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9808 010 001 4462 1
9808 010 001 4462 1
9808 010 001 4462 1
:6ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻭﺍﻵﺨﺭ
:7ﺼﻭﺭﺓ ﺍﻝﻤﺨﻴﻡ
:8ﺍﻝﻤﺘﺨﻴل ﺍﻝﺘﹼﺎﺭﻴﺨﻲ
ﺇﺳﻠﻮﺏ APA
ﺷﻮﺍﻫﻨﺔ ،ﻣﻴﺲ ﻳﻮﺳﻒ ﺣﺴﻦ ،ﻭ ﻗﺎﺳﻢ ،ﻧﺎﺩﺭ ﺟﻤﻌﺔ.(2019) .ﻓﻠﺴﻄﻴﻦ ﻓﻲ ﺭﻭﺍﻳﺘﻲ ﺍﻟﻄﻨﻄﻮﺭﻳﺔ ﻟﺮﺿﻮﻯ
ﻋﺎﺷﻮﺭ ،ﻭﻃﺎﺑﻖ 99ﻟﺠﻨﻰ ﻓﻮﺍﺯ ﺍﻟﺤﺴﻦ :ﺩﺭﺍﺳﺔ ﺗﺤﻠﻴﻠﻴﺔ ﻧﻘﺪﻳﺔ)ﺭﺳﺎﻟﺔ ﻣﺎﺟﺴﺘﻴﺮ ﻏﻴﺮ ﻣﻨﺸﻮﺭﺓ( .ﺟﺎﻣﻌﺔ ﺍﻟﻨﺠﺎﺡ
ﺍﻟﻮﻃﻨﻴﺔ ،ﻧﺎﺑﻠﺲ .ﻣﺴﺘﺮﺟﻊ ﻣﻦ 1330528/Record/com.mandumah.search//:http
ﺇﺳﻠﻮﺏ MLA
ﺍﻝﻔﺼل ﺍﻷﻭل
ﺷﻮﺍﻫﻨﺔ ،ﻣﻴﺲ ﻳﻮﺳﻒ ﺣﺴﻦ ،ﻭ ﻧﺎﺩﺭ ﺟﻤﻌﺔ ﻗﺎﺳﻢ" .ﻓﻠﺴﻄﻴﻦ ﻓﻲ ﺭﻭﺍﻳﺘﻲ ﺍﻟﻄﻨﻄﻮﺭﻳﺔ ﻟﺮﺿﻮﻯ ﻋﺎﺷﻮﺭ ،ﻭﻃﺎﺑﻖ
99ﻟﺠﻨﻰ ﻓﻮﺍﺯ ﺍﻟﺤﺴﻦ :ﺩﺭﺍﺳﺔ ﺗﺤﻠﻴﻠﻴﺔ ﻧﻘﺪﻳﺔ" ﺭﺳﺎﻟﺔ ﻣﺎﺟﺴﺘﻴﺮ .ﺟﺎﻣﻌﺔ ﺍﻟﻨﺠﺎﺡ ﺍﻟﻮﻃﻨﻴﺔ ،ﻧﺎﺑﻠﺲ.2019 ،
ﻣﺴﺘﺮﺟﻊ ﻣﻦ 1330528/Record/com.mandumah.search//:http
:2ﺍﻝﺸﹼﺘﺎﺕ ﻭﺍﻝﻤﻨﻔﻰ
:3ﺍﻻﻨﺘﻤﺎﺀ ﻭﺍﻝﻬﻭﻴﺔ
:6ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻭﺍﻵﺨﺭ
:7ﺼﻭﺭﺓ ﺍﻝﻤﺨﻴﻡ
:8ﺍﻝﻤﺘﺨﻴل ﺍﻝﺘﹼﺎﺭﻴﺨﻲ
:2ﺍﻝﺸﹼﺘﺎﺕ ﻭﺍﻝﻤﻨﻔﻰ
:3ﺍﻻﻨﺘﻤﺎﺀ ﻭﺍﻝﻬﻭﻴﺔ
:6ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻭﺍﻵﺨﺭ
:7ﺼﻭﺭﺓ ﺍﻝﻤﺨﻴﻡ
:8ﺍﻝﻤﺘﺨﻴل ﺍﻝﺘﹼﺎﺭﻴﺨﻲ
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ﺍﻝﻔﺼل ﺍﻷﻭل
ﺘﻌﺩ ﻤﺠﺯﺭﺓ ﺸﺎﺘﻴﻼ ﻤﻥ ﺃﻜﺜﺭ ﺍﻷﺤﺩﺍﺙ ﺩﻤﻭﻴﺔ ﻓﻲ ﺍﻝﺘﺎﺭﻴﺦ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ،ﻓﻘﺩ ﺍﺤﺘﻠـﺕ ﻤﻜﺎﻨـﺔ
ﺃﻝﻴﻤﺔ ﻓﻲ ﻗﻠﺏ ﻜل ﻓﻠﺴﻁﻴﻨﻲ ،ﻻ ﻝﻜﻭﻨﻬﺎ ﻤﺠﺯﺭﺓ ﻭﺤﺴﺏ ،ﺒل ﻷﻨﻬﺎ ﺘﻤﺕ ﺒﺤﻕ ﻻﺠﺌﻴﻥ ﺫﺍﻗﻭﺍ ﺍﻝﻤﺠﺎﺯﺭ
ﻓﻲ ﻭﻁﻨﻬﻡ ﻭﻫﺭﺒﻭﺍ ﻤﻥ ﺍﻝﻤﻭﺕ ،ﻓﻜﺎﻥ ﻫﺫﺍ ﺍﻝﻤﻭﺕ ﺍﻝﺠﺩﻴﺩ ﻋﻠﻰ ﺃﻴﺩﻱ ﺃﺒﻨﺎﺀ ﺠﻠﺩﺘﻬﻡ ﻤﻥ ﺍﻝﻌﺭﺏ ،ﻓﻜﺎﻥ
ﺍﻝﻭﻗﻊ ﺃﻝﻴﻤﺎ ﻋﻠﻰ ﻨﻔﻭﺴﻬﻡ .ﻓﺎﻝﻌﺩﻭ ﻝﻡ ﻴﻜﺘﻑ ﺒﺘﻬﺠﻴﺭ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻤﻥ ﺃﺭﻀﻪ ،ﺒل ﻝﺤﻕ ﺒﻪ ﺇﻝﻰ ﺍﻝﺸﺘﺎﺕ
ﻭﻨﺎﺼﺭ ﺍﻵﺨﺭﻴﻥ ﻋﻠﻴﻪ ﻓﻲ ﻋﻤﻠﻴﺔ ﺇﺒﺎﺩﺓ ﺠﻤﺎﻋﻴﺔ ﻭﺘﻁﻬﻴﺭ ﻋﺭﻗﻲ .ﻭﺤﻘﻴﻘﺔ ﻜﻭﻥ ﺍﺭﺘﻜﺎﺏ ﺍﻝﻤﺠـﺎﺯﺭ
ﺒﺤﻕ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﺘﻁﻬﻴﺭﺍ ﻋﺭﻗﻴﺎ ﺃﺸﺎﺭ ﺇﻝﻴﻬﺎ ﺍﻝﻜﺎﺘﺏ ﺍﻝﻴﻬﻭﺩﻱ ﺇﻴﻼﻥ ﺒﺎﺒﻴﻪ ﻓﻲ ﻜﺘﺎﺏ ﺃﻁﻠﻕ ﻋﻠﻴﻪ ﺍﺴﻡ:
ﺍﻝﺘﹼﻁﻬﻴﺭ ﺍﻝﻌﺭﻗﻲ ﻓﻲ ﻓﻠﺴﻁﻴﻥ ،1ﻤﻔﺼﻼ ﺍﻝﺤﺩﻴﺙ ﻓﻲ ﺤﻴﺜﻴﺎﺕ ﻫﺫﺍ ﺍﻝﺘﻁﻬﻴﺭ.
ﻭﻨﻅﺭﺍ ﻝﻤﺎ ﺘﺭﻜﺘﻪ ﻫﺫﻩ ﺍﻝﻤﺠﺯﺭﺓ ﻤﻥ ﺃﺜﺭ ﻋﻠﻰ ﺍﻝﺘﺎﺭﻴﺦ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻭﺍﻝﺘﺎﺭﻴﺦ ﺒﺸﻜل ﻋﺎﻡ ،ﻓﻘﺩ
ﺤﺭﺼﺕ ﺍﻝﻜﺎﺘﺒﺘﺎﻥ 2ﻋﻠﻰ ﺍﻝﺤﺩﻴﺙ ﻋﻨﻬﺎ ،ﺤﻴﺙ ﻜﺎﻥ ﺃﺤﺩ ﺃﺒﻁﺎل ﺭﻭﺍﻴﺔ ﺍﻝﻁﻨﻁﻭﺭﻴـﺔ ﻀـﺤﻴﺔ ﻤـﻥ
ﻀﺤﺎﻴﺎ ﺍﻝﻤﺠﺯﺭﺓ ﻤﺎ ﺤﺩﺍ ﺒﺄﺒﻨﺎﺌﻪ ﺇﻝﻰ ﺘﻘﺼﻲ ﻅﺭﻭﻑ ﺍﺴﺘﺸﻬﺎﺩﻩ ،ﻜﻤﺎ ﻗﺎﻤﺕ ﺴﺎﺭﺩﺓ ﺍﻝﺭﻭﺍﻴﺔ ﺒﺯﻴـﺎﺭﺓ
ﻤﻜﺎﻥ ﺍﻝﻤﺠﺯﺭﺓ ﻭﻜﺘﺒﺕ ﻓﺼﻼ ﻤﻥ ﻓﺼﻭل ﺍﻝﺭﻭﺍﻴﺔ ﻋﻨﻬﺎ ﻴﺤﻤل ﺍﺴﻡ )ﺍﻝﺫﺒﺎﺏ( ،ﺇﻻ ﺃﻥ ﻫﺫﺍ ﺍﻝﻔﺼل ﻝﻡ
ﺒﺎﺒﻴﻪ ،ﺇﻴﻼﻥ :ﺍﻝﺘﻁﻬﻴﺭ ﺍﻝﻌﺭﻗﻲ ﻓﻲ ﻓﻠﺴﻁﻴﻥ ،ﺘﺭﺠﻤﺔ :ﺃﺤﻤﺩ ﺨﻠﻴﻔﺔ ،ﻁ ،1ﺒﻴﺭﻭﺕ :ﻤﺅﺴﺴﺔ ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ.2007 ، 1
ﺭﻀﻭﻯ ﻋﺎﺸﻭﺭ :ﻨﺎﻗﺩﺓ ﻭﺭﻭﺍﺌﻴﺔ ﻭﺃﺴﺘﺎﺫﺓ ﺠﺎﻤﻌﻴﺔ ﻤﺼﺭﻴﺔ ،ﻭﻝﺩﺕ ﺭﻀﻭﻯ ﻋﺎﻡ 1946ﻓﻲ ﻤﺩﻴﻨﺔ ﺍﻝﻘﺎﻫﺭﺓ ،ﺤﺼـﻠﺕ ﻋﻠـﻰ 2
ﺸﻬﺎﺩﺓ ﺍﻝﺒﻜﺎﻝﻭﺭﻴﻭﺱ ﻓﻲ ﺍﻷﺩﺏ ﺍﻹﻨﺠﻠﻴﺯﻱ ﻤﻥ ﺠﺎﻤﻌﺔ ﺍﻝﻘﺎﻫﺭﺓ ،ﺜ ﻡ ﺤﺼﻠﺕ ﻋﻠﻰ ﺍﻝﻤﺎﺠﺴﺘﻴﺭ ﻓﻲ ﺍﻷﺩﺏ ﺍﻝﻤﻘـﺎﺭﻥ ﻤـﻥ ﻨﻔـﺱ
ﺍﻝﺠﺎﻤﻌﺔ ،ﺜﻡ ﺤﺼﻠﺕ ﻋﻠﻰ ﺸﻬﺎﺩﺓ ﺍﻝﺩﻜﺘﻭﺭﺍﺓ ﻤﻥ ﺠﺎﻤﻌﺔ ﻤﺎﺴﺎﺘﺸﻭﺴﺘﺱ ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﺍﻷﻤﺭﻴﻜﻴـﺔ ﻭﻜﺎﻨـﺕ ﻓـﻲ ﺍﻷﺩﺏ
ﺍﻹﻓﺭﻴﻘﻲ ،ﻭﻝﻬﺎ ﺍﻝﻜﺜﻴﺭ ﻤﻥ ﺍﻷﻋﻤﺎل ﺍﻷﺩﺒﻴﺔ ﻭﺍﻝﻨﻘﺩﻴﺔ ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺴﻴﺭﺘﻬﺎ ﺍﻝﺫﺍﺘﻴﺔ .ﻴﻨﻅﺭ :ﻋﺎﺸﻭﺭ ،ﺭﻀﻭﻯ :ﺍﻝﻁﻨﻁﻭﺭﻴـﺔ ،ﻁ،3
ﻤﺼﺭ :ﺩﺍﺭ ﺍﻝﺸﺭﻭﻕ ،2011 ،ﺍﻝﻐﻼﻑ ﺍﻝﺨﻠﻔﻲ.
ﺠﻨﻰ ﻓﻭﺍﺯ ﺍﻝﺤﺴﻥ :ﺼﺤﻔﻴﺔ ﻭﺭﻭﺍﺌﻴﺔ ﻝﺒﻨﺎﻨﻴﺔ ،ﻭﻝﺩﺕ ﻋﺎﻡ 1985ﻓﻲ ﺸﻤﺎل ﻝﺒﻨﺎﻥ ،ﺤﺼﻠﺕ ﻋﻠـﻰ ﺍﻝﺒﻜـﺎﻝﻭﺭﻴﻭﺱ ﻓـﻲ ﺍﻷﺩﺏ
ﺍﻹﻨﺠﻠﻴﺯﻱ ﻭﺘﺘﺎﺒﻊ ﺩﺭﺍﺴﺘﻬﺎ ﻝﻠﻤﺎﺠﺴﺘﻴﺭ ،ﻭﺘﻌﻤل ﻓﻲ ﺼﺤﻴﻔﺔ ) ﺍﻝﺩﺍﻴﻠﻲ ﺴﺘﺎﺭ( ﺍﻝﺼﺎﺩﺭﺓ ﺒﺎﻝﻠﻐﺔ ﺍﻹﻨﺠﻠﻴﺯﻴـﺔ ،ﻭﺃﺼـﺩﺭﺕ ﺃﻭﻝـﻰ
ﺭﻭﺍﻴﺎﺘﻬﺎ ﻋﺎﻡ .2009ﻴﻨﻅﺭ :ﺍﻝﻁﺎﺌﻲ ،ﻨﻭﺭ ﻜﺭﻴﻡ :ﻁﺎﺒﻕ 99ﻓﻲ ﺭﻭﺍﻴﺔ ﻝﺒﻨﺎﻨﻴﺔ ﺠﻴل ﺍﻝﺸﺘﺎﺕ ﻴﺘﺴﺎﺀل ﻋـﻥ ﺠـﺩﻭﻯ ﺍﻝﺤـﺭﺏ،
ﺍﻝﺯﻤﺎﻥ/https://www.azzaman.com ،2016 ،5339 ،ﻁﺎﺒﻕ-99-ﻓﻲ-ﺭﻭﺍﻴﺔ-ﻝﺒﻨﺎﻨﻴﺔ-ﺠﻴل-ﺍﻝﺸﺘﺎﺕ-ﻴﺘﺴﺎ/
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ﻴﺘﻌ ﺩ ﺼﻔﺤﺘﻴﻥ ،ﺤﻴﺙ ﺨﺘﻤﺘﻪ ﺍﻝﺴﺎﺭﺩﺓ ﺒﻘﻭﻝﻬﺎ " :ﺍﺘﺭﻜﻲ ﻴﺎ ﺭﻗﻴﺔ ﺍﻝﺼﻔﺤﺔ ﻝﻠﺒﻴﺎﺽ" 1ﻤﺸﻴﺭﺓ ﺒﻬﺫﺍ ﺇﻝﻰ
ﻋﺩﻡ ﺭﻏﺒﺘﻬﺎ ﺒﺎﻝﻜﺘﺎﺒﺔ ،ﻭﺭﺒﻤﺎ ﺴﺒﺏ ﺫﻝﻙ ﻋﺩﻡ ﻤﻘﺩﺭﺓ ﺍﻝﻜﺘﺎﺒﺔ ﻋﻠﻰ ﻨﻘل ﺍﻝﺼﻭﺭﺓ ﻜﻤﺎ ﻜﺎﻨﺕ ﻓﻲ ﺍﻝﻭﺍﻗﻊ،
ﻭﻝﻌﻠﻬﺎ ﺒﻬﺫﺍ ﻤﺘﺄﺜﺭﺓ ﺒﻨﺹ ﺠﺎﻥ ﺠﻴﻨﻴﻪ ﺤﻭل ﺍﻝﻤﺠﺯﺭﺓ ﺇﺫ ﻴﻘﻭل " :ﺇﻨﻨﻲ ﺃﻜﺘﺏ ﻫﺫﺍ ﺍﻝﻜﻼﻡ ﻓﻲ ﺒﻴﺭﻭﺕ،
ﺤﻴﺙ ﻜل ﺸﻲﺀ ﺃﻜﺜﺭ ﺼﺩﻗﺎ ﻤﻤﺎ ﻫﻭ ﻋﻠﻴﻪ ﻓﻲ ﻓﺭﻨﺴﺎ" 2ﻜﻤﺎ ﺘﺤﺩﺜﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻋـﻥ ﺃﺴـﺭﺍﺏ ﺍﻝـﺫﺒﺎﺏ
ﻭﺍﻝﺭﺍﺌﺤﺔ ﻭﻨﻘل ﺍﻝﺠﺜﺙ ﻭﻁﻤﺭﻫﺎ ﻭﺍﻝﻤﻘﺎﺒﺭ ﺍﻝﺠﻤﺎﻋﻴﺔ ﻭﺭﺵ ﺍﻝﻤﺴﺤﻭﻕ ﺍﻷﺒﻴﺽ ...ﻭﻫﺫﺍ ﻜﻠﻪ ﻭﺼـﻔﻪ
ﺠﺎﻥ ﺠﻴﻨﻴﻪ ﻓﻲ ﻨﺼﻪ ﻋﻥ ﺍﻝﻤﺠﺯﺭﺓ ﺒﻌﺩ ﺃﻥ ﺃﻜﺩ ﻋﻠﻰ ﺃﻥ ﺍﻝﻭﺍﻗﻊ ﺃﻜﺜﺭ ﺼﺩﻗﺎ .ﺇﻥ ﻫﺫﺍ ﺍﻝﺼﻤﺕ ﻋـﻥ
ﺍﻝﻜﺘﺎﺒﺔ ﺍﻝﺫﻱ ﻻﺯﻡ ﺍﻝﺴﺎﺭﺩﺓ ﻜﺎﻥ ﺃﻴﻀﺎ ﻝﺩﻯ ﺒﻁل ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﺇﺫ ﻴﻘﻭل " :ﺍﺭﺘﺒﻁـﺕ ﺍﻝﻤﺠـﺯﺭﺓ
ﺩﺍﺌﻤﺎ ﻓﻲ ﺭﺃﺴﻲ ﺒﺎﻝﺼﻤﺕ" ،3ﻭﻴﺘﻔﻕ ﺴﺎﺭﺩ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻤﻊ ﺴﺎﺭﺩﺓ ﺍﻝﻁﻨﻁﻭﺭﻴﺔ ﻓـﻲ ﺼـﻌﻭﺒﺔ
ﻭﺼﻑ ﻤﺎ ﺤﺩﺙ ﻝﻔﻅﺎﻋﺘﻪ ﺇﺫ ﻴﻘﻭل " :ﺘﺒﺩﻭ ﺍﻷﺤﺩﺍﺙ ﺩﺍﺌﻤﺎ ﻨﺎﻗﺼﺔ ﻭﻤﺒﻌﺜﺭﺓ ،ﻝﻴﺱ ﻝﺸـﻲﺀ ﻭﺇﻨﻤـﺎ
ﻝﻔﻅﺎﻋﺘﻬﺎ".4
ﻭﻓﻴﻤﺎ ﻴﺘﻌﻠﹼﻕ ﺒﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻓﻘﺩ ﺒﻨﻴﺕ ﺃﺤﺩﺍﺜﻬﺎ ﺤﻭل ﺸﺨﺼﻴﺔ ﻨﺠﺕ ﻤﻥ ﺍﻝﻤﺠﺯﺭﺓ ،ﻓﻜﺎﻥ
ﻝﻬﺎ ﺃﺜﺭ ﻜﺒﻴﺭ ﻓﻲ ﺠﺴﺩ ﻫﺫﻩ ﺍﻝﺸﺨﺼﻴﺔ ﻭﻨﻔﺴﻴﺘﻬﺎ ﻭﻨﻅﺭﺘﻬﺎ ﻝﻠﻌﺎﻝﻡ ﻭﺴﻠﻭﻜﻬﺎ.
ﺤﻭل ﺍﻝﻤﺠﺯﺭﺓ
ﻓﺼﻠﺕ ﺍﻝﻜﺎﺘﺒﺘﺎﻥ ﺍﻝﺤﺩﻴﺙ ﻋﻥ ﺍﻝﻤﺠﺯﺭﺓ ﻤﻨﺫ ﺒﺩﺍﻴﺎﺘﻬﺎ ﻭﻤﻘﺩﻤﺎﺘﻬﺎ ﺇﻝﻰ ﻤﺎ ﺒﻌﺩ ﺤﺩﻭﺜﻬﺎ ،ﻓﺫﻜﺭﺕ
ﻜﺎﺘﺒﺔ ﺍﻝﻁﻨﻁﻭﺭ ﻴﺔ ﺃﻥ ﻫﻨﺎﻙ ﻤﺠﺯﺭﺓ ﺘﻤﺕ ﻓﻲ ﻴﻭﻡ ﺍﻝﺠﻤﻌﺔ ﺍﻝﺴﺎﺒﻊ ﻋﺸﺭ ﻤﻥ ﺃﻴﻠـﻭل ،ﻓـﻲ ﺍﻝﺴـﺎﻋﺔ
ﺍﻝﺨﺎﻤﺴﺔ ﺼﺒﺎﺤﺎ ﻋﺒﺭ ﺍﻝﻨﺩﺍﺀ ﺒﻤﻜﺒﺭﺍﺕ ﺍﻝﺼﻭﺕ ﻝﺩﻋﻭﺓ ﺍﻷﻫﺎﻝﻲ ﺇﻝﻰ ﺍﻝﺘﺴﻠﻴﻡ ،ﻝﻜﻨﻬﺎ ﺘﺸﻴﺭ ﺃﻴﻀﺎ ﺇﻝـﻰ
ﺃﻥ ﺍﻝﻘﺘل ﻗﺩ ﺒﺩﺃ ﻗﺒل ﺫﻝﻙ ﻷﻥ ﺍﻤﺭﺃﺓ ﺃﺨﺒﺭﺕ ﻤﻥ ﻓﻲ ﺍﻝﻤﺴﺘﺸﻔﻰ ﻋﻥ ﺤﺩﻭﺙ ﻤﺠﺯﺭﺓ ،ﻭﺃﻥ ﺍﻝﻘﺘﻠﺔ ﻓﻲ
ﻥ ﺍﻝﻘﺘل ﺒﺩﺃ ﻓﻲ 16ﺃﻴﻠﻭل ،1982ﻭﻫﺫﺍ ﻤﺎ ﺃﺸﺎﺭﺕ ﺇﻝﻴﻪ ﻜﺎﺘﺒﺔ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99
ﻁﺭﻴﻘﻬﻡ ﺇﻝﻴﻬﻡ ،ﺃﻱ ﺃ
ﻤﺤﺩﺩﺓ ﺒﺩﺍﻴﺔ ﺍﻝﻤﺠﺯﺭﺓ ﻓﻲ ﺍﻝﺴﺎﻋﺔ ﺍﻝﺨﺎﻤﺴﺔ ﻋﺼﺭﺍ .ﻭﻫﺫﺍ ﻤﺎ ﺘﺅﻜﺩﻩ ﺍﻝﻤﺼﺎﺩﺭ ﺍﻝﺘﹼﺎﺭﻴﺨﻴﺔ ﺍﺴﺘﻨﺎﺩﺍ ﺇﻝﻰ
ﻥ " ﻝﻴﻠﺔ ﺍﻝﺨﻤﻴﺱ ،ﺃﻭل ﻝﻴﻠﺔ".5
ﺃﻗﻭﺍل ﺍﻝﺸﹼﻬﻭﺩ ﺍﻝﺫﻴﻥ ﺃﻜﹼﺩﻭﺍ ﺃ
ﻋﺎﺸﻭﺭ ،ﺭﻀﻭﻯ :ﺍﻝﻁﻨﻁﻭﺭﻴﺔ ،ﻁ ،1ﻤﺼﺭ :ﺩﺍﺭ ﺍﻝﺸﺭﻭﻕ2010 ،ﻡ ،ﺹ.189 1
ﺠﻴﻨﻴﻪ ،ﺠﺎﻥ :ﺃﺭﺒﻊ ﺴﺎﻋﺎﺕ ﻓﻲ ﺸﺎﺘﻴﻼ ،ﻤﺠﻠﹼﺔ ﺍﻝﻜﺭﻤل ،ﻓﻠﺴﻁﻴﻥ ،ﺍﻝﻌﺩﺩ ﺍﻝﺴﺎﺒﻊ ،1983 /ﺹ.149 2
ﺍﻝﺤﺴﻥ ،ﺠﻨﻰ ﻓﻭﺍﺯ :ﻁﺎﺒﻕ .99ﻁ .1ﺍﻝﺭﻴﺎﺽ :ﻤﻨﺸﻭﺭﺍﺕ ﻀﻔﺎﻑ .ﺍﻝﺠﺯﺍﺌﺭ :ﻤﻨﺸﻭﺭﺍﺕ ﺍﻻﺨﺘﻼﻑ2014 .ﻡ ،ﺹ.29 3
ﺍﻝﺤﻭﺕ ،ﺒﻴﺎﻥ ﻨﻭﻴﻬﺽ :ﺼﺒﺭﺍ ﻭﺸﺎﺘﻴﻼ_ ﺃﻴﻠﻭل ،1982ﻁ ،1ﺒﻴﺭﻭﺕ :ﻤﺅﺴﺴﺔ ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ ،2003 ،ﺹ.418 5
9
ﻥ ﺍﻝﻤﺫﺒﺤﺔ ﻗﺩ ﺍﺭﺘﻜﺒﺕ
ﻭﻋﻨﺩ ﻤﺭﺍﺠﻌﺔ ﺘﻘﺭﻴﺭ ﻝﺠﻨﺔ ﻜﺎﻫﺎﻥ ﺤﻭل ﺍﻝﻤﺠﺯﺭﺓ ﻓﺈﻨﻬﺎ " ﺘﺸﻴﺭ ﺇﻝﻰ ﺃ
ﻤﻥ ﻗﺒل ﺍﻝﻜﺘﺎﺌﺒﻴﻴﻥ ﺒﻴﻥ ﺯﻤﻥ ﺩﺨﻭﻝﻬﻡ ﺇﻝﻰ ﺍﻝﻤﺨﻴﻤﻴﻥ ﻴﻭﻡ ﺍﻝﺨﻤﻴﺱ 82\9\16ﻓﻲ ﺍﻝﺴﺎﻋﺔ ﺍﻝﺴﺎﺩﺴـﺔ
ﻤﺴﺎ ﺀ ،ﻭﻤﻐﺎﺩﺭﺘﻬﻡ ﻴﻭﻡ ﺍﻝﺴﺒﺕ 82\9\18ﻓﻲ ﺤﻭﺍﻝﻲ ﺍﻝﺜﹼﺎﻤﻨﺔ ﺼﺒﺎﺤﺎ .ﻭﻝﻘﺩ ﻭﺠـﺩ ﺍﻝﻀـﺤﺎﻴﺎ ﻓـﻲ
ﺍﻷﻤﺎﻜﻥ ﺍﻝﺘﻲ ﻜﺎﻥ ﻴﺴﻴﻁﺭ ﻋﻠﻴﻬﺎ ﺍﻝﻜﺘﺎﺌﺒﻴﻭﻥ ﻓﻲ ﺍﻝﻔﺘﺭﺓ ﺍﻝﺯﻤﻨﻴﺔ ﺍﻝﻤﺸﺎﺭ ﺇﻝﻴﻬﺎ ﺃﻋﻼﻩ" .1ﻭﺭﻏﻡ ﻜـﻭﻥ
ﻫﺫﺍ ﺍﻝﺘﻘﺭﻴﺭ ﻴﻬﺩﻑ ﺇﻝﻰ ﺘﺒﺭﺌﺔ ﺴﺎﺤﺔ ﺍﻻﺤﺘﻼل ﺍﻹﺴﺭﺍﺌﻴﻠﻲ ﻤﻥ ﺍﻝﻤﺴﺅﻭﻝﻴﺔ ،ﺇﻻ ﺃﻨﻪ ﻜﺎﻥ ﻤﺘﻔﻘـﺎ ﻤـﻊ
ﺍﻝﻤﺼﺎﺩﺭ ﺍﻷﺨﺭﻯ ﻓﻲ ﺘﺎﺭﻴﺦ ﺍﻝﻤﺠﺯﺭﺓ ﻭﺍﻝﺠﻬﺔ ﺍﻝﻤﺭﺘﻜﺒﺔ ،ﻭﻤﺨﺘﻠﻔﺎ ﻤﻌﻬﺎ ﻓﻲ ﻋـﺩﺩ ﺍﻝﻀـﺤﺎﻴﺎ .ﺇﻥ
ﻭﺠﻭﺩ ﻫﺫﻩ ﺍﻝﺠﺜﺙ ﻓﻲ ﻤﻨﻁﻘﺔ ﺴﻴﻁﺭﺓ ﺍﻝﻜﺘﺎﺌﺏ ﺃﻤﺭ ﺼﺤﻴﺢ ،ﻝﻜﻥ ﻫﺫﺍ ﻻ ﻴﻨﻔﻲ ﺘﻌﺎﻭﻥ ﺍﻹﺴـﺭﺍﺌﻴﻠﻴﻴﻥ
ﻤﻌﻬﻡ ﻭﺇﻓﺴﺎﺡ ﺍﻝﻁﺭﻴﻕ ﻝﻬﻡ.
ﺍﺴﺘﺜﻨﺎﺀ ﻤﻥ ﺒﻘﻲ ﺘﺤﺕ ﺍﻷﻨﻘﺎﺽ ،ﻭﻤﻥ ﺨﻁﻑ ﺃﻭ ﹸﻓ ﻘﺩ ﻭﻤﻥ ﺠﺭﻓﺘﻬﻡ ﺍﻝﺠﺭﺍﻓﺎﺕ ،ﻭﺘﻘﺭﻴﺭﺍﺕ ﺃﺨـﺭﻯ
ﻥ ﻜﺎﺘﺒـﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴـﺔ ﺘﺸﻴﺭ ﺇﻝﻰ ﺃﻨﻬﻡ ،31300ﺃﻱ ﺃ
ﻥ ﻫﻨﺎﻙ ﺘﻔﺎﻭﺘﺎ ﻜﺒﻴﺭﺍ ﻓﻲ ﺍﻷﺭﻗـﺎﻡ .ﻭﻴﺒـﺩﻭ ﺃ
ﺍﻋﺘﻤﺩﺕ ﻓﻲ ﻜﺘﺎﺒﺘﻬﺎ ﻝﻬﺫﻩ ﺍﻷﺭﻗﺎﻡ ﻋﻠﻰ ﻜﺘﺎﺏ ﺒﻴﺎﻥ ﻨﻭﻴﻬﺽ ﺍﻝﺤﻭﺕ ﺒﺸﻜل ﺃﺴﺎﺴﻲ ،ﻭﻤﺎ ﻴﺅﻜﺩ ﺫﻝـﻙ
ﺍﻝﻤﺭﻜﺯ ﺍﻝﻌﺭﺒﻲ ﻝﻠﻤﻌﻠﻭﻤﺎﺕ ،ﺘﻘﺭﻴﺭ ﻝﺠﻨﺔ ﻜﺎﻫﺎﻥ ﺤﻭل ﻤﺠﺎﺯﺭ ﺼﺒﺭﺍ ﻭﺸﺎﺘﻴﻼ ،ﻁ ،1ﺒﻴﺭﻭﺕ ،1983 ،ﺹ.84 1
10
ﺒﻴﺎﻥ ﻭﻗﺎﻝﺕ ﻝﻲ ﺇﻨﹼﻬﺎ ﺍﻨﺘﻬﺕ ﻤﻥ ﺍﻝﻜﺘﺎﺏ ﻭﺇﻨﹼﻪ ﺼﺩﺭ .ﻭﺃﺨﺫﺕ ﻋﻨﻭﺍﻨﻲ ﻓﻲ ﺍﻹﺴـﻜﻨﺩﺭﻴﺔ ﻭﺃﺭﺴـﻠﺘﻪ
ﻝﻲ 1".ﻜﻤﺎ ﺃ
ﻥ ﻤﻘﺎﺭﻨﺔ ﺍﻷﺭﻗﺎﻡ ﺍﻝﻭﺍﺭﺩﺓ ﻓﻲ ﺫﻝﻙ ﺍﻝﻜﺘﺎﺏ ﻤﻊ ﺍﻷﺭﻗﺎﻡ ﺍﻝﺘﻲ ﺫﻜﺭﺘﻬـﺎ ﺍﻝﺴـﺎﺭﺩﺓ ﺘﻅﻬـﺭ
2
ﺘﻁﺎﺒﻘﺎ ﺘﺎﻤﺎ ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻹﺸﺎﺭﺓ ﺇﻝﻰ ﻤﻥ ﺩﻓﻨﻭﺍ ﺘﺤﺕ ﺍﻷﻨﻘﺎﺽ ﻭﻨﻘﻠﺘﻬﻡ ﺍﻝﺠﺭﺍﻓﺎﺕ.
ﺃﺤﺩﺍﺙ ﺍﻝﻤﺠﺯﺭﺓ
ﺒﺎﻝﻘﻨﺎﺒل ﺍﻝﻀﻭﺌﻴﺔ ﻝﺘﺴﻬﻴل ﺩﺨﻭل ﺍﻝﻘﻭﺍﺕ ﺍﻝﻠﺒﻨﺎﻨﻴﺔ ﺤﻴﺙ ﻗﺎﻤﺕ ﻫﺫﻩ ﺍﻝﻘﻭﺍﺕ ﺒﻘﺘل ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﻨﻴﺎﺒﺔ ﻋﻥ
3
ﺇﺴﺭﺍﺌﻴل ،ﻓﻘﺩ ﻫﺩﻤﺕ ﺍﻝﺒﻴﻭﺕ ﻋﻠﻰ ﺴﻜﺎﻨﻬﺎ ،ﻭﺍﻏﺘﺼﺒﺕ ﺍﻝﺒﻨﺎﺕ ،ﻭﻗﺘﻠﺕ ﺍﻝﻨﹼﺎﺱ ﺒﺎﻝﺒﻠﻁﺎﺕ ﻭﺍﻝﺴﻜﺎﻜﻴﻥ.
ﻭﻫﺫﺍ ﺃﻴﻀﺎ ﻤﺎ ﻴﺅﻜﹼﺩﻩ ﺸﻬﻭﺩ ﺒﻴﺎﻥ ﻨﻭﻴﻬﺽ ﺍﻝﺤﻭﺕ ﺇﺫ ﻴﻘﻭل ﺃﺤﺩﻫﻡ " :ﻭﺍﷲ ﻜﺎﻨﻭﺍ ﻴﻀـﺭﺒﻭﺍ ﺍﻝﻨﹼـﺎﺱ
ﺒﺎﻝﺒﻠﻁﺎﺕ ﻭﺃﻨﺎ ﺃﺴﻤﻊ ﺠﻌﻴﺭ ﺍﻝﻨﹼﺎﺱ ﻭﻫﻲ ﻋﻡ ﺘﺘﺭﺠﺎﻫﻡ .ﺒﺱ ﻜﻤﺎﻥ ﺍﺴﺘﻌﻤﻠﻭﺍ ﺭﺼﺎﺹ ﻜﺜﻴﺭ".4
ﻜﻤﺎ ﻨﻘﻠﺕ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﺼﻭﺭﺓ ﻝﻸﺤﺩﺍﺙ ﺩﺍﺨل ﺍﻝﻤﺠﺯﺭﺓ ،ﺇﺫ ﺨﺭﺝ ﺍﻝﺼـﺒﻲ ﺍﻝﺼـﻐﻴﺭ
ﻋﻨﺩ ﺍﻝﺒﺎﺏ ﻝﻴﺄﺨﺫ ﺍﻷﻏﺭﺍﺽ ﺍﻝﺘﻲ ﺃﺤﻀﺭﻫﺎ ﻭﺍﻝﺩﻩ ﻓﺄﺼﺎﺒﺘﻪ ﺍﻝﺸﻅﻴﺔ ﻓﻲ ﻭﺠﻬﻪ ﻭﺴﺎﻗﻪ ﻓﺘﻭﺠﻪ ﺒﻪ ﻭﺍﻝﺩﻩ
5
ﺇﻝﻰ ﺍﻝﻤﺴﺘﺸﻔﻰ ﻓﻴﻨﺠﻭ ،ﻭﺘﻘﺘل ﻭﺍﻝﺩﺘﻪ ﻓﻲ ﺍﻝﻤﺠﺯﺭﺓ.
6
ﻥ ﻁﻔﻠﺔ ﻜﺎﻨﺕ ﺘﺤﺒﻭ ﺒﺎﺘﺠﺎﻩ ﺜﺩﻱ ﺃﻤﻬﺎ ﺍﻝﻘﺘﻴﻠﺔ ﻝﺘﺭﻀﻊ ،ﻝﻜﻥ ﺍﻝﺠﻨﻭﺩ ﻗﺘﻠﻭﺍ ﻫﺫﻩ ﺍﻝﻁﹼﻔﻠﺔ ﺃﻴﻀﺎ.
_ﺃ
_ ﺭﻜﻠﻭﺍ ﺃﺤﺩ ﺍﻝﺭﺠﺎل ﻋﻠﻰ ﺨﺼﻴﺘﻴﻪ ،ﺜﻡ ﺒﺼﻘﻭﺍ ﻋﻠﻴﻪ ﺤﺘﻰ ﻤﺎﺕ.7
11
_ ﺸﻕ ﺒﻁﻭﻥ ﺍﻝﺤﻭﺍﻤل .1ﻭﻤﺜل ﻫﺫﻩ ﺍﻝﺤﻭﺍﺩﺙ ﻭﺜﻘﺘﻬﺎ ﺒﻴﺎﻥ ﺍﻝﺤﻭﺕ ﻤﻤﻥ ﺠﻤﻌﺕ ﺸـﻬﺎﺩﺍﺘﻬﻡ ،ﺘﻘـﻭل
ﻥ ﻨﺎﻫﺩ ﺴﻌﺩ ﻜﺎﻨﺕ ﺤﺎﻤﻼ ﻓﻲ ﺸﻬﺭﻫﺎ ﺍﻝﺘﹼﺎﺴﻊ ،ﻝﻜـﻨﻬﻡ ﻗﺘﻠﻭﻫـﺎ
ﺇﺤﺩﻯ ﺍﻝﻨﹼﺎﺠﻴﺎﺕ ﻤﻥ ﺍﻝﻤﺠﺯﺭﺓ " :ﺇ
_ ﺍﺨﺘﻁﻔﻭﺍ ﻤﻤﺭﻀﺘﻴﻥ ﻓﻲ ﻤﺴﺘﺸﻔﻰ ﻋﻜﺎ ﺇﺤﺩﺍﻫﻤﺎ ﻓﻠﺴﻁﻴﻨﻴﺔ ﻭﺍﻷﺨـﺭﻯ ﻝﺒﻨﺎﻨﻴـﺔ ﻭﺘﻨـﺎﻭﺒﻭﺍ ﻋﻠـﻰ
ﺍﻏﺘﺼﺎﺒﻬﻤﺎ ﺤﺘﻰ ﺍﻝﻤﻭﺕ.3
_ ﻋﺩﻡ ﻤﺭﺍﻋﺎﺓ ﺤﺭﻤﺔ ﺍﻝﻠﺒﺎﺱ ﺍﻷﺒﻴﺽ ﻭﺍﻝﺼﻠﻴﺏ ﺍﻷﺤﻤﺭ ،ﻭﺫﻝﻙ ﺒﺎﺭﺘﻜﺎﺏ ﻤﺠـﺯﺭﺓ ﺒﺤـﻕ ﺃﻁﺒـﺎﺀ
ﻭﻤﻤﺭﻀﻴﻥ ﻴﺭﺘﺩﻭﻥ ﺍﻝﻠﺒﺎﺱ ﺍﻷﺒﻴﺽ ،ﻭﻗﺼﻑ ﺴﻴﺎﺭﺓ ﺇﺴﻌﺎﻑ ﻝﻠﺼﻠﻴﺏ ﺍﻷﺤﻤﺭ ﺒـﺩﺍﺨﻠﻬﺎ ﺜﻼﺜـﺔ
ﻤﺴﻌﻔﻴﻥ.4
_ ﻗﺘل ﺃﻁﻔﺎل ﺼﻐﺎﺭ ﺠﺩﺍ ﻻ ﺘﺘﺠﺎﻭﺯ ﺃﻋﻤﺎﺭﻫﻡ ﺍﻝﺜﻼﺜﺔ ﺴﻨﻭﺍﺕ ﻭﺒﻌﻀﻬﻡ ﻤﻥ ﻏﻴﺭ ﻤﻜﺘﻤﻠﻲ ﺍﻝﻨﻤـﻭ،
ﻭﺫﻝﻙ ﺃﺜﻨﺎﺀ ﻭﺠﻭﺩﻫﻡ ﻓﻲ ﺍﻝﻤﺴﺘﺸﻔﻰ ﻝﺘﻠﻘﻲ ﺍﻝﻌﻼﺝ ،ﻜﻤﺎ ﺃﻥ ﻫﺫﺍ ﺍﻝﻘﺘل ﺘﻡ ﺒﻁﺭﻴﻘﺔ ﻭﺤﺸﻴﺔ ﺒﺎﺴﺘﺨﺩﺍﻡ
ﺍﻝﺒﻠﻁﺎﺕ ﻓﻲ ﺒﻌﺽ ﺍﻷﺤﻴﺎﻥ ،ﻭﻗﺩ ﺘﻡ ﺘﻜﻭﻴﻡ ﻫﺅﻻﺀ ﺍﻷﻁﻔﺎل ﻓﻲ ﻤﻠﺠﺄ ﺒﻌﻴﺩ ﻋﻥ ﺍﻝﻤﺴﺘﺸﻔﻰ ﻹﺨﻔﺎﺀ
5
ﺁﺜﺎﺭ ﺍﻝﺠﺭﻴﻤﺔ.
_ ﻋﺩﻡ ﺍﺤﺘﺭﺍﻡ ﺤﺭﻤﺔ ﺍﻝﻤﻭﺕ ﻭﺩﻓﻥ ﺍﻝﺠﺜﺙ ﺒﻁﺭﻴﻘﺔ ﻋﺸﻭﺍﺌﻴﺔ ﻓﻲ ﻤﻘﺎﺒﺭ ﺠﻤﺎﻋﻴﺔ ،ﻭﻨﻘﻠﻬﻡ ﺒﺎﻝﺠﺭﺍﻓﺎﺕ
ﺨﺎﺭﺝ ﺍﻝﻤﺨﻴﻡ ،ﻭﺇﻝﻘﺎﺀ ﺒﻌﻀﻬﻡ ﻓﻲ ﺍﻝﺒﺤﺭ 6.ﻭﻤﻥ ﺸﻬﺎﺩﺍﺕ ﺍﻝﻨﹼﺎﺠﻴﻥ ﺍﻝﺘﻲ ﺘﺅﻜﺩ ﺫﻝﻙ ﻗـﻭل ﺇﺤـﺩﻯ
ﺍﻝﻨﹼﺴﺎﺀ ﺍﻝﺘﻲ ﻜﺎﻨﺕ ﺘﺒﺤﺙ ﻋﻥ ﺍﺒﻨﺘﻬﺎ" :ﻫﻴﺩﻱ ﺍﻝﺠﻭﺭﺓ ﺠﻭﺭﺓ ﻁﻴﺭﺍﻥ .ﻭﻋﻘﺏ ﻤﺎ ﻫﻨﹼﻲ ﻗـﺎﺘﻠﻴﻨﻬﻡ...
12
ﻜﺎﻴﻨﻴﻥ ﺤﺎﻤﻠﻴﻨﻬﻡ ﺒﺎﻝﺠﺭﺍﻓﺎﺕ ﻋﻠﻰ ﺍﻝﻤﺩﻴﻨﺔ ،ﻭﺒﺎﻝﻤﺩﻴﻨﺔ ﺩﺍﻓﻨﻴﻨﻬﻡ ﻫﻭﻨﻴﻙ ،ﺒﻘﻠﺏ ﺍﻝﺠﻭﺭﺓ ﺍﻝﻠﻲ ﺤﻜﻴﺕ
ﻋﻨﻬﺎ".1
_ ﻤﻤﺎﺭﺴﺔ ﺍﻹﺒﺎﺩﺓ ﺍﻝﺠﻤﺎﻋﻴﺔ؛ ﻭﺫﻝﻙ ﺒﺠﻌل ﺍﻝﻨﹼﺎﺱ ﻴﻘﻔﻭﻥ ﻓﻲ ﺼـﻔﻭﻑ ﻭﺇﻁـﻼﻕ ﺍﻝﻨﹼـﺎﺭ ﻋﻠـﻴﻬﻡ،
ﻭﻤﻤﺎﺭﺴﺔ ﺍﻝﻘﺘل ﺒﻭﺤﺸﻴﺔ ﻭﺫﻝﻙ ﺒﺩﻓﻥ ﺍﻝﻨﹼﺎﺱ ﻭﻫﻡ ﺃﺤﻴﺎﺀ ﺒﺈﺠﺒﺎﺭﻫﻡ ﻋﻠﻰ ﺍﻝﻨﺯﻭل ﻓﻲ ﻤﺎ ﻴﺴﻤﻰ ﺤﻔﺭ
ﺍﻝﻤﻭﺕ.2
ﻥ ﺘﻌﺎﻀﺩ ﻫﺫﻩ ﺍﻝﺼﻭﺭ ﻤﻊ ﺒﻌﻀﻬﺎ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺘﻴﻥ ﻗ ﺩﻡ ﺼﻭﺭﺓ ﻤﺘﺨﻴﻠﺔ ﻓﻲ ﺫﻫﻥ ﺍﻝﻘﺎﺭﺉ ﻋﻤﺎ
ﺇ
ﻜﺎﻥ ﻴﺠﺭﻱ ﺩﺍﺨل ﻫﺫﺍ ﺍﻝﻤﺨﻴﻡ ﺃﺜﻨﺎﺀ ﺤﺼﺎﺭﻩ.
ﺤﺭﺼﺕ ﺍﻝﻜﺎﺘﺒﺘﺎﻥ ﻋﻠﻰ ﺇﻅﻬﺎﺭ ﺸﻜل ﺍﻝﻤﺨﻴﻡ ﺒﻌﺩ ﺍﻝﻤﺠﺯﺭﺓ ،ﻓﻭﺼﻔﺘﻪ ﺠﻨﻰ ﻓﻭﺍﺯ ﺍﻝﺤﺴﻥ ﺒﺄﻨﻪ
ﻤﻜﺎﻥ ﻴﻌﺒﻕ ﺒﺎﻝﻘﺘﻠﻰ ،ﻭﺍﻷﺸﻴﺎﺀ ﻓﻴﻪ ﻤﺘﺠﻤﺩﺓ ،ﻓﺎﻝﻤﻼﺒﺱ ﻤﻨﺸﻭﺭﺓ ﻋﻠﻰ ﺤﺒﺎل ﺍﻝﻐﺴﻴل ،ﻭﺍﻝﻘﻤﺎﻤﺔ ﻭﻀﻌﺕ
ﺒﺠﺎﻨﺏ ﺍﻝﺒﺎﺏ ﺘﻨﺘﻅﺭ ﻤﻥ ﻴﺨﺭﺠﻬﺎ ،ﻭﺍﻷﻭﺍﻨﻲ ﺍﻝﺘﻲ ﻭﻀﻌﺘﻬﺎ ﺍﻝﻨﺴﻭﺓ ﻋﻠﻰ ﺍﻝﻨﺎﺭ ﻭﺍﻝﺒﻁﺎﻁـﺎ ﺍﻝﻤﻘﺸﹼـﺭﺓ
ﻥ ﻫﺫﺍ ﺍﻝﺠﻤﻭﺩ ﻴﺸﻴﺭ ﺇﻝﻰ ﺍﻨﻌﺩﺍﻡ ﺍﻝﺤﻴﺎﺓ ،ﻭﻴﻭﺤﻲ ﺒﻤﻭﺕ ﺍﻝﻤﺨﻴﻡ ﻓﻲ ﻝﺤﻅﺘﻬﺎ .ﻜﻤﺎ ﻜﺎﻨﺕ
ﻋﻠﻰ ﺤﺎﻝﻬﺎ .ﺇ
ﺍﻝﺭﺍﺌﺤﺔ ﺘﻤﻸ ﺍﻝﻤﻜﺎﻥ ﻭﺍﻝﻨﹼﺴﺎﺀ ﻴﻠﻁﻤﻥ ﻭﻴﺸﺘﻤﻥ ﺍﻝﻌﺭﺏ ﻭﺍﻝﻌﺭﻭﺒﺔ ،ﺃﻜﻴﺎﺱ ﺴـﻭﺩﺍﺀ ﻤﻌﺒـﺄﺓ ﺒـﺎﻝﻤﻭﺘﻰ
3
ﻭﺃﺸﻼﺌﻬﻡ ﺍﻝﺘﻲ ﺍﺨﺘﻠﻁﺕ.
ﻜﻤﺎ ﻨﻘﻠﺕ ﺭﻀﻭﻯ ﺼﻭﺭﺓ ﻤﺸﺎﺒﻬﺔ ﻝﻤﺎ ﺒﻌﺩ ﺍﻝﻤﺠﺯﺭﺓ ،ﻓﻘﺩ ﺘﺤﺩﺜﺕ ﻋﻥ ﺍﻝﺭﺍﺌﺤﺔ ﺍﻝﺘﻲ ﺘﻤـﻸ
ﺍﻝﻤﻜﺎﻥ ﻭﺍﻝﺫﹼﺒﺎﺏ ﻭﺤﻔﺭ ﺩﻓﻥ ﺍﻝﻤﻭﺘﻰ ،ﻭﺭﺠﺎل ﺍﻹﺴﻌﺎﻑ ﺍﻝﺫﻴﻥ ﻴﺭﺘـﺩﻭﻥ ﺍﻝﻜﻤﺎﻤـﺎﺕ ،ﻭﺍﻝﻤﺴـﺤﻭﻕ
ﺍﻷﺒﻴﺽ ﺍﻝﺫﻱ ﻴﺭﺸﻭﻨﻪ ،ﻭﺃﻏﻁﻴﺔ ﺍﻝﺒﻼﺴﺘﻴﻙ ﺍﻝﺘﻲ ﺘﻠﻘﻰ ﻋﻠﻰ ﺍﻝﺠﺜﺙ ،ﻭﻗﺩ ﻜـﺭﺭﺕ ﺍﻹﺸـﺎﺭﺓ ﺇﻝـﻰ
ﺍﻝﺭﺍﺌﺤﺔ ﻤﺭﺘﻴﻥ ﻓﻲ ﺼﻔﺤﺘﻴﻥ ﻭﺃﺸﺎﺭﺕ ﺇﻝﻰ ﺍﻝﺫﺒﺎﺏ ﺃﺭﺒﻊ ﻤﺭﺍﺕ ﺒﻘﻭﻝﻬﺎ" :ﻤﻠﻌﻭﻥ ﺃﺒﻭ ﺍﻝﺫﹼﺒﺎﺏ ...ﺭﺃﻴﺕ
ﺒﺄﻡ ﻋﻴﻨﻲ ﺍﻝﺫﹼﺒﺎﺏ ...ﺭﺍﺌﺤﺔ ﻭﺴﺤﺏ ﻭﺫﺒﺎﺏ ...ﻴﻭﻡ ﺍﻝﺭﺍﺌﺤﺔ ﻭﺍﻝﺫﹼﺒﺎﺏ" .4ﻫﺫﺍ ﺍﻝﺫﹼﺒﺎﺏ ﺍﻝﺫﻱ ﺃﺸﺎﺭ ﺇﻝﻴﻪ
13
ﻥ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺸﹼﻤﺴﻴﺔ ﻻ ﺘﻠـﺘﻘﻁ ﺍﻝـﺫﹼﺒﺎﺏ ،ﻭﻻ
ﺇﻝﻴﻪ ﺠﻴﻨﻴﻪ ﻓﻲ ﻨﺼﻪ ﺍﻝﺫﻱ ﻜﺘﺒﻪ ﻋﻥ ﺸﺎﺘﻴﻼ ﻗﺎﺌﻼ " :ﺇ
ﺭﺍﺌﺤﺔ ﺍﻝﻤﻭﺕ ﺍﻝﺒﻴﻀﺎﺀ ﻭﺍﻝﻜﺜﻴﻔﺔ .ﺇﻨﻬﺎ ﻻ ﺘﻘﻭل ﻝﻨﺎ ﺍﻝﻘﻔﺯﺍﺕ ﺍﻝﺘﻲ ﻴﺘﺤﺘﻡ ﺍﻝﻘﻴﺎﻡ ﺒﻬﺎ ﻋﻨﺩﻤﺎ ﺘﻨﺘﻘل ﻤـﻥ
ﺠﺜﺔ ﺇﻝﻰ ﺃﺨﺭﻯ" ،1ﻭﻗﺩ ﻜﺭﺭ ﺠﻴﻨﻴﻪ ﺤﺩﻴﺜﻪ ﻋﻥ ﺍﻝﺫﺒﺎﺏ ﻓﻘﺎل ﻓﻲ ﻤﻭﻀﻊ ﺁﺨﺭ " :ﻭﻀـﻌﻴﺔ ﺃﺠﺴـﺎﺩ
ﺍﻝﻤﻭﺘﻰ ،ﻭﺇﺸﺎﺭﺍﺘﻬﻡ ﺍﻝﺨﺸﻨﺔ ،ﻭﻫﻡ ﺘﺤﺕ ﺍﻝﺸﻤﺱ ،ﺘﻨﻬﺒﻬﻡ ﺃﺴﺭﺍﺏ ﺍﻝﺫﺒﺎﺏ" ،2ﻭﻓﻲ ﻤﻭﻀﻊ ﺜﺎﻝﺙ ﻴﻘﻭل:
" ﻭﺍﻝﻭﺠﻪ ﺍﻷﺴﻭﺩ ﺍﻝﻤﻨﺘﻔﺦ ﻤﺴﺘﺩﻴﺭ ﻨﺤﻭ ﺍﻝﺴﻤﺎﺀ ،ﻜﺎﺸﻔﺎ ﻋﻥ ﻓﻡ ﻤﻔﺘﻭﺡ ﻤﻸﺘﻪ ﻗﺘﺎﻤﺔ ﺍﻝﺫﹼﺒﺎﺏ".3
ﺃﻤﺎ ﻤﺎ ﺠﺭﻯ ﻗﺒل ﺍﻝﻤﺠﺯﺭﺓ ،ﻓﻘﺩ ﺃﻫﻤﻠﺕ ﺍﻝﻜﺎﺘﺒﺘﺎﻥ ﺍﻝﺤﺩﻴﺙ ﻋﻨﻪ ،ﻭﻫﺫﺍ ﺃﻤﺭ ﻜـﺎﻥ ﻋﻠﻴﻬﻤـﺎ
ﺍﻹﺸﺎﺭﺓ ﺇﻝﻴﻪ ،ﻓﺎﻝﻤﺠﺯﺭﺓ ﻤﺨﻁﻁ ﻝﻬﺎ ﺒﻌﻨﺎﻴﺔ ،ﻭﻜﺎﻥ ﻫﺩﻓﻬﺎ ﺘﺠﻤﻴﻊ ﺍﻝﻤﺩﻨﻴﻴﻥ ﻓﻲ ﺃﻤﺎﻜﻥ ﻤﺤﺩﺩﺓ ﻭﺍﻝﻘﻀﺎﺀ
ﻋﻠﻴﻬﻡ ،ﻭﻗﺩ ﺃﺸﺎﺭﺕ ﺭﻀﻭﻯ ﻓﻲ ﺍﻝﻁﻨﻁﻭﺭﻴﺔ ﺇﻝﻰ ﺍﻝﻤﺠﺯﺭﺓ ﺍﻝﺘﻲ ﺘﻤﺕ ﻓﻲ ﻤﻠﺠﺄ ﺃﺒﻲ ﺍﻝﻴﺎﺴﺭ ،ﻝﻜﻨﹼﻬﺎ ﻝﻡ
ﺘﺘﺤﺩﺙ ﻋﻤﺎ ﺠﺭﻯ ﻗﺒل ﺫﻝﻙ .ﻓﻘﺩ ﺃﺸﺎﺭﺕ ﺒﻴﺎﻥ ﺍﻝﺤﻭﺕ ﻓﻲ ﻜﺘﺎﺒﻬﺎ ﺍﻝﺫﻱ ﻭﺜﻘﺕ ﻓﻴﻪ ﺸﻬﺎﺩﺍﺕ ﺍﻝﻤﺠﺯﺭﺓ
ﻭﺃﺤﺩﺍﺜﻬﺎ ﺇﻝﻰ ﻭﺠﻭﺩ ﺴﻴﺎﺭﺍﺕ ﻤﺸﺒﻭﻫﺔ ﻜﺎﻨﺕ ﺘﺄﺘﻲ ﺇﻝﻰ ﺍﻝﻤﻨﻁﻘﺔ ﺒﺩﺍﺨﻠﻬﺎ ﺃﺸﺨﺎﺹ ﻤﻠﺜﻤﻭﻥ ﻴﺴـﺄﻝﻭﻥ
ﺍﻝﻨﹼﺎﺱ ﻋﻥ ﺃﻤﺎﻜﻥ ﺍﻝﻤﻼﺠﺊ ﺒﺎﺴﺘﻤﺭﺍﺭ ،4ﻜﻤﺎ ﺃﺸﺎﺭﺕ ﺇﻝﻰ ﺍﺴـﺘﺨﺩﺍﻡ ﻫـﺫﻩ ﺍﻝﻤﻴﻠﻴﺸـﻴﺎﺕ ﻝﻠﺒﻠﻁـﺎﺕ
ﻭﺍﻝﺴﻜﺎﻜﻴﻥ ﻭﺍﻷﺴﻠﺤﺔ ﻜﺎﺘﻤﺔ ﺍﻝﺼﻭﺕ ﻝﻘﺘل ﺃﻜﺒﺭ ﻋﺩﺩ ﻤﻤﻜﻥ ،ﻓﻜﺎﻥ ﺍﻝﻨﹼﺎﺱ ﻴﺴـﻤﻌﻭﻥ ﺍﻝﺼـﻴﺎﺡ ﺩﻭﻥ
ﻤﻌﺭﻓﺔ ﻤﺎ ﻴﺤﺩﺙ ،5ﻭﺒﺫﻝﻙ ﻴﺘﻡ ﺤﺼﺩ ﺃﻜﺒﺭ ﻋﺩﺩ ﻤﻥ ﺍﻷﺭﻭﺍﺡ .ﺇ
ﻥ ﺤﺩﻭﺙ ﻤﺜل ﻫﺫﺍ ﺍﻷﻤـﺭ ﻴـﻭﺤﻲ
ﺒﻤﺨﻁﻁ ﻹﺒﺎﺩﺓ ﺠﻤﺎﻋﻴﺔ ﻷﺸﺨﺎﺹ ﻤﺩﻨﻴﻴﻥ ﻭﻫﻭ ﻤﺎ ﻴﻌ ﺩ ﺠﺭﻴﻤﺔ ﺤﺭﺏ ﻜﺎﻥ ﻴﺠﺩﺭ ﺒﺎﻝﻜﺎﺘﺒﺘﻴﻥ ﺍﻹﺸﺎﺭﺓ
ﺇﻝﻴﻬﺎ.
ﺇﻥ ﻤﻘﺎﺭﻨﺔ ﻤﻌﺎﻝﺠﺔ ﺍﻝﻜﺎﺘﺒﺘﻴﻥ ﻝﻠﻤﺠﺯﺭﺓ ﺘﻅﻬﺭ ﺘﻔﺼﻴل ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻝﻸﺤﺩﺍﺙ ﺍﻝﻤﺘﻌﻠﻘـﺔ
ﺒﻬﺫﻩ ﺍﻝﻤﺠﺯﺭﺓ ﺃﻜﺜﺭ ﻤﻥ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ ،99ﻭﻝﻌل ﻤﺭﺩ ﺫﻝﻙ ﺇﻝﻰ ﺴﻌﺔ ﺍﻝﻤﺴﺎﺤﺔ ﺍﻝﺯﻤﻨﻴﺔ ﺍﻝﺘﻲ ﺘﺘﻨﺎﻭﻝﻬﺎ
ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺇﺫ ﺘﺘﻨﺎﻭل ﻤﺤﻁﺎﺕ ﻤﻥ ﺘﺎﺭﻴﺦ ﻓﻠﺴﻁﻴﻥ ﻤﺭﺕ ﺒﻬﺎ ﺸﺨﺼﻴﺎﺕ ﺍﻝﺭﻭﺍﻴﺔ ،ﺃﻤﺎ ﺭﻭﺍﻴﺔ
ﻁﺎﺒﻕ 99ﻓﺘﺭﻜﹼﺯ ﻋﻠﻰ ﺃﺤﺩﺍﺙ ﺠﺭﺕ ﻋﺎﻡ 2000ﻡ ،ﻜﻤﺎ ﺘﻌﺎﻝﺞ ﺍﻻﻨﻌﻜﺎﺱ ﺍﻝﻨﹼﻔﺴﻲ ﻝﻬـﺫﻩ ﺍﻝﻤﺠـﺯﺭﺓ
ﺠﻴﻨﻴﻪ ،ﺠﺎﻥ :ﺃﺭﺒﻊ ﺴﺎﻋﺎﺕ ﻓﻲ ﺸﺎﺘﻴﻼ ،ﻤﺠﻠﺔ ﺍﻝﻜﺭﻤل ،ﻓﻠﺴﻁﻴﻥ ،ﻋﺩﺩ ،1983 /7ﺹ.78 1
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ﻋﻠﻰ ﺍﻝﺴﺎﺭﺩ ﺃﻜﺜﺭ ﻤﻥ ﻤﻌﺎﻝﺠﺘﻬﺎ ﻝﻸﺤﺩﺍﺙ ﺫﺍﺘﻬﺎ ،ﻓﻤﺎ ﻴﻌﻨﻴﻬﺎ ﻫﻭ ﺘﻠﻙ ﺍﻝﻨﺩﺒﺔ ﻓﻲ ﺍﻝﻭﺠﻪ ﻭﺍﻝﻌﺭﺝ ﻓـﻲ
ﺍﻝﻘﺩﻡ ﻭﺃﺜﺭﻫﻤﺎ ﻋﻠﻰ ﺴﻠﻭﻙ ﺍﻝﺸﹼﺨﺼﻴﺔ ﻭﺘﻔﺎﻋﻠﻬﺎ ﻤﻊ ﻤﺤﻴﻁﻬﺎ ﻭﻏﺭﺒﺘﻬﺎ.
ﺘﻨﻔﺭﺩ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺒﺎﻝﺤﺩﻴﺙ ﻋﻥ ﻤﺠﺯﺭﺓ ﺃﺨﺭﻯ ﻭﻫﻲ ﻤﺠﺯﺭﺓ ﺍﻝﻁﹼﻨﻁﻭﺭﺓ ،ﻭﻻ ﺒﺩ ﻤﻥ
ﺫﻜﺭ ﻝﻤﺤﺔ ﻋﻥ ﻫﺫﻩ ﺍﻝﻘﺭﻴﺔ ،ﻓﻤﺎ ﻫﻲ ﻗﺭﻴﺔ ﺍﻝﻁﻨﻁﻭﺭﺓ؟ ﻭﻫل ﻗﺩﻤﺕ ﺍﻝﺴﺎﺭﺩﺓ ﻤﻌﻠﻭﻤﺎﺕ ﻋﻨﻬﺎ؟
ﺍﻝﻁﻨﻁﻭﺭﺓ ﻗﺭﻴﺔ ﺘﻘﻊ ﻋﻠﻰ ﺸﺎﻁﺊ ﺍﻝﺒﺤﺭ ﺍﻷﺒﻴﺽ ﺍﻝﻤﺘﻭﺴﻁ ﻋﻠﻰ ﺒﻌﺩ ﺜﻤﺎﻨﻴﺔ ﻭﻋﺸﺭﻴﻥ ﻜﻴﻠﻭ
ﻤﺘﺭ ﺠﻨﻭﺒﻲ ﻤﺩﻴﻨﺔ ﺤﻴﻔﺎ ،ﻭﻫﻲ ﻗﺭﻴﺔ ﻜﻨﻌﺎﻨﻴﺔ ﻗﺩﻴﻤﺔ ﺍﻜﺘﺴﺒﺕ ﺃﻫﻤﻴﺔ ﺨﺎﺼﺔ ﻤﻨﺫ ﺃﻴﺎﻤﻬﻡ ،ﻓﻘـﺩ ﻜﺎﻨـﺕ
ﻨﻘﻁﺔ ﻤﺭﺍﻗﺒﺔ ﺴﺎﺤﻠﻴﺔ ،ﺒﻴﻭﺘﻬﺎ ﻗﺭﻴﺒﺔ ﻤﻥ ﺍﻝﺸﺎﻁﺊ ،ﻭﻴﺼل ﺍﺭﺘﻔﺎﻉ ﺍﻝﺒﺤﺭ ﻓﻲ ﺍﻝﺸﹼﺘﺎﺀ ﺇﻝﻰ ﻫﺫﻩ ﺍﻝﻤﻨﺎﺯل،
ﻭﺴﻜﹼﺎﻨﻬﺎ ﻤﻥ ﺃﺼﻭل ﻤﺼﺭﻴﺔ ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﺴﻜﺎﻥ ﺍﻷﺼﻠﻴﻴﻥ ،ﻓﻘﺩ ﻜﺎﻨﺕ ﻫﺫﻩ ﺍﻝﻘﺭﻴﺔ ﺘﺩﻋﻰ )ﺩﺍﺭ( ﻓﻲ
ﺯﻤﻥ ﺍﻝﻜﻨﻌﺎﻨﻴﻴﻥ ،ﺜﻡ ﺍﻜﺘﺴﺒﺕ ﺍﺴﻡ ﺍﻝﻁﻨﻁﻭﺭﺓ ﺒﻌﺩ ﻗﺩﻭﻡ ﺍﻝﺠﻴﺵ ﺍﻝﻤﺼﺭﻱ ﻤﻊ ﺇﺒﺭﺍﻫﻴﻡ ﺒﺎﺸﺎ ﻭﺇﻗﺎﻤﺘﻬﻡ
ﻓﻴﻬﺎ ﻝﺠﻤﺎﻝﻬﺎ ﻭﻜﺜﺭﺓ ﺍﻷﺭﺍﻀﻲ ﻏﻴﺭ ﺍﻝﻤﻤﻠﻭﻜﺔ ﻓﻴﻬﺎ ﻭﻜﺭﻡ ﺃﺼﺤﺎﺒﻬﺎ ،ﻭﻴﻌﺘﻘﺩ ﺃﻥ ﻫﺅﻻﺀ ﺍﻝﻤﺼﺭﻴﻴﻥ ﻗﺩ
ﻗﺩﻤﻭﺍ ﻤﻥ ﻤﺩﻴﻨﺔ )ﻁﻨﻁﺎ( ﺍﻝﻤﺼﺭﻴﺔ ﻭﻤﻨﻬﺎ ﺍﻜﺘﺴﺒﺕ ﺍﻝﻘﺭﻴﺔ ﺍﺴﻤﻬﺎ ،ﻝﺫﻝﻙ ﻫﻨﺎﻙ ﻋﺎﺌﻼﺕ ﻜﺒﻴﺭﺓ ﺒﺄﺴﻤﺎﺀ
ﻋﺎﺌﻼﺕ ﻤﺼﺭﻴﺔ ﻤﺜل :ﻋﺎﺌﻠﺔ ﺍﻝﻤﺼﺭﻱ ،ﻭﻋﺒﺩ ﺍﻝﻌﺎل ،ﻭﺩﺴﻭﻗﻲ 1...ﻭﻫﺫﺍ ﻤﺎ ﺤﺭﺼﺕ ﺍﻝﺴﺎﺭﺩﺓ ﻋﻠﻰ
ﻥ ﻜﺜﻴﺭﺍ ﻤﻥ ﺃﻫل ﺍﻝﻁﹼﻨﻁﻭﺭﺓ ﺠﺎﺀﻭﺍ ﻤـﻥ
ﻥ ﺠﺩﻫﺎ ﻷﺒﻴﻬﺎ ﺃﺨﺒﺭﻫﺎ ﺃ
ﺫﻜﺭﻩ ﺇﺫ ﺘﻘﻭل " :ﻗﺎﻝﺕ ﺃﻡ ﺠﻤﻴل ﺇ
ﻤﺼﺭ ﻋﻠﻰ ﺃﻴﺎﻡ ﺇﺒﺭﺍﻫﻴﻡ ﺒﺎﺸﺎ ﺍﺒﻥ ﻤﺤﻤﺩ ﻋﻠﻲ ﺍﻝﻜﺒﻴﺭ ،ﻭﺍﺴﺘﻘﺭﻭﺍ ﻓﻴﻬﺎ" ،2ﺇﻝﹼﺎ ﺃ
ﻥ ﺍﻝﺤﺩﻴﺙ ﻋﻥ ﻫـﺫﻩ
ﺍﻝﻤﺠﺯﺭﺓ ﻝﻡ ﻴﻜﻥ ﺒﺫﻝﻙ ﺍﻝﺘﹼﻭﺴﻊ ﺍﻝﺫﻱ ﺤﺼل ﻋﻨﺩ ﺍﻝﺤﺩﻴﺙ ﻋﻥ ﻤﺠﺯﺭﺓ ﺸﺎﺘﻴﻼ ،ﻓﺘﺤﺩﺜﺕ ﻋﻥ ﺭﺅﻴﺘﻬﺎ
ﻝﺠﺜﺙ ﺍﻝﻨﹼﺎﺱ ﻤﻜﻭﻤﺔ ﻓﻲ ﺍﻝﺸﹼﻭﺍﺭﻉ ،ﻭﺘﺸﻴﺭ ﺸﺨﺼﻴﺔ ﺍﻝﺘﻘﺕ ﺒﻬﺎ ﻓﻲ ﺍﻝﻤﻬﺠﺭ ﺘﺩﻋﻰ ﺃﺒﺎ ﻤﺤﻤـﺩ ﺇﻝـﻰ
ﻑ
ﺠﻤﻊ ﺍﻝﻴﻬﻭﺩ ﻝﻠﻨﺎﺱ ﻋﻨﺩ ﺍﻝﺸﺎﻁﺊ ﻭﺘﺨﻠﻴﺼﻬﻡ ﻤﻥ ﻤﻤﺘﻠﻜﺎﺘﻬﻡ ﻭﺘﺭﺤﻴﻠﻬﻡ ﺇﻝﻰ ﻗﺭﻴﺔ ﺍﻝﻔﺭﻴﺩﻴﺱ ،ﻭﺼـ ﹼ
ﺍﻝﻨﺎﺱ ﺒﺎﻝﻘﺭﺏ ﻤﻥ ﺍﻝﺤﺎﺌﻁ ﻭﺇﻋﺩﺍﻤﻬﻡ ،ﻜﻤﺎ ﺘﺘﺤﺩﺙ ﺘﻠﻙ ﺍﻝﺸﹼﺨﺼﻴﺔ ﻋﻥ ﺍﺨﺘﻴﺎﺭ ﺃﺭﺒﻌﻴﻥ ﺸﺨﺼﺎ ﻤﻨﻬﻡ
ﻝﺩﻓﻥ ﺍﻝﺠﺜﺙ ،ﻭﻋﻥ ﻗﻴﺎﻡ ﻤﺨﺘﺎﺭ ﻗﺭﻴﺔ ﺯﺨﺭﻭﻥ ﻴﻌﻘﻭﻑ ﻭﺒﻌﺽ ﺴﻜﹼﺎﻨﻬﺎ ﺒﻭﻗﻑ ﺍﻝﻘﺘـل ﻭﺇﻨﻘـﺎﺫ ﺃﻫـل
3
ﺍﻝﻘﺭﻴﺔ ،ﻭﺘﻡ ﺴﺠﻥ ﺍﻝﻨﺎﺠﻴﻥ ﻤﺩﺓ ﻋﺎﻡ ﻭﻨﺼﻑ.
ﻴﻨﻅﺭ :ﺍﻝﻴﺤﻴﻰ ،ﻴﺤﻴﻰ ﻤﺤﻤﻭﺩ ،ﺍﻝﻁﻨﻁﻭﺭﺓ ،ﻁ ،1ﺩﻤﺸﻕ :ﺩﺍﺭ ﺍﻝﺸﺠﺭﺓ ﻝﻠﻨﺸﺭ ﻭﺍﻝﺘﻭﺯﻴﻊ ،1998 ،ﺹ.14-13 1
15
ﻥ ﺍﻝﻘﺭﺍﺀﺓ ﻓﻲ ﻜﺘﺎﺏ )ﺇﻴﻼﻥ ﺒﺎﺒﻴﻪ( ﺘﻅﻬﺭ ﺍﻋﺘﻤﺎﺩ ﺍﻝﻜﺎﺘﺒﺔ ﻋﻠﻴﻪ ﻓﻲ ﻜﺘﺎﺒﺔ ﻜل ﻤﻌﻠﻭﻤﺔ ﻤـﻥ
ﺇ
ل ﺫﻝﻙ ﺒﺤﺫﺍﻓﻴﺭﻩ ،ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺤﺩﻴﺜﻪ ﻋـﻥ
ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﺍﻝﺴﺎﺒﻘﺔ ﻋﻥ ﺍﻝﻁﻨﻁﻭﺭﺓ ،ﺤﻴﺙ ﺃﻭﺭﺩ )ﺒﺎﺒﻴﻪ( ﻜ ّ
ﻤﻨﺎﻋﺔ ﻫﺫﻩ ﺍﻝﻘﺭﻴﺔ ،ﻓﻘﺩ ﻭﺼﻔﻬﺎ ﻝﻭﺍﺀ )ﺍﻝﻜﺴﻨﺩﺭﻭﻨﻲ( ﺒﺎﻝﻌﻅﻤﺔ ﺍﻝﻌﺎﻝﻘﺔ ﻓﻲ ﺍﻝﺤﻠﻕ ،ﻭﻗﺩ ﺠﺭﻯ ﺘﻁﻭﻴﻕ
ﻫﺫﻩ ﺍﻝﻘﺭﻴﺔ ﻤﻥ ﺍﻝﺠﻬﺎﺕ ﺍﻷﺭﺒﻊ ﻋﻠﻰ ﺨﻼﻑ ﺒﺎﻗﻲ ﺍﻝﻤﺩﻥ ﻭﺍﻝﻘﺭﻯ ﺍﻝﺘﻲ ﺤﺭﺹ ﺍﻝﻴﻬﻭﺩ ﻋﻠـﻰ ﺘـﺭﻙ
ﺇﺤﺩﻯ ﺍﻝﺠﻬﺎﺕ ﻤﻔﺘﻭﺤﺔ؛ ﻝﻠﺴﻤﺎﺡ ﺒﻬﺭﺏ ﺍﻝﺴﻜﺎﻥ ﻤﻨﻬﺎ ،ﺜ ﻡ ﺘ ﻡ ﺘﻨﻔﻴﺫ ﻋﻤﻠﻴﺎﺕ ﺍﻹﻋﺩﺍﻡ ﺍﻝﺠﻤـﺎﻋﻲ ﻓـﻲ
1
ﺍﻝﻁﻨﻁﻭﺭﺓ.
:2ﺍﻝﺸﹼﺘﺎﺕ ﻭﺍﻝﻤﻨﻔﻰ
ﻓﻲ ﺍﻝﻤﻨﻔﻰ ﻭﺘﻨﻘل ﺘﺠﺭﺒﺔ ﺍﻝﺘﺸﺭﺩ ﻭﻤﺭﺍﺭﺘﻪ ،ﻓﻔﻲ ﺭﻭﺍﻴﺔ ﺍﻝﻁﻨﻁﻭﺭﻴﺔ ﺘﺘﻌﺩﺩ ﺍﻝﻤﻨﺎﻓﻲ ﺒﺩﺍﻴﺔ ﺒﺎﻝﻨﻔﻲ ﺩﺍﺨل
ﺍﻝﻭﻁﻥ ﺍﻝﻭﺍﺤﺩ ﺜﻡ ﺨﺎﺭﺠﻪ ،ﻓﻘﺩ ﺒﺩﺃ ﻫﺫﺍ ﺍﻝﺸﹼﺘﺎﺕ ﻜﺎﻝﻁﻔل ﺼﻐﻴﺭﺍ ،ﺜﻡ ﺒﺩﺃ ﻴﻨﻤﻭ ﻤﻊ ﺍﻝﻭﻗـﺕ ،ﻓﺒﺩﺍﻴﺘـﻪ
ﻜﺎﻨﺕ ﺒﺎﻻﻨﺘﻘﺎل ﺃﺭﺒﻌﺔ ﻜﻴﻠﻭ ﻤﺘﺭﺍﺕ ﺨﺎﺭﺝ ﺍﻝﻁﹼﻨﻁﻭﺭﺓ ﺇﻝﻰ ﺍﻝﻔﺭﻴﺩﻴﺱ ،ﺤﻴﺙ ﺍﺴﺘﻤﺭﺕ ﺍﻹﻗﺎﻤﺔ ﺃﺭﺒﻌﺔ
ﺃﺴﺎﺒﻴﻊ ،ﺜﻡ ﺇﻝﻰ ﺍﻝﻤﺜﻠﺙ ﻓﻁﻭﻝﻜﺭﻡ ﻓﺩﻴﺭ ﺍﻝﻤﺴﻜﻭﺒﻴﺔ ﻓﻲ ﺍﻝﺨﻠﻴل ﺤﻴﺙ ﻤﻜﺜﻭﺍ ﺴﺘﺔ ﺃﺸﻬﺭ ،ﻭﺒﻌﺩﻫﺎ ﻜﺎﻨﺕ
ﺒﺩﺍﻴﺔ ﺍﻝﺸﹼﺘﺎﺕ ﺨﺎﺭﺝ ﺍﻝﻭﻁﻥ ،ﺇﺫ ﺍﻨﻘﺴﻡ ﺍﻝﻨﹼﺎﺱ ﺇﻝﻰ ﻗﺴﻤﻴﻥ :ﻗﺴﻡ ﺘﻔﺭﻕ ﺩﺍﺨل ﺍﻝﻭﻁﻥ ﻓﻲ ﻨﺎﺒﻠﺱ ﻭﺠﻨﻴﻥ
ﻭﻁﻭﻝﻜﺭﻡ ،...ﻭﻗﺴﻡ ﺘﻔﺭﻕ ﻓﻲ ﺍﻝﺩﻭل ﺍﻝﻤﺠﺎﻭﺭﺓ ﺃﻱ ﻝﺒﻨﺎﻥ ﻭﺍﻷﺭﺩﻥ ﻭﺴﻭﺭﻴﺎ ﻭﺍﻝﻌﺭﺍﻕ 2 .ﻭﻓﻴﻤﺎ ﻴﺘﻌﻠﻕ
ﺒﺴﺎﺭﺩﺓ ﺍﻝﻁﻨﻁﻭﺭ ﻴﺔ ﻓﻘﺩ ﻜﺎﻥ ﺍﻻﻨﺘﻘﺎل ﺇﻝﻰ ﺍﻷﺭﺩﻥ ﻭﻤﻨﻪ ﺇﻝﻰ ﺴﻭﺭﻴﺎ ﺜﻡ ﺼﻴﺩﺍ ﻓﻲ ﻝﺒﻨﺎﻥ ،ﻭﻓﻲ ﻝﺒﻨـﺎﻥ
ﺘﺒﺩﺃ ﻗﺼﺔ ﺃﺨﺭﻯ ﻝﻠﺸﺘﺎﺕ ﻤﻊ ﺍﻝﺠﻴل ﺍﻝﺠﺩﻴﺩ ،ﺠﻴل ﺍﻷﺒﻨﺎﺀ ﻝﻴﺴﻴﺭ ﺒﺎﻝﺘﻭﺍﺯﻱ ﻤﻊ ﺸﺘﺎﺕ ﺍﻵﺒﺎﺀ ،ﻓﻜـﺎﻥ
ﻫﺫﺍ ﺍﻝﺸﹼﺘﺎﺕ ﻓﻲ ﺍﻝﺨﻠﻴﺞ ﻭﻤﺼﺭ ﻭﻜﻨﺩﺍ؛ ﻷﺠل ﺍﻝﺩﺭﺍﺴﺔ ﻭﺍﻻﺴﺘﻘﺭﺍﺭ ﻭﺍﻝﺒﺤـﺙ ﻋـﻥ ﻝﻘﻤـﺔ ﺍﻝﻌـﻴﺵ
ﻤﺠﺯﺭﺓ ﺼﺒﺭﺍ ﻭﺸﺎﺘﻴﻼ ،ﻭﺍﻝﻘﺘل ﻋﻠﻰ ﺍﻝﻬﻭﻴﺔ ﻋﻠﻰ ﺍﻝﺤﻭﺍﺠﺯ .ﻜﻤﺎ ﺃﺼﺒﺢ ﻤﻥ ﺍﻝﺴـﻬل ﺇﻝﺼـﺎﻕ ﺃﻱ
ﺒﺎﺒﻴﻪ ،ﺇﻴﻼﻥ ،ﺍﻝﺘﻁﻬﻴﺭ ﺍﻝﻌﺭﻗﻲ ﻓﻲ ﻓﻠﺴـﻁﻴﻥ ،ﺘﺭﺠﻤﺔ :ﺃﺤﻤﺩ ﺨﻠﻴﻔﺔ ،ﻁ ،1ﺒﻴﺭﻭﺕ :ﻤﺅﺴﺴﺔ ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﻔﻠﺴـﻁﻴﻨﻴﺔ،2007 ، 1
ﺹ.149-145
ﻴﻨﻅﺭ :ﻋﺎﺸﻭﺭ ،ﺭﻀﻭﻯ :ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ،ﺹ.67-62 2
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ﺘﻬﻤﺔ ﺒﻬﻡ ،ﻓﻘﺩ ﺃﺼﺒﺤﻭﺍ ﺃﺸﺨﺎﺼﺎ ﻤﻭﺴﻭﻤﻴﻥ ﺒﺎﻝﻌﺩﺍﺌﻴﺔ ،ﻷﻨﹼﻬﻡ ﻤﺸﺭﺩﻭﻥ ﻜﻤﺎ ﻭﺼﻑ ﺴـﺎﺭﺩ ﺭﻭﺍﻴـﺔ
ﻁﺎﺒﻕ .199
ﻭﻫﻡ ﻤﺜﻴﺭﻭﻥ ﻝﻠﻘﺭﻑ ﻭﺍﻻﺴﺘﻴﺎﺀ ﻭﺍﻝﻐﻀﺏ ﻜﺎﻝﺤﺸﺭﺓ ﺍﻝﺘﻲ ﺴﻘﻁﺕ ﻓﻲ ﺼﺤﻥ ﺃﺤـﺩﻫﻡ ﻜﻤـﺎ
ﻭﺼﻔﺘﻬﻡ ﺇﺤﺩﻯ ﺸﺨﺼﻴﺎﺕ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ.2
ﺇﻥ ﺍﻝﺴﺭﺩ ﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻴﺒﺩﺃ ﻤﻥ ﺍﻝﺸﹼﺘﺎﺕ ﺍﻝﻠﺒﻨﺎﻨﻲ ﻝﺘﺼﻑ ﺍﻝﻜﺎﺘﺒﺔ ﻤﺎ ﺘﻌـﺭﺽ ﻝـﻪ
ﺃﺒﻁﺎﻝﻬﺎ ﻤﻥ ﺍﻀﻁﻬﺎﺩ ﺃﺩﻯ ﺇﻝﻰ ﺘﺩﻤﻴﺭ ﺃﺴﺭﺓ ﻜﺎﻤﻠﺔ ﻋﻨﺩﻤﺎ ﻗﺘﻠﺕ ﺍﻷﻡ ﻭﺠﻨﻴﻨﻬﺎ ﻓﻲ ﻤﺠـﺯﺭﺓ ﺸـﺎﺘﻴﻼ،
ﻝﻴﺒﺩﺃ ﺃﺒﻁﺎل ﺍﻝﺭﻭﺍﻴﺔ ﺭﺤﻠﺔ ﺸﺘﺎﺕ ﺠﺩﻴﺩﺓ ﺒﺎﻻﻨﺘﻘﺎل ﺇﻝﻰ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﹼﺤﺩﻩ ﺍﻷﻤﺭﻴﻜﻴﺔ ،ﺇﻝﻰ ﺸﺎﺭﻉ ﺍﻝﺴﻭﺩ
ﺒﺎﻝﺘﹼﺤﺩﻴﺩ ﺜﻡ ﺇﻝﻰ ﻨﻴﻭﻴﻭﺭﻙ.
ﺤﻘﻴﻘﺔ ﺍﻝﺸﹼﺘﺎﺕ
ﻓ ﺭ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻭﻥ ﻤﻥ ﺍﻻﻀﻁﻬﺎﺩ ﻭﺍﻝﻘﺘل ،ﺍﻝﺫﻱ ﻤﺎﺭﺴﺘﻪ ﺍﻝﻌﺼﺎﺒﺎﺕ ﺍﻝﺼﻬﻴﻭﻨﻴﺔ ،ﺒﺎﺤﺜﻴﻥ ﻋﻥ
ﺍﻷﻤﺎﻥ ﺤﺘﻰ ﺘﺴﺘﻘﺭ ﺍﻷﻭﻀﺎﻉ ،ﻭﺃﺤﻴﺎﻨﺎ ﻜﺎﻥ ﺨﺭﻭﺠﻬﻡ ﺒﻁﻠﺏ ﻤﻥ ﺍﻝﺠﻴﻭﺵ ﺍﻝﻌﺭﺒﻴﺔ ﺍﻝﺫﻴﻥ ﻭﻋـﺩﻭﻫﻡ
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ﺁﺨﺭ" :ﻴﺴﻤﻭﻨﻨﺎ ﻓﻲ ﺍﻝﻤﻨﺸﻭﺭﺍﺕ ﻗﺘﻠﺔ ﻭﺠﺭﺍﺜﻴﻡ ﻭﻗﻤﺎﻤﺔ" ،1ﻜﻤﺎ ﺃﻨﹼﻬﻡ ﻝﻡ ﻴﺠﺩﻭﺍ ﺍﻷﻤـﺎﻥ ﻓـﻲ ﻫـﺫﺍ
ﺍﻝﺸﹼﺘﺎﺕ ،ﻓﻔﻲ ﻝﺒﻨﺎﻥ ﺘﻌﺭﻀﺕ ﻫﺫﻩ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ ﻝﻠﺤﺭﺏ ﺍﻷﻫﻠﻴﺔ ﻭﻤﺠﺯﺭﺓ ﺼﺒﺭﺍ ﻭﺸﺎﺘﻴﻼ ،ﻜﻤﺎ ﻜﺎﻨﺕ
ﺃﻤﺭﻴﻜﺎ ﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﺒﻼﺩ ﺤﻠﻡ ﺯﺍﺌﻑ ﻭﻀﻴﺎﻉ ﻝﻠﻬﻭﻴﺔ ،ﻝﺫﻝﻙ ﻗﺎﻤﺕ ﺍﻝﺸﹼﺨﺼﻴﺔ ﺍﻝﻠﺒﻨﺎﻨﻴﺔ ﻫﻴﻠﺩﺍ
ﺒﺎﻝﻌﻭﺩﺓ ﺇﻝﻰ ﻭﻁﻨﻬﺎ ﻝﺒﻨﺎﻥ؛ ﻝﺘﺠﺩ ﺫﺍﺘﻬﺎ ،ﻭﻓﻲ ﺫﺍﺕ ﺍﻝﻭﻗﺕ ﺭﻓﻀﺕ ﺍﻝﺸﹼﺨﺼﻴﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ ﻤﺠﺩ ﺍﻝﻌﻭﺩﺓ
ﺇﻝﻰ ﻝﺒﻨﺎﻥ ﺭﻓﻀﺎ ﻗﺎﻁﻌﺎ؛ ﻭﺭﺒﻤﺎ ﻜﺎﻥ ﺴﺒﺏ ﺫﻝﻙ ﻜﻭﻥ ﻝﺒﻨﺎﻥ ﺒﻼﺩ ﺸﺘﺎﺕ ﺃﻴﻀﺎ ﺒﺎﻝﻨﹼﺴـﺒﺔ ﺇﻝـﻰ ﻫـﺫﻩ
ﺍﻝﺸﹼﺨﺼﻴﺔ ،ﻓﻬﻭ ﻻ ﻴﺴﺘﻁﻴﻊ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﻭﻁﻨﻪ ﺍﻝﺤﻘﻴﻘﻲ ﻓﻠﺴﻁﻴﻥ ﻝﻴﺠﺩ ﺫﺍﺘﻪ ﻭﻫﻭ ﻴﺘﻪ ﺍﻝﺤﻘﻴﻘ ﻴﺘﻴﻥ.
ﺒﻜﺜﺭﺓ ﺍﻻﻨﺘﻘﺎل ،ﻭﻫﺫﻩ ﺍﻝﻜﺜﺭﺓ ﻓﻲ ﺍﻻﻨﺘﻘﺎل ﺘﻌﻨﻲ ﻋﺩﻡ ﺍﻻﺴﺘﻘﺭﺍﺭ ﻭﺍﻝﺒﺤﺙ ﻋﻨﻪ ،ﻓﺎﻹﻨﺴﺎﻥ ﻻ ﻴﺠﺩ ﻤﺜﻴﻼ
ﻝﻭﻁﻨﻪ ﻭﺇﻥ ﻁﺎل ﺒﺤﺜﻪ ،ﺃﻤﺎ ﻜﻠﻤﺔ ﺍﻷﺨﻴﺭ ﻓﺘﻌﻨﻲ ﺍﻹﻴﻤﺎﻥ ﺍﻝﻤﻁﻠﻕ ﺒﺎﻝﻌﻭﺩﺓ ،ﻓﻬﺫﺍ ﺍﻝﺒﻴﺕ ﺴﻴﻜﻭﻥ ﻤﺤﻁﺔ
ﺍﻻﻨﻁﻼﻕ ﻨﺤﻭ ﻓﻠﺴﻁﻴﻥ ﻝﺫﻝﻙ ﻗﺎﻝﺕ ﻋﻨﺩ ﺍﻝﺒﺎﺏ ،ﺃﻱ ﺒﺎﻝﻘﺭﺏ ﻤﻥ ﺍﻝﺤﺩﻭﺩ ،ﺤﻴﺙ ﺘﻘـﻊ ﺼـﻴﺩﺍ ﻓـﻲ
ﻭﻴﺒﻘﻰ ﺍﻝﺴﺅﺍل :ﻤﺎ ﻤﺩﻯ ﻗﺒﻭل ﻫﺫﻩ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ ﻝﻠﺸﺘﺎﺕ ﻋﻠﻰ ﻤ ﺭ ﺍﻷﺠﻴﺎل ،ﻭﻫـل ﺤﺎﻭﻝـﺕ
ﺍﻻﻨﺩﻤﺎﺝ ﻭﺍﻝﺘﻭﻁﻴﻥ ﻓﻲ ﻫﺫﻩ ﺍﻝﺒﻠﺩﺍﻥ ﺍﻝﺠﺩﻴﺩﺓ ﻭﻗﺒﻭل ﺍﻝﻭﺍﻗﻊ؟
ﺘﻅﻬﺭ ﺍﻹﺠﺎﺒﺔ ﺠﻠﻴﺔ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺘﻴﻥ ،ﻓﺎﻝﺠﻴل ﺍﻝﺠﺩﻴﺩ ﺍﻝﹼﺫﻱ ﻝﻡ ﻴﺭ ﻓﻠﺴﻁﻴﻥ ﻭﻝﻡ ﻴﻭﻝﺩ ﻓﻴﻬﺎ ﺘﺸﺭﺏ
ﺤﺒﻬﺎ ﻤﻥ ﻭﺍﻝﺩﻴﻪ ،ﻓﺒﻘﻲ ﻤﺩﺍﻓﻌﺎ ﻋﻨﻬﺎ ﻤﺘﻌﻠﹼﻘﺎ ﺒﻬﺎ ،ﻴﺤﻤل ﻫ ﻡ ﻭﻁﻨﻪ ﺃﻴﻨﻤﺎ ﺭﺤل ،ﻭﻤﺜـﺎل ﺫﻝـﻙ ﻓـﻲ
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ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺸﺨﺼﻴﺔ ﻋﺒﺩ ﺍﻝﺭﺤﻤﻥ ،ﺍﻝﺫﻱ ﻏﻴﺭ ﺘﺨﺼﺼﻪ ﺍﻝﺠﺎﻤﻌﻲ ﻝﻴﺩﺭﺱ ﺍﻝﻘﺎﻨﻭﻥ ﺜ ﻡ ﻴﺴﺎﻓﺭ ﺒﻌـﺩ
ﺫﻝﻙ ﻝﻴﺭﻓﻊ ﻗﻀﻴﺔ ﺸﻌﺒﻪ ﺇﻝﻰ ﺍﻝﻘﺎﻨﻭﻥ ﺍﻝﺩﻭﻝﻲ ﻭﻴﺠﻤﻊ ﺍﻝﺸﹼﻬﺎﺩﺍﺕ ﻭﺍﻝﺘﹼﻤﻭﻴل ﺍﻝﻤﻨﺎﺴﺏ ﻝـﺫﻝﻙ ،ﻭﻜـﺫﻝﻙ
ﻤﻭﺍﻗﻑ ﺼﺎﺩﻕ ﻭﺤﺴﻥ ﻭﻤﺭﻴﻡ ﻭﻨﻀﺎﻝﻬﻡ ﻓﻲ ﻝﺒﻨﺎﻥ ﻋﺴﻜﺭﻴﺎ ﻭﺴﻴﺎﺴﻴﺎ ،ﻭﺍﻨﺨﺭﺍﻁﻬﻡ ﻓـﻲ ﻤﻨﻅﻤـﺎﺕ
ﺘﺤﺭﻴﺭ ﻓﻠﺴﻁﻴﻥ ،ﻭﻜل ﻫﺅﻻﺀ ﻭﻝﺩﻭﺍ ﺨﺎﺭﺝ ﻓﻠﺴﻁﻴﻥ ﻓﻲ ﺍﻝﻤﺨﻴﻤﺎﺕ ،ﻭﻤﻥ ﺍﻷﻤﺜﻠﺔ ﻋﻠﻰ ﻨﻀﺎل ﻫﺅﻻﺀ
ﻋﺴﻜﺭﻴﺎ ﻗﻭل ﻋﺒﺩ " :ﺍﺠﺘﺎﺤﻨﻲ ﺸﻌﻭﺭ ﺒﺎﻝﻌﺒﺙ ﻜﺄﻨﻨﻲ ﻝﻡ ﺃﻜﻥ ﻓﺩﺍﺌﻴﺎ ﺃﺤﻤل ﺍﻝﺴﻼﺡ" ،1ﺃﻤـﺎ ﺴﻴﺎﺴـﻴﺎ
ﻓﻘﻭل ﺍﻝﺴﺎﺭﺩﺓ " :ﻴﻌﻭﺩ ﺼﺎﺩﻕ ﺇﻝﻰ ﺍﻝﺒﻴﺕ ﻓﺄﻋﺭﻑ ﻤﻥ ﻫﻴﺌﺘﻪ ﺃﻨﹼﻪ ﻜﺎﻥ ﻓﻲ ﺍﻝﻤﻅﺎﻫﺭﺓ" .2ﻫـﺫﺍ ﻓﻴﻤـﺎ
ﻴﺘﻌﻠﹼﻕ ﺒﺎﻝﺠﻴل ﺍﻝﺠﺩﻴﺩ ،ﺃﻤﺎ ﺠﻴل ﺍﻝﻤﻬﺠﺭﻴﻥ ،ﻓﻤﻥ ﺍﻝﻁﹼﺒﻴﻌﻲ ﺃﻥ ﺘﻜﻭﻥ ﺍﻝﻤﻘﺎﻭﻤﺔ ﺃﻭﻝﻰ ﺃﻭﻝﻭﻴﺎﺘﻬﻡ ﻭﻴﻤﺜﻠﻬﻡ
ﺃﺒﻭ ﺍﻷﻤﻴﻥ ﻭﻨﻀﺎﻝﻪ ﺍﻝﻌﺴﻜﺭﻱ ﻭﺍﻝﺴﻴﺎﺴﻲ ﺍﻝﺫﻱ ﻴﻅﻬﺭ ﻋﻠﻰ ﻤﺩﺍﺭ ﺍﻝﺴﺭﺩ ،ﻭﻤﺜﺎل ﺫﻝـﻙ " :ﺘﺸـﻌﺏ
ﻨﺸﺎﻁﻪ ،ﻴﻨﻘل ﻤﻌﺎﺭﻓﻪ ﻭﺨﺒﺭﺍﺘﻪ ﺒﺎﻝﻁﺭﻕ ﻭﺍﻝﻤﺴﺎﻝﻙ ﻋﻠﻰ ﺍﻝﺠﺎﻨﺏ ﺍﻵﺨﺭ ﻤﻥ ﺍﻝﺤﺩﻭﺩ ،ﻴﺴـﺎﻋﺩ ﻓـﻲ
ﺍﻝﺘﹼﺩﺭﻴﺏ ﻋﻠﻰ ﺘﻤﻴﻴﺯ ﺍﻷﺴﻠﺤﺔ ﻭﺍﺴﺘﺨﺩﺍﻤﻬﺎ".3
ﻭﺘﻅﻬﺭ ﺍﻝﻨﹼﺘﺎﺌﺞ ﺫﺍﺘﻬﺎ ﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ ،99ﻓﺎﻝﻔﻠﺴﻁﻴﻨﻲ ﻤﺠﺩ ﺤﻘـﻕ ﻨﺠﺎﺤـﺎ ﺒـﺎﻫﺭﺍ ﻓـﻲ
ﺍﻝﺘﹼﺼﺎﻝﺢ ﻤﻊ ﺫﻝﻙ ﺍﻝﺸﹼﻌﻭﺭ ﺒﺎﻻﻨﺴﻼﺥ ﻋﻥ ﻤﻜﺎﻥ ﻻ ﺃﻋﺭﻓﻪ ،ﻭﻻ ﺫﻜﺭﻴـﺎﺕ ﻝـﻲ ﻓﻴـﻪ ،ﻋـﻥ ﺃﺭﺽ
ﺘﺴﻜﻨﻨﻲ ﻭﺃﻨﺎ ﻝﻡ ﺃﻁﺄﻫﺎ ﻴﻭﻤﺎ" ،5ﻭﻴﻜﺜﺭ ﺘﺴﺎﺅل ﻫﺫﻩ ﺍﻝﺸﹼﺨﺼﻴﺔ ﻋﻥ ﺍﻝﻭﻁﻥ ﻭﺍﻻﺭﺘﺒﺎﻁ ﺒﻪ ،ﻭﻗﺩ ﻜـﺎﻥ
ﻨﺠﺎﺤﻬﺎ ﻤﺤﺎﻭﻝﺔ ﻝﻠﺘﻌﻭﻴﺽ ﻋﻥ ﺍﻝﻨﹼﻘﺹ ﻭﺍﻝﻀﻴﺎﻉ ،ﺫﻝﻙ ﺍﻝﺸﹼﻌﻭﺭ ﺍﻝﻨﹼﺎﺠﻡ ﻋﻥ ﻭﺠﻭﺩ ﺘﺸﻭﻩ ﻓﻲ ﺍﻝﻭﺠـﻪ
ﻭﺍﻝﻘﺩﻡ ،ﺘﺸﻭﻩ ﻤﺭﺘﺒﻁ ﺒﻤﺄﺴﺎﺓ ﻤﺭﺘﺒﻁﺔ ﺒﺎﻝﻭﻁﻥ ﻻ ﻴﺴﺘﻁﻴﻊ ﺍﻝﺘﹼﺨﻠﺹ ﻤﻨﻬﺎ ﻝﻴﺒﻘﻰ ﻤﺭﺘﺒﻁﺎ ﺒﻬـﺫﺍ ﺍﻷﻝـﻡ
ﺍﻝﺫﻱ ﻨﺠﻡ ﻋﻥ ﺍﻝﺸﹼﺘﺎﺕ.
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ﻋﺭﻀﺕ ﺍﻝﺭﻭﺍﻴﺘﺎﻥ ﺼﻭﺭﺍ ﻤﺨﺘﻠﻔﺔ ﻝﻠﺸﺘﺎﺕ ﺒﻴﻥ ﺍﻝﺩﻭل ﺍﻝﻐﺭﺒﻴﺔ ﻭﺍﻝﻌﺭﺒﻴﺔ ،ﻭﺍﻝـﺩﻭل ﺍﻝﻐﻨﻴـﺔ
ﻭﺍﻝﻔﻘﻴﺭﺓ ،ﺇﻝﹼﺎ ﺃﻥ ﺫﻝﻙ ﻜﻠﻪ ﻝﻡ ﻴﺴﺎﻋﺩ ﺍﻹﻨﺴﺎﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻓﻲ ﺍﻻﻨﺩﻤﺎﺝ ﺨﺎﺭﺝ ﻭﻁﻨﻪ ،ﻓﻘﺩ ﻜﺎﻥ ﻝﻠﻭﻁﻥ
ﺴﺤﺭ ﺨﺎﺹ ﻴﺠﺫﺒﻬﻡ ،ﻭﻅﻬﺭ ﺫﻝﻙ ﻓﻲ ﺭﺩﻭﺩ ﻓﻌل ﺸﺨﺼﻴﺎﺕ ﺍﻝﺭﻭﺍﻴﺘﻴﻥ ،ﻓﻤﻨﻬﻡ ﻤﻥ ﻋﺎﺩ ﺇﻝﻴﻪ ﺯﺍﺌﺭﺍ،
ﻭﻤﻨﻬﻡ ﻤﻥ ﺭﻓﺽ ﻓﻜﺭﺓ ﺍﻝﻌﻭﺩﺓ ﻭﺨﺘﻡ ﺍﻝﺠﻭﺍﺯ ﺒﺨﺘﻡ ﺩﻭﻝﺔ ﺍﻻﺤﺘﻼل ،ﻭﺃﺒﻰ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻴﻪ ﺇﻻ ﻭﻗﺩ ﺘﺤﺭﺭ،
ﻭﻤﻨﻬﻡ ﻤﻥ ﻋﺎﺩ ﻤﺘﺴﻠﻼ ،ﻭﻤﻨﻬﻡ ﻤﻥ ﻨﺎﻀل ﻓﻲ ﺍﻝﺨﺎﺭﺝ .ﻓﺤﻘﻴﻘﺔ ﺍﻝﺸﺘﺎﺕ ﺃﻨﻪ ﻤﺤﻁﺔ ﺍﻨﺘﻅﺎﺭ ﻭﻨﻘﻁـﺔ
ﺘﺤﻀﻴﺭ ﻝﻠﻌﻭﺩﺓ ﻝﺫﻝﻙ ﺃﻓﺭﺩﺕ ﺴﺎﺭﺩﺓ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻓﺼﻼ ﻝﻠﺤﺩﻴﺙ ﻋﻥ ﺍﻻﻨﺘﻅﺎﺭ ﻭﻋﻨﻭﻨﺘﻪ ﺒﻤﻘﺎل ﻋـﻥ
ﺍﻻﻨﺘﻅﺎﺭ.
ﻜﻤﺎ ﻜﺎﻥ ﻝﻬﺫﺍ ﺍﻝﻤﻨﻔﻰ ﺃﺜﺭﻩ ﻋﻠﻰ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ ﺇﺫ ﺃﺜﹼﺭ ﻓﻲ ﺃﺴﻠﻭﺏ ﺤﻴﺎﺘﻬﺎ ﻭﻝﻐﺘﻬﺎ ،ﻓﺎﻝﺴﺎﺭﺩﺓ ﻓﻲ
ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻝﻡ ﺘﻌﺩ ﺘﺭﺘﺩﻱ ﺍﻝﺜﹼﻭﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻭﺘﺘﺤﺩﺙ ﺒﺘﻠﻙ ﺍﻝﻠﻠﻬﺠﺔ ﺍﻝﻨﹼﻘﻴﺔ ﻤﺜل ﺼﺩﻴﻘﺘﻬﺎ ﺍﻝﺘﻲ
ﺒﻘﻴﺕ ﻓﻲ ﻤﺨﻴﻡ ﺠﻨﻴﻥ ،ﻝﺫﻝﻙ ﻓﻬﻲ ﺘﺘﺴﺎﺀل " :ﻫل ﻫﻭ ﺍﻝﻔﺭﻕ ﺒﻴﻥ ﺒﻴﺭﻭﺕ ﻭﺠﻨﻴﻥ ﺃﻡ ﻷﻨﹼﻬـﺎ ﺯﻭﺠـﺔ
ﻓﹼﻠﺎﺡ ﻭﺍﺒﻥ ﻤﺨﻴﻡ ﻭﺯﻭﺠﻲ ﺘﻌﻠﹼﻡ ﻓﻲ ﺍﻝﺠﺎﻤﻌﺔ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻓﻲ ﺒﻴﺭﻭﺕ ...ﻜﻴﻑ ﻜﻨﺕ ﺃﺘﻜﻠﹼﻡ؟ ﻜﻴﻑ ﺃﺘﻜﻠﹼﻡ
ﺍﻵﻥ؟".1
ﻝﻘﺩ ﺃﺜﹼﺭ ﻫﺫﺍ ﺍﻝﻤﻨﻔﻰ ﻋﻠﻰ ﺍﻝﺘﺒﺎﺩل ﺍﻝﺜﻘﺎﻓﻲ ﺒﻴﻥ ﺍﻝﺸﹼﻌﻭﺏ ﺃﻴﻀﺎ ،ﻓﺄﺜﺭ ﻓﻲ ﺍﻝﻌﺎﺩﺍﺕ ﻭﺍﻝﺘﻘﺎﻝﻴـﺩ،
ﻭﺍﻷﻏﻨﻴﺔ ﺍﻝﺸﹼﻌﺒﻴﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ ﻭﻤﺜﺎل ﺫﻝﻙ ﺃﻏﻨﻴﺔ ﺯﺭﻴﻑ ﺍﻝﻁﹼﻭل ﺍﻝﺘﻲ ﺼﺒﻐﺕ ﻜﻠﻤﺎﺘﻬﺎ ﺒﺄﻝﺤﺎﻥ ﺍﻝﻐﺭﺒـﺔ
ﻭﺍﻝﺤﻨﻴﻥ ﺇﻝﻰ ﺍﻝﻭﻁﻥ ،ﻭﺴﻴﺘﻡ ﺘﻔﺼﻴل ﺍﻝﺤﺩﻴﺙ ﻓﻲ ﺫﻝﻙ ﻻﺤﻘﺎ .ﻜﻤﺎ ﺍﺴﺘﺨﺩﻡ ﺃﻭﻝﺌﻙ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻭﻥ ﺍﻝﺩﺒﻜﺔ
ﺍﻝﻠﺒﻨﺎﻨﻴﺔ ﻓﻲ ﺃﺤﺩ ﺃﻋﺭﺍﺴﻬﻡ ﻴﻘﻭل ﻋﺒﺩ " :ﻴﺎﻝﻼ ﻴﺎ ﻤﺭﻴﻡ .ﺩﺒﻜﺔ ﻝﺒﻨﺎﻥ".2
ﻭﻜﺎﻥ ﻝﻬﺫﺍ ﺍﻝﺸﺘﺎﺕ ﺩﻭﺭ ﻓﻲ ﻗﺘل ﺍﻝﺤﺏ ﻭﺍﻝﺘﹼﻔﺭﻴﻕ ﺒﻴﻥ ﺍﻷﺤﺒﺎﺀ ،ﻭﺨﻴﺭ ﻤﺜﺎل ﻋﻠﻰ ﺫﻝﻙ ﺭﻗﻴﺔ
ﻓﻲ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ،ﺤﻴﺙ ﺤﺩﺜﺕ ﺤﺭﺏ ﻋﺎﻡ 1948ﺒﻌﺩ ﺃﻥ ﺘﻤﺕ ﺨﻁﺒﺘﻬﺎ ﻓﺘﻔﺭﻗﺕ ﻋﻥ ﺨﻁﻴﺒﻬﺎ
ﻭﻋﺎﺵ ﻓﻲ ﺍﻷﺭﺩﻥ ﺒﻴﻨﻤﺎ ﻋﺎﺸﺕ ﻫﻲ ﻓﻲ ﻝﺒﻨﺎﻥ ،ﻭﻝﻡ ﺘﻌﺭﻑ ﻤﺼﻴﺭﻩ ﺇﻝﹼﺎ ﺒﻌﺩ ﻭﻗﺕ ﻁﻭﻴل.
20
:3ﺍﻻﻨﺘﻤﺎﺀ ﻭﺍﻝﻬﻭﻴﺔ
ﻥ ﻗﻀﻴﺔ ﺍﻻﻨﺘﻤﺎﺀ ﻭﺴﺅﺍل ﺍﻝﻬﻭﻴﺔ ﻜﺎﻨﺎ ﺃﻴﻀﺎ ﻤﻥ ﺍﻝﻘﻀﺎﻴﺎ ﻭﺍﻀﺤﺔ ﺍﻝﺤﻀﻭﺭ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺘﻴﻥ،
ﺇ
ﺨﺎﺼﺔ ﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ ،99ﻓﻘﺩ ﺃﺭﻕ ﺴﺅﺍل ﺍﻝﻬﻭﻴﺔ ﺒﻁﻠﻬﺎ؛ ﻭﺭﺒﻤﺎ ﻜﺎﻥ ﺫﻝﻙ ﻷﻥ ﻤﻜﺎﻥ ﺍﻝﻐﺭﺒﺔ ﺒﻠﺩ
ﺃﺠﻨﺒﻲ ،ﻓﺸﻌﺭﺕ ﺍﻝﺸﹼﺨﺼﻴﺔ ﺒﻌﺩﻡ ﺍﻻﻨﺘﻤﺎﺀ ﺍﻝﻜﻠﻲ ،ﺒﻴﻨﻤﺎ ﺘﻨﻘﻠﺕ ﻤﻌﻅﻡ ﺸﺨﺼﻴﺎﺕ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻓﻲ ﺩﻭل
ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ ،ﻭﺇﻥ ﺘﻌﺭﻀﺕ ﻝﻼﻀﻁﻬﺎﺩ ﻓﻲ ﻫﺫﺍ ﺍﻝﻭﻁﻥ ﺃﻴﻀﺎ ،ﻝﻜﻥ ﻭﺤﺩﺓ ﺍﻝﻠﻐﺔ ﻭﺍﻝﺜﹼﻘﺎﻓﺔ ﻭﺍﻝـﺩﻴﻥ
ﻭﺍﻝﻌﺎﺩﺍﺕ ...ﺨﻔﻔﺕ ﻤﻥ ﻭﻁﺄﺓ ﺍﻝﺸﹼﻌﻭﺭ ﺒﻔﻘﺩﺍﻥ ﺍﻻﻨﺘﻤﺎﺀ ﻭﻀﻴﺎﻉ ﺍﻝﻬﻭﻴﺔ ﺒﺸﻜل ﻜﻠﹼﻲ .ﻭﻗﺩ ﺃﺭﻕ ﺴﺅﺍل
ﺍﻝﻬﻭﻴﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻤﻨﺫ ﺼﻐﺭﻩ ﺘﻘﻭل ﺴﺎﺭﺩﺓ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻋﻥ ﺍﺒﻨﻬﺎ " :ﻜﺎﻥ ﻤﻨﺸـﻐﻼ ﻓـﻲ ﻤﺭﺍﻫﻘﺘـﻪ
ﻭﺩﺭﺍﺴﺘﻪ ﻭﺃﺴﺌﻠﺔ ﻜﻭﻨﻪ ﻓﻠﺴﻁﻴﻨﻴﺎ ﻓﻲ ﻝﺒﻨﺎﻥ".1
ﻥ ﺴﺒﺏ ﻨﺸﻭﺀ ﻫﺫﻩ ﺍﻝﻤﺸﻜﻠﺔ ﻫﻭ ﺍﻨﺘﺯﺍﻉ ﺍﻝﺼﻬﺎﻴﻨﺔ ﻝﻠﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﻤﻥ ﺃﺭﻀﻬﻡ ﺍﻝﺘﻲ ﺍﻨـﺩﻤﺠﻭﺍ
ﺇ
ﻓﻲ ﺘﻔﺎﺼﻴﻠﻬﺎ ،ﻭﻝﻡ ﻴﺘﻭﻗﻌﻭﺍ ﺃﻥ ﻴﺘﺭﻜﻭﻫﺎ ،ﺘﻘﻭل ﺍﻝﺴﺎﺭﺩﺓ ﻓﻲ ﺍﻝﻁﻨﻁﻭﺭﻴﺔ " :ﻻ ﺃﺫﻜﺭ ﻤﺘـﻰ ﺘﻌﻠﹼﻤـﺕ
ﺍﻝﺴﺒﺎﺤﺔ ﻷﻨﻨﻲ ﻻ ﺃﺫﻜﺭ ﻤﺘﻰ ﺘﻌﻠﹼﻤﺕ ﺍﻝﻤﺸﻲ ﺃﻭ ﺍﻝﻜﻼﻡ" ،2ﻭﻋﻨﺩ ﻨﺯﻉ ﻫﺫﺍ ﺍﻹﻨﺴـﺎﻥ ﻤـﻥ ﺃﺭﻀـﻪ
ﻭﺯﺭﻋﻪ ﻓﻲ ﻤﻜﺎﻥ ﺁﺨﺭ ﻓﻼ ﺒ ﺩ ﺃﻥ ﻴﺸﻌﺭ ﺒﻌﺩﻡ ﺍﻻﻨﺘﻤﺎﺀ ﻭﻓﻘﺩﺍﻥ ﺍﻝﻬﻭﻴﺔ ﺤﺘﻰ ﺇﻥ ﺒـﺩﺍ ﻫـﺫﺍ ﺍﻝﻤﻜـﺎﻥ
ﺍﻝﺠﺩﻴﺩ ﻤﺸﺎﺒﻬﺎ ﻝﻠﻤﻜﺎﻥ ﺍﻝﻘﺩﻴﻡ ﻓﻲ ﺍﻝﺼﻔﺎﺕ ،ﻓﻬﻨﺎﻙ ﺫﻜﺭﻴﺎﺕ ﻭﺃﺤﻼﻡ ﻭﺍﻤﺘﺩﺍﺩ ﺘﺎﺭﻴﺨﻲ ﻋﺒﺭ ﺍﻷﺠـﺩﺍﺩ
ﺘﺭﻜﻪ ﺍﻹﻨﺴﺎﻥ ﺨﻠﻔﻪ ،ﻓﺴﺎﺭﺩﺓ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻝﻡ ﺘﺭ ﺒﺤﺭ ﺍﻝﻁﻨﻁﻭﺭﺓ ﻓﻲ ﺒﺤﺭ ﺒﻴـﺭﻭﺕ ﺃﻭ ﺍﻹﺴـﻜﻨﺩﺭﻴﺔ
ﺭﻏﻡ ﻜﻭﻨﻪ ﺍﻝﺒﺤﺭ ﺫﺍﺘﻪ ﻭﺇﻨﹼﻤﺎ ﻜﺎﻨﺕ ﺘﺄﺘﻴﻪ ﻜﺎﻝﻐﺭﻴﺒﺔ ﺘﺤﻤل ﺯﻭﺍﺩﺘﻬﺎ ﻭﻜﺭﺴﻴﻬﺎ ،ﺒﻴﻨﻤﺎ ﻜﺎﻥ ﺒﻴﺘﻬـﺎ ﻓـﻲ
ﺍﻝﻁﹼﻨﻁﻭﺭﺓ ﻤﺘﺩﺍﺨﻼ ﻤﻊ ﺍﻝﺒﺤﺭ ﺘﺫﻫﺏ ﺇﻝﻴﻪ ﺒﻼ ﺍﻨﺘﺒﺎﻩ ،ﻭﻜﺫﻝﻙ ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺒﻴﻭﺕ ﻗﺭﻴﺘﻬﺎ.3
ﻥ ﺍﻷﻤﺜﻠﺔ ﻋﻠﻰ ﻋﺩﻡ ﺍﻻﻨﺘﻤﺎﺀ ﻝﺒﻼﺩ ﺍﻝﺸﹼﺘﺎﺕ ﻜﺜﻴﺭﺓ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺘﻴﻥ ﻤﻨﻬﺎ :ﺭﻗﻴـﺔ؛ ﺍﻝﺸﹼﺨﺼـﻴﺔ
ﺇ
ﺍﻝﺒﺅﺭﻴﺔ ﻓﻲ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺤﻴﺙ ﺘﻘﻭل " :ﺴﻭﻑ ﺃﺭﻜﺏ ﺍﻝﻘﻁﺎﺭ ﺒﻼ ﺠﻠﺒﺔ ،ﻭﺴﻭﻑ ﺃﺒﻘﻰ ﺃﻴﻀـﺎ
ﺨﺎﺭﺠﻪ .ﺃﻋﻁﻲ ﺃﻤﻴﻥ ﺍﻝﻤﺘﻭﻗﻊ ﻤﻥ ﺯﻭﺠﺔ ﺼﺎﻝﺤﺔ" ،4ﻓﺭﻏﻡ ﺯﻭﺍﺝ ﻫﺫﻩ ﺍﻝﺸﹼﺨﺼﻴﺔ ﻭﺍﺴﺘﻘﺭﺍﺭﻫﺎ ،ﺇﻝﹼـﺎ
ﺃﻨﻬﺎ ﺒﻘﻴﺕ ﺨﺎﺭﺝ ﺍﻝﻤﺠﺘﻤﻊ ﺍﻝﺫﻱ ﺘﻌﻴﺵ ﻓﻴﻪ؛ ﻷﻨﻬﺎ ﺘﻨﺘﻤﻲ ﺇﻝﻰ ﻤﻜﺎﻥ ﺁﺨﺭ ،ﺇﻝﻰ ﻓﻠﺴﻁﻴﻥ ﺍﻝﺘﻲ ﻓﻘـﺩﺕ
21
ﻓﻴﻬﺎ ﺍﻝﻜﺜﻴﺭ ﻤﺜل ﺭﺍﺌﺤﺔ ﺍﻝﺯﻨﺒﻕ ﻭﺍﻝﺒﺤﺭ ﻭﺸﺠﺭﺓ ﺍﻝﻠﻭﺯ ...ﻓﻜﺎﻨﺕ ﺘﻔﺎﺼﻴل ﺍﻝﻭﻁﻥ ﺩﺍﺌﻤﺔ ﺍﻝﺤﻀﻭﺭ ﻓﻲ
ﺫﻫﻨﻬﺎ ،ﻓﻤﺜﻼ ﺘﺠﺭﻱ ﺭﻗﻴﺔ ﻤﻘﺎﺭﻨﺔ ﺒﻴﻥ ﺃﺭﺍﻀﻲ ﻓﻠﺴﻁﻴﻥ ﻭﻤﺼﺭ ﻓﺘﺼﻑ ﺃﺭﺍﻀﻲ ﻤﺼـﺭ ﺒﺄﻨﹼﻬـﺎ "
ﻤﻨﺴﻘﺔ ﻤﺴﺘﻁﻴﻼﺕ ﻭﻤﺭﺒﻌﺎﺕ ﻤﺭﺴﻭﻤﺔ ﺭﺴﻤﺎ ﻋﻠﻰ ﺍﻝﺘﹼﺭﺒﺔ .ﻻ ﺯﻴﺘﻭﻥ ﻭﻻ ﻝﻭﺯ ،ﺃﺸﺠﺎﺭ ﺃﻗل ﻭﺯﺭﻉ
ﻜﺜﻴﺭ" ،1ﻭﻗﺩ ﺘﺭﺩﺩ ﺫﻜﺭ ﺸﺠﺭﺓ ﺍﻝﻠﻭﺯ ﻭﺃﺯﻫﺎﺭ ﺍﻝﺯﻨﺒﻕ ﻭﺍﻝﺒﺤﺭ ﺒﻜﺜﺭﺓ ﻓﻲ ﻫﺫﻩ ﺍﻝﺭﻭﺍﻴﺔ ،ﻤﻨﻬـﺎ ﻋﻠـﻰ
ﺴﺒﻴل ﺍﻝﻤﺜﺎل " :ﺃﻓﺘﻘﺩ ﺸﺠﺭﺓ ﺍﻝﻠﻭﺯ" ،2ﻭ" ﺃﻋﻭﺩ ﻷﻤﻲ ﺒﺎﻜﻴﺔ :ﻤﻥ ﻗﻁﻑ ﺍﻝﺯﻨﺒﻕ؟ ﻜﺎﻥ ﻫﻨﺎ ﻭﻫﻨﺎ ﻭﻫﻨﺎ
ﻭﻫﻨﺎﻙ" ،3ﻭ" ﻻ ﺃﺸﺘﺭﻱ ﺍﻝﺯﻨﺒﻕ .ﻻ ﻴﺸﺒﻪ ﺯﻨﺎﺒﻕ ﺍﻝﺒﻠﺩ" ،4ﻭ" ﺃﻜﺭﺭ ﺃ
ﻥ ﺍﻝﻬﺩﻴﺔ ﻻ ﺒ ﺩ ﺃﻥ ﺘﻜﻭﻥ ﺒﺎﻗـﺔ
ﻤﻥ ﺯﻨﺒﻕ ﺒﻠﺩﻨﺎ" ،5ﻭ" ﻤﻤﺘﻊ ﻭﻤﻌﻀل ﺃﻥ ﺃﺼﻑ ﺸﺠﺭﺓ ﻝﻭﺯ ﻓﻲ ﺍﻝﺭﺒﻴﻊ) ،ﺃﻜﺘﺒﻬـﺎ ﻤـﺭﺓ ﻭﺍﺜﻨﺘـﻴﻥ
ﻭﺜﻼﺜﺔ .ﺃﻗﻭل :ﻻ ﻓﺎﺌﺩﺓ .ﻤﻠﻜﺔ ﻓﻲ ﺃﺭﻀﻬﺎ ،ﻻ ﺃﻤﻠﻙ ﺯﺤﺯﺤﺘﻬﺎ ﺇﻝﻰ ﺍﻝﻭﺭﻕ(" 6ﻓﺭﻏﻡ ﺘﺸـﺎﺒﻪ ﺍﻝﺒﻴﺌـﺔ
ﻥ ﺘﻠﻙ ﺍﻝﺸﹼﺨﺼـﻴﺔ
ﺍﻝﺠﻐﺭﺍﻓﻴﺔ ﻝﻔﻠﺴﻁﻴﻥ ﻭﻝﺒﻨﺎﻥ ﻭﺍﺸﺘﺭﺍﻜﻬﻤﺎ ﻓﻲ ﺍﻝﺘﹼﺎﺭﻴﺦ ﻭﺍﻝﺤﻀﺎﺭﺓ ﻭﺍﻷﺴﺎﻁﻴﺭ ،ﺇﻝﹼﺎ ﺃ
ﻥ ﺯﻨﺒﻕ ﺒﻠﺩﻫﻡ ﻤﺨﺘﻠﻑ ،ﻭﻫﺫﻩ ﻨﻅﺭﺘﻬﺎ ﻝﻠﺒﺤﺭ ﺃﻴﻀﺎ ﻜﻤﺎ ﺫﹸﻜﺭ ﻗﺒل ﻗﻠﻴل ،ﻭ ﺘﺘﺴﺎﺀل ﻫﺫﻩ
ﻜﺎﻨﺕ ﺘﺭﻯ ﺃ
ﺍﻝﺸﹼﺨﺼﻴﺔ ﻋﻤﺎ ﺇﺫﺍ ﻜﺎﻥ ﻫﺫﺍ ﺍﻝﺸﻌﻭﺭ ﺒﻌﺩﻡ ﺍﻻﻨﺘﻤﺎﺀ ﻴﺼﻴﺒﻬﺎ ﻭﺤﺩﻫﺎ ﺃﻡ ﻴﺸﻌﺭ ﺒﻪ ﻏﻴﺭﻫﺎ ﺇﺫ ﺘﻘـﻭل" :
ﻜﺎﻥ ﻗﺩ ﻭﻓﹼﺭ ﻝﻨﻔﺴﻪ ﻗﻁﺎﺭﺍ ﺨﺎﺼﺎ ﻴﻨﺘﻤﻲ ﺇﻝﻴﻪ ،ﺃﻱ ﻴﺤﺎﻭل ﺍﻝﺘﹼﻌﺎﻴﺵ ﻓﻴﻪ ،ﻭﺇﺸﺎﺭﺘﻬﺎ ﺇﻝﻰ ﻭﺠﻭﺩ ﺍﻝﻭﺤﺸﺔ
ﻓﻲ ﺭﻭﺤﻪ ،ﻭﻤﻥ ﺃﻴﻥ ﺴﺘﺄﺘﻲ ﻫﺫﻩ ﺍﻝﻭﺤﺸﺔ ﻓﻲ ﺭﻭﺤﻪ ﻝﻭﻻ ﻋﺩﻡ ﺍﻨﺘﻤﺎﺌﻪ ﺇﻝﻰ ﺍﻝﻤﻜﺎﻥ ﺍﻝﺫﻱ ﻴﻌﻴﺵ ﻓﻴﻪ،
ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺘﺴﺎﺅﻝﻬﺎ ﻋﻤﺎ ﺇﺫﺍ ﻜﺎﻥ ﺨﺎﺭﺝ ﺍﻝﻘﻁﺎﺭ ﻭﻫﻭ ﺩﺍﺨﻠﻪ.
ﻓﻲ ﻤﻘﺎﺒل ﻋﺩﻡ ﺍﻻﻨﺘﻤﺎﺀ ﺇﻝﻰ ﺍﻝﻤﻨﻔﻰ ،ﻜﺎﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺸﺩﻴﺩ ﺍﻻﻨﺘﻤـﺎﺀ ﺇﻝـﻰ ﻭﻁﻨـﻪ ،ﻓﻔـﻲ
ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻜﺎﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻤﺴﺘﻌﺩﺍ ﺩﺍﺌﻤﺎ ﻝﻠﻌﻭﺩﺓ ،ﻓﻔﻲ ﺤﺭﺏ ،67ﺘﻘﻭل ﺇﺤﺩﻯ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ " :ﻤﻥ
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ﺘﻌﺭﻑ ﻭﻤﻥ ﻻ ﺘﻌﺭﻑ ﻤﻥ ﺃﻫل ﺍﻝﻘﺭﻯ ﺍﻷﺨﺭﻯ ﻓﻲ ﺍﻝﻤﺨﻴﻡ ﺃﺨﺭﺠﻭﺍ ﻤﻔـﺎﺘﻴﺢ ﺩﻭﺭﻫـﻡ ﻭﺍﺴـﺘﻌﺩﻭﺍ
ﺒﻬﻭﻴﺎﺘﻬﻡ ﻭﺃﻭﺭﺍﻕ ﺍﻝﻁﹼﺎﺒﻭ ﺍﻝﺘﻲ ﺘﺜﺒﺕ ﻤﻠﻜﻴﺘﻬﻡ ﻝﻸﺭﺍﻀﻲ ﻭﺍﻝﺒﻴﻭﺕ".1
ﺒﻴﻨﻤﺎ ﺘﻘﻭل ﺴﺎﺭﺩﺓ ﺍﻝﺭﻭﺍﻴﺔ ﺭﻗﻴﺔ " :ﺤﻠﻤﺕ ﺃﻨﻨﻲ ﻓﻲ ﺒﻠﺩﻨﺎ " ،2ﻭﺘﺘﺴﺎﺀل ﺸﺨﺼـﻴﺔ ﺃﺨـﺭﻯ
ﻗﺎﺌﻠﺔ " :ﻴﻌﻨﻲ ﺒﺩﻨﺎ ﻨﺭﺠﻊ ﺒﻠﺩﻨﺎ؟".3
ﻥ ﺃﺤـﺩ
ﻭﻤﻥ ﺃﻤﺜﻠﺔ ﺍﻝﺘﹼﻤﺴﻙ ﺒﺎﻝﻬﻭﻴﺔ ﻭﺍﻻﻨﺘﻤﺎﺀ :ﺤﺎﺩﺜﺔ ﺍﻝﺜﹼﻭﺏ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ،ﻋﻨـﺩﻤﺎ ﻅـ
ﺍﻷﺠﺎﻨﺏ ﺃﻨﹼﻪ ﺜﻭﺏ ﺇﺴﺭﺍﺌﻴﻠﻲ ،ﻓﺎﺴﺘﺸﺎﻁﺕ ﻭﺼﺎل ﻏﻀﺒﺎ ،ﻭﺒﺩﺃﺕ ﺘﻭﻀﺢ ﻝﻬﺫﺍ ﺍﻝﺭﺠـل ﺃﻨـﻪ ﺜـﻭﺏ
ﻓﻠﺴﻁﻴﻨﻲ ﻁﺭﺯﺘﻪ ﺒﻴﺩﻫﺎ ،ﻭﺃﻥ " ﺇﺯﺭﺍﺌﻴل ﺴﺭﺍﻗﺔ ﺴﺭﻗﺕ ﺃﺭﻀﻨﺎ ﻭﺸﺭﺩﺘﻨﺎ ﻭﺫﺒﺤﺘﻨﺎ .ﺤﺘﻰ ﺍﻝﺜﹼﻭﺏ ﺍﻝﺫﻱ
ﺃﺭﺘﺩﻴﻪ ﺘﻁﻤﻊ ﻓﻴﻪ! 4"...ﻭﺘﺴﺘﻔﻴﺽ ﺘﻠﻙ ﺍﻝﺸﹼﺨﺼﻴﺔ ﻓﻲ ﺍﻝﺸﹼﺭﺡ ﻋﻥ ﺍﻝﺜﹼﻭﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﻔﻠﹼﺎﺤﻲ ،ﻭﻫﺫﺍ
ﻭﻫﺫﺍ ﻴﺩل ﻋﻠﻰ ﺍﻝﺘﹼﻤﺴﻙ ﺒﺎﻝﺜﹼﻘﺎﻓﺔ ﺍﻝﺸﹼﻌﺒﻴﺔ ﺍﻝﺘﻲ ﺘﺤﺩﺩ ﻫﻭﻴﺔ ﺍﻝﺸﹼﻌﺏ ،ﻭﺍﻝﺘﻲ ﻴﺤﺎﻭل ﺍﻝﻴﻬـﻭﺩ ﺴـﺭﻗﺘﻬﺎ؛
ﻝﻴﻜﻭﻥ ﻝﻬﻡ ﺘﺭﺍﺙ ﻴﺜﺒﺕ ﻫﻭﻴﺘﻬﻡ ﻭﺍﻨﺘﻤﺎﺀﻫﻡ ،ﻭﺠﺫﻭﺭ ﺍﻝﺜﹼﻭﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻀﺎﺭﺒﺔ ﻓﻲ ﺍﻝﺘﹼﺎﺭﻴﺦ ﻓﻨﻘﻭﺸـﻪ
ﺘﻤﺜﹼل ﺭﻤﻭﺯﺍ ﺩﻴﻨﻴﺔ ﻜﻨﻌﺎﻨﻴﺔ ﻴﺤﺎﻭل ﺍﻝﻴﻬﻭﺩ ﺴﺭﻗﺘﻬﺎ؛ ﻹﺜﺒﺎﺕ ﻭﺠﻭﺩ ﻭﺘﺎﺭﻴﺦ ﻝﻬﻡ ﻋﻠﻰ ﻫـﺫﻩ ﺍﻷﺭﺽ،
ﻓﻬﺫﺍ ﺍﻝﺜﹼﻭﺏ ﺍﻝﻤﻁﺭﺯ ﻤﺨﺼﺹ ﻝﻜﻬﻨﺔ ﺍﻝﻤﻌﺒﺩ ﺍﻝﻜﻨﻌﺎﻨﻲ؛ ﻻﻤﺘﻼﻜﻬﻡ ﺍﻝﻤﺎل ﺍﻝﻼﺯﻡ ﻝﺘﻁﺭﻴـﺯ ﻤﻼﺒﺴـﻬﻡ
ﻭﻫﻭ ﻤﺎ ﻻ ﻴﻤﻠﻜﻪ ﻋﺎﻤﺔ ﺍﻝﻨﹼﺎﺱ ،ﻭﻤﻥ ﺍﻝﻁﹼﺒﻴﻌﻲ ﺃﻥ ﻴﻌﻜﺱ ﻫﺫﺍ ﺍﻝﺘﹼﻁﺭﻴﺯ ﻤﻌﺘﻘﺩﺍﺘﻬﻡ ﺍﻝﺩﻴﻨﻴﺔ ،ﻭﺍﻨﺘﺸـﺭ
ﻫﺫﺍ ﺍﻝﺜﹼﻭﺏ ﻓﻲ ﺍﻝﻤﻨﺎﻁﻕ ﺍﻝﻤﺠﺎﻭﺭﺓ ﺒﺴﺒﺏ ﺍﻝﺘﹼﺠﺎﺭﺓ ﻤﻊ ﺍﻝﻜﻨﻌﺎﻨﻴﻴﻥ ،ﺜﻡ ﻓﻲ ﻭﻗﺕ ﻻﺤﻕ ﺍﻨﺘﺸﺭ ﺒﺸـﻜل
ﺃﻭﺴﻊ ﺒﺴﺒﺏ ﺍﻨﺘﺸﺎﺭ ﺍﻝﻤﺴﻴﺤﻴﺔ ﻭﺭﺤﻼﺕ ﺍﻝﺤﺞ ﻓﺄﺼﺒﺢ ﺯﻴﺎ ﻝﺭﺠﺎل ﺍﻝﻜﻨﻴﺴﺔ ﻜﻤﺎ ﻜﺎﻥ ﺯﻴـﺎ ﻝﻜﻬـﺎﻥ
ﺍﻝﻴﻬﻭﺩ ﺍﻝﺫﻴﻥ ﺃﺨﺫﻭﻩ ﺃﻴﻀﺎ ﻋﻥ ﻜﻬﺎﻥ ﺍﻝﻜﻨﻌﺎﻨﻴﻴﻥ ،ﻭﻤﻥ ﻤﺤﺎﻭﻻﺕ ﺴﺭﻗﺔ ﻫﺫﺍ ﺍﻝﺜﹼﻭﺏ ﻤﺎ ﻗﺎﻤﺕ ﺒـﻪ )
ﺯﻴﻔﺎ ﺃﻤﻴﺭ( ﻋﻨﺩﻤﺎ ﻨﺸﺭﺕ ﻋﺎﻡ 1977ﻜﺘﺎﺏ )ﺃﺭﺍﺒﻴﺴﻙ( ﻋﻥ ﺍﻝﺘﹼﻁﺭﻴﺯ ﻓﻲ ﻓﻠﺴـﻁﻴﻥ ،ﺇﺫ ﺘﺠﺎﻫﻠـﺕ
ﺍﻷﺼل ﺍﻝﻜﻨﻌﺎﻨﻲ ﻝﻬﺫﺍ ﺍﻝﺜﹼﻭﺏ ﻭﻤﻬﺎﺭﺍﺕ ﺍﻝﺼﺒﻎ ﻭﺍﻝﺘﻁﺭﻴﺯ ﻭﺍﻝﺘﹼﻠﻭﻴﻥ ﻝﺩﻯ ﺍﻝﻔﻴﻨﻴﻘﻴﻴﻥ ﻭﻗﺼﺭﺘﻪ ﻋﻠـﻰ
ﻜﻬﻨﺔ ﺍﻝﻴﻬﻭﺩ ﻓﻲ ﻋﺼﻭﺭ ﺍﻝﺘﹼﻭﺭﺍﺓ ،ﻭﻝﻡ ﺘﺸﺭ ﺇﻝﻰ ﺘﻠﺒﺱ ﻫﺅﻻﺀ ﻝﺠﻠﺩ ﺍﻝﻜﻨﻌﺎﻨﻴﻴﻥ ،ﺇﺫ ﺘﺭﻜﻭﺍ ﺍﻝﺠﻠﻭﺩ ﺍﻝﺘﻲ
ﻝﺒﺴﻭﻫﺎ ﻭﺍﻝﺨﻴﺎﻡ ﺍﻝﺘﻲ ﺴﻜﻨﻭﻫﺎ ﻭﻝﺒﺴﻭﺍ ﺜﻴﺎﺏ ﺍﻝﻜﻨﻌﺎﻨﻴﻴﻥ ﺍﻝﺯﺍﻫﻴﺔ ،ﻭﺃﺨـﺫﻭﺍ ﻤﻭﺴـﻴﻘﺎﻫﻡ ﻭﺭﻗﺼـﺎﺕ
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ﻥ ﺫﻝﻙ ﺍﻨﺘﻬﻰ ﺒﻨﻔﻴﻬﻡ ﻭﺒﻘﺎﺀ ﺴـﻜﹼﺎﻥ ﺍﻝـﺒﻼﺩ
ﺨﺼﺒﻬﻡ ﻭﺃﺴﺎﻝﻴﺏ ﺤﻴﺎﺘﻬﻡ ﻭﺃﻋﻴﺎﺩﻫﻡ ﻭﺸﻌﺎﺌﺭﻫﻡ ...ﺇﻝﹼﺎ ﺃ
ﺍﻝﻜﻨﻌﺎﻨﻴﻴﻥ ،1ﻭﺒﺎﻝﻨﹼﻅﺭ ﺇﻝﻰ ﺍﻝﺜﹼﻭﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻓﻼ ﺯﺍل ﻫﻨﺎﻙ ﺒﻌﺽ ﺍﻝﻁﹼﺭﺯﺍﺕ ﺍﻝﺘﻲ ﺘﻌﻭﺩ ﺇﻝﻰ ﺍﻝﺠﺫﻭﺭ
ﺍﻝﻜﻨﻌﺎﻨﻴﺔ ﻤﺜل ﺍﻝﻨﹼﺠﻭﻡ ﻭﻫﻲ ﺭﻤﻭﺯ ﻤﻘﺩﺴﺔ ﻋﻨﺩ ﺸﻌﻭﺏ ﻤﺎ ﻗﺒل ﺍﻝﺘﹼﺎﺭﻴﺦ ،ﻭﺍﻝﺤﺠﺎﺏ ﻭﻫﻭ ﻭﻋﺎﺀ ﻤـﻥ
ﺍﻝﻤﻌﺩﻥ ﺃﻭ ﺍﻝﻘﻤﺎﺵ ﻴﺤﻤل ﺍﻝﺘﹼﻌﻭﻴﺫﺓ ﻜﻤﺎ ﻴﻅﻬﺭ ﻓﻲ ﺍﻝﺼﻭﺭ ﺍﻵﺘﻴﺔ:
ﻭﻴﻨﺴﺏ ﺇﻝﻰ ﺍﻝﻔﻴﻨﻴﻘﻴﻴﻥ ﺃﻨﹼﻬﻡ ﺃﻭل ﻤﻥ ﺍﺨﺘﺭﻉ ﺍﻝﺼﺒﺎﻍ ﻭﺍﻝﺘﹼﻁﺭﻴﺯ ،ﻭﻜﻠﻤـﺔ ﺍﻝﻔﻴﻨﻴـﻕ ﺘﻌﻨـﻲ
ﺍﻷﺤﻤﺭ ﺍﻷﺭﺠﻭﺍﻨﻲ ،ﻭﻫﻭ ﻝﻭﻥ ﺍﺴﺘﺨﺭﺠﻪ ﺍﻝﻜﻨﻌﺎﻨﻴﻭﻥ ﻤﻥ ﺃﺼﺩﺍﻑ ﺒﻌـﺽ ﺍﻝﺤﻴﻭﺍﻨـﺎﺕ ﺍﻝﺒﺤﺭﻴـﺔ،
ﻴﻨﻅﺭ :ﺴﺭﺤﺎﻥ ،ﻨﻤﺭ:ﻤﻭﺴﻭﻋﺔ ﺍﻝﻔﻠﻭﻝﻜﻠﻭﺭ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ،ﻁ ،2ﺍﻷﺭﺩﻥ :ﺍﻝﺒﻴﺎﺩﺭ ،1989 ،ﺹ.585-584 1
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ﻭﺃﻁﻠﻕ ﺍﻝﻴﻭﻨﺎﻨﻴﻭﻥ ﻋﻠﻰ ﺍﻝﻜﻨﻌﺎﻨﻴﻴﻥ ﻫﺫﺍ ﺍﻻﺴﻡ ﻻﺸﺘﻬﺎﺭﻫﻡ ﺒﻬﺫﺍ ﺍﻝﻠﻭﻥ 1ﻭﺒﺫﻝﻙ ﺘﻅﻬﺭ ﺃﻫﻤﻴﺔ ﻫﺫﺍ ﺍﻝﺜﹼﻭﺏ
ﻓﻲ ﺘﺤﺩﻴﺩ ﻫﻭﻴﺔ ﺍﻝﺸﹼﻌﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ.
ﻭﻴﺸﻴﺭ ﻜﻼﻡ ﺘﻠﻙ ﺍﻝﺸﹼﺨﺼﻴﺔ ﺇﻝﻰ ﻤﻌﺭﻓﺔ ﺘﺎﻤﺔ ﺒﺎﻝﺘﹼﺭﺍﺙ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﺫﻱ ﻴﺤﺩﺩ ﻫﻭﻴﺘﻬﺎ ﻭﺫﻝـﻙ
ﻥ ﻫﺫﺍ ﺍﻝﺜﹼﻭﺏ ﻓﻠﹼﺎﺤﻲ ﺒﻘﻭﻝﻬﺎ " :ﻫﺫﺍ ﺍﻝﺘﹼﻁﺭﻴﺯ ﺴﻬﺭﺕ ﻋﻠﻴﻪ ﻝﻴﺎﻝﻲ .ﺍﺴﻤﻪ )ﻓﻠﹼﺎﺤﻲ(.
ﻋﻨﺩ ﺇﺸﺎﺭﺘﻬﺎ ﺇﻝﻰ ﺃ
ﻫﺫﺍ ﺜﻭﺏ ﻓﻠﺴﻁﻴﻨﻲ ﻓﻠﹼﺎﺤﻲ" ،2ﻓﺎﻷﺜﻭﺍﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ ﺃﻨﻭﺍﻉ ﻤﺨﺘﻠﻔﺔ ﻤﻨﻬﺎ :ﺍﻝﺜﹼﻭﺏ ﺍﻝﻤﻘﻠﹼﻡ ،ﻭﺍﻝﻤـﺭﺩﻥ،
ﻭﺍﻝﻤﺠﺩﻻﻭﻱ -ﻨﺴﺒﺔ ﺇﻝﻰ ﺍﻝﻤﺠﺩل ،-ﻭﺍﻝﺜﻭﺏ ﺍﻝﻤﺤﻭﺵ ،ﻭﺜﻭﺏ ﺍﻝﻘﺯ ،ﻭﺍﻝﺜﹼﻭﺏ ﺍﻝﻔﻠﹼﺎﺤﻲ.3...
ﻭﺘﻤﺜل ﺸﺨﺼﻴﺔ ﻋﺒﺩ ﺍﻝﺭﺤﻤﻥ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺔ ﻨﻔﺴﻬﺎ ﻨﻤﻭﺫﺠﺎ ﻝﻠﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﻤﻨﺘﻤـﻲ ﻝﻠـﻭﻁﻥ ،ﺇﺫ
ﺤﺎﻭل ﺍﻝﺤﺼﻭل ﻋﻠﻰ ﺍﻋﺘﺭﺍﻑ ﺩﻭﻝﻲ ﺒﺤﻕ ﺃﺒﻨﺎﺀ ﻭﻁﻨﻪ ﻓﻲ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﻭﻁﻨﻬﻡ ﻭﺘﻌﻭﻴﻀﻬﻡ ،4ﺤﺘـﻰ
ﺍﻝﺴﻠﺴﺎل ﺍﻝﺫﻱ ﺃﻫﺩﺍﻩ ﻝﻭﺍﻝﺩﺘﻪ ﻜﺎﻥ ﻴﺤﻤل ﺍﺴﻡ ﻗﺭﻴﺘﻬﺎ ﺍﻝﻤﻬﺠﺭﺓ .5ﻭﻝﻴﺱ ﺃﺩ ّ
ل ﻋﻠﻰ ﻫﺫﺍ ﺍﻻﻨﺘﻤـﺎﺀ ﻤـﻥ
ﻥ ﻤﻥ ﺠﻴل ﺇﻝﻰ
ﺍﺭﺘﺩﺍﺀ ﺍﻝﻨﹼﺴﺎﺀ ﻝﻤﻔﺎﺘﻴﺢ ﺒﻴﻭﺘﻬﻥ ﻭﻋﺩﻡ ﻨﺯﻋﻬﻥ ﻤﻁﻠﻘﺎ ﺤﺘﻰ ﺃﺜﻨﺎﺀ ﺍﻻﺴﺘﺤﻤﺎﻡ ،ﻭﺘﻭﺭﻴﺜﻬ
ﻥ ﺍﻝﻤﺭﺃﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ ﺍﻝﺘﻲ ﺘﺨﺸﻰ ﻋﻠﻰ ﻤﻔﺘﺎﺡ ﺒﻴﺘﻬﺎ ﻤﻥ ﺍﻝﻀﻴﺎﻉ ﺇﺫﺍ ﻨﺯﻋﺘﻪ ﻝﺒﻀﻊ ﺩﻗﺎﺌﻕ ﻷﺠل
ﺠﻴل ،ﺇ
ﺍﻻﺴﺘﺤﻤﺎﻡ ،ﻻ ﻴﻤﻜﻥ ﺃﻥ ﺘﻨﺘﻤﻲ ﺇﻝﻰ ﻏﻴﺭ ﺫﻝﻙ ﺍﻝﻤﻜﺎﻥ .ﻜﻤﺎ ﻗﺎﻡ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻭﻥ ﺒﺈﻨﺸﺎﺀ ﻤﺭﻜﺯ ﺍﻷﺒﺤﺎﺙ
ﺍﻝﺫﻱ ﻜﺎﻥ ﻴﺤﺘﻔﻅ ﺒﻜل ﺍﻝﻭﺜﺎﺌﻕ ﺍﻝﺘﻲ ﺘﺘﻌﻠﹼﻕ ﺒﻔﻠﺴﻁﻴﻥ ﻤﻥ ﺨﺭﺍﺌﻁ ﻭﻤﻠﻜﻴﺎﺕ ﻝﻸﺭﺍﻀﻲ ﻭﺇﺤﺼـﺎﺀﺍﺕ
ﻭﻭﺜﺎﺌﻕ ،...ﻓﻬﺫﺍ ﺍﻝﺸﹼﻌﺏ ﺤﺭﻴﺹ ﻋﻠﻰ ﺠﻤﻊ ﻜل ﻤﺎ ﻴﺨﺼﻪ ﻝﻴﺤﺎﻓﻅ ﻋﻠﻰ ﻫﻭﻴﺘﻪ ﻭﺍﻨﺘﻤﺎﺌﻪ ﻜﻤﺎ ﺴﻤﻰ
ﻭﻗﺩ ﻜﺎﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻴﺴﺘﻌﺩ ﻝﻠﺘﻀﺤﻴﺔ ﺒﺭﻭﺤﺔ ﻭﻻ ﻴﺘﻨﺼل ﻤﻥ ﺍﻨﺘﻤﺎﺌﻪ ،ﻀﺎﺭﺒﺎ ﺒﺫﻝﻙ ﺃﻋﻅـﻡ
ﻤﺜﺎل ﻋﻠﻰ ﺍﻝﺘﹼﻤﺴﻙ ﺒﺎﻝﻬﻭﻴﺔ ،ﻓﻤﺜﻼ ﻓﻲ ﺍﻝﺤﺭﺏ ﺍﻷﻫﻠﻴﺔ ﺍﻝﻠﺒﻨﺎﻨﻴﺔ ﻜﺎﻥ ﺍﻝﻘﺘل ﻴﺘﻡ ﻋﻠﻰ ﺍﻝﻬﻭﻴﺔ ﻭﺭﻏﻡ ﺫﻝﻙ
ﻴﻨﻅﺭ :ﻜﻨﺎﻋﻨﺔ ،ﺸﺭﻴﻑ ﻭﺁﺨﺭﻭﻥ :ﺍﻝﻤﻼﺒﺱ ﺍﻝﺸﹼﻌﺒﻴﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ ،ﺩﻁ ،ﺍﻝﺒﻴﺭﺓ :ﺠﻤﻌﻴﺔ ﺇﻨﻌﺎﺵ ﺍﻷﺴﺭﺓ ،1982 ،ﺹ.26-24 1
ﻭﺭﺩ ﺫﻜﺭ ﺍﻝﺜﻭﺏ ﺍﻝﻔﻼﺤﻲ ﻓﻲ ﺭﻭﺍﻴﺔ ﺍﻝﻁﻨﻁﻭﺭﻴﺔ ﻭﻫﻭ ﺜﻭﺏ ﺘﺭﺘﺩﻴﻪ ﻨﺴﺎﺀ ﺍﻝﺭﻴﻑ ﻭﻝﻪ ﻗﻁﺒﺔ ﺨﺎﺼﺔ ﺘﻤﻴﺯﻩ ،ﻴﻨﻅﺭ :ﺴـﺭﺤﺎﻥ، 3
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ﺁﺜﺭ ﻋﺒﺩ ﺍﻝﺭﺤﻤﻥ ﺍﻝﺘﹼﻌﺭﺽ ﻝﻼﺨﺘﻁﺎﻑ ﻋﻠﻰ ﺇﻨﻜﺎﺭ ﻫﻭﻴﺘﻪ ﺇﺫ ﻴﻘﻭل " :ﺤﻴﻥ ﺍﻗﺘﺭﺒﺕ ﻤـﻨﻬﻡ ﺴـﺄﻝﻨﻲ
ﺃﺤﺩﻫﻡ ﺇﻥ ﻜﻨﺕ ﻝﺒﻨﺎﻨﻴﺎ ﺃﻡ ﻓﻠﺴﻁﻴﻨﻴﺎ .ﺘﻭﺠﺴﺕ .ﻭﻝﻜﻨﻨﻲ ﺃﺠﺒﺕ :ﻓﻠﺴﻁﻴﻨﻲ .ﻝﻤـﺎﺫﺍ ﺘﺴـﺄﻝﻭﻥ؟ ﻓـﺈﺫﺍ
ﺒﺄﺤﺩﻫﻡ ﻴﻭﺠﻪ ﺴﻼﺤﻪ ﺇﻝﻰ ﺭﺃﺴﻲ".1
ﻜﻤﺎ ﺘﻌﺎﻝﺞ ﻜﺎﺘﺒﺔ ﺍﻝﻁﹼﻨﻁﻭﺭ ﻴﺔ ﻤﺴﺄﻝﺔ ﻤﻬﻤﺔ ﻭﻫﻲ ﻫﻭﻴﺔ ﺍﻝﻠﺠﻭﺀ ،ﻫل ﻴﻘﺒل ﺒﻬﺎ ﺍﻝﻔﻠﺴـﻁﻴﻨﻲ ﺃﻡ
ﻴﺭﻓﻀﻬﺎ؟ ﻭﻜﺎﻥ ﻫﺫﺍ ﻤﻭﻀﻊ ﺍﻀﻁﺭﺍﺏ ﻭﺨﻼﻑ ﻝﺩﻯ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﺒﻴﻥ ﻤﺅﻴﺩ ﻭﻤﻌﺎﺭﺽ ،ﻭﺃﺤﻴﺎﻨـﺎ
ﻴﺨﺘﻠﻁ ﺍﻷﻤﺭ ﻝﺩﻯ ﺍﻝﺸﹼﺨﺹ ﺍﻝﻭﺍﺤﺩ ،ﻭﻤﺜﺎل ﺫﻝﻙ ﺸﺨﺼﻴﺔ ﺭﻗﻴﺔ ﺍﻝﺘﻲ ﺭﻓﻀﺕ ﺃﻥ ﻴﺴﺠل ﺍﻝﻔﻠﺴـﻁﻴﻨﻲ
ﻨﻔﺴﻪ ﻻﺠﺌﺎ ،ﻭﺃﻥ ﻴﺄﺨﺫ ﻫﻭﻴﺔ ﺍﻨﺘﻅﺎﺭ ﻜﻤﺎ ﻭﺼﻔﺘﻬﺎ ،2ﺜﻡ ﺘﻌﻭﺩ ﻋﻥ ﺭﺃﻴﻬﺎ ﻭﺘﻘﺒل ﺒﻬﺫﻩ ﺍﻝﻬﻭ ﻴﺔ ﻭﺍﺼﻔﺔ
ﺇﻴﺎﻫﺎ ﺒﺄﻨﹼﻬﺎ ﺘﺨﺘﺼﺭ ﻜل ﺍﻝﺤﻜﺎﻴﺔ ،3ﻓﻬﻲ ﺍﻝﺘﻲ ﺘﻀﻤﻥ ﺤ ﹼ
ﻕ ﻫﺫﺍ ﺍﻝﻼﺠﺊ.
ﺃﻤﺎ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ ،99ﻓﻘﺩ ﻜﺎﻥ ﺴﺅﺍل ﺍﻝﻬﻭﻴﺔ ﻤﻠﺤﺎ ﻋﻠﻰ ﺃﺤﺩ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ ،ﻻ ﻴﻜﺎﺩ ﻴﻨﻔﻙ ﻤﻨﻪ
ﻭﻴﺴﺘﺤﻀﺭﻩ ﻓﻲ ﻜل ﺤﻴﻥ ،ﻭﻗﺩ ﺍﺭﺘﻜﺯﺕ ﻫﺫﻩ ﺍﻝﺭﻭﺍﻴﺔ ﻋﻠﻰ ﺸﺨﺼﻴﺘﻴﻥ :ﺸﺨﺼﻴﺔ ﻤﺠﺩ ﺍﺒﻥ ﺍﻝﻤﺨـﻴﻡ
ﺍﻝﺫﻱ ﻭﻝﺩ ﻓﻲ ﺍﻝﻤﻬﺠﺭ ﺍﻝﻠﺒﻨﺎﻨﻲ ،ﻭﺸﺨﺼﻴﺔ ﻫﻴﻠﺩﺍ ﺍﻝﻠﺒﻨﺎﻨﻴﺔ ﺍﻝﻤﺴﻴﺤﻴﺔ ﺍﻝﺘﻲ ﺘﻨﺘﻤﻲ ﻋﺎﺌﻠﺘﻬﺎ ﺇﻝﻰ ﺍﻝﻜﺘﺎﺌﺏ،
ﻭﻤﺠﺩ ﻫﺫﺍ ﻴﺤﺎﻭل ﺃﻥ ﻴﺘﺨﻁﹼﻰ ﻋﻘﺒﺔ ﺍﻝﻬﻭﻴﺔ ﻭﺍﻻﻨﺘﻤﺎﺀ ،ﺨﺎﺼﺔ ﺃﻨﻪ ﻝﻡ ﻴﻭﻝﺩ ﻓﻲ ﻓﻠﺴﻁﻴﻥ ﻭﻻ ﻴﻌﺭﻓﻬﺎ ﺇﺫ
ﻴﻘﻭل" :ﻭﺴﺘﺒﻘﻰ ﻜل ﺍﻝﺒﻼﺩ ﻓﻲ ﺍﻷﺴﻔل ،ﺒﻴﺭﻭﺕ ،ﻭﻓﻠﺴﻁﻴﻥ ﺍﻝﺘﻲ ﻝﻡ ﺃﻋﺭﻓﻬﺎ" ،4ﻝﻜﻨﹼﻪ ﺭﻏﻡ ﺫﻝـﻙ ﻻ
ﻴﻔﻠﺢ ﻓﻲ ﺍﻝﺘﹼﻨﺼل ﻤﻥ ﺍﻻﻨﺘﻤﺎﺀ ﺇﻝﻰ ﻭﻁﻥ ﻝﻡ ﻴﻜﻥ ﻴﻭﻤﺎ ﻓﻴﻪ ،ﻓﻴﺒﻘﻰ ﻓﻲ ﺼﺭﺍﻉ ﻤﺴﺘﻤﺭ ﺇﺫ ﻴﻘﻭل " :ﻜﺎﻥ
ﻋﻠﻲ ﺃﻥ ﺃﺨﺘﺎﺭ ﺃﻥ ﺃﻜﻭﻥ ﻓﻠﺴﻁﻴﻨﻴﺎ ﻤﺨﺘﻠﻔﺎ ،ﻴﺭﻴﺩ ﺒﻜل ﻋﺯﻡ ﻭﺇﺭﺍﺩﺓ ﺃﻥ ﻴﺘﺨﻁﹼـﻰ ﻫـﺫﺍ ﺍﻝﺘﹼﻌﺭﻴـﻑ،
ﻭﻴﺘﺤﺩﻯ ﺍﻝﻭﺍﻗﻊ ﻭﻴﻨﺴﻰ ﻝﻠﺤﻅﺎﺕ ﻤﺎ ﻫﻭ ﺍﻝﻭﻁﻥ ،ﺍﻝﻭﻁﻥ ﺍﻝﺫﻱ ﻝﻡ ﻴﻜﻥ ﻴﻭﻤﺎ ﻓﻴـﻪ" ،5ﻓﻔـﻲ ﻫـﺫﻩ
ﺍﻷﺴﻁﺭ ﺭﻏﻡ ﺃﻨﻪ ﻴﻌﺒﺭ ﻋﻥ ﺭﻏﺒﺘﻪ ﻓﻲ ﻨﺴﻴﺎﻥ ﺍﻝﻭﻁﻥ ﺍﻝﺫﻱ ﻝﻡ ﻴﻜﻥ ﻴﻭﻤﺎ ﻓﻴﻪ ،ﺇﻝﹼﺎ ﺃﻨﻪ ﻴﻁﻠـﻕ ﻋﻠـﻰ
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ﻭﻜﻤﺎ ﻓﻲ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺘﺘﺴﺎﺀل ﻫﺫﻩ ﺍﻝﺸﹼﺨﺼﻴﺔ ﺃﻴﻀﺎ ﻋﻥ ﻤﺩﻯ ﺍﻨﺘﻤﺎﺀ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ ﻤﻥ
ﺤﻭﻝﻬﺎ ،ﻭﻤﺩﻯ ﺤﻀﻭﺭ ﻓﻜﺭﺓ ﺍﻝﻬﻭﻴﺔ ﻭﺍﻻﻨﺘﻤﺎﺀ ﻋﻨﺩﻫﺎ ،ﻓﻠﺸﺩﺓ ﻤﺎ ﺃﺭﻗﻪ ﻫﺫﺍ ﺍﻝﺴﺅﺍل ﺃﺨﺫ ﻴﺘﺴﺎﺀل ﻋﻥ
ﺼﺩﻴﻘﻪ ﻤﺤﺴﻥ ﺍﻝﺫﻱ ﺍﻨﻔﺼل ﻋﻥ ﻋﺭﻭﺒﺘﻪ ،ﻭﺴﻤﻰ ﻨﻔﺴﻪ ﻤﺎﻴﻙ ،ﻭﺃﺭﺨﻰ ﺸﻌﺭﻩ ﻭﺒﻴﺽ ﺃﺴﻨﺎﻨﻪ ﻭﻨﻤﻰ
ﻋﻀﻼﺘﻪ ﺍﻝﻀﻌﻴﻔﺔ ،ﻫل ﻴﻨﺘﻤﻲ ﺇﻝﻰ ﻫﺫﻩ ﺍﻝﺒﻼﺩ ﺍﻷﻤﺭﻴﻜﻴﺔ؟ ﻷﻨﹼﻪ ﻋﻨﺩﻤﺎ ﺃﻓﻠﺱ ﻋﺎﺩ ﺇﻝﻰ ﻝﺒﻨـﺎﻥ ﺤﻴـﺙ
ﺍﻝﻨﹼﺎﺱ ﻫﻨﺎﻙ ﺃﻴﻀﺎ ﻝﻴﺴﻭﺍ ﻤﻭﺍﻁﻨﻴﻥ ،ﻝﻡ ﻴﻜﻭﻨﻭﺍ ﺴﻭﻯ ﺇﺴﻼﻡ ﻭﻤﺴﻴﺤﻴﺔ ﻓﻘﻁ .1ﻭﻴﺴﺘﻤﺭ ﻫﺫﺍ ﺍﻝﺼـﺭﺍﻉ
ﻤﻊ ﺫﺍﺘﻪ ﻭﻫﻭﻴﺘﻪ ﻋﻠﻰ ﻤﺩﺍﺭ ﺍﻝﺴﺭﺩ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺔ ،ﻓﻴﺼﻑ ﺍﻝﻤﺨﻴﻡ ﻭﺍﻝﻭﻁﻥ ﻜﺎﻝﻠﻌﻨﺔ ﺍﻝﺘﻲ ﺘﻼﺤﻘﻪ ﻓﻲ ﻜل
ﻝﺤﻅﺔ ﻤﻥ ﻝﺤﻅﺎﺕ ﺤﻴﺎﺘﻪ ،ﺤﺘﻰ ﻋﻨﺩﻤﺎ ﻴﺠﻠﺱ ﻓﻲ ﺍﻝﻤﻘﻬﻰ ﻝﻴﺘﻨﺎﻭل ﻜﻭﺏ ﺍﻝﻘﻬﻭﺓ ،2ﻜﻤﺎ ﺃﻨﻪ ﻻ ﻴﺴﺘﻁﻴﻊ
ﺘﻔﺴﻴﺭ ﺘﻌﻠﻘﻪ ﺒﻭﻁﻥ ﻝﻡ ﻴﻌﺭﻓﻪ ﺇﺫ ﻴﻘﻭل " :ﻝﻡ ﺘﻜﻥ ﺍﻝﻤﺸﻜﻠﺔ ﻓﻲ ﻓﻠﺴﻁﻴﻨﻴﺘﻲ ،ﻭﻻ ﺭﻏﺒﺘـﻲ ﺒـﺎﻝﻬﺭﺏ
ﻤﻨﻬﺎ ﺃﺤﻴﺎﻨﺎ ،ﺒل ﺒﻜﻴﻔﻴﺔ ﺍﻝﺘﹼﺼﺎﻝﺢ ﻤﻊ ﺫﻝﻙ ﺍﻝﺸﹼﻌﻭﺭ ﺒﺎﻻﻨﺴﻼﺥ ﻋﻥ ﻤﻜﺎﻥ ﻻ ﺃﻋﺭﻓﻪ ،ﻭﻻ ﺫﻜﺭﻴﺎﺕ ﻝﻲ
ﻓﻴﻪ ،ﻋﻥ ﺃﺭﺽ ﺘﺴﻜﻨﻨﻲ ﻭﺃﻨﺎ ﻝﻡ ﺃﻁﺄﻫﺎ ﻴﻭﻤﺎ" .3ﻭﻴﺘﻜﺭﺭ ﻫﺫﺍ ﺍﻝﻤﻌﻨﻰ ﺫﺍﺘﻪ ﻓﻲ ﻤﻜﺎﻥ ﺁﺨﺭ ﺇﺫ ﻴﻘﻭل" :
ﻜﺎﻥ ﺫﻝﻙ ﺠﺎﻨﺒﺎ ﻤﻥ ﺤﻜﺎﻴﺘﻲ ،ﺍﻝﺼﺭﺍﻉ ﻤﻊ ﺍﻝﺒﺩﺍﻴﺔ ﻭﺫﻴﻭﻝﻬﺎ ،ﻭﺍﻝﺭﻏﺒﺔ ﺍﻝﺘﻲ ﺍﺠﺘﺎﺤﺘﻨﻲ ﻤـﺭﺍﺭﺍ ﺒـﺄﻥ
ﺃﻨﺴﻰ ﻤﻥ ﺃﻴﻥ ﺃﺘﻴﺕ ،ﺃﻥ ﺃﻨﺴﻰ ﺒﻼﺩﺍ ﻝﻡ ﺃﻋﺭﻓﻬﺎ ﺴﻭﻯ ﻤﻥ ﺨﻼل ﺤﻜﺎﻴﺎ ﺃﺒﻲ ﻭﺤﻨﻴﻥ ﺃﻤﻲ" .4ﻭﻓـﻲ
ﻤﻭﻀﻊ ﺁﺨﺭ ﻴﻘﻭل ﻓﻲ ﻫﺫﺍ ﺍﻝﺘﻨﺎﻗﺽ " :ﺃﻨﺎ ﺍﻝﻤﺸﺩﻭﺩ ﺇﻝﻰ ﺍﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﻤﻀﺭﺠﺔ ﺒﺎﻝﺩﻤﺎﺀ ،ﻜﻴﻑ ﺴﺄﻗﺘﻨﻊ
ﺒﺄﻨﹼﻪ ﺤﺎﻥ ﺍﻝﻭﻗﺕ ﻷﻨﺴﻰ؟ ﻜﺎﻥ ﻫﺫﺍ ﻤﺎ ﻴﻘﻴﺩﻨﻲ :ﻨﻜﺭﺍﻥ ﺍﻝﺫﹼﺍﻜﺭﺓ ﻭﺍﻝﻌﻴﺵ ﻓﻴﻬـﺎ" ،5ﻭﻴﻌﺘـﺭﻑ ﻫـﺫﺍ
ﺍﻝﺸﹼﺨﺹ ﺒﻜﻭﻥ ﺍﻝﻬﻭﻴﺔ ﻋﺒﺌﺎ ﻴﺜﻘل ﻜﺎﻫﻠﻪ ،ﻻ ﻴﻨﺴﻴﻪ ﺇﻴﺎﻫﺎ ﺴﻭﻯ ﻜﻭﻨﻪ ﻏﺭﻴﺒﺎ ﻓﻲ ﺒﻼﺩ ﻤﻠﻴﺌﺔ ﺒﺎﻝﻐﺭﺒـﺎﺀ
ﺍﻝﻤﺸﻐﻭﻝﻴﻥ ﺒﻘﻀﺎﻴﺎ ﺤﻴﺎﺘﻬﻡ ﺍﻝﻴﻭﻤﻴﺔ .6ﻭﻴﻘﻭل ﻭﺍﺼﻔﺎ ﻨﻔﺴﻪ ﺒﺄﻨﻪ " ﺍﻝﻐﺭﻴﺏ ﺍﻝﺫﻱ ﺃﺭﺍﺩ ﻴﻭﻤﺎ ﻤﻥ ﺍﻝﺩﻨﻴﺎ
ﺘﻌﻭﻴﻀﺎ ﻋﻥ ﻏﺭﺒﺘﻪ ،ﻭﻝﻡ ﻴﺭﻏﺏ ﻓﻲ ﺃﻥ ﻴﺘﻘﻴﺩ ﺒﺎﻝﻤﺄﺴﺎﺓ" ،7ﻭﺨﻼﺼﺔ ﺍﻷﻤﺭ ﺃﻨﹼﻪ ﻜﺎﻥ ﺸﺩﻴﺩ ﺍﻻﻨﺘﻤﺎﺀ
27
ل ﺼﺭﺍﻉ ﻻ ﺒ ﺩ ﺃﻥ ﻴﺘﻤﺨﹼﺽ ﻋﻥ ﻨﺘﻴﺠﺔ ﻤﺎ ﻤﻬﻤﺎ ﻁﺎل ﺃﻭ ﻗﺼﺭ ،ﻓﻤﺎ ﻫﻲ ﺍﻝﻨﺘﻴﺠﺔ ﺍﻝﺘﻲ
ﻥﻜّ
ﺇ
ﺨﺭﺠﺕ ﺒﻬﺎ ﻫﺫﻩ ﺍﻝﺸﹼﺨﺼﻴﺔ؟
ﺘﻜﻤﻥ ﺍﻹﺠﺎﺒﺔ ﻓﻲ ﻗﻭﻝﻪ ﻭﺍﺼﻔﺎ ﻋﺩﻡ ﺍﻨﺴﺠﺎﻤﻪ ﻓﻲ ﺍﻝﻤﺠﺘﻤﻊ ﺍﻷﻤﺭﻴﻜﻲ " :ﺴﺄﺒﻘﻰ ﻁﺒﻌﺎ ﻋﺭﺒﻴﺎ
ﻏﺎﻀﺒﺎ ﻷﻨﻨﻲ ﻻ ﺃﺘﺴﺎﻭﻯ ﻤﻌﻬﻡ ﻓﻲ ﺍﻝﺤﻘﻭﻕ ...ﺤﺎﻭﻝﺕ ﻜﺜﻴﺭﺍ ﺃﻥ ﺃﻨﺴﻰ ﻭﺃﺘﺄﻗﻠﻡ ...ﻝﻜـﻥ ﻜـﺎﻤﺭﺃﺓ
ﺸﺩﻫﺎ ﺜﻭﺒﻬﺎ ﺇﻝﻰ ﺍﻝﺨﻠﻑ ﻜﻠﹼﻤﺎ ﻓﺎﺭﻗﺕ ﺤﺒﻴﺒﻬﺎ ،ﺍﺴﺘﻌﺒﺩﻨﻲ ﻜﻴﺎﻨﻲ ﺍﻷﺼﻠﻲ ﻭﻻ ﺃﺨﺠـل ﻤـﻥ ﺫﻝـﻙ"،1
ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﻫﺫﺍ ﺍﻻﻋﺘﺭﺍﻑ ﺍﻝﻤﺒﺎﺸﺭ ،ﻫﻨﺎﻙ ﺸﻌﻭﺭ ﺩﺍﺨﻠﻲ ﺒﺎﻝﺭﻏﺒﺔ ﻓﻲ ﺍﻝﺘﹼﻤﺴﻙ ﺒﻬﺫﻩ ﺍﻝﻬﻭﻴﺔ ﺍﻨﻌﻜـﺱ
ﻋﻠﻰ ﺘﺼﺭﻓﺎﺕ ﻫﺫﻩ ﺍﻝﺸﹼﺨﺼﻴﺔ ﻭﺫﻝﻙ ﺒﺎﺤﺘﻔﺎﻅﻬﺎ ﺒﺎﻝﻌﺎﻫﺔ ﺍﻝﻨﹼﺎﺠﻤﺔ ﻋﻥ ﻤﺠﺯﺭﺓ ﺸﺎﺘﻴﻼ ،ﻓﻤﺠـﺩ ﺒﻘـﻲ
ﻤﺤﺘﻔﻅﺎ ﺒﺎﻝﻨﺩﺒﺔ ﻓﻲ ﻭﺠﻬﻪ ﻭﺍﻝﻌﺭﺝ ﻓﻲ ﺭﺠﻠﻪ ﺭﻏﻡ ﺍﻤﺘﻼﻜﻪ ﺍﻝﻤﺎل ﺍﻝﻭﻓﻴﺭ ﻝﻠﺘﺨﻠﺹ ﻤﻥ ﻜـل ﺫﻝـﻙ،
ﻭﺴﺒﺏ ﺫﻝﻙ ﻫﻭ ﺍﻻﻨﺘﻤﺎﺀ ﻭﺍﻝﺤﻔﺎﻅ ﻋﻠﻰ ﺍﻝﻬﻭﻴﺔ ﺍﻝﻤﻤﺯﻭﺠﺔ ﺒﺎﻷﻝﻡ ﻭﺍﻝﺩﻤﺎﺀ ،ﻓﻬﺫﺍ ﺍﻷﻝﻡ ﺠﺯﺀ ﻤﻨـﻪ 2ﺇﺫ
ﻴﻘﻭل " :ﻝﻭﻻ ﺃﻨﹼﻲ ﺃﺤﺘﻔﻅ ﺒﻬﺫﻩ ﺍﻝ ﹼﻨﺩﺒﺔ ﻓﻲ ﻭﺠﻬﻲ ،ﻝﻜﻨﺕ ﻨﺴﻴﺕ ﺭﺒﻤﺎ ﺍﻝﻜﺜﻴﺭ ﻤﻥ ﺍﻹﺠﺤـﺎﻑ ﺍﻝﹼـﺫﻱ
ﻴﻠﺤﻕ ﺒﺄﺭﻀﻲ ﻜل ﻴﻭﻡ .ﻝﻭ ﻝﻡ ﺃﺘﻤﺴﻙ ﺒﻌﺎﻫﺔ ﺭﺠﻠﻲ ،ﻝﻨﺴﻴﺕ ﺃﻥ ﻫﻨﺎﻙ ﻋﺩﻭﺍ ﻴﺘﺭﺒﺹ ﺒﻔﻠﺴـﻁﻴﻨﻴﻴﻥ
ﺁﺨﺭﻴﻥ ...ﻜﺎﻥ ﻻ ﺒ ﺩ ﺃﻥ ﺃﺒﻘﻲ ﻋﻠﻰ ﻫﺫﺍ ﺍﻷﻝﻡ ،ﻝﻴﺱ ﻜﻨﻭﻉ ﻤﻥ ﺍﻝﻤﺎﺯﻭﺸـﻴﻪ ،ﺒـل ﻹﺒﻘـﺎﺀ ﺸـﻌﻠﺔ
ﺍﻝﻐﻀﺏ ،ﻫﺫﻩ ﺍﻝﺸﹼﻌﻠﺔ ﺍﻝﻭﺤﻴﺩﺓ ﺍﻝﻜﻔﻴﻠﺔ ﺒﺄﹼﻝﺎ ﺘﺫﻫﺏ ﺤﻘﻭﻗﻨﺎ ﺃﺩﺭﺍﺝ ﺍﻝﺭﻴﺢ" .3ﻓﺎﻨﺘﻬﻰ ﻫـﺫﺍ ﺍﻝﺼـﺭﺍﻉ
ﻱ ﻤﻜﺎﻥ ﻋﺎﺵ ﻓﻴﻪ ﻓﻴﻘﻭل " :ﺠﻌﻠﺘﻨﻲ
ﺒﺎﻻﻋﺘﺭﺍﻑ ﺒﺄﻨﻪ ﻻ ﻴﻤﻠﻙ ﻭﻁﻨﺎ ﻴﻭﺠﻪ ﺍﻨﺘﻤﺎﺀﻩ ﺇﻝﻴﻪ ،ﻭﻻ ﻴﻨﺘﻤﻲ ﻷ
ﺃﺸﻌﺭ ﺃﻨﹼﻲ ﺭﺠل ﻻ ﻴﻜﺴﺭﻩ ﺸﻲﺀ .ﻝﻜﻨﹼﻲ ﺒﻘﻴﺕ ﺭﺠﻼ ﺒﻼ ﻭﻁﻥ" ،4ﻭﻫﺫﺍ ﺍﻝﻭﻁﻥ ﺍﻝﻤﻔﻘﻭﺩ ﻻ ﻴﻌﻭﻀـﻪ
ﺸﻲﺀ ﺤﺘﻰ ﺍﻝﺤﺏ ﻓﻴﻘﻭل " :ﻻ ﺃﻋﺭﻑ ﺇﻥ ﻜﺎﻥ ﺍﻝﺤﺏ ﻴﻔﻌل ﺫﻝﻙ ﻓﻌﻼ ،ﺇﻥ ﻜﺎﻥ ﻴﺼﺒﺢ ﻭﻁﻨﺎ".5
ﻭﺘﺒﻴﻥ ﻫﺫﻩ ﺍﻝﺸﹼﺨﺼﻴﺔ ﺃﺜﺭ ﺍﻝﺘﺯﺍﻤﻬﺎ ﺒﻬﺫﻩ ﺍﻝﻬﻭﻴﺔ ﻋﻠﻰ ﺤﻴﺎﺘﻬﺎ ،ﻓﻤﻥ ﺍﻝﻨﹼﺎﺤﻴﺔ ﺍﻝﻨﹼﻔﺴﻴﺔ ﺃﻥ ﺘﻜﻭﻥ
ﻓﻠﺴﻁﻴﻨﻴﺎ ﻴﻌﻨﻲ " :ﺃﻥ ﺘﻨﻜﺭ ﻋﻠﻰ ﻨﻔﺴﻙ ﺤﻘﻙ ﻓﻲ ﺍﻝﺤﻴﺎﺓ ،ﻭﺃﻥ ﺘﺘﻠﺒﺱ ﺍﻷﺴﻰ ﻝﻴﺼﺒﺢ ﺠﻠﺩﻙ ،ﻭﺇﻝﹼـﺎ
28
ﻓﻘﺩﺕ ﻭﻁﻨﻴﺘﻙ .ﺃﻥ ﺘﻜﻭﻥ ﻓﻠﺴﻁﻴﻨﻴﺎ ﻫﻭ ﺃﻥ ﺘﻨﺴﻰ ﺍﻝﻀﺤﻙ ﻭﺘﻠﺘﺯﻡ ﺍﻝﺸﹼﻌﻭﺭ ﺒـﺎﻝﻐﺒﻥ ﻭﺍﻝﻤﻅﻠﻭﻤﻴـﺔ،
ﺕ ﻤﻥ ﺍﻝﺨﻭﺍﺭﺝ".1
ﻭﺇﻝﹼﺎ ﺒ ﹼ
ﻨﻬﺎﻴﺔ ،ﻜﻤﺎ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺎﺕ ﺍﻝﺘﹼﺎﻓﻬﺔ ،ﻋﻭﺩﺓ ﺍﻝﺒﻁﻠﺔ ﻤﻥ ﺍﻝﺴﻔﺭ ﻓﻲ ﺴﺒﻴل ﺍﻝﺤﺏ ﺍﻝﺫﻱ ﻴﺘﻐﻠﹼﺏ ﻋﻠﻰ ﻜـل
ﺸﻲﺀ ،ﺍﻝﻌﺠﺯ ﺍﻝﺠﺴﺩﻱ ﻭﻋﺩﻡ ﻗﺩﺭﺘﻲ ﻋﻠﻰ ﺍﻝﺭﻗﺹ ،ﺍﻝﻔﺭﻭﻗﺎﺕ ﻓﻲ ﺍﻝﻬﻭﻴﺔ ،ﺸﻌﻭﺭ ﺍﻝﻤـﻭﺕ ﺍﻝـﺫﻱ
2
ﻴﺴﻜﻨﻨﻲ".
ﻭﻓﻴﻤﺎ ﻴﺘﻌﻠﹼﻕ ﺒﺎﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻝﺤﺏ ﻭﺍﻝﻭﻁﻥ ﻭﺍﻻﻨﺘﻤﺎﺀ ،ﻓﻘﺩ ﺤﺎﻭل ﺍﻝﺴﺎﺭﺩ ﺘﻌﻭﻴﺽ ﺇﺤـﺩﺍﻫﻤﺎ
ﺏ ﻴﺴﺘﻁﻴﻊ ﺃﻥ ﻴﻜﻭﻥ ﻭﻁﻨﺎ ،ﻓﻘﺩ ﺤـﺎﻭل ﺍﻝﺴـﺎﺭﺩ
ﺒﺎﻷﺨﺭﻯ ،ﻭﻤﺜﺎل ﺫﻝﻙ ﺘﺴﺎﺅﻝﻪ ﺴﺎﺒﻘﺎ ﺇﻥ ﻜﺎﻥ ﺍﻝﺤ
ﻤﺭﺍﺭﺍ ﺃﻥ ﻴﺤﺘﻤﻲ ﺒﺘﻠﻙ ﺍﻝﻤﺭﺃﺓ ﻭﻴﺠﻌﻠﻬﺎ ﻭﻁﻨﻪ ﺍﻝﻤﻔﻘﻭﺩ ،ﻭﻤﺜﺎل ﺫﻝﻙ ﺍﻝﺤﻭﺍﺭ ﺍﻝﺫﻱ ﺩﺍﺭ ﺒﻴﻨـﻪ ﻭﺒـﻴﻥ
ﻫﻴﻠﺩﺍ " :ﺃﺸﻌﺭ ﺒﺎﻝﺨﻭﻑ ﺃﺤﻴﺎﻨﺎ ،ﻜﺘﻠﻙ ﺍﻝﻨﺒﺘﺔ ﺍﻝﻤﺒﺘﻭﺭﺓ ،ﺤﻴﻥ ﺘﺸﺘﺎﻕ ﺇﻝﻰ ﺃﺭﺽ ﺘﻐﺭﺱ ﻨﻔﺴﻬﺎ ﻓﻴﻬﺎ.
ﺃﻝﺴﺕ ﺃﻨﺎ ﺃﺭﻀﻙ ﻴﺎ ﻫﻴﻠﺩﺍ؟" ،3ﻭﻴﺘﺴﺎﺀل ﻗﺎﺌﻼ " :ﻻ ﺃﻋﺭﻑ ﺇﻥ ﻜﺎﻥ ﺍﻝﺤﺏ ﻴﻔﻌل ﺫﻝﻙ ﻓﻌﻼ ،ﺇﻥ ﻜـﺎﻥ
ﻴﺼﺒﺢ ﻭﻁﻨﺎ" .4ﻭﻫﺫﻩ ﺍﻝﻨﺘﻴﺠﺔ ﺫﺍﺘﻬﺎ ﻜﺎﻨﺕ ﻝﺩﻯ ﻭﺍﻝﺩﻩ ﻋﻨﺩﻤﺎ ﺩﻤﺞ ﺒﻴﻥ ﻓﻠﺴﻁﻴﻥ ﻭﺯﻭﺠﺘـﻪ ﺇﺫ ﻴﻘـﻭل
ﺍﻝﺴﺎﺭﺩ " :ﺍﻷﻡ ﻫﻲ ﺍﻷﺭﺽ ﻫﺫﻩ ﻫﻲ ﺍﻷﻡ ﺍﻝﺘﻲ ﻜﺎﻥ ﻴﺘﺤﺩﺙ ﻋﻨﻬﺎ ﺃﺒﻲ" ، 5ﻓﻘﺩ ﻜﺎﻨﺕ ﺍﻝﻤﺭﺃﺓ ﻭﻁﻨـﺎ
ﻥ ﺭﺒﻁ ﺍﻝﻤﺭﺃﺓ ﺒﺎﻷﺭﺽ ﺭﺍﺴﺦ ﻓﻲ ﻋﻘﻭل ﺍﻝﺒﺸﺭﻴﺔ ﻤﻨﺫ ﺍﻝﻘﺩﻡ ،ﺤﻴﺙ ﺭﺒﻁ ﺍﻹﻨﺴﺎﻥ
ﻝﻜﻠﻴﻬﻤﺎ ،ﻭﺍﻝﺤﻘﻴﻘﺔ ﺃ
ﺍﻷﺭﺽ ﺒﺎﻝﻤﺭﺃﺓ ﻝﺘﺸﺎﺒﻬﻬﻤﺎ ﻓﻲ ﺍﻝﺨﺼﺏ ﻭﺍﻹﻨﺘﺎﺝ ،ﻭﻜﺎﻨﺕ ﺤﻴﺎﺘﻪ ﺘﻌﺘﻤﺩ ﻋﻠﻰ ﻫﺫﻩ ﺍﻷﺭﺽ ،ﻭﻫﻭ ﻤﺎ
ﺸﻴﻁﹶﺎﻨﹰﺎ
ﻥ ِﺇﻝﱠﺎ ﹶ
ﻥ ﻤﻥ ﺩﻭ ﻨ ﻪ ِﺇﻝﱠﺎ ِﺇﻨﹶﺎﺜﹰﺎ ﻭﺇِﻥ ﻴﺩﻋﻭ
ﻴﻔﺴﺭ ﻅﻬﻭﺭ ﺍﻷﻝﻭﻫﻴﺔ ﺍﻝﻤﺅﻨﹼﺜﺔ ،ﻴﻘﻭل ﺘﻌﺎﻝﻰ" :ﺇِﻥ ﻴﺩﻋﻭ
ﻤﺭﹺﻴﺩﺍ".6
29
ﻭﺘﻨﻘل ﻫﺫﻩ ﺍﻝﺸﹼﺨﺼﻴﺔ ﺤﺎل ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﺍﻵﺨﺭﻴﻥ ﻭﺘﺅﻜﺩ ﻋﻠﻰ ﺍﻨﺘﻤﺎﺌﻬﻡ ﻭﺘﻤﺴﻜﻬﻡ ﺒﻬـﻭﻴﺘﻬﻡ،
ﻓﻘﺩ ﺴﻤﻭﺍ ﺍﻷﺤﻴﺎﺀ ﻓﻲ ﺍﻝﻤﺨﻴﻤﺎﺕ ﺒﺄﺴﻤﺎﺀ ﻗﺭﺍﻫﻡ ﻭﻤﺩﻨﻬﻡ ،ﻜﻤﺎ ﻜﺘﺒﻭﺍ ﻋﻠﻰ ﺠﺩﺭﺍﻥ ﺍﻝﻤﺨـﻴﻡ ﺍﻝﻤﺴـﺎﻓﺔ
ﺍﻝﺘﻲ ﺘﻔﺼﻠﻬﻡ ﻋﻥ ﻭﻁﻨﻬﻡ ﺍﻷﻡ " ،ﻓﻘﺩ ﺤﺎﻭﻝﻭﺍ ﺃﻥ ﻴﻨﻘﻠﻭﺍ ﻭﻁﻨﻬﻡ ﻤﻌﻬﻡ ﺤﻴﺜﻤﺎ ﺫﻫﺒﻭﺍ ﻝﻜﻲ ﻻ ﺘﻀـﻴﻊ
ﻫﻭﻴﺘﻬﻡ" ،1ﻭﺒﻠﻎ ﺘﻤﺴﻜﻬﻡ ﺒﻭﻁﻨﻬﻡ ﺩﺭﺠﺔ ﺍﻝﺘﹼﻤﺴﻙ ﺒﻜل ﺍﻝﻤﺤﺘﻭﻴﺎﺕ ﺍﻝﺘﻲ ﺃﺤﻀﺭﻭﻫﺎ ﻤﻌﻬﻡ ﻤﻥ ﻫﻨﺎﻙ،
ﻓﻘﺩ ﺃﺭﺍﺩ ﺃﺤﺩﻫﻡ ﺘﻁﻠﻴﻕ ﺯﻭﺠﺘﻪ ﻷﻨﻬﺎ ﺭﻤﺕ ﺒﺄﻏﺭﺍﺽ ﺍﻝﻤﻨﺯل ﺍﻝﺘﻲ ﺃﺤﻀﺭﻭﻫﺎ ﻤﻌﻬﻡ ﻤﻥ ﻓﻠﺴـﻁﻴﻥ،
ﻭﻝﻡ ﻴﺸﻔﻊ ﻝﻬﺎ ﺴﻭﻯ ﺍﺤﺘﻔﺎﻅﻬﺎ ﺒﻤﺼﺒﺎﺡ ،2ﺇ
ﻥ ﻫﺫﻩ ﺍﻷﺩﻭﺍﺕ ﺘﺨﺘﺯل ﺍﻝﺘﹼﺎﺭﻴﺦ ﻭﺘﻌﺒـﺭ ﻋـﻥ ﺍﻝﺜﻘﺎﻓـﺔ
ﻭﺍﻝﻌﺎﺩﺍﺕ ،ﻝﺫﻝﻙ ﻜﺎﻥ ﺍﻻﺤﺘﻔﺎﻅ ﺒﻬﺎ ﻴﻨﻡ ﻋﻥ ﺍﺤﺘﻔﺎﻅ ﺒﺎﻝﻬﻭﻴﺔ ﺍﻝﺜﹼﻘﺎﻓﻴﺔ ﻭﺍﻝﻭﻁﻨﻴﺔ.
ﺃﻤﺎ ﺍﻝﺸﹼﺨﺼﻴﺔ ﺍﻷﺨﺭﻯ ﻓﻲ ﻫﺫﻩ ﺍﻝﺭﻭﺍﻴﺔ ﻓﻬﻲ ﻫﻴﻠﺩﺍ ﺍﻝﻠﺒﻨﺎﻨﻴﺔ ،ﻝﻡ ﺘﻌﺎﻥ ﻫﺫﻩ ﺍﻝﺸﹼﺨﺼﻴﺔ ﻤـﻥ
ﻤﺸﻜﻼﺕ ﻤﺘﻌﻠﹼﻘﺔ ﺒﺎﻝﻬﻭﻴﺔ ،ﻓﻘﺩ ﻜﺎﻥ ﻝﻬﺎ ﻭﻁﻥ ﺘﻨﺘﻤﻲ ﺇﻝﻴﻪ ﻝﻜﻨﹼﻪ ﺠﺭﺤﻬﺎ ﻓﻔﺭﺕ ،ﺜ ﻡ ﻗﺭﺭﺕ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻴﻪ
ﻝﻜﻲ ﺘﺘﺼﺎﻝﺢ ﻤﻊ ﺫﺍﺘﻬﺎ ﻭﻫﻭﻴﺘﻬﺎ ،ﻴﻘﻭل ﺍﻝﺴﺎﺭﺩ " :ﺘﺒﺎﺩﺭ ﻫﻴﻠﺩﺍ ﺇﻝﻰ ﺘﺒﺭﻴﺭ ﺭﺤﻴﻠﻬـﺎ ﻭﺘﺤﻜـﻲ ﻋـﻥ
ﺼﺭﺍﻋﻬﺎ ﺍﻝﻤﺴﺘﻤﺭ ﺒﻴﻥ )ﺍﻝﻬﻨﺎ( ﻭ )ﺍﻝﻬﻨﺎﻙ( .ﻗﺎﻝﺕ ﻝﻲ ﺇﻨﹼﻬﺎ ﻓﻲ ﺤﺎﺠﺔ ﻤﺎﺴﺔ ﺇﻝﻰ ﺍﻝﻌﻭﺩﺓ ،ﺃﻨﹼﻬﺎ ﻴﺠﺏ
ﻥ ﻭﻁـﺄﺓ
ﺃﻥ ﺘﻭﺍﺠﻪ ﺫﻝﻙ ﺍﻝﻤﻜﺎﻥ ﻝﺘﺘﻤﻜﹼﻥ ﻤﻥ ﺃﻥ ﺘﻔﻬﻡ ﺃﻴﻥ ﺘﻘﻑ ﺍﻵﻥ .ﻗﺎﻝﺕ ﺇﻨﹼﻬﺎ ﺘﺸﻌﺭ ﺒﺎﻝﻐﺭﺒﺔ ﻭﺇ
ﺍﻝﺯﻤﻥ ﺍﻝﺫﻱ ﺃﻤﻀﺘﻪ ﺒﻌﻴﺩﺓ ﻋﻥ ﺫﺍﻜﺭﺘﻬﺎ ﺘﺒﺩﻭ ﺸﺩﻴﺩﺓ ﻭﻤﺅﻝﻤﺔ" ،3ﻭﻫﺫﺍ ﻫﻭ ﺸﻌﻭﺭ ﺃﻱ ﺇﻨﺴﺎﻥ ﻴﺒﺘﻌـﺩ
ﻋﻥ ﻭﻁﻨﻪ ،ﻓﻼ ﺒ ﺩ ﺃﻥ ﻴﻌﻭﺩ ﺇﻝﻴﻪ؛ ﻝﻴﺸﻌﺭ ﺒﺎﻷﻤﺎﻥ ﻭﺍﻻﻨﺘﻤﺎﺀ ﻭﺍﻝﺫﹼﺍﺕ ،ﺃﻤﺎ ﺫﻝﻙ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﺫﻱ ﻴﻤﺜل
ﻤﺠﺩ ﻨﻤﻭﺫﺠﺎ ﻝﻪ ،ﻓﻠﻡ ﻴﻜﻥ ﻝﻪ ﻭﻁﻥ ﻴﻌﻭﺩ ﺇﻝﻴﻪ ،ﻝﺫﻝﻙ ﺭﻓﺽ ﻋﻭﺩﺓ ﺼﺩﻴﻘﺘﻪ ﺇﻝﻰ ﻭﻁﻨﻬﺎ ﺨﺸﻴﺔ ﻀﻴﺎﻉ
ﺤﺒﻪ ﺒﺴﺒﺏ ﺍﺨﺘﻼﻑ ﺍﻝﻬﻭﻴﺔ ،ﺤﻴﺙ ﻜﺎﻥ ﻴﺭﻯ ﻓﻲ ﻫﺫﺍ ﺍﻝﺤﺏ ﺒﻌﻀﺎ ﻤﻥ ﺍﻝﺘﹼﻌـﻭﻴﺽ ﻋـﻥ ﺍﻝـﻭﻁﻥ
ﺍﻝﻤﻔﻘﻭﺩ .ﻭﺭﺒﻤﺎ ﺸﻌﺭ ﻫﺫﺍ ﺍﻝﺸﹼﺨﺹ ﺒﺎﻻﻤﺘﻌﺎﺽ؛ ﻷﻨﹼﻬﺎ ﺘﻨﺘﻤﻲ ﺇﻝﻰ ﻤﻜﺎﻥ ﻴﻤﻜﻥ ﺍﻝﻠﺠﻭﺀ ﺇﻝﻴﻪ ﺃﻤﺎ ﻫـﻭ
ﻱ ﻤﻜﺎﻥ .ﻫﻲ ﺘﺭﻗﺹ ﻭﺃﻨﺎ ﺒﺎﻝﻜـﺎﺩ
ﻑ ﻤﻥ ﻗﻭﻝﻪ " :ﻫﻲ ﻤﻥ ﻫﻨﺎﻙ ،ﻭﺃﻨﺎ ﻝﺴﺕ ﻤﻥ ﺃ
ﻓﻼ ،ﻭﻫﺫﺍ ﻴﺴﺘﺸ ﹼ
ﺃﺤﺭﻙ ﺭﺠﻠﻲ" ،4ﻭﻫﺫﻩ ﺍﻝﻌﺒﺎﺭﺓ ﻝﻬﺎ ﺃﺒﻌﺎﺩ ﺃﺨﺭﻯ ،ﻓﺘﻠﻙ ﺍﻝﺸﹼﺨﺼﻴﺔ ﺼﺎﺤﺒﺔ ﺍﻻﻨﺘﻤﺎﺀ ﻭﺍﻝﻬﻭﻴﺔ ﺍﻝﻤﺤـﺩﺩﺓ
ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺍﻝﺭﻗﺹ ﻭﺍﻝﺘﹼﺤﻠﻴﻕ؛ ﻷﻨﹼﻬﺎ ﺘﻤﺘﻠﻙ ﺤﺭﻴﺘﻬﺎ ﺍﻝﺨﺎﺼﺔ ،ﺃﻤﺎ ﺍﻝﺸﹼﺨﺼﻴﺔ ﻓﺎﻗـﺩﺓ ﺍﻝﻬﻭﻴـﺔ ﻓﺈﻨﻬـﺎ
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:4ﺍﻝﻌﺎﺩﺍﺕ ﻭﺍﻝﺘﹼﻘﺎﻝﻴﺩ ﺍﻝﻔﻠﻭﻜﻠﻭﺭﻴﺔ
ﻥ ﻝﻜل ﺸﻌﺏ ﻋﺎﺩﺍﺘﻪ ﻭﺘﻘﺎﻝﻴﺩﻩ ﺍﻝﻔﻠﻭﻜﻠﻭﺭﻴﺔ ﺍﻝﺘﻲ ﺘﻤﻴﺯ ﻫﻭﻴﺘﻪ ،ﻭﻗﺩ ﺘﻜﻭﻥ ﻫﺫﻩ
ﻤﻥ ﺍﻝﻤﻌﺭﻭﻑ ﺃ
ﺍﻝﻌﺎﺩﺍﺕ ﻀﺎﺭﺒﺔ ﻓﻲ ﻋﻤﻕ ﺍﻝﺘﹼﺎﺭﻴﺦ ،ﻭﺫﺍﺕ ﺃﺒﻌﺎﺩ ﺃﺴﻁﻭﺭﻴﺔ ﺨﺎﺼﺔ ﻓـﻲ ﺍﻝﻤﻨـﺎﻁﻕ ﺍﻝﺘـﻲ ﺴـﻜﻨﺘﻬﺎ
ﺍﻝﺤﻀﺎﺭﺍﺕ ﺍﻝﻘﺩﻴﻤﺔ ﻤﻨﺫ ﻤﺎ ﻗﺒل ﺍﻝﺘﹼﺎﺭﻴﺦ ﻤﺜل ﻓﻠﺴﻁﻴﻥ .ﻭﻗﺩ ﻋﻜﺴﺕ ﺍﻝﺭﻭﺍﻴﺘـﺎﻥ ﺒﻌـﺽ ﺍﻝﻌـﺎﺩﺍﺕ
ﻭﺍﻝﺘﹼﻘﺎﻝﻴﺩ ﻝﺩﻯ ﺍﻝﺸﹼﻌﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻭﻤﻥ ﺫﻝﻙ:
ﻴﺘﻡ ﺍﻝﺯﻭﺍﺝ ﻝﺩﻯ ﺍﻝﺸﹼﻌﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻓﻲ ﺜﻼﺙ ﻤﺭﺍﺤل :ﻁﻠﺒﺔ ،ﻭﺨﻁﺒﺔ ،ﻭﻋـﺭﺱ ،ﻴﺘﺨﻠﻠﻬـﺎ
ﻁﻘﻭﺱ ﻤﺨﺘﻠﻔﺔ .ﺃﻤﺎ ﻋﻥ ﻋﺎﺩﺍﺕ ﺍﻝﺨﻁﺒﺔ ﻓﺘﻜﻭﻥ ﺒﺘﻭﺠﻪ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﺭﺠﺎل ﺇﻝـﻰ ﻤﻨـﺯل ﻭﺍﻝـﺩ
ﺍﻝﻌﺭﻭﺱ ﻓﻴﻤﺎ ﻴﺴﻤﻰ ﺒﺎﻝﺠﺎﻫﺔ ،ﻭﻗﺭﺍﺀﺓ ﺍﻝﻔﺎﺘﺤﺔ ،ﺒﻴﻨﻤﺎ ﻴﻘﻭﻡ ﻭﺍﻝﺩ ﺍﻝﻌﺭﻭﺱ ﺒﺎﻝﺫﹼﺒﺢ ﻝﻠﺠﺎﻫـﺔ ﻭﺇﻋـﺩﺍﺩ
ﺍﻝﻭﻻﺌﻡ .1ﺃﻤﺎ ﻋﻥ ﻁﻘﻭﺱ ﺍﻝﻌﺭﺱ ﻓﺘﺘﻤﺜﹼل ﻓﻲ ﺘﺭﺩﻴﺩ ﺍﻷﻏﺎﻨﻲ ﻭﺍﻨﺸﻐﺎل ﺍﻝﻨﹼﺴﺎﺀ ﺒﺈﻋﺩﺍﺩ ﺍﻝﻁﹼﻌﺎﻡ ،ﺒﻴﻨﻤـﺎ
ﻴﻘﻭﻡ ﺍﻝﺸﹼﺒﺎﺏ ﺒﺤﻤﺎﻡ ﺍﻝﻌﺭﻴﺱ ﻭﻤﺴﺎﻋﺩﺘﻪ ﻋﻠﻰ ﺍﺭﺘﺩﺍﺀ ﺍﻝﻤﻼﺒﺱ ﺍﻝﺠﺩﻴﺩﺓ ،ﺜﻡ ﺘﺘﻡ ﺯﻓﹼﺔ ﺍﻝﻌﺭﻴﺱ ،ﻭﻓـﻲ
ﺍﻝﻭﻗﺕ ﺫﺍﺘﻪ ﺼﻤﺩﺓ ﺍﻝﻌﺭﻭﺱ ،ﻭﺤﻠﻘﺎﺕ ﺍﻝﺩﺒﻜﺔ ،ﻭﻜل ﻁﻘﺱ ﻤﻥ ﻫﺫﻩ ﺍﻝﻁﹼﻘﻭﺱ ﻴﺼﺎﺤﺒﻪ ﻨﻭﻉ ﻤﻌﻴﻥ ﻤﻥ
ﺍﻷﻏﺎﻨﻲ ﺍﻝﺸﹼﻌﺒﻴﺔ 2ﺴﻴﺘﻡ ﺘﻭﻀﻴﺤﻬﺎ ﻻﺤﻘﺎ .ﻭﻤﻥ ﻋﺎﺩﺍﺕ ﺍﻝﺯﻭﺍﺝ ﻋﻨﺩﻫﻡ ﺘﺯﻭﻴﺞ ﺍﻝﺒﻨﺕ ﻻﺒﻥ ﻋﻤﻬـﺎ.3
ﻭﻫﺫﺍ ﺸﺎﺌﻊ ﺒﻜﺜﺭﺓ ﻝﺩﻯ ﺍﻝﺸﹼﻌﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺤﺘﻰ ﺇﺫﺍ ﺘﺯﻭﺝ ﺃﺤﺩﻫﻡ ﺒﻐﺭﻴﺒﺔ ﻓﺈﻨﹼﻪ ﻴﻨﺎﺩﻴﻬﺎ ﺒﺎﺒﻨـﺔ ﻋﻤـﻲ
ﻭﻜﺫﻝﻙ ﻫﻲ ،ﻭﻜﺄﻥ ﻫﺫﺍ ﻫﻭ ﺍﻷﺼل ﻓﻲ ﺍﻝﺯﻭﺍﺝ ،ﻭﻴﺤﻕ ﻻﺒﻥ ﺍﻝﻌﻡ ﺃﻥ ﻴﻌﺘﺭﺽ ﻋﻠﻰ ﺯﻭﺍﺝ ﺍﺒﻨﺔ ﻋﻤﻪ
ﻤﻥ ﺍﻝﻐﺭﻴﺏ ،ﻭﺃﻥ ﻴﻁﺎﻝﺏ ﺒﺘﻌﻭﻴﺽ ﻤﺎﺩﻱ ﺇﺫﺍ ﺘﻡ ﺫﻝﻙ ،ﺒل ﻴﺤﻕ ﻝﻪ ﺍﻝﻠﺤﺎﻕ ﺒﻬﺎ ﻭﺇﻨﺯﺍﻝﻬﺎ ﻋﻥ ﻅﻬـﺭ
ﺍﻝﻔﺭﺱ ﻤﻥ ﺃﻤﺎﻡ ﺒﻴﺕ ﻋﺭﻴﺴﻬﺎ ،ﻭﻤﻥ ﻫﻨﺎ ﺠﺎﺀ ﺍﻝﻤﺜل ﺍﻝﻘﺎﺌل) :ﺍﺒﻥ ﺍﻝﻌﻡ ﺒﻨﺯل ﺒﻨﺕ ﺍﻝﻌﻡ ﻋـﻥ ﻅﻬـﺭ
ﺍﻝﻔﺭﺱ( ،4ﻭﻫﺫﺍ ﺍﻝﺯﻭﺍﺝ ﻝﻪ ﺃﺴﺒﺎﺏ ﻜﺜﻴﺭﺓ ﻤﻨﻬﺎ ﺍﻝﺤﻔﺎﻅ ﻋﻠﻰ ﺍﻝﻤﻴﺭﺍﺙ ﺩﺍﺨل ﺍﻝﻌﺎﺌﻠﺔ ،ﻜﻤﺎ ﺃ
ﻥ ﺍﺒﻨﺔ ﺍﻝﻌﻡ
ﻻ ﺘﻜﻠﹼﻑ ﻤﻬﺭﺍ ﻜﺜﻴﺭﺍ ،ﻜﻤﺎ ﺃﻨﻬﺎ ﺘﺼﺒﺭ ﻋﻠﻰ ﺯﻭﺠﻬﺎ ﻭﻻ ﺘﺸﺘﻤﻪ ﻷﻨﹼﻪ ﻗﺭﻴﺒﻬﺎ ﻭﻻ ﺘﺘﺩﻝﹼل ﻜﺎﻝﻐﺭﻴﺒـﺔ،5
ﻴﻨﻅﺭ :ﻨﻔﺴﻪ ،ﺹ ،14-10ﻭﻴﻨﻅﺭ :ﺍﻝﻴﺤﻴﻰ ،ﻴﺤﻴﻰ ﻤﺤﻤﻭﺩ :ﺍﻝﻁﻨﻁﻭﺭﺓ ،ﺹ.107-104 2
ﺇﻏﺒﺎﺭﻴﺔ ،ﺭﻀﺎ ﺃﺤﻤﺩ :ﺍﻝﻤﺒﻴﻥ ﻓﻲ ﺃﻤﺜﺎل ﻓﻠﺴﻁﻴﻥ ،ﺝ ،1ﻁ ،1ﺤﻴﻔﺎ :ﻤﻜﺘﺒﺔ ﻜل ﺸﻲﺀ ،2016 ،ﺹ.6 4
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ﻭﻤﻥ ﺍﻷﻤﺜﺎل ﺍﻝﺸﹼﻌﺒﻴﺔ ﺍﻝﺘﻲ ﺘﺨﺘﺼﺭ ﺫﻝﻙ ﺍﻝﻤﺜل ﺍﻝﻘﺎﺌل " :ﺨﺫ ﺒﻨﺕ ﻋﻤﻙ ﺒﺘﺼﺒﺭ ﻉ ﺍﻝﺠﻔﺎ ﻭﺍﻝﺤﻔـﺎ"،1
ﻥ ﻫﺫﻩ ﺍﻷﺴﺒﺎﺏ ﺴﺎﻝﻔﺔ ﺍﻝﺫﹼﻜﺭ ﻗﺩ ﺍﺨﺘﻠﻔﺕ ﺒﻌﺩ ﺍﻝﺸﹼﺘﺎﺕ ،ﻓﺭﺒﻤﺎ ﻜﺎﻥ ﺯﻭﺍﺝ ﺭﻗﻴﺔ ﻤﻥ ﺍﺒﻥ ﻋﻤﻬﺎ ﻷﻨﹼﻬﺎ
ﻝﻜ
ﻴﺘﻴﻤﺔ ﺍﻷﺏ ﻭﺍﻷﺨﻭﻴﻥ ﻭﻻ ﺴﻨﺩ ﻝﻬﺎ ﺨﺎﺼﺔ ﻓﻲ ﺤﺎﻝﺔ ﺍﻨﻌﺩﺍﻡ ﺍﻝﺘﹼﻜﺎﻓﺅ ،ﻓﺎﺒﻥ ﻋﻤﻬﺎ ﻁﺒﻴﺏ ﻭﻫﻲ ﻝﻡ ﺘﻜﻤل
ﺍﻝﺜﹼﺎﻨﻭﻴﺔ ،ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻨﻌﺩﺍﻡ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻨﻬﻤﺎ ﻗﺒل ﺍﻝﺯﻭﺍﺝ ﻓﻘﺩ ﻜﺎﻥ ﺒﻌﻴﺩﺍ ﻝﻴﺱ ﻜﺄﺨﻴﻪ ﻋﺯ ﺍﻝﺩﻴﻥ ﺍﻝـﺫﻱ
ﻜﺎﻥ ﻴﻠﻌﺏ ﻤﻌﻬﺎ ﻭﻴﺸﺎﺠﺭﻫﺎ ﻭﻴﺩﺭﺱ ﻤﻌﻬﺎ ...ﻓﻲ ﺍﻝﺼﻐﺭ.2
ﺍﻤﺘﺎﺯ ﺍﻝﺭﺠل ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻭﺍﻝﻤﺭﺃﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ ﺒﻬﻴﺄﺓ ﻤﺤﺩﺩﺓ ﺘﻤﻴﺯ ﻤﻅﻬﺭﻩ ﺍﻝﺨﺎﺭﺠﻲ ،ﻓﺎﻝﺭﺠﺎل
ﻜﺎﻨﻭﺍ ﻴﺭﺘﺩﻭﻥ ﺍﻝﻘﻤﺒﺎﺯ ﻭﺍﻝﺤﻁﹼﺔ ﻭﺍﻝﻌﻘﺎل ،3ﺒﻴﻨﻤﺎ ﺘﻅﻔﹼﺭ ﺍﻝﻨﹼﺴﺎﺀ ﺍﻝﺸﹼﻌﺭ ﻋﻠﻰ ﻫﻴﺄﺓ ﻅﻔﻴـﺭﺘﻴﻥ ،ﻭﺘﻠـﺒﺱ
ﺍﻝﺜﹼﻭﺏ ﺍﻝﻤﻁﺭﺯ ﻭﺍﻝﺸﹼﺎل ،4ﻭﻫﺫﺍ ﺍﻝﺜﹼﻭﺏ ﺍﻝﻤﻁﺭﺯ ﻴﺤﻤل ﺒﻴﻥ ﺨﻴﻁﺎﻨﻪ ﺘﺎﺭﻴﺦ ﻭﺤﻀﺎﺭﺓ ﻫﺫﺍ ﺍﻝﺸﹼـﻌﺏ.
ﻭﻤﻥ ﻋﺎﺩﺍﺘﻬﻡ ﺘﺩﺨﻴﻥ ﺍﻝﺘﹼﺒﻎ ﺍﻝﻌﺭﺒﻲ ،ﻭﺘﺭﻜﻴﺏ ﺃﺴﻨﺎﻥ ﺍﻝﺫﹼﻫﺏ ،5ﻜﻤﺎ ﺩﻗﹼﺕ ﺍﻝﻨﹼﺴﺎﺀ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺎﺕ ﺍﻝﻭﺸﻡ،6
ﺍﻝﻭﺸﻡ ،6ﻭﻝﻠﻭﺸﻡ ﻭﻅﺎﺌﻑ ﻤﺘﻌﺩﺩﺓ ﻤﻨﻬﺎ ﺍﻝﺠﻤﺎﻝﻴﺔ ﻭﺍﻝﻌﻼﺠﻴﺔ ﻭﺍﻻﻋﺘﻘﺎﺩﻴﺔ ﻭﺍﻝﺠﻨﺴﻴﺔ ،ﻭﺘﻌـﺩ ﺍﻝﻭﻅﻴﻔـﺔ
ﺍﻝﺠﻤﺎﻝﻴﺔ ﺃﻫﻤﻬﺎ ،7ﻭﻗﺩ ﻜﺎﻨﺕ ﺍﻝﻭﻅﻴﻔﺔ ﺍﻝﺠﻤﺎﻝﻴﺔ ﻫﻲ ﺍﻝﻤﺒﺘﻐﺎﺓ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺔ.
ﻝﻠﺸﹼﻌﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻁﻘﻭﺱ ﻤﺤﺩﺩﺓ ﻓﻲ ﻴﻭﻡ ﺍﻝﺠﻤﻌﺔ ،ﺘﺘﻤﺜﹼل ﻓﻲ ﺍﻻﺴﺘﺤﻤﺎﻡ ﻭﺍﺭﺘﺩﺍﺀ ﺍﻝﻤﻼﺒﺱ
ﺍﻝﻨﹼﻅﻴﻔﺔ ﺍﺴﺘﻌﺩﺍﺩﺍ ﻝﺼﻼﺓ ﺍﻝﺠﻤﻌﺔ ،ﻭﺘﺼﻨﻊ ﻭﺠﺒﺔ ﻏﺩﺍﺀ ﻤﺨﺘﻠﻔﺔ ﻋﻥ ﺒﺎﻗﻲ ﺃﻴﺎﻡ ﺍﻷﺴﺒﻭﻉ ﻓﻴﺘﻡ ﺇﻋـﺩﺍﺩ
ﺍﻝﻁﹼﺒﻴﺦ.8
ﺤﺴﻭﻨﺔ ،ﺨﻠﻴل ﺇﺒﺭﺍﻫﻴﻡ :ﻋﻥ ﺍﻝﻤﺜل ﺍﻝﺸﻌﺒﻲ ﺍﻝﻌﺭﺒﻲ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ،ﻁ ،1ﻏﺯﺓ :ﺩﺍﺭ ﺍﺒﻥ ﺨﻠـﺩﻭﻥ ﻝﻠﻨﺸـﺭ ﻭﺍﻝﺘﹼﻭﺯﻴـﻊ،2002 ، 1
ﺹ.451
ﻴﻨﻅﺭ :ﻋﺎﺸﻭﺭ ،ﺭﻀﻭﻯ :ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ،ﺹ.83-80 2
ﻴﻨﻅﺭ :ﺍﻝﺤﺴﻥ ،ﺠﻨﻰ ﻓﻭﺍﺯ :ﻁﺎﺒﻕ ،99ﺹ ،31ﻭﻋﺎﺸﻭﺭ ،ﺭﻀﻭﻯ :ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ،ﺹ.120 5
32
ﻥ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻜﺎﻨﺕ ﺃﻜﺜﺭ ﺘﻔﺼﻴﻼ ﻓﻲ ﺍﻝﺤﺩﻴﺙ ﻋـﻥ ﻫـﺫﻩ
ﻻ ﺒ ﺩ ﻤﻥ ﺍﻹﺸﺎﺭﺓ ﺇﻝﻰ ﺃ
ﺍﻝﻌﺎﺩﺍﺕ ﻭﺍﻝﺘﹼﻘﺎﻝﻴﺩ؛ ﻷﻨﹼﻬﺎ ﺘﻨﺎﻭﻝﺕ ﺤﻴﺎﺓ ﺒﻌﺽ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ ﺩﺍﺨل ﻓﻠﺴﻁﻴﻥ ﻭﺨﺎﺭﺠﻬﺎ ،ﺒﻴﻨﻤﺎ ﺘﻨﺎﻭﻝـﺕ
ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﺤﻴﺎﺓ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ ﺨﺎﺭﺝ ﻓﻠﺴﻁﻴﻥ ،ﺤﻴﺙ ﺘﻌﺭﺽ ﻨﻅﺎﻡ ﺍﻝﺤﻴـﺎﺓ ﻝﻼﺭﺘﺒـﺎﻙ ،ﻭﺇﻥ
ﺤﺎﻭﻝﺕ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ ﺍﻝﺤﻔﺎﻅ ﻋﻠﻰ ﺨﻁ ﻤﺴﺎﺭﻩ.
ﺍﻝﻤﺘﻌﻠﻘﺔ ﺒﺎﻝﻤﺭﺃﺓ ﻭﺍﻝﺨﺎﺼﺔ ﺒﻔﻠﺴﻁﻴﻥ ﺃﺴﻁﻭﺭﺓ )ﺃﻨﺩﺭﻭﻤﻴﺩﺍ( ﺍﻝﺘﻲ ﺭﺒﻁﻬﺎ ﻭﺍﻝﺩﻫﺎ ﻋﻨﺩ ﺒﺤﺭ ﻴﺎﻓﺎ ﻗﺭﺒﺎﻨﺎ
ﻻﻤﺘﺼﺎﺹ ﻏﻀﺏ )ﺒﻭﺴﻴﺩﻭﻥ( ﺇﻝﻪ ﺍﻝﺒﺤﺭ ﻭﺃﻨﻘﺫﻫﺎ )ﺒﻴﺭﺴﻴﻭﺱ( ﻤﻥ ﺍﻝﺘﹼﻨﻴﻥ ،ﻭﺃﺴﻁﻭﺭﺓ )ﺃﻨﺩﺭﻭﻤﻴﺩﺍ(
ﻝﻬﺎ ﺃﺜﺭ ﻜﺒﻴﺭ ﻓﻲ ﺍﻝﺜﹼﻘﺎﻓﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ ،ﻓﻘﺩﻴﻤﺎ ﺴﻜﹼﺕ ﺼﻭﺭﺓ ﺃﻨﺩﺭﻭﻤﻴﺩﺍ ﻭﻭﺤﺵ ﺍﻝﺒﺤﺭ ﻋﻠﻰ ﺍﻝﻨﹼﻘﻭﺩ ﻓﻲ
ﻴﺎﻓﺎ ،ﻭﺤﺩﻴﺜﺎ ﻻ ﺯﺍل ﻴﻁﻠﻕ ﻋﻠﻰ ﺍﻝﺤﺎﺠﺯ ﺍﻝﺼﺨﺭﻱ ﻝﺒﺤﺭ ﻴﺎﻓﺎ ﺍﻝﺒﺎﻝﻎ ﻁﻭﻝـﻪ 300ﻡ ﺍﺴـﻡ ﺼـﺨﺭﺓ
ﺃﻨﺩﺭﻭﻤﻴﺩﺍ ،ﻭﻴﻘﺎل ﺇﻥ ﺒﻘﺎﻴﺎ ﺍﻝﺴﻼﺴل ﻭﺍﻝﺘﹼﻨﻴﻥ ﻭﺠﺩﺕ ﻋﻨﺩ ﻴﺎﻓﺎ ﻋﺎﻡ 63ﻕ.ﻡ ﻭﺃﻨﻬﺎ ﻨﻘﻠﺕ ﺇﻝﻰ ﺭﻭﻤـﺎ
ﺒﻭﺼﻔﻬﺎ ﻤﻥ ﻋﺠﺎﺌﺏ ﺍﻝﻌﺎﻝﻡ .2ﻭﻓﻴﻤﺎ ﻴﺘﻌﻠﹼﻕ ﺒﺎﻷﺩﺏ ﺍﻝﻌﺭﺒﻲ ﺍﻝﻘﺩﻴﻡ ،ﻓﻘﺩ ﻜﺎﻨﺕ ﺍﻝﻤﺭﺃﺓ ﺘﺤﺘـل ﻤﻁﻠـﻊ
ﺍﻝﻘﺼﻴﺩﺓ ﺍﻝﺠﺎﻫﻠﻴﺔ ،ﻜﻤﺎ ﻅﻬﺭﺕ ﻨﺴﺎﺀ ﺸﺎﻋﺭﺍﺕ ﻤﺜل ﺍﻝﺨﻨﺴﺎﺀ .ﻭﻗﺩ ﺍﺯﺩﺍﺩ ﺍﻝﺘﹼﺭﻜﻴﺯ ﻋﻠﻰ ﺍﻝﻤﺭﺃﺓ ﻓـﻲ
ﺍﻷﺩﺏ ﻤﻊ ﺍﺯﺩﻴﺎﺩ ﺩﻭﺭﻫﺎ ﻓﻲ ﺍﻝﻤﺠﺘﻤﻊ ﻭﻤﻁﺎﻝﺒﺘﻬﺎ ﺒﺤﻘﻭﻗﻬﺎ ﻭﺤﺭﻴﺘﻬﺎ ،ﻓﻠﻡ ﻴﻌﺩ ﻋﻴﺒﺎ ﺍﻝﺤـﺩﻴﺙ ﻋـﻥ
ﺍﻝﻤﺭﺃﺓ ﺃﻭ ﺫﻜﺭﻫﺎ ﺒﻌﺩ ﺃﻥ ﻜﺎﻥ ﻴﻜﻨﻰ ﺒﺎﺴﻤﻬﺎ ﻓﻲ ﺍﻝﺠﺎﻫﻠﻴﺔ ﺃﻭ ﺘﻌﻁﻰ ﺃﺴﻤﺎﺀ ﻤﺴﺘﻌﺎﺭﺓ ،ﺇﺫ ﺃﺼﺒﺢ ﻝﻬـﺎ
ﻜﻴﻨﻭﻨﺔ ﻤﺴﺘﻘﻠﹼﺔ.
ﻴﺘﺠﻠﻰ ﺍﻝﺤﻀﻭﺭ ﺍﻝﻨﹼﺴﻭﻱ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺘﻴﻥ ﻓﻲ ﻤﺎ ﻗﺒل ﺍﻝﺴﺭﺩ ،ﻓﻘﺩ ﻜﺎﻨﺕ ﺍﻝﻜﺎﺘﺒﺘﺎﻥ ﺍﻤـﺭﺃﺘﻴﻥ،
ﺍﺴﺘﻁﺎﻋﺘﺎ ﺘﺠﺴﻴﺩ ﺍﻝﻭﺍﻗﻊ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻋﻠﻰ ﺍﻝﻭﺭﻕ .ﻜﻤﺎ ﻅﻬﺭ ﻫﺫﺍ ﺍﻝﺤﻀـﻭﺭ ﺠﻠﻴـﺎ ﻓـﻲ ﺍﻝﺴـﺭﺩ،
ﻴﻨﻅﺭ :ﺇﻤﺎﻡ ،ﺇﻤﺎﻡ ﻋﺒﺩ ﺍﻝﻔﺘﹼﺎﺡ :ﻤﻌﺠﻡ ﺩﻴﺎﻨﺎﺕ ﻭﺃﺴﺎﻁﻴﺭ ﺤﻭل ﺍﻝﻌﺎﻝﻡ ،ﻡ ،1ﺩﻁ ،ﺍﻝﻘﺎﻫﺭﺓ :ﻤﻜﺘﺒﺔ ﻤﺩﺒﻭﻝﻲ ،ﺩﺕ ،ﺹ .87ﻭﻴﻨﻅﺭ: 2
ﺸﺎﻫﻴﻥ ،ﻤﺭﻴﻡ :ﺩﻝﻴل ﻓﻠﺴﻁﻴﻥ ،ﻁ ،1ﺒﻴﺭﻭﺕ :ﺍﻝﺩﺍﺭ ﺍﻝﻌﺭﺒﻴﺔ ﻝﻠﻌﻠﻭﻡ -ﻨﺎﺸﺭﻭﻥ ،2007 ،ﺹ.230
33
ﻓﺎﻝﺸﹼﺨﺼﻴﺔ ﺍﻝﺭﺌﻴﺴﺔ ﻓﻲ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻫﻲ ﺍﻤﺭﺃﺓ ﺘﺩﻋﻰ ﺭﻗﻴﺔ ﻭﺘﺩﻭﺭ ﻜﺎﻓﹼـﺔ ﺍﻷﺤـﺩﺍﺙ ﺤـﻭل
ﺤﻴﺎﺘﻬﺎ ،ﺃﻤﺎ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻓﻘﺩ ﻜﺎﻨﺕ ﺍﻝﻤﺭﺃﺓ ﺍﻝﺸﹼﺨﺼﻴﺔ ﺍﻝﺜﹼﺎﻨﻴﺔ ﻤﻥ ﺤﻴـﺙ ﺍﻝﺤﻀـﻭﺭ ،ﺇﺫ ﺘـﺩﻭﺭ
ﺃﺤﺩﺍﺙ ﺍﻝﺭﻭﺍﻴﺔ ﺤﻭل ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻤﺠﺩ ،ﻭﺍﻝﻠﺒﻨﺎﻨﻴﺔ ﻫﻴﻠﺩﺍ ،ﻭﻗﺩ ﻜﺎﻥ ﺍﻝﻔﺼل ﺍﻝﺭﺍﺒﻊ ﻭﺍﻷﺨﻴﺭ ﻓﻲ ﻫـﺫﻩ
ﺍﻝﺭﻭﺍﻴﺔ ﻴﺤﻤل ﺍﺴﻤﻬﺎ ﻭﻴﺘﻤﺤﻭﺭ ﺤﻭﻝﻬﺎ ،ﻫﺫﺍ ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﻭﺠﻭﺩ ﺸﺨﺼـﻴﺎﺕ ﺃﻨﺜﻭﻴـﺔ ﺃﺨـﺭﻯ ﻓـﻲ
ﺍﻝﺭﻭﺍﻴﺘﻴﻥ ﻜﺎﻨﺕ ﺃﻗل ﺤﻀﻭﺭﺍ.
ل ﻤـﺭ ﺩ
ﻭﻗﺩ ﻴﺘﺴﺎﺀل ﺍﻝﻘﺎﺭﺉ ﻋﻥ ﺴﺒﺏ ﻫﺫﺍ ﺍﻝﺤﻀﻭﺭ ﺍﻝﻨﹼﺴﻭﻱ ﺍﻝﻭﺍﻀﺢ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺘﻴﻥ ،ﻭﻝﻌ ّ
ﺫﻝﻙ ﺇﻝﻰ ﻜﻭﻥ ﺍﻝﻜﺎﺘﺒﺘﻴﻥ ﻤﻥ ﺍﻝﻨﹼﺴﺎﺀ ،ﻤﺎ ﺠﻌﻠﻬﻥ ﻴﻅﻬﺭﻥ ﺍﻝﻤﺭﺃﺓ ﺒﻬﺫﺍ ﺍﻝﺸﹼﻜل ﺘﺄﻜﻴـﺩﺍ ﻋﻠـﻰ ﺩﻭﺭﻫـﺎ
ﺹ ﺍﻝﻘﻀﺎﻴﺎ ﺍﻝﻤﺼﻴﺭﻴﺔ ﺍﻝﻤﺘﻌﻠﹼﻘﺔ ﺒﺎﻝﻭﻁﻥ ﻭﺍﻝﻜﻔﺎﺡ .ﻭﻴﻤﻜـﻥ
ﻭﺃﻫﻤﻴﺘﻬﺎ ﻓﻲ ﺍﻝﻤﺠﺘﻤﻊ ﺨﺎﺼﺔ ﻓﻲ ﻤﺎ ﻴﺨ
ﺘﺼﻨﻴﻑ ﺤﻀﻭﺭ ﺍﻝﻤﺭﺃﺓ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺘﻴﻥ ﻭﻓﻕ ﻋﺩﺓ ﺃﺸﻜﺎل ﻭﻤﻌﺎﻴﻴﺭ ،ﺃﻫﻡ ﻫﺫﻩ ﺍﻝﻤﻌﺎﻴﻴﺭ ﻤﺎ ﻴﻠﻲ:
ﻴﻐﻠﺏ ﻋﻠﻰ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ ﺍﻝﻨﹼﺴﻭﻴﺔ ﻓﻲ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻁﺎﺒﻊ ﺍﻝﺒﺴﺎﻁﺔ ،ﻋﻠﻰ ﺍﻝﻨﹼﻘﻴﺽ ﻤـﻥ
ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ ،99ﻭﻗﺩ ﻜﺎﻨﺕ ﺍﻝﺒﺩﺍﻴﺔ ﻤﻊ ﺍﻝﺸﹼﺨﺼﻴﺔ ﺍﻝﺭﺌﻴﺴﺔ ،ﺭﻗﻴﺔ ،ﻭﻤﻥ ﻤﻼﻤﺢ ﺍﻝﺒﺴﺎﻁﺔ ﻝﺩﻯ ﻫـﺫﻩ
ﺍﻝﺸﹼﺨﺼﻴﺔ ﺃﻨﹼﻬﺎ ﻜﺎﻨﺕ ﺘﻁﻤﺢ ﻝﻠﺯﻭﺍﺝ ﻭﻫﻲ ﻝﻡ ﺘﺒﻠﻎ ﺴﻥ ﺍﻝﺭﺍﺒﻌﺔ ﻋﺸﺭﺓ ﻤﻥ ﺭﺠل ﺭﺃﺘﻪ ﻴﺨـﺭﺝ ﻤـﻥ
ﺍﻝﺒﺤﺭ ﻓﺄﺤﺒﺘﻪ ،ﻭﻝﻡ ﺘﻬﺘﻡ ﺒﺈﻜﻤﺎل ﺩﺭﺍﺴﺘﻬﺎ ،ﻭﻝﻡ ﺘﻜﻤﻠﻬﺎ ﺇﻝﹼﺎ ﺒﻌﺩ ﺃﻥ ﺃﻨﺠﺒﺕ ﺃﺒﻨﺎﺀﻫﺎ ﻭﺫﻝﻙ ﺒﺘﺸﺠﻴﻊ ﻤﻨﻬﻡ،
ﻭﻗﺩ ﺤﺭﺼﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻋﻠﻰ ﺇﻅﻬﺎﺭ ﻤﺩﻯ ﺒﺴﺎﻁﺔ ﻫﺫﻩ ﺍﻝﺸﹼﺨﺼﻴﺔ ﺒﺠﻌﻠﻬﺎ ﺘﺘﺤﺩﺙ ﻋﻥ ﺍﻝﺼﻌﻭﺒﺔ ﺍﻝﺘـﻲ
ﺘﻭﺍﺠﻬﻬﺎ ﺃﺜﻨﺎﺀ ﺍﻝﻜﺘﺎﺒﺔ ،ﻭﺇﻝﹼﺎ ﻓﻜﻴﻑ ﺴﻴﺴﺘﻘﻴﻡ ﻜﺘﺎﺒﺔ ﻤﺜل ﻫﺫﺍ ﺍﻝﻌﻤل ﺍﻷﺩﺒﻲ ﻋﻠﻰ ﻴﺩ ﺸﺨﺼﻴﺔ ﻤﺤـﺩﻭﺩﺓ
ﺍﻝﺘﹼﻌﻠﻴﻡ ،ﻭﺘﺸﻜﻭ ﻤﻥ ﺼﻌﻭﺒﺔ ﻜﺘﺎﺒﺔ ﺍﻝﺘﹼﻌﺒﻴﺭ ﻓﻲ ﺍﻝﻤﺩﺭﺴﺔ ﻜﻤﺎ ﺒﻴﻨﺕ ،ﺇﻝﹼـﺎ ﺃﻨﹼﻬـﺎ ﺃﺠـﺎﺩﺕ ﺍﻝﻭﺼـﻑ
ﻥ ﺘﺘﺒﻊ ﺤﻴﺎﺓ ﻫﺫﻩ ﺍﻝﺸﹼﺨﺼﻴﺔ ﻴﻅﻬﺭ
ﻭﺍﻝﺘﹼﻼﻋﺏ ﺒﺎﻷﻝﻔﺎﻅ ﻭﺍﻝﺘﹼﻌﺎﺒﻴﺭ ﻓﻲ ﻜﺜﻴﺭ ﻤﻥ ﺍﻷﻤﺎﻜﻥ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺔ ،ﺇ
ﺃﻨﻬﺎ ﺸﺨﺼﻴﺔ ﻨﺎﻤﻴﺔ ﺤﺭﻴﺼﺔ ﻋﻠﻰ ﺘﺜﻘﻴﻑ ﻨﻔﺴﻬﺎ ،ﻓﻬﻲ ﺘﺸﻜﻭ ﻤﻥ ﺍﻝﺼﻌﻭﺒﺔ ﻓﻲ ﺍﻝﻜﺘﺎﺒﺔ ،ﺇﻝﹼﺎ ﺃﻨﹼﻬﺎ ﻜﺎﻨﺕ
ﺘﺘﺎﺒﻊ ﺍﻷﺨﺒﺎﺭ ﻭﺘﻘﺭﺃ ﺍﻝﺼﺤﻑ ﻭﺘﺩﺭﺱ ﻭﺘﻜﻤل ﺘﻌﻠﻴﻤﻬﺎ ،ﻤﺎ ﻴﺒﺭﺭ ﻜﺘﺎﺒﺘﻬﺎ ﻝﻘﺼﺔ ﺤﻴﺎﺘﻬﺎ ﺒﺸﻜل ﻻﺌﻕ،
ﻓﻘﺩ ﻨﻤﺕ ﻨﻔﺴﻬﺎ ﻭﺘﺩﺭﺠﺕ ﻤﻥ ﺍﻝﺒﺴﺎﻁﺔ ﻨﺤﻭ ﺍﻝﺜﹼﻘﺎﻓﺔ ،ﻭﺒﺫﻝﻙ ﺘﻜﻭﻥ ﻗﺩ ﺠﻤﻌﺕ ﺒﻴﻥ ﺍﻝﺒﺴﺎﻁﺔ ﻭﺍﻝﺜﹼﻘﺎﻓﺔ.
ﻭﻫﺫﻩ ﺍﻝﻤﺭﺃﺓ ﺭﻏﻡ ﺘﺩﺭﺠﻬﺎ ﻤﻥ ﺍﻝﺒﺴﺎﻁﺔ ﻨﺤﻭ ﺍﻝﺜﹼﻘﺎﻓﺔ ،ﺇﻝﹼﺎ ﺇﻨﹼﻬﺎ ﺘﺩﺭﺠﺕ ﺃﻴﻀﺎ ﻤﻥ ﺍﻝﺠﺭﺃﺓ ﺇﻝﻰ
ﺍﻻﻨﻬﺯﺍﻤﻴﺔ ،ﺍﻨﻬﺯﺍﻤﻴﺔ ﺃﺠﺒﺭﺘﻬﺎ ﻋﻠﻴﻬﺎ ﺍﻝﻅﹼﺭﻭﻑ ،ﻓﺭﻏﻡ ﺃﻨﹼﻬﺎ ﻭﺍﻓﻘﺕ ﻋﻠﻰ ﺍﻝﻌﺭﻴﺱ ﺍﺒﻥ ﻋﻴﻥ ﻏـﺯﺍل
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ﺒﺸﻜل ﺼﺭﻴﺢ ﻴﺨﻠﻭ ﻤﻥ ﺍﻝﺨﺠل ﻭﻫﻭ ﻤﺎ ﺃﻏﻀﺏ ﻭﺍﻝﺩﺘﻬﺎ ،ﺇﻝﹼﺎ ﺃﻨﹼﻬﺎ ﻭﺍﻓﻘﺕ ﻋﻠﻰ ﺍﻝﺯﻭﺍﺝ ﻤﻥ ﺍﺒﻥ ﻋﻤﻬﺎ
ﺍﻝﺫﻱ ﻻ ﺘﺤﺒﻪ ،ﻭﻜﺎﻨﺕ ﺘﻌﻴﺵ ﻤﻌﻪ ﺤﻴﺎﺓ ﻻ ﺘﻌﻨﻴﻬﺎ ،ﺘﻌﻁﻲ ﺯﻭﺠﻬﺎ ﻤﺎ ﻫـﻭ ﻤﺘﻭﻗﹼـﻊ ﻤﻨﻬـﺎ " ﺍﻝـﻭﺩ
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ﻭﺍﻝﺼﻐﺎﺭ ﻭﺍﻝﻠﻘﻤﺔ ﻭﺍﻝﺒﻴﺕ ﺍﻝﻨﹼﻅﻴﻑ."...
ﻭﻤﻥ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ ﺍﻷﻨﺜﻭﻴﺔ ﺍﻝﺒﺴﻴﻁﺔ ﻓﻲ ﻫﺫﻩ ﺍﻝﺭﻭﺍﻴﺔ :ﺯﻴﻨﺏ ﻭﺍﻝﺩﺓ ﺭﻗﻴـﺔ ،ﻓﻘـﺩ ﺍﻤﺘـﺎﺯﺕ
ﺒﺎﻝﺒﺴﺎﻁﺔ ﺍﻝﺘﹼﺎﻤﺔ ﺍﻝﻤﺸﻭﺒﺔ ﺒﺎﻝﺠﻬل ،ﻓﻘﺩ ﻜﺎﻨﺕ ﻻ ﺘﺴﺘﻁﻴﻊ ﺍﻝﺨﺭﻭﺝ ﻤﻥ ﺍﻝﻘﺭﻴﺔ ﻭﺤﺩﻫﺎ ﻓﻼ ﺘﻌﺭﻑ ﻜﻴﻑ
ﺘﺭﻜﺏ ﺍﻝﻘﻁﺎﺭ ﻭﺘﻨﺯل ﻤﻨﻪ ﺇﺫ ﺘﻘﻭل " :ﻗﺩ ﻴﺘﻘﺼﺩﻭﻥ ﺃﻝﹼﺎ ﻴﺩﻝﹼﻭﻨﻲ ﻓﺄﻨﺯل ﻓﻲ ﺍﻝﻤﺤﻁﹼﺔ ﺍﻝﺨﻁﺄ ﻭﺃﻀـﻴﻊ
ﻓﻲ ﺍﻝﺒﻼﺩ" ،2ﻭﻜﺎﻨﺕ ﺘﺤﻜﻡ ﺍﻝﺸﹼﺎل ﻋﻠﻰ ﺭﺃﺴﻬﺎ ﺇﺫﺍ ﺴﻤﻌﺕ ﺼﻭﺕ ﺍﻝﺭﺠل ﻓﻲ ﺍﻝﻤﺫﻴﺎﻉ 3ﻭﻜﺎﻨﺕ ﺘﻤﺎﺜﻠﻬﺎ
ﻓﻲ ﺍﻝﺒﺴﺎﻁﺔ ﺃﺨﺘﻬﺎ ﺤﻠﻴﻤﺔ ﺃ ﻡ ﺍﻷﻤﻴﻥ ،4ﻭﻤﻥ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ ﺍﻷﻨﺜﻭﻴﺔ ﺍﻝﺒﺴﻴﻁﺔ ﻓﻲ ﻫﺫﻩ ﺍﻝﺭﻭﺍﻴﺔ :ﺴﻭﻤﺎﻨﺎ،
ﺤﻴﺙ ﻜﺎﻨﺕ ﺘﻌﻤل ﺨﺎﺩﻤﺔ ﻓﻲ ﻤﻨﺯل ﺼﺎﺩﻕ ،ﻭﺘﻌﻠﻡ ﺒﺨﻴﺎﻨﺔ ﺯﻭﺠﻬﺎ ﻝﻬﺎ ﻭﻝﻡ ﺘﻜﺘﺭﺙ؛ ﻷﻨـﻪ ﻴﻌﺘﻨـﻲ
ﺒﺄﻁﻔﺎﻝﻬﺎ ﺃﺜﻨﺎﺀ ﻏﺭﺒﺘﻬﺎ .ﻭﻓﻲ ﻤﻘﺎﺒل ﻫﺫﻩ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ ﺍﻝﺒﺴﻴﻁﺔ ﻭﺍﻻﻨﻬﺯﺍﻤﻴﺔ ،ﻜﺎﻥ ﻫﻨﺎﻙ ﺸﺨﺼـﻴﺎﺕ
ﺃﻨﺜﻭﻴﺔ ﺃﻜﺜﺭ ﺠﺭﺃﺓ ﻭﺜﻘﺎﻓﺔ ﻤﺜل :ﺇﻴﻔﻠﻴﻥ ﺍﻝﺘﻲ ﻜﺎﻨﺕ ﺘﻌﻤل ﻓﻲ ﻤﻨﺯل ﺼﺎﺩﻕ ﺃﻴﻀﺎ ،ﻝﻜﻨﹼﻬﺎ ﺘـﺭﻓﺽ ﺃﻥ
ﻴﻘﺎل ﻋﻨﻬﺎ ﺨﺎﺩﻤﺔ ﻭﺇﻨﹼﻤﺎ ﺘﻭﻀﺢ ﺩﺍﺌﻤﺎ ﺃﻨﹼﻬﺎ ﻤﺭﺒ ﻴﺔ ﺃﻁﻔﺎل .5ﻜﻤﺎ ﺍﻤﺘﺎﺯﺕ ﺸﺨﺼﻴﺔ ﺤﻔﻴﺩﺓ ﺭﻗﻴﺔ ،ﻫﺩﻯ،
ﻭﺍﺒﻨﺘﻬﺎ ،ﻤﺭﻴﻡ ،ﺒﺎﻝﺠﺭﺃﺓ.
ﻭﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ ،99ﺘﻤﺜﹼل ﺸﺨﺼﻴﺔ ﻫﻴﻠﺩﺍ ﻭﺇﻴﻔﺎ ﺸﺨﺼﻴﺘﻴﻥ ﺠﺭﻴﺌﺘﻴﻥ ،ﺜﺎﺭﺕ ﻜل ﻤﻨﻬﻤـﺎ
ﻋﻠﻰ ﺤﺒﻴﺒﻬﺎ ﻭﻋﺎﺩﺍﺕ ﻤﺠﺘﻤﻌﻬﺎ ﻭﺘﻘﺎﻝﻴﺩﻩ ﻭﻭﺍﻗﻌﻬﺎ؛ ﻝﺘﺤﻘﻕ ﺍﻷﻓﻀل ﻝﺫﺍﺘﻬﺎ ،ﺒﻴﻨﻤﺎ ﻤﺜﹼﻠﺕ ﻤﺎﺭﻴﺎﻥ ﻨﻤﻭﺫﺠﺎ
ﻝﻠﻤﺭﺃﺓ ﺍﻻﻨﻬﺯﺍﻤﻴﺔ ﺍﻝﺘﻲ ﻻ ﺘﺤﺏ ﺃﻤﺭﻴﻜﺎ ﻭﻻ ﺘﺴﺘﻁﻴﻊ ﺍﻝﺨﺭﻭﺝ ﻤﻨﻬﺎ.
ﻜﺎﻨﺕ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻝﺭﺠل ﻭﺍﻝﻤﺭﺃﺓ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺘﻴﻥ ﻤﺤﻜﻭﻤﺔ ﺒﺎﻝﺤﺭﺏ ،ﻓﻠﻡ ﺘﻜﻥ ﻗـﺎﺩﺭﺓ ﻋﻠـﻰ
ل
ﺍﻝﺴﻴﺭ ﻓﻲ ﻁﺭﻴﻘﻬﺎ ﺍﻝﻁﺒﻴﻌﻴﺔ ﺇﻝﹼﺎ ﻭﺃﻝﻘﺕ ﺍﻝﺤﺭﺏ ﻋﻠﻴﻬﺎ ﺒﻅﻼﻝﻬﺎ ﻤﻥ ﺠﺎﻨﺏ ﻤـﺎ ،ﻭﺃﺤﻴﺎﻨـﺎ ﻤـﻥ ﻜـ ّ
ﺍﻝﺠﻭﺍﻨﺏ ،ﻭﻋﻨﺩ ﺘﻘﺴﻴﻡ ﻫﺫﻩ ﺍﻝﻌﻼﻗﺎﺕ ،ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ،ﺇﻝﻰ ﺜﻨﺎﺌﻴﺎﺕ ﻓﺈﻨﹼﻬﺎ ﺴﺘﻜﻭﻥ ﻜﺎﻵﺘﻲ:
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_ ﺭﻗﻴﺔ ﻭﻴﺤﻴﻰ :ﺃﺤﺒﺕ ﺭﻗﻴﺔ ﻴﺤﻴﻰ ﺍﺒﻥ ﻗﺭﻴﺔ ﻋﻴﻥ ﻏﺯﺍل ﻋﻨﺩﻤﺎ ﺭﺃﺘﻪ ﻴﺨﺭﺝ ﻤﻥ ﺒﺤﺭ ﺍﻝﻁﹼﻨﻁـﻭﺭﺓ،
ﻭﻜﺎﻥ ﻋﺎﺭﻴﺎ ﻻ ﻴﺴﺘﺭﻩ ﺴﻭﻯ ﺴﺭﻭﺍل ﺃﺒﻴﺽ ﺍﻝﻠﻭﻥ ﻭﺘﻸﻷﺕ ﺤﺒﺎﺕ ﺍﻝﻤﺎﺀ ﻋﻠﻰ ﺠﺴﺩﻩ ،ﻭﻝﻤﻊ ﺸـﻌﺭ
ﺭﺃﺴﻪ ﻭﺼﺩﺭﻩ ﻭﺫﺭﺍﻋﻴﻪ ﻤﻥ ﺍﻝﺒﻠل ،ﻜﺎﻥ ﻴﻤﺸﻲ ﺒﺴﺎﻗﻴﻥ ﻤﺸﺩﻭﺩﻴﻥ ﻴﻐﺭﺴﻬﻤﺎ ﻓﻲ ﺍﻝﺭﻤﺎل ،1ﻓﻭﻗﻊ ﺤﺒﻪ
ﻓﻲ ﻗﻠﺒﻬﺎ ﻓﺒﺎﺩﺭﺘﻪ ﺒﺎﻝﺤﺩﻴﺙ ﺜﻡ ﺨﻁﺒﻬﺎ ،ﻝﻜﻥ ﺤﺩﺜﺕ ﺤﺭﺏ ﻋﺎﻡ ،1948ﻭﻫﺎﺠﺭﺕ ﺭﻗﻴﺔ ﻤﻊ ﺃﺴـﺭﺘﻬﺎ
ﺇﻝﻰ ﺼﻴﺩﺍ ﻭﺍﻨﻘﻁﻌﺕ ﺃﺨﺒﺎﺭ ﺨﻁﻴﺒﻬﺎ ،ﻝﺘﻜﺘﺸﻑ ﺒﻌﺩ ﺃﻥ ﺘﻘﺩﻡ ﺒﻬﺎ ﺍﻝﻌﻤﺭ ﺃﻨﹼﻪ ﺃﺼﺒﺢ ﺃﺴﺘﺎﺫﺍ ﺠﺎﻤﻌﻴﺎ ،ﻭﺃﻨﹼﻪ
ﺘﺄﺨﹼﺭ ﻓﻲ ﺍﻝﺯﻭﺍﺝ ﺜ ﻡ ﺘﺯﻭﺝ ﻤﻥ ﺍﺒﻨﺔ ﻋﻤﻪ ،ﻋﻠﻰ ﻤﺎ ﻴﺒﺩﻭ ﺒﻌﺩ ﺃﻥ ﻴﺌﺱ ﻤﻥ ﺇﻴﺠﺎﺩﻫﺎ ،ﻭﻫﺫﺍ ﻤﺎ ﺤـﺩﺙ
ﻥ ﻝﻪ ﺍﻝﻤﺸﺎﻋﺭ ﺇﺫ ﺘﻘﻭل ﻭﺍﺼﻔﺔ ﺤﻴﺎﺘﻬﺎ ﺍﻝﻌﺎﻁﻔﻴـﺔ" :
ﻤﻊ ﺭﻗﻴﺔ ﻓﻘﺩ ﺘﺯﻭﺠﺕ ﻤﻥ ﺍﺒﻥ ﻋﻤﻬﺎ ﺍﻝﺫﻱ ﻻ ﺘﻜ
ُﺃﻋﻁﻲ ﺃﻤﻴﻥ ﺍﻝﻤﺘﻭﻗﻊ ﻤﻥ ﺯﻭﺠﺔ ﺼﺎﻝﺤﺔ ،ﺍﻝﻭﺩ ﻭﺍﻝﺼﻐﺎﺭ ﻭﺍﻝﻠﻘﻤﺔ ﻭﺍﻝﺒﻴﺕ ﺍﻝﻨﹼﻅﻴﻑ ،ﻭﺃﻋﻁﻴﻪ ﻨﻔﺴﻲ
ﻓﻲ ﺍﻝﻠﺤﻅﺔ ﺍﻝﺤﻤﻴﻤﺔ ﻓﺄﺯﺩﺍﺩ ﺍﺭﺘﺒﺎﻜﺎ ﻷﻨﻨﻲ ﺒﻌﺩ ﻜ ّل ﻝﺤﻅﺔ ﺤﻤﻴﻤﺔ ﺴﻭﻑ ﺃﺘﺴﺎﺀل ﻤﺎﺫﺍ ﺤـﺩﺙ؟.2"...
ﻭﻗﺩ ﺒﻘﻴﺕ ﺭﻗﻴﺔ ﺘﺤﺏ ﻴﺤﻴﻰ ﻭﺘﺴﺄل ﻋﻨﻪ ﺤﺘﻰ ﻋﺭﻓﺕ ﻤﻜﺎﻨﻪ ﻓﻲ ﻨﻬﺎﻴﺔ ﺍﻝﺭﻭﺍﻴﺔ.
_ ﺯﻴﻨﺏ ﺃ ﻡ ﺍﻝﺼﺎﺩﻕ ﻭﺃﺒﻭ ﺍﻝﺼﺎﺩﻕ ،ﺍﺴﺘﺸﻬﺩ ﺃﺒﻭ ﺍﻝﺼﺎﺩﻕ ﻤﻊ ﻭﻝﺩﻴﻪ ﻓﻲ ﺤﺭﺏ ﻋـﺎﻡ ،1948ﻭﻝـﻡ
ﺘﺴﺘﻁﻊ ﺯﻴﻨﺏ ﺘﺼﺩﻴﻕ ﻤﺎ ﺭﺃﺘﻪ ﻋﻴﻨﺎﻫﺎ ،ﻭﺒﻘﻴﺕ ﺘﺴﺄل ﻭﺘﺒﺤﺙ ﻋﻨﻪ ،ﺜ ﻡ ﺍﺨﺘﻠﻘﺕ ﻝﻨﻔﺴﻬﺎ ﻗﺼﺔ ﺘﻘﻨﻊ ﺒﻬﺎ
ﻥ ﺃﺒﻭ ﺍﻝﺼﺎﺩﻕ ﺍﻋﺘﻘل ﻤﻊ ﻤﻥ ﺍﻋﺘﻘﻠـﻭﺍ ﻤـﻥ ﺭﺠـﺎل
ﻥ ﻭﻝﺩﻴﻬﺎ ﻫﺭﺒﺎ ﺇﻝﻰ ﻤﺼﺭ ﻭﺃ
ﺫﺍﺘﻬﺎ ﻭﻫﻲ " ﺃ
ﺍﻝﺒﻠﺩ.3"...
ل
_ ﺤﻠﻴﻤﺔ ﺃﻡ ﺍﻷﻤﻴﻥ ﻭﺃﺒﻭ ﺍﻷﻤﻴﻥ ،ﻜﺎﻨﺕ ﺤﻴﺎﺓ ﺤﻠﻴﻤﺔ ﻗﺎﺌﻤﺔ ﻋﻠﻰ ﺍﻝﺘﹼﺭﻗﹼﺏ ﻭﺍﻝﺨﻭﻑ ﻤﻥ ﺍﻝﻔﻘﺩ ﻓﻲ ﻜ ّ
ﺤﻴﻥ ،ﻓﻘﺩ ﺃﻤﻀﻰ ﺯﻭﺠﻬﺎ ﺤﻴﺎﺘﻪ ﻤﻘﺎﻭﻤﺎ ﺇﺫ ﺘﻘﻭل " :ﻓﻲ ﺍﻝﺴﺘﺔ ﻭﺜﻼﺜﻴﻥ ﻗﻠﻨﺎ ﺜـﻭﺭﺓ ﻭﻋﻠﻴـﻪ ﺤﻜـﻡ
ﻭﺨﺎﻴﻔﻴﻥ ﻤﻥ ﺍﻹﻨﺠﻠﻴﺯ .ﻭﺒﻌﺩﻫﺎ؟ ﻴﻘﻭل ﺠﻬﺎﺩ ،ﻫﻭ ﺍﻝﺠﻬﺎﺩ ﻤﻥ ﻏﻴﺭ ﻨﻬﺎﻴﺔ؟! ﻭﺍﷲ ﺘﻌﺒﺕ ﻴﺎ ﺯﻴﻨـﺏ
ﻴﺎﺨﺘﻲ .ﻴﻭﻡ ﻓﻲ ﺍﻝﺩﺍﺭ ﻭﺃﻝﻑ ﻓﻲ ﺍﻝﺴﻔﺭ".4
ﻭﺃﺤﻴﺎﻨﺎ ﺃﺨﺭﻯ ﻜﺎﻨﺕ ﺍﻝﻤﺭﺃﺓ ﻫﻲ ﺍﻝﻀﺤﻴﺔ ﺍﻝﻜﺒﺭﻯ ﻝﻬﺫﻩ ﺍﻝﺤﺭﺏ ،ﻭﻤﺜﺎل ﺫﻝﻙ ﻤﻴﺭﺍ؛ ﺍﻝﻔﺘـﺎﺓ
ﺍﻝﺘﻲ ﺃﺤﺒﻬﺎ ﺤﺴﻥ ،ﻓﻘﺩ ﺍﺴﺘﺸﻬﺩﺕ ﻓﻲ ﻋﻤﺎﺭﺓ ﺠﺎﺩ ،ﻭﻜﺎﻥ ﺤﺴﻥ ﺸﺩﻴﺩ ﺍﻝﺘﹼﻌﻠﹼﻕ ﺒﻬﺫﺍ ﺍﻝﻤﻜﺎﻥ ﺍﻝﺫﻱ ﻗﺘﻠﺕ
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ﻓﻴﻪ ﺤﺒﻴﺒﺘﻪ ،ﻓﺈﺫﺍ ﺃﺭﺍﺩ ﺃﻥ ﻴﺴﺄل ﻋﻥ ﻤﻜﺎﻥ ﻤﺎ ،ﺴﺄل ﻋﻥ ﻤﻭﻗﻌﻪ ﺒﺎﻝﻨﹼﺴﺒﺔ ﻝﻬﺫﻩ ﺍﻝﺒﻨﺎﻴﺔ ،1ﺜ ﻡ ﺴﻤﻰ ﺍﺒﻨﺘﻪ
ﻋﻠﻰ ﺍﺴﻤﻬﺎ ﺒﻌﺩ ﺯﻭﺍﺠﻪ .ﻭﻫﺫﻩ ﺃﺸ ﺩ ﺤﺎﻻﺕ ﺨﺴﺎﺌﺭ ﺍﻝﻤﺭﺃﺓ ﻭﺍﻝﺤﺏ ﻓﻲ ﺍﻝﺤﺭﺏ ،ﺨﺴﺎﺭﺘﻬﺎ ﻝﺭﻭﺤﻬﺎ.
ﺃﻤﺎ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ ،99ﻓﻴﻤﻜﻥ ﺘﻘﺴﻴﻡ ﺍﻝﻌﻼﻗﺎﺕ ﻓﻴﻬﺎ ﺇﻝﻰ ﺍﻝﺜﹼﻨﺎﺌﻴﺎﺕ ﺍﻵﺘﻴﺔ:
_ ﻫﻴﻠﺩﺍ ﻭﻤﺠﺩ ،ﻜﺎﻨﺕ ﻫﻴﻠﺩﺍ ﺘﻌﺎﻨﻲ ﻤﻥ ﺘﺒﻌﺎﺕ ﺍﻝﺤﺭﺏ ﺍﻷﻫﻠﻴﺔ ﺍﻝﻠﺒﻨﺎﻨﻴﺔ ﺭﻏﻡ ﻋﻴﺸﻬﺎ ﻓﻲ ﺃﻤﺭﻴﻜﻴﺎ؛ ﻓﻘﺩ
ﺍﻨﻔﺼﻠﺕ ﻋﻥ ﺤﺒﻴﺒﻬﺎ ﻤﺠﺩ ﻝﺘﻌﻭﺩ ﺇﻝﻰ ﻭﻁﻨﻬﺎ ﺍﻝﺫﻱ ﺁﻝﻤﻬﺎ ﻭﺘﺘﺼﺎﻝﺢ ﻤﻊ ﺫﺍﺘﻬﺎ ،ﻭﻝﺘﺨﺒﺭ ﺃﻫﻠﻬﺎ ﺒﺤﻘﻴﻘـﺔ
_ ﺇﻴﻔﻠﻴﻥ ﻭﻤﺤﺴﻥ ،ﻜﺎﻥ ﻤﺤﺴﻥ ﻴﻌﺎﻨﻲ ﻤﻥ ﻭﻴﻼﺕ ﺍﻝﺤﺭﺏ ﻓﻲ ﻝﺒﻨﺎﻥ ،ﻓﻔ ﺭ ﺇﻝﻰ ﺃﻤﺭﻴﻜﻴﺎ ﻭﻏﻴﺭ ﺍﺴﻤﻪ
ﻭﺸﻜﻠﻪ ﻭﺘﺼﺭﻓﺎﺘﻪ ،ﻓﺄﺼﺒﺢ ﻨﺭﺠﺴﻴﺎ ﻴﻘﻴﻡ ﻋﻼﻗﺎﺕ ﻤﻊ ﻨﺴﺎﺀ ﻜﺜﻴﺭﺍﺕ ،ﻭﻜﺎﻥ ﺫﻝﻙ ﻫﺭﺒﺎ ﻤﻤﺎ ﻋﺎﺸﻪ ﻓﻲ
ﻭﻁﻨﻪ ،ﻭﻝﻡ ﺘﺴﺘﻁﻊ ﺤﺒﻴﺒﺘﻪ ﺇﻴﻔﻠﻴﻥ ﺍﺤﺘﻤﺎل ﻫﺫﺍ ﺍﻝﻭﻀﻊ ﻓﺘﺭﻜﺘﻪ ﻭﺍﺩﻋﺕ ﺇﺠﻬﺎﺽ ﻁﻔﻠﻪ.
_ ﻤﺎﺭﻴﺎﻥ ﻭﺠﻭﻥ ،ﻭﻫﻤﺎ ﺸﺨﺼﻴﺘﺎﻥ ﺃﻤﺭﻴﻜﻴﺘﺎﻥ ،ﻝﻜﻥ ﻤﺎﺭﻴﺎﻥ ﻜﺎﻨﺕ ﻝﻬـﺎ ﻋﻼﻗـﺔ ﺼـﺩﺍﻗﺔ ﺒﻤﺠـﺩ
ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ،ﺍﻨﺘﻬﺕ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﻤﺎﺭﻴﺎﻥ ﻭﺠﻭﻥ ﻋﻨﺩﻤﺎ ﺫﻫﺏ ﺇﻝﻰ ﺍﻝﻜﻭﻴﺕ ﻝﻴﺸﺎﺭﻙ ﻓﻲ ﺍﻝﺤﺭﺏ ،ﻭﻓﻘﺩ
ﺃﺜﺭﻩ ﻫﻨﺎﻙ ،ﻭﺒﻘﻴﺕ ﻤﺎﺭﻴﺎﻥ ﺘﺒﺤﺙ ﻋﻨﻪ ﻤﺩﺓ ﺘﺴﻊ ﺴﻨﻭﺍﺕ ،ﻋﺎﺭﻀﺕ ﻓﻴﻬﺎ ﺘﺩﺨﹼل ﺒﻼﺩﻫﺎ ﻓﻲ ﺤـﺭﻭﺏ
ﺍﻵﺨﺭﻴﻥ ،ﻭﻻﻤﺕ ﺯﻭﺠﻬﺎ ﻋﻠﻰ ﻤﺜل ﻫﺫﺍ ﺍﻝﻘﺭﺍﺭ.
_ ﻭﺍﻝﺩﺓ ﻤﺠﺩ ﻭﻭﺍﻝﺩﻩ ،ﻜﻤﺎ ﻓﻲ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ،ﺘﻌﺩ ﻫﺫﻩ ﺍﻝﺨﺴﺎﺭﺓ ﻤﻥ ﺃﻜﺜـﺭ ﺍﻝﺨﺴـﺎﺌﺭ ﺍﻝﺘـﻲ
ﻭﺍﺠﻬﺘﻬﺎ ﺍﻝﻤﺭﺃﺓ ﻭﻫﻲ ﻓﻘﺩﺍﻨﻬﺎ ﻝﺤﻴﺎﺘﻬﺎ ،ﻓﻘﺩ ﻜﺎﻨﺕ ﺘﻌ ﺩ ﺍﻝﻁﹼﻌﺎﻡ ﻋﻨﺩﻤﺎ ﻗﺘﻠﻬﺎ ﺠﻨﻭﺩ ﺍﻝﻜﺘﺎﺌﺏ ،ﻭﻝﻡ ﻴﺼﺩﻕ
ﻭﺍﻝﺩ ﻤﺠﺩ ﻓﻜﺭﺓ ﻭﻓﺎﺘﻬﺎ ،ﻭﺍﺨﺘﻠﻕ ﻝﻨﻔﺴﻪ ﻗﺼﺔ ﻋﻭﺩﺘﻬﺎ ﺇﻝﻰ ﻓﻠﺴﻁﻴﻥ ﻝﺘﻠﺩ ﻫﻨﺎﻙ.
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ﺍﻷﺯﻤﺎﺕ ﺍﻝﺘﻲ ﻤﺭﺕ ﺒﻬﺎ ،ﺇﻝﹼﺎ ﺃﻨﹼﻬﺎ ﺍﺴﺘﺠﻤﻌﺕ ﻗﻭﺍﻫﺎ ﺒﻌﺩ ﺫﻝﻙ ،ﻓﻜﺎﻨﺕ ﺘﺫﻫﺏ ﺇﻝﻰ ﺍﻝﻤﺨﻴﻤـﺎﺕ ﻭﺘﻌﻠﹼـﻡ
ﻥ ﺤﻭل ﺍﻝﺒﻼﺩ ﻭﺃﻫﻠﻬﺎ ﻭﻤﺎ ﺠﺭﻯ ﻝﻬﻡ ،ﻭﺤﻭل ﻋﻤﻠﻬـﺎ
ﺍﻝﻨﹼﺴﻭﺓ ﺍﻝﻘﺭﺍﺀﺓ ﻭﺍﻝﻜﺘﺎﺒﺔ ،ﻭﺘﺴﺘﻤﻊ ﺇﻝﻰ ﺤﻜﺎﻴﺎﻫ
ﻫﺫﺍ ﺘﻘﻭل " :ﺃﻗﺭﺃ ﺠﺭﻴﺩﺓ ﺍﻝﺴﻔﻴﺭ ﻋﻠﻰ ﺨﺘﻴﺎﺭﻴﺎﺕ ﺃ ﻤﻴﺎﺕ .ﺃﺴﺎﻋﺩ ﻓﻲ ﺇﻋﺩﺍﺩ ﻗـﻭﺍﺌﻡ ﺍﻝﻤﺨﻁـﻭﻓﻴﻥ.
ﺃﺸﺎﺭﻙ ﻓﻲ ﻤﺴﻴﺭﺓ ﻨﺴﺎﺌﻴﺔ ﺼﻐﻴﺭﺓ ،1"...ﻭﻜﺎﻥ ﺁﺨﺭ ﺃﻋﻤﺎل ﻫﺫﻩ ﺍﻝﺸﹼﺨﺼﻴﺔ ﻜﺘﺎﺒﺔ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ
ﻜﻤﺎ ﺃﺸﺎﺭﺕ ﻜﺎﺘﺒﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺇﻝﻰ ﻤﺸﺎﺭﻜﺔ ﻨﺴﺎﺀ ﺍﻝﻤﺨﻴﻡ ﻭﻓﺘﻴﺎﺘﻪ ﻓﻲ ﺍﻝﺘﹼﻨﻅﻴﻤﺎﺕ ﺍﻝﺴﻴﺎﺴﻴﺔ،
ﻥ ﺠﻨﺒﺎ ﺇﻝﻰ ﺠﻨﺏ ﻤﻊ ﺍﻝﺭﺠﺎل ،ﺘﻘﻭل ﺇﺤﺩﻯ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ " :ﺠﺎﺭﺘﻨﺎ ﺭﺃﺘﻬﺎ ﻤﺭﺘﻴﻥ ﺘﻘـﻑ ﻤـﻊ
ﻭﻋﻤﻠﻬ
ﻨﻔﺱ ﺍﻝﺸﹼﺎﺏ .ﺴﺄﻝﺘﻬﺎ :ﻤﺎ ﺍﻝﻤﻭﻀﻭﻉ؟ ﻗﺎﻝﺕ ﺯﻤﻴﻠﻲ ﻓﻲ ﺍﻝﺘﹼﻨﻅﻴﻡ 2".ﻜﻤﺎ ﺘﻘﻭل ﺸﺨﺼـﻴﺔ ﺃﺨـﺭﻯ" :
ﺘﻭﺠﻬﺕ ﻤﻊ ﻋﺩﺩ ﻤﻥ ﺯﻤﻼﺌﻲ ﺇﻝﻰ ﻤﻜﺘﺏ ﺍﻝﺠﺒﻬﺔ ﺍﻝﺸﹼﻌﺒﻴﺔ ﻭﻫﻨﺎﻙ ﺍﻨﻀ ﻡ ﺇﻝﻴﻨﺎ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﺸﹼﺒﺎﺏ
ﻥ ﻭﺍﺤﺩﺓ ﻤﻨﻬﻤﺎ ﻜﺎﻨﺕ ﻤﻥ ﻓﺘﺢ" ،3ﻜﻤﺎ ﺘﻘﻭل ﻫﺫﻩ ﺍﻝﺸﹼﺨﺼﻴﺔ " :ﻭﻫﻨﺎﻙ ﺃﻴﻀﺎ ﻓﺘـﺎﺓ
ﻭﻓﺘﺎﺘﺎﻥ ،ﺃﺫﻜﺭ ﺃ
ﺍﺴﻤﻬﺎ ﻓﺎﻁﻤﺔ ﻤﻥ ﻓﺘﺢ .ﻝﺤﻘﺕ ﺒﻨﺎ ﻭﺸﺎﺭﻜﺘﻨﺎ .ﻓﻘﺩﻨﺎ ﻓﻲ ﺫﻝﻙ ﺍﻝﻤﺴﺎﺀ ﺍﻝﺭﻓﻴﻕ ﺒﻁﺭﺱ ،ﻭﻫﺫﺍ ﺍﺴـﻤﻪ
ﺍﻝﺤﺭﻜﻲ ،ﻭﻫﻭ ﻤﻥ ﻤﻘﺎﺘﻠﻲ ﺍﻝﺠﺒﻬﺔ ﺍﻝﺸﹼﻌﺒﻴﺔ".4
ﻭﻤﻥ ﺍﻷﻤﺜﻠﺔ ﻋﻠﻰ ﺍﻝﻤﺸﺎﺭﻜﺔ ﺍﻝﺴﻴﺎﺴﻴﺔ ﻝﻠﻤﺭﺃﺓ ﻓﻲ ﻫﺫﻩ ﺍﻝﺭﻭﺍﻴﺔ :ﻭﺼﺎل ﺍﻝﻼﺠﺌﺔ ﻓﻲ ﺠﻨـﻴﻥ
ﻭﺩﻭﺭﻫﺎ ﻓﻲ ﺍﻻﻨﺘﻔﺎﻀﺔ ،ﻓﻘﺩ ﻗﺩﻤﺕ ﺃﻭﻻﺩﻫﺎ ﺍﻝﺨﻤﺴﺔ ﻭﺃﺨﺘﻬﻡ ﺃﺴﺭﻯ ،ﻜﻤﺎ ﺘـ ﻡ ﺍﻋﺘﻘﺎﻝﻬـﺎ ﻓﺭﻓﻀـﺕ
ﺍﻝﺭﻜﻭﺏ ﻓﻲ ﺍﻝﺠﻴﺏ ﺍﻝﻌﺴﻜﺭﻱ ،ﻭﺴﺨﺭﺕ ﻤﻥ ﺍﻝﺠﻨﻭﺩ ،ﻭﻗﻁﻌﺕ ﺍﻝﻁﹼﺭﻴﻕ ﺇﻝﻰ ﺍﻝﻤﺨﻔﺭ ﻤﺸـﻴﺎ ﻋﻠـﻰ
ﻥ ﻤﺎ ﺘﺭﺘﺩﻴـﻪ ﺜـﻭﺏ ﺍﻷﻗﺩﺍﻡ ،5ﻫﺫﺍ ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺩﻓﺎﻋﻬﺎ ﻋﻥ ﺘﺭﺍﺙ ﺸﻌﺒﻬﺎ ﻋﻨﺩﻤﺎ ﻅ
ﻥ ﺃﺤﺩ ﺍﻷﺠﺎﻨﺏ ﺃ
ﻲ ﺇﺴﺭﺍﺌﻴﻠﻲ ،ﻓﺄﺨﺫﺕ ﺘﺼﻴﺢ ﻓﻴﻪ ﻭﺘﺸﺭﺡ ﻋﻥ ﺍﻝﺜﹼﻭﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ 6.ﻭﻤﺜﻠﻬﺎ ﻜﺎﻨﺕ ﻤﺭﻴﻡ ﺫﺍﺕ ﺤ
ﺱ ﻭﻁﻨ
ﻓﺄﺨﺫﺕ ﺘﺘﺭﺠﻡ ﻝﻬﺫﺍ ﺍﻷﺠﻨﺒﻲ ﻤﺎ ﺘﻘﻭﻝﻪ ﻭﺼﺎل ،ﻜﻤﺎ ﻜﺎﻨﺕ ﻤﻌﺠﺒﺔ ﺒﺭﺴﻭﻡ ﻨﺎﺠﻲ ﺍﻝﻌﻠﻲ.
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ﻭﻗﺩ ﻜﺎﻥ ﻝﻠﻤﺭﺃﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ ﺒﺸﻜل ﻋﺎﻡ ﺤﻀﻭﺭ ﺴﻴﺎﺴﻲ ﻭﺍﻀﺢ ،ﻭﻝﻡ ﺘﻜﻥ ﻭﺼـﺎل ﺴـﻭﻯ
ﻨﻤﻭﺫﺠﺎ ﻝﻬﺫﻩ ﺍﻝﻤﺭﺃﺓ ،ﻓﻘﺩ ﻜﺎﻨﺕ ﺍﻝﻤﺭﺃﺓ ﺘﺸﺎﺭﻙ ﺍﻝﺭﺠﺎل ﻓﻲ ﺍﻻﻨﺘﻔﺎﻀﺔ ،ﻭﺘﺨﻠﺼﻬﻡ ﻤﻥ ﺃﻴﺩﻱ ﺍﻝﺠﻨﻭﺩ،
ﻭﻴﻅﻬﺭ ﻫﺫﺍ ﻓﻲ ﻗﻭل ﺍﻝﺴﺎﺭﺩﺓ " :ﺃﺩﻗﻕ ﻓﻲ ﺍﻝﺼﻭﺭ ﻜﻠﹼﻤﺎ ﺃﻅﻬﺭﺕ ﺍﻤﺭﺃﺓ ﻓﻲ ﺜﻭﺏ ﻓﻼﺤﻲ ﻤﻁﺭﺯ ﺘﺭﻓﻊ
ﻴﺩﻫﺎ ﺒﻌﺯﻡ ﻝﺘﻠﻘﻲ ﺤﺠﺭﺍ ﻋﻠﻰ ﺴﻴﺎﺭﺓ ﻤﻥ ﺴﻴﺎﺭﺍﺕ ﺍﻝﺠﻴﺵ ،ﺃﻭ ﺘﺸﺘﺒﻙ ﻤﻊ ﺍﻝﻤﺠﻨﹼﺩﻴﻥ ﻝﺘﺨﻠﹼﺹ ﻤﻨﻬﻡ
ﻁﻔﻼ ﺃﻤﺴﻜﻭﺍ ﺒﻪ" ،1ﻜﻤﺎ ﺘﺫﻜﺭ ﺍﻝﺴﺎﺭﺩﺓ ﻭﺍﻗﻌﺔ ﺃﺨﺭﻯ ﻝﻨﺴﺎﺀ ﺭﻓﻀﻥ ﺘﻨﻜﻴﺱ ﺃﻋﻼﻡ ﻓﻠﺴـﻁﻴﻥ ﻋـﻥ
ﺍﻷﻋﻤﺩﺓ ﺇﺫ ﺘﻘﻭل " :ﻗﺎﻝﺕ ﻨﺴﺎﺀ ﺍﻝﻤﺨﻴﻡ ﻻ ﻨﺴﺘﻁﻴﻊ ﺃﻥ ﻨﺼﻌﺩ ،ﺍﺼﻌﺩﻭﺍ ﺃﻨﺘﻡ .ﻭﻗﻔﻨﺎ ﻨﺘﻔﺭﺝ ﻋﻠـﻴﻬﻡ
ﻕ ﺃﻋﻨﺎﻗﻬﻡ".2
ﻭﻫﻡ ﻴﺼﻌﺩﻭﻥ ﻭﻴﻨﺯﻝﻭﻥ ﺍﻷﻋﻼﻡ ﻭﻜ ّل ﻭﺍﺤﺩﺓ ﻤﻨﹼﺎ ﺘﺩﻋﻭ ﻓﻲ ﺴﺭﻫﺎ ﺃﻥ ﻴﺴﻘﻁﻭﺍ ﻭﺘﺩ ﹼ
ﻭﺒﺎﻝﻨﹼﻅﺭ ﺇﻝﻰ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ ،99ﻓﻘﺩ ﻜﺎﻥ ﻝﻠﻤﺭﺃﺓ ﺤﻀﻭﺭ ﺴﻴﺎﺴﻲ ﺃﻴﻀﺎ ،ﻓﻠـﻡ ﺘﻜـﻥ ﻓﻜـﺭﺓ
ﺍﻝﺤﺭﺏ ﺃﻭ ﺍﻝﻤﻭﺕ ﺘﺭﻋﺒﻬﺎ ،ﻓﻀﺤﺕ ﺒﻨﻔﺴﻬﺎ ﻷﺠل ﻋﺎﺌﻠﺘﻬﺎ ،ﻭﻤﺜﺎل ﺫﻝﻙ ﻭﺍﻝﺩﺓ ﻤﺠﺩ ﺍﻝﺘﻲ ﺃﺭﺴﻠﺘﻪ ﻤﻊ
ﻭﺍﻝﺩﻩ ﻝﻠﻌﻼﺝ ﺒﻌﺩ ﺇﺼﺎﺒﺘﻪ ﺒﺸﻅﻴﺔ ،ﻭﺒﻘﻴﺕ ﻫﻲ ﺼﺎﻤﺩﺓ ﻓﻲ ﺍﻝﻤﺨﻴﻡ ﻝﺘﺴﺘﺸﻬﺩ ﻋﻠﻰ ﻴﺩ ﺍﻝﻜﺘﺎﺌﺏ ،ﻴﻘـﻭل
ﺍﻝﺴﺎﺭﺩ " :ﻝﻡ ﺃﻜﻥ ﺃﻓﻬﻡ ﺘﻠﻙ ﺍﻝﻘﺩﺭﺓ ﺍﻝﻌﺠﻴﺒﺔ ﻝﺩﻴﻬﺎ ﻓﻲ ﺃﻥ ﺘﺴﺘﻤ ﺭ ﻭﺃﺼﻭﺍﺕ ﺍﻝﻘﻨﺎﺒـل ﺘـﺩﻭﻱ ﻓـﻲ
ﺍﻝﺨﺎﺭﺝ ،ﻜﺄﻨﹼﻬﺎ ﺍﻋﺘﺎﺩﺕ ﻓﻜﺭﺓ ﺍﻝﻘﺘﺎل ،ﻭﺘﻌﻤﺩﺕ ﺃﻥ ﺘﺨﻠﻕ ﺤﻴﺯﺍ ﺨﺎﺭﺠﺎ ﻋﻨﻪ ﻝﻴﻌﻴﻨﻬﺎ ﻋﻠﻰ ﺍﻻﺴﺘﻤﺭﺍﺭ
ﻓﻲ ﺍﻝﺤﻴﺎﺓ" .3ﻭﻴﺫﻜﺭ ﺍﻝﺴﺎﺭﺩ ﻤﺜﺎﻻ ﺁﺨﺭ ﻋﻠﻰ ﺼﻼﺒﺔ ﻫﺫﻩ ﺍﻝﻤﺭﺃﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ ﻭﻋـﺩﻡ ﺨﻭﻓﻬـﺎ ﻤـﻥ
ﺍﻝﻤﻭﺕ ،ﻓﺨﺎﻝﺘﻪ ﺃﺨﺫﺕ ﺘﻨﻅﹼﻑ ﻤﻨﺯل ﺍﺨﺘﻬﺎ ﻤﻥ ﺁﺜﺎﺭ ﺍﻝﺩﻤﺎﺭ ﻭﺸﻁﻔﺕ ﺍﻷﺭﻀﻴﺔ ﻤـﻥ ﺩﻤـﺎﺀ ﺃﺨﺘﻬـﺎ
ﻭﺃﺯﺍﻝﺕ ﻤﺎ ﻋﻠﻕ ﺒﺄﻅﺎﻓﺭﻫﺎ ﻓﻴﻘﻭل ﻓﻴﻬﺎ " :ﻝﻠﻨﺴﺎﺀ ﻗﺩﺭﺓ ﻋﺠﻴﺒﺔ ﻋﻠﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻤﻭﺕ ،ﺘﻔﻭﻕ ﻗـﺩﺭﺓ
4
ﻥ ﺃﺒﻲ ﻫﻭ ﺫﺍﻙ ﺍﻝﺯﺠﺎﺝ ﺍﻝﻬﺵ".
ﺍﻝﺭﺠﺎل .ﺸﻌﺭﺕ ﺃ
ﻭﻤﻥ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ ﺍﻝﻨﺴﻭﻴﺔ ﺍﻝﻤﺸﺎﺭﻜﺔ ﺴﻴﺎﺴﻴﺎ ﻓﻲ ﻫﺫﻩ ﺍﻝﺭﻭﺍﻴﺔ ﻤﻥ ﻏﻴﺭ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ :ﻭﺍﻝﺩﺓ
ﻫﻴﻠﺩﺍ ،ﻓﻘﺩ ﻜﺎﻨﺕ ﺘﻁﺒﺏ ﺍﻝﻤﺼﺎﺒﻴﻥ ﻤﻥ ﺠﺭﺤﻰ ﺍﻝﻜﺘﺎﺌﺏ ﻭﺘﺸﺘﻡ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ .ﻜﻤـﺎ ﻜـﺎﻥ ﻝﻤﺎﺭﻴـﺎﻥ
ﺍﻷﻤﺭﻴﻜﻴﺔ ﻤﻭﻗﻑ ﺴﻴﺎﺴﻲ ﻭﺍﻀﺢ ﺘﺠﺎﻩ ﺘﺩﺨﹼل ﺃﻤﺭﻴﻜﻴﺎ ﻓﻲ ﺤﺭﻭﺏ ﺍﻵﺨـﺭﻴﻥ ،ﻓﻘـﺩ " ﻭﻗﹼﻌـﺕ ﻜـ ّل
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ﻋﺭﻴﻀﺔ ﺘﺭﻓﺽ ﺍﻝﺘﹼﺩﺨﹼل ﺍﻷﻤﺭﻴﻜﻲ ﻓﻲ ﺤﺭﻭﺏ ﺍﻵﺨﺭﻴﻥ" ،1ﻭﺃﺭﺴﻠﺕ ﺭﺴﺎﻝﺔ ﺇﻝﻰ ﺍﻝﻌﻤﺩﺓ ﺘﺨﺒﺭﻩ ﻓﻴﻬـﺎ
:6ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻭﺍﻵﺨﺭ
ﺤﻭﻝﻪ ،ﻭﺍﻝﻅﹼﺭﻭﻑ ﺍﻝﻤﺤﻴﻁﺔ ﺒﻪ ،ﻭﻋﻼﻗﺘﻪ ﺒﺎﻷﺨﺭ؛ ﺃﻱ ﺍﻝﻌﺩﻭ ﺍﻝﻴﻬـﻭﺩﻱ ﺍﻝﺼـﻬﻴﻭﻨﻲ ،ﻭﺍﻝﻤﺴـﻴﺤﻲ
ﺍﻝﻜﺘﺎﺌﺒﻲ ،ﻭﻗﺩ ﻗﺩﻤﺕ ﺍﻝﻜﺎﺘﺒﺘﺎﻥ ﺼﻭﺭﺓ ﻤﻐﺎﻴﺭﺓ ﻝﻠﻔﻠﺴﻁﻴﻨﻲ ،ﺼﻭﺭﺓ ﻤﺨﺘﻠﻔﺔ ﻋﻥ ﺍﻝﺼﻭﺭﺓ ﺍﻝﻨﹼﻤﻁﻴﺔ ﺍﻝﺘﻲ
ل ﻤﻨﻬﻤﺎ ﺇﻝﻰ ﺃﻋﻤﺎﻗﻪ ،ﻭﻜﺸﻔﺕ
ﺘﻅﻬﺭ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺒﺄﻨﹼﻪ ﺠﻠﺩ ﻤﻘﺎﻭﻡ ﻴﻘﻑ ﻓﻲ ﺍﻝﻤﻘﺩﻤﺔ ﺩﺍﺌﻤﺎ ،ﻓﻐﺎﺼﺕ ﻜ ّ
ل ﺍﻝﺘﹼﻨﺎﻗﻀﺎﺕ ﻓﻲ ﺩﺍﺨﻠﻪ ،ﻝﺤﻅﺎﺕ ﺍﻝﻀﻌﻑ ﻭﺍﻝﻘﻭﺓ ،ﻭﻝﺤﻅﺎﺕ ﺍﻹﻴﻤﺎﻥ ﻭﻓﻘﺩﺍﻨﻪ ،ﻭﺍﻝﺘﹼﻤﺴﻙ ﺒﺎﻝﻬﻭﻴـﺔ
ﻜّ
ﻭﺍﻝﺭﻏﺒﺔ ﻓﻲ ﺍﻝﺘﹼﺨﻠﻲ ﻋﻨﻬﺎ ،ﻭﻏﻴﺭﻫﺎ ﻤﻥ ﺍﻝﺘﹼﻨﺎﻗﻀﺎﺕ ،ﺇﻝﹼﺎ ﺃﻨﹼﻬﺎ ﻜﺎﻨﺕ ﺘﻨﺘﻬﻲ ﺩﻭﻤﺎ ﺒﺘﻐﻠﹼﺏ ﺍﻝﻔﻠﺴـﻁﻴﻨﻲ
ﻥ ﺇﻅﻬﺎﺭ ﻤﺨﺘﻠﻑ ﺍﻝﺠﻭﺍﻨـﺏ
ﻋﻠﻰ ﻝﺤﻅﺎﺕ ﻀﻌﻔﻪ ﻭﺍﻨﻬﺯﺍﻤﻴﺘﻪ ،ﻭﻫﺫﺍ ﺴﺭ ﺒﻘﺎﺌﻪ ﻤﻜﺎﻓﺤﺎ ﺤﺘﻰ ﺍﻵﻥ .ﺇ
ﻓﻲ ﺍﻝﺸﹼﺨﺼﻴﺔ ،ﻤﺎ ﻜﺎﻥ ﺇﻴﺠﺎﺒﻴﺎ ﺃﻭ ﺴﻠﺒﻴﺎ ،ﻴﺠﻌل ﺍﻝﺸﹼﺨﺼﻴﺔ ﺃﻜﺜﺭ ﺤﻴﻭﻴﺔ ﻭﻭﺍﻗﻌﻴﺔ ﻭﺘﺄﺜﻴﺭﺍ ﻓﻲ ﻨﻔـﺱ
ﺍﻝﻘﺎﺭﺉ.
ﻭﺴﻴﺘﻡ ﺘﺤﻠﻴل ﺼﻭﺭﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻭﻓﻕ ﺠﻭﺍﻨﺏ ﻤﺨﺘﻠﻔﺔ ،ﺒﻤﺎ ﻴﻔﻲ ﻹﻅﻬﺎﺭ ﻫﺫﻩ ﺍﻝﺼﻭﺭﺓ ﺒﺸﻜل
ﻴﻨﻘﺴﻡ ﺃﺜﺭ ﺍﻝﺤﺭﺏ ﻋﻠﻰ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺇﻝﻰ ﻗﺴﻤﻴﻥ ،ﺃﺜﺭ ﻨﻔﺴﻲ ،ﻭﺁﺨﺭ ﻤﻠﻤﻭﺱ ،ﻭﻓﻴﻤﺎ ﻴﺨـﺹ
ﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻜﺎﻥ ﻴﻨﺘﻘل ﻤﻥ ﺤﺭﺏ ﺇﻝﻰ ﺃﺨﺭﻯ ،ﻭﻜﺎﻥ ﺁﺨﺭﻫﺎ
ﺍﻷﺜﺭ ﺍﻝﻨﹼﻔﺴﻲ ﻓﻘﺩ ﻜﺎﻥ ﻋﻤﻴﻘﺎ ،ﺨﺎﺼﺔ ﺃ
ﺍﻻﺤﺘﻼل ﺍﻝﺒﺭﻴﻁﺎﻨﻲ ﺍﻝﺫﻱ ﺘﺒﻌﻪ ﺍﺤﺘﻼل ﺼﻬﻴﻭﻨﻲ ،ﻭﻤﻥ ﺍﻝﻁﺒﻴﻌﻲ ﺃﻥ ﺘﺘﻭﺍﻝﻰ ﻫﺫﻩ ﺍﻻﺤﺘﻼﻻﺕ ﻜﻭﻨﻪ
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ﻴﻌﻴﺵ ﻓﻲ ﻤﻨﻁﻘﺔ ﺼﺭﺍﻉ ﺩﺍﺌﻡ ﻭﺃﺒﺩﻱ ،ﻭﻗﺩ ﺼﺎﺤﺏ ﻫﺫﻴﻥ ﺍﻻﺤﺘﻼﻝﻴﻥ ﺜﻭﺭﺍﺕ ﻭﻨﻜﺒﺎﺕ ﻭﻗﺘل ﻭﺘﻬﺠﻴﺭ
ﻭﺴﻠﺏ ﻝﻸﺭﺍﻀﻲ ﻭﺍﻝﻤﻤﺘﻠﻜﺎﺕ ﻭﺘﺠﻭﻴﻊ ،ﻓﻜﺎﻥ ﻻ ﺒ ﺩ ﺃﻥ ﻴﺘﺭﻙ ﺫﻝﻙ ﺃﺜﺭﺍ ﻓﻲ ﻨﻔﺱ ﺍﻝﻔﻠﺴـﻁﻴﻨﻲ ،ﻗـﺩ
ﻴﺨﺘﻠﻑ ﻤﻥ ﺸﺨﺹ ﺇﻝﻰ ﺁﺨﺭ ﻓﻲ ﺸﺩﺘﻪ ،ﻭﻗﺩ ﻜﺎﻥ ﺃﺸ ﺩ ﻫﺫﻩ ﺍﻵﺜﺎﺭ ﺍﻝﻨﻔﺴﻴﺔ ﺍﻝﺘﻲ ﻭﺼل ﺇﻝﻴﻬﺎ :ﻓﻘـﺩﺍﻥ
ﻥ ﺍﻝﻜﺜﻴﺭ ﻤﻥ
ﻥ ﻫﺫﺍ ﺍﻷﻤﺭ ﻴﺘﻌﻠﻕ ﺒﻤﺩﻯ ﺇﻴﻤﺎﻥ ﺍﻝﺸﹼﺨﺹ ﻭﺘﺴﻠﻴﻤﻪ ﺒﻘﻀﺎﺀ ﺍﷲ ،ﺇﻝﹼﺎ ﺃ
ﺍﻝﺜﹼﻘﺔ ﺒﺎﷲ ،ﻭﺭﻏﻡ ﺃ
ﺱ ﺍﻝﻌﻘﻴﺩﺓ ﻭﺍﻝﻌﻼﻗﺔ ﻤﻊ ﺍﷲ ،ﻭﻫـﺫﺍ ﻤـﻥ
ﺍﻝﻜﺘﹼﺎﺏ ﻴﺘﻐﺎﻀﻭﻥ ﺍﻝﺤﺩﻴﺙ ﻋﻥ ﻤﺜل ﻫﺫﻩ ﺍﻷﻤﻭﺭ؛ ﻷﻨﹼﻬﺎ ﺘﻤ
ﺍﻷﻤﻭﺭ ﺍﻷﻜﺜﺭ ﺤﺴﺎﺴﻴﺔ ،ﻭﻗﺩ ﻭﺭﺩ ﻫﺫﺍ ﺍﻝﺘﹼﻭﺘﹼﺭ ﻓﻲ ﻋﻼﻗﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺒﺨﺎﻝﻘﻪ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻓﻲ ﻗﻭل
ﺃﺒﻲ ﺍﻷﻤﻴﻥ ﻷﺨﻴﻪ ﺒﻌﺩ ﺍﺸﺘﻌﺎل ﺤﺭﺏ ﻋﺎﻡ " :48ﺃﺼﺤﺎﺏ ﺤﻕ ،ﻨﻌﻡ .ﺃﷲ ﻤﻌﻨﺎ .ﺃﺸﻙ" ،1ﻭﻴﺭ ﺩ ﻋﻠﻴﻪ
ﺃﺨﻭﻩ ﺒﻘﻭﻝﻪ" :ﺃﺴﺘﻐﻔﺭ ﺍﷲ ﺍﻝﻌﻅﻴﻡ ﻤﻥ ﻜ ّل ﺫﻨﺏ ﻋﻅﻴﻡ ،ﺘﻜﻔﺭ ﻓﻭﻕ ﺍﻝﺒﻴﻌﺔ" ،2ﻭﻫﺫﺍ ﺍﻝﺭﺩ ﻴﻅﻬﺭ ﻤـﺩﻯ
ﺍﻻﺨﺘﻼﻑ ﻓﻲ ﺘﻘﺒل ﺍﻷﻤﻭﺭ ﺒﻴﻥ ﺍﻻﻨﻬﺯﺍﻤﻴﺔ ﻭﻓﻘﺩﺍﻥ ﺍﻝﺜﹼﻘﺔ ﺒﺎﷲ ،ﻭﺍﻝﺜﹼﻘﺔ ﺍﻝﺘﹼﺎﻤﺔ ،ﻭﻫﺫﺍ ﺤﺎل ﺍﻝﻨﹼﺎﺱ ﻓـﻲ
ﺍﻝﻭﺍﻗﻊ ،ﻭﻗﺩ ﻜﺎﻥ ﻝﻬﺫﻩ ﺍﻝﺤﺭﺏ ﺃﺜﺭ ﻓﻲ ﺯﻋﺯﻋﺔ ﺇﻴﻤﺎﻥ ﺭﻗﻴﺔ ،ﺇﺫ ﺘﻘﻭل ﻓـﻲ ﺤﺎﺩﺜـﺔ ﻭﻓـﺎﺓ ﻭﺍﻝـﺩﻫﺎ
ﻭﺃﺨﻭﻴﻬﺎ " :ﻓﻠﺕ ﻤﻨﹼﻲ ﺍﻝﻜﻼﻡ :ﺃﻝﻡ ﻴﻜﻥ ﺃﺤﺴﻥ ﺃﻥ ﻴﺭﺤﻤﻬﺎ ﻓﻲ ﺤﻴﺎﺘﻬﺎ ﻭﻴﺒﻘﻲ ﻝﻬﺎ ﻭﻝﻭ ﻭﺍﺤـﺩﺍ ﻤـﻥ
ﺍﻝﺜﹼﻼﺜﺔ؟! ،3".ﻭﻜﻤﺎ ﻓﻲ ﺍﻝﺤﺎﻝﺔ ﺍﻝﺴﺎﺒﻘﺔ ،ﻓﻘﺩ ﺤﺭﺼﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻋﻠﻰ ﺍﻝﻤﻭﺍﺯﻨﺔ ،ﻓﻜﺎﻥ ﻫﻨﺎﻙ ﻤﻥ ﻴﺭﺩﻫـﺎ
ﺇﻝﻰ ﺼﻭﺍﺒﻬﺎ ،ﻓﻘﺎﻝﺕ ﻝﻬﺎ ﺨﺎﻝﺘﻬﺎ " :ﺨﻴﺭ ﻴﺎ ﺭﻗﻴﺔ؟! ﻝﻪ ﺤﻜﻤﺘﻪ ﺍﻝﺘﻲ ﻴﻌﺠﺯ ﻋﻨﻬﺎ ﺍﻝﻌﺒﺎﺩ .ﻗﻭﻝﻲ ﺍﻝﺤﻤﺩ
ﷲ ﺍﻝﺫﻱ ﻻ ﻴﺤﻤﺩ ﻋﻠﻰ ﻤﻜﺭﻭﻩ ﺴﻭﺍﻩ" ،4ﻭﺘﺼﻑ ﻫﺫﻩ ﺍﻝﺴﺎﺭﺩﺓ ﺒﺸﻜل ﺃﻜﺜﺭ ﺼﺭﺍﺤﺔ ،ﻋﻨﺩﻤﺎ ﻜﺘﺒـﺕ
ﻴﻭﻤﻴﺎﺘﻬﺎ ،ﺘﻌﻘﹼﺩ ﻋﻼﻗﺘﻬﺎ ﺒﺎﻝﺴﻤﺎﺀ ﺒﻌﺩ ﻫﺫﻩ ﺍﻝﺤﺎﺩﺜﺔ ﺇﺫ ﺘﻘﻭل " :ﺘﻌﻘﹼﺩﺕ ﻋﻼﻗﺘﻲ ﺒﺎﻝﺴﻤﺎﺀ ،ﺘﻌﻘﹼﺩﺕ ﺇﻝـﻰ
ﺤ ﺩ ﺍﻝﻔﺴﺎﺩ ﻤﻨﺫ ﺘﻠﻙ ﺍﻝﻠﺤﻅﺔ ﺍﻝﺘﻲ ﺭﺃﻴﺘﻬﻡ ﻓﻴﻬﺎ ﻋﻠﻰ ﺍﻝﻜﻭﻡ".5
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" ﺃﻋﺭﻑ ﺃﻨﻨﺎ ﻜﻨﺎ ﺸﻌﺒﺎ ﺃﻋﺯل ﺘﻭﺍﻁﺄ ﻋﻠﻴﻪ ﺍﻝﻘﺩﺭ" ،1ﻭﻓﻲ ﻤﻭﻀﻊ ﺜﺎﻝﺙ " :ﻝﻜﻨﻲ ﻻ ﺃﺴﺘﻁﻴﻊ ﻴﺎ ﺃﺒـﻲ،
ﻓﻲ ﻝﺤﻅﺎﺕ ﻴﺄﺴﻲ ،ﺇﻻ ﺃﻥ ﺃﻝﻭﻡ ﺍﻝﺩﻨﻴﺎ ﻜﻠﻬﺎ ﻋﻠﻰ ﻤﺼﻴﺒﺘﻨﺎ .ﺃﻥ ﺃﻝﻭﻡ ﺍﷲ ﻭﺃﻥ ﺃﻓﻘﺩ ﺇﻴﻤﺎﻨﻲ ﺒﻪ".2
ﻭﻤﻥ ﺍﻵﺜﺎﺭ ﺍﻝﻨﹼﻔﺴﻴﺔ ﺍﻝﺘﻲ ﻅﻬﺭﺕ ﻋﻠﻰ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ :ﺍﺨﺘﻼل ﺍﻝﺘﹼﻭﺍﺯﻥ ﻭﺴﻭﺀ ﺍﻝﺘﹼﻔﺎﻋـل ﻤـﻊ
ﺍﻝﻤﺤﻴﻁ ،ﻭﻤﺜﺎل ﺫﻝﻙ ﻗﻭل ﺍﻝﺴﺎﺭﺩﺓ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ " :ﻝﻁﻡ ﻋﻤﻲ ﺨﺩﻴﻪ ،ﻝﻁﻡ ﻜﺎﻝﻨﹼﺴﺎﺀ" ،3ﻭﻜﺎﻥ ﺫﻝﻙ
ﻨﺘﻴﺠﺔ ﺍﻨﻘﺴﺎﻡ ﻓﻲ ﺍﻝﺭﺃﻱ ﺒﻴﻥ ﺍﻹﺨﻭﺓ ،ﺇﺫ ﺃﺭﺍﺩ ﺃﺤﺩﻫﻡ ﺍﻝﺜﹼﺒﺎﺕ ﻤﻊ ﺃﺴﺭﺘﻪ ﻓﻲ ﺍﻝﻭﻁﻥ ،ﺒﻴﻨﻤﺎ ﺃﺭﺍﺩ ﺍﻵﺨﺭ
ﺘﺄﻤﻴﻥ ﺍﻝﻨﹼﺴﺎﺀ ﻭﺍﻷﻁﻔﺎل ﺜﻡ ﺍﻝﻌﻭﺩﺓ ﻝﻠﺠﻬﺎﺩ ،ﻭﻫﺫﺍ ﺍﻻﻨﺸﻁﺎﺭ ﻓﻲ ﺍﻝﺭﺃﻱ ﻴﺒﻴﻥ ﺍﻝﺘﹼﺨﺒﻁ ﺍﻝﻨﹼﺎﺠﻡ ﻋﻥ ﻫﻭل
ﺍﻝﻤﺄﺴﺎﺓ .ﻜﻤﺎ ﺘﻘﻭل ﺍﻝﺴﺎﺭﺩﺓ ﺃﻴﻀﺎ " :ﻝﻭﻫﻠﺔ ﺒﺩﺍ ﻝﻲ ﺃﻨﻨﻲ ﺴﺄﻝﻁﻡ ﻭﺠﻬﻲ ﺃﻭ ﺃﺼﻴﺢ ﻓﻴﻬﺎ ،4"...ﺃﻤـﺎ
ﻋﻥ ﻝﻁﻡ ﺍﻹﻨﺴﺎﻥ ﻝﺨﺩﻴﻪ ،ﻓﻭﻓﻕ ﺘﺤﻠﻴل ﻓﺭﻭﻴﺩ ﻝﻤﺜل ﻫﺫﻩ ﺍﻝﺘﹼﺼﺭﻓﺎﺕ ﻓﺈﻨﹼﻪ ﻗﺎﻡ " ﺒﺘﺤﻭﻴل ﻋﺩﻭﺍﻨﻪ ﻋﻠﻰ
ﺫﺍﺘﻪ ،ﻓﻬﻭ ﻴﺠﺫﺏ ﺸﻌﺭﻩ ﺃﻭ ﻴﻠﻁﻡ ﻭﺠﻬﻪ ﺒﻘﺒﻀﺘﻴﻪ ،ﻭﻫﺫﻩ ﻤﻌﺎﻤﻠﺔ ﻜﺎﻥ ﻴﻭ ﺩ ﻝﻭ ﻭﺠﻬﻬﺎ ﺇﻝـﻰ ﺸـﺨﺹ
ﻭﻤﻥ ﺍﻷﻤﺜﻠﺔ ﻋﻠﻰ ﺍﺨﺘﻼل ﺍﻝﺘﹼﻭﺍﺯﻥ ﻗﻭل ﺍﻝﺴﺎﺭﺩﺓ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ " :ﻝﻡ ﺃﻗل ﻝﻬﺎ ﺇﻨﻨﻲ ﻝـﻡ ﻏﻴﺭﻩ".5
ﻲ ﻜﺎﻨﺘﺎ ﻤﻔﺘﻭﺤﺘﻴﻥ ﺘﻤﺎﻤﺎ ،ﺃﺭﻯ ﺒﻬﻤﺎ ﺒﻭﻀﻭﺡ ﻭﻝﻜﻨﻨﻲ ﻝﻠﺤﻅﺔ ﻓﻘـﺩﺕ ﻜـ ّل
ﻥ ﻋﻴﻨ
ﺃﻜﻥ ﺃﻤﺯﺡ ،ﻭﻻ ﺃ
ﺍﺘﺠﺎﻩ .ﻝﻡ ﺃﻋﺭﻑ ﺃﻴﻥ ﻨﺤﻥ ،ﻓﻲ ﺸﻘﹼﺘﻨﺎ ﺃﻡ ﻓﻲ ﺍﻝﻤﻠﺠﺄ ﺃﻡ ﻓﻲ ﻤﻜﺎﻥ ﺜﺎﻝﺙ ،ﻓﺴﺄﻝﺕ ﻤﺭﻴﻡ" .6ﻜﻤﺎ ﺘﻘﻭل
ﺍﻝﺴﺎﺭﺩﺓ ﻋﻥ ﻭﺍﻝﺩﺘﻬﺎ ﻋﻨﺩﻤﺎ ﺭﺃﺕ ﺠﺜﺔ ﻭﺍﻝﺩﻫﺎ ﻭﺃﺨﻭﻴﻬﺎ " :ﺃﺸﺭﺕ ﺒﻴﺩﻱ .ﺸﺩﺩﺘﻬﺎ ﻤﻥ ﻴﺩﻫﺎ .ﺃﺸﺭﺕ.
ﻜﺎﻨﻭﺍ ﺃﻤﺎﻡ ﻋﻴﻨﻴﻬﺎ .ﻝﻡ ﺘﺭ ،ﻜﺄﻨﹼﻬﺎ ﻓﻘﺩﺕ ﺍﻝﺒﺼﺭ ﻝﺤﻅﺔ ﺜ ﻡ ﺍﺴﺘﻌﺎﺩﺘﻪ .ﻻ ﺃﺩﺭﻱ ﻜﻴﻑ ﻭﻝﻤﺎﺫﺍ" .7ﻭﻓـﻲ
ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﺘﻘﻭل ﺇﺤﺩﻯ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ " :ﻜﻴﻑ ﻴﻤﻜﻨﻨﺎ ،ﻜﻔﻠﺴﻁﻴﻨﻴﻴﻥ ،ﻴﺎ ﺃﺒﻲ ﺃﻥ ﻨﺤﺘﻔﻅ ﺒﺭﺠﺎﺤﺔ
ﻋﻘﻠﻨﺎ ﻭﺃﻥ ﻨﻌﺭﻑ ﺍﻝﺨﻁﺄ ﻤﻥ ﺍﻝﺼﻭﺍﺏ .ﺩﻓﺘﺭ ﺤﺴﺎﺒﺎﺘﻨﺎ ﻤﻀﻁﺭﺏ ﻭﻤﻠﻲﺀ ﺒﺎﻝﻐﻀﺏ .ﻜﻴﻑ ﻴﺴـﺘﻁﻴﻊ
8
ﺍﻹﻨﺴﺎﻥ ﺍﻝﻐﺎﺭﻕ ﻓﻲ ﺍﻷﻝﻡ ﺃﻥ ﻴﻤﻴﺯ ﺒﻴﻥ ﻤﺎ ﻴﺠﻭﺯ ﺍﻝﻘﻴﺎﻡ ﺒﻪ ﻭﻤﺎ ﻻ ﻴﺠﻭﺯ؟"
ﻓﺭﻭﻴﺩ ،ﺴﻴﺠﻤﻭﻨﺩ :ﺍﻝﻤﻭﺠﺯ ﻓﻲ ﺍﻝﺘﹼﺤﻠﻴل ﺍﻝﻨﹼﻔﺴﻲ ،ﺘﺭﺠﻤﺔ :ﺴﺎﻤﻲ ﻤﺤﻤﻭﺩ ﻋﻠﻲ ﻭﻋﺒﺩ ﺍﻝﺴﻼﻡ ﺍﻝﻘﻔﹼـﺎﺵ ،ﺩﻁ ،ﻤﺼـﺭ :ﺍﻝﻬﻴﺌـﺔ 5
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ﻭﻤﻥ ﻤﻅﺎﻫﺭ ﺍﻻﺨﺘﻼل ﺍﻝﻨﹼﻔﺴﻲ ﻋﻨﺩ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ :ﻋﺩﻡ ﺘﻘﺒل ﺍﻝﻭﺍﻗﻊ ﺍﻝﻤﻠﻤﻭﺱ ﻭﺍﺴﺘﺒﺩﺍﻝﻪ ﺒﻭﺍﻗﻊ
ﺨﻴﺎﻝﻲ ﻴﺭﻀﻲ ﺍﻝﺫﹼﺍﺕ ،ﻭﻫﻭ ﻤﺎ ﻴﺴﻤﻰ ﺒﺎﻝﺫﹼﺍﻜﺭﺓ ﺍﻝﻤﺯﻴﻔﺔ ﺤﻴﺙ " ﻴﺠﻤﻊ ﺍﻝﻤﺭﻴﺽ ﺫﻜﺭﻴﺎﺕ ﺯﺍﺌﻔﺔ ﻤﺒﻨﻴﺔ
ﻋﻠﻰ ﺃﺤﺩﺍﺙ ﺍﻝﻤﺎﻀﻲ .ﻭﻓﻲ ﺍﻝﻐﺎﻝﺏ ﻤﺎ ﺘﻜﻭﻥ ﻤﺠﺭﺩ ﺍﺨﺘﺭﺍﻉ ﻤﻥ ﺍﻝﻤﺭﻴﺽ ﺃﻭ ﻤﺠـﺭﺩ )ﻓﺒﺭﻜـﺔ("،1
ﻭﻤﺜﺎل ﺫﻝﻙ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻭﺍﻝﺩﺓ ﺭﻗﻴﺔ ﺍﻝﺘﻲ ﻝﻡ ﺘﺭ ﺠﺜﺔ ﺯﻭﺠﻬﺎ ﻭﻭﻝﺩﻴﻪ ﻋﻠﻰ ﺍﻝﻜﻭﻡ ﺭﻏـﻡ ﻨﻅﺭﻫـﺎ
ﺇﻝﻴﻬﻡ ،ﻭﺍﺨﺘﻼﻗﻬﺎ ﻗﺼﺔ ﺴﻔﺭﻫﻡ ﺇﻝﻰ ﻤﺼﺭ ﻭﺘﻌﺎﻴﺸﻬﺎ ﻤﻊ ﻫﺫﻩ ﺍﻝﻔﻜﺭﺓ ﺇﺫ ﺘﻘﻭل " :ﺍﻝﺤﻤﺩ ﷲ ﺯﻭﺠـﺕ
ﺭﻗﻴﺔ ﻓﺎﻨﺘﻘﻠﺕ ﻓﻲ ﺃﻤﺎﻥ ﺍﷲ ﻝﻠﻌﻴﺵ ﻓﻲ ﺩﺍﺭ ﺯﻭﺠﻬﺎ .ﺒﺈﻤﻜﺎﻨﻲ ﺍﻵﻥ ﺍﻝﺴﻔﺭ ﺇﻝﻰ ﻤﺼﺭ ﻝﻠﺒﺤـﺙ ﻋـﻥ
ﺍﻝﺼﺎﺩﻕ ﻭﺤﺴﻥ ...ﻝﻥ ﺃﻋﻭﺩ ﺇﻻ ﻭﻫﻤﺎ ﻤﻌﻲ" ،2ﻭﻫﻨﺎﻙ ﻨﻤﻭﺫﺝ ﺁﺨﺭ ﺘﻁﺭﺤﻪ ﺍﻝﻜﺎﺘﺒﺔ ﻝﺸﺨﺹ ﻴﺩﻋﻰ
ﺃﺤﻤﺩ ﺸﻤﺱ ﺍﻝﺩﻴﻥ ﺍﻝﺫﻱ ﻓﻘﺩ ﺃﺨﺘﻪ ﻭﺃﻭﻻﺩﻫﺎ ﺍﻝﺨﻤﺴﺔ ،ﻭﺯﻭﺠﺘﻪ ﻭﺃﻭﻻﺩﻩ ﺍﻷﺭﺒﻌﺔ ،ﻭﻝﻡ ﻴﺼـﺩﻕ ﻫـﺫﺍ
ﺍﻝﺸﹼﺨﺹ ﻓﻜﺭﺓ ﻤﻭﺘﻬﻡ ،ﻓﺄﺨﺫ ﻴﺒﺤﺙ ﻋﻨﻬﻡ ،ﻴﻘﻭل ﺍﻝﺴﺎﺭﺩ " :ﺭﺒﻤﺎ ﺍﺴﺘﻌﺎﺩ ﺒﻌﺽ ﺘﻭﺍﺯﻨﻪ .ﻝﻡ ﻴﺼـﺩﻕ
ﺃﻨﹼﻪ ﻓﻘﺩﻫﻡ ﺠﻤﻴﻌﺎ .ﻷﺴﺎﺒﻴﻊ ﺃﻭ ﺭﺒﻤﺎ ﻝﺸﻬﻭﺭ ﻜﺎﻥ ﻴﺩﻭﺭ ﻋﻠﻰ ﺍﻝﻤﺴﺘﺸﻔﻴﺎﺕ ﻴﺴﺄل ﻭﻴﻜﺭﺭ ﺍﻷﺴـﻤﺎﺀ
ﻭﺍﻷﻭﺼﺎﻑ .ﻜﺎﻥ ﻴﺫﻫﺏ ﺇﻝﻰ ﺍﻝﺠﻨﻭﺩ ﺍﻹﺴﺭﺍﺌﻴﻠﻴﻴﻥ 3"...ﻭﻫﺫﺍ ﺍﻷﻤﺭ ﺫﺍﺘﻪ ﻴﺘﻜﺭﺭ ﻓﻲ ﺭﻭﺍﻴﺔ ﻁـﺎﺒﻕ
،99ﻋﻨﺩﻤﺎ ﻴﺭﻓﺽ ﻭﺍﻝﺩ ﻤﺠﺩ ﺘﺼﺩﻴﻕ ﻓﻜﺭﺓ ﻭﻓﺎﺓ ﺯﻭﺠﺘﻪ ﻓﻲ ﻤﺠﺯﺭﺓ ﺸـﺎﺘﻴﻼ ،ﻭﺍﺨﺘﻼﻗـﻪ ﻓﻜـﺭﺓ
ﻋﻭﺩﺘﻬﺎ ﺇﻝﻰ ﻓﻠﺴﻁﻴﻥ ﻝﺘﻠﺩ ﻫﻨﺎﻙ ،ﻴﻘﻭل ﺍﻝﺴﺎﺭﺩ " :ﺒﻘﻲ ﺃﺒﻲ ﺤﻴﺎ ﻋﻠﻰ ﺃﻤل ﺃﻥ ﻴﻌﻭﺩ ﺇﻝـﻰ ﺍﻝﺠﻠﻴـل،
ﻥ ﺃﻤﻲ ﻝﻡ ﺘﻤﺕ ﻭﺇﻨﹼﻤﺎ ﺘﻨﺘﻅﺭﻩ ﻓﻲ )ﻜﻔﺭ ﻴﺎﺴﻴﻑ( ،ﻭﺃﻨﹼﻬﺎ ﻭﻀﻌﺕ ﻤﻭﻝﻭﺩﺍ ﺠﺩﻴﺩﺍ ﻴﺘﻠﻬـﻑ
ﻭﻤﻘﺘﻨﻌﺎ ﺃ
ﻝﺭﺅﻴﺘﻨﺎ" ،4ﻭﻗﺩ ﻤﺎﺕ ﻫﺫﺍ ﺍﻝﺸﹼﺨﺹ ﻭﻫﻭ ﻋﻠﻰ ﺍﻋﺘﻘﺎﺩﻩ ﻓﻘﺎل ﻤﻭﺼﻴﺎ ﺍﺒﻨﻪ ﻗﺒل ﺃﻥ ﻴﻤـﻭﺕ " :ﺃﻤﺎﻨﺘـﻙ
ﺃﻤﻙ ،ﺘﻨﺴﺎﺵ ﺘﺭﺠﻊ ﻝﻬﺎ ﻝﻤﺎ ﺘﺭﻭﻕ ﺍﻷﻭﻀﺎﻉ" ،5ﻭﺭﺒﻤﺎ ﺤﻤل ﻫﺫﺍ ﺍﻝﺸﹼﺨﺹ ﻜﻼﻤـﻪ ﻓـﻲ ﺍﻝﺠﻤﻠـﺔ
ﺍﻝﺴﺭﺩﻴﺔ ﺍﻝﺜﹼﺎﻨﻴﺔ ﻤﻌﻨﻰ ﻤﺠﺎﺯﻴﺎ ،ﻭﻫﻭ ﺃﻥ ﻓﻠﺴﻁﻴﻥ ﻫﻲ ﺍﻷﻡ ،ﻭﻫﺫﺍ ﺍﻝﺘﹼﻔﺴﻴﺭ ﺘﻭﻗﹼﻌﻪ ﺍﻝﺴﺎﺭﺩ ﺇﺫ ﻴﻘﻭل" :
ﻥ ﺫﻝﻙ ﺴﻴﻌﻨﻲ ﻤﻭﺕ ﻓﻠﺴﻁﻴﻥ" 6ﺜﻡ ﻴﻨﻬﻲ ﻫﺫﺍ ﺍﻝﺘﹼﻭﻗﹼـﻊ ﺒﺎﻝﺘﹼﺄﻜﻴـﺩ ﺇﺫ
ﺭﻓﻀﻪ ﺃﻥ ﻴﺘﻘﺒل ﻤﻭﺕ ﺃﻤﻲ ،ﻜﺄ
ﻋﻴﺴﻭﻱ ،ﻋﺒﺩ ﺍﻝﺭﺤﻤﻥ ﻤﺤﻤﺩ :ﻋﻠﻡ ﺍﻝﻨﻔﺱ ﺍﻝﻔﺴﻴﻭﻝﻭﺠﻲ -ﺩﺭﺍﺴﺔ ﻓﻲ ﺘﻔﺴﻴﺭ ﺍﻝﺴﻠﻭﻙ ﺍﻹﻨﺴـﺎﻨﻲ ،ﺩﻁ ،ﺍﻻﺴـﻜﻨﺩﺭﻴﺔ :ﺩﺍﺭ 1
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ﻴﻘﻭل ":ﺍﻷﻡ ﻫﻲ ﺍﻷﺭﺽ .ﻫﺫﻩ ﻫﻲ ﺍﻷﻡ ﺍﻝﺘﻲ ﻜﺎﻥ ﻴﺘﺤﺩﺙ ﻋﻨﻬﺎ ﺃﺒﻲ .ﺍﻵﻥ ﺼﺭﺕ ﺃﻓﻬـﻡ" .1ﻭﻫـﺫﺍ
ﺍﻻﺴﺘﻨﺘﺎﺝ ﺍﻝﺫﻱ ﺘﻭﻗﹼﻌﻪ ﺍﻝﺴﺎﺭﺩ ﻻ ﻴﻨﻔﻲ ﻭﺠﻭﺩ ﺍﻻﻀﻁﺭﺍﺏ ﻝﺩﻯ ﺘﻠﻙ ﺍﻝﺸﹼﺨﺼـﻴﺔ ﻓﺎﻻﻗﺘﺒـﺎﺱ ﺍﻷﻭل
ﻴﻅﻬﺭﻩ ﺒﻭﻀﻭﺡ ،ﻭﺍﻻﺴﺘﻨﺘﺎﺝ ﺍﻝﻤﺠﺎﺯﻱ ﻜﺎﻥ ﻤﺠﺭﺩ ﺘﻭﻗﹼﻊ ﻤﻨﻪ ﻴﺒﺭﺭ ﺒﻪ ﺘﺼﺭﻑ ﻭﺍﻝﺩﻩ.
ﻭﻤﻥ ﺍﻷﺜﺭ ﺍﻝﻨﹼﻔﺴﻲ ﻝﻠﺤﺭﺏ ﻋﻠﻰ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ :ﺍﻝﺘﹼﻭﺘﹼﺭ ،ﻓﻘﺩ ﺃﺴﻔﺭﺕ ﺍﻝﺤﺭﺏ ﻋﻥ ﺘﻭﺘﹼﺭ ﺩﺍﺌـﻡ
ﻝﻸﻋﺼﺎﺏ ،ﻭﻋﻴﺵ ﻓﻲ ﺘﺭﻗﹼﺏ ﻤﺴﺘﻤﺭ ،ﺘﻘﻭل ﺍﻝﺴﺎﺭﺩﺓ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ " :ﻨﻌﻡ ﺤﻘل ﺃﻝﻐﺎﻡ ﻷﻨﹼﻪ ﺤـﻴﻥ
ﺘﻨﻔﻠﺕ ﺍﻷﻋﺼﺎﺏ ﻴﻨﻔﺠﺭ ﺍﻝﻭﺍﺤﺩ ﻤﻨﹼﺎ ﻓﻲ ﺍﻵﺨﺭﻴﻥ ﻭﻨﻔﺴﻪ ﺒﺴﺒﺏ ﺃﻭ ﺒﻼ ﺴﺒﺏ .ﻀﺭﺒﺕ ﻤﺭﻴﻡ .ﺃﻓﻠﺘﺕ
ﻤﻨﹼﻲ ﻴﺩﻱ .ﺼﻔﻌﺘﻬﺎ ﻋﻠﻰ ﻭﺠﻬﻬﺎ ،ﺼﺤﺕ ﻓﻴﻬﺎ ﺃﻭ ﺼﺤﺕ ﻫﻜﺫﺍ ﻓﻲ ﻻ ﺃﺤﺩ ﺜ ﻡ ﺒﻜﻴﺕ" ،2ﻭﻴﻅﻬﺭ ﻤﻥ
ﻗﻭل ﺍﻝﺴﺎﺭﺩﺓ ﺃﻨﻬﺎ ﺼﻔﻌﺕ ﺍﺒﻨﺘﻬﺎ ﺒﻼ ﺴﺒﺏ ﻤﻔﻬﻭﻡ ،ﻝﻤﺠﺭﺩ ﺍﻝﺘﹼﻭﺘﹼﺭ ﻓﻘﻁ ،ﻭﻗﺩ ﺠﻌﻠﻬﺎ ﺍﻝﺘﹼﻭﺘﹼﺭ ﺘﻠﺠﺄ ﺇﻝـﻰ
ﺴﻠﹼﻡ ﻭﺭﺃﻴﺘﻙ ﺘـﺩﺨﹼﻨﻴﻥ
ﺘﺼﺭﻓﺎﺕ ﺴﻠﺒﻴﺔ ﺃﺨﺭﻯ ﻤﺜل ﺍﻝﺘﹼﺩﺨﻴﻥ ،ﺘﻘﻭل ﻤﺭﻴﻡ " :ﺠﻠﺴﺕ ﺒﺠﻭﺍﺭﻙ ﻋﻠﻰ ﺍﻝ
ﻝﻠﻤﺭﺓ ﺍﻷﻭﻝﻰ".3
ﻭﻤﻥ ﺍﻷﺜﺭ ﺍﻝﻨﹼﻔﺴﻲ ﻝﻠﺤﺭﺏ ﻋﻠﻰ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ :ﻓﻘﺩﺍﻥ ﺍﻝﻌﻘل ﺒﺸﻜل ﺘـﺎﻡ ،ﺃﻭ ﺍﻝﺠﻨـﻭﻥ ،ﻭﻗـﺩ
ﺭﺼﺩﺕ ﺍﻝﻜﺎﺘﺒﺘﺎﻥ ﻋﺩﺓ ﺤﺎﻻﺕ ﺤﺩﺙ ﻤﻌﻬﺎ ﻫﺫﺍ ،ﻓﻔﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻴﻘﻭل ﻋﺒﺩ " :ﻫﻨﺎﻙ ﺭﺠل ﺁﺨـﺭ...
ﺍﺨﺘ ّل ﻋﻘﻠﻪ ﺘﻤﺎﻤﺎ ...ﻜﺎﻥ ﺨﺎﺭﺝ ﺍﻝﺒﻨﺎﻴﺔ ﺴﺎﻋﺔ ﺍﻝﻘﺼﻑ ﻭﻝﻤﺎ ﻋﺎﺩ ﻭﺭﺃﻯ ﻤﺎ ﺭﺃﻯ ،ﺼﺎﺭ ﻴﻤﺸﻲ ﻓﻲ
ﺍﻝﻁﹼﺭﻗﺎﺕ ﻭﻫﻭ ﻋﺎﺭ ﺘﻤﺎﻤﺎ ،4".ﺃﻤﺎ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻓﺘﻌﺭﺽ ﺸﺨﺼ ﻴﺘﻴﻥ ﺘﻌﺭﻀﺘﺎ ﻝﻠﺠﻨـﻭﻥ ﻫﻤـﺎ:
ﺸﻭﻗﻲ ﺭﺤﻤﺔ ﻭﻋﺎﺩل ،ﺍﻝﻠﺫﺍﻥ ﺍﺨﺘﻠﹼﺎ ﺒﻌﺩ ﺍﻝﺤﺭﺏ ،5ﻭﻴﻔﺼل ﺍﻝﺴﺎﺭﺩ ﺍﻝﺤﺩﻴﺙ ﻋﻤـﺎ ﺃﺼـﺎﺒﻬﻤﺎ ،ﻝﻜـ
ﻥ
ﺍﻝﺒﺎﺤﺜﺔ ﻝﻥ ﺘﺘﻌﺭﺽ ﻝﻠﺤﺩﻴﺙ ﻋﻨﻬﻤﺎ ﻷﻨﹼﻬﻤﺎ ﻝﺒﻨﺎﻨﻴﺎﻥ ﻓﻴﻘﻌﺎﻥ ﺨﺎﺭﺝ ﺇﻁﺎﺭ ﻤﻭﻀﻭﻉ ﺍﻝﺩﺭﺍﺴـﺔ ،ﻝﻜـﻥ
ﻥ ﺍﻝﺤﺭﺏ ﻻ ﺘﺴﺘﺜﻨﻲ ﺃﺤﺩﺍ ﺒﻐﺽ ﺍﻝﻨﹼﻅﺭ ﻋﻥ ﺍﻝﺠﻨﺴﻴﺔ .ﻭﻫﺫﺍ ﺍﻝﺤﻀﻭﺭ ﺍﻝﻠﺒﻨﺎﻨﻲ ﺴﺒﺒﻪ
ﻭﺠﺏ ﺍﻝﺘﹼﻨﻭﻴﻪ ﻷ
ﻲ ﻭﻝﺒﻨﺎﻨﻴـﺔ ﺒﻁﻭﻝـﺔ
ﺘﺭﻜﻴﺯ ﻫﺫﻩ ﺍﻝﺭﻭﺍﻴﺔ ﻋﻠﻰ ﺍﻝﻌﻨﺼﺭ ﺍﻝﻠﺒﻨﺎﻨﻲ ﺒﺸﻜل ﻭﺍﻀﺢ ،ﺇﺫ ﺘﺸﺎﻁﺭ ﻓﻠﺴـﻁﻴﻨ
ﺍﻝﺭﻭﺍﻴﺔ ،ﻭﻜﺎﻥ ﻫﺅﻻﺀ ﺍﻷﺸﺨﺎﺹ ﺍﻝﺫﻴﻥ ﺃﺼﺎﺒﻬﻡ ﺍﻝﺠﻨﻭﻥ ﺃﺼﺩﻗﺎﺀ ﻭﺍﻝﺩﻩ ﻤﻥ ﺍﻝﻠﺒﻨـﺎﻨﻴﻴﻥ ،ﻓﻤﻭﻀـﻭﻉ
ﺍﻝﺭﻭﺍﻴﺔ ﻴﺭﻜﺯ ﻋﻠﻰ ﺍﻝﺠﻴل ﺍﻝﺠﺩﻴﺩ ﻤﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ،ﺠﻴل ﺍﻝﺸﺘﺎﺕ .ﻭﺤﺎﻻﺕ ﻓﻘﺩﺍﻥ ﺍﻝﻌﻘل ﺒﻌﺩ ﺭﺅﻴـﺔ
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ﺍﻝﻤﺠﺎﺯﺭ ﺃﻭ ﻤﻭﺕ ﺍﻷﻫل ﻭﺍﺭﺩﺓ ﺍﻝﺤﺩﻭﺙ ،ﺭﺼﺩﺕ ﺍﻝﻤﺼﺎﺩﺭ ﺍﻝﺘﹼﺎﺭﻴﺨﻴﺔ ﺒﻌﻀﻬﺎ ﻓﻔﻲ ﻜﺘﺎﺏ ﺍﻝﺘﻁﻬﻴﺭ
ﺍﻝﻌﺭﻗﻲ ﻭﺭﺩ ﺤﺩﻭﺙ ﺫﻝﻙ ﻓﻲ ﻤﺠﺯﺭﺓ ﺍﻝﻁﻨﻁﻭﺭﻴﺔ ،ﺇﺫ ﺘ ﻡ ﺇﻋﺩﺍﻡ ﺃﺏ ﺃﻤﺎﻡ ﺃﺒﻨﺎﺌﻪ ﻤﻤﺎ ﺃﺩﻯ ﺇﻝﻰ ﻓﻘـﺩﺍﻥ
ﺃﺤﺩﻫﻡ ﻝﻌﻘﻠﻪ ﻭﻝﻡ ﻴﺴﺘﻌﺩﻩ ﻗﻁ.1
ﻭﻤﻥ ﺍﻵﺜﺎﺭ ﺍﻝﻨﹼﻔﺴﻴﺔ ﻝﻠﺤﺭﺏ ﻋﻠﻰ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ،ﻤﺤﺎﻭﻝﺔ ﺇﻨﻬﺎﺀ ﺍﻝﺤﻴﺎﺓ ﺃﻭ ﺍﻻﻨﺘﺤﺎﺭ ﺍﻝﻨﹼﺎﺠﻡ ﻋﻥ
ﺍﻝﺸﹼﻌﻭﺭ ﺒﺎﻝﻔﺸل ،ﺘﻘﻭل ﺇﺤﺩﻯ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ " :ﺍﺠﺘﺎﺤﻨﻲ ﺸﻌﻭﺭ ﺒﺎﻝﻌﺒﺙ ﻜﺄﻨﻨﻲ ﻝﻡ ﺃﻜﻥ
ﻕ ﺃﻨﻨﻲ ﻜﻨﺕ ﻗﺭﺭﺕ".2
ﺴﻼﺡ .ﺃﻤﻲ ﻻ ﺘﻌﺭﻑ ﺃﻨﹼﻲ ﻜﻨﺕ ﺃﻓﻜﹼﺭ ﻓﻲ ﺍﻻﻨﺘﺤﺎﺭ .ﺍﻝﺤ ﹼ
ﻓﺩﺍﺌﻴﺎ ﺃﺤﻤل ﺍﻝ
ﻝﺘﻠﻙ ﺍﻷﻤﺎﻜﻥ ،ﻭﻤﺜﺎل ﺫﻝﻙ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺘﻌﻠﹼﻕ ﺤﺴﻥ ﺒﻤﻜﺎﻥ ﻋﻤﺎﺭﺓ ﺠﺎﺩ ﺍﻝﺘﻲ ﺩﻤﺭﺕ ﺃﺜﻨﺎﺀ ﺍﻝﺤﺭﺏ
ﻭﺍﺴﺘﺸﻬﺩﺕ ﻓﻴﻬﺎ ﺤﺒﻴﺒﺘﻪ ،ﺘﻘﻭل ﺍﻝﺴﺎﺭﺩﺓ " :ﻜﻠﹼﻤﺎ ﺍﺘﹼﺼل ﺒﻲ ﺤﺴﻥ ﻴﺴﺄﻝﻨﻲ :ﺃﻴﻥ ﻤﻭﻗﻊ ﺍﻝﺒﻨﺎﻴﺔ ﺍﻝﺘـﻲ
ﺘﺴﻜﻨﻴﻥ ﻓﻴﻬﺎ ﻤﻥ ﺒﻨﺎﻴﺔ ﺠﺎﺩ؟ ﻜﻴﻑ ﺃﺼل ﻝﻙ ﻤﻥ ﺒﻨﺎﻴﺔ ﺠﺎﺩ؟" ،3ﻭﺘﺴﻤﻴﺘﻪ ﻻﺒﻨﺘﻪ ﻋﻠﻰ ﺍﺴـﻤﻬﺎ ﻴـﺩ ّ
ل
ﻋﻠﻰ ﻋﺩﻡ ﺍﻝﺭﻏﺒﺔ ﻓﻲ ﻨﺴﻴﺎﻥ ﺍﻝﻤﺄﺴﺎﺓ ﻭﺍﻝﺘﹼﻤﺴﻙ ﺒﺎﻝﺤﺯﻥ ﺍﻝﻨﹼﺎﺠﻡ ﻋﻥ ﻫﺫﺍ ﺍﻻﺴﻡ .ﻭﻤﻥ ﺃﺸـﺩ ﺤـﺎﻻﺕ
ﺍﻝﺘﹼﻌﻠﹼﻕ ﻭﺃﻜﺜﺭﻫﺎ ﻏﺭﺍﺒﺔ ﻭﺘﻌﻘﻴﺩﺍ ﺘﻌﻠﹼﻕ ﺇﺤﺩﻯ ﺸﺨﺼﻴﺎﺕ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﺒﺂﺜﺎﺭ ﺍﻝﺤﺭﺏ ﻋﻠﻰ ﺠﺴﺩﻫﺎ،
ﻭﻫﻲ ﺸﺨﺼﻴﺔ ﻤﺠﺩ ﺍﻝﹼﺫﻱ ﺭﻓﺽ ﺍﻝﺘﹼﺨﻠﹼﺹ ﻤﻥ ﺍﻝﻨﹼﺩﺒﺔ ﻓﻲ ﻭﺠﻬﻪ ﻭﺍﻝﻌﺭﺝ ﻓﻲ ﺭﺠﻠﻪ؛ ﻷﻨﹼﻬـﺎ ﺘـﺫﻜﹼﺭﻩ
ﺒﻤﺠﺯﺭﺓ ﺸﺎﺘﻴﻼ ﻭﺤﺎﺩﺜﺔ ﻤﻭﺕ ﺃﻤﻪ ﻭﻤﺄﺴﺎﺓ ﻭﻁﻨﻪ ،ﺭﻏﻡ ﻭﺠﻭﺩ ﺸﻌﻭﺭ ﺩﺍﺨﻠﻲ ﻴﺩﻋﻭﻩ ﺇﻝﻰ ﺍﻝـﺘﹼﺨﻠﹼﺹ
ﻤﻥ ﻫﺫﻩ ﺍﻝﻌﺎﻫﺔ ،ﻴﻘﻭل ﺍﻝﺴﺎﺭﺩ ﻭﺍﺼﻔﺎ ﻫﺫﺍ ﺍﻝﺸﹼﻌﻭﺭ " :ﻜ ّل ﺤﺭﻜﺔ ﻜﺎﻨﺕ ﺘﻘﻭﻡ ﺒﻬﺎ ﺃﺜﺎﺭﺘﻪ .ﺒﺩﺍ ﺍﻷﻤـﺭ
ﻜﺄﻨﹼﻪ ﻴﺨﻠﻊ ﺍﻝﻨﹼﺩﺒﺔ ﻓﻲ ﻭﺠﻬﻪ ،ﻭﻴﺭﻤﻲ ﺍﻝﻌﻜﹼﺎﺯ ﺍﻝﺫﻱ ﻴﺴﺘﻨﺩ ﻋﻠﻴﻪ ﻝﻴﻤﺸﻲ ...ﻜﺎﻥ ﻴﺸﺘﻬﻲ ﺃﻥ ﻴﻜـﻭﻥ
ﻭﻝﻴﺱ ﺍﻝﻨﹼﻜﺭﺓ ﺍﻝﺫﻱ ﻴﺭﺍﻗﺏ ﻓﺤﺴﺏ" ،4ﻝﻜ
ﻥ ﻫﺫﺍ ﺍﻝﺸﹼﻌﻭﺭ ﻜﺎﻥ ﻴﻐﻠﺒﻪ ﺸﻌﻭﺭ ﺃﻗﻭﻯ ﺒﺎﻝﺘﹼﻌﻠﹼﻕ ﺒﺎﻝﻌﺎﻫـﺔ ﺇﺫ
ﻴﻘﻭل " :ﻝﻘﺩ ﻜﺎﻥ ﻫﻨﺎﻙ ﻤﺎل ﻭﻓﻴﺭ ،ﻝﻜﻥ ﻫﺫﺍ ﺍﻝﻭﺠﻊ ﻫﻭ ﺠﺯﺀ ﻤﻨﻲ" ،5ﻭﻫﺫﺍ ﺍﻝﺼﺭﺍﻉ ﺍﻝﻨﹼﻔﺴﻲ ﺍﻝﺩﺍﺨﻠﻲ
ﺍﻝﺩﺍﺨﻠﻲ ﻜﺎﻥ ﻝﻪ ﺁﺜﺎﺭﻩ ﻋﻠﻰ ﺍﻝﺠﺴﺩ ﺍﻝﻤﺘﻤﺜﹼﻠﺔ ﻓﻲ ﺍﻷﺭﻕ ﺇﺫ ﻴﻘﻭل " :ﺒﻘﻴﺕ ﻁﻭﺍل ﺍﻝﻠﻴل ﺃﻓﻜﹼﺭ ﻝﻤﺎﺫﺍ ﻝـﻡ
45
ﺃﺤﺎﻭل ﻴﻭﻤﺎ ﺃﻥ ﺃﻁﺒﺏ ﺴﺎﻗﻲ" ،1ﻭﻝﻡ ﻴﺘﻭﻗﻑ ﺍﻷﻤﺭ ﻋﻨﺩ ﺍﻝﺸﹼﻌﻭﺭ ﺒﺎﻝﻘﻠﻕ ،ﺒل ﺘﻌـﺩﺍﻩ ﺇﻝـﻰ ﻤﺤﺎﻭﻝـﺔ
ﺘﻌﻭﻴﺽ ﺍﻝﺘﹼﺸﻭﻩ ﺒﺎﻝﻨﹼﺠﺎﺡ ﻭﺭﺒﻁﻪ ﺒﻪ ﺇﺫ ﻴﻘﻭل " :ﺃﻨﺠﺢ ﺩﺍﺌﻤﺎ ﻓﻲ ﺘﻐﻠﻴﺏ ﺼﻭﺭﺓ ﺭﺠل ﺍﻷﻋﻤﺎل ﺍﻝﻨﹼﺎﺠﺢ
ﻋﻠﻰ ﺍﻝﻤﻌﺎﻕ ﺠﺴﺩﻴﺎ" .2ﻭﻤﻥ ﺃﻤﺜﻠﺔ ﺍﻝﺘﹼﻌﻠﻕ ﺒﺎﻝﺤﺯﻥ ﻗﻭل ﺍﻝﺸﹼﺨﺼﻴﺔ ﺴﺎﻝﻔﺔ ﺍﻝﺫﹼﻜﺭ " :ﻜﻨﺕ ﻓﻲ ﺴﻼﻡ ﻤﻊ
ﺤﺯﻨﻲ ﻭﺠﺎﺀﺕ ﻝﺘﻌﻜﹼﺭﻩ" .3ﻜﻤﺎ ﻜﺎﻥ ﺍﻝﺤﺯﻥ ﻻ ﻴﻔﺎﺭﻕ ﻭﺍﻝﺩﻩ ﺇﺫ ﻴﻘﻭل ﻋﻨﻪ " :ﻜﺎﻥ ﻫﻨﺎﻙ ﺒﺭﻴﻕ ﻤﺨﺘﻠﻑ
ﻓﻲ ﻋﻴﻨﻴﻪ ﻏﻴﺭ ﺍﻝﺫﻱ ﻋﻬﺩﻨﺎﻩ ،ﻻ ﺒﺭﻴﻕ ﻨﺼﺭ ﻭﻻ ﺒﺭﻴﻕ ﺃﻤل ﺒل ﻝﻤﻌﺔ ﺍﻝﺤﺯﻥ ﺍﻝﺘﻲ ﺘﻅﻬﺭ ﻓﻲ ﻋﻴﻭﻥ
ﺍﻝﻤﺘﺄﻝﻤﻴﻥ ﻤﻥ ﺍﻝﺤﻴﺎﺓ ،ﺤﻴﻥ ﺘﺯﺝ ﺒﻬﻡ ﻓﻲ ﺍﻤﺘﺤﺎﻥ ﻤﺎ" .4ﻭﻋﻥ ﺍﻻﻨﻬﺯﺍﻤﻴﺔ ﻴﻘﻭل ﺴﺎﺭﺩ ﺍﻝﺭﻭﺍﻴﺔ ﺴﺎﻝﻔﺔ
ﺍﻝﺫﻜﺭ " :ﺃﻨﺎ ﺃﻗﻭل ﺃﻨﻲ ﻻ ﺃﺴﺘﻁﻴﻊ ﺃﻥ ﺃﺭﻓﻊ ﻋﻥ ﻨﻔﺴﻲ ﻫﺫﺍ ﺍﻝﺸﻌﻭﺭ ﺒﺄﻨﻲ ﻤﻬﺯﻭﻡ ﻴﺎ ﺃﺒﻲ .ﻻ ﺃﻋﺭﻑ
ﻤﻥ ﺃﻴﻥ ﺃﺘﻴﺕ ﺒﺎﻝﻘﺩﺭﺓ ﻋﻠﻰ ﺃﻥ ﺘﺤﻤل ﻭﻝﺩﻴﻙ ﻭﺘﻬﺎﺠﺭ ﺒﻬﻡ ،ﺃﻥ ﺘﻘﺎﻭﻡ ﺇﻏﺭﺍﺀ ﺍﻝﻘﺘﺎل".5
ﻭﻗﺩ ﻴﺘﻤﺜﹼل ﻫﺫﺍ ﺍﻷﺜﺭ ﺍﻝﻨﹼﻔﺴﻲ ﺒﺠﻠﺩ ﺍﻝﺫﹼﺍﺕ ﻭﻝﻭﻤﻬﺎ ﻋﻠﻰ ﺃﻤﻭﺭ ﻝﻡ ﻴﻜﻥ ﻝﻬﺎ ﻴﺩ ﻓﻴﻬﺎ ،ﻭﺃﻤﺜﻠﺔ ﺫﻝﻙ
ﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ " :99ﻫل ﻜﺎﻥ ﻜ ّل ﻫﺫﺍ ﻝﻴﺯﻭل ﺒﺄﻥ ﺃﻗﻭل ﻝﻪ ﺇﻨﹼﻲ ﻤﻥ )ﺍﻝﺨﻁﺎﺓ(؟ ﻭﻫل ﻜﻨـﺕ ﻓـﻲ
ﻤﺤﺎﻭﻝﺘﻲ ﺍﻝﺩﺍﺌﻤﺔ ﻻﺴﺘﻨﺯﺍﻑ ﺭﺠﻠﻲ ﺍﻝﺘﻲ ﺘﺅﻝﻤﻨﻲ ،ﺃﺤﺎﻭل ﻤﻌﺎﻗﺒﺘﻬﺎ ﻷﻨﹼﻲ ﻝﻡ ﺃﺴﺎﻤﺢ ﻨﻔﺴﻲ ﻋﻠﻰ ﻤﺎ
ﺤﺼل ﻓﻲ ﺫﻝﻙ ﺍﻝﻴﻭﻡ ﺍﻝﻤﺸﺅﻭﻡ؟" ،6ﻭﻗﻭﻝﻪ " :ﺠﻤﻠﺔ )ﺨﻭﺩ ﺍﻝﻭﻝﺩ ﻭﺭﻭﺡ( ﻜﺎﻨـﺕ ﻜﺎﻓﻴـﺔ ﻝﺘﺸـﻌﺭﻨﻲ
ﺒﺎﻝﺫﹼﻨﺏ ﺃﻴﻀﺎ .ﻫل ﻜﻨﺕ ﺃﻨﺎ ﺴﺒﺒﺎ ﻝﺘﺭﻜﻬﺎ ﻓﻲ ﻤﻭﺍﺠﻬﺔ ﺫﻝﻙ ﺍﻝﻤﺼﻴﺭ ﺍﻷﺴﻭﺩ؟" .7ﻜﻤﺎ ﻴﺘﺴﺎﺀل " :ﻝﻤﺎﺫﺍ
ﻝﻤﺎﺫﺍ ﻝﻡ ﻴﺸﺭ ﺇﻝﻰ ﺫﻨﺒﻲ؟ ﻫﺫﺍ ﺍﻝﻜﺭﻡ ﺍﻝﻔﺎﺌﺽ ﻤﻨﻪ ﻜﺎﻥ ﻤﺅﻝﻤﺎ ﻝﻲ".8
ﻭﻤﻥ ﺍﻷﺜﺎﺭ ﺍﻝﻨﹼﻔﺴﻴﺔ ﻝﻠﺤﺭﺏ ﻋﻠﻰ ﺍﻹﻨﺴﺎﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻋﺩﻡ ﻓﻬﻤﻪ ﻝﺫﺍﺘﻪ ،ﺘﻘﻭل ﺍﻝﺴﺎﺭﺩﺓ ﻓـﻲ
ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ " :ﺃﻭ ﺭﺒﻤﺎ ﻻ ﺃﻋﺭﻑ ﻨﻔﺴﻲ .ﻻ ﺃﻋﺭﻑ ﻤﺎ ﺘﺭﻴﺩﻩ ﺭﻗﻴـﺔ ﻤـﻥ ﻫـﺫﻩ ﺍﻝﺤﻴـﺎﺓ .ﺍﺨﺘـ ّل
ﻨﻔﺴﻪ ،ﺹ.66
ﻨﻔﺴﻪ ،ﺹ.105 5
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ﺍﻝﻤﻴﺯﺍﻥ" ،1ﻭﻗﺩ ﻭﺭﺩ ﺫﻝﻙ ﺃﻴﻀﺎ ﻓﻲ ﻁﺎﺒﻕ ،99ﻴﻘﻭل ﺍﻝﺴﺎﺭﺩ " :ﻜﻨﺕ ﻓﻲ ﺤﺎﻝﺔ ﺘﺤ ﺩ ﻤـﻊ ﺠﺴـﺩﻱ،
ﻥ ﻋﻠﻴﻪ ﻤﺭﺍﺕ ﺃﺨﺭﻯ ﻓﺄﺤﺘﻀﻨﻪ".،2
ﺃﺘﺸﺎﺠﺭ ﻤﻌﻪ ﺃﺤﻴﺎﻨﺎ ،ﺃﺸﺘﻤﻪ ﻭﺃﻏﻀﺏ ﻤﻨﻪ ،ﻭﺃﺤ
ﻭﻤﻥ ﺁﺜﺎﺭ ﺍﻻﺨﺘﻼل ﺍﻝﻨﹼﻔﺴﻲ ﺍﻝﺤﺩﻴﺙ ﻤﻊ ﺍﻝﺫﹼﺍﺕ ﻭﺍﻷﻤﻭﺍﺕ ،ﻭﻤﺜﺎل ﺫﻝﻙ ﻓـﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴـﺔ
ﺤﺩﻴﺙ ﺍﻝﺴﺎﺭﺩﺓ ﻤﻊ ﺃﺨﻭﻴﻬﺎ ﺍﻝﻤﻴﺘﻴﻥ ﺇﺫ ﺘﻘﻭل " :ﺃﻗﻭل ﻝﻬﻤﺎ ﺍﺘﺭﻜﺎﻩ .ﻝﻤﺎﺫﺍ ﺘﺭﻴﺩﺍﻥ ﺃﻥ ﻴﻠﺤـﻕ ﺒﻜﻤـﺎ؟
ﺍﺫﻫﺒﺎ ﺒﻌﻴﺩﺍ ﺍﻵﻥ ،ﺃﺘﻭﺴل ﺇﻝﻴﻜﻤﺎ" ،3ﻭﻓﻲ ﺤﺎﻻﺕ ﺃﺨﺭﻯ ﻜﺎﻥ ﻫﺫﺍ ﺍﻻﻀﻁﺭﺍﺏ ﺃﻗـل ﺃﺜـﺭﺍ ﻓﻴﻜـﻭﻥ
ﺍﻝﺤﺩﻴﺙ ﻋﻠﻰ ﻫﻴﺄﺓ ﻜﻭﺍﺒﻴﺱ ﺃﺜﻨﺎﺀ ﺍﻝﻨﹼﻭﻡ ،ﻓﺈﺤﺩﻯ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ ﺍﻝﺘﻲ ﺘﻡ ﺃﺴﺭﻫﺎ ﻤـﻥ ﻗﺒـل ﺍﻝﺼـﻬﺎﻴﻨﺔ
ﻭﻜﻠﹼﻔﺕ ﺒﺩﻓﻥ ﺍﻝﻘﺘﻠﻰ ﻤﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﺘﻘﻭل " :ﺃﺫﻜﺭ ﻤﻥ ﺩﻓﻨﺘﻬﻡ .ﺃﺫﻜﺭ ﻭﺠﻭﻫﻬﻡ ﺠﻤﻴﻌﺎ .ﻭﻝﻜﻥ ﻭﺠﻬﺎ
ﺒﺎﻝﺫﹼﺍﺕ ﻴﺄﺘﻴﻨﻲ ﺃﺤﻴﺎﻨﺎ ﻓﻲ ﺍﻝﻤﻨﺎﻡ .ﻴﺤﺩﺜﻨﻲ .ﻭﻝﻜﻨﹼﻲ ﻋﻨﺩﻤﺎ ﺃﺴﺘﻴﻘﻅ ﻻ ﺃﺫﻜﺭ ﻤﻥ ﺍﻝﺤﺩﻴﺙ ﺃﻱ ﻜﻼﻡ".4
ﻭﻤﻥ ﻫﺫﻩ ﺍﻵﺜﺎﺭ ﺍﻝﻨﻔﺴﻴﺔ ﻝﻠﺤﺭﺏ ﻋﻠﻰ ﺍﻝﺸﹼﺒﺎﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ :ﺍﻝﺒﺭﻭﺩ ﻭﺍﻨﻌﺩﺍﻡ ﺍﻝﺭﻏﺒـﺔ ﺘﺠـﺎﻩ
ﺍﻝﺤﻴﺎﺓ ،ﻭﻤﺜﺎل ﺫﻝﻙ ﻓﻲ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻗﻭل ﻋﺒﺩ " :ﻤﺎ ﺠﺩﻭﻯ ﺒﻨﺎﺀ ﺍﻝﺒﻴﻭﺕ ﺍﻝﺠﻤﻴﻠﺔ ﺃﻭ ﺘﺨﻁـﻴﻁ
ﺍﻝﻤﺩﻥ ﺇﻥ ﻜﺎﻨﻭﺍ ﺴﻴﻬﺩﻤﻭﻨﻬﺎ ﻋﻠﻰ ﺭﺃﺴﻙ .ﻤﺎ ﺍﻝﺠﺩﻭﻯ؟" .5ﻜﻤﺎ ﻭﻀﺤﺕ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﺫﻝﻙ ﺃﻴﻀﺎ
47
ﻭﻤﻥ ﺍﻵﺜﺎﺭ ﺍﻝﻨﹼﻔﺴﻴﺔ ﻝﻠﺤﺭﺏ ﺍﻻﺯﺩﻭﺍﺠﻴﺔ ﻭﺍﻝﺘﹼﻨﺎﻗﺽ ﻓﻲ ﺍﻝﺸﹼﺨﺼﻴﺔ ،ﻓﻤﺠﺩ ﻓﻲ ﺭﻭﺍﻴﺔ ﻁـﺎﺒﻕ
1
99ﻤﺜﻼ ﻜﺎﻥ ﻴﺭﻯ ﻓﻲ ﻫﻴﻠﺩﺍ ﺍﻝﻠﺒﻨﺎﻨﻴﺔ ﺍﻝﻤﺴﻴﺤﻴﺔ ﺤﺒﻴﺒﺘﻪ ،ﻭﺃﺤﻴﺎﻨﺎ ﺃﺨﺭﻯ ﻋﺩﻭﺍ ﻴﺠﺏ ﺍﻻﻨﺘﻘﺎﻡ ﻤﻨﻪ.
ﻤﻥ ﺍﻵﺜﺎﺭ ﺍﻝﻤﺩﻤﺭﺓ ﻝﻠﺤﺭﺏ ﻋﻠﻰ ﻫﺫﺍ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﺸﹼﺘﺎﺕ ﻭﻤﺸﻜﻠﺔ ﺍﻝﻬﻭﻴﺔ ،ﺤﻴـﺙ ﺃﺼـﺒﺢ
ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻻﺠﺌﺎ ﺒﻼ ﻭﻁﻥ ،ﻭﻻ ﻴﺴﺘﻁﻴﻊ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﻭﻁﻨﻪ ،ﻭﺇﺫﺍ ﻋﺎﺩ ﺇﻝﻴﻪ ﻓﺴﻴﻌﻭﺩ ﺯﺍﺌـﺭﺍ ﻭﻴﺨـﺘﻡ
ﺠﻭﺍﺯ ﺴﻔﺭﻩ ﺒﺎﻝﺨﺘﻡ ﺍﻹﺴﺭﺍﺌﻴﻠﻲ ،ﻭﻫﺫﻩ ﺍﻝﻌﻭﺩﺓ ﻏﻴﺭ ﻤﺴﻤﻭﺤﺔ ﻁﺒﻌﺎ ﻝﻠﻔﻠﺴﻁﻴﻨﻲ ﺇﻻ ﺇﺫﺍ ﺍﻤﺘﻠﻙ ﺠﻨﺴـﻴﺔ
ﺃﺨﺭﻯ ،ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻴﻘﻭل ﺼﺎﺩﻕ " :ﺯﻴﺎﺭﺘﻙ ﻝﻔﻠﺴﻁﻴﻥ ﺘﺭﻑﹲ ﻻ ﻨﻤﻠﻜﻪ" ،2ﻭﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99
ﻴﻘﻭل ﺍﻝﺴﺎﺭﺩ " :ﺒﻘﻲ ﺃﺒﻲ ﺤﻴﺎ ﻋﻠﻰ ﺃﻤل ﺃﻥ ﻴﻌﻭﺩ ﺇﻝﻰ ﺍﻝﺠﻠﻴل" ،3ﻭﻗﺩ ﺘ ﻡ ﺘﻔﺼﻴل ﺍﻝﺤﺩﻴﺙ ﻋﻥ ﺍﻝﺸﺘﺎﺕ
ﻭﻤﻥ ﺁﺜﺎﺭ ﺍﻝﺤﺭﺏ ﺍﻝﻤﻠﻤﻭﺴﺔ ﻨﻘﺹ ﺍﻝﻤﻭﺍﺭﺩ ،ﻭﻗﺩ ﺃﺸﺎﺭﺕ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺇﻝـﻰ ﺫﻝـﻙ،
ﻭﻤﻨﻬﺎ ﻨﻘﺹ ﺍﻝﻤﻴﺎﻩ ﺘﻘﻭل ﺍﻝﺴﺎﺭﺩﺓ " :ﺃﺤﻤﻤﻬﺎ ﺒﺎﻝﺤ ﺩ ﺍﻷﺩﻨﻰ ﺍﻝﻤﻤﻜﻥ ﻤﻥ ﺍﻝﻤﺎﺀ ...ﻻ ﺃﻝﻘـﻲ ﺒﺎﻝﻤـﺎﺀ
ﺍﻝﻤﺘﺨﻠﹼﻑ ﻤﻥ ﺤﻤﺎﻤﻨﺎ ﺍﻷﺴﺒﻭﻋﻲ ﺒل ﺃﺴﺘﺨﺩﻤﻪ ﻓﻲ ﻤﺴﺢ ﺍﻝـﺩﺍﺭ ﻭﺃﺒﻘـﻲ ﺍﻝﻘﻠﻴـل ﻤﻨـﻪ ﻷﺴـﻘﻲ
ﺍﻝﺯﺭﻉ ،4"...ﻜﻤﺎ ﺃﺸﺎﺭﺕ ﺍﻝﺴﺎﺭﺩﺓ ﺇﻝﻰ ﺍﻨﻘﻁﺎﻉ ﺍﻝﺨﺒﺯ ﺇﺫ ﺘﻘﻭل " :ﻨﺯﻝﺕ ﻝﺸﺭﺍﺀ ﺨﺒﺯ .ﻜـﺎﻥ ﺍﻝﺨﺒـﺯ
ﻤﻘﻁﻭﻋﺎ" .5ﻭﻝﻡ ﺘﺸﺭ ﻜﺎﺘﺒﺔ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﺇﻝﻰ ﻫﺫﺍ ﺍﻷﻤﺭ.
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ﻭﻤﻥ ﺁﺜﺎﺭ ﺍﻝﺤﺭﺏ ﺍﻝﻤﻠﻤﻭﺴﺔ :ﺍﻝﻀﻭﻀﺎﺀ ﻭﺍﻝﺘﹼﻠﻭﺙ ﺍﻝﺴﻤﻌﻲ ،ﻭﻤﺜﺎل ﺫﻝﻙ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ" :
ﻥ ﺍﻝﻘﺫﻴﻔﺔ ﺩﺨﻠﺕ ﻓﻲ ﺃﺫﻨﻲ ﻭﺍﺴـﺘﻘﺭﺕ ﻓﻴﻬﻤـﺎ
ﻲ ﻓﻘﻁ ﺒل ﺃﺸﻌﺭ ﺃ
ﺍﻝﺼﻭﺕ .ﻝﻡ ﺘﻜﻥ ﺸﺩﺘﻪ ﺘﺅﻝﻡ ﺃﺫﻨ
ﻝﺘﻭﺍﺼل ﺍﻨﻔﺠﺎﺭﺍﺘﻬﺎ" ،1ﻭﻓﻲ ﻤﻭﻗﻊ ﺁﺨﺭ ﺘﻘﻭل " :ﻗﻨﺎﺒل ﻋﻨﻘﻭﺩﻴﺔ ﺘﻭﺍﺼل ﺍﻻﻨﻔﺠﺎﺭ ﻜﺄﻨﹼﻪ ﺃﺒﺩ" .2ﻭﻓﻲ
ﻥ ﺃﺒـﻲ
ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻴﻘﻭل ﺍﻝﺴﺎﺭﺩ " :ﺍﺭﺘﺒﻁﺕ ﺍﻝﻤﺠﺯﺭﺓ ﻓﻲ ﺭﺃﺴﻲ ﺒﺎﻝﺼﻤﺕ ،ﻋﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻥ ﺃ
ﻫﺭﺏ ﺒﻲ ﻗﺒل ﺃﻥ ﻴﻬﺩﺃ ﺍﻝﻘﺼﻑ" ،3ﻭﻴﺸﻴﺭ ﺍﻝﺴﺎﺭﺩ ﺇﻝﻰ ﺍﻝﻘﺼﻑ ،ﺇﻝﹼﺎ ﺃﻥ ﺍﻝﺼﻤﺕ ﻨﺎﺒﻊ ﻤـﻥ ﺍﻝﻤـﻭﺕ
ﺍﻝﻨﹼﺎﺠﻡ ﻋﻥ ﻫﺫﺍ ﺍﻝﻘﺼﻑ ﺍﻝﺫﻱ " ﻴﻜﺘﻡ ﺃﺼﻭﺍﺘﻬﻡ ،ﻭﻴﺤﺭﻤﻬﻡ ﺤﺘﹼﻰ ﻤﻥ ﺤﺸﺭﺠﺘﻬﻡ ﺍﻷﺨﻴـﺭﺓ ﻜـﺄﻥ
4
ﻴﻌﺘﺭﻀﻭﺍ ﻋﻠﻰ ﺍﻝﻘﺘل".
ﻻ ﺒ ﺩ ﺃﻥ ﻴﻜﻭﻥ ﺍﻷﻁﻔﺎل ﺃﻜﺜﺭ ﺍﻝﻤﺘﻀﺭﺭﻴﻥ ﻤﻥ ﺍﻝﺤﺭﺏ ،ﻭﻫﺫﺍ ﻤﺎ ﺤﺭﺼﺕ ﺍﻝﻜﺎﺘﺒﺘﺎﻥ ﻋﻠـﻰ
ﺇﻅﻬﺎﺭﻩ ،ﻓﻔﻲ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺸﺎﻫﺩ ﺍﻝﻁﻔل ﻋﺒﺩ ﺍﻝﺠﺜﺙ ﺍﻝﻐﺎﺭﻗﺔ ﺒﺎﻝﺩﻤﺎﺀ ﻓﻲ ﺤﺭﺏ ﻋـﺎﻡ 1948
ﻓﺼﺎﺭ ﻴﺒﻜﻲ ﺒﺼﻭﺕ ﻤﺭﺘﻔﻊ ،5ﻜﻤﺎ ﺸﺎﻫﺩﺕ ﺭﻗﻴﺔ ﺍﻝﻁﻔﻠﺔ ﺍﻝﺠﺜﺙ ﻓﻲ ﺍﻝﻁﻨﻁﻭﺭﺓ ﻓﻔﻘﺩﺕ ﺍﻝﻘﺩﺭﺓ ﻋﻠـﻰ
ﺍﻝﻜﻼﻡ ،6ﻭﻋﺯ ﺍﻝﺩﻴﻥ ﺃﻴﻀﺎ ﺭﺃﻯ ﺍﻝﺠﺜﺙ ﻓﻲ ﺍﻝﺒﺤﺭ ﻓﺎﻨﺘﺎﺒﻪ ﺍﻝﺭﻋﺏ ﻭﺼﺭﺥ ﺭﺍﻜﻀﺎ ﺇﻝﻰ ﻭﺍﻝﺩﻩ ﺍﻝـﺫﻱ
ﺃﻤﺭﻩ ﺒﻌﺩﻡ ﺍﻝﺒﻜﺎﺀ ،7ﻜﻤﺎ ﻓﻘﺩ ﻫﺫﺍ ﺍﻝﻁﻔل ﺃﺼﺤﺎﺒﻪ ﺒﺴﺒﺏ ﺍﻝﺘﺸـﺘﺕ ﻓـﻲ ﺍﻝـﺒﻼﺩ ﻭﺘﺭﺍﺠـﻊ ﻤﺴـﺘﻭﺍﻩ
ﺍﻝﺘﻌﻠﻴﻤﻲ ،8ﻜﻤﺎ ﺘﻌﺭﻀﺕ ﻤﺭﻴﻡ ﻝﻜﻤﻴﺔ ﻤﻥ ﺍﻝﻔﺯﻉ ﺠﻌﻠﺘﻬﺎ ﺘﺘﺒﻭل ﻓﻲ ﻓﺭﺍﺸﻬﺎ ،ﺘﻘﻭل ﺍﻝﺴﺎﺭﺩﺓ " :ﻋﺎﺩﺕ
ﻤﺭﻴﻡ ﺘﺘﺒﻭل ﻓﻲ ﻓﺭﺍﺸﻬﺎ ﺃﺜﻨﺎﺀ ﺍﻝﻨﹼﻭﻡ" ،9ﻭﻜﻠﻤﺔ ﻋﺎﺩﺕ ﻓﻲ ﻫﺫﻩ ﺍﻝﺠﻤﻠﺔ ﺍﻝﺴﺭﺩﻴﺔ ﺘﺩل ﻋﻠﻰ ﺘﻜﺭﺍﺭ ﻫﺫﺍ
ﻫﺫﺍ ﺍﻷﻤﺭ ،ﺇﺫ ﺘﻜﺭﺭ ﺫﻝﻙ ﻓﻲ ﻓﺘﺭﺍﺕ ﻤﺨﺘﻠﻔﺔ ،ﺘﻠﻙ ﺍﻝﻔﺘﺭﺍﺕ ﺍﻝﺘﻲ ﻜﺎﻨﺕ ﺘﻌﺎﻨﻲ ﻓﻴﻬـﺎ ﻤـﻥ ﺍﻝﺤـﺭﺏ
ﺍﻷﻫﻠﻴﺔ .ﻫﺫﺍ ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﺸﹼﺘﺎﺌﻡ ﺍﻝﺘﻲ ﻜﺎﻥ ﻴﺴﻤﻌﻬﺎ ﺍﻷﻁﻔﺎل ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻭﻥ ﻓﻲ ﺍﻝﻤﺩﺍﺭﺱ ﻜﻭﻨﻬﻡ ﻤـﻥ
49
ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ،ﺃﺜﻨﺎﺀ ﺍﻝﺤﺭﺏ ﺍﻷﻫﻠﻴﺔ ،ﻭﻤﺎ ﻜﺎﻥ ﻝﺫﻝﻙ ﻤﻥ ﺃﺜﺭ ﻋﻠﻰ ﻨﻔﺴﻴﺎﺘﻬﻡ ،ﺘﻘﻭل ﺍﻝﺴﺎﺭﺩﺓ ﻭﺍﺼـﻔﺔ
" ﻴﻌﻭﺩ ﺤﺴـﻥ ﻤﻤﺘﻘـﻊ ﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ:
ﺍﺒﻨﻬﺎ ﺒﻌﺩ ﻋﻭﺩﺘﻪ ﻤﻥ ﺍﻝﻤﺩﺭﺴﺔ ﻭﻗﺩ ﺴﻤﻊ ﺃﺤﺩﻫﻡ ﻴﺴ
ﺍﻝﻭﺠﻪ ﻭﺃﻜﺜﺭ ﺼﻤﺘﺎ ﻤﻥ ﺍﻝﻤﻌﺘﺎﺩ ،ﺘﺅﻝﻤﻪ ﻤﻌﺩﺘﻪ .ﺃﻏﻠﻲ ﻝـﻪ ﻤﻴﺭﻤﻴـﺔ ﺃﻭ ﻨﻌﻨﺎﻋـﺎ ،ﻭﻝﻜﻨﹼـﻪ ﻴﺒﻘـﻰ
1
ﻤﻭﺠﻭﻋﺎ".
ﻭﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻴﻤﺜل ﻤﺠﺩ ﻨﻤﻭﺫﺠﺎ ﻝﻠﻁﻔل ﺍﻝﺫﻱ ﻋﺎﻨﻰ ﻤﻥ ﻭﻴـﻼﺕ ﺍﻝﺤـﺭﺏ ،ﻓﻘـﺩ
ﺍﺴﺘﺸﻬﺩﺕ ﻭﺍﻝﺩﺘﻪ ﻓﻲ ﺸﺎﺘﻴﻼ ﻓﻔﻘﺩ ﺤﻨﺎﻥ ﺍﻷﻡ ،ﻭﻭﺍﺠﻪ ﻗﺴﻭﺓ ﺍﻝﺤﻴﺎﺓ ﻭﺤﺩﻩ ﺇﺫ ﻴﻘﻭل " :ﻜﻨﺕ ﺃﺴـﺘﻴﻘﻅ
ﻥ ﻏﻴﺎﺒﻬﺎ ﻫﺩﻡ ﺼﻭﺭﺓ ﺍﻝﻭﻝﺩ ﺍﻝﻤﺘﻜﺊ ﻋﻠﻰ ﺴﻨﺩ ﻤﺎ" ،2ﻭﻝﻡ ﻴﺴـﺘﻁﻊ ﻭﺍﻝـﺩﻩ
ﻝﻴﻼ ﺒﺤﺜﺎ ﻋﻨﻬﺎ ﻷﺩﺭﻙ ﺃ
ﺍﻝﺘﹼﻌﻭﻴﺽ ﻋﻥ ﻫﺫﻩ ﺍﻷﻡ ﻭﺇﻥ ﺤﺎﻭل ﺫﻝﻙ ﺠﺎﻫﺩﺍ ،ﻓﻘﺩ ﻜﺎﻥ ﺍﻝﻭﺍﻝﺩ ﻴﻌ ﺩ ﻝﻪ ﺴﻨﺩﻭﻴﺸﺎﺕ ﺭﻁﺒﺔ ﺃﻭ ﺠﺎﻓـﺔ
ﻤﻠﻔﻭﻓﺔ ﺒﺄﻭﺭﺍﻕ ﺍﻝﺠﺭﺍﺌﺩ ،ﺒﻴﻨﻤﺎ ﻜﺎﻨﺕ ﻭﺍﻝﺩﺘﻪ ﺘﺤﺴﻥ ﻝﻔﻬﺎ ﺒﺎﻝﻨﹼﺎﻴﻠﻭﻥ ﻭﺘﺭﺘﻴﺒﻬﺎ ﻓﻲ ﻋﻠﺏ ﺨﺎﺼﺔ ﻝﺘﺒﻘـﻰ
ﻁﺎﺯﺠﺔ ،ﻓﻜﺎﻥ ﻫﺫﺍ ﺍﻝﻁﹼﻔل ﻴﺸﻌﺭ ﺒﺎﻝﺤﺭﺝ ﺃﻤﺎﻡ ﺯﻤﻼﺌﻪ ﻭﻴﺫﻫﺏ ﻝﻴﺘﻨﺎﻭل ﻁﻌﺎﻤﻪ ﻓـﻲ ﺯﺍﻭﻴـﺔ ﻤـﺎ.3
ﻭﻴﻤﻜﻥ ﻝﻠﻘﺎﺭﺉ ﺃﻥ ﻴﺘﺨﻴل ﺍﻷﺒﻌﺎﺩ ﺍﻷﺨﺭﻯ ﺍﻝﺘﻲ ﻗﺩ ﻴﻌﺎﻨﻴﻬﺎ ﻫﺫﺍ ﺍﻝﻁﻔل ﺒﺴﺒﺏ ﻓﻘﺩﺍﻥ ﺃﻤﻪ ﻤﻥ ﺨـﻼل
ﻗﻭﻝﻪ ﺇﻨﻪ ﻝﻡ ﻴﻌﺩ ﻝﻪ ﺴﻨﺩ ﻴﺘﹼﻜﺊ ﻋﻠﻴﻪ ،ﻓﻼ ﻴﻘﺘﺼﺭ ﺍﻷﻤﺭ ﻋﻠﻰ ﺍﻝﻌﻨﺎﻴـﺔ ﺒﺎﻝﻁﹼﻌـﺎﻡ ،ﻓﻬﻨـﺎﻙ ﺍﻝـﺩﻋﻡ
ﻭﺍﻻﻫﺘﻤﺎﻡ ﻭﺍﻻﻋﺘﻨﺎﺀ ﺒﺎﻝﻤﻼﺒﺱ ﻭﺍﻝﻨﹼﻅﺎﻓﺔ ﻭﺍﻝﺤﻴﺎﺓ...
ﻝﻡ ﻴﻜﻥ ﻫﺫﺍ ﺍﻝﺘﺄﺜﻴﺭ ﺍﻝﻭﺤﻴﺩ ﻝﻠﺤﺭﺏ ﻋﻠﻰ ﻫﺫﺍ ﺍﻝﻁﻔل ،ﺇﺫ ﻋﺎﻨﻰ ﻤﻥ ﺘﺸﻭﻩ ﺒﺴـﺒﺏ ﺇﺼـﺎﺒﺘﻪ
ﺒﻘﺫﻴﻔﺔ ،ﻭﻜﺎﻥ ﻝﻬﺫﺍ ﺍﻝﺘﹼﺸﻭﻩ ﺃﺜﺭ ﻜﺒﻴﺭ ﻋﻠﻰ ﻨﻔﺴﻪ ﺨﺎﺼﺔ ﻋﻨﺩ ﺭﺅﻴﺔ ﺍﻵﺨﺭﻴﻥ ﻝﻪ ﺃﻭ ﺇﺸﻔﺎﻗﻬﻡ ﻋﻠﻴـﻪ ﺇﺫ
ﻴﻘﻭل " :ﺇﻥ ﻨﺠﺤﺕ ﻓﻲ ﺍﻝﻬﺭﺏ ﻤﻥ ﺍﻝﻤﺭﺁﺓ ﻓﻲ ﺒﺩﺍﻴﺔ ﺍﻷﻤﺭ ،ﻝﻡ ﻴﻜﻥ ﻫﻨﺎﻙ ﻤﻬﺭﺏ ﻤﻥ ﻗﺩﻤﻲ .ﻋﺒﺎﺭﺓ
ﻥ ﻓﻲ ﺃﺫﻨﻲ ،ﻓﺄﺤﺎﻭل ﺃﻥ ﺃﻨﺩﻓﻊ ﻓﻲ ﺍﻝﻤﺸـﻲ ﺃﻤﺎﻤﻬـﺎ
ﺨﺎﻝﺘﻲ ) ﻴﺎ ﺤﺴﺭﺘﻲ ﻋﻠﻴﻪ ﻫﺎﻝﺼﺒﻲ( ﻜﺎﻨﺕ ﺘﺭ
ﻜﺄﻨﹼﻲ ﺃﻗﻭل ﺃﻨﻲ ﺒﺨﻴﺭ ،ﻭﻻ ﺃﺭﻴﺩ ﻫﺫﻩ ﺍﻝﺸﹼﻔﻘﺔ" ،*4ﻜﻤﺎ
ﺴﺭﻗﺕ ﻁﻔﻭﻝﺘﻪ ﺒﺴﺒﺏ ﻫﺫﻩ ﺍﻹﻋﺎﻗﺔ ،ﻓﻠﻡ ﻴﻌـﺩ
ﻴﻠﻌﺏ ﻤﻊ ﺃﺒﻨﺎﺀ ﺍﻝﻤﺨﻴﻡ ﻷﻨﻬﻡ ﻜﺎﻨﻭﺍ ﻴﻨﻅﺭﻭﻥ ﺇﻝﻴﻪ ﺇﻤﺎ ﺒﺎﺤﺘﻘﺎﺭ ﺃﻭ ﺸﻔﻘﺔ ﻓﻜﺎﻥ ﻤﻨﺯﻭﻴﺎ ﻓـﻲ ﻏﺭﻓﺘـﻪ،
ﻥ.
ﻨﻔﺴﻪ ،ﺹ :* .181ﺇﻨﹼﻲ ،ﺒﻌﺩ ﻓﻌل ﺍﻝﻘﻭل ﺘﻜﺴﺭ ﻫﻤﺯﺓ ﺇ 4
50
ﻭﻴﺫﻜﺭ ﺃﺤﺩ ﺍﻝﻤﻭﺍﻗﻑ ﻋﻨﺩﻤﺎ ﺤﺎﻭل ﺍﻝﻠﻌﺏ ﺒﺎﻝﻜﺭﺓ ﻓﻴﻘﻭل " :ﺍﻗﺘﺭﺒﺕ ﻤﻨﻬﻡ ﻭﺤﺎﻭﻝﺕ ﺃﻥ ﺃﺭﻜﻠﻬﺎ ﺒﺭﺠﻠﻲ
ﺍﻝﺴﻠﻴﻤﺔ .ﻴﻭﻤﻬﺎ ﻭﻗﻌﺕ ﺃﺭﻀﺎ .ﻀﺤﻜﻭﺍ ﻜﻠﹼﻬﻡ".1
ﻅﻬﺭ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺘﻴﻥ ﺒﺼﻭﺭﺓ ﺇﻴﺠﺎﺒﻴﺔ ﻭﺃﺨﺭﻯ ﺴﻠﺒﻴﺔ ﺩﻭﻥ ﺘﺤﻴﺯ ﻹﺤﺩﺍﻫﻤﺎ ،ﻭﻫﺫﺍ
ﻴﻀﻔﻲ ﺍﻝﻤﺯﻴﺩ ﻤﻥ ﺍﻝﻭﺍﻗﻌﻴﺔ ﻋﻠﻰ ﺍﻝﺭﻭﺍﻴﺘﻴﻥ ،ﻭﻫﺫﻩ ﺍﻝﺼﻭﺭ ﻜﺎﻨﺕ ﻜﺎﻵﺘﻲ:
ﺘﺘﻌﺩﺩ ﺍﻝﻤﻼﻤﺢ ﺍﻹﻴﺠﺎﺒﻴﺔ ﻝﻺﻨﺴﺎﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ،ﻭﺃﻫﻡ ﻫﺫﻩ ﺍﻝﻤﻼﻤﺢ :ﺃﻨﹼﻪ ﻜﺎﻥ ﻤﺩﺭﻜﺎ ﻝﻤﺎ ﻴﺩﻭﺭ
ﺤﻭﻝﻪ ﻭﻤﺘﻴﻘﹼﻅﺎ ،ﻭﺩﻝﻴل ﺫﻝﻙ ﺍﻝﺜﹼﻭﺭﺍﺕ ﻭﺍﻹﻀﺭﺍﺒﺎﺕ ﺍﻝﺘﻲ ﻗﺎﻡ ﺒﻬﺎ ﻗﺒل ﻋﺎﻡ ،1948ﻭﺇﺩﺭﺍﻜﻪ ﻷﻫﻤﻴـﺔ
ﻥ ﺍﻝﺤﺭﺏ ﺘـﺩﻭﺭ
ﺍﻝﺴﻼﺡ ﻓﻲ ﺘﻠﻙ ﺍﻝﻤﺭﺤﻠﺔ ،ﺘﻘﻭل ﺍﻝﺴﺎﺭﺩﺓ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ " :ﻜﺎﻥ ﺍﻝﺒﻠﺩ ﻜﻠﻪ ﻴﻌﺭﻑ ﺃ
ﻥ ﺍﻝﺤﺎﺠﺔ ﻝﻠﺴﻼﺡ ﺼﺎﺭﺕ ﻜﺸﺭﺒﺔ ﻤﺎﺀ ،ﻀﺭﻭﺭ ﻴﺔ ﻝﻠﺒﻘﺎﺀ .ﺃﺼﺒﺢ ﺍﻝﺤﺩﻴﺙ ﻤﺸـﺎﻋﺎ
ﻫﻨﺎ ﻭﻫﻨﺎﻙ ،ﻭﺃ
ﺤﺘﹼﻰ ﺒﻴﻥ ﻨﺴﺎﺀ ﺍﻝﻘﺭﻴﺔ ﻋﻥ ﺸﺭﺍﺀ ﺍﻝﺴﻼﺡ" ،2ﻭﻝﻡ ﺘﺘﻌﺭﺽ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﺇﻝﻰ ﻤﺜل ﻫﺫﺍ ﺍﻝﺤﺩﻴﺙ؛
ﺫﻝﻙ ﻷﻨﹼﻬﺎ ﺘﺘﻨﺎﻭل ﺸﺎﺘﻴﻼ ﻭﻤﺎ ﺒﻌﺩﻫﺎ ،ﻭﻜﺎﻥ ﺍﻝﺤﺩﻴﺙ ﻋﻥ ﺍﻝﺘﹼﻬﺠﻴﺭ ﻤﻘﺘﻀﺒﺎ ﻴﻘﻭل ﺍﻝﺴﺎﺭﺩ ﻋﻥ ﻭﺍﻝﺩﻩ" :
ﻜﺄﻨﹼﻪ ﻴﻐﻔل ﻋﻥ ﺘﻔﺎﺼﻴل ﺍﻝﺭﺤﻠﺔ ﻝﻴﺘﺫﻜﹼﺭ ﻓﻘﻁ ﺃﻨﹼﻪ ﻭﺠﺩ ﻨﻔﺴﻪ ﻓﻲ ﻝﺒﻨﺎﻥ".3
ﻭﻤﻥ ﺍﻝﻁﺒﻴﻌﻲ ﺃﻥ ﺘﻨﺒﺜﻕ ﻋﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﻤﺘﻴﻘﻅ ﺼﻭﺭﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﻤﻘﺎﻭﻡ .ﻓﺨﻴﺎﺭ ﺍﻝﻤﻘﺎﻭﻤﺔ
ﻜﺎﻥ ﻏﻴﺭ ﻤﺨﺘﻠﻑ ﻋﻠﻴﻪ ﻋﻨﺩ ﺃﺒﻁﺎل ﺍﻝﺭﻭﺍﻴﺘﻴﻥ ،ﻭﻴﻤﻜﻥ ﺭﺼﺩ ﺫﻝﻙ ﻓـﻲ ﺘﺼـﺭﻑ ﺃﺒﻁـﺎل ﺭﻭﺍﻴـﺔ
ﺍﻝﻁﻨﻁﻭﺭﻴﺔ ﻋﻠﻰ ﻤﺩﺍﺭ ﺍﻝﺴﺭﺩ ،ﻓﺈﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻨﺨﺭﺍﻁﻬﻡ ﻓﻲ ﺍﻝﻜﻔﺎﺡ ﺍﻝﻤﺴﻠﹼﺢ ﺭﻓﻀﻭﺍ ﺍﻻﺘﻔﺎﻗﻴﺎﺕ ﺍﻝﺴﻠﻤﻴﺔ
ﻤﺜل ﺍﺘﻔﺎﻗﻴﺔ ﺃﻭﺴﻠﻭ ،ﺘﻘﻭل ﺍﻝﺴﺎﺭﺩﺓ ﻭﺍﺼﻔﺔ ﺭﺩ ﻓﻌل ﺍﺒﻨﻬﺎ " :ﻋﻠﹼﻕ ﺒﻤﺭﺍﺭﺓ ﻋﻠﻰ ﺤﺭﺹ ﺃﺒـﻭ ﻋﻤـﺎﺭ
ﻋﻠﻰ ﻤﺼﺎﻓﺤﺔ ﺭﺍﺒﻴﻥ ﻭﺒﻴﺭﺯ ،ﻭﺘﻤﻨﹼﻌﻬﻤﺎ ﻜﺄﻨﹼﻤﺎ ﻴﺘﻨﺎﺯﻻﻥ ﺒﺎﻝﻤﺼﺎﻓﺤﺔ .ﺸﻭ ﻫﺎﻝﻤﻬﺯﻝﺔ؟! ﺸﻭ ﺴـﻤﺔ
ﻫﺎﻝﺒﺩﻥ؟!" ،*4ﺃﻤﺎ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻓﻘﺩ ﻜﺎﻨﺕ ﺇﺤﺩﻯ ﺸﺨﺼﻴﺎﺘﻬﺎ ﻤﺩﺭﻜﺔ ﻝﺤﺘﻤﻴﺔ ﺨﻴـﺎﺭ ﺍﻝﻤﻘﺎﻭﻤـﺔ
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ﻥ ﻗﺩﺭ ﺍﻝﻤﻁﺭﻭﺩﻴﻥ ﻤﻥ ﺃﺭﻀﻬﻡ ،ﻁﻭﻋﺎ ﺃﻭ ﻗﺴﺭﺍ ،ﺃﻥ ﻴﺘﺤﻭﻝﻭﺍ ﺇﻝـﻰ
ﻻﺴﺘﺭﺩﺍﺩ ﺍﻝﺤﻘﻭﻕ ﺇﺫ ﺘﻘﻭل " :ﺇ
ﻥ ﺍﻝﺨﺭﺍﺏ ﻭﻗﻊ ﻭﺍﺴﺘﻔﺤل ﻓﻲ ﺃﻋﻤﺎﻗﻬﻡ) .ﺒﻬـﺎﺩﻱ
ﻤﻘﺎﺘﻠﻴﻥ ﺸﺭﺴﻴﻥ ،ﻝﻴﺱ ﻝﺭﻏﺒﺔ ﻓﻲ ﺍﻝﺩﻤﺎﺭ ،ﺒل ﻷ
ﻭﺍﻝﺘﹼﻤﺴﻙ ﺒﺤﻕ ﺍﻝﻌﻭﺩﺓ .ﻭﺒﺫﻝﻙ ﺘﻅﻬﺭ ﺼﻭﺭﺓ ﺇﻴﺠﺎﺒﻴﺔ ﺃﺨﺭﻯ ،ﻭﻫﻲ ﺼﻭﺭﺓ ﺍﻝﻔﻠﺴـﻁﻴﻨﻲ ﺍﻝﻤﺘﻤﺴـﻙ
ﺒﺤﻘﻭﻗﻪ ﺍﻝﻤﺴﻠﻭﺒﺔ ﻭﺃﺭﻀﻪ ﻭﺤﻕ ﺍﻝﻌﻭﺩﺓ ،ﻭﺘﻜﺜﺭ ﺍﻷﻤﺜﻠﺔ ﻋﻠﻰ ﺫﻝﻙ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺘﻴﻥ ﻤﻨﻬﺎ ﻓـﻲ ﺭﻭﺍﻴـﺔ
ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ " :ﻭﺃﺼﺤﺎﺒﻙ ﺍﻝﻘﺩﺍﻤﻰ ﺴﻴﺒﻘﻭﻥ ﺃﺼﺤﺎﺒﻙ ﺤﻴﻥ ﻨﺭﺠﻊ ﺒﻠﺩﻨﺎ" ،2ﻭﻓﻲ ﻤﻭﻀﻊ ﺁﺨﺭ " :ﻤﺎﻝﻙ
ﻴﺎ ﺭﻗﻴﺔ .ﻫل ﺴﻤﻌﻙ ﺜﻘﻴﻼ؟ ﺴﺄﻝﺘﻙ ،ﺒﺩﻨﺎ ﻨﺭﺠﻊ ﺒﻠﺩﻨﺎ" ،*3ﻭﻫﺫﻩ ﺍﻷﻤﺜﻠﺔ ﺘﺒﻴﻥ ﻋـﺩﻡ ﻓﻘـﺩﺍﻥ ﺍﻷﻤـل
ﺍﻷﻤﺜﻠﺔ ﻋﻠﻰ ﺍﻝﺘﹼﻤﺴﻙ ﺒﻬﺫﺍ ﺍﻝﺤﻕ :ﻋﻭﺩﺓ ﺒﻌﻀﻬﻡ ﺇﻝﻰ ﻓﻠﺴﻁﻴﻥ ﻤﺘﺴﻠﹼﻼ ،ﻭﻤﺜﺎل ﺫﻝﻙ ﺸﺨﺼـﻴﺔ ﺃﺒـﻲ
ﺨﻠﻴل ﺍﻝﺫﻱ ﻋﺎﺩ ﻭﺃﻗﺎﻡ ﻓﻲ ﻤﻘﺒﺭﺓ ﻤﺩﻋﻴﺎ ﺃﻨﹼﻪ ﺤﺎﺭﺴﻬﺎ ،5ﻭﻜﺫﻝﻙ ﺃﺒﻭ ﺍﻷﻤﻴﻥ ﻓﻘﺩ ﻜﺎﻥ ﺃﻭل ﻤﻥ ﻋﺎﺩ ﻤﻥ
ﺍﻝﻌﺎﺌﻠﺔ.6
ﻴﺎﺴﻴﻑ" ،7ﻭﻜﺎﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻴﺨﺎﻑ ﻋﻠﻰ ﻓﻜﺭﺓ ﺍﻝﻌﻭﺩﺓ ﺫﺍﺘﻬﺎ ﻤﻥ ﺍﻝﻀﻴﺎﻉ ،ﻓﻴﻘـﻭل ﺍﻝﺴـﺎﺭﺩ " :ﻤـﻊ
ﻥ ﺍﻝﻨﹼﺎﺱ ﺤﻴﻥ ﻴﻌﺘﺎﺩﻭﻥ ﺍﻝﻌﻴﺵ ﻓﻲ ﻤﻜﺎﻥ ﻤـﺎ ،ﻭﺇﻥ
ﺍﺘﹼﺴﺎﻉ ﻜ ّل ﻤﺨﻴﻡ ،ﻜﺎﻥ ﺃﻤل ﺍﻝﻌﻭﺩﺓ ﻴﺘﻀﺎﺀل ،ﻷ
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ﻜﺎﻥ ﻀﻴﻘﺎ ﻭﻏﻴﺭ ﻤﺭﻴﺢ ،ﻴﺼﺒﺢ ﻤﻥ ﺍﻝﺼﻌﺏ ﻋﻠﻴﻬﻡ ﺃﻥ ﻴﻐﺎﺩﺭﻭﻩ" .1ﻭﻋﻥ ﺇﻴﻤﺎﻨـﻪ ﺍﻝﻤﻁﻠـﻕ ﺒﺤـﻕ
ﺍﻝﻌﻭﺩﺓ ﻓﻘﺩ ﻜﺎﻥ ﻴﻭﺼﻲ ﺍﺒﻨﻪ ﺒﺄﻥ ﻴﻬﺘﻡ ﺒﺄﺸﺠﺎﺭ ﺍﻝﺯﻴﺘﻭﻥ ﺤﻴﻥ ﻴﻌﻭﺩ ،2ﻭﻋﻥ ﺍﻝﺘﹼﻤﺴﻙ ﺒﻬﺫﺍ ﺍﻷﻤل ﻴﻘﻭل:
" ﺘﺒﻘﻰ ﺫﺍﻜﺭﺘﻨﺎ ،ﻨﺤﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ،ﻤﻌﻠﹼﻘﺔ ﻜﻤﻥ ﻻ ﻴﺭﻴﺩ ﺃﻥ ﻴﻔﻘﺩ ﺃﻤل ﺍﻝﻌﻭﺩﺓ".3
ﻭﻤﻥ ﻫﺫﻩ ﺍﻝﺼﻭﺭ ﺍﻹﻴﺠﺎﺒﻴﺔ :ﺼﻭﺭﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﻤﺤﺎﻓﻅ ﻋﻠﻰ ﻫﻭ ﻴﺔ ﻭﻁﻨﻪ ،ﻭﻗﺩ ﺘﺠﻠﹼﻰ ﻫﺫﺍ
ﺍﻝﺘﹼﻤﺴﻙ ﺒﻤﺨﺘﻠﻑ ﺍﻝﺼﻭﺭ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻤﻨﻬﺎ ﻗﻴﺎﻡ ﺃﺒﻲ ﺍﻷﻤﻴﻥ ﺒﺘﺤﻔﻴﻅ ﺃﺤﻔـﺎﺩﻩ ﺨﺎﺭﻁـﺔ ﺍﻝـﻭﻁﻥ
ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻭﺍﻹﺼﺭﺍﺭ ﻋﻠﻰ ﺍﻝﺘﹼﻔﺎﺼﻴل ﺍﻝﺼﻐﻴﺭﺓ ﻓﻴﻬﺎ ﺘﻘﻭل ﺍﻝﺴﺎﺭﺩﺓ " :ﺍﺭﺴﻡ ﺍﻝﺨﺭﻴﻁـﺔ ﻴـﺎ ﻭﻝـﺩ
ﺍﺭﺴﻤﻬﺎ ﻜﺒﻴﺭﺓ ﻭﺒﺎﻷﻝﻭﺍﻥ ...ﻴﺩﻗﻕ ﺃﺒﻭ ﺍﻷﻤﻴﻥ ﺃﻜﺜﺭ ﻓﻲ ﺍﻝﺘﹼﻔﺎﺼﻴل ﺜ ﻡ ﻴﺯﺤﻑ ﻭﻴﺠﻠﺱ ﻋﻠﻰ ﺍﻝﺨﺭﻴﻁﺔ
ﻭﻴﻤ ﺩ ﻴﺩﻩ ﻭﻴﺘﻨﺎﻭل ﺍﻝﻘﻠﻡ ﻤﻥ ﺤﺴﻥ ﻭﻴﻀﻴﻑ ﺒﻠﺩﺍﺕ ﻭﻗﺭﻯ ،4"...ﻜﻤﺎ ﻜﺎﻥ " ﻴﺤﻜﻲ ﺒﺎﻝﻴﻭﻡ ﻭﺍﻝﺴﺎﻋﺔ
ﻭﺍﻝﺤﻲ ﻭﺍﻝﺸﹼﺎﺭﻉ ﻭﺍﻝﻌﻁﻔﺔ ﻭﺍﻝﺯﺍﻭﻴﺔ ،ﻜﺄﻨﹼﻪ ﻴﻨﺸﺭ ﺤﻴﻔﺎ ﻜﺎﻤﻠﺔ ﺃﻤﺎﻡ ﺍﻝﺴﺎﻤﻌﻴﻥ" .5ﻜﻤﺎ ﻗﺎﻤـﺕ ﺭﻗﻴـﺔ
ﺒﺘﻠﻘﻴﻥ ﻫﺫﺍ ﺍﻝﺩﺭﺱ ﺇﻝﻰ ﺍﺒﻨﺘﻬﺎ ﺇﺫ ﺘﻘﻭل ﺍﻷﺨﻴﺭﺓ " :ﺩﺭﺱ ﻓﻲ ﺍﻷﺨﻼﻕ ﻭﺍﻝﺘﹼﺎﺭﻴﺦ ﻭﺍﻝﺠﻐﺭﺍﻓﻴﺎ ﻭﺸﺠﺭﺓ
ﺍﻝﻌﺎﺌﻠﺔ ...ﻭﺍﻝﻼﺯﻤﺔ ﻨﺤﻥ ﻓﻠﺴﻁﻴﻨﻴﻭﻥ .ﻻﺠﺌﻭﻥ .ﺃﻭﻻﺩ ﻤﺨﻴﻡ" .6ﻓﻘﺩ ﻜﺎﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺤﺭﻴﺼﺎ ﻋﻠـﻰ
ﺍﻝﺘﹼﻤﺴﻙ ﺒﻜل ﻋﺎﺩﺍﺘﻪ ﻭﺘﻘﺎﻝﻴﺩﻩ ﻭﺃﺸﻴﺎﺌﻪ ﻤﻬﻤﺎ ﻜﺎﻨﺕ ﺼﻐﻴﺭﺓ ،ﺇﺫ ﺘﻘﻭل ﺍﻝﺴﺎﺭﺩﺓ " :ﻨﺒﻬﺘﻙ ﺃﻨﹼﻙ ﺘﻨﺯﻝﻘﻴﻥ
ﺇﻝﻰ ﺃﺴﻠﻭﺏ ﺤﻴﺎﺓ ﻻ ﺘﻨﺘﻤﻲ ﺇﻝﻴﻪ" ،7ﻜﻤﺎ ﺃﺭﺍﺩ ﺃﺤﺩﻫﻡ ﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﺘﻁﻠﻴﻕ ﺯﻭﺠﺘـﻪ ﻷﻨﹼﻬـﺎ
ﺭﻤﺕ ﺒﺄﻏﺭﺍﺽ ﺃﺘﻭﺍ ﺒﻬﺎ ﻤﻥ ﻓﻠﺴﻁﻴﻥ ،8ﻭﻗﺩ ﺴﺒﻕ ﺘﻔﺼﻴل ﺍﻝﺤﺩﻴﺙ ﻋﻥ ﺫﻝﻙ.
ﻭﻤﻥ ﺍﻝﺼﻭﺭ ﺍﻹﻴﺠﺎﺒﻴﺔ ﻝﻠﻔﻠﺴﻁﻴﻨﻲ ،ﺼﻭﺭﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﺤﺎﻓﻅ ﻝﻠﺠﻤﻴل ،ﻭﻗـﺩ ﻭﺭﺩﺕ ﻫـﺫﻩ
ﺍﻝﺼﻭﺭﺓ ﻓﻲ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ،ﻓﻠﻡ ﻴﻨﻜﺭ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﻤﺴﺎﻋﺩﺓ ﺍﻝﺘﻲ ﻗﺩﻤﺕ ﻝﻪ ﻤﻥ ﻗﺒل ﺍﻝﻠﺒﻨـﺎﻨﻴﻴﻥ،
ﻭﻗﺩ ﺭ ﺩ ﻫﺫﺍ ﺍﻝﺠﻤﻴل ﺒﻌﻤل "ﺒﺭﻨﺎﻤﺞ ﻤﻜﺜﹼﻑ ﻤﻥ ﺍﻝﺯﻴﺎﺭﺍﺕ .ﻴﺸﻤل ﺍﻝﺠﻴﺭﺍﻥ ﻭﺠﻴﺭﺍﻥ ﺍﻝﺠﻴـﺭﺍﻥ ،ﻓـﻲ
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ﻲ ﺍﻝﺴﺒﻴل ﻭﺃﺒﻭ ﻨﺨﻠﺔ ﻭﺍﻷﺤﻴﺎﺀ ﺍﻝﻤﺠﺎﻭﺭﺓ" ،1ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺩﻋﻭﺍﺕ ﻝﻠﺯﻴﺎﺭﺓ ﻭﺍﻝﺘﺭﺤﻴﺏ ﻓـﻲ ﺤـﺎل
ﺤ
ﺴﻴﺭﺠﻌﻭﻥ ﺒﻌﺩ ﺍﻨﺘﻬﺎﺌﻬﺎ .ﻜﻤﺎ ﻜﺎﻥ ﻝﺒﻌﻀﻬﻡ ﻁﺭﻕ ﺃﺨﺭﻯ ﻓﻲ ﺭ ﺩ ﺍﻝﺠﻤﻴل ﻓﻘﺩ ﺸﺎﺭﻙ ﺃﺒـﻭ ﺍﻷﻤـﻴﻥ
ﺍﻝﺸﹼﻴﻌﺔ ﻓﻲ ﻤﻅﺎﻫﺭﺍﺘﻬﻡ ﺍﻝﺩﺍﻋﻴﺔ ﺇﻝﻰ ﺍﻹﺼﻼﺡ ﺍﻝﺴﻴﺎﺴﻲ ﻭﺘﺴﻠﻴﺢ ﺃﻫﺎﻝﻲ ﻗﺭﻯ ﺍﻝﺠﻨﻭﺏ ،ﻓﻴﻘـﻭل ﺭﺍﺩﺍ
ﻋﻠﻰ ﻤﻥ ﻋﺎﺭﺽ ﻤﺸﺎﺭﻜﺘﻪ " :ﻴﺎ ﻋﻴﺏ ﺍﻝﺸﹼﻭﻡ .ﻝﻡ ﻴﻘﺼﺭﻭﺍ ﻓﻴﻨﺎ ،ﻜﻴﻑ ﻨﻘﺼﺭ ﻓﻴﻬﻡ؟!".2
ﻜﻤﺎ ﻅﻬﺭ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺒﺼﻭﺭﺓ ﺍﻝﻤﺘﻤﺎﺴﻙ ﺍﻝﻤﺘﻼﺤﻡ ﻤﻊ ﺃﺒﻨﺎﺀ ﺸﻌﺒﻪ ،ﻭﻤﺜﺎل ﺫﻝـﻙ ﺍﺴـﺘﺨﺩﺍﻡ
ﺍﻝﻀﻤﻴﺭ ﻨﺤﻥ ﻋﻨﺩ ﺍﻝﺤﺩﻴﺙ ﻤﺜل ﻗﻭل ﺃﺒﻲ ﺍﻝﺼﺎﺩﻕ " :ﻴﺄﺘﻴﻬﻡ ﺍﻝﺴﻼﺡ ﻤﻥ ﻜ ّل ﻤﻜﺎﻥ ،ﻭﻨﺤﻥ ﻨﺤﻔـﻰ
ﻝﻠﺤﺼﻭل ﻋﻠﻰ ﺒﻨﺎﺩﻕ" ،3ﻭﻜﺫﻝﻙ ﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻴﻘﻭل ﺍﻝﺴﺎﺭﺩ " :ﻜﺭﺍﻤﺘﻨﺎ .ﻨﻌﻡ .ﺃﺘﻌﺭﻑ ﻝﻤـﺎﺫﺍ
4
ﻫﻲ ﻜﺭﺍﻤﺘﻨﺎ ﻴﺎ ﺃﺒﻲ .ﻷﻨﻨﺎ ﺇﻥ ﻝﻡ ﻨﻌﺩ ،ﻝﻴﺱ ﺍﻝﺒﻌﺩ ﻤﺎ ﺴﻴﺩﻤﺭﻨﺎ ﺒل ﻫﺫﺍ ﺍﻝﺸﹼﻌﻭﺭ ﺍﻝﻘﺎﺘل ﺒﺎﻝﻤﻅﻠﻭﻤﻴﺔ".
ﺒﺎﻝﻤﻅﻠﻭﻤﻴﺔ 4".ﻫﺫﺍ ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺘﻘﺎﺴﻡ ﺍﻝﻁﹼﻌﺎﻡ ﻭﺍﻝﺴﻜﻥ ﺃﺜﻨﺎﺀ ﺍﻷﺯﻤﺔ ﻭﻋﻤل ﺍﻝﺼﺩﺍﻗﺎﺕ ،ﻓﻌ ﺯ ﺍﻝﺩﻴﻥ ﻓﻲ
ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻜﺎﻥ " ﻴﻌﺭﻑ ﺍﻝﺠﻤﻴـﻊ ﺒـﺎﻝﺠﻤﻴﻊ ...ﺜـ ﻡ ﻴﻌـﺭﻑ ﺍﻷﻫـل ﺒﺎﻷﻫـل ﻓﻴﺘـﺯﺍﻭﺭﻭﻥ
ﻭﻴﺘﺼﺎﺩﻗﻭﻥ" ،5ﻭﺨﻴﺭ ﻤﺜﺎل ﻋﻠﻰ ﻫﺫﺍ ﺍﻝﺘﹼﻼﺤﻡ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺘﺭﺒﻴﺔ ﺭﻗﻴﺔ ﻭﺃﻤﻴﻥ ﻝﻠﻁﻔﻠـﺔ ﺍﻝﻠﻘﻴﻁـﺔ
ﻤﺭﻴﻡ ،ﺍﻝﺘﻲ ﻓﻘﺩﺕ ﻭﺍﻝﺩﻴﻬﺎ ﻓﻲ ﺍﻝﺤﺭﺏ .ﻭﺘﻘﻭل ﺍﻝﺴﺎﺭﺩﺓ ﻋﻥ ﻫﺫﻩ ﺍﻝﻠﺤﻤـﺔ " :ﻤـﻥ ﻴﻌﺭﻓـﻭﻨﻬﻡ ﻭﻻ
ﻥ ﺤﻜﺎﻴﺎﺘﻬﻡ ﺘﺼﻠﻬﻡ ﻭﻴﺘﻨﺎﻗﻠﻭﻨﻬﺎ ﻓﻴﻤﺎ ﺒﻴﻨﻬﻡ ﻝﺘﺼﺒﺢ
ﻴﻌﺭﻓﻭﻨﻬﻡ ﻭﻤﻥ ﺍﻝﺘﻘﻭﺍ ﺒﻬﻡ ﺃﻭ ﻝﻡ ﻴﻠﺘﻘﻭﺍ ﺒﻬﻡ ﺒﺄ
ﻤﻥ ﺼﻠﺏ ﺍﻝﻤﺸﺘﺭﻙ ﺍﻝﻌﺎﺌﻠﻲ".6
ﻭﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻴﺸﻴﺭ ﺍﻝﺴﺎﺭﺩ ﺇﻝﻰ ﻭﺠﻭﺩ ﻤﺜل ﻫﺫﻩ ﺍﻝﻠﺤﻤﺔ ﺒﻘﻭﻝﻪ " :ﻜﺎﻨﺕ ﺘﻘﻭل ﺩﺍﺌﻤﺎ
ﻥ ﻫﺫﻩ ﺍﻝﻠﺤﻤﺔ ﺒﻴﻥ ﺃﺒﻨﺎﺀ ﺍﻝﻭﻁﻥ ﺍﻝﻭﺍﺤﺩ ،ﻓﻲ ﺍﻝﺸﹼﺘﺎﺕ ،ﻫﻲ ﻤﺎ ﺘﺼﺒﺭﻫﻡ ﻋﻠﻰ ﺍﻝﺘﹼﻬﺠﻴﺭ" ،7ﻭﻗﻭﻝـﻪ:
ﺇ
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"ﻤﺎ ﺍﻝﻨﺎﺵ ﻏﻴﺭ ﺒﻌﺽ ،ﻜﺎﻨﺕ ﺘﺠﻴﺒﻪ" ،1ﻓﻘﺩ ﻜﺎﻥ ﺍﻝﺸﹼﻌﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻤﺘﺭﺍﺒﻁﺎ ﺭﻏﻡ ﻜ ّ
ل ﺸﻲﺀ ﻴـﺩﻋﻡ
ﺒﻌﻀﻪ ﺒﻌﻀﺎ ﻭﻴﺘﺸﺎﺭﻙ ﺍﻷﻤﻭﺭ ﻜﻠﻬﺎ.
ﻭﻤﻥ ﺍﻝﺼﻭﺭ ﺍﻹﻴﺠﺎﺒﻴﺔ ،ﺼﻭﺭﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﻁﹼﻤﻭﺡ ﺍﻝﺫﻱ ﻴﺒﻨﻲ ﺫﺍﺘﻪ .ﻝﻘﺩ ﺴﻁﹼﺭﺕ ﺍﻝﺭﻭﺍﻴﺘﺎﻥ
ﺝ ﻝﻠﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﺍﻝﺫﻴﻥ ﺃﺒﺩﻋﻭﺍ ﺭﻏﻡ ﻤﺎ ﺘﻌﺭﻀﻭﺍ ﻝﻪ ﻤﻥ ﺃﺫﻯ ﺠﺴﺩﻱ ﻭﻨﻔﺴﻲ ﻨﺎﺠﻡ ﻋﻥ ﺍﻻﻗـﺘﻼﻉ
ﻨﻤﺎﺫ
ﻤﻥ ﺍﻝﻭﻁﻥ ﻭﺍﻝﻘﺘل ﻭﺍﻝﺘﹼﻤﻴﻴﺯ ﺍﻝﻌﻨﺼﺭﻱ ...ﻭﺨﻴﺭ ﻤﺜﺎل ﻋﻠﻰ ﻫﺅﻻﺀ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ :ﺭﻗﻴـﺔ ﺍﻝﺘـﻲ
ﺃﻜﻤﻠﺕ ﺘﻌﻠﻴﻤﻬﺎ ﺒﻌﺩ ﺃﻥ ﺃﻨﺠﺒﺕ ﻭﻜﺒﺭ ﺃﺒﻨﺎﺅﻫﺎ ،ﻜﻤﺎ ﻋﻤﻠﺕ ﻓﻲ ﺒﺭﺍﻤﺞ ﻤﺤﻭ ﺍﻷﻤﻴﺔ ﻭﻋﻠﹼﻤـﺕ ﻨﺴـﺎﺀ
ﺍﻝﻤﺨﻴﻡ ،ﻭﺸﺎﺭﻜﺕ ﻓﻲ ﺍﻝﻤﺴﻴﺭﺍﺕ ﺍﻝﻨﹼﺴﺎﺌﻴﺔ ،ﻭﺒﺫﻝﻙ ﺘﺤﻭﻝﺕ ﻤﻥ ﺇﻨﺴﺎﻥ ﺘﻌﺭﺽ ﻝﻠﺼﺩﻤﺔ ﻭﻓﻘﺩ ﺍﻝﻨﹼﻁـﻕ
ﻭﺍﻝﺘﹼﺼﺎﻝﺢ ﻤﻊ ﺍﻝﺤﻴﺎﺓ ،ﺇﻝﻰ ﺇﻨﺴﺎﻥ ﻓﺎﻋل ﻓﻲ ﺍﻝﻤﺠﺘﻤﻊ .ﻭﻤﻥ ﺃﻤﺜﻠﺘﻪ ﻓﻲ ﺭﻭﺍﻴﺔ ﻁـﺎﺒﻕ 99ﺸﺨﺼـﻴﺔ
ﻤﺠﺩ ﺍﻝﺫﻱ ﺘﻌﺭﺽ ﻝﻺﺼﺎﺒﺔ ﺒﺎﻝﺸﹼﻅﺎﻴﺎ ﻓﻲ ﻭﺠﻬﻪ ﻭﻗﺩﻤﻪ ﻤﺎ ﺘﺴﺒﺏ ﻝﻪ ﺒﺎﻝﺘﹼﺸﻭﻩ ،ﺇﻝﹼﺎ ﺃﻨﹼﻪ ﺘﺠـﺎﻭﺯ ﻫـﺫﻩ
ﺍﻝﻤﺤﻨﺔ ﻭﺃﺼﺒﺢ ﺭﺠل ﺃﻋﻤﺎل ﻨﺎﺠﺤ ﹰﺎ ﻴﻤﻠﻙ ﻤﻜﺘﺒﺎ ﻓﻲ ﺍﻝﻁﹼﺎﺒﻕ 99ﻓﻲ ﻤﺩﻴﻨﺔ ﻨﻴﻭﻴﻭﺭﻙ.
ﻭﺘﺘﻌﺩﺩ ﺍﻝﺼﻭﺭ ﺍﻹﻴﺠﺎﺒﻴﺔ ﻝﻬﺫﺍ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺘﻴﻥ ،ﻓﻘﺩ ﻜﺎﻥ ﺃﺴﻴﺭﺍ ﻭﺸﻬﻴﺩﺍ ﻭﺠﺭﻴﺤـﺎ
ﻭﻤﺤﺘﻤﻼ ﻝﻸﻝﻡ ﻭﺍﻝﻐﺭﺒﺔ ...ﻭﻝﻜﻥ ﻓﻲ ﺍﻝﻤﻘﺎﺒل ﻫﻨﺎﻙ ﺼﻭﺭ ﺴﻠﺒﻴﺔ ﺃﻴﻀﺎ ،ﻓﻜﻴﻑ ﻅﻬﺭﺕ ﻫﺫﻩ ﺍﻝﺼﻭﺭ؟
ﻓﻲ ﺇﻁﺎﺭ ﺍﻝﻤﻭﻀﻭﻋﻴﺔ ﺍﻝﺘﻲ ﺍﻤﺘﺎﺯﺕ ﺒﻬﺎ ﺍﻝﺭﻭﺍﻴﺘﺎﻥ ﻓﻘﺩ ﺤﺭﺼﺕ ﺍﻝﻜﺎﺘﺒﺘﺎﻥ ﻋﻠـﻰ ﺇﻅﻬـﺎﺭ
ﺍﻝﺠﺎﻨﺏ ﺍﻝﺴﻠﺒﻲ ﻓﻲ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ،ﻭﺇﻥ ﺘﻌﺩﺩﺕ ﺍﻷﺴﺒﺎﺏ ﺍﻝﺘﻲ ﺃﺩﺕ ﺇﻝﻰ ﻅﻬﻭﺭ ﻫﺫﺍ ﺍﻝﺠﺎﻨﺏ ،ﻤﻨﻬﺎ ﻤـﺎ
ﻫﻭ ﺫﺍﺘﻲ ﻭﻤﺎ ﻫﻭ ﻗﺼﺭﻱ ،ﻭﺃﻫﻡ ﺍﻝﺴﻠﺒﻴﺎﺕ ﺍﻝﺘﻲ ﺭﺼﺩﺘﻬﺎ ﺍﻝﺒﺎﺤﺜﺔ ﻤﺎ ﻴﻠﻲ:
ﺍﻝﻌﻤﺎﻝﺔ ﻭﺍﻝﺘﹼﺨﻠﹼﻲ ﻋﻥ ﺍﻵﺨﺭﻴﻥ ،ﻓﻔﻲ ﻤﻘﺎﺒل ﺍﻹﻨﺴﺎﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﻤﻘﺎﻭﻡ ﻭﺍﻝﻤﺘﻌﺎﻀـﺩ ﻤـﻊ
ﺇﺨﻭﺘﻪ ،ﻅﻬﺭﺕ ﺼﻭﺭﺓ ﺍﻝﺨﺎﺌﻥ ﺃﻭ ﺍﻝﻌﻤﻴل ،ﺃﻭ ﻜﻤﺎ ﺃﺴﻤﺘﻪ ﺍﻝﺴﺎﺭﺩﺓ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ )ﻜﻴﺱ ﺍﻝﺨـﻴﺵ(؛
ﻭﻜﻴﺱ ﺍﻝﺨﻴﺵ ﻫﺫﺍ ﺭﺠل ﻴﺴﻴﺭ ﻤﻊ ﺠﻨﻭﺩ ﺍﻝﺼﻬﺎﻴﻨﺔ ﻭﻴﻠﺒﺱ ﻋﻠﻰ ﺭﺃﺴﻪ ﻜﻴﺴﺎ ﻤﻥ ﺍﻝﺨﻴﺵ ﻭﻗﺩ ﺼـﻨﻊ
ﺒﻪ ﻓﺘﺤﺎﺕ ﻋﻨﺩ ﺍﻝﻌﻴﻨﻴﻥ ﻝﺘﺴﻬﻴل ﺍﻝﺭﺅﻴﺔ ﻭﻤﻬﻤﺔ ﻫﺫﺍ ﺍﻝﺸﹼﺨﺹ ﺃﻥ ﻴﺩل ﺍﻝﺠﻨﻭﺩ ﻋﻠﻰ ﺒﻌﺽ ﺍﻷﺸﺨﺎﺹ
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ﺍﻝﻤﻁﻠﻭﺒﻴﻥ ﻤﻥ ﺍﻝﻤﻘﺎﻭﻤﻴﻥ ،1ﻭﻗﺩ ﺃﺸﺎﺭﺕ ﺍﻝﺴﺎﺭﺩﺓ ﺇﻝﻰ ﺘﻔﺸﹼﻲ ﻫﺫﻩ ﺍﻝﻅﹼﺎﻫﺭﺓ ﻓﺘﻘﻭل " :ﻜﻴﺱ ﺍﻝﺨـﻴﺵ
ﺘﻨﺎﺴﺦ :ﻭﺍﺤﺩ ﻫﻨﺎ ﻭﺁﺨﺭ ﻫﻨﺎﻙ ﻭﺜﺎﻝﺙ ﻭﺭﺍﺒﻊ ...ﻭﻜﻠﹼﻤﺎ ﺃﺸـﺎﺭ ﺘﺴـﺭﻱ ﺍﻝﺭﺠﻔـﺔ ﻨﻔﺴـﻬﺎ ﺒـﻴﻥ
ﺍﻝﺼﻔﻭﻑ"،2ﻭﻗﺩ ﺃﺸﺎﺭ ﺍﻝﻤﺅﺭﺨﻭﻥ ﺍﻝﻴﻬﻭﺩ ﺇﻝﻰ ﻫﺫﻩ ﺍﻝﻅﺎﻫﺭﺓ ﻴﻘﻭل ﺇﻴﻼﻥ ﺒﺎﺒﻴﻪ ﻋﻨﺩ ﺤﺩﻴﺜﻪ ﻋﻥ ﻤﺠﺯﺭﺓ
ﺍﻝﻁﹼﻨﻁﻭﺭﺓ " :ﺠﺎل ﻤﺎﺸﻔﻴﺘﺱ ﺒﺭﻓﻘﺔ ﻤﺘﻌﺎﻭﻥ ﻤﺤﻠﻲ ،ﻤﻐﻁﻰ ﺍﻝﺭﺍﺱ ﻜﻤﺎ ﻓﻲ ﻋﻴﻥ ﺍﻝﺯﻴﺘﻭﻥ ،ﻭﺍﺨﺘـﺎﺭ
ﻋﺩﺩﺍ ﻤﻥ ﺍﻝﺭﺠﺎل -ﻤﺭﺓ ﺃﺨﺭﻯ" 3ﺃﻤﺎ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﻤﺘﺨﻠﹼﻲ ﻋﻥ ﺍﻵﺨﺭﻴﻥ ﻓﻘﺩ ﻭﺭﺩ ﻓﻲ ﺭﻭﺍﻴﺔ ﻁـﺎﺒﻕ
99ﻭﻴﻤﺜﹼﻠﻪ " ﺍﻷﻏﻨﻴﺎﺀ ﺍﻝﺫﻴﻥ ﺘﺨﻠﹼﻭﺍ ﻋﻥ ﺃﺒﻨﺎﺀ ﺩﻴﺭﺘﻬﻡ ،ﻭﻝﻡ ﻴﺤﺎﻭﻝﻭﺍ ﺃﺒﺩﺍ ﺃﻥ ﻴﻤﺩﻭﺍ ﻝﻬﻡ ﻴﺩ ﺍﻝﻌﻭﻥ".4
ﻭﻤﻥ ﺍﻝﺼﻭﺭ ﺍﻝﺴﻠﺒﻴﺔ ﻝﻠﻔﻠﺴﻁﻴﻨﻲ ﺼﻭﺭﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﻤﺴ ﹶﺘﻐل ،ﻭﻴﻤﺜﹼل ﺫﻝﻙ ﻤﺠﺩ ﻓﻲ ﺭﻭﺍﻴـﺔ
ل ﺼﺩﻴﻘﺘﻪ ﻫﻴﻠﺩﺍ ﻝﻼﻨﺘﻘﺎﻡ ﻹﺨﻭﺍﻨﻪ ﻤﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﺇﺫ ﻴﻘـﻭل" :
ﻁﺎﺒﻕ ،99ﻓﻘﺩ ﻜﺎﻥ ﻴﺸﻌﺭ ﺃﻨﹼﻪ ﻴﺴﺘﻐ ّ
ﻏﻔﺕ ﻫﻴﻠﺩﺍ ﻭﻫﻲ ﺘﺩﻤﻊ ﺒﺼﻤﺕ .ﻭﻗﻔﺕ ﻜﺠﻠﹼﺎ ﺩ ﺠﺒﺎﺭ ﻴﺘﺄﻤل ﺃﺜﻼﻡ ﻀﺤﺎﻴﺎﻩ " ،5ﻭﻴﻘﻭل ﻓـﻲ ﻤﻭﻀـﻊ
ﺁﺨﺭ " :ﺭﺒﻤﺎ ﻜﻨﺕ ﺃﺭﻯ ﻓﻲ ﻫﻴﻠﺩﺍ ﺃﻴﻀﺎ ﻤﺤﺎﻭﻝﺔ ﻝﻼﻨﺘﻘﺎﻡ ﻤﻥ ﺍﻝﺘﹼﻬﺠﻴﺭ ،ﻭﻤﺤﺎﻭﻝﺔ ﻝﻺﺜﺒـﺎﺕ ﻝﻠﻌـﺩﻭ
ﺍﻝﻤﺴﻴﺤﻲ ﺍﻝﻘﺩﻴﻡ ،ﻋﺎﺌﻠﺘﻬﺎ ،ﺃﻨﻨﻲ ﺃﻨﺎ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ،ﺍﻝﺫﻱ ﺘﻭﺍﻁﺄﻭﺍ ﻝﻠﻘﻀﺎﺀ ﻋﻠﻴﻪ .ﻗﺩ ﻋـﺎﺩ ﺍﻵﻥ ﻤـﻥ
ﻗﻠﺏ ﺍﺒﻨﺘﻬﻡ ،ﻤﻥ ﻗﻠﺏ ﻤﻨﺯﻝﻬﻡ ...ﺃﻥ ﺘﺤﺒﻨﻲ ﻫﻴﻠﺩﺍ ﺍﻝﻤﺴﻴﺤﻴﺔ ﻜﺎﻥ ﺩﻝـﻴﻼ ﻋﻠـﻰ ﺠـﺩﺍﺭﺘﻨﺎ ،ﻨﺤـﻥ
ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ،ﺒﺎﻝﺤﺏ ﻭﻝﻴﺱ ﺒﺎﻝﻤﺠﺎﺯﺭ" ،*6ﻭﺘﺠﺩﺭ ﺍﻹﺸﺎﺭﺓ ﺇﻝﻰ ﺃ
ﻥ ﺘﻔﻜﻴﺭﻩ ﺒﻬﺫﻩ ﺍﻝﻁﹼﺭﻴﻘﺔ ﻜﺎﻥ ﻨﺎﺘﺠﺎ
ﻋﻥ ﺍﻀﻁﺭﺍﺏ ﻨﻔﺴﻲ ﺴﺒﺒﻪ ﺘﻌﺭﻀﻪ ﻝﻸﺫﻯ ﺍﻝﻨﹼﻔﺴﻲ ﺒﺴﺒﺏ ﺍﻹﻋﺎﻗﺔ ﺍﻝﺘﻲ ﺤﺩﺜﺕ ﻝﻪ ،ﻭﻗﺘـل ﺍﻝﻜﺘﺎﺌـﺏ
ﻝﻭﺍﻝﺩﺘﻪ ،ﺃﻱ ﻝﻅﺭﻭﻑ ﺨﺎﺭﺠﺔ ﻋﻥ ﺇﺭﺍﺩﺘﻪ ﺠﻌﻠﺘﻪ ﻤﺘﻨﺎﻗﻀﺎ ﻴﻨﻅﺭ ﺇﻝﻰ ﺤﺒﻴﺒﺘﻪ ﺒﻬﺫﺍ ﺍﻝﺸﹼﻜل ،ﺜﻡ ﻴﻌـﻭﺩ
ﻝﻴﺭﻯ ﻓﻴﻬﺎ ﻭﻁﻨﻪ ﻭﺘﻌﻭﻴﻀﺎ ﻋﻤﺎ ﺃﺼﺎﺒﻪ.
ﻭﻜﻤﺎ ﻗﺎﻡ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺒﺎﻻﺴﺘﻐﻼل ،ﻓﻘﺩ ﺘﻌﺭﺽ ﺃﻴﻀﺎ ﻝﻼﺴﺘﻐﻼل ﻝﻴﻅﻬﺭ ﺒﺼـﻭﺭﺓ ﺍﻹﻨﺴـﺎﻥ
ﺍﻝﻀﻌﻴﻑ ﺍﻝﻤﻘﺎﺩ ،ﺍﻝﻤﺠﺒﺭ ﻋﻠﻰ ﺩﻓﻥ ﺠﺜﺙ ﺇﺨﻭﺘﻪ ﻤﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ،ﻭﺤﻔﺭ ﺍﻝﻤﻘﺎﺒﺭ ﺍﻝﺠﻤﺎﻋﻴـﺔ ﻝﻬـﻡ،
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ﻭﺍﻝﻌﻤل ﻓﻲ ﻤﺯﺍﺭﻋﻬﻡ ﻝﺼﺎﻝﺢ ﺍﻝﺼﻬﺎﻴﻨﺔ ،ﻭﻜﺎﻨﺕ ﻫﺫﻩ ﺍﻝﺼﻭﺭﺓ ﺃﻴﻀﺎ ﻜﺴﺎﺒﻘﺘﻬﺎ ﻨﺎﺘﺠﺔ ﻋﻥ ﻅـﺭﻭﻑ
ﺨﺎﺭﺠﺔ ﻋﻥ ﺍﻹﺭﺍﺩﺓ.
ﻭﻤﻥ ﺍﻝﺼﻭﺭ ﺍﻝﺴﻠﺒﻴﺔ ﻝﻠﻔﻠﺴﻁﻴﻨﻲ ﺼﻭﺭﺓ ﺍﻻﻨﻬﺯﺍﻤﻲ ﻭﺍﻝﺴﻠﺒﻲ ،ﻭﻗﺩ ﺘﻌﺩﺩﺕ ﺼﻭﺭ ﺍﻻﻨﻬﺯﺍﻤﻴﺔ
ﻓﻲ ﺍﻝﺭﻭﺍﻴﺘﻴﻥ ،ﻤﻨﻬﺎ ﻋﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜﺎل ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻤﺴﺎﻴﺭﺓ ﺭﻗﻴﺔ ﻝﻘﻁﺎﺭ ﺍﻝﺤﻴﺎﺓ ،ﻭﻗﺒﻭﻝﻬﺎ ﺍﻝﺯﻭﺍﺝ
ﻤﻥ ﺍﺒﻥ ﻋﻤﻬﺎ ﺇﺫ ﺘﻘﻭل " :ﻝﻡ ﺃﻨﺒﺱ ﺒﺤﺭﻑ .ﻓﻲ ﺍﻝﻠﻴل ﺒﻜﻴﺕ ﻻ ﻷﻨﹼﻲ ﺃﺭﻴﺩ ﻴﺤﻴﻰ ﻓﻘﺩ ﺒﺩﺍ ﺒﻌﻴﺩﺍ ﻭﻗـﺩ
ﻁﻭﺘﻪ ﺍﻷﻴﺎﻡ ﻤﻊ ﻤﺎ ﻁﻭﺕ ...ﺒﻜﻴﺕ ﺩﻭﻥ ﺃﻥ ﺃﻋﺭﻑ ﺴﺒﺒﺎ ﻝﺒﻜﺎﺌﻲ" ،1ﻜﻤﺎ ﺘﻘـﻭل " :ﺴـﻭﻑ ﺃﺭﻜـﺏ
ﺍﻝﻘﻁﺎﺭ ﺒﻼ ﺠﻠﺒﺔ ﻭﺴﻭﻑ ﺃﺒﻘﻰ ﺃﻴﻀﺎ ﺨﺎﺭﺠﻪ .ﺃﻋﻁﻲ ﺃﻤﻴﻥ ﺍﻝﻤﺘﻭﻗﻊ ﻤﻥ ﺯﻭﺠـﺔ ﺼـﺎﻝﺤﺔ ،ﺍﻝـﻭﺩ
ﻭﺍﻝﺼﻐﺎﺭ ﻭﺍﻝﻠﻘﻤﺔ ﻭﺍﻝﺒﻴﺕ ﺍﻝﻨﻅﻴﻑ ،ﻭﺃﻋﻁﻴﻪ ﻨﻔﺴﻲ ﻓﻲ ﺍﻝﻠﺤﻅﺔ ﺍﻝﺤﻤﻴﻤﺔ ﻓﺎﺯﺩﺍﺩ ﺍﺭﺘﺒﺎﻜﺎ ﻷﻨﻨﻲ ﺒﻌﺩ
ﻜل ﻝﺤﻅﺔ ﺤﻤﻴﻤﺔ ﺴﻭﻑ ﺃﺘﺴﺎﺀل ﻤﺎﺫﺍ ﺤﺩﺙ؟" ،2ﺃﻤﺎ ﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻓﻴﻤﺜﹼل ﻤﺤﺴـﻥ ﻨﻤﻭﺫﺠـﺎ
ﻝﻠﻔﻠﺴﻁﻴﻨﻲ ﺍﻻﻨﻬﺯﺍﻤﻲ ﻓﻘﺩ ﺨﺭﺝ ﻤﻥ ﻝﺒﻨﺎﻥ ﻭﺘﺨﻠﹼﻰ ﻋﻥ ﻋﺭﻭﺒﺘﻪ ﻭﺃﺴﻤﻰ ﻨﻔﺴﻪ ﻤﺎﻴﻙ ،ﻭﺃﻁﻠﻕ ﺸـﻌﺭﻩ
ﻭﻝﺤﻴﺘﻪ ﻭﻏﻴﺭ ﺒﻨﻴﺘﻪ ﺍﻝﺠﺴﺩﻴﺔ ﻭﻋﺎﺩﺍﺘﻪ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻝﻴﺘﺸﺒﻪ ﺒﺎﻷﺠﺎﻨﺏ ،3ﻭﻫـﺫﺍ ﺸـﻌﻭﺭ ﺒﺎﻻﻨﻬﺯﺍﻤﻴـﺔ
ﻭﺭﻏﺒﺔ ﻓﻲ ﺘﻘﻠﻴﺩ ﺍﻷﻗﻭﻯ ﺃﻭ ﺍﻷﻜﺜﺭ ﺘﺄﺜﻴﺭﺍ ،ﻜﻤﺎ ﻜﺎﻥ ﻤﺠﺩ ﻴﺸﻌﺭ ﺒﺎﻻﻨﻬﺯﺍﻤﻴﺔ ﺇﺫ ﻴﻘﻭل " :ﺃﻨـﺎ ﺃﻗـﻭل
ﺇﻨﻲ ﻻ ﺃﺴﺘﻁﻴﻊ ﺃﻥ ﺃﺭﻓﻊ ﻋﻥ ﻨﻔﺴﻲ ﻫﺫﺍ ﺍﻝﺸﻌﻭﺭ ﺒﺄﻨﻲ ﻤﻬﺯﻭﻡ ﻴﺎ ﺃﺒﻲ".4
ﻜﻤﺎ ﺘﻤﺜﹼﻠﺕ ﺍﻝﺴﻠﺒﻴﺔ ﻓﻲ ﻫﺫﻩ ﺍﻝﺭﻭﺍﻴﺔ ﻓﻲ ﺍﻝﺘﹼﺸﺎﺅﻡ ﻭﺍﺴﺘﺒﺎﻕ ﺍﻝﻨﹼﻬﺎﻴﺎﺕ ﺍﻝﺘﹼﻌﻴﺴﻪ ﻴﻘﻭل ﺍﻝﺴﺎﺭﺩ" :
ﻫﺫﺍ ﺍﻻﺴﺘﺒﺎﻕ ﻝﻠﻨﻬﺎﻴﺎﺕ ﺍﻝﺘﹼﻌﻴﺴﺔ ﺘﺭﻜﻨﺎ ﻜﻠﻴﻨﺎ ﻓﻲ ﺤﺎﻝﺔ ﻋﺠﺯ".5
ﻭﻤﻥ ﺍﻝﺼﻭﺭ ﺍﻝﺴﻠﺒﻴﺔ ﻝﻠﻔﻠﺴﻁﻴﻨﻲ ،ﺼﻭﺭﺓ ﺍﻝﻤﺘﻨﺎﻗﺽ ﻭﻏﻴﺭ ﺍﻝﻘﺎﺩﺭ ﻋﻠﻰ ﻤﻭﺍﺯﻨـﺔ ﺍﻷﻤـﻭﺭ،
ﻭﻜﺎﻥ ﺫﻝﻙ ﺒﺴﺒﺏ ﺍﻵﺜﺎﺭ ﺍﻝﻨﻔﺴﻴﺔ ﺍﻝﻨﹼﺎﺠﻤﺔ ﻋﻥ ﺍﻝﺤﺭﺏ ،ﻭﺍﻷﻤﺜﻠﺔ ﻋﻠﻰ ﺫﻝﻙ ﻜﺜﻴﺭﺓ ،ﻭﻗﺩ ﺘـ ﻡ ﺘﻔﺼـﻴل
6
ﺍﻝﺤﺩﻴﺙ ﻓﻲ ﻫﺫﺍ ﺍﻝﻤﻭﻀﻭﻉ ﺴﺎﺒﻘﺎ.
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ﻭﻤﻥ ﺍﻝﺼﻭﺭ ﺍﻝﺴﻠﺒﻴﺔ ﻝﻠﻔﻠﺴﻁﻴﻨﻲ ،ﺼﻭﺭﺓ ﺍﻝﻤﺤﺘﺎﺝ ﻁﺎﻝﺏ ﺍﻝﺼﺩﻗﺔ ﺍﻝﺫﻱ ﻴﻌﻴﺵ ﺘﺤﺕ ﺨـﻁ
ﺍﻝﻔﻘﺭ ،ﻭﻜﺎﻥ ﻫﺫﺍ ﺒﺴﺒﺏ ﺍﻝﺘﹼﻬﺠﻴﺭ ﻭﺍﻝﺴﺭﻗﺔ ﺍﻝﻠﺫﻴﻥ ﺘﻌﺭﺽ ﻝﻬﻤﺎ ﺃﺜﻨﺎﺀ ﺘﻬﺠﻴﺭﻩ ﻭﺃﻤﺜﻠﺔ ﺤﺩﻭﺙ ﺍﻝﺴـﺭﻗﺔ
ﻥ ﻤـﻥ
ﻲ ﺍﻝﻨﹼﺴﺎﺀ ﻭﻤﺎ ﻭﺠﺩﻭﻩ ﻤﻌﻬـ
ﻜﺜﻴﺭﺓ ﻤﻨﻬﺎ ﻗﻭل ﺍﻝﺴﺎﺭﺩﺓ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ " :ﻭﻝﻜﻨﹼﻬﻡ ﺃﺨﺫﻭ ﺤﻠ
ﻨﻘﻭﺩ" ،1ﻭﻤﻥ ﻤﻅﺎﻫﺭ ﻫﺫﺍ ﺍﻝﻔﻘﺭ ﻓﻲ ﺍﻝﻁﻨﻁﻭﺭﻴﺔ ﺤﻴﺎﺓ ﻨﺎﺠﻲ ﺍﻝﻌﻠﻲ ﺤﻴﺙ " ﺃ
ﻥ ﺃﻤﻪ ﻜﺎﻨﺕ ﺘﺤﻴﻙ ﻝـﻪ
ﺴﺭﻭﺍﻝﻪ ﺍﻝﺩﺍﺨﻠﻲ ﻤﻥ ﻤﺨﻠﻔﺎﺕ ﺃﻜﻴﺎﺱ ﺍﻝﻁﹼﺤﻴﻥ ﺍﻝﺘﻲ ﺘﻭﺯﻋﻬﺎ ﻭﻜﺎﻝﺔ ﺍﻝﻐﻭﺙ ،ﻭﺘﺼﻨﻊ ﻝﻪ ﻤﻨﻬﺎ ﺸﻨﻁﺔ
ﻗﻤﺎﺸﻴﺔ ﻴﻀﻊ ﻓﻴﻬﺎ ﺩﻓﺎﺘﺭﻩ ﻭﻫﻭ ﺫﺍﻫﺏ ﺇﻝﻰ ﺍﻝﻤﺩﺭﺴﺔ" ،2ﻜﻤﺎ ﻜﺎﻥ ﻴﺴﺎﻫﻡ ﻤﻊ ﺃﺴﺭﺘﻪ ﻓﻲ ﺍﻝﻤﺼﺭﻭﻑ
ﺒﻭﺍﺴﻁﺔ ﺍﻝﻌﻤل ﻓﻲ ﺒﻴﻊ ﺍﻝﺨﻀﺎﺭ ﻭﻗﻁﻔﻬﺎ ،3ﻭﻤﺜﻠﻪ ﻨﺎﺠﻲ ﺍﻝﺫﻱ ﺍﻝﺘﻘﺕ ﺒﻪ ﺍﻝﺴـﺎﺭﺩﺓ ﻋﻠـﻰ ﺍﻝﺤـﺩﻭﺩ
ﺍﻝﻠﺒﻨﺎﻨﻴﺔ.
ﺍﻝﻴﻬﻭﺩﻱ ﻫﻭ ﺍﻝﻌﺩﻭ ﺍﻝﻤﻬﺎﺠﻡ ﻝﻠﺸﻌﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ،ﻓﻜﻴﻑ ﻜـﺎﻥ ﺘﻌﺎﻤـل ﻫـﺫﺍ ﺍﻝﻌـﺩﻭ ﻤـﻊ
ﺍﻝﻔﻠﺴﻁﻴﻨﻲ؟ ﻭﻤﺎ ﻫﻭ ﻤﻭﻗﻑ ﺍﻝﻴﻬﻭﺩ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﻤﻥ ﺍﻝﻴﻬﻭﺩ ﺍﻝﺼﻬﺎﻴﻨﺔ؟ ﻭﻫل ﻓﺭﻕ ﻫﺫﺍ ﺍﻝﻌـﺩﻭ ﺒـﻴﻥ
ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﻤﺴﻠﻡ ﻭﺍﻝﻤﺴﻴﺤﻲ ﻭﺍﻝﻴﻬﻭﺩﻱ؟ ﻭﻫل ﻜﺎﻥ ﺍﻝﻴﻬﻭﺩ ﻴﻔﻜﹼﺭﻭﻥ ﻤﺴﺒﻘﺎ ﺒﺒﻨﺎﺀ ﻭﻁﻥ ﻗﻭﻤﻲ؟ ﻭﺇﻝﻰ
ﻤﺘﻰ ﺘﻌﻭﺩ ﺃﺼﻭل ﻫﺫﺍ ﺍﻝﺘﹼﻔﻜﻴﺭ؟ ﻜل ﻫﺫﻩ ﺍﻷﺴﺌﻠﺔ ﺴﺘﺠﻴﺏ ﻋﻨﻬﺎ ﺍﻝﺒﺎﺤﺜﺔ ﻓﻴﻤﺎ ﺴﻴﺄﺘﻲ.
ﺘﻅﻬﺭ ﺍﻝﻜﺎﺘﺒﺘﺎﻥ ﺍﻝﻴﻬﻭﺩ ﺒﺼﻭﺭﺓ ﺍﻝﻤﺠﺭﻤﻴﻥ ﻤﺭﺘﻜﺒﻲ ﺍﻝﻤﺠﺎﺯﺭ ،ﻓﻘﺩ ﺤﺭﺹ ﻫﺅﻻﺀ ﺍﻝﺼﻬﺎﻴﻨﺔ
ﻋﻠﻰ ﺍﺭﺘﻜﺎﺏ ﺍﻝﻤﺠﺎﺯﺭ ﻭﺘﺭﻭﻴﻊ ﺍﻷﻫﺎﻝﻲ ﻹﺠﺒﺎﺭﻫﻡ ﻋﻠﻰ ﺍﺘﹼﺨﺎﺫ ﺃﺤﺩ ﺍﻝﻘﺭﺍﺭﻴﻥ ﺇﻤﺎ ﺍﻝﻬـﺭﺏ ﻭﺍﻝﻨﹼﺠـﺎﺓ
ﺒﺤﻴﺎﺘﻬﻡ ﻭﺘﺭﻙ ﺍﻷﺭﺽ ﻝﻠﺼﻬﺎﻴﻨﺔ ،ﻭﺇﻤﺎ ﺍﻝﻤﻭﺕ ﺨﺎﺼﺔ ﻤﻊ ﻀـﻌﻑ ﺍﻹﻤﻜﺎﻨـﺎﺕ ﻝـﺩﻯ ﺍﻝﺸﹼـﻌﺏ
ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ،ﻭﺨﻴﺭ ﻤﺜﺎل ﻋﻠﻰ ﺫﻝﻙ ﻤﺎ ﻭﺭﺩ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ،ﻭﻴﺘﻤﺜﹼل ﻓﻲ ﺍﻝﺸﹼﺠﺎﺭ ﺍﻝﺫﻱ ﺩﺍﺭ ﺒﻴﻥ ﺃﺒﻲ
ﺍﻝﺼﺎﺩﻕ ﻭﺃﺒﻲ ﺍﻷﻤﻴﻥ ﺤﻭل ﺍﺨﺘﻴﺎﺭ ﺍﻝﻤﻨﺎﺴﺏ ،ﻭﻜﺎﻨﺕ ﻨﺘﻴﺠﺘﻪ ﺃﻥ ﺃﺼﺒﺢ ﺍﻷﻭل ﺸﻬﻴﺩﺍ ﻤـﻊ ﻭﻝﺩﻴـﻪ،
ﻭﺃﺼﺒﺢ ﺍﻝﺜﹼﺎﻨﻲ ﻻﺠﺌﺎ ﻴﻨﺘﻅﺭ ﺍﻝﻌﻭﺩﺓ ،ﻭﻫﺫﻩ ﻜﺎﻨﺕ ﺤﺎل ﻤﻌﻅﻡ ﺍﻝﺸﹼﻌﺏ ﺍﻝﻔﻠﺴـﻁﻴﻨﻲ ،ﺘﻘـﻭل ﺴـﺎﺭﺩﺓ
ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ " :ﺒﻌﺩ ﺃﺴﺒﻭﻉ ﻤﻥ ﺩﺨﻭﻝﻬﻡ ﺍﻝﺒﻠﺩ ،ﺃﺨﺭﺠﻭﻨﺎ ﻤﻥ ﺍﻝﺒﻴﻭﺕ ﻭﺩﻤﺭﻭﻫﺎ ﻭﺃﺭﻏﻤﻭﻨـﺎ ﻋﻠـﻰ
58
ﺍﻝﺭﺤﻴل"،1ﻭﻗﺩ ﺃﻏﻔﻠﺕ ﺍﻝﻜﺎﺘﺒﺘﺎﻥ ﺇﻅﻬﺎﺭ ﺍﻝﺒﻁﺵ ﺍﻝﺫﻱ ﺘﻌﺭﺽ ﻝﻪ ﻤﻥ ﻨﺠﺎ ﻤﻥ ﺍﻝﻤﻭﺕ ﻭﺍﻝﺘﻬﺠﻴﺭ ﻤـﻥ
ﺃﺒﻨﺎﺀ ﺍﻝﺸﹼﻌﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻓﻲ ﺍﻝﻭﻁﻥ ،ﻭﻜﻴﻑ ﺘﻌﺎﻤل ﺍﻝﻴﻬﻭﺩ ﻤﻌﻬﻡ ،ﺇﺫ ﺃﺠﺒﺭﻭﻫﻡ ﻋﻠﻰ ﺍﻹﻗﺎﻤـﺔ ﻓـﻲ
)ﺍﻝﻐﻴﺘﻭ( ،ﺒﺎﺴﺘﺜﻨﺎﺀ ﺍﻝﺤﺩﻴﺙ ﺒﺸﻜل ﻤﺒﺴﻁ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻋﻥ ﺠﺎﻨﺏ ﻭﺍﺤﺩ ﻭﻫﻭ ﺍﻝﻌﻤـل ﺒﺎﻝﺴـﺨﺭﺓ،
ﺠﺭﻴﻥ ﺴﺒﺏ ﺫﻝﻙ ،ﻭﺘﻌﺩ ﺭﻭﺍﻴﺔ )ﺃﻭﻻﺩ ﺍﻝﻐﻴﺘـﻭ_ ﺍﺴـﻤﻲ ﺁﺩﻡ(
ﻭﻝﻌل ﻜﻭﻥ ﺃﺒﻁﺎل ﺍﻝﺭﻭﺍﻴﺘﻴﻥ ﻤﻥ ﺍﻝﻤﻬ
2
ﻹﻝﻴﺎﺱ ﺨﻭﺭﻱ ﺨﻴﺭ ﻤﺎ ﻴﻤﺜﹼل ﺘﻠﻙ ﺍﻝﻤﻌﺎﻨﺎﺓ ﻝﻬﺫﺍ ﺍﻝﻔﺭﻴﻕ ﺍﻝﺜﺎﻝﺙ.
ﺃﻤﺎ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﻴﻬﻭﺩﻱ ﻓﻴﻅﻬﺭ ﻤﻭﺍﻝﻴﺎ ﻝﻠﺼﻬﺎﻴﻨﺔ ﻭﻤﻭﺍﻓﻘﺎ ﻋﻠﻰ ﻤﺎ ﻴﺤﺩﺙ ،ﺇﺫ ﺘﻘﻭل ﻭﺼـﺎل
ﺃﻥ ﺃﻫل ﺒﻠﺩﺘﻬﺎ ﻤﻥ ﺍﻝﻤﺴﻠﻤﻴﻥ ﻭﺍﻝﻤﺴﻴﺤﻴﻴﻥ ﻗﺩ ﺘ ﻡ ﻁﺭﺩﻫﻡ ،ﺃﻤﺎ ﺃﻫل ﺒﻠﺩﺘﻬﺎ ﻤﻥ ﺍﻝﻴﻬﻭﺩ ﻓﻠـﻡ ﻴﻁـﺭﺩﻭﺍ
ﻥ ﻓﻲ
ﻼ ﻭﺫﻝﻙ ﻭﻓﻕ ﺘﻌﻠﻴﻠﻬﺎ ﻷﻨﹼﻬﻡ ﺠﺎﺅﻭﺍ ﻝﻴﻌﻁﻭﻫﻡ ﺍﻝﺒﻠﺩ ،ﺃﻤﺎ ﺼﺩﻴﻘﺘﻬﺎ ﺭﻗﻴﺔ ﻓﺒﻴﻨﺕ ﺃ
ﻭﻜﺎﻥ ﻋﺩﺩﻫﻡ ﻗﻠﻴ ﹰ
ﺒﻠﺩﺘﻬﻡ ﺍﻝﻁﹼﻨﻁﻭﺭﺓ ﻴﻬﻭﺩﻱ ﻭﺍﺤﺩ ﻭﻗﺩ ﺍﻨﺘﻘل ﻝﻠﻌﻴﺵ ﻓﻲ ﻜﺒﺎﻨﻴﺘﻬﻡ )ﺯﺨﺭﻭﻥ ﻴﻌﻘﻭﻑ( ﻓـﻲ ﺯﻤـﺎﺭﻴﻥ،3
ﻭﺘﺅﻜﺩ ﺍﻝﻤﺼﺎﺩﺭ ﺍﻝﺘﺎﺭﻴﺨﻴﺔ ﻭﺠﻭﺩ ﻫﺫﺍ ﺍﻝﻴﻬﻭﺩﻱ ﻓﻲ ﻗﺭﻴﺔ ﺍﻝﻁﻨﻁﻭﺭﺓ ،ﺤﻴﺙ ﻋﺭﻑ ﺒﺎﺴﻡ ) ﻤﻭﺴـﻰ
ﺍﻝﻁﻨﻁﻭﺭﻱ( ﻭﻗﺩ ﺃﻗﺎﻡ ﻓﻲ ﻫﺫﻩ ﺍﻝﻘﺭﻴﺔ ﻷﻫﺩﺍﻑ ﺴﻴﺎﺴﻴﺔ ،ﺤﻴﺙ ﺤﺼل ﺍﻝﻴﻬﻭﺩ ﻋﻠـﻰ ﺘﺼـﺭﻴﺢ ﻤـﻥ
ﺍﻝﺤﻜﻭﻤﺔ ﺍﻝﻌﺜﻤﺎﻨﻴﺔ ﻹﻗﺎﻤﺔ ﻤﺼﻨﻊ ﺯﺠﺎﺝ ،ﻭﻫﺫﺍ ﺍﻝﻴﻬﻭﺩﻱ ﻤﻥ ﺯﻤﺎﺭﻴﻥ ) ﺯﺨﺭﻭﻥ ﻴﻌﻘـﻭﻑ( ﺃﻨﺸـﺄ
ﺍﻝﻤﺼﻨﻊ ﻓﻲ ﺍﻝﻘﺭﻴﺔ ،ﻝﻜﻥ ﺴﺭﻋﺎﻥ ﻤﺎ ﻓﺸل ﺍﻝﻤﺼﻨﻊ ﻭﻓﺸﻠﺕ ﺇﻗﺎﻤﺘﻪ ﻓﻲ ﺍﻝﻘﺭﻴـﺔ؛ ﻷﻨـﻪ ﻓﺸـل ﻓـﻲ
ﺍﻝﺘﺠﺎﻨﺱ ﻤﻊ ﺴﻜﺎﻨﻬﺎ ،ﻜﻤﺎ ﺭﻓﺽ ﺃﻫل ﺍﻝﻘﺭﻴﺔ ﺍﻝﺘﻌﺎﻤل ﻤﻌﻪ ،4ﻭﻫﺫﺍ ﻴﺩل ﻋﻠـﻰ ﺍﻝﻤﻭﻗـﻑ ﺍﻝﻤﻭﺤـﺩ
ﻭﺍﻝﻭﺍﻀﺢ ﻝﻬﺅﻻﺀ ﺍﻝﻴﻬﻭﺩ ﻤﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﻭﺍﻝﻤﻬﺎﺠﺭﻴﻥ .ﻜﻤﺎ ﻴﻅﻬﺭ ﻤﻭﻗﻔﻬﻡ ﺠﻠﻴﺎ ﻓﻲ ﺍﻝﺤﺭﺏ ﺍﻝﺘـﻲ
ﺸﻨﹼﻬﺎ ﺍﻝﻴﻬﻭﺩ ﺍﻝﺼﻬﺎﻴﻨﺔ ﻋﻠﻰ ﺍﻝﻘﺭﻯ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ ،ﻓﻠﻡ ﻴﻘﻑ ﻫﺅﻻﺀ ﺍﻝﻴﻬﻭﺩ ﻤﻊ ﺇﺨﻭﺍﻨﻬﻡ ﻤﻥ ﺍﻝﻤﺴﻴﺤﻴﻴﻥ
ﻭﺍﻝﻤﺴﻠﻤﻴﻥ ﻝﺼﺩ ﺍﻝﻬﺠﻭﻡ ﺍﻝﻴﻬﻭﺩﻱ ﺍﻝﺼﻬﻴﻭﻨﻲ ﻭﺨﻴﺭ ﻤﺜﺎل ﻋﻠﻰ ﺫﻝﻙ ﻗـﻭل ﺃﺒـﻲ ﺍﻝﺼـﺎﺩﻕ ﻓـﻲ
ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ" :ﺤﻴﻔﺎ ﻨﺼﻔﻬﺎ ﻴﻬﻭﺩ ،ﻭﻜﺎﻨﻭﺍ ﻤﺘﻤﺘﺭﺴﻴﻥ ﻓﻲ ﺍﻝﻜﺭﻤل ،ﻫﻡ ﻋﻠﻰ ﺍﻝﺠﺒـل ﻭﻨﺤـﻥ ﻓـﻲ
ﺍﻝﺴﻬل".5
ﻭﻴﻤﻜﻥ ﺘﺤﺩﻴﺩ ﺍﻝﻤﻼﻤﺢ ﺍﻝﻌﺎﻤﺔ ﺍﻝﺘﻲ ﻅﻬﺭ ﻓﻴﻬﺎ ﺍﻝﻴﻬﻭﺩ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺘﻴﻥ ﺒﻤﺎ ﻴﻠﻲ:
ﺨﻭﺭﻱ ،ﺇﻝﻴﺎﺱ :ﺃﻭﻻﺩ ﺍﻝﻐﻴﺘﻭ )ﺍﺴﻤﻲ ﺁﺩﻡ( ،ﻁ ،1ﺒﻴﺭﻭﺕ :ﺩﺍﺭ ﺍﻵﺩﺍﺏ.2016 ، 2
ﻁﻨﻁﻭﺭﻴﺔ ،ﺹ.29
ﻴﻨﻅﺭ :ﻋﺎﺸﻭﺭ ،ﺭﻀﻭﻯ :ﺍﻝ ﹼ 3
ﻁﻨﻁﻭﺭﻴﺔ ،ﺹ.45
ﻋﺎﺸﻭﺭ ،ﺭﻀﻭﻯ :ﺍﻝ ﹼ 5
59
ﺃﻭﻻ :ﺍﻝﺼﻭﺭﺓ ﺍﻹﻴﺠﺎﺒﻴﺔ ،ﻭﻗﺩ ﻭﺭﺩﺕ ﻓﻲ ﺍﻝﻁﻨﻁﻭﺭﻴﺔ ﻭﺘﻅﻬﺭ ﻓﻲ ﻭﺠﻭﺩ ﻜﻼﻡ ﺤﻭل ﻗﻴـﺎﻡ ﺴـﻜﺎﻥ
ﺯﺨﺭﻭﻥ ﻴﻌﻘﻭﻑ ﺒﺈﻴﻘﺎﻑ ﺍﻝﻘﺘل ﺍﻝﺠﻤﺎﻋﻲ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﺓ ﺒﺴﺒﺏ ﻋﻼﻗﺎﺕ ﺍﻝﺠﻭﺍﺭ ،ﻜﻤﺎ ﺃﺤﻀﺭ ﻤﺨﺘﺎﺭ
ﺍﻝﻤﺼﺎﺩﺭ ﺍﻝﺘﹼﺎﺭﻴﺨﻴﺔ ﺇﻝﻰ ﻗﺩﻭﻡ ﻴﻬﻭﺩ ﻤﻥ ﺯﺨﺭﻭﻥ ﻴﻌﻘﻭﻑ ﻝﻭﻗﻑ ﺍﻝﻘﺘل ﻓﻌﻼ ،ﻭﻗﻴﺎﻡ ﻴﻌﻘﻭﺏ ﺇﺒﺸـﺘﺎﻴﻥ
ﻓﻌﻼ ﺒﻭﻗﻑ ﻓﻭﺭﺓ ﺍﻝﺩﻡ ﻓﻲ ﺍﻝﻘﺭﻴﺔ ﻭﺍﻝﻘﺘل ﻋﻨﺩ ﺸﺎﻁﺌﻬﺎ ،2ﻭﻫﺫﺍ ﻴﺩل ﻋﻠﻰ ﺍﻋﺘﻤﺎﺩ ﺍﻝﻜﺎﺘﺒﺔ ﻋﻠﻰ ﻤﺜل ﻫﺫﻩ
ﺍﻝﻤﺼﺎﺩﺭ ﻝﻨﻘل ﺍﻷﺤﺩﺍﺙ ﺩﻭﻥ ﺘﻐﻴﻴﺭ ﻓﻲ ﻜﺜﻴﺭ ﻤﻥ ﺍﻷﺤﻴﺎﻥ.
ﺜﺎﻨﻴﺎ :ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻠﺒﻴﺔ ،ﻓﻲ ﺒﺩﺍﻴﺔ ﻫﺫﻩ ﺍﻝﺼﻭﺭ ﻜﺎﻨﺕ ﺼﻭﺭﺓ ﺍﻝﻴﻬﻭﺩﻱ ﺍﻝﻘﺎﺘل ،ﻭﻗـﺩ ﺒـﺭﺯﺕ ﻫـﺫﻩ
ﺍﻝﺼﻭﺭﺓ ﻓﻲ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ،ﻓﻘﺩ ﺤﺭﺼﺕ ﺍﻝﺴﺎﺭﺩﺓ ﻋﻠﻰ ﺫﻜﺭ ﺍﻷﻤﺜﻠﺔ ﻭﺍﻝﺸﹼـﻬﺎﺩﺍﺕ ﻋﻠـﻰ ﻫـﺫﺍ
ﻥ ﺍﻝﻴﻬﻭﺩ ﺃﻝﻘﻭﺍ ﻗﻨﺒﻠﺔ ﻤﻥ ﺴـﻴﺎﺭﺓ ﻤﺴـﺭﻋﺔ ﻓﻘﺘﻠـﻭﺍ ﻤﻨـﺎ
ﺍﻹﺠﺭﺍﻡ ،ﻭﻤﻥ ﺫﻝﻙ " :ﻗﺎﻝﺕ ﺍﻝﺠﺎﺭﺓ ﺇ
ﻭﺠﺭﺤﻭﺍ ﻜﺜﻴﺭﻴﻥ ...ﺩﺨﻠﻭﺍ ﻋﻠﻰ ﺍﻷﻫﺎﻝﻲ ﺒﺎﻝﺒﻠﻁﺎﺕ ﻭﺍﻝﺴﻜﺎﻜﻴﻥ ﻭﺍﻝﻘﻨﺎﺒل ﻭﺍﻝﺒﻨﺎﺩﻕ ،ﻭﺨﻠﹼﻔﻭﺍ ﻭﺭﺍﺀﻫﻡ
ﻥ ﺍﻝﻘﺘﻠﻰ ﻤﺌـﺎﺕ"،3
ﺍﻝﺠﺜﺙ ﻓﻲ ﻜ ّل ﻤﻜﺎﻥ .ﺍﻝﺒﻌﺽ ﻴﻘﻭل ﻗﺘﻠﻭﺍ ﺴﺘﻴﻥ ﻤﻥ ﺍﻷﻫﺎﻝﻲ ﻭﺍﻝﺒﻌﺽ ﻴﻘﻭل ﺇ
ﻭﻓﻲ ﻤﻭﻀﻊ ﺁﺨﺭ ﻴﻅﻬﺭ ﺍﻝﻘﺘل ﺒﺸﻜل ﺃﻜﺜﺭ ﻭﺤﺸﻴﺔ ،ﻓﻜﺎﻥ ﻴﺘﻡ ﺍﻝﻘﺘل ﻭﺍﻻﺤﺘﻔﺎل ﻓﻭﻕ ﻫﺫﻩ ﺍﻝﺠﺜﺙ ﻴﻘﻭل
ﺃﺤﺩ ﺍﻝﺸﹼﻬﻭﺩ " :ﻭﺭﺃﻴﻨﺎ ﺒﺄﻋﻴﻨﻨﺎ ﺃﻜﻭﺍﻡ ﺍﻝﺠﺜﺙ ...ﺤﻜﻰ ﺍﻝﺒﻌﺽ ﺃﻨﻪ ﺭﺃﻯ ﻤﺠﻤﻭﻋـﺎﺕ ﻤـﻥ ﺃﻫـﺎﻝﻲ
ﻥ ﺁﺨﺭﻴﻥ ﻜـﺎﻨﻭﺍ
ﺯﺨﺭﻭﻥ ﻴﻌﻘﻭﻑ ﻴﻁﻭﻓﻭﻥ ﺒﺎﻝﺒﻠﺩ ،ﻭﺍﻝﺠﺜﺙ ﻓﻲ ﻜ ّل ﻤﻜﺎﻥ ،ﻭﻴﻐﻨﹼﻭﻥ ﻭﻴﺼﻔﹼﻘﻭﻥ ،ﻭﺃ
ﻴﻔﻌﻠﻭﻥ ﺍﻝﺸﻲﺀ ﻨﻔﺴﻪ ﻓﻲ ﻤﺭﺍﻜﺏ ﻓﻲ ﺍﻝﺒﺤﺭ ﻗﺭﻴﺒﺎ ﻤﻥ ﺍﻝﺸﺎﻁﺊ" ،4ﻭﺨﻴﺭ ﻤﺜﺎل ﻋﻠﻰ ﻫﺫﺍ ﺍﻹﺠـﺭﺍﻡ
ﺍﻝﻤﺠﺎﺯﺭ ﺍﻝﺘﻲ ﺍﺭﺘﻜﺒﻬﺎ ﺍﻝﻴﻬﻭﺩ ﻭﻫﻲ ﻤﺘﻌﺩﺩﺓ ﻓﻲ ﻫﺫﻩ ﺍﻝﺭﻭﺍﻴﺔ ﺃﺸﻬﺭﻫﺎ ﻤﺠﺯﺭﺓ ﺍﻝﻁﹼﻨﻁﻭﺭﺓ ،ﺇﻀﺎﻓﺔ ﺇﻝﻰ
ﺍﻻﻏﺘﻴﺎﻻﺕ ﻤﺜل ﺍﻏﺘﻴﺎل ﻏﺴﺎﻥ ﻜﻨﻔﺎﻨﻲ ﻭﻨﺎﺠﻲ ﺍﻝﻌﻠﻲ ...ﻭﺃﻜﺜﺭ ﺍﻷﻤﺜﻠﺔ ﻭﻀﻭﺤﺎ ﻋﻠﻰ ﺍﻹﺠﺭﺍﻡ ﻗﺘـل
ﺍﻷﺴﺭﻯ ،ﻴﻘﻭل ﺃﺤﺩ ﺍﻝﺸﹼﻬﻭﺩ " :ﻜﺎﻥ ﻭﺍﻀﺤﺎ ﺃﻨﹼﻬﻡ ﻝﻡ ﻴﺘﻨﺎﻭﻝﻭﺍ ﺸﺭﺒﺔ ﻤﺎﺀ ﻷﻴـﺎﻡ .ﺃﻨﺯﻝـﻭﻫﻡ ﻋﻨـﺩ
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ﺼﻨﺒﻭﺭ ﻭﺍﺤﺩ ﻤﻥ ﺍﻝﻤﺎﺀ .ﺘﺩﺍﻓﻌﻭﺍ ﻋﻠﻴﻪ ﻓﺄﻁﻠﻘﻭﺍ ﻋﻠﻴﻬﻡ ﺍﻝﻨﹼﺎﺭ ﻓﻤﺎﺕ ﻤﻨﻬﻡ ﻤﻥ ﻤﺎﺕ" ،1ﻭﻫﺫﻩ ﺍﻝﻌﺒﺎﺭﺓ
ﺍﻝﺴﺭﺩﻴﺔ ﺘﻅﻬﺭ ﻤﺩﻯ ﺇﺠﺭﺍﻡ ﻫﺫﺍ ﺍﻝﻴﻬﻭﺩﻱ ﺍﻝﺼﻬﻴﻭﻨﻲ؛ ﻓﻘﺩ ﺍﻋﺘﺩﻯ ﻋﻠﻰ ﺍﻷﺴﺭﻯ ﺒﺤﺭﻤﺎﻨﻬﻡ ﻤﻥ ﺍﻝﻤﺎﺀ
ﺘﻨﻁﺒﻕ ﻋﻠﻴﻬﻡ ﺍﺘﹼﻔﺎﻗﻴﺔ ﺠﻨﻴﻑ ﻜﻤﺎ ﺫﻜﺭ ﺃﺤﺩ ﺍﻝﺸﹼﻬﻭﺩ ،ﻭﻝﺘﺤﻘﻴﻕ ﻤﺼﺎﻝﺢ ﺍﻝﻴﻬﻭﺩ ﺃﻴﻀﺎ ،ﻓﺤﻭﻝﻭﺍ ﺍﻷﺴﺭﻯ
ﺇﻝﻰ ﻋﺒﻴﺩ ﻴﻌﻤﻠﻭﻥ ﺒﺎﻝﺴﺨﺭﺓ ﻝﺒﻨﺎﺀ ﺩﻭﻝﺔ ﺇﺴﺭﺍﺌﻴل ،ﻭﺒﺫﻝﻙ ﺘﻅﻬﺭ ﺼﻭﺭﺓ ﺃﺨـﺭﻯ ﻝﻠﻴﻬـﻭﺩﻱ ،ﻭﻫـﻲ
ﺍﻝﻴﻬﻭﺩﻱ ﺍﻝﺫﻱ ﻴﺴﺘﻐل ﺍﻵﺨﺭﻴﻥ ،ﺘﻘﻭل ﺇﺤﺩﻯ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ " :ﺒﻌﺩﻫﺎ ﺘﺤﺴﻨﺕ ﺍﻝﻤﻌﺎﻤﻠﺔ ﻗﻠﻴﻼ .ﺸﻐﹼﻠﻭﻨﺎ
ﻋﻤﺎﻻ ﺯﺭﺍﻋﻴﻴﻥ ﻨﻘﻁﻑ ﻝﻬﻡ ﺍﻝﺜﹼﻤﺎﺭ ﻤﻥ ﺍﻷﺭﺍﻀﻲ ﺍﻝﻌﺭﺒﻴﺔ ﺍﻝﺘﻲ ﺍﺴﺘﻭﻝﻭﺍ ﻋﻠﻴﻬﺎ .ﻭﻓﻲ ﻤﻘﺎﺒل ﺍﻝﻌﻤل،
ﺃﻋﻁﻭﺍ ﻜﻠﹼﺎ ﻤﻨﹼﺎ ﺒﻁﺎﻗﺔ ﺘﻤﻜﹼﻨﻪ ﻤﻥ ﺍﻝﺤﺼﻭل ﻋﻠﻰ ﺒﻌﺽ ﺍﻝﻤﺄﻜﻭﻻﺕ ﻤﻥ ﺍﻝﻜﺎﻨﺘﻴﻥ ،2"...ﻜﻤـﺎ ﺘـﺫﻜﺭ
ﺍﻝﺴﺎﺭﺩﺓ ﻗﻭل ﺃﺤﺩ ﺍﻝﺸﹼﻬﻭﺩ " :ﺤﺒﺴﻭﻨﺎ ﺩﺍﺨل ﺃﺴﻼﻙ ﺸﺎﺌﻜﺔ ﻭﻜﺎﻨﻭﺍ ﻴﺄﺨﺫﻭﻨﻨﺎ ﻝﻠﻌﻤل ﺒﺎﻝﺴـﺨﺭﺓ ﻓـﻲ
ﺍﻝﻤﺤﺎﺠﺭ ﻤﻥ ﻁﻠﻌﺔ ﺍﻝﺸﹼﻤﺱ ﺤﺘﻰ ﺍﻝﻐﺭﻭﺏ" ،3ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺫﻝﻙ ﻓﻘﺩ ﺘ ﻡ ﺘﻭﻅﻴﻔﻬﻡ ﻝﻤﺎ ﻫﻭ ﺃﻓﻅـﻊ ﻤـﻥ
ﺫﻝﻙ ،ﻭﻫﻭ ﺩﻓﻥ ﺍﻝﺠﺜﺙ ،ﻴﻘﻭل ﺃﺤﺩ ﺍﻝﺸﹼﻬﻭﺩ " :ﺒﻜﻴﺕ ﻓﻲ ﺫﻝﻙ ﺍﻝﻴﻭﻡ ﻭﺃﻨﺎ ﺃﺩﻓﻥ ﺍﻝﺸﹼﺒﺎﺏ ﺍﻝﻌـﺭﺍﻗﻴﻴﻥ.
ﻜﻨﺕ ﺤﺯﻴﻨﺎ ﻋﻠﻰ ﺍﻝﺸﹼﺒﺎﺏ ﻭﻨﺎﻓﺭﺍ ﻤﻥ ﺭﺍﺌﺤﺔ ﺠﺜﺜﻬﻡ" ،4ﻭﺒﺫﻝﻙ ﻴﻜﻭﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻓﻲ ﻨﻅﺭ ﺍﻝﻴﻬـﻭﺩﻱ
ﻋﺒﺩﺍ ﻤﺘﻌﺩﺩ ﺍﻝﻤﻬﺎﻡ ،ﻭﻻ ﻴﺭﻗﻰ ﺤﺘﹼﻰ ﺇﻝﻰ ﺩﺭﺠﺔ ﺍﻝﻌﺒﻴﺩ .ﻓﻘﺩ ﺘ ﻡ ﻭﻀﻊ ﻜل 30ﺃﺴﻴﺭﺍ ﻓﻲ ﻏﺭﻓـﺔ ﻻ
ﺘﺘﺴﻊ ﻝﻬﻡ ﺇﻝﹼﺎ ﻭﻗﻭﻓﺎ ﺒﺴﺒﺏ ﻀﻴﻘﻬﺎ ،ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﺭﻁﻭﺒﺔ ﻭﺍﻝﻀﺭﺏ ﻭﺍﻝﺸﹼﺘﺎﺌﻡ ﻭﺍﻹﻫﺎﻨﺎﺕ.5
ﻭﻤﻥ ﺍﻝﺼﻭﺭ ﺍﻝﺴﻠﺒﻴﺔ ﻝﻠﻴﻬﻭﺩﻱ ،ﺼﻭﺭﺓ ﺍﻝﺴﺎﺭﻕ ،ﻓﻘﺩ ﺴﺭﻕ ﻫﺫﺍ ﺍﻝﻴﻬﻭﺩﻱ ﻜل ﻤـﺎ ﻴﺘﻌﻠﹼـﻕ
ﺒﺎﻝﻔﻠﺴﻁﻴﻨﻲ ،ﻭﺸﻤﻠﺕ ﺴﺭﻗﺘﻪ ﺍﻷﺸﻴﺎﺀ ﺍﻝﺒﺴﻴﻁﺔ ﻭﺍﻝﻘﻴﻤﺔ ،ﻓﺴﺭﻕ ﺍﻝﻁﹼﻌﺎﻡ ﻭﺍﻝﻠﺒﺎﺱ ﻭﺍﻝﻤﻨﺎﺯل ﻭﺍﻷﺭﺽ
ﻭﺍﻝﺫﹼﻫﺏ ﻭﺍﻵﺜﺎﺭ ،ﻭﻗﺩ ﺒﻴﻨﺕ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺫﻝﻙ ،ﻓﻤﻥ ﺍﻷﻤﺜﻠﺔ ﻋﻠﻰ ﻫﺫﻩ ﺍﻝﺴﺭﻗﺔ ﻗـﻭل ﺇﺤـﺩﻯ
ﻁﻨﻁﻭﺭﻴﺔ ،ﺹ.305
ﻋﺎﺸﻭﺭ ،ﺭﻀﻭﻯ :ﺍﻝ ﹼ 2
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ﺍﻝﺸﹼﺨﺼﻴﺎﺕ " :ﺴﺒﻊ ﺤﺼﺎﺩﺍﺕ ،ﻤﻜﻥ ﻜﺒﻴﺭ ﺤﺼﺩﻭﺍ ﺒﻪ ﻗﻤﺤﻨﺎ" ،1ﻜﻤﺎ " ﺠﻤﻌﻭﺍ ﻜل ﻤﺎ ﻴﻤﻜﻥ ﻨﻘﻠﻪ ﻤﻥ
ﺼﻨﺎﺩﻴﻕ" ،2ﻭﺘﻘﻭل " :ﺜﻴﺎﺒﻨﺎ ﻭﺜﻴﺎﺏ ﺭﺠﺎﻝﻨﺎ ﻭﻋﻴﺎﻝﻨﺎ ،ﻻ ﻤﺅﺍﺨﺫﺓ ﻴﺎ ﺴﺕ ﺭﻗﻴـﺔ،
ﺍﻝﺒﻠﺩ ﻭﻋﺒﻭﻩ ﻓﻲ ﺍﻝ
ﺤﺘﹼﻰ ﺍﻝﻜﻠﺴﻭﻨﺎﺕ! ﻭﺍﻝﺤﺭﺍﻤﺎﺕ ﻭﺍﻝﻤﻨﺎﺸﻑ ﻭﺍﻝﻤﻼﺀﺍﺕ ﻭﺍﻝﻤﺨﺩﺍﺕ ...ﺤﺘﹼﻰ ﺍﻝﻐﺭﺒﺎل ﻝﻡ ﻴﺘﺭﻜﻭﻩ" ،3ﻭ"
ﻥ ﻤﻥ ﻨﻘﻭﺩ" 4ﺘﻘﻭل ﺍﻝﺴﺎﺭﺩﺓ ﻭﺍﺼﻔﺔ ﻤﺎ ﺘﻌﺭﻀـﺕ ﻝـﻪ ﻤـﻥ
ﺃﺨﺫﻭﺍ ﺤﻠﻲ ﺍﻝﻨﹼﺴﺎﺀ ﻭﻤﺎ ﻭﺠﺩﻭﻩ ﻤﻌﻬ
ﺴﺭﻗﺔ " :ﺍﻨﺘﺒﻬﺕ ﻭﻫﻲ ﺘﻔﺘﺸﻨﻲ ﺇﻝﻰ ﻓﺭﺩﺘﻲ ﺍﻝﻘﺭﻁ ﻓﻲ ﺃﺫﻨﻲ .ﺍﻨﺘﺯﻋﺘﻬﺎ ﺍﻨﺘﺯﺍﻋﺎ .ﺴﺎل ﺍﻝـﺩﻡ ﻤـﻥ
ﺃﺫﻨﻲ ...ﺃﺨﺫﻭﺍ ﺘﻨﻜﺘﻲ ﺍﻝﺯﻴﺕ ﻭﺍﻝﺯﻴﺘﻭﻥ ﻭﻨﺼﻴﺔ ﺍﻝﺠﺒﻥ .ﺠـﺭﺩﺕ ﺃﻤـﻲ ﻤـﻥ ﺨﺎﺘﻤﻬـﺎ ﻭﻗﺭﻁﻬـﺎ
ﻭﺴﻠﺴﺎﻝﻬﺎ" ،5ﻜﻤﺎ ﺤﺭﺹ ﺍﻝﻴﻬﻭﺩﻱ ﻋﻠﻰ ﺴﺭﻗﺔ ﻜل ﻤﺎ ﻴﺘﻌﻠﹼﻕ ﺒﺎﻝﺘﹼﺭﺍﺙ ﻭﻤﺎ ﻴﻤﻜﻥ ﺃﻥ ﻴﺜﺒـﺕ ﺃﺤﻘﻴـﺔ
ﺃﺼﺤﺎﺏ ﻫﺫﻩ ﺍﻷﺭﺽ ﻤﻥ ﻭﺜﺎﺌﻕ ﻭﺨﺭﺍﺌﻁ ﻭﻏﻴﺭﻫﺎ ،ﻓﺘﺒﻴﻥ ﺍﻝﺴﺎﺭﺩﺓ ﺤﺭﺹ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﻋﻠﻰ ﺇﻨﺸﺎﺀ
ﺍﻝﻤﺼﺎﺩﺭ ﺍﻝﺘﺎﺭﻴﺨﻴﺔ ﻗﻴﺎﻡ ﺍﻝﻴﻬﻭﺩ ﺒﺈﻨﺸﺎﺀ ﺍﻝﺠﻤﻌﻴﺎﺕ ﺍﻻﺴﺘﻜﺸﺎﻓﻴﺔ ﻤﻨﺫ ﻋﺎﻡ ،1865ﺜﻡ ﺃﺨـﺫﺕ ﺘـﺯﺩﺍﺩ
ﺒﺸﻜل ﺴﺭﻴﻊ ،ﻭﻫﺩﻓﻬﺎ ﺇﺜﺒﺎﺕ ﺃﺤﻘﻴﺔ ﺍﻝﻴﻬﻭﺩ ﻓﻲ ﻫﺫﻩ ﺍﻝﺒﻼﺩ .8
ﻜﻤﺎ ﻗﺎﻡ ﻫﺫﺍ ﺍﻝﻴﻬﻭﺩﻱ ﺒﺴﺭﻗﺔ ﻗﺭﻯ ﻭﻤﺩﻥ ﻜﺎﻤﻠﺔ ﻭﻁﺭﺩ ﺃﻫﻠﻬﺎ ،ﻭﺘﺫﻜﺭ ﺍﻝﺴﺎﺭﺩﺓ ﻤﺜﺎﻻ ﻋﻠﻴﻬـﺎ
ﻗﺭﻴﺔ ﻤﻥ ﻗﺭﻯ ﻁﻭﻝﻜﺭﻡ ﺍﺴﻤﻬﺎ ﺃﻡ ﺨﺎﻝﺩ ،ﺤﻴﺙ ﻁﺭﺩ ﺃﻫﻠﻬﺎ ﻜﻠﻬﻡ ،9ﻜﻤﺎ ﺴـﺭﻗﻭﺍ ﺍﻝﻤـﺩﻥ ﻭﻏﻴـﺭﻭﺍ
ﻁﻨﻁﻭﺭﻴﺔ ،ﺹ.60
ﻋﺎﺸﻭﺭ ،ﺭﻀﻭﻯ :ﺍﻝ ﹼ 5
ﻴﻨﻅﺭ :ﺍﻝﺼﺎﻭﻱ ،ﺃﺤﻤﺩ :ﻤﻁﺎﺭﺩﺓ ﺍﻝﺘﹼﺎﺭﻴﺦ ﺇﺴﺭﺍﺌﻴل ﻭﺍﻵﺜﺎﺭ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ ،ﺍﻹﻤﺎﺭﺍﺕ ﺍﻝﻌﺭﺒﻴﺔ ﺍﻝﻤﺘﹼﺤﺩﺓ :ﻤﺭﻜﺯ ﺯﺍﻴـﺩ ﻝﻠﺘﻨﺴـﻴﻕ 8
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ﺃﺴﻤﺎﺀﻫﺎ ﺘﻘﻭل ﺇﺤﺩﻯ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ " ﺘل ﺃﺒﻴﺏ ﺫﺍﺕ ﻨﻔﺴﻬﺎ ﻤﺴﺭﻭﻗﺔ .ﺴﺭﻗﻭﺍ ﻴﺎﻓـﺎ ﻭﺴـﻤﻭﻫﺎ ﺘـل
ﺃﺒﻴﺏ" ،1ﺜﻡ ﺴﺭﻗﻭﺍ ﻓﻠﺴﻁﻴﻥ ﻭﺴﻤﻭﻫﺎ ﺇﺴﺭﺍﺌﻴل ،ﻭﻗﺩ ﻝﺨﹼﺹ ﺫﻝﻙ ﺍﻝﺴﺎﺭﺩ ﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﺒﻘﻭﻝﻪ:
"ﻭﻫﻡ ﺃﺘﻭ ﻭﺃﺨﺫﻭﺍ ﻤﻨﹼﺎ ﻜ ّل ﺸﻲﺀ".2
ﻜﺎﻨﺕ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﺃﻜﺜﺭ ﺘﻔﺼﻴﻼ ﻝﺼﻭﺭﺓ ﺍﻝﻤﺴﻴﺤﻲ ﻤﻥ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻭﺫﻝﻙ ،ﻜﻤﺎ
ﺫﻜﺭﺕ ﺍﻝﺒﺎﺤﺜﺔ ﺴﺎﺒﻘﺎ ،ﻷﻥ ﻤﻭﻀﻭﻋﻬﺎ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻓﻲ ﺍﻝﺸﹼﺘﺎﺕ ،ﻓﺄﺒﺩﻋﺕ ﻜﺎﺘﺒﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻓﻲ ﺇﻅﻬﺎﺭ
ﺼﻭﺭﺓ ﺍﻝﻴﻬﻭﺩﻱ ﺇﺒﺩﺍﻋﺎ ﻴﻘﺎﺒﻠﻪ ﺇﺒﺩﺍﻉ ﻜﺎﺘﺒﺔ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻓﻲ ﺇﻅﻬﺎﺭ ﺼﻭﺭﺓ ﺍﻝﻤﺴﻴﺤﻲ ،ﻭﺒـﺫﻝﻙ
ﻴﻅﻬﺭ ﺍﻝﺘﹼﻜﺎﻤل ﺒﻴﻥ ﺍﻝﺭﻭﺍﻴﺘﻴﻥ .ﻭﻗﺩ ﺒﺭﺯ ﺍﻝﺤﻀﻭﺭ ﺍﻝﻤﺴﻴﺤﻲ ﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻓﻲ ﺘﻘﺎﺴﻡ ﻫﻴﻠـﺩﺍ
ﻅﻬﺭ ﺍﻝﻤﺴﻴﺤﻲ ﺒﺼﻭﺭﺓ ﺇﻴﺠﺎﺒﻴﺔ ﻭﺃﺨﺭﻯ ﺴﻠﺒﻴﺔ ،ﺃﻤﺎ ﺍﻝﺼﻭﺭﺓ ﺍﻷﻭﻝﻰ ﻓﺘﻤﺜﹼﻠﺕ ﻓـﻲ ﺭﻭﺍﻴـﺔ
ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻓﻲ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﻤﺴﻴﺤﻲ ﺍﻝﺫﻱ ﺘﻌﺭﺽ ﻝﻠﺴﺭﻗﺔ ﻭﺍﻝﻘﺘل ﻋﻠﻰ ﻴﺩ ﺍﻝﻴﻬﻭﺩ ﺍﻝﺼﻬﺎﻴﻨﺔ ﺘﻘـﻭل
ﺍﻝﺴﺎﺭﺩﺓ " :ﺃﺨﺭﺠﻭﻨﺎ ﻤﻥ ﺍﻝﺒﻴﻭﺕ ﻭﺩﻤﺭﻭﻫﺎ ﻭﺃﺭﻏﻤﻭﻨﺎ ﻋﻠﻰ ﺍﻝﺭﺤﻴل .ﻓﻌﻠﻭﺍ ﺫﻝـﻙ ﻓـﻲ ﺍﻝﻤﺴـﻠﻤﻴﻥ
ﻭﺍﻝﻤﺴﻴﺤﻴﻴﻥ" ،3ﺃﻤﺎ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻓﻘﺩ ﻅﻬﺭﺕ ﻓﻴﻬﺎ ﺍﻝﺼﻭﺭﺓ ﺍﻹﻴﺠﺎﺒﻴﺔ ﻓﻲ ﺸﺨﺼﻴﺔ ﻫﻴﻠﺩﺍ ﺍﻝﺘـﻲ
ﻜﺎﻨﺕ ﺘﺤﺏ ﻤﺠﺩ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻭﺘﺘﻌﺎﻁﻑ ﻤﻊ ﺤﺎﻝﺘﻪ ،ﻭﻫﻴﻠﺩﺍ ﻫﺫﻩ ﻝﻡ ﺘﺸﻌﺭ ﺒﺎﻻﺭﺘﻴﺎﺡ ﻝﻤﺎ ﻴﺠﺭﻱ ﻓـﻲ
ﻭﻁﻨﻬﺎ ﻓﻐﺎﺩﺭﺘﻪ ﺇﻝﻰ ﺃﻤﺭﻴﻜﻴﺎ ﺇﺫ ﺘﻘﻭل " :ﺃﺭﻴﺩ ﺃﻥ ﺃﻋﺭﻑ ﻝﻤﺎﺫﺍ ﻏﺎﺩﺭﺕ ،ﻭﻫل ﺴﺘﻜﻭﻥ ﻴﻭﻤﺎ ﻋﻭﺩﺘﻲ
ﺍﻝﻨﹼﻬﺎﺌﻴﺔ ﺇﻝﻰ ﻫﺫﻩ ﺍﻷﺭﺽ ﻤﺴﺘﺤﻴﻠﺔ؟".4
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ﻭﻓﻴﻤﺎ ﻴﺘﻌﻠﹼﻕ ﺒﺎﻝﺼﻭﺭﺓ ﺍﻝﺴﻠﺒﻴﺔ ﻓﺘﺘﺠﻠﻰ ﻓﻲ ﺍﻝﻤﺴﻴﺤﻲ ﺍﻝﻘﺎﺘل ﺍﻝﺫﻱ ﻴﻀﻁﻬﺩ ﻏﻴﺭﻩ ﻭﻴﻤﺜﹼل ﺫﻝﻙ
ﺍﻝﻜﺘﺎﺌﺒﻴﻭﻥ ،ﻭﺘﻅﻬﺭ ﻫﺫﻩ ﺍﻝﺼﻭﺭﺓ ﻓﻲ ﺍﻝﻤﺠﺎﺯﺭ ﺍﻝﺘﻲ ﺍﺭﺘﻜﺒﻭﻫﺎ ﻤﺜل ﻤﺠﺯﺭﺓ ﺸﺎﺘﻴﻼ ،ﻴﻘﻭل ﻋﺒﺩ ﻓـﻲ
ﻥ ﺍﻝﻜﺘﺎﺌﺏ ﻭﺭﺠـﺎل
ﻥ ﺃﻴﺎ ﻤﻨﺎ ﻝﻡ ﻴﺘﺨﻴل ﺇﻁﻼﻗﺎ ﺃﻨﻨﺎ ﺇﺯﺍﺀ ﻤﺠﺯﺭﺓ ﺒﻬﺫﺍ ﺍﻝﺤﺠﻡ ﻭﻻ ﺃ
ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ " :ﻝﻜ
ﺴﻌﺩ ﺤﺩﺍﺩ ﺘﺩﺨل ﺍﻝﺒﻴﻭﺕ ﻭﺘﻘﺘل ﺍﻝﻨﹼﺎﺱ ﺒﺎﻝﺒﻠﻁﺎﺕ ﻭﺍﻝﺴﻜﺎﻜﻴﻥ ﻭﺘﻐﺘﺼﺏ ﺍﻝﺒﻨـﺎﺕ ،ﻭﺘـﺩﻤﺭ ﺍﻝﺒﻴـﻭﺕ
ﺒﺎﻝﺠﺭﺍﻓﺎﺕ ﻋﻠﻰ ﺴﻜﹼﺎﻨﻬﺎ" ،1ﻭﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻴﻘﻭل ﻤﺠﺩ " :ﻝﻡ ﺃﻋﺭﻑ ﻴﻭﻤﺎ ﻜﻴﻑ ﻗﺘﻠﺕ ﺃﻤـﻲ،
ﺇﻥ ﻜﺎﻥ ﺃﺤﺩ ﺍﻝﻤﺴﻠﹼﺤﻴﻥ ﻗﺩ ﺍﻏﺘﺼﺒﻬﺎ ﺃﻭ ﺇﻥ ﻜﺎﻨﻭﺍ ﻗﺩ ﺸﻘﹼﻭﺍ ﺒﻁﻨﻬﺎ ﻷﻨﹼﻬﺎ ﺤﺎﻤل .ﻜﻤﺎ ﻓﻌﻠﻭﺍ ﺒﻨﺴـﺎﺀ
ﻜﺜﻴﺭﺍﺕ".2
ﻭﻤﻥ ﺍﻝﺼﻭﺭ ﺍﻝﺴﻠﺒﻴﺔ ﻝﻠﻤﺴﻴﺤﻲ ﺼﻭﺭﺓ ﺍﻝﻌﻨﺼﺭﻱ ،ﻭﻤﺜﺎﻝﻪ ﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻋﻡ ﻫﻴﻠﺩﺍ ﺍﻝﺫﻱ ﺫﻜﺭ
ﻭﻗﻭﻓﻪ ﻋﻠﻰ ﺃﺤﺩ ﺍﻝﺤﻭﺍﺠﺯ ﻭﺫﺒﺤﻪ ﻝﻠﻨﺎﺱ ﻋﻠﻰ ﺍﻝﻬﻭﻴﺔ ﻭﻋﻨﺩﻤﺎ ﺴﺌل ﻋﻥ ﺍﻝﺫﹼﺒﺢ ﻋﻠﻰ ﺍﻝﻬﻭﻴﺔ ﻗـﺎل" :
ﻴﻌﻨﻲ ﻴﻠﻲ ﻤﺵ ﻤﺘﻠﻨﺎ ﻤﻨﺨﻠﺹ ﻤﻨﻪ ﻗﺒل ﻤﺎ ﻴﺨﻠﺹ ﻤﻨﹼﺎ".3
ﻭﻗﺩ ﺃﻅﻬﺭﺕ ﺍﻝﺭﻭﺍﻴﺘﺎﻥ ﻤﺴﻴﺤﻴﻲ ﻝﺒﻨﺎﻥ ﺒﺼﻭﺭﺓ ﺴﻠﺒﻴﺔ ﺃﺨﺭﻯ ﻭﻫﻲ ﺼﻭﺭﺓ ﺍﻝﻤﺴﺘ ﹶﻐﻠﹼﻴﻥ ﺩﻭﻥ
ﻥ ﺍﻝﻴﻬـﻭﺩ ﺃﻭﻫﻤـﻭﺍ
ﺃﻥ ﻴﺩﺭﻜﻭﺍ ﺫﻝﻙ ،ﻭﻁﺒﻌﺎ ﺍﻝﻤﺴﺘﻐل ﻜﺎﻥ ﺍﻝﻴﻬﻭﺩ ،ﻓﻔﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺘﺒﻴﻥ ﺍﻝﻜﺎﺘﺒﺔ ﺃ
ﺍﻝﻤﺴﻴﺤﻴﻴﻥ ﺒﺄﻨﹼﻬﻡ ﺠﺎﺅﻭﺍ ﻹﻨﻘﺎﺫﻫﻡ ﻤﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ،ﻭﺃﻨﹼﻬﻡ ﺒﺘﻌﺎﻭﻨﻬﻡ ﻤـﻊ ﺍﻹﺴـﺭﺍﺌﻴﻠﻴﻴﻥ ﺴـﺘﺯﺩﻫﺭ
ل ﺍﻝﻴﻬـﻭﺩ ﻝﺒﻨـﺎﻥ ﻜﺴـﻭﻕ
ﻥ ﻤﺎ ﺤﺩﺙ ﻜﺎﻥ ﻋﻜﺱ ﺫﻝﻙ ﺇﺫ ،ﺍﺴﺘﻐ ّ
ﺤﻀﺎﺭﺘﻬﻡ ﻭﺤﻀﺎﺭﺓ ﺇﺴﺭﺍﺌﻴل ،ﻝﻜ
ﻝﺘﺼﺩﻴﺭ ﺍﻝﺨﻀﺎﺭ ﻭﺍﻝﻔﻭﺍﻜﻪ ﻭﺒﺫﻝﻙ ﺴﺒﺒﻭﺍ ﺍﻝﻀﺭﺭ ﻝﻠﺘﺠﺎﺭ ﺍﻝﻠﺒﻨﺎﻨﻴﻴﻥ .4ﺃﻤﺎ ﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻓﻘـﺩ
ﻥ ﺍﻹﺴﺭﺍﺌﻴﻠﻴﻴﻥ ﺍﺴﺘﻐﻠﹼﻭﺍ ﺍﻝﻤﺴﻴﺤﻴﻴﻥ .ﺍﻝﻤﺠـﺯﺭﺓ
ﻅﻬﺭﺕ ﻫﺫﻩ ﺍﻝﺼﻭﺭﺓ ﺃﻴﻀﺎ ﺇﺫ ﻴﻘﻭل ﻭﺍﻝﺩ ﻤﺠﺩ " :ﺇ
ﻓﻀﺤﺕ ﺍﻝﺠﻤﻴﻊ ...ﻓﺼﺎﺭﻭﺍ ﻴﻠﻭﻤﻭﻥ ﺒﻌﻀﻬﻡ ﺍﻝﺒﻌﺽ ﺍﻝﻜﺘﺎﺌﺏ ﻭﺍﻹﺴﺭﺍﺌﻴﻠﻴﻭﻥ" ،5ﻭﻴﻅﻬﺭ ﻤﻥ ﻫـﺫﺍ
ﻥ ﺍﺴﺘﻐﻼل ﺍﻝﻴﻬﻭﺩ ﻝﻠﻜﺘﺎﺌﺒﻴﻴﻥ ﻗﺩ ﺘﻌﺩﻯ ﺘﺴﻭﻴﻕ ﺍﻝﻤﻨﺘﺠﺎﺕ ﺇﻝﻰ ﺍﺴـﺘﺨﺩﺍﻤﻬﻡ ﻝﻠـﺘﺨﻠﹼﺹ ﻤـﻥ
ﺍﻝﻘﻭل ﺃ
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:7ﺼﻭﺭﺓ ﺍﻝﻤﺨﻴﻡ
ﻋﻨﺩ ﺍﻝﺤﺩﻴﺙ ﻋﻥ ﺍﻝﻤﺨﻴﻡ ﻻ ﺒ ﺩ ﻤﻥ ﺍﻝﻔﺼل ﺒﻴﻥ ﺼﻭﺭﺘﻴﻥ؛ ﺼﻭﺭﺓ ﺍﻝﻤﺨﻴﻡ ﺍﻹﻨﺴﺎﻥ ﻭﺍﻝﻤﺨﻴﻡ
ﺍﻝﻤﻜﺎﻥ ،ﺤﻴﺙ ﺘﻨﺩﻤﺞ ﻫﺎﺘﺎﻥ ﺍﻝﺼﻭﺭﺘﺎﻥ ﻝﺘﺸﻜﹼل ﺍﻝﺼﻭﺭﺓ ﺍﻝﻌﺎﻤﺔ ﻝﻠﻤﺨﻴﻡ ،ﻭﺴـﻴﺘﻡ ﺘﻭﻀـﻴﺢ ﻫـﺎﺘﻴﻥ
ﺍﻝﺼﻭﺭﺘﻴﻥ ﻓﻴﻤﺎ ﻴﻠﻲ:
ﻻ ﺒ ﺩ ﺃﻥ ﺘﻜﻭﻥ ﺍﻝﺒﺩﺍﻴﺔ ﺒﺎﻹﻨﺴﺎﻥ؛ ﻷﻨﻪ ﻫﻭ ﻤﺎ ﻴﻤﻨﺢ ﺍﻝﺤﻴﺎﺓ ﻝﻠﻤﻜﺎﻥ ،ﻓﻜﻴﻑ ﺒﺩﺕ ﺼﻭﺭﺓ ﺍﻝﻨﹼﺎﺱ
ﻓﻲ ﺍﻝﻤﺨﻴﻡ؟ ﻅﻬﺭ ﺍﻹﻨﺴﺎﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻓﻲ ﺍﻝﻤﺨﻴﻡ ﺒﺼﻭﺭﺓ ﺍﻝﻤﺘﻌﺎﻴﺵ ﻤـﻊ ﻭﻀـﻌﻪ ،ﻓﻔـﻲ ﺭﻭﺍﻴـﺔ
ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻴﻘﻭل ﻋﺒﺩ " :ﺍﻝﻤﺨﻴﻡ ﺘﻌﻴﺵ ﻓﻴﻪ ﺃﻭ ﺨﺎﺭﺠﻪ ﻫﻭ ﺤﻜﺎﻴﺘﻙ ﻻ ﻤﻬﺭﺏ ﻝﻙ ﻤﻨﻬﺎ" ،1ﻜﻤﺎ ﻴﻘﻭل
ﺍﻝﺴﺎﺭﺩ ﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ " :99ﻜﻨﹼﺎ ﺃﺜﻨﺎﺀﻫﺎ ،ﻋﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻥ ﺍﻝﺘﹼﻬﺠﻴﺭ ،ﻋﺎﺌﻠﺔ ﺼـﻐﻴﺭﺓ ﻭﺴـﻌﻴﺩﺓ،
ﻭﻜﺎﻥ ﺍﻝﻤﺨﻴﻡ ،ﻋﻠﻰ ﻀﻴﻘﻪ ،ﻤﻜﺎﻨﺎ ﻝﻨﺎ ﺠﻤﻴﻌﺎ" ، 2ﻜﻤﺎ ﻅﻬﺭ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻓﻲ ﺍﻝﻤﺨﻴﻡ ﺒﺼﻭﺭﺓ ﺍﻝﻤﺘﻌﺎﻀﺩ
ل ﻋﻠﻰ ﺍﻝﺘﹼﻤﺎﺴﻙ ﻤﻥ ﺘﺒﺎﺩل ﺍﻝﻁﹼﻌﺎﻡ ﺒﻴﻥ ﺍﻝﺠﻴﺭﺍﻥ ،ﻓﺈﺫﺍ ﻁﺒﺨﺕ ﺇﺤـﺩﻯ ﺍﻝﻨﹼﺴـﺎﺀ
ﻭﺍﻝﻤﺘﻤﺎﺴﻙ ،ﻭﻝﻴﺱ ﺃﺩ ّ
ﻥ ﻜل ﻋﺎﺌﻠﺔ ﻓﻲ ﺍﻝﻤﺨﻴﻡ ﺴﺘﺄﺨﺫ ﻤﻨﻬﺎ ،ﻭﻴﺩﺨل ﺍﻷﻁﻔﺎل ﺒﻴﻭﺕ ﺍﻝﺠﻴﺭﺍﻥ ﻭﻴﺨﺭﺠﻭﻥ ﻤﻨﻬـﺎ
ﺍﻝﻤﻠﻭﺨﻴﺔ ﻓﺈ
ﺩﻭﻥ ﺘﺤﻔﻅ ﺘﻤﺎﻤﺎ ﻜﺎﻝﻌﺎﺌﻠﺔ ﺍﻝﻭﺍﺤﺩﺓ 3ﻜﻤﺎ ﺃﻅﻬﺭﺕ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ ،99ﺃ ﻤﺎ ﻋﻥ ﺼﻭﺭ ﺍﻝﺘﹼﻌﺎﻀـﺩ ﻓـﻲ
ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻓﻤﻨﻬﺎ ﺇﻋﻁﺎﺀ ﺍﻝﺠﻴﺭﺍﻥ ﺍﻝﻤﻼﺒﺱ ﺍﻝﺘﻲ ﺘﺼﻐﺭ ﻋﻠﻰ ﺃﻁﻔﺎﻝﻬﻡ ﻷﻁﻔﺎل ﺍﻝﺠﻴﺭﺍﻥ ﺍﻵﺨـﺭﻴﻥ
ﻱ ﻤﻨﻬﻡ ﻓﻴﺄﺨﺫﻩ ﺼـﺎﺤﺏ
ﻥ ﺍﻝﻠﺒﺎﺱ ﻴﺘﺸﺎﺭﻜﻪ ﺍﻹﺨﻭﺓ ﺤﺘﻰ" ﻴﺤﺎل ﺇﻝﻰ ﺍﻷﺼﻐﺭ ﺜﻡ ﻻ ﻴﺼﻠﺢ ﻷ
ﺤﻴﺙ ﺇ
ﺍﻝﻨﹼﺼﻴﺏ".4
ﻭﺘﻌ ﺩ ﺍﻝﻤﺭﺃﺓ ﻋﻨﺼﺭﺍ ﺃﺴﺎﺴﻴﺎ ﻤﻥ ﻤﻜﻭﻨﺎﺕ ﺍﻝﻤﺠﺘﻤﻊ ﺍﻹﻨﺴﺎﻨﻲ ﻓﻲ ﺍﻝﻤﺨﻴﻡ ،ﻭﻗﺩ ﺃﺩﺭﻜﺕ ﻫـﺫﻩ
ﻥ ﻜﻲ
ﺍﻝﻤﺭﺃﺓ ﺩﻭﺭﻫﺎ ﻓﻜﺎﻨﺕ ﺤﺭﻴﺼﺔ ﻋﻠﻰ ﺤﻔﻅ ﻤﺎ ﺤﺩﺙ ﻝﻠﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﻭﺍﻝﻭﻁﻥ ،ﻭﻴﺘﺸﺎﺭﻜﻨﻪ ﻓﻴﻤﺎ ﺒﻴﻨﻬ
ﻥ ﺤﺘﻰ ﻭﺇﻥ ﻜﺎﻨﺕ
ﺏ ﺃﻥ ﺃﻨﺼﺕ ﻝﺤﻜﺎﻴﺎﺘﻬ
ﻻ ﻴﻨﺴﻴﻨﻪ ،ﻭﻴﺅﻜﺩ ﺫﻝﻙ ﻗﻭل ﺍﻝﺴﺎﺭﺩﺓ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ " :ﺃﺤ
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ﺤﺯﻴﻨﺔ ﻓﻲ ﺍﻝﺒﺩﺍﻴﺔ" ،1ﻜﻤﺎ ﻜﺎﻥ ﻝﻬﺎ ﻤﺸﺎﺭﻜﺔ ﺴﻴﺎﺴﻴﺔ ﻭﺍﻀﺤﺔ ،ﻭﻗﺩ ﺴﺒﻕ ﺘﺤﻠﻴـل ﺼـﻭﺭﺓ ﺍﻝﻤـﺭﺃﺓ
ﻭﺩﻭﺭﻫﺎ ،ﻝﻜﻥ ﻤﺎ ﻴﻬﻡ ﻫﻨﺎ ﻫﻭ ﻤﺎ ﻴﺘﻡ ﺘﻘﺩﻴﻤﻪ ﻝﻬﺫﻩ ﺍﻝﻤﺭﺃﺓ ﻓﻲ ﺍﻝﻤﺨﻴﻡ ﻤﻘﺎﺒل ﺍﻝﻌﻁﺎﺀ ﺍﻝـﺫﻱ ﺘﻘﺩﻤـﻪ،
ﺼﺤﻲ ،ﻓﻔﻲ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻜﺎﻨﺕ ﻭﺍﻝﺩﺓ ﻨﺎﺠﻲ ﺍﻝﻌﻠـﻲ ﺘﺤﻴـﻙ ﻝـﻪ
ﻝﺴﻭﺀ ﺍﻝﻭﻀﻊ ﺍﻝﻤﺎﺩﻱ ﻜﻤﺎ ﺍﻝ
ﺍﻝﻤﻼﺒﺱ ﻤﻥ ﺒﻘﺎﻴﺎ ﺃﻜﻴﺎﺱ ﻁﺤﻴﻥ ﻭﻜﺎﻝﺔ ﺍﻝﻐﻭﺙ ،3ﻭﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻜﺎﻨﺕ ﻭﺍﻝﺩﺓ ﻤﺠـﺩ ﺘﻐﺴـل
ﺍﻷﻭﺍﻨﻲ ﻭ" ﺘﻨﺸﹼﻔﻬﺎ ﺒﻤﻨﺩﻴل ﺭﺨﻴﺹ ﻤﻬﺘﺭﺉ ﻋﻨﺩ ﻁﺭﻓﻪ ﻝﻜﺜﺭﺓ ﻤﺎ ﻏﻠﺘﻪ ﻓﻲ )ﺩﺴﺕ( ﺃﻝﻤﻨﻴﻭﻡ ﻜﺒﻴـﺭ
ﺍﺴﺘﻌﻤﻠﺘﻪ ﻝﺘﻌﻘﻴﻡ ﺍﻝﻤﻼﺒﺱ ﻭﺍﻝﻤﻨﺎﺸﻑ" ،4ﻓﺎﻝﻤﻨﺩﻴل ﺭﺨﻴﺹ ﺇﻝﹼﺎ ﺃﻨﹼﻬﺎ ﻝﻡ ﺘﻘﺩﺭ ﻋﻠﻰ ﺸﺭﺍﺀ ﻏﻴﺭﻩ ﻋﻨﺩﻤﺎ
ل ﻋﻠﻰ ﺸﺩﺓ ﺍﻝﻔﻘﺭ ﻓﻴﻪ ،ﻜﻤﺎ ﻴﺩل ﻋﻠﻰ ﺤﺴﻥ ﺘﺩﺒﻴﺭ ﺍﻝﻤـﺭﺃﺓ ،ﻭﻜﺎﻨـﺕ
ﺍﻫﺘﺭﺃ ،ﺒل ﺃﺨﺫﺕ ﺘﻌﻘﹼﻤﻪ ﻤﺎ ﻴﺩ ّ
ﺭﻗﻴﺔ ﺃﻴﻀﺎ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺘﺸﺘﺭﻱ ﺍﻝﺒﻨﻁﺎل ﻻﺒﻨﻬﺎ ﻁﻭﻴﻼ ﻭﺘﺜﻨﻴﻪ ،ﺜ ﻡ ﺘﻔﻙ ﺍﻝﺜﹼﻨﻴﺔ ﺒﻌﺩ ﺫﻝﻙ ،ﺜﻡ ﺘﻌﻁﻴﻪ
ﻝﻸﺼﻐﺭ ﻓﺎﻷﺼﻐﺭ .5ﺇﻝﹼﺎ ﺃ
ﻥ ﻨﺴﺎﺀ ﺍﻝﻤﺨﻴﻡ ﻅﻬﺭﻥ ﺒﺼﻭﺭﺓ ﻤﺨﺘﻠﻔﺔ ﻓﻲ ﺭﻭﺍﻴﺔ ﻁـﺎﺒﻕ ،99ﻓﻴﻘـﻭل
ﻥ
ﻥ ﺃﺯﻭﺍﺠﻬ
ﺍﻝﺴﺎﺭﺩ " :ﻫل ﻜﻨﺕ ...ﺃﺭﻴﺩ ﻝﻠﻤﺭﺃﺓ ﺃﻥ ﺘﻜﻭﻥ ﺸﺒﻴﻬﺔ ﺒﻨﺴﻭﺓ ﺍﻝﻤﺨﻴﻡ ،ﻴﺭﺘﺠﻔﻥ ﺇﻥ ﻫﺩﺩﻫ
ﻥ ﺇﻥ ﻝﻤﺤﻥ ﺍﻝﻐﺭﺒﺎﺀ؟".6
ﺒﺎﻝﻬﺠﺭ ﺃﻭ ﺍﻝﻁﹼﻼﻕ؟ ﻴﻬﺭﻋﻥ ﻝﺘﻐﻁﻴﺔ ﺭﺅﻭﺴﻬ
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ﺍﻝﻜﺭﺓ ،ﻴﻘﻭل ﺍﻝﺴﺎﺭﺩ ﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ " :99ﺃﺫﻜﺭ ﺤﻴﻥ ﻜﺎﻨﻭﺍ ﻴﺴﺭﻗﻭﻥ ﺴﺎﻋﺔ ﻤﻥ ﺍﻝﻠﻌﺏ ﺒﺎﻝﻜﺭﺓ ﻓﻲ
1
ﺃﺯﻗﺔ ﺍﻝﻤﺨﻴﻡ".
ﻭﻗﺩ ﻋﺎﻨﻰ ﺍﻹﻨﺴﺎﻥ ﻓﻲ ﻫﺫﺍ ﺍﻝﻤﺨﻴﻡ ﻤﻥ ﻗﺒﻀﺔ ﺍﻝﻤﻜﺘﺏ ﺍﻝﺜﹼﺎﻨﻲ ﺍﻝﺫﻱ ﺃﺠﺒﺭﻩ ﻋﻠﻰ ﺍﻹﻗﺎﻤﺔ ﺩﺍﺨﻠﻪ
ﻱ ﻤﻜﺎﻥ ﺨﺎﺭﺠﻪ ،ﻜﻤﺎ ﺃﻥ ﺨﺭﻭﺠﻪ ﻤﻨﻪ ﺃﻭ ﺩﺨﻭﻝﻪ ﺇﻝﻴﻪ ﻴﺤﺘﺎﺝ ﺇﻝـﻰ ﺘﺼـﺭﻴﺢ،2
ﻭﻋﺩﻡ ﺍﻝﺴﻜﻥ ﻓﻲ ﺃ
ﻓﺘﺤﻭل ﺍﻝﻤﺨﻴﻡ ﺇﻝﻰ ﺴﺠﻥ ﻜﺒﻴﺭ ،ﻭﻝﻭﺤﻕ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻓﻲ ﺭﺯﻗﻪ ﻓﺘ ﻡ ﻤﻨﻊ ﺘﺼﺎﺭﻴﺢ ﺍﻝﻌﻤـل ﻭﺘﻌـﺭﺽ
ﻝﻼﺨﺘﻁﺎﻑ ﻭﺍﻝﻘﺘل .3ﻭﻗﺩ ﻭﺭﺩ ﺫﻝﻙ ﻓﻲ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﺇﺫ ﻴﻘﻭل ﺍﻝﺴﺎﺭﺩ" :ﺍﻻﺤﺘﻘﺎﺭ ﺍﻝﺫﻱ ﻝﻘﻴﻪ ﻫﻨﺎ
ﺒﻴﻥ ﻤﻥ ﻴﻔﺘﺭﺽ ﺃﻨﻬﻡ ﻋﺭﺏ ﻤﺜﻠﻪ ﻴﻔﻭﻕ ﺤﻘﺩ ﺍﻹﺴﺭﺍﺌﻴﻠﻴﻴﻥ" ،4ﻭﺒﺸﻜل ﻋﺎﻡ ﻓﻘﺩ ﺘﻌﺎﻴﺵ ﺍﻹﻨﺴﺎﻥ ﻓﻲ
ﺍﻝﻤﺨﻴﻡ ﻤﻊ ﻭﻀﻊ ﺴﻲﺀ ﻝﻠﻐﺎﻴﺔ ﻭﺘﻘﺒل ﻫﺫﺍ ﺍﻝﻭﻀﻊ ﺍﻝﺴﻲﺀ ﻋﻠﻰ ﺃﻤل ﺍﻝﺤﺼﻭل ﻋﻠﻰ ﺍﻝﺨﻼﺹ ﺒﺎﻝﻌﻭﺩﺓ
ﺇﻝﻰ ﺍﻝﻭﻁﻥ.
ﺘﺨﺘﻠﻑ ﺼﻭﺭﺓ ﺍﻝﻤﺨﻴﻡ ﻤﻨﺫ ﺒﺩﺍﻴﺔ ﻨﺸﺄﺘﻪ ﺤﺘﹼﻰ ﺍﺴﺘﻘﺭﺍﺭﻩ ﻋﻠﻰ ﺤﺎﻝﺔ ﻤﻌﻴﻨﺔ ﺜﻡ ﺍﻝﻬﻴـﺄﺓ ﺍﻝﺘـﻲ
ﺃﺼﺒﺢ ﻋﻠﻴﻬﺎ ﺒﻌﺩ ﺍﻝﺤﺭﺏ ،ﻭﻗﺩ ﻜﺎﻨﺕ ﺒﺩﺍﻴﺎﺘﻪ "ﺨﻴﻤﺎ ﺼﻐﻴﺭﺓ" " 5ﺘﻁﻴﺭ ﻤـﻥ ﻤﻜﺎﻨﻬـﺎ ﺤـﻴﻥ ﺘﺸـﺘﺩ
ﺍﻝﻌﻭﺍﺼﻑ* ،ﺃﻭ ﺘﻐﺭﻕ ﻓﻲ ﺍﻝﻭﺤل ﻋﻨﺩﻤﺎ ﻴﻬﻁل ﺍﻝﻤﻁﺭ" ،6ﻝﺫﻝﻙ ﻴﺘﻡ ﻭﻀﻊ ﺍﻝﺤﺠﺎﺭﺓ ﻋﻠﻴﻬﺎ ﻜـﻲ ﻻ
ﺘﻁﻴﺭ ،7ﺜ ﻡ ﺘﺤﻭﻝﺕ ﻫﺫﻩ ﺍﻝﺨﻴﺎﻡ ﺇﻝﻰ ﺴﻘﻭﻑ ﻤﻥ ﺍﻝﺯﻴﻨﻜﻭ 8ﺜـ ﻡ " ﻤﺒـﺎﻨﻲ ﻨﺼـﻑ ﻋﻤﺎﺭﺍﺘﻬـﺎ ﻏﻴـﺭ
ﺸﺭﻋﻴﺔ" ،9ﻭﻗﺩ ﻜﺎﻨﺕ ﻫﺫﻩ ﺍﻝﻤﻨﺎﺯل ﺘﺤﺕ ﻗﺒﻀﺔ ﺍﻝﻤﻜﺘﺏ ﺍﻝﺜﹼﺎﻨﻲ ،ﺍﻝﺫﻱ ﻜﺎﻥ ﻴﻔﺭﺽ ﻗﻴﻭﺩﺍ ﻋﻠﻰ ﺍﻝﺤﻴﺎﺓ
ﺍﻝﺤﻴﺎﺓ ﻓﻲ ﻫﺫﻩ ﺍﻝﻤﻨﺎﺯل ﺇﺫ ﻤﻨﻊ ﺍﻝﺠﻠﻭﺱ ﺃﻤﺎﻤﻬﺎ ﺃﻭ ﺍﻝﺘﹼﺯﺍﻭﺭ ﻓﻲ ﺍﻝﻤﺴﺎﺀ ،ﻭﻜﺎﻥ ﻫﺫﺍ ﺍﻝﻤﺨﻴﻡ ﻴﺘﻌـﺭﺽ
ﻥ ﺸﻜﻠﻪ ﻻ ﻴﻨﺎﺴـﺏ
ﻝﻜﺜﻴﺭ ﻤﻥ ﺍﻝﺘﹼﻬﺩﻴﺩﺍﺕ ﻤﺜل ﺇﻁﻼﻕ ﺍﻝﻨﹼﺎﺭ ﺒﻼ ﺴﺒﺏ ﺃﻭ ﺍﻝﺘﹼﻬﺩﻴﺩ ﺒﺒﻨﺎﺀ ﺠﺩﺍﺭ ﺤﻭﻝﻪ ﻷ
ﻨﻔﺴﻪ ،ﺹ * ،96ﺫﻜﺭﺕ ﺍﻝﻜﺎﺘﺒﺔ ﻝﻔﻅ ) ﺍﻝﻌﻭﺍﻁﻑ( ﻭﻫﻲ ﺘﻘﺼﺩ ﺍﻝﻌﻭﺍﺼﻑ ،ﻭﻫﺫﺍ ﺨﻁﺄ ﻤﻁﺒﻌﻲ. 6
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ﻱ ﺠﺩﺍﺭ ﻴﺒﻨﻰ ﻓﻴﻪ ،2ﻭﻗﺩ ﻨﺴﺠﺕ ﺍﻝﺭﻭﺍﻴﺘﺎﻥ ﻤﻌﺎ ﻫﺫﻩ ﺍﻝﺼﻭﺭﺓ ﺍﻝﻌﺎﻤـﺔ
ﺒﻴﺭﻭﺕ ،1ﻜﻤﺎ ﻜﺎﻥ ﻴﺘﻡ ﻫﺩﻡ ﺃ
ﻝﻠﻤﺨﻴﻡ.
ﺃﻤﺎ ﺍﻝﻬﻴﺄﺓ ﺍﻝﺨﺎﺼﺔ ﺃﻭ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻝﻠﻤﺨﻴﻡ ﻓﻘﺩ ﻜﺎﻨﺕ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﺃﻜﺜـﺭ ﻭﻀـﻭﺤﺎ ﻓـﻲ
ﺘﻔﺼﻴﻠﻬﺎ ،ﻓﻬﻭ ﻤﻜﺎﻥ ﻀﻴﻕ ﻻ ﻴﺼل ﺇﻝﻰ ﺃﺯﻗﹼﺘﻪ ﺍﻝﻨﹼﻭﺭ ﻭﺍﻝﻬﻭﺍﺀ ،ﻝﺫﻝﻙ ﻓﺎﻝﻤﺘﻨﻔﹼﺱ ﺍﻝﻭﺤﻴﺩ ﻫـﻭ ﺴـﻁﺢ
ﺍﻝﻤﻨﺎﺯل ،ﺤﻴﺙ ﺍﻝﻀﻭﺀ ﻭﺍﻝﻬﻭﺍﺀ ،ﻜﻤﺎ ﺘﻨﺘﺸﺭ ﺍﻝﻨﹼﻔﺎﻴﺎﺕ ﻓﻲ ﺃﺯﻗﹼﺘﻪ ﻭﺤﺒﺎل ﺍﻝﻐﺴـﻴل ﻏﻴـﺭ ﺍﻝﻤﻨﺘﻅﻤـﺔ
ﻭﺍﻝﻤﻤﺘﻠﺌﺔ ﺒﺎﻝﻐﺴﻴل ﺍﻝﺭﻁﺏ ،3ﺇ
ﻥ ﺍﺴﺘﺤﻀﺎﺭ ﺍﻝﺴﺎﺭﺩ ﻝﺤﺒﺎل ﺍﻝﻐﺴﻴل ﺍﻝﻌﺸﻭﺍﺌﻴﺔ ﻭﺍﻝﺭﻁﺒﺔ ﺃﻀﻔﻰ ﻤﺯﻴﺩﺍ
ﻤﻥ ﺍﻝﺭﻁﻭﺒﺔ ﻋﻠﻰ ﺍﻝﻤﺨﻴﻡ ﻭﻋﺸﻭﺍﺌﻴﺔ ﺃﺒﻨﻴﺘﻪ .ﻭﻝﻡ ﺘﻜﻥ ﺍﻝﻨﹼﻔﺎﻴﺎﺕ ﻓﻲ ﺍﻷﺯﻗﹼﺔ ﻓﻘﻁ ﺒل ﻜﺎﻨﺕ ﻋﻨﺩ ﺃﻁﺭﺍﻑ
ﺍﻝﻤﺨﻴﻡ ،ﻭﺍﻷﺴﻼﻙ ﺍﻝﻜﻬﺭﺒﺎﺌﻴﺔ ﻓﻴﻪ ﻤﺘﺸﺎﺒﻜﺔ ،ﻭﺍﻝﻨﹼﺎﺱ ﺩﺍﺨﻠﻪ ﻜﺄﻨﹼﻬﻡ ﺃﺸﺒﺎﺡ ،4ﻭﻝﻌل ﺍﻝﺴـﺎﺭﺩ ﻭﺼـﻑ
ﺍﻝﻨﹼﺎﺱ ﺒﺎﻷﺸﺒﺎﺡ ﺒﺴﺒﺏ ﺴﻭﺀ ﺍﻝﻭﻀﻊ ﺍﻝﺼﺤﻲ ﻭﺍﻝﻤﺎﺩﻱ ﺍﻝﺫﻱ ﻴﻌﺎﻨﻭﻨﻪ ،ﻓﻤﺜل ﻫﺫﺍ ﺍﻝﻤﻜـﺎﻥ ﻻ ﺒـ ﺩ ﺃﻥ
ﻴﺴﺒﺏ ﺍﻨﺘﺸﺎﺭ ﺍﻷﻤﺭﺍﺽ ،ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﻀﻌﻑ ﺍﻝﺩﺨل ﺍﻝﻤﺎﺩﻱ ﺒﺴﺒﺏ ﻤﻨﻊ ﺘﺼﺎﺭﻴﺢ ﺍﻝﻌﻤل .ﺇﻀﺎﻓﺔ ﺇﻝﻰ
ﺴﻜﹼﺎﻥ ﻓﻴﻬﺎ ﻜﺒﻴﺭ ،ﻭﺍﻝﻤﻨﺎﺯل ﺒﻼ ﺸﺭﻓﺎﺕ ،ﻭﺍﻝﺸﹼﻭﺍﺭﻉ ﻓﻴﻪ ﺃﺯﻗﹼﺔ ﺘﻐﺭﻕ
ﺫﻝﻙ ﻓﺎﻝﻤﺒﺎﻨﻲ ﻤﺘﻼﺼﻘﺔ ﻭﻋﺩﺩ ﺍﻝ
ﻓﻲ ﺍﻝﺸﹼﺘﺎﺀ ،ﻜﻤﺎ ﻴﺭﺸﺢ ﺍﻝﻤﺎﺀ ﻤﻥ ﺃﺴﻁﺢ ﺍﻝﻤﻨﺎﺯل ﻭﺘﺸﻜﹼل ﺍﻷﺴﻼﻙ ﺍﻝﻤﺘﺸﺎﺒﻜﺔ ﺨﻁﺭﺍ ﻜﺒﻴﺭﺍ .5ﻭﺍﻝﻤﺨﻴﻡ
ﻭﺍﻝﻤﺨﻴﻡ ﻤﻜﺎﻥ ﻀﻴﻕ ﻻ ﺘﺘﺠﺎﻭﺯ ﻤﺴﺎﺤﺘﻪ ﺍﻝﻜﻴﻠﻭ ﻤﺘﺭ ﻭﻨﺼﻑ ،6ﻴﻘﻭل ﺍﻝﺴﺎﺭﺩ " :ﻭﻜﺎﻥ ﺍﻝﻤﺨﻴﻡ ،ﻋﻠﻰ
ﻥ ﺍﻝﻨﹼﺎﺱ ﻓﻴﻪ " ﺘﻘﺭﻴﺒﺎ ﻴﻌﺭﻓﻭﻥ ﺒﻌﻀﻬﻡ ﺍﻝﺒﻌﺽ".8
ﻋﻠﻰ ﻀﻴﻘﻪ ،ﻤﻜﺎﻨﺎ ﻝﻨﺎ ﺠﻤﻴﻌﺎ" ،7ﻭﻤﺎ ﻴﺅﻜﹼﺩ ﻀﻴﻘﻪ ﺃ
ﻥ ﺭﺍﺌﺤﺔ ﻁﺒﻴﺦ ﺍﻝﻤﻠﻭﺨﻴﺔ ﻓﻲ ﺃﺤﺩ ﺍﻝﻤﻨﺎﺯل ﻤﺜﻼ ﺘﺼل ﺇﻝﻰ ﺍﻝﺠﻤﻴﻊ.9
ﺍﻝﺒﻌﺽ" .8ﻜﻤﺎ ﺃ
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ﺃﻤﺎ ﻓﻴﻤﺎ ﻴﺘﻌﻠﹼﻕ ﺒﻤﺭﺍﻓﻕ ﺍﻝﻤﺨﻴﻡ ﻓﻘﺩ ﻜﺎﻨﺕ ﻀﻴﻘﺔ ﻜﺎﻝﻤﺨﻴﻡ ﺘﻤﺎﻤﺎ ،ﻓﺎﻝﻤﺩﺭﺴﺔ ﻓﻴﻪ ﻜﻤﺎ ﻭﺼﻔﺘﻬﺎ
ﺴﺎﺭﺩﺓ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ " ﻏﺭﻓﺔ ﻭﺍﺤﺩﺓ ﺃﺼﻠﻬﺎ ﻏﺭﻓﺔ ﺤﻤﺎﻡ ،ﻭﺍﻝﻤﺩﺭﺱ ﺸﺎﺏ ﺼﻐﻴﺭ".1
ﺃﻤﺎ ﺒﻌﺩ ﺍﻝﻤﺠﺯﺭﺓ ﻓﻘﺩ ﺍﺨﺘﻠﻔﺕ ﻫﺫﻩ ﺍﻝﺼﻭﺭﺓ ،ﺇﺫ ﺍﺯﺩﺍﺩ ﺍﻷﻤﺭ ﺴﻭﺀﺍ ،ﻓﻘﺩ ﻝﺨﹼﺼـﺘﻬﺎ ﺴـﺎﺭﺩﺓ
ﺍﻝﻁﹼﻨﻁﻭﺭﺓ ﻓﻲ ﺜﻼﺙ ﻜﻠﻤﺎﺕ " :ﺭﺍﺌﺤﺔ ﻭﺴﺤﺏ ﻭﺫﺒﺎﺏ" ،2ﺃﻤﺎ ﺴﺎﺭﺩ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻓﻘـﺩ ﻭﺼـﻑ
ﻤﻨﺯﻝﻪ ﺒﻌﺩ ﺍﻝﻤﺠﺯﺭﺓ ﺒﺎﻝﺨﺭﺒﺔ ،ﻭﺍﻝﺩﻤﺎﺀ ﻤﺘﻨﺎﺜﺭﺓ ﻓﻴﻪ ﻭﺍﻷﺜﺎﺙ ﻤﻘﻠﻭﺏ.3
:8ﺍﻝﻤﺘﺨﻴل ﺍﻝﺘﹼﺎﺭﻴﺨﻲ
ﻋﺎﻝﺠﺕ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻜﺜﻴﺭﹰﺍ ﻤﻥ ﺍﻝﻘﻀﺎﻴﺎ ﺍﻝﺘﹼﺎﺭﻴﺨﻴﺔ ﺍﻝﻤﺘﻌﻠﹼﻘﺔ ﺒﻔﻠﺴﻁﻴﻥ ،ﻤﻨﺫ ﺜﻼﺜﻴﻨﻴـﺎﺕ
ﺍﻝﻘﺭﻥ ﺍﻝﻤﺎﻀﻲ ﺤﺘﹼﻰ ﺘﺤﺭﻴﺭ ﺠﻨﻭﺏ ﻝﺒﻨﺎﻥ ،ﻜﻤﺎ ﺒﻴﻨﺕ ﺘﻔﺎﻋل ﺍﻝﺸﹼﻌﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻤﻊ ﻫﺫﻩ ﺍﻝﻘﻀﺎﻴﺎ ،ﺃﻤﺎ
ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻓﻘﺩ ﺭﻜﹼﺯﺕ ﻋﻠﻰ ﺃﺤﺩﺍﺙ ﺘﺎﺭﻴﺨﻴﺔ ﻤﺤﺩﺩﺓ ﻤﺘﻌﻠﹼﻘﺔ ﺒﻤﺨـﻴﻡ ﺸـﺎﺘﻴﻼ ،ﻭﺃﻫـﻡ ﻫـﺫﻩ
ﺍﻷﺤﺩﺍﺙ ﺍﻝﺘﹼﺎﺭﻴﺨﻴﺔ ﺍﻝﻭﺍﺭﺩﺓ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺘﻴﻥ ﻤﺎ ﻴﻠﻲ:
ﺃﻭﻻ :ﺍﻻﺤﺘﻼل ﺍﻹﻨﺠﻠﻴﺯﻱ ،ﺃﺸﺎﺭﺕ ﺍﻝﻜﺎﺘﺒﺘﺎﻥ ﺇﻝﻰ ﻤﺭﺤﻠـﺔ ﺍﻻﺤـﺘﻼل ﺍﻹﻨﺠﻠﻴـﺯﻱ ﺃﻭ ﺍﻻﻨﺘـﺩﺍﺏ
ﺍﻝﺒﺭﻴﻁﺎﻨﻲ ،ﻭﺘﻠﻙ ﺍﻝﻔﺘﺭﺓ ﻤﻬﻤﺔ ﻓﻲ ﺘﺎﺭﻴﺦ ﻓﻠﺴﻁﻴﻥ ،ﺇﺫ ﺘﻌﺘﺒﺭ ﺍﻝﻤﻤﻬﺩﺓ ﻝﻼﺤﺘﻼل ﺍﻝﺼﻬﻴﻭﻨﻲ ﻝﻔﻠﺴﻁﻴﻥ،
ﻭﻗﺩ ﻋﺎﺙ ﺍﻝﺠﻨﻭﺩ ﺍﻹﻨﻜﻠﻴﺯ ﻓﺴﺎﺩﺍ ﻓﻲ ﺍﻷﺭﺽ ،ﻭﻤﻥ ﻤﻤﺎﺭﺴﺎﺘﻬﻡ ﺴﻜﺏ " ﺍﻝﺯﻴﺕ ﻋﻠﻰ ﺍﻝﻜﺎﺯ ،ﻭﺍﻝﻜـﺎﺯ
ﻋﻠﻰ ﺍﻝﺯﻴﺘﻭﻥ ﻭﺍﻝﻁﹼﺤﻴﻥ ﻭﺍﻝﻌﺩﺱ" ،4ﻭﻜﺎﻥ ﻴﺘﻡ ﺍﻝﺤﻜﻡ ﺒﺎﻹﻋﺩﺍﻡ ﻋﻠﻰ ﻤﻥ ﻴﻤﺘﻠﻙ ﺍﻝﺴﻼﺡ ،5ﻜﻤﺎ ﺍﻨﺘﻬﺞ
ﺍﻨﺘﻬﺞ ﻫﺅﻻﺀ ﺴﻴﺎﺴﺔ ﺍﻝﻌﻘﺎﺏ ﺍﻝﺠﻤﺎﻋﻲ ،ﻓﻔﻲ ﻋﺎﻡ 1939ﻗﺎﻡ ﺍﻹﻨﺠﻠﻴﺯ ﺒﺈﺤﺭﺍﻕ ﻋﺩﺩ ﻤﻥ ﻤﻨﺎﺯل ﻗﺭﻴﺔ
ﻜﻔﺭ ﻴﺎﺴﻴﻑ ﺍﻨﺘﻘﺎﻤﺎ ﻝﻤﻘﺘل ﺍﺜﻨﻴﻥ ﻤﻥ ﺠﻨﻭﺩﻫﻡ .6ﻭﻗﺩ ﻅﻬﺭ ﻫﺫﺍ ﺍﻝﻤﺘﺨﻴل ﺍﻝﺘﹼﺎﺭﻴﺨﻲ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺘﻴﻥ.
ﺜﺎﻨﻴﺎ :ﺍﻹﻀﺭﺍﺏ ﺍﻝﻜﺒﻴﺭ ﻋﺎﻡ ،1936ﻭﺴﺒﺏ ﻫﺫﺍ ﺍﻹﻀﺭﺍﺏ ﺍﻨﺘﻘﺎل ﺍﻷﺭﺍﻀﻲ ﺍﻝﻔﻠﺴـﻁﻴﻨﻴﺔ ﻝﻠﻴﻬـﻭﺩ
ﺒﻤﺴﺎﺤﺎﺕ ﻭﺍﺴﻌﺔ ﻭﺫﻝﻙ ﺒﻭﺍﺴﻁﺔ ﺍﻻﻨﺘﺩﺍﺏ ﺍﻝﺒﺭﻴﻁﺎﻨﻲ ،ﺃﻭ ﺍﻝﺒﻴﻊ ﻤﻥ ﻗﺒل ﻝﺒﻨﺎﻨﻴﻴﻥ ﻭﺴﻭﺭﻴﻴﻥ ﻤﻥ ﺫﻭﻱ
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ﺍﻷﻤﻼﻙ ﺍﻝﻭﺍﺴﻌﺔ ﻓﻲ ﻓﻠﺴﻁﻴﻥ ،ﻭﺒﺴﺒﺏ ﺍﺴﺘﻤﺭﺍﺭ ﺍﻝﻬﺠﺭﺍﺕ ﺍﻝﻴﻬﻭﺩﻴﺔ ﻭﺘﻜﺜﻴﻔﻬﺎ ﻓﻲ ﺍﻝﻔﺘﺭﺓ ﺒﻴﻥ ﻋﺎﻤﻲ
،11935-1931ﻭﻫﻨﺎﻙ ﺃﺴﺒﺎﺏ ﺃﻜﺜﺭ ﻤﺒﺎﺸﺭﺓ ﻝﻬﺫﺍ ﺍﻹﻀﺭﺍﺏ ﻭﻫﻲ ﻗﺘل ﺍﺜﻨﻴﻥ ﻤﻥ ﺍﻝﻴﻬﻭﺩ ﻋﻠﻰ ﺃﻴﺩﻱ
ﻤﺅﻴﺩﻱ ﺍﻝﺸﹼﻴﺦ ﺍﻝﻘﺴﺎﻡ ﻓﻲ ،1936/4/15ﻓﺭﺩﺕ ﺍﻝﻬﺎﺠﺎﻨﺎﻩ ﺒﻘﺘل ﻋﺎﻤﻠﻴﻥ ﻤﻥ ﺍﻝﻌﺭﺏ ﺜﻡ ﻗﺎﻡ ﺍﻝﻌـﺭﺏ
ﺒﻤﻬﺎﺠﻤﺔ ﺍﻝﻴﻬﻭﺩ ﺃﺜﻨﺎﺀ ﺘﺸﻴﻴﻊ ﺍﻝﺠﻨﺎﺯﺓ ﻓﺴﻘﻁ ﺘﺴﻌﺔ ﻗﺘﻠﻰ ،ﻓﺎﺠﺘﻤﻊ ﺍﻝﻘﻭﻤﻴﻭﻥ ﻓﻲ ﻨﺎﺒﻠﺱ ﻴﻭﻡ ﺍﻝﺠﻨـﺎﺯﺓ
ﻭﺃﻋﻠﻨﻭﺍ ﺍﻹﻀﺭﺍﺏ ﺍﻝﻌﺎﻡ ﺍﻝﺫﻱ ﺍﻨﺘﺸﺭ ﻓﻲ ﺍﻝﺒﻼﺩ ﻜﻠﻬﺎ .2ﻭﻝﻡ ﻴﺘﻡ ﺘﻔﺼﻴل ﺍﻝﺤﺩﻴﺙ ﻋﻨـﻪ ،ﺇﺫ ﺍﻜﺘﻔـﺕ
ﺴﺎﺭﺩﺓ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻓﻘﻁ ﺒﺎﻹﺸﺎﺭﺓ ﺇﻝﻰ ﻗﺭﺍﺭ ﺒﻌﺩﻡ ﺒﻴﻊ ﺍﻝﻴﻬﻭﺩ ﺃﻭ ﺍﻝﺸﹼﺭﺍﺀ ﻤﻨﻬﻡ.3
ﺜﺎﻝﺜﺎ :ﻗﺭﺍﺭ ﺍﻝﺘﹼﻘﺴﻴﻡ ،ﻭﻗﺩ ﻜﺎﻥ ﻫﺫﺍ ﺍﻝﻘﺭﺍﺭ ﻋﺎﻡ ،1947ﻭﻗﺎﻤﺕ ﺒﻪ ﺍﻝﺠﻤﻌﻴﺔ ﺍﻝﻌﺎﻤﺔ ﺍﻝﺘﹼﺎﺒﻌﺔ ﻝﻬﻴﺌﺔ ﺍﻷﻤﻡ
ﺍﻝﻤﺘﹼﺤﺩﺓ ،ﻭﻴﻘﻀﻲ ﺒﺘﻘﺴﻴﻡ ﻓﻠﺴﻁﻴﻥ ﺇﻝﻰ ﺜﻼﺙ ﻤﻨﺎﻁﻕ ﻋﺭﺒﻴﺔ ﻭﻴﻬﻭﺩﻴﺔ ﻭﻤﻨﻁﻘﺔ ﺘﺤﺕ ﻭﺼﺎﻴﺔ ﺩﻭﻝﻴـﺔ
ﻜﻤﺎ ﺘﻭﻀﺤﻪ ﺍﻝﺨﺎﺭﻁﺔ ﺃﺩﻨﺎﻩ:
ﻴﻨﻅﺭ :ﺠﺒﺎﺭﺓ ،ﺘﻴﺴﻴﺭ :ﺘﺎﺭﻴﺦ ﻓﻠﺴﻁﻴﻥ ،ﻁ ،2ﺭﺍﻡ ﺍﷲ :ﺩﺍﺭ ﺍﻝﺸﹼﺭﻭﻕ ﻝﻠﻨﺸﺭ ﻭﺍﻝﺘﹼﻭﺯﻴﻊ ،2016 ،ﺹ.261 1
ﻴﻨﻅﺭ :ﻜﻭﻫﻴﻥ ،ﻫﻴﻠﻴل :ﺠﻴﺵ ﺍﻝﻅﹼل -ﺍﻝﻤﺘﻌﺎﻭﻨﻭﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻭﻥ ﻤﻊ ﺍﻝﺼﻬﻴﻭﻨﻴﺔ ،1948 -1917ﺘﺭﺠﻤﺔ :ﻫﺎﻝﺔ ﺍﻝﻌـﻭﺭﻱ، 2
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ﻴﻨﻅﺭ :ﻤﺅﺴﺴﺔ ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ :ﻗﺭﺍﺭﺍﺕ ﺍﻷﻤﻡ ﺍﻝﻤﺘﺤﺩﺓ ﺒﺸﺄﻥ ﻓﻠﺴﻁﻴﻥ ﻭﺍﻝﺼﺭﺍﻉ ﺍﻝﻌﺭﺒﻲ ﺍﻹﺴﺭﺍﺌﻴﻠﻲ ،ﻡ،1
ﻭﺒﻤﻭﺠﺏ ﻫﺫﺍ ﺍﻝﻘﺭﺍﺭ ﺘﻜﻭﻥ ﺍﻝﻠﻐﺘﺎﻥ ﺍﻝﻌﺭﺒﻴﺔ ﻭﺍﻝﻌﺒﺭﻴﺔ ﻝﻐﺘﻴﻥ ﺭﺴﻤﻴﺘﻴﻥ ﻝﻠﺒﻼﺩ ،ﺃﻤﺎ ﺍﻷﻤـﺎﻜﻥ
ﺍﻝﻤﻘﺩﺴﺔ ﻓﻴﺠﺏ ﻀﻤﺎﻥ ﺤﺭﻴﺔ ﺍﻝﻭﺼﻭل ﺇﻝﻴﻬﺎ ﻓﻲ ﻜﻼ ﺍﻝﺩﻭﻝﺘﻴﻥ ﻭﺍﻝﻘﺩﺱ ﻭﻜﺫﻝﻙ ﺍﻷﺠﺎﻨﺏ ،ﻭﺒﻤﻭﺠـﺏ
ﻫﺫﺍ ﺍﻝﻘﺭﺍﺭ ﻴﺼﺒﺢ ﻜل ﻓﻠﺴﻁﻴﻨﻲ ﺃﻭ ﻴﻬﻭﺩﻱ ﻤﻭﺍﻁﻨﺎ ﻓﻲ ﺍﻝﺩﻭﻝﺔ ﺍﻝﺘﻲ ﻴﻌﻴﺵ ﻓﻴﻬﺎ ﺒﻌﺩ ﺍﻝﺘﻘﺴﻴﻡ ،ﻭﻴﺠﺏ
ﻀﻤﺎﻥ ﺤﺭﻴﺔ ﻋﺒﺎﺩﺘﻪ ﻭﻝﻐﺘﻪ ،ﻭﻻ ﻴﺠﻭﺯ ﺍﻨﺘﺯﺍﻉ ﻤﻠﻜﻴﺔ ﺃﻴﺔ ﺃﺭﺽ ﻝﻔﻠﺴﻁﻴﻨﻲ ﺃﻭ ﻴﻬﻭﺩﻱ ﻓﻲ ﺍﻝﺩﻭﻝﺘﻴﻥ
ﻭﻏﻴﺭ ﺫﻝﻙ ﻤﻤﺎ ﻴﺤﺩﺩ ﻨﻅﺎﻡ ﺍﻝﺤﻴﺎﺓ ﻭﺍﻝﺤﺭﻴﺎﺕ ﻭﺍﻻﻨﺘﺨﺎﺒﺎﺕ ،...ﻭﻴﺘﻡ ﺍﺴﺘﻘﻼل ﺍﻝﺩﻭﻝﺘﻴﻥ ﻭﻴﺒﺩﺃ ﺍﻝﺤﻜـﻡ
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ﺍﻝﺩﻭﻝﻲ ﻓﻲ ﺍﻝﻘﺩﺱ ﺒﻌﺩ ﺨﺭﻭﺝ ﺍﻝﻘﻭﺍﺕ ﺍﻝﺩﻭﻝﻴﺔ ﺒﻤﺎ ﻻ ﻴﺯﻴﺩ ﻋﻥ ﺸﻬﺭﻴﻥ ،1ﻭﻗﺩ ﻜﺎﻥ ﻝﻬﺫﺍ ﺍﻝﻘﺭﺍﺭ ﺃﺜﺭﻩ
ﻥ ﺍﻝﻴﻬـﻭﺩ
ﻋﻠﻰ ﺍﻷﺭﺽ ،ﻓﺒﺩﺃ ﺍﻝﻴﻬﻭﺩ ﺒﺎﺭﺘﻜﺎﺏ ﺍﻝﻤﺠﺎﺯﺭ ﺒﺤﻕ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ،ﺇﺫ ﻴﺭﺩ ﻓﻲ ﺍﻝﻁﻨﻁﻭﺭﻴﺔ ﺃ
ﺩﺤﺭﺠﻭﺍ ﺒﺭﻤﻴﻼ ﻤﻥ ﺍﻝﺒﺎﺭﻭﺩ ﻋﻠﻰ ﺠﺒل ﺍﻝﻜﺭﻤل ،ﻜﻤﺎ ﺍﻗﺘﺤﻤﻭﺍ ﺍﻝﻘﺭﻯ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ ﻭﺴﻜﺒﻭﺍ ﺍﻝﻜﻴﺭﻭﺴﻴﻥ
ﻋﻠﻰ ﻤﻭﻨﺘﻬﺎ ﻭﺃﺤﺭﻗﻭﻫﺎ ،ﻭﺃﻁﻠﻘﻭﺍ ﺍﻝﻨﹼﺎﺭ ﻋﻠﻰ ﺴﻜﹼﺎﻨﻬﺎ ،2ﻭﻗﺩ ﺃﺩﺭﻙ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻭﻥ ﺨﻁـﻭﺭﺓ ﺍﻝﻭﻀـﻊ
ﻓﻘﺎﻤﻭﺍ ﺒﻌﻘﺩ ﺍﺠﺘﻤﺎﻋﺎﺕ ﻝﻤﻨﺎﻗﺸﺔ ﺍﻷﻭﻀﺎﻉ ﻭﻜﻴﻔﻴﺔ ﻤﻭﺍﺠﻬﺘﻬﺎ ،ﻭﺒﺎﻝﻔﻌل ﻗﺎﻡ ﺍﻝﻔﻠﺴـﻁﻴﻨﻴﻭﻥ ﺒﻤﻭﺍﺠﻬـﺔ
ﺒﻌﺽ ﻫﺫﻩ ﺍﻝﻬﺠﻤﺎﺕ ﻤﺜل ﺭﺩﻫﻡ ﻋﻠﻰ ﻗﻴﺎﻡ ﺍﻝﻴﻬﻭﺩ ﺒﺈﻝﻘﺎﺀ ﻗﻨﺒﻠﺔ ﻤﻥ ﺴﻴﺎﺭﺓ ﻤﺴﺭﻋﺔ ﺃﺩﺕ ﺇﻝـﻰ ﺠـﺭﺡ
ﻋﺩﺩ ﻤﻥ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﺒﺎﻻﺸﺘﺒﺎﻙ ﻤﻊ ﺍﻝﻌﻤﺎل ﺍﻝﻴﻬﻭﺩ ﻓﻲ ﻤﺼﻔﺎﺓ ﺍﻝﻨﹼﻔﻁ ﺒﺎﻝﻌﺼﻲ ﻭﺍﻝﺴﻜﺎﻜﻴﻥ ﻭﻗﺘل ﻋﺩﺩ
ﻤﻥ ﺍﻝﻴﻬﻭﺩ ،ﻝﻜﻥ ﺍﻝﻴﻬﻭﺩ ﻝﻡ ﻴﺼﻤﺘﻭﺍ ،ﻭﻗﺎﻤﻭﺍ ﺒﻤﻬﺎﺠﻤﺔ ﺍﻝﻘﺭﻯ ﺍﻝﺘﻲ ﻴﻌﻤل ﺃﻫﻠﻬﺎ ﻓﻲ ﻤﺼﻔﺎﺓ ﺍﻝﻨﹼﻔﻁ ﻤﺜل
ﺇﺠﺯﻡ ﻭﻋﻴﻥ ﻏﺯﺍل ﻭﻗﺘﻠﻭﺍ ﻋﺩﺩﺍ ﻜﺒﻴﺭﺍ ﻤﻥ ﺍﻷﻫﺎﻝﻲ ﺒﺎﻝﺒﻠﻁـﺎﺕ ﻭﺍﻝﺴـﻜﺎﻜﻴﻥ ﻭﺍﻝﺒﻨـﺎﺩﻕ ﻭﺍﻝﻘﻨﺎﺒـل
ﻭﺘﻀﺎﺭﺒﺕ ﺍﻹﺤﺼﺎﺀﺍﺕ ﺤﻭل ﻋﺩﺩ ﺍﻝﻘﺘﻠﻰ ﺒﻴﻥ ﺍﻝﺴﺘﻴﻥ ﻭﺍﻝﻤﺌﺎﺕ ،3ﻭﻴﻅﻬﺭ ﻤﻥ ﺫﻝﻙ ﺍﺨﺘﻼﻑ ﻤﻴـﺯﺍﻥ
ﺍﻝﻘﻭﻯ ﺒﻴﻥ ﺍﺴﺘﻌﻤﺎل ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﻝﻠﺴﻼﺡ ﺍﻷﺒﻴﺽ ،ﻭﺍﺴﺘﻌﻤﺎل ﺍﻝﻴﻬﻭﺩ ﻝﻠﺒﻨﺎﺩﻕ ﻭﺍﻝﻘﻨﺎﺒل ،ﻭﻗﺩ ﺘﻔـﺭﺩﺕ
ﺭﺍﺒﻌﺎ :ﺤﺭﺏ ﻋﺎﻡ ،1948ﺃﻭ ﺍﻝﻨﹼﻜﺒﺔ ،ﻭﺇﻋﻼﻥ ﺩﻭﻝﺔ ﺇﺴﺭﺍﺌﻴل ،ﻭﻗﺩ ﻜﺎﻥ ﻫﺫﺍ ﺍﻝﺤﺩﺙ ﺍﻝﺘﹼﺎﺭﻴﺨﻲ ﺍﻷﻜﺜﺭ
ﺘﺄﺜﻴﺭﺍ ﻋﻠﻰ ﺍﻝﺸﹼﻌﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ؛ ﻓﻘﺩ ﺍﺭﺘﻜﺒﺕ ﺍﻝﻤﺠﺎﺯﺭ ﻓﻲ ﺤﻘﹼﻪ ﻭﺘﺸﺭﺩ ﻤﻥ ﻭﻁﻨﻪ ،ﻭﺴﺭﻕ ﺍﻝﻴﻬﻭﺩ ﻜل
ﻤﺎ ﻴﺨﺼﻪ ،ﻭﺃﺴﺭ ﻭﺃﺠﺒﺭ ﻋﻠﻰ ﺩﻓﻥ ﺇﺨﻭﺘﻪ ﻤﻥ ﺍﻝﻌﺭﺏ ﻭﺍﻝﻌﻤل ﻓﻲ ﻤـﺯﺍﺭﻋﻬﻡ ...ﺘﻘـﻭل ﺇﺤـﺩﻯ
ﺍﻝﺸﹼﺨﺼﻴﺎﺕ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ " :ﺼﺎﺭﻭﺍ ﻴﺴﻭﻗﻭﻨﻨﺎ ﺇﻝﻰ ﺍﻝﻘﺭﻯ ﺍﻝﺘﻲ ﺍﺴﺘﺤﻠﹼﻭﻫﺎ ﻭﻫﺩﻤﻭﺍ ﺒﻴﻭﺘﻬﺎ ﻝﻨﻨﻘل
ﺤﺠﺎﺭﺘﻬﺎ .ﻜﻨﹼﺎ ﻨﺤﻤل ﺤﺠﺎﺭﺓ ﺒﻴﻭﺕ ﺃﻫﻠﻨﺎ ﻝﻜﻲ ﻴﺴﺘﺨﺩﻤﻭﻫﺎ ﻫﻡ ﻓﻲ ﺒﻨﺎﻴﺔ ﻤﺴﺘﻭﻁﻨﺎﺘﻬﻡ" ،4ﻭﻗﺩ ﺃﺩﺭﻙ
ﻥ ﺍﻝﺭﺠـﺎل ،ﻭﺭﺒﻤـﺎ
ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﺨﻁﺭ ﺍﻝﻤﺤﺩﻕ ﺒﻪ ،ﻭﻭﺍﺠﻬﻪ ،ﺘﻘﻭل ﺍﻝﺴﺎﺭﺩﺓ ﻓﻲ ﻨﻔﺱ ﺍﻝﺭﻭﺍﻴﺔ " :ﺇ
ﺒﻌﺽ ﺍﻝﻨﹼﺴﺎﺀ ،ﻜﺎﻨﻭﺍ ﻤﺘﻨﺒﻬﻴﻥ ﻝﻬﺫﻩ ﺍﻝﺤﻘﻴﻘﺔ ...ﻴﻨﻅﻤﻭﻥ ﺃﻨﻔﺴﻬﻡ ﻝﻤﻭﺍﺠﻬﺔ ﺍﻝﺨﻁﺭ ،ﻭﺃﻨﻬﻡ ﻴﺸﺘﺭﻭﻥ
ﻴﻨﻅﺭ :ﻤﺅﺴﺴﺔ ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ :ﻗﺭﺍﺭﺍﺕ ﺍﻷﻤﻡ ﺍﻝﻤﺘﺤﺩﺓ ﺒﺸﺄﻥ ﻓﻠﺴﻁﻴﻥ ﻭﺍﻝﺼـﺭﺍﻉ ﺍﻝﻌﺭﺒـﻲ ﺍﻹﺴـﺭﺍﺌﻴﻠﻲ ،ﻡ ،1ﻁ،3 1
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ﺴﻼﺤﺎ ﺃﻭ ﺃﻨﹼﻬﻡ ﺸﻜﹼﻠﻭﺍ ﻝﺠﻨﺔ ﻝﺘﻨﻅﻴﻡ ﺤﺭﺍﺴﺔ ﺍﻝﺒﻠﺩ" ،1ﻓﻘﺩ ﺃﺩﺭﻙ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻭﻥ " ﺃ
ﻥ ﺍﻝﺤﺎﺠﺔ ﻝﻠﺴـﻼﺡ
ﺼﺎﺭﺕ ﻜﺸﺭﺒﺔ ﻤﺎﺀ ،ﻀﺭﻭﺭﻴﺔ ﻝﻠﺒﻘﺎﺀ" ،2ﻝﻜ
ﻥ ﺍﻝﻤﺸﻜﻠﺔ ﺘﻜﻤﻥ ﻓﻲ ﺍﻝﺤﺼﻭل ﻋﻠﻰ ﻫﺫﺍ ﺍﻝﺴﻼﺡ ،ﻓﻘـﺩ
ل ﻤﻜﺎﻥ.3
ﻜﺎﻥ ﻗﺩﻴﻤﺎ ،ﻭﻴﺼﻌﺏ ﺍﻝﺤﺼﻭل ﻋﻠﻴﻪ ،ﻤﻘﺎﺒل ﺴﻼﺡ ﻴﺄﺘﻲ ﻝﻠﻴﻬﻭﺩ ﻤﻥ ﻜ ّ
ﺃﻤﺎ ﺴﺒﺏ ﺘﺭﻙ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﻝﻤﻨﺎﺯﻝﻬﻡ ﻓﻬﻭ ﺍﻝﻬﺭﺏ ﻤﻥ ﺍﻝﻤﺠﺎﺯﺭ ﺍﻝﺘﻲ ﻜﺎﻨـﺕ ﺘﺭﺘﻜـﺏ ،ﺃﻭ
ﺒﺴﺒﺏ ﻭﻋﻭﺩ ﺍﻝﺠﻴﻭﺵ ﺍﻝﻌﺭﺒﻴﺔ ﺒﺎﻝﺨﺭﻭﺝ ﻷﻴﺎﻡ ﺤﻔﺎﻅﺎ ﻋﻠﻰ ﺴﻼﻤﺘﻬﻡ ﺤﺘﻰ ﻴﺘﻡ ﺍﻝﺘﹼﺤﺭﻴﺭ ،4ﻭﻗﺩ ﻋﺩﺩﺕ
ﺴﺎﺭﺩﺓ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺒﻌﺽ ﺍﻝﻌﺼﺎﺒﺎﺕ ﺍﻝﺘﻲ ﻗﺎﻤﺕ ﺒﺎﻝﻘﺘل ﻭﺍﻝﺘﹼﻬﺠﻴﺭ ﻤﺜل :ﺍﻝﻬﺎﺠﺎﻨﺎﻩ ﻭﺸﺘﻴﺭﻥ ﻭﺇﺘﺴـﻴل
ﻭﺒﻥ ﺠﻭﺭﻴﻭﻥ ،5...ﻭﻓﻲ ﺍﻝﻤﻘﺎﺒل ﺫﻜﺭﺕ ﺍﻝﺴﺎﺭﺩﺓ ﺒﻌﺽ ﺍﻝﻘﺎﺩﺓ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﻤﺜل ﻤﺤﻤﺩ ﺍﻝﺤﻨﻴﻁﻲ ﻗﺎﺌﺩ
ﺤﺎﻤﻴﺔ ﺤﻴﻔﺎ ،ﻭﻋﺒﺩ ﺍﻝﻘﺎﺩﺭ ﺍﻝﺤﺴﻴﻨﻲ ﻭﺭﺸﻴﺩ ﺍﻝﺤﺎﺝ ﺇﺒﺭﺍﻫﻴﻡ ﻭﺴﺭﻭﺭ ﺒﺭﻫﻡ ﻭﺍﻝﺤﺎﺝ ﺃﻤﻴﻥ ،...ﻭﺘﺤﺩﺜﺕ
ﻋﻥ ﻜﻴﻔﻴﺔ ﺍﺴﺘﺸﻬﺎﺩ ﻫﺅﻻﺀ ﺍﻝﻘﺎﺩﺓ .ﺃﻤﺎ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻓﻘﺩ ﺫﻜﺭ ﺍﻝﺴﺎﺭﺩ ﺤﺩﺙ ﺍﻝﻨﹼﻜﺒﺔ ﺩﻭﻥ ﺫﻜﺭ ﺃﻴـﺔ
ﻥ ﻭﺍﻝﺩﻩ ﻝﻡ ﻴﻌﺘﺭﻑ ﻝﻨﻔﺴﻪ ﺒﻤﺎ ﺤﺩﺙ.
ﺘﻔﺎﺼﻴل ﺼﻐﻴﺭﺓ ﺤﻭﻝﻪ؛ ﺫﻝﻙ ﻷ
ﻭﻤﻥ ﺃﺤﺩﺍﺙ ﺤﺭﺏ ﻋﺎﻡ 1948ﺍﻝﺘﻲ ﺘﺤﺩﺜﺕ ﻋﻨﻬﺎ ﺴﺎﺭﺩﺓ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ :ﺴﻘﻭﻁ ﺤﻴﻔﺎ ﺨـﻼل
ﻥ ﺍﻝﺴﺒﺏ ﻓﻲ ﺫﻝﻙ ﺘﻁﻭﻴﻕ ﻋﺸﺭ ﻤﺴﺘﻭﻁﻨﺎﺕ ﻝﻬﺎ ﻤﻥ ﺍﻝﺠﻬﺎﺕ ﺍﻷﺭﺒـﻊ ،ﻓـﺘ ﻡ
ﻴﻭﻤﻴﻥ ﻓﻘﻁ ،ﻭﺒﻴﻨﺕ ﺃ
ﺤﺼﺎﺭﻫﺎ ﻤﻥ ﺍﻝﺨﺎﺭﺝ ،ﺃﻤﺎ ﻤﻥ ﺍﻝﺩﺍﺨل ﻓﻘﺩ ﻜﺎﻥ ﺍﻝﻴﻬﻭﺩ ﻴﺴﻜﻨﻭﻥ ﺍﻝﺠﺒل ﻭﻝﺩﻴﻬﻡ ﻤﺩﺍﻓﻊ ،6ﻜﻤﺎ ﺫﻜـﺭﺕ
ﺍﻝﺴﺎﺭﺩﺓ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﻘﺭﻯ ﻭﺍﻝﻤﺩﻥ ﺍﻷﺨﺭﻯ ﺍﻝﺘﻲ ﺴﻘﻁﺕ ،ﻭﻭﻀﺤﺕ ﻜﻴﻔﻴﺔ ﺴﻘﻭﻁﻬﺎ ﻭﺘﺭﺘﻴﺒﻪ ﻭﻤﺩﺓ
ﺼﻤﻭﺩﻫﺎ ،ﻓﺤﻴﻔﺎ ﻤﺜﻼ ﺴﻘﻁﺕ ﺃﻭﻻ ﺒﻌﺩ ﺍﺴﺘﺸﻬﺎﺩ ﺍﻝﺤﻨﻴﻁﻲ ﺒﺄﺴﺒﻭﻋﻴﻥ ،ﺜ ﻡ ﺒﻌﺩ ﺴﻘﻭﻁﻬﺎ ﺒﺄﺴـﺒﻭﻋﻴﻥ
ﺍﺴﺘﺸﻬﺩ ﻋﺒﺩ ﺍﻝﻘﺎﺩﺭ ﺍﻝﺤﺴﻴﻨﻲ ﻓﻲ ﻤﻌﺭﻜﺔ ﺍﻝﻘﺴﻁل ،ﻭﻓﻲ ﺍﻝﻴﻭﻡ ﺍﻝﺘﹼﺎﻝﻲ ﻝﺴﻘﻭﻁ ﺍﻝﻘﺴﻁل ﺴﻘﻁﺕ ﺩﻴـﺭ
ﻴﺎﺴﻴﻥ ﺒﻌﺩ ﺍﺭﺘﻜﺎﺏ ﻤﺠﺯﺭﺓ ﺩﻴﺭ ﻴﺎﺴﻴﻥ ،ﺜ ﻡ ﺒﻌﺩ ﺜﻼﺜﺔ ﺃﻴﺎﻡ ﺴﻘﻁﺕ ﺼﻔﺩ ﺜ ﻡ ﺒﻌﺩ ﺜﻼﺜﺔ ﺃﻴﺎﻡ ﺴـﻘﻁﺕ
ﻴﺎﻓﺎ ،ﻭﺒﻌﺩﻫﺎ ﺒﺜﻼﺜﺔ ﺃﻴﺎﻡ ﺴﻘﻁﺕ ﻋﻜﹼﺎ.7
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ﺨﺎﻤﺴﺎ :ﺘﺩﺨﹼل ﺠﻴﺵ ﺍﻹﻨﻘﺎﺫ ﺍﻝﻌﺭﺒﻲ ،ﻭﻗﺩ ﺘﺤﺩﺜﺕ ﺴﺎﺭﺩﺓ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻋﻥ ﺤﻘﻴﻘﺔ ﻫﺫﺍ ﺍﻝﺠﻴﺵ ﻭﺩﻭﺭﻩ،
ﻫل ﻜﺎﻥ ﺤﻘﻴﻘﻴﺎ؟ ﻭﻤﺎ ﺃﺴﺒﺎﺏ ﻓﺸﻠﻪ؟ ﻭﻗﺩ ﺒﻴﻨﺕ ﺫﻝﻙ ﻤﻥ ﺨﻼل ﺭﺩﻭﺩ ﻓﻌل ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﻋﻠﻰ ﺩﻭﺭ ﻫﺫﺍ
ﺍﻝﺠﻴﺵ ،ﺇﺫ ﺍﻨﻘﺴﻡ ﺍﻝﺸﹼﻌﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺒﻴﻥ ﺍﻝﻤﻨﺩﻓﻊ ﺍﻝﻤﺅﻴﺩ ،ﻭﺍﻝﻤﺅﻤﻥ ﺒﺩﻭﺭ ﺍﻝﺠﻴﻭﺵ ﺍﻝﻌﺭﺒﻴـﺔ ﻭﻋـﺩﻡ
ل ﺍﻨﺩﻓﺎﻋﺎ ﻭﺃﻜﺜﺭ ﺘﻭﺠﺴﺎ .ﻭﻗﺩ ﻗـﺎﻡ ﺃﺼـﺤﺎﺏ ﻫـﺫﺍ ﺍﻝـﺭﺃﻱ
ﺴﻤﺎﺤﻬﺎ ﺒﻀﻴﺎﻉ ﻓﻠﺴﻁﻴﻥ ،ﻭﻤﻥ ﻫﻭ ﺃﻗ ّ
ﺒﺎﻝﺘﹼﺩﺭﺏ ﻋﻠﻰ ﺍﻝﺴﻼﺡ ﻭﻋﻤل ﻨﻭﺒﺎﺕ ﺤﺭﺍﺴﺔ ﻝﻘﺭﺍﻫﻡ ،1ﻭﻁﺭﻑ ﺜﺎﻝﺙﹲ ﻓﺎﻗﺩ ﻝﻠﺜﻘﺔ ﻓﻲ ﻫـﺫﺍ ﺍﻝﺠـﻴﺵ
ﻭﻴﻤﺜل ﻫﺫﺍ ﺍﻝﻁﹼﺭﻑ ﺍﻷﺨﻴﺭ ﺇﺤﺩﻯ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺇﺫ ﺘﻘﻭل " :ﻝﻥ ﻴﺘﺩﺨﹼﻠﻭﺍ ،ﻭﺇﻥ ﺘﺩﺨﹼﻠﻭﺍ
ﺴﻴﻬﺯﻤﻭﻥ".2
ﻜﻤﺎ ﺘﺸﻴﺭ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺇﻝﻰ ﻭﺠﻭﺩ ﺒﻌﺽ ﺍﻝﺘﹼﺨﻠﻲ ﻭﺍﻝﺨﻴﺎﻨﺔ ﻝﺩﻯ ﺍﻝﺠﻴـﻭﺵ ﺍﻝﻌﺭﺒﻴـﺔ،
ﻭﺫﻝﻙ ﺒﻁﺭﺡ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻷﺴﺌﻠﺔ ﺍﻝﻤﻨﻁﻘﻴﺔ ﻋﻥ ﺴﻘﻭﻁ ﺼﻔﺩ ،ﻓﺈﺫﺍ ﻜﺎﻨﺕ ﺤﻴﻔﺎ ﻗﺩ ﺴﻘﻁﺕ ﻝﻸﺴﺒﺎﺏ
ﺴﺎﻝﻔﺔ ﺍﻝﺫﹼﻜﺭ ﻓﺼﻔﺩ ﻤﺨﺘﻠﻔﺔ ،ﻤﻨﻴﻌﺔ ﻭﺘﻘﻊ ﻋﻠﻰ ﺃﺭﺒﻌﺔ ﺠﺒﺎل ،ﻭﺘﺘﺴﺎﺀل ﺍﻝﺴﺎﺭﺩﺓ ﻝﻤﺎﺫﺍ ﺴﻘﻁﺕ ﻓﻲ ﻴﻭﻡ
ﻭﺍﺤﺩ؟ ﻭﻝﻤﺎﺫﺍ ﺨﺭﺝ ﻤﻨﻬﺎ ﺍﻷﻫﺎﻝﻲ؟ ﻭﻝﻤﺎﺫﺍ ﺍﻨﺴﺤﺒﺕ ﻤﻨﻬﺎ ﺍﻝﺤﺎﻤﻴﺔ؟ ﻝﻤﺎﺫﺍ ﺍﻨﺴﺤﺒﺕ ﺍﻝﺴﺭﻴﺔ ﺍﻷﺭﺩﻨﻴـﺔ
ﻭﺍﻝﺴﺭﻴﺔ ﺍﻝﺴﻭﺭﻴﺔ؟ ﻭﺃﻴﻥ ﺫﻫﺏ ﺠﻴﺵ ﺍﻹﻨﻘﺎﺫ؟ ﻭﻗﺩ ﺤﺩﺙ ﺒﻌﻜﹼﺎ ﺍﻝﻤﻨﻴﻌﺔ ﻤﺜﻠﻬﺎ ،3ﻫﺫﺍ ﻴﺸﻴﺭ ﺇﻝﻰ ﻭﺠﻭﺩ
ﻥ ﻫﻨﺎﻙ ﻤﻥ ﺴﻴﺩﺍﻓﻊ ﻋﻨﻬﻡ
ﺨﻠل ﻤﺎ ﺃﻭ ﺨﻴﺎﻨﺔ ،ﻓﺎﻷﻫﺎﻝﻲ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﻴﺘﺭﻜﻭﺍ ﻤﻨﺎﺯﻝﻬﻡ ﺇﻝﹼﺎ ﺇﺫﺍ ﺸﻌﺭﻭﺍ ﺒﺄ
ﻭﻴﻌﻴﺩﻫﻡ ﺇﻝﻴﻬﺎ ،ﻭﻫﺫﺍ ﻤﺎ ﻜﺎﻨﺕ ﺍﻝﺠﻴﻭﺵ ﺍﻝﻌﺭﺒﻴﺔ ﺘﻌﺩ ﺒﻪ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ،ﺍﻝﺨﺭﻭﺝ ﻝﻴﻭﻤﻴﻥ ﺃﻭ ﺜﻼﺜﺔ ﺤﺘﻰ
ﻴﺘﻡ ﺍﻝﺘﹼﺤﺭﻴﺭ ،4ﻓﻜﺎﻥ ﺍﻝﺴﻜﺎﻥ ﻴﺨﺭﺠﻭﻥ ﻭﺍﻝﺠﻴﻭﺵ ﺍﻝﻌﺭﺒﻴﺔ ﺘﻨﺴﺤﺏ ،ﺜﻡ ﺘﻠﻤﺢ ﺍﻝﺴﺎﺭﺩﺓ ﺒﺸﻜل ﺃﻭﻀـﺢ
ﻥ ﻋﻴﻥ ﻏﺯﺍل ﻭﺇﺠﺯﻡ ﻭﺠﺒﻊ ﺍﻷﺼﻐﺭ ﻤـﻥ
ﺇﻝﻰ ﻭﺠﻭﺩ ﺨﻴﺎﻨﺔ ﻤﺎ ﻋﻨﺩ ﻫﺫﻩ ﺍﻝﺠﻴﻭﺵ ﻭﺫﻝﻙ ﺒﻘﻭﻝﻬﺎ " :ﺇ
ﺼﻔﺩ ﻭﻴﺎﻓﺎ ﻭﻋﻜﹼﺎ ﻭﺍﻝﺘﻲ ﻻ ﻴﺤﺭﺴﻬﺎ ﺴﻭﻯ ﺃﻫﻠﻬﺎ ،ﺼﻤﺩﺕ ﻭﺼﺩﺕ ﺍﻝﻌﺩﻭﺍﻥ ﻤﺭﺓ ﺒﻌﺩ ﻤﺭﺓ" .5ﻭﻫﺫﻩ
ﺍﻝﺠﻤﻠﺔ ﺘﺜﻴﺭ ﺍﻷﺴﺌﻠﺔ ﻓﻲ ﺫﻫﻥ ﺍﻝﻘﺎﺭﺉ ﻭﺘﺩﻓﻌﻪ ﺇﻝﻰ ﺍﻝﺘﹼﻔﻜﻴﺭ ﻓﻲ ﺍﻝﺤﻘﺎﺌﻕ ،ﻓﺈﺫﺍ ﻜﺎﻨﺕ ﻫﺫﻩ ﺍﻝﻘﺭﻯ ﻨﺠﺤﺕ
ﺒﺎﻝﺼﻤﻭﺩ ﻭﺼﺩ ﺍﻝﻌﺩﻭﺍﻥ ﺃﻜﺜﺭ ﻤﻥ ﻤﺭﺓ ﻭﺃﻫﻠﻬﺎ ﻴﺩﺍﻓﻌﻭﻥ ﻋﻨﻬﺎ ﺒﻤﻌﺩﺍﺘﻬﻡ ﻭﺃﺴﻠﺤﺘﻬﻡ ﺍﻝﺒﺴﻴﻁﺔ ،ﻓﻜﻴـﻑ
ﻝﺠﻴﺵ ﺃﻥ ﻴﻨﻬﺯﻡ؟
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ﻜﻤﺎ ﺘﺸﻴﺭ ﺍﻝﺴﺎﺭﺩﺓ ﻓﻲ ﻤﻭﻀﻊ ﺁﺨﺭ ﺇﻝﻰ ﻭﺠﻭﺩ ﺍﻝﺨﻴﺎﻨﺔ ﻋﻨﺩﻤﺎ ﺘﻘﻭل ﺇﺤـﺩﻯ ﺍﻝﺸﹼﺨﺼـﻴﺎﺕ:
" 700ﺠﻨﺩﻱ ﻤﻥ ﺍﻝﺠﻴﺵ ﺍﻷﺭﺩﻨﻲ ﻗﺭﺏ ﺍﻝﻤﺩﻴﻨﺔ ﻴﺘﺎﺒﻌﻭﻥ ﻤﺎ ﻴﺤﺩﺙ ﻭﻻ ﻴﺴﺘﻁﻴﻌﻭﻥ ﺍﻝﺘﹼـﺩﺨﹼل .ﻫـل
ﺘﺘﻭﻗﹼﻊ ﺃﻥ ﻴﺘﺩﺨﹼﻠﻭﺍ ﻭﻗﺎﺌﺩﻫﻡ ﺍﻨﺠﻠﻴﺯﻱ" ،1ﺇ
ﻥ ﻜﻠﻤﺔ ﻴﺘﺎﺒﻌﻭﻥ ،ﻭﻻ ﻴﺴﺘﻁﻴﻌﻭﻥ ﺍﻝﺘﹼﺩﺨﹼل ﺘﺤﻤل ﻤﻌـﺎﻨﻲ
ﻥ ﻫﺫﺍ ﺍﻝﺠﻴﺵ ﻝﻴﺱ ﺴﻭﻯ ﻹﺜﺒﺎﺕ ﺍﻝﻭﺠﻭﺩ ﺃﻭ ﺘﺩﺨﹼل ﻤﺴﺭﺤﻲ ﻋﻠﻰ ﺃﺭﺽ ﺍﻝﻭﺍﻗـﻊ ،ﺃﻤـﺎ
ﺍﻝﺴﻠﺒﻴﺔ ،ﻭﺃ
ﺍﻝﻘﺎﺌﺩ ﺍﻹﻨﺠﻠﻴﺯﻱ ﺍﻝﺫﻱ ﺃﺸﺎﺭﺕ ﺇﻝﻴﻪ ﺍﻝﺸﹼﺨﺼﻴﺔ ﻓﻬﻭ ﻏﻠﻭﺏ ،ﻭﻫﻭ ﺒﺭﻴﻁﺎﻨﻲ ﻜﻠﹼﻑ ﺒﺘﺄﺴﻴﺱ ﻭﺘـﺩﺭﻴﺏ
ﺍﻝﺠﻴﺵ ﺍﻷﺭﺩﻨﻲ .ﺜ ﻡ ﺫﻜﺭﺕ ﻋﺩﺩﺍ ﻤﻥ ﺍﻷﺤﺩﺍﺙ ﺍﻝﺘﻲ ﺘﺩل ﻋﻠﻰ ﺨﻴﺎﻨﺔ ﻫﺫﺍ ﺍﻝﺠﻴﺵ ﻤﺜل ﺩﺨﻭل ﺍﻝﻘﻭﺍﺕ
ﺍﻝﻌﺭﺍﻗﻴﺔ ﻝﻤﺤﻁﹼﺔ ﺭﻭﺘﻨﺒﺭﻍ ﻝﻠﻜﻬﺭﺒﺎﺀ ﻭﺍﻋﺘﻘﺎﻝﻬﺎ ﻷﺭﺒﻌﻴﻥ ﻴﻬﻭﺩﻴﺎ ﻤﻥ ﺍﻝﻌﺎﻤﻠﻴﻥ ﻓﻴﻬﺎ ،ﻭﻫﻨﺎ ﺘﺘﻔﺎﺠﺄ ﺇﺤﺩﻯ
ﺸﺨﺼﻴﺎﺕ ﺍﻝﺭﻭﺍﻴﺔ ﻝﻜﻭﻥ ﺍﻝﻤﺤﻁﹼﺔ ﻋﻨﺩ ﺍﻷﺭﺩﻥ ،ﻓﻠﻤﺎﺫﺍ ﺘﺭﻜﻬﺎ ﺍﻝﺠﻴﺵ ﺍﻷﺭﺩﻨـﻲ ﺨﻠﻔـﻪ ﻭﻝـﻡ ﻴﻘـﻡ
ﺒﺎﻝﻼﺯﻡ؟ .2ﻭﻓﻲ ﻤﻭﻗﻊ ﺁﺨﺭ ﻭﺭﺩﺕ ﺍﻝﺨﻴﺎﻨﺔ ﺒﺸﻜل ﺼﺭﻴﺢ ﺇﺫ ﺘﻘﻭل ﺇﺤﺩﻯ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ " :ﻻ ﺃﺜﻕ ﻓﻲ
ﺍﻝﻤﻠﻙ ﻋﺒﺩ ﺍﷲ ،ﻴﻘﻭﻝﻭﻥ ﺇﻨﹼﻪ ﺍﺘﹼﻔﻕ ﻤﻊ ﺍﻝﻴﻬﻭﺩ ،ﻭﺤﺘﹼﻰ ﺇﻥ ﻝﻡ ﻴﺘﹼﻔﻕ ..ﻜﻴﻑ ﻨﻁﻤﺌﻥ ﻝﺠﻴﺵ ﻜ ّل ﻗﺎﺩﺘﻪ
ﺇﻨﺠﻠﻴﺯ؟! ﺭﺒﻨﺎ ﻴﺴﺘﺭ" ،3ﻭﻓﻲ ﻤﻭﻀﻊ ﺁﺨﺭ ﺘﺸﻴﺭ ﺇﺤﺩﻯ ﺍﻝﺸﹼﺨﺼﻴﺎﺕ ﺇﻝﻰ ﺨﻴﺎﻨﺔ ﺍﻝ
ﻀﺒﺎﻁ ﺇﺫ ﺘﻘـﻭل" :
ﺜ ﻡ ﺍﺴﺘﻠﻤﻨﺎ ﻀﺒﺎﻁ ﺃﺭﺩﻨﻴﻭﻥ ،ﺃﺤﺼﻭﻨﺎ ﻭﻭﻗﹼﻌﻭﺍ ﺒﺎﻻﺴﺘﻼﻡ .ﺜ ﻡ ﺤﻤﻠﺘﻨﺎ ﺍﻝﺒﺎﺼﺎﺕ ﺇﻝﻰ ﻁﻭﻝﻜﺭﻡ ...ﻓـﻲ
ﻁﻭﻝﻜﺭﻡ ﻗﺼﻔﻨﺎ ﺍﻝﻁﹼﻴﺭﺍﻥ ﺍﻹﺴﺭﺍﺌﻴﻠﻲ ،4".ﺇﺫ ﺘﺘﺠﻠﻰ ﺍﻝﺨﻴﺎﻨﺔ ﻓﻲ ﺍﻝﺘﹼﻭﻗﻴﻊ ﻋﻠﻰ ﺍﻻﺴﺘﻼﻡ ،ﺃﻱ ﺍﻝﻤﻭﺍﻓﻘـﺔ
ﻋﻠﻰ ﺍﻝﺘﹼﻬﺠﻴﺭ ،ﻭﻓﻲ ﻤﻌﺭﻓﺔ ﺍﻝﻴﻬﻭﺩ ﺒﺨﻁ ﺴﻴﺭ ﻫﺅﻻﺀ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﻭﺒﺎﻝﺘﹼﺎﻝﻲ ﻗﺼﻔﻬﻡ.
ﻭﺭﻏﻡ ﺍﻝﻬﺯﺍﺌﻡ ﻭﺍﻝﺸﹼﻜﻭﻙ ﺍﻝﺘﻲ ﺃﺤﺎﻗﺕ ﺒﻬﺫﻩ ﺍﻝﺠﻴﻭﺵ ﺇﻝﹼﺎ ﺃﻨﹼﻬﺎ ﺴﺠﻠﺕ ﺒﻌـﺽ ﺍﻻﻨﺘﺼـﺎﺭﺍﺕ
ﻓﺎﻝﻁﹼﺎﺌﺭﺍﺕ ﺍﻝﻤﺼﺭﻴﺔ ﻗﺼﻔﺕ ﺘل ﺃﺒﻴﺏ ﻤﺭﺘﻴﻥ ،ﻭﺍﻝﻘ ﻭﺍﺕ ﺍﻝﺴﻭﺭﻴﺔ ﻗﺼـﻔﺕ ﺴـﻤﺦ ﻭﻤﺴـﺘﻭﻁﻨﺘﻴﻥ
ﺒﺠﻭﺍﺭﻫﺎ ،ﻭﺍﻝﻘﻭﺍﺕ ﺍﻝﻌﺭﺍﻗﻴﺔ ﺍﺤﺘﻠﺕ ﻤﺤﻁﺔ ﻜﻬﺭﺒﺎﺀ ﺭﻭﺘﻨﺒﺭﻍ ﻭﺍﻋﺘﻘﻠﺕ ﺃﺭﺒﻌﻴﻥ ﻴﻬﻭﺩﻴﺎ ،5ﻭﻗﺩ ﻜﺎﻨﺕ
ﻨﺘﺎﺌﺞ ﻫﺫﻩ ﺍﻝﻤﻌﺎﺭﻙ ﻤﺒﺸﹼﺭﺓ ﺒﺎﻝﺨﻴﺭ ،ﻓﻘﺩ " ﺍﺴﺘﻭﻝﻰ ﺍﻝﺴﻭﺭﻴﻭﻥ ﻋﻠﻰ ﺴﻤﺦ ﻭﺍﻨﺴﺤﺏ ﺍﻝﻴﻬﻭﺩ ﻤﻨﻬﺎ ﺒﻌﺩ
ﻥ ﺍﻝﺠﻴﺵ ﺍﻝﻤﺼﺭﻱ ﻴﺘﺤـﺭﻙ
ﺃﻥ ﺘﻜﺒﺩﻭ ﺨﺴﺎﺌﺭ ﻜﺒﻴﺭﺓ .ﻭﺴﻘﻁﺕ ﺍﻝﻤﺴﺘﻌﻤﺭﺘﺎﻥ ﺍﻝﻤﺠﺎﻭﺭﺘﺎﻥ .ﻭﻗﻴل ﺇ
ﻥ ﺍﻝﻘﻭﺍﺕ ﺍﻝﻌﺭﺍﻗﻴﺔ ﺘﺸﻥ ﻫﺠﻭﻤﺎ ﻋﻨﻴﻔﺎ ﻋﻠﻰ ﻤﺴﺘﻌﻤﺭﺓ ﻜﺒﻴﺭﺓ ﺍﺴـﻤﻬﺎ ﻜﺸـﻴﺭ
ﺒﺎﺘﺠﺎﻩ ﺘل ﺃﺒﻴﺏ ،ﻭﺃ
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ﺒﺎﻝﻤﺼﻔﺤﺎﺕ ﻭﺍﻝﻁﹼﺎﺌﺭﺍﺕ .ﻭﺴﻘﻁﺕ ﻤﺴﺘﻌﻤﺭﺓ ﻋﻁﺎﺭﻭﺕ...ﻭﻨﺠﺢ ﺍﻝﻤﺠﺎﻫﺩﻭﻥ ﻓـﻲ ﺼـﺩ ﻤﺤﺎﻭﻝـﺔ
ﺍﻗﺘﺤﺎﻡ ﺍﻝﺒﻠﺩﺓ ﺍﻝﻘﺩﻴﻤﺔ ﻓﻲ ﺍﻝﻘﺩﺱ".1
ﺴﺎﺩﺴﺎ :ﺍﺤﺘﻼل ﻏﺯﺓ ﻭﺍﻝﻌﺩﻭﺍﻥ ﺍﻝﺜﹼﻼﺜﻲ ﻋﻠﻰ ﻤﺼﺭ ،ﻭﻝﻡ ﺘﻘﺩﻡ ﺴﺎﺭﺩﺓ ﺍﻝﻁﹼﻨﻁﻭﺭﻴـﺔ ﺍﻝﻤﺯﻴـﺩ ﻤـﻥ
ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﺤﻭل ﻫﺫﺍ ﺍﻝﻤﺘﺨﻴل ﺍﻝﺘﹼﺎﺭﻴﺨﻲ ﺒﺎﺴﺘﺜﻨﺎﺀ ﺘﺎﺭﻴﺨﻪ ﻭﻫﻭ ﺍﻝﺘﹼﺎﺴﻊ ﻭﺍﻝﻌﺸـﺭﻴﻥ ﻤـﻥ ﺘﺸـﺭﻴﻥ
ﺍﻷﻭل.2
ﺴﺎﺒﻌﺎ :ﺤﺭﺏ ﻋﺎﻡ ،1967ﻭﻗﺩ ﺒﻴﻨﺕ ﺴﺎﺭﺩﺓ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺃﺜﺭ ﻫﺫﻩ ﺍﻝﺤﺭﺏ ﻋﻠﻰ ﺃﻫل ﺍﻝﻤﺨﻴﻤﺎﺕ ،ﻓﻘﺩ
ﺍﺴﺘﻌﺩﻭﺍ ﺒﺄﻭﺭﺍﻕ ﺍﻝﻁﹼﺎﺒﻭ ﻭﺃﺒﻭﺍﺏ ﺍﻝﻤﻔﺎﺘﻴﺢ ﻭﺘﻭﺩﻴﻊ ﺠﻴﺭﺍﻨﻬﻡ ﻤﻥ ﺃﻫل ﻝﺒﻨﺎﻥ ،ﺜ ﻡ ﺃﺜﺭ ﺍﻝﻬﺯﻴﻤـﺔ ﻋﻠـﻰ
ﻨﻔﻭﺴﻬﻡ.3
ﺜﺎﻤﻨﺎ :ﺍﻝﻤﻌﺎﺭﻙ ﺍﻝﺘﻲ ﺩﺍﺭﺕ ﺒﻴﻥ ﺍﻝﻔﺩﺍﺌﻴﻴﻥ ﻭﺍﻝﻤﻠﻙ ﺤﺴﻴﻥ ﻭﺫﻝﻙ ﻓﻲ ﺃﻴﻠﻭل ﻤﻥ ﺍﻝﻌﺎﻡ ﺴـﺒﻌﻴﻥ ،4ﻭﻝـﻡ
ﺘﻘﺩﻡ ﺴﺎﺭﺩﺓ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻤﺯﻴﺩﺍ ﻤﻥ ﺍﻝﺘﹼﻔﺼﻴل ﻋﻥ ﻫﺫﺍ ﺍﻝﻤﺘﺨﻴل ﺍﻝﺘﹼﺎﺭﻴﺨﻲ.
ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ :ﻭﺍﻗﻌﺔ ﺸﺎﺭﻉ ﻓﺭﺩﺍﻥ ،ﺤﻴﺙ ﺍﺴﺘﺸﻬﺩ ﻓﻴﻬﺎ ﻜﻤﺎل ﻨﺎﺼﺭ ﻭﺃﺒﻭ ﻴﻭﺴﻑ ﺍﻝ ﹼﻨﺠﺎﺭ ﻭﻜﻤـﺎل
ﻋﺩﻭﺍﻥ ،ﻭﻝﻡ ﺘﻘﺩﻡ ﺴﺎﺭﺩﺓ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺍﻝﻜﺜﻴﺭ ﻤﻥ ﺍﻝﺘﹼﻔﺎﺼﻴل ﻋﻥ ﻫﺫﻩ ﺍﻝﺤﺎﺩﺜﺔ ﺒﺎﺴﺘﺜﻨﺎﺀ ﻜﻭﻨﻬﻡ " ﺜﻼﺜﺔ
ﺭﺠﺎل ﻭﺍﻤﺭﺃﺓ ﻗﺘﻠﻭﺍ ﻓﻲ ﻏﺭﻓﺔ ﻨﻭﻤﻬﻡ ﻓﻲ ﻓﺭﺩﺍﻥ".7
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ﻥ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻜﺎﻨﺕ
ﺍﻝﺜﺎﻨﻲ ﻋﺸﺭ :ﺍﻝﺤﺭﺏ ﺍﻷﻫﻠﻴﺔ ﺍﻝﻠﺒﻨﺎﻨﻴﺔ ،ﻭﻗﺩ ﺘﺤﺩﺜﺕ ﻋﻨﻬﺎ ﺍﻝﺭﻭﺍﻴﺘﺎﻥ ،ﺇﻝﹼﺎ ﺃ
ﺃﻜﺜﺭ ﺘﻔﺼﻴﻼ ﺤﻴﺙ ﺘﺸﻴﺭ ﺴﺎﺭﺩﺓ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺇﻝﻰ ﺒﺩﺍﻴﺎﺕ ﻫﺫﻩ ﺍﻝﺤﺭﺏ ﻤﺜل :ﺍﻝﻤﻨﺎﻭﺸﺎﺕ ﻭﺍﻝﻤﻅﺎﻫﺭﺍﺕ
ﻭﺍﻻﺼﻁﺩﺍﻡ ﻤﻊ ﺍﻝﺠﻴﺵ ،ﻭﺫﻝﻙ ﺒﻌﺩ ﺇﻏﻼﻕ ﻤﻜﺘﺏ ﻓﺘﺢ ﻓﻲ ﺍﻝﺨﻴﺎﻡ ،ﻭﻤﻅﺎﻫﺭﺍﺕ ﺍﻝﺸﹼـﻴﻌﺔ ﻝﻠﻤﻁﺎﻝﺒـﺔ
ﺒﺎﻝﺘﹼﺴﻠﻴﺢ ﻓﻲ ﺠﻨﻭﺏ ﻝﺒﻨﺎﻥ ﻤﻥ ﺃﻫﺎﻝﻲ ﺍﻝﻘﺭﻯ ﺍﻝﺤﺩﻭﺩﻴﺔ ،ﻭﺤﺼﺎﺭ ﺍﻝﻔﺩﺍﺌﻴﻴﻥ ﻓﻲ ﻜﻔﺭ ﻜﻠﹼﺎ ﻭﻤﺎ ﺘﺒﻌﻪ ﻤﻥ
ﻤﻅﺎﻫﺭﺍﺕ .1ﺜ ﻡ ﺍﻝﺴﺒﺏ ﺍﻝﺭﺌﻴﺱ ﻻﺸﺘﻌﺎل ﺍﻝﺤﺭﺏ ﺍﻷﻫﻠﻴﺔ ﻭﻫﻭ ﺍﻏﺘﻴﺎل ﻤﻌﺭﻭﻑ ﺴـﻌﺩ ﻓـﻲ ﺃﺤـﺩ
ﻤﻅﺎﻫﺭﺍﺕ ﺍﻝﺼﻴﺎﺩﻴﻥ ﺍﻝﻤﺤﺘﺠﻴﻥ ﻋﻠﻰ ﺍﻝﺤﻜﻭﻤﺔ ﺒﺴﺒﺏ ﺍﺤﺘﻜﺎﺭﻫﺎ ﺍﻝﺼﻴﺩ ﺒﻨﺴﺒﺔ %90ﻝﺼﺎﻝﺢ ﺸﺭﻜﺔ
ﺨﺎﺼﺔ ﻴﺭﺃﺴﻬﺎ )ﻜﻤﻴل ﺸﻤﻌﻭﻥ( ﺭﺌﻴﺱ ﺍﻝﺒﻠﺩﻴﺔ ﺍﻷﺴﺒﻕ .2ﻭﺘﻘﺩﻡ ﺍﻝﺴﺎﺭﺩﺓ ﻤﻠﺨﹼﺼﺎ ﻋﻥ ﻤﻌﺭﻭﻑ ﺴـﻌﺩ
ﻭﺩﻭﺭﻩ ﻓﻲ ﺍﻝﺠﻬﺎﺩ ﻋﺎﻡ ،1935ﻭﺩﻭﺭﻩ ﻓﻲ ﺍﻝﻤﻘﺎﻁﻌﺔ ﻭﻤﻨﻊ ﺘﺼـﺩﻴﺭ ﺍﻝﻔﻭﺍﻜـﻪ ﻭﺍﻝﺨﻀـﺎﺭ ﺇﻝـﻰ
ﺍﻝﻤﺴﺘﻭﻁﻨﻴﻥ ﻭﺴﻠﻁﺔ ﺍﻻﺤﺘﻼل ﺍﻝﺒﺭﻴﻁﺎﻨﻲ.3
ﻭﺘﻔﺼل ﺍﻝﺴﺎﺭﺩﺓ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺔ ﺫﺍﺘﻬﺎ ﺍﻝﺤﺩﻴﺙ ﻋﻥ ﺍﻝﺤﺭﺏ ﺍﻷﻫﻠﻴﺔ ﻭﻤﺎ ﻨﺠﻡ ﻋﻨﻬﺎ ﻤﺜل ﻤﺠﺯﺭﺓ
ﺸﺎﺘﻴﻼ ،ﻭﺤﺼﺎﺭ ﺍﻝﻤﺨﻴﻤﺎﺕ ،ﻭﺘﺤﺎﻝﻔﺎﺕ ﺒﻴﻥ ﺍﻷﺤﺯﺍﺏ ﺍﻝﻤﺨﺘﻠﻔﺔ ...ﻭﻤﻥ ﺃﻫﻡ ﻫﺫﻩ ﺍﻷﺤﺩﺍﺙ :ﺍﻝﻘﺘـل
ﻋﻠﻰ ﺍﻝﻬﻭﻴﺔ ،ﻭﺍﻻﺨﺘﻁﺎﻑ ﻫﻨﺎ ﻭﻫﻨﺎﻙ ،ﻭﻤﻨﻬﺎ ﺍﻴﻀﺎ ﺍﻝﺴﺒﺕ ﺍﻷﺴﻭﺩ ،ﺤﻴﺙ ﻗﺘﻠﺕ ﺍﻝﻜﺘﺎﺌـﺏ ﺴـﺒﻌﻴﻥ
ﻤﺴﻠﹼﺤﺎ ﻭﺍﺨﺘﻁﻔﺕ 300ﺁﺨﺭﻴﻥ ﻭﺫﻝﻙ ﻓﻲ ﺨﺘﺎﻡ ﺍﻝﻌﺎﻡ ،1975ﻭﻓﻲ ﻤﻘﺎﺒل ﺫﻝﻙ ﻜـﺎﻥ ﺭ ﺩ ﺍﻝﺤﺭﻜـﺔ
ﺍﻝﻭﻁﻨﻴﺔ ﺒﺎﻻﺴﺘﻴﻼﺀ ﻋﻠﻰ ﺍﻝﻔﻨﺎﺩﻕ ﺜ ﻡ ﺍﻨﻔﻠﺘﺕ ﺍﻝﻔﻭﻀﻰ ﻭﺍﻝﻨﹼﻬﺏ ﻓﻲ ﺒﻴﺭﻭﺕ ،ﻭﻤﻥ ﺃﺤـﺩﺍﺜﻬﺎ ﻗﺘـل 63
ل ﺍﻝﺯﻋﺘﺭ ﻭﺠﺴﺭ ﺍﻝﺒﺎﺸـﺎ ﻭﺃﺤﻴـﺎﺀ ﺍﻝﺼـﻔﻴﺢ ﻭﺍﻝﻤﺴـﻠﺦ
ﻋﺎﻤﻼ ﺴﻭﺭﻴﺎ ﻭﻓﺭﺍﺭ ﺍﻵﻻﻑ ،ﻭﺤﺼﺎﺭ ﺘ ّ
ﻲ ﺍﻝﻨﹼﺒﻌﺔ ﻭﻀﺒ ﻴﺔ.4
ﻭﺍﻝﻜﺎﺭﻨﻴﺘﺎ ﻭﺤ
ﻭﻤﻥ ﺃﺤﺩﺍﺙ ﺍﻝﺤﺭﺏ ﺍﻷﻫﻠﻴﺔ ﺘﺩﻤﻴﺭ ﻤﺨﻴﻡ ﻋﻴﻥ ﺍﻝﺤﻠﻭﻩ ﺒﻌﺩ ﺃﻥ ﺩﺍﻡ ﺍﻝﻘﺼﻑ ﻋﺸـﺭﺓ ﺃﻴـﺎﻡ،5
ﻭﺍﻏﺘﻴﺎل ﺒﺸﻴﺭ ﺍﻝﺠﻤﻴل ﺃﺤﺩ ﻗﺎﺩﺓ ﺍﻝﻜﺘﺎﺌﺏ .6ﻜﻤﺎ ﺘﺤﺩﺜﺕ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﻋﻥ ﺍﻝﻘﺘل ﻋﻠـﻰ ﺍﻝﻬﻭﻴـﺔ
ﻭﺍﻝﺤﻭﺍﺠﺯ 7ﻭﻤﺠﺯﺭﺓ ﺸﺎﺘﻴﻼ ﻭﺼﻭﺭﺓ ﺍﻝﻤﺨﻴﻡ ﻭﺤﺎﻝﻪ ﺒﻌﺩ ﺍﻝﻤﺠﺯﺭﺓ ﻭﻗﺒﻠﻬﺎ.8
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ﺍﻝﺜﹼﺎﻝﺙ ﻋﺸﺭ :ﺘﻘﺩﻡ ﺍﻝﻘﻭﺍﺕ ﺍﻹﺴﺭﺍﺌﻴﻠﻴﺔ ﻓﻲ ﻝﺒﻨﺎﻥ ﻭﻭﺼﻭﻝﻬﺎ ﺇﻝﻰ ﺒﻴﺭﻭﺕ ﻭﺭﺤﻴل ﺍﻝﻤﻘﺎﻭﻤـﺔ ﻭﺃﺒـﻲ
ﻋﻤﺎﺭ .1ﺜ ﻡ ﺍﺭﺘﻜﺎﺏ ﺍﻝﻜﺘﺎﺌﺏ ﻝﻠﻤﺠﺎﺯﺭ ﻓﻲ ﻤﻠﺠﺄ ﺃﺒﻲ ﺍﻝﻴﺎﺴﺭ ﻭﻤﺴﺘﺸﻔﻰ ﻋﻜﹼﺎ ،ﻭﻓﻲ ﻤﻨـﺎﺯل ﺍﻝﻨﹼـﺎﺱ
ﺍﻵﻤﻨﻴﻥ ﻭﺍﻏﺘﺼﺎﺏ ﺍﻝﻨﹼﺴﺎﺀ ﻭﻗﺘل ﺍﻷﻁﻔﺎل 2...ﺜ ﻡ ﺍﻨﺴﺤﺎﺏ ﺍﻝﻴﻬﻭﺩ ﺒﻌﺩ ﻋﺎﻡ .31984ﻭﻗﺩ ﻭﺭﺩ ﻫـﺫﺍ
ﺍﻝﻤﺘﺨﻴل ﺍﻝﺘﹼﺎﺭﻴﺨﻲ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ.
ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ :ﺍﻏﺘﻴﺎل ﻨﺎﺠﻲ ﺍﻝﻌﻠﻲ ،ﺤﻨﻅﻠﺔ ،ﻭﻗﺩ ﺘ ﻡ ﻫﺫﺍ ﺍﻝﺤﺩﺙ ﺍﻝﺘﹼﺎﺭﻴﺨﻲ ﻓﻲ ﻝﻨـﺩﻥ ﻋـﺎﻡ ،1987
ﺒﻤﺴ ﺩﺱ ﻜﺎﺘﻡ ﻝﻠﺼﻭﺕ ،ﻭﺘﻭﻓﹼﻲ ﻨﺎﺠﻲ ﺍﻝﻌﻠﻲ ﺒﻌﺩ ﺫﻝﻙ ﺒﺨﻤﺴﺔ ﺃﺴـﺎﺒﻴﻊ ،ﻭﺘﻘـﺩﻡ ﺍﻝﺴـﺎﺭﺩﺓ ﺒﻌـﺽ
ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﻋﻥ ﺤﻴﺎﺘﻪ ﻓﻬﻭ ﻤﻥ ﻗﺭﻴﺔ ﺍﻝﺸﹼﺠﺭﺓ ﻓﻲ ﺍﻝﺠﻠﻴل ﺍﻷﻋﻠﻰ ﻝﺠﺄ ﺇﻝﻰ ﺠﻨﻭﺏ ﻝﺒﻨﺎﻥ ﻋـﺎﻡ 1948
ﻭﻜﺎﻥ ﻋﻤﺭﻩ ﺃﺤﺩ ﻋﺸﺭ ﻋﺎﻤﺎ ﺜ ﻡ ﻋﻤل ﻓﻲ ﺍﻝﺨﻠﻴﺞ ﺭﺴﺎﻤﺎ ﻝﻠﻜﺎﺭﻴﻜﺎﺘﻭﺭ .4ﻭﻗـﺩ ﻭﺭﺩ ﻫـﺫﺍ ﺍﻝﻤﺘﺨﻴـل
ﺍﻝﺘﹼﺎﺭﻴﺨﻲ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ.
ﺍﻝﺨﺎﻤﺱ ﻋﺸﺭ :ﺍﺘﹼﻔﺎﻗﻴﺔ ﺃﻭﺴﻠﻭ ،ﻭﻫﻲ ﺍﺘﻔﺎﻗﻴﺔ ﺘﻤﻨﺢ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﺤﻜﻤﺎ ﺫﺍﺘﻴﺎ ﻓـﻲ ﺒﻌـﺽ ﺍﻝﻤﻨـﺎﻁﻕ
ﺍﻝﻤﺤﺘﻠﺔ ﻋﺎﻡ ،1967ﺒﺤﻴﺙ ﻴﻤﻜﻨﻬﻡ ﺇﺩﺍﺭﺓ ﺸﺅﻭﻨﻬﻡ ﺍﻝﻴﻭﻤﻴﺔ ﻜﺎﻝﺘﻌﻠﻴﻡ ﻭﺍﻝﺼﺤﺔ ﻭﺍﻝﻤﻭﺍﺼﻼﺕ ...ﺩﻭﻥ
ﺠﻠﺕ ﻫﺫﻩ ﺍﻻﺘﻔﺎﻗﻴﺔ ﺍﻝﺤـﺩﻴﺙ ﻓـﻲ ﺍﻝﻘﻀـﺎﻴﺎ ﺍﻷﺴﺎﺴـﻴﺔ ﻜـﺎﻝﻼﺠﺌﻴﻥ
ﺤﺼﻭﻝﻬﻡ ﻋﻠﻰ ﺍﻝﺴﻴﺎﺩﺓ ،ﻜﻤﺎ ﺃ
ﻭﺍﻝﻤﺴﺘﻭﻁﻨﺎﺕ ﻭﺍﻝﻘﺩﺱ .5ﻭﻗﺩ ﺫﻜﺭﺕ ﺴﺎﺭﺩﺓ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺒﻌﺽ ﺘﻔﺎﺼﻴل ﺍﻝﺒﺙ ﺍﻝﻤﺒﺎﺸﺭ ﻝﻌﻘـﺩ ﻫـﺫﻩ
ﺍﻻﺘﹼﻔﺎﻗﻴﺔ ﻭﺭﺩﻭﺩ ﻓﻌل ﺍﻝﺸﹼﻌﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻋﻠﻴﻬﺎ ،ﻭﺘﻤﺕ ﻫﺫﻩ ﺍﻻﺘﹼﻔﺎﻗﻴﺔ ﻓﻲ ﺍﻝﺒﻴﺕ ﺍﻷﺒﻴﺽ ،ﻭﻗﺎﻡ ﺃﺒـﻭ
ﻋﻤﺎﺭ ﻭﻋﻥ ﻴﺴﺎﺭﻩ ﻤﺤﻤﻭﺩ ﻋﺒﺎﺱ ﺒﻤﺼﺎﻓﺤﺔ ﺭﺍﺒﻴﻥ ﻭﺒﻴﺭﺯ ،ﻭﺘﻨﺎﺯل ﺃﺒﻭ ﻋﻤﺎﺭ ﺒﻤﻭﺠﺏ ﻫﺫﻩ ﺍﻻﺘﹼﻔﺎﻗﻴﺔ
ﻋﻥ ﺍﻝﺴﺎﺤل ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻝﺼﺎﻝﺢ ﺍﻝﻴﻬﻭﺩ ،ﺃﻤﺎ ﻋﻥ ﺭﺩ ﻓﻌل ﺍﻝﺸﹼﻌﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻓﻘﺩ ﻝﺨﹼﺼﺘﻬﺎ ﺍﻝﺴـﺎﺭﺩﺓ
ﻓﻲ ﻤﻭﻗﻑ ﺃﺒﻨﺎﺌﻬﺎ ،ﻓﺄﺤﺩﻫﻡ ﻜﺎﻥ ﻴﺒﺘﻠﻊ ﺤﺯﻨﻪ ﻭﺍﻵﺨﺭ ﻏﻀﺏ ﻭﺍﻋﺘﺭﺽ ﻋﻠﻰ ﺇﺴﻘﺎﻁ ﺍﻝﺴﺎﺤل ﻭﺍﻵﺨﺭ
"ﻋﻠﹼﻕ ﺒﻤﺭﺍﺭﺓ ﻋﻠﻰ ﺤﺭﺹ ﺃﺒﻭ* ﻋﻤﺎﺭ ﻋﻠﻰ ﻤﺼﺎﻓﺤﺔ ﺭﺍﺒﻴﻥ ﻭﺒﻴﺭﺯ ،ﻭﺘﻤﻨﹼﻌﻬﻤﺎ ﻜﺄ ﹼﻨﻤـﺎ ﻴﺘﻨـﺎﺯﻻﻥ
ﺒﺎﻝﻤﺼﺎﻓﺤﺔ".6
ﻴﻨﻅﺭ :ﻗﺎﺴﻡ ،ﻋﺒﺩ ﺍﻝﺴﺘﺎﺭ :ﺍﻝﻁﺭﻴﻕ ﺇﻝﻰ ﺍﻝﻬﺯﻴﻤﺔ ،ﺩ ﻡ :ﺩ ﻥ ،1998 ،ﺹ.127 5
ﻋﺎﺸﻭﺭ ،ﺭﻀﻭﻯ :ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ،ﺹ) * .401ﺃﺒﻭ ﻋﻤﺎﺭ( ﺨﻁﺄ ،ﻭﺍﻝﺼﻭﺍﺏ )ﺃﺒﻲ ﻋﻤﺎﺭ(. 6
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ﺍﻝﺴﺎﺩﺱ ﻋﺸﺭ :ﺫﻜﺭﺕ ﺍﻝﺴﺎﺭﺩﺓ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﻤﺠﻤﻭﻋﺔ ﺃﺨﺭﻯ ﻤﻥ ﺍﻷﺤﺩﺍﺙ ﺍﻝﺴﻴﺎﺴﻴﺔ ﺍﻝﻤﺘﻼﺤﻘﺔ
ﻭﺫﻝﻙ ﺩﻭﻥ ﺘﻔﺼﻴل ﻭﻫﻲ " :ﻤﺠﺯﺭﺓ ﺍﻝﺨﻠﻴل .ﻭﻗﺘل ﺭﺍﺒﻴﻥ ﻭﺠﻨﺎﺯﺘﻪ .ﻭﺤﺭﺹ ﺃﺒﻭ ﻋﻤﺎﺭ ﻋﻠﻰ ﺘﺄﺩﻴﺔ
ﻭﺍﺠﺏ ﺍﻝﻌﺯﺍﺀ .ﻤﺎل ﻋﻠﻰ ﻴﺩ ﺃﺭﻤﻠﺘﻪ ﻭﻗﺒﻠﻬﺎ ...ﺜ ﻡ ﻭﻗﺎﺌﻊ ﺍﺠﺘﻴﺎﺡ ﺇﺴﺭﺍﺌﻴﻠﻲ ﺠﺩﻴﺩ ﻝﺠﻨـﻭﺏ ﻝﺒﻨـﺎﻥ.
ﻭﻤﺫﺒﺤﺔ ﻗﺎﻨﺎ".1
ﺍﻝﺴﺎﺒﻊ ﻋﺸﺭ :ﻤﻥ ﺍﻷﺤﺩﺍﺙ ﺍﻝﺘﹼﺎﺭﻴﺨﻴﺔ ﺍﻝﺘﻲ ﺘﻨﺎﻭﻝﺘﻬﺎ ﺴﺎﺭﺩﺓ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺍﻻﻨﺘﻔﺎﻀـﺔ ﺍﻝﻔﻠﺴـﻁﻴﻨﻴﺔ،
ﻭﺒﻌﺽ ﺍﻷﺤﺩﺍﺙ ﺍﻝﻤﺘﻌﻠﹼﻘﺔ ﺒﻬﺎ ﻤﺜل ﺍﻻﻋﺘﻘﺎﻻﺕ ﺍﻝﺘﻲ ﺸﻤﻠﺕ ﺍﻷﻁﻔﺎل ﻭﺍﻝﻨﹼﺴﺎﺀ ﻭﻤﻨﻊ ﺘﻌﻠﻴﻕ ﺍﻷﻋﻼﻡ،2
ﻭﻗﺩ ﺘﻨﺎﻭﻝﺕ ﺍﻝﺴﺎﺭﺩﺓ ﺍﻝﺤﺩﻴﺙ ﻋﻥ ﻫﺫﻩ ﺍﻻﻨﺘﻔﺎﻀﺔ ﻓﻲ ﺼﻔﺤﺘﻴﻥ.
ﻭﻏﻴﺭ ﺍﻝﻤﺒﺎﺸﺭﺓ ،ﺃﻤﺎ ﺍﻷﺴﺒﺎﺏ ﺍﻝﻤﺒﺎﺸﺭﺓ ﻓﻬﻲ ﺍﺴﺘﺸﻬﺎﺩ ﺃﺭﺒﻌﺔ ﻤﻥ ﺍﻝﺠﻬﺎﺩ ﺍﻹﺴﻼﻤﻲ ﻓﻲ ﻏﺯﺓ ﺒﺘﺎﺭﻴﺦ
،1987/10/6ﻭﻁﻌﻥ ﻤﺴﺘﻭﻁﻥ ﻓﻲ ﻏﺯﺓ ﺒﺘﺎﺭﻴﺦ ،1987/12/6ﻭﺍﻝﺤﺎﺩﺙ ﺍﻷﻫﻡ ﺩﻫـﺱ ﺃﺭﺒﻌـﺔ
ﺸﺒﺎﺏ ﻋﺭﺏ ﻓﻲ ﻏﺯﺓ ﺒﺘﺎﺭﻴﺦ 1987/12/8ﺤﻴﺙ ﺒﺩﺃﺕ ﺒﺘﻅﺎﻫﺭ ﺜﻼﺜـﺔ ﺁﻻﻑ ﻓﻠﺴـﻁﻴﻨﻲ ﺒﺘـﺎﺭﻴﺦ
1987/12/9ﻓﻲ ﻤﺨﻴﻡ ﺠﺒﺎﻝﻴﺎ ﺍﺤﺘﺠﺎﺠﺎ ﻋﻠﻰ ﺤﺎﺩﺙ ﺍﻝﺩﻫﺱ ﻭﺤﺩﺜﺕ ﺍﻝﻤﻭﺍﺠﻬﺔ ﻤﻊ ﺍﻻﺤﺘﻼل ﻭﺴﻘﻁ
ﺃﻭل ﺸﻬﻴﺩ ﻓﻲ ﻫﺫﻩ ﺍﻻﻨﺘﻔﺎﻀﺔ ﻭﻫﻭ ﺤﺎﺘﻡ ﺍﻝﺴﻴﺴﻲ.3
ﺍﻝﺜﹼﺎﻤﻥ ﻋﺸﺭ :ﺍﻨﺘﺼﺎﺭ ﺤﺯﺏ ﺍﷲ ﻭﺘﺤﺭﻴﺭ ﺠﻨﻭﺏ ﻝﺒﻨﺎﻥ ،ﻭﺫﻫﺎﺏ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ ﻝﻤﻘﺎﺒﻠﺔ ﺃﻫﻠﻬﻡ ﻤﻤـﻥ
ﺒﻘﻭﺍ ﻓﻲ ﺍﻝﺒﻼﺩ ﻤﻥ ﻋﻠﻰ ﺠﺎﻨﺒﻲ ﺴﻠﻙ ﺸﺎﺌﻙ .4ﻭﻗﺩ ﻭﺭﺩ ﻫﺫﺍ ﺍﻝﻤﺘﺨﻴل ﺍﻝﺘﹼﺎﺭﻴﺨﻲ ﻓﻲ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ.
ﺍﻝﺘﹼﺎﺴﻊ ﻋﺸﺭ :ﺤﺭﺏ ﺍﻝﻜﻭﻴﺕ ،ﻭﻗﺩ ﺃﺸﺎﺭﺕ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﺇﻝﻰ ﻫﺫﻩ ﺍﻝﺤﺭﺏ ﻋﻨﺩﻤﺎ ﺫﻫـﺏ ﺯﻭﺝ
ﺼﺩﻴﻘﺔ ﺍﻝﺴﺎﺭﺩ ﺇﻝﻰ ﻫﺫﻩ ﺍﻝﺤﺭﺏ ﻭﺃﺭﺴل ﺭﺴﺎﻝﺔ ﻴﻅﻬﺭ ﻓﻴﻬﺎ ﻤﻌﺎﻨﺎﺓ ﺍﻝﺠﻨﻭﺩ ﻫﻨـﺎﻙ ﻭﺸـﻭﻗﻬﻡ ﺇﻝـﻰ
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ﺍﻝﻌﺸﺭﻭﻥ :ﺃﺸﺎﺭﺕ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﺇﻝﻰ ﻤﺘﺨﻴل ﺘﺎﺭﻴﺨﻲ ﻗﺩﻴﻡ ﻭﻫﻭ ﺍﻝﻬﺠﺭﺍﺕ ﺇﻝﻰ ﺍﻝﻌﺎﻝﻡ ﺍﻝﺠﺩﻴـﺩ،
ﺃﻤﺭﻴﻜﻴﺎ ،ﻭﻗﺘل ﺍﻝﻬﻨﻭﺩ ﺍﻝﺤﻤﺭ " ﻁﻤﻌﺎ ﺒﺄﺭﺽ ﻤﺠﺎﻨﻴﺔ" ،1ﻹﻗﺎﻤﺔ ﺩﻭﻝﺔ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﹼﺤﺩﺓ ﺍﻷﻤﺭﻴﻜﻴـﺔ.
ﻭﺒﺸﻜل ﻋﺎﻡ ﻜﺎﻨﺕ ﺭﻭﺍﻴﺔ ﺍﻝﻁﹼﻨﻁﻭﺭﻴﺔ ﺃﻜﺜﺭ ﺘﻌﺩﺍﺩﺍ ﻭﺘﻔﺼﻴﻼ ﻝﻸﺤﺩﺍﺙ ﺍﻝﺘﹼﺎﺭﻴﺨﻴﺔ ﺍﻝﺘﻲ ﻤ ﺭ ﺒﻬﺎ
ﻥ ﺭﻭﺍﻴﺔ ﻁﺎﺒﻕ 99ﺘﺭﻜﹼﺯ ﻋﻠﻰ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻓﻲ ﺍﻝﺸﹼﺘﺎﺕ ﻭﺼﺭﺍﻋﻪ ﺍﻝﺫﹼﺍﺘﻲ ﻤـﻊ
ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻭﻥ ،ﺫﻝﻙ ﻷ
ل ﻤﻥ ﺍﻝﺘﹼﻔﺎﺼﻴل؛
ﺍﻝﻬﻭﻴﺔ ﻭﺍﻻﻨﺘﻤﺎﺀ .ﻭﻤﻌﻅﻡ ﺍﻷﺤﺩﺍﺙ ﺍﻝﺘﹼﺎﺭﻴﺨﻴﺔ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺘﻴﻥ ﻜﺎﻨﺕ ﺘﺤﺘﻭﻱ ﻋﻠﻰ ﻗﻠﻴ ٍ
ﻥ ﺍﻝﺭﻭﺍﻴﺔ ﻻ ﺘﻬﺩﻑ ﺇﻝﻰ ﺍﻝﺘﹼﺎﺭﻴﺦ ﺇﻨﹼﻤﺎ ﺘﺭﻜﹼﺯ ﻋﻠﻰ ﺍﻝﻌﻨﺼﺭ ﺍﻝﺒﺸﺭﻱ.
ﻷ
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