐﲑ‬
‫ﻭﻇﻴﻔﺘﻬﺎ ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ‪.‬‬

‫ﻓﻬﺎﻫﻮ "ﺑﺎﺭﺕ"‪ 3‬ﻳﺘﻌﺎﻣﻞ ﻣﻊ ﺍﳋﻄﺎﺏ ﺍﻷﺳﺎﻃﲑﻱ ﺗﻌﺎﻣﻠﻪ ﻣﻊ ﺍﳋﻄﺎﺏ ﺍﻷﺩﰊ‪ ،‬ﻷﻧﻪ ﳚﺪ ﺃﻥ‬
‫ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﳋﺼﺎﺋﺺ ﺍﻷﺩﺑﻴﺔ ﺧﺼﺎﺋﺺ ﺃﺳﻄﻮﺭﻳﺔ ﺃﻳﻀﺎ‪ ،‬ﻓﺎﻷﺳﻄﻮﺭﺓ ﻋﻨﺪﻩ ﺩﺍﻝ‪ ،‬ﺃﺑﻌﺎﺩﻫﺎ‬
‫ﺃﻭﺳﻊ ﻣﻦ ﺍﻹﻃﺎﺭ ﺍﻟﻀﻴﻖ ﺍﻟﺬﻱ ﻭﺿﻌﻬﺎ ﺍﻟﺪﺍﺭﺳﻮﻥ ﻓﻴﻪ‪ .‬ﻻ ﻳﻘﺮ ﻣﺒﺪﺃ ﺍﻻﺳﺘﻤﺮﺍﺭﻳﺔ ﺃﻭ ﺃﻥ‬
‫‪ -1‬ﺩﺍﻧﻴﻴﻞ ‪ -‬ﻫﻨﺮﻱ ﺑﺎﺟﻮ‪ " :‬ﺍﻷﺩﺏ ﺍﻟﻌﺎﻡ ﻭ ﺍﳌﻘﺎﺭﻥ" ﺗﺮﲨﺔ ﺩ‪ .‬ﻏﺴــﺎﻥ ﺍﻟﺴــﻴﺪ‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ‪.1997‬ﺹ ‪.147‬‬
‫‪ -2‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.‬ﻥ‪.‬‬

‫‪3- *- R.Barthes: “ Mythologies”, points, seuil, p 198-207.‬‬

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‫ﻟﻸﺳﻄﻮﺭﺓ ﻗﺪﺳﻴﺔ‪ -‬ﻷﻧﻪ ﺑﺸﻜﻞ ﻣﺎ ﺻﻔﺔ ﺍﻟﻘﺪﺳﻴﺔ ﻫﻲ ﻣﺎ ﺿﻤﻦ ﳍﺎ ﺍﺳﺘﻤﺮﺍﺭﻳﺘﻬﺎ‪ -‬ﻓﻘﺪ ﲡﺎﻭﺯ‬
‫ﺃﺳﻄﻮﺭﺓ ﺃﺑﺪﻳﺔ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﻣﻘﺎﺭﺑﺘﻪ ﻣﻦ ﺧﻼﻝ ﻧﻈﺮﺓ ﺗﻮﺳﻌﻴﺔ ﻣﺴﺘﻨﺪﺍ ﺇﱃ ﻓﻜﺮﺓ ﺃﻥ ﺍﻟﻜﻮﻥ‬
‫ﻭﻋﺎﺀ ﺇﺑﺪﺍﻉ ﻻ ﻳﻨﻀﺐ‪ ،‬ﻭ ﺍ‪‬ﺎﻝ ﻓﺴﻴﺢ ﳋﻠﻖ ﺃﺳﺎﻃﲑ ﺟﺪﻳﺪﺓ‪ .‬ﺭﻏﻢ ﻛﻞ ﺫﻟﻚ‪ ،‬ﻭ ﺭﻏﻢ ﺃﻧﻨﺎ‬
‫ﻗﻠﻨﺎ ﻓﻴﻤﺎ ﺳﺒﻖ ﺃﻥ ﺍﻷﺳﻄﻮﺭﺓ ﺇﺫﺍ ﻓﻘﺪﺕ ﻗﺪﺳﻴﺘﻬﺎ ﻓﻘﺪﺕ ﺃﺳﻄﻮﺭﻳﺘﻬﺎ ﺇﻻ ﺃﻧﻪ ﻋﻠﻴﻨﺎ ﺃﻥ ﻧﻘﺮ ﺃﻥ‬
‫ﺍﻟﺰﻣﻦ ﻳﺘﻐﲑ ﻭ ﻋﻠﻴﻬﺎ ﺃﻥ ﺗﻜﻴﻴﻒ ﻧﻔﺴﻬﺎ ﻟﻀﻤﺎﻥ ﺍﺳﺘﻤﺮﺍﺭﻳﺘﻬﺎ ‪ -‬ﺍﺳﺘﻤﺮﺍﺭﻳﺔ ﻣﺎﺯﻟﺖ ﺃﻗﺮ ‪‬ﺎ ‪-‬‬
‫ﻭ ﰲ ﻋﻤﻠﻴﺔ ﺗﻜﻴﻔﻬﺎ ﻫﺬﻩ ﺣﱴ ﻭ ﺇﻥ ﻛﺎﻥ ﺫﻟﻚ ﻳﻌﲏ ﺍﻟﺘﺨﻠﻲ ﻋﻦ ﺻﻔﺔ ﺟﻮﻫﺮﻳﺔ ﻓﻴﻬﺎ‪ ،‬ﻓﺤﲔ‬
‫ﺧﻀﻮﻋﻬﺎ ﻟﺮﺅﻳﺔ ﻭ ﲨﺎﻟﻴﺔ ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﻻ ﻳﻌﲏ ﺫﻟﻚ ﺩﺍﺋﻤﺎ ﺧﻠﻖ ﺃﺳﻄﻮﺭﺓ ﺟﺪﻳﺪﺓ ﺑﻘﺪﺭ ﻣﺎ‬
‫ﻳﻌﲏ ﺃ‪‬ﺎ ﺃﺳﻄﻮﺭﺓ ﰲ ﺣﻠﺔ ﺟﺪﻳﺪﺓ‪ ،‬ﻓﻬﻲ ﺇﺭﺙ ﺑﺸﺮﻱ ﻳﺘﺸﺮﺑﻪ ﻛﻞ ﻣﺒﺪﻉ ﺣﱴ ﺍﻟﻨﺨﺎﻉ‪ ،‬ﻭ ﻻ‬
‫ﻳﻨﻔﻚ ﻳﻌﻮﺩ ﺇﻟﻴﻪ‪ ،‬ﻓﻘﺪ ﻳﺒﺪﻉ ﰲ ﺇﻋﺎﺩﺓ ﺗﺮﻛﻴﺒﻬﺎ ﺃﻭ ﰲ ﺗﻨﺴﻴﻘﻬﺎ ﻭ ﺗﻮﻇﻴﻔﻬﺎ ﻣﻊ ﻏﲑﻫﺎ ﺃﻭ ﺣﱴ‬
‫ﰲ ﺃﺳﻠﻮﺏ ﻣﻘﺎﺭﺑﺘﻬﺎ ﺇﻻ ﺃﻧﻪ ﻻ ﻳﺄﰐ ﲜﺪﻳﺪ ﻣﺎﺩﺍﻡ ﻳﺒﺪﻉ ﰲ ﻇﻞ ﺍﻟﺬﺍﻛﺮﺓ ﺍﻟﺒﺸﺮﻳﺔ ﲟﻮﺿﻮﻋﺎ‪‬ﺎ‬
‫ﺍﻟﺸﻤﻮﻟﻴﺔ‪.‬‬

‫ﻭ ﺃﻋﲏ ﺑﺬﻟﻚ ﺃﻥ ﺍﳌﺒﺪﻉ ﻋﻨﺪﻣﺎ ﳚﻤﻊ ﺃﺳﻄﻮﺭﺗﲔ ﺃﻭ ﺃﻛﺜﺮ ﰲ ﻋﻤﻠﻪ ﺍﻷﺩﰊ ﻓﺎﻟﻮﺍﺿﺢ ﺃﻥ‬
‫ﺃﺳﻄﻮﺭﺓ ﺟﺪﻳﺪﺓ ﻗﺪ ﺍﺳﺘﻘﺎﻣﺔ‪ ،‬ﻭ ﻫﺬﺍ ﻣﺎ ﻳﻘﺮﻩ ﺑﺎﺭﺕ ﺑﺸﻜﻞ ﻣﺎ ﻭ ﻟﻜﻦ ﻣﺎ ﺃﺭﻳﺪﻩ ‪‬ﺬﺍ ﻫﻮ ﺃﻥ‬
‫ﻋﻤﻠﻴﺔ ﺍﻟﺘﻮﻟﻴﺪ ﻫﺬﻩ ﻫﻲ ﻧﻔﺴﻬﺎ ﻋﻤﻠﻴﺔ ﺻﲑﻭﺭﺓ ﺗﻜﻴﻔﻴﺔ ﲤﺎﺭﺳﻬﺎ ﺍﻷﺳﻄﻮﺭﺓ ﻋﻠﻰ ﺍﻟﻌﻤﻞ‬
‫ﺍﻷﺩﰊ‪ ،‬ﻓﺎﻷﺳﻄﻮﺭﺓ ﺍﻟﻮﻟﻴﺪﺓ ﻫﻲ ﻭﺳﻴﻠﺔ ﻣﻦ ﺍﻟﻮﺳﺎﺋﻞ ﺍﻟﱵ ﺗﻌﻤﺪ ﺇﻟﻴﻬﺎ ﺍﻷﺳﺎﻃﲑ ﻟﻀﻤﺎﻥ‬
‫ﺍﺳﺘﻤﺮﺍﺭﻳﺘﻬﺎ‪ .‬ﺇﺫ ﺃﻥ ﻫﺬﻩ ﺍﻷﺳﻄﻮﺭﺓ ﺍﻟﻮﻟﻴﺪﺓ ﻻ ﻳﻠﻤﻊ ﳒﻤﻬﺎ ﺇﱃ ﰲ ﻇﻞ ﺃﺻﻠﻬﺎ‪ .‬ﰒ ﻋﻠﻴﻨﺎ ﺃﻥ‬
‫ﻻ ﻧﻨﻜﺮ" ﺃﻥ ﺍﻷﺳﺎﻃﲑ ﱂ ﺗﺼﻠﻨﺎ ﺇﻻ ﰲ ﲪﻮﻻﺕ ﺃﺩﺑﻴﺔ‪ ،‬ﺃﻱ ﺃﻧﻨﺎ ﱂ ﻧﺘﻌﺮﻑ ﻋﻠﻰ ﺷﻜﻠﻬﺎ ﺍﻷﻭﱄ‬
‫ﺑﻞ ﺃﺩﺭﻛﻨﺎﻫﺎ ﻣﺘﻔﺘﺤﺔ ﺩﺍﺧﻞ ﺃﺟﻨﺎﺱ ﺃﺩﺑﻴﺔ ﻭ ﺣﺎﻣﻠﺔ ﳋﺼﺎﺋﺺ ﺗﻠﻚ ﺍﻷﺟﻨﺎﺱ )‪ (...‬ﻛﻤﺎ ﺃ‪‬ﺎ‬
‫ﺧﺎﺿﻌﺔ ﻟﺮﺅﻯ ﲨﺎﻟﻴﺔ ﻭ ﻓﻜﺮﻳﺔ ﳝﻨﺤﻬﺎ ﺍﻟﻨﺺ‪ 1".‬ﻭﻣﻊ ﺫﻟﻚ ﺃﻗﺮﻳﻨﺎ ﺃ‪‬ﺎ ﺃﺳﺎﻃﲑ ﺭﻏﻢ ﺃﻥ‬
‫ﻗﺪﺳﻴﺘﻬﺎ ﱂ ﺗﻈﻬﺮ ﺇﻻ ﻣﻦ ﺧﻼﻝ ﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻹﺟﺘﻤﺎﻋﻴﺔ ﺍﻟﱵ ﻟﻄﺎﳌﺎ ﺍﺳﺘﻤﺮﺕ ﺑﺸﻜﻞ ﺃﻭ‬
‫ﺩ ‪-‬ﻋﺎﻣﺮ ﻋﺒﺪ ﺯﻳﺪ "ﺍﻷﺳﻄﻮﺭﺓ ﻭﺍﻷﺩﺏ ﺩﺭﺍﺳﺔ ﰲ ﺍﻟﻔﻜﺮ ﺍﻷﺳﻄﻮﺭﻱ" ﺹ‪/ http://www.adabfan.com1‬‬ ‫‪-1‬‬

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‫ﺑﺂﺧﺮ ﰲ ﻇﻞ ﻛﻞ ﺍﻟﺘﻐﲑﺍﺕ ﺍﻟﱵ ﺣﺪﺛﺖ ﻋﻠﻰ ﻣﺮ ﺍﻟﺘﺎﺭﻳﺦ‪ .‬ﻭ ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃ‪‬ﺎ ﻻ ﺗﻨﺘﻈﻢ‬
‫ﻋﺸﻮﺍﺋﻴﺎ ﲢﺖ ﻟﻮﺍﺀ ﺃﻱ ﻓﻦ ﻣﻦ ﺍﻟﻔﻨﻮﻥ‪ ،‬ﻓﺤﺴﺐ ﺭﳝﻮﻧﺪ ﺗﺮﻭﺳﻮ* ﻓﺈ‪‬ﺎ ﺗﺘﺒﻊ ﻣﺎ ﻳﻨﺎﺳﺒﻬﺎ‪ ،‬ﺃﻱ ﻣﺎ‬
‫ﻳﻨﺎﺳﺐ ﺳﺮﺩ ﺍﻷﺣﺪﺍﺙ ﻓﻴﻬﺎ‪ ،‬ﻭ ﺍﻷﻗﺪﺭ ﻋﻠﻰ ﺗﺒﻨﻴﻬﺎ ﺑﺸﻜﻠﻬﺎ ﺍﻷﺻﻠﻲ‪،‬ﻷﻥ " ﺍﻟﺮﺍﺑﻄﺔ ﺍﻟﱵ ﲡﻤﻊ‬
‫ﺑﲔ ﺍﻷﺩﺏ ﻭ ﺍﻷﺳﻄﻮﺭﺓ ﻻ ﺷﻚ ﺃ‪‬ﺎ ﻋﻼﻗﺔ ﺑﲔ ﻣﺴﺘﻮﻯ ﺍﻟﻔﻜﺮ ﻭ ﺃﺩﺍﺓ ﺍﻟﺘﻌﺒﲑ‪ ،‬ﻭ ﻻ ﺷﻚ ﺃﻥ‬
‫ﺍﻟﻌﻼﻗﺔ ﻗﻮﻳﺔ ﺑﲔ ﺍﻹﺛﻨﲔ" ‪ 1‬ﻓﻤﺜﻼ ﺍﻷﺳﺎﻃﲑ ﺍﳌﻌﻘﺪﺓ ﺍﻟﱵ ﺗﺘﻀﻤﻦ ﻣﻮﺍﻗﻒ ﻣﻌﻘﺪﺓ ﺗﻠﺠﺄ ﻋﺎﺩﺓ‬
‫ﺇﱃ ﺍﳌﺴﺮﺡ ﺑﺎﻋﺘﺒﺎﺭﻩ ﺍﻷﻛﺜﺮ ﻣﻼﺋﻤﺔ ﻟﺘﻘﻠﺒﺎ‪‬ﺎ‪ ،‬ﻭﻏﻤﻮﺿﻬﺎ‪ .‬ﻭ ﺃﻣﺎ ﺍﻷﺳﺎﻃﲑ ﺍﻟﱵ ﺗﺘﺤﺪﺙ ﻋﻦ‬
‫ﺍﻟﺒﻄﻮﻻﺕ ﻓﻴﻤﻜﻦ ﻟﻠﺮﻭﺍﻳﺎﺕ ﺃﻥ ﺗﻔﺘﺢ ﺫﺭﺍﻋﻴﻬﺎ ﳍﺎ ﻭ ﲢﺘﻀﻨﻬﺎ‪ .‬ﻭ ﺍﻟﻜﺸﻒ ﻋﻦ ﻣﻔﻬﻮﻡ‬
‫ﺍﻷﺳﻄﻮﺭﺓ ﺍﻷﺩﺑﻴﺔ ﺃﻭﺻﻞ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﳊﺪﻳﺜﺔ ﺇﱃ ﺩﺭﺍﺳﺔ ﺍﻟﺘﺠﻠﻲ ﺍﻷﺳﻄﻮﺭﻱ ﰲ ﺍﻷﺩﺏ ﺃﻭ‬
‫ﻛﻤﺎ ﻳﻄﻴﺐ ﱄ ﺗﺴﻤﻴﺘﻪ "ﺑﺎﻟﺼﺪﻯ ﺍﻷﺳﻄﻮﺭﻱ ﰲ ﺍﻷﻋﻤﺎﻝ ﺍﻷﺩﺑﻴﺔ" ﻋﻠﻰ ﺍﺧﺘﻼﻑ ﺃﻧﻮﺍﻋﻬﺎ‪،‬‬
‫ﻓﺤﻴﻨﻤﺎ ﺗﺘﺮﺩﺩ ﺃﺻﺪﺍﺀ ﺍﻷﺳﺎﻃﲑ ﰲ ﺍﻷﻋﻤﺎﻝ ﺍﻷﺩﺑﻴﺔ ﳛﺪﺙ ﻧﻮﻉ ﻣﻦ ﺭﺟﻊ ﺍﻟﺼﺪﻯ ﻳﺘﻤﻈﻬﺮ‬
‫ﻣﻦ ﺧﻼﻝ ﻣﺎ ﻳﻠﺤﻖ ‪‬ﺎ ﻣﻦ ﺗﻐﲑﺍﺕ ﻭ ﻫﺬﺍ ﻣﺎ ﻳﺴﺎﻋﺪ ﺍﻷﺳﺎﻃﲑ ﻋﻠﻰ ﺍﻟﺘﻜﻴﻒ ﻣﻊ ﺍﻟﺒﻴﺌﺎﺕ‬
‫ﺍﳌﺨﺘﻠﻔﺔ ﻭ ﺑﺎﻟﺘﺎﱄ ﺿﻤﺎﻥ ﺍﺳﺘﻤﺮﺍﺭﻳﺘﻬﺎ‪ ،‬ﻓﺎﻷﻟﻔﺔ ﺍﻟﱵ ﻳﺒﺪﻫﺎ ﺍﳌﺘﻠﻘﻲ ﺍﲡﺎﻫﻬﺎ ﻭ ﺍﻷﺛﺮ ﺍﻟﺬﻱ ﲢﺪﺛﻪ‬
‫ﰲ ﻧﻔﺴﻪ ﻳﺴﻬﻤﺎﻥ ﺇﱃ ﺣﺪ ﺑﻌﻴﺪ ﰲ ﻋﻤﻠﻴﺔ ﺍﻟﺘﻜﻴﻒ ﺗﻠﻚ‪) .‬ﻭ ﻟﻨﺎ ﻋﻨﺪ ﻫﺬﻩ ﺍﻟﻨﻘﻄﺔ ﻭﻗﻔﺖ ﰲ‬
‫ﻋﻨﺼﺮ ﻻﺣﻖ(‪ .‬ﺣﱴ ﺃ‪‬ﺎ ﺃﺛﺮﺕ ﺣﺪﻳﺜﺎ ﰲ "ﺍﻷﻋﻤﺎﻝ ﺍﻟﺪﺭﺍﻣﻴﺔ ﺍﻟﺘﻠﻔﺰﻳﻮﻧﻴﺔ ﻭ ﺻﻨﺎﻋﺔ ﺍﻟﺴﻴﻨﻤﺎ‪،‬‬
‫ﻭ ﻫﻲ ﰲ ﺑﻨﻴﺘﻬﺎ ﺍﻟﻌﻤﻴﻘﺔ ﺭﺅﻳﺔ ﺷﻌﺮﻳﺔ ﻣﺮﻛﺒﺔ ﲡﻤﻊ ﺑﲔ ﺍﻟﺘﺎﺭﻳﺦ ﻭ ﺍﻟﻔﻜﺮ ﻭ ﺍﻟﻔﻦ‪ 2".‬ﻭ ﺑﺎﻟﻔﻌﻞ‬
‫ﻧﻼﺣﻆ ﻣﻮﺟﺔ ﻛﺎﻧﺖ ﻏﺮﻳﺒﺔ ﻟﻔﺘﺮﺓ ﰒ ﺑﺪﺃﺕ ﺗﺘﺨﺬ ﳍﺎ ﻣﻜﺎﻧﺎ ﻋﻠﻰ ﺳﺎﺣﺔ ﺻﻨﺎﻋﺔ ﺍﻟﺴﻴﻨﻤﺎ‪ ،‬ﻫﻲ‬
‫ﻧﺰﻭﺡ ﺻﻨﺎﻉ ﺍﻷﻓﻼﻡ ﳓﻮ ﻛﻞ ﻣﺎ ﻫﻮ ﺃﺳﻄﻮﺭﻱ‪ ،‬ﻏﺮﺍﺋﱯ‪ ،‬ﻋﺠﺎﺋﱯ ﻭ ﻣﻦ ﺍﻟﻮﺍﺿﺢ ﺃﻥ ﻫﺬﻩ‬
‫ﺍﻟﺘﺮﻛﻴﺒﺔ ﺗﻼﻗﻲ ﺭﻭﺍﺟﺎ ﻛﺒﲑﺍ ﺑﲔ ﳐﺘﻠﻒ ﺃﻭﺳﺎﻁ ﺍﳌﺘﻠﻘﲔ‪ ،‬ﻭ ﻻ ﻳﺒﺪﻭ ﺃ‪‬ﻢ ﻳﻌﺘﺮﺿﻮﻥ ﻋﻠﻰ‬
‫ﻣﻀﻤﻮ‪‬ﺎ ﺍﻟﺬﻱ ﺇﺫﺍ ﻣﺎ ﻗﺴﻨﺎﻩ ﲟﻌﻄﻴﺎﺕ ﻫﺬﺍ ﺍﻟﺰﻣﺎﻥ ﺍﻟﺬﻱ ﻳﺘﺴﻢ ﺑﺎﻟﻌﻘﻼﻧﻴﺔ ﺍﳌﻔﺮﻃﺔ ﻭﺗﺮﺑﻊ ﺍﻟﻌﻠﻢ‬
‫‪*- Raymond‬‬ ‫‪Trousson , "thèmes et mythes ", ed. Université de Bruxelles 1981 , p. 19 .‬‬

‫‪ -1‬ﺩ ‪-‬ﻋﺎﻣﺮ ﻋﺒﺪ ﺯﻳﺪ ‪،‬ﻡ‪.‬ﺱ ﺹ‪.03‬‬

‫‪ -2‬ﺩ‪ .‬ﳏﻤ‪‬ﺪ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﻳﻮﻧﺲ‪.‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.02‬‬

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‫ﻋﻠﻰ ﻋﺮﺵ ﺍﳌﻌﺘﻘﺪﺍﺕ ﺍﻟﺒﺸﺮﻳﺔ‪ -‬ﺿﺮﺑﺎ ﻣﻦ ﺍﳋﻴﺎﻝ ﺍﶈﺾ‪ -‬ﺧﻴﺎﻝ ﻻ ﺿﺎﺑﻂ ﻟﻪ ﺃﻭ ﻋﻠﻰ ﺍﻷﻗﻞ‬
‫ﻳﺒﺪﻭ ﻛﺬﻟﻚ‪ .‬ﰒ ﺇﻧﻪ ﻫﻨﺎﻙ ﺗﻘﺴﻴﻢ ﺛﺎﻥ ﻏﲑ ﺍﻟﺬﻱ ﻳﻘﺎﻡ ﻋﻠﻰ ﺃﺳﺎﺱ ﻧﺸﺄﺓ ﺍﻷﺳﺎﻃﲑ‪ ،‬ﺗﻘﺴﻴﻢ‬
‫ﻋﻠﻰ ﺃﺳﺎﺱ ﻭﻟﻮﺟﻬﺎ ﺇﱃ ﺍﻷﺩﺏ ﺃﻭ ﻧﺸﺄ‪‬ﺎ ﺩﺍﺧﻠﻪ ﻓﻔﻲ ﺍﻋﺘﻘﺎﺩﻱ ﺃﺷﻜﺎﻝ ﺍﻟﱰﻭﻉ ﺍﻷﺳﻄﻮﺭﻱ‬
‫ﺍﳌﺨﺘﻠﻔﺔ ﻭﻟﺪﺕ ﺃﻧﻮﺍﻋﺎ ﺟﺪﻳﺪﺓ ﺃﻭ ﻃﻮﺭﺕ ﺍﻷﺷﻜﺎﻝ ﺍﻟﺴﺎﺑﻘﺔ ﺇﱃ ﺃﺷﻜﺎﻝ ﺃﺧﺮﻯ ﺟﺪﻳﺪﺓ‬
‫ﻭ ﻣﻨﻬﺎ ﻣﺎﻳﻠﻲ‪:‬‬

‫‪ -1‬ﺍﻷﺳﻄﻮﺭﺓ ﺍﻟﺪﻳﻨﻴﺔ ﺃﻭ ﺍﻟﺘﻘﻠﻴﺪﻳﺔ‪:‬‬

‫ﻭ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻷﺳﺎﻃﲑ ﻭﺍﺿﺢ ﻣﻦ ﺧﻼﻝ ﺗﺴﻤﻴﺘﻪ ﺃﻧﻪ ﻳﻌﺎﰿ ﻗﻀﺎﻳﺎ ﺩﻳﻨﻴﺔ‪ ،‬ﻛﻤﺎ ﳚﻮﺯ‬
‫ﺗﺴﻤﻴﺘﻬﺎ ﺑﺎﳌﻌﺎﺭﻑ ﺍﻟﻜﻮﻧﻴﺔ ﺃﻭ ﺍﻟﺘﺠﺮﺑﺔ ﺍﳉﻤﺎﻋﻴﺔ ﺍﻟﺒﺸﺮﻳﺔ ﻷﻥ ﻣﻮﺍﺿﻴﻌﻬﺎ ﻭﺍﺣﺪﺓ ﻣﺸﺘﺮﻛﺔ ﻋﻨﺪ‬
‫ﻛﻞ ﺍﻟﺒﺸﺮ‪ ،‬ﻛﺎﳌﻮﺕ ﻭ ﺍﻻﻧﺒﻌﺎﺙ‪ ،‬ﻧﺸﺄﺓ ﺍﻟﻜﻮﻥ‪ ،‬ﺍﻟﺼﺮﺍﻉ ﺍﻷﺯﱄ ﺑﲔ ﺍﳋﲑ‬
‫ﻭ ﺍﻟﺸﺮ‪ ...‬ﻭﻏﲑﻫﺎ‪ ،‬ﺇ‪‬ﺎ ﺍﻷﺳﺎﻃﲑ ﺍﻟﻘﺪﳝﺔ ﺍﻟﱵ ﻋﺮﻓﻬﺎ ﺍﻹﻧﺴﺎﻥ ﻋﱪ ﺍﻟﺰﻣﻦ‪ .‬ﻓﺈﱃ ﺟﺎﻧﺐ ﻃﺎﺑﻌﻬﺎ‬
‫ﺍﻟﻘﺪﺳﻲ‪ ،‬ﻫﻲ ﺗﺆﺧﺬ ﻋﻠﻰ ﺃﺳﺎﺱ ﺃ‪‬ﺎ ﺣﻘﺎﺋﻖ ﺃﻭ ﻣﺴﻠﻤﺎﺕ ﻻ ﺗﻘﺒﻞ ﺍﻟﻨﻜﺮﺍﻥ‪ .‬ﻭ ﻟﻜﻦ ﲟﺠﺮﺩ‬
‫ﻭﻟﻮﺟﻬﺎ ﺇﱃ ﻋﺎﱂ ﺍﻷﺩﺏ ﻓﺈ‪‬ﺎ ﺗﻨﺘﻘﻞ ﺗﻠﻘﺎﺋﻴﺎ ﻣﻦ ﺍﻟﻘﺪﺳﻲ ﺇﱃ ﺍﻟﺪﻧﻴﻮﻱ‪ ،‬ﺣﻴﺚ ﲢﺎﻓﻆ ﻋﻠﻰ‬
‫ﻃﺎﺑﻌﻬﺎ ﺍﻟﺮﻣﺰﻱ‪ ،‬ﻭﺷﻴﺌﺎ ﻣﻦ ﺑﻨﺎﺀﻫﺎ ﺍﻷﺻﻠﻲ ﻟﻜﻨﻬﺎ ﺗﻔﻘﺪ ﻣﺼﺪﺍﻗﻴﺘﻬﺎ ﻛﺤﻘﻴﻘﺔ ﻣﻘﺪﺳﺔ ﻻ‬
‫ﻳﻨﺒﻐﻲ ﺍﳌﺴﺎﺱ ‪‬ﺎ‪ ،‬ﻭ ﺗﻨﺘﻘﻞ ﻣﻦ ﻣﻠﻚ ﻣﺸﺎﻉ ﺑﲔ ﺍﻟﺒﺸﺮ ﺇﱃ ﻣﻠﻚ ﻓﺮﺩﻱ ﳜﻀﻊ ﺇﱃ ﺇﺭﺍﺩﺓ ﺫﻟﻚ‬
‫ﺍﻟﻔﺮﺩ‪ ،‬ﻷﻧﻪ "ﻗﺪ ﳜﺘﻠﻒ ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﺍﻟﺬﻱ ﻳﺘﻀﻤﻦ ﺍﻷﺳﻄﻮﺭﺓ ﺍﻷﺩﺑﻴﺔ ﻣﻦ ﻣﺆﻟﻒ ﺇﱃ ﻣﺆﻟﻒ‬
‫ﺁﺧﺮ ‪.‬ﻛﻤﺎ ﳒﺪ ﻓﺮﻭﻗﺎ ﺷﺎﺳﻌﺔ ﺑﲔ ﺍﳌﺆﻟﻔﲔ ؛ ﻷﻥ ﺍﻟﻨﺼﻮﺹ ﻻ ﺗﺘﻤﺘﻊ ﺑﺎﻟﻘﻴﻤﺔ ﺍﳉﻤﺎﻟﻴﺔ‬
‫ﺍﻟﻮﺍﺣﺪﺓ‪ ،‬ﻋﻠﻰ ﻋﻜﺲ ﺍﻷﺳﻄﻮﺭﺓ ﺍﻟﱵ ﺗﻌﺘﱪ ﻛﻼ ﻣﺘﻜﺎﻣﻼ"‪ .1‬ﻭ ﺑﺎﻟﺘﺎﱄ ﺑﻌﺪﻣﺎ ﻛﺎﻧﺖ ﻧﺸﺄ‪‬ﺎ‬
‫ﳎﻬﻮﻟﺔ ﻳﺼﺒﺢ ﻫﻨﺎﻙ ﺍﺳﻢ ﻣﻌﻠﻮﻡ ﻟﺸﺨﺺ ﺃﻧﺸﺄﻫﺎ ﰲ ﻭﺿﻌﻬﺎ ﺍﻟﺮﺍﻫﻦ‪ ،‬ﻛﻤﺎ ﺗﻨﺘﻘﻞ ﺷﺨﻮﺻﻬﺎ‬
‫ﺃﻭ ﻣﺎ ﻳﺘﺨﲑﻩ ﺍﻟﻜﺎﺗﺐ ﻣﻦ ﺷﺨﻮﺻﻬﺎ ﻣﻦ ﺁﳍﺔ‪ ،‬ﺃﻭ ﺃﻧﺼﺎﻑ ﺁﳍﺔ‪ ،‬ﺃﻭ ﺑﺸﺮ ﻣﺆﳍﺔ ﺇﱃ ﺭﻣﻮﺯ ﺭﺃﻯ‬

‫‪ -1‬ﻋﺒﺪ ﺍﳊﻠﻴﻢ ﻣﻨﺼﻮﺭﻱ‪.‬ﻡ‪.‬ﺱ‪.19.‬‬

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‫ﻓﻴﻬﺎ ﺍﻟﻜﺎﺗﺐ ﲰﺔ ﺑﺎﺭﺯﺓ ﲣﺪﻡ ﻣﻘﺎﺻﺪﻩ ﻭ ﺭﺅﻳﺘﻪ ﺍﳉﻤﺎﻟﻴﺔ‪ ،‬ﲝﻴﺚ ﺗﺼﺒﺢ ﺍﻷﲰﺎﺀ ﻇﻼﻝ ﺑﺎﻫﺘﺔ‬
‫ﻟﺘﻠﻚ ﺍﳋﻠﻔﻴﺔ ﺍﻷﺳﻄﻮﺭﻳﺔ ﺍﻷﻭﱃ *‪ .‬ﻭ ﺑﺸﻜﻞ ﻋﺎﻡ ﺗﺄﺧﺬ ﺗﻠﻚ ﺍﻷﺳﺎﻃﲑ ﺩﻻﻻﺕ ﺟﺪﻳﺪﺓ‬
‫ﻭ ﺫﻟﻚ ﺣﺴﺐ ﻣﻘﺘﻀﻰ ﺍﳊﺎﻝ‪ .‬ﻭ ﺑﺬﻟﻚ ﲢﲕ ﻣﻦ ﺧﻼﻝ ﺫﻟﻚ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﻭ ﺗﺘﻄﻮﺭ‪ ،‬ﻓﻬﻲ‬
‫"ﺫﺍﺕ ﻃﺎﺑﻊ ﻓﻜﺮﻱ ﻭﲨﺎﱄ ﺃﻭ ﻧﺎﲡﺔ ﻋﻦ ﺧﻴﺎﻝ ﻣﺎ ﳐﺘﻠﻒ ﻋﻦ ﺧﻴﺎﻝ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﻧﺼﻮﺻﻬﺎ‬
‫ﺍﻟﻘﺪﳝﺔ ﺍﻟﱵ ﻳﺘﻨﺎﻭﳍﺎ ﺍﻟﻜﺎﺗﺐ"‪ ،1‬ﻭ ﳓﻦ ﻻ ﻧﻨﻜﺮ ﺃﻥ ﺃﻏﻠﺐ ﺍﻷﺳﺎﻃﲑ ﻭﺻﻠﺖ ﺇﻟﻴﻨﺎ ﰲ ﲪﻮﻻﺕ‬
‫ﺃﺩﺑﻴﺔ ﻭ ﻗﺪ ﻻ ﻧﺘﻤﻜﻦ ﺃﺑﺪﺍ ﻣﻦ ﺇﺩﺭﺍﻙ ﺣﻠﺘﻬﺎ ﺍﻷﻭﱃ ﺃﻋﲏ ﻗﺒﻞ ﺍﻛﺘﺴﺎ‪‬ﺎ ﺭﺅﻳﺔ ﺍﻷﺩﺑﺎﺀ ﻋﻠﻰ ﻣﺮ‬
‫ﺍﻟﺘﺎﺭﻳﺦ‪.‬‬

‫‪ -2‬ﺍﻷﺳﻄﻮﺭﺓ ﺍﻟﺪﻧﻴﻮﻳﺔ ﺃﻭ ﺍﻟﻮﻟﻴﺪﺓ‪:‬‬

‫ﻫﻲ ﳕﺎﺫﺝ ﻣﻦ ﺍﻷﺳﺎﻃﲑ ﻭﻟﺪﻫﺎ ﺍﻷﺩﺏ ﺃﻭ ﺃﻋﺎﺩ ﺗﺸﻜﻴﻠﻬﺎ‪ ،‬ﻓﻬﻲ ﻣﺰﻳﺞ ﺑﲔ ﺍﻷﺳﻄﻮﺭﺓ‬
‫ﻭ ﺍﻷﺩﺏ‪ ،‬ﳏﻜﻲ ﺃﺳﺎﻃﲑﻱ ﺗﻌﻴﺪ ﺗﻔﻌﻴﻠﻪ ﺃﺩﻭﺍﺕ ﺃﺩﺑﻴﺔ‪ ،‬ﻓﺸﺨﻮﺻﻪ ﺗﺘﻔﺎﻋﻞ ﻋﻠﻰ ﺃﺳﺎﺱ ﺃ‪‬ﺎ‬
‫ﺷﺨﻮﺹ ﺷﻜﻠﺖ ﻭ ﺻﻘﻠﺖ ﻭ ﻋﺮﻓﺖ ﻧﻀﺠﻬﺎ ﺩﺍﺧﻞ ﻗﻮﺍﻟﺐ ﺃﺳﻄﻮﺭﻳﺔ‪ ،‬ﻟﻴﺴﺖ ﺃﺳﻄﻮﺭﺓ‬
‫ﻭ ﻟﻜﻨﻬﺎ ﲢﺎﻛﻴﻬﺎ ﰲ ﺑﻌﺾ ﺟﺰﺋﻴﺘﻬﺎ‪ ،‬ﻭ ﺑﺴﺒﺐ ﻣﺴﺤﺔ ﺍﻟﻐﻤﻮﺽ ﺍﻷﺳﻄﻮﺭﻱ ﺍﻟﱵ ﺗﻜﺘﻨﻔﻬﺎ‬
‫ﺍﻋﺘﱪﺕ ﺃﺳﺎﻃﲑ ﻭﻟﻴﺪﺓ‪ .‬ﲨﻌﺖ ﺩﺍﺧﻞ ﺍﻟﻌﻤﻞ ﺍﻟﻮﺍﺣﺪ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﺮﻣﻮﺯ ﺍﻷﺳﻄﻮﺭﻳﺔ ﺭﺻﻔﺖ‬
‫ﺑﺸﻜﻞ ﺟﻌﻠﻬﺎ ﺗﺼﻠﺢ ﻷﻥ ﺗﻜﻮﻥ ﺃﺧﺮﻯ ﺟﺪﻳﺪﺓ‪ ،‬ﻓﻬﻲ ﰲ ﺇﻃﺎﺭ ﻗﺼﺔ ﺃﺻﻠﻴﺔ ﻭ ﻟﺪﻳﻬﺎ‬
‫ﺇﻣﻜﺎﻧﻴﺎﺕ ﺳﺮﺩﻳﺔ ﻏﲑ ﳏﺪﻭﺩﺓ‪ ،‬ﻭ ﻫﻲ ﺗﺼﻮﺭ ﻟﺘﺎﺭﻳﺦ ﻣﻌﲔ "ﻧﺘﺤﺪﺙ ﻫﻨﺎ ﻋﻦ ﺗﺎﺭﻳﺦ ﺛﺎ ‪‬ﻥ‪.‬‬
‫*‪ -‬ﻭﻣﻦ ﺍﻷﻣﺜﻠﺔ ﺍﻟﱵ ﻧﺴﻮﻗﻬﺎ ﺇﻟﻴﻜﻢ ﰲ ﻫﺬﺍ ﺍﻟﺼﺪﺩ ﻣﺎﻳﻠﻲ‪:‬‬

‫ﻓﺸﺨﺼﻴﺔ ﻛﺸﺨﺼﻴﺔ "ﺟﻠﺠﺎﻣﺶ" ﺑﻜﻞ ﺛﻘﻠﻬﺎ ﺍﻷﺳﻄﻮﺭﻱ ﺗﺼﺒﺢ ﳎﺮﺩ ﺭﻣﺰ ﺍﻹﺻﺮﺍﺭ ﻭ ﺍﳌﺜﺎﺑﺮﺓ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃﻧﻪ ﻃﻠﺐ ﺍﳋﻠﻮﺩ ﻭ ﺳﻌﻰ ﻟﻨﻴﻠﻪ ﺑﻜﻞ ﻣﺎ ﺃﻭﰐ‬
‫ﻣﻦ ﻗﻮﺓ ﻭ ﺻﱪ ﻭ ﻋﺰﳝﺔ‪ ،‬ﻭ ﺻﺪﻳﻘﻪ "ﺃﻧﻜﻴﺪﻭ" ﺃﺻﺒﺢ ﺭﻣﺰﺍ ﻟﻠﻮﻓﺎﺀ ﻭ ﺍﻟﺼﺪﺍﻗﺔ‪ ،‬ﻛﻤﺎ ﺃﺻﺒﺢ "ﻫﺎﺩﻳﺲ" ﰲ ﺍﳌﻴﺜﻮﻟﻮﺟﻴﺎ ﺍﻟﻴﻮﻧﺎﻧﻴﺔ ﺇﻟﻪ ﺍﻟﻌﺎﱂ ﺍﻟﺴﻔﻠﻲ ﺭﻣﺰﺍ‬
‫ﻟﻠﺸﺮ‪ ،‬ﻭ ﻏﲑ ﻫﺎ ﳑﺎ ﻗﺪ ﻳﻐﺪﻕ ﻋﻠﻰ ﻫﺬﻩ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭ ﻏﲑﻫﺎ ﻣﻦ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻷﺳﻄﻮﺭﻳﺔ ﺍﳌﻌﺮﻭﻓﺔ‪ ،‬ﻭ ﻳﺒﻘﻰ ﺍﻟﺘﺮﻣﻴﺰ ﺫﺍﺗﻴﺎ ﺇﺫ ﻳﻌﻮﺩ ﻟﻜﻞ ﻣﺒﺪﻉ ﺍﳋﻴﺎﺭ‬
‫ﰲ ﺍﻟﺼﻔﺔ ﺍﻟﱵ ﻳﺮﺍﻫﺎ ﰲ ﻫﺬﻩ ﺍﻟﺸﺨﺼﻴﺎﺕ‪ .‬ﻭ ﻟﻼﺳﺘﺰﺍﺩﺓ ﰲ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﻳﻨﻈﺮ‪ :‬ﳏﻤﺪ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﻳﻮﻧﺲ‪ :‬ﻡ‪.‬ﺱ‪ .‬ﺹ‪.02‬‬

‫‪ -1‬ﺩﺍﻧﻴﻴﻞ ‪ -‬ﻫﻨﺮﻱ ﺑﺎﺟﻮ‪.‬ﻡ‪.‬ﺱ‪.‬ﺹ ‪.152‬‬

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‫ﳚﺐ ﻋﺪﻡ ﺍﻟﺘﻘﻠﻴﻞ ﻣﻦ ﺃﳘﻴﺔ ﻫﺬﺍ ﺍﻟﻄﺎﺑﻊ ﺍﻟﺜﺎﻧﻮﻱ ﻭﻫﺬﻩ ﺍﻟﻮﻇﻴﻔﺔ ﺍﻷﺧﻼﻗﻴﺔ‪ ،‬ﲟﻌﻨﺎﻫﺎ ﺍﶈﺎﻳﺪ‪ ،‬ﰲ‬
‫ﺇﻗﺎﻣﺔ ﺭﻭﺍﺑﻂ ﺑﲔ ﺍﻷﺳﻄﻮﺭﺓ ﻭ ﺍﻹﻳﺪﻳﻮﻟﻮﺟﻴﺎ‪ ،‬ﻭﺑﲔ ﺍﻷﺳﻄﻮﺭﺓ ﻭﺍﳋﻴﺎﻝ" ‪ ،1‬ﺇﱃ ﺟﺎﻧﺐ ﺃ‪‬ﺎ‬
‫ﺃﺛﺒﺘﺖ ﺃ‪‬ﺎ ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﳑﺎﺭﺳﺔ ﺳﺤﺮ ﲨﺎﻋﻲ ﺷﺒﻴﻪ ﺑﺴﺤﺮ ﺍﻷﺳﺎﻃﲑ ﺍﻟﻘﺪﳝﺔ‪ " ،‬ﺇ‪‬ﺎ ﻛﻞ ﻣﺎ‬
‫ﺍﺳﺘﻄﺎﻋﺖ ﺛﻘﺎﻓﺔ ﻣﻌﻴﻨﺔ ﺃﻭ ﺃﺭﺍﺩﺕ ﲢﻮﻳﻠﻪ ﺇﱃ ﺃﺳﻄﻮﺭﺓ"‪ .2‬ﻣﺜﻞ ﺃﺳﻄﻮﺭﺓ‪ :‬ﻓﺎﻭﺳﺖ‪ ،‬ﺩﻭﻥ‬
‫ﺧﻮﺍﻥ‪ ،‬ﻭ ﺃﺳﺎﻃﲑ ﺍﳌﺪﻥ‪ :‬ﻛﺎﻟﺒﻨﺪﻗﻴﺔ ﻭ ﺍﳌﺪﻳﻨﺔ ﺍﶈﺮﻣﺔ ‪...‬ﻭﻏﲑﻫﺎ‪ .‬ﻭ ﻫﺬﺍ ﻳﻔﺘﺢ ﺍ‪‬ﺎﻝ ﻟﻠﺤﺪﻳﺚ‬
‫ﻋﻨﻬﺎ ﻛﺄﺳﺎﻃﲑ ﺧﺮﺍﻓﻴﺔ ﺍﻟﱵ ﻋﻠﻰ ﻋﻜﺲ ﺍﻷﺻﻠﻴﺔ ﻫﻲ ﻭﻟﻴﺪﺓ ﺍﻟﻠﺤﻈﺔ ﺍﻹﺑﺪﺍﻋﻴﺔ ﻟﻠﻜﺎﺗﺐ ﺣﻴﺚ‬
‫ﺗﻨﺘﻘﻞ ﻣﻦ ﺍﻟﺘﺠﺮﺑﺔ ﺍﻟﻔﺮﺩﻳﺔ ﻟﺘﺴﺘﻘﺮ ﰲ ﺍﻟﺘﺠﺮﺑﺔ ﺍﳉﻤﺎﻋﻴﺔ ﺍﳌﺸﺘﺮﻛﺔ ﺑﲔ ﳎﻤﻮﻉ ﺍﻟﺒﺸﺮ ﰲ ﺑﻴﺌﺔ‬
‫ﻭﺍﺣﺪﺓ‪ .‬ﺑﻌﺪ ﻣﺎ ﺗﻜﻮﻧﺖ ﻧﺘﻴﺠﺔ ﻟﺘﺮﺳﺒﺎﺕ ﺍﻧﺘﻘﻠﺖ ﺇﱃ ﺍﻟﻔﺮﺩ ﻣﻦ ﺍﻟﺘﺠﺮﺑﺔ ﺍﳉﻤﺎﻋﻴﺔ ﻭ ﺃﻋﺎﺩﺓ‬
‫ﺻﻘﻠﻬﺎ ﲡﺮﺑﺘﻪ ﺍﻟﺸﺨﺼﻴﺔ‪ ،‬ﻓﻤﺎ ﺗﺸﺮﺑﻪ ﺍﻟﻔﺮﺩ ﻣﻦ ﳎﺘﻤﻌﻪ ﻋﺎﺩ ﻭ ﺍﺳﺘﻘﺮ ﲝﻠﺔ ﺟﺪﻳﺪﺓ ﰲ ﺫﻟﻚ‬
‫ﺍ‪‬ﺘﻤﻊ‪.‬‬

‫ﻭ ﺑﺸﻜﻞ ﻋﺎﻡ‪ ،‬ﻳﻌﻄﻲ "ﳏﻤﺪ ﻋﺠﻴﻨﺔ"‪ 3‬ﺷﻜﻼ ﳏﺪﺩﺍ ﻟﻄﺒﻴﻌﺔ ﺍﻟﻌﻼﻗﺔ ﺑﲔ ﺍﻷﺩﺏ‬
‫ﻭ ﺍﻷﺳﻄﻮﺭﺓ ﺣﻴﺚ ﻳﻘﺴﻤﻪ ﺇﱃ ﺛﻼﺛﺔ ﺃﻭﺟﻪ‪:‬‬

‫‪ -1‬ﻋﻼﻗﺔ ﻧﺸﻮﺋﻴﺔ‪:‬‬

‫ﲟﻌﲎ ﻳﺮﺟﻊ ﻇﻬﻮﺭﳘﺎ ﺇﱃ ﻣﺼﺪﺭ ﻭﺍﺣﺪ‪ ،‬ﺃﻻ ﻭ ﻫﻮ ﺍﳌﺨﻴﺎﻝ ﻭ ﳕﺎﺫﺟﻪ ﺍﻷﺻﻠﻴﺔ ﻭ ﺭﻣﻮﺯﻩ ﺍﻟﱵ‬
‫ﺗﺘﺸﻜﻞ ﺻﻮﺭﺍ ﺗﻨﺘﻈﻤﻬﺎ ﺧﻄﺎﺑﺎﺕ ﺇﺑﺪﺍﻋﻴﺔ ﺷﱴ‪ ،‬ﻣﻦ ﺷﻌﺮﻳﺔ ﻭ ﺳﺮﺩﻳﺔ‪...‬ﻭ ﻏﲑﻫﺎ‪.‬‬

‫‪ -2‬ﻋﻼﻗﺔ ﺟﺪﻟﻴﺔ ﺗﺎﺭﳜﻴﺔ‪:‬‬

‫ﺣﻴﺚ ﺗﺘﻔﺎﻋﻞ ﺍﻷﺳﻄﻮﺭﺓ ﻭ ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﻋﻠﻰ ﺃﺳﺎﺱ ﺍﻟﺘﻀﻤﲔ ﺃﻭ ﻋﻠﻰ ﺃﺳﺎﺱ ﺍﻧﺪﺭﺍﺟﻬﺎ‬
‫‪ -1‬ﺩﺍﻧﻴﻴﻞ ‪ -‬ﻫﻨﺮﻱ ﺑﺎﺟﻮ ﻡ‪.‬ﺱ‪.‬ﺹ‪152‬‬
‫‪ -2‬ﻡ‪.‬ﻥ ‪.‬ﺹ‪.147‬‬
‫ﻭ ﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﺝ ‪.2‬ﻁ ‪.1‬‬ ‫‪ -3‬ﳏﻤﺪ ﻋﺠﻴﻨﺔ "ﻣﻮﺳﻮﻋﺔ ﺃﺳﺎﻃﲑ ﺍﻟﻌﺮﺏ"‪ -‬ﻋﻦ ﺍﳉﺎﻫﻠﻴﺔ ﻭﺩﻻﻻ‪‬ﺎ‪.‬ﺍﻟﻌﺮﺑﻴﺔ ﳏﻤﺪ ﻋﻠﻲ ﺍﳊﺎﻣﻲ ﻟﻠﻨﺸﺮ‬
‫ﺗﻮﻧﺲ‪ .‬ﺹ‪.225‬‬

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‫ﻓﻴﻪ‪.‬ﻛﻤﺎ ﺗﺘﻔﺎﻋﻞ ﺍﻷﺟﻨﺎﺱ ﺍﻷﺩﺑﻴﺔ ﻭ ﺍﻷﺳﻄﻮﺭﺓ ﻣﻦ ﺧﻼﻝ ﺩﺧﻮﳍﺎ ﳎﺎﻝ ﺍﻷﺩﺏ ﺍﻟﺸﻌﱯ ﺑﻜﻞ‬
‫ﺃﺷﻜﺎﻟﻪ‪.‬‬

‫‪ -3‬ﻋﻼﻗﺔ ﲤﺎﺛﻞ ﻭ ﺍﲢﺎﺩ‪:‬‬

‫ﻛﻼﳘﺎ ﻳﻌﺘﻤﺪﺍﻥ ﻟﻐﺔ ﺭﻣﺰﻳﺔ ﻻ ﻟﻐﺔ ﺍﳌﻔﺎﻫﻴﻢ ﺍ‪‬ﺮﺩﺓ‪ ،‬ﻛﻤﺎ ﻻ ﻳﻘﻮﻣﺎﻥ ﰲ ﺟﻮﻫﺮﳘﺎ ﻋﻠﻰ ﻭﺻﻒ‬
‫ﺍﻟﻌﺎﱂ‪ ،‬ﻭ ﲤﺜﻴﻠﻪ ﻟﻴﺲ ﻛﻤﺎ ﻳﻘﻮﻡ ﺍﻟﻌﻠﻢ ﺑﺬﻟﻚ ﻭ ﺇﳕﺎ ﻋﻠﻰ ﺇﺑﺪﺍﻉ ﻟﻌﺎﱂ ﺁﺧﺮ ﻫﻮ ﺍﻟﻜﻮﻥ‬
‫ﺍﻷﺳﻄﻮﺭﻱ ﺃﻭ ﺍﻟﻜﻮﻥ ﺍﻟﺸﻌﺮﻱ‪ ،‬ﻭ ﻣﺎ ﻟﻜﻠﻴﻬﻤﺎ ﻣﻦ ﻣﻨﻄﻖ ﺧﺎﺹ‪.‬‬

‫ﺇﻥ ﻣﻦ ﲰﺔ ﺍﻷﺳﺎﻃﲑ ﺃ‪‬ﺎ ﴰﻮﻟﻴﺔ‪ ،‬ﲝﻴﺚ ﻟﻮ ﺣﺎﻭﻟﻨﺎ ﺇﺩﻣﺎﺟﻬﺎ ﰲ ﻣﻴﺎﺩﻳﻦ ﳐﺘﻠﻔﺔ ) ﺍﻟﻔﻜﺮ‪،‬‬
‫ﺍﻷﺩﺏ‪ ،‬ﺍﻟﻌﻠﻢ‪ ،(...‬ﻓﺈ‪‬ﺎ ﺗﺄﰉ ﺇﻻ ﺃﻥ ﺗﻨﺘﻈﻢ ﲢﺖ ﻟﻮﺍﺀﻫﺎ ﲨﻴﻌﺎ‪ ،‬ﻟﺬﻟﻚ ﻓﻬﻲ ﺗﺘﻘﺎﺳﻢ ﺷﻜﻞ‬
‫ﻫﺬﻩ ﺍﻟﻌﻼﻗﺔ ﻟﻴﺲ ﻓﻘﻂ ﻣﻊ ﺍﻷﺩﺏ ﺑﻞ ﻣﻊ ﻛﻞ ﺍﻟﻌﻠﻮﻡ ﻣﺎﺩﺍﻣﺖ ﻋﻠﻰ ﻋﻼﻗﺔ ﻣﺒﺎﺷﺮﺓ ﺑﺎﻹﻧﺴﺎﻥ‬
‫ﻧﻔﺴﻪ‪ ،‬ﻓﻨﺠﺎﺓ ﺍﻷﺳﻄﻮﺭﺓ ﻣﻦ ﻋﻤﻠﻴﺔ ﺍﻻﻧﺘﺨﺎﺏ ﺍﻟﻄﺒﻴﻌﻲ ﺍﻟﱵ ﲤﺎﺭﺳﻬﺎ ﺍﻟﻄﺒﻴﻌﺔ ﻋﻠﻰ ﳐﺘﻠﻒ‬
‫ﺃﺷﻜﺎﻝ ﺍﳊﻴﺎﺓ ﻋﻠﻰ ﺳﻄﺢ ﺍﻷﺭﺽ*‪ ،‬ﻳﻌﻮﺩ ﺍﻟﻔﻀﻞ ﻓﻴﻪ ﺑﻨﺴﺒﺔ ﻛﺒﲑﺓ ﺇﱃ ﻫﺬﻩ ﺍﻟﻌﻼﻗﺔ ﺃﻭ‬
‫ﺍﻟﻌﻼﻗﺎﺕ ﺍﻟﱵ ﺗﺘﻘﺎﲰﻬﺎ ﻋﺎﻣﺔ ﻣﻊ ﻛﻞ ﺃﺷﻜﺎﻝ ﺍﻟﻔﻜﺮ ﺍﻹﻧﺴﺎﱐ ﻭ ﺍﳌﻴﺎﺩﻳﻦ ﺍﻟﱵ ﺩﺧﻠﺘﻬﺎ ﻋﻠﻰ ﻣﺮ‬
‫ﺍﻟﺰﻣﻦ‪ ،‬ﻭ ﺫﻟﻚ ﺇﻣﺎ ﻋﻠﻰ ﺷﻜﻞ ﻗﺒﻮﳍﺎ ﻭ ﺿﻤﻬﺎ ﻛﻤﺎ ﻓﻌﻞ ﺍﻷﺩﺏ ﻭ ﺇﻣﺎ ﻋﻠﻰ ﺷﻜﻞ ﺍﻟﻨﻔﻮﺭ‬
‫ﻣﻨﻬﺎ ﻭ ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ ﲢﺪﻳﺪ ﻧﻄﺎﻕ ﻓﻌﺎﻟﻴﺘﻬﺎ ﻛﻤﺎ ﻓﻌﻞ ﺍﻟﻌﻠﻢ‪.‬‬

‫ﻟﺬﻟﻚ ﳚﺪﺭ ﺗﻮﺿﻴﺢ ﺃﻥ ﺍﻟﻠﻐﺔ ﻫﻲ ﺍﻟﺸﻜﻞ ﺍﳌﺎﺩﻱ ﻟﻸﺳﻄﻮﺭﺓ‪ ،‬ﻭ ﻭﻋﺎﺀﻫﺎ ﺍﻟﺮﻣﺰﻱ‪ ،‬ﻭ ﺇﺫﻥ‪،‬‬
‫ﻛﻤﺎ ﺃﺳﻠﻔﺖ ﺍﻟﺬﻛﺮ ﺃﻧﻨﺎ ﱂ ﻧﺘﻌﺮﻑ ﻋﻠﻰ ﺍﻷﺳﻄﻮﺭﺓ ﺇﻻ ﻣﻦ ﺧﻼﻝ ﺍﳊﻤﻮﻻﺕ ﺍﻷﺩﺑﻴﺔ ﺍﻟﱵ‬
‫ﺟﺎﺀﺕ ﻓﻴﻬﺎ‪ ،‬ﰒ " ﺇﺫﺍ ﻛﺎﻥ ﺍﳌﻜﺎﻥ ﻭ ﺍﻟﺰﻣﺎﻥ ﻭ ﺍﻟﻌﺪﺩ ﺃﺷﻜﺎﻻ ﺭﻣﺰﻳﺔ ﻣﻮﺣﺪﺓ ﻟﻠﻔﻜﺮ‬

‫*‪ -‬ﻣﻦ ﺟﻬﺔ ﺑﺎﻋﺘﺒﺎﺭ ﺍﻷﺳﺎﻃﲑ ﺷﻜﻼ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﳊﻴﺔ ‪ ،‬ﻓﻬﻲ ﻋﺎﱂ ﻗﺎﺋﻢ ﺑﺬﺍﺗﻪ ﺧﺎﺿﻊ ﻟﻨﻈﺎﻣﻨﺎ ﻣﺎﺩﺍﻡ ﺍﻟﻔﻜﺮ ﺍﻹﻧﺴﺎﱐ ﻛﺬﻟﻚ ﻓﻤﺎ‬
‫ﻳﻜﻮﻥ ﺭﺍﺋﺠﺎ ﺍﻟﻴﻮﻡ ﻭ ﻣﻌﻤﻮﻻ ﺑﻪ ﻟﻦ ﻳﻜﻮﻥ ﻛﺬﻟﻚ ﰲ ﺍﻟﻐﺪ‪ ،‬ﻭ ﺧﲑ ﺩﻟﻴﻞ ﻋﻠﻰ ﺫﻟﻚ ﺍﻟﺪﻳﺎﻧﺎﺕ‪ ،‬ﻓﻘﺪ ﻳﺘﺒﻨﻬﺎ ﺍﻹﻧﺴﺎﻥ ﳌﺌﺎﺕ ﺍﻟﺴﻨﲔ‪ ،‬ﰒ‬
‫ﻳﺄﺗﻴﻪ ﻭﻗﺖ ﻳﻔﻘﺪ ﺍﻫﺘﻤﺎﻣﻪ ‪‬ﺎ ﻷﻧﻪ ﻭﺟﺪ ﻣﺼﺪﺭ ﻋﻘﺎﺋﺪﻳﺎ ﺟﺪﻳﺪﺍ ﻭ ﺑﺎﻟﺘﺎﱄ ﳎﺎﻻ ﳋﻠﻖ ﺃﺳﺎﻃﲑ ﺟﺪﻳﺪﺓ‪.‬‬

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‫ﺍﻷﺳﻄﻮﺭﻱ ﳎﺴﻤﺔ ﳌﻌﲎ ﺍﻹﻧﺴﺠﺎﻡ‪ ،‬ﻓﻠﻌﻞ ﺍﻟﻠﻐﺔ ﺃﻫﻢ ﺗﻠﻚ ﺍﻷﺷﻜﺎﻝ ﺍﻟﺮﻣﺰﻳﺔ ﻷ‪‬ﺎ ﺍﳉﻬﺎﺯ‬
‫ﺍﳊﺎﻣﻞ ﻟﺬﻟﻚ ﺍﻟﻔﻜﺮ ﻭ ﳊﻤﺘﻪ ﻭ ﺳﺪﺍﻩ ﻭ ﻷﻥ ﺑﻴﻨﻬﺎ ﻭ ﺑﲔ ﺍﳌﻘﺪﺱ ﺃﻛﺜﺮ ﻣﻦ ﻋﻼﻗﺔ"‪ .1‬ﻷﻧﻪ‬
‫ﻛﻤﺎ ﻧﻼﺣﻆ ﺃﻥ ﻛﻼ ﻣﻦ ﺍﻟﻌﻼﻗﺘﲔ ﺍﻷﻭﱃ ﻭ ﺍﻟﺜﺎﻧﻴﺔ ﲡﻌﻞ ﻛﻼ ﻣﻦ ﺍﻷﺩﺏ ﻭ ﺍﻷﺳﻄﻮﺭﺓ‬
‫ﻓﻌﺎﻟﻴﺘﲔ ﳐﺘﻠﻔﺘﲔ‪ ،‬ﺃﻣﺎ ﺍﻷﺧﲑﺓ ﻓﺘﺠﻌﻠﻬﻤﺎ ﻭﺟﻬﺎﻥ ﻟﻌﻤﻠﺔ ﻭﺍﺣﺪﺓ‪ ،‬ﻓﻴﺒﺪﻭ ﺃ‪‬ﻤﺎ ﳐﺘﻠﻔﺎﻥ ﻷﻭﻝ‬
‫ﻭﻫﻠﺔ ﻭ ﻟﻜﻨﻬﺎ ﳛﻤﻼﻥ ﰲ ﺟﻮﻫﺮﳘﺎ ﻣﺎ ﳚﻤﻌﻬﻤﺎ ﺃﻛﺜﺮ ﳑﺎ ﻳﻔﺮﻗﻬﻤﺎ ﻷﻥ " ﺍﻟﻠﻐﺔ ﻟﻴﺴﺖ ﺍﻷﺩﺍﺓ‬
‫ﺍﳊﺎﻣﻠﺔ ﻟﻠﻔﻜﺮ ﻋﺎﻣﺔ ﻭ ﻟﻠﻔﻜﺮ ﺍﻷﺳﻄﻮﺭﻱ ﺧﺎﺻﺔ ﻭ ﳐﺘﻠﻒ ﻣﺎ ﻳﻨﺪﺭﺝ ﺿﻤﻨﻪ ﻣﻦ ﺧﻄﺎﺑﺎﺕ‬
‫ﻓﺤﺴﺐ ﻭ ﺇﳕﺎ ﻫﻲ ﻣﻮﺿﻮﻉ ﻷﺳﺎﻃﲑ ﺃﻭ ﻟﻨﻈﺮﺓ ﺃﺳﻄﻮﺭﻳﺔ ﻣﻦ ﺃﺻﻠﻬﺎ ﻭ ﻋﻼﻗﺔ ﺍﻟﺪﺍﻝ ﺑﺎﳌﺪﻟﻮﻝ‬
‫ﻓﻴﻬﺎ‪ ...‬ﲣﺘﻠﻒ ﲤﺎﻣﺎ ﻋﻦ ﻧﻈﺮﺓ ﻋﺎﱂ ﺍﻟﻠﺴﺎﻧﻴﺎﺕ ﺇﱃ ﺍﻟﻠﻐﺔ ﰲ ﺫﺍ‪‬ﺎ ﻭ ﻟﺬﺍ‪‬ﺎ‪ 2".‬ﺣﻴﺚ ﲣﻀﻊ‬
‫ﺍﻟﻠﻐﺔ ﻛﺎﻷﺳﻄﻮﺭﺓ ﺇﱃ ﺍﻟﺘﺮﺍﺑﻂ ) ﺍﻟﻠﻐﺔ ﻭ ﺍﻟﺸﻲﺀ( ﺿﻤﻦ ﳎﻤﻮﻋﺔ ﳏﺪﺩﺓ ﺇﺫ ﻋﻨﺪﻣﺎ ﲣﺮﺝ ﺗﻔﻘﺪ‬
‫ﻣﻌﻨﺎﻫﺎ‪ ،‬ﺗﻔﻘﺪ ﻣﺮﺟﻌﻴﺘﻬﺎ ﺍﻟﺘﺎﺭﳜﻴﺔ ﻭ ﺍﳉﻐﺮﺍﻓﻴﺔ ﻭ ﺍﻹﺟﺘﻤﺎﻋﻴﺔ‪ .‬ﻟﺬﻟﻚ" ﻓﺎﻟﻌﻼﻗﺔ ﺑﲔ ﺍﻷﺳﺎﻃﲑ‬
‫ﻭ ﺍﻟﻠﻐﺔ ﻋﻼﻗﺔ ﲤﺎﺛﻞ ﻭﺍﺿﺤﺔ ﻳﺘﺴﻢ ﺍﳋﻄﺎﺏ ﺍﻷﺳﻄﻮﺭﻱ ﻣﻦ ﺧﻼﳍﺎ ﲟﺎ ﺗﺘﺴﻢ ﺑﻪ ﺍﻟﻠﻐﺔ ﻹﻧﺘﻤﺎﺋﻪ‬
‫ﰲ ﺁﻥ ﻭﺍﺣﺪ ﺇﱃ ﳎﺎﻝ ﺍﻟﺒﲎ ﺍﻟﺪﺍﺋﻤﺔ ﻭ ﺍﻟﺒﲎ ﺍﻟﺰﻣﺎﻧﻴﺔ‪ 3".‬ﻟﺬﻟﻚ ﻓﺎﻟﻌﻼﻗﺔ ﺑﻴﻨﻬﻤﺎ ﻟﻴﺴﺖ ﻋﻼﻗﺔ‬
‫ﺛﺎﻧﻮﻳﺔ ﺃﻭ ﻋﻼﻗﺔ ﳝﻜﻦ ﺍﻹﺳﺘﻐﻨﺎﺀ ﻋﻨﻬﺎ ﻭ ﺇﳕﺎ ﻋﻼﻗﺔ ﺿﺮﻭﺭﻳﺔ " ﻓﻤﻦ ﺧﻼﻝ ﺍﻟﻠﻐﺔ ﻳﺘﺠﻠﻰ‬
‫ﺍﳌﻘﺪﺱ ﺃﲰﺎﺀ ﺃﻭ ﻛﻠﻤﺔ ﺧﺎﻟﻘﺔ ﻣﻨﻈﻮﻗﺔ ﺃﻭ ﻣﻜﺘﻮﺑﺔ‪ 4" .‬ﻭ ﺫﻟﻚ ﺭﺍﺟﻊ ﺇﱃ ﺃﻥ ﺍﻟﻠﻐﺔ ﺃﻱ ﳎﻤﻮﻉ‬
‫ﺍﻟﻜﻠﻤﺎﺕ ﺗﻀﻌﻬﺎ ﻗﻮﻯ ﻋﻠﻮﻳﺔ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﻣﺪﻟﻮﻻﺕ ﻋﻘﺎﺋﺪﻳﺔ ﺭﺍﺳﺨﺔ ﻟﺬﻟﻚ ﻛﺎﻧﺖ ﺍﻟﻌﻼﻗﺔ‬
‫ﺑﲔ ﺍﻟﻠﻐﺔ ﻭ ﺍﻟﺸﻲﺀ ﺿﺮﻭﺭﻳﺔ ﻭ ﻻ ﺗﺴﺘﻘﻴﻢ ﺩﻻﻻﺕ ﺍﻟﺸﻲﺀ ﺇﻻ ﺑﻘﺮﻳﻨﻪ ﻣﻦ ﺍﻟﻠﻐﺔ‪.‬‬

‫‪ -‬ﳏﻤﺪ ﻋﺠﻴﻨﺔ‪ ":‬ﻡ‪.‬ﺱ ﺹ‪.203‬‬ ‫‪1‬‬

‫‪ -2‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.203‬‬
‫‪ -3‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.200‬‬
‫‪ -4‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.204‬‬

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‫ﺍﻹﺭﻫﺎﺻﺎﺕ ﺍﻷﻭﱃ ﻟﻠﱰﻭﻉ ﺍﻷﺳﻄﻮﺭﻱ ﰲ ﺍﻷﺩﺏ‪:‬‬

‫ﰲ ﺍﻟﺒﺪﺀ ﻛﺎﻧﺖ ﺍﻷﺳﻄﻮﺭﺓ ﲣﻴﻢ ﻋﻠﻰ ﺍﻟﻔﻜﺮ ﺍﻹﻧﺴﺎﱐ‪ ،‬ﰒ ﺧﻠﻘﺖ ﻣﻦ ﺫﺍ‪‬ﺎ ﺍﻟﺸﻌﺮ ﻗﺎﻟﺐ‬
‫ﻟﻨﻔﺴﻬﺎ ﺗﺴﺮﺩ ﺃﺧﺒﺎﺭﻫﺎ ﻣﻦ ﺧﻼﻟﻪ‪ ،‬ﻭ ﻇﻬﺮ ﺍﻷﺩﺏ‪ ،‬ﻭ ﺑﻘﻴﺎ ﻳﻌﻴﺸﺎﻥ ﰲ ﻛﻨﻔﻬﺎ ﻣﺪﺓ ﻃﻮﻳﻠﺔ ﻗﺒﻞ‬
‫ﺃﻥ ﻳﻨﻔﺼﻼ ﻋﻨﻬﺎ‪ .‬ﻭ ﻗﺪ ﻗﺎﻡ ﺍﻷﺩﺑﺎﺀ ﺍﻷﻭﺍﺋﻞ ﺑﺼﻴﺎﻏﺔ ﻣﻌﻈﻢ ﺃﺳﺎﻃﲑ ﻋﺼﺮﻫﻢ ﺍﳌﺘﺪﺍﻭﻟﺔ ﰲ‬
‫ﺃﺷﻜﺎﻝ ﺃﺩﺑﻴﺔ ﻛﻤﺎ ﻓﻌﻞ ﻫﻮﻣﲑﻭﺱ ﰲ ﺍﻹﻟﻴﺎﺫﺓ ﻭ ﺍﻷﻭﺩﻳﺴﺔ‪ .‬ﻭ ﻛﻤﺎ ﺩﺃﺏ ﻣﻦ ﻗﺒﻠﻪ ﰲ‬
‫ﺍﳊﻀﺎﺭﺗﲔ ﺍﻟﺴﻮﻣﺮﻳﺔ ﻭ ﺍﻟﺒﺎﺑﻠﻴﺔ‪ .‬ﻭ ﺇﱃ ﺟﺎﻧﺐ ﺍﻟﺸﻌﺮ ﻭ ﺍﻷﺩﺏ‪ ،‬ﺧﻠﻘﺖ ﺍﻷﺳﻄﻮﺭﺓ ﻓﻨﻮﻧﺎ‬
‫ﺃﺧﺮﻯ ﻛﺎﳌﺴﺮﺡ ﺍﻟﺬﻱ ﺍﺳﺘﺄﺛﺮﺕ ﲟﻮﺍﺿﻴﻌﻪ‪ ،‬ﻓﺠﺴﺪﺕ ﻋﻠﻰ ﺭﻛﺤﻪ ﰲ ﺍﳌﻨﺎﺳﺒﺎﺕ ﺍﻟﺪﻳﻨﻴﺔ‪.‬‬
‫ﻛﻤﺎ ﺩﻓﻌﺖ ﻓﻨﻮﻧﺎ ﺃﺧﺮﻯ ﻛﺎﳌﻮﺳﻴﻘﻰ ﻭ ﺍﻟﻐﻨﺎﺀ ﺇﱃ ﺍﻟﻈﻬﻮﺭ‪ ،‬ﺇﺫ ﻛﺎﻧﺖ ﺍﻷﺳﺎﻃﲑ ﰲ ﻫﻴﺌﺘﻬﺎ‬
‫ﺍﻟﺸﻌﺮﻳﺔ ﺗﺮﱎ ﺗﺮﻧﻴﻤﺎ ﰲ ﺍﳌﻌﺎﺑﺪ‪.‬‬

‫ﻭ ﻣﻊ ﺗﺮﺍﺟﻊ ﺳﻠﻄﺔ ﺍﳌﻌﺎﺑﺪ‪ ،‬ﺑﻔﻌﻞ ﺃﻭﻻ ﺍﳌﻔﻜﺮﻳﻦ ﺍﻹﻏﺮﻳﻖ ﺍﻟﺬﻳﻦ ﺟﺮﺩﻭﻫﺎ ﻣﻦ ﻛﻞ ﻗﻴﻤﺔ ﺩﻳﻨﻴﺔ‬
‫ﺃﻭ ﻣﻴﺘﺎﻓﻴﺰﻗﻴﺔ ﺣﻴﺚ ﻛﺎﻧﺖ ﲤﺜﻞ ﻟﺪﻳﻬﻢ ﺇﻟﻐﺎﺀ ﻟﻠﻌﻘﻞ ﻭ ﺗﺴﻠﻴﻢ ﺍﻟﻨﻔﺲ ﺇﱃ ﺍﻟﻐﻴﺒﻴﺎﺕ ﻭ ﺛﺎﻧﻴﺎ‬
‫ﺩﻳﺎﻧﺎﺕ ﺍﻟﺘﻮﺣﻴﺪ*‪ ،‬ﺗﺮﺍﺟﻌﺖ ﻣﻌﻬﺎ ﺍﻷﺳﺎﻃﲑ ﻧﺴﺒﻴﺎ ﻭ ﻋﺮﻓﺖ ﺍﻵﺩﺍﺏ ﻟﻨﻔﺴﻬﺎ ﻣﻮﺍﺿﻴﻊ ﺗﻄﺮﻗﻬﺎ‬
‫ﻏﲑﻫﺎ‪ ،‬ﻭ ﺍﺳﺘﻘﻠﺖ ﻛﻠﻴﺎ ﻋﻨﻬﺎ‪ ،‬ﺇﱃ ﺃﻥ ﺑﺪﺃﺕ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺗﺘﻮﺟﻪ ﺇﻟﻴﻬﺎ ﰲ ﺍﻟﻌﺼﺮ ﺍﳊﺪﻳﺚ ﺃﻱ‬
‫ﰲ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻣﻦ ﻋﺸﺮ ﻭ ﻫﻲ ﺑﺬﻟﻚ ﻣﺘﺄﺧﺮﺓ ﺟﺪﺍ ‪ ،‬ﻣﻊ ﺣﺮﻛﺔ ﺍﻟﺘﻨﻮﻳﺮ ﻭ ﺍﻟﻨﻬﻀﺔ ﺍﻟﻌﻠﻤﻴﺔ ﺍﻟﱵ‬
‫ﻋﺮﻓﺘﻬﺎ ﺃﻭﺭﻭﺑﺎ‪ ،‬ﰒ ﺍﻧﺘﺸﺮﺕ ﺇﱃ ﺍﻟﻌﺎﱂ‪ ،‬ﻭ ﻗﺪ ﺗﺒﻨﺖ ﻣﻮﺿﻮﻋﺎ‪‬ﺎ ﺍﳊﺮﻛﺔ ﺍﻟﺮﻭﻣﻨﺴﻴﺔ‪ ،‬ﻭ ﺍﻋﺘﱪ‪‬ﺎ‬
‫ﻣﻦ ﺍﻓﺮﺍﺯﺍﺕ ﻋﻘﻞ ﻣﺒﺪﻉ ﻟﻠﺘﺎﺭﻳﺦ ﻋﻜﺲ ﺍﻟﺘﺎﺭﻳﺦ‪ .‬ﻓﻜﺎﻧﺖ ﺑﺬﻟﻚ ﻋﻤﻠﻴﺔ ﺇﻋﺎﺩﺓ ﺑﻌﺚ ﻋﻠﻢ‬
‫ﺍﻟﻔﻠﻜﻠﻮﺭ ﻭ ﺍﻷﺳﺎﻃﲑ ﻋﻠﻰ ﻳﺪ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﲔ‪ .‬ﰒ ﺗﻮﺍﻟﺖ ﺍﻷﲝﺎﺙ ﻓﺄﺻﺒﺤﺖ ﻣﻨﻬﺠﻴﺔ ﺃﻛﺜﺮ‬
‫ﻓﺄﻛﺜﺮ ﺇﱃ ﻏﺎﻳﺔ ﺑﺪﺍﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺘﺎﺳﻊ ﻋﺸﺮ ﻭ ﺩﺍﺋﻤﺎ ﲢﺖ ﺗﺄﺛﲑ ﻣﻦ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ‪ .‬ﻓﺎﻷﺧﻮﺍﻥ ﻏﺮﱘ‬

‫*‪ -‬ﴰﺲ ﺍﻟﺪﻳﻦ ﺍﻟﻜﻴﻼﱐ‪":‬ﻣﻦ ﺍﻟﻌﻮﺩ ﺍﻷﺑﺪﻱ ﺇﱃ ﺍﻟﻮﻋﻲ ﺍﻟﺘﺎﺭﳜﻲ" ﺩﺍﺭ ﺍﻟﻜﻨﻮﺯ ﺍﻷﺩﺑﻴﺔ ﻁ‪ 1‬ﺑﲑﻭﺕ ﺹ ‪.36‬‬

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‫ا  اول‪....................................................................‬ه ا ‬

‫ﻳﻌﺘﱪﺍﻥ ﺍﳌﺆﺳﺴﺎﻥ ﺗﺎﺭﳜﻴﺎ ﻟﻌﻠﻢ ﺍﻟﻔﻠﻜﻠﻮﺭ ﻭ ﻣﻨﻪ ﺍﻷﺳﺎﻃﲑ ‪ ،‬ﻭ ﻗﺪ ﻗﺎﻣﺎ ﲜﻤﻊ ﻛﻞ ﺍﳊﻜﺎﻳﺎﺕ‬
‫ﺍﳋﺮﺍﻓﻴﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭ ﺍﻷﺳﺎﻃﲑ‪ ،‬ﻛﻤﺎ ﻛﺎﻧﺖ ﺃﻋﻤﺎﳍﻤﺎ ﺍﻷﺭﺿﻴﺔ ﺍﻷﻭﻟﻴﺔ ﻟﻈﻬﻮﺭ ﻣﺎ ﻳﻌﺮﻑ‬
‫ﺑﺎﳌﺪﺍﺭﺱ ﺍﳌﻴﺜﻮﻟﻮﺟﻴﺔ ﺍﳌﻮﺟﻬﺔ ﺃﺳﺎﺳﺎ ﻟﺪﺭﺍﺳﺔ ﺍﻷﺳﺎﻃﲑ‪ ،‬ﺣﻴﺚ ﻛﺎﻧﺖ ﺗﻘﻮﻡ ﻛﻞ ﻣﺪﺭﺳﺔ ﺇﻣﺎ‬
‫ﻋﻠﻰ ﺃﻧﻘﺎﺽ ﺳﺎﺑﻘﺘﻬﺎ ﺃﻭ ﻣﻦ ﺧﻼﻝ ﻣﻌﺎﺭﺿﺘﻬﺎ‪ 1.‬ﰒ ﻛﺎﻥ ﺍﻟﻔﻼﺳﻔﺔ ﻭ ﺍﻟﺸﻌﺮﺍﺀ ﺍﻷﳌﺎﻥ ﻣﻦ‬
‫ﺃﻣﺜﺎﻝ "ﺷﻠﻨﻎ" ﻭ"ﺷﻠﻴﻐﻞ" ﻣﻦ ﺃﻭﺍﺋﻞ ﺍﻟﺬﻳﻦ ﲝﺜﻮﺍ ﰲ ﻃﺒﻴﻌﺔ ﺍﻷﺳﻄﻮﺭﺓ‪ .‬ﻛﻤﺎ ﺩﺧﻠﺖ ﻫﺬﻩ‬
‫ﺍﻷﺧﲑﺓ ﻣﻴﺎﺩﻳﻦ ﺩﺭﺍﺳﺔ ﺟﺪﻳﺪﺓ‪ :‬ﻛﺎﻷﻧﺘﺮﻭﺑﻮﻟﻮﺟﻴﺎ‪ ،‬ﻋﻠﻢ ﺍﻹﺟﺘﻤﺎﻉ‪ ،‬ﻋﻠﻢ ﺍﻟﻨﻔﺲ‪ ،‬ﺍﻟﺪﻳﺎﻧﺎﺕ‬
‫ﺍﳌﻘﺎﺭﻧﺔ‪ ،‬ﺍﻟﻔﻠﺴﻔﺔ‪ ...‬ﻭ ﺻﻮﻻ ﺇﱃ ﺍﻷﺩﺏ ﺍﻟﺬﻱ ﻋﲏ ‪‬ﺎ ﻋﻨﺎﻳﺔ ﺧﺎﺻﺔ ﻭ ﻋﻠﻰ ﺍﺛﺮ ﺫﻟﻚ ﻇﻬﺮ ﻣﺎ‬
‫ﺃﺻﺒﺢ ﻳﻌﺮﻑ ﺑﺎﻟﻨﻘﺪ ﺍﻷﺳﻄﻮﺭﻱ‪ ،‬ﺍﻟﺬﻱ ﻳﻬﺪﻑ ﺇﱃ ﺩﺭﺍﺳﺔ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﰲ ﻇﻞ ﺍﻟﺘﺮﺍﺙ‬
‫ﺍﻹﻧﺴﺎﱐ ﺑﺎﻋﺘﺒﺎﺭﻩ ﻣﺸﺘﺮﻛﺎ ﺑﲔ ﻛﻞ ﺍﻟﺸﻌﻮﺏ ‪ .2‬ﺇﺫ ﻳﺒﻘﻰ ﺍﻹﺧﺘﻼﻑ ﰲ ﻃﺮﻳﻘﺔ ﺍﻟﻨﻈﺮ ﺇﻟﻴﻪ‬
‫ﻭ ﺍﻟﺘﻔﺎﻋﻞ ﻣﻌﻪ‪.‬‬

‫ﻓﻠﻤﺎ ﻧﻀﺠﺖ ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺎﺕ ﰲ ﺍﻟﻐﺮﺏ ﻭ ﺃﻭﺟﺪﺕ ﻟﻨﻔﺴﻬﺎ ﻣﻜﺎﻧﺎ ﻗﺎﺭﺍ‪ ،‬ﺟﺎﺀ ﻋﺼﺮ ﺍﻟﻨﻬﻀﺔ‬
‫ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﻋﺼﺮ ﺗﻜﻮﻳﻦ ﺍﻟﻔﻜﺮ ﺍﻟﻌﺮﰊ ﺍﳊﺪﻳﺚ ﺍﻟﺬﻱ ﻳﺪﻳﻦ ﺑﺎﻟﻜﺜﲑ ﻟﻠﺘﺮﲨﺔ‪ ...‬ﺇﺫ ﻟﻌﺒﺖ ﻫﺬﻩ‬
‫ﺍﻷﺧﲑﺓ ﺩﻭﺭﺍ ﺍﻟﺮﻳﺎﺩﺓ ﰲ ﻧﻘﻞ ﻛﻞ ﻣﺎ ﺗﻮﺻﻞ ﺇﻟﻴﻪ ﺍﻟﻐﺮﺏ ﰲ ﻫﺬﺍ ﺍﳌﻴﺪﺍﻥ ﻭ ﺑﺎﻟﺘﺎﱄ ﺗﺸﺠﻴﻊ‬
‫ﺍﻷﺩﺑﺎﺀ ﻭ ﺍﻟﺪﺍﺭﺳﲔ ﻋﻠﻰ ﺣﺪ ﺳﻮﺍﺀ ﻋﻠﻰ ﺍﳋﻮﺽ ﻓﻴﻪ‪ ،‬ﻓﺠﺎﺀﺕ ﺑﺬﻟﻚ ﺍﶈﺎﻭﻻﺕ ﺍﻷﻭﱃ‬
‫ﻟﻠﱰﻭﻉ ﺍﻷﺳﻄﻮﺭﻱ ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ‪ .‬ﺇﺫﻥ ﻓﻘﺪ ﺟﺎﺀﺕ ﻟﻴﺲ ﺇﻻ ﺍﺳﺘﺠﺎﺑﺔ ﻟﻀﺮﻭﺭﺓ ﺗﺎﺭﳜﻴﺔ‪،‬‬
‫ﺛﻘﺎﻓﻴﺔ ﻭ ﻓﻨﻴﺔ‪ ،‬ﺍﺳﺘﺪﻋﺘﻬﺎ ﻭ ﻫﻴﺄﺕ ﳍﺎ ﰒ ﺃﺷﺎﻋﺘﻬﺎ ﻓﻴﻤﺎ ﺑﻌﺪ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﺆﺛﺮﺍﺕ ﺍﻟﱵ ﻛﺎﻧﺖ‬
‫ﺗﻀﻄﺮﻡ ﰲ ﺍﻟﻮﺍﻗﻊ ﺍﻟﻌﺮﰊ ﻣﻨﺬ ‪‬ﺎﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺘﺎﺳﻊ ﻋﺸﺮ ﻭ ﺍﻟﱵ ﻣﺎﺗﺰﺍﻝ ﲤﺎﺭﺱ ﺗﺄﺛﲑﻫﺎ ﺍﻟﻮﺍﺿﺢ‬
‫ﺇﱃ ﻏﺎﻳﺔ ﺍﻟﻴﻮﻡ‪ 3.‬ﻓﺒﻮﺍﺳﻄﺔ ﺍﻷﺩﺏ ﺍﻟﻴﻮﻧﺎﱐ – ﺷﻌﺮﺍ ﻭ ﻧﺜﺮﺍ‪ -‬ﺗﻌﺮﻑ ﺍﻷﺩﺑﺎﺀ ﺍﻟﻌﺮﺏ‬

‫ﴰﺲ ﺍﻟﺪﻳﻦ ﺍﻟﻜﻴﻼﱐ ﻡ‪.‬ﺱ‪ .‬ﺹ‪.46‬‬ ‫‪-1‬‬

‫ﻡ‪.‬ﻥ‪.‬ﺹ‬ ‫‪-2‬‬
‫ﺩ‪ .‬ﳏﻤ‪‬ﺪ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﻳﻮﻧﺲ ﻡ‪.‬ﺱ‪.‬ﺹ‪07‬‬ ‫‪-3‬‬

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‫ﻋﻠﻰ ﺑﻨﺎﺀ ﻭ ﻣﻜﻮﻧﺎﺕ ﺍﳌﻴﺜﻮﻟﻮﺟﻴﺎ ﺍﻟﻴﻮﻧﺎﻧﻴﺔ ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺍﻷﲝﺎﺙ ﺍﻷﻧﺘﺮﻭﺑﻮﻟﻮﺟﻴﺔ ﺍﻟﱵ‬

‫ﺳﺎﳘﺖ ﰲ ﻛﺸﻒ ﺍﻟﺴﺘﺎﺭ ﺑﲔ ﳐﺘﻠﻒ ﺍﻟﺜﻘﺎﻓﺎﺕ ﻭ ﺍﳊﻀﺎﺭﺍﺕ ﻭ ﺑﺎﻟﺘﺎﱄ ﲤﺎﺱ ﻫﺬﻩ ﺍﻷﺧﲑﺓ‬
‫ﻭ ﺗﻌﺮﻓﻬﺎ ﻋﻠﻰ ﺑﻌﻀﻬﺎ ﺍﻟﺒﻌﺾ ﻭ ﻫﺬﺍ ﻣﺎ ﺃﺛﺮﻯ ﺍﻟﺴﺎﺣﺔ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺑﺸﻜﻞ ﻛﺒﲑ‪ ،‬ﻓﻼ‬
‫ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻨﻜﺮ ﻭﺍﻗﻊ ﺃﻥ ﻟﻸﺳﻄﻮﺭﺓ ﺍﻟﻴﻮﻧﺎﻧﻴﺔ ﺣﺼﺔ ﺍﻷﺳﺪ ﻣﻦ ﺣﻴﺚ ﺍﻟﺘﻮﻇﻴﻒ ﺷﻜﻼ‬
‫ﻭ ﻣﻀﻤﻮﻧﺎ ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﻭ ﺍﻷﺩﺍﺏ ﺍﻟﻌﺎﳌﻴﺔ ﻋﻠﻰ ﺣﺪ ﺳﻮﺍﺀ‪ ،‬ﻭ ﻟﻜﻦ ﻫﺬﺍ ﻻ ﻳﻨﻔﻲ ﻭ ﻻ‬
‫ﺑﺄﻱ ﺷﻜﻞ ﻣﻦ ﺍﻷﺷﻜﺎﻝ ﻇﻬﻮﺭ ﻣﻮﺟﺔ ﺟﺪﻳﺪﺓ ﰲ ﺗﻮﻇﻴﻒ ﺍﻷﺳﻄﻮﺭﺓ ﻭ ﻫﺬﻩ ﺍﳌﺮﺓ ﺗﺘﻌﻠﻖ‬
‫ﺑﺄﺳﺎﻃﲑ ﺍﻟﺸﺮﻕ ﺍﻟﻘﺪﱘ‪ ،‬ﻓﺤﱴ ﺍﻷﺩﺏ ﺍﻟﻴﻮﻧﺎﱐ ﺑﻜﻞ ﺳﻠﻄﺎﻧﻪ ﻗﺪ ﺗﺄﺛﺮ ﺑﻪ‪ .‬ﻷﻧﻪ ﻋﻨﺪﻣﺎ ﺃﺗﻘﻦ‬
‫ﺍﻟﻌﺮﺏ ﺻﻨﻌﺔ ﺗﻮﻇﻴﻒ ﺍﻷﺳﺎﻃﲑ‪ ،‬ﺍﲡﻬﻮﺍ ﺇﱃ ﺗﺮﺍﺛﻬﻢ ﻳﻨﺒﺸﻮﻧﻪ ﲝﺜﺎ ﻋﻦ ﺃﺳﺎﻃﲑ ﺗﻌﱪ ﻋﻦ‬
‫ﻛﻴﺎ‪‬ﻢ‪ ،‬ﻛﻤﺎ ﺣﺎﻭﻝ ﺍﻷﺭﻭﺑﻴﻮﻥ ﻗﺒﻠﻬﻢ ﻓﻬﻢ ﻭﺗﻮﻇﻴﻒ ﺃﺳﺎﻃﲑ ﺍﻟﺸﺮﻕ ﺍﻟﻘﺪﱘ‪ .‬ﻓﻜﻤﺎ ﻻ ﳝﻜﻨﻨﺎ‬
‫ﺃﻥ ﳓﺠﺐ ﺍﻟﺸﻤﺲ ﺑﺈﺻﺒﻊ ﻭﺍﺣﺪ ﻻ ﳝﻜﻨﻨﺎ ﻧﻜﺮﺍﻥ ﺣﻘﻴﻘﺔ ﺃﻥ ﻟﻸﺳﻄﻮﺭﺓ ﻣﻨﺸﺄ ﻭﺍﺣﺪ ﻭ ﺗﻔﺮﻉ‬
‫ﻟﺘﺴﺤﺮ ﺍﻟﻌﺎﱂ ﺑﻌﺎﳌﻬﺎ ﺍﳋﺎﺹ‪ .‬ﻭ ﻛﺎﻧﺖ ﻋﻮﺩﺓ ﺍﳌﺒﺪﻋﲔ ﺇﱃ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﺍﻷﺩﺏ‬
‫ﻋﺎﻣﺔ‪ ،‬ﻫﻮ ﰲ ﻭﺍﻗﻊ ﺍﻷﻣﺮ‪" ،‬ﻋﻮﺩﺓ ﺣﻘﻴﻘﻴﺔ ﺇﱃ ﻣﻨﺎﺑﻊ ﺍﻟﺘﺠﺮﺑﺔ ﺍﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﻭﳏﺎﻭﻟﺔ ﺍﻟﺘﻌﺒﲑ ﻋﻦ‬
‫ﺍﻣﺘﺪﺍﺩﺍ‪‬ﺎ ﰲ ﻭﻗﺘﻨﺎ ﺍﻟﺮﺍﻫﻦ‪ ،‬ﺑﻮﺳﺎﺋﻞ ﻋﺬﺭﺍﺀ‪ ،‬ﱂ ﳝﺴﺴﻬﺎ ﺍﻻﺳﺘﻌﻤﺎﻝ ﺍﻟﻴﻮﻣﻲ ﻓﻴﻤﺤﻲ ﻋﻨﻬﺎ ﺻﻔﺔ‬
‫ﺍﻟﻘﺪﺍﺳﺔ ﻭﺍﻟﺴﺤﺮ"‪ .1‬ﻭ ﻟﻘﺪ ﺑﺪﺃﺕ ﺍﻷﺳﻄﻮﺭﺓ ﻣﺴﲑ‪‬ﺎ ﰲ ﺍﻷﺩﺏ ﻣﻊ ﺍﻟﻔﻦ ﺍﳌﺴﺮﺣﻲ ﺍﻟﺬﻱ‬
‫ﺍﺳﺘﺄﺻﻞ ﻣﻦ ﺭﲪﻬﺎ ﻟﺘﺠﻌﻠﻪ ﻣﻜﺎﻧﺎ ﳍﺎ ﻭ ﲡﻌﻞ ﻣﻦ ﺍﻟﺸﻌﺮ ﻟﺴﺎﻧﺎ ﳍﺎ )ﺭﻏﻢ ﺃﻥ ﺍﻟﺸﻌﺮ ﺃﻭﻝ ﻣﻦ‬
‫ﻓﺘﺢ ﺫﺭﺍﻋﻴﻪ ﻟﻴﺤﺘﻀﻦ ﺍﻷﺳﻄﻮﺭﺓ ﻛﻤﺎ ﻗﻠﺖ ﺳﺎﺑﻘﺎ‪ ،‬ﺣﻴﺚ ﻳﻘﻮﻝ ﻓﺮﺍﺱ ﺍﻟﺴﻮﺍﺡ ﻋﻨﻪ " ﺍﻟﺴﻠﻴﻞ‬
‫ﺍﳌﺒﺎﺷﺮ ﻟﻸﺳﻄﻮﺭﺓ ﻭﺍﺑﻨﻬﺎ ﺍﻟﺸﺮﻋﻲ"(* ‪ ،‬ﻓﻤﻨﺬ ﺑﺪﺍﻳﺔ ﺍﻟﺘﺎﺭﻳﺦ ﻭ ﻫﻲ ﲢﺘﻜﺮﳘﺎ ﻟﻨﻔﺴﻬﺎ‪ ،‬ﻭ ﻣﻊ‬
‫ﺷﻖ ﺍﻹﻧﺴﺎﻥ ﻟﺪﺭﺏ ﺍﻟﻌﻠﻢ ﻭ ﺍﻟﺘﻄﻮﺭ ﺃﺧﺬﺕ ﻣﻜﺎﻧﺘﻬﺎ ﺑﺎﻟﺘﺮﺍﺟﻊ ﻟﺘﻔﺴﺢ ﺍ‪‬ﺎﻝ ﳌﻮﺍﺿﻴﻊ ﳐﺘﻠﻔﺔ‬

‫‪ - 1‬ﻛﺎﻣﻠﻲ ﺑﻠﺤﺎﺝ ‪":‬ﺃﺛﺮ ﺍﻟﺘﺮﺍﺙ ﺍﻟﺸﻌﱯ ﰲ ﺗﺸﻜﻴﻞ ﺍﻟﻘﺼﻴﺪﺓ ﺍﻟﻌﺮﺑﻴﺔ ﺍﳌﻌﺎﺻﺮﺓ" ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ ﺹ ‪.34‬‬
‫*‪ -‬ﻓﺮﺍﺱ ﺍﻟﺴﻮ‪‬ﺍﺡ‪ :‬ﺍﻷﺳﻄﻮﺭﺓ ﻭﺍﳌﻌﲎ ﺩﺭﺍﺳﺎﺕ ﰲ ﺍﳌﻴﺜﻮﻟﻮﺟﻴﺎ ﻭﺍﻟﺪﻳﺎﻧﺎﺕ ﺍﳌﺸﺮﻗﻴﺔ‪ ،‬ﺩﺍﺭ ﻋﻼﺀ ﺍﻟﺪﻳﻦ ﺩﻣﺸﻖ ﻁ‪ ،1997 ،1‬ﺹ ‪.22‬‬

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‫ﺗﻄﺮﻕ ﺑﺎ‪‬ﻤﺎ‪ ،‬ﰒ ﻋﺎﺩﺕ ﻭ ﺍﻗﺘﺤﻤﺖ ﻓﻨﻮﻥ ﺃﺩﺑﻴﺔ ﺃﺧﺮﻯ ﻛﺎﻟﺮﻭﺍﻳﺔ ‪ ،‬ﻭ ﺍﻟﻘﺼﺔ ‪....‬ﺇﱁ‪ .‬ﻭﺻﻮﻻ‬
‫ﺇﱃ ﻇﻬﻮﺭ ﻣﺎ ﻳﻌﺮﻑ ﺑﺎﻟﻨﻘﺪ ﺍﻷﺳﻄﻮﺭﻱ ﻟﻸﺩﺏ ﺍﻟﺬﻱ ﻋﲏ ﺑﺘﻘﺼﻲ ﺍﻟﻈﺎﻫﺮﺓ ﺍﻷﺳﻄﻮﺭﻳﺔ ﰲ‬
‫ﺍﻷﺩﺏ‪.‬‬

‫ﻭ ﳑﺎ ﺳﺎﻋﺪ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﳌﻴﺜﻮﻟﻮﺟﻴﺔ ﻋﻠﻰ ﺍﻻﻧﺘﺸﺎﺭ ﻫﻮ ﺗﻮﺟﻪ ﺃﻧﻈﺎﺭ ﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ‬

‫ﻛﺎﻷﻧﺘﺮﻭﺑﻮﻟﻮﺟﻴﺎ‪ ،‬ﻭ ﻋﻠﻢ ﺍﻟﻨﻔﺲ‪ ،‬ﻭ ﻋﻠﻢ ﺍﻹﺟﺘﻤﺎﻉ ﻭﻏﲑﻫﺎ ﻣﻦ ﺍﻟﻌﻠﻮﻡ‪ ...‬ﺇﻟﻴﻬﺎ ﺑﺎﻋﺘﺒﺎﺭﻫﺎ‬
‫ﺗﻌﱪ ﻋﻦ ﺧﻼﺻﺔ ﺍﻟﺘﺠﺮﺑﺔ ﺍﻟﺒﺸﺮﻳﺔ ﺍﻟﱵ ﺗﺮﺍﻛﻤﺖ ﻟﻘﺮﻭﻥ ﻭ ﻹﳝﺎ‪‬ﻢ ﺑﺄ‪‬ﺎ ﻣﻦ ﺃﻫﻢ ﺍﻟﻮﺳﺎﺋﻞ ﺍﻟﱵ‬
‫ﲤﻜﻨﻬﻢ ﻣﻦ ﻓﻬﻢ ﺍﻟﻨﻔﺲ ﺍﻟﺒﺸﺮﻳﺔ ﻭﺗﻄﻮﺭﻫﺎ ﻋﱪ ﺍﻟﻌﺼﻮﺭ‪ ،‬ﻓﻜﻞ ﻣﻨﻬﻢ ﺗﻨﺎﻭﳍﺎ ﻣﻦ ﻣﻨﻈﻮﺭﻩ‬
‫ﺍﳋﺎﺹ ﻭ ﺑﺬﻟﻚ ﻓﺘﺢ ﺍ‪‬ﺎﻝ ﻟﺪﺭﺍﺳﺎﺕ ﺃﻋﻤﻖ ﻭ ﺃﻛﺜﺮ ﲣﺼﺼﺎ‪ ،‬ﻭﺣﱴ ﰲ ﳎﺎﻝ ﺍﻟﻔﻨﻮﻥ ﻓﻬﻲ ﱂ‬
‫ﺗﺘﻮﻗﻒ ﻋﻨﺪ ﲡﺴﻴﺪ ﺍﳌﻼﺣﻢ ﺍﻟﻘﺪﳝﺔ ﺳﻮﺍﺀﺍ ﰲ ﺍﳌﺴﺮﺡ ﺃﻭ ﰲ ﳎﺎﻝ ﺻﻨﺎﻋﺔ ﺍﻟﺴﻴﻨﻤﺎ ﺃﻭ ﺗﻨﺎﻭﳍﺎ‬
‫ﻛﻤﺎ ﻫﻲ ﰲ ﺍﻟﺸﻌﺮ ﻭ ﺍﻟﻨﺜﺮ ﺑﻞ ﺗﻌﺪﻯ ﺍﻷﻣﺮ ﺇﱃ ﺗﻮﻟﻴﺪ ﺃﺳﺎﻃﲑ ﺟﺪﻳﺪﺓ ﲟﻌﺎﻳﲑ ﺍﻟﻘﺪﳝﺔ‪ ،‬ﻭ ﻫﻜﺬﺍ‬
‫ﻭ ﰲ ﻇﻞ ﺛﻮﺭﺓ ﺍﻟﻌﻠﻮﻡ ﻭ ﺍﳌﻌﻠﻮﻣﺎﺗﻴﺔ ﺍﻟﱵ ﻳﺸﻬﺪﻫﺎ ﻋﺼﺮﻧﺎ ﻫﺬﺍ ﺍﺳﺘﻤﺮﺕ ﺍﻷﺳﻄﻮﺭﺓ ﰲ‬
‫ﺍﻟﻮﺟﻮﺩ‪ ،‬ﻭ ﰲ ﻟﻌﺐ ﺩﻭﺭﻫﺎ ﺍﳌﻬﻢ‪ ،‬ﻓﻔﻲ ﻓﻮﺭﺓ ﺍﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ ﺃﺻﺒﺢ ﺍﻹﻧﺴﺎﻥ ﳜﺎﻑ ﻋﻠﻰ ﻧﻔﺴﻪ‬
‫ﻣﻦ ﻫﺬﻩ ﺃﻥ ﲢﻴﻠﻪ ﺇﱃ ﺁﻟﺔ‪ ،‬ﻓﻠﺠﺄ ﺇﻟﻴﻬﺎ ﻟﺘﺪﺭﺃ ﻋﻨﻪ ﺧﻄﺮﻫﺎ ﻭ ﲢﻤﻲ ﻟﻪ ﺇﻧﺴﺎﻧﻴﺘﻪ‪ ،‬ﻓﻔﻲ ﺍﻷﺳﻄﻮﺭﺓ‬
‫ﺗﻜﻤﻦ ﺇﻧﺴﺎﻧﻴﺔ ﺍﻹﻧﺴﺎﻥ‪ .‬ﻭﻟﻜﻦ ﰲ ﻏﻤﺮﺓ ﺣﺪﻳﺜﻨﺎ ﻋﻦ ﺍﻟﻌﻠﻮﻡ ﻭﻣﺎ ﻗﺪﻣﺘﻪ ﺍﻟﻌﻠﻮﻡ ﻟﻸﺳﻄﻮﺭﺓ‬
‫ﻋﻠﻴﻨﺎ ﺃﻥ ﻻ ﻧﻨﺴﻰ ﻣﺎ ﻗﺪﻣﻪ ﺍﻟﻨﻘﺪ ﺍﻷﺳﻄﻮﺭﻱ ﻟﺘﻠﻚ ﺍﻟﻌﻠﻮﻡ ﻭ ﺑﺎﻟﺘﺎﱄ ﻟﺪﺭﺍﺳﺔ ﺍﻷﺳﺎﻃﲑ‪ ،‬ﻓﻘﺪ‬
‫ﺃﺑﺪﻋﻪ "ﻳﻮﻧﻎ"‪ 1‬ﻭ ﻫﻮ ﺣﺪﻳﺚ ﺑﺎﳌﻘﺎﺭﻧﺔ ﻣﻊ ﺍﻷﺳﺎﻃﲑ ﻭ ﻫﻮ ﻣﻦ ﻛﺎﻥ ﻭﺭﺍﺀ ﺗﻮﺟﻴﻪ ﺍﻷﻧﻈﺎﺭ ﺇﻟﻴﻬﺎ‬
‫ﳎﺪﺩﺍ ﻓﻘﺪ ﺧﻠﻖ ﻫﺬﺍ ﺍﳌﺬﻫﺐ ﺃﻭ ﻫﺬﻩ ﺍﻟﻨﻈﺮﻳﺔ ﻣﻦ ﺧﻼﻝ ﻣﻘﺎﺭﺑﺘﻪ ﺍﻟﺬﺍﻛﺮﺓ ﺍﳉﻤﻌﻴﺔ ﻭ ﺍﻟﱵ‬
‫ﺗﺰﺧﺮ ﺑﺸﱴ ﺃﻧﻮﺍﻉ ﺍﻟﻔﻠﻜﻠﻮﺭ ﻣﻴﺪﺍﻥ ﺩﺭﺍﺳﺔ ﺟﺪﻳﺪ‪ ،‬ﻓﺎﻧﺘﻘﺎﻝ ﻫﺬﺍ ﺍﻟﻔﻠﻜﻠﻮﺭ ﻣﻦ ﺍﻟﻼﻭﻋﻲ‬
‫ﺍﳉﻤﻌﻲ ﺇﱃ ﺍﻟﻼﻭﻋﻲ ﺍﻷﺩﰊ‪ ،‬ﺑﺎﺕ ﺍﻟﻴﻮﻡ ﻣﻦ ﺍﳌﺴﻠﻤﺎﺕ ﺍﻟﻨﻘﺪﻳﺔ ﰲ ﻧﻈﺮﻳﺔ ﺍﻷﺩﺏ ﻋﻠﻰ ﺍﻟﺮﻏﻢ‬
‫ﳑﺎ ﻳﻠﻘﺎﻩ ﻣﻦ ﻣﻌﺎﺭﺿﺔ ﺑﺎﻋﺘﺒﺎﺭﻩ ﻣﺎﺯﺍﻝ ﺧﺎﺿﻌﺎ ﳍﻴﻤﻨﺔ ﺍﻷﻧﺘﺮﺑﻮﻟﻮﺟﻴﺎ ﻭ ﻋﻠﻢ ﺍﻟﻨﻔﺲ ﻭ ﻏﲑﻫﺎ‪...‬‬
‫‪ -1‬ﻭﻳﻠﻴﺎﻡ ﻙ ‪.‬ﻭﳝﺰﺍﺕ ﻭﻛﻠﻴﻨﺖ ﺑﺮﻭﻛﺲ ‪ ،‬ﺍﻟﻨﻘﺪ ﺍﻷﺩﰊ ‪ ،‬ﺝ ‪ ، 4‬ﺗﺮﲨﺔ ﺣﺴﺎﻡ ﺍﳋﻄﻴﺐ ﻭﳏﻲ ﺍﻟﺪﻳﻦ ﺻﺒﺤﻲ ‪ ،‬ﻣﻄﺒﻌﺔ ﺟﺎﻣﻌﺔ‬
‫ﺩﻣﺸﻖ ‪ ، 1977 ،‬ﺹ‪216.‬‬

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‫ﺇﻻ ﺃﻥ ﻣﻘﺎﺭﺑﺘﻪ ﻟﻸﺩﺏ ﺗﻨﺺ ﻋﻠﻰ ﺗﺘﺒﻊ ﺍﻟﻈﺎﻫﺮﺓ ﺍﻷﺳﻄﻮﺭﻳﺔ ﻭ ﺍﻟﻌﻮﺩﺓ ‪‬ﺎ ﺇﱃ ﺃﺻﻠﻬﺎ‪ ،‬ﻛﻤﺎ ﺃﻧﻪ‬
‫ﻭﺳﻴﻠﺔ ﻟﺘﻘﺼﻲ ﺃﺧﺒﺎﺭ ﺍﻟﺘﺠﻠﻲ ﺍﻷﺳﻄﻮﺭﻱ ﰲ ﻣﻘﺎﺑﻠﺔ ﺍﻟﻌﻤﻞ ﺍﻹﺑﺪﺍﻋﻲ ﺍﻷﺩﰊ ﻭ ﻣﺪﻯ ﺍﻧﺴﺠﺎﻣﻪ‬
‫ﻣﻌﻪ‪ ،‬ﻭﺑﻐﺾ ﺍﻟﻨﻈﺮ ﻋﻤﺎ ﻳﻘﺎﻝ ﻋﻨﻪ ﻓﺈﻧﻪ ﻋﻠﻰ ﻏﺮﺍﺭ ﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺍﻷﺧﺮﻯ ﻗﺪ ﺃﺩﻯ ﻧﺼﻴﺒﻪ‬
‫ﻣﻦ ﺍﻟﻌﻤﻞ ﰲ ﺩﻓﻊ ﻋﺠﻠﺔ ﺍﻟﻈﺎﻫﺮﺓ ﺍﻷﺳﻄﻮﺭﻳﺔ ﻭ ﺗﻄﻮﻳﺮﻫﺎ‪*.‬‬

‫ﲡﻠﻴﺎﺕ ﺍﻷﺳﻄﻮﺭﺓ‪:‬‬

‫‪ -1‬ﻣﺴﺘﻮﻯ ﻓﲏ ﲨﺎﱄ‪:‬‬

‫ﺃ‪-‬ﺍﻟﺒﻌﺪ ﺍﻷﺳﻠﻮﰊ‪:‬‬

‫ﺇﻥ ﺍﻷﺳﻄﻮﺭﺓ ﻟﻴﺴﺖ ﳎﺮﺩ ﻣﻌﻄﻰ ﻓﻜﺮﻱ ﻧﺎﺗﺞ ﻋﻦ ﻋﻤﻠﻴﺔ ﺗﻔﻜﲑ ﻋﻤﻴﻖ ﺑﻞ ﻫﻲ‬
‫ﺿﺮﻭﺭﺓ ﺍﺟﺘﻤﺎﻋﻴﺔ ﺇﺫ ﺃ‪‬ﺎ ﺇﺣﺪﻯ ﺍﻷﻋﻤﺪﺓ ﺍﻟﱵ ﻳﺒﲎ ﻋﻠﻴﻬﺎ ﺍ‪‬ﺘﻤﻊ‪ ،‬ﺑﺪﻟﻴﻞ ﺃ‪‬ﺎ ﺗﺪﺧﻞ ﰲ ﻛﻞ‬
‫ﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭ ﺗﺘﻤﻮﺿﻊ ﺣﺴﺐ ﻣﺪﻯ ﻭ ﻛﻴﻔﻴﺔ ﺗﻘﺪﻳﺲ ﺍ‪‬ﺘﻤﻊ ﳍﺎ ﻭ ﻋﺪﺩ ﺍﳌﻴﺎﺩﻳﻦ‬
‫ﺍﻟﱵ ﲤﺴﻬﺎ‪ .‬ﻭ ﺍﻟﺴﺒﺐ ﺍﻟﻜﺎﻣﻦ ﻭﺭﺍﺀ ﺫﻟﻚ ﻳﺘﻤﺜﻞ ﰲ ﺃ‪‬ﺎ" ﺗﺸﻜﻞ ﺟﺰﺀﺍ ﻣﻦ ﻟﻐﺔ ﺍﻟﺘﻌﺒﲑ ﺍﻟﺸﻌﱯ‪،‬‬
‫ﻓﻘﺪ ﺗﺒﺪﻝ ﺷﻜﻠﻬﺎ‪ ،‬ﺃﻣﺎ ﻃﺒﻴﻌﺘﻬﺎ ﻓﺘﺒﻘﻰ‪ ،‬ﻭ ﻗﺪ ﻳﺘﻐﲑ ﺩﻭﺭﻫﺎ‪ ،‬ﺇﳕﺎ ﺗﺴﺘﻤﺮ ﰲ ﻋﻼﻗﺔ ﺟﺪﻟﻴﺔ ﻣﻊ‬
‫ﺍﻟﺒﻨﻴﺔ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ"‪ 1.‬ﻓﻬﻲ ﻣﻦ ﺣﻴﺚ ﺍﳌﻜﺎﻥ ﺍﻟﻼﻣﻜﺎﻥ ﻭ ﺍﳌﻜﺎﻥ ﻛﻠﻪ‪ ،‬ﻭ ﻣﻦ ﺣﻴﺚ ﺍﻟﺰﻣﺎﻥ‬
‫ﺍﻟﻼﺯﻣﺎﻥ ﻭ ﺍﻟﺰﻣﺎﻥ ﻛﻠﻪ‪ .‬ﻭﺍﲣﺬﺕ ﻟﻨﻔﺴﻬﺎ ﺷﻜﻞ ﺍﻷﺷﻜﺎﻝ ﻛﻠﻬﺎ ﺇﺫ ﺗﺮﺩ ﰲ ﻛﻞ ﺍﻟﺜﻘﺎﻓﺎﺕ‬
‫ﻭ ﺍﻟﻌﺼﻮﺭ ﺑﺄﻭﺟﻪ ﳐﺘﻠﻔﺔ ﻭ ﺟﻮﻫﺮ ﻭﺍﺣﺪ‪ .‬ﻭﻫﻲ ﻣﻠﻚ ﻣﺸﺎﻉ ﺑﲔ ﺍﻟﺒﺸﺮ ﻟﺬﻟﻚ ﻻ ﳛﻖ ﻷﻱ‬
‫ﻛﺎﻥ ﺍﳌﻄﺎﻟﺒﺔ ﲟﻠﻜﻴﺘﻬﺎ‪ ،‬ﻓﻬﻲ ﳎﻬﻮﻟﺔ ﺍﻷﺻﻞ ﻭ ﺍﳌﺆﻟﻒ‪ ،‬ﻏﺎﻣﻀﺔ ﺍﳌﻨﺸﺄ ﻭ ﺍﻟﺘﺎﺭﻳﺦ" ﻓﻬﻲ ﺗﻘﻮﻝ‬
‫ﺷﻴﺌﺎ ﻣﺎ‪ ،‬ﻭ ﺗﺼﻮﺭ ﺣﺎﺩﺛﺔ ﻣﺎ‪ ،‬ﻭ ﻳﺘﻤﻴﺰ ﺣﺪﻳﺜﻬﺎ ﺍﻷﺳﻄﻮﺭﻱ ﺑﺴﻌﺔ ﺍﳋﻴﺎﻝ ﻭ ﻋﻤﻖ ﺍﻟﻔﻜﺮﺓ‬
‫ﻭ ﺑﺴﺎﻃﺔ ﺍﻟﺘﻌﺒﲑ‪ ،‬ﻭ ﻗﻮﺓ ﺍﻟﺘﺼﻮﻳﺮ ﻭ ﺃﺧﻼﻗﻴﺔ ﺍﳌﺪﻟﻮﻝ‪ 2".‬ﺗﻌﺘﱪ ﻗﺼﺔ ﳍﺎ ﻣﺒﺎﺩﺉ ﺍﻟﺴﺮﺩ‬
‫ﻳﻨﻈﺮ ﺣﻨﺎ ﻋﺒﻮﺩ ‪":‬ﺍﻟﻨﻈﺮﻳﺔ ﺍﻷﺩﺑﻴﺔ ﺍﳊﺪﻳﺜﺔ ﻭ ﺍﻟﻨﻘﺪ ﺍﻷﺳﻄﻮﺭﻱ"‪،‬ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ ﺹ‪.21‬‬
‫*‪-‬‬
‫‪ -1‬ﺧﻠﻴﻞ ﺃﲪﺪ ﺧﻠﻴﻞ‪ :‬ﻡ‪.‬ﺱ‪ ،‬ﺹ ‪. 09‬‬
‫‪ -2‬ﺑﺸﲑ ﺯﻫﺪﻱ‪ ":‬ﻣﻘﺪﻣﺔ ﰲ ﺍﳌﻴﺘﺜﻮﻟﻮﺟﻴﺎ"‪ ،‬ﳎﻠﺔ ﺍﳌﻌﺮﻓﺔ‪ .‬ﺍﻟﻌﺪﺩ‪.197‬ﲤﻮﺯ‪ .1978‬ﺹ ‪.21-20‬‬

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‫ﺍﻟﻘﺼﺼﻲ‪ ،‬ﻭ ﺗﺘﺪﺍﻭﻝ ﰲ ﺍﳌﻨﺎﺳﺒﺎﺕ ﺍﻟﻄﻘﻮﺳﻴﺔ‪ ،‬ﻭ ﺍﻷﺩﻭﺍﺭ ﺍﻟﺮﺋﻴﺴﻴﺔ ﻓﻴﻬﺎ ﲤﻨﺢ ﻟﻶﳍﺔ ﻭ ﺃﻧﺼﺎﻑ‬
‫ﺍﻵﳍﺔ‪ ،‬ﻭ ﺗﻌﺎﰿ ﻣﻮﺿﻮﻋﺎﺕ ﺗﺘﺴﻢ ﺑﺎﳉﺪﻳﺔ ﻭ ﺍﻟﺸﻤﻮﻟﻴﺔ )ﺍﳊﻴﺎﺓ‪ ،‬ﺍﳌﻮﺕ‪ ،‬ﺍﻟﻮﺟﻮﺩ‪ (...‬ﻟﺬﻟﻚ‬
‫ﻣﻦ ﺍﻟﺴﻬﻞ ﻋﻠﻴﻬﺎ ﺍﻻﻧﺪﻣﺎﺝ ﰲ ﺍﻷﺩﺏ ﻭ ﺍﻟﺘﺤﺪﺙ ﺑﻠﺴﺎﻧﻪ‪ ،‬ﻓﺘﻜﺘﺴﺐ ﲨﺎﻟﻴﺔ ﺍﻟﻨﺺ ﺍﻷﺩﰊ‬
‫ﻭ ﺭﺅﻳﺔ ﺍﳌﺆﻟﻒ ﻟﻜﻨﻬﺎ ﲢﺎﻓﻆ ﺇﱃ ﺣﺪ ﻣﺎ ﻋﻠﻰ ﺭﺅﻳﺘﻬﺎ ﺍﳋﺎﺻﺔ‪ .‬ﻭ ﻟﻘﺪ ﺃﻭﺟﺪﺕ ﻋﱪ ﺍﻟﺘﺎﺭﻳﺦ‬
‫ﻟﻨﻔﺴﻬﺎ ﻣﻨﺎﻓﺬ ﻋﺪﻳﺪﺓ ﻭ ﻣﺘﺠﺪﺩﺓ ﺗﻌﻮﺩ ﻭ ﺗﻄﻞ ﻣﻦ ﺧﻼﳍﺎ ﻛﻠﻤﺎ ﺍﻧﻐﻠﻖ ﺃﻣﺎﻣﻬﺎ ﻣﻨﻔﺬ ﺑﻔﻌﻞ‬
‫ﺍﻟﺘﻄﻮﺭ ﺍﻟﺬﻱ ﺗﻌﺮﻓﻪ ﺍﻟﺒﺸﺮﻳﺔ ﻛﻨﻮﻉ ﻣﻦ ﺃﻧﻮﺍﻉ ﺍﻟﺘﻜﻴﻒ ﻣﻊ ﺍﳌﺴﺘﺠﺪﺍﺕ‪ ،‬ﻭ ﻛﺬﻟﻚ ﺣﺎﻓﻈﺖ‬
‫ﻋﻠﻰ ﻭﺟﻮﺩﻫﺎ ﰲ ﺍﳌﻴﺪﺍﻥ ﺍﻷﺩﰊ‪ ،‬ﻭ ﻛﻤﺎ ﺳﺒﻖ ﻭ ﺃﻥ ﺃﺷﺮﻧﺎ ﺃﻥ ﺍﻹﻧﺴﺎﻥ ﺍﳊﺪﻳﺚ ﱂ ﻳﺘﻌﺮﻑ‬
‫ﻋﻠﻰ ﺍﻷﺳﻄﻮﺭﺓ ﺇﻻ ﻣﻦ ﺧﻼﻝ ﺍﳊﻤﻮﻻﺕ ﺍﻷﺩﺑﻴﺔ ﺍﻟﱵ ﻭﺭﺩﺕ ﻓﻴﻬﺎ‪ ،‬ﰒ ﺃﺧﺬ ﺑﻌﺪ ﺫﻟﻚ‬
‫ﻣﻔﻬﻮﻣﻬﺎ ﻳﺘﻄﻮﺭ ﺷﻴﺌﺎ ﻓﺸﻴﺌﺎ‪ ،‬ﺇﱃ ﺃﻥ ﲤﻜﻦ ﻣﻦ ﺃﻥ ﳝﻴﺰ ﰲ ﲨﻠﺔ ﺃﺷﻜﺎﳍﺎ ﺍﳌﺘﻌﺪﺩﺓ ﻣﺎ ﻋﺮﻓﻪ‬
‫ﺑﺎﻷﺳﻄﻮﺭﺓ ﺍﻷﺩﺑﻴﺔ‪.‬‬

‫ﻓﻔﻲ ﺣﺪﻳﺜﻨﺎ ﻋﻨﻬﺎ ﺳﺎﺑﻘﺎ ﻗﻠﻨﺎ ﺃ‪‬ﺎ ﺃﺳﻄﻮﺭﺓ ﰲ ﺷﻜﻞ ﻣﺎ ﻣﻦ ﺃﺷﻜﺎﳍﺎ ﺗﺪﺧﻞ ﺍﻷﺩﺏ ﻓﺘﺘﺒﲎ‬
‫ﲨﺎﻟﻴﺔ ﺍﻟﻨﺺ‪ ،‬ﻭ ﺭﺅﻳﺘﻪ ﺍﶈﺪﺩﺓ‪ ،‬ﻭ ﻟﻜﻦ ﻟﺪﺧﻮﳍﺎ ﻫﺬﺍ ﺗﻘﻤﺺ ﻟﻠﻌﻤﻞ ﺍﻷﺩﰊ‪ .‬ﺇﺫ ﻗﺪ ﳛﺎﻛﻲ‪:‬‬
‫ﺣﺪﺛﻬﺎ‪ ،‬ﺑﻨﺎﺀﻫﺎ ﺃﻭ ﺭﻣﺰﻫﺎ‪:‬‬

‫‪ .1‬ﺍﳊﺪﺙ ﺍﻷﺳﻄﻮﺭﻱ‪:‬‬

‫" ﻳﺘﻮﺯﻉ ﺍﳌﻨﺠﺰ ﺍﻷﺳﻄﻮﺭﻱ ﺑﻌﺎﻣﺔ ﺑﲔ ﻧﻮﻋﲔ ﺭﺋﻴﺴﲔ‪ :‬ﺃﺳﺎﻃﲑ ﺗﺘﻌﻠﻖ ﺑﺄﺻﻞ ﺍﳋﻠﻖ‬
‫ﻭ ﺍﻟﺘﻜﻮﻳﻦ ﻭ ﺑﺪﺍﻳﺎﺕ ﺍﻷﺷﻴﺎﺀ‪ ،‬ﻭ ﺃﺧﺮﻯ ﺗﺘﻌﻠﻖ ﺑﺎﻟﻈﻮﺍﻫﺮ ﺍﻟﻄﺒﻴﻌﻴﺔ ﻭ ﺃﻛﺜﺮ ﻣﺆﺭﻗﺎﺕ‬
‫ﺍﻹﻧﺴﺎﻥ ﻋﱪ ﻋﺼﻮﺭ ﺍﻟﺘﺎﺭﻳﺦ ﺍﳌﺨﺘﻠﻔﺔ‪ :‬ﺃﻱ ﺍﳌﻮﺕ ﻭ ﺍﻻﻧﺒﻌﺎﺙ"‪ .1‬ﻭ ﻫﺬﺍﻥ ﺍﻟﻨﻮﻋﺎﻥ ﻳﻌﺘﱪﺍﻥ‬
‫ﻣﻦ ﺍﳌﻮﺍﺿﻴﻊ ﺍﻟﱵ ﺗﺴﻨﺪ ﻣﻠﻜﻴﺘﻬﺎ ﺇﱃ ﺍﻟﺒﺸﺮﻳﺔ ﲨﻌﺎﺀ‪ .‬ﻓﻴﻘﻮﻡ ﺍﳌﺒﺪﻉ ﺑﺬﻟﻚ ﺑﺎﺳﺘﻠﻬﺎﻡ ﺇﺣﺪﻯ‬
‫ﺍﻷﺣﺪﺍﺙ ﺍﻷﺳﻄﻮﺭﻳﺔ ﻭﻳﺴﻮﻕ ﻋﻤﻠﻪ ﺍﻷﺩﰊ ﰲ ﺇﻃﺎﺭﻫﺎ ﲝﻴﺚ ﻣﺜﻼ ﻳﻘﻮﻡ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ‬
‫‪ -1‬ﻧﻀﺎﻝ ﺍﻟﺼﺎﱀ‪ " :‬ﺍﻟﱰﻭﻉ ﺍﻷﺳﻄﻮﺭﻱ ﰲ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﳌﻌﺎﺻﺮﺓ" ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ‪ ،2001 ،‬ﺹ ‪.130‬‬

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‫ﲟﻌﺎﳉﺔ ﻇﺎﻫﺮﺓ ﺍﳌﻮﺕ ﺃﻭ ﺍﻻﻧﺒﻌﺎﺙ ﺃﻭ ﻏﲑﻫﺎ ﻣﻦ ﺍﳊﻤﻮﻻﺕ ﺍﻷﺳﻄﻮﺭﻳﺔ ﺍﻟﱵ ﺗﻠﻘﻲ ﺑﻈﻼﳍﺎ‬
‫ﻋﻠﻰ ﺍﻟﻔﻜﺮ ﺍﻟﺒﺸﺮﻱ ﰲ ﺃﺣﺪ ﺟﺰﺋﻴﺎ‪‬ﺎ ﺃﻳﻦ ﺗﻜﻮﻥ ﺩﺍﻋﻤﺔ ﻷﺣﺪﺍﺙ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ‪ ،‬ﻭ ﻫﻨﺎ‬
‫ﻳﺴﲑ ﻣﺴﺘﻮﻯ ﺍﻟﺘﻌﺒﲑ ﺍﻟﻮﺍﻗﻌﻲ ﺟﻨﺒﺎ ﺇﱃ ﺟﻨﺐ ﻣﻊ ﻣﺴﺘﻮﻯ ﺍﻟﺘﻌﺒﲑ ﺍﻟﺮﻣﺰﻱ‪ .‬ﲟﻌﲎ ﺭﺑﻂ‬
‫ﺻﻮﺭﺓ ﺟﺰﺋﻴﺔ ﺑﺼﻮﺭﺓ ﻛﻠﻴﺔ ﻭ ﺇﺑﻘﺎﺀ ﺍﳊﺪ ﺍﻟﻔﺎﺻﻞ ﺑﲔ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﻮﺍﻗﻌﻴﺔ ﻭ ﺭﻣﻮﺯﻫﺎ‪ ،‬ﳑﺎ‬
‫ﻳﺆﺩﻱ ﺇﱃ ﺍﺳﺘﻘﺎﻣﺔ ﺑﻨﺎﺀﻫﺎ ﺍﻟﻔﲏ‪ ،‬ﺣﻴﺚ ﻻ ﺗﺒﻘﻰ ﺣﺪﻭﺩ ﻓﺎﺻﻠﺔ ﺑﲔ ﺍﻷﺳﻄﻮﺭﺓ ﻭ ﺍﻟﻮﺍﻗﻊ‪.‬‬
‫ﻭ "ﻟﻌﻞ ﺃﻫﻢ ﻣﺎ ﳝﻴﺰ ﺍﳊﺪﺙ ﺍﻷﺳﻄﻮﺭﻱ ﻋﻦ ﺍﳊﺪﺙ ﺍﻟﺴﺮﺩﻱ ﺍﻟﻌﺎﻡ ﺍﻟﺬﻱ ﻧﺼﺎﺩﻓﻪ ﰲ‬
‫ﺍﻷﺟﻨﺎﺱ ﺍﻟﺴﺮﺩﻳﺔ ﺍﻷﺧﺮﻯ‪ ،‬ﻫﻮ ﺍﻟﺘﻬﻮﻳﻞ ﻭ ﻃﻠﺐ ﺍﳋﻮﺍﺭﻕ‪ ،‬ﻭ ﺍﻟﺘﻐﺮﻳﺐ‪ ،‬ﻭ ﻧﺸﺪﺍﻥ‬
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‫ﺍﻟﻌﺠﺎﺋﺐ ‪ ،‬ﻭ ﻛﻞ ﻣﺎ ﻣﻦ ﺷﺄﻧﻪ ﺍﳋﺮﻭﺝ ﻋﻦ ﻣﺪﻯ ﺍﳊﺠﺎ‪ ،‬ﻭ ﺍﻟﻨﺪ ﻋﻦ ﻣﺮﺍﻣﻲ ﺍﻟﻌﻘﻞ‪".‬‬
‫ﻓﺎﻷﺳﻄﻮﺭﺓ ﻧﺴﻴﺞ ﳑﻴﺰ ﻣﻦ ﺗﻠﻚ ﺍﻷﻣﻮﺭ‪ ،‬ﻓﺘﺘﻔﺎﻋﻞ ﺍﻟﻘﻮﻯ ﺍﻟﻌﻠﻴﺎ ﻟﺘﺮﺟﺢ ﻛﻔﺔ ﺍﻟﺼﺮﺍﻉ‬
‫ﻷﺣﺪ ﺍﻟﻄﺮﻓﲔ ﺍﳌﺘﻨﺎﺯﻋﲔ ﻣﺜﻼ ﺃﻭ ﺗﺸﺘﺮﻙ ﻫﻲ ﻧﻔﺴﻬﺎ ﻛﻄﺮﻑ ﰲ ﻫﺬﺍ ﺍﻟﺼﺮﺍﻉ ﺃﻭ ﺫﺍﻙ‪،‬‬
‫ﰲ ﻋﺎﱂ ﻳﻔﻮﻕ ﺣﺪﻭﺩ ﺍﻟﻮﺍﻗﻊ ﲟﺮﺍﺣﻞ‪ ،‬ﻣﻦ ﺣﻴﺚ ﺍﻷﺣﺪﺍﺙ ﻛﺄﺣﺪﺍﺙ ﻭ ﻣﻦ ﺣﻴﺚ‬
‫ﺍﻟﺸﺨﻮﺹ ﺍﶈﺮﻛﺔ ﺑﻄﺎﺑﻌﻬﺎ ﺍﳋﺎﺭﻕ‪ ،‬ﻟﺘﺨﻠﻖ ﻋﺎﳌﺎ ﻣﻦ ﺍﻟﻌﺠﺎﺋﺐ‪.‬‬

‫ﺃﻣﺎ ﺃﻫﻢ ﻣﺎ ﳝﻴﺰﻫﺎ ﻫﻮ ﻗﺪﺳﻴﺘﻬﺎ ﻓﻬﻲ ﺃﻛﺜﺮ ﺻﺪﻗﺎ ﻭ ﺣﻘﻴﻘﺔ ﻣﻦ ﺍﻟﺮﻭﺍﻳﺎﺕ ﺍﻟﺘﺎﺭﳜﻴﺔ‪ ،‬ﻭﻫﻲ ﺗﺘﺨﺬ‬
‫ﺷﻜﻞ ﺍﻷﺧﺒﺎﺭ ﺍﻟﱵ ﺗﻔﺴﺮ ﺃﺻﻞ ﺑﻌﺾ ﺍﻷﺷﻴﺎﺀ ﻭ ﻋﻠﺔ ﻇﻬﻮﺭﻫﺎ ﺇﱃ ﺍﻟﻮﺟﻮﺩ ﻭ ﺑﺎﻟﺘﺎﱄ ﳍﺎ‬
‫ﺳﻠﻄﺔ ﻋﻈﻴﻤﺔ ﻋﻠﻰ ﻋﻘﻮﻝ ﺍﻟﻨﺎﺱ ﻭ ﻧﻔﻮﺳﻬﻢ‪ .‬ﰒ ﻣﻬﻤﺎ ﻛﺎﻥ ﻣﻦ ﺃﻣﺮ ﺍﻷﺳﺎﻃﲑ ﻓﻬﻲ ﺗﺒﻘﻰ‬
‫ﺧﺎﻟﺪﺓ ﻋﻠﻰ ﻣﺮ ﺍﻟﺰﻣﻦ‪ ،‬ﻷ‪‬ﺎ ﺍﻟﺬﺍﻛﺮﺓ ﺍﻟﺸﻌﺒﻴﺔ ﺑﺘﻨﻮﻋﻬﺎ ﻭ ﻋﻤﻘﻬﺎ‪ ،‬ﺑﺘﻌﻘﻴﺪﻫﺎ ﻭ ﺑﺴﺎﻃﺘﻬﺎ‪،‬‬
‫ﺑﻐﻤﻮﺿﻬﺎ ﻭ ﺗﻘﻠﺒﺎ‪‬ﺎ‪ ،‬ﻭ ﺍﻟﺸﻲﺀ ﺍﻷﻛﻴﺪ ﰲ ﻣﺎ ﳜﺺ ﺍﻷﺳﺎﻃﲑ ﻫﻮ ﺃﻧﻪ ﻻ ﳝﻜﻦ ﻧﻔﻲ ﺍﻟﻄﺎﺑﻊ‬
‫ﺍﻟﺮﻣﺰﻱ ﻋﻨﻬﺎ‪ ،‬ﻛﻤﺎ ﻻ ﳝﻜﻦ ﺩﺭﺍﺳﺘﻬﺎ ﲟﻌﺰﻝ ﻋﻦ ﺍﻷﺳﺎﻃﲑ ﺍﻷﺧﺮﻯ‪ ،‬ﻓﺎﳊﻀﺎﺭﺓ ﺍﻹﻧﺴﺎﻧﻴﺔ‬
‫ﳊﻤﺔ ﻭﺍﺣﺪﺓ‪.‬‬

‫‪ -1‬ﳏﻤﺪ ﻋﺠﻴﻨﺔ‪ ،‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.71‬‬

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‫‪ .2‬ﺍﻟﺮﻣﺰ ﺍﻷﺳﻄﻮﺭﻱ*‪:‬‬

‫ﺇﻥ ﺍﻷﺳﻄﻮﺭﺓ ﺑﻨﺎﺀ ﺭﻣﺰﻱ ﻣﻌﻘﺪ ﻓﻬﻲ ﺗﻮﻇﻒ ﻛﺎﺋﻨﺎﺕ‪ ،‬ﺃﺷﻴﺎﺀ‪ ،‬ﻇﻮﺍﻫﺮ‪...‬ﺇﱁ ﻣﻌﻴﻨﺔ ﻟﺘﻌﻄﻴﻬﺎ‬
‫ﺃﺑﻌﺎﺩﺍ ﺃﺳﻄﻮﺭﻳﺔ ﲝﻴﺚ ﻳﺼﺒﺢ ﻛﻞ ﻋﻨﺼﺮ ﻣﻦ ﺍ‪‬ﻤﻮﻋﺎﺕ ﺍﻷﻧﻔﺔ ﺟﺰﺀﺍ ﺫﺍ ﺩﻻﻻﺕ ﳏﺪﺩﺓ‪ ،‬ﺇﺫ‬
‫ﻻ ﻳﻮﻇﻒ ﺇﻻ ﻟﻠﺪﻻﻟﺔ ﻋﻦ ﺧﻠﻔﻴﺎﺕ ﻣﻌﻴﻨﺔ‪ ،‬ﻭ ﳝﻜﻦ ﻟﻠﻤﺒﺪﻋﲔ ﺍﺳﺘﻠﻬﺎﻡ ﻫﺬﻩ ﺍﻟﺮﻣﻮﺯ ﻭ ﺗﻮﻇﻴﻔﻬﺎ‬
‫ﰲ ﺃﻋﻤﺎﳍﻢ ﺍﻷﺩﺑﻴﺔ ﻓﺘﺼﺒﺢ ﻣﺮﺗﺒﻄﺔ ﺑﺎﻷﺳﻄﻮﺭﺓ ﻣﻦ ﺧﻼﻝ ﺗﻠﻚ ﺍﻟﺮﻣﻮﺯ‪ .‬ﻭ "ﻣﻦ ﺍﳌﻬﻢ ﺍﻹﺷﺎﺭﺓ‬
‫ﻫﻨﺎ ﺇﱃ ﺃﻥ ﺇﺣﺎﻟﺔ ﻛﻞ ﻧﺺ ﺇﱃ ﺭﻣﺰ ﺃﺳﻄﻮﺭﻱ ﳏﺪﺩ ﻻ ﻳﻌﲏ ﺍﻧﻐﻼﻕ ﻫﺬﺍ ﺍﻟﻨﺺ ﻋﻠﻰ ﺫﻟﻚ‬
‫ﺍﻟﺮﻣﺰ ﻭﺣﺪﻩ ﺑﻘﺪﺭ ﻣﺎ ﺗﻌﲏ ﺃﻥ ﻫﺬﺍ ﺍﻟﺮﻣﺰ ﻣﻦ ﳎﻤﻞ ﳏﻔﺰﺍﺕ ﺍﻟﻈﺎﻫﺮ ﺍﻷﺳﻄﻮﺭﻳﺔ ﻓﻴﻪ‪ 1".‬ﻷﻥ‬
‫ﺍﻟﻨﺺ ﺑﻄﺒﻴﻌﺔ ﺍﳊﺎﻝ ﻻ ﳛﺪﺩ ﺃﻓﻘﻪ ﻭ ﺃﻓﻖ ﺍﻧﺘﻈﺎﺭ ﺍﳌﺘﻠﻘﻲ ﺑﺘﻮﻇﻴﻒ ﺭﻣﺰ ﻓﻘﲑ‪ ،‬ﻓﺮﻣﻮﺯ ﺍﻷﺳﻄﻮﺭﺓ‬
‫ﻛﺎﻟﻌﻀﻮ ﺍﳊﻲ ﻻ ﻳﺴﺘﺄﺻﻞ ﻟﻴﺒﻘﻰ ﻋﻠﻰ ﺣﺪﺍ ﺣﱴ ﻳﻔﻘﺪ ﺟﻮﻫﺮﻩ ﺑﻞ ﻳﺪﻣﺞ ﻣﻊ ﺭﻭﺡ ﺍﻟﻨﺺ‬
‫ﻟﻴﻮﺍﺻﻞ ﺍﳊﻴﺎﺓ ﻣﻦ ﺧﻼﻟﻪ‪ ،‬ﻭ ﻟﻴﺤﻴﻲ ﺍﻟﻨﺺ ﺑﺪﻻﻻﺗﻪ ﲝﻴﺚ ﳚﻌﻞ ﺃﻓﻘﻪ ﺃﺭﺣﺐ ﻭ ﺃﻛﺜﺮ ﺍﻧﻔﺘﺎﺣﺎ‪،‬‬
‫ﻣﻀﺎﻓﺎ ﺇﻟﻴﻪ ﺭﻣﻮﺯ ﺃﺧﺮﻯ ﺗﺘﻜﻴﻒ ﻣﻌﻪ ﻟﺘﻨﺘﺞ ﺣﻴﻮﻳﺔ ﻭ ﻣﺮﻭﻧﺔ ﲡﻌﻼﻧﻪ ﺑﻨﺎﺀﺍ ﺗﺎﻣﺎ‪ ،‬ﻭ ﺗﻜﺴﺒﺎﻧﻪ‬
‫ﳕﻄﻴﺔ ﻣﺘﻔﺮﺩﺓ‪ ،‬ﲡﻌﻞ ﺍﻧﺘﻘﺎﻟﻪ ﺑﲔ ﺍﻟﺜﻘﺎﻓﺎﺕ ﳑﻜﻨﺎ‪ .‬ﻭ ﻻ ﻳﻨﺎﻓﺲ ﺍﻟﺮﻣﺰ ﺍﻷﺳﻄﻮﺭﻱ ﺍﳉﻤﺎﻟﻴﺎﺕ‬
‫ﺍﻷﺧﺮﻯ ﺑﻞ ﻳﺘﻨﺎﻏﻢ ﻣﻌﻬﺎ ﻟﻴﺆﻟﻒ ﻭ ﺇﻳﺎﻫﺎ ﻭﺣﺪﺓ ﺍﻟﻨﺺ‪ .‬ﻭ ﻟﻘﺪ ﺗﻔﺎﻭﺗﺖ ﺍﺳﺘﺨﺪﺍﻣﺎ‪‬ﻢ ﻟﻠﺮﻣﺰ‬
‫ﺼ ‪‬ﻲ ﺣﺴﺐ ﺩﺭﺟﺎﺕ‬
‫ﺍﻷﺳﻄﻮﺭﻱ ﺑﲔ ﺍﻻﺳﺘﺨﺪﺍﻡ ﺍﻹﺑﺪﺍﻋﻲ‪ ،‬ﻭ ﺍﻻﺳﺘﺨﺪﺍﻡ ﺍﻟﻮﻇﻴﻔﻲ ﺍﻟﻨ ‪‬‬
‫ﺛﻘﺎﻓﺘﻬﻢ ﻭ ﻣﻮﺍﻫﺒﻬﻢ‪ ،‬ﻭ ﻛﻴﻔﻴﺔ ﺗﻌﺎﻣﻠﻬﻢ ﻣﻌﻪ‪.‬‬

‫ﺑﺸﻜﻞ ﻋﺎﻡ ﻟﻘﺪ ﺃﺳﻬﻤﺖ ﺍﻷﺳﺎﻃﲑ ﲨﻴﻌﻬﺎ ﰲ ﺇﺛﺮﺍﺀ ﺳﺎﺣﺔ ﺍﻷﺩﺏ ﺑﻜﺜﲑ ﻣﻦ ﺍﻟﻘﻴﻢ ﺍﳉﻤﺎﻟﻴﺔ‬
‫ﻭ ﺍﻟﺮﻣﺰﻳﺔ‪ ،‬ﺇﺫ ﺗﻔﻨﻦ ﺍﻷﺩﺑﺎﺀ ﻋﻠﻰ ﺍﺧﺘﻼﻓﻬﻢ ﰲ ﺗﻮﻇﻴﻒ ﻛﺜﲑ ﻣﻦ ﺍﻟﻘﻴﻢ ﺍﻟﺮﻣﺰﻳﺔ ﺍﻟﻜﺎﻣﻨﺔ ﰲ‬
‫ﺍﻷﺳﺎﻃﲑ ﻭ ﺫﻟﻚ ﺑﺈﻃﻼﻋﻬﻢ ﻋﻠﻰ ﺍﻟﺘﺮﺍﺙ ﺍﻟﻌﺎﳌﻲ ﻭ ﺍﻻﺳﺘﻨﺒﺎﻁ ﻣﻨﻪ ﻭ ﻣﻦ ﰒ ﺗﻮﺟﻴﻬﻪ ﺑﺮﺅﻳﺔ‬
‫ﳏﺪﺩﺓ ﻟﻴﺨﺪﻡ ﻗﻴﻤﺎ ﺇﻧﺴﺎﻧﻴﺔ ﻭ ﻳﻀﻤﻦ ﺧﻠﻮﺩﻩ ﻋﱪ ﺍﻟﺰﻣﻦ‪.‬‬

‫*‪ -‬ﻭ ﻟﻨﺎ ﻭﻗﻔﺔ ﻋﻨﺪ ﺃﻫﻢ ﺍﻟﺮﻣﻮﺯ ﺍﻷﺳﻄﻮﺭﻳﺔ ﻓﻴﻤﺎ ﺑﻌﺪ‪.‬‬

‫‪ -1‬ﳏﻤﺪ ﻋﺠﻴﻨﺔ ﻡ‪.‬ﺱ‪ .‬ﺹ‪155-154‬‬

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‫‪ .3‬ﺍﻟﺒﻨﺎﺀ ﺍﻷﺳﻄﻮﺭﻱ‪:‬‬

‫" ﻫﻮ ﻣﻘﺎﺭﺑﺔ ﺍﻟﻮﺍﻗﻊ ﻣﻦ ﺧﻼﻝ ﺑﲎ ﺃﺳﻄﻮﺭﻳﺔ ﻳﺘﺪﺍﺧﻞ ﺍﻟﻮﺍﻗﻌﻲ ﻓﻴﻬﺎ ﺑﺎﳌﺘﺨﻴﻞ ﺗﺪﺍﺧﻼ ﲤﺤﻰ‬
‫ﻣﻌﻪ ﺍﳊﺪﻭﺩ ﺍﻟﻔﺎﺻﻠﺔ ﺑﲔ ﻃﺮﰲ ﻫﺬﻩ ﺍﻟﺜﻨﺎﺋﻴﺔ ﺍﻟﻮﺍﻗﻊ ﻭ ﺍﻷﺳﻄﻮﺭﺓ‪...‬ﻭ ﻳﱪﺯ ﻣﻦ ﺧﻼﻝ‪:‬‬
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‫ﺑﺘﻌﺒﲑ ﺁﺧﺮ ﻫﻮ ﻋﻨﺪﻣﺎ ﻳﻜﻮﻥ ﺍﻟﻌﻤﻞ‬ ‫ﺍﻟﺸﺨﺼﻴﺎﺕ‪ ،‬ﺍﻟﻌﺎﱂ ﺍﻟﺘﺨﻴﻠﻲ‪ ،‬ﺍﻟﻔﻀﺎﺀ ﺍﳌﻜﺎﱐ‪"...‬‬
‫ﺍﻷﺩﰊ ﰲ ﺣﺪ ﺫﺍﺗﻪ ﺇﻋﺎﺩﺓ ﺻﻴﺎﻏﺔ ﻟﻸﺳﻄﻮﺭﺓ‪ ،‬ﺣﻴﺚ ﺗﺴﺘﻨﺪ ﺍﻷﺣﺪﺍﺙ ﻣﺒﺎﺷﺮﺓ ﻭ ﺑﺸﻜﻞ‬
‫ﻭﺍﺿﺢ ﻋﻠﻰ ﺍﻷﺳﻄﻮﺭﺓ ﺑﻜﻞ ﺯﻭﺍﻳﺎﻫﺎ ﻭ ﺷﺨﻮﺻﻬﺎ ﻭ ﻛﺄﻥ ﺍﻷﺳﻄﻮﺭﺓ ﺗﻨﺒﻌﺚ ﻣﻦ ﺟﺪﻳﺪ ﻣﻦ‬
‫ﺧﻼﻝ ﻫﺬﺍ ﺍﻟﻌﻤﻞ‪ .‬ﺇﺫ ﻳﺘﺒﻊ ﺍﻷﺩﻳﺐ ﺧﻄﺎ ﻋﻠﻰ ﳓﻮ ﺗﺎﻡ ﻭ ﺃﻣﲔ ﺃﻣﺎﻧﺔ ﺗﺎﻣﺔ ﳌﺼﺪﺭﻩ‬
‫ﺍﻷﺳﻄﻮﺭﻱ‪ ،‬ﻭ ﻋﻠﻴﻪ ﺃﻥ ﻳﻘﻒ ﻋﻨﺪ ﺣﺪ ﺍﻟﺮﻣﻮﺯ ﺍﻟﱵ ﺗﻮﺣﻲ ‪‬ﺎ ﺍﻷﺳﻄﻮﺭﺓ ﻭ ﺇﻃﺎﺭﻫﺎ ﺍﻹﻗﻠﻴﻤﻲ‪،‬‬
‫ﻭ ﺭﺅﻳﺘﻬﺎ‪ ،‬ﻭ ﲨﺎﻟﻴﺘﻬﺎ‪.‬‬

‫ﺭﻏﻢ ﺃﻥ ﳍﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﱰﻭﻉ ﺍﻷﺳﻄﻮﺭﻱ ﺑﻌﺾ ﺍﻟﺘﺤﻔﻈﺎﺕ ﺍﻟﱵ ﻳﺒﺪﻳﻬﺎ ﺍﻟﺪﺍﺭﺳﻮﻥ ﳓﻮﻩ ﺇﻻ‬
‫ﺃﻥ ﺍﻷﻣﺮ ﻻ ﻳﻘﻒ ﻋﻨﺪ ﻫﺬﺍ ﺍﳊﺪ ﺇﺫ ﺃﻧﻪ ﻫﻨﺎﻙ ﻭﺟﻪ ﺁﺧﺮ ﻻﺳﺘﻠﻬﺎﻡ ﺍﻟﺒﻨﺎﺀ ﺍﻷﺳﻄﻮﺭﻱ‪ ،‬ﺣﻴﺚ‬
‫ﻳﺴﺘﺴﻠﻢ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﺍﺳﺘﺴﻼﻣﺎ ﺗﺎﻣﺎ ﻷﺣﺪﺍﺙ ﺍﻷﺳﻄﻮﺭﺓ ﻭ ﺍﳌﻨﺤﻰ ﺍﻟﺬﻱ ﺗﻨﺤﻮﻩ ﻭ ﻟﻜﻦ ﻟﻦ‬
‫ﳜﺪﻡ ﺑﺬﻟﻚ ﺇﻻ ﻣﻘﺎﺻﺪ ﺍﳌﺒﺪﻉ ﻭ ﺭﺅﻳﺘﻪ ﺍﳉﻤﺎﻟﻴﺔ‪ ،‬ﻓﻴﺒﻨﻴﻪ ﻋﻠﻰ ﺣﺪﺙ ﺃﺳﻄﻮﺭﻱ ﻭ ﻟﻜﻦ ﺣﺎﳌﺎ‬
‫ﻳﻘﻴﻢ ﺍﻟﺒﻨﺎﺀ ﻳﺴﺘﻠﻢ ﺩﻓﺔ ﺍﻟﻘﻴﺎﺩﺓ ﻟﻴﻮﺟﻬﻪ ﺣﻴﺜﻤﺎ ﻳﺸﺎﺀ‪ ،‬ﺩﻭﻥ ﺃﻥ ﻳﻜﻮﻥ ﺃﻣﻴﻨﺎ ﻣﻨﺼﺎﻋﺎ ﺇﱃ ﻣﺎ ﲤﻠﻴﻪ‬
‫ﺍﻷﺳﻄﻮﺭﺓ ﻋﻠﻴﻪ‪.‬‬

‫ﰒ ﺃﻧﻪ ﻟﻴﺲ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﺃﻥ ﻳﺴﺘﻘﻴﻢ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﻋﻠﻰ ﺃﺳﻄﻮﺭﺓ ﻭﺍﺣﺪﺓ‪ ،‬ﺑﻞ ﻗﺪ ﻳﻮﻇﻒ ﰲ‬
‫ﻛﻞ ﺟﺰﺀ ﻣﻨﻪ ﺃﺳﻄﻮﺭﺓ ﳐﺘﻠﻔﺔ ﻳﺮﺍﺩ ‪‬ﺎ ﺃﻣﺮﺍ ﳏﺪﺩﺍ‪ ،‬ﻭ ﻫﺬﺍ ﻻ ﻳﻀﺮ ﺑﺎﻟﻀﺮﻭﺭﺓ ﺑﺒﻨﺎﺀﻩ ﺍﻟﻔﲏ ﺇﺫ ﻻ‬
‫ﻳﻬﻢ ﻋﺪﺩ ﺍﻷﺳﺎﻃﲑ ﺍﻟﱵ ﰎ ﺗﻮﻇﻴﻔﻬﺎ ﻭ ﺇﳕﺎ ﺍﳌﻬﻢ ﻫﻮ ﻛﻴﻔﻴﺔ ﺗﻮﻇﻴﻔﻬﺎ ﻓﻬﻲ ﻟﻴﺴﺖ ﻏﻨﻴﺔ ﰲ‬
‫ﻛﺜﺮ‪‬ﺎ ﻭ ﺇﳕﺎ ﻏﻨﺎﻫﺎ ﻳﻜﻤﻦ ﰲ ﺃﺷﻜﺎﻝ ﺗﻮﻇﻴﻔﻬﺎ‪ ،‬ﻓﺘﺘﻮﺳﻊ ﻭ ﺗﺘﻄﻮﺭ ﺑﺘﻄﻮﺭ ﺍﻟﺪﻻﻻﺕ ﺍﳉﺪﻳﺪﺓ‬

‫‪ -1‬ﳏﻤﺪ ﻋﺠﻴﻨﺔ ‪.‬ﻡ‪.‬ﺱ‪ .‬ﺹ‪.178‬‬

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‫ﺍﻟﱵ ﺗﻜﺘﺴﺒﻬﺎ ﻛﻠﻤﺎ ﺍﺧﺘﻠﻒ ﺳﻴﺎﻕ ﻭ ﻃﺮﻳﻘﺔ ﺗﻮﻇﻴﻔﻬﺎ‪ .‬ﻓﺎﻷﺳﻄﻮﺭﺓ ﻧﻔﺴﻬﺎ ﺷﻜﻞ ﲨﺎﱄ‪ .‬ﻓﻬﻞ‬
‫ﻳﺴﺎﻫﻢ ﻫﺬﺍ ﺍﻟﺘﻮﻇﻴﻒ ﰲ ﺇﻃﺎﻟﺔ ﻋﻤﺮﻫﺎ؟‪ ،‬ﻗﺪ ﲢﺪﺙ ﺍﻟﻜﺜﲑ ﺍﻟﻌﻠﻤﺎﺀ ﻣﻦ ﺃﻣﺜﺎﻝ "ﻣﲑﺳﻴﺎ ﺇﻟﻴﺎﺩ"‬
‫ﻭ" ﺑﻴﺎﺭ ﻏﺮﳝﺎﻝ" ﻭﻏﲑﻫﻢ ﻋﻤﺎ ﲰﻮﻩ ﲝﻴﺎﺓ ﺍﻷﺳﺎﻃﲑ‪ ،‬ﺣﻴﺚ ﻳﻘﻮﻝ ﻫﺬﺍ ﺍﻷﺧﲑ ﰲ ﻫﺬﺍ‬
‫ﺍﻟﺼﺪﺩ‪"" :‬ﻋﺎﺷﺖ" ﺑﻜﻞ ﻣﺎ ﰲ ﺍﳊﻴﺎﺓ ﻣﻦ ﺗﺒﺪﻝ ﻭ ﺗﻐﲑ ﻭ ﺗﻄﻮﺭ ﻣﻊ ﺍﻟﺰﻣﻦ ﻭ ﻣﻊ ﺻﲑﻭﺭﺓ‬
‫ﺍﻟﻔﻜﺮ ﺍﻟﻘﺪﱘ ﻭﺻﻮﻻ ﺇﱃ ﺍﻟﻴﻮﻡ‪ ،‬ﺩﻭﻥ ﺃﻥ ﺗﻌﱪ ﺩﺍﺋﻤﺎ ﻋﻦ ﺍﳊﻘﻴﻘﺔ ﺍﻟﻮﺍﺣﺪﺓ‪ ".‬ﺗﻠﻚ ﺍﳊﻘﻴﻘﺔ ﺍﻟﱵ‬
‫ﻳﻜﺪ ﺍﻟﻌﻠﻤﺎﺀ ﺍﻟﻴﻮﻡ ﰲ ﻃﻠﺒﻬﺎ‪ ،‬ﻗﺪ ﻏﻴﺒﺘﻬﺎ ﺍﳊﻤﻮﻻﺕ ﺍﻷﺩﺑﻴﺔ ﺍﻟﱵ ﺃﻭﺻﻠﺖ ﺇﻟﻴﻨﺎ ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﺗﺎﺭﺓ‬
‫ﻃﻮﻋﺎ ﻭ ﺃﺧﺮﻯ ﻛﺮﻫﺎ‪ ،‬ﺑﺴﺒﺐ ﺇﻟﺰﺍﻣﻬﺎ ﺇﻳﺎﻫﺎ ﺑﺄﻣﻮﺭ ﳏﺪﺩﺓ‪ ،‬ﻓﺼﺎﺭﺕ ﺃﺳﺎﻃﲑ ﺍﻟﻴﻮﻡ ﻇﻼﻻ‬
‫ﺑﺎﻫﺘﺔ ﻷﺳﺎﻃﲑ ﺍﻷﻣﺲ ﺍﻟﱵ ﺃﺳﺴﺖ ﳎﺘﻤﻌﺎ ﻭ ﺣﻔﻈﺖ ﺗﺎﺭﳜﺎ ﻣﻬﻤﺎ ﻛﺎﻥ ﺍﻹﺷﻜﺎﻝ ﺣﻮﻟﻪ‪.‬‬
‫ﻭ ﺃﺻﺒﺤﺖ ﻋﺒﺪﺍ ﳌﻘﺎﺻﺪ ﺍﻷﺩﻳﺐ ﻭ ﺭﺅﻳﺘﻪ‪ ،‬ﻭ ﺑﺬﺍﻟﻚ ﺃﺧﺬﺕ ﻧﺎﺭ ﺍﻟﻘﺪﺳﻴﺔ ﺍﻟﱵ ﻟﻄﺎﳌﺎ ﺣﻔﻈﺘﻬﺎ‬
‫ﲣﺒﻮ ﺷﻴﺌﺎ ﻓﺸﻴﺌﺎ‪ .‬ﻭ ﻻ ﺃﺣﺪ ﻳﻨﻜﺮ ﺃﻥ ﺍﻷﺳﻄﻮﺭﺓ ﻟﻴﺴﺖ ﺇﻻ "ﳕﻮﺫﺝ ﻗﺼﺔ ﳎﺮﺩﺓ ﺗﺴﺘﻄﻴﻊ‬
‫ﺷﺨﺼﻴﺎ‪‬ﺎ ﺃﻥ ﺗﻘﻮﻡ ﲟﺎ ﺗﺮﻳﺪﻩ ﻭ ﻳﻌﲏ ﻫﺬﺍ ﻣﺎ ﻳﺮﻳﺪﻩ ﺍﻟﻘﺎﺹ‪...‬ﻓﺎﻷﻣﻮﺭ ﺍﻟﱵ ﲢﺪﺙ ﰲ‬
‫ﺍﻷﺳﻄﻮﺭﺓ ﺃﻣﻮﺭ ﻻ ﲢﺪﺙ ﺇﻻ ﰲ ﺍﻟﻘﺼﺺ‪ .‬ﺇ‪‬ﺎ ﺗﻮﺟﺪ ﰲ ﻋﺎﱂ ﺃﺩﰊ ﻣﺴﺘﻘﻞ"‪ 1‬ﻓﻬﻲ ﻫﻴﻜﻞ‬
‫ﺟﺎﻫﺰ ﺑﺸﺨﻮﺻﻬﺎ ﻭ ﺃﺣﺪﺍﺛﻬﺎ ﻭ ﺍﻟﺼﺮﺍﻉ ﺍﳌﻮﺟﻮﺩ ﺩﺍﺧﻠﻬﺎ ﻭ ﻟﻴﺲ ﻋﻠﻰ ﺍﻷﺩﻳﺐ ﺇﻻ ﺇﻋﺎﺩﺓ‬
‫ﺩﳎﻬﺎ ﻭﻓﻖ ﻣﺎ ﻳﺮﺗﺌﻴﻪ ﺷﺮﻁ ﺃﻥ ﻻ ﻳﻈﻬﺮ ﺍﳊﺪ ﺍﻟﻔﺎﺻﻞ ﺑﲔ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﻭ ﺍﻷﺳﻄﻮﺭﺓ ﻓﻴﺼﺒﺢ‬
‫ﳎﺮﺩ ﺩﻣﺞ ﺑﲔ ﻋﺎﳌﲔ ﻻ ﺭﺍﺑﻂ ﺑﻴﻨﻬﻤﺎ‪ .‬ﻭ ﻗﺪ ﻳﻮﻇﻒ ﺍﻟﻌﻨﺼﺮ ﺍﻷﺳﻄﻮﺭﻱ ﺟﻨﺒﺎ ﺇﱃ ﺟﻨﺐ ﻣﻊ‬
‫ﺍﻟﻌﻨﺼﺮﻳﻦ ﺍﻟﻐﺮﺍﺋﱯ ﺃﻭ ﺍﻟﻌﺠﺎﺋﱯ ﻛﻤﺎ ﺳﻨﺮﻯ ﻻﺣﻘﺎ ‪ .‬ﻛﻤﺎ ﺃﻥ ﺍﻟﻨﺺ ﻧﻔﺴﻪ ﻗﺪ ﻳﺘﺨﺬ ﺃﻛﺜﺮ ﻣﻦ‬
‫ﺷﻜﻞ‪ :‬ﲝﻴﺚ ﻳﻮﻇﻒ ﺍﳊﺪﺙ‪ ،‬ﻭ ﺍﻟﺮﻣﺰ‪ ،‬ﻭ ﺍﻟﺒﻨﺎﺀ ﻣﻌﺎ‪ .‬ﺃﻳﻦ ﻳﻜﻮﻥ ﻛﻞ ﺫﻟﻚ ﰲ ﺧﺪﻣﺔ ﺍﻟﻨﺺ‬
‫ﻛﻜﻞ ﻭﻟﻴﺲ ﻋﻠﻰ ﺣﺴﺎﺑﻪ‪ .‬ﻓﺘﻈﻬﺮ ﺭﻭﺡ ﺍﻟﻨﺺ ﰲ ﺷﻜﻞ ﻗﺪﱘ ﻗﺪﻡ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻷﺳﺎﻃﲑﻳﺔ‬
‫ﺍﳌﻮﻇﻔﺔ ﻓﻴﻪ ﺑﻨﻔﺤﺔ ﺟﺪﻳﺪﺓ ﺟﺪﺓ ﺍﻟﺪﻻﻻﺕ ﺍﻟﱵ ﻭﻟﺪ‪‬ﺎ ﻋﻤﻠﻴﺔ ﺇﺧﻀﺎﻉ ﺗﻠﻚ ﺍﻟﻌﻨﺎﺻﺮ ﻭ ﺭﺅﻳﺔ‬
‫ﺍﻟﻜﺎﺗﺐ ﻭ ﲨﺎﻟﻴﺔ ﺍﻟﻨﺺ‪.‬‬

‫‪ -1‬ﻧﻮﺭﺛﺮﻭﺏ ﻓﺮﺍﻱ‪ " :‬ﺍﳌﺎﻫﻴﺔ ﻭ ﺍﳋﺮﺍﻓﺔ"‪ ،‬ﺗﺮﲨﺔ ﻫﻴﻔﺎﺀ ﺣﺴﲔ‪،‬ﻣﻨﺸﻮﺭﺍﺕ ﻭﺯﺍﺭﺓ ﺍﻟﺜﻘﺎﻓﺔ‪ ،‬ﺹ‪.49‬‬

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‫ﰒ ﺇﻧﻨﺎ ﳓﻜﻢ ﻋﻠﻰ ﺗﻮﻇﻴﻒ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﺃﻱ ﻧﺺ ﺑﺄﻧﻪ ﻧﺎﺟﺢ ﺇﺫﺍ ﻣﺎ ﻋﱪ ﻋﻦ ﻋﻤﻠﻴﺔ ﺧﻠﻖ‬
‫ﻣﺒﺪﻋﺔ ﻣﻦ ﺍﻟﻄﺎﻗﺎﺕ ﺍﻟﺮﻣﺰﻳﺔ ﻭ ﺍﻹﳛﺎﺋﻴﺔ ﺍﳉﺪﻳﺪﺓ ﺍﻟﱵ ﳝﻜﻦ ﺃﻥ ﺗﺴﺘﻨﻔﺮ ﺃﻋﻤﺎﻕ ﺍﳌﺘﻠﻘﻲ ﻷﻧﻪ‬
‫ﻓﻘﻂ ﻋﻨﺪﻣﺎ ﺗﺼﻞ ﺍﻟﺘﺠﺮﺑﺔ ﺍﻹﺑﺪﺍﻋﻴﺔ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺇﱃ ﺫﺭﻭﺓ ﻣﻌﺎﻧﺎ‪‬ﺎ ﻭ ﺗﺘﻮﺣﺪ ﺍﻟﺬﺍﺕ ﺑﺎﻟﻌﺎﱂ‬
‫ﺗﺴﺘﺤﻀﺮ ﺍﻷﺳﻄﻮﺭﺓ‪ .1‬ﻭ ﻋﻨﺪ ﺍﺳﺘﺤﻀﺎﺭﻫﺎ ﳚﺐ ﺗﻔﺎﺩﻱ ﻣﺎﻳﻠﻲ‪:‬‬

‫‪ -‬ﳚﺐ ﺃﻥ ﻻ ﻳﻜﻮﻥ ﺗﻮﻇﻴﻒ ﺍﻟﻌﻨﺼﺮ ﺍﻷﺳﻄﻮﺭﻱ ‪‬ﺮﺩ ﺍﻟﺘﺒﺎﻫﻲ ﺇﺫ ﻳﺴﻠﺒﻪ ﺫﻟﻚ ﲤﺜﻞ‬
‫ﺭﺅﻳﺔ ﻭ ﲨﺎﻟﻴﺔ ﺍﻟﻨﺺ ﻓﻴﺼﺒﺢ ﻣﺘﻄﻔﻼ ﻋﻠﻰ ﺍﻟﻨﺺ ﻻ ﺻﻠﺔ ﻟﻪ ﺑﻪ‪.‬‬
‫‪ -‬ﻋﻠﻰ ﺍﻟﻌﻨﺼﺮ ﺍﻷﺳﻄﻮﺭﻱ ﺃﻥ ﻳﻜﻮﻥ ﻭﺍﺿﺤﺎ ﻻ ﻏﺎﻣﻀﺎ‪ ،‬ﻣﺘﻔﺘﺤﺎ ﻻ ﻣﻨﻐﻠﻘﺎ ﻋﻠﻰ‬
‫ﻧﻔﺴﻪ‪ ،‬ﻛﻲ ﻻ ﻳﻘﻒ ﻣﻨﻪ ﺍﳌﺘﻠﻘﻲ ﻣﻮﻗﻒ ﻏﺮﺑﺔ ﻭ ﻧﻔﻮﺭ‪.‬‬
‫‪ -‬ﺗﻮﻇﻴﻒ ﺍﻟﻌﻨﺼﺮ ﺍﻷﺳﻄﻮﺭﻱ ﻳﻌﻄﻲ ﺍﻟﻨﺺ ﲰﺔ ﻓﻜﺮﻳﺔ‪ ،‬ﻭ ﺑﻌﺪﺍ ﺇﻧﺴﺎﻧﻴﺎ‪ ،‬ﻭﻟﻜﻦ ﻋﻠﻴﻪ‬
‫ﺃﻳﻀﺎ ﺃﻥ ﻳﺆﺩﻱ ﻭﻇﻴﻔﺔ ﻓﻨﻴﺔ ﻭ ﲨﺎﻟﻴﺔ ﻳﻀﻔﻴﻬﺎ ﻋﻠﻴﻪ‪.‬‬
‫‪ -‬ﻋﻠﻰ ﻣﻮﻇﻒ ﻫﺬﺍ ﺍﻟﻌﻨﺼﺮ ﺃﻥ ﻳﻜﻮﻥ ﻣﺘﻤﻜﻨﺎ ﻣﻦ ﻣﻨﻪ ﲝﻴﺚ ﳚﻴﺪ ﻣﺰﺟﻪ ﻣﻊ ﺍﻟﻨﺺ‬
‫ﺣﱴ ﻻ ﻳﺒﺪﻭ ﺍﻟﻨﺺ ﻭ ﺍﻷﺳﻄﻮﺭﺓ ﺇﻻ ﻭﺟﻬﺎﻥ ﻟﻌﻤﻠﺔ ﻭﺍﺣﺪﺓ‪ ،‬ﻷﻧﻪ ﺃﻭﻝ ﻭﺃﺧﲑﺍ‬
‫ﻭﻇﻔﺖ ﻟﺘﻀﻴﻒ ﺷﻴﺌﺎ ﻣﺎ ﻳﺮﻳﺪﻩ ﺍﳌﺒﺪﻉ ﻻ ﻟﺘﺠﻌﻠﻪ ﻳﺒﺪﻭ ﻏﲑ ﻣﺘﻨﺎﺳﻖ ﻭ ﻣﺮﻛﺒﺎ‪،‬‬
‫ﻭ ﺍﳌﻮﻗﻒ ﺍﻟﺬﻱ ﺍﺳﺘﺤﻀﺮ ﻓﻴﻪ ﻣﺼﻄﻨﻌﺎ‪ .‬ﻟﺬﻟﻚ " ﻓﺈ ﹼﻥ ﺗﻮﻇﻴﻒ ﺍﻷﺳﻄﻮﺭﺓ‪ ...‬ﻳﻨﺒﻐﻲ‬
‫ﻭ ﺍﻻﺳﺘﻌﺮﺍﺽ ﺍﻟﺜﻘﺎﰲ ﻭ ﺍﳊﺸﺪ ﺍﳍﺎﺋﻞ‪،‬‬ ‫ﺃﻥ ﻳﺘﺨﻄﹼﻰ ﺣﺪﻭﺩ ﺍﻟﺘﻘﻠﻴﺪ ﻭ ﺍﳌﺒﺎﻫﺎﺓ‬
‫ﻓﺎﳌﺒﺪﻉ ﻟﻴﺲ ﲟﺎ ﻳﻜﺮﺭ ﺃﻭ ﻳﻌﻴﺪ ﻣﻦ ﺍﻷﺳﺎﻃﲑ ﺍﳌﻌﺮﻭﻓﺔ‪ ،‬ﺑﻞ ﰲ ﻣﻘﺪﺭﺗﻪ ﻋﻠﻰ ﲤﺜﹼﻞ‬
‫ﺍﳌﻮﻗﻒ ﺍﻷﺳﻄﻮﺭﻱ ﻭ ﻓﻬﻢ ﺑﻨﻴﺘﻪ ﻓﻬﻤﹰﺎ ﺩﻗﻴﻘﺎﹰ‪ ،‬ﻭ ﺇﳚﺎﺩ ﺻﻠﺔ ﻭﺛﻴﻘﺔ ﺑﻴﻨﻪ ﻭ ﺑﲔ ﺍﳌﻮﻗﻒ‬
‫ﺍﻹﻧﺴﺎﱐ ﺍﳌﻌﺎﺻﺮ ﺍﳌﺮﺍﺩ ﺍﻟﺘﺮﻛﻴﺰ ﻋﻠﻴﻪ ﻭ ﺇﺑﺮﺍﺯﻩ"‪ .2‬ﻓﺎﳌﺘﻠﻘﻲ ﻋﻨﺪ ﺇﻗﺒﺎﻟﻪ ﻋﻠﻰ ﻫﺬﺍ‬

‫ﳏﻤﺪ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﻳﻮﻧﺲ‪.:‬ﻡ‪.‬ﺱ‪ .‬ﺹ‪.18‬‬ ‫‪-1‬‬

‫ﻡ‪.‬ﻥ‪.‬ﺹ‪.‬ﻥ‪.‬‬ ‫‪-2‬‬

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‫ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﺑﺎﻟﻘﺮﺍﺀﺓ ﻓﺈﻧﻪ ﻳﻨﺘﻘﻞ ﺑﲔ ﻋﺎﳌﲔ‪ :‬ﻋﺎﱂ ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﻭ ﺍﻟﻌﺎﱂ ﺍﻟﺬﻱ‬
‫ﺗﺴﺘﺤﻀﺮﻩ ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﻓﺈﺫﺍ ﻛﺎﻥ ﲤﺖ ﻫﻮﺓ ﺑﲔ ﺍﻟﻌﺎﳌﲔ ﻋﻠﻖ ﺍﳌﺘﻠﻘﻲ ﻓﻴﻬﺎ‪ ،‬ﻟﺬﻟﻚ‬
‫ﳚﺐ ﺃﻥ ﻻ ﺗﺒﺪﻭ ﺣﺪﻭﺩ ﺍﻟﻌﺎﳌﲔ ﻓﻜﻞ ﻣﻨﻬﻤﺎ ﳚﺐ ﺃﻥ ﻳﻜﻮﻥ ﺍﻣﺘﺪﺍﺩﺍ ﻟﻶﺧﺮ‪،‬‬
‫ﻓﺎﻷﺳﻄﻮﺭﺓ ﺑﻔﻌﻞ ﻫﺬﺍ ﺍﻟﺘﻤﺎﺯﺝ ﻣﻊ ﻣﺮﻭﺭ ﺍﻟﻮﻗﺖ ﺗﺘﻄﻮﺭ ﻭ ﲢﻴﺎ ‪ -‬ﺑﺸﻜﻞ ﻣﺎ‪ -‬ﻣﻦ‬
‫ﺧﻼﻝ ﻫﺬﺍ ﺍﻟﻌﻤﻞ‪.‬‬

‫ﻭ ﻳﻘﻊ ﻋﻠﻰ ﻋﺎﺗﻖ ﺍﻷﺩﻳﺐ ﺃﻣﺮ ﺁﺧﺮ ﻋﻠﻴﻪ ﺃﻥ ﻻ ﻳﻐﻔﻞ ﻋﻨﻪ‪ ،‬ﻭ ﻫﻮ ﻧﻮﻉ ﺃﻭ ﻟﻨﻘﻞ ﺃﺻﻞ ﺍﻷﺳﺎﻃﲑ‬
‫ﺍﳌﻮﻇﻔﺔ‪ ،‬ﺇﺫ ﻻ ﳝﻜﻨﻪ ﺃﻥ ﻳﻮﻇﻒ ﺍﻟﻐﺮﻳﺐ ﻣﻨﻬﺎ )ﻣﻦ ﺣﻴﺚ ﺍﳌﻨﺸﺄ( ﻓﻼ ﻳﺘﻌﺮﻓﻬﺎ ﺍﳌﺘﻠﻘﻲ‬
‫ﻭ ﺗﺘﻜﻮﻥ ﺑﺬﻟﻚ ﺍﳍﻮﺓ ﺑﻴﻨﻪ ﻭﺑﲔ ﺍﻟﻌﻤﻞ ﻛﻜﻞ‪ " ،‬ﻓﺎﻷﺩﻳﺐ ﻻ ﻳﻜﻮﻥ ﻣﻔﻬﻮﻣﺎ ﻣﻦ ﺍﻵﺧﺮﻳﻦ ﻷﻧﻪ‬
‫ﻳﺴﺘﻌﻤﻞ ﻟﻐﺔ ﻣﺸﺘﺮﻛﺔ ﻭ ﺣﺴﺐ‪ ،‬ﺑﻞ ﻳﻜﻮﻥ ﻣﻔﻬﻮﻣﺎ ﺃﺳﺎﺳﺎ ﻷﻧﻪ ﻳﺴﺘﻨﺪ ﺇﱃ ﻗﺎﻉ ﺍﻟﻼﺷﻌﻮﺭ‬
‫ﺍﳉﻤﻌﻲ ﺍﻟﺬﻱ ﳛﻮﻱ ﺍﻟﺮﻣﻮﺯ ﺍﻟﻜﱪﻯ ﻭ ﺍﻟﱵ ﻫﻲ ﺧﻼﺻﺔ ﻧﺘﺎﺝ ﺍﻟﺒﺸﺮﻳﺔ‪ 1".‬ﻓﱪﺻﺪﻩ ﻟﻠﺼﺪﻯ‬
‫ﺍﻷﺳﻄﻮﺭﻱ ﺍﻟﺬﻱ ﺗﻜﻮﻥ ﺑﺪﺍﺧﻠﻪ ﻛﻔﺮﺩ ﻣﻦ ﲨﺎﻋﺔ ﺗﺸﺘﺮﻙ ﰲ ﻧﻔﺲ ﺍﳌﻌﺘﻘﺪ‪ ،‬ﻳﺒﲏ ﺍﳉﺴﻮﺭ ﻣﻦ‬
‫ﺧﻼﻝ ﻋﻤﻠﻪ ﻟﻠﺘﻮﺍﺻﻞ ﻣﻊ ﺗﻠﻚ ﺍﳉﻤﺎﻋﺔ ﻭ ﺑﺎﻟﺘﺎﱄ ﻗﻴﺎﻡ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﺑﺎﻟﻌﻤﻞ ﺍﻟﺬﻱ ﻣﻦ ﺃﺟﻠﻪ‬
‫ﺃﻗﻴﻢ‪.‬‬

‫ﺏ‪ -‬ﺍﻟﺒﻌﺪ ﺍﻟﺪﻻﱄ‪:‬‬

‫‪-1‬ﺍﶈﻜﻲ ﺍﻷﺳﺎﻃﲑﻱ‪:‬‬

‫ﻳﻨﻈﺮ ﺑﺎﺭﺕ* ﺇﱃ ﺍﻷﺳﻄﻮﺭﺓ ﻛﻨﺴﻖ ﺳﻴﻤﻴﻮﻟﻮﺟﻲ ﺧﻴﺎﱄ ﺑﻪ ﺩﺍﻝ ﻭ ﻣﺪﻟﻮﻝ ﳍﻤﺎ ﺩﻻﻟﺔ ﻣﺎ‪،‬‬
‫ﻭ ﺍﻟﺪﻻﻟﺔ ﻋﻨﺪﻩ ﻫﻲ ﺍﻷﺳﻄﻮﺭﺓ ﻧﻔﺴﻬﺎ‪"،‬ﻷ‪‬ﺎ ﻛﺄﻱ ﳏﻜﻲ ﺃﺩﰊ ﰲ ﺣﺎﺟﺔ ﺇﱃ ﻗﺮﺍﺀﺓ ﺩﻳﻨﺎﻣﻴﺔ‪،‬‬

‫‪ -1‬ﻋﻠﻲ ﺍﳌﺼﺮﻱ‪ "،‬ﰲ ﺭﺣﺎﺏ ﺍﻟﻔﻜﺮ ﻭﺍﻷﺩﺏ" – ﺩﺭﺍﺳﺔ‪ -‬ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ‪.1998.‬ﺹ‪34‬‬
‫‪*- R.Barthes: Ibid, p 198-207.‬‬

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‫ﺗﻨﻄﻠﻖ ﻣﻦ ﺍﶈﻜﻲ ﺍﻷﺳﺎﻃﲑﻱ ﺫﺍﺗﻪ ﺗﻔﻜﻴﻜﺎ ﻭ ﺇﻋﺎﺩﺓ ﺗﺮﻛﻴﺐ ﻭ ﺫﻟﻚ ﻟﺘﺤﻘﻴﻖ ﺩﻻﻟﺔ ﻣﺘﻄﺮﻓﺔ ﺃﻭ‬
‫‪1‬‬
‫ﻭ ﻫﺬﻩ ﺍﳌﻘﺎﺭﺑﺔ ﻟﻴﺴﺖ ﺑﺎﻟﺴﻬﻮﻟﺔ‬ ‫ﻋﻠﻰ ﺍﻷﻗﻞ ﺍﻻﻗﺘﺮﺍﺏ ﻣﻨﻬﺎ ﻋﱪ ﻓﻚ ﺭﻣﻮﺯﻫﺎ ﺍﻷﺳﺎﻃﲑﻳﺔ‪".‬‬
‫ﺍﻟﱵ ﺗﺒﺪﻭ ﻋﻠﻴﻬﺎ ﻷﻥ ﺍﻷﺳﺎﻃﲑ ﺗﻨﺘﻘﻞ ﻣﻦ ﺍﻟﻠﻐﺔ ﺍﻷﻡ ﺍﻟﱵ ﻭﻟﺪﺕ ﻓﻴﻬﺎ ﺇﱃ ﻟﻐﺔ ﺣﺎﺿﻨﺔ‪ -‬ﺣﺎﺿﻨﺔ‬
‫ﻷﻥ ﺍﻟﻠﻐﺔ ﺍﻷﻡ ﺍﻟﱵ ﻭﻟﺪﺕ ﻓﻴﻬﺎ ﺗﻜﻮﻥ ﻗﺪ ﺍﻧﺪﺛﺮﺕ ﻓﺘﺼﺒﺢ ﻫﺬﻩ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺘﺒﺔ ﺍﻟﱵ ﺗﻨﺘﻘﻞ ﻣﻨﻬﺎ‬
‫ﺇﱃ ﺑﺎﻗﻲ ﺍﳊﻀﺎﺭﺍﺕ ﺍﳌﺨﺘﻠﻔﺔ ‪ -‬ﻓﻘﺪ ﻛﺎﻧﺖ ﺃﻭﻻ ﺷﻔﺎﻫﺔ ﰒ ﺩﻭﻧﺖ ﰒ ﺩﺧﻠﺖ ﰲ ﺃﺷﻜﺎﻝ‬
‫ﺇﺑﺪﺍﻋﻴﺔ ﺟﺪﻳﺪﺓ ﻭ ﳐﺘﻠﻔﺔ ﻭ ﻣﻦ ﺧﻼﳍﺎ ﺍﻧﺘﻘﻠﺖ ﺇﱃ ﺍﻟﻌﺎﱂ ﺑﺄﺳﺮﻩ‪ ،‬ﻭ ﰲ ﺗﺮﺣﺎﳍﺎ ﻫﺬﺍ ﻓﻘﺪﺕ‬
‫ﺃﻭ ﺍﻛﺘﺴﺒﺖ ﺷﻴﺌﺎ ﻣﻦ ﺍﳌﻌﲎ ﺃﻭ ﻣﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﺍﻟﺔ ﰲ ﻛﻞ ﻣﺮﺓ ﺍﺣﺘﻜﺖ ﻓﻴﻬﺎ ﺑﻌﻘﻠﻴﺔ ﺟﺪﻳﺪﺓ‪،‬‬
‫ﻭ ﻫﺬﺍ ﻛﻨﻮﻉ ﻣﻦ ﺍﻟﺘﻜﻴﻴﻒ ﻣﻊ ﺍﶈﻴﻂ ﺍﳉﺪﻳﺪ‪ ،‬ﻓﻴﻀﻴﻖ ﺑﺬﻟﻚ ﺃﻭ ﻳﺘﺴﻊ ﻓﻀﺎﺀﻫﺎ ﺍﶈﻜﻲ‪ .‬ﻭ ﻣﻌﻪ‬
‫ﲣﺘﻠﻒ ﻛﻞ ﻣﺮﺓ ﻗﺮﺍﺀﺗﻨﺎ ﻟﻪ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺍﻟﺘﻐﻴﲑ ﺍﻟﺬﻱ ﻳﻄﺮﺃ ﻋﻠﻴﻪ ﻣﻦ ﺧﻼﻝ ﺣﺠﻢ ﺍﻟﺘﻀﺤﻴﺔ ﺍﻟﱵ‬
‫ﳚﺐ ﺃﻥ ﺗﻘﻮﻡ ‪‬ﺎ ﻋﻨﺪ ﺍﻧﺪﻣﺎﺟﻬﺎ ﻣﻊ ﺍﳊﻀﺎﺭﺍﺕ‪ .‬ﻭ ﳍﺬﺍ ﺭﲟﺎ ﳝﻜﻦ ﺃﻥ ﺗﻘﺘﻀﻲ ﺍﻟﻨﺼﻮﺹ ﺫﺍﺕ‬
‫ﺍﻷﺻﻞ ﺍﻟﺸﻔﻮﻱ ﺍﻟﻌﺎﺑﺮ ﻟﻠﻐﺎﺕ ﻭ ﺍﻟﺜﻘﺎﻓﺎﺕ ﻧﻮﻋﺎ ﻣﻦ ﺍﻟﺘﺮﲨﺔ ﻗﺪ ﻳﺼﻄﻠﺢ ﻋﻠﻰ ﺗﺴﻤﻴﺘﻪ ﺑﺎﻟﺘﺮﲨﺔ‬
‫‪.‬‬
‫ﺍﻟﺪﻻﻟﻴﺔ‪ ،‬ﺍﻟﱵ ﺗﺘﻤﺤﻮﺭ ﺑﺼﻮﺭﺓ ﺭﺋﻴﺴﻴﺔ ﺣﻮﻝ ﺍﶈﺘﻮﻯ ﺍﻟﺪﻻﱄ ﻟﻠﻨﺺ‪.‬‬

‫ﻭ ﻟﻜﻦ ﻳﺒﺪﻭ ﱄ ﺃﻧﻨﺎ ﻧﻌﺠﺰ ﻋﻦ ﺍﺳﺘﺨﻼﺹ ﺩﻻﻟﺔ ﻫﺬﺍ ﺍﻟﻨﺺ ﻛﺎﻣﻠﺔ‪ ،‬ﻭ ﻻﺑﺪ ﺃﻭﻻ ﻣﻦ‬
‫ﻣﻘﺎﺭﺑﺔ ﻫﺬﺍ ﺍﻟﻨﺺ ﻣﻘﺎﺭﺑﺔ ﺯﻣﻨﻴﺔ ﻭ ﻣﻜﺎﻧﻴﺔ ﻟﻜﻲ ﳓﺪﺩ ﺣﺠﻢ ﺍﻟﺘﻐﲑ ﺍﻟﺬﻱ ﻃﺮﺃ ﻋﻠﻴﻪ‪ ،‬ﻷﻥ" ﺃﻥ‬
‫ﺍﺭﲢﺎﻝ ﺍﳌﺪﻟﻮﻝ ﺍﻷﺳﺎﻃﲑﻱ ﻋﱪ ﺍﳌﻜﺎﻥ ﻭ ﺍﻟﺰﻣﺎﻥ ﻭ ﺍﻟﻠﻐﺎﺕ ﳚﻌﻠﻪ ﻳﺘﻠﺒﺲ ﺑﺪﻭﺍﻝ ﻏﲑ ﳏﺪﻭﺩﺓ‬
‫ﻛﻞ ﻣﻨﻬﺎ ﳝﻜﻦ ﺃﻥ ﻳﺼﺒﺢ ﻧﺼﺎ ﻗﺎﺋﻤﺎ ﺑﺬﺍﺗﻪ‪ 2".‬ﻓﺎﻟﺮﺅﻳﺔ ﺍﻹﺑﺪﺍﻋﻴﺔ ﺍﻟﱵ ﹶﰎ ﺗﻮﻇﻴﻔﻪ ﻷﺟﻠﻬﺎ ﻗﺪ‬
‫ﲣﺘﻠﻒ ﻣﻦ ﻣﺒﺪﻉ ﺇﱃ ﺁﺧﺮ ﳑﺎ ﻳﺒﻘﻲ ﺍ‪‬ﺎﻝ ﻣﻔﺘﻮﺣﺎ ﺃﻣﺎﻡ ﻣﺰﻳﺪ ﻣﻦ ﺍﻻﺑﺘﻜﺎﺭ‪ ،‬ﺇﺫ ﻳﱰﺍﺡ ﰲ‬
‫ﺃﺣﻴﺎﻥ ﻛﺜﲑﺓ ﻋﻦ ﻣﻮﻗﻌﻪ ﺍﻟﺮﻣﺰﻱ ﻭ ﺍﻟﺪﻻﱄ ﻟﻴﺄﺧﺬ ﺩﻻﻻﺕ ﺟﺪﻳﺪﺓ ﻳﺒﺘﻜﺮﻫﺎ ﺍﳌﺒﺪﻉ ﺑﻌﻴﺪﺍ ﻋﻦ‬
‫ﺩﻻﻻ‪‬ﺎ ﺍﳌﻌﺮﻓﻴﺔ ﻋﻨﺪ ﺍﻷﻗﻮﺍﻡ ﻭ ﺍﻟﺸﻌﻮﺏ‪.‬‬
‫‪ -1‬ﺍﻟﻄﺎﻫﺮ ﺭﻭﺍﻳﻨﻴﺔ‪ ":‬ﻗﺮﺍﺀﺓ ﺃﺳﺎﻃﲑﻳﺔ ﰲ ﺣﻜﺎﻳﺔ ﺍﳌﺮﺃﺓ ﺍﳍﻴﻜﻞ"‪ ،‬ﺍﳌﺘﺮﺟﻢ ﻋﺪﺩ‪ 3‬ﺹ ‪.205‬‬
‫‪ -2‬ﻡ‪.‬ﻥ ﺹ‪.209‬‬

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‫ﻟﺬﺍﻟﻚ ﻓﺎﻷﺳﺎﻃﲑ ﺍﻟﱵ ﻇﻬﺮﺕ ﰲ ﻏﺎﺑﺮ ﺍﻟﺰﻣﺎﻥ ﱂ ﻭ ﻟﻦ ﺗﺒﻘﻲ ﻋﻠﻰ ﺣﺎﳍﺎ‪ ،‬ﻓﻮﻟﻮﺟﻬﺎ ﺇﱃ ﻋﺎﱂ‬
‫ﺍﻷﺩﺏ ﳚﻌﻠﻬﺎ ﺗﻔﺪ ﺇﻟﻴﻨﺎ ﻛﻞ ﻣﺮﺓ ﰲ ﺣﻠﺖ ﺟﺪﻳﺪﺓ‪ ،‬ﰒ ﺑﻌﺪ ﺫﻟﻚ ﳓﺼﺮ ﺍﻫﺘﻤﺎﻣﻨﺎ ﰲ ﺍﻟﻨﺺ‬
‫ﻭ ﺍﺳﺘﻨﺒﺎﻁ ﺩﻻﻟﺘﻪ ﺍﻋﺘﻤﺎﺩﺍ ﻋﻠﻰ ﻣﺎ ﻳﻘﺪﻣﻪ ﻣﻦ ﺭﻣﻮﺯ ﰲ ﺿﻮﺀ ﻣﺎ ﺳﺒﻖ ﺫﻛﺮﻩ‪ .‬ﻭ ‪‬ﺬﺍ ﺳﻴﺘﺴﻊ‬
‫ﻟﻨﺎ ﳎﺎﻝ ﺇﺧﻀﺎﻉ ﺍﻟﻨﺺ ﺇﱃ ﻗﺮﺍﺀﺍﺕ ﻭ ﺗﺄﻭﻳﻼﺕ ﻣﺘﻐﲑﺓ ﺣﺴﺐ ﺍﻟﺰﺍﻭﻳﺔ ﺍﻟﱵ ﻧﻘﺎﺭﺏ ﻣﻨﻬﺎ‬
‫ﺍﻟﻨﺺ ﰲ ﻛﻞ ﻣﺮﺓ‪.‬‬

‫ﻭﻟﻮ ﻋﺪﻧﺎ ﻟﻨﻘﻒ ﻋﻨﺪ "ﺣﻨﺎ ﻋﺒﻮﺩ"* ﻭﺗﺴﺎﺅﻟﻪ ﺍﻟﺬﻱ ﻳﻄﺮﺣﻪ ﰲ ﻣﺪﺧﻠﻪ ﺍﻟﺴﺠﺎﱄ ﻋﻦ ﺳﺒﺐ‬
‫ﺗﺸﺎﺑﻪ ﺃﺑﺪﺍﻩ ﺍﻟﺸﻌﺮﺍﺀ ﺭﻏﻢ ﺍﺧﺘﻼﻑ ﺃﺣﻘﺎ‪‬ﻢ ﰲ ﻗﺼﺎﺋﺪﻫﻢ ﻟﻮ ﻃﺮﻗﺖ ﻣﻮﺿﻮﻋﺎ ﳑﺎﺛﻼ ﻭ ﺍﻷﻣﺮ‬
‫ﻧﻔﺴﻪ ﻳﺴﺮﻱ ﻋﻠﻰ ﺍﳌﻼﺣﻢ ﻭ ﻗﺪ ﻳﺘﻌﺪﻯ ﺍﻷﻣﺮ ﻟﻴﺼﺒﺢ ﻧﻮﻋﺎ ﻣﻦ ﺍﻟﺘﻜﺮﺍﺭ ﺃﺣﻴﺎﻧﺎ‪ .‬ﻭﱂ ﳚﺪ‬
‫ﻟﺬﻟﻚ ﺳﺒﺒﺎ ﻏﲑ ﺍﻹﻗﺮﺍﺭ ﺑﻮﺟﻮﺩ ﻣﺎ ﻳﺪﻋﻮﻩ " ﺑﺎﻟﻨﻈﺎﻡ ﺍﻷﺩﰊ" ﺣﻴﺚ ﻳﻘﻮﻝ‪ " :‬ﻓﻤﻬﻤﺎ ﺣﺎﻭﻟﻨﺎ‬
‫ﺍﻟﻠﺠﻮﺀ ﺇﱃ ﺗﻔﺴﲑ ﺍﻟﺘﺸﺎﺑﻪ ﺑﺎﻟﻮﺿﻊ ﺍﻻﺟﺘﻤﺎﻋﻲ ﺍﳌﻤﺎﺛﻞ ﺃﻭ ﺍﻟﻨﻔﺴﻲ ﺃﻭ ﺍﳌﺰﺍﺟﻲ ﻓﺈﻥ ﺫﻟﻚ ﻻ‬
‫ﻳﻌﻔﻴﻨﺎ ﻣﻦ ﺍﻹﻗﺮﺍﺭ ﺑﻮﺟﻮﺩ "ﻧﻈﺎﻡ ﺃﺩﰊ" ﻭﻃﻴﺪ ﻭ ﺭﺍﺳﺦ‪ ...‬ﻗﺪ ﻳﻔﺴﺮ ﺍﻟﻮﺿﻊ ﺍﻻﺟﺘﻤﺎﻋﻲ ﺃﻭ‬
‫ﺍﳉﻐﺮﺍﰲ ﺃﻭ ﺍﻟﻈﺮﻭﻑ ﺍﻟﻌﺎﻣﺔ ﺃﻭﺟﻪ ﺍﻻﺧﺘﻼﻑ ﺃﻛﺜﺮ ﳑﺎ ﻳﻔﺴﺮ ﺃﻭﺟﻪ ﺍﻻﺋﺘﻼﻑ‪ ...‬ﻷﻧﻪ ﳝﺜﻞ"ﻣﺎ‬
‫ﳚﺐ ﺃﻥ ﻳﻜﻮﻥ""‪ .1‬ﻭ ﻳﺮﺟﻊ ﺯﻋﻤﻪ ﻫﺬﺍ ﺇﱃ ﺃﻥ ﺍﻟﺴﺒﺐ ﻳﻜﻤﻦ ﰲ ﺃﻥ "ﻫﺬﺍ ﺍﻟﻨﻈﺎﻡ ﻫﻮ ﻋﺮﻑ‬
‫ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﻧﻔﺴﻲ ﻭﻣﺰﺍﺟﻲ ﻣﻬﻤﺎ ﻛﺎﻧﺖ ﺍ‪‬ﺘﻤﻌﺎﺕ ﻭ ﺍﻟﻨﻔﻮﺱ ﻭ ﺍﻷﻣﺰﺟﺔ‪ 2".‬ﻭ ﰲ ﺍﳊﻘﻴﻘﺔ‬
‫ﻧﻔﺲ ﺗﻠﻚ ﺍﳌﺆﺛﺮﺍﺕ ﺳﺎﳘﺖ ﰲ ﺗﻮﻟﻴﺪ ﻭ ﺗﺮﺳﻴﺦ ﺍﻷﺳﻄﻮﺭﺓ ﰒ ﺑﻨﺎﺀ ﻋﺎﳌﻬﺎ ﺑﻜﻞ ﺃﺑﻌﺎﺩﻩ ﺍﳌﻌﺮﻭﻓﺔ‬
‫ﺍﻟﻴﻮﻡ ﻭﻧﺘﺠﺮﺃ ﻭ ﻧﻘﻮﻝ ﺃ‪‬ﺎ ﻫﻲ ﺍﻷﺧﺮﻯ ﺧﺎﺿﻌﺔ ﳍﺬﺍ ﺍﻟﻨﻈﺎﻡ ﺍﻟﺬﻱ ﳛﻜﻢ ﻋﺎﱂ ﺍﻹﺑﺪﺍﻉ ﺍﻟﺒﺸﺮﻱ‬
‫ﻭ ﻳﻨﻈﻢ ﺣﺮﻛﺘﻪ‪ .‬ﻓﺈﺫﺍ ﻋﺪﻧﺎ ﻣﺮﺓ ﺃﺧﺮﻯ ﻭ ﺗﺘﺒﻌﻨﺎ ﻣﺎ ﺗﺮﻭﻳﻪ ﺍﻷﺳﺎﻃﲑ ﺑﻐﺾ ﺍﻟﻨﻈﺮ ﻋﻦ ﻧﻮﻋﻬﺎ‬
‫ﻭﺟﺪﻧﺎﻫﺎ ﻭﺍﺣﺪﺓ ﻋﻨﺪ ﻛﻞ ﺍﻟﺸﻌﻮﺏ‪ ،‬ﻭ ﻫﺬﺍ ﺭﺍﺟﻊ –ﺍﺳﺘﻨﺎﺩﺍ ﻋﻠﻰ ﻣﺎ ﺫﻛﺮﻩ ﺣﻨﺎ ﻋﺒﻮﺩ‪ -‬ﺇﱃ‬

‫*‪ -‬ﻳﻨﻈﺮ ﺣﻨﺎ ﻋﺒﻮﺩ ‪":‬ﻡ‪.‬ﺱ ‪.‬ﺹ‪.5‬‬

‫‪ -1‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.7‬‬
‫‪ -2‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.7‬‬

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‫ﻭﺣﺪﺓ ﺍﻟﻨﻈﺎﻣﲔ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻭﺍﻟﻨﻔﺴﻲ ﻋﻨﺪ ﻛﻞ ﺍﻟﺒﺸﺮ‪ ،‬ﺭﻏﻢ ﺍﻻﺧﺘﻼﻑ ﰲ ﺍﻟﺒﻴﺌﺔ ﻭ ﺍﻟﺬﻱ‬
‫ﻳﻔﺮﺽ ﺗﺄﺛﲑﻩ ﺑﺪﻭﺭﻩ ﻭ ﻟﻜﻦ ﻫﺬﺍ ﺍﻟﺘﺄﺛﲑ ﻳﺒﻘﻰ ﻧﺴﺒﻴﺎ ﺇﺫﺍ ﻣﺎ ﻗﻮﺭﻥ ﺑﺴﺎﺑﻘﻴﻪ‪ ،‬ﻓﺈﺫﺍ ﻣﺎ ﻗﺎﺭﻧﺎ ﺑﲔ‬
‫ﺃﻗﺪﻡ ﺍﳊﻀﺎﺭﺍﺕ ﻭﺍﳊﻀﺎﺭﺍﺕ ﺍﻟﻼﺣﻘﺔ ﻭﺟﺪﻧﺎﻫﺎ ﺗﻘﺎﺭ‪‬ﺎ ﰲ ﺷﻜﻞ ﻭ ﻃﺮﻳﻘﺔ ﻣﻌﺎﳉﺔ ﺍﻷﺣﺪﺍﺙ‬
‫ﻭ ﻳﺒﻘﻰ ﺍﻻﺧﺘﻼﻑ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭ ﺍﻟﺒﻴﺌﺔ ﺍﻟﱵ ﺗﺪﻭﺭ ﻋﻠﻰ ﺃﺭﺿﻬﺎ ﺗﻠﻚ‬
‫ﺍﻷﺣﺪﺍﺙ‪ ،‬ﻭ ﺫﻟﻚ ﺇﻥ ﺩﻝ ﻋﻠﻰ ﺷﻲﺀ ﻓﺈﳕﺎ ﻳﺪﻝ ﻋﻠﻰ ﻭﺣﺪﺓ ﺍﻟﺘﺠﺮﺑﺔ ﺍﻟﺒﺸﺮﻳﺔ‪.‬‬

‫‪ -2‬ﺍﻟﻔﻀﺎﺀ ﺍﳌﺘﺨﻴﻞ‪:‬‬

‫ﺇﻥ ﻋﺎﱂ ﺍﻷﺳﻄﻮﺭﺓ ﺑﺸﺨﺼﻴﺎﺗﻪ ﻭ ﺃﺣﺪﺍﺛﻪ ﻋﺎﱂ ﻓﺮﻳﺪ ﻣﻦ ﻧﻮﻋﻪ‪ ،‬ﺫﻟﻚ ﺑﺄﻧﻪ ﻻ ﳛﺎﻭﻝ ﺩﺣﺮ ﺑﻘﻴﺔ‬
‫ﺍﻟﻌﻮﺍﱂ‪ ،‬ﻭ ﻻ ﺍﻟﺘﻌﺪﻱ ﻋﻠﻰ ﺣﺪﻭﺩﻫﺎ‪ ،‬ﺑﻞ ﲤﻜﻦ ﻭ ﻳﺘﻤﻜﻦ ﻣﻦ ﺍﻟﺘﻌﺎﻳﺶ ﻣﻌﻬﺎ ﻣﻊ ﺍﳊﻔﺎﻅ ﻋﻠﻰ‬
‫ﺧﺼﻮﺻﻴﺘﻪ ﻭ ﻫﻮ ﻳﺴﲑ ﺟﻨﺒﺎ ﺇﱃ ﺟﻨﺐ ﻣﻌﻬﺎ‪ " ،‬ﻓﻬﻮ ﺫﻟﻚ ﺍﻟﺒﻨﺎﺀ ﺍﻟﻔﻜﺮﻱ ﺍﻟﺮﻣﺰﻱ ﺍﻟﻨﺎﺗﺞ ﻋﻦ‬
‫ﺍﳌﺨﻴﺎﻝ ﺍﳉﻤﺎﻋﻲ ﻣﻦ ﺧﻼﻝ ﺟﺪﻝ ﺍﻹﻧﺴﺎﻥ ﻣﻊ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻭ ﻫﻮ ﲦﺮﺓ ﻧﻈﺮﺓ ﺃﺳﻄﻮﺭﻳﺔ ﺇﱃ ﺍﻟﻌﺎﱂ‬
‫ﺃﻭ "ﻓﻜﺮ ﺃﺳﻄﻮﺭﻱ" ﻭ " ﻭﻋﻲ ﺃﺳﻄﻮﺭﻱ" ﻟﻪ ﻣﻘﻮﻻﺗﻪ ﺍﳋﺎﺻﺔ ﻛﺎﳌﻜﺎﻥ ﻭ ﺍﻟﺰﻣﺎﻥ‬
‫ﻭ ﺍﻟﺴﺒﺒﻴﺔ‪ 1".‬ﺣﺪﻭﺩﻩ ﻣﻊ ﺍﻟﻌﺎﱂ ﺍﳊﻘﻴﻘﻲ ﻭﺍﺿﺤﺔ‪ ،‬ﻷﻧﻪ ﻳﻔﺘﺮﺽ ﻭﺟﻮﺩﺍ ﻣﺘﻤﺎﻳﺰﺍ ﻋﻦ ﺍﻟﻮﺍﻗﻊ‬
‫ﺍﻟﻮﺍﻗﻌﻲ‪ ،‬ﺑﻜﻞ ﻣﺎ ﻳﻘﺘﻀﻴﻪ ﺇﳚﺎﺩ ﻫﺬﺍ ﺍﻟﻮﺍﻗﻊ ﺍﳌﻔﺘﺮﺽ ﻣﻦ ﺃﺳﺲ ﻳﺒﲎ ﻋﻠﻴﻬﺎ ﺗﺼﻞ ﺑﻪ ﺇﱃ ﺣﺪ‬
‫ﺍﻟﺘﺼﺪﻳﻖ ﺑﻮﺟﻮﺩﻩ‪ ،‬ﻋﻠﻰ ﻋﻜﺲ ﺍﻟﻌﺎﳌﲔ ﺍﻟﻌﺠﺎﺋﱯ ﻭ ﺍﻟﻐﺮﺍﺋﱯ ﻓﺎﻷﻭﻝ ﲰﺘﻪ ﺍﻟﺘﺮﺩﺩ ‪ :‬ﲝﻴﺚ‬
‫ﻳﺪﺭﻙ ﺍﳌﺘﻠﻘﻲ ﺃﻧﻪ ﻳﺘﺮﺩﺩ ﺑﲔ ﻋﺎﳌﲔ ﺍﻟﻮﺍﻗﻊ ﻭ ﺍﳋﻴﺎﻝ‪ ،‬ﻭ ﻳﻨﺘﻬﻲ ﺍﻷﻣﺮ ﻋﺎﺩﺓ ﺑﺄﻥ ﻳﺄﺧﺬ ﺫﻟﻚ‬
‫ﺍﳌﺘﻠﻘﻲ ﻣﻮﻗﻔﺎ ﺇﺯﺍﺀ ﺫﻟﻚ ﺍﻟﻨﺺ‪ ،‬ﻭ ﺍﻟﺜﺎﱐ ﲰﺘﻪ ﺍﳋﻮﻑ ﻭ ﻫﻮ ﻋﻠﻰ ﺍﻟﻌﻤﻮﻡ ﻋﺠﺎﺋﱯ ﺳﻠﺒﺖ ﻣﻨﻪ‬
‫ﺻﻔﺔ ﺍﻟﺘﺮﺩﺩ‪ .‬ﰒ ﺇ ﹼﻥ ﺍﻷﺳﻄﻮﺭﺓ ﻟﻴﺴﺖ ﺍﺧﺘﺮﺍﻗﹰﺎ ﻟﻠﻤﺄﻟﻮﻑ ﻓﺤﺴﺐ‪ ،‬ﺑﻞ ﻫﻲ ﺑﻨﺎﺀ ﺃﻳﻀﺎﹰ‪ ،‬ﲟﻌﲎ‬
‫ﺺ ﺍﻷﺩﰊ‬
‫ﰊ ﻟﻪ ﲰﺎﺗﻪ ﺍﳌﻤﻴ‪‬ﺰﺓ ﻣﻦ ﺍﻷﻧﻮﺍﻉ ﺍﻷﺩﺑﻴﺔ ﺍﻷﺧﺮﻯ‪ ،‬ﻓﺎﻟﺴﻤﺔ ﺍﻟﱵ ﲤﻨﺢ ﺍﻟﻨ ‪‬‬
‫ﺃ‪‬ﺎ ﺷﻜ ﹲﻞ ﺃﺩ ‪‬‬

‫‪ -1‬ﳏﻤﺪﻋﺠﻴﻨﺔ ‪ ،‬ﻡ‪.‬ﺱ‪،‬ﺹ‪.171‬‬

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‫ﺧﺼﻴﺼﺔ "ﺍﻷﺳﻄﺮﺓ" ﻓﻴﻪ ﻻ ﺗﺘﺤﺪ‪‬ﺩ ﲟﺎ ﻫﻮ ﺣﻜﺎﺋﻲ ﻣﻔﺎﺭﻕ ﻟﻠﻮﺍﻗﻊ"‪ ،1‬ﻭﺇﻻ "ﻓﺈﻥ ﺍﳌﺪﻟﻮﻝ‬
‫ﺍﻷﺳﺎﻃﲑﻱ ﳚﺐ ﺃﻥ ﻳﺘﻤﻮﻗﻊ ﺩﺍﺧﻞ ﻓﻀﺎﺀ ﻣﺘﺨﻴﻞ ﻟﻴﺼﺐ‪...‬ﺑﻜﻞ ﺣﺮﻳﺔ ﰲ ﻋﺎﱂ ﺃﺳﺎﻃﲑﻱ‬
‫ﺃﺑﺪﻋﺘﻪ ﺍﳌﺨﻴﻠﺔ ﺍﻟﺒﺸﺮﻳﺔ ‪ 2"...‬ﻭ ﻫﺬﺍ ﺍﻟﻌﺎﱂ ﻻ ﳝﻜﻦ ﺃﻥ ﻳﺘﻌﺎﺭﺽ ﰲ ﺃﻱ ﺟﺰﺋﻴﺔ ﻣﻦ ﺟﺰﺋﻴﺎﺗﻪ‬
‫ﻣﻊ ﺍﻟﻮﺍﻗﻊ ﻷﻧﻪ ﻳﻬﺪﻑ ﺑﺒﺴﺎﻃﺔ ﺇﱃ ﺧﻠﻖ ﻋﺎﱂ ﻣﻮﺍﺯ ﻟﻠﻌﺎﱂ ﺍﻟﻮﺍﻗﻌﻲ‪ ،‬ﰒ ﺇﻥ " ﺍﻟﺼﻴﺎﻏﺔ‬
‫ﺍﻷﺳﻄﻮﺭﻳ‪‬ﺔ ﻟﻠﻮﺍﻗﻊ ﻻ ﺗﻜﺘﻔﻲ ﺑﺘﺤﻄﻴﻢ ﻗﻮﺍﻧﲔ ﺍﻟﻌﻘﻞ ﻓﺤﺴﺐ‪ ،‬ﺑﻞ ﻫﻲ ﺗﻌﻴﺪ ﺇﻧﺘﺎﺝ ﻫﺬﻩ‬
‫ﺍﻟﻘﻮﺍﻧﲔ ﻭﻓﻖ ﺭﺅﻳﺔ ﺗﻘﻮ‪‬ﺽ ﺍﳊﺪﻭﺩ ﺍﻟﻔﺎﺻﻠﺔ ﺑﲔ ﻣﺎ ﻫﻮ ﻭﺍﻗﻌﻲ ﻭﻣﺎ ﻫﻮ ﻓﻮﻕ ﻭﺍﻗﻌﻲ‪ ،‬ﻭﻫﻲ‬
‫ﺗﺒﺘﺪﻉ ﻗﻮﺍﻧﻴﻨﻬﺎ ﺍﳋﺎﺻﺔ ﺍﻟﱵ ﺗﺘﺠﺎﻭﺯ ﺍﻟﺴﺎﺋﺪ ﰲ ﳏﺎﻭﻟﺔ ﻣﻨﻬﺎ ﻟﺘﻤﻠﹼﻚ ﺍﻟﻮﺍﻗﻊ ﺍﻟﺬﻱ ﺗﻌﺎﻳﻨﻪ ﲤﻠﹼﻜﹰﺎ‬
‫ﲨﺎﻟﻴﹰﺎ ﻗﺎﺩﺭﹰﺍ ﻋﻠﻰ ﺇﻋﺎﺩﺓ ﺍﻟﻨﻈﺎﻡ ﺇﱃ ﻭﺍﻗﻊ ﳏﺘﺸﺪ ﺑﺎﻟﻔﻮﺿﻰ‪ ،‬ﻭﺍﻟﻌﻤﺎﺀ‪ ،‬ﻭﻗﻴﻢ ﺍﻟﺴﻠﺐ‬
‫ﻭﺍﻻﻧﺘﻬﺎﻙ‪ 3".‬ﺣﻴﺚ ﻻ ﺗﺘﺮﻙ ﰲ ﺍﻟﻨﻔﺲ ﺃﺛﺮﺍ ﻟﻠﺼﺪﺍﻡ ﺍﻟﻌﻨﻴﻒ ﺍﻟﺬﻱ ﺣﺪﺙ ﺑﲔ ﺍﻟﻮﺍﻗﻊ ﻭ ﻏﲑ‬
‫ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻓﻔﻲ ﻋﻨﻔﻪ ﻟﲔ ﻳﻠﺤﻢ ﺍﻟﻮﺍﻗﻌﲔ ﻭ ﳚﻌﻠﻬﻤﺎ ﺩﺍﺧﻞ ﺍﻟﻨﺺ ﻭﺍﻗﻊ ﺛﺎﻟﺜﺎ ﻻ ﻳﺒﺪﻭ ﺃﻥ ﺍﳌﺘﻠﻘﻲ‬
‫ﻳﺒﺪﻱ ﺍﲡﺎﻫﻪ ﺃﻱ ﻣﻮﻗﻒ ﻋﺪﺍﺋﻲ ﺃﻭ ﻣﻮﻗﻔﺎ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﻘﻮﺽ ﺍﻟﻠﺤﻤﺔ ﺑﻴﻨﻬﻤﺎ‪.‬‬

‫ﺇﺫﻥ " ﻻ ﺷﻚ ﰲ ﺃﻥ ﺃﻥ ﺍﻟﻮﺟﻮﺩ ﺭﻫﲔ ﺃﺣﺪ ﺍﻷﺷﻜﺎﻝ‪ ،‬ﻭ ﻫﻮ ﺍﳌﻜﺎﻥ‪ ،‬ﻭ ﺍﻟﺸﺮﻁ ﺍﻟﻔﻜﺮﻱ‬
‫ﺍﳌﺜﺎﱄ ﻟﻠﻨﻈﺎﻡ ﰲ ﻇﻞ ﺍﻟﺘﻤﺎﻛﻦ‪ .‬ﻭﻣﻦ ﺍﻟﺜﺎﺑﺖ ﺃﻳﻀﺎ ﺃﻥ ﺍﻟﺼﲑﻭﺭﺓ ﺭﻫﻴﻨﺔ ﺷﻜﻞ ﺁﺧﺮ ﻫﻮ ﺍﻟﺰﻣﺎﻥ‪،‬‬
‫ﻭ ﻫﻮ ﺍﻟﺸﺮﻁ ﺍﻟﻔﻜﺮﻱ ﺍﳌﺜﺎﱄ ﻟﻠﻨﻈﺎﻡ ﰲ ﻇﻞ ﺍﻟﺘﻌﺎﻗﺐ‪ ،‬ﻭ ﻟﻜﻦ ﺍﻟﻔﺎﺭﻕ ﺍﻷﺳﺎﺳﻲ ﺑﲔ ﺍﻟﺘﺄﻟﻴﻒ‬
‫ﺍﳌﻨﻄﻘﻲ ﻭ ﺍﻟﺘﺄﻟﻴﻒ ﺍﻷﺳﻄﻮﺭﻱ ﻳﺘﻤﺜﻞ ﰲ ﳕﻆ ﺫﻟﻚ ﺍﻹﻧﺴﺠﺎﻡ‪ 4".‬ﻓﺎﻟﻔﻀﺎﺀ ﺍﻷﺳﻄﻮﺭﻱ ﻛﻤﺎ‬
‫ﻫﻮ ﻣﻌﺮﻭﻑ ﻳﻔﺘﺮﺽ ﻭﺟﻮﺩ ﺃﻣﻜﻨﺔ ﻣﻌﻴﻨﺔ ﻭ ﺃﺯﻣﻨﺔ ﻣﻌﻴﻨﺔ‪ ،‬ﻳﺸﺘﻐﻞ ﻓﻴﻬﺎ ﺍﳌﺨﻴﺎﻝ ﺍﳉﻤﻌﻲ‪ ،‬ﺿﻤﻦ‬

‫‪ -1‬ﻧﻀﺎﻝ ﺍﻟﺼﺎﱀ‪ " :‬ﺍﻟﱰﻭﻉ ﺍﻷﺳﻄﻮﺭﻱ ﰲ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﳌﻌﺎﺻﺮﺓ" ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ‪ ،2001 ،‬ﺹ ‪.16‬‬
‫‪ -2‬ﺍﻟﻄﺎﻫﺮ ﺭﻭﺍﻳﻨﻴﺔ‪ ":‬ﻗﺮﺍﺀﺓ ﺃﺳﺎﻃﲑﻳﺔ ﰲ ﺣﻜﺎﻳﺔ ﺍﳌﺮﺃﺓ ﺍﳍﻴﻜﻞ"‪ ،‬ﺍﳌﺘﺮﺟﻢ ﻋﺪﺩ‪ 3‬ﺹ‪.209‬‬
‫‪ -3‬ﻧﻀﺎﻝ ﺍﻟﺼﺎﱀ‪ :‬ﻡ‪.‬ﺱ‪ .‬ﺹ ‪.17‬‬
‫‪ -4‬ﳏﻤﺪﻋﺠﻴﻨﺔ‪ .‬ﻡ‪.‬ﺱ‪ .‬ﺹ‪.181‬‬

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‫ﻭﺍﻗﻊ ﻣﺘﻤﺎﻳﺰ ﻋﻦ ﺍﻟﻮﺍﻗﻊ ﺍﻟﻮﺍﻗﻌﻲ ﻛﻤﺎ ﺃﺳﻠﻔﻨﺎ ﺍﻟﺬﻛﺮ‪ ،‬ﻭ ﻟﻜﻦ ﺍﻟﺴﺆﺍﻝ ﻫﻨﺎ ﳚﺐ ﺃﻥ ﻳﻄﺮﺡ‪،‬‬
‫ﻋﻠﻰ ﺃﻱ ﺃﺳﺎﺱ ﳛﺪﺩ ﺍﻟﺰﻣﺎﻥ ﻓﻴﻪ‪ ،‬ﻭ ﺑﺎﻟﻨﺴﺒﺔ ﺇﱃ ﻣﺎﺫﺍ ﳛﺪﺩ ﺍﳌﻜﺎﻥ ﻓﻴﻪ* ؟‬

‫ﺍﻟﺰﻣﺎﻥ ﰲ ﻫﺬﺍ ﺍﻟﻔﻀﺎﺀ ﺍﳌﺘﺨﻴﻞ ﻣﺒﻬﻢ‪ ،‬ﺃﻭ ﻣﻄﻠﻖ‪ ،‬ﻓﻬﻮ ﺯﻣﻦ ﺍﻟﺒﺪﺍﻳﺎﺕ ﺍﻷﻭﱃ‪ ،‬ﺯﻣﻦ ﺑﺪﺃ‬
‫ﺍﳋﻠﻴﻘﺔ‪ ،‬ﻻ ﳝﻜﻦ ﺃﻥ ﻧﻀﺒﻄﻪ ﺩﺍﺧﻞ ﺧﺎﻧﺔ ﺍﳌﺎﺿﻲ‪ ،‬ﺃﻭ ﺍﳊﺎﺿﺮ‪ ،‬ﺃﻭ ﺍﳌﺴﺘﻘﺒﻞ‪ ،‬ﻷﻧﻪ ﻫﻮ ﲨﻴﻌﻬﺎ‪،‬‬
‫ﻭ ﺫﻟﻚ ﻷﻥ ﺩﻭﺭﺓ ﺍﳊﻴﺎﺓ ﻻ ﺗﺘﻮﻗﻒ‪ ،‬ﻭ ﺩﺍﺋﻤﺔ ﺍﻟﺘﺠﺪﺩ‪ ،‬ﻓﻬﻮ ﻓﻬﻢ ﻓﻠﺴﻔﻲ ﻟﻠﺤﻴﺎﺓ‪ .‬ﺃﻣﺎ ﺍﳌﻜﺎﻥ‪،‬‬
‫ﻫﻮ ﻣﺎ ﻳﻜﻮﻥ ﻋﺎﺩﺓ ﻣﻌﺮﻭﻓﺎ ﻟﺪﻯ ﻋﺎﻣﺔ ﺍﻟﻨﺎﺱ‪ ،‬ﳏﺪﺩ ﺃﻭ ﻣﻄﻠﻖ‪ ،‬ﻓﺤﻴﻨﻤﺎ ﻳﺸﺮﻉ ﰲ ﺗﻨﺎﻭﻝ‬
‫ﺃﺳﺎﻃﲑ ﺍﳋﻠﻖ‪ ،‬ﻳﻜﻮﻥ ﺍﳌﻜﺎﻥ ﻛﻠﻪ‪ ،‬ﺃﺻﻞ ﺍﻷﻣﻜﻨﺔ ﻛﻠﻬﺎ‪ .‬ﻭ ﻟﻜﻦ ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻧﻪ ﻛﻼ‬
‫ﻣﻦ ﺍﳌﻜﺎﻥ ﻭ ﺍﻟﺰﻣﺎﻥ ﳊﻤﺔ ﻭﺍﺣﺪﺓ ﰲ ﺍﻟﻔﻜﺮ ﺍﻷﺳﻄﻮﺭﻱ ﻭ ﻋﻠﻰ ﺃﺳﺎﺱ ﻣﺎ ﻳﻘﺪﻣﺎﻧﻪ ﻣﻦ‬
‫ﻣﻌﻄﻴﺎﺕ ﻳﺒﲎ ﺍﻟﻔﻀﺎﺀ ﺍﻷﺳﻄﻮﺭﻱ‪.‬‬

‫ﻭ ﻋﻠﻰ ﺍﻟﻌﻤﻮﻡ‪ ،‬ﳛﺪﺩ ﻫﺬﺍ ﺍﻟﻔﻀﺎﺀ ﻣﻦ ﻣﻨﻄﻠﻘﲔ‪ :‬ﺃﻭﳍﻤﺎ ﻣﺎ ﻳﻮﻓﺮﻩ ﺍﻟﻀﺪﺍﻥ‪ ،‬ﻣﺜﻼ ﺍﻟﻨﻮﺭ‬
‫ﻭ ﺍﻟﻈﻼﻡ‪ ،‬ﺍﳌﻮﺕ ﻭ ﺍﻹﻧﺒﻌﺎﺙ‪ ،‬ﺍﳋﲑ ﻭ ﺍﻟﺸﺮ‪ ...‬ﻭﺛﺎﻧﻴﻬﻤﺎ ﺟﻌﻞ ﺍﻹﻧﺴﺎﻥ ﺟﺴﻤﻪ ﻛﺠﻤﻠﺔ‬
‫ﻣﻘﺎﺭﻧﺔ‪ ،‬ﲝﻴﺚ ﻳﺘﻔﺎﻋﻞ ﺑﻜﻞ ﻣﺎ ﳛﻴﻂ ﺑﻪ ﻣﻦ ﻣﻮﺟﻮﺩﺍﺕ‪ ،‬ﻣﻦ ﺃﻣﺎﻣﻪ ﻭ ﺧﻠﻔﻪ‪ ،‬ﻋﻦ ﳝﻴﻨﻪ ﻭﻋﻦ‬
‫ﻳﺴﺎﺭﻩ‪ ،‬ﻓﻮﻗﻪ ﻭ ﲢﺘﻪ‪ ...‬ﺃﻣﺎ ﻣﺎ ﳚﻌﻠﻪ ﻋﻠﻰ ﻣﺎ ﻫﻮ ﻋﻠﻴﻪ‪ ،‬ﳎﻤﻮﻋﺔ ﺍﻟﺘﺠﺎﺭﺏ ﺍﳊﺴﻴﺔ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ‬
‫ﻫﺬﻩ ﺍﻷﻓﻜﺎﺭ ﻭ ﻫﺬﻩ ﺍﻟﻨﻈﺮﺓ ﺍﻟﱵ ﻳﻜﻮ‪‬ﺎ ﻫﺬﺍ ﺍﻹﻧﺴﺎﻥ ﻋﻨﻪ ﺗﺒﻌﺎ ﻟﺬﻟﻚ‪ .‬ﻭ ﻣﻦ ﺍﻷﻣﺜﻠﺔ ﻋﻠﻰ‬
‫ﺫﻟﻚ‪:‬‬

‫ﻳﺘﺸﻜﻞ ﺍﳋﻠﻖ ﰲ ﺍﳊﻀﺎﺭﺍﺕ ﺍﻟﻘﺪﳝﺔ** ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﺟﺴﻢ ﺑﺸﺮﻱ ﺃﻭ ﻓﻮﻕ ﺑﺸﺮﻱ‪ .‬ﻭ ﻗﺪ ﺃﻗﺎﻡ‬
‫ﺍﻹﻧﺴﺎﻥ ﻫﺬﺍ ﺍﻻﻓﺘﺮﺍﺽ ﻋﻠﻰ ﺃﺳﺎﺱ ﻣﻘﺎﺑﻠﺔ ﺃﻗﺎﻣﻬﺎ ﺑﲔ ﺟﺴﻤﻪ ﻭ ﺍﻟﻄﺒﻴﻌﺔ‪ ،‬ﺣﻴﺚ ﻛﺎﻥ ﻫﻮ‬
‫*‪ -‬ﻟﻨﺎ ﻻﺣﻘﺎ ﻭ ﻗﻔﺔ ﺃﻛﺜﺮ ﺗﻔﺼﻴﻼ ﻋﻦ ﻛﻞ ﻣﻦ ﺍﻟﺰﻣﺎﻥ ﻭ ﺍﳌﻜﺎﻥ ﰲ ﺍﻟﻔﻜﺮ ﺍﻷﺳﻄﻮﺭﻱ‪.‬‬

‫**‪ -‬ﻛﻨﺎ ﲢﺜﻨﺎ ﺳﺎﺑﻘﺎ ﻋﻦ ﺍﳊﻀﺎﺭﺓ ﺍﻟﺒﺎﺑﻠﻴﺔ‪ ،‬ﻭ ﻛﻴﻒ ﺷﻜﻞ "ﻣﺮﺩﻭﺥ" ﻣﻦ ﺟﺴﺪ "ﺗﻌﺎﻣﺖ" ﺍﻟﻌﺎﱂ ﺑﺸﻜﻠﻪ ﺍﳌﻌﺮﻭﻑ‪ .‬ﻭ ﻟﻼﺳﺘﺰﺍﺩﺓ ﰲ‬
‫ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﻳﻨﻈﺮ‪:‬‬

‫ﺍﻷﺯﺭﻕ ﺑﻦ ﻋﻠﻮ‪ "،‬ﺍﻟﺮﺣﻠﺔ‪ -‬ﺃﺳﺎﻃﲑ‪ ،‬ﺃﺩﺏ‪ ،‬ﺗﺎﺭﻳﺦ‪ ،‬ﺣﻜﺎﻳﺎﺕ"‪ ،‬ﺩﺍﺭ ﺍﻟﻄﺒﺎﻋﺔ ﻟﻠﻨﺸﺮ ﻭ ﺍﻟﺘﻮﺯﻳﻊ ‪،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ،2001 ،‬ﺹ‪.14-13‬‬

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‫ﺍﻟﻌﺎﱂ ﺍﻷﺻﻐﺮ‪ ،‬ﻭ ﺍﻟﻜﻮﻥ ﻣﻦ ﺣﻮﻟﻪ ﺍﻟﻌﺎﱂ ﺍﻷﻛﱪ‪ ،‬ﻓﻠﺤﻤﻪ ﻳﻘﺎﺑﻞ ﺍﻷﺭﺽ‪ ،‬ﻭ ﻋﻈﻤﻪ ﻳﻘﺎﺑﻞ‬
‫ﺍﳉﺒﺎﻝ‪ ،‬ﻭ ﺩﻣﻪ ﻳﻘﺎﺑﻞ ﺍﳌﺎﺀ‪ ...‬ﻭ ﻫﻜﺬﺍ‪ .‬ﰒ ﺍﻟﻨﻮﺭ‪ ،‬ﻳﻀﻲﺀ ﺍﻟﻌﺎﱂ ﻭﳚﻌﻠﻪ ﻣﺮﺋﻴﺎ‪ ،‬ﻟﺬﻟﻚ ﻫﻮ ﺟﻴﺪ‪،‬‬
‫ﻭ ﻫﻮ ﺭﻣﺰ ﺍﳋﲑ‪ ،‬ﻭ ﺍﻟﻈﻼﻡ‪ ،‬ﳛﺠﺐ ﻋﻨﻪ ﺭﺅﻳﺔ ﺃﻱ ﺷﻲﺀ‪ ،‬ﻓﻴﻪ ﻗﻠﺔ ﺃﻣﺎﻥ ﻭ ﺭﻫﺒﺔ‪ ،‬ﻟﺬﻟﻚ ﻫﻮ‬
‫ﺳﻲﺀ‪ ،‬ﻭ ﻫﻮ ﺭﻣﺰ ﺍﻟﺸﺮ ﺑﻜﻞ ﺃﺷﻜﺎﻟﻪ‪ .‬ﻭ ﻗﺪ ﺃﻭﺟﺪ ﻋﺪﺓ ﻃﺮﺍﺋﻖ ﻟﻄﻠﺐ ﺃﺣﺪﳘﺎ ﻭ ﺍﻟﺘﺨﻠﺺ‬
‫ﻣﻦ ﳒﺲ ﺍﻵﺧﺮ‪ ،‬ﻭ ﻣﻦ ﺑﲔ ﻣﺎ ﺃﻭﺟﺪﻩ‪ ،‬ﺍﻟﻜﻬﺎﻧﺔ‪ ،‬ﻭ ﻫﻲ ﻭﺳﻴﻠﺔ ﻳﺮﺗﻘﻲ ‪‬ﺎ ﻣﻦ ﺍﻟﻌﺎﱂ ﺍﻟﺴﻔﻠﻲ‬
‫) ﺍﻟﻈﻼﻡ( ﺇﱃ ﺍﻟﻌﺎﱂ ﺍﻟﻌﻠﻮﻱ) ﺍﻟﻨﻮﺭ(‪ ،‬ﻭ ﺫﻟﻚ ﰲ ﺷﻜﻞ ﻃﻘﻮﺳﻲ ﺩﻳﲏ‪ .‬ﻭ ﻫﻨﺎﻟﻚ ﺃﻳﻀﺎ‬
‫ﺍﻟﺘﻨﺠﻴﻢ ﺍﻟﺬﻱ ﻫﻮ ﳑﺎﺭﺳﺔ ﻃﻘﻮﺳﻴﺔ ﺃﻳﻀﺎ ﺍﻗﺘﺮﻧﺖ ﺑﺎﳌﻜﺎﻥ ﻭ ﺍﻟﺰﻣﺎﻥ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺸﺨﺺ ﺍﳌﻌﲏ‪،‬‬
‫ﻓﻴﺤﺪﺩ ﻭﻗﺖ ﻣﻮﻟﺪﻩ‪ ،‬ﻣﻊ ﲤﻮﺿﻊ ﺍﻟﻜﻮﺍﻛﺐ ﰲ ﺫﻟﻚ ﺍﻟﻮﻗﺖ‪ ،‬ﻣﺼﲑﻩ ﻭ ﺣﻴﺎﺗﻪ ﻓﻴﻤﺎ ﺑﻌﺪ‪.‬‬
‫ﻭ ﻫﺬﺍ ﻣﻦ ﺍﻟﺪﻻﺋﻞ ﻋﻠﻰ ﺍﻧﺴﺠﺎﻡ ﻛﻞ ﻣﻦ ﺍﳌﻜﺎﻥ ﻭ ﺍﻟﺰﻣﺎﻥ ﺑﺸﻜﻞ ﻣﻌﲔ ﻳﻌﻄﻲ ﻟﻠﺤﺪﺙ‬
‫ﺍﻷﺳﻄﻮﺭﻱ ﺑﻌﺪﺍ ﺟﺪﻳﺪﺍ‪.‬‬

‫ﳍﺬﺍ ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﺇﺟﺮﺍﺀ ﻫﺬﻩ ﺍﳌﻘﺎﺑﻼﺕ ﺍﻟﺒﺴﻴﻄﺔ ﻳﱭ ﺍﳌﻮﺟﻮﺩﺍﺕ ﺍﻟﱵ ﲢﻴﻂ ﺑﻪ‪ ،‬ﻗﺎﻡ ﺍﻹﻧﺴﺎﻥ‬
‫ﲞﻠﻖ ﻋﺎﱂ ﻣﺘﻜﺎﻣﻞ‪ ،‬ﳛﻤﻞ ﺁﻣﺎﻟﻪ‪ ،‬ﺃﻓﻜﺎﺭﻩ‪ ،‬ﻭ ﺭﻏﺒﺎﺗﻪ‪ ،‬ﻭ ﻛﻞ ﺗﻄﻠﻌﺎﺗﻪ ﰲ" ﻓﻀﺎﺀ ﻣﻬﻴﻜﻞ ﻟﻪ‬
‫ﺑﻨﻴﺘﻪ ﺷﺄﻥ ﺍﻟﻔﻀﺎﺀ ﺍﻟﺮﻳﺎﺿﻲ ﺍﶈﺾ‪ ،‬ﻭ ﻳﺒﺪﻭ ﻫﺬﺍ ﺍﻟﻔﻀﺎﺀ ﻣﺘﻤﺎﺳﻜﺎ ﻣﺘﺠﺎﻧﺴﺎ ﻣﻦ ﺟﻬﺔ‪ ،‬ﻭ ﻣﺒﻨﻴﺎ‬
‫ﺣﺴﺐ ﺃﳕﻮﺫﺝ ﺃﻭ ﻣﻨﻮﺍﻝ ﺧﻴﺎﱄ ﺗﺮﺑﻂ ﺑﻴﻨﻪ ﳐﺘﻠﻒ ﺍﻟﺮﻣﻮﺯ‪ 1".‬ﻭ ﻳﺴﲑ ﻛﻤﺎ ﺃﺳﻠﻔﻨﺎ ﺍﻟﺬﻛﺮ ﺟﻨﺒﺎ‬
‫ﺇﱃ ﺟﻨﺒﺎ ﻣﻊ ﺍﻟﻌﺎﱂ ﺍﻟﻮﺍﻗﻌﻲ‪ ،‬ﺩﻭﻥ ﺃﻥ ﻳﺰﺍﲪﻪ ﻋﻠﻰ ﻣﻜﺎﻧﺘﻪ‪ ،‬ﺑﻞ ﻋﻠﻰ ﺍﻟﻌﻜﺲ ﻣﻦ ﺫﻟﻚ ﳛﺘﺎﺝ‬
‫ﺍﻟﻌﺎﱂ ﺍﻷﺳﻄﻮﺭﻱ ﺍﻟﻌﺎﱂ ﺍﻟﻮﺍﻗﻌﻲ‪ ،‬ﰲ ﻛﻮﻥ ﻫﺬﺍ ﺍﻷﺧﲑ ﺍﻟﺬﻱ ﻳﻌﻄﻴﻪ ﺷﻜﻠﻪ ﺍﶈﺪﺩ‪ ،‬ﺍﻧﻄﻼﻗﺎ ﻣﻦ‬
‫ﻣﺎ ﳚﻤﻌﻪ ﺍﻹﻧﺴﺎﻥ ﻣﻦ ﲡﺎﺭﺏ ﻭ ﺃﻓﻜﺎﺭ‪.‬‬

‫‪ -1‬ﳏﻤﺪﻋﺠﻴﻨﺔ‪ .‬ﻡ‪.‬ﺱ‪ .‬ﺹ‪.182‬‬

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‫‪ -3‬ﻣﺴﺘﻮﻯ ﺗﻘﲏ‪:‬‬

‫ﺃ‪-‬ﺍﻟﺒﻌﺪ ﺍﻟﺰﻣﺎﱐ‪:‬‬

‫ﺍﻟﺰﻣﺎﻥ ‪‬ﺮ ﻣﺘﺪﻓﻖ ﻻ ﻳﻘﻒ ﻋﻨﺪ ﺣﺪ ﻭﻻ ﻣﻦ ﺃﺟﻞ ﺃﺣﺪ‪ ،‬ﻛﻤﺎ ﻻ ﳝﻜﻨﻪ ﺍﻟﻌﻮﺩﺓ ﺇﱃ ﺍﻟﻮﺭﺍﺀ‪،‬‬
‫ﻳﻨﺴﺎﺏ ﻏﲑ ﺁﺑﻪ ﻭ ﻻ ﻣﻜﺘﺮﺙ ﻷﻱ ﺷﻲﺀ ﻭ ﻻ ﺷﻲﺀ ﳝﻜﻨﻪ ﺃﻥ ﻳﻮﻗﻒ ﺗﺪﻓﻘﻪ ﺫﺍﻙ‪ ،‬ﻭ ﻟﻄﺎﳌﺎ‬
‫ﺩﺍﻋﺒﺖ ﻓﻜﺮﺓ ﲢﺪﻱ ﺍﻟﺰﻣﻦ ﳐﻴﻠﺔ ﺍﻟﺒﺸﺮ ﻋﱪ ﺍﻟﻌﺼﻮﺭ‪ ،‬ﻭ ﻻ ﻳﺴﻌﻨﺎ ﺇﻻ ﻃﺮﺡ ﻫﺬﺍ ﺍﻟﺴﺆﺍﻝ‪ :‬ﻫﻞ‬
‫ﺣﻘﺎ ﳝﻜﻦ ﲢﺪﻱ ﺍﻟﺰﻣﻦ؟‪ .‬ﺃﺛﺒﺘﺖ ﺍﻷﺳﻄﻮﺭﺓ ﺃﻧﻪ ﳑﻜﻦ ﺇﱃ ﺣﺪ ﻣﺎ‪ ،‬ﻭ ﺫﻟﻚ ﻋﻦ ﻃﺮﻳﻖ‬
‫ﺍﺳﺘﻐﻼﻝ ﺍﻟﺰﻣﻦ ﺇﱃ ﺻﺎﳊﻬﺎ ﻋﱪ ﺗﻜﻴﻴﻒ ﻧﻔﺴﻬﺎ ﻣﺎ ﺃﻣﻜﻦ ﻭ ﻣﻦ ﺧﻼﻝ ﻟﻌﺐ ﻟﻌﺒﺔ ﺍﳌﻮﺕ‬
‫ﻭ ﺍﻻﻧﺒﻌﺎﺙ‪ ،‬ﻭ ﺍﳊﺮﻛﺔ ﺍﻟﺪﺍﺋﻤﺔ ﻓﻬﻲ ﻻ ﺗﺴﺘﻜﲔ ﺃﺑﺪﺍ ﺃﻭ ﺗﺮﻛﻦ ﻟﻌﺼﺮ ﻣﺎ ﺃﻭ ﳎﺘﻤﻊ ﻣﺎ‪،‬‬
‫ﻭ ﺫﻟﻚ ﲢﺪﻳﺎ ﻟﻠﺰﻣﻦ ﺍﻟﺬﻱ ﻳﺮﻓﺾ ﻣﺒﺪﺃ ﺍﻷﺑﺪﻳﺔ ﻟﻐﲑﻩ‪ ،‬ﻓﻘﺪ ﺍﺗﻔﻘﻨﺎ ﺳﺎﺑﻘﺎ ﺃﻥ ﻟﻸﺳﺎﻃﲑ ﺃﺻﻼ‬
‫ﻭﺍﺣﺪﺍ‪ ،‬ﻓﻬﻲ ﰲ ﺍﻧﺘﻘﺎﳍﺎ ﺑﲔ ﺍﳊﻀﺎﺭﺍﺕ ﻭ ﺍﻟﺜﻘﺎﻓﺎﺕ ﲣﺎﺩﻉ ﺍﻟﺰﻣﻦ ﻭ ﺗﻌﻮﺩ ﻟﻼﻧﺒﻌﺎﺙ ﰲ ﻛﻞ‬
‫ﻣﺮﺓ ﲝﻠﺔ ﺟﺪﻳﺪﺓ‪ "،‬ﻓﻬﻲ ﺑﻨﻴﺔ ﻣﺮﻛﺒﺔ ﻣﻦ ﺗﺎﺭﻳﺦ ﻭ ﻓﻜﺮ ﻭ ﻓﻦ ﻭ ﺣﻀﺎﺭﺓ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﳍﺎ ﺍﻟﻘﺪﺭﺓ‬
‫ﻋﻠﻰ ﺍﻻﻣﺘﺪﺍﺩ ﻣﺎﺿﻴﺎ ﻭ ﺣﺎﺿﺮﺍ ﻭ ﻣﺴﺘﻘﺒﻼ‪ 1".‬ﻓﺎﻟﺒﺤﺚ ﰲ ﺃﺻﻞ ﺍﻷﺳﺎﻃﲑ ﻭ ﻛﻴﻔﻴﺔ ﻧﺸﺄ‪‬ﺎ‬
‫ﳚﻌﻠﻨﺎ ﺃﻳﻀﺎ ﻗﺎﺩﺭﻳﻦ ﻋﻠﻰ ﺗﻮﻟﻴﺪﻫﺎ ﻣﻦ ﺟﺪﻳﺪ‪ ،‬ﻭ ﻫﺬﻩ ﺍﻟﻔﻜﺮﺓ ﻟﻴﺴﺖ ﺟﺪﻳﺪﺓ ﲤﺎﻣﺎ ﻓﻔﻲ‬
‫ﺍ‪‬ﺘﻤﻌﺎﺕ ﺍﻟﻘﺪﳝﺔ ﺃﻳﻀﺎ ﻛﺎﻥ ﺍﻹﳝﺎﻥ ﺑﺄﻥ ﻣﻌﺮﻓﺔ ﺃﺻﻞ ﺍﻟﺸﻲﺀ ﻫﻲ ﻧﻮﻉ ﻣﻦ ﺍﻟﺴﻴﻄﺮﺓ ﺍﻟﺴﺤﺮﻳﺔ‬
‫ﻋﻠﻴﻪ‪ ،‬ﻧﻌﺮﻑ ﺃﻳﻦ ﻳﻮﺟﺪ‪ ،‬ﻭ ﻛﻴﻒ ﳝﻜﻦ ﺑﻌﺜﻪ ﰲ ﺍﳌﺴﺘﻘﺒﻞ‪.2‬‬

‫ﺩﺍﺋﻤﺎ ﻣﺎ ﲢﻤﻞ ﺍﻷﺳﺎﻃﲑ ﰲ ﻃﻴﺎ‪‬ﺎ ﺻﻴﻐﺔ‪ ":‬ﺣﺪﺙ ﰲ ﺯﻣﻦ ﻣﻀﻰ"‪ ،‬ﻭ ﻫﻞ ﻧﻌﺮﻑ‬
‫ﺍﻟﺰﻣﻦ ﺍﳌﻘﺼﻮﺩ ﺑﺎﻟﺘﺤﺪﻳﺪ‪ ،‬ﻭ ﺍﳉﻮﺍﺏ ﺍﻷﻛﻴﺪ ﺃﺑﺪﺍ‪ ،‬ﺇﺫ ﺩﺍﺋﻤﺎ ﻳﺮﺗﺒﻂ ﺯﻣﻦ ﺍﻷﺳﻄﻮﺭﺓ ﺑﺰﻣﻦ‬
‫ﺍﻟﺒﺪﺍﻳﺎﺕ ﺍﻷﻭﱃ ﻟﻠﻜﻮﻥ ﺃﻭ ﺑﺰﻣﻦ ﺑﻌﻴﺪ ﻋﻦ ﺍﻟﺰﻣﻦ ﺍﻟﺬﻱ ﺗﺘﻠﻰ ﻓﻴﻪ‪ ،‬ﺯﻣﻦ ﲰﺎﻩ ﻣﺮﺳﻴﺎ "ﺑﺰﻣﻦ‬

‫‪ -1‬ﳏﻤﺪ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﻳﻮﻧﺲ ‪.‬ﻡ‪.‬ﺱ‪ .‬ﺹ‪.02‬‬

‫‪ -2‬ﻣﺮﺳﻴﺎ ﺇﻟﻴﺎﺩ‪" :‬ﻣﻈﺎﻫﺮ ﺍﻷﺳﻄﻮﺭﺓ"‪ ،‬ﺗﺮﲨﺔ ‪‬ﺎﺩ ﺍﳋﻴﺎﻃﺔ‪ ،‬ﺩﺍﺭ ﻛﻨﻌﺎﻥ ﺹ ‪.73-28‬‬

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‫ﺍﳊﻠﻢ‪ ،‬ﺃﻭ ﺍﻟﺰﻣﻦ ﺍﳌﻴﻄﻴﻘﻲ"‪ ،‬ﻓﻘﺪ" ﻭﻗﻌﺖ ﰲ ﺍﻟﺰﻣﺎﻥ ﺍﻷﻭﻝ‪ ،‬ﺯﻣﻦ ﺍﻟﺒﺪﺍﻳﺎﺕ ﺍﳋﺮﺍﻓﻴﺔ‪ ،‬ﻓﻬﻲ‬
‫ﺗﺮﻭﻱ ﻗﺼﺔ ﺃﺻﻞ ﺍﻹﻧﺴﺎﻥ ﻭﺍﳊﻴﻮﺍﻥ‪ ،‬ﻭﺧﻠﻖ ﺍﻟﻌﺎﱂ ﻭﺍﻟﻜﻮﻥ ﻭﺍﳊﻴﺎﺓ‪ ،‬ﻭﺻﺮﺍﻉ ﺍﻵﳍﺔ‪ ،‬ﻭﻋﻼﻗﺘﻬﺎ‬
‫ﺑﺎﻹِﻧﺴﺎﻥ ﻭﻣﺎ ﳛﻴﻂ ﺑﻪ ﻣﻦ ﻣﻈﺎﻫﺮ ﻭﺃﺷﻴﺎﺀ ﻣﻬﻤﺔ"‪ .1‬ﺣﻴﺚ ﻳﻘﻮﻝ ﰲ ﺗﻌﺮﻳﻔﻪ ﻟﻸﺳﻄﻮﺭﺓ‪:‬‬
‫"ﺍﻷﺳﻄﻮﺭﺓ ﺗﺮﻭﻱ ﺗﺎﺭﳜﺎ ﻣﻘﺪﺳﺎ‪ ،‬ﺗﺮﻭﻱ ﺣﺪﺛﺎ ﺟﺮﻯ ﰲ ﺍﻟﺰﻣﻦ ﺍﻟﺒﺪﺋﻲ‪ ،‬ﺍﻟﺰﻣﻦ ﺍﳋﻴﺎﱄ‪ ،‬ﻫﻮ‬
‫ﺯﻣﻦ "ﺍﻟﺒﺪﺍﻳﺎﺕ"‪ .‬ﺑﻌﺒﺎﺭﺓ ﺃﺧﺮﻯ‪ ،‬ﲢﻜﻲ ﻟﻨﺎ ﺍﻷﺳﻄﻮﺭﺓ ﻛﻴﻒ ﺟﺎﺀﺕ ﺣﻘﻴﻘﺔ ﻣﺎ ﺇﱃ‬
‫ﺍﻟﻮﺟﻮﺩ‪....‬ﻻ ﺗﺘﺤﺪﺙ ﺍﻷﺳﻄﻮﺭﺓ ﺇﻻ ﻋﻤﺎ ﻗﺪ ﺣﺪﺙ ﻓﻌﻼ‪...‬ﺃﻣﺎ ﺃﺷﺨﺎﺹ ﺍﻷﺳﺎﻃﲑ‪...‬‬
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‫ﻭ ﻫﻲ ﺃﺯﻣﻨﺔ "ﺍﻟﺒﺪﺍﻳﺎﺕ" "‬ ‫ﻧﻌﺮﻓﻬﻢ ﲟﺎ ﻗﺪ ﺻﻨﻌﻮﻩ ﰲ ﺍﻷﺯﻣﻨﺔ ﺍﻟﻘﻮﻳﺔ‪...‬‬

‫ﻭ ﺭﻏﻢ ﺃ‪‬ﺎ ﻣﻦ ﺍﳌﺎﺿﻲ ﺍﻟﺴﺤﻴﻖ ﺇﻻ ﺃ‪‬ﺎ ﲢﺎﻓﻆ ﻋﻠﻰ ﺍﻵﻧﻴﺔ ﻓﻴﻬﺎ‪ ،‬ﻟﺘﻌﻄﻲ ﻣﺘﻠﻘﻴﻬﺎ ﺷﻌﻮﺭﺍ ﺑﺄ‪‬ﺎ‬
‫ﺗﺘﻮﺍﺻﻞ ﻣﻌﻪ‪ ،‬ﻭ ﺃ‪‬ﺎ ﺗﺴﺘﻤﺮ ﺇﱃ ﺍﳌﺴﺘﻘﺒﻞ‪ ،‬ﻭ ﳑﺎ ﺳﺎﻋﺪﻫﺎ ﻋﻠﻰ ﺍﻻﺳﺘﻤﺮﺍﺭﻳﺔ ﺻﻔﺔ ﺍﻟﻘﺪﺳﻴﺔ‬
‫ﺗﺎﺭﺓ ﻭ ﻭﻟﻮﺟﻬﺎ ﻋﺎﱂ ﺍﻷﺩﺏ ﺗﺎﺭﺓ ﺃﺧﺮﻯ ﻛﻤﺎ ﺃﺳﻠﻔﻨﺎ‪ ،‬ﰒ ﻋﻠﻮﻡ ﺣﺪﻳﺜﺔ ﻛﺎﻷﻧﺘﺮﺑﻮﻟﻮﺟﻴﺎ‬
‫ﻭ ﻋﻠﻢ ﺍﻵﺛﺎﺭ ﺍﻟﺬﻱ ﻳﻌﻮﺩ ﻟﻪ ﻗﺪﺭ ﻣﻬﻢ ﻣﻦ ﺍﻟﻔﻀﻞ ﰲ ﺇﻋﺎﺩﺓ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻷﺳﺎﻃﲑ ﺇﱃ ﺍﻟﺴﻄﺢ‬
‫ﻭ ﻏﲑﻫﺎ ﻣﻦ ﺍﻟﻌﻠﻮﻡ‪ ...‬ﺇﱃ ﻳﻮﻣﻨﺎ ﻫﺬﺍ‪.‬‬

‫ﻓﺘﻮﻇﻴﻒ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﺍﻷﺩﺏ ﻻ ﻳﻌﲏ ﺑﺎﻟﻀﺮﻭﺭﺓ ﺇﺭﺟﺎﻉ ﺍﻟﻨﺼﻮﺹ ﺯﻣﻨﻴﺎ ﺇﱃ ﺗﻠﻚ ﺍﳊﻘﺐ‬
‫ﺍﻟﺴﺤﻴﻘﺔ ﻛﻤﺎ ﻻ ﻳﻌﲏ ﲡﺮﻳﺪ ﺍﻟﻌﻨﺼﺮ ﺍﻷﺳﻄﻮﺭﻱ ﻣﻦ ﻛﻞ ﻇﻼﻟﻪ‪ ،‬ﺑﻞ ﺇﻧﻪ ﳜﻠﻖ ﻧﻮﻋﺎ ﻣﻦ‬
‫ﺍﻻﺳﺘﻤﺮﺍﺭﻳﺔ ﰲ ﺍﻟﻨﺺ ﺍﻷﺩﰊ ﻭ ﻟﻦ ﻳﺘﺄﺗﻰ ﻫﺬﺍ ﺍﻷﻣﺮ ﻣﺎ ﱂ ﻳﻜﻦ ﻫﻨﺎﻙ ﲡﺎﻧﺴﺎ ﺑﲔ ﺯﻣﻦ ﺍﻟﻨﺺ‬
‫ﻭ ﺯﻣﻦ ﺍﻷﺳﻄﻮﺭﺓ ﻭ ﺭﺅﻳﺔ ﺍﻟﻜﺎﺗﺐ ﻷﻥ "ﺗﻮﻇﻴﻒ ﺍﻷﺳﻄﻮﺭﺓ ﻟﻴﺲ ﻋﻮﺩﺓ ﺇﱃ ﺍﳌﺎﺿﻲ ﺑﻘﺪﺭ ﻣﺎ‬
‫ﺐ ﰲ‬
‫ﻫﻮ ﲡﺮﺑﺔ ﺷﺨﺼﻴﺔ ﺭﺅﻳﻮﻳﺔ ﻋﻤﻴﻘﺔ ﺗﻨﻄﻠﻖ ﻣﻦ ﻣﻌﺎﻧﺎﺓ ﺍﻟﺬﺍﺕ ﺍﻟﻔﺎﻋﻠﺔ ﺍﳌﺒﺪﻋﺔ ﻟﺘﺼ ‪‬‬
‫ﺍﻟﺘﺠﺎﺭﺏ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺑﻌﺎﻣﺔ ﰲ ‪‬ﺎﻳﺔ ﺍﳌﻄﺎﻑ‪ ،‬ﺳﻮﺍﺀ ﺃﻛﺎﻧﺖ ﻫﺬﻩ ﺍﻟﺘﺠﺎﺭﺏ ﻗﺪ ﺣﺪﺛﺖ ﰲ‬
‫ﺍﳌﺎﺿﻲ ﺃﻡ ﰲ ﺍﳊﺎﺿﺮ"‪ 3.‬ﻓﻴﻘﺘﺮﺏ ﺍﻟﻘﺎﺭﺉ ﺑﺬﻟﻚ ﻣﻦ ﺯﻣﻦ ﺍﶈﻜﻲ ﺯﻟﻔﺔ‪ ،‬ﻋﻠﻰ ﺃﻥ ﻻ ﻳﻔﻘﺪ‬

‫‪ -1‬ﺩ‪ -‬ﻛﺎﻣﻠﻲ ﺑﻠﺤﺎﺝ ‪.":‬ﻡ‪.‬ﺱ‪.‬ﺹ ‪.01‬‬

‫‪ -2‬ﻣﺮﺳﻴﺎ ﺇﻟﻴﺎﺩ‪ :‬ﻡ‪.‬ﺱ ﺹ ‪.21-10‬‬

‫‪ -3‬ﳏﻤﺪ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﻳﻮﻧﺲ‪ .‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.05‬‬

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‫ﺇﺣﺴﺎﺳﻪ ﺑﺎﳊﺎﺿﺮ‪ ،‬ﻭ ﻻ ﻳﻔﻘﺪ ﻧﻈﺮﺗﻪ ﻟﻠﻤﺴﺘﻘﺒﻞ‪ .‬ﻓﺎﻟﻌﻨﺼﺮ ﺍﻷﺳﻄﻮﺭﻱ ﻳﻈﻞ ﳏﺎﻓﻈﺎ ﻋﻠﻰ‬
‫ﺇﳛﺎﺀﺍﺗﻪ ﻭ ﻇﻼﻟﻪ ﻭﺍﻟﱵ ﻣﻦ ﺑﻴﻨﻬﺎ ﺍﻟﺼﺒﻐﺔ ﺍﻟﺰﻣﻨﻴﺔ ﻣﻬﻤﺎ ﻛﺎﻧﺖ ﻋﻤﻠﻴﺔ ﺗﻮﻇﻴﻔﻪ ﰲ ﺍﻷﺩﺏ ﺣﱴ‬
‫ﻭ ﺇﻥ ﺑﺪﺍ ﺧﺎﻓﺘﺎ ﰲ ﺑﻌﺾ ﺍﻟﻨﺼﻮﺹ‪ ،‬ﻓﺒﻤﺠﺮﺩ ﺫﻛﺮ ﺭﻣﺰ ﻣﻌﲔ ﻭ ﻟﻴﻜﻦ ﺍﻻﺳﻢ ﻣﺜﻼ ﻳﻈﻞ‬
‫ﳛﻤﻞ ﺗﻠﻚ ﺍﻷﺑﻌﺎﺩ ﻭﺍﻟﺪﻻﻻﺕ ﺍﻟﱵ ﺯﺧﺮﺕ ‪‬ﺎ ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﳑﺎ ﳚﻌﻞ ﺍﳌﺘﻠﻘﻲ ﺩﺍﺧﻞ ﻓﻀﺎﺀ ﻣﻌﲔ‬
‫ﻳﺼﻌﺐ ﻋﻠﻴﻪ ﺍﻻﻧﺘﻘﺎﻝ ﻣﻨﻪ ﺇﱃ ﻓﻀﺎﺀ ﺃﺩﰊ ﺁﺧﺮ ﻣﺎ ﱂ ﺗﻜﻦ ﻫﻨﺎﻙ ﻗﺮﺍﺋﻦ ﺗﺴﻤﺢ ﺑﺘﺠﺎﻭﺯ ﺍﳌﻌﲎ‬
‫ﺍﻷﻭﻝ ﺇﱃ ﺍﳌﻌﲎ ﺍﻟﺜﺎﱐ‪ 1.‬ﻭ ﻛﺄﻥ ﰲ ﺍﻷﻣﺮ ﻧﻮﻋﺎ ﻣﻦ ﺍﻻﺗﻔﺎﻕ ﺍﻟﻀﻤﲏ ﻳﻌﻘﺪﻩ ﺍﻷﺩﻳﺐ ﻣﻊ‬
‫ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﳜﻀﻌﻬﺎ ﻟﻔﻀﺎﺀ ﺍﻟﻨﺺ ﻭ ﳚﺮﺩﻫﺎ ﺇﱃ ﺣﺪ ﻣﺎ ﻣﻦ ﺯﻣﻨﻬﺎ ﺍﻷﺻﻠﻲ ﻭ ﰲ ﺍﳌﻘﺎﺑﻞ‬
‫ﻳﻀﻤﻦ ﳍﺎ ﺍﻻﺳﺘﻤﺮﺍﺭﻳﺔ ﺑﺘﻜﻴﻴﻔﻬﺎ ﺣﺴﺐ ﺍﻟﺰﻣﻦ ﺍﻟﺬﻱ ﺃﻋﻴﺪ ﺑﻌﺜﻬﺎ ﻓﻴﻪ‪ ،‬ﻓﻬﻲ ﺇﺫﻥ ﻻ ﺗﺮﺍﺩﻑ‬
‫ﺇﺭﺟﺎﻉ ﺇﱃ ﺍﳌﺎﺿﻲ ﺑﻘﺪﺭ ﻣﺎ ﺗﻌﲏ ﺇﻋﺎﺩﺓ ﺑﻌﺚ ﺍﳌﺎﺿﻲ ﺑﺮﺅﻳﺔ ﺍﳊﺎﺿﺮ ﻭ ﺍﳌﺴﺘﻘﺒﻞ‪ .‬ﻭ ﺣﱴ ﻫﺬﺍ‬
‫ﺍﻷﻣﺮ ﻟﻴﺲ ﺩﻗﻴﻘﺎ ﺃﻭ ﳏﺪﺩﺍ ﺣﺴﺐ ﺍﳌﻮﺿﻮﻋﺎﺕ ﺍﳌﻄﺮﻭﻗﺔ ﰲ ﺍﻟﻨﺼﻮﺹ ﺍﻷﺩﺑﻴﺔ ﻓﺈﺫﺍ ﻛﺎﻥ‬
‫ﺍﻷﺩﻳﺐ ﺛﺎﺋﺮﺍ‪ ،‬ﻧﺎﻗﻤﺎ ﻋﻠﻰ ﺃﻭﺿﺎﻉ ﻣﺎ ﺃﻭ ﺣﱴ ﻳﻌﺎﱐ ﻣﺄﺳﺎﺓ ﺷﻌﺒﻪ ﻓﺈﻧﻪ ﻟﻦ ﻳﻄﺮﻕ ﺑﺎﺏ ﺍﳊﺎﺿﺮ‬
‫ﺃﻭ ﺍﳌﺴﺘﻘﺒﻞ ﻭ ﻻ ﺣﱴ ﺍﳌﺎﺿﻲ‪ ،‬ﺑﻞ ﳝﻮﺿﻊ ﻧﺼﻪ ﺑﻴﻨﻬﺎ ﻛﻠﻬﺎ ﻓﻬﻮ ﻳﺴﺘﺤﻀﺮ ﺃﳎﺎﺩ ﺍﳌﺎﺿﻲ ﰲ‬
‫ﺍﻟﺮﻣﺰ ﺍﻷﺳﻄﻮﺭﻱ‪ ،‬ﻭ ﻳﻮﻇﻔﻪ ﰲ ﻓﻀﺎﺀ ﺁﱐ ﺑﺄﻣﻞ ﻣﺴﺘﻘﺒﻠﻲ ﰲ ﺃﻥ ﻳﻌﻮﺩ ﺷﻌﺒﻪ ﰲ ﻃﻠﺐ ﺃﳎﺎﺩ‬
‫ﳛﻘﻘﻮ‪‬ﺎ ﻛﻤﺎ ﺣﻘﻘﻬﺎ ﺃﺳﻼﻓﻬﻢ‪ ،‬ﺣﻠﻘﺔ ﻻ ﻳﻨﻔﻚ ﻳﺪﻭﺭ ﻓﻴﻬﺎ ﺍﻟﻨﺺ‪ ،‬ﻻ ﺯﻣﺎﻧﻴﺔ ﻭ ﺯﻣﺎﻧﻴﺔ ﲝﺘﺔ ﰲ‬
‫ﻧﻔﺲ ﺍﻟﻮﻗﺖ‪.‬‬

‫ﺇﺫ ﺗﺒﺪﻭ" ﺍﻷﺳﻄﻮﺭﺓ ﻭ ﻛﺄ‪‬ﺎ ﺍﺳﺘﻜﻨﺎﻩ ﳉﻮﻫﺮ ﺍﻟﻮﺟﻮﺩ ﺍﻟﺒﺸﺮﻱ ﺫﺍﺗﻪ ﰲ ﺑﺪﺋﻪ ﻭ ﺇﱃ ﺣﺪ ﻣﺎ ﰲ‬
‫ﻣﺼﺎﺋﺮﻩ‪ ...‬ﻭ ﻟﻜﻦ ﺑﺘﺼﻮﺭ ﻳﻘﻊ ﺧﺎﺭﺝ ﺍﻟﺘﺎﺭﻳﺦ ﻛﻠﻴﺎ ﻭ ﺩﺍﺧﻠﻪ ﻛﻠﻴﺎ ﰲ ﺍﻟﻮﻗﺖ ﺫﺍﺗﻪ"‪ .2‬ﻓﻬﻲ‬
‫ﺗﺘﻌﺎﱃ ﻋﻠﻰ ﺍﻟﺘﺎﺭﻳﺦ ﺑﺄ‪‬ﺎ ﺗﺮﻓﺾ ﺍﻟﺮﺿﻮﺥ ﳊﻜﻤﻪ‪ ،‬ﻓﻤﺎ ﺍﻟﺘﺎﺭﻳﺦ ﺇﻻ ﺯﻣﻨﺎ ﻳﻜﺒﻠﻬﺎ ﺑﻘﻴﻮﺩ ﺗﺪﻓﻊ‬

‫‪ -1‬ﻛﺎﻣﻠﻲ ﺑﻠﺤﺎﺝ ‪.‬ﻡ‪.‬ﺱ‪ .‬ﺹ ‪.08‬‬

‫‪ -2‬ﻋﻠﻲ ﺍﳌﺼﺮﻱ‪" :‬ﰲ ﺭﺣﺎﺏ ﺍﻷﺩﺏ ﻭ ﺍﻟﻔﻜﺮ"‪ ،‬ﺩﺭﺍﺳﺔ‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ‪ ‘1998،‬ﺹ ‪.34‬‬

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‫ﻋﻨﻬﺎ ﺍﳋﻠﻮﺩ ﺑﻌﻴﺪﺍ‪ .‬ﻭ ﻫﻲ ﺩﺍﺧﻠﻪ ﲝﻴﺚ ﺭﻣﻮﺯﻫﺎ ﻫﻲ ﻣﺎ ﺗﻘﺪﻣﻪ ﳍﺎ ﺍﻟﺘﺠﺮﺑﺔ ﺍﻹﻧﺴﺎﻧﻴﺔ ﰲ‬
‫ﺻﲑﻭﺭ‪‬ﺎ ﻋﱪ ﻫﺬﺍ ﺍﻟﺘﺎﺭﻳﺦ‪ .‬ﺇﺫﻥ "ﺍﻷﺳﻄﻮﺭﺓ ﲟﺎ ﻫﻲ ﺗﻌﺒﲑ ﻋﻦ ﺗﺄﺳﻴﺴﺎﺕ ﺍﳌﺎﺿﻲ ﰲ ﻛﻞ‬
‫ﺭﺍﻫﻦ ﺗﻔﺮﺽ ﻋﻠﻴﻨﺎ ﺍﻟﺒﺤﺚ ﻋﻨﻬﺎ ﺧﻼﻝ ﺍﻟﺘﺎﺭﻳﺦ ﻛﻠﻪ‪ .‬ﻻ ﰲ ﺍﻻﺳﺘﻌﻤﺎﻻﺕ ﺍﻷﺩﺑﻴﺔ ﻓﺤﺴﺐ ﺑﻞ‬
‫ﺃﻳﻀﺎ ﻭﺭﺍﺀ ﻛﻞ ﺍﻟﺘﻜﻮﻳﻨﺎﺕ ﺍﻟﱵ ﺗﻔﺮﺽ ﺃﳕﺎﻁ ﺍﻟﺴﻠﻮﻙ ﻭ ﺍﻟﻔﺎﻋﻠﻴﺔ ﺍﻟﺒﺸﺮﻳﲔ"‪ .1‬ﺇﺫ ﺃﻥ ﺍﻟﺘﻨﻘﻴﺐ‬
‫ﻋﻦ ﺃﺻﻞ ﺍﻷﺳﺎﻃﲑ ﻭ ﻣﻮﻗﻌﻬﺎ ﻣﻦ ﺍﻟﺴﻠﻢ ﺍﻟﺰﻣﲏ ﰲ ﺍﻷﺩﺏ ﺳﻴﻮﻗﻌﻨﺎ ﰲ ﺣﲑﺓ ﻭ ﻟﻦ ﻳﺄﺧﺬﻧﺎ‬
‫ﺑﻌﻴﺪﺍ ﰲ ﳎﺎﻝ ﺍﻟﺪﺭﺍﺳﺔ ﻷﻥ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﺍﻷﺩﺏ ﺃﺳﻄﻮﺭﺓ ﻣﻬﺠﻨﺔ ﲝﻴﺚ ﲣﻀﻊ ﻟﻜﻞ ﻣﺎ‬
‫ﻳﻔﺮﺿﻪ ﺍﻷﺩﻳﺐ ﻋﻠﻴﻬﺎ ﻣﻦ ﻗﻴﻮﺩ ﲨﺎﻟﻴﺔ ﻭ ﺭﺅﻳﻮﻳﺔ ﻭ ﻏﲑﻫﺎ‪...‬ﻟﺬﻟﻚ ﻋﻠﻴﻨﺎ ﺍﻟﺘﻨﻘﻴﺐ ﻋﻨﻬﺎ‬
‫ﰲ ﻋﻤﻖ ﺍﻟﺬﺍﻛﺮﺓ ﺍﻟﺒﺸﺮﻳﺔ‪.‬‬

‫ﻭ ﺍﻟﺰﻣﻦ ﺃﺯﻣﻨﺔ‪ ،‬ﺯﻣﻦ ﺛﻘﺎﰲ‪ ،‬ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﻧﻔﺴﻲ‪ ،‬ﺯﻣﻦ ﺍﻟﻨﺺ‪ ،‬ﺯﻣﻦ ﺃﺳﻄﻮﺭﻱ‪ ،‬ﺯﻣﻦ ﺍﻟﺒﺚ‪،‬‬
‫ﻭ ﺯﻣﻦ ﺍﻟﺘﻠﻘﻲ‪...‬ﻭ ﻏﲑﻫﺎ ﻓﻠﻜﻲ ﻳﺴﺘﻘﻴﻢ ﻋﻤﻞ ﺃﺩﰊ ﰲ ﺍﻟﻌﺎﺩﺓ ﳚﺐ ﺃﻥ ﺗﺘﻄﺎﺑﻖ ﺍﻷﺯﻣﻨﺔ ﺍﻷﺭﺑﻌﺔ‬
‫ﺍﻷﻭﱃ ﻭ ﺍﻟﺰﻣﻦ ﺍﻷﺧﲑ‪ ،‬ﻟﻜﻦ ﺍﻷﻣﺮ ﳜﺘﻠﻒ ﻋﻨﺪﻣﺎ ﻳﺘﻌﻠﻖ ﺍﻷﻣﺮ ﺑﺎﻟﻮﺟﻮﺩ ﺍﻷﺳﻄﻮﺭﻱ ﰲ ﺫﻟﻚ‬
‫ﺍﻟﻨﺺ‪ ،‬ﻓﺬﻟﻚ ﺭﻫﻦ ﲟﺎ ﲤﺘﻠﻜﻪ ﺍﻷﺳﻄﻮﺭﺓ ﻣﻦ ﺫﻟﻚ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ‪ ،‬ﻓﺈﺫﺍ ﻛﺎﻧﺖ ﻣﻮﺿﻮﻋﻪ‬
‫ﻭ ﻟﺴﺎﻧﻪ ﻛﺎﻥ ﻟﻠﻨﺺ ﺃﻥ ﻳﺄﺧﺬ ﺯﻣﻦ ﺗﻠﻚ ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﲝﻴﺚ ﺗﺘﺪﺧﻞ ﻣﻬﺎﺭﺓ ﺍﻷﺩﻳﺐ ﻹﻋﺎﺩﺓ‬
‫ﺑﻌﺜﻪ ﻭ ﺗﻜﻴﻴﻔﻪ ﻟﻴﻼﺀﻡ ﺯﻣﻦ ﺍﻟﺒﺚ ﻭ ﺑﺎﻟﺘﺎﱄ ﺯﻣﻦ ﺍﻟﺘﻠﻘﻲ‪ ،‬ﺃﻣﺎ ﺇﺫﺍ ﻛﺎﻧﺖ ﻻ ﲤﻠﻚ ﻣﻨﻪ ﺇﻻ ﺃﺣﺪ‬
‫ﺭﻣﻮﺯﻩ ﻓﻌﻠﻰ ﺯﻣﻨﻬﺎ ﺃﻥ ﻳﺘﻄﺎﺑﻖ ﻭ ﺯﻣﻦ ﺍﻟﻨﺺ ﻭ ﻻ ﺃﻋﲏ ﺑﺬﻟﻚ ﺇﺭﺟﺎﻉ ﺍﻟﻨﺺ ﺇﱃ ﺣﻘﺒﺔ ﻏﺎﺑﺮﺓ‬
‫ﺑﻞ ﺃﻥ ﻳﺴﲑ ﺯﻣﻦ ﺍﻷﺳﻄﻮﺭﺓ ﺟﻨﺒﺎ ﺇﱃ ﺟﻨﺐ ﻣﻊ ﺯﻣﻦ ﺍﻟﻨﺺ ﺩﻭﻥ ﺃﻥ ﻳﺰﺍﲪﻪ ﻣﻜﺎﻧﻪ‪ ،‬ﺑﻞ ﻳﺒﻘﻰ‬
‫ﰲ ﺣﺪﻭﺩ ﺭﺑﻂ ﺍﻟﻘﺎﺭﺉ ﺑﺬﻟﻚ ﺍﻟﺰﻣﻦ ﺭﺑﻄﺎ ﺿﻤﻨﻴﺎ ﻇﺎﻫﺮﻩ ﺯﻣﻦ ﺍﻟﻨﺺ*‪.‬‬

‫‪ -1‬ﻡ‪.‬ﺱ‪.‬ﺹ ‪.35‬‬
‫*ﻳﻨﻈﺮ ﲨﺎﻝ ﺍﻟﺪﻳﻦ ﺧﻀﻮﺭ‪ "،‬ﻗﻤﺼﺎﻥ ﺍﻟﺰﻣﻦ" ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ ﺹ‪.96-80‬‬

‫** ﻭ ﻳﻀﻴﻒ ﺃ‪‬ﺎ ﻛﻠﻬﺎ ﺃﺯﻣﻨﺔ ﻏﲑ ﺛﺎﺑﺘﺔ ﺩﺍﺋﻢ ﺍﻟﺘﺤﺮﻙ ﻭ ﺍﻟﻔﻌﺎﻟﻴﺔ ﻋﻠﻰ ﻃﻮﻝ ﺍﻟﻨﺺ ﻓﻜﻠﻤﺎ ﺗﻘﺪﻣﺖ ﺍﻷﺣﺪﺍﺙ ﰲ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﺳﺎﺭﺕ ﻣﻌﻬﺎ‬
‫ﻭ ﺫﻟﻚ ﺣﺴﺐ ﻣﻘﺘﻀﻰ ﺍﳊﺎﻝ‪.‬‬ ‫ﻫﺬﻩ ﺍﻷﺯﻣﻨﺔ ﺟﻨﺒﺎ ﺇﱃ ﺟﻨﺐ ﻭ ﺯﺍﺩﺕ ﺍﺣﺘﻼﻝ ﻛﻞ ﻣﻨﻬﺎ ﺍﳌﺴﺎﺣﺔ ﺍﻷﻛﱪ ﺃﻭ ﺗﺪﺍﺧﻠﺖ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ‬

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‫ﻭ ﻟﻜﻦ"ﻋﻨﺪﻣﺎ ﻳﻌﺎﰿ ﺍﻟﻨﺎﻗﺪ ﻧﻮﻋﺎ ﻣﻦ ﺍﻷﺩﺏ‪ ،‬ﻓﺈﻥ ﻣﻦ ﺍﻟﻄﺒﻴﻌﻲ ﺟﺪﺍ ﺃﻥ ﳚﻤﺪﻩ‪ ،‬ﺃﻥ ﻳﺘﺠﺎﻫﻞ‬
‫ﺣﺮﻛﺘﻪ ﰲ ﺍﻟﺰﻣﻦ‪ 1".‬ﻷﻧﻪ ﻋﻨﺪ ﻣﻘﺎﺭﺑﺔ ﺫﻟﻚ ﺍﻟﻨﻮﻉ ﻭ ﻟﺘﻜﻦ ﺍﻷﺳﻄﻮﺭﺓ ﻣﺜﻼ ‪ ،‬ﻣﺎ ﻳﻜﻮﻥ ﻣﻦ‬
‫ﺍﻟﻨﺎﻗﺪ ﺇﻻ ﺍﻗﺘﻄﺎﻋﻪ ﻣﻦ ﺻﲑﻭﺭﺓ ﺯﻣﻨﻴﺔ ﻫﻮ ﰲ ﺻﺪﺩﻫﺎ ﻭ ﺫﻟﻚ ﻟﺘﺜﺒﻴﺘﻪ ﻗﺼﺪ ﺩﺭﺍﺳﺘﻪ ﺑﻜﻞ ﺃﺑﻌﺎﺩﻩ‬
‫ﻭ ﺇﺧﻀﺎﻋﻪ ﻟﻘﻮﺍﻧﲔ ﺁﻧﻴﺔ ﻟﻠﻜﺸﻒ ﻋﻦ ﺟﻮﻫﺮﻩ ﺍﻟﺬﻱ ﻻ ﳝﻜﻦ ﺍﻟﻨﻴﻞ ﻣﻨﻪ ﺇﻻ ﲟﻘﺪﺍﺭ ﻣﺎ ﺗﻮﻓﺮﻩ‬
‫ﺗﻠﻚ ﺍﻟﻘﻮﺍﻧﲔ ﻣﻦ ﻭﺳﺎﺋﻞ ﻟﺘﻄﺒﻴﻘﻬﺎ ﻋﻠﻴﻪ‪ ،‬ﻭ ﰲ ﻫﺬﺍ ﲢﺮﻳﺮ ﻟﻪ ﻣﻦ ﺳﻠﻄﺔ ﺍﻟﺰﻣﻦ ﺍﻟﱵ ﲡﻌﻠﻪ ﺩﺍﺋﻢ‬
‫ﺍﻟﺘﻐﻴﲑ‪ ،‬ﻭ ﺍﻟﱵ ﺗﺼﻌﺐ ﲢﺪﻳﺪ ﺷﻜﻠﻪ ﻭ ﻓﻬﻢ ﻣﻘﺎﺻﺪﻩ ﻭ ﺣﺼﺮ ﺗﻮﺟﻬﻪ‪ .‬ﻭ ﺍﻟﻌﻜﺲ ﻳﺘﻢ ﻭﻗﺖ‬
‫" ﲡﺮﺑﺔ ﺍﻷﺩﺏ ﺍﳌﺒﺎﺷﺮﺓ‪ ،‬ﺍﻟﱵ ﻫﻲ ﺷﻲﺀ ﺁﺧﺮ ﳐﺘﻠﻒ ﻋﻦ ﺍﻟﻨﻘﺪ‪ ،‬ﻧﺸﻌﺮ ﲟﺎ ﳝﻜﻦ ﺗﺴﻤﻴﺘﻪ‬
‫ﺍﻹﻗﻨﺎﻉ ﺑﺎﻻﺳﺘﻤﺮﺍﺭ‪ ...،‬ﺭﲟﺎ ﻳﻜﻮﻥ ﻫﺬﺍ ﺍﻻﺳﺘﻤﺮﺍﺭ ﻣﻨﻄﻘﻴﺎ ﺃﻭ ﻣﺰﻳﻒ ﺍﳌﻨﻄﻖ‪ ،‬ﺃﻭ ﻧﻔﺴﻴﺎ ﺃﻭ‬
‫ﺑﻼﻏﻴﺎ‪ .‬ﻭ ﻗﺪ ﻧﺸﻌﺮ ﺃﻥ ﻫﺬﺍ ﺍﻹﺣﺴﺎﺱ ﺑﺎﻻﺳﺘﻤﺮﺍﺭ ﻣﺎ ﻫﻮ ﺇﻻ ﻗﺒﻴﻞ ﺍﻷﻭﻫﺎﻡ ﻭ ﻛﺄﻧﻨﺎ ﻛﻨﺎ ﲢﺖ‬
‫ﺗﺄﺛﲑ ﺳﺤﺮ ﻣﺎ"‪ .2‬ﻭ ﻧﻔﺲ ﻫﺬﺍ ﺍﻟﺴﺤﺮ ﻫﻮ ﻣﺎ ﻳﺸﺪﻧﺎ ﺇﱃ ﻣﺘﺎﺑﻌﺔ ﺃﺣﺪﺍﺙ ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﻭ ﺫﻟﻚ‬
‫ﻣﺮﺩﻩ ﺇﱃ ﺃ‪‬ﺎ ﺗﺸﺒﻊ ﺭﻏﺒﺔ ﻣﺎ ﻓﻴﻨﺎ ﻣﻬﻤﺎ ﻛﺎﻥ ﻧﻮﻉ ﺗﻠﻚ ﺍﻟﺮﻏﺒﺔ‪ .‬ﻭ ﺍﻷﻣﺮ ﺃ‪‬ﺎ ﻻ ﺗﺸﺪﻧﺎ ﻓﻘﻂ‬
‫ﻹﲤﺎﻣﻬﺎ ﺑﻞ ﺣﱴ ﺍﻟﺘﻤﺴﻚ ‪‬ﺎ ﻟﻔﺘﺮﺓ ﻗﺪ ﺗﻄﻮﻝ ﺃﻭ ﺗﻘﺼﺮ ﺣﺴﺐ ﲤﺴﻚ ﺍﻟﻔﺮﺩ ﺑﺘﻠﻚ ﺍﻟﺮﻏﺒﺔ‪،‬‬
‫ﻭ ﻇﻬﻮﺭ ﺭﻏﺒﺔ ﺟﺪﻳﺪﺓ ﻳﻌﲏ ﺗﻨﺎﻭﳍﺎ ﻣﻦ ﺯﺍﻭﻳﺔ ﺟﺪﻳﺪﺓ ﺃﻭ ﺍﻹﻋﺮﺍﺽ ﻋﻨﻬﺎ ﻟﺼﺎﱀ ﺃﺧﺮﻯ ﺗﻔﻌﻞ‬
‫ﻓﻌﻞ ﺳﺎﺑﻘﺘﻬﺎ‪ .‬ﻭ ﻟﻜﻦ ﻣﺎ ﻳﻌﻠﻖ ﰲ ﺍﻟﺬﻫﻦ ﺑﻌﺪ ﺗﻠﻚ ﺍﻟﺘﺠﺮﺑﺔ ﻫﻮ ﺍﳋﻄﻮﻁ ﺍﻟﻌﺮﻳﻀﺔ ﻟﻠﻌﻤﻞ ﺃﻱ‬
‫ﺍﳌﻮﺿﻮﻉ ﻭ ﻫﺬﺍ ﻣﺎ ﻳﻬﻢ ﺍﻟﻨﺎﻗﺪ ‪ ،‬ﻓﺘﺨﺘﻔﻲ ﺍﻻﺳﺘﻤﺮﺍﺭﻳﺔ ﻟﺘﺨﻠﻲ ﻣﻜﺎ‪‬ﺎ ﻟﻌﺪﻡ ﺍﻟﺘﺮﺍﺑﻂ ﻭ ﺍﺧﺘﺰﺍﻝ‬
‫ﻳﺘﻮﻗﻒ ﻋﻨﺪ ﺃﻫﻢ ﺍﻷﻣﻮﺭ ﺍﻟﱵ ﺣﺪﺛﺖ ﻓﺘﺨﺘﻔﻲ ﺟﺰﺋﻴﺎﺕ ﻛﺜﲑﺓ ﻣﻨﻬﺎ ﻭ ﻳﺒﻘﻰ ﻓﻘﻂ ﻣﺎ ﺃﺛﺮ ﻓﻴﻨﺎ‬
‫ﺃﻱ ﻣﺎ ﺳﺤﺮﻧﺎ‪ .‬ﲟﻌﲎ ﺁﺧﺮ " ﺇﻥ ﻣﺎ ﻳﱪﺯ ﰲ ﺃﺫﻫﺎﻧﻨﺎ ﻫﻮ ﺗﺸﺨﻴﺺ ﺣﻲ‪ ،‬ﺧﻄﺎﺏ ﻋﻈﻴﻢ‪،‬‬
‫ﺻﻮﺭﺓ ﺑﻼﻏﻴﺔ ﺑﺎﺭﺯﺓ‪ ،‬ﻣﺸﻬﺪ ﻣﻨﻌﺰﻝ‪ ،‬ﺃﺟﺰﺍﺀ ﺻﻐﲑﺓ ﰎ ﲢﻘﻴﻘﻬﺎ ﺑﺈﻗﻨﺎﻉ ﻏﲑ ﻋﺎﺩﻱ‪ 3".‬ﺇﺫ ﻗﺪ‬
‫ﻳﻌﻠﻖ ﺷﻴﺌﺎ ﻣﻦ ﻫﺬﺍ ﻭ ﺫﺍﻙ ﰲ ﺍﻟﺬﻫﻦ ﻭ ﻳﺒﻘﻲ ﺻﻠﺔ ﺍﻟﻮﺻﻞ ﺑﲔ ﺍﳌﺘﻠﻘﻲ ﻭ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ‪.‬‬

‫‪ -1‬ﲨﺎﻝ ﺍﻟﺪﻳﻦ ﺧﻀﻮﺭ ﻡ‪.‬ﺱ ‪.85‬‬

‫‪ -2‬ﻡ‪.‬ﻥ‪.86‬‬
‫‪ -3‬ﻡ‪.‬ﻥ‪.90‬‬

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‫ﺏ‪ -‬ﺍﻟﺒﻌﺪ ﺍﳌﻜﺎﱐ‪:‬‬

‫ﻳﻠﻌﺐ ﺍﳌﻜﺎﻥ ﺩﻭﺭﺍ ﺟﻮﻫﺮﻳﺎ ﻣﻨﺬ ﺍﻷﺯﻝ ﰲ ﺣﻴﺎﺓ ﺍﻟﺒﺸﺮ ﻋﻠﻰ ﺇﺧﺘﻼﻑ ﺃﻋﺮﺍﻗﻬﻢ‬
‫ﻭ ﺣﻀﺎﺭﺍ‪‬ﻢ‪ ،‬ﺇﺫ ﱂ ﻳﻘﺘﺼﺮ ﺃﺛﺮﻩ ﻋﻠﻰ ﺗﻜﻮﻳﻨﻬﻢ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻲ ﺑﻞ ﺗﻌﺪﺍﻩ ﺇﱃ ﺗﻜﻮﻳﻨﻬﻢ ﺍﻟﻨﻔﺴﻲ‬
‫ﻭ ﺍﻟﻔﻜﺮﻱ‪ ،‬ﻓﺎﺧﺘﻼﻑ ﺍﳌﻜﺎﻥ ﻳﻌﲏ ﺇﻧﺘﻤﺎﺀﺍ ﳐﺘﻼﻓﺎ‪ ،‬ﻫﻮﻳﺔ ﳐﺘﻠﻔﺔ‪ ،‬ﻭ ﺣﱴ ﻃﺒﺎﺋﻊ ﳐﺘﻠﻔﺔ‪ ،‬ﻛﻤﺎ‬
‫ﺃﻧﻪ ﳛﺪﺩ ﳕﻂ ﺍﻟﻌﻴﺶ ﻭ ﺍﻷﻛﻞ ﻭ ﺍﻟﻠﺒﺎﺱ‪ ،‬ﻭﺣﻴﺎﺓ ﺍﻹﻧﺴﺎﻥ ﻣﺎﻫﻲ ﺇﻻ ﻫﺆﻻﺀ ﺍﻟﺜﻼﺛﺔ ﳎﺘﻤﻌﲔ‪،‬‬
‫ﻭ ﻟﺬﻟﻚ ﻭ ﻣﻨﺬ ﺍﻟﺒﺪﺍﻳﺎﺕ ﺍﻷﻭﱃ ﻟﻪ ﻋﻠﻰ ﺳﻄﺢ ﻫﺬﻩ ﺍﻷﺭﺽ ﺍﺭﺗﺒﻄﺖ ﺍﻷﺳﺎﻃﲑ ﺍﻟﱵ ﻛﺎﻥ ﻫﻮ‬
‫ﻭﺭﺍﺀ ﺇﺑﺼﺎﺭﻫﺎ ﺍﻟﻨﻮﺭ ﺑﺎﳌﻜﺎﻥ ﺍﻟﺬﻱ ﺗﻮﺍﺟﺪ ﻓﻴﻪ‪ ،‬ﻓﻤﻦ ﺍﺭﺗﺒﻂ ﻋﻤﻠﻬﻢ ﺑﺎﻷﺭﺽ ﻋﺮﻓﻮﺍ ﻧﻮﻋﺎ ﻣﻦ‬
‫ﺍﻷﺳﺎﻃﲑ‪ ،‬ﲰﻴﺔ ﺑﺎﻷﺳﺎﻃﲑ ﺍﻟﺰﺭﺍﻋﻴﺔ ﻭﻣﻦ ﺳﻜﻨﻮﺍ ﺍﻟﺼﺤﺮﺍﺀ ﻛﺎﻥ ﳍﻢ ﺃﺳﺎﻃﲑﻫﻢ ﺍﳋﺎﺻﺔ‬
‫ﻛﺬﻟﻚ‪ ،‬ﻭ ﻧﻔﺲ ﺍﻷﻣﺮ ﳌﻦ ﻋﺎﺷﻮﺍ ﻗﺮﺏ ﺍﻷ‪‬ﺎﺭ ﻭ ﺍﻟﺒﺤﺎﺭ ﻭ ﺍﺭﺗﺒﻂ ﺳﻌﻴﻬﻢ ﺍﻟﻴﻮﻣﻲ ‪‬ﺎ‪ ،‬ﻭ ﺣﱴ‬
‫ﻋﻨﺪﻣﺎ ﺗﻘﺪﻡ ﺍﻹﻧﺴﺎﻥ ﻗﻠﻴﻼ ﻭ ﺍﺳﺘﻘﺮ ﰲ ﲡﻤﻌﺎﺕ ﺳﻜﺎﻧﻴﺔ ﺃﻛﱪ ﺍﺧﺘﻠﻔﺖ ﺍﻵﳍﺔ ﺍﻟﱵ ﻳﻌﺒﺪﻭ‪‬ﺎ‬
‫ﻣﻦ ﺃﺳﺮﺓ ﺇﱃ ﺃﺧﺮﻯ ﺣﺴﺐ ﺍﻟﻌﻤﻞ ﺍﻟﺬﻱ ﺗﻘﺘﺎﺕ ﻣﻨﻪ‪ ،‬ﻭ ﻗﺪ ﺣﺎﻛﺖ ﺗﺒﻌﺎ ﻟﺬﻟﻚ ﺣﻮﳍﻢ‬
‫ﺍﻟﻌﺠﻴﺐ ﻣﻦ ﺍﻷﺳﺎﻃﲑ ﻭ ﺍﺑﺘﻜﺮﺕ ﺍﻟﻐﺮﻳﺐ ﻣﻦ ﺍﻟﻄﻘﻮﺱ ﺑﻐﻴﺖ ﺍﺳﺘﺮﺿﺎﺀﻫﻢ ﻭ ﻃﻠﺒﺎ ﻟﻌﻄﺎﻳﺎﻫﻢ‪.‬‬
‫ﰒ ﺇﻥ ﺍﻟﺰﻣﻦ ﻭ ﺍﳌﻜﺎﻥ ﺭﺑﺎﻃﻬﻤﺎ ﺍﻟﻮﺛﻴﻖ‪ ،‬ﻓﺎﳌﻜﺎﻥ ﻫﻮ ﻭﻋﺎﺀ ﺍﻟﺰﻣﻦ‪ ،‬ﻭ ﺍﻟﺰﻣﻦ ﻫﻮ ﺭﻭﺡ ﺍﳌﻜﺎﻥ‬
‫ﺍﻟﱵ ﲢﺮﻛﻪ‪.‬‬

‫ﺗﻘﻮﻡ ﺍﻷﺳﺎﻃﲑ ﺑﺎﺑﺘﺪﺍﻉ ﻣﻜﺎﻥ ﺧﻴﺎﱄ ﻟﻪ ﺻﺪﻯ ﻭﺍﻗﻌﻲ‪ ،‬ﻛﺄﻥ ﺗﺼﻮﺭ ﺍﻵﳍﺔ ﻳﻌﻴﺸـﻮﻥ ﰲ‬
‫ﺍﻟﺴﻤﺎﺀ ﰲ ﻗﺼﻮﺭ ﻋﻠﻰ ﺍﻟﻐﻤﺎﻡ ﺃﻭ ﲢﺖ ﺍﻷﺭﺽ ﰲ ﻗﻠﺐ ﺍﻟﱪﺍﻛﲔ‪ ،‬ﺃﻭ ﻗﺪ ﺗﻌﻄـﻲ ﻟﻠﻤﻜـﺎﻥ‬
‫ﺍﻟﻌﺎﺩﻱ ﺍﻟﺬﻱ ﻳﻌﻴﺶ ﻋﻠﻴﻪ ﻋﺎﻣﺔ ﺍﻟﻨﺎﺱ ﺑﻌﺪﺍ ﺁﺧﺮ ﻭ ﺫﻟﻚ ﲞﻠﻖ ﻣﻜـﺎﻥ ﻣـﻮﺍﺯ ﲢﻴـﺎ ﻓﻴـﻪ‬
‫ﺍﻟﺸﺨﺼﻴﺎﺕ ﺣﻴﺎﺓ ﺍﻟﺒﺸﺮ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻟﻜﻲ ﳛﺲ ﻫﺆﻻﺀ ﺃ‪‬ﺎ ﺍﻣﺘﺪﺍﺩ ﳍﻢ ﻭ ﻳﻌﺘﻘﺪﻭﺍ ﰲ ﺣﻘﻴﻘﺔ‬
‫ﻭﺟﻮﺩﻫﺎ ﻓﻬﻲ ﺗﻌﻴﺪ ﺻﻴﺎﻏﺔ ﺍﳌﻜﺎﻥ ﺍﻟﻮﺍﻗﻌﻲ ﰲ ﺯﻣﻦ ﺧﻴﺎﱄ ﺑﺄﺣﺪﺍﺙ ﺧﻴﺎﻟﻴﺔ‪ .‬ﰒ ﻗﻠﻨﺎ ﻋﻦ ﺍﳌﻜﺎﻥ‬
‫ﺃﻧﻪ ﺍﳍﻮﻳﺔ ﻭ ﺍﳊﻀﺎﺭﺓ ﻟﺬﻟﻚ ﻛﺎﻥ ﻋﻠﻰ ﺍﻷﺳﻄﻮﺭﺓ ﺑﻜﻞ ﺗﻔﺎﻋﻼ‪‬ﺎ ﺍﻟﺪﺍﺧﻠﻴﺔ ﺇﻋﺎﺩﺓ ﺧﻠﻖ ﻫـﺬﺍ‬
‫ﺍﳌﻜﺎﻥ ﺑﻜﻞ ﺣﻴﺜﻴﺎﺗﻪ ﺿﻤﻦ ﻣﺎ ﻳﺴﻤﻰ ﺑﺎﻟﻔﻀﺎﺀ ﺍﻷﺳﻄﻮﺭﻱ‪ ،‬ﺟﻨﺒﺎ ﺇﱃ ﺟﻨﺐ ﻣﻊ ﺍﻟﺰﻣﻦ‪ ،‬ﺣﻴﺚ‬

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‫ﻳﻘﻮﻡ ﻫﺬﺍ ﺍﻷﺧﲑ ﺑﺼﻘﻠﻪ ﻭ ﺗﻜﻴﻴﻔﻪ ﻟﻴﺤﺘﻀﻦ ﺍﻟﻘﺼﺔ ﺍﳌﺮﻭﻳﺔ ﻭ ﻣﻦ ﰒ ﻟﺘﺤﺘﻀﻨﻪ ﺃﻓﺌﺪﺓ ﺍﳌﺘﻠﻘﲔ‬
‫ﺩﻭﳕﺎ ﺇﻧﻜﺎﺭ ﻟﺬﺍﺗﻪ ﺃﻭ ﺍﺳﺘﻬﺠﺎﻥ ﻻﻧﺘﻤﺎﺋﻪ‪ .‬ﻭ ‪‬ﺬﺍ ﻳﺘﻨﻘﻞ ﺍﳌﻜﺎﻥ " ﻣﻦ ﺻﻮﺭﺓ ﺣﻘﻴﻘﺔ ﻣﻮﺿﻮﻋﻴﺔ‬
‫ﺇﱃ ﺻﻮﺭﺓ ﻏﲑﻳﺔ – ﺫﺍﺗﻴﺔ‪ ،‬ﻭﺫﺍﻛﺮﺓ ﻓﻨﻴﺔ‪ ،‬ﻟﻜﻮﻧﻪ ﻳ‪‬ﺪﺭﻙ ﺇﺩﺭﺍﻛﺎ ﺫﺍﺗﻴﺎ‪ ،‬ﻭﻳ‪‬ﻌﺎﻣـﻞ ﺣﺪﺳـﻴﺎ‬
‫ﻭﻋﻨﺪﻫﺎ ﻳﺪﺧﻞ ﳎﺎﻝ ﺍﻟﻮﻫﻢ ﻭﺍﳋﻴﺎﻝ ﻭﺍﳊﻠﻢ"‪ 1‬ﻭﻋﻨﺪﻫﺎ ﻳﺼﺒﺢ ﻭﻟﻮﺟـﻪ ﺇﱃ ﻋـﺎﱂ ﻛﻌـﺎﱂ‬
‫ﺍﻷﺳﺎﻃﲑ ﳑﻜﻨﺎ ﻭ ﺿﺮﻭﺭﻳﺎ‪ ،‬ﻓﺤﺘﻤﺎ ﻋﻨﺪﻣﺎ ﻳﺴﻤﻊ ﺷﺨﺺ ﻣﺎ ﺍﻷﺳﻄﻮﺭﺓ ﻷﻭﻝ ﻣـﺮﺓ ﻓﺈﻧـﻪ‬
‫ﺣﺴﺐ ﻣﺎ ﺗﺮﻭﻳﻪ ﺍﻷﺳﻄﻮﺭﺓ ﻳﺘﺨﻴﻞ ﻣﻜﺎﻧﺎ ﳍﺎ ﻭ ﺯﻣﺎﻥ‪ ،‬ﻓﺎﻟﺸﺨﺼﻴﺎﺕ ﺗﺘﻔﺎﻋﻞ ﰲ ﺯﻣﻦ ﳏـﺪﺩ‬
‫ﻭ ﻣﻜﺎﻥ ﻣﺘﻐﲑ‪ ،‬ﲟﻌﲎ ﺃﻥ ﳍﺎ ﻓﻀﺎﺀﺍ ﲡﻮﻝ ﻓﻴﻪ ﻭ ﻫﺬﺍ ﺍﻟﻔﻀﺎﺀ ﻣﻜﻮﻥ ﻓﻌﻠﻴﺎ ﻣﻦ ﻣﻜﺎﻥ ﻭ ﺯﻣﺎﻥ‪.‬‬
‫ﻓﻬﻲ ﺗﺘﺠﺎﻭﺯ ﺣﺪﻭﺩ ﺍﳌﻜﺎﻥ ﺍﻟﻮﺍﻗﻌﻲ ﻭ ﺗﻘﻮﺽ ﺃﺭﻛﺎﻧﻪ‪ ،‬ﻛﻤﺎ ﺗﺘﺠﺎﻭﺯ ﻛﻞ ﻣﺮﺓ ﻗﻴﻮﺩ ﺍﻟﺰﻣـﺎﻥ‪،‬‬
‫" ﲝﻴﺚ ﻳﻌﻠﻦ ﺍﳌﻜﺎﻥ ﺣﻀﻮﺭﻩ ﺍﳋﺎﺹ ﺑﺎﻟﺰﻣﺎﻥ‪ ،‬ﰲ ﳊﻈﺔ ﺣﺮﻛﺔ ﺍﻟﻨﺺ‪ ،‬ﻭﺑـﻨﻔﺲ ﺍﻟﺘﻮﺿ‪‬ـﻊ‬
‫ﺍﳌﻮﺿﻮﻋﻲ ﺍﳌﻮﺟﻮﺩ ﻓﻴﻪ ﻫﻮ‪ ،‬ﰲ ﺍﻟﻮﺍﻗﻊ ﺍﻟﻌﻤﻠﻲ"‪ .2‬ﻓﻠﻜﻲ ﻳﺼﻞ ﺍﳌﻜﺎﻥ ﺇﱃ ﺍﳍﻴﺌﺔ ﺍﻟﱵ ﻧﻌﺮﻓـﻪ‬
‫ﻋﻠﻴﻬﺎ ﰲ ﺍﻷﺳﻄﻮﺭﺓ ﻓﺈﻧﻪ ﳝﺮ ﺑﺜﻼﺙ ﻣﺮﺍﺣﻞ‪ ،‬ﺃﻭ ﺍﻷﺟﺪﻯ ﺃﻥ ﻧﻘﻮﻝ ﻟﻪ ﺛﻼﺙ ﺃﻭﺟـﻪ ﻋﻠـﻰ‬
‫ﺍﻋﺘﺒﺎﺭ ﺃ‪‬ﺎ ﺗﺴﺘﻤﺮ ﰲ ﺍﻟﺘﻔﺎﻋﻞ ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﺍﻧﺪﻣﺎﺟﻬﺎ ﺃﺧﲑﺍ ﻟﺘﻜـﻮﻥ ﺟـﺰﺀﺍ ﻣـﻦ ﺍﻟﻔﻀـﺎﺀ‬
‫ﺍﻷﺳﻄﻮﺭﻱ‪ ،‬ﻭ ﻫﻲ ﺍﳌﻜﺎﻥ ﺍﻟﻮﺍﻗﻌﻲ‪ ،‬ﻭ ﺍﳌﻜﺎﻥ ﺍﳋﻴﺎﱄ‪ ،‬ﰒ ﺍﳌﻜﺎﻥ ﺍﻷﺳﻄﻮﺭﻱ‪ ،‬ﻓﺒﻨﺎﺀ ﺍﻟﻘﺼﺺ‬
‫ﺍﻷﺳﻄﻮﺭﻱ ﻳﻌﺘﻤﺪ ﻋﻠﻰ ﺃﻣﻜﻨﺔ ﺣﻘﻴﻘﻴﺔ‪ ،‬ﺃﻱ ﺃ‪‬ﺎ ﻣﻮﺟﻮﺩﺓ ﻓﻌﻼ ﻭ ﻻ ﳝﻜﻨﻨﺎ ﺍﻟﻘﻮﻝ ﺃﻥ ﻛـﻞ‬
‫ﺃﺳﻄﻮﺭﺓ ﺍﳌﻜﺎﻥ ﻓﻴﻬﺎ ﺣﻘﻴﻘﻲ‪ ،‬ﺭﻏﻢ ﺃﻥ ﻋﺪﺩﺍ ﻣﻨﻬﺎ ﳚﻮﺯ ﻋﻠﻴﻪ ﺍﻷﻣﺮ‪ ،‬ﻭ ﻫﻮ ﺩﺍﺋﻤﺎ ﻳﺒﺪﺃ ﻣـﻦ‬
‫ﻣﻜﺎﻥ ﺣﻘﻴﻘﻲ‪ ،‬ﺳﻮﺍﺀ ﻛﺎﻥ ﺫﻟﻚ ﻣﺪﻳﻨﺔ ﻛﺄﺛﻴﻨﺎ‪ ،‬ﻃﺮﻭﺍﺩﺓ ‪ ...‬ﻭ ﻏﲑﻫﺎ ﺃﻭ ﺃﻋﺎﱄ ﺍﻟﺴـﻤﺎﺀ ﺃﻭ‬
‫ﻭ ﻳﻜﻴﻔـﻪ ﻟﻴـﺪﺧﻞ ﺑـﻪ ﻋـﺎﱂ‬ ‫ﺃﻋﻤﺎﻕ ﺍﻷﺭﺽ‪ ،‬ﰒ ﻳﺪﺧﻞ ﺍﳋﻴﺎﻝ ﺍﻟﺒﺸﺮﻱ ﻟﻜﻲ ﳛﻮﺭﻩ‬
‫ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﻭ ﺍﳉﺪﻳﺮ ﺑﺎﻟﺬﻛﺮ ﺃﻥ ﻣﻦ ﻳﺼﻨﻊ ﺍﳌﻔﺎﺭﻗﺔ ﻫﻮ ﺍﻟﺰﻣﻦ ﺇﺫ ﻗﺪ ﻳﻜﻮﻥ ﺍﳌﻜﺎﻥ ﻣﻌﺮﻭﻓـﺎ‬
‫ﻟﺴﻜﺎﻧﻪ ‪‬ﻴﺌﺔ ﻣﻌﻴﻨﺔ‪ ،‬ﺗﺘﻐﲑ ﻋﻨﺪﻣﺎ ﻳﺮﺟﻊ ﺫﻟﻚ ﺍﳌﻜﺎﻥ ﺇﱃ ﺯﻣﻦ ﺍﻟﺒﺪﺍﻳﺎﺕ ﺍﻷﻭﱃ ﺣﻴﺚ "ﲡﺪﺭ‬
‫‪-1‬ﻗﺎﺩﺓ ﻋﻘﺎﻕ‪" :‬ﺩﻻﻟﺔ ﺍﳌﺪﻳﻨﺔ ﰲ ﺍﳋﻄﺎﺏ ﺍﻟﺸﻌﺮﻱ ﺍﳌﻌﺎﺻﺮ"‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ‪،‬ﺹ‪.227‬‬

‫‪ -2‬ﲨﺎﻝ ﺍﻟﺪﻳﻦ ﺧﻀﻮﺭ‪.‬ﻡ‪.‬ﺱ‪ .‬ﺹ‪.135‬‬

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‫ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﻋﻼﻗﺔ ﺍﻟﺰﻣﺎﻥ ﺧﺎﺭﺝ ﺍﻟﺘﺤﺮﻳﻚ ﺍﻟﻔﻴﺰﻳﺎﺋﻲ‪ ،‬ﻭﺧﺼﻮﺻﹰﺎ ﺑﻔﻀـﺎﺀﺍﺕ ﺍﻟﺘﺨﻴﻴـﻞ‬

‫ﺍﳌﺘﻌﺪﺩﺓ ﺍﳌﺴﺘﻮﻳﺎﺕ ﰲ ﺣﺮﻛﻴﺔ ﺍﻷﺯﻣﻨﺔ ﻫﻲ ﺍﻟﱵ ﺗﻌﻄﻲ ﻟﻠﻤﻜﺎﻥ ﺃﺑﻌﺎﺩﹰﺍ ﺃﺧﺮﻯ"‪ 1‬ﲟﻌﲎ ﺃﻥ ﺍﻟﺰﻣﻦ‬
‫ﰲ ﺍﻷﺳﻄﻮﺭﺓ ﻗﺪ ﻳﻜﻮﻥ ﻣﻘﺼﻮﺭﺍ ﻋﻠﻰ ﺯﻣﻦ ﺍﻟﺒﺪﺍﻳﺎﺕ ﺍﻷﻭﱃ ﻟﻜﻦ ﺍﳌﻜﺎﻥ ﻓﻴﻬﺎ ﺩﺍﺋﻢ ﺍﻟﺘﻐﲑ‪.‬‬

‫ﻓﻴﻨﺘﻘﻞ ﺑﺬﻟﻚ ﺍﳌﻜﺎﻥ ﺍﻟﻮﺍﻗﻌﻲ ﺍﳌﻮﺿﻮﻋﻲ ﺇﱃ ﺍﳌﻜﺎﻥ ﺍﳌﻘﺪﺱ" ﺍﻟﺬﻱ ﲡﻠﹼﻰ ﻓﻴﻪ ﺍﻟﺰﻣﻦ "ﺍﳌﻄﻠﻖ"‬
‫ﺍﻟﺰﻣﻦ ﺍﳌﻔﺘﻮﺡ ﻋﻠﻰ ﻓﻀﺎﺀﺍﺕ ﺍﳋﲑ ﺍﳌﻄﻠﻖ‪ ،‬ﺣﻴﺚ ﺍﻟﻘﺪﺍﺳﺔ ﺗﺘﻌﺪﻯ ﺍﳊﺪﻭﺩ ﺍﻟﺮﻣﺰﻳﺔ ﻟﻠﻤﻜﺎﻥ‪،‬‬
‫ﻣﻬﻤﺎ ﻛﺎﻧﺖ ﺃﺑﻌﺎﺩ ﻭﻃﺒﻴﻌﺔ ﺣﺪﻭﺩﻩ‪ .‬ﺍﳌﻜﺎﻥ ﻳﻔﺘﺢ ﺃﺑﻌﺎﺩ ﺍﻟﺬﺍﻛﺮﺓ ﺍﳉﻤﻌﻴﺔ ﻋﻠﻰ ﻓﻀﺎﺀﺍ‪‬ﺎ‪،‬‬
‫ﻭﳛﺮﻙ ﺍﳌﺨﻴﺎﻝ ﺍﳉﻤﻌﻲ‪ ،‬ﻟﻴﺨﻠﻖ ﺣﻀﻮﺭﹰﺍ ﳑﻴﺰﹰﺍ ﻟﺮﻣﻮﺯ ﺍﻟﺰﻣﻦ ﺍﻷﺳﻄﻮﺭﻱ"‪ 1‬ﻓﺎﻟﺬﺍﻛﺮﺓ ﺍﳉﻤﺎﻋﻴﺔ‬
‫ﺑﻜﻞ ﺃﺑﻌﺎﺩﻫﺎ ﻭ ﺧﻠﻔﻴﺎ‪‬ﺎ ﺗﺮﺗﺒﻂ ﺑﻜﻞ ﻣﻦ ﺍﳌﻜﺎﻥ ﻭ ﺍﻟﺰﻣﺎﻥ ﰲ ﻇﻞ ﺣﺮﻛﺘﻬﻤﺎ ﺍﻟﺪﺍﺋﻤﺔ‪.‬‬
‫ﻓﻴﺼﺒﺢ ﻟﻠﻤﻜﺎﻥ ﻧﻮﻉ ﻣﻦ ﺍﻟﺬﺍﻛﺮﺓ ﺍﳋﺎﺻﺔ ﺑﻜﻞ ﻣﺎ ﳝﺜﻠﻪ ﻟﻠﺬﺍﺕ ﺍﳌﺘﻠﻘﻴﺔ‪ ،‬ﻛﻤﺎ ﻳﺼﺒﺢ ﻟﻠﺰﻣﺎﻥ‬
‫ﺫﺍﻛﺮﺗﻪ ﺍﳋﺎﺻﺔ ﻛﺬﻟﻚ*‪.‬‬
‫ﰒ ﺇﻥ ﺍﳌﻜﺎﻥ ﰲ ﺍﻷﺳﻄﻮﺭﺓ ﻳﻔﻌﻞ ﻓﻌﻞ ﺍﻟﺰﻣﻦ ﻓﻴﻬﺎ ﻭﻗﺖ ﺗﻮﻇﻴﻔﻪ ﰲ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﻷ‪‬ﻤﺎ ﻣﻌﺎ‬
‫ﻛﻤﺎ ﺫﻛﺮﻧﺎ ﺳﺎﺑﻘﺎ ﺍﻟﻔﻀﺎﺀ ﺍﻷﺳﻄﻮﺭﻱ ﻓﺎﺳﺤﲔ ﺍ‪‬ﺎﻝ ﺑﺬﻟﻚ ﻭﺍﺳﻌﺎ ﺃﻣﺎﻡ ﺍﻷﺣﺪﺍﺙ ﻟﺘﺘﻔﺎﻋﻞ‪،‬‬
‫ﻭ ﺑﺸﻜﻞ ﻋﺎﻡ ﺗﺼﺒﺢ ﺍﻷﻣﻜﻨﺔ ﻫﻲ ﺍﻷﺧﺮﻯ ﻇﻼﻝ ﺑﺎﻫﺘﺔ ﻟﺘﻠﻚ ﺍﳋﻠﻔﻴﺔ ﺍﻷﺳﻄﻮﺭﻳﺔ ﺍﻷﻭﱃ‬
‫ﺑﺪﻻﻻﺕ ﺟﺪﻳﺪﺓ ﻭ ﺫﻟﻚ ﺣﺴﺐ ﻣﻘﺘﻀﻰ ﺍﳊﺎﻝ‪ .‬ﻭ ﺑﺬﻟﻚ ﲢﻴﺎ ﻣﻦ ﺧﻼﻝ ﺫﻟﻚ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ‬
‫ﳎﺪﺩﺍ‪ ،‬ﲝﻴﺚ ﺗﻨﺘﻘﻞ ﺗﻠﻘﺎﺋﻴﺎ ﻣﻦ ﺍﻟﻘﺪﺳﻲ ﺇﱃ ﺍﻟﺪﻧﻴﻮﻱ ﻣﺮﺓ ﺃﺧﺮﻯ‪ ،‬ﺣﻴﺚ ﲢﺎﻓﻆ ﻋﻠﻰ ﻃﺎﺑﻌﻬﺎ‬
‫ﺍﻟﺮﻣﺰﻱ‪ ،‬ﻭﺷﻴﺌﺎ ﻣﻦ ﻭﻃﻴﻔﺘﻬﺎ ﺍﻷﺻﻠﻴﺔ ﻟﻜﻨﻬﺎ ﺗﻔﻘﺪ ﺷﻴﺌﺎ ﻣﻦ ﻗﺪﻭﺳﻴﺘﻬﺎ ‪ ،‬ﻭ ﺗﻨﺘﻘﻞ ﻣﻦ ﻣﻠﻚ‬
‫ﻣﺸﺎﻉ ﺑﲔ ﺍﻟﺒﺸﺮ ﺇﱃ ﻣﻠﻚ ﻓﺮﺩﻱ ﻭﻟﻴﺪ ﺍﻟﻠﺤﻈﺔ ﺍﻹﺑﺪﺍﻋﻴﺔ ﺍﻟﺬﺍﺗﻴﺔ‪ ،‬ﻟﻴﺨﺪﻡ ﺭﺅﻳﺔ ﺍﻷﺩﻳﺐ‬

‫‪ -1‬ﲨﺎﻝ ﺍﻟﺪﻳﻦ ﺧﻀﻮﺭ‪.‬ﻡ‪.‬ﺱ‪ .‬ﺹ ‪.134‬‬

‫*‪ -‬ﻗﺎﺩﺓ ﻋﻘﺎﻕ‪ :‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.130-129‬‬

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‫ﺍﳉﻤﺎﻟﻴﺔ ﻭ ﺍﻟﻔﻨﻴﺔ‪ ،‬ﻭ ﺗﺼﺒﺢ ﺃﲰﺎﺀ ﺗﻠﻚ ﺍﻷﻣﻜﻨﺔ ﺃﻭ ﺃﻭﺻﺎﻓﻬﺎ ﺍﻟﻨﺎﻓﺬﺓ ﺍﻟﻮﺣﻴﺪﺓ ﺍﻟﱵ ﺗﻄﻞ ﻋﻠﻰ‬
‫ﺧﻠﻔﻴﺘﻬﺎ ﺍﻷﺳﻄﻮﺭﻳﺔ‪ .‬ﻟﺬﻟﻚ ﻗﺪ ﻳﻜﻮﻥ " ﻛﻤﻠﺠﺄ ﺃﻭ ﻛﺤﻞ ﻟﻠﻤﺒﺪﻉ ﺣﲔ ﻳﺮﻳﺪ ﺍﳍﺮﻭﺏ‪ ،‬ﺃﻭ‬
‫ﺣﲔ ﻳﻌﻤﺪ ﺇﱃ ﻋﺎﱂ ﻏﺮﻳﺐ ﻋﻦ ﻭﺍﻗﻌﻪ‪ ،‬ﻟﻴﺴﻘﻂ ﻋﻠﻴﻪ ﺭﺅﺍﻩ ﺍﻟﱵ ﳜﺸﻰ ﻣﻌﺎﳉﺘﻬﺎ"‪ .1‬ﻓﻴﺘﺤﻮﻝ‬
‫ﺍﳌﻜﺎﻥ ﺇﱃ ﺭﻣﺰ ﻭ ﻗﻨﺎﻉ ﳜﻔﻲ ﺍﳌﺒﺎﺷﺮﺓ‪ ،‬ﻭ ﻳﺴﻤﺢ ﻟﻔﻜﺮ ﺍﳌﺒﺪﻉ ﺃﻥ ﻳﺘﺴﺮﺏ ﻣﻦ ﺧﻼﻟﻪ‪ ،‬ﻛﻤﺎ‬
‫ﺃﻧﻪ ﻗﺪ ﻳﻜﻮﻥ ﺗﻘﻨﻴﺔ ﻳﺘﺠﺎﻭﺯ ‪‬ﺎ ﺍﳌﺒﺪﻉ ﻭﺍﻗﻌﻪ‪ ،‬ﻓﻴﺼﻌﺪ ﺇﱃ ﺍﻟﺴﻤﺎﺀ ﻭ ﺍﻟﻔﻀﺎﺀ ﺃﻭ ﻳﱰﻝ ﺇﱃ‬
‫ﺃﻋﻤﺎﻕ ﺍﻷﺭﺽ ﻭ ﺍﻟﺒﺤﺎﺭ ﻟﻴﺜﺒﺖ ﺍﻟﺮﻣﺰ ﻧﻔﺴﻪ‪ ،‬ﻭ ﻳﻬﺮﺏ ﺑﻞ ﻳﺘﺴﺮﺏ ﻣﻦ ﺧﻼﻟﻪ‪ .‬ﻓﻴﺨﺘﻔﻲ‬
‫ﺑﺬﻟﻚ ﺍﳌﻜﺎﻥ ﺍﳌﻮﺿﻮﻋﻲ ﺑﺸﻜﻠﻪ ﺍﶈﺴﻮﺱ ﻟﻴﻔﺴﺢ ﺍ‪‬ﺎﻝ ﻭﺍﺳﻌﺎ ﺃﻣﺎﻡ ﺍﳌﻜﺎﻥ ﺍﻟﻨﻔﺴﻲ ﺃﻱ ﻣﺎ‬
‫ﻳﺼﻨﻌﻪ ﺍﳌﺒﺪﻉ ﰲ ﺗﺼﻮﺭﻩ ﻟﺬﻟﻚ ﺍﳌﻜﺎﻥ ﺍﶈﺴﻮﺱ‪ ،‬ﻣﺴﺘﻌﻤﻼ ﰲ ﺫﻟﻚ ﺃﺛﺮ ﻩ ﻋﻠﻰ ﻧﻔﺴﻴﺘﻪ‪ .‬ﺇﺫ‬
‫ﻟﻴﺲ ﻟﻸﻣﻜﻨﺔ ﻋﻠﻰ ﺍﺧﺘﻼﻓﻬﺎ ﰲ ﻭﺟﻮﺩﻫﺎ ﺍﳊﺴﻲ ﺩﻻﻟﺔ ﺛﺎﺑﺘﺔ ﻋﻨﺪ ﻋﻤﻮﻡ ﺍﳌﺒﺪﻋﲔ‪ ،‬ﻭ ﻟﻴﺴﺖ‬
‫ﰲ ﻭﺟﻮﺩﻫﺎ ﺇﻻ ﻣﺎ ﺗﻀﻔﻴﻪ ﻋﻠﻴﻬﺎ ﺗﻠﻚ ﺍﻟﺬﻭﺍﺕ ﺍﳌﺒﺪﻋﺔ ﻣﻦ ﻇﻼﻝ‪ ،‬ﻓﺈﺧﺘﻴﺎﺭ ﺍﳌﻜﺎﻥ ﺇﺧﺘﻴﺎﺭ ﻟﺒﻨﺎﺀ‬
‫ﺍﻟﻨﺺ ﺍﻟﻔﲏ ﻭ ﺗﻮﺟﻬﻪ ﺍﻟﺴﺮﺩﻱ‪ .‬ﻓﺎﳌﻜﺎﻥ ﺍﻟﻨﻔﺴﻲ ﻫﻮ ﻣﻜﺎﻥ ﺇﻧﺘﻘﻞ ﻣﻦ ﻭﺟﻮﺩﻩ ﻛﻤﻜﺎﻥ ﺇﱃ‬
‫ﺍﻧﻄﺒﺎﻉ ﺍﻟﺬﺍﺕ ﺍﳌﺒﺪﻉ ﳓﻮﻩ ﻭ ﻛﻴﻒ ﺗﺮﺍﻩ ﻭ ﲢﺲ ﺑﻪ ﻭ ﺑﺬﻟﻚ ﻛﻴﻒ ﺗﺘﻔﺎﻋﻞ ﻣﻌﻪ ﻭ ﺣﺠﻢ‬
‫ﺍﻟﺪﻻﻻﺕ ﺍﻟﱵ ﺗﻐﺪﻗﻬﺎ ﻋﻠﻴﻪ ﻧﺘﻴﺠﺔ ﻟﺬﻟﻚ‪" .‬ﻓﺎﳌﻜﺎﻥ ﻫﻮ ﻋﻨﺼﺮ ﺿﺎﻏﻂ ﻋﻠﻰ ﺍﻟﺬﺍﺕ‪ ...‬ﻣﺼﻴﻎ‬
‫ﳍﺎ‪ ،‬ﻭ ﻫﺬﻩ ﺍﳋﱪﺓ ﺗﺘﺸﺮﺏ ﻛﻞ ﻣﺎ ﻳﻌﻄﻴﻪ ﻫﺬﺍ ﺍﶈﻴﻂ ﻟﺘﻌﻴﺪ ﺻﻴﺎﻏﺘﻪ‪ ،‬ﻭ ﺗﺸﻜﻴﻠﻪ ﻣﻦ ﺟﺪﻳﺪ‬
‫ﻭﻓﻘﺎ ﳌﻨﻄﻠﻘﺎ‪‬ﺎ ﰲ ﺷﻜﻞ ﺣﺎﻻﺕ ﺫﻫﻨﻴﺔ ﻭ ﺃﺑﻌﺎﺩ ﺗﺼﻮﺭﻳﺔ ﻧﻔﺴﻴﺔ‪2".‬ﻭ ﺑﺬﻟﻚ ﻳﻨﺘﻘﻞ ﻣﻦ‬
‫ﺍﶈﺴﻮﺱ ﺇﱃ ﺍﳋﻴﺎﱄ ﺩﺍﻻ ﻋﻠﻰ ﺍﻷﺳﻄﻮﺭﻱ‪.‬‬

‫‪
 -‬دة 
ق ﻡ‪.‬ﺱ‪ .‬ﺹ‪.277‬‬ ‫‪1‬‬
‫‪ -2‬ﲨﺎﻝ ﺍﻟﺪﻳﻦ ﺧﻀﻮﺭ ﻡ‪.‬ﺱ‪ .‬ﺹ ‪.126‬‬

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‫ﺝ‪ -‬ﺍﻟﺒﻌﺪﻳﻦ ﺍﻟﺪﻳﲏ ﻭ ﺍﻟﻔﻠﺴﻔﻲ‪:‬‬

‫‪ -1‬ﺍﻟﺒﻌﺪ ﺍﻟﺪﻳﲏ‪:‬‬

‫ﻟﻄﺎﳌﺎ ﺷﻜﻞ ﺍﻟﺪﻳﻦ ﻣﺮﻛﺰ ﺍﻫﺘﻤﺎﻡ ﺍﻹﻧﺴﺎﻥ ‪ ،‬ﺇﺫ ﺃﻧﻪ ﻣﻨﺬ ﺑﺪﺍﻳﺔ ﺍﳋﻠﻴﻘﺔ‪ ،‬ﺃﺣﺲ ﺍﻹﻧﺴﺎﻥ ﺑﻌﺠﺰﻩ‬
‫ﻭ ﻗﻠﺔ ﺣﻴﻠﺘﻪ ﰲ ﻣﻮﺍﺟﻬﺔ ﺍﻟﻄﺒﻴﻌﺔ‪ ،‬ﻓﻤﺎ ﺍﻧﻔﻚ ﻳﺒﺤﺚ ﻋﻦ ﻗﻮﺓ ﺗﻔﻮﻗﻬﺎ ﻭﺗﺴﻴﻄﺮ ﻋﻠﻴﻬﺎ ﻭ ﺑﺎﻟﺘﺎﱄ‬
‫ﲢﻤﻴﻪ ﻣﻦ ﺷﺮ ﺗﻘﻠﺒﺎ‪‬ﺎ‪ ،‬ﻓﺎﺑﺘﻜﺮ ﻋﺎﱂ ﻣﺎ ﻓﻮﻕ ﺍﻟﻄﺒﻴﻌﺔ ﻭ ﺧﻠﻖ ﻟﻪ ﺃﺭﺑﺎﺑﺎ ﻳﻘﻮﻣﻮﻥ ﺑﻜﺎﻓﺔ ﺃﻣﻮﺭﻩ‬
‫ﺍﻟﱵ ﻣﻦ ﺑﻴﻨﻬﺎ ﲪﺎﻳﺔ ﻫﺬﺍ ﺍﻟﻌﺒﺪ ﺍﻟﻀﻌﻴﻒ‪ ،‬ﻭ ﻣﻘﺎﺑﻞ ﺫﻟﻚ ﱂ ﻳﺘﻮﺍﱏ ﻫﺬﺍ ﺍﻟﻌﺒﺪ ﺍﻟﻀﻌﻴﻒ ﰲ‬
‫ﺗﻘﺪﱘ ﺍﻷﺿﺎﺣﻲ ﻣﻬﻤﺎ ﻛﺎﻧﺖ ﻃﺒﻴﻌﺘﻬﺎ ﻭ ﺗﻔﻨﻦ ﰲ ﺍﺳﺘﺮﺿﺎﺋﻬﺎ‪ .‬ﻫﺬﺍ ﺇﻥ ﺃﻗﺮﻳﻨﺎ ﺑﺄﻗﻮﺍﻝ ﺗﺮﻯ ﰲ‬
‫ﺍﻹﻧﺴﺎﻥ ﺫﻟﻚ ﺍﻟﻜﺎﺋﻦ ﺍﳉﺎﻫﻞ ﺍﻟﺬﻱ ﺩﻓﻌﺘﻪ ﺍﻟﻐﺮﻳﺰﺓ ﰲ ﻛﻞ ﻣﺮﺍﺣﻞ ﺣﻴﺎﺗﻪ‪ ،‬ﻷﻥ ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ‬
‫ﻳﻘﻮﻝ ﺑﻐﲑ ﺫﻟﻚ‪ ،‬ﺇﺫ ﺃﻧﻪ ﻳﺆﻛﺪ ﻋﻠﻰ ﺃﻥ ﺍﻹﻧﺴﺎﻥ ﻣﻨﺬ ﻭﺟﻮﺩﻩ ﻋﻠﻰ ﺍﻷﺭﺽ ﻭ ﺣﱴ ﻗﺒﻞ ﺫﻟﻚ‬
‫ﻋﺮﻑ ﲤﺎﻣﺎ ﲟﻦ ﻳﺪﻳﻦ ﻟﻮﺟﻮﺩﻩ‪ ،‬ﻓﻌﺮﻑ ﺧﺎﻟﻘﻪ ﻭ ﺑﺎﻟﺘﺎﱄ ﻭﺍﺟﺒﻪ ﳓﻮ ﻫﺬﺍ ﺍﳋﺎﻟﻖ‪ ،‬ﻭ ﻟﻜﻨﻪ ﺣﺎﺩ‬
‫ﰲ ﻣﺮﺣﻠﺔ ﻣﺎ‪ ،‬ﻟﺬﻟﻚ ﻳﻌﺪ ﻣﺎ ﻗﻠﻨﺎﻩ ﺃﻭﻻ ﻛﻤﺮﺣﻠﺔ ﺛﺎﻧﻴﺔ ﰲ ﺭﺣﻠﺔ ﺍﻹﻧﺴﺎﻥ ﻋﱪ ﺍﻟﺰﻣﻦ‪ ،‬ﻭﺻﻮﻻ‬
‫ﺇﱃ ﺧﻠﻖ ﺍﻷﺳﻄﻮﺭﺓ ﺑﺸﻜﻠﻬﺎ ﺍﻟﻜﺎﻣﻞ ﻭ ﻋﺎﳌﻬﺎ ﺍﳌﻤﻴﺰ‪" ،‬ﻓﺎﻟﺪﻳﻦ ﻻ ﺷﻚ ﻳﺸﻜﻞ ﺍﻷﺳﻄﻮﺭﺓ‬
‫ﺳﻮﺍﺀ ﻫﺬﺍ ﺍﻟﺪﻳﻦ ﻋﺒﺎﺩﺓ ﻟﻸﺻﻨﺎﻡ ﺃﻡ ﻏﲑ ﺫﻟﻚ‪ ،‬ﻓﺈﻥ ﺍﻹﻧﺴﺎﻥ ﺑﻄﺒﻴﻌﺘﻪ ﳝﻴﻞ ﺇﱃ ﺃﻥ ﻳﻜﻮﻥ ﻟﻪ‬
‫ﺗﺼﻮﺭ ﺩﻳﲏ‪ ،‬ﻭﻫﻲ ﻋﻠﻰ ﺫﻟﻚ ﺍﳊﺎﻝ ﰲ ﻛﻞ ﺍﻟﺸﻌﻮﺏ ﻭ ﰲ ﻛﻞ ﺍﻷﺯﻣﺎﻥ‪ ،‬ﻓﺎﻟﻘﻮﻝ ﺃﻥ ﻫﺬﺍ‬
‫ﺍﳌﻴﻞ ﺇﱃ ﺍﻟﺘﻌﺒﲑ ﺃﺻﻴﻞ ﰲ ﺍﻟﻨﻔﺲ ﺍﻟﺒﺸﺮﻳﺔ"‪ 1 .‬ﻓﻤﺮﺍﻗﺒﺘﻪ ﻟﻠﻄﺒﻴﻌﺔ ﺟﻌﻠﺘﻪ ﻳﺆﻣﻦ ﺑﺈﺯﺩﻭﺍﺟﻴﺘﻬﺎ ﺑﺪﺍﻳﺔ‬
‫ﺑﺎﳋﲑ ﻭ ﺍﻟﺸﺮ ﻭ ﻭﺻﻮﻻ ﺇﱃ ﺍﳌﻮﺕ ﻭ ﺍﻹﻧﺒﻌﺎﺙ "ﻭﺑﺎﺧﺘﺼﺎﺭ ﳍﺎ ﻛﻞ ﺍﺯﺩﻭﺍﺟﻴﺔ "ﺍﳌﻘﺪﺱ" ﳑﺎ‬
‫ﺳﺒﺐ ﻟـﻪ ﺍﺿﻄﺮﺍﺑﹰﺎ ﻭﻗﻠﻘﺎﹰ ﻭﺷﻌﺮ ﺑﺎﻻﻏﺘﺮﺍﺏ ﺍﻟﺮﻭﺣﻲ ﻭﺃﺣﺲ ﺑﻀﺮﻭﺭﺓ ﺍﻟﺸﻌﺎﺋﺮ ﻭﺍﻟﻄﻘﻮﺱ‬
‫ﻛﻮﺳﻴﻠﺔ ﻟﻠﺨﻼﺹ ﻭﺇﻧﻘﺎﺫ ﺍﳊﻴﺎﺓ ﻣﻦ ﺍﳌﻮﺕ ﻭﺍﻻﻧﺪﺛﺎﺭ‪ .‬ﻭﺗﺄﰐ ﰲ ﻣﻘﺪﻣﺔ ﻫﺬﻩ ﺍﻟﻄﻘﻮﺱ ﺃﺳﺎﻃﲑ‬
‫‪ -1‬ﲨﺎﻝ ﺍﻟﺪﻳﻦ ﺧﻀﻮﺭ ﻡ‪.‬ﺱ‪ .‬ﺹ‪.278‬‬

‫*‪ -‬ﺟﻌﻠﻮﺍ ﺍﻵﳍﺔ ﺗﻐﻀﺐ ﻓﺘﺪﻣﺮ ﺑﻼ ﲤﻴﻴﺰ‪ ،‬ﻭﺗﺮﺿﻰ ﻓﺘﻌﻄﻲ ﻭ ﲡﺰﻝ ﺍﻟﻌﻄﺎﺀ‪ ،‬ﻓﻠﻜﻲ ﻳﺘﻘﻲ ﺍﻹﻧﺴﺎﻥ ﺷﺮ ﻏﻀﺒﻬﺎ ﺃﻭ ﻳﻄﻠﺐ ﺭﺿﺎﻫﺎ ﻓﺈﻧﻪ‬
‫ﻳﺘﻀﺮﻉ ﺇﻟﻴﻬﺎ ﻭ ﻳﺘﻌﺒﺪﻫﺎ ﻭ ﻳﻘﺪﻡ ﺍﻷﺿﺎﺣﻲ‪.‬‬

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‫ﺍﳌﻮﺕ ﻭﺍﻻﻧﺒﻌﺎﺙ ‪ ،‬ﻭﻛﻞ ﻣﺎ ﻳﺘﻌﻠﻖ ‪‬ﺎ ﻣﻦ ﻣﻌﺘﻘﺪﺍﺕ ﺗﺮﻣﺰ ﺇﱃ ﺍﳋﺼﺐ ﻭﺍﻟﻌﻄﺎﺀ ﻭﻣﺎ ﻟـﻪ‬
‫ﺻﻠﻪ ﺑﺪﻭﺭﺓ ﺍﳊﻴﺎﺓ ﻭﺍﳌﻮﺕ ﻭﺍﻟﺒﻌﺚ"‪ 1‬ﰒ ﺗﺪﺧﻞ ﺍﻟﺴﺤﺮ ﺑﻌﺪ ﺫﻟﻚ ﺇﺫ ﱂ ﻳﻌﺪ ﺍﻹﻧﺴﺎﻥ ﻗﺎﺩﺭﺍ‬
‫ﻋﻠﻰ ﺍﻟﻮﻗﻮﻑ ﻣﻮﻗﻒ ﺍﳌﺘﻔﺮﺝ ﻭ ﺍﻵﳍﺔ ﺗﺴﻴﲑ ﺣﻴﺎﺗﻪ ﻛﻴﻔﻤﺎ ﻃﺎﺏ ﳍﺎ ﺫﻟﻚ‪ ،‬ﻓﻜﺎﻥ ﺍﻟﻮﺳﻴﻠﺔ ﺍﻟﱵ‬
‫ﻣﻜﻨﺘﻪ ﻣﻦ ﺍﻟﺘﺪﺧﻞ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﻘﻴﺎﻡ ﺑﺒﻌﺾ ﺍﻟﻄﻘﻮﺱ ﲟﻨﻊ ﺣﺪﻭﺙ ﺷﻲﺀ ﻣﺎ ﺃﻭﻃﻠﺒﺎ ﳊﺪﻭﺛﻪ‪،‬‬
‫ﻭ ﻟﻜﻦ ﻫﺬﺍ ﱂ ﻳﺰﺣﺰﺡ ﻣﻜﺎﻧﺔ ﺍﻟﺪﻳﻦ ﻓﻤﺎ ﻛﺎﻥ ﻳﺘﻢ ﻣﻦ ﺷﻲﺀ ﺇﻻ ﲟﺒﺎﺭﻛﺔ ﺍﻵﳍﺔ‪ ،‬ﻓﺘﻨﻮﻉ ﺍﻵﳍﺔ‬
‫ﻣﻜﻨﻬﻢ ﻣﻦ ﺇﳚﺎﺩ ﻧﻮﻉ ﻣﻦ ﺍﳌﺼﺪﺍﻗﻴﺔ ﳌﺎ ﻛﺎﻧﻮﺍ ﻳﻘﻮﻣﻮﻥ ﺑﻪ‪ ،‬ﻓﺎﻟﺴﺤﺮ ﺇﺫﻥ ﺗﺪﺧﻞ‪ -‬ﺣﱴ ﻭﻟﻮ‬
‫ﻛﺎﻥ ﺑﺸﻜﻞ ﳏﺪﻭﺩ‪ -‬ﰲ ﺍﻟﻄﺒﻴﻌﺔ ﻭ ﺟﺎﺀ ﻛﻤﺤﺎﻭﻟﺔ ﻷﺧﺬ ﺍﻹﻧﺴﺎﻥ ﺑﺰﻣﺎﻡ ﺃﻣﻮﺭﻩ ﺑﻴﻨﻤﺎ ﻛﺎﻥ‬
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‫ﺍﻟﺪﻳﻦ ﺍﺳﺘﺮﺿﺎﺀ ﳍﺎ‪.‬‬

‫ﻣﻬﻤﺎ ﻛﺎﻥ ﺍﻷﻣﺮ ﻓﺈﻧﻨﺎ ﻻ ﻧﻨﻜﺮ ﺃﻥ " ﺍﻷﺳﻄﻮﺭﺓ ﻗﺪ ﻳﺰﺍﺩ ﻓﻴﻬﺎ ﻭ ﻗﺪ ﻳﻄﺮﺡ ﻣﻨﻬﺎ ﻋﻠﻰ ﻣﺮ‬
‫ﺍﻟﻌﺼﻮﺭ‪ ،‬ﻭ ﺫﻟﻚ ﻋﻦ ﻏﲑ ﻭﻋﻲ ﻣﻦ ﺭﻭﺍﺓ ﺍﻷﺳﺎﻃﲑ‪ ،‬ﺍﻟﻠﻬﻢ ﺇﻻ ﺇﺫﺍ ﻛﺎﻥ ﻫﺬﺍ ﺍﻟﺮﺍﻭﻱ ﻳﺒﺘﺪﻉ‬
‫ﺍﻷﺳﻄﻮﺭﺓ ﺃﻭ ﺟﺎﻧﺐ ﻣﻨﻬﺎ‪ ،‬ﻭ ﺑﺬﻟﻚ ﲣﺮﺝ ﻋﻦ ﺍﻷﺳﻄﻮﺭﺓ ﻋﻦ ﳎﺮﺍﻫﺎ‪3".‬ﲟﻌﲎ ﺃﻥ ﺍﻷﺳﺎﻃﲑ‬
‫ﻣﻊ ﻣﺮﻭﺭ ﺍﻟﺰﻣﻦ ﺗﻔﻘﺪ ﺷﻴﺌﺎ ﻣﺎ ﻣﻦ ﻗﺪﻭﺳﻴﺘﻬﺎ ﺑﺴﺒﺐ ﺗﺪﺧﻞ ﺍﻟﺬﺍﻛﺮﺓ ﺍﳉﻤﺎﻋﻴﺔ ﰲ ﺗﻐﻴﲑ ﺑﻌﺾ‬
‫ﺟﺰﺋﻴﺎ‪‬ﺎ‪ ،‬ﺃﻭ ﺗﺘﻐﲑ ﻧﻈﺮ‪‬ﻢ ﺇﻟﻴﻬﺎ ﻛﻠﻴﺎ‪ ،‬ﺑﺘﻐﻴﲑ ﺃﻋﺮﺍﻓﻬﻢ ﻭ ﺗﻘﺎﻟﻴﺪﻫﻢ ﻣﻊ ﻣﺮﻭﺭ ﺍﻟﺰﻣﻦ‪ .‬ﻟﺬﻟﻚ‬
‫ﻧﻼﺣﻆ ﺇﱃ ﻳﻮﻣﻨﺎ ﻫﺬﺍ ﺗﻨﻮﻋﺎ ﻛﺒﲑﺍ ﻭ ﻣﺴﺘﻤﺮﺍ ﰲ ﺃﻧﻮﺍﻋﺎ ﺍﻹﻧﺘﻤﺎﺀﺍﺕ ﺍﻟﻌﻘﺎﺋﺪﻳﺔ ﻟﺪﻯ ﺍﻟﺒﺸﺮ‪،‬‬
‫ﻳﺘﺤﺪﺩ ﻣﻦ ﺧﻼﻝ ﺍﻟﺒﻴﺌﺔ ﻭ ﺍﻟﻌﻘﻠﻴﺔ ﺍﻟﺴﺎﺋﺪﺓ‪.‬‬

‫ﻭ ﻛﻤﺎ ﻭ ﺃﻥ ﺃﺳﻠﻔﻨﺎ ﺍﻟﺬﻛﺮ ﳜﺘﻔﻲ ﺍﳉﺎﻧﺐ ﺍﻟﺪﻳﲏ ﻛﻤﺜﻴﻠﻪ ﺍﻟﺰﻣﲏ ﺃﻭ ﻳﻐﻴﺒﺎﻥ ﺟﺰﺋﻴﺎ ﻋﻨﺪ ﺇﻗﺘﺮﺍﻥ‬
‫ﺍﻷﺳﻄﻮﺭﺓ ﺑﺎﻷﺩﺏ ﻓﺘﺼﺒﺢ ﺧﺎﺩﻣﺔ ﻟﻘﺼﺪﻳﺔ ﺍﻷﺩﻳﺐ ﻭ ﺭﺅﻳﺘﻪ ﺍﳋﺎﺻﺔ‪ ،‬ﻓﻴﺼﺒﺢ ﻣﺜﻼ" ﺃﺩﻭﻧﻴﺲ"‬

‫‪ -1‬ﺣﺴﲔ ﳎﻴﺐ ﻣﻨﺼﻮﺭ‪ ":‬ﺍﻷﺳﻄﻮﺭﺓ ﺑﲔ ﺍﻟﻌﺮﺏ ﻭ ﺍﻟﻔﺮﺱ‪ -‬ﺩﺭﺍﺳﺔ ﻣﻘﺎﺭﻧﺔ"‪ ،‬ﺍﻟﺪﺍﺭ ﺍﻟﺜﻘﺎﻓﻴﺔ ﻟﻠﻨﺸﺮ‪ ،‬ﺹ ‪.58‬‬

‫‪ -2‬ﻛﺎﻣﻠﻲ ﺑﻠﺤﺎﺝ ‪.‬ﻡ‪.‬ﺱ ﺹ ‪.02‬‬

‫‪ -3‬ﺟﻴﻤﺲ ﻓﺮﻳﺰﺭ‪ ":‬ﺍﻟﻐﺼﻦ ﺍﻟﺬﻫﱯ"ﺕ‪ /‬ﺃﲪﺪ ﺃﺑﻮ ﺯﻳﺪ‪ ،‬ﺝ‪01‬ﺹ‪.231‬‬

‫‪ -4‬ﺣﺴﲔ ﳎﻴﺐ ﻣﻨﺼﻮﺭ‪.‬ﻡ‪.‬ﺱ‪ .‬ﺹ‪.65‬‬

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‫ﺭﻣﺰﺍ ﻟﻠﺘﻀﺤﻴﺔ‪ ،‬ﻭ ﺯﻭﺟﺘﻪ "ﻋﺸﺘﺎﺭﺕ" ﺭﻣﺰﺍ ﻟﻠﻮﻓﺎﺀ‪ ،‬ﻭ ﻳﺼﺒﺢ "ﺟﻠﺠﺎﻣﺶ" ﺭﻣﺰﺍ ﻟﻠﺮﻏﺒﺔ‬
‫ﺍﳉﺎﳏﺔ ﻭ ﺍﻹﺻﺮﺍﺭ ﻋﻠﻰ ﲢﻘﻴﻖ ﺍﶈﺎﻝ‪....‬ﻭ ﻏﲑﻫﺎ ﻓﻘﺪ ﻃﻮﻉ ﺍﻷﺩﺏ ﻫﺬﻩ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺑﻜﻞ‬
‫ﻇﻼﳍﺎ ﻭ ﺟﻌﻠﻬﺎ ﻣﻦ ﺁﳍﺔ ﺇﱃ ﺃﺩﻭﺍﺕ ﻳﻔﻌﻠﻬﺎ ﻟﺘﺒﻴﻠﻎ ﺭﺳﺎﻟﺔ ﺃﺭﺍﺩﻫﺎ ‪‬ﺎ ﺍﻷﺩﻳﺐ ﻧﻔﺴﻪ‪ ،‬ﻭ ﺗﺒﻘﻰ‬
‫ﺍﻷﲰﺎﺀ ﻭ ﺣﺪﻫﺎ ﲢﻤﻞ ﻋﻠﻰ ﻛﺎﻫﻠﻬﺎ ﻣﻬﻤﺔ ﺇﺣﺎﻟﺔ ﺍﻟﻘﺎﺭﺉ ﺇﱃ ﺍﻟﻘﺼﺔ ﺍﻟﺮﺍﺑﻀﺔ ﺧﻠﻒ ﺗﻠﻚ‬
‫ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﱵ ﺳﻠﺒﺖ ﻣﻨﻬﺎ ﲰﺎ‪‬ﺎ ﺇﻻ ﻭﺍﺣﺪﺓ ﻣﻦ ﺍﺧﺘﻴﺎﺭ ﺍﻷﺩﻳﺐ‪ ،‬ﰒ ﺇﻥ ﺍﻷﺩﺏ ﺍﻟﻌﺎﻣﻞ‬
‫ﺍﻟﺮﺋﻴﺴﻲ ﰲ ﺗﻐﻴﲑ ﺍﻷﺳﺎﻃﲑ ﻭ ﺍﻹﺿﺎﻓﺔ ﺇﻟﻴﻬﺎ ﻭ ﺍﳊﺬﻑ ﻣﻨﻬﺎ ﻛﻠﻤﺎ ﻃﺎﺏ ﻟﻸﺩﻳﺐ ﺫﻟﻚ ﺃﻭ‬
‫ﺩﻋﺎﻩ ﺇﱃ ﺫﻟﻚ ﺗﻮﺟﻪ ﺍﻟﻨﺺ ﰲ ﳏﺎﻭﻟﺔ ﻣﻨﻪ ﻟﺘﻜﻴﻴﻔﻬﺎ ﻟﺘﻨﺎﺳﺐ ﻓﻀﺎﺀ ﺍﻟﻨﺺ ﻭ ﺯﻣﺎﻧﻪ ﻭ ﻧﻮ ﻋﻴﺔ‬
‫ﺍﳌﺘﻠﻘﻴﲔ ﺍﳌﻮﺟﻬﺔ ﺇﻟﻴﻬﻢ‪ .‬ﺇﻥ ﺍﻟﻠﻌﺒﺔ ﺍﳌﻔﻀﻠﺔ ﻟﻠﺰﻣﻦ ﻫﻲ ﺍﻟﺘﻐﲑ ﻓﻬﻮ ﳛﻴﺎ ﺑﺪﺍﺧﻠﻪ ﻓﻼﺷﻲﺀ ﰲ‬
‫ﺍﻟﺰﻣﻦ ﺛﺎﺑﺖ‪ ،‬ﻭ ﻫﻲ ﻧﻔﺲ ﺍﻟﺴﻠﻄﺔ ﺍﻟﱵ ﳝﺎﺭﺳﻬﺎ ﻋﻠﻰ ﺃﺣﺪﺍﺙ ﺍﻷﺳﻄﻮﺭﺓ ﻓﻔﻲ ﺍﻟﺼﺮﺍﻉ ﺑﲔ‬
‫ﺍﻟﺸﺨﻮﺹ‪ ،‬ﺳﻠﻄﺔ ﻟﻠﺰﻣﻦ ﻓﻴﻬﺎ ﻳﻘﺮﺭﺍﻟﺒﻘﺎﺀ ﻭ ﺍﻟﻔﻨﺎﺀ‪ ،‬ﰲ ﺩﺍﺧﻠﻬﺎ ﻟﻜﻦ ﺧﺎﺭﺟﻬﺎ ﻳﺒﻘﻰ ﻣﺘﻤﻮﺿﻌﺎ‬
‫ﺧﺎﺭﺝ ﺍﻟﺰﻣﻦ ﻭ ﻛﺄﻥ ﻫﻨﺎﻙ ﺯﻣﻨﺎﻥ ﻭﺍﺣﺪ ﳛﻜﻢ ﺃﺣﺪﺍﺙ ﺍﻷﺳﻄﻮﺭﺓ ﻭ ﺁﺧﺮ ﻳﻀﻤﻦ ﺍﻧﺘﻘﺎﳍﺎ ﻣﻦ‬
‫ﻋﺼﺮ ﻵﺧﺮ‪ .‬ﺇﺫ ﻳﺪﺧﻞ ﺍﻟﺰﻣﻦ ﰲ ﺣﻴﺜﻴﺎ‪‬ﺎ ﻓﻴﺆﻟﻒ ﺍﻟﺒﻴﺌﺔ ﺍﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪،‬‬
‫ﺍﻟﻨﻔﺴﻴﺔ ﻭﻏﲑﻫﺎ‪....‬‬

‫‪ -2‬ﺍﻟﺒﻌﺪ ﺍﻟﻔﻠﺴﻔﻲ‪:‬‬

‫ﺑﻌﻴﺪﺍ ﻋﻦ ﻛﻞ ﻣﺎ ﻗﻴﻞ ﻋﻨﻬﺎ‪ ،‬ﺗﺒﻘﻰ ﺍﻷﺳﻄﻮﺭﺓ ﻓﻠﺴﻔﺔ ﻟﻠﺤﻴﺎﺓ‪ ،‬ﻓﻬﻲ ﺗﻌﱪ ﻋﻦ ﻛﻴﻨﻮﻧﺔ ﺍﻹﻧﺴﺎﻥ ﻭ‬
‫ﻭﺟﻮﺩﻩ‪ ،‬ﻭﻣﺼﲑﻩ‪ ،‬ﻭﻣﺄﻝ ﺃﻣﻮﺭﻩ‪ ،‬ﻓﻬﻲ ﺑﲔ ﺃﻣﺮﻳﻦ ﻻ ﺛﺎﻟﺚ ﳍﻤﺎ‪ " :‬ﺇﻣﺎ ﺻﻮﺭﺓ ﺑﺴﻴﻄﺔ ﻟﻠﻌﺎﱂ‬
‫ﻭ ﺍﻟﺘﺎﺭﻳﺦ ﻭ ﺳﺎﺑﻘﺔ ﻟﻠﻌﻠﻮﻡ ﺍﳊﺪﻳﺜﺔ‪...،‬ﺃﻭ ﺃﻥ ﺗﺎﺭﻳﺦ ﺍﻷﺳﻄﻮﺭﺓ ﺣﻘﻴﻘﺔ‪...‬ﻭ ﻋﻠﻴﻨﺎ ﺃﻥ ﻧﺮﻯ ﻓﻴﻬﺎ‬
‫ﺭﻭﺍﻳﺔ ﻣﻄﺎﺑﻘﺔ ﻟﻠﺤﻘﻴﻘﺔ ﲢﻜﻲ ﻋﻦ ﺣﻮﺍﺩﺙ ﺟﺮﺕ ﰲ "ﺍﻟﻮﺍﻗﻊ ﺍﳊﻘﻴﻘﻲ" "‪ .1‬ﻭ ﻗﺪ ﺗﺒﲎ ﺍﳌﻨﻬﺞ‬
‫ﺍﻟﺮﻣﺰﻱ ﻫﺬﺍ ﺍﻟﺰﻋﻢ ﺣﻴﺚ ﻳﺮﻯ ﻓﻴﻬﺎ‪ ":‬ﻗﺼﺔ ﺭﻣﺰﻳﺔ ﺗﻌﱪ ﻋﻦ ﻓﻠﺴﻔﺔ ﻛﺎﻣﻠﺔ ﻟﻌﺼﺮﻫﺎ‪ ،‬ﻟﺬﻟﻚ‪.‬‬

‫‪ -1‬ﺇﻳﺮﻳﺶ ﻓﺮﻭﻡ‪ "،‬ﺍﳊﻜﺎﻳﺎﺕ ﻭ ﺍﻷﺳﺎﻃﲑ ﻭ ﺍﻷﺣﻼﻡ"ﺕ‪/‬ﺻﻼﺡ ﺣﺎﰎ ﺹ‪.145‬‬

‫‪ -2‬ﺳﻴﺪ ﺍﻟﻘﻤﻴﲏ‪ ":‬ﺍﻷﺳﻄﻮﺭﺓ ﻭ ﺍﻟﺘﺮﺍﺙ" ﺍﳌﺮﻛﺰﺍﳌﺼﺮﻱ ﻟﺒﺤﻮﺙ ﺍﳊﻀﺎﺭﺓ‪ ،‬ﻁ‪ ،03‬ﺹ ‪.33‬‬

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‫ﳚﺐ ﺩﺭﺍﺳﺔ ﺍﻟﻌﺼﻮﺭ ﻧﻔﺴﻬﺎ ﻟﻔﻚ ﺍﻟﺮﻣﻮﺯ‪".‬ﻓﻬﻲ ﺑﺬﻟﻚ " ﺭﻣﻮﺯ ﳊﻘﺎﺋﻖ ﻓﻠﺴﻔﻴﺔ ﺩﺍﺋﻤﺔ"‬
‫ﻭ ﻫﻲ ﻗﻄﻌﺎ ﻟﻴﺴﺖ ﻋﻠﻢ ﲟﻔﻬﻮﻡ ﻭ ﻣﻌﺎﻳﲑ ﺍﻟﻌﻠﻢ ﺍﳊﺪﻳﺚ‪ ،‬ﻭ ﻟﻜﻨﻬﺎ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﻟﻴﺴﺖ‬
‫" ﺑﺪﻋﺔ ﻭﻻ ﻭﳘﺎ ﻭ ﻻ ‪‬ﻴﺆﺍﺕ ﻣﻦ ﺻﻨﻊ ﺍﳋﻴﺎﻝ‪ .‬ﺃﻣﺎ ﺧﻠﻂ ﺍﻷﺳﻄﻮﺭﺓ ﺑﺎﻟﺒﺪﻉ ﻭ ﺍﻟﻮﻫﻢ‬
‫ﻭ ﺍﳋﻴﺎﻝ ﻓﺘﻘﻊ ﻓﻴﻪ ﲨﻴﻊ ﻣﻨﺎﻫﺞ ﺍﻟﺒﺤﺚ " ﺍﻟﻌﻠﻤﻴﺔ" ﺍﳌﻄﺒﻘﺔ ﻋﻠﻰ ﺍﳌﻴﺜﻮﻟﻮﺟﻴﺎ‪ ،‬ﻭ ﻫﻮ ﺧﻠﻂ ﳚﺐ‬
‫ﺍﻟﺘﺨﻠﺺ ﻣﻨﻪ ﻛﺨﻄﻮﺓ ﺃﻭﱃ ﰲ ﻣﺴﺎﺭ ﺍﻟﺒﺤﺚ"‪ 1.‬ﻓﺎﻹﻋﺘﻘﺎﺩ ﺑﻔﻜﺮﺓ ﻛﻬﺬﻩ ﳚﻌﻞ ﺍﻷﺳﻄﻮﺭﺓ‬
‫ﺑﻜﻞ ﻫﻴﻠﻤﺎ‪‬ﺎ ﺭﻫﻴﻨﺔ ﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﺒﺪﺍﺋﻴﺔ ﻋﻠﻰ ﻣﺪﻯ ﺍﻟﺰﻣﻦ ﻭ ﳚﻌﻠﻬﺎ ﻋﺎﻣﻞ ﺍﻟﺘﺨﻠﻒ‬
‫ﰲ ﻛﻞ ﳎﺘﻤﻊ‪ .‬ﻭ ﻫﺬﺍ ﻳﺜﺒﺖ ﺃﻧﻨﺎ ﺣﱴ ﺍﻵﻥ ﻧﻨﻈﺮ ﺇﱃ ﺍﻷﺳﻄﻮﺭﺓ ﻣﻦ ﻣﻨﻈﻮﺭ ﺫﺍﰐ ﳏﺾ‪ ،‬ﻓﻜﻞ‬
‫ﺗﻠﻚ ﺍﻟﻌﻠﻮﻡ ﺍﻟﱵ ﻛﺮﺳﺖ ﻧﻔﺴﻬﺎ ﺃﻭ ﺑﻌﺾ ﻧﻔﺴﻬﺎ ﻟﺪﺭﺍﺳﺘﻬﺎ ﻣﻦ ﻣﻨﻈﻮﺭﻫﺎ ﺍﳋﺎﺹ‪ ،‬ﻫﻞ‬
‫ﺗﻜﺒﺪﺕ ﻋﻨﺎﺀ ﺩﺭﺍﺳﺔ ﺍﻷﺳﻄﻮﺭﺓ ﻣﻦ ﻣﻨﻈﻮﺭ ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﻭ ﺍﳉﻮﺍﺏ ﻗﻄﻌﺎ ﻻ ﻷ‪‬ﻢ ﻟﻮ ﻓﻌﻠﻮﺍ‬
‫ﺫﻟﻚ ﻣﺎ ﺍﻋﺘﱪﻭﻫﺎ ﻭﳘﺎ ﻭ ﺧﻴﺎﻻ ﻭ ﺑﺪﻋﺔ‪ .‬ﻓﺎﻷﺳﻄﻮﺭﺓ ﻻ ﺗﺮﻯ ﺇﻻ ﻣﻦ ﺧﻼ ﺃﺳﻄﻮﺭﻳﺘﻬﺎ‪،‬‬
‫ﻭ ﺇﻻ ﻟﺒﻘﻴﺔ ﺣﺒﻴﺴﺔ ﺍﳋﺮﻓﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ‪ .‬ﻷ‪‬ﺎ ﻭ ﺑﺒﺴﺎﻃﺔ ﻣﻦ ﻣﻨﻈﻮﺭ ﺍﻟﻮﻋﻲ ﺍﻷﺳﻄﻮﺭﻱ ﻫﻲ‬
‫ﺍﻟﻮﺍﻗﻊ ﺍﻷﻛﺜﺮ ﲢﺪﻳﺪ‪ ،‬ﻫﻲ ﺍﻟﻮﺍﻗﻊ ﺍﳌﻠﻤﻮﺱ ﺑﺪﺭﺟﺔ ﻗﺼﻮﻯ‪ ،2‬ﺗﻘﻮﻟﻮﻥ ﻛﻴﻒ ﺫﻟﻚ؟ ﻓﺄﻗﻮﻝ ﻟﻮ‬
‫ﻧﻈﺮﻧﺎ ﺇﱃ ﺍﻟﻌﺎﱂ ﺍﻷﺳﻄﻮﺭﻱ ﺑﺸﻲﺀ ﻣﻦ ﺍﳌﻮﺿﻮﻋﻴﺔ‪ ،‬ﻟﻮ ﺟﺪﻧﺎﻩ ﻟﻴﺲ ﻓﻘﻂ ﻋﺎﳌﺎ ﳝﻠﻚ ﻛﻞ‬
‫ﻣﻘﻮﻣﺎﺕ ﺍﻷﺳﻄﻮﺭﻳﺔ‪ ،‬ﻓﻬﻮ ﰲ ﺩﺍﺧﻠﻪ ﻭﺍﻗﻊ ﻣﻠﻤﻮﺱ ﺷﺨﺼﻴﺎﺗﻪ ﺗﺘﻔﺎﻋﻞ ﻓﻌﻼ ﰲ ﻓﻀﺎﺀﻩ‪ ،‬ﻣﻬﻤﺎ‬
‫ﻛﺎﻥ ﻧﻮﻉ ﺫﻟﻚ ﺍﻟﻔﻀﺎﺀ‪ ،‬ﻫﻮ ﺫﺍﰐ ﺣﺪﺳﻲ‪ ،‬ﺇﻧﻄﺒﺎﻋﻲ ﻟﻜﻨﻪ ﰲ ﺣﺪﻭﺩ ﺍﻟﻮﻋﻲ ﺍﻷﺳﻄﻮﺭﻱ‪ ،‬ﻫﻮ‬
‫ﻭﺍﻗﻊ ﳜﺘﻠﻒ ﻋﻦ ﺍﻟﻮﺍﻗﻊ ﺍﻟﻮﺍﻗﻌﻲ ﰲ ﺟﺰﺋﻴﺎﺗﻪ‪ ،‬ﻟﻜﻨﻪ ﻻ ﻳﻨﻔﻴﻪ ﻭ ﻻ ﻳﻨﻤﺤﻲ ﻟﻮﺟﻮﺩﻩ‪ .‬ﻓﺎﻟﻮﺍﻗﻊ‬
‫ﺍﻟﻮﺍﻗﻌﻲ ﻓﺮﺽ ﻋﻠﻰ ﺍﻹﻧﺴﺎﻥ ﻣﻨﺬ ﺍﻷﺯﻝ ﺃﻣﺎ ﺍﻟﻮﺍﻗﻊ ﺍﻷﺳﻄﻮﺭﻱ ﻓﻬﻮ ﻭﺍﻗﻊ ﺃﻗﺎﻣﻪ ﺍﻹﻧﺴﺎﻥ ﻣﻨﺬ‬
‫ﻇﻬﻮﺭﻩ ﻋﻠﻰ ﻭﺟﻪ ﺍﻷﺭﺽ‪.‬‬

‫ﻟﻘﺪ ﻗﺎﻡ "ﺃﻟﻜﺴﻲ ﻟﻮﺳﻴﻒ" ﺑﺈﺟﺮﺍﺀ ﻣﻘﺎﺭﻧﺔ ﺑﲔ ﺍﻷﺳﻄﻮﺭﺓ ﻭ ﺑﲔ ﻛﻞ ﺗﻠﻚ ﺍﳌﻔﺎﻫﻴﻢ ﺍﻟﱵ‬
‫ﻧﻨﺴﺒﻬﺎ ﺇﻟﻴﻬﺎ ﰲ ﺗﻌﺮﻳﻔﺎﺗﻨﺎ ﺍﳌﺨﺘﻠﻔﺔ ﳍﺎ ‪ ،‬ﻭ ﺧﺮﺝ ﺑﻨﺘﻴﺠﺔ ﻭ ﻫﻲ ﺃﻥ ﺍﻷﺳﻄﻮﺭﺓ ﻟﻴﺴﺖ‪ :‬ﺑﺪﻋﺔ ﺃﻭ‬
‫‪ -3‬ﺃﻟﻴﻜﺴﻲ ﻟﻮﺳﻴﻒ‪ " :‬ﻓﻠﺴﻔﺔ ﺍﻷﺳﻄﻮﺭﺓ"‪ ،‬ﺕ‪ /‬ﻣﻨﺬﺭ ﺣﻠﻮﻡ‪ ،‬ﺩﺍﺭ ﺍﳊﻮﺍﺭﻁ‪ 01‬ﺹ‪.41‬‬

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‫ﻭﳘﺎ‪ ،‬ﻭ ﻻ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﻴﺎ‪ ،‬ﻭ ﻻ ﺩﻳﻨﺎ ‪ ،‬ﻭ ﻻ ﺃﻋﺠﻮﺑﺔ‪ ،‬ﻭ ﻋﻘﻴﺪﺓ‪ ،‬ﻭﻻ ﺗﺎﺭﳜﺎ‪ ...‬ﻭ ﺃﻧﺎ ﻣﻌﻪ ﻛﻠﻴﺎ ﰲ‬
‫ﺫﻟﻚ ﻻ ﺃﻧﻪ ﺣﻘﺎ ﺁﻥ ﺍﻷﻭﺍﻥ ﺃﻥ ﳒﻌﻞ ﳍﺎ ﺑﻨﻴﺔ ﺧﺎﺻﺔ ‪‬ﺎ ﻭ ﺇﻃﺎﺭﺍ ﻧﻨﻈﺮ ﺇﻟﻴﻬﺎ ﻣﻦ ﺧﻼﻟﻪ ﻻ‬
‫ﺗﺸﻮﺑﻪ ﺷﺎﺋﺒﺔ ﻣﻦ ﻫﺬﺍ ﺃﻭ ﺫﺍﻙ‪ ،‬ﻭ ﻟﻜﻦ ﺃﻋﺘﻘﺪ ﺃ‪‬ﺎ ﻛﻞ ﺫﻟﻚ‪ ،‬ﻷﻥ ﻛﻞ ﻣﺎ ﺫﻛﺮ ﻧﺴﱯ ﳜﺘﻠﻒ‬
‫ﻣﻦ ﳎﺘﻤﻊ ﺇﱃ ﺁﺧﺮ‪ ،‬ﻓﻬﻲ ﲢﻮﻱ ﻛﻞ ﺫﻟﻚ ﻭ ﻻﺷﻲﺀ ﻣﻨﻪ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ‪ ،‬ﺗﻘﻮﻟﻮﻥ ﻛﻴﻒ ﻳﺘﻢ‬
‫ﺍﻷﻣﺮ ﻭ ﳚﺘﻤﻊ ﺍﻟﺮﺃﻳﺎﻥ ﻓﺄﻗﻮﻝ‪ :‬ﻻ ﳜﺘﻠﻒ ﺗﻘﺪﻳﺮ ﻫﺬﻩ ﺍﻷﻣﻮﺭ ﻣﻦ ﺷﺨﺺ ﺇﱃ ﺁﺧﺮ ﻓﻘﻂ ﺑﻞ ﻣﻦ‬
‫ﳎﺘﻤﻊ ﺇﱃ ﺁﺧﺮ*‪ ،‬ﻓﻤﺎ ﻗﺪ ﻳﺮﺍﻩ ﺃﺣﺪﻫﻢ ﻋﻘﻴﺪﺓ ﺃﻭ ﺑﻌﺾ ﻋﻘﻴﺪﺓ ﻗﺪ ﻳﺮﺍﻩ ﺁﺧﺮ ﺑﺪﻋﺔ ﺃﻭ ﻭﻫﻢ‪،‬‬
‫ﻭ ﻣﻦ ﻳﺮﻯ ﻓﻴﻪ ﺗﺄﺭﳜﺎ ﻗﺪ ﻳﺮﻯ ﻓﻴﻪ ﺁﺧﺮ ﳎﺮﺩ ﺧﺮﻓﺎﺕ‪ ،‬ﻭ ﻫﺬﺍ ﻣﺒﻌﺚ ﺍﳉﺪﻝ ﰲ ﺍﻷﺳﻄﻮﺭﺓ‬
‫ﻷﻧﻨﺎ ﻣﺎﺯﻟﻨﺎ ﻧﻨﻈﺮ ﺇﻟﻴﻬﺎ ﻣﻦ ﻣﻨﻈﺎﺭ ﺫﺍﰐ‪ ،‬ﳜﻀﻊ ﻟﻠﺤﺪﺱ ﻭ ﺍﻹﻧﻄﺒﺎﻋﺎﺕ‪ ،‬ﻻ ﳝﻜﻦ ﺃﻧﻨﺴﻰ ﰲ‬
‫ﺃﻱ ﻣﺮﺣﻠﺔ ﻣﻦ ﻣﺮﺍﺣﻞ ﺩﺭﺍﺳﺘﻨﺎ ﻟﻸﺳﻄﻮﺭﺓ ﺃ‪‬ﺎ ﻣﻮﺭﻭﺙ ﺛﻘﺎﰲ ﺗﺎﺭﳜﻲ ﻋﺎﳌﻲ ﲤﻠﻜﻪ ﺍﻟﺬﺍﻛﺮﺓ‬
‫ﺍﳉﻤﻌﻴﺔ ﻭ ﻗﺪ ﺗﺸﺎﺭﻙ ﰲ ﻭﺿﻊ ﺃﺳﺴﻪ ﺍﻟﻨﺎﺱ ﺃﲨﻌﲔ ﻋﻠﻰ ﻣﺮ ﺍﻟﺰﻣﻦ‪ .‬ﻭ ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﻫﻨﺎ ﺃﻥ‬
‫ﺗﺪﺍﺧﻞ ﻣﻔﻬﻮﻣﻬﺎ ﻣﻊ ﻫﺬﻩ ﺍﳌﻴﺎﺩﻳﻦ ﻛﻠﻬﺎ ﻫﻮ ﻣﺎ ﻓﺘﺢ ﳍﺎ ﺍﻟﺒﺎﺏ ﻋﻠﻰ ﻣﺼﺮﺍﻋﻴﻪ ﻟﻠﺪﺧﻮﻝ ﳎﺪﺩﺍ‬
‫ﻭ ﺍﻟﻈﻬﻮﺭ ﻋﻠﻰ ﺳﺎﺣﺔ ﺍﻟﺪﺭﺳﺎﺕ ﺍﳊﺪﻳﺜﺔ‪ ،‬ﰒ ﺃﻧﻪ ﺳﺎﻋﺪ ﻛﺬﻟﻚ ﻋﻠﻰ ﺗﻔﺴﲑﻫﺎ ﻭ ﻓﻚ ﺭﻣﻮﺯﻫﺎ‬
‫ﰲ ﺿﻮﺀ ﺍﳌﻌﺎﺭﻑ ﺍﻟﱵ ﻭﺻﻠﺖ ﺇﻟﻴﻬﺎ ﺍﻟﺪﺭﺍﺳﺎﺕ ﰲ ﻫﺬﻩ ﺍﳌﻴﺎﺩﻳﻦ‪ ،‬ﻭ ﺿﻤﻨﺖ ﺃﻥ ﻻ ﺗﻜﻮﻥ‬
‫ﻫﻨﺎﻙ ﻗﻄﻴﻌﺔ ﺯﻣﻨﻴﺔ ﺑﻴﻨﻬﺎ ﻭ ﺑﲔ ﻣﺎ ﺗﺪﻭﺭ ﺣﻮﻟﻪ‪.‬‬

‫ﰒ ﺇﻥ "ﺍﻟﻔﻠﺴﻔﺔ ﺗﻨﻈﺮﺇﱃ ﺍﻷﺳﻄﻮﺭﺓ ﻣﻦ ﻧﻘﻄﺔ ﺍﺳﺘﺸﺮﺍﻑ ﻋﺎﻟﻴﺔ ﺟﺪﺍ ﲝﺜﺎ ﻋﻦ ﺩﻻﻟﺘﻬﺎ ﺍﻷﻋﻤﻖ‬
‫ﻭ ﻣﻐﺰﺍﻫﺎ ﺍﻷﻛﺜﺮ ﻏﻮﺭﺍ ﺑﺎﻟﻨﺴﺒﺔ ﳊﻴﺎﺓ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻭ ﻋﻦ ﺍﻟﻨﻤﺎﺫﺝ ﺍﻟﱵ ﺗﻘﺪﻣﻬﺎ ﻟﻌﻼﻗﺘﻪ ﺑﻌﺎﳌﻪ"‪،1‬‬
‫ﻓﺎﻟﻔﻼﺳﻔﺔ ﳛﺎﻭﻟﻮﻥ ﰲ ﻣﻘﺎﺭﺑﺘﻬﻢ ﻟﻸﺳﻄﻮﺭﺓ ﺍﻟﻮﻟﻮﺝ ﺇﱃ ﺃﻋﻤﻖ ﻃﺒﻘﺎ‪‬ﺎ ﺃﻭ ﻋﻠﻰ ﺍﻷﻗﻞ ﻫﻜﺬﺍ‬
‫ﻳﺪﻋﻮﻥ ﻟﻠﻮﺻﻮﻝ ﺇﱃ ﻓﻬﻢ ﺃﻓﻀﻞ ﻟﻌﻤﻖ ﺍﻟﻨﻔﺲ ﺍﻟﺒﺸﺮﻳﺔ‪ ،‬ﻭ ﻛﺄﳕﺎ ﺍﻷﺳﻄﻮﺭﺓ ﺑﺎﻟﻨﺴﺒﺔ ﳍﻢ ﻋﺒﺎﺭﺓ‬

‫*‪ -‬ﻳﻨﻈﺮ‪ :‬ﻣﺮﺳﻴﺎ ﺇﻟﻴﺎﺩ‪ " :‬ﻣﻈﺎﻫﺮ ﺍﻷﺳﻄﻮﺭﺓ" ﺕ‪/‬ﺎﺩ ﺧﻴﺎﻃﺔ‪ ،‬ﺹ‪.15-14‬‬

‫‪ -‬ﺃﻟﻴﻜﺴﻲ ﻟﻮﺳﻴﻒ‪ :‬ﻡ‪.‬ﺱ‪ .‬ﺹ‪. 43‬‬

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‫ﻋﻦ ﺍﻟﺘﺠﺴﺪ ﺍﳊﻲ ﻟﺘﻠﻚ ﺍﻟﺮﻭﺡ‪ ،‬ﻓﻬﻲ ﺑﺬﻟﻚ ﺗﻘﺪﻡ ﳍﻢ ﻓﻬﻤﺎ ﺃﻓﻀﻞ ﻟﺮﺅﺍﻫﺎ‪ ،‬ﻭ ﺁﻣﺎﳍﺎ‪،‬‬
‫ﻭ ﺗﻮﻗﻌﺎ‪‬ﺎ ﻣﻦ ﺍﶈﻴﻂ‪ .‬ﻓﻬﻲ ﲢﻤﻞ ﺫﻟﻚ ﺍﳌﺪﻟﻮﻝ ﺍﻟﺪﻳﲏ ﻭ ﺍﻟﻔﻠﺴﻔﻲ ﺍﻟﺬﻱ ﺗﺮﺍﻛﻢ ﻟﻘﺮﻭﻥ‬
‫ﻭ ﻗﺮﻭﻥ‪ ،‬ﺍﳌﻌﱪ ﻋﻨﻪ ﺭﻣﺰﻳﺎ ﰲ ﻗﺼﺺ ﲢﻜﻲ ﻋﻦ ﺁﳍﺔ ﻭ ﺃﺷﺒﺎﻫﻬﺎ ﻭ ﺃﺣﻴﺎﻧﺎ ﻫﻲ ﲢﺎﻓﻆ ﻋﻠﻰ‬
‫ﺷﻬﺎﺩﺍﺕ ﻏﲑ ﻣﺘﻮﻗﻌﺔ ﺣﻮﻝ ﺣﺎﻻﺕ ﻣﻨﺴﻴﺔ ﻗﺪ ﺗﻌﻄﻲ ﻟﻠﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺑﻌﺪﺍ ﺁﺧﺮ ﻭ ﳎﺎﻻ‬
‫ﺃﻭﺳﻊ ﻟﻠﺪﺭﺍﺳﺔ ﻭ ﺫﻟﻚ ﰲ ﳏﺎﻭﻟﺔ ﳌﺎ ﲢﻔﻈﻪ ﻣﻦ ﺍﳌﻜﺎﻥ ﻭ ﺍﻟﺰﻣﺎﻥ ﺍﻟﺬﻳﻦ ﻭﻟﺪﺕ ﻓﻴﻬﻤﺎ‪.‬‬

‫ﻟﻘﺪ ﲢﻠﻘﺖ ﻛﻞ ﺍﻟﻨﻈﺮﻳﺎﺕ ﺍﻟﻔﻠﺴﻔﻴﺔ‪ 1‬ﺣﻮﻝ ﺍﻷﺳﻄﻮﺭﺓ ﻭ ﻗﺎﻣﺖ ﺑﺪﺭﺍﺳﺘﻬﺎ ﺑﺸﻜﻞ ﺃﻭ ﺑﺂﺧﺮ‬
‫ﻟﻌﻼﻗﺘﻬﺎ ﺍﳌﺒﺎﺷﺮﺓ ﺑﺎﻹﻧﺴﺎﻥ ﳌﺎ ﺗﻘﺪﻣﻪ ﻣﻦ ﻣﻌﻄﻴﺎﺕ ﻋﻦ ﻣﻮﺿﻮﻉ ﺍﻟﺪﺭﺍﺳﺔ‪ .‬ﻭ ﻛﺎﻧﺖ ﺍﻟﻨﻈﺮﻳﺔ‬
‫ﺍﳌﺎﺭﻛﺴﻴﺔ ﻣﺜﻼ ﺃﻭ ﺑﺎﻷﺻﺢ ﺍﻟﱰﻋﺔ ﺍﳌﺎﺭﻛﺴﻴﺔ ﻣﻦ ﺑﲔ ﻣﻦ ﺃﻭﻟﻮﺍ ﺍﻹﻫﺘﻤﺎﻡ ‪‬ﺎ ﻣﻦ ﻣﻨﻄﻠﻖ ﺃﻥ‬
‫ﺍﻟﻌﻤﻞ ﱂ ﻳﻌﺪ ﻓﻘﻂ ﳎﺮﺩ ﻧﺸﺎﻅ ﺇﻗﺘﺼﺎﺩﻱ ﻳﺴﺎﻫﻢ ﰲ ﺍﻟﺘﻮﺯﻳﻊ ﺍﻹﺟﺘﻤﺎﻋﻲ ﻭ ﺑﺎﻟﺘﺎﱄ ﺑﻨﺎﺀ‬
‫ﺍ‪‬ﺘﻤﻌﺎﺕ ﺑﻞ ﺃﺻﺒﺢ ﻛﺬﻟﻚ ﻓﺎﻋﻠﻴﺔ ﻣﺒﺪﻋﺔ ﻟﺘﺎﺭﻳﺦ ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻭ ﺗﻘﺪﻡ ﳕﻮﺫﺟﺎ ﻭﺍﺿﺤﺎ ﻋﻦ‬
‫ﺗﻄﻮﺭ ﻧﻈﺮﺓ ﺍﻹﻧﺴﺎﻥ ﺇﱃ ﺍﻟﻌﻤﻞ ﻛﻤﺎ ﺗﻄﻮﺭ ﺍﻟﻨﺸﺎﻃﺎﺕ ﺍﻹﻗﺘﺼﺎﺩﻳﺔ ﺍﻟﱵ ﻣﺎﺭﺳﻬﺎ ﻋﻠﻰ ﻣﺮ ﺍﻟﺰﻣﻦ‬
‫ﺑﺪﺍﻳﺔ ﻣﻦ ﺍﻟﺰﺭﺍﻋﺔ ﻭﺻﻮﻻ ﺇﱃ ﺗﻜﻨﻮﻟﻮﺟﻴﺎ ﺍﻟﻴﻮﻡ‪ .‬ﻭ ﺃﻥ ﺍ‪‬ﺘﻤﻌﺎﺕ ﺍﻟﻘﺪﳝﺔ ﻣﺜﻠﻤﺎ ﻫﻲ ﳎﺘﻤﻌﺎﺕ‬
‫ﺍﻟﻴﻮﻡ ﳏﻜﻮﻣﺔ ﺑﻘﺎﻧﻮﱐ ﺍﻟﻌﺮﺽ ﻭ ﺍﻟﻄﻠﺐ ﻭ ﺃﻥ ﻋﻼﻗﺎ‪‬ﺎ ﺍﻹﻧﺘﺎﺟﻴﺔ ﻫﻲ ﻣﺎ ﳛﺪﺩ ﻃﺒﻴﻌﺔ ﺍ‪‬ﺘﻤﻊ‬
‫ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭ ﺍﻹﺟﺘﻤﺎﻋﻴﺔ ﻭ ﺍﻹﻗﺘﺼﺎﺩﻳﺔ ﻣﻌﺎ‪ ،‬ﺃﻱ ﻣﻦ ﺧﻼﻝ ﺩﺭﺍﺳﺘﻨﺎ ﻟﻄﺒﻴﻌﺔ ﺍﻷﺳﺎﻃﲑ ﺍﻟﱵ‬
‫ﺗﻮﺿﺢ ﻋﻦ ﻃﺮﻳﻖ ﺗﻄﻮﺭ ﻋﺒﺎﺩﺓ ﺍﻵﳍﺔ ﻭ ﻧﻮﻉ ﺍﻵﳍﺔ ﺍﳌﻌﺒﻮﺩﻳﻦ ﺃﻧﻔﺴﻬﻢ ﻭ ﺍﻟﻮﻇﺎﺋﻒ ﺍﻟﱵ ﺃﻧﻴﻄﺔ‬
‫‪‬ﻢ‪ ،‬ﺗﻄﻮﺭ ﺍﻟﻌﻤﻞ ﻭ ﻧﻮﻋﻪ‪ ،‬ﻓﻤﺎ ﻛﺎﻥ ﺑﺪﺍﻳﺔ ﺯﺭﺍﻋﺔ‪ ،‬ﺃﺻﺒﺢ ﻓﻴﻤﺎ ﺑﻌﺪ ﺻﻨﺎﻋﺔ ﺣﻴﺚ ﲤﻴﺰ‬
‫ﺍﳌﻈﻬﺮ ﺍﻟﺪﻳﲏ ﺑﻈﻬﻮﺭ ﺍﺁﳍﺔ ﺍﳊﺮﻑ ﻭ ﺍﻟﺘﺠﺎﺭﺓ‪ ...‬ﻭ ﻏﲑﻫﺎ‪.‬‬
‫‪ - 1‬ﴰﺲ ﺍﻟﺪﻳﻦ ﺍﻟﻜﻴﻼﱐ‪":‬ﻣﻦ ﺍﻟﻌﻮﺩ ﺍﻷﺑﺪﻱ ﺇﱃ ﺍﻟﻮﻋﻲ ﺍﻟﺘﺎﺭﳜﻲ" ﺩﺍﺭ ﺍﻟﻜﻨﻮﺯ ﺍﻷﺩﺑﻴﺔ ﻁ‪ 1‬ﺑﲑﻭﺕ ﺹ‪105‬‬

‫*‪ -‬ﻳﻨﻈﺮ ﻛﻞ ﻣﻦ‪ :‬ﺇﻳﺮﻳﺶ ﻓﺮﻭﻡ ﺹ‪.145‬‬

‫ﻭ ــــ ﺑﻴﺎﺭ ﻏﺮﳝﺎﻝ‪":‬ﺍﳌﺜﻮﻟﻮﺟﻴﺎ ﺍﻟﻴﻮﻧﺎﻧﻴﺔ" ﺕ‪/‬ﻫﻨﺮﻱ ﺯﻏﻴﺐ ﺹ‪.13‬‬

‫**‪ -‬ﻛﻤﺎ ﲢﺪﺙ ﻋﻨﺎﺩ ﻏﺰﻭﺍﻥ ﻋﻦ ﺗﻠﻚ ﺍﻟﻔﻠﺴﻔﻴﺔ ﻭﻋﻦ ﺻﲑﻭﺭﻭﺓ ﺍﻟﺰﻣﻦ ﻭ ﻛﻴﻒ ﺃﻥ ﻫﺬﺍ ﺍﻷﺧﲑ ﻳﺴﺎﻫﻢ ﻭ ﺑﺸﻜﻞ ﻛﺒﲑ ﰲ ﺗﺸﻜﻴﻞ ﻫﺬﻩ ﺍﻟﻔﻠﺴﻔﻴﺔ ﻋﻦ‬
‫ﻃﺮﻳﻖ ﺷﺤﺬﻫﺎ ﺑﺎﳌﻌﺎﺭﻑ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻭ ﺍﻟﺮﺅﻯ ﺍﻟﻜﻮﻧﻴﺔ ﻳﻨﻈﺮ ﻋﻨﺎﺩ ﻏﺰﻭﺍﻥ‪ :‬ﺃﺻﺪﺍﺀ ﺩﺭﺍﺳﺎﺕ ﺃﺩﺑﻴﺔ ﻧﻘﺪﻳﺔ"‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﻛﺘﺎﺏ ﺍﻟﻌﺮﺏ ﺹ‪. 66-64‬‬

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‫ﻭ ﻫﻜﺬﺍ ﻭ ﻋﱪ ﺍﻟﺰﻣﻦ ﲢﺪﺩﺕ ﺍﻟﻌﻼﻗﺎﺕ ﺍﻟﺒﺸﺮﻳﺔ ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ‪ ،‬ﻓﻌﺮﻑ ﺍ‪‬ﺘﻤﻊ‬
‫ﻭ ﻋﺮﻓﺖ ﺍﻟﺪﻭﻟﺔ ﻭ ﻇﻬﺮﺕ ﺍﻹﻳﺪﻳﻮﻟﻮﺟﻴﺎﺕ ﺣﺴﺐ ﻫﺬﻩ ﺍﳌﻌﻄﻴﺎﺕ ﺑﻌﺪﻣﺎ ﻛﺎﻥ ﺍﻷﻣﺮ ﻳﻌﺘﻤﺪ‬
‫ﻋﻠﻰ ﺣﺎﻛﻢ ﻭﺍﺣﺪ ﻭ ﳏﻜﻮﻣﲔ‪ ،‬ﺣﻴﺚ ﻇﻬﺮ ﺍﻟﺘﺪﺍﻭﻝ ﻋﻠﻰ ﺍﻟﺴﻠﻄﺔ‪ ،‬ﻭ ﻣﻨﺢ ﺇﻣﺘﻴﺎﺯﺍﺕ ﻟﻔﺌﺔ ﻣﻦ‬
‫ﺍﻟﺸﻌﺐ ﺃﻭ ﻋﺎﻣﺘﻪ‪ ،‬ﰒ ﺗﺸﺎﺭﻙ ﺍ‪‬ﺘﻤﻊ ﻛﻜﻞ ﰲ ﲢﺪﻳﺪ ﻣﺼﲑﻩ ﻭ ﺑﻨﺎﺀ ﻣﺴﺘﻘﺒﻠﻪ‪.‬‬

‫ﻭ ﻣﻦ ﺍﳌﻔﻜﺮﻳﻦ ﺍﻟﺬﻳﻦ ﻭﺟﺪﻭﺍ ﰲ ﺍﻷﺳﻄﻮﺭﺓ ﺿﺎﻟﺘﻬﻢ ﻟﻔﻬﻢ ﺍﻟﻮﺟﻮﺩ ﺍﻹﻧﺴﺎﱐ‪ ،‬ﺣﻴﺚ ﻛﺎﻧﺖ‬
‫ﺑﺎﻟﻨﺴﺒﺔ ﳍﻢ ﺍﳌﻘﺪﻣﺔ ﺍﻟﱵ ﻳﻨﻄﻠﻘﻮﻥ ﻣﻨﻬﺎ ﺇﱃ ﻋﺎﱂ ﺍﻟﻔﻜﺮ ﺍﻹﻧﺴﺎﱐ ﻭ ﺃﺻﻞ ﺍﻟﺘﺠﺮﺑﺔ ﺍﻟﺒﺸﺮﻳﺔ‪،‬‬
‫ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ ﻻ ﺍﳊﺼﺮ " ﺇﺭﻧﺴﺖ ﻛﺎﺳﻴﲑ" ﺍﻟﺬﻱ ﺇﻛﺘﺴﺖ ﻣﻌﻪ ﺍﻷﺳﻄﻮﺭﺓ ﺣﻠﺔ ﻓﻌﺎﻟﻴﺔ‬
‫ﺭﻣﺰﻳﺔ ﺍﻟﱵ ﺑﺘﺤﻠﻴﻠﻬﺎ ﳝﻜﻦ ﺍﻟﻮﺻﻮﻝ ﺇﱃ ﺃﻋﻤﻖ ﳑﺎ ﻳﺒﺪﻭ ﺣﻴﺚ ﺇﻋﺘﱪ ﺍﻹﻧﺴﺎﻥ ﻓﻴﻬﺎ ﺭﻣﺰ ‪،‬‬
‫ﻭ ﺍﳊﻴﻮﺍﻥ ﺭﻣﺰ ﻭ ﺷﻜﻞ ﺍﻟﺘﻌﺎﻣﻼﺕ ﺳﻮﺍﺀﺍ ﺍﻹﻧﺴﺎﻥ ﻣﻊ ﺍﻟﻄﺒﻴﻌﺔ ﺃﻭ ﻣﻊ ﺍﳊﻴﻮﺍﻥ ﺃﻭ ﻣﻊ ﺃﺧﻴﻪ‬
‫ﺍﻹﻧﺴﺎﻥ ﺭﻣﻮﺯ ﺑﻔﻜﻬﺎ ﻳﺘﻢ ﺍﻟﺘﻮﺻﻞ ﻟﻔﻬﻢ ﺃﺣﺴﻦ ﻟﻠﻌﻼﻗﺎﺕ ﺍﻟﱵ ﺗﺮﺑﻂ ﺑﲔ ﺍﻟﺒﺸﺮ ﻣﻊ ﺑﻌﻀﻬﻢ‬
‫ﺍﻟﺒﻌﺾ ﺃﻭ ﻣﻊ ﺍﶈﻴﻂ ‪" ،‬ﻣﲑﺳﻴﺎ ﺇﻟﻴﺎﺩ" ﺍﻟﺬﻱ ﺩﺭﺳﻬﺎ ﰲ ﻛﺎﻣﻞ ﺻﻮﺭ‪‬ﺎ ﺃﻱ ﻣﻦ ﻛﻞ ﺟﻮﺍﻧﺒﻬﺎ ‪،‬‬
‫ﺭﻏﺒﺔ ﰲ ﺍﻟﻮﺻﻮﻝ ﺇﱃ ﺫﻫﻨﻴﺔ ﺍﻟﺒﺸﺮ ﺍﻟﻘﺪﻣﺎﺀ ﺍﳌﻮﺩﻋﺔ ﺩﺍﺧﻞ ﻗﻮﺍﻟﺐ ﺃﺳﻄﻮﺭﻳﺔ ﻗﺼﺪ ﻓﻬﻢ ﺃﻓﻀﻞ‬
‫ﻟﺬﻫﻨﻴﺔ ﺍﻟﻴﻮﻡ*‪.‬‬

‫ﻭﻫﻜﺬﺍ ﻓﺈﻥ ﺍﻟﻔﻠﺴﻔﺔ ﻛﻐﲑﻫﺎ ﻣﻦ ﺍﻟﻌﻠﻮﻡ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻭ ﺟﺪﺕ ﻟﻨﻔﺴﻬﺎ ﻃﺮﻳﻘﺎ ﺩﺍﺧﻞ ﺍﻷﺳﻄﻮﺭﺓ‬
‫ﻟﺘﻌﱪ ﰲ ﺩﺭﺍﺳﺎ‪‬ﺎ ﻋﻦ ﻓﻬﻢ ﺃﻓﻀﻞ ﻟﻺﻧﺴﺎﻥ‪ ،‬ﻣﺆﻣﻨﺔ ﺃﻥ ﻫﺬﻩ ﺍﻷﺳﻄﻮﺭﺓ ﲢﻤﻞ ﰲ ﺧﺒﺎﻳﺎﻫﺎ ﻛﻞ‬
‫ﺃﺳﺮﺍﺭ ﺍﻟﻔﻜﺮ ﺍﻟﺒﺸﺮﻱ ﻭ ﺗﻄﻮﺭﻩ ﻋﱪ ﺍﻟﻌﺼﻮﺭ‪.‬‬

‫ﻣﻦ ﺭﻣﻮﺯ ﺍﻷﺳﻄﻮﺭﺓ‪:‬‬

‫ﺇﻥ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻷﺳﻄﻮﺭﺓ ﻣﻦ ﺧﻼﻝ ﺃﺣﺪ ﺟﺰﺋﻴﺎ‪‬ﺎ ﺗﻌﺎﻣﻞ ﻣﻊ ﺭﻣﻮﺯ ﺫﺍﺕ ﺩﻻﻻﺕ‪ ،‬ﻓﺎﻷﲰﺎﺀ‬
‫ﺭﻣﻮﺯ‪ ،‬ﻭ ﺍﻷﻋﺪﺍﺩ ﺭﻣﻮﺯ‪ ،‬ﻭ ﺍﻷﻟﻮﺍﻥ ﺭﻣﻮﺯ‪ ،‬ﻭ ﺣﱴ ﺍﻟﺸﺨﻮﺹ ﺍﻟﻔﺎﻋﻠﺔ ﻓﻴﻬﺎ ﺭﻣﻮﺯ‪ ،‬ﺳﻮﺍﺀ‬
‫*‪ -‬ﴰﺲ ﺍﻟﺪﻳﻦ ﺍﻟﻜﻴﻼﱐ ﻡ‪.‬ﺱ‪ .‬ﺹ‪133‬ﻭ‪175‬‬

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‫ا  اول‪....................................................................‬ه ا ‬

‫ﻛﺎﻧﺖ ﺑﺸﺮﻳﺔ ﺃﻭ ﻓﻮﻕ ﺑﺸﺮﻳﺔ‪ ،‬ﺃﻭ ﺣﱴ ﺣﻴﻮﺍﻧﻴﺔ‪ .‬ﲢﻜﻤﻬﺎ ﺩﻻﻟﺔ ﻣﻌﲔ‪ ،‬ﲢﺪﺩ ﺗﺒﻌﺎ ﻟﻠﻤﻮﻗﻒ ﺃﻭ‬
‫ﺍﻟﺴﺒﺒﻴﺔ ﺍﻟﱵ ﺗﻌﺎﳉﻬﺎ‪ .‬ﻓﺎﻷﺳﻄﻮﺭﺓ ﻧﺴﻖ ﺭﻣﺰﻱ ﻣﺮﻛﺐ ﻷ‪‬ﺎ ﲢﻤﻞ ﰲ ﻃﻴﺎ‪‬ﺎ ﺭﻣﻮﺯ ﺍﻟﻠﻐﺔ‬
‫ﻭﺭﻣﺰ ﺍﻟﻔﻀﺎﺀ ﺍﻷﺳﻄﻮﺭﻱ‪ ،‬ﻟﺬﻟﻚ ﻓﺄﺩﻕ ﺍﻟﺘﻔﺎﺻﻴﻞ ﺍﻟﱵ ﺗﻌﺮﺽ ﺇﻟﻴﻬﺎ ﺍﻷﺳﺎﻃﲑ ﻣﻬﻤﺔ ﻭ ﻟﻴﺴﺖ‬
‫ﺩﺍﺋﻤﺎ ﺑﺎﻟﻮﺿﻮﺡ ﺍﻟﱵ ﺗﺒﺪﻭ ﻋﻠﻴﻪ‪ ،‬ﻓﺎﳌﺘﻌﺎﻣﻞ ﻣﻌﻬﺎ ﻣﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻟﻨﻔﺲ ﺍﻟﺒﺸﺮﻳﺔ ﰲ ﻛﻞ ﺗﻘﻠﺒﺎ‪‬ﺎ‬
‫ﺍﻟﻔﻜﺮﻳﺔ ﻭ ﺍﳊﻴﺎﺗﻴﺔ‪ ،‬ﺗﻌﻤﻞ ﻋﻠﻰ ﲢﻮﻳﻞ ﺍﻟﺒﺴﻴﻂ ﻭ ﺍﻟﺴﺎﺫﺝ ﺇﱃ ﲡﺮﺑﺔ ﺇﻧﺴﺎﻧﻴﺔ ﻏﺎﻳﺔ ﰲ ﺍﻟﻌﻤﻖ‬
‫ﻭ ﺍﻟﺘﻌﻘﻴﺪ‪.‬‬

‫‪ -1‬ﺍﻷﻋــــﺪﺍﺩ‪:‬‬

‫ﺍﻟﻔﻜﺮ ﺍﻷﺳﻄﻮﺭﻱ ﻓﻜﺮ ﻣﺮﻛﺐ ﻣﻦ ﺩﻻﻻﺕ ﻭ ﺭﻣﻮﺯ‪ ،‬ﲡﻌﻠﻪ ﳐﺘﻠﻔﺎ ﻋﻦ ﺍﻟﻔﻜﺮ ﺍﳌﻨﻄﻘﻲ‪ ،‬ﻟﺬﻟﻚ‬
‫" ﺇﻥ ﻟﻸﻋﺪﺍﺩ ﰲ ﺍﻟﻔﻜﺮ ﺍﻷﺳﻄﻮﺭﻱ ﻛﻴﺎﻧﺎ ﺧﺎﺻﺎ ﻭ ﻣﻌﻨﺎ ﻗﺪﺳﻴﺎ ﳚﻌﻠﻬﺎ ﳏﺎﻃﺔ ‪‬ﺎﻟﺔ ﺷﺒﻪ‬
‫ﺳﺤﺮﻳﺔ ﻭﻳﺴﻨﺪ ﺇﻟﻴﻬﺎ ﺧﻮﺍﺹ ﲡﻌﻠﻬﺎ ﺫﺍﺕ ﺗﺄﺛﲑ‪ 1".‬ﻭ ﻟﻴﺴﺖ ﻛﻞ ﺍﻷﻋﺪﺍﺩ ﺳﻮﺍﺀ ﺑﺴﻮﺍﺀ‪ ،‬ﺑﻞ‬
‫ﻫﻨﺎﻙ ﺃﻋﺪﺍﺩ ﻣﻌﻴﻨﺔ ﻣﻨﻬﺎ ﲤﺎﺭﺱ ﻧﻮﻋﺎ ﻣﻦ ﺍﻟﺴﺤﺮ ﻋﻠﻰ ﺣﻴﺎﺓ ﺍﻟﺒﺸﺮ‪ .‬ﺃﻋﺪﺍﺩ‪ ،‬ﺭﺻﺪﻫﺎ ﺍﻟﺒﺸﺮ‬
‫ﻟﺘﻜﻮﻥ ﺍﻟﺪﺍﻝ ﻋﻠﻰ ﻋﺎﱂ ﺃﺳﻄﻮﺭﻱ ﺛﺎﻭ ﺧﻠﻔﻬﺎ‪ ،‬ﺑﺴﺒﺐ ﺇﻧﺘﺸﺎﺭﻫﺎ ﰲ ﺍﻟﻜﻮﻥ‪ ،‬ﺇﻣﺎ ﻛﺪﻟﻴﻞ ﻋﻠﻰ‬
‫ﺍﳌﻮﺟﻮﺩﺍﺕ‪ ،‬ﺃﻭ ﻋﻠﻰ ﺃﺳﺎﺱ ﺍﻋﺘﻘﺎﺩ ﺃ‪‬ﺎ ﲡﻤﻊ ﺑﻌﺾ ﺍﻟﻌﻨﺎﺻﺮ ﺃﻭ ﺗﺆﻟﻒ ﺑﻴﻨﻬﺎ‪" ،‬ﻭﻟﺬﻟﻚ ﻛﺎﻥ‬
‫ﺍﻟﻌﺪﺩ ﺇﱃ ﺟﺎﻧﺐ ﺍﻟﻔﻀﺎﺀ ﻭ ﺍﻟﺰﻣﺎﻥ ﲟﺜﺎﺑﺔ ﺍﻟﻌﻨﺼﺮ ﺍﻟﺜﺎﻟﺚ ﺍﳌﺘﺤﻜﻢ ﰲ ﻫﻨﺪﺳﺔ ﺍﻟﻌﺎﱂ‬
‫ﺍﻷﺳﻄﻮﺭﻱ ﺑﻨﺎﺀﺍ ﻋﻠﻰ ﺃﻥ ﻛﻞ ﺗﺸﺎﻛﻞ ﺑﲔ ﳏﺘﻮﻳﲔ ﻻ ﻳﻌﺘﱪ ﳎﺮﺩ ﻋﻼﻗﺔ ﺑﻴﻨﻬﻤﺎ ﻭ ﺇﳕﺎ ﺻﻠﺔ‬
‫‪2‬‬
‫ﻓﺄﳘﻴﺘﻪ ﺗﻘﺎﺭﺏ‬ ‫ﺣﻘﻴﻘﻴﺔ ﲡﻤﻊ ﺑﻴﻨﻬﻤﺎ ﻭ ﺗﺮﺑﻂ ﺍﻟﻮﺍﺣﺪﺓ ﺇﱃ ﺃﺧﺮﻯ ﻓﺘﻀﻔﻲ ﺍﻻﻧﺴﺠﺎﻡ‪".‬‬
‫ﺃﳘﻴﺔ ﺍﻟﺰﻣﺎﻥ ﻭ ﺍﳌﻜﺎﻥ ﻷﻧﻪ ﳝﺜﻞ ﺍﳉﺎﻧﺐ ﺍﻟﻌﻘﻼﱐ ﺇﻥ ﺟﺎﺯ ﱄ ﺍﻟﺘﻌﺒﲑ ﰲ ﻫﺬﺍ ﺍﻟﻌﺎﱂ ﺍﻟﺬﻱ ﻫﻮ‬
‫ﻛﻞ ﺷﻲﺀ ﻏﲑ ﻛﻮﻧﻪ ﻋﻘﻼﻧﻴﺎ ﻋﻨﺪ ﺍﻟﺒﻌﺾ‪ ،‬ﻣﻦ ﺧﻼﻝ ﲤﺜﻴﻠﻬﺎ ﻟﻨﻈﺎﻡ ﺍﻟﻜﻮﻥ‪ ،‬ﻓﻬﻨﺎﻙ ﺃﻋﺪﺍﺩ‬
‫ﻣﻌﻴﻨﺔ ﺍﺧﺘﲑﺕ ﻟﻴﺲ ﻣﻦ ﺳﺒﻴﻞ ﺍﻟﺼﺪﻓﺔ ﻭ ﺇﳕﺎ ﻧﺘﻴﺠﺔ ﳌﻼﺣﻈﺔ ﺩﻗﻴﻘﺔ ﻟﻠﻜﻮﻥ‪ ،‬ﺗﻨﻢ ﻋﻦ ﻋﲔ‬

‫‪ -1‬ﳏﻤﺪ ﻋﺠﻴﻨﺔ‪ ،‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.196‬‬

‫‪ -2‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.196‬‬

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‫ا  اول‪....................................................................‬ه ا ‬

‫ﺭﺍﺻﺪﺓ ﻭ ﻋﻘﻞ ﻣﺘﻔﺘﺢ‪ ،‬ﻷﻥ ﺍﻟﻜﻮﻥ ﳏﻜﻮﻡ ﺑﺎﻷﺭﻗﺎﻡ ﺍﻟﱵ ﺗﺴﻬﺮ ﻋﻠﻰ ﺍﳊﺘﻤﻴﺎﺕ ﻭ ﺍﻟﱵ ﺑﺪﻭﺭﻫﺎ‬
‫ﺗﺴﲑ ﻫﺬﻩ ﺍﻵﻟﺔ ﺍﻟﻌﻈﻴﻤﺔ‪ .‬ﻭ ﻣﻦ ﺍﻷﻣﺜﻠﺔ‪ 3‬ﻋﻠﻰ ﺫﻟﻚ ﻟﺪﻳﻨﺎ‪:‬‬

‫‪ -‬ﺍﻟﺮﻗﻢ ﺃﺭﺑﻌﺔ‪ :‬ﻫﻨﺎﻙ ﺃﺭﺑﻊ ﺟﻬﺎﺕ‪ ،‬ﻓﺼﻮﻝ ﺃﺭﺑﻊ‪ ،‬ﺃﺭﺑﻊ ﻣﻮﺍﺩ ﻳﺘﻜﻮﻥ ﻣﻨﻬﺎ ﺍﻟﻜﻮﻥ‪:‬‬
‫ﻭ ﻫﻲ ﺍﻟﻨﺎﺭ‪ ،‬ﺍﻷﺭﺽ‪ ،‬ﺍﳌﺎﺀ‪ ،‬ﺍﳍﻮﺍﺀ‪ .‬ﻭ ﺃﺧﻼﻁ ﺃﺭﺑﻊ‪ :‬ﻭ ﻫﻲ ﺍﳌﺮﺓ‪ ،‬ﺍﻟﺒﻠﻐﻢ‪ ،‬ﺍﻟﺴﻮﺍﺩ‪،‬‬
‫ﺍﻟﺪﻡ‪...‬‬
‫‪ -‬ﺍﻟﺮﻗﻢ ﲬﺴﺔ‪ :‬ﻭ ﻫﻲ ﰲ ﺍﳊﻘﻴﻘﺔ ﺃﺭﺑﻌﺔ ﻣﻀﺎﻑ ﺇﻟﻴﻬﺎ ﻭﺍﺣﺪ‪ ،‬ﻭ ﻫﺬﺍ ﺍﻟﻮﺍﺣﺪ ﺇﳕﺎ ﻳﻜﻮﻥ‬
‫ﺍﳌﺮﻛﺰ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺃﻧﻪ ﺭﻗﻢ ﺣﺠﺐ ﻣﻦ ﺍﻟﻌﲔ ﺃﻭ ﻣﺎ ﺷﺎﺑﻪ‪ .‬ﻭ ﳒﺪ ﺧﺎﺻﻴﺘﻪ ﺍﻷﺧﲑﺓ‬
‫ﻫﺬﻩ ﻣﻨﺘﺸﺮﺓ ﺑﺸﺪﺓ ﰲ ﺍ‪‬ﺘﻤﻌﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ ﺇﱃ ﻳﻮﻣﻨﺎ ﻫﺬﺍ‪.‬‬
‫‪ -‬ﺍﻟﺮﻗﻢ ﺳﺒﻌﺔ‪ :‬ﻭ ﻫﻮ ﺃﺷﻬﺮﻫﺎ‪ :‬ﻓﺎﻷﻳﺎﻡ ﺳﺒﻌﺔ ‪ ،‬ﻭ ﺍﻷﺭﺍﺿﻲ ﺳﺒﻌﺔ‪ ،‬ﺍﻟﺴﻤﻮﺍﺕ ﺳﺒﻌﺔ‪،‬‬
‫ﻭ ﺣﱴ ﺍﳉﺒﺎﻝ ﻭ ﺍﻟﺒﺤﺎﺭ ﻭ ﺃﺑﻮﺍﺏ ﺍﳉﻨﺔ ﻭ ﺟﻬﻨﻢ ﻭ ﻏﲑﻫﺎ‪...‬‬

‫ﻛﺎﻧﺖ ﻫﺬﻩ ﺃﻫﻢ ﺍﻷﺭﻗﺎﻡ* ﻭ ﺃﺑﺮﺯﻫﺎ ﻭ ﻟﻜﻦ ﻛﻞ ﻣﺎ ﻳﻨﺘﺞ ﻋﻦ ﺩﳎﻬﺎ ﻭ ﺗﻮﻟﻴﻔﻬﺎ ﻟﻪ ﻧﻔﺲ ﺗﺄﺛﲑﻫﺎ‬
‫ﺃﻭ ﺣﱴ ﻟﻨﻘﻞ ﻟﻪ ﺗﺄﺛﲑ ﻣﻀﺎﻋﻒ ﳌﺎ ﻻ ﻭﻫﻲ ﰲ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ﻣﻀﺎﻋﻔﺔ ﺃﻭ ﻳﻌﻄﻲ ﺗﻨﻮﻋﺎ ﰲ‬
‫ﺗﺄﺛﲑﻫﺎ‪ .‬ﻛﻤﺎ ﳝﻜﻨﻨﺎ ﻣﻼﺣﻈﺔ ﻫﺬﺍ ﺍﻟﺘﺄﺛﲑ ﺑﻮﺿﻮﺡ ﺃﻛﺜﺮ ﻋﻨﺪﻣﺎ ﻳﺘﻌﻠﻖ ﺍﻷﻣﺮ ﺑﺎﻟﺘﻨﺠﻴﻢ‪ ،‬ﻓﻬﻮ‬
‫ﻣﺮﺗﺒﻂ ﻛﻤﺎ ﺃﺳﻠﻔﻨﺎ ﺍﻟﻘﻮﻝ ﲟﻴﻼﺩ ﺷﺨﺺ ﻣﺎ‪ ،‬ﰲ ﺗﺎﺭﻳﺦ ﳏﺪﺩ‪ ،‬ﻭ ﺯﻣﻦ ﳏﺪﺩ‪ ،‬ﻭ ﻧﻈﺎﻡ‬
‫ﺍﻟﻜﻮﺍﻛﺐ ﺍﻟﺴﻴﺎﺭﺓ ﰲ ﺫﻟﻚ ﺍﻟﻮﻗﺖ‪ ،‬ﻟﻴﺘﺤﺪﺩ ﻣﺼﲑﻩ‪ ،‬ﲟﻌﲎ ﻭﻟﺪ ﰲ ﺃﻱ ﻳﻮﻡ ﻣﻦ ﺍﻷﺳﺒﻮﻉ‪ ،‬ﰲ‬
‫ﺍﻟﻴﻮﻡ ﺍﻷﻭﻝ‪ ،‬ﺃﻡ ﺍﻟﺜﺎﱐ‪ ،‬ﺃﻡ ﺍﻟﺜﺎﻟﺚ‪ ...‬ﻭ ﻣﺎ ﺗﺄﺛﲑ ﺫﻟﻚ ﺍﻟﻴﻮﻡ‪ ،‬ﻣﻦ ﺧﻼﻝ ﺭﺻﻒ ﺍﻟﻜﻮﺍﻛﺐ ﺃﻭ‬
‫ﺭﻗﻢ ﺍﻟﻴﻮﻡ ﻛﻴﻮﻡ‪ ،‬ﻭ ﻣﺆﺧﺮﺍ ﻳﻜﺜﺮ ﺍﳊﺪﻳﺚ ﰲ ﺍﻟﻮﺳﺎﺋﻞ ﺍﻟﱵ ﺗﻌﺮﺽ ﻟﻠﺘﻨﺠﻴﻢ ) ﺍﳌﻮﺍﻗﻊ‬
‫ﺍﻹﻟﻜﺘﺮﻭﻧﻴﺔ ﺍﳌﺨﺘﺼﺔ‪ ،‬ﺍﳉﺮﺍﺋﺪ‪ ،‬ﻗﻨﻮﺍﺕ ﺍﻟﺒﺚ( ﻋﻦ ﺭﻗﻢ ﺍﳊﻆ‪ ،‬ﻛﺄﻥ ﻳﻘﻮﻟﻮﻥ ﻟﻚ ﺭﻗﻢ ﺣﻈﻚ‬

‫‪ -1‬ﳏﻤﺪ ﻋﺠﻴﻨﺔ‪.‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.198‬‬
‫*‪ -‬ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺃﻥ ﲢﺪﻳﺪ ﺍﻷﺭﻗﺎﻡ ﻭ ﻧﻮﻉ ﺗﺄﺛﲑﻫﺎ ﻣﺮﻫﻮﻥ ﺑﺮﺅﻳﺔ ﺍﳉﻤﺎﻋﺎﺕ ﺍﻟﺒﺸﺮﻳﺔ ﳍﺎ ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﺍﻋﺘﻘﺎﺩﺍ‪‬ﻢ ﺍﻷﺳﻄﻮﺭﻳﺔ‬
‫ﻭﻫﻲ ﲣﺘﻠﻒ ﻣﻦ ﳎﺘﻤﻊ ﺇﱃ ﺁﺧﺮ‪ ،‬ﻭﻟﻴﺲ ﻓﻘﻂ ﺍﻷﺭﻗﺎﻡ ﻛﻞ ﺍﻟﺮﻣﻮﺯ ﺍﻷﺳﻄﻮﺭﻳﺔ ﲣﺘﻠﻒ ﻣﻦ ﺑﻴﺌﺔ ﺇﱃ ﺃﺧﺮﻯ ﻭ ﻷﻧﻨﺎ ﺃﻋﻄﻴﻨﻬﺎ ﺑﻌﺪﺍ‬
‫ﳏﺪﺩﺍ ﻻ ﻳﻌﲏ ﺃﻧﻪ ﻣﻄﻠﻖ ﻭ ﺇﳕﺎ ﻛﺎﻥ ﺫﻟﻚ ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ ﻻ ﺍﳊﺼﺮ‪ ،‬ﻓﻘﻂ ﻟﺘﺤﺪﻳﺪ ﺍﻟﺒﻌﺪ ﺍﻷﺳﻄﻮﺭﻱ ﰲ ﻫﺬﻩ ﺍﻟﺮﻣﻮﺯ‪.‬‬

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‫ا  اول‪....................................................................‬ه ا ‬

‫ﻛﺬﺍ ﺃﻭ ﻛﺬﺍ‪ .‬ﻭ ﻫﻜﺬﺍ ﺑﺎﳌﻔﻬﻮﻡ ﺍﳊﺮﰲ ﻟﻠﻜﻠﻤﺔ ﻋﻠﻴﻚ ﺇﳒﺎﺯ ﻣﺎ ﻋﻠﻴﻚ ﺇﳒﺎﺯﻩ ﻣﻦ ﺃﻣﻮﺭ ﻣﻬﻤﺔ‬
‫ﰲ ﺍﳊﻴﺎﺓ ﰲ ﺫﻟﻚ ﺍﻟﻴﻮﻡ‪ ،‬ﻷﻥ ﺗﺄﺛﲑﻩ ﺇﳚﺎﰊ ﻋﻠﻰ ﺣﻴﺎﺗﻚ ﲟﻌﲎ ﺟﺎﻟﺐ ﻟﻠﺤﻆ ﻭ ﻋﻠﻴﻚ ﺇﺑﻘﺎﺀ‬
‫ﺍﺧﺘﻴﺎﺭﺍﺗﻚ ﰲ ﺣﺪﻭﺩ ﺫﻟﻚ ﺍﻟﻌﺪﺩ‪ .‬ﻭ ﰲ ﺫﻟﻚ ﻧﻮﻉ ﻣﻦ ﺍﻹﲢﺎﺩ ﻣﻊ ﺍﻟﻄﺒﻴﻌﺔ‪ ،‬ﻓﻤﻮﺍﻓﻘﺖ‬
‫ﺃﺭﻗﺎﻣﻬﺎ‪ ،‬ﺇﳕﺎ ﻫﻮ ﺍﺗﻔﺎﻕ ﺿﻤﲏ ﻳﻌﻘﺪﻩ ﺍﻹﻧﺴﺎﻥ ﻣﻌﻬﺎ ﰲ ﳏﺎﻭﻟﺔ ﻻﺗﻘﺎﺀ ﺷﺮﻫﺎ‪.‬‬

‫‪ -2‬ﺍﻷﻟــﻮﺍﻥ‪:‬‬

‫ﻭ ﻛﻤﺎ ﺍﻷﻋﺪﺍﺩ ﻣﻦ ﻗﺒﻠﻬﺎ‪ ،‬ﻟﻸﻟﻮﺍﻥ ﻭ ﻟﻴﺲ ﻛﻞ ﺍﻷﻟﻮﺍﻥ‪ ،‬ﺑﻞ ﻫﻨﺎﻙ ﺃﻟﻮﺍﻥ ﳏﺪﺩﺓ‪ ،‬ﻧﻮﻉ ﻣﻦ‬
‫ﺍﻟﺮﻣﺰﻳﺔ‪ ،‬ﻭ ﳍﺎ ﺩﻻﻻﺕ ﳐﺘﻠﻔﺔ ﻣﻦ ﺛﻘﺎﻓﺔ ﺇﱃ ﺃﺧﺮﻯ ﺑﺴﺒﺐ ﻣﺎ ﲤﺎﺭﺳﻪ ﻣﻦ ﺍﻟﺴﺤﺮ ﻋﻠﻰ‬
‫ﺣﻴﺎ‪‬ﻢ‪ ،‬ﻭ ﺍﻟﺪﻭﺭ ﺍﻟﺬﻱ ﺗﻠﻌﺒﻪ ﰲ ﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻟﻄﻘﻮﺳﻴﺔ‪ .‬ﻟﺬﻟﻚ" ﺗﻀﻄﻠﻊ ﺍﻷﻟﻮﺍﻥ ‪ ...‬ﺑﻨﻔﺲ‬
‫ﺍﳌﻬﻤﺔ ﺍﻟﱵ ﻳﻀﻄﻠﻊ ‪‬ﺎ ﺍﳌﻜﺎﻥ ﻭ ﺍﻟﺰﻣﺎﻥ ﻭ ﺍﻟﻌﺪﺩ ﻻ ﲟﻌﲎ ﺃ‪‬ﺎ ﺇﻃﺎﺭ ﻳﻨﺪﺭﺝ ﻓﻴﻪ ﺍﻟﻮﺟﻮﺩ ﻭ ﻛﻤﺎ‬
‫ﻫﻮ ﺍﻟﺸﺄﻥ ﺑﺎﻟﻨﺴﺒﺔ ﺇﱃ ﺍﻟﻔﻀﺎﺀ ﺃﻭ ﺃ‪‬ﺎ ﺇﻃﺎﺭ ﻟﻠﺼﲑﻭﺭﺓ ﻛﻤﺎ ﻫﻮ ﺍﻟﺸﺄﻥ ﺑﺎﻟﻨﺴﺒﺔ ﺇﱃ ﺍﻟﺰﻣﺎﻥ‬
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‫ﺇﺫ ﺗﻘﻴﻢ ﻛﻞ ﻣﻦ ﺍﻷﻟﻮﺍﻥ‬ ‫ﻭ ﻟﻜﻦ ﻋﻠﻰ ﺃﺳﺎﺱ ﺃ‪‬ﺎ ﺗﻮﺣﺪ ﻳﻦ ﳐﺘﻠﻒ ﻣﻈﺎﻫﺮ ﺍﻟﻌﺎﱂ‪".‬‬
‫ﻭ ﺍﻷﻋﺪﺍﺩ ﺭﻭﺍﺑﻂ‪ ،‬ﻫﺬﺍ ﺍﻟﻌﺎﱂ ﻭ ﺗﻜﻤﻞ ﻛﻼ ﻣﻦ ﻣﻘﻮﻻﺕ ﺍﳌﻜﺎﻥ ﻭ ﺍﻟﺰﻣﺎﻥ‪ ،‬ﻭ ﲡﻌﻞ ﳍﻤﺎ‬
‫ﺗﺄﺛﲑﺍ ﻣﻠﻤﻮﺳﺎ‪ ،‬ﻭ ﺳﺒﺒﻴﺔ‪ .‬ﻭﻗﺪ ﺩﺧﻠﺖ ﺍﻷﻟﻮﺍﻥ ﰲ ﻛﻞ ﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻟﺸﻌﻴﺒﺔ‪ ،‬ﻛﺎﻟﻄﻘﻮﺱ‬
‫ﺍﻹﺣﺘﻔﺎﻟﻴﺔ ﲟﺮﺍﺳﻢ ﺍﻟﺰﻭﺍﺝ‪ ،‬ﺑﺘﺤﻀﲑ ﺍﳌﻮﺗﻰ ﻟﻠﺮﺣﻠﺔ ﺍﻷﺑﺪﻳﺔ‪ ،‬ﺍﻟﻮﻻﺩﺍﺕ‪ ،‬ﻭ ﺣﱴ ﰲ ﺑﻌﺾ‬
‫ﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻟﻄﺒﻴﺔ‪ ...‬ﻭ ﻏﲑﻫﺎ‪ .‬ﻭ ﻣﻦ ﺍﻷﻣﺜﻠﺔ‪ 2‬ﻋﻠﻰ ﺫﻟﻚ‪:‬‬

‫‪ -1‬ﳏﻤﺪ ﻋﺠﻴﻨﺔ ﻡ‪.‬ﺱ ﺹ ‪.199‬‬

‫‪ -2‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.201-200‬‬

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‫‪ -‬ﺍﻟﻠﻮﻧﲔ ﺍﻷﺑﻴﺾ ﻭ ﺍﻷﺳﻮﺩ‪ :‬ﳒﺪﳘﺎ ﺗﻘﺮﻳﺒﺎ ﰲ ﻛﻞ ﺗﻠﻚ ﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻵﻧﻔﺔ ﺍﻟﺬﻛﺮ‪،‬‬

‫ﻓﺎﻷﺑﻴﺾ ﺭﻣﺰ ﻟﻠﺴﻌﺎﺩﺓ‪ ،‬ﺍﻟﻌﺎﱂ ﺍﻟﻌﻠﻮﻱ‪ ،‬ﺍﳊﻴﺎﺓ ﺍﻷﺑﺪﻳﺔ‪ ،‬ﻟﺒﺪﺍﻳﺔ ﺍﻟﺮﺣﻠﺔ ﺑﻌﺪ ﺍﳌﻮﺕ‬
‫ﺭﻣﺰﻳﺔ ﻟﻮﻻﺩﺓ ﰲ ﻋﺎﱂ ﺁﺧﺮ‪ .‬ﺃﻣﺎ ﺍﻷﺳﻮﺩ‪ ،‬ﻓﻬﻮ ﺭﻣﺰ ﺍﻟﻌﺎﱂ ﺍﻟﺴﻔﻠﻲ‪ ،‬ﺍﻟﺸﻘﺎﺀ‪ ،‬ﺍﳊﺰﻥ‪،‬‬
‫ﻛﻤﺎ ﺃﻧﻪ ﺭﻣﺰ ﻟﻠﺴﺤﺮ ﺍﻷﺳﻮﺩ‪ ،‬ﺳﺤﺮ ﺍﻟﻌﺎﱂ ﺍﻟﺴﻔﻠﻲ‪ ،‬ﻋﻠﻰ ﻋﻜﺲ ﺍﻟﺴﺤﺮ ﺍﻷﺑﻴﺾ‪،‬‬
‫ﺳﺤﺮ ﺍﻟﻌﺎﱂ ﺍﻟﻌﻠﻮﻱ ﺍﻟﺬﻱ ﻳﻌﺎﰿ ﺍﻟﻨﺎﺱ ﻭ ﻳﻀﻤﻦ ﳍﻢ ﺍﻟﺴﻌﺎﺩﺓ ﻭ ﺍﻹﺳﺘﻘﺮﺍﺭ ﻓﺈﻥ ﻫﺬﺍ‬
‫ﺍﻟﺴﺤﺮ ﺟﺎﻟﺐ ﻟﻸﻣﺮﺍﺽ ﻭ ﺍﳌﺼﺎﺋﺐ‪ ،‬ﻭﺳﺒﺐ ﺷﻘﺎﺀ ﺍﻟﻨﺎﺱ‪ ،‬ﻭ ﺃﺩﺍﺓ ﺍﻧﺘﻘﺎﻡ ﰲ ﻳﺪ‬
‫ﺍﻟﺒﻌﺾ‪.‬‬
‫‪ -‬ﺍﻟﻠﻮﻥ ﺍﻷﺧﻀﺮ‪ :‬ﻫﻮ ﻗﺮﻳﻨﺔ ﺍﳊﻴﺎﺓ‪ ،‬ﺭﻣﺰ ﻟﻠﺘﺠﺪﺩ ﻭ ﺍﳋﲑ‪ ،‬ﺣﻴﺚ ﻧﻼﺣﻆ ﻟﻪ ﻫﺬﺍ ﺍﻟﺘﺄﺛﲑ‬
‫ﰲ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻹﺳﻼﻣﻴﺔ ﻋﺎﻣﺔ ﻭ ﰲ ﺍﻟﺜﻘﺎﻓﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺧﺎﺻﺔ‪ ،‬ﻓﻬﻮ ﺭﻣﺰ ﺍﻷﻭﻟﻴﺎﺀ‬
‫ﺍﻟﺼﺎﳊﲔ‪ ،‬ﺇﺫ ﺗﻘﻮﻡ ﺍﻟﻄﻘﻮﺱ ﺍﻻﺣﺘﻔﺎﻟﻴﺔ ‪‬ﻢ ﻋﻠﻰ ﻃﻼﺀ ﺟﺪﺭﺍﻥ ﺍﻷﺿﺮﺣﺔ ‪‬ﺬﺍ ﺍﻟﻠﻮﻥ‪،‬‬
‫ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﻛﺴﻮﺓ ﺍﻟﻘﱪ ﺑﻪ‪ ،‬ﻭ ﺿﺮﻭﺭﺓ ﺃﺧﺬ ﺍﻟﺰﺍﺋﺮ ﻗﻄﻌﺔ ﻗﻤﺎﺵ ﺃﺧﻀﺮ ﻣﻦ ﺍﳌﻘﺎﻡ‪،‬‬
‫ﺣﺮﺻﺎ ﻋﻠﻰ ﺍﺳﺘﻤﺮﺍﺭﻳﺔ ﻫﺬﺍ ﺍﻻﺭﺗﺒﺎﻁ ﺑﻴﻨﻪ ﻭ ﺑﲔ ﺍﻟﻮﱄ ﻭ ﺿﻤﺎﻧﺎ ﻟﻘﻀﺎﺀ ﺍﳊﺎﺟﺔ‪.‬‬
‫‪ -‬ﺍﻟﻠﻮﻧﲔ ﺍﻷﺯﺭﻕ ﻭ ﺍﻷﲪﺮ‪ :‬ﳘﺎ ﻋﻠﻰ ﺍﻟﻌﻤﻮﻡ ﻟﻮﻧﺎﻥ ﻣﺸﺆﻣﺎﻥ ﰲ ﺍﳊﻀﺎﺭﺓ ﺍﻟﻌﺮﺑﻴﺔ‬
‫ﺍﻟﻘﺪﳝﺔ‪ ،‬ﺇﻻ ﺃﻧﻪ ﻫﻨﺎﻙ ﺑﻌﺾ ﺍﳌﻤﺎﺭﺳﺎﺕ ﻟﻠﺘﺪﺍﻭﻱ‪ ،‬ﺑﻠﺒﺲ ﺍﻷﲪﺮ ﺃﻭ ﻭﺿﻌﻪ ﰲ ﺟﺰﺀ ﻣﺎ‬
‫ﻣﻦ ﺍﳉﺴﺪ ﻃﻠﺒﺎ ﻟﻠﺸﻔﺎﺀ‪ ،‬ﻭ ﳒﺪ ﺫﻟﻚ ﺧﺼﻮﺻﺎ ﰲ ﺍﻟﺜﻘﺎﻓﺔ ﺍﳉﺰﺍﺋﺮﻳﺔ ﺍﶈﻠﻴﺔ ﻭ ﺛﻘﺎﻓﺎﺕ‬
‫ﺍﳌﻐﺮﺏ ﺍﻟﻌﺮﰊ‪ ،‬ﻋﻠﻰ ﻋﻜﺲ ﺍﳊﻀﺎﺭﺍﺕ ﺍﻵﺳﻴﻮﻳﺔ‪ ،‬ﻓﻠﻬﻤﺎ ﺣﻀﻮﺓ ﻭ ﻗﺪﺭ ﻛﺒﲑﻳﻦ‬
‫ﺧﺼﻮﺻﺎ ﻓﻴﻤﺎ ﺗﻌﻠﻖ ﻣﻨﻬﺎ ﺑﻄﻘﻮﺱ ﺍﻟﺰﻭﺍﺝ‪.‬‬

‫ﻭﻏﲑﻫﺎ ﻣﻦ ﺍﻷﻟﻮﺍﻥ ﺍﻟﱵ ﺗﻌﻄﻲ ﺩﻻﻻﺕ ﳐﺘﻠﻔﺔ ﺑﺎﺧﺘﻼﻑ ﺍﳊﻀﺎﺭﺍﺕ ﻭ ﻣﻌﺘﻘﺪﺍ‪‬ﺎ‪ ،‬ﻭﻋﻼﻗﺔ‬
‫ﺍﻷﻟﻮﺍﻥ ﺑﺎﻹﻧﺴﺎﻥ ﻋﻼﻗﺘﻪ ﻣﻊ ﺍﻟﻄﺒﻴﻌﺔ‪ ،‬ﻭﲢﺪﺩ ﻃﺒﻴﻌﺔ ﻫﺬﻩ ﺍﻟﻌﻼﻗﺔ ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﲡﺎﺭﺏ ﺍﻹﻧﺴﺎﻥ‬
‫ﻣﻌﻬﺎ ﻭ ﻣﻼﺣﻈﺎﺗﻪ ‪ ،‬ﻓﺘﻔﻀﻴﻠﻪ ﻟﺒﻌﺾ ﺍﻷﻟﻮﺍﻥ ﺩﻭﻧﺎ ﻋﻦ ﻏﲑﻫﺎ ﺭﺑﻂ ﺑﲔ ﻣﺎ ﻳﺸﻜﻠﻪ ﻣﻦ‬
‫ﲡﺎﺭﺏ ﻭ ﺃﻓﻜﺎﺭ ﰲ ﺻﺮﺍﻋﻪ ﻣﻊ ﺍﻟﻄﺒﻴﻌﺔ ﻭ ﻣﻊ ﺍﻟﻄﺒﻴﻌﺔ ﻧﻔﺴﻬﺎ‪ .‬ﻓﻤﺜﻼ ﺍﻟﻠﻴﻞ ﻇﻼﻡ‪ ،‬ﻭ ﻋﻨﺪﻣﺎ‬

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‫ﺗﺘﻠﺒﺪ ﺍﻟﺴﻤﺎﺀ ﺑﺎﻟﻐﻴﻮﻡ ﺗﻈﻠﻢ‪ ...‬ﻭ ﻏﲑﻫﺎ‪ ،‬ﻓﻔﻲ ﺣﺎﻻﺕ ﻛﻬﺬﻩ ﻳﻔﻘﺪ ﺍﻹﻧﺴﺎﻥ ﺳﻴﻄﺮﺗﻪ ﻋﻠﻰ‬
‫ﺍﻟﻄﺒﻴﻌﺔ ﻟﺬﻟﻚ ﺍﻷﻣﺮ ﺳﻲﺀ ﻭ ﻗﺪ ﺭﺑﻄﻪ ﺑﺎﻟﻠﻮﻥ ﻓﺄﺻﺒﺢ ﻛﻞ ﻣﺎ ﻳﺆﺫﻱ ﺍﻹﻧﺴﺎﻥ ﺃﻭ ﻳﺸﻖ ﻋﻠﻴﻪ‬
‫ﺃﺳﻮﺩﺍ ﻟﻮﻧﺎ ﺃﻭ ﻗﻴﻤﺔ‪ .‬ﻭ ﻧﻔﺲ ﺍﻟﺸﻲﺀ ﳚﺮﻱ ﻋﻠﻰ ﺑﺎﻗﻲ ﺍﻷﻟﻮﺍﻥ‪ .‬ﻭ ﺑﺬﻟﻚ ﳒﺪ ﺃﻥ ﺍﻹﻧﺴﺎﻥ‬
‫ﺻﻨﻒ ﺍﻷﻟﻮﺍﻥ ﺍﻧﻄﻼﻗﺎ ﳑﺎ ﺍﺧﺘﱪﻩ ﰲ ﺍﻟﻄﺒﻴﻌﺔ ﻓﻬﻲ ﻣﻠﻬﻤﻪ ﺍﻷﻭﻝ ﻭ ﺍﻷﺑﺪﻱ‪.‬‬

‫‪ -3‬ﺍﻷﺳـــﻤــــﺎﺀ‪:‬‬

‫ﻛﺎﻧﺖ ﺃﲰﺎﺀﻫﻢ ﺗﺘﻠﻰ ﰲ ﺍﳌﻌﺎﺑﺪ ﰲ ﺟﻮ ﳝﻠﺆﻩ ﺍﳋﻀﻮﻉ ﻭ ﺍﻟﺘﺴﻠﻴﻢ‪ ،‬ﻟﻄﺎﳌﺎ ﳎﺪﻭﺍ ﻭ ﻗﺪﺳﻮﺍ‬
‫ﻭ ﻗﺪﻣﺖ ﳍﻢ ﺍﻷﺿﺎﺣﻲ ﻋﻠﻰ ﺍﺧﺘﻼﻑ ﺃﻧﻮﺍﻋﻬﺎ )ﺑﺸﺮ‪ ،‬ﺃﻃﻌﻤﺔ‪ ،‬ﺣﻴﻮﺍﻧﺎﺕ‪ ،(...‬ﺃﺻﺒﺤﻮﺍ ﺻﻠﺔ‬
‫ﺍﻟﻮﺻﻞ ﺑﲔ ﺍﻹﻧﺴﺎﻥ ﻭ ﺍﻟﻄﺒﻴﻌﺔ‪ ،‬ﻛﻞ ﻭﺍﺣﺪ ﻣﻨﻬﻢ ﺃﻧﻴﻂ ﺑﻪ ﻋﻤﻞ ﻣﺎ‪ ،‬ﻭ ﺃﻟﺼﻖ ﺑﻪ ﺍﺳﻢ ﻣﺎ‪،‬‬
‫ﻭ ﺭﻏﻢ ﺷﺴﺎﻋﺔ ﺍﳌﺴﺎﻓﺔ ﺍﻟﺰﻣﻨﻴﺔ ﺍﻟﱵ ﺗﻔﺼﻞ ﺑﻴﻨﻨﺎ ﻭ ﺑﻴﻨﻬﻢ ﺇﻻ ﺃﻧﻨﺎ ﺗﻌﺮﻓﻨﺎ ﻋﻠﻴﻬﻢ‪ ،‬ﻋﻠﻰ ﻃﺒﺎﻋﻬﻢ‪،‬‬
‫ﲰﺎ‪‬ﻢ‪ ،‬ﺃﺩﻭﺍﺭﻫﻢ ﺍﻟﱵ ﻟﻌﺒﻮﻫﺎ ﰲ ﺣﻴﺎﺓ ﺍﳌﺆﻣﻨﲔ ‪‬ﻢ‪ ،‬ﺭﻏﻢ ﺃﻥ ﺍﻷﻟﻮﺍﺡ ﺍﻟﱵ ﺧﻠﺪﺕ ﻋﻠﻴﻬﺎ‬
‫ﻣﺂﺛﺮﻫﻢ ﱂ ﺗﺴﻠﻢ ﻣﻦ ﺍﻟﺰﻣﻦ ﻭ ﺳﻠﻄﺎﻧﻪ‪ ،‬ﻓﻠﻢ ﺗﻌﻄﻴﻨﺎ ﻣﻦ ﺃﺧﺒﺎﺭﻫﻢ ﺇﻻ ﻣﺴﺤﺖ ﺿﺒﺎﺑﻴﺔ ﺗﻜﺎﺩ‬
‫ﲣﺒﻮ ﲢﺖ ﻭﺗﲑﺓ ﺍﻟﺒﺤﺚ ﻭ ﺍﻟﺘﻌﻄﺶ ﻟﻠﻤﻌﺮﻓﺔ ﺍﳌﺘﻨﺎﻣﻴﲔ‪ ،‬ﺇﻻ ﺃﻥ ﺃﲰﺎﺀﻫﻢ ﺍﻟﱵ ﺣﻔﺮﺕ ﻋﻠﻰ ﺗﻠﻚ‬
‫ﺍﻷﻟﻮﺍﺡ‪ ،‬ﻭ ﺍﻟﱵ ﺃﻃﻠﻘﺖ ﻋﻠﻰ ﻏﲑﻫﻢ ﻛﻤﺴﻤﻴﺎﺕ ﺗﺪﻝ ﻋﻠﻰ ﻭﺟﻮﺩﻫﻢ ﰲ ﻓﺘﺮﺓ ﻣﺎ‪ ،‬ﻗﺪ ﺳﻠﻤﺖ‬
‫ﻣﻦ ﻭﻃﺄﺕ ﺍﻟﺰﻣﻦ ﻭ ﺳﻄﻮﺗﻪ ﻭ ﻛﺎﻧﺖ ﺍﻟﺴﺒﻴﻞ ﺇﻟﻴﻬﻢ‪.‬‬

‫ﺇﻥ ﺍﻷﺳﻄﻮﺭﺓ ﻧﻈﺎﻡ ﺭﻣﺰﻱ ﻣﻌﻘﺪ‪ ،‬ﻟﻜﻨﻬﺎ ﻭ ﻟﻜﻲ ﺗﻀﻤﻦ ﺍﺳﺘﻤﺮﺍﺭﻳﺘﻬﺎ ﲤﻜﻨﺖ ﻣﻦ ﺣﺼﺮ‬
‫ﻧﻔﺴﻬﺎ ﺩﺍﺧﻞ ﺃﲰﺎﺀ ﺃﺑﻄﺎﳍﺎ ﺇﺫ "ﺃﻥ ﺍﻻﺳﻢ ﰲ ﺍﻷﺳﻄﻮﺭﺓ ﻫﻮ ﰲ ﺍﻟﻐﺎﻟﺐ ﻟﻘﺐ ﻳﺸﺘﻖ ﻣﻦ ﻭﺍﻗﻊ‬
‫ﺃﺣﺪﺍﺙ ﺍﻟﻘﺼﺔ ﺍﻟﻮﺍﺭﺩﺓ ﻓﻴﻬﺎ ﻭ ﻳﺘﻨﺎﺳﺐ ﻣﻊ ﺍﻟﺪﻭﺭ ﺍﻟﺬﻱ ﻳﻀﻄﻠﻊ ﺑﻪ ﺻﺎﺣﺒﻪ‪ 1".‬ﻭ ﻛﺄﻥ‬

‫‪ -1‬ﺳﻠﺴﻠﺔ ﻋﻨﺪﻣﺎ ﻧﻄﻖ ﺍﻟﺴﺮﺍﺓ‪ :‬ﻡ‪.‬ﺱ‪.‬ﺹ ‪.199-198‬‬

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‫ﺍﻟﺸﺨﺼﻴﺔ ﺍﻣﺘﺰﺟﺖ ﻣﻊ ﺍﲰﻬﺎ ﻓﺄﺻﺒﺤﺎ ﻭﺍﺣﺪﺍ‪ ،‬ﻓﺎﻟﺸﺨﺼﻴﺔ ﲡﺴﻴﺪ ﻟﻼﺳﻢ‪ ،‬ﻭ ﺍﻻﺳﻢ ﺻﻔﺔ‬
‫ﺟﻮﻫﺮﻳﺔ ﰲ ﺍﻟﺸﺨﺼﻴﺔ ﻭ ﻫﻜﺬﺍ ﻻ ﳝﻜﻦ ﺗﻔﺮﻗﺔ ﺍﻻﺳﻢ ﻋﻦ ﺻﺎﺣﺒﻪ‪ *.‬ﰒ ﺇﻧﻪ ﻋﻨﺪﻣﺎ ﲰﻴﺖ‬
‫ﺍﻟﺸﺨﻮﺹ ﺍﻷﺳﻄﻮﺭﻳﺔ ﲟﺴﻤﻴﺎﺕ ﺗﻨﺎﺳﺐ ﻭ ﻇﻴﻔﺘﻬﺎ ﻭ ﺩﻭﺭﻫﺎ ﰲ ﺗﻔﻌﻴﻞ ﺍﻷﺣﺪﺍﺙ ﺃﺻﺒﺤﺖ‬
‫ﺍﻷﺳﻄﻮﺭﺓ ﻣﻠﻤﻮﺳﺔ ﻷﻥ " ﺃﲜﺪﻳﺔ ﺍﻷﺳﻄﻮﺭﺓ ﻣﻦ ﻗﻮﻯ ﺍﻟﻄﺒﻴﻌﺔ ﻭ ﻇﻮﺍﻫﺮﻫﺎ ﻗﺪ ﺗﺸﺨﺼﺖ‬
‫ﺣﺎﻝ ﺗﺪﻭﻳﻨﻬﺎ ﻭ ﺃﺳﻄﺮ‪‬ﺎ ﰲ ﺃﲰﺎﺀ ﺃﻓﺮﺍﺩ‪ 1".‬ﻓﺈﻗﺒﺎﻝ ﺍﻟﺪﺍﺭﺳﲔ ﻋﻠﻰ ﺗﺘﺒﻊ ﺃﲰﺎﺀ ﺍﻟﺸﺨﻮﺹ‬
‫ﻭﺗﻄﻮﺭﻫﺎ ﻋﱪ ﺍﳌﺮﺍﺣﻞ ﺍﻟﺰﻣﻨﻴﺔ‪ ،‬ﻭ ﻋﱪ ﺍﻧﺘﻘﺎﳍﺎ ﻣﻦ ﻣﻜﺎﻥ ﺇﱃ ﺁﺧﺮ ﻣﺎ ﻛﺎﻥ ﺇﻻ ﻷﻥ‬
‫"‪ ...‬ﻣﻔﺎﺗﻴﺢ ﻓﻚ ﺍﻷﺳﺎﻃﲑ ﻻ ﻳﻜﻮﻥ ﺇﻻ ﻋﱪ ﻓﻬﻢ ﺃﺑﻄﺎﳍﺎ ﻭ ﺷﺨﺼﻴﺎ‪‬ﺎ ﻭ ﺭﺑﻂ ﺍﻷﲰﺎﺀ ﺑﻮﻗﺎﺋﻊ‬
‫ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﻓﺎﻷﲰﺎﺀ ﰲ ﺍﻷﺳﻄﻮﺭﺓ ﻟﻴﺴﺖ ﺍﻋﺘﺒﺎﻃﻴﺔ ﺑﻞ ﻗﺼﺪﻳﺔ ﻭ ﻫﻲ ﻣﻔﺘﺎﺡ ﻭ ﺭﻭﺡ‬
‫ﺍﻷﺳﻄﻮﺭﺓ‪ 2".‬ﻟﺬﻟﻚ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﺃﻥ ﻧﻔﻬﻢ ﺍﻷﺳﻄﻮﺭﺓ ﻋﻠﻰ ﺃ‪‬ﺎ ﻧﻈﺎﻡ ﻣﺸﻔﺮ‪ ،‬ﻣﻔﺎﺗﻴﺢ ﻓﻚ‬
‫ﺷﻔﺮﺗﻪ ﺗﻜﻤﻦ ﰲ ﺍﻷﲰﺎﺀ ﻭ ﺩﻻﻻ‪‬ﺎ‪ .‬ﻭ ﻛﻠﻤﺎ ﺍﺑﺘﻌﺪﺕ ﻋﻨﺎ ﺍﻷﺳﺎﻃﲑ ﺯﻣﻨﻴﺎ‪ ،‬ﻛﻠﻤﺎ ﺗﻀﺎﻋﻔﺖ‬
‫ﺍﳌﻬﻤﺔ ﺍﳌﻠﻘﺎﺓ ﻋﻠﻰ ﻋﺎﺗﻖ ﺍﻷﲰﺎﺀ ﺍﻟﻮﺍﺭﺩﺓ ﻓﻴﻬﺎ ﰲ ﺇﻋﺎﺩﺓ ﺑﻨﺎﺀﻫﺎ ﻭ ﲡﺴﻴﺪﻫﺎ‪.‬‬

‫ﺍﻋﺘﻘﺪ ﺃﻥ ﺻﻔﺔ ﺍﻟﻘﺪﺍﺳﺔ ﻗﺪ ﺧﺪﻣﺖ ﺍﻷﺳﻄﻮﺭﺓ ﺑﺸﻜﻞ ﻛﺒﲑ‪ ،‬ﺇﺫ ﻛﺎﻧﺖ ﺍﻟﺪﺭﻉ ﺍﻟﺬﻱ ﲪﻰ‬
‫ﺷﺨﻮﺻﻬﺎ ﺑﺎﶈﺎﻓﻈﺔ ﻋﻠﻰ ﺃﲰﺎﺀﻫﻢ ﻭ ﻣﻨﻌﻬﺎ ﻣﻦ ﺍﻻﻧﺪﺛﺎﺭ‪ ،‬ﻭ ﻣﻨﻊ ﺗﺴﻠﻂ ﺍﻟﺰﻣﻦ ﻋﻠﻴﻬﺎ‪،‬‬
‫ﻭ ﺣﺎﻓﻈﺔ ﺍﻷﲰﺎﺀ ﺑﺪﻭﺭﻫﺎ ﻋﻠﻰ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﺛﻨﺎﻳﺎﻫﺎ ﻭ ﺿﻤﻨﺖ ﺑﺬﻟﻚ ﺍﺳﺘﻤﺮﺍﺭﻳﺘﻬﺎ ﺑﻐﺾ‬

‫‪ -1‬ﺳﻠﺴﻠﺔ ﻋﻨﺪﻣﺎ ﻧﻄﻖ ﺍﻟﺴﺮﺍﺓ‪ :‬ﻡ‪.‬ﺱ‪.‬ﺹ ﺹ‪.198 .‬‬

‫‪*- « que le nom et l’être entretiennent un rapport intérieur et nécessaire. Que le‬‬
‫‪nom ne désigne pas seulement l’être, mais qu’il soit lui-même et que la force‬‬
‫‪de l’être soit contenue en lui… » .‬‬

‫‪Ernest cassirer : « langage et mythe, à propos des noms des dieux », traduit par les‬‬
‫‪éditions minuit, paris.p.12‬‬

‫ﺳﻠﺴﻠﺔ ﻋﻨﺪﻣﺎ ﻧﻄﻖ ﺍﻟﺴﺮﺍﺓ‪ :‬ﻡ‪.‬ﻥ‪ ،‬ﺹ‪.199‬‬ ‫‪-2‬‬

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‫ﺍﻟﻨﻈﺮ ﻋﻤﺎ ﻳﻘﺎﻝ ﻋﻦ ﻫﺎﺗﲔ ﺍﻟﺼﻔﺘﲔ ) ﺍﻟﻘﺪﺍﺳﺔ ﻭ ﺍﻻﺳﺘﻤﺮﺍﺭﻳﺔ(‪ .‬ﻷﻥ "ﺑﺎﺭﺕ" ﺣﺎﻭﻝ ﺳﻠﺦ‬
‫ﻫﺎﺗﲔ ﺍﻟﺼﻔﺘﲔ ﻋﻦ ﺍﻷﺳﻄﻮﺭﺓ ﻣﻦ ﻣﻨﻄﻠﻖ ﺃﻥ ﺍﻟﻜﻮﻥ ﳛﺘﻮﻱ ﻋﻠﻰ ﻃﺎﻗﺎﺕ ﺇﳛﺎﺋﻴﺔ ﻣﺘﺠﺪﺩﺓ‪ ،‬ﺍﻧﻪ‬
‫ﳝﻜﻦ ﺧﻠﻖ ﺃﺳﺎﻃﲑ ﺟﺪﻳﺪﺓ‪ ،‬ﻭ ﺃﻧﻪ ﻳﻌﺘﻘﺪ ﺑﻮﺟﻮﺩ ﺃﺳﺎﻃﲑ ﻗﺪﳝﺔ ﻭﻟﻴﺴﺖ ﺃﺑﺪﻳﺔ ﻭﺫﻟﻚ ﻣﻦ‬
‫ﺧﻼﻝ ﺗﻌﺎﻣﻠﻪ ﻣﻊ ﺍﳋﻄﺎﺏ ﺍﻷﺳﻄﻮﺭﻱ ﺗﻌﺎﻣﻠﻪ ﻣﻊ ﺍﳋﻄﺎﺏ ﺍﻷﺩﰊ‪ *.‬ﺻﺮﺍﺣﺔ ﻻ ﺃﻗﺮ ﺑﺮﺃﻳﻪ ﻫﺬﺍ‬
‫ﻟﺴﺒﺒﲔ‪ ،‬ﺃﻭﻻ‪ :‬ﻻ ﳝﻜﻦ ﺗﺴﻤﻴﺔ ﺍﻷﺳﺎﻃﲑ "ﺑﺎﳉﺪﻳﺪﺓ" ﲟﻌﲎ ﻣﺒﺘﻜﺮﺓ‪ ،‬ﺑﻞ "ﻭﻟﻴﺪﺓ" ﻷﻥ ﻣﺎ ﻗﺒﻠﻬﺎ‬
‫ﻣﻦ ﺃﺳﺎﻃﲑ ﻗﺪ ﺃﺳﻬﻢ ﺑﺸﻜﻞ ﺃﻭ ﺑﺂﺧﺮ ﰲ ﻇﻬﻮﺭﻫﺎ‪ ،‬ﻭ ﺛﺎﻧﻴﺎ ‪ :‬ﻻ ﳝﻜﻦ ﻧﻜﺮﺍﻥ ﺣﻘﻴﻘﺔ ﺃﻥ‬
‫ﻣﻌﻈﻢ ﺍﻷﺳﺎﻃﲑ ﻗﺪ ﻭﺻﻠﺘﻨﺎ ﰲ ﲪﻮﻻﺕ ﺃﺩﺑﻴﺔ ﻟﻜﻦ ﻫﺬﺍ ﻻ ﻳﻨﻔﻲ ﺗﻔﺮﺩﻫﺎ ﻭ ﺧﺼﻮﺻﻴﺘﻬﺎ‪ .‬ﰒ‬
‫ﺇﻥ ﻫﺬﺍ ﺍﻷﻣﺮ ﻗﺪ ﻳﻔﻘﺪ ﺍﻷﲰﺎﺀ ﺩﻭﺭﻫﺎ ﺍﳉﻮﻫﺮﻱ ﻟﺘﺼﺒﺢ ﳎﺮﺩ ﻣﺴﻤﻴﺎﺕ ﲣﺘﻠﻒ ﺑﺎﺧﺘﻼﻑ‬
‫ﻧﻮﻉ ﺍﻟﻨﺺ ﻭ ﺭﺅﻳﺘﻪ‪ ،‬ﻭ ﻣﻊ ﺍﻟﻮﻗﺖ ﺗﻔﻘﺪ ﻓﺘﺤﺼﻞ ﻗﻄﻴﻌﺔ ﻭ ﲣﺘﻔﻲ ﻣﺮﺍﺣﻞ ﻫﺎﻣﺔ ﻣﻦ ﺣﻴﺎﺓ‬
‫ﺍﻟﺒﺸﺮ ﻗﺪ ﺃﺭﺧﺖ ﳍﺎ ﺍﻷﺳﺎﻃﲑ‪.‬‬

‫ﰒ ﺇﻥ ﺍﻻﺳﻢ" ﻳﻘﺘﻀﻲ ﻭﺟﻮﺩ ﺷﺨﺼﻴﺔ ﻣﺎ‪ ،‬ﳝﻜﻦ ﺃﻥ ﻧﻮﺭﺩ ﺍﻟﻜﻠﻤﺔ ﺣﲔ ﻧﺘﺤﺪﺙ ﻋﻦ ﺃﻱ‬
‫ﺷﻲﺀ ﺃﻣﺎ ﺇﻳﺮﺍﺩ ﺍﻻﺳﻢ ﻓﻴﺘﻢ ﻓﻘﻂ ﺣﲔ ﻧﺘﺤﺪﺙ ﻋﻦ ﺍﻟﺸﺨﺼﻴﺔ‪ ،...،‬ﺇﺫ ﺇﻥ ﺍﻻﺳﻢ ﻳﺴﺘﺨﻠﺺ‬
‫ﻣﻦ ﺧﻮﺍﺹ ﺍﻟﺸﺨﺼﻴﺔ ﻛﻠﻬﺎ ‪ 1".‬ﻓﻼ ﳝﻜﻦ ﺗﺴﻤﻴﺔ ﻣﺎ ﻟﻴﺲ ﻟﻪ ﻭﺟﻮﺩ ﻣﺎ ﺣﺴﻴﺎ ﻛﺎﻥ ﺃﻡ ﳎﺮﺩ‪،‬‬
‫ﻓﺒﻨﺎﺀﺍ ﻋﻠﻰ ﺗﻜﻮﻳﻦ ﺍﻟﺸﺨﺼﻴﺔ‪ ،‬ﺗﻔﺎﻋﻼ‪‬ﺎ ﻣﻊ ﻣﺎ ﳛﻴﻂ ‪‬ﺎ ﳝﻜﻦ ﺃﻥ ﻧﺴﻤﻴﻬﺎ ﺑﺎﺳﻢ ﳚﻤﻊ ﻛﻞ‬
‫ﺫﻟﻚ ﺩﻭﻥ ﺗﻜﺒﺪ ﻋﻨﺎﺀ ﺍﻟﻌﻮﺩﺓ ﺇﱃ ﻫﻴﻜﻞ ﺍﻟﺸﺨﺼﻴﺔ ﻛﻠﻤﺎ ﺻﺎﺩﻓﻨﺎ ﻭﺟﻮﺩﻫﺎ ﺃﻭ ﺍﳊﺪﻳﺚ ﻋﻨﻬﺎ ‪،‬‬
‫ﻓﺎﻻﺳﻢ ﻳﻐﻨﻴﻨﺎ ﺑﺸﻜﻞ ﻣﺎ ﻋﻦ ﺫﻟﻚ ‪ ،‬ﲟﻌﲎ ﺃﻧﻪ ﻋﻠﻰ ﺍﻻﺳﻢ ﻭ ﺍﳉﻮﻫﺮ )ﺟﻮﻫﺮ ﺍﻟﺸﺨﺼﻴﺔ( ﺃﻥ‬
‫ﻳﺘﻄﺎﺑﻘﺎ ﰲ ﻛﻞ ﺍﻷﺣﻮﺍﻝ ﺣﻴﺚ " ﻻ ﳚﻮﺯ ‪ ،‬ﲝﺎﻝ ﻣﻦ ﺍﻷﺣﻮﺍﻝ‪ ،‬ﺍﻟﻘﻮﻝ ﺑﺄﻥ ﺍﳉﻮﻫﺮ ﻭ ﺍﻻﺳﻢ‬
‫ﳜﺘﻠﻔﺎﻥ ﰲ ﻧﻘﻄﺔ ﻣﺎ ﻭﺍﺣﺪﺓ‪ ،‬ﺃﻭ ﻳﺘﻄﺎﺑﻘﺎﻥ ﰲ ﻧﻘﻄﺔ ﺃﺧﺮﻯ ﻭ ﺍﻟﻮﺻﻮﻝ ﻋﻠﻰ ﺃﺳﺎﺱ ﻣﻦ ﺫﻟﻚ‬
‫ﺇﱃ ﻧﻔﻲ ﺻﻴﻐﺔ ﺃﻥ ﺍﻻﺳﻢ ﻫﻮ ﺍﳉﻮﻫﺮ ﻧﻔﺴﻪ"‪ ، 2‬ﻓﻠﻮ ﻓﺮﺿﻨﺎ ﺍﻟﻌﻜﺲ ﻣﺜﻼ ﺃﻥ ﻻ ﻳﻜﻮﻥ ﺍﻻﺳﻢ‬
‫‪*- R.Barthes: Ibid. p200-197‬‬

‫‪ -1‬ﺳﻠﺴﻠﺔ ﻋﻨﺪﻣﺎ ﻧﻄﻖ ﺍﻟﺴﺮﺍﺓ‪ :‬ﻡ‪.‬ﺱ‪ ،‬ﺹ‪.199‬‬

‫‪ - -2‬ﺃﻟﻴﻜﺴﻲ ﻟﻮﺳﻴﻒ‪ :‬ﻡ‪.‬ﺱ‪ .‬ﺹ‪.301‬‬

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‫ا  اول‪....................................................................‬ه ا ‬

‫ﻭﺍﻟﺸﺨﺼﻴﺔ ﺃﻭ ﺑﺎﻷﺣﺮﻯ ﺟﻮﻫﺮ ﺍﻟﺸﺨﺼﻴﺔ ﻣﺘﻄﺎﺑﻘﺎﻥ ﲤﺎﻣﺎ‪ ،‬ﺃﻱ ﺃﻧﻪ ﻳﻄﺎﺑﻖ ﺻﻔﺔ ﻋﻠﻰ ﺍﻷﻗﻞ‬
‫ﺃﻭ ﺻﻔﺘﲔ ﻭ ﻫﺬﺍ ﺑﺎﻟﻀﺮﻭﺭﺓ ﻳﻌﲏ ﺇﻣﻜﺎﻧﻴﺔ ﺃﻥ ﻧﺴﻤﻲ ﻛﻞ ﺻﻔﺔ ﻋﻠﻰ ﺣﺪﻯ ﻭﺃﻥ ﻧﻌﺮﻑ‬
‫ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﻮﺍﺣﺪﺓ ﺑﻌﺪﺓ ﻣﺴﻤﻴﺎﺕ‪ ،‬ﻫﻞ ﳝﻜﻦ ﺃﻥ ﺗﺪﻟﻨﺎ ﺗﻠﻚ ﺍﳌﺴﻤﻴﺎﺕ ﻭﻗﺖ ﻭﻟﻮﺟﻬﺎ ﻋﺎﱂ‬
‫ﺍﻷﺩﺏ ﻋﻠﻰ ﻧﻔﺲ ﺍﻟﺸﺨﺼﻴﺔ ﺩﺍﺋﻤﺎ ﺃﻡ ﺳﺘﺨﻠﻖ ﻛﻞ ﻣﺮﺓ ﻋﺪﺩﺍ ﻣﻦ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﻼﳏﺪﻭﺩ‬
‫ﻭ ﺑﺬﻟﻚ ﺗﻜﻮﻥ ﲢﺖ ﺭﲪﺔ ﺍﻟﻠﺤﻈﺔ ﺍﻹﺑﺪﺍﻋﻴﺔ ﻭ ﺍﻟﺮﺅﻳﺔ ﺍﳉﻤﺎﻟﻴﺔ ﻟﻠﻜﺎﺗﺐ ﻭ ﺗﻀﻴﻊ ﺗﻠﻚ ﺍﳋﻠﻔﻴﺔ‬
‫ﺍﻷﺳﻄﻮﺭﻳﺔ‪ ،‬ﻭ ﺗﺼﺒﺢ ﺫﺍﺗﻴﺔ ﺃﻛﺜﺮ ﻓﺘﻨﺘﻘﻞ ﻣﻦ ﺍﳉﻤﺎﻋﺔ ﺇﱃ ﺍﻟﻔﺮﺩ ﻭ ﺗﻈﻞ ﻃﺮﻳﻘﻬﺎ ﲝﻴﺚ ﻳﺼﺒﺢ‬
‫ﻣﻦ ﺍﻟﺼﻌﺐ ﺇﺭﺟﺎﻋﻬﺎ ﺇﱃ ﺃﺻﻠﻬﺎ‪ ،‬ﻓﺎﻷﲰﺎﺀ ﺷﺌﻨﺎ ﺃﻡ ﺃﺑﻴﻨﺎ ﻣﻦ ﺍﻟﺪﻋﺎﺋﻢ ﺍﻷﺳﺎﺳﻴﺔ ﺍﻟﱵ ﺗﺴﺎﻋﺪ‬
‫ﺍﻷﺳﺎﻃﲑ ﻋﻠﻰ ﺍﻟﻮﻗﻮﻑ ﻭ ﺍﻟﺜﺒﺎﺕ ﰲ ﻭﺟﻪ ﻋﻮﺍﺻﻒ ﺍﻟﺰﻣﻦ ﻫﺬﺍ ﻣﻦ ﺟﻬﺔ‪ ،‬ﻭ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‬
‫" ﺇﺫﺍ ﻛﺎﻥ ﺍﻻﺳﻢ ﻻ ﻳﺴﻤﻲ ﺟﻮﻫﺮﻩ ﰲ ﺣﺎﻝ ﻣﻦ ﺍﻷﺣﻮﺍﻝ‪ ،‬ﺇﺫﻥ ﻓﻬﻮ ﻟﻴﺲ ﺍﲰﺎ‪ ،‬ﻭ ﺍﳉﻮﻫﺮ‬
‫ﻏﲑ ﺍﳌﺴﻤﻰ ﺑﺄﻱ ﺍﺳﻢ‪ ،‬ﺃﻱ ﺍﻟﺬﻱ ﻻ ﳝﻠﻚ ﻣﺎ ﳝﻴﺰﻩ ﻋﻦ ﺍﻟﻮﺟﻮﺩ ﺍﻵﺧﺮ‪ ،‬ﺃﻱ ﺍﻟﺬﻱ ﻻ ﻳﺘﺤﺪﺩ‬
‫ﻭ ﻻ ﳜﺘﺺ ﺑﺸﻜﻞ ﺃﻭ ﲟﻌﲎ‪ ،‬ﻳﻜﻮﻥ ﻻ ﺷﻲﺀ‪ ،‬ﺃﻱ ﻻ ﻭ ﺟﻮﺩ ﻟﻪ"‪ ،2‬ﲟﻌﲎ ﻻ ﻭﺟﻮﺩ ﻟﻼﺳﻢ ﻻ‬
‫ﻭﺟﻮﺩ ﻟﻠﺸﺨﺼﻴﺔ ‪ ،‬ﻭ ﻻ ﻭﺟﻮﺩ ﻟﻠﺸﺨﺼﻴﺔ ﻳﻌﲏ ﻻ ﻭﺟﻮﺩ ﻟﻸﺳﻄﻮﺭﺓ‪ ،‬ﻓﻜﻤﺎ ﺍﳉﺴﻢ ﳛﺪﺩ‬
‫ﺍﻟﺮﻭﺡ ﻭ ﻳﻌﻄﻴﻬﺎ ﺷﻜﻼ ﻭ ﲡﺴﺪ ﰲ ﺍﻟﻮﺍﻗﻊ ﺍﶈﺴﻮﺱ ﻓﺎﻷﲰﺎﺀ ﲢﺪﺩ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭ ﲡﻌﻞ ﻣﻦ‬
‫ﺍﳌﻤﻜﻦ ﺍﻻﺳﺘﺪﻻﻝ ﻋﻠﻴﻬﺎ ﰲ ﻛﻞ ﻣﺮﺓ ﻳﺮﺩ ﺫﻛﺮﻫﺎ‪ ،‬ﻓﻬﻲ ﺩﻋﺎﺋﻢ ﺍﳌﻌﲎ‪.‬‬

‫ﳝﻜﻨﻨﺎ ﺇﺛﺒﺎﺕ ﺯﻋﻤﻨﺎ ﻫﺬﺍ ﻟﻴﺲ ﺩﺍﺧﻞ ﺍﳊﻀﺎﺭﺓ ﺍﻟﻮﺍﺣﺪﺓ ﺃﻭ ﺍﳌﺜﻮﻟﻮﺟﻴﺎ ﺍﻟﻮﺍﺣﺪﺓ‪ ،‬ﺃﻳﻦ ﺍﻟﺸﺨﺼﻴﺔ‬
‫ﺗﻌﺮﻑ ﺗﻔﺮﺩﻫﺎ ﺩﺍﺧﻞ ﺳﻠﻄﺔ ﺍﻹﺳﻢ ﺍﻟﻮﺍﺣﺪ ﺑﻞ ﺑﲔ ﺍﳊﻀﺎﺭﺍﺕ ﺃﻭ ﺍﳌﺜﻮﻟﻮﺟﻴﺎﺕ ﺍﳌﺨﺘﻠﻔﺔ‬
‫ﺑﻌﻀﻬﺎ ﻣﻊ ﺑﻌﺾ‪ ،‬ﺍﻟﱵ ﺗﻌﺮﻑ ﻋﺪﺩﺍ ﻣﻦ ﺍﻟﺘﺴﻤﻴﺎﺕ ﻟﻠﺸﺨﺼﻴﺔ ﺍﻟﻮﺍﺣﺪﺓ‪ ،‬ﻓﻤﺜﻼ ﻋﻨﺪﻣﺎ ﻳﺘﻌﻠﻖ‬
‫ﺍﻷﻣﺮ ﺑﺎﻵﳍﺔ ﺍﻹﻧﺎﺙ‪ ،‬ﻳﺰﻋﻢ ﺍﻟﺒﻌﺾ ﺃﻥ ﺃﻭﻝ ﺇﳍﺔ ﻋﺮﻓﻬﺎ ﺍﻹﻧﺴﺎﻥ ﻛﺎﻧﺖ ﺃﻧﺜﻰ ﻭ ﻗﺪ ﻋﺮﻓﺖ‬

‫‪ -1‬ﺃﻟﻴﻜﺴﻲ ﻟﻮﺳﻴﻒ‪ :‬ﻡ‪.‬ﺱ ﺹ‪.309‬‬

‫‪ -2‬ﻡ‪.‬ﻥ‪ .‬ﺹ ‪308‬‬

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‫ا  اول‪....................................................................‬ه ا ‬

‫ﺑﺄﲰﺎﺀ ﻋﺪﻳﺪﺓ ﰲ ﺍﳊﻘﻴﻘﺔ ﻛﺎﻥ ﺳﺮﺩﻫﺎ ﻛﻞ ﻣﺮﺓ ﻻ ﻳﺘﻌﺪﻯ ﺗﻌﺪﺍﺩ ﻟﺼﻔﺎ‪‬ﺎ ﻭ ﳍﺎ ﺍﲰﻬﺎ ﺍﳋﺎﺹ‬
‫ﺍﻟﺬﻱ ﻳﻌﱪ ﻋﻦ ﺟﻮﻫﺮﻫﺎ ‪ ،‬ﺃﻣﺎ ﺑﲔ ﺍﳊﻀﺎﺭﺍﺕ ﻓﻌﺮﻓﺖ ﻋﺪﺩﺍ ﻣﻦ ﺍﻟﺘﺴﻤﻴﺎﺕ*‪ ،‬ﺇﺫ ﰲ ﻛﻞ‬
‫ﺣﻀﺎﺭﺓ ﲰﻴﺔ ﺣﺴﺐ ﻣﺎ ﳛﺪﺩ ﳍﺎ ﻛﺠﻮﻫﺮ‪ ،‬ﻓﻔﻲ ﺍﻷﺻﻞ ﻋﻠﻰ ﺣﺴﺐ ﺍﻟﺰﻋﻢ ﻛﺎﻥ ﺍﳉﻮﻫﺮ‬
‫ﻭﺍﺣﺪﺍ‪ ،‬ﰒ ﺗﻄﻮﺭ ﻣﻊ ﺍﻟﺘﺎﺭﻳﺦ ﻭ ﻇﻬﺮﺕ ﻟﻪ ﺟﻮﺍﻧﺐ ﺟﺪﻳﺪﺓ ‪ ،‬ﻭ ﺩﻭﺭ ﺟﺪﻳﺪ ﻳﻠﻌﺒﻪ ﰲ ﺣﻴﺎﺓ‬
‫ﺍﻟﺒﺸﺮ‪ ،‬ﻟﺬﻟﻚ ﻋﺮﻑ ﻣﺴﻤﻴﺎﺕ ﺟﺪﻳﺪﺓ ﻛﻠﻴﺎ ﻟﻜﻨﻬﺎ ﺩﺍﺋﻤﺎ ﻋﻨﺪ ﻣﻄﺎﺑﻘﺘﻬﺎ ﺗﻮﺻﻠﻨﺎ ﺇﱃ ﺍﳉﻮﻫﺮ‬
‫‪.‬‬
‫ﺍﻷﻭﻝ ﺍﻷﺻﻠﻲ ﻓﻬﻲ ﱂ ﺗﻔﻘﺪ ﺃﺑﺪﺍ ﺍﻟﺼﻠﺔ ﺍﻟﱵ ﲡﻤﻌﻬﺎ ﻭ ﻻ ﰲ ﺃﻱ ﻣﺮﺣﻠﺔ ﻣﻦ ﻣﺮﺍﺣﻞ ﺍﻟﺘﺎﺭﻳﺦ‬

‫ﻭ ﻣﻦ ﺍﻷﻣﺜﻞ ﺍﻟﱵ ﺗﺪﻋﻢ ﺯﻋﻤﻨﺎ ﺃﻥ ﺍﻷﲰﺎﺀ ﰲ ﺍﻷﺳﺎﻃﲑ ﺩﻋﺎﺋﻢ ﺍﳌﻌﲎ ﻓﻴﻬﺎ ﻧﺴﻮﻗﻬﺎ ﻋﻠﻰ‬
‫ﺍﻟﺸﻜﻞ ﺍﻟﺘﺎﱄ‪:1‬‬

‫‪ -‬ﺟﻠﺠﺎﻣﺶ‪ :‬ﻣﻦ ﺃﺷﻬﺮ ﻣﻠﻮﻙ ﻣﺪﻳﻨﺔ ﺃﻭﺭ‪ ،‬ﻭ ﺗﻨﺴﺐ ﺇﻟﻴﻪ ﺍﳌﻠﺤﻤﺔ ﺍﻟﺸﻬﲑﺓ ﺍﻟﱵ ﻭﺟﺪﺕ‬
‫ﺑﺎﻟﻠﻐﺔ ﺍﻷﻛﺎﺩﻳﺔ‪ ،‬ﻭ ﺍﲰﻪ ﲟﻌﲎ‪ :‬ﺟ ﹶﻞ ﻭﻫﻲ ﻋﻈﻢ ﺃﻱ ﻋﻈﻴﻢ‪ +‬ﺟﺎﻣﺶ ﻭ ﻫﻲ‬
‫ﺟﺎﻣﻮﺱ‪ ،‬ﻭ ﺍﻟﻨﻮﻉ ﺍﻟﻮﺣﺸﻲ ﻣﻨﻪ ﺃﻗﻮﻯ ﻭ ﺃﺷﺮﺱ ﺍﳌﺨﻠﻮﻗﺎﺕ ﻋﻠﻰ ﻭﺟﻪ ﺍﻷﺭﺽ‬
‫ﻭ ﻗﺪﺭﺗﻪ ﻋﻠﻰ ﲣﺼﻴﺐ ﺍﻹﻧﺎﺙ ﻫﺎﺋﻠﺔ‪ .‬ﻭ ﲰﻲ ﻫﻜﺬﺍ ﻟﻔﺮﻁ ﻓﺤﻮﻟﺘﻪ ﻭ ﻗﻮﺗﻪ‪.‬‬
‫‪ -‬ﺇﻧﻜﻴﺪﻭ‪ :‬ﺻﺪﻳﻖ ﺟﻠﺤﺎﻣﺶ ﺍﻟﻮﰲ‪ ،‬ﻓﺈﻥ ﺁﻥ ﺃﻱ ﻋﲔ ﲟﻌﲎ ﺭﻗﻴﺐ‪ +‬ﻛﻴﺪ ﺃﻱ ﻗﻴﺪ ﺃﻭ‬
‫ﺳﻴﺪ ﻭﻫﻮ ﺇﺫﻥ ﺳﻴﺪ ﺍﻟﻨﻈﺎﻡ ﺍﳉﺪﻳﺪ‪ ،‬ﺿﺪ ﺍﻹﺑﺎﺣﺔ ﺑﻌﺜﺘﻪ ﺍﻹﳍﺔ ﺃﺭﻭﺭﻭ ﺍﺳﺘﺠﺎﺑﺔ ﻟﻄﻠﺐ‬
‫ﺃﻫﺎﱄ ﻣﺪﻳﻨﺔ ﺃﻭﺭ‪ .‬ﻭ ‪‬ﺪﺃﺓ ﺷﻬﻮﺓ ﺟﻠﺠﺎﻣﺶ‪.‬‬
‫‪ -‬ﺃﻓﺮﻭﺩﻳﺖ‪ :‬ﺍﻹﻏﺮﻳﻘﻴﺔ ﻫﻲ ﻧﻔﺴﻬﺎ ﺃﻧﺎﻧﺎ ﺍﻟﺴﻮﻣﺮﻳﺔ ﻭ ﻋﺸﺘﺎﺭ ﺍﻷﻛﺎﺩﻳﺔ ﻭ ﻋﻨﺎﺓ‬
‫ﺍﻷﻭﻏﺮﻳﺘﻴﺔ ﺇﳍﺔ ﺍﳋﻀﺐ‪ ،‬ﺃﺩﺕ ﺫﺍﺕ ﺍﻟﺪﻭﺭ ﻭ ﺍﺗﺼﻔﺖ ﺑﻨﻔﺲ ﺍﻟﺴﻤﺎﺕ ﺍﻟﺸﺨﺼﻴﺔ ﰲ‬
‫ﲨﻴﻊ ﺍﳊﻀﺎﺭﺍﺕ‪ ،‬ﻓﻬﻲ ﺃﻑ‪ +‬ﺭﻭﺩﻳﺖ ﻭ ﺃﻑ ﻣﻦ ﺍﻷﻧﻒ ﻭﻫﻮ ﺍﻟﻮﺟﻪ ﻭ ﺍﳌﻈﻬﺮ‬
‫ﻭ ﺭﻭﺩﻳﺖ ﻭ ﻫﻲ ﺍﻟﺮﻭﺿﺔ‪ .‬ﻭ ﻫﻲ ﺑﺬﻟﻚ ﻣﻈﻬﺮ ﺍﻟﺮﻭﺿﺔ‪.‬‬
‫ﻳﻨﻈﺮ‪ :‬ﻓﺮﺍﺱ ﺍﻟﺴﻮﺍﺡ‪" :‬ﻟﻐﺰ ﻋﺸﺘﺎﺭ‪ :‬ﺍﻷﻟﻮﻫﺔ ﺍﳌﺆﻧﺜﺔ ﻭ ﺃﺻﻞ ﺍﻟﺪﻳﻦ ﻭ ﺍﻷﺳﻄﻮﺭﺓ"‪ ،‬ﺩﺍﺭ ﻋﻼﺀ‪ ،‬ﻁ‪.01.‬‬ ‫*‪-‬‬
‫‪ -1‬ﺳﻠﺴﻠﺔ ﻋﻨﺪﻣﺎ ﻧﻄﻖ ﺍﻟﺴﺮﺍﺓ‪ " :‬ﻡ‪.‬ﺱ‪ ،‬ﺹ ‪.210-205‬‬

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‫‪ -‬ﺇﻳﺰﻳﺲ‪ :‬ﻫﻲ ﺳﻴﺪﺓ ﻭﺍﺩﻱ ﺍﻟﻨﻴﻞ ﰲ ﺍﻷﻟﻒ ﺍﳋﺎﻣﺲ ﻗﺒﻞ ﺍﳌﻴﻼﺩ‪ ،‬ﺗﺘﻮﱃ ﺩﻭﺭ ﳏﺎﺭﺑﺔ‬
‫ﺍﳍﻤﺠﻴﺔ‪ ،‬ﻭﺗﻜﺮﻳﺲ ﻧﻈﺎﻡ ﺍﻷﺳﺮﺓ‪،‬ﻭ ﻫﻲ "ﺣﺰﻳﺖ" ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺍﻷﻟﻒ ﻭ ﺍﳊﺎﺀ ﻭﺍﺣﺪ‬
‫ﰲ ﺍﻟﻠﻐﺔ ﺍﻹﳒﻠﻴﺰﻳﺔ‪ ،‬ﻭ ﻫﻲ ﻣﻦ ﺍﻟﻔﻌﻞ "ﺣﺎﺯ"ﺃﻱ ﺍﳌﺒﺼﺮﺓ ﺍﳌﻨﺒﺄﺓ ﺍﻟﻜﺎﻫﻨﺔ‪ ،‬ﻭﻫﻮ ﲤﺎﻣﺎ‬
‫ﺍﻟﺪﻭﺭ ﺍﻟﺬﻱ ﺃﻧﻴﻂ ‪‬ﺎ‪.‬‬
‫ﻭ ﻫﺬﺍ ﺗﻠﻘﺎﺋﻴﺎ ﻳﺪﻓﻌﻨﺎ ﺇﱃ ﺍﻟﺘﺴﺎﺅﻝ‪ :‬ﻫﻞ ﺧﻠﻖ ﺍﻻﺳﻢ ﻟﻠﺸﺨﺼﻴﺔ ﺃﻡ ﺧﻠﻘﺖ ﺍﻟﺸﺨﺼﻴﺔ‬
‫ﻟﻼﺳﻢ‪ ،‬ﻓﺈﺫﺍ ﻛﺎﻥ ﺍﻷﻭﻝ ﻓﺈﻧﻪ ﳝﻜﻦ ﺇﺭﺟﺎﻉ ﺍﻷﺳﺎﻃﲑ ﺇﱃ ﻋﻮﺍﻣﻞ ﺍﻟﻄﺒﻴﻌﺔ ﻭ ﺑﺎﻟﺘﺎﱄ ﻳﻜﻮﻥ‬
‫ﺍﻷﻣﺮ ﻋﻠﻰ ﺍﻟﺸﻜﻞ ﺍﻟﺘﺎﱄ‪ :‬ﺍﻟﻌﺎﻣﻞ ﺍﻟﻄﺒﻴﻌﻲ ﻭﻟﺪ ﺍﻻﺳﻢ ﺍﻟﺬﻱ ﻭﻟﺪ ﺑﺪﻭﺭﻩ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﱵ‬
‫ﺗﻜﻠﻒ ﺑﺎﻟﻔﻌﻞ ﺍﻟﻄﺒﻴﻌﻲ‪،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﻓﺈﻥ ﺍﻻﺳﻢ ﻛﺎﻥ ﺃﻭﻻ ﰒ ﳓﺘﺖ ﺍﻟﺸﺨﺼﻴﺔ ﺑﻌﺪ ﺫﻟﻚ ﺑﻄﺮﻳﻘﺔ‬
‫ﺗﻼﺀﻡ ﺩﻻﻟﺔ ﺍﻻﺳﻢ‪ ،‬ﻭ ﻣﻊ ﺍﻟﻮﻗﺖ ﺃﺻﺒﺤﺎ ﻭﺟﻬﲔ ﻟﻌﻤﻠﺔ ﻭﺍﺣﺪﺓ‪ .‬ﻭ ﺇﺫﺍ ﻛﺎﻥ ﺍﻷﻣﺮ ﺍﻟﺜﺎﱐ‬
‫ﻓﻴﺠﺐ ﺍﻓﺘﺮﺍﺽ ﺃﲰﺎﺀ ﺃﺧﺮﻯ ﻟﺘﻠﻚ ﺍﻟﺸﺨﻮﺹ ﻗﺒﻞ ﺇﺗﻴﺎ‪‬ﺎ ﺍﻟﻔﻌﻞ ﺍﻟﺬﻱ ﺃﻟﺼﻖ ‪‬ﺎ ﺍﻷﲰﺎﺀ‬
‫ﺍﻟﻼﺣﻘﺔ ﻭ ﺃﺩﺭﺟﻬﺎ ﲢﺖ ﻗﺎﺋﻤﺔ ﺍﻷﺳﺎﻃﲑ‪ ،‬ﻭ ﰲ ﻫﺬﺍ ﺍﻷﻣﺮ ﳚﻮﺯ ﺍﻓﺘﺮﺍﺽ ﺃﻥ ﺗﻠﻚ ﺍﻟﺸﺨﻮﺹ‬
‫ﻭ ﺟﺪﺕ ﻓﻌﻼ ﻭ ﺳﺎﳘﺖ ﺍﻟﺬﺍﻛﺮﺓ ﺍﻟﺒﺸﺮﻳﺔ ﰲ ﺗﻀﺨﻴﻢ ﻣﺂﺛﺮﻫﺎ ﻭ ﺍﺧﺘﺎﺭﺕ ﳍﺎ ﺃﲰﺎﺀ ﺃﺻﺒﺤﺖ‬
‫ﺗﻌﺮﻑ ‪‬ﺎ ﺗﺒﻌﺎ ﻟﺬﻟﻚ ﺍﻟﺘﻀﺨﻴﻢ‪ ،‬ﻭ ‪‬ﺬﺍ ﻓﺈﻥ ﺍﻷﺳﺎﻃﲑ ﻣﺒﻨﻴﺔ ﻋﻠﻰ ﺃﺣﺪﺍﺙ ﺗﺎﺭﳜﻴﺔ ﻣﻮﻏﻠﺔ ﰲ‬
‫ﺍﻟﻘﺪﻡ‪ .‬ﻭﻟﻨﻔﺘﺮﺽ ﺃﻣﺮﺍ ﺛﺎﻟﺜﺎ‪ ،‬ﺍﺣﺘﻤﺎﻟﻴﺔ ﺃﻥ ﻳﻜﻮﻥ ﺯﻣﻦ ﻇﻬﻮﺭ ﺍﻻﺳﻢ ﻭ ﺍﻟﺸﺨﺼﻴﺔ ﻭﺍﺣﺪﺍ ﺃﻱ‬
‫ﻋﻨﺪﻣﺎ ﻇﻬﺮﺕ ﺍﻟﺸﺨﺼﻴﺔ ﻇﻬﺮ ﺍﻻﺳﻢ ﻣﻌﻬﺎ ﺗﻠﻘﺎﺋﻴﺎ‪ ،‬ﺃﻻ ﻳﺪﻓﻌﻨﺎ ﻫﺬﺍ ﺍﻟﺰﻋﻢ ﺇﱃ ﺍﻹﻗﺮﺍﺭ ﺑﺼﺤﺔ‬
‫ﺍﻷﺳﺎﻃﲑ ﻭ ﻋﻮﺍﳌﻬﺎ ﺍﳌﺘﺨﻴﻠﺔ‪ ،‬ﻛﺄﻥ ﻧﺼﺪﻕ ﺍﻟﻘﺼﺺ ﺍﻟﱵ ﺭﻭﻳﺖ ﻋﻦ ﺍﳋﻠﻖ ﻭ ﻏﲑﻫﺎ ﳑﺎ‬
‫ﺃﺑﺪﻋﺖ ﺍﻟﺬﺍﻛﺮﺓ ﺍﻟﺒﺸﺮﻳﺔ ﰲ ﺗﺼﻮﻳﺮﻩ‪.‬‬
‫ﻭ ﻳﻘﻮﺩﻧﺎ ﻫﺬﺍ ﺍﻟﺘﺴﺎﺅﻝ ﺃﻭ ﺍﻻﻓﺘﺮﺍﺽ ﻣﺒﺎﺷﺮﺓ ﺇﱃ ﺗﻔﺴﲑ ﻧﺸﺄﺓ ﺍﻷﺳﺎﻃﲑ ﻭ ﺍﻟﺘﻔﺎﺳﲑ ﺍﻷﻭﱃ‬
‫ﻭ ﺍﳉﻮﻫﺮﻳﺔ ﺍﻟﱵ ﺍﻗﺘﺮﺣﺖ ﻭ ﺍﻟﱵ ﺍﻧﻄﻠﻘﺖ ﻣﻨﻬﺎ ﺩﺭﺍﺳﺎﺕ ﻧﺸﺄﺓ ﺍﻷﺳﺎﻃﲑ ﻭ ﻫﻲ ﻧﺸﺄﺓ‬
‫ﺍﻷﺳﺎﻃﲑ ﺑﻔﻌﻞ ﺍﻟﻌﻮﺍﻣﻞ ﺍﻟﻄﺒﻴﻌﻴﺔ‪ ،‬ﻧﺸﺄ‪‬ﺎ ﻋﻠﻰ ﺃﻧﻘﺎﺽ ﺗﺎﺭﳜﻴﺔ‪ ،‬ﺃﻭ ﻛﺎﻥ ﺍﻟﻌﺎﻣﻞ ﺍﻟﺪﻳﲏ ﻣﻦ‬
‫ﺃﻧﺘﺠﻬﺎ‪ .‬ﻭ ﻛﻠﻬﺎ ﱂ ﻳﻔﺼﻞ ﰲ ﺃﺣﻘﻴﺘﻬﺎ ﺑﺈﻧﺸﺎﺀ ﺍﻷﺳﻄﻮﺭﺓ ﺣﱴ ﺍﻵﻥ ﺑﻞ ﻭ ﻇﻬﺮﺕ ﻏﲑﻫﺎ ﻣﻦ‬
‫ﺍﻻﻓﺘﺮﺍﺿﺎﺕ ﻭ ﻇﻬﺮﺕ ﻣﻌﻬﺎ ﺯﻭﺍﻳﺎ ﺟﺪﻳﺪﺓ ﳌﻘﺎﺭﺑﺔ ﺍﻷﺳﺎﻃﲑ‪ .‬ﻭ ﺍﻷﻣﺮ ﺍﻷﻛﻴﺪ ﻫﻮ ﺃ‪‬ﺎ ﺑﺸﻜﻞ‬
‫ﺃﻭ ﺑﺂﺧﺮ ﺗﺒﻘﻰ ﳎﺮﺩ ﺣﻜﺎﻳﺎﺕ ﺷﻌﺒﻴﺔ ‪ "،‬ﻟﻮﻻ ﺃﻥ ﺍﺭﺗﺒﺎﻃﻬﺎ ﲟﺠﻤﻮﻋﺔ ﺍﻟﻘﺼﺺ ﺍﻟﱵ‬

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‫ﺗﺮﻭﻱ ﻋﻦ ﺃﺑﻮﻟﻮ ﻭ ﺃﺭﲤﻴﺲ* ﻣﺜﻼ ﻫﻮ ﺍﻟﺬﻱ ﺟﻌﻞ ﳍﺎ ﻣﻜﺎﻧﺎ ﻣﻘﺪﺳﺎ ﰲ ﺍﻟﻨﻈﺎﻡ ﺍﻟﻨﺎﻣﻲ‬
‫ﻟﻠﺤﻜﺎﻳﺎﺕ ﺍﻟﱵ ﻧﺪﻋﻮﻩ ﺑﺎﳌﻴﺘﻮﻟﻮﺟﻴﺎ"‪1 .‬ﻓﺎﻷﲰﺎﺀ ﲢﺘﺎﺝ ﺇﱃ ﺷﺨﺼﻴﺔ ﺗﺪﻝ ﻋﻠﻴﻬﺎ‪ ،‬ﻭ ﺍﻟﺸﺨﺼﻴﺔ‬
‫ﲢﺘﺎﺝ ﺇﱃ ﻣﻮﺍﻗﻒ ﺗﱪﺯ ﻣﻦ ﺧﻼﳍﺎ ﻭ ﻫﺬﻩ ﺍﳌﻮﺍﻗﻒ ﻫﻲ ﻣﻦ ﺗﺼﻨﻊ ﳍﺎ ﺍﻷﲰﺎﺀ‪.‬‬

‫‪-1‬‬
‫ﻓﺮﺍﻱ ﻧﻮﺭﺛﺮﻭﺏ‪ " :‬ﺍﳌﺎﻫﻴﺔ ﻭ ﺍﳋﺮﺍﻓﺔ"ﺕ‪ /‬ﻫﻴﻔﺎﺀ ﻫﺎﺷﻢ‪،‬ﻣﻨﺸﻮﺭﺍﺕ ﻭﺯﺍﺭﺓ ﺍﻟﺜﻘﺎﻓﺔ‪ 1992‬ﺹ‪51‬‬

‫*‪ -‬ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ ﻻ ﺍﳊﺼﺮ‪ ،‬ﻓﺎﺭﺗﺒﺎﻁ ﺗﻠﻚ ﺍﻟﻘﺼﺺ ﺑﺎﻵﳍﺔ ﻫﻮ ﻣﺎ ﻳﻌﻄﻴﻬﺎ ﺻﻔﺔ ﺍﻟﻘﺪﺳﻴﺔ ﻭ ﺑﺎﻟﺘﺎﱄ ﺃﺳﻄﻮﺭﻳﺘﻬﺎ ﻭ ﺇﻻ ﺑﻘﻴﺔ ﳎﺮﺩ‬
‫ﺭﻣﻮﺯ ﺷﻌﺒﻴﺔ ﻻ ﲣﺮﺝ ﻣﻦ ﺇﻃﺎﺭ ﺍﻟﺜﻘﺎﻓﺔ ﺍﶈﻠﻴﺔ‪.‬‬

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 ‫‪ .1‬ﺗﻌﺮﻳﻒ ﺃﺩﺏ ﺍﻟﻄﻔﻞ‬
‫‪ .2‬ﺍﻹﺭﻫﺎﺻﺎﺕ ﺍﻷﻭﱃ ﻟﻈﻬﻮﺭ ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ‪.‬‬
‫‪ .3‬ﻟﻐــــﺔ ﺍﻟﻜﺘـــﺎﺑﺔ ﻟﻠﻄﻔـــﻞ‬
‫‪ .4‬ﺍﻟﻘﺼــﺔ ﻟﻠﻄــﻔﻞ‬
‫‪ .5‬ﳑﻴﺰﺍﺕ ﻗﺼﺔ ﺍﻟﻄﻔﻞ‬
‫‪ .6‬ﺍﻟﺼﻮﺭﺓ ﰲ ﻗﺼﺔ ﺍﻷﻃﻔﺎﻝ‬
‫‪ .7‬ﺍﻟﻔﻀﺎﺀ ﺍﻟﻌﻤﺮﻱ ﻟﻠﻄﻔﻞ ﺍﻟﺬﻱ ﺍﺧﺘﺮﺗﻪ ﻟﻠﺘﻄﺒﻴﻖ ﻋﻠﻴﻪ‬
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‫ﺗﻌــﺮﻳﻒ ﺃﺩﺏ ﺍﻟﻄـﻔﻞ‪:‬‬

‫ﺇﻥ ﻋﺎﱂ ﺍﻟﻄﻔﻮﻟﺔ ﺣﺪﻭﺩﻩ ﺍﳋﻴﺎﻝ‪ ،‬ﻭ ﻟﻜﻦ ﻟﻪ ﻓﻴﻪ ﻗﻮﺍﻧﲔ ﺗﺴﻮﺳﻪ‪ ،‬ﻓﻬﻮ ﻟﻴﺲ ﻋﺎﳌﺎ ﺳﺎﺫﺟﺎ ﲤﺎﻣﺎ ﻭ ﻻ‬
‫ﳝﻜﻦ ﺍﻋﺘﺒﺎﺭﻩ ﻛﺬﻟﻚ ﺭﻏﻢ ﺃﻧﻪ ﻋﺎﱂ ﺍﻟﻌﻔﻮﻳﺔ ﻭ ﺍﻟﺘﻠﻘﺎﺋﻴﺔ‪ ،‬ﻷﻧﻪ ﺳﺮﻋﺎﻥ ﻣﺎ ﻳﻨﻤﻰ ﺍﻟﻄﻔﻞ ﻣﻦ ﺧﻼﻟﻪ ﺍﻟﻘﺪﺭﺓ‬
‫ﻋﻠﻰ ﻛﺸﻒ ﺍﻟﺰﻳﻒ ﻭ ﺍﻟﺘﺼﻨﻊ‪ ،‬ﺍﻟﺬﻱ ﳛﺎﻭﻝ ﺍﻟﻜﺒﺎﺭ ﺍﻟﻮﻟﻮﺝ ﺇﻟﻴﻪ ﻣﻦ ﺧﻼﳍﻤﺎ ﻻﺳﺘﻘﺮﺍﺀ ﻣﻌﺎﳌﻪ‬
‫ﻭ ﺍﻟﻜﺸﻒ ﻋﻦ ﺧﺒﺎﻳﺎﻩ‪ ،‬ﻭ ﻗﺪ ﺧﺼﺼﻮﺍ ﻟﺬﻟﻚ ﺍﻟﻌﻠﻢ ﺗﺎﺭﺓ ﻭ ﺍﻷﺩﺏ ﺗﺎﺭﺓ ﺃﺧﺮﻯ‪ ،‬ﻓﻤﻦ ﺍﻟﻌﻠﻢ ﻣﺎ ﻳﻜﻮﻥ‬
‫ﺍﻟﻄﻔﻞ ﻓﻴﻪ ﻣﻮﺿﻮﻋﺎ ﺃﻣﺎﻡ ﺍﶈﺮﻙ ﺍﻟﻌﻤﻼﻕ ﻟﻠﻜﻮﻥ‪ ،‬ﻟﺪﺭﺍﺳﺘﻪ ﻭ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﻛﻴﻔﻴﺔ ﻋﻤﻠﻪ‪ ،‬ﻭﻣﻨﻪ ﻣﺎ‬
‫ﻳﻜﻮﻥ ﻫﻮ ﻧﻔﺴﻪ ﻣﻮﺿﻮﻋﺎ ﻟﻠﺪﺭﺍﺳﺔ‪ ،‬ﻭﻣﻦ ﺍﻷﺩﺏ ﳎﻤﻮﻉ ﻣﺎ ﻳﻜﺘﺐ ﻟﻪ ﻭ ﻋﻨﻪ ﻣﻌﺎ‪ .‬ﻭ ﺑﺬﻟﻚ ﳝﻜﻦ‬
‫ﺍﻋﺘﺒﺎﺭ ﻛﻞ ﻣﺎ ﻳﻘﺪﻡ ﻟﻸﻃﻔﺎﻝ ﻣﻦ ﻣﺎﺩﺓ ﺃﺩﺑﻴﺔ ﺃﺩﺑﺎ ﺧﺎﺻﺎ ‪‬ﻢ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺍﻟﺘﻘﺴﻴﻢ ﺍﻟﺬﻱ ﻳﻘﻀﻲ ﺑﻮﺟﻮﺩ‬
‫ﺃﺩﺏ ﻟﻠﻜﺒﺎﺭ ﻭ ﺁﺧﺮ ﻟﻠﺼﻐﺎﺭ‪ ،‬ﻋﻠﻰ ﺃﺳﺎﺱ ﺍﻟﺘﻮﺟﻪ ﻭ ﺍﳌﻮﺿﻮﻉ ﻭ ﺍﻟﻐﺮﺽ ﻣﻦ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﻛﻌﻤﻞ ﺫﻭ‬
‫ﻓﻌﺎﻟﻴﺔ ﻣﻌﻴﻨﺔ ﺗﻈﻬﺮ ﺑﺎﺣﺘﻜﺎﻛﻪ ﺑﺎﻟﻘﺎﺭﺉ ﺍﳌﻘﺼﻮﺩ‪ ،‬ﻭ ﻋﻠﻰ ﻫﺬﺍ ﻓﻬﻮ‪ " :‬ﺍﻷﺩﺏ ﺍﳌﻮﺟﻪ ‪ ...‬ﻟﻸﻃﻔﺎﻝ ﰲ‬
‫ﻭ ﺍﳌﻨﺸﻮﺭﺓ‬ ‫ﻣﺮﺍﺣﻞ ﳕﻮﻫﻢ‪ ...،‬ﻭ ﺑﺘﻌﺮﻳﻒ ﺇﺟﺮﺍﺋﻲ‪ ،‬ﻳﺘﻀﻤﻦ ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ ﺗﻠﻚ ﺍﻟﻜﺘﺐ ﺍﳌﻜﺘﻮﺑﺔ‬
‫ﻟﻠﻨﺎﺱ ﺍﻟﺼﻐﺎﺭ‪ ...‬ﺍﻟﺬﻳﻦ ﱂ ﳝﺘﻠﻜﻮﺍ ﺑﻌﺪ ﻣﻬﺎﺭﺍﺕ ﺍﻟﻘﺮﺍﺀﺓ ﺍﻟﻀﺮﻭﺭﻳﺔ ﻟﻘﺮﺍﺀﺓ ﻭﺍﻋﻴﺔ"‪ .1‬ﻭ ﺍﳌﻘﺼﻮﺩ ﻫﻨﺎ‬
‫ﺑﺎﻟﻮﻋﻲ ﻟﻴﺲ ﺍﻟﻮﻋﻲ ﺍﻟﻌﻘﻠﻲ ﺍﳌﻌﺮﻭﻑ ﺑﺎﳌﻌﲎ ﺍﻟﺬﻱ ﺍﺻﻄﻠﺢ ﻋﻠﻴﻪ ﺍﻟﻜﺒﺎﺭ‪ ،‬ﻭ ﺇﳕﺎ ﻭﻋﻲ ﻋﻠﻰ ﺃﺳﺎﺱ‬
‫ﺍﳋﱪﺍﺕ ﺍﳌﻜﺘﺴﺒﺔ ﻣﻦ ﺧﻼﻝ ﺍﻹﻃﻼﻉ ﻋﻠﻰ ﺍﳌﺨﺰﻭﻥ ﺍﻷﺩﰊ‪ ،‬ﺃﻱ ﺃﻥ ﺗﻜﻮﻥ ﻟﻪ ﺧﻠﻔﻴﺔ ﻣﺮﺟﻌﻴﺔ ﻣﻦ‬
‫ﺧﻼﻝ ﻣﺎ ﻗﺮﺃﻩ‪ ،‬ﻭ ﻫﺬﺍ ﻃﺒﻴﻌﻲ ﺣﻴﺚ ﺃﻥ ﻗﺪﺭﺗﻪ ﺍﻟﻠﻐﻮﻳﺔ ﱂ ﺗﺼﻞ ﺇﱃ ﺷﻜﻠﻬﺎ ﺍﻟﺘﺎﻡ ﺑﻌﺪ‪ .‬ﺃﻭ ﺑﺘﻌﺒﲑ ﺁﺧﺮ‬
‫" ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ ﻟﻮﻥ ﺇﺑﺪﺍﻋﻲ ﻣﻮﺟﻪ ﺇﱃ ﺍﻟﻄﻔﻞ‪ ،‬ﻳﺄﺧﺬ ﺑﻨﻈﺮ ﺍﻻﻋﺘﺒﺎﺭ ﺧﺼﺎﺋﺺ ﺍﻟﻄﻔﻮﻟﺔ ﻭ ﻣﺮﺍﺣﻠﻬﺎ‪،‬‬
‫ﻭ ﻣﻴﻮﻝ ﺍﻷﻃﻔﺎﻝ‪ ،‬ﻭ ﺃﺣﺎﺳﻴﺴﻬﻢ ﻭ ﺍﻧﻔﻌﺎﻻ‪‬ﻢ‪ ،‬ﻭ ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ ﺟﺰﺀ ﻣﻦ ﺛﻘﺎﻓﺔ ﺍﻷﻃﻔﺎﻝ ﺍﻟﱵ ﻫﻲ ﺑﻼ‬
‫ﺷﻚ ﺛﻘﺎﻓﻴﺔ ﺃﺳﺎﺳﻴﺔ‪ ،‬ﻭ ﻟﻴﺴﺖ ﺛﻘﺎﻓﻴﺔ ﻓﺮﻋﻴﺔ ﻣﻦ ﺛﻘﺎﻓﺔ ﺍﻟﻜﺒﺎﺭ‪ 2".‬ﺇﺫ ﺃﻥ ﻣﻴﻮﳍﻢ ﻭ ﺃﺣﺎﺳﻴﺴﻬﻢ‬
‫‪ -1‬ﺇﳝﺎﻥ‪ ،‬ﺑﻘﺎﻋﻲ‪":‬ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ‪ -‬ﻣﺎﻫﻴﺘﻬﺎ‪ ،‬ﺍﺧﺘﻴﺎﺭﻫﺎ‪ ،‬ﻛﻴﻒ ﻧﺮﻭﻳﻬﺎ‪ ".‬ﻣﻜﺘﺒﺔ ﺍﻟﻄﻔﻞ ﺍﻟﻨﻔﺴﻴﺔ ﻭ ﺍﻟﺘﺮﺑﻮﻳﺔ‪ ،‬ﺩﺍﺭ ﺍﻟﻔﻜﺮ ﺍﻟﻠﺒﻨﺎﱐ‪ ،‬ﻁ‪ ،1‬ﺑﲑﻭﺕ‪،‬‬
‫ﻟﺒﻨﺎﻥ‪ 2003 ،‬ﺹ‪.12‬‬
‫‪ -2‬ﳏﺴﻦ‪،‬ﻧﺎﺻﺮ ﺍﻟﻜﻨﺎﱐ‪ ":‬ﺳﺤﺮ ﺍﻟﻘﺼﺔ ﻭ ﺍﳊﻜﺎﻳﺔ‪ -‬ﲝﺚ ﻋﻦ ﺍﻟﻨﺴﻎ ﺍﻟﺼﺎﻋﺪ ﰲ ﻧﺼﻮﺹ ﺣﻜﺎﺋﻴﺔ ﻭﻧﺼﻮﺹ ﻗﺼﺼﻴﺔ ﻟﻸﻃﻔﺎﻝ‪ -‬ﺩﺭﺍﺳﺔ‪".‬‬
‫ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ‪ ،‬ﺩﻣﺸﻖ‪ ،‬ﺳﻮﺭﻳﺎ ﺹ‪.17‬‬

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‫ﻭ ﺍﻧﻔﻌﺎﻻ‪‬ﻢ ﻫﻲ ﻣﺎ ﺗﺼﻨﻊ ﺍﳌﻔﺎﺭﻗﺔ‪ ،‬ﻷﻥ ﻣﻦ ﺃﻫﻢ ﺃﺳﺒﺎﺏ ﳒﺎﺡ ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ ﺃﻭ ﻓﺸﻠﻪ ﻫﻮ ﻣﺪﻯ‬
‫ﺍﺣﺘﺮﺍﻡ ﺍﻷﺩﻳﺐ ﻭ ﺃﺧﺬﻩ ﰲ ﺍﻋﺘﺒﺎﺭﻩ ﻣﻴﻮﳍﻢ ﻭ ﺃﺣﺎﺳﻴﺴﻬﻢ ﻭ ﺍﻧﻔﻌﺎﻻ‪‬ﻢ‪ ،‬ﻣﻦ ﺃﺟﻞ ﺍﻟﻮﺻﻮﻝ ﺑﻪ ﺇﱃ‬
‫ﺩﺭﺟﺔ ﺍﳌﻘﺒﻮﻟﻴﺔ ﻟﺪﻯ ﺍﻷﻃﻔﺎﻝ‪ .‬ﻭ " ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ ﻳﺸﻤﻞ ﺍﻟﺸﻔﻬﻲ ﻭ ﺍﳌﻜﺘﻮﺏ‪ ،‬ﻏﲑ ﺍﳌﻘﺮﻭﺀ ﻭ ﺍﳌﻘﺮﻭﺀ‪،‬‬
‫ﺍﻷﻏﺎﱐ ﻭ ﺍﻷﺷﻌﺎﺭ‪ ،‬ﺍﳌﺴﺮﺡ‪ ،‬ﺍﻟﺴﻴﻨﻤﺎ‪ ،‬ﺍﻟﺘﻠﻔﺰﻳﻮﻥ‪ ،‬ﻭ ﺍﻟﻘﺼﺔ‪ ،‬ﻭ ﻳﺸﻤﻞ ﺃﺩﺏ ﺍﻟﻨﺎﺷﺌﺔ ﻭ ﺍﻟﻔﺘﻴﺎﻥ‪ 1".‬ﺃﻭ‬
‫ﺑﺎﺧﺘﺼﺎﺭ ﻫﻮ ﻛﻞ ﻣﺎ ﻛﺘﺐ ﻋﻦ ﺍﻷﻃﻔﺎﻝ ﻭ ﳍﻢ ﺇﻣﺎ ﻟﻪ ﻫﺪﻑ ﺗﻌﻠﻴﻤﻲ‪ ،‬ﺃﻭ ﺗﺮﺑﻮﻱ‪ ،‬ﻓﻜﻞ ﻣﺎ ﻳﻜﺘﺐ ﳍﻢ‬
‫ﻻ ﻳﻌﺪﻭ ﺃﻥ ﻳﻜﻮﻥ ﺃﺣﺪ ﻫﺬﻳﻦ ﺍﻷﻣﺮﻳﻦ ﺃﻭ ﻛﻼﳘﺎ ﻣﻌﺎ‪ .‬ﻭ ﻗﺪ ﺑﻠﻎ ﺍﻷﻣﺮ ﺃﺣﻴﺎﻧﺎ ﻃﻐﻴﺎﻥ ﻫﺬﻳﻦ ﺍﻷﻣﺮﻳﻦ‬
‫ﻋﻠﻰ ﺑﺎﻗﻲ ﺍﻷﻏﺮﺍﺽ ﺍﻷﺧﺮﻯ‪ ،‬ﻛﺎﳌﺘﻌﺔ‪ ،‬ﻭ ﺍﻟﺘﺮﻓﻴﻪ‪ ،‬ﻭ ﺗﻨﻤﻴﺔ ﺍﳊﺲ ﺍﻟﻔﲏ ﻭ ﺍﻟﺜﻘﺎﰲ‪ ،‬ﻭ ﺍﻟﺘﺬﻭﻕ ﺍﻷﺩﰊ‪،‬‬
‫ﻭ ﻫﺬﺍ ﲝﺠﺔ ﺃﻧﻪ " ﳝﺜﻞ ﺛﻘﺎﻓﺔ ﺟﺰﺋﻴﺔ ﻣﺆﺛﺮﺓ ﻋﻠﻰ ﺍﻟﻄﻔﻞ ﰲ ﺍﳌﺮﺣﻠﺔ ﺍﻟﻌﻤﺮﻳﺔ ﺍﻟﱵ ﻳﻨﻤﻮ ﻓﻴﻬﺎ ﻣﻌﺮﻓﻴﺎ‬
‫ﻭ ﻭﺟﺪﺍﻧﻴﺎ ﻭ ﻣﻬﺎﺭﻳﺎ‪ ،‬ﻛﻤﺎ ﺃﻧﻪ ﳝﺜﻞ ﺟﺎﻧﺒﺎ ﻣﻬﻤﺎ ﻣﻦ ﺟﻮﺍﻧﺐ ﺍﻟﺘﺮﺑﻴﺔ ﰲ ﺣﻴﺎﺗﻪ‪ ... ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﻓﺈﻥ ﺩﻭﺭ‬
‫ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ ﰲ ﺗﻨﻤﻴﺔ ﺍﻹﺑﺪﺍﻉ ﻭ ﺍﻟﺘﺄﺛﲑ ﺇﳚﺎﺑﺎ ﺃﻭ ﺳﻠﺒﺎ ﰲ ﺍﻟﻘﺪﺭﺍﺕ ﺍﻹﺑﺪﺍﻋﻴﺔ ﻫﻮ ﺩﻭﺭ ﺃﺳﺎﺳﻲ‬
‫ﻭ ﺟﻮﻫﺮﻱ‪ 2".‬ﻓﻬﻮ ﳝﺜﻞ ﺇﱃ ﺟﺎﻧﺐ ﻣﺎ ﺗﻘﺪﻣﻪ ﺍﳌﺪﺭﺳﺔ ﻭ ﺍﶈﻴﻂ ﺍﻟﺬﻱ ﻳﻌﻴﺶ ﻓﻴﻪ ﺍﻟﻄﻔﻞ ﻛﻼ ﺛﻘﺎﻓﻴﺎ‬
‫ﻳﻮﻓﺮ ﻟﻪ ﺍﻟﺘﺮﺑﻴﺔ ﻭ ﺍﳌﻌﺮﻓﺔ ﻭ ﺍﳌﺘﻌﺔ ﻣﻌﺎ‪ ،‬ﻛﻤﺎ ﻳﻨﻤﻲ ﺍﻹﺑﺪﺍﻉ ﻟﺪﻳﻪ ﻭ ﻳﺸﺠﻌﻪ ﻋﻠﻰ ﺍﻻﺑﺘﻜﺎﺭ ﻭ ﺣﺐ‬
‫ﺍﻹﻃﻼﻉ‪ .‬ﻭ ﻫﺬﺍ ﻣﺎ ﳚﻌﻞ ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ ﺭﻫﻴﻨﺔ ﻫﺬﻩ ﺍﻷﻣﻮﺭ‪ ،‬ﻓﻠﻜﻲ ﻻ ﻳﺘﻌﺮﺽ ﺍﻟﻜﺒﺎﺭ ﻟﻠﻤﺴﺎﺀﻟﺔ ﺃﻣﺎﻡ‬
‫ﺍﻟﺼﻐﺎﺭ ﺃﻭ ﺃﻣﺎﻡ ﺃﻧﻔﺴﻬﻢ ﺣﻮﻝ ﻣﺎ ﻳﻜﺘﺒﻮﻥ ﳍﻢ ﻳﻠﺠﺌﻮﻥ ﺇﱃ ﺍﻟﻜﺘﺎﺑﺔ ﰲ ﻣﻨﻄﻘﺔ ﺁﻣﻨﺔ ﻭﺻﻔﻮﺍ ﳍﺎ ﺇﻃﺎﺭ‬
‫ﺍﻟﺘﻌﻠﻴﻢ ﻭ ﺍﻟﺘﺮﺑﻴﺔ ﻟﺬﻟﻚ ﻳﻮﺟﻬﻮ‪‬ﻢ ﺇﱃ ﻋﺎﱂ ﻣﺼﻄﻨﻊ ﻣﻦ ﺍﳌﺜﺎﻟﻴﺎﺕ ﺑﻌﻴﺪﺍ ﻋﻦ ﺍﻟﻮﺍﻗﻊ ﻭ ﳍﺬﺍ ﳚﺪ‬
‫ﺍﻷﻃﻔﺎﻝ ﺗﻠﻚ ﺍﳍﻮﺓ ﺑﲔ ﻣﺎ ﳚﻌﻠﻮ‪‬ﻢ ﻳﻌﺘﻘﺪﻭﻥ ﻭ ﺑﲔ ﻣﺎ ﻫﻮ ﺍﻟﻮﺍﻗﻊ ﺍﻟﻮﺍﻗﻌﻲ ﲝﺠﺔ ﲪﺎﻳﺘﻬﻢ‪ ،‬ﻟﺬﻟﻚ ﳚﺐ‬
‫ﺃﻥ ﺗﻜﻮﻥ ﺍﳌﻮﺿﻮﻋﺎﺕ ﺍﳌﻌﺮﻭﺿﺔ ﻣﺄﺧﻮﺫﺓ ﻣﻦ ﺍﻟﻮﺍﻗﻊ ‪ ،‬ﻣﻦ ﻭﺍﻗﻊ ﺍﻟﻄﻔﻞ ﻧﻔﺴﻪ ﻟﻴﺘﻔﺎﻋﻞ ﻣﻌﻪ ﻭ ﻳﻌﻴﺸﻪ‪،‬‬
‫ﻛﻲ ﻻ ﳜﻠﻖ ﺟﻴﻞ ﻣﻦ ﺍﳊﺎﳌﲔ‪ .‬ﻓﻤﺜﻼ ﻋﻨﺪﻣﺎ ﻳﺘﺤﺪﺙ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻋﻦ ﺍﳌﺴﺎﻭﺍﺓ‪ ،‬ﻭ ﺍﻟﻌﺪﺍﻟﺔ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‬
‫ﺑﺸﻜﻞ ﻳﻮﺣﻲ ﻟﻠﻄﻔﻞ ﺃﻥ ﻛﻞ ﺍ‪‬ﺘﻤﻌﺎﺕ ﺗﻌﻴﺸﻬﺎ ﺣﻘﻴﻘﺔ‪ ،‬ﻟﻴﻌﻮﺩ ﺑﻌﺪﻣﺎ ﺃ‪‬ﻰ ﻣﺎ ﻗﺮﺃ ﻭ ﻳﻼﺣﻆ ﰲ ﺍﻟﻮﺍﻗﻊ‬

‫‪ -1‬ﺇﳝﺎﻥ‪ ،‬ﺑﻘﺎﻋﻲ‪ ":‬ﻡ‪.‬ﺱ ﺹ‪.13‬‬

‫‪ -2‬ﺣﺴﻦ‪ ،‬ﺷﺤﺎﺗﻪ‪ ":‬ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﺍﻟﻌﺮﰊ‪ -‬ﺩﺭﺍﺳﺎﺕ ﻭ ﲝﻮﺙ"ﺍﻟﺪﺍﺭ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻠﺒﻨﺎﻧﻴﺔ‪ ،‬ﻁ‪ ،03‬ﺃﻛﺘﻮﺑﺮ‪.2004‬ﺹ‪.13-12‬‬

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‫ﻛﻴﻒ ﻳﻌﺎﱐ ﻭﺍﻟﺪﺍﻩ ﻣﻦ ﻫﺬﻩ ﺍﻟﻌﺪﺍﻟﺔ ﻭ ﻫﺬﻩ ﺍﳌﺴﺎﻭﺍﺓ‪ ،‬ﺑﺮﺃﻳﻜﻢ ﻣﺎ ﻳﻜﻮﻥ ﺭﺩ ﻓﻌﻠﻪ‪ ،‬ﺳﻴﻜﻮﻥ ﺃﺣﺪ‬
‫ﺍﻷﻣﺮﻳﻦ‪ ،‬ﺇﻣﺎ ﺃﻥ ﻳﻨﻐﻠﻖ ﻋﻠﻰ ﻧﻔﺴﻪ ﻭ ﻳﻌﻴﺶ ﰲ ﻋﺎﱂ ﻣﻦ ﻧﺴﺞ ﺧﻴﺎﻟﻪ ﺃﻭ ﻳﻔﻘﺪ ﺛﻘﺘﻪ ﺑﺎﻟﻌﻠﻢ ﻭ ﺑﻜﻞ ﻣﺎ‬
‫ﻳﻘﺮﺃ ﻭ ﺑﺎﻟﺘﺎﱄ ﻳﺘﺨﻠﻰ ﻋﻦ ﺩﺭﺍﺳﺘﻪ‪ ،‬ﻷ‪‬ﺎ ﺃﺑﻌﺪ ﻣﺎ ﻳﻜﻮﻥ ﻋﻦ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻭ ﻟﻦ ﺗﻜﻮﻥ ﻟﻪ ﺍﻟﻮﺳﻴﻠﺔ ﻟﺘﺤﺴﲔ‬
‫ﻭﺍﻗﻌﻪ‪ .‬ﻟﺬﻟﻚ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﺃﻥ ﻳﻜﻮﻥ ﻓﻴﻤﺎ ﻳﻘﺮﺃ ﺍﻟﻄﻔﻞ ﺑﻌﺾ ﻣﻦ ﺍﻟﻮﻗﺎﺋﻊ‪ ،‬ﰲ ﻗﺎﻟﺐ ﳚﻌﻠﻪ ﻗﺎﺩﺭﺍ ﻋﻠﻰ‬
‫ﻣﻼﺣﻈﺘﻬﺎ ﻭ ﺍﻟﺘﻔﺎﻋﻞ ﻣﻌﻬﺎ ﻗﺼﺪ ﺗﻜﻮﻳﻦ ﲡﺮﺑﺔ ﻣﺎ‪ ،‬ﺃﻭ ﺧﻠﻔﻴﺔ ﻣﺎ ﻋﻨﻬﺎ ‪‬ﺪﻑ ﺑﻨﺎﺀ ﺧﱪﺓ ﻟﺘﺨﻴﻒ‬
‫ﺍﻟﺼﺪﺍﻡ ﺑﻴﻨﻬﻤﺎ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﺇﻛﺴﺎﺑﻪ ﻣﺎ ﻳﺴﻤﻰ ﺑﺎﳌﻨﺎﻋﺔ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭ ﺍﻟﻔﻜﺮﻳﺔ‪ ،‬ﳉﻌﻠﻪ ﻓﺮﺩﺍ‬
‫ﻓﻌﺎﻻ‪ ،‬ﻣﺆﺛﺮﺍ‪ ،‬ﻻ ﻣﻨﻔﻌﻼ‪ ،‬ﻣﺘﺄﺛﺮﺍ‪ .‬ﻭ ﻟﻜﻦ ﺣﱴ ﺑﻐﺾ ﺍﻟﻨﻈﺮ ﻋﻦ ﻣﺴﺘﻘﺒﻞ ﺍﻟﻄﻔﻞ ﻭ ﺣﻴﺎﺗﻪ ﻛﻔﺮﺩ ﰲ‬
‫ﺍ‪‬ﺘﻤﻊ ﻓﺈﻥ ﺇﺩﺭﺍﺝ ﺷﻲﺀ ﻣﻦ ﺣﻴﺎﺗﻪ ﻓﻴﻤﺎ ﻳﻘﺮﺃ ﺳﻮﻑ ﺑﺎﻟﻀﺮﻭﺭﺓ ﳚﻌﻠﻪ ﻳﻘﺒﻞ ﺃﻛﺜﺮ ﻋﻠﻰ ﺍﻟﻘﺮﺍﺀﺓ‪ ،‬ﻷﻧﻪ‬
‫ﺷﻴﺌﺎ ﻓﺸﻴﺌﺎ ﺳﺘﺨﺘﻔﻲ ﺗﻠﻚ ﺍﳍﻮﺓ ﺑﻴﻨﻪ ﻭ ﺑﲔ ﺍﻟﻮﺍﻗﻊ ﻛﻤﺎ ﺳﻴﺒﺘﻌﺪ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﻣﻦ ﳎﺮﺩ ﻛﻮﻧﻪ ﳎﺮﺩ‬
‫ﻟﻌﺒﺔ ﺃﻣﺮ ﻭ ‪‬ﻲ‪ ،‬ﻭﺑﺎﻟﺘﺎﱄ ﲢﻮﻳﻞ ﺗﻠﻚ ﺍﳊﺮﻳﺔ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﱵ ﻳﻨﻤﻴﻬﺎ ﺣﻴﻨﻤﺎ ﻳﻘﺮﺃ ﺇﱃ ﻭﺍﻗﻊ ﻣﻠﻤﻮﺱ ‪،‬‬
‫ﻭ ﳚﻨﺒﻪ ﺍﻟﻮﻗﻮﻉ ﺭﻫﻴﻨﺔ ﺍﳌﻠﻞ ﻭ ﺍﻟﻌﺠﺰ‪.‬‬

‫ﻭ ﳝﻜﻦ ﺍﻟﺘﻌﺮﻑ ﻋﻞ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻣﻦ ﺧﻼﻝ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳋﺼﺎﺋﺺ‪ 1‬ﻫﻲ‪:‬‬

‫‪ -‬ﺍﳍﺪﻓﻴﺔ‪ :‬ﺃﻱ ﺃﻥ ﻳﻜﻮﻥ ﻟﻪ ﻏﺎﻳﺔ ﻣﺎ ﻭ ﰲ ﺍﻷﻏﻠﺐ ﻫﻲ ﺗﺮﺑﻮﻳﺔ‪ ،‬ﺗﺜﻘﻴﻔﻴﺔ ﺃﻛﺜﺮ ﻣﻨﻬﺎ ﺗﺮﻓﻴﻬﻴﺔ‪ .‬ﻭ ﻻ‬
‫ﻳﻌﲏ ﺫﻟﻚ ﺑﺎﻟﻀﺮﻭﺭﺓ ﻃﻐﻴﺎﻥ ﻫﺬﻩ ﺍﳋﺎﺻﻴﺔ ﻭ ﺟﻌﻠﻬﺎ ﻛﻞ ﻣﺎ ﻳﺮﺍﺩ ﺑﻪ ﻣﻦ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﻷﻥ ﺫﻟﻚ‬
‫ﺳﻴﺠﻌﻠﻪ ﳑﻼ‪ ،‬ﻓﺎﻟﻄﻔﻞ ﺑﻄﺒﻴﻌﺘﻪ ﻳﻨﻔﺮ ﻣﻦ ﻛﻞ ﻣﺎ ﻫﻮ ﻭﻋﻆ ﻭ ﺇﺭﺷﺎﺩ‪ ،‬ﻷﻧﻪ ﻳﻨﺸﺪ ﺍﳊﺮﻳﺔ ﻭ ﻓﻌﻞ ﻣﺎ‬
‫ﻳﺮﻳﺪ ﻣﻦ ﺧﻼﻝ ﻣﺎ ﻳﻘﺮﺃ‪ ،‬ﺇﺫ ﲤﻨﺤﻪ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺒﻄﻠﺔ ﺫﻟﻚ ﻓﻼ ﺩﺍﻋﻲ ﺇﱃ ﺇﻓﺴﺎﺩ ﻣﺘﻌﺘﻪ ﻣﻦ ﺧﻼﻝ‬
‫ﺍﻷﻣﺮ ﻭ ﺍﻟﻨﻬﻲ ﺍﳌﺒﺎﺷﺮﻳﻦ‪ ،‬ﻭ ﺍﻻﻛﺘﻔﺎﺀ ﺑﺘﻮﺟﻴﻪ ﺃﻓﻌﺎﻟﻪ ﻋﻦ ﺑﻌﺪ ﺩﻭﻥ ﺃﻥ ﻧﺸﻌﺮﻩ ﺑﺬﻟﻚ‪ ،‬ﻷﻧﻪ ﻗﺪ‬
‫ﻳﺒﺪﻭ ﺳﺎﺫﺟﺎ ﻭ ﻗﻠﻴﻞ ﺍﳊﻴﻠﺔ ﻭ ﻟﻜﻨﻪ ﻟﻴﺲ ﻛﺬﻟﻚ ﺃﺑﺪﺍ‪.‬‬

‫ﺇﳝﺎﻥ‪ ،‬ﺑﻘﺎﻋﻲ‪ ":‬ﻡ‪.‬ﺱ ﺹ‪.18-15‬‬ ‫‪-1‬‬

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‫‪ -‬ﺃﻥ ﻳﻠﻢ ﺍﻷﺩﻳﺐ ﺑﺎﻟﻌﻨﺎﺻﺮ ﺍﳌﻜﻮﻧﺔ ﻟﻪ ﻣﻦ ﻏﲑ ﻧﻘﺺ ﳎﺤﻒ‪ ،‬ﻣﻊ ﺻﻔﺎﺕ ﳛﺒﻬﺎ ﺍﻟﻄﻔﻞ ﻣﻦ ﻋﺎﻃﻔﺔ‪،‬‬
‫ﻣﻌﲎ‪ ،‬ﺧﻴﺎﻝ ﻣﺼﻮﺭ ﻭ ﺃﺳﻠﻮﺏ‪ ،‬ﻭ ﺑﺎﳌﻨﺎﺳﺒﺔ ﻫﺬﺍ ﻣﺎ ﳚﻌﻠﻪ ﻣﻨﺎﺳﺒﺎ ﻟﻪ ﻓﺎﻟﻜﺘﺎﺑﺔ ﻟﻪ ﻛﻄﻔﻞ ﲣﺘﻠﻒ‬
‫ﺍﺧﺘﻼﻓﺎ ﺟﻮﻫﺮﻳﺎ ﻋﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻟﻠﻜﺒﺎﺭ‪ ،‬ﻭ ﻟﻴﺲ ﻷﻥ ﺍﻟﺼﻐﺎﺭ ﺗﻌﻮﺯﻫﻢ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺗﺬﻭﻕ ﺍﻷﺩﺏ ‪،‬‬
‫ﻟﻠﻜﺎﺗﺐ ﺃﻥ ﻳﻘﺼﺮ ﰲ ﺫﻟﻚ‪ ،‬ﻓﺈﻥ ﻣﺴﺘﻮﻯ ﺭﻗﻲ ﺍﻷﺩﺏ ﺍﳌﻘﺪﻡ ﳍﻢ ﺳﻴﺤﺪﺩ ﻓﻴﻤﺎ ﺑﻌﺪ ﻧﻮﻋﻴﺔ ﺟﻴﻞ‬
‫ﺍﻟﺬﻭﺍﻗﺔ‪.‬‬
‫‪ -‬ﳚﺐ ﲤﻴﻴﺰ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻋﻦ ﺃﺩﺏ ﺍﻟﺮﺍﺷﺪﻳﻦ ﻣﻦ ﺧﻼﻝ ﻣﺎ ﳝﻠﻜﻪ ﺍﻷﻭﻝ ﻣﻦ ﲰﺎﺕ ﺗﺮﺑﻮﻳﺔ ﻭ ﻓﻨﻴﺔ‬
‫ﺗﺘﻌﻠﻖ ﲟﺴﺘﻮﻯ ﳕﻮ ﺍﻟﻄﻔﻞ ﻭ ﺣﺎﺟﺎﺗﻪ‪ .‬ﺇﺫ ﺣﱴ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﻣﺎ ﻗﻠﻨﺎﻩ ﺁﻧﻔﺎ ﻻ ﻳﻌﲏ ﺫﻟﻚ ﺃﻥ ﻧﺮﻣﻲ‬
‫ﻋﻠﻰ ﻛﺎﻫﻠﻬﻢ ﻛﻞ ﻣﺸﺎﻛﻞ ﻭ ﻋﻘﺪ ﺍ‪‬ﺘﻤﻊ ﺇﺫ ﳚﺐ ﺍﺣﺘﺮﺍﻡ ﺳﻨﻬﻢ ﻭ ﻗﻠﺔ ﺧﱪ‪‬ﻢ‪ ،‬ﺇﱃ ﺟﺎﻧﺐ ﻋﺪﻡ‬
‫ﺍﻟﺘﻌﺪﻱ ﻋﻞ ﺧﺼﻮﺻﻴﺘﻬﻢ ﻛﺄﻃﻔﺎﻝ ﺃﺑﺮﻳﺎﺀ‪ ،‬ﻷﻥ ﻋﺪﻡ ﺃﺧﺬ ﺫﻟﻚ ﺑﻌﲔ ﺍﳊﺴﺒﺎﻥ ﻟﻪ ﻧﺘﺎﺋﺞ ﻋﻜﺴﻴﺔ‬
‫ﻟﻴﺲ ﻓﻘﻂ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺗﺮﺑﻴﺔ ﺍﻷﻃﻔﺎﻝ ﻭ ﺇﳕﺎ ﻋﻠﻰ ﳕﻮﻫﻢ ﻭ ﺗﻄﻮﺭﻫﻢ ﺍﻟﻌﻘﻠﻲ ﻭ ﺍﻟﻔﻜﺮﻱ‪،‬‬
‫ﻭ ﻗﺪﺭ‪‬ﻢ ﻋﻠﻰ ﺍﳌﺒﺎﺩﺭﺓ‪.‬‬

‫ﺍﻹﺭﻫﺎﺻﺎﺕ ﺍﻷﻭﱃ ﻟﻈﻬﻮﺭ ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ‪:‬‬

‫ﱂ ﻳﻜﻦ ﻷﺩﺏ ﺍﻟﻄﻔﻞ ﻗﺪﳝﺎ ﺍﻟﻘﺪﺭ ﻣﻦ ﺍﻷﳘﻴﺔ ﺍﻟﺬﻱ ﻟﺪﻳﻪ ﺍﻵﻥ ﻭ ﻫﺬﺍ ﺭﺍﺟﻊ ﻷﻥ ﻫﻢ ﺍﻟﻘﺪﻣﺎﺀ ﺍﻗﺘﺼﺮ‬
‫ﻋﻠﻰ ﺗﻌﻠﻴﻢ ﺍﻟﻄﻔﻞ ﺍﳌﺒﺎﺩﺉ ﺍﻷﺳﺎﺳﻴﺔ ﻟﻠﺘﻌﺎﻣﻞ ﺑﲔ ﺍﻟﺒﺸﺮ ﺇﱃ ﺟﺎﻧﺐ ﺑﻌﺾ ﺍﻟﻌﻠﻮﻡ ﳑﺎ ﰎ ﺍﻟﺘﻮﺻﻞ ﺇﻟﻴﻪ ﰲ‬
‫ﺫﻟﻚ ﺍﻟﺰﻣﺎﻥ‪ ،‬ﻭ ﺣﺜﻪ ﻋﻠﻰ ﲤﺜﻞ ﻛﻞ ﺍﻟﻘﻮﺍﻋﺪ ﺍﻟﱵ ﻳﺘﻤﻴﺰ ‪‬ﺎ ﳎﺘﻤﻌﻪ ﻣﻦ ﺩﻳﻦ ﻣﻬﻤﺎ ﻛﺎﻥ ﻧﻮﻋﻪ ﻭ ﺧﻠﻖ‬
‫ﻛﺮﱘ ﻣﻬﻤﺎ ﻛﺎﻧﺖ ﺃﺑﻌﺎﺩﻩ‪ ،‬ﻭ ﻟﻜﻦ ﻣﻦ ﺍﳌﻌﺮﻭﻑ ﺃﻳﻀﺎ ﺃﻥ ﻫﺬﺍ ﱂ ﻳﻜﻦ ﺣﺎﻝ ﻛﻞ ﺍﻷﻃﻔﺎﻝ‪ ،‬ﻭ ﻛﻞ‬
‫ﺍ‪‬ﺘﻤﻌﺎﺕ‪ ،‬ﻓﺎﻷﺩﺏ ﺍﻗﺘﺼﺮ ﻋﻠﻰ ﻣﺎ ﻳﺮﺍﻩ ﺍﻟﻮﺍﻟﺪﻳﻦ ﻣﻦ ﺻﻼﺡ‪ ،‬ﺃﻣﺎ ﺍﻟﻌﻠﻢ ﻓﻠﻢ ﻳﻨﻠﻪ ﻛﻞ ﻃﻔﻞ‪ ،‬ﺑﻞ ﺍﻗﺘﺼﺮ‬
‫ﻋﻠﻰ ﺍﳌﻴﺴﻮﺭﻳﻦ ﺣﺎﻻ ﰲ ﺍﻷﻏﻠﺐ‪ ،‬ﻣﻦ ﺃﺑﻨﺎﺀ ﺍﳌﻠﻮﻙ ﻭ ﺍﻟﻄﺒﻘﺎﺕ ﺍﳊﺎﻛﻤﺔ ﻭ ﺍﻟﺜﺮﻳﺔ‪ ،‬ﻭ ﻫﺬﺍ ﻛﺎﻥ ﺣﺎﻝ‬
‫ﻛﻞ ﺍ‪‬ﺘﻤﻌﺎﺕ ﺗﻘﺮﻳﺒﺎ‪ .‬ﻭﻓﻴﻤﺎ ﺑﻌﺪ " ﺷﻜﻠﺖ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺸﻔﻮﻳﺔ ﲟﺎ ﲢﻮﻳﻪ ﻣﻦ ﺧﺮﺍﻓﺎﺕ ﻭﺃﺳﺎﻃﲑ ﻣﻨﻄﻠﻘﺎ‬
‫ﺃﺩﺑﻴﺎ ﻟﻈﻬﻮﺭ ﺃﺩﺏ ﺍﻟﻄﻔﻞ‪ ،‬ﻛﻤﺎ ﻛﺎﻧﺖ ﺭﺻﻴﺪﺍ ﻣﻌﻨﻮﻳﺎ ﻫﺎﺋﻼ ﻟﺘﺄﺳﻴﺲ ﺍﻟﻨﻤﻂ ﺍﻟﺪﻻﱄ ﺍﳉﺎﻣﻊ ﺑﲔ‬
‫ﺍﻟﺼﻌﻮﺑﺔ ﻭﺍﻟﺴﻬﻮﻟﺔ ﻣﻦ ﺣﻴﺚ ﺍﻟﺘﻨﺎﻭﻝ ﺍﳋﺎﺹ ﳍﺬﻩ ﺍﳌﻌﺎﺭﻑ‪ ،‬ﻣﻦ ﺟﻬﺔ ﻭ ﺍﻟﺘﻨﺎﻭﻝ ﺍﻟﻌﺎﻡ ﳍﺎ ﻣﻦ ﺃﺧﺮﻯ‪.‬‬
‫ﻭﺩﻟﻴﻞ ﺍﻟﺘﺎﺭﻳﺦ ﺍﻷﺩﰊ ﰲ ﺛﺒﺖ ﻫﺬﻩ ﺍﻹﺷﺎﺭﺓ ﺍﺷﺘﺮﺍﻙ ﺍﻟﻜﺒﺎﺭ ﻭﺍﻟﺼﻐﺎﺭ ﰲ ﺍﻻﺳﺘﻤﺎﻉ ﺇﱃ ﺍﻟﻘﺼﺺ‬
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‫ﺍﻟﺸﻌﱯ ﺍﳋﺮﺍﰲ ﺍﳊﻠﻘﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ‪ ...‬ﺑﺎﺧﺘﻼﻑ ﻛﻞ ﻣﻦ ﺍﻻﺛﻨﲔ ﰲ ﻣﺴﺘﻮﻳﺎﺕ ﺍﻟﺘﻠﻘﻲ ﻭ ﺍﻻﺳﺘﻴﻌﺎﺏ‪".‬‬
‫ﺇﺫﻥ ﱂ ﻳﻜﻦ ﻫﻨﺎﻙ ﻓﺼﻞ ﺑﲔ ﻣﺎ ﻳﺘﻠﻘﺎﻩ ﺍﻟﻜﺒﺎﺭ ﻭﻣﺎ ﻳﺘﻠﻘﺎﻩ ﺍﻟﺼﻐﺎﺭ ﻣﻦ ﺣﻴﺚ ﺍﻟﻨﻮﻉ ﻭ ﻻ ﺍﻟﻜﻢ‪ ،‬ﻭ ﻳﺘﻢ‬
‫ﲢﺪﻳﺪ ﺍﻟﻜﻢ ﺍﻧﻄﻼﻗﺎ ﳑﺎ ﺗﻮﻓﺮﻩ ﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻣﻦ ﺃﻧﻮﺍﻉ ﺃﺩﺑﻴﺔ‪ ،‬ﻭ ﻟﻜﻦ ﺍﻟﻔﺮﻕ ﻓﺮﺽ ﻧﻔﺴﻪ ﰲ ﺷﻜﻞ‬
‫ﺗﻠﻘﻲ ﺍﳌﺎﺩﺓ ﻧﻔﺴﻬﺎ‪ ،‬ﻓﻘﺪﺭﺓ ﺍﺳﺘﻴﻌﺎﺏ ﺍﻟﻄﻔﻞ ﲣﺘﻠﻒ ﺣﺘﻤﺎ ﻋﻦ ﻧﻈﲑ‪‬ﺎ ﻋﻨﺪ ﺍﻟﺒﺎﻟﻎ‪ ،‬ﻭﻫﻨﺎ ﺗﺘﺪﺧﻞ ﺧﱪﺓ‬
‫ﺍﳌﺘﻠﻘﻲ ﻭﺗﺬﻭﻗﻪ ﺍﳉﻤﺎﱄ ﻟﺘﺤﺪﻳﺪ ﻣﺪﻯ ﺍﻟﺘﺤﺼﻴﻞ ﺍﻷﺩﰊ ﺃﻭ ﺍﻟﺘﺮﻓﻴﻬﻲ‪ ،‬ﻭ ﻟﻘﺪ ﺍﺳﺘﻐﺮﻗﺖ ﺍﳋﻠﻔﻴﺔ ﺍﳌﺮﺟﻌﻴﺔ‬
‫ﻟﻠﺒﺎﻟﻎ ﺳﻨﻴﻨﺎ ﻗﺒﻞ ﺃﻥ ﲢﺼﻞ ﻋﻠﻰ ﺍﻟﺸﻜﻞ ﺍﻟﻨﻬﺎﺋﻲ ﺍﳌﻌﺮﻭﻑ‪ ،‬ﻭ ﻋﻠﻰ ﺍﻟﻄﻔﻞ ﺳﻠﻮﻙ ﻧﻔﺲ ﺍﻟﻄﺮﻳﻖ‬
‫ﻟﻴﺼﻘﻞ ﻣﻬﺎﺭﺍﺗﻪ ﰲ ﻫﺬﺍ ﺍ‪‬ﺎﻝ‪ ،‬ﻭ ﻳﺘﻄﻮﺭ ﻓﻬﻤﻪ ﻭﺍﺳﺘﻴﻌﺎﺑﻪ ﻟﻠﻘﺼﺔ ﻋﻦ ﻃﺮﻳﻖ ﺯﻳﺎﺩﺓ ﺧﱪﺗﻪ‪ ،‬ﰒ ﲰﺎﻉ‬
‫ﺍﻟﻘﺼﺔ ﻣﺮﺍﺭﺍ ﻭﺗﻜﺮﺍﺭﺍ ﻭﻣﻊ ﻛﻞ ﻣﺮﺓ ﻳﺘﺠﻠﻰ ﻟﻪ ﺟﺎﻧﺐ ﺟﺪﻳﺪ ﻣﻨﻬﺎ ﱂ ﻳﻜﻦ ﻣﻌﺮﻭﻓﺎ ﻟﺪﻳﻪ ﳑﺎ ﻳﻘﻮﺩ‬
‫ﺑﺎﻟﻀﺮﻭﺭﺓ ﺇﱃ ﻓﻬﻢ ﺃﻓﻀﻞ ﻭ ﺍﺳﺘﻴﻌﺎﺏ ﺃﻛﺜﺮ‪.‬‬

‫‪ -‬ﻓﺄﻣﺎ ﻋﻦ ﺑﺪﺍﻳﺎﺗﻪ ﰲ ﺍﻷﺩﺏ ﺍﻷﺟﻨﱯ*‪:‬‬

‫ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ ﺍﳌﻜﺘﻮﺏ ﺍﻟﻔﻌﻠﻲ ﳕﺎ ﻭﺗﺮﻋﺮﻉ ﰲ ﺍﻟﻘﺮﻥ ﺍﻟﺴﺎﺑﻊ ﻋﺸﺮ‪ ،‬ﺑﻌﺪ ﻇﻬﻮﺭ ﺭﻭﺍﻳﺔ ﻝ"ﺟﻮﻥ‬
‫ﺑﻮﺗﻴﺎﻥ" ﺳﻨﺔ ‪ ،1676‬ﻭ ﺑﻌﺪ ﺍﳌﺆﻟﻔﺎﺕ ﺍﻟﱵ ﻛﺘﺒﻬﺎ "ﻓﻴﻨﻴﻠﻴﻮﻥ" )‪ (1689 -1651‬ﻟﺘﺮﺑﻴﺔ ﺩﻭﻕ‬
‫ﺑﻮﺭﻏﻮﻧﻴﺎ ﺍﻟﻔﱴ‪ ،‬ﻭ ﺍﻟﱵ ﻛﺎﻧﺖ ﺃﳘﻬﺎ " ﺍﳊﻜﺎﻳﺎﺕ" ﻭ ﺣﻮﺍﺭ ﺍﳌﻮﺗﻰ"‪ ،‬ﻭ ﻗﺪ ﺍﺳﺘﺨﺪﻡ ﻛﻞ ﻣﻨﻬﻤﺎ‬
‫ﺍﳊﻜﺎﻳﺔ ﺩﻋﻤﺎ ﻟﻠﺘﺮﺑﻴﺔ ﺍﳋﻠﻘﻴﺔ ﻭ ﺍﻟﺪﻳﻨﻴﺔ‪ ،‬ﻭ ﰲ ﺍﻟﺘﺮﺍﺙ ﺍﻟﻔﺮﻧﺴﻲ‪ ،‬ﳒﺪ ﺍﻟﺸﻬﲑ "ﻻﻓﻮﻧﺘﲔ" )‪-1621‬‬
‫‪ (1695‬ﻭ ﺍﻟﺬﻱ ﻇﻬﺮﺕ ﺣﻜﺎﻳﺎﺗﻪ ﺍﻟﺸﻌﺮﻳﺔ ﻋﺎﻡ )‪ (1665‬ﻭ ﻛﺎﻧﺖ ﺳﺒﺒﺎ ﰲ ﺷﻬﺮﺗﻪ‪ ،‬ﺣﻴﺚ ﺷﺮﻉ‬
‫ﻳﻨﺸﺮ ﺃﺳﺎﻃﲑ ﻋﻠﻰ ﻟﺴﺎﻥ ﺍﳊﻴﻮﺍﻥ ﻣﻨﺬ ﻋﺎﻡ )‪ ،(1668‬ﻛﺬﻟﻚ ﺍﻟﻔﺮﻧﺴﻲ " ﺷﺎﺭﻝ ﺑﲑﻭ" )‪-1682‬‬
‫‪ (1703‬ﺍﻟﺬﻱ ﲨﻊ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ‪ ،‬ﻭ ﻋﺪﳍﺎ ﻟﺘﻨﺎﺳﺐ ﺫﻭﻕ ﻋﺼﺮﻩ‪ .‬ﻭﰲ ﺇﳒﻠﺘﺮﺍ‪،‬‬
‫‪ -1‬ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭﻋﻤﻴﺶ‪ " ،‬ﻗﺼﺔ ﺍﻟﻄﻔﻞ ﰲ ﺍﳉﺰﺍﺋﺮ‪-‬ﺩﺭﺍﺳﺔ ﰲ ﺍﳌﻀﺎﻣﲔ ﻭﺍﳋﺼﺎﺋﺺ"‪ ،‬ﺩﺍﺭ ﺍﻟﻐﺮﺏ‪ ،‬ﻭﻫﺮﺍﻥ‪،‬ﺹ ‪.15‬‬
‫*‪ -‬ﻭ ﻟﻼﺳﺘﺰﺍﺩﺓ ﰲ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﻳﻨﻈﺮ‪:‬‬
‫‪ -‬ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭ ﻋﻤﻴﺶ‪.‬ﻡ‪.‬ﺱ‪.‬ﺹ ‪.37-15‬‬
‫‪ -‬ﻋﺒﺪ ﺍﻟﺮﺯﺍﻕ ﺟﻌﻔﺮ‪ "،‬ﺃﺩﺏ ﺍﻟﻄﻔﻞ"‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ‪ ،‬ﺩﻣﺸﻖ‪،‬ﺩﻁ‪،1989/‬ﺹ ‪.88‬‬
‫‪ -‬ﺇﳝﺎﻥ ﻳﻘﺎﻋﻲ‪ ،‬ﻡ‪.‬ﺱ ﺹ‪.27-19‬‬

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‫ﺻﺪﺭﺕ ﺭﻭﺍﻳﺔ "ﺭﻭﺑﻨﺴﻮﻥ ﻛﺮﻭﺯﻭ" )‪ ،(1719‬ﻭ ﺻﺪﺭﺕ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻟﻘﺼﺺ ﺍﻟﱵ ﺗﺄﺛﺮﺕ ﺏ "ﺃﻟﻒ‬
‫ﻟﻴﻠﺔ ﻭ ﻟﻴﻠﺔ" ‪ .‬ﰒ ﺷﺮﻋﺖ ﺑﺬﻭﺭ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﰲ ﺍﻟﻨﻤﻮ ﺳﺮﻳﻌﺎ ﻣﻨﺬ ﺑﺪﺍﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻣﻦ ﻋﺸﺮ ﻣﻊ ﺍﻧﺘﺸﺎﺭ‬
‫ﺍﻟﺘﺄﻟﻴﻒ ﻭ ﺍﻟﻜﺘﺎﺑﺔ ﻭ ﺍﻟﻄﺒﺎﻋﺔ ﺍﳊﻘﻴﻘﻴﺔ ﺍﳉﺎﺩﺓ ﻟﻠﺼﻐﺎﺭ ﰲ ﺃﻭﺭﻭﺑﺎ‪ ،‬ﻭ ﻟﻘﺪ ﺍﺣﺘﻮﺕ ﻫﺬﻩ ﺍﻟﻜﺘﺎﺑﺎﺕ ﻋﻠﻰ‬
‫ﺑﻌﺾ ﺍﳊﻜﺎﻳﺎﺕ ﻭ ﺍﻷﺷﻌﺎﺭ ﺍﳌﻮﺟﻬﺔ ﳍﻢ‪ ،‬ﻭﻗﺪ ﺍﺳﺘﻬﺪﻓﻮﺍ ‪‬ﺎ ﺗﻌﻠﻴﻢ ﺍﻟﻠﻐﺔ‪ ،‬ﻓﻔﻲ ﺇﳒﻠﺘﺮﺍ‪ ،‬ﻇﻬﺮ ﻛﺘﺎﺏ‬
‫"ﺃﻟﻴﺲ ﰲ ﺑﻼﺩ ﺍﻟﻌﺠﺎﺋﺐ" ﺳﻨﺔ)‪ (1865‬ﻭ "ﻋﱪ ﺍﳌﺮﺁﺓ" ﺳﻨﺔ ) ‪ (1876‬ﻟﻠﻜﺎﺗﺐ " ﻟﻮﻳﺲ‬
‫ﻛﺎﺭﻭﻝ"‪ ،‬ﻭ ﰲ ﺃﻣﺮﻳﻜﺎ " ﺗﻮﻡ ﺳﻮﻳﲑ"‪ ،‬ﻭﰲ ﺍﺳﻜﻨﺪﻧﺎﻓﻴﺎ ﻗﺼﺺ "ﺃﻧﺪﺭﺳﻮﻥ"‪ ،‬ﺃﻣﺎ ﺇﻳﻄﺎﻟﻴﺎ ﻑ"‬
‫ﺑﻴﻨﻮﻛﻴﻮ"‪ ،‬ﻭ ﰲ ﺃﳌﺎﻧﻴﺎ ﳒﺪ ﺍﻷﺧﻮﻳﻦ ﻏﺮﱘ ﺍﻟﺬﻳﻦ ﲨﻌﺎ ﺍﻟﻔﻠﻜﻠﻮﺭ ﺍﻷﳌﺎﱐ ﰲ ﺷﻜﻞ ﻗﺼﺺ ﻭ ﺣﻜﺎﻳﺎ‪،‬‬
‫‪ ...‬ﻭ ﻏﲑﻫﻢ‪ .‬ﻭ ﰲ ﺃﻭﺍﺧﺮ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻣﻦ ﻋﺸﺮ‪ ،‬ﻭ ﺑﻔﻀﻞ ﻛﺘﺎﺏ "ﺇﳝﻴﻞ ﻟﺮﻭﺳﻮ"‪ ،‬ﻭ ﻧﻈﺮﻳﺎﺕ "ﺟﻮﻥ‬
‫ﻟﻮﻙ"ﰲ ﺍﻟﺘﻌﻠﻴﻢ‪ ،‬ﺍﻟﺬﻳﻦ ﺃﻋﻄﻴﺎ ﺍﻻﻧﻄﻼﻗﺔ ﺍﻟﻔﻌﻠﻴﺔ ﻷﺩﺏ ﺍﻟﻄﻔﻞ‪ ،‬ﺻﺪﺭﺕ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻜﺘﺐ ﺍﻟﺘﻌﻠﻴﻤﻴﺔ‪،‬‬
‫ﰒ ﺷﻴﺌﺎ ﻓﺸﻴﺌﺎ ﺑﺪﺃﺕ ﺗﺘﺰﺍﻳﺪ ﻋﻨﺎﻳﺔ ﻛﺒﺎﺭ ﺍﳌﺆﻟﻔﲔ ﺑﺄﺩﺏ ﺍﻟﺼﻐﺎﺭ‪ ،‬ﺣﱴ ﺇﻥ "ﻭﻳﻠﻴﺎﻡ ﺑﻠﻴﻚ" ﺃﻟﻒ " ﺃﻏﺎﱐ‬
‫ﺍﻟﱪﺍﺀﺓ" ﻓﻴﻤﺎ ﺑﻌﺪ‪ .‬ﻭ ﻳﻌﺪ ﺍﻟﻘﺮﻥ ﺍﻟﺘﺎﺳﻊ ﻋﺸﺮ ﺍﻟﻌﺼﺮ ﺍﻟﺬﻫﱯ ﻷﺩﺏ ﺍﻷﻃﻔﺎﻝ ﺧﺎﺻﺔ ﰲ ﻧﺼﻔﻪ ﺍﻟﺜﺎﱐ‪،‬‬
‫ﻭ ﺻﺮﻧﺎ ﻧﺴﻤﻊ ﺑﺄﲰﺎﺀ ﻛﺒﺎﺭ ﺍﳌﺆﻟﻔﲔ ﻟﻠﺼﻐﺎﺭ )ﺩﻳﻜﱰ‪ ،‬ﻛﻴﺒﻠﻴﻨﻎ‪ ،‬ﻫﻮﻏﻮ‪ ،‬ﺳﻮﻳﻔﺖ‪ ،(...‬ﻭ ﺗﺪﻓﻘﺖ‬
‫ﺍﻟﻜﺘﺐ ﺍﳌﻠﻮﻧﺔ ‪ ،‬ﻭ ﻇﻬﺮﺕ ﲣﺼﺼﺎﺕ ﺇﻋﻼﻣﻴﺔ ﰲ ﺭﺳﻮﻡ ﻛﺘﺐ ﺍﻷﻃﻔﺎﻝ‪ ،‬ﻭ ﺑﺮﺯ ﺧﱪﺍﺀ ﰲ ﺍﻹﺧﺮﺍﺝ‬
‫ﻭ ﺍﻟﺘﻨﻔﻴﺬ ﻭ ﺍﻟﺘﻐﻠﻴﻒ‪ ،‬ﻭ ﰲ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ‪ ،‬ﺻﺪﺭﺕ ﻟﻸﻃﻔﺎﻝ ﺍ‪‬ﻼﺕ ﺍﳌﺘﺨﺼﺼﺔ‪ ،‬ﻭ ﺍﻷﻓﻼﻡ ﺍﻟﻌﺎﳌﻴﺔ‪،‬‬
‫ﻭ ﺗﺮﲨﺖ ﺍﻟﻜﺘﺐ ﳍﻢ‪ ،‬ﻭ ﺻﺎﺭ ﻟﺪﻳﻬﻢ ﻫﻴﺌﺎﺕ ﻭ ﻣﺆﺳﺴﺎﺕ‪ ،‬ﻭ ﻋﻘﺪﺕ ﻧﺪﻭﺍﺕ ﻹﺗﻘﺎﻥ ﻓﻦ ﺗﺄﻟﻴﻒ‬
‫ﺍﻟﻜﺘﺐ ﻟﻠﺼﻐﺎﺭ ﻭ ﺇﺧﺮﺍﺟﻬﺎ ﻭ ﺍﻋﺘﺮﻑ ﺑﺄﺩﺏ ﺍﻟﺼﻐﺎﺭ‪ .‬ﻭﻟﻘﺪ ﺣﺎﻭﻝ ﻛﻞ ﻫﺆﻻﺀ ﺍﻷﺩﺑﺎﺀ ﺇﻗﺎﻣﺔ ﺍﻟﻌﻼﻗﺔ‬
‫ﺑﲔ ﺍﻷﺩﺑﲔ ﺍﻟﺸﻔﻮﻱ ﻭ ﺍﳌﻜﺘﻮﺏ‪ ،‬ﻷﻧﻪ ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺑﺄﻧﻪ ﺣﱴ ﰲ ﻫﺬﻩ ﺍﳌﺮﺣﻠﺔ ﻣﻦ ﺍﻟﺘﺎﺭﻳﺦ‪ ،‬ﱂ ﻳﻌﺮﻑ‬
‫ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ ﺍﻧﻔﺼﺎﻟﻪ ﺍﻟﺘﺎﻡ ﻋﻦ ﺍﻷﺩﺏ ﺍﻟﺸﻔﻮﻱ‪ ،‬ﺑﻞ ﺍﻋﺘﱪ ﻧﻮﻋﺎ ﻣﻦ ﺍﻟﺘﻬﺬﻳﺐ ﻟﻸﻭﻝ‪ ،‬ﻋﻠﻰ ﻏﺮﺍﺭ ﻣﺎ‬
‫ﻗﺎﻡ ﺑﻪ ﺍﻷﻣﺮﻳﻜﻴﻮﻥ ﻣﺜﻼ ﺣﻴﻨﻤﺎ ﻧﻈﻤﻮﺍ ﻣﺎ ﻋﺮﻑ ﻋﻨﺪﻫﻢ ﺏ" ﺳﺎﻋﺔ ﺍﻟﻘﺼﺔ" ﺃﻭ ﺩﺭﺱ ﺍﻟﻘﺼﺔ" ﺑﺈﺷﺮﺍﻑ‬
‫ﺍﻟﻜﺎﺗﺒﺔ "ﺳﺎﺭﻛﻮﻥ ﺑﺮﺍﻳﻨﺖ"‪ 1.‬ﻭﳑﺎ ﻓﻌﻞ ﺍﻟﻜﺘﺎﺑﺎﺕ ﻟﻸﻃﻔﺎﻝ ﻇﻬﻮﺭ ﺍﳌﻜﺘﺒﺎﺕ ﺍﳋﺎﺻﺔ ﺑﺄﺩﺏ ﺍﻟﻄﻔﻞ‪،‬‬
‫‪ -1‬ﺳﺮﺍﻛﻮﻥ ﺑﺮﺍﻳﺎﺕ‪ :‬ﻣﺮﺑﻴﺔ ﺃﻣﺮﻳﻜﻴﺔ‪ ،‬ﻗﺼﺎﺻﺔ ﻣﻦ ﻣﺆﻟﻔﺎ‪‬ﺎ‪ " :‬ﻛﻴﻒ ﻧﺴﺮﺩ ﺍﻟﻘﺼﺺ ﻋﻠﻰ ﺃﻃﻔﺎﻟﻨﺎ" ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺍﺑﺘﻜﺎﺭﻫﺎ ﳊﺼﺔ " ﺳﺎﻋﺔ‬
‫ﺍﻟﻘﺼﺔ" ﺿﻤﻦ ﺍﻟﱪﻧﺎﻣﺞ ﺍﳌﺪﺭﺳﻲ‪.‬‬

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‫ﻙ" ﺍﳌﻜﺘﺒﺔ ﺍﻟﺰﺭﻗﺎﺀ" ﰲ ﻓﺮﻧﺴﺎ ﻭ" ﻛﺘﺐ ﺍﻷﻭﻻﺩ" ﰲ ﺍﳒﻠﺘﺮﺍ‪ ،‬ﻛﻤﺎ ﳚﻤﻊ ﺍﻟﻨﻘﺎﺩ ﻋﻠﻰ ﺃﻥ ﺍﻟﻔﻀﻞ ﻳﻌﻮﺩ‬
‫ﳍﺬﻩ ﺍﻷﺧﲑﺓ ﺍﻟﱵ ﻓﻜﺮﺕ ﰲ ﺗﺄﺳﻴﺲ ﺩﺍﺭ ﻧﺸﺮ ﻟﻸﻃﻔﺎﻝ ﺳﻨﺔ‪ ،1745‬ﳌﺎ ﻓﺘﺢ ﺷﺨﺺ ﻳﺪﻋﻰ ﺟﻮﻥ‬
‫ﻧﻴﻮﺑﲑﻱ ﳐﺰﻧﺎ ﺻﻐﲑﺍ ﺃﺳﻔﻞ" ﻛﻨﻴﺴﺔ ﺍﻟﻘﺪﻳﺲ ﻭﻝ" ﺃﲰﺎﻩ "ﺍﻹﳒﻴﻞ ﻭ ﺍﻟﺸﻤﺲ"‪.‬‬

‫ﻭ ﻛﺎﻥ ﳚﺐ ﺃﻥ ﻧﻨﺘﻈﺮ ﺇﱃ ﻏﺎﻳﺔ ‪ ،1933‬ﻟﺘﺒﺎﺩﺭ ﺍﻟﺪﻭﻟﺔ ﺇﱃ ﺗﺄﺳﻴﺲ ﺩﺍﺭ " ﻣﻴﺘﺴﻜﺎﻳﺎ ﻟﻴﺘﺮﺍﻧﻮﺭﺍ" )ﻛﺘﺐ‬
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‫ﺍﻷﻃﻔﺎﻝ( ﲟﺒﺎﺩﺭﺓ ﻣﻦ "ﻣﻜﺴﻴﻢ ﻏﻮﺭﻛﻲ" ﰲ ﺭﻭﺳﻴﺎ ﻭ ﻛﺎﻥ ﺫﻟﻚ ﺍﳊﺪﺙ ﺍﻷﻭﻝ ﻣﻦ ﻧﻮﻋﻪ ﰲ ﺍﻟﻌﺎﱂ‪.‬‬
‫ﻭ ﻛﻔﻴﻞ ‪‬ﺬﺍ ﺍﻟﺘﺎﺭﻳﺦ ﺃﻥ ﻳﻌﻠﻦ ﻋﻦ ﺍﻧﺘﻘﺎﻝ ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ ﻣﻦ ﺍﻟﺘﺠﺮﻳﺐ ﺍﶈﺘﺸﻢ ﺇﱃ ﺻﻔﺔ ﺍﻟﺮﲰﻴﺔ‪،‬‬
‫ﺗﺘﻌﻬﺪﻩ ﺍﻟﺴﻴﺎﺳﺎﺕ ﺍﻟﻮﻃﻨﻴﺔ ﺑﺎﻟﺮﻋﺎﻳﺔ ﲝﺜﺎ ﻭ ﺗﻄﻮﻳﺮﺍ‪ ،‬ﻭ ﻫﻮ ﻓﻮﻕ ﺫﻟﻚ ﲦﺮﺓ ﺟﻬﻮﺩ ﺍﳌﺨﺘﺼﲔ ﻣﻦ‬
‫ﻛﺘﺎﺏ‪ ،‬ﻭ ﺭﺳﺎﻣﲔ ﻭﻋﻠﻤﺎﺀ ﻧﻔﺲ‪ ،‬ﻭ ﻣﺮﺑﲔ ﻭ ﳐﺘﺼﲔ ﰲ ﺷﺆﻭﻥ ﺍﻟﻄﺒﺎﻋﺔ‪ ،‬ﺑﻌﺪ ﺃﻥ ﺃﻣﻜﻦ ﻫﺆﻻﺀ‬
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‫ﺍﳌﺴﺎﳘﲔ ﺗﻨﻈﻴﻢ ﺫﻟﻚ ﰲ ﺇﻃﺎﺭ ﺍﳌﺆﲤﺮﺍﺕ ﻭﺍﻟﻨﺪﻭﺍﺕ ﺍﻟﺪﺭﺍﺳﻴﺔ‪.‬‬

‫ﺣﻴﺚ ﻧﻼﺣﻆ ﺃﻧﻪ " ﻣﺎ ﺃﻥ ﺑﺪﺃ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ ﺣﱴ ﻛﺎﻥ ﰲ ﻭﺳﻊ ﺍﻟﺼﻐﺎﺭ ﺃﻥ ﻳﻄﻮﻓﻮﺍ ﺑﺎﻟﻌﺎﱂ‪،‬‬
‫ﻭ ﳛﻠﻘﻮﺍ ﰲ ﺍﻟﺴﻤﺎﺀ‪ ،‬ﻭ ﻳﻐﺮﻗﻮﺍ ﰲ ﺃﺳﺮﺍﺭ ﺍﻟﻌﻠﻮﻡ ﺍﻟﺪﻗﻴﻘﺔ‪ ،‬ﻭﺍﺗﺴﻊ ﳍﻢ ﺍﻷﻓﻖ ﻓﺼﺪﺭﺕ ﳍﻢ ﳎﻼﺕ‬
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‫ﻭ ﺑﺎﻟﺘﺎﱄ ﻧﻼﺣﻆ ﺃﻥ ﻓﻜﺮﺓ ﺍﻟﻜﺘﺎﺑﺔ ﻟﻠﻄﻔﻞ ﺍﻟﱵ ﻛﺎﻧﺖ‬ ‫ﻣﺘﺨﺼﺼﺔ‪ ،‬ﻭ ﺃﻗﻼﻡ ﻋﺎﳌﻴﺔ ﰲ ﻛﻞ ﺑﻘﻌﺔ"‬
‫ﺗﺮﺍﺩﻑ ﺍﻧﺘﻘﺎﺻﺎ ﻣﻦ ﺃﺩﺑﻴﺔ ﺍﻟﻜﺎﺗﺐ ﻗﺪ ﺗﺮﺍﺟﻌﺖ ﺇﱃ ﺣﺪ ﻛﺒﲑ‪.‬‬

‫‪ -‬ﻭ ﺃﻣﺎ ﰲ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ‪:‬‬

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‫ﻭ ﺭﻏﻢ ﺗﺄﺧﺮ ﻇﻬﻮﺭ ﻫﺬﺍ ﺍﻟﻠﻮﻥ ﻣﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻨﺪ ﺍﻟﻌﺮﺏ ﰲ ﺷﻜﻠﻪ ﺍﻟﺘﺎﻡ ﻭ ﻫﺬﺍ ﺭﺍﺟﻊ ﻟﻸﺳﺒﺎﺏ‬
‫ﺍﳉﻮﻫﺮﻳﺔ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬

‫‪-1‬ﻋﺒﺪ ﺍﻟﺘﻮﺍﺏ ﻳﻮﺳﻒ‪ ":‬ﺗﻄﻮﺭ ﻛﺘﺐ ﺍﻷﻃﻔﺎﻝ"‪ ،‬ﳎﻠﺔ ﺍﻟﻔﻴﺼﻞ‪،‬ﻉ ‪ ،50‬ﺍﻟﺴﻨﺔ ﺍﳋﺎﻣﺴﺔ‪ ،‬ﻳﻮﻧﻴﻮ‪ ،1981 ،‬ﺹ ‪.136‬‬

‫‪ -2‬ﻣﻜﺴﻴﻢ ﻏﻮﺭﻛﻲ‪ " :‬ﺍﳊﻴﺎﺓ ﻫﺬﻩ ﺍﻟﻘﺼﺔ ﺍﻟﻌﺠﻴﺒﺔ‪ -‬ﻫﺆﻻﺀ ﺍﻟﺬﻳﻦ ﻳﻜﺘﺒﻮﻥ ﻟﻸﻃﻔﺎﻝ‪ ،‬ﺭﻭﺳﻴﺎ‪ ،‬ﺩ‪.‬ﻁ‪ ،‬ﺹ ‪.7‬‬
‫‪ -3‬ﻋﺒﺪ ﺍﻟﺮﺯﺍﻕ ﺟﻌﻔﺮ‪.‬ﻡ‪.‬ﺱ‪ .‬ﺹ‪.118‬‬
‫‪ -4‬ﳏﺴﻦ ﻧﺎﺻﺮ ﺍﻟﻜﻴﻼﱐ‪ :‬ﻡ‪.‬ﺱ‪.‬ﺹ ‪17‬‬

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‫‪ -‬ﺇﻥ ﻫﺬﺍ ﺍﻟﻠﻮﻥ ﻣﻦ ﺍﻟﻜﺘﺎﺑﺔ ﳛﺘﺎﺝ ﺇﱃ ﺍﺳﺘﻘﺮﺍﺭ ﺳﻴﺎﺳﻲ ﻭ ﺍﺟﺘﻤﺎﻋﻲ‪ ،‬ﺑﻴﻨﻤﺎ ﻧﻼﺣﻆ ﺃﻥ ﺍﳌﺮﺣﻠﺔ‬
‫ﺍﻟﺴﺎﺑﻘﺔ ﻗﺪﺍ ﺗﺴﻤﺖ ﺑﺼﺮﺍﻉ ﺿﺪ ﺍﻻﺳﺘﻌﻤﺎﺭ‪ ،‬ﻭ ﺿﺪ ﺍﻷﻧﻈﻤﺔ ﺍﻟﺪﻛﺘﺎﺗﻮﺭﻳﺔ‪ ،‬ﳑﺎ ﺟﻌﻞ ﺍﻷﺩﻳﺐ‬
‫ﰲ ﻗﻄﺮﻧﺎ ﻳﻌﺰﻑ ﻋﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻟﻠﻄﻔﻞ ﻭ ﻳﻜﺮﺱ ﻧﻔﺴﻪ ﻣﻦ ﺃﺟﻞ ﺍﻟﻨﻀﺎﻝ ﺍﻟﺴﻴﺎﺳﻲ‪ ،‬ﻭ ﰲ ﳑﺎﺭﺳﺔ‬
‫ﺃﳕﺎﻁ ﻛﺘﺎﺑﻴﺔ ﺃﺧﺮﻯ ﲣﺺ ﺍﻟﻜﺒﺎﺭ‪ ،‬ﻭ ﺣﱴ ﻭ ﻟﻮ ﺍﻟﺘﻔﺖ ﻳﻮﻣﺎ ﺇﱃ ﺍﻟﻜﺘﺎﺑﺔ ﻟﻸﻃﻔﺎﻝ‪ ،‬ﻓﺈﻧﻪ ﻳﻜﺘﺐ‬
‫ﲢﺖ ﺳﻴﻒ ﺍﻹﺭﻫﺎﺏ ﻭ ﻋﺪﻡ ﺍﻻﺳﺘﻘﺮﺍﺭ‪ .‬ﻭ ﻟﻜﻦ ﻣﺎ ﻧﻼﺣﻈﻪ ﺃﻥ ﺣﺎﻟﺔ ﻋﺪﻡ ﺍﻻﺳﺘﻘﺮﺍﺭ ﻫﺬﻩ ﻣﺎ‬
‫ﺗﺰﺍﻝ ﺗﺘﺨﺒﻂ ﻓﻴﻬﺎ ﺍﻟﺪﻭﻝ ﺍﻟﻌﺮﺑﻴﺔ ﺇﱃ ﻳﻮﻣﻨﺎ ﺍﳊﺎﱄ‪ ،‬ﻭ ﳍﺎ ﺗﺄﺛﲑ ﻭﺍﺿﺢ ﰲ ﻓﺤﻮﻯ ﻣﺎ ﻳﻜﺘﺐ‬
‫ﻟﻠﻄﻔﻞ ﰲ ﺑﻌﺾ ﺍﳌﻨﺎﻃﻖ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﻭ ﻟﻜﻦ ﰲ ﻧﻈﺮﻱ ﺃﻥ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ﻻ ﳚﺐ ﺃﻥ ﺗﻜﻮﻥ ﻋﺎﺋﻘﺎ‬
‫ﻟﻠﻜﺘﺎﺑﺔ ﺑﻞ ﺩﺍﻓﻌﺎ ﳍﺎ ﰲ ﻇﻞ ﺍﳊﺮﻛﺔ ﺍﻷﺩﺑﻴﺔ ﺍﻟﺴﺮﻳﻌﺔ ﺍﻟﱵ ﻳﻌﺮﻓﻬﺎ ﺍﻟﻌﺎﱂ‪ ،‬ﺇﺫ ﳝﻜﻦ ﺇﻳﺼﺎﳍﺎ‬
‫ﻟﻠﻄﻔﻞ ﺑﻌﺪﺓ ﺃﺷﻜﺎﻝ‪ ،‬ﻛﻜﺘﺐ ﰲ ﺷﻜﻞ ﻗﺼﺺ ﻭ ﺣﻜﺎﻳﺎﺕ ﻭ ﺃﻟﺒﻮﻣﺎﺕ‪ ،‬ﰒ ﰲ ﺷﻜﻞ ﺃﻓﻼﻡ‪،‬‬
‫ﻭ ﺻﻮﺭ ﻣﺘﺤﺮﻛﺔ‪ ،‬ﺃﻭ ﺃﻓﻼﻡ ﻭﺛﺎﺋﻘﻴﺔ‪...‬ﻭ ﻏﲑﻫﺎ‪ .‬ﺇﺫ ﻻ ﳚﺐ ﺃﻥ ﳓﺼﺮﻫﺎ ﰲ ﺷﻜﻞ ﻣﻌﲔ‪ ،‬ﰒ‬
‫ﺇﻥ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻦ ﺍﻻﺳﺘﻌﻤﺎﺭ ﻭ ﺍﻹﺭﻫﺎﺏ ﻳﺴﺎﻋﺪ ﰲ ﺗﻮﻋﻴﺔ ﺍﻟﻄﻔﻞ ﻭ ﻳﻬﻴﺄ ﺻﺪﺍﻣﻪ ﺑﻪ ‪ ،‬ﳑﺎ ﳚﻌﻞ‬
‫ﺍﻟﻜﺘﺎﺑﺎﺕ ﺃﻛﺜﺮ ﺍﺗﺼﺎﻻ ﺑﺎﻟﻮﺍﻗﻊ‪.‬‬
‫‪ -‬ﺇﻥ ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ ﻳﺮﺍﻋﻲ ﺧﺼﺎﺋﺺ ﺍﻟﻄﻔﻮﻟﺔ ﻭ ﻣﺮﺍﺣﻠﻬﺎ‪ ،‬ﻭ ﻣﻴﻮﻝ ﺍﻷﻃﻔﺎﻝ‪ ،‬ﻭ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻌﻬﻢ‬
‫ﻋﻠﻰ ﺃﺳﺎﺱ ﺷﺨﻮﺻﻬﻢ ﺍﳌﺴﺘﻘﻠﺔ ﻋﻦ ﺍﻟﻜﺒﺎﺭ ﰲ ﺣﲔ ﺃﻥ ﺍﻟﻜﺎﺗﺐ ﱂ ﳝﺘﻠﻚ ﻗﺪﺭﺍ ﻣﻦ ﺍﻹﻃﻼﻉ‬
‫ﻋﻠﻰ ﻛﺸﻮﻓﺎﺕ ﻋﻠﻢ ﺍﻟﻨﻔﺲ*‪ ،‬ﻭ ﱂ ﻳﺪﺭﺱ ﺍﻟﻄﻔﻮﻟﺔ ﻭ ﻣﺮﺍﺣﻠﻬﺎ ﻭ ﻣﻴﻮﻝ ﺍﻷﻃﻔﺎﻝ‪،‬‬
‫ﻭ ﻣﺪﺍﺭﻛﻬﻢ ﳍﺬﺍ ﺍﻟﺴﺒﺐ ﺟﺎﺀﺕ ﺍﻟﻜﺘﺎﺑﺎﺕ ﺍﻷﻭﱃ ﰲ ﺍﻟﻌﺸﺮﻳﻨﻴﺎﺕ ﻭ ﺍﻟﺜﻼﺛﻴﻨﻴﺎﺕ ﻛﺘﺎﺑﺎﺕ‬
‫ﺗﻘﻠﻴﺪﻳﺔ ﺗﻌﻠﻴﻤﻴﺔ ﺟﺎﻓﺔ ﺗﺘﺴﻢ ﺑﺮﻭﺡ ﺍﻟﺘﺮﺑﻴﺔ ﺍﻟﻘﺪﳝﺔ ﻭ ﻧﻈﺮ‪‬ﺎ ﺍﻟﻘﺎﺻﺮﺓ ﺇﱃ ﺍﻷﻃﻔﺎﻝ‪.‬‬
‫ﺇﺫ ﳚﺐ ﻋﻠﻰ ﺍﻟﻜﺘﺎﺏ ﺍﻹﳌﺎﻡ ﺃﻛﺜﺮ ﺑﺎﻟﻌﻠﻮﻡ ﻭ ﻟﻴﺲ ﻓﻘﻂ ﻋﻠﻢ ﺍﻟﻨﻔﺲ ﺭﻏﻢ ﺃﻧﻪ ﳛﺪﺩ ﺷﻜﻞ‬
‫ﻭ ﳕﻂ ﺍﻟﻜﺘﺎﺑﺔ ﻟﻠﻄﻔﻞ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﺣﻴﺎﺗﻪ ﺍﻟﻨﻔﺴﻴﺔ‪ ،‬ﺍﳌﺘﻤﺜﻠﺔ ﰲ ﺭﻏﺒﺎﺗﻪ ﺁﻣﺎﻟﻪ‪،‬‬
‫ﻣﻜﺘﺴﺒﺎﺗﻪ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﲢﺪﻳﺪ ﺃﻓﻖ ﺍﻧﺘﻈﺎﺭﻩ‪ ،‬ﻓﺎﻟﻌﻠﻮﻡ ﺑﺈﺩﺭﺍﺟﻬﺎ ﰲ ﺍﻟﻜﺘﺎﺑﺎﺕ ﺍﻟﻘﺼﺼﻴﺔ ﺗﺼﺒﺢ‬
‫ﺍﻟﻜﺘﺐ ﺗﻌﻠﻴﻤﻴﺔ ﺑﻘﺪﺭ ﻣﺎ ﻫﻲ ﺗﺮﻓﻴﻬﻴﺔ ﻭ ﻻ ﳚﺪ ﺍﻟﻄﻔﻞ ﻣﻦ ﺣﺮﺝ ﰲ ﺗﻌﻠﻢ ﻛﻞ ﻣﺎ ﻫﻮ ﻣﻔﻴﺪ‬
‫*‪-‬ﻳﻨﻈﺮ‪ :‬ﺃﲪﺪ ﺯﻟﻂ‪ ":‬ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﺍﻟﻌﺮﰊ –ﺩﺭﺍﺳﺔ ﻣﻌﺎﺻﺮﺓ‪ -‬ﰲ ﻟﺘﺄﺻﻴﻞ ﻭﺍﻟﺘﺤﻠﻴﻞ"‪ ،‬ﻁ‪،1‬ﺩﺍﺭ ﺍﻟﻮﻓﺎﺀ‪،‬ﻣﺼﺮ ‪،1999‬ﺹ‪.07‬‬

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‫ﻋﻦ ﻃﺮﻳﻖ ﺍﳌﺘﻌﺔ‪ ،‬ﻭ ﺑﺬﻟﻚ ﻳﻨﺘﻬﻲ ﻣﺸﻜﻞ ﺍﻟﺘﻌﻠﻴﻢ ﺍﳉﺎﻑ ﰲ ﺍﻟﻜﺘﺐ ﺍﳌﺪﺭﺳﻴﺔ‪.‬‬
‫‪ -‬ﺇﱃ ﺟﺎﻧﺐ ﺃﻧﻪ ﻛﺎﻧﺖ ‪‬ﻴﻤﻦ ﻋﻠﻰ ﺍﻟﻜﺎﺗﺐ ﻋﻨﺪﻧﺎ ﻧﻈﺮﺓ ﻗﺎﺻﺮﺓ‪ ،‬ﺇﺫ ﻳﻨﻈﺮ ﺇﱃ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻧﻈﺮﺓ‬
‫ﺛﺎﻧﻮﻳﺔ ﻭ ﻳﻌﺘﱪ ﺍﳋﻮﺽ ﻓﻴﻪ ﻣﻨﻘﺼﺔ ﻟﻪ‪ .‬ﻭ ﻫﺬﺍ ﺭﺍﺟﻊ ﳌﺎ ﻳﺘﻤﻴﺰ ﺑﻪ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻣﻦ ﳑﻴﺰﺍﺕ‪،‬‬
‫ﳚﻌﻠﻪ ﻳﺒﺪﻭ ﺳﻬﻼ ﺗﺎﻓﻬﺎ‪ ،‬ﻗﺪ ﻳﺘﻨﺎﺯﻝ ﺍﻷﺩﻳﺐ ﻭ ﻳﻜﺘﺐ ﰲ ﳎﻤﻞ ﻣﺎ ﻳﻜﺘﺐ ﻗﺼﺔ ﺃﻭ ﺣﻜﺎﻳﺔ ﻋﻠﻰ‬
‫ﺍﻷﻏﻠﺐ ﻟﻠﻄﻔﻞ ﻭ ﻟﻜﻦ ﻫﺬﺍ ﻟﻸﺳﻒ ﻟﻴﺲ ﺣﺎﻝ ﻛﻞ ﺍﻟﻜﺘﺎﺏ ﻓﺒﻌﻀﻪ ﻳﺄﰉ ﺣﱴ ﺍﻟﺘﻨﺎﺯﻝ‪ ،‬ﺭﻏﻢ‬
‫ﺃﻥ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻛﻤﺎ ﺃﻇﻬﺮﺕ ﺍﻟﺪﺭﺍﺳﺎﺕ ﻓﻴﻤﺎ ﺑﻌﺪ ﺃﻛﺜﺮ ﺗﻌﻘﻴﺪﺍ ﻣﻦ ﺃﺩﺏ ﺍﻟﻜﺒﺎﺭ ﻭ ﻫﺬﺍ ﺭﺍﺟﻊ‬
‫ﻟﻠﺤﺎﻟﺔ ﺍﻟﻨﻔﺴﻴﺔ ﺍﳌﺨﺘﻠﻔﺔ ﲤﺎﻣﺎ ﻋﻦ ﺍﻟﻜﺒﺎﺭ ﻭ ﺍﻷﻛﺜﺮ ﺗﻌﻘﻴﺪﺍ‪ ،‬ﻭ ﺃﻥ ﻣﻦ ﺍﳌﻬﺎﺭﺓ ﻭ ﺍﻹﺑﺪﺍﻉ ﺍﻟﻜﺘﺎﺑﺔ‬
‫ﻟﻪ‪ ،‬ﺇﻻ ﺃﻥ ﻫﺬﻩ ﺍﻟﻨﻈﺮﺓ ﺳﺮﻋﺎﻥ ﻣﺎ ﺍﳓﺼﺮﺕ ﻭ ﻇﻬﺮ ﻛﺘﺎﺏ ﻣﺘﺨﺼﺼﻮﻥ ﰲ ﺍﻟﻜﺘﺎﺑﺔ ﻟﻠﻄﻔﻞ‪،‬‬
‫ﻛﻤﺎ ﺑﺪﺃ ﺑﻌﺾ ﻣﻦ ﺍﻟﻜﺘﺎﺏ ﻟﻠﻜﺒﺎﺭ ﺑﺘﺨﺼﻴﺺ ﺟﻬﺪ ﺃﻛﱪ ﻟﻠﻜﺘﺎﺑﺔ ﻟﻠﺼﻐﺎﺭ‪.‬‬

‫ﻭ ﻟﻜﻦ ﻫﺬﺍ ﻻ ﻳﻨﻔﻲ ﺃﻥ ﺍﻟﻌﺮﺏ ﻗﺪﳝﺎ ﻗﺪ ﺣﺮﺻﻮﺍ ﻋﻠﻰ ﺗﺮﺑﻴﺔ ﺍﻷﻃﻔﺎﻝ ﻭ ﺗﻌﻠﻴﻤﻬﻢ ﻓﻨﻮﻥ ﺍﻟﺴﺒﺎﺣﺔ‬
‫ﻭ ﺍﻟﺮﻣﺎﻳﺔ ﻭ ﺍﻟﻔﺮﻭﺳﻴﺔ‪ ،‬ﻛﻤﺎ ﻛﺎﻥ ﳍﻢ ﺃﻏﺎﱐ ﻟﻠﻤﻬﺪ‪ ،‬ﻣﻨﻬﺎ ﻟﻠﺬﻛﻮﺭ ﻭ ﻣﻨﻬﺎ ﻟﻺﻧﺎﺙ‪ ، ،‬ﻭﻣﻨﻬﺎ ﻟﻼﺛﻨﲔ‬
‫ﻣﻌﺎ‪ ،‬ﻭ ﻣﻦ ﺃﺩﺏ ﺍﻟﻜﺒﺎﺭ ﺃﺧﺬ ﺍﻟﺼﻐﺎﺭ ﻣﺎ ﺃﻣﺘﻌﻬﻢ ﳑﺎ ﻛﺎﻥ ﻳﺮﻭﻯ ﳍﻢ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﻮﻋﺎﻅ‬
‫ﻭ ﺍﳌﺮﺷﺪﻳﻦ ﰲ ﺍﳌﺴﺎﺟﺪ ﻭ ﺣﻠﻘﺎﺕ ﺍﳉﻠﻮﺱ ﻣﻦ ﺃﺧﺒﺎﺭ ﻭ ﺳﲑ ﺷﻌﺒﻴﺔ ﻭ ﺣﻜﺎﻳﺎﺕ ﺗﻮﺻﻒ ‪‬ﺎ ﺍﻟﻐﺰﻭﺍﺕ‬
‫ﻭ ﺍﻟﺮﺣﻼﺕ‪ ،‬ﻭ ﻣﻨﻬﺎ ﺃﻟﻒ ﻟﻴﻠﺔ ﻭ ﻟﻴﻠﺔ‪ ،‬ﻭ ﻛﻠﻴﻠﺔ ﻭ ﺩﻣﻨﺔ‪ ...‬ﻭ ﻏﲑﻫﺎ ﻣﻦ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﺍﻟﺬﻱ ﱂ ﻳﻜﺘﺐ‬
‫ﺧﺼﻴﺼﺎ ﻟﻠﺼﻐﺎﺭ‪ ،‬ﻭ ﺃﻣﺎ ﻋﻦ ﺭﻭﺍﺩﻩ ﰲ ﺍﻟﻌﺼﺮ ﺍﳊﺪﻳﺚ ﻓﻠﺪﻳﻨﺎ‪:‬‬

‫ﳏﻤﺪ ﻋﺜﻤﺎﻥ ﺟﻼﻝ‪ ،‬ﺃﲪﺪ ﺷﻮﻗﻲ‪ ،‬ﻛﺎﻣﻞ ﺍﻟﻜﻴﻼﱐ‪ ،‬ﺭﻓﺎﻋﺔ ﺍﻟﻄﻬﻄﺎﻭﻱ‪ ،‬ﺭﺿﺎ ﺻﺎﰲ‪ ،‬ﻧﺼﺮﺕ ﺳﻌﻴﺪ‪،‬‬
‫ﻧﻌﻤﺔ ﻃﻌﻴﻤﺔ ﺍﺑﺮﺍﻫﻴﻢ‪ ،‬ﻭ ﺃﲪﺪ ﺻﺪﻗﻲ ﺍﳍﺮﺍﺩﻱ ﺍﻟﺬﻱ ﺍﻧﺼﺮﻑ ﲜﺪ ﳓﻮ ﺷﻌﺮ ﻭ ﺃﻏﺎﱐ ﺍﻷﻃﻔﺎﻝ ﰲ‬
‫ﺃﺭﺑﻌﺔ ﺃﺟﺰﺍﺀ‪ ،‬ﻭ ﻛﺎﻧﺖ ﺍﻟﻐﺎﻳﺔ ﻣﻨﻬﺎ ﻟﻠﻤﻄﺎﻟﻌﺔ ﺍﳌﺪﺭﺳﻴﺔ‪ ،‬ﻭﺍﳊﻔﻆ ﻭ ﺍﻟﺘﺴﻠﻴﺔ‪ ،‬ﻭ ﻛﺎﻧﺖ ﻫﺬﻩ ﺍﻟﻜﺘﺐ‬
‫ﺍﻷﺭﺑﻌﺔ ﻣﺎﺩﺓ ﺧﺼﻴﺒﺔ ﻟﻜﺘﺐ ﺍﻟﻘﺮﺍﺀﺓ ﺍﳌﺪﺭﺳﻴﺔ‪ .1‬ﻭ ﻗﺪ ﺗﻄﻮﺭ ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ ﺍﻟﻌﺮﰊ ﺍﳊﺪﻳﺚ ﺑﺴﺒﺐ ﻋﺪﺓ‬

‫ﻋﻮﺍﻣﻞ ﺃﳘﻬﺎ‪:2‬‬
‫‪ -1‬ﺣﺴﻦ ﲪﺎﻣﻲ‪":‬ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ ﰲ ﺍﻟﺘﺮﺍﺙ ﻟﺸﻌﱯ‪،‬ﻣﻦ ﻛﺘﺎﺏ ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ ﻭ ﺍﻟﺘﺮﺍﺙ"‪،‬ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﻟﻌﺮﺏ‪ ،‬ﺹ‪. 224.‬‬
‫‪ -2‬ﺇﳝﺎﻥ ﻳﻘﺎﻋﻲ‪ ،‬ﻡ‪.‬ﺱ ﺹ‪.27‬‬

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‫‪ -‬ﺑﺮﻭﺯ ﺍﻟﻄﻔﻞ ﰲ ﺍﻟﺴﺎﺣﺔ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺍﻟﻌﺎﳌﻴﺔ‪.‬‬

‫‪ -‬ﺍﻧﺘﺸﺎﺭ ﺍﻟﺘﻌﻠﻴﻢ‪.‬‬
‫‪ -‬ﺍﳌﺜﺎﻗﻔﺔ‪.‬‬
‫‪ -‬ﺍﳌﺆﺛﺮﺍﺕ ﺍﳋﺎﺭﺟﻴﺔ ﻟﻜﺘﺎﺏ ﺍﻷﻃﻔﺎﻝ‪ ،‬ﻣﻦ ﻏﻼﻑ‪ ،‬ﻭﺻﻮﺭ ﻭ ﺃﻟﻮﺍﻥ‪...‬‬
‫‪ -‬ﺍﻟﻠﻐﺔ ﺍﻟﱵ ﺗﺘﺤﺪﺙ ﺇﱃ ﺍﻟﻄﻔﻞ ﻭ ﺗﻜﻮﻥ ﻣﻦ ﺿﻤﻦ ﻣﻌﺠﻤﻪ ﺍﻟﻠﻐﻮﻱ‪.‬‬
‫‪ -‬ﺍﳌﻀﻤﻮﻥ ﺍﻟﺬﻱ ﺍﻋﺘﺮﻑ ﺑﺎﻟﻄﻔﻞ ﻛﻘﺎﺭﺉ ﻣﺴﺘﻘﻞ‪ ،‬ﻭ ﺳﱪ ﺍﳌﻀﺎﻣﲔ ﺍﻟﱵ ﺗﻼﺋﻤﻪ‪.‬‬
‫‪ -‬ﻭ ﻋﻲ ﻗﻀﻴﺔ ﺍﻟﻘﻴﻢ ﻭ ﺃﺛﺮﻫﺎ ﰲ ﺍﻟﺴﻠﻮﻙ ﺍﻟﺒﺸﺮﻱ‪.‬‬
‫‪ -‬ﺍﻧﺘﺸﺎﺭ ﻭﺍﺳﻊ ﻟﻌﻤﻠﻴﺔ ﺍﻟﺘﺮﲨﺔ‪.‬‬

‫ﻭ ﻫﻜﺬﺍ‪ ...‬ﺇﱃ ﺃﻥ ﺧﺮﺝ ﺃﺩﺏ ﺍﻟﻄﻔﻞ‪ 1‬ﻣﻦ ﺍﻹﻃﺎﺭ ﺍﻟﺘﺮﺑﻮﻱ ﺍﻟﻀﻴﻖ‪ ،‬ﺇﱃ ﺃﻓﻖ ﺃﻭﺳﻊ‪ ،‬ﺣﻴﺚ ﺑﺪﺃﺕ‬
‫ﺗﺮﺩ ﺣﻴﺎﺓ ﺍﻟﻄﻔﻞ ﺍﻟﻴﻮﻣﻴﺔ ﻓﻴﻤﺎ ﻳﻘﺮﺃ‪ ،‬ﻋﻮﺿﺎ ﻋﻦ ﻛﻞ ﻣﺎ ﻫﻮ ﺩﺭﺍﺳﺔ ﻭ ﺗﻌﻠﻴﻢ‪ ،‬ﻭ ﻫﻜﺬﺍ ﻇﻬﺮﺕ ﺃﻭﻝ‬
‫ﳎﻤﻮﻋﺔ ﻷﻭﻝ ﻣﺮﺓ ﺻﺎﺩﺭﺓ ﻋﻦ ﺩﺍﺭ ﺍﻟﺸﺮﻭﻕ ‪ -‬ﻣﺼﺮ‪ -‬ﺗﻄﺮﻕ ﻣﻮﺍﺿﻴﻊ ﻫﺎﻣﺔ ﰲ ﺣﻴﺎﺓ ﺍﻟﻄﻔﻞ ﻛﻄﻔﻞ‬
‫ﻣﻦ ﻟﻌﺐ‪ ،‬ﻣﺮﺡ‪ ،‬ﻋﻦ ﺃﻭﻝ ﻳﻮﻡ ﺩﺭﺍﺳﻲ‪ ،‬ﺃﻭﻝ ﻧﻈﺎﺭﺓ‪...،‬ﻛﻤﺎ ﻇﻬﺮﺕ ﳎﻤﻮﻋﺔ ﺃﺧﺮﻯ ﺻﺎﺩﺭﺓ ﻋﻦ ﺩﺍﺭ‬
‫ﺍﻟﺴﻠﻮﻯ ﻟﻠﻨﺸﺮ ﻭ ﺍﻟﺘﻮﺯﻳﻊ ﺑﺎﻷﺭﺩﻥ‪ ،‬ﻫﻲ ﳎﻤﻮﻋﺔ " ﺍﳊﻠﺰﻭﻧﺔ"‪ ،‬ﲢﻜﻲ ﻣﻦ ﺑﲔ ﻣﺎ ﲢﻜﻲ ﻗﺼﺔ ﻃﻔﻞ‬
‫ﻳﺒﻴﺖ ﻷﻭﻝ ﻣﺮﺓ ﻋﻨﺪ ﺻﺪﻳﻘﻪ‪ ...‬ﻭﻛﻠﻬﺎ ﻧﺼﻮﺹ ﲡﻌﻞ ﺍﻟﻄﻔﻞ ﰲ ﻭﺳﻂ ﺍﳊﻜﺎﻳﺔ ﻭ ﻻ ﺗﺒﺘﻌﺪ ﺑﻪ ﻋﻦ‬
‫ﻭﺍﻗﻌﻪ ﺍﳌﻌﻴﺶ‪ .‬ﻛﻤﺎ ﻧﻼﺣــﻆ ﺃﻳﻀــﺎ ﺩﺧــﻮﻝ ﺍﻟﺒﻄﻼﺕ ﻣﻦ ﺍﻟﻔﺘﻴﺎﺕ ﺇﱃ ﺍﻟﺴﺎﺣﺔ ﻋﻮﺿﺎ ﻋﻦ‬
‫ﺍﻟﻔﺘﻴﺎﻥ‪ ،‬ﻳﻌﱪﻥ ﻋﻤﺎ ﻳﺮﻏﱭ ﺑﻪ ﻭ ﻣﺎ ﻳﺮﻓﻀﻨﻪ‪ ،‬ﻛﻘﺼﺔ "ﻓﺮﺣﺎﻧﺔ" ﻟﺮﺍﻧﻴﺔ ﺣﺴﲔ ﺃﻣﲔ‪ ،‬ﻭ ﻫﻲ ﳎﻤﻮﻋﺔ‬
‫ﻗﺼﺺ ﻣﺼﻮﺭﺓ ﻣﻜﻮﻧﺔ ﻣﻦ ‪ 12‬ﺟﺰﺀﺍ‪ ،‬ﺻﺎﺩﺭﺓ ﻋﻦ ﺩﺍﺭ ﺇﻟﻴﺎﺱ ﻣﻮﺩﺭﻥ ﻟﻠﻨﺸﺮ‪ ،‬ﻭ ﳎﻤﻮﻋﺔ ﻗﺼﺼﻴﺔ‬
‫ﺃﺧﺮﻯ ﻟﺴﻤﲑ ﳏﻔﻮﻅ ﺑﺮﺍﺝ‪ ،‬ﺗﺘﺤﺪﺙ ﻋﻦ ﻓﺘﺎﺓ ﺻﻐﲑ ﻣﺸﺎﻏﺒﺔ‪ ،‬ﺻﺎﺩﺭﺓ ﻋﻦ ﺩﺍﺭ ﺍﳊﺪﺍﺋﻖ ﻟﺒﻨﺎﻥ‪ ،‬ﻭ ﺃﻳﻀﺎ‬
‫ﳎﻤﻮﻋﺔ ﺛﺎﻟﺜﺔ ﻫﻲ ﳎﻤﻮﻋﺔ "ﺗﻔﺎﺣﺔ" ﺍﻟﺼﺎﺩﺭﺓ ﻋﻦ ﺩﺍﺭ ﺍﳊﺪﺍﺋﻖ ﻟﺒﻨﺎﻥ ﺃﻳﻀﺎ ‪ ...‬ﻭ ﻏﲑﻫﺎ‪.‬‬

‫‪1- Hasmig, Chahinian, « monde arabe, l’essor d’une littérature de jeunesse »,Takam Tikou ,n°14,‬‬
‫‪novembre2007,la joie par les livres, p 09-10.‬‬

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‫ﻭ ﻧﺘﺤﺪﺙ ﺍﻟﻴﻮﻡ ﺃﻛﺜﺮ ﻋﻦ ﺣﻴﺎﺓ ﺍﻟﻄﻔﻞ ﺍﻟﻮﺍﻗﻌﻴﺔ ‪ ،‬ﻣﺜﻼ ﻛﻘﺼﺔ" ﻧﻮﺭﺓ ﻭ ﺭﺿﻮﺍﻥ" ﻣﻦ ﺫﻭﻱ ﺍﻟﺘﺜﻠﺚ‬
‫ﺍﻟﺼﺒﻐﻲ‪ ،‬ﺣﻴﺚ ﻫﻲ ﻗﺼﺔ ﻣﺼﻮﺭﺓ ﲢﻜﻲ ﻋﻦ ﻃﻔﻼﻥ ﻣﺘﺨﻠﻔﺎﻥ ﺫﻫﻨﻴﺎ‪ ،‬ﻟﺼﻮﻧﻴﺎ ﻭﺍﺟﻮ ﻧﺸﺮﺕ ﰲ‬
‫ﺍﳌﻐﺮﺏ‪ ،‬ﻭ ﳎﻤﻮﻋﺔ "ﻛﺘﺎﰊ ﺃﻧﺎ" ﻟﻨﺠﻼﺀ ﻧﺼﲑ ﺑﺸﻮﺭ‪ ،‬ﻋﻦ ﺩﺍﺭ "ﺗﺎﻟﺔ" ﻟﻠﻨﺸﺮ ﻭ ﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﺗﺼﺐ ﺃﻳﻀﺎ ﰲ‬
‫ﻧﻔﺲ ﺍﻟﺴﻴﺎﻕ‪ ،‬ﻭ ﺭﻭﺍﻳﺔ "ﺍﳌﻠﺠﺄ" ﻟﺴﻤﺎﺡ ﺇﺩﺭﻳﺲ ﺍﻟﱵ ﺗﺘﺤﺪﺙ ﻋﻦ ﺣﻴﺎﺓ ﺍﻟﻄﻔﻞ ﰲ ﻇﻞ ﺍﳊﺮﺏ‪...‬‬
‫ﻭ ﻏﲑﻫﺎ‪ .‬ﻭ ﺍﻟﻐﺎﻟﺐ ﻋﻠﻰ ﻣﺎ ﻳﻜﺘﺐ ﻟﻠﻄﻔﻞ ﻫﻮ ﺃﻟﺒﻮﻣﺎﺕ‪ ،‬ﻭ ﺣﻜﺎﻳﺎﺕ ﺧﺮﺍﻓﻴﺔ‪ ،‬ﻭ ﻟﻜﻦ ﺍﻟﻘﺼﺺ‬
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‫ﺍﳌﺼﻮﺭﺓ ﺑﺪﺃﺕ ﺗﻌﺮﻑ ﻃﺮﻳﻘﻬﺎ ﺇﻟﻴﻪ ﺃﻳﻀﺎ‪.‬‬

‫ﻛﻤﺎ ﺑﺪﺃﺕ ﺩﻭﺭ ﺍﻟﻨﺸﺮ ﺍﻟﻌﺮﺑﻴﺔ ﺑﺎﻻﻫﺘﻤﺎﻡ ﺑﻜﻞ ﺍﻟﻔﺌﺎﺕ ﺍﻟﻌﻤﺮﻳﺔ ﻣﻦ ﺍﻟﻄﻔﻮﻟﺔ ﺍﻷﻭﱃ ﺇﱃ ﻏﺎﻳﺔ ﺍﳌﺮﺍﻫﻘﺔ‬
‫ﻭ ﺃﺻﺒﺢ ﻫﻨﺎﻟﻚ ﺃﺩﺏ ﰲ ﺷﻜﻠﻪ ﺍﻟﺘﺎﻡ ﻣﻮﺟﻬﺎ ﺇﻟﻴﻬﻢ ‪ .‬ﻛﻤﺎ ﻋﺮﻓﺖ ﺍﻟﻜﺘﺎﺑﺔ ﻟﻠﻄﻔﻞ ﺗﻄﻮﺭﺍ ﺣﱴ ﻋﻠﻰ‬
‫ﻣﺴﺘﻮﻯ ﺍﻟﻜﻴﻒ ﻓﺒﻌﺪﻣﺎ ﻛﺎﻥ ﺟﻞ ﻣﺎ ﻳﻌﺮﺽ ﺇﻟﻴﻪ ﻫﻮ ﺧﻴﺎﻝ ﲝﺖ ﺃﺻﺒﺢ ﻳﺮﺗﻜﺰ ﻋﻠﻰ ﺍﻟﻌﻠﻮﻡ‬
‫ﻭ ﺍﳌﻜﺘﺸﻔﺎﺕ‪ ،‬ﻭ ﺫﻟﻚ ﻣﻦ ﺧﻼﻝ ﻣﺎ ﺗﻮﺻﻞ ﺇﻟﻴﻪ ﺍﻟﻌﺎﱂ ﻣﻦ ﺍﺧﺘﺮﺍﻋﺎﺕ ﻭ ﺍﻛﺘﺸﺎﻓﺎﺕ ﻋﻦ ﻃﺮﻳﻖ‬
‫ﺍﻟﺘﺮﲨﺔ‪ ،‬ﰒ ﻣﺰﺟﻪ ﺑﺎﻟﺘﺎﺭﻳﺦ ﻭ ﺍﻷﺻﺎﻟﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻟﻠﻮﺻﻮﻝ ﺇﱃ ﺇﻧﺘﺎﺝ ﻋﺮﰊ ﺃﺻﻠﻲ ‪.‬‬

‫ﻛﻤﺎ ﺃﺻﺒﺤﺖ ﺍﻟﺘﺮﲨﺔ ﰲ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻟﻴﺴﺖ ﻓﻘﻂ ﻣﻦ ﺃﺟﻞ ﺗﻐﻄﻴﺔ ﺍﻟﻨﻘﺺ ﰲ ﳎﺎﻝ ﺍﻟﻜﺘﺎﺑﺎﺕ ﺍﶈﻠﻴﺔ‬
‫ﺑﻞ ﻣﻦ ﺃﺟﻞ ﺍﻻﻧﻔﺘﺎﺡ ﻋﻠﻰ ﺍﻟﺜﻘﺎﻓﺎﺕ ﺍﻷﺟﻨﺒﻴﺔ ﻣﻦ ﳐﺘﻠﻒ ﻟﻐﺎﺕ ﺍﻟﻌﺎﱂ ﻭ ﻟﻴﺲ ﺣﻜﺮﺍ ﻋﻠﻰ ﻟﻐﺔ ﻣﻦ‬
‫ﺍﻟﻠﻐﺎﺕ‪ ،‬ﻭ ﻻ ﺛﻘﺎﻓﺔ ﻣﻦ ﺍﻟﺜﻘﺎﻓﺎﺕ‪ ،‬ﻛﻤﺎ ﻇﻬﺮ ﺗﻌﺎﻭﻥ ﺑﲔ ﳐﺘﻠﻒ ﺩﻭﺭ ﺍﻟﻨﺸﺮ ﺍﻟﻌﺮﺑﻴﺔ ﻣﻊ ﺍﻷﺟﻨﺒﻴﺔ‪ ،‬ﻋﻠﻰ‬
‫ﻏﺮﺍﺭ ﻣﺎ ﻓﻌﻠﺖ ﺩﺍﺭ ﺍﻟﺸﺮﻭﻕ ﺍﳌﺼﺮﻳﺔ‪ ،‬ﺣﻴﺚ ﻋﻘﺪﺕ ﺷﺮﺍﻛﺔ ﻣﻊ ﺍﳌﺆﺳﺴﺔ ﺍﻟﻴﺎﺑﺎﻧﻴﺔ ﻟﻠﺘﺮﲨﺔ ﺑﺎﻟﻠﻐﺔ‬
‫ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﻭ ﺩﺍﺭ ﻧﺸﺮ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻴﺎﺑﺎﱐ ﺑﺎﻟﺘﻌﺎﻭﻥ ﻣﻊ ﲨﻌﻴﺔ ‪ 100‬ﻛﺘﺎﺏ ﻳﺎﺑﺎﱐ ﺣﻴﺚ ﲤﺖ ﺗﺮﲨﺔ ﺃﺭﺑﻌﺔ‬
‫ﻛﺘﺐ ﻣﻨﻬﺎ "ﺍﻟﻄﺒﻠﺔ ﺍﻟﻌﺠﻴﺒﺔ"‪" ،‬ﺍﻟﺴﻤﻜﺔ ﺍﳌﻠﻮﻧﺔ ﻫﺮﺑﺖ"‪" ،‬ﻋﻘﻠﺔ ﺍﻷﺻﺒﻊ"‪ ...‬ﻭ ﳑﺎ ﺳﺎﻋﺪ ﻋﻠﻰ ﺍﻧﺘﺸﺎﺭ‬
‫ﺍﻟﻜﺘﺐ ﺍﳌﻮﺟﻬﺔ ﺧﺼﻴﺼﺎ ﻟﻠﻄﻔﻞ ﻫﻮ ﻇﻬﻮﺭ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳉﻤﻌﻴﺎﺕ ﻭ ﺗﻨﻈﻴﻢ ﺍﳌﺆﲤﺮﺍﺕ ﻭ ﺍﻟﻨﺪﻭﺍﺕ‬
‫ﻟﻠﻌﻨﺎﻳﺔ ﺑﺘﻘﺼﻲ ﺩﻗﺎﺋﻖ ﻣﺎ ﻛﺘﺐ ﻋﻦ ﻭ ﻟﻠﻄﻔﻞ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﺗﺸﺠﻴﻊ ﺍﻟﻜﺘﺎﺏ ﻋﻠﻰ ﺍﻟﺘﻮﺟﻪ ﺃﻛﺜﺮ ﳓﻮ ﺍﻟﻜﺘﺎﺑﺔ‬
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‫ﻟﻪ‪.‬‬
‫‪1- Hasmig, Chahinian , ibid,p10.‬‬

‫‪2- ibid,p10.‬‬

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‫ﺭﻏﻢ ﺃﻥ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻟﻠﻄﻔﻞ ﻣﺎ ﺯﺍﻟﺖ ﺗﺘﺨﺒﻂ ﰲ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﳌﺸﺎﻛﻞ ﻭ ﺗﻌﺮﻑ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻟﻨﻜﺴﺎﺕ‬
‫ﺣﺎﻝ ﳎﺘﻤﻌﺎ‪‬ﺎ ﺍﻟﱵ ﱂ ﺗﻌﺮﻑ ﺍﻻﺳﺘﻘﺮﺍﺭ ﺇﱃ ﺍﻟﻴﻮﻡ‪ ،‬ﺇﻻ ﺃﻥ ﻫﺬﺍ ﻻ ﻳﻨﻔﻲ ﻭﺟﻮﺩ ﺟﻬﻮﺩ ﻣﻌﺘﱪﺓ ﻣﻦ ﺃﺟﻞ‬
‫ﺍﻟﻨﻬﻮﺽ ﺑﺎﻟﻜﺘﺎﺑﺔ ﻟﻠﻄﻔﻞ‪ ،‬ﺭﻏﻢ ﺃﻥ ﺍﻟﻜﺘﺎﺑﺔ ﻟﻪ ﻟﻴﺴﺖ ﺍﻟﻮﺣﻴﺪﺓ ﺍﻟﱵ ﺗﻌﺎﱐ‪ ،‬ﻓﺎﻟﻜﺘﺎﺑﺔ ﻟﻠﻜﺒﺎﺭ ﻫﻲ ﺍﻷﺧﺮﻯ‬
‫ﱂ ﺗﺴﻠﻢ ﻳﻮﻣﺎ‪ ،‬ﻋﺴﻰ ﺃﻥ ﻳﺄﰐ ﻳﻮﻡ ﻳﺼﻠﺢ ﻓﻴﻪ ﺣﺎﻝ ﺍﻟﻜﺘﺎﺑﺔ ﻟﻠﻜﺒﺎﺭ ﻭ ﺍﻟﺼﻐﺎﺭ ﻋﻠﻰ ﺣﺪ ﺳﻮﺍﺀ‪.‬‬

‫ﻟﻐــــﺔ ﺍﻟﻜﺘـــﺎﺑﺔ ﻟﻠﻄﻔـــﻞ‪:‬‬

‫ﺍﻟﻠﻐﺔ ﻫﻲ ﺍﻟﻮﺳﻴﻠﺔ ﺍﻷﺳﺎﺳﻴﺔ ﻟﻠﺘﻮﺍﺻﻞ ﺑﲔ ﺍﻟﺒﺸﺮ ﻣﻬﻤﺎ ﻛﺎﻥ ﺷﻜﻠﻬﺎ ﺃﻭ ﻧﻮﻋﻬﺎ‪ ،‬ﺇﺫ ﳝﻜﻦ ﲢﺪﻳﺪ‬
‫ﺍﻟﺘﻌﺮﻳﻒ ﺍﻟﻮﻇﻴﻔﻲ ﳍﺬﻩ ﺍﻟﻈﺎﻫﺮﺓ ﺍﻟﻠﻐﻮﻳﺔ ﺑﺸﻜﻞ ﻋﺎﻡ ﺑﺄ‪‬ﺎ ﺃﺩﺍﺓ ﺍﻹﻧﺴﺎﻥ ﰲ ﺍﳒﺎﺯ ﺍﻟﻌﻤﻠﻴﺔ ﺍﻹﺑﻼﻏﻴﺔ ﰲ‬
‫ﺻﻠﺐ ﺍ‪‬ﺘﻤﻊ‪ ،‬ﻭ ﻫﻮ ﻣﺎ ﻳﻄﻮﺭ ﲢﻮﻳﻞ ﺍﻟﺘﻌﺎﻳﺶ ﺍﳉﻤﺎﻋﻲ ﺇﱃ ﻣﺆﺳﺴﺔ ﺇﻧﺴﺎﻧﻴﺔ ﺗﺘﺤﻠﻰ ﺑﻜﻞ ﺍﳌﻘﻮﻣﺎﺕ‬
‫ﺍﻟﺜﻘﺎﻓﻴﺔ ﺍﳊﻀﺎﺭﻳﺔ ﻭ ﺍﻟﻠﻐﻮﻳﺔ ﰲ ﺭﻛﻨﻬﺎ ﺍﻷﻭﻝ ﺃﺻﻮﺍﺕ‪ ،‬ﻭ ﺍﻷﺻﻮﺍﺕ ﻋﻼﻣﺎﺕ ﺩﺍﻟﺔ‪ ..‬ﻭ ﻫﻲ ﺗﺘﺮﺍﺑﻂ‬
‫ﻣﻨﺴﺠﻤﺔ ﰲ ﺗﻜﺎﻣﻞ‪ ،‬ﲝﻴﺚ ﺗﺸﻜﻞ ﺍﻟﺒﻨﻴﺔ ﺍﻟﺼﻮﺗﻴﺔ‪ ،‬ﻭ ﻛﺬﻟﻚ ﺍﻷﻟﻔﺎﻅ ﺇﺫ ﺗﻮﻟﺪ ﺍﻟﺒﻨﻴﺔ ﺍﳌﻌﺠﻤﻴﺔ ﻭﺍﳉﻤﻞ‬
‫ﺇﺫ ﺗﻔﻀﻲ ﺇﱃ ﺍﻟﺒﻨﻴﺔ ﺍﻟﺘﺮﻛﻴﺒﻴﺔ‪ ،‬ﻭ ﻣﻦ ﺫﻟﻚ ﻛﻠﻪ ﺗﻨﺒﻊ ﺍﻟﺒﻨﻴﺔ ﺍﻟﺪﻻﻟﻴﺔ‪ 1 .‬ﻭ ﻫﻲ ﻗﺎﺑﻠﺔ ﻟﻠﺘﻄﻮﺭ ﻭ ﻫﻲ‬
‫ﺗﺘﻄﻮﺭ ﻓﻌﻼ ﻣﻦ ﺧﻼﻝ ﺍﳌﺮﺍﺣﻞ ﺍﻟﻌﻤﺮﻳﺔ ﺍﻟﱵ ﳝﺮ ‪‬ﺎ ﺍﻹﻧﺴﺎﻥ ﻣﻨﺬ ﺍﻟﻄﻔﻮﻟﺔ ﻭ ﺣﱴ ﺍﻟﺸﻴﺨﻮﺧﺔ‪،‬‬
‫ﻭ ﲣﺘﻠﻒ ﺍﳌﻜﺘﺴﺒﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ ﻣﻦ ﻣﺮﺣﻠﺔ ﺇﱃ ﺃﺧﺮﻯ‪ ،‬ﺇﺫ ﲢﻜﻤﻬﺎ ﺍﳋﱪﺓ ﻭ ﻣﺪﻯ ﲤﻜﻦ ﻫﺬﺍ ﺍﻟﻔﺮﺩ ﻣﻦ‬
‫ﺟﻬﺎﺯﻩ ﺍﻟﺘﻌﺒﲑﻱ‪.‬‬

‫ﻟﺬﻟﻚ ﻓﺈﻥ ﺍﻟﻘﺮﺍﺀﺓ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻄﻔﻞ ﻫﻲ ﻟﻴﺴﺖ ﳎﺮﺩ ﻓﻌﻞ ﺗﺮﺑﻮﻱ ﻓﻘﻂ‪ ،‬ﺑﻞ ﻫﻲ ﺗﻌﻠﻴﻤﻲ ﺃﻳﻀﺎ‪ ،‬ﻓﻤﻦ‬
‫ﺧﻼﳍﺎ ﻳﻨﻤﻲ ﺍﳊﺲ ﺍﻟﻔﲏ ﻭ ﺍﻟﺘﺬﻭﻕ ﺍﻷﺩﰊ ﺇﱃ ﺟﺎﻧﺐ ﺗﻌﻠﻢ ﺍﻟﻠﻐﺔ ﻛﻠﻐﺔ ﺫﺍﺕ ﺃﻧﻈﻤﺔ ﻭ ﻗﻮﺍﻋﺪ ‪ ،‬ﻓﻬﻲ‬
‫ﲢﺪﺩ ﺷﻜﻞ ﻋﻼﻗﺔ ﺍﻟﻄﻔﻞ ‪‬ﺬﺍ ﺍﻷﺩﺏ ﻣﺴﺘﻘﺒﻼ‪ ،‬ﻷ‪‬ﺎ ﺍﻟﻮﺳﻴﻂ ﺍﻟﻮﺣﻴﺪ ﺑﲔ ﺍﻷﺩﺏ ﰲ ﺃﺷﻜﺎﻟﻪ ﺍﳌﻌﺮﻭﻓﺔ‬
‫ﻭ ﺑﲔ ﺍﻟﻄﻔﻞ ﻛﻘﺎﺭﺉ ﳏﺘﻤﻞ‪ ،‬ﻟﺬﻟﻚ ﺍﻟﺘﺴﺎﺅﻝ ﺍﻷﻭﻝ ﺍﻟﻮﺍﺟﺐ ﻃﺮﺣﻪ ﻋﻠﻰ ﻣﺎﺋﺪﺓ ﺍﻟﻨﻘﺎﺵ ﻫﻮ ﺑﺄﻱ ﻟﻐﺔ‬
‫ﻧﻜﺘﺐ ﻟﻠﻄﻔﻞ ﻭ ﻻ ﺃﻋﲏ ﺍﳌﺴﺘﻮﻯ ﺑﻘﺪﺭ ﻣﺎ ﺃﻋﲏ ﻣﺎﻫﻴﺔ ﺍﻟﻠﻐﺔ ﻛﻠﻐﺔ‪:‬‬
‫‪ -1‬ﳏﻤﺪ ﺍﳌﺒﺎﺭﻙ‪":‬ﻓﻘﻪ ﺍﻟﻠﻐﺔ ﻭﺧﺼﺎﺋﺺ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﺩﺭﺍﺳﺔ ﲢﻠﻴﻠﻴﺔ ﻣﻘﺎﺭﻧﺔ ﻟﻠﻜﻠﻤﺔ ﺍﻟﻌﺮﺑﻴﺔ‪،‬ﻭﻋﺮﺽ ﻣﻨﻬﺞ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻷﺻﻴﻞ ﰲ ﺍﻟﺘﺠﺪﻳﺪ‬
‫ﻭﺍﻟﺘﻮﻟﻴﺪ‪،‬ﺩﺍﺭ ﺍﻟﻔﻜﺮ ﻟﻠﻄﺒﺎﻋﺔ ﻭﺍﻟﻨﺸﺮ ﻭﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﻟﺒﻨﺎﻥ‪،‬ﻁ‪ ،1981 ،70‬ﺹ‪.21‬‬

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‫ﻫﻨﺎﻙ ﺇﺷﻜﺎﻝ ﺍﻟﻴﻮﻡ ﻳﻄﺮﺡ ﻋﻠﻰ ﺳﺎﺣﺔ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻟﻠﻄﻔﻞ ‪ ،‬ﺃﻱ ﻟﻐﺔ ﳔﺘﺎﺭ ﻟﻠﻜﺘﺎﺑﺔ ﻟﻠﻄﻔﻞ‪ ،‬ﻓﻔﻲ‬
‫ﺍﻟﺪﻭﻝ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﱵ ﲢﺘﻞ ﺍﻟﻠﻐﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ‪ ،‬ﺍﳌﺮﺗﺒﺔ ﺍﻟﺜﺎﻧﻴﺔ ﺑﻌﺪ ﺍﻟﻌﺮﺑﻴﺔ ﻣﻦ ﺣﻴﺚ ﺍﻻﺳﺘﻌﻤﺎﻝ‪ ،‬ﺗﺼﺪﺭ ﻛﺘﺐ‬
‫ﺍﻷﻃﻔﺎﻝ ﻋﺎﺩﺓ ﺑﺎﻟﻠﻐﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ‪ ،‬ﻟﻴﺲ ﻛﻠﻬﺎ ﻭ ﻟﻜﻦ ﺃﻏﻠﺒﻬﺎ‪ ،‬ﻭ ﺃﻣﺎ ﰲ ﺑﺎﻗﻲ ﺍﻟﺪﻭﻝ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﻓﺈﻣﺎ‬
‫ﺑﺎﻟﻠﻬﺠﺎﺕ ﺍﶈﻠﻴﺔ ﺃﻭ ﺍﻟﻔﺼﺤﻰ‪،‬ﺃﻭ ﺣﱴ ﺑﺎﻹﳒﻠﻴﺰﻳﺔ ﰲ ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ‪ ،‬ﺇﺫﻥ ‪ ،‬ﻋﻠﻴﻨﺎ ﺃﻭ ﻻ ﺣﻞ ﻣﺸﻜﻞ‬
‫ﺍﻟﻠﻐﺔ ﻭ ﺍﻻﺗﻔﺎﻕ ﻋﻠﻰ ﻟﻐﺔ ﳏﺪﺩﺓ ﻟﺘﻘﺪﳝﻬﺎ ﻟﻠﻄﻔﻞ ﰒ ﳚﻮﺯ ﻟﻨﺎ ﺍﳊﺪﻳﺚ ﻋﻦ ﻣﺴﺘﻮﻯ ﺍﻟﻠﻐﺔ ﺍﻟﺬﻱ ﻟﻪ ﺣﺼﺔ‬
‫ﺍﻷﺳﺪ ﻣﻦ ﻫﺬﺍ ﻛﻠﻪ‪.‬‬

‫ﺣﻴﺚ ﻧﻼﺣﻆ ﺃﻥ ﺑﻌﺾ ﺍﳌﻬﺘﻤﲔ ﻳﻔﻀﻠﻮﻥ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﻔﺼﺤﻰ ﻛﻠﻐﺔ ﻭﺍﺟﺐ ﺗﻘﺪﱘ ﺍﻟﻨﺘﺎﺝ ﺍﻷﺩﰊ‬
‫ﺍﻟﻌﺮﰊ ‪‬ﺎ‪ ،‬ﻭ ﺃﺣﺪﻫﻢ ﻳﻘﻮﻝ‪ ":‬ﻳﻠﺠﺄ ﺑﻌﺾ ﻛﺘﺎﺏ ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ ﺇﱃ ﺍﻟﻌﺎﻣﻴﺔ ﺗﻴﺴﲑﺍ ﻋﻠﻰ ﺍﻷﻃﻔﺎﻝ‪.‬‬
‫ﻭ ﻫﺬﻩ ﺍﻟﻘﻀﻴﺔ ﺫﺍﺕ ﺧﻄﻮﺭﺓ ‪ ،‬ﺇﺫ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﺃﻭﻻ ﺃﻥ ﻧﻌﻮﺩ ﺍﻟﻄﻔﻞ ﻋﻠﻰ ﺍﻟﻠﻐﺔ ﺍﻟﱵ ﺳﻴﻌﺎﻳﺸﻬﺎ ﰲ‬
‫ﻛﺘﺐ ﺍﳌﺴﺘﻘﺒﻞ‪ .‬ﺃﻣﺎ ﺃﻥ ﻧﺴﻮﻕ ﺍﻟﻌﺎﻣﻴﺔ ﻓﻬﺬﺍ ﺿﺮﺏ ﻣﻦ ﺍﳋﻄﺎﺏ ﺍﻟﻴﻮﻣﻲ ﺍﻟﻌﺎﺑﺮ ﺃﺳﻮﺓ ﺑﺎﻟﻨﻜﺘﺔ‪،‬‬
‫ﻭ ﺍﻷﻏﻨﻴﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻭ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﻭ ﺭﻏﻢ ﺃﻥ ﻫﺬﻩ ﲨﻴﻌﻬﺎ ﻫﻲ ﻣﻦ ﺻﻤﻴﻢ ﺍﻟﻮﺍﻗﻊ ﺣﻘﺎ‪ ،‬ﻟﻜﻨﻬﺎ ﱂ ﺗﺪﺧﻞ‬
‫ﺣﱴ ﺍﻵﻥ ﺩﺍﺋﺮﺓ ﺍﻷﺩﺏ ﺍﻟﻌﺮﰊ ﺳﻮﺍﺀ ﰲ ﺃﺩﺏ ﺍﻟﻜﺒﺎﺭ ﺃﻭ ﺍﻟﺼﻐﺎﺭ"‪.1‬‬

‫ﻣﻦ ﺟﻬﺔ ﺍﳊﻖ ﻣﻌﻪ ﻷﻧﻨﺎ ﻧﺮﻳﺪ ﺗﻌﻠﻴﻢ ﺍﻟﻄﻔﻞ ﺍﻟﻠﻐﺔ ﻟﺘﺤﺴﲔ ﺍﻟﺘﺬﻭﻕ ﺍﻷﺩﰊ ﻋﻨﺪﻩ‪ ،‬ﻓﺈﻗﺒﺎﻟﻪ ﻋﻠﻰ ﺍﻟﻘﺮﺍﺀﺓ‬
‫ﻓﻴﻤﺎ ﺑﻌﺪ ﻣﺮﻫﻮﻥ ﲟﺎ ﺍﻛﺘﺴﺒﻪ ﻣﻦ ﻣﻌﺎﺭﻑ ﻟﻐﻮﻳﺔ ﺳﻮﺍﺀ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻷﻟﻔﺎﻅ ﺃﻭ ﺍﻟﺘﺮﺍﻛﻴﺐ‪ ،‬ﻟﻜﻲ ﻻ‬
‫ﺗﻨﻔﺮﻩ ﺍﻟﺘﺮﺍﻛﻴﺐ ﻭ ﺍﻷﻟﻔﺎﻅ ﺍﳉﺪﻳﺪﺓ ﻭ ﻟﻜﻲ ﻳﻨﻤﻲ ﻗﺪﺭﺓ ﺍﺳﺘﻴﻌﺎﺏ ﻭ ﺑﺎﻟﺘﺎﱄ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﻓﻬﻢ ﺍﻷﻓﻜﺎﺭ‬
‫ﺍﳌﻌﻘﺪﺓ ﺍﻟﱵ ﻏﺎﻟﺒﺎ ﻣﺎ ﻳﻄﺮﺣﻬﺎ ﺍﻟﻜﺘﺎﺏ ﰲ ﻛﺘﺎﺑﺎ‪‬ﻢ ﻓﻴﻤﺎ ﳜﺺ ﺍﻟﻜﺒﺎﺭ‪ ،‬ﺑﺎﻋﺘﺒﺎﺭﻩ ﻗﺎﺭﺋﺎ ﻣﺴﺘﻘﺒﻠﻴﺎ‪،‬‬
‫ﻭ ﺑﺎﻟﺘﺎﱄ ﺗﻨﻤﻴﺔ ﺍﻟﻮﻋﻲ ﺍﳉﻤﺎﱄ ﻋﻨﺪﻩ‪ ،‬ﻭ ﺍﻟﺬﻱ ﻫﻮ " ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺍﻟﺘﺬﻭﻕ ﺃﻭ ﺍﻟﺸﻌﻮﺭ ﺃﻭ ﺍﻻﻧﺘﺒﺎﻩ ﺇﱃ‬
‫ﺍﻟﻘﻴﻤﺔ ﺍﳉﻤﺎﻟﻴﺔ ﺃﻭ ﺍﻟﻜﻴﻔﻴﺔ ﰲ ﺍﻟﻌﻤﻞ ﺍﻟﻔﲏ‪ :‬ﰲ ﺫﺍ‪‬ﺎ ﻭ ﻟﺬﺍ‪‬ﺎ‪ ،‬ﺩﻭﻥ ﺍﻻﻫﺘﻤﺎﻡ ﺑﺼﻠﺘﻬﺎ ﺍﳌﺒﺎﺷﺮﺓ ﺑﺎﻟﻨﻔﻊ‬
‫ﺍﳌﺎﺩﻱ ﺃﻭ ﲢﻘﻴﻖ ﺃﻱ ﻣﻜﺴﺐ ﻋﺎﺟﻞ ﺃﻭ ﺁﺟﻞ‪ 2"...‬ﻭ ﻻ ﻳﺘﺄﺗﻰ ﺫﻟﻚ ﺇﻻ ﺑﺘﻌﻮﻳﺪﻩ ﻋﻠﻰ ﲢﻠﻴﻞ ﻣﺎ ﻳﻘﺮﺃ‬
‫‪ -1‬ﻓﺎﺭﻭﻕ ﻣﻮﺳﻰ‪ ":‬ﺍﻟﻠﻐﺔ ﰲ ﺃﺩﺏ ﺍﻟﻄﻔﻞ"‪ ،‬ﻣﻘﺎﻝ ﻣﻦ ﻛﺘﺎﺏ ﻣﺆﲤﺮ ﺍﻷﺳﻮﺍﺭ ﻷﺩﺏ ﺍﻟﻄﻔﻞ‪ ،‬ﻣﻨﺘﺪﻯ ﺩﻳﻮﺍﻥ ﺍﻟﻌﺮﺏ ﺍﻹﻟﻜﺘﺮﻭﱐ‪،2006 ،‬‬
‫ﺹ‪.02‬‬
‫‪ -2‬ﺩ‪ /‬ﻭﻓﺎﺀ ﺍﺑﺮﺍﻫﻴﻢ‪ ":‬ﺍﻟﻮﻋﻲ ﺍﳉﻤﺎﱄ ﻋﻨﺪ ﺍﻟﻄﻔﻞ"‪ ،‬ﺍﳍﻴﺌﺔ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻌﺎﻣﺔ ﻟﻠﻜﺘﺎﺏ‪ ،‬ﻁ ‪ .2002‬ﺹ‪.14‬‬

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‫ﺑﺘﻄﻮﻳﺮ ﻣﻠﻜﺘﻪ ﺍﻟﻠﻐﻮﻳﺔ‪ ،‬ﻭ ﻻ ﺃﻋﲏ ﺑﺬﻟﻚ ﻓﻘﻂ ﺍﻟﻠﻐﺔ ﺍﳌﻜﺘﻮﺑﺔ ﺑﺎﻟﺮﻣﻮﺯ ﺍﳌﺘﻌﺎﺭﻑ ﻋﻠﻴﻬﺎ ﺑﻞ ﺣﱴ ﰲ‬
‫ﺷﻜﻞ ﺻﻮﺭ‪ ،‬ﺃﻭ ﺃﺻﻮﺍﺕ‪ ...‬ﻷﻥ ﺍﻟﻄﻔﻞ" ﻳﺒﺪﺃ ﺑﺈﺩﺭﺍﻙ ﻛﻴﻔﻴﺎﺕ ﺃﻭ ﻗﻴﻢ ﺍﻷﺷﻴﺎﺀ ﻣﻦ ﺣﻴﺚ ﺍﻟﻠﻮﻥ‬
‫ﻭ ﺍﻟﺸﻜﻞ ﻭ ﺍﻟﺼﻮﺕ ﻭ ﺍﳊﺠﻢ‪ ،‬ﻟﺬﻟﻚ ﻓﺈﻥ ﻭ ﻋﻴﻪ –ﺑﺼﻔﺔ ﻋﺎﻣﺔ‪ -‬ﻭﻋﻲ ﲨﺎﱄ"‪ .1‬ﺣﱴ ﺃﻥ ﺍﳊﺲ‬
‫ﺍﳉﻤﺎﱄ ﻋﻨﺪﻩ ﻳﺘﻜﻮﻥ " ﻣﻨﺬ ﳊﻈﺔ ﻣﻴﻼﺩﻩ ﺍﻷﻭﻝ ﻭ ﺍﺗﺼﺎﻟﻪ ﺑﺎﻟﻌﺎﱂ ﻳﺮﺗﻜﺰ ﻋﻠﻰ ﺃﺳﺲ ﲨﺎﻟﻴﺔ‪ .‬ﻭ ﺑﺎﻟﻄﺒﻊ‬
‫ﻣﻊ ﺍﻟﻮﻗﺖ ﻳﺘﻢ ﺻﻘﻞ ﻫﺬﻩ ﺍﳋﺎﺻﻴﺔ ﻓﻴﻪ ﻣﻦ ﺧﻼﻝ‪ ،‬ﺍﻛﺘﺴﺎﺑﻪ ﺍﳌﻌﺮﰲ‪ ،‬ﻭ ﺍﻹﺩﺭﺍﻛﻲ‪ ،‬ﻭﺍﻟﺘﺠﺮﻳﱯ‪ 4".‬ﻷﻥ‬
‫ﻫﺬﻩ ﺍﻷﺳﺲ ﰲ ﺑﺎﺩﺉ ﺍﻷﻣﺮ ﺑﺴﻴﻄﺔ ﻣﻌﺘﻤﺪﺓ ﻋﻠﻰ ﻣﺎ ﺗﻘﺪﻣﻪ ﻟﻪ ﺣﻮﺍﺳﻪ ﻭﻣﺎ ﻛﻮﻧﻪ ﻋﻦ ﳏﻴﻄﻪ ﻣﻦ ﺧﻼﻝ‬
‫ﻣﺎ ﲨﻌﻪ ﻣﻦ ﻣﻌﻄﻴﺎﺕ ﻋﻦ ﺍﻟﺒﻴﺌﺔ ﻭ ﻋﻦ ﺍﻷﺷﺨﺎﺹ ﺍﻟﺬﻳﻦ ﳛﻴﻄﻮﻥ ﺑﻪ‪ .‬ﻓﻬﻲ ﺑﺬﻟﻚ ﺑﺪﺍﺋﻴﺔ ﺇﱃ ﺣﺪ ﻣﺎ‪،‬‬
‫ﻭﻟﻜﻦ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﺿﺮﻭﺭﻳﺔ ﻭﺟﻮﻫﺮﻳﺔ‪ ،‬ﺇﺫ ﻣﻀﺎﻓﺔ ﺇﱃ ﻣﻌﺎﺭﻓﻪ ﺍﻟﻘﺎﺩﻣﺔ‪ ،‬ﺳﺘﺴﺎﻫﻢ ﰲ ﺻﻘﻞ ﺇﺩﺭﺍﻛﻪ‬
‫ﻭ ﻗﺪﺭﺗﻪ ﻋﻠﻰ ﺍﻻﻧﺘﻘﺎﺀ ﻭ ﺍﻟﺘﺤﻠﻴﻞ‪.‬‬

‫ﻟﻜﻦ ﰲ ﺭﺃﻱ ﻗﺪ ﺗﻨﻔﻊ ﺍﻟﻌﺎﻣﻴﺔ ﺃﺣﻴﺎﻧﺎ ﰲ ﺟﺬﺏ ﺍﻧﺘﺒﺎﻩ ﺍﻟﻄﻔﻞ ﻭ ﺣﺜﻪ ﻋﻠﻰ ﺍﻟﻘﺮﺍﺀﺓ‪ ،‬ﻭ ﺫﻟﻚ ﺑﺎﻟﻨﺴﺒﺔ‬
‫ﻟﻸﻃﻔﺎﻝ ﺍﻷﺻﻐﺮ‪ ،‬ﻣﻦ ﺃﺭﺑﻊ ﺳﻨﻮﺍﺕ ﺇﱃ ﺳﺖ‪ ،‬ﻷﻥ ﰲ ﺗﻠﻚ ﺍﳌﺮﺣﻠﺔ ﻣﻦ ﺍﻟﻌﻤﺮ ﻳﻐﻠﺐ ﻋﻠﻰ ﺗﺼﺮﻓﺎﺕ‬
‫ﺍﻟﻄﻔﻞ ﺍﻟﺘﻘﻠﻴﺪ‪ ،‬ﻭ ﻟﻴﺲ ﻟﺪﻳﻪ ﻣﻠﻜﺔ ﻟﻐﻮﻳﺔ ﻣﺘﻄﻮﺭﺓ ﻟﻴﺘﻤﻜﻦ ﻣﻦ ﳎﺎﺭﺍﺕ ﺍﻟﻜﺒﺎﺭ ﰲ ﺍﻟﻘﺮﺍﺀﺓ‪ ،‬ﻓﺎﺳﺘﺜﺮﺍﺀ‬
‫ﺍﻟﻌﺎﺑﺮ ﻭ ﺍﻟﻴﻮﻣﻲ ﻓﻴﻤﺎ ﻳﺘﻨﺎﻭﻝ ﻣﻦ ﺍﻷﺩﺏ ﺑﻠﻐﺔ ﺗﺘﻨﻮﻉ ﺑﲔ ﺍﻟﻌﺎﻣﻴﺔ ﻭ ﺍﻟﻔﺼﺤﻰ‪ ،‬ﳚﻌﻞ ﻣﻦ ﺍﻟﻌﺎﻣﻴﺔ ﺟﺴﺮﺍ‬
‫ﻳﻨﻘﻠﻪ ﺇﱃ ﺗﻌﻠﻢ ﺍﻟﻔﺼﺤﻰ ﺩﻭﻥ ﺿﺮﻭﺭﺓ ﲢﺴﺲ ﺍﳍﻮﺓ ﺍﻟﱵ ﺗﻔﺮﻕ ﻛﻼ ﺍﳌﺴﺘﻮﻳﲔ ﻋﻦ ﺑﻌﻀﻬﻤﺎ‪ ،‬ﻭ ﺑﺬﻟﻚ‬
‫ﻟﻦ ﻳﺸﻌﺮ ﺑﺎﻟﻀﻴﺎﻉ‪ ،‬ﻭ ﻳﻘﺒﻞ ﻋﻠﻰ ﺍﻟﻘﺮﺍﺀﺓ ﺑﺸﻜﻞ ﺃﺣﺴﻦ ﻭ ﺃﺟﻮﺩ ﰲ ﻛﻞ ﻣﺮﺓ‪ ،‬ﻋﻠﻰ ﺃﻥ ﺗﺒﺪﺃ ﺍﻟﻌﺎﻣﻴﺔ ﰲ‬
‫ﺍﻻﻧﺴﺤﺎﺏ ﺷﻴﺌﺎ ﻓﺸﻴﺌﺎ ﻟﺘﺨﻠﻲ ﺍﻟﺴﺎﺣﺔ ﻟﻠﻔﺼﺤﻰ ﺩﻭﳕﺎ ﺃﻥ ﻳﺸﻌﺮ ﺍﻟﻄﻔﻞ‪ ،‬ﻭ ﻋﻨﺪ ﲤﺎﻡ ﺫﻟﻚ ﺍﻻﻧﺴﺤﺎﺏ‬
‫ﻳﻜﻮﻥ ﻗﺪ ﺗﻌﻮﺩ ﺗﺪﺭﳚﻴﺎ ﻋﻠﻰ ﺗﺮﺍﻛﻴﺐ ﻭ ﺃﻟﻔﺎﻅ ﺟﺪﻳﺪﺓ ﻭ ﺑﺎﻟﺘﺎﱄ ﰎ ﲢﻀﲑﻩ ﻟﺘﻠﻘﻰ ﺃﺧﺮﻯ ﺃﻛﺎﺩﳝﻴﺔ ﲝﺘﺔ‬
‫ﺗﺴﺎﻋﺪﻩ ﻛﻘﺎﺭﺉ ﻣﺴﺘﻘﺒﻠﻲ‪.‬‬

‫‪ -1‬ﺩ‪ /‬ﻭﻓﺎﺀ ﺍﺑﺮﺍﻫﻴﻢ ﻡ‪.‬ﺱ‪.‬ﺹ‪.18‬‬

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‫ﻭ ﻣﺎ ﻳﺪﻋﻢ ﺯﻋﻤﻲ ﻫﺬﺍ ﺃﻥ ﺍﻟﻄﻔﻞ ﻟﻴﺲ ﻟﺪﻳﻪ ﻭ ﻟﻸﺳﻒ ﺃﻱ ﻟﻘﺎﺀ ﺟﻮﻫﺮﻱ ﺑﺎﻟﻔﺼﺤﻰ ﻗﺒﻞ ﺍﳌﺪﺭﺳﺔ‪،‬‬
‫ﺇﱃ ﺟﺎﻧﺐ ﺃﻧﻪ ﺃﻟﻒ ﲰﺎﻉ ﺍﻟﻘﺼﺺ ﻭ ﺍﳊﻜﺎﻳﺎﺕ ﺑﺎﻟﻠﻐﺔ ﺍﻟﻌﺎﻣﻴﺔ‪ ،‬ﻓﻠﻨﺎ ﺃﻥ ﻧﺘﺼﻮﺭ ﺷﻜﻞ ﺍﻟﺼﺪﺍﻡ ﺑﻴﻨﻪ‬
‫ﻭ ﺑﲔ ﺍﻟﻔﺼﺤﻰ ﺩﻭﳕﺎ ﲤﻬﻴﺪ ﺗﻘﻮﻡ ﺑﻪ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺎﻣﻴﺔ‪ ،‬ﻭ ﻟﻜﻦ ﻋﻨﺪﻣﺎ ﻳﻜﻮﻥ ﻟﻘﺎﺀﻩ ‪‬ﺎ ﺗﺪﺭﺟﻲ ﻫﺬﺍ ﻳﺴﻤﺢ‬
‫ﻟﻪ ﺑﺎﻟﺘﺴﻠﺢ ﲟﺎ ﻳﻠﺰﻡ ﻟﻜﻲ ﻳﻜﻮﻥ ﻗﺎﺩﺭﺍ ﻋﻠﻰ ﺍﻟﺘﺬﻭﻕ ﺍﻷﺩﰊ ﻭ ﺗﻨﻤﻴﺔ ﻭﻋﻲ ﲨﺎﱄ‪ " .‬ﻓﺎﻟﻨﺺ ﺑﺪﺀﺍ‬
‫ﻳﻔﺘﺮﺽ ﺃﻥ ﳛﻮﻝ ﺍﻟﻄﻔﻞ ﺇﱃ ﻗﺎﺭﺉ ﻣﺴﺘﻘﺒﻠﻲ ﻭ ﻻ ﳜﻔﻰ ﺃﻥ ﺍﻟﻠﻐﺔ ﺍﳌﻨﺘﻘﺎﺓ ﻫﻲ ﺍﻟﱵ ﲢﺴﻦ ﺫﻭﻗﻪ ﺍﻟﻔﲏ‬
‫ﻭ ﺗﻄﻮﺭ ﺣﺴﻪ ﺍﳉﻤﺎﱄ ﻭ ﲢﻤﻞ ﺍﳌﺪﺍﻟﻴﻞ ﻭ ﺍﳌﻀﺎﻣﲔ ﺍﳌﺒﺘﻐﺎﺓ‪ .‬ﻓﻠﻴﺲ ﺑﺪﻋﺎ ﺃﻥ ﻧﺮﻯ ﺃﻃﻔﺎﻟﻨﺎ ﻳﻜﺮﺭﻭﻥ‬
‫ﻋﺒﺎﺭﺍﺕ ﺣﻔﻈﻮﻫﺎ‪ ،‬ﻭ ‪‬ﺬﺍ ﻳﺜﺮﻭﻥ ﻟﻐﺘﻬﻢ ﻫﻢ‪ ،‬ﻭ ﺑﺬﻟﻚ ﻳﻄﻮﺭﻭﻥ ﺍﻟﻮﻋﻲ ﺍﻟﺬﺍﰐ ﻭ ﺍﻟﻔﻜﺮﻱ"‪ .1‬ﻭ ﻟﻦ‬
‫ﻳﺘﺄﺗﻰ ﺫﻟﻚ ﻣﺎ ﱂ ﻳﻔﻬﻢ ﺍﻷﻃﻔﺎﻝ ﻣﺎ ﻳﻘﺮﺅﻭﻥ‪ ،‬ﻭ ﻫﻨﺎ ﻳﺄﰐ ﺩﻭﺭ ﺍﻟﻌﺎﻣﻴﺔ ﰲ ﺗﻔﻌﻴﻞ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺍﻟﻔﻬﻢ‬
‫ﻭ ﺍﻻﺳﺘﻴﻌﺎﺏ‪ ،‬ﻓﻬﻲ ﺗﻘﺮﺏ ﳍﻢ ﺍﻟﺼﻮﺭﺓ‪ ،‬ﻭ ﲡﻌﻠﻬﺎ ﺃﻛﺜﺮ ﺍﺭﺗﺒﺎﻃﺎ ﺑﺎﻟﻮﺍﻗﻊ ﺍﳌﺄﻟﻮﻑ‪.‬‬

‫ﻟﺬﻟﻚ ﻓﺈﻥ ﺍﻟﻜﺘﺎﺑﺔ ﻟﻠﺼﻐﺎﺭ ﻟﻴﺴﺖ ﺑﺎﻟﻴﺴﺮ ﺍﻟﺬﻱ ﺗﺒﺪﻭ ﻋﻠﻴﻪ "ﻓﺎﻟﻜﺘﺎﺑﺔ ﳍﻢ ﺗﺴﺘﻠﺰﻡ ﲣﺼﺼﺎ ﻭﳑﺎﺭﺳﺔ‬
‫ﻭﻣﻌﺎﻳﺸﺔ ﻟﻸﻃﻔﺎﻝ‪ ،‬ﻭ ﺗﺴﺘﻠﺰﻡ ﻣﺘﺎﺑﻌﺔ ﻭ ﺩﺭﺍﺳﺎﺕ ﻣﺘﻌﻤﻘﺔ ﰲ ﺍﻟﻠﻐﺔ ﻭ ﰲ ﺃﺻﻮﻝ ﺍﻟﺘﺮﺑﻴﺔ ﻭ ﻋﻠﻢ ﺍﻟﻨﻔﺲ‪،‬‬
‫ﻭ ﺇﱃ ﺗﺒﻴﲔ ﻣﺮﺍﺣﻞ ﺍﻟﻄﻔﻮﻟﺔ ﻭ ﺧﺼﺎﺋﺼﻬﺎ‪ .‬ﻭ ﺃﻭﻻ ﻭ ﻗﺒﻼ ﺇﱃ ﻣﻌﺮﻓﺔ ﺑﺎﻟﻘﻮﺍﻋﺪ ﺍﻟﺴﻠﻴﻤﺔ ﻟﻠﻜﺘﺎﺑﺔ‬
‫ﺍﻷﺩﺑﻴﺔ ﻭ ﺇﺩﺭﺍﻙ ﺍﻷﻓﺎﻕ ﺍﻟﱵ ﳛﻠﻖ ﻓﻴﻬﺎ ﺍﻷﻃﻔﺎﻝ ﻭ ﻣﺪﻯ ﻣﻼﺋﻤﺔ ﺍﳌﻌﺎﱐ ﻟﻘﺎﻣﻮﺳﻬﻢ ﺍﻟﻠﻐﻮﻱ ﺍﳌﻨﺘﻘﻰ‬
‫ﺑﻌﻨﺎﻳﺔ ﻭ ﺗﺼﻤﻴﻢ"‪.2‬‬

‫ﻓﻌﻠﻰ ﺍﻟﻌﻜﺲ ﻣﻦ ﺫﻟﻚ ﻋﻨﺪﻣﺎ ﻳﺒﺪﺃ ﺍﻟﻄﻔﻞ ﰲ ﺍﻟﺘﻘﺪﻡ ﺑﺎﻟﻌﻤﺮ‪ ،‬ﻭ ﺑﺎﻟﺘﺤﺪﻳﺪ ﻋﻨﺪ ﺩﺧﻮﻟﻪ ﺇﱃ ﺍﳌﺪﺭﺳﺔ ﻳﺒﺪﺃ‬
‫ﺍﻫﺘﻤﺎﻣﻪ ﺑﺎﻟﻠﻐﺔ ﺍﻟﻌﺎﻣﻴﺔ ﻭ ﺿﺮﻭﺭﺓ ﺗﻮﺍﺟﺪﻫﺎ ﻓﻴﻤﺎ ﻳﻘﺮﺃ ﻳﻘﻞ ﺷﻴﺌﺎ ﻓﺸﻴﺌﺎ‪ ،‬ﲝﻴﺚ ﻳﻜﻮﻥ ﻗﺪ ﻛﻮﻥ ﳐﺰﻭﻧﺎ‬
‫ﻟﻐﻮﻳﺎ ﻗﺪ ﳝﻜﻨﻪ ﻣﻦ ﺍﻟﻘﺮﺍﺀﺓ ﺑﺎﻟﻔﺼﺤﻰ ﺩﻭﳕﺎ ﺣﺮﺝ‪ ،‬ﺇﱃ ﺟﺎﻧﺐ ﺃﻥ ﺍﻫﺘﻤﺎﻣﺎﺗﻪ ﺗﺒﺪﺃ ﺑﺎﻟﺘﻐﲑ ﻓﻤﻊ ﺳﻌﻴﻪ‬
‫ﻟﺘﻜﻮﻳﻦ ﻛﻴﺎﻧﻪ ﺍﳌﺘﻤﺎﻳﺰ ﻋﻦ ﻭﺍﻟﺪﻳﻪ ﻭﳏﻴﻄﻪ‪ ،‬ﻓﺈﻥ ﺗﺬﻭﻗﻪ ﺍﳉﻤﺎﱄ ﺍﳋﺎﺹ ﺍﻟﺬﻱ ﻛﻮﻧﻪ ﻋﱪ ﺍﳌﺮﺣﻠﺔ ﺍﻟﺴﺎﺑﻘﺔ‬
‫ﻳﺒﺪﺃ ﺑﺘﺤﺪﻳﺪ ﻣﻴﻮﻻﺗﻪ‪ ،‬ﻭ ﺗﻮﺟﻬﺎﺗﻪ ﺍﻷﺩﺑﻴﺔ‪.‬‬
‫‪ -1‬ﻓﺎﺭﻭﻕ ﻣﻮﺳﻰ‪ .‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.01‬‬
‫‪ -2‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.03‬‬

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‫ﰒ ﺇﻥ ﺍﻟﻠﻐﺔ ﺍﻟﱵ ﳚﺐ ﺃﻥ ﺗﻘﺪﻡ ‪‬ﺎ ﺍﻷﻋﻤﺎﻝ ﺍﻷﺩﺑﻴﺔ ﻟﻠﻄﻔﻞ ﻟﻴﺴﺖ ﳏﺼﻮﺭﺓ ﻓﻘﻂ ﺑﲔ ﺍﻟﻌﺎﻣﻴﺔ ﺍﻟﻔﺼﺤﻰ‬
‫ﺑﻞ ﺗﺘﻌﺪﻯ ﺫﻟﻚ‪ ،‬ﻓﺈﻥ ﺍﻟﺮﺳﻮﻡ ﺍﳌﺮﻓﻘﺔ ﻭ ﺍﻷﻟﻮﺍﻥ ﻟﻐﺔ‪ ،‬ﻭﻧﻮﻉ ﺍﻟﻮﺭﻕ ﻭ ﺣﺠﻤﻪ ﻟﻐﺔ‪ ،‬ﻭﳕﻂ ﺍﻟﻜﺘﺎﺑﺔ ﻟﻐﺔ‬
‫ﺃﻳﻀﺎ‪ ،‬ﻭﻏﻼﻑ ﺍﻟﻘﺼﺔ ﻟﻐﺔ‪ ،‬ﻭ ﺍﺭﺗﺒﺎﻁ ﺍﻟﻘﺼﺔ ﺑﺴﻠﺴﻠﺔ ﻣﺎ ﻟﻐﺔ ﻫﻲ ﺍﻷﺧﺮﻯ‪ ،‬ﻭﻛﻠﻬﺎ ﲣﺘﻠﻒ ﺣﺴﺐ‬
‫ﺍﳌﺮﺍﺣﻞ ﺍﻟﻌﻤﺮﻳﺔ‪ .‬ﻭ ﻟﻜﻦ ﺍﻟﺴﺆﺍﻝ ﺍﻟﺬﻱ ﳚﺐ ﺃﻥ ﻳﻄﺮﺡ ﻫﻮ ﻛﻴﻒ ﺫﻟﻚ؟‬

‫ﻓﻤﺜﻼ ﺇﺫﺍ ﻻﺣﻈﻨﺎ ﻛﺘﺐ ﺍﻷﻃﻔﺎﻝ ﰲ ﺍﳌﺮﺍﺣﻞ ﺍﻟﻌﻤﺮﻳﺔ ﺍﻷﻭﱃ ‪ :‬ﳒﺪﻫﺎ ﻛﺜﲑﺓ ﺍﻷﻟﻮﺍﻥ ﻭ ﺍﻟﱪﻳﻖ ﳑﺎ‬
‫ﻳﻐﺮﻱ ﺍﻟﻄﻔﻞ ﺑﺼﺐ ﺍﻫﺘﻤﺎﻣﻪ ﻋﻠﻴﻬﺎ‪ ،‬ﻛﻤﺎ ﻳﻜﻮﻥ ﺍﻟﻨﺺ ﺍﻟﻜﺘﺎﰊ ﻓﻴﻬﺎ ﳏﺪﺩ ﺍﳊﺠﻢ ﺃﻱ ﻗﺪ ﻻ ﻳﺘﺠﺎﻭﺯ‬
‫ﺃﺣﻴﺎﻧﺎ ﺑﻀﻌﺔ ﺃﺳﻄﺮ ﻣﻜﺘﻮﺑﺔ ﲞﻂ ﻏﻠﻴﻆ ﻭﻛﺒﲑ ﲝﻴﺚ ﲢﻤﻞ ﻛﻞ ﺻﻔﺤﺔ ﺑﻀﻊ ﻛﻠﻤﺎﺕ ﺑﺴﻴﻄﺔ ﻗﺪ‬
‫ﺗﺘﻜﺮﺭ ﻻﺣﻘﺎ ﻟﺘﺮﺳﺦ ﰲ ﺫﻫﻦ ﺍﻟﻄﻔﻞ‪ ،‬ﻛﻤﺎ ﻗﺪ ﻳﻜﻮﻥ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﻣﺮﻓﻘﺎ ﺑﺸﺮﻳﻂ ﺻﻮﰐ ﳛﻜﻲ‬
‫ﺍﻟﻘﺼﺔ‪ ،‬ﺃﻭ ﳛﺘﻮﻱ ﻋﻠﻰ ﺃﺻﻮﺍﺕ ﳐﺘﻠﻔﺔ ﻛﺄﺻﻮﺍﺕ ﺍﳊﻴﻮﺍﻧﺎﺕ ﻭ ﺍﻷﺷﻴﺎﺀ‪ ،‬ﻭ ﳑﺎ ﻳﺴﻤﻌﻪ ﺍﻟﻄﻔﻞ ﻋﺎﺩﺓ ﰲ‬
‫ﳏﻴﻄﻪ‪ ،‬ﻭ ﻫﻨﺎ ﻗﺼﺪﺍ ﻳﻜﻮﻥ ﺍﳊﻮﺍﺭ ﻣﻊ ﺍﻟﻄﻔﻞ ﰲ ﻫﺬﻩ ﺍﻟﻨﻮﻋﻴﺔ ﻣﻦ ﺍﻟﻜﺘﺐ ﻟﻴﺲ ﻋﻠﻰ ﺃﺳﺎﺱ ﺍﻟﻜﻠﻤﺔ‬
‫ﺍﳌﻜﺘﻮﺑﺔ ﻓﻘﻂ ﻷﻥ ﺫﻟﻚ ﻟﻦ ﻳﻮﺻﻞ ﺍﻟﺮﺳﺎﻟﺔ ﺇﱃ ﺍﻟﻄﻔﻞ‪ ،‬ﺑﻞ ﺗﻜﻮﻥ ﻣﺪﻋﻮﻣﺔ ‪‬ﺬﻩ ﺍﻷﻣﻮﺭ ﻗﺼﺪ ﺗﺴﻬﻴﻞ‬
‫ﺍﻧﺘﻘﺎﳍﺎ ﻟﻪ‪ ،‬ﻭ ﺗﺴﺨﲑﻫﺎ ﰲ ﺫﻫﻨﻴﺘﻪ‪ ،‬ﺑﺴﺒﺐ ﻗﺼﺮﻩ ﺍﻟﻠﻐﻮﻱ‪ ،‬ﻭ ﻋﺪﻡ ﻗﺪﺭﺗﻪ ﻋﻠﻰ ﻓﻚ ﺍﻟﺸﻔﺮﺓ ﺍﻟﻠﻐﻮﻳﺔ‬
‫ﺩﻭﻥ ﺍﻻﺳﺘﻌﺎﻧﺔ ﺑﻌﻮﺍﻣﻞ ﺗﺸﺮﺡ ﻟﻪ ﺃﺣﺪﺍﺙ ﺍﻟﻘﺼﺔ‪ ،‬ﻭ ﻣﺎ ﻳﻜﻮﻥ ﻋﻠﻴﻪ ﻓﻴﻤﺎ ﺑﻌﺪ ﺇﻻ ﺗﺮﺳﻴﺦ ﺍﻟﻜﻠﻤﺔ‬
‫ﺍﳌﻜﺘﻮﺑﺔ ﻋﻦ ﻃﺮﻳﻖ ﺭﺑﻂ ﻛﻞ ﻛﻠﻤﺔ ﲟﺎ ﻳﻘﺎﺑﻠﻬﺎ ﻣﻦ ﺻﻮﺭ ﻭ ﺃﺻﻮﺍﺕ ﺃﻭ ﺃﺷﻜﺎﻝ‪ ،‬ﻭ ﺍﻟﺘﺮﻛﻴﺰ ﻫﻨﺎ ﻟﻴﺲ‬
‫ﻋﻠﻰ ﻋﺪﺩ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﱵ ﻗﺪ ﳓﺸﻮ ‪‬ﺎ ﺭﺃﺳﻪ ﻭ ﺇﳕﺎ ﻋﻠﻰ ﻋﺪﺩ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﱵ ﺍﺳﺘﻮﻋﺒﻬﺎ ﻭ ﺣﻔﻈﻬﺎ ﻓﻌﻼ‪،‬‬
‫ﻷﻥ ﺧﱪﺗﻪ ﻣﻊ ﺍﻟﻜﻠﻤﺔ ﺍﳌﻜﺘﻮﺑﺔ ﻣﺎﺯﺍﻟﺖ ﰲ ﺑﺪﺍﻳﺔ ﺗﺸﻜﻠﻬﺎ‪ .‬ﻭ ﻣﻊ ﺗﻘﺪﻡ ﺍﻟﻄﻔﻞ ﰲ ﺍﻟﻌﻤﺮ ﺷﻴﺌﺎ ﻓﺸﻴﺌﺎ‬
‫ﺗﺰﺩﺍﺩ ﺧﱪﺗﻪ ﺍﻟﻠﻐﻮﻳﺔ ﻭ ﺑﺎﻟﺘﺎﱄ ﻧﻼﺣﻆ ﺗﺮﺍﺟﻌﺎ ﰲ ﺍﻟﻠﺠﻮﺀ ﺇﱃ ﻫﺬﻩ ﺍﻟﻌﻮﺍﻣﻞ ﺍﳌﺼﺎﺣﺒﺔ ﻟﺘﻠﻘﻴﻨﻪ ﺍﻟﺮﺳﺎﻟﺔ‪،‬‬
‫ﻭ ﺍﻻﻋﺘﻤﺎﺩ ﺃﻛﺜﺮ ﻋﻠﻰ ﺍﻟﻜﻠﻤﺔ ﺍﳌﻜﺘﻮﺑﺔ ﻭ ﺃﺑﻌﺎﺩﻫﺎ ﻭ ﺇﳛﺎﺀﺍ‪‬ﺎ ﰲ ﺧﻠﻖ ﻭ ﻭﺻﻒ ﺍﳌﻮﻗﻒ ﻭ ﺭﺳﻢ‬
‫ﺍﻟﺸﺨﺼﻴﺎﺕ‪*.‬‬

‫ﻭ ﺍﻟﻴﻮﻡ ﻧﻼﺣﻆ ﺃﻥ ﻫﺬﻩ ﺍﻟﻨﻮﻋﻴﺔ ﻣﻦ ﺍﻟﻜﺘﺐ ﻗﺪ ﻏﺰﺕ ﺍﻷﺳﻮﺍﻕ‪ ،‬ﻛﻤﺎ ﻻﻗﺖ ﺍﺳﺘﺤﺴﺎﻥ ﺍﻷﻫﻞ ﻭ ﺍﻷﻃﻔﺎﻝ ﻭﳑﺎ ﺷﺠﻊ ﻋﻠﻰ ﺍﻧﺘﺸﺎﺭﻫﺎ ﻫﻮ ﺃﻓﻼﻡ‬ ‫*‪-‬‬
‫ﺍﻟﻜﺮﺗﻮﻥ ﺑﺎﻟﺪﺭﺟﺔ ﺍﻷﻭﱃ ﺍﻟﱵ ﺗﺴﺎﻫﻢ ﰲ ﺧﻠﻖ ﺫﺍﻛﺮﺓ ﺗﺼﻮﻳﺮﻳﺔ ﻋﻨﺪ ﺍﻟﻄﻔﻞ ﳑﺎ ﳚﻌﻠﻪ ﻳﻄﻠﺐ ﺍﻟﺼﻮﺕ ﻭﺍﻟﺼﻮﺭﺓ ﺍﳌﺮﺍﻓﻘﺔ ﻟﻠﻜﻠﻤﺔ ﺃﻛﺜﺮ ﻣﻦ ﺍﻟﻜﻠﻤﺔ ﻧﻔﺴﻬﺎ‪.‬‬

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‫ﺇﺫﻥ ﻛﻞ ﻣﻦ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺎﻣﻴﺔ ﻭ ﺍﻟﺼﻮﺭ‪ ،‬ﻭ ﺍﻷﺻﻮﺍﺕ‪ ،‬ﻭ ﺷﻜﻞ ﺍﻟﻘﺼﺔ ‪،‬ﻭ ﻧﻮﻋﻴﺔ ﺍﻟﻮﺭﻕ ﻭ ﺍﻷﻟﻮﺍﻥ‪ ،‬ﻫﻲ‬
‫ﻋﻮﺍﻣﻞ ﺩﺍﻋﻤﺔ ﻟﻠﻜﻠﻤﺔ ﺍﳌﻜﺘﻮﺑﺔ‪ ،‬ﺗﺴﺎﻫﻢ ﺃﻭﻻ ﰲ ﺟﺬﺏ ﺍﻻﻧﺘﺒﺎﻩ ﺇﻟﻴﻬﺎ‪ ،‬ﰒ ﺗﺮﺳﻴﺨﻬﺎ‪ ،‬ﻷﻥ ﻗﺒﻞ ﻛﻞ ﺫﻟﻚ‬
‫ﻛﺎﻥ ﺍﻟﻄﻔﻞ ﻳﺴﻤﻊ ﺍﳊﻜﺎﻳﺔ ﰲ ﺟﻮ ﺃﻗﻞ ﻣﺎ ﻳﻘﺎﻝ ﻋﻨﻪ ﺃﻧﻪ ﺳﺎﺣﺮ‪ ،‬ﻷﻧﻪ ﻛﺎﻥ ﻳﻌﻴﺶ ﺗﻠﻚ ﺍﳊﻜﺎﻳﺔ ﻣﻦ‬
‫ﺧﻼﻝ ﺗﻌﺎﺑﲑ ﻭﺟﻪ ﻣﻦ ﻛﺎﻥ ﻳﻌﻴﺪ ﺳﺮﺩﻫﺎ ﻋﻠﻰ ﺃﲰﺎﻋﻪ‪ ،‬ﻣﻦ ﺧﻼﻝ ﺫﻟﻚ ﺍﳉﻮ ﺍﻟﺬﻱ ﳜﻴﻴﻢ ﻋﻠﻰ ﻣﻮﻋﺪ‬
‫ﺍﳊﻜﺎﻳﺔ‪ ،‬ﻋﻠﻰ ﺗﻔﺎﻋﻞ ﺍﻟﺮﺍﻭﻱ ﻣﻌﻬﺎ‪ ،‬ﻋﻠﻰ ﻃﺮﻳﻘﺔ ﻭﺻﻔﻪ ﻟﻸﺣﺪﺍﺙ‪ ،‬ﺣﻴﺚ ﻛﺎﻥ ﺑﺈﻣﻜﺎﻥ ﺍﻟﻄﻔﻞ ﲰﺎﻉ‬
‫ﻧﻔﺲ ﺍﳊﻜﺎﻳﺔ ﻛﻞ ﻳﻮﻡ ﲝﻠﺔ ﺟﺪﻳﺪﺓ‪ ،‬ﻛﻠﻤﺎ ﺍﺧﺘﻠﻒ ﺍﻟﺮﺍﻭﻱ ﺃﻭ ﺍﻟﻘﺎﺹ ﳜﺘﻠﻒ ﺃﺛﺮﻫﺎ ﻭ ﺗﺄﺛﲑﻫﺎ‪،‬‬
‫ﻭ ﻟﺬﻟﻚ ﻛﺎﻧﺖ ﻫﺬﻩ ﺍﻟﻌﻮﺍﻣﻞ ﺍﻟﺪﺍﻋﻤﺔ ﻟﻠﺤﻴﻠﻮﻟﺔ ﳏﻞ ﺫﻟﻚ ﺍﻟﺴﺤﺮ ﺍﻟﺬﻱ ﻛﺎﻥ ﻳﻨﺸﺌﻪ ﺍﳉﻮ ﺍﻟﺬﻱ ﳜﻠﻘﻪ‬
‫ﺍﻟﻘﺎﺹ‪ ،‬ﻭ ﲢﻞ ﺍﻟﻜﻠﻤﺔ ﺍﳌﻜﺘﻮﺑﺔ ﻣﻜﺎﻥ ﺍﻟﻜﻠﻤﺔ ﺍﳌﺴﻤﻮﻋﺔ‪ ،‬ﻭ ﻛﻲ ﳛﺎﻓﻆ ﻋﻠﻰ ﺗﻠﻚ ﺍﻟﺮﻏﺒﺔ ﰲ ﲰﺎﻉ‬
‫ﺍﻟﻘﺼﺔ‪ ،‬ﻭ ﺍﳌﺘﻌﺔ ﻭ ﺍﻟﺘﺸﻮﻳﻖ ﺍﻟﺬﻱ ﳜﻠﻘﻪ ﲰﺎﻉ ﺃﺣﺪﺍﺙ ﺍﳊﻜﺎﻳﺔ‪.‬‬

‫ﰒ ﺇﻥ "ﺇﻥ ﻟﻐﺔ ﺣﻜﺎﻳﺎﺕ ﺍﳉﻦ ﻭ ﺍﻟﺴﺤﺮﺓ ﻭ ﺍﻷﺳﻄﻮﺭﺓ ﲣﺘﻠﻒ ﻋﻦ ﺍﻟﻘﺼﺔ ﻋﻠﻰ ﻟﺴﺎﻥ ﺍﻟﻄﲑ‬
‫ﻭ ﺍﳊﻴﻮﺍﻥ‪ ،‬ﻭ ﻋﻦ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭ ﻋﻦ ﺍﻟﻘﺼﺔ ﺍﻟﺘﺎﺭﳜﻴﺔ‪ ،‬ﻭ ﻋﻦ ﺍﻟﻘﺼﺔ ﻣﻦ ﻭﺣﻲ ﺍﻟﻄﺒﻴﻌﺔ‪ ،‬ﻭ ﻋﻦ‬
‫ﺍﻟﻘﺼﺔ ﺍﻟﺪﻳﻨﻴﺔ‪ ،‬ﻭﻋﻦ ﺍﻟﻘﺼﺔ ﺍﻟﻔﻜﺎﻫﻴﺔ‪ ،‬ﻭﻛﻞ ﻭﺍﺣﺪﺓ ﻣﻦ ﻫﺬﻩ ﲣﺘﻠﻒ ﻋﻦ ﺍﻷﺧﺮﻯ"‪.1‬‬

‫ﻓﻴﺤﺪﺩ ﻣﻀﻤﻮﻥ ﺍﻟﻘﺼﺔ ﻭ ﺗﻮﺟﻬﻬﺎ ﺍﻟﻠﻐﺔ ﺍﻟﱵ ﳚﺪﺭ ﺍﻟﻜﺘﺎﺑﺔ ‪‬ﺎ‪ ،‬ﻓﺎﻻﺧﺘﻼﻑ ﻳﻜﻤﻦ ﰲ ﺍﻷﺳﻠﻮﺏ ﻛﻲ‬
‫ﲢﺎﻓﻆ ﻛﻞ ﻭﺍﺣﺪﺓ ﻣﻨﻬﺎ ﻋﻠﻰ ﺧﺼﻮﺻﻴﺘﻬﺎ ﻛﻔﻦ ﻣﻦ ﺍﻟﻔﻨﻮﻥ ﺍﻷﺩﺑﻴﺔ‪ .‬ﰒ ﺇﻥ ﺍﻟﻄﻔﻞ ﻳﻄﻮﺭ ﻗﺪﺭﺓ ﻋﻠﻰ‬
‫ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﻛﻞ ﻭﺍﺣﺪﺓ ﻭ ﺍﻟﺘﻔﺮﻳﻖ ﺑﻴﻨﻬﺎ‪ ،‬ﻗﺪ ﻻ ﻧﻘﻮﻝ ﻛﻠﻬﺎ ﻭﻟﻜﻦ ﺃﻏﻠﺒﻬﺎ ﻣﻨﺬ ﺍﳌﺮﺣﻠﺔ ﺍﻟﺸﻔﺎﻫﻴﺔ ﺃﻱ‬
‫ﻣﻨﺬ ﺃﻥ ﻛﺎﻥ ﻳﺴﻤﻊ ﺍﻟﻘﺼﺺ ﺍﻟﱵ ﺗﻨﺎﻗﻠﻬﺎ ﺃﻫﻠﻪ ﻋﻦ ﺃﻫﻠﻬﻢ‪ ،‬ﰲ ﺍﻷﺳﻠﻮﺏ ﻭ ﺍﻟﻠﻐﺔ‪ ،‬ﻭﺍﻟﺒﻨﺎﺀ‪ ،‬ﻷﻥ ﻟﻜﻞ‬
‫ﻣﻨﻬﺎ ﳕﻄﻴﺔ ﻣﻐﺎﻳﺮﺓ ﻋﻦ ﺍﻷﺧﺮﻯ‪ ،‬ﻭﺣﱴ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺷﺨﺼﻴﺎ‪‬ﺎ‪ ،‬ﻓﺈﻧﻪ ﻳﻜﺎﺩ ﻳﺘﻌﺮﻑ ﻛﻞ ﻣﺮﺓ ﻋﻠﻰ‬
‫ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭﺍﻧﺘﻤﺎﺀﺍ‪‬ﺎ‪ ،‬ﺣﱴ ﻭﻟﻮ ﻛﺎﻧﺖ ﺣﻴﻮﺍﻧﺎﺕ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ‪ ،‬ﺃﻭ ﺑﺸﺮ ﻓﻴﻤﺎ ﺑﻴﻨﻬﻢ‪ ،‬ﺃﻭ ﻣﺰﻳﺞ ﻣﻦ ﻫﺬﺍ‬
‫ﻭ ﺫﺍﻙ‪ ،‬ﺃﻭ ﻏﲑﻫﺎ‪ ...‬ﻋﻠﻰ ﺍﻟﻌﻤﻮﻡ ﺃﻳﺎ ﻛﺎﻥ ﻧﻮﻉ ﺍﻟﻘﺼﺔ ﺃﻭ ﺍﳊﻜﺎﻳﺔ ﻓﺸﻜﻞ ﺍﻟﻠﻐﺔ ﺍﻟﱵ ﺗﻘﺪﻡ‬

‫ﻓﺎﺭﻭﻕ ﻣﻮﺳﻰ‪ .‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.01‬‬ ‫‪-1‬‬

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‫ﻟﻸﻃﻔﺎﻝ ﻣﻦ ﺳﺖ ﺳﻨﻮﺍﺕ ﺇﱃ ﲬﺴﺔ ﻋﺸﺮﺓ ﺳﻨﺔ‪ ،‬ﺣﺴﺐ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﱵ ﺃﺟﺮﺍﻫﺎ "ﺣﺴﻦ ﺷﺤﺎﺗﻪ"‬
‫ﳚﺐ ﺃﻥ ﺗﻜﻮﻥ‪:2‬‬

‫‪ " -‬ﺍﻟﻜﻠﻤﺎﺕ ﻣﺄﻟﻮﻓﺔ‪.‬‬

‫‪ -‬ﺍﺳﺘﺨﺪﺍﻡ ﺍﳉﻤﻞ ﺍﻟﺒﺴﻴﻄﺔ‪.‬‬
‫‪ -‬ﺍﺷﺘﻤﺎﻝ ﺍﻟﻔﻘﺮﺓ ﻋﻠﻰ ﻓﻜﺮﺓ ﻭﺍﺣﺪﺓ‪.‬‬
‫‪ -‬ﺍﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺍﳊﻮﺍﺭ ﺃﻛﺜﺮ ﻣﻦ ﺍﻟﺴﺮﺩ‪.‬‬
‫‪ -‬ﻋﺪﻡ ﺍﺳﺘﺨﺪﺍﻡ ﻣﺼﻄﻠﺤﺎﺕ ﻓﻨﻴﺔ‪.‬‬
‫‪ -‬ﺍﳌﺒﺎﻋﺪﺓ ﺑﲔ ﺭﻛﲏ ﺍﳉﻤﻠﺔ‪.‬‬
‫‪ -‬ﺍﺳﺘﺨﺪﺍﻡ ﺍﻷﻟﻔﺎﻅ ﺍﻟﺪﺍﻟﺔ ﻋﻠﻰ ﺍﻻﻧﻔﻌﺎﻻﺕ‪ ،‬ﻭ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﱵ ﺗﺮﻣﺰ ﺇﱃ ﺍﶈﺴﻮﺳﺎﺕ‪.‬‬
‫‪ -‬ﻭ ﺍﻟﻜﻠﻤﺔ ﺗﻌﱪ ﻋﻦ ﻣﻌﻨﺎ ﻭﺍﺣﺪﺍ ﺩﺍﺧﻞ ﺍﻟﺴﻴﺎﻕ‪.‬‬
‫‪ -‬ﺍﳌﺮﺍﻭﺣﺔ ﺑﲔ ﺍﳋﱪ ﻭ ﺍﻹﻧﺸﺎﺀ‪.‬‬
‫‪ -‬ﻗﻠﺔ ﺍﻻﺳﺘﻄﺮﺍﺩ ﰲ ﻋﺮﺽ ﺍﻷﺣﺪﺍﺙ‪.‬‬
‫‪ -‬ﻗﻠﺔ ﺍﳉﻤﻞ ﺍﻻﻋﺘﺮﺍﺿﻴﺔ‪.‬‬
‫‪ -‬ﺍﻟﺘﻌﺒﲑﺍﺕ ﺍ‪‬ﺎﺯﻳﺔ ﺍﻟﺒﺴﻴﻄﺔ ﻭ ﺍﶈﺴﻨﺎﺕ ﺍﻟﺒﺪﻳﻌﻴﺔ‪.‬‬
‫‪ -‬ﻭ ﻋﺪﻡ ﺗﻨﻮﻳﻊ ﺍﻟﻀﻤﺎﺋﺮ‪.‬‬

‫ﺑﺎﺧﺘﺼﺎﺭ ﻋﻠﻰ ﺍﻟﻠﻐﺔ ﺃﻥ ﺗﻜﻮﻥ ﺳﻬﻠﺔ‪ ،‬ﺳﻠﺴﺔ ﻭﺍﺿﺤﺔ ﻣﻌﱪﺓ‪ ،‬ﻭ ﺃﻥ ﻳﻌﲎ ‪‬ﺎ ﺃﳝﺎ ﻋﻨﺎﻳﺔ‪ ،‬ﻭ ﻻ ﺿﲑ‬
‫ﻣﻦ ﺇﺩﺧﺎﻝ ﻣﻦ ﺣﲔ ﻟﻶﺧﺮ ﻣﻔﺮﺩﺍﺕ ﺟﺪﻳﺪﺓ ﻭ ﺫﻟﻚ ﻗﺼﺪ ﺗﻮﺳﻴﻊ ﺍﻟﻘﺎﻣﻮﺱ ﺍﻟﻠﻐﻮﻱ ﻟﻠﻄﻔﻞ‬
‫ﻭ ﺇﺿﺎﻓﺔ ﻫﻮﺍﻣﺶ ﻟﺸﺮﺣﻬﺎ ﺇﻥ ﺩﻋﺖ ﺍﳊﺎﺟﺔ ﺇﱃ ﺫﻟﻚ‪ .‬ﻭ ﻣﻊ ﻭﺟﻮﺩ ﺍﻟﺼﻮﺭ ﻭﺍﻟﺮﺳﻮﻣﺎﺕ ﺍﳌﺮﺍﻓﻘﺔ‬
‫ﻋﺎﺩﺓ ﻟﻠﻨﺺ ﺍﻷﺩﰊ ﻳﺴﻬﻞ ﻋﻠﻰ ﺍﻟﻘﺎﺭﺉ ﺍﻟﺼﻐﲑ ﺗﻜﻮﻳﻦ ﻓﻜﺮﺓ ﻭﺍﺿﺤﺔ ﳏﺪﺩﺓ ﻋﻦ ﺫﻟﻚ ﺍﻟﻌﻤﻞ‪.‬‬

‫‪ -1‬ﺩ‪ /‬ﺣﺴﻦ ﺷﺤﺎﺗﻪ‪.‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.17‬‬

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‫ﻭ ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ‪ 1‬ﻟﺪﻳﻨﺎ‪:‬‬

‫ﺷﻜﻞ ﻟﻐﺔ ﻣﻘﺪﻣﺔ ﻟﻠﻜﺒﺎﺭ‪:‬‬

‫"ﺍﻫﺘﺰ ﺍﳊﺼﺎﻥ ﺑﻨﺸﻮﺓ ﻛﺎﻥ ﻣﺘﻔﻮﻗﺎ ﺑﻌﺪ ﺃﻥ ﺑﺰ ﺳﺎﺋﺮ ﺍﳋﻴﻮﻝ ﰲ ﺍﻟﺴﺒﺎﻕ ﻭ ﺣﺼﻞ ﻋﻠﻰ ﻗﺼﺐ ﺍﻟﺴﺒﻖ‪.‬‬
‫ﻓﻠﻤﺎ ﺃﻋﻠﻦ ﻋﻦ ﻓﻮﺯﻩ ﻛﺎﻧﺖ ﺃﻋﲔ ﺍﻟﻨﺎﺱ ﺗﺮﻧﻮ ﺇﻟﻴﻪ ﺑﺈﻋﺠﺎﺏ"‬

‫ﺃﻣﺎ ﻟﻠﺼﻐﺎﺭ‪:‬‬

‫" ﺃﺳﺮﻉ ﺍﳊﺼﺎﻥ ﺍﻷﺑﻴﺾ ﺍﳉﻤﻴﻞ‪ ،‬ﻭ ﻛﺎﻥ ﻳﺮﻓﻊ ﺭﺃﺳﻪ ﻭ ﻫﻮ ﳚﺮﻱ ﻭ ﳚﺮﻱ ﻭﳚﺮﻱ‪ ...‬ﺣﱴ ﻓﺎﺯ‬
‫ﻭ ﺳﺒﻖ ﻛﻞ ﺍﳋﻴﻮﻝ ﺍﻟﱵ ﻛﺎﻧﺖ ﺗﺒﺎﺭﻳﻪ‪ .‬ﻭ ﳌﺎ ﺍﻧﺘﻬﻰ ﺍﻟﺴﺒﺎﻕ ﺃﺧﺬ ﳛﺮﻙ ﺟﺴﺪﻩ ﻭ ﻛﺄﻧﻪ ﻳﺮﻗﺺ‪ .‬ﻭ ﻛﺎﻥ‬
‫ﺳﺎﻣﻲ ﻳﻨﻈﺮ ﺇﻟﻴﻪ ﺑﺈﻋﺠﺎﺏ ﻭ ﻫﻮ ﻳﺼﻔﻖ‪".‬‬

‫ﻭ ﺍﻻﺧﺘﻼﻑ ﻭﺍﺿﺢ ﺑﲔ ﺍﻟﻨﺼﲔ ﻣﻦ ﺣﻴﺚ ﺍﻟﻠﻐﺔ ﺑﺄﻟﻔﺎﻇﻬﺎ‪ ،‬ﻭ ﺗﺮﺍﻛﻴﺐ ﺍﳉﻤﻞ ﻭ ﺑﺎﻟﺘﺎﱄ ﰲ ﺍﻹﳛﺎﺀ‬
‫ﻭ ﺗﻮﺟﻴﻪ ﺍﻟﻘﺎﺭﺉ ﳌﻨﻈﻮﺭ ﻣﻌﲔ‪ ،‬ﺑﺈﳛﺎﺀﺍﺕ ﻭ ﺗﺼﺮﳛﺎﺕ ﳏﺪﺩﺓ ﻋﻦ ﻃﺮﻕ ﺍﻟﻮﺻﻒ ﺍﳊﺴﻲ‪ ،‬ﻓﻜﻞ ﻣﻨﻬﻤﺎ‬
‫ﻣﻮﺟﻪ ﺣﺴﺐ ﺍﺳﺘﻌﺪﺍﺩﺍﺕ ﻭ ﻗﺪﺭﺍﺕ ﺍﳌﺘﻠﻘﲔ ﻋﻠﻰ ﺍﻟﻔﻬﻢ ﻭ ﺍﻟﺘﺤﻠﻴﻞ‪ ،‬ﻭﺍﻟﺘﺬﻭﻕ ﺍﳉﻤﺎﱄ‪ ،‬ﻭﻋﻠﻰ ﺍﻟﻌﻤﻮﻡ‬
‫ﳝﻜﻦ ﺣﺼﺮ ﺍﳉﻤﻴﻞ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻄﻔﻞ ﰲ " ﲬﺲ ﻛﻴﻔﻴﺎﺕ ﺗﺮﺑﻄﻪ ﺑﺎﻟﻌﺎﱂ ﻭﻫﻲ‪ :‬ﺍﻟﻠﻮﻥ‪ -‬ﺍﻟﻀﻮﺀ‪-‬‬
‫ﺍﻟﺼﻮﺕ‪ -‬ﺍﳊﺮﻛﺔ‪ -‬ﺍﻹﻳﻘﺎﻉ"‪ 2‬ﻣﻦ ﺧﻼﻝ ﺷﻜﻞ ﺍﻟﻘﺼﺔ ﻭﻛﻴﻔﻴﺔ ﺗﻘﺪﳝﻬﺎ‪ ،‬ﻭ ﺃﺣﺪﺍﺛﻬﺎ‪ ،‬ﻭﺷﺨﺼﻴﺎ‪‬ﺎ‪،‬‬
‫ﻭ ﺃﺳﻠﻮ‪‬ﺎ‪ ،‬ﻭﺃﺧﲑﺍ ﺑﻨﺎﺀﻫﺎ‪ .‬ﻭﻣﱴ ﻣﺎ ﺗﻮﻓﺮﺕ ﻫﺬﻩ ﺍﻟﻜﻴﻔﻴﺎﺕ ﻻﻗﻰ ﺍﻟﻌﻤﻞ ﻗﺒﻮﻝ ﻭ ﺍﺳﺘﺤﺴﺎﻥ ﺍﳌﺘﻠﻘﻲ‬
‫ﺍﻟﺼﻐﲑ‪.‬‬

‫ﺇﺫﻥ‪ ،‬ﻛﻲ ﻳﻘﺒﻞ ﺍﻟﻄﻔﻞ ﻋﻠﻰ ﺍﻟﻘﺮﺍﺀﺓ‪:‬‬

‫‪" -‬ﳚﺐ ﺃﻥ ﺗﺘﻄﻮﺭ ﺍﻟﻠﻐﺔ ﺍﳌﻌﺮﻭﺿﺔ ﻋﻠﻴﻪ ﻭ ﺃﻥ ﺗﻨﻤﻮ‪ ،‬ﺇﺫﺍ ﻋﺮﻓﻨﺎ ﻛﻴﻒ ﳒﻌﻞ ﺑﻨﺎﺀ ﺍﳉﻤﻠﺔ ﻳﻨﻤﻮ‬

‫‪ -1‬ﻓﺎﺭﻭﻕ ﻣﻮﺳﻰ‪ .‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.02‬‬

‫‪ -2‬ﺩ‪ /‬ﻭﻓﺎﺀ ﺍﺑﺮﺍﻫﻴﻢ‪..‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.18‬‬

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‫ﻭ ﻳﺘﻄﻮﺭ ﻣﻦ ﺧﻼﻝ ﺧﻠﻖ ﻧﻮﻉ ﻣﻦ ﺇﺣﺴﺎﺱ ﺧﺎﺹ ﺑﺎﳉﻤﻞ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭﻫﺎ ﻭﺣﺪﺍﺕ ﻓﻜﺮﻳﺔ‬
‫ﻭ ﺫﻟﻚ ﻣﻦ ﺧﻼﻝ ﺗﻘﺪﳝﻬﺎ ﰲ ﻗﻮﺍﻟﺐ ﻟﻐﻮﻳﺔ ﺟﻴﺪﺓ‪ .‬ﲟﻌﲎ ﺟﻌﻠﻬﺎ ﺣﻴﺔ ﻣﻦ ﺧﻼﻝ ﺗﻨﻮﻳﻊ‬
‫ﺍﻷﺳﺎﻟﻴﺐ ﺑﲔ ﺇﺧﺒﺎﺭﻳﺔ ﻭ ﺍﺳﺘﻔﻬﺎﻣﻴﺔ‪ ،‬ﳋﻠﻖ ﻧﻮﻉ ﻣﻦ ﺍﳊﻮﺍﺭ ﺑﲔ ﺍﻟﻄﻔﻞ ﻭ ﺍﻟﻨﺺ ﻋﻦ ﻃﺮﻳﻖ‬
‫ﻟﻌﺐ ﻟﻌﺒﺔ ﺍﻟﺘﺤﺪﻱ ﻣﻌﻪ‪.‬‬
‫‪ -‬ﻋﻠﻰ ﺃﻥ ﺗﻘﺪﻡ ﺍﻷﻓﻜﺎﺭ ﰲ ﻗﺎﻟﺒﻬﺎ ﺍﻟﻠﻐﻮﻱ ﲝﻴﺚ ﺗﺴﺘﺮﻋﻲ ﺍﻧﺘﺒﺎﻩ ﺍﻟﻄﻔﻞ ﻭ ﲡﻌﻠﻪ ﻳﻘﺒﻞ ﻋﻠﻰ‬
‫ﺇﲤﺎﻣﻬﺎ ﻣﻦ ﺧﻼﻝ ﻋﺮﺿﻬﺎ ﺑﻄﺮﻳﻘﺔ ﻣﺘﺪﺭﺟﺔ ﺣﻴﺚ ﻳﺸﺎﺭﻙ ﰲ ﺇﲤﺎﻣﻬﺎ ﻭ ﺗﺘﺮﺍﻭﺡ ﺑﲔ ﺍﻟﺒﺴﻴﻄﺔ‬
‫ﻭ ﺍﳌﻌﻘﺪﺓ ﺗﺒﻌﺎ ﻟﻠﻤﻮﺍﻗﻒ ﻭ ﻳﺴﺎﻋﺪﻩ ﺍﻟﻮﺻﻒ ﻭ ﺍﻟﺼﻮﺭﺓ ﻹﲤﺎﻣﻬﺎ ﲝﻴﺚ ﻳﺼﺒﺢ ﺟﺰﺀﺍ ﻣﻦ ﺗﻠﻚ‬
‫ﺍﻟﻌﻤﻠﻴﺔ‪.‬‬
‫‪ -‬ﺃﻥ ﻳﺮﺑﻂ ﺍﻟﻜﻠﻤﺔ ﺑﺎﻟﻔﻜﺮﺓ ﻓﻜﻞ ﲨﻠﺔ ﳏﺪﺩﺓ ﺗﻌﲎ ﺑﻔﻜﺮﺓ ﳏﺪﺩﺓ ﺇﺫﺍ ﻻ ﻳﻬﻢ ﺣﺸﻮ ﺭﺃﺱ ﺍﻟﻄﻔﻞ‬
‫ﺑﺎﻟﻜﻠﻤﺎﺕ ﻓﺎﻟﻜﻢ ﻏﲑ ﻣﻬﻢ ﻭ ﻟﻜﻦ ﳚﺐ ﺃﻥ ﻳﺘﻌﺮﻑ ﺍﻟﻄﻔﻞ ﻋﻠﻰ ﻣﻜﺎﻥ ﻭ ﺯﻣﺎﻥ ﺍﺳﺘﻌﻤﺎﻝ‬
‫ﺍﻟﻜﻠﻤﺔ ﺗﺒﻌﺎ ﻟﻠﻤﻮﺍﻗﻒ ﻭ ﺇﻥ ﻛﺎﻥ ﳍﺎ ﺍﺳﺘﻌﻤﺎﻻﺕ ﺃﺧﺮﻯ‪ ،‬ﻓﻌﺮﺽ ﺍﻷﻟﻔﺎﻅ ﲟﻌﺎﱐ ﳐﺘﻠﻔﺔ ﲣﺘﻠﻒ‬
‫ﻣﻊ ﺍﳌﻮﺍﻗﻒ ﻳﺴﻬﻞ ﺗﻘﺒﻠﻪ ﻟﻠﻔﻜﺮﺓ ﻭ ﺗﻌﻠﻤﻪ ﻟﻠﻜﻠﻤﺔ ﺍﳌﺼﺎﺣﺒﺔ ﻟﻪ‪.‬‬
‫ﳚﺐ ﺃﻥ ﺗﻜﻮﻥ ﺍﻟﻠﻐﺔ ﻣﺼﻨﻔﺔ ﲟﻌﲎ ﺃﻥ ﺗﺰﺧﺮ ﺍﻟﻠﻐﺔ ﺑﺄﲰﺎﺀ ﻣﺎ ﳛﻴﻂ ﺑﺎﻟﻄﻔﻞ ﻣﻦ ﺣﻴﻮﺍﻧﺎﺕ‪،‬‬ ‫‪-1‬‬

‫ﺃﺷﻴﺎﺀ‪ ،‬ﻃﻌﺎﻡ‪ ،‬ﺃﺛﺎﺙ‪ ،‬ﺇﻧﺴﺎﻥ‪ ،‬ﻣﻮﺍﺻﻼﺕ‪...،‬ﻭ ﻛﻞ ﻣﺎ ﻟﻠﻄﻔﻞ ﻋﻼﻗﺔ ﺑﻪ ﻷﻥ ﺑﻴﻨﻪ ﻭ ﺑﻴﻨﻬﺎ‬

‫ﺃﻟﻔﺖ ﻭ ﳝﻜﻨﻪ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻴﻬﺎ ﺑﺴﻬﻮﻟﺔ‪.‬ﺗﻌﺘﱪ ﺍﻟﺼﻮﺭﺓ ﻟﻐﺔ ﻟﻠﺘﻌﺒﲑ ﻟﻠﻄﻔﻞ ﻟﺬﻟﻚ ﳚﺐ ﺍﻧﺘﻘﺎﺀ‬
‫ﻣﺎ ﺑﲔ ﻣﺎ ﻳﻨﺎﺳﺐ ﻣﻨﻬﺎ ﻋﻤﺮﻩ ﻭ ﺗﻨﻮﻳﻌﻬﺎ ﻭ ﺟﻌﻠﻬﺎ ﻻ ﺗﻄﻐﻰ ﻋﻠﻰ ﺍﻟﻜﻠﻤﺔ ﻭ ﺇﳕﺎ ﺗﺘﻤﻤﻬﺎ ﻭ‬
‫ﺗﻌﻄﻲ ﻟﻠﻄﻔﻞ ﺗﺼﻮﺭﺍ ﻋﻦ ﺍﻟﻌﺎﱂ ﺍﻟﺬﻱ ﻳﻠﺞ ﺇﻟﻴﻪ ﻭ ﻳﺮﺑﻄﻪ ﺑﻪ‪ 1".‬ﻭ ‪‬ﺬﺍ ﻳﺘﺤﻘﻖ ﻟﻨﺎ ﻟﻴﺲ‬
‫ﻓﻘﻂ‪ ،‬ﺇﻗﺒﺎﻝ ﺍﻟﻄﻔﻞ ﻋﻠﻰ ﺍﻟﻘﺮﺍﺀﺓ ﺩﻭﻥ ﺻﻌﻮﺑﺔ‪ -‬ﻷﻥ ﻏﺎﻟﺒﺎ ﻣﺎ ﻳﻜﻮﻥ ﺍﺳﺘﺼﻌﺎﺑﻪ ﻟﻠﻐﺔ ﺍﻟﻌﻤﻞ‬
‫ﺍﻷﺩﰊ ﻫﻮ ﻣﺎ ﻳﻨﻔﺮﻩ ﻣﻨﻪ‪ -‬ﺃﻭ ﺍﺳﺘﺴﻬﺎﻟﻪ ﳍﺎ ﺇﱃ ﺣﺪ ﺍﻟﺴﺬﺍﺟﺔ‪ -‬ﻭ ﻫﺬﺍ ﻋﺎﻣﻞ ﻣﻨﻔﺮ ﺁﺧﺮ‬
‫ﻷﻧﻪ ﻛﻠﻤﺎ ﺗﻌﻠﻢ ﻟﻔﻈﺔ ﺟﺪﻳﺪﺓ ﺷﻌﺮ ﺑﺄﻧﻪ ﺑﻠﻎ ﻣﺮﺣﻠﺔ ﺃﺧﺮﻯ ﺟﺪﻳﺪﺓ ﻣﻦ ﺍﻟﻔﻬﻢ ﻭ ﺍﻹﺩﺭﺍﻙ‪.‬‬

‫ﺇﳝﺎﻥ ﻳﻘﺎﻋﻲ‪ ،‬ﻡ‪.‬ﺱ ﺹ‪.68-59‬‬ ‫‪-1‬‬

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‫ﺍﻟﻘﺼــﺔ ﻟﻠﻄــﻔﻞ‬

‫ﺗﻨﺎﻗﻠﺖ ﻋﻠﻰ ﻣﺮ ﺍﻟﺰﻣﻦ ﺑﻄﻮﻻﺕ ﺍﻟﻐﺎﺑﺮﻳﻦ ﻭ ﻣﻐﺎﻣﺮﺍ‪‬ﻢ‪ ،‬ﻭ ﺃﺳﺎﻃﲑﻫﻢ‪ ،‬ﻋﻠﻰ ﺃﻟﺴﻨﺔ ﺍﻟﻨﺎﺱ ﻟﺘﺆﻟﻒ ﻋﺎﳌﺎ‬
‫ﻣﻦ ﺍﻟﺘﺸﻮﻳﻖ ﺗﺎﺭﺓ ﻭ ﻣﻦ ﺍﻟﻐﻤﻮﺽ ﺗﺎﺭﺓ ﺃﺧﺮﻯ‪ ،‬ﻣﻦ ﺍﻹﺛﺎﺭﺓ ﺣﻴﻨﺎ‪ ،‬ﻭ ﻣﻦ ﺍﻟﻔﺮﻭﺳﻴﺔ ﻭ ﺍﻟﺒﻄﻮﻟﺔ ﺣﻴﻨـﺎ‬
‫ﺁﺧﺮ‪ ،‬ﰲ ﺷﻜﻞ ﻗﺼﺺ ﺗﺴﺮﺩ ﰲ ﺍ‪‬ﺎﻟﺲ ﻭ ﺍﻷﺳﻮﺍﻕ‪ .‬ﻭ ﱂ ﺗﻔﺮﻕ ﻫـﺬﻩ ﺍﻟﻘﺼـﺺ ﺑـﲔ ﺍﻟﻜﺒـﺎﺭ‬
‫ﻭ ﺍﻟﺼﻐﺎﺭ ﻭﺑﲔ ﺍﻟﺸﻴﺐ ﻭ ﺍﻟﺸﺒﺎﻥ ﲟﺎ ﺗﻠﺞ ﺇﻟﻴﻪ ﻣﻦ ﺍﻟﻐﺮﻳﺐ ﻭ ﺍﻟﻌﺠﻴﺐ ﻣﻦ ﺍﻟﻌﻮﺍﱂ‪ .‬ﳍﺬﺍ ﺇﻧـﻪ ﻣـﻦ‬
‫ﺍﳌﻌﺮﻭﻑ ﻋﻦ "ﺍﻟﻘﺼﺔ ﺃ‪‬ﺎ ﺷﻜﻞ ﻓﲏ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻷﺩﺏ ﺍﻟﺸﻴﻖ‪ ،‬ﻓﻴﻪ ﲨﺎﻝ ﻭ ﻣﺘﻌﺔ‪ ... ،‬ﻭ ﺑﻪ ﻋـﻮﺍﱂ‬
‫ﺑﺪﻳﻌﺔ ﻓﺎﺗﻨﺔ‪ ،‬ﺃﻭ ﻋﺠﻴﺒﺔ‪ ،‬ﺃﻭ ﻏﺎﻣﻀﺔ ﺗﺒﻬﺮ ﺍﻷﻟﺒﺎﺏ ﻭ ﲢﺒﺲ ﺍﻷﻧﻔﺎﺱ‪ ،‬ﻭ ﺃﻟﻮﺍﻥ ﻣﻦ ﺍﻟﺒﺸﺮ ﻭ ﺍﻟﻜﺎﺋﻨﺎﺕ‬
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‫ﻟﻠﻄﻔﻞ ﻣﻊ ﺍﻟﻘﺼﺔ ﺑﺎﻉ ﻃﻮﻳـﻞ‪،‬‬ ‫ﻭ ﺍﻷﺣﺪﺍﺙ‪...‬ﻭ ﳍﺬﺍ ﻫﻲ ﻣﻦ ﺃﺣﺐ ﺃﻟﻮﺍﻥ ﺍﻷﺩﺏ ﺇﱃ ﺍﻟﻘﺮﺍﺀ‪".‬‬
‫ﺣﻴﺚ ﺗﻌﺮﻑ ﻋﻠﻴﻬﺎ ﰲ ﺑﺎﺩﺉ ﺍﻷﻣﺮ ﺷﻔﺎﻫﺔ ﳑﺎ ﺗﻨﺎﻗﻠﺘﻪ ﺍﻟﺬﺍﻛﺮﺓ ﺍﳉﻤﻌﻴﺔ ﻣﻦ ﺃﺧﺒﺎﺭ ﻭ ﺣﻜﺎﻳﺎﺕ ﻋﻦ ﺯﻣﻦ‬
‫ﺍﻷﺳﺎﻃﲑ‪ ،‬ﻭ ﺍﻟﻌﺠﺎﺋﺐ‪ ،‬ﳑﺎ ﺗﻠﻘﻴﻪ ﺍﳉﺪﺍﺕ ﻭ ﺍﻷﻣﻬﺎﺕ ﻋﻠﻰ ﻣﺴﺎﻣﻌﻪ‪ ،‬ﺇﺫ ﻛﺎﻧﺖ ﺍﳊﻜﺎﻳﺔ ﺗﺄﺧـﺬﻩ ﺇﱃ‬
‫ﺫﻟﻚ ﺍﻟﻌﺎﱂ ﻭ ﲡﻌﻠﻬﻢ ﺟﺰﺀﺍ ﻣﻨﻪ‪ ،‬ﻭ " ﺍﳊﻜﺎﻳﺔ ﻫﻲ ﺍﻷﺳﺎﺱ ﰲ ﺗﻜﻮﻳﻦ ﺍﻟﻘﺼﺔ‪ ،...،‬ﻭ ﻛﻤﺎ ﻳﻘـﻮﻝ‬
‫ﻓﻮﺭﺳﺘﺮ ﻫﻲ ﺃﺩﱏ ﻭ ﺃﺑﺴﻂ ﺍﻟﺘﺮﺍﻛﻴﺐ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﻭ ﻟﻜﻨﻬﺎ ﺍﻟﻌﻤﻞ ﺍﳌﺸﺘﺮﻙ ﺑﲔ ﲨﻴﻊ ﺍﻟﻜﺎﺋﻨﺎﺕ ﺍﳌﻌﻘﺪﺓ‬
‫ﰲ ﺍﻟﺮﻭﺍﻳﺎﺕ‪ 2".‬ﺇﺫ ﺗﺒﺪﺃ ﻛﻞ ﻗﺼﺔ ﲝﻜﺎﻳﺔ ﻣﺎ‪ .‬ﺣﻴﺚ ﲤﺘﺎﺯ ﻫﺬﻩ ﺍﳊﻜﺎﻳﺔ‪ 3‬ﺏ‪:‬‬

‫‪ -‬ﺑﺴﺎﻃﺔ ﰲ ﺍﻷﺳﻠﻮﺏ‪ ،‬ﻭ ﺍﻟﻠﻐﺔ‪ ،‬ﻭ ﺍﻟﺒﻨﺎﺀ‪.‬‬

‫‪ -‬ﺗﺴﺘﻌﻤﻞ ﰲ ﺍﻟﻐﺎﻟﺐ ﻣﻀﻤﻮﻧﺎ ﺛﺮﻳﺎ ﻭ ﻋﻤﻴﻘﺎ‪.‬‬
‫‪ -‬ﻣﻦ ﺍﳊﻜﺎﻳﺎﺕ ﻣﺎ ﺗﺒﺘﻌﺪ ﰲ ﻣﻘﺪﻣﺘﻬﺎ ﻋﻦ ﲢﺪﻳﺪ ﺍﻟﺰﻣﺎﻥ ﻭ ﺍﳌﻜﺎﻥ ﻭ ﻣﻨﻬﺎ ﻣﺎ ﺗﻠﺘﻔﺖ ﺇﱃ ﺍﻟﺰﻣﺎﻥ‬
‫ﻭ ﺍﳌﻜﺎﻥ ﺍﻟﺘﻔﺎﺗﺔ ﻋﺎﺑﺮﺓ‪.‬‬
‫‪ -‬ﺍﳊﻜﺎﻳﺔ ﻻ ﲢﺎﻭﻝ ﺇﺳﺒﺎﻍ ﺻﻔﺎﺕ ﳏﺪﻭﺩﺓ ﺇﱃ ﺍﻟﺸﺨﺼﻴﺔ ﻭ ﻻ ﻋﻠﻰ ﺍﳊﻮﺍﺩﺙ‪.‬‬

‫‪ -1‬ﺃﲪﺪ ﳒﻴﺐ‪ "،‬ﻓﻦ ﺍﻟﻜﺘﺎﺑﺔ ﻟﻸﻃﻔﺎﻝ‪ -‬ﺩﺭﺍﺳﺎﺕ ﰲ ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ‪ ،‬ﺩﺍﺭ ﺍﻟﻜﺎﺗﺐ ﺍﻟﻌﺮﰊ ﻟﻠﻄﺒﺎﻋﺔ‪1968 ،‬ﺹ‪.64‬‬
‫‪ -2‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.64‬‬
‫‪ -3‬ﺇﳝﺎﻥ ﺑﻘﺎﻋﻲ ‪،‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.39‬‬

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‫‪ -‬ﺃﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ ﳌﻮﺿﻮﻋﺎﺕ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﻓﺒﻌﻀﻬﺎ ﻛﺎﻥ ﻳﺴﺘﻬﺪﻑ ﺍﻹﻗﻨﺎﻉ ﻭ ﺁﺧﺮ ﻳﺴﺘﻬﺪﻑ ﺍﻟﺘﺜﻘﻴﻒ‪،‬‬
‫ﻭ ﺛﺎﻟﺚ ﺃﺭﻳﺪ ﺑﻪ ﺍﳍﺮﻭﺏ ﻣﻦ ﺍﻟﻮﺍﻗﻊ ﺇﱃ ﻋﺎﱂ ﺧﻴﺎﱄ‪.‬‬

‫ﻭ ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻧﻪ ﻫﻨﺎﻙ ﻓﺮﻗﺎ ﻛﻴﻔﻴﺎ ‪ ،‬ﻭ ﺗﺸﺎ‪‬ﺎ ﻧﻮﻋﻴﺎ ﺑﲔ ﺣﻜﺎﻳﺔ ﻣﻮﺟﻬﺔ ﻟﻄﻔﻞ ﻭ ﺃﺧﺮﻯ ﻟﺒﺎﻟﻎ‪،‬‬
‫ﻭﻳﻜﻤﻦ ﺍﻟﻔﺮﻕ ﻭ ﺍﻟﺘﺸﺎﺑﻪ‪ 1‬ﰲ‪:‬‬

‫‪ -‬ﺇﻥ ﺍﳊﻜﺎﻳﺔ ﺳﻮﺍﺀ ﻛﺎﻧﺖ ﻟﻸﻃﻔﺎﻝ ﺃﻡ ﻟﻠﻜﺒﺎﺭ‪ ،‬ﻫﻲ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳊﻮﺍﺩﺙ ﺍﳌﺮﺗﺒﺔ ﺯﻣﻨﻴﺎ‪ ،‬ﻏﲑ ﺃﻥ‬
‫ﺣﻜﺎﻳﺔ ﺍﻷﻃﻔﺎﻝ ﲣﺘﻠﻒ ﻋﻦ ﺣﻜﺎﻳﺔ ﺍﻟﻜﺒﺎﺭ ﰲ ﺍﶈﺎﻓﻈﺔ ﻋﻠﻰ ﺍﻟﺘﺮﺗﻴﺐ ﺍﻟﺘﺎﺭﳜﻲ ﻟﻠﺰﻣﻦ‪ ،‬ﲝﻴـﺚ‬
‫ﺗﺮﺗﺐ ﺍﳊﻮﺍﺩﺙ ﺗﺮﺗﻴﺒﺎ ﺗﺼﺎﻋﺪﻳﺎ ﻣﻦ ﺍﻟﺒﺪﺍﻳﺔ ﺇﱃ ﺍﻟﻨﻬﺎﻳﺔ ﺩﻭﻥ ﺃﻱ ﺗﻼﻋﺐ ﰲ ﻫﺬﺍ ﺍﻟﺘﺮﺗﻴﺐ ﻛﻤﺎ‬
‫ﳛﺪﺙ ﰲ ﺣﻜﺎﻳﺔ ﺍﻟﻜﺒﺎﺭ‪ ،‬ﻭ ﺗﺒﺪﻭ ﺃﳘﻴﺔ ﺍﻟﺘﺮﺗﻴﺐ ﺍﻟﺘﺎﺭﳜﻲ ﰲ ﺣﻜﺎﻳﺔ ﺍﻟﺼﻐﺎﺭ ﰲ ﺃﻥ ﺍﻟﻄﻔﻞ ﻏﲑ‬
‫ﻗﺎﺩﺭ ﻋﻠﻰ ﺍﺳﺘﺨﺪﺍﻡ ﺫﻛﺎﺋﻪ ﺃﺛﻨﺎﺀ ﺍﻟﻘﺮﺍﺀﺓ ﻟﲑﺑﻂ ﺑﲔ ﺍﳊﻮﺍﺩﺙ ﺃﻭ ﻳﻌﻴﺪ ﺗﺮﻛﻴﺒﻬﺎ ﻛﻤـﺎ ﻳﻔﻌـﻞ‬
‫ﺍﻟﻜﺒﲑ‪.‬‬
‫‪ -‬ﳚﺐ ﺃﻥ ﻳﺘﻮﻓﺮ ﰲ ﺣﻜﺎﻳﺔ ﺍﻷﻃﻔﺎﻝ ﻋﻨﺼﺮ ﺍﻟﺘﺸﻮﻳﻖ‪ ،‬ﺍﻟﺬﻱ ﻫﻮ ﻋﻨﺼﺮ ﻓﲏ ﲝﺖ‪ ،‬ﺗﺎﺑﻊ ﳌﻘـﺪﺭﺓ‬
‫ﺍﻟﻜﺎﺗﺐ ﻭ ﻓﻬﻤﻪ ﺣﺎﺟﺎﺕ ﺍﻟﻄﻔﻞ ﻭ ﺭﻏﺒﺎﺗﻪ‪.‬‬
‫‪ -‬ﺇﻥ ﺇﻗﺒﺎﻝ ﺍﻷﻃﻔﺎﻝ ﻋﻠﻰ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺇﳕﺎ ﻣﺮﺩﻩ ﺇﱃ ﺃ‪‬ﺎ ﺗﺮﺳﻢ ﻋﺎﳌﺎ ﻣﻮﺍﺯﻳﺎ ﻟﻠﻌﺎﱂ ﺍﻟـﻮﺍﻗﻌﻲ‬
‫ﺍﻟﺬﻱ ﻳﻌﻴﺶ ﻓﻴﻪ ﺍﻟﻄﻔﻞ‪ ،‬ﻳﻀﻢ ﺍﳋﲑ ﻭ ﺍﻟﺸﺮ‪ ،‬ﻭ ﺍﻟﺴﺤﺮ ﻭ ﺍﳉﺎﺫﺑﻴﺔ‪ ،‬ﻭ ﻗﺪﺭﺍ ﻛﺒﲑﺍ ﻣﻦ ﻣﺜﲑﺍﺕ‬
‫ﺍﳋﻴﺎﻝ ﻭ ﻫﺬﺍ ﻣﺎ ﳚﻌﻞ ﺍﻟﻄﻔﻞ ﻳﺘﻌﺮﻑ ﺍﳊﻴﺎﺓ ﲝﻠﻮﻫﺎ ﻭﻣﺮﻫﺎ‪.‬‬
‫‪ -‬ﻋﻨﺼﺮ ﺍﳋﻴﺎﻝ ﻣﻬﻢ ﺟﺪﺍ ﰲ ﺣﻜﺎﻳﺔ ﺍﻟﻄﻔﻞ‪.‬‬
‫‪ -‬ﺣﻜﺎﻳﺔ ﺍﻷﻃﻔﺎﻝ ﻫﺪﻓﻬﺎ ﺗﺮﺑﻮﻱ ﻭ ﲨﺎﱄ ﰲ ﺁﻥ ﻭﺍﺣﺪ‪ ،‬ﻭ ﻫﺬﺍ ﻗﺪ ﻻ ﻳﻜﻮﻥ ﻫﺪﻑ ﺣﻜﺎﻳـﺔ‬
‫ﺍﻟﻜﺒﺎﺭ‪.‬‬

‫‪ -1‬ﺇﳝﺎﻥ ﺑﻘﺎﻋﻲ ﻡ‪.‬ﺱ‪.‬ﺹ‪.40-39‬‬

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‫ﻭ ﺑﺎﻟﺘﺎﱄ ﻗﺼﺔ ﺍﻷﻃﻔﺎﻝ ﻫﻲ ﻋﻤﻞ ﻧﺜﺮﻱ‪ ،‬ﻋﻤﺎﺩﻩ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﺷﻴﻖ ﻳﺸﺪ ﺍﻟﻄﻔﻞ‪ ،‬ﺇﺫ ﻻ ﳝﻜﻦ ﺃﻥ‬
‫ﺗﻜﻮﻥ ﻫﻨﺎﻙ ﻗﺼﺺ ﺃﻃﻔﺎﻝ ﺧﺎﻟﻴﺔ ﻣﻦ ﺍﻟﺘﺸﻮﻳﻖ ﺃﺑﺪﺍ ﻷﻥ ﺫﻟﻚ ﳚﻌﻠﻬﺎ ﳑﻠﺔ‪ ،‬ﻭ ﰲ ﺍﳊﻘﻴﻘﺔ ﻟﻴﺴﺖ‬
‫ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ ﻓﻘﻂ ﻭ ﺇﳕﺎ ﺍﻟﻜﺒﺎﺭ ﺃﻳﻀﺎ‪ .‬ﺑﺴﻴﻄﺔ ﺍﻟﻠﻐﺔ‪ ،‬ﺣﻴﺚ ﺗﺴﺘﻨﺪ ﺇﱃ ﺍﻷﳕﺎﻁ ﺍﻟﻠﻐﻮﻳﺔ ﺍﻟﱵ‬
‫ﳝﺘﻠﻜﻬﺎ ﺍﻟﻄﻔﻞ‪ .‬ﳍﺎ ﻣﻐﺰﻯ ﺗﺮﺑﻮﻱ*‪ ،‬ﻣﻦ ﺧﻼﻝ ﻣﺎ ﺗﻘﺪﻣﻪ ﻣﻦ ﻣﺘﻌﺔ ﻓﻨﻴﺔ‪ ،‬ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺗﺮﺑﻴﺔ ﺍﻟﻄﻔﻞ‪،‬‬
‫ﺇﱃ ﺟﺎﻧﺐ ﺃﻥ ﻫﺪﻓﻬﺎ ﲨﺎﱄ‪ ،‬ﻛﻤﺎ ﺗﻨﻤﻲ ﺍﳋﻴﺎﻝ‪ ،‬ﻭ ﺫﻟﻚ ﻛﻠﻪ ﻋﻠﻰ ﺃﻥ ﻳﻜﻮﻥ ﺍﻟﻌﻤﻞ ﻓﻨﻴﺎ ﺃﺩﺑﻴﺎ‪،‬‬
‫ﻭ ﻫﺬﺍ ﺍﻟﻌﺎﻣﻞ ﺍﻟﻔﲏ ﺍﻷﺩﰊ ﻫﻮ ﻣﺎ ﺗﻔﺘﻘﺪ ﺇﻟﻴﻪ ﺍﻟﻜﺜﲑ ﻣﻦ ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ‪ .‬ﻷﻥ ﺍﻷﺩﺑﺎﺀ ﺃﻧﻔﺴﻬﻢ‬
‫ﻣﺎﺯﺍﻟﻮﺍ ﻳﺸﻌﺮﻭﻥ ﺃ‪‬ﻢ ﺑﻜﺘﺎﺑﺘﻬﻢ ﻟﻸﻃﻔﺎﻝ ﻓﺈ‪‬ﻢ ﻳﻨﺘﻘﺼﻮﻥ ﻣﻦ ﻗﺪﺭﻫﻢ ﻛﻜﺘﺎﺏ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃﻥ‬
‫ﺍﻟﻜﺘﺎﺑﺔ ﻟﻠﻄﻔﻞ ﻣﻦ ﺃﺳﻬﻞ ﻭ ﺃﻳﺴﺮ ﺍﻷﻣﻮﺭ‪ ،‬ﺭﻏﻢ ﺃﻥ ﻫﺬﺍ ﻟﻴﺲ ﺻﺤﻴﺤﺎ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﺇﻻ ﺃﻥ ﻫﺬﻩ‬
‫ﺍﻟﻔﻜﺮﺓ ﺳﺎﺩﺓ ﻟﻔﺘﺮﺓ ﻃﻮﻳﻠﺔ ﻣﻦ ﺍﻟﺰﻣﻦ ﻭ ﻣﺎ ﺗﺰﺍﻝ ﺁﺛﺎﺭﻫﺎ ﺇﱃ ﺍﻟﻴﻮﻡ ﺭﻏﻢ ﺃﻥ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻳﻌﺮﻑ ﻧﻮﻋﺎ‬
‫ﻣﻦ ﺍﻟﻨﻬﻀﺔ‪ ،‬ﻫﺬﺍ ﻣﻦ ﺟﻬﺔ ﻭ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﻓﺈﻥ ﺃﻏﻠﺐ ﻣﺎ ﻳﻜﺘﺐ ﳍﻢ ﻣﻮﺟﻪ ﺃﺳﺎﺳﺎ ﻟﻠﻤﺪﺭﺳﺔ‪،‬‬
‫ﺃﻱ ﻫﺪﻓﻪ ﺗﺮﺑﻮﻱ ﺗﺄﺩﻳﱯ ﺑﺎﻟﺪﺭﺟﺔ ﺍﻷﻭﱃ‪ ،‬ﻓﺎﳌﻌﺮﻭﻑ ﻋﻦ ﺍﻟﻜﺘﺐ ﺍﳌﺪﺭﺳﻴﺔ ﺃ‪‬ﺎ ﻛﺘﺐ ﺟﺎﻓﺔ‪ ،‬ﺃﻱ‬
‫ﺧﺎﻟﻴﺔ ﻣﻦ ﺍﻟﺘﺸﻮﻳﻖ‪ ،‬ﳑﻠﺔ‪ ،‬ﳛﺎﻭﻝ ﺍﻟﻄﻔﻞ ﺩﺍﺋﻤﺎ ﺍﻟﺘﻨﺼﻞ ﻣﻦ ﻗﺮﺍﺀ‪‬ﺎ‪ ،‬ﻭ ﺳﻴﻈﻞ ﺍﻷﻣﺮ ﻋﻠﻰ ﻣﺎ ﻫﻮ‬
‫ﻋﻠﻴﻪ ﻣﺎﺩﺍﻣﺖ ﻋﻠﻰ ﺣﺎﳍﺎ ﻫﺬﺍ‪.‬‬

‫ﻭ ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﻣﻌﻈﻢ ﺍﳌﻮﺍﺩ ﺍﳌﻘﺮﻭﺀﺓ ﻭ ﺍﳌﺴﻤﻮﻋﺔ ﻭ ﺍﳌﺮﺋﻴﺔ ﺍﻟﱵ ﺗﻘﺪﻡ ﻟﻸﻃﻔﺎﻝ ﺧﺎﺭﺝ‬
‫ﺍﳌﺪﺭﺳﺔ ﻭ ﺩﺍﺧﻠﻬﺎ ﺗﺮﺗﺒﻂ ﺑﺜﻘﺎﻓﺔ ﺍﻟﺬﺍﻛﺮﺓ ﻻ ﺑﺜﻘﺎﻓﺔ ﺍﻹﺑﺪﺍﻉ ﻓﻬﻲ ﺣﻘﺎﺋﻖ ﺳﺮﺩﻳﺔ ﺗﻘﺮﻳﺮﻳﺔ‪،‬‬
‫ﻭ ﻗﻀﺎﻳﺎ ﻣﺴﻠﻢ ﺑﺼﺤﺘﻬﺎ ﻭ ﻫﻲ ﺗﻘﻴﻴﺪ ﻟﻔﻜﺮ ﺍﻟﻄﻔﻞ ﺍﻟﻘﺎﺭﺉ ﻭ ﺍﳌﺴﺘﻤﻊ ﻭ ﺍﳌﺸﺎﻫﺪ‪ .‬ﺇﻥ ﺍﻟﺼﻴﻎ ﺍﻟﱵ‬
‫ﻳﻘﺪﻡ ﻓﻴﻬﺎ ﺍﻟﻨﺘﺎﺝ ﺍﻷﺩﰊ ﻟﻸﻃﻔﺎﻝ ﻗﺪ ﲢﺪﺙ ﻣﻔﺎﺭﻗﺎﺕ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﻣﺪﻯ ﻭ ﻛﻴﻔﻴﺔ ﺗﻘﺒﻞ ﻫﺆﻻﺀ‬
‫ﺍﻟﻘﺮﺍﺀ ﺍﻟﺼﻐﺎﺭ ﳌﺎ ﻳﻘﺪﻡ ﳍﻢ‪ .‬ﻓﺎﳍﺪﻑ ﻣﻦ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻫﻮ ﲢﺮﻳﺮ ﻣﻠﻜﺔ ﺍﻹﺑﺪﺍﻉ ﻋﻨﺪﻩ ﻭ ﺣﺜﻪ ﻋﻠﻰ‬
‫ﺍﺳﺘﺨﺪﺍﻡ ﻛﻞ ﻃﺎﻗﺎﺗﻪ ﰲ ﺃﻣﻮﺭ ﺇﳚﺎﺑﻴﺔ‪ ،‬ﺑﻌﻴﺪﺍ ﻋﻦ ﺟﺪﻟﻴﺔ ﺍﻷﻣﺮ ﻭ ﺍﻟﻨﻬﻲ‪ .‬ﰒ ﺇﻥ ﺍﳊﺮﻳﺔ ﻫﻲ ﻣﺎ ﻳﻮﻟﺪ‬

‫ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﳎﺪﺩﺍ ﺃﻥ ﺍﺳﺘﻐﻼﻝ ﻋﺎﻣﻞ ﺍﻟﻘﺼﺔ ﺍﻟﺘﺮﺑﻮﻱ ﺑﺪﺃ ﻣﻨﺬ ﺍﻟﻘﺪﱘ‪ ،‬ﺃﻱ ﻣﻨﺬ ﻃﻮﺭﻫﺎ ﺍﻟﺸﻔﻮﻱ‪ ،‬ﻓﻬﻲ ﺗﻀﻤﲔ ﻟﺮﺳﺎﻟﺔ ﺗﺄﺩﻳﺒﻴﺔ‬ ‫*‪-‬‬
‫ﺗﺮﻓﻴﻬﻴﺔ ﺗﻌﻠﻴﻤﻴﺔ ﻭ ﻟﻴﺲ ﻟﻠﺼﻐﺎﺭ ﻓﻘﻂ ﺑﻞ ﺣﱴ ﻟﻠﻜﺒﺎﺭ‪ ،‬ﻣﻦ ﺧﻼﻝ ﺃﺑﻄﺎﳍﺎ ﻭﻣﺎ ﻳﻔﺮﺿﻪ ﺍﻟﺘﻔﺎﻋﻞ ﻣﻌﻬﻢ ﻣﻦ ﲤﺜﻞ ﻟﻄﺒﺎﺋﻌﻬﻢ ﻭ ﺃﺧﻼﻗﻬﻢ‪ .‬ﻓﻤﻨﺬ‬
‫ﻧﺸﺄ‪‬ﺎ ﻛﻠﻮﻥ ﺃﺩﰊ ﻭ ﻫﻲ ﻻ ﲢﻴﺪ ﻋﻦ ﻫﺬﺍ ﺍﳌﺴﺎﺭ‪.‬‬

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‫ﺍﻹﺑﺪﺍﻉ ﻓﺈﺫﺍ ﺣﺎﻭﻟﻨﺎ ﻣﻨﺬ ﺍﻟﺒﺪﺍﻳﺔ ﺣﺸﻮ ﺭﺃﺱ ﺍﻟﻄﻔﻞ ﲟﺎ ﻛﺎﻥ ﻭ ﻣﺎ ﳚﺐ ﺃﻥ ﻳﻜﻮﻥ ﻓﺈﻧﻪ ﺳﻴﺒﻘﻰ ﺧﺎﺿﻌﺎ‬
‫ﻟﺒﻘﻴﺔ ﺣﻴﺎﺗﻪ ﳌﺎ ﻗﺪ ﻳﺼﺪﺭ ﻣﻨﺎ‪ ،‬ﳑﺎ ﳛﺪﺩ ﻟﻪ ﻃﺮﻳﻘﺎ ﻳﺘﺒﻌﻬﺎ ﻣﻜﺮﻫﺎ‪ ،‬ﻭ ﺫﻟﻚ ﺑﺴﺒﺐ ﺃﻧﻨﺎ ﱂ ﻧﺴﻤﺢ ﻟﻪ‬
‫ﺑﺈﳚﺎﺩ ﻃﺮﻳﻖ ﺧﺎﺹ ﺑﻪ‪ ،‬ﻓﺎﳊﺮﻳﺔ ﺍﻟﱵ ﻧﺴﻤﺢ ﻟﻪ ‪‬ﺎ ﻣﻦ ﺧﻼﻝ ﻣﺎ ﻳﻘﺮﺃ ﻋﻦ ﻃﺮﻳﻖ ﺟﻌﻠﻪ ﻣﺸﺘﺮﻛﺎ ﰲ‬
‫ﺗﺸﻜﻴﻞ ﻋﺎﱂ ﺍﻟﻘﺼﺔ ﺑﺸﻜﻞ ﻣﺒﺎﺷﺮ‪ ،‬ﳝﻨﺤﻪ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﻣﻮﺍﻗﻒ ﳐﺘﻠﻔﺔ ﻭ ﻣﺴﺎﻋﺪﺓ ﺍﻟﺒﻄﻞ‬
‫ﰲ ﺇﳚﺎﺩ ﻃﺮﻳﻘﻪ ﰲ ﺧﻀﻢ ﺃﺣﺪﺍﺛﻬﺎ ﻭ ﺑﺎﻟﺘﺎﱄ ﻗﺪﺭﺗﻪ ﻋﻠﻰ ﺗﻄﻮﻳﺮ ﻣﻠﻜﺔ ﺍﻹﺑﺪﺍﻉ ﻟﺪﻳﻪ ﻟﻴﺲ ﻓﻘﻂ ﻋﻠﻰ‬
‫ﺍﳌﺴﺘﻮﻯ ﺍﻷﺩﰊ‪ ،‬ﺑﻞ ﺣﱴ ﻋﻠﻰ ﺍﳌﺴﺘﻮﻯ ﺍﻟﻌﻠﻤﻲ‪ ،‬ﻭ ﻳﻜﺘﻔﻲ ﻣﻨﻪ ﺑﺄﻥ ﻳﺘﺒﻊ ﻣﻴﻮﻟﻪ‪ ،‬ﻭ ﻧﻜﺘﻔﻲ ﳓﻦ ﻣﻦ‬
‫ﻫﺬﺍ ﺍﻷﻣﺮ ﺑﺎﳌﺮﺍﻗﺒﺔ ﻭ ﺍﻟﺘﻮﺟﻴﻪ ﻣﻦ ﺑﻌﻴﺪ ﻻ ﺃﻛﺜﺮ ﺩﻭﻥ ﺃﻥ ﺗﻜﻮﻥ ﻟﻨﺎ ﻋﻼﻗﺔ ﻇﺎﻫﺮﺓ ﻣﺒﺎﺷﺮﺓ ﺑﺎﻷﻣﺮ‪.‬‬

‫ﻛﻤﺎ "ﺗﻮﻓﺮ ﺍﻟﻘﺼﺔ ‪ -‬ﻛﻤﺎﺩﺓ ﻣﻜﺘﻮﺑﺔ‪ -‬ﻟﻠﻄﻔﻞ ﺍﻟﻘﺎﺭﺉ ﺍﳌﻴﻞ ﻭ ﺍﻟﻔﻬﻢ ﻭ ﺍﻟﺴﺮﻋﺔ ﺣﱴ ﳝﻜﻦ ﺍﻟﻘﻮﻝ‬
‫ﺑﺈﻧﻘﺮﺍﺋﻴﺘﻬﺎ‪ ،‬ﺃﻱ ﺑﺪﺭﺟﺔ ﺍﻟﺘﻮﺍﻓﻖ ﺑﲔ ﺍﻟﻘﺼﺔ ﻭ ﺍﻟﻄﻔﻞ‪ ،‬ﻭ ﻫﻮ ﻣﺎ ﻳﻌﲏ ﻣﺴﺘﻮﻯ ﺍﻟﺴﻬﻮﻟﺔ ﺍﻟﱵ ﳝﻜﻦ ‪‬ﺎ ﺃﻥ‬
‫ﻳﻘﺮﺃ ﺍﻟﻄﻔﻞ ﺍﻟﻘﺼﺔ ﺑﺪﺭﺟﺔ ﻛﺒﲑﺓ‪ 1".‬ﺇﺫ ﻫﻨﺎﻙ ﻣﻌﺎﻳﲑ ﳏﺪﺩﺓ ﺗﺴﺎﻋﺪ ﺍﻟﻄﻔﻞ ﺣﲔ ﺗﻮﻓﺮﻫﺎ ﰲ ﺍﻟﻘﺼﺔ ﻋﻠﻰ‬
‫ﺍﻹﻗﺒﺎﻝ ﻋﻠﻴﻬﺎ ﺍﻧﺘﻘﺎﺀﺍ ﻭ ﻗﺮﺍﺀﺓ‪ ،‬ﻭ ﺇﺫﺍ ﱂ ﺗﺘﺤﻘﻖ ﻋﻨﺪ ﻗﺮﺍﺀﺓ ﺍﻟﻄﻔﻞ ﻟﻠﻘﺼﺔ‪ ،‬ﻓﺈﻧﻪ ﻟﻦ ﻳﺘﻢ ﺍﻟﺘﻮﺍﻓﻖ ﺑﻴﻨﻬﻤﺎ‬
‫ﻭ ﺑﺎﻟﺘﺎﱄ ﺳﻴﺘﺮﻛﻬﺎ ﻭﻳﺒﺘﻌﺪ ﻋﻨﻬﺎ ﺣﱴ ﻭ ﻟﻮ ﻛﺎﻧﺖ ﲟﻌﺎﻳﲑ ﺍﻟﻜﺒﺎﺭ ﺫﺍﺕ ﻓﺎﺋﺪﺓ ﲨﺔ‪ ،‬ﲝﻴﺚ ﳚﱪﻭﻧﻪ ﻋﻠﻰ‬
‫ﻗﺮﺍﺀ‪‬ﺎ‪ .‬ﻭ ﻻ ﻳﺴﻌﻨﺎ ﺇﻻ ﺍﻟﻌﻮﺩﺓ ﺇﱃ ﻣﺎ ﻗﻠﻨﺎﻩ ﺳﺎﺑﻘﺎ‪ ،‬ﺇﺫ ﳒﺪ ﺃﻥ ﺍﻷﻣﺮ ﺃﺻﺒﺢ ﺣﺘﻤﻴﺎ ﻣﻊ ﻛﻞ ﺟﺰﺋﻴﺔ ﰲ‬
‫ﻫﺬﺍ ﺍﻟﻌﻨﺼﺮ‪ ،‬ﻭ ﻫﻲ ﻋﻠﻰ ﺍﻟﻜﺒﺎﺭ ﺃﻥ ﻻ ﻳﺘﺪﺧﻠﻮﺍ ﻣﺒﺎﺷﺮﺓ ﻓﻴﻤﺎ ﻳﻘﺮﺃ ﺍﻟﺼﻐﺎﺭ ﺇﻻ ﻋﻨﺪ ﺍﻟﻀﺮﻭﺭﺓ ﺍﻟﻘﺼﻮﻯ‬
‫ﻟﻠﺘﻮﺟﻪ ﻭ ﻟﻴﺲ ﻟﻔﺮﺽ ﺃﺫﻭﺍﻗﻬﻢ ﺣﱴ ﻳﺘﻤﻜﻦ ﻫﺆﻻﺀ ﻣﻦ ﺗﻨﻤﻴﺔ ﺃﺫﻭﺍﻕ ﺧﺎﺻﺔ ‪‬ﻢ ﺑﻌﻴﺪﺍ ﻋﻤﺎ ﻳﺰﻧﻪ ﺍﻟﻜﺒﺎﺭ‬
‫ﲟﻴﺰﺍﻥ ﺍﳉﻮﺩﺓ ﻭ ﺍﻟﺮﺩﺍﺀﺓ‪.‬‬

‫"ﺇﻥ ﺍﳌﻌﺎﺩﻟﺔ ﺍﻟﺼﻌﺒﺔ ﻫﻲ ﺃﻻ ﻧﻘﺪﻡ ﻟﻸﻃﻔﺎﻝ ﻣﺎ ﻳﺮﻳﺪﻭﻧﻪ ﻭﻣﺎ ﳝﻴﻠﻮﻥ ﺇﻟﻴﻪ ﻓﺤﺴﺐ ﺑﻞ ﻣﺎ ﻧﺮﻳﺪﻩ ﳓﻦ ﻣﻦ‬
‫ﻗﻴﻢ ﻭ ﺍﲡﺎﻫﺎﺕ ﻭ ﻣﻀﺎﻣﲔ ﺗﺮﺑﻮﻳﺔ ﻫﺎﺩﻓﺔ ﺃﻳﻀﺎ‪ ،‬ﻭ ﲟﺎ ﻳﻨﺎﺳﺐ ﻗﺪﺭﺍﺕ ﺍﻷﻃﻔﺎﻝ ﻭ ﺣﺎﺟﺎ‪‬ﻢ‪ :‬ﻟﻐﺔ‬
‫ﻭ ﺛﻘﺎﻓﺔ‪ ،‬ﻭ ﲝﻴﺚ ﻳﺴﺘﻬﻮﻳﻬﻢ ﻭﳛﻘﻖ ﻋﻼﻗﺔ ﺳﻌﻴﺪﺓ ﺑﻴﻨﻬﻢ ﻭ ﺑﲔ ﺍﻟﻜﺘﺎﺏ‪ ،‬ﻧﻘﺪﻡ ﺫﻟﻚ ﻛﻠﻪ ﺑﺄﺳﻠﻮﺏ ﻓﻴﻪ‬
‫ﺍﳋﻴﺎﻝ ﺍﻟﺜﺮﻱ ﻭ ﺍﻟﺴﻼﺳﺔ ﺩﻭﳕﺎ ﺗﻜﻠﻒ ﺃﻭ ﺗﺼﻨﻊ‪ 2".‬ﻭ ﻣﻦ ﺍﳌﻬﻢ ﺃﻻ ﻧﺸﻚ ﻭﻟﻮ ﻟﻠﺤﻈﺔ ﺑﺬﻛﺎﺀ ﺍﻟﻄﻔﻞ‬
‫‪ -1‬ﺩ‪ /‬ﺣﺴﻦ ﺷﺤﺎﺗﻪ‪.‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.94‬‬
‫‪ -2‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.15-14‬‬

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‫ﻭﻗﺪﺭﺗﻪ ﻋﻠﻰ ﻛﺸﻒ ﺍﻟﻌﻔﻮﻱ ﺍﻟﺒﺴﻴﻂ‪ ،‬ﻭ ﺍﳌﺘﻜﻠﻒ ﺍﳌﺼﻄﻨﻊ‪ ،‬ﻓﺎﳋﻄﺄ ﺍﻟﻔﺎﺩﺡ ﻫﻮ ﺃﻥ ﻧﻌﺎﻣﻞ ﺍﻟﻄﻔﻞ‬
‫ﻋﻠﻰ ﺃﺳﺎﺱ ﻗﺴﺮ ﺗﻜﻮﻳﻨﻪ ﺍﻟﻔﻴﺰﻳﺎﺋﻲ‪ ،‬ﻷﻥ ﻗﺪﺭﺗﻪ ﻭ ﺳﺮﻋﺘﻪ ﻋﻠﻰ ﺍﻻﺳﺘﻴﻌﺎﺏ ﻭ ﺍﻟﺘﺤﻠﻴﻞ ﺗﻔﻮﻗﺎﻥ ﻗﺪﺭﺓ‬
‫ﺍﻟﺒﺎﻟﻎ ﲟﺮﺍﺣﻞ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﻟﻴﺲ ﺳﺎﺫﺟﺎ ﺇﱃ ﺣﺪ ﺍﻟﺒﻼﻫﺔ‪ ،‬ﻓﻼ ﺩﺍﻋﻲ ﻷﻥ ﻳﻌﺎﻣﻞ ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ‪ ،‬ﻓﻬﻮ‬
‫ﻛﻤﺎ ﺍﻟﺒﺎﻟﻎ ﻟﺪﻳﻪ ﺗﻮﻗﻌﺎﺕ ﻳﻘﺎﺑﻠﻬﺎ ﺍﻟﻜﺘﺎﺏ‪ ،‬ﻣﻬﻤﺎ ﻛﺎﻥ ﻧﻮﻋﻬﺎ ﺳﻮﺍﺀ ﻣﺘﻌﺔ ﳏﻀﺔ‪ ،‬ﺃﻭ ﺗﺮﺑﻴﺔ ﻭ ﺗﻌﻠﻴﻢ‪،‬‬
‫ﻭ ﻣﻦ ﺍﻟﺬﻛﺎﺀ ﻣﺰﺟﻬﺎ ﻣﻌﻬﺎ ﲝﻴﺚ ﻳﺼﻌﺐ ﻋﻠﻴﻪ ﲢﺪﻳﺪ ﻋﻠﻰ ﻭﺟﻪ ﺍﻟﺪﻗﺔ ﺃﻳﻦ ﺗﺒﺪﺃ ﻭ ﺍﻷﻭﱃ‪ ،‬ﻭ ﺗﻨﺘﻬﻲ‬
‫ﺍﻷﺧﺮﻯ‪ .‬ﻓﻴﻤﻜﻦ ﻭﺿﻊ ﺗﺼﻮﺭ ﺑﺴﻴﻂ ﳌﺎ ﳚﺐ ﺃﻥ ﻳﻜﻮﻥ ﻋﻠﻴﻪ ﺍﻷﻣﺮ ﻭﻗﺖ ﺍﻟﺘﻔﻜﲑ ﰲ ﺗﻘﺪﱘ ﻗﺼﺔ‬
‫ﻟﻠﻄﻔﻞ‪ ،‬ﰲ ﺇﻃﺎﺭﻳﻬﺎ ﺍﻟﺘﺮﺑﻮﻱ ﻭﺍﻟﺘﺮﻓﻴﻬﻲ ﰲ ﺁﻥ ﻭﺍﺣﺪ‪ ،‬ﻭﳚﺐ ﻣﺮﺍﻋﺎﺓ ﺟﻮﺍﻧﺐ ﺍﻹﺧﺮﺍﺝ ﻭ ﺍﳌﻀﻤﻮﻥ‬
‫ﻭ ﺍﻟﻠﻐﺔ ﺗﺮﺗﻜﺰ ﻋﻠﻰ ﺩﺭﺍﺳﺔ ﺃﺟﺮﺍﻫﺎ "ﺩ‪ /‬ﺣﺴﻦ ﺷﺤﺎﺗﻪ" ﻭ ﻫﻲ ﻋﻠﻰ ﺍﻟﺸﻜﻞ ﺍﻟﺘﺎﱄ‪:‬‬

‫ﻓﻤﻦ ﺣﻴﺚ ﺍﻹﺧﺮﺍﺝ ﰲ ﺍﳌﺮﺣﻠﺔ ﺍﻟﻌﻤﺮﻳﺔ ﻣﻦ ﺳﺖ ﺳﻨﻮﺍﺕ ﺇﱃ ﲬﺴﺔ ﻋﺸﺮﺓ ﺳﻨﺔ*‪ :‬ﳚﺐ ﺃﻥ ﺗﻜﻮﻥ‬
‫ﺃﻟﻮﺍﻥ ﺍﻟﺮﺳﻮﻡ ﻭ ﺍﻟﺼﻮﺭ ﺃﻟﻮﺍﻧﺎ ﺃﺳﺎﺳﻴﺔ‪ :‬ﺍﻷﲪﺮ ﻭ ﺍﻷﺻﻔﺮ ﻭ ﺍﻷﺯﺭﻕ ﻭﻫﻲ ﺍﻷﻟﻮﺍﻥ ﺍﳌﺒﻬﺮﺓ ﺍﳌﺒﻬﺠﺔ‬
‫ﻭ ﺍﻟﺰﺍﻫﻴﺔ‪ ،‬ﻭ ﺍﻟﻐﻼﻑ ﻣﻠﻮﻥ ﻻﻣﻊ‪ ،‬ﻭﻋﻨﻮﺍﻥ ﺍﻟﻜﺘﺎﺏ ﻋﻦ ﺍﳊﻴﻮﺍﻧﺎﺕ ﺃﻭ ﺍﻷﻃﻔﺎﻝ ﺃﻭ ﺍﻟﻨﺒﺎﺗﺎﺕ‪،‬‬
‫ﻭ ﺍﻟﻜﺘﺎﺏ ﺿﻤﻦ ﺳﻠﺴﻠﺔ‪ ،‬ﻭﺻﻮﺭ ﺍﻟﻜﺘﺎﺏ ﻣﻠﻮﻧﺔ ﻣﻌﱪﺓ‪ ،‬ﻭ ﺑﻨﻤﻂ ﻛﺘﺎﺑﺔ ﻛﺒﲑ‪ ،‬ﻭﻣﺘﻨﻮﻉ ﺍﻟﺮﺳﻮﻡ ﺫﺍﺕ‬
‫ﻟﻘﻄﺔ ﻭﺍﺣﺪﺓ ﻭ ﺍﻟﻮﺭﻕ ﺃﺑﻴﺾ ﻣﺼﻘﻮﻝ ﻣﻦ ﺍﻟﻘﻄﻊ ﺍﳌﺘﻮﺳﻂ‪ ،‬ﺍﺳﺘﺨﺪﺍﻡ ﻋﻨﺎﻭﻳﻦ ﺟﺎﻧﺒﻴﺔ‪ ،‬ﻭﺗﺸﻜﻴﻞ ﺑﻌﺾ‬
‫ﺍﳊﺮﻭﻑ ﻭﻋﺪﺩ ﺻﻔﺤﺎﺕ ﺍﻟﻜﺘﺎﺏ ﺩﻭﻥ ﺍﳌﺎﺋﺔ‪ ،‬ﻭﺿﻊ ﻓﻬﺮﺱ ﺍﻟﻜﺘﺎﺏ ﻭ ﺍﺳﺘﺨﺪﺍﻡ ﻋﻼﻣﺎﺕ ﺍﻟﺘﺮﻗﻴﻢ‪.1‬‬
‫ﻭ ﻛﻠﻬﺎ ﻋﻮﺍﻣﻞ ﺟﺬﺏ ﻟﻠﻄﻔﻞ ﻭﲢﻤﻠﻪ ﻋﻠﻰ ﺍﻟﺘﻔﺎﻋﻞ ﻣﻊ ﺍﻟﻜﺘﺎﺏ ﺃﻱ ﻣﻊ ﺍﳌﻮﺿﻮﻉ ﺍﳌﻄﺮﻭﻕ ﻓﻜﺮﻳﺎ‬
‫ﻭ ﻧﻔﺴﻴﺎ‪ .‬ﻭﺫﻟﻚ ‪‬ﺪﻑ ﺟﻌﻠﻪ ﻳﻌﻴﺶ ﺍﻟﻘﺼﺔ ﻻﺳﺘﺨﻼﺹ ﺍﻟﻌﱪﺓ ﻭ ﲢﻘﻴﻖ ﺍﳌﺘﻌﺔ ﻭﺍﻟﺘﺮﻓﻴﻪ‪ .‬ﺇﺫ ﺗﺘﻢ ﺍﻟﻜﺘﺎﺑﺔ‬
‫ﻟﻠﻄﻔﻞ ﰲ ﺣﺪﻭﺩ ﻓﺌﺎﺗﻪ ﺍﻟﻌﻤﺮﻳﺔ ﻭﺑﺎﻟﺘﺎﱄ ﺣﺴﺐ ﺍﺣﺘﻴﺎﺟﺎﺗﻪ ﰲ ﻛﻞ ﻓﺘﺮﺓ ﻭﺫﻟﻚ ﻟﺘﺤﻘﻴﻖ ﻧﻮﻉ ﻣﻦ‬
‫ﺍﳌﻘﺮﻭﺅﻳﺔ‪.‬‬

‫ﰎ ﺍﺧﺘﻴﺎﺭ ﻫﺬﻩ ﺍﻟﻔﺌﺔ ﺍﻟﻌﻤﺮﻳﺔ ﻋﻠﻰ ﺃﺳﺎﺱ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﺘﻄﺒﻴﻘﻴﺔ ﺍﻟﱵ ﻗﺎﻡ ‪‬ﺎ ﺣﺴﻦ ﺷﺤﺎﺗﻪ‪ ،‬ﺣﻴﺚ ﺣﺪﺩ ﺍﳌﺮﺣﻠﺔ ﺍﻟﻌﻤﺮﻳﺔ ﻭ ﻣﻴﻮﻻ‪‬ﺎ ﻓﻴﻤﺎ ﳜﺺ‬ ‫*‪-‬‬
‫ﻧﻮﻋﻴﺔ ﻣﺎ ﺗﻘﺮﺃ ﻟﻺﺳﺘﺰﺍﺩﺓ ﰲ ﺍﳌﻮﺿﻮﻉ ﻳﻨﻈﺮ‪ :‬ﺩ‪ /‬ﺣﺴﻦ ﺷﺤﺎﺗﻪ ﻡ‪.‬ﺱ‪ .‬ﺹ‪.98‬‬

‫‪ -1‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.142-100‬‬

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‫ﻭ ﺃﻣﺎ ﻣﻦ ﺣﻴﺚ ﺍﳌﻀﻤﻮﻥ ﰲ ﻧﻔﺲ ﺍﳌﺮﺣﻠﺔ ﺍﻟﻌﻤﺮﻳﺔ‪ :‬ﳚﺐ ﺃﻥ ﻳﺘﻀﻤﻦ ﻣﺎﻳﻠﻲ‪:‬‬

‫" ﺣﻜﺎﻳﺔ ﻣﻦ ﺍﻟﻘﻴﻢ ﺍﻟﺪﻳﻨﻴﺔ ﻭ ﻗﺼﺺ ﺍﻷﻧﺒﻴﺎﺀ ﻭﻣﻌﺠﺰﺍ‪‬ﻢ‪ ،‬ﻭﺣﻴﺎﺓ ﺍﳊﻴﻮﺍﻥ ﻭﺻﻔﺎﺗﻪ‪ ،‬ﺍﻋﺘﻤﺎﺩ ﺍﻟﺒﻄﻞ ﻋﻠﻰ‬
‫ﺍﻟﺘﻔﻜﲑ ﻭﺣﺴﻦ ﺍﻟﺘﺼﺮﻑ‪ ،‬ﺇﺛﺎﺭﺓ ﺍﻹﺣﺴﺎﺱ ﺑﺎﻟﺘﻔﺎﺅﻝ ﻭ ﺍﻷﻣﻞ‪ ،‬ﺍﺳﺘﺨﺪﺍﻡ ﺍﳊﻴﻮﺍﻧﺎﺕ ﺭﻣﻮﺯﺍ‪ ،‬ﻭ ﺍﻧﺘﺼﺎﺭ‬
‫ﺍﳋﲑ ﻋﻠﻰ ﺍﻟﺸﺮ‪ ،‬ﻋﺮﺽ ﺍﳌﻌﻠﻮﻣﺎﺕ ﺍﻟﻮﻇﻴﻔﻴﺔ‪ ،‬ﻭ ﺍﻟﻌﺮﺽ ﺍﳌﻨﻄﻘﻲ ﻟﻸﺣﺪﺍﺙ‪ ،‬ﻭ ﺍﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ ﺗﻀﺤﻴﺎﺕ‬
‫ﺍﻷﺑﻄﺎﻝ ﻭ ﺍﻟﺒﻄﻮﻻﺕ‪ ،‬ﺍﳌﻐﺎﻣﺮﺍﺕ ﺍﻟﺴﺮﻳﻌﺔ ﺍﳌﺜﲑﺓ‪ ،‬ﻭ ﺍﻟﻮﺻﻒ ﺍﻟﺪﻗﻴﻖ ﻟﻸﺣﺪﺍﺙ ﻭ ﺍﻷﻣﻜﻨﺔ‬
‫ﻭ ﺍﻷﺷﺨﺎﺹ‪ ،‬ﻭ ﺍﳋﻴﺎﻝ ﺍﻟﻌﻠﻤﻲ‪ ،‬ﻭﺍﻟﺮﺣﻼﺕ ﻭ ﺍﻟﺴﻴﺎﺣﺔ‪ ،‬ﺇﺛﺎﺭﺓ ﺍﻟﺘﻔﻜﲑ ﻭﺣﺴﻦ ﺍﻟﺘﺄﻣﻞ ﻭﺩﻭﺭﺍﻥ‬
‫ﺍﻟﺼﺮﺍﻉ ﺑﲔ ﺍﳊﺐ ﻭ ﺍﻟﻮﺍﺟﺐ‪ ،‬ﻭ ﺍﳊﺪﻳﺚ ﻋﻦ ﺍﻷﺳﺎﻃﲑ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﻭ ﺗﻘﺪﻳﺮ ﺍﻟﻌﻠﻢ ﻭ ﺍﻟﻌﻠﻤﺎﺀ‪ ،‬ﻭﻣﺰﺝ‬
‫ﺍﳋﻴﺎﻝ ﺑﺎﻟﻮﺍﻗﻊ ﻭﺗﺒﺴﻴﻂ ﺍﻟﺘﻘﻨﻴﺔ ﻭ ﺍﻟﻌﻠﻢ‪ 1".‬ﻗﺪ ﻻ ﲡﺘﻤﻊ ﻛﻠﻬﺎ ﰲ ﻛﺘﺎﺏ ﻭﺍﺣﺪ ﻭﺫﻟﻚ ﻷﻥ ﺍﻟﻜﺘﺐ‬
‫ﺗﺘﻨﻮﻉ ﻭﻣﻮﺿﻮﻋﺎ‪‬ﺎ ﺗﻌﺪﺩ‪ ،‬ﻓﻜﻞ ﻣﻌﻴﺎﺭ ﺃﻭ ﳎﻤﻮﻋﺔ ﻣﻨﻬﺎ ﺇﻻ ﻭ ﺍﻟﻮﺍﺟﺐ ﻭﺿﻌﻬﺎ ﻓﻴﻤﺎ ﻳﻨﺎﺳﺒﻬﺎ ﻣﻦ‬
‫ﺍﻟﻜﺘﺐ ‪.‬‬

‫ﻣﻦ ﺣﻴﺚ ﺍﻟﻠﻐﺔ ﺃﻳﻀﺎ ﺑﺎﳌﻘﻴﺎﺱ ﺇﱃ ﻧﻔﺲ ﺍﻟﻔﺌﺔ ﺍﻟﻌﻤﺮﻳﺔ‪:‬‬

‫" ﺍﻷﻟﻔﺔ ﺑﺎﻟﻜﻠﻤﺎﺕ‪ ،‬ﺍﺳﺘﺨﺪﺍﻡ ﺍﳉﻤﻞ ﺍﻟﺒﺴﻴﻄﺔ‪ ،‬ﺍﺷﺘﻤﺎﻝ ﺍﻟﻔﻘﺮﺓ ﻋﻠﻰ ﻓﻜﺮﺓ ﻭﺍﺣﺪﺓ ﻭ ﺍﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ‬
‫ﺍﳊﻮﺍﺭ ﺃﻛﺜﺮ ﻣﻦ ﺍﻟﺴﺮﺩ‪ ،‬ﻋﺪﻡ ﺍﺳﺘﺨﺪﺍﻡ ﻣﺼﻄﻠﺤﺎﺕ ﻓﻨﻴﺔ‪ ،‬ﻋﺪﻡ ﺍﳌﺒﺎﻋﺪﺓ ﺑﲔ ﺭﻛﲏ ﺍﳉﻤﻠﺔ‪ ،‬ﺍﺳﺘﺨﺪﺍﻡ‬
‫ﺃﻟﻔﺎﻅ ﺩﺍﻟﺔ ﻋﻠﻰ ﺍﻻﻧﻔﻌﺎﻻﺕ‪ ،‬ﻭ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﱵ ﺗﺮﻣﺰ ﺇﱃ ﺍﶈﺴﻮﺳﺎﺕ‪ ،‬ﻭ ﺍﻟﻜﻠﻤﺔ ﺗﻌﱪ ﻋﻦ ﻣﻌﻨﺎ ﻭﺍﺣﺪ‬
‫ﺩﺍﺧﻞ ﺍﻟﺴﻴﺎﻕ‪ ،‬ﺍﳌﺮﺍﻭﺣﺔ ﺑﲔ ﺍﳋﱪ ﻭ ﺍﻹﻧﺸﺎﺀ‪ ،‬ﻗﻠﺔ ﺍﻻﺳﺘﻄﺮﺍﺩ ﰲ ﻋﺮﺽ ﺍﻷﺣﺪﺍﺙ‪ ،‬ﻗﻠﺔ ﺍﳉﻤﻞ‬
‫ﺍﻻﻋﺘﺮﺍﺿﻴﺔ ‪ ،‬ﺍﻟﺘﻌﺒﲑﺍﺕ ﺍ‪‬ﺎﺯﻳﺔ ﺍﻟﺒﺴﻴﻄﺔ ﻭ ﺍﶈﺴﻨﺎﺕ ﺍﻟﺒﺪﻳﻌﻴﺔ‪ ،‬ﻭ ﻋﺪﻡ ﺗﻨﻮﻳﻊ ﺍﻟﻀﻤﺎﺋﺮ‪ 2".‬ﻭ ﻗﺪ ﻳﻜﻮﻥ‬
‫ﻟﻠﺒﻌﺾ ﺑﻌﺾ ﺍﻟﺘﺤﻔﻈﺎﺕ ﻋﻠﻰ ﻫﺬﻩ ﺍﳌﻌﺎﻳﲑ ﻋﻨﺪﻣﺎ ﻳﺘﻌﻠﻖ ﺍﻷﻣﺮ ﺑﺎﻷﻃﻔﺎﻝ ﺍﻷﻛﱪ ﺳﻨﺎ‪ ،‬ﻟﻨﻘﻞ ﻣﻦ ﺍﻟﻌﺸﺮ‬
‫ﺇﱃ ﺍﳋﻤﺲ ﻋﺸﺮﺓ ﺳﻨﺔ‪ ،‬ﻓﻘﺪ ﺗﻜﻮﻥ ﺍﻟﻠﻐﺔ ﺃﻛﺜﺮ ﺑﺴﺎﻃﺔ ﻭ ﻟﻜﻦ ﻻ ﺃﻋﺘﻘﺪ ﺃﻥ ﺍﻟﺴﺒﺐ ﻳﻌﻮﺩ ﺇﱃ‬

‫‪ -1‬ﺩ‪ /‬ﺣﺴﻦ ﺷﺤﺎﺗﻪ‪.‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.17-16‬‬

‫‪ -2‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.17‬‬

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‫ﺃﻥ ﺍﻟﻄﻔﻞ ﺳﺮﻳﻊ ﺍﻟﺘﺄﺛﺮ ﲟﻌﲎ ﳝﻜﻦ ﺃﻥ ﻳﻔﻘﺪ ﺗﺮﻛﻴﺰﻩ ﰲ ﺃﻱ ﳊﻈﺔ ﻭ ﳛﻴﺪ ﻋﻦ ﻣﺴﺎﺭ ﺍﻷﺣﺪﺍﺙ‬
‫ﻻﺳﺘﺼﻌﺎﺑﻪ ﻟﻔﻈﺔ ﻣﺎ ﺃﻭ ﺍﺣﺘﻮﺍﺀ ﺃﺧﺮﻯ ﻷﻛﺜﺮ ﻣﻦ ﻣﻌﻨﺎ‪ ،‬ﺃﻭ ﺣﱴ ﻟﺘﻌﻘﻴﺪ ﻓﻜﺮﺓ ﻣﺎ‪ ،‬ﺃﻭ ﺃ‪‬ﺎ ﺗﺰﺍﺣﻢ ﺃﺧﺮﻯ‬
‫ﻋﻠﻰ ﻧﻔﺲ ﺍﳌﻮﺿﻊ ﻣﻦ ﺍﻟﻔﻘﺮﺓ‪ ،‬ﻭ ﻫﺬﻩ ﻣﻦ ﻋﻮﺍﻣﻞ ﺻﺮﻑ ﺍﻧﺘﺒﺎﻩ ﺍﻟﻄﻔﻞ ﻋﻦ ﻣﺎ ﻫﻮ ﻣﻬﻢ ﻭ ﺟﻮﻫﺮﻱ ﰲ‬
‫ﺍﻟﻘﺼﺔ ﻧﻔﺴﻬﺎ‪ .‬ﺑﺎﺧﺘﺼﺎﺭ ﻋﻠﻰ ﺍﻟﻠﻐﺔ ﺃﻥ ﺗﻜﻮﻥ ﺳﻬﻠﺔ‪ ،‬ﺳﻠﺴﺔ‪ ،‬ﻭﺍﺿﺤﺔ‪ ،‬ﻣﻌﱪﺓ‪ ،‬ﺿﻤﻦ ﺣﺪﻭﺩ‬
‫ﺍﳌﻌﻘﻮﻝ‪ ،‬ﻭ ﺃﻥ ﻳﻌﲎ ‪‬ﺎ ﺃﳝﺎ ﻋﻨﺎﻳﺔ ﰲ ﻫﺬﺍ ﺍﻹﻃﺎﺭ‪ ،‬ﻭ ﻻ ﺿﲑ ﻣﻦ ﺇﺩﺧﺎﻝ ﻣﻦ ﺣﲔ ﻵﺧﺮ ﺃﻟﻔﺎﻅ ﺟﺪﻳﺪﺓ‬
‫ﻭ ﺫﻟﻚ ﻗﺼﺪ ﺗﻮﺳﻴﻊ ﺍﻟﻘﺎﻣﻮﺱ ﺍﻟﻠﻐﻮﻱ ﻟﻠﻄﻔﻞ ‪ ،‬ﻭ ﺇﺿﺎﻓﺔ ﻫﻮﺍﻣﺶ ﻟﺸﺮﺣﻬﺎ ﺇﻥ ﺩﻋﺖ ﺍﳊﺎﺟﺔ ﺇﱃ‬
‫ﺫﻟﻚ‪ .‬ﻭﻣﻊ ﻭﺟﻮﺩ ﺍﻟﺼﻮﺭ ﻭ ﺍﻟﺮﺳﻮﻣﺎﺕ ﺍﳌﺮﺍﻓﻘﺔ ﻟﻠﻨﺺ ﺍﻷﺩﰊ‪ ،‬ﺗﺴﻬﻞ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻷﻣﻮﺭ ﺃﳘﻬﺎ ﺍﻟﻔﻬﻢ‬
‫ﺃﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻔﻜﺮﺓ ﻓﺄﻭﺍﻓﻖ ﻣﺎ ﺫﻫﺐ ﺇﻟﻴﻪ ﻛﻞ ﻣﻦ ﺇﳝﺎﻥ ﺑﻘﺎﻋﻲ ﻭ ﺃﲪﺪ ﳒﻴﺐ ﻣﻦ ﺃﻥ" ﻓﻜﺮﺓ ﺍﻟﻘﺼﺔ‬
‫ﻟﻴﺴﺖ ﳎﺮﺩ ﶈﺔ ﻋﺎﺑﺮﺓ‪ ،‬ﻷ‪‬ﺎ ﺗﻈﻞ ﺗﺘﻄﻮﺭ ﺑﺎﺳﺘﻤﺮﺍﺭ ﻣﻊ ﺍﳌﻀﻲ ﰲ ﺍﻟﻘﺼﺔ ﺩﻭﻥ ﺃﻥ ﺗﺘﻀﺎﺀﻝ ﺃﻭ ﺗﻄﻐﻰ‬
‫ﻋﻠﻴﻬﺎ ﺗﻔﺼﻴﻼﺕ ﻓﺮﻋﻴﺔ ﺃﻭ ﺍﺳﺘﻄﺮﺍﺩﺍﺕ ﺃﻭ ﺃﻓﻜﺎﺭ ﺟﺎﻧﺒﻴﺔ‪ ،‬ﻭﻫﻲ ﺗﺮﺩ ﰲ ﺻﻴﻐﺔ ﺗﻠﻤﻴﺢ ﺃﻛﺜﺮ ﻣﻦ ﺻﻴﻐﺔ‬
‫ﺍﻟﺘﺼﺮﻳﺢ ﺍﳌﺒﺎﺷﺮ‪ 1".‬ﻭﺫﻟﻚ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻄﻔﻞ ﻳﻌﲏ ﲢﻜﻤﺎ ﺃﻛﱪ ﰲ ﳎﺮﻳﺎﺕ ﺍﻟﻘﺼﺔ‪ ،‬ﻭ ﺗﻘﻠﻴﻞ ﺩﺍﺋﺮﺓ ﺗﺪﺧﻞ‬
‫ﺍﻟﻜﺒﺎﺭ ﻓﻴﻬﺎ‪ ،‬ﻭﺣﺴﻦ ﺍﺧﺘﻴﺎﺭ ﺍﻟﻔﻜﺮﺓ ﳝﺜﻞ ﺍﳋﻄﻮﺓ ﺍﻷﻭﱃ ﰲ ﻭﺿﻊ ﻗﺼﺔ ﻧﺎﺟﺤﺔ‪ .‬ﻭ ﻣﻦ ﺫﻟﻚ ﻣﺎ‬
‫ﻳﻜﻮﻥ ﻣﺄﺧﻮﺫﺍ ﳑﺎ ﳛﻴﻂ ﺑﺎﻟﻄﻔﻞ ﺃﻭ ﳑﺎ ﻳﻜﻮﻥ ﻣﻌﺘﺎﺩﺍ ﻋﻠﻰ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻌﻪ‪ ،‬ﻣﻬﻤﺎ ﻛﺎﻥ ﺟﻮﻫﺮﻳﺎ ﺃﻭ ﻋﺮﺿﻴﺎ‬
‫ﺣﻴﺚ " ﳝﻜﻦ ﺃﻥ ﻳﻜﻮﻥ ﺍﳌﻮﺿﻮﻉ ﻋﺎﻣﺎ ﻛﺎﻟﺼﺪﺍﻗﺔ‪ ،‬ﺃﻭ ﺍﻟﺸﺠﺎﻋﺔ‪ ،‬ﺃﻭ ﺧﺎﺻﺎ ﳜﺘﺎﺭﻩ ﺍﳌﺆﻟﻒ‪ .‬ﻭ ﻫﻨﺎﻙ‬
‫ﻗﺼﺺ ﻻ ﲢﺘﻮﻱ ﻋﻠﻰ ﻣﻮﺿﻮﻉ ﻋﺎﻡ ﺃﻭ ﺧﺎﺹ‪ ،‬ﺑﻞ ﻫﻲ ﻗﺼﺺ ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺍﳌﺰﺍﺝ‪ ،‬ﺃﻭ ﺍﻟﺸﺨﺼﻴﺎﺕ‬
‫ﺍﻟﺘﺎﺭﳜﻴﺔ‪ ،‬ﺃﻭ ﺗﺮﻳﺪ ﺍﻟﻜﻼﻡ ﻋﻦ ﻓﺘﺮﺓ ﺯﻣﻨﻴﺔ ﻣﻌﻴﻨﺔ‪ .‬ﻋﻠﻰ ﻛﻞ ﳚﺐ ﺃﻥ ﺗﺘﻨﺎﺳﺐ ﺍﻟﻘﺼﺔ ﻣﻊ ﺍﻟﻄﻔﻮﻟﺔ‪ ،‬ﻭ ﺃﻥ‬
‫ﻳﻜﻮﻥ ﻣﻮﺿﻮﻋﻬﺎ ﻗﻴﻤﺎ ﺟﺪﻳﺮﺍ ﺑﺄﻥ ﻳﻘﺪﻡ ﻟﻸﻃﻔﺎﻝ‪ 2".‬ﺇﻥ ﺍﻟﻄﻔﻞ ﺫﻭ ﻃﺒﻴﻌﺔ ﻣﺘﻤﺮﺩﺓ‪ ،‬ﻓﻬﻮ ﳛﺎﻭﻝ ﺑﻨﺎﺀ‬
‫ﺷﺨﺼﻴﺔ ﻣﺴﺘﻘﻠﺔ ﻋﻦ ﺍﻟﻜﺒﺎﺭ ﻟﺬﻟﻚ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﺍﻻﺑﺘﻌﺎﺩ ﻋﻦ ﺍﻟﻮﻋﻆ ﻭ ﻹﺭﺷﺎﺩ ﰲ ﺗﻌﺎﻣﻠﻨﺎ ﻣﻌﻪ ﺇﱃ‬
‫ﺟﺎﻧﺐ ﺗﺸﺠﻴﻊ ﺫﻟﻚ ﻓﻴﻪ ﺑﻄﺮﻳﻘﺔ ﺇﳚﺎﺑﻴﺔ ﻓﻌﺎﻟﺔ‪.‬‬

‫ﺇﳝﺎﻥ ﺑﻘﺎﻋﻲ‪.‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.47-45‬‬ ‫‪-1‬‬

‫ﻡ‪.‬ﻥ‪.‬ﺹ‪.47‬‬ ‫‪-2‬‬

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‫ﺇﱃ ﺟﺎﻧﺐ ﺃﻥ ﺃﻫﻢ ﺍﻷﻣﻮﺭ ﺍﻟﱵ ﳝﻜﻦ ﻣﺮﺍﻋﺎ‪‬ﺎ ﻋﻨﺪ ﺇﻋﺪﺍﺩ ﻣﻮﺍﺩ ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ‪1‬ﺃﻭ ﺗﻨﻔﻴﺬﻫﺎ‪:‬‬

‫‪ -‬ﻭﺿﻊ ﻣﺎﺩﺓ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻋﻠﻰ ﺷﻜﻞ ﻣﺸﻜﻼﺕ ﺗﺴﺘﺜﲑ ﺍﻟﻄﻔﻞ ﻭ ﺗﺘﺤﺪﻯ ﻋﻘﻠﻪ‪ ،‬ﻭ ﺗﻔﺘﺢ ﺃﻣﺎﻣﻪ‬
‫ﺍ‪‬ﺎﻝ ﻛﻲ ﻳﻔﻜﺮ ﺗﻔﻜﲑﺍ ﻋﻠﻤﻴﺎ ﻭﺗﻔﺴﺢ ﺍ‪‬ﺎﻝ ﳋﻴﺎﻝ ﺍﻟﻄﻔﻞ ﻛﻲ ﻳﺘﺼﻮﺭ ﻭﳛﻠﻖ ﰲ ﻋﺎﱂ ﻣﻔﺎﺭﻕ‬
‫ﻟﻌﺎﱂ ﺍﻟﻮﺍﻗﻊ‪.‬‬
‫‪ -‬ﻋﺮﺽ ﻣﻮﺍﺩ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻋﻠﻰ ﺃ‪‬ﺎ ﻧﺘﻴﺠﺔ ﺗﻄﻮﺭ ﻻ ﻳﻘﻒ ﻋﻨﺪ ﺣﺪ ﻭﻋﻠﻰ ﺇﺗﺎﺣﺔ ﺍﻟﺘﺤﺪﻱ ﻟﻠﻌﻘﻞ‬
‫ﺑﻌﺮﺽ ﺍﳌﻘﺪﻣﺎﺕ‪ ،‬ﻭ ﲢﺮﻳﺮ ﻋﻘﻠﻴﺘﻪ ﻣﻦ ﺍﶈﺮﻣﺎﺕ ﺍﻟﻔﻜﺮﻳﺔ‪ ،‬ﻭ ﺍﻟﺪﻋﻮﺓ ﺇﱃ ﻓﺤﺺ ﺍﻟﺒﻴﺌﺔ ﲝﺜﺎ ﻋﻦ‬
‫ﺧﱪﺍﺕ ﺟﺪﻳﺪﺓ‪.‬‬
‫‪ -‬ﺗﺪﺭﻳﺐ ﺍﻟﻄﻔﻞ ﻋﻠﻰ ﺍﻻﺳﺘﻤﺎﻉ ﺍﻟﻨﺎﻗﺪ ﻭ ﺍﻟﻘﺮﺍﺀﺓ ﻭ ﺍﳌﺸﺎﻫﺪﺓ ﺍﻟﻨﺎﻓﺬﺓ‪ ،‬ﻭ ﺍﻟﺘﺮﺣﻴﺐ ﺑﺈﺑﺪﺍﺀ ﺍﻟﺮﺃﻱ‪،‬‬
‫ﻭ ﺍﻟﺪﻋﻮﺓ ﺇﱃ ﺍﻟﺘﻔﺴﲑ ﻭ ﺍﻟﺘﻌﻠﻴﻞ ﻭ ﺍﳌﻮﺍﺯﻧﺔ ﺑﲔ ﺍﻵﺭﺍﺀ ﻭ ﺍﳊﻘﺎﺋﻖ ﻭﻛﺸﻒ ﺍﻟﻌﻼﻗﺎﺕ ﻭ ﺍﻟﺪﻋﻮﺓ‬
‫ﺇﱃ ﺍﺳﺘﺨﺪﺍﻡ ﺍﳋﻴﺎﻝ ﻭ ﺍﳌﺨﺎﻃﺮﺓ ﺍﻟﻌﻠﻤﻴﺔ ﺍﶈﺴﻮﺑﺔ ﻟﻼﻛﺘﺸﺎﻑ‪.‬‬

‫ﻭ ﺍﻟﻘﺼﺔ ﻣﻦ ﻣﻮﺍﺩ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻭ ﳚﺐ ﺃﻥ ﲢﺘﻮﻱ ﻫﺬﻩ ﺍﻷﻣﻮﺭ ﻛﻠﻬﺎ ﳎﺘﻤﻌﺔ ﻭ ﻻ ﺗﻘﺘﺼﺮ ﻋﻠﻰ‬
‫ﺑﻌﻀﻬﺎ ﻷﻥ ﰲ ﺫﻟﻚ ﺧﺮﻕ ﻟﻠﻤﻌﻘﻮﻟﻴﺔ ﺍﻟﱵ ﻳﺮﻯ ‪‬ﺎ ﺍﻟﻄﻔﻞ ﺃﻱ ﻋﻤﻞ ﺃﺩﰊ ﺭﻏﻢ ﺃﻥ ﻫﺬﺍ ﻗﺪ ﻳﺒﺪﻭ‬
‫ﻏﺮﻳﺒﺎ ﻓﺄﻱ ﻣﻌﻘﻮﻟﻴﺔ ﻫﺬﻩ‪ ،‬ﻭ ﻋﻠﻰ ﺃﻱ ﺃﺳﺎﺱ ﺗﺒﲎ‪ :‬ﻓﻬﻲ ﺃﻭﻻ ﺍﳌﻌﺎﻳﲑ ﺍﻟﱵ ﳜﺘﺎﺭ ﻋﻠﻰ ﺃﺳﺎﺳﻬﺎ‬
‫ﺍﻟﻄﻔﻞ ﻗﺼﺔ ﻣﺎ ﻋﻠﻰ ﺣﺴﺎﺏ ﺃﺧﺮﻯ‪ ،‬ﻭ ﺗﺒﲎ ﻫﺬﻩ ﺍﳌﻌﺎﻳﲑ ﻋﻦ ﻃﺮﻳﻖ ﻣﻮﺍﻇﺒﺔ ﺍﻟﻄﻔﻞ ﻋﻠﻰ ﺍﳌﻄﺎﻟﻌﺔ‬
‫ﺇﱃ ﺩﺭﺟﺔ ﺃﻥ ﲡﻌﻞ ﻣﻨﻪ ﳐﺘﺼﺎ ﺻﻐﲑﺍ ﻣﻦ ﺧﻼﻝ ﻣﺎ ﳜﺘﺎﺭ ﺃﻭ ﻳﻌﺮﺽ ﻋﻠﻴﻪ ﻣﻦ ﳐﺘﻠﻒ ﺍﳌﻮﺍﺩ‬
‫ﻭ ﺍﻟﻘﺼﺺ‪.‬‬

‫ﺇﱃ ﺟﺎﻧﺐ ﺃﻳﻀﺎ ﺃﻥ " ﻣﻴﻞ ﺍﻟﻄﻔﻞ ﺇﱃ ﺍﻟﻘﺮﺍﺀﺓ‪ ،‬ﻭ ﺍﻫﺘﻤﺎﻣﻪ ﺑﺎﻟﻘﺼﺔ ﻛﻤﺎﺩﺓ ﻗﺮﺍﺋﻴﺔ ﲟﻮﺿﻮﻋﺎ‪‬ﺎ‬
‫ﻭ ﺧﱪﺗﻪ ﺍﻟﺴﺎﺑﻘﺔ‪ ،‬ﻭ ﻋﻤﺮﻩ ﻭﺟﻨﺴﻪ ) ﺫﻛﺮ ﺃﻭ ﺃﻧﺜﻰ(‪ ،‬ﻭ ﻣﺴﺘﻮﺍﻩ ﰲ ﺍﻟﺬﻛﺎﺀ‪ ،‬ﻭ ﻣﻜﺎﻧﺘﻪ ﰲ ﺍﻟﺘﺮﻛﻴﺒﺔ‬
‫ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﻭ ﺍﳌﺴﺘﻮﻯ ﺍﻻﻗﺘﺼﺎﺩﻱ ﻭ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻭ ﺍﻟﺜﻘﺎﰲ ﺍﻟﺬﻱ ﻳﻨﺘﻤﻲ ﺇﻟﻴﻪ ﺍﻟﻄﻔﻞ‪ 2".‬ﻭ ﻛﻠﻬﺎ‬
‫‪ -1‬ﺣﺴﻦ ﺷﺤﺎﺗﻪ‪.‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.14-13‬‬
‫‪. -2‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.129‬‬

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‫ﻣﻦ ﺍﻟﻌﻮﺍﻣﻞ ﺍﻟﱵ ﺗﺆﺛﺮ ﻟﻴﺲ ﻓﻘﻂ ﻋﻠﻰ ﻧﻮﻉ ﺍﻟﻘﺼﺺ ﺍﻟﱵ ﻳﺘﺠﻪ ﺇﻟﻴﻬﺎ ﺍﻟﻄﻔﻞ‪ ،‬ﺑﻞ ﺣﱴ ﻋﻠﻰ ﺍﻟﻜﻢ‬
‫ﺍﻟﺬﻱ ﻳﻄﺎﻟﻌﻪ‪ ،‬ﻣﻦ ﺧﻼﻝ ﻣﺎ ﺗﻮﻓﺮﻩ ﻟﻪ ﺍﻫﺘﻤﺎﻣﺎﺗﻪ ﺍﻟﻴﻮﻣﻴﺔ ﻣﻦ ﻭﻗﺖ ﻟﻔﻌﻞ ﺍﻟﻘﺮﺍﺀﺓ‪ .‬ﻟﺬﻟﻚ ﻭﻗﺖ‬
‫ﺍﻟﺘﻮﺟﻪ ﺇﱃ ﻓﺌﺔ ﻋﻤﺮﻳﺔ ﳏﺪﺩﺓ ﻣﻦ ﺍﻷﻃﻔﺎﻝ ﻳﻜﻮﻥ ﺍﻟﺘﻮﺟﻪ ﻋﻠﻰ ﺃﺳﺎﺱ ﺧﱪﺍ‪‬ﻢ ﺍﳌﺸﺘﺮﻛﺔ ﺍﻟﺜﻘﺎﻓﻴﺔ‪،‬‬
‫ﺍﻟﻠﻐﻮﻳﺔ‪ ،‬ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‪...‬ﻭ ﻛﺬﻟﻚ ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻌﻮﺩﻩ ﻋﻠﻰ ﺃﳕﺎﻁ ﻗﺼﺼﻴﺔ ﳐﺘﻠﻔﺔ‬
‫ﻭ ﺑﺎﻟﺘﺎﱄ ﺗﻮﺳﻴﻊ ﻣﺪﺍﺭﻛﻪ ﻻﺳﺘﻘﺒﺎﻝ ﺍﳌﺰﻳﺪ ﻭ ﻫﻜﺬﺍ ﻓﺎﻟﻌﻤﻠﻴﺔ ﺗﻄﻮﺭﻳﺔ ﻭ ﻣﺴﺘﻤﺮﺓ‪.‬‬

‫ﻭ ﺭﻏﻢ ﻛﻞ ﻣﺎ ﻗﻠﻨﺎﻩ ﻋﻤﺎ ﳚﺐ ﺃﻥ ﺗﻜﻮﻥ ﺗﺒﻘﻰ ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ ﺗﻌﺎﱐ ﻣﻦ ﺑﻌﺾ ﺍﳌﺸﺎﻛﻞ‪ 2‬ﻣﻨﻬﺎ‪:‬‬

‫‪ -‬ﰲ ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ ﻳﺼﻌﺐ ﺗﺼﻨﻴﻔﻬﺎ ﻓﻬﻲ ﻟﻴﺴﺖ ﻭﺍﻗﻌﻴﺔ ﻭ ﻻ ﺧﻴﺎﻟﻴﺔ‪ ،‬ﻓﻘﺪ ﻳﻜﻮﻥ ﰲ ﺍﻟﻘﺼﺔ‬
‫ﺑﻌﺾ ﺍﳋﺮﺍﻓﺔ‪ ،‬ﺍﻟﺒﻄﻮﻟﺔ‪ ،‬ﺍﻷﺳﺎﻃﲑ ﻭ ﻟﻜﻨﻬﺎ ﺗﺒﻘﻰ ﺩﻭﻣﺎ ﺻﻠﺔ ﺍﻟﻮﺻﻞ ﺑﺎﻟﻮﺍﻗﻊ‪ ،‬ﻭ ﻟﻜﻨﻬﺎ ﻋﻨﺪﻣﺎ‬
‫ﺗﻔﻘﺪ ﻫﺬﻩ ﺍﻟﺼﻠﺔ ﺗﺼﺒﺢ ﻣﺜﺎﻟﻴﺔ ﺃﻛﺜﺮ‪ ،‬ﺣﻴﺚ ﻗﺪ ﻻ ﺗﺼﻞ ﻓﻜﺮﺓ ﺍﻟﻜﺎﺗﺐ ﻟﻠﻄﻔﻞ ﺇﺫﺍ ﻣﺎ ﺃﻏﺮﻕ‬
‫ﰲ ﺍﳋﻴﺎﻝ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃﻥ ﺍﻟﻄﻔﻞ ﱂ ﻳﺘﺠﺎﻭﺯ ﻃﻮﺭ ﺍﶈﺴﻮﺱ ﺇﱃ ﺍﳌﻠﻤﻮﺱ ﺑﻌﺪ‪ ،‬ﻭ ﻛﻞ ﺷﻲﺀ‬
‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﻪ ﳚﺐ ﺃﻥ ﻳﻌﻜﺲ ﺍﻟﻮﺍﻗﻊ‪ .‬ﻭ ﻗﺪ ﻻ ﳛﺴﻦ ﺍﻟﻜﺎﺗﺐ ﻭﺿﻊ ﺍﳊﺪﻭﺩ ﺑﲔ ﺍﻟﻮﺍﻗﻊ‬
‫ﻭ ﺍﳋﻴﺎﻝ ﻭ ﺑﺎﻟﺘﺎﱄ ﺍﻟﺘﺴﻬﻴﻞ ﻋﻠﻰ ﺍﻟﻄﻔﻞ ﺍﻻﻧﺘﻘﺎﻝ ﺑﻴﻨﻬﻤﺎ‪ ،‬ﻓﺘﺼﺒﺢ ﺍﻟﻘﺼﺔ ﻻ ﻫﻲ ﺧﻴﺎﻟﻴﺔ ﻭ ﻻ‬
‫ﻫﻲ ﻭﺍﻗﻌﻴﺔ ﻭ ﻳﻀﻴﻊ ﺍﻟﻄﻔﻞ ﺑﲔ ﻫﺬﺍ ﻭ ﺫﺍﻙ‪.‬‬
‫‪ -‬ﻣﺜﺎﻟﻴﺔ ﺟﺪﺍ ﺇﱃ ﺩﺭﺟﺔ ﺃ‪‬ﺎ ﺗﻔﻘﺪ ﺍﺗﺼﺎﳍﺎ ﻣﻊ ﻭﺍﻗﻊ ﺍﻟﻄﻔﻞ‪ ،‬ﺣﻴﺚ ﻳﺮﻳﺪ ﻫﺬﺍ ﺍﻷﺧﲑ ﺃﻥ ﺗﻘﺮﺑﻪ‬
‫ﻣﻦ "ﻋﺎﱂ ﺍﻟﻜﺒﺎﺭ" ﻻ ﺃﻥ ﺗﻌﺰﻟﻪ ﻋﻨﻪ ﲝﻴﺚ ﻳﻔﺘﺮﺽ ﺃﻥ ﺗﻌﱪ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻋﻦ ﻣﺸﺎﻋﺮ ﺍﻟﻜﺒﺎﺭ‬
‫ﻣﻦ ﻏﻀﺐ‪ ،‬ﺣﺰﻥ‪ ،‬ﺭﻏﺒﺔ ﰲ ﺍﻻﻧﺘﻘﺎﻡ‪...‬ﻭﻏﲑﻫﺎ ﻭ ﻟﻴﺴﺖ ﻣﻘﻨﻌﺔ‪ ،‬ﻭ ﻛﺄﻥ ﺍﻟﻌﺎﱂ ﻛﻠﻪ ﻭﺭﺩﻱ‪.‬‬
‫‪ -‬ﳚﺐ ﺃﻥ ﻳﻜﻮﻥ ﻓﻌﻞ ﺍﻟﻘﺮﺍﺀﺓ ﺍﺧﺘﻴﺎﺭﻱ ﻻ ﺇﺟﺒﺎﺭﻱ‪ .‬ﻛﺄﻥ ﻧﻨﺘﻘﻲ ﻧﻮﻋﺎ ﻣﻌﻴﻨﺎ ﻣﻦ ﺍﻟﻘﺼﺺ ﰒ‬
‫ﳒﱪﻩ ﻋﻠﻰ ﻗﺮﺍﺀ‪‬ﺎ‪ ،‬ﻓﻘﺪ ﻳﻨﺼﺎﻉ ﻭ ﻳﻘﺮﺅﻫﺎ ﲢﺖ ﺇﺻﺮﺍﺭﻧﺎ ﻭ ﻟﻜﻨﻪ ﻟﻦ ﻳﻨﺘﻔﻊ ‪‬ﺎ‪ ،‬ﻭ ﺣﺘﻤﺎ ﻟﻦ‬
‫ﻳﺘﻔﺎﻋﻞ ﻣﻌﻬﺎ‪ .‬ﻭ ﺑﺬﻟﻚ ﺗﻜﻮﻥ ﺍﻟﻘﺼﺔ ﻋﺪﳝﺔ ﺍﳉﺪﻭﻯ ﲤﺎﻣﺎ‪.‬‬

‫‪1- Bruno Bettelheim et Karen Zelan : « la lecture et l’enfant », collection réponses,‬‬

‫‪édition Robert Laffont, paris, 1981, p 23-36.‬‬

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‫‪ -‬ﺍﻟﻘﺼﺺ ﺗﺼﺪﺭ ﻟﺘﺒﺎﻉ ﻗﺼﺪ ﲢﻘﻴﻖ ﺃﻛﱪ ﺭﺑﺢ ﻣﺎﺩﻱ ﳑﻜﻦ ﻟﺬﻟﻚ ﺗﻜﺘﺐ ﰲ ﺇﻃﺎﺭ ﳚﻌﻞ‬
‫ﺍﻟﻜﺒﺎﺭ ﻳﺴﺎﺭﻋﻮﻥ ﺇﱃ ﺍﻗﺘﻨﺎﺋﻬﺎ ﻷﻃﻔﺎﳍﻢ‪ ،‬ﺩﻭﳕﺎ ﺃﻥ ﻳﻌﲑﻭﺍ ﺍﻧﺘﺒﺎﻫﺎ ﳌﺎ ﻳﺮﻳﺪﻩ ﺣﻘﺎ ﻫﺆﻻﺀ‬
‫ﺍﻟﺼﻐﺎﺭ‪ ،‬ﻭ ﳛﺘﺎﺟﻮﻥ ﺇﻟﻴﻪ‪.‬‬
‫‪ -‬ﳚﺐ ﺃﻥ ﻻ ﻧﻨﺘﺞ ﺍﻟﻘﺼﺺ ﲢﺖ ﺷﻌﺎﺭ ﺍﻟﻘﺮﺍﺀﺓ ﻣﻦ ﺃﺟﻞ ﺍﻟﻘﺮﺍﺀﺓ ﻧﻔﺴﻬﺎ ﺑﻞ ﻣﻦ ﺃﺟﻞ ﺗﻌﻠﻢ ﻣﺎ‬
‫ﻳﻔﻴﺪ‪ ،‬ﻭﺫﻟﻚ ﻳﻨﻤﻲ ﺣﺘﻤﺎ ﺭﻏﺒﺔ ﺍﻟﻄﻔﻞ ﰲ ﻗﺮﺍﺀﺓ ﺍﳌﺰﻳﺪ‪ ،‬ﻭ ﺑﺬﻟﻚ ﻳﻨﻤﻮ ﺣﺴﻪ ﺍﳉﻤﺎﱄ‬
‫ﻭ ﺍﻟﺘﺬﻭﻗﻲ ﻟﻸﺩﺏ*‪.‬‬
‫‪ -‬ﺍﻟﺼﻮﺭ ﺍﻟﱵ ﺗﺼﺎﺣﺐ ﺍﻟﻘﺼﺺ ﻋﺎﺩﺓ ﻣﺎ ﺗﻜﻮﻥ ﻧﻘﻤﺔ ﳍﺎ ﺑﻘﺪﺭ ﻣﺎ ﳚﺐ ﺃﻥ ﺗﻜﻮﻥ ﻧﻌﻤﺔ ﳍﺎ‪،‬‬
‫ﺇﺫﺍ ﻗﺪ ﺗﻄﻐﻰ ﻟﺪﺭﺟﺔ ﺃﻥ ﺍﻟﻄﻔﻞ ﻳﻬﺘﻢ ﺃﻛﺜﺮ ﺑﺘﻠﻚ ﺍﻟﺼﻮﺭ ﻋﻠﻰ ﺣﺴﺎﺏ ﺍﻟﻨﺺ ﺍﳌﻜﺘﻮﺏ‪،‬‬
‫ﻓﻴﻬﺮﻉ ﺍﻟﻄﻔﻞ ﺇﱃ ﺗﺼﻔﺢ ﺍﻟﻘﺼﺔ ﻟﺮﺅﻳﺔ ﺍﻟﺼﻮﺭ‪ ،‬ﺣﻴﺚ ﳚﺬﺑﻪ ﺳﺤﺮ ﺍﻷﻟﻮﺍﻥ‪ ،‬ﻭ ﻳﻬﻤﻞ ﻣﺮﺍﻣﻲ‬
‫ﺍﻟﻘﺼﺔ ﻣﺎﺩﺍﻣﺖ ﺍﻟﺼﻮﺭﺓ ﻗﺪ ﻟﺒﺖ ﺭﻏﺒﺘﻪ ﰲ ﺍﻟﺘﺮﻓﻴﻪ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﺭﻓﺾ ﻓﻌﻞ ﺍﻟﻘﺮﺍﺀﺓ ﻛﺘﺠﺮﺑﺔ‬
‫ﲤﻜﻨﻪ ﻣﻦ ﺍﳋﻮﺽ ﰲ ﺟﻮﻫﺮ ﺍﻟﻘﺼﺔ ﳌﻌﺮﻓﺔ ﺃﺣﺪﺍﺛﻬﺎ ﻭ ﻣﺎ ﺗﻌﺮﺿﻪ ﻋﻠﻴﻪ ﻣﻦ ﲢﺪﻳﺎﺕ ﻓﻜﺮﻳﺔ‬
‫ﻭ ﻧﻔﺴﻴﺔ ‪.‬‬
‫‪ -‬ﳚﺐ ﺃﻥ ﻻ ﺗﻌﺎﻣﻞ ﺍﻟﻘﺼﺔ ﺍﻟﻄﻔﻞ ﻋﻠﻰ ﺃﻧﻪ ﻧﺎﻗﺺ ﺍﻟﺬﻛﺎﺀ ﻭ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺍﻟﺘﻔﺎﻋﻞ ﻣﻌﻬﺎ‪،‬‬
‫ﲝﻴﺚ ﺗﻘﻮﻡ ﺑﺘﺴﻠﻴﻤﻪ ﻛﻞ ﺧﻴﻮﻃﻬﺎ ﻣﻨﺬ ﺍﻟﺒﺪﺍﻳﺔ ﻭ ﻻ ﲤﻜﻨﻪ ﻣﻦ ﻣﺘﻌﺔ ﺍﻛﺘﺸﺎﻑ ﺍﻟﻄﺮﻳﻖ ﺇﻟﻴﻬﺎ‬
‫ﺑﻨﻔﺴﻪ‪ ،‬ﻭ ﺍﻟﻄﻔﻞ ﰲ ﺍﳊﻘﻴﻘﺔ ﻳﻜﺘﺸﻒ ﺍﻷﻣﺮ ﻣﻨﺬ ﺍﻟﺒﺪﺍﻳﺔ ﻓﲑﻓﺾ ﺍﻟﻘﺼﺔ ﲨﻠﺔ ﻭ ﺗﻔﺼﻴﻼ‪.‬‬

‫ﻭ ﺑﺸﻜﻞ ﻋﺎﻡ ﻓﺈﻥ ﺍﻹﺷﻜﺎﻟﻴﺔ ﺗﻄﺮﺡ ﻫﻨﺎ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﻓﻌﻞ ﺍﻟﻘﺮﺍﺀﺓ ﻛﻔﻌﻞ‪ ،‬ﻓﻬﻮ ﺍﻟﺬﻱ ﻳﺼﻨﻊ ﺍﻟﻘﺼﺔ‬
‫ﻭ ﻳﻌﻄﻴﻬﺎ ﺷﻜﻠﻬﺎ ﺍﻟﻨﻬﺎﺋﻲ‪ ،‬ﺭﻏﻢ ﺃﻥ ﺻﻨﺎﻋﺔ ﺍﻟﻘﺼﺔ ﳍﺎ ﻣﻦ ﺍﻷﳘﻴﺔ ﺟﺎﻧﺐ ﺃﻳﻀﺎ‪ ،‬ﻓﻬﻤﺎ ﻛﻮﺟﻬﲔ ﻟﻌﻤﻠﺔ‬
‫ﻭﺍﺣﺪﺓ‪ ،‬ﻓﺎﻷﻭﻝ ﻳﺪﻓﻌﻨﺎ ﺇﱃ ﺍﻟﺜﺎﱐ‪ ،‬ﻭ ﺍﻟﺜﺎﱐ ﺇﱃ ﺍﻷﻭﻝ‪ ،‬ﻓﺤﺎﳌﺎ ﻳﻨﻤﻲ ﺍﻟﻄﻔﻞ ﺩﺍﺧﻠﻪ ﻓﻌﻞ ﺍﻟﻘﺮﺍﺀﺓ ﺗﺼﺒﺢ‬
‫ﺍﻟﻄﺮﻳﻖ ﳑﻬﺪﺓ ﻟﻮﻟﻮﺝ ﻋﺎﱂ ﺍﻟﻘﺼﺔ‪ ،‬ﰒ ﺇﻥ ﻛﻞ ﻗﺼﺔ ﺟﻴﺪﺓ ﺗﺰﻳﺪ ﺍﻟﻄﻔﻞ ﺭﻏﺒﺔ ﰲ ﺍﳌﻄﺎﻟﻌﺔ ﻭﺑﺎﻟﺘﺎﱄ ﺗﻨﻤﻲ‬
‫ﺑﺪﺍﺧﻠﻪ ﻫﺬﺍ ﺍﻟﻔﻌﻞ ‪ ،‬ﻓﺄﻭﻝ ﻗﺼﺔ ﺗﻌﺮﺽ ﻋﻠﻴﻪ ﰲ ﺣﻴﺎﺗﻪ ﺗﺼﻨﻊ ﺍﻟﻔﺮﻕ‪ ،‬ﻓﺈﻥ ﻛﺎﻧﺖ ﲡﻌﻠﻪ ﻳﺸﻌﺮ ﻛﺄﻧﻨﺎ‬
‫*‪ -‬ﻳﻨﻈﺮ‪:‬‬

‫ﺩ‪ /‬ﻭﻓﺎﺀ ﺍﺑﺮﺍﻫﻴﻢ‪..‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.18‬‬

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‫ﻧﺮﻯ ﺍﻟﻐﺒﺎﺀ ﻓﻴﻪ ﲝﻴﺚ ﻧﻘﺪﻡ ﻟﻪ ﻛﻞ ﺷﻲﺀ ﺟﺎﻫﺰﺍ‪ ،‬ﻓﺴﺮﻋﺎﻥ ﻣﺎ ﻳﻔﻘﺪ ﺻﻔﺔ ﺟﻮﻫﺮﻳﺔ ﰲ ﻛﻞ ﻗﺎﺭﺉ‬
‫ﻭ ﻫﻲ ﺍﻟﺘﺬﻭﻕ ﺍﳉﻤﺎﱄ ﻟﻸﺩﺏ ﻭ ﺑﺎﻟﺘﺎﱄ ﳓﻮﻟﻪ ﻣﻦ ﻗﺎﺭﺉ ﻣﺘﻤﺮﺱ ﻣﺴﺘﻘﺒﻠﻲ ﺇﱃ ﻣﺴﺘﻬﻠﻚ ﻻ ﻳﻔﺮﻕ ﻓﻴﻤﺎ‬
‫ﻳﻘﺮﺃ ﺑﲔ ﺍﻟﻐﺚ ﻭ ﺍﻟﺴﻤﲔ‪ ،‬ﺫﻭ ﺃﻓﻖ ﳏﺪﺩ‪ ،‬ﻭ ﻟﻜﻦ ﺻﻘﻞ ﻓﻌﻞ ﺍﻟﻘﺮﺍﺀﺓ ﻭ ﻣﻨﺢ ﺍﻟﻄﻔﻞ ﺍﻟﺸﻌﻮﺭ ﺑﺎﻟﻘﺪﺭﺓ‬
‫ﻋﻠﻰ ﺍﻧﺘﻘﺎﺀ ﻣﺎ ﻳﺮﻳﺪ ﺣﱴ ﻭ ﻟﻮ ﱂ ﻳﻜﻦ ﺍﻷﻣﺮ* ﰲ ﺍﳊﻘﻴﻘﺔ ﻛﺬﻟﻚ ﳚﻌﻞ ﻣﻨﻪ ﻗﺎﺭﺋﺎ ﺃﻓﻀﻞ‪.‬‬

‫ﻣﻨﺎﺑﻊ ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ‪:‬‬

‫ﻭ ﺃﺻﻞ ﻫﺬﻩ ﺍﳌﻨﺎﺑﻊ ﰲ ﺭﺃﻱ ﻣﻨﺒﻊ ﻭﺍﺣﺪ‪ ،‬ﻭ ﻫﻮ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ‪:‬‬

‫ﺑﺸﻜﻞ ﻋﺎﻡ ﺗﺸﻜﻞ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺟﺎﻧﺒﺎ ﻣﻬﻤﺎ ﻣﻦ ﳎﻤﻮﻉ ﺍﳌﻨﺘﻮﺝ ﺍﻷﺩﰊ ﻭ ﺍﻟﺜﻘﺎﰲ ﺍﳌﻮﺟﻪ ﻟﻸﻃﻔﺎﻝ‪،‬‬
‫ﺳﻮﺍﺀ ﰲ ﺷﻜﻠﻬﺎ ﺍﻟﺸﻔﻬﻲ ﺃﻭ ﺑﻌﺪ ‪‬ﺬﻳﺒﻬﺎ ﻭ ﺗﺒﺴﻴﻄﻬﺎ ﻭ ﺇﺩﺧﺎﳍﺎ ﻋﺎﱂ ﺍﻷﺩﺏ ﺍﳌﻜﺘﻮﺏ‪ ،‬ﻭ ﺗﺪﺧﻞ‬
‫ﻋﺎﺩﺓ ﲢﺖ ﺇﻃﺎﺭ ﺍﻟﻔﻠﻜﻠﻮﺭ‪ ،‬ﻭ "ﺇﺫﺍ ﻣﺎ ﺩﺭﺟﻨﺎ ﺇﱃ ﺩﺭﺍﺳﺔ ﻗﺎﺑﻠﻴﺔ ﺍﳌﻀﻤﻮﻥ ﺍﻟﺸﻌﱯ ﻟﻠﺘﺠﺎﻭﺏ ﻣﻊ‬
‫ﺍﳌﺴﺘﻮﻯ ﺍﻹﺩﺭﺍﻛﻲ ﻟﻠﻄﻔﻞ ﻓﺈﻧﻨﺎ ﻧﺴﺠﻞ ﺇﻧﺒﻨﺎﺀ ﺍﳌﻀﻤﻮﻥ ﺍﻟﺸﻌﱯ ﻋﻠﻰ ﺍﻟﺘﻌﻘﻴﺪ ﰲ ﺯﻣﻦ ﺍﻷﺣﺪﺍﺙ‪،‬‬
‫ﻭ ﺷﺪﺓ ﻏﺰﺍﺭ‪‬ﺎ‪ ،‬ﻭ ﺳﺮﻳﺎﻥ ﻭﻗﺎﺋﻌﻬﺎ ﰲ ﺣﻴﺜﻴﺎﺕ ﻭﳘﻴﺔ ﺗﻔﺘﻘﺮ ﺇﱃ ﺇﻃﺎﺭﻱ ﺍﻟﺰﻣﺎﻥ ﻭ ﺍﳌﻜﺎﻥ‪ 1".‬ﺇﺫ ﻧﻼﺣﻆ‬
‫ﺃ‪‬ﺎ ﻻ ﺗﻌﺎﺭﺽ ﺃﻓﻖ ﺍﻧﺘﻈﺎﺭ ﺍﻟﻘﺎﺭﺉ ﺍﻟﺼﻐﲑ ﲟﺎ ﺗﻠﺞ ﺇﻟﻴﻪ ﻣﻦ ﻋﻮﺍﱂ ﻏﺮﻳﺒﺔ ﻭ ﻋﺠﻴﺒﺔ‪ ،‬ﺩﻭﻥ ﺃﻥ ﺗﺒﺘﻌﺪ ﺃﻭ‬
‫ﺗﻘﺎﻃﻊ ﻋﺎﱂ ﺍﻟﻄﻔﻞ ﺍﻟﻮﺍﻗﻌﻲ ﻓﺸﺨﻮﺻﻬﺎ ﳑﺎ ﺃﻟﻒ ﺍﻟﻄﻔﻞ ﻭ ﲰﻊ ﻋﻨﻪ ﻣﻀﺎﻑ ﻋﻠﻴﻪ ﻣﺎ ﺗﺮﺍﻛﻢ ﻣﻦ ﺃﺧﺒﺎﺭ‬
‫ﻋﻠﻰ ﻣﺮ ﺍﻟﺰﻣﻦ ﺣﻮﻝ ﺍﳊﻜﺎﻳﺔ ﻛﺤﺪﺙ ﻭ ﻗﻊ ﻣﻨﺬ ﺯﻣﻦ‪ " ،‬ﻓﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺣﻜﺎﻳﺔ ﺣﻘﻴﻘﻴﺔ ﻋﺎﺷﻬﺎ‬
‫ﺍﻟﻔﺮﺩ ﺃﻭ ﲨﺎﻋﺔ ﻗﺪﻣﻮﺍ ﺍﻟﺘﻀﺤﻴﺎﺕ ﻣﻦ ﺃﺟﻞ ﻗﻀﻴﺔ ﻣﺎ‪ ،‬ﻭﺣﻘﻘﻮﺍ ﺍﻻﻧﺘﺼﺎﺭﺍﺕ‪ ... ،‬ﺍﻓﺘﱳ ﺍ‪‬ﺘﻤﻊ‬
‫ﺑﺄﻋﻤﺎﳍﻢ ﺇﺫﻥ ﻋﻦ ﻃﺮﻳﻖ ﺳﺮﺩ ﻗﺼﺼﻲ‪ ...‬ﻭ ﺑﻌﺾ ﻫﺬﻩ ﺍﳊﻜﺎﻳﺎﺕ ﺃﺿﻴﻒ ﺇﻟﻴﻬﺎ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻷﻋﻤﺎﻝ‬
‫ﻭ ﺍﻟﺼﻔﺎﺕ ﻭ ﺍﻻﻧﺘﺼﺎﺭﺍﺕ ﻧﺴﺠﻬﺎ ﺍﳋﻴﺎﻝ‪ ،‬ﺣﱴ ﺻﺎﺭ ﺑﻌﻀﻬﺎ ﻳﻜﺘﻨﻔﻪ ﺍﻟﻐﻤﻮﺽ ﻭ ﺍﻟﺸﻚ ﰲ ﻛﺜﲑ ﻣﻦ‬
‫ﺟﻮﺍﻧﺒﻪ‪ 2 ".‬ﺣﱴ ﳝﻜﻨﻨﺎ ﺍﻟﻘﻮﻝ ﺑﺄﺑﻌﺪ ﻣﻦ ﺫﻟﻚ‪ ،‬ﺇﺫ ﻗﺪ ﺗﻜﻮﻥ ﺍﳊﻜﺎﻳﺔ ﺍﻷﻭﱃ ﻗﺪ ﺗﻔﺮﻋﺖ ﺇﱃ ﻋﺪﺩ ﻣﻦ‬

‫ﻭ ﺍﳌﻘﺼﻮﺩ ﻫﻨﺎ ﻟﻴﺲ ﺃﻥ ﻧﻌﻄﻲ ﺍﻟﻄﻔﻞ ﻣﻄﻠﻖ ﺍﳊﺮﻳﺔ ﰲ ﺍﺧﺘﻴﺎﺭﻩ ﻣﺎ ﻳﻘﺮﺃ‪ ،‬ﻭﺇﳕﺎ ﻣﻦ ﻣﻨﻄﻠﻖ ﺃﻥ ﻧﺮﺍﻗﺐ ﻣﺎ ﻳﻘﺮﺃ ﻭ ﻧﻮﺟﻬﻪ ﺇﱃ ﻣﺎ ﻳﻔﻴﺪ ﺣﻘﺎ‪ ،‬ﻷﻧﻪ ﻭﺍﳊﻖ‬ ‫*‪-‬‬
‫ﻳﻘﺎﻝ ﻟﻴﺲ ﻛﻞ ﻣﺎ ﻳﻌﺮﺽ ﰲ ﺳﻮﻕ ﻛﺘﺐ ﺍﻷﻃﻔﺎﻝ ﻣﻨﺎﺳﺐ ﻟﻴﻘﺮﺅﻩ‪.‬‬

‫‪ -1‬ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭ ﻋﻤﻴﺶ‪.‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.53‬‬

‫‪ -2‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.54‬‬

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‫ﺍﳊﻜﺎﻳﺎﺕ ﺷﻜﻠﺖ ﻛﻞ ﻣﻨﻬﺎ ﻗﺼﺔ ﺟﺪﻳﺪﺓ‪ ،‬ﺣﻴﺚ ﻳﺸﻜﻞ ﻛﻞ ﺣﺪﺙ ﻣﻦ ﺃﺣﺪﺍﺛﻬﺎ ﺣﻜﺎﻳﺔ ﳏﺘﻤﻠﺔ‬
‫ﺟﺪﻳﺪﺓ ﻣﻊ ﻣﻀﻲ ﺍﻟﺰﻣﻦ‪ ،‬ﺇﱃ ﺃﻥ ﺗﻔﻘﺪ ﺭﺍﺑﻄﻬﺎ ﺑﺴﺒﺐ ﺗﺮﺍﻛﻢ ﺍﻷﺧﺒﺎﺭ ﻭ ﺑﺎﻟﺘﺎﱄ ﺣﺠﺐ ﺍﳊﺪﺙ‬
‫ﺍﻷﺻﻠﻲ‪ ،‬ﻭ ﻟﻜﻨﻬﺎ ﺗﺒﻘﻰ ﻣﻊ ﺫﻟﻚ ﲢﺎﻓﻆ ﻋﻠﻰ ﺍﺧﺘﻼﻓﻬﺎ ﻋﻦ ﺍﳊﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ‪ ،‬ﻷ‪‬ﺎ " ﺗﺼﻮﺭ ﺍﻹﻧﺴﺎﻥ‬
‫ﺍﻟﻮﺣﻴﺪ ﺍﻟﺬﻱ ﻳﺘﺼﻞ ﺑﺎﻟﻌﺎﱂ ﺍﻵﺧﺮ ﻭﻛﺜﲑﺍ ﻣﺎ ﳜﻀﻊ ﻟﻪ‪.‬ﺃﻣﺎ ﺍﻹﻧﺴﺎﻥ ﰲ ﺍﳊﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ ﻓﻴﺘﺼﻞ ﲟﺤﺾ‬
‫ﺇﺭﺍﺩﺗﻪ ﺑﻘﻮﻯ ﺍﻟﻌﺎﱂ ﺍﻵﺧﺮ‪ .‬ﻭ ﺍﳊﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ ﺫﺍﺕ ﻃﺮﻳﻘﺔ ﲡﺮﻳﺪﻳﺔ ﰲ ﺍﻟﻌﺮﺽ‪ ،‬ﺃ‪‬ﺎ ﺗﺴﻤﻮ ﺑﺎﳌﻮﺿﻮﻉ‬
‫ﻭ ﺍﻟﺼﻮﺭ ﺇﱃ ﺩﺭﺟﺔ ﺍﳌﺜﺎﻟﻴﺔ‪ ،‬ﺃﻣﺎ ﺍﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻓﺤﻜﺎﻳﺔ ﺗﺼﻮﺭ ﻓﻴﻬﺎ ﺍﻟﻌﺎﱂ ﺍﻵﺧﺮ ﺑﺪﻗﺔ‪ ،‬ﻛﻤﻼﺑﺲ‬
‫ﺍﻷﻗﺰﺍﻡ ﻭ ﻣﻈﻬﺮﻫﻢ ﻭ ﺃﻋﻤﺎﺭﻫﻢ‪ 1 "...‬ﻭ ﻟﻜﻦ ﻣﺎ ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﻟﻴﻪ ﰲ ﻫﺬﺍ ﺍﳌﻘﺎﻡ ﻫﻮ ﺃﻥ ﺍﻟﻔﺮﻕ ﺑﻴﻨﻬﺎ‬
‫ﻛﻠﻬﺎ ﻭ ﺃﻋﲏ ﺑﺬﻟﻚ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻭ ﺍﻟﻘﺼﺔ ﺍﳋﺮﺍﻓﻴﺔ‪ ،‬ﻭ ﺣﱴ ﺍﻷﺳﻄﻮﺭﺓ ﻻ ﻳﻘﻴﻤﻪ ﺇﻻ ﺍﻟﻜﺒﺎﺭ ﻋﻠﻰ‬
‫ﺃﺳﺎﺱ ﺳﺎﺑﻖ ﻣﻌﺮﻓﺘﻬﻢ ‪‬ﺎ‪ ،‬ﻭ ﻟﻜﻦ ﺍﻟﻄﻔﻞ ﰲ ﺑﺪﺍﻳﺔ ﺍﺗﺼﺎﻟﻪ ‪‬ﺬﺍ ﺍﻟﻌﺎﱂ ﻻ ﻳﻘﻴﻢ ﻭﺯﻧﺎ ﻟﻠﻔﺮﻕ ﺑﻴﻨﻬﺎ ﻛﻠﻬﺎ‬
‫ﻭ ﻻ ﻟﺘﻌﻘﻴﺪﻫﺎ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃ‪‬ﺎ ﻋﺎﱂ ﺟﺪﻳﺪ ﻭ ﺭﺣﺐ ﳑﺘﻊ ﻭ ﻏﺎﻣﺾ‪ ،‬ﻓﻴﻪ ﺍﳌﻐﺎﻣﺮﺓ ﻭ ﺍﳊﻠﻢ ﺍﻟﺬﻳﻦ ﻗﺪ‬
‫ﻻ ﻳﻮﻓﺮﳘﺎ ﻟﻪ ﺍﻟﻮﺍﻗﻊ‪.‬‬

‫ﺣﻴﺚ ﻳﻘﻮﻝ ﻋﻨﻬﺎ ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﻳﻮﻧﺲ‪..." :‬ﻟﻴﺲ ﻫﻨﺎﻟﻚ ﺃﺛﺮ ﺃﺩﰊ ﺍﻟﺘﻔﺖ ﻋﻠﻴﻪ ﺍﻟﻄﺒﻘﺎﺕ ﻭ ﻣﺮﺍﺣﻞ‬
‫ﺍﻟﺘﻄﻮﺭ ﻛﺎﳊﻜﺎﻳﺔ ﺍﻟﺸﻌﺒﻴﺔ‪ ،‬ﺫﻟﻚ ﻷ‪‬ﺎ ﲤﺜﻞ ﻟﻘﺎﺀ ﺍﳌﺎﺿﻲ ﺑﺎﳊﺎﺿﺮ‪ ...‬ﻟﻘﺎﺀ ﺍﻟﻜﺒﺎﺭ ﺑﺎﻟﺼﻐﺎﺭ‪ ،‬ﻟﻘﺎﺀ ﺍﻟﺸﺮﻕ‬
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‫ﺇﺫ ﻻ ﻧﻨﻜﺮ ﻓﻀﻠﻬﺎ ﰲ ﺟﻌﻞ ﻣﺎ ﻻ ﻳﻠﺘﻘﻲ ﻳﻠﺘﻖ ﲢﺖ ﺫﺭﻳﻌﺔ ﺍﻟﻐﻮﺹ ﰲ ﻋﺎﳌﻬﺎ ﻓﺎﳌﺎﺿﻲ‬ ‫ﺑﺎﻟﻐﺮﺏ‪"...‬‬
‫ﺟﻌﻠﻬﺎ ﻋﻠﻰ ﻣﺎ ﻫﻲ ﻋﻠﻴﻪ‪ ،‬ﻭ ﺍﳊﺎﺿﺮ ﻣﺴﺤﻬﺎ ﲟﺴﺤﺔ ﺍﻟﻐﻤﻮﺽ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃ‪‬ﺎ ﻣﻮﺭﻭﺙ ﺛﻘﺎﰲ ﻣﻦ‬
‫ﺍﻟﺰﻣﻦ ﺍﳌﺎﺿﻲ‪ ،‬ﲢﻠﻖ ﺍﻟﻜﺒﺎﺭ ﻭ ﺍﻟﺼﻐﺎﺭ ﺣﻮﻝ ﺍﻟﺮﻭﺍﺓ ﻋﻠﻰ ﻣﺮ ﺍﻟﺰﻣﻦ ﻟﺴﻤﺎﻋﻬﺎ ﰒ ‪ ،‬ﺳﺎﺭﻋﻮﺍ ﻹﻗﺘﻨﺎﺀﻫﺎ‬
‫ﻋﻨﺪﻣﺎ ﺻﺎﺭﺕ ﻣﻜﺘﻮﺑﺔ‪ ،‬ﻛﻤﺎ ﺃﻥ ﻋﺎﳌﻬﺎ ﱂ ﲢﺪﻩ ﺍﳊﺪﻭﺩ ﺍﳉﻐﺮﺍﻓﻴﺔ‪ ،‬ﻭ ﺣﱴ "‪ ...‬ﻭﺇﺫﺍ ﻛﺎﻧﺖ ﻣﻨﺎﻫﺞ‬
‫ﺍﻟﺘﺮﺑﻴﺔ ﻗﺪ ﻣﺮﺕ ﲟﺮﺍﺣﻞ ﻣﺘﻌﺪﺩﺓ ﻣﻨﺬ ﺃﻭﺍﺧﺮ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻣﻦ ﻋﺸﺮ ﺇﱃ ﻳﻮﻣﻨﺎ ﻫﺬﺍ‪ ،‬ﻓﺈﻥ ﺍﻟﺘﻘﺪﻡ ﺍﻟﺬﻱ‬
‫ﺃﺣﺮﺯﻩ ﺍﳌﺮﺑﻮﻥ ﺍﳌﺘﺨﺼﺼﻮﻥ ﺇﳕﺎ ﺍﻋﺘﻤﺪ ﰲ ﺍﳌﻘﺎﻡ ﺍﻷﻭﻝ ﻋﻠﻰ ﺍﻧﺘﺨﺎﺏ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻭﺍﺳﺘﻐﻼﳍﺎ‬
‫‪ -1‬ﻓﺮﻳﺪﻳﺮﻳﺶ ﻓﻮﻥ ﺩﻳﺮ ﻻﻳﻦ‪ ":‬ﺍﳊﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ‪ -‬ﻧﺸﺄ‪‬ﺎ ﻣﻨﺎﻫﺞ ﺩﺭﺍﺳﺘﻬﺎ ﻓﻨﻴﺎ‪‬ﺎ"‪ ،‬ﺗﺮ ﻧﺒﻴﻠﺔ ﺍﺑﺮﺍﻫﻴﻢ‪ ،‬ﻣﺮ ﻋﺰ ﺍﻟﺪﻳﻦ ﺍﲰﺎﻋﻴﻞ‪ ،‬ﺩﺍﺭ ﺍﻟﻘﻠﻢ‪ ،‬ﺑﲑﻭﺕ‪،‬‬
‫ﺩﻁ‪.1973/‬ﺹ‪.141‬‬
‫‪ -2‬ﺩ‪ /‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﻳﻮﻧﺲ‪ ":‬ﺩﻓﺎﻉ ﻋﻦ ﺍﻟﻔﻠﻜﻠﻮﺭ" ﺍﳍﻴﺌﺔ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻌﺎﻣﺔ‪.‬ﺩﻁ‪.1973/‬ﺹ‪.98‬‬

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‫ﻭﺗﺸﺬﻳﺒﻬﺎ‪ .‬ﻭ ﺃﻗﺒﻞ ﺍﻷﺩﺑﺎﺀ ﻋﻠﻴﻬﺎ ﻳﻌﺪﻭ‪‬ﺎ ﳌﺮﺍﺣﻞ ﺍﻟﻄﻔﻮﻟﺔ ﺑﺄﺷﻜﺎﻝ ﺍﻟﺘﻌﺒﲑ ﺍﳌﺨﺘﻠﻔﺔ ﻭ ﳜﻀﻌﻮ‪‬ﺎ‬
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‫ﻷﻧﻪ ﰲ ﺷﻜﻠﻬﺎ ﺍﻷﺻﻠﻲ‪ ،‬ﳚﺪﺭ ﺑﻨﺎ ﺍﻻﻋﺘﺮﺍﻑ‪ ،‬ﺑﺄﻥ ﻣﻀﻤﻮ‪‬ﺎ ﻻ‬ ‫ﳌﻘﺘﻀﻴﺎﺕ ﺍﳊﻮﺍﺭ ﻭﺍﻟﺘﻤﺜﻴﻞ‪"...‬‬
‫ﻳﻨﺎﺳﺐ ﺩﺍﺋﻤﺎ ﺇﺩﺭﺍﻙ ﺍﻟﻄﻔﻞ ﻭ ﻻ ﺍﻟﺼﻮﺭﺓ ﺍﻟﻮﺍﺟﺐ ﺃﻥ ﻳﻜﻮ‪‬ﺎ ﻋﻦ ﺍﻟﻌﺎﱂ‪ ،‬ﻓﻔﻴﻬﺎ ﻣﻦ ﺍﻟﻌﻨﻒ‪،‬‬
‫ﻭ ﺍﻟﺼﺮﺍﻉ‪ ،‬ﻛﻤﺎ ﺗﻄﻠﻖ ﺍﻟﻌﻨﺎﻥ ﻟﻠﻐﺮﺍﺋﺰ ﺍﻟﺒﺸﺮﻳﺔ ﺍﻷﻛﺜﺮ ﺑﺪﺍﺋﻴﺔ‪ ،‬ﰒ ﺃ‪‬ﺎ ﲤﺜﻞ ﺇﺭﺟﺎﻉ ﻟﻌﺎﱂ ﻗﺪﱘ‪ ،‬ﻋﺎﱂ‬
‫ﺑﻄﻮﱄ‪ ،‬ﻭ ﻧﻈﺮﺓ ﻣﺜﺎﻟﻴﺔ‪ ،‬ﳑﺎ ﺃﺛﺎﺭ ﻫﺬﺍ ﺍﻷﻣﺮ ﻧﻮﻋﺎ ﻣﻦ ﺍﻻﺣﺘﺠﺎﺝ‪ ،‬ﺑﲔ ﺃﻭﺳﺎﻁ ﺍﳌﺨﺘﺼﲔ "‪ ...‬ﻭﻛﺎﻥ‬
‫ﺗﺄﺛﲑ ﻫﺬﺍ ﺍﻻﺣﺘﺠﺎﺝ ﺃﻥ ﺃﻋﻴﺪﺕ ﰲ ﺃﻭﺭﻭﺑﺎ ﻛﺘﺎﺑﺔ ﺣﻜﺎﻳﺎﺕ ﺍﳉﻨﻴﺎﺕ ﻭﺍﳋﺮﺍﻓﺎﺕ ﺍﳌﻔﺰﻋﺔ ﻟﺘﺨﻔﻴﻒ ﻣﺎ‬
‫ﲢﻮﻳﻪ ﰲ ﺃﺻﻮﳍﺎ ﺍﳌﺘﻮﺍﺭﺛﺔ ﻣﻦ ﺗﻔﺼﻴﻼﺕ ﺍﻟﺒﺸﺎﻋﺔ ﻭ ﺍﻟﺘﻌﺬﻳﺐ‪ .‬ﻓﻔﻲ ﻗﺼﺔ ﺍﻟﻐﺮﺑﺎﻥ ﺍﻟﺴﺒﻌﺔ ﻣﻦ ﳎﻤﻮﻋﺔ‬
‫ﺍﻷﺧﻮﺍﻥ ﻏﺮﱘ ﻣﺜﻼ‪ :‬ﻓﺎﻷﺧﺖ ﺍﻟﺼﻐﺮﻯ ﺍﻟﱵ ﻳﺘﺤﺘﻢ ﻋﻠﻴﻬﺎ ﺃﻥ ﺗﻘﻄﻊ ﺇﺻﺒﻌﻬﺎ ﻟﻜﻲ ﺗﺘﻤﻜﻦ ﻣﻦ ﺩﺧﻮﻝ‬
‫ﺍﻟﻘﺼﺮ ﺍﻟﻔﻀﻲ ﻭ ﺗﻨﻘﺬ ﺇﺧﻮ‪‬ﺎ ﺍﻟﺴﺒﻌﺔ‪ ،‬ﻋﺪﻟﺖ ﺍﻟﻘﺼﺔ ﻟﻜﻲ ﻻ ﺗﺸﲑ ﺇﱃ ﺍﻷﱂ ﺃﻭ ﺍﻟﺪﻡ ﺍﻟﺬﻱ ﺳﺎﻝ ﻣﻦ‬
‫ﺑﺘﺮ ﺫﻟﻚ ﺍﻹﺻﺒﻊ‪ 2 "...‬ﻭ ﻛﻠﻬﺎ ﲣﺮﺝ ﻣﻦ ﺇﻃﺎﺭ ﺍﻟﺘﺮﺑﻴﺔ ﻭ ﺍﻟﺘﺮﻓﻴﻪ ﺇﱃ ﺍﻟﺘﺮﻫﻴﺐ ﺇﺫﺍ ﻣﺎ ﻗﺪﻣﺖ ﰲ ﻫﺬﺍ‬
‫ﺍﻟﺸﻜﻞ ﺇﱃ ﺍﻟﻄﻔﻞ "‪ ...‬ﻓﺎﻟﺘﺮﺍﺙ ﻋﺎﱂ ﺯﺍﺧﺮ ﳜﺘﻠﻂ ﻓﻴﻪ ﺍﻷﺻﻴﻞ ﺑﻐﲑﻩ ﻭ ﻻﺑﺪ ﻣﻦ ﺍﻟﺘﻨﺴﻴﻖ ﻭ ﺍﻟﻔﺮﺯ‪،‬‬
‫ﻭ ﺍﻻﺧﺘﻴﺎﺭ ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺿﺮﻭﺭﺓ ﺇﺿﻔﺎﺀ ﺍﻟﺪﻻﻟﺔ ﻋﻠﻰ ﺍﻷﺛﺮ ﺍﳌﺨﺘﺎﺭ ﻣﻦ ﺃﻋﻤﺎﻕ ﺍﻟﺘﺮﺍﺙ‪ ،‬ﺇﺫ ﻻ ﻳﻌﲏ‬
‫ﺍﻟﺘﻮﻇﻴﻒ ﳎﺮﺩ ﺇﻋﺎﺩﺓ ﺻﻴﺎﻏﺔ ﺍﻷﺛﺮ ﺍﻟﺸﻌﱯ ﺑﻠﻐﺔ ﺟﺪﻳﺪﺓ‪ ،‬ﺑﻞ ﺇﻥ ﻋﻤﻠﻴﺔ ﺍﻟﺘﻮﻇﻴﻒ ﺗﻄﻤﺢ ﺇﱃ ﺃﻥ ﺗﻀﻴﻒ‬
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‫ﺇﱃ ﺍﻷﺛﺮ ﺍﻟﺸﻌﱯ ﺇﺿﺎﻓﺎﺕ ﻋﺼﺮﻳﺔ ﺗﻀﻤﻦ ﻃﻤﻮﺣﺎﺗﻨﺎ ﻭﳘﻮﻣﻨﺎ‪ ،‬ﻭ ﺗﻌﱪ ﻋﻤﺎ ﳓﺴﻪ ﻭ ﻧﻌﻴﺸﻪ ﺍﻟﻴﻮﻡ‪"...‬‬
‫ﻭﻟﻜﻦ ﺷﺮﻁ ﺃﻥ ﻻ ﺗﺘﻌﺪﻯ ﺗﻠﻚ ﺍﻹﺿﺎﻓﺎﺕ ﻋﻠﻰ ﺧﺼﻮﺻﻴﺘﻬﺎ ﻛﻔﻌﺎﻟﻴﺔ ﺛﻘﺎﻓﻴﺔ ﺗﺴﺘﻘﻲ ﺃﺻﻮﳍﺎ ﻣﻦ‬
‫ﺍﻟﺘﺮﺍﺙ ﺍﻟﻌﺎﳌﻲ ﺍﻟﺬﻱ ﺗﺸﺘﺮﻙ ﺍﻟﺒﺸﺮﻳﺔ ﲨﻌﺎﺀ ﰲ ﻣﻠﻜﻴﺘﻪ‪ ،‬ﺭﻏﻢ ﺃﻥ ﻫﺬﺍ ﺍﻟﺘﻐﻴﲑ ﻳﺼﺒﺢ ﺿﺮﻭﺭﺓ ﺇﺫﺍ ﻣﺎ‬
‫ﺗﻌﻠﻖ ﺍﻷﻣﺮ ﺑﺘﻘﺪﳝﻬﺎ ﻟﻠﻄﻔﻞ‪ ،‬ﻓﺎﻻﺧﺘﻼﻑ ﻭﺍﺭﺩ ﻋﻨﺪﻣﺎ ﺗﻨﺘﻘﻞ ﻣﻦ ﺍﻟﺸﻔﻮﻱ ﺇﱃ ﺍﳌﻜﺘﻮﺏ‪.‬‬

‫ﻭ ﺍﻋﺘﺒﺎﺭ ﺃﻥ ﺍﻟﻘﺼﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻫﻲ ﺍﳌﻨﺒﻊ ﺍﻟﻮﺣﻴﺪ‪ ،‬ﻫﻮ ﺃﻥ ﻛﻞ ﺍﻷﺷﻜﺎﻝ ﺍﻷﺧﺮﻯ ﺍﻟﱵ ﻧﻌﺮﻓﻬﺎ ﻗﺪ ﺧﺮﺟﺖ‬
‫ﻣﻨﻬﺎ‪ ،‬ﻓﻘﺼﺔ ﺍﻟﺒﻄﻞ ﻫﻲ ﺣﻜﺎﻳﺔ ﺃﻭ ﻗﺼﺔ ﺷﻌﺒﻴﺔ‪ ،‬ﺍﻷﺳﻄﻮﺭﺓ ﻫﻲ ﺍﻷﺧﺮﻯ ﻗﺼﺔ ﺷﻌﺒﻴﺔ‪ ،‬ﺍﻟﻘﺼﺔ‬
‫‪ -1‬ﺩ‪ /‬ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﻳﻮﻧﺲ ﻡ‪.‬ﺱ‪.‬ﺹ ‪.99‬‬
‫‪ -2‬ﺩ‪ /‬ﻋﻠﻲ ﺍﳊﺪﻳﺪﻱ‪":‬ﺣﻜﺎﻳﺎﺕ ﺍﻷﻃﻔﺎﻝ ﺍﻟﻌﺮﺏ"‪.‬ﺍﻟﻌﺮﰊ ﳎﻠﺔ ﺗﺼﺪﺭ ﻋﻦ ﺟﺎﻣﻌﺔ ﺍﻟﻜﻮﻳﺖ‪.‬ﻉ ‪ .384‬ﺳﻨﺔ ‪.1982‬ﺹ‪.97‬‬
‫‪ -3‬ﺻﱪﻱ ﻣﺴﻠﻢ‪ " :‬ﺗﻮﻇﻴﻒ ﺍﻟﺘﺮﺍﺙ ﺍﻟﺸﻌﱯ ﰲ ﺍﻟﻔﻦ ﺍﻟﻘﺼﺼﻲ ﺍﻟﻌﺮﺍﻗﻲ"‪ .‬ﳎﻠﺔ ﺍﻟﻄﻠﻴﻌﺔ ﺍﻷﺩﺑﻴﺔ‪ .‬ﻉ ‪ .08‬ﺍﻟﺴﻨﺔ ﺍﻟﺴﺎﺩﺳﺔ‪.1980.‬ﺹ‪.26‬‬

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‫ﺍﳋﺮﺍﻓﻴﺔ‪ ،‬ﻭ ﺍﳌﻼﺣﻢ‪ ،‬ﻭ ﻗﺼﺺ ﺍﳊﻴﻮﺍﻥ ﻻ ﲣﺘﻠﻒ ﻋﻦ ﻣﺎ ﺳﺒﻘﻬﺎ‪ ،‬ﺑﺎﺧﺘﺼﺎﺭ ﺃ‪‬ﺎ ﻛﻠﻬﺎ ﺃﻭﺟﺪﺕ ﻣﻦ‬
‫ﻃﺮﻑ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻨﺎﺱ ﻭ ﳕﺖ ﻭ ﺗﺮﻋﺮﻋﺖ ﰲ ﻇﻞ ﻣﺎ ﻳﻌﺮﻑ ﺑﺎﻟﻔﻠﻜﻠﻮﺭ‪ ،‬ﰒ ﻋﺮﻓﺖ ﻧﻀﺠﻬﺎ‬
‫ﻭ ﲤﻴﺰﻫﺎ ﺑﻌﺪﻣﺎ ﺍﻧﻔﺼﻠﺖ ﻋﻨﻬﺎ‪ ،‬ﺣﻴﺚ ﺗﻄﻮﺭﺕ ﻭ ﻧﻀﺠﺖ ﻣﻦ ﺧﻼﻝ ﻣﺎ ﺗﺮﺍﻛﻢ ﺣﻮﳍﺎ ﻣﻦ ﺧﻴﺎﻝ‬
‫ﺍﻟﺸﻌﻮﺏ‪ ،‬ﻭ ﺷﻜﻠﻬﺎ ﺍﻟﺬﻱ ﻧﻌﺮﻓﻬﺎ ﺑﻪ ﺍﻟﻴﻮﻡ ﻭ ﺍﻟﻔﺮﻕ ﺍﻟﺬﻱ ﻧﻘﻴﻢ ﻋﻠﻰ ﺃﺳﺎﺳﻪ ﻛﻞ ﻭﺍﺣﺪﺓ ﻣﻦ ﻫﺆﻻﺀ‬
‫ﻫﻮ ﺣﺼﻴﻠﺔ ﺗﺮﺍﻛﻤﺎﺕ ﺛﻘﺎﻓﻴﺔ ﻭ ﺣﻀﺎﺭﻳﺔ ﲤﺘﺪ ﻟﻘﺮﻭﻥ‪ ،‬ﻓﺎﻷﺳﻄﻮﺭﺓ ﻗﺪ ﺗﻌﺮﻑ ﺑﺎﻟﻘﺼﺔ ﺍﳋﺮﺍﻓﻴﺔ ﳌﺎ ﻓﻴﻬﺎ‬
‫ﻣﻦ ﺧﻮﺍﺭﻕ ﺇﺫﺍ ﻣﺎ ﺗﻮﻗﻒ ﰲ ﻣﺮﺣﻠﺔ ﻣﺎ ﻣﻦ ﺍﻟﺘﺎﺭﻳﺦ ﺍﻹﳝﺎﻥ ‪‬ﺎ ﻋﻠﻰ ﺃ‪‬ﺎ ﺣﻘﻴﻘﺔ‪ ،‬ﻛﻤﺎ ﺃﻥ ﺍﳌﻼﺣﻢ‬
‫ﻭ ﺍﻟﺒﻄﻮﻻﺕ ﺍﻟﱵ ﻋﺮﻓﻬﺎ ﺍﻹﻧﺴﺎﻥ ﻋﻠﻰ ﻣﺮ ﺍﻟﺰﻣﻦ‪ ،‬ﳝﻜﻦ ﺃﻥ ﺗﺘﺤﻮﻝ ﻫﻲ ﺍﻷﺧﺮﻯ ﺇﱃ ﺃﺳﺎﻃﲑ‬
‫ﻭ ﻫﻜﺬﺍ‪ ...‬ﻓﻤﺎ ﺩﺍﻡ ﺍﻟﺰﻣﻦ ﻣﺎﺽ ﰲ ﺗﻘﺪﻣﻪ ﺗﺘﺮﺍﺟﻊ ﻭﺍﺣﺪﺓ ﻟﺘﻔﺴﺢ ﺍ‪‬ﺎﻝ ﻟﻸﺧﺮﻯ ﻟﺘﺤﻞ ﳏﻠﻬﺎ‪ ،‬ﺃﻭ‬
‫ﻟﺘﻌﻮﺩ ﻛﻘﺼﺔ ﺷﻌﺒﻴﺔ ﰲ ﺷﻜﻠﻬﺎ ﺍﻷﻭﻝ‪.‬‬

‫ﻣﺎ ﺃﺭﻳﺪ ﺃﻥ ﺃﻗﻮﻟﻪ ﻫﻮ ﺃﻧﻪ ﺳﻮﺍﺀ ﻛﺎﻧﺖ ﺃﺳﻄﻮﺭﺓ ﺃﻭ ﺣﻜﺎﻳﺔ ﺧﺮﺍﻓﻴﺔ‪ ،‬ﺃﻭ ﻣﻠﺤﻤﺔ ﻟﻦ ﺗﺸﻜﻞ ﺃﻱ ﻓﺮﻕ*‬
‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻄﻔﻞ ﻋﻠﻰ ﺃﺳﺎﺱ ﻛﻤﺎ ﺃﺳﻠﻔﺖ ﻗﻠﺔ ﺧﱪﺗﻪ ﰲ ﻫﺬﺍ ﺍ‪‬ﺎﻝ ﲡﻌﻠﻪ ﻏﲑ ﻗﺎﺩﺭ ﻋﻠﻰ ﺍﻟﺘﻔﺮﻳﻖ ﺑﻴﻨﻬﺎ‬
‫ﻛﻠﻬﺎ‪ ،‬ﺣﺎﳌﺎ ﺗﻠﺞ ﺍﻷﺩﺏ‪ ،‬ﻭ ﺗﺼﺒﺢ ﻛﻞ ﻣﻨﻬﺎ ﺣﻜﺎﻳﺔ ﻣﺪﻫﺸﺔ ﺃﺧﺮﻯ ﻭ ﻣﻐﺎﻣﺮﺓ ﺟﺪﻳﺪﺓ ﺗﻀﻤﻦ ﻟﻪ ﺍﳌﺘﻌﺔ‬
‫ﻭ ﺍﻟﺘﺮﻓﻴﻪ ﻭ ﺗﺄﺧﺬﻩ ﺇﱃ ﻋﻮﺍﱂ ﺃﺧﺮﻯ ﻏﲑ ﺍﻟﻌﺎﱂ ﺍﻟﺬﻱ ﻳﻌﻴﺶ ﻓﻴﻪ‪ ،‬ﻭ ﻣﺎ ﳚﻌﻠﻪ ﺣﻘﺎ ﻳﻘﻴﻢ ﺑﻌﺾ ﺍﻟﻔﺮﻭﻕ‬
‫ﺑﻴﻨﻬﺎ ﻫﻮ ﻋﻨﺪﻣﺎ ﺗﻜﻮﻥ ﰲ ﻃﻮﺭﻫﺎ ﺍﻟﺸﻔﺎﻫﻲ‪ ،‬ﻓﺎﻷﺳﻄﻮﺭﺓ ﻣﺜﻼ ﻣﺎ ﻳﺰﺍﻝ ﺑﻌﺾ ﺍﻟﻨﺎﺱ ﻳﻌﺘﱪﻭ‪‬ﺎ ﻣﻌﺘﻘﺪﺍ‬
‫ﺩﻳﻨﻴﺎ ﻟﺬﻟﻚ ﻗﺪ ﻳﻘﺪﻣﻮ‪‬ﺎ ﻟﻠﻄﻔﻞ ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ‪ ،‬ﰲ ﺃﻣﺎﻛﻦ ﻣﻌﻴﻨﺔ ﻭ ﺃﻭﻗﺎﺕ ﻣﻌﻴﻨﺔ‪ ،‬ﺃﻣﺎ ﺍﻟﺒﺎﻗﻲ‬
‫ﻓﻴﻜﻮﻥ ﺇﻣﺎ ﰲ ﺷﻜﻞ ﻗﺼﺔ ﻣﺎ ﻗﺒﻞ ﺍﻟﻨﻮﻡ ﺃﻭ ﰲ ﳎﺎﻟﺲ ﲰﺮ ﻋﺎﺋﻠﻴﺔ‪ .‬ﻭ ﻛﻠﻬﺎ ﺗﺸﺘﺮﻙ ﰲ ﺿﺮﻭﺭﺓ ﺗﻘﺪﳝﻬﺎ‬
‫ﰲ ﺷﻜﻞ ﻣﻨﺎﺳﺐ ﻟﻌﻤﺮ ﻭ ﺗﻮﺟﻪ ﺍﻟﻄﻔﻞ ﻭ ﻟﻴﺲ ﰲ ﺷﻜﻠﻬﺎ ﺍﻷﺻﻠﻲ ﺍﻋﺘﺒﺎﺭﺍ ﻟﻌﺎﻣﻠﻲ ﺍﻟﺰﻣﻦ‬
‫ﻭ ﺍﻷﺣﺪﺍﺙ ﻛﻤﺎ ﺳﺒﻖ ﻭ ﺃﻥ ﺃﺷﺮﻧﺎ ﺇﻟﻴﻪ‪ ،‬ﻓﻤﻀﺎﻣﻴﻨﻬﺎ ﻟﻴﺴﺖ ﻛﻠﻬﺎ ﻣﻨﺎﺳﺒﺔ ﲤﺎﻣﺎ ﻟﻠﻜﺒﺎﺭ ﺣﱴ ﻓﻜﻴﻒ‬
‫ﺗﻜﻮﻥ ﻛﺬﻟﻚ ﻟﻠﺼﻐﺎﺭ‪.‬‬

‫*‪ -‬ﻭﺫﻟﻚ ﻷﻧﻪ ﻗﺪ ﻻ ﺗﻘﺪﻡ ﻟﻪ ﺑﺸﻜﻞ ﻣﺒﺎﺷﺮ ﻋﻠﻰ ﺃﺳﺎﺱ ﻣﺎﻫﻴﺘﻬﺎ ﻭ ﺇﳕﺎ ﺗﺴﺘﺤﻀﺮ ﺑﻌﺾ ﺭﻣﻮﺯﻫﺎ ﰲ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﻓﺘﻨﺪﻣﺞ ﻣﻌﻪ ﻭﻻ ﺗﺒﺪﻭ ﻣﻨﻬﺎ ﺇﻻ ﺑﻘﺪﺭ‬
‫ﻣﺎ ﻳﺴﻤﺢ ﺑﻪ ﺍﻟﻜﺎﺗﺐ‪ ،‬ﺃﻱ ﺑﻘﺪﺭ ﻣﺎ ﻳﻮﺻﻞ ﻓﻜﺮﺗﻪ‪.‬‬

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‫ﺍﻟﻔﻀﺎﺀ ﺍﻷﺳﻄﻮﺭﻱ ﻭ ﺍﻟﻄﻔﻞ‪:‬‬

‫ﻟﻴﺲ ﻣﻦ ﺍﳌﺴﺘﻐﺮﺏ ﺍﻟﺘﺄﻛﻴﺪ ﳎﺪﺩﺍ ﻋﻠﻰ ﺃﻥ ﺍﻟﻄﻔﻞ ﺃﻛﺜﺮ ﺍﺣﺘﻜﺎﻛﺎ ﺑﻌﺎﱂ ﺍﳋﻮﺍﺭﻕ ﻣﻦ ﺍﻟﺒﺎﻟﻎ‪ ،‬ﺇﺫ ﺗﺒﺪﺃ‬
‫ﺭﺣﻠﺘﻪ ﻣﻌﻪ ﰲ ﺳﻦ ﻣﺒﻜﺮﺓ ﺟﺪﺍ ﻣﻦ ﺧﻼﻝ ﻣﺎ ﺗﻠﻘﻴﻪ ﻋﻠﻰ ﻣﺴﺎﻣﻌﻪ ﺍﳉﺪﺓ ﺃﻭ ﺍﻷﻡ ﻣﻦ ﺍﻷﺧﺒﺎﺭ ﺍﻟﱵ‬
‫ﺗﻨﺎﻗﻠﺘﻬﺎ ﺍﻷﺟﻴﺎﻝ ﻋﻠﻰ ﻣﺮ ﺍﻟﻌﺼﻮﺭ‪ ،‬ﲣﺘﻠﻒ ﻣﻦ ﻣﻨﻄﻘﺔ ﺇﱃ ﺃﺧﺮﻯ ﻭ ﺣﱴ ﺩﺍﺧﻞ ﺍﻟﺒﻠﺪ ﺍﻟﻮﺍﺣﺪ‪ ،‬ﰲ‬
‫ﻭ ﻋﻦ‬ ‫ﺷﻜﻞ ﻗﺼﺺ ﻭ ﺣﻜﺎﻳﺎﺕ‪ ،‬ﻓﻜﻞ ﻃﻔﻞ ﲰﻊ ﻣﺎ ﲰﻊ ﻋﻦ ﺍﻟﻐﻴﻼﻥ‪ ،‬ﻭ ﺍﳉﻨﻴﺎﺕ ﻭ ﺍﻟﺴﺤﺮﺓ‪...‬‬
‫ﺍﳋﲑ ﻭ ﺍﻟﺸﺮ‪ ،‬ﰲ ﻗﺎﻟﺐ ﻣﺸﻮﻕ ﻣﻦ ﺍﳋﻴﺎﻝ‪ ،‬ﻭ ﰲ ﺧﻀﻢ ﻣﺎ ﻳﻨﺘﻬﻲ ﺇﱃ ﺃﲰﺎﻋﻪ ﺍﻷﺳﺎﻃﲑ‪ ،‬ﻭ ﺇﺫﺍ ﺃﺧﺬﻧﺎ‬
‫ﰲ ﻋﲔ ﺍﻻﻋﺘﺒﺎﺭ ﻗﺎﻟﺒﻬﺎ ﻭ ﺍﻟﺴﻴﺎﻕ ﺍﻟﺬﻱ ﺗﺮﺩ ﻓﻴﻪ ﻭ ﻓﺤﻮﺍﻫﺎ‪ ،‬ﻓﺈ‪‬ﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻪ ﳎﺮﺩ ﻗﺼﺔ ﻣﺸﻮﻗﺔ ﺃﺧﺮﻯ‪،‬‬
‫ﺑﻌﺎﳌﻬﺎ ﺍﳌﻤﻴﺰ ﻭ ﺍﻟﻐﺮﻳﺐ ﻭ ﺍﳌﺸﻮﻕ ﰲ ﺁﻥ ﻣﻌﺎ‪ " ،‬ﻓﺎﻟﻄﻔﻞ ﻻ ﻳﺴﺄﻝ ﻋﻦ ﻛﻴﻔﻴﺔ ﺣﺪﻭﺙ ﺍﻷﺷﻴﺎﺀ ﺑﻞ‬
‫ﻳﺘﻘﺒﻠﻬﺎ ﰲ ﺇﻃﺎﺭ ﻇﺮﻓﻴﺘﻬﺎ ﻭﻣﺮﻛﺒﺎ‪‬ﺎ ﺍﻟﺪﻻﻟﻴﺔ‪ ،‬ﻓﺎﳉﻤﺎﱄ ﻋﻨﺪﻩ ﻫﻮ ﺍﻟﺒﻘﺎﺀ ﺑﺎﻟﺪﻻﻟﺔ ﰲ ﺇﻃﺎﺭﻫﺎ ﺍﻟﻮﳘﻲ‪،‬‬
‫ﻭ ﻷﻥ ﻛﻞ ﺗﻔﺴﲑ ﻳﻜﺴﺮ ﺇﻳﻘﺎﻋﻴﺔ ﺍﻷﺷﻴﺎﺀ‪،‬ﻭﻳﺮﺟﻊ ﺑﻪ ﺇﱃ ﺃﺳﺮ ﺍﳊﻘﺎﺋﻖ‪ ،‬ﻭ ﺑﺬﻟﻚ ﻟﺪ ﰲ ﺣﻘﻞ ﺃﺩﺏ‬
‫ﺍﻷﻃﻔﺎﻝ ﺍﳊﻔﺎﻅ ﻋﻠﻰ ﺍﻟﺘﻘﻠﻴﺪ ﺍﻟﺸﻔﻮﻳﺔ ﺍﳌﻮﺳﻮﻣﺔ ﺑﺎﳍﺎﻟﺔ ﺍﻷﺳﻄﻮﺭﻳﺔ"‪ .1‬ﻓﺘﺠﺮﺑﺘﻪ ﺍﻟﻘﺼﲑﺓ ﰲ ﺍﳊﻴﺎﺓ‬
‫ﻭ ﺧﻠﻔﻴﺘﻪ ﺍﳌﺮﺟﻌﻴﺔ ﺍﳌﺘﻮﺍﺿﻌﺔ ﻓﻴﻤﺎ ﳜﺺ ﺗﺬﻭﻗﻪ ﻟﻸﺩﺏ ﺧﺼﻮﺻﺎ ﰲ ﻣﺮﺍﺣﻠﻪ ﺍﻟﻌﻤﺮﻳﺔ ﺍﻷﻭﱃ‪ ،‬ﻟﻦ‬
‫ﺗﺴﻤﺢ ﻟﻪ ﺑﺎﻟﻨﻈﺮ ﺇﱃ ﺍﻷﺳﺎﻃﲑ ﺃﺑﻌﺪ ﻣﻦ ﺫﻟﻚ ﺧﺼﻮﺻﺎ ﻭ ﺃ‪‬ﺎ ﺗﻘﺪﻡ ﺇﻟﻴﻪ ﻻ ﻋﻠﻰ ﺃﺳﺎﺱ ﺧﻠﻔﻴﺘﻴﻬﺎ‬
‫ﺍﻟﺪﻳﻨﻴﺔ ﻭ ﺍﻟﻌﻘﺎﺋﺪﻳﺔ ﺩﺍﺋﻤﺎ ﻭ ﺇﳕﺎ ﻋﻠﻰ ﺃﺳﺎﺱ ﺃ‪‬ﺎ ﻗﺼﺔ ﺃﻭ ﺣﻜﺎﻳﺔ ﺗﺮﻭﻯ ﻟﻪ ﳌﺘﻌﺘﻪ‪ ،‬ﻭ ‪‬ﺪﻑ ﺗﺮﺑﻮﻱ‬
‫ﳊﻤﻠﻪ ﻋﻠﻰ ﺍﻟﺘﺤﻠﻲ ﺑﻘﻴﻤﺔ ﺧﻠﻘﻴﺔ ﻣﺎ ﻗﺪ ﻻ ﻳﺪﺭﻯ ﻋﻨﻬﺎ ﻭ ﻟﻜﻦ ﺍﻟﻜﺒﺎﺭ ﺃﺭﺍﺩﻭﺍ ﺃﻥ ﻳﻮﺻﻠﻮﻫﺎ ﻟﻪ ﻣﻦ‬
‫ﺧﻼﻝ ﻫﺬﻩ ﺍﳊﻜﺎﻳﺔ‪ ،‬ﻭ ﻋﻠﻰ ﺣﺴﺐ ﻣﺎ ﺗﻮﺻﻠﻨﺎ ﺇﻟﻴﻪ ﻣﻦ ﺧﻼﻝ ﺩﺭﺍﺳﺘﻨﺎ ﻟﺒﻌﺾ ﺟﻮﺍﻧﺐ ﺍﻷﺳﻄﻮﺭﺓ‪،‬‬
‫ﻓﺈ‪‬ﺎ ﻟﻦ ﲣﻠﻖ ﻟﻪ ﺇﺷﻜﺎﻻ ﻛﺒﲑﺍ* ﻻ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﳌﻮﺍﺿﻴﻊ ﺍﻟﱵ ﺗﺘﻄﺮﻕ ﺇﻟﻴﻬﺎ ﻭ ﻻ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻟﻌﺎﱂ‬
‫ﺍﻟﺬﻱ ﺗﺄﺧﺬﻩ ﺇﻟﻴﻪ‪ ،‬ﻓﻴﺼﺒﺢ ﻹﻟﻪ "ﺯﻭﺱ" ﻣﺜﻼ ﺑﻄﻼ ﺧﺎﺭﻗﺎ ﺫﻭ ﻗﺪﺭﺍﺕ ﻋﺠﻴﺒﺔ‪ ،‬ﻭ ﺗﺼﺒﺢ ﺃﺳﻄﻮﺭﺓ ﺍﳋﻠﻖ‬
‫ﺻﺮﺍﻋﺎ ﺑﲔ ﺍﳋﲑ ﻭ ﺍﻟﺸﺮ‪ ،‬ﻭ ﺍﻟﺴﻠﻄﺔ ﺗﺆﻭﻝ ﻟﻸﻗﻮﻯ ﰲ ﻫﺬﺍ ﺍﻟﺼﺮﺍﻉ‪ ،‬ﻭ ﺍﳋﺎﺳﺮ ﻳﻨﺴﺤﺐ‪ .‬ﻓﻌﻠﻰ‬

‫‪ -1‬ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭ ﻋﻤﻴﺶ‪ :‬ﻡ‪.‬ﺱ‪.‬ﺹ ‪.16‬‬

‫*‪ -‬ﻫﻨﺎ ﻋﻠﻰ ﺃﻥ ﺃﺷﺪﺩ ﻋﻠﻰ ﺃﻧﲏ ﻗﺼﺪ ﺍﻷﺳﺎﻃﲑ ﺍﻷﺩﺑﻴﺔ ﰲ ﺷﻜﻠﻬﺎ ﺍﳌﻬﺬﺏ ﻷ‪‬ﺎ ﰲ ﺷﻜﻠﻬﺎ ﺍﻷﺻﻠﻲ ﻗﺪ ﻻ ﺗﻨﺎﺳﺒﻪ ﺩﺍﺋﻤﺎ‪.‬‬

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‫ﻋﻜﺲ ﺍﻟﻜﺒﺎﺭ ﺍﻟﺬﻳﻦ ﳛﺎﻭﻟﻮﻥ ﺩﺍﺋﻤﺎ ﺇﺭﺟﺎﻉ ﺍﻷﻣﻮﺭ ﺇﱃ ﺃﺻﻮﳍﺎ ﻓﺈﻧﻪ ﻳﻘﺒﻞ ﺑﺎﻷﻣﺮ ﻛﻤﺎ ﻫﻮ ﺷﺮﻁ ﺃﻥ‬
‫ﻳﻌﻴﺸﻪ ﻭ ﻳﺮﺍﻩ ﺣﺴﺒﻤﺎ ﻳﺮﻳﺪ ﻭ ﻳﺸﺎﺭﻙ ﰲ ﺗﻄﻮﻳﺮﻩ‪ ،‬ﺇﺫ ﻻ ﻳﻬﻤﻪ ﺇﺻﻼﺡ ﺍﻟﻌﺎﱂ ﺃﻭ ﺗﺮﻗﻴﺔ ﺍﳊﻴﺎﺓ ﺍﻟﺒﺸﺮﻳﺔ‬
‫ﺃﻭ ﺃﻱ ﻣﻦ ﺍﻷﻣﻮﺭ ﺍﻟﱵ ﻳﻬﺘﻢ ﳍﺎ ﺍﻟﻜﺒﺎﺭ ﻓﻜﻞ ﻣﺎ ﻳﻬﻤﻪ ﻣﻦ ﺍﻷﻣﺮ ﺍﳌﺘﻌﺔ ﻭ ﺷﻌﻮﺭﻩ ﺑﺎﻟﺴﻴﻄﺮﺓ ﻭ ﺍﻟﺘﺤﻜﻢ‬
‫ﰲ ﳎﻤﻞ ﻣﺎ ﻳﻌﺮﺿﻪ ﻫﺬﺍ ﺍﻟﻌﺎﱂ‪ ،‬ﻭ ﻻ ﻳﻌﺪﻭ ﺍﻷﻣﺮ ﺫﻟﻚ ﻓﻔﻲ ﺍﻷﻏﻠﺐ ﻓﺈﻥ ﺍﻫﺘﻤﺎﻣﺎﺗﻪ ﻻ ﺗﺘﺠﺎﻭﺯ ﺣﺪﻭﺩ‬
‫ﳏﻴﻄﻪ ﺍﻟﻀﻴﻖ‪ ،‬ﻭ ﻋﺎﱂ ﺍﻷﺳﻄﻮﺭﺓ ﻋﺎﱂ ﻣﻐﺮ ﻓﻬﻮ ﻳﻌﺮﺽ ﻋﻠﻰ ﺍﻟﻄﻔﻞ ﺍﻟﺘﺸﻮﻳﻖ ﻭ ﺍﻹﺛﺎﺭﺓ ﻭ ﺍﻟﻐﻤﻮﺽ‪،‬‬
‫ﻭ ﻗﺪ ﻳﺘﺨﲑ ﺍﻟﻜﺒﺎﺭ ﻣﻦ ﺍﻷﺳﺎﻃﲑ ﻣﺎ ﻳﻨﺎﺳﺐ ﻋﻤﺮ ﻭ ﻗﺪﺭﺓ ﺍﻟﻄﻔﻞ ﻋﻠﻰ ﺍﻻﺳﺘﻴﻌﺎﺏ ﺇﺫ ﳚﺐ ﺃﻥ ﻻ ﻧﻨﻜﺮ‬
‫ﺃﻥ ﻣﻨﻬﺎ ﻣﺎ ﻳﻨﺎﺳﺐ ﻭ ﻣﻨﻬﺎ ﻣﺎ ﻳﻌﺘﱪ ﻣﺘﻘﺪﻣﺎ ﻋﻠﻰ ﻋﻘﻠﻴﺔ ﺍﻟﻄﻔﻞ ﻭ ﻗﺪﺭﺗﻪ ﻋﻠﻰ ﺍﻟﺘﺤﻠﻴﻞ ﻭ ﺍﻻﺳﺘﻴﻌﺎﺏ‪،‬‬
‫ﻭ ﻏﺎﻟﺐ ﻣﺎ ﺗﻜﻮﻥ ﺍﻷﺳﺎﻃﲑ ﳑﺎ ﺗﻠﻘﻰ ﻋﻠﻰ ﺃﲰﺎﻋﻪ ﻣﻦ ﺍﻟﻨﻮﻉ ﺍﻟﺬﻱ ﳛﻤﻞ ﻗﻴﻤﺎ ﺗﺮﺑﻮﻳﺔ‪ ،‬ﻭ ﻟﻜﻦ ﺗﺒﻘﻰ‬
‫ﺍﻟﻌﻼﻗﺔ ﻗﺎﺋﻤﺔ ﺑﻴﻨﻬﻤﺎ ﻋﻠﻰ ﺃﺳﺎﺱ ﻣﻌﲔ ﻭ ﻟﻜﻲ ﳝﻜﻨﻨﺎ ﻓﻬﻢ ﻃﺒﻴﻌﺔ ﻫﺬﻩ ﺍﻟﻌﻼﻗﺔ ﺑﻴﻨﻬﻤﺎ ﻋﻠﻴﻨﺎ ﺩﺭﺍﺳﺘﻬﺎ‬
‫ﻣﻦ ﺧﻼﻝ ﺍﻟﻨﻘﺎﻁ ﺍﻟﺘﺎﻟﻴﺔ ﺍﻟﱵ ﺗﻌﺘﱪ ﺍﳌﻨﺎﻃﻖ ﺍﻟﱵ ﻳﺘﻢ ﺍﻟﻠﻘﺎﺀ ﻣﻦ ﺧﻼﳍﺎ ﻭ ﻋﻠﻰ ﺃﺳﺎﺳﻬﺎ‪:‬‬

‫‪ -1‬ﺍﻟﺮﻣﺰ ﺍﻷﺳﻄﻮﺭﻱ*‪:‬‬
‫ﺇﻥ ﻛﻞ ﻣﺎ ﻳﺴﺘﺨﺪﻡ ﰲ ﺍﻷﺳﻄﻮﺭﺓ ﻛﺄﺩﺍﺓ ﺗﻌﺒﲑﻳﺔ ﺇﻻ ﻭ ﻳﻠﺤﻖ ﺑﻪ ﻃﺎﻗﺔ ﺭﻣﺰﻳﺔ ﻣﺎ ﺑﺸﻜﻞ ﺃﻭ‬
‫ﺑﺂﺧﺮ‪ ،‬ﺇﺫ ﻟﻄﺎﳌﺎ ﻛﺎﻧﺖ ﺍﻷﺳﺎﻃﲑ ﻣﺼﺪﺭ ﺇﳛﺎﺀﺍﺕ‪ ،‬ﻭ ﺃﺑﻌﺎﺩ ﻓﻜﺮﻳﺔ ﺗﻨﺤﻰ ﺷﻴﺌﺎ ﻓﺸﻴﺌﺎ ﻋﻦ‬
‫ﺍﳌﺼﺮﺡ ﺑﻪ‪ ،‬ﻓﻔﻲ ﺣﺎﻟﺔ ﺍﻟﻄﻔﻞ ﻗﺪ ‪‬ﺪﻑ ﺇﱃ ﺃﺑﻌﺎﺩ ﻛﺜﲑﺓ ﻭ ﻟﻜﻨﻬﺎ ﰲ ﳎﻤﻠﻬﺎ ﺫﺍﺕ ﺃﻫﺪﺍﻑ‬
‫ﺗﺮﺑﻮﻳﺔ ﻻ ﲣﻠﻮ ﻣﻦ ﺑﻌﺾ ﺍﳌﺘﻌﺔ‪ ،‬ﺇﺫ ﳝﻜﻦ ﺍﺳﺘﻐﻼﻝ ﺧﻴﺎﻟﻪ ﺍﳋﺼﺐ ﰲ ﺍﻻﻧﺘﻘﺎﻝ ﺑﲔ ﻋﺎﳌﲔ‪،‬‬
‫ﺑﲔ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻭ ﻣﺎ ﻓﻮﻕ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﺩﻭﻥ ﺃﻥ ﻳﻮﺟﺪ ﰲ ﺍﻷﻣﺮ ﺣﺮﺝ ﻣﺎ‪ ،‬ﻓﺘﺘﻨﻮﻉ ﺍﻟﺸﺨﻮﺹ ﺑﲔ‬
‫ﺣﻘﻴﻘﻴﺔ ﺃﻭ ﺧﺎﺭﻗﺔ‪ ،‬ﻭ ﲢﻤﻴﻠﻬﺎ ﺑﺪﻻﻻﺕ ﳐﺘﻠﻔﺔ ﺗﺮﺳﺦ ﰲ ﺫﻫﻦ ﺍﻟﻄﻔﻞ ﲟﺠﺮﺩ ﺃﻥ ﻳﺘﻌﻮﺩ ﻋﻠﻰ‬
‫ﺍﻟﻘﺮﺍﺀﺓ ﻭ ﻳﺄﻟﻒ ﻭﺟﻮﺩﻫﺎ ﰲ ﳐﺘﻠﻒ ﻣﺎ ﻳﻘﺮﺃ‪ ،‬ﺃﻭ ﻣﺎ ﻳﻌﺮﺽ ﻋﻠﻴﻪ ﻣﻦ ﻗﺼﺺ‪ ،‬ﻭﺣﻜﺎﻳﺎﺕ‪.‬‬
‫ﻓﻬﻨﺎﻙ ﺃﻣﺮﺍﻥ ﺃﻭﳍﻤﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺸﺨﻮﺹ ﺍﳊﻘﻴﻘﻴﺔ‪ :‬ﻗﺪ ﺗﻜﻮﻥ ﳑﺎ ﳛﻴﻂ ﺑﺎﻟﻄﻔﻞ ﻣﻦ ﺑﺸﺮ ﺃﻭ‬
‫ﺣﻴﻮﺍﻧﺎﺕ‪ ،‬ﺃﻭ ﺃﺷﻴﺎﺀ‪ ،‬ﺃﻭ ﻣﺎ ﻳﻜﻮﻥ ﻗﺪ ﻗﺮﺃ ﺃﻭ ﲰﻊ ﻋﻨﻪ‪ ،‬ﻭ ﻫﻨﺎ ﺗﻠﻌﺐ ﺧﱪﺗﻪ ﺍﻟﻘﺼﲑﺓ ﰲ ﺍﳊﻴﺎﺓ‬
‫*‪ -‬ﻳﻨﻈﺮ‪:‬‬
‫‪ -‬ﳏﻤﺪ ﻋﺠﻴﻨﺔ ﻡ‪.‬ﺱ‪ .‬ﺹ‪155-154‬‬

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‫ﺩﻭﺭﺍ ﻣﻬﻤﺎ ﰲ ﺗﻔﺎﻋﻠﻪ ﻣﻊ ﻣﺎ ﻳﻘﺮﺃ‪ ،‬ﻭ ﺗﺮﺳﻴﺦ ﺭﻣﻮﺯﻫﺎ‪ ،‬ﺃﻭ ﺗﻜﻮﻥ ﻣﻦ ﺍﳋﻮﺍﺭﻕ ﻣﻦ ﺍﳊﻴﻮﺍﻧﺎﺕ‬
‫ﻭ ﺃﻧﺼﺎﻑ ﺍﳊﻴﻮﺍﻧﺎﺕ‪ ،‬ﺃﻭ ﺍﻟﺒﺸﺮ‪ ،‬ﺃﻭ ﺃﻧﺼﺎﻑ ﺍﻟﺒﺸﺮ‪ ،‬ﻭ ﻏﲑﻫﺎ ﳑﺎ ﳝﻜﻦ ﺃﻥ ﻧﺆﻟﻔﻪ ﻣﻦ ﻣﺰﺝ‬
‫ﺍﳉﻨﺴﲔ‪ ،‬ﺃﻭ ﺣﱴ ﻣﺰﺟﻬﻤﺎ ﻣﻊ ﻋﻨﺎﺻﺮ ﺍﻟﻄﺒﻴﻌﺔ‪ ،‬ﻭ ﻫﻨﺎ ﻳﻜﻮﻥ ﺍﻟﺪﻭﺭ ﺍﻷﻫﻢ ﰲ ﺗﻔﻌﻴﻞ ﺍﻟﻠﻘﺎﺀ ﺑﲔ‬
‫ﻫﺬﺍ ﺍﻟﻌﺎﱂ ﻭ ﺍﻟﻄﻔﻞ‪ ،‬ﳌﺎ ﻳﻜﻮﻥ ﻗﺪ ﺗﻨﺎﻫﻰ ﺇﱃ ﺃﲰﺎﻋﻪ ﳑﺎ ﻗﺼﻪ ﻋﻠﻴﻪ ﺍﻷﻫﻞ ) ﺍﳉﺪﺓ‪ ،‬ﺍﳉﺪ‪ ،‬ﺍﻷﻡ‪،‬‬
‫ﺃﻭ ﺍﻷﺏ(‪ ،‬ﻭ ﺍﻟﺬﻱ ﻳﺆﺳﺲ ﺍﻷﺭﺿﻴﺔ ﺍﳋﺼﺒﺔ ﺍﻟﱵ ﻳﻨﻄﻠﻖ ﻣﻨﻬﺎ ﺍﻟﻄﻔﻞ ﺇﱃ ﻫﺬﺍ ﺍﻟﻌﺎﱂ‪،‬‬
‫ﻭ ﺫﻟﻚ ﺇﻣﺎ ﰲ ﺇﻃﺎﺭﻩ ﺍﻟﺪﻳﲏ‪ ،‬ﻭ ﻫﻨﺎ ﳜﺘﻠﻒ ﻣﻦ ﳎﺘﻤﻊ ﺇﱃ ﺁﺧﺮ ﺑﺎﺧﺘﻼﻑ ﺍﳌﻨﻈﻮﺭ ﺍﻟﺪﻳﲏ‬
‫ﻭ ﺍﻟﻌﻘﺎﺋﺪﻱ‪ ،‬ﺃﻭﰲ ﺇﻃﺎﺭ ﺗﺮﻓﻴﻬﻲ ﺗﺮﺑﻮﻱ‪ .‬ﻭ ﻫﻨﺎ ﻳﻠﻌﺐ ﺧﻴﺎﻝ ﺍﻟﻄﻔﻞ ﺍﻟﺪﻭﺭ ﺍﳉﻮﻫﺮﻱ ﰲ ﻭﺻﻠﻪ‬
‫‪‬ﺬﺍ ﺍﻟﻌﺎﱂ‪ ،‬ﻓﺎﻟﺸﺨﺼﻴﺎﺕ ﺧﺎﺭﺝ ﺇﻃﺎﺭﻫﺎ ﺍﻷﺳﻄﻮﺭﻱ‪ ،‬ﻫﻲ ﳎﺮﺩ ﻛﺎﺋﻨﺎﺕ ﺧﺮﺍﻓﻴﺔ‪ ،‬ﻣﻦ ﺻﻨﻊ‬
‫ﺍﳋﻴﺎﻝ‪ ،‬ﻟﺬﻟﻚ ﻣﻬﻤﺎ ﻛﺎﻥ ﺷﻜﻠﻬﺎ ﻓﻠﻦ ﻳﺼﻌﺐ ﻋﻠﻴﻪ ﰲ ﺍﻋﺘﻘﺎﺩﻱ ﺍﻟﺘﻔﺎﻋﻞ ﻣﻌﻬﺎ‪ ،‬ﻭ ﻳﺘﻮﺿﺢ‬
‫ﺍﻷﻣﺮ ﻣﻦ ﺧﻼﻝ ﻣﺜﺎﻝ‪ 1‬ﺑﺴﻴﻂ‪:‬‬
‫ﻓﺸﺨﺼﻴﺔ "ﺍﻟﻌﻤﻼﻕ"‪ ،‬ﻛﺎﻧﺖ ﰲ ﺑﻌﺾ ﺍﻷﺳﺎﻃﲑ ﺍﻟﻘﺪﳝﺔ ﺍﻟﻌﻮﻥ ﺍﻟﺬﻱ ﳉﺄﺕ ﺇﻟﻴﻪ ﺍﻹﳍﺔ ﺍﻷﻡ‬
‫"ﺟﻴﺎ" ﺍﻷﺭﺽ ﳌﻮﺍﺟﻬﺔ ﺍﻵﳍﺔ ﺍﻟﺬﻛﻮﺭ ﺣﻴﻨﻤﺎ ﺛﺎﺭﻭﺍ ﺿﺪﻫﺎ‪ ،‬ﻭ ﺻﻮﺭ ﻋﻠﻰ ﺃﻧﻪ ﺷﺒﻪ ﺑﺸﺮﻱ‪،‬‬
‫ﺃﺣﺎﺩﻱ ﺍﻟﻌﲔ‪ ،‬ﺑﻠﻴﺪ‪ ،‬ﺿﺨﻢ ﺍﳉﺜﺔ‪ ،‬ﻏﲑ ﻣﺘﻨﺎﺳﻖ ﺍﳉﺴﻢ‪ ،‬ﺫﻭ ﻗﻮﺓ ﺑﺪﻧﻴﺔ ﻫﺎﺋﻠﺔ‪ ،‬ﻭﺷﻬﻴﺔ ﻣﻔﺘﻮﺣﺔ‪،‬‬
‫ﺣﻴﺚ ﻳﺘﻨﺎﻭﻝ ﻛﻞ ﻣﺎ ﺗﺼﻞ ﺇﻟﻴﻪ ﻳﺪﺍﻩ ﻣﻦ ﻛﺎﺋﻨﺎﺕ ﲟﻦ ﻓﻴﻪ ﺍﻟﺒﺸﺮ‪ ،‬ﻭ ﻟﻮ ﻻﺣﻈﻨﺎ ﻣﻌﺎ ﺷﺨﺼﻴﺔ‬
‫ﺍﻟﻌﻤﺎﻟﻘﺔ ﻣﻦ ﺧﻼﻝ ﺍﻷﺳﺎﻃﲑ ﺍﻟﻘﺪﳝﺔ‪ ،‬ﳒﺪ ﺃ‪‬ﺎ ﻟﻄﺎﳌﺎ ﻛﺎﻧﺖ ﻣﺴﲑﺓ‪ ،‬ﺣﻴﺚ ﺧﻠﻖ ﰲ ﺭﺣﻢ‬
‫ﺍﻷﺭﺽ ﺑﻌﻴﺪﺍ ﻋﻦ ﺩﺍﺋﺮﺓ ﺍﻟﺼﺮﺍﻉ‪ ،‬ﻭ ﺧﺮﺝ ﺇﱃ ﻋﺎﱂ ﺟﺪﻳﺪ ﻻ ﻳﻌﺮﻑ ﻣﻦ ﻣﻌﺎﳌﻪ ﻏﲑ ﻣﺎ ﻳﺆﻣﺮ‬
‫ﻟﻔﻌﻠﻪ‪ ،‬ﰒ ﺇﻧﻪ ﺧﻠﻖ ﻟﺴﺒﺐ ﳏﺪﺩ‪ ،‬ﻭ ﻫﻮ ﲪﺎﻳﺔ ﺍﻹﳍﺔ ﺍﻷﻡ‪ ،‬ﻭ ﻣﺎ ﻳﻌﲏ ﺃﻥ ﻟﻪ ﻋﺎﻃﻔﺔ ﺃﻳﻀﺎ‪،‬‬
‫ﺑﺎﻋﺘﺒﺎﺭ ﺃﻧﻪ ﳛﺎﻭﻝ ﲪﺎﻳﺔ ﺃﻣﻪ‪ ،‬ﻭﻫﻮ ﻧﺼﻒ ﺍﻟﻪ ﺃﻳﻀﺎ‪ .‬ﻭ ﻧﻼﺣﻆ ﺃﻧﻪ ﻛﻠﻤﺎ ﺧﺮﺝ ﻣﻦ ﺑﻴﺌﺘﻪ ﺍﺑﺘﻌﺪ‬
‫ﻋﻦ ﺟﺎﻧﺐ ﻣﻦ ﺟﻮﺍﻧﺐ ﺷﺨﺼﻴﺘﻪ ﺍﻷﺳﻄﻮﺭﻳﺔ ﻭﺫﻟﻚ ﺣﺴﺐ ﻣﻘﺎﺻﺪ ﺍﻟﻜﺎﺗﺐ‪ ،‬ﻓﻤﺜﻼ ﰲ ﻗﺼﺔ‬
‫ﺍﻷﺧﻮﺍﻥ ﻏﺮﱘ ﺍﳌﻌﻨﻮﻧﺔ ﺏ" ﺟﺎﻙ ﻭ ﺍﻟﻠﻮﺑﻴﺎﺀ ﺍﻟﻌﺠﻴﺒﺔ"‪ ،‬ﺻﻮﺭ ﻋﻠﻰ ﺃﺳﺎﺱ ﺃﻧﻪ ﺷﺮﻳﺮ‬
‫ﻓﺮﺍﺱ ﺍﻟﺴﻮﺍﺡ‪ " :‬ﻟﻐﺰ ﻋﺸﺘﺎﺭ ﺍﻷﻟﻮﻫﺔ ﺍﳌﺆﻧﺜﺔ" ‪ ،‬ﺇﻧﻪ ﺇﱃ ﺟﺎﻧﺐ ﺳﺮﺩ ﻧﺸﺄﺕ ﺍﻷﺳﻄﻮﺭﺓ ﻳﺄﰐ ﻋﻠﻰ ﺫﻛﺮ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﺮﻣﻮﺯ ﻣﻦ ﺑﻴﻨﻬﺎ‬ ‫‪-1‬‬
‫ﺍﻟﻌﻤﺎﻟﻘﺔ ﰲ ﺷﻜﻠﻬﺎ ﺍﻷﺳﻄﻮﺭﻱ‪ ،‬ﺣﻴﺚ ﻳﺼﻒ ﻛﻴﻒ ﻇﻬﺮﺕ ﻭ ﳌﺎﺫﺍ‪.‬‬

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‫ﻏﱯ‪ ،‬ﻢ ﻓﻘﻂ‪ ،‬ﻛﻤﺎ ﺃﻧﻪ ﺍﻧﺘﻘﻞ ﻣﻦ ﻛﻮﻧﻪ ﻣﻦ ﺃﻧﺼﺎﻑ ﺍﻵﳍﺔ ﺇﱃ ﻛﻮﻧﻪ ﻛﺎﺋﻨﺎ ﺧﺮﺍﻓﻴﺎ‪.‬‬
‫ﻣﺎ ﺃﺭﻳﺪ ﻗﻮﻟﻪ ﺃﻥ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻷﺳﻄﻮﺭﻳﺔ ﻣﻬﻤﺎ ﻛﺎﻥ ﺍﻟﺪﻭﺭ ﺍﻟﺬﻱ ﺗﻠﻌﺒﻪ ﺩﺍﺧﻞ ﺍﻷﺳﻄﻮﺭﺓ‪،‬‬
‫ﻓﻬﻲ ﺧﺎﺭﺟﻬﺎ ﳎﺮﺩ ﻛﺎﺋﻨﺎﺕ ﺧﺮﺍﻓﻴﺔ ﻭﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ ﻓﺈﻥ ﺃﻱ ﻛﺎﺋﻦ ﺃﺳﻄﻮﺭﻱ ﳝﻜﻦ ﺃﻥ‬
‫ﻳﺼﺒﺢ ﺧﺮﺍﰲ‪ ،‬ﻛﻤﺎ ﳝﻜﻦ ﺃﻥ ﻳﺘﺤﻮﻝ ﻛﻞ ﻛﺎﺋﻦ ﺧﺮﺍﰲ ﺇﱃ ﺃﺳﻄﻮﺭﻱ‪ ،‬ﻭ ﻫﺬﺍ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻄﻔﻞ‬
‫ﻻ ﻳﺸﻜﻞ ﺃﻱ ﻣﺸﻜﻠﺔ‪ ،‬ﻓﻜﻞ ﻛﺎﺋﻦ ﻋﻨﺪﻩ ﺧﺮﺍﰲ‪ ،‬ﻋﻠﻰ ﻋﻜﺲ ﺍﻟﺒﺎﻟﻎ‪.‬‬
‫‪ -2‬ﺍﻟﻔﻀﺎﺀ ﺍﳌﺘﺨﻴﻞ*‪:‬‬

‫ﳝﻜﻦ ﻟﻌﻤﻞ ﺃﺩﰊ ﻣﻮﺟﻪ ﺃﺳﺎﺳﺎ ﻟﻠﻘﺎﺭﺉ ﺍﻟﺼﻐﲑ ﺃﻥ ﻳﻘﻴﻢ ﺑﻨﺎﺀﻩ ﻋﻠﻰ ﺃﺳﺎﺱ ﺃﺳﻄﻮﺭﻱ‪ ،‬ﺣﻴﺚ ﻳﻜﻮﻥ‬
‫ﻛﻞ ﻣﻦ ﺍﳋﻴﺎﻝ ﻭ ﺍﻟﻮﺍﻗﻊ ﻭ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﺑﻨﺎﺀ ﻭﺍﺣﺪ‪ ،‬ﻓﻴﻨﺘﺞ ﻋﻦ ﺫﻟﻚ ﻋﺎﱂ ﻣﺘﺠﺎﻧﺲ‪ ،‬ﺣﻴﺚ ﻳﻨﺘﻘﻞ‬
‫ﻣﻦ ﺍﻟﻮﺍﻗﻊ ﺇﱃ ﺍﻷﺳﻄﻮﺭﺓ ﺑﺴﻼﺳﺔ ﺗﻮﻓﺮﻫﺎ‪ ،‬ﻗﻮﺓ ﺍﳋﻴﺎﻝ ﻛﻤﺎ ﲡﻌﻠﻬﺎ‪ ،‬ﻧﻔﺲ ﺍﻟﻘﻮﻯ ﻣﻘﺒﻮﻟﺔ ﻛﺤﻘﻴﻘﺔ‬
‫ﺩﺍﺧﻞ ﺇﻃﺎﺭ ﺍﻟﻌﻤﻞ‪ ،‬ﻣﺎﺩﺍﻣﺖ ﺣﺒﻴﺴﺔ ﺯﻭﺍﻳﺎﻩ‪ ،‬ﻓﺎﻷﺳﻄﻮﺭﺓ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻄﻔﻞ ﺃﻭ ﻋﻨﺪ ﻏﲑ ﺃﻫﻠﻬﺎ ﻭﺟﻪ‬
‫ﺁﺧﺮ ﻣﻦ ﻭﺟﻮﻩ ﺍﳋﻴﺎﻝ‪ ،‬ﻓﻌﻨﺪﻣﺎ ﻳﻌﺮﺽ ﻋﻠﻰ ﺍﻟﻄﻔﻞ ﻋﺎﱂ ﻣﻦ ﺍﻟﻐﻴﺒﻴﺎﺕ ﰲ ﺷﻜﻞ ﻋﻤﻞ ﺃﺩﰊ‪،‬‬
‫ﺑﺸﺨﺼﻴﺎﺗﻪ ﻣﻦ ﺍﻵﳍﺔ ﻭ ﻣﺎ ﺗﻘﻮﻡ ﺑﻪ ﻣﻦ ﺑﻄﻮﻻﺕ ﺗﺎﺭﺓ‪ ،‬ﻭ ﻣﻦ ﺃﻋﺎﺟﻴﺐ ﺗﺎﺭﺓ ﺃﺧﺮﻯ‪ ،‬ﺣﻴﺚ ﲤﻠﻚ‬
‫ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺍﻟﺘﻐﻴﲑ ﺍﻟﱵ ﻳﻔﺘﻘﺪﻫﺎ ﺍﻟﻄﻔﻞ‪ ،‬ﻳﻌﻴﺶ ﺃﺣﺪﺍﺛﻬﺎ ﻭ ﻳﻨﺪﻣﺞ ﻣﻊ ﺷﺨﻮﺻﻬﺎ‪،‬‬
‫ﻏﲑ ﻗﺎﺩﺭ ﻋﻠﻰ ﻣﻘﺎﻭﻣﺔ ﺍﻹﻏﺮﺍﺀ ﺍﻟﺬﻱ ﳝﺜﻠﻪ ﻫﺬﺍ ﺍﻟﻌﺎﱂ ﺍﳌﻌﻘﺪ ﰲ ﺍﳌﺸﺎﻛﻞ ﺍﻟﱵ ﻳﻌﺮﺿﻬﺎ‪ ،‬ﺃﻭ ﺣﱴ‬
‫ﺍﳊﻠﻮﻝ ﺍﻟﱵ ﻳﻔﺘﺮﺽ ﺃ‪‬ﺎ ﺗﻨﻬﻲ ﺍﻟﱰﺍﻋﺎﺕ ﻭ ﲢﻞ ﺍﻟﺴﻼﻡ ﺑﲔ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻣﻦ ﺍﳊﻴﻮﺍﻧﺎﺕ‪،‬‬
‫ﻭ ﺍﻟﺒﺸﺮ‪ ،‬ﻭ ﺍﻵﳍﺔ‪ ،‬ﻭ ﺣﱴ ﺃﻧﺼﺎﻑ ﻫﺆﻻﺀ‪ ،‬ﻭ ﺃﻧﺼﺎﻑ ﺃﻟﺌﻚ‪ ،‬ﺇﱃ ﺟﺎﻧﺐ ﺃﻥ ﺟﺰﺀﺍ ﻣﻦ ﺳﺤﺮﻫﺎ‬
‫ﻳﺘﻤﺜﻞ ﰲ ﺃ‪‬ﺎ ﻧﺎﻓﺬﺓ ﻣﻄﻠﺔ ﻋﻠﻰ ﻋﺎﱂ ﺍﻟﻜﺒﺎﺭ ﺍﻟﺬﻱ ﻳﺘﻮﻕ ﺍﻟﺼﻐﺎﺭ ﺇﱃ ﺍﻛﺘﺸﺎﻓﻪ‪ ،‬ﻭ ﺍﻟﻌﻴﺶ ﺣﺴﺐ‬
‫ﻗﻮﺍﻧﻴﻨﻪ‪.‬‬

‫ﺍﻋﺘﺒﺎﺭ ﺍﻷﺳﻄﻮﺭﺓ ﻛﻔﻀﺎﺀ ﻣﺘﺨﻴﻞ ‪‬ﺬﺍ ﺍﻹﻃﺎﺭ ﻧﻔﺴﻪ ﻳﻨﻘﻠﻬﺎ ﻣﻦ ﺃﺳﻄﺮ‪‬ﺎ ﺇﱃ ﳎﺮﺩ ﻋﺎﱂ ﺧﻴﺎﱄ ﻳﺘﻔﺎﻋﻞ ﺩﺍﺧﻠﻪ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻜﺎﺋﻨﺎﺕ ﺍﳋﺮﺍﻓﻴﺔ‬ ‫*‪-‬‬
‫ﻭ ﺑﺎﻟﺘﺎﱄ ﻳﺘﻢ ﺍﻟﻠﻘﺎﺀ ﺑﻴﻨﻬﺎ ﻭ ﺑﲔ ﺍﻟﻄﻔﻞ ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ ﻣﻦ ﺧﻼﻝ ﻣﺎ ﺗﻌﺮﺿﻪ ﻣﻦ ﺃﺣﺪﺍﺙ ﺧﻴﺎﻟﻴﺔ ﻻ ﺃﻛﺜﺮ‪.‬‬

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‫ﺍﳋﻴﺎﻝ ﻭ ﺍﻟﺘﺸﻮﻳﻖ ﳘﺎ ﺍﻟﻌﺎﻣﻼﻥ ﺍﻷﺳﺎﺳﻴﺎﻥ‪ ،‬ﻭ ﺍﻟﻔﺎﻋﻼﻥ ﰲ ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ‪ ،‬ﻭ ﺑﺎﻟﻨﺴﺒﺔ ﳍﺬﻩ ﺍﻟﻔﺌﺔ‬
‫ﲢﺘﻮﻱ ﺍﻷﺳﻄﻮﺭﺓ ﺑﻐﺾ ﺍﻟﻨﻈﺮ ﳋﻠﻔﻴﺎ‪‬ﺎ ﺍﻟﺘﺎﺭﳜﻴﺔ ﻭ ﺍﻟﻌﻘﺎﺋﺪﻳﺔ ﻭ ﺑﻜﻞ ﻣﺎ ﺗﻠﻘﻲ ﺑﻪ ﻣﻦ ﻇﻼﻝ ﻋﻠﻰ‬
‫ﺍﻟﻌﻘﻠﻴﺔ ﺍﻟﺒﺸﺮﻳﺔ‪ ،‬ﻛﻞ ﺍﻟﺘﺸﻮﻳﻖ ﻭ ﻛﻞ ﺍﳋﻴﺎﻝ‪ ،‬ﻓﻔﻲ ﻋﺎﱂ ﺍﻷﺳﻄﻮﺭﺓ ﳝﻜﻦ ﺃﻥ ﳒﺪ ﻛﻞ ﺃﻧﻮﺍﻉ‬
‫ﺍﳌﺨﻠﻮﻗﺎﺕ‪ ،‬ﺍﻟﻮﺍﻗﻌﻴﺔ ﻭ ﺍﳋﺮﺍﻓﻴﺔ‪ ،‬ﻭ ﻃﺮﻳﻘﺔ ﺍﻟﺘﻔﺎﻋﻞ ﺑﻴﻨﻬﺎ ﻏﺮﻳﺒﺔ‪ ،‬ﺣﻴﺚ ﻓﻴﻬﺎ ﻣﻦ ﻳﺮﺗﻘﻲ ﺇﱃ ﺃﻋﻠﻰ‪ ،‬ﺇﱃ‬
‫ﻣﺼﺎﻑ ﺍﻵﳍﺔ‪ ،‬ﻭ ﻣﻨﻬﻢ ﻣﻦ ﻳﻨﺤﺪﺭ ﺇﱃ ﻣﺴﺘﻮﻯ ﺍﻟﺸﻴﺎﻃﲔ‪ ،‬ﻣﻨﻬﻢ ﺍﻟﻔﺎﻋﻞ‪ ،‬ﻭﻣﻨﻬﻢ ﻣﻦ ﻳﻘﻒ ﻣﻮﻗﻒ‬
‫ﺍﳌﺘﻔﺮﺝ ﰲ ﺍﻧﺘﻈﺎﺭ ﻣﺎ ﺗﺆﻭﻝ ﺇﻟﻴﻪ ﺍﻷﺣﺪﺍﺙ ﺑﲔ ﺍﻟﻄﺮﻓﲔ ﺍﳌﺘﻨﺎﺯﻋﲔ ﶈﺎﻟﻔﺔ ﺍﳌﻨﺘﺼﺮ ﻭ ﻣﻌﺎﺩﺍﺓ ﺍﳌﻨﻬﺰﻡ‪،‬‬
‫ﻟﺬﻟﻚ ﻟﻴﺲ ﻣﻦ ﺍﻟﻐﺮﻳﺐ ﺃﻥ ﳚﺪ ﻓﻴﻬﺎ ﺍﻟﻄﻔﻞ ﻣﺎ ﻳﺒﺤﺚ ﻋﻨﻪ ﻣﻦ ﺇﺛﺎﺭﺓ ﻭ ﻣﻐﺎﻣﺮﺓ‪ .‬ﰒ ﺇﻧﻪ ﻣﻨﺬ ﺳﻨﲔ‬
‫ﻋﻤﺮﻩ ﺍﻷﻭﱃ ﻭ ﻫﻮ ﻳﺴﺘﻤﻊ ﺇﱃ ﺃﻟﻮﺍﻥ ﻣﻨﻬﺎ‪ ،‬ﻋﻠﻰ ﻟﺴﺎﻥ ﺍﻷﻫﻞ ﻭ ﺣﺴﺐ ﻋﻘﻴﺪ‪‬ﻢ ﻭ ﻧﻈﺮ‪‬ﻢ ﻟﻸﻣﻮﺭ‪،‬‬
‫ﻷﻥ ﻣﻮﻗﻔﻬﻢ ﻣﻦ ﺍﻷﺳﺎﻃﲑ‪ ،‬ﻭ ﻣﺎ ﳚﻌﻠﻮﻥ ﺍﻟﺼﻐﺎﺭ ﻳﺴﺘﻤﻌﻮﻥ ﺇﻟﻴﻪ ﳑﺎ ﻳﻨﺘﻘﻮﻥ ﻣﻨﻬﺎ‪ ،‬ﺳﻴﺤﺪﺩ ﻧﻮﻉ ﻣﺎ‬
‫ﻳﻘﺒﻞ ﻋﻠﻴﻪ ﺍﻟﻄﻔﻞ ﻓﻴﻤﺎ ﺑﻌﺪ‪ ،‬ﻣﻦ ﺃﻋﻤﺎﻝ ﺃﺩﺑﻴﺔ ﺫﺍﺕ ﺑﻨﺎﺀ ﺃﻭ ﺗﻮﺟﻪ ﺃﺳﻄﻮﺭﻱ ﻭ ﻛﺄﳕﺎ ﻳﺴﺎﳘﻮﻥ ﺑﺸﻜﻞ‬
‫ﻣﺎ ﰲ ﺗﻨﻤﻴﺔ ﺫﻭﻕ ﺃﺳﻄﻮﺭﻱ ﺇﳒﺎﺯ ﱄ ﺍﻟﺘﻌﺒﲑ ﻟﻠﻄﻔﻞ ﺃﻭ ﺑﻨﺎﺀ ﺧﻠﻔﻴﺔ ﻣﺮﺟﻌﻴﺔ ﰲ ﻫﺬﺍ ﺍﳉﺎﻧﺐ ﻟﻴﺘﺨﲑ ﻓﻴﻤﺎ‬
‫ﺑﻌﺪ ﻣﺎ ﻳﻘﺮﺃ‪.‬‬

‫‪ -3‬ﺍﻟﺰﻣﻦ ﺍﻷﺳﻄﻮﺭﻱ‪:‬‬

‫ﻟﻘﺪ ﻗﻠﻨﺎ ﻣﻦ ﻗﺒﻞ ﺃﻥ ﺯﻣﻦ ﺍﻷﺳﻄﻮﺭﺓ ﻫﻮ ﺯﻣﻦ ﺍﻟﺒﺪﺍﻳﺎﺕ ﺍﻷﻭﱃ‪ ،‬ﺃﻭ ﻣﺎ ﺍﺻﻄﻠﺢ ﺍﻟﺒﻌﺾ ﻋﻠﻰ ﺗﺴﻤﻴﺘﻪ‬
‫"ﺍﻟﺰﻣﻦ ﺍﳌﻴﺜﻴﻘﻲ"*‪ ،‬ﰲ ﻧﻈﺮﻱ ﻫﻮ ﻣﺎ ﳚﻌﻞ ﺍﻷﺳﻄﻮﺭﺓ ﳑﻴﺰﺓ ﰲ ﻧﻈﺮ ﺍﻟﻄﻔﻞ‪ ،‬ﲟﻌﲎ ﺯﻣﻦ ﺧﺎﺭﺝ ﺍﻟﺰﻣﻦ‬
‫ﺍﻟﻮﺍﻗﻌﻲ‪ ،‬ﻻ ﻳﻬﻢ ﻣﻮﺿﻌﻪ ﻣﻦ ﺍﻟﺴﻠﻢ ﺍﻟﺘﺎﺭﳜﻲ‪ ،‬ﻣﺪﺍﻡ ﺍﳋﻴﺎﻝ ﻓﻴﻪ ﻏﲑ ﳏﺪﻭﺩ‪ ،‬ﻭ ﻫﺬﺍ ﳑﺎ ﻳﺰﻳﺪ ﺳﺤﺮﻩ‬
‫ﻭ ﳚﻌﻞ ﻟﻺﺛﺎﺭﺓ ﻭ ﺍﻟﺘﺸﻮﻳﻖ ﳏﻞ ﻓﻴﻪ‪ ،‬ﻭ ﻫﺬﺍ ﺭﺍﺟﻊ ﻣﻦ ﻣﻨﻈﻮﺭ ﺍﻟﻄﻔﻞ ﻟﺴﺒﺒﲔ‪ :‬ﺃﻭﳍﻤﺎ ﻷﻧﻪ ﺧﺎﺭﺝ‬
‫ﺍﻟﺰﻣﻦ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻭ ﺍﻟﺰﻣﻦ ﺍﳋﻴﺎﱄ ﻣﻌﺎ‪ ،‬ﻓﻬﻮ ﺯﻣﻦ ﺛﺎﻟﺚ‪ ،‬ﻣﺘﻤﺎﻳﺰ ﺯﻣﻦ ﻣﺄﻟﻮﻑ ﺃﻛﺜﺮ ﳕﻰ ﺍﻟﻄﻔﻞ ﻣﻦ ﺧﻼﻟﻪ‬
‫ﰲ ﺳﻨﻮﺍﺗﻪ ﺍﻷﻭﱃ ﺣﺴﻪ ﺍﻟﻔﲏ‪ ،‬ﻭ ﺛﺎﻧﻴﺎ ﻷﻥ ﻫﺬﺍ ﺍﻟﺰﻣﻦ ﺷﺒﻴﻪ ﺇﱃ ﺣﺪ ﻛﺒﲑ ﺑﺎﻟﻮﺍﻗﻊ‪ ،‬ﺣﱴ ﻟﻮ ﻛﺎﻥ ﰲ‬
‫*‪ -‬ﻳﻨﻈﺮ‪:‬‬

‫‪ -1‬ﻣﺮﺳﻴﺎ ﺇﻟﻴﺎﺩ‪ :‬ﻡ‪.‬ﺱ ﺹ ‪.21-10‬‬

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‫ﻭﺍﻗﻊ ﺍﻷﻣﺮ ﺑﻌﻴﺪﺍ ﻛﻞ ﺍﻟﺒﻌﺪ ﻋﻦ ﺍﻟﻮﺍﻗﻊ ﺇﻻ ﺃﻥ ﺍﻷﻫﻞ ﳚﻌﻠﻮﻧﻪ ﻭﺍﻗﻌﻴﺎ‪ ،‬ﺣﺪﺙ ﰲ ﺑﺪﺍﻳﺔ ﺍﳋﻠﻴﻘﺔ‪ ،‬ﻭ ﻣﺎﺯﺍﻝ‬
‫ﻣﺴﺘﻤﺮﺍ‪ ،‬ﺣﻴﺚ ﻳﺘﺠﺪﺩ ﰲ ﻛﻞ ﻳﻮﻡ‪ ،‬ﻭ ﺫﻟﻚ ﺣﺴﺐ ﺧﻠﻔﻴﺘﻬﻢ ﺍﻟﻌﻘﺎﺋﺪﻳﺔ‪ ،‬ﺣﻴﺚ ﳚﺪ ﺍﻟﻄﻔﻞ ﻓﻴﻪ ﻛﻞ‬
‫ﺷﻲﺀ ﳑﻜﻦ ﻓﻴﻪ‪ ،‬ﻣﺜﻞ ﻋﺎﱂ ﺍﳋﻴﺎﻝ ﻟﻜﻨﻪ ﻗﺮﻳﺐ ﻣﻦ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﺃﻱ ﻫﻨﺎﻙ ﺍﺣﺘﻤﺎﻟﻴﺔ ﺃﻥ ﻳﺘﺠﺴﺪ ﰲ ﺍﻟﻮﺍﻗﻊ‬
‫ﻳﻮﻣﺎ ﻣﺎ‪ ،‬ﻓﻬﻮ ﻳﻌﻄﻲ ﻟﻠﺨﻴﺎﻝ ﺷﻜﻼ ﻭ ﺧﻠﻔﻴﺔ ﻭﺍﻗﻌﻴﺔ‪.‬‬

‫ﰒ ﺇﻥ ﺍﻷﺣﺪﺍﺙ ﻣﺮﺗﺒﺔ ﺗﺮﺗﻴﺒﺎ ﳏﺪﺩﺍ‪ ،‬ﲝﻴﺚ ﻻ ﻳﻜﺘﻤﻞ ﺍﳊﺪﺙ ﺇﻻ ﺑﺎﺟﺘﻤﺎﻉ ﺃﺳﺒﺎﺑﻪ‪ ،‬ﻳﻜﻮﻥ ﺍﻟﺴﺒﺐ‪ ،‬ﰒ‬
‫ﺍﳊﺪﺙ‪ ،‬ﺃﻭ ﺍﳊﺪﺙ‪ ،‬ﰒ ﺳﺒﺒﻪ‪ ،‬ﻭ ﻻ ﺗﺘﺮﺍﻛﻢ ﺍﻷﺣﺪﺍﺙ ﻛﻠﻬﺎ ﺩﻓﻌﺔ ﻭﺍﺣﺪﺓ‪ ،‬ﰒ ﺗﻌﺮﻑ ﺍﻷﺳﺒﺎﺏ ﺗﺒﺎﻋﺎ‪،‬‬
‫ﻓﺎﻟﺘﺮﺗﻴﺐ ﺍﻟﺰﻣﲏ ﰲ ﺍﻷﺳﻄﻮﺭﺓ ﻣﻬﻢ ﺟﺪﺍ‪ ،‬ﻟﻜﻲ ﺗﺆﺩﻱ ﻣﻦ ﺧﻼﻟﻪ ﺍﻟﺴﺒﺐ ﻣﻦ ﻭﺟﻮﺩﻫﺎ ﰲ ﺍﳌﻘﺎﻡ‬
‫ﺍﻷﻭﻝ‪ ،‬ﻓﻬﻲ ﺇﺫﺍ ﻛﺎﻧﺖ ﺳﺒﺒﻴﺔ ﺃﻭ ﺗﻌﻠﻴﻠﻴﺔ‪ ،‬ﺃﻭ ﻏﲑﻫﺎ‪ ،‬ﻓﺎﻟﺘﺮﺗﻴﺐ ﻣﻬﻢ‪ ،‬ﻭ ﻫﻮ ﻣﻨﺎﺳﺐ‪ ،‬ﻭ ﺿﺮﻭﺭﻱ ﰲ‬
‫ﺃﻱ ﻋﻤﻞ ﺃﺩﰊ ﻣﻮﺟﻪ ﻟﻠﺼﻐﺎﺭ‪ ،‬ﺣﺴﺐ ﻗﺪﺭ‪‬ﻢ ﺍﻟﺘﺤﻠﻴﻠﻴﺔ ﻭ ﺍﻻﺳﺘﻴﻌﺎﺑﻴﺔ‪ ،‬ﻋﻜﺲ ﺍﻷﻋﻤﺎﻝ ﺍﻷﺩﺑﻴﺔ‬
‫ﺍﳌﻮﺟﻬﺔ ﻟﻠﻜﺒﺎﺭ ﺍﻟﱵ ﻳﻜﻮﻥ ﻓﻴﻬﺎ ﺍﻟﺘﺮﺗﻴﺐ ﺍﻟﺰﻣﲏ ﺃﻣﺮﺍ ﺛﺎﻧﻮﻳﺎ‪ ،‬ﻓﻤﺜﻼ ﰲ ﺃﺳﺎﻃﲑ ﺍﳋﻠﻖ ﰲ ﺃﻏﻠﺒﻬﺎ‪ ،‬ﻳﻜﻮﻥ‬
‫ﺍﳋﺎﻟﻖ ﰒ ﳜﻠﻖ ﻣﻦ ﻧﻔﺴﻪ ﺯﻭﺟﺎ‪ ،‬ﰒ ﻳﻨﺠﺐ‪ ،‬ﻭ ﺑﻌﺪﻫﺎ ﻳﺜﻮﺭ ﻋﻠﻴﻪ ﻧﺴﻠﻪ‪ ،‬ﻭ ﳜﻠﻘﻮﻥ ﻣﻦ ﺑﻘﺎﻳﺎ ﺟﺴﺪﻩ ﺑﻌﺪ‬
‫ﻫﺰﳝﺘﻪ ﺍﻟﻜﻮﻥ‪ ،‬ﻓﻨﻼﺣﻆ ﻣﻦ ﺧﻼﻝ ﻫﺬﺍ ﺃﻧﻪ ﻻ ﻳﻮﺟﺪ ﺃﻱ ﺧﻠﻞ ﰲ ﺍﻟﺘﺮﺗﻴﺐ ﻳﻮﻟﺪ ﺑﺎﻟﻀﺮﻭﺭﺓ ﺧﻠﻼ ﰲ‬
‫ﺍﻷﺣﺪﺍﺙ ﻭ ﲡﺎﻧﺴﻬﺎ‪ ،‬ﻭ ﺑﺬﻟﻚ ﻳﺘﻮﺟﺐ ﺍﺣﺘﺮﺍﻡ ﻫﺬﺍ ﺍﻟﺘﺴﻠﺴﻞ ﺍﻟﺰﻣﲏ ﺣﲔ ﺗﻘﺪﳝﻬﺎ ﻟﻠﺼﻐﺎﺭ‪ ،‬ﻣﻊ‬
‫ﺇﻣﻜﺎﻧﻴﺔ ﺍﻹﺑﺪﺍﻉ ﻓﻴﻪ ﻋﻦ ﺍﻟﻄﺮﻳﻖ ﺍﻟﺘﻼﻋﺐ ﺑﻪ ﻭﻗﺖ ﺗﻘﺪﳝﻪ ﻟﻠﻜﺒﺎﺭ‪ .‬ﰒ ﺇﻧﻪ ﺣﱴ ﻟﻮ ﱂ ﺗﻜﻦ ﺗﺘﺒﻊ ﻫﺬﺍ‬
‫ﺍﳌﻨﻮﺍﻝ‪ ،‬ﻓﻤﻦ ﺍﻟﻀﺮﻭﺭﻱ ﺇﺧﻀﺎﻋﻬﺎ ﻭ ﺗﻜﻴﻴﻔﻬﺎ ﺣﲔ ﻋﺮﺿﻬﺎ ﻋﻠﻰ ﺍﻟﻄﻔﻞ‪ ،‬ﻓﺎﳌﻨﻄﻖ ﰲ ﻧﻈﺮﻩ ﻫﻮ ﻣﺎ ﻳﺄﰐ‬
‫ﻣﺘﺘﺎﺑﻌﺎ ﻳﻌﻠﻞ ﺃﻭﻟﻪ ﺁﺧﺮﻩ‪.‬‬

‫‪ -4‬ﺍﳌﻜﺎﻥ ﺍﻷﺳﻄﻮﺭﻱ‪:‬‬

‫ﺍﳌﻜﺎﻥ* ﻫﻮ ﺍﻟﻔﻀﺎﺀ ﺗﺘﻔﺎﻋﻞ ﺍﻷﺣﺪﺍﺙ ﺩﺍﺧﻠﻪ‪ ،‬ﻭ ﻫﻨﺎﻟﻚ ﺛﻼﺛﺔ ﺃﻗﺴﺎﻡ ﻟﻸﺣﺪﺍﺙ‪ ،‬ﻭﺍﻗﻌﻴﺔ‪ ،‬ﺧﻴﺎﻟﻴﺔ‪،‬‬
‫ﻭﺃﺳﻄﻮﺭﻳﺔ‪ ،‬ﻭ ﻋﻠﻴﻪ ﺃﻥ ﻳﻜﻮﻥ ﺣﺎﻭﻳﺎ ﳍﺎ ﻛﻠﻬﺎ‪ ،‬ﻷﻥ ﻣﻌﺎﱂ ﺍﻷﺣﺪﺍﺙ‪ ،‬ﻫﻲ ﻣﺎ ﻳﻌﻄﻲ ﺍﻟﻔﻀﺎﺀ ﺷﻜﻼ‬
‫ﳏﺪﺩﺍ‪ ،‬ﻛﺄﻥ ﻳﻜﻮﻥ ﺍﻟﺼﺮﺍﻉ ﺑﲔ ﺁﳍﺔ‪ ،‬ﻭ ﻣﻜﺎ‪‬ﻢ ﺍﻟﻄﺒﻴﻌﻲ ﺍﳌﺘﻌﺎﺭﻑ ﻋﻠﻴﻪ ﺍﻟﺴﻤﺎﺀ‪ ،‬ﺃﻣﺎ ﺍﻟﺒﺸﺮ ﻭ ﺳﺎﺋﺮ‬
‫*‪ -‬ﻗﺎﺩﺓ ﻋﻘﺎﻕ‪ :‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.130-129‬‬

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‫ﺍﳌﺨﻠﻮﻗﺎﺕ ﻓﻌﻠﻰ ﺍﻷﺭﺽ‪ ،‬ﻭ ﺃﻣﺎ ﺍﻟﺸﻴﺎﻃﲔ ﻓﻬﻢ ﲢﺖ ﺍﻷﺭﺽ ﻭ ﻣﺎ ﳚﻌﻞ ﺍﳌﻜﺎﻥ ﻗﺎﺩﺭﺍ ﻋﻠﻰ ﺍﺣﺘﻮﺍﺀ‬
‫ﻛﻞ ﺍﻷﻗﺴﺎﻡ ﺍﻟﺜﻼﺛﺔ‪ ،‬ﻫﻮ ﻃﺒﻴﻌﺔ ﺍﻟﺼﺮﺍﻉ ﺍﻟﺬﻱ ﲢﻜﻴﻪ ﺍﻷﺣﺪﺍﺙ‪ ،‬ﻓﻘﺪ ﻳﻜﻮﻥ ﺑﲔ ﺍﻵﳍﺔ ﻭ ﺍﻟﺒﺸﺮ‪ ،‬ﺃﻭ‬
‫ﺑﲔ ﺍﻟﺸﻴﺎﻃﲔ ﻭ ﺍﻵﳍﺔ‪ ،‬ﺃﻭ ﺑﲔ ﺍﻟﺸﻴﺎﻃﲔ ﻭ ﺍﻟﺒﺸﺮ‪ ،‬ﺃﻭ ﺑﻴﻨﻬﺎ ﻛﻠﻬﺎ ﳎﺘﻤﻌﺔ‪ ،‬ﳑﺎ ﻳﻔﺘﺮﺽ ﻭﺟﻮﺩ ﻓﻀﺎﺀ‬
‫ﻏﲑ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﺴﺎﺑﻘﺔ ﳛﺘﻀﻦ ﻫﺬﺍ ﺍﻟﺼﺮﺍﻉ ﺃﻭ ﻳﻌﺘﺪﻱ ﻃﺮﻑ ﻋﻠﻰ ﺁﺧﺮ ﻓﻴﻜﻮﻥ ﺍﻟﺼﺮﺍﻉ ﰲ ﺃﺣﺪ‬
‫ﺍﻷﻣﺎﻛﻦ ﺍﻟﺴﺎﺑﻘﺔ‪ ،‬ﺇﻣﺎ ﰲ ﺍﻷﺭﺽ‪ ،‬ﺃﻭ ﲢﺘﻬﺎ‪ ،‬ﺃﻭ ﻓﻮﻗﻬﺎ‪ ،‬ﺃﻭ ﺣﱴ ﺍﻓﺘﺮﺍﺽ ﺧﺎﺭﺟﻬﺎ‪ ،‬ﻭ ﺍﳋﻴﺎﻝ ﻓﺎﻋﻞ‬
‫ﺭﺋﻴﺴﻲ ﰲ ﺭﺑﻂ ﺍﻟﻄﻔﻞ ﻣﻊ ﺍﻟﻔﻀﺎﺀ ﺍﳌﺘﺨﻴﻞ‪ ،‬ﺇﺫﺍ ﻛﺎﻥ ﻛﺘﻠﺔ ﻣﺘﻤﺎﻳﺰﺓ ﻋﻦ ﺍﳌﺄﻟﻮﻑ‪ .‬ﻭ ﲟﺎ ﺃﻥ ﻟﻠﻤﻜﺎﻥ‬
‫ﺗﺄﺛﲑ ﻛﺒﲑ ﻋﻠﻰ ﻣﺎ ﻳﺒﺪﻭ ﻋﻠﻰ ﺗﻜﻮﻳﻦ ﺍﻟﺒﺸﺮ ﺍﻟﻨﻔﺴﻲ ﻭ ﺍﻟﻔﻜﺮﻱ‪ ،‬ﻓﺈﻧﻪ ﻣﻬﻤﺎ ﻛﺎﻥ ﺷﻜﻠﻪ‪ ،‬ﻣﻦ‬
‫ﺍﻟﻀﺮﻭﺭﻱ ﺟﻌﻠﻪ ﻣﺄﻟﻮﻓﺎ ﻟﺘﺒﲎ ﻣﻦ ﺧﻼﻟﻪ ﻫﻮﻳﺔ ﺍﻟﻄﻔﻞ ﻭ ﺍﻧﺘﻤﺎﺋﻪ‪ ،‬ﻓﻤﺜﻼ ﻋﻨﺪﻣﺎ ﻳﻜﻮﻥ ﺍﳊﺪﻳﺚ ﻋﻦ‬
‫ﺻﺮﺍﻉ ﺍﻵﳍﺔ ﰲ ﺍﻟﺴﻤﺎﺀ‪ ،‬ﻓﺈﻧﻪ ﳚﺐ ﺃﻥ ﻳﻜﻮﻥ ﻟﻠﻄﻔﻞ ﺗﺼﻮﺭ ﻭﺍﺿﺢ ﻋﻦ ﻫﺬﻩ ﺍﻟﺴﻤﺎﺀ‪ ،‬ﺷﻜﻠﻬﺎ ﻭ ﻟﻮ‪‬ﺎ‪،‬‬
‫ﻭ ﻋﻨﺪﻣﺎ ﻳﻔﺘﺮﺽ ﻭﺟﻮﺩ ﻗﺼﻮﺭ‪ ،‬ﻭ ﻣﺮﺍﻛﺐ ﻃﺎﻓﻴﺔ ﻋﻠﻰ ﺍﳍﻮﺍﺀ‪ ،‬ﻛﺎﺋﻨﺎﺕ ﻣﻬﻤﺎ ﻛﺎﻥ ﻧﻮﻋﻬﺎ ﺗﺘﻔﺎﻋﻞ‬
‫ﻓﻮﻗﻬﺎ‪ ،‬ﻓﺈﻥ ﺍﳋﻴﺎﻝ ﻳﺘﺪﺧﻞ ﻭ ﻳﻨﺸﺄ ﺍﻟﺼﻮﺭﺓ ﺗﺒﻌﺎ ﻟﻠﻮﺻﻒ ﺍﻟﺬﻱ ﺗﻮﺭﺩﻩ ﺍﻟﻘﺼﺔ‪ ،‬ﻭ ﺃﻥ ﳚﺪ ﺍﻟﻄﻔﻞ ﻓﻴﻪ‬
‫ﻫﻮﻳﺘﻪ‪ ،‬ﲟﻌﲎ ﻻ ﻳﺒﺘﻌﺪ ﻛﺜﲑ ﻋﻤﺎ ﻳﻌﺮﻓﻪ ﺍﻟﻄﻔﻞ‪ ،‬ﻷﻥ ﺑﻨﺎﺋﻪ ﻟﻠﻤﻜﺎﻥ ﰲ ﳐﻴﻠﺘﻪ ﻣﺮﻫﻮﻥ ﲟﺎ ﻳﻌﺮﻓﻪ ﻋﻦ‬
‫ﺍﳌﻜﺎﻥ ﻧﻔﺴﻪ‪.‬‬

‫‪ -5‬ﺍﻟﺒﻌﺪ ﺍﻟﺪﻳﲏ‪:‬‬

‫ﻣﺎ ﻳﺼﻨﻊ ﺍﳌﻔﺎﺭﻗﺔ ﻫﻨﺎ ﻫﻮ ﺍﻟﻐﺮﺽ ﻣﻦ ﻭﺭﺍﺀ ﻋﺮﺽ ﺍﻷﺳﻄﻮﺭﺓ ﻋﻠﻰ ﺍﻟﻄﻔﻞ‪ ،‬ﻓﺈﺫﺍ ﻋﺮﺿﻬﺎ ﺍﻷﻫﻞ ﻋﻠﻰ‬
‫ﺃﺳﺎﺱ ﺃ‪‬ﺎ ﺍﳌﻌﺘﻘﺪ ﺍﻟﺪﻳﲏ‪ ،‬ﲟﻌﲎ ‪‬ﺪﻑ ﺗﻮﻋﻴﺔ ﺍﻟﻄﻔﻞ ﺑﺘﻮﺟﻬﻪ ﺍﻟﺪﻳﲏ‪ ،‬ﻓﺴﺘﺴﺘﺤﻀﺮ ﺍﻷﺳﻄﻮﺭﺓ ﺑﻜﻞ‬
‫ﺧﻠﻔﻴﺎ‪‬ﺎ ﺍﻟﻌﻘﺎﺋﺪﻳﺔ‪ ،‬ﺃﻣﺎ ﺇﺫﺍ ﻛﺎﻥ ﻋﺮﺿﻬﺎ ﰲ ﺳﻴﺎﻕ ﻋﻤﻞ ﺃﺩﰊ‪ ،‬ﻓﺈ‪‬ﺎ ﳎﺮﺩ ﻗﺼﺔ ﳍﺎ ﺑﻨﺎﺀﻫﺎ ﻭ ﺷﺨﻮﺻﻬﺎ‬
‫ﻣﻦ ﺍﳋﻮﺍﺭﻕ‪ ،‬ﻭ ﻧﺼﻴﺒﻬﺎ ﻣﻦ ﺍﻟﺘﺸﻮﻳﻖ‪ ،‬ﻓﻼ ﺗﻌﺪﻭ ﺃﻥ ﺗﻜﻮﻥ ﺫﻟﻚ‪ .‬ﻓﺘﺼﺒﺢ ﻛﻤﺎ ﺃﺳﻠﻔﺖ ﺍﻟﺬﻛﺮ ﺧﺎﺩﻣﺔ‬
‫ﻟﻘﺼﺪﻳﺔ ﺍﻷﺩﻳﺐ ﻭ ﺭﺅﻳﺘﻪ ﺍﳋﺎﺻﺔ‪ ،‬ﻭ ﺗﺼﺒﺢ ﺷﺨﻮﺻﻬﺎ ﻣﻦ ﺍﳋﻮﺍﺭﻕ ﳎﺮﺩ ﺭﻣﻮﺯ ﺫﺍﺕ ﻏﺮﺽ ﺗﺮﺑﻮﻱ‬
‫ﺃﻭ ﺗﺮﻓﻴﻬﻲ‪ .‬ﻓﻴﺼﺒﺢ ﻣﺜﻼ‪ "1‬ﺃﺩﻭﻧﻴﺲ" ﺭﻣﺰﺍ ﻟﻠﺘﻀﺤﻴﺔ‪ ،‬ﻭ ﺯﻭﺟﺘﻪ "ﻋﺸﺘﺎﺭﺕ" ﺭﻣﺰﺍ ﻟﻠﻮﻓﺎﺀ‪،‬‬
‫ﻳﻨﻈﺮ‪ :‬ﻓﺮﺍﺱ ﺍﻟﺴﻮﺍﺡ‪ ":‬ﻟﻐﺰ ﻋﺸﺘﺎﺭ"‪ ،‬ﺹ‪ .101-61‬ﻳﻌﻄﻲ ﺑﻌﺾ ﺍﻷﺷﻜﺎﻝ ﺍﻟﱵ ﺗﻈﻬﺮ ‪‬ﺎ ﻋﺸﺘﺎﺭ ﰲ ﺑﻌﺾ ﺍﳊﻀﺎﺭﺍﺕ ﻭ ﺑﺎﻟﺘﺎﱄ ﻋﺪﺩ ﻻ ﻣﻨﺘﻪ ﻣﻦ ﺍﻷﺑﻌﺎﺩ ﺍﻟﱵ ﳝﻜﻦ‬
‫ﺃﻥ ﻳﺒﲎ ﻋﻠﻴﻬﺎ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﺮﻣﻮﺯ ﺍﻟﱵ ﺗﻈﻬﺮ ﺣﺎﳌﺎ ﺗﺪﺧﻞ ﺍﻷﺩﺏ ﺑﺸﻜﻞ ﺟﺪﻳﺪ ﻛﻞ ﻣﺮﺓ‪.‬‬

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‫ﻭ ﻳﺼﺒﺢ "ﺟﻠﺠﺎﻣﺶ" ﺭﻣﺰﺍ ﻟﻠﺮﻏﺒﺔ ﺍﳉﺎﳏﺔ ﻭ ﺍﻹﺻﺮﺍﺭ ﻋﻠﻰ ﲢﻘﻴﻖ ﺍﶈﺎﻝ‪....‬ﻭ ﻏﲑﻫﺎ ﻓﻘﺪ ﻃﻮﻉ ﺍﻷﺩﺏ‬
‫ﻫﺬﻩ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺑﻜﻞ ﻇﻼﳍﺎ ﻭ ﺟﻌﻠﻬﺎ ﻣﻦ ﺁﳍﺔ ﺇﱃ ﺃﺩﻭﺍﺕ ﻳﻔﻌﻠﻬﺎ ﻟﺘﺒﻴﻠﻎ ﺭﺳﺎﻟﺔ ﺃﺭﺍﺩﻫﺎ ‪‬ﺎ ﺍﻷﺩﻳﺐ‬
‫ﻧﻔﺴﻪ‪ ،‬ﻭ ﺗﺒﻘﻰ ﺍﻷﲰﺎﺀ ﻭ ﺣﺪﻫﺎ ﲢﻤﻞ ﻋﻠﻰ ﻛﺎﻫﻠﻬﺎ ﻣﻬﻤﺔ ﺇﺣﺎﻟﺔ ﺍﻟﻘﺎﺭﺉ ﺇﱃ ﺍﻟﻘﺼﺔ ﺍﻟﺮﺍﺑﻀﺔ ﺧﻠﻒ‬
‫ﺗﻠﻚ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﱵ ﺳﻠﺒﺖ ﻣﻨﻬﺎ ﲰﺎ‪‬ﺎ ﺇﻻ ﻭﺍﺣﺪﺓ ﻣﻦ ﺍﺧﺘﻴﺎﺭ ﺍﻷﺩﻳﺐ‪ ،‬ﰒ ﺇﻧﻪ ﻳﻌﻤﻞ ﻋﻠﻰ ﺗﻐﻴﲑ‬
‫ﺍﻷﺳﺎﻃﲑ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻴﻬﺎ ﻭ ﺍﳊﺬﻑ ﻣﻨﻬﺎ ﻛﻠﻤﺎ ﺃﺭﺍﺩ ﺫﻟﻚ ﺃﻭ ﺩﻋﺎﻩ ﺇﱃ ﺫﻟﻚ ﺗﻮﺟﻪ ﺍﻟﻨﺺ ﰲ ﳏﺎﻭﻟﺔ‬
‫ﻣﻨﻪ ﻟﺘﻜﻴﻴﻔﻬﺎ ﻟﺘﻨﺎﺳﺐ ﻓﻀﺎﺀ ﺍﻟﻨﺺ ﻭ ﺯﻣﺎﻧﻪ ﻭ ﻧﻮﻋﻴﺔ ﺍﳌﺘﻠﻘﻴﲔ ﺍﳌﻮﺟﻬﺔ ﺇﻟﻴﻬﻢ ﻭ ﺍﻟﺬﻳﻦ ﻫﻢ ﰲ ﻫﺬﻩ‬
‫ﺍﳊﺎﻟﺔ ﺃﻃﻔﺎﻝ‪.‬‬

‫ﳑﻴﺰﺍﺕ ﻗﺼﺔ ﺍﻟﻄﻔﻞ‪:1‬‬

‫ﻋﻨﻮﺍﻥ ﺍﻟﻘﺼﺔ‪:‬‬

‫ﺃﻥ ﻳﻜﻮﻥ ﻣﺄﻟﻮﻓﺎ ﻟﻠﻄﻔﻞ ﻭﻣﻦ ﺑﻴﺌﺘﻪ ﺃﻭ ﳑﺎ ﻳﺸﺎﻫﺪ ﰲ ﺣﺪﺍﺋﻖ ﺍﳊﻴﻮﺍﻧﺎﺕ ﺇﺫ ﻳﻘﻮﻝ ﻋﺮﰊ ﺍﻟﻌﺎﺻﻲ ﰲ‬
‫ﻛﺘﺎﺑﻪ ﺍﳊﻴﻮﺍﻥ ﰲ ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ‪ ":‬ﺣﺪﺛﲏ ﺃﺣﺪ ﺍﻟﺰﻣﻼﺀ ﺍﻟﺬﻳﻦ ﺯﺍﺭﻭﺍ ﻓﺮﻧﺴﺎ‪ ،‬ﻭ ﺃﻗﺎﻣﻮﺍ ﻓﻴﻬﺎ‪ ،‬ﺃﻥ‬
‫ﻛﺘﺎﺏ ﺍﻷﻃﻔﺎﻝ ﺍﻟﻔﺮﻧﺴﻴﲔ ﻳﺬﻫﺒﻮﻥ ﺇﱃ ﺣﺪﻳﻘﺔ ﺍﳊﻴﻮﺍﻥ‪ ،‬ﻭﻳﻘﻀﻮﻥ ﺃﺳﺎﺑﻴﻊ ﰲ ﺿﻴﺎﻓﺔ ﺍﳊﻴﻮﺍﻥ ﺍﻟﺬﻳﻦ‬
‫ﻳﺮﻳﺪﻭﻥ ﻟﻪ ﺃﻥ ﻳﺘﺒﻮﺃ ﺑﻄﻮﻟﺔ ﺍﻟﻘﺼﺔ ﺍﻟﱵ ﻳﺮﻳﺪﻭﻥ ﻭﻻﺩ‪‬ﺎ ﻷﻃﻔﺎﳍﻢ‪ .‬ﺍﻟﻐﺎﻳﺔ ﺗﺄﻛﻴﺪ‪ ،‬ﻭ ﺑﻨﻔﺲ ﺍﻟﻮﻗﺖ‪،‬‬
‫ﺗﺜﺒﻴﺖ ﻣﻌﺮﻓﺘﻬﻢ ﻟﻄﺒﻴﻌﺔ ﺍﳊﻴﻮﺍﻥ"‪ 1.‬ﻭﺫﻟﻚ ﻗﺼﺪ ﺍﻟﺘﻌﺮﻑ ﺑﺸﻜﻞ ﻣﺒﺎﺷﺮ ﻋﻠﻰ ﺍﳌﻮﺿﻮﻉ ﻭ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻴﻪ‬
‫ﺑﺪﻗﺔ ﻭ ﺑﺎﻟﺘﺎﱄ ﻭﺻﻔﻪ ﻭﺻﻔﺎ ﺩﻗﻴﻘﺎ ﳚﻌﻞ ﺍﻟﻘﺎﺭﺉ ﻳﺸﻌﺮ ﻭ ﻛﺄﻧﻪ ﻳﺮﺍﻩ ﺣﻘﺎ ﻣﻦ ﺧﻼﻝ ﺍﻟﻌﻤﻞ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ‬
‫ﻳﺘﻔﺎﻋﻞ ﺑﺸﻜﻞ ﺃﻓﻀﻞ ﻣﻊ ﺃﻓﻌﺎﻟﻪ‪ ،‬ﺇﺫﻥ ﻋﻨﺎﻭﻳﻦ ﺣﺴﻴﺔ ﻻ ﲡﺮﻳﺪ ﻓﻴﻬﺎ ﻷﻥ ﺍﻟﻄﻔﻞ ﻏﺎﻟﺒﺎ ﻣﺎ ﻳﻌﻄﻲ ﻋﻨﻮﺍﻧﺎ‬
‫ﺛﺎﻥ ﻟﻠﻘﺼﺔ ﻳﻌﺮﻓﻬﺎ ‪‬ﺎ‪ ...‬ﻛﻤﺎ ﺃﻥ ﺗﻘﺮﻳﺐ ﺻﻮﺭﺓ ﺍﻟﺒﻄﻞ ﻣﻦ ﺍﻟﻄﻔﻞ ﳚﻌﻠﻪ ﻳﺴﻤﻲ ﺍﻟﻌﻤﻞ ﺑﺎﺳﻢ ﺍﻟﺒﻄﻞ‬
‫‪ -1‬ﻳﻨﻈﺮ‪:‬‬
‫ﺇﳝﺎﻥ ﺑﻘﺎﻋﻲ‪ .‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.57-45‬‬
‫ﻋﺒﺪﺍﻟﻘﺎﺩﺭ ﻋﻤﻴﺶ‪.‬ﻡ‪.‬ﺱ‪.172-157.‬‬
‫‪ -2‬ﺍﻟﻌﺎﺻﻲ ﻋﺮﰊ‪ " :‬ﺍﳊﻴﻮﺍﻥ ﰲ ﻗﺺ ﺍﻷﻃﻔﺎﻝ" ﺍﻟﻜﺮﻣﻞ ﻟﻠﺪﺭﺍﺳﺎﺕ ﻭﺍﻟﻨﺸﺮ‪ ،‬ﺩﻣﺸﻖ‪.‬ﻁ‪.1981 .1‬ﺹ‪.133‬‬

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‫ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃﻧﻪ ﺃﻛﺜﺮ ﺗﻔﺎﻋﻼ ﻣﻌﻪ‪ .‬ﻭﻫﺬﺍ ﺍﻷﻣﺮ ﻻ ﻳﺼﺢ ﻓﻘﻂ ﻋﻠﻰ ﺍﻷﺑﻄﺎﻝ ﻣﻦ ﺍﳊﻴﻮﺍﻧﺎﺕ ﺍﳊﻘﻴﻘﻴﺔ‬
‫ﻭ ﺇﳕﺎ ﺍﳋﺮﺍﻓﻴﺔ ﺃﻳﻀﺎ‪ ،‬ﻷ‪‬ﺎ ﺑﺸﻜﻞ ﻣﺎ ﺍﻧﻌﻜﺎﺱ ﳍﺬﻩ ﺍﳊﻴﻮﺍﻧﺎﺕ ﻭ ﻫﺆﻻﺀ ﺍﻟﺒﺸﺮ‪ ،‬ﺃﻭ ﻣﺰﻳﺞ ﻣﻨﻬﻤﺎ ﺷﻜﻼ‬
‫ﻭ ﻃﺒﻴﻌﺔ‪.‬‬

‫ﻓﻜﺮﺓ ﺍﻟﻘﺼﺔ‪: 1‬‬

‫ﻭ ﻳﻘﺼﺪ ‪‬ﺎ ﻣﺎ ﻳﺮﻳﺪ ﺍﻟﻄﻔﻞ ﺃﻥ ﻳﻘﻮﻟﻪ ﻣﻦ ﺧﻼﻝ ﺍﻟﻘﺼﺔ‪ ،‬ﻭ ﺃﻫﻢ ﻫﺬﻩ ﺍﻷﻓﻜﺎﺭ ﻣﺎ ﻳﺘﺼﻞ ﺑﺎﻟﻘﻴﻢ ﻣﺜﻞ‪:‬‬
‫ﺍﳊﺐ‪ ،‬ﺍﻟﻄﺎﻋﺔ‪ ،‬ﺍﻟﺼﱪ‪ ،‬ﺍﻟﺘﻀﺤﻴﺔ‪ ،‬ﺍﻟﺘﻌﺎﻭﻥ‪ ،‬ﺍﻟﺸﺠﺎﻋﺔ‪ ،‬ﺍﻟﺬﻛﺎﺀ‪ ...‬ﺭﻏﻢ ﺃ‪‬ﺎ ﻻ ﺗﻌﺮﺽ ﺑﺸﻜﻠﻬﺎ ﺍﳌﺒﺎﺷﺮ‬
‫ﺇﺫ ﻋﻠﻰ ﺍﻟﻄﻔﻞ ﺍﺳﺘﻨﺘﺎﺝ ﻫﺬﻩ ﺍﻟﻘﻴﻢ ﻭ ﺍﻻﺗﻜﺎﻝ ﻋﻠﻰ ﺫﻛﺎﺀﻩ ﺍﳋﺎﺹ ﰲ ﺍﻟﻜﺸﻒ ﻋﻦ ﻣﻮﺍﻗﻌﻬﺎ ﻣﻦ‬
‫ﺍﻟﻘﺼﺺ ﻭ ﻋﻦ ﺗﻜﻮﻳﻨﻬﺎ ﻛﻘﻴﻢ‪ ،‬ﻟﻜﻲ ﳝﻜﻨﻪ ﻓﻴﻤﺎ ﺑﻌﺪ ﺍﺳﺘﺨﺪﺍﻣﻬﺎ ﻛﻘﻴﻤﻪ ﺍﳋﺎﺻﺔ ﰲ ﺗﻌﺎﻣﻠﻪ ﻣﻊ ﻏﲑﻩ‪،‬‬
‫ﻭ ﺃﻋﺘﻘﺪ ﺃﻥ ﻫﺬﺍ ﺍﳍﺪﻑ ﻫﻮ ﻣﺎ ﻳﺴﻌﻰ ﺇﻟﻴﻪ ﻛﻞ ﺍﻟﻜﺎﺗﺐ‪ ،‬ﻭ ﻟﻜﻦ ﻻ ﳚﺐ ﺃﻥ ﻧﻠﻘﻴﻬﺎ ﺇﻟﻴﻪ ﰲ ﻗﺎﻟﺐ‬
‫ﺟﺎﻑ‪ ،‬ﺇﺫ ﳚﺐ ﺃﻥ ﺗﺮﺩ ﰲ ﺳﻴﺎﻕ ﺍﻟﻘﺼﺔ ﺑﺸﻜﻞ ﻋﻔﻮﻱ ﻻ ﺗﻜﻠﻒ ﻓﻴﻪ‪ ،‬ﰲ ﺧﻀﻢ ﺃﺣﺪﺍﺙ ﲡﻌﻞ‬
‫ﺍﻟﻄﻔﻞ ﻣﺮﻛﺰﺍ ﳍﺎ‪ ،‬ﲝﻴﺚ ﰲ ﺍﻋﺘﻘﺎﺩﻱ ﺃﻥ ﺍﻟﻘﺼﺔ ﺍﻟﻨﺎﺟﺤﺔ ﻻ ﺗﻌﲏ ﺃﻥ ﳚﻌﻞ ﻣﻨﻬﺎ ﺍﻟﻄﻔﻞ ﳏﻮﺭ ﺍﻫﺘﻤﺎﻣﻪ‬
‫ﻓﻘﻂ ﺑﻞ ﻛﻴﻒ ﲡﻌﻞ ﻫﻲ ﻣﻦ ﺍﻟﻄﻔﻞ ﻣﺮﻛﺰ ﺍﻻﻫﺘﻤﺎﻡ‪ ،‬ﻓﻴﺼﺒﺢ ﺍﻟﻄﻔﻞ ﻭﻋﺎﳌﻪ ﺟﺰﺀﺍ ﻣﻦ ﺍﻟﻘﺼﺔ ﲝﻴﺚ‬
‫ﺗﻨﻄﻖ ﲟﺎ ﻳﺮﻳﺪﻩ ﻫﻮ ﻭ ﺗﻌﱪ ﻋﻦ ﺍﻫﺘﻤﺎﻣﺎﺗﻪ ‪ ،‬ﺷﺮﻁ ﺃﻥ ﻻ ﺗﻌﺰﻟﻪ ﻋﻦ ﻭﺍﻗﻌﻪ‪ ،‬ﻭ ﻻ ﺗﻨﺪﻣﺞ ﺑﺸﻜﻞ ﻛﻠﻲ ﰲ‬
‫ﺫﻟﻚ ﺍﻟﻮﺍﻗﻊ ﻟﻜﻲ ﻻ ﺗﺼﺒﺢ ﺟﺎﻓﺔ ﺧﺎﻟﻴﺔ ﻣﻦ ﺍﳌﻌﲎ‪.‬‬

‫ﺍﻟﻌﻨﺎﻳﺔ ﺑﺎﻟﺘﻔﺎﺻﻴﻞ‪:1‬‬

‫ﻋﺮﺽ ﺍﳋﻄﻮﻁ ﺍﻟﻌﺎﻣﺔ ﻟﻠﻘﺼﺔ ﺩﻭﻥ ﻭﺻﻒ ﺩﻗﻴﻖ ﻟﻸﺣﺪﺍﺙ ﻭ ﻣﻜﺎ‪‬ﺎ ﻭ ﺯﻣﺎ‪‬ﺎ ﺃﻭ ﺍﻟﺸﺨﺼﻴﺎﺕ‬
‫ﻭ ﺃﺑﻌﺎﺩﻫﺎ ﺍﳉﺴﻤﻴﺔ ﻭ ﺍﻟﻨﻔﺴﻴﺔ‪ ،‬ﺑﻞ ﻳﻜﺘﻔﻲ ﺑﺬﻛﺮ ﺍﻷﺣﺪﺍﺙ ﺃﻭ ﺍﻟﺸﺨﺼﻴﺔ ﻭ ﺃﺑﻌﺎﺩﻫﺎ ﺍﳉﺴﻤﻴﺔ‬
‫ﻭ ﺍﻟﻨﻔﺴﻴﺔ‪..‬ﻭﻏﲑﻫﺎ‪ .‬ﻭﻫﺬﺍ ﺑﺎﳌﻨﺎﺳﺒﺔ ﻣﺎ ﻳﻨﺘﺞ ﻋﻨﻪ ﻛﺜﺮﺓ ﺍﻟﺴﺮﺩ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﻳﻨﻔﺮ ﺍﻟﻄﻔﻞ ﻣﻦ ﻣﺘﺎﺑﻌﺔ‬
‫ﺍﻟﻘﺼﺔ‪ ،‬ﻓﺎﻟﺴﺮﺩ ﺍﻟﻄﻮﻳﻞ ﻏﲑ ﺍﳌﱪﺭ ﻳﻀﻊ ﺍﳊﺪﻭﺩ ﺃﻣﺎﻡ ﺍﻟﻄﻔﻞ ﻭ ﳝﺎﻳﺰ ﺑﲔ ﻋﺎﳌﻲ ﺍﻟﻄﻔﻞ ﻭ ﺍﻟﻘﺼﺔ ﲝﻴﺚ‬
‫‪ -1‬ﺇﳝﺎﻥ ﺑﻘﺎﻋﻲ‪ .‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.142‬‬
‫‪ -2‬ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭ ﻋﻤﻴﺶ‪.‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.166‬‬

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‫ﺗﻜﻮﻥ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺟﺎﻫﺰﺓ‪ ،‬ﺇﺫ ﻻ ﳝﻜﻦ ﻟﻠﻄﻔﻞ ﺇﲤﺎﻣﻬﺎ ﻋﻦ ﻃﺮﻳﻖ ﺧﻴﺎﻟﻪ ﻭ ﺑﺎﻟﺘﺎﱄ ﺭﺳﻢ ﺍﻟﺼﻮﺭﺓ ﰲ‬
‫ﺫﻫﻨﻪ ﺑﺎﻟﺸﻜﻞ ﺍﻟﺬﻱ ﻳﺮﻳﺪﻩ ﻳﺼﺒﺢ ﻏﲑ ﳑﻜﻦ‪ ،‬ﻭ ﺍﻷﺣﺪﺍﺙ ﺟﺎﻫﺰﺓ ﻻ ﺿﺮﻭﺭﺓ ﰲ ﺃﻥ ﻳﺸﺎﺭﻙ ﺍﻟﻄﻔﻞ ﰲ‬
‫ﻭ ﺿﻌﻬﺎ ﻭ ﺑﺎﻟﺘﺎﱄ ﻳﺸﻌﺮﻩ ﻫﺬﺍ ﺍﻷﻣﺮ ﺃ‪‬ﺎ ﻣﻔﺮﻭﺿﺔ ﻋﻠﻴﻪ ﻓﺮﺿﺎ‪ ،‬ﻭ ﻟﻜﻦ ﻫﺬﺍ ﻻ ﻳﻌﲏ ﺃﻥ ﻫﺬﻩ ﺍﻟﻌﻨﺎﺻﺮ‬
‫ﻏﲑ ﻣﻬﻤﺔ‪ ،‬ﺑﻞ ﻫﻲ ﰲ ﻏﺎﻳﺔ ﺍﻷﳘﻴﺔ‪ ،‬ﻓﺎﳌﺮﺍﻭﺣﺔ ﺑﲔ ﺍﻟﺴﺮﺩ ﺍﳊﻮﺍﺭ ﳚﻌﻞ ﻣﻦ ﺍﻟﻘﺼﺔ ﺃﻛﺜﺮ ﻣﺘﻌﺔ‪ ،‬ﻭ ﺟﻌﻞ‬
‫ﺍﻟﻄﻔﻞ ﳏﻮﺭﺍ ﺍﻷﺣﺪﺍﺙ ﻛﻤﺎ ﻗﻠﻨﺎ ﺳﺎﺑﻘﺎ ﳛﺜﻪ ﻋﻠﻰ ﺇﲤﺎﻣﻬﺎ ﻗﺮﺍﺀﺓ ﻭ ﺍﻟﺘﻔﺎﻋﻞ ﻣﻌﻬﺎ‪.‬‬

‫ﻃﺮﻳﻘﺔ ﺍﻟﻌﺮﺽ‪:1‬‬

‫ﻭ ﻳﻘﺼﺪ ‪‬ﺎ ﺍﻷﺳﻠﻮﺏ ﺍﻟﺬﻱ ﻗﺪﻡ ﺑﻪ ﻣﻮﺿﻮﻉ ﺍﻟﻘﺼﺔ‪ ،‬ﻭ ﻫﻨﺎﻙ ﺛﻼﺙ ﲰﺎﺕ‪:‬‬

‫‪ -‬ﻳﺴﲑ ﺑﺎﻷﺣﺪﺍﺙ ﺑﺸﻜﻞ ﻧﺎﻡ ﻣﺘﺪﺭﺝ ﻣﻨﻄﻘﻲ‪ .‬ﻓﻌﻠﻰ ﻋﻜﺲ ﺍﻟﻘﺼﺺ ﺍﳌﻮﺟﻬﺔ ﻟﻠﻜﺒﺎﺭ ﻓﺈﻥ‬
‫ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ ﺗﺒﺪ ﻭﻏﺎﻣﻀﺔ ﺑﺸﻜﻞ ﻏﲑ ﻣﻔﻬﻮﻡ ﻭ ﺗﻔﻘﺪ ﺍﻟﻄﻔﻞ ﻗﺪﺭﺗﻪ ﻋﻠﻰ ﳎﺎﺭﺍ‪‬ﺎ ﺇﺫﺍ‬
‫ﻛﺎﻧﺖ ﻋﺸﻮﺍﺋﻴﺔ ﻓﻘﺪﺭﺗﻪ ﻋﻠﻰ ﺇﳚﺎﺩ ﺍﻟﺘﺴﻠﺴﻞ ﰲ ﺍﻟﻔﻮﺿﻰ‪ ،‬ﻭ ﺇﺣﻜﺎﻡ ﺍﻟﻌﻘﻞ ﻭ ﺍﳌﻨﻄﻖ ﻓﻴﻤﺎ‬
‫ﻳﻌﺮﺽ ﻋﻠﻴﻪ ﱂ ﺗﺼﻘﻞ ﺑﻌﺪ‪.‬‬
‫‪ -‬ﺍﻟﻌﺮﺽ ﺍﻟﻌﻜﺴﻲ ﻳﺒﺪﺃ ﺑﺎﳋﺎﲤﺔ ﰒ ﻳﻌﻮﺩ ﺑﺎﻟﻄﻔﻞ ﺑﻌﺮﺽ ﺍﻷﺣﺪﺍﺙ ﻋﺮﺿﺎ ﻣﻨﻄﻘﻴﺎ‪ .‬ﻭﻫﺬﺍ ﻻ ﳜﻞ‬
‫ﺑﻨﻈﺎﻡ ﺍﻟﻘﺼﺔ ﺑﻞ ﻋﻠﻰ ﺍﻟﻌﻜﺲ ﻳﻨﻤﻲ ﺩﺍﺧﻞ ﺍﻟﻄﻔﻞ ﺍﻟﺮﻏﺒﺔ ﰲ ﻣﻌﺮﻓﺔ ﻣﺎ ﻛﺎﻥ ﻣﺎ ﺑﺪﺃ ﺍﻷﻣﺮ ﻛﻠﻪ‪،‬‬
‫ﻓﻴﺠﻌﻠﻪ ﻳﺒﺤﺚ ﻓﻴﻬﺎ ﻟﻴﺠﺪ ﺍﻟﻌﻠﺔ‪ ،‬ﻭﻫﻜﺬﺍ ﻳﻨﻤﻮ ﺩﺍﺧﻠﻪ ﺣﺐ ﺍﻹﻃﻼﻉ ﻭ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ‬
‫ﺍﻻﺳﺘﻨﺘﺎﺝ‪.‬‬
‫‪ -‬ﻇﻬﻮﺭ ﺍﳊﻞ ﻓﺠﺄﺓ ﻭ ﱂ ﻳﻈﻬﺮ ﺑﺼﻮﺭﺓ ﻣﻨﻄﻘﻴﺔ ﻷﻥ ﺍﳊﻞ ﻳﻘﺪﻣﻪ ﻋﻔﺮﻳﺖ ﺃﻭ ﺟﻦ ﺃﻭ ﻣﻼﻙ ﺃﻭ‬
‫ﺃﺣﺪ ﺍﻟﺴﺤﺮﺓ ﻭ ﺫﻟﻚ ﺃﺛﻨﺎﺀ ﺗﻌﻘﺪ ﺍﻷﺣﺪﺍﺙ ﻭ ﺗﺸﺎﺑﻜﻬﺎ‪ .‬ﻓﻌﻠﻰ ﻋﻜﺲ ﺍﻟﻜﺒﺎﺭ ﺍﻟﺬﻳﻦ ﻳﻄﻠﺒﻮﻥ‬
‫ﺍﳌﻨﻄﻖ ﻭ ﺇﺣﻜﺎﻡ ﺍﻟﻌﻘﻞ ﰲ ﺇﳚﺎﺩ ﺍﳊﻠﻮﻝ‪ ،‬ﻷﻥ ﰲ ﺫﻟﻚ ﻣﺘﻌﺔ ﻭ ﲢﺪ ﳍﻢ ﳚﻌﻠﻬﻢ ﻳﺘﻔﺎﻋﻠﻮﻥ ﻣﻊ‬
‫ﺍﻟﻘﺼﺔ‪ ،‬ﻓﺈﻥ ﺍﻟﻄﻔﻞ ﻳﻜﺘﻔﻲ ﺑﺎﳊﻞ ﺍﻟﺴﺤﺮﻱ‪ ،‬ﻭ ﻳﻄﺎﻟﺐ ﲝﻞ ﻣﻌﻘﻮﻝ‪ ،‬ﻓﻜﻠﻤﺎ ﻛﺎﻥ ﺃﺑﻌﺪ ﻋﻦ‬
‫ﺍﻟﻮﺍﻗﻊ ﻛﻠﻤﺎ ﻛﺎﻥ ﺃﻓﻀﻞ‪.‬‬
‫‪ -1‬ﺇﳝﺎﻥ ﺑﻘﺎﻋﻲ‪ .‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.52‬‬

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‫ﺍﳊﻮﺍﺭ‪ 1‬ﰲ ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ‪:‬‬

‫ﻫﻮ ﺿﺮﻭﺭﻱ ﰲ ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ ﺃﻛﺜﺮ ﻣﻦ ﻗﺼﺺ ﺍﻟﻜﺒﺎﺭ‪ ،‬ﻷﻥ ﻛﺜﺮﺓ ﺍﻟﺴﺮﺩ ﺗﺸﻌﺮ ﺍﻟﻄﻔﻞ ﺑﺎﳌﻠﻞ‪،‬‬
‫ﻭ ﻛﺄﻥ ﺍﻟﻘﺼﺔ ﺗﺪﻭﺭ ﰲ ﻓﻠﻚ ﺛﺎﻥ ﻻ ﳝﺖ ﺑﺼﻠﺔ ﺇﱃ ﻭﺍﻗﻌﻬﺎ ﺍﳊﻜﺎﺋﻲ‪ ،‬ﺍﻟﺬﻱ ﻫﻮ ﻏﲑ ﺍﻟﻮﺍﻗﻊ ﺍﻟﻮﺍﻗﻌﻲ‪،‬‬
‫ﻫﺬﺍ ﻣﻦ ﺟﻬﺔ‪ ،‬ﻭ ﻣﻦ ﺟﻬﺔ ﺛﺎﻧﻴﺔ ﻓﺈﻥ ﺍﻟﻄﻔﻞ ﻳﺘﻌﺮﻑ ﻋﻠﻰ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭ ﺍﻷﺣﺪﺍﺙ ﺑﺸﻜﻞ ﺃﻓﻀﻞ ﻣﻦ‬
‫ﺧﻼﻝ ﺍﳊﻮﺍﺭ ﻻ ﺍﻟﺴﺮﺩ ﻛﻤﺎ ﻫﻮ ﻣﻌﻠﻮﻡ‪ ،‬ﻓﻤﺜﻼ ﻋﻨﺪﻣﺎ ﻧﺼﻒ ﻟﻪ ﺷﺨﺼﻴﺔ ﻣﻦ ﺧﻼﻝ ﻗﺼﺔ ﻣﺎ ﻋﻠﻰ ﺃ‪‬ﺎ‬
‫ﺷﺠﺎﻋﺔ‪ ،‬ﻣﻘﺪﺍﻣﺔ‪ ،‬ﻻ ‪‬ﺎﺏ ﺍﻟﺼﻌﺎﺏ‪ ،‬ﻭ ﻻ ﲣﺎﻑ ﰲ ﺍﳊﻖ ﻟﻮﻣﺖ ﻻﺋﻢ‪ ،‬ﻻ ﻳﻌﲏ ﻟﻪ ﺫﻟﻚ ﺍﻟﺸﻲﺀ‬
‫ﺍﻟﻜﺜﲑ ﺑﻞ ﻋﻠﻰ ﺍﻟﻌﻜﺲ ﲤﺎﻣﺎ ﺳﻴﺒﺪﻭ ﻟﻪ ﺍﻷﻣﺮ ﻭ ﻛﺄﻧﻪ ﰲ ﺍﳌﺪﺭﺳﺔ ﻳﺘﻌﻠﻢ ﻋﻦ ﻫﺬﻩ ﺍﻟﻘﻴﻢ‪ ،‬ﻟﻜﻦ ﺇﻥ ﳓﻦ‬
‫ﺃﻧﻄﻘﻨﺎﻫﺎ ‪‬ﺬﻩ ﺍﻟﻘﻴﻢ ﺩﻭﳕﺎ ﺃﻥ ﻧﺸﻌﺮﻩ ﺑﺄﻥ ﺍﻷﻣﺮ ﻣﺼﻄﻨﻊ‪ ،‬ﻓﺈﻥ ﺫﻟﻚ ﻟﻦ ﳚﻌﻠﻪ ﻳﺘﻔﺎﻋﻞ ﻣﻌﻬﺎ ﻓﻘﻂ ﺑﻞ‬
‫ﳚﻌﻠﻪ ﻳﺘﻤﺜﻞ ﺗﻠﻚ ﺍﻟﻘﻴﻢ ﺃﻳﻀﺎ ﻣﻦ ﺧﻼﻝ ﺫﻟﻚ ﺍﻟﺘﻔﺎﻋﻞ‪.‬‬

‫ﺍﻟﺼﺮﺍﻉ‪ 2‬ﰲ ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ‪:‬‬

‫ﻋﺎﺩﺓ ﻣﺎ ﻳﻜﻮﻥ ﺍﻟﺼﺮﺍﻉ ﰲ ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ ﺻﺮﺍﻉ ﺑﲔ ﺍﳋﲑ ﻭ ﺍﻟﺸﺮ‪ ،‬ﻓﺘﺨﺘﻠﻒ ﺍﻟﺸﺨﻮﺹ ﲟﻼﳏﻬﺎ‬
‫ﻭ ﺃﺩﻭﺍﺭﻫﺎ‪ ،‬ﻭ ﺗﺒﻘﻰ ﺍﻟﻘﻴﻢ ﻣﻼﺯﻣﺔ ﳍﺬﺍ ﺍﻟﺼﺮﻉ‪ ،‬ﻓﺘﺠﻌﻞ ﺍﻟﻄﻔﻞ ﺍﻟﺒﻄﻞ ﻓﻴﻪ‪ ،‬ﺃﻱ ﺍﻟﻄﺮﻑ ﺍﳌﺒﺎﺷﺮ ﻓﻴﻪ‪،‬‬
‫ﻗﺼﺪ ﲪﻠﻪ ﺑﺸﻜﻞ ﻣﺎ ﻋﻠﻰ ﲤﺜﻞ ﺗﻠﻚ ﺍﻟﻘﻴﻢ‪ ،‬ﻓﻠﻜﻞ ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ ﻣﻬﻤﺎ ﻛﺎﻥ ﻧﻮﻋﻬﺎ ﻫﺬﺍ ﺍﻻﲡﺎﻩ‬
‫ﺍﻟﺘﺮﺑﻮﻱ‪ ،‬ﻛﻤﺎ ﻳﻜﻮﻥ ﻫﺬﺍ ﺍﻟﺼﺮﺍﻉ ﻏﲑ ﻋﻨﻴﻒ‪ ،‬ﺣﻴﺚ ﻳﻜﻮﻥ ﺍﻟﺼﺪﺍﻡ ﺑﲔ ﺍﻟﺸﺨﺼﻴﺎﺕ ﳏﺴﻮﺑﺎ ﺑﺪﻗﺔ‪،‬‬
‫ﻟﺘﺤﻘﻴﻖ ﻗﺒﻮﻝ ﻋﻨﺪ ﺍﻟﻄﻔﻞ ﻟﻠﻘﻴﻢ ﺍﳋﲑﺓ ﻭ ﻧﻔﻮﺭﻩ ﻣﻦ ﺍﻟﻘﻴﻢ ﺍﻟﺸﺮﻳﺮﺓ‪.‬‬

‫ﺍﻟﻌﻘﺪﺓ ﰲ ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ‪:‬‬

‫" ﺗﻌﺘﱪ ﺍﳊﺒﻜﺔ ﻋﻨﺼﺮﺍ ﻣﻬﻤﺎ ﰲ ﻛﻞ ﻋﻤﻞ ﻗﺼﺼﻲ ﻷ‪‬ﺎ ﺍﳋﻴﻂ ﺍﻟﺬﻱ ﳝﺴﻚ ﺑﻨﺴﻴﺞ ﺍﻟﻘﺼﺔ‬
‫ﻭ ﺑﻨﺎﺀﻫﺎ ﻣﻌﺎ‪ ،‬ﻭﳚﻌﻞ ﺍﻟﻘﺎﺭﺉ ﺗﻮﺍﻗﺎ ﺇﱃ ﻣﺘﺎﺑﻌﺔ ﻗﺮﺍﺀ‪‬ﺎ ﺣﱴ ﺍﻟﻨﻬﺎﻳﺔ‪ ،‬ﻓﺈﻥ ﺍﻟﺼﻐﺎﺭ ﳛﻠﻠﻮﻥ ﻭﻳﺴﺘﻨﺘﺠﻮﻥ‬
‫ﺣﻮﺍﺩﺙ ﺍﻟﻘﺼﺔ ﺃﺛﻨﺎﺀ ﻗﺼﻬﺎ ﻓﺈﻥ ﺍﻟﺸﻌﻮﺭ ﺍﻟﻨﻬﺎﺋﻲ ﻟﻦ ﻳﻜﻮﻥ ﺷﻌﻮﺭﺍ ﲟﻔﺎﺗﻴﺢ ﺇﱃ ﺍﻷﻟﻐﺎﺯ‪ ،‬ﻭ ﻟﻜﻦ ﺑﺸﻲﺀ‬
‫‪ -1‬ﺇﳝﺎﻥ ﺑﻘﺎﻋﻲ‪.‬ﻡ‪.‬ﺱ‪ 52.‬ﻭ ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭ ﻋﻤﻴﺶ‪.‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.166‬‬
‫‪ -2‬ﻡ‪.‬ﻥ ﺹ‪.47‬‬

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‫ﲨﻴﻞ ﻣﺘﺮﺍﺑﻂ‪ 1".‬ﻷﻥ ﺍﳊﺒﻜﺔ ﻭﺍﻟﺼﺮﺍﻉ ﻭ ﺍﻟﺒﻨﺎﺀ ﺑﺎﻟﻨﺴﺒﺔ ﳍﻢ ﻫﻮ ﺍﳊﻜﺎﻳﺔ ﻣﻦ ﺑﺪﺍﻳﺘﻬﺎ ﺇﱃ ‪‬ﺎﻳﺘﻬﺎ ﳊﻤﺔ‬
‫ﻭﺍﺣﺪﺓ ﻻ ﺍﻧﻔﺼﺎﻝ ﻓﻴﻬﺎ‪ ،‬ﻋﻠﻰ ﻋﻜﺲ ﺍﻟﻜﺒﺎﺭ ﺍﻟﺬﻳﻦ ﰲ ﻣﻘﺪﻭﺭﻫﻢ ﲢﺪﻳﺪ ﺃﻳﻦ ﺗﺒﺪﺃ ﺗﻠﻚ ﻟﺘﻨﺘﻬﻲ ﻫﺬﻩ‪ ،‬ﻭ‬
‫ﺃﻳﻦ ﺗﻨﺘﻬﻲ ﻫﺬﻩ ﻟﺘﺒﺪﺃ ﺍﻷﺧﺮﻯ‪ ،‬ﻭﻫﻜﺬﺍ ﺃﻱ ﰲ ﻫﺬﺍ ﺍﻟﺸﻜﻞ ﳚﺪ ﺍﻟﻄﻔﻞ ﺍﻟﺘﺮﺍﺑﻂ‪ ،‬ﻭ ﻻ ﺳﻲﺀ ﻳﺸﺘﺖ‬
‫ﺍﻧﺘﺒﺎﻫﻪ ﺃﻭ ﻳﺼﺮﻓﻪ ﺇﱃ ﺃﻣﺮ ﺁﺧﺮ‪.‬‬

‫ﺍﻟﺸﺨﺼﻴﺎﺕ ﰲ ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ‪:‬‬

‫" ﲡﺴﺪ ﺍﻟﺸﺨﺼﻴﺎﺕ ﰲ ﺍﻟﻘﺼﺔ ﺍﳌﻮﺍﻗﻒ ﻭ ﺍﻷﻓﻜﺎﺭ ﺑﺸﻜﻞ ﲡﻌﻞ ﺍﻷﻃﻔﺎﻝ ﻳﺘﺨﺬﻭﻥ ﺍﳌﻮﻗﻒ ﺍﻟﻌﺎﻃﻔﻲ‬
‫ﺇﺯﺍﺀﻫﺎ ﺗﻌﻠﻘﺎ ﺃﻭ ﻧﻔﻮﺭﺍ ﺃﻭ ﻋﻄﻔﺎ‪ ،‬ﻭ ﻳﺼﻞ ﺍﻷﻣﺮ ﺑﺎﻷﻃﻔﺎﻝ ﺇﱃ ﺍﻟﺘﻘﻤﺺ ﺍﻟﻮﺟﺪﺍﱐ ﻣﻊ ﺍﻷﺑﻄﺎﻝ ﻓﻴﺤﺰﻧﻮﻥ‬
‫ﳊﺰ‪‬ﻢ‪ ،‬ﻭ ﻳﻔﺮﺣﻮﻥ ﻟﻔﺮﺣﻬﻢ‪ 2".‬ﻟﺬﻟﻚ ﻓﻬﻮ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﺍﻟﻌﻨﺎﻳﺔ ﺑﺎﺧﺘﻴﺎﺭ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭ ﻛﻴﻔﻴﺔ‬
‫ﺑﻨﺎﺋﻬﺎ‪ ،‬ﻭﻟﻴﺘﻢ ﲢﻘﻴﻖ ﻫﺬﺍ ﺍﻟﺘﻌﺎﻃﻒ ﻣﺎ ﱂ ﻳﺸﻌﺮ ﺃﻥ ﺗﻠﻚ ﺍﻟﺸﺨﺼﻴﺔ ﻫﻲ ﺍﻧﻌﻜﺎﺱ ﻟﻪ‪ ،‬ﻭ ﺍﻣﺘﺪﺍﺩ ﻷﻣﺎﻟﻪ‬
‫ﻭ ﻃﻤﻮﺣﺎﺗﻪ‪.‬‬

‫‪‬ﺎﻳﺎﺕ ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ‪:3‬‬

‫ﻭ ﻋﻠﻴﻬﺎ ﺃﻥ ﺗﻜﻮﻥ ‪‬ﺎﻳﺎﺕ ﻣﺒﻬﺠﺔ ﻭ ﺇﺫﺍ ﻛﺎﻧﺖ ﻏﲑ ﺫﻟﻚ ﻓﻴﺠﺐ ﺍﶈﺎﻓﻈﺔ ﻋﻠﻰ ﻏﻤﻮﺿﻬﺎ ﺃﻭ ﺣﺰ‪‬ﺎ‬
‫ﺃﻭ ﺇﻥ ﻛﺎﻧﺖ ﻣﻔﺘﻮﺣﺔ ﻭ ﻏﲑﻫﺎ‪ ...‬ﰲ ﺃﻏﻠﺒﻬﺎ ﻭ ﻟﻜﻦ ﺃﺃﻳﺪ ﺃﻥ ﺗﻜﻮﻥ ﺑﲔ ﺍﻟﺴﺎﺭﺓ ﻭ ﺍﳊﺰﻳﻨﺔ ﺑﻐﺾ ﺍﻟﻨﻈﺮ‬
‫ﻋﻦ ﺃﻧﻮﺍﻉ ﺍﻟﻨﻬﺎﻳﺎﺕ ﺍﻷﺧﺮﻯ‪ ،‬ﻷﻥ ﻫﻨﺎﻟﻚ ﺣﻘﻴﻘﺔ ﻻ ﻳﻨﺒﻐﻲ ﺍﻟﺘﻐﺎﺿﻲ ﻋﻨﻬﺎ ﻭ ﻫﻲ ﺃﻥ ﺍﻟﻄﻔﻞ ﻳﻜﺘﺴﺐ‬
‫ﺧﱪﺍﺗﻪ ﻭ ﲡﺎﺭﺑﻪ‪ ،‬ﻭ ﳛﺪﺩ ﻧﻈﺮﺗﻪ ﻟﻠﻌﺎﱂ ﻭ ﺍﻟﻮﺍﻗﻊ ﻣﻦ ﺧﻼﳍﺎ‪ ،‬ﻭﻫﺬﻩ ﺣﻘﻴﻘﺔ ﻋﻠﻤﻴﺔ ﺃﺛﺒﺘﻬﺎ ﻋﻠﻤﺎﺀ‬
‫ﺍﻟﻨﻔﺲ‪ ،‬ﻟﺬﻟﻚ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﻋﺮﺽ ﻛﻞ ﻣﻮﺍﻗﻒ ﺍﳊﻴﺎﺓ ﻋﻠﻴﻪ ﺑﺸﻜﻠﻴﻬﺎ ﺍﻟﺴﺎﺭ ﻭ ﺍﶈﺰﻥ‪ ،‬ﻟﻜﻲ ﻻ ﻧﻮﻗﻌﻪ‬
‫ﰲ ﺻﺪﺍﻡ ﻣﻊ ﺍﻟﻮﺍﻗﻊ ﻏﲑ ﺍﳌﺜﺎﱄ ﺍﻟﺬﻱ ﻳﻌﻴﺸﻪ‪ ،‬ﻭ ﻟﻜﻲ ﻧﺒﻌﺪﻩ ﻋﻦ ﺍﻹﺣﺒﺎﻁ ﻋﻨﺪ ﺃﻭﻝ ﻣﺸﻜﻠﺔ ﻻ ﺗﻨﺘﻬﻲ‬
‫ﻛﻤﺎ ﻳﺮﻏﺐ‪ .‬ﻭ ﺃﻣﺎ ﻋﻦ ﻛﻮﻥ ﺍﻟﻨﻬﺎﻳﺎﺕ ﻣﻔﺘﻮﺣﺔ ﺃﻭ ﺟﺎﻫﺰﺓ‪ ،‬ﻓﺎﻟﻜﻔﺔ ﺗﺮﺟﺢ ﺇﱃ ﺍﻟﻨﻬﺎﻳﺎﺕ ﺍﳌﻔﺘﻮﺣﺔ‪،‬‬
‫‪ -1‬ﺇﳝﺎﻥ ﺑﻘﺎﻋﻲ‪.‬ﻡ‪.‬ﺱ ﺹ ‪.49‬‬
‫‪ -2‬ﻫﺎﺩﻱ ﻧﻌﻤﺎﻥ ﺍﳍﻴﱵ‪ ":‬ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ‪ -‬ﻓﻠﺴﻔﺘﻪ‪ -‬ﻓﻨﻮﻧﻪ‪ -‬ﻭﺳﺎﺋﻄﻪ" ﻣﻨﺸﻮﺭﺍﺕ ﻭﺯﺍﺭﺓ ﺍﻹﻋﻼﻡ‪ ،‬ﺳﻠﺴﻠﺔ ﺩﺭﺍﺳﺎﺕ ‪ ،127‬ﺑﻐﺪﺍﺩ‪،‬‬
‫‪.1977‬ﺹ‪.183‬‬
‫‪ -3‬ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭ ﻋﻤﻴﺶ‪.‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.193‬‬

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‫ﻷ‪‬ﺎ ﺃﻛﺜﺮ ﺣﺮﻳﺔ ﻭﲤﻜﻦ ﺍﻟﻄﻔﻞ ﻣﻦ ﲣﻴﻞ ﺍﻟﻨﻬﺎﻳﺎﺕ ﻭﲢﺪﻳﺪﻫﺎ ﻭﻓﻖ ﻣﺎ ﻳﺮﺍﻩ ﻣﻨﺎﺳﺒﺎ ﻭ ﺑﺎﻟﺘﺎﱄ ﲢﺮﻳﺾ‬
‫ﻣﻠﻜﺔ ﺍﻹﺑﺪﺍﻉ ﻋﻠﻰ ﺍﻟﻈﻬﻮﺭ ﰲ ﺩﺍﺧﻠﻪ‪ ،‬ﰒ ﺇﻥ ﺗﺄﺛﲑﻫﺎ ﻳﺪﻭﻡ ﺃﻛﺜﺮ ﻋﻠﻰ ﺍﻟﻄﻔﻞ ﻭ ﺗﺼﺮﻓﺎﺗﻪ‪.‬‬

‫ﺍﳉﻮ ﺍﻟﻌﺎﻡ* ﻟﻠﻘﺼﺔ‪:‬‬

‫ﻭ ﻳﻘﺼﺪ ﺑﻪ ﻣﺎ ﺗﺜﲑﻩ ﺍﻟﻘﺼﺔ ﻣﻦ ﺍﻧﻄﺒﺎﻋﺎﺕ ﻭ ﺍﻧﻔﻌﺎﻻﺕ ﺳﺎﺭﺓ ﺃﻭ ﻏﲑ ﺳﺎﺭﺓ‪ .‬ﻛﻤﺎ ﺃﻥ ﺷﻜﻠﻪ ﺍﻟﻨﻬﺎﺋﻲ‬
‫ﲢﺪﺩﻩ ‪‬ﺎﻳﺔ ﺍﻟﻘﺼﺔ ﻓﺘﻀﻔﻲ ﻋﻠﻴﻪ ﺍﻟﺒﻬﺠﺔ ﻭ ﺍﻟﺴﺮﻭﺭ ﺃﻭ ﺍﳊﺰﻥ ﻭ ﺍﻟﻨﻔﻮﺭ‪ ،‬ﻭ ﺑﺸﻜﻞ ﻋﺎﻡ ﻳﺴﺎﺭﻉ ﺍﻟﻄﻔﻞ‬
‫ﻟﺘﻜﻮﻳﻦ ﻓﻜﺮﺓ ﻋﻦ ﻓﺤﻮﻯ ﺍﻟﻘﺼﺔ ﻭ ﺑﺎﻟﺘﺎﱄ ﲢﺪﻳﺪ ﺍﳉﻮ ﺍﻟﻌﺎﻡ ﻣﻨﺬ ﺑﺪﺍﻳﺔ ﺍﻟﻘﺮﺍﺀﺓ‪ ،‬ﻭ ﻳﻘﻮﻡ ﺑﺼﻘﻠﻬﺎ ﻋﻠﻰ‬
‫ﻃﻮﻝ ﺍﻟﻘﺼﺔ ﻟﻴﺘﺤﺪﺩ ﺷﻜﻠﻬﺎ ﺍﻟﻨﻬﺎﺋﻲ ﻣﻦ ﺧﻼﻝ ‪‬ﺎﻳﺔ ﺍﻟﻘﺼﺔ ﻭ ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﻫﻨﺎ ﺇﱃ ﺃﻧﻪ ﻏﺎﻟﺒﺎ ﻣﺎ‬
‫ﻳﺘﻨﺎﻫﻰ ﺇﱃ ﺃﲰﺎﻉ ﺍﻷﻃﻔﺎﻝ ﻣﻦ ﻗﺼﺺ ﻳﻜﻮﻥ ﻣﻌﺮﻭﻓﺎ ﳍﻢ ﻭ ﻟﺪﻯ ﺃﻗﺮﺍ‪‬ﻢ‪ ،‬ﺧﺎﺻﺔ ﻋﱪ ﺍﻟﺘﻠﻔﺰﻳﻮﻥ ﺃﻭ ﻣﻦ‬
‫ﺧﻼﻝ ﻣﺎ ﳛﻜﻴﻪ ﳍﻢ ﺍﻵﺑﺎﺀ‪ ،‬ﻓﻬﺬﺍ ﺍﻟﺸﻜﻞ ﻳﻜﻮﻥ ﺭﺍﺳﺨﺎ ﻟﺪﻳﻬﻢ ﻭ ﺑﺎﻟﺘﺎﱄ ﻳﻨﺘﻈﺮﻭﻥ ﻣﻦ ﺍﳌﻜﺘﻮﺏ ﺃﻥ‬
‫ﻳﻨﺤﻮ ﻣﻨﺤﺎﻩ‪ ،‬ﻓﻤﺜﻼ ﻛﺎﻥ ﻫﺎﺭﻱ ﺑﻮﺗﺮ ﺃﺷﻬﺮ ﻣﻦ ﻧﺎﺭ ﻋﻠﻰ ﻋﻠﻢ‪ ،‬ﺣﱴ ﻗﺒﻞ ﻗﺮﺍﺀﺓ ﺍﻟﻘﺼﺔ ﻣﻜﺘﻮﺑﺔ‪،‬‬
‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻄﻔﻞ ﺍﻟﻌﺮﰊ‪ ،‬ﻟﺬﻟﻚ ﻓﺎﳌﻼﻣﺢ ﺍﻟﻌﺎﻣﺔ ﻟﻠﺸﺨﺼﻴﺎﺕ ﻭ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﻛﻜﻞ ﻛﺎﻧﺖ ﺟﺎﻫﺰﺓ‪،‬‬
‫ﻭ ﻋﻠﻰ ﺍﻟﻌﻤﻞ ﻣﻄﺎﺑﻘﺘﻬﺎ ﺗﺮﲨﺔ‪ ،‬ﳍﺬﺍ ﱂ ﻳﻜﻦ ﻋﻠﻰ ﺍﻟﻨﺴﺨﺔ ﺍﶈﺪﺛﺔ ﺍﻟﺘﻄﺮﻕ ﺇﱃ ﺍﻟﺘﻔﺎﺻﻴﻞ‪ .‬ﺃﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ‬
‫ﻟﻘﺎﺭﺉ ﻣﻦ ﺑﻴﺌﺔ ﺍﻟﻌﻤﻞ ﻳﺼﺒﺢ ﺿﺮﻭﺭﻱ ﻇﻬﻮﺭ ﻧﺴﺨﺔ ﺟﺪﻳﺪﺓ ﻣﻌﺪﻟﺔ ﻭﻓﻖ ﺍﳌﻌﻄﻴﺎﺕ ﺍﳉﺪﻳﺪﺓ ﻭ ﺍﳌﻘﺎﻳﻴﺲ‬
‫ﺍﻟﱵ ﺍﺧﺘﻠﻔﺖ ﻣﻦ ﺣﻴﺚ ﺍﻟﻜﻢ‪ .‬ﻭﺍﻟﱵ ﺗﺘﻤﺜﻞ ﰲ ﻭﻟﻮﺟﻪ ﺇﱃ ﻋﺎﱂ ﺍﻟﺴﻴﻨﻤﺎ ﳑﺎ ﳚﻌﻞ ﺍﻟﺘﻔﺎﺻﻴﻞ ﺃﻣﺮﺍ ﺛﺎﻧﻮﻳﺎ‪.‬‬

‫ﻛﻤﺎ ﺗﺪﺧﻞ ﻫﺬﻩ ﺍﳌﻤﻴﺰﺍﺕ ﻟﻴﺲ ﰲ ﺍﻟﺘﺄﻟﻴﻒ ﻓﻘﻂ ﺑﻞ ﺣﱴ ﰲ ﺍﻟﺘﺮﲨﺔ ﻓﻨﻘﻞ ﻗﺼﺔ ﻣﻦ ﻣﻜﺎﻥ ﻣﺎ ﺇﱃ ﺁﺧﺮ‬
‫ﻳﻨﻢ ﻋﻠﻰ ﺍﺧﺘﻼﻑ ﰲ ﺍﻟﺘﺮﻛﻴﺰ ﻣﻦ ﺃﻣﻮﺭ ﳏﺪﺩﺓ ﻣﻼﺋﻤﺔ ﻟﻠﺒﻴﺌﺔ ﺍﻷﻡ ﺇﱃ ﺃﻣﻮﺭ ﺃﺧﺮﻯ ﺗﻼﺀﻡ ﺍﻟﺒﻴﺌﺔ ﺍﳌﻀﻴﻔﺔ‪،‬‬
‫ﻛﺤﺎﻝ ﺍﻟﻌﻨﻮﺍﻥ ﻭﻫﻞ ﻳﻮﺟﺐ ﻫﺬﺍ ﺍﻻﻧﺘﻘﺎﻝ ﺗﻐﻴﲑﻩ ﺃﻭ ﻻ ﺑﺎﻹﺿﺎﻓﺔ ﻃﺮﻳﻘﺔ ﺍﻟﻌﺮﺽ‪ ،‬ﺍﳌﻌﻄﻴﺎﺕ‬
‫ﺍﳌﻌﺮﻭﺿﺔ‪ ،‬ﻓﺎﻟﻘﺼﺔ ﻏﺮﻳﺒﺔ ﻭﻋﻠﻰ ﻛﻞ ﺟﺰﺀ ﻣﻨﻬﺎ ﺃﻥ ﻳﻜﻮﻥ ﻋﺎﻣﻞ ﺟﺬﺏ ﻭﺗﺘﺤﺪﺩ ﺍﻟﺘﻔﺎﺻﻴﻞ ﻣﻦ ﺧﻼﻝ‬

‫ﲡﺪﺭﺓ ﺍﻹﺷﺎﺭﺓ ﻫﻨﺎ ﺇﱃ ﺃﻧﻪ ﻳﺘﺮﻛﺰ ﺃﺳﺎﺳﺎ ﻋﻠﻰ ﺍﳊﺪﺙ ﺍﻟﺬﻱ ﻳﺒﻌﺚ ﰲ ﺍﻟﻘﺼﺔ ﺍﻟﻘﻮﺓ ﻭﺍﳊﺮﻛﺔ ﻭ ﺍﻟﻨﺸﺎﻁ‪ ،‬ﻭ ﺷﻜﻞ ﺻﺎﻏﺘﻪ ﻫﻮ ﻣﺎ ﳛﺪﺩ ﻣﻨﺤﺎﻩ‬ ‫*‪-‬‬
‫ﻭﻣﺪﻯ ﺍﻗﺒﺎﻝ ﺍﻟﻄﻔﻞ ﻋﻠﻴﻪ‬

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‫ﻣﺪﻯ ﻣﻌﺮﻓﺔ ﺍﻟﻄﻔﻞ ﺑﺎﳌﻮﺿﻮﻉ ﺍﳌﻄﺮﻭﻕ ﺃﻭ ﺇﻥ ﻛﺎﻧﺖ ﻟﺪﻳﻬﺨﻠﻔﻴﺔ ﻣﺎ ﺳﺎﺑﻘﺔ ﻋﻦ ﺍﻟﻌﻤﻞ ﻧﻔﺴﻪ‪ .‬ﻓﻤﻦ‬
‫ﺧﻼﻝ ﻫﺬﻩ ﺍﻷﻣﻮﺭ ﻭ ﻏﲑﻫﺎ ﻳﺘﺤﺪﺩ ﺍﳊﻴﺰ ﺍﻟﺬﻱ ﺳﺘﺤﺘﻠﻪ ﺍﻟﻘﺼﺔ ﰲ ﺣﻴﺎﺓ ﺍﻟﻄﻔﻞ ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺍﻷﻣﻮﺭ‬
‫ﺍﻷﺧﺮﻯ ﻣﻦ ﻏﻼﻑ ﻭ ﺃﻟﻮﺍﻥ ﻭ ﺻﻮﺭ ﺃﻭ ﺭﺳﻮﻣﺎﺕ‪.‬‬

‫ﺍﻟﺼﻮﺭﺓ ﰲ ﻗﺼﺔ ﺍﻷﻃﻔﺎﻝ‪:‬‬

‫ﻟﻘﺪ ﲢﺪﺛﻨﺎ ﺳﺎﺑﻘﺎ ﻋﻦ ﺍﻟﺼﻮﺭﺓ ﻭﻛﻴﻒ ﺃ‪‬ﺎ ﺗﺴﺎﻋﺪ ﺍﻟﻄﻔﻞ ﰲ ﻓﻬﻢ ﺍﳉﻮ ﺍﻟﻌﺎﻡ ﻟﻠﻘﺼﺔ ﻭﻣﻦ ﺃ‪‬ﺎ ﺍﻟﻠﻐﺔ‬
‫ﺍﻟﻮﺳﻴﻄﺔ ﻭ ﻟﻜﻦ " ﻗﺪ ﻳﺘﺤﻮﻝ ﺩﻭﺭ ﺍﻟﺼﻮﺭﺓ ﻣﻦ ﺗﺪﻋﻴﻢ ﺍﻟﻨﺺ ﺍﳌﻜﺘﻮﺏ ﺇﱃ ﺍﳍﻴﻤﻨﺔ ﻋﻠﻴﻪ‪ ،‬ﺇﺫﺍ ﻣﺎ‬
‫ﺍﺳﺘﺨﺪﻣﺖ ﺍﻷﻟﻮﺍﻥ ﺑﺸﻜﻞ ﺟﺬﺍﺏ ﻭ ﺍﻣﺘﺎﺯﺕ ﺑﺎﻷﻟﻮﺍﻥ ﺍﻷﺳﺎﺳﻴﺔ ﺍﻟﱵ ﻫﻲ ﺍﻷﲪﺮ ﻭ ﺍﻷﺻﻔﺮ‬
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‫ﺑﺎﻹﺿﺎﻓﺔ‬ ‫ﻭ ﺍﻷﺯﺭﻕ ﺃﻭ ﺍﻷﺧﻀﺮ‪ ،‬ﺑﺎﻋﺘﺒﺎﺭﻫﺎ ﻣﻀﻴﻔﺔ ﻋﻠﻰ ﺍﻟﺮﺳﻢ ﺳﺤﺮﺍ ﻭ ﺟﺎﺫﺑﻴﺔ ﺍﻏﻮﺍﺋﻴﲔ‪".‬‬
‫ﺇﱃ ﺍﳊﻴﺰ ﺍﻟﺬﻱ ﲢﺘﻞ ﺩﺍﺧﻞ ﺍﻟﺼﻔﺤﺔ‪ ،‬ﰒ ﻣﻮﻗﻌﻬﺎ ﻣﻦ ﺍﻟﻨﺺ ﻧﻔﺴﻪ ﻷ‪‬ﺎ ﻗﺪ ﺗﺸﻮﺵ ﺫﻫﻦ ﺍﻟﻄﻔﻞ‬
‫ﻭ ﲡﻌﻞ ﺗﻌﻠﻘﻪ ﺑﺎﻟﻘﺼﺔ ﻓﻘﻂ ﻣﻦ ﺧﻼﻝ ﺍﻟﺼﻮﺭﺓ‪ ،‬ﻓﺈﺫﺍ ﺃﺑﻌﺪﺕ ﺍﻟﺼﻮﺭﺓ ﻓﻘﺪ ﺍﻟﻄﻔﻞ ﻛﻞ ﻋﻼﻗﺔ‬
‫ﺑﺎﻟﻘﺼﺔ‪ ،‬ﻛﻤﺎ ﺃﻥ ﺍﻷﻣﺮ ﻗﺪ ﻳﻔﻮﻕ ﺫﻟﻚ ﺇﱃ ﺃﻥ ﺗﻘﻒ ﻋﺎﺋﻘﺎ ﰲ ﻭﺟﻪ ﺗﻌﻠﻢ ﺍﻟﻄﻔﻞ ﻟﻠﻐﺔ‪ ،‬ﻟﺬﻟﻚ ﻣﻦ‬
‫ﺍﻟﻀﺮﻭﺭﻱ ﺍﻟﺘﺄﻛﻴﺪ ﻋﻠﻰ ﺃﻥ ﺍﳌﻮﺍﺯﻧﺔ ﺑﲔ ﺍﻟﺼﻮﺭﺓ ﻭ ﺍﻟﻜﻠﻤﺔ ﺍﳌﻠﻔﻮﻇﺔ ﺃﻣﺮ ﺿﺮﻭﺭﻱ ﻭ ﺟﻮﻫﺮﻱ‬
‫ﺧﺼﻮﺻﺎ ﻭ ﺃﻥ ﺃﻭﻝ ﻣﺎ ﻳﻠﻔﺖ ﺍﻧﺘﺒﺎﻩ ﺍﻟﻄﻔﻞ ﻟﻠﻘﺼﺔ ﻫﻮ ﺍﻟﺼﻮﺭﺓ‪ .‬ﻭ ﻧﻼﺣﻆ ﻣﻦ ﺧﻼﻝ ﺍﻟﺮﺳﻢ‬
‫ﺍﻟﺘﻮﺿﻴﺤﻲ ﺷﻜﻞ ﺍﻟﻌﻼﻗﺔ ﺍﻟﱵ ﻳﻨﺒﻐﻲ ﺃﻥ ﺗﻜﻮﻥ ﺑﲔ ﺍﳌﻠﻔﻮﻅ ﻭ ﺍﳌﺮﺳﻮﻡ‪:2‬‬

‫ﻋﻤﻴﺶ‪:‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.216.‬‬ ‫‪-1‬‬
‫ﻡ‪.‬ﻥ‪.‬ﺹ‪.217‬‬ ‫‪-2‬‬

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‫ﺍﳌﺮﺳﻮﻡ‬ ‫ﺍﳌﻠﻔﻮﻅ‬

‫ﺍﻟﺮﺳﻢ‬ ‫ﺍﻟﻨﺺ‬
‫ﺍﻟﻘﺼﺼﻲ‬
‫)ﻓﻜﺮﺓ‬
‫ﺃﻭ‬ ‫ﻣﻘﺮﻭﺀﺓ‬
‫ﻣﻠﻔﻮﻇﺔ(‬

‫ﺍﻟﻔﻜﺮﺓ ﺍﳌﻠﻔﻮﻇﺔ ‪ +‬ﺍﻟﻔﻜﺮﺓ ﺍﳌﺮﺳﻮﻣﺔ= ﺗﻜﺎﻣﻞ ﺗﻔﺴﲑﻱ‬

‫ﻋﻼﻗﺔ ﺗﺒﺎﺩﻟﻴﺔ‬

‫ﺗﻮﺣﻴﺪ ﺍﻟﺮﺅﻳﺔ ﺍﻟﺪﻻﻟﻴﺔ‬

‫ﻓﻘﺪ ﲣﺘﻠﻒ ﻣﺴﺎﺣﺘﻬﺎ ﺍﻟﱵ ﲢﺘﻠﻬﺎ‪ ،‬ﻷ‪‬ﺎ ﻗﺪ ﺗﻜﱪ ﺃﻭ ﺗﺼﻐﺮ ﲝﺴﺐ ﻋﻤﺮ ﺍﻟﻄﻔﻞ ﻭ ﻓﻌﺎﻟﻴﺘﻬﺎ ﰲ‬
‫ﺗﻮﺻﻴﻞ ﺍﻟﻔﻜﺮﺓ ﻭﻟﻜﻦ ﻟﻴﺲ ﻋﻠﻰ ﺣﺴﺎﺏ ﺍﻟﻜﻠﻤﺔ ﺍﳌﻜﺘﻮﺑﺔ‪ ،‬ﻓﻠﻠﻜﻠﻤﺔ ﺍﳌﻜﺘﻮﺑﺔ ﺣﻴﺰ ﺃﻳﻀﺎ ﳛﺪﺩ‬
‫ﻋﻠﻰ ﺃﺳﺎﺱ ﺍﻟﻌﻤﺮ ﺍﻟﺬﻱ ﻳﺘﻮﺟﻪ ﺇﻟﻴﻪ ﺍﻟﻌﻤﻞ‪ ،‬ﻓﻤﺜﻼ ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﻄﻔﻞ ﺑﲔ ﺍﻟﻄﻔﻮﻟﺔ ﺍﳌﺒﻜﺮﺓ ﻭ ﺍﻟﻄﻔﻮﻟﺔ‬
‫ﻓﺈﻥ ﻣﺴﺎﺣﺘﻬﺎ ﻛﺒﲑﺓ ﺇﱃ ﺣﺪ ﻣﺎ ﻷﻥ ﺍﻟﻄﻔﻞ ﻳﻌﺘﻤﺪ ﻋﻠﻴﻬﺎ ﰲ ﻓﻬﻢ ﺍﻟﻌﻤﻞ‪ ،‬ﻭﺗﺘﻘﻠﺺ ﻣﺴﺎﺣﺘﻬﺎ‬
‫ﻭ ﺃﳘﻴﺘﻬﺎ ﻛﻠﻤﺎ ﺗﻘﺪﻡ ﺍﻟﻄﻔﻞ ﰲ ﺍﻟﻌﻤﺮ‪ ،‬ﰒ ﺃﻋﺘﻘﺪ ﺃ‪‬ﺎ ﺿﺮﻭﺭﻳﺔ ﻹﺿﻔﺎﺀ ﺟﻮ ﻣﻦ ﺍﳌﺘﻌﺔ ﺿﺮﻭﺭﻱ‬

‫ﳚﺐ ﺍﻟﺘﺄﻛﻴﺪ ﻋﻠﻰ ﺃﻥ ﺍﻟﺮﺳﻢ ﺍﻟﺘﻮﺿﻴﺤﻲ ﻗﺎﻡ ﺑﻪ "ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭ ﻋﻤﻴﺶ" ‪ ،‬ﻭ ﻗﺪ ﺍﺭﺗﺄﻳﺖ ﺃﻥ ﺍﻟﻔﻜﺮﺓ ﺍﻟﱵ ﺃﺑﻐﻴﻬﺎ ﻗﺪ ﺗﺘﻀﺢ ﺃﻛﺜﺮ ﻣﻦ ﺧﻼﻝ‬ ‫*‪-‬‬
‫ﻋﺮﺿﻪ‪ ،‬ﻟﻴﺒﺪﻭ ﺟﻠﻴﺎ ﺷﻜﻞ ﺍﻟﻌﻼﻗﺔ ﺑﲔ ﺍﳌﻜﺘﻮﺏ ﻭﺍﻟﻠﻐﺔ‪ .‬ﻡ‪.‬ﻥ‪.‬ﺹ‪214‬‬

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‫ﺣﱴ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻜﺒﺎﺭ‪ .‬ﻓﺎﻟﺼﻮﺭ ﻭ ﺍﻟﺮﺳﻮﻡ " ﳍﺎ ﻗﻴﻤﺔ ﲨﺎﻟﻴﺔ ﺗﺬﻭﻗﻴﺔ ﰲ ﺍﻟﻘﺼﺔ‪ ،‬ﻭ ﺃﻥ ﳍﺎ ﻗﻴﻤﺔ ﺛﻘﺎﻓﻴﺔ‬
‫ﻟﻠﻄﻔﻞ ﺍﻟﻘﺎﺭﺉ‪ .‬ﻭ ﺃ‪‬ﺎ ﺗﻮﺿﺢ ﺍﳌﻔﺎﻫﻴﻢ ﻭ ﺗﻌﱪ ﻋﻦ ﺍﻟﻘﻴﻢ‪ ،‬ﻭ ﺗﺜﺮﻱ ﻗﺪﺭﺓ ﺍﻟﻄﻔﻞ ﻋﻠﻰ ﺍﻟﺘﺨﻴﻞ‬
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‫ﻭﻟﻜﻦ‬ ‫ﻭ ﺍﻟﻨﻘﺪ‪ ،‬ﻭﺭﻭﺡ ﺍﳌﺮﺡ ﺇﺫﺍ ﻛﺎﻧﺖ ﺗﺸﻜﻞ ﻣﻊ ﺍﳌﺎﺩﺓ ﺍﳌﻜﺘﻮﺑﺔ ﻭﺣﺪﺓ ﻓﻨﻴﺔ ﻣﺘﻜﺎﻣﻠﺔ‪"...‬‬
‫ﻫﻨﺎﻙ ﺃﻣﺮ ﻣﺎ ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﻟﻴﻪ ﻫﻮ ﺃﻧﻪ ﺭﻏﻢ ﺃ‪‬ﺎ " ‪ ...‬ﺗﻨﻔﺬ ﻋﺎﺩﺓ ﻗﺒﻞ ﺍﻟﻨﺺ ﺃﻭ ﺑﻌﺪﻩ ﻓﻬﻲ‬
‫ﺗﺸﻴﺦ ﻗﺒﻠﻪ ﺑﺴﺮﻋﺔ ﺃﻛﱪ‪ ،‬ﻟﺬﺍ ﻛﺎﻥ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﺑﻌﺚ ﺭﻭﺡ ﺍﻟﺸﺒﺎﺏ ﻓﻴﻬﺎ ﻣﻊ ﻛﻞ ﺟﻴﻞ‬
‫ﺟﺪﻳﺪ‪ 2"...‬ﻭﻫﻨﺎ ﺇﺫﺍ ﻣﺎ ﺗﻌﻠﻖ ﺍﻷﻣﺮ ﺑﺎﻟﻘﺼﺺ ﺍﻟﻌﺎﳌﻴﺔ ﻓﻤﻊ ﻛﻞ ﻃﺒﻌﺔ ﺭﲟﺎ ﻳﻘﻮﻡ ﺍﻟﻨﺎﺷﺮ ﺑﺘﻜﻴﻴﻒ‬
‫ﺍﻟﺼﻮﺭﺓ ﻭ ﺍﻷﻟﻮﺍﻥ ﻷ‪‬ﺎ ﻻ ﺗﻘﺎﻭﻡ ﺍﻟﺰﻣﻦ‪ ،‬ﻓﻤﺎ ﻫﻮ ﳑﺘﻊ ﺍﻟﻴﻮﻡ ﻭﺯﺍﻫﻲ ﻗﺪ ﻳﺘﺤﻮﻝ ﺇﱃ ﳑﻞ ﻭ ﺑﺎﻫﺖ‪،‬‬
‫ﻭﻟﻴﺲ ﺍﻟﺰﻣﻦ ﻓﻘﻂ ﻣﻦ ﳝﺎﺭﺱ ﺳﻠﻄﺘﻪ ﻋﻠﻴﻬﺎ ﺑﻞ ﺍﳌﻜﺎﻥ ﺃﻳﻀﺎ‪.‬‬

‫ﻓﺎﺧﺘﻼﻑ ﺍﳌﻜﺎﻥ ﻳﻔﺘﺮﺽ ﺍﺧﺘﻼﻓﺎ ﺟﻮﻫﺮﻳﺎ ﰲ ﺍﻟﻨﻈﺮ ﺇﱃ ﺍﻷﻟﻮﺍﻥ‪ ،‬ﻟﺬﻟﻚ ﻛﺎﻥ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﺍﻻﻫﺘﻤﺎﻡ‬
‫ﺑﺘﻜﻴﻴﻒ ﺍﻟﺼﻮﺭﺓ ﻟﻴﺲ ﻓﻘﻂ ﻣﻦ ﻃﺮﻑ ﺍﳌﺒﺪﻋﲔ ﻭﻟﻜﻦ ﺣﱴ ﻣﻦ ﻃﺮﻑ ﺍﳌﺘﺮﲨﲔ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺍﻟﺼﻮﺭﺓ‬
‫ﻧﻮﻉ ﻣﻦ ﺍﻟﻠﻐﺔ‪ ،‬ﻭﻋﻠﻰ ﺃﺳﺎﺳﻬﺎ ﻳﺘﺤﺪﺩ ﻣﻔﻬﻮﻡ ﺍﻟﻘﺼﺔ‪.‬‬

‫ﺍﻟﻔﻀﺎﺀ ﺍﻟﻌﻤﺮﻱ ﻟﻠﻄﻔﻞ ﺍﻟﺬﻱ ﺍﺧﺘﺮﺗﻪ ﻟﻠﺘﻄﺒﻴﻖ ﻋﻠﻴﻪ‪:‬‬

‫ﻋﺎﺩﺓ ﻣﺎ ﻳﻘﺴﻢ ﻋﻠﻤﺎ ﺍﻟﻨﻔﺲ ﻣﺮﺍﺣﻞ ﻋﻤﺮ ﺍﻟﻄﻔﻞ ﺇﱃ ﻣﺮﺍﺣﻞ ﺛﻼﺙ ﻭ ﻫﻲ‪ :‬ﺍﻟﻄﻔﻮﻟﺔ ﺍﳌﺒﻜﺮﺓ‪ ،‬ﺍﻟﻄﻔﻮﻟﺔ‪،‬‬
‫ﻭ ﺍﻟﻄﻔﻮﻟﺔ ﺍﳌﺘﺄﺧﺮﺓ‪ ،‬ﻭﻫﻲ ﺍﻟﻔﺘﺮﺍﺕ ﺍﳌﻤﺘﺪﺓ‪ :‬ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻄﻔﻮﻟﺔ ﺍﳌﺒﻜﺮﺓ ﻣﻦ ﺍﻟﺸﻬﻮﺭ ﺍﻷﻭﱃ ﺇﱃ ﻏﺎﻳﺔ ﺍﻟﺴﻦ‬
‫ﺍﻟﺮﺍﺑﻌﺔ ﺃﻭ ﺍﳋﺎﻣﺴﺔ‪ ،‬ﻭ ﻫﻲ ﻣﺮﺣﻠﺔ ﻣﻬﻤﺔ ﺃﻛﺜﺮ ﻟﻌﻠﻤﺎﺀ ﺍﻟﻨﻔﺲ ﻟﺪﺭﺍﺳﺔ ﺳﻠﻮﻙ ﺍﻟﻄﻔﻞ ﻣﺎ ﺑﻌﺪ ﺍﻟﻮﻻﺩﺓ‪،‬‬
‫ﻭ ﺗﻜﻮﻳﻦ ﺷﺨﺼﻴﺔ ﺍﻟﻄﻔﻞ‪ ،‬ﺍﻟﻌﻘﺪ ﺃﻭ ﺍﳌﺸﺎﻛﻞ ﺍﻟﻨﻔﺴﻴﺔ ﺍﻟﱵ ﺗﺒﺪﺃ ﺑﺎﻟﻈﻬﻮﺭ ﻭ ﺍﻟﱵ ﺗﻘﻮﻡ ﺑﺘﻮﺟﻴﻪ ﺳﻠﻮﻛﻪ‬
‫ﻓﻴﻤﺎ ﺑﻌﺪ‪ ،‬ﻭ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻌﻤﻠﻴﺔ ﺍﺗﺼﺎﻟﻪ ﺑﺎﻷﺩﺏ ﺗﻜﻮﻥ ﻋﻠﻰ ﺍﻷﻏﻠﺐ ﺷﻔﺎﻫﺔ‪ ،‬ﻟﺴﺒﺒﲔ ﺃﻭﻻ‪ :‬ﻷﻥ ﺟﻬﺎﺯﻩ‬
‫ﺍﻟﻠﻐﻮﻱ ﱂ ﻳﺘﻄﻮﺭ ﺑﺸﻜﻞ ﻳﺴﻤﺢ ﻟﻪ ﺃﻥ ﻳﻄﺎﻟﻊ ﺑﻨﻔﺴﻪ‪ ،‬ﻭ ﺛﺎﻧﻴﺎ ﻷﻧﻪ ﰲ ﻃﻮﺭ ﺗﻨﻤﻴﺔ ﻣﻴﻮﻻﺗﻪ‬

‫‪ -1‬ﺣﺴﻦ ﺷﺤﺎﺗﻪ‪ ":‬ﻗﺮﺍﺀﺍﺕ ﺍﻷﻃﻔﺎﻝ"‪ ،‬ﺍﻟﺪﺍﺭ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻠﺒﻨﺎﻧﻴﺔ‪،‬ﻁ‪1989. ،1‬ﺹ‪.79‬‬

‫‪ -2‬ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭ ﻋﻤﻴﺶ‪:‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.216.‬‬

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‫ﻭ ﲢﺪﻳﺪ ﺭﻏﺒﺎﺗﻪ‪ ،‬ﻣﺮﺣﻠﺔ ﺍﻟﻄﻔﻮﻟﺔ‪ :‬ﻭﻫﻲ ﺗﺒﺪﺃ ﻣﻦ ﺳﻦ ﺳﺖ ﺳﻨﻮﺍﺕ ﺇﱃ ﺳﻦ ﻋﺸﺮ ﺃﻭ ﺃﺣﺪﻯ ﻋﺸﺮﺓ‬
‫ﺳﻨﺔ‪ ،‬ﻭ ﻓﻴﻬﺎ ﻳﺪﺧﻞ ﺍﻟﻄﻔﻞ ﻋﺎﱂ ﺍﳌﺪﺭﺳﺔ ﻭ ﻳﺸﺮﻉ ﰲ ﺗﻄﻮﻳﺮ ﻣﻠﻜﺘﻪ ﺍﻷﺩﺑﻴﺔ ﻭ ﺍﻟﻠﻐﻮﻳﺔ ﻋﻦ ﻃﺮﻳﻖ‬
‫ﳐﺘﻠﻒ ﺍﻟﻨﺼﻮﺹ ﺍﻟﱵ ﺗﻌﺮﺽ ﻋﻠﻴﻪ‪ ،‬ﻭ ﻳﻘﻴﻢ ﺍﻟﻔﺮﻕ ﺑﲔ ﻣﺎ ﻫﻮ ﻋﻠﻤﻲ ﻫﺪﻓﻪ ﰲ ﺍﻷﻏﻠﺐ ﺗﻌﻠﻴﻤﻲ‪ ،‬ﻭ ﻣﺎ‬
‫ﻫﻮ ﺃﺩﰊ ﺍﻟﺬﻱ ﺇﱃ ﺟﺎﻧﺐ ﻛﻮﻧﻪ ﺗﻌﻠﻴﻤﻲ ﺗﺮﺑﻮﻱ ﻫﻮ ﺃﻳﻀﺎ ﺗﺮﻓﻴﻬﻲ‪ ،‬ﻭ ﰲ ﻫﺬﻩ ﺍﻟﺴﻨﻮﺍﺕ ﻳﻨﻤﻲ ﺍﻟﻘﺪﺭﺓ‬
‫ﻋﻠﻰ ﺍﻟﺘﻔﺮﻳﻖ ﺑﲔ ﺍﻷﺷﻜﺎﻝ ﺍﻷﺩﺑﻴﺔ ﻛﺄﳕﺎﻁ ﺗﻌﺒﲑ ﳐﺘﻠﻔﺔ ﰲ ﺍﻟﺸﻜﻞ ﻭ ﺍﳌﻀﻤﻮﻥ‪ ،‬ﻭ ﻳﺼﻘﻞ ﺷﻴﺌﺎ ﻓﺸﻴﺌﺎ‬
‫ﻣﻴﻮﻻﺗﻪ ﺍﻷﺩﺑﻴﺔ ﻭ ﻳﻨﻤﻴﻬﺎ‪ ،‬ﲝﻴﺚ ﳝﻜﻨﻪ ﺃﻥ ﻳﻔﻀﻞ ﻧﻮﻋﺎ ﺃﺩﺑﻴﺎ ﻋﻠﻰ ﻏﲑﻩ‪ ،‬ﻟﻴﺲ ﻣﻦ ﻣﻨﻄﻠﻖ ﻣﺘﻤﺮﺱ‬
‫ﻭ ﻟﻜﻦ ﻋﻠﻰ ﺃﺳﺎﺱ ﻏﺮﻳﺰﻱ ﲝﺖ‪ ،‬ﺗﺘﺪﺧﻞ ﻓﻴﻪ ﻣﺮﺣﻠﺔ ﻣﺎ ﻗﺒﻞ ﺍﻟﺘﻤﺪﺭﺱ‪ ،‬ﻭ ﺃﺧﲑﺍ ﻫﻨﺎﻙ ﻣﺮﺣﻠﺔ‬
‫ﺍﻟﻄﻔﻮﻟﺔ ﺍﳌﺘﺄﺧﺮﺓ ﻭ ﻫﻲ ﺗﺒﺪﺃ ﻣﻦ ﺍﻟﺴﻦ ﺍﻟﺜﺎﻧﻴﺔ ﻋﺸﺮ ﺇﱃ ﻏﺎﻳﺔ ﺍﳋﺎﻣﺴﺔ ﻋﺸﺮﺓ‪ ،‬ﻭ ﻓﻴﻬﺎ ﻳﻜﻮﻥ ﺟﻬﺎﺯﻩ‬
‫ﺍﻟﻠﻐﻮﻱ ﻗﺪ ﺍﻛﺘﻤﻞ ﺗﻘﺮﻳﺒﺎ‪ ،‬ﺇﱃ ﺟﺎﻧﺐ ﺃﻥ ﺍﺧﺘﻴﺎﺭﺍﺗﻪ ﳍﺎ ﺟﺎﻧﺐ ﻣﻦ ﺍﻟﺘﺨﻄﻴﻂ ﻭ ﺍﻟﻌﻘﻼﻧﻴﺔ ﺇﱃ ﺣﺪ ﻣﺎ‬
‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﻪ ﻋﻠﻰ ﺍﻷﻗﻞ‪ ،‬ﻭ ﻳﺘﻜﻮﻥ ﻟﻪ ﳐﺰﻭﻥ ﺃﺩﰊ ﻣﻌﺘﱪ ﻓﻴﻤﺎ ﳜﺺ ﺍﻷﺷﻜﺎﻝ ﺍﻷﺩﺑﻴﺔ ﺍﻟﺬﻱ ﻋﻠﻰ ﺃﺳﺎﺳﻪ‬
‫ﳝﻜﻨﻪ ﺍﻟﺘﻮﺟﻪ ﺇﱃ ﻣﺎ ﻳﻔﻀﻠﻪ‪.‬‬

‫ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﻫﺬﻩ ﺍﻟﺘﻘﺴﻴﻤﺎﺕ ﺗﻘﺒﻞ ﺍﻟﻨﻘﺎﺵ ﻓﻴﻬﺎ ﻭ ﻟﻴﺴﺖ ‪‬ﺎﺋﻴﺔ ﻷ‪‬ﺎ ﻗﺴﻤﺖ ﻋﻠﻰ ﺃﺳﺲ‬
‫ﻣﻌﻴﻨﺔ‪ ،‬ﰲ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ﺍﺧﺘﺮ‪‬ﺎ ﻋﻠﻰ ﺃﺳﺎﺱ ﺷﻜﻞ ﺍﳌﻠﻜﺔ ﺍﻟﻠﻐﻮﻳﺔ‪ ،‬ﻭﻫﻨﺎﻙ ﺗﻘﺴﻴﻤﺎﺕ ﻋﻠﻰ ﺃﺳﺲ ﺃﺧﺮﻯ‬
‫ﳝﻜﻦ ﺃﻥ ﺗﺼﺎﺩﻓﻨﺎ ﺣﲔ ﺍﻟﺒﺤﺚ ﰲ ﻫﺬﺍ ﺍﳌﻴﺪﺍﻥ‪ ،‬ﻭ ﺍﳌﻬﻢ ﻭﻗﻊ ﺍﺧﺘﻴﺎﺭﻱ ﻋﻠﻰ ﻣﺮﺣﻠﺔ ﺍﻟﻄﻔﻮﻟﺔ ﺃﻭ ﺃﻥ‬
‫ﺃﲰﻴﻬﺎ ﻣﺮﺣﻠﺔ ﺍﻟﺘﻤﺪﺭﺱ ﺍﻷﻭﱃ ﻷﺳﺒﺎﺏ* ﻭ ﻫﺬﺍ ﻋﺮﺿﻬﺎ‪:‬‬

‫‪ -‬ﻋﺎﺩﺓ ﻣﺎ ﺗﻌﺎﱐ ﻫﺬﻩ ﺍﻟﻔﺌﺔ ﻧﻮﻋﺎ ﻣﻦ ﺍﳊﺮﻣﺎﻥ ﻓﻴﻤﺎ ﳜﺺ ﺍﻟﻜﺘﺐ ﻏﲑ ﺍﳌﺪﺭﺳﻴﺔ‪ ،‬ﺣﻴﺚ ﻳﺮﻛﺰ ﺍﻫﺘﻤﺎﻡ‬
‫ﺍﻷﻭﻟﻴﺎﺀ ﻭ ﺍﻟﺪﺍﺭﺳﻮﻥ ﻭ ﺍﳌﻌﻠﻤﻮﻥ ﻋﻠﻰ ﺗﻠﻘﲔ ﻫﺆﻻﺀ ﺍﻟﻠﻐﺔ ﻛﻠﻐﺔ‪ ،‬ﲝﻤﻠﻬﻢ ﻋﻠﻰ ﺗﻄﻮﻳﺮ ﻣﻠﻜﺘﻬﻢ‬
‫ﺍﻟﻠﻐﻮﻳﺔ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﺘﻌﻠﻴﻢ ﺍﳌﺒﺎﺷﺮ ﻷﲜﺪﻳﺎﺕ ﺍﻟﻠﻐﺔ ﺍﳌﻜﺘﻮﺑﺔ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﺗﻜﻮﻥ ﺍﻟﻜﺘﺐ ﺍﳌﻌﺮﻭﺿﺔ‬
‫ﻋﻠﻴﻬﻢ ﳍﺬﺍ ﺍﻟﻐﺮﺽ ﻓﻘﻂ‪.‬‬

‫ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﳎﻤﻮﻋﺔ ﺍﻷﺳﺒﺎﺏ ﺍﺳﺘﻨﺘﺠﺘﺎﻫﺎ ﻣﻦ ﺧﻼﻝ ﺩﺭﺍﺳﺘﻨﺎ ﳌﺎ ﺳﺒﻖ ﻭ ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ ﰎ ﲢﺪﻳﺪ ﺍﻟﻔﺌﺔ ﺍﻟﻌﻤﺮﻳﺔ ‪ ،‬ﰒ ﻋﻠﻰ ﺃﺳﺎﺱ‬ ‫*‪-‬‬
‫ﺃﺣﺪﺍﺙ ﺍﻷﺳﻄﻮﺭﺓ ﻭ ﻛﻴﻔﻴﺔ ﺗﻔﺎﻋﻞ ﺍﻟﻄﻔﻞ ﰲ ﻫﺬﺍ ﺍﻟﺴﻦ ﻣﻌﻬﺎ‪.‬‬

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‫‪ -‬ﰲ ﻫﺬﺍ ﺍﻟﻄﻮﺭ ﻳﺘﻢ ﺻﻘﻞ ﻣﺎ ﻳﺴﻤﻰ ﻟﺪﻳﻬﻢ ﻓﻴﻤﺎ ﺑﻌﺪ ﺑﺎﻻﺧﺘﻴﺎﺭﺍﺕ ﺃﻭ ﺍﻟﺘﻮﺟﻬﺎﺕ ﺍﻷﺩﺑﻴﺔ‬
‫ﻭ ﺑﺎﻟﺘﺎﱄ ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ ﻳﺒﲎ ﺍﻹﺑﺪﺍﻉ ﻭ ﻳﻨﻤﻮ ﻣﻌﻬﻢ‪.‬‬
‫‪ -‬ﻫﺬﻩ ﺍﻟﻔﺌﺔ ﺃﻛﺜﺮ ﺍﺣﺘﻜﺎﻛﺎ ﺑﻌﺎﱂ ﺍﻟﻮﻫﻢ ﻭ ﺍﳋﻴﺎﻝ‪ ،‬ﺇﺫﺍ ﻻ ﳝﻜﻨﻬﺎ ﺍﻟﺘﻔﺮﻳﻖ ﺑﲔ ﻣﺎ ﻫﻮ ﺧﻴﺎﻝ ﳏﺾ‬
‫ﻭ ﻣﺎ ﻫﻮ ﺧﻴﺎﻝ ﻣﻮﺟﻪ‪ ،‬ﻭ ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ ﳝﻜﻨﻨﺎ ﺗﻮﺟﻴﻬﻬﻢ ﺇﱃ ﻣﺎ ﻧﺮﻳﺪ‪ ،‬ﻓﺈﺫﺍ ﺃﺭﺧﻴﻨﺎ ﺍﳊﺒﻞ‬
‫ﳍﻢ‪ ،‬ﻭ ﺗﺮﻛﻨﺎﻫﻢ ﰲ ﻋﻤﻪ ﺍﳋﻴﺎﻝ ﺍﶈﺾ‪ ،‬ﺳﻴﻌﺎﻧﻮﻥ ﻣﻦ ﺧﻴﺒﺎﺕ ﺃﻣﻞ ﻣﺘﻜﺮﺭﺓ ﰲ ﺻﺪﺍﻣﻬﻢ ﻣﻊ‬
‫ﺍﻟﻮﺍﻗﻊ ﺍﻟﺬﻱ ﻳﻌﺸﻮﻥ ﻓﻴﻪ ﻭ ﺑﺎﻟﺘﺎﱄ ﻳﺆﺩﻱ ﺇﱃ ﺭﻓﺾ ﺍﻟﻘﺮﺍﺀﺓ ﲨﻠﺔ ﻭ ﺗﻔﺼﻴﻼ‪ ،‬ﺇﺫﻥ ﺣﱴ ﺍﳉﺎﻧﺐ‬
‫ﺍﻟﺘﺮﺑﻮﻱ ﻣﻦ ﺍﳌﺴﺄﻟﺔ ﻛﻜﻞ ﳝﻜﻦ ﺃﻥ ﻳﻐﻴﺐ‪ ،‬ﻭ ﻟﻜﻦ ﺇﺫﺍ ﻭﺟﻬﻨﺎ ﺧﻴﺎﳍﻢ ﲝﻴﺚ ﻻ ﻧﻨﺤﻦ ﺟﻌﻠﻨﺎ‬
‫ﺍﻟﻌﺎﱂ ﻣﺜﺎﻟﻴﺎ ﻭ ﻻ ﻧﻨﺤﻦ ﺟﻌﻠﻨﺎﻩ ﻭﺍﻗﻌﻴﺎ ﳑﻼ‪ ،‬ﰎ ﻟﻨﺎ ﺃﻣﺮﺍﻥ‪ ،‬ﺍﻷﻭﻝ‪ :‬ﻫﻮ ﲢﻘﻴﻖ ﺍﻟﻔﻌﻞ ﺍﻟﺘﺮﺑﻮﻱ‬
‫ﺍﻟﺘﻌﻠﻴﻤﻲ‪ ،‬ﻭ ﺍﻟﺜﺎﱐ ﳕﻴﺎﻧﺎ ﺍﻹﺑﺪﺍﻉ ﳋﻠﻖ ﺟﻴﻞ ﻣﺴﺘﻘﺒﻠﻲ ﻣﻦ ﺍﻟﻌﻠﻤﺎﺀ ﻭ ﺍﻷﺩﺑﺎﺀ ﻭ ﺟﻌﻠﻨﺎ ﻣﻦ ﺍﻟﻌﻠﻢ‬
‫ﺷﻴﺌﺎ ﳑﺘﻌﺎ ﻟﻄﻠﺒﻪ‪.‬‬
‫‪ -‬ﻣﺎ ﺗﺰﺍﻝ ﻫﺬﻩ ﺍﻟﻔﺌﺔ ﻋﻠﻰ ﺍﺗﺼﺎﻝ ﺑﻌﺎﱂ ﺍﳊﻜﺎﻳﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﺸﻔﻮﻳﺔ ﻭ ﱂ ﺗﻔﻘﺪ ﺻﻠﺘﻬﺎ ﺑﺸﺨﺼﻴﺎ‪‬ﺎ‪،‬‬
‫ﻭ ﻋﻮﺍﳌﻬﺎ‪ ،‬ﻭ ﺇﺫﺍ ﺟﻌﻠﻨﺎ ﺍﻟﻘﺼﺺ ﺍﳌﻘﺪﻣﺔ ﳍﻢ ﺗﺼﺐ ﰲ ﻫﺬﺍ ﺍﻻﲡﺎﻩ‪ ،‬ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃ‪‬ﺎ ﺍﳌﻨﺎﺑﻊ‬
‫ﺍﻷﺳﺎﺳﻴﺔ ﻟﻘﺼﺺ ﺍﻷﻃﻔﺎﻝ ﻓﺈﻥ ﻫﺬﺍ ﺍﻷﻣﺮ ﺳﻴﺪﻋﻢ ﺗﻠﻚ ﺍﻟﻘﺼﺺ ﺑﺸﻜﻞ ﳚﻌﻠﻬﺎ ﻣﺄﻟﻮﻓﺔ ﻭ ﺑﺎﻟﺘﺎﱄ‬
‫ﻻ ﻳﺮﻓﻀﻬﺎ ﺍﻟﻄﻔﻞ ﺑﻌﺎﳌﻬﺎ ﻭ ﺷﺨﻮﺻﻬﺎ ﺑﻞ ﺃﺑﻌﺪ ﻣﻦ ﺫﻟﻚ ﻳﺴﻌﻰ ﺇﱃ ﻃﻠﺒﻬﺎ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﳝﻴﻞ ﺃﻛﺜﺮ‬
‫ﺇﱃ ﺍﳌﻄﺎﻟﻌﺔ ﻭ ﺍﻟﺒﺤﺚ ﻋﻦ ﺍﳌﺰﻳﺪ‪.‬‬
‫‪ -‬ﺑﺸﻜﻞ ﻋﺎﻡ ﻳﺼﻌﺐ ﻋﻠﻰ ﺍﻟﻮﺍﻟﺪﻳﻦ ﳍﺬﻩ ﺍﻟﻔﺌﺔ ﺍﺧﺘﻴﺎﺭ ﳑﺎ ﻫﻮ ﻏﲑ ﻣﺪﺭﺳﻲ ﳌﻼﺋﻤﺔ ﺳﻦ ﺍﻟﻄﻔﻞ‪ ،‬ﻣﻦ‬
‫ﺣﻴﺚ ﺍﻟﻠﻐﺔ‪ ،‬ﻓﻌﺎﺩﺓ ﻣﺎ ﳚﱪ ﺍﻷﻃﻔﺎﻝ ﻋﻠﻰ ﻗﺮﺍﺀﺓ ﻣﺎ ﻫﻮ ﺩﻭﻥ ﺍﳌﺴﺘﻮﻯ ﺍﻟﻠﻐﻮﻱ‪ ،‬ﻛﺄﻥ ﻳﺸﺘﺮﻱ‬
‫ﺍﻟﻮﺍﻟﺪﺍﻥ ﳍﻢ ﻣﺎ ﻫﻮ ﺃﻛﺜﺮ ﺑﺴﺎﻃﺔ ﺣﻴﺚ ﻳﻘﺪﻡ ﻷﺻﻐﺮ ﻣﻨﻬﻢ ﺃﻭ ﺍﻟﻌﻜﺲ‪ ،‬ﺣﻴﺚ ﺗﺆﺛﺮ ﻋﻠﻴﻬﻢ‬
‫ﺍﻻﺧﺘﻴﺎﺭﺍﺕ ﺍﻟﺸﺨﺼﻴﺔ ﻟﻠﻮﺍﻟﺪﻳﻦ ﻭ ﺗﻮﺟﻬﺎ‪‬ﻢ ﺍﳌﺨﺘﻠﻔﺔ‪.‬‬
‫‪ -‬ﺍﳌﻨﺎﻓﺴﺔ ﺍﻟﺸﺪﻳﺪﺓ ﻭ ﺍﻟﻀﻐﻂ ﺍﻟﺬﻳﻦ ﲤﺎﺭﺳﻮﳘﺎ ﺃﻓﻼﻡ ﺍﻟﻜﺮﺗﻮﻥ ﻟﻜﺜﺮ‪‬ﺎ ﻭ ﺗﻨﻮﻋﻬﺎ‪ ،‬ﺇﱃ ﺩﺭﺟﺔ ﲪﻞ‬
‫ﺍﻟﻄﻔﻞ ﻋﻠﻰ ﺗﻔﻀﻴﻠﻬﺎ ﻋﻠﻰ ﺍﻟﻘﺼﺺ ﺍﳌﻜﺘﻮﺑﺔ‪ ،‬ﻷ‪‬ﺎ ﺗﺄﰐ ﺷﻔﺎﻫﺔ‪ ،‬ﻭ ﲢﻤﻞ ﺍﳌﻀﻤﻮﻥ ﺍﻟﺬﻱ ﺃﻟﻔﻪ ﰲ‬
‫ﺣﻜﺎﻳﺎﺕ ﺍﻷﻫﻞ‪ ،‬ﺇﱃ ﺟﺎﻧﺐ ﺃﻥ ﻟﺪﻳﻪ ﺍﻟﻔﺮﺻﺔ ﺃﻛﺜﺮ ﻟﻼﺣﺘﻜﺎﻙ ﺑﺄﺑﻄﺎﻟﻪ ﺍﳌﻔﻀﻠﲔ‪ ،‬ﺣﻴﺚ ﰲ ﺣﲔ‬

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‫ﺃﻥ ﰲ ﺍﻟﻘﺼﺺ ﺍﳌﻜﺘﻮﺑﺔ ﻳﺘﺨﻴﻞ ﲰﺎﺕ ﺍﻟﺸﺨﺼﻴﺔ‪ ،‬ﳝﻜﻨﻪ ﻣﻊ ﺍﻟﺼﻮﺭ ﺍﳌﺘﺤﺮﻛﺔ ﺃﻥ ﻳﺮﻯ ﻣﺮﺃﻯ‬
‫ﺍﻟﻌﲔ ﺃﺑﻄﺎﻟﻪ ﺍﳌﻔﻀﻠﲔ ﻳﻨﻔﻌﻠﻮﻥ ﻭ ﻳﺘﻔﺎﻋﻠﻮﻥ‪ ،‬ﻫﺬﺍ ﻣﻦ ﺟﻬﺔ‪ ،‬ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﻏﻴﺎﺏ ﺍﻟﺴﺮﺩ ﻋﻠﻰ‬
‫ﺣﺴﺎﺏ ﺍﳊﻮﺍﺭ‪ ،‬ﳝﻜﻨﻪ ﻣﻦ ﺍﻟﺘﻔﺎﻋﻞ ﺑﺸﻜﻞ ﺃﺣﺴﻦ ﻭ ﺃﻛﺜﺮ ﲪﺎﺳﺔ‪.‬‬
‫‪ -‬ﻭ ﺃﺧﲑﺍ‪ ،‬ﺗﻌﺘﱪ ﻫﺬﻩ ﺍﳌﺮﺣﻠﺔ ﻣﺮﺣﻠﺔ ﺍﻻﻛﺘﺸﺎﻓﺎﺕ ﻭ ﺍﻹﳒﺎﺯﺍﺕ ﻭ ﺍﳌﻐﺎﻣﺮﺍﺕ ﻟﻠﻄﻔﻞ ﺑﺎﻋﺘﺒﺎﺭﻩ ﺍﻵﻥ‬
‫ﻗﺎﺩﺭﺍ ﻧﻔﺴﻴﺎ ﻭ ﺑﺪﻧﻴﺎ ﻋﻠﻰ ﺍﻻﻫﺘﻤﺎﻡ ﺇﱃ ﺣﺪ ﻣﺎ ﺑﻨﻔﺴﻪ‪ ،‬ﻣﺴﺘﻘﻼ ﺃﻛﺜﺮ‪ ،‬ﻭ ﻟﻪ ﻛﻴﺎﻥ ﻣﺘﻤﺎﻳﺰ ﻋﻦ ﺃﻣﻪ‪،‬‬
‫ﻭ ﺃﻛﱪ ﺍﻛﺘﺸﺎﻓﺎﺗﻪ ﻋﺎﱂ ﺍﳌﺪﺭﺳﺔ‪ ،‬ﻭ ﰲ ﻫﺬﻩ ﺍﳌﺮﺣﻠﺔ ﻳﻜﻮﻥ ﺷﻐﻮﻓﺎ ﻓﻀﻮﻟﻴﺎ ﺃﻛﺜﺮ ﻻﻋﺘﻘﺎﺩﻩ ﺃﻥ‬
‫ﺃﺑﻮﺍﺏ ﺍﻟﻌﺎﱂ ﺍﻟﻮﺍﻗﻌﻲ ﺑﺪﺃﺕ ﺗﻔﺘﺢ ﻟﻪ ﻟﻴﻄﻞ ﻋﻠﻰ ﻋﺎﱂ ﺍﻟﻜﺒﺎﺭ ﺍﻟﺬﻱ ﻟﻄﺎﳌﺎ ﺃﺛﺎﺭ ﻓﻀﻮﻟﻪ ﻭ ﺃﳍﺐ‬
‫ﺧﻴﺎﻟﻪ‪.‬‬

‫ﻭ ﺳﻴﻨﺠﺮ ﻋﻦ ﺫﻟﻚ ﺑﺎﻟﻀﺮﻭﺭﺓ ﺗﻜﻴﻴﻒ ﺍﳌﻮﺿﻮﻉ ﺍﻟﻘﺼﺼﻲ‪ ،‬ﻭ ﺗﻜﻴﻴﻒ ﻣﺴﺘﻮﻯ ﺍﻟﺼﻴﺎﻏﺔ ﺍﻟﻠﻐﻮﻳﺔ‬
‫ﺍﳌﻮﺟﻬﲔ ﳍﺬﻩ ﺍﻟﻔﺌﺔ ﻭ ﲟﺎ ﻳﻨﺎﺳﺒﻬﺎ‪ ،‬ﻓﺎﺧﺘﻼﻑ ﻭ ﻋﻲ ﺍﻟﺴﺎﻣﻊ ﺍﳌﺘﻠﻘﻲ ﻳﺘﻀﻤﻦ ﺍﺧﺘﻼﻓﺎﺕ ﻋﻠﻰ ﻣﺴﺘﻮﻯ‬
‫ﺍﳌﻀﻤﻮﻥ ﻭ ﺍﻹﺧﺮﺍﺝ‪ ،‬ﻷ‪‬ﻤﺎ ﺳﺒﻖ ﻭ ﺃﻥ ﺫﻛﺮﺕ ﺃﻥ ﺍﻟﻨﺺ ﺍﳌﻜﺘﻮﺏ ﻟﻴﺲ ﺍﻟﺸﻜﻞ ﺍﻟﻮﺣﻴﺪ ﻟﻠﻐﺔ ﺍﻟﱵ‬
‫ﻳﺘﻌﺎﻣﻞ ﻣﻌﻬﺎ ﺍﻟﻄﻔﻞ ﺑﻞ ﺣﱴ ﻣﺎ ﻳﺮﺍﻓﻘﻪ ﻋﺎﺩﺓ ﻣﻦ ﺭﺳﻮﻣﺎﺕ ﺫﺍﺕ ﺍﻟﻠﻘﻄﺔ ﺍﻟﻮﺍﺣﺪﺓ‪ ،‬ﻭ ﺍﳌﺄﺧﺬ ﺍﻟﻮﺣﻴﺪ‬
‫ﺍﻟﺬﻱ ﳝﻜﻦ ﺃﻥ ﻳﻜﻮﻥ ﻋﻠﻴﻬﺎ ﻫﻮ ﳚﺐ ﺗﻜﻴﻴﻒ ﺍﻟﻨﺺ ﻭ ﺍﻟﺼﻮﺭﺓ ﻣﻌﺎ ﻷﻥ ﻻ ﺗﻄﻐﻰ ﻫﺬﻩ ﺍﻷﺧﲑﺓ ﻋﻠﻰ‬
‫ﺍﻟﻨﺺ ﺍﳌﻜﺘﻮﺏ‪ .‬ﻭ ﻫﺬﻩ ﺍﻟﻔﺌﺔ ﲢﺪﻳﺪﺍ ﺗﻌﺎﱐ ﻣﻦ ﻣﺸﺎﻛﻞ ﻋﺪﻡ ﻗﺪﺭﺓ ﺍﻟﻜﺘﺎﺏ ﻋﻠﻰ ﺍﻟﺘﻜﻴﻴﻒ ﻭﻣﻦ‬
‫ﺍﻷﻣﺜﻠﺔ ﻣﺎ ﻧﺴﻮﻗﻪ ﻟﻜﻢ ﻋﻠﻰ ﺍﻟﺸﻜﻞ ﺍﻵﰐ‪:‬‬

‫ﻣﺎ ﺳﻴﻠﻲ ﻋﺮﺿﻪ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻘﺼﺺ‪ ،‬ﺳﻨﺤﺎﻭﻝ ﺃﻥ ﳒﺮﻱ ﻭﻗﻔﺔ ﺳﺮﻳﻌﺔ ﻋﻨﺪ ﻣﺎ ﻧﻌﺘﻘﺪ ﺑﺄ‪‬ﺎ ﻣﺸﺎﻛﻞ‪،‬‬
‫ﺃﻭ ﺣﱴ ﻣﺎ ﻧﺮﻯ ﺃﻥ ﺍﻟﻜﺎﺗﺐ ﺗﻮﻓﻖ ﺑﺈﻳﺼﺎﻟﻪ‪ ،‬ﺇﻣﺎ ﻣﻦ ﺣﻴﺚ ﺍﳌﻀﻤﻮﻥ ﺃﻭ ﺣﱴ ﺍﻹﺧﺮﺍﺝ ‪‬ﺪﻑ ﺗﻘﻴﻴﻢ‬
‫ﺍﻟﻠﻐﺔ ﻣﻦ ﺣﻴﺚ ﺍﻟﻜﻢ‪ ،‬ﻭ ﺍﳌﻌﺠﻢ‪ ،‬ﻭ ﺍﻟﻜﻴﻒ‪ ،‬ﻣﻦ ﺧﻼﻝ ﲨﻊ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳌﻼﺣﻈﺎﺕ‪:‬‬

‫ﻗﺼﺔ "ﺗﻌﺎﻭﻥ ﺍﻷﺻﺪﻗﺎﺀ"‪:1‬‬

‫ﻣﻦ ﺍﻷﺩﺏ ﺍﻟﻌﺎﳌﻲ‪ ،‬ﻟﺬﻟﻚ ﻻ ﻭﺟﻮﺩ ﻻﺳﻢ ﺍﻟﻜﺎﺗﺐ ﻋﻠﻰ ﺍﻟﻐﻼﻑ‪ :‬ﻓﻤﻦ ﺣﻴﺚ ﺍﻟﻐﻼﻑ ﻧﻼﺣﻆ ﺃﻥ‬

‫"ﺗﻌﺎﻭﻥ ﺍﻷﺻﺪﻗﺎﺀ"‪.‬ﺑﺪﻭﻥ ﻣﺆﻟﻒ‪ ،‬ﺳﻠﺴﻠﺔ ﺍﻟﻨﺠﻮﻡ‪ ،Pap Aures،‬ﺇﻋﺪﺍﺩ ﺻﺎﱀ ﺃﺑﻮﺑﻜﺮ‪.‬‬ ‫‪-1‬‬

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‫ﻫﻨﺎﻙ ﺍﻟﻜﺜﲑ ﳑﺎ ﳛﻤﻠﻪ ﳑﺎ ﻳﺸﺘﺖ ﺍﻧﺘﺒﺎﻩ ﺍﻟﻄﻔﻞ ﻋﻦ ﺍﻟﻘﺼﺔ ﺍﳊﻘﻴﻘﻴﺔ‪ ،‬ﻷﻥ‪ :‬ﺍﻟﻘﺼﺔ ﺗﺪﻭﺭ ﺣﻮﻝ ﳎﻤﻮﻋﺔ‬
‫ﻣﻦ ﺍﳊﻴﻮﺍﻧﺎﺕ ﺗﺴﺎﻋﺪ ﺑﻌﻀﻬﺎ‪ ،‬ﻭ ﻧﻼﺣﻆ ﺃﻥ ﺍﻟﺮﺳﺎﻡ ﻗﺪ ﺭﺳﻢ ﺻﻮﺭﺓ ﳍﻢ ﲨﻌﻴﺎ ﰲ ﻭﺍﺟﻬﺔ ﺍﻟﻐﻼﻑ‪،‬‬
‫ﻭ ﺃﺿﺎﻑ ﺇﻟﻴﻬﺎ ﺻﻮﺭﺓ ﻃﻔﻞ ﺟﺎﻟﺲ ﻋﻠﻰ ﺇﻃﺎﺭ ﺍﻟﺼﻮﺭﺓ ﻻ ﻫﻮ ﻳﻨﻈﺮ ﺇﱃ ﺍﳊﻴﻮﺍﻧﺎﺕ ﻭ ﺑﺎﻟﺘﺎﱄ ﻳﺘﻔﺎﻋﻞ‬
‫ﻣﻌﻬﺎ ﻋﻠﻰ ﺃﺳﺎﺱ ﺃﻧﻪ ﺍﻟﻄﻔﻞ ﺍﻟﺬﻱ ﺳﻴﻘﺘﻨﻴﻬﺎ‪ ،‬ﻭ ﻻ ﻫﻮ ﺑﻌﻴﺪ ﻋﻨﻬﺎ‪ ،‬ﻓﻼ ﻣﺴﻮﻍ ﻟﻮﺟﻮﺩﻩ ﻟﺬﻟﻚ ﻻ ﺃﺭﻯ‬
‫ﺿﺮﻭﺭﺓ ﻇﻬﻮﺭﻩ ﰲ ﺍﻟﻐﻼﻑ ﺃﺻﻼ‪ .‬ﻭﻛﻠﻬﺎ ﻣﺘﻤﺮﻛﺰﺓ ﰲ ﺍﻟﻮﺳﻂ‪ ،‬ﻭ ﻋﻠﻰ ﻧﻔﺲ ﺍﻟﻮﺍﺟﻬﺔ ﰲ ﺍﻷﻋﻠﻰ‪،‬‬
‫ﺍﻟﻌﻨﻮﺍﻥ ﺑﺎﳊﺮﻑ ﺍﻟﻜﺒﲑ ﻭ ﰲ ﺍﻷﺳﻔﻞ ﻳﺮﺩ ﻛﺬﻟﻚ ﺑﺎﳊﺮﻑ ﺍﻟﻜﺒﲑ ﺍﺳﻢ ﺍﻟﺴﻠﺴﻠﺔ‪ ،‬ﻭ ﺑﺎﻗﻲ ﺍﻟﻔﺮﺍﻍ ﻋﻠﻰ‬
‫ﺍﻟﻐﻼﻑ ﳑﻠﻮﺀ ﺑﺎﻟﻨﺠﻮﻡ‪ ،‬ﻭ ﺃﺗﺴﺎﺀﻝ ﺣﻘﺎ ﻣﺎ ﺩﻭﺭﻫﺎ ﰲ ﺍﻟﻘﺼﺔ ﻏﲑ ﺍﻟﺘﺮﻭﻳﺞ ﻟﻠﺴﻠﺴﻠﺔ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃ‪‬ﺎ‬
‫ﺳﻠﺴﻠﺔ ﺍﻟﻨﺠﻮﻡ‪.‬‬

‫ﺇﺫﻥ ﻣﺎ ﳔﺮﺝ ﺑﻪ ﻫﻮ ﺃﻥ ﺍﻟﻐﻼﻑ ﳏﺸﻮﺩ ﺣﺸﺪﺍ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﺻﺮﻑ ﺍﻟﻄﻔﻞ ﻋﻦ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﺍﻟﻘﺼﺔ‪،‬‬
‫ﻭ ﻣﺎ ﻳﻬﻢ ﺩﺍﺭ ﺍﻟﻨﺸﺮ ﺍﻟﺘﺮﻭﻳﺞ ﻭ ﻟﻴﺲ ﺣﺚ ﺍﻷﻃﻔﺎﻝ ﻋﻠﻰ ﺍﳌﻄﺎﻟﻌﺔ‪ .‬ﺃﻣﺎ ﻇﻬﺮ ﺍﻟﻐﻼﻑ ﻓﻼ ﲡﺪ ﻓﻴﻪ ﻛﻤﺎ‬
‫ﻳﻘﺎﻝ ﻣﻮﺿﻊ ﻗﺪﻡ ﻣﻦ ﻛﺜﺮﺓ ﻣﺎ ﺗﻌﺮﺽ ﻓﻴﻪ ﺩﺍﺭ ﺍﻟﻨﺸﺮ ﳑﺎ ﻧﺸﺮﺕ ﰲ ﻧﻔﺲ ﺍﻟﺴﻠﺴﻠﺔ ﻭ ﻻ ﺃﺭﻯ ﺿﺮﻭﺭﺓ‬
‫ﻟﺬﻟﻚ‪ ،‬ﻷﻥ ﺍﻟﺴﺆﺍﻝ ﻳﻄﺮﺡ ﻧﻔﺴﻪ ﻛﻢ ﻃﻔﻼ ﻳﺘﻜﺒﺪ ﻋﻨﺎﺀ ﺍﻟﻨﻈﺮ ﺇﻟﻴﻪ‪ ،‬ﻭ ﺍﻟﺘﻔﻜﲑ ﺭﲟﺎ ﻗﺮﺃ ﻗﺼﺔ ﺃﺧﺮﻯ ﻣﻦ‬
‫ﺍﻟﺴﻠﺴﻠﺔ ﻭﺣﱴ ﻟﻦ ﻳﻐﺮﻣﻮﺍ ﺑﺪ ﺍﻟﺴﺆﺍﻝ‪ ،‬ﻓﻠﻢ ﻻ ﺗﺒﺴﻂ ﺍﻷﻣﻮﺭ‪ ،‬ﻭ ﻳﺒﻘﻰ ﺍﻟﻐﻼﻑ‪ ،‬ﻭﺍﺟﻬﺔ ﻭﻇﻬﺮﺍ ﳜﺪﻡ‬
‫ﻣﻀﻤﻮﻥ ﺍﻟﻘﺼﺔ‪.‬‬

‫ﺃﻣﺎ ﺇﺫﺍ ﺗﺼﻔﺤﻨﺎ ﺍﻟﻘﺼﺔ‪ ،‬ﻧﻼﺣﻆ ﺃﻥ ﺍﻟﺮﺳﻮﻡ ﺍﻟﺪﺍﺧﻠﻴﺔ ﺫﺍﺕ ﺍﻟﻠﻘﻄﺔ ﺍﻟﻮﺍﺣﺪﺓ ﻗﺪ ﺗﻮﺍﻓﻘﺖ ﺇﱃ ﺣﺪ ﻣﺎ ﻣﻊ‬
‫ﺍﻟﻨﺺ ﺍﳌﻜﺘﻮﺏ‪ ،‬ﻭ ﺃﻣﺎ ﻣﻦ ﻫﺬﺍ ﺍﻷﺧﲑ ﻓﻘﺪ ﺍﻗﺘﻄﻔﻨﺎ ﻣﺎ ﻳﻠﻲ‪:‬‬

‫" ﻓﺠﺄﺓ ﺭﺃﻯ ﺍﻟﻌﺼﻔﻮﺭ ﺷﺒﻜﺔ ﺻﻴﺎﺩ ﻗﺪ ﺃﻃﺒﻘﺖ ﻋﻠﻰ ﻓﺮﻳﺴﺔ ﱂ ﻳﺘﺒﲔ ﻣﺎ ﻫﻲ‪ .‬ﺍﻗﺘﺮﺏ ﺍﻟﻌﺼﻔﻮﺭ ﻣﻦ‬
‫ﺍﻟﺸﺒﻜﺔ ﻓﺈﺫﺍ ﺍﻟﻔﺮﻳﺴﺔ ﻫﻲ ﺍﻟﻐﺰﺍﻟﺔ ﻭ ﻗﺪ ﻭﻗﻌﺖ ﰲ ﺷﺒﻜﺔ ﻛﺒﲑﺓ ﻭ ﻫﻲ ﲢﺎﻭﻝ ﺍﻟﺘﺨﻠﺺ ﻣﻨﻬﺎ ﻟﻜﻨﻬﺎ ﱂ‬
‫ﺗﺴﺘﻄﻊ‪ .‬ﺭﺟﻊ ﺍﻟﻌﺼﻔﻮﺭ ﺇﱃ ﺃﺻﺪﻗﺎﺋﻪ ﻭﻫﻮ ﻳﺼﻴﺢ ﻭﻳﻨﺎﺩﻱ ﻣﻦ ﺑﻌﻴﺪ‪ :‬ﺃﺳﺮﻋﻮﺍ ﺇﻥ ﺻﺪﻳﻘﺘﻨﺎ ﺍﻟﻐﺰﺍﻟﺔ ﻗﺪ‬
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‫ﻭﻗﻌﺖ ﰲ ﺷﺒﻜﺔ ﺍﻟﺼﻴﺎﺩ‪".‬‬
‫‪ -1‬ﺗﻌﺎﻭﻥ ﺍﻷﺻﺪﻗﺎﺀ‪ ،‬ﺹ ‪.03‬‬

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‫" ﻭﻫﻜﺬﺍ ﲤﻜﻦ ﺍﻷﺻﺪﻗﺎﺀ ﺍﻷﺭﺑﻌﺔ ﻣﻦ ﲣﻠﻴﺺ ﺍﻟﻐﺰﺍﻟﺔ ﰒ ﺍﻟﺴﻠﺤﻔﺎﺓ ﻭ ﻛﻞ ﺫﻟﻚ ﺑﺎﻟﺘﻌﺎﻭﻥ‬
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‫ﻭ ﺍﻟﺘﻔﺎﻫﻢ‪ .‬ﻓﻤﺎ ﺃﺭﻭﻉ ﺃﻥ ﻳﺘﻌﻠﻢ ﺍﻷﺻﺪﻗﺎﺀ ﻣﻦ ﺑﲏ ﺍﻹﻧﺴﺎﻥ ﻫﺬﺍ ﺍﻟﺘﻌﺎﻭﻥ ﻓﻴﻤﺎ ﺑﻴﻨﻬﻢ‪".‬‬

‫ﻭ ﻧﻼﺣﻆ ﺃﻥ ﺍﳌﻌﺠﻢ ﻣﻨﺎﺳﺐ ﺇﱃ ﺣﺪ ﻣﺎ‪ ،‬ﻭ ﻛﻞ ﻓﻘﺮﺓ ﲢﻮﻱ ﻓﻜﺮﺓ ﻭﺍﺣﺪﺓ ﻣﺮﺗﺒﺔ ﺗﺮﺗﻴﺒﺎ ﻣﻨﻄﻘﻴﺎ‪ ،‬ﻓﻠﻮ‬
‫ﻛﺎﻥ ﺍﻟﻐﻼﻑ ﺃﻛﺜﺮ ‪‬ﺬﻳﺒﺎ‪ ،‬ﻟﻜﺎﻥ ﺫﻟﻚ ﺃﻓﻀﻞ‪ ،‬ﻷﻥ ﻣﻀﻤﻮﻥ ﺍﻟﻘﺼﺔ ﲨﻴﻞ ﺑﻘﻴﻤﻪ ﺍﻟﱵ ﻳﻌﺮﺿﻬﺎ‪ .‬ﻭﻟﻜﻦ‬
‫ﻫﻨﺎ ﻣﺄﺧﺬ ﻋﻠﻰ ﺍﻟﻨﺺ ﻭ ﻫﻮ ﻃﻐﻴﺎﻥ ﺍﻟﺴﺮﺩ ﻋﻠﻴﻪ‪ ،‬ﻭ ﻏﻴﺎﺏ ﻛﻠﻲ ﻟﻠﺤﻮﺍﺭ‪.‬‬

‫‪ -‬ﻓﻴﻤﺎ ﻳﻠﻲ ﺳﻨﺤﺎﻭﻝ ﺇﺟﺮﺍﺀ ﻣﻘﺎﺑﻠﺔ ﺑﲔ ﻧﻔﺲ ﺍﻟﻘﺼﺔ ﻣﻦ ﺩﺍﺭﻱ ﻧﺸﺮ ﳐﺘﻠﻔﺘﲔ ﺑﻌﻨﻮﺍﻥ‪:‬‬

‫" ﺍﳉﻤﻴﻠﺔ ﻭ ﺍﻟﻮﺣﺶ"‪ 2‬ﻭ ﻫﻲ ﺃﻳﻀﺎ ﻣﻦ ﺍﻷﺩﺏ ﺍﻟﻌﺎﳌﻲ‪:‬‬

‫"ﺍﳉﻤﻴﻠﺔ ﻭ ﺍﻟﻮﺣﺶ" ﺍﻷﻭﱃ‪ :‬ﻧﺸﺮ‪‬ﺎ ﺩﺍﺭ ﺍﻟﻨﺸﺮ‪" :‬ﺍﻟﺰﻳﺘﻮﻧﺔ ﻟﻺﻋﻼﻡ ﻭ ﺍﻟﻨﺸﺮ"‪:‬‬

‫ﻭ ﻣﺎ ﻳﺜﲑ ﺍﻻﻧﺘﺒﺎﻩ ﰲ ﻫﺬﻩ ﺍﻟﻘﺼﺔ ﻟﻴﺲ ﺍﻹﺧﺮﺍﺝ ﻓﻘﺪ ﻭﻓﻘﻮﺍ ﺇﱃ ﺣﺪ ﻣﺎ ﰲ ﺗﺼﻤﻴﻢ ﺍﻟﻐﻼﻑ‬
‫ﻭ ﺍﻷﻟﻮﺍﻥ ﺍﳌﺨﺘﺎﺭﺓ‪ ،‬ﻭﻻ ﺗﺸﻌﺮ ﺃﻧﻪ ﻫﻨﺎﻟﻚ ﺣﺸﺪ ﻭ ﺣﺸﻮ ﻻ ﻃﺎﺋﻞ ﻣﻨﻪ ﺭﻏﻢ ﺃﻥ ﺍﻟﺘﺮﻭﻳﺞ ﻣﻮﺟﻮﺩ ﰲ‬
‫ﻇﻬﺮ ﺍﻟﻘﺼﺔ ﻭ ﻟﻜﻨﻪ ﻻ ﻳﻌﺪﻭﺍ ﺃﻥ ﻳﻜﻮﻥ ﺣﺼﺮﺍ ﻟﻌﻨﺎﻭﻳﻦ ﺍﻟﺴﻠﺴﻠﺔ ﺩﻭﻥ ﺻﻮﺭ ﻣﺼﺎﺣﺒﺔ‪ .‬ﻭ ﻟﻘﺪ ﺍﻗﺘﻄﻔﻨﺎ‬
‫ﻣﻨﻬﺎ ﻣﺎ ﻳﻠﻲ‪:‬‬

‫" ﻛﺎﻥ ﺍﻟﻮﺣﺶ ﻗﺪ ﺃﻋﺪ ﳍﺎ ﻏﺮﻓﺔ ﲨﻴﻠﺔ ﺗﻄﻞ ﻋﻠﻰ ﺍﳊﺪﻳﻘﺔ‪ ،‬ﻛﻤﺎ ﺃﻫﺪﺍﻫﺎ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻟﺜﻴﺎﺏ‬
‫ﺍﻟﻔﺎﺧﺮﺓ‪ ،‬ﻭ ﻇﻞ ﺑﻌﻴﺪﺍ ﻋﻨﻬﺎ ﺣﱴ ﻻ ﺗﺸﻌﺮ ﺑﺎﳋﻮﻑ‪ .‬ﻭﳌﺎ ﺍﻃﻤﺄﻧﺖ ﻟﻪ ﻭﺃﺣﺴﺖ ﺑﻠﻄﻔﻪ ﺍﻗﺘﺮﺏ ﻣﻨﻬﺎ‬
‫ﻭﻃﻠﺐ ﺍﻟﺰﻭﺍﺝ ﻣﻨﻬﺎ‪ ،‬ﻓﺸﻜﺮﺗﻪ ﻋﻠﻰ ﻟﻄﻔﻪ ﻣﻌﻬﺎ‪ ،‬ﻏﲑ ﺃ‪‬ﺎ ﺍﻋﺘﺬﺭﺕ‪ ،‬ﻷ‪‬ﺎ ﺍﺷﺘﺎﻗﺖ ﺇﱃ ﺭﺅﻳﺔ ﺃﺑﻴﻬﺎ‪،‬‬
‫ﻭ ﺇﺫﺍ‬ ‫ﺭﺟﺘﻪ ﺃﻥ ﻳﺴﻤﺢ ﳍﺎ ﺑﺰﻳﺎﺭﺗﻪ‪ ،‬ﻓﻮﺍﻓﻖ ﺍﻟﻮﺣﺶ ﻋﻠﻰ ﻃﻠﺒﻬﺎ‪ ،‬ﻭﺭﺟﺎﻫﺎ ﺃﻥ ﺗﻌﻮﺩ ﻗﺒﻞ ﺃﺳﺒﻮﻉ‪،‬‬
‫‪3‬‬
‫ﺗﺄﺧﺮﺕ ﻓﺈﻧﻪ ﻗﺪ ﳝﻮﺕ‪".‬‬
‫‪ -1‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.08‬‬
‫‪ -2‬ﺍﳉﻤﻴﻠﺔ ﻭﺍﻟﻮﺣﺶ‪ ،‬ﺑﺪﻭﻥ ﻣﺆﻟﻒ‪ ،‬ﺍﻟﺰﻳﺘﻮﻧﺔ ﻟﻺﻋﻼﻡ ﻭ ﺍﻟﻨﺸﺮ‪ ،‬ﺑﺎﺗﻨﺔ‪.‬‬
‫‪ -3‬ﺗﻌﺎﻭﻥ ﺍﻷﺻﺪﻗﺎﺀ ﻡ‪.‬ﺱ ﺹ‪.07-06‬‬

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‫ا
اــــ
‪.........................................................................‬ه أدب ا  ‬

‫" ﺭﺍﺣﺖ ﺍﻟﻔﺘﺎﺓ ﺗﻨﻈﺮ ﺇﱃ ﻭﺟﻪ ﺍﻷﻣﲑ ﻭﻫﻲ ﻻ ﺗﺼﺪﻕ ﻣﺎ ﺗﺮﻯ‪ ،‬ﻋﻨﺪﻫﺎ ﺃﺧﱪﻫﺎ ﺃﻥ ﺳﺎﺣﺮﺓ ﺷﺮﻳﺮﺓ‬
‫ﻛﺎﻧﺖ ﻗﺪ ﺳﺤﺮﺗﻪ ﻭﺣﻮﻟﺘﻪ ﺇﱃ ﻭﺣﺶ ﺑﺸﻊ‪ .‬ﻭ ﺑﻌﺪ ﺃﻳﺎﻡ ﻃﻠﺐ ﺍﻷﻣﲑ ﻣﻦ ﻭﺍﻟﺪ ﺍﻟﻔﺘﺎﺓ ﺍﻟﺰﻭﺍﺝ ‪‬ﺎ ﻓﻮﺍﻓﻖ‬
‫ﻭ ﺃﻗﻴﻢ ﺣﻔﻞ ﺍﻟﺰﻭﺍﺝ‪ .‬ﻭﺩﻋﺖ ﺍﻟﻔﺘﺎﺓ ﺃﺑﺎﻫﺎ ﺇﱃ ﺍﻹﻗﺎﻣﺔ ﻣﻌﻬﺎ‪ ،‬ﺃﻣﺎ ﺃﺧﻮﺍ‪‬ﺎ ﻓﻘﺪ ﻧﺪﻣﻦ ﻋﻠﻰ ﺳﻮﺀ‬
‫‪1‬‬
‫ﻣﻌﺎﻣﻠﺘﻬﺎ‪ ،‬ﻭ ﻋﺎﺵ ﺍﳉﻤﻴﻊ ﰲ ﻫﻨﺎﺀ‪".‬‬

‫ﻧﻼﺣﻆ ﺃﻥ ﺍﳊﺸﺪ ﺩﺍﺧﻞ ﺍﳌﻀﻤﻮﻥ ﻭ ﻛﺄﳕﺎ ﺣﺎﻭﻟﻮﺍ ﺫﻛﺮ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻟﺘﻔﺎﺻﻴﻞ ﺃﻋﲏ ﺗﻔﺎﺻﻴﻞ ﺍﻟﻘﺼﺔ‬
‫ﺿﻤﻦ ﺣﻴﺰ ﺿﻴﻖ ﺣﻴﺚ ﱂ ﳚﻌﻞ ﻟﻄﻔﻞ ﻣﻜﺎﻥ ﻟﻴﻠﺘﻘﻂ ﺃﻧﻔﺎﺳﻪ ﻓﻴﻪ‪ ،‬ﻭ ﻭﺻﻠﻮﺍ ﺑﺎﻟﺴﺮﺩ ﺇﱃ ﺩﺭﺟﺔ ﺍﳌﻠﻞ‪.‬‬

‫ﺃﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻘﺼﺔ ﺍﻟﺜﺎﻧﻴﺔ ﺃﻱ " ﺍﳉﻤﻴﻠﺔ ﻭ ﺍﻟﻮﺣﺶ"‪ 2‬ﺍﻟﺜﺎﻧﻴﺔ ﻓﻘﺪ ﻧﺸﺮ‪‬ﺎ ﺩﺍﺭ ﺍ‪‬ﺎﱐ ﻟﻠﻨﺸﺮ‬
‫ﻭ ﺍﻟﺘﻮﺯﻳﻊ‪:‬‬

‫ﺇﻥ ﺍﻟﻘﺼﺔ ﻣﻦ ﺍﳊﺠﻢ ﺍﻟﻜﺒﲑ‪ ،‬ﺃﻟﻮﺍ‪‬ﺎ ﺯﺍﻫﻴﺔ‪ ،‬ﻟﻜﻦ ﺃﻋﺘﻘﺪ ﺃﻥ ﺍﻟﻨﺺ ﺟﺎﺀ ﻣﻜﻤﻼ ﻟﻠﺼﻮﺭﺓ ﻭ ﻟﻴﺲ‬
‫ﺍﻟﻌﻜﺲ ﻛﻤﺎ ﻳﻔﺘﺮﺽ ﺃﻥ ﻳﻜﻮﻥ ﻭ ﻟﻜﻦ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻨﺺ‪ ،‬ﻭ ﻫﺬﺍ ﻣﻘﺘﻄﻒ ﻣﻨﻪ‪:‬‬

‫" ﺑﻌﺪ ﻣﺮﻭﺭ ﺑﻀﻌﺔ ﺃﺳﺎﺑﻴﻊ‪ ،‬ﺭﺃﺕ ﲨﻴﻠﺔ ﰲ ﻣﺮﺁ‪‬ﺎ ﺍﻟﺴﺤﺮﻳﺔ ﺃﻥ ﻭﺍﻟﺪﻫﺎ ﻣﺮﻳﺾ‪ ،‬ﻓﻄﻠﺒﺖ ﻣﻦ ﺍﻟﻮﺣﺶ‬
‫ﺍﻟﺴﻤﺎﺡ ﳍﺎ ﺑﺎﻟﺮﺣﻴﻞ‪.‬‬

‫‪ -‬ﺑﺈﻣﻜﺎﻧﻚ ﺍﻟﺬﻫﺎﺏ ﳌﻼﻗﺎﺓ ﻭﺍﻟﺪﻙ‪ ...‬ﻟﻜﻦ ﺑﺸﺮﻁ ﻭﺍﺣﺪ‪ .‬ﻋﺪﻳﲏ ﺃﻭﻻ ﺃﻥ ﺗﺮﺟﻌﻲ ﻗﺒﻞ ﻣﻀﻲ‬
‫ﲦﺎﻧﻴﺔ ﺃﻳﺎﻡ‪ ،‬ﻭ ﺇﻻ ﻣﺖ ﻣﻦ ﺍﳊﺰﻥ ﻫﻞ ﺗﻌﺪﻳﻨﲏ ﺑﺎﻟﺮﺟﻮﻉ؟‬
‫‪3‬‬
‫‪ -‬ﺃﻋﺪﻙ!"‬

‫‪ -1‬ﺍﳉﻤﻴﻠﺔ ﻭ ﺍﻟﻮﺣﺶ‪ ،‬ﻡ‪.‬ﺱ‪.‬ﺹ ‪.09‬‬

‫‪ -2‬ﺍﳉﻤﻴﻠﺔ ﻭﺍﻟﻮﺣﺶ ﺍﻟﺜﺎﻧﻴﺔ‪ ،‬ﺑﺪﻭﻥ ﻣﺆﻟﻒ‪ ،‬ﺩﺍﺭ ﺍ‪‬ﺎﱐ‪ ،‬ﺑﲑﻭﺕ‪.‬‬
‫‪ -3‬ﻡ‪.‬ﻥ‪.‬ﺹ ‪.13‬‬

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‪.........................................................................‬ه أدب ا  ‬

‫" "ﲨﻴﻠﺔ‪ ،‬ﻟﻘﺪ ﻓﻀﻠﺖ ﲨﺎﻝ ﺍﻟﺮﻭﺡ ﻋﻠﻰ ﲨﺎﻝ ﺍﳉﺴﺪ ﻭ ﻧﻠﺖ ﻣﺎ ﺗﺴﺘﺤﻘﲔ"‪ ،‬ﻗﺎﻟﺖ ﳍﺎ ﺍﳉﻨﻴﺔ‪ " ،‬ﻟﻜﻦ‬
‫ﺃﺧﺘﻴﻚ ﲤﻠﻜﺎﻥ ﻗﻠﺒﺎ ﺷﺮﻳﺮﺍ ﻭﻗﺎﺳﻴﺎ ﻟﺬﻟﻚ ﺳﺄﺣﻮﳍﻤﺎ ﺇﱃ ﲤﺜﺎﻟﲔ‪ ،‬ﻭﺳﺘﺒﻘﻴﺎﻥ ﻫﻜﺬﺍ ﺇﱃ ﺃﻥ ﺗﻨﺪﻣﺎ ﻋﻠﻰ‬
‫ﺃﻓﻌﺎﳍﻤﺎ ﻭ ﺃﻓﻜﺎﺭﳘﺎ ﺍﻟﺸﺮﻳﺮﺓ‪ ".‬ﻭ ﺑﻀﺮﺑﺔ ﻣﻦ ﻋﺼﺎﻫﺎ ﺍﻟﺴﺤﺮﻳﺔ ﻧﻘﻠﺖ ﻛﻞ ﻣﻦ ﰲ ﺍﻟﻘﺼﺮ ﺇﱃ ﳑﻠﻜﺔ‬
‫ﺍﻷﻣﲑ ﺣﻴﺚ ﺍﺳﺘﻘﺒﻠﻪ ﺍﻟﺸﻌﺐ ﺍﺳﺘﻘﺒﺎﻻ ﻣﻠﻮﻛﻴﺎ ﻳﻠﻴﻖ ﺑﻪ‪ .‬ﺗﺰﻭﺝ ﺍﻷﻣﲑ ﲨﻴﻠﺔ ﻭﻋﺎﺷﺎ ﺣﻴﺎﺓ ﺳﻌﻴﺪﺓ‬
‫‪1‬‬
‫ﺟﺪﺍ‪".‬‬

‫ﻧﻼﺣﻆ ﺃﻥ ﺑﻪ ﺣﺮﻛﺔ‪ ،‬ﺃﺧﺬ ﻭ ﻋﻄﺎﺀ ﻷﻥ ﺑﻪ ﺣﻮﺍﺭ‪ ،‬ﻭ ﻛﺄﻧﻪ ﺣﻲ‪ ،‬ﳝﻜﻦ ﻟﻠﻄﻔﻞ ﻣﺘﺎﺑﻌﺔ ﻗﺮﺍﺀﺗﻪ ﺩﻭﻥ‬
‫ﺍﻟﺸﻌﻮﺭ ﺑﺄﻧﻪ ﺩﺧﻴﻞ ﻋﻠﻴﻪ‪.‬‬

‫ﻛﺎﻧﺖ ﻫﺬﻩ ﳎﺮﺩ ﻣﻘﺎﺑﻼﺕ ﺑﺴﻴﻄﺔ ﻋﻠﻰ ﻣﺴﺘﻮﻳﻲ ﺍﳌﻀﻤﻮﻥ ﻭ ﺍﻹﺧﺮﺍﺝ‪ ،‬ﱂ ﺃﺭﺩ ‪‬ﺎ ﺃﻥ ﺗﺼﻞ ﺇﱃ ﺩﺭﺟﺔ‬
‫ﺍﻟﺪﺭﺍﺳﺔ ﺍﻷﻛﺎﺩﳝﻴﺔ ﺍﳌﻌﻘﺪﺓ ﻟﺴﺒﺒﲔ ﺍﺛﻨﲔ‪ :‬ﺃﻭﳍﻤﺎ ﻹﻟﻘﺎﺀ ﻧﻈﺮﺓ ﺳﺮﻳﻌﺔ ﺑﺄﺧﺬ ﻋﻴﻨﺔ ﳑﺎ ﻳﻜﺘﺐ ﳍﺬﻩ ﺍﻟﻔﺌﺔ‬
‫ﻣﻦ ﻗﺼﺺ‪ ،‬ﻟﻴﺲ ﺑﺪﺍﻋﻲ ﻧﻘﺪﻫﺎ ﺇﳕﺎ ﺑﻐﺮﺽ ﺇﻟﻘﺎﺀ ﻧﻈﺮﺓ ﻋﻠﻰ ﻣﺎ ﻫﻮ ﻭﺍﻗﻊ ﺍﳊﺎﻝ‪ ،‬ﻭ ﺛﺎﻧﻴﻬﻤﺎ‪ :‬ﳏﺎﻭﻟﺔ‬
‫ﳏﺎﻛﺎﺓ ﻧﻈﺮﺓ ﺍﻵﺑﺎﺀ ﻣﻦ ﺍﳌﻬﺘﻤﲔ ﺣﲔ ﳜﺘﺎﺭﻭﻥ ﻷﻭﻻﺩﻫﻢ ﻣﺎ ﻳﻘﺮﺅﻭﻥ‪.‬‬

‫ﻭ ﰲ ﺍﻷﺧﲑ ﺃﺭﻯ ﻭ ﻳﺸﺎﺭﻛﲏ ﰲ ﺭﺃﻱ ﻫﺬﺍ ﺍﻟﻜﺜﲑﻭﻥ ﺃﻧﻪ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﲢﺪﻳﺪ ﺍﻟﻔﺌﺔ ﺍﻟﻌﻤﺮﻳﺔ ﺍﻟﱵ‬
‫ﻳﻮﺟﻪ ﺇﻟﻴﻬﺎ ﺍﻟﻌﻤﻞ ﳌﺴﺎﻋﺪﺓ ﺍﻵﺑﺎﺀ ﻋﻠﻰ ﺍﺧﺘﻴﺎﺭ ﻣﺎ ﻳﻨﺎﺳﺐ ﺃﻭﻻﺩﻫﻢ ﻭ ﺑﺎﻟﺘﺎﱄ ﲢﻘﻴﻖ ﺍﻟﻐﺎﻳﺔ ﻣﻦ ﻭﺟﻮﺩ‬
‫ﺍﻟﻜﺘﺎﺏ‪.‬‬

‫‪ -1‬ﺍﳉﻤﻴﻠﺔ ﻭﺍﻟﻮﺣﺶ ﺍﻟﺜﺎﻧﻴﺔ‪ ،‬ﻡ‪.‬ﻥ‪ .‬ﺍﻟﺼﻔﺤﺔ ﺍﻷﺧﲑﺓ‪.‬‬

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 ‫‪ .1‬ﻛﻴﻔﻴﺔ ﺍﻧﺘﻘﺎﻝ ﺍﻷﺳﻄﻮﺭﺓ‬
‫‪ .2‬ﻧﺒﺬﺓ ﻋﻦ ﺣﻴﺎﺓ ﺍﻟﻜﺎﺗﺒﺔ‪.‬‬
‫‪ .3‬ﻓﻀﺎﺀ ﻗﺼﺔ "ﻫﺎﺭﻱ ﺑﻮﺗﺮ ﻭ ﻛﺄﺱ ﺍﻟﻨﺎﺭ"‬
‫‪ .4‬ﺍﻟﺘﻄﺒﻴﻖ ﺍﳌﺒﺎﺷﺮ ﻋﻠﻰ ﺍﳌﺪﻭﻧﺔ‬
‫ا  ا
‪ ........................................................‬ارة   ا ‬

‫ﺍﻧﺘﻘﺎﻝ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﻗﺼﺔ ﺍﻟﻄﻔﻞ‪:‬‬

‫ﻧﺴﺦ ﺃﻡ ﺍﻗﺘﺒﺎﺱ ﺃﻡ ﺗﺼﺮﻑ‪:‬ﻟﻘﺪ ﻟﻌﺒﺔ ﺍﻟﺘﺮﲨﺔ ﺩﻭﺭﺍ ﻓﻌﺎﻻ ﰲ ﺍﻧﺘﻘﺎﻝ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻭﺍﻧﺘﺸﺎﺭﻩ ﺧﺼﻮﺻﺎ‬
‫ﰲ ﺍﻟﻘﻄﺮ ﺍﻟﻌﺮﰊ‪ ،‬ﺣﻴﺚ ﺟﻌﻠﺖ ﰲ ﻣﻘﺪﻭﺭ ﺍﻟﻄﻔﻞ ﺍﻟﻌﺮﰊ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﺃﺟﻨﺎﺱ ﺃﺩﺑﻴﺔ ﳐﺘﻠﻔﺔ‪ ،‬ﻛﻤﺎ‬
‫ﻣﻜﻨﺘﻪ ﻣﻦ ﺍﻻﺣﺘﻜﺎﻙ ﺑﺎﻟﺜﻘﺎﻓﺔ ﺍﻟﻌﺎﳌﻴﺔ ﻭ ﺍﻟﺘﻘﺪﻡ ﺍﻟﻌﻠﻤﻲ ﺍﻟﺬﻱ ﻳﻌﺮﻓﻪ ﺍﻟﻌﺎﱂ ﺍﻟﻴﻮﻡ ﺳﻮﺍﺀ ﻣﻦ ﺧﻼﻝ‬
‫ﺍﻟﻜﺘﺎﺏ ﺍﳌﺪﺭﺳﻲ‪ ،‬ﺃﻭ ﻏﲑ ﺍﳌﺪﺭﺳﻲ‪ .‬ﻭ ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻧﻪ ﻻ ﳝﻜﻦ ﻧﻘﻞ ﻛﻞ ﻣﺎ ﻳﻨﺘﻘﻞ‪ ،‬ﺧﺼﻮﺻﺎ ﻭ‬
‫ﳓﻦ ﻧﺘﺤﺪﺙ ﻗﺎﺭﺉ ﻣﻦ ﻧﻮﻉ ﺧﺎﺹ‪ ،‬ﻭ ﻗﺪ ﻗﻠﻨﺎ ﻋﻦ ﲡﺮﺑﺘﻪ ﻣﻊ ﳏﻴﻄﻪ ﻣﻦ ﺃ‪‬ﺎ ﻣﺎ ﺗﺰﺍﻝ ﰲ ﺑﺪﺍﻳﺘﻬﺎ‪،‬‬
‫ﻭﺑﺎﻟﺘﺎﱄ ﻳﻘﻊ ﻋﻠﻰ ﻋﺎﺗﻖ ﺍﳌﺘﺮﲨﲔ ﺧﺎﺻﺔ ﻭ ﻋﻠﻰ ﺍﻟﺪﺍﺭﺳﲔ ﰲ ﻫﺬﺍ ﺍﳌﻴﺪﺍﻥ ﻋﺎﻣﺔ ﻣﺮﺍﻗﺒﺔ ﻋﻤﻠﻴﺔ ﺍﻻﻧﺘﻘﺎﻝ‬
‫ﻫﺬﻩ‪ ،‬ﻭﺍﻟﺘﺄﻛﺪ ﻣﻦ ﺃﻥ ﻣﺎ ﻳﺼﻞ ﺇﻟﻴﻪ ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﺮﲨﺔ ﻻ ﳜﺮﺝ ﻋﻦ ﺇﻃﺎﺭ ﺧﺼﻮﺻﻴﺘﻪ ‪ ،‬ﻭ ﻻ ﻳﻌﺪﻭ ﺃﻥ‬
‫ﻳﻨﺼﺐ ﰲ ﺍﲡﺎﻩ ﻣﻴﻮﻻﺗﻪ ﻭ ﺭﻏﺒﺎﺗﻪ‪ ،‬ﰲ ﺷﻜﻞ ﺗﺮﺑﻮﻱ ﻳﻀﻤﻦ ﻟﻪ ﺍﳌﺘﻌﺔ ﻭ ﺍﻟﻔﺎﺋﺪﺓ ﻣﻌﺎ‪.‬‬

‫ﻭ ﻟﻸﺳﻄﻮﺭﺓ ﻣﺴﺎﺣﺔ ﻛﺒﲑﺓ ﰲ ﳎﻤﻮﻉ ﻣﺎ ﻳﻜﺘﺐ ﻟﻪ ﺑﺸﻜﻞ ﻋﺎﻡ‪ ،‬ﻭ ﻣﺎ ﻳﺘﺮﺟﻢ ﺑﺸﻜﻞ ﺧﺎﺹ ﻓﻬﻲ‬
‫ﺟﺰﺀ ﻻ ﻳﺘﺠﺰﺃ ﻣﻦ ﺫﻟﻚ ﺍﻟﺘﺮﺍﺙ ﺍﻟﺬﻱ ﺗﻨﺎﻗﻠﺘﻪ ﻭ ﺗﺘﻨﺎﻗﻠﻪ ﺍﳊﻀﺎﺭﺍﺕ ﻋﻠﻰ ﻣﺮ ﺍﻟﺘﺎﺭﻳﺦ‪ ،‬ﻭﻫﺬﺍ ﺭﺍﺟﻊ‬
‫ﻷﳘﻴﺘﻬﺎ ﻋﻠﻰ ﺍﳌﺴﺘﻮﻯ ﺍﻟﻔﻜﺮﻱ ﻭ ﺍﻟﺜﻘﺎﰲ ﻓﻬﻲ ﻛﻤﺎ ﺣﺼﺮ‪‬ﺎ ﺇﳝﺎﻥ ﺑﻘﺎﻋﻲ‪ 1‬ﰲ ﺍﻟﻨﻘﻂ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬

‫‪ -‬ﲣﺘﺰﻝ ﲡﺮﺑﺘﻨﺎ ﻣﻊ ﺍﻟﻌﺎﱂ ﻭ ﺗﻘﺪﻣﻪ ﺇﱃ ﺍﻟﻮﻋﻲ ﻭ ﻗﺪ ﰎ ﺗﻔﺴﲑﻩ ﻭ ﺗﺮﺗﻴﺒﻪ‪.‬‬

‫‪ -‬ﺗﻠﻌﺐ ﻧﻔﺲ ﺍﻟﺪﻭﺭ ﺍﻟﺬﻱ ﺗﻠﻌﺒﻪ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﺎ ﰲ ﺍﻟﺜﻘﺎﻓﺎﺕ ﺍﳌﺘﻄﻮﺭﺓ ﺍﻟﱵ ﺃﻋﻠﺖ ﻣﻦ ﺷﺄﻥ ﺍﻟﻔﻠﺴﻔﺔ‪.‬‬
‫‪ -‬ﺗﺆﻧﺲ ﺍﻟﻜﻮﻥ‪ ،‬ﺇﺫ ﺗﺼﻨﻊ ﻣﻨﻪ ﺻﻮﺭﺓ ﻟﻜﺎﺋﻦ ﺣﻲ‪.‬‬
‫‪ -‬ﺗﻔﺘﺢ ﺍﻟﺒﻮﺍﺑﺎﺕ ﺑﲔ ﺍﻟﻮﻋﻲ ﻭ ﺍﻟﻼﻭﻋﻲ‪.‬‬
‫‪ -‬ﺗﻌﻄﻴﻨﺎ ﺍﻹﺣﺴﺎﺱ ﺑﺎﻟﻮﺣﺪﺓ ﺑﲔ ﺍﳌﻨﻈﻮﺭ ﻭﺍﻟﻐﻴﱯ‪ ،‬ﺑﲔ ﺍﳊﻲ ﻭ ﺍﳌﻴﺖ‪ ،‬ﺑﲔ ﺍﻹﻧﺴﺎﻥ ﻭﺑﻘﻴﺔ ﺍﳊﻴﺎﺓ‪.‬‬
‫‪ -‬ﺗﺴﺘﺨﺪﻡ ﺍﻟﻈﻼﻝ ﺍﻟﺴﺤﺮﻳﺔ ﻟﻠﻜﻠﻤﺎﺕ‪.‬‬
‫‪ -‬ﺗﻮﺿﺢ ﺍﳌﻌﺘﻘﺪ ﺍﻟﺪﻳﲏ ﻭﺗﻐﻨﻴﻪ ﻭﺗﺜﺒﺘﻪ ﰲ ﺻﻴﻎ ﺗﺴﺎﻋﺪ ﻋﻠﻰ ﺣﻔﻈﻪ ﻭﺗﺪﺍﻭﻟﻪ ﺑﲔ ﺍﻷﺟﻴﺎﻝ ﻭﺗﺰﻭﺩ‬
‫ﻫﺬﺍ ﺍﳌﻌﺘﻘﺪ ﺑﺎﳉﺎﻧﺐ ﺍﳋﻴﺎﱄ ﺍﻟﺬﻱ ﻳﺮﺑﻄﻪ ﺑﺎﻟﻌﻮﺍﻃﻒ ﻭ ﺍﻻﻧﻔﻌﺎﻻﺕ ﺍﻹﻧﺴﺎﻧﻴﺔ‪.‬‬
‫‪ -1‬ﺇﳝﺎﻥ ﺑﻘﺎﻋﻲ‪ ،‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.112‬‬

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‫‪ -‬ﺗﺆﻧﺲ ﺍﻵﳍﺔ‪ ،‬ﻭ ﲤﻜﻦ ﺍﻹﻧﺴﺎﻥ ﻣﻦ ﺍﻻﺗﺼﺎﻝ ‪‬ﺎ ﻣﺒﺎﺷﺮﺓ ﻭ ﺣﱴ ﻣﻦ ﺍﻹﲢﺎﺩ ﻣﻌﻬﺎ‪.‬‬
‫‪ -‬ﺗﻌﻤﻞ ﺍﻷﺳﻄﻮﺭﺓ ﻛﺨﻤﲑﺓ ﻟﻜﻞ ﺃﺷﻜﺎﻝ ﺍﻟﺘﻌﺒﲑ ﺍﻟﻔﲏ‪ ،‬ﻭ ﺗﻀﻊ ﺑﲔ ﺃﻳﺪﻳﻨﺎ ﻣﻨﻈﺎﺭﺍ ﻣﻠﻮﻧﺎ ﻳﻌﻴﺪ‬
‫ﺍﻟﺒﻬﺠﺔ ﻭ ﺍﳌﻌﲎ ﺇﱃ ﺍﳊﻴﺎﺓ‪.‬‬
‫‪ -‬ﻭ ﻫﻲ ﲢﻤﻞ ﺍﻷﻣﻞ ﺑﺎﻟﻨﻬﺎﻳﺔ ﺍﻟﺴﻌﻴﺪﺓ ﺍﻟﱵ ﻻ ﺗﻜﻮﻥ ﰲ ﺍﻟﻮﺍﻗﻊ‪.‬‬
‫‪ -‬ﺗﺴﺎﻋﺪ ﻋﻠﻰ ﳌﺲ ﺍﳌﺪﻫﺶ ﻭ ﺍﻟﺮﺍﺋﻊ ﻭﺍﻟﻔﺎﺋﻖ ﻭ ﺍﻟﻘﺪﺳﻲ‪.‬‬
‫‪ -‬ﻫﺬﺍ ﺍﻟﺸﻜﻞ ﺍﻟﻔﲏ ﻻ ﻳﻨﻔﺼﻞ ﻋﻦ ﻣﻀﻤﻮﻧﻪ ﺍﻟﺬﻱ ﻳﻨﺤﻮ ﰲ ﻏﺎﻟﺐ ﺍﻷﺣﻴﺎﻥ ﻷﻥ ﻳﻜﻮﻥ ﺗﺄﻣﻠﻴﺎ‬
‫ﻳﻘﺪﻡ ﻟﻠﻤﺠﺘﻤﻊ ﻧﻈﺮﻳﺎﺕ ﰲ ﺍﻟﺴﻠﻮﻙ ﻭ ﺍﻷﺧﻼﻕ‪.‬‬

‫ﻓﻠﻮ ﺣﺎﻭﻟﻨﺎ ﺍﳌﻄﺎﺑﻘﺔ ﺑﲔ ﻫﺬﻩ ﺍﻟﻌﻨﺎﺻﺮ ﻭ ﺧﺼﻮﺻﻴﺔ ﺃﺩﺏ ﺍﻟﻄﻔﻞ‪ ،‬ﻓﻘﻂ ﻟﻨﺘﻤﻜﻦ ﻣﻦ ﺣﺼﺮ ﻣﺪﻯ‬
‫ﺍﻟﺘﻮﺍﻓﻖ ﺑﻴﻨﻬﺎ ﻣﻦ ﺃﺟﻞ ﲢﺪﻳﺪ ﻣﺪﻯ ﺣﺪﻭﺩ ﺍﻟﺘﻤﺎﺱ ﺑﻴﻨﻬﻤﺎ‪ ،‬ﻭ ﺍﻟﺬﻱ ﺑﺪﻭﺭﻩ ﳝﻜﻨﻨﺎ ﻣﻦ ﺍﺳﺘﺒﻴﺎﻥ ﻣﺪﻯ‬
‫ﻣﺴﺎﺣﺔ ﻋﻤﻞ ﺍﻟﺘﺮﲨﺔ ﺣﻴﻨﻤﺎ ﻳﺘﻌﻠﻖ ﺍﻷﻣﺮ ﺑﻨﻘﻞ ﻫﺬﺍ ﺍﻟﻜﻴﺎﻥ ﺍﻟﺜﻘﺎﰲ ﰲ ﺃﺑﺴﻂ ﺃﺷﻜﺎﻟﻪ‪ ،‬ﺍﻟﺸﻜﻞ ﺍﳌﺘﻤﺜﻞ‬
‫ﰲ ﺃﺩﺏ ﺍﻟﻄﻔﻞ‪ ،‬ﻷﻧﻪ ﺷﺌﻨﺎ ﺃﻡ ﺃﺑﻴﻨﺎ ﻋﻠﻴﻨﺎ ﺍﻹﻗﺮﺍﺭ ﺑﺄﻥ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻛﻴﺎﻥ ﺑﻌﻴﺪ ﻛﻞ ﺍﻟﺒﻌﺪ‬
‫ﻋﻦ ﺍﻟﺘﻌﻘﻴﺪﺍﺕ ﺍﻟﱵ ﻳﻔﺘﺮﺿﻬﺎ ﺣﻀﻮﺭﻫﺎ ﺍﻟﻔﻜﺮﻱ ﻭ ﺍﻟﺜﻘﺎﰲ‪ ،‬ﻭﻣﻨﻬﺎ ﺳﻨﺤﺎﻭﻝ ﺇﺟﺮﺍﺀ ﺍﳌﻄﺎﺑﻘﺎﺕ ﻣﻦ‬
‫ﻣﻨﻄﻠﻖ ﺃ‪‬ﺎ ﺧﻴﺎﻝ ﺷﻌﻮﺏ‪ ،‬ﺭﻏﻢ ﺃﻥ ﺍﻋﺘﺒﺎﺭﻫﺎ ﻛﺬﻟﻚ ﻻ ﻳﻨﻘﺺ ﻣﻦ ﺃﳘﻴﺘﻬﺎ ﻭ ﺗﻌﻘﻴﺪﻫﺎ ﺍﻟﺸﻲﺀ ﺍﻟﻜﺜﲑ‪.‬‬

‫ﳛﺎﻭﻝ ﺍﻟﻄﻔﻞ ﲨﻊ ﻣﻌﻠﻮﻣﺎﺕ ﻋﻦ ﻋﺎﳌﻪ ﺍﻟﺬﻱ ﻳﻌﻴﺶ ﻓﻴﻪ ﻋﻦ ﻛﻴﻔﻴﺔ ﻋﻤﻠﻪ ﻭ ﻛﻴﻔﻴﺔ ﻧﺸﻮﺀﻩ ﰒ ﺍﻟﻘﻮﻯ‬
‫ﺍﻟﱵ ﺗﺘﺤﻜﻢ ﻓﻴﻪ‪ ،‬ﻭ ﻟﻴﺲ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﺃﻥ ﺗﻜﻮﻥ ﻫﺬﻩ ﺍﳌﻌﻠﻮﻣﺎﺕ ﺃﻭ ﺍﻟﺘﻔﺴﲑﺍﺕ ﺧﺎﺿﻌﺔ ﻟﻠﻤﻨﻄﻖ ﺃﻭ‬
‫ﺫﺍﺕ ﺃﺳﺲ ﻋﻠﻤﻴﺔ ﻻ ﺗﻘﺒﻞ ﺍﻟﺘﺸﻜﻴﻚ‪ ،‬ﺑﻞ ﻣﻦ ﺍﻷﻓﻀﻞ ﺃﻥ ﺗﻜﻮﻥ ﺫﺍﺕ ﺃﺳﺲ ﻏﻴﺒﻴﺔ ﻟﺘﻠﻬﺐ ﺧﻴﺎﻟﻪ‬
‫ﺍﻟﻐﺾ‪ ،‬ﻓﻴﺄﰐ ﺩﻭﺭ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﺟﻌﻞ ﺫﻟﻚ ﳑﻜﻨﺎ‪ ،‬ﻓﺘﺼﻨﻊ ﻟﻪ ﻣﻦ ﺍﻟﻜﻮﻥ ﻛﺎﺋﻦ ﺣﻲ ﻳﺘﻔﺎﻋﻞ ﻣﻌﻪ‪،‬‬
‫ﻳﻌﻴﺶ ﻓﻴﻪ ﻣﻐﺎﻣﺮﺍﺗﻪ‪ ،‬ﻭ ﳛﻘﻖ ﺍﳒﺎﺯﺍﺗﻪ ﻭ ﺁﻣﺎﻟﻪ ﻣﻦ ﺧﻼﻟﻪ‪ .‬ﻭﻟﻮ ﺗﺴﺄﻟﻨﺎ ﻟﻮﻫﻠﺔ ﻣﺎ ﻗﺪ ﻳﻄﻠﺐ ﻫﺬﺍ ﺍﻟﻘﺎﺭﺉ‬
‫ﺍﶈﺘﻤﻞ ﻣﻦ ﺍﻷﺩﺏ‪ ،‬ﻏﲑ ﺃﻥ ﳝﻨﺤﻪ ﻣﻨﻈﺎﺭﺍ ﻣﻠﻮﻧﺎ ﻳﻌﻴﺪ ﺍﻟﺒﻬﺠﺔ ﻭ ﺍﳌﻌﲎ ﺇﱃ ﺍﳊﻴﺎﺓ‪ ،‬ﻭ ﺃﻥ ﳛﻤﻞ ﰲ‬
‫ﻣﻐﺎﻣﺮﺍﺗﻪ ﺍﻷﻣﻞ ﺑﺎﻟﻨﻬﺎﻳﺔ ﺍﻟﺴﻌﻴﺪﺓ ﺍﻟﱵ ﻻ ﺗﻜﻮﻥ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﰒ ﺃﻻ ﻧﺄﻣﻞ ﺃﻥ ﻳﺘﻌﻠﻢ ﻫﺬﺍ ﺍﻟﻔﺮﺩ ﺍﳉﺪﻳﺪ ﰲ‬
‫ﺍ‪‬ﺘﻤﻊ ﺍﻟﺴﻠﻮﻙ ﻭﺍﻷﺧﻼﻕ‪.‬‬

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‫ﻭﻗﺖ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ ﺍﻷﺟﻨﺒﻴﺔ ﻭ ﺧﺼﻮﺻﺎ ﲝﻀﻮﺭ ﺍﻷﺳﻄﻮﺭﺓ ﻫﻨﺎﻙ ﺩﺭﺑﺎﻥ ﳝﻜﻦ‬
‫ﺳﻠﻮﻛﻬﻤﺎ ﻭ ﳘﺎ ﺩﺭﺏ ﺍﻟﻨﺴﺦ ﻭ ﺩﺭﺏ ﺍﻻﻗﺘﺒﺎﺱ ‪:‬‬

‫‪-1‬ﺍﻟﻨﺴﺦ‪:‬‬

‫ﻭ ﺍﻟﺬﻱ ﻫﻮ ﺗﺮﲨﺔ ﺣﺮﻓﻴﺔ* ﺃﻱ ﻧﻘﻞ ﺍﳊﺪﺙ ﺍﻷﺳﻄﻮﺭﻱ ﻛﻤﺎ ﻫﻮ ﺩﻭﻥ ﺳﺎﺑﻖ ﺗﺪﺧﻞ ﻣﻦ ﺍﳌﺘﺮﺟﻢ‬
‫ﺭﻏﻢ ﺃﻥ ﱄ ﲢﻔﻈﺎﺕ ﻋﻠﻰ ﻣﺼﻄﻠﺢ ﺍﻟﺘﺮﲨﺔ ﺍﳊﺮﻓﻴﺔ ﻓﻬﻲ ﻟﻴﺴﺖ ﳎﺮﺩ ﻣﻘﺎﺑﻠﺔ ﺻﻤﺎﺀ ﺑﲔ ﺛﻘﺎﻓﺘﲔ ﺑﻞ‬
‫ﺍﻷﻣﺮ ﻳﻌﺪﻭ ﺫﻟﻚ ﺑﻜﺜﲑ‪ ،‬ﻭ ﻟﺬﻟﻚ ﺃﺣﺒﺬ ﺗﺴﻤﻴﺘﻬﺎ ﺑﺎﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ ﻭﻫﻲ ﺑﺎﺧﺘﺼﺎﺭ ﺗﺮﲨﺔ ﻛﻠﻤﺎ ﻣﺎ‬
‫ﺗﻌﻠﻖ ﺑﺎﻷﺩﺏ‪ ،‬ﻭ ﻫﻲ ‪‬ﺪﻑ ﺇﱃ ﻧﻘﻞ ﺍﳌﻌﲎ ﻭ ﻟﻜﻦ ﰲ ﻣﻘﺎﺑﻞ ﺍﶈﺎﻓﻈﺔ ﻋﻠﻰ ﺍﳉﻤﺎﻟﻴﺔ ﻭ ﺍﻷﺳﻠﻮﺏ‪،‬‬
‫ﻭ ﻟﻘﺪ ﺳﺒﻖ ﻟﻨﺎ ﻭ ﺃﻥ ﲢﺪﺛﻨﺎ ﻋﻨﻬﺎ ﺑﺸﻜﻞ ﻭﺍﻑ ﰲ ﺍﳌﺪﺧﻞ‪ ،‬ﺍﳌﻬﻢ ﺃ‪‬ﺎ ﻣﻦ ﺃﺳﺎﺳﻴﺎﺕ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ‬
‫ﺍﻟﺘﺮﺍﺙ ﺍﻷﺩﰊ ﺍﻟﻌﺎﳌﻲ‪ ،‬ﻭ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻟﻴﺲ ﺍﺳﺘﺜﻨﺎﺀﺍ‪ ،‬ﻭ ﻟﻌﻠﻲ ﺃﺷﺎﻃﺮ ﻋﺒﺪﻩ ﻋﺒﻮﺩﻩ ﻋﻨﺪﻣﺎ ﻗﺎﻝ‪:‬‬
‫" ﻳﻨﺒﻐﻲ ﺃﻥ ﻳﻜﻮﻥ ﺍﻷﺳﻠﻮﺏ ﺳﻠﺴﺎ ﻣﺘﻤﺎﺳﻜﺎ ﻭ ﺧﺎﻟﻴﺎ ﻣﻦ ﺫﻟﻚ ﺍﻟﺘﻔﻜﻚ ﺍﻟﺬﻱ ﻳﻼﺣﻆ ﰲ ﻛﺜﲑ ﻣﻦ‬
‫ﺍﻟﺘﺮﲨﺎﺕ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﻭ ﻫﻮ ﺿﻌﻒ ﺃﺳﻠﻮﰊ ﹺﻳﺆﺩﻱ ﺇﱃ ﺟﻌﻞ ﺍﻟﻘﺮﺍﺀ ﻳﻨﻔﺮﻭﻥ ﻣﻦ ﺍﻟﺘﺮﲨﺎﺕ‪ ،‬ﻭ ﻳﺮﻭﻥ ﻓﻴﻬﺎ‬
‫ﺧﻄﺮﺍ ﻋﻠﻰ ﺣﺴﻬﻢ ﺍﻟﻠﻐﻮﻱ ﻭﺍﻷﺳﻠﻮﰊ‪ .‬ﻓﺠﻤﺎﻝ ﺍﻷﺳﻠﻮﺏ ﻭ ﺭﺷﺎﻗﺘﻪ ﳘﺎ ﺍﳊﺪ ﺍﻟﻔﺎﺻﻞ ﺑﲔ ﺃﺩﺑﻴﺔ ﻧﺺ‬
‫ﰒ ﻳﻀﻴﻒ‪ " :‬ﻻ ﻳﻘﺘﺼﺮ ﺩﻭﺭ ﺍﻟﻠﻐﺔ ﰲ ﺍﻟﺘﺮﲨﺔ‪ ،‬ﺍﻷﺩﺑﻴﺔ ﻭ ﰲ ﺍﻟﻨﺼﻮﺹ ﺍﻟﻔﻨﻴﺔ‬ ‫‪1‬‬
‫ﻣﺎ ﻭ ﻋﺪﻡ ﺃﺩﺑﻴﺘﻪ‪".‬‬
‫ﺍﳉﻤﺎﻟﻴﺔ ﺑﻮﺟﻪ ﻋﺎﻡ‪ ،‬ﻋﻠﻰ ﻧﻘﻞ ﺍﳌﻌﲎ ﺃﻭ ﺍﻟﺪﻻﻟﺔ‪ ،‬ﺑﻞ ﲤﺘﻠﻚ ﺍﻟﻠﻐﺔ ﰲ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ﻭﻇﻴﻔﺔ ﺇﺿﺎﻓﻴﺔ ﻫﻲ‬
‫ﺍﻟﻮﻇﻴﻔﺔ ﺍﳉﻤﺎﻟﻴﺔ‪ ،‬ﻭ ﺗﻠﻚ ﻣﺴﺄﻟﺔ ﺑﺎﻟﻐﺔ ﺍﻷﳘﻴﺔ ﰲ ﺍﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ ﻋﻤﻮﻣﺎ‪ ،‬ﻭﰲ ﺗﺮﲨﺔ ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ‬
‫ﻋﻠﻰ ﻭﺟﻪ ﺍﳋﺼﻮﺹ‪ 2".‬ﻷﻧﻪ ﻛﻤﺎ ﻗﻠﻨﺎ ﰲ ﺣﺎﻟﺔ ﺍﻟﻄﻔﻞ ﻓﺈﻧﻨﺎ ‪‬ﺪﻑ ﺇﱃ ﺗﻨﻤﻴﺔ ﺣﺴﻪ ﺍﳉﻤﺎﱄ‬
‫ﻭ ﺗﺬﻭﻗﻪ ﺍﻷﺩﰊ ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺗﻌﻠﻴﻤﻪ ﺍﻟﻠﻐﺔ‪ .‬ﻭ ﺇﺫﺍ ﺣﺎﻭﻟﻨﺎ ﺃﻥ ﻧﺪﺭﺱ ﺗﺮﲨﺎﺕ "ﻗﺼﺔ ﻫﺎﺭﻱ ﺑﻮﺗﺮ"‬
‫ﺇﻧﻄﻼﻗﺎ ﻣﻦ ﺍﳊﺲ ﺍﳉﻤﺎﱄ ﺍﻷﺩﰊ‪ ،‬ﻟﻨﺘﻤﻜﻦ ﻣﻦ ﲢﺪﻳﺪ ﺇﺫﺍ ﻣﺎ ﻛﺎﻥ ﺣﻘﺎ ﻫﻨﺎﻙ ﻣﺮﺍﻋﺎﺓ ﳍﺬﻩ ﺍﳉﺰﺋﻴﺔ‬
‫ﻭﻗﺖ ﺍﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﻭ ﻧﺴﻮﻗﻬﺎ ﺇﻟﻴﻜﻢ ﻋﻠﻰ ﺍﻟﺸﻜﻞ ﺍﻟﺘﺎﱄ‪:‬‬
‫*‪ -‬ﻭ ﺍﻟﺴﺒﺐ ﺃﻥ ﺍﻟﺘﺮﲨﺔ ﺍﳊﺮﻓﻴﺔ ﺗﻔﺘﺮﺽ ﻭﺟﻮﺩ ﺍﳌﻘﺎﺑﻼﺕ ﻭ ﻻ ﳝﻜﻦ ﺍﻓﺘﺮﺍﺽ ﺫﻟﻚ ﻭ ﳓﻦ ﻧﺘﺤﺪﺙ ﻋﻦ ﺍﻷﺳﻄﻮﺭﺓ ﻭ ﻻ ﰲ ﺃﻱ ﻣﺮﺣﻠﺔ ﻣﻦ‬
‫ﻣﺮﺍﺣﻞ ﺍﻧﺘﻘﺎﳍﺎ ﺃﻭ ﺗﻜﻴﻴﻔﻬﺎ‪.‬‬
‫‪ -1‬ﻋﺒﺪﻩ ﻋﺒﻮﺩ‪.‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.202‬‬
‫‪ -2‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.203‬‬

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 ‫ ارة   ا‬........................................................
‫ا  ا‬

:‫ ﺍﻷﺻﻞ‬-

“Harry disentangled himself from Ron and got to his feet. They had arrived
on what appeared to be a deserted stretch of misty moor. In front of them was
a pair of tired and grumpy-looking wizards, one of whom was holding a large
gold watch, the other a thick roll of parchment and a quill. Both were dressed
as Muggles, though very inexpertly; the man with the watch wore a tweed suit
with thigh-length galoshes; his colleague, a kilt and a poncho.”p71.
:‫ ﺍﻟﺘﺮﲨﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ‬-

« Harry et Ron se démêlèrent l'un de l'autre et tout le monde se releva. Ils

étaient arrivés sur ce qui semblait être une lande déserte plongée dans la
brume. Devant eux se tenaient deux sorciers à l'air fatigué et grincheux. L'un
avait à la main une grosse montre en or, l'autre un épais rouleau de
parchemin et une plume. Tous deux s'étaient habillés en Moldus, mais d'une
manière très malhabile : l'homme à la montre portait un costume de tweed
avec des cuissardes, son collègue un kilt écossais et un poncho ». p 84.

:‫ ﺍﻟﺘﺮﲨﺔ ﺍﻟﻌﺮﺑﻴﺔ‬-

‫ﻢ ﻗﺪ ﻭﺻﻠﻮﺍ ﺇﱃ ﻣﺎ ﻳﺸﺒﻪ‬‫" ﺧﻠﺺ " ﻫﺎﺭﻱ" ﻧﻔﺴﻪ ﻣﻦ ﺑﲔ ﺳﺎﻗﻲ "ﺭﻭﻥ" ﻗﺒﻞ ﺃﻥ ﻳﻨﻬﺾ ﻭﺍﻗﻔﺎ ﻟﻴﺠﺪ ﺃ‬
‫ﺳﺎﺣﺔ ﻣﻬﺠﻮﺭﺓ ﺣﻮﻝ ﻣﺴﺘﻨﻘﻊ ﻳﻠﻔﻪ ﺍﻟﻀﺒﺎﺏ ﻭ ﺃﻣﺎﻣﻬﻢ ﻛﺎﻥ ﻳﻘﻒ ﺍﺛﻨﺎﻥ ﻣﻦ ﺍﻟﺴﺤﺮﺓ ﻳﺒﺪﻭ ﻋﻠﻴﻬﻢ ﺍﻹﺭﻫﺎﻕ ﻭ‬
‫ ﺃﻣﺎ ﺍﻵﺧﺮ ﻓﻤﻌﻪ ﺭﻗﻌﺔ ﺟﻠﺪﻳﺔ ﻣﻄﻮﻳﺔ ﻭ ﺭﻳﺸﺔ ﻭ ﻛﺎﻥ ﻛﻼﳘﺎ‬،‫ﺍﻟﺘﺬﻣﺮ ﻭ ﺃﺣﺪﳘﺎ ﳛﻤﻞ ﺳﺎﻋﺔ ﺫﻫﺒﻴﺔ ﻛﺒﲑﺓ‬
‫ ﻛﺎﻥ ﺍﻟﺮﺟﻞ ﺍﻟﺬﻱ ﳛﻤﻞ ﺍﻟﺴﺎﻋﺔ ﻳﺮﺗﺪﻱ ﺣﻠﺔ ﻣﻦ ﻃﺮﺍﺯ ﻗﺪﱘ ﺃﻣﺎ ﺯﻣﻴﻠﻪ ﻓﻜﺎﻥ ﻳﺮﺗﺪﻱ‬،‫ﻳﺮﺗﺪﻯ ﻣﻼﺑﺲ ﺍﻟﻌﺎﻣﺔ‬
" .‫ﺗﻨﻮﺭﻩ ﺍﺳﻜﺘﻠﻨﺪﻳﺔ ﻭ ﻋﺒﺎﺀﺓ ﻗﺼﲑﺓ‬
‫ ﻓﺎﻟﻘﺎﺭﺉ ﺍﻟﻔﺮﻧﺴﻲ ﺇﺫﺍ ﱂ‬،‫ﳝﻜﻦ ﺍﻋﺘﺒﺎﺭ ﺍﻟﺘﺮﲨﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ ﺗﺮﲨﺔ ﺃﺩﺑﻴﺔ ﻷﻧﻨﺎ ﻧﻼﺣﻆ ﻋﻨﺎﻳﺔ ﰲ ﺍﻷﺳﻠﻮﺏ‬
،‫ﺎ ﺗﺮﲨﺔ ﻟﻴﺲ ﻣﻦ ﻧﺎﺣﻴﺔ ﺍﻟﺼﻴﻐﺔ ﺍﻟﻠﻐﻮﻳﺔ‬‫ ﺃﻥ ﻳﻘﺮﺃﻫﺎ ﺩﻭﻥ ﺃﻥ ﻳﻼﺣﻆ ﺃ‬،‫ﻳﻜﻦ ﻟﻪ ﺳﺎﺑﻖ ﻣﻌﺮﻓﺔ ﺑﺎﻟﻘﺼﺔ‬
‫ ﻷﻧﻨﺎ ﻧﻌﺮﻑ ﺃﻥ ﻫﺬﻩ ﺍﻟﻘﺼﺔ ﺑﺎﻟﺬﺍﺕ ﺗﻔﺘﺮﺽ ﻭﺟﻮﺩ ﻣﻌﺠﻢ ﻟﻐﻮﻱ‬،‫ﺑﻞ ﺣﱴ ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻷﺳﻠﻮﺑﻴﺔ‬
‫ ﻭﻫﻨﺎﻙ ﻣﺜﺎﻝ ﻗﺪ ﺳﺒﻖ‬،‫ﺧﺎﺹ ﻭ ﻗﺪ ﻭﻓﻘﺖ ﺍﻟﺘﺮﲨﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ ﺇﱃ ﺣﺪ ﻣﺎ ﰲ ﲣﻄﻲ ﻫﺬﻩ ﺍﻟﻌﻘﺒﺔ‬
‫ ﺃﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺘﺮﲨﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻓﻬﻲ ﻻ ﺗﺴﺘﺤﻖ ﺃﻥ ﻳﻘﺎﻝ ﻋﻨﻬﺎ ﺣﱴ‬. ‫ﻭﻭﺿﻌﺖ ﺳﻄﺮﺍ ﲢﺘﻪ ﻟﺘﺒﻴﺎﻥ ﻣﺎ ﻋﻨﻴﺘﻪ‬
‫ﺎ ﺣﻀﺮﺕ ﰲ ﺯﻣﻦ ﻗﻠﻴﻞ ﺭﲟﺎ ﺑﻌﺪ ﻇﻬﻮﺭ ﺍﻟﻔﻴﻠﻢ ﺑﻘﻠﻴﻞ‬‫ﺎ ﺗﺮﲨﺔ ﻭ ﺍﻟﻮﺍﺿﺢ ﺃ‬‫ ﻓﺎﻟﻮﺍﺿﺢ ﺃ‬،‫ﺗﺮﲨﺔ ﺣﺮﻓﻴﺔ‬
170
‫ا  ا
‪ ........................................................‬ارة   ا ‬

‫ﻭ ﳒﺎﺣﻪ ﺑﻐﺮﺽ ﲢﻘﻴﻖ ﺍﻷﺭﺑﺎﺡ‪ .‬ﺇﺫ ﳚﺐ ﺍﻟﻌﻨﺎﻳﺔ ﺃﳝﺎ ﻋﻨﺎﻳﺔ ﺑﻜﻞ ﻣﺎ ﻳﻮﺿﻊ ﺑﲔ ﻳﺪﻱ ﺍﻟﻄﻔﻞ ﻣﻦ ﻣﺎﺩﺓ‬
‫ﺃﺩﺑﻴﺔ‪ ،‬ﻷﻧﻪ ﻋﻠﻰ ﺃﺳﺎﺳﻬﺎ ﺳﻴﺤﺪﺩ ﻧﻈﺮﺗﻪ ﻟﻸﺩﺏ ﻓﻴﻤﺎ ﺑﻌﺪ‪.‬‬

‫‪-2‬ﺍﻻﻗﺘﺒﺎﺱ‪:‬‬

‫ﻓﺎﻻﻗﺘﺒﺎﺱ‪" ،‬ﻛﻤﺎ ﻋﺮﻓﺘﻪ ﻗﻮﺍﻣﻴﺲ ﺍﳌﺼﻄﻠﺤﺎﺕ ﺍﻟﺪﻭﻟﻴﺔ ﻭﻧﻈﺮﻳﺎﺕ ﺍﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﻫﻮ ﺑﺎﺧﺘﺼﺎﺭ ﺇﻋﺎﺩﺓ‬
‫ﺻﻴﺎﻏﺔ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﺍﻷﺟﻨﱯ ﻣﻦ ﻗﺒﻞ ﺍﳌﻘﺘﺒﺲ ﺑﻐﺮﺽ ﺇﻋﻄﺎﺋﻪ ﻣﻨﺤﺎ ﻓﻜﺮﻳﺎ ﺟﺪﻳﺪﺍ‪ ،‬ﺃﻭ ﺇﻛﺴﺎﺑﻪ ﻋﻠﻰ‬
‫ﺻﻌﻴﺪ ﺍﻷﺳﻠﻮﺏ ﻭ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭ ﺍﳌﻌﻤﺎﺭﻳﺔ ﻭﻏﲑﻫﺎ ﻣﻦ ﺍﳉﻮﺍﻧﺐ ﺍﻟﻔﻨﻴﺔ ﺷﻜﻼ ﺟﺪﻳﺪﺍ‪ ،‬ﻳﺴﻬﻞ‬
‫‪1‬‬
‫ﺍﺳﺘﻘﺒﺎﻟﻪ ﰲ ﺯﻣﻦ ﻣﻌﲔ‪ ،‬ﺃﻭ ﺑﻼﺩ ﻣﻌﻴﻨﺔ ﻣﻦ ﻗﺒﻞ ﲨﻬﻮﺭ ﻣﻌﲔ‪".‬‬

‫ﲟﻌﲎ ﲡﺮﻳﺪ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﻣﻦ ﻫﻮﻳﺘﻪ ﺍﻟﻔﻜﺮﻳﺔ ﻭ ﺍﻟﺜﻘﺎﻓﻴﺔ ﻭ ﲢﻮﻳﻞ ﻣﻠﻜﻴﺘﻪ ﻣﻦ ﺍﻷﺻﻞ ﺇﱃ ﺍﳍﺪﻑ‬
‫ﻭ ﻳﺴﺘﻌﻤﻞ ﻋﺎﺩﺓ ﰲ ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ ﻭ ﺫﻟﻚ ﺑﻐﺮﺽ ﺗﻘﺮﻳﺐ ﺍﻟﻘﺼﺔ ﻣﻦ ﺍﳌﺘﻠﻘﻲ ﺍﻟﺼﻐﲑ ﻭ ﻣﻨﺢ‬
‫ﺇﺣﺴﺎﺳﺎ ﺑﺎﻷﻟﻔﺔ ﻣﻌﻬﺎ ﺇﺫﺍ ﻻ ﻳﻌﺮﻑ ﻣﺎ ﺇﺫﺍ ﻛﺎﻧﺖ ﺃﺻﻼ ﺃﻭ ﺗﺮﲨﺔ ﻭ ﻟﺬﻟﻚ "ﻓﺎﻷﻫﺪﺍﻑ ﺍﻷﺳﺎﺳﻴﺔ‬
‫ﻟﻼﻗﺘﺒﺎﺱ ﻫﻮ ﺟﻌﻞ ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ ﺍﻷﺟﻨﺒﻴﺔ ﻣﺘﻨﺎﺳﺒﺔ ﻣﻊ ﺍﻷﻓﻖ ﺍﻟﻠﻐﻮﻱ ﻭﺍﻷﺳﻠﻮﰊ ﻭ ﺍﻟﻔﻜﺮﻱ‬
‫ﻟﻸﻃﻔﺎﻝ ﺍﻟﻌﺮﺏ‪.‬ﻭ ﳝﻜﻦ ﻟﻠﻤﻘﺘﺒﺲ ﺃﻥ ﻳﺪﺧﻞ ﻋﻠﻰ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﺍﻷﺟﻨﱯ ﻛﺎﻓﺔ ﺍﻟﺘﻌﺪﻳﻼﺕ ﺍﻟﱵ ﻳﺮﺍﻫﺎ‬
‫ﺿﺮﻭﺭﻳﺔ‪ ،‬ﻟﱰﻉ ﻃﺎﺑﻊ " ﺍﻷﺟﻨﺒﻴﺔ" ﻋﻨﻬﺎ‪ ،‬ﻭ ﺇﻛﺴﺎﺑﻪ ﻃﺎﺑﻌﺎ ﳏﻠﻴﺎ ﻭﻃﻨﻴﺎ‪ ،‬ﻳﻴﺴﺮ ﺍﺳﺘﻘﺒﺎﻟﻪ ﰲ ﻭﺳﻂ‬
‫ﺍﺟﺘﻤﺎﻋﻲ ﳐﺘﻠﻒ ﺟﺬﺭﻳﺎ ﻋﻦ ﺍﻟﻮﺳﻂ ﺍﻟﺬﻱ ﺃﳒﺐ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﺍﻷﺻﻠﻲ‪ 2 ".‬ﻭ ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ ﻓﺈﻥ‬
‫ﻛﻞ ﺍﻗﺘﺒﺎﺱ ﻳﻌﺪ ﺇﺑﺪﺍﻉ ﺟﺪﻳﺪﺍ‪ ،‬ﺭﻏﻢ ﺃﻥ " ﺍﻻﻗﺘﺒﺎﺱ ﻃﺮﻳﻘﺔ ﻓﻨﻴﺔ ﳍﺎ ﺿﺮﻭﺭﺍ‪‬ﺎ ﻭﻣﺴﻮﻏﺎ‪‬ﺎ ﺍﳌﻀﻤﻮﻧﻴﺔ‬
‫ﻭ ﺍﻟﺸﻜﻠﻴﺔ‪ ،‬ﻭ ﳍﺎ ﻏﺎﻳﺔ ﲨﺎﻟﻴﺔ ﻭﺍﺳﺘﻘﺒﺎﻟﻴﺔ‪ ،‬ﺃﻱ ﺃ‪‬ﺎ ﻟﻴﺴﺖ ﳎﺮﺩ ﻭﺳﻴﻠﺔ ﻟﻠﺘﻤﻠﺺ ﻣﻦ ﻣﺸﺎﻕ ﺍﻟﺘﺮﲨﺔ‬
‫ﻭﻣﺴﺆﻭﻟﻴﺎﺗﻪ‪ ،‬ﻭﰲ ﻃﻠﻴﻌﺘﻬﺎ ﺗﻠﻚ ﺍﳉﻬﻮﺩ ﺍﳌﻀﻨﻴﺔ ﺍﻟﱵ ﻳﺒﺬﳍﺎ ﺍﳌﺘﺮﺟﻢ ﻣﻦ ﺃﺟﻞ ﺃﻥ ﻳﺘﻮﺻﻞ ﺇﱃ ﻣﻌﺎﺩﻻﺕ‬
‫‪3‬‬
‫ﺩﻻﻟﻴﺔ ﻭﺃﺳﻠﻮﺑﻴﺔ ﻭﲨﺎﻟﻴﺔ ﻟﻠﻌﻤﻞ ﺍﻷﺻﻠﻲ‪".‬‬

‫‪ -1‬ﻋﺒﺪﻩ ﻋﺒﻮﺩ‪.‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.210‬‬
‫‪. -2‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.211‬‬
‫‪ -3‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.‬ﻥ‪.‬‬

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‫ﻭ ‪‬ﺬﺍ ﳝﻜﻨﻨﺎ ﺟﻌﻞ ﻗﺼﺔ "ﻫﺎﺭﻱ ﺑﻮﺗﺮ" ﻣﺜﻼ ﲢﻜﻲ ﻋﻦ ﻃﻔﻞ ﻋﺮﰊ‪ ،‬ﲝﻴﺚ ﻧﻄﻠﻖ ﻋﻠﻴﻪ ﺍﲰﺎ ﻋﺮﺑﻴﺎ‪،‬‬
‫ﻭ ﻋﻮﺽ ﺃﻥ ﻳﻌﻴﺶ ﰲ ﺣﻲ ﺍﳒﻠﻴﺰﻱ ﺗﻘﻠﻴﺪﻱ ﳒﻌﻠﻪ ﻳﻌﻴﺶ ﰲ ﺣﻲ ﻋﺮﰊ‪ ،‬ﻭﺭﲟﺎ ﰲ ﺍﻟﺼﺤﺮﺍﺀ ﻋﻠﻰ‬
‫ﺍﻋﺘﺒﺎﺭ ﺃ‪‬ﺎ ﺗﻌﻜﺲ ﺍﳊﻀﺎﺭﺓ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﰒ ﻧﺒﻘﻲ ﻋﻠﻰ ﺍﻟﺴﺤﺮ ﻭ ﻋﺎﱂ ﺍﻟﻐﺮﺍﺋﺐ‪ ،‬ﻭ ﻧﻐﲑ ﺍﳌﺨﻠﻮﻗﺎﺕ‬
‫ﻛﺎﻟﺘﻨﺎﻧﲔ‪ ،‬ﻭﺣﻮﺭﻳﺎﺕ ﺍﻟﺒﺤﺮ‪،‬ﻭ ﺍﻷﻓﺎﻋﻲ ﺍﻟﻌﻤﻼﻗﺔ‪ ...‬ﻭ ﻏﲑﻫﺎ‪ ،‬ﲟﺨﻠﻮﻗﺎﺕ ﺧﺮﺍﻓﻴﺔ ﻋﺮﺑﻴﺔ ﻛﺎﳉﻦ‬
‫ﻭ ﺍﻟﺴﻌﺎﱄ ﻭﺍﻟﻐﻴﻼﻥ‪...‬ﻭ ﻏﲑﻫﺎ‪.‬‬

‫ﻭ ﻟﻜﻦ ﻟﻦ ﻳﺒﺪﻭ ﺍﻷﻣﺮ ﻭ ﻛﺄﻧﻨﺎ ﳒﺘﺜﻬﺎ ﻋﻨﻮﺓ ﻣﻦ ﺃﺭﺿﻬﺎ ﺍﻷﻡ‪ ،‬ﻟﺴﺒﺐ ﺑﺴﻴﻂ ﻷ‪‬ﺎ ﺳﺘﺼﺒﺢ ﻭﻛﺄ‪‬ﺎ‬
‫ﺇﺑﺪﺍﻉ ﺟﺪﻳﺪ ﻷﻧﻨﺎ ﺳﻨﻬﺪﻡ ﻛﻞ ﺍﳉﺴﻮﺭ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺍﻟﱵ ﺗﺮﺑﻄﻬﺎ ﺑﺄﺻﻠﻬﺎ ‪‬ﺎﺋﻴﺎ‪ ،‬ﺇﺫﺍ ﻛﻴﻒ ﺳﻴﺴﺘﺪﻝ ﺍﻟﻄﻔﻞ‬
‫ﻋﻠﻰ ﺃ‪‬ﺎ ﺍﻟﻘﺼﺔ ﺍﻟﱵ ﺃﺣﺒﻬﺎ ﻣﻦ ﺧﻼﻝ ﺍﻟﻘﺼﺔ ﺍﳌﻜﺘﻮﺑﺔ ﻭ ﻣﻦ ﺧﻼﻝ ﺍﻟﻌﻤﻞ ﺍﻟﺴﻴﻨﻤﺎﺋﻲ‪ ،‬ﻷﻥ ﺍﻟﻌﻤﻞ‬
‫ﺍﻟﺴﻴﻨﻤﺎﺋﻲ ﺳﻴﺤﺪﺩ ﳎﺎﻝ ﺗﺪﺧﻞ ﺍﳌﺘﺮﺟﻢ ﰲ ﺍﻟﻘﺼﺔ‪ ،‬ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃﻥ ﺍﻟﻘﺎﺭﺉ ﺳﺒﻖ ﻭﻛﻮﻥ ﻓﻜﺮﺓ ﻋﻦ‬
‫ﺍﻟﻌﻤﻞ ﺑﻞ ﻭ ﺳﻴﻘﺒﻞ ﻋﻠﻴﻪ ﻣﻜﺘﻮﺑﺎ ﻣﻦ ﻣﻨﻄﻠﻖ ﺃﻧﻪ ﺃﻋﺠﺒﻪ ﺣﲔ ﺷﺎﻫﺪﻩ‪.‬‬

‫ﻭ ﻟﻜﻦ ﻻ ﻳﻌﲏ ﻫﺬﺍ ﺃﻧﻪ ﳚﺐ ﺍﻻﺳﺘﻐﻨﺎﺀ ﻋﻦ ﺍﻻﻗﺘﺒﺎﺱ‪ ،‬ﻭﺍﻋﺘﺒﺎﺭﻩ ﻏﲑ ﺿﺮﻭﺭﻱ ﰲ ﺍﻟﺘﺮﲨﺔ ﻓﻠﻪ‬
‫ﻣﺴﻮﻏﺎﺗﻪ‪ ،‬ﺇﺫ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻄﻔﻞ ﻫﻨﺎﻙ ﺑﻌﺾ ﺍﻷﻣﻮﺭ ﺍﻟﱵ ﺗﺴﺘﺪﻋﻲ ﺍﻻﻗﺘﺒﺎﺱ‪ ،‬ﻭ ﻟﻜﻦ ﰲ ﺣﺪﻭﺩ‪ ،‬ﻓﻔﻲ‬
‫ﺣﺎﻝ ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﻻ ﺃﻋﺘﻘﺪ ﺃﻧﻪ ﺿﺮﻭﺭﻱ ﺗﻐﺮﻳﺒﻬﺎ ﻛﻠﻴﺎ‪ ،‬ﻓﺒﺎﻟﻄﺮﻳﻘﺔ ﺍﻟﱵ ﻻﺣﻈﻨﺎ ﻓﻴﻬﺎ ﺍﳌﺜﺎﻝ ﻟﻦ ﺗﺼﺒﺢ‬
‫ﺍﻷﺳﻄﻮﺭﺓ ﺃﺳﻄﻮﺭﺓ‪ ،‬ﻭ ﻫﺪﻓﻨﺎ ﰲ ﺍﳌﻘﺎﻡ ﺍﻷﻭﻝ ﺗﻨﻤﻴﺔ ﺍﻟﺘﺬﻭﻕ ﺍﻟﻔﲏ ﻭ ﺍﳉﻤﺎﱄ ﻟﻠﻄﻔﻞ‪ ،‬ﰒ ﺃﻥ ﺟﻮﻫﺮ‬
‫ﺍﻟﺘﺮﲨﺔ ﻫﻮ ﺍﻻﻧﻔﺘﺎﺡ ﻋﻠﻰ ﺍﻟﻐﲑ‪ ،‬ﺣﻴﺚ ﻳﻘﻮﻝ ﺃﻧﻄﻮﺍﻥ ﺑﺎﺭﻣﺎﻥ ﰲ ﻫﺬﺍ ﺍﻟﺼﺪﺩ‪:‬‬

‫‪"L'essence de la traduction est d'être ouverture, dialogue, métissage et‬‬

‫‪décentrement."1‬‬

‫ﻭ ﻣﻌﻨﺎﻩ ﻳﺘﻠﺨﺺ ﰲ ﺃﻥ ﺍﻻﻧﻔﺘﺎﺡ ﻋﻠﻰ ﺍﻟﻐﲑ ﺿﺮﻭﺭﻱ‪ ،‬ﻭﺣﺘﻤﻲ‪ ،‬ﻣﻦ ﺧﻼﻝ ﻣﺪ ﺍﳉﺴﻮﺭ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺑﲔ‬
‫ﳐﺘﻠﻒ ﺍﳊﻀﺎﺭﺍﺕ ﻭ ﺍﻷﻣﻢ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﺘﺮﲨﺔ‪ ،‬ﻛﻤﺎ ﺃﻥ ﺑﺎﺭﻣﺎﻥ ﻳﺮﻓﺾ ﻓﻜﺮﺓ ﺍﻻﻧﻐﻼﻕ ﻋﻠﻰ ﺍﻟﺬﺍﺕ‪،‬‬
‫ﻭﺫﻟﻚ ﻟﻴﺲ ﻋﻦ ﻃﺮﻳﻖ ﺳﻠﺦ ﺍﻟﻌﻤﻞ ﺍﻷﺟﻨﱯ ﻛﻠﻴﺎ ﻋﻦ ﺟﻠﺪﺗﻪ ﺍﻷﺻﻠﻴﺔ‪ ،‬ﺑﻞ ﳚﺐ ﺃﻥ ﻻ ﻳﻌﺪﻭ ﺍﻷﻣﺮ‬
‫‪1‬‬
‫‪-BERMAN Antoine, L'épreuve de l'étranger, Paris, Gallimard, 1984, p 16.‬‬

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‫ﻛﻮﻧﻪ ﺗﻼﻗﺢ ﺣﻀﺎﺭﻱ‪ ،‬ﻷﻧﻪ ﺇﺫﺍ ﻛﺎﻥ ﻫﺬﺍ ﺍﻻﻧﻔﺘﺎﺡ ﺯﺍﺋﺪ ﻋﻦ ﺣﺪﻩ ﺳﻴﺘﺤﻮﻝ ﺇﱃ ﻫﻴﻤﻨﺔ‪ ،‬ﻓﻨﺨﺮﺝ ﺑﺬﻟﻚ‬
‫ﻣﻦ ﺇﻃﺎﺭ ﺍﳊﻀﺎﺭﻱ ﻟﻨﺪﺧﻞ ﺇﻃﺎﺭ ﺍﻻﺳﺘﻌﻤﺎﺭﻱ‪.‬‬

‫ﻣﺎ ﺃﺭﻳﺪ ﺃﻥ ﺃﻗﻮﻟﻪ ﻣﻦ ﺧﻼﻝ ﻫﺬﺍ ﻫﻮ ﺃﻥ ﻋﻤﻠﻴﺔ ﺍﻻﻧﻔﺘﺎﺡ ﻭ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﺍﻵﺧﺮ‪ ،‬ﻫﻲ ﺿﺮﻭﺭﻳﺔ ﲨﺎﻟﻴﺔ‪،‬‬
‫ﻓﻠﻤﺎﺫﺍ ﻧﺴﺘﺜﲏ ﺍﻟﻄﻔﻞ ﻣﻨﻬﺎ‪ ،‬ﻷﻧﻪ ﻭ ﺍﳊﻖ ﻳﻘﺎﻝ ﺃﻥ ﺍﻟﻄﻔﻞ ﺳﻴﻀﻄﺮ ﻟﻠﺘﻌﺎﻣﻞ ﻣﻊ ﻫﺬﺍ ﺍﻵﺧﺮ ﺍﻟﻌﺠﻴﺐ ﺇﻥ‬
‫ﻋﺎﺟﻼ ﺃﻭ ﺁﺟﻼ‪ ،‬ﻓﺤﱴ ﻟﻨﻔﺘﺮﺽ ﺃﻧﻪ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﳏﻮ ﺍﻵﺧﺮ‪ ،‬ﻓﺈﻧﻪ ﳚﺐ ﺃﻥ ﻧﻌﻠﻢ ﺃﻥ ﺍﳌﺎﺩﺓ ﺍﳌﺨﺼﺼﺔ‬
‫ﻟﻠﻄﻔﻞ ﻭ ﺍﻟﱵ ﺗﺼﻞ ﺇﱃ ﻣﺘﻨﺎﻭﻝ ﺍﻟﻄﻔﻞ ﺍﻟﻴﻮﻡ ﻟﻴﺴﺖ ﺍﳌﻜﺘﻮﺑﺔ ﻓﻘﻂ‪ ،‬ﻓﺄﻓﻼﻡ ﺍﻟﻜﺮﺗﻮﻥ ﻭ ﻏﲑ ﺍﻟﻜﺮﺗﻮﻥ‬
‫ﺗﻌﺮﺽ ﻋﻠﻰ ﻣﺪﺍﺭ ﺍﻟﺴﺎﻋﺔ ﻋﻠﻰ ﳐﺘﻠﻒ ﺍﻟﻘﻨﻮﺍﺕ‪ ،‬ﻭ ﻟﻴﺴﺖ ﻛﻠﻬﺎ ﻣﺪﺑﻠﺠﺔ ﺇﱃ ﺍﻟﻌﺮﺑﻴﺔ ﻭﻣﻊ ﺫﻟﻚ‬
‫ﻧﻼﺣﻆ ﺃﻥ ﺍﻟﻄﻔﻞ ﺍﻟﻌﺮﰊ ﻳﻘﺒﻞ ﻋﻠﻴﻬﺎ ﻣﻦ ﻏﲑ ﺭﻗﺎﺑﺔ‪ ،‬ﰒ ﻣﺆﻛﺪ ﺃﻧﻪ ﺳﻴﻜﺘﺸﻒ ﺍﳍﻮﺓ ﺑﲔ ﻣﺎ ﻳﻘﺮﺃ ﻭﻣﺎ‬
‫ﻳﺸﺎﻫﺪ ﻭ ﻗﺪ ﻳﻜﺘﺸﻒ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﳌﻌﺮﺑﺔ ﺍﻟﱵ ﳓﺎﻭﻝ ﺩﺳﻬﺎ ﻟﻪ ﻣﻦ ﺧﻼﻝ ﻣﺎ ﻳﻘﺮﺃ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﺳﻮﻑ‬
‫ﻟﻦ ﳓﻘﻖ ﻟﻪ ﻻ ﺍﳌﺘﻌﺔ ﻭ ﻻ ﺍﻟﺘﺮﺑﻴﺔ‪ ،‬ﻭ ﻟﻜﻦ ﻻ ﻳﻌﲏ ﻫﺬﺍ ﺃﻧﲏ ﻣﻊ ﺍﻻﻧﻔﺘﺎﺡ ﺍﻟﻜﻠﻲ‪ ،‬ﺑﻞ ﳝﻜﻦ ﺃﻥ ﻳﻮﺟﺪ‬
‫ﻧﻮﻉ ﻣﻦ ﺍﻻﻧﻔﺘﺎﺡ ﺍﳌﻮﺟﻪ‪ ،‬ﲟﻌﲎ ﻻ ﻧﻘﺪﻡ ﻟﻠﻄﻔﻞ ﻛﻞ ﻣﺎ ﻳﻌﺮﺿﻪ ﺍﻵﺧﺮ ﻛﻤﺎ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﻻ ﳓﺮﻣﻪ‬
‫ﻣﻨﻪ‪.‬‬

‫‪-3‬ﺍﻟﺘﺼﺮﻑ‪:‬‬

‫ﻫﻮ ﻧﻮﻉ ﻣﻦ ﺍﻟﺘﺮﲨﺔ‪ ،‬ﻳﻜﻮﻥ ﻓﻴﻪ ﺍﳌﺘﺮﺟﻢ ﺃﻛﺜﺮ ﲢﺮﺭﺍ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃﻧﻪ ﳚﻴﺰ ﻟﻨﻔﺴﻪ ﺍﻟﺘﺪﺧﻞ ﰲ ﺑﻌﺾ‬
‫ﺣﻴﺜﻴﺎﺕ ﺍﻟﻨﺺ‪ ،‬ﺑﺸﻜﻞ ﻋﺎﻡ ﻣﺎ ﺗﻌﻠﻖ ﻣﻨﻬﺎ ﺑﺎﳉﺎﻧﺐ ﺍﻟﺜﻘﺎﰲ‪ ،‬ﻛﺄﻥ ﻳﻘﺎﺑﻞ ﺗﻘﻠﻴﺪ ﺑﺘﻘﻠﻴﺪ‪ ،‬ﺃﻭ ﻳﻠﺠﺄ ﳊﺬﻑ‬
‫ﺍﻟﺼﻮﺭﺓ ﲤﺎﻣﺎ‪ ،‬ﻟﻜﻮ‪‬ﺎ ﲣﺪﺵ ﺍﳊﻴﺎﺀ ﺃﻭ ﻣﺬﻣﻮﻣﺔ‪ ،‬ﺃﻭ ﺣﱴ ﻏﲑ ﻣﻮﺟﻮﺩﺓ ﰲ ﺍﻟﻠﻐﺔ ﺍﳍﺪﻑ‪ ،‬ﻛﻤﺎ ﺃ‪‬ﺎ‬
‫ﺍﻟﺪﺍﻓﻊ ﺍﻟﺬﻱ ﻣﻦ ﻭﺭﺍﺀﻩ ﺣﻮﻝ ﺍﻟﺪﺍﺭﺳﻮﻥ ﰲ ﺍﻟﺘﺮﲨﺔ ﺍﻫﺘﻤﺎﻣﻬﻢ ﻣﻦ ﺍﻟﻠﻐﺔ ﺇﱃ ﺍﻟﻠﻐﺔ ﻭ ﺍﻟﺜﻘﺎﻓﺔ ﻭﻗﺖ‬
‫ﺍﻟﻘﻴﺎﻡ ﺑﺎﻟﻌﻤﻠﻴﺔ ﺍﻟﺘﺮﲨﻴﺔ ‪ .1‬ﻛﻤﺎ ﺃﻥ ﻛﻞ ﻣﻦ ﻓﻴﻨﺎﻱ ﻭﺩﺍﺭﺑﻠﲏ ﻗﺪ ﺃﺩﺭﺍﺟﺎﻩ ﰲ ﳎﻤﻮﻋﺔ ﺍﻟﻄﺮﺍﺋﻖ ﰲ‬
‫ﺍﻟﺘﺮﲨﺔ ﺍﻟﱵ ﺍﺑﺘﻜﺮﺍﻫﺎ‪ ،2‬ﻭ ﻫﻮ ﺑﺬﻟﻚ ﺍﳊﻞ ﺍﻷﻣﺜﻞ ﻟﻠﺘﻌﺎﻣﻞ ﻣﻊ ﻛﻞ ﺍﻹﺷﻜﺎﻻﺕ ﺍﳌﺘﻌﻠﻘﺔ ﺑﺎﳉﺎﻧﺐ‬
‫‪1-‬‬ ‫‪Mathieu Guidere. Ibid.p .85‬‬
‫‪2-‬‬ ‫‪VINAYJ.P. et DARBELNET J. Ibid p 24.‬‬

‫‪173‬‬
 ‫ ارة   ا‬........................................................
‫ا  ا‬

:‫ﻓﻤﺜﻼ‬. ‫ﺍﻟﺜﻘﺎﰲ ﻭ ﺍﻟﻔﻜﺮﻱ‬

‫ﺍﻷﺻﻞ‬

" Wormtail was speaking. His voice shook, he seemed frightened

beyond his wits. He raised his wand, closed his eyes, and spoke to
the night. 'Bone of the father, unknowingly given, you will renew your
son!'...

And now Wormtail was whimpering. He pulled a long, thin,

shining silver dagger from inside his robes. His voice broke into
petrified sobs. 'Flesh — of the servant — w-willingly given — you will -
revive - your master.'

He stretched his right hand out in front of him - the hand with the
missing finger. He gripped the dagger very tightly in his left hand,
and swung it upwards. ..

Wormtail was gasping and moaning with agony. Not until Harry felt
Wormtail's anguished breath on his face did he realise that Wormtail was
right in front of him.

'B-blood of the enemy . . . forcibly taken ... you will . . . resurrect your
foe.'"p556.

:‫"ﰒ ﺃﺧﺬ ﻭﻭﺭﻣﺘﻴﻞ ﻳﺮﺩﺩ‬

".‫ﺎ ﻳﻮﻟﺪ ﻣﻦ ﺟﺪﻳﺪ‬ ،‫ ﻋﻈﺎﻡ ﺍﻷﺏ‬...‫ ﻳﺎ ﻋﻈﺎﻡ‬...‫" ﻳﺎ‬
.‫ﺎ ﺩﺍﺧﻞ ﺍﻟﻘﺪﺭ‬ ‫ﻭ ﺗﻨﺎﻭﻝ ﻋﻈﻤﺔ ﻛﺒﲑﺓ ﻭ ﺭﻣﻰ‬
."‫ﺎ ﻳﺒﲏ ﺍﻟﺴﻴﺪ ﺟﺴﺪﻩ ﻣﻦ ﺟﺪﻳﺪ‬ ...‫ﺃﺿﺤﻴﺔ ﻣﻦ ﻋﻨﺪ ﺍﳋﺎﺩﻡ‬...‫ ﻳﺎ ﺃﺿﺤﻴﺔ‬...‫" ﻳﺎ‬
.‫ﻭ ﺭﻣﻰ ﺑﻘﻄﻌﺔ ﳊﻢ ﺩﺍﺧﻞ ﺍﻟﻘﺪﺭ‬
".‫ﺎ ﺳﻴﻌﻮﺩ ﺍﻟﺴﻴﺪ ﻣﻦ ﺟﺪﻳﺪ‬ ،‫ ﻳﺎ ﺩﻡ ﺍﻟﻌﺪﻭ‬...‫ ﻳﺎ ﺩﻡ‬...‫" ﻳﺎ‬

".‫ ﰒ ﺭﻣﺎﻫﺎ ﺩﺍﺧﻞ ﺍﻟﻘﺪﺭ‬،‫ﻭ ﻣﺮﺭ ﻗﻄﻌﺔ ﻗﻤﺎﺵ ﻋﻠﻰ ﻗﺪﻡ ﻫﺎﺭﻱ ﺍﻟﱵ ﻛﺎﻧﺖ ﺗﱰﻑ‬

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‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﻜﻞ ﻣﻦ ﺍﻟﺘﺮﲨﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ ﻭﺍﻟﻌﺮﺑﻴﺔ ﻓﻘﺪ ﺣﺎﻓﻈﺘﺎ ﻋﻠﻰ ﺍﳌﺸﻬﺪ ﺍﻟﺬﻱ ﺻﻮﺭﻩ‪ ،‬ﺍﻷﺻﻞ ﻣﻦ ﺃﻥ‬
‫ﺗﻀﺤﻴﺔ ﺍﳋﺎﺩﻡ ﳚﺐ ﺃﻥ ﺗﻜﻮﻥ ﻣﻦ ﺟﺴﺪﻩ ﺍﳋﺎﺹ‪ ،‬ﻭ ﻟﻜﻦ ﺣﺎﻭﻟﺖ ﰲ ﺍﻟﺘﺮﲨﺔ ﺍﻟﱵ ﺍﻗﺘﺮﺣﺘﻬﺎ ﺃﻥ ﻻ‬
‫ﺃﻏﻴﺐ ﺍﳉﻮ ﺍﻷﺳﻄﻮﺭﻱ ﻭﺍﳌﻤﺜﻞ ﰲ ﻃﻘﻮﺱ ﺑﻌﺚ ﺍﻟﺴﻴﺪ ﻭ ﻛﻴﻒ ﻳﺘﻘﺮﺏ ﻣﻨﻪ ﺍﳋﺎﺩﻡ ﺑﺘﻘﺪﱘ ﺍﻷﺿﺎﺣﻲ‬
‫ﻟﻴﺘﻘﻲ ﺷﺮ ﻏﻀﺒﻪ‪ ،‬ﻭ ﻟﻜﻦ ﺟﺮﻯ ﺍﻟﺘﻐﻴﲑ ﻓﻘﻂ ﰲ ﻧﻮﻉ ﻭ ﺷﻜﻞ ﺗﻘﺪﱘ ﺍﻷﺿﺎﺣﻲ‪ ،‬ﻓﻤﺜﻼ ﻋﻮﺿﺎ ﻋﻠﻰ ﺃﻥ‬
‫ﻳﻘﻄﻊ ﻳﺪﻩ‪ ،‬ﻳﻘﺪﻡ ﻟﻪ ﻗﻄﻌﺔ ﳊﻢ ﻭ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻷﺿﺎﺣﻲ ﻟﻴﺲ ﻏﺮﻳﺒﺎ ﻋﻨﺎ‪ ،‬ﻓﻨﺤﻦ ﻧﻘﻮﻡ ﺑﻪ ﰲ ﺍﻟﻌﺪﻳﺪ‬
‫ﻣﻦ ﺍﳌﻨﺎﺳﺒﺎﺕ‪ ،‬ﻛﻤﺎ ﺃﻧﻪ ﻣﻦ ﺍﳌﻔﺮﻭﺽ ﺃﻥ ﳚﺮﺡ ﺍﳋﺎﺩﻡ ﺫﺭﺍﻉ ﺍﻟﻌﺪﻭ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺪﻣﺎﺀ‪ ،‬ﻭ ﻟﻜﻦ ﲟﺎ‬
‫ﺃﻥ ﺍﻟﻌﺪﻭ ﻛﺎﻥ ﻣﺼﺎﺑﺎ ﻣﻦ ﻗﺒﻞ ﺣﺎﻭﻟﺖ ﺍﺳﺘﻐﻼﻝ ﺍﻷﻣﺮ ﻣﻦ ﺃﺟﻞ ﺃﻥ ﺃﺣﻮﻟﻪ ﺇﱃ ﳎﺮﺩ ﲨﻊ ﻟﻠﺪﻡ ﺍﻟﻨﺎﺯﻑ‬
‫ﻣﻦ ﺟﻬﺔ ﻟﻜﻲ ﺃﲡﻨﺐ ﺍﻟﻌﻨﻒ ﰲ ﺍﳌﺸﻬﺪ ﻭ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﻷﺣﺎﻓﻆ ﻋﻠﻴﻪ ﻛﻤﺸﻬﺪ ﺗﻀﺤﻴﺔ‬

‫ﻭ ﻛﻤﺎ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻼﺣﻆ ﻓﺈﻥ ﺍﻟﺘﻐﻴﲑ ﱂ ﻳﺸﻤﻞ ﺍﻟﺼﻮﺭﺓ ﺍﻟﻌﺎﻣﺔ ﺃﻱ ﱂ ﺃﻗﻢ ﺑﺘﻐﻴﲑ ﺗﻮﺟﻪ ﺍﳌﻮﻗﻒ ﻛﻜﻞ‬
‫ﻭ ﺇﳕﺎ ﻓﻘﻂ ﺣﺎﻭﻟﺖ ﲡﻨﻴﺐ ﺍﳌﺘﻠﻘﻲ ﺑﻌﺾ ﺍﻟﻌﻨﻒ‪ ،‬ﻷﻧﻪ ﳚﺐ ﺃﻥ ﻧﺸﲑ ﺇﱃ ﺃﻧﻨﺎ ﺑﺼﺪﺩ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ‬
‫ﺍﻟﻄﻔﻞ‪ ،‬ﻭﻟﻴﺲ ﻣﻊ ﺑﺎﻟﻎ ﳝﻜﻨﻪ ﺍﻟﺘﻤﻴﻴﺰ ﺑﲔ ﺍﻷﻣﻮﺭ‪.‬‬

‫ﻓﺒﲔ ﺍﻻﻗﺘﺒﺎﺱ ﻭﺍﻟﻨﺴﺦ ﻭﺍﻟﺘﺼﺮﻑ‪ ،‬ﳒﺪ ﺃﻧﻔﺴﻨﺎ ﺃﻣﺎﻡ ﺧﻴﺎﺭﺍﺕ ﲢﺪﺩﻫﺎ ﻣﺎﻫﻴﺔ ﺍﳊﺪﺙ ﺍﳌﻨﻘﻮﻝ‪،‬‬
‫ﻓﻌﺎﺩﺓ ﺑﺪﺍﻓﻊ ﺍﻷﻣﺎﻧﺔ ﻳﻠﺠﺄ ﺍﳌﺘﺮﲨﻮﻥ ﺇﱃ ﺍﻟﻨﺴﺦ ﻛﻔﻌﻞ ﻣﻘﻴﺪ ﲞﻠﻔﻴﺔ ﻣﺮﺟﻌﻴﺔ ﲢﺪﺩﻫﺎ ﺛﻘﺎﻓﺔ ﺍﻟﻠﻐﺔ ﺍﻷﺻﻞ‪،‬‬
‫ﻟﻜﻦ ﰲ ﻣﻌﻈﻢ ﺍﻷﺣﻴﺎﻥ ﺗﻌﺮﺽ ﳍﻢ ﺑﻌﺾ ﺍﻹﺷﻜﺎﻻﺕ ﺍﻟﱵ ﻳﻘﻒ ﺍﻟﻨﺴﺦ ﻋﻨﺪﻫﺎ ﻣﻮﻗﻒ ﺍﻟﻌﺎﺟﺰ ﻓﻴﻀﻄﺮ‬
‫ﺍﳌﺘﺮﺟﻢ ﺇﱃ ﻃﻠﺐ ﺍﻻﻗﺘﺒﺎﺱ ﺗﺎﺭﺓ ﻭ ﺍﻟﺘﺼﺮﻑ ﺗﺎﺭﺓ ﺃﺧﺮﻯ‪ ،‬ﰲ ﺣﺪﻭﺩ ﻣﺎ ﻳﻌﺘﻘﺪ ﺃﻧﻪ ﺍﻷﺟﺪﻯ ﰲ ﻧﻘﻞ‬
‫ﺍﻟﻔﻜﺮﺓ‪ ،‬ﺃﻣﺎ ﻭﻗﺖ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ ﻓﺎﻷﺟﺪﻯ ﺍﳌﺮﺍﻭﺣﺔ ﺑﲔ ﺍﻟﻨﺴﺦ ‪،‬‬
‫ﻭ ﺫﻟﻚ ﻟﺘﻤﻜﲔ ﺍﳌﺘﻠﻘﻲ ﺍﻟﺼﻐﲑ ﻣﻦ ﺗﺬﻭﻕ ﺍﻷﺩﺏ ﺍﻷﺟﻨﱯ‪ ،‬ﻭ ﺍﻟﺘﺼﺮﻑ ﻋﻨﺪﻣﺎ ﺗﻘﺘﻀﻲ ﺍﻟﻀﺮﻭﺭﺓ ﺇﱃ‬
‫ﺫﻟﻚ‪ ،‬ﻷﻧﻪ ﰲ ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ ﻻ ﳝﻜﻦ ﻧﻘﻞ ﺍﻟﺼﻮﺭﺓ ﻛﺎﻣﻠﺔ ﳌﺎﳍﺎ ﻣﻦ ﺧﻠﻔﻴﺎﺕ ﺛﻘﺎﻓﻴﺔ‪ ،‬ﻭ ﺫﻟﻚ ﻣﺎ ﺳﺒﻖ‬
‫ﻭ ﺃﻥ ﺃﻭﺿﺤﻨﺎ‪ .‬ﻭ ﳝﻜﻦ ﺇﺛﺒﺎﺕ ﻋﻤﻨﺎ ﻫﺬﺍ ﻣﻦ ﺧﻼﻝ ﺍﳌﺪﻭﻧﺔ ﻓﻴﻤﺎ ﺑﻌﺪ‪.‬‬

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‫ﻧﺒﺬﺓ ﻋﻦ ﺣﻴﺎﺓ ﺍﻟﻜﺎﺗﺒﺔ‪:‬‬

‫" ﺟﻮﺍﻥ ﻛﺎﻳﺜﻠﲔ ﺭﻭﻟﻴﻨﻎ" ‪:Joanne Kathleen Rowling‬‬

‫ﻭﻟﺪﺕ ﺍﻟﻜﺎﺗﺒﺔ ﺳﻨﺔ ‪ ،1965‬ﺏ‪ Gloucestershire ، Chipping Sodbury‬ﺑﺎﳒﻠﺘﺮﺍ‪،‬‬

‫ﺗﺎﺑﻌﺖ ﺩﺭﺍﺳﺘﻬﺎ ﲜﺎﻣﻌﱵ ‪ Exeter :‬ﻭ‪ Sorbonne‬ﺑﺒﺎﺭﻳﺲ‪ ،‬ﻓﺄﺟﻴﺰﺕ ﺑﺪﺭﺟﺘﲔ ﺍﻷﻭﱃ ﰲ‬
‫ﺍﻷﺩﺏ ﺍﻟﻔﺮﻧﺴﻲ ﻭ ﺍﻟﺜﺎﻧﻴﺔ ﰲ ﺍﻟﻔﻴﻠﻮﻟﻮﺟﻴﺎ‪ .‬ﺣﺼﻠﺖ ﻋﻠﻰ ﺃﻭﻝ ﻋﻤﻞ ﳍﺎ ﺑﻌﺪﻫﺎ ﺑﻠﻨﺪﻥ ﲜﻤﻌﻴﺔ‬
‫‪.Amnesty International‬‬

‫ﻭ ﰲ ﺳﻨﺔ ‪ ،1990‬ﺩﺍﻋﺒﺖ ﻓﻜﺮﺓ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻦ ﻫﺎﺭﻱ ﺑﻮﺗﺮ ﻭ ﻣﺪﺭﺳﺔ ﺍﻟﺴﺤﺮ ﻓﻜﺮﻫﺎ ﺃﻭﻝ ﻣﺮﺓ ﺣﻴﻨﻤﺎ‬
‫ﻣﺴﺎﻓﺮ ﺑﻮﺍﺳﻄﺔ ﺍﻟﻘﻄﺎﺭ‪ ،‬ﻭﻟﻜﻨﻬﺎ ﱂ ﲣﻂ ﻛﻠﻤﺔ ﻋﻨﻪ ‪.‬ﺍﺷﺘﻐﻠﺖ ﺑﻌﺪ ﺫﻟﻚ ﺑﺘﺪﺭﻳﺲ ﺍﻟﻠﻐﺔ ﺍﻹﳒﻠﻴﺰﻳﺔ ﰲ‬
‫ﺍﻟﱪﺗﻐﺎﻝ‪ ،‬ﰲ ﺍﻟﺴﻨﺔ ﺍﻟﱵ ﺗﻠﺘﻬﺎ‪ .‬ﻭ ﰲ ﺳﻨﺔ ‪ ،1992‬ﺗﺰﻭﺟﺖ ﻣﻦ ﺻﺤﻔﻲ ﺑﺮﺗﻐﺎﱄ ﻭ ﺃﳒﺒﺖ ﻣﻨﻪ ﺍﺑﻨﺘﻬﺎ‬
‫ﺏ‪ .Edimbourg :‬ﻭ ﰲ‬ ‫ﺟﻴﺴﻜﺎ‪ .‬ﻭ ﺑﻌﺪ ﻃﻼﻗﻬﺎ ﻣﻨﻪ ﺑﻌﺪﻫﺎ ﲟﺪﺓ‪ ،‬ﺍﺳﺘﻘﺮﺕ ﺭﻓﻘﺔ ﻃﻔﻠﺘﻬﺎ‬
‫ﺧﻀﻢ ﻛﻞ ﺗﻠﻚ ﺍﻷﺣﺪﺍﺙ ﻭ ﺭﻏﻢ ﻋﺪﻡ ﺍﺳﺘﻘﺮﺍﺭ ﺣﻴﺎ‪‬ﺎ‪ ،‬ﺑﺪﺃﺕ ﰒ ﺃ‪‬ﺖ ﻛﺘﺎﺑﺔ ﺍﳌﻐﺎﻣﺮﺓ ﺍﻷﻭﱃ ﳍﺎﺭﻱ‬
‫ﻭﲰﺘﻬﺎ " ﻫﺎﺭﻱ ﺑﻮﺗﺮ ﻭ ﻣﺪﺭﺳﺔ ﺍﻟﺴﺤﺮ" ﻭ ﻗﺪ ﺃﺻﺪﺭ‪‬ﺎ ﺩﺍﺭ ﻧﺸﺮ ﺑﺮﻳﻄﺎﻧﻴﺔ ﺻﻐﲑﺓ‪ ،‬ﻭ ﻟﻜﻦ ﺍﻟﻘﺼﺔ‬
‫ﻗﻮﺑﻠﺖ ﺑﻨﺎﺟﺢ ﻛﺒﲑ ﰲ ﺑﺮﻳﻄﺎﻧﻴﺎ‪ ،‬ﻛﻤﺎ ﻋﺮﻓﺖ ﺻﺪﻯ ﻭﺍﺳﻌﺎ ﴰﻞ ﺑﻘﺎﻋﺎ ﳐﺘﻠﻔﺔ ﻣﻦ ﺍﻟﻌﺎﱂ‪ ،‬ﻭﻟﻘﺪ‬
‫ﻣﻨﺤﺘﻬﺎ ﻓﺮﻧﺴﺎ ﺑﺘﻠﻚ ﺍﳌﻨﺎﺳﺒﺔ ﺟﺎﺋﺰﰐ‪ ، TAM-TAM :‬ﻭ ‪ ، SORCIERES‬ﻟﻠﻜﺘﺎﺑﺔ‪ .‬ﻛﻤﺎ ﺗﺮﺟﻢ‬
‫ﺍﻟﻌﻤﻞ ﺇﱃ ‪ 30‬ﻟﻐﺔ‪ ،‬ﻭ ﺑﻴﻌﺖ ﻣﻨﻪ ﺍﳌﻼﻳﲔ ﻣﻦ ﺍﻟﻨﺴﺦ‪ .‬ﺑﻌﺪﻫﺎ ﺻﺪﺭﺕ ﺍﻷﺟﺰﺍﺀ ﺍﻟﻼﺣﻘﺔ‪ " :‬ﻫﺎﺭﻱ ﺑﻮﺗﺮ‬
‫ﻭ ﻏﺮﻓﺔ ﺍﻷﺳﺮﺍﺭ"‪" ،‬ﻫﺎﺭﻱ ﺑﻮﺗﺮ ﻭ ﺳﺠﲔ ﺃﺯﻛﺒﺎﻥ"‪ ،‬ﻫﺎﺭﻱ ﺑﻮﺗﺮ ﻭ ﻛﺄﺱ ﺍﻟﻨﺎﺭ"‪" ،‬ﻫﺎﺭﻱ ﺑﻮﺗﺮ ﻭﲨﺎﻋﺔ‬
‫ﺍﻟﻌﻨﻘﺎﺀ"‪" ،‬ﻫﺎﺭﻱ ﺑﻮﺗﺮ ﻭﺍﻷﻣﲑ ﺍﳍﺠﲔ"‪" ،‬ﻫﺎﺭﻱ ﺑﻮﺗﺮ ﻭ ﻣﻘﺪﺳﺎﺕ ﺍﳌﻮﺕ"‪ .‬ﰒ ﺗﺒﻨﺖ‬
‫ﺷﺮﻛﺔ‪ warner.Bros‬ﻟﻺﻧﺘﺎﺝ ﺍﻟﺴﻴﻨﻤﺎﺋﻲ ﺍﻷﻣﺮﻳﻜﻴﺔ ﻛﻞ ﺍﻷﺟﺰﺍﺀ ﻭ ﺃﻧﺘﺠﺘﻬﺎ ﰲ ﺷﻜﻞ ﺃﻓﻼﻡ‪،‬‬
‫‪1- J.K Rowling, « Harry Potter et la coupe de feu », Gallimard Jeunesse, traduit par‬‬
‫‪Jean- François Ménard,2000, p778.‬‬

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‫ﻭ ﻫﻲ ﺍﻷﺧﺮﻯ ﻋﺮﻓﺖ ﳒﺎﺣﺎ ﻫﺬﻩ ﺍﳌﺮﺓ ﴰﻞ ﺍﻟﻌﺎﱂ ﻛﻠﻪ‪ .‬ﻭ ﺗﻌﻴﺶ ﺍﻟﻜﺎﺗﺒﺔ ﺍﻟﻴﻮﻡ ﺭﻓﻘﺔ ﺃﻭﻻﺩﻫﺎ ﺍﻟﺜﻼﺛﺔ‬
‫ﺑﻌﺪﻣﺎ ﺍﲣﺬﺕ ﻟﻨﻔﺴﻬﺎ ﻣﻜﺎﻧﺎ ﻣﻨﻌﺰﻻ ﺑﻌﻴﺪﺍ ﻋﻦ ﺿﺠﺖ ﺍﻟﺼﺤﺎﻓﺔ‪ ،‬ﻭ ﻋﺎﱂ ﺍﻟﺸﻬﺮﺓ‪.‬‬

‫ﻓﻀﺎﺀ ﻗﺼﺔ "ﻫﺎﺭﻱ ﺑﻮﺗﺮ ﻭ ﻛﺄﺱ ﺍﻟﻨﺎﺭ"‪:‬‬

‫ﻟﻘﺪ ﻭﻗﻊ ﺍﺧﺘﻴﺎﺭﻱ ﻋﻠﻰ "ﻗﺼﺔ ﻫﺎﺭﻱ ﺑﻮﺗﺮ ﻭﻛﺄﺱ ﺍﻟﻨﺎﺭ"‪ 1‬ﻟﺴﺒﺒﲔ ﺭﺋﻴﺴﲔ‪ :‬ﺃﻭﳍﻤﺎ ﺃ‪‬ﺎ ﲢﻮﻱ ﻋﺎﳌﺎ‬
‫ﺧﺎﺻﺎ ﺑﺎﻟﻄﻔﻞ ﻣﺘﻤﻴﺰﺍ‪ ،‬ﳚﻤﻊ ﺑﲔ ﻛﻞ ﺍﳌﻌﺎﱐ ﻭ ﺍﻟﻌﻮﺍﻃﻒ ﺍﻟﲏ ﻋﺎﺩﺓ ﻣﺎ ﳛﺮﻡ ﻣﻨﻬﺎ ﺍﻟﻄﻔﻞ ﻭﻗﺖ ﺍﻟﻜﺘﺎﺑﺔ‬
‫ﻟﻪ‪ ،‬ﻣﻦ ﺭﻏﺒﺔ ﰲ ﺍﻻﻧﺘﻘﺎﻡ‪ ،‬ﻭﺣﺰﻥ‪ ،‬ﻭ ﻓﺮﺡ‪ ،‬ﻭ ﺃﻣﻞ‪ ...‬ﻛﻤﺎ ﺃﻥ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺒﻄﻠﺔ ﺗﻌﻄﻲ ﺷﻌﻮﺭﺍ ﺑﺄ‪‬ﺎ‬
‫ﺗﺘﺤﻜﻢ ﰲ ﻣﺼﲑﻫﺎ ﻭﺳﻂ ﺍﻟﻀﻴﺎﻉ ﺍﻟﺬﻱ ﺗﻔﺮﺿﻪ ﻋﻠﻴﻪ ﺍﳌﻮﺍﻗﻒ ﺍﳌﺨﺘﻠﻔﺔ ﺍﻟﱵ ﲤﺮ ‪‬ﺎ ﰲ ﺭﺣﻠﺘﻬﺎ‪ ،‬ﻭ ﻫﺬﺍ‬
‫ﺍﻟﻌﺎﱂ ﺍﳌﻬﺪﺩ ﺑﺎﻟﺪﻣﺎﺭ ﺑﻔﻌﻞ ﻗﻮﻯ ﺍﻟﺸﺮ‪ ،‬ﰒ ﻭﺳﻂ ﺍﻷﺻﺪﻗﺎﺀ ﰲ ﻏﻴﺎﺏ ﺍﻟﻌﺎﺋﻠﺔ‪ ،‬ﻭ ﻛﻴﻒ ﺗﺘﻤﻜﻦ ﻣﻦ‬
‫ﺗﺪﺑﺮ ﺃﻣﻮﺭﻫﺎ ﻛﺎﻓﺔ‪ ،‬ﻭ ﺍﻟﺜﺎﱐ ﺃﻥ ﺍﻟﻘﺼﺔ ﻗﺪﻣﺖ ﻛﻌﻤﻞ ﺩﺭﺍﻣﻲ ﺳﻴﻨﻤﺎﺋﻲ‪ ،‬ﺃﻳﻦ ﺗﺴﲎ ﻟﻠﻄﻔﻞ ﻣﻘﺎﺑﻠﺔ‬
‫ﺃﺑﻄﺎﻟﻪ ﺍﳌﻔﻀﻠﲔ ﻭﺟﻬﺎ ﻟﻮﺟﻪ‪ ،‬ﻛﻤﺎ ﺭﺳﻢ ﺻﻮﺭﺓ ﻭﺍﺿﺤﺔ ﻋﻦ ﺫﻟﻚ ﺍﻟﻌﺎﱂ‪ ،‬ﺻﺤﻴﺢ ﺃ‪‬ﺎ ﺭﺅﻳﺔ ﺍﳌﺨﺮﺝ‬
‫ﻭ ﻗﺮﺍﺀﺗﻪ ﺇﻻ ﺃ‪‬ﺎ ﺳﺎﳘﺖ ﰲ ﲡﺴﻴﺪ ﺭﺅﻳﺔ ﺍﻟﻜﺎﺗﺐ ﻭ ﺟﻌﻠﻬﺎ ﻣﻠﻤﻮﺳﺔ ﺃﻛﺜﺮ‪.‬‬

‫ﻭ ﺳﺄﺣﺎﻭﻝ ﰲ ﻫﺬﺍ ﺍﻟﻌﻨﺼﺮ ﺩﺭﺍﺳﺔ ﺑﻌﻀﺎ ﻣﻦ ﻋﻨﺎﺻﺮ ﻛﻞ ﻣﻦ ﺍﻟﺸﻜﻞ ﻭ ﺍﳌﻀﻤﻮﻥ‪ ،‬ﰲ ﻣﻘﺎﺭﻧﺔ ﺑﲔ‬
‫ﺍﻷﺻﻞ ﻭﺍﻟﺘﺮﲨﺘﲔ ﺍﻟﻔﺮﻧﺴﻴﺔ‪ 2‬ﻭﺍﻟﻌﺮﺑﻴﺔ‪ ،3‬ﺫﻟﻚ ﲤﻬﻴﺪﺍ ﻭﻣﻌﺮﻓﺔ ﻋﻦ ﻣﻮﺿﻮﻉ ﺍﻟﺪﺭﺱ ﺃﻛﺜﺮ ﻟﻠﻮﺻﻮﻝ ﺑﻪ‬
‫ﺇﱃ ﺍﻟﺘﺮﲨﺔ ﺍﻟﱵ ﻧﺮﻳﺪ ‪‬ﺎ ﺃﻥ ﺗﻼﻗﻲ ﺍﻟﻘﺒﻮﻝ ﻣﻦ ﺟﺎﻧﺐ ﺍﻟﻔﺌﺔ ﺍﻟﻌﻤﺮﻳﺔ ﺍﻟﱵ ﺳﺒﻖ ﻭ ﺃﻥ ﺣﺼﺮﻧﺎﻫﺎ‪:‬‬

‫‪ -1‬ﺍﻟﺸﻜﻞ‪:‬‬
‫‪ -1.1‬ﺍﻹﺧﺮﺍﺝ‪:‬‬

‫‪1- J.K.Rrowling : “Harry Potter and the Goblet Of Fire”,Bloomsburry,London,2000.‬‬

‫‪2- J.K.Rrowling: “Harry Potter et la coupe de feu », Gallimard Jeunesse, traduit par Jean-‬‬
‫‪François Ménard,2000.‬‬
‫‪ -3‬ﺝ‪.‬ﻙ‪.‬ﺭﻭﻟﻴﻨﺞ‪":‬ﻫﺎﺭﻱ ﺑﻮﺗﺮ ﻭﻛﺄﺱ ﺍﻟﻨﺎﺭ"‪ ،‬ﺗﺮ ﺃﲪﺪ ﺣﺴﻦ ﳏﻤﺪ‪ ،‬ﺩﺍﺭ ﺍﻟﻨﻬﻀﺔ ﻣﺼﺮ ﻟﻠﻄﺒﺎﻋﺔ ﻭ ﺍﻟﻨﺸﺮ ﻭﺍﻟﺘﻮﺯﻳﻊ‪.2005 ،‬‬

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‫ﻭ ﻧﻘﺼﺪ ﺑﻪ ﻛﻤﺎ ﺳﺒﻖ ﻭ ﺃﻥ ﺫﻛﺮﻧﺎ ﺍﻟﺸﻜﻞ ﺍﳋﺎﺭﺟﻲ ﻟﻠﻌﻤﻞ ﻭ ﻓﻴﻪ ﺍﻷﻟﻮﺍﻥ ﻭﳕﻂ‬
‫ﻛﺘﺎﺑﺔ ﺍﻟﻌﻨﻮﺍﻥ ﻭ ﺍﻟﻨﺺ‪ ،‬ﻭ ﻃﺮﻳﻘﺔ ﻣﻮﺿﻌﺖ ﺍﻟﻨﺺ ﺩﺍﺧﻞ ﺫﻟﻚ ﺍﻟﺒﻴﺎﺽ ﺍﻟﺬﻱ ﻳﻌﺮﻑ‬
‫ﺑﺎﻟﺼﻔﺤﺎﺕ‪ ،‬ﻭﻟﻜﻦ ﻋﻠﻴﻨﺎ ﺃﻭﻻ ﺃﻥ ﻧﺸﲑ ﺇﱃ ﺃﻥ ﺍﻟﻘﺼﺔ ﱂ ﺗﻜﻦ ﻣﻮﺟﻬﺔ ﻟﻸﻃﻔﺎﻝ‬
‫ﺑﺎﻟﺪﺭﺟﺔ ﺍﻷﻭﱃ ﺭﻏﻢ ﺃ‪‬ﺎ ﺗﺘﺤﺪﺙ ﻋﻦ ﻃﻔﻞ‪ ،‬ﺇﻻ ﺃ‪‬ﺎ ﻋﻨﺪ ﺇﺻﺪﺍﺭﻫﺎ ﻋﺮﻓﺖ ﺇﻗﺒﺎﻻ‬
‫ﲨﺎﻫﲑﻳﺎ ﻋﺮﻳﻀﺎ ﻣﻨﻪ ﺍﻟﻜﺒﺎﺭ ﻭﺍﻟﺼﻐﺎﺭ‪.‬‬
‫ﺗﻜﺴﻮ ﻛﻞ ﻣﻦ ﺍﻷﻋﻤﺎﻝ ﺍﻟﺜﻼﺙ‪ ،‬ﻭ ﺃﻋﲏ ﺑﺬﻟﻚ ﺍﻷﺻﻞ‪ ،‬ﻭ ﺍﻟﺘﺮﲨﺘﲔ ﺍﻟﻔﺮﻧﺴﻴﺔ‬
‫ﻭ ﺍﻟﻌﺮﺑﻴﺔ ﺭﺳﻮﻣﺎﺕ ‪‬ﺎ ﺃﻟﻮﺍﻥ‪ ،‬ﻭ ﺍﻟﺮﺳﻢ"‪ ...‬ﻓﻦ ﺑﺼﺮﻱ ﳜﺎﻃﺐ ﺍﻟﻌﲔ ﻋﻨﺪﻣﺎ ﳛﻮﻝ‬
‫ﺍﻟﺼﻮﺭﺓ ﺍﻟﻮﺍﻗﻌﻴﺔ ﺍﳌﺸﺪﻭﺩﺓ ﲟﻨﻄﻖ ﺍﻟﻮﺍﻗﻊ ﺇﱃ ﺻﻮﺭﺓ ﺑﺼﺮﻳﺔ ﻳﻜﺘﺴﺐ ﻭﺟﻮﺩﻫﺎ ﻣﻦ‬
‫ﻣﻨﻄﻖ ﺁﺧﺮ ﻫﻮ ﻣﻨﻄﻖ ﺍﳋﻄﻮﻁ ﻭ ﺍﻷﻟﻮﺍﻥ ﻭ ﺍﻟﻌﻮﺍﻃﻒ‪.‬‬
‫ﻛﻤﺎ ﻳﻔﻌﻞ ﻧﻔﺲ ﺍﻟﺸﻲﺀ ﻋﻨﺪﻣﺎ ﳛﻮﻝ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺬﻫﻨﻴﺔ ﺍﻟﱵ ﺗﻜﻤﻦ ﰲ ﻣﻌﺎﱐ ﺍﻟﻜﻼﻡ‬
‫ﺍﻟﺬﻱ ﻳﺆﻟﻒ ﺍﻟﻨﺺ ﰲ ﺍﻟﻜﺘﺎﺑﺔ‪ 1 "...‬ﻓﺎﻷﻟﻮﺍﻥ ﲢﺎﻛﻲ ﺍﻟﻌﻮﺍﻃﻒ‪ ،‬ﻭﺗﻠﻔﺖ ﺍﻧﺘﺒﺎﻩ ﺍﻟﻄﻔﻞ‬
‫ﺇﱃ ﺍﻟﻌﻤﻞ ﻛﻤﺎ ﻭ ﺗﻔﺘﺢ ﳎﺎﻻ ﻟﻠﺘﻮﺍﺻﻞ ﺑﻴﻨﻬﻤﺎ‪ ،‬ﻷﻥ ﺍﻟﺼﻮﺭﺓ ﰲ ﻇﲏ ﺃﻛﺜﺮ ﻭ ﺃﺻﺪﻕ‬
‫ﺗﻌﺒﲑﺍ ﻣﻦ ﺍﻟﻜﻠﻤﺔ ﺍﳌﻜﺘﻮﺑﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻄﻔﻞ‪ ،‬ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃﻥ ﳝﻴﻞ ﺃﻛﺜﺮ ﺇﱃ ﺍﳌﻠﻤﻮﺱ‬
‫ﻣﻨﻪ ﺇﱃ ﺍﶈﺴﻮﺱ‪ ،‬ﻓﻴﻌﻄﻲ ﻧﺬﻳﺮ ﻧﺒﻌﺔ ﻣﺜﺎﻻ‪ " :‬ﻓﺘﺼﺒﺢ ﺍﻟﺸﺠﺮﺓ ﻣﺜﻼ ﻟﻴﺴﺖ ﺍﻟﺸﺠﺮﺓ‬
‫ﺑﺎﻟﺬﺍﺕ‪ ،‬ﺇﳕﺎ ﻫﻲ ﺭﻣﺰ ﻟﻠﺸﺠﺮﺓ ﺍﻟﱵ ﱂ ﻧﺮﻫﺎ ﻣﻦ ﻗﺒﻞ ﻭ ﺍﻟﱵ ﻧﺮﺍﻫﺎ ﺍﻵﻥ ﻭ ﺍﻟﱵ ﻧﻐﺮﺳﻬﺎ‬
‫ﰲ ﺍﳊﺎﺿﺮ‪...‬ﺇ‪‬ﺎ ﺧﺎﺭﺝ ﻣﻨﻄﻖ ﺍﳊﻴﺎﺓ ﺍﻟﻮﺍﻗﻌﻴﺔ ﺍﳌﺘﻌﻠﻖ ﺑﺄﻃﺮ ﺍﻟﺰﻣﺎﻧﻮ ﺍﳌﻜﺎﻥ‪ 2".‬ﻗﺪ‬
‫ﻳﺼﺪﻕ ﻫﺬﺍ ﺍﳌﺜﺎﻝ ﰲ ﺣﺎﻝ ﻛﺎﻥ ﺍﻟﻌﺎﱂ ﺍﳌﻄﺮﻭﻕ ﻏﲑ ﺍﻟﻌﺎﱂ ﺍﳌﻌﻴﺶ‪ ،‬ﻭ ﺍﳊﺎﻝ ﺩﺍﺋﻤﺎ‬
‫ﻫﻮ ﰲ ﺍﻟﻜﺘﺎﺑﺎﺕ ﻟﻠﻄﻔﻞ ﻋﺎﻣﺔ‪ ،‬ﻓﺎﻟﺸﺠﺮﺓ ﺑﺬﻟﻚ ﺗﺼﺒﺢ ﺷﺨﺼﻴﺔ ﻣﻦ ﺷﺨﻮﺹ‬
‫ﺍﻟﻘﺼﺔ‪ ،‬ﳍﺎ ﻛﻴﺎ‪‬ﺎ‪ ،‬ﻭ ﺣﻴﺰﻫﺎ ﺍﻟﺪﻻﱄ‪ ،‬ﻭ ﺇﳛﺎﺀﺍ‪‬ﺎ‪ ،‬ﻛﻤﺎ ﳝﻜﻦ ﺃﻥ ﺗﻜﻮﻥ ﳏﻮﺭ‬
‫ﺍﻷﺣﺪﺍﺙ‪ ،‬ﺃﻭ ﺍﻟﺴﺒﺐ ﰲ ﺗﻐﻴﲑ ﻣﺴﺎﺭﻫﺎ‪ ،‬ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭﻫﺎ ﻓﺮﺩﺍ ﻓﻌﺎﻻ ﻭ ﻛﻴﺎﻧﺎ ﻣﺴﺘﻘﻼ "‬

‫‪ -1‬ﻧﺬﻳﺮ ﻧﺒﻌﺔ‪ ":‬ﻣﻼﺣﻈﺎﺕ ﺣﻮﻝ ﺩﻭﺭ ﺍﻟﺮﺳﻢ ﰲ ﻛﺘﺐ ﺍﻷﻃﻔﺎﻝ" ﳎﻠﺔ ﺍﳊﻴﺎﺓ ﺍﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﻉ‪،04‬ﺹ ‪.119‬‬
‫‪ -2‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.119‬‬

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‫ﻭ ﻣﻬﻤﺎ ﻳﻜﻦ ﻓﺎﻟﺮﻣﺰ ﰲ ﺭﺳﻮﻡ ﺃﺩﺏ ﻗﺼﺔ ﺍﻟﻄﻔﻞ ﻻ ﻳﻌﲏ ﺑﺎﻟﻀﺮﻭﺭﺓ ﺫﻟﻚ ﺍﻟﺮﻣﺰ ﺍﳌﻐﻠﻖ‬
‫ﺍﻟﺘﺠﺮﻳﺪﻱ ﺑﻞ ﺗﺘﻤﺜﻞ ﺭﻣﺰﻳﺘﻪ ﰲ ﺍﳊﻘﻴﻘﺔ ﺍﻟﱵ ﻳﺪﺭﻛﻬﺎ ﺍﻟﻄﻔﻞ ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﳑﺎ ﻳﻠﺤﻖ ‪‬ﺎ‬
‫ﻣﻦ ﲡﺮﻳﺪ ﺗﻈﻞ ﻣﺆﻃﺮﺓ ﲝﺎﻝ ﻣﻌﻴﻨﺔ ﻣﻦ ﺩﻻﻻﺕ ﺍﳌﻮﺿﻮﻉ‪ ،‬ﻓﺎﻟﻔﻨﺎﻥ ﺣﻴﻨﻤﺎ ﻳﻨﺸﻰﺀ‬
‫ﺍﻟﺮﺳﻢ ﺍﻟﺘﻌﺒﲑﻱ ﻻ ﻳﻌﲎ ﺑﺘﺴﺠﻴﻞ ﺍﳉﺰﺋﻴﺎﺕ ﻭ ﺍﳊﻘﺎﺋﻖ ﺍﳌﻜﻮﻧﺔ ﻟﻪ‪ ،‬ﺑﻞ ﻳﺴﻌﻰ ﺇﱃ‬
‫ﲢﻘﻴﻖ ﺗﻌﺒﲑﺍﺕ ﻋﺎﻃﻔﻴﺔ ﺣﺴﻴﺔ ﺃﻋﻤﻖ ﻣﻦ ﺍﳊﻘﺎﺋﻖ ﺍﳌﻠﻤﻮﺳﺔ ﺑﺪﺍﻓﻊ ﻣﻦ ﺍﻹﻧﺸﺎﺀ‬
‫ﻭ ﲪﻠﻪ ﻋﻠﻰ ﺍﻻﻋﺘﻘﺎﺩ ﺑﺄﻥ ﺍﻟﻘﺼﺔ ﺣﻘﻴﻘﻴﺔ‪ ،‬ﻭ ﺍﻟﺸﺨﻮﺹ ﳝﻜﻦ ﺃﻥ‬ ‫‪1‬‬
‫ﻭ ﺍﻻﺑﺘﻜﺎﺭ‪".‬‬
‫ﻳﺼﺎﺩﻓﻬﺎ ﰲ ﺣﻴﺎ‪‬ﺎ ﻟﻴﺲ ﻓﻘﻂ ﺑﺎﻟﺼﻮﺭﺓ ﻭ ﺍﻟﺸﻜﻞ ﺍﻟﻠﺬﺍﻥ ﺭﲰﺖ ﺑﻪ ﻭ ﺇﳕﺎ‪ ،‬ﺗﺘﺸﻜﻞ‪،‬‬
‫ﻭ ﺗﺘﻄﻮﺭ ﺣﺴﺐ ﺍﳌﻮﺍﻗﻒ ﺍﻟﱵ ﺗﻮﺿﻊ ﻓﻴﻬﺎ‪ ،‬ﺣﻴﺚ ﺗﻌﻠﻴﻤﻪ ﻋﺪﻡ ﺍﻟﻮﻗﻮﻑ ﻋﻨﺪ ﺍﻟﺮﻣﺰ‬
‫ﻛﺮﻣﺰ ﻣﺎ ﻫﻮ ﰲ ﺟﻮﻫﺮﻩ ﺇﻻ ﺇﻛﺴﺎﺑﻪ ﺧﱪﺍﺕ ﻭ ﻭﺿﻌﻪ ﰲ ﻣﻮﺍﻗﻒ ﲢﺎﻛﻲ ﻣﺎ ﻳﻌﺮﺽ ﻟﻪ‬
‫ﰲ ﺣﻴﺎﺗﻪ‪.‬‬
‫ﻭ ﺍﻵﻥ ﺇﺫﺍ ﺣﺎﻭﻟﻨﺎ ﺍﺳﺘﻘﺮﺍﺀ ﻣﺎ ﺧﻠﻒ ﺍﻟﻐﻼﻑ ﻟﻸﻋﻤﺎﻝ ﺍﻟﺜﻼﺙ ﻣﻮﺿﻮﻉ ﺍﻟﺒﺤﺚ ﻋﻠﻰ‬
‫ﺍﳌﺴﺘﻮﻳﺎﺕ ﺍﻟﺜﻼﺙ‪:‬‬
‫
ﳕﻂ ﻛﺘﺎﺑﺔ ﺍﻟﻌﻨﻮﺍﻥ ﻭﺣﺠﻤﻪ‪:‬‬
‫ﻓﻔﻲ ﺍﻷﻋﻤﺎﻝ ﺍﻟﺜﻼﺛﺔ ﺍﺳﻢ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺒﻄﻠﺔ ﻭ ﺍﻟﺬﻱ ﻫﻮ ﺃﻳﻀﺎ ﻧﺼﻒ ﺍﻟﻌﻨﻮﺍﻥ‬
‫ﻣﻜﺘﻮﺏ ﲞﻂ ﻛﺒﲑ ﻭﺍﺿﺢ ﺑﻠﻮﻥ ﺫﻫﱯ ﰲ ﺍﻷﺻﻞ ﻭ ﺍﻟﺘﺮﲨﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ‪،‬‬
‫ﻭ ﺍﻷﺻﻔﺮ ﺍﻟﻔﺎﻗﻊ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺘﺮﲨﺔ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﻭ ﺫﻟﻚ ﻷﻥ ﻣﻦ ﺟﻬﺔ ﻟﻴﺘﻌﺮﻑ‬
‫ﺍﻟﻄﻔﻞ ﻋﻠﻰ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃﻥ ﻫﻨﺎﻙ ﺳﻠﺴﻠﺔ ﺳﺒﻘﺖ‪ ،‬ﻭ ﻗﺪ ﻧﺎﻟﺖ‬
‫ﻗﺒﻮﻝ ﺍﻟﻄﻔﻞ ﻭ ﺍﺳﺘﺤﺴﺎﻧﻪ‪ ،‬ﻭﺫﻟﻚ ﻳﻌﺮﻓﻪ ﺃﻥ ﻫﺬﺍ ﺍﳉﺰﺀ ﻟﻴﺲ ﺍﺳﺘﺜﻨﺎﺀﺍ ﻷﻧﻪ‬
‫ﳛﻮﻱ ﺍﳌﻐﺎﻣﺮﺓ ﻭ ﺍﻟﺘﺸﻮﻳﻖ ﻭ ﺍﳌﺘﻌﺔ ﻭ ﺍﻟﻐﻤﻮﺽ ﺍﻟﺬﻱ ﻋﻮﺩﺗﻪ ﺇﻳﺎﻩ ﺍﻷﺟﺰﺍﺀ‬
‫ﺍﻟﺴﺎﺑﻘﺔ‪ ،‬ﻭﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﻳﺴﻤﻲ ﺍﻟﻄﻔﻞ ﺃﺣﻴﺎﻧﺎ ﺍﻟﻘﺼﺺ ﺍﳌﻌﺮﻭﺿﺔ ﻋﻠﻴﻪ‬

‫‪ -1‬ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭ ﻋﻤﻴﺶ‪.‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.214‬‬

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‫ﺑﺄﲰﺎﺀ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﺒﻄﻠﺔ‪ ،‬ﻭ ﰲ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ﻟﻦ ﳛﺘﺎﺝ ﺇﱃ ﺑﺬﻝ ﺍﳉﻬﺪ‬

‫ﻟﻠﺘﻌﺮﻑ ﻋﻠﻰ ﺑﻄﻠﻪ ﺍﳌﻔﻀﻞ‪ .‬ﰒ ﻳﺄﰐ ﺑﻌﺪﻩ ﺑﻨﻤﻂ ﺃﺻﻐﺮ ﺍﳌﻐﺎﻣﺮﺓ ﺍﻟﱵ ﺳﻴﻤﺮ‬
‫‪‬ﺎ‪ ،‬ﻓﺒﻌﺪ ﻟﻔﺖ ﺍﻧﺘﺒﺎﻫﻪ ﺑﺎﻟﻌﻨﻮﺍﻥ ﺍﻟﻜﺒﲑ‪ ،‬ﻳﺄﰐ ﺍﻟﻨﺼﻒ ﺍﻟﺜﺎﱐ ﻣﻦ ﺍﻟﻌﻨﻮﺍﻥ ﺍﻟﺬﻱ‬
‫ﻳﻌﻄﻴﻪ ﶈﺔ ﺧﺎﻃﻔﺔ ﻋﻦ ﻧﻮﻉ ﺍﳌﻐﺎﻣﺮﺓ ﺍﻟﱵ ﺳﻴﻤﺮ ‪‬ﺎ ﻫﺬﺍ ﺍﻟﺒﻄﻞ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ‬
‫ﺳﻴﻌﻤﻞ ﻋﻠﻰ ﺇﳍﺎﺏ ﺧﻴﺎﻟﻪ‪ ،‬ﻭﺗﺸﻮﻳﻘﻪ ﳌﻌﺮﻓﺔ ﺍﳌﺰﻳﺪ‪.‬‬
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ﺍﻟﻠﻘﻄﺔ ﺍﳌﺨﺘﺎﺭﺓ ﻛﻌﻨﻮﺍﻥ ﺩﺍﻋﻢ*‪:‬‬
‫ﻭ ﻷﻥ ﰲ ﺫﻫﻦ ﺍﻟﻄﻔﻞ ﻗﺪ ﻻ ﺗﺮﺳﺦ ﺍﻟﻔﻜﺮﺓ ﺍﻷﻭﱃ ﺃﻱ ﺍﻟﻌﻨﻮﺍﻥ ﻋﻠﻰ ﻋﻜﺲ‬
‫ﺍﻟﺒﺎﻟﻎ ﺃﺻﺒﺢ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﺍﻟﻠﺠﻮﺀ ﺇﱃ ﺍﻟﺼﻮﺭﺓ ﺍﻟﱵ ﻳﻄﻴﺐ ﱄ ﺗﺴﻤﻴﺘﻬﺎ‬
‫ﺑﺎﻟﻌﻨﻮﺍﻥ ﺍﻟﺪﺍﻋﻢ‪ ،‬ﲝﻴﺚ ﺗﺄﺧﺬ ﳊﻈﺔ ﻣﻌﱪﺓ ﻣﻦ ﺍﻟﻘﺼﺔ ﻭ ﲢﺘﺠﺰ ﺩﺍﺧﻞ ﺻﻮﺭﺓ‬
‫ﻣﻦ ﻟﻘﻄﺔ ﻭﺍﺣﺪﺓ ﻟﺘﻌﱪ ﻋﻦ ﺍﻟﻌﻤﻞ ﻛﻜﻞ‪ ،‬ﲟﻌﲎ ﺃﻥ ﺍﻟﻌﻤﻞ ﻛﻠﻪ ﻣﻌﱪ ﻣﻦ‬
‫ﺧﻼﳍﺎ‪ ،‬ﻓﻬﻲ ﻧﺎﻓﺬﺓ ﻋﻠﻰ ﺟﻮﻫﺮﻩ‪ ،‬ﻭ ﺍﻵﻥ ﻳﺒﻘﻰ ﻟﻨﺎ ﻣﻘﺎﺭﻧﺘﻬﺎ ﲨﻴﻌﺎ‪ ،‬ﻟﻴﺲ‬
‫ﺑﺪﺍﻋﻲ ﺍﻟﻨﻘﺪ ﻭ ﺇﳕﺎ ﺍﻟﻮﺻﻮﻝ ﺇﱃ ﻟﻘﻄﺔ ﳝﻜﻦ ﺍﺳﺘﻐﻼﳍﺎ ﻟﺘﻘﺪﱘ ﻧﺴﺨﺔ ﺃﺧﺮﻯ‬
‫ﻟﻠﻔﺌﺔ ﺍﻟﻌﻤﺮﻳﺔ ﺍﳌﺨﺘﺎﺭﺓ‪:‬‬
‫ﻓﻔﻲ ﰲ ﺍﻷﺻﻞ‪ :‬ﺻﻮﺭﺓ ﰲ ﻟﻠﺒﻄﻞ ﰲ ﻣﻮﺍﺟﻬﺔ ﺍﻟﺘﻨﲔ‪ ،‬ﺭﻣﺰﺍ ﻋﻦ ﺍﻻﺟﺘﻬﺎﺩ ﰲ‬
‫ﲢﻘﻴﻖ ﺍﳌﺮﺍﺩ‪ ،‬ﺍﻹﺻﺮﺍﺭ‪ ،‬ﻭ ﺍﳌﺜﺎﺑﺮﺓ‪ ،‬ﻭ ﺍﻟﻌﻤﻞ ﺍﳉﺎﺩ ﻭ ﺍﳊﺜﻴﺚ ﻣﻦ ﺃﺟﻞ ﲢﻘﻴﻖ‬
‫ﺍﳍﺪﻑ‪ ،‬ﻭ ﺭﻏﻢ ﺃﻥ ﺍﳌﻮﻗﻒ ﺻﻌﺐ ﻧﻈﺮﺍ ﻟﻘﻮﺓ ﺍﻟﻌﺪﻭ ﺇﻻ ﺃﻥ ﺫﻟﻚ ﱂ ﻳﺜﺒﻂ‬
‫ﻋﺰﳝﺘﻪ ﻭ ﱂ ﻳﻀﻌﻒ ﺍﻹﺭﺍﺩﺓ ﻭ ﻳﻌﺪﻡ ﺍﻷﻣﻞ ﰲ ﺍﻟﻨﺼﺮ‪ ،‬ﻛﻠﻬﺎ ﻗﻴﻢ ﺍﳚﺎﺑﻴﺔ‬
‫ﲨﻴﻠﺔ‪ ،‬ﺃﺳﺎﺳﻴﺔ ﻭ ﺟﻮﻫﺮﻳﺔ ﰲ ﺍﻟﻌﻤﻞ ﻛﻠﻪ‪ ،‬ﻷ‪‬ﺎ ﺗﺼﺎﺩﻑ ﺍﻟﻘﺎﺭﺉ ﻋﱪ ﺍﻟﻘﺼﺔ‬
‫ﻛﻠﻬﺎ ﻭ ﻫﻲ ﺑﺪﺍﻳﺔ ﺟﻴﺪﺓ‪ ،‬ﻣﺸﻮﻗﺔ‪ ،‬ﺩﺍﻟﺔ ﻋﻠﻰ ﻣﻐﺎﻣﺮﺓ ﺣﻘﻴﻘﻴﺔ ﻗﺎﺩﻣﺔ ﺗﻠﻮﺡ ﰲ‬
‫ﺍﻷﻓﻖ‪ ،‬ﺃﻓﻖ ﺍﻟﻘﺼﺔ‪.‬‬

‫*‪ -‬ﻳﻨﻈﺮ ﺍﻟﺼﻮﺭﺓ ﻋﻠﻰ ﻇﻬﺮ ﻏﻼﻑ ﺍﻟﻘﺼﺔ ﺍﻷﺻﻞ ﻭ ﻛﻞ ﻣﻦ ﺍﻟﺘﺮﲨﺘﲔ ﺍﻟﻌﺮﺑﻴﺔ ﻭ ﺍﻟﻔﺮﻧﺴﻴﺔ‪.‬‬

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‫ﻭ ﰲ ﺍﻟﺘﺮﲨﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ‪ :‬ﻧﻼﺣﻆ ﻣﻦ ﺧﻼﻝ ﺍﻟﺼﻮﺭﺓ‪ ،‬ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺒﻄﻠﺔ‪،‬‬

‫ﲣﺘﻠﺲ ﺍﻟﻨﻈﺮ ﻣﻦ ﺑﻌﻴﺪ ﻋﻠﻰ ﻋﺪﻭﻫﺎ ﺍﶈﺘﻤﻞ‪ ،‬ﻭ ﻳﻨﻢ ﺫﻟﻚ ﻋﻦ ﲣﻄﻴﻂ‬
‫ﻭ ﺩﺭﺍﺳﺔ ﻟﻠﻌﺪﻭ ﺍﻟﺬﻱ ﻫﻮ ﺩﺍﺋﻤﺎ ﺍﻟﺘﻨﲔ‪ ،‬ﻭ ﻳﺒﺪﻭ ﻟﻨﺎ ﺟﺎﻧﺐ ﺁﺧﺮ ﻣﻦ‬
‫ﺷﺨﺼﻴﺘﻪ‪ ،‬ﺟﺎﻧﺐ ﺍﻟﺬﻛﻲ‪ ،‬ﺍﻟﻮﺍﻋﻲ‪ ،‬ﺍﳌﺨﻄﻂ ﺍﶈﻨﻚ‪ ،‬ﺍﻟﺬﻱ ﻻ ﳜﻄﻮ ﺇﻻ ﺑﻌﺪ‬
‫ﺍﻹﻋﺪﺍﺩ ﳋﻄﻮﺍﺗﻪ ﻭ ﺩﺭﺍﺳﺔ ﺍﺣﺘﻤﺎﻻﺕ ﳒﺎﺣﻪ ﻭ ﺍﻟﺘﺨﻄﻴﻂ ﻟﻪ ﻭ ﺑﺎﻟﺘﺎﱄ‬
‫ﲢﻘﻴﻘﻪ‪ ،‬ﻭ ﻫﻮ ﺍﻵﺧﺮ ﻳﻌﻄﻲ ﺍﻧﻄﺒﺎﻋﺎ ﺳﺎﺑﻘﺎ ﻋﻦ ﺍﳌﻐﺎﻣﺮﺓ ﻭ ﻋﻦ ﺍﻟﺒﻄﻞ ﺍﻟﺬﻱ‬
‫ﻳﺴﺘﺤﻖ ﺑﻄﻮﻟﺘﻪ ﺗﻠﻚ‪ ،‬ﻭ ﺃﻥ ﺍﻟﺘﻔﻜﲑ ﺍﻟﺼﺤﻴﺢ ﺍﳌﻨﻈﻢ ﻳﺴﺒﻖ ﺩﻭﻣﺎ ﺍﻟﻨﺠﺎﺡ‪.‬‬
‫ﺃﻣﺎ ﺍﻟﺘﺮﲨﺔ ﺍﻟﻌﺮﺑﻴﺔ‪ :‬ﻓﻬﻲ ﺗﺼﻮﺭ ﳊﻈﺔ ﺍﻟﻨﺠﺎﺡ ﺿﺪ ﺍﻟﺘﻨﲔ ﻭ ﺍﻓﺘﻜﺎﻙ ﺍﳌﻜﺎﻓﺄﺓ‬
‫ﻣﻨﻪ‪ ،‬ﳊﻈﺔ ﺍﻧﺘﺼﺎﺭ ﺟﺪﻳﺮﺓ ﺑﺄﻥ ﻳﻌﻴﺸﻬﺎ ﺍﻟﻄﻔﻞ ﻣﻦ ﺧﻼﻝ ﺍﳌﻐﺎﻣﺮﺓ‪ ،‬ﻭ ﺍﻷﲨﻞ‬
‫ﺃﻥ ﻳﺸﺎﺭﻛﻪ ﻓﻴﻬﺎ ﺃﺻﺪﻗﺎﺀﻩ‪ ،‬ﻓﺎﻟﻮﺍﺟﻬﺔ ﻟﻠﺒﻄﻞ ﺣﺎﻣﻼ ﻟﻠﻤﻜﺎﻓﺄﺓ‪ ،‬ﻭ ﺧﻠﻔﻪ‬
‫ﺃﺻﺪﻗﺎﺀﻩ‪ ،‬ﺭﻣﺰ ﻟﻠﻤﺸﺎﺭﻛﺔ ﺑﲔ ﺍﻷﺻﺪﻗﺎﺀ‪ ،‬ﻭ ﺃﻥ ﺍﻹﺻﺮﺍﺭ ﻭ ﺍﳌﺜﺎﺑﺮﺓ ﻭ ﺍﻟﺮﻓﻘﺔ‬
‫ﺍﻟﻄﻴﺒﺔ‪ ،‬ﺳﺒﻴﻞ ﻟﻠﻨﺠﺎﺡ‪.‬‬
‫ﻭ ﻧﻼﺣﻆ ﺇﲨﺎﻻ ﺃﻥ ﺍﻷﻋﻤﺎﻝ ﺍﻟﺜﻼﺛﺔ ﺍﺗﻔﻘﺖ ﻋﻠﻰ ﺃﻥ ﻣﻮﺍﺟﻬﺔ ﺍﻟﺒﻄﻞ ﻭ ﺍﻟﺘﻨﲔ ﻫﻲ‬
‫ﺟﻮﻫﺮ ﺍﻟﻘﺼﺔ ﻭ ﺍﻷﺻﺪﻕ ﺗﻌﺒﲑﺍ ﻋﻨﻬﺎ‪ ،‬ﺳﻮﺍﺀ ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﺨﻄﻴﻂ ﻟﻠﻤﻮﺍﺟﻬﺔ‪ ،‬ﺃﻭ‬
‫ﺧﻮﺿﻬﺎ‪ ،‬ﺃﻭ ﺣﱴ ﺍﻟﻨﺠﺎﺡ ﻓﻴﻬﺎ‪ ،‬ﻭ ﳝﻜﻦ ﺍﳊﻔﺎﻅ ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﻣﺮ ﰲ ﺍﻟﺘﺮﲨﺔ ﺍﻟﱵ‬
‫ﺳﻨﻘﺘﺮﺣﻬﺎ‪ ،‬ﺇﺫﺍ ﺍﻓﺘﺮﺿﻨﺎ ﺃ‪‬ﺎ ﺳﺘﻘﺪﻡ ﻟﻠﻘﺎﺭﺉ ﺍﻟﺼﻐﲑ ﰲ ﺷﻜﻠﻬﺎ ﺍﻟﺘﺎﻡ ﻭ ﺍﻟﻨﻬﺎﺋﻲ‪ ،‬ﻷﻥ‬
‫‪‬ﺎ ﻛﻞ ﺍﻟﻘﻴﻢ ﺍﻟﱵ ﳝﻜﻦ ﺃﻥ ﻧﺼﺎﺩﻓﻬﺎ ﻋﻠﻰ ﻃﻮﻝ ﺍﻟﻌﻤﻞ‪ .‬ﻗﻴﻢ ﻧﺮﺑﻄﻬﺎ ﺩﺍﺋﻤﺎ ﺑﺎﳌﻐﺎﻣﺮﺓ‬
‫ﻭ ﺍﻟﺘﺸﻮﻳﻖ‪ ،‬ﻓﺤﺴﻦ ﺍﻟﺘﺪﺑﲑ‪ ،‬ﺍﻟﺸﺠﺎﻋﺔ‪ ،‬ﻭ ﻣﻦ ﰒ ﺍﻟﻨﺼﺮ‪ ،‬ﻏﺎﻟﺒﺎ ﻣﺎ ﳒﺪﻫﺎ ﺣﺎﺿﺮﺓ ﰲ‬
‫ﻛﻞ ﺍﻟﻘﺼﺺ ﻣﻦ ﻫﺬﺍ ﺍﻟﻨﻮﻉ‪ ،‬ﻓﻬﻲ ﻗﻴﻢ ﺟﻮﻫﺮﻳﺔ‪.‬‬
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ﺍﻷﻟﻮﺍﻥ‪:‬‬
‫ﺍﺳﺘﻌﻤﻠﺖ ﺍﻷﻟﻮﺍﻥ‪ ،‬ﻟﻴﺲ ﻋﻠﻰ ﺃﺳﺎﺱ ﻗﻴﻤﺘﻬﺎ ﺍﻟﻠﻮﻧﻴﺔ ﻓﻘﻂ ﺑﻞ ﻋﻠﻰ ﺃﺳﺎﺱ‬
‫ﺃﻳﻀﺎ ﻛﻮ‪‬ﺎ ﺭﺻﺪﺕ ﻣﻜﺎﻧﺎ ﻭ ﺯﻣﺎﻧﺎ ﳊﺪﺙ ﻣﻌﲔ‪ ،‬ﰲ ﺇﻃﺎﺭ ﻓﻀﺎﺀ ﺿﻤﻦ‬

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‫ﺣﺪﻭﺩ ﺩﻻﻟﻴﺔ ﴰﻠﺖ ﺍﻟﻌﻤﻞ ﻛﻜﻞ‪ ،‬ﻭ ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ ﺃﺻﺒﺢ ﻟﻠﻌﻤﻞ ﻣﺴﺎﺭ‬
‫ﳏﺪﺩ ﻳﺮﺳﺦ ﲟﺠﺮﺩ ﻗﺮﺍﺀﺓ ﺍﻟﻌﻤﻞ ﰲ ﻛﻠﻴﺘﻪ‪ .‬ﻓﺎﻟﺮﺳﻮﻡ ﻭ ﻣﻦ ﺧﻼﳍﺎ ﺍﻷﻟﻮﺍﻥ‬
‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻄﻔﻞ " ﻟﻐﺔ ﻷ‪‬ﺎ ﺇﺣﺪﻯ ﺃﺷﻜﺎﻝ ﺍﻟﺘﻌﺒﲑ ﺃﻛﺜﺮ ﻣﻦ ﻛﻮ‪‬ﺎ ﻭﺳﻴﻠﺔ‬
‫ﳋﻠﻖ ﺍﳉﻤﺎﻝ‪ .‬ﻭﳓﻦ ﻧﺮﺳﻢ ﻟﻠﻄﻔﻞ ﻣﺎ ﻳﻌﺮﻓﻪ ﻻ ﻣﺎ ﻳﺮﺍﻩ ﰒ ﻧﺘﺪﺭﺝ ﻣﻌﻪ ﺣﱴ‬
‫ﻧﻘﺪﻡ ﻟﻪ ﻣﺎ ﻳﺮﺍﻩ ﰲ ﺑﻴﺌﺘﻪ‪ ،‬ﻭ ﺍﻷﺳﺎﺱ ﺍﻟﻔﻜﺮﻱ ﻟﻠﺮﺳﻮﻡ ﺍﻟﱵ ﺗﻘﺪﻡ ﺍﻟﺘﻔﺎﺻﻴﻞ‬
‫‪.1‬‬
‫ﻭ ﺑﺎﻟﺘﺎﱄ ﻧﺎﻓﺬﺓ‬ ‫ﺍﳌﻬﻤﺔ‪ ،‬ﻭ ﲢﺬﻑ ﺍﻷﺟﺰﺍﺀ ﺍﻷﺧﺮﻯ ﺍﻟﻘﻠﻴﻠﺔ ﺍﻟﻘﻴﻤﺔ‪"...‬‬
‫ﻋﻠﻰ ﺍﻷﺣﺪﺍﺙ ﻭ ﺍﻧﻄﻼﻗﺔ ﺍﳌﻐﺎﻣﺮﺓ ﺍﳊﻘﻴﻘﻴﺔ ﻣﻦ ﺧﻼﳍﺎ ﻋﻠﻰ ﺃﺳﺎﺱ ﺃ‪‬ﺎ ﻗﻮﺓ‬
‫ﺩﺍﻓﻌﺔ ﺩﺍﻋﻤﺔ‪ ،‬ﺗﻮﺟﻪ ﺇﱃ ﻣﺴﺎﺭ ﳏﺪﺩ‪ ،‬ﻫﻮ ﻣﺴﺎﺭ ﺍﳌﻐﺎﻣﺮﺓ‪ .‬ﻭﻣﻦ ﰒ" ﻓﺼﻨﻴﻊ‬
‫ﻫﺬﻩ ﺍﻷﻟﻮﺍﻥ ﺃ‪‬ﺎ ﲢﻮﻱ ﺍﳋﻂ ﺍﻷﺳﻮﺩ ﻭ ﻻ ﺗﻠﻐﻴﻪ‪ ،‬ﻣﺸﻜﻠﺔ ﺍﳌﺪﺧﻞ ﺍﻷﻛﻴﺪ ﺇﱃ‬
‫ﻣﺮﻛﺰﻳﺔ ﺍﻟﻨﺺ ﺍﻟﻘﺼﺼﻲ‪ ،‬ﻭ ﻫﻲ ﰲ ﺍﻟﻮﻗﺖ ﻧﻔﺴﻪ ﻣﻀﻴﻔﺔ ﻋﻠﻰ ﺍﻟﻠﻮﻥ ﺍﻷﺳﻮﺩ‬
‫ﺩﻑﺀ ﺍﻟﻘﺮﺍﺀﺓ ﻭ ﲡﻠﻲ ﺍﻟﺪﻻﻻﺕ ﺍﳌﺮﻛﻮﺯﺓ ﰲ ﺟﺴﺪ ﺍﻟﻨﺺ‪ .‬ﻓﺒﻮﺍﺳﻄﺘﻬﺎ ﺗﻌﻘﺪ‬
‫ﺍﻟﺼﻼﺕ ﺑﻌﻨﺎﺻﺮ ﺍﳌﻀﻤﻮﻥ‪ 2 ".‬ﻭﺗﻔﺘﺢ ﺍ‪‬ﺎﻝ ﻭﺍﺳﻌﺎ ﺃﻣﺎﻡ ﺍﻟﺘﺬﻭﻕ ﺍﳉﻤﺎﱄ‪،‬‬
‫ﺍﻟﺬﻱ ﺗﺆﻛﺪﻩ ﻓﻴﻤﺎ ﺑﻌﺪ ﺩﻻﻻﺕ ﺍﻟﺮﻣﻮﺯ ﰲ ﺍﻟﻘﺼﺔ‪ ،‬ﻭ ﺃﻓﻖ ﺍﻧﺘﻈﺎﺭ ﺍﳌﺘﻠﻘﻲ‪.‬‬

‫ﺃﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻮﺍﺟﻬﺔ ﺍﳋﻠﻔﻴﺔ ﻟﻠﻐﻼﻑ‪ ،‬ﻓﺈ‪‬ﺎ ﳐﺼﺼﺔ ﻟﻌﺮﺽ ﻣﻠﺨﺺ ﺑﺴﻴﻂ ﳏﻔﺰ‪ ،‬ﻳﻌﻄﻲ ﻧﻈﺮﺓ ﺷﺎﻣﻠﺔ‬
‫ﻋﻦ ﺍﻟﻌﻤﻞ ﻛﻜﻞ ﺑﺎﺳﺘﻌﻤﺎﻝ ﺍﻟﻠﻐﺔ ﺍﳌﻜﺘﻮﺑﺔ‪ ،‬ﺃﻭ ﻳﻌﻠﻦ ﰲ ﺣﺎﻟﺔ ﻫﺬﻩ ﺍﻟﻘﺼﺔ ﻋﻦ ﺑﺪﺍﻳﺔ ﺍﳌﻐﺎﻣﺮﺓ‪ ،‬ﻭ ﻳﺸﻮﻕ‬
‫ﺍﻟﻘﺎﺭﺉ ﳌﻌﺮﻓﺔ ﺍﳌﺰﻳﺪ‪ ،‬ﻭﻟﻜﻦ ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﻫﺬﺍ ﺍﻷﻣﺮ ﻣﻮﺟﻪ ﺧﺼﻴﺼﺎ ﻟﻠﻜﺒﺎﺭ ﺃﻭ ﳌﺮﺣﻠﺔ‬
‫ﺍﻟﻄﻔﻮﻟﺔ ﺍﳌﺘﺄﺧﺮﺓ‪ ،‬ﻟﻴﺴﺎﻋﺪ ﻋﻠﻰ ﺗﺜﺒﻴﺖ ﻓﻜﺮﺓ ﺍﻗﺘﻨﺎﺀ ﺍﻟﻘﺼﺔ ﻭ ﺟﻌﻠﻬﺎ ﺃﻣﺮﺍ ﺣﺘﻤﻴﺎ‪ ،‬ﻭﻫﻮ ﻋﻨﺼﺮ ﺩﺍﻋﻢ‬
‫ﺁﺧﺮ‪ ،‬ﺃﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻸﻃﻔﺎﻝ ﺍﻟﺬﻱ ﻫﻢ ﻣﺎ ﺩﻭﻥ ﺫﻟﻚ ﺍﻟﺴﻦ ﻓﺈﻥ ﺍﻟﺘﺮﻛﻴﺰ ﳚﺐ ﺃﻥ ﻳﻜﻮﻥ ﻋﻠﻰ ﻣﺎ ﺳﺒﻖ‪،‬‬
‫ﻷﻥ ﻫﺬﺍ ﺍﻷﻣﺮ ﻟﻦ ﻳﺸﻜﻞ ﻓﺮﻗﺎ ﻛﺒﲑﺍ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃﻥ ﺍﻟﻄﻔﻞ ﻟﻦ ﻳﻄﻴﻞ ﺍﻟﺘﻔﻜﲑ ﰲ ﺣﺪﻭﺩ ﺍﳌﻐﺎﻣﺮﺓ ﻣﺎ ﱂ‬

‫‪ -1‬ﺣﺴﻦ ﺷﺤﺎﺗﻪ‪":‬ﻗﺮﺍﺀﺍﺕ ﻟﻸﻃﻔﺎﻝ"‪.‬ﺹ‪77‬‬

‫‪ -2‬ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭ ﻋﻤﻴﺶ‪.‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.209‬‬

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‫ﻳﻠﺞ ﻋﺎﳌﻬﺎ‪ ،‬ﻭ ﻣﺎ ﻣﻦ ﺩﺍﻋﻲ ﻹﻃﺎﻟﺔ ﺍﻷﻣﺮ ﻋﻠﻴﻪ ﻓﻠﻴﺲ ﻟﻪ ﺍﻟﻨﻔﺲ ﺍﻷﺩﰊ ﺍﻟﻄﻮﻳﻞ‪ ،‬ﻭ ﻻ ﺍﻟﺼﱪ ﳌﻘﺪﻣﺎﺕ‬
‫ﺇﺫﺍ ﻛﺜﺮﺕ ﺃﺷﻌﺮﺗﻪ ﺑﺎﳌﻠﻞ‪.‬‬

‫‪ 2-1‬ﺍﳊﺠﻢ‪:‬‬
‫ﻭﻫﻮ ﻛﻞ ﻣﺎ ﻳﺘﻌﻠﻖ ﲝﺠﻢ ﺍﻟﻜﺘﺎﺏ ﻧﻔﺴﻪ‪ ،‬ﺣﺠﻢ ﺍﻟﺒﻴﺎﺽ ﻭ ﺍﻟﺴﻮﺍﺩ ﻋﻠﻴﻪ‪ ،‬ﻭ " ﰲ‬
‫ﺍﻟﻜﺘﺎﺑﺔ ﻋﻦ ﻣﻔﻬﻮﻣﻪ ﻛﺤﻴﺰ ﰲ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﳌﺘﻌﺪﺩﺓ ﺍﳌﻮﺟﻮﺩﺓ ﺧﺎﺭﺝ ﺍﻟﻮﺭﻗﺔ‪ ،‬ﺇﻧﻪ‬
‫ﻣﻨﺤﺼﺮ ﰲ ﻋﻼﻗﺔ ﺍﳋﻂ ﺑﺎﻟﺼﻔﺤﺔ ﺍﻟﺒﻴﻀﺎﺀ‪ ،‬ﻓﺎﻟﻠﻐﺔ ﻣﻦ ﺣﻴﺚ ﻫﻲ ﻣﻨﻄﻮﻕ ﺯﻣﺎﻥ ﻭﻣﻦ‬
‫ﺣﻴﺚ ﻫﻲ ﺧﻂ ﻣﻜﺎﻥ‪ .‬ﻭ ﻣﺎ ﻛﺎﻥ ﻟﻠﻌﺮﺏ ﺍﻫﺘﻤﺎﻡ ﻓﺎﺋﻖ ﺑﺎﻟﺰﻣﺎﻥ ﺇﻻ ﻟﻜﻮﻥ ﺍﻟﺸﻌﺮ‬
‫ﻋﻨﺪﻫﻢ ﻛﻼﻣﺎ‪ .‬ﺃﻣﺎ ﺍﳌﻜﺎﻥ ﻓﻠﻢ ﻳﻨﺘﺒﻪ ﺍﻟﺸﻌﺮﺍﺀ ﺇﱃ ﻗﻮﺍﻧﻴﻨﻪ ﺇﻻ ﻣﻊ ﻇﻬﻮﺭ ﳎﺘﻤﻊ‬
‫ﺍﻟﻜﺘﺎﺑﺔ‪ 1".‬ﻓﺄﻣﺎ ﻋﻦ ﺍﺭﺗﺒﺎﻁ ﻛﻞ ﻣﻦ ﺍﳌﻜﺎﻥ ﻭ ﺍﻟﺰﻣﺎﻥ ﺑﺎﳊﺠﻢ ﺇﳕﺎ ﻫﻮ ﺍﺭﺗﺒﺎﻁ ﺟﻮﻫﺮﻱ‬
‫ﻭ ﻣﻬﻢ‪ ،‬ﻷﻧﻪ ﺇﻣﺎ ﺳﻴﻜﻮﻥ ﳏﻔﺰﺍ ﻟﻠﻘﺮﺍﺀﺓ‪ ،‬ﻭ ﺧﻮﺽ ﺍﳌﻐﺎﻣﺮﺓ‪ ،‬ﻭ ﺇﻣﺎ ﺩﺍﻓﻌﺎ ﻟﻠﻘﺎﺭﺉ‬
‫ﺑﻌﻴﺪﺍ ﻋﻦ ﺍﻟﻌﻤﻞ‪ ،‬ﻷﻥ" ﺇﻥ ﺍﻟﺘﺸﻜﻴﻞ ﺃﻭﻝ ﻣﺎ ﻳﻈﻬﺮ ﻣﺘﻌﻠﻘﺎ ﺑﺎﻟﻌﻮﺍﻣﻞ ﺍﻟﻨﻔﺴﻴﺔ ﺍﻻﻧﻔﻌﺎﻟﻴﺔ‬
‫ﺍﻟﺪﺍﺧﻠﻴﺔ ﻟﻠﺬﺍﺕ ﺍﳌﺒﺪﻋﺔ‪ ،‬ﺇﻻ ﺃﻥ ﺍﻟﺰﻣﺎﻥ ﺍﳌﻠﻔﻮﻅ ﻭ ﺍﳌﻜﺎﻥ ﺍﳌﻜﺘﻮﺏ ﻳﻈﻼﻥ ﻣﺘﻼﺯﻣﲔ‬
‫ﺗﺮﺑﻄﻬﻤﺎ ﻋﻼﺋﻖ ﻃﺮﺩﻳﺔ ﲣﺘﻠﻒ ﺑﺎﺧﺘﻼﻑ ﺑﻨﻴﺔ ﺍﻟﻨﺺ ﺫﺍﺗﻪ‪ .‬ﻓﻜﻠﻤﺎ ﺍﺳﺘﻐﺮﻕ ﲤﻄﻴﻂ‬
‫ﺍﳌﻜﺎﻥ ﺃﻭ ﺍﻟﺴﻮﺍﺩ ﻛﻠﻤﺎ ﺍﻧﻌﻜﺲ ﺫﻟﻚ ﻋﻠﻰ ﺍﻟﺰﻣﺎﻥ ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺍﺳﺘﺜﻨﺎﺋﻴﺔ‬
‫ﻃﻔﻞ" ‪ 2‬ﻭ ﻣﻦ ﻫﻨﺎ ﻛﺎﻥ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﺍﳊﺪ ﻣﻦ‬ ‫ﺍﳌﺴﺘﻮﻳﺎﺕ ﺍﻟﻘﺮﺍﺋﻴﺔ ﻟﺪﻯ ﻛﻞ‬
‫ﺍﻟﺘﻤﻄﻴﻂ ﺍﻟﺬﻱ ﻫﻮ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻄﻔﻞ ﻛﻼﻡ ﺯﺍﺋﺪ‪ ،‬ﺳﺮﺩ ﳑﻞ‪ ،‬ﻷﻧﻪ ﻣﻦ ﺧﻼﻝ ﺍﳊﺠﻢ‪،‬‬
‫ﻭ ﺗﺮﻛﻴﺰ ﺍﻷﻟﻔﺎﻅ ﰲ ﻛﻞ ﺻﻔﺤﺔ ﻋﻨﺪ ﺗﺼﻔﺢ ﺍﻟﻜﺘﺎﺏ ﳛﺪﺩﺍﻥ ﺍﻟﺰﻣﻦ ﺍﻟﻼﺯﻡ ﻹ‪‬ﺎﺀ‬
‫ﺍﻟﻘﺮﺍﺀﺓ‪ ،‬ﻓﺈﺫﺍ ﻏﻠﺐ ﺍﻟﺒﻴﺎﺽ ﻋﻠﻰ ﺍﻟﺴﻮﺍﺩ‪ ،‬ﻭﻛﺜﺮﺕ ﺍﻟﺼﻔﺤﺎﺕ ﻛﺎﻥ ﺫﻟﻚ ﺩﻟﻴﻼ ﻋﻠﻰ‬

‫‪ -1‬ﳏﻤﺪ ﺑﻨﻴﺲ‪ ":‬ﺣﺪﺍﺛﺔ ﺍﻟﺴﺆﺍﻝ‪ ،‬ﺍﳌﺮﻛﺰ ﺍﻟﺜﻘﺎﰲ ﺍﻟﻌﺮﰊ‪ ،‬ﻁ‪1988 ،2‬ﺹ‪.25‬‬

‫‪ -2‬ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭ ﻋﻤﻴﺶ‪.‬ﻡ‪.‬ﻥ‪.‬ﺹ ‪.208‬‬

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‫ﻭﺟﻮﺩ ﻓﺮﺍﻏﺎﺕ ﻛﺜﲑﺓ ﻋﻠﻰ ﺍﻟﻘﺎﺭﺉ ﻣﻠﺆﻫﺎ‪ ،‬ﳑﺎ ﻳﻌﲏ ﺃﻥ ﺍﻟﻌﻤﻞ ﱂ ﻳﻌﺮﻑ ﺍﻟﻨﻀﺞ ﺑﻌﺪ‬
‫ﻧﻀﺠﺎ ﻳﻮﺻﻠﻪ ﺇﱃ ﺍﻟﻘﺎﺭﺉ‪ ،‬ﻭ ﺃﻣﺎ ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﻌﻜﺲ ﺃﻋﲏ ﻏﻠﺒﺔ ﺍﻟﺴﻮﺍﺩ ﻋﻠﻰ ﺍﻟﺒﻴﺎﺽ‪،‬‬
‫ﻓﺈﻥ ﺍﻷﻣﺮ ﻣﺆﺷﺮ ﻋﻠﻰ ﺍﻟﺴﺮﺩ ﺍﳌﻤﻞ‪ ،‬ﻷﻧﻨﺎ ﰲ ﻫﺬﻩ ﺍﳊﺎﻟﺔ " ﳕﻨﺢ ﻟﻠﻔﻀﺎﺀ ﺍﻷﺳﻮﺩ ﺩﻻﻟﺔ‬
‫ﻃﺮﺩﻳﺔ‪ ،‬ﲟﻌﲎ ﺃﻧﻪ ﻛﻠﻤﺎ ﺍﺳﺘﻄﺎﻝ ﻛﺎﻥ ﺃﻳﻘﻮﻧﺎ ﻋﻠﻰ ﺍﻣﺘﺪﺍﺩ ﺩﻻﻟﺘﻪ‪ ،‬ﻭﻛﻠﻤﺎ ﺗﻀﺎﺀﻝ ﻛﺎﻥ‬
‫ﺃﻳﻘﻮﻧﺎ ﻋﻠﻰ ﺿﺂﻟﺔ ﺩﻻﻟﺘﻪ‪ ،‬ﻭﰲ ﻣﻘﺎﺑﻞ ﻫﺬﺍ ﻓﺈﻥ ﻟﻪ ﺩﻻﻟﺔ ﻋﻜﺴﻴﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻔﻀﺎﺀ‬
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‫ﺍﻷﺑﻴﺾ ﺃﻱ ﻛﻠﻤﺎ ﻛﺜﺮ ﺍﻟﺴﻮﺍﺩ ﻧﻘﺺ ﺍﻟﺒﻴﺎﺽ‪ ،‬ﻭ ﻛﻠﻤﺎ ﺗﻀﺎﺀﻝ ﺍﻟﺴﻮﺍﺩ ﳕﺎ ﺍﻟﺒﻴﺎﺽ‪".‬‬
‫ﻭ ﰲ ﻏﺎﻟﺒﻴﺔ ﺍﻷﺣﻴﺎﻥ ﳛﻜﻢ ﺍﻟﻘﺎﺭﺉ ﻋﻠﻰ ﺍﻟﻘﺼﺔ ﻣﻦ ﻫﺬﻩ ﺍﻟﻨﺎﺣﻴﺔ‪ ،‬ﺃﻱ ﺃﻥ ﻋﻼﻗﺔ ﺍﳌﻜﺎﻥ‬
‫ﺑﺎﻟﺰﻣﻦ ﻳﺘﺮﺗﺐ ﻋﻨﻬﺎ ﻋﻼﻗﺔ ﺍﻟﺴﻮﺍﺩ ﺑﺎﻟﺒﻴﺎﺽ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﻳﺘﺤﺪﺩ ﻣﻦ ﺧﻼﳍﺎ ﻣﺪﻯ‬
‫ﻣﻘﺒﻮﻟﻴﺔ ﺍﻟﻘﺎﺭﺉ ﻟﻠﻌﻤﻞ ﺍﻷﺩﰊ ﰲ ﺷﻜﻠﻪ ﺍﳌﻠﻤﻮﺱ ﻗﺒﻞ ﺍﶈﺴﻮﺱ ﺍﻟﺬﻱ ﻳﻜﻤﻦ ﰲ‬
‫ﺍﻟﻘﺮﺍﺀﺓ‪ ،‬ﻓﺈﻣﺎ ﺃﻥ ﻳﻨﻔﺮﻩ ﻣﻨﻬﺎ ﺃﻭ ﻳﺮﻏﺒﻪ ﻓﻴﻬﺎ‪ .‬ﻷﻧﻪ " ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﻔﻀﺎﺀ ﻳﺘﻘﺪﻡ ﻟﻨﺎ ﻛﻤﻌﻄﻰ‬
‫ﺟﺎﻣﺪﺍ ﳝﻜﻦ ﺃﻥ ﻳﻘﺎﺱ ﺑﻌﺪﺩ ﺍﻟﺼﻔﺤﺎﺕ ﻭ ﺍﻷﺳﻄﺮ‪ ،‬ﻓﺈﻥ ﺍﻟﺰﻣﺎﻥ ﻗﺎﺑﻞ ﻷﻥ ﻳﺘﺸﻜﻞ‬
‫ﺩﺍﺧﻞ ﺫﻟﻚ ﺍﻟﻔﻀﺎﺀ ﺑﺄﻧﻮﺍﻉ ﳐﺘﻠﻔﺔ‪ .‬ﻭ ﻣﻊ ﺃﻥ ﺯﻣﺎﻥ ﺍﻟﻘﺮﺍﺀﺓ ﳝﻜﻦ ﺃﻥ ﻳﻘﺎﺱ ﺑﻌﺪﺩ‬
‫ﺍﻟﺜﻮﺍﱐ ﻭ ﺍﻟﺪﻗﺎﺋﻖ ﻭ ﺍﻟﺴﺎﻋﺎﺕ ﻓﺈﻥ ﻣﺎ ﻳﻨﺘﻬﻲ ﺇﻟﻴﻪ ﻣﻦ ﺗﻮﻗﻴﺖ ﻟﻦ ﻳﻜﻮﻥ ﻣﻮﺣﺪﺍ ﻓﻘﺪ‬
‫ﻭ ﺑﺎﻟﺘﺎﱄ ﺍﳌﻮﺍﺯﻧﺔ ﺑﲔ ﺍﻟﻔﻀﺎﺀ ﺍﳌﻜﺎﱐ‬ ‫‪2‬‬
‫ﻳﻜﻮﻥ ﺇﻳﻘﺎﻉ ﺍﻟﻘﺮﺍﺀﺓ ﺑﻄﻴﺌﺎ ﺃﻭ ﺳﺮﻳﻌﺎ‪".‬‬
‫ﻭﺍﻟﻔﻀﺎﺀ ﺍﻟﺰﻣﺎﱐ ﻋﻦ ﻃﺮﻳﻖ ﺍﳌﻮﺍﺯﻧﺔ ﺑﲔ ﺍﻟﻠﻔﻈﺔ ﺍﳌﻜﺘﻮﺑﺔ ﻭ ﺍﳊﻴﺰ ﺍﳌﻜﺎﱐ ﺍﻟﺬﻱ ﲢﺘﻞ‬
‫ﺳﻴﻔﺘﺮﺽ ﻭﺟﻮﺩ ﻧﻈﺎﻣﺎ ﻣﻌﻴﻨﺎ ﰲ ﺍﻟﻘﺼﺔ ﳛﻤﻞ ﺍﳌﺘﻠﻘﻲ ﻋﻠﻰ ﺗﻜﻠﻒ ﻋﻨﺎﺀ ﺧﻮﺽ‬
‫ﺍﳌﻐﺎﻣﺮﺓ‪.‬‬
‫ﺃﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ ﳌﺎ ﺑﲔ ﺃﻳﺪﻳﻨﺎ‪ ،‬ﻓﺎﻷﻋﻤﺎﻝ ﺍﻟﺜﻼﺛﺔ ﺟﺎﺀﺕ ﻋﻠﻰ ﺍﳌﻨﻮﺍﻝ ﺍﻟﺘﺎﱄ‪:‬‬
‫‪ -‬ﺣﺠﻢ ﻛﺒﲑ ﲟﻌﲎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻄﻔﻞ‪ ،‬ﺳﻮﺍﺩ ﻋﻈﻴﻢ ﻭ ﺑﻴﺎﺽ ﺿﺌﻴﻞ‪ ،‬ﳑﺎ ﻳﻌﲏ ﻋﻨﺪﻩ‬
‫ﻣﺸﺎﻛﻞ ﰲ ﺍﻟﻘﺮﺍﺀﺓ‪ ،‬ﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ ﺑﺰﻣﻦ ﻓﻌﻞ ﺍﻟﻘﺮﺍﺀﺓ ﻭ ﺷﺪﺓ ﺗﺮﻛﻴﺰ ﺍﻷﺣﺪﺍﺙ‬

‫‪ -1‬ﺩ‪ /‬ﳏﻤﺪ ﻣﻔﺘﺎﺡ‪ ":‬ﺩﻳﻨﺎﻣﻴﺔ ﺍﻟﻨﺺ"‪ ،‬ﺍﻟﺪﺍﺭ ﺍﻟﺒﻴﻀﺎﺀ ﺍﳌﻐﺮﺏ‪،‬ﺹ‪.76‬‬

‫‪ -2‬ﻡ‪.‬ﻥ‪.‬ﺹ ‪.52‬‬

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‫ﻭ ﲟﺎ ﺃﻥ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﰲ ﻫﺬﺍ ﺍﻟﺸﻜﻞ ﻣﻮﺟﻪ ﻟﻸﻛﱪ ﺳﻨﺎ ﻓﻴﻤﻜﻨﺎ ﺍﻓﺘﺮﺍﺽ ﺍﳒﺎﺯ‬ ‫‪-‬‬
‫ﻛﺘﺎﺏ ﺛﺎﻥ ﻣﻮﺟﻪ ﺧﺼﻴﺼﺎ ﳍﻢ‪ ،‬ﺃﻳﻦ ﻳﻮﺍﺯﻥ ﺍﻟﺴﻮﺍﺩ ﺑﺎﻟﺒﻴﺎﺽ ﻭ ﺃﻳﻦ ﻫﺬﻩ ﺍﳌﻮﺍﺯﻧﺔ‬
‫ﺗﻔﺘﺮﺽ ﺗﺮﺍﺟﻊ ﺍﻟﺴﻮﺍﺩ ﻋﻠﻰ ﺣﺴﺎﺏ ﺍﻟﺒﻴﺎﺽ ﻭ ﺑﺎﻟﺘﺎﱄ ﺣﺠﻢ ﺃﺻﻐﺮ ﻭ ﻗﺮﺍﺀﺓ ﺃﻣﺘﻊ‪،‬‬
‫ﻭ ﻟﻜﻦ ﻫﺬﺍ ﺍﻟﺘﺼﺮﻑ ﰲ ﺍﳊﺠﻢ ﺳﻴﻔﺘﺮﺽ ﺗﺼﺮﻓﺎ ﰲ ﺃﺣﺪﺍﺙ ﺍﻟﻘﺼﺔ ﻟﺬﺍ ﳚﺐ ﺃﻥ‬
‫ﻻ ﻳﻬﻤﻞ ﻫﺬﺍ ﺍﻟﺘﻔﺼﻴﻞ ﺑﺎﻋﺘﺒﺎﺭﻩ ﺟﻮﻫﺮﻳﺎ‪.‬‬
‫‪ -‬ﺣﺠﻢ ﻛﺒﲑ ﻳﻔﺘﺮﺽ ﰲ ﻫﺬﻩ ﺍﳊﺎﻟﺔ‪ ،‬ﺧﺮﻭﺝ ﺍﻟﻘﺼﺔ ﻣﻦ ﻋﺎﳌﻬﺎ ﺍﻟﻘﺼﺼﻲ ﺇﱃ ﺍﻟﻘﺼﺔ‬
‫ﺑﻌﺎﳌﻬﺎ ﺍﻟﺮﻭﺍﺋﻲ‪ ،‬ﻭ ﻻ ﳝﻠﻚ ﺍﻟﻄﻔﻞ ﺑﻌﺪ ﺍﻟﻨﻔﺲ ﺍﻷﺩﰊ ﺍﻟﻄﻮﻳﻞ‪ ،‬ﳌﺘﺎﺑﻌﺔ ﺣﻴﺜﻴﺎﺕ‬
‫ﺍﻟﻌﻤﻞ ﺍﻟﺮﻭﺍﺋﻲ ﺑﻨﻔﺲ ﺍﻟﺘﻔﺎﻋﻞ ﻭ ﺍﻟﻨﻔﺴﻴﺔ ﺍﻟﱵ ﺑﺪﺃ ‪‬ﺎ ﺍﳌﻐﺎﻣﺮﺓ ﻷﻥ ﺍﻟﻄﻔﻞ ﻋﺎﺩﺓ‬
‫ﻳﺮﺑﻂ ﺍﻟﻄﻮﻝ ﺑﺎﳌﻠﻞ‪ ،‬ﻭ ﻣﻦ ﻫﻨﺎ ﻛﺎﻥ ﻟﺰﺍﻣﺎ ﻋﻠﻰ ﺍﻟﻜﺎﺗﺐ ﺃﻥ ﻳﺘﺠﻨﺐ ﺍﻟﻮﺻﻒ‬
‫ﺍﻟﺪﻗﻴﻖ ﻟﻸﺣﺪﺍﺙ ﻭ ﺍﻷﻣﺎﻛﻦ ﻭ ﺍﻟﺸﺨﺼﻴﺎﺕ‪ ،‬ﺇﱃ ﺫﻛﺮ ﺍﳋﻄﻮﻁ ﺍﻟﻌﺮﻳﻀﺔ‬
‫ﻭ ﺍﻟﺘﻔﺼﻴﻼﺕ ﺍﳌﻬﻤﺔ‪.‬‬
‫‪ -‬ﳚﺐ ﺃﻥ ﻻ ﻧﻨﺴﻰ ﺃﻥ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﻣﺮﻓﻖ ﺑﻌﻤﻞ ﺳﻨﻴﻤﺎﺋﻲ‪ ،‬ﻭ ﻫﺬﺍ ﺍﻷﺧﲑ ﻛﺎﻥ‬
‫ﻧﺎﺟﺤﺎ‪ ،‬ﻣﺸﻮﻗﺎ ﻭ ﳑﺘﻌﺎ‪ ،‬ﻭ ﺇﺫﺍ ﺍﻟﻄﻔﻞ ﺭﻏﻢ ﻋﻨﺎﺀ ﻗﺮﺍﺀﺓ ﺍﻟﻌﻤﻞ ﺑﻌﺪ ﺫﻟﻚ ﻣﻜﺘﻮﺑﺎ‬
‫ﻓﺈﻧﻪ ﻋﻠﻰ ﻓﺮﺽ ﺃﻥ ﻳﻜﻮﻥ ﻋﻠﻰ ﻧﻔﺲ ﺍﻟﻘﺪﺭ‪ ،‬ﻓﺤﱴ ﻣﻊ ﻭﺟﻮﺩ ﻧﺴﺨﺔ ﺳﺎﺑﻘﺔ ﳌﻨﻬﻢ‬
‫ﺃﺻﻐﺮ ﺳﻨﺎ‪ ،‬ﻳﺒﺪﻭ ﻇﻬﻮﺭ ﻧﺴﺨﺔ ﻣﻨﻘﺤﺔ ﻣﻜﻴﻔﺔ ﺣﺴﺐ ﻣﺎ ﻋﺮﺿﺘﻪ ﺍﻟﻨﺴﺨﺔ ﺍﳌﺼﻮﺭﺓ‬
‫ﺳﻨﻴﻤﺎﺋﻴﺎ ﺿﺮﻭﺭﺓ ﺣﺘﻤﻴﺔ‪ ،‬ﻷﻧﻪ ﰲ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ﻳﻜﻮﻥ ﻟﻠﻤﻐﺎﻣﺮﺓ ﺷﻜﻞ ﳏﺪﺩ‪،‬‬
‫ﻭ ﻟﻠﺸﺨﺼﻴﺎﺕ ﺗﺼﻮﺭ ﳏﺪﺩ‪ ،‬ﻭ ﺍﻟﺼﻮﺭﺓ ﺃﻏﻨﺖ ﻋﻦ ﺍﻟﻮﺻﻒ ﺇﱃ ﺣﺪ ﻣﺎ‪ ،‬ﻭﻫﺬﺍ‬
‫ﻛﻠﻪ ﻳﻔﻘﺪ ﻣﻦ ﺣﺠﻢ ﻛﻞ ﻣﻦ ﺍﻟﺒﻴﺎﺽ ﻭ ﺍﻟﺴﻮﺍﺩ ﺍﻟﻜﺜﲑ‪.‬‬
‫‪-2‬ﺍﳌﻀﻤﻮﻥ‪:‬‬
‫‪ -2.1‬ﺍﻟﻠﻐﺔ‪:‬‬

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‫ﻟﻘﺪ ﻗﻠﻨﺎ ﺳﺎﺑﻘﺎ ﺑﺄﻥ ﺍﻟﻠﻐﺔ* ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻄﻔﻞ ﺑﺎﺧﺘﺼﺎﺭ ﳚﺐ ﺃﻥ ﺗﻜﻮﻥ ﻋﻠﻰ ﺍﻟﺸﻜﻞ‬
‫ﺍﻟﺘﺎﱄ‪:‬‬
‫‪ -‬ﺍﻷﻟﻔﺔ ﺑﺎﻟﻜﻠﻤﺎﺕ‪.‬‬
‫‪ -‬ﺍﺳﺘﺨﺪﺍﻡ ﺍﳉﻤﻞ ﺍﻟﺒﺴﻴﻄﺔ‪.‬‬
‫‪ -‬ﺍﺷﺘﻤﺎﻝ ﺍﻟﻔﻘﺮﺓ ﻋﻠﻰ ﻓﻜﺮﺓ ﻭﺍﺣﺪﺓ‪.‬‬
‫‪ -‬ﺍﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺍﳊﻮﺍﺭ ﺃﻛﺜﺮ ﻣﻦ ﺍﻟﺴﺮﺩ‪.‬‬
‫‪ -‬ﻋﺪﻡ ﺍﺳﺘﺨﺪﺍﻡ ﻣﺼﻄﻠﺤﺎﺕ ﻓﻨﻴﺔ‪.‬‬
‫‪ -‬ﺍﳌﺒﺎﻋﺪﺓ ﺑﲔ ﺭﻛﲏ ﺍﳉﻤﻠﺔ‪.‬‬
‫‪ -‬ﺍﺳﺘﺨﺪﺍﻡ ﺍﻷﻟﻔﺎﻅ ﺍﻟﺪﺍﻟﺔ ﻋﻠﻰ ﺍﻻﻧﻔﻌﺎﻻﺕ‪ ،‬ﻭ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﱵ ﺗﺮﻣﺰ ﺇﱃ ﺍﶈﺴﻮﺳﺎﺕ‪.‬‬
‫‪ -‬ﻭ ﺍﻟﻜﻠﻤﺔ ﺗﻌﱪ ﻋﻦ ﻣﻌﻨﺎ ﻭﺍﺣﺪﺍ ﺩﺍﺧﻞ ﺍﻟﺴﻴﺎﻕ‪.‬‬
‫‪ -‬ﺍﳌﺮﺍﻭﺣﺔ ﺑﲔ ﺍﳋﱪ ﻭ ﺍﻹﻧﺸﺎﺀ‪.‬‬
‫‪ -‬ﻗﻠﺔ ﺍﻻﺳﺘﻄﺮﺍﺩ ﰲ ﻋﺮﺽ ﺍﻷﺣﺪﺍﺙ‪.‬‬
‫‪ -‬ﻗﻠﺔ ﺍﳉﻤﻞ ﺍﻻﻋﺘﺮﺍﺿﻴﺔ‪.‬‬
‫‪ -‬ﺍﻟﺘﻌﺒﲑﺍﺕ ﺍ‪‬ﺎﺯﻳﺔ ﺍﻟﺒﺴﻴﻄﺔ ﻭ ﺍﶈﺴﻨﺎﺕ ﺍﻟﺒﺪﻳﻌﻴﺔ‪.‬‬
‫‪ -‬ﻭ ﻋﺪﻡ ﺗﻨﻮﻳﻊ ﺍﻟﻀﻤﺎﺋﺮ‪.‬‬
‫ﻭﻟﻘﺪ ﺃﻭﺿﺤﻨﺎ ﺳﺎﺑﻘﺎ ﺃﻥ ﺍﻟﻘﺼﺔ ﺍﻟﱵ ﺑﲔ ﺃﻳﺪﻳﻨﺎ ﻟﻴﺴﺖ ﻣﻮﺟﻬﺔ ﺧﺼﻴﺼﺎ ﻷﻃﻔﺎﻝ‬
‫ﺍﳌﺮﺣﻠﺔ ﺍﻟﻌﻤﺮﻳﺔ ﺍﻟﱵ ﻧﺘﻨﺎﻭﳍﺎ ﺑﺎﻟﺪﺭﺍﺳﺔ‪ ،‬ﻭﻟﻜﻦ ﻫﺬﺍ ﻻ ﳝﻨﻊ ﻣﻦ ﻣﻘﺎﺭﻧﺔ ﺳﺮﻳﻌﺔ ﺑﲔ‬
‫ﺍﻷﺻﻞ ﻭ ﺍﻟﺘﺮﲨﺎﺕ ﻭ ﺩﺭﺍﺳﺔ ﻣﺎ ﺇﺫﺍ ﻛﺎﻧﺖ ﺍﻟﻠﻐﺔ ﰲ ﺍﻟﺘﺮﲨﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻗﺪ ﺍﺳﺘﻮﻓﺖ ﻛﻞ‬
‫ﺍﻟﺸﺮﻭﻁ ﺍﻟﺴﺎﺑﻘﺔ ﻭ ﺫﻟﻚ ﻣﻦ ﺧﻼﻝ ﺍﳌﺜﺎﻝ ﺍﻟﺘﺎﱄ‪:‬‬

‫*‪ -‬ﻳﻨﻈﺮ‪:‬‬
‫ﺩ‪ /‬ﺣﺴﻦ ﺷﺤﺎﺗﻪ‪.‬ﻡ‪.‬ﺱ‪.‬ﺹ‪.17‬‬

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‫ا  ا‬

:‫ﺍﻷﺻﻞ‬

« Harry lay flat on his back, breathing hard as though he had

been running. He had awoken from a vivid dream with his hands
pressed over his face. The old scar on his forehead, which was
shaped like a bolt of lightning, was burning beneath his fingers as
though someone had just pressed a white-hot wire to his skin. »
p20.
:‫ﺍﻟﺘﺮﲨﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ‬

« Harry était allongé sur le dos, la respiration haletante comme

s’il venait de courir. Il s’était éveillé d’un rêve particulièrement
saisissant en se tenant le visage entre les mains. Sur son front, la
vieille cicatrice en forme d’éclair brûlait sous ses doigts comme si
quelqu’un lui avait appliqué sur la peau un fil de fer chauffé au
rouge. »p23.
:‫ﺍﻟﺘﺮﲨﺔ ﺍﻟﻌﺮﺑﻴﺔ‬

‫ ﻓﻘﺪ‬،‫" ﺭﺍﺡ ﻫﺎﺭﻱ ﻳﺘﻨﻔﺲ ﺑﺼﻌﻮﺑﺔ ﻭﻫﻮ ﺭﺍﻗﺪ ﻋﻠﻰ ﻇﻬﺮﻩ ﻛﻤﺎ ﻟﻮ ﺃﻧﻪ ﻛﺎﻥ ﻳﺮﻛﺾ‬
‫ ﻓﻘﺪ ﻛﺎﻧﺖ ﺗﻠﻚ‬،‫ﺍﺳﺘﻴﻘﻆ ﻟﺘﻮﻩ ﺑﺴﺒﺐ ﻛﺎﺑﻮﺱ ﻣﺰﻋﺞ ﻭ ﻫﻮ ﻳﻀﻊ ﻳﺪﻩ ﻋﻠﻰ ﻭﺟﻬﻪ‬
‫ﺾ‬ ‫ ﻭ‬،‫ﺍﻟﻨﺪﺑﺔ ﺍﻟﻘﺪﳝﺔ ﻋﻠﻰ ﺟﺒﻬﺘﻪ ﻭﺍﻟﱵ ﺗﺸﺒﻪ ﺷﻜﻞ ﺿﻮﺀ ﺍﻟﱪﻕ ﺗﺆﳌﻪ ﺑﺸﺪﺓ‬
‫ ﺑﻴﻨﻤﺎ ﺍﻷﺧﺮﻯ ﺗﺒﺤﺚ‬،‫ﺟﺎﻟﺴﺎ ﻭﻳﺪﻩ ﻻ ﺗﺰﺍﻝ ﻣﻌﻠﻘﺔ ﻋﻠﻰ ﻫﺬﻩ ﺍﻟﻨﺪﺑﺔ ﻓﻮﻕ ﺭﺃﺳﻪ‬
،‫ﻋﻦ ﻧﻈﺎﺭﺗﻪ ﻭﺳﻂ ﺍﻟﻈﻼﻡ ﻓﻘﺪ ﻛﺎﻧﺖ ﻋﻠﻰ ﺍﳌﻨﻀﺪﺓ ﺍﳌﻮﺟﻮﺩﺓ ﲜﻮﺍﺭ ﺍﻟﻔﺮﺍﺵ‬
‫ﻭﻭﺟﺪﻫﺎ ﰒ ﻭﺿﻌﻬﺎ ﻓﻮﻕ ﻋﻴﻨﻴﻪ ﻟﲑﻯ ﺍﳊﺠﺮﺓ ﻣﻦ ﺣﻮﻟﻪ ﺃﻛﺜﺮ ﻭﺿﻮﺣﺎ ﻣﻊ ﺍﳌﺼﺒﺎﺡ‬
.19 ".‫ﺍﳋﺎﻓﺖ ﺍﻟﻘﺎﺩﻡ ﻣﻦ ﺧﻠﻒ ﺍﻟﺴﺘﺎﺋﺮ‬

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‫ﻓﺒﺎﻟﻨﺴﺒﺔ ﺇﱃ ﺍﻷﺻﻞ ﺑﺎﻟﻠﻐﺔ ﺍﻹﳒﻠﻴﺰﻳﺔ‪ ،‬ﻓﺈﻧﻨﺎ ﻧﻼﺣﻆ ﺃ‪‬ﺎ ﲢﻮﻱ ﻛﻠﻤﺎﺕ ﻣﺄﻟﻮﻓﺔ‪ ،‬ﻟﻴﺴﺖ ﺇﳛﺎﺋﻴﺔ ﺇﻻ ﺑﻘﺪﺭ‬
‫ﻣﺎ ﻳﻮﻓﺮ ﳍﺎ ﺍﻟﺴﻴﺎﻕ ﻣﻦ ﺩﻻﻻﺕ‪ ،‬ﺿﻤﻦ ﲨﻞ ﺑﺴﻴﻄﺔ‪ ،‬ﺗﺸﺘﻤﻞ ﻋﻠﻰ ﻓﻌﻞ ﻭ ﻓﺎﻋﻞ‪ ،‬ﻭ ﺍﻟﻔﻘﺮﺓ ﺗﺸﺘﻤﻞ‬
‫ﻋﻠﻰ ﻓﻜﺮﺓ ﻭﺍﺣﺪﺓ ﻭ ﻫﻲ ﺃﻥ ﻫﺎﺭﻱ ﺍﺳﺘﻴﻘﻆ ﺑﻔﻌﻞ ﻛﺎﺑﻮﺱ ﻗﺪ ﺷﺎﻫﺪﻩ‪ ،‬ﻭ ﻋﻠﻰ ﺍﺛﺮ ﺫﻟﻚ ﺁﳌﺘﻪ ﺍﻟﻨﺪﺑﺔ‬
‫ﻋﻠﻰ ﺟﺒﻴﻨﻪ‪ ،‬ﻓﻜﺮﺓ ﺑﺴﻴﻄﺔ‪ ،‬ﺗﺸﻤﻞ ﻓﻌﻼ ﻭ ﺭﺩ ﻓﻌﻞ ﻭﻓﺎﻋﻞ ﻭﺍﺣﺪ ﻻ ﺷﻲﺀ ﻣﻌﻘﺪ ﰲ ﺍﻷﻣﺮ‪ ،‬ﻏﻴﺎﺏ‬
‫ﺍﳊﻮﺍﺭ ﺑﺴﺒﺐ ﺍﻟﻮﺻﻒ‪ ،‬ﻟﺬﻟﻚ ﺍﺷﺘﻤﻠﺖ ﺍﻟﻔﻘﺮﺓ ﻋﻠﻰ ﺃﻟﻔﺎﻅ ﺩﺍﻟﺔ ﻋﻠﻰ ﺍﻧﻔﻌﺎﻻﺕ‪ ،‬ﻭ ﺑﻌﺾ ﺍﻟﺘﻌﺒﲑﺍﺕ‬
‫ﺍ‪‬ﺎﺯﻳﺔ ﺍﻟﺒﺴﻴﻄﺔ‪ ،‬ﺇﱃ ﻫﻨﺎ ﻫﻲ ﺍﺑﻌﺪ ﻣﺎ ﻳﻜﻮﻥ ﻋﻦ ﺍﻟﺘﻌﻘﻴﺪ‪ ،‬ﻭ ﻋﻠﻰ ﺍﻟﻌﻤﻮﻡ ﻓﺈﻧﻨﺎ ﻛﻠﻤﺎ ﺗﺎﺑﻌﻨﺎ ﺍﻟﻘﺮﺍﺀﺓ ﰲ‬
‫ﺍﻟﻘﺼﺔ ﻧﻼﺣﻆ ﺃﻥ ﺍﻟﻔﻘﺮﺍﺕ ﺗﺴﲑ ﻋﻠﻰ ﻧﻔﺲ ﺍﳌﻨﻮﺍﻝ‪ ،‬ﺇﻻ ﺃﻥ ﺍﻟﻮﺻﻒ ﻳﺄﺧﺬ ﺣﺼﺔ ﺍﻷﺳﺪ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ‬
‫ﺃﻥ ﺍﻟﻜﺎﺗﺒﺔ ﻟﺮﲟﺎ ﺭﻏﺒﺔ ﰲ ﺃﻥ ﻳﻌﻴﺶ ﺍﻟﻘﺎﺭﺉ ﰲ ﺟﻮ ﺍﻟﻘﺼﺔ ﺑﺘﻘﺮﻳﺐ ﺍﻟﻌﺎﱂ ﻣﻨﻪ ﻭ ﺗﺼﻮﻳﺮﻩ ﺗﺼﻮﻳﺮﺍ ﺩﻗﻴﻘﺎ‬
‫ﺑﺎﻋﺘﺒﺎﺭﻩ ﻋﺎﳌﺎ ﺟﺪﻳﺪﺍ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻘﺎﺭﺉ‪.‬‬

‫ﺃﻣﺎ ﺍﳊﻮﺍﺭ ﻓﻜﺎﻥ ﻟﻪ ﻧﺼﻴﺐ ﻣﻦ ﺍﻟﻌﻤﻞ ﻭ ﰲ ﺃﻏﻠﺐ ﺍﻷﺣﻴﺎﻥ ﻛﺎﻥ ﻟﺘﺤﺮﻳﻚ ﺍﻟﻘﺼﺔ ﻭ ﺑﻌﺜﻬﺎ ﻣﻦ ﺟﺪﻳﺪ‬
‫ﻭ ﻛﺴﺮ ﻣﻠﻞ ﺍﻟﺴﺮﺩ‪ ،‬ﻭ ﺇﻥ ﺣﺎﻭﻟﻨﺎ ﺗﻜﻴﻴﻒ ﺍﻟﻌﻤﻞ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻄﻔﻞ ﻓﻼ ﺿﲑ ﻣﻦ ﺃﻥ ﳔﻔﻒ ﺍﻷﺟﻮﺍﺀ‬
‫ﺑﺘﻘﻠﻴﻞ ﺍﻟﺴﺮﺩ ﻭ ﺗﻔﻌﻴﻞ ﺍﳊﻮﺍﺭ ﺑﲔ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻣﻦ ﺟﻬﺔ ﻷﻥ ﺍﳊﻮﺍﺭ ﳝﻨﺢ ﺍﳊﻴﺎﺓ ﻟﻠﻘﺼﺔ ﻭ ﳚﻌﻠﻬﺎ ﳑﺘﻌﺔ‬
‫ﺃﻛﺜﺮ‪ ،‬ﻭ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‪ ،‬ﻋﻠﻴﻨﺎ ﺃﻥ ﻻ ‪‬ﻤﻞ ﺟﺎﻧﺐ ﺃﻥ ﻗﺎﺭﺋﻨﺎ ﺍﶈﺘﻤﻞ ﻗﺪ ﺷﺎﻫﺪ ﺍﻟﻨﺴﺨﺔ ﺍﳌﺼﻮﺭﺓ‬
‫ﺳﻴﻨﻤﺎﺋﻴﺎ‪ ،‬ﻭ ﺑﺎﻟﺘﺎﱄ ﳛﺘﺎﺝ ﻷﻥ ﻳﺮﻯ ﻣﺎ ﺃﻟﻔﻪ ﻭ ﻋﺎﺷﻪ ﰲ ﺃﺟﻮﺍﺀ ﺍﻟﻔﻴﻠﻢ ‪ ،‬ﺇﱃ ﺟﺎﻧﺐ ﺃﻧﻪ ﻳﺒﺤﺚ ﺃﻳﻀﺎ‬
‫ﻋﻤﺎ ﱂ ﻳﻈﻬﺮﻩ ﺍﻟﻔﻴﻠﻢ‪ ،‬ﻓﻠﻠﻔﻴﻠﻢ‪ ،‬ﺷﺌﻨﺎ ﺃﻡ ﺃﺑﻴﻨﺎ‪ ،‬ﺗﺄﺛﲑ ﻛﺒﲑ ﻓﻴﻤﺎ ﺑﻌﺪ ﻋﻠﻰ ﺍﺳﺘﻤﺮﺍﺭﻳﺔ ﺍﻟﻌﻤﻞ ﻭ ﺷﻌﺒﻴﺘﻪ‪.‬‬

‫ﻭ ﺍﻟﺘﺮﲨﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ ﺑﺎﻟﻌﻤﻮﻡ ﱂ ﲢﺪ ﻋﻦ ﺍﻷﺻﻞ ﻛﺜﲑﺍ‪ ،‬ﺇﺫ ﺣﺎﻓﻈﺖ ﻋﻠﻰ ﻧﻔﺲ ﺍﳌﻨﻮﺍﻝ‪ ،‬ﻣﻦ ﲨﻞ‬
‫ﺑﺴﻴﻄﺔ‪ ،‬ﺣﺎﻓﻈﺖ ﻋﻠﻰ ﺗﺴﻠﺴﻞ ﺍﻷﻓﻜﺎﺭ ﰲ ﺍﻟﻨﺺ‪ ،‬ﺍﻟﻠﻐﺔ ﻣﺄﻟﻮﻓﺔ ﺣﱴ ﳝﻜﻦ ﻟﻔﺌﺘﻨﺎ ﺍﻟﻌﻤﺮﻳﺔ ﻗﺮﺍﺀ‪‬ﺎ ﻋﻠﻰ‬
‫ﺍﻟﻌﻤﻮﻡ‪ ،‬ﻋﺪﺍ ﻋﻦ ﺍﻟﻄﻮﻝ ﻭ ﺍﻟﺴﺮﺩ ﺍﻟﺬﻱ ﻳﻔﺮﺿﻪ ﺑﺎﻟﻀﺮﻭﺭﺓ ﺍﻷﺻﻞ ﻭ ﱂ ﺗﺘﻜﺒﺪ ﺍﻟﻨﺴﺨﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ ﻋﻨﺎﺀ‬
‫ﺍﻟﺘﻜﻔﻞ ﺑﻪ ﻟﺴﺒﺐ ﺃ‪‬ﺎ ﺗﻮﺟﻬﺖ ﺇﱃ ﻧﻔﺲ ﺍﻟﺸﺮﳛﺔ ﻣﻦ ﺍﻟﻜﺒﺎﺭ ﻭ ﺍﻟﺸﺒﺎﺏ‪.‬‬

‫ﺃﻣﺎ ﰲ ﺍﻟﻨﺴﺨﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻓﻬﻨﺎﻙ ﺑﻌﺾ ﺍﻹﺷﻜﺎﻻﺕ‪ ،‬ﺗﺒﺪﻭ ﻭ ﻛﺄﻥ ﺍﳉﻤﻞ ﳏﺸﻮﺓ ﺣﺸﻮﺍ‪ ،‬ﻓﺮﻏﻢ ﺃﻥ‬
‫ﺍﻟﻔﻜﺮﺓ ﻭﺍﺣﺪﺓ‪ ،‬ﻭ ﺍﻟﻔﺎﻋﻞ ﻭﺍﺣﺪ‪ ،‬ﻓﺎﻻﻧﺘﻘﺎﻝ ﻣﻦ ﺍﻟﻔﻌﻞ ﺇﱃ ﺭﺩ ﺍﻟﻔﻌﻞ ﻟﻴﺲ ﺳﻠﺴﺎ‪ ،‬ﲟﺜﻞ ﺳﻼﺳﺔ ﻛﻞ‬

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‫ﻣﻦ ﻧﻈﲑﺗﻴﻬﺎ ﺍﻹﳒﻠﻴﺰﻳﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ‪ ،‬ﻭ ﻛﺄﻥ ﺍﻟﻘﺎﺭﺉ ﻋﻨﺪﻣﺎ ﻳﻘﺮﺃ ﻋﻠﻴﻪ ﺃﻥ ﻳﺒﺬﻝ ﺟﻬﺪﺍ ﰲ ﻣﺘﺎﺑﻌﺔ‬
‫ﺍﻷﺣﺪﺍﺙ‪ ،‬ﺭﻏﻢ ﺃﻥ ﺍﳉﻤﻞ ﺑﺴﻴﻄﺔ‪ ،‬ﻭ ﺍﻷﻟﻔﺎﻅ ﻣﺄﻟﻮﻓﺔ ﺇﻻ ﺃﻥ ﺗﺄﻟﻴﻔﻬﺎ ﻣﻊ ﺑﻌﻀﻬﺎ ﻳﻌﺮﺽ ﺑﻌﺾ‬
‫ﺍﳌﺸﺎﻛﻞ‪ ،‬ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃﻥ ﺍﳌﺘﺮﺟﻢ ﻗﺎﻡ ﺑﺎﻟﻨﺴﺦ ﻻ ﺃﻛﺜﺮ‪ ،‬ﻭ ﻟﻨﺎ ﻭﻗﻔﺔ ﻣﻔﺼﻠﺔ ﻋﻨﺪﻫﺎ ﻻﺣﻘﺎ‪ ،‬ﺍﳌﻬﻢ ﻫﻮ ﺃﻥ‬
‫ﺍﳌﺘﺮﺟﻢ ﻟﺴﺒﺐ ﻣﺎ ﺍﺭﺗﺄﻯ ﺃﻥ ﳛﺬﻑ ﺍ‪‬ﺎﺯ‪ ،‬ﻭ ﻳﺘﺎﺑﻊ ﺍﻟﺴﺮﺩ‪ ،‬ﳑﺎ ﺟﻌﻞ ﺍﻷﻣﺮ ﺛﻘﻴﻼ ﺑﻌﺾ ﺍﻟﺸﻲﺀ‪،‬‬
‫ﻭ ﺍﻷﻣﺮ ﺃﻥ ﻫﺬﻩ ﺍﳌﺸﺎﻛﻞ ﺍﻟﱵ ﺗﻄﻔﻮ ﻋﻠﻰ ﺳﻄﺢ ﻫﺬﻩ ﺍﻟﻔﻘﺮﺓ ﻛﺜﲑﺍ ﻣﺎ ﺗﺼﺎﺩﻓﻨﺎ ﻋﻠﻰ ﻃﻮﻝ ﻫﺬﻩ‬
‫ﺍﻟﻨﺴﺨﺔ‪ ،‬ﻓﻠﻮ ﺧﻔﻔﻨﺎ ﺑﻌﺾ ﺍﻟﺸﻲﺀ ﻣﻦ ﺍﻟﺴﺮﺩ‪ ،‬ﻭ ﺍﻟﺘﻜﺮﺍﺭ‪ ،‬ﻻﺳﺘﻘﺎﻡ ﻟﻨﺎ ﻋﻤﻞ ﺟﻴﺪ‪ ،‬ﻭ ﻟﻮ ﻛﻴﻔﻨﺎﻩ ﺃﻛﺜﺮ‬
‫ﻟﻜﺎﻥ ﻣﻨﺎﺳﺒﺎ ﳌﻦ ﻫﻢ ﺩﻭﻥ ﻣﺴﺘﻮﻯ ﺍﻟﻘﺎﺭﺋﲔ ﺍﻟﺬﻱ ﺗﻮﺟﻪ ﺇﻟﻴﻬﻢ‪.‬‬

‫‪ -2.2‬ﺍﻟﺸﺨﺼﻴﺎﺕ*‪:‬‬
‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﻌﻤﻞ ﻓﺈﻧﻨﺎ ﳕﻴﺰ ﻋﺪﺩﺍ ﻣﻦ ﺍﻷﻧﻮﺍﻉ ﻭﻟﻜﻞ ﻣﻨﻬﺎ ﺩﻭﺭ ﻭ ﻓﻌﺎﻟﻴﺔ‬
‫ﳏﺪﺩﺓ‪ ،‬ﺣﺴﺐ ﺍﳌﺴﺎﺣﺔ ﺍﳌﺘﺎﺣﺔ ﳍﺎ ﻣﻦ ﺍﻟﻘﺼﺔ ﺩﻭﺭﻫﺎ ﰲ ﺗﻔﻌﻴﻞ ﺍﻷﺣﺪﺍﺙ ﻭﻣﻨﻬﺎ ﳝﻜﻦ‬
‫ﺃﻥ ﳕﻴﺰ ﻣﺎ ﻳﻠﻲ‪:‬‬
‫ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﺒﻄﻠﺔ‪:‬‬
‫ﻭ ﺃﻋﺘﱪ ﺃﻥ ﳍﺬﺍ ﺍﻟﻌﻤﻞ ﺷﺨﺼﻴﺔ ﺑﻄﻠﺔ ﻭﺍﺣﺪﺓ‪ ،‬ﻓﻬﻲ ﺍﳌﺴﲑ ﺍﻟﺮﺋﻴﺴﻲ ﻟﻠﻌﻤﻞ‬
‫ﻛﻜﻞ ﻛﻤﺎ ﲢﻤﻞ ﻋﻠﻰ ﻛﺎﻫﻠﻬﺎ ﺗﺴﻴﲑ ﺃﺣﺪﺍﺙ ﺍﻟﻘﺼﺔ‪ ،‬ﻭﺍﻟﻔﻌﻞ ﻳﺒﺪﺃ ﻣﻦ‬
‫ﻋﻨﺪﻫﺎ ﺃﻭ ﺑﺴﺒﺒﻬﺎ‪ ،‬ﻭ ﺭﺩ ﺍﻟﻔﻌﻞ ﻏﺎﻟﺒﺎ ﻣﺎ ﻳﺼﺪﺭ ﻋﻨﻬﺎ ﺃﻭ ﺑﺴﺒﺒﻬﺎ‪ ،‬ﺣﱴ ﺃﻥ‬
‫ﺍﻟﻌﻨﻮﺍﻥ ﻋﻠﻰ ﺍﺳﻢ ﺍﻟﺒﻄﻞ ﰲ ﻛﻞ ﺍﻟﺴﻠﺴﻠﺔ‪ ،‬ﻓﻬﺎﺭﻱ ﺍﻟﻄﻔﻞ ﻛﺎﻥ ﺑﺪﺍﻳﺔ ﺍﻟﻘﺼﺔ‪،‬‬
‫ﻭﻫﺎﺭﻱ ﺍﻟﺸﺎﺏ ﻫﻮ ‪‬ﺎﻳﺘﻬﺎ‪ ،‬ﻛﻞ ﺷﻲﺀ ﻳﺪﻭﺭ ﺣﻮﻟﻪ ﻭ ﺑﺴﺒﺒﻪ‪ ،‬ﻭ ﻧﻼﺣﻆ ﺃﻥ‬
‫ﺷﺨﺼﻴﺘﻪ ﻧﺎﻣﻴﺔ ﻓﻬﻲ ﻻ ﺗﻨﻔﻚ ﺗﺘﻄﻮﺭ ﻋﻠﻰ ﻃﻮﻝ ﺍﻟﻘﺼﺔ‪ ،‬ﰲ ﺗﻜﻮﻳﻨﻬﺎ‬
‫ﺍﻟﺸﺨﺼﻲ ﺃﻭ ﰲ ﻃﺮﻳﻘﺔ ﺗﻔﺎﻋﻠﻬﺎ‪ ،‬ﻭﻫﻲ ﺭﻣﺰ ﺍﻟﺸﺠﺎﻋﺔ ﺣﻴﻨﺎ‪ ،‬ﻭ ﺍﻟﻔﻄﻨﺔ ﺣﻴﻨﺎ‬

‫*‪ -‬ﻟﻘﺪ ﺳﺒﻖ ﻭ ﺃﻥ ﲢﺪﺛﻨﺎ ﻋﻦ ﺍﻟﺸﺨﺼﻴﺎﺕ ﰲ ﳕﻄﻬﺎ ﺍﻟﻌﻢ‪ ،‬ﻭ ﻋﻠﻰ ﻫﺬﺍ ﺍﳌﺴﺘﻮﻯ ﳓﻦ ﻻ ﳒﺮﻱ ﺇﱃ ﻣﻘﺎﺑﻠﺔ ﺑﻴﻨﻬﺎ ﻭ ﺑﲔ ﳕﻂ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﳌﻄﺮﻭﺡ ﰲ‬
‫ﺍﻟﻘﺼﺔ‪.‬‬

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‫ﺁﺧﺮ‪ ،‬ﺍﳌﺜﺎﺑﺮﺓ ﻃﻮﺭﺍ‪ ،‬ﻭ ﺍﻷﻣﻞ ﻃﻮﺭﺍ ﺁﺧﺮ‪ ،‬ﻛﻤﺎ ﺃ‪‬ﺎ ﺗﻌﻄﻲ ﻟﻠﻘﺎﺭﺉ ﺇﺣﺴﺎﺳﺎ‬
‫ﺑﺎﻷﻣﺎﻥ‪ ،‬ﻷ‪‬ﺎ ﻏﺎﻟﺒﺎ ﻣﺎ ﺗﻨﺘﻬﻲ ﺑﺎﻟﺴﻴﻄﺮﺓ ﻋﻠﻰ ﻛﺎﻓﺔ ﺃﻣﻮﺭﻫﺎ ﻭ ﺑﺎﻟﺘﺎﱄ ﺍﻟﺒﺤﺚ‬
‫ﻋﻦ ﻣﻐﺎﻣﺮﺓ ﺟﺪﻳﺪﺓ ﳋﻮﺿﻬﺎ‪ ،‬ﻛﻤﺎ ﺃ‪‬ﺎ ﻣﻜﺘﻮﺑﺔ ﺑﻄﺮﻳﻘﺔ ﺗﺴﻬﻞ ﻋﻠﻴﻚ ﺍﻟﺘﻔﺎﻋﻞ‬
‫ﻣﻌﻬﺎ‪ ،‬ﺇﻣﺎ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﺘﻌﺎﻃﻒ ﻣﻌﻬﺎ ﺭﻏﺒﺔ ﰲ ﻧﺼﺮﻫﺎ‪ ،‬ﻭ ﺇﻣﺎ ﺍﳊﻠﻮﻝ ﳏﻠﻬﺎ‪،‬‬
‫ﻛﻤﺎ ﲡﻌﻠﻚ ﻣﻦ ﺟﻬﺔ ﺗﺸﻔﻖ ﻋﻠﻴﻬﺎ‪ ،‬ﻭ ﲣﺎﻑ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﻣﻦ ﻗﻮ‪‬ﺎ‬
‫ﺍﳌﺘﻨﺎﻣﻴﺔ‪ ،‬ﻭ ﻋﻠﻰ ﺍﻟﻌﻤﻮﻡ ﻓﺈ‪‬ﺎ ﺷﺨﺼﻴﺔ ﺗﺴﺘﺤﻖ ﺃﻥ ﺗﻜﻮﻥ ﺍﻟﺒﻄﻠﺔ ﺑﻼ ﻣﻨﺎﺯﻉ‪.‬‬
‫ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﺒﻄﻠﺔ ﺍﳌﺴﺎﻋﺪﺓ‪:‬‬
‫ﻭ ﺗﻨﺤﺼﺮ ﰲ ﺷﺨﺼﻴﺘﲔ ﺧﲑﺗﲔ ﳘﺎ‪" :‬ﺭﻭﻧﺎﻟﺪ ﻭﻳﺰﱄ"‪" ،‬ﻫﲑﻣﻴﻮﻥ ﻏﺮﳒﺮ"‪،‬‬
‫ﺻﺪﻳﻘﺎ ﻫﺎﺭﻱ ﺍﳌﻔﻀﻠﲔ‪ ،‬ﻓﺎﻋﺘﺒﺎﺭﻱ ﳍﻤﺎ ﺷﺨﺼﻴﺎﺕ ﻣﺴﺎﻋﺪﺓ ﻫﻮ ﻷ‪‬ﻤﺎ ﻓﻌﻼ‬
‫ﺗﺪﻋﻤﺎﻥ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺒﻄﻠﺔ ﰲ ﻛﻞ ﻣﺮﺍﺣﻞ ﺍﻟﻘﺼﺔ‪ ،‬ﺇﱃ ﺟﺎﻧﺐ ﺃ‪‬ﻤﺎ ﺗﻨﻤﻮﺍﻥ‬
‫ﺑﺸﻜﻞ ﻃﺮﺩﻱ ﺟﻨﺒﺎ ﺇﱃ ﺟﻨﺐ ﻣﻊ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺒﻄﻠﺔ‪ ،‬ﻭﳍﻤﺎ ﺗﻘﺮﻳﺒﺎ ﻧﻔﺲ‬
‫ﲰﺎ‪‬ﺎ ﺍﻟﺸﺨﺼﻴﺔ‪.‬‬
‫ﻭﺃﺧﺮﻯ ﺷﺮﻳﺮﺓ ﻣﺘﻤﺜﻠﺔ ﰲ ﺷﺨﺼﻴﺔ "ﻟﻮﺭﺩ ﻓﻮﻟﺪﻣﻮﺭﺕ"‪ ،‬ﻓﺮﻏﻢ ﺃ‪‬ﺎ ﺷﺨﺼﻴﺔ‬
‫ﺫﺍﺕ ﻣﺴﺎﺣﺔ ﳏﺪﻭﺩﺓ ﻧﺴﺒﻴﺎ ﺇﻻ ﺃ‪‬ﺎ ﺗﺆﺛﺮ ﻭ ﺑﺸﻜﻞ ﻓﻌﻠﻲ ﻭ ﻣﺒﺎﺷﺮ ﻋﻠﻰ‬
‫ﺍﻟﺸﺨﺼﻴﺔ‪ ،‬ﻋﻠﻰ ﺍﺧﺘﻴﺎﺭﺍ‪‬ﺎ ﻭ ﻗﺮﺍﺭﺍ‪‬ﺎ‪ ،‬ﻛﻤﺎ ﺃ‪‬ﺎ ﺗﺴﺎﻫﻢ ﺃﻳﻀﺎ ﰲ ﻗﻮﻟﺒﺔ‬
‫ﺍﻟﺸﺨﺼﻴﺔ ﻛﻜﻞ ﻋﻦ ﻃﺮﻕ ﺍﻟﺴﻴﻄﺮﺓ ﻋﻠﻰ ﺗﻔﺎﻋﻼ‪‬ﺎ ﺍﻟﻨﻔﺴﻴﺔ‪ .‬ﻛﻤﺎ ﺗﻌﺪ ﺩﺍﺋﻤﺎ‬
‫ﳏﻮﺭﺍ ﻟﺘﺤﻮﻳﻞ ﻣﺴﺎﺭ ﺍﻟﻘﺼﺔ‪ ،‬ﺇﻣﺎ ﺑﺘﺪﺧﻠﻬﺎ ﺍﳌﺒﺎﺷﺮ ﺃﻭ ﻓﻘﻂ ﲟﻤﺎﺭﺳﺔ ﺗﺄﺛﲑﻫﺎ‬
‫ﻋﻠﻰ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺒﻄﻠﺔ‪.‬‬
‫ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﺜﺎﻧﻮﻳﺔ‪:‬‬
‫ﻛﻮ‪‬ﺎ ﺷﺨﺼﻴﺎﺕ ﺛﺎﻧﻮﻳﺔ ﻻ ﻳﻌﲏ ﺃﻧﻪ ﳝﻜﻦ ﻭ ﻻ ﺑﺄﻱ ﺷﻜﻞ ﻣﻦ ﺍﻷﺷﻜﺎﻝ‬
‫ﺍﻻﺳﺘﻐﻨﺎﺀ ﻋﻨﻬﺎ‪ ،‬ﺇﻻ ﺃ‪‬ﺎ ﺗﺄﰐ ﻣﻦ ﺣﻴﺚ ﺍﻟﺘﺄﺛﲑ ﻋﻠﻰ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺒﻄﻠﺔ‬
‫ﻭ ﺃﺣﺪﺍﺙ ﺍﻟﻘﺼﺔ ﺑﻌﺪ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﺒﻄﻠﺔ ﺍﳌﺴﺎﻋﺪﺓ‪ ،‬ﻭ ﻭﺟﻮﺩﻫﺎ ﺿﺮﻭﺭﻱ‬

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‫ﻭ ﺟﻮﻫﺮﻱ‪ ،‬ﻭ ﺗﺸﻤﻞ ﻣﺪﻳﺮ ﺍﳌﺪﺭﺳﺔ ﻭ ﺑﻌﺾ ﺍﻷﺳﺎﺗﺬﺓ ﻭ ﻣﻦ ﺍﻟﻘﻴﻤﲔ ﻋﻠﻰ‬

‫ﻋﺎﱂ ﺍﻟﺴﺤﺮ ﺫﺍﻙ ﳑﺎ ﺗﺘﻘﺎﻃﻊ ﻃﺮﻳﻘﻬﺎ ﻣﻊ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺒﻄﻠﺔ ﺃﻭ ﺗﺸﺎﺭﻙ ﰲ‬
‫ﺗﻔﻌﻴﻞ ﺍﻷﺣﺪﺍﺙ ﰲ ﺃﺣﺪ ﺍﳌﻮﺍﻗﻒ‪ .‬ﻭ ﻋﻠﻰ ﺍﻷﻏﻠﺐ ﻫﻲ ﺷﺨﺼﻴﺎﺕ ﺟﺎﻫﺰﺓ‬
‫ﻭ ﺗﺒﻘﻰ ﺛﺎﺑﺘﺔ ﰲ ﺑﻨﺎﺀﻫﺎ ﺍﻟﻨﻔﺴﻲ‪ ،‬ﻭ ﻣﻮﺍﻗﻔﻬﺎ‪.‬‬
‫ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﺪﺍﻋﻤﺔ ﻟﻠﻌﻤﻞ ﺍﻟﻘﺼﺼﻲ ﻛﻜﻞ‪:‬‬
‫ﻓﻬﻲ ﺷﺨﺼﻴﺎﺕ ﺫﺍﺕ ﺍﳌﺴﺎﺣﺔ ﺍﻷﺿﻴﻖ ﰲ ﺍﻟﻌﻤﻞ ﺇﻻ ﺃ‪‬ﺎ ﺗﻌﻤﻞ ﻋﻠﻰ ﺩﻋﻢ‬
‫ﺍﻟﺒﻨﺎﺀ ﺍﻟﻘﺼﺼﻲ ﻛﻜﻞ‪ ،‬ﻓﻤﻨﻬﺎ ﺍﳌﺒﺎﺷﺮ ﻛﻌﺎﺋﻠﺔ ﻫﺎﺭﻱ‪ ،‬ﻣﻦ ﺍﻟﻮﺍﻟﺪﻳﻦ ﺇﱃ ﺍﳋﺎﻝ‬
‫ﻭ ﺍﳋﺎﻟﺔ ﻭ ﺍﺑﻨﻬﻤﺎ‪ ،‬ﺇﱃ ﺃﺧﺮﻯ ﻣﺘﻔﺮﻗﺔ ﻫﻨﺎ ﻭ ﻫﻨﺎﻙ ﺗﺪﻋﻢ ﺍﳊﺒﻜﺔ‪ ،‬ﻭﺗﺴﺎﻫﻢ ﰲ‬
‫ﺗﻌﻠﻴﻞ ﺑﻌﺾ ﺍﻷﻣﻮﺭ‪ ،‬ﻟﺘﻮﺿﻴﺢ ﻣﺴﺎﺭ ﺍﻟﻘﺼﺔ ﻛﺄﻫﻞ ﻗﺮﻳﺔ "ﺭﻳﺪﻝ"‪ ،‬ﻭﻏﲑﻫﺎ‪...‬‬
‫ﻭ ﺑﻌﺾ ﺃﻋﻮﺍﻥ ﺯﻋﻴﻢ ﺍﻟﺸﺮ‪ ...‬ﻭ ﰲ ﺍﻷﻏﻠﺐ ﻫﻲ ﺍﻷﺧﺮﻯ ﺷﺨﺼﻴﺎﺕ‬
‫ﺟﺎﻫﺰﺓ‪ ،‬ﻭﻣﻨﻬﺎ ﻣﺎ ﳝﻜﻦ ﺍﻻﺳﺘﻐﻨﺎﺀ ﻋﻨﻪ ﻭﻣﻨﻬﺎ ﻣﺎ ﻳﻌﺘﱪ ﺿﺮﻭﺭﻳﺎ ﰲ ﺑﻌﺾ‬
‫ﻣﻮﺍﻗﻒ ﺍﻟﻘﺼﺔ ﳋﻠﻖ ﺍﻷﻟﻔﺔ ﻓﻴﻬﺎ‪ ،‬ﺃﻭ ﻟﺘﻌﻠﻴﻞ ﻛﻤﺎ ﺃﺳﻠﻔﻨﺎ ﻣﺂﻝ ﺍﻷﻣﻮﺭ‪.‬‬

‫ﻭ ﻋﻠﻰ ﺍﻟﻌﻤﻮﻡ ﻓﺈﻥ ﻛﺎﻧﺖ ﺑﻄﻠﺔ ﺃﻭ ﺛﺎﻧﻮﻳﺔ ﺃﻭ ﺩﺍﻋﻤﺔ ﻓﺈ‪‬ﺎ ﺗﺘﻔﺎﻋﻞ ﻣﻌﺎ ﳋﻠﻖ ﻋﺎﱂ ﺑﺎﻫﺮ ﺳﺎﺣﺮ ﺑﺄﺣﺪﺍﺛﻪ‬
‫ﻭﻣﻮﺍﻗﻔﻪ ﺍﻟﻐﺮﻳﺒﺔ‪ ،‬ﺃﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ ﳍﺬﺍ ﺍﻟﺘﻘﺴﻴﻢ ﻓﻬﻮ ﺿﺮﻭﺭﻱ ﻟﻴﺲ ﻹﺭﺟﺎﻉ ﺍﻟﻔﻀﻞ ﻟﻠﺒﻌﺾ ﺩﻭﻧﺎ ﻋﻦ‬
‫ﺍﻵﺧﺮ‪ ،‬ﻓﻼ ﳝﻜﻦ ﻟﺸﺨﺼﻴﺔ ﻣﻬﻤﺎ ﺑﻠﻎ ﻣﺪﺍﻫﺎ ﺃﻭ ﺗﻔﻨﻦ ﺍﻟﻜﺎﺗﺐ ﰲ ﺭﲰﻬﺎ ﻣﻦ ﲢﻤﻞ ﺍﻟﻌﻤﻞ ﻛﻠﻪ ﻋﻠﻰ‬
‫ﻋﺎﺗﻘﻬﺎ‪ ،‬ﻓﻼﺑﺪ ﻟﺬﻟﻚ ﻣﻦ ﺧﻠﻖ ﺍﳉﻮ ﺍﳌﻨﺎﺳﺐ ﻟﺘﻔﺎﻋﻠﻬﺎ ﻛﻠﻬﺎ ﻣﻌﺎ ﺑﺸﻜﻞ ﳝﺘﻊ ﺍﻟﻘﺎﺭﺉ‪.‬‬

‫‪ -2.3‬ﺍﻟﺴﺮﺩ ﻭ ﺍﳊﻮﺍﺭ*‪:‬‬
‫ﻓﺒﺎﻟﻨﺴﺒﺔ ﻟﻠﺴﺮﺩ ﻓﻜﺎﻥ ﺃﻏﻠﺒﻪ ﺳﺮﺩﺍ ﻣﺒﺎﺷﺮﺍ ﺃﻳﻦ ﻳﺘﻤﻮﺿﻊ ﺍﻟﻜﺎﺗﺐ ﺧﺎﺭﺝ ﺍﻟﻘﺼﺔ‬
‫ﻭ ﻳﺘﻮﱃ ﻋﻠﻰ ﻋﺎﺗﻘﻪ ﺃﻣﺮ ﺭﻭﺍﻳﺔ ﺍﻟﻘﺼﺔ ﻣﺒﺎﺷﺮﺓ‪ ،‬ﺣﻴﺚ ﻳﺼﺒﺢ ﺑﺸﻜﻞ ﻣﺎ ﻣﻦ ﺷﺨﻮﺹ‬
‫ﺍﻟﻘﺼﺔ‪ ،‬ﺇﺫ ﳛﺮﻛﻬﺎ ﻣﻦ ﺑﻌﻴﺪ ﺩﻭﻥ ﺍﳊﺎﺟﺔ ﺇﱃ ﺍﻟﻈﻬﻮﺭ ﻛﺸﺨﺼﻴﺔ ﻓﻌﺎﻟﺔ ﻣﺒﺎﺷﺮﺓ‪ ،‬ﻟﻜﻦ‬
‫*‪ -‬ﻭﻣﺎ ﺳﺒﻖ ﻭ ﺃﻥ ﻗﻠﻨﺎﻩ ﻋﻦ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻳﺼﺪﻕ ﻋﻠﻰ ﺍﳊﻮﺍﺭ ﻷﻧﻨﺎ ﰲ ﻫﺬﻩ ﺍﳌﺮﺣﻠﺔ ﻻ ﻳﻌﺪﻭ ﻋﻤﻠﻨﺎ ﺇﻻ ﺃﻥ ﻳﻜﻮﻥ ﻣﻄﺎﺑﻘﺔ ﺍﻟﻨﻈﺮﻱ‬
‫ﻭ ﺍﻟﺘﻄﺒﻴﻘﻲ‪.‬‬

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‫ﻣﺎ ﻻ ﻳﻜﻮﻥ ﻋﻠﻰ ﻟﺴﺎﻥ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻫﻮ ﺣﺘﻤﺎ ﻋﻠﻰ ﻟﺴﺎﻧﻪ‪ ،‬ﻛﻤﺎ ﺃﻧﻪ ﻫﻨﺎﻙ ﻧﻮﻉ ﻣﻦ‬
‫ﺍﳌﻮﻧﻮﻟﻮﺝ ﺍﻟﺪﺍﺧﻠﻲ‪ ،‬ﻭ ﺑﻪ ﺗﻌﱪ ﺍﻟﺸﺨﺼﻴﺔ ﻋﻦ ﺃﻓﻜﺎﺭﻫﺎ ﺑﻨﻔﺴﻬﺎ ﻓﻼ ﻫﻲ ﺗﺼﺮﺡ ﲟﺎ‬
‫ﳚﻮﻝ ﲞﻠﺪﻫﺎ ﻭ ﻻ ﻫﻲ ﲣﻔﻴﻪ ﻋﻦ ﻗﺮﺍﺋﻬﺎ‪ ،‬ﺇﺫ ﻫﻮ ﻛﻼﻡ ﺻﺮﺡ ﺑﻪ ﰲ ﺷﻜﻞ ﺃﻓﻜﺎﺭ‬
‫ﻭ ﺧﻮﺍﻃﺮ‪ ،‬ﻭ ﻫﻮ ﻧﻮﻉ ﻣﻦ ﺍﳊﻮﺍﺭ ﺍﻟﺪﺍﺧﻠﻲ‪ .‬ﻣﺜﻼ‪:‬‬
‫‪-‬‬ ‫‪“At once, Hermione Granger’s voice filled his head, shrill and panicky.‬‬
‫‪‘Your scar hurt? Harry, that’s really serious… write to professor‬‬
‫‪Dumbledore! And I’ll check Common Magical Aliments and‬‬
‫… ”’…‪Afflictions…May be there’s something in there about curse scars‬‬
‫‪p 24.‬‬
‫‪-‬‬ ‫‪“And so he tried to imagine his other best friend Ron Wesley’s reaction,‬‬
‫‪and in a moment, Ron’s long-nosed freckled face seemed to swim‬‬
‫‪before Harry, wearing a bemused expression.‬‬
‫‪‘You scar hurt? But… you-know-who can’t be near you now, can he? I‬‬
‫‪mean…you’d know, wouldn’t you? He’d be trying to do you in again,‬‬
‫‪wouldn’t he? I dunno, Harry, maybe curse scars always twinge a bit…I’ll‬‬
‫‪ask Dad…’”… p 25.‬‬
‫ﻓﻨﻼﺣﻆ ﰲ ﻫﺬﺍ ﺍﳌﺜﺎﻝ ﻧﻮﻉ ﻣﻦ ﺍﳌﻨﻮﻟﻮﺝ ﺍﻟﺪﺍﺧﻠﻲ‪ ،‬ﻓﻬﺎﺭﻱ ﻳﻔﻜﺮ ﻓﻴﻤﺎ ﻗﺪ ﻳﻘﻮﻟﻪ ﺃﺻﺪﻗﺎﺀﻩ ﻋﻦ‬
‫ﺍﻟﻨﺪﺑﺔ ﺍﻟﱵ ﺗﺆﳌﻪ ﺑﺸﻜﻞ ﻏﲑ ﻣﺘﻮﻗﻊ ﻭ ﻣﺮﻳﺐ‪ ،‬ﻓﻬﻮ ﻻ ﻳﻜﻠﻢ ﻧﻔﺴﻪ ﺻﺮﺍﺣﺔ ﻭ ﺇﳕﺎ ﻳﻔﻜﺮ ﰲ ﻣﺎ‬
‫ﻗﺪ ﳚﻴﺒﻪ ﺑﻪ ﺃﺻﺪﻗﺎﺀﻩ ﺇﻥ ﻫﻮ ﺃﺧﱪﻫﻢ ﺑﺎﻷﻣﺮ‪ ،‬ﻓﺄﺻﺪﻗﺎﺀﻩ ﰲ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ﱂ ﻳﻘﻮﻟﻮﺍ ﺍﻟﻜﻼﻡ ﺑﻌﺪ‬
‫ﻷ‪‬ﻢ ﻻ ﻳﻌﺮﻓﻮﻥ ﺑﺎﻷﻣﺮ ﺑﻌﺪ ﻭ ﻟﻜﻦ ﻭﻛﺄﻧﻪ ﻳﻔﻜﺮ ﻋﻠﻰ ﻟﺴﺎ‪‬ﻢ‪ ،‬ﻭ ﳛﺪﺙ ﺑﻪ ﻧﻔﺴﻪ ﰲ ﻧﻔﺲ‬
‫ﺍﻟﻮﻗﺖ‪.‬‬
‫‪-‬‬ ‫‪“Dear Professor Dumbledore, sorry to bother you, but my scar hurt this‬‬
‫‪morning. Yours sincerely, Harry Potter.” P25.‬‬

‫ﻭﻫﺬﺍ ﻣﺜﺎﻝ ﺁﺧﺮ ﻋﻦ ﺍﳌﻨﻮﻟﻮﺝ ﺍﻟﺪﺍﺧﻠﻲ‪ ،‬ﻭ ﻟﻜﻦ ﰲ ﻫﺬﻩ ﺍﳌﺮﺓ ﻳﻠﺠﺄ ﺍﻟﻜﺎﺗﺐ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﻣﺎ‬
‫ﳜﺎﰿ ﺍﻟﺒﻄﻞ ﻃﺮﻳﻘﺔ ﺍﻟﺘﻮﺛﻴﻖ* ﲝﻴﺚ ﻳﻀﻊ ﺍﻟﺒﻄﻞ ﻓﺮﺿﻴﺔ‪ ،‬ﻭ ﺗﻜﻤﻦ ﻓﻴﻤﺎ ﻟﻮ ﻛﺘﺐ ﳌﺪﻳﺮ ﺍﳌﺪﺭﺳﺔ‬
‫*‪ -‬ﻭﻣﺎ ﺳﺒﻖ ﻭ ﺃﻥ ﻗﻠﻨﺎﻩ ﻋﻦ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻳﺼﺪﻕ ﻋﻠﻰ ﺍﳊﻮﺍﺭ ﻷﻧﻨﺎ ﰲ ﻫﺬﻩ ﺍﳌﺮﺣﻠﺔ ﻻ ﻳﻌﺪﻭ ﻋﻤﻠﻨﺎ ﺇﻻ ﺃﻥ ﻳﻜﻮﻥ ﻣﻄﺎﺑﻘﺔ ﺍﻟﻨﻈﺮﻱ‬
‫ﻭ ﺍﻟﺘﻄﺒﻴﻘﻲ‪.‬‬

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‫ﻋﻦ ﺍﳌﺸﻜﻠﺔ ﺍﻟﺴﺎﺑﻘﺔ ﻣﺎﺫﺍ ﻳﻜﻮﻥ ﻣﻮﻗﻒ ﻣﻦ ﻫﻮ ﺃﻛﺜﺮ ﺧﱪﺓ ﻣﻨﻪ ‪ ،‬ﺃﻭ ﻣﺎ ﺇﺫﺍ ﻛﺎﻥ ﻣﻦ ﺩﺍﻋﻲ‬
‫ﻹﺧﺒﺎﺭﻩ ﰲ ﺍﳌﻘﺎﻡ ﺍﻷﻭﻝ‪.‬‬
‫ﻓﻬﻮ ﰲ ﻛﻼ ﺍﳌﺜﺎﻟﲔ ﳛﺎﻭﻝ ﺍﻟﺘﻔﻜﲑ ﰲ ﺣﻞ ﻣﺎ ﻟﻮﺿﻌﻪ ﻋﻦ ﻃﺮﻳﻖ ﻋﺮﺽ ﳎﻤﻮﻋﺔ ﻣﻦ‬
‫ﺍﻻﺣﺘﻤﺎﻻﺕ ﻋﻠﻰ ﻧﻔﺴﻪ‪ ،‬ﳛﺎﻭﺭﻫﺎ ﻟﻴﺨﻠﺺ ‪‬ﺎ ﺇﱃ ﺣﻞ ﻳﺮﺿﻴﻪ‪ ،‬ﳑﺎ ﳚﻌﻞ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺒﻄﻠﺔ‬
‫ﺗﺸﺎﺭﻙ ﺃﻓﻜﺎﺭﻫﺎ‪ ،‬ﻭ ﺧﻮﺍﻃﺮﻫﺎ ﻣﻊ ﺍﳌﺘﻠﻘﻲ‪ ،‬ﺣﱴ ﻳﺸﻌﺮ ﻫﺬﺍ ﺍﻷﺧﲑ ﺃﻧﻪ ﻳﺸﺎﺭﻙ ﰲ ﺇﳚﺎﺩ ﺍﳊﻞ‬
‫ﺑﺸﻜﻞ ﻣﺎ ﻭ ﺑﺎﻟﺘﺎﱄ ﻣﺘﺼﻞ ﺑﺄﺣﺪﺍﺙ ﺍﻟﻘﺼﺔ ﻭ ﳝﺜﻞ ﺟﺰﺀﺍ ﻣﻨﻬﺎ‪.‬‬
‫‪-‬‬ ‫‪“ Dear Sirius,‬‬
‫…‪Thanks for your last letter,‬‬
‫‪I’ll send this with Hedwig when she gets back; she’s off hunting at the‬‬
‫‪moment. Say hello to Buckbeak for me.‬‬
‫‪Harry.” P27-28.‬‬

‫ﻭ ﰲ ﻫﺬﺍ ﺍﳌﺜﺎﻝ ﺃﻳﻀﺎ ﻳﺴﺘﺨﺪﻡ ﺍﻟﻜﺎﺗﺐ ﺗﻘﻨﻴﺔ ﺍﻟﺘﻮﺛﻴﻖ‪ ،‬ﻭ ﻫﻲ ﺑﺎﳌﻨﺎﺳﺒﺔ ﺗﻘﻨﻴﺔ ﺳﺮﺩ ﻋﻦ‬
‫ﻭ ﻫﻲ ﺗﻜﺴﺮ ﺭﻭﺗﲔ‬ ‫‪1‬‬
‫ﻃﺮﻳﻖ ﻋﺮﺽ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﳋﻄﺎﺑﺎﺕ ﺃﻭ ﺍﻟﻴﻮﻣﻴﺎﺕ ﺃﻭ ﺍﻟﻮﺛﺎﺋﻖ‬
‫ﺍﻟﺴﺮﺩ ﺍﻟﻌﺎﺩﻱ ﺣﻴﺚ ﲤﻜﻦ ﺍﳌﺘﻠﻘﻲ ﻣﻦ ﺍﻻﺳﺘﻨﺘﺎﺝ ﻭ ﺍﳌﻼﺣﻈﺔ‪ ،‬ﻭﺍﺳﺘﻘﺮﺍﺀ ﺗﻠﻚ ﺍﻟﻮﺛﺎﺋﻖ‬
‫ﻟﻠﻮﺻﻮﻝ ﺇﱃ ﻣﻘﺎﺻﺪ ﺍﻟﻜﺎﺗﺐ ﻣﻦ ﺧﻼﻝ ﻣﺎ ﻳﻌﺮﺿﻪ ﻋﻠﻴﻪ‪ ،‬ﻛﻤﺎ ﺗﻀﻴﻒ ﻫﺬﻫﺎﻟﻄﺮﻳﻘﺔ‬
‫ﺑﻌﺾ ﺍﻟﺘﺸﻮﻳﻖ ﻭ ﺍﻟﻐﻤﻮﺽ‪ ،‬ﻭ ﺗﻘﺮﺏ ﻋﺎﱂ ﺍﻟﻜﺒﺎﺭ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻄﻔﻞ ﺣﻴﺚ ﻳﺼﺒﺢ‬
‫ﲟﻘﺪﻭﺭﻩ ﺍﳌﺸﺎﺭﻛﺔ ﺑﺸﻜﻞ ﻓﻌﺎﻝ‪ ،‬ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃ‪‬ﺎ ﺗﺴﺘﺪﻋﻲ ﺍﻻﻧﺘﺒﺎﻩ ﻭ ﺍﻟﺬﻛﺎﺀ‪ ،‬ﻛﻤﺎ ﺃ‪‬ﺎ‬
‫ﻃﺮﻳﻘﺔ ﻟﺘﺨﺎﻃﺐ ﺍﻟﻜﺒﺎﺭ ﻣﺎ ﳚﻌﻠﻬﺎ ﻣﻮﺿﻊ ﺗﺮﺣﻴﺐ ﻣﻦ ﺍﻟﻄﻔﻞ‪.‬‬
‫ﺃﻣﺎ ﺍﳊﻮﺍﺭ ﺍﳋﺎﺭﺟﻲ ﻓﺘﺰﺧﺮ ﺑﻪ ﺍﻟﻘﺼﺔ‪ ،‬ﻭ ﻫﺬﺍ ﻣﺎ ﳚﻌﻠﻬﺎ ﺗﻨﺒﺾ ﺑﺎﳊﻴﺎﺓ ﺣﱴ ﺗﻜﺎﺩ ﻛﻞ‬
‫ﺻﻔﺤﺔ ﺗﻘﺮﻳﺒﺎ ﲢﻮﻱ ﺑﻌﻀﺎ ﻣﻨﻪ‪ ،‬ﳑﺎ ﺟﻌﻞ ﺍﻟﻘﺼﺔ ﺧﻔﻴﻔﺔ ﻋﻠﻰ ﺍﻟﻘﺎﺭﺉ ﺭﻏﻢ ﺣﺠﻤﻬﺎ‪،‬‬
‫ﻭ ﺃﻋﻄﻰ ﻟﻠﻤﻐﺎﻣﺮﺓ ﺑﻌﺪﺍ ﺁﺧﺮ‪ ،‬ﻛﻤﺎ ﺟﻌﻞ ﺑﲔ ﺍﻟﻘﺎﺭﺉ ﻭ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻧﻮﻋﺎ ﻣﻦ ﺍﻷﻟﻔﺔ‬

‫‪ -1‬ﻳﻨﻈﺮ‪:‬‬
‫ﺇﳝﺎﻥ ﺑﻘﺎﻋﻲ‪.‬ﻡ‪.‬ﻥ‪.‬ﺹ‪.52‬‬

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‫ ﻭ ﺃﺷﺮﻛﺘﻪ ﰲ ﻧﺰﺍﻋﻬﺎ‬،‫ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃﻥ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺷﺎﺭﻛﺖ ﺍﻟﻘﺎﺭﺉ ﰲ ﺃﻓﻜﺎﺭﻫﺎ‬

:‫ ﻭ ﻣﻨﻪ ﻟﺪﻳﻨﺎ‬.‫ﺿﺪ ﺑﻌﻀﻬﺎ ﺍﻟﺒﻌﺾ‬

- “‘So, he said…’congratulations.’
What d’you means, congratulations? said Harry…
‘Well...no one else got across the age line,’ said Ron.’ not even Fred and
George. What did you use-the Invisibility Cloak?
‘The Invisibility Cloak wouldn’t have got me over that line,’ said Harry
slowly.
‘Oh right,’ said Ron. ‘I thought you might’ve told me if it was the
Cloak… because it would’ve covered both of us, wouldn’t it? But you
found another way, did you?’
‘Listen,’ said Harry, ‘I didn’t put my name in that Goblet….”p251.

- “‘Cup was a portkey ; said Harry,… Took me and Cedric to a grave

yard… and Voldemort was there…Lord Voldemort…’
- Clunk. Clunk. Clunk. Up the marble stairs…
- The dark Lord was there? What happened then?
- Killed Cedric…they killed Cedric…’
- And then?
- Clunk. Clunk. Clunk. Along the corridor…
- Made a potion…got his body back…’ ”… P584.
‫ ﺇﱃ ﺟﺎﻧﺐ ﻣﺸﺎﺭﻛﺘﻚ‬،‫ﻓﺎﳊﻮﺍﺭ ﳚﻌﻠﻚ ﺗﺸﻌﺮ ﻭ ﺃﻧﻚ ﺗﺮﻯ ﻣﺮﺃﻯ ﺍﻟﻌﲔ ﺍﻟﻄﺮﻓﲔ ﺍﳌﺘﺤﺎﻭﺭﻳﻦ‬
‫ ﻛﻤﺎ ﻳﻈﻬﺮ ﺍﻻﻧﻔﻌﺎﻻﺕ ﺑﺸﻜﻞ ﺃﻭﺿﺢ ﻭ ﳚﻌﻞ ﺍﳌﺘﻠﻘﻲ ﺃﻛﺜﺮ ﻗﺮﺑﺎ‬،‫ﺃﻳﻀﺎ ﰲ ﺗﻠﻚ ﺍﻟﻌﻤﻠﻴﺔ‬
.‫ ﻭ ﺑﺎﻟﺘﺎﱄ ﺗﺴﺎﻋﺪﻩ ﻋﻠﻰ ﻋﻴﺶ ﺍﳌﻐﺎﻣﺮﺓ ﺑﺸﻜﻞ ﺃﻓﻀﻞ‬،‫ﻭ ﺍﺗﺼﺎﻻ ﺑﺎﻟﺸﺨﻮﺹ‬
‫ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺃﻧﻪ" ﻗﺪ ﺗﺴﺄﻡ ﻧﻔﺴﻴﺔ ﺍﻟﻄﻔﻞ ﺍﳌﺘﻠﻘﻲ ﻟﻠﺨﻄﺎﺏ ﺍﻟﻘﺼﺼﻲ ﺍﳌﻌﺘﻤﺪ ﻷﺣﺎﺩﻳﺔ ﺍﻟﺴﻴﺎﻕ‬
‫ ﻟﺬﻟﻚ ﻳﻜﻮﻥ ﺍﳊﻮﺍﺭ ﻫﻮ ﺍﻟﺒﻨﻴﺔ‬،‫ﺣﲔ ﻳﺘﺨﺬ ﻣﻦ ﺍﳋﻴﻄﻴﺔ ﺍﻟﺴﺮﺩﻳﺔ ﺃﺳﻠﻮﺑﺎ ﻟﻪ ﻟﺘﻤﺮﻳﺮ ﺍﻟﺮﺳﺎﻟﺔ‬
‫ﺎ ﺃﻛﺜﺮ ﺣﻴﻮﻳﺔ‬‫ ﻻ ﻟﺸﻲﺀ ﺇﻻ ﻟﻜﻮ‬،‫ﺍﻟﺘﻨﻮﻳﻌﻴﺔ ﺍﻷﻛﺜﺮ ﺣﻀﻮﺭﺍ ﺇﱃ ﺟﺎﻧﺐ ﻣﺎ ﺳﻠﻒ ﻋﺮﺿﻪ‬

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‫ﻭ ﻭﺍﻗﻌﻴﺔ ﺗﻨﻘﻞ ﺍﻟﻨﺺ ﺍﻟﻘﺼﺼﻲ ﻣﻦ ﺣﺎﻝ ﺍﻻﻧﻐﻼﻕ ﻭ ﺍﻟﺼﺮﺍﻣﺔ ﺇﱃ ﺣﺎﻝ ﺍﻻﻧﻔﺘﺎﺡ ﻋﻠﻰ ﺍﻟﺘﺠﺮﺑﺔ‬
‫‪1‬‬
‫ﺍﻟﻮﺍﻗﻌﻴﺔ ﺑﺎﻋﺘﺒﺎﺭﻫﺎ ﺣﻀﻮﺭﺍ ﻣﺴﺮﺣﻴﺎ ﰲ ﺍﻟﻨﺺ ﺍﻟﻘﺼﺼﻲ‪".‬‬
‫‪ -2.4‬ﺍﻟﺰﻣﺎﻥ ﻭ ﺍﳌﻜﺎﻥ*‪:‬‬
‫ﺍﻟﺰﻣﻦ ﺍﳌﺘﻤﺎﻳﺰ ﻋﻦ ﺍﻟﻮﺍﻗﻊ ﰲ ﻧﻈﺮﻱ ﻫﻮ ﻣﺎ ﳚﻌﻞ ﺍﻟﻘﺼﺔ ﳑﻴﺰﺓ ﰲ ﻧﻈﺮ ﺍﻟﻄﻔﻞ‪ ،‬ﲟﻌﲎ‬
‫ﺯﻣﻦ ﺧﺎﺭﺝ ﺍﻟﺰﻣﻦ ﺍﻟﻮﺍﻗﻌﻲ‪ ،‬ﻻ ﻳﻬﻢ ﻣﻮﺿﻌﻪ ﻣﻦ ﺍﻟﺴﻠﻢ ﺍﻟﺘﺎﺭﳜﻲ‪ ،‬ﻣﺪﺍﻡ ﺍﳋﻴﺎﻝ ﻓﻴﻪ ﻏﲑ‬
‫ﳏﺪﻭﺩ‪ ،‬ﻭ ﻫﺬﺍ ﳑﺎ ﻳﺰﻳﺪ ﺳﺤﺮﻩ ﻭ ﳚﻌﻞ ﻟﻺﺛﺎﺭﺓ ﻭ ﺍﻟﺘﺸﻮﻳﻖ ﳏﻞ ﻓﻴﻪ‪ ،‬ﻭ ﺍﻟﺰﻣﻦ ﰲ‬
‫ﻗﺼﺘﻨﺎ ﺃﺯﻣﻨﺔ‪ :‬ﺯﻣﻦ ﺧﺮﺍﰲ‪ ،‬ﺃﺳﻄﻮﺭﻱ‪ ،‬ﻭﺍﻗﻌﻲ‪ ،‬ﻭﺧﻴﺎﱄ‪ .‬ﻳﺴﲑﻭﻥ ﺟﻨﺒﺎ ﺇﱃ ﺟﻨﺐ ﻭ ﻣﺎ‬
‫ﳚﻌﻞ ﺫﻟﻚ ﳑﻜﻨﺎ ﻭ ﺳﻠﺴﺎ ﲝﻴﺚ ﻻ ﻳﺸﻌﺮ ﺍﻟﻘﺎﺭﺉ ﺃﻧﻪ ﻳﻨﺘﻘﻞ ﺑﲔ ﺍﻷﺯﻣﻨﺔ ﺃﻭ ﺃﻥ ﺗﺪﺍﺧﻼ‬
‫ﺑﻴﻨﻬﺎ ﻫﻮ ﺍﻟﺰﻣﻦ ﺍﳋﻴﺎﱄ‪ .‬ﻭ ﺍﻟﺰﻣﻦ ﻣﺮﺗﺒﻂ ﺑﺎﳌﻜﺎﻥ ﻓﻌﻠﻰ ﻣﺴﺮﺡ ﻛﻞ ﻣﻜﺎﻥ ﻳﺘﻔﺎﻋﻞ‬
‫ﺍﻟﺰﻣﻦ ﻣﻊ ﻧﻔﺴﻪ ﻟﻴﻨﺘﺞ ﺍﻟﻠﺤﻈﺔ ﺃﻭ ﺍﻵﻧﻴﺔ ﻭ ﻣﻊ ﻏﲑﻩ ﻟﻴﺆﻟﻒ ﺍﳌﺎﺿﻲ ﺃﻭ ﺍﳊﺎﺿﺮ‬
‫ﺃﻭ ﺍﳌﺴﺘﻘﺒﻞ‪.‬‬
‫ﻓﺈﺫﺍ ﺣﺎﻭﻟﻨﺎ ﺣﺼﺮ ﳐﺘﻠﻒ ﺍﻟﺒﻴﺌﺎﺕ ﺍﻟﱵ ﲢﺼﻞ ﻋﻠﻰ ﺃﺭﺿﻬﺎ ﻗﺼﺔ "ﻫﺎﺭﻱ ﺑﻮﺗﺮ" ﻓﺈﻧﻨﺎ‬
‫ﳒﺪ‪ :‬ﻣﱰﻝ ﺍﳋﺎﻟﺔ ﻭ ﺯﻭﺟﻬﺎ ﻭ ﳝﺜﻞ ﺍﻟﻮﺍﻗﻊ ﺍﳌﻌﻴﺶ ﺑﻜﻞ ﺗﻌﻘﻴﺪﺍﺕ ﺍﳊﻴﺎﺓ ﻭ ﻣﺎ ﲤﺎﺭﺳﻪ‬
‫ﻣﻦ ﺿﻐﻮﻁ ﻋﻠﻰ ﺍﻟﻔﱴ ﺑﺎﻋﺘﺒﺎﺭﻩ ﻻ ﻳﺸﻜﻞ ﺟﺰﺀﺍ ﻣﻦ ﺫﻟﻚ ﺍﳌﻜﺎﻥ ﺃﻱ ﺃﻥ ﺍﻟﺰﻣﻦ‬
‫ﺍﻟﻮﺍﻗﻌﻲ ﻟﻴﺲ ﺯﻣﻦ ﻓﻌﺎﻟﻴﺘﻪ ﻭ ﺑﺎﻟﺘﺎﱄ ﻓﻤﻐﺎﻣﺮﺍﺗﻪ ﺗﺴﺘﻠﺰﻡ ﺯﻣﻨﺎ ﺁﺧﺮ‪ ،‬ﻳﺄﰐ ﳏﻴﻂ ﺍﳌﺪﺭﺳﺔ‬
‫ﺍﻟﺬﻱ ﳝﺜﻞ ﺍﻟﺰﻣﻦ ﺍﳋﺮﺍﰲ‪ ،‬ﺍﻟﺬﻱ ﻓﻴﻪ ﺗﺘﺤﻘﻖ ﻛﻞ ﺁﻣﺎﻟﻪ ﻭ ﺃﺣﻼﻣﻪ ﻭ ﻃﻤﻮﺣﺎﺗﻪ‪ ،‬ﰒ‬
‫ﺍﻟﻘﺮﻳﺔ ﺍﻟﱵ ﲢﺎﺫﻱ ﺍﳌﺪﺭﺳﺔ ﻭ ﻛﻞ ﻣﻜﺎﻥ ﺑﲔ ﺍﳌﺪﺭﺳﺔ ﻭ ﺍﻟﻌﺎﱂ ﺍﻟﻮﺍﻗﻌﻲ‪ ،‬ﺃﻳﻦ ﺍﻟﺰﻣﻦ‬
‫ﺍﻷﺳﻄﻮﺭﻱ ﺍﻟﺬﻱ ﺗﺴﻴﻄﺮ ﻋﻠﻴﻪ ﻧﺒﻮﺀﺓ ﻗﺪﳝﺔ‪ ،‬ﺗﻨﺒﺄ ﺑﺼﺮﺍﻉ ﻗﺮﻳﺐ ﺑﲔ ﻗﻮﻯ ﺍﳋﲑ ﻭ ﻗﻮﻯ‬
‫ﺍﻟﺸﺮ‪ ،‬ﺃﻳﻦ ﺗﻈﻬﺮ ﺷﺨﺼﻴﺔ ﻫﺎﺭﻱ ﺍﻷﺳﻄﻮﺭﻳﺔ ﻛﺎﻟﺸﺨﺺ ﺍﳌﻮﻋﻮﺩ ﺍﻟﺬﻱ ﺍﺧﺘﺎﺭﺗﻪ ﺍﻵﳍﺔ‬

‫‪ -1‬ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭﻋﻤﻴﺶ‪.‬ﻡ‪.‬ﻥ ﺹ‪.185‬‬

‫*‪ -‬ﻧﻔﺲ ﺃﻣﺮ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭ ﺍﻟﺴﺮﺩ ﻭ ﺍﳊﻮﺍﺭ ﻳﺼﺢ ﻋﻠﻰ ﺍﻟﺰﻣﺎﻥ ﻭ ﺍﳌﻜﺎﻥ‪ ،‬ﺇﻻ ﺃﻧﲏ ﺣﺎﻭﻟﺖ ﺗﺒﻴﺎﻥ ﺍﳉﺎﻧﺐ ﺍﻷﺳﻄﻮﺭﻱ ﻓﻴﻬﻤﺎ‪.‬‬

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‫ﻣﻦ ﺃﺟﻞ ﺃﻥ ﳜﻠﺺ ﺍﻟﻌﺎﱂ ﻣﻦ ﺍﻟﺸﺮ ﻛﻤﺎ ﰲ ﺍﻷﺳﺎﻃﲑ ﺍﻟﻘﺪﳝﺔ‪ ،‬ﰒ ﺗﺄﰐ ﺃﻣﻜﻨﺔ ﺍﻟﻮﺻﻞ‬
‫ﻭ ﺳﺒﻞ ﺍﻻﻧﺘﻘﺎﻝ ﻣﻦ ﻋﺎﱂ ﺇﱃ ﺁﺧﺮ ﻟﺘﺸﻜﻞ ﺍﻟﺰﻣﻦ ﺍﳋﻴﺎﱄ‪.‬‬
‫ﻓﻬﺎﺭﻱ ﰲ ﺍﻟﻮﺍﻗﻊ ﻃﻔﻞ ﻋﺎﺩﻱ ﻻ ﳝﻠﻚ ﺇﻻ ﺃﻥ ﻳﻄﻴﻊ ﻋﺎﺋﻠﺘﻪ ﺍﳊﺎﺿﻨﺔ‪ ،‬ﻭ ﻳﺘﺤﻤﻞ ﻣﺎ ﻳﻘﻊ‬
‫ﻋﻠﻴﻪ ﻣﻦ ﻇﻠﻢ ﻟﻴﺲ ﻷﻧﻪ ﻻ ﳝﻜﻨﻪ ﺗﻐﲑ ﺍﻟﻮﺍﻗﻊ ﺑﺎﻟﺴﺤﺮ ﻟﻜﻦ ﻷﻥ ﻟﻠﺴﺤﺮ ﻗﻮﺍﻧﲔ‪ ،‬ﰒ‬
‫ﻫﺎﺭﻱ ﰲ ﺍﳌﺪﺭﺳﺔ‪ ،‬ﻃﺎﻟﺐ ﺟﻴﺪ ﺇﱃ ﺣﺪ ﻣﺎ‪ ،‬ﻟﻜﻨﻪ ﺃﻳﻀﺎ ﺍﻟﺒﻄﻞ ﺍﳋﺮﺍﰲ ﺍﻟﺬﻱ ﻻ ﻳﺪﺧﺮ‬
‫ﺟﻬﺪﺍ ﻟﺘﻐﻴﲑ ﻣﺎ ﺣﻮﻟﻪ ﻭ ﺍﻟﺘﺤﻜﻢ ﰲ ﻋﺎﳌﻪ ﺫﺍﻙ ﺑﻐﺾ ﺍﻟﻨﻈﺮ ﻋﻦ ﺍﻟﻘﻮﺍﻧﲔ ﻭ ﺍﻟﻘﻮﺍﻋﺪ‬
‫ﺍﻟﱵ ﲢﻜﻢ ﺫﻟﻚ ﺍﻟﻌﺎﱂ‪ ،‬ﺃﻣﺎ ﻫﺎﺭﻱ ﺧﺎﺭﺝ ﺍﳌﺪﺭﺳﺔ ﰲ ﺫﻟﻚ ﺍﻟﻌﺎﱂ ﻧﻔﺴﻪ ﻓﻬﻮ‬
‫ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﻭ ﺍﻟﺒﻄﻞ ﺍﳌﺆﻟﻪ ﺍﻟﺬﻱ ﻣﻦ ﺍﳌﻔﺘﺮﺽ ﺃﻥ ﻳﺒﻌﺚ ﺍﻟﻌﺎﱂ ﻣﻦ ﺟﺪﻳﺪ ﻭ ﻳﻌﻄﻴﻪ‬
‫ﻭ ﲣﻠﻴﺺ ﺍﻟﻌﺎﱂ‪ .‬ﻭ ﻫﻜﺬﺍ ﺃﺻﺒﺢ‬ ‫ﻧﻔﺴﺎ ﺁﺧﺮ‪ ،‬ﻋﻦ ﻃﺮﻳﻖ ﺗﻨﻔﻴﺬ ﻗﺪﺭﻩ ‪‬ﺰﻡ ﺍﻟﺸﺮ‬
‫ﺍﻟﺰﻣﺎﻥ ﻭ ﺍﳌﻜﺎﻥ ﳊﻤﺔ ﻭﺍﺣﺪﺓ ﻟﻠﺪﻻﻟﺔ ﻋﻠﻰ ﺷﺨﺼﻴﺔ ﺍﻟﺒﻄﻞ ﻭ ﺻﻘﻠﻬﺎ ﻛﻠﻤﺎ ﺍﻧﺘﻘﻞ‬
‫ﺿﻤﻦ ﺇﻃﺎﺭﳘﺎ‪.‬‬
‫‪ -2.5‬ﺑﻨﺎﺀ ﺍﻟﻘﺼﺔ*‪:‬‬
‫ﻟﻘﺪ ﻗﻠﻨﺎ ﺳﺎﺑﻘﺎ ﺑﺄﻥ ﻟﻠﻮﺟﻮﺩ ﺍﻷﺳﻄﻮﺭﻱ ﰲ ﺍﻷﺩﺏ ﻋﺎﻣﺔ ﻭ ﺍﻟﻘﺼﺺ ﺑﺸﻜﻞ ﺧﺎﺹ‬
‫ﻋﺪﺓ ﺃﻭﺟﻪ‪ ،‬ﺃﻭ ﲟﻌﲎ ﺃﺧﺮ ﺗﻔﺪ ﺍﻷﺳﻄﻮﺭﺓ ﻋﻠﻰ ﺍﻷﺩﺏ ﻣﻦ ﻋﺪﺓ ﻣﻨﺎﻓﺬ‪ ،‬ﻓﻤﻦ ﺍﻟﻜﺘﺎﺏ‬
‫ﻣﺎ ﻳﺄﺧﺬ ﺍﳊﺪﺙ ﻭ ﻳﺴﻮﻗﻪ ﰲ ﺇﺑﺪﺍﻋﻪ ﺣﻴﺚ ﻳﻨﺘﻘﻞ ﻣﻦ ﺍﻷﺳﻄﻮﺭﻱ ﺍﳉﻤﺎﻋﻲ ﺇﱃ‬
‫ﺍﻹﺑﺪﺍﻉ ﺍﻟﺸﺨﺼﻲ‪ ،‬ﺃﻭ ﻳﺴﺘﻘﻲ ﺍﻟﺮﻣﺰ ﻭ ﻳﺪﺭﺟﻪ ﺿﻤﻦ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﺃﻭ ﺃﺧﲑﺍ‬
‫ﻳﺴﺘﻮﺣﻲ ﺍﻟﺒﻨﺎﺀ ﺍﻷﺳﻄﻮﺭﻱ ﻭﻳﻘﻴﻢ ﺑﻨﺎﺀﻩ ﺍﻟﻘﺼﺼﻲ ﻋﻠﻰ ﺃﺳﺎﺳﻪ‪.‬‬
‫ﻭﻫﻨﺎﻙ ﻣﺎ ﺩﻓﻌﲏ ﺇﱃ ﺍﻻﻋﺘﻘﺎﺩ ﺑﺄﻥ ﳎﻤﻮﻋﺔ ﻗﺼﺺ "ﻫﺎﺭﻱ ﺑﻮﺗﺮ"‪ ،‬ﳍﺎ ﻣﻦ ﺍﻷﺳﻄﻮﺭﺓ‬
‫ﻣﺎ ﳍﺎ‪ ،‬ﻭ ﻳﻈﻬﺮ ﻫﺬﺍ ﺃﻭﻻ ﻣﻦ ﺧﻼﻝ ﺍ‪‬ﻤﻮﻋﺔ ﺍﻟﻘﺼﺼﻴﺔ ﻛﻜﻞ ﰒ ﻣﻦ ﺧﻼﻝ ﺍﳉﺰﺀ‬
‫ﺍﻟﺬﻱ ﺍﺧﺘﺮﻧﺎﻩ‪:‬‬

‫*‪ -‬ﺃﻣﺎ ﻋﻦ ﺑﻨﺎﺀ ﺍﻟﻘﺼﺔ ﻓﺤﺎﻭﻟﺖ ﺃﻥ ﺃﺭﺑﻂ ﺑﻴﻨﻪ ﻭ ﺑﲔ ﺍﻟﺒﻨﺎﺀ ﺍﻷﺳﻄﻮﺭﻱ ﻟﻴﺲ ﻓﻘﻂ ﰲ ﺷﻜﻠﻪ ﺍﻟﺒﻨﺎﺋﻲ ﻭﺇﳕﺎ ﺣﱴ ﻋﻠﻰ ﻣﺴﺘﻮﻯ‬
‫ﺗﻮﺟﻬﻪ ﺍﳊﻜﺎﺋﻲ‪.‬‬

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‫ﻓﺄﻭﻻ ﻣﻦ ﺧﻼﻝ ﺍ‪‬ﻤﻮﻋﺔ ﻛﻜﻞ‪:‬‬

‫ﺗﺒﺪﺃ ﺍﻟﻘﺼﺔ ﻋﻠﻰ ﺃﺳﺎﺱ ﻧﺒﻮﺀﺓ‪ ،‬ﻗﺪ ﻻ ﺗﻈﻬﺮ ﺑﺸﻜﻞ ﻭﺍﺿﺢ ﻣﻦ ﺧﻼﻝ ﺍﳌﻐﺎﻣﺮﺓ ﺍﻷﻭﱃ‬
‫ﺃﻭ ﺑﺪﺍﻳﺔ ﺍﳌﻐﺎﻣﺮﺓ ﺇﻥ ﺟﺎﺯ ﱄ ﺍﻟﻘﻮﻝ‪ ،‬ﻃﻔﻞ ﻳﻮﻟﺪ ﻭ ﻳﻜﻮﻥ ﺍﻟﻮﺣﻴﺪ ﺍﻟﺬﻱ ﳝﻜﻨﻪ ﺍﻟﻮﻗﻮﻑ‬
‫ﰲ ﻭﺟﻪ ﺳﻴﺪ ﺍﻟﺸﺮ ﺍﳌﻄﻠﻖ‪ ،‬ﻭ ﰲ ﻣﻮﺍﺟﻬﺔ ﺑﻴﻨﻬﻤﺎ ﻻ ﻳﺴﺒﺐ ﻟﻪ ﺇﻻ ﺧﺪﺷﺎ ﺑﺴﻴﻄﺎ‬
‫ﻳﺼﺒﺢ ﻓﻴﻤﺎ ﺑﻌﺪ ﻋﻼﻣﺔ ﲤﻴﺰﻩ ﻛﻤﺎ ﲡﻌﻠﻪ ﻗﺎﺩﺭ ﻋﻠﻰ ﺍﻟﺸﻌﻮﺭ ﺑﻮﺟﻮﺩ ﺳﻴﺪ ﺍﻟﻈﻼﻡ‬
‫ﺑﺎﻟﻘﺮﺏ ﻣﻨﻪ‪ ،‬ﺃﻻ ﻳﺸﺒﻪ ﺫﻟﻚ ﺇﱃ ﺣﺪ ﺑﻌﻴﺪ ﺍﳌﻼﺣﻢ ﺍﻷﺳﻄﻮﺭﻳﺔ ﺍﻟﻴﻮﻧﺎﻧﻴﺔ‪ ،‬ﺣﻴﺚ ﻟﻜﻞ‬
‫ﺑﻄﻞ ﻣﺆﻟﻪ ﺃﻡ ﻻ ﺧﲑ ﺃﻛﻴﺪ ﻋﺪﻭ ﺷﺮﻳﺮ ﻳﺮﻣﺰ ﻟﻪ ﺑﺎﻟﻈﻼﻡ ﻭ ﺍﻟﻌﺎﱂ ﺍﻟﺴﻔﻠﻲ‪ ،‬ﻭ ﺑﺎﳌﻨﺎﺳﺒﺔ‬
‫ﻳﻈﻬﺮ ﺗﺄﺛﺮ ﺍﻟﻜﺎﺗﺒﺔ ‪‬ﺎ ﺑﺸﻜﻞ ﻛﺒﲑ ﻣﻦ ﺧﻼﻝ ﺍﻟﻘﺼﺺ‪.‬‬
‫ﰒ ﺷﻜﻞ ﺍﳌﻐﺎﻣﺮﺍﺕ ﻭ ﺍﻟﱵ ﳝﺮ ‪‬ﺎ ﺍﻟﻔﱴ ﺇﻣﺎ ﰲ ﻣﻮﺍﺟﻬﺔ ﻋﺪﻭﻩ ﺍﳌﻄﻠﻖ‪ ،‬ﺛﻨﺎﺋﻴﺔ ﺍﳋﲑ‬
‫ﻭ ﺍﻟﺸﺮ ﺍﻟﱵ ﻟﻄﺎﳌﺎ ﺃﺳﺴﺖ ﺃﺳﺎﻃﲑﺍ ﻟﺬﺍ‪‬ﺎ‪ ،‬ﺃﻭ ﰲ ﻣﻮﺍﺟﻬﺔ ﳐﺘﻠﻒ ﺍﻷﺧﻄﺎﺭ ﺍﻟﱵ‬
‫ﺗﻌﺮﺽ ﺇﻟﻴﻪ ﻣﻦ ﻫﻨﺎ ﻭ ﻫﻨﺎﻙ‪ ،‬ﻭﻫﻮ ﺧﻠﻴﻂ ﻋﺠﻴﺐ ﻓﻬﻮ ﻣﻦ ﺃﺏ ﺳﺎﺣﺮ ﻭ ﺃﻡ ﺫﺍﺕ ﺩﻣﺎﺀ‬
‫ﳐﺘﻠﻄﺔ‪ ،‬ﺃﻻ ﻳﺮﻣﺰ ﺫﻟﻚ ﻟﺜﻨﺎﺋﻴﺔ ﺍﻟﺒﺸﺮ ﻭ ﺍﻵﳍﺔ‪ ،‬ﻓﻌﺎﺩﺕ ﻣﺎ ﻳﻜﻮﻥ ﻷﻧﺼﺎﻑ ﺍﻵﳍﺔ ﺍﻟﺬﻳﻦ‬
‫ﻳﻌﻴﺸﻮﻥ ﺑﲔ ﺍﻟﻨﺎﺱ ﳑﻴﺰﺍﺕ ﻛﺜﲑﺓ ﻭ ﻳﺘﻌﺮﺿﻮﻥ ﻻﻣﺘﺤﺎﻧﺎﺕ ﻛﺜﲑﺓ ﻭ ﺻﻌﺒﺔ ﰲ ﳏﺎﻭﻟﺔ‬
‫ﻟﺸﻖ ﻃﺮﻳﻖ ﺍﻟﻌﻮﺩﺓ ﳓﻮ ﳎﻤﻊ ﺍﻵﳍﺔ ﻭ ﺑﺎﻟﺘﺎﱄ ﳓﻮ ﺍﻟﻜﻤﺎﻝ ﻭ ﺍﳊﻴﺎﺓ ﺍﻷﺑﺪﻳﺔ‪ .‬ﺃﻣﺎ ﻋﻠﻰ‬
‫ﻣﺴﺘﻮﻯ ﺍﻷﻣﻜﻨﺔ ﻭ ﺍﻷﺯﻣﻨﺔ‪ ،‬ﻓﺎﳌﻜﺎﻥ ﻣﻜﺎﻧﺎﻥ ﳝﻜﻦ ﻟﻠﺴﺤﺮﺓ ﻋﺒﻮﺭ ﺍﻟﺴﺘﺎﺭ ﳓﻮ ﺍﻟﺒﺸﺮ‬
‫ﰲ ﺃﻱ ﻭﻗﺖ ﺑﺪﺍ ﳍﻢ‪ ،‬ﻭﺣﱴ ﻭ ﺟﻮﺩﻫﻢ ﻭﻋﺎﳌﻬﻢ ﻳﺒﻘﻰ ﰲ ﺍﻃﺎﺭ ﻣﺎ ﳛﻜﻰ ﻭﻳﺴﻤﻊ ﻋﻨﻪ‬
‫ﻭﻟﻜﻦ ﻫﻞ ﻷﻱ ﻣﻦ ﺍﻟﺒﺸﺮ ﺍﻟﻌﺎﺩﻳﲔ ﺍﳊﻖ ﰲ ﺍﻟﻌﺒﻮﺭ ﺍﳉﻮﺍﺏ ﻫﻮ ﺣﺘﻤﺎ‪ :‬ﻻ‪ .‬ﻭ ﺍﻟﺰﻣﻦ‬
‫ﳐﺘﻠﻒ ﰲ ﻃﺮﻳﻘﺔ ﺍﻟﻌﻴﺶ‪ ،‬ﺍﻟﺴﻜﻦ‪ ،‬ﺍﻟﻠﺒﺎﺱ ﻭ ﻛﺄﳕﺎ ﲡﻤﺪ ﻭﺛﺒﺖ ﻋﻨﺪ ﻧﻘﻄﺔ ﻣﻌﻴﻨﺔ ﻣﻦ‬
‫ﺍﻟﺘﺎﺭﻳﺦ ﰲ ﺣﲔ ﺃﻛﻤﻞ ﺍﻟﺰﻣﻦ ﺍﻟﻮﺍﻗﻌﻲ ﺷﻖ ﻃﺮﻳﻘﻪ ﳓﻮ ﺍﻷﻣﺎﻡ‪ ...‬ﻭ ﻏﲑﻫﺎ ﻣﻦ ﺍﻷﻣﻮﺭ‬
‫ﺍﻟﱵ ﲡﻌﻞ ﻣﻦ ﻋﺎﱂ ﺍﻟﺴﺤﺮﺓ ﻋﺎﳌﺎ ﺃﺳﻄﻮﺭﻳﺎ‪.‬‬
‫ﺃﻣﺎ ﻓﻴﻤﺎ ﳜﺺ ﺍﻟﻘﺼﺔ ﺍﻟﱵ ﺍﺧﺘﺮﻧﺎﻫﺎ ﻭﻫﻲ " ﻫﺎﺭﻱ ﺑﻮﺗﺮ ﻭﻛﺄﺱ ﺍﻟﻨﺎﺭ"‪ ،‬ﻓﻤﻦ ﺍﻟﻌﻨﻮﺍﻥ‬
‫ﳝﻜﻦ ﺍﺳﺘﻨﺘﺎﺝ ﺍﻟﺘﻮﺟﻪ ﺍﻷﺳﻄﻮﺭﻱ ﻟﻠﻘﺼﺔ‪ ،‬ﻓﻬﻲ ﻣﺒﻨﻴﺔ ﻋﻠﻰ ﺍﻣﺘﺤﺎﻥ ﳝﺮ ﻓﻴﻪ ﺑﻄﻠﻨﺎ‬

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‫ﺑﺜﻼﺙ ﲢﺪﻳﺎﺕ ﻟﻴﻨﺎﻝ ﺍ‪‬ﺪ ﺍﻷﺑﺪﻱ‪ ،‬ﰲ ﻛﻞ ﲢﺪ ﻳﻮﺍﺟﻪ ﻛﺎﺋﻨﺎﺕ ﺃﺳﻄﻮﺭﻳﺔ ﻛﺎﻟﺘﻨﺎﻧﲔ‬
‫ﻭ ﺍﳊﻮﺭﻳﺎﺕ ﻭ ﺍﻟﺴﻔﺎﻧﻜﺲ‪ ،‬ﻟﻴﺨﺘﱪ ﻣﺪﻯ ﺷﺠﺎﻋﺘﻪ‪ ،‬ﻭ ﺻﱪﻩ ﻭ ﻗﻮﺓ ﲢﻤﻠﻪ‪ ،‬ﻳﺬﻛﺮﻧﺎ‬
‫ﺑﺎﻟﺘﺤﺪﻳﺎﺕ ﺍﻹﺛﲏ ﻋﺸﺮﺓ ﺍﻟﱵ ﻣﺮ ‪‬ﺎ " ﻫﺮﻗﻞ" ﰲ ﺍﳌﺜﻮﻟﻮﺟﻴﺎ ﺍﻟﻴﻮﻧﺎﻧﻴﺔ‪ ،‬ﻭ ﻟﻴﺲ ﺍﻟﺒﻨﺎﺀ‬
‫ﺍﻟﺪﻟﻴﻞ ﺍﻟﻮﺣﻴﺪ ﻋﻠﻰ ﺍﻟﻮﺟﻮﺩ ﺍﳉﻮﻫﺮﻱ ﻟﻸﺳﻄﻮﺭﺓ ﺑﻞ ﺣﱴ ﻫﻨﺎﻙ ﺭﻣﻮﺯ ﺃﺳﻄﻮﺭﻳﺔ‬
‫ﺃﺧﺮﻯ‪ ،‬ﻓﻤﺜﻼ ﰲ ﺍﻟﺘﺤﺪﻱ ﺍﻟﺜﺎﻟﺚ‪ ،‬ﺗﻨﺤﺮﻑ ﺍﻷﻣﻮﺭ ﻭ ﺗﻌﺮﻑ ﻣﺴﺎﺭﺍ ﺁﺧﺮ‪ ،‬ﻓﻤﻦ ﲢﺪ‬
‫ﺑﺴﻴﻂ ﺇﱃ ﺍﳌﺸﺎﺭﻛﺔ ﰲ ﻃﻘﻮﺱ ﺃﺳﻄﻮﺭﻳﺔ ﻟﺒﻌﺚ ﳐﻠﻮﻕ ﺇﱃ ﺍﳊﻴﺎﺓ‪ ،‬ﰲ ﻣﻌﺒﺪ‪،‬‬
‫ﻭ ﲟﺒﺎﺭﻛﺔ ﺍﻟﻨﺎﺭ ﻭ ﺗﻘﺪﱘ ﺍﻷﺿﺎﺣﻲ ﻟﻴﺴﺘﻌﻴﺪ ﺍﳌﺨﻠﻮﻕ ﺷﻜﻠﻪ‪ ،‬ﻭﻳﻌﻮﺩ ﻣﻦ ﺟﺪﻳﺪ‬
‫ﳌﻄﺎﺭﺩﺓ ﺑﻄﻠﻨﺎ‪.‬‬
‫ﻭ ﻫﻜﺬﺍ ﻓﺈﻥ ﺍﻟﻘﺼﺔ ﺍﻟﱵ ﺑﲔ ﺃﻳﺪﻧﺎ ﺗﻌﻠﻦ ﻋﻦ ﺍﻟﻮﺟﻮﺩ ﺍﻷﺳﻄﻮﺭﻱ ﰲ ﻛﻞ ﺟﺰﺋﻴﺔ ﻣﻦ‬
‫ﺟﺰﺋﻴﺎ‪‬ﺎ ﺇﱃ ﺟﺎﻧﺐ ﻃﺒﻌﺎ ﺍﳋﺮﺍﰲ‪ ،‬ﻭ ﺍﳋﻴﺎﱄ ﻭ ﺣﱴ ﺑﻌﺾ ﻣﻦ ﺍﻟﻮﺍﻗﻌﻲ ‪.‬‬
‫‪ -2-6‬ﺍﻷﲰﺎﺀ* ﰲ ﻗﺼﺔ "ﻫﺎﺭﻱ ﺑﻮﺗﺮ ﻭ ﻛﺄﺱ ﺍﻟﻨﺎﺭ"‪:‬‬
‫ﰲ ﻫﺬﺍ ﺍﻟﻌﻨﺼﺮ ﻟﻦ ﳓﺎﻭﻝ ﺩﺭﺍﺳﺔ ﺍﻷﲰﺎﺀ ﻣﻦ ﺣﻴﺚ ﻫﻲ ﺃﲰﺎﺀ ﻭ ﻻ ﺣﱴ ﳏﺎﻭﻟﺔ‬
‫ﻣﻄﺎﺑﻘﺘﻬﺎ ﻣﻊ ﺑﻌﺾ ﺍﻷﺳﺎﻃﲑ ﺍﳌﻌﺮﻭﻓﺔ‪ ،‬ﻭ ﺇﳕﺎ ﺳﻨﺤﺎﻭﻝ ﺿﺒﻄﻬﺎ ﺿﻤﻦ ﺇﻃﺎﺭ ﺃﺳﻄﻮﺭﻱ‬
‫ﺇﻥ ﺃﻣﻜﻦ‪ ،‬ﻓﻘﻂ ﻟﻨﺘﻤﻜﻦ ﻣﻦ ﲢﺪﻳﺪ ﺍﻟﺒﻌﺪ ﺍﻟﺮﻣﺰﻱ ﺍﻷﺳﻄﻮﺭﻱ ﰲ ﺍﻟﻘﺼﺔ ﺍﻟﱵ ﺑﲔ‬
‫ﺃﻳﺪﻳﻨﺎ‪ :‬ﺳﻨﻨﺘﻘﻲ ﺍﻟﺒﻌﺾ ﻣﻦ ﺍﻷﲰﺎﺀ ﺑﻌﻀﻬﺎ ﺩﺍﻝ ﻋﻠﻰ ﺷﺨﺼﻴﺎﺕ ﻓﺎﻋﻠﺔ ﺣﻴﺔ ﻭ ﺑﻌﻀﻬﺎ‬
‫ﻋﻠﻰ ﺣﻴﻮﺍﻧﺎﺕ ﻭﺍﻟﺒﻌﺾ ﺍﻵﺧﺮ ﻋﻠﻰ ﲨﺎﺩ‪:‬‬
‫ﻣﺪﻳﺮ ﺍﳌﺪﺭﺳﺔ "ﺩﻣﺒﻠﺪﻭﺭ"‪:‬‬
‫ﺭﻣﺰ ﺍﳋﲑ ﻭ ﺣﺎﻣﻴﻪ‪ ،‬ﻗﺪﺭﺍﺗﻪ ﺍﻟﺴﺤﺮﻳﺔ ﺍﳌﺘﻄﻮﺭﺓ‪ ،‬ﻭ ﻫﻮ ﺍﻟﻌﲔ ﺍﻟﺴﺎﻫﺮﺓ ﻋﻠﻰ ﻛﻞ ﻣﻦ‬
‫ﰲ ﺍﳌﺪﺭﺳﺔ ﺧﺎﺻﺔ ﻫﺎﺭﻱ‪ ،‬ﻛﻤﺎ ﳛﺮﺹ ﻋﻠﻰ ﲢﻘﻴﻖ ﺍﻟﻨﺒﺆﺓ‪ ،‬ﻭ ﺗﻈﻬﺮ ﺷﺨﺼﻴﺘﻪ‬
‫ﺍﻷﺳﻄﻮﺭﻳﺔ ﻣﻦ ﺧﻼﻝ ﲢﺪﻳﻪ ﻟﻌﺎﻣﻞ ﺍﻟﺰﻣﻦ ﻷﻥ ﻋﻤﺮﻩ ﻳﻔﻮﻕ ﻋﻤﺮ ﺃﻱ ﻣﻦ ﺑﻘﻴﺔ‬
‫ﺍﻟﺸﺨﻮﺹ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺣﺪﻭﺩ ﺷﺨﺼﻴﺘﻪ‪ ،‬ﻣﻮﺍﻗﻔﻪ ﺇﺯﺍﺀ ﻣﺎ ﳝﺮ ﻣﻦ ﺃﺣﺪﺍﺙ‪.‬‬

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‫ﺳﻴﺪ ﺍﻟﻈﻼﻡ "ﻓﻮﻟﺪﻣﻮﺭﺕ"‪:‬‬

‫ﺃﻭ ﺣﱴ ﳝﻜﻦ ﺃﻥ ﻧﻘﻮﻝ ﻋﻨﻪ ﺭﺏ ﺍﻟﻌﺎﱂ ﺍﻟﺴﻔﻠﻲ ﻓﻼ ﻳﺘﻮﺍﱏ ﻋﻦ ﺍﻟﻘﺘﻞ ﺃﺑﺪﺍ‪ ،‬ﻭﻫﻮ ﻧﻘﻴﺾ‬
‫ﺩﻣﺒﻠﺪﻭﺭ ﲤﺎﻣﺎ‪ ،‬ﺷﻜﻠﻪ ﻫﻮ ﻧﺼﻒ ﺃﻓﻌﻰ ﻭ ﻧﺼﻒ ﺑﺸﺮ‪ ،‬ﻭ ﳛﺎﻭﻝ ﻣﻨﻊ ﲢﻘﻖ ﺍﻟﻨﺒﺆﺓ‬
‫ﻓﻔﻲ ﲢﻘﻘﻬﺎ ﺩﻣﺎﺭﻩ ﻭ ﻋﻮﺩﺗﻪ ﺇﱃ ﺍﻟﻌﺎﱂ ﺍﻟﺴﻔﻠﻲ‪.‬‬
‫"ﻫﺎﺭﻱ ﺑﻮﺗﺮ"‪:‬‬
‫ﳛﻤﻞ ﻋﻠﻰ ﻋﺎﺗﻘﻪ ﲢﻘﻴﻖ ﺍﻟﻨﺒﻮﺀﺓ‪ ،‬ﺇﱃ ﺟﺎﻧﺐ ﺃﻥ ﳎﻤﻮﻋﺔ ﻣﻐﺎﻣﺮﺍﺗﻪ ﳝﻜﻦ ﺍﻋﺘﺒﺎﺭﻫﺎ‬
‫ﺃﻭﺫﻳﺴﺔ ﺟﺪﻳﺪﺓ‪ ،‬ﺇﺫ ﲢﺘﻮﻱ ﻋﻠﻰ ﻛﻞ ﻣﺎ ﻳﺘﻄﻠﺐ ﺍﻷﻣﺮ ﻟﺘﺤﻮﻳﻠﻬﺎ ﻛﺬﻟﻚ‪.‬‬
‫ﺍﳌﺪﺭﺳﺔ‪:‬‬
‫ﻋﺎﱂ ﺁﺧﺮ‪ ،‬ﺩﺍﺧﻠﻪ ﳝﻜﻦ ﺗﻮﻗﻊ ﺣﺪﻭﺙ ﺃﻱ ﺷﻲﺀ ﻭ ﲢﻘﻴﻖ ﺃﻱ ﺷﻲﺀ ﻭ ﻛﺄﻧﻪ ﻋﺎﱂ ﰲ‬
‫ﺍﻟﺴﻤﺎﺀ‪ ،‬ﻟﻪ ﻛﻴﺎﻧﻪ‪ ،‬ﻭ ﻟﻴﺲ ﺍﻟﻜﻞ ﻣﺮﺣﺐ ‪‬ﻢ ﻓﻴﻪ‪ ،‬ﻓﻘﻂ ﺍﻟﻨﺨﺒﺔ‪ ،‬ﰲ ﺍﻷﺳﺎﻃﲑ ﺍﻟﺸﻌﺒﻴﺔ‬
‫ﲣﺘﻠﻒ ﺍﻟﺘﺴﻤﻴﺎﺕ ﺍﻟﱵ ﺗﻄﻠﻖ ﻋﻠﻴﻪ ﻭ ﻟﻜﻦ ﺍﻟﻜﻞ ﻳﺸﺘﺮﻙ ﰲ ﺭﻏﺒﺘﻬﻢ ﺑﺎﻟﻮﺻﻮﻝ ﺇﻟﻴﻪ‪،‬‬
‫ﳐﻔﻲ ﺟﻴﺪﺍ ﺑﲔ ﺳﺘﺎﺋﺮ ﺍﻟﺴﺤﺮ ﻳﻔﺼﻞ ﺑﲔ ﻋﺎﳌﲔ‪ ،‬ﻭ ﺭﻏﺒﺔ ﺳﻴﺪ ﺍﻟﻈﻼﻡ ﰲ ﺍﻟﻘﻀﺎﺀ ﻋﻠﻴﻪ‬
‫ﺗﺰﻳﺪﻩ ﺃﺳﻄﺮﺓ‪.‬‬
‫ﺍﻟﻜﺄﺱ ﺍﻟﻨﺎﺭﻱ‪:‬‬
‫ﺍﻟﺸﻌﻠﺔ ﺍﻟﱵ ﺗﻈﻞ ﻣﺸﺘﻌﻠﺔ ﻋﻠﻰ ﻃﻮﻝ ﺍﳌﻨﺎﻓﺴﺔ‪ ،‬ﻟﻄﺎﳌﺎ ﻛﺎﻧﺖ ﺍﻟﻨﺎﺭ ﻣﻘﺪﺳﺔ ﰲ ﳐﺘﻠﻒ‬
‫ﺍﳊﻀﺎﺭﺍﺕ ﻛﺮﻣﺰ ﻟﻶﳍﺔ ﻭ ﻫﻲ ﰲ ﺍﻟﻘﺼﺔ ﻭﻛﺄﳕﺎ ﺗﺒﺎﺭﻙ ﺍﻟﺪﻭﺭﺓ‪ ،‬ﺇﱃ ﺟﺎﻧﺐ ﺃ‪‬ﺎ ﲣﺘﺎﺭ‬
‫ﺍﳌﺸﺎﺭﻛﲔ‪.‬‬
‫ﺩﻭﺭﺓ ﺍﻟﺴﺤﺮﺓ ﺍﻟﺜﻼﺙ‪:‬‬
‫ﺩﻭﺭﺓ ﳝﺮ ﻓﻴﻬﺎ ﺍﳌﻤﺘﺤﻨﻮﻥ ﺑﺜﻼﺙ ﻣﺮﺍﺣﻞ‪ ،‬ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺍ‪‬ﺪ ﺍﻷﺑﺪﻱ‪ ،‬ﻭ ﻫﻲ ﻣﻘﻴﺎﺱ‬
‫ﻟﻘﺪﺭﺓ ﺍﻟﺴﺤﺮﺓ ﻋﻠﻰ ﺍﻟﺘﺤﻤﻞ‪ ،‬ﻭﺣﱴ ﻣﺮﺍﺣﻠﻬﺎ ﺗﻔﺘﺮﺽ ﻣﻮﺍﺟﻬﺔ ﻛﺎﺋﻨﺎﺕ ﺃﺳﻄﻮﺭﻳﺔ‪،‬‬

‫*‪ -‬ﻟﻘﺪ ﺣﺎﻭﻟﺖ ﺣﺼﺮ ﺍﻷﲰﺎﺀ ﻛﺮﻣﻮﺯ ﻟﻴﻤﻜﻦ ﺑﻌﺪ ﺫﻟﻚ ﻣﻨﺤﻬﺎ ﺧﺼﺎﺋﺺ ﺃﺳﻄﻮﺭﻳﺔ ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﺗﻜﻮﻳﻦ ﺍﻟﺸﺨﺼﻴﺔ ﰒ ﻣﻦ‬
‫ﺧﻼﻝ ﺍﻟﺮﻣﺰ ﻛﺮﻣﺰ ﻟﻪ ﺃﺑﻌﺎﺩ ﺃﺳﻄﻮﺭﻳﺔ ﻣﻦ ﺧﻼﻝ ﻣﻄﺎﺑﻘﺔ ﺷﺨﺼﻴﺎﺕ ﺃﺳﻄﻮﺭﻳﺔ ﲢﻤﻞ ﻧﻔﺲ ﻫﺬﻩ ﺍﻟﺮﻣﻮﺯ‪.‬‬

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‫ﻭ ﺍﻟﺪﻭﺭﺓ ﻛﻜﻞ ﺫﺍﺕ ﻇﻼﻝ ﺃﺳﻄﻮﺭﻳﺔ ﰲ ﻛﻞ ﺟﺰﺋﻴﺔ ﻣﻨﻬﺎ‪.‬‬

‫ﺍﻟﺴﺤﺮ‪:‬‬
‫ﻭﻟﻘﺪ ﺍﺭﺗﺒﻂ ﺍﻟﺴﺤﺮ ﺑﻜﻞ ﺍﳌﻤﺎﺭﺳﺎﺕ ﺍﻟﻄﻘﻮﺳﻴﺔ ﺍﻟﻘﺪﳝﺔ ﻭ ﻫﻮ ﺃﺳﺎﺱ ﺍﻟﻌﺎﱂ ﺍﻟﺬﻱ‬
‫ﺗﻘﻒ ﻋﻠﻴﻪ ﺍﻟﻘﺼﺔ‪.‬‬
‫ﺇﺷﺎﺭﺓ ﺍﻟﻈﻼﻡ‪:‬‬
‫ﻭ ﻫﻲ ﻋﺒﺎﺭﺓ ﻋﻦ ﲨﺠﻤﺔ ﻭ ﺗﺘﺪﱃ ﻣﻨﻬﺎ ﻛﻠﺴﺎﻥ ﺃﻓﻌﻰ‪ ،‬ﺗﻈﻬﺮ ﰲ ﺍﻟﺴﻤﺎﺀ ﻣﻨﺬﺭﺓ ﺑﻌﻮﺩﺓ‬
‫ﺳﻴﺪ ﺍﻟﻈﻼﻡ‪ ،‬ﺃﻱ ﺃﻧﻪ ﻳﻌﺪﻫﻢ ﺑﺪﻣﺎﺭ ﻣﺆﻛﺪ ﻭ ﺣﺘﻤﻲ‪ ،‬ﻓﺎﳉﻤﺠﻤﺔ ﺭﻣﺰ ﺍﳌﻮﺕ ﻭ ﺭﺣﻠﺔ‬
‫ﺍﻹﻧﺴﺎﻥ ﺍﻷﺑﺪﻳﺔ ﰲ ﻛﺜﲑ ﻣﻦ ﺍﳊﻀﺎﺭﺍﺕ‪ ،‬ﻭ ﺍﻷﻓﻌﻰ ﺭﻣﺰ ﺳﻴﺪ ﺍﻟﻈﻼﻡ ﻭ ﺍﻟﺪﻣﺎﺭ‪،‬‬
‫ﻭ ﻛﻠﻬﺎ ﺭﻣﻮﺯ ﺃﺳﻄﻮﺭﻳﺔ‪.‬‬
‫ﺑﻌﺾ ﺍﻟﻜﺎﺋﻨﺎﺕ ﺍﻷﺧﺮﻯ ﺍﻷﺳﻄﻮﺭﻳﺔ‪:‬‬
‫ﻛﺎﻷﺭﻭﺍﺡ ﺍﻟﱵ ﲡﻮﻝ ﰲ ﺍﳌﺪﺭﺳﺔ‪ ،‬ﺍﻟﺘﻨﺎﻧﲔ‪ ،‬ﺣﻮﺭﻳﺎﺕ ﺍﻟﺒﺤﺮ‪ ،‬ﻭﻛﻠﻬﺎ ﺫﺍﺕ ﺣﻀﻮﺭ‬
‫ﺃﺳﻄﻮﺭﻱ ﺑﲔ‪ ...‬ﻭﻏﲑﻫﺎ ﺍﻟﻜﺜﲑ ﻓﺎﻟﻘﺼﺔ ﺗﺰﺧﺮ ‪‬ﺎ‪.‬‬

‫ﺃﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ ﺇﱃ ﺗﻜﻴﻴﻔﻬﺎ ﻛﻤﺴﻤﻴﺎﺕ ﺑﻐﺾ ﺍﻟﻨﻈﺮ ﻋﻦ ﺧﻠﻔﻴﺘﻬﺎ ﺍﻷﺳﻄﻮﺭﻳﺔ‪ ،‬ﺃﻭ ﻋﻠﻰ ﺃﺳﺎﺱ ﺃ‪‬ﺎ‬
‫ﻣﺴﻤﻴﺎﺕ ﻣﺒﺘﻜﺮﺓ‪ ،‬ﺃﻱ ﻣﻦ ﻭﺣﻲ ﺇﺑﺪﺍﻉ ﺍﻟﻜﺎﺗﺐ ﻛﺎﺳﻢ ﺍﳌﺪﺭﺳﺔ ﻫﻮﺟﻮﺭﺗﺲ‪ ،‬ﻭ ﺍﻟﻠﻌﺒﺔ ﺍﻷﻛﺜﺮ ﺷﻌﺒﻴﺔ‬
‫ﰲ ﺍﳌﺪﺭﺳﺔ ﺍﻟﻜﻮﺩﻳﺘﺶ‪ ،‬ﻭ ﻏﲑ ﺍﻟﺴﺤﺮﺓ ‪... ،Muggles‬ﻭ ﻏﲑﻫﺎ ‪ .‬ﻭﻛﻠﻬﺎ ﺍﺑﺘﻜﺮﻫﺎ ﺍﳌﺒﺪﻉ ﺃﺳﺎﺳﺎ‬
‫ﻟﺪﻻﻟﺔ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﻌﺎﱂ ﺍﳌﺘﻤﻴﺰ‪.‬‬

‫ﺍﻟﺘﻄﺒﻴﻖ ﺍﳌﺒﺎﺷﺮ ﻋﻠﻰ ﺍﳌﺪﻭﻧﺔ‪:‬‬

‫ﱂ ﻳﻜﻦ ﺑﺎﻹﻣﻜﺎﻥ ﺗﻨﺎﻭﻝ ﻛﻞ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ﺗﺮﲨﺔ ﻭﻫﺬﺍ ﺭﺍﺟﻊ ﻟﻄﻮﻟﻪ‪ ،‬ﻟﺬﻟﻚ ﺍﺧﺘﺮﺕ ﻣﻨﻪ ﻫﺬﺍ ﺍﳉﺰﺀ‬
‫ﺍﻟﺬﻱ ﺍﺭﺗﺄﻳﺖ ﺃﻧﻪ ﺃﻛﺜﺮ ﺗﻌﺒﲑﺍ ﻋﻦ ﺯﻋﻤﻲ‪ ،‬ﻭ ﺃﻗﺮﺏ ﺻﻮﺭﺓ ﻣﻦ ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﻷﻧﻪ ﻳﺼﻮﺭ ﰲ ﳎﻤﻞ ﻣﺎ‬
‫ﻳﺼﻮﺭ ﻃﻘﺴﺎ ﻣﻦ ﻃﻘﻮﺱ ﺍﻟﺒﻌﺚ‪ ،‬ﺑﺎﳌﻜﺎﻥ ﻭ ﺍﻟﺰﻣﺎﻥ ﻭ ﺍﻷﺣﺪﺍﺙ‪ ،‬ﻭﻫﺬﺍ ﻻ ﻳﻌﲏ ﺃﻧﻪ ﺍﻟﻮﺣﻴﺪ ﺍﳌﻮﺟﻮﺩ‬

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‫ ﺃﻳﻦ ﻟﻨﺎ ﺑﻌﻀﺎ ﻣﻦ ﺍﳊﺮﻳﺔ ﰲ ﳑﺎﺭﺳﺔ ﺷﻲﺀ ﻣﻦ‬،‫ ﻣﻦ ﻣﻨﻈﻮﺭﻱ ﺍﳋﺎﺹ‬،‫ﰲ ﺍﻟﻌﻤﻞ ﻭ ﺇﳕﺎ ﺍﻷﻛﺜﺮ ﻭﺿﻮﺣﺎ‬
.‫ﺍﻟﺘﺼﺮﻑ‬

:‫ ﺍﻟﻨﺺ ﺍﻷﺻﻞ‬-

— CHAPTER THIRTY-TWO —

Flesh, Blood and Bone

Harry felt his feet slam into the ground; his injured leg gave way and he fell
forwards; his hand let go of the Triwizard Cup at last. He raised his head.
'Where are we?' he said.
Cedric shook his head. He got up, pulled Harry to his feet, and they looked
around.

They had left the Hogwarts grounds completely; they had obviously travelled
miles - perhaps hundreds of miles - for even the mountains surrounding the
castle were gone. They were standing instead in a dark and overgrown
graveyard; the black outline of a small church was visible beyond a large yew
tree to their right. A hill rose above them to their left. Harry could just make
out the outline of a fine old house on the hillside.

Cedric looked down at the Triwizard Cup and then up at Harry.

'Did anyone tell you the Cup was a Portkey?' he asked.

'Nope,' said Harry. He was looking around the graveyard. It was completely
silent, and slightly eerie. 'Is this supposed to be part of the task?'

'I dunno,' said Cedric. He sounded slightly nervous. 'Wands out, d'you
reckon?'

'Yeah,' said Harry glad that Cedric had made the suggestion rather than
him.

They pulled out their wands. Harry kept looking around him. He had, yet
again, the strange feeling that they were being watched.
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'Someone's coming,' he said suddenly.

Squinting tensely through the darkness, they watched the figure
drawing nearer, walking steadily towards them between the graves.
Harry couldn't make out a face; but from the way it was walking,
and holding its arms, he could tell that it was carrying something.
Whoever they were, they were short, and wearing a hooded cloak
pulled up over their head to obscure their face. And - several paces
nearer, the space between them closing all the time - he saw that
the thing in the person's arms looked like a baby . . . or was it
merely a bundle of robes?
Harry lowered his wand slightly, and glanced sideways at Cedric.
Cedric shot him a quizzical look. They both turned back to watch
the approaching figure.
It stopped beside a towering marble headstone, only six feet from
them. For a second, Harry and Cedric and the short figure simply
looked at each other.
And then, without warning, Harry's scar exploded with pain. It
was agony such as he had never felt in all his life; his wand
slipped from his fingers as he put his hands over his face; his
knees buckled; he was on the ground and he could see nothing at
all, his head was about to split open.
From far away, above his head, he heard a high, cold voice say,
'Kill the spare.'
A swishing noise and a second voice, which screeched the words
to the night: 'Avada Kedavra!'
A blast of green light blazed through Harry's eyelids, and he
heard something heavy fall to the ground beside him; the pain in
his scar reached such a pitch that he retched, and then it
diminished; terrified of what he was about to see, he opened his
stinging eyes.
Cedric was lying spread-eagled on the ground beside him. He was
dead.
For a second that contained an eternity, Harry stared into Cedric's
face, at his open grey eyes, blank and expressionless as the
windows of a deserted house, at his half-open mouth, which looked
slightly surprised. And then, before Harry's mind had accepted what he was
seeing, before he could feel anything but numb disbelief, he felt himself being
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pulled to his feet.

The short man in the cloak had put down his bundle, lit his wand, and was
dragging Harry towards the marble headstone. Harry saw the name upon it
flickering in the wand-light before he was forced around and slammed against
it.

TOM RIDDLE

The cloaked man was now conjuring tight cords around Harry, tying him
from neck to ankles to the headstone. Harry could hear shallow, fast
breathing from the depths of the hood; he struggled, and the man hit him - hit
him with a hand that had a finger missing. And Harry realised who was under
the hood. It was Wormtail. 'You!' he gasped.
But Wormtail, who had finished conjuring the ropes, did not reply; he was
busy checking the tightness of the cords, his fingers trembling uncontrollably,
fumbling over the knots. Once sure that Harry was bound so tightly to the
headstone that he couldn't move an inch, Wormtail drew a length of some
black material from the inside of his cloak and stuffed it roughly into Harry's
mouth; then, without a word, he turned from Harry and hurried away. Harry
couldn't make a sound, nor could he see where Wormtail had gone; he
couldn't turn his head to see beyond the headstone; he could see only what
was right in front of him.

Cedric's body was lying some twenty feet away. Some way beyond him,
glinting in the starlight, lay the Triwizard Cup. Harry's wand was on the
ground at his feet. The bundle of robes that Harry had thought was a baby
was close by, at the foot of the grave. It seemed to be stirring fretfully. Harry
watched it, and his scar seared with pain again . . . and he suddenly knew that
he didn't want to see what was in those robes... he didn't want that
bundle opened ...
He could hear noises at his feet. He looked down, and saw a
gigantic snake slithering through the grass, circling the headstone
where he was tied. Wormtail's fast, wheezy breathing was growing
louder again. It sounded as though he was forcing something
heavy across the ground. Then he came back within Harry's range
of vision, and Harry saw him pushing a stone cauldron to the foot

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of the grave. It was full of what seemed to be water - Harry could

hear it slopping around - and it was larger than any cauldron
Harry had ever used; a great stone belly large enough for a full-
grown man to sit in.

The thing inside the bundle of robes on the ground was stirring
more persistently, as though it was trying to free itself. Now
Wormtail was busying himself at the bottom of the cauldron with a
wand. Suddenly there were crackling flames beneath it. The large
snake slithered away into the darkness.

The liquid in the cauldron seemed to heat very fast. The surface
began not only to bubble, but also to send out fiery sparks, as
though it was on fire. Steam was thickening, blurring the outline
of Wormtail tending the fire. The movements beneath the cloak
became more agitated. And Harry heard the high, cold voice again.

'Hurry!'

The whole surface of the water was alight with sparks now. It
might have been encrusted with diamonds. 'It is ready, master.'
'Now ...' said the cold voice.

Wormtail pulled open the robes on the ground, revealing what

was inside them, and Harry let out a yell that was strangled in the
wad of material blocking his mouth.

It was as though Wormtail had flipped over a stone, and revealed

something ugly, slimy and blind - but worse, a hundred times
worse. The thing Wormtail had been carrying had the shape of a
crouched human child, except that Harry had never seen anything
less like a child. It was hairless and scaly- looking, a dark, raw,
reddish black. Its arms and legs were thin and feeble, and its face
- no child alive ever had a face like that — was flat and snake-like,
with gleaming red eyes.
The thing seemed almost helpless; it raised its thin arms, put them
around Wormtail's neck, and Wormtail lifted it. As he did so, his
hood fell back, and Harry saw the look of revulsion on Wormtail's
weak, pale face in the firelight as he carried the creature to the
rim of the cauldron. For one moment, Harry saw the evil, flat face
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illuminated in the sparks dancing on the surface of the potion.

And then Wormtail lowered the creature into the cauldron; there
was a hiss, and it vanished below the surface; Harry heard its frail
body hit the bottom with a soft thud.

Let it drown, Harry thought, his scar burning almost past

endurance, please ... let it drown ...

Wormtail was speaking. His voice shook, he seemed frightened

beyond his wits. He raised his wand, closed his eyes, and spoke to
the night. 'Bone of the father, unknowingly given, you will renew your son!'

The surface of the grave at Harry's feet cracked. Horrified,

Harry watched as a fine trickle of dust rose into the air at
Wormtail's command, and fell softly into the cauldron. The
diamond surface of the water broke and hissed; it sent sparks in
all directions, and turned a vivid, poisonous-looking blue.

And now Wormtail was whimpering. He pulled a long, thin,

shining silver dagger from inside his robes. His voice broke into
petrified sobs. 'Flesh — of the servant — w-willingly given — you will -
revive - your master.'

He stretched his right hand out in front of him - the hand with the
missing finger. He gripped the dagger very tightly in his left hand,
and swung it upwards.

Harry realised what Wormtail was about to do a second before it

happened - he closed his eyes as tightly as he could, but he could
not block the scream that pierced the night, that went through
Harry as though he had been stabbed with the dagger too. He heard
something fall to the ground, heard rmtail's anguished panting, then a
sickening splash, as something was dropped into the cauldron. Harry couldn't
bear to look . . . but the potion had turned a burning red, the light of -hone
through Harry's closed eyelids ...
Wormtail was gasping and moaning with agony. Not until Harry felt
Wormtail's anguished breath on his face did he realise that Wormtail was
right in front of him.

'B-blood of the enemy . . . forcibly taken ... you will . . . resurrect your foe.'

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Harry could do nothing to prevent it, he was tied too tightly . . . squinting
down, struggling hopelessly at the ropes binding him, he saw the shining silver
dagger shaking in Wormtail's remaining hand. He felt its point penetrate the
crook of his right arm, and blood seeping down the sleeve of his torn robes.
Wormtail, still panting with pain, fumbled in his pocket for a glass phial and
held it to Harry's cut, so that a dribble of blood fell into it.

He staggered back to the cauldron with Harry's blood. He poured it inside.

The liquid within turned, instantly, a blinding white. Wormtail, his job done,
dropped to his knees beside the cauldron, then slumped sideways and lay on
the ground, cradling the bleeding stump of his arm, gasping and sobbing.

The cauldron was simmering, sending its diamond sparks in all directions,
so blindingly bright that it turned all else to velvety blackness. Nothing
happened ...

Let it have drowned, Harry thought, let it have gone wrong ...

And then, suddenly, the sparks emanating from the cauldron were
extinguished. A surge of white steam billowed thickly from the cauldron
instead, obliterating everything in front of Harry, so that he couldn't see
Wormtail or Cedric or anything but vapour hanging in the air . . . it's gone
wrong, he thought . . . it's drowned . . . please . . . please let it be dead ....

But then, through the mist in front of him, he saw, with an icy surge of
terror, the dark outline of a man, tall and skeletally thin, rising
slowly from inside the cauldron.
'Robe me,' said the high, cold voice from behind the steam, and
Wormtail, sobbing and moaning, still cradling his mutilated arm,
scrambled to pick up the black robes from the ground, got to his
feet, reached up, and pulled them one-handed over his master's
head.

The thin man stepped out of the
and Harry stared back into the
nightmares for three years. Whiter
scarlet eyes, and a nose that was as
nostrils ...
cauldron, staring at Harry ...
face that had haunted his
than a skull, with wide, livid
flat as a snake's, with slits for

Lord Voldemort had risen again. P552.

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‫ﺍﻟﺘﺮﲨﺔ ﺍﳌﻘﺘﺮﺣﺔ ‪:‬‬

‫"ﻋﻮﺩﺓ ﺳﻴﺪ ﺍﻟﻈﻼﻡ"‪:‬‬

‫ﺷﻌﺮ "ﻫﺎﺭﻱ" ﺑﻘﺪﻣﻴﻪ ﺗﺮﺗﻄﻤﺎﻥ ﺑﺎﻷﺭﺽ‪ ،‬ﻭﱂ ﻳﺴﺘﻄﻊ ﺍﻻﺳﺘﻨﺎﺩ ﻋﻠﻰ ﻗﺪﻣﻪ ﺍﳌﺼﺎﺑﺔ‪ ،‬ﻓﻬﻮﻯ ﻋﻠﻰ‬
‫ﺍﻷﺭﺽ‪ ،‬ﻭﺗﺪﺣﺮﺟﺖ ﻛﺄﺱ ﺍﻟﺪﻭﺭﺓ ﺑﻌﻴﺪﺍ ﻋﻨﻪ‪ ،‬ﰒ ﺭﻓﻊ ﺭﺃﺳﻪ ﻣﺘﺴﺎﺋﻼ‪:‬‬

‫" ﺃﻳﻦ ﳓﻦ؟"‪.‬‬

‫ﻫﺰ "ﺳﻴﺪﺭﻳﻚ" ﺭﺃﺳﻪ‪ ،‬ﰒ ﺃﺳﻨﺪ ﻫﺎﺭﻱ ﻟﻴﻘﻒ ﻋﻠﻰ ﻗﺪﻣﻴﻪ‪ ،‬ﻧﻈﺮﺍ ﺣﻮﳍﻤﺎ‪ ،‬ﰲ ﳏﺎﻭﻟﺔ ﻣﻨﻬﻤﺎ ﻟﻠﺘﻌﺮﻑ‬
‫ﻋﻠﻰ ﺍﳌﻜﺎﻥ‪ ،‬ﻭﻟﻜﻦ ﻳﺒﺪﻭ ﺃ‪‬ﻤﺎ ﺃﺑﻌﺪ ﻣﺎ ﻳﻜﻮﻥ ﻋﻦ ﺃﻱ ﺷﻲﺀ ﻣﺄﻟﻮﻑ ﳍﻤﺎ‪ ،‬ﻭﺗﺒﲔ ﺃ‪‬ﻤﺎ ﻳﻘﻔﺎﻥ ﻋﻠﻰ‬
‫ﺃﺭﺽ ﻣﻘﱪﺓ ﻣﻈﻠﻤﺔ ﲟﺤﺎﺫﺍﺓ ﻛﻨﻴﺴﺔ ﻗﺪﳝﺔ‪.‬‬

‫ﻧﻈﺮ "ﺳﻴﺪﺭﻳﻚ" ﺇﱃ ﺍﻟﻜﺄﺱ ﰒ ﺗﻮﺟﻪ ﺇﱃ "ﻫﺎﺭﻱ" ﻭ ﺳﺄﻟﻪ‪:‬‬

‫" ﻫﻞ ﺃﺧﱪﻙ ﺃﺣﺪ ﺃﻥ ﺍﻟﻜﺄﺱ ﻧﺎﻗﻞ ﺃﺑﻌﺎﺩ"‪.‬‬

‫ﻓﺄﺟﺎﺑﻪ "ﻫﺎﺭﻱ" ﻭﻫﻮ ﻻ ﻳﺰﺍﻝ ﻳﺘﻔﻘﺪ ﺍﶈﻴﻂ ﺣﻮﳍﻤﺎ‪:‬‬

‫" ﻻ‪ ...‬ﻫﻞ ﻫﺬﺍ ﺟﺰﺀ ﻣﻦ ﺍﳌﻬﻤﺔ ؟"‬

‫ﻓﺄﺟﺎﺑﻪ "ﺳﻴﺪﺭﻳﻚ" ﻭﻗﺪ ﺑﺪﺍ ﻋﻠﻴﻪ ﺍﻟﺘﻮﺗﺮ‪:‬‬

‫" ﻻ ﺃﻋﺮﻑ ﻭ ﻟﻜﻦ ﻣﻦ ﺍﻷﻓﻀﻞ ﺃﻥ ﳔﺮﺝ ﻋﺼﻮﺍﻧﺎ"‪.‬‬

‫ﻓﺠﺄﺓ ﺷﻌﺮ "ﻫﺎﺭﻱ" ﻭ ﻛﺄﻥ ﺃﺣﺪ ﻣﺎ ﻳﺮﺍﻗﺒﻬﻤﺎ‪ ،‬ﻟﻴﺼﻴﺢ ﺏ "ﺳﻴﺪﺭﻳﻚ" ﺑﻌﺪﻫﺎ‪:‬‬

‫" ﺃﺣﺪ ﻣﺎ ﻗﺎﺩﻡ!"‬

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‫ﺷﺎﻫﺪﺍ ﻇﻼ ﻳﻘﺘﺮﺏ ﻣﻨﻬﻤﺎ‪ ،‬ﻭ ﻟﺸﺪﺓ ﺍﻟﻈﻼﻡ ﱂ ﻳﺘﺒﻴﻨﺎ ﻣﻦ ﻳﻜﻮﻥ‪ ،‬ﻭ ﻟﻜﻦ ﺑﺪﺍ ﻭ ﻛﺄﻧﻪ ﳛﻤﻞ ﺷﻴﺌﺎ ﺑﲔ‬
‫ﺫﺭﺍﻋﻴﻪ‪ ،‬ﻭﻛﺄﳕﺎ ﳛﻤﻞ ﻃﻔﻼ‪...‬ﺃﻭ ﻟﻔﺎﻓﺔ ﻗﻤﺎﺵ!‬

‫ﺗﻮﻗﻒ ﺍﻟﻮﺍﻓﺪ ﻋﻠﻰ ﻣﻘﺮﺑﺔ ﻣﻨﻬﻤﺎ ﲟﺤﺎﺫﺍﺓ ﺣﺠﺮ ﺭﺧﺎﻣﻲ ﻛﺒﲑ‪ ،‬ﻭ ﻇﻞ ﺍﻟﺜﻼﺛﺔ ﻳﺘﺒﺎﺩﻟﻮﻥ ﺍﻟﻨﻈﺮﺍﺕ ﻟﱪﻫﺔ‪،‬‬
‫ﺣﱴ ﻋﺎﻭﺩ "ﻫﺎﺭﻱ" ﺍﻷﱂ ﺍﻟﺬﻱ ﺗﺴﺒﺒﻪ ﻟﻪ ﺍﻟﻨﺪﺑﺔ ﺩﻭﻥ ﺳﺎﺑﻖ ﺇﻧﺬﺍﺭ‪ ،‬ﻓﺮﻣﻰ ﺑﺎﻟﻌﺼﺎ‪ ،‬ﻭﺭﻓﻊ ﻳﺪﻳﻪ ﻭ ﺍﺧﺬ‬
‫ﻳﺘﺤﺴﺲ ﺭﺃﺳﻪ ﺍﻟﺬﻱ ﻳﻜﺎﺩ ﻳﻨﻔﺠﺮ ﻣﻦ ﺷﺪﺓ ﺍﻷﱂ‪ ،‬ﻭ ﻫﻮ ﳚﺜﻮ ﻋﻠﻰ ﺭﻛﺒﺘﻴﻪ‪.‬‬

‫ﰒ ﲰﻊ "ﻫﺎﺭﻱ" ﺻﻮﺗﺎ ﺑﺎﺭﺩﺍ ﻳﻘﻮﻝ‪:‬‬

‫" ﺍﻗﺘﻞ ﺍﻟﻔﱴ ﺍﻵﺧﺮ"‪.‬‬

‫ﺳﺮﺕ ﺿﻮﺿﺎﺀ ﻏﺮﻳﺒﺔ ﻟﻮﻫﻠﺔ‪ ،‬ﰒ ﲰﻊ "ﻫﺎﺭﻱ" ﺻﻮﺗﺎ ﺁﺧﺮ ﻳﻘﻮﻝ‪:‬‬

‫" ﺍﳌﻮﺕ ﻟﻠﺪﺧﻴﻞ‪ ".‬ﰒ ﻟﻮﺡ ﺑﻌﺼﺎ ﻛﺎﻥ ﳛﻤﻠﻬﺎ‪.‬‬

‫ﻓﺮﺃﻯ "ﻫﺎﺭﻱ" ﺿﻮﺀﺍ ﺃﺧﻀﺮ ﻳﺘﺠﻪ ﺇﻟﻴﻬﻤﺎ‪ ،‬ﻟﻴﺴﻤﻊ ﺑﻌﺪ ﺫﻟﻚ ﺻﻮﺕ ﺍﺭﺗﻄﺎﻡ ﻋﻠﻰ ﺍﻷﺭﺽ‪ ،‬ﻓﺸﻌﺮ‬
‫ﺑﺎﳋﻮﻑ‪ ،‬ﻭ ﺍﺳﺘﺪﺍﺭ ﻟﻴﺠﺪ ﺳﻴﺪﺭﻳﻚ ﻣﻠﻘﺎ ﻋﻠﻰ ﺍﻷﺭﺽ ﺩﻭﻥ ﺣﺮﺍﻙ‪ ...‬ﻟﻘﺪ ﻣﺎﺕ‪.‬‬

‫ﻭ ﱂ ﻳﻔﻖ ﻣﻦ ﺍﻟﺼﺪﻣﺔ ﺇﻻ ﻋﻨﺪﻣﺎ ﺃﺧﺬ ﺍﻟﺮﺟﻞ ﺍﻟﻘﺼﲑ ﻳﺴﺤﺒﻪ ﳓﻮ ﺍﳊﺠﺮ ﺍﻟﺮﺧﺎﻣﻲ‪ ،‬ﻭﺍﻟﺬﻱ ﺍﺗﻀﺢ ﺍﻧﻪ‬
‫ﺷﺎﻫﺪ ﻗﱪ ﻣﻜﺘﻮﺏ ﻋﻠﻴﻪ ﺍﺳﻢ‪ " :‬ﺗﻮﻡ ﺭﻳﺪﻝ"‪.‬‬

‫ﻭﺛﺒﺖ ﺍﻟﺮﺟﻞ ﻫﺎﺭﻱ ﻣﺴﺘﺨﺪﻣﺎ ﻗﻮﺓ ﻋﺼﺎﻩ ﺍﻟﺴﺤﺮﻳﺔ ﰒ ﺷﺮﻉ ﰲ ﺗﻘﻴﺪﻩ ﻋﻠﻰ ﺍﳊﺠﺮ‪ ،‬ﻭ ﻋﺒﺜﺎ ﺣﺎﻭﻝ‬
‫ﻫﺎﺭﻱ ﲣﻠﻴﺺ ﻧﻔﺴﻪ‪ ،‬ﻭ ﻻﺣﻆ "ﻫﺎﺭﻱ" ﺃﻥ ﺃﺣﺪ ﺃﺻﺎﺑﻊ ﻳﺪ ﺍﻟﺮﺟﻞ ﻣﻔﻘﻮﺩﺓ‪ ،‬ﻭ ﻋﻠﻰ ﺍﻟﻔﻮﺭ ﺗﻌﺮﻑ‬
‫ﻋﻠﻴﻪ ﻫﺎﺭﻱ‪ ،‬ﰒ ﺻﺮﺥ ﺑﻮﺟﻬﻪ‪:‬‬

‫" ﻫﺬﺍ ﺃﻧﺖ!"‬

‫ﻭﻟﻜﻦ "ﻭﻭﺭﻣﺘﻴﻞ" ﱂ ﻳﻌﺮﻩ ﺃﻱ ﺍﻧﺘﺒﺎﻩ ﻭ ﻭﺍﺻﻞ ﺷﺪ ﻭﺛﺎﻗﻪ‪ ،‬ﻭﻋﻨﺪﻣﺎ ﺍﻃﻤﺌﻦ ﺇﱃ ﺃﻥ ﺍﻟﻘﻴﺪ ﳏﻜﻢ‪ ،‬ﺃﻏﻠﻖ ﻟﻪ‬
‫ﻓﻤﻪ ﺑﺸﻲﺀ ﻣﺎ‪ ،‬ﻭ ﺍﻧﺼﺮﻑ‪.‬‬

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‫ﺑﺪﺃﺕ ﻟﻔﺎﻓﺔ ﺍﻟﻘﻤﺎﺵ ﺗﺘﺤﺮﻙ ﻋﻨﺪ ﻗﺪﻣﻲ "ﻫﺎﺭﻱ"‪ ،‬ﻓﺸﻌﺮ " ﻫﺎﺭﻱ" ﺑﺎﻷﱂ ﳎﺪﺩﺍ ﻋﻨﺪﺋﺬ ﺃﻳﻘﻦ ﺃﻧﻪ ﻻ‬
‫ﻳﺮﻳﺪ ﻣﻌﺮﻓﺔ ﻣﺎ ﺑﺪﺍﺧﻠﻬﺎ‪.‬‬

‫ﰒ ﲰﻊ "ﻫﺎﺭﻱ" ﺻﻮﺗﺎ ﻏﺮﻳﺒﺎ ﻳﻘﺘﺮﺏ ﻣﻨﻪ ﻓﺈﺫﺍ ﻫﻲ ﺃﻓﻌﻰ ﻋﻤﻼﻗﺔ ﺗﻘﺘﺮﺏ ﻣﻨﻪ‪ ،‬ﻣﻊ ﻋﻮﺩﺓ "ﻭﻭﺭﻣﺘﻴﻞ"‬
‫ﺑﻘﺪﺭ ﻛﺒﲑﺓ ﺗﺘﺴﻊ ﻟﺮﺟﻞ ﺑﺎﻟﻎ‪ .‬ﺃﺷﻌﻞ "ﻭﻭﺭﻣﺘﻴﻞ" ﺍﻟﻨﺎﺭ ﲢﺖ ﺍﻟﻘﺪﺭ ﻓﺄﺑﻌﺪ ﻧﻮﺭ ﺍﻟﺸﻌﻠﺔ ﺍﻷﻓﻌﻰ ﻗﻠﻴﻼ ﳓﻮ‬
‫ﺍﻟﻈﻼﻡ‪.‬ﻭ ﺳﺮﻋﺎﻥ ﻣﺎ ﺑﺪﺃ ﺍﻟﺴﺎﺋﻞ ﰲ ﺍﻟﻘﺪﺭ ﺑﺎﻟﻐﻠﻴﺎﻥ‪ ،‬ﻭﺍﻧﻄﻠﻘﺖ ﻣﻨﻪ ﺷﺮﺍﺭﺍﺕ ﻣﻀﻴﺌﺔ‪ ،‬ﰒ ﲰﻊ "ﻫﺎﺭﻱ"‬
‫ﺍﻟﺼﻮﺕ ﺍﻟﺒﺎﺭﺩ ﻳﻘﻮﻝ‪:‬‬

‫" ﺃﺳﺮﻉ!"‬

‫‪ " -‬ﺇﻧﻪ ﺟﺎﻫﺰ ﻳﺎ ﺳﻴﺪﻱ"‪.‬‬

‫‪ " -‬ﺍﻵﻥ‪"...‬‬
‫ﺃﺧﺬ "ﻭﻭﺭﻣﺘﻴﻞ" ﻣﺎ ﻛﺎﻥ ﺑﺎﻟﻠﻔﺎﻓﺔ ﻭ ﺍﺗﻀﺢ ﺃﻧﻪ ﺷﻲﺀ ﻫﻼﻣﻲ ﺑﻼ ﻣﻼﻣﺢ‪ ...‬ﺑﻞ ﺑﺪﺍ ﺃﺳﻮﺀ ﳑﺎ‬
‫ﺍﻋﺘﻘﺪ "ﻫﺎﺭﻱ" ﲟﺮﺍﺣﻞ‪ .‬ﻛﺎﻥ ﻳﺸﺒﻪ ﻃﻔﻼ ﻛﺴﻴﺤﺎ ﻭ ﺃﺟﺮﺩ‪ ،‬ﺑﻞ ﺑﺪﺍ ﺑﻼ ﺟﻠﺪ‪ ،‬ﺑﻠﺤﻢ ﺃﺳﻮﺩ‬
‫ﺍﻟﻠﻮﻥ ﺑﻪ ﺑﻘﻊ ﲪﺮﺍﺀ‪ ،‬ﺃﻣﺎ ﺃﻃﺮﺍﻓﻪ ﻓﺘﻜﺎﺩ ﺗﻀﻤﺮ ﻟﺸﺪﺓ ﺭﻓﻌﻬﺎ‪ ،‬ﻭﻭﺟﻪ ﺃﻗﺮﺏ ﺇﱃ ﺃﻓﻌﻰ ﻣﻨﻪ ﺇﱃ‬
‫ﻭﺟﻪ ﻃﻔﻞ‪ ،‬ﻭ ﻝ ﻋﻴﻨﺎﻥ ﲪﺮﺍﻭﺍﻥ‪ .‬ﲪﻠﻪ "ﻭﻭﺭﻣﺘﻴﻞ" ﻭ ﺭﻣﻰ ﺑﻪ ﺩﺍﺧﻞ ﺍﻟﻘﺪﺭ‪.‬‬
‫ﰒ ﺃﺧﺬ ﻭﻭﺭﻣﺘﻴﻞ ﻳﺮﺩﺩ‪:‬‬
‫" ﻳﺎ‪ ...‬ﻳﺎ ﻋﻈﺎﻡ‪ ...‬ﻋﻈﺎﻡ ﺍﻷﺏ‪ ،‬ﺎ ﻳﻮﻟﺪ ﻣﻦ ﺟﺪﻳﺪ‪".‬‬
‫ﻭ ﺗﻨﺎﻭﻝ ﻋﻈﻤﺔ ﻛﺒﲑﺓ ﻭ ﺭﻣﻰ ‪‬ﺎ ﺩﺍﺧﻞ ﺍﻟﻘﺪﺭ‪.‬‬
‫" ﻳﺎ‪ ...‬ﻳﺎ ﺃﺿﺤﻴﺔ‪...‬ﺃﺿﺤﻴﺔ ﻣﻦ ﻋﻨﺪ ﺍﳋﺎﺩﻡ‪ ...‬ﺎ ﻳﺒﲏ ﺍﻟﺴﻴﺪ ﺟﺴﺪﻩ ﻣﻦ ﺟﺪﻳﺪ"‪.‬‬
‫ﻭ ﺭﻣﻰ ﺑﻘﻄﻌﺔ ﳊﻢ ﺩﺍﺧﻞ ﺍﻟﻘﺪﺭ‪.‬‬
‫" ﻳﺎ‪ ...‬ﻳﺎ ﺩﻡ‪ ...‬ﻳﺎ ﺩﻡ ﺍﻟﻌﺪﻭ‪ ،‬ﺎ ﺳﻴﻌﻮﺩ ﺍﻟﺴﻴﺪ ﻣﻦ ﺟﺪﻳﺪ‪".‬‬
‫ﻭ ﻣﺮﺭ ﻗﻄﻌﺔ ﻗﻤﺎﺵ ﻋﻠﻰ ﻗﺪﻡ ﻫﺎﺭﻱ ﺍﻟﱵ ﻛﺎﻧﺖ ﺗﱰﻑ‪ ،‬ﰒ ﺭﻣﺎﻫﺎ ﺩﺍﺧﻞ ﺍﻟﻘﺪﺭ‪.‬‬

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‫ﺑﺪﺃ ﺍﻟﻘﺪﺭ ﻳﻐﻠﻲ ﻣﻦ ﺟﺪﻳﺪ ﰒ ﺍﻧﻄﻠﻖ ﻣﻨﻪ ﲞﺎﺭ ﻛﺜﻴﻒ ﺃﺑﻴﺾ‪ .‬ﰒ ﺧﺮﺝ ﺭﺟﻞ ﻃﻮﻳﻞ ﳓﻴﻞ ﻣﻦ‬
‫ﺍﻟﻘﺪﺭ‪ ،‬ﺻﺮﺥ ﺑﺼﻮﺗﻪ ﺍﻟﺒﺎﺭﺩ ﰲ ﻭﺟﻪ "ﻭﻭﺭﻣﺘﻴﻞ"‪:‬‬
‫" ﺃﻳﻦ ﻣﻼﺑﺴﻲ؟"‬
‫ﻭ ﺃﺳﺮﻉ "ﻭﻭﺭﻣﺘﻴﻞ" ﻭ ﺍﻟﺘﻘﻂ ﺍﳌﻼﺑﺲ ﻣﻦ ﺃﺭﺽ ﻭ ﻟﻔﻪ ‪‬ﺎ‪.‬‬
‫ﺣﺪﻕ ﺑﻪ "ﻫﺎﺭﻱ" ﻟﱪﻫﺔ ﻟﻴﺘﺄﻛﺪ ﺑﺄﻧﻪ ﺻﺎﺣﺐ ﺍﻟﻮﺟﻪ ﺍﻟﺸﺎﺣﺐ ﺫﻭ ﺍﻟﻌﻴﻨﲔ ﺍﻟﺸﺎﺧﺼﺘﲔ‪،‬‬
‫ﻭ ﺍﻷﻧﻒ ﺍﻟﻀﺎﻣﺮ ﺍﻟﺸﺒﻴﻪ ﺑﺄﻧﻒ ﺍﻷﻓﻌﻰ‪ ،‬ﺍﻟﺬﻱ ﻟﻄﺎﳌﺎ ﻃﺎﺭﺩﻩ ﰲ ﺃﺣﻼﻣﻪ ﻋﻠﻰ ﻣﺪﻯ ﺛﻼﺙ‬
‫ﺳﻨﻮﺍﺕ‪.‬‬
‫" ﻟﻘﺪ ﻋﺎﺩ ﺳﻴﺪ ﺍﻟﻈﻼﻡ"‪.‬‬
‫ﺍﻟﺘﻌﻠﻴﻖ‪:‬‬

‫ﻓﺒﻌﺪ ﺃﻥ ﺣﺪﺩﻧﺎ ﻧﻮﻉ ﺍﻟﺘﺮﲨﺔ ﺍﻟﱵ ﺳﻨﺘﺨﺬﻫﺎ ﺩﺭﺑﺎ ﻟﻠﻮﺻﻮﻝ ﺑﺎﻟﻨﺺ ﺍﻷﺻﻞ ﺇﱃ ﺍﻟﺒﻴﺌﺔ ﺍﳍﺪﻑ‪،‬‬
‫ﺩﻭﳕﺎ ﲡﻦ ﻻ ﻋﻠﻰ ﺍﻷﺻﻞ ﻭ ﻻ ﻋﻠﻰ ﺍﳍﺪﻑ ﻭ ﰲ ﺇﻃﺎﺭ ﲢﻘﻴﻖ ﺃﻫﺪﺍﻑ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﺍﳌﻌﻠﻨﺔ ﺳﺎﺑﻘﺎ‪ ،‬ﰒ‬
‫ﻭ ﺿﻌﻨﺎ ﻟﻠﻘﺼﺔ ﺇﻃﺎﺭﺍ ﻛﺎﻥ ﰲ ﺣﻘﻴﻘﺔ ﺍﻷﻣﺮ ﲝﺘﺎ ﺗﻮﺛﻴﻘﻴﺎ ﳊﺼﺮ ﻛﻞ ﺍﻟﻌﻮﺍﻣﻞ ﺍﳌﺴﺎﻋﺪﺓ ﻋﻠﻰ ﺗﺮﲨﺔ‬
‫ﺍﻟﻜﻠﻤﺔ ﺍﳌﻠﻔﻮﻇﺔ‪ ،‬ﲟﻌﲎ ﺣﺼﺮﻧﺎ ﺍﻟﻔﻀﺎﺀ ﺍﻟﻌﺎﻡ ﻟﻠﻘﺼﺔ‪ ،‬ﰒ ﺣﺪﺩﻧﺎ ﺍﻟﻨﺺ ﺍﳌﻌﲏ ﺑﺎﻟﺘﺮﲨﺔ‪ ،‬ﻗﻤﻨﺎ ﺑﺎﻟﺘﻄﺒﻴﻖ‬
‫ﺍﳌﺒﺎﺷﺮ ﺑﺎﻻﺳﺘﻨﺎﺩ ﻋﻠﻰ ﻛﻞ ﻣﻦ ﺍﻟﺘﺮﲨﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ‪ ،‬ﻭﺍﻟﺘﺮﲨﺔ ﺍﻟﻌﺮﺑﻴﺔﹸ‪ ،‬ﰒ ﺍﻟﻨﺴﺨﺔ ﺍﳌﺼﻮﺭﺓ ﺳﻴﻨﻤﺎﺋﻴﺎ‪.‬‬

‫ﻭﺍﻟﺴﺒﺐ ﺍﻟﺬﻱ ﺩﻓﻌﲏ ﺇﱃ ﺇﺩﺭﺍﺝ ﺍﻷﺻﻞ ﻛﺎﻣﻼ ﻭ ﺇﺩﺭﺍﺝ ﺍﻟﺘﺮﲨﺔ ﻛﺎﻣﻠﺔ ﻫﻮ ﻷﻧﲏ‬
‫ﻭ ﺟﺪﺕ ﺍﻷﻣﺮ ﺻﺎﺋﺒﺎ‪ ،‬ﺇﱃ ﺟﺎﻧﺐ ﺃﻧﻪ ﻳﻌﻄﻲ ﻧﻈﺮﺓ ﴰﻮﻟﻴﺔ ﻋﻠﻰ ﺍﻟﺘﺮﲨﺔ ﻛﻜﻞ ﻛﻤﺎ ﻳﱪﺯ ﺍﻟﺴﺒﺐ‬
‫ﺍﻟﻜﺎﻣﻦ ﻭﺭﺍﺀ ﺍﺧﺘﻴﺎﺭﺍﰐ‪ ،‬ﻓﻤﺜﻼ ﻗﻤﺖ ﺑﺎﻟﺘﻐﺎﺿﻲ ﻋﻦ ﺑﻌﺾ ﺍﻟﻮﺻﻒ ﰲ ﻫﺬﺍ ﺍﳉﺰﺀ ﺍﳌﺘﺮﺟﻢ ﻷﺳﺒﺎﺏ‬
‫ﻫﻲ‪:‬‬

‫‪ -‬ﺍﻓﺘﺮﺿﺖ ﺍﻃﻼﻋﺎ ﺳﺎﺑﻘﺎ ﻟﻠﻄﻔﻞ ﻋﻠﻰ ﺍﻟﻨﺴﺨﺔ ﺍﳌﺼﻮﺭﺓ ﺳﻨﻴﻤﺎﺋﻴﺎ ﻟﺴﺒﺒﲔ‪ ،‬ﺍﻷﻭﻝ ﺃﻥ ﺍﻟﺘﺮﲨﺔ‬
‫ﻟﻠﻌﺮﺑﻴﺔ ﻗﺪ ﲤﺖ ﺑﻌﺪ ﺻﺪﻭﺭ ﺍﻟﻔﻴﻠﻢ‪ ،‬ﻭ ﺍﻟﺜﺎﱐ ﺃﻥ ﺍﻟﻔﻴﻠﻢ ﻗﺪ ﻻﻗﻰ ﳒﺎﺣﺎ ﲨﺎﻫﲑﻳﺎ ﻛﺒﲑﺍ ﻟﻴﺲ‬
‫ﻓﻘﻂ ﺑﲔ ﺃﻭﺳﺎﻁ ﺍﻟﺼﻐﺎﺭ ﺑﻞ ﺣﱴ ﺑﲔ ﺃﻭﺳﺎﻁ ﺍﻟﻜﺒﺎﺭ ﺃﻳﻀﺎ‪.‬‬

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‫‪ -‬ﺣﱴ ﻭ ﻟﻮ ﻛﺎﻥ ﺍﻓﺘﺮﺍﺿﻲ ﺍﻷﻭﻝ ﺧﺎﻃﺌﺎ ﻓﺈﻧﻨﺎ ﺇﻥ ﳓﻦ ﺃﻛﺜﺮﻧﺎ ﺍﻟﻮﺻﻒ ﻭﺍﻟﺘﻌﻠﻴﻞ ﻓﺈﻥ ﺍﻟﻌﻤﻞ ﻳﻔﻘﺪ‬
‫ﺳﺤﺮﻩ ﻭ ﻗﺪ ﺫﻛﺮﺕ ﺳﺎﺑﻘﺎ ﺑﺄﻥ ﺍﻟﻄﻔﻞ ﻻ ﳝﻴﻞ ﺇﱃ ﺍﻟﺘﻔﺴﲑ ﺍﳌﻨﻄﻘﻲ ﻟﻸﺣﺪﺍﺙ ﻣﺎ ﺩﺍﻡ ﺍﻟﺴﺤﺮ‬
‫ﻣﻮﺟﻮﺩﺍ ﻟﺘﻌﻠﻴﻠﻬﺎ‬
‫‪ -‬ﺍﳌﻬﻢ ﺍﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ ﺍﻷﺣﺪﺍﺙ ﺍﳌﻬﻤﺔ ﻛﻲ ﻻ ﻳﻔﻘﺪ ﺍﳌﻠﻞ ﺍﻟﻄﻔﻞ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺍﳌﺘﺎﺑﻌﺔ ﻭ ﺫﻟﻚ‬
‫ﺑﺘﺨﻔﻴﻒ ﺍﻟﺴﺮﺩ ﻋﻠﻰ ﺣﺴﺎﺏ ﺍﳊﻮﺍﺭ‪ ،‬ﺷﺮﻁ ﺃﻥ ﻻ ﻳﻜﻮﻥ ﺫﻟﻚ ﻋﻠﻰ ﺣﺴﺎﺏ ﺃﺣﺪﺍﺙ ﺃﺳﺎﺳﻴﺔ‬
‫ﰲ ﺍﻟﻘﺼﺔ‪.‬‬
‫ﻛﻤﺎ ﻗﻤﺖ ﺑﺘﻬﺬﻳﺐ ﺣﺪﺛﻲ ﺇﺭﺍﻗﺔ ﺩﻡ "ﻫﺎﺭﻱ" ﻭ ﻗﻄﻊ ﺍﳋﺎﺩﻡ ﻟﻴﺪﻩ ﻣﻦ ﺃﺟﻞ ﺇﻛﻤﺎﻝ ﺍﻟﻄﻘﻮﺱ‪،‬‬
‫ﻛﻨﻮﻉ ﻣﻦ ﺍﻟﺘﺼﺮﻑ ﻷﻥ ﰲ ﺍﳌﺸﻬﺪﻳﻦ ﺑﻌﺾ ﺍﻟﻌﻨﻒ‪ ،‬ﻭﻻ ﺗﻜﺘﻤﻞ ﺍﻟﺼﻮﺭﺓ ﺇﺫﺍ ﺣﺬﻓﻨﺎﳘﺎ ﻓﻬﻤﺎ‬
‫ﺟﻮﻫﺮﻳﺎﻥ‪ ،‬ﻭﺫﻟﻚ ﻣﻦ ﺧﻼﻝ ﺍﺳﺘﺒﺪﺍﻝ ﺍﻷﻭﻝ ﺑﺄﺧﺬ ﺑﻌﺾ ﻟﺪﻡ ﺍﻟﻨﺎﺯﻑ ﻣﺴﺘﻐﻠﺔ ﰲ ﺫﻟﻚ ﻭﺍﻗﻊ‬
‫ﺃﻥ ﻗﺪﻣﻪ ﻣﺼﺎﺑﺔ‪ ،‬ﰒ ﺍﺳﺘﺒﺪﻟﺖ ﺍﻟﺜﺎﱐ ﺑﺘﻘﺪﻣﺔ ﺃﺧﺮﻯ ﻗﻄﻌﺔ ﳊﻢ‪ ،‬ﻣﻔﺴﺤﺔ ﺍ‪‬ﺎﻝ ﻟﻠﻄﻔﻞ ﻟﲑﺑﻄﻬﺎ‬
‫ﲟﻤﺎﺭﺳﺔ ﻃﻘﻮﺳﻴﺔ ﺃﺧﺮﻯ ﻭﺍﳌﺘﻤﺜﻠﺔ ﰲ ﺗﻘﺪﱘ ﺍﻷﺿﺎﺣﻲ ﻣﻦ ﻏﲑ ﺍﻟﺒﺸﺮ‪ .‬ﻭﺑﺬﻟﻚ ﲢﻮﻳﻞ ﺇﺩﺭﺍﻙ‬
‫ﺍﻟﻄﻔﻞ ﻭ ﺗﻮﺟﻴﻬﻪ ﺩﻭﻥ ﺍﳌﺴﺎﺱ ﺑﺎﻷﺳﻄﻮﺭﺓ‪.‬‬

‫ﺃﻣﺎ ﰲ ﺍﳊﺎﻻﺕ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬

‫‪ -‬ﰲ ﺣﺎﻟﺔ ﻣﺎ ﺇﺫﺍ ﻛﺎﻧﺖ ﺍﻟﻠﻐﺔ ﺍﻷﺻﻠﻴﺔ ﻣﻌﻘﺪﺓ‪ ،‬ﻭ ﺍﻷﻓﻜﺎﺭ ﻏﺎﻣﻀﺔ‪.‬‬
‫‪ -‬ﺇﺫﺍ ﱂ ﺗﻜﻦ ﻫﻨﺎﻙ ﲡﺮﺑﺔ ﺳﺎﺑﻘﺔ ﻟﻠﻄﻔﻞ ﻣﻊ ﺍﻟﻌﻤﻞ ﺍﻷﺩﰊ ) ﺍﻟﻔﻴﻠﻢ ﺍﻟﺴﻴﻨﻤﺎﺋﻲ(‪.‬‬
‫‪ -‬ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﺴﺮﺩ ﻳﻌﲎ ﲜﻮﺍﻧﺐ ﺟﻮﻫﺮﻳﺔ ﰲ ﺍﻟﻨﺺ ﻭ ﻻ ﳝﻜﻦ ﺇﻏﻔﺎﻝ ﺫﻛﺮﻫﺎ‪.‬‬

‫ﻛﻨﺎ ﺳﻨﻀﻄﺮ ﺇﱃ ﺍﻟﻘﻴﺎﻡ ﺑﺘﺮﲨﺔ ﺗﺒﺴﻴﻄﻴﺔ‪ ،‬ﻭ ﺫﻟﻚ ﻟﺘﻘﺮﻳﺐ ﺍﻟﺼﻮﺭﺓ ﻣﻦ ﺍﻟﻄﻔﻞ ﻭ ﺗﺴﻬﻴﻞ ﺍﻧﺪﻣﺎﺟﻪ‬
‫ﻣﻌﻬﺎ‪ ،‬ﻓﺎﻟﺘﺮﲨﺔ ﺍﻟﺘﺒﺴﻴﻄﻴﺔ ﻣﻦ ﺷﺄ‪‬ﺎ ﲡﺎﻭﺯ ﻛﻞ ﺗﻠﻚ ﺍﻟﻌﻘﺒﺎﺕ ﺍﻵﻧﻔﺔ ﺍﻟﺬﻛﺮ‪ ،‬ﻓﻬﻲ ﺗﻘﻮﻡ ﻋﻠﻰ‬
‫ﻣﺴﺘﻮﻳﲔ‪ :‬ﻣﺴﺘﻮﻯ ﺃﻭﻝ ﻳﺘﻢ ﺑﲔ ﺍﻟﻠﻐﺔ ﺍﳍﺪﻑ ﻭ ﺍﻷﺻﻞ‪ ،‬ﻭ ﺛﺎﻥ ﻳﺘﻢ ﺩﺍﺧﻞ ﺍﻟﻠﻐﺔ ﺍﳍﺪﻑ‪.‬‬

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‫ﺍﳋﺎﺗــــــﻤﺔ‪:‬‬

‫ﻣﺎ ﳝﻜﻦ ﺍﺳﺘﺨﻼﺻﻪ ﻣﻦ ﻫﺬﺍ ﺍﻟﺒﺤﺚ ﻳﺄﰐ ﻋﻠﻰ ﺍﻟﺸﻜﻞ ﺍﻟﺘﺎﱄ‪:‬‬

‫‪ -‬ﻣﻦ ﺍﻟﻔﺼﻞ ﺍﻷﻭﻝ‪:‬‬

‫ﺇﻥ ﺃﺑﻌﺎﺩ ﺍﻷﺳﻄﻮﺭﺓ ﺗﺘﺴﻊ ﻟﺘﺸﻤﻞ ﺍﳌﻜﺎﻥ ﻭﺍﻟﺰﻣﺎﻥ ﳑﺎ ﻳﻌﲏ ﺃﻧﻪ ﳝﻜﻦ ﺍﻟﻨﻈﺮ ﺇﻟﻴﻬﺎ ﻣﻦ ﺃﻱ ﺯﺍﻭﻳﺔ‬
‫ﻗﺼﺪ ﺩﺭﺍﺳﺘﻬﺎ‪ ،‬ﻭﻣﻊ ﺫﻟﻚ ﳝﻜﻨﻬﺎ ﺃﻥ ﲢﺎﻓﻆ ﻋﻠﻰ ﲤﻴﺰﻫﺎ ﰲ ﻛﻞ ﻣﺮﺓ ﺗﺪﺧﻞ ﻓﻴﻬﺎ ﻋﻠﻰ ﻋﻠﻢ ﻣﻦ‬
‫ﺍﻟﻌﻠﻮﻡ‪ ،‬ﺑﺪﻟﻴﻞ ﺃﻥ ﺗﻌﺮﻳﻔﻬﺎ ﻳﺘﻐﲑ ﻣﻊ ﺗﻐﲑ ﺯﻭﺍﻳﺎ ﺍﻟﺪﺭﺍﺳﺔ ﻭ ﻟﻜﻨﻬﺎ ﺗﺒﻘﻰ ﺩﺍﺋﻤﺎ ﲢﺎﻓﻆ ﻋﻠﻰ‬
‫ﺟﻮﻫﺮﻫﺎ‪ ،‬ﻓﻬﻲ ﻓﻠﺴﻔﺔ ﺣﻴﺎﺓ‪ ،‬ﻭ ﻧﻈﺮﺓ ﻟﻠﻌﺎﱂ‪ ،‬ﻭﺗﺼﻮﺭ ﳌﺎ ﻛﺎﻥ ﻭ ﳌﺎ ﻫﻮ ﺣﺎﺿﺮ ﻭ ﳌﺎ ﺳﻴﻜﻮﻥ‪،‬‬
‫ﻭﻟﻴﺴﺖ ﺃﺑﺪﺍ ﻃﻔﻮﻟﺔ ﻟﻠﻌﻘﻞ ﺍﻟﺒﺸﺮﻱ ﻷ‪‬ﺎ ﺳﺎﻋﺪﺗﻪ ﻋﻠﻰ ﺍﻟﺘﻄﻮﺭ ﻭ ﺍﻛﺘﺴﺎﺏ ﺍﳌﻌﺮﻓﺔ‪ ،‬ﰒ ﻋﻨﺪﻣﺎ‬
‫ﺩﺧﻠﺖ ﻋﻠﻰ ﺍﻷﺩﺏ ﰲ ﳏﺎﻭﻟﺔ ﻣﻨﻬﺎ ﻟﻠﻬﺮﻭﺏ ﻣﻦ ﺳﻠﻄﺔ ﺍﻟﺰﻣﻦ‪ .‬ﲤﻜﻨﺖ ﻣﻦ ﺍﻻﺳﺘﻤﺮﺍﺭ‬
‫ﻭ ﺍﻟﺘﻌﺎﻳﺶ ﻣﻊ ﺍﻷﺟﻨﺎﺱ ﺍﻷﺩﺑﻴﺔ ﻭ ﺧﻠﻖ ﺃﺟﻨﺎﺱ ﺃﺧﺮﻯ ﺟﺪﻳﺪﺓ ﻛﺎﳌﻼﺣﻢ ﻣﺜﻼ‪ ،‬ﻓﻬﻲ ﺍﳋﺮﺍﻓﺔ‪،‬‬
‫ﻭ ﻫﻲ ﻗﺼﺔ ﺍﻟﺒﻄﻞ‪ ،‬ﻭ ﻫﻲ ﺍﳌﻠﺤﻤﺔ‪ ،‬ﻭﻫﻲ ﺍﻟﺸﻌﺮ ﻭ ﺍﻟﻨﺜﺮ‪ ،‬ﻓﻤﺎﻫﻴﺘﻬﺎ ﲢﺪﺩ ﺃﻳﻦ ﻣﻦ ﻫﺆﻻﺀ ﻫﻲ‪،‬‬
‫ﻓﻤﺜﻼ ﺃﺳﺎﻃﲑ ﺍﳋﻠﻖ ﻭ ﺍﳌﻮﺕ ﻭ ﺍﻟﺒﻌﺚ‪ ،‬ﺧﺎﺭﺝ ﺇﻃﺎﺭﻫﺎ ﺍﻻﺟﺘﻤﺎﻋﻲ ﺍﳉﻐﺮﺍﰲ ﻫﻲ ﺧﺮﺍﻓﺔ‪،‬‬
‫ﻭ ﺻﺮﺍﻉ ﺍﻵﳍﺔ ﻣﻊ ﺍﻟﺒﺸﺮ‪ ،‬ﻭ ﲢﺪﻱ ﻫﺆﻻﺀ ﺑﺪﻋﻢ ﻣﻦ ﺁﳍﺔ ﺁﺧﺮﻳﻦ ﻳﱪﺯ ﺍﻷﺑﻄﺎﻝ ﻭ ﺃﻧﺼﺎﻑ‬
‫ﺍﻵﳍﺔ ﻭﻫﻜﺬﺍ‪ ...‬ﻭ ﺑﺎﻟﺘﺎﱄ ﻭ ﻧﺘﺎﺝ ﻫﺬﺍ ﻛﻠﻪ ﺃ‪‬ﺎ ﻛﻴﺎﻥ ﺗﺎﻡ ﻭ ﻣﺘﻜﺎﻣﻞ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﻭ ﻗﺪ‬
‫ﺃﺳﻬﻤﺖ ﺗﺮﺍﻛﻤﺎﺕ ﻗﺮﻭﻥ ﻣﻦ ﺃﺧﻴﻠﺔ ﺍﻟﺒﺸﺮ ﰲ ﺻﻘﻠﻬﺎ‪.‬‬
‫‪ -‬ﻣﻦ ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﱐ‪:‬‬
‫ﻣﺎ ﺃﻭﺩ ﺍﻟﺘﺄﻛﻴﺪ ﻋﻠﻴﻪ ﻫﻮ ﺃﻥ ﺍﻟﻜﺘﺎﺑﺔ ﻟﻠﻄﻔﻞ ﻟﻴﺲ ﺍﻧﺘﻘﺎﺻﺎ ﻣﻦ ﺷﺄﻥ ﺍﻟﻜﺎﺗﺐ ﻓﻬﻲ ﺗﺒﺪﻭ ﺳﻬﻠﺔ‬
‫ﻭ ﻟﻜﻨﻬﺎ ﺃﺻﻌﺐ ﺑﻜﺜﲑ ﳑﺎ ﺗﺒﺪﻭ ﻋﻠﻴﻪ‪ ،‬ﻭ ﻋﻠﻰ ﺍﻟﻌﻤﻮﻡ ﻓﺈﻥ ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ ﺇﻣﺎ ﰲ ﺍﻟﻮﻃﻦ ﺍﻟﻌﺮﰊ‬
‫ﺃﻭ ﰲ ﺍﻟﻌﺎﱂ ﻣﺎ ﻳﺰﺍﻝ ﰲ ﺑﺪﺍﻳﺎﺗﻪ ﻭ ﳝﺜﻞ ﻣﻴﺪﺍﻥ ﺧﺼﺒﺎ ﻭﻭﺍﻋﺪﺍ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺪﺭﺍﺳﺎﺕ ﺍﳊﺪﻳﺜﺔ‪ ،‬ﻭ ﺃﻥ‬
‫ﻣﻦ ﺃﻫﻢ ﳑﻴﺰﺍﺗﻪ ﺃﻧﻪ‪:‬‬
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ﻳﻌﲎ ﲟﺨﺘﻠﻒ ﻗﻀﺎﻳﺎ ﺍﻟﻄﻔﻮﻟﺔ ﻭﺭﻏﺒﺎ‪‬ﺎ ﻭ ﻣﻴﻮﻻ‪‬ﺎ‪.‬‬
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ﳜﺘﻠﻒ ﻋﻦ ﺃﺩﺏ ﺍﻟﻜﺒﺎﺭ ﺷﻜﻼ ﻭ ﺿﻤﻮﻧﺎ‪.‬‬
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ﳝﻜﻦ ﺃﻥ ﻳﺘﻘﺒﻞ ﻛﻞ ﺃﻧﻮﺍﻉ ﺍﻟﻔﻠﻜﻠﻮﺭ ﺍﻟﺸﻌﱯ ﻣﺎﺩﺍﻣﺖ ﱂ ﲣﺮﺝ ﻣﻦ ﺇﻃﺎﺭ ﺍﳋﻴﺎﻝ‬

‫ﻭﺍﻟﺘﺸﻮﻳﻖ ﻭ ﺑﺎﻟﺘﺎﱄ ﺍﳌﻐﺎﻣﺮﺓ ﺑﻜﻞ ﺃﻧﻮﺍﻋﻬﺎ‪.‬‬
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ﳝﻜﻦ ﺿﺒﻄﻪ ﺿﻤﻦ ﻣﻌﺎﻳﲑ ﳏﺪﺩﺓ ﻭ ﺫﻟﻚ ﻟﺘﺤﻘﻴﻖ ﺍﳌﻘﺒﻮﻟﻴﺔ ﻟﺪﻯ ﺍﻟﻄﻔﻞ‪.‬‬
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ﺍﻟﻠﻐﺔ ﺍﳌﻜﺘﻮﺑﺔ ﰲ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻟﻴﺴﺖ ﺍﻟﻠﻐﺔ ﺍﻟﻮﺣﻴﺪﺓ ﺍﻟﱵ ﳝﻜﻦ ﺍﻟﺘﻮﺟﻪ ‪‬ﺎ ﺇﻟﻴﻪ‪ ،‬ﺇﺫ‬
‫ﻟﺪﻳﻨﺎ ﺍﻟﺼﻮﺭﺓ‪ ،‬ﺍﻟﺼﻮﺕ‪ ،‬ﻭ ﺍﻟﺸﻜﻞ‪...‬‬
‫ﻭ ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﺍﻟﻜﺘﺎﺏ ﻏﲑ ﺍﳌﺪﺭﺳﻲ ﻫﻮ ﰲ ﺣﻘﻴﻘﺔ ﺍﻷﻣﺮ ﻳﻀﺎﻫﻲ ﺍﻟﻜﺘﺎﺏ‬
‫ﺍﳌﺪﺭﺳﻲ ﻣﻦ ﺣﻴﺚ ﺍﻷﳘﻴﺔ ﺑﻞ ﻗﺪ ﻳﺰﻳﺪ ﻋﻨﻪ ﺃﳘﻴﺔ ﻣﻦ ﻣﻨﻄﻠﻖ ﺃﻥ ﺍﻟﻄﻔﻞ ﰲ ﻣﻮﺍﺟﻬﺔ ﺍﻟﻜﺘﺎﺏ‬
‫ﺍﳌﺪﺭﺳﻲ ﳎﱪ‪ ،‬ﺃﻣﺎ ﻣﻊ ﻏﲑ ﺍﳌﺪﺭﺳﻲ ﻓﻬﻮ ﳐﲑ ﻟﺬﻟﻚ ﻧﻼﺣﻆ ﺃﻧﻪ ﻳﻘﺒﻞ ﻋﻠﻰ ﻗﺮﺍﺀﺓ ﺍﻟﺜﺎﱐ ﺑﻴﻨﻤﺎ‬
‫ﰲ ﺃﺣﻴﺎﻥ ﻛﺜﲑﺓ ﻳﻬﻤﻞ ﻗﺮﺍﺀﺓ ﺍﻷﻭﻝ‪ ،‬ﻭ ﻣﻦ ﻫﻨﺎ ﻭﺟﺐ ﺟﻌﻞ ﺍﻟﻜﺘﺐ ﺍﳌﺪﺭﺳﻴﺔ ﺃﻛﺜﺮ ﺇﻣﺘﺎﻋﺎ‬
‫ﻷ‪‬ﺎ ﺳﺘﺤﺪﺩ ﺇﻗﺒﺎﻝ ﺍﻟﻄﻔﻞ ﻋﻠﻰ ﺍﻟﻘﺮﺍﺀﺓ ﻣﺴﺘﻘﺒﻼ‪.‬‬
‫‪ -‬ﻣﻦ ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﻟﺚ‪:‬‬
‫ﻟﻴﺲ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﺑﻨﻈﲑ ﻟﻸﺳﻄﻮﺭﺓ‪ ،‬ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺍﻟﻔﺮﻕ ﺍﳍﺎﺋﻞ ﰲ ﺍﻟﻨﺸﺄﺓ ﻓﻬﻮ ﺑﺎﻟﻨﺴﺒﺔ ﳍﺎ ﻻ‬
‫ﻳﺰﺍﻝ ﰲ ﻣﺮﺍﺣﻠﻪ ﺍﻷﻭﱃ ﻭ ﻫﺬﺍ ﻭﺍﻗﻊ‪ ،‬ﻟﻜﻨﻪ ﲤﻜﻦ ﻣﻦ ﺗﻄﻮﻳﻌﻬﺎ ﻭ ﺿﻤﻬﺎ ﻟﻜﻞ ﺃﺟﻨﺎﺳﻪ‪ ،‬ﺇﻣﺎ ﻋﻦ‬
‫ﻃﺮﻳﻖ ﺍﻹﺑﺪﺍﻉ ﺍﳌﺒﺎﺷﺮ ﺃﻭ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﺘﺮﲨﺔ‪ ،‬ﻓﺎﻹﺑﺪﺍﻉ ﺍﳌﺒﺎﺷﺮ ﻣﻌﻨﺎﻩ ﺃﻥ ﻳﺴﺘﻌﻤﻞ ﺍﳌﺒﺪﻉ ﻣﺎ‬
‫ﺗﻮﻓﺮﻩ ﻟﻪ ﺑﻴﺌﺘﻪ ﻣﻦ ﺃﺳﺎﻃﲑ‪ ،‬ﺷﺮﻁ ﺗﻜﻴﻴﻔﻬﺎ ﻓﻠﻴﺲ ﻛﻞ ﻣﺎ ﻳﻼﺀﻡ ﺍﻟﻜﺒﺎﺭ ﻗﺪ ﻳﻼﺀﻡ ﺍﻟﺼﻐﺎﺭ‪ ،‬ﰒ‬
‫ﺍﻟﺘﺮﲨﺔ ﺍﻟﱵ ﺍﺳﺘﺨﺪﻣﺖ ﺍﻻﻗﺘﺒﺎﺱ ﺣﻴﻨﺎ ﻭ ﺍﻟﻨﺴﺦ ﻭ ﺍﻟﺘﺼﺮﻑ ﺣﻴﻨﺎ ﺁﺧﺮ‪ ،‬ﻣﻦ ﺃﺟﻞ ﺍﻟﻮﺻﻮﻝ‬
‫‪‬ﺬﺍ ﺍﻟﺜﻘﻞ ﺍﻟﺜﻘﺎﰲ ﻟﺘﺤﺘﻮﻳﻪ ﻫﺬﻩ ﺍﻟﻌﻘﻮﻝ ﺍﻟﻔﺘﻴﺔ‪.‬‬
‫ﻭ ﻟﻜﻦ ﻻ ﻳﺴﻌﲏ ﰲ ﻫﺬﺍ ﺍﳌﻘﺎﻡ ﺇﻻ ﺇﺑﺪﺍﺀ ﺍﳌﻼﺣﻈﺔ ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬
‫ﻫﻮ ﺃﻥ ﺍﻷﺳﻄﻮﺭﺓ ﺍﻷﺟﻨﺒﻴﺔ ﻗﺪ ﺗﺼﻞ ﺇﱃ ﺍﻟﻄﻔﻞ ﻟﻴﺲ ﻓﻘﻂ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﺘﺮﲨﺔ ﻭ ﺇﳕﺎ ﺣﱴ ﻋﻦ‬
‫ﻃﺮﻳﻖ ﺍﻷﺩﺑﺎﺀ ﺍﶈﻠﻴﲔ‪ ،‬ﻷﻧﻪ ﻭ ﻣﻊ ﲢﻮﻝ ﺍﻟﻌﺎﱂ ﺇﱃ ﻗﺮﻳﺔ ﺻﻐﲑﺓ ﺃﺻﺒﺤﺖ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻷﺳﺎﻃﲑ‬
‫ﺍﻷﺟﻨﺒﻴﺔ ﻣﺄﻟﻮﻓﺔ ﺇﻣﺎ ﻋﻦ ﻃﺮﻳﻖ ﺍﻷﺩﺏ ﺃﻭ ﻋﻦ ﻃﺮﻳﻖ ﺍﻹﻋﻼﻡ‪ ،‬ﻭ ﻫﺬﺍ ﺍﻷﻣﺮ ﺳﻬﻞ ﻣﻦ ﻣﻬﻤﺔ‬
‫ﺍﻻﻧﺘﻘﺎﻝ ﺗﻠﻚ ﻛﺜﲑﺍ‪.‬‬

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‫ﻭﺧﲑ ﺩﻟﻴﻞ ﻋﻠﻰ ﺫﻟﻚ ﺍﻟﻘﺼﺔ ﺍﻟﱵ ﺗﻨﺎﻭﻟﻨﺎﻫﺎ‪ ،‬ﻓﻬﻲ ﲤﺜﻞ ﻛﻞ ﻣﺎ ﻗﻠﻨﺎﻩ ﻋﻦ ﺍﻷﺳﻄﻮﺭﺓ‪،‬‬
‫ﻭ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﺑﻜﻞ ﳑﻴﺰﺍﺗﻪ‪ ،‬ﻓﻬﻲ ﺗﻀﻤﻦ ﻟﻪ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﺍﻵﺧﺮ‪ ،‬ﺍﳌﺘﻌﺔ ﺍﳌﻐﺎﻣﺮﺓ‪ ،‬ﻭ ﺣﱴ‬
‫ﺍﻟﺘﺮﺑﻴﺔ ﻭ ﺍﻟﺘﻌﻠﻴﻢ‪ ،‬ﰲ ﻗﺎﻟﺐ ﺳﺎﺣﺮ ﺗﺘﺼﺎﺭﻉ ﻓﻴﻪ ﻗﻮﻯ ﺍﳋﲑ ﻭ ﺍﻟﺸﺮ‪ ،‬ﺗﺎﺭﺓ ﺗﺮﺟﺢ ﺍﻟﻜﻔﺔ ﳍ‪‬ﺆﻻﺀ‬
‫ﻭ ﺗﺎﺭﺓ ﺃﺧﺮﻯ ﻷﻟﺌﻚ‪.‬‬

‫ﻭ ﲟﺎ ﺃﻥ ﺍﻟﻠﻘﺎﺀ ﺍﻷﻭﻝ ﺑﲔ ﺍﻟﻄﻔﻞ ﻭ ﺍﻷﺳﻄﻮﺭﺓ ﻟﻴﺲ ﻣﻦ ﺧﻼﻝ ﺍﻟﻘﺼﺔ ﺃﻭ ﻣﻊ ﺑﺪﺍﻳﺔ ﺗﺬﻭﻗﻪ ﻟﻸﺩﺏ‬
‫ﺑﺸﻜﻞ ﻋﺎﻡ‪ ،‬ﻭ ﺇﳕﺎ ﻗﺒﻞ ﺫﻟﻚ ﺑﻜﺜﲑ‪ ،‬ﻓﺎﻟﻄﻔﻞ ﻳﺄﻟﻒ ﺍﻷﺳﻄﻮﺭﺓ ﻣﻦ ﺧﻼﻝ ﻣﺎ ﻳﺘﻠﻮﻩ ﺍﻷﻫﻞ ﻋﻠﻰ ﻣﺴﺎﻣﻌﻪ‬
‫ﺇﻣﺎ ﰲ ﺃﻃﺎﺭ ﺍﳌﺬﻫﺐ ﺍﻟﺪﻳﲏ ﺃﻭ ﰲ ﺷﻜﻞ ﺣﻜﺎﻳﺎﺕ ﺗﺮﺑﻮﻳﺔ ﺍﳍﺪﻑ ﻣﻨﻬﺎ ﺗﻠﻘﲔ ﺍﻟﻄﻔﻞ ﺑﻌﺾ ﺍﳌﻌﺎﺭﻑ‬
‫ﻋﻦ ﻧﺸﺄﺕ ﺍﻟﻜﻮﻥ‪ ،‬ﻋﻦ ﺍﻟﻄﺒﻴﻌﺔ‪ ،‬ﻭ ﻋﻦ ﻃﺒﻴﻌﺔ ﺍﻟﻌﻼﻗﺎﺕ ﺑﲔ ﺍﻟﺒﺸﺮ‪ ...‬ﻓﻬﻲ ﰲ ﺷﻜﻠﻬﺎ ﻫﺬﺍ ﻻ ﺗﻄﺮﺡ‬
‫ﺃﻱ ﺇﺷﻜﺎﻝ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﳌﻀﻤﻮﻥ‪ ،‬ﻣﺎ ﺩﺍﻣﺖ ﻣﺴﺘﻘﺎﺓ ﻣﻦ ﺑﻴﺌﺔ ﺍﻟﻄﻔﻞ ﺍﻟﱵ ﻳﻌﻴﺶ ﻓﻴﻬﺎ‪.‬‬

‫ﰒ ﺑﺎﻟﻌﻮﺩﺓ ﺇﱃ ﻣﺴﺎﺀﻝ ﺍﻟﻨﺴﺦ ﻭ ﺍﻻﻗﺘﺒﺎﺱ ﻭﺍﻟﺘﺼﺮﻑ ﻓﺈﻥ ﻇﻬﻮﺭ ﺍﻷﺳﻄﻮﺭﺓ ﻣﺼﺎﺣﺐ ﺇﱃ ﺣﺪ ﺑﻌﻴﺪ‬
‫ﻇﻬﻮﺭ ﺍﻹﻧﺴﺎﻥ ﻋﻠﻰ ﻭﺟﻪ ﺍﻷﺭﺽ ﻭﻛﺎﻧﺖ ﻭ ﻣﺎ ﺯﺍﻟﺖ ﺗﺸﻜﻞ ﻣﻼﺫﻩ ﺍﻟﻮﺣﻴﺪ ﻛﻠﻤﺎ ﺑﺪﺍ ﻟﻪ ﺿﻌﻔﻪ‬
‫ﻭ ﻗﻠﺔ ﺣﻴﻠﺘﻪ ﺍﲡﺎﻩ ﻫﺬﺍ ﺍﻟﻜﻮﻥ ﺍﻟﻮﺍﺳﻊ‪ ،‬ﺣﻴﺚ ﺑﺮﻏﻢ ﻛﻞ ﺍﻟﺘﻄﻮﺭ ﺍﻟﻌﻠﻤﻲ ﻭ ﺍﻟﺘﻜﻨﻮﻟﻮﺟﻲ ﺍﻟﺬﻱ ﻭﺻﻞ‬
‫ﺇﻟﻴﻪ ﺇﻻ ﺃﻧﻪ ﻣﺎﺯﺍﻝ ﻳﺮﺟﻊ ﺍﻷﻣﻮﺭ ﺍﻟﱵ ﻳﻘﺼﺮ ﻓﻬﻤﻪ ﻋﻠﻰ ﺇﺩﺭﺍﻛﻬﺎ ﺇﱃ ﻋﺎﱂ ﺍﻟﻐﻴﺐ‪ ،‬ﻓﻈﻠﺖ ﺗﻨﻤﻮ ﺟﻨﺒﺎ ﺇﱃ‬
‫ﺟﻨﺐ ﻣﻊ ﳕﻮ ﺍﻟﻮﻋﻲ ﺍﻟﺒﺸﺮﻱ ﻭ ﺗﻘﺪﻣﻪ ﺍﳊﻀﺎﺭﻱ ﻋﻠﻰ ﻣﺮ ﺍﻟﺘﺎﺭﻳﺦ‪ .‬ﻟﺬﻟﻚ ﳝﻜﻦ ﺣﺼﺮ ﺍﻷﻣﺮ ﺑﺎﻟﺮﺟﻮﻉ‬
‫ﺇﱃ ﻣﺴﺄﻟﺔ ﺍﻻﻋﺘﻘﺎﺩ‪ ،‬ﻓﺎﻷﺳﻄﻮﺭﺓ ﻣﻮﺿﻮﻉ ﺍﻋﺘﻘﺎﺩ ﻭ ﺇﳝﺎﻥ ﺭﺍﺳﺦ ﻟﺪﻯ ﺍﻟﺸﻌﻮﺏ‪ ،‬ﻭﺧﺮﻭﺟﻬﺎ ﻣﻦ ﺑﻴﺌﺘﻬﺎ‬
‫ﻳﻌﲏ ﺳﻠﺨﻬﺎ ﻣﻦ ﺟﻠﺪ‪‬ﺎ ﺍﻷﺳﻄﻮﺭﻳﺔ‪ ،‬ﺃﻱ ﺃ‪‬ﺎ ‪‬ﻮﻯ ﻣﻦ ﻋﻠﻴﺎﺀ ﺍﻷﺳﻄﺮﺓ ﺇﱃ ﺃﺭﺽ ﺍﳋﺮﺍﻓﺔ‪ ،‬ﻭ ﻫﺬﺍ‬
‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻜﺒﺎﺭ‪ ،‬ﻓﻤﺎ ﻳﻜﻮﻥ ﻣﻦ ﺍﻟﻄﻔﻞ ﺇﻻ ﺍﻋﺘﺒﺎﺭﻫﺎ ﻗﺼﺔ ﺧﻴﺎﻟﻴﺔ ﻣﺸﻮﻗﺔ ﺃﺧﺮﻯ ﺟﺪﻳﺪﺓ‪ .‬ﻭ ﻟﻜﻦ ﻫﻨﺎﻙ‬
‫ﻧﻘﻄﺔ ﻣﻬﻤﺔ ﺃﻣﻜﻨﻬﺎ ﺃﻥ ﺗﺴﺎﻫﻢ ﰲ ﺣﻞ ﺍﳌﺴﺄﻟﺔ ﻟﻴﺲ ﻛﻠﻬﺎ ﻭ ﻟﻜﻦ ﺃﻏﻠﺒﻬﺎ‪ ،‬ﻭ ﻫﻲ ﺃﻥ ﺍﻷﺳﺎﻃﲑ ﺗﻌﻮﺩ‬
‫ﰲ ﻧﺸﺄ‪‬ﺎ ﺇﱃ ﺃﺻﻞ ﻭﺍﺣﺪ ﰒ ﺗﻔﺮﻗﺖ ﻭ ﺗﺒﺎﻋﺪﺕ ﻟﺘﻜﻮﻥ ﻫﺬﺍ ﺍﻟﻜﻢ ﺍﳍﺎﺋﻞ ﺍﻟﺬﻱ ﻧﻌﺮﻓﻪ ﺍﻟﻴﻮﻡ ﺑﺎﻹﺿﺎﻓﺔ‬
‫ﺇﱃ ﺍﻟﺪﻋﻢ ﺍﻟﻜﺒﲑ ﺍﻟﺬﻱ ﻳﻘﺪﻣﻪ ﺍﻹﻋﻼﻡ ﻛﻤﺎ ﺳﺒﻖ ﻭ ﺃﻥ ﺫﻛﺮﻧﺎ ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﻌﺮﻳﻒ ﺑﺎﻟﻜﺜﲑ ﻣﻨﻬﺎ ﺍﻟﻴﻮﻡ‪.‬‬
‫ﻭ ﻫﺬﺍ ﳛﺪ ﻛﺜﲑﺍ ﻣﻦ ﺗﺪﺧﻠﻨﺎ ﻓﻴﻬﺎ‪ .‬ﻭ ﻟﻜﻦ ﻋﻨﺪﻣﺎ ﻧﻘﻮﻝ ﻛﻴﻒ ﻧﺘﺮﺟﻢ ﺍﻷﺳﻄﻮﺭﺓ ﻫﺬﺍ ﻻ ﻳﻌﲏ ﻧﻘﻠﻬﺎ‬
‫ﺣﺮﻓﻴﺎ ﺃﻭ ﺇﺟﺮﺍﺀ ﻣﻘﺎﺑﻼﺕ ﺑﻴﻨﻬﺎ ﻭ ﺑﲔ ﺍﻷﺧﺮﻯ ﺍﶈﻠﻴﺔ‪ ،‬ﺍﻷﻣﺮ ﻋﻠﻰ ﺍﻟﻌﻜﺲ ﻣﻦ ﺫﻟﻚ ﲤﺎﻣﺎ‪ ،‬ﻓﺎﻷﺳﺎﻃﲑ‬
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‫ﻣﺒﻨﻴﺔ ﻋﻠﻰ ﺣﺪﺙ‪ ،‬ﺇﻃﺎﺭ ﺯﻣﺎﱐ ﻣﻜﺎﱐ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺭﻣﻮﺯ‪ ،‬ﻭ ﻏﺎﻟﺒﺎ ﻣﺎ ﻳﻘﻊ ﺍﻹﺷﻜﺎﻝ ﻋﻠﻰ ﻣﺴﺘﻮﻯ‬
‫ﺃﺣﺪ ﻫﺬﻩ ﺍﻟﻌﻨﺎﺻﺮ‪ ،‬ﻭ ﻳﺒﻘﻲ ﻋﻠﻰ ﺍﳌﺘﺮﺟﻢ ﻣﻌﺮﻓﺔ ﻛﻴﻒ ﻳﺘﻌﺎﻣﻞ ﻣﻊ ﻛﻞ ﻭﺍﺣﺪ ﻋﻠﻰ ﺣﺪﺍ ﺇﻥ ﺃﻣﻜﻦ‬
‫ﻟﻴﺘﻢ ﺍﻧﺘﻘﺎﻝ ﺍﻷﺳﻄﻮﺭﺓ ﻣﻦ ﺣﻀﺎﺭﺓ ﺇﱃ ﺃﺧﺮﻯ‪ ،‬ﰒ ﻛﻴﻒ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻌﻬﺎ ﳎﺘﻤﻌﺔ ﻟﺘﺒﻘﻰ ﺍﻟﺪﻻﻟﺔ ﻋﻠﻰ‬
‫ﺍﳉﻮﻫﺮ ﺍﻷﺳﻄﻮﺭﻱ ﻭﺍﺿﺤﺔ ﻭﻣﺴﺘﻤﺮﺓ‪.‬‬

‫ﺇﻥ ﺍﳌﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻣﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻟﻔﻜﺮ ﺍﻟﺒﺸﺮﻱ ﰲ ﺃﺑﺴﻂ ﺃﺷﻜﺎﻟﻪ‪ ،‬ﻟﺬﻟﻚ ﻣﻦ‬
‫ﺍﻟﻀﺮﻭﺭﻱ ﻓﻬﻢ ﻛﻼ ﺍﻟﻌﺎﳌﲔ‪ ،‬ﻋﺎﱂ ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﻭ ﻋﺎﱂ ﺍﻷﺳﻄﻮﺭﺓ ﰒ ﺇﻗﺎﻣﺔ ﺍﻟﺮﻭﺍﺑﻂ ﺑﻴﻨﻬﻤﺎ ﰲ ﺷﻜﻞ ﻻ‬
‫ﳚﲏ ﻋﻠﻰ ﺃﻱ ﻣﻦ ﺍﻟﻄﺮﻓﲔ‪ ،‬ﻭﻫﻜﺬﺍ ﻳﺴﺘﻘﻴﻢ ﺍﻷﻣﺮ ﺑﺮﻣﺘﻪ‪.‬‬

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Résumé :

Dans cette étude on va appréhender l’univers de deux concepts

différents leur seul lien de parenté est la traduction. Ce sont : le mythe et
l’enfant. En se sens la relation entre mythe et enfant est établi à travers le
processus de la traduction. Le mythe est un concept très ancien et très
complexe, il représente une préoccupation majeure aussi bien chez les
traducteurs littéraires que les chercheurs. Il a été présent tout au long de
l’histoire à travers le débat sur son définition, son fonction…etc. Mais
aujourd’hui, il ne semble pas fournir une explication rationnelle des
comportements humains. Etudier les mythes, c’est s’interroger sur la nature et
l’origine de ce concept, le rôle qu’il joue dans la société dans laquelle il se
manifeste. Est-il une philosophie, vision du monde, culture, pratiques sociales,
religion…etc. ?

Étudier la Mythologie, c’est s’initier à la conception d’un monde primitif,

aperçu dans un demi-jour, ou plutôt dans une pénombre mystérieuse, pendant
de longues années. N’y voir que les aberrations d’esprits frustes et
superstitieux, c’est n’en juger sans doute que d’après les apparences ; mais,
d’autre part, n’y voir que des allégories transparentes, chercher l’explication
de tous ces mythes, de toutes ces fables, de toutes ces légendes, dans
l’observation du monde physique, c’est outrepasser gratuitement les limites de
la réalité. Dans cette longue énumération de croyances mythologiques,
acceptées par les peuples anciens, l’imagination, la fantaisie ont un large

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part. Chaque siècle, chaque génération s’est plu à augmenter le nombre de ses
dieux, de ses héros, de ses merveilles et de ses miracles.

L’antiquité, dont les connaissances scientifiques étaient si imparfaites, si

rudimentaires, plaça une divinité partout où, pour elle, il n’y avait que
mystère. C’est là, en partie, ce qui explique le grand nombre des dieux. Mais il y
a plus. Tout ce qui frappa d’admiration, d’étonnement, de crainte ou d’horreur
les premiers hommes prit à leurs yeux un caractère divin. Pour l’humanité
primitive, la divinité représente tout ce qui dépasse la conception humaine.
Dieu n’est pas seulement l’être absolu, parfait, tout-puissant, souverainement
généreux et bon, c’est aussi l’être extraordinaire, monstrueux, prodige à la fois
de force, de malveillance et de méchanceté. Et ce ne sont pas seulement les
êtres animés qui se trouvent revêtus de ce caractère divin, aux yeux de
l’humanité des premiers âges : les choses elles-mêmes sont divines. En un mot,
ce n’est pas la divinité qui pénètre les choses, ce sont les choses elles-mêmes
qui sont réellement la divinité. Une âme divine, répandue partout, dans ce
monde, se divise en une infinité d’âmes également divines, réparties de tous
côtés entre la diversité des créatures, si bien que les vertus, les passions les
plus abstraites de l’homme ont aussi ce privilège d’être empreintes d’une
marque surnaturelle, de porter le sceau divin, et de revêtir, avec une
physionomie particulière, les insignes et les attributs de la divinité.
On n’ignore pas que, en littérature, la Mythologie est quelque peu délaissée.
Mais elle a eu sa période de renaissance et de faveur ; elle a marqué le
langage de son empreinte ; elle reste toujours un trésor d’idées séduisantes et
de splendides tableaux. Aujourd’hui, si on s’en rapporte aux expositions
annuelles de la peinture et de la sculpture, les divinités anciennes comptent
encore dans le monde des artistes beaucoup d’adeptes ou de fidèles prosélytes.

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Longtemps encore le pinceau et le burin s’efforceront de reproduire, sous

l’inspiration des Muses et des Grâces, les actions, les attitudes, la physionomie,
la démarche des dieux et des héros. Dans le domaine de l’art, l’histoire ne
saurait l’emporter sur la fable : la réalité, si merveilleuse, si sublime, si
inspiratrice qu’elle soit, est cependant limitée dans sa sphère ; tandis qu’il n’y
a ni bornes ni mesure dans les données de l’imagination et du sentiment. Ainsi
donc, si grande que l’on fasse la part de la vérité historique, jamais, aux yeux
de l’artiste et du poète, elle n’aura l’amplitude, la fécondité et le prestige de la
fiction.

Il faut aussi spécifier qu'il est absolument vrai, on est obligé d’y croire
puisqu’il réfère à des réalités qui sont non-scientifiques mais, qui répondent
plutôt à un profond besoin religieux. Par exemple, le mythe de la mort est vrai
parce que la mortalité de l’homme le prouve. Autre caractéristique, il se
rapporte toujours à une création, il raconte comment quelque chose est venu
à l’existence. Il peut raconter l’histoire de la création du monde, des animaux,
des plantes ou des hommes. Le mythe est à l'opposé complet de la conception
contemporaine du droit d'auteur ou du copyright ; à tout prendre, il est plus
proche d'une histoire qu'on diffuserait en laissant toute liberté à chaque
individu d'en raconter sa propre version. De cette prospective, le mythe était
introduite dans la littérature. Des pièces théâtrales, des histoires, même des
contes de fées ont été conçu à base mythique, résultat d’une longe fascination,
admiration, inspiration, et influence, pratiqué sur l’être humain durant des
siècles.

En raison du progrès scientifique et du déclin de la pensée religieuse, bien des

gens pensent que les mythes sont disparus à notre époque. Rien n'est plus

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faux! Les mythes ont changé de forme, mais sont aussi présents qu'autrefois.
Nous pouvons même dire que les mythes sont un besoin fondamental de l'être
humain. Ils jouent de grands rôles dans notre vie sociale et dans notre
psychisme individuel. En plus des mythes religieux et politiques, on compte de
nombreux mythes véhiculés par les médias de communication modernes, dans
la publicité, le cinéma, la musique populaire et la télévision. Les exemples
pullulent: le mythe de l'éternelle jeunesse, le mythe de la performance
sexuelle, le mythe de l'amour romantique, le mythe de la puissance
automobile et celui de l'harmonie sociale!

Alors, on peut dire que s’intéresser aux mythes, c’est aussi s’intéresser aux
fondements des sociétés, à ses idées. En fait, pour l’homme archaïque, ils sont
de la plus haute importance puisqu’ils lui apprennent des histoires qui l’ont
constitué, qui se rapportent directement à lui et qui lui ont fourni un propre
mode d’exister. Dans la vie sociale les mythes jouent également un rôle
essentiel: ils organisent les masses informes et masses structurées autour
d'objectifs idéologiques commun, ainsi ils sont essentiels en politique et dans
l'éducation. Ils favorisent la cohésion du groupe et permettent la
communication en fournissant un langage commun aux acteurs sociaux. Il
suffit de comparer le comportement des gagnants et des perdants lors d'une
élection pour comprendre tout ce que les militants ont pu sacrifier à leur
idéal. Lors des parades nationalistes ou syndicales, des phénomènes
d'identification collective aux leaders investissent ceux-ci d'un pouvoir
immense qui provient de leur ascendant sur le groupe des supporters. La
Nation, le Peuple, le Parti, l'Église sont des symboles très puissants autour
desquels un mythe devient une véritable force sociale.

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Selon la cause pour laquelle le mythe fait apparaître, on peut distinguer

plusieurs genres: le mythe comme une pratique religieuse et sociale, le mythe
comme une explication des phénomènes naturels, et le mythe comme une
forme d’art. Le développement de ces genres marque bien le développement
de la vie humaine, plus l’esprit et plus la culture se développent, plus le
comportement passif de l’homme à l’égard du monde extérieur devient actif.
Sur ce plan, les études en mythologie et ethnologie ont montré l’existence de
différences entre mythes primitifs et mythes modernes.

La communauté d’intérêt et de fonction qui unit les chercheurs fait que la

conception des mythes est naturellement placée sous les différents disciplines
par les quelle sont appréhender. Il existe néanmoins des différences notables
et objectives entre ces disciplines lors de les définir. Bien sur, ces différances
concrètes offrent une variété important et aide à mieux comprendre la
nature et la forme des mythes. D’un côté, le mythe est a perçu comme une
aide aux humains pour accéder aux secrets de la nature, de l’autre il considéré
comme moyen de préserver l’histoire.

La reviviscence, la disparition, éventuellement la naissance des mythes sont

donc des éléments très importants d’une interrogation de type théorique.

En somme, le monde mythique est un monde merveilleux, fascinant, qui

ne cesse d’inspirer l’homme. Il représente une fenêtre qui démontre l’essence
de la vie humaine, ses ambitions, ses angoisses, et ses espoirs. Ainsi son
passage d’une société à l’autre, d’une civilisation à l’autre, correspond à un
changement de ce que cette fenêtre est prête à démontrer, et ce que l’homme
est prêt à voir.

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Malgré la multiplicité des approches et des définitions, le concept de mythe

reste une énigme, et a déjà donné lieu à des études aussi bien perspectives que
descriptives, qui structurent aujourd’hui encore la pratique et la réflexion sur
plusieurs domaines.

À cet égard, Il est très important de bien savoir qu'un mythe n'est pas
une œuvre littéraire. Un mythe n'a pas un auteur; dans une certaine mesure
on peut même dire qu'il n'a pas d'auteur du tout, pas plus qu'un proverbe ou
qu'une coutume : un mythe est produit par une population donnée, il est
diffusé et employé à l'intérieur d'une communauté qui le réinvente en
permanence. En revanche, on trouve le mythe évoqué dans des textes par
plusieurs auteurs (parfois très nombreux) dont chacun présente une version,
qu'il transmet, résume, condense, sur laquelle il peut broder, et qu'il peut
même modifier ou réinventer selon ses besoins ou son bon plaisir. C'est là l'une
des grandes difficultés liées aux mythes : toute personne qui les transmet les
réinvente aussi dans une certaine mesure, est sacré puisqu’il y a intervention
des Êtres surnaturels.

L’histoire de l’idée de mythe littéraire réfléchit tant la recherche d’une

définition capable de séparer le mythe littéraire du terrain indéfini du mythe,
tant paradoxalement, la prétention d’affirmer qu’il n’y a pas de mythe sans
Littérature.

Ce qui permet alors d’associer mythe et mythe littéraire est :

- la fonction sociale et l’horizon métaphysique ou religieux de

l’existence ;

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- la logique de l’imaginaire ;
- la fermeté de l’organisation structurale.

Ainsi, l’implication du mythe dans les œuvres littéraires ont permis de garder
son lien avec l’homme, sa continuité, sa reviviscence, au file du temps ; malgré
qu’il a du sacrifier son statu sacré pour achever cela. Il faut admettre
qu’après un certain temps, les gents cessent de croire en certains mythes, leurs
activités changes, des dieux qui vont et viennent, naissent et redisparaissent.
Le mythe donc est conçu en fonction des besoins propres aux sociétés.

Il existe trois figures par les quelles le mythe marque sa présences dans les
œuvres littéraires : la forme, l’événement, et le symbole.

La forme :

Les écrivains ont tendance d’écrire en s’inspirant la forme du mythe, ils

aboutissent par fois par créer ce qu’ils appellent des mythes modernes.

L’événement :

C’est impliquer un événement mythique dans l’œuvre littéraire, qui va aider

l’enchainement des idées, mais être soumis au courant du texte, à la vision de
l’auteur.

Le symbole :

Est utiliser pour faire références aux mythes, l’écrivain l’utilise généralement
pour donner des traits mythiques à son œuvre.

Le mythe a pu accéder a toutes les domaines et disciplines, parfois par le biais

de la traduction, par autres en fournissant une matière d’étude, parmi ces
domaines est la littérature enfantine.

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La littérature enfantine est la littérature en sa forme finale mais destiné

aux enfants, plusieurs opérations de censures et d’adaptations, sont impliquer
car l’enfant ne comprend pas les textes du répertoire adulte; ou bien ce qu'il
pourrait en comprendre est susceptible de lui « faire du mal ». Il faut le
protéger. Le répertoire mis entre les mains des enfants est fort disparate. On
trouve des albums illustrés, des romans, des recueils de poésie, des manuels
techniques, des documentaires.
La diversité des textes proposés aux enfants résulte de l'interaction de ces
trois variables: l'image que l'adulte se fait de l'enfant, l'image qu'il se fait de
sa mission d'éducateur et des valeurs à transmettre, enfin la plus ou moins
grande facilité avec laquelle il combine ou oppose ces deux images.
L'origine de ces ouvrages est de deux types : d'une part des livres écrits
spécialement à l'intention des enfants (il y a plusieurs écrivains qui consacre
leurs vie à écrire uniquement pour enfants, certain d’autres dans toutes leurs
carrières, il consacre un nombre définit d’ouvrages pour enfant); d'autre part
des textes qui ne leur étaient pas initialement destinés, soit qu'ils viennent du
fonds folklorique comme les mythes, qu'ils viennent des lectures des adultes.
L'adaptation est alors le résultat d'une sélection, et dans bien des cas d'une
«réécriture».

On retrouve dans les contenus des récits mythologiques des éléments forts qui
correspondent aux étapes du développement de l'enfant et à ses besoins
psychologiques (son vécu intérieur, ses relations avec sa famille ou son
entourage).
Les récits mythologiques parlent d'événements qui correspondent à ces
évolutions intérieures, décrivent des situations, présentent des héros. Ils
mettent en scène des besoins du petit qui grandit.

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L'analyse des mythes nous renvoie directement à l'imagination et à

l'imaginaire collectif et stimulent la créativité. On y trouve des récits, des
héros, des dieux qui donnent l'occasion de rechercher le rapport, de faire la
différence entre le réel et l'imaginaire, qui nous interrogent entre mythe et
science et donnent des réponses.
Plonger l'enfant dans l'univers de la mythologie, c'est le rendre riche d'un
monde intérieur nourri de symboles et de représentations mentales qui seront
nécessaires à son pouvoir créateur :

- La mythologie offre à l'enfant les moyens de grandir par le biais de

l'imaginaire.
- La mythologie renforce la conscience d'appartenir à un groupe, à
une identité.
- La mythologie aide particulièrement l'enfant qui a peur
d'apprendre.
- La mythologie développe des connaissances, enrichit un bagage
culturel, participe à la constitution d'un patrimoine.
- La mythologie construit une culture fondatrice, s'inscrit dans la
mémoire commune.
- La mythologie permet de découvrir et comprendre le monde.
- La mythologie construit une culture fondatrice, s'inscrit dans la
mémoire commune.
- La mythologie évoque les grandes questions que se pose l'homme :
- recherche des origines
- devenir de l'homme
- interprétation de faits

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- Ces textes permettent aux enfants d'origines ethniques et sociales

variées de se questionner sur un certain nombre de choses et de
répondre à des questions existentielles sur le sens de la vie.

On peut donc s'intéresser à la fonction philosophique de ces textes, à

l'opportunité d'échanger ses impressions sur les émotions ressenties,
d'élaborer des jugements éthiques, philosophiques, de remettre en cause ses
préjugés.

Les mythes fournissent des repères indispensables à la compréhension

d'œuvres artistiques. L'histoire de la peinture, les monuments, les œuvres
musicales, le théâtre et la littérature en générale, font souvent référence à la
mythologie, renvoient à des scènes animées par les dieux. Dans la littérature
Harry Potter fournit une mine de références Certains volumes présentent
directement les histoires mythologiques ; d'autres proposent des variantes :
dans Le cinquième élément, la boule feu qui représente le mal absolu qui
grandit au fur et à mesure qu'on lui envoie des missiles pour la détruire fait
penser à la légende de l'Hydre. L'école a un rôle majeur à jouer pour donner
les clés aux enfants pour comprendre ces œuvres. Lorsque l'on se rend au
musée, la valeur des tableaux est totalement différente selon que l'on possède
ou non les références. On retrouve cette nécessité dans la littérature.
L'enseignant peut repérer d'innombrables clins d'œil à la mythologie dans les
textes. S'il ne sait pas les voir et les faire remarquer aux élèves, ils
n'effectueront pas d'eux-mêmes les rapprochements. Le travail autour de la
mythologie permet de travailler des compétences multiples.

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On retrouve dans les contenus des récits mythologiques aussi des éléments
forts qui correspondent aux étapes du développement de l'enfant et à ses
besoins psychologiques (son vécu intérieur, ses relations avec sa famille ou son
entourage).
Les récits mythologiques parlent d'événements qui correspondent à ces
évolutions intérieures, décrivent des situations, présentent des héros. Ils
mettent en scène des besoins du petit qui grandit.

L'analyse des mythes nous renvoie directement à l'imagination et à

l'imaginaire collectif et stimulent la créativité. On y trouve des récits, des
héros, des dieux qui donnent l'occasion de rechercher le rapport, de faire la
différence entre le réel et l'imaginaire, qui nous interrogent entre mythe et
science et donnent des réponses.

Ecrire et traduire pour les enfants sont deux actes étroitement liés,
supposant tous deux des méthodes et des techniques particulières, étant
donné qu'il s'agit dans les deux cas d'un public spécial. En plus de restituer le
sens le plus fidèlement possible, le traducteur est face à des contraintes
linguistiques et culturelles qu'il doit adapter à un lectorat jeune et pas aussi
aguerri que le public adulte. La simplicité supposée de la littérature pour les
jeunes et sa traduction n'est en fait qu'une illusion car les textes sont bien
souvent plus riches qu'il n'y paraît. La littérature de jeunesse, héritière de la
tradition orale des contes, se doit d'être facilement compréhensible tout en
restant particulièrement dynamique et expressive. Elle exige une réelle
adaptation de l'écrivain qui doit savoir faire preuve d'empathie vis-à-vis de
son public. Si la dimension ludique a pris le pas sur la fonction morale, l'aspect
éducatif de la littérature de jeunesse est toujours d'actualité, faisant d'elle le

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média privilégié de la compréhension entre les peuples. La traduction a donc

toute son importance dans ce processus de divertissement, de tolérance et
d'apprentissage.

La littérature pour enfant a toujours été utilisée partout dans le

monde afin de permettre une socialisation culturelle, de transmettre des
connaissances sur sa propre culture ou sur celle d’autrui et de susciter des
comportements vis-à-vis de sa culture d’origine et des cultures étrangères.

Autrement dit, la littérature enfantine consiste à transmettre un message

éducatif à l’enfant, mais sans excluant de prendre en considération la nature
de l’enfant, sa volonté, ses ambitions, ses intérêts, et ses choix. Elle doit
contenir un jeu qui incite l’enfant à relever le défit, à poursuivre l’histoire
raconté. Un voyage amusant mais fructueux, dans de différents univers
imaginaires. Il s’agit ainsi d’une création au sens fort du terme, ce n’est pas
parce qu’il est destiné aux enfants, on ne fait qu’imiter la littérature adulte, ou
bien un simple jeu de censure. La fonction de la littérature serait de
renouveler, de moduler, de vivifier ce patrimoine mythologique.

Certes le livre de l’enfant emprunte à la littérature des genres déjà constitués

tels que le conte ou le roman sous ses différentes formes, cependant, il
imprime sa marque, d’une part dans le choix qu’il opère parmi les genres
existants, et d’autre part, dans le traitement qu’il leur réserve. De plus le livre
de l’enfant connaît des formes et des genres qui lui sont propres, notamment
avec le format album, et il accorde une place de choix au livre documentaire.

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- Des traits solidaires paraissent ainsi caractériser les livres pour

enfants :

• ils racontent « une histoire »

• le récit est focalisé sur un enfant-héros permettant l’identification ;

l’enfant –héros peut être multiple : un groupe placé sous l’égide d’un
leader.

• le dispositif narratif est relativement simple peu de retours en arrière, de

fractionnement de l’intrigue, ou de polyphonie (récit à plusieurs voix ou
fait de plusieurs points de vue), du moins en règle générale car ces
procédé soient parfois utilisés son universalité (il est présent dans
toutes les cultures et à toutes les époques). Il semble s’adresser à tout le
monde, car véhicule de la sagesse et du savoir populaire. Il répond à de
vraies questions, même si elles sont du domaine de l’inconscient Il
permet une ouverture sur le monde.

- L’approche magique du monde.

- La relation privilégiée qu’il instaure, par ses traces d’oralité,
entre conteur et auditeur ou auteur et lecteur.
- La présence d’un schéma narratif identifiable, conforme à l’horizon
d’attente. Il raconte une histoire, il procède par une narrativité. Il
fait donc appel à l’imaginaire

Ainsi, des techniques distinctives paraissent ainsi caractériser la

traduction des d’œuvres destinées aux enfants :

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Il semble communément admis que traduire pour les enfants

suppose nécessairement, au nom de la lisibilité, une simplification
de l'écriture, une édulcoration du ton, une « mignardisation » de
l'univers, comme si l'on voulait une « infantilisation » excessive du
lecteur étranger qu'on suppose plus naïf, plus ignorant, plus
sensible, plus délicat que le lecteur du texte original :

La domestication :

Les traducteurs ont craint la bizarrerie de l'étranger et privilégié le fait de

rendre le texte plus accessible, plus familier donc, d'une certaine manière,
d'assurer la compréhension du lecteur sans le perturber par des éléments qui
auraient pu poser problème. Il est vrai que l'ablation, totale ou partielle,
d'éléments culturels peut se révéler une façon adéquate de traduire, surtout
lorsque la précision apportée dans le texte source n'a pas d'incidence sur la
suite du récit.

Maintenir l'exotisme :

Le fait d'emprunter des mots tels quels à la langue source dans la langue
d'arrivée dans un contexte suffisamment situationnel et familier rendent la
couleur locale, l'exotisme que le lecteur aime à trouver dans sa lecture, lui
offrant ainsi une part de dépaysement sans pour autant nuire à sa
compréhension globale du texte.

Vocabulaire et niveau de langue :

La lisibilité est le critère premier de la littérature et de la traduction pour la

jeunesse. Le niveau de langue et le vocabulaire font également partie des
critères à prendre en compte.

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D’une manière générale, la traduction d’œuvres destinées aux enfants

s’inscrit dans le cadre de la traduction littéraire et présente les mêmes
problèmes quant à la fidélité au sens et à la forme. La littérature enfantine a
été longtemps discréditée et les traductions ont connu le même sort.

Le premier acteur à considérer dans le processus de traduction est le

destinataire. Cette affirmation est applicable à tout type de traduction, mais
elle prend encore davantage d'importance dans le cadre des traductions
destinées aux enfants, tant ceux-ci forment un public spécifique aux exigences
particulières.

Donc, L’importance du public cible dans la traduction ne peut être niée. Cette
affirmation est encore plus appropriée dans le cadre de la traduction destinée
aux enfants, tant ils constituent un public particulier. Le traducteur doit
s’adapter aux lecteurs afin que ceux-ci ne rencontrent pas à chaque phrase
des mots, des tournures ou des références qui leur sont inconnus et les
décourageraient de poursuivre l’œuvre qu’ils tiennent entre les mains.

Une des caractéristiques des livres pour enfants est qu’ils sont souvent ancrés
dans la culture de l’auteur, et qu’ils en contiennent des références bien
spécifiques. Si la traduction est bien supposée jouer un rôle de médiation
culturelle, traduire les traits culturels demeure une des plus grandes
difficultés dans le domaine. Idéalement, la traduction des noms propres dans
un roman de fantasy doit préserver l'exotisme qui peut les entourer mais aussi
guider les lecteurs lorsque les noms ont une signification.

La traduction de la littérature enfantine présente des difficultés bien

spécifiques. Parmi les contraintes, il y a premièrement le niveau intellectuel et

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culturel du public cible, que le traducteur doit prendre en compte s’il veut
rendre le texte accessible aux lecteurs. Le registre du lexique et les références
ne doivent pas constituer un obstacle à la compréhension de l'histoire. Le
chapitre consacré au niveau de langue répertorie une liste non-exhaustive
d’erreurs que Ledoux a commises dans l’optique de la traduction destinée à
l’enfant.

Il semble évident de ne pas infantiliser, en le traduisant, un texte déjà écrit

pour les enfants ou qui, par certaines touches, s'adresse aux enfants, puisqu'il
est connu dans sa culture d'origine comme texte appartenant à la littérature
d’enfant. Pourtant la tentation de domestiquer est grande. Dans la mesure où
traduire pour l’enfant n'est pas qu'un acte littéraire, mais aussi pédagogique,
didactique, culturel, ludique et hautement moral, il faut veiller dans la mesure
du possible, à la préservation de l'identité culturelle de l'œuvre traduite, à la
préservation de l'autre, de son altérité. A la tentation de la facilitation, les
traducteurs optent aujourd'hui pour le maintien de l'identité originale du
texte, notamment dans le contexte d'une mondialisation grandissante. Ils font
confiance à leur petit lecteur qui saura dépasser l'étrangeté par son
engouement et son plaisir pour une histoire suffisamment captivante, ce qui a
également pour effet de ne pas dénaturer le texte source. Les traducteurs
s'accordent néanmoins sur leur rôle d'accompagnateur vers l'altérité et la
complexité en apportant la lisibilité là où elle est nécessaire, que ce soit par la
domestication, la simplification ou l'adaptation, tout en s'attachant à
conserver le sens. Ils respectent ainsi les préconisations premières de la
littérature d’enfant : l'ouverture sur le monde, l'éducation, la tolérance, et la
soif d'en apprendre toujours plus dès le plus jeune âge.

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L’enjeu est pourtant d’importance, puisqu’il s’agit, avec l’aide des

mythes, de mieux lire la littérature, en dégageant ce qu’une création individuelle
doit à des récits appartenant au vieux fonds intemporel d’une civilisation, mais
aussi, inversement, de manifester la pérennité d’un mode de pensée mythique à
travers ce qui peut apparaître comme un de ses vecteur privilégiés et, au-delà,
l’importance d’un tel mode de pensée dans toute activité socio-culturelle en
général.

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Abstract:

It is noticed that it is a matter of three concepts: myth, children and

translation. The question that should be asked at the very beginning is how
can this complex myth be brought down to a relatively simple minded child
throughout translation?

The process starts with defining the myth and it function inside the text. Once
spotted, the process is half way there. After choosing the most convenient
language to express this cultural object, the rest rests on the shoulders of the
translator. He must manage to watch over this transfer, making sure that it is
fully completed, without losing the essence of the text, or interfering. He must
be as objective as he can.

The first connection between the child and the myth, starts few years earlier,
he used to hear some amazing stories about different supernatural
creatures, about wonderful worlds, sometimes the difference between these
worlds is established in his mind ,so he learn to believe, but other times they
are nothing more than fiction to him. During all the process this meeting is
being supervised by grownups, in order to protect him.

When myth shape shift and enter the world of literature, it changes nothing
for the child, it just moves from being heard to being read, this movement
involves many changes: the myth now is obliged to submit to the vision of the
author, it will lose some of its general statute ,but nothing from it essence and
enchantment.

There are many ways to summon the presence of a myth in a text, through an
event, the form, or symbols. Once used, they add a new dimension to the text, a
mythic dimension. They walk side by side with the text, but they must submit
to it.

It should be quite evident to notice that t he myth is a highly complex concept

which provides the literary text with inspiration to a better understanding of
the world. Interpreted by the reader, it serves his or her personal objectives
and may be a source of fresh ideas about certain conflict situations which
involve love and hate, good and evil, life and death…etc.

225
Abstract……………………………………………………………………………………..

Also, the world of the myth must be revealed sooner or later through the text.
The problem with myth is that until now it is quite difficult to find a pattern of
its moving in time and through places and the nature of its manifestations in
society, whether it is a religion, a social practice, historical truths…etc.

The translator must deal with the text as a whole, and its particular
parts (in this case the myth among anthers owned by the text) must be
examined to find out a hierarchy of values to be expressed in translation in
order to set the closest equivalences according to this hierarchy. Eventually,
the text can be built up again in a different language with the same values.

The ability of finding the write equivalences of the translator must determine
whether he succeeded or not in this operation. The form that the myth will
appears through will witness upon his claiming. However, finding
equivalences for the myth in the target language is absolutely out of question.
Although, t he myth is one for all people, but what it represents is different.

The translation aims for establishing an act of communication, and

transmitting a massage. This act presumes to occur between two parts,
producer and receptor, but in this case it relate between three parts: author,
myth, and receptor. The myth has to be part of this operation because
although it is obliged to submit to the vision of the author, it has something to
communicate, for a simple reason: the author does not own it. It represents a
culture, a civilization. It will meet up with relatively the same ones restored in
the background of any receptor.

To preserve the distinctive features of the myth, thus showing loyalty to the
author, is a matter of establishing a balance between the different
components of the text, and eventually be able to maintain the same balance
when reproducing the text in the target language. This is not easy to achieve,
as he is assuming that receptors of the target language will supply necessary
contextual information. In fact, it can be assumed that the child too can
supply necessary contextual information. Through what he used to hear and
what he learned from his little experience made of everything he learned at
school, and watched on T.V.

The children’s literature is as full in its objects and specific as grownups. The
difference is situated in the form of the language, the nature of the words and
the structures used.

226
Abstract……………………………………………………………………………………..

It does not matter to talk again about the specificity of the myth, or the child.
The main objective is to present few of modes of translation noticed to be used
by translator whenever myth does appear in the text. And they do very often
that’s why over the years translators manage to develop many ways to
overcome the challenge caused by the different myths. Myths have tendency
to change their pattern over the years and through places. The translator
must be able to identify them each and every time they show up.

The child thinks of the world of the myth like a fairy world, full of
adventure, enigmatic, and fascinating. That’s why he never considers the
philosophical, the religious, the cultural dimensions that grownups have
tendency to conceder while approaching the myth.

From this prospection, it wouldn’t cause a major problem once found in text
written for children. First of all, the child is familiar with this kind of world; he
used to hear wonders about. Then, the picture plays a major role in
introducing, identifying many foreigner myths. Cartoons and movies have
contributed in introducing many of cultural icons, such as myths.

Using myth in children’s literature represents the use of the most

complex concept in the simplest way. It is combining true different worlds.
Comparing to myth, children’s literature is really a recent concept and form of
art. Myth includes centuries of events and stories, few of them are facts, many
others are fictions. While children’s literature has been considered as a
fragment of the literature, only recently has became an independent form of
art, which deserves to be recognized, introduced, and identified.

For this reason, the translation is offering a variety of modes to watch over
this transfer, some are possible, others are supposed to be possible in a way
they insure this transfer with the minimum lose.

It should be very evident now that both myth and children’s literature
can be combining in slightly modified form of art. And the translation would
work as successfully and effectively as it can if the text carries some of this
combination. It will hardly, causes any troubles. It does not mean under
estimate them, but knowing them better each time they are approached, will
help to bring to clear every time any hidden meaning.

227
Abstract……………………………………………………………………………………..

Of course with the help of other disciplines, the understanding of the myth
gets better and better each time, the use of it improves as well. Eventually,
gradually the secret that lies beneath the form and function of the myth will
be revealed.

228
‫ا

ا‬.................................................................................................

:‫ﺍﳌﺼــــــــﺎﺩﺭ‬

1- J.K.Rrowling : “Harry Potter and the Goblet Of

Fire”,Bloomsburry,London,2000.

2- J.K.Rrowling: “Harry Potter et la coupe de feu », Gallimard Jeunesse,

traduit par Jean- François Ménard,2000.

‫ ﺩﺍﺭ ﺍﻟﻨﻬﻀﺔ ﻣﺼﺮ ﻟﻠﻄﺒﺎﻋﺔ ﻭ ﺍﻟﻨﺸﺮ‬،‫ ﺗﺮ ﺃﲪﺪ ﺣﺴﻦ ﳏﻤﺪ‬،"‫"ﻫﺎﺭﻱ ﺑﻮﺗﺮ ﻭﻛﺄﺱ ﺍﻟﻨﺎﺭ‬:‫ﺭﻭﻟﻴﻨﺞ‬.‫ﻙ‬.‫ ﺝ‬-3
.2005 ،‫ﻭﺍﻟﺘﻮﺯﻳﻊ‬

230
‫‪.................................................................................................‬ا

ا‬

‫ﺍﳌﺮﺍﺟﻊ ﺑﺎﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ‪:‬‬

‫‪ -‬ﺍﻷﺯﺭﻕ ﺑﻦ ﻋﻠﻮ‪ "،‬ﺍﻟﺮﺣﻠﺔ‪ -‬ﺃﺳﺎﻃﲑ‪ ،‬ﺃﺩﺏ‪ ،‬ﺗﺎﺭﻳﺦ‪ ،‬ﺣﻜﺎﻳﺎﺕ"‪ ،‬ﺩﺍﺭ ﺍﻟﻄﺒﺎﻋﺔ ﻟﻠﻨﺸﺮ ﻭ ﺍﻟﺘﻮﺯﻳﻊ ‪،‬ﺍﻟﻘﺎﻫﺮﺓ‪،‬‬
‫‪.2001‬‬
‫‪ -‬ﺇﳝﺎﻥ‪ ،‬ﺑﻘﺎﻋﻲ‪":‬ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ‪ -‬ﻣﺎﻫﻴﺘﻬﺎ‪ ،‬ﺍﺧﺘﻴﺎﺭﻫﺎ‪ ،‬ﻛﻴﻒ ﻧﺮﻭﻳﻬﺎ‪ ".‬ﻣﻜﺘﺒﺔ ﺍﻟﻄﻔﻞ ﺍﻟﻨﻔﺴﻴﺔ ﻭ ﺍﻟﺘﺮﺑﻮﻳﺔ‪،‬‬
‫ﺩﺍﺭ ﺍﻟﻔﻜﺮ ﺍﻟﻠﺒﻨﺎﱐ‪ ،‬ﻁ‪ ،1‬ﺑﲑﻭﺕ‪ ،‬ﻟﺒﻨﺎﻥ‪2003 ،‬‬
‫‪ -‬ﲨﺎﻝ ﺍﻟﺪﻳﻦ ﺧﻀﻮﺭ‪ "،‬ﻗﻤﺼﺎﻥ ﺍﻟﺰﻣﻦ" ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ‬
‫‪ -‬ﺣﺴﲔ ﳎﻴﺐ ﻣﻨﺼﻮﺭ‪ ":‬ﺍﻷﺳﻄﻮﺭﺓ ﺑﲔ ﺍﻟﻌﺮﺏ ﻭ ﺍﻟﻔﺮﺱ‪ -‬ﺩﺭﺍﺳﺔ ﻣﻘﺎﺭﻧﺔ"‪ ،‬ﺍﻟﺪﺍﺭ ﺍﻟﺜﻘﺎﻓﻴﺔ ﻟﻠﻨﺸﺮ‪.‬‬
‫‪ -‬ﺣﺴﻦ‪ ،‬ﺷﺤﺎﺗﻪ‪ ":‬ﺃﺩﺏ ﺍﻟﻄﻔﻞ ﺍﻟﻌﺮﰊ‪ -‬ﺩﺭﺍﺳﺎﺕ ﻭ ﲝﻮﺙ"ﺍﻟﺪﺍﺭ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻠﺒﻨﺎﻧﻴﺔ‪ ،‬ﻁ‪ ،03‬ﺃﻛﺘﻮﺑﺮ‪2004‬‬
‫‪ -‬ﺣﻨﺎ ﻋﺒﻮﺩ ‪":‬ﺍﻟﻨﻈﺮﻳﺔ ﺍﻷﺩﺑﻴﺔ ﺍﳊﺪﻳﺜﺔ ﻭ ﺍﻟﻨﻘﺪ ﺍﻷﺳﻄﻮﺭﻱ"‪،‬ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ‪.‬‬
‫‪ -‬ﺧﻠﻴﻞ ﺃﲪﺪ ﺧﻠﻴﻞ‪ " :‬ﻣﻀﻤﻮﻥ ﺍﻷﺳﻄﻮﺭﺓ ﰲ ﺍﻟﻔﻜﺮ ﺍﻟﻌﺮﰊ"‪ ،‬ﺩﺍﺭ ﺍﻟﻄﻠﻴﻌﺔ ﻟﻠﻄﺒﺎﻋﺔ ﻭ ﺍﻟﻨﺸﺮ‪ ،‬ﺑﲑﻭﺕ‪،‬‬
‫ﻁ‪.1986 ، 03‬‬
‫‪ -‬ﺳﻴﺪ ﺍﻟﻘﻤﻴﲏ‪ ":‬ﺍﻷﺳﻄﻮﺭﺓ ﻭ ﺍﻟﺘﺮﺍﺙ" ﺍﳌﺮﻛﺰﺍﳌﺼﺮﻱ ﻟﺒﺤﻮﺙ ﺍﳊﻀﺎﺭﺓ‪ ،‬ﻁ‪،03‬‬
‫‪ -‬ﴰﺲ ﺍﻟﺪﻳﻦ ﺍﻟﻜﻴﻼﱐ‪":‬ﻣﻦ ﺍﻟﻌﻮﺩ ﺍﻷﺑﺪﻱ ﺇﱃ ﺍﻟﻮﻋﻲ ﺍﻟﺘﺎﺭﳜﻲ" ﺩﺍﺭ ﺍﻟﻜﻨﻮﺯ ﺍﻷﺩﺑﻴﺔ ﻁ‪ 1‬ﺑﲑﻭﺕ‪.‬‬
‫‪ -‬ﴰﺲ ﺍﻟﺪﻳﻦ ﺍﻟﻜﻴﻼﱐ‪":‬ﻣﻦ ﺍﻟﻌﻮﺩ ﺍﻷﺑﺪﻱ ﺇﱃ ﺍﻟﻮﻋﻲ ﺍﻟﺘﺎﺭﳜﻲ" ﺩﺍﺭ ﺍﻟﻜﻨﻮﺯ ﺍﻷﺩﺑﻴﺔ ﻁ‪ 1‬ﺑﲑﻭﺕ‪.‬‬
‫‪ -‬ﻓﺮﺍﺱ ﺍﻟﺴﻮﺍﺡ‪" :‬ﻟﻐﺰ ﻋﺸﺘﺎﺭ‪ :‬ﺍﻷﻟﻮﻫﺔ ﺍﳌﺆﻧﺜﺔ ﻭ ﺃﺻﻞ ﺍﻟﺪﻳﻦ ﻭ ﺍﻷﺳﻄﻮﺭﺓ"‪ ،‬ﺩﺍﺭ ﻋﻼﺀ‪ ،‬ﻁ‪.01‬‬
‫‪ -‬ﻓﺮﺍﺱ ﺍﻟﺴﻮ‪‬ﺍﺡ‪ :‬ﺍﻷﺳﻄﻮﺭﺓ ﻭﺍﳌﻌﲎ ﺩﺭﺍﺳﺎﺕ ﰲ ﺍﳌﻴﺜﻮﻟﻮﺟﻴﺎ ﻭﺍﻟﺪﻳﺎﻧﺎﺕ ﺍﳌﺸﺮﻗﻴﺔ‪ ،‬ﺩﺍﺭ ﻋﻼﺀ ﺍﻟﺪﻳﻦ ﺩﻣﺸﻖ‬
‫ﻁ‪.1997 ،1‬‬
‫‪ -‬ﻗﺎﺩﺓ ﻋﻘﺎﻕ‪" :‬ﺩﻻﻟﺔ ﺍﳌﺪﻳﻨﺔ ﰲ ﺍﳋﻄﺎﺏ ﺍﻟﺸﻌﺮﻱ ﺍﳌﻌﺎﺻﺮ"‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ‬
‫‪ -‬ﺍﻟﻌﺎﺻﻲ ﻋﺮﰊ‪ " :‬ﺍﳊﻴﻮﺍﻥ ﰲ ﻗﺺ ﺍﻷﻃﻔﺎﻝ" ﺍﻟﻜﺮﻣﻞ ﻟﻠﺪﺭﺍﺳﺎﺕ ﻭﺍﻟﻨﺸﺮ‪ ،‬ﺩﻣﺸﻖ‪.‬ﻁ‪.1981 .1‬‬
‫‪ -‬ﻋﺒﺪﻩ ﻋﺒﻮﺩ‪" :‬ﻫﺠﺮﺓ ﺍﻟﻨﺼﻮﺹ"‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﻛﺘﺎﺏ ﺍﻟﻌﺮﺏ‪.1995‬‬
‫‪ -‬ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭﻋﻤﻴﺶ‪ " ،‬ﻗﺼﺔ ﺍﻟﻄﻔﻞ ﰲ ﺍﳉﺰﺍﺋﺮ‪-‬ﺩﺭﺍﺳﺔ ﰲ ﺍﳌﻀﺎﻣﲔ ﻭﺍﳋﺼﺎﺋﺺ"‪ ،‬ﺩﺍﺭ ﺍﻟﻐﺮﺏ‪ ،‬ﻭﻫﺮﺍﻥ‬
‫‪ -‬ﻋﺒﺪ ﺍﻟﺮﺯﺍﻕ ﺟﻌﻔﺮ‪ "،‬ﺃﺩﺏ ﺍﻟﻄﻔﻞ"‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ‪ ،‬ﺩﻣﺸﻖ‪،‬ﺩﻁ‪.1989/‬‬
‫ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﻳﻮﻧﺲ‪ ":‬ﺩﻓﺎﻉ ﻋﻦ ﺍﻟﻔﻠﻜﻠﻮﺭ" ﺍﳍﻴﺌﺔ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻌﺎﻣﺔ‪.‬ﺩﻁ‪.1973/‬‬ ‫‪-‬‬

‫‪231‬‬
‫‪.................................................................................................‬ا

ا‬

‫‪ -‬ﻋﻠﻲ ﺍﳌﺼﺮﻱ‪ " :‬ﰲ ﺭﺣﺎﺏ ﺍﻟﻔﻜﺮ ﻭ ﺍﻷﺩﺏ" ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻌﺮﺏ ‪ ،‬ﺩﺭﺍﺳﺔ ‪.1998‬‬
‫‪ -‬ﻛﺎﻣﻠﻲ ﺑﻠﺤﺎﺝ ‪":‬ﺃﺛﺮ ﺍﻟﺘﺮﺍﺙ ﺍﻟﺸﻌﱯ ﰲ ﺗﺸﻜﻴﻞ ﺍﻟﻘﺼﻴﺪﺓ ﺍﻟﻌﺮﺑﻴﺔ ﺍﳌﻌﺎﺻﺮﺓ" ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ‬
‫ﺍﻟﻌﺮﺏ‪.‬‬
‫‪ -‬ﳏﻤﺪ ﻋﻨﺎﱐ‪" ،‬ﺍﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ ﺑﲔ ﺍﻟﻨﻈﺮﻳﺔ ﻭ ﺍﻟﺘﻄﺒﻴﻖ"‘‪ ،‬ﺍﻟﺸﺮﻛﺔ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻌﺎﳌﻴﺔ ﻟﻠﻨﺸﺮ‪-‬ﻟﻮﳒﻤﺎﻥ ﻁ ‪.01‬‬
‫‪ -‬ﳏﻤﺪ ﻋﺠﻴﻨﺔ "ﻣﻮﺳﻮﻋﺔ ﺃﺳﺎﻃﲑ ﺍﻟﻌﺮﺏ"‪ -‬ﻋﻦ ﺍﳉﺎﻫﻠﻴﺔ ﻭﺩﻻﻻ‪‬ﺎ‪.‬ﺍﻟﻌﺮﺑﻴﺔ ﳏﻤﺪ ﻋﻠﻲ ﺍﳊﺎﻣﻲ ﻟﻠﻨﺸﺮ‬
‫ﻭ ﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﺝ ‪.2‬ﻁ ‪ .1‬ﺗﻮﻧﺲ‪.‬‬
‫‪ -‬ﳏﺴﻦ‪،‬ﻧﺎﺻﺮ ﺍﻟﻜﻨﺎﱐ‪ ":‬ﺳﺤﺮ ﺍﻟﻘﺼﺔ ﻭ ﺍﳊﻜﺎﻳﺔ‪ -‬ﲝﺚ ﻋﻦ ﺍﻟﻨﺴﻎ ﺍﻟﺼﺎﻋﺪ ﰲ ﻧﺼﻮﺹ ﺣﻜﺎﺋﻴﺔ ﻭﻧﺼﻮﺹ‬
‫ﻗﺼﺼﻴﺔ ﻟﻸﻃﻔﺎﻝ‪ -‬ﺩﺭﺍﺳﺔ‪ ".‬ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ‪ ،‬ﺩﻣﺸﻖ‪ ،‬ﺳﻮﺭﻳﺎ‪.‬‬
‫‪ -‬ﳏﻤﺪ ﺍﳌﺒﺎﺭﻙ‪":‬ﻓﻘﻪ ﺍﻟﻠﻐﺔ ﻭﺧﺼﺎﺋﺺ ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﺩﺭﺍﺳﺔ ﲢﻠﻴﻠﻴﺔ ﻣﻘﺎﺭﻧﺔ ﻟﻠﻜﻠﻤﺔ ﺍﻟﻌﺮﺑﻴﺔ‪،‬ﻭﻋﺮﺽ ﻣﻨﻬﺞ ﺍﻟﻌﺮﺑﻴﺔ‬
‫ﺍﻷﺻﻴﻞ ﰲ ﺍﻟﺘﺠﺪﻳﺪ ﻭﺍﻟﺘﻮﻟﻴﺪ‪،‬ﺩﺍﺭ ﺍﻟﻔﻜﺮ ﻟﻠﻄﺒﺎﻋﺔ ﻭﺍﻟﻨﺸﺮ ﻭﺍﻟﺘﻮﺯﻳﻊ‪ ،‬ﻟﺒﻨﺎﻥ‬
‫‪ -‬ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ‪ ،‬ﺳﻮﺭﻳﺔ‪2001 ،‬‬
‫‪ -‬ﺩ‪/‬ﻧﻀﺎﻝ ﺻﺎﱀ‪ " ،‬ﺍﻟﱰﻭﻉ ﺍﻷﺳﻄﻮﺭﻱ ﰲ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﳌﻌﺎﺻﺮﺓ"‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ‪.‬‬
‫‪ -‬ﻫﺎﺩﻱ ﻧﻌﻤﺎﻥ ﺍﳍﻴﱵ‪ ":‬ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ‪ -‬ﻓﻠﺴﻔﺘﻪ‪ -‬ﻓﻨﻮﻧﻪ‪ -‬ﻭﺳﺎﺋﻄﻪ" ﻣﻨﺸﻮﺭﺍﺕ ﻭﺯﺍﺭﺓ ﺍﻹﻋﻼﻡ‪ ،‬ﺳﻠﺴﻠﺔ‬
‫ﺩﺭﺍﺳﺎﺕ ‪ ،127‬ﺑﻐﺪﺍﺩ‪1977 ،‬‬
‫‪ / -‬ﻭﻓﺎﺀ ﺍﺑﺮﺍﻫﻴﻢ‪ ":‬ﺍﻟﻮﻋﻲ ﺍﳉﻤﺎﱄ ﻋﻨﺪ ﺍﻟﻄﻔﻞ"‪ ،‬ﺍﳍﻴﺌﺔ ﺍﳌﺼﺮﻳﺔ ﺍﻟﻌﺎﻣﺔ ﻟﻠﻜﺘﺎﺏ‪ ،‬ﻁ ‪.2002‬‬

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‫ﺍﳌﺮﺍﺟﻊ ﺍﳌﺘﺮﲨﺔ‪:‬‬

‫‪ -‬ﺃﻟﻴﻜﺴﻲ ﻟﻮﺳﻴﻒ‪ " :‬ﻓﻠﺴﻔﺔ ﺍﻷﺳﻄﻮﺭﺓ"‪ ،‬ﺕ‪ /‬ﻣﻨﺬﺭ ﺣﻠﻮﻡ‪ ،‬ﺩﺍﺭ ﺍﳊﻮﺍﺭﻁ‪.01‬‬
‫‪ -‬ﺇﺩﻭﻳﻦ ﻏﻴﻨﺘﺴﻠﺮ‪ ":‬ﰲ ﻧﻈﺮﻳﺔ ﺍﻟﺘﺮﲨﺔ‪ :‬ﺍﲡﺎﻫﺎﺕ ﻣﻌﺎﺻﺮﺓ"‪ ،‬ﺕ‪ /‬ﺳﻌﺪ ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ ﻣﺼﻠﻮﺡ‪.‬‬
‫‪ -‬ﺇﻳﺮﻳﺶ ﻓﺮﻭﻡ‪ "،‬ﺍﳊﻜﺎﻳﺎﺕ ﻭ ﺍﻷﺳﺎﻃﲑ ﻭ ﺍﻷﺣﻼﻡ"ﺕ‪/‬ﺻﻼﺡ ﺣﺎﰎ ‪.‬‬
‫‪ -‬ﺃ‪.‬ﻧﻴﻬﺎﺭﺩﺕ‪ " :‬ﺍﻵﳍﺔ ﺍﻷﺑﻄﺎﻝ ﰲ ﺍﻟﻴﻮﻧﺎﻥ ﺍﻟﻘﺪﳝﺔ"‪/‬ﺗﺮﲨﺔ ﻫﺎﺷﻢ ﲪﺎﺩﻱ‪،‬ﻁ‪.1994 1‬‬
‫‪ -‬ﻓﺮﺍﻱ ﻧﻮﺭﺛﺮﻭﺏ‪ " :‬ﺍﳌﺎﻫﻴﺔ ﻭ ﺍﳋﺮﺍﻓﺔ"ﺕ‪ /‬ﻫﻴﻔﺎﺀ ﻫﺎﺷﻢ‪،‬ﻣﻨﺸﻮﺭﺍﺕ ﻭﺯﺍﺭﺓ ﺍﻟﺜﻘﺎﻓﺔ‪.1992.‬‬
‫‪ -‬ﻓﺮﻳﺪﻳﺮﻳﺶ ﻓﻮﻥ ﺩﻳﺮ ﻻﻳﻦ‪ ":‬ﺍﳊﻜﺎﻳﺔ ﺍﳋﺮﺍﻓﻴﺔ‪ -‬ﻧﺸﺄ‪‬ﺎ ﻣﻨﺎﻫﺞ ﺩﺭﺍﺳﺘﻬﺎ ﻓﻨﻴﺎ‪‬ﺎ"‪ ،‬ﺗﺮ ﻧﺒﻴﻠﺔ ﺍﺑﺮﺍﻫﻴﻢ‪ ،‬ﻣﺮ ﻋﺰ‬
‫ﺍﻟﺪﻳﻦ ﺍﲰﺎﻋﻴﻞ‪ ،‬ﺩﺍﺭ ﺍﻟﻘﻠﻢ‪ ،‬ﺑﲑﻭﺕ‪ ،‬ﺩﻁ‪.1973/‬‬
‫‪ -‬ﻣﻜﺴﻴﻢ ﻏﻮﺭﻛﻲ‪ " :‬ﺍﳊﻴﺎﺓ ﻫﺬﻩ ﺍﻟﻘﺼﺔ ﺍﻟﻌﺠﻴﺒﺔ‪ -‬ﻫﺆﻻﺀ ﺍﻟﺬﻳﻦ ﻳﻜﺘﺒﻮﻥ ﻟﻸﻃﻔﺎﻝ‪ ،‬ﺭﻭﺳﻴﺎ‪ ،‬ﺩ‪.‬ﻁ‬

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BararaZ.Kielar: “textual Equivalence or Relevance- a conceptual dilemma

theory and practice”.in. “transfert des cultures par le biais des traductions
littéraires”aimav-didier erudition.Paris 1999.

Bruno Bettelheim et Karen Zelan : « la lecture et l’enfant », collection

réponses, édition Robert Laffont, paris, 1981.

Catford:”A linguistic theory of translation: Essay in applied linguistics”.

1965. www. 4shred.com.

Delisle, Jean, « L’analyse du discours comme methode de

traduction »Ottawa.P.u.d’ottawa. 1980.

Ernest cassirer : « langage et mythe, à propos des noms des dieux »,

traduit par les éditions minuit, paris.

FORTUNATO ISRAËL, « traduction littéraire et théorie du sens »,in

« étude traductologiques en hommage à danica selescovitch » .

Georges,Mounin, « les problèmes théoriques de la traduction », Edition

Gallimard,1963.

Ines Oseki-Dépré « Théorie et pratique de la traduction littéraire », edition

Armand Colin.1999.

Ladmiral J.R, « Traduire : théorèmes pour la traduction », Payot, Paris,

1979.

Mathieu Guidere : « introduction à la traductologie »,groupe de Boeck,

Bruxelles, 2008.

Mariane Lederer « la traduction aujourd’hui »,paris, Hachette, 1994.

Nida E.A : « toward a science of translating” Brill,Leiden,1964.

Pierre Lerat. , « les langes spécialisées »,PUF,1e edition,1995, France.r

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Pregnier M, « les fondements sociolinguistiques de la traduction »,p.u.de

Lille,France,1978.

Steiner, G ,”After Babel :Aspect of language and translation”, London

and New York, Oxford university press.1975.

VINAYJ.P. et DARBELNET J. « stylistique comparée du français et de

l’anglais : méthode de traduction », DIDIER, Paris.

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‫ﺍ‪‬ﻼﺕ ﻭ ﺍﻟﺪﻭﺭﻳﺎﺕ‪:‬‬

‫‪ -‬ﺃﺣﻼﻡ ﺻﻐﻮﺭ‪ "،‬ﺍﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ ﺑﲔ ﺍﻷﺳﺮ ﻭ ﺍﻟﺘﺤﺮﺭ" ﳐﱪ ﺗﻌﻠﻴﻤﻴﺔ ﺍﻟﺘﺮﲨﺔ ﻭ ﺗﻌﺪﺩ ﺍﻷﻟﺴﻦ‪ ،‬ﺟﺎﻣﻌﺔ ﻭ‬
‫ﻫﺮﺍﻥ‪ ،‬ﺩﺍﺭ ﺍﻟﻐﺮﺏ‪ ،‬ﳎﻠﺔ ﺍﳌﺘﺮﺟﻢ ﻋﺪﺩ‪ . 10‬ﺣﻮﻳﻠﻴﺔ‪-‬ﺩﻳﺴﻤﱪ‪.2004‬‬
‫‪ -‬ﺇﺩﻣﻮﻥ ﻛﺎﺭﻱ‪ ":‬ﺍﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ"ﺗﺮﲨﺔ ﻋﺒﺪ ﺍﻟﻨﱯ ﺫﺍﻛﺮ‪ " ،‬ﳐﱪ ﺗﻌﻠﻴﻤﻴﺔ ﺍﻟﺘﺮﲨﺔ ﻭ ﺗﻌﺪﺩ ﺍﻷﻟﺴﻦ‪ ،‬ﺟﺎﻣﻌﺔ ﻭ‬
‫ﻫﺮﺍﻥ‪ ،‬ﺩﺍﺭ ﺍﻟﻐﺮﺏ‪،‬ﳎﻠﺔ ﺍﳌﺘﺮﺟﻢ ﻋﺪﺩ ‪ 12.‬ﺟﻮﻳﻠﻴﺔ‪-‬ﺩﻳﺴﻤﱪ‪.2005.‬‬
‫‪ -‬ﺑﺸﲑ ﺯﻫﺪﻱ‪ ":‬ﻣﻘﺪﻣﺔ ﰲ ﺍﳌﻴﺘﺜﻮﻟﻮﺟﻴﺎ"‪ ،‬ﳎﻠﺔ ﺍﳌﻌﺮﻓﺔ‪ .‬ﺍﻟﻌﺪﺩ‪.197‬ﲤﻮﺯ‪1978‬‬
‫‪ -‬ﲨﻌﻴﺔ ﺍﻟﺘﺠﺪﻳﺪ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺍﻹﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﺳﻠﺴﻠﺔ ﻋﻨﺪﻣﺎ ﻧﻄﻖ ﺍﻟﺴﺮﺍﺓ‪" ،‬ﺍﻷﺳﻄﻮﺭﺓ ﺗﻮﺛﻴﻖ ﺣﻀﺎﺭﻱ"‪ ، ،‬ﻗﺴﻢ‬
‫ﺍﻟﺪﺭﺍﺳﺎﺕ ﻭ ﺍﻟﺒﺤﻮﺙ‪ ،‬ﳑﻠﻜﺔ ﺍﻟﺒﺤﺮﻳﻦ‪،‬ﻁ‪www. 4shred.com .1،2005‬‬

‫‪ -‬ﺟﻴﻤﺲ ﻭﻳﻐﻞ‪ : :‬ﺩﺭﺍﺳﺔ ﺍﻷﺳﻄﻮﺭﺓ‪ ،‬ﺗﺮﲨﺔ ‪ :‬ﻓﺘﺢ ﻛﺴﺎﺏ‪www. 4shred.com . .‬‬

‫‪ -‬ﺳﻴﺪﻱ ﳏﻤﺪ ﻏﻴﺜﺮﻱ‪ " :‬ﺍﻷﺳﺲ ﺍﳌﻨﻬﺠﻴﺔ ﻟﺘﺮﲨﺔ ﺍﻟﻨﺼﻮﺹ ﺍﻷﺩﺑﻴﺔ ﰲ ﺿﻮﺀ ﺍﻟﺮﺅﻯ ﺍﻟﻠﺴﺎﻧﻴﺔ"‪ ،‬ﳐﱪ‬
‫ﺗﻌﻠﻴﻤﻴﺔ ﺍﻟﺘﺮﲨﺔ ﻭ ﺗﻌﺪﺩ ﺍﻷﻟﺴﻦ‪ ،‬ﺟﺎﻣﻌﺔ ﻭ ﻫﺮﺍﻥ‪ ،‬ﺩﺍﺭ ﺍﻟﻐﺮﺏ‪ ،‬ﳎﻠﺔ ﺍﳌﺘﺮﺟﻢ ﻋﺪﺩ‪.01‬ﻳﻨﺎﻳﺮ‪-‬‬
‫ﺟﻮﺍﻥ‪.2001‬‬
‫‪ -‬ﺻﱪﻱ ﻣﺴﻠﻢ‪ " :‬ﺗﻮﻇﻴﻒ ﺍﻟﺘﺮﺍﺙ ﺍﻟﺸﻌﱯ ﰲ ﺍﻟﻔﻦ ﺍﻟﻘﺼﺼﻲ ﺍﻟﻌﺮﺍﻗﻲ"‪ .‬ﳎﻠﺔ ﺍﻟﻄﻠﻴﻌﺔ ﺍﻷﺩﺑﻴﺔ‪ .‬ﻉ ‪.08‬‬
‫ﺍﻟﺴﻨﺔ ﺍﻟﺴﺎﺩﺳﺔ‪.1980.‬‬
‫‪ -‬ﺍﻟﻄﺎﻫﺮ ﺭﻭﺍﻳﻨﻴﺔ"ﺁﻟﻴﺎﺕ ﺍﳋﻄﺎﺏ ﺍﻟﺘﺮﲨﻲ ﺍﻷﺩﰊ ﻭ ﺷﻌﺮﻳﺔ ﺍﻟﺘﺮﲨﺔ"‪ ،‬ﳐﱪ ﺗﻌﻠﻴﻤﻴﺔ ﺍﻟﺘﺮﲨﺔ ﻭ ﺗﻌﺪﺩ ﺍﻷﻟﺴﻦ‪،‬‬
‫ﺟﺎﻣﻌﺔ ﻭ ﻫﺮﺍﻥ‪ ،‬ﺩﺍﺭ ﺍﻟﻐﺮﺏ‪،‬ﳎﻠﺔ ﺍﳌﺘﺮﺟﻢ ﻋﺪﺩ ‪.12‬ﺟﻮﻳﻠﻴﺔ‪-‬ﺩﻳﺴﻤﱪ‪.2005‬‬
‫ﻓﺮﺍﺱ ﺍﻟﺴﻮﺍﺡ‪ " ،‬ﺍﻷﺳﻄﻮﺭﺓ ﻭ ﺍﳌﻌﲎ"‪ .‬ﻣﻠﺨﺺ ﻋﻠﻰ ‪www. 4shred.com‬‬ ‫‪-‬‬
‫‪ -‬ﻓﻮﺭﻃﻮﻧﺎﻃﻮ ﺇﺳﺮﺍﺋﻴﻞ‪ " :‬ﺍﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ ﲤﻠﻚ ﺍﻟﻨﺺ" ﺗﺮﲨﺔ ﻣﺼﻄﻔﻰ ﺍﳋﺎﻝ‪ ،‬ﳐﱪ ﺗﻌﻠﻴﻤﻴﺔ ﺍﻟﺘﺮﲨﺔ ﻭ ﺗﻌﺪﺩ‬
‫ﺍﻷﻟﺴﻦ‪ ،‬ﺟﺎﻣﻌﺔ ﻭ ﻫﺮﺍﻥ‪ ،‬ﺩﺍﺭ ﺍﻟﻐﺮﺏ‪،‬ﳎﻠﺔ ﺍﳌﺘﺮﺟﻢ ﻋﺪﺩ‪. 04‬ﻳﻨﺎﻳﺮ‪ -‬ﺟﻮﺍﻥ‪.‬‬
‫ﺹ‪1‬‬ ‫ﺍﻷﺳﻄﻮﺭﻱ"‬ ‫ﺍﻟﻔﻜﺮ‬ ‫ﰲ‬ ‫ﺩﺭﺍﺳﺔ‬ ‫ﻭﺍﻷﺩﺏ‬ ‫"ﺍﻷﺳﻄﻮﺭﺓ‬ ‫ﺯﻳﺪ‬ ‫ﻋﺒﺪ‬ ‫‪ -‬ﻋﺎﻣﺮ‬
‫‪/http://www.adabfan.com‬‬
‫‪ . -‬ﻋﺒﺪ ﺍﳊﻠﻴﻢ ﻣﻨﺼﻮﺭﻱ‪ "،‬ﺍﳌﻼﻣﺢ ﺍﻷﺳﻄﻮﺭﻳﺔ ﰲ ﺭﻭﺍﻳﺔ ﺍﳊﻮﺍﺕ ﻭ ﺍﻟﻘﺼﺮ ﻟﻠﻄﺎﻫﺮ ﻭﻃﺎﺭ – ﺩﺭﺍﺳﺔ ﻧﻘﺪﻳﺔ‬
‫ﺃﺳﻄﻮﺭﻳﺔ‪www. 4shred.com .‬‬
‫‪ -‬ﻋﺒﺪ ﺍﻟﺘﻮﺍﺏ ﻳﻮﺳﻒ‪ ":‬ﺗﻄﻮﺭ ﻛﺘﺐ ﺍﻷﻃﻔﺎﻝ"‪ ،‬ﳎﻠﺔ ﺍﻟﻔﻴﺼﻞ‪،‬ﻉ ‪ ،50‬ﺍﻟﺴﻨﺔ ﺍﳋﺎﻣﺴﺔ‪ ،‬ﻳﻮﻧﻴﻮ‪1981 ،‬‬
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‫‪ -‬ﻋﺒﺪ ﺍﻟﻨﱯ ﺫﺍﻛﺮ‪ ":‬ﻗﻀﺎﻳﺎ ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ"‪ ،‬ﺳﻠﺴﻠﺔ ﺷﺮﺍﻉ‪ ،‬ﺍﻟﻌﺪﺩ‪1998،45‬‬

‫‪ -‬ﻋﺒﺪ ﺍﳋﺎﻟﻖ ﺭﺷﻴﺪ "ﺍﻟﺪﻻﻟﺔ ﻭ ﺍﻟﺘﺮﲨﺔ ﺇﺷﻜﺎﻟﻴﺔ ﺍﻟﺪﻻﻻﺕ ﺍﳊﺎﻓﺔ ﰲ ﺗﺮﲨﺔ ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ ﳕﻮﺫﺟﺎ" ‪ ،‬ﳐﱪ‬
‫ﺗﻌﻠﻴﻤﻴﺔ ﺍﻟﺘﺮﲨﺔ ﻭ ﺗﻌﺪﺩ ﺍﻷﻟﺴﻦ‪ ،‬ﺟﺎﻣﻌﺔ ﻭ ﻫﺮﺍﻥ‪ ،‬ﺩﺍﺭ ﺍﻟﻐﺮﺏ‪،‬ﳎﻠﺔ ﺍﳌﺘﺮﺟﻢ ﻋﺪﺩ ‪ .08‬ﺟﻮﻳﻠﻴﺔ‪-‬‬
‫ﺩﻳﺴﻤﱪ‪2003.‬‬
‫‪ -‬ﻋﺒﺪﺍﷲ ﺍﻟﺸﻨﺎﻕ" ﺻﻌﻮﺑﺔ ﺗﺮﲨﺔ ﺃﺩﺏ ﺍﳌﻬﻤﺸﲔ‪ ،‬ﻫﺒﻴﻠﺔ ﺑﺸﺮﻯ ﳕﻮﺫﺟﺎ" ﳐﱪ ﺗﻌﻠﻴﻤﻴﺔ ﺍﻟﺘﺮﲨﺔ ﻭ ﺗﻌﺪﺩ‬
‫ﺍﻷﻟﺴﻦ‪ ،‬ﺟﺎﻣﻌﺔ ﻭ ﻫﺮﺍﻥ‪ ،‬ﺩﺍﺭ ﺍﻟﻐﺮﺏ‪،‬ﳎﻠﺔ ﺍﳌﺘﺮﺟﻢ ﻋﺪﺩ‪ .12‬ﺟﻮﻳﻠﻴﺔ‪-‬ﺩﻳﺴﻤﱪ‪.2005‬‬
‫‪ -‬ﻋﻠﻲ ﺍﳊﺪﻳﺪﻱ‪":‬ﺣﻜﺎﻳﺎﺕ ﺍﻷﻃﻔﺎﻝ ﺍﻟﻌﺮﺏ"‪.‬ﺍﻟﻌﺮﰊ ﳎﻠﺔ ﺗﺼﺪﺭ ﻋﻦ ﺟﺎﻣﻌﺔ ﺍﻟﻜﻮﻳﺖ‪.‬ﻉ ‪ .384‬ﺳﻨﺔ‬
‫‪1982‬‬
‫‪ -‬ﻋﻴﺴﻰ ﺑﺮﻳﻬﻤﺎﺕ‪ "،‬ﺣﺪﻭﺩ ﺍﻟﺘﺮﲨﺔ ﺍﻷﺩﺑﻴﺔ" ﳐﱪ ﺗﻌﻠﻴﻤﻴﺔ ﺍﻟﺘﺮﲨﺔ ﻭ ﺗﻌﺪﺩ ﺍﻷﻟﺴﻦ‪ ،‬ﺟﺎﻣﻌﺔ ﻭ ﻫﺮﺍﻥ‪ ،‬ﺩﺍﺭ‬
‫ﺍﻟﻐﺮﺏ‪،‬ﳎﻠﺔ ﺍﳌﺘﺮﺟﻢ ﻋﺪﺩ‪ ،07‬ﺟﺎﻧﻔﻲ‪-‬ﺟﻮﺍﻥ‪.2003.‬‬
‫ﳎﻠﺔ ﺍﳌﻌﺮﻓﺔ‪ " ،‬ﺍﻟﺘﻘﺪﱘ" ﻭﺯﺍﺭﺓ ﺍﻟﺜﻘﺎﻓﺔ ﻭ ﺍﻹﺭﺷﺎﺩ ﺍﻟﻘﻮﻣﻲ‪ ،‬ﺳﻮﺭﻳﺔ‪ ،‬ﺍﻟﻌﺪﺩ‪ ،197‬ﲤﻮﺯ ‪.1978‬‬ ‫‪-‬‬
‫‪ -‬ﳏﻤﺪ ﻣﺮﺗﻀﻰ ﺍﳊﺴﻴﲏ ﺍﻟﺰﺑﻴﺪﻱ‪" ،‬ﺗﺎﺝ ﺍﻟﻌﺮﻭﺱ "‪ ،‬ﲢﻘﻴﻖ ﻋﺒﺪ ﺍﻟﺴﺘﺎﺭ ﺃﲪﺪ ﻓﺮﺍﺝ‪ ،‬ﺝ‪ ،1‬ﻭﺯﺍﺭﺓ ﺍﻹﻧﺒﺎﺀ ﻭ‬
‫ﺍﻹﺭﺷﺎﺩ‪ ،‬ﺍﻟﻜﻮﻳﺖ‪.1965،‬‬
‫‪ -‬ﺩ‪ .‬ﳏﻤ‪‬ﺪ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﻳﻮﻧﺲ‪ ":‬ﻣﻘﺎﺭﺑﺎﺕ ﻧﻈﺮﻳﺔ ﰲ ﺃﳘﻴﺔ ﺍﻷﺳﻄﻮﺭﺓ ﻭﻣﻜﺎﻧﺘﻬﺎ ﻭﻣﺼﺎﺩﺭﻫﺎ ﻭﺁﻓﺎﻕ ﺗﻮﻇﻴﻔﻬﺎ‬
‫ﰲ ﺍﳋﻄﺎﺏ ﺍﻟﺸﻌﺮﻱ ﺍﻟﻌﺮﰊ ﺍﳌﻌﺎﺻﺮ"ﳎﻠﺔ ﺟﺴﻮﺭ ﺍﻹﻟﻜﺘﺮﻭﻧﻴﺔ‪.‬‬
‫‪ -‬ﳏﻤﺪ ﻋﺒﺪ ﺍﻟﺮﲪﻦ ﻳﻮﻧﺲ‪ ":‬ﻣﻘﺎﺭﺑﺎﺕ ﻧﻈﺮﻳﺔ ﰲ ﺃﳘﻴﺔ ﺍﻷﺳﻄﻮﺭﺓ ﻭﻣﻜﺎﻧﺘﻬﺎ"‪ ،‬ﳎﻠﺔ ﺟﺴﻮﺭ‪.‬‬
‫‪ -‬ﻣﻮﺳﻮﻋﺔ ﻭﻳﻜﻴﺒﻴﺪﻳﺎ‪/http://ar.wikipedia.org/wiki :‬‬
‫‪ -‬ﺩ‪/‬ﻧﻀﺎﻝ ﺻﺎﱀ‪ " ،‬ﺍﻟﱰﻭﻉ ﺍﻷﺳﻄﻮﺭﻱ ﰲ ﺍﻟﺮﻭﺍﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﳌﻌﺎﺻﺮﺓ"‪ ،‬ﻣﻨﺸﻮﺭﺍﺕ ﺍﲢﺎﺩ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻌﺮﺏ‪،‬‬
‫ﺳﻮﺭﻳﺔ‪.2001 ،‬‬
‫‪-‬‬

‫‪ -‬ﺩ‪ /‬ﻧﺒﻴﻠﺔ ﺇﺑﺮﺍﻫﻴﻢ‪ " ،‬ﺍﻷﺳﻄﻮﺭﺓ"‪ ،‬ﺍﳌﻮﺳﻮﻋﺔ ﺍﻟﺼﻐﲑﺓ"‪ ،"54‬ﻣﻨﺸﻮﺭﺍﺕ ﻭﺯﺍﺭﺓ ﺍﻟﺜﻘﺎﻓﺔ ﻭ ﺍﻹﻋﻼﻡ‪ ،‬ﺍﻟﻌﺮﺍﻕ‪،‬‬
‫‪1979‬‬

‫‪-‬‬ ‫‪Hasmig, Chahinian, « monde arabe, l’essor d’une littérature de‬‬

‫‪jeunesse »,Takam Tikou ,n°14, novembre2007,la joie par les livres, p 09-‬‬
‫‪10.‬‬

‫‪237‬‬
‫اــــــس‪..................................................................................................‬‬

‫ﺍﻟﻔﻬــﺮﺱ‪:‬‬

‫ﺍﳌﻘـــﺪﻣﺔ‪02.................................................................................‬‬

‫ﺃﺳﺒﺎﺏ ﺍﺧﺘﻴﺎﺭ ﺍﳌﻮﺿﻮﻉ‪02.........................................................................‬‬

‫ﺍﻹﺷﻜﺎﻟﻴﺔ‪04......................................................................................‬‬

‫ﺧﻄﺔ ﺍﻟﺒﺤﺚ‪06...................................................................................‬‬

‫ﻋﻘﺒﺎﺕ ﰲ ﻋﻤﻠﻴﺔ ﺍﻟﺒﺤﺚ‪08........................................................................‬‬

‫ﺍﳌﺪﺧـــﻞ‪10................................................................................‬‬

‫ﻧﻈﺮﻳﺔ ﺍﻟﺘﺮﲨﺔ‪12..................................................................................‬‬

‫ﺍﳌﻘﺎﺭﺑﺎﺕ ﺍﻟﻠﻐﻮﻳﺔ‪12...............................................................................‬‬

‫ﺍﻟﻨﻈﺮﻳﺎﺕ ﺍﻟﺜﻘﺎﻓﻴﺔ‪16..............................................................................‬‬

‫ﻧﻘﺪ ﺍﻟﺘﺮﲨﺔ‪18....................................................................................‬‬

‫ﺍﻟﺘﺮﲨﺔ‪ :‬ﺻﺮﺍﻉ ﺑﲔ ﺛﻨﺎﺋﻴﺎﺕ‪20....................................................................‬‬

‫ﺑﺆﺭ ﺍﻟﺘﺤﺪﻱ ﰲ ﺍﻟﺘﺮﲨﺔ‪28.........................................................................‬‬

‫ﺻﲑﻭﺭﺓ ﺍﻟﻌﻤﻠﻴﺔ ﺍﻟﺘﺮﲨﻴﺔ‪32........................................................................‬‬

‫ﺍﻟﻔﺼـــﻞ ﺍﻷﻭﻝ‪39.................................................................‬‬

‫ﻣﻔﻬﻮﻡ ﺍﻷﺳﻄﻮﺭﺓ‪39...............................................................................‬‬

‫ﻋﻦ ﺃﺻﻞ ﺍﻷﺳﺎﻃﲑ‪46.....................................................................‬‬

‫ﺍﻷﺳﻄﻮﺭﺓ ﺍﻷﺩﺑﻴﺔ‪53...............................................................................‬‬

‫‪239‬‬
‫اــــــس‪..................................................................................................‬‬

‫ﺍﻹﺭﻫﺎﺻﺎﺕ ﺍﻷﻭﱃ ﻟﻠﱰﻭﻉ ﺍﻷﺳﻄﻮﺭﻱ ﰲ ﺍﻷﺩﺏ‪63.................................................‬‬

‫ﲡﻠﻴﺎﺕ ﺍﻷﺳﻄﻮﺭﺓ‪67..............................................................................‬‬

‫‪ -1‬ﻣﺴﺘﻮﻯ ﻓﲏ ﲨﺎﱄ‪67......................................................................‬‬

‫ﺃ‪-‬ﺍﻟﺒﻌﺪ ﺍﻷﺳﻠﻮﰊ‪67...............................................................................‬‬

‫‪ .1‬ﺍﳊﺪﺙ ﺍﻷﺳﻄﻮﺭﻱ‪68.....................................................................‬‬
‫‪ .2‬ﺍﻟﺮﻣﺰ ﺍﻷﺳﻄﻮﺭﻱ‪70......................................................................‬‬
‫‪ .3‬ﺍﻟﺒﻨﺎﺀ ﺍﻷﺳﻄﻮﺭﻱ‪71......................................................................‬‬

‫ﺏ‪ -‬ﺍﻟﺒﻌﺪ ﺍﻟﺪﻻﱄ‪74.........................................................................‬‬

‫‪ 1‬ﺍﶈﻜﻲ ﺍﻷﺳﺎﻃﲑﻱ‪74..........................................................‬‬
‫‪ 2‬ﺍﻟﻔﻀﺎﺀ ﺍﳌﺘﺨﻴﻞ‪77....................................................................‬‬
‫‪ 3‬ﻣﺴﺘﻮﻯ ﺗﻘﲏ‪81......................................................................‬‬

‫ﺃ‪-‬ﺍﻟﺒﻌﺪ ﺍﻟﺰﻣﺎﱐ‪81..............................................................................‬‬

‫ﺏ‪ -‬ﺍﻟﺒﻌﺪ ﺍﳌﻜﺎﱐ‪86..............................................................................‬‬

‫ﺝ‪ -‬ﺍﻟﺒﻌﺪﻳﻦ ﺍﻟﺪﻳﲏ ﻭ ﺍﻟﻔﻠﺴﻔﻲ‪90.................................................................‬‬

‫‪ -1‬ﺍﻟﺒﻌﺪ ﺍﻟﺪﻳﲏ‪90...........................................................................‬‬
‫‪ -2‬ﺍﻟﺒﻌﺪ ﺍﻟﻔﻠﺴﻔﻲ‪92........................................................................‬‬

‫ﻣﻦ ﺭﻣﻮﺯ ﺍﻷﺳﻄﻮﺭﺓ‪96.......................................................................‬‬

‫‪ -1‬ﺍﻷﻋــــﺪﺍﺩ‪97.....................................................................‬‬
‫‪ -2‬ﺍﻷﻟــﻮﺍﻥ‪99..........................................................................‬‬
‫‪ -3‬ﺍﻷﺳــﻤــﺎﺀ‪101....................................................................‬‬

‫ﺍﻟﻔﺼــﻞ ﺍﻟﺜﺎﱐ‪109..............................................................‬‬
‫‪240‬‬
‫اــــــس‪..................................................................................................‬‬

‫ﺗﻌــﺮﻳﻒ ﺃﺩﺏ ﺍﻟﻄـﻔﻞ‪109...............................................................‬‬

‫ﺍﻹﺭﻫﺎﺻﺎﺕ ﺍﻷﻭﱃ ﻟﻈﻬﻮﺭ ﺃﺩﺏ ﺍﻷﻃﻔﺎﻝ‪112..................................................‬‬

‫ﻟﻐــــﺔ ﺍﻟﻜﺘـــﺎﺑﺔ ﻟﻠﻄﻔـــﻞ‪120.................................................‬‬

‫ﺍﻟﻘﺼــﺔ ﻟﻠﻄــﻔﻞ‪129...................................................................‬‬

‫ﻣﻨﺎﺑﻊ ﻗﺼﺺ ﺍﻷﻃﻔﺎﻝ‪139....................................................................‬‬

‫ﺍﻟﻔﻀﺎﺀ ﺍﻷﺳﻄﻮﺭﻱ ﻭ ﺍﻟﻄﻔﻞ‪143.............................................................‬‬

‫ﳑﻴﺰﺍﺕ ﻗﺼﺔ ﺍﻟﻄﻔﻞ‪150......................................................................‬‬

‫ﺍﻟﺼﻮﺭﺓ ﰲ ﻗﺼﺔ ﺍﻷﻃﻔﺎﻝ‪156.................................................................‬‬

‫ﺍﻟﻔﻀﺎﺀ ﺍﻟﻌﻤﺮﻱ ﻟﻠﻄﻔﻞ ﺍﻟﺬﻱ ﺍﺧﺘﺮﺗﻪ ﻟﻠﺘﻄﺒﻴﻖ ﻋﻠﻴﻪ‪158.....................................‬‬

‫ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﻟﺚ‪167..................................................................‬‬

‫ﺍﻟﻨﺴﺦ‪169...........................................................................‬‬ ‫‪-1‬‬
‫ﺍﻻﻗﺘﺒﺎﺱ‪171.........................................................................‬‬ ‫‪-2‬‬
‫ﺍﻟﺘﺼﺮﻑ‪173................................................................‬‬ ‫‪-3‬‬

‫ﻧﺒﺬﺓ ﻋﻦ ﺣﻴﺎﺓ ﺍﻟﻜﺎﺗﺒﺔ‪176....................................................................‬‬

‫ﻓﻀﺎﺀ ﻗﺼﺔ "ﻫﺎﺭﻱ ﺑﻮﺗﺮ ﻭ ﻛﺄﺱ ﺍﻟﻨﺎﺭ"‪177....................................................‬‬

‫‪ -1‬ﺍﻟﺸﻜﻞ‪177.............................................................................‬‬
‫‪ -1.1‬ﺍﻹﺧﺮﺍﺝ‪177............................................................................‬‬
‫‪ -1.2‬ﺍﳊﺠﻢ‪183..............................................................................‬‬

‫‪ -2‬ﺍﳌﻀﻤﻮﻥ ‪185.....................................................................‬‬

‫‪ -2.1‬ﺍﻟﻠﻐﺔ‪185................................................................‬‬

‫‪241‬‬
‫اــــــس‪..................................................................................................‬‬

‫‪ -2.2‬ﺍﻟﺸﺨﺼﻴﺎﺕ‪189...................................................................‬‬
‫‪ -2.3‬ﺍﻟﺴﺮﺩ ﻭ ﺍﳊﻮﺍﺭ‪191................................................................‬‬
‫‪ -2.4‬ﺍﻟﺰﻣﺎﻥ ﻭ ﺍﳌﻜﺎﻥ‪195................................................................‬‬
‫‪ -2.5‬ﺑﻨﺎﺀ ﺍﻟﻘﺼﺔ‪196.....................................................................‬‬
‫‪ -2.6‬ﺍﻷﲰﺎﺀ ﰲ ﻗﺼﺔ "ﻫﺎﺭﻱ ﺑﻮﺗﺮ ﻭ ﻛﺄﺱ ﺍﻟﻨﺎﺭ"‪198.......................................‬‬

‫ﺍﻟﺘﻄﺒﻴﻖ ﺍﳌﺒﺎﺷﺮ ﻋﻠﻰ ﺍﳌﺪﻭﻧﺔ‪200.............................................................‬‬

‫ﺍﳋﺎﲤـــﺔ‪213.................................................................‬‬

‫ﺍﳌﻠﺨﺺ ﺑﺎﻟﻠﻐﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ‪218.......................................................‬‬

‫ﺍﳌﻠﺨﺺ ﺑﺎﻟﻠﻐﺔ ﺍﻹﳒﻠﺰﻳﺔ‪225.......................................................‬‬

‫ﺍﻟﺒﻴﺒﻠﻴﻮﻏﺮﺍﻓﻴﺎ‪230.................................................................‬‬

‫ﺍﻟﻔﻬﺮﺱ‪239 .....................................................................‬‬

‫‪242‬‬
 ‫اﻟﻤﻠـﺨــﺺ‪:‬‬
‫ﺑﻤﺎ أن اﻟﻠﻘﺎء اﻷول ﺑﯿﻦ اﻟﻄﻔﻞ و اﻷﺳﻄﻮرة ﻟﯿﺲ ﻣﻦ ﺧﻼل اﻟﻘﺼﺔ أو ﻣﻊ ﺑﺪاﯾﺔ‬
‫ﺗﺬوﻗﮫ ﻟﻸدب ﺑﺸﻜﻞ ﻋﺎم‪ ،‬و إﻧﻤﺎ ﻗﺒﻞ ذﻟﻚ ﺑﻜﺜﯿﺮ‪ ،‬ﻓﺎﻟﻄﻔﻞ ﯾﺄﻟﻒ اﻷﺳﻄﻮرة ﻣﻦ ﺧﻼل‬
‫ﻣﺎ ﯾﺘﻠﻮه اﻷھﻞ ﻋﻠﻰ ﻣﺴﺎﻣﻌﮫ إﻣﺎ ﻓﻲ أﻃﺎر اﻟﻤﺬھﺐ اﻟﺪﯾﻨﻲ أو ﻓﻲ ﺷﻜﻞ ﺣﻜﺎﯾﺎت‬
‫ﺗﺮﺑﻮﯾﺔ اﻟﮭﺪف ﻣﻨﮭﺎ ﺗﻠﻘﯿﻦ اﻟﻄﻔﻞ ﺑﻌﺾ اﻟﻤﻌﺎرف ﻋﻦ ﻧﺸﺄت اﻟﻜﻮن‪ ،‬ﻋﻦ اﻟﻄﺒﯿﻌﺔ‪ ،‬و‬
‫ﻋﻦ ﻃﺒﯿﻌﺔ اﻟﻌﻼﻗﺎت ﺑﯿﻦ اﻟﺒﺸﺮ‪ ...‬ﻓﮭﻲ ﻓﻲ ﺷﻜﻠﮭﺎ ھﺬا ﻻ ﺗﻄﺮح أي إﺷﻜﺎل ﻋﻠﻰ‬
‫ﻣﺴﺘﻮى اﻟﻤﻀﻤﻮن‪ ،‬ﻣﺎ داﻣﺖ ﻣﺴﺘﻘﺎة ﻣﻦ ﺑﯿﺌﺔ اﻟﻄﻔﻞ اﻟﺘﻲ ﯾﻌﯿﺶ ﻓﯿﮭﺎ‪.‬‬
‫و ﻟﻜﻦ ھﻨﺎك ﻧﻘﻄﺔ ﻣﮭﻤﺔ أﻣﻜﻨﮭﺎ أن ﺗﺴﺎھﻢ ﻓﻲ ﺣﻞ اﻟﻤﺴﺄﻟﺔ ﻟﯿﺲ ﻛﻠﮭﺎ و ﻟﻜﻦ أﻏﻠﺒﮭﺎ‪،‬‬
‫و ھﻲ أن اﻷﺳﺎﻃﯿﺮ ﺗﻌﻮد ﻓﻲ ﻧﺸﺄﺗﮭﺎ إﻟﻰ أﺻﻞ واﺣﺪ ﺛﻢ ﺗﻔﺮﻗﺖ و ﺗﺒﺎﻋﺪت ﻟﺘﻜﻮن‬
‫ھﺬا اﻟﻜﻢ اﻟﮭﺎﺋﻞ اﻟﺬي ﻧﻌﺮﻓﮫ اﻟﯿﻮم ﺑﺎﻹﺿﺎﻓﺔ إﻟﻰ اﻟﺪﻋﻢ اﻟﻜﺒﯿﺮ اﻟﺬي ﯾﻘﺪﻣﮫ اﻹﻋﻼم‬
‫ﻣﻦ ﺧﻼل اﻟﺘﻌﺮﯾﻒ ﺑﺎﻟﻜﺜﯿﺮ ﻣﻨﮭﺎ‪ .‬و ھﺬا ﯾﺤﺪ ﻛﺜﯿﺮا ﻣﻦ ﺗﺪﺧﻠﻨﺎ ﻓﯿﮭﺎ‪ .‬و ﻟﻜﻦ ﻋﻨﺪﻣﺎ‬
‫ﻧﻘﻮل ﻛﯿﻒ ﻧﺘﺮﺟﻢ اﻷﺳﻄﻮرة ھﺬا ﻻ ﯾﻌﻨﻲ ﻧﻘﻠﮭﺎ ﺣﺮﻓﯿﺎ أو إﺟﺮاء ﻣﻘﺎﺑﻼت ﺑﯿﻨﮭﺎ و‬
‫ﺑﯿﻦ اﻷﺧﺮى اﻟﻤﺤﻠﯿﺔ‪ ،‬اﻷﻣﺮ ﻋﻠﻰ اﻟﻌﻜﺲ ﻣﻦ ذﻟﻚ ﺗﻤﺎﻣﺎ‪ ،‬ﻓﺎﻷﺳﺎﻃﯿﺮ ﻣﺒﻨﯿﺔ ﻋﻠﻰ‬
‫ﺣﺪث‪ ،‬إﻃﺎر زﻣﺎﻧﻲ ﻣﻜﺎﻧﻲ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﻟﻰ رﻣﻮز‪ ،‬و ﻏﺎﻟﺒﺎ ﻣﺎ ﯾﻘﻊ اﻹﺷﻜﺎل ﻋﻠﻰ‬
‫ﻣﺴﺘﻮى أﺣﺪ ھﺬه اﻟﻌﻨﺎﺻﺮ‪ ،‬و ﯾﺒﻘﻲ ﻋﻠﻰ اﻟﻤﺘﺮﺟﻢ ﻣﻌﺮﻓﺔ ﻛﯿﻒ ﯾﺘﻌﺎﻣﻞ ﻣﻊ ﻛﻞ‬
‫واﺣﺪ ﻋﻠﻰ ﺣﺪا إن أﻣﻜﻦ ﻟﯿﺘﻢ اﻧﺘﻘﺎل اﻷﺳﻄﻮرة ﻣﻦ ﺣﻀﺎرة إﻟﻰ أﺧﺮى‪ ،‬ﺛﻢ ﻛﯿﻒ‬
‫اﻟﺘﻌﺎﻣﻞ ﻣﻌﮭﺎ ﻣﺠﺘﻤﻌﺔ ﻟﺘﺒﻘﻰ اﻟﺪﻻﻟﺔ ﻋﻠﻰ اﻟﺠﻮھﺮ اﻷﺳﻄﻮري واﺿﺤﺔ وﻣﺴﺘﻤﺮة‪.‬‬
‫إن اﻟﻤﺘﻌﺎﻣﻞ ﻣﻊ اﻷﺳﻄﻮرة ﻓﻲ أدب اﻟﻄﻔﻞ ﻣﺘﻌﺎﻣﻞ ﻣﻊ اﻟﻔﻜﺮ اﻟﺒﺸﺮي ﻓﻲ أﺑﺴﻂ‬
‫أﺷﻜﺎﻟﮫ‪ ،‬ﻟﺬﻟﻚ ﻣﻦ اﻟﻀﺮوري ﻓﮭﻢ ﻛﻼ اﻟﻌﺎﻟﻤﯿﻦ‪ ،‬ﻋﺎﻟﻢ أدب اﻟﻄﻔﻞ و ﻋﺎﻟﻢ اﻷﺳﻄﻮرة‬
‫ﺛﻢ إﻗﺎﻣﺔ اﻟﺮواﺑﻂ ﺑﯿﻨﮭﻤﺎ ﻓﻲ ﺷﻜﻞ ﻻ ﯾﺠﻨﻲ ﻋﻠﻰ أي ﻣﻦ اﻟﻄﺮﻓﯿﻦ‪ ،‬وھﻜﺬا ﯾﺴﺘﻘﯿﻢ‬
‫اﻷﻣﺮ ﺑﺮﻣﺘﮫ‪.‬‬

‫اﻟﻜﻠﻤﺎت اﻟﻤﻔﺘﺎﺣﯿﺔ‪:‬‬
‫اﻷﺳﻄﻮرة؛ أدب اﻟﻄﻔﻞ؛ اﻟﺘﺮﺟﻤﺔ؛ اﻷدب؛ اﻟﻤﻮروث اﻟﺜﻘﺎﻓﻲ؛ اﻟﺘﻜﯿﯿﻒ؛ اﻟﻘﺼﺔ؛‬
‫أﺑﻌﺎد اﻷﺳﻄﻮرة؛ ﻣﺴﺘﻮى اﻟﻠﻐﺔ؛ أﺷﻜﺎل اﻟﻨﺰوع اﻷﺳﻄﻮري‪.‬‬