ob .co m ott alk w. ww www.alkottob.com m .co ﻟﻜﹾﻠﹸﻮﺭﻢ ﺍﻟﻔﹸﻮﺠﻌﻣ ott ob ﰊﺮﻜﻠﻴﺰﻱ – ﻋﺩٍ ﺇﻧﺮﺴﻊ ﻣﻣ alk א א ww w. www.alkottob.com b.c om ﻃﺒﻘﺎ ﻟﻘﻮﺍﻧﲔ ﺍﳌﻠﻜﻴﺔ ﺍﻟﻔﻜﺮﻳﺔ אא א ott o אא א א א . )ﻋـﱪ ﺍﻻﻧﱰﻧـﺖ ﺃﻭ א ﻟﻠﻤﻜﺘﺒــﺎﺕ ﺍﻻﻟﻜﱰﻭﻧﻴــﺔ ﺃﻭ ﺍﻷﻗــﺮﺍﺹ ﺍﳌﺪﳎــﺔ ﺃﻭ ﺍﻯ . alk ﻭﺳﻴﻠﺔ ﺃﺧﺮﻯ ( א א א א א . w. ww www.alkottob.com m .co ﺗﻘﺪِﻳﺮ ott ob ﺻ ِﺔ ﺑﺘﻨﻔِﻴ ِﺬ ﻫﺬﺍ ﺍ ﹸﳌﻌﺠﻢ ،ﺟﻤﻌـﺎ ﻟﻘﺪ ﺷﺎ ﺭ ﻙ ﰲ ﺟﻤﻴﻊ ﺍﳌﺮﺍ ِﺣ ِﻞ ﺍﳋﺎ ﻭﺗﺼﻨِﻴﻔﹰﺎ ﻭﻣﺮﺍﺟﻌﺔﹰ ،ﺍﻹﺧﻮ ﹸﺓ ﺍﻟﺰﻣﻼ ُﺀ ﺍﻷﺳـﺎﺗِﺬﺓ ﺃﺣﻤـﺪ ﺁﺩﻡ ﳏﻤـﺪ، ﺣﻘﱢﻬـﻢ ﺃﻥ ﺃﹸﻧـﻮﻩ ﻭﻭﺟﺪﻱ ﺭﺯﻕ ﻏﺎﱄ ،ﻭﺍﻟﺴﻴﺪﺓ ﺗﺮﻳﺰﺓ ﻏﺎﱄ .ﻭﻣﻦ ﲜﻬﻮﺩِﻫﻢ. alk . א w. ww www.alkottob.com ٣ ﻣﻘـﺪﻣﺔ m ﻟﻘ ِﺩ ﺍﺯﺩﺍ ﺩ ﺍﻻﻫﺘﻤﺎ ﻡ ﺒﺎﻟﻔﻭﻟﻜﻠﻭﺭ ﻓﻲ ﺍﻟﺴﻨﻭﺍﺕ ﺍﻷﺨِﻴﺭﺓ ،ﻻ ﻓﻲ ﺍﻷﻭﺴﺎﻁ ﺍﻷﻜﺎﺩِﻴﻤﻴـﺔ ﺴ ﹶﺘ ﹾﺘﺒﻊ ﺫﻟﻙ ﺒﺎﻟﻀـﺭﻭﺭﺓ ﻲ .ﻭﺍ ﻭﺤﺩﻫﺎ ،ﻭﻟﻜﻥ ﺒﻴﻥ ﺃﻜﺜﺭ ﺍﻟ ﻤ ﹶﺜ ﱠﻘﻔِﻴﻥ ﻓﻲ ﻤﺼﺭ ﻭﺍﻟﻌﺎﻟﹶﻡ ﺍﻟﻌﺭﺒ ﻁﻠﹶﺤﺎﺕ ﺍﻟﻤﺭﺘﺒﻁﺔ ﺒﻬﺫﺍ ﺍﻟﻤﺠـﺎل .ﻭﻟﻤـﺎ ﺍﻟﻌﻤل ﺍﻟﻤﻭﺼﻭل ﻋﻠﻰ ﻤﺤﺎﻭﻟﺔ ﺍﻟﺘﻌﺭﻴﻑ ﺒﺎﻟﻤﺼ ﹶ .co ﺠﻤـﺔ ﹶﻓﻜﱠﺭﺕ ﻤﻨﺫ ﺴﻨﻭﺍﺕ ،ﻓﻲ ﺃﻥ ﺃﻀﻊ ﻤﻌﺠﻤﺎ ﺨﺎﺼﺎ ﺒﺎﻟﻔﻭﻟﻜﻠﻭﺭ ،ﻭﺍﺠﻬﺘﻨﻲ ﺼﻌﻭﺒﺎﺕ ﺹ ﺒﻜل ﻤﺎﺩﺓ ﺠ ﻤ ِﻊ ﻭﺍﻟﺘﱠﺼﻨﻴﻑ ،ﻭﺃﻜﺜﺭ ﻤﻥ ﻫﺫﺍ ﻭﺫﺍﻙ ،ﻓﻲ ﺍﺴﺘﺨﻼﺹ ﺍﻟﻤﺩﻟﹸﻭل ﺍﻟﺨﺎ ﻓﻲ ﺍﻟ ﺕ ﺸﺘﱠﻰ ﻋﺭﺒﻴﺔ ﻭﻋﺎﻟﹶﻤﻴﺔ .ﻭﻜﺎﻥ ﻻﺒـﺩ ﻤـﻥ ﺕ ﺇﻟﻰ ﻤﺼﻨﱠﻔﺎ ٍ ﺠ ﻌ ﹸ ﻤﻥ ﻤﻭﺍ ﺩ ﻫﺫﺍ ﺍﻟﻤﻌﺠﻡ .ﻭ ﺭ ﺼﻌﻭﺒﺘﻴﻥ ﻜﺒﻴﺭﺘﻴﻥ؛ ﺃﻭﻻﻫﻤﺎ ﺍﺘﱢﺴﺎﻉ ﺍﻟﺭﻗﻌﺔ ﺒﺤﻴﺙ ﺘﺸﻤل ﺍﻟﻌﺎﻟﹶﻡ ﺒَﺄﺴﺭﻩ ،ﻭﺍﻟﺜﺎﻨﻴﺔ ﺃﻥ ﺘﺫﻟﻴل ﺕ ﻭﺍﻟﺘﱠﻘﺎﻟﻴﺩ ،ﺇﻟﻰ ﺠﺎﻨﺏ ﺍﻵﺩﺍﺏ ﻭﺍﻟﻔﻨﻭﻥ ﻲ ﺍﻟﻤﺘﻁﻭﺭ ﻤﻥ ﺍﻟﻌﺎﺩﺍ ِ ﺤ ﻁﺒﻴﻌﺔ ﺍﻟﻔﻭﻟﻜﻠﻭﺭ ﺘﹸﻌﻨﹶﻰ ﺒﺎﻟ ott ob ﻭﺍﻟ ﻌﹸﻠﻭﻡ ﺍﻟﺸﱠﻌﺒﻴﺔ .ﻭﻫﺫﺍ ﻴﺠﻌل ﺍﻟﻤﺼﻁﻠﺤﺎﺕ ﺨﺎﻀﻌﺔ ﻟﻠﺘﻁـﻭﺭ ﻭﺍﻟﺘﻌـﺩﻴل ،ﺨﻀـﻭﻋﻬﺎ ﻟﻼﻨﺘﻘﺎل ﻤﻥ ﺒﻴﺌﺔ ﺜﻘﺎﻓﻴﺔ ﺇﻟﻰ ﺒﻴﺌﺔ ﺜﻘﺎﻓﻴﺔ ﺃﺨﺭﻯ. ﺽ ﺍﻟ ﻤ ﻌﻨِﻴﻴﻥ ﺒﺎﻟﻔﻭﻟﻜﻠﻭﺭ ﺃﻥ ﺃﻭﺜﺭ ﻋﻠـﻰ ﻤﺼـﻁﻠﺢ "ﺍﻟﻔﻭﻟﻜﻠـﻭﺭ" ﻭﺃَﺸﺎﺭ ﻋﻠﻲ ﺒﻌ ﻕ ﺍﻟﺩﺍﺌﺭﺓ ﻋﻠﻰ "ﺍﻷﺩﺏ ﺍﻟﺸﻌﺒﻲ" ،ﻭﻤﻨﻬﻡ ﻤـﻥ ﻭﺴـﻊ "ﺍﻟﻤﺄﺜﻭﺭ ﺍﻟﺸﱠﻌﺒِﻲ" ،ﻭﻤﻨﻬﻡ ﻤﻥ ﻀ ﻴ ﹶ ﺍﻟﻤﺠﺎل ﺒﺤﻴﺙ ﻴﺴﺘﻭﻋِﺏ "ﺍﻟﻔﻥ ﺍﻟﺸﻌﺒﻲ" ،ﻭﻟﻜﻨﻨـﻲ ﺁﺜـﺭﺕ ،ﺒﻌـﺩ ﺍﻟﺘﻔﻜﻴـﺭ ﻭﺍﻟﺩﺭﺍﺴـﺔ، ﻲ ﻭﻫﻭ "ﻓﻭﻟﻜﻠـﻭﺭ". ﻁﹶﻠﺢ ﺍﻟﻌﺎﻟﹶﻤ ﺼﹶ ﻭﻤﺴﺎﻴﺭﺘﻲ ﺍﻟﺘﻘﺩﻡ ﻓﻲ ﺍﻟﻌﻠﻭﻡ ﺍﻹﻨﺴﺎﻨﻴﺔ ،ﺃﻥ ﺃﺴﺘﺨﺩﻡ ﺍﻟ ﻤ ﻭﻓﺭﻀﺕ ﻁﺒﻴﻌﺔ ﺍﻟﻤﻭﻀﻭﻉ ﺃﻥ ﺃﺠﻤﻊ ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﻌﺠﻡ ﻜل ﻤﺎ ﺍﺴﺘﻁﻌﺕ ﺍﻟﺤﺼﻭل ﻋﻠﻴـﻪ alk ﻤﻥ ﺍﻟﻤﻭﺍﺩ ﺍﻟﻔﻭﻟﻜﻠﻭﺭﻴﺔ ﺍﻟﻤﺸﻬﻭﺭﺓ ﻓﻲ ﺭﺒﻭﻉ ﺍﻟﻌﺎﻟﹶﻡ ،ﺍﻟﻤﺄﺜﻭﺭﺓ ﻓﻲ ﻤﺼﺭ ﻭﺍﻟﻌﺎﻟﹶﻡ ﺍﻟﻌﺭﺒﻲ، ﺴﺠﹶﻠ ﻪ ﺍﻟ ﻤ َﺅ ﺭﺨﹸـﻭﻥ ﻓـﻲ ﺍﻟﺤﻀـﺎﺭﺍﺕ ﺸﻌﻭﺏِ ،ﻭﻤﺎ ﻭﺍﻟﺘﻲ ﺤﻔﺭﺕ ﻟﻬﺎ ﻤﻜﺎﻨﹰﺎ ﻓﻲ ﺫﺍﻜِﺭ ِﺓ ﺍﻟ ﱡ ﺍﻟﻘﺩﻴﻤﺔ ﻭﺍﻟﻭﺴﻁﻰ ﻭﺍﻟﻤﻌﺎﺼِﺭﺓ. ﺤ ﺩ ﺃﻥ ﺍﻟﻘﻴـﺎ ﻡ ﺒﻤﻌﺠـﻡ ﺨـﺎﺹ ﺒـﺎﻟﻔﻭﻟﻜﻠﻭﺭ ﻤﻬﻤـ ﹲﺔ ﺴـﻬﻠﺔ ...ﺇﻥ ﻭﻻ ﻴ ﺩﻋِﻲ َﺃ w. ل ﻤﺩﻟﹸﻭﻻﺘﹸﻬﺎ ،ﻭﻫﻲ ﺘﺨﺘﻠﻑ ﺒﺎﺨﺘﻼﻑ ﺍﻟﺒﻴﺌﺎﺕ ﻭﺍﻷَﺠﻴﺎل .ﻭﻤﺜل ﺸ ﱠﻜ ُ ﺍﻟﻤﺼﻁﻠﺤﺎﺕ ﻤﺭﻨﺔ ،ﹶﺘ ﹶﺘ ﹶ ﻫﺫﺍ ﺍﻟﻤﻌﺠﻡ ﺇﻨﻤﺎ ﻫﻭ ﻋﻤل ﺘﺠﺭﻴﺒﻲ ،ﺃﻭ ﺭﻴﺎﺩﺓ ﻟﻁﺭﻴﻕ ﻏﺎﻤﺽ ،ﻤﻊ ﻁﹸﻭﻟـﻪ ﻭﻋﺭﻀـﻪ، ﺴﺒِﻲ ﺃﻨﻨﻲ ﺒﺩﺃﺕ ﺍﻟﺨﻁﻭﺓ ﺍﻷﻭﻟﻰ ﻓﻲ ﻫﺫﺍ ﺍﻟﺴﺒﻴل. ﺤ ﻭ ww ﻭﻤﻌﺠﻡ ﺍﻟﻔﻭﻟﻜﻠﻭﺭ ﻫﻭ ﻓﻲ ﻭﺍﻗﻊ ﺍﻷﻤﺭ؛ ﻤﺤﺼﻠﺔ ﺠﻬﻭﺩ ﻋﻠﻤﺎﺀ ﻭﺭﻭﺍﺓ ﻭﻫﻭﺍﺓ ﻓـﻲ ﻫﺫﺍ ﺍﻟﻤﺠﺎل ﺍﻹﻨﺴﺎﻨﻲ ﺍﻷﺼﻴل ﻭﺍﻟﺤﻲ ﻭﺍﻟﻤﺘﻁﻭﺭ؛ ﻭﻫﻭ ﻤﺠﺎل "ﺍﻟﻔﻭﻟﻜﻠﻭﺭ". ﺕ ﺼ ٍﺔ ﻋﻥ ﺍﻟﻌـﺎﺩﺍ ِ ﺕ ﻜﺜﻴﺭﺓ ،ﻭﺒﺨﺎ ﺠ ﻡ ﻭﻤﻭﺴﻭﻋﺎ ٍ ﻟﻘﺩ ﻋﻜﻔﺕ ﻗﺩﺭ ﻁﺎﻗﺘﻲ ﻋﻠﻰ ﻤﻌﺎ ِ ﻑ ﺴ ﻴ ِﺭ ﻭﺍﻷﻟﻐﺎﺯ ﻭﺍﻷﻤﺜﺎل ﻭﺍﻟﺤِـ ﺭ ِ ﺕ ﻭﺍﻟ ﺱ ﻭﺍﻷﻏﺎﻨﻲ ﻭﺍﻟﺤِﻜﺎﻴﺎ ِ ﻁﻘﹸﻭ ِ ﻭﺍﻟﺘﱠﻘﺎﻟِﻴ ِﺩ ﻭﺍﻟﻌﻘﺎ ِﺌ ِﺩ ﻭﺍﻟ ﱡ www.alkottob.com ٤ ﻲ ﺒﺤﻠﻘﺎﺕ ﻤـﻥ ﻋ ِﻨ ﻕ ل ﺍﻟﺴﺎﺒِ ﹶ ﻅ ﺃﻥ ﺍﻟﺠِﻴ َ ﺤﱢ ﺸﻌِﺒ ﻴ ِﺔ .ﻭﻤﻥ ﺤﺴﻥ ﺍﻟ ﻑ ﺍﻟ ﱠ ﺕ ﻭﺍﻟﻤﻌﺎ ِﺭ ِ ﻭﺍﻟﺼﻨﺎﻋﺎ ِ ل ﺍﻟﻤﺘﺘﺎﺒﻌـﺔ ﺍﺯﺩﺍﺩﺕ ﺍﻫﺘﻤﺎﻤـﺎ ﺒﻬـﺫﺍ ﺍﻟﻔﻭﻟﻜﻠﻭﺭ ،ﻭﺠﻤﻊ ﻤﺎﺩﺘﻬﺎ ﻭﺼﻨﱠﻔﻬﺎ ،ﻜﻤﺎ ﺃﻥ ﺍﻷﺠﻴﺎ َ m ﺍﻟﻤﺠﺎل ﺍﻟﺤﻲ ﺍﻟ ﻤ ﱠﺘﺴِﻊ ،ﻭﺴﺠﻠﺕ ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﻤﺄﺜﻭﺭﺍﺘﻪ ﻭﻅﻭﺍﻫﺭﻩ. ﻭﻫﺫﺍ ﺍﻟﻤﻌﺠﻡ ،ﺍﻟﺫﻱ ُﺃ ﹶﻗﺩ ﻤ ﻪ ﺇﻟﻰ ﺍﻟﻤﻌﻨﻴـﻴﻥ ﺒـﺎﻟﻔﻭﻟﻜﻠﻭﺭ ،ﻴﺘﺠـﺎﻭﺯ ﺍﻟﻤﺼـﻁﻠﺤﺎﺕ ﺍﻟﺨﺎﺼﺔ ﺒﺎﻟﻤﺠﺘﻤﻊ ﺍﻟﻌﺭﺒﻲ ،ﺇﻟﻰ ﺍﻟﻤﻭﺍ ﺩ ﺍﻟﻤﺘﻨﻭﻋﺔ ﻭﺍﻟﻤﺸﻬﻭﺭﺓ ﻓﻲ ﺍﻟﻘﻭﻤﻴﺎﺕ ﻭﺍﻟﺸـﻌﻭﺏ، .co ﻋﻠﻰ ﺍﺨﺘﻼﻓﻬﺎ .ﻭﻜل ﻤﺎ ﺃﺭﺠﻭﻩ ﺃﻥ ﻴﺯﻴﺩ ﻤﻥ ﺍﻫﺘﻤﺎﻡ ﺍﻟﻘﺎﺭﺉ ﺍﻟﻌﺭﺒﻲ ﺒـﺎﻟﻔﻭﻟﻜﻠﻭﺭ ،ﺍﻟـﺫﻱ ﻴﺼﺩﺭ ﻋﻥ ﺴﻠﻭﻙ ﺍﻹﻨﺴﺎﻥ ،ﺃ ﻴﹰﺎ ﻜﺎﻥ ﻭﻁﻨﹸﻪ ،ﻭﺃﻴﺎ ﻜﺎﻨﺕ ﺒﻴﺌﺘﹸﻪ ﺍﻟﺜﻘﺎﻓﻴﺔ .ﻭﻻ ﺃﺩﻋﻲ ﺃﻥ ﻫـﺫﺍ ل ﺃﻨﻨﻲ ﺤﺎﻭﻟﺕ. ﺠَ ﺍﻟﻤﻌﺠﻡ ﻗﺩ ﺃﺤﺎﻁ ﺒﻤﺠﺎل ﺍﻟﻔﻭﻟﻜﻠﻭﺭ ،ﻭﺤﺴﺒﻲ ﺃﻥ ُﺃﺴ ﺍﻟﻘﺎﻫﺭﺓ ،ﻓﻲ ﻜﺎﻨﻭﻥ ﺍﻟﺜﺎﻨﻲ )ﻴﻨﺎﻴﺭ( .١٩٨٢ ott ob ﺩ .ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﻳﻮﻧﺲ alk w. ww www.alkottob.com ٥ ﺑﺎﺏ ﺍﳍﻤﺰﺓ m ﻲ .ﻭﻓـﻲ ﺇﺤـﺩﻯ ﺨﺭﺍ ِﻓ ﺍﻟ ﻤ ﻭﻀﻭﻉ ﹸ APALALA .co ﺃﹶﭘﺎﻻﹶﻻﹶ ﻥ ﻤﺎ ٍﺀ ﺃﻭ ﺜﹸﻌﺒﺎﻥ ﻜﺎﻥ ﻴﻌـﻴﺵ ِﺘﻨﱢﻴ ﻋﻨﺩ ﻤ ﹾﻨﺒﻊ ﻨﻬﺭ ﺴﻭﺍﺕ ﻜﻤﺎ ﺠﺎ ﺀ ﻓﻲ ﺼﻭﺭ ﺴﻁﹸﻭﺭ ٍﺓ ﺒﻭ ِﺫﻴﺔ .ﻭﻜﺜﻴﺭﺍ ﻤﺎ ﻴ ُﺃ ﻱ ﺒﺎﻋﺘﺒـﺎﺭِﻩ ﺃﺤـ ﺩ ﻥ ﺍﻟﺒﻭﺫ ﻓﻲ ﺍﻟ ﹶﻔ ﻥ ﻙ ﻤ ﺩ ﻴ ﺴ ﱠﺘ ﹰﺔ ﻤﻥ ﻤﻠﹸﻭ ِ ﻥ ِ ﺍﻟﺭﻭﺍﻴﺎﺕ ﺃ ﻻﻟﹶـﺔ ﻲ ﻟﻠ ﺩ ﹶ ﻉ ﺍﻟﺸﱠﻌ ِﺒ ﺢ ﺍﻹﺒﺩﺍ ِ ﻁﹶﻠ ﺼﹶ ﻤ ﻑ ﺍﻟ ِﻬﺠﺎ ِﺌﻴـ ﹶﺔ ﻋﻠـﻰ ﺭﺘﺒﻭﺍ ﺍﻟﺤﺭﻭ ﹶ ﻋﻠﻰ ﺍﻵﺩﺍﺏ ﺍﻟﺸﱠﻌﺒﻴﺔ ﻓـﻲ ﺒﻌـﺽ ﺏ ﺭِﻭﺍﻴ ﹲﺔ ﺃﺨﺭﻯ ﺇﻟﻰ ﺃﺴﻤﺎﺌِﻬﻡ .ﻭ ﹶﺘ ﹾﺫ ﻫ ﺕ ﺍﻟﻌِﻠﻤﻴﺔ ،ﻭﻫﻭ ﺒﻬﺫﻩ ﺍﻟ ﻤﺜﹶﺎﺒﺔ ﺍﻟﺒِﻴﺌﺎ ِ ﻥ ﺍﻷﺴﻤﺎ ﺀ ﺍﻟﺴﺘﺔ ﺍﻷُﻭﻟﹶـﻰ ﻫـﻲ َﺃ ﺤﻜﹶﺎﻴـﺎﺕ ﻭﺍﻷَﻏـﺎﻨِﻲ ﻴﺘﺄﻟﱠﻑ ﻤﻥ ﺍﻟ ِ ﺸﻴﺎﻁﻴﻥ. ﺃَﺴﻤﺎ ﺀ ﻤ ﺭ ﺩ ٍﺓ ﻭ ﹶ ﻅﻭﺍﻫِﺭ ﻷ ﹾﻟﻐﹶﺎﺯ ﻭﺒﻌﺽ ﺍﻟ ﱠ ﻷ ﻤﺜﹶﺎل ﻭﺍ َ ﻭﺍ َ ﺽ ﻤﻨﺫ ﺍﻟﻘِـﺩﻡ ل ﺍﻟﺒﻌ ﺴ ﹶﺘ ﻌﻤَ ﻭﻗﺩ ﺍ ﺍﻟﺘﱠﻤﺜِﻴﻠﻴﺔ ﻭﻏﻴﺭﻫﺎ ،ﻤﻤﺎ ﻴﺩﺨل ﻓـﻲ ﺤﺭﻭﻑ "ﺃﺒﺠـﺩ ،ﻫـﻭﺯ ...ﺇﻟـﺦ" ﻤﺠﺎل ﺍﻵﺩﺍﺏ ﺍﻟﺸﱠﻌﺒﻴﺔ .ﻭﻓﻲ ﺒﻌﺽ ـﻤﺎﺕ ﺴِــﺤﺭﻴﺔ، ـ ﹶﺫ ﻭﻁِﻠﺴـ ﹶﻜ ﹶﺘﻌﺎﻭِﻴـ ﺙ ﺍﻟﺠﺎﻤِﻌﺎﺕ ﺍﻟﺘﻲ ﹸﺘ ﻌﻨﹶـﻰ ﺒـﺎﻟ ﱡﺘﺭﺍ ِ ﺤﺭﻭﻑ ﻤﻥ ﺍﻋﺘﻤﺎﺩﺍ ﻋﻠﻰ ﻤﺎ ﻟﻬﺫﻩ ﺍﻟ ﺴﺘﹶﺎ ِﺫﻴﺔ ﻟﻺﺒـﺩﺍﻉ ﻲ ُﺃ ﺴ ﺍﻟﺸﱠﻌﺒِﻲ ﹶﻜﺭﺍ ِ ﺤ ﻴ ِﺔ ﺼ ﻴ ِﻎ ﺍﻻ ﹾﻓ ِﺘﺘﹶﺎ ِ ﻋ ﺩ ِﺩ ﻴ ٍﺔ .ﻭﻓﻲ ﺍﻟ ِﻗ ﻴ ٍﻡ ﺍﻟﺸﱠﻌﺒِﻲ؛ ﻜﻤﺎ ﻫﻭ ﺍﻟﺤﺎل ﻓﻲ ﺍﻟﺴﻭﻴﺩ. ott ob ل ﺇﻟﻴﻬﺎ ﺒﻭﺫﺍ. ﺍﻷﺸﻜﺎل ﺍﻟﺘﻲ ﹶﺘﺤ ﻭ َ ﺃﹶﺑﺠﺪ ل ﺸﻔﹶﺎ ِﻫﻴﺔ .ﻭ ﻴﺴـ ﹶﺘ ﻌ ﻤ ُ ﺠﻬﻭﺭﺓ ﺃﻭ ﺍﻟ ﱠ ﺍﻟ ﻤ ABJAD ﻷﻟﹾﻔﺎﻅِ ﺍﻟﺜﱠﻤﺎﻨِﻴﺔ ﺍﻟﺘـﻲ ﺩﺭﺝ لﺍَ َﺃﻭُ ﺏ ﻋﻠﻰ ﺃﻥ ﻴ ﺩﻟﱡﻭﺍ ﺒﻬـﺎ ﻋﻠـﻰ ﺍﻟ ﻌ ﺭ ﺤﺭﻭﻓِﻬﻡ ﺍﻟ ِﻬﺠﺎﺌﻴﺔ .ﻭﻫﺫﻩ ﺍﻷﻟﻔـﺎﻅ ﺤﻁﱢـﻲ، ﺍﻟﺜﱠﻤﺎﻨﻴﺔ ﻫﻲَ :ﺃ ﺒﺠﺩ ،ﻫﻭﺯ ، ﺴ ﻌ ﹶﻔﺹ ،ﹶﻗﺭﺸﹶـﺕﹾ ،ﹶﺜﺨﹶـﺫ، ﹶﻜﹶﻠ ﻤﻥ ، ﺇﻟﻰ ﺍﻟﻴﺎﺀ ﻋﻠﻰ ﺍﻷﺭﻗﺎﻡ ﻤﻥ ١ﺇﻟـﻰ ،١٠ﻭﺍﻟﺤﺭﻭﻑ ﻤﻥ ﺍﻟﻜـﺎﻑ ﺇﻟـﻰ ﺍﻟﻘﺎﻑ ﻋﻠﻰ ﺍﻷﺭﻗﺎﻡ ،٤٠ ،٣٠ ،٢٠ ﻭﺍﻟﺤﺭﻭﻑ ﻤﻥ ﺍﻟﺭﺍﺀ ﺇﻟـﻰ ﺍﻟﻐـﻴﻥ ﻋﻠﻰ ﺍﻷﺭﻗﺎﻡ ،٤٠٠ ،٣٠٠ ،٢٠٠ ﻼﻗﹶـ ﹲﺔ ﺒﻴﻨـﻪ ﻋﹶ ﺝ ﺨ ﺭ ﺴ ﹶﺘ ﹾ ﺞ ﹸﺘ ﺍﻟﱠﺫﻱ ﻴ ﹾﻨﺘﹸ ﻲ". ﻷﺩﺏ ﺍﻟﺸﱠﻌ ِﺒ ﺍَ ﻥ. ﻭﺒﻴﻥ ﻋﺎﹶﻟﻡِ ﺍﻟﺠ ﺴ ﹸﺘ ﻌ ِﻤﻠﹶﺕ ﻫﺫﻩ ﺍﻟﺤـﺭﻭﻑﹸ ﻓـﻲ ﻭﺍ ﺕ ـﺎ ِ ﻋ ﻤِﻠ ﻴـ ـﻲ ﻻﺒﺎﺕِ ،ﻭﻓـ ﻁ ﺭ ﹶ ﺴـ ﹸ ﻷ ﺍُ ﺍﻟ ِﻜﻬﺎ ﹶﻨﺔِ ،ﻭﺒﻌﺽ ﺃﻋﻤﺎل ﺍﻟﺴـﺤﺭ. ل ﺴ ﹶﺘ ﻌ ﻤ ُ ل ﹶﻜﻠِﻤ ﹸﺔ "ﺒﻭﺠﺎﺩﻱ" ﹸﺘ ﻭﻻ ﹶﺘﺯﺍ ُ ـﻰ ـ ﹶﺔ ﺒ ﻤ ﻌﻨﹶـ ـﻲ ﺸــﻤﺎﻟﻲ ﺇ ﹾﻓﺭِﻴ ِﻘﻴـ ﻓـ "ﺍﻟ ﻤ ﺒ ﹶﺘﺩِﺉ". ﺃﹶﺑﺮِﻳﻞ APRIL ﻼ ِﺩﻴﺔ ﺍﻟﺸﱠ ﻬ ﺭ ﺍﻟﺭﺍﺒِﻊ ﻓﻲ ﺍﻟﺴﻨﺔ ﺍﻟﻤِﻴ ﹶ ﻭﻜﺎﻥ ﺍﻟﺭﻭﻤﺎﻥ ﻴﻌﺘﻘِﺩﻭﻥ ﺃﻨﱠﻪ ﺸﹶـﻬ ﺭ ﻥ ﻫـﺫﺍ ﻥ َﺃ ﭭﻴﻨﹸﻭﺱ ﺍﻟ ﻤ ﹶﻘﺩﺱ .ﻭ ﻴﻅﹶـ ﻕ ﻤـﻥ ﺍﺴـ ِﻡ ﺍﻹﻟﹶﻬـﺔ ﺸ ﹶﺘ ﱞ ﺴ ﻡ ﻤ ﹾ ﺍﻻ ﺍﻟ ﻤﻤﺎﺜِﻠﺔ ﻟِﭭﻴﻨﹸﻭﺱ ﻋﻨﺩ ﺍﻟﻴﻭ ﹶﻨﺎﻥ ﻭﻫﻲ w. ،١٠٠ ،٩٠ ،٨٠ ،٧٠ ،٦٠ ،٥٠ ل ﺼِ ﺒﻌﻀﻬﺎ ﺇﻟﻰ ﺒﻌﺽ ،ﻭﻤﻥ ﺍﻟﺤﺎ ِ ﻁﹶﻠﺢِ "* ﺼﹶ ﺍﻟﺠﺎﻤِﻌﺎﺕ ﺍﻷُﺨﺭﻯ ﺒﺎﻟ ﻤ alk ﻥ ﺍﻟ ﻬﻤﺯﺓ ﻑ ِﻤ ﺤﺭﻭ ﹸ ﻀﻅﹶﻎ .ﻭ ﹶﺘ ﺩلﱡ ﺍﻟ ﻑ ﻑ ﻗِـﻴ ﻡ ﺍﻟﺤـﺭﻭ ِ ﻟِﻠ ﱠﺘﻌﺎﻭِﻴﺫ ﹸﺘﻀـﺎ ﹸ ﺴﻤﻰ ﻫﺫﻩ ﺍﻟﺩﺭﺍﺴ ﹸﺔ ﻓـﻲ ﺒﻌـﺽ ﻭ ﹸﺘ ﻕ ﺁﺨـﺭ َﺃ ﹾﻓﺭﻭﺩِﻴﺕ ،ﻭﻫﻨﺎﻙ ﺍﺸﹾـ ِﺘﻘﹶﺎ ﹲ ،٩٠٠ ،٨٠٠ ،٧٠٠ ،٦٠٠ ،٥٠٠ﺍﻹﺑﺪﺍﻉ ﺍﻟﺸﻌﺒِ ﻲ ﻼﺘِﻴﻨﻴـﺔ ﺍﻟﺘـﻲ ﻤ ﻌﻨﹶﺎﻫـﺎ FOLK FICTIONﺍﻟ ِﻌﺒﺎﺭﺓ ﺍﻟ ﱠ ﺏ ﺇﻟـﻰ .١٠٠٠ﻭﻗﺩ ﹶﻟﺠـَﺄ ﺍﻟﻌـﺭ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﺜﱠﻤﺎﻨﻲ "ﺃﺒﺠﺩ ،ﻫـﻭﺯ... ﺇﻟﺦ" .ﻭ ﹸﻜلﱡ ﻤﺎ ﹶﺫ ﻫﺒﻭﺍ ﺇﻟﻴﻪ ﻓﻲ ﻫـﺫﺍ www.alkottob.com ﺕ ـﺎ ِ ل ِﻟ ﹾﻠ ﻤﹶﻠ ﹶﻜـ ﺴ ـ ﹶﺘ ﻌ ﻤ ُ ﺢ ﻴ ﻁﹶﻠ ﺼـ ﹶ ﻤ ـﻥ ﺼـ ﺩ ﺭ ﻋـ ـﻲ ﻻ ﹶﺘ ـﺔ ﺍﻟﺘـ ﺍﻟﺨﻼﱠﻗـ ﺼ ﻴ ٍﺔ ﹶﻓ ﺭ ِﺩ ﻴﺔٍ ،ﻭﺒﺨﺎﺼـﺔ ﻓـﻲ ﺸﹶﺨ ِ ل ﻓﻴﻬﺎ ﺒﺎ ﹾﻟ ﹶﻜِﻠﻤﺔ ﺍﻟ ﻤﺠﺎﻻﹶﺕ ﺍﻟﺘﻲ ﻴ ﹶﺘ ﻭﺴُ ww ﻥ ﺒﻬﺎ ﻤ ﹾﻨﺸﹶـَﺄ ﺘﻠـﻙ ﺕ َﻴ ﻭﻟﹸﻭ ﹶﺘ ﹾﻔﺴِﻴﺭﺍ ٍ ﻥ ﻥ ﺍﺴ ﻡ ﺍﻟﺸﱠﻬ ِﺭ ﻤ ْﺄﺨﹸﻭ ﹲﺫ ﻤِـ ﻴ ﺭﺠﺢ ﺃ ﺢ ﺍﻟﺒـﺭﺍﻋِﻡ "ﺍﻟ ﱠﺘ ﹶﻔ ﱡﺘﺢ"؛ ﻭﺫﻟـﻙ ِﻟ ﹶﺘﻔﹶـ ﱡﺘ ِ ﻭﺍﻟ ﺯﻫﻭﺭ ﻓﻲ ﻫﺫﺍ ﺍﻟﺸﱠـﻬﺭ .ﻭ ِﻤﻤـﺎ ﻲ ﺴ ﻡ ﺍﻟﻴﻭﻨﺎﻨ ﻥ ﺍﻻ ﻱ ﺃ ﻴ َﺅﻴ ﺩ ﻫﺫﺍ ﺍﻟ ﺭ ْﺃ ٦ ﺢ ﺍﻟﺤﺩﻴﺙ ﻟِﻠﺭﺒﻴﻊ ﻴ ﻌﻨِﻲ ﺃﻴﻀﺎ ﹶﺘﻔﹶـ ﱡﺘ ﻷ ﹾﻜﻤﺎ ِﻡ ﻭﺍﻟ ﺯﻫﻭﺭ. ﺍَ ﻭ ﹶﺘ ﹾﻨ ﹶﺘﺸِ ﺭ ﻓﻲ ﺍﻟﻤﻜﺴﻴﻙ ﻋﺎ ﺩ ﹸﺓ ﻫـﺫﺍ ﺠﻨﹶﺕ ﻓﻲ ﺴِ ﻥ *ﻤﻭﻤﻭ ل ﺃ ﺒﺴﻭ ،ﻭَﺃ ﹶﻗ ﹶﺘ َ ﺍﻟﻜﺫِﺏ ﺍﻷﺒﻴﺽ ﻓﻲ ﺍﻟﻴﻭﻡ ﺍﻟﺜـﺎﻤﻥ ﺴ ِﺩ ِﻩ .ﻭﺠﺎ ﺀ ﻓـﻲ ﺠ ﺸ ﻴ ﺩ ﻋﻠﻰ ﺕ ﹸ ﺒ ﻴ ٍ ﻭﺍﻟﻌﺸﺭﻴﻥ ﻤﻥ ﺩﻴﺴﻤﺒﺭ ،ﻭ ﹶﺘ ﹶﺘ ﺭﻜﱠـ ﺯ ﻥ ﺃ ﺒﺴـﻭ ﺨ ﹾﻠﻕِ ﺍﻟﺒﺎ ِﺒِﻠ ﻴ ِﺔ ﺃ ﺴﻁﹸﻭ ﺭ ِﺓ ﺍﻟ ﹶ ُﺃ ﺍﻗﺘِــﺭﺍﺽ ﺒﻌــﺽ ﺍﻷﺸــﻴﺎﺀ. ﻷ ﺭﺽِ .ﻭ ﻴﻘﹶـﺎلُ ﺇﻨﱠـﻪ ﺍﻟﺴﻤﺎﻭﺍﺕ ﻭﺍ َ ﺽ ﺃﻥ ﺍﻷﺸﻴﺎﺀ ﺍﻟﻤﺴ ﹶﺘﻌﺎﺭﺓ ﻭﺍﻟ ﻤ ﹾﻔﺭﻭ ﺠﻤِﻴـ ﻊ ﺴِﻠ ِﻬﻤﺎ ﺝ ِﺘﻴﺎﻤﺎﺕ ،ﻭﻤﻥ ﹶﻨ ﺯ ﻭ ﺃﻭ ﺍﻟ ﻤ ﹾﻘ ﹶﺘ ﺭﻀﺔ ﻓﻲ ﻫﺫﺍ ﺍﻟﻴﻭﻡ ﻻ ﹸﺘ ﺭﺩ؛ ﺍﻵِﻟﻬﺔ ،ﻭﻫﻭ ﻭﺍِﻟ ﺩ ﻤﻭﻤﻭ. m ﺃﹶﺑﺮﻳﻞ )ﻛِﺬﹾﺑﺔﹸ ﺃﹶﺑﺮِﻳـﻞ( APRIL FOOLS DAY ﺨ ﹾﻠﻕِ ل ﹶ ﺠ ﺩ ﻗﺒ َ ﺸﺭِ ﺍﻟﺫﻱ ﻭ ِ ﺍﻟﻌﺎ ﺩ ﹸﺓ ﻫﻨﺎﻙ ﺤـﻭل ﺍﺴـﺘِﻌﺎﺭﺓ ﺃﻭ ﻫﻭ َﺃﺒﻭ ﺍﻟﺒ ﹶ ﻁﹶﻠﻕﹸ ﻋﻠﻰ ﻋﺎ ﺩ ٍﺓ ﻤﺸﹾـﻬﻭ ﺭ ٍﺓ ﺴ ﻡ ﻴ ﹾ ﺍ .co ﻷﻭل ﻤـﻥ ﺸﹶـ ﻬ ِﺭ ﻁ ﺒـﺎ ﹾﻟ ﻴ ﻭ ِﻡ ﺍ َ ﹶﺘ ﺭ ﹶﺘﺒِ ﹸ َﺃ ﺒﺭِﻴل ﻓﻲ ﺍﻟﻐﹶﺎِﻟﺏِ ،ﻭﻫـﻲ ﺘﹶـ ﺩﺒِﻴ ﺭ ﺨﺭﺓ ،ﺃﻭ ﺇ ﺭﺴـﺎل ل ﺍﻟﺴﺎ ِ ﺤ ﻴ ِ ﺽ ﺍﻟ ِ ﺒ ﻌ ِ ﺼﺩِﻗﹶﺎﺀ ﻭﺍﻟ ﻤﻌﺎﺭِﻑ ﻓـﻲ ﻤﻬـﺎ ﻡ ﻷ ﺍَ ﻏ ِﻡ ﻤﻥ ﹶﺘﺸﹶﺎ ﺒ ِﻪ ﻫﺫﻩ ﻜﺎ ِﺫ ﺒ ٍﺔ .ﻭﻋﻠﻰ ﺍﻟ ﺭ ﹾ ﺇِﺑﻠِﻴﺲ ﺍﻟﺤﻠﻭﻯ ﺃﻭ ﻫ ِﺩﻴﺔ ﺭﻤﺯﻴﺔ ﺼـﻐﻴﺭﺓ ﺍﻟ ِﻬﻨﹾﺩ ﻭﺭﻭﻤﺎ ﻭﻏﻴﺭِﻫﻤﺎ؛ ﻓـﺎﻟﺭﺍﺠِﺢ ل ﻋـﻥ ﺘﻠـﻙ ﺸﺄَﺕ ِﺒ ﻤ ﻌ ِﺯ ٍ َﺃﻨﱠﻬﺎ ﹶﻗ ﺩ ﹶﻨ ﹶ ﺼﺤﻭﺒﺔ ﺒ ﹶﻘﺼِﻴﺩﺓ ﹸﺘ ﹶﺫﻜﱢ ﺭ ﺍﻟ ﻤ ﹾﻘ ﹶﺘﺭﺽ ﻤ ﺼلِ ﺒﻠﺱ؛ ﻷﻨﻪ َﺃ ﺒﹶﻠﺱ ﻷ ﺸ ﹶﺘﻘﱠﺔ ﻤﻥ ﺍ َ ﻤ ﹾ ﺕ ﺍﻟ ﹶﻐ ﹾﻔﻠﹶـ ﹸﺔ ﻉ ﻭﺠﺎ ﺯ ِ ﺨ ِﺩ ﻤﻨﻪ ﺒﺄﻨﻪ ﻗﺩ ﹸ ل ﺍﻟﻁﱠﺒﻴﻌ ﹸﺔ ﻟﻺﻨﺴﺎﻥ ﺃﻨﻬﺎ ﺨﻴُ ﻋﻨﺩﻤﺎ ﹸﺘ ﹶ ﻥ ﻫـﺫﻩ ﺍﻟﻌـﺎﺩﺓ ﻭﺍﻟﻨﺭﻭﻴﺞ ﻴ ﻤﺎ ِﺭﺴﻭ ﺠ ﻭ ﺍﻟ ﻤﻁِﻴ ِﺭ ﺍﻟﻤﻠﺒـ ِﺩ ل ﻤﻥ ﺍﻟ ﺴ ﹶﺘ ﹶﺘﺤ ﻭ ُ ﻭﺍﻟﺸﱠﻤﺱ ﺍﻟ ﻤﺸﹾـ ِﺭﻗﹶﺔ .ﻭﻓـﻲ ﻫـﺫﺍ ﺕ ِﻜ ﹾﺫ ﺒ ﹸﺔ َﺃ ﺒﺭِﻴـل ﻓـﻲ ﺸﺭ ﹾ ﻭﻗﺩ ﺍ ﹾﻨ ﹶﺘ ﹶ ﻥ ﻋﺸـﺭ، ﺇﻨﻜﻠﺘﺭﺍ ﻓﻲ ﺍﻟﻘﺭﻥ ﺍﻟﺜـﺎ ِﻤ ﺴﻤﻰ ﻓﻲ ﺃﺴﻜﺘﻠﻨﺩﺍ ﻋﺎﺩ ﹰﺓ "ﺼـ ﻴ ﺩ ﻭ ﹸﺘ ﻼﻫـ ﹶﺔ ﻫﻨـﺎﻙ .ﻭ ﻴﺴـﻤﻰ ﺠﺴ ﻡ ﺍﻟ ﺒ ﹶ ﻴ ل ﺍﻟﺫﻱ ﹶﺘﺠﻭ ﺯ ﻋﻠﻴـﻪ ِﻜ ﹾﺫﺒـ ﹸﺔ ﺍﻟﺭﺠ ُ ﺃﺒﺭﻴل ﻓﻲ ﻓﺭﻨﺴﺎ "ﺴﻤ ﹶﻜ ﹶﺔ َﺃ ﺒﺭِﻴل". www.alkottob.com ﺴﺠﺩﻭﺍ ﻟﻪ ﺇﺫ َﺃﻤﺭ ﺍﷲ ﺍﻟﻤﻼ ِﺌ ﹶﻜ ﹶﺔ ﺃﻥ ﻴ ﺍﻟ ﹶﻔ ِﻜﻬﺔ ﻓﻲ ﺍﻟﻴﻭﻤﻴﻥ ﺍﻷﻭل ﻭﺍﻷﺨِﻴﺭ ﻤﻥ ﺸﻬﺭ ﺃﺒﺭﻴل. APSU ﺕ ِﺇﻴﺎ Eaﺍﻟ ﻌﻤِﻴﻕﹸ ،ﺃﻭ ِﻤﻴـﺎ ﻩ ﺒ ﻴ ﹸ ـﺩ ِﺓ ـﻲ ﺍﻟ ﻌﻘِﻴـ ـﻰ ﻓـ ﺏ ﺍﻷُﻭﹶﻟـ ﺼـ ِ ﺨ ﺍﻟ ِ ﺱ ﹶﻓﻘﹶـ ِﺩ ﺍﺴـ ﹶﺘ ﹾﻜ ﺒﺭ، ﻻ ﺇ ﺒﻠِﻴ ﹶﻓﺴﺠﺩﻭﺍ ﺇ ﱠ ﺠ ﺩ ﻥ ﻴﺴـ ﺨﻠﹸﻭﻕ ﻤﻥ ﻨﺎﺭَ ،ﺃ ﻭﻫﻭ ﺍﻟ ﻤ ﹾ ﻕ ﻤﻥ ﻁِﻴﻥٍ؛ ﻭﻟـﺫﻟﻙ ﺨﻠِ ﹶ ﻵﺩﻡ ﺍﻟﺫﻱ ﹸ ل ﻁ ِﺭ ﺩ ﻭﹸﻟ ِﻌﻥ ،ﻭﻟﻜﻨﻪ ﺘﻭﺴل ﺃﻥ ﻴ ﻤﻬَ ﹸ ﺏ ﺤﺴـﺎ ِ ﻭﻻ ﻴﻨﹶﺎل ﺠﺯﺍﺀﻩ ﺇﻻ ﻴﻭﻡ ﺍﻟ ِ ل ﹸﻜلﱢ ﺍﻷﺸـﻴﺎﺀ ﺼَ ﺍﻟﺒﺎ ِﺒِﻠﻴﺔ ،ﻭ ﻴ ﻌﺩَ ﺃ ل ﻟـﻪ ﺠﻌِـ َ ﻁﻠﹶﺒـﻪِ ،ﻭ ﺏ ﺇﻟﻰ ﹶ ﻓُﺄﺠِﻴ ﺍﻟﻤﻭﺠﻭﺩﺓ ﻓﻲ ﺍﻟﻌﺎﹶﻟﻡِ ﺍﻟ ﻴ ﻭﻡ ،ﻭﻫـﻭ ﺼ ﺩﻕﹸ ل ﻤﻥ ﻻ ﻴ ﻱ ﹶﻜ ﱠ ﺴ ﹾﻠﻁﹶﺎﻥ ﺃﻥ ﻴ ﹾﻐ ِﻭ ﺼﻔﺔ ﻴﺨ ﹶﺘﻠِﻑ ﻋﻥ * ِﺘﻴﺎﻤـﺎﺕ ﺒﻬﺫﻩ ﺍﻟ ﻥ ﺍﻟﺫﻱ ﻴﺸِﻴ ﻊ ﺍﻟﺩﻤﺎ ﺭ ﻭﺍﻟ ﹶﻔ ﻭﻀﻰ ﺍﻟ ﱢﺘﻨﱢﻴ ِ ﺏ ﺍﻷُﺴﻁﹸﻭﺭ ﹸﺓ ﺇﻟﻰ ﻓﻲ ﺍﻟﻌﺎﹶﻟﻡِ .ﻭ ﹶﺘ ﹾﺫ ﻫ ﻋﺒﺎﺩِﻩ. ﻓﻲ ﺇﻴﻤﺎﻨِﻪ ﺒﺎﷲ ﻤﻥ ِ ﺠﻨﱠـ ِﺔ ﻏﻭﻯ ﺁﺩﻡ ﻭﺤﻭﺍﺀ ﻓﻲ ﺍﻟ ﻭَﺃ ﹾ ww ﻋﺼﻔﻭﺭ ﺍﻟ ﻭ ﹾﻗﻭﺍﻕ"؛ ﻭﻫـﻭ ﻁـﺎ ِﺌ ﺭ ﺤﻪِ؛ ﺦ ﻓﻴﻪ ﻤﻥ ﺭ ﻭ ِ ﻥ ﻭ ﹶﻨ ﹶﻔ ﹶ ﻥ ﻁِﻴ ٍ ﷲ ِﻤ ِ ﺍ ُ w. ﻀﻌﻭﺍ ﻟﻬﺎ. ﺨ ﺨﺭﺓ ﺃﻭ ﻴ ﹾ ﺍﻟﺴﺤﺭﻴﺔ ﺍﻟﺴﺎ ِ ﺨﻠﹶﻘـ ﻪ ﺨ ﹾﻠﻕِ ﺁﺩﻡ ﺒﻌﺩ ﺃﻥ ﹶ ﹶﺘﻤ ﺭﺩ ﻋﻠﻰ ﹶ ﻥ ﺃﻟﻤﺎﻨﻴـﺎ ﻥ ﺴـﻜﱠﺎ ﻭﺍﻟﺴﻭﻴﺩ ،ﻜﻤﺎ ﺃ ﺍﻟ ﹶﻔﺼل ﻴ ﺴ ﹶﺘﺒِﻴ ﺢ ﺍﻟ ﺠﻤِﻴﻊ ،ﺤﺘﱠﻰ َﺃ ﻫ ُل ﺃﭘﺴﻮ ل ﺤﻴـ ِ ﺍﻟ ﻭﻗﹶﺎﺭِ ،ﺃﻥ ﻴ ﺩﺒﺭﻭﺍ ﺒﻌﺽ ﺍﻟ ِ ﻭﺠﺎ ﺀ ﻓﻲ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻜـﺭﻴﻡ ﺃﻨﱠـﻪ alk ﺒﺎﻟ ﹸﻐﻴﻭﻡ ﺇﻟـﻰ ﺍﻟﺴـﻤﺎﺀ ﺍﻟﺼـﺎﻓﻴﺔ ﻋ ﺩﻭ ﺍﷲ ﺃﻭ ﺍﻟ ﻌ ﺩﻭ. ﺸ ﻴﻁﹶﺎﻥ ،ﻭ ﺍﻟ ﱠ ﻭﻴﻭ ﻡ ِﻜ ﹾﺫ ﺒ ِﺔ ﺃﺒﺭﻴـل ﺸـﺎﺌِﻊ ﻓـﻲ ﺍﻟﻁﱡﻘﻭﺱ ،ﻭﻴـ ﺩلﱡ ﺘﹶﻭﻗِﻴﺘﹸﻬـﺎ ﻋﻠـﻰ ﻋ ِﺘ ـﺩﺍل ﺍﻟﺭﺒﻴ ِﻌ ـﻲ، ـﺎ ﺒﺎﻻ ﺍ ﺭ ِﺘﺒﺎﻁِﻬـ ﻲ ﺃﻴﻀـﺎ ﺤﻤـ ِﺔ ﺍﷲ ،ﻭﺴـ ﻤ ﻤﻥ ﺭ ﻋﻠﻴﻪ. ﺇﻴﻁﺎﻟﻴــﺎ ﻭﺇﺴــﺒﺎﻨﻴﺎ ﻭﺍﻟﺒﺭﺘﻐــﺎل SATAN ﺸ ﻴﻁﹶﺎﻥ ،ﻭﻫﺫﻩ ﺍﻟﻜِﻠﻤﺔ ﻫﻭ ﺍﺴ ﻡ ﺍﻟ ﱠ ott ob ﺱ ﺍﻟ ﹶﻘﺩِﻴﻤﺔ ﻓﻲ ﻁﻘﹸﻭ ِ ﺽ ﺍﻟ ﱡ ﺍﻟﻌﺎﺩﺓ ِﺒ ﺒ ﻌ ِ ﻻ ﻤﻨﻬﺎ ﺼﻨﺩﻭﻕ ﻤـﻥ ﻭﺇﻨﻤﺎ ﻴ ﺭﺩ ﺒﺩ ﹰ ﺤ ﺭ ﻤ ِﺔ. ﺠ ﺭ ِﺓ ﺍﻟ ﻤ ﺸ ﻼ ﻤﻥ ﹶﺜﻤﺭﺓِ ﺍﻟ ﱠ ﹶﻓَﺄ ﹶﻜ ﹶ ﻥ ﺃ ﺒﺴـﻭ، ﻕ ﻤﻥ ﻁِﻴ ِ ﺨﻠِ ﹶ ﻥ ﹸ ﻥ ﺍﻹﻨﺴﺎ ﺃ ل ﺨَ ل ﻟِﻴ ﺩ ﹸ ﺤﺘﹶﺎ َ ﺱ ﺍ ﻥ ﺇ ﺒﻠِﻴ ﻭ ﻴ ﺭﻭﻯ ﺃ ﻭﺃ ﻥ ﺇﻴﺎ – ﺇ ﹾﻨﻜِـﻲ Ea-Enkiﻗﹶـﺩ ﺤ ﻴﺔِ؛ ﻥ ﻋﻠﻰ ﺫﻟﻙ ﺒﺎﻟ ﺴ ﹶﺘﻌﺎ ﺠ ﱠﻨﺔﹶ ،ﻭﺍ ﺍﻟ ٧ ﻁ ِﻨﻬـﺎ(. )ﻭﻓﻲ ﺭﻭﺍ ﻴ ٍﺔ ﺃُﺨﺭﻯ ﻓﻲ ﺒ ﹾ ﺱ ﺁَﻭﻯ ﻋﻠﻰ ﻴﺴﺎﺭ ﻤﺎ ﻴﻌـﺩﻩ ﺍﻟﻨﱠـﺎ ﻭِﻟ ﺩ ﻓﻲ ﺍﻟﺭﺒﻊ ﺍﻷﺨﻴﺭ ﻤﻥ ﺍﻟﻘـﺭﻥ ﺤﻭﺍﺀ ﻤِﻥ ﻓـ ِﻡ ﺱ ﺇﻟﻰ ﺙ ﺇ ﺒﻠِﻴ ﻭ ﹶﺘﺤ ﺩ ﹶ ﻥ َﺁﻭﻯ ﻓـﻲ ﻨﹶﺫﻴﺭ ﺸﹸﺅﻡ .ﻭ ﻴﻘﹸﻭ ﻡ ﺍﺒـ ﺍﻟﺴﺎﺩﺱ ﺍﻟﻬﺠﺭﻱ )ﺍﻟﺜـﺎﻨﻲ ﻋﺸـﺭ ﺠ ﺭ ِﺓ ﺍﻟﺘـﻲ ﺸ ﺤ ﻴ ِﺔ ﻭَﺃﻨﹾﺒَﺄﻫﺎ ﺒ ﹶﺜﻤﺭ ِﺓ ﺍﻟ ﱠ ﺍﻟ ﺨﻠﹸﻭﺩ ،ﻭﻟﻤﺎ ﻤﻀـﺕ ﻥ ﻟﻬﺎ ﺍﻟ ﹸ ﻀ ﻤ ﹶﺘ ﺽ ﺍﻟﺤِﻜﹶﺎﻴﺎﺕِ ﺍﻟﺸﱠـﻌﺒ ّﻴ ِﺔ ﺒـ ﹶﻨ ﹾﻔﺱِ ﺒ ﻌ ِ ﺏ ﻓـﻲ ﺍﻟﺩﻭﺭ ﺍﻟﺫﻱ ﻴﻘﹸﻭﻡ ﺒﻪ ﺍﻟﺜﱠﻌﻠـ ﺍﻟﻤﻴﻼﺩﻱ( .ﻭﻟﻤﺎ ﺒﹶﻠ ﹶﻎ ﺍﻟﻌِﺸﺭﻴﻥ ﻤﻥ ﺱ ﻅﻬﺭ ﻟﻬﺎ ﺇ ﺒﻠِﻴ ﺤﻭﺍ ﺀ ﺇﻟﻰ ﺍﻟﺸﱠﺠﺭﺓ ﹶ ﻥ ﻭﺍﻟﺨﹸﺭﺍﻓﹶﺎﺕِ ،ﻓـﻲ ﺤ ﻴﻭﺍ ِ ﺤِﻜﹶﺎﻴﺎﺕِ ﺍﻟ ﻭﻤــﺭﺍﻜِﺵ ﻭﺍﻟﺠﺯﺍﺌــﺭ ﻭﺘﹸــﻭﻨﺱ ﻷ ﻭﺴـﻁ ﻷ ﺩﻨﹶﻰ ﻭﺍﻟﺸﱠﺭﻕ ﺍ َ ﺍﻟﺸﱠﺭﻕ ﺍ َ ل ﻟﺩﺭﺍﺴﺔ ﺍﻷﻋﺸﺎﺏ .ﻭﻋﻨﺩﻤﺎ ﻭﺼـ َ ﻭﺍﻟﺸﱠﺭﻕ ﺍﻷﻗﺼﻰ. ﻋﻴ ﹶﻨ ﻪ ﺍﻟﻤﻠـﻙ ﺍﻟﻜﺎﻤِـل ﺇﻟﻰ ﻤﺼ ﺭ m ﻥ ﹶﻓ ﱠﻜ ﻴﻬـﺎ ﺱ ﺒـ ﻴ ﺠِﻠ ﹶﻓَﺄﺒﺎﺤﺕ ﻟﻪ ﺃﻥ ﻴ ﻭﺒﺨﺎﺼﺔ ﻋﻨﺩﻤﺎ ﻴﺴ ﻤ ﻊ ﻋﻭﺍ ﺀ ﺍﺒـﻥ ﺏ ﻤﺸﹸﻬﻭﺭ. ﻋﺸﱠﺎ ﺕ ﻭ ﻭﻫﻭ ﻋﺎِﻟ ﻡ ﹶﻨﺒﺎ ٍ .co ﺽ ل ﺒﻌـ ﻓﻲ ﺼﻭﺭﺓ ﻤﹶﻠﻙٍ ،ﻭ ﻴﻘﹸـﻭ ُ ﺍﻟﺭﻭﺍ ِﺓ ﺇﻨﱠﻪ ﻗﺩﻡ ﻟﻬﺎ ﺜﻤﺭﺓ ﺍﻟﺸﱠـﺠﺭﺓ ﻋﻤﺭِﻩ ﺴﺎﻓﹶﺭ ﺇﻟﻰ ﺸـﻤﺎﻟﻲ ﺇﻓﺭﻴﻘﻴـﺔ ﻭﻓﻲ ﺍﻟﺤِﻜﹶﺎﻴﺎﺕِ ﺍﻟﺸﱠﻌﺒﻴﺔ ﺍﻵﺴﻴ ِﻭﻴﺔ ـﺎ ِﺌ ِﺭ ـﻰ ﺴـ ـﺎ ﻋﻠـ ﺴـ ﻲ "ﺭﺌﻴ ـﻭﺒ ﺍﻷﻴـ ﺏ ﻋﻠـﻰ ﻷﺭﺽ .ﻭ ﹸﻜ ِﺘ ﺍﻟﺠﻨﱠﺔ ﺇﻟﻰ ﺍ َ ﻷﺴـﺩ، ﻉ ﺍﻟﻔﹶﺭﻴﺴـ ﹶﺔ ﹶﻓ ﻴ ﹾﻘ ﹸﺘﹸﻠﻬـﺎ ﺍ َ ﹶﻓ ﻴ ﹾﻔ ِﺯ ﺍﺴﺘﺒﻘﹶﺎﻩ ﻓﻲ ﺨِﺩﻤﺘـﻪ ﺍﺒﻨﹸـﻪ ﺍﻟﻤﻠـﻙ ﻁ ِﻨﻬﺎ ،ﺒ ﻌ ﺩ ﻑ ﻋﻠﻰ ﺒ ﹾ ﺤ ﻴ ِﺔ ﺃﻥ ﹶﺘ ﺯﺤ ﹶ ﺍﻟ ﺤﻤِﻬـﺎ ﻤـﺎ ﻴﻜﻔِﻴـﻪ، ﻥ ﹶﻟ ل ِﻤ ﻭ ﻴ ﹶﺘﻨﹶﺎ ﻭ ُ ﺍﻟﺼﺎﻟﺢ ﻨﺠﻡ ﺍﻟﺩﻴﻥ .ﻭﻟـﻪ ِﻜﺘﹶﺎﺒـﺎﻥ ﺕ ﺠﻤِﻴﻠﹶـ ﹰﺔ ﻤـﻥ ﹶﺫﻭﺍ ِ ﺃﻥ ﻜﺎﻨﺕ ﺩﺍ ﺒ ﹰﺔ ﻲ ﻻﺒﻥ َﺁﻭﻯ ﻤﻜﺎﻓﹶﺄ ﹰﺓ ﻟﻪ. ﻭ ﻴ ﹸﺘﺭﻙ ﺍﻟﺒﺎ ِﻗ ﻷ ﺩ ِﻭﻴـ ِﺔ ﺃﻭﻟﹸﻬﻤﺎ ﻜﺘﺎﺏ "ﺍﻟﺠﺎﻤِﻊ ﻓﻲ ﺍ َ ﺱ ﺇﻟـﻰ ﻴـﻭﻡ ﻷ ﺭﺒﻊ .ﻭُﺃ ﹾﻨﻅِﺭ ﺇﺒﻠﻴ ﺍَ ﻁﹶﻠﻕﹸ ﻋﻠﻰ ﺍﺒﻥ َﺁﻭﻯ ﻓﻲ ﺒﻌﺽ ﻭ ﻴ ﹾ ﺍﻟ ﻤ ﹾﻔ ﺭﺩﺍﺕ"؛ ﻭﻫﻭ ﻤﺠﻤﻭﻋـﺔ ﻤـﻥ ﻥ ﺏ ﻭﺍﻟ ﹸﻘﺒــﻭ ِﺭ ﻭَﺃﻤــﺎ ِﻜ ِ ﺨﺭﺍﺌِــ ِ ﺍﻟ ﹶ ﻷﺴـ ِﺩ .ﻭﻨﻅـﺭﺍ ﻙ" ﺃﻱ ﻭﺯِﻴﺭ ﺍ َ ﺍﻟ ﻤِﻠ ِ ﺠ ِﻤﻌﺕ ﺤ ﻴﻭﺍﻥ ، ﺍﻟﻤﻌﺩِﻥ ﻭﺍﻟﻨﱠﺒﺎﺕ ﻭﺍﻟ ﻁﻌﺎﻤـ ﻪ ﻤـﻥ ﺍﻟﻘﺎﺫﹸﻭﺭﺍﺕِ ،ﻭﺃﺼﺒﺢ ﹶ ل ل ﺍﻟ ﹶﻔﺭِﻴﺴ ﹶﺔ ﺍﻟﺘﻲ ﻴ ﹶﺘﻨﹶـﺎﻭُ ﻷﻨﻪ ﻻ ﻴ ﹾﻘ ﹸﺘ ُ ﻥ ﻭﺍﻟ ﻌﺭﺏ ،ﻭﻤﻥ ﻤﻥ ﻤ َﺅﱠﻟﻔﹶﺎﺕ ﺍﻟﻴﻭﻨﺎ ِ ﺼﻨﹶﺎﻡِ، ﻷ ﺏ ﺒﻪ ﺇﻟﻰ ﺍ َ ﺤ ِﻡ ﺍﻟﺫﻱ ﻴﺘﹶﻘﺭ ﺍﻟﱠﻠ ﺠﺒﻥ ،ﻭﻟﻬﺫﺍ ﺱ ﺒﺎﻟ ﺤ ﻤﻬﺎ ﻭﺼ ﹶﻔﻪ ﺍﻟﻨﱠﺎ ﹶﻟ ﹶﺘﺠﺎﺭِﺏ ﺍﻟﻤﺅﻟﱢﻑ ﻨﻔﺴﻪ ،ﻭﻫﻭ ﻤﺭﺘﱠﺏ ﺨ ﻤﺭ ﻭﹶﻟ ﻬ ﻭ ﻩ ﺍﻟﻤﻭﺴِـﻴﻘﹶﻰ ﺸﺭﺍ ﺒ ﻪ ﺍﻟ ﹶ ﻭﹶ ﺏ ﻋﻠـﻰ ﺽ ﺃﻨﱠﻪ ﻻ ﻴﺠِـ ﻴ ﻌ ﹶﺘﻘِ ﺩ ﺍﻟﺒﻌ ﺏ ﻓـﻲ ﺤﺴﺎ ِ ﺱ ﻴﻭ ﻡ ﺍﻟ ِ ﻭ ﻴ ﹾﻠﻘﹶﻰ ﺇ ﺒﻠِﻴ ﺢ ﺠﺒﺎﻨﹰﺎ .ﻭﻓﻲ ﺇﻓﺭﻴﻘﻴﺔ ﹸﺘﻌﺘﹶﺒـ ﺭ ﺼ ِﺒ ﻴ ﺒﻨﻔﺴﻪ؛ ﻓﻜﺎﻥ ﻤـﺎ ﻫـﻭ ﻤـﺎ ﻫـﻭ ott ob ﻁ ﺁﺩﻡ ﻭﺤﻭﺍﺀ ﻤﻥ ﻤ ﻌﺭﻭﻑ ﻤﻥ ﻫﺒﻭ ِ ﻷﺴـﺩِ، ﻋ ﺩ ِﺓ ﺍ َ ﻥ َﺁﻭﻯ ﺒ ﻤﺴـﺎ ﻴﻘﹸﻭ ِﻡ ﺍﺒ ﻙ ﺍﻟﻜﺎﻤل ﻲ ﺍﻟ ﻤِﻠ ﺍﻟ ﻌﺸﱠﺎﺒﻴﻥ" .ﻭﻟﻤﺎ ﹸﺘ ﻭ ﱢﻓ ﺵ ﺒﻴﻥ ﺏ ﻋﻠﻴﻪ ﺃﻥ ﻴﻌِﻴ ﹶ ﻴﺒﻌﺜﹸﻭﻥ ،ﻭ ﹸﻜ ِﺘ ﺍﺑﻦ ﺁﻭﻯ JACKAL ﻥ ﺁﻭﻯ ﻋﻨـﺩ ﻗﹸـﺩﻤﺎ ِﺀ ﻁ ﺍﺒ ﺍ ﺭ ﹶﺘﺒ ﹶ ل ﹶﻗ ﹾﻠﺒـﻪ ،ﺤﺘﱠـﻰ ﻻ ﻥ ﻴ ْﺄﻜﹸـ َ ﺍﻟﻤﺭﺀ َﺃ ﻤﺭﺍ ﺭ ﹸﺓ ﺍﺒـﻥ َﺁﻭﻯ ﻤ ﹶﻘ ﻭﻴـ ﹰﺔ ﻟﻠﺒـﺎﻩ، ﺍﺒﻥ ﺁَﻭﻯ ﻨﹶـﺫِﻴ ﺭ ﺒﺤﻠﹸـﻭل ﻜﺎ ِﺭﺜﹶـﺔ، www.alkottob.com ﺝ ل ﻓﻴـﻪ ﻋِـﻼ ﻓﻲ ﺍﻟ ﻌﻘﹶﺎﻗِﻴﺭ ،ﹶﺘﻨﹶﺎﻭَ ﻋﻀﺎﺀ ﻋﻀﻭﺍ ﻋﻀﻭﺍ ﺒﻁﺭﻴﻘـﺔ ﻷ ﺍَ ﺹ ـﺎ ـﻰ ﻤ ـ ﺭ ﻫ ٍﻡ ﺨـ ﻑ ﺇﻟـ ـﺎ ﹸ ﻀـ ﻭ ﹸﺘ ﺠ ﹾﻨﺴﺎﻥ. ﺨ ِﺩ ﻤ ﻪ ﺍﻟ ِ ﺴ ﹶﺘ ﹾ ﻴ ـﻲ ــ )١٢٤٨ﻡ( ﻓـ ـﺎﻡ ٦٤٦ﻫـ ﻋـ IBN AL-BAITAR ﺃﺒﻭ ﻤﺤﻤﺩ ﻋﺒﺩ ﺍﷲ ﺒـﻥ ﺃﺤﻤـﺩ ﻀﻴﺎﺀ ﺍﻟﺩﻴﻥ ﺒﻥ ﺍﻟﺒﻴﻁﺎﺭ ﺍﻟﻤـﺎﻟِﻘﻲ، ﺼ ﻴﺩﹶﻟﺔِ ﻋﻠﹸﻭ ﻡ ﺍﻟ ﺩﻤﺸﻕ .ﻭﻟﻤﺎ ﺍ ﺭ ﹶﺘﻘﹶﺕ ww ﻥ ﻋﻭﺍ ﺀ ﻲ .ﻭ ﻴ ﻌ ﹶﺘ ﹶﻘ ﺩ ﻓﻲ ﺍﻟﻬِﻨﺩ ﺃ ﺴ ﹾﻔِﻠ ﺍﻟ ﻷ ﺩﻭِﻴﺔِ ﺍﻟ ﻤ ﹾﻔ ﺭﺩﺓ" ﻜﺘﺎﺏ "ﺍﻟ ﻤ ﹾﻐﻨِﻲ ﻓِﻲ ﺍ َ ﻥ ﺍﻟ ﺒ ﻴﻁﹶﺎﺭ ﻓﻲ ﻲ ﺍﺒ ﻤﺨﺘﺼﺭﺓ .ﻭ ﹸﺘ ﻭ ﱢﻓ ﺍﻟﻤِﺼﺭﻴﻴﻥ ﺒـ * َﺃﻨﹸﻭﺒﻴﺱ ،ﻭﻜـﺎﻥ ﺍِﺑﻦ ﺍﻟﺒﻴﻄﹶﺎﺭ ﺸ ﺩ ﺍﻟﻤﻭﺘﹶﻰ ﺇﻟﻰ ﻤﻘﺭﻫﻡ ﻓﻲ ﺍﻟﻌﺎﻟﹶﻡ ﻴﺭ ِ ﻑ ﺍﻟﻤﻌﺠـﻡ ،ﻭﺜﺎﻨِﻴﻬِﻤـﺎ ﺤﺭﻭ ِ ﻋﻠﻰ w. ﺠﻨﹸﻭﺩﻩ ﻭﺍﻟﻐﹶﺎﻭﻭﻥ. ﺠ ﻬ ﱠﻨ ﻡ ﻫﻭ ﻭ ﻨﺎ ِﺭ ﺏ " ﻭﺯِﻴـﺭ ﺕ ﺍﻟﺸﱠﻌ ِﺒ ﻴ ِﺔ ﹶﻟﻘﹶـ ﺍﻟﺤِﻜﺎﻴﺎ ِ alk ﺸ ﻌ ﺭ. ﺹ ﻭﺍﻟ ﱢ ﻭﺍﻟ ﺭ ﹾﻗ ﺍﻟﻌِﻼﺠﺎﺕ ﺍﻟﺒﺴﻴﻁﺔ ﺍﻟﻤﺴﺘﹶﻤﺩﺓ ﻤـﻥ ﺤ ﻭﻟﹶﺕ ﺍﻟ ﹶﻜﺜِﻴ ﺭ ﻤﻥ ﻭﺼـﻔﺎﺘِﻪ ﺇﻟـﻰ ﹶﺘ ﺸ ﻌ ِﺒ ﺏ ﺍﻟ ﱠ ﻲ. ﻁ ل ﺍﻟ ﱢ ﻤﺠﺎ ِ ﺍﺑﻦ ﺧﻠﹾﺪﻭﻥ ٨ IBN KHALDUN "١٤٠٦ – ١٣٣٢ﻡ" m ﺃﺒﻭ ﺯﻴﺩ ﻋﺒـﺩ ﺍﻟـﺭﺤﻤﻥ ﺒـﻥ ﺨﻠﹾــﺩﻭﻥ ،ﻤــﺅﺭﺥ ﻭﻓﹶﻴﹶﻠﺴــﻭﻑ ﹶ .co ﻲ ﻤﺸﻬﻭﺭ .ﻭ ﻴ ﹾﻨ ﹶﺘﻬِﻲ ﹶﻨﺴـ ﺒ ﻪ ﻋ ﺍﺠ ِﺘﻤﺎ ِ ﻙ ِﻜ ﹾﻨﺩﺓ .ﻭﻗﺩ ﺤﺠﺭ ﻤﻥ ﻤﻠﹸﻭ ِ ﺇﻟﻰ ﺒﻨِﻲ ﺱ ﻫـﺫﻩ ﺱ ﺭ ْﺃ ﻷﻨﹾـ ﺩﹸﻟ ِ ﺠ ﺭ ﺇﻟﻰ ﺍ َ ﻫﺎ ﺍﻷُﺴﺭﺓ ﻓﻲ ﺍﻟﻘﺭﻥ ﺍﻟﺜﺎﻟﺙ ﺍﻟﻬِﺠ ِﺭﻱ، ﻥ ﺍﺴﻤﻪ ﺨﺎﻟِﺩ ﺒﻥ ﻋﺜﻤﺎﻥ ﺍﻟـﺫﻱ ﻭﻜﺎ ﻱ ﺴـﺒﻌ ﹶﺔ ﻲ ﻭﺍﻹﺩﺍ ِﺭ ل ﺍﻟﺴﻴﺎﺴ ﺍﻟﻌﻤ َ ﻤﻥ ﺁﺜﺎﺭِﻩ ﻏﻴـﺭ ﺘﺎﺭِﻴﺨِـﻪ ﺍﻟ ﹶﻜﺒِﻴـﺭ ﺃﻋﻭﺍﻡٍ ،ﹶﻗﻀﻰ ﻤﻨﻬﺎ ﺃﺭﺒﻌ ﹰﺔ ﻓﻲ ﹶﻗ ﹾﻠﻌﺔِ ﺍﻟ ﻤ ﻭﺴﻭﻡ ِﺒ ﻌ ﹾﻨﻭﺍﻥ "ﻜِﺘـﺎﺏ ﺍﻟ ِﻌﺒـﺭ ﺍﺒﻥ ﺴﻼﻤﺔ ،ﹶﻜ ﹶﺘﺏ ﻓﻴﻬـﺎ ﻤﻘ ﺩ ﻤﺘﹶـﻪ ﺨﺒﺭ ﻓـﻲ َﺃﻴـﺎﻡِ ﻭ ِﺩﻴﻭﺍﻥ ﺍﻟﻤﺒ ﹶﺘﺩﺃ ﻭﺍﻟ ﹶ ﻲ ﻕ ﺍﻟ ﻌ ﺭﺒِـ ﺸ ِﺭ ِ ل ﺇﻟﻰ ﺍﻟ ﻤ ﹾ ﺜﻡ ﺭﺤَ ﺴ ـ ﹾﻠﻁﹶﺎﻥ ـﻥ ﺫﻭﻱ ﺍﻟ ـﺭﻫﻡ ﻤـ ﻋﺎﺼـ ﻭَﺃﻗﹶﺎ ﻡ ﻓﻲ ﺍﻟﻘـﺎﻫِﺭﺓ َﺃﻤـﺩﺍ ،ﻴ ﻌﻠﱢـ ﻡ ﺸﻬﻭﺭﺓ ﺍﻟﺘـﻲ ﺍﻷﻜﹾﺒﺭ" ،ﻭﺍﻟ ﻤ ﹶﻘ ﺩﻤﺔ ﺍﻟ ﻤ ﹾ ﺏ ﻁﻠﹸ ﺙ ﻴ ﹾ ﻭ ﻴ ﹾﻘﻀِﻲ ﺒﻴﻥ ﺍﻟﻨﱠﺎﺱ ،ﻭﺒﻌ ﹶ ﺨﻴـ ﹶﺔ ﻀ ﻊ ﻓﻴﻬـﺎ ﹶﻓ ﹾﻠﺴـ ﹶﻔ ﹶﺘ ﻪ ﺍﻟﺘﱠﺎﺭِﻴ ِ ﻭ ﻁﺭِﻴﻕِ؛ ﺕ ﻓﻲ ﺍﻟ ﱠ ﻋﺎ ِﺌﹶﻠ ﹶﺘﻪ ،ﻭﻟﻜﻨﱠﻬﺎ ﻏﹶﺭ ﹶﻗ ﹾ ﻥ ﺍﻟ ﺒﺸﹶـ ِﺭﻱ ،ﺜـﻡ ل ﺍﻟﻌﻤﺭﺍ ِ ﻭُﺃﺼﻭ َ ﺠ ِﻡ ﻭﺍﻟ ﺒ ﺭﺒـﺭِ ،ﻭﻤـﻥ ﺏ ﻭﺍﻟ ﻌ ﺍﻟ ﻌ ﺭ ِ ﺨ ﻪ ﺍﻟ ﹶﻜﺒِﻴ ﺭ. ﺸﻬﻭ ﺭ ﹶﺓ ﻭﺒﺩَﺃ ﺘﹶﺎﺭِﻴ ﹶ ﺍﻟ ﻤ ﹾ ﺤ ﺯﻥ ،ﻭ ﹶﺫﻫﺏ ﺇﻟـﻰ ﻤﻜﹶـ ﹶﺔ ﹶﻓ ﹶﻐﹶﻠﺒﻪ ﺍﻟ ِﻜﺘﹶﺎﺏ "ﺍﻟﺘﱠﻌﺭِﻴﻑ ﺒﺎﺒﻥ ﺨﻠﺩﻭﻥ" ﺍﻟﱠﺫﻱ ﺼﺭ ،ﻭ ﹶﺘ ﻭﻟﱠﻰ ﻓِﻴﻬﺎ ﺤﺎﺠﺎ ﻭﻋﺎ ﺩ ﺇﻟﻰ ِﻤ ﹶﺘ ﺭﺠﻡ ﻓﻴﻪ ﻟﻨﻔﺴِﻪ ،ﻭَﺃ ﹾﻟﻘﹶﻰ ﺒﺼِﻴﺼـﺎ ﺏ ﺍﻟﻘﹶﻀﺎﺀِ ﻤﺭﺍﺕ. ﺼ ﻤ ﹾﻨ ِ ﻼﻗِـ ِﻪ ﻭﻋﻠـﻰ ﺨﹶ ﻤﻥ ﺍﻟﻀﻭﺀ ﻋﻠﻰ َﺃ ﹾ ott ob ﺨ ﹾﻠﺩﻭﻥ". ﺴ ِﻡ " ﹶ ﻑ ﻓﻴﻤﺎ ﺒﻌﺩ ﺒﺎ ﻋﺭِ ﹶ ل ﻋﺘﹶـﺯَ ﺍﻟﺸﱠﻤﺎﻟ ﻴ ِﺔ ﻭﺍﻷ ﹾﻨ ﺩﹸﻟﺱِ ،ﺜـﻡ ﺍ ﺤﺴﺎﺏ .ﻭﻟﻡ ﻴﺼِـ ﹾﻠﻨﹶﺎ ﺨﺭﻯ ﻓﻲ ﺍﻟ ِ ﻭُﺃ ﹾ ﻭِﻟ ﺩ ﻤ َﺅ ﺭﺨﹸﻨﺎ ﺒﻤﺩﻴﻨﺔ ﺘﹸﻭﻨﺱ ﻋـﺎﻡ ﻑ ٧٣٢ﻫـ )١٣٣٢ﻡ( ،ﻭﻻ ﻴﻌـ ﺭ ﹸ ﻑ ﺼﺒﺎﻩ ،ﻭ ﹶﺜﻘِ ﹶ ﻁﻔﹸﻭﹶﻟﺘِﻪِ ﻭ ِ ﺍﻟ ﹶﻜﺜِﻴ ﺭ ﻋﻥ ﹸ ﻋﻠﹶﻰ ﻴ ِﺩ ﻑ ﺍﻟﱡﻠ ﹶﻐ ِﻭﻴﺔ ﻭﺍﻟ ﺩﻴِﻨ ﻴ ﹶﺔ ﺍﻟ ﻤﻌﺎ ِﺭ ﹶ ﺱ ﺍﻟ ﻌﻠﹸـﻭ ﻡ ﺍﻟﻔِﻘ ِﻬﻴـ ﹶﺔ َﺃﺒِﻴﻪِ ،ﺜﹸـ ﻡ ﺩ ﺭ ﻅ ﻷ ﺩ ِﺒ ﻴﺔﹶ ،ﻭﺤﻔِ ﹶ ﻭﺍﻟﱡﻠ ﹶﻐ ِﻭ ﻴ ﹶﺔ ﻭﺍﻟﻨﱠﺤ ِﻭ ﻴ ﹶﺔ ﻭﺍ َ ﻲ ﻋﻠـﻰ َﺃ ِﺌﻤـ ٍﺔ ﻤﻥ ﺍﻟﺸﱢﻌ ِﺭ ﺍﻟﺠﺎ ِﻫِﻠ ل ﺒ ﹶﻨ ﹾﻔﺴِﻪِ َﺃﺴـﻤﺎﺀﻫﻡ ﺠَ ﺴ ﺸﻬﻭﺭِﻴﻥ ، ﻤ ﹾ ﺠ ﻤ ِﺔ ﺍﻟﺘﻲ ﻭﻀـ ﻌﻬﺎ ﺼ ﺩ ِﺭ ﺍﻟﺘﱠﺭ ﻓﻲ ِﻟﺫﹶﺍﺘِﻪ. ﻕ ﺍﻟﺜﱠـﺎﻨِﻲ ﻥ ﺃﺒﻭ ﺇﺴﺤ ﹶ ﻋﻴ ﹶﻨ ﻪ ﺍﻟﺴﻠﻁﺎ ـﺎ ـﻭﻨﺱ ﻜﺎ ِﺘ ﺒـ ـﺭ ﹸﺘـ ﻲ ﺃﻤﻴـ ﺼـ ﺤ ﹾﻔ ِ ﺍﻟ ﺴ ﹾﻠﻁﹶﺎﻥ. ﺴ ﹾﻠﻁﹶﺎ ِﻨﻴﺔ ِﺒﺸﹶﺎ ﺭ ِﺓ ﺍﻟ ﺏ ﺍﻟ ﻭﺍﻟ ﹸﻜ ﹸﺘ ِ ﻕ ﺠﺎﻨﺒﺎ ﻜﺒﻴﺭﺍ ﻤﻥ ﺠﻬﺩِﻩ ﻓـﻲ ﻭَﺃ ﹾﻨ ﹶﻔ ﹶ ﻥ ل ﺍﻟ ﱠﺘﻨﹶﺎﻅﹸﺭ ﻭﺍﻟﺨِـﻼﹶﻑ ﺒـ ﻴ ﺍﺴ ِﺘﻐﹾﻼ ِ ـﺔ ـﻲ ﺇ ﹾﻓﺭِﻴ ِﻘ ﻴـ ﻑ ﻓـ ﻙ ﺍﻟﻁﱠﻭﺍ ِﺌـ ِ ـﻭ ِ ﻤﹸﻠـ www.alkottob.com ﺸ ﹶﻐﻔﹸﻪ ﺍﻟ ﹶﻘﺩِﻴ ﻡ ﺨ ﹾﻠﺩﻭﻥ ،ﺍﻟﺫﻱ ﻋﺎ ﺩ ﺇﻟﻴﻪ ﹶ ﹶ ـﻥ ﺨ ِﻪ ﻭﻤـ ـﻴﻭ ِ ـﻥ ﺸﹸـ ـ ﹶﺘ ﻤ ﺩﻫﺎ ﻤـ ﺍﺴـ ﻏ ﻴ ِﺔ ﺍﻟ ﻤﻐﹸـﻭلِ، ل ﺒﻁﹶﺎ ِ ﺒﺎﻟﺘﱠﺂﻤﺭ؛ ﻓﺎﺘﱠﺼ َ ﻋﺼـ ِﺭﻩِ، ﺕ ﺍﻟ ﻤ ﹶﺘﺩﺍﻭﹶﻟﺔِ ﻓﻲ ﺼ ﱠﻨﻔﹶﺎ ِ ﺍﻟ ﻤ ﺼ ﺭ ﻭ ﹶﺘ ﻭﻟﱠﻰ ﻥ ﻋﺎ ﺩ ﺇﻟﻰ ِﻤ ﺙﺃ ﻭﻤﺎ ﹶﻟﺒِ ﹶ ﻋ ﻭ ﺇﻟـﻰ ﹶﻓَﺄﻋﺎ ﹶﻨ ﻪ ﺫﻟﻙ ﻋﻠﻰ ﺃَﻥ ﻴـ ﺩ ﻑ ﺍﻟﱠﺘﻲ ﻅﺘِﻪ ﺇﻟﻰ ﺠﺎﻨِﺏ ﺍﻟ ﻤﻌﺎ ِﺭ ِ ﺤﹶ ﻤﻼ ﻁﺤﺏ ﻤﻌـﻪ ﺍﺒـﻥ ﺼﹶ ِﻟ ﻤﺤﺎ ﺭ ﺒﺘِﻪ ،ﻭﺍ ﻲ َﺃ ﹾﻜ ﹶﺜﺭ ﺏ ﺍﻟ ﹶﻘﻀﺎ ِﺀ ﺍﻟﻤﺎِﻟ ِﻜ ﺼ ﻓِﻴﻬﺎ ﻤ ﹾﻨ ِ ل ﻋـﺎ ﻡ ﻷﺠـ ُ ﺤﺘﱠﻰ ﻭﺍﻓﹶﺎ ﻩ ﺍ َ ﻤﻥ ﻤ ﺭ ٍﺓ ٨٠٨ﻫـ )١٤٠٦ﻡ(. ﻅ ﻤ ﻪ ﺸ ﻌ ﺭ ﻤ ﻌ ﹶ ﺨ ﹾﻠﺩﻭﻥ ِ ﻥ ﻻﺒﻥ ﹶ ﻭﻜﺎ ﺨﻲ ،ﻭ ﻭﺠﻭﺏ ﺞ ﺍﻟ ﹶﺘﱠﺎﺭِﻴ ِ ل ﺍﻟ ﻤ ﹾﻨ ﻬ ِ ﹶﺘ ﻌﻘِﻴ ِ ﻷﺤـﺩﺍﺙِ ﻕﺍَ ﻋ ِﺘﻤﺎﺩِﻩ ﻋﻠـﻰ ﻤ ﹾﻨﻁِـ ِ ﺍ ﺼ ِﻪ ﻤﻥ ﺨﻠِﻴ ِ ﻼﻗﹶﺎﺕِ ،ﻭ ﹶﺘ ﹾ ﻭﺍﻟﻭﻗﺎ ِﺌ ِﻊ ﻭﺍﻟﻌ ﹶ ﺕ ﻏﹶﻠﺒـ ﹾ ﺨﻁﹶﺎﺀِ ،ﺍﻟﱠﺘـﻲ ﹶ ﻷﹾ ﻷ ﻭﻫﺎ ِﻡ ﻭﺍ َ ﺍَ ﺼﺩِﻴ ِﻘ ِﻪ "ِﻟﺴﺎﻥ ﺠﹶﻠ ﹸﺔ ﺢ ﻭ ﻤﺴﺎ ﻓﻲ ﺍﻟ ﻤﺩِﻴ ِ ل ﺨﻁِﻴﺏ" .ﺃﻤﺎ ﻓﻲ ﻤﺠﺎ ِ ﺍﻟﺩﻴﻥ ﺒﻥ ﺍﻟ ﹶ ﺸﺭﺡ ﺒ ﺭﺩ ﹶﺓ ﺍﻟﺒﻭﺼِـﻴ ِﺭﻱ، ﺍﻟ ﱠﻨﺜﹾﺭ ﻓﻘﺩ ﹶ ﺼ ِﺭ ِﻩ. ﻋ ﻋﹶﻠ ﻴ ِﻪ ﻓِﻲ ﻑ ﻉ ﻫــﺫﺍ ﺍﻟ ﹶﻔ ﻴﹶﻠﺴــﻭ ﹸ ﻭﺍﺴــ ﹶﺘﻁﹶﺎ ﺱ ﻲ ﺃﻥ ﻴ ﺭﺼـ ﺩ ﻨﹶـﻭﺍﻤِﻴ ﻋ ﺠ ِﺘﻤﺎ ِ ﺍﻻ ww ﻼﻤﺔ ،ﻭﻫِﻲ ﹶﺘ ﻭﻗِﻴـ ﻊ ﺍﻟ ﻤﺭﺍﺴِـﻴ ِﻡ ﻟِ ﹾﻠﻌ ﹶ ﻥ ﻤِﺼـ ﺭ ﺝ ﺴـ ﹾﻠﻁﹶﺎ ﺍﻟﺸﱠﺎﻡ ﻭﺨﹶـ ﺭ ﻭﻟﻘﺩ َﺃﻓﹶﺎ ﺩ ﺍﺒﻥ ﺨﻠﺩﻭﻥ ﻤﻥ ﻗﹸـ ﻭ ِﺓ w. ﻭﻓﻲ ﺍﻟﺴﺎﺒِﻌ ﹶﺔ ﻋﺸﺭ ﹶﺓ ﻤﻥ ﻋﻤـ ِﺭ ِﻩ ﺽ ﻅﻬﺭ ﹶﺘ ﻴﻤﻭﺭﹶﻟﻨﹾـﻙ ﻓـﻲ ﺃﺭ ِ ﻭﹶ alk ﺕ ﺍﻟﺴﺒﻊ ،ﻭ ﹶﻜﺜِﻴـﺭﺍ ﺍﻟﻘﹸﺭ َﺁﻥ ﺒﺎﻟ ِﻘﺭﺍﺀﺍ ِ ﺼ ِﺭ ِﻩ. ﻋ ﺕ ﺍ ﱢﺘﺠﺎﻫﺎ ِ ﺨﻁِﻴﺏ، ﻭُﺃ ﺭﺠﻭ ﺯ ﹰﺓ ﻓﻲ ﺍﻟ ِﻔ ﹾﻘ ِﻪ ﻻﺒﻥ ﺍﻟ ﹶ ل ﻤﻥ ﺍﻟ ﺒﺩﺍ ﻭ ِﺓ ﺇﻟﻰ ﺍﻟ ﻌﻤـﺭﺍﻥِ، ﺤ ﻭ ِ ﺍﻟ ﱠﺘ ﺤﺼل" ﻓﻲ ﺍﻟ ِﻔ ﹾﻘ ِﻪ ﺏ "ﺍﻟ ﻤ ﺨﺹ ﻜِﺘﺎ ﻭﹶﻟ ﱠ ﺹ ﹸﻜلﱟ ﻤِﻨﻬﻤـﺎ ﺨﺼﺎ ِﺌ ل ﹶ ﺠَ ﻭﺃﻥ ﻴﺴ ل ﺍﺒﻥ ﺭﺸﹾﺩ، ﺽ ﺭﺴﺎ ِﺌ ِ ﻟﻠﺭﺍﺯﻱ ،ﻭ ﺒ ﻌ ﻥ ﺭﻜﱠـ ﺯ ﺨﻲ ،ﻭﺇ ﻭ ﻤﺴﺎﺭﻩ ﺍﻟﺘﱠـﺎﺭِﻴ ِ ﻀ ﻊ ﺭﺴـﺎﻟ ﹰﺔ ﻓـﻲ ﺍﻟ ﻤ ﹾﻨﻁِـﻕ، ﻭ ﻭ ﺼ ِﺒ ﻴ ِﺔ. ﻅﺭ ﻩ ﻋﻠﻰ ﹶﺘ ْﺄﺜِﻴ ِﺭ ﺍﻟ ﻌ ﹶﻨ ﹶ ٩ ﻁ ِﺭ ﺩ ِﺓ ﺱ ﺍﻟ ﻤ ﱠ ﻁﻨﹸﻭﺍ ﺇﻟﻰ ﺍﻟ ﱠﻨﻭﺍﻤِﻴ ِ ﺍﻟﱠﺫﻴﻥ ﹶﻓ ِ ﺕ ﻓِﻴﻤﺎ ﺒﻌﺩ ﺼﺒﺤ ﹾ ﻷﻏﹶﺎﻨِﻲ ،ﺍﻟﱠﺘﻲ َﺃ ﻭﺍ َ ﻥ ﺩﺍ ﹾﻨﻴﺎل ﺘﺤﻭل ﻋـﺎﻡ ٦٦٥ﻫــ ﺍﺒ ﺦ. ﺤ ﺭﻜﹶـ ِﺔ ﺍﻟﺘﱠـﺎﺭِﻴ ِ ﺍﻟ ﻤ َﺅ ﱢﺜﺭﺓِ ﻓـﻲ ﺴ ِﻡ ﻑ ِﺒﺎ ﺸ ﻌﺒِ ﻴﺔﹰ ﻤ ﹶﺘﻜﹶﺎﻤِﻠﺔﹰ ﹸﺘ ﻌ ﺭ ﹸ ﺤ ﻤ ﹰﺔ ﹶ ﻤ ﹾﻠ ﺕ ﻗﺎﻋِـﺩ ﹰﺓ ﺼﺒﺤ ﹾ ﺇﻟﻰ ﺍﻟﻘﺎﻫِﺭﺓ ﺍﻟﱠﺘﻲ َﺃ ﺏ ﺍﻟﻜﺜﻴﺭﻭﻥ ﻤـﻥ ﻤـ َﺅ ﺭﺨِﻲ ﻭﻴﺫﻫ "ﺴِﻴﺭﺓ ﺒﻨﻲ ِﻫﻼﹶل". ﺼﺩ ﺤﻀﺎ ﺭﺓِ ،ﹶﺘ ﻥ ﻭﺍﻟ ﻟﻠ ﺩﻓﹶﺎﻉ ﻋﻥ ﺍﻟﺩﻴ ِ m ل ﺍﻟ ﻤ َﺅ ﺭﺨِﻴﻥ ﻭﻟﺫﻟﻙ ﻴ ﻌ ﺩ ﻤﻥ َﺃﻭﺍ ِﺌ ِ ﻷﻨﹶﺎﺸِـﻴ ِﺩ ﻼِﻟ ﻴﺔِ ،ﻭﻤﺎ َﺃ ﹾﺜﻤﺭ ﹾﺘ ﻪ ﻤﻥ ﺍ َ ﺍﻟ ِﻬ ﹶ ﻥ ﺕ ﺃ ﻁ ﺒﻘﹶﺎ ِ ﺏ ﺍﻟ ﱠ ﻭﺃُﺩﺒﺎﺀﻫﺎ .ﻭ ﹶﺘ ﹾﺫﻜﹸ ﺭ ﹸﻜ ﹸﺘ ﻋ ﹾﻠ ِﻡ ﻀ ﻊ ِ ﻲ ﺇﻟﻰ ﺃﻨﱠﻪ ﻭﺍ ِ ﺍﻟ ِﻔ ﹾﻜ ِﺭ ﺍﻹ ﹾﻨﺴﺎ ِﻨ .co ل ﺒ ﻌ ﺩ ﺫﻟـﻙ ﺴ ﹶﺘ ﹶﻘ ﱠ ﺠ ِﺘﻤﺎﻉِ ،ﺍﻟﱠﺫﻱ ﺍ ﺍﻻ ﺴ ﹶﻔﺔِ ،ﻭﺃﺼﺒﺤﺕ ﻟﻪ ﻤﻜﹶﺎ ﹶﻨﺘﹸـ ﻪ ﻋﻥ ﺍﻟ ﹶﻔ ﹾﻠ ﺒﻴﻥ ﺍﻟ ﻌﻠﹸﻭ ِﻡ ﺍﻹ ﹾﻨﺴﺎ ِﻨ ﻴ ِﺔ. ﺨﻠﹾـﺩﻭﻨﻲ ﻭﻤﻥ ﻤ ﹶﻘﻭﻤﺎﺕِ ﺍﻟ ِﻔ ﹾﻜ ِﺭ ﺍﻟ ﹶ ﺍﺑﻦ ﺩﺍﻧﻴﺎﻝ ﻑ ﻓـﻲ ﻋﺭِ ﹶ ﻱ ﺍﻟﱠﺫﻱ ﺴ ِﺘ ﻌﻤﺎ ِﺭ ﺍﻟ ﻤ ﺩ ﺍﻻ ﺼﻠِﻴ ِﺒ ﻴ ِﺔ. ﺏ ﺍﻟ ﺤﺭﻭ ِ ﺦ ﺒﺎﺴﻡ ﺍﻟ ﺍﻟﺘﱠﺎﺭِﻴ ِ IBN DANIAL ﻥ ﺩﺍﻨﻴﺎل ﻓﻲ ﺍﻟﻘﺎﻫِﺭﺓ، ﺴ ﹶﺘ ﹶﻘ ﺭ ﺍﺒ ﻭﺍ "١٣١١ – ١٢٤٨ﻡ" ﻋ ﻤ ِﺭﻩِ، ﻭﻫﻭ ﻓﻲ ﺍﻟﺘﱠﺎﺴﻌ ﹶﺔ ﻋﺸﺭ ﹶﺓ ﻤﻥ ﺨ ﺭ "ﺸـﻤﺱ ﻋ ﺭ ﺍﻟﺴـﺎ ِ ﻫﻭ ﺍﻟﺸﱠﺎ ِ ل ﻓﻴﻬﺎ ﺩِﺭﺍﺴ ﹶﺔ ﻥ ﺃﻨﻪ ﺃﻜﻤ َ ﻅِ ﺏ ﺍﻟ ﱠ ﻏﹶﻠ ﻭَﺃ ﹾ ﻲ"، ﺼِﻠ ﺍﻟﺩﻴﻥ ﻤﺤﻤﺩ ﺒﻥ ﺩﺍ ﹾﻨﻴﺎل ﺍﻟ ﻤ ﻭ ِ ott ob ﺃﻨﱠﻪ ،ﻭﺇﻥ ﹶﺘَﺄ ﱠﺜﺭ ﺒﺎﻟﻨﱠﻅﺭﻴﺎﺕ ﺍﻟﻠﱡﻐ ِﻭﻴـﺔ ﺏ ﺠﻴـﻭ ﻲ ﻤﻭﺠ ﹶﺔ ﺍﻟ ﻤﻐﹸﻭلِ ،ﻭ ﹸﺘﺼـ ﱢﻔ ِ ﻻ ﺃﻨﱠﻪ َﺃ ﺩﺭﻙ ﺼ ِﺭﻩِ ،ﺇ ﱠ ﻋ ﺍﻟﺸﱠﺎﺌِﻌ ِﺔ ﻓﻲ ﻋﻠﹶﻰ ﺍﻟﺴـﻭﺍﺀ ﻅﺘِﻪِ ﻼﺤ ﹶ ﺒ ﹶﺘﺠﺭ ﺒ ِﺘ ِﻪ ﻭ ﻤ ﹶ ﻋﻅﹶـ ﻡ ﻲ ﻟﻪ َﺃ ﻥ ﺍﻹﻁﹶﺎ ﺭ ﺍﻻﺠﺘﻤﺎﻋ َﺃ ﻼﻤﺔِ ﻷﻓﹾﺭﺍﺩِ ﻋﻠﻰ ﺴ ﹶ ﻷ ﹶﺜﺭِ ﻓﻲ ﹸﻗ ﺩ ﺭ ِﺓ ﺍ َ ﺍَ ﺨﻠﹾـﺩﻭﻥ ﺒﻤـﺎ ﺴﱠﻠ ﻡ ﺍﺒﻥ ﹶ ﺍﻟ ِﻌﺒﺎ ﺭ ِﺓ .ﻭ ﻥ ﻥ ّﺃ ﻼﻏِﻴﻴﻥ ِﻤ ﺽ ﺍﻟﺒ ﹶ ﹶﺫﻫﺏ ﺇﻟﻴﻪ ﺒ ﻌ ل ﻟﻬــﺎ ﻤــﻥ ﺨَ ﻼﻏﹶــ ﹶﺔ ﻻ ﻤــ ﺩ ﹶ ﺍﻟ ﺒ ﹶ ﻲ ﻭﻤﻨﻬﺞ ﻋِﻠﻡ ﺍﻟﻨﱠﺤﻭ. ﺍﻟ ﱠﺘﻌﺒﻴ ِﺭ ﺍﻷﺩﺒ ل ﺠَ ﻥ ﻭﺴ ﻷﺩﺏِ ﺍﻟ ﻤ ﹾﻠﺤﻭ ِ ﻑ ﺒﺎ َ ﻋ ﹶﺘﺭ ﹶ ﻭﺍ ﺸﻭﺍ ِﻫ ﺩ ﻤِﻥ ﻫـﺫﺍ ﺨﺘﹶﺎ ِﻡ ﻤ ﹶﻘ ﺩﻤﺘِﻪِ ﹶ ﻓﻲ ِ ﺕ ﺠ ﻤﻌـﻭﻥ ﺍﻟ ﺭﻭﺍﻴـﺎ ِ ﻤﻥ ﺍﻟﱠـﺫﻴﻥ ﻴ ل ﻭﺍﻟﻨﱡﺼﻭﺹ ﻤﻥ ﺒِﻴﺌَﺎ ِﺘﻬﺎ ،ﻭﺍﺴـﺘﻐ ﱠ ﻼﻟﱠﻴﺔ ﻭﻗﺒﺎﺌِل "ﺭﻴـﺎﺡ"؛ ﻓﹶـَﺄ ﻭ ﺭ ﺩ ﺍﻟ ِﻬ ﹶ ﻋﺠﺎﺒﻪ ﻑﺇ ﺨ ِ ﻨﹶﻤﺎﺫِﺝ ﻤﻥ َﺃ ﺩ ِﺒﻬِﻡ .ﻭﻟﻡ ﻴ ﹾ ـﺩﻤﺎ ـﺔ ﻋﻨـ ﺼـ ﻷﺩﺏ ،ﻭﺒﺨﺎ ـﺫﺍ ﺍ َ ﺒﻬـ ﺙ ﺇﻟﻰ ﺍﻟﻐﹶـ ﺯ ﻭ ِﺓ ﺤﺩِﻴ ِ ﻁ ِﺭ ﺩ ﻓﻲ ﺍﻟ ﺴ ﹶﺘ ﹾ ﻴ www.alkottob.com ﺤ ِﺒ ِﻪ ﻉ ِﺒﺼﺎ ِ ﻥ ﺍﻟﺫﻱ ﻴ ﹾﻨ ِﺯ ﻭﺒﻴﻥ ﺍﻟ ﻤﺠﻭ ِ ﻷﺩﺏ. ﺍَ ﺤﻴـﺎﺓِ، ﺇﻟﻰ ﺍﻟ ِﻔﺭﺍ ِﺭ ﻤـﻥ ﹶﺘﺒِﻌـﺎﺕِ ﺍﻟ ﻥ ﺍ ﹾﻨﺘِﻘﹶﺎﻟِـﻪِ ﻋِ ﻥ ﺩﺍﻨﻴﺎل ﺙ ﺍﺒ ﻭﻴ ﹶﺘﺤ ﺩ ﹸ ﺕ ﺒﺎﻟ ﹸﻔ ﺭﺠـ ِﺔ ﻋﻠـﻰ ﻭ ﹶﺘ ﺯﺠِﻴﺔِ ﺍﻟ ﻭﻗﹾـ ِ ل: ل ﺇﻟﻰ ﺍﻟﻘﺎﻫِﺭﺓ ﻓﻴﻘﻭ ُ ﺼِ ﻤﻥ ﺍﻟ ﻤ ﻭ ِ ﻼﺀِ ﺱ ﻤـﻊ ﺍﻻﺴـﺘِ ﻌ ﹶ ﺙ ﻭﺍﻟﻨﱠﺎ ِ ﺤﺩﺍ ِ ﻷ ﺍَ ﻋﻠﻰ ﹸﻜلﱢ ﺸﹶﻲﺀ ﺒﺎﻟﺴﺨ ِﺭ ﻴ ِﺔ ﻭﺍﻟ ﹸﻔﻜﹶﺎ ﻫ ِﺔ ل ﺇﻟـﻰ ﺕ ﻤﻥ ﺍﻟ ﻤ ﻭﺼِـ ِ "ﹶﻟﻤﺎ ﹶﻗ ِﺩ ﻤ ﹸ ﻥ. ﻭﺍﻟ ﱠﺘ ﹶﻨ ﺩ ِﺭ ﻭﺍﻟ ﻤﺠﻭ ِ ﻥ )ﺍﻟ ﻤ ﻭﺼِل( ﻭﻗﺩ ﻭِﻟ ﺩ ﺒُﺄﻡ ﺍﻟﺭﺒﻴ ﻌ ﻴ ِ ﻥ ﻅ ﺍﻟﻘﹸـﺭﺁ ﻋﺎ ﻡ ٦٤٦ﻫﺠﺭﻴﺔ ،ﻭﺤﻔِ ﹶ ل ﺃﻥ ﺤ ﹶﺘﻤـ ِ ﻓﻲ ﻤﻜﹶﺎ ِﺘ ِﺒﻬﺎ ،ﻭﻤـﻥ ﺍﻟ ﻤ ـﺔ ـﻲ ﺍﻟﺩﻭﻟـ ـﺭ ﻴ ِﺔ ﻓـ ﺼـ ﺍﻟ ـﺩﻴﺎ ِﺭ ﺍﻟ ِﻤ ﺏ ﺤ ِ ﷲ ﻤـﻥ ﺴـ ﺴﻘﹶﻰ ﺍ ُ ﺍﻟﻅﱠﺎ ِﻫ ِﺭﻴﺔ؛ ﺏ ﺏ ﻤﺸـﺎ ِﺭ ﺍﻹ ﹾﻨﻌﺎﻡ ﻋﻬﺩﻫﺎ ،ﻭﺃﻋﺫ ﺱ ﻷﻨﹾـ ِ ﻥﺍُ ﻁ ﺕ ﻤـﻭﺍ ِ ِﻭ ﺭﺩِﻫﺎ؛ ﹶﻓﻭﺠ ﺩ ﹸ ﻼﻋـ ِﺔ ﺨﹶ ﺴﺔﹰ ،ﻭَﺃﺭﺒﺎﺏ ﺍﻟﻠﱠﻬ ِﻭ ﻭﺍﻟ ﹶ ﺩﺍ ِﺭ ﻥ ﻗﺩ ﺘﺩﺭﺏ ﻋﻠـﻰ ﺍﻟﻁﱢـﺏ ﺃﻭ ﻴﻜﻭ ﺴﺘﹶﺎﻨﹶﺎﺘِﻬﺎ ،ﻭﺸﹶـ ِﻬ ﺩ ﺍﻟ ِﻜﺤﺎﻟﺔ ﻓﻲ ﺒِﻴﻤﺎﺭِ ﺍﺴﺘﻴﻼ ﺀ ﺍﻟ ﱠﺘﺘﹶﺎﺭ ﻋﻠﻰ ﺒﻐﹾـﺩﺍﺩ ﻋـﺎ ﻡ ل ﻭﻫـﻡ ٦٥٦ﻫـ ،ﻭﺭﺃﻯ ﺍﻟ ﻤﻐﹸـﻭ َ ل ﻋﺎ ﻡ ٦٦٠ﻫـ، ﺠﺘﹶﺎﺤﻭﻥ ﺍﻟﻤ ﻭﺼِ َ ﻴ ﻥ ﺨ ﺭﺒـﻭ ﻥ ﻤﻌﺎِﻟﻤﻬـﺎ ،ﻭ ﻴ ﹶ ﻭ ﻴ ﹶﻘ ﻭﻀﻭ ـﺎ ﻥ ﻋﻠﻤﺎﺀﻫـ ﺸـ ﺭﺩﻭ ﻤﻌﺎﻫِـﺩﻫﺎ ،ﻭ ﻴ ﹶ ﺵ ﺁﻴﺴﺔ، ﻏﻴﺭ ﺁ ِﻨﺴﺔ ،ﻭﻤﻥ ﹶﻟ ﱠﺫﺓِ ﺍﻟ ﻌ ﻴ ِ ﺵ ـ ﻴ ﹶ ﻥ ﺠـ ـ ﹾﻠﻁﹶﺎ ِ ـ ﺭ ﺍﻟﺴـ ـ ﺯ ﻡ َﺃﻤـ ﻭﻫـ ﺸ ﻴﻁﹶﺎﻥِ ،ﻭ ﹶﺘ ﻭﻟﱠﻰ ﺍﻟﺨـﻭﺍﻥ ﻭﺍﻟـﻲ ﺍﻟ ﱠ ww ﻋﻘﹶﺎﺏ ﺼ ٍﺔ َﺃ ﺏ ﻭﺒﺨﺎ ﺍﺘﹼﺼﺎﻟﹶﻪ ﺒﺎﻷﻋﺭﺍ ِ ﻕ ﺒﺎﻟ ِﻜﺤﺎﻟﹶـﺔِ، ﺍﻟ ﻌﻴﻭﻥ ،ﺃﻭ ﺒﺘﻌﺒﻴﺭ َﺃ ﺩ ﱠ ﺸ ﻌﺭﺍ ِﺌﻬﺎ ،ﻭﺘﺨﺭﺝ ﻋﻠـﻴﻬﻡ ﻓـﻲ ﻭﹸ w. ﺨﻠﹾـﺩﻭﻥ ﻥ ﺍﺒﻥ ﹶ ﻷﺩﺏِ .ﻭﻴﻜﺎﺩ ﻴﻜﻭ ﺍَ ﺏ ل ﺒﻁِـ ﻭﻜﺎﻥ ﻴﺠﻤ ﻊ ﺒـﻴﻥ ﺍﻟ ﻌﻤـ ِ ﺽ ُﺃ ﺩﺒﺎ ِﺌﻬـﺎ ﻷ ﺩﺏِ ،ﻓﺎ ﹾﻟ ﹶﺘﻘﹶﻰ ِﺒ ﺒ ﻌ ِ ﺇﻟﻰ ﺍ َ alk ﺞ ل ﺒﻴﻥ ﻤ ﹾﻨ ﻬ ِ ﺍﻹﻋﺭﺍﺏِ ،ﻭﻫﻜﺫﺍ ﹶﻓﺼَ ﺴ ﻪ ﹶﻨﺯﺍﻋـ ﹰﺔ ﺏ ﺍﻟ ﻌﻴﻭﻥِ ،ﻭﻜﺎﻨﺕ ﹶﻨ ﹾﻔ ﻁ ِ ﺨﻤﻭﺭِ ،ﻭﺇﺤـﺭﺍﻕ ﺤﺭﺍﻕ ﺍﻟ ﹸ ﺍﻟﻘﺎﻫﺭﺓ ﺇ ﻉ ﺤﺸِﻴﺵ ،ﻭ ﹶﺘ ﺒﺩِﻴﺩ ﺍﻟ ﻤﺯﻭﺭ ...ﻭﺸﹶﺎ ﺍﻟ ﺒﺫﻟﻙ ﺍﻹﺨﺒـﺎ ﺭ ﻭﻭﻗـﻊ ﺍﻹﻨﻜـﺎﺭ، ﻥ ﺍﻟﺩﺍﺭ ،ﻭﻗﺩ ﻋِ ل ﺴﻁﹸﻭ ُ ﺨ ﹶﺘﻔﹶﻰ ﺍﻟ ﻤ ﻭﺍ ﹾ ١٠ ﺍﺒﻥ ﺍﻟﻜﹶﺎ ﺯﺭﻭﻨﻲ ﻭﻓﻲ ﺭﻗﺒﺘﻪ ﹶﻨﺒﺎ ِﺫﻴﺔ. ﺏ ﺍﻟ ﹸﻔﺘﹸـﻭﺡِ، ل ﺒﺎ ِ ﺍﻟ ِﻜﺤﺎﹶﻟﺔِ ﺩﻜﱠﺎﻨﹰﺎ ﺩﺍﺨِ َ ﻥ ـﻲ ﹶﻗ ـﻭﺍﻨِﻴ ِ ﺹ ﻓـ ـﺎﻥ ﻴ ﹶﺘ ـ ﺭﺨﱠ ﻭﻜـ ﺤﱢﻠﻪِ، ﺽ ﺃﺼﺩِﻗﺎﺌِﻲ ﺇﻟﻰ ﻤ ﹶﻓﺩﻋﺎﻨِﻲ ﺒﻌ ﻑ ﻋـﻥ ﺸ ﹶ ل ﻓﻴﻪ ﺍﻟﻨﱠﺎﺱ ،ﻭﻗﺩ ﹶﻜ ﹶ ﺤُ ﻴ ﹾﻜ ﺸ ِﺘﻘﹶﺎﻕِ ،ﻭﻴﺘﺤﺭﺭ ﺇﻟﻰ ﻑ ﻭﺍﻻ ﹾ ﺼﺭِﻴ ِ ﺍﻟ ﱠﺘ ﻋ ﹶﺘ ﹶﺫ ﺭ ﻋﻴﺎِﻟ ِﻪ ﻭَﺃ ﻫِﻠﻪِ ،ﻭﺍ ﻭَﺃ ﹾﻨ ﺯﹶﻟﻨِﻲ ﻤﻥ ِ ﻋﺒِﻬﺎ ﻭ ِﻗﱠﻠ ِﺔ ﻤﺎ ﹸﺘ ِﺩﺭﻩ ﻋﻠﻴﻪ ﺒِ ﹶﻘ ﻭﻟِﻪِ: ﻤﺘﹶﺎ ِ ل ﻋ ِﺩ ﺍﻟﻨﱠﺤ ِﻭ ﻭُﺃﺼـﻭ ِ ﺤ ﺩ ﻤﺎ ﻤﻥ ﹶﻗﻭﺍ ِ m ﺨﻼﹶﻋﺔ ﻏﺎﻴﺔ ﺍﻷ ِﺫﻴﺔ ،ﻭﺼﻠﺏ ﺁﺫﹶﻯ ﺍﻟ ﹶ ﻭ ﹶﺘ ﹾﺫ ﹶﻜ ﺭ ﺍﻷَﺨﺒﺎ ﺭ َﺃﻨﱠ ﻪ ﺍﺘﱠﺨ ﹶﺫ ﻟِﻤ ﻬﻨﹶـ ِﺔ ﻅﻴـﺔ ﻭﺍﻟ ﻤ ﻌ ﹶﻨ ِﻭﻴـﺔ، ﻑ ﺍﻟﻠﱠﻔ ِ ﺍﻟ ﺯﺨﹶﺎ ِﺭ ِ ﻥ ﹶﺘ ﹾﻘﺼِﻴ ِﺭ ِﻩ ﻓﻲ ﺍﻹ ﹾﻜﺭﺍﻡِ ،ﺇﺫ ﹶﻟ ﻡ ﻋ ﻲ ﺇﻟ .co ﺕ ﺒ ﻤﺭﺍ ٍﻡ". ﻴﺄ ِ ﻥ ﺍﺒـﻥ لﺃ ﻭﻫﺫﻩ ﺍﻟ ِﻔﻘﹾـﺭﺓ ﺘﹸﺴـﺠُ ﺤ ٍﺔ َﺃﺩﺒِﻴـﺔٍ، ﺏ ﹶﻗﺭِﻴ ﺤ ﺩﺍﻨﻴﺎل ﻜﺎﻥ ﺼﺎ ِ ﻏ ِﻪ ﻟﹶﻌﻠﱠﻬﺎ ﻜﺎﻨﺕ َﺃ ﻭﻀﺢ ﻓﻴﻪ ﻤﻥ ﹸﻨﺒﻭ ِ ﻕ ﺤﻘِﻴـ ِ ﺠ ﻪ ﻓﻲ ﹶﺘ ﺫﻟﻙ َﺃﻨﱠﻪ ﻜﺎﻥ ﻗﺩ ِﺍ ﱠﺘ ﺠﻨِﻴﻥ، ﻷ ﺩﺒﺎﺀ ﺍﻟﻤﺎ ِ ﺫﺍﺘِﻪ ﺍﻷﺩﺒﻴﺔ ﺍ ﱢﺘﺠﺎ ﻩ ﺍ ُ ﻥ ﺼﺭِﻩ ﺍﻟﺴﺎﺒِﻕ ِﺒﻔﹶـ ﻑ ﻋﻥ ﺒ ﺸ ﹸ ﻭ ﹶﺘ ﹾﻜ ِ ﻅلﱢ ،ﻭﻤﺎ ﻴﻨﺒﻐﻲ ﻟـﻪ ﻤـﻥ ل ﺍﻟ ﱢ ﺨﻴﺎ ِ ﹶ ﺤﺭﻓﻴﺔ ﻓﻲ ﺍﻟﺘﱠﺄﻟِﻴﻑ ﻭﺍﻟﺤﺭ ﹶﻜﺔِ ﻗﺒـل ِ ﺃﻥ ﻴ ﹾﻘ ﺩ ﻡ ﻋﻠﻰ ﺍﻟﻘﺎﻫِﺭﺓ. ﻤﺎ ﺤﺎل ﻤﻥ ﺩِﺭﻫﻡ ﺇﻨﻔﺎﻗﻪ ل ﺍﺒﻥ ﺩﺍﻨﻴﺎل ﺍﻟﺼـﻭﺭ ﹶﺓ ﻭﻟﻘﺩ َﺃ ﹾﻜﻤَ ﻼﺴِﻲ ﻀ ﻴ ﻌﺘِﻲ ﻓﻴﻬﻡ ﻭﺇ ﹾﻓ ﹶ ﻭ ل ﺼ ﹾﻘلِ ،ﻭﺃﻨﻪ ﻟﻡ ﻴﺸ ﹶﻐ ْ ﻙ" ﻭﺍﻟ ﺤﻜِﻴ ِ "ﺍﻟ ﱠﺘ ﻋ ﻴﻥِ ﺍﻟﻨﱠﺎﺱ ﻴﺄﺨﺫﹸﻩ ﻤﻥ َﺃ ل ﺨ ِﺭ ﺒﻘﺩﺭ ﻤـﺎ ﺸﹸـﻐِ َ ﺢ ﻭﺍﻟ ﹶﻔ ﹾ ﺒﺎﻟ ﻤﺩِﻴ ِ ﻭ ﻴ ﺒﺩﻭ ﺃﻨﻪ ﻜﺎﻥ ﻓﻲ ﻤ ﺒﺩﺃ ﺍﻷﻤـ ِﺭ ﺴ ﻌ ﹶﻔ ﹾﺘ ﻪ ﹸﻗ ﺩ ﺭ ﹲﺓ ﺼﻑِ ،ﻭَﺃ ﺒﺎﻟ ِﻬﺠﺎ ِﺀ ﻭﺍﻟ ﻭ ﺱ ﻴﻌﺎﻨِﻲ ﹶﻗ ﺩﺭﺍ ﻤﻥ ﺍﻟ ﹶﻜﺴـﺎﺩ ،ﺍ ﹾﻨ ﻌﻜﹶـ ﻁﻭِﻴـﻊِ ﺍﻟﺼـﻴﺎﻏﺔ ﺒﺎﺭِﻋ ﹲﺔ ﻋﻠـﻰ ﹶﺘ ﹾ ﻋﻠﻰ ﹶﻨ ﹾﻔﺴِﻪِ ﻭ ﹶﺘ ﻌﺒِﻴﺭﻩِ ،ﺜـﻡ َﺃﺼـﺎﺏ ﻼﻋ ﹶﺔ ﺨﹶ ﺍﻟﻘﺎﻫِﺭﺓ ﺒ ﹶﻘﺼِﻴ ﺩ ٍﺓ ﻴ ﺭﺜِﻲ ﺒﻬﺎ ﺍﻟ ﹶ ﻥ ﻓـﻲ ﺇ ﺒﻠِـﻴﺱ، ﺴ ﺩ ﻴ ِ ﺠ ﻥ ﻤ ﻭﺍﻟ ﻤﺠﻭ ﻀ ﻤﻨﹶﻬﻤﺎ ﺃﻴﻀﹰﺎ ﹶﺘ ﻤﺜِﻴِﻠ ﻴﺘﹶﻪ ﻭﻗﺩ ﺠـﺎ ﺀ ﻭ ﺱ ﺨﻨﹶﺎ ﺇ ﺒﻠِﻴ ﺸ ﻴ ﹸ ﺕ ﻴﺎ ﻗﹶﻭ ﻡ ﹶ ﻤﺎ ﹶ ﻲ ﺤﺩﺴﻲ ﺒﻪ ﺇﺫ ﹸﺘ ﻭ ﱢﻓ ﻭ ﹶﻨﻌﺎﻨِﻲ ﺱ ﻼ ِﻤ ﹾﻨ ﻪ ﺭ ﺒ ﻌ ﻪ ﺍﻟ ﻤ ْﺄﻨﹸﻭ ﺨﹶ ﻭﹶ ﺱ ﺤﺩﻭ ﻭﹶﻟ ﻌ ﻤﺭِﻱ ﻤﻤﺎﺘﹸﻪ ﻤ ﺱ ﻟﹶﻡ ﻴ ﹶﻐﻴﺭ ﻷﻤﺭِﻩ ﻨﺎﻤﻭ ﺤﺎ ﺩ ﻋﻠﻰ ﺍﻹﻤﻌـﺎﻥ ﻓـﻲ ﺇﺜﹶـﺎﺭﺓ ﺨﻔﱡﻭﺍ ﻥ ﺍﺴـ ﹶﺘ ﹶ ﺤﻜﱠﺎ ِﻡ ﻭﺍﻟ ﹸﻜ ﺒﺭﺍ ِﺀ ﺍﻟﱠـﺫﻴ ِ ﺍﻟ ﻀﺤﺎﻙ ﺒﺎﻟﺭﺴ ِﻡ ﺍﻟ ﻬﺯﻟﻲ ﺇﻟﻰ ﻤـﺎ ﺍﻹ ﻅﻠﱠﻪ ،ﻭﺍﺴﺘﺠﺎﺒﻭﺍ ِﻟ ﹸﻔﻜﹶﺎ ﻫ ِﺘﻪِ؛ ﻓﻘﺩ ﹶﺫ ﹶﻜﺭ ِ ﻋ ِﺔ ﺍﻟﺨﹶﺎﻁِﺭ ﻓـﻲ ﺴ ﺭ ﺍﺸ ﹸﺘ ِﻬ ﺭ ﺒﻪ ﻤﻥ ﻲ ﻫﺫﻩ ﺍﻟﻨﱠﺎﺩِﺭﺓ: ﻁ ﺴﻴﻭ ِ ﺍﻟ ﻕ. ﻅﹶﻠﺔِ ﻭﺍﻟ ﱠﺘﺤﺎ ﻤ ِ ﻋ ِﺔ ﻭﺍﻟ ﻤﻌﺎ ﹶ ﺍﻟ ﻤﻘﹶﺎ ﺭ ل ﺒـﻥ ﺨﻠِﻴـ َ ﻑ ﹶ ﺸﺭ ﹶ ﻷﹾ ﻙﺍَ ﻥ ﺍﻟ ﻤِﻠ "ﺇ ﻭﺍﻟﺭﺍﺠﺢ ﺃﻥ ﺸﹸﻬﺭ ﹶﺓ ﺍﺒﻥ ﺩﺍﻨﻴـﺎل ﻼﻭﻭﻥ ﺃَﻫﺩﺍﻩ ﻓﺭﺴـﺎ ِﻟ ﻴ ﺭ ﹶﻜﺒـ ﻪ ﺇﺫﺍ ﹶﻗ ﹶ ﻥ ﺨ ﺩ ﻤﺔِ ،ﻭﻟـﻡ ﻴﻜﹸـ ِ ﺼ ِﻌ ﺩ ﺍﻟ ﹶﻘ ﹾﻠﻌ ﹶﺔ ِﻟ ﹾﻠ ﹶ ﺴﺨﹶﺭ ﻗﺩ ﻼﻋﺔ ﻭﺍﻟ ﻤﺠﻭﻥ ﻭﺍﻟ ﺨﹶ ﻓﻲ ﺍﻟ ﹶ ﺱ ﻋﻠﻰ ﻤﺎ ﻴﺭﻴ ﺩ ﺍﺒﻥ ﺩﺍﻨﻴـﺎل، ﺍﻟ ﹶﻔ ﺭ ﹶﻓﺭﻜِﺏ ﺤِﻤـﺎﺭﺍ َﺃﻋـ ﺭﺝ ،ﻭﺼـ ِﻌ ﺩ ﻑ ﻙ ﺍﻷﺸـﺭ ﹸ ﺍﻟ ﹶﻘ ﹾﻠ ﻌﺔﹶ ،ﻭﻟﻤﺎ ﺭﺁﻩ ﺍﻟﻤﻠ ﺤﻜِﻴﻡ ...ﺃﻤﺎ ل ﻟﻪ" :ﻴﺎ ﺴ ﹶﺘ ﺩﻋﺎ ﻩ ﻭﻗﺎ َ ﺍ ﻙ ﻓﹶﺭﺴﺎ ﹶﺘ ﺭ ﹶﻜﺒـﻪ؟" ﻓﻘـﺎل: ﺃﻋﻁﻴﻨﺎ ﻏﻠﺒﺕ ﺘﺒﺭﻴﺯﻩ ﻓﻲ ﺍﻟ ﹸﻔﻨﹸﻭﻥ ﺍﻷﺨﺭﻯ، ﺠﻤـﻭﺍ ﻭﻟﺫﻟﻙ ﺭﺃﻴﻨﹶﺎ ﺠﻤﻴﻊ ﺍﻟﺫﻴﻥ ﹶﺘ ﺭ ﻟﻪ ﻭﺍ ﺯﻨﹸﻭﺍ ﺒﻴﻨﻪ ﻭﺒﻴﻥ ﺍﻟ ﻤﺠﺎﻥ ﻤـﻥ ﺍﻟﺸﱡﻌﺭﺍﺀ ﻜﺎﺒﻥ ﺤﺠﺎﺝ ﻭﺃﺒﻲ ﻨﹸـﻭﺍﺱ ﻁﺭﻓﹰـﺎ ﻤـﻥ ﻭﻏﻴﺭﻫﻤﺎ ،ﻭﺴـﺠﻠﻭﺍ ﹶ ﺕ ﻋﻠﻴــﻪ "ﻨﻌــﻡِ ...ﺒ ﻌﺘﹸــ ﻪ ﻭ ِﺯ ﺩ ﹸ ﺕ ﻫﺫﺍ ﺍﻟﺤِﻤﺎ ﺭ ."...ﹶﻓﻀﺤِﻙ ﺸ ﹶﺘ ﺭ ﻴ ﹸ ﻭﺍ ﹾ ﻏ ﻴ ﺭ ﻩ. ﻋﻁﹶﺎ ﻩ ﹶ ﻑ ﻭَﺃ ﺍﻷﺸﺭ ﹸ ﺨ ﺭ ﺒﺄَﻨﻪ ﻋ ﺭ ﺍﻟﺴﺎ ِ ﺴ ﻡ ﻫﺫﺍ ﺍﻟﺸﱠﺎ ِ ﻭ ﻴ ﱠﺘ ِ ـﺤﻰ ﺼـ ـﻴﻥ ﺍﻟ ﹸﻔ ﻁﻨﹶﻊ ﹸﻟ ﹶﻐ ـ ﹰﺔ ﺒـ ﺼـ ﹶ ﺍ ل ﺍﻟﺘﱠﻭﺭِﻴـ ﹶﺔ ﻭﺍﻟﻌﺎﻤﻴﺔ ،ﻭﻗـﺩ ﺍﺴـﺘﻐ ﱠ ﻉ ﺱ ﻭﺍﻟ ﻤﻘﹶﺎﺒﹶﻠ ﹶﺔ ﻭﺴﺎ ِﺌ ﺭ ﺃﻨـﻭﺍ ِ ﺠﻨﹶﺎ ﻭﺍﻟ ِ ﻼﻁِﻴﻥ ﻭﺍﻟـﻭﺯﺭﺍﺀ ﺴﹶ ﹶﻨﻭﺍ ِﺩﺭﻩ ﻤﻊ ﺍﻟ ﻭﻋﺎﻤﺔ ﺍﻟﻨﱠﺎﺱ. ﺨ ﹶﺘﻡ ﻭﻟﻘﺩ ﻋﻤﺭ ﺍﺒﻥ ﺩﺍﻨﻴﺎل ﺤﺘﻰ ﹶ ww ﺕ ﻤ ﻴﺘﹰﺎ ﻫﻭ ﻟﻡ ﻴﻜﹸﻥ ﹶﻜﻤﺎ ﹸﻗ ﹾﻠ ﹸ ل ﺒـﺒﻌﺽ ﺤﻅﺎ ﻤﻥ ﺍﻟ ﺭﻭﺍﺝ ،ﻭﺍﺘﱠﺼ َ w. ﻓﻴﻬﺎ: ﻟﻠ ﻤﻌﺎﻨِﻲ ﻭﺍﻟﺼﻭﺭ ،ﻭَﺃﻋﺎ ﹶﻨ ﻪ ﺫﻜـﺎﺀ alk ﺍﻟﺘﻲ ﺭﺴﻤﻬﺎ ﻋﻨـﺩ ﹸﻗﺩﻭﻤِـ ِﻪ ﺇﻟـﻰ www.alkottob.com ل ﺍﻟ ﻤ ﹾﻔ ﹶﺘﻘِـ ِﺭ ﺇﻟـﻰ ﻟﻁﺒﻴﻌ ِﺔ ﺍﻻ ﺭ ِﺘﺠـﺎ ِ ott ob ﺏ ﺕ ﺇﻟﻰ ﺠﺎ ِﻨ ِ ﺏ ﺍﻟ ﻌﻴﻭﻥِ ،ﻭ ﹸﺘ ﹾﺜ ِﺒ ﹸ ﻁ ﻓﻲ ِ ﺤ ﺭﻓِﺘﻲ ﻓﻲ ﺍﻟ ﻭﺭﻯ ﻥ ِ ﻋ ﻴﺎ ﺴﺎ ِﺌﻠِﻲ ﺸ ﻌﺭِﻩ ﺍﺴـﺘﺠﺎﺒ ﹰﺔ ﺠ ﺩ ﻓﻲ ِ ﻅﻡِ ،ﻭ ﹶﻨ ِ ﺍﻟ ﱠﻨ ﹾ ل ﻤـﻥ ﺍﻟﻘـﺭﻥ ﺍﻟﺜـﺎﻤﻥ ﻷ ﻭ َ ﺍﻟ ﻌ ﹾﻘ ﺩ ﺍ َ ﻲ ﻋﺎ ﻡ ﺸﻬﻭﺭ ﺃﻨﻪ ﺘﹸﻭ ﱢﻓ ﺍﻟﻬﺠﺭﻱ ،ﻭﺍﻟ ﻤ ﹾ ﺽ ﺕ ﺒﻌ ـ ــ ،ﻭﺇﻥ ﹶﺫ ﹶﻜ ـ ﺭ ﹾ ٧١١ﻫـ ﻲ ﻓـﻲ ﻏﹸﻀـﻭﻥ ﺍﻟ ﻤﺼﺎﺩِﺭ ﺃﻨﻪ ﺘﹸﻭ ﱢﻓ ١١ ﻋﺎﻡ ٧١٠ﻫـ ،ﻭﻗﺩ ﻜـﺎﻥ ﺸـﺎﻋﺭﺍ ﺍﺑﻦ ﺳﻮﺩﻭﻥ ل ﺴﺎﺨﺭﺍ ﻭﻤﺅﱢﻟﻔﹰﺎ ﹶﺘ ﻤﺜِﻴِﻠﻴﺎ .ﻭﻻ ﻴـﺯﺍ ُ m ﺝ ﻼ ﻓـﻲ ﻨﻤـﺎ ِﺫ ﻲ ﻤـﺎ ِﺜ ﹰ ﺃﺩﺒﻪ ﺍﻟﺘﱠﻤﺜِﻴِﻠ ﻤ ﹶﺘﻜﹶﺎ ِﻤﻠﹶﺔ ﺃﻭ ﻤﺘﹶﻘﺎﺭِﺒﺔ ﻟﻠﺼﻭﺭﺓ ﺍﻟﺘـﻲ ﺭﺴــﻤﻬﺎ ،ﻭﺘﹸﺴــﻤﻰ ﺍﻟﺒﺎﺒــﺎﺕ .co ﺃﻭ ﺍﻟﺘﱠﻤﺜ ِﻴِﻠﻴﺎﺕ ﺍﻟﺩﺍﻨﻴﺎِﻟﻴﺔ؛ ﻭﻫﻲ ﺃﺩﻨﻰ ﺕ ﺍﻟﻤﻜﺘﹸﻭﺒﺔ ،ﻭﻓﻴﻬـﺎ ﺤﻴﺎ ِ ﺴ ﺭ ِ ﺇﻟﻰ ﺍﻟ ﻤ ﺕ ﻤﺎ ﻴﻌـﻴﻥ ﺍﻟﻘـﺎﺭﺉ ﻤﻥ ﺍﻹﺸﺎﺭﺍ ِ ﻋﻠﻰ ﺍﻟﺘﱠﺼﻭﺭ ﻭﺍﻟ ﱡﻨ ﹾﻘﻠﹶﺔ ،ﻭﻤﺎ ﻴﺭﺸِـ ﺩ ﺫﺍﺘِﻪ. ﻲ ﻷﺩﺏِ ﺍﻟﺘﻤﺜﻴﻠ ﺹ ﺍَ ﺨﺼﺎ ِﺌ ِ ﻭﻤﻥ ﹶ ﻲ ﻜﻠﱠـﻪ، ﻋﻨﺩ ﺍﺒﻥ ﺩﺍﻨﻴﺎل ﺃﻨﻪ ﻓﹸﻜـﺎ ِﻫ ل ﺍﻟﺤﺭﻜــ ﹶﺔ ﻴﺤــﺎﻭِل ﺃﻥ ﻴﺴــ ﹶﺘ ِﻐ ﱠ ﻭﺍﻟﺼﻭﺭ ﹶﺓ ﻭﺍﻟ ﱠﻨﻐﹶﻡ ﻭﺍﻟ ﹶﻜِﻠ ﻤﺔﹶ ،ﺒﺤﻴـﺙ ﺘﻔﺭﻍ ﺸِﺤﻨ ﹶﺔ ﺍﻟﺸﱡﻌﻭﺭ ﻋﻨﺩ ﺍﻟ ﻤﺘﹶﻠﻘﱢـﻴﻥ ﺨ ﻴِﻠﻴﺔ. ﻟﻬﺫﺍ ﺍﻷﺩﺏ ﺒﻁﺭﻴﻘﺔ ﹶﺘ ﹶ IBN SUDUN ل ﻤﺒﺎﺸﺭ ﹰﺓ ﺇﻻ ﺃﺨﺒﺎﺭ ﻭ ِﺭﻭﺍﻴﺎﺕ ﹸﺘ ﹶﺘﻨﹶﺎ ﹶﻗ ُ "١٤٦٢ – ١٤٠٧ﻡ". ﻤﻥ ﺭﺍ ِﻭ ﻴ ٍﺔ ﺇﻟﻰ ﺁﺨﹶﺭ .ﻭﻟﻡ ﻴﺴـﺠل ﻲ ﺒﻥ ﺴﻭﺩﻭﻥ ﺍﻟﺠﺭﻜﺴﻲ ﻫﻭ ﻋﻠ ﻤﻨﻬﺎ ﺇﻻ ﺍﻟﻨﱠﺯ ﺭ ﺍﻟ ﻴﺴِـﻴﺭ .ﻭﻴـﺫﻜﹸﺭ ﺍﻟﺒﺸـــﻴﻐﺎﻭﻱ )ﺃﻭ ﺍﻟﺒﺸـــﻐﺎﻭﻱ( ﺠﻤﻭﺍ ﻟﻪ ﺃﻨـﻪ ﻭﻟِـ ﺩ ﺽ ﺍﻟﺫﻴﻥ ﹶﺘ ﺭ ﺒﻌ ﺍﻟﻘﺎﻫِﺭﻱ ،ﻭﻜﹸﻨﻴﺘﻪ ﺃﺒﻭ ﺍﻟﺤﺴﻥ ،ﻭﻫﻭ ﻅﺔِ ﻗِﻨﺎ ﺒﺎﻟﺼﻌﻴﺩ ﺒﺈﺤﺩﻯ ﻗﹸﺭﻯ ﻤﺤﺎ ﹶﻓ ﹶ ﻤﻥ ُﺃ ﺩﺒﺎﺀ ﺍﻟﻘﺭﻥ ﺍﻟﺘﺎﺴﻊ ﺍﻟﻬﺠـﺭﻱ. ﺍﻷﻋﻠﹶﻰ ﻤﻥ ِﺩﻴـﺎ ِﺭ ﻤِﺼـ ﺭ ﻋـﺎﻡ ﻲ ﻋﺎ ﻡ ﻓﻘﺩ ﻭِﻟ ﺩ ﻋﺎ ﻡ ٨١٠ﻫـ ﻭﺘﹸﻭ ﱢﻓ ﺏ ﻤﻨﻬﺎ ،ﻭﺃﻨﱠـﻪ ١٧٨٠ﻡ ،ﺃﻭ ﻤﺎ ﻴ ﹾﻘ ﺭ ٨٦٨ﻫـــ )١٤٠٧ﻡ – ١٤٦٣ﻡ(. ﻥ ﻤـﻥ ﻋ ﻤ ﺭ ﺤﺘﱠﻰ ﻨـﺎ ﻫ ﺯ ﺍﻟﺜﱠﻤـﺎﻨِﻴ ﻭﺍﺒﻥ ﺴﻭﺩﻭﻥ َﺃﺩِﻴﺏ ﹶﻓﻜِﻪ ﻭِﻟ ﺩ ﻭ ﹶﺘﻌﱠﻠﻡ ﻋﺠِﻴـﺏ ﻫﻲ" :ﺍﻷﻤﻴﺭ ﻭِﺼﺎل" ،ﻭ" ﻏﺭِﻴـ ﻭﹶ ـﺎﺌﻊ ﻀـ ـﺏ" ،ﻭ" ﺍﻟ ﻤ ﹶﺘ ـﻴﻡ ﻭﺍﻟ ﺍﻟ ﻴ ﹶﺘﻴﻡ". ﺍﻟﻜﺘﺏ ﺒﺎﻟﻘﺎﻫﺭﺓ ،ﻭﻗﺩ ﹸﻨﺸِﺭﺕ ﻋﻠـﻰ ﻴﺩ ﺍﻟﻤﺴﺘﹶﺸﺭِﻗﻴﻥ ﻭﺍﻟﺸﱠﺭﻗﻴﻴﻥ ،ﻜﻤـﺎ ﻱ: ﺴﺨﹶﺎ ِﻭ ﺒﺎﻹﻤﺎﻡ ﺍﻟ ﻌﻼﱠﻤﺔ ﻭﻗﺎل ﺍﻟ "ﺸﺎﺭﻙ ﻤﺸﺎﺭﻜ ﹰﺔ ﺠﻴﺩﺓ ﻓﻲ ﻓﹸﻨﻭﻥ، ﹶﻜ ﺭ ﻤﻊ ِﺭﺠﺎِﻟ ِﻪ ﻋﻠﻰ ﻗﺎﻓِﹶﻠﺔٍ ﻓﺈﺫﺍ ﺒﻬـﺎ ﺍﻟ ﹶﻐﺯﻭﺍﺕِ ،ﻭَﺃ ﻡ ﺒﺒﻌﺽ ﺍﻟ ﻤﺴـﺎﺠِﺩ، ﺕ ِﺒﻪِ ،ﻭﺃﻨﱠﻪ ﺘﺄﻟﱠﻡ ﻟ ﹶﻔ ﻌﹶﻠﺘِﻪِ ﹶﻓ ﹶﻐﹶﻠﺏ ﺴ ﹶﺘﻐﹶﺎ ﹶﺜ ﹾ ﺍ ﺞ ﻤِﺭﺍﺭﺍ ،ﻭﺴﺎﻓﹶﺭ ﻓـﻲ ﺒﻌـﺽ ﻭﺤ ﺨﻴﺎل ﺍﻟﻅﱢل. ﺍﻨﻅﹸﺭ ﻤﺎﺩﺓ :ﹶ ﺝ ﻋــﺭﻭﺱٍ ،ﻭﺃﻥ ﺍﻟ ﹶﻔﺘﹶــﺎ ﹶﺓ ﻫــ ﻭ ﺩ ﻁﺭِﻴﻘﺔﹰ ﺸ ﻌ ِﺭ ِﻩ ﹶ ﻭﻟﻜﻨﱠﻪ ﺴﹶﻠﻙ ﻓﻲ ﺃﻜﺜﺭ ِ ل ﻥ ﻭﺍﻟﻬـ ﺯ ِ ﻫﻲ ﻏﺎﻴﺔ ﻓﻲ ﺍﻟ ﻤﺠـﻭ ِ ﺝ ﺃَﻤﺭﻩ ﻓِﻴﻬﺎ ﺠِـﺩﺍ، ﻋﺔِ؛ ﹶﻓﺭﺍ ﻼ ﺨﹶ ﻭﺍﻟ ﹶ ل ﺇﻟﻰ ﺩﻤﺸﻕ ﹶﻓ ﹶﺘﻌـﺎﻁﹶﻰ ﻓﻴﻬـﺎ ﻭﺭﺤَ ﻲ ﻓﻴﻬﺎ ...ﻟـﻪ ل ﺍﻟﻅﱢل( ﻭﺘﹸﻭ ﱢﻓ ﺨﻴﺎ َ )* ﹶ ﻜﺘﺏ ﻤﻨﻬﺎ " ﹸﻨ ﺯ ﻫ ﹸﺔ ﺍﻟ ﱡﻨﻔﹸﻭ ِ ﻙ ﺤ ﻀِ ﺱ ﻭ ﻤ ﻅ ِﺭ ﻭ ﹸﻨ ﺯﻫـ ﹸﺔ ﺱ" ﻭ" ﹸﻗﺭ ﹸﺓ ﺍﻟﻨﱠـﺎ ِ ﺍﻟ ﻌﺒﻭ ِ ﺍﻟﺨﹶﺎﻁِﺭ"؛ ﻭﻫﻭ ﻤﺨﻁﹸـﻭﻁ ،ﻭﻟـﻪ ﻁﺘﹶﺎﻥ. ﺨﻁﹸﻭ ﹶ ﻤﻘﹶﺎ ﻤﺘﹶﺎﻥ ﻤ ﹾ ﺍﻟﺘﱠﻤﺜﻴﻠﻲ ﺃﻓﺭﺍﺩ ﻤﻥ ﺍﻟﻤﺸ ﹶﺘﻐِﻠِﻴﻥ ﺒﺘﻘﻭﻴﻡ ﺍﺑﻦ ﻋﺮﻭﺱ ﻲ. ﻲ ﻓﻲ ﺍﻟﻌﺎﻟﹶﻡ ﺍﻟ ﻌ ﺭ ِﺒ ﺍﻷﺩﺏ ﺍﻟﺸﱠﻌ ِﺒ ﺒﻬﺫﻩ ﺍﻟ ﹸﻜ ﹾﻨ ﻴ ِﺔ )"ﺍﺒﻥ ﻋﺭﻭﺱ"( ﻫﻭ ﺃﻨﱠﻪ ﻥ ﺏ "ﺍﺒﻥ ﻋﺭﻭﺱ" .ﺒﻴـ ﺩ َﺃ ﻋﻠﻴﻪ ﹶﻟ ﹶﻘ ﻥ ﺒﻬﺫﻩ ﺍﻟ ﺭﻭﺍﻴﺔ؛ ﺤ ﱢﻘﻘِﻴ ﺍﻟ ﻤ ﺴﱢﻠﻤﻭ ﻥ ﻻ ﻴ ﻷﻥ ﺍﻟﻅﱠﻭﺍ ِﻫ ﺭ ﺍﻟﺸﱠـﻌ ِﺒ ﻴ ﹶﺔ ﺍﻟﺘـﻲ ﻻ ﻕ ﻟﺘﻌِﻠﻴﻠﻬﺎ ﻗِﺼـﺔ ﺴ ﺒﺒﻬﺎ ﹸﺘﹶﻠﻔﱠ ﹸ ﻑ ﻴﻌ ﺭ ﹸ ﺨﻴﺎِﻟﻴﺔ .ﻭﺭﺒﻤﺎ ﻜﺎﻨﺕ ﻫﺫﻩ ﺍﻟﺭﻭﺍﻴـﺔ ﹶ ﻲ ﺍﻟـﺫﻱ ﺨﻴﺎِﻟ ﻤﻥ ﺫﻟﻙ ﺍﻟ ﹶﻘﺼﺹ ﺍﻟ ﹶ IBN 'ARUS " – ١٧٨٠ﺣﻮﺍﱄ ١٨٦٠ﻡ" ﻉ ﻟﺘﻔﺴﻴ ِﺭ ﺍﺴـﻡ ﺍﺒـﻥ ﻋـﺭﻭﺱ ﺸﺎ ل ﻟِ ﹶﻜﻠِﻤﺔِ "ﻋﺭﻭﺱ" ﻓﺤﺴﺏ .ﻭﺍﻟﻤﺘﺄ ﻤ ُ ﺤﺴـﻲ ﺍﻟـﺫﻱ ﺼﻠِﻬﺎ ﺍﻟﻠﱡﻐـﻭِﻱ ﺍﻟ ِ ﻭَﺃ ww ﺴ ِﺔ ﺍﺒﻥ ﺩﺍﻨﻴـﺎل ﻭﺃﺩﺒـﻪ ﻲ ِﺒ ِﺩﺭﺍ ﻋ ِﻨ ﻥ ﺍﻟﻌِﻤـﺎﺩ ﺒﺎﻟﻘﺎﻫﺭﺓ ،ﻭﻗﺩ ﹶﻨﻌ ﹶﺘ ﻪ ﺍﺒـ ﺸ ِﺘﻬﺎ ِﺭ ِﻩ ﺙ ﻋﻠﻰ ﺍ ﹾ ﻭ ﻴ ﹾﺫ ﹶﻜ ﺭ ﺃﻥ ﺍﻟﺒﺎﻋِ ﹶ w. ﺨﻁﹸﻭﻁﹶﺔ ﺒﺩﺍﺭ ﻭﻫﺫﻩ ﺍﻟﻨﱡﺼﻭﺹ ﻤ ﹾ ﻋ ﻤ ِﺭ ِﻩ. alk ﺙ ﺘﹶﻤﺜِﻴِﻠﻴـﺎﹶﺕ؛ ﻭﻗﺩ ﺒﻘﻴﺕ ﻟﻪ ﺜﻼ ﹸ www.alkottob.com ﻑ ﻋﻥ ﺤﻴﺎﺘِﻪ ﺨﺭِﻴﻥ ،ﻭﻻ ﻴﻌ ﺭ ﹸ ﺍﻟ ﻤﺘﹶﺄ ﱢ ott ob ﺕ ﺝ ﺃﻭ ﺍﻟﻤﺅﺩﻱ ﻓـﻲ ﺍﻟﻭﻗـ ِ ﺍﻟﻤﺨ ِﺭ َﺃﺤــ ﺩ ﺍﻟﺸﱡــﻌﺭﺍ ِﺀ ﺍﻟﺼــﻌﺎﻟِﻴﻙ ﺕ ﺍﻟ ﺒ ﺩ ِﻭﻴـﺔﹸ؛ ﻴﺠِـ ﺩ ﺙ ِﺒ ِﻪ ﺍﻟﺒِﻴﺌﺎ ﹸ ﺸ ﺒ ﹸ ﹶﺘ ﹶﺘ ﹶ ﺃﻨﻬﺎ ﹶﺘ ﻌﻨِـﻲ ﺍﻟﻘﹸـ ﻭ ﹶﺓ ﻭﺍﻟﻠﱠـﺩﺩ ﻓـﻲ ﺏ ﻁﻠﹶــ ِ ﺨﺼــﻭ ﻤ ِﺔ ﻭﺍﻟﺤــ ﺭﺏِ ،ﻭ ﹶ ﺍﻟ ﹸ ﻲ ﺃَﻗـ ﺩ ﻡ ﺴ ﺤ ﺍﻟﺒﺭﻴ ِﺔ .ﻭﻫﺫﺍ ﺍﻟ ﻤ ﻌﻨﹶﻰ ﺍﻟ ِ ١٢ ﺢ ﻫـﺫﺍ ﺼ ﺝ ﻭﻤﺭﺤﻠﺘﻪ .ﻭﺇﺫﺍ ﺍﻟ ﺯﻭﺍ ِ ﺼﻴﺘِﻪ. ل ﻋﻠﻴﻪ ﻟﺸﹸﻬﺭﺘﻪ ﻭﺒﻌﺩ ِ ﹸﻨﺤِ َ ﺇﻻ ﻋﻨﺩﻤﺎ ﺒﹶﻠ ﹶﻎ ﺍﻟﺴﺒﻌﻴﻥ ﻤﻥ ﻋﻤﺭِﻩ. ﺢ ﻴﻜﻭﻥ ﻤﻌﻨﻰ "ﺍﺒﻥ ﻋﺭﻭﺱ" ﺍﻟ ﹶﺘ ﺭﺠِﻴ ﺸﻬﺭ ﻤﺎ ﹸﻨﺴِﺏ ﺇﻟﻴﻪ: ﻭﻤﻥ َﺃ ﹾ ﺴﺭِﻩِ ﻋﻠﻰ ﺨﻠﹸﻭ ﺃﺸﻌﺎﺭﻩ ﻤﻥ ﹶﺘﺤ ﻭﻻ ﹶﺘ ﹾ m ﺴ ِﻡ ﻁ ﻜﻠﻤﺔ "ﻋﺭﻭﺱ" ﺒ ﻤﺭﺍ ِ ﻤﻥ ﺍﺭﺘﺒﺎ ِ ﺏ ﺇﻟﻴـﻪ ﻗـﺩ ﺴ ﻓﻲ ﺃﻥ ﺒﻌﺽ ﻤﺎ ﻴ ﹾﻨ ﻥ ﺤﻴﺎ ِﺓ ﺍﻟﻠﱠﻬ ِﻭ ﻭﺍﻟ ﻤﺠﻭ ِ ﻭﻟﻡ ﻴ ﹾﻘِﻠ ﻊ ﻋﻥ ﻱ ﺍﻟﻤﺤﺎﺭِﺏ ﺍﻟﺫﻱ ﻴـ ْﺅ ِﺜ ﺭ ﺍﻟ ﹶﻔﺘﹶﻰ ﺍﻟ ﹶﻘ ِﻭ ﺴ ﹾﻜﻨﹶﻰ ﺍﻟ ﻤﻨﹶﺎﺯِل ﺍﻵ ِﻫﻠﹶﺔ، ﺍﻟ ﺒﺭﻴ ﹶﺔ ﻋﻠﻰ ﺤﻴﺎ ِﺘ ِﻪ. .co ﺼﻴ ﹶﺘ ﻪ ﻭ ﹶﻓ ﹾﻠﺴـ ﹶﻔ ﹶﺔ ﻭﻫﻭ ﻤﺎ ﻴ ﹶﻔﺴﺭ ﺸﹶﺨ ِ ﺕ ﺇﻟﻰ ﺏ ﺍﻷﺨﺒﺎ ﺭ ﻭﺍﻟﺭﻭﺍﻴﺎ ﹸ ﻭﺘﹶﺫﻫ ﻥ ﺍﺒﻥ ﻋﺭﻭﺱ ﻤـ ﺭ ﺒﻤـﺭﺤﻠﺘﻴﻥ َﺃ ﺠﻤﺭ ﹶﻗﻠﱢﺏ ﹸﻜﻔﹸﻭﻓﻙ ﻋﻠﻰ ﺍﻟ ﺍﻟﻤﻠـــﺒﺱ ﻭﻏﻴـــﺭ ﺫﻟـــﻙ، ﻻﺒﺩ ﻤﻥ ﻴﻭﻡ ﻤﻌﻠﹸﻭﻡ ﺢ ﻴﻤﺩﺡ ﺒﻬﺎ ﻤﻥ ﻴ ﻤﺩﻭﻨﻪ ﺃﻭ ﻤﻥ ﻤﺩﺍ ِﺌ ﻅﻠﹸﻭﻡ ﺃَﺒﻴﺽ ﻋﻠﻰ ﹸﻜلﱢ ﻤ ﹾ ﺒﻬﺫﻩ ﺍﻟﻀﺭﻭﺭﺍﺕ. ﻭﻻ ﻓﻲ ﻏﻴﺭﻩ ﻤﻭﺍﺴِﻲ ﻭﻟﻡ ﻴﺼل ﺇﻟﻴﻨﺎ ﻤﻥ ﺃﻏﺎﻨﻲ ﺍﺒـﻥ ﻭﺍﺼﺒﺭ ﻋﻠﻰ ﻜل ﻗﺎﺴِﻲ ﻗﹸﺯﻤﺎﻥ ﺇﻻ ﻨﺤ ﻭ ﺜﻼﺜﺔ ﺃﺭﺒﺎﻋﻬﺎ ،ﻭﻗﺩ ﺘﺭ ﹶﺘ ﺩ ﻓﻴﻪ ﺍﻟ ﻤﻅﹶﺎﻟِﻡ ﺸﻌﺎ ﺭ ﺒﺎﻟﻠﱠﻬﺠﺔ ﺍﻟﻌﺭﺒﻴـﺔ ﻷﹾ ﺕ ﺍَ ﻅ ﻤ ِ ﹸﻨ ِ ﺃﺴﻭﺩ ﻋﻠﻰ ﻜل ﻅﺎﻟِﻡ ott ob ﻤﺨﺘﻠﻔﺘﻴﻥ ،ﻜﺎﻨﺕ ﺍﻷﻭﻟـﻰ ﺍﻤﺘـﺩﺍﺩﺍ ﺍﻟﺼﺒﺭ ﺒﺎﻟﺼﺒﺭ ِﻗﱠﻠ ِﺔ ﺍﻟﻤﺎل ﻭﺍﻟﺠﻭﻉ ﻭﺍﻟﺒـﺭﺩ ﻭ ِﻗﻠﱠـﺔ ﺼ ﻌﹶﻠ ﹶﻜﺔِ؛ ﻭﻫﻲ ﺍﻟﻤﺭﺤﻠﹶـﺔ ﻟﻠ ﹸﻔ ﹸﺘﻭِ ﺓ ﻭﺍﻟ ﺍﻟﺩﺍ ِﺭﺠــﺔ ﻟﻸﻨــﺩﻟﺱ ،ﻭﺇﻥ ﻜــﺎﻥ ﺙ ﻓﻴﻬﺎ ﺒﻌﺭ ِ ﺸ ﺒ ﹶ ﺍﻟﺘﻲ ﹶﺘ ﹶ ﻑ ﺍﻟﻌﺸﹶـﺎﺌِﺭ ،ﺍﺑﻦ ﻗﹸﺰﻣﺎﻥ ﻲ ﻀ ـ ِﻌ ﻥ ﺍﻟ ﻭ ـﺎﻨﻭ ِ ـﻥ ﺍﻟﻘـ ﻭ ﹶﻨ ﹶﻔ ـ ﺭ ﻤـ ﺤﻜﱠﺎ ﻡ ﺍﻟ ﻤ ﹾﻔﺭﻭﻀِﻴﻥ ﻋﻠﻰ ﺨ ﹶﺘﺼﻡ ﺍﻟ ﻭﺍ ﹾ ﹶﺫﻭِﻱ ﺍﻟﻨﱡﻔﻭﺱ ﺍﻟﺤـﺭﺓ .ﺃﻤـﺎ ﻓـﻲ ﺏ ﻋﻥ ﺘﻠﻙ ﺍﻟﻤﺭﺤﻠﹶﺔ ﺍﻟﺜﱠﺎﻨﻴﺔ؛ ﻓﻘﺩ ﺘﺎ ﺴ ﻴﺭﺓ ،ﻭ ﹶﻨﺩِﻡ ﻋﻠﻰ ﻤﺎ ﻭ ﺭﻁﹶﺘ ﻪ ﻓﻴﻪ ﺍﻟ ﺠﺒﺎﺭ ﻓﻲ ﺍﻟ ﺒﺭﻴـ ِﺔ ل ﺍﻟ ﺠُ ﻭﺃﺼﺒﺢ ﺍﻟﺭ ﻼﺓِ. ﺤﺩﺍ ﻓﻲ ﺍﻟﻔﹶـ ﹶ ﻤ ﹶﺘ ﻌ ﺒﺩﺍ ﺯﺍ ِﻫﺩﺍ ﻤ ﹶﺘ ﻭ ﻭﻤﻥ ﻫﻨﺎ ﹶﻜﺜﹸـ ﺭ ﻓـﻲ ﻤﻨﻅﹸﻭﻤﺎﺘـﻪ ﺕ ﻋﻠﻴـﻪ ﹶﻨﺒـ ﺭ ﹸﺓ ﻏﹶﻠﺒ ﹾ ﺍﻟﺘﱠﺠﺭِﺒﺔ ،ﻜﻤﺎ ﹶ ﺸ ﹾﻜﻭﻯ ﺍﻟﺯﻤﺎﻥ .ﻭﺍﻹﻁـﺎﺭ ﻷﺴﻰ ﻭ ﹶ ﺍَ ﺍﻟ ﹶﻘﻭﺍﻟِﺏ ﺍﻟﻤﻌﺭﻭﻓﹶﺔ ﻓـﻲ ﺍﻟﺼـﻌِﻴﺩ ﺴﻭﺍﺀ ،ﻭﺨﹸﺼﻭﺼﺎ ﻭﺍﻟﺭﻴﻑ ﻋﻠﻰ ﺍﻟ ﺍﻟ ﻤ ﺭﺒﻊ .ﻭﻟﻪ ﻤﺨﻁﹸﻭﻁ ﺼـﻐِﻴﺭ ﻻ ﻀﻡ ﻜ ﱠ ﻴ ﻙ ل ﺩِﻴﻭﺍﻨِﻪ .ﻭﻟﻴﺱ ﻤﻥ ﺸـ www.alkottob.com ﻲ ﺃﻭ ﺃﺒﻭ ﺒﻜﺭ ﺒﻥ ﻗﹸﺯﻤﺎﻥ ﺍﻟﻤﻐ ِﺭ ِﺒ ﺕ ﻻ ِﺘ ِﻴ ِﻨ ﻴ ﹰﺔ ﻭ ﺒ ﺭ ﺒ ِﺭ ﻴ ٍﺔ ﻤ ﹾﻨ ﹶﺘﺸِﺭﺓﹰ ﻫﻨﺎ ﻜﻠﻤﺎ ٍ ﻁﺒِﻲ؛ ﻭﻫـﻭ ﻤ ﹶﻐﻨﱢـﻲ ﹸﻗ ﺭﻁﹸﺒـﺔ ﺍﻟ ﹸﻘ ﺭ ﹸ ﻭﻫﻨﺎﻙ. ﺍﻟﻤﺘﺠﻭل ﺍﻟﻤﺸﻬﻭﺭ ،ﻭِﻟ ﺩ ﻤـﺎ ﺒـﻴﻥ ﻋﺎﻤﻲ ١٠٧٨ﻭ ١٠٨٠ﻡ .ﻭﻜـﺎﻥ ﻥ ﻜﺜﻴـﺭﺍ ﻤـﻥ ﻥ ﻗﹸﺯﻤﺎ ﻅﻡ ﺍﺒ ﻭ ﹶﻨ ﹶ ﺵ ﻤﻨـﺫ ﻋـﺎﻡ ١٠٩٥ﻋِﻴﺸـﺔ ﻴﻌِﻴ ﹸ ﻥ ﻋ ﺩ ٍﺩ ﻤِﻥ ﻤ ﺩ ِ ﺠﻭل ﻓﻲ ﺍﻟﻤﻐﻨﱢﻲ ﺍﻟ ﻤ ﹶﺘ ﻁﻠِﻴﻘﺔﹰ ﻤـﻥ ﺍﻷﻨﺩﻟﺱ ،ﻭﻴﻌﻴﺵ ﺤﻴﺎ ﹰﺓ ﹶ ﺤﻴـﺔ .ﻭﺍ ﱡﺘﻬِـ ﻡ ﻜل ﹶﻗ ﻴﺩٍ؛ ﺒل ﺤﻴﺎ ﹰﺓ ﺇﺒﺎ ِ ﻥ ﺍﻟﻤﻭﺸﱠﺤﺎﺕ ﺍﻟﺸﱠﻌﺒﻴﺔ ،ﻭﻫﻭ ﺇﻤﺎ ﻡ ﹶﻓ ﺁﺨﺭ ﻤﻥ ﺍﻟﺸﱢﻌﺭ ﻫﻭ "ﺍﻟ ﺯﺠل" ،ﻟـﻡ ﺸﻁﹸﻭﺭﺍﺕِ ،ﺒـل ﻴ ﹾﻠ ﹶﺘ ِﺯ ﻡ ﻓﻴﻪ ﹶﻗ ﺩﺭ ﺍﻟ ﻤ ﹾ ﻁﻊ ،ﻭﺘﺩﺨل ﻓﻴﻪ ﺠﻤﻴـﻊ ﺍ ﹾﻟ ﹶﺘﺯﻡ ﺍﻟ ﻤ ﹾﻘ ﹶ ﺍﻟﺒﺤﻭﺭ .ﻭﺒﻌﺩ ﺃﻥ ﻜﺎﻥ ﺍﻟﺯﺠل ﻓﻴﻤﺎ ﺞ ﻤﻥ ﺒﺎﻟ ﺯ ﹾﻨﺩﻗﺔ ﻭ ﹸﻗﺒِﺽ ﻋﻠﻴﻪ ،ﻭﻟﻡ ﻴﻨ ﺍﻟ ﹶﻘ ﹾﺘلِ ﺇﻻ ﺒﻔﻀل ﺍﻟﻘﺎﻀﻲ ﺴِﻴﺭ ﺍﺒﻥ ﻤﺤﻤﺩ ﺍﻟﺫﻱ ﻭﻗـﻑ ﺇﻟـﻰ ﺠﺎ ِﻨﺒِـﻪ. ل ﻤﻥ ﺃﺸﻌﺎﺭِﻩ ﻋﻠﻰ ﺃﻨﹼﻪ ﻜﺎﻥ ﺴ ﹶﺘﺩِ ﱡ ﻭ ﹶﻨ ﻴﻌﻴﺵ ﻋﻴﺸﺔ ﺍﻟﻠﹼﻬﻭ ﻭﺍﻟ ﻤ ﹾﺘﻌﺔ ﺇﺒـﺎﻥ ﻷ ﻤﺭﺍ ِﺀ ﺍﻟﻤﺭﺍ ِﺒﻁِﻴﻥ ﺍﻟﺜﱠﻼﺜﺔ ﻓﻲ ﺤﻜﻡ ﺍ ُ ﺭﻋﺎﻴﺔ ﺃﺴﺭﺓ ﺒﻨﻲ ﺤﻤﺩﻴﻥ ﺍﻟﺜﺭﻴـﺔ، ﺠﻠﹶﺔ ﻗﺼﻴﺭﺓ ﻤﻀﻰ ﻤﻘﻁﻭﻋﺎﺕ ﻤﺭ ﹶﺘ ﺍﺭﺘﻔﻊ ﺒﻪ ﺍﺒﻥ ﻗﺯﻤﺎﻥ ﺇﻟـﻰ ﻤﺭﺘﺒـ ٍﺔ ﺃﻋﻠﻰ؛ ﻓﺠﻌﻠﻪ ﻤﻨﻅﻭﻤـﺎﺕ ﻁﻭﻴﻠـﺔ ww ﻍ ﻓﻴﻪ ﻤﻨﻅﹸﻭﻤﺎﺘِـﻪ ﻫـﻭ ﺍﻟﺫﻱ ﺼﺎ ﹶ IBN KUZMAN ﻥ ﺃﺸـﻌﺎﺭﻩ ﺃﻴﻀـﺎ ﺸ ﻌ ِﺭ .ﻭ ﹶﺘ ﹶﺘﻀ ﻤ ﺍﻟ ﱢ w. ﺹ ﻤـﻥ ﺨﹶﻠ ل ﺍﻟﻤﺴـ ﹶﺘ ﹾ ﺍﻟﻤﺘﺄﺨﱢﺭﺓ ﺍﻟ ﻤ ﹶﺜ ُ ﻥ ﺼﺤﻰ ﺃﺤﻴﺎﻨﹰﺎ ﻤﺭﺍﻋـﺎ ﹰﺓ ﻟِـ ﻭ ﺯ ِ ﺍﻟ ﹸﻔ alk ﻉ ﺍﻟـﺩﻨﻴﺎ، ﻤﻥ ﺁﺜﺎﻡ ،ﻭ ﺯ ِﻫ ﺩ ﻓﻲ ﻤﺘﹶﺎ ِ ﺼ ـﻴ ﹶﻎ ﺨﺩﻡ ﺍﻟ ﺴ ـ ﹶﺘ ﹾ ـﺩ ﺍ ـﺎﻋﺭ ﻗـ ﺸـ ﺍﻟ ﱠ ﺸﺒﻪ ﺒﺎﻟﻘﺼﺎﺌﺩ. َﺃ ﹾ ﻻ ﻭ ﹸﺘ ﻌﺩ ﻗﺼﺎ ِﺌ ﺩ ﺍﺒﻥ ﻗﹸﺯﻤﺎﻥ ﻤﺜـﺎ ﹰ ﻲ ﺍﻷﻨﺩﹸﻟﺴِﻲ ،ﺍﺴﺘﻁﹶﺎﻉ ﻟﻠﺸﱢﻌﺭ ﺍﻟ ِﻐﻨﹶﺎ ِﺌ ﺒﻪ ﺃﻥ ﻴﺅ ﱢﺜ ﺭ ﻓـﻲ ﺸِـ ﻌ ِﺭ ﻤﻘﺎﻁﻌـﺔ ١٣ ﺒﺭﻭﭭﻨﺴﺎل ﺍﻟﻘﺩﻴﻡ ،ﻭﺃﻥ ﻴﺅﺜﱢﺭ ﻋـﻥ ﺤﺭﻭﻕ ،ﻭﻻ ﺘﺯﺍل ﻟـﻪ ﻴﻨﺜﹶﺭ ﻋﻠﻰ ﺍﻟ ﻁﺭﻴﻕ ﻫﺫﺍ ﺍﻟﺸﻌﺭ ﺍﻟﺒﺭﻭﭭﻨﺴﺎﻟﻲ ﻓﻲ ﻲ. ﺸ ﻌ ِﺒ ﺏ ﺍﻟ ﹶ ﻁ ﻤﻜﺎﻨﺘﻪ ﻓﻲ ﺍﻟ ﱢ ﺍﻟﺸﻌﺭ ﺍﻷﻭﺭﻭﺒﻲ. m ﺃﺑﻮ ﺑﺮﺍﻗِﺶ ﺍ ﹾﻨﻅﹸﺭ ﻤﺎﺩﺓ :ﺯﺠل. .co ﺃﺑﻨﻮﺱ EBONY ﺸ ﹶﺘﻘﱠﺔ ﻤﻥ ﺍﻟﻜﻠﻤﺔ ﺍﻟﻴﻭﻨﺎﻨﻴﺔ ﻭﻫﻲ ﻤ ﹾ "ﺃﺒﻨﺱ" ،ﻭﺩﺨﻠﺕ ﻫﺫﻩ ﺍﻟﻜﻠﻤـﺔ ﻓـﻲ ﺍﻵﺭﺍﻤﻴﺔ ﻓﺄﺼﺒﺤﺕ "ﺃﺒﻨﻭﺴﺎ" ،ﻭﻤﻨﻬﺎ ﺍﻨﺘﻘﻠﺕ ﺇﻟﻰ ﺍﻟﻌﺭﺒﻴـﺔ ﻭﺍﻟﻔﺎﺭﺴـﻴﺔ ﻴﻁﺭﺃ ﻋﻠﻴﻪ ﺘﻁﻭﺭ ﺇﻻ ﻓﻲ ﺍﻟ ﻌﻘﹸـﻭﺩ FINCH ﺍﻷﺨﻴﺭﺓ ﻤﻥ ﻫﺫﺍ ﺍﻟﻘـﺭﻥ؛ ﻓﺠﻌـل ﺨﺭﺍﻓِـﻲ ﻤﺜـل ﻁﺎﺌِﺭ ﺼـﻐﻴﺭ ﹸ ﺕ ﺒﻌﺽ ﺍﻟﻤﺒﺩِﻋﻴﻥ ﺍﻟﺸﱠـﻌﺒِﻴﻴﻥ ﺒﻴـ ﹶ ﻲ ﺇﻨـﻪ ﺍﻟﻌﺼﻔﹸﻭﺭ ،ﻴﻘﻭل ﺍﻟ ﹶﻘ ﺯﻭِﻴﻨـ ﻷﺒﻭ ِﺫﻴﺔ ﻤﺅﱠﻟﻔﹰﺎ ﻤﻥ ﺨﻤﺴﺔ ﺃَﺸـﻁﹸﺭ، ﺍَ ﺨﺼﺎ ِﺌﺼِﻪ ﺃﻨـﻪ ﻕ .ﻭﻤﻥ ﹶ ﻴﺸﺒﻪ ﺍﻟﱠﻠ ﹾﻘﹶﻠ ﹶ ﺤ ﺩ ٍﺓ ﻭﻤﺨﺘﻠﻔـﺔ ﺃﺭﺒﻌﺔ ﻤﻨﻬﺎ ﺒﻘﺎ ِﻓ ﻴ ٍﺔ ﻭﺍ ِ ﻥ ﺭﻴﺸﻪ ﺩﺍﺌ ﻤﺎ .ﻭﻴﻘﻭل ﺍﺒﻥ ﻴﻐﻴﺭ ﻟﻭ ﺍﻟ ﻤ ﻌﻨﹶﻰ ،ﻋﻠـﻰ ﺃﻥ ﺘﻜـﻭﻥ ﺃﻭﺍﺌِـل ﺨﹶﺎﹶﻟ ﻭﻴﻪ ﺇﻥ ﻟﻭﻨﻪ ﺍﻟﻐﺎﻟِﺏ ﻫـﻭ ﺒـﻴﻥ ﺍﻷَﺸﻁﹸﺭ ﻤﺭﺘﱠﺒﺔ ﻭﻓـﻕ ﺍﻟﺤـﺭﻭﻑ ﺍﻟﺴﻭﺍﺩ ﻭﺍﻟ ﺒﻴﺎﺽ ﻭﻟﻜﻥ ﺃﻋﻠﹶﻰ ﺭﻴﺸﻪ ﺍﻟﻬِﺠﺎ ِﺌﻴﺔ. ﺃﻏ ﺭ ﻭﺃﻭﺴﻁﻪ ﺃﺤﻤﺭ ﻭﺃﺴﻔﻠﻪ ﺃﺴﻭﺩ، ﻁﻊِ ﺼ ﹾﻨ ِﻊ ﻗِ ﹶ ﺨ ِﺩ ﻡ ﻫﻭ ﻭﺍﻟﻌﺎﺝ ﻓﻲ ﺴ ﹸﺘ ﹾ ﺍ ﺸﺘﱠﻰ. ﺵ ﺘﻐﻴﺭ ﻟﻭﻨﹸﻪ ﺃﻟﻭﺍﻨﹰﺎ ﹶ ﻓﺈﺫﺍ ﺍ ﹾﻨ ﹶﺘ ﹶﻔ ﹶ ل ﺴ ﹸﺘ ﻌ ِﻤ َ ﻁﺭﻨﺞ ﻭﺃﺤﺠﺎﺭ ﺍﻟﻨﱠﺭﺩ ،ﻭﺍ ﺸ ﹾ ﺍﻟ ﱢ ﺏ ﺒﻪ ﺍﻟ ﻤﺜﹶل ِﻟﻺْﻨﺴﺎﻥ ﺍﻟـﺫﻱ ﻀ ﺭ ﻭ ﻴ ﺒﻌﺩ ﺫﻟﻙ ِﺒ ﻤﻬﺎ ﺭ ٍﺓ ﻓﺎﺌِﻘﺔ ﻓـﻲ ﺼـﻨ ِﻊ ﺨﻠﹸﻕ ﺍﻟﺫﻱ ﻴ ﹶﺘ ﹶﻐ ﻴ ﺭ. ﻴ ﹶﺘ ﹶﻘﱠﻠﺏ ،ﻭﻟﻠ ﹸ ﺍﻷﺜﺎﺙ ﻭﺍﻷﺒـﻭﺍﺏ ﻭﺍﻟ ﻤﺸﹾـ ﺭ ِﺒﻴﺎﺕ ﺠ ﺩﺭﺍﻥ. ﻭﺍﻟ ﻲ ﻤﺤﺘ ِﻔﻅﹰﺎ ﺒﺸﻜﻠﻪ ،ﻭﻟﻡ ﺍﻟﺸﱢﻌﺭ ﺍﻟﺸﱠﻌﺒ ott ob ﻭﺍﻟﺘﱡﺭﻜﻴﺔ ﻭﻏﻴﺭﻫﺎ ﻤﻥ ﺍﻟﱡﻠﻐﹶﺎﺕ .ﻭﻗﺩ ﺏ ﻤـﻥ ل ﻫـﺫﺍ ﺍﻟﻀـ ﺭ ﻅﱠ ﻭﻟﻘﺩ ﹶ ﻷ ﺒﻨﹸﻭﺱ ﻓﻲ ﺍﻟ ﻤﺼـ ﱠﻨﻔﹶﺎﺕ ﻭ ﻴ ﹾﺫ ﹶﻜ ﺭ ﺍ َ ﻷﺒﻭ ِﺫﻴـﺔِ، ﺽ ﺍَ ﻭﺍﺘﱠﺴﻌﺕ ﺃﻏـﺭﺍ ل ﺍﻟﺘﺭﻜﻴﺯ ﻋﻠﻰ ﻭﺨﺭﺠﺕ ﻋﻥ ﻤﺠﺎ ِ ﻷﻟﹶــﻡِ ﻭﺍﻟﺸﹶــ ﹾﻜﻭﻯ، ﺍﻟﺸﹶــﺠﻥِ ﻭﺍ َ ﺱ ﺤﻤﺎ ﺏ ﻭﺍﻟ ل ﺍﻟ ِﻌﻘﹶﺎ ﻭﺃﺼﺒﺤﺕ ﹶﺘ ﹶﺘﻨﹶﺎ ﻭ ُ ل ﻭﺍﻟ ِﻬﺠـﺎ ﺀ ﺢ ﻭﺍﻟﺭﺜﺎ ﺀ ﻭﺍﹶﻟ ﹶﻐﺯَ ﻭﺍﻟ ﻤﺩِﻴ ﺍﻷَﺑﻮﺫِﻳﺔ ABUDHIYYA ﻷ ﹾﻟﻐﹶﺎ ﺯ. ﺕ ﻭﺍ َ ﻼ ِ ﺴﹶ ﻭﺍﻟ ﻤﺭﺍ ﺏ ﻤﻥ ﻀـﺭﻭﺏ ﺍﻟﺸﱢـﻌ ِﺭ ﻀﺭ ﺼﻔﹶﺔ ﺱ ﺒﻬﺫﻩ ﺍﻟ ﺏ ﻭﺍﻟﻔﹸﺭ ﻋﺭ ﹶﻓ ﻪ ﺍﻟ ﻌ ﺭ ﻥ ﺍﻟﺘﺎﺴﻊ ﺍﻟﻤـﻴﻼﺩﻱ ﻤـﻥ ﻤﻨﺫ ﺍﻟﻘﹶﺭ ِ ﺏ ﺩﻴﺎﺴــﻘﹸﻭﺭِﻴﺩﺱ ﺘﹶﺭﺠﻤــ ِﺔ ﹸﻜﺘﹶــ ِ ﻗﺎﺒِﺽ ﻨﺎﻓِﻊ ﻓـﻲ ﺍﻟـ ﻭ ﺩﻕِ ،ﻭﻫـﻭ ﺸ ِﺒ ﻪ ﺍﻟ ﺒﺜﹸـﻭ ﺭ ﹸﻨﺘﹸﻭﺀﺍﺕ ﻓﻲ ﺍﻟ ﻤ ﹾﻠ ﹶﺘﺤِﻤﺔِ ﺘﹸ ﹾ ﺞ ﺒِﻪ ﺍﻟ ﱠﻨ ﺯﻟﹶـ ﹸﺔ ﺍﻟ ﺒ ﻴﻀﺎ ﺀ .ﻭﻜﺎﻨﺕ ﹸﺘﻌﺎﹶﻟ ﻴ ﹶﺘﻨﹶﺎﻭﻟﹸﻭﻨﻪ ﻋﻠﻰ ﺸـﻜل ﻤﺴـﺤﻭﻕ، ﻟﻤﻌﺎﻟﺠﺔ ﺍﻟ ﺒﻁﹾﻥ ﻭﺍﻟ ﻤ ِﻌﺩﺓ ،ﻜﻤﺎ ﻜـﺎﻥ ﻭ"ﺫﻴﺔ"؛ ﻭﻫﻲ ﺘﹶﺨﻔِﻴﻑ ﻟﻜﻠﻤﺔ َﺃ ِﺫﻴـﺔ ﻓﻴﻜﻭﻥ ﻤﻌﻨﺎﻫﺎ ﺼﺎﺤِﺏ ﺍﻷﺫﻴﺔ. ﻥ ﺃﻥ ﺤﺜِﻴ ﻭﻴــﺭﻯ ﻤ ﻌﻅﹶــ ﻡ ﺍﻟﺒــﺎ ِ ﻲ ﻤﻥ ﺇﺒﺩﺍﻋِﻪ ﻜـﺎﻥ ﺽ ﺍﻷﺼﻠ ﺍﻟﻐﺭ ﻅ ﻡ ﻤﻥ َﺃﹶﻟﻡٍ، ﺤﺴﻪ ﺍﻟﻨﺎ ِ ﺍﻟﺘﱠﻌﺒﻴ ﺭ ﻋﻤﺎ ﻴ ِ ِﺇ ﹾﺜ ﺭ ﺤﺎﺩِﺙ ﻜﺎﻥ ﻟﻪ ﺃﺜﺭﻩ ﻓﻲ ﻨﻔﺴﻪ. ﻷﺒﻭ ِﺫﻴﺔ ﻤﻥ ﺍﻟ ﺒﺤـ ِﺭ ﺍﻟـﻭﺍﻓِﺭ، ﻭﺍ َ ﺤ ﺩ ﻓﻴﻬـﺎ ﻤـﻥ ﺕ ﺍﻟﻭﺍ ِ ﻭﻴﺘﺄﻟﱠﻑ ﺍﻟﺒﻴ ﹸ ﺸﻁﹸﺭ ،ﺜﻼﺜﺔ ﻤﻨﻬﺎ ﻤ ﱠﺘﺤِـﺩﺓ ﺃﺭﺒﻌﺔ َﺃ ﹾ ﺍﻟﻘﺎﻓِﻴﺔ ﻤﺨﺘﻠِﻔـﺔ ﺍﻟﻤﻌﻨﹶـﻰ ،ﻭﻴﺨـﺘﻡ ﺍﻟﺒﻴﺕ ﺍﻷﺨﻴﺭ ﺒﻴﺎﺀ ﻤﺸﺩﺩﺓ ﻭﻫﺎﺀ. www.alkottob.com ﺽ ﺒﺄﻨـﻪ ﺃَﻁﻔﺎﻟﻬﻥ .ﻭﻴﺼﻔﻪ ﺍﻟـﺒﻌ ﻤﺨﻠﹸﻭﻕ ﻨِﺼﻔﹸﻪ ﺍﻷﻋﻠﻰ ﻜﺎﻹﻨﺴـﺎﻥ، ﻭﻨِﺼﻔﹸﻪ ﺍﻷﺴﻔل ﻜﺎﻟﺤِﻤـﺎﺭ ،ﻭﻟـﻪ ﺨﺘﹶﺎﻥ ،ﻴﺒـﺩﻭ ﹶﺫﻨﹶﺏ ،ﻭ ﹶﻓﺨﹾـﺫﹶﺍﻩ ﻤﺴـﱠﻠ ﹶ ﺢ ﺠِ ﺤ ﻤ ﺭ .ﻭﻤﻥ ﺍﻟﺭﺍ ِ ﻷ ﺤﻤﻪ ﺍ َ ﻤِﻨﻬﻤﺎ ﹶﻟ ﺃﻥ ﺃﺒﺎ ﺭِﺠل ﻤﺴﻠﹸﻭﺨﹶﺔ ﺒﻘﻴـﺔ ﻤـﻥ ﻅﻠﱠـﺕ ﻋﺭِﻴﻘﹶـﺔٍ ،ﹶ ﺴﻁﹸﻭ ِﺭ ﻴ ٍﺔ ﹶﻨ ﺯﻋﺔٍ ُﺃ ww ﺱ ﺍﻟ ﻤ ﺯ ِﻤﻨﹶﺔ ﻓﻲ ﺍﻟ ﻌﻴﻥ ،ﻭﻜﺎﻥ ﺍﻟﻨﱠـﺎ ﻤﻥ ﻜﻠﻤﺘﻴﻥ" :ﺃﺒـﻭ" ﺃﻱ ﺼـﺎﺤِﺏ ﻷﻤﻬﺎﺕ ﻑ ﺒﻪ ﺍ ُ ﺨﻴ ﹸ ﺍﺴ ﻡ ﻋِﻔﺭِﻴﺕ ﹸﺘ ِ w. ﻭﺠﺎﻟِﻴﻨﻭﺱ .ﻭﻜﺎﻥ ﻴﺅﺨﹶﺫ ﻋﻠﻰ ﺃَﻨـﻪ alk ﻋﻠﻰ ﺃﻨﻪ ﺩﻭﺍﺀ ﻤﻥ ﺍﻷَﺩﻭِﻴﺔ ،ﻭﻗـﺩ ﺍﻟﺸﱠﻌ ِﺒﻲ ،ﻭﻴﻘﺎلُ ﺇﻥ ﺍﻟﻜﻠﻤﺔ ﻤﺭﻜﱠﺒـﺔ ﺃﹶﺑﻮ ﺭِﺟﻞ ﻣﺴﻠﹸﻮﺧﺔ ﻤﻭﺠﻭ ﺩ ﹰﺓ ﻓﻲ ﻜﹶﺜﻴﺭ ﻤﻥ ﺍﻟ ﻤ ﻌ ﹶﺘﻘﹶـﺩﺍﺕِ ﺸ ﻌ ِﺒ ﻴ ِﺔ .ﻭﻗﺩ ﻴﺘﹶـﺭﺩﺩ ِﺫﻜﹾـﺭﻩ ﻓـﻲ ﺍﻟ ﱠ ﻲ ﺍﻟـﺫﻱ ﺒﻌﺽ ﺍﻟ ﹶﻘﺼـﺹ ﺍﻟﺸﱠـﻌ ِﺒ ١٤ ل. ﻁﻔﹶﺎ ِ ﻷ ﹾ ﺍَ ﺍﻟ ﻤﺩﺓ ﺒﻴﻥ ﻤﻨﺘﺼﻑ ﺍﻟﻘﺭﻨﻴﻥ ﺍﻟﺭﺍﺒﻊ ﻥ ...ﻭﺍﺴﺘﺠﺎﺏ ﺤ ﻡ ﺍﻟﻠﱠﻭ ِ ﻭﻟﻭ ﻜﺎﻥ ﻓﺎ ِ ﻭﺍﻟﺨﺎﻤﺱ ﺍﻟﻬِﺠـ ِﺭﻴﻴﻥ؛ ﺃﻱ ﺇﺒـﺎﻥ ﻏﻀِﺏ ﺍﻷﻤﻴـ ِﺭ ﺭﺯﻕ ﺍﷲ ﻟﻬﺎ ...ﻭ ﹶ ﻁ ِﻤﻴﺔ .ﻭﻟﻡ ﻴﻜﻥ ﺃﺒﻭ ﺯﻴﺩ ﺍﻟﺩﻭﻟﺔ ﺍﻟﻔﹶﺎ ِ ﻥ ﺍﻟﻐﹸﻼ ﻡ ﻭﻟـﺩﻩ، ﺼﺩﻕ َﺃ ﻭﻟﻡ ﻴﻜﻥ ﻴ m ﻋﻨﹾـ ﺩ ل ﺇﻟﻰ ﻭﻅِﻴ ﹶﻔﺔٍ ﹶﺘ ﺭ ﺒ ِﻭﻴـ ٍﺔ ِ ﹶﺘﺤ ﻭ َ ﺼﻭﺭﺕ ﻭﻗﺎﺌِﻊ ﺍﻟﻌﺭﺏ ﺍﻟﻘﻴﺴﻴﺔ ﻓﻲ ﺍﷲ ﺃﻥ ﻴﺭﺯﻗﻬﺎ ﻏﹸﻼﻤﺎ ﻋﻠﻰ ﺸﺎﻜِﻠ ِﺘ ِﻪ ﺃﺑﻮ ﺭِﻏﹶﺎﻝ .co ABU RIGHAL ﺼ ﻴ ﹲﺔ ُﺃﺴـﻁﹸﻭ ِﺭ ﻴ ﹲﺔ .ﻭﺘـﺫﻫﺏ ﺨ ِ ﺸﹾ ﹶ ﺇﺤﺩﻯ ﺍﻟﺭﻭﺍﻴﺎﺕ ﺇﻟﻰ ﺃﻥ ﺃﺒﺎ ِﺭﻏﹶﺎل ل َﺃ ﺒ ﺭﻫـ ﹶﺔ ﻜﺎﻥ ﹶﺜﻘﹶﻔﻴﺎ ﻤﻥ ﺍﻟﻁﱠﺎﺌِﻑ ﺩ ﱠ ﺘﻠﻙ ﺍﻟﻭﻗﺎﺌﻊ ﻋﻠـﻰ ﺍﻟـﺭﻏﻡ ﻤـﻥ ﻋﻠﻰ ﹶﻨ ﹾﻔﺴِﻪِ ﺃﻥ ﻴﺭﻯ ﺍﻟﻐﹸﻼ ﻡ ﺒﻌﻴﻨﻴﻪ، ﺸﹸﻬ ﺭ ِﺘﻪِ ،ﻭﺇﻨﻤﺎ ﻜﺎﻥ ﻭﺍﺤـﺩﺍ ﻤـﻥ ﺴ ِﻤ ﻊ ﻤﻥ ﺍﻟﻤﺭﺃﺓ ﺍﻟﺘـﻲ ﻭﺍ ﹾﻜ ﹶﺘﻔﹶﻰ ﺒﻤﺎ ﺃﺭﺒﻌﺔ ﺍﻨﺘﻬﺕ ﺇﻟﻴﻬﻡ ﺍﻟﺭﻴﺎﺴـ ﹸﺔ ﻓـﻲ ﺠﻤِﻴـﻊ ل ﺒـﻴﻥ ﺍﻟ ﺃﺒﻠﻐﺘﻪ ﺍﻟﻨﱠﺒﺄ .ﻭﺤﺎ َ ﺤﺴﻥ ﺒﻥ ﺴـﺭﺤﺎﻥ ﺍﻟ ﹶﻘﺒِﻴﹶﻠﺔِ؛ ﻭﻫﻡ ﺍﻟ ﻭﺒﻴﻥ ﺭ ْﺅ ﻴ ِﺘ ِﻪ ﺇﻟﻰ ﺃﻥ ﺠـﺎ ﺀ ﺍﻟﻴـﻭﻡ ﺍﻟ ﻤﹶﻠﻘﱠﺏ ﺒﺎﻟﺴﻠﻁﹶﺎﻥ ،ﻭ ِﺩﻴﺎﺏ ﺒﻥ ﻏﺎﻨِﻡ، ﺤﻀِـ ﺭ ﺍﻟﺴﺎﺒﻊ؛ ﹶﻓ ﻤﺩ ﺍﻟﺴـﻤﺎﻁﹸ ،ﻭُﺃ ﻭﺒﺩﻴﺭ ﺒﻥ ﻓﺎﻴﺩ ،ﻭﺃﺒﻭ ﺯﻴﺩ ﺒﻥ ﺭِﺯﻕ ﺍﻟﻐﻼﻡ ﺇﻟﻰ ﺍﻟﻀﻴﻭﻑ ﻜﻤﺎ ﹶﺘ ﹾﻘﻀِـﻲ ﻲ. ﻼﻟِ ﺍﻟﻬِ ﹶ ﺒﺫﻟﻙ ﺍﻟﻌﺎﺩﺓ ﺍﻟ ﻤ ﱠﺘ ﺒﻌﺔ ،ﺘﺤﻤﻠﻪ ﺠﺎﺭِﻴﺔ ott ob ﻲ ﻋﻠﻰ ﺍﻟﻁﱠﺭﻴﻕ ﺇﻟﻰ ﻤﻜﱠﺔ ،ﻭﺃﻨﻪ ﺘﹸﻭ ﱢﻓ ﺤﻭﺭ ﺍﻟﺭﺌﻴﺴﻲ ﺍﻟﺫﻱ ﺘﺩﻭﺭ ﻋﻠﻴﻪ ﺍﻟ ِﻤ ﻭﻟﻜﻨﻪ ﺃَﺒﻘﹶﻰ ﺯﻭﺠﺘﻪ ﻟِ ﹶﻜﹶﻠﻔِﻪِ ﺒﻬﺎ ،ﻭَﺃﺒﻰ ﺏ ﺕ ﺍﻟﻌـ ﺭ ﺠ ﺭ ِ ﻥ ﺒﺎﻟ ﻤ ﹶﻐﻤﺱ .ﻭ ﻭ ﺩ ِﻓ ﺏ ﺭِﻭﺍﻴـﺔ ﺠ ِﻡ ﹶﻗﺒﺭﻩ .ﻭﺘـﺫﻫ ﻋﻠﻰ ﺭ ﺃﺨﺭﻯ ﺇﻟﻰ ﺃﻥ ﺃﺒـﺎ ِﺭﻏﹶـﺎل ﻜـﺎﻥ ﻲ ﻤﻥ ﹶﺜﻤﻭﺩ؛ ﺇﺫ ﻜﺎﻥ ﺍﻟ ﻭﺤِﻴﺩ ﺍﻟﺫﻱ ﺒ ِﻘ ﻴﻘﻴﻡ ﻓﻲ ﻤﻜﱠﺔ ﻴـﻭﻡ ﹶﻨ ﹾﻜﺒـ ِﺔ ﹶﺜﻤـﻭﺩ، ﻥ ﻤﻥ ﺍﻟﻬـﻼﹶﻙ، ﺴﻴ ﹸﺔ ﺍﻟ ﻤﻜﹶﺎ ِ ﹶﻓﺤﻤ ﹾﺘ ﻪ ﹸﻗ ﺩ ِ ﺍﻟ ﻤ ِﻨﻴﺔ. ﻥ ﺃﺒـﺎ ﺏ ﺍﻷﻏﹶﺎﻨِﻲ ﺃ ﺤ ﻭ ﺭﻭﻯ ﺼﺎ ِ ﻑ ﻭﺠـﺩﺍ ِﺭﻏﹶﺎل ﻜﺎﻥ ﻤِﻠﻜﹰﺎ ﻟﻠﻁﱠـﺎ ِﺌ ِ ﻥ ﹶﻗ ﹶﺘﻠﹸﻭﺍ ﺃﺒـﺎ ﻱ ﺇﻥ ﺍﻟﺜﱠﻘ ِﻔﻴﻴ ﺴﻌﻭ ِﺩ ﻭﺍﻟ ﻤ ﺠ ﻭﺭِﻩ. ِﺭﻏﹶﺎل ﻟ ﹶﻘﺴﻭ ِﺘ ِﻪ ﻭ ABU ZEID Al-Hilali ل ﺍﻟ ﻤ ﹾﻠﺤﻤﺔ ﺍﻟﺸﱠـﻌﺒﻴﺔ ﺃﺸﻬ ﺭ ﺃَﺒﻁﺎ ِ ﺍﻟﻌﺭﺒﻴﺔ ﺍﻟﻤﻌﺭﻭﻓـﺔ ِﺒﺴِـﻴ ﺭ ِﺓ ﺒﻨِـﻲ ِﻫﻼﹶل .ﻭﻫﺫﻩ ﺍﻟﻤﻠﺤﻤﺔ ﻫـﻲ ﺍﻟﺘـﻲ www.alkottob.com ﻤﻥ ﺍﻟﺼﺒﻴﺎﻥ. ﺤﻤﺎ. ﺃﻥ ﻴﺭﻯ ﺍﻟﻐﻼﻡ َﺃﺴﻭ ﺩ ﻓﺎ ِ ﺤ ِﺭ ﻡ ﻨِﻌﻤ ﹶﺔ ﺍﻟﻭﻟﺩ ﻭﻜﺎﻥ ﺃﺒﻭﻩ ﺍﻟﺫﻱ ل ﺯﻭﺠـ ﻪ ﺤﻤِ َ ﻗﺩ َﺃ ﹾﺜﹶﻠﺞ ﺼﺩﺭﻩ ﺃﻥ ﹶﺘ ﺏ ﺠ ﺸﺭِﻴﻔﺔ ،ﻭ ﹶﺘﻭ ﹼﻗﻊ ﺃﻥ ﹸﺘ ﹾﻨ ِ ﺨﹶﻀﺭ ﹸﺓ ﺍﻟ ﱠ ﺴ ِﺭﻴﺎ. ﻟﻪ ﻏﹸﻼﻤﹰﺎ ﻭﺍﺘﻔﻕ ﻟﻸﻤﻴﺭﺓ ﺨﻀﺭ ﹶﺓ ﺃﻥ ﺘﺨﺭﺝ ﻭﻜﺎﻥ ﺍﻷﻤﻴﺭ ﺭﺯﻕ ﺃﺜﻨﺎﺀ ﻫﺫﺍ ﻜﻠﻪ ل ﺃﺸـﺎ ﺭ ﺨَ ﺨ ﻴﻤﺘِﻪِ .ﻓﻠﻤﺎ ﺩ ﹶ ﻋﻨﺩ ﺒﺎﺏ ﹶ ﻲ ﺒﻴﻨﻪ ﺨِﻠ ﻋﻠﻴﻪ ﻤﻌﻅﻡ ﺃﺼﺤﺎﺒِﻪ ﺒﺄﻥ ﻴ ﹾ ﻭﺒﻴﻥ ﺯﻭﺠﺘﻪ ﻫﺫﻩ ،ﻭﺸـﻜﻜﻭﻩ ﻓـﻲ ﺨﻠﻘﻬﺎ ،ﻭﺃﻋﻠﻨﻭﺍ ﺃﻥ ﺇﺒﻘـﺎﺀﻩ ﻋﻠﻴﻬـﺎ ﺸﻤﺔ" ﺇﺤﺩﻯ ﺯﻭﺠـﺎﺕ ﻤﻊ ﺍﻷﻤﻴﺭﺓ " ﹶ ﺠﺭ ﺍﻟﻌﺎ ﺭ ﻋﻠﻴـﻪ ﻭﻋﻠـﻰ ﹶﻗ ﻭﻤِـ ِﻪ ﻴ ﺠ ﻤ ٍﻊ ﻤـﻥ ﺍﻟ ﻌﻘﹶﺎﺌِـل؛ ﺴﺭﺤﺎﻥ ﻓﻲ ﺠﻤﻴﻌﺎ ،ﻓﹶﺄﺫﻋﻥ ﻜﺎ ِﺭﻫـﺎ ﻭﺃﺭﺴـﻠﹶﻬﺎ ﺽ ﻋﻠـﻰ ﻓﺭﺃﺕ ﻁﺎ ِﺌﺭﺍ َﺃﺴﻭ ﺩ ﻴـ ﹾﻨ ﹶﻘ ﻭﺍﺒﻨﹶﻬﺎ ﺇﻟﻰ ﺃﺒﻴﻬﺎ ﻓﻲ ﻤﻜﱠﺔ. ww ﺃﺑﻮ ﺯﻳﺪ ﺍﳍِﻼﹶﻟِﻲ ﻭﺇﻨﻤﺎ ﺠﻌﹶﻠ ﻪ ﻴﻭﹶﻟ ﺩ ﻜﻤﺎ ﻴﻭﻟﺩ ﻏﻴـﺭﻩ ﻼﹶﻟ ﹶﺔ ﹶﻓﻬﺎﻟـ ﻪ ﺤﺩﻫﻡ ﺍﻟﻐِ ﹶ ﻀ ٍﺔ ﻭﺭ ﹶﻓﻊَ ﺃ ﻭ ِﻓ ل ﻜﺎﺌِﻥ ﺨﺎﺭِﻕ ﺃﻭ ﻏﻴﺭ ﺇﻨﺴﺎﻨﻲ؛ ﻨﹶﺴ ِ ﺏ ﺍﻟﺴﺎﺩﺓ ﻋﻠﻴﻪ "ﺍﻟ ﱡﻨﻘﹸﻭﻁ" ﻤـﻥ ﹶﺫﻫـ ٍ w. ﻥ ﹸﻗ ﹶﺘﻴﺒﺔ ﻅ ﻭﺍﺒ ﺤﹸ ﻟِ ﹶﺜﻘِﻴﻑ .ﻭﻴﻘﻭل ﺍﻟﺠﺎ ِ ﺙ ﹶﻓ ﹼﺫ ﻻ ﻴﺠﻌﻠـﻪ ﻤـﻥ ﺍﻟ ﺒﻁﹶل ﺒﺤﺎ ِﺩ ٍ ﻏِﻼﻟﹶﺔ ﻻ ﺘﺒﻴﻥ ﻤﻨﻪ ﺸـﻴﺌًﺎ ،ﻭَﺃ ﹾﻟﻘﹶـﻰ alk ﻥ ﹶﺘﺭﻙ ﻤﻜﺔ ﺤﺘﱠﻰ ﻭﺍﻓﺘﻪ ﺒﻴﺩ ﺃﻨﻪ ﻤﺎ ﺇ ﻻﺩﺓِ ﻫﺫﺍ ﻭﻟﻘﺩ ﻤ ﻬﺩﺕ ﺍﻟ ﻤ ﹾﻠﺤﻤ ﹸﺔ ﻟِﻭِ ﹶ ل ﻤﻥ ﺍﻟ ِﻔﻀﺔ ،ﻭﺘﻐﻁﻴـﻪ ﺤ ﻤ ٍ ﻋﻠﻰ ﻤ ﻉ ﻤﻥ ﺍﻟﻁﱠﻴﺭ ﻤﺨﺘﻠﻑ ﺍﻷﻟﻭﺍﻥ ﻤﺠﻤﻭ ٍ ل ﻭﺍﺩﻴﺎ ﻭﺭﺃﺕ "ﺨﻀﺭﺓ" ﺃﻥ ﹶﺘ ﹾﻨﺯِ َ ﻭﺍﻷﻨﻭﺍﻉ ،ﻓﻴﻐﻠﺏ ﻋﻠﻴـﻪ ،ﻭﻴﻘﺘـل ﻁﺭِﻴﻕ ،ﻭﺃﻻ ﹶﺘﻌﻭ ﺩ ﺇﻟﻰ ﺃﺒﻴﻬـﺎ ﻓﻲ ﺍﻟ ﱠ ﺠﺒﺕ ﺒـﻪ ﻋِ ﺍﻟﺠﺎﻨِﺏ ﺍﻷﻜﺒﺭ ﻤﻨﻪ؛ ﻓُﺄ ﺤﺘﱠـﻰ ﹶﻟ ِﻘﻴﻬـﺎ ﻋ ﺭﻀِﻬﺎ؛ ﻤﺘﱠﻬﻤ ﹰﺔ ﻓﻲ ِ ﺕ ﻭﺠﻬﻬﺎ ﺇﻟﻰ ﺍﻟﺴﻤﺎﺀ ﺘـﺩﻋﻭ ﻭﺭ ﹶﻓﻌ ﹾ ل ﺒﻥ ﺒﻴﺴﻡ" ﺭﺃﺱ ﻗﺒﻴﻠﺔ ﺍﻷﻤﻴﺭ "ﻓﹶﻀ ُ ١٥ ﺍﻟــﺯﺤﻼﻥ ،ﻭﻋــﺭﻑ ﺨﺒﺭﻫــﺎ؛ ﻥ ﻋﻠﻰ "ﺍﻟﺒ ﺭﺠﺎﺱ" ،ﻭﻫﺯﻡ ﺍﻟ ﻤﻐِﻴﺭِﻴ ﺠِﻠﻴـﺔ ﺕ ﺇﻟﻴﻪ ِﺒ ﺃﻥ ﹶﻨ ﻬ ﹾﺘ ﻪ ﺃﻤﻪ ﻭ ﹶﻨ ﹶﻔﻀ ﹾ ﻓﺎﺤﺘﺭﻤﻬﺎ ،ﻭَﺃ ﹾﻜﺭﻡ ﻭﻓﺎﺩﺘﻬﺎ ،ﻭﻁﻠﹶﺏ ﻗﺒﻴﻠﺘﻪ. ﺏ ﺍﺒﻨـﻪ ﻭﺍﺴـﺘﺭ ﺩ ﺍﻷﻤﺭ؛ ﻓﺄﻗ ﺭ ﺍﻷ ﺸَﺄ ﻩ ﻤـﻊ ﺍﺒﻨﻴـﻪ "ﻤـﻨﻌﻡ ﻭﻟﺩﻫﺎ ﻭ ﹶﻨ ﱠ ﹶﻗﺒِﻴﹶﻠ ﹶﺘ ﻪ ﺒﻌـﺩﻤﺎ ﻏﺎﺩﺭﺘـﻪ ﺯﻭﺠﺘـﻪ، ﺒﻤﻜﺎﻥ ﺒﺭﻜﺎﺕ ﻤﻥ ﺃﺒﻴـﻪ ﻭﻤـﻨﻬﻡ. ﻫﺫﺍ ﺍﺴﻤﻪ( ﺒ ﺯ ﺃﻗﺭﺍﻨﻪ ﻓـﻲ ﺍﻟﻘﹸـ ﻭ ِﺓ ـﺯﻥ ﺤـ ـﻰ ﺍﻟ ـﻭﺩ ،ﺩﻻﹶﻟ ـ ﹰﺔ ﻋﻠـ ﺍﻷﺴـ "ﻏﹸﺼﻥ ﺍﻟﺒﺎﻥ" ،ﻭﺃﺨﺫ ﺼﻴﺘﹸﻪ ﻴﻌﻠـﻭ ﻁﺤﺏ ﻤﻌـﻪ ﻋﺒـﺩﺍ ﺼﹶ ﻷﺴﻰ ،ﻭﺍ ﻭﺍ َ ﻋﻠﻰ ﺍﻷﻴﺎﻡ ﺤﺘـﻰ ﺴـﻤﺎﻩ ﻗﻭﻤـﻪ ﺨ ﹶﺫ ﻤ ﹾﻨﺯِﹶﻟ ﻪ ﺤﻭﺍ ِﺌﺠِﻪ ،ﻭﺍ ﱠﺘ ﹶ ﻭﺍﺤﺩﺍ ﻴﻘﻭﻡ ﺒ "ﺴﻼﻤﺔ" ،ﻜﻨﺎﻴﺔ ﻋﻥ ﺍﻷﻤﻥ ﺍﻟـﺫﻱ ﺏ ﺍﻟ ﻌﻴﻥ ﺍﻟﺘﻲ ﺭﺃﺕ ﻋﻨﺩﻫﺎ ﺇﻟﻰ ﺠﺎ ِﻨ ِ ﻴﺠﺩﻭﻨﻪ ﻓﻲ ﹶﻜ ﹶﻨﻔِﻪِ .ﻭﺃﺼﺒﺢ ﻴﻌـ ﺭﻑﹸ ﻲ ﻤـﻥ ﻋ ﻤﻠِـ ﺏ ﺘﺤﻭل ﺇﻟﻰ ﻀـﺭ ٍ ﺍﻷﺴﻭﺩ ﻋﻠﻰ ﻏﻴﺭﻩ .ﻭﻟـﻡ ﻴﻤـﺽ ﺠﺎﻨﺏ ﺍﺴﻤﻴﻪ ﺍﻟﺴﺎﺒﻘﻴﻥ "ﻤﺴﻌﻭﺩ" ﻭ" ﺍﻟﻤ ﻌﺭِ ﹶﻓﺔِ ﻫﻭ ﺍﻟ ﹸﻔ ﺭﻭِﺴﻴﺔ. ﻉ ﺒﻨﻲ ﻫﻼل ﺡ ﹸﻨﺠﻭ ﺠﺘﹶﺎ ﻭﻗﺕ ﺤﺘﻰ ﺍ ﺒﺭﻜﺎﺕ". m ﺠ ِﺘ ِﻪ ﺃﻥ ﹶﺘ ﹶﺘﹶﻠﻘﱠﺎﻫـﺎ ،ﻭ ﹶﺘ ﺒﻨﱠـﻰ ﺇﻟﻰ ﺯ ﻭ ل ﻋﺘﹶـﺯَ ﻭﻜﺎﻥ ﺍﻷﻤﻴﺭ ﺭﺯﻕ ﻗ ِﺩ ﺍ ﺯﻭﺠﻪ .ﻭﺍﻋﺘﺭﻑ ﺒﻨﻭ ﻫﻼل ﺠﻤﻴﻌﺎ ﻭﻨﻌﻴﻡ" .ﻭﻟﻜﻥ ﺒﺭﻜﺎﺕ )ﻭﻗﺩ ﺃﺼﺒﺢ .co ﻋ ِﺔ .ﻭﻤﺎ ﻜﺎ ﺩ ﻴﺒﻠﻎ ﺍﻟﺤﺎﺩﻴـ ﹶﺔ ﻭﺍﻟﺸﱠﺠﺎ ﻑ ﻋﺸﺭ ﹶﺓ ﻤﻥ ﻋﻤﺭﻩ ﺤﺘﻰ ﻜﺎﻥ ﻗﺩ ﹶﺜﻘِ ﹶ ﻤﻌﺎﺭِﻑ ﺍﻟﺩﻴﻥ ﻭﺍﻟﺩﻨﻴﺎ ﻤﻤـﺎ ﻜـﺎﻥ ﺵ ﻓﻲ ﺨﻴﻤـﺔ ﻤـﻥ ﺍﻟﺸﱠـﻌﺭ ﻭﻋﺎ ﹶ ﺒﺄَﺒﻲ ﺯﻴﺩ ﺍﻟﻬﻼﻟﻲ ﺴـﻼﻤﺔ ،ﺇﻟـﻰ ﻕ ﺍﻟﻁﱠـﺎﺌﺭ ﺯﻭﺠﺘﻪ "ﺨﻀﺭﺓ" ﹶﺘﻔﹶـ ﻭ ﹶ ott ob ﺠﺯِﻴ ﺭ ِﺓ ﺍﻟﻌـﺭﺏ .ﺜـﻡ ﺱ ﻓﻲ ِ ﻴ ﺩﺭ ﻭﺯﻭﺠﻪ ﺃﻤﻴـﺭ ﺍﻟـﺯﺤﻼﻥ ﺒﺎﺒﻨﺘـﻪ ﺸ ﻌ ِﺒ ﻴ ﹸﺔ ِﻟ ﻌ ﻭ ﺩ ِﺓ ﻭ ﻤﻬﺩﺕ ﺍﻟ ﻤ ﹾﻠﺤﻤ ﹸﺔ ﺍﻟ ﱠ ﺏ ﻤﺎﺤِل ﺍﺴﺘﻤ ﺭ ﺃﻤـﺩﺍ؛ ﻓـﺭﺃﻯ ﺠ ﺩ ﻭ ﹶﺘ ﺩلﱡ ﺍﻟﻤﺒﺎﻟﹶﻐﺔ ﻓﻲ ﻭﺼﻑ "ﺃﺒـﻲ ﻑ ﺍﻟ ﹶﻔﺘﹶـﻰ ﺃﻥ ﺍﻻﺒﻥ ﺇﻟﻰ ﺃﺒﻴﻪ؛ ﹶﻓﻌﺭ ﹶ ﻼِﻟﻴﺔ ﺃﻥ ﺥ ﻤﻥ ﺍﻟ ِﻬ ﹶ "ﺴﺭﺤﺎﻥ" ﻭﺍﻷﺸﻴﺎ ﹸ ـﺙ ـﻰ ﺍﻟﺒﺎﻋـ ﺴ ـ ﻤﺭﺓ ﻋﻠـ ـﺩ" ﺒﺎﻟ ﺯﻴـ ﺃﺒﺎﻩ ﻋﻠﻰ ﺍﻟﺘﱠﺤﻘِﻴﻕ ،ﻭﻁﻠﺏ ﺇﻟﻰ ﺃﻤﻪ ﺠﻌﺎﻓِﺭ ﹶﺓ ﻭﺒﻌﺽ ﺍﻟﻬﻼﻟﻴـﺔ ﺒﻴﺩ ﺃﻥ ﺍﻟ ﺏ ﻓﻴﻬـﺎ ﻏﻠﹶـ ﺍﻟﻤﻠﺤﻤﺔ ﻓﻲ ﻓﺘـﺭﺓ ﹶ ﺨ ﺒﺭِ؛ ﻓﺯﻋﻤﺕ ﺃﻥ ﺠِﻠ ﻴ ِﺔ ﺍﻟ ﹶ ﺃﻥ ﺘﻨﺒﺌﻪ ِﺒ ﻅﻠﱡﻭﺍ ﻤﻊ ﺍﻷﻤﻴـﺭ ﺭﺯﻕ، ﺍﻵﺨﺭﻴﻥ ﹶ ﺸﺭﺓ ﺍﻟﺒﻴﻀـﺎﺀ ﻋﻠـﻰ ﺃﺼﺤﺎﺏ ﺍﻟ ﺒ ﹶ ل ﻋﻤﻪ ،ﻭﺃﻥ َﺃﺒﺎﻩ ﻗﺩ ﹸﻗﺘِ َ ﺍﻷﻤﻴﺭ ﻓﻀل ﻉ ﺒﻴﻨﻬﻡ. ﻭﻜﺎﻥ ﺍﻟ ﻤﻁﹶﺎ ﺍﻟﺤﻜﻡِ ،ﻭﻫﻡ ﻤـﻥ ﻏﻴـﺭ ﺍﻟﻌـﺭﺏ alk ل ﺍﻟﺫﻱ ﻴﻌِﻴﺵ ﻓﻲ ﹶﻜ ﹶﻨﻔِﻪِ ﻟـﻴﺱ ﺠَ ﺍﻟ ﺭ ﻉ ﺒﻨﻲ ﺍﻟﺯﺤﻼﻥ. ﺠﺭﻭﺍ ﺇﻟﻰ ﹸﻨﺠﻭ ِ ﻴﻬﺎ ِ ﺍﻟﺘﺎﺭﻴﺨﻲ ﻋﻠﻴﻬﺎ؛ ﻓﻘﺩ ﺍﺯﺩﻫﺭﺕ ﻫﺫﻩ ﻲ ﻴﺩﻋﻰ ﺍﻷﻤﻴﺭ ﺭﺯﻕ ﻼﻟِ ﻋﻠﻰ ﻴ ِﺩ ﻫِ ﹶ ﻭﻟﻤﺎ ﺒﻠﹶﻎ ﺴﺭﺤﺎﻥ ﻭﻗﻭﻤﻪ ﻫﺩﻓﻬﻡ ﺨ ﹶﺫﻥ ﺒﺎﻟﺜﱠـﺄﺭ ،ﻭﹶﻟ ﻴﻘﹾـ ﹸﺘﹶﻠﻥ ﺼ ﻤ ﻡ ﻟ ﻴ ْﺄ ﹸ ﻭ ﻫﺯِﻴﻤ ﹰﺔ ﻤ ﹾﻨﻜﹶﺭﺓﹰ؛ ﻓﺄﺭﺴـل ﺴـﺭﺤﺎﻥ ﺨﹶﻠﺩِﻩِ ﺃﻨﻪ ﺍﻷﻤﻴﺭ ،ﺩﻭﻥ ﺃﻥ ﻴﺩﻭ ﺭ ﻓﻲ ﹶ ﻴﺴﺘﻨﺠﺩ ﺒﺎﻷﻤﻴﺭ ﺭﺯﻕ ،ﻓَﺄﺠﺎﺒﻪ ﺇﻟﻰ ﺃﺒﻭﻩ .ﻭﻭﻫﺒﻪ ﺍﻷﻤﻴﺭ ﻓﻀـل ﺨﻴـﺭ ﻀ ﻊ ﺍﻟﻬﻼﻟﻴـﺔ ﺴ ْﺅِﻟ ِﻪ .ﻭﻟﻤﺎ ﺒﻠﻎ ﻤﻭ ِ ﺏ ﺒﻁﻠﹶـﻪ ﺴ ﻡ ﺍﻟﺸﱠﻌ ﻓﻜﺎﻥ ﻻﺒﺩ ﺃﻥ ﻴ ﺭ ﺠﻴﺎﺩِﻩ ﻭﻋﻠﱠﻤﻪ ﺍﻟ ﹸﻔﺭﻭﺴـ ﻴ ﹶﺔ ﻭﺭﻤـﻲ ﺤﺭِﻴﻥ ،ﺤﻤل ﻋﻠﻴﻪ ﺒﺭﻜـﺎﺕ، ﺍﻟ ﻤ ﹾﻨ ﺩ ِ ﻭﻗﺩ ﺃﺨﺫﺘﻪ ﺴﻭ ﺭ ﹸﺓ ﺍﻟ ﹶﻐﻀﺏِ ﻋﻨـﺩﻤﺎ ﻤﻨﺎ ِﻗﻀﺎ ﻟﺨﺼﻭﻤﻪ ﻫﺅﻻﺀ؛ ﻭﻟـﺫﻟﻙ ﺙ ﺍﺨﺘﺎ ﺭ ﺍﻟﺴﻤﺭﺓ ﻟﻪ ﻟﹶﻭﻨﹰﺎ ،ﺜﻡ ﻤﺎ ﹶﻟﺒِـ ﹶ ﻤﻥ ﻓﻨﻭﻥ ﺍﻟﺤﺭﺏ .ﻭﺴـﺭﻋﺎﻥ ﻤـﺎ ﻋﺭﻑ ﺍﺴﻡ ﻤﻨﺎﺯِﻟـﻪ ،ﻭﺫﻜـﺭ ﺃﻨـﻪ ﻓﻴﻬﺎ ﻋﻠﻰ ﻫﺫﺍ ﺍﻟﻨﺤﻭ .ﻭﻓـﻲ ﻫـﺫﻩ ﺒﺭﺯ ﻓﻲ ﺍﻟﺭﻜﻭﺏ ﺤﺘﻰ ﺤﺴﺩﻩ ﺃﺒﻨﺎﺀ ﻭﺍﺘﺭﻩ ﻤﻥ "ﺃﺒﻴﻪ". ﺸﺒﻪ ﻗﻭﻱ ﺒﻤﺎ ﻜﺎﻥ ﻋﻠﻴـﻪ ﺼﻠﹶﺔ ﹶ ﺨ ﺍﻟ ﹶ ﻅﺘﹶـﻪ، ﺤﻔِﻴ ﹶ ﺒﻥ ﻨﺎﻴل؛ ﹶﻓَﺄﺜﹶـﺎﺭ ﺫﻟـﻙ ﺼﻠِﻴ ِﺒﻴﻭﻥ ﺇﻟـﻰ ﺩﺍﺨِـل ﺍﻟـﻭﻁﻥ ﺍﻟ ﺍﻟﻌﺭﺒﻲ ،ﻭﻫﺩﺩﻭﺍ ﺤﻤﺎﻩ ،ﻭﻫﻡ ﺃﻴﻀﺎ w. ﻤﻥ ﺃﺼﺤﺎﺏ ﺍﻟ ﺒﺸﹾـﺭﺓ ﺍﻟﺒﻴﻀـﺎﺀ؛ ww ﺍﻟﻁﱢﺭﺍ ِﺩ ﻭﺍﻟ ﹶﻜ ﺭ ﻭﺍﻟ ﹶﻔﺭ ،ﻭﻤﺎ ﺇﻟﻰ ﻫﺫﺍ ﺘﺼﺩﻯ ﻟﻬﻡ "ﺒﺭﻜﺎﺕ" ﻭﺃﻟﺤﻕ ﺒﻬـﻡ ﺒﻁﺒﻴﻌــﺔ ﺍﻟﺤــﺎل ،ﻜﻤــﺎ ﺘﺴــﻠﱠل ﺍﻟﻘﺒﻴﻠﺔ ﺍﻟﺘﻲ ﻴﻌـﻴﺵ ﻓـﻲ ﹶﻜﻨﹶﻔﻬـﺎ، ﻭﻁﺎﻟﺕ ﺍﻟﻤﺒﺎ ﺭ ﺯ ﹸﺓ ﺒﻴﻥ ﺍﻻﺜﻨـﻴﻥ، ﺒﻁﹶل ﺁﺨﺭ ﻤﻥ ﺃﺒﻁﺎل ﺍﻟﻌﺭﺏ ﻫـﻭ ﻭﺘﻔﻭﻕ ﻋﻠﻰ ﺍﻟﺠﻤﻴـﻊ ﻓـﻲ ﻟﹸﻌﺒـﺔ ﻭﻜﺎ ﺩ ﺍﻻﺒﻥ ﻴ ﹾﻘﻀِﻲ ﻋﻠﻰ ﺃﺒﻴﻪ ،ﻟﻭﻻ "ﻋ ﹾﻨ ﹶﺘﺭﺓ ﺒﻥ ﺸﺩﺍﺩ ﺍﻟ ﻌ ﺒﺴِﻲ" ،ﺍﻟـﺫﻱ www.alkottob.com ١٦ )ﺍﻨﻅﺭ :ﺴﻴﺭﺓ ﻋﻨﺘﺭﺓ( .ﻭﻟﻡ ﻴ ﹾﻐﻔِـل ﺠﺯﺭ ﻓﻲ ﺍﻟﺤﻭﺍﺩﺙ؛ ﻓﻤـﻥ ﺒﺎﻟ ﻤ ﺩ ﻭﺍﻟ ﺍﻟﺸﱠﺨﺼﻴﺔ ﺍﻟﺘﻲ ﺘﺴـﺘﻁﻴﻊ ﺃﺒـﺩﺍ ﺃﻥ ﺍﻟﺸﱠﻌﺏ ﻫﺫﻩ ﺍﻟﺤﻘﻴﻘﺔ ﻓﻴﻪ؛ ﻓﺎﻨﺘﺨﺒـﻪ ﺍﻟ ﻤ ﹾﻨﻁِﻕ ﺍﻟ ﻤﺴﺎﻴِﺭ ﻟﻬـﺎ ﺃﻻ ﺘﺼـﺒﺢ ﺨﻠﱠﺹ ﻤﻥ ﺍﻟﻤﺂﺯِﻕ؛ ﻓﻘﺎل "ﺴِـﻜﱠ ﹸﺔ ﹶﺘ ﹶﺘ ﹶ ﺩﻭﻥ ﻜﺜﻴﺭ ﻤﻥ ﺍﻟ ﹸﻔ ﺭﺴﺎﻥ .ﻭﻜل ﻤـﺎ ﺤﻴﺎﺓ ﺃﺒﻲ ﺯﻴﺩ ﻜﻠﻬﺎ ﺍﻨﺘﺼﺎﺭﺍ ،ﻭﺇﻻ ﻙ". ﺃﺒﻲ ﺯﻴﺩ ﹸﻜﻠﱡﻬﺎ ﻤﺴﺎِﻟ ﻲ ﻜـﺎﻥ ﺍﺒـﻥ ﺃَﻤـﺔٍ ﺴ ﻋ ﺭ ﺍﻟ ﻌ ﺒ ِ ﺍﻟﺸﱠﺎ ِ ﻭﻤﻥ ﺜﻡ ﻓﻨﺤﻥ ﻨﺭﺍﻩ ﻴ ﻬﺯﻡ ﻓﻲ ﺒﻌﺽ ﻫﻼل ﺍﻟﺭﺌﻴﺴﻴﺔ ﺠﻤﻴﻌﺎ .ﻭﻫﻭ ﺍﻟﺒﻁل ﺍﻷﺤﻴﺎﻥ. ﺍﻷﻜﺒﺭ ﻓﻲ ﺍﻟﻘِﺴﻡ ﺍﻷﻭل ﻤﻥ ﺍﻟ ﹶﻐ ﺯﻭﺓ m ﺍﻟﺘﻘﺕ ﻓﻴـﻪ ﺍﻟﻔﺭﻭﺴـﻴﺔ ﺒﺎﻟﺸﱢـﻌﺭ. ﻭﻟﻤﺎ ﻜﺎﻨﺕ ﺍﻟﻤﻠﺤﻤﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺘﻘﻭﻡ ـﺫﻩ ل ﺒﻬـ ـﻌﺏ ﻴ ﹶﺘ ﻤ ﱠﺜـ ُ ـﺫ ﺍﻟﺸـ ﻭﺃﺨـ ﻁﹶﻠ ﻴﻥِ ﻤﻥ ﻓـﺎﺭِﻕ ﻫـﻭ ﺃﻥ ﺒﻴﻥ ﺍﻟﺒ ﹶ .co ﺸ ﻴﺔٍ ،ﺃﻤﺎ ﺃﺒﻭ ﺯﻴﺩ ﺍﻟﻬﻼﻟﻲ ﻓـﺎﺒﻥ ﺤ ﺒ ِ ﺤﺠﺎ ِﺯﻴﺔ .ﻭﻟﻴﺱ ﻤﻌﻨﻰ ﺫﻟﻙ ﺸﹶﺭﻴﻔ ٍﺔ ِ ل ﺃﺤـﺩﻫﻤﺎ ﻋﻠـﻰ ﻀَ ﺃﻥ ﺍﻟﺸﱠﻌﺏ ﹶﻓ ﻭﻗﺩ ﺃﺴﻬﻡ ﺃﺒﻭ ﺯﻴﺩ ﻓﻲ ﻭﻗﺎﺌﻊ ﺒﻨﻲ ﻓﻘﺩﺕ ﺃﻫﻡ ﻋﻨﺎﺼﺭﻫﺎ ﺍﻟﻘﺼﺼـﻴﺔ؛ ﺃﻤﺎ ﺍﻟﺩﻋﺎﻤﺔ ﺍﻟﺜﱠﺎﻨﻴﺔ ﺍﻟﺘﻲ ﺘﺭﺘﻜـﺯ ﺍﻟﻬِﻼﻟﻴﺔ ،ﻭﻫﻭ ﺍﻟﻘِﺴـﻡ ﺍﻟﻤﻌـﺭﻭﻑ ﻋﻠﻴﻬﺎ ﺸﺨﺼﻴﺘﻪ ﻓﻬﻲ ﺍﻟﺤِﻴﻠﹶﺔ ،ﻭﻗـﺩ ﺒﺎﻟ ﺭﻴﺎﺩﺓ؛ ﺇﺫ ﻜﺎﻥ ﻋﻠﻴـﻪ ﺃﻥ ﻴـﺭﻭ ﺩ ﺏ ﻟﻬﺎ ﺒﺄﻥ ﻋﻠﱠﻤﻪ ﻤﺨﺘﻠﻑ َﺃ ﻫﹶﻠ ﻪ ﺍﻟﺸﱠﻌ ﺍﻟﻁﱠﺭﻴﻕ ﻤﻥ ﺃﺭﺽ ﹶﻨﺠﺩ ﺇﻟﻰ ﺒـﻼﺩ ﺍﻟﻌﻠﻭﻡ ﻭﺍﻟﻔﻨـﻭﻥ ﻭﺍﻟﻠﻐـﺎﺕ .ﻓﻬـﻭ ﺍﻟﻤﻐﺎﺭﺏ ﻓﻲ ﺇﻓﺭﻴﻘﻴﺔ ﺍﻟﺸﱠﻤﺎﻟﻴﺔ .ﻭﻗﺩ ﻭ ﹶﺘ ﺭ ﹶﺘﻜِ ﺯ ﺒﻁﹸﻭﹶﻟ ﹸﺔ ﺃﺒﻲ ﺯﻴﺩ ﻋﻠـﻰ ﻴﺴﺘﻁﻴﻊ ﺃﻥ ﻴ ﹶﺘ ﹶﻨﻜﱠـ ﺭ ﻓـﻲ ﺃﻱ ِﺯﻱ، ﺍﺼﻁﺤﺏ ﻤﻌﻪ ﺍﻟﻔِﺘﻴﺎﻥ ﺍﻷﻭﺍﺌِل ﻓﻲ ِﺩﻋﺎﻤ ﹶﺘ ﻴﻥِ ﺍﺜﻨﺘﻴﻥ؛ ﺃﻭﻻﻫﻤﺎ ﺍﻟﺸﱠﺠﺎﻋﺔ، ﻱ ِﻤ ﻬﻨﹶــﺔٍ ،ﻭﺃﻥ ﻑ َﺃ ﺤﺘﹶــﺭِ ﹶ ﻭﺃﻥ ﻴ ﺍﻟﻘﺒﻴﻠﺔ؛ ﻭﻫﻡ ﻴﺤﻴـﻰ ،ﻭﻤﺭﻋـﻲ، ﻭﻫﻲ ﻜﻤﺎ ﻨﻌﻠﻡ ﺼِﻔ ﹶﺔ ﺸﺎﺌِﻌﺔ ﺒـﻴﻥ ﺏ ﻁ ﺍﻟﺸـﻌ ﺴ ﹶﻘ ﹶ ﻴﺘﺤﺩﺙ ﺒﺄﻱ ﻟﻐﺔ .ﻭَﺃ ﻭﻴﻭﻨﺱ. ﻴﺒﺭﺯ ﻋﻠﻴﻬﻡ ﻓﻴﻬـﺎ ﺒﺤﻴـﺙ ﻴﻔﻘـﺩ ﺘﺤﺩﺙ ﻋﻥ ﺤﻴﻠﺘﻪ؛ ﺇﺫ ﻟـﻴﺱ ﻤـﻥ ﻤ ﺒ ﺭﺭﺍ ﻟﻠﻐﺯﻭﺓ ﺍﻟﻬﻼﻟﻴﺔ؛ ﻭﻫﻭ ﻭﻗﹸﻭﻉ ﺍﻟﺘﻨﺎﺴﺏ ﺒﻴﻨﻪ ﻭﺒﻴﻨﻬﻡ ،ﻭﻟﻡ ﻴﺒﺘﻜـﺭ ﻥ ﺍﻟﻤﻌﻘﻭل ﺃﻥ ﻴﺘﻨﻜﺭ ﻓﻲ ﺯِﻱ ﺭ ﻫﺒﺎ ِ ﺨﻠِﻴﻔﹶﺔ ﺃﻭﻟﺌﻙ ﺍﻟﻔِﺘﻴﺎﻥ ﺍﻟﺜﱠﻼﺜﺔ ﻓﻲ ﻴﺩ " ﹶ ﺼﻠﹶﺔ ﻟـﻪ، ﺨ ﺍﻟﺸﻌﺏ ﺍﻟﻌﺭﺒﻲ ﻫﺫﻩ ﺍﻟ ﹶ ﺹ ﻤـﺜﻼﹰ ،ﺃﻭ ﺃﻥ ﺍﻟﺭﻭﻡ ﻓﻲ ﻗﹸﺒـﺭ ِ ﺍﻟ ﺯﻨﹶﺎﺘِﻲ" ﺒﻤﺩﻴﻨﺔ ﺘﻭﻨﺱ ﺍﻟﺨﻀﺭﺍﺀ. ﻭﻟﻜﻨﻪ ﺒﺎﻟﹶﻎ ﻓﻴﻬﺎ ﺤﺘﻰ ﺃﺨﺭﺠﻬﺎ ﻋﻥ ـﺎﺭِﺱ ﹶﺘ ﹾﻐ ﻤ ـﺭﻩ ـﻭ ﺍﻟﻔـ ﺨ ـﺫﹶ ،ﻭﻫـ ﻴ ﱠﺘ ِ ott ob ﺍﻵﺨﺭ ،ﻭﻟﻜﻨﻪ ﺍﻫـﺘﻡ ﺒﻬﻤـﺎ ﻤﻌـﺎ، ﻭ ﹶﺘ ﹶﻐﻨﱠﻰ ﺒ ﻤﺤﺎﻤِﺩﻫﻤﺎ ﻭ ِﻓﻌﺎﻟِﻬﻤﺎ ﻤﻌﺎ. ﺃﺒﻁﺎل ﺍﻟﺴﻴﺭﺓ ﺠﻤﻴﻌﺎ ،ﻭﻟﻜﻥ ﺃﺒﺎ ﺯﻴﺩ ـﻌﺒﻴﺔ ـﺔ ﺍﻟﺸـ ـﺩﻋﺕ ﺍﻟﻤﻠﺤﻤـ ﻭﺍﺒﺘـ ﻤﻥ ﺤﺴﺎﺒﻪ ﺘﻠﻙ ﺍﻟﺼﻔﺔ ﺍﻟﻠﱠﻭﻨﻴﺔ ﻜﻠﻤﺎ alk ﺨﱠﻠﺹ ﻤـﻥ ل ﺃﺒﻭ ﺯﻴﺩ ﺤﺘﱠﻰ ﹶﺘ ﹶ ﺤﺘﹶﺎ َ ﻭﺍ ﺠﻌﺎ ﺇﻟﻰ ﻗﹶﻭ ِﻤ ِﻪ ﻓـﻲ ﺴﺭِ ،ﻭ ﹶﻜ ﺭ ﺭﺍ ِ ﻷ ﺍَ ﺍﻟﻤﻤﻜﻥ ،ﻭﺘﺠـﺎﻭﺯ ﺒﻬـﺎ ﺍﻟﻁﱠﺎﻗـﺔ ﻅ ﻬ ﺭ ﺍﻟﻤﺭﺃَﺓ ،ﻜﻤﺎ ﺒـﺩﺍ ﺍﻟﺭﺠﻭﻟﹶﺔ ،ﻤ ﹾ ﺨﻭﺍﺭِﻕ، ﺴﻠِﻜﻬﺎ ﻤﻊ ﺍﻟ ﹶ ﺍﻟﺒﺸﺭﻴﺔ ﻭﻜﺎﺩ ﻴ ﺒﻴﻥ ﺠﻤﻊ ﺍﻟﺠﺎﺯﻴـﺔ ﻋﻨـﺩ ﺃﺒـﻭﺍﺏ ﺏ ﻓﻬﻭ ﻜﻐﻴﺭﻩ ﻓﺎﺭِﺱ ﻴﺠِﻴﺩ ﺍﻟ ﺭﻜﹸـﻭ ﺘﹸــﻭﻨﺱ .ﻭﻗــﺩ ﺃﻟﺒﺴــﻪ ﺍﻟﺸــﻌﺏ ل ﻭﺍﻟ ﹶﻜ ﺭ ﻭﺍﻟ ﹶﻔ ﺭ ﻭﺍﻟ ﻤﻨﹶﺎ ﺯﻟﹶﺔ ﻭﺍﺴـﺘِﻌﻤﺎ َ ـﺏ ـﺏ ﻭﺍﻟﺭﺍﻫـ ـﻴﺎﺕ ﺍﻟﻁﱠﺒﻴـ ﺸﺨﺼـ ﺘﻭﻨﺱ ﻟﺘﺨﻠﻴﺹ ﺍﻟﺜﻼﺜﺔ ﻭﺘﺤﺭﻴﺭﻫﻡ. ﺍﻟﺴﻼﺡ ،ﺇﺫﺍ ﺼﺭﺥ ﺍﺭﺘﻌـﺩﺕ ﻟـﻪ ﻭﺍﻟ ﱠﻨﺩِﻴﻡ ﻭﺍﻟ ﻤ ﻬﺭﺝ ﻭﺍﻟﻤﺭﺃﺓ ،ﺒﻴـﺩ ﺃﻥ ﺨﺼِ ﻴ ﹶﺘ ﻴﻥِ ﻜﺎﻥ ﻴﻠﹶـ ﱡﺫ ﻟـﻪ ﺃﻥ ﺸﹾ ﺃﻫﻡ ﹶ ﺏ ﺍﻟﻌﺭﺒـﻲ ﻫـﺫﻩ ﻭﻗﺩ ﺁ ﹶﺜﺭ ﺍﻟﺸﻌ ﻥ ﺤﺒﻪ ،ﻭﺃﻋﻁﹶﺎﻫﺎ ﻤﻜـﺎ ﺍﻟﺸﺨﺼﻴﺔ ِﺒ ل ﺍﻟﻀـﺭﺒ ﹸﺔ ﺠﻨﹾـ ِﺩ ُ ﻓﻲ ﻤﻨﹶﺎ ِﺯﻟِـﻪِ ﻭ ﹸﺘ ﻴﺼ ﻭﺭﻩ ﺒﺼﻭﺭﺘﻬﻤﺎ ﻫﻤـﺎ؛ ﺍﻟﻌﺒـﺩ ﺍﻟﺼﺩﺍﺭﺓ؛ ﻻ ﺒﻴﻥ ﺃﺒﻁﺎل ﺴﻴﺭﺓ ﺒﻨﻲ ﺍﻟﻭﺍﺤﺩﺓ ﻤﻥ ﺴِﻴ ِﻔ ِﻪ ﺍﻟ ﻌ ﺩ ﺩ ﺍﻟـﺫﻱ ﻻ ﻟﻤﻼﺀﻤﺘﻬﺎ ﻟﻪ ﻓﻲ ﺍﻟﻠﻭﻥ ،ﻭﺍﻟﺸﱠـﺎﻋِﺭ ﻫﻼل ﻓﺤﺴﺏ ،ﻭﻟﻜﻥ ﺒـﻴﻥ ﺃﺒﻁـﺎل ﻑ ﺤﺼﻰ ﻤـﻥ ﻋـ ﺩﻭﻩ ...ﻭ ﻴﻘﹾـ ِﺫ ﹸ ﻴ ﺠﻭﺍل ﻻﺘﻔﺎﻗﻬـﺎ ﻤـﻊ ﺸﺨﺼـﻴﺔ ﺍﻟ ﺴ ِﻴ ِﺭ ﺍﻟﺸﻌﺒﻴﺔ ﺠﻤﻴﻌﺎ ،ﻭﻗﺩ ﺍﻤﺘﺩﺕ ﺍﻟ ﻯ ﻻ ﻴﺒﻠﻐﻪ ﺍﻟﺒﺼ ﺭ! ﺤ ِﻪ ﺇﻟﻰ ﻤﺩ ِﺒ ﺭ ﻤ ِ ﺍﻟ ﻤ ﹾﻨﺸِﺩ ﻨﻔﺴﻪ. ﻥ ﻁِ ﻥ ﺍﻟـﻭ ﹶ ﺸ ﻬ ﺭﺘﹸﻪ ﺤﺘﻰ ﹶﻨ ﹶﻔﺫﹶﺕ ﻤِـ ﹸ w. www.alkottob.com ﺤﺩٍ ،ﻴﺴﺘﻬﺩﻓﻭﻥ ﻤﺩﻴﻨﺔ ل ﻭﺍ ِ ﺠٍ ﹶﻗ ﻭﻤ ﹶﺔ ﺭ ww ﺍﻟﻔﺭﺍ ِﺌﺹ ،ﺘﺴﺒﻘﻪ ﺸﻬﺭﺘﻪ ،ﻭﺘـﺅﺜﱢﺭ ﻨﹶﺠﺩ؛ ﻓﻤﺎ ﻜﺎﻥ ﻤﻨﻬﻡ ﺇﻻ ﺃﻥ ﻗـﺎﻤﻭﺍ ١٧ ﺏ ﺇﻓﺭﻴﻘﻴـﺔ ﺍﻟﻌﺭﺒﻲ ﺍﻟﻜﺒﻴﺭ ﺇﻟﻰ ﻏﹶﺭ ِ ﻭﺸﹶﺭﻗِﻬﺎ ﻋﻠﻰ ﺍﻟﺴﻭﺍﺀ. m ﺃﺑﻮ ﺍﻟﻘﹶﺎﺳِﻢ ABU Al-kassim .co ﺙ ﻋﻨـﻪ ﻲ ﻤﻨﺎﻓِﻕ ﺘﺤ ﺩ ﹶ ﻁﻔﹶﻴِﻠ ﹸﻜﻨﹾﻴ ﹸﺔ ﹸ ﺍﻷﺯﺩﻱ ﻓﻲ ِﻜﺘﹶﺎ ِﺒ ِﻪ "ﺤﻜﺎﻴﺔ ﺃﺒﻲ ﻗﺎﺴِﻡ ﻑ ﺴ ﺭ ﺩ ﻓﻴﻪ ﺍﻟﻤﺅﻟـ ﹸ ﺍﻟﺒﻐﺩﺍﺩﻱ" ،ﻭﻗﺩ ﹶﻗﺼﺔ ﻴﻭ ٍﻡ ﻤﻥ َﺃﻴﺎﻡ ﺃﺒـﻲ ﺍﻟﻘﺎﺴِـﻡ. ﻋ ِﺘﻘﹶـﺎ ﺩ ﻼﻨِﻴ ِﺯﻴﺔ .ﻭﺍﻻ ﺴﻁﹸﻭ ﺭ ِﺓ ﺍﻟﻤِﻴ ﹶ ﻷ ﺍُ ﻭﺍﻟﻤﻭﺴﻴﻘﹶﻰ ﻭﺍﻟﻁﱢﺏ .ﻭﻤﻥ ﺃﻟﻘﺎﺒـﻪ ﺍﻟﺴﺎ ِﺌ ﺩ ﻓﻴﻬﺎ ﻫﻭ ﺃﻨﻪ ﻴ ﹶﻘ ﻊ ﻓﻲ ﺇﺤـﺩﻯ ﺤﻴـﺎﺓ ﻤـﻥ "ﺍﻟﺭﺍﻋﻲ" ﻭ "ﺤﺎﻤِﻲ ﺍﻟ ﺠﺯﺭ ﺍﻟ ﹶﻘﺭِﻴﺒﺔ. ﺍﻟ ﺍﻟﺫﱢﺌﺎﺏ ﻭﺍﻟ ﹶﻔﻼﱠﺤﻴﻥ ﻤﻥ ﺍﻟﻔِﻴﺭﺍﻥ". ﺃﹶﭘﻮﻟﱡﻮ ﻭﺃﻴﺎ ﻜﺎﻥ ﺍﻟﺭﺃﻱ ﻓﻤﻥ ﺍﻟ ﻤ ﹾﻘﻁﹸـﻭﻉ APOLLO ﺹ ﺍﻟ ﻤ ﹶﻨ ﻭﻋـ ﹶﺔ ﻟﻬـﺫﺍ ﺨﺼﺎ ِﺌ ﺒﻪ ﺃﻥ ﺍﻟ ﹶ ﻤﻥ ﺃﻫﻡ ﺍﻵﻟﻬﺔ ﺍﻹﻏﺭِﻴﻕ ،ﻭﻟـﻪ ﺴ ﹶﺘﻘﹶﺎﺓ ﻤﻥ ﻤﻨﹶـﺎﺒِﻊ ﺍﻹﻟﻪ ﺍﻟﻜﻼﺴﻲ ﻤ ﺍﻟ ﻤﻜﹶﺎﻨﹶﺔ ﺍﻟﻌﻠﻴﺎ ﺒﻌﺩ "ﺯﻴﻭﺱ"؛ ﻭﻫـﻭ ﻥ ﺒﻬـﺫﺍ ﻤﺨﺘﻠِﻔﺔ .ﻭﺃﻫﻡ ﺼﻔﺔ ﹶﺘ ﹾﻘﺘﹶـﺭ ـﻥ ـﺎﻁِﻴﺭ ﺍﻟﻜﻼﺴـﻴﺔ ﺍﺒـ ـﻲ ﺍﻷﺴـ ﻓـ ﻷﻤـﻭﺭ ﺍﻹﻟﻪ ﻫﻲ ﺍﻫﺘﻤﺎﻤﻪ ﺒﺠﻤﻴﻊ ﺍ ُ "*ﺯﻴﻭﺱ" ﻭ"*ﻟﻴﺘﻭ". ﻥ ﻭﺍﻟﻨﱢﻅﺎﻡ ،ﺇﻟـﻰ ﺱ ﺍﻟﻘﺎﻨﹸﻭ ﺍﻟﺘﻲ ﹶﺘ ﻤ ﻭﺘﺫﻫﺏ ﺍﻷُﺴـﻁﹸﻭﺭﺓ ﺇﻟـﻰ ﺃﻨـﻪ ott ob ﻭﻴﺭﻭﻯ ﺃﻥ ﻫﺫﺍ ﺍﻟﺭﺠل ﺍﺴـﺘﻁﹶﺎﻉ، ﺕ ﺍﻟ ﻤ ﻭﺘﹶﻰ ﻓﻲ ﺨ ﺭ ﺃﻭ ﺒﻴ ﹸ ﺍﻟﻌﺎﹶﻟ ﻡ ﺍﻵ ﹶ ﺒﺎﻋﺘﺒﺎﺭﻩ ﺭﺍﻋﻴﺎ ﻟﻔﻥ ﺍﻟﺭﻤﻲ ﺒﺎﻟ ﹶﻘﻭﺱ ﺠ ﹶﺘﺫِﺏ ﺇﻟﻴـﻪ ﻷ ﹾﺘﻘِﻴﺎﺀِ ،ﺃﻥ ﻴ ﻏﺔِ ﺍ َ ﻼﹶ ﺒِﺒ ﹶ ﻉ ﺠﻤ ٍﻊ ﻤﻥ ﺍﻟﺤﺎﻀِﺭﻴﻥ ﻓـﻲ ﺃﺴﻤﺎ ﻤﺄﺩﺒﺔ ،ﻭﺃﺨﺫ ﻴﺴﺨﺭ ﻤﻥ ﺍﻟﻀـﻴﻭﻑ ﻭﺼﺎﺤِﺏ ﺍﻟﺩﻋﻭﺓ ،ﻭﺃﺴـﻬﺏ ﻓـﻲ ـﺩﺍﺩ ـﺎﺌِل ﺒﻐـ ﻀـ ـﻴﻥ ﹶﻓ ـﺔ ﺒـ ﺍﻟﻤﻘﺎﺭﻨـ ل ﺃﺒﻭ ﺍﻟﻘﺎﺴﻡ ﻴﻁﻠِﻕ ﻭﺃﺼﻔﻬﺎﻥ .ﻭﻅ ﱠ ﻨِﻜﺎﺘﹶﻪ ﺍﻟﺴﺭﻴﻌﺔ ﻁﻭﺍل ﺍﻟ ﻤ ْﺄﺩﺒﺔ .ﻭﻟﻤﺎ ﺴﻭﻗﻴﺎ .ﻭَﺃ ﻤﻌﻥ ﻓﻲ ﺍﺤ ِﺘﺴﺎ ِﺀ ﺍﻟﺸﱠﺭﺍﺏ ﻕ ﺤﺘﻰ ﺍﺴﺘﻭﻟﹶﻰ ﻋﻠﻴﻪ ﺍﻟﻨﱠﻭﻡ ،ﺜﻡ ﺃﻓـﺎ ﹶ ﻤﻥ ﺍﻟﺨﻤﺭ ﻭ ﹶﺘﻅﹶﺎ ﻫ ﺭ ﺒﺎﻟﺯﻫـ ِﺩ ﻤـﻥ ﻑ ﻓـﻲ ﺇﻁـﺎﺭ ل ﺍﻟﻤﺅﻟ ﹸ ﺨَ ﻭﻗﺩ ﺃَﺩ ﹶ ﺼ ِﺘ ِﻪ ﺍﻟﻤﺫﻜﻭﺭﺓ ﻋﻥ ﺃﺒﻲ ﺍﻟﻘﺎﺴِـﻡ ِﻗ ﻑ ﻁﻠﹶﺤﺎﺕِ ﺍﻟﺤِــ ﺭ ِ ﺏ ﻭ ﻤﺼــ ﹶ ﻷ ﺩ ِ ﺍَ ﺨﻼﹶﻋ ِﺔ ﻭﺍﻟ ﹸﻔﺠﻭ ِﺭ. ﺍﻟﻤﺨ ﹶﺘِﻠﻔﹶﺔ ﻭﺸِﻌ ِﺭ ﺍﻟ ﹶ ﺃﹶﺑﻮ ﻛﹶﺎﺱ ABOKAS www.alkottob.com ﻏ ﻴﺭﺓِ ﺤﻴﺙ ﹶﻓﺭﺕ ﺃﻤﻬﻤﺎ "ﻟﻴﺘﻭ" ﻤﻥ ﹶ ﻙ ﺍﻹﻨﺴﺎﻥ ﻓﺤﺴﺏ، ﺴﻠﹸﻭ ِ ﻤﺎ ﻴﺘﺼل ﺒ "* ِﻫِﻴﺭﺍ". ﺠﻬـﻭ ِﺩ ﺸ ِﺭﻑﹸ ﺃﻴﻀﺎ ﻋﻠـﻰ ﻭﻟﻜﻨﻪ ﻴ ﹾ ﺠﺴﻡ ﻓﻲ ﺤﻴـﺎﺓ ﺍﻟﻴﻭﻨـﺎﻥ ﻭﻫﻭ ﻴ ﻥ ﺍﻹﻨﺴﺎﻥ ﺍﻟﻌﺎﻤﺔ؛ ﻤﺜل ﺇﻨﺸﺎﺀ ﺍﻟﻤـ ﺩ ِ ﺠﻤِﻴ ﻊ ﺍﻟ ِﻘ ﻴ ِﻡ ﺍﻟﺤﻀﺎ ِﺭﻴﺔ. ﺍﻟﻘﺩﻴﻤﺔ ﻥ ﺠ ِﻤﻌـﻭ ﻭﻤﻊ ﺫﻟﻙ ﻓﺈﻥ ﺍﻟ ﻌﻠﹶﻤﺎﺀ ﻴ ﻥ ﺍﻟﻘﹶـﻭﺍﻨِﻴﻥ ﻀ ِﻊ ﺍﻟﺩﺴﺎﺘِﻴﺭ ﻭﺴـ ﻭ ﻭ ﻲ ﻋﻠﻰ ﺃﻥ "َﺃﭙﻭﻟﱡـﻭ" ﻟـﻴﺱ ﻴﻭﻨـﺎ ِﻨ ل ﺃَﺼﻠِﻪ: ﻷﺼل .ﻭﻫﻨﺎﻙ ﺭ ْﺃﻴﺎﻥ ﺤﻭ َ ﺍَ ﺍﻷﻭل ﻴﺫﻫﺏ ﺇﻟﻰ ﺃﻨـﻪ ﻗﹶـ ِﺩ ﻡ ﺇﻟـﻰ ﺍﻟﻴﻭﻨﺎﻥ ﻤﻥ ﻗﻠﺏ ﺁﺴﻴﺔ ﺍﻟﺼـﻐﺭﻯ، ﻭﺘﻔﺴﻴﺭﻫﺎ. ﺹ َﺃﭙﻭﻟﱡـﻭ ﺍﻷﻭل ﻓـﻲ ﻭﺍﺨ ِﺘﺼﺎ ﻕ ﺍﻟ ﹶﻘﻀﺎ ِﺀ ﻓﻲ ﺤﱡ ﻤﺠﺎل ﺍﻟﻘﺎﻨﻭﻥ ﻫﻭ ﺠﺭﺍﺌِﻡ ﺍﻟﻘﺘل؛ ﺫﻟﻙ ﻷﻥ ﺍﻟﻘﺘل ﻴﺤﻤل ـﺎﻡ ﺽ ﺍﻟﻨﱢﻅـ ﻋﻁﹶﺎ ِﻓ ـ ِﻪ ﹶﺘ ﹾﻔ ـﻭِﻴ ـﻲ َﺃ ﻓـ ﻭﻴﻌﺘﻘﺩ ﺃﺼﺤﺎﺏ ﻫـﺫﺍ ﺍﻟـﺭﺃﻱ ﺃﻥ ﻕ ﻤﻥ ﺍﺴﻡ "ﺃﭙﻭﻟﻭﻨـﺎﺱ" ﺍﺴﻤﻪ ﻤﺸ ﹶﺘ ﹼ ﻲ ﺍﻟﻘـﺎﺌِﻡ ﻋﻠـﻰ ﻭﻫﻭ ﺍﻹﻟﹶﻪ ﺍﻟﺤِﻴﺜِـ ﺤﺭﺍﺴﺔ ﺍﻷﺒﻭﺍﺏ .ﻭﺍﻟﺜﱠﺎﻨﻲ ﻴﺅﻜﱢﺩ ﺃﻥ َﺃﭙﻭﻟﱡﻭ ﻜﺎﻥ ﻓﻲ ﺃﺼﻠﻪ ﺇﻟﻪ ﺍﻟ ﺭﻋﺎﺓ ﻓﻲ ﻥ ﻓـﻲ ﺒﺭﺍﺭِﻱ ﺍﻟﺸﱠـﻤﺎل ،ﻭﻴـ ﺭ ﻭ ـﻪ ل ﻭﻅﻴﻔﺘـ ﺼـ َ ـﺫﻩ َﺃ ﺼ ـ ﻭ ﺭ ِﺘ ِﻪ ﻫـ ﺨﺭﻭﺠـﺎ ﻋﻠـﻰ ﺍﻻﺠﺘﻤﺎﻋﻲ ،ﻭﻴﻌﺩ ﹸ ﺍﻟﻨﱠﺎﻤﻭﺱ ﺍﻹﻟﻬﻲ ،ﻭﻤﻥ ﺜﻡ ﻴﺘﻁﻠﱠـﺏ ﺍﻟ ِﻘﺼﺎﺹ ﻋﻠﻰ ﻴﺩ ﻫﺫﺍ ﺍﻹﻟﻪ ﺍﻟـﺫﻱ ww ﺏ ﻜﺜﻴﺭﺍ ﻤﻥ ﺍﻟﻤﻌﻠﹸﻭﻤﺎﺕ ﻋـﻥ ﹸﻜﺘﹸـ ِ ﺠﺯِﻴـﺭﺓ "ﺩﻴﻠـﻭﺱ"؛ ﺃﺭﺘﻴﻤﻴﺱ" ﻓﻲ ﺸ ِﺭﻑﹸ ﻋﻠﻰ ﺍﻟ ﹸﻔﻨﹸﻭﻥ ،ﻭﻜل ﻭﻫﻭ ﻻ ﻴ ﹾ w. ﺠﺩِﻴﺩ. ـﻭﺃَﻡ "* ﺸـﻘِﻴ ﹶﻘﺘِﻪِ ﺍﻟ ﱠﺘـ ـﻊ ﹶ ـﺘﻘ ﺭ ﻤـ ﺍﺴـ ﻭﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻷﺨﻼﻗﻴﺔ ﻭﺍﻟﻌﻘﻠﻴﺔ؛ alk ﹶﻟ ِﻌﺒﺕ ﺍﻟﺨﻤ ﺭ ﺒﺭﺃﺴﻪ ﺃﺼﺒﺢ ﹶﺜ ﺭﺜﹶﺎﺭﺍ ﻋﻨﹶﺎﻴﺘﻪ ﺒﺎﻟ ﻤﺠﺎﻻﺕ ﺍﻟﻁﹼﺒﻴﻌﻴـﺔ ﺠﺎﻨﺏ ِ ﻴﺭﻤﻲ ﺍﻟﻤﺠﺭِﻤﻴﻥ ﺒ ﹶﻘ ﻭﺴِﻪ .ﺒﻴـ ﺩ ﺃﻥ ل ﻴﺘﻀﻤﻥ ﺃﻴﻀﺎ ﺍﻟ ﺩ ﹶﻨﺱ ،ﺍﻟـﺫﻱ ﺍﻟ ﹶﻘ ﹾﺘ َ ﻗﺩ ﻴﺸﻤل ﺍﻟﻤﺠﺘﻤﻊ ﺒَﺄﺴـﺭِﻩ ،ﻋـﻥ ﻁﺭﻴﻕ ﺍﻻﺘﱢﺼـﺎل ﺒـﺎﻟ ﻤ ﻭﺘﹶﻰ ﻭﻤـﺎ ١٨ ﻁ ﻬ ﺭ ﻤﻥ ﻭَﺃﭙﻭﻟﱡﻭ ﻫﻭ ﺍﻟﺫﻱ ﻴﻤﻨﺢ ﺍﻟ ﱠﺘ ﹶ ﺍﻟ ﺩ ﹶﻨﺱ ،ﻭﺇﻥ ﻜﺎﻥ ﻏﻴﺭ ﻤﻘﺼﻭﺩ ،ﻗﺩ ﻤﻨﻪ "ﺩﻭﻜﺎﻟﻴﻭﻥ" ﻭﺯﻭﺠﺘﻪ "ﺒﻴﺭﻫـﺎ"، ﺢ ﺃﻥ ﻫﺫﺍ ﻫـﻭ ﺠ ﺫﻟﻙ ﺍﻟ ﺩﻨﹶﺱ ،ﻭﺍﻟﺭﺍ ِ ﻼﻙِ ،ﻭﻫـﺫﺍ ﻴ َﺅﺩﻱ ﺒ ﻤ ﺭ ﹶﺘ ِﻜ ِﺒ ِﻪ ﺇﻟﻰ ﺍﻟ ﻬ ﹶ ﻭﺃَﻨﺸﹶﺩ ﺃﭙﻭﻟﻭ ﺃﻏﻨﻴﺔ ﺍﻟﻨﱠﺼـﺭ ﺍﻟﺘـﻲ ﺏ ﺒﺤـﺎﻤِﻲ ﺍﻟﺴﺒﺏ ﺍﻟﺫﻱ ﺠﻌﻠﻪ ﻴﻠﻘﱠـ ﻲ ﺃَﻴﻀﺎ. ﻋ ﹾﻘِﻠ ﺃﻤﺭ ﻭﻗــﺩ ﺍﺨﺘــﺎﺭ ﺍﻹ ﻤ ﺒﺭﺍﻁﹸــﻭﺭ ﺍﺸﺘﻬﺭ ﺒﻬﺎ ،ﻭﺃﻨﺸﺄ ﺍﻷﻟﻌﺎﺏ ﺍﻟﺒِﻴ ِﺌﻴﺔ. ﻭﺒﻴﻨﻤﺎ ﻜﺎﻥ "ﻓﻴﺘﻭﻥ" ﻴﻘـﻭﺩ ﻋﺭﺒـﺔ َﺃﺫﹶﻯ ،ﻭﺒﺤﺎﺭِﺱ ﺍﻷﺒـﻭﺍﺏ .ﻭﻤـﻥ ﻲ "ﺃﻭﻏﺴﻁﺱ" ﻓﻲ ﺸﹶـﺒﺎﺒِﻪ ﺍﻟﺭﻭﻤﺎﻨ ﻋﺒـ ﺭ ﺤﹶﻠﺔٍ ﺍﻟﺸﱠﻤﺱ "ﻫﻠﻴﻭﺱ" ﻓﻲ ﺭِ "ﺃﭙﻭﻟﻭ" ﺇﻟﻬﺎ ﻟـﻪ ،ﻭﻜـﺎﻥ ﻴﻌـﺯﻭ ﺍﻟﺴﻤﺎﺀ ﻗﺘﻠﻪ "ﺯﻴﻭﺱ" ﻓﻤﺎ ﻜﺎﻥ ﻤـﻥ ﺍﻨﺘﺼﺎﺭﻩ ﻋﻠﻰ ﺃﻨﺘﻭﻨﻲ ﻭﻜﻠﻴﻭﺒـﺎﺘﺭﺓ "ﺇﺴﻜﻠﺒﻴﻭﺱ" ﺇﻻ ﺃﻥ َﺃﻋـﺎﺩ ﺍﻟﺤﻴـﺎﺓ ﺇﻟﻰ ﹶﺘ ﹶﻔ ﻭﻕِ َﺃﭙﻭﻟﱡـﻭ ﻋﻠـﻰ ﺍﻵﻟﻬـﺔ ﺇﻟﻴﻪ ،ﻭﻟﻜﻨﻪ ﺩﻓﻊ ﺤﻴﺎﺘﻪ ﺜﻤﻨﹰﺎ ﻟـﺫﻟﻙ، ﺙ ﻉ ﻓﻲ ﺍﻟ ﻌﺼﺭ ﺍﻟﺤـﺩِﻴ ِ ﻭﻟﻘﺩ ﺸﺎ ﺍﻹﻤﺒﺭﺍﻁﻭﺭ ﺘﹶﺨِﻠﻴﺩﺍ ﻻﻨﺘﺼﺎﺭﻩ ﻓـﻲ ﻥ ﻋ ﻴ ٍ ﻲ ﺫﻭ ﺨﺭﺍ ِﻓ "ﺍﻟﻜﻴﻜﻠﻭﺒﺱ" )ﻜﺎﺌِﻥ ﹸ ﻕ ﺒﻴﻥ ﺍﻻﺘﹼﺠﺎﻩ ﺍﻟﻌﻘﻠﻲ ﺍﻟ ﻤ ْﺅ ِﺜ ِﺭ ﺍﻟﺘﱠﻔﺭِﻴ ﹸ ﻤ ﻭ ِﻗ ﻌ ِﺔ "ﺃﻜﺘﻴﻭﻡ" ﻤﻌﺒـﺩ "ﺍﻟﺒﻼﺘـﺎﻴﻥ" ﺠ ﺒ ﻬ ِﺘ ِﻪ(؛ ﻷﻨﻪ ﺍﺴـﺘﺨﺩﻡ ﻭﺍﺤِﺩﺓ ﻓﻲ ﺠﺴـ ﻤ ﻪ َﺃﭙﻭﻟﱡـﻭ، ﺸﺭِﻕ ﻴ ﻟﻠﻨﱢﻅﺎﻡ ﻭﺍﻟ ﻤ ﹾ ﻷﭙﻭﻟﻭ. ﺍﻟﺼﺎﻋﻘﺔ ﺍﻟﺘﻲ ﻴﺴﺘﻌﻤﻠﻬﺎ "ﺯﻴـﻭﺱ" m ﺸﺭﻴﺭﺓ. ﺴ ﹾﻔِﻠﻴﺔ ِ ﻯ ﺤ ِﺭﺯﻭ ﹶﻨ ﻪ ﻤﻥ ﻗﹸﻭ ﻴ ﺍﻷﺨــﻼﻕ ﺍﻟ ﺒﺸﹶــ ِﺭﻴﺔ ،ﻭﺇﺩﺭﺍﻙ ﺃﻥ ﻥ ﺍﻟ ﹶﻔﻴﻀﺎﻥ ﺍﻟﺫﻱ ﹶﻨﺠﺎ ﺨﻠﱠﻑ ﻋﻥ ﻁِﻴ ِ ﹶﺘ ﹶ ﺤ ﻴﻭﺍﻥ ﻤﻥ ﻜـل ﺤﻤﻰ ﺍﻹ ﹾﻨﺴﺎﻥ ﻭﺍﻟ ِ .co ﻕ ﺃﻥ ﻗِﻴﺎ ﻡ َﺃﭙﻭﻟﱡﻭ ﺒﻬﺫﻩ ﺍﻟﻭﻅﻴﻔﺔ ﺤ ﱠﻘ ِ ﺍﻟ ﻤ ﻁﻬـﺭٍ ،ﻴﻌـ ﺩ ﺽ ﻭ ﻤ ﹶ ﺍﻟ ﻤ ﺯ ﺩ ِﻭﺠﺔ ﹶﻜﻘﹶﺎ ٍ ﺴﻁﹶﻰ ﺒﻴﻥ ﺍﻟﺩﻴﻥ ﺍﻟﻬﻴﻠﻴﻨـﻲ ﺤﻠﹾﻘ ﹰﺔ ﻭ ﺼ ِﺭﻴﺔ ﻭﺍﻟﺸﱠﺭ ِﻗﻴﺔ ،ﻭﺸﹶـ ﻴ ﺩ ﻫـﺫﺍ ﺍﻟ ِﻤ ott ob ﻭﺒﻌﺽ ﺍﻟﻌﻘﺎﺌﺩ ﺍﻟﻘﺩﻴﻤﺔ. ﻏﻀـﺒﺎ ﻭﻗﺘـل ﻁ َﺃﺒﻭﻟﱡـﻭ ﹶ ﺴ ﹶﺘﺸﹶﺎ ﹶ ﻓﺎ ﻲ ﻲ ﻭﺍﻻ ﹾﻨ ِﻔﻌﺎِﻟ ﺠﺩﺍ ِﻨ ﻭﺒﻴﻥ ﺍﻻﱠﺘﺠﺎ ِﻩ ﺍﻟ ِﻭ ﻭﻜﺎﻨﺕ ﹶﺘ ﹶﻨﺒﺅﺍﺕ َﺃﭙﻭﻟﱡـﻭ ﻤﻭﻀِـ ﻊ ﻟﻴﻘﺘل ﺒﻬﺎ "ﺇﺴﻜﻠﺒﻴﻭﺱ"؛ ﻓﺤﻜﻡ ﻋﻠﻰ ﺒِﺘ ْﺄﺜِﻴﺭ ﺁﺭﺍﺀ "ﻨِﻴ ﹾﺘﺸﹶـﻪ" ﻭ "ﺇﻴـﺭﻭﻴﻥ ﺩﻟﻔﻲ ﺇﺒﺎﻥ ﺍﻟﺤـﺭﻭﺏ ﺍﻟﺒﻠﻴﺒﻭﻨﻴﺯﻴـﺔ ﺍﻟﻤﺨﻠﻭﻗﻴﻥ ﻭﻫﻭ ﺍﻟﻤﻠﻙ "ﺃﺩﻤﻴﺘـﻭﺱ" ﻥ ﻫﺫﺍ ﺍﻟﺘﻔﺭﻴـﻕ ﻟـﻴﺱ ﺭﻭﺩ" .ﺒ ﻴ ﺩ ﺃ ﻑ ﺒﺨﺎﺼﺔ؛ ﻭﺫﻟﻙ ﻋﻨﺩﻤﺎ ﺯﺍﺩ ﺍﻟﺸﱠ ﹶﻐ ﹸ ﺼﺎﺤﺏ ﺘﺴﺎﻟﻴﺎ ﻟﻤﺩﺓ ﻋﺎﻡ. ﺩﻗﻴﻘﹰﺎ ﻜل ﺍﻟ ﺩﻗﱠﺔ؛ ﻓﺎﻟﺸﱡﻌﺭﺍﺀ ﻴﺼﻔﻭﻥ ﺒﻤﻌﺭﻓﺔ ﺍﻟﻤﺴﺘﻘﺒل ﻋﻠﻰ ﻨﺤـﻭ ﻤـﺎ ﺼﻔﹶﺔ ﹶﺘ ﺩلﱡ "َﺃﭙﻭﻟﱡﻭ" ﺒﺎﻟﻤﺸﺭِﻕ؛ ﻭﻫﻲ ِ ﺏ ﺍﻟ ﺤ ﺭﻭ ِ ﺤﺩﺙ ﺍﻵﻥ ﻓﻲ ﺍﻟ ﻴ ﺤﺩِﻴﺜﹶﺔ. ﺴﻤﻪ ِﺩﻴﻭﻨﻴﺴﻭﺱ؛ ﻭﺫﻟﻙ ﺠ ﻭﺍﻟ ﻤ ﻌﺘِﻡ ،ﻴ ﺠ ﻌ ٍﺔ ﻭﻻ ﺴﻴﻤﺎ ﹸﻨﺒـﻭﺀﺓ ﺴ ٍﺔ ﻭ ﻤﺭﺍ ِﺩﺭﺍ alk ﺱ ﻋﻨﺩ ﺃﺴﺨﻴﻠﻭﺱ؛ ﻓﻘﺩ ﻨﺎﺼﺭ ﺍﻟﺸﱠﻤ "ﺁﺭﺠﻭﺱ" ﻭ"ﻜﻭﺭﻭﻨﻴﺱ" ﻤﻥ ﺘﺴﺎﻟﻴﺎ ﺃﭙﻭﻟﻭ ﻓﻲ ﻤﺴـﺭﺤﻴﺔ "ﻴﻭﻤﻨﻴـﺩﺱ" ﻭﻜﻠﻴﻤﺎﻨﺱ ﻭﻜـﺎﻟﻴﻭﺒﻲ ﻭﺴـﻴﺭﻴﻨﻲ، )ﺁﻟﻬﺔ ﺍﻻ ﹾﻨ ِﺘﻘﹶﺎﻡ( ﻤﻨﻬﺠﺎ ﻋﻘﻠﻴـﺎ ﻓـﻲ ﻭ ﹶﺘ ﺭ ﱠﻓﻌﺕ ﻋﻠﻴﻪ ﺩﺍﻓﻨﻲ ﻭﻤﺎﺭﭙﻴﺴـﺎ، ل ﺍﻷﺏ ﺍﻷﺨﻼﻕ ﻴﻘﻭﻡ ﻋﻠﻰ ﺘﹶﻔﻀِـﻴ ِ ﻭﺨﻁﺒﺘﻪ ﺍﻟﺤﻭﺭﻴﺔ ﻜﻠﻴﺘﻲ ﻭﻟﻡ ﺘﻭﻓﻕ. ﻭﺍﻟﻤﺠﺘﻤﻊ .ﻭ ﻴﺭﻯ ﺴﻭﻓﻭﻜﻠﻴﺱ ﻓـﻲ ﻭﺇﺴﻜﻠﺒﻴﻭﺱ ﻭﺃﺭﻴﺴﺘﺎﻴﻭﺱ ،ﻭ ﹶﻗﻀﻰ ﺤ ﻴﺘِﻪ "ﺃُﻭﺩﻴﺏ ﻤِﻠﻜﹰﺎ" ﺃﻥ ﻤ ِﺯﻴـ ﹶﺔ ﺴ ﺭ ِ ﻤ َﺃﭙﻭﻟﱡﻭ ﺒﻌﺩ ﻤ ﻭِﻟﺩِﻩ ﻋﺎﻤﺎ ﻓﻲ ﺍﻟﺸﱠـﻤﺎل ﺃﭙﻭﻟﻭ ،ﻭﻫﻲ ﺍﻟ ﱠﺘﻨﹶﺒـﺅ ،ﻴﺴـﺘﻁﻴﻊ ﺃﻥ ﺍﻷﻗﺼﻰ ،ﺜﻡ ﹶﺫﻫﺏ ﺇﻟﻰ ﺩﻟﻔﻲ؛ ﺤﻴﺙ ﻴﺤﺼﻠﻬﺎ ﺍﻹﻨﺴﺎﻥ ﺍﻟﻘﺎﺩِﺭ ﻋﻠﻰ ﻓﻬـﻡ ل "ﺍﻟﺒﻴﺘﻭﻥ" ﻭﻫﻭ ﺍﻟﺜﱡﻌﺒﺎﻥ ﺍﻟـﺫﻱ ﹶﻗ ﹶﺘ َ ﻭﻤﻌﺭﻜﺘﻪ ﻤﻊ "ﺍﻟﺒﻴﺘﻭﻥ" ﺃﺤﻴﺎﻨﹰﺎ ﻋﻠﻰ ﺃﻨﻬﺎ ﺭﻤﺯ ﻟﺭﺤﻠﺔ ﺍﻟﺸﱠﻤﺱ ﺍﻟﻴﻭﻤﻴـﺔ ﻭﺍﻟﺴﻨﻭﻴﺔ. ﺃﺑﻮ ﻣﻌﺸﺮ ﻭﻤــﻥ َﺃ ﺒﻨﹶﺎﺌِــ ِﻪ ﺃﻭﺭﻓﻴــﻭﺱ ABU MA'SHAR ﻋﻤـﺭ ﻫﻭ ﺠﻌ ﹶﻔ ﺭ ﺒﻥ ﻤﺤﻤﺩ ﺒﻥ ww www.alkottob.com ﻼﺘﹸـﻪ ﺤﹶ ﻭ ﻴ ﹶﻔﺴ ﺭ ﻤ ﻭِﻟ ﺩ َﺃﭙﻭﻟﱡـﻭ ﻭ ِﺭ w. ل ﻋﻠﻰ ﺍﻟﺫﱠﻜﺎﺀ .ﻭﻟﻘﺩ ﻜﺎﻥ َﺃﭙﻭﻟﱡﻭ ﻴ ﻤﺜﱢ ُ ﺤﺒﺕ ﺃﭙﻭﻟﻭ "ﭙﺴﺎﻤﺎﺕ" ﻤـﻥ ﻭﻗﺩ َﺃ ﻋﻠﻰ ﺍﻷﻡ ﻤﻥ ﺃﺠل ﺴﻼﻤﺔ ﺍﻷُﺴـﺭﺓ ﻋﻴﺎ ﻋﻨـﺩ ﺃﺤـﺩ ﺃﭙﻭﻟﻭ ﺒﺄﻥ ﻴﺨﺩﻡ ﺭﺍ ِ ﻑ ﻓـﻲ ﻋﺭِ ﹶ ﻲ ﻋ ﺭ ِﺒ ﺍﻟ ﺒ ﹾﻠﺨِﻲ ،ﻤ ﹶﻨﺠﻡ ﺃﻭﺭﻭﺒﺎ ﺍﻟﻐﺭﺒﻴﺔ ﺒﺎﺴﻡ ﺃﻟﺒﻭﻤﺎﺴـﺎﺭ، ﺸﻬﻭﺭ ﺼﺭﺍ ﻟﻠﻔﻴﻠﺴﻭﻑ ﺍﻟ ﻤ ﹾ ﻭﻜﺎﻥ ﻤﻌﺎ ِ ﻱ .ﻭﺘﹸﻌـﺯﻯ ﺸﹸـﻬ ﺭ ﹸﺘ ﻪ ﺇﻟـﻰ ﺍﻟ ِﻜ ﹾﻨ ِﺩ ١٩ ﻲ ﻓﻲ ﺃﻭﺍﺴِﻁ ﺴﻨﺔ ﺍﻟﺘﱠﻨﺠﻴﻡ .ﻭﻗﺩ ﺘﹸﻭ ﱢﻓ ﺒﻴﻥ ﻫﺫﺍ ﺍﻟﻜﺘﺎﺏ ﻭﻜﺘﺎﺏ ﺍﻟﻘِﺭﺍﻨﹶﺎﺕ، ﺍﻵﻟﻬﺔ ﺍﻟﺭﻭﻤﺎﻨﻲ .ﻭﻗـﺩ ﺍﻨﺘﺸـﺭﺕ ٢٧٢ﻫـــ )٨٨٦ﻡ( .ﻭﻴــ ﺭﻭِﻱ ﺍﻟﺫﻱ ﻴﻨﺴﺏ ﺃﻴﻀﺎ ﺇﻟﻰ ﺃﺒﻲ ﻤ ﻌﺸﹶﺭ. ﻋِﺒﺎ ﺩﺘﹸﻬﺎ ﻓﻲ ﺍﻟﻘﺎﺭﺓ ﺍﻷﻭﺭﻭﺒﻴﺔ ،ﺒﻌﺩ m ﺍﻟﻔِﻬﺭﺴﺕ ﻋﻥ ﺍﺒﻥ ﺍﻟ ﻤ ﹾﻜﺘِﻔﻲ ﺃﻥ ﺃﺒـﺎ ﺴﻁﹶﺎ ﻋﻠﻰ ﻤﺅﻟﱠﻔﺎﺕ ﺸﹶـﺘﱠﻰ، ﻤﻌﺸﺭ ﺕ ﺴﻨﺩ ﺒﻥ ﻋﻠﻲ. ﻭﺒﺨﺎﺼﺔ ﻤﺅﻟﻔﺎ ِ .co ﺼﻨﱠﻔﺎﺕ ﻋﺩﻴـﺩﺓ ﻭﻷﺒﻲ ﻤ ﻌﺸﹶﺭ ﻤ ﻨﺫﻜﺭ ﻤﻨﻬﺎ: ﻷ ﺯﻴﺎﺝ ،ﻭﻗﺩ ﺠﻤﻭﻋ ﹰﺔ ﻤﻥ ﺍ َ ) (١ﻤ ﺕ ـﺎ ِ ﺤ ﺭ ﹶﻜـ ـﺎ ﺼ ـ ﺩ ﻓﻴﻬـ ﹸﻓ ِﻘ ـﺩﺕ ،ﺭ ـﺎﺏ ـﺫﺍ ﺍﻟﻜِﺘـ ـﺕ" ﻭﻫـ )" (٤ﺍﻟ ﱡﻨ ﹶﻜـ ﺍﻟ ِﻜ ﹾﻠ ِﺘﻴﻴﻥ ﺤـﺎ ﺭﺒﻭﺍ ﻤـﻊ ﺍﻟﺠﻴـﻭﺵ ﺘﹶﻠﺨِﻴﺹ ﻟﻠﺭﺴﺎﻟﺔ ﺍﻟﺴﺎﺒﻘﺔ. ﻷﻟﹸــﻭﻑ ﻓــﻲ ﺒﻴــﻭﺕ )" (٥ﺍ ُ ﺍﻟﺭﻭﻤﺎﻨﻴﺔ .ﻭﺘﻅﻬﺭ ﻓﻲ ﺍﻵﺜﺎﺭ ﻭﻫﻲ ﺍﻟ ِﻌﺒﺎﺩﺍﺕ"؛ ﻭﻫﻭ ِﺩﺭﺍﺴﺔ ﻟﻠ ﻤﻌﺎﺒِﺩ ﻓﻲ ﻁ ِﻌ ﻡ ﻤﻬﻭﺭﺍ ،ﺃﻭ ﺠﻭﺍﺩﺍ ،ﺃﻭ ﺘﹸ ﹾ ﺘ ﻤ ﹶﺘﻁِﻲ ﺍﻟﻌﺎﻟﹶﻡ ﻜل ﺃﻟﻑ ﻋﺎﻡ. ﺠﻴﺎﺩ .ﻭﻜﺜﻴﺭﺍ ﻤﺎ ﺘﺒﺩﻭ ﻓﻲ ﻁ ﺒﻬﺎ ِ ﹸﺘﺤِﻴ ﹸ ) " (٦ﻤﻭﺍﻟِﻴﺩ ﺍﻟﺭﺠﺎل ﻭﺍﻟﻨﱢﺴﺎﺀ"؛ ﺕ ﻷ ﻤﻬـﺎ ِ ﺕﺍُ ﻫﺫﻩ ﺍﻵﺜﺎﺭ ﻤﻊ ﺍﻟ ﺭﺒـﺎ ِ ﻭﻫﻭ ﺭِﺴﺎﻟﹶﺔ ﻓﻲ ﹶ ﻁﻭﺍﻟِـﻊ ﺍﻟﺭﺠـﺎل ﺍﻟﻜ ﹾﻠ ِﺘﻴﺎﺕِ؛ ﻤﻤﺎ ﻴ ﺩلﱡ ﻋﻠﻰ ﺃﻨﻬﺎ ﺭﺒـﺔ ﺏ ﺃَﻴﻀـﺎ .ﻭﻴﻌﺘﻘـﺩ ﺃﻨﻬـﺎ ﺼ ِ ﺨ ِﻟ ﹾﻠ ِ ﻭﺍﻟﻨﱢﺴﺎﺀ ﻤ ﹶﻘﺴﻤﺔ ﺇﻟﻰ ﺍﺜﻨـﻲ ﻋﺸـﺭ ott ob ﺨﱢ ﺍﻟ ﹶﻜﻭﺍﻜِﺏ ﻋﻠﻰ ﺃﺴﺎﺱ ﹶ ﻁ ﺍﻟ ﺯﻭﺍل. ﻥ ﺃﻥ ﺸﺎﻉ ﺍﻋﺘﻘـﺎ ﺩ ﺒـﺄﻥ ﺍﻟ ﹸﻔ ﺭﺴـﺎ )" (٢ﺍﻟ ﻤ ﺩﺨﹶل ﺍﻟ ﹶﻜﺒِﻴـﺭ"؛ ﻭﻫـﻭ ِﺭﺴﺎﻟﹶﺔ ﻤ ﹶﻘﺴﻤﺔ ﺇﻟﻰ ﺜﻤﺎﻨﻴﺔ ﹸﻜﺘﹸﺏ ﻟـﻡ ﺠﻤﺕ ﺇﻟﻰ ﹸﺘ ﹾﻨﺸﹶﺭ ﺒﻌﺩ ﺒﺎﻟﻌﺭﺒﻴﺔ ،ﻭﺘﹸﺭ ِ ﻼﺘِﻴﻨﻴﺔ ﻤﺭﺘﻴﻥ .ﻭﺘﺸﻤل ﻋﺭﻀـﺎ ﺍﻟ ﱠ ﻥ ﺃﻥ ﻟﻨﻅﺭﻴﺔ ﺍﻟ ﻤﺩ؛ ﺤﺘﻰ ﺇﻨﻪ ﻴ ﻤﻜِـ ل ﺇﻥ ﺃﻭﺭﻭﺒـﺎ ﻓـﻲ ﺍﻟ ﻌﺼـﻭﺭ ﻴﻘﺎ َ ﻥ ﺍﻟﻤـ ﺩ ﺍﻟﻭﺴﻁﹶﻰ ﺘﻌﻠﱠﻤـﺕ ﻗـﻭﺍﻨﻴ ﺍﻟﻨﱠﻅﺭﻴﺔ ﹶﺘﺸﹸﻭﺒﻬﺎ ﺘﻔﺴﻴﺭﺍﺕ ﺃﻗـﺭﺏ ﺇﻟﻰ ﺍﻟﺨﻴﺎل؛ ﺇﺫ ﺠﻌل ﺃﺒﻭ ﻤﻌﺸـﺭ ﺍﻟ ﹶﻘﻤﺭ ﻴﺅﺜﱢﺭ ﺃﻴﻀـﺎ ﻓـﻲ ﺍﻟﺭﻴـﺎﺡ ﺍﻟﻘﻤﺭ ﺒﺄَﺴﺭﻩ. )" (٣ﺃَﺤﻜﹶــﺎﻡ ﺘﹶﺤﻭِﻴــل ﺴِــﻨِﻲ ﺴﻜﹸﻭﺭﻴﺎل ،ﻜﻤـﺎ ﻤﺨﻁﹸﻭﻁﹰﺎ ﻓﻲ ﺍﻹ ﻴﻭﺠﺩ ﻤﺨﻁﻭﻁ ﻓﻲ ﺍﻟﻤﻜﺘﺒﺔ ﺍﻷﻫﻠﻴﺔ ﺠ ﻪ ﹶ ﺒﺒﺎﺭﻴﺱ .ﻭﻫﻨﺎﻙ ﻭ ﺸﺒﻪٍ ﻜﺒﻴـﺭ ﺃﺑﻮ ﻣِﻘﹶﺺEARWIG ﻁﹶﻠﻕﹸ ﻓﻲ ﺍﻟﻭِﻻﻴﺎﺕ ﺍﻟ ﻤﱠﺘ ِﺤﺩﺓ ﺃﺑﻮ ﺍﻟﻨﺠﻢ ﺍﻟﻔﹶﻀﻞ ﺍﺴﻡ ﻴ ﹾ ﺸﺭﺓِ ﺍﻟ ﻤﺌِﻴ ِﻨﻴـﺔ ﺍﻟﺼـﻐﻴﺭﺓ، ﻋﻠﻰ ﺤ ﹶ ل ﺇﻟـﻰ ﺤﺸﹶﺭﺓ ﹶﺘ ﹶﺘﺴﱠﻠ ُ ﻭﻴﻘﺎل ﺇﻥ ﻫﺫﻩ ﺍﻟ ABU AL-NAJM ALFADL ﺁﺫﺍﻥ ﺍﻟﻨﱠﺎﺱ ﻭ ﹶﺘ ﹾﻠ ﹶﺘﻬِ ﻡ ﺍﻟ ﻤﺦﱠ .ﻭﻴﻌﺘﻘـﺩ ﺠﻠِﻲ، ﻫﻭ ﺍﻟ ﻤ ﹶﻔﻀل ﺒﻥ ﹸﻗﺩﺍﻤﺔ ﺍﻟ ِﻌ ل ﺨُ ﺍﻟﻨﱠﺎﺱ ﺃﻥ ﻋﻠﻰ ﺍﻟﻤﺭﺀ ﺍﻟﺫﻱ ﺘﹶـ ﺩ ﹸ ﺸﺭ ﹸﺓ ﺃﻥ ﻴ ﺭﻗﹸـ ﺩ ﻋﻠـﻰ ُﺃ ﹸﺫ ﹶﻨ ﻪ ﻫﺫﻩ ﺍﻟﺤ ﹶ ﻀ ﻊ ُﺃ ﹸﺫﻨﹶـ ﻪ ﺍﻟ ﻤﺼـﺎﺒﺔ ﺍﻷ ﺭﺽِ ،ﻭ ﻴ ﺕ ﺘﹸﺭ ﺒﺘﹸﻬﺎ ﺤـﺩِﻴﺜﹰﺎ، ﺽ ﹸﻗِﻠ ﺒ ﹾ ﻋﻠﻰ ﺃَﺭ ٍ ﺝ ﺨ ﺭ ﺸﺭ ﹶﺓ ﺴﻭﻑ ﹶﺘ ﹾ ﻭ ﻴﻘﹸﻭﻟﹸﻭﻥ ﺇﻥ ﺍﻟﺤ ﹶ ﻫﺎﺭِﺒ ﹰﺔ ﻤﻥ ﺍ ُ ﻷﺫﹸﻥ. ﺇﭘﻮﻧﺎ EPONA ل ﺨ ﻴلِ ﻓﻲ ﺒﻼﺩ ﺍﻟﻐﹶﺎل ﻗﹶﺒـ َ ﺭﺒ ﹸﺔ ﺍﻟ ﹶ ﺍﻟﻌﺼ ِﺭ ﺍﻟﺭﻭﻤﺎﻨﻲ؛ ﻭﻫﻲ ﺤﺎﺭِﺴـﺔ ﺤﻤِﻴﺭ ﻭﺍﻟ ِﺒﻐﹶـﺎل، ﻭﺭﺍﻋِﻴﺔ ِﻟ ﹾﻠﺨﹶﻴل ﻭﺍﻟ ﻭﻜل ﻤﺎ ﻴﺘﻌﻠﹼﻕ ﺒﻬﺎ .ﻭﻫـﻲ ﺍﻟﺭﺒـﺔ ﺍﻟﻜ ﹾﻠ ِﺘﻴﺔ ﺍﻟ ﻭﺤِﻴﺩﺓ ﺍﻟﺘﻲ ﻴﻀﻤﻬﺎ ﻤ ﹾﺜﻭﻯ www.alkottob.com ﻲ ﻋﺎﺵ ﻓـﻲ ﺍﻟﻘـﺭﻥ ﺸﺎﻋﺭ ﻋﺭﺒ ﺍﻷﻭل ﺍﻟﻬﺠﺭﻱ )ﺍﻟﺴﺎﺒﻊ ﻭﺍﻟﺜـﺎﻤﻥ ﻲ ﺒﻌـﺩ ﻋـﺎﻡ ﺍﻟﻤﻴﻼﺩﻴﻴﻥ( ،ﻭﺘﹸـﻭ ﱢﻓ ١٠٥ﻫـ ) .(٧٢٤ﻭﻗـ ِﺩ ﺍﺸﹾـ ﹸﺘ ِﻬ ﺭ ل ﻓﻴﻬــﺎ ـﻲ ﹶﺘﻨﹶــﺎﻭَ ﺒــﺄﺭﺍﺠﻴﺯﻩ ﺍﻟﺘـ ﺠﻤﺎل ﻤﻭﻀﻭﻋﺎﺕ ﺒ ﺩ ِﻭﻴﺔ ) ﻭﺼﻑ ﺍﻟ ِ ﺨﻴل ﻭﺍﻟ ﹸﻔﻬﻭﺩ ...ﺇﻟﺦ( .ﻭﻴﻀﻌﻪ ﻭﺍﻟ ﹶ ﺍﻟ ﱡﻨﻘﱠﺎ ﺩ ﻓﻲ ﺯﻤﺭ ِﺓ ﺍﻷﺭﺒﻌﺔ ﺍﻟﺴـﺒﺎﻗﻴﻥ ﻏﻠﹶـﺏ ﻭ ﹶﺘﻤِـﻴﻡ ﻷﹾ ﻓﻲ ﺍﻟ ﺭﺠﺯ ،ﻭﻫﻡ ﺍ َ ww ﺍﻟﻤﻭﺍﻟﻴﺩ" ،ﻭﻴﻭﺠﺩ ﺍﻷﺼل ﺍﻟﻌﺭﺒـﻲ ﻭ ﹸﻨ ﻤﻭﻫﺎ ﻭ ِﺭﻋﺎﻴ ِﺔ ﺍﻟ ﻤﻬﻭﺭ. w. ﻁ ﺍﻟ ﻤﻁﹶﺭ ﻭﻋﺎﻟﹶﻡ ﻤـﺎ ﺘﺤـﺕ ﺴﻘﹸﻭ ِ ﻭ ﻼ. ﻓﹶﺼ ﹰ alk ﺠﺯﺭ ﻓﻲ ﺍﻟﺒﺤﺭ ﻤﻨﻬﺎ .ﻭﻟﻜﻥ ﻫﺫﻩ ﻭﺍﻟ ل ﺨﻴـ ِ ﺨﺼـﻭﺒ ِﺔ ﺍﻟ ﹶ ﺍﻟﻤﺴﺌﻭﻟﺔ ﻋـﻥ ﹸ ﻑ ﻭﻋﺠﺎﺝ ﻭﺍﺒﻨﻪ ﺭ ْﺅﺒـﺔ .ﻭ ﻴﺼِـ ﹸ ﺤﻜﹰﺎ ﻭ ﹶﻗﻊ ﻀِ ﺏ ﺍﻟﻁﱠﺒﻘﺎﺕ ﻤﻨﹾﻅﺭﺍ ﻤ ﻜِﺘﺎ ل ﺤﻤـ َ ﻓﻲ ﺍﻟ ِﻤ ﺭﺒﺩ ﻷﺒﻲ ﺍﻟـﻨﱠﺠﻡ؛ ﺇﺫ ٢٠ ﺠ ﻤﻠِﻪ ﻭﻫﻭ ﻴﺭﻜﺒـﻪ ﻋﻠـﻰ ﻨﺎﻗﹶـ ِﺔ ِﺒ ﺕ ﺸﺩ ﺍﻟﺒﻴـ ﹶ ﺍﻟﻌﺠﺎﺝ ﻭﻫﻭ ﻋﻠﻴﻬﺎ ﹶﻓَﺄ ﹾﻨ ﹶ m ﺸﻬﻭ ﺭ: ﺍﻟ ﻤ ﹾ ﻋ ٍﺭ ﻤﻥ ﺍﻟ ﺒﺸﹶﺭ ل ﺸﺎ ِ ﺇﻨﹼﻲ ﻭﻜ ﱡ ﺸ ﻴﻁﹶﺎﻨِﻲ ﹶﺫﻜﹶﺭ ﺸ ﻴﻁﹶﺎﻨﹸﻪ ُﺃ ﹾﻨﺜﹶﻰ ﻭ ﹶ ﹶ .co ﺃﺑﻮ ﻧﻀﺎﺭﺓ ABU NADDARA "١٩١٢ – ١٨٣٩ﻡ " ABU NOWAS ﻥ ﺒﻥ ﻫﺎﻨﺊ ﺍﻟﺤﻜﻤـﻲ، ﻫﻭ ﺍﻟﺤﺴ ﺽ ﺍﻟﻤـ َﺅﻟﱢﻔﻴﻥ ﺴﻤﻴﻪ ﺒﻌـ ﺒﺎﻟﺠﻴﺯﺓ ،ﻴ ﺸﻌﺭﺍﺀ ﺍﻟﻌﺭﺏ ﺸﹸـﻬ ﺭ ﹰﺓ ﻓـﻲ ﻅ ﻡ ﹸ ﺃَﻋ ﹶ ـﺎ ﻡ ﻑ ﺃﻴـ ـ ﺭ ﹸ ـﺎﻥ ﻴﻌـ ـ ﹶﻨﻡ "ﻭﻜـ "ﺍﻟﺼـ ﻷ ﻫﻭﺍﺯ ﺴﻴﻴﻥ .ﻭﻟﺩ ﺒـﺎ َ ﻋﺼﺭ ﺍﻟ ﻌﺒﺎ ِ ﻲ "ﺒﻠﻬﻴـﺕ" ﻁ ﺴﻤِﻪ ﺍﻟ ِﻘ ﺒ ِ ﻁ ِﻤﻴﻴﻥ ﺒِﺎ ﺍﻟﻔﺎ ِ )٧٦٢ – ٧٤٧ﻡ( ،ﻭﻤﺎﺕ ﺒﺒﻐـﺩﺍﺩ ﻲ "ﺃﺒﻭ ﺍﻟﻬﻭل" ﺼِـﻴﻐﺔ ﺍﻻﺴﻡ ﺍﻟﻌﺭﺒ ﻓﻴﻤﺎ ﺒﻴﻥ ﺴﻨﺘﻲ ١٤٥ – ١٣٠ﻫــ ﺨ ﹶﺘﺼﻭﻥ ﺃﻥ ﺃﻭ "ﺒﻠﻬﺏ" .ﻭ ﻴ ﺭﺠﺢ ﺍﻟ ﻤ ﹾ ﻓﻴﻤﺎ ﺒﻴﻥ ﺴﻨﺘﻲ ٢٠٠ – ١٩٨ﻫــ ﻲ. ﻁ ﺸ ﻌ ِﺒﻴﺔ ﻤﺄﺨﹸﻭﺫﺓ ﻤﻥ ﺍﻻﺴ ِﻡ ﺍﻟ ِﻘ ﺒ ِ ﹶ )٨١٥ – ٨١٣ﻡ( .ﻭﻜﺎﻥ ِﻟ ﹾﻠ ِﻐﻠﹾﻤـﺎﻥ ﻭﻜﺎﻥ ﺠِﺴﻤﻪ ،ﻭﻫﻭ ﻋﻠـﻰ ﺸﹶـﻜلِ ﺨﻤﺭ ﺸﺄﻥ ﻜﺒﻴﺭ ﻓﻲ ﺤﻴﺎﺓ ﺃﺒـﻲ ﻭﺍﻟ ﹶ ﻷﺴﺩ ،ﻤﻁﹾﻤﻭﺭﺍ ﻓﻲ ﺍﻟﺭﻤﺎل ﺨﻼل ﺍَ ﻉ ﺍﻟ ﻤ ﹶﻐﻨﱡﻭﻥ ﺍﻟﻤﺘﺄﺨﱢﺭﻭﻥ ﹸﻨﻭﺍﺱ ،ﻭ ﹶﻨ ﺯ ﺍﻟﻌﺼﻭﺭ ﺍﻟﻭﺴﻁﹶﻰ ،ﻭﻟﻡ ﻴﻜﺸﻑ ﻋﻨﻪ ott ob ﺏ ﺒﻥ ﺭﻓﺎﺌﻴل ﺼﻨﱡﻭﻉ ﻜﺎﺘﺏ ﻴﻌﻘﹸﻭ ﻲ ل ِﻓ ﺭﻋـ ﻭ ِﻨ ﻲ ِﻟ ِﺘ ﻤﺜﹶﺎ ٍ ﺍﻻﺴ ﻡ ﺍﻟﻌﺭﺒ ﻭﺼﺤﻔﻲ ﻭﻜﺎﺘﺏ ﻤﺴـﺭﺤﻲ .ﻭﻗـﺩ ﻨﺸﺭ ﺼﺤﻴﻔﺔ "ﺃﺒﻭ ﻨﻀﺎﺭﺓ ﺯﺭﻗـﺎ" ﻭﻜﺎﻨﺕ ﺘﹸﻁﺒﻊ ﻋﻠﻰ ﺍﻟﺤﺠﺭ ﻭﺘﹸﺭﻭﺡ ﻋﻥ ﺍﻟﻘﺭﺍﺀ ﺒ ﺭﺴـﻭﻤﺎﺕ ﻫﺯﻟﻴـﺔ، ﻭﺘﹸﺤﺭﺭ ﺒﻠﻐﺔ ﺍﻟﻔﻼﺤﻴﻥ .ﻭﻟﻡ ﺘﻅﻬﺭ ﺤﻔِﻪ ﺸﺨﺼﻴﺔ ﺃﺒﻲ ﻨﻀـﺎﺭﺓ ﺼ ﻓﻲ ﻋﺩ ﹸﺓ ﻓﺤﺴﺏ ،ﺒل ﻅﻬﺭﺕ ﻓﻴﻬﺎ ﺃﻴﻀﺎ ِ ﺍﻟﺸﱠﻌ ِﺒﻴﺔ ﺍﻟﻤﺼﺭﻴﺔ ،ﻭﺒﺨﺎﺼﺔ ﺸﻴﺦ ﻁﻤﺎﻉ ﻭﺍﻟﻤﻭﻅﻔﻴﻥ ﻭﺍﻟﺘﺠﺎﺭ ﺍﻟﺤﺎ ﺭﺓ ﺍﻟ ﱠ ﺴﺭﺓ ﻭﺍﻟﺸﱠـﺤﺎﺫِﻴﻥ ...ﺇﻟـﺦ. ﺴﻤﺎ ِ ﻭﺍﻟ ﺁﺭﺍﺀﻫﺎ ﻓﻲ ﺼﻭﺭﺓ ﺤِﻭﺍﺭ ﻭﺭﺴﺎﺌل ﻭﻤﺴﺭﺤﻴﺎﺕ ﻗﺼﻴﺭﺓ .ﻭﻴﻤﻜﻥ ﺍﻟﻘﻭل ﺼﺤﻑ ﺍﻟﺴﺎﺨِﺭﺓ ﻭﺍﻟﻤﺴـﺭﺤﻴﺎﺕ ﺍﻟ ﺍﻟ ﻬ ﺯِﻟﻴﺔ ﻓﻲ ﺍﻟﻌﺎﻟﹶﻡ ﺍﻟﻌﺭﺒﻲ. ﺃﺑﻮ ﻧﻮﺍﺱ www.alkottob.com ﺍﺭﺘﺒﻁ ﺍﺴﻡ ﺃﺒﻲ ﻨـﻭﺍﺱ ﺍﺭﺘﺒﺎﻁﹰـﺎ ﺨﺭﺍ ﹶﻓ ﹸﺔ .ﻭﻜـﺎﻥ ﺍﻟﻨﱠـﺎﺱ ﹶﺘﺸﹸﻭ ﺒﻬﺎ ﺍﻟ ﹸ ﻭﺜِﻴﻘﹰﺎ ﺒﺎﺴﻡ ﻫﺎﺭﻭﻥ ﺍﻟﺭﺸﻴﺩ ﺍﻟـﺫﻱ ﻴﻨﺴﺒﻭﻥ ﺇﻟﻴﻪ ﻗﻭﺓ ﺴِﺤ ِﺭﻴﺔ .ﻭﻴـﻭﻟﻲ ﻼ ﹶﻓﺔِ ،ﻭﺘﺭﺩﺩ ﺍﺴـﻤﻪ ﺨﹶ ﻴﻤﺜﱢل ُﺃ ﺒﻬ ﹶﺔ ﺍﻟ ِ ﻫﺫﺍ ﺍﻟﺘﱢﻤﺜﺎل ﻅﹶﻬﺭﻩ ﻟﻠﺼﺤﺭﺍﺀ .ﻭ ﹶﺜ ﻤ ﹶﺔ ﺤﻜﹶﺎﻴﺎﺕ ﺍﻟﺸﱠـﻌ ِﺒﻴﺔ، ﻓﻲ ﻜﺜﻴﺭ ﻤﻥ ﺍﻟ ِ ﻭﺩﺨﹶل ﻓﻲ ﺃﻟﻑ ﻟﻴﻠـﺔ ﻭﻟﻴﻠـﺔ .ﻭﻻ ﺭِﻭﺍﻴﺔ ﺘﺫﻫﺏ ﺇﻟﻰ ﺃﻥ ﺃﺒـﺎ ﺍﻟﻬـﻭل ﺼﻴﺔ ﺍﻟﻤﺤﺒﺒﺔ ﻴﺯﺍل ﺇﻟﻰ ﺍﻟﻴﻭﻡ ﺍﻟﺸﱠﺨ ِ ﻓﻲ ﺍﻟﻘﺼﺹ ﺍﻟﺸﱠﻌﺒﻲ؛ ﺤﻴﺙ ﻴﻘـﻭﻡ ﻙ ﺍﻟ ﺒﻼﹶﻁ .ﻭﻴﺭﺘﺒﻁ ﺍﺴﻡ ﺤِ ﻀِ ﻤﻘﹶﺎ ﻡ ﻤ ﺃﺒﻲ ﻨﻭﺍﺱ ﻓﻲ ﺍﻟﺭﻭﺍﻴﺎﺕ ﺍﻟﺸﱠـﻌ ِﺒﻴﺔ ﺼﻨﹶﻡ ﻟﻸﺸﻤﻭﻡ ﺍﻟﺨﺭﺍﻓﻲ ،ﺍﻟﺫﻱ ﻜﺎﻥ ﻥ ﻤـﻥ ﻥ ﻟﻪ ﺍﻟ ﹶﻘﺭﺍﺒِﻴ ﺍﻟﺼﺎ ِﺒ َﺌ ﹸﺔ ﻴ ﹶﻘ ﺩﻤﻭ ﻁِﻠﻘﹸـﻭﻥ ﻟـﻪ ﺍﻟﺩﺠﺎﺝ ﺍﻷﺒﻴﺽ ،ﻭ ﻴ ﹾ ﺍﻟ ﺒﺨﹸﻭ ﺭ. ﺃﹶﺑﻴﭗ ﺃﻭ ﺃﭘﻮﻓﻴﺲ ﺕ ﺠﺤﺎ ،ﻭﻜﺜﻴﺭﺍ ﻤﺎ ﹸﻨﺴِـ ﺒ ﹾ ﺒﺸﺨﺼﻴﺔ ﺱ ﻭ ﺒﻠﹶـﻎ ﺠﺤﺎ ﺇﻟﻰ ﺃﺒﻲ ﹸﻨﻭﺍ ِ ﹶﻨﻭﺍ ِﺩ ﺭ APEP OR APOPHIS ﻤﻥ ﺸﹸﻬ ﺭ ِﺓ ﺃﺒﻲ ﹸﻨﻭﺍﺱ ﻓـﻲ ﺍﻷﺩﺏ ـﻴ ﻡ ﻋـ ـﻤﺱ ﻭ ﺯ ِ ﺸـ ـﻪ ﺍﻟ ﱠ ﻋ ـ ﺩﻭ ﺇﻟـ ﻲ ﺃﻥ ﺍﺴﻤﻪ ﺍﺸﹾـ ﹸﺘ ِﻬ ﺭ ﻲ ﺍﻟﺸﱠﻌﺒ ﺍﻟ ﹸﻔﻜﹶﺎ ِﻫ ﻓﻲ ﺒﻌﺽ ﺍﻷﻗﺎﻟﻴﻡ ﺍﻹﻓﺭﻴﻘﻴﺔ ،ﻭﻜﺎﻥ ل ﺸﺨﺼﻴﺔ ﺠﺤﺎ. ﺤلﱡ ﻤﺤَ ﻓﻴﻬﺎ ﻴ ﺃﹶﺑﻮ ﺍﳍﹶﻮﻝ SPHINX ww ﺇﻥ ﺃﺒﺎ ﻨﻀﺎﺭﺓ ﻜـﺎﻥ ﻫـﻭ ﻤ ﹾﻨﺸِـﺊ ﻭﺍﻟ ِﻐ ﹾﻠﻤﺎﻥ ﺇﻟﻰ ﺃﺒﻲ ﻨﹸـﻭﺍﺱ .ﻭﻗـﺩ ِﺭﻤﺎل ﺍﻟﺼﺤﺭﺍﺀ ﻨﹶﻅـﺭ ﹶﺓ ﺨﹶـﻭﻑ، w. ﻭﻜﺎﻨﺕ ﻫﺫﻩ ﺍﻟﺸﺨﺼـﻴﺎﺕ ﹸﺘﺒـﺩِﻱ ـﺭ ـﻌﺎﺭ ﺍﻟﺨﻤـ ـﻊ ﺃﺸـ ـﺎﻓﺔ ﺠﻤﻴـ ﺇﻀـ ﻴﻨﻅﺭﻭﻥ ﺇﻟﻰ ﺭﺃﺴِﻪ ﺍﻟﺒـﺎﺭِﺯ ﻤـﻥ alk ﺸﺨﺼﻴﺎﺕ ﻤ ﹾﻨ ﹶﺘ ﺯﻋﺔ ﻤـﻥ ﺍﻟﺤﻴـﺎﺓ ﺍﻟﻤﺘﺠﻭﻟﻭﻥ ﻓـﻲ ﺍﻟﺸﱠـﻭﺍﺭﻉ ﺇﻟـﻰ ﺏ ﺇﻻ ﻋﺎﻡ ١٨١٧ﻡ .ﻭﻜـﺎﻥ ﺍﻟﻌـﺭ ﺍﻟﺸﱠﻴﺎﻁِﻴﻥ ﺍﻟـﺫﻴﻥ ﺘﻐﻠﱠﺒـﺕ ﻋﻠـﻴﻬﻡ ﺍﻟﺸﱠﻤﺱ ،ﻭﻴﻌ ﺩ ﺭﻤـﺯﺍ ﻟﻠﻌﺎﺼِـﻔﺔ ﻭﺍﻟﺼﺭﺍﻉ ﺒﻴﻥ ﺍﻟﺸﻤﺱ ﻭﺍﻟﻅﱠـﻼﻡ، ﻜﻤﺎ ﺠﺎ ﺀ ﻓﻲ ﺍﻷُﺴﻁﹸﻭﺭﺓ ﺍﻟﻤِﺼ ِﺭﻴﺔ. ٢١ ﻭﺠﻪ ﻗﹶﺒﻴﺢ ﻤﺨِﻴﻑ ،ﺃﻭ ﻓﻲ ﺼـﻭﺭﺓ ﺠ ِﺭﻴـ ٍﺔ ﺤ ﻓﺎﺌﻘﺔ ،ﻭ ﺩ ﹾﻓﻨِﻬﺎ ﻓﻲ ﹶﺘﻭﺍﺒِﻴﺕ ﺴﻤﻜﺔ .ﻭﻴﺒﺩﻭ ﺃﻨﻪ ﻜﺎﻥ ﻓﻲ ﺍﻷﺼل ﻁﻴـﺎﺕ ،ﺃﻭ ﻋﺩﺓ ﹶ ﻥ ﻤ ﹾﻠ ﹶﺘﻑﱟ ﻓﻲ ِ ﺜﹸﻌﺒﺎ ٍ ﻀﺨﻤﺔ ،ﻭﺇﻀـﻔﺎﺀ ﻜـل ﻤﻌـﺎﻨِﻲ ﻱ ﺍﻷﺴﻤﺎﻙ؛ ﻭﻫﺫﺍ ﺼﻴﺎ ِﺩ ﺇﻟﻪ ﻁﺎﺌِ ﹶﻔﺔِ ﺜﻌﺒﺎﻥ ﻟﻪ ﺭﺃﺱ ﺇﻨﺴﺎﻥ .ﻭﻴﻘـﺎل ﺇﻥ ﺍﻟ ﱠﺘ ﹾﻘﺩِﻴﺱ ﻋﻠﻴﻬﺎ .ﻭﻤﻤـﺎ ﻴـ ﹾﺫ ﹶﻜ ﺭ ﺃﻥ ﻅ ﻥ ﺩﺍﺌﻤﺎ ﺒﺎﻟﺤ ﱢ ﻫﻭ ﺍﻟﺫﻱ ﺠﻌﻠﻪ ﻴ ﹾﻘ ﹶﺘﺭِ ﺃﻭ*ﺃﻭﺯﻴﺭﻴﺱ( ﺘﹸﺤـﺎﺭِﺏ ﺃﺒﻴﺒـﻲ ﺘﹶﺭﺠِﻊ ﺇﻟﻰ ﻋﻬﺩ ﺍﻷﺴﺭﺓ ﺍﻟﺴﺎﺩِﺴـﺔ m ﺼﻭ ﺭ ﻓﻲ ﻫﻴﺌﺔ ﺘِﻤﺴﺎﺡ ﻟـﻪ ﻭﻜﺎﻥ ﻴ ﺠﺜﱠﺘﻪ ﺒﻌﻨﺎﻴـﺔ ﺍﻟﻘﺩﻤﺎﺀ ﻋﻠﻰ ﺘﹶﺤﻨِﻴﻁ ﹶﻗﺼﺒ ﹰﺔ ﻟﺼﻴﺩ ﺍﻟﺴﻤﻙ ،ﻭﺘﺤﺕ ﺇ ﺒﻁِﻪ ﺍﻟﺸﱠــﻤﺱ )*ﺤــﻭﺭﺱ ﺃﻭ *ﺭﻉ .co ﺤﹶﻠﺘِﻬﺎ ل ﺍﻟﻠﱠﻴل ﻓﻲ ﺭِ ﻁﻭﺍ َ ﺸﻴﺎﻁِﻴﻨﻪ ﹶ ﻭﹶ ﻁﻌﻬﺎ ﻤـﻥ ﺍﻟﻐﹶـﺭﺏ ﺇﻟـﻰ ﺍﻟﺘﻲ ﹶﺘ ﹾﻘ ﹶ ﺍﻟﺸﱠﺭﻕ ،ﺜﻡ ﺘﺨﺭﺝ ﻤـﻥ ﺍﻟﻤﻌﺭﻜـﺔ ﺃﹶﭘِﻴﺲ APIS ﺤ ﻴﻭﺍﻨﹶـﺎﺕِ ل َﺃﺒِـﻴﺱ ﻤـﻥ ﺍﻟ ﻋِﺠ ُ ﺍﻟ ﻤ ﹶﻘﺩﺴﺔ ﻋﻨﺩ ﻗـﺩﻤﺎﺀ ﺍﻟﻤﺼـﺭﻴﻴﻥ. ﻭﻤﻥ ﺍﻟﺴﻤﺎﺕ ﺍﻟﺒﺎ ِﺭﺯﺓ ﻟﻬﺫﺍ ﺍﻟﻌِﺠـل ﺍﻟﻤﻘﺩﺱ ﺃﻥ ﻴﻜﻭﻥ ﺃَﺴﻭﺩ ﺍﻟﻠﱠﻭﻥ ،ﻭﺃﻥ ﻋ ﹸﻨ ِﻘ ِﻪ ﻭﻅﹶﻬـﺭِﻩ ﺠ ﺒ ﻬ ِﺘ ِﻪ ﻭ ﺘﻜﻭﻥ ﻋﻠﻰ ﺃﹶﺑِﻴﻜﹸﻮ ﻭﺍﻟﻌﺸﺭﻴﻥ؛ ﺃﻱ ﺇﻟﻰ ﺍﻟﻘﺭﻨﻴﻥ ﺍﻟﺴﺎﺒﻊ ﻑ ﻫﺫﻩ ﺼ ﹸ ﻭﺍﻟﺴﺎﺩﺱ ﻗﺒل ﺍﻟﻤﻴﻼﺩ ،ﻭ ﹶﺘ ِ ﺍﻟﻴﻭﺭﻭﺒﺎ ﻓﻲ ﻏﺭﺏ ﺇﻓﺭﻴﻘﻴﺔ؛ ﻭﻫﻲ ل َﺃﺒِﻴﺱ. ﺠِ ﻋ ﺍﻟﻠﱢﻔﺎﻓﺔ ﻋﻤﻠﻴﺔ ﺘﹶﺤﻨِﻴﻁ ِ ﻁﻔﹶﺎل ،ﺇﺫ ﺇﻨﻬـﺎ ﻻ ﻸ ﹾ ﺃﺭﻭﺍﺡ ﻤﺅﺫِﻴ ﹲﺔ ِﻟ َ ﻋﺜﹶـ ﺭ ﺍﻟﻌﻼﱠﻤـﺔ ﺍﻷﺜـﺭﻱ ﻭﻗﺩ ﺸﺒﻊ ﻭﻻ ﺘﹶﺭ ﹶﺘﻭِﻱ ﻤﻬﻤﺎ ﺘﻨﺎﻭﻟﺕ ﻤﻥ ﹶﺘ ﹾ ﻭﻟﻘﺩ ﻜﺎﻥ َﺃﺒِـﻴﺱ ﻓـﻲ ﻤِﺼـﺭ ﺠﺴـ ِﺩﻴﺔ ﺍﻟﻘﺩﻴﻤﺔ ﺭﻤـﺯﺍ ﻟﻠﻘﹸـﻭﺓ ﺍﻟ ﻭﺍﻹﺨﺼﺎﺏ .ﻭﻜﺎﻨﺕ ﻤﺩﻴﻨﺔ ﻤﻨﹾـﻑ ﺍﻗﺘﺭﻨﺕ ﺒﻌﺒﺎﺩﺓ ﺍﻹﻟﻪ ﺍﻟﻜﺒﻴﺭ"* ﺒﺘﹶﺎﺡ" ﻕ ﻋﻠﻴـﻪ ﻗـﺩﻤﺎ ﺀ ﻁﻠﹶـ ﹶ ﻭﻤﻥ ﻫﻨـﺎ َﺃ ﹾ ﺸﺭﺍﺏ؛ ﻭﻟـﺫﻟﻙ ﺘﺴـﻌﻰ ﻁﻌﺎﻡ ﺃﻭ ﹶ ﹶ ـﺭﺍﺕ ﺸـ ﻋﹶ ـﻥ ـﻭﻥ ﻤـ ﺴ ـﻘﱠﺎﺭﺓ ﺘﺘﻜـ ﺩﺍﺌﻤﺎ ﺇﻟﻰ ﺍﻟﺤﺼﻭل ﻋﻠﻰ ﺒ ﹾﻐ ﻴﺘِﻬﺎ ﻤﻥ ﺤﺠﺭﺍﺕ ،ﻭﺒﺩﺍﺨل ﻜـل ﺤﺠـﺭﺓ ﺍﻟ ﺍﻟﻁﱠﻌﺎﻡ ﻭﺍﻟﺸﱠﺭﺍﺏ ﺒﺎﻟﺘﱠﺴﻠﱡل ﺇﻟﻰ ﺠﺴﻡ ﺤﻨﱠﻁﺔ ﻟﻬﺫﺍ ﺠ ﱠﺜ ﹲﺔ ﻤ ﺘﺎﺒﻭﺕ ﻀﺨﻡ ﺒﻪ ﺹ ﺍﻟﻭﺍﻟـﺩﺍﻥ، ﻁﻔل ﻤﺎ .ﻭﻟﻬﺫﺍ ﻴﺤ ِﺭ ل ﺍﻟﻤﻘﺩﺱ ،ﻭﻫـﺫﻩ ﺍﻟﻤﻘﺒـﺭﺓ ﺠِ ﺍﻟ ِﻌ ـﻰ ـل ،ﻋﻠـ ـﺎﻥ ﺒﻁﻔـ ـﺩﻤﺎ ﻴﺭ ﺯ ﹶﻗـ ﻋﻨـ ﺘﻌﺭﻑ ﺒﺎﺴﻡ "ﺍﻟﺴﺭﺍﺒﻴﻭﻡ" .ﻭﺒﻠﻎ ﻤﻥ ﺘﺨﻠﻴﺹ ﻁﻔﻠﻬﻤﺎ ﻤﻥ ﺸﹶـ ﺭ َﺃﺒِﻴﻜﹸـﻭ، ﺘﻘﺩﻴﺱ ﻗﺩﻤﺎﺀ ﺍﻟﻤﺼـﺭﻴﻴﻥ ﻟﻠﻌﺠـل ﻴ ﻌﻤﻬﻡ ﺠﻤﻴﻌﺎ ﻴﻭ ﻡ ﻭﻓﹶﺎﺓ ﻫﺫﺍ ﺍﻟﻌِﺠل، ل ﻭﻋﻨﺩﻤﺎ ﻴ ﻌﺜﹸﺭ ﺍﻟ ﹶﻜﻬ ﹶﻨ ﹸﺔ ﻋﻠـﻰ ﻋِﺠـ ٍ ﺴ ﹶﺘ ﺒﺸِـ ﺭ ﺴﻤﺎﺕ ﺃﺒـﻴﺱ ﻴ ﺠﺩﻴﺩ ﻟﻪ ِ ﺍﻟﻤِﺼﺭﻴﻭﻥ ﺍﻟﻘﹸﺩﻤﺎ ﺀ ﺨﹶﻴﺭﺍ ،ﻭﺘﻤﺘﻠﺊ ﺴﺭﻭﺭﺍ. ﹸﻗﻠﹸﻭﺒﻬﻡ ﻓﹶﺭﺤﺎ ﻭ ﺍﻟﻤﺼﺭﻴﻴﻥ ﻟﻘﺏ "ﺭﻭﺡ ﺒﺘﺎﺡ" ،ﻜﻤـﺎ ﺇﺑﻴﺴﻮ ﻁﻌﺎﻡ ﻓﻲ ﺍﻷﻤﺎﻜﻥ ﺍﻟﻤﺤﺘﻤل ﻀ ِﻊ ﹶ ﺒ ﻭ ﻭﺠﻭ ﺩ ﺃﺒﻴﻜﻭ ﻓﻴﻬﺎ ،ﻭﻴـ ﺩﻕﱡ ﺍﻵﺒـﺎﺀ ل ﺃﺠﺭﺍﺴﺎ ﻋﻨـﺩﻤﺎ ﻴﺘﻨـﺎﻭل ﺍﻟﻁﱢﻔـ ُ ﺍﻟﻁﻌﺎﻡ؛ ﻷﻨﻬﻡ ﻴﻌﺘﻘﺩﻭﻥ ﺃﻥ َﺃﺒِﻴﻜﹸـﻭ ﺕ ﺍﻷﺠـﺭﺍﺱ .ﻭﻫـﻡ ﻴ ﹾﻜ ﺭ ﻩ ﺼـﻭ ﹶ w. ﻲ ِﻟﻌِﺒﺎ ﺩﺘِـ ِﻪ ﺍﻟﺘـﻲ ﺍﻟﻤﺭﻜﺯ ﺍﻟﺭﺌﻴﺴ ﻤﺎﺭﻴﻴﺕ ﻋﻠﻰ ﻤ ﹾﻘ ﺒ ﺭ ٍﺓ ﻀﺨﻤﺔ ﻓـﻲ ﻥ ﻜـﺎﻥ ﺃﺒﻴﺱ ﻭﺤﺒﻬﻡ ﻟﻪ ﺃﻥ ﺍﻟﺤـ ﺯ ABIKU ﺡ ﺸِــﺭﻴﺭﺓ ﻋﻨــﺩ ﻗﺒﺎﺌِــل ﺃﺭﻭﺍ alk ﺩﻭﺍ ِﺌ ﺭ ﺒﻴﻀﺎ ﺀ. ﻋ ﹶﺜﺭﻭﺍ ﻋﻠـﻰ ﻟِﻔﹶﺎﻓﹶـﺔٍ ﻋﹶﻠﻤﺎ ﺀ ﺍﻵﺜﺎﺭ ott ob ﺡ ﻜل ﻴﻭﻡ. ﺼﺒﺎ ِ ﻤ ﹾﻨ ﹶﺘﺼِﺭ ﹰﺓ ﻓﻲ ﺤﺴﻥ. ﺍﻟ EBISU ﻙ ﺒﺸﹶـ ﺭ ِﺓ ﺍﻟﻁﱢﻔـل ﺤ ﻴ ﻌ ِﻤﺩﻭﻥ ﺇﻟﻰ ﻁ ﺒﺎﻟﻔﻠﻔل؛ ﻓﻴﻬﺭﺏ ﺃﺒﻴﻜﻭ ﻤـﻥ ﻓﹶـ ﺭ ِ ﺍﻷﻟﻡ. ﺏ ﺍﻟﻌـﺎﻟﹶﻡ ﺍﻹﻟﻪ"* ﺃﻭﺯﻴـﺭﻴﺱ" ﺭ ل ﻭﺼـ ﻴ ِﺩ ﺍﻟﻴﺎﺒﺎﻨﻴﻴﻥ ،ﻭﻫﻭ ﺇﻟﻪ ﺍﻟ ﻌ ﻤ ِ ﺃﺒﻴﻜﻭ ﻤﻥ ﺍﻷﺭﻭﺍﺡ ﺍﻟﺘﻲ ﺘﻌﻴﺵ ﻓﻲ ﻲ ﻭﻤﻠﻙ ﺍﻟﻤﻭﺘﹶﻰ ،ﻭﻟﻌل ﻫـﺫﺍ ﺴ ﹾﻔِﻠ ﺍﻟ ﺍﻟﺴﻤﻙ ﻭﺍﻟﻁﱠﻌﺎﻡ ،ﻭﻫﻭ ﺍﺒﻥ ﺍﻹﻟـﻪ ﻥ ﻟﻬﺎ "ﻤـﺎﻭﻭ" ﺍﻟﺨـﺎﻟِﻕ ﺍﻟﻐﹶﺎﺒﺔ ،ﻴ ْﺄ ﹶﺫ ﺹ ﺍﻟﻤﺼـﺭﻴﻴﻥ ﺤ ﺭ ِ ﻫﻭ ﺍﻟﺴﺭ ﻓﻲ ِ "ﺩﺍﻴﻜﹸﻭ" ،ﻭﻴﺼـﻭﺭ ﻋـﺎﺩ ﹰﺓ ﻴﺤﻤـل ﺒﺎﻟﺩﺨﻭل ﻓﻲ ﺭﺤِﻡ ﺍﻤﺭﺃﺓ؛ ﻟﻜﻲ ﺘﹸﻭﹶﻟﺩ www.alkottob.com ww ﺍﺭﺘﺒﻁﺕ ﻋِﺒﺎﺩﺘﹸـﻪ ﺃﻴﻀـﺎ ﺒﻌﺒـﺎﺩﺓ ﻅ ﺍﻟﺴـ ﺒﻌﺔ ﻋﻨـﺩ ﺤﱢ ﺤ ﺩ ﺁﻟِﻬﺔ ﺍﻟ َﺃ ﻭﻓﻲ ﺩﺍﻫﻭﻤِﻲ ﻴﻌﺘﻘﺩ ﺍﻟﻨـﺎﺱ ﺃﻥ ٢٢ ﺘﻤﻭﺕ ِﻟﺘﹸﻭﹶﻟﺩ ﻤﻥ ﺠﺩﻴﺩ ﻓـﻲ ﻨﻔـﺱ ﺼﻭﺭ ﻤ ﹶﺫﻫﺒﺔ ،ﺍﻷﻭﻟﻰ ﻷﺘﺎﺭﭽﺎﺘِﺱ، ﻭﺴ ﻴ ﹶ ﻁﺭﺘِﻬﺎ ﻋﻠﻰ ﺍﻟﻁﱠﺒﻴﻌﺔ. ﺍﻷﺴﺭﺓ .ﻭﺇﺫﺍ ﺍﺭﺘﹶﺎﺏ ﻭﺍﻟﺩﺍ ﺍﻟﻁﻔـل ﻭﺍﻟﺜﺎﻨﻴﺔ ﻟﻺﻟﻪ "ﻫﺎﺩﺍﺩ" ،ﻭﺍﻟﺜﺎﻟﺜﺔ ﻟﻺﻟﻪ ﺃﻭ ﺍﻗﺘﻨﻌﺎ ﺒﺄﻥ ﻁﻔﻠﻬﻤﺎ ﻤﻥ ﺍﻷﺒﻴﻜﻭ؛ "*ﺃﺘﻴﺱ". ﻴﺤﻤﻴﻪ ﻤﻥ ﺍﻷﺭﻭﺍﺡ ﺍﻟﺸﱢﺭﻴﺭﺓ ﺍﻟﺘـﻲ ﺍﻟﻤﻠﻜﺔ "ﺴﺘﺭﺍﺘﻭﻨﻴﺱ" ﺒﻨـﺎ ﺀ ﻤﻌﺒـﺩ m ﻭ ﹸﺘﻘِﻴ ﻡ ﻋﻠـﻰ ﻅﹶﻬـﺭِ ﺍﻷﺭﺽ ،ﺜـﻡ ﻤ ﻌ ﺒﺩِﻫﺎ ﻓﻲ ﻫﻴﻴﺭﺍﺒـﻭﻟﻴﺱ ﺜـﻼﺙ ﺍﻟﺘﻲ ﺘﺤﻤل ﻋﺭﺸﻬﺎ ﺇﻟـﻰ ﹸﻗ ﻭﺘِﻬـﺎ ﻓﺈﻨﻬﻤﺎ ﻴﻨ ِﺫﺭﺍﻨِﻪ ﻟﻺﻟﻪ "ﻓﻭﺩﻭ" ،ﻟﻜـﻲ .co ﺴﻭﻑ ﺘﹶﺴﻌﻰ ﻭﺘﺴﺘﻌﻴﺩﻩ ﺇﻟﻰ ﺍﻟﻐﹶﺎﺒﺔ. ﻭﺃﺤﻴﺎﻨﹰﺎ ﻴ ﻌ ِﻤﺩﺍﻥ ﺇﻟﻰ ﺘﺸﻭﻴﻪ ﻭﺠـﻪ ﻑ ﻋﻠﻴﻪ ﺘﻠـﻙ ﺍﻟﻁﻔل؛ ﺤﺘﻰ ﻻ ﹶﺘ ﹶﺘﻌ ﺭ ﹶ ﻥ ﺒﻴﻠﻭﺒﺱ ﻭ*ﻫﻴﺒﻭﺩﺍﻤﻴﺎ ،ﻭﻭﺍﻟﺩ ﺍﺒ ﻭﻓﻲ ﻋـﺎﻡ ٣٠٠ﻕ.ﻡ ﺃﻋـﺎﺩﺕ ﺃﺠــﺎﻤﻤﻨﻭﻥ ﻭﻤﻨــﻴﻼﻭﺱ ﻭﻤﻠــﻙ ﻤﻴﺴﻴﻨﺎ .ﻭﺠـﺎﺀ ﻓـﻲ ﺍﻷُﺴـﻁﹸﻭﺭﺓ "ﺁﺘﺎﺭﭽﺎﺘِﺱ"؛ ﻓﺎﻨﺘﺸـﺭﺕ ﻋﺒﺎﺩﺘﹸﻬـﺎ ـﻐﺭ ﺸ ـﻘِﻴﻘﹶﻪ ﺍﻷﺼـ ـﺔ ﺃﻥ ﹶ ﺍﻹﻏﺭﻴﻘﻴـ ﺒﻔﻀل ﻫﺫﻩ ﺍﻟﺭﻋﺎﻴﺔ ﺍﻟﻤﹶﻠﻜِﻴـﺔ ﻓـﻲ ﻏﺭﻯ ﺯﻭﺠﺘﻪ ﺇﻴﺭﻭﺒﻲ؛ *ﺜﻭﻴﺴﺘﻴﺱ َﺃ ﹾ ﻕ ﻤﺨﺘﻠِﻔﺔ ﻤﻥ ﺍﻟﻌﺎﻟﹶﻡ ﺍﻟﻴﻭﻨﺎﻨﻲ، ﻤﻨﺎﻁِ ﹶ ﺽ ﹶﻓ ﹸﻨﻔِﻲ ﻋﻠﻰ ﺃﺜﺭ ﺫﻟـﻙ .ﻭﺤـ ﺭ ﻕ ﻋﻠﻰ ﻴﺩ ﺍﻟﺘﱡﺠﺎ ِﺭ ﺍﻹﻏﺭﻴﻕ ،ﻭﻓِـ ﺭ ِ ﺜﻭﻴﺴﺘﻴﺱ ﺍﺒﻥ ﺃﺨﻴـﻪ ﺒﻼﻴﺴـﺘﻴﻨﺱ ott ob ﺍﻷﺭﻭﺍﺡ ﺍﻟﺸﺭﻴﺭﺓ ،ﺃﻭ ﻟﻴﺒـﺩﻭ ﻓـﻲ ﺃﹶﺗﺮِﻳﻮﺱ ﺼﻭﺭ ِﺓ ﹶﻗﺒِﻴﺤﺔ ﹸﺘ ﹶﻨ ﱢﻔﺭﻫﺎ ﻤﻨﻪ .ﻭ ﻴﺴﻭ ﺩ ﺍﻟﺠﻨــﻭﺩ ﺍﻟ ﻤ ﺭ ﹶﺘﺯِﻗــﺔ ،ﻭﺍﻟﺘﱡﺠــﺎﺭ ل ﻼﺨِﻴـ َ ﺨﹶ ﻋ ِﺘﻘﹶﺎ ﺩ ﺒﺄﻥ ﺍﻟ ﹶ ﺒﻴﻥ ﺍﻟﻨﺎﺱ ﺍ ﻭﺍﻷ ِﺭﻗﱠﺎﺀ ﻤﻥ ﺍﻟﺴﻭﺭﻴﻴﻥ ،ﻭﻋـﺩﺕ ل ﺇﻟﻰ ﺍﻷﺭﺽ، ﺤﺩِﻴﺩِ ﻴ ﹶﺔ ﹸﺘ ﹶﻘﻴ ﺩ ﺍﻟﻁﱢﻔ َ ﺍﻟ ﻫﻨﺎﻙ ﺼﻭﺭ ﹰﺓ ﻤﻥ ﺃﻓﺭﻭﺩﻴﺕ .ﻭﻟـﻡ ﻼﺠِل ﺘﻤﻨﻌﻪ ﺠﹶ ﻥ ﺍﻷﺴﺎ ِﻭ ﺭ ﺫﺍﺕ ﺍﻟ ﻭﺃ ﺝ ﻴﻅﻬﺭ ﹸﻗ ﺭﻨﹶﺎﺅُﻫـﺎ ﺍﻟـﺫﹸﻜﻭﺭ ﺨـﺎﺭ ﺽ ﺡ ﺍﻟﺘﻲ ﹶﺘ ﹶﺘﻌـﺭ ﻁﹶﻠﻕﹸ ﻋﻠﻰ ﺍﻟﺭﻭ ِ ﻴ ﹾ ﻋِﺒﺎﺩﺘﹸﻬﺎ ﺒﻴﻥ ﺍﻟﺭﻭﻤﺎﻥ ،ﻭﺇﻥ ﻜـﺎﻥ ﻟﻜل ﻫﺅﻻﺀ ﺍﻷﻁﻔﺎل. ﻨﻴﺭﻭﻥ ﻗﺩ ﺁﺜﺭﻫﺎ ﺒﻌﺒﺎﺩﺘـﻪ ،ﻭﻨﻘـل ﻤﻥ ﺍﻟ ِﻔﺭﺍ ِﺭ .ﻭﺃﺒﻴﻜﻭ ﻟﻔـﻅ ﺠـﺎﻤِﻊ ATARGATIS ﺨﺼﺏ ﻋﻨﺩ ﺍﻟﺴـﻭﺭﻴﻴﻥ، ﺇﻟﻬ ﹸﺔ ﺍﻟ ِ ﻭﻟﻜﻥ ﺃﺘﺭﻴﻭﺱ ﺍﻜﺘﺸﻑ ﺍﻟﻤـﺅﺍﻤﺭﺓ ﻱ .ﻭﻋﻨﺩﻤﺎ ل ﺍﺒﻨﻪ ﺩﻭﻥ ﺃﻥ ﻴ ﺩ ِﺭ ﻭ ﹶﻗ ﹶﺘ َ ﺢ ﺙ ﹶﺫﺒـ ﻋﺭﻑ ﺃﺘﺭﻴﻭﺱ ﺒﻤﺎ ﺤـﺩ ﹶ ﺜﻼﺜﺔ ﻤﻥ ﺃﺒﻨﺎﺀ ﺜﻭﻴﺴـﺘﻴﺱ ﻭﻗـﺩﻡ ﻁﻌﺎﻤﺎ ﻷﺒﻴﻬﻡ ﻓـﻲ ﻤ ْﺄ ﺩﺒـ ٍﺔ ﻟﺤﻤﻬﻡ ﹶ alk ﺁﺗﺎﺭﭼﺎﺗِﺲ ﺨ ﺩﻋـﺔٍ، ﻋﻠﻰ ﹶﻗ ﹾﺘلِ ﺃﺒﻴﻪ ﺃﺘﺭﻴـﻭﺱ ﺒ ﹸ ﺴﻭﺭﻴﺔ ﺇﻻ ﻨـﺎﺩﺭﺍ ،ﻭﻟـﻡ ﺘﻨﺘﺸـﺭ ﺍﻟﺠﻨﻭﺩ ﺍﻟﺭﻭﻤﺎﻥ ﻋﺒﺎﺩﺓ ﻫﺫﻩ ﺍﻹﻟﻬـﺔ ﻉ ﺍﻟﺸﱠﻤﺎﻟﻴﺔ ﻤﻥ ﺍﻟﺴﻭﺭﻴﺔ ﺇﻟﻰ ﺍﻟ ﺭﺒﻭ ِ ﺒﺭﻴﻁﺎﻨﻴﺎ. ﻭﺁﺘﺎﺭﭽﺘِﺱ ﺘﹸﺸ ِﺒ ﻪ ﻓﻲ ﻁﺒﻴﻌﺘﻬـﺎ ) ﻤ ﹾﻨﺒِﺞ( ،ﻭﻴﻌﺩ ﻤﻥ ﺃﻜﺒـﺭ ﻭﺃﻓﺨـﻡ ﺃﺼﺒﺤﺕ ﺒﻭﺼﻔﻬﺎ ﺭﺍﻋﻴﺔ ﻤـﺩﻴﻨﺘﻬﺎ ﺼ ﹰﺔ ﺒﺎﻷﺴﻤﺎﻙ ﺍﻟﻤﻘﺩﺴـﺔ. ﺒِﺭﻜ ﹰﺔ ﺨﺎ ﺕ ﻭﻫﻲ ﺼ ﻭ ﺭ ﹾ ﻭ ﺭﻓﹶﺎ ِﻫ ﻴﺘِﻬﻡ ،ﻭﻤﻥ ﹶﺜ ﻡ ﻋِﻠ ﻡ ﺜﻭﻴﺴﺘﻴﺱ ﺒﻤـﺎ ﺃﻗﺎﻤﻬﺎ ﻟﻪ .ﻭﻟﻤﺎ ل .ﻭﹶﻟﻘِﻲ ﺍﺭﺘﻜﺒﻪ ﺃﺘﺭﻴﻭﺱ ﹶﻟﻌ ﹶﻨ ﻪ ﻭﺭﺤَ ﻋ ﻪ ﻓﻴﻤﺎ ﺒﻌﺩ ﻋﻠﻰ ﻴ ِﺩ ﺼ ﺭ ﺃﺘﺭﻴﻭﺱ ﻤ ﺃﻴﺠﻴﺴــﺜﻭﺱ Aegisthusﺒــﻥ ﺜﻭﻴﺴﺘﻴﺱ. w. ﺤﻤﺎﻡ .ﻭﻗﺩ ﻭ ﹸﻗﺩﺴﺕ ﻟﻬﺎ ﺍﻷﺴﻤﺎﻙ ﻭﺍﻟ ﺍﻹﻟﻬﺔ "*ﻋﺸﺘﺭﻭﺕ"؛ ﻭﻫـﻲ ﻓـﻲ ُﺃﻗِﻴ ﻡ ﻟﻬﺎ ﻤﻌﺒ ﺩ ﻓـﻲ "ﻫﻴﻴﺭﺍﺒـﻭﻟﻴﺱ" ﺍﻷﺼل ﺇﻟﻬﺔ ﺍﻟ ِﺨﺼـﺏ ،ﻭﻟﻜﻨﻬـﺎ ﺇﺗﺰﺍﻣﻨﺎ ﻭﻟﻘﺩ ﺃﻭﺭﺩ "ﻟﻭﺴﻴﺎﻥ" ﺫِﻜﺭﻫـﺎ ﻓـﻲ ﻕ ﻁﻠﹶـ ﹶ ﻜﺘﺎﺒﻪ ﻋﻥ ﺁﻟﻬﺔ ﺴـﻭﺭﻴﺔ ﻭَﺃ ﹾ ﻋﻠﻴﻬﺎ ﺍﺴﻡ "ﻫﻴـﺭﺍ" .ﻭﻜـﺎﻥ ﻓـﻲ www.alkottob.com ﻙ ﻓـﻲ ﻴـﺩﻫﺎ ﺴ ل ﺘﺎﺠﻬﺎ ،ﻭﺘﹸ ﻤ ِ ﺘﹶﺤ ِﻤ ُ ﻷﺴﻭ ﺩ ﺴ ﹾﻨ ﺒﹶﻠ ﹶﺔ ﻗﹶﻤﺢٍ ،ﻓﻲ ﺤﻴﻥ ﹶﺘ ﺭ ِﻤ ﺯ ﺍ ُ ITZAMNA ﹶﻜﺒِﻴ ﺭ ﺍﻵﻟﻬﺔ ﻓﻲ ﻤﺜﹾـﻭﻯ ﺁﻟﻬـﺔ ـﺎﺭ ـﻤﺎﺀ ﻭﺍﻟﻨﱠﻬـ ﺴـ ﺏ ﺍﻟ ـﺎ ،ﻭﺭ ﺍﻟﻤﺎﻴـ ww ﺍﻟﻤﻌﺎﺒﺩ ﻓﻲ ﺴﻭﺭﻴﺔ ،ﻭﻜﺎﻥ ﻴﻀـﻡ ﻤﺴــﺌُﻭﻟﹶﺔ ﻋــﻥ ﺤﻤﺎﻴــﺔ ﺃﻫﻠﻬــﺎ ATREUS ل ﻓﻲ ﺍﻟﻤﺨﻁﹸﻭﻁﹶـﺎﺕ ﻭﺍﻟﻠﱠﻴل ،ﻭ ﻴ ﻤﺜﱠ ُ ﺸ ﻴﺦٍ ﻜﺒﻴ ٍﺭ ﻏـﺎﺌِﺭ ﺍﻟﻘﺩﻴﻤﺔﻓﻲ ﻫﻴﺌﺔ ﹶ ﺠ ﹶﻨ ﹶﺘ ﻴﻥِ ،ﻟﻪ ﺃﻨﻑ ﺭﻭﻤﺎﻨﻲ ﻭ ﹶﻓﻜﱠﺎﻥ ﺍﻟ ﻭ ﺨﺎِﻟﻴﺎﻥ ﻤﻥ ﺍﻷﺴﻨﺎﻥ .ﻭﻜـﺎﻥ ﺇﻟﻬـﺎ ٢٣ ﻥ ﺇﻟﻴﻪ ﻓﻲ ﺍﻻﺤﺘﻔﺎﻻﺕ ﺱ ﻴ ﺒ ﹶﺘ ِﻬﻠﹸﻭ ﺍﻟﻨﱠﺎ ﺕ ﻭﺼِـ ﻴﻐﹰﺎ ﻀﻡَ ﺃﻨﹶﺎﺸِﻴﺩ ﻭﺼـﹶﻠﻭﺍ ٍ ﹶﺘ ﺏ ﻭﺍﻟـ ﺯﻭﺍﺝ. ﻭﺍﻟﺴﻌﺎﺩﺓ ﻓﻲ ﺍﻟﺤـ ﺍﻟﺩﻴﻨﻴﺔ ،ﻟﻜﻲ ﻴ ﻤﻥ ﻋﻠﻴﻬﻡ ﺒﺎﻟﺸﱢـﻔﺎﺀ، ﻁﻘﹾﺴﻴﺔ ،ﺘﺘﺄﻟﱠﻑ ﻤﻨﻬﺎ ﺃَﺴﻔﺎ ﺭ ﺍﻟﭭِﻴـﺩﺍ، ﹶ ﻭﺒﻌﺽ ﺍﻟ ﺭﻗﹶﻰ ﺍﻟﻭﺍﺭِﺩﺓ ﺒﻬﺎ ﹶﺘﻀـ ﻡ ﻁﺏ ،ﻭﻟﻜﻲ ﻴ ﺒﻌِـ ﺩ ﺒﺎﻋﺘﺒﺎﺭﻩ ﺇﻟﻬﺎ ﻟﻠ ﱢ ـﺩ ـﺔ ﻋﻨـ ـﺏ ﺍﻟﻤﻘﺩﺴـ ـﻡ ﺍﻟﻜﺘـ ﺃﻋﻅـ ﺍﻟﻬﻨﺩﻭﺱ .ﻭﻫﺫﻩ ﺍﻟﻤﺠﻤﻭﻋﺔ ﺁﺨِـﺭ ل ﺒﻬﺎ ﻤﻥ ﻴ ﹾﺘﻠﹸﻭﻫـﺎ ﺴ ﹶﺘ ﹾﻨ ِﺯ ُ ﺕ ﻴ ﻋِﺒﺎﺭﺍ ٍ ﺨﺼﻭﻤِﻪ ،ﻭﺘﹶـﺭﺍﻨِﻴ ﻡ ﺍﻟﻠﱠﻌﻨﺎﺕ ﻋﻠﻰ ﹸ ﻟﻠﺸﱠﻤﺱ. ﺃﺴﻔﺎﺭ ﺍﻟﭭﻴﺩﺍ ،ﻭﻟﹶﻌﻠﱠﻬﺎ ﺘﹶﺭﺠِـﻊ ﺇﻟـﻰ ﻟﻠﺘﱠﻜﻔﻴﺭ ﻋـﻥ ﺍﻟـ ﱡﺫﻨﹸﻭﺏ ،ﻭﺍﻨﺘﻬـﺎﻙ ﻲ ﺃﻜﺜﺭ ﻤﻤﺎ ﹶﺘ ﺭﺠِﻊ ﺇﻟـﻰ ﺸ ﻌ ِﺒ ل ﹶ ﺃﺼ ٍ ﺤﺭﻤﺎﺕ .ﻭﻫﻨﺎﻙ ﹶﺘﻌﺎﻭﻴ ﹸﺫ ﺘﹸﺴـﺘﺨﺩﻡ ﺍﻟ ل ﺃﺼل ﻜﻬﻨﻭﺘﻲ .ﻭﻫـﻲ ﻻ ﹶﺘ ﹶﺘﻨﹶـﺎﻭُ ﻟﺘﺤﻘﻴﻕ ﺍﻟﺴـﻠﻁﺎﻥ ﺃﻭ ﺍﻟﻨﺼـﺭ ﺃﻭ ﺱ ﺍﻟﻘﺭﺒــﺎﻥ ﺍﻟــﻭﺍﺭِﺩ ﻓــﻲ ﻁﻘﹾــ ﹶ ﺍﻟﺸﱡﻬﺭﺓ ﻟﻠﻤﻠﻙ. ﻭﺇﻨﻤﺎ ﺘﺘﻨﺎﻭل ﺍﻟﻘﹸﻭﻯ ﺍﻟﻤﻌﺎ ِﺩﻴﺔ ﺍﻟﺘـﻲ ﺴ ﹶﺘﻘِﻲ ﻤﻨﻬﻤﺎ ﻥ ﹶﻨ ﺼ ﺩ ﺭ ﻴ ِ – ﭭﻴﺩﺍ َﺃ ﹾﻗﺩﻡ ﻤ ﺤ ﺭﺓﹸ ،ﻭﻴﺨﻁﺒـﻭﻥ ﺴ ﺏ ﺇﻟﻴﻬﺎ ﺍﻟ ﻴ ﹶﺘ ﹶﻘ ﺭ ﻷﺴـﺎﻁِﻴﺭ ﻤﻌﺎﺭِﻓﻨﺎ ﻋﻥ ﺍﻟﺜﱠﻘﺎﻓـﺔ ﻭﺍ َ ـﻬﻡ ،ﺃﻭ ﻀـ ـﻕ ﺃﻏﺭﺍ ِ ـﺎ ،ﻟﺘﺤﻘﻴـ ﻭﺩﻫـ ﻭﺍﻟﺩﻴﺎﻨﺔ ﺍﻵ ِﺭﻴﺔ ﺍﻟﻘﺩﻴﻤﺔ. m ﺨ ﻴﺭِ ﻭﺼﺩﻴﻘﹰﺎ ﻟﻺﻨﺴـﺎﻥ ،ﻭﻜـﺎﻥ ﻟِﻠ ﹶ ﺕ ﺍﻷﺭﺒﻊ ﺍﻟﺘﻲ ﺠﻤﻭﻋﺎ ِ ﺤﺩﻯ ﺍ ﹾﻟ ﻤ ﺇ ﺴﺠﺎﻡ ﻁﻌﺎﻥ ﺍﻟﻤﺎﺸﻴﺔ ،ﻭﺘﺤﻘﻴﻕ ﺍﻻ ﹾﻨ ِ ﹸﻗ ﹾ ﺏ ﺒﺎﻋﺘﺒـﺎﺭﻩ ﺇﻟﻬـﺎ ﻋﻨﻬﻡ ﺍﻟ ﻤﺼـﺎ ِﺌ .co ﺁﺗﻠِﻲ ATLI ﻙ ﺍﻟﻬـﻭﻥ ﻭﺸﹶـﻘِﻴﻕ ﻫﻭ ﺃﺘﱢﻴﻼ ﻤِﻠ ل ﺃُﻤﺭﺍ ﺀ ِﻨ ﺒﻠﹸـﻭﻨﺞ ﺒﺭﻭﻨﻬﻴﻠﺩ .ﻭﻗﺩ ﹶﻗﺒِ َ ﻤﺠﻤﻭﻋﺎﺕ ﺍﻟﭭِﻴﺩﺍ ﺍﻟﺜﻼﺙ ﺍﻷﺨﺭﻯ، ott ob ﺃﻥ ﻴ ﺯﻭﺠﻭﺍ ﺃﺨﺘﻬﻡ ﺠﻭﺩﺭﻭﻥ ﻟﻠﻤﻠﻙ ﻷﺘﹾﻬﺎﺭﭭﺎ – ﭭِﻴﺩﺍ ﻤﻊ ﺍﻟﺭﻴﺞ ﻭﺘﻌﺩ ﺍ َ ﻉ ـ ﺭ ِ ـﻥ ﻤﺼـ ـﺭﺍ ﻋـ ـﻴﻼ ،ﺘﻜﻔﻴـ ﺃﺘﱢـ ﺒﺭﻭﻨﻬﻴﻠﺩ .ﻭﻗﺩ ﺒﺎﻟﹶﻐﺕ ﺠﻭ ﺩﺭﻭﻥ ﻓﻲ ﻑ ﻤﺎ ﻴ ﹶﺘﻤ ﱠﺘ ﻊ ﺒﻪ ﺃﻤﺭﺍﺀ ِﻨ ﺒﻠﹸـﻭﻨﺞ ﺼ ِ ﻭ ﻤﻥ ﺜﺭﺍﺀ ،ﻭﺒﻬﺫﺍ ﺃﺜـﺎﺭﺕ ﺩﻭﻥ ﺃﻥ ﺸﻊ ﺍﻟﻤﻠﻙ َﺃﺘﱢـﻴﻼ؛ ﻓﹶـ ﺩﻋﺎ ﹶﺘ ﺩﺭِﻱ ﺠ ﹶ ﻼﻁِﻪ، ﺃﻤﺭﺍﺀ ﺍﻟﻨﺒﻠﻭﻨﺞ ﻟﺯﻴﺎﺭﺘﻪ ﻓﻲ ﺒ ﹶ ﻭﻟﻡ ﻴـﻨﺞ ﻤـﻨﻬﻡ ﺴِـﻭﻯ ﺠﻭﻨﹶـﺎﺭ ﻭﻫﻭﺠﻨﻲ .ﻭﺤﺎﻭل ﺃﺘﱢﻴﻼ ﺃﻥ ﻴﻌﺭﻑ ﻤﻨﻬﻤﺎ ﺍﻷﻤﺎﻜﻥ ﺍﻟﺴﺭﻴﺔ ﺍﻟﺘﻲ ﻴﺨﻔـﻲ ﻋ ﺩ ﻤ ﻬﻤﺎ. ﺃﻥ ﻴﺒﻭﺤﺎ ﻟﻪ ﺒﻬﺫﺍ ﺍﻟﺴﺭ ﹶﻓَﺄ ﻉ ﻭﺍﻨﺘﻘﻤــﺕ ﺠــﻭﺩﺭﻭﻥ ِﻟ ﻤﺼــ ﺭ ِ ﺸﻘﻴﻘﻴﻬﺎ؛ ﻓﹶـ ﹶﺫﺒﺤﺕِ ﺍ ﺒ ﹶﻨ ﻴﻬـﺎ ﺍﻟﻠـﺫﻴﻥ ﻙ ﺁﺘﻠﻲ. ﺜﻡ ﹶﻗ ﹶﺘﹶﻠﺕِ ﺍﻟ ﻤِﻠ ﺃﹶﺗﻬﺎﺭﭬﺎ – ﭬِﻴﺪﺍ ATHARVA – VEDA www.alkottob.com ﻤ ﻌﺒﻭ ﺩ ﻤِﺼﺭﻱ ﻗﺩﻴﻡ ﻴ ﺭ ﻤ ﺯ ﺇﻟﻴـﻪ ﻷﺘﹾﻬﺎﺭﭭﺎ – ﭭِﻴـﺩﺍ ﻤـﻥ ﻭﺘﺘﺄﻟﻑ ﺍ َ ﺸ ﻌﺔ ﺹ ﺍﻟﺸﱠﻤﺱ ،ﺘﻨﺒﻌﺙ ﻤﻨﻪ ﺍﻷ ِ ِﺒ ﹸﻘ ﺭ ِ ﻋﺸﺭﻴﻥ ﻜِﺘﺎﺒﺎ ﺘﻀـﻡ ﻨﺤـﻭ ٧٣٠ ﹶﻨﺸِﻴﺩﺍ .ﻭﻴﺫﻫﺏ ﺍﻟﺒﻌﺽ ﺇﻟﻰ ﺃﻨﻬـﺎ ﻜﺎﻨﺕ ﺘﺘﺄﻟﱠﻑ ﻓﻲ ﺍﻷﺼل ﻤﻥ ﺴِـ ﱠﺘ ِﺔ ﹸﻜ ﹸﺘﺏٍ ،ﺜﻡ ﺃﻀﻴﻔﺕ ﺇﻟﻴﻬﺎ ﺒﻌـﺩ ﺫﻟـﻙ ﺃﻨﺎﺸﻴ ﺩ ﺃﺨﺭﻯ ،ﺤﺘﻰ ﺒﻠﹶـ ﹶﻎ ﻋـ ﺩﺩﻫﺎ ﻅ ﻡ ﻫﺫﻩ ﺍﻷﻨﺎﺸﻴﺩ ﻋِﺸﺭﻴﻥ ﻜِﺘﺎﺒﺎ .ﻭ ﻤ ﻌ ﹶ ﺤﻴﺎ ﹶﺓ ﻓﻲ ﺍﻟﻤﺨﻠﻭﻗـﺎﺕ. ﺍﻟﺘﻲ ﹸﺘ ﻭﺩِﻉ ﺍﻟ ل ﻋﺒﺎﺩﺓ ﻫﺫﺍ ﺍﻹﻟـﻪ ﺨَ ل ﻤﻥ َﺃ ﺩ ﹶ ﻭَﺃﻭُ ل ﻋﻠﻰ ﻨﹶﺸﺭِﻫﺎ ﻫﻭ ﺃﻤﻨﺤﺘـﺏ ﻭﻋﻤِ َ ﺍﻟﺭﺍﺒﻊ ،ﺍﻟﺫﻱ ﹶﻟ ﱠﻘﺏ ﻨﻔﺴﻪ ﻓﻴﻤﺎ ﺒﻌـﺩ ﺨﻨﹶﺎﺘﹸﻭﻨﺄﻱ "ﺭﻭﺡ ﺁﺘﻭﻥ". ﺒﺈ ﹾ ﻰ ﻭ ﹶﺘﻌﺎﻭِﻴﺫ ،ﹸﺘ ﹾﺘﻠﹶﻰ ﻋﻨـﺩ ﻋِـﻼﺝ ﺭﻗ ﻋ ﺩ ٍﺩ ﻤﻥ ﺍﻷﻤﺭﺍﺽ ﺒﺘﻨﺎﻭل ﺃﻋﺸﺎﺏ ﻁ ﺭﺩِ ﺕ ﻟِ ﹶ ﻻ ٍ ﻤﺨﺘﻠﻔﺔ .ﻜﻤﺎ ﺘﻀﻡ ﺍ ﺒ ِﺘﻬﺎ ﹶ ﺸﻴﺎﻁِﻴﻥ ،ﹸﺘ ﹾﺘﻠﹶﻰ ﻤﻊ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻟﻤﺎﺀ ﺍﻟ ﱠ ﻭﺍﻟﻨﱠﺎﺭ ﻭﺒﻌﺽ ﺍﻷﻋﺸﺎﺏ ﺍﻟﺸﱠـﺎﻓﻴﺔ. ﻭﺒﻬﺫﺍ ﺃﻴﻀﺎ ﹶﺘﻌﺎﻭِﻴ ﹸﺫ ﻴ ﻌ ﹶﺘ ﹶﻘ ﺩ ﺃﻨﻬﺎ ﺘﻔﻴﺩ ل ﻭ ﹶﺘﻜﹶـﺎﺜﹸﺭ ﺤﻘﹸﻭ ِ ﻓﻲ ﹶﻨﻤﺎ ِﺀ ﺍﻟﻨﱠﺒﺎﺕ ﺒﺎﻟ ﻙ ﻤﻌﺒـﻭﺩﻩ ﻭﻗﺩ ﹶﺘﺼ ﻭﺭ ﻫﺫﺍ ﺍﻟ ﻤِﻠ ﺸ ﻌ ﹲﺔ ﺙ ﻤﻨﻪ َﺃ ِ ﺹ ﹶﺘ ﹾﻨﺒﻌِ ﹸ ﻋﻠﻰ ﻫﻴﺌﺔ ﻗﹸﺭ ٍ ﻤ ﹾﻨ ﹶﺘﻬِﻴ ﹲﺔ ﺒﺄﻴ ٍﺩ ﻗﺎ ِﺒﻀـﺔ ﻋﻠـﻰ ﺭﻤـ ِﺯ ﻲ ﺤﻴﺎﺓ ،ﻭﺃﺴﻨﺩ ﺍﻟﻤﻠﻙ ﻤ ﹾﺫ ﻫ ﺒ ﻪ ﺍﻟﺩﻴﻨ ﺍﻟ ww ﺭ ِﺯﻗﹶﺕ ﺒﻬﻤﺎ ﻤﻨﻪ ﻭﻫﻤﺎ ﺃﺭﺏ ﻭﺃﻴﺘل، ﺍﻟﻠﱠﻌﻨﺔ ﻋﻠﻴﻬﺎ. ATON w. ﺒﻬﺎ ﺃﻤﺭﺍﺀ ِﻨ ﺒﻠﹸﻭﻨﺞ ﹸﻜﻨﹸﻭﺯﻫﻡ ،ﻓﺭﻓﻀﺎ ﺁﺗﻮﻥ alk ﺴ ﹰﺔ ﻭﻏﹶﺩﺭﺍﹰ. ﺨ ﻭﻫﻨﺎﻙ ﻗﻀﻰ ﻋﻠﻴﻬﻡ ِ ﻴﻌﻤﻠﻭﻥ ﻋﻠﻰ ﻁﺭﺩﻫـﺎ ﺒﺎﺴـﺘﻨﺯﺍل ﺠﺩِﻴﺩ ﻓﻲ َﺃﻭل ﺍﻷﻤﺭ ﺇﻟﻰ "*ﺭﻉ"، ﺍﻟ ﺴ ﺭ ﻫﺫﻩ ﻋﻴﺎ ﺃﻨﻪ ﻫﻭ ﺍﻟﺫﻱ ﺃﻅﻬﺭ ِ ﻤ ﺩ ِ ﻥ ﺍﻟﺩﻴﺎﻨﺔ ،ﻭﻨﺼـﺏ ﻨﻔﺴـﻪ ﺍﻟﻜـﺎ ِﻫ ٢٤ ﻭﺠﻭﺩ ﻫﺫﻩ ﺍﻟ ﻌﻼﹶﻗﺔ ﺒﻴﻥ ﻋﺒﺎﺩﺓ ﺁﺘﻭﻥ ﺴ ﹶﺘﻌﺎﺩﻭﺍ ﺴـﻠﻁﺎﻨﹶﻬﻡ ﺒﻌـﺩ ﻤـﻭﺕ ﺍ ﺤﺭﻙ" .ﻭﺘﺴﺘﻁﺭﺩ ﺍﻷﺴـﻁﻭﺭﺓ ﺍﻟ ﻤ ﹶﺘ ﻷﻭل ﻜﺎﻥ ﻭﻋﺒﺎﺩﺓ ﺭﻉ ،ﻓﺈﻥ ﺍﻹﻟﻪ ﺍ َ ﺨﻨﹶﺎﺘﹸﻭﻥ ،ﻭﻗﻀﻭﺍ ﻋﻠﻰ ﻫﺫﻩ ﺍﻟﻌِﺒﺎﺩﺓ ﺇﹾ ﺸ ﹾﻜلٍ ﻤﺤﺩﺩ، ﻓﺘﻘﻭل ﺇﻥ ﺁﺘ ﻴﺎ ﻜﺎﻥ ﺒﻼ ﹶ ﺤ ﻭ ﺭ ﺍﻻﻋﺘﻘﺎﺩ ﻓـﻲ ﻋﻬـ ِﺩ ﺫﻟـﻙ ِﻤ ﺍﻟﺠﺩﻴﺩﺓ. ﻓﹶﺸﻜﱠﻠﺘﻪ ﺍﻟﻤﺭﺃ ﹸﺓ ﺍﻟﺴـﺎﺤِﺭﺓ "ﻓـﺎﻫﻴﻨﻲ m ﺍﻷﻜﺒﺭ ﻵﺘﻭﻥ .ﻭﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤـﻥ ﻴﻜﻥ ﺍﻷﻤـﺭ ﻓـﺈﻥ ﻜﻬﻨـﺔ ﺁﻤـﻭﻥ ﻓﺄﺠﺎﺏ ﺁﺘﻴﺎ" :ﺃﻨﺎ ،ﺁﺘﻴـﺎ ،ﺍﻟ ﹶﻔﻀـﺎﺀ ﺍﻻﺴﻡ "ﺁﺘﻭﻥ" ﺍﺴﺘﻌﻤل ﺒﻤﻌﻨﻰ ﺇﻟـﻪ ﻤﻌﺒﻭﺩﻩ ﺇﻟﻬﺎ ﻋﺎﻟﻤﻴﺎ ،ﻭ ﺯﻋـ ﻡ ﺃﻨـﻪ ﻤﻥ "ﻓﺎﻜﺎﻫﻭﺘﻭ" ﻭﺃﻨﺠﺒﺎ ﺃﺒﻨﺎﺀ ﻭﺒﻨﺎﺕ، ﺨﺎﻟِﻕ ﻜـل ﺸـﻲﺀ ،ﻭﺃﻨـﻪ ﺴـﻨﹶﺩ ﻭﺁﻟﻬﺔ )ﺫﺭﻴﺔ ﻭﺴـﻴﻤﺔ( ،ﻭﻁﻴـﻭﺭﺍ ﻅﻠﹸﻭﻤِﻴﻥ ﻭﺍﻟ ﻤﻜﹾـﺭﻭﺒِﻴﻥ ،ﻭﺃﻨـﻪ ﻟِﻠ ﻤ ﹾ ﻭﻓﺭﺍﺸﺎﺕ ﻭﻤﺨﻠﻭﻗﺎﺕ ﺯﺍﺤِﻔﺔ )ﺫﺭﻴﺔ ﻤﺼﺩﺭ ﻜل ﺨﻴﺭ. ﻋﺎﺩﻴﺔ(. .co ﺍﻟﻤﻠﻙ ،ﻜﻤﺎ ﹶﺘ ﺩلﱡ ﺍﻵﺜـﺎ ﺭ ﻋﻠـﻰ ﺃﻥ ل ﺠﻌـ َ ﻭﻟﻘﺩ ﺤﺎﻭل ﺇﺨﻨﺎﺘﻭﻥ ﺃﻥ ﻴ ﺝ ﻨﻭﺘﺎﻫﻭ" ﻓﻲ ﻫﻴﺌﺔ ﺠﻤﻴﻠﺔ .ﻭﺘﹶـ ﺯ ﻭ ﺵ ﺢ ﻤـﻥ ﺍﻟ ﱡﻨﻘﹸـﻭ ِ ﻀ ﺃﻭ ﻤ ﻌﺒﻭﺩ ،ﻭ ﻴ ﱠﺘ ِ ﻥ ﺍﻹﻟﻪ "ﺁﺘﻭﻥ" ﺸﻲﺀ ،ﻭﺃﻥ ﻷ ﹶﺜﺭِ ﻴﺔِ ﺃ ﺍَ ﺹ ﺍﻟﺸﱠﻤﺱ ﺸﻲﺀ ﺁﺨﹶﺭ. ﹸﻗ ﺭ ﻭﻓﻲ ﻋﻬﺩ ﻫـﺫﺍ ﺍﻟﻤﻠـﻙ ﹶﺘ ﹶﻔﺠـ ﺭ ﻉ ﻭ ﹶﻨﺸِﺏ ﺒﻴﻨﻪ ﻭﺒﻴﻥ "ﺘﻴﻥ" ﺼِـﺭﺍ "ﺍﻟﻤﻌﺒﻭﺩ ﻫـﻭ ﺤـﺭﺍﺭﺓ ﺍﻟﺸﱠـﻤﺱ ل ﺒﺎﻟ ﹶﻜِﻠﻤـﺔ، ﻲ ﺍﻟ ﻤ ﹶﺘ ﻭﺴُ ﺸ ﻌ ِﺒ ﻉ ﺍﻟ ﱠ ﺍﻹﺒﺩﺍ ﻋ ِﻪِ، ﺼ ﺭ ِ ل َﺃ ﻤ ﺩﻩ ،ﺍﻨﺘﻬﻰ ﺃﺨﻴﺭﺍ ِﺒ ﻤ ﻁﺎ َ )ﺁﺘﻭﻥ( ،ﻭﺠﺎﺀ ﻓﻲ ﻋِﺒﺎﺭ ٍﺓ ﺃﺨـﺭﻯ ﺏ ﻭﺒﺩﺃ ﺘﻁﻭﺭ ﻭﺍﻀﺢ ﻋﻠﻰ ﺃﺴـﻠﹸﻭ ِ ﻜﻤﺎ ﺠﺎ ﺀ ﻓﻲ ﹶﺘﺭﺍﻨِﻴﻡ ﺍﻟﺨﻠﻕ ،ﻭﺘﺫﻫﺏ ﺃﻥ ﻫﺫﺍ ﺍﻟﻤﻌﺒﻭﺩ ﺴـﻴﺩ ﺁﺘـﻭﻥ ﺃﻱ ﺨﱠﻠﺹ ﻤﻥ ﺍﻟﺜﱠﺒﺎﺕ ﺸﻜِﻴِﻠﻲ؛ ﹶﻓ ﹶﺘ ﹶ ﻥ ﺍﻟ ﱠﺘ ﹾ ﺍﻟﻔ ﺕ ل ﺼِـﻔﹶﺎ ِ ﺍﻷﺴﻁﻭﺭﺓ ﺇﻟﻰ ﺃﻥ ﻜﹸـ ﱠ ﺍﻟﺸﱠﻤﺱ". ﺨﻨﹶﺎﺘﹸﻭﻥ ﻤﻌﺒﺩﺍ ﻵﺘﻭﻥ ﻓﻲ ﺸ ﻴﺩ ﺇ ﹾ ﻭﹶ ﻭﺍﻻﻋﺘﺼﺎﻡ ﺒﺎﻟ ﹸﻜ ﹾﺘﹶﻠ ِﺔ ﺇﻟـﻰ ﹶﺘﺼـﻭِﻴ ِﺭ ﺍﻟﺤﻴﺎﺓ ﻭﺍﻟﺘﻌﺒﻴـﺭ ﻋـﻥ ﺍﻟﺤﺭﻜـﺔ، ﺍﻟ ﱡﺫﻜﹸﻭﺭﺓ ﻓﻲ ﻓﺎﻜﺎﻫﻭﺘﻭ ﺍﻨﺘﻘﻠﺕ ﺇﻟـﻰ ﺸَﺄﻫﺎ ﻭﺍﻟﺩﻩ ﺒﻴﻥ ﺤﺩﻴﻘﺔ ﺁﻤﻭﻥ ﺍﻟﺘﻲ َﺃ ﹾﻨ ﹶ ل ﺃﻜﺜﺭ ﻤﻥ ﻓﺭﺩ ﺸﻤِ َ ﻭﺘﻭﺴﻊ ﺇﻁﺎﺭﻩ ﹶﻓ ﹶ ﺁﺘﻴﺎ ﺍﻨﺘﻘﻠﺕ ﺇﻟﻰ ﻓﺎﻜﺎﻫﻭﺘﻭ ،ﻭﻤﻥ ﻫﻨﺎ ﻤﻌﺒﺩﻱ ﺍﻟ ﹶﻜ ﺭﻨﹶﻙ ﻭﺍﻷﻗﺼﺭ ،ﻭﺃﻁﻠﻕ ﻭﺍﺤﺩ. ﺴﻠﹸﻬﻤﺎ ﻤﻥ ﺍﻵﻟﻬﺔ ﺃﻗﻭﻯ ﻤـﻥ ﻜﺎﻥ ﹶﻨ ott ob ﻭﻗﺩ ﻭ ﺭ ﺩ ﻓﻲ ﺒﻌﺽ ﺍﻟﻌِﺒﺎﺭﺍﺕ ﺃﻥ ﻕ ﻋﻠـﻰ ﻤﺩﻴﻨـﺔ ﻁﹶﻠ ﹶ ﺍﻟﻌﻅﻴﻡ" ،ﻜﻤﺎ َﺃ ﹾ ﻁﻴﺒﺔ ﺍﺴﻡ "ﻤﺩﻴﻨﺔ ﻨﹸﻭﺭ ﺁﺘﻭﻥ" .ﺜـﻡ ﺨ ﹶﺫ ِﻟ ﻤ ﹾﻠ ِﻜ ِﻪ ﻋﺎﺼﻤ ﹰﺔ ﺠﺩﻴﺩ ﹰﺓ ﺠﻌﹶﻠﻬـﺎ ﺍ ﱠﺘ ﹶ "ﺃﺨﻴﺘﺎﺘﻭﻥ"؛ ﺃﻱ "ﺴﻤﺎﺀ ﺁﺘﻭﻥ" ﻭﻫﻲ ل ﺍﻟ ﻌﻤﺎ ِﺭﻨﹶﺔ. ﻑ ﺍﻵﻥ ِﺒ ﹶﺘ ﱢ ﺍﻟﺘﻲ ﹸﺘ ﻌ ﺭ ﹸ ﺍﻟﺘﱠﻭﺤﻴﺩ ،ﻭﻜﺎﻥ ﻤـﻥ ﺍﻟﻁﺒﻴﻌـﻲ ﺃَﻥ ﻴ ﹶﻨﺼِ ﺒﻬﺎ ﹶﻜﻬ ﹶﻨ ﹸﺔ ﺁﻤﻭﻥ ﺍﻟﻌِـﺩﺍﺀ ،ﻭﺃﻥ ﺏ ﺨﹶﻭﻓﹰـﺎ ﻤـﻥ ﺤ ﺭ ﻴﻌﻠﻨﻭﺍ ﻋﻠﻴﻬﺎ ﺍﻟ ﺍﻟ ﹶﻘﻀﺎ ِﺀ ﻋﻠﻰ ﺍﻤﺘﻴﺎﺯﺍﺘﻬﻡ .ﻭﻤﻬﻤـﺎ www.alkottob.com ﺠ ﻭ .ﻭﻤﻌﻨﹶﻰ ﺁﺘﻴـﺎ ﺇﻟ ﻪ ﺍﻟﺴﻤﺎ ِﺀ ﻭﺍﻟ ﺤ ﺭ ِﻓﻴﺎ ﺍﻟﻔﻀﺎﺀ ﺍﻟﻔﺴﻴﺢ ،ﻭ ﹸﺘﺘﹶﺭﺠﻡ ﺁﺘﻴﺎ ﺃﺤﻴﺎﻨﹰﺎ ﺒﻜﻠﻤﺔ ﺍﻟﻀﻭﺀ .ﻭﻴﻭﺼﻑ ﺁﺘﻴﺎ ﺠﺎﺀ ﻓﻴﻬﺎ ﺃﻥ ﺇﻟﻬﻴﻥ ﻤ ﺯﻭﺩﻴﻥ ﺒﻔﺌﻭﺱ ﺤﻠﹶـ ٍﺔ ﺇﻟـﻰ ﺁﺘﻴـﺎ، ﻋﺠﻴﺒﺔ ﻗﺎﻤﺎ ِﺒ ِﺭ ﺴﻌِﻬﻤﺎ ﺃﻥ ﻴ ﻤ ﺯﻗﹶﺎﻩ ﻤﻌﺘﻘﺩﻴﻥ ﺃﻥ ﻓﻲ ﻭ ﺇ ﺭﺒﺎ ،ﺜﻡ ﻴﺩﻋﻤﺎﻩ ﺒﺎﻟﺼﺨﻭﺭ؛ ﻭﺫﻟﻙ ﻓﻲ ﺍﻷﺴﻁﻭﺭﺓ ﺍﻟﺒﻭﻟﻴﻨﻴﺯﻴﺔ؛ ﺒﺄﻨﻪ" ﻗﺩ ﺭ ِﻓ ﻊ" ﺒﻭﺴﺎﻁﺔ ﺃﻋﻤﺩﺓ ﻭﻀﻌﻬﺎ ﺘـﺎ ﺁﺭﻭﺍ ﺘﺤــﺕ ﺍﻟﻔﻀــﺎﺀ ﺍﻟﻔﺴــﻴﺢ. ﻭﺘﺭﻭﻱ ﺍﻷُﺴﻁﹸﻭﺭﺓ ﺃﻥ ﺘﺎ ﺁﺭﻭﺍ ﻓﻲ ﻫﺫﺍ ﺍﻟﻭﻗﺕ ﻗـﺩ ﺍﺴـﺘﻐﹶﺎﺙ ﺒـﺭﻭﺡ ﻋﻅﻤﻰ ،ﻟﻜﻲ ﻴﻤﺭ ﻤـﻥ ﺍﻟ ﹶﻔﻀـﺎﺀ ﻥ ﻓـﻭﻗﻲ؟" "ﺁﺘﻴﺎ" ،ﻭﺃﻨﻪ ﺼﺎﺡ" ﻤـ ﻓﻲ ﻤﺤﺎﻭﻟﺔ ﻤﻨﻬﻤﺎ ﻗﺎﻤﺎ ﺒﻬﺎ ﻟﺭﻓـﻊ ﺏ ﹶﺘ ﻤﱠﻠﻜﹶﻬﻤـﺎ ﺍﻟﺴﻤﺎﺀ .ﺒﻴﺩ ﺃﻥ ﺍﻟ ﺭﻋـ ﻅﻤ ﹶﺔ ﺁﺘﻴﺎ ،ﹶﻓﻭﻀـﻌﺎ ﻋﻨﺩﻤﺎ ﺸﺎﻫﺩﺍ ﻋ ﹶ ww ﻋﻘِﻴ ﺩ ﹸﺓ ﺁﺘﻭﻥ ﺒِ ﹶﻨ ﺯﻋﺔٍ ﺇﻟـﻰ ﺴ ﻡ ﻭ ﹶﺘﺘﱠ ِ ATEA ﺍﻵﻟﻬﺔ ﺍﻷﺨﺭﻯ .ﻭﺜﻤﺔ ﻗﺼﺔ ﹶﺘ ﹶﺘ ﺭﺩﺩ w. ﻤﺭﻜﺯﺍ ﻟﻌﺒـﺎﺩﺓ "ﺁﺘـﻭﻥ" ﻭﺴـﻤﺎﻫﺎ alk ﻋﻠﻰ ﻫﺫﺍ ﺍﻟﻤﻌﺒﺩ ﺍﺴﻡ "ﻨﻭﺭ ﺁﺘـﻭﻥ ﺁﺗِﻴﺎ ﻷﻨﹸﻭ ﹶﺜﺔِ ﻓـﻲ ﺕﺍُ ﺼﻔﹶﺎ ِ ﺁﺘﻴﺎ ،ﻭﺃﻥ ﹸﻜلﱠ ِ ﺴﻠﱠﺔ ،ﻭ ﹶﻓﺭﺍ ﻻ ﻴﻠﻭﻴـﺎﻥ ﺱ ﻓﻲ ﺍﻟﻔﹸﺌﻭ ﻋﻠﻰ ﺸﻲﺀ .ﻭﻤﻥ ﻫﻨـﺎ ﻻ ﻴﻭﺠـﺩ ﻉ ﻤـﺎ ِﻫﺭﻭﻥ ﻴﺴـﺘﻁﻴﻌﻭﻥ ﺃﻥ ﺼﻨﱠﺎ ٢٥ ﺍﻟﺴﻤﺎﺀ ﻭﺍﻷﺭﺽ. ﺍﻟﺘﱠﺸﺎﺒﻪ ﺒﻴﻥ ﺍﺴـﻤﻪ ﻭﺍﺴـﻡ ﺍﻹﻟـﻪ ﻑ ﺒﺄﺭﺒﻁﺔ ﻤﻥ "*ﻜﻭﺒﻴﻠﻲ"؛ ﺤﻴﺙ ﹶﺘﹶﻠ ﱡ ﺠﺯﺭ ﻭﻤﻥ ﺍﻟﻌﺎﺩﺍﺕ ﺍﻟﺸﱠﺎ ِﺌﻌﺔ ﻓﻲ ﺏ ﺇﻟﻰ ﺃﻥ ﺃﺩﻭﻨﻴﺱ ﺇﻟﻰ ﻨﻅﺭﻴﺔ ﹶﺘ ﹾﺫ ﻫ ﺍﻟﺼﻭﻑ ،ﻭﺘﺯﻴﻥ ﺒﺄﺯﻫﺎﺭ ﺍﻟﺒﻨﻔﺴﺞ. ﺴﻭﺴﺎﻴﺘﻲ ﻓـﻲ ﺍﻟﻤﺤـﻴﻁ ﺍﻟﻬـﺎﺩِﻱ ﻟﻬﻤﺎ ﺍﺴﻤﺎ ﻭﺍﺤﺩﺍ ،ﻭﺃﻥ ﺃﺘﱢﻴﺱ ﻫـﻭ ﻥ ﺍﻟﺸـﺠﺭﺓ ﺒﺘﻤﺜـﺎل ﺸـﺎﺏ ﻭﺘﹸ ﹾﻘ ﺭ ل ﻭﻟِﻴـﺩ ﻤـﻥ ﻁﻔﹾـ ٍ ﺤﻤﺎ ِﻡ ِ ﺴ ِﺘ َﺃ ﹾﺜﻨﹶﺎ ﺀ ﺍ ﺍﻟﺴﻭ ِﺭﻴﺔ ،ﻭﻤﺎﺯﺠﺕ ﻋﺒﺎﺩﺘﻪ ﻤﺭﺍﺴﻴﻡ ﺩﻴــﻭﺩﻭﺭﻭﺱ ﺃﻥ ﺍﻷﻡ ﺍﻟﻌﻅﻤــﻰ ﺍﻷﻡ ﺍﻟﻌﻅﻤﻰ ﻟﻶﻟﻬﺔ ﻓﻲ "ﻓﺭﻴﺠﻴـﺎ". ﺸﻘﹶﺕ ﺍ ﺒ ﹶﻨﻬﺎ ﺃﺘﱢﻴﺱ؛ ﻓﺎﻜﺘﺸﻑ ﺃﺒﻭﻫﺎ ﻋِ ـل ﺍﻷﻡ ـﻴﺱ ،ﻤﺜـ ﻭﺍﻟ ـﺭﺍﺠِﺢ ﺃﻥ ﺃ ﱢﺘـ ﺨﻁﻴﺌﺘﻬﺎ ،ﻭﻗﺘل ﻋﺸﻴﻘﻬﺎ ،ﻭﻤﺎ ﻜﺎﻥ ﺸَﺄ ﻓﻲ ﺁﺴﻴﺎ ﺍﻟﺼـﻐﺭﻯ، ﺍﻟﻌﻅﻤﻰ ،ﹶﻨ ﹶ ﻤﻨﻬﺎ ﺇﻻ ﺃﻥ ﺃﺨﺫﺕ ﹶﺘﺠﻭﺏ ﺍﻷﺭﺽ m ﻴﺭﻓﻌﻭﺍ ﺁﺘﻴﺎ ،ﻭﺃﻥ ﻴﻔﺼِـﻠﻭﺍ ﺒـﻴﻥ ﻋ ﺭﺒـﺩﺓ .ﻭﻗـﺩ ﺃﺩﻯ ﻫـﺫﺍ ﹶﺘ ﻬﺘﱡﻙ ﻭ ل ل ﺇﻟﻰ ﻫ ﻴﻜﹶـ ِ ﺼ ﹶﻨ ﻭ ﺒﺭٍ ،ﻭ ﹸﺘ ﹾﻨ ﹶﻘ ُ ﺸﺠﺭ ﹸﺓ ﹶ ل ﺇﻟﻰ ﺁﺘﻴﺎ )ﻭﺘﻴﻥ ﻭﺘﺎ ﺁﺭﻭﺍ(، ﺍﻻﺒﺘﻬﺎ ُ .co ﺍﻷﺴﺭﺓ ﺍﻟﻤﺎِﻟﻜﹶﺔ ﻷﻭل ﻤﺭﺓ" :ﻟﻜـﻲ ﻴﻀﻔِﻲ ﻋﻠﻰ ﺒﺸﺭﺓ ﺍﻟﻁﻔل ﺤﺴﺎﺴﻴﺔ ﻕ ﻁﻠﹶـ ﹸ ﺠﺯﺭ ﻴ ﹾ ﻤﺭﻫﻔﺔ" .ﻭﻓﻲ ﻫﺫﻩ ﺍﻟ ﻲ ﻷﻓﺭﻭﺩﻴــﺕ ﺍﻟﻘﹶــﺭِﻴﻥ ﺍﻟﺴــﺎ ِﻤ ﻭﺍﺘﱠﺨﺫﻩ ﺍﻟﻐﹸﺯﺍ ﹸﺓ ﺍﻟﻔﺭﻴﺠﻴﻭﻥ ﻤﻌﺒـﻭﺩﺍ ﻁﻠﹶﻕ ﻋﻠﻰ ﻓﺎﻜﺎﻫﻭﺘﻭ ﺍﺴـﻡ ﺸﻲﺀ ﻭ ﻴ ﹾ ﻟﻬﻡ ،ﻭ ﻤ ﺯﺠﻭﺍ ﺒﻴﻨـﻪ ﻭﺒـﻴﻥ ﺃﺤـﺩ "ﺒﺎﺒﺎ" .ﻭﻓﻲ ﻫﺎﻭﺍﻱ ﻴﻌـﺭﻑ ﺒﺎﺴـﻡ ﻤﻌﺒﻭﺩﺍﺘﻬﻡ ﺍﻷﺼﻠﻴﺔ. ﻭﺍﻜﻴﺎ ﻭﺘﻌﺭﻑ ﺯﻭﺠﺘﻪ ﺒﺎﺴﻡ "ﺒﺎﺒﺎ". ﺃﹶﺗﻴﺲ ATTIS ﺇﻟ ﻪ ﺍﻟﺯﺭﻉ ﻭﺍﻟ ﱠﻨﻤﺎﺀ ﻋﻨﺩ ﺍﻹﻏﺭﻴﻕ ﻥ ﻭﺍﻟﺭﻭﻤﺎﻥ ،ﻭﻜﺎﻨﺕ ﻋِﺒﺎﺩﺘﹸﻪ ﹶﺘ ﹾﻘﺘﹶـ ِﺭ ﻭﻫﺫﺍ ﺍﻹﻟﻪ ﺇﻤﺎ ﺃﻥ ﻴﻜﻭﻥ ﺴﺎ ِﻤﻴﺎ، ﻲ. ﻥ ﺴﺎ ِﻤ ﻭﺇﻤﺎ ﺃﻥ ﻴﻜﻭﻥ ﻗﺩ ﺘﺄﺜﱠﺭ ﺒﺩِﻴ ٍ ﻭﻗﺩ ﺘﺭﻜﱠﺯﺕ ﻋﺒﺎﺩﺘﹸﻪ ﻓﻲ "ﻓﺭﻴﺠﻴﺎ" ﺍﻟﻴﻭﻨﺎﻥ ،ﺤﺘﱠﻰ ﻭﺼﻠﺕ ﺇﻟـﻰ ﺒـﻼﺩ ﺍﻹﻤﺒﺭﺍﻁﻭﺭﻴﺔ ﺍﻟﺭﻭﻤﺎﻨﻴﺔ. ﻁ ﺒـﻴﻥ ﺨﻠﹾـ ﹲ ﻭﻴﺒﺩﻭ ﺃﻨﻪ ﻗﺩ ﺤﺩﺙ ﹶ ﻭ"ﻤﻥ" ﻭ"*ﺃﺩﻭﻨﻴﺱ" .ﻭﻫﻨﺎﻙ ﺘﺸﺎﺒﻪ ـﺎﺩﺓ ﻋﺒﺎ ﺩ ِﺘـ ِﻪ ﻭﻋﺒـ ـﻴ ِﻡ ِ ﺴـ ـﻴﻥ ﻤﺭﺍ ِ ﺒـ ﺩﻴﻭﻨﻴﺯﻭﺱ ،ﻟﻤﺎ ﺼـﺎﺤﺒﻬﻤﺎ ﻤـﻥ ﻭﻴﺭﻭﻱ ﺒﻭﺯﺍﻨﻴﺎﺱ ﺃﻥ ﺃﺘﱢﻴﺱ ﻜﺎﻥ ﻋﻔِﻴﻔﹰﺎ ،ﻭﻟﻘـﺩ ﺤـﺎﻭل ﺍﻟﺸـﺎﺏ ﺃﻥ ﻼ ﺃﻨﺠﺒﺘـﻪ ﺍﺒﻨـﺔ ﻨﻬـﺭ ﻰ ﺠﻤـﻴ ﹰ ﻓﺘ ﻴﺒﺎ ِﺩﻟﹶﻬﺎ ﺇﻴﺎﻩ ،ﻭﻟﻜـﻥ ﺍﻷﻡ ﺍﻟﻌﻅﻤـﻰ "ﺃﺠﺩﻴﺴﺘﺱ"؛ ﻭﻫﻭ ﻭﺤﺵ ﻤﻥ ﺫﺭﻴﺔ ﺍﻟﺤﻭﺭﻴﺎﺕ ﻓﻘﺘﻠﺘﻬﺎ ،ﻭﻤﺎ ﻜﺎﻥ ﻤﻨﻪ ﺇﻻ ﺯﻴﻭﺱ ،ﻭﻋﺸﻘﺘﻪ ﺃﺠﺩﻴﺴﺘﺱ ،ﻭﻟﻤـﺎ ﺨﺼﻰ ﻨﻔﺴـﻪ ﺃﻥ ﹶﻨﺩِﻡ ﻋﻠﻰ ﻓِ ﻌﹶﻠﺘِﻪِ ﻭ ﹶ ﺕ ﺃﻨﱠﻪ ﻋﻠﻰ ﻋﻼﻗﺔ ﺒﺈﻴـﺎ ﺍﺒﻨـﺔ ﹶﺘﺒ ﻴ ﹶﻨ ﹾ ﺠﻨﹸﻭﻥ .ﻭﻫﻨـﺎ ﺭﻭﺍﻴـﺔ ﺴ ﻭ ﺭ ِﺓ ﻓﻲ ـﺩﻯ ـﻊ ﺇﺤـ ـﻪ ﻤـ ـﻔﺕ ﺨﻴﺎﻨﺘـ ﺍﻜﺘﺸـ ﺴﺎﻨﺠﺎﺭﻴﻭﺱ ،ﻭﺃﻨـﻪ ﻤـﻥ ﻨﺴـل ﺠﻨﹸـﻭﻥ ﻤﻴﺩﺍﺱ ﺃﺼـﺎﺒﺘﻪ ﺒﻨﻭﺒـﺔ ﺨﺼﻰ ﻨﻔﺴﻪ .ﻭﻨﺩﻤﺕ ﻋﻠﻰ ﻓﻌﻠﺘﻬﺎ، ﹶﻓ ﹶ ﺴ ﺩ ﺠ ل ﻅﱠ ﻭﺃﻟﺤﺕ ﻋﻠﻰ ﺯﻴﻭﺱ ﺃﻥ ﻴ ﹶ ﺏ ﺼــﺤِﻴﺤﺎ ﻭﺃﻻ ﻴﺼــﺎﺏ ﺍﻟﺸﱠــﺎ ﺃﺨﺭﻯ ﹸﺘ ﺒﻴﻥ ﺘـﺄﺜﻴﺭ ﺃﺴـﻁﻭﺭﺓ * ﺃﻓﺭﻭﺩﻴﺕ ﻭﺃﺩﻭﻨﻴﺱ ،ﻭﺘﺫﻫﺏ ﺇﻟـﻰ ﺃﻥ ﺃﺘﻴﺱ )ﻭﻫـﻭ ﺍﻻﺒـﻥ ﺍﻟ ﻌﻘِـﻴﻡ ﻟﻜﻼﻭﺱ ﻓﻲ ﻓﺭﻴﺠﻴﺎ( ﺫﻫـﺏ ﺇﻟـﻰ ل ﻭﺍﻟ ﹶﻔﻨﹶﺎ ِﺀ .ﻭﻴﺫﻫﺏ ﺃﺭﻨﻭﺒﻴﻭﺱ ﺤﱡﻠ ِ ﺒﺎﻟ ﱠﺘ ﻟﻴﺩﻴﺎ؛ ﻟﻜـﻲ ﻴ ﹾﻨﺸﹸـ ﺭ ﻋِﺒـﺎﺩ ﹶﺓ ﺍﻷﻡ ﺕ ﺨﺼﻰ ﻨﻔﺴﻪ ﹶﺘﺤـ ﹶ ﺇﻟﻰ ﺃﻥ ﺃﺘﱢﻴﺱ ﹶ ﺨ ﹾﻨﺯِﻴ ﺭ ﺒﺭﻱ ﺍﻟﻌﻅﻤﻰ ﻫﻨﺎﻙ ،ﻓﻘﺘﻠﻪ ِ ﺕ ﺼ ﹶﻨ ﻭﺒﺭِ ﺍﻟﺘﻲ ﹶﻨﺒـ ﹶ ﺇﺤﺩﻯ ﺃﺸﺠﺎﺭ ﺍﻟ ﺒﺄﻤﺭ ﻤﻥ *ﺯﻴﻭﺱ. ww ﺃﺘﱢﻴﺱ ﻭﺒﻴﻥ "*ﺒﺎﻥ" ﻭ"*ﺴﺎﺒﺎﺯﻴﻭﺱ" ﺤﺒـﺎ ﺤﺏ ﺃﺘﹼـﻴﺱ ﺍﻟﻌﻅﻤﻰ ﻜﺎﻨﺕ ﹸﺘ ِ w. ﻭ"ﻟﻴﺩﻴﺎ" ،ﺜﻡ ﺍﻨﺘﺸـﺭﺕ ﻓـﻲ ﺒِـﻼﺩ ـﻰ ﺃﻥ ﺍﻷﻡ ـﺩ ﺇﻟـ ـﺫﻫﺏ ﺃﻭﻓﻴـ ﻭﻴـ alk ﺩﺍﺌﻤﺎ ﺒـ *ﺍﻷﻡ ﺍﻟﻌﻅﻤﻰ ﻟﻶﻟﻬﺔ. www.alkottob.com ﻨﺎﺌِﺤ ﹰﺔ ﻋﻠﻴﻪ. ott ob ﻋﻠﻴﻪ ﺍﺴﻡ" ﺘﻲ ﺘﻭﻤﻭ"؛ ﺃﻱ ﺃﺼل ﻜل ﺠﻤﻴل ،ﻴﻤﺜل ﺍﻹﻟﻪ ﺃﺘﻴﺱ .ﻭﻴـﺭﻭﻱ ﺞ ﻤـﻥ ﺴ ﹾﻔﺤِﻬﺎ ﺯ ﻫ ﺭ ﺍﻟ ﺒ ﹶﻨ ﹾﻔﺴـ ِ ﻋﻨﺩ ﻭﺃﺘﱢﻴﺱ ﻜﺎﻥ ﻓﻲ ﺍﻷﺼـل ﺇﻟﻬـﺎ ِﺩﻤﺎ ِﺌ ِﻪ .ﻭﻤﻥ ﺃﺠل ﺫﻟﻙ ﻴﻘﹶـﺎ ﻡ ﻓـﻲ ﻟﻠﺯﺭﻉ ﻭﺍﻟﻨﱠﻤﺎﺀ ﺃﻭ ﺭﻭﺤﺎ ﺘﺤل ﻓـﻲ ﺍﻟﻴﻭﻡ ﺍﻟﺜﺎﻨﻲ ﻭﺍﻟﻌﺸﺭﻴﻥ ﻤﻥ ﺸـﻬﺭ ﺍﻟﺸﺠﺭﺓ ،ﻜﻤﺎ ﻴﺒﺩﻭ ﺫﻟﻙ ﻓﻲ ﺍﻗﺘﺭﺍﻨﻪ ﻁ ﻊ ﻓﻴﻪ ل ﺘﹸ ﹾﻘ ﹶ ﻤﺎﺭﺱ ﻤﻥ ﻜل ﻋﺎﻡ ﺤﻔ ٌ ﺼ ﹶﻨ ﻭ ﺒﺭِ ،ﺍﻟﺘﻲ ﻴﻘﺎل ﺇﻨـﻪ ﺒﺸﺠﺭﺓ ﺍﻟ ٢٦ ل ﻟﻅﻬﻭﺭ ﻟﻨﻔﺴﻪ ﻭﻭﻓﹶﺎ ِﺘﻪِ ،ﻭ ﺒ ﻌ ِﺜ ِﻪ ﹶﺘ ﻤﺜِﻴ ٌ ﺸﻤﺔ ﻭﺍﻻ ﹾﻨ ِﺩﻓﹶﺎﻉ ،ﻜﻤﺎ ﺠﺴ ﻡ ﺍﻟ ﹸﻘ ﻭ ﹶﺓ ﺍﻟﻐﺎ ِ ﻴ ﺤﺩﺓ ﻭﻅﺎﺌﻔﻬﺎ ﺍﻟ ﻤ ﹶﻨﻭﻋﺔ؛ ﻓﻘﺩ ﻭ ِﻫﺒﺕ ِ ﺍﻟﺜﱢﻤﺎﺭ ﻓﻲ ﺍﻟ ﺭﺒِﻴﻊ ﺒﻌﺩ ﺍﺨﺘﻔﺎﺌﻬﺎ ﻓﻲ ﺃﻨﻬﺎ ﻜﺎﻨﺕ ﺒﺎﻋﺘﺒﺎﺭِﻫﺎ ﺍﻹﻟﻬﺔ ﺍﻟﺭﺍﻋﻴﺔ ﺍﻟ ﺒﺼﺭ ﻭﺍﻟﺫﱠﻜﺎﺀ ،ﻭﺍﻟﺒﺭﺍﻋـﺔ ﻓـﻲ ﺍﻟﺸﱢﺘﺎﺀ. ﻟﻠﺩﻭﻟﺔ ﺤﺎﻤِﻴﺔ ﺍﻟﻌﺸﺎﺌﺭ .ﻭﻟﻘﺩ ﹶﻟ ِﻌﺒﺕ ﺨﻴل ،ﻭﺍﻟﻤﻬـﺎﺭﺓ ﻓـﻲ ﺘﺭﻭﻴﺽ ﺍﻟ ﹶ ﺍﻟﻘﺎﻨﻭﻨﻴﺔ ،ﻭﻴﻌﺘﻘـﺩ ﺃﻨﻬـﺎ ﺃﻨﺸـﺄﺕ ﺍﻟﺸﱢﻌﺭﻱ "ﺒﺎﻻﺱ" ﻓﺭﺒﻤـﺎ ﺍﻗﺘـﺭﻥ ﻤﺤﻜﻤﺔ "ﺃﺭﻴﻭﺒـﺎﺠﻭﺱ" .ﻭﺭﺒﻤـﺎ ﺒﺎﺴﻤﻬﺎ ﻤﻥ ﺍﻷﺴﻁﻭﺭﺓ ﺍﻟﺘﻲ ﺘﺤﻜﻲ ﻜﺎﻨﺕ ﺃﺜﻴﻨﺎ ﻤـﻥ ﺁﻟﻬـﺔ ﺍﻟﻴﻭﻨـﺎﻥ ﺃﻨﻬﺎ ﹶﻗ ﹶﺘﹶﻠﺕِ ﺍﻟﻤـﺎ ِﺭ ﺩ "ﺒـﺎﻻﺱ" ﻓـﻲ ﻋﺒـ ﺩﻫﺎ ﺍﻟﻔـﺎ ِﺘﺤﻭﻥ ﺍﻟﻘﺩﻴﻤﺔ ،ﺜـﻡ ﺕ ﺒـﻴﻥ ﺍﻹﻟﻬـﺔ ﺍﻟﻤﻭﻗﻌﺔ ﺍﻟﺘﻲ ﹶﻨﺸِﺒ ﹾ m ﺨﺼﻴﻪ ﺘﺤﻭل ﺇﻟﻴﻬﺎ ﻓﻴﻤﺎ ﺒﻌﺩ ،ﻭﻓﻲ ﹶ ﺇﻟﻪ ﺍﻟﺤﺭﺏ "*ﺁﺭﺱ" ﺍﻟـﺫﻱ ﻜـﺎﻥ ﻭﻟﻬﺎ ﺃﻟﻘﺎﺏ ﻤﺘﹶﻌﺩﺩﺓ ﺘﺸـﻴﺭ ﺇﻟـﻰ .co ﺃﺗﻴﻼ ATTILA ﺍﻨﻅﺭ :ﺁﺘﻠﻲ .Atli ﺃﹶﺛِﻴﻨﺎ ATHENA ﻓﻲ ﺍﻟﺩﻴﺎﻨـﺔ ﺍﻹﻏﺭﻴﻘﻴـﺔ ﺇﻟﻬـ ﹸﺔ ﺕ ﺍﻵ ِﺭﻴﻭﻥ ﻟﺒﻼﺩ ﺍﻟﻴﻭﻨﺎﻥ .ﻭﻟﻘﺩ ﺒ ﹶﺫﹶﻟ ﹾ ﻭﺍﻟ ﻤﺭﺩﺓ .ﻭﻫﻨـﺎﻙ ﻤﺴـﺤﺔ ﻤـﻥ ﺕ ﺽ ﺍﻟﻤﺤـﺎﻭﻻﺕ ﻟﻜـﻲ ﹸﺘ ﹾﺜﺒِـ ﹸ ﺒ ﻌ ﻁ ِﻤﻴﺔ" ﻓﻲ ﺍﺴﻡ "ﺠﻠﻭﻜـﻭﺒﻴﺱ" "ﺍﻟﻁﱠﻭ ﹶ ﻋﻼﻗﺘﻬﺎ ﺒِﺎﻟ ﺒﺭﻕ ﻭﺍﻟﺭﻋﺩ ،ﻭﻟﻜـﻥ ﻻ ﺃﻭ "ﺍﻟﺒﻭﻤﺔ" ﺍﻟﺘﻲ ﺭﺒﻤﺎ ﻋﺒﺩﺕ ﻗﺒـل ل ﻴﺅﻴﺩ ﺃﻨﻬﺎ ﻜﺎﻨـﺕ ﺇﻟﻬـﺔ ﻴﻭﺠﺩ ﺩﻟِﻴ ٌ ﺃﺜﻴﻨﺎ ،ﺜﻡ ﺃﺼﺒﺤﺕ ﻜﻤﺎ ﻴﺤﺩﺙ ﻓـﻲ ﺠﺴﻡ ﺍﻟﻅﻭﺍﻫﺭ ﺍﻟﻜﻭﻨﻴـﺔ. ﹸﺘ ﹶﻔﺴﺭ ﺃﻭ ﹸﺘ ﺍﻟﻐﺎﻟِﺏ ﺭﻓﻴﻘﺔ ﻟﻺﻟﻬﺔ ﺍﻟﺘﻲ ﺨﻠﻔﺘﻬـﺎ ﺍﻟﺭﺍﻋِﻴﺔ ﺍﻟﻜﹸﺒﺭﻯ ﻟِﻠ ﻤﺩﻥ ،ﻭﺒﺨﺎﺼـﺔ ﻕ ﺒﺘﻔﺴـﻴﺭ ﻤﻭﻟـﺩﻫﺎ ،ﻭﺃﻫـﻡ ﹶﺘ ﹶﺘﻌﱠﻠ ﹸ ﻤﺩﻴﻨﺔ ﺃﺜﻴﻨﺎ؛ ﺤﻴﺙ ﻜﺎﻨﺕ ﺘﻌﺩ ﻤـﻥ ﺃﻋﻴﺎﺩﻫﺎ ﻫـﻭ "ﺍﻟﺒﺎﻨﺎﺜﻴﻨـﺎﻱ" ﺍﻟـﺫﻱ ﺍﻵﻟﻬﺔ ﺍﻟﺜﻼﺜﺔ ﺍﻟ ِﻌﻅﹶﺎﻡ :ﺃﺜﻴﻨﺎ ﻭﺯﻴﻭﺱ ﻴﻨﺘﻅﻡ ﺴﺒﺎﻕ ﺍﻟ ﻤﺸﹶﺎﻋِل ﻭﺍﻟـ ﺯﻭﺍﺭِﻕ. ott ob ﺤﺭﺏ؛ ﺤ ﹾﻜﻤﺔ ﻭﺍﻟﻔﹸﻨﻭﻥ ﻭﺍﻟ ﻌﻠﹸﻭﻡ ﻭﺍﻟ ﺍﻟ ِ ﺩﻭﺭﺍ ﻜﺒﻴﺭﺍ ﻓﻲ ﺘﻁـﻭﻴﺭ ﺍﻷﻓﻜـﺎﺭ ﺍﻟﺼﻨﺎﻋﺔ ﻭﺘﺭﺒﻴﺔ ﺍﻷﻁﻔﺎل .ﺃﻤﺎ ﹶﻟ ﹶﻘ ﺒﻬﺎ ﻋ ﹾﺫﺭﺍﺀ .ﻭﻜﺎﻨﺕ ﺒﻭﺼﻔﻬﺎ ﻭﻫﻲ ﺇﻟﻬﺔ ﺇﻟﻬﺔ ﺍﻟﺤﻜﻤﺔ ﺤﺎﻤﻴﺔ ﺍﻟﺩﻭﻟﺔ ﻭﺍﻟـ ﱡﻨﻅﹸﻡ ﺴ ِﻬ ﻡ ﻓـﻲ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﻜل ﺸﻲﺀ ﻴ ﺘﺩﻋﻴﻡ ﺍﻟﺩﻭﻟﺔ ﻭﺍ ﺯ ِﺩﻫﺎﺭِﻫـﺎ ،ﻤﺜـل ﺨ ﹶﺘﺭﻋﺎﺕ. ﺍﻟﺯﺭﺍﻋﺔ ﻭﺍﻟﺼﻨﺎﻋﺔ ﻭﺍﻟ ﻤ ﹾ ﺨ ﹶﺘﺭِﻋـﺔ ﻭﻜﺎﻨﺕ ﺒﻬـﺫﻩ ﺍﻟ ﻤﺜﹶﺎﺒـﺔ ﻤ ﹾ ﺕ ﺍﻟﻨﱠﺎﺱ ﻋﱠﻠ ﻤ ِ ﺸﺠﺭﺓ ﺍﻟﺯﻴﺘﹸﻭﻥ ،ﻭﻟﻘﺩ ﻥ ﺍﻟﺜﱢﻴﺭﺍﻥ ﻋﻠـﻰ ﺃﻴﻀﺎ ﻜﻴﻑ ﻴ ﻌﱢﻠﻘﹸﻭ ل ﺨ ﻴ َ ﺍﻟﻤِﺤﺭﺍﺙ ،ﻭﻜﻴﻑ ﻴﺴﺘﺄﻨﺴﻭﻥ ﺍﻟ ﹶ ﺒﺎﻟﻠﱢﺠﺎﻡ ،ﻭﻴﻨﺴـﺏ ﺇﻟﻴﻬـﺎ ﺍﺒﺘﻜـﺎﺭ ﻋﻤل ﺘﺴﺘﻁﻴﻊ ﺍﻟﻤﺭﺃﺓ ﺃﻥ ﹶﺘﻘﹸﻭ ﻡ ﻭﻜل ﺒﻪ ﺇﻟﻰ ﺠﺎﻨﺏ ﺒﻨﺎﺀ ﺍﻟﺴﻔﻥ ﻭﺼِﻴﺎﻏﹶﺔ ﹸﺘ ﻤﺠــ ﺩ ﻫــﻲ ﻭ"ﻫﻴﻔﺎﻴﺴــﺘﺎﺱ" ﻥ ﻟﻠﻔﻨﻭﻥ ﺍﻟﺭﻓﻴﻌﺔ ﻋ ﻴ ﻴ ِ ﺒﺎﻋﺘﺒﺎﺭِﻫﻤﺎ ﺭﺍ ِ ﻭﺍﻟﻤﻔﻴﺩﺓ ،ﻭﻜﺎﻨﺕ ﹸﺘ ﻤﺜﱢل ﺒﺼﻔﺘﻬﺎ ﺇﻟﻬﺔ ﺍﻟﺤﺭﺏ ﺍﻟ ﱠﺘ ﻌﻘﱡل ﻭﺍﻟﺫﹶﻜﺎﺀ ،ﻓﻲ ﻤﻘﺎﺒِل www.alkottob.com ل ﻋﺒﻘﺭﻴﺔ ﺍﻟﺸﻌﺏ ﻓﻲ ﺍﻟﻔﻨـﻭﻥ ﹸﺘ ﻤﺜﱢ ُ ﻭﺍﻵﺩﺍﺏ .ﻭﻤﻌﺒﺩﻫﺎ ﻫﻭ ﺍﻟﺒـﺎﺭﺜﻴﻨﻭﻥ ﻋﻠﻰ ﺍﻷﻜﺭﻭﺒﻭﻟﻴﺱ. ﻭﻴﻨــﺘﻅﻡ ﻤ ﻭ ِﻜﺒــﺎ ﻴ ﱠﺘﺠِــ ﻪ ﻤــﻥ ﺍﻷﻜﺭﻭﺒﻭﻟﻴﺱ ﺇﻟﻰ ﻗﺭﻴﺔ "ﺸـﻴﺭﻭﻥ" ﻓﻲ ﺫِﺭﻭﺓ ﺍﻟﺼﻴﻑِ؛ ﻭﺫﻟﻙ ﻟﻠﺘﻭﺴـل ﻭ ﹶﻓ ﹶﻘﺩﺕ ﻫﺫﻩ ﺍﻟﻤﻌﺒـﻭﺩﺓ ﻤﻜﺎ ﹶﻨﺘﹶﻬـﺎ ﻁﺄَﺓ ﺍﻟﺤـﺭ، ﺇﻟﻰ ﺍﻹﻟﻬﺔ ﺒﺘﺨﻔﻴﻑ ﻭ ﹾ ﻜﺈﻟﻬﺔ ﻟﻠﻤﺩﻥ ،ﻭﻟﻜﻨﻬﺎ ﻅﻠﱠﺕ ﻤ ﻤﺠﺩ ﹰﺓ ﻭﻋﻴﺩ ﺍﻟﺤﺩﺍﺩﻴﻥ ﻭﻋﻴـﺩ ﺍﻟﻁﻬـﺎﺭﺓ ﻤﻥ ﺍﻟﻔﺘﻴﺎﺕ ﻭﺍﻟﻔﺘﻴﺎﻥ ﻓـﻲ ﺃﺜﻴﻨـﺎ، ـﺎﻥ ـﻭﻉ ﺍﻟﻴﻭﻨـ ـﻲ ﺭ ﺒـ ـﻭﺩﺓ ﻓـ ﻭﻤﻌﺒـ ﻭﺍﻟﺘﺠﻤﻴل؛ ﺤﻴﺙ ﺘﻐﺴـل ﺘﻤﺎﺜﻴﻠﻬـﺎ ww ﺼﻨﹶﺎﻋﺔ ﺍﻷﺤﺫﻴﺔ .ﻭﻜﺎﻨـﺕ ﺍﻟﺫﱠﻫﺏ ﻭ ِ ﻭﺃﺒﻭﻟﻭ .ﻭﻜﺎﻨﺕ ﻓﻲ ﻤﺩﻴﻨـﺔ ﺃﺜﻴﻨـﺎ ﻭﻤﻥ ﺃﻋﻴﺎﺩﻫﺎ ﺃﻴﻀﺎ "ﺍﻟﺸﻴﺭﻭﻓﻭﺭﻴﺎ"، w. ﻼﺤﺔ، ﺠﻠﹶﺔ ﻭﺍﻟﻤِ ﹶ ﺍﻷﺭﻗﺎﻡ ﻭﺍﻟﻨﺎﻱ ،ﻭﺍﻟ ﻌ ﻲ ﺍﻟﻘﺩﻴﻡ ﺦ ﺍﻟﻬِﻴﻠﻴﻨ ﻭﻜﺎﻨﺕ ﻓﻲ ﺍﻟﺘﺎﺭﻴ ِ alk ـﺔ ﺠ ـﺭﺍﻑ ﻭﺨﺎِﻟ ﹶﻘـ ﺤ ـﺭﺍﺙ ﻭﺍﻟ ِﻤ ﺍﻟ ِﻤ ﻓﻲ ﺍﻟﻌﺒﺎﺩﺓ .ﻭﺜﻤﺔ ﺃﻟﻘـﺎﺏ ﺃﺨـﺭﻯ ﺍﻟﺨﺸﺒﻴﺔ ﻭ ﹸﺘ ﺯﻴﻥ. ﻭﺭﻭﺩﺱ .ﻜﻤﺎ ﻋﺒﺩﺕ ﻓـﻲ ﻤﺼـ ﺭ ﻭﻜﺎﻥ ﻤﻥ ﺍﻟﻤﺄﻟﻭﻑ ﺃﻥ ﹸﺘ ﹶﻘ ﺩﻡ ﻟﻬـﺎ ﻥ ﺍﻟﻌﻬﺩ ﺍﻟﻴﻭﻨـﺎﻨﻲ ﻓـﻲ ﻤﺩﻴﻨـﺔ ﺇﺒﺎ ـﺭﺍﻥ ـﺭ ﻭﺍﻟﺜﱢﻴـ ـﻥ ﺍﻟ ﺒ ﹶﻘـ ﺍﻟ ﹶﻘـﺭﺍﺒِﻴﻥ ﻤـ "ﺴﺎﻴﺱ". ل ﻓﻲ ﺼﻭﺭﺓ ﺍﻤﺭﺃﺓ ﺨﺭﺍﻑ ،ﻭ ﹸﺘ ﻤﺜﱠ ُ ﻭﺍﻟ ِ ٢٧ ل ﺭﻤﺤﺎ ،ﻭﻋﻠﻰ ﺭﺃﺴﻬﺎ ﺨﹸﻭﺫﹶﺓ، ﺘﹶﺤ ِﻤ ُ ﺡ ﺃﺜﻴﻨﺎ ﻋﻠﻰ ﻗﺼﺒﺔ ﻤﻥ ﺍﻟﻐﺎﺏ ﻨﹸـﻭﺍ ﺒﻭﻻﻥ. ﺵ ﻋﻠﻴﻪ ﺭﺃﺱ ﻥ ِﺒ ِﺩ ﺭﻉٍ ،ﹸﻨﻘِ ﹶ ﺼ ﻭ ﹶﺘ ﹶﺘﺤ ﻲ ﺠ ﺸِ ﻥ ﺍﻟ ﱠ ﺸﻘﻴﻘﺎﺕ *ﻤﻴﺩﻭﺴﺎ ،ﻭﺍﻷﻨِﻴ ﻭ ﹶﺜﻤﺔ ِﻗﺼﺔ ﻋﺭﺒﻴﺔ ﻗﺩﻴﻤﺔ ﺘﺫﻫﺏ ﻏﻭﻟﺔ ﻤﺨِﻴﻔﹶﺔ .ﻭﻴﻨﺴﺏ ﺇﻟﻴﻬﺎ ﺍﻟ ﺒﻭﻤﺔ ﻭﺍﻟﺜﱡﻌﺒــﺎﻥ ﻭﺍﻟﻐﹸــﺭﺍﺏ ﻭﺍﻟــﺩﺭﻉ. ﺤﻴﺎﺕ ﺍﻟﺘﻲ ﺃﺤﺎﻁﹶﺕ ﺒﺭﺅﻭﺴـﻬﻥ. ﻟﻠ ﻭﻓﻲ ِﻗﺼـ ِﺔ ﺍﻟﻁﻭﻓـﺎﻥ ﺍﻟﻴﻭﻨﺎﻨﻴـﺔ ﺴﺨﹶﺎ ﺴ ﹾﻠﻤﻰ ﻤ ِ ﺸﻘﹶﻴﻥ َﺃﺠﺄ ﻭ ﺇﻟﻰ ﺃﻥ ﺍﻟﻌﺎ ِ ﻭﺘﻤﺎﺜِﻴﻠﹸﻬﺎ ﺍﻟﺘﻲ ﺘﺤﺭﺱ ﻤﺭﺘﻔﻌـﺎﺕ ﺃﺼــﺩﺭ ﺯﻴــﻭﺱ ﺃﻤــﺭﻩ ﺇﻟــﻰ ﺕ ﺇﻟـﻰ ﻓﻅِﻴﻊ ،ﻭﻫﺫﻩ ﺍﻟ ِﻘﺼـﺔ ﹶﺘﻤـ ﱡ *ﺒﺭﻭﻤﻴﺜﻴﻭﺱ ﻭﺃﺜﻴﻨﺎ ﺒﺈﻋﺎﺩﺓ ﺘﹶﻌﻤِﻴﺭ ﺍﻟﺤﻘﻴﻘﺔ ﺒﺴﺒﺏ؛ ﻷﻥ ﺍﻻﺴﻤﻴﻥ )ﺃﺠﺄ ل ﻤـﻥ ﺸﻜﱢﻼ ﹶﺘﻤﺎﺜِﻴـ َ ﺍﻷﺭﺽ؛ ﺒِﺄﻥ ﻴ ﹶ ﺴ ﹾﻠﻤﻰ( ﻴ ﹶﺘﺭ ﺩﺩﺍﻥ ﻓﻲ ﺍﻟﻠﱡﻐﺔ ﺍﻟﻌﺭﺒﻴﺔ ﻭ ل ﺍﻟﻁﱢﻴﻥ ﻋﻠﻰ ﻫﻴﺌﺔ ﺍﻟ ﺒﺸﹶﺭ ،ﺜﻡ َﺃ ﺭﺴَ ﺍﻟﻘﺩﻴﻤﺔ ﻭﻓﻲ ﺍﻟﱠﻠ ﻬﺠـﺎﺕ ﺍﻟﺸﱠـﻤﺎﻟﻴﺔ m ﻼﻤِـﺢ، ﺠﻤﺎل ،ﻗﺎﺴِـﻴﺔ ﺍﻟ ﻤ ﹶ ﺒﺎﺭِﻋﺔ ﺍﻟ "ﺒﺭﺴﻴﻭﺱ" ﺭﺃﺱ "ﻤﻴﺩﻭﺴﺎ"؛ ﹶﻓ ﹶﻘﻠﱠﺩﺕ ﺴ ﺩ ﹶﻨﺘﹸﻪ ﻤﻥ ﺒﻨﻲ ﺘﺴﻊ ﻟﻠﻬﺠﺭﺓ .ﻭﻜﺎﻥ .co ﻤﺩﻴﻨﺔ ﺃﺜﻴﻨﺎ ﺘﻤﺜﻠﻬـﺎ ﻭﻫـﻲ ﹶﺘ ﺭﻓﹶـ ﻊ ﺩِﺭﻋﺎ ،ﻭﺘﻠـﻭﺡ ﺒﺭﻤﺤﻬـﺎ ﻟﺘﺼـﺩ ﺍﻟﻌﺩﻭ .ﻭﺘﻌﺩ ﺃﺜﻴﻨﺎ ﺃﺤﻴﺎﻨﹰـﺎ ﺼِـ ﹾﻨﻭﺍ ـﺔ ـﺎ ،ﻭﺍﻹﻟﻬـ ـﺔ *ﻤﻴﻨﻴﺭﻓـ ﺍﻟﺭﻭﻤﺎﻨﻴـ ﺍﻟﻔﺎﺭﺴﻴﺔ *ﺃﻨﺎﻫﻴﺘﺎ. ﻭﺘﺤﻜﻲ ﺍﻷﺴﻁﻭﺭﺓ ﺍﻟﻴﻭﻨﺎﻨﻴﺔ ﺃﻥ ﺃﺜﻴﻨﺎ ﺍﺒﻨﺔ ﺯﻴﻭﺱ ،ﻭﻴﺭﻭﻱ "ﻫﻴﺴﻴﻭﺩ" ﺃﻥ ﺃﻤﻬﺎ ﻜﺎﻨﺕ "ﻤﺘـﻴﺱ" ،ﻭﺨﺸـﻲ ﻕ ﺯﻴﻭﺱ ﺃﻥ ﺘﻨﺠﺏ ﻟﻪ ﺍﺒﻨﹰـﺎ ﻴ ﹶﺘﻔﹶـ ﻭ ﹸ ل ﺇﻟـﻰ ﻋﻠﻴﻪ؛ ﻓﺄﻏﺭﺍﻫﺎ ﺒﺄﻥ ﹶﺘ ﹶﺘﺤـ ﻭ َ ﺡ ﻟﺘﻨﻔﺦ ﻓﻴﻬﺎ ﺍﻟﺤﻴﺎﺓ. ﺍﻟ ﺭﻴﺎ ﺃﺜﻴﻨﺎ ﻤﻥ ﺠﺒﻬﺘﻪ .ﻭﻴﺭﻭﻱ "ﺒﻨﺩﺍﺭ" ﺃﻥ "ﻫﻴﻔﺎﻴﺴــﺘﻭﺱ" Hephaestus ﺱ ﺯﻴﻭﺱ ﺒِ ﹶﻔ ْﺄﺴِﻪِ ﻓﺒﺭﺯﺕ ﺍ ﹾﻨ ﹶﺘﺯﻉ ﺭﺃ ﺽ ﺃﻥ ﺃﺜﻴﻨﺎ ﻜﺎﻨﺕ ﺍﺒﻨﺔ ﺍﻟﻤـﺎﺭِﺩ ﺍﻟﺒﻌ ﺠﻨﱠﺢ "ﺒﺎﻻﺱ" ،ﺍﻟﺫﻱ ﻗﺘﻠﺘﻪ ﺒﻌـﺩ ﺍﻟ ﻤ ﺭﻭﺍﻴﺔ ﺃﺨﺭﻯ ﺘﻘـﻭل ﺇﻨﻬـﺎ ﺍﺒﻨـﺔ "*ﺒﻭﺴﺎﻴﺩﻭﻥ" ﻭﺍﻟﺤﻭﺭﻴﺔ "*ﺘﺭﻴﺘﻭﻥ" ﻓﻲ ﻟﻴﺒﻴﺎ ،ﻭﻴﻘﺎل ﺇﻨﻬـﺎ ﺍﺨﺘﺭﻋـﺕ ﻱ ﻓﻲ ﻟﻴﺒﻴـﺎ ﻋﻨـﺩﻤﺎ ﺍﻨﺘـﺯﻉ ﺍﻟﻨﱠﺎ ﺃﹶﭼﺎﺳﺘِﻲ ﺃﻭ ﺃﭼﺎﺳﺘِﻴﺎ AJA' AND SALMA ﺠﺒﻼﻥ ﻤﺘﻭﺍ ِﺯﻴﺎﻥ ﻓﻲ ﹶﻨﺠﺩ ﺒﺸـﺒﻪ AGASTI OR AGASTYA ﺴ ﹾﻠﻤﻰ ﻜﺎﻨﺎ ﻋﺎﺸِـﻘﻴﻥ ﺇﻟﻰ ﺃﻥ ﺃﺠﺄ ﻭ ﻑ ﻤﺸﻬﻭﺭ ﻟﺒﻌﺽ ﺍﻷﻨﺎﺸـﻴﺩ ﻤ َﺅﱢﻟ ﹲ ﺍﻟﺠﺯﻴﺭﺓ ﺍﻟﻌﺭﺒﻴﺔ .ﻭﺘﺫﻫﺏ ﺍﻟﺭﻭﺍﻴﺔ ﺍﻟﭭِﻴ ِﺩﻴﺔ ﻓﻲ ﺍﻟﻬﻨﺩ .ﻭﻗﺩ ﺫﺍﻉ ﺼـﻴﺘﻪ ﻀﻨﹶﺔ ﻴﺠﺘﻤﻌﺎﻥ ﻓﻲ ﺒﻴﺕ ﺍﻟ ﻌ ﻭﺠﺎﺀ ﺤﺎ ِ ﻑ ﺃﻤ ﺭﻫﻤـﺎ ﻥ ﺍ ﹾﻜ ﹸﺘﺸِـ ﹶ ﺴ ﹾﻠﻤﻰ ،ﻭﻤﺎ ﺇ ِ ﺤﺘﱠﻰ ﹶﻓﺭﺍ ﺇﻟﻰ ﻭﺍﺩﻱ ﺍﻟ ﻌ ﻭﺠﺎﺀ ،ﺍﻟﺫﻱ ﻴﻘﻊ ﺒﻴﻥ ﻫﺫﻴﻥ ﺍﻟﺠﺒﻠﻴﻥ ،ﻓﻁﺎﺭﺩﻫﻤﺎ ﺫﻭﻭﻫﻤﺎ ﻭﻗﺘﻠﻭﻫﻤـﺎ ﺸﹶـ ﺭ ﻗﺘﻠـﺔ. ﻭﻴﺭﻭﻱ ﻴﺎﻗﻭﺕ ﻋﻥ ﺍﺒﻥ ﺍﻟﻜﻠﺒﻲ ﺃﻨﻪ ﺸﻔِ ِﻪ ﻭ ﺯﻫـ ِﺩ ِﻩ .ﻭ ﹶﺘ ﹶﺘﺤـﺩﺙ ﺒﺴﺒﺏ ﹶﺘ ﹶﻘ ﱡ ﺍﻷﺴﺎﻁِﻴ ﺭ ﺍﻟﻬﻨﺩﻴـﺔ ﻋـﻥ ﻭِﻻ ﺩﺘِـ ِﻪ ﺍﻟﺴﺤﺭﻴﺔ ﻤﻥ ﺇﺒﺭﻴﻕ ﻤﺎﺀ ،ﺃﺴﻘﻁ ﻓﻴﻪ ﻭﺍﻟﺩﺍﻩ ﻤﺘﺭﺍ ﻭﻓﺎﺭﻭﻨﺎ ﺒﺫﺭﺘﻬﻤﺎ ﻋﻨـﺩ ﻤﺸﺎﻫﺩﺘﻬﻤﺎ ﺍﻟﺤﻭﺭﻴﺔ "ﺃﻭﺭﻓﺎﺴـﻲ"، ﻜﺎﻥ ﻴﻭﺠﺩ ﻓﻲ ﻭﺴﻁ ﻫـﺫﺍ ﺍﻟﺠﺒـل ﺍﻟ ﻤ ﹶﻜﻭﻥ ﻤـﻥ ﺼـﺨﺭ ﺍﻟﺠﺭﺍﻨﻴـﺕ ﺍﻷﺴﻭﺩ ﺃﻨﻑ ﺃﺤﻤـﺭ ﻋﻠـﻰ ﻫﻴﺌـﺔ ﺼﻨﹶﻡ ﺇﻨﺴﺎﻥ ،ﻴﻘﺎل ﻟﻪ "ﺍﻟﻔﻠﺱ" ،ﻭﻫﻭ ﻜﺎﻥ ﻴﻌﺒﺩﻩ ﺍﻟﻁﺎﺌﻴﻭﻥ ،ﻭﺃﻤﺭ ﺍﻟﻨﱠﺒـﻲ ﺼﻠﱠﻰ ﺍﷲ ﻋﻠﻴﻪ ﻭﺴﻠﻡ ﺒﺘﺤﻁﻴﻤﻪ ﺴﻨﺔ ﺨ ﹾﻠﻘﹸﻪ ﺒﺴﺤﺭ ﻟﻭﺒﺎﻤﻭﺩﺍ ﺍﻟﺠﻤﻴﻠﺔ؛ ﻭﺘﻡ ﹶ ﻓﺘﺯﻭﺝ ﻤﻨﻬﺎ ﻟﻴﻨﺠﺏ ﺃﺒﻨﺎﺀ ﻴﺤﻔﻅﻭﻥ ﺤ ﹶﺘﻔﹶـل ﹸﺫﺭﻴﺘﹶﻪ ﻤﻥ ﺍﻻﻨﻘـﺭﺍﺽ .ﻭ ﻴ ﻑ ﺍﻤﺘـﺩﺍ ﺩ ﺠﺒـﺎل ﺒﺫﻜﺭﺍﻩ ﻷﻨﻪ َﺃ ﻭ ﹶﻗ ﹶ ww ﻏ ِﺘﺼﺎ ﺒﻬﺎ .ﻭﻫﻨﺎﻙ ﺫﻟﻙ ﻷﻨﻪ ﺤﺎﻭل ﺍ ﹾ ﺃﺟﺄ ﻭﺳﻠﹾﻤﻰ w. ﺃﺜﻴﻨﺎ ﻤﻥ ﻫـﺫﺍ ﺍﻟـﺭﺃﺱ .ﻭﺍﻋﺘﻘـﺩ ﺼﻴﻥ. ﺨ ﺸﹾ ﹶ alk ﹸﺫﺒﺎﺒﺔ ،ﻭﺍﺒﺘﻠﻌﻬﺎ ،ﺜﻡ ﺃﻨﺠﺏ ﺒﻨﻔﺴـﻪ www.alkottob.com ﺍﻟﻌﺭﺒﻴﺔ ﺍﻷﻭﻟﻴـﺔ ﻋﹶﻠﻤـﻴﻥ ﻋﻠـﻰ ott ob ﻟﻺﻟﻬﺔ ﺍﻟﻤﺼﺭﻴﺔ *ﺇﻴﺯﻴﺱ ،ﻭﺍﻹﻟﻬﺔ ﺠﺭﻡ ﺠﺒﻠﹶﻴﻥ ﺍﻨﺘﻘﺎﻤﺎ ﻟﻤﺎ ﺍﺭﺘﻜﺒﺎﻩ ﻤﻥ ﻓﻨﺩﻴﺎ ،ﻭﺍﺒﺘﻠﻊ ﻤﻴﺎﻩ ﺍﻟﻤﺤـﻴﻁ .ﻭﻗـﺩ ﺠﺎﺀ ﻓﻲ ﻜﺘﺎﺏ "*ﺍﻟﻤﻬﺎﺒﻬﺎﺭﺍﺘـﺎ" ﺃﻥ ﺕ ﻤﻌﻭﻨﹶـ ﹶﺔ ﺃﭽﺎﺴـﺘِﻲ، ﻁﹶﻠﺒ ﹾ ﺍﻵﻟﻬﺔ ﹶ ٢٨ ﺍﻟﺸﱠﻴﺎﻁِﻴﻥ ﻟﻤﺤﺎﺭﺒﺔ ﺍﻵﻟﻬﺔ ،ﻭﺍﺨﺘﺒﺄﻭﺍ ﻤﻨﺫ ﺃﻥ ﺘﺭﻜﻬـﺎ .ﻭﻫﻨـﺎﻙ ﺤﻜﺎﻴـﺔ ﺒﺎﻟﺴﻤﺎﺀ .ﻭﻟﺫﻟﻙ ﺘﻭﺼﻑ ﺍﻟﺸـﻤﺱ ﻓﻲ ﺍﻟﻤﺤﻴﻁ ،ﻭﻋﺯﻤﻭﺍ ﺃﻥ ﻴﻌﻤﻠـﻭﺍ ﻫﻨﺩﻭﺴﻴﺔ ﹶﺘ ﺭﻭِﻱ ﺃﻥ ﺃﭽﺎﺴﺘﻲ ﺍ ﺒ ﹶﺘﻠﹶـ ﻊ ﺍﻟﻤﺸﺭﻗﺔ ﻭﺍﻟﺸﻤﺱ ﺍﻟﻐﺎ ِﺭﺒﺔ ﺒﺄﻨﻬﻤـﺎ ﻤﻥ ﻫﻨﺎﻙ ﻀﺩ ﺍﻟﺭﺠﺎل ﺍﻟﻤﻘﺩﺴـﻴﻥ ﻭﺍﻟ ﺒﺭﺍ ِﻫﻤﺔ ،ﻭﻴﺴﻌﻭﺍ ﺇﻟﻰ ﺍﻟ ﹶﻘﻀـﺎﺀِ ﻜﹶﺒﺸﹰﺎ ﺸﹶﻴﻁﹶﺎ ِﻨﻴﺎ .ﻭﻜـﺎﻥ ﻴﻨﺘﻅـﺭ ﺃﻥ ﻴﻘﻀﻲ ﻋﻠﻰ ﺃﭽﺎﺴﺘﻲ ﻭﻫﻭ ﻤﺴـﺘﻘﺭ ﻋ ﻴﻨﹶﺎ ﺁﭽﺒﻲ .ﻭ ﻴ ﹶﺘ ﻤﺘﱠﻊ ﺁﭽﺒﻲ ﺒﻘﹸـﻭﻯ ﻉ ﻋﻠﻰ ﺍﻟﻌﺎﻟﹶﻡ .ﻭﻋﻨـﺩ ﺫﻟـﻙ ﻫـ ِﺭ ﺹ ﺼ ﺨ ﻓﻲ ﺒﻁﻨﻪ ،ﻭﻟﻜﻥ ﺃﭽﺎﺴﺘﻲ ﹸ ل ﺴ ِﻘﻁﹸ ﺍﻟﻤﻁﺭ؛ ﻭﻟﺫﻟﻙ ﻴ ﺭﺴِـ ُ ﻜﻴﻑ ﻴ ﻟﻪ ﻤﻜﺎﻥ ﻓﻲ ﺍﻟﺴـﻤﻭﺍﺕ ﻭﺃﺼـﺒﺢ ﺍﻟﻤﺎ ﺀ ﻤﻥ ﺍﻟﺒﺤﺭ ﺇﻟﻰ ﺃﻤـﻪ ﻓﺘﻌﻤـل ﻤﺭﺍ ِﺩﻓﹰﺎ ﻟﻜﺎﻨﻭﺒﻭﺱ. ﻋﻠﻰ ﺴﻘﻭﻁﻪ ﻓﻲ ﻫﻴﺌﺔ ﻤﻁﺭ ﻤـﻥ m ـﻥ ـﺔ ﻤـ ـﺩﺕ ﺠﻤﺎﻋـ ـﺩﻤﺎ ﺍﺤﺘﺸـ ﻋﻨـ ﻷﻥ ﺍﻟﺠﺒﺎل ﻟﻡ ﺘﺭﺘﻔﻊ ﺸِﺒﺭﺍ ﻭﺍﺤـﺩﺍ ﺇﻟﻰ ﺍﻟﻤﻜﺎﻥ ﺍﻟﺫﻱ ﻴ ﹾﻠ ﹶﺘﻘِﻲ ﻓﻴﻪ ﺍﻟ ﺒﺤـ ﺭ .co ﺏ ﻤﻴـﺎﻩ ﺃﭽﺎﺴﺘﻲ ﻟﻨﺠﺩﺘﻬﻡ ،ﻭﺸﹶـ ِﺭ ـﺄ ـﻥ ﻤﺨﺒـ ﻑ ﻋـ ﺸـ ﹶ ـﻴﻁ ،ﹶﻓ ﹶﻜ ﹶ ﺍﻟﻤﺤـ ﺍﻟﺸﻴﺎﻁﻴﻥ ﻟﺘﺼﺭﻋﻬﻡ ﺍﻵﻟﻬﺔ .ﻭﻟﻌل ﺴﺘِﻲ ﻫﻭ ﺃﻨﻪ ﻋﻤل ﻗﺎﻡ ﺒﻪ ﺃﭽﺎ ﺃﻋﻅﻡ ﺨﺎﺭِﻗﺔ ،ﻭﻤﻊ ﺫﻟﻙ ﻓﺈﻨﻪ ﻻ ﻴﻌـﺭﻑ ﻭ ﹸﺘ ﺭﺩ ﺩ ﺒﻌﺽ ﺍﻷﺴﺎﻁﻴﺭ ﺃﻥ ﻟـﻪ ﺍﻟﺴﻤﺎﺀ ﺇﻟﻰ ﺍﻷﺭﺽ .ﻭ ﹶﺜ ﻤ ﹶﺔ ﺍﻋﺘﻘـﺎﺩ ﻑ ﻤﺴﺎ ﺭ ﻤﻨﹶﻊ ﺠﺒﺎل ﻓﻨﺩﻴﺎ ﻤﻥ ﺃﻥ ﹶﺘﻘِ ﹶ ﺴ ِﻤﻴﺔ ،ﻭﺃﻨﻪ ﻴﺘﺤﻜﱠﻡ ﻓـﻲ ﻤﻴـﺎﻩ ﺍﻟ ﻤ ﻭ ِ ﺽ ﺍﻟﺒﺤﺭ، ﻋ ﺭ ِ ﻴﺼﻁﺩﻡ ﺒﺴﻔﻴﻨﺔ ﻓﻲ ﺍﻟﺸﱠﻤﺱ؛ ﻭﺫﻟﻙ ﻋﻨﺩﻤﺎ ﺃﺨﺫﺕ ﺠﺒﺎل ـﺘﺭﺩ ـﺘﻁﺎﻉ ﺃﻥ ﻴﺴـ ـﻴﻁ ،ﻭﺍﺴـ ﺍﻟﻤﺤـ ﻴﺩل ﻋﻠﻰ ﺃﻥ ﺁﭽﺒﻲ ﻫﻭ ﺍﻟﺫﻱ ﺘﺴﺒﺏ ﻓﻨﺩﻴﺎ ﺘﹶﻌﻠﹸﻭ ﻭﺘﹶﻌﻠﹸﻭ ﺤﺘﱠﻰ ﺘﺘﺠﺎﻭﺯ ﻗِ ﻤ ﹶﺔ ﺍﻟﺸﻤﺱ ﻟﻺﻨﺴﺎﻥ .ﻭﻫـﻭ ﻻ ﻴـﺯﺍل ﻓﻴﻪ .ﺃﻤﺎ ﺍﻟﺒﺭﻕ ﺍﻟﺫﻱ ﻴﻭﻤﺽ ﻓﻭﻕ ﺠﺒل ﻤﻭﺭﻭ ،ﺍﻟﺘﻲ ﻴـﺩﻭﺭ ﺤﻭﻟﻬـﺎ ﺍﻟﺸﻤﺱ ﻭﺍﻟﻘﻤﺭ .ﻭﺨﺸﻲ ﺍﻵﻟﻬﺔ ﺃﻥ ﻴﻌﻴﺵ ،ﻭﺇﻥ ﻜﺎﻥ ﻻ ﻴﺭﻯ ،ﻓﻭﻕ ﺘل ﺃﭽﺎﺴﺘﻴﺎ ﻓـﻲ ﺘﺭﺍﻓـﺎﻨﻜﻭﺭ .ﻭﻴﻌـﺩ ﺴﻁﺢ ﺍﻷﺭﺽ ﻓﻴﻜﻭﻥ ﺒﻔﻌل ﻤـﺎﻭﻭ ﺘﻭﻗﻑ ﺠﺒﺎل ﻓﻨﺩﻴﺎ ﻤﺴﺎ ﺭ ﺍﻟﺸـﻤﺱ ﺍﻟﻘﺩﻴﺱ ﺍﻟﺭﺍﻋﻲ ﻟﺠﻨﻭﺒﻲ ﺍﻟﻬﻨﺩ. ﻫﺎﻴﺘﻲ ﺒﺎﺴﻡ ﺃﭽـﻭﻱ ،ﺃﻭ ﺃﭽـﻭﻱ ott ob ﺍﻟﻔﻀــل ﻓــﻲ ﻫﺒــﻭﺏ ﺍﻟﺭﻴــﺎﺡ ﺽ ﺍﻟ ﺒ ﺭﻕِ ،ﻋﻨـﺩﻤﺎ ﺴﺎﺌِﺩ ﺒﺄﻥ ﻭﻤِﻴ ﺴﻠﹸﻭﺍ ﺇﻟﻰ ﺃﭽﺎﺴﺘﻲ ﺃﻥ ﻴﻔﻌل ﺸﻴﺌًﺎ ﹶﻓﺘﹶﻭ ﺠ ﻤ ﻊ ﺤﻭﺍ ِﺌﺠﻪ ،ﻭﻗﺎﻡ ﺃﭽﺎﺴﺘﻲ ﺇﻻ ﺃﻥ ﻤﻊ ﺃﺴﺭﺘﻪ ﺒﺭﺤﻠﺔ ﻨﺤﻭ ﺍﻟﺠﻨـﻭﺏ. ﻭﻋﻨﺩﻤﺎ ﻭﺼل ﺇﻟﻰ ﺠﺒـﺎل ﻓﻨـﺩﻴﺎ ﻁﻠﹶﺏ ﻤﻨﻬﺎ ﺃﻥ ﹶﺘ ﻬﺒﻪ ﻤِﻨﺤ ﹰﺔ ﹶﻓ ﹶﻘ ِﺒﻠﹶـﺕ، ﻭﻭﻴﻭ؛ ﻭﻫﻭ ﺇﻟﻪ ﻤـﻥ ﻁﺒﻘـﺔ ﺭﺍﺩﺍ. alk ﻟﻴﻭﻗﻑ ﺍﺭﺘﻔﺎﻋﻬﺎ ،ﻭﻤﺎ ﻜـﺎﻥ ﻤـﻥ ﺁﭼﺒِﻲِ AGBE )ﺃﻭ ﺴﻭﭽﺒﻭ( .ﻭﻴﻌﺭﻑ ﺁﭽﺒﻲ ﻓـﻲ ﹶﻜﺒِﻴ ﺭ ﺍﻵﻟﻬﺔ ﻓﻲ ﻤﺜﹾـﻭﻯ ﺁﻟﻬـﺔ ﺍﻟﺭﻋــﺩ ﺒــﺩﺍﻫﻭﻤﻲ .ﻭﺘﹶــ ﺭﻭِﻱ ﺍﻷُﺴﻁﹸﻭﺭ ﹸﺓ ﺃﻥ ﺃﻤﻪ ﺴﻭﭽﺒﻭ )ﻭﻫـﻲ ﻤﺭﺍﺩﻓﺔ ﻟﻤﺎﻭﻭ ﻓﻲ ﻤﺜﹾـﻭﻯ ﺍﻵﻟﻬـﺔ ﻭﻴﻌﺘﻘﺩ ﺍﻟﻨﺎﺱ ﻫﻨﺎﻙ ﺃﻨﻪ ﺇﻟﻪ ﺍﻟﺒﺤﺭ، ﻭﺃﻥ ﻟﻪ ﺍﺒﻨﹰﺎ ﻭﺍﺒﻨﺔ ﻫﻤـﺎ ﺃﭽﻭﻴﺘـﻭ ﻭﺃﭽﻭﻴﺘﺎ .ﻭ ﹶﺘ ﹾﻨ ﹶﺘﺸِ ﺭ ﻋﺒﺎ ﺩﺘﹸﻪ ﻫﻨﺎﻙ ﻓﻲ ﺤِﻠﻴﺔ. ﺍﻟ ﻤﻨﹶﺎﻁِﻕ ﺍﻟﺴﺎ ِ ﺠﺩﻭﻯ؛ ﺇﺫ ﻗﺭﺭ ﺃﻥ ﻴﻤﻜـﺙ ﻓـﻲ ﻋ ﻡ ﺒﻌـﺽ ﺍﻟﺠﻨﻭﺏ ﺇﻟﻰ ﺍﻷﺒﺩ .ﻭ ﻴ ﺯ ﺍﻟﻨﱠﺎﺱ ﺃﻨﻪ ﻋـﺎﺩ ،ﻭﻟﻜـﻥ ﺍﻟﻐﺎﻟﺒﻴـﺔ ﺍﻟﻌﻅﻤﻰ ﻤﻨﻬﻡ ﺘﻌﺘﻘﺩ ﺃﻨﻪ ﻟﻡ ﻴﻌﺩ ﺃﺒﺩﺍ، www.alkottob.com ﻭﺁﭽﺒﻲ ﻫﻭ ﺍﺒﻥ ﻤـﺎﻭﻭ ﻭﻟﻴـﺯﺍ، ﻭﺇﻥ ﻜﺎﻨﺕ ﺒﻌـﺽ ﺍﻟﺭﻭﺍﻴـﺎﺕ ﻻ ﹸﺘ ﹶﻔﺭﻕ ﺒﻴﻨﻪ ﻭﺒﻴﻥ ﻟﻴﺯﺍ .ﻭﻴﺘﺨﺫ ﺁﭽﺒﻲ ﺴﻜﻨﹰﺎ ﻟﻪ ﻓﻲ ﺍﻟﺒﺤﺭ ﺒﺄﺴﺭﻩ ،ﻭﻋﻨﺩﻤﺎ ﺙ ﻤﻊ ﺃﻤﻪ ،ﻴﺫﻫﺏ ﻥ ﻟﻪ ﺃﻥ ﻴ ﹶﺘﺤ ﺩ ﹶ ﻴ ِﻌ ﺹ ﻟﻬﺎ ﻋﻨـﺩ ﺇﻟﻪ ﺍﻟﻨﱠﺎﺭ ﺃﻭ ﺘﺸﺨﻴ ww ﺒﺫﻟﻙ .ﻭﻅﻠﺕ ﹶﺘ ﹾﻨ ﹶﺘﻅِ ﺭ ﻋﻭﺩﺘـﻪ ﺩﻭﻥ w. ﺍﻟﺫﻜﻭﺭ( ﻗﺩ ﻋ ِﻬﺩﺕ ﺇﻟﻴﻪ ﺒﺎﻹﺸﺭﺍﻑ ﺁﭼﲏ ﺃﻭ ﺁﭼﻨﻴﺲ ﻭﻋﻨﺩ ﺫﻟﻙ ﻁﻠﺏ ﻤﻨﻬﺎ ﺃﻥ ﹶﺘ ﹶﺘﻭﻗﱠـﻑ ﻋﻠﻰ ﺸﺌﻭﻥ ﺍﻟﻌﺎﻟﹶﻡ. AGNI OR AGNIS ﻋﻥ ﺍﻻﺭﺘﻔﺎﻉ ﺤﺘﻰ ﻴﻌﻭﺩ ﻓﻭﻋﺩﺘـﻪ ﺍﻟﻬﻨﺩﻭﺱ .ﻭﻫﻭ ﺃﺤﺩ ﺍﻵﻟﻬﺔ ﺍﻟﺜﻼﺜﺔ ﺍﻟﻜﺒﺎﺭ ﻓﻲ ﺃﺴﻔﺎﺭ ﺍﻟﭭﻴﺩﺍ )ﻭﺍﻹﻟﻬـﺎﻥ ﺍﻵﺨﺭﺍﻥ؛ ﻫﻤﺎ :ﺇﻟﻪ ﺍﻟﻤﻁﺭ ﻓﺎﻴﻭ ﺃﻭ ﺃﻨﺩﺭﺍ ﻭﺇﻟﻪ ﺍﻟﺸﻤﺱ ﺴﻭﺭﻴﺎ( ،ﻭﻫـﻭ ٢٩ ﺍﻷﺭﺽ ،ﻭﻫﻭ ﺒﻬﺫﻩ ﺍﻟ ﻤﺜﹶﺎﺒﺔ ﻤﻭﺠﻭﺩ ﺯﻭﺠﺔ ﺒﻬﺭﻴﺠﻭ ،ﻓﻠﻌﻨﻪ ﻭﺩﻋﺎ ﻋﻠﻴـﻪ ـﻲ ـﻲ ﻫـ ـﺎﻥ ﺍﻹﺠﻴﺠـ ـﻕ .ﻭﻜـ ﺍﻷﻓـ ﻓﻲ ﻜل ﺩﺍﺭ ،ﻭﻴﻌﺘﻘﺩ ﺃﻨـﻪ ﻭﺍﻫـﺏ ﺒﺎﻟ ﻬﻼﹶﻙ ﻭﺍﻟ ﹶﻔﻨﹶﺎﺀ .ﻓﺘﻤﺭﺩ ﺁﭽﻨﻲ ﻭﻟﻡ ﺍﻟ ﻤﻌﺎ ِﻭﻨﹶــﺔ ِﻟ ِﻜﺒــﺎﺭ ﺍﻵﻟﻬــﺔ ﺁﻨــﻭ ﺠﺴـ ﺩ ﻤـﻥ ﻁﻬ ﺭ ﺍﻟ ﺍﻟﺨﻠﻭﺩ ،ﻭﺃﻨﻪ ﻴ ﹶ ﻴ ﹾﻘﺒل ﻫﺫﺍ ﺍﻟﻤﺼﻴﺭ ،ﻭﺃﺨﻔﹶﻰ ﻨﻔﺴـﻪ، ﻭﻤﺎﺭﺩﻭﺥ ...ﺇﻟﺦ .ﻭﻜﺎﻥ ﺍﻟﻤﻘﺎ ِﺘﻠﹸﻭﻥ ﺍﻟﻤﺭﺀ ،ﻭﻴﺤﻤل ﺍﻟﺠﺯﺀ ﺍﻟﺨﺎﻟﺩ ﺇﻟـﻰ ﻻ ﻏِﻨﻰ ﻋﻨﻪ .ﻭﺃﻜﺩ ﻟﻪ ﺒﺭﺍﻫﻤﺎ ﺃﻨـﻪ ﻤﻌﺎﺭِﻙ ﻤﻥ ﺃﺠل ﺒﺎﺒِل ،ﻭﺍﻟﺩﻓﺎﻉ ﻋﻥ ل ﺸﻲﺀ ،ﺒﻤﻌﻨﻰ ﺃﻨﻪ ﺴﻭﻑ ﻴ ﹾﻠ ﹶﺘﻬِ ﻡ ﻜ ﱠ ﻗﻀﺎﻴﺎ ﻋﺎﺩِﻟﺔ. m ل ﺍﻟﺒﺭﻕ ﻭﺍﻟﺸﱠﻤﺱ ﻭﺍﻟﻨﺎﺭ ﻋﻠـﻰ ﻴ ﻤﺜﱠ ُ ﻥ ﻭﺘﺫﻫﺏ ﺍﻷﺴﻁﻭﺭﺓ ﺇﻟﻰ ﺃﻨﻪ ﺨﺎ ﺍﻷﻨﻭﻨﺎﻜﻲ ﺃﺭﻭﺍﺡ ﺍﻟﻨﺠـﻭﻡ ﺘﺤـﺕ ﺨﻁﹶﺎﻴﺎ ،ﻭ ﻴ ﺯﻜﱢﻲ ﺍﻟﻨﻔﺱ ﺒﻌﺩ ﻭﻓـﺎﺓ ﺍﻟ ﹶ .co ﺏ ﺍﻟ ﹸﻜﻬﺎﻥ ﻭﻜـﺎﻫِﻥ ﺍﻟﺴﻤﺎﺀ .ﻭﻫﻭ ﺭ ﺍﻷﺭﺒﺎﺏ ﻓﻲ ﻫﻴﻜل ﺍﻟﻨﺎﺭ ،ﻭﺍﻟﻭﺴﻴﻁ ﺒﻴﻥ ﺍﻵﻟﻬﺔ ﻭﺍﻟﻨﱠﺎﺱ. ﺇﻟﻰ ﺃﻥ ﺃﺩﺭﻜﺕ ﺍﻵﻟﻬﺔ ﻭﺍﻟﻨﺎﺱ ﺃﻨـﻪ ﺴﻭﻑ ﻴ ﻬﻀِﻡ ﻜل ﺸﻲﺀ .ﻭﺍﺴـﺘﻨﻔﺩ ﺍﻷﺣﻼﹶﻡ ﻭﺗﻔﹾﺴِﲑﻫﺎ ﺁﭽﻨﻲ ﹸﻗﻭﺘﻪ ﺒﺎﺴﺘﻬﻼﻙ ﺍﻟﻜﺜﻴﺭ ﻤـﻥ ﺍﻟ ﹶﻘﺭﺍﺒِﻴﻥ ،ﻭﺠ ﺩﺩ ﻗﻭﺍﻩ ﺒﺈﺤﺭﺍﻕ ﻏﺎﺒﺔ DREAMS AND ONEIROMANCY ott ob ﻭﺘﻘﻭل ﺍﻷﺴﻁﻭﺭﺓ ﺇﻨﻪ ﻭِﻟ ﺩ ﻤـﻥ ل ﻓـﻲ ﻴ ﺒ ﹶﺘﻬِﻠﹸﻭﻥ ﺇﻟﻴﻬﺎ ﻗﺒل ﺍﻟـ ﺩﺨﹸﻭ ِ ﺯ ﻫ ﺭ ِﺓ ﺍﻟﻠﻭﺘﺱ .ﻭﺠﺎﺀ ﻓﻲ ﺃﺴـﻔﺎﺭ ﺨﺎﻨﺩﺍﻓﺎ ،ﺒﻴﻨﻤﺎ ﻜﺎﻥ ﻜﺭﺸﻨﺎ ﻭﺃﺭﺠﻭﻨﺎ ﺨﹶﻠﻘﹶـﻪ، ﺍﻟﭭﻴﺩﺍ ﺃﻥ ﺒﺭﺍﻫﻤﺎ ﻫﻭ ﺍﻟﺫﻱ ﹶ ﻴﺤﺭﺴﺎﻥ ﻁﺭﻓﻴﻬﺎ ﺤﺘﱠﻰ ﻻ ﻴﻬـﺭﺏ ﻭﺃﻥ ﺒﻬﺭﻴﺠﻭ ﻫﻭ ﺍﻟﺫﻱ ﺃﻀﺭﻡ ﻓﻴـﻪ ﺃﺤﺩ ﻤﻥ ﻤﻜﺎﻨﻬﺎ ،ﻭﺤﺘﻰ ﻻ ﻴﺴﺘﻁﻴﻊ ﺍﻟﻨﺎﺭ ،ﻟﻨﺸﺭﻫﺎ ﻋﻠﻰ ﻭﺠـﻪ ﺍﻷﺭﺽ "*ﺃﻨﺩﺭﺍ" ﺃﻥ ﻴﻭﻗﻑ ﺘﹶﻘ ﺩ ﻡ ﺍﻟﻨﱢﻴـﺭﺍﻥ. ﻟﻘﻁﻌﺘﻴﻥ ﻤﻥ ﺍﻟﺨﺸﺏ ﺍﺒﺘﻠﻌﻬﻤﺎ ﻓـﻲ ﺠﺭﺡ. ﺘﹶﺤﺭِﻴﻙ ﺍﻟﻨﺎﺭ ﻴﺼﻴﺏ ﺁﭽﻨﻲ ِﺒ ﺍﻟﺤﺎل .ﻭﻜﺎﻥ ﺁﭽﻨﻲ ﻤﻥ ﺍﻟﺤـﺭﺍﺱ ﻭﻴﺒﺘﻬل ﺇﻟﻴﻪ ﺍﻟ ﻌﺸﱠـﺎﻕ ﺃﻥ ﻴﺘﻭﺴـﻁ ﺍﻟﺜﻤﺎﻨﻴﺔ ﺍﻟﺫﻴﻥ ﻴﺘﻭﻟـﻭﻥ ﺍﻹﺸـﺭﺍﻑ ﺒﻴﻨﻬﻡ ،ﻭﻴﻀﺭﻉ ﺇﻟﻴﻪ ﺍﻟﺭﺠﺎل ﻟﻜـﻲ ﻋﻠﻰ ﺍﻟﺠﻬﺎﺕ ﺍﻷﺼـﻠﻴﺔ ﺍﻷﺭﺒـﻊ. ﻴﻤﻨﺤﻬﻡ ﺍﻟ ﺭﺠﻭﻟﹶﺔ .ﻭﻗﺩ ﺍﻨﻘﺭﻀـﺕ ﻕ ﺒﻬﺎ ﺍﻟﺯﺒﺩ ﻤـﻥ ﻭﺜﻤﺎﻨﻴﺔ ﺃﻟﺴﻥ ﻴ ﹾﻠ ﻌ ﹸ ﹶﻟﺩﻯ ﺍﻟﻬﻨﺩﻭﺱ ﺍﻟ ﻤﺤـﺩِﺜﻴﻥ .ﻭﻟﻜـﻥ ﻓﻭﻕ ﺍﻷﻀﺎﺤﻲ ﺍﻟﺘﻲ ﺘﻘﺩﻡ ﻗﺭﺒﺎﻨﹰـﺎ ﺒﺭﺍﻫﻤﺔ ﺍﻷﺠﻨﻴﻬـﻭﺘﺭﺍ ﻻ ﻴﺯﺍﻟـﻭﻥ ﻟﻶﻟﻬﺔ ،ﻭﺃﺤﻴﺎﻨﹰﺎ ﺘﻜﻭﻥ ﻟـﻪ ﺜﻼﺜـﺔ ـﺎﺭ ﺃﻭ ﻴﻘﹶـ ـ ﺩﻤﻭﻥ ﻗﹸﺭﺒﺎﻨـ ـﹰﺎ ﻟﻠﻨﱠــ ﺭﺀﻭﺱ ﻭﺴﺒﻌﺔ ﺃﺸـﻌﺔ ،ﻭﻴﺭﺘـﺩﻱ ﺍﻷﺠﻨﻴﻬﻭﺘﺭﺍ. )ﺍﻟﺭﻴﺢ – ﭭﻴـﺩﺍ( ،ﺒﺎﻋﺘﺒـﺎﺭﻩ ﺍﺒﻨﹰـﺎ ﻭﻴﺭﻜﺏ ﻋﺭﺒﺔ ﺘﺠﺭﻫﺎ ﺠﻴﺎﺩ ﺤﻤﺭﺍﺀ ﺍﻟﻠﻭﻥ. www.alkottob.com ﺡ ﺍﻟﻨﱠﺎﺌﻡ ﹶﺘ ﹾﻠ ﹶﺘﻘِـﻲ ﺨـﻼل ﺇﻟﻰ ﺃﻥ ﺭﻭ ﻲ ﺴﺎﺌِﺩ ﻫـﻭ ﺃﻥ ﻭﺜﻤﺔ ﺍﻋﺘﻘﺎﺩ ﺸﹶﻌ ِﺒ ﻓﺘﺭﺓ ﺍﻟﺴﺒﺎﺕ ﺒﺄﺭﻭﺍﺡ ﻤـﻥ ﺴـﺒﻘﻭﻩ ﺇﻟﻰ ﺍﻟﻌـﺎﻟﹶﻡ ﺍﻵﺨﹶـﺭ ،ﻭﺒـﺎﻷﺭﻭﺍﺡ ﻁﻘﹸـﻭﺱ ﻋﺒﺎ ﺩﺘﹸﻪ ،ﻭﻟﻡ ﺘﻌﺩ ﺘﹸﻘﺎﻡ ﻟﻪ ﹸ ﺇﺟِﻴﺠِﻲ ﺍﻟﻬﺎ ِﺌﻤﺔ ﻟﻐﻴﺭﻩ ﻤﻥ ﺍﻷﺤﻴـﺎﺀ ﻤـﻥ ﺍﻟﺭﺠﺎل ﻭﺍﻟﻨﱢﺴﺎﺀ ،ﻭﻫﻨـﺎﻙ ﺍﻋﺘﻘـﺎﺩ ﺴﺎﺌِﺩ ﺒﻴﻥ ﹶﻜﺜِﻴﺭ ﻤﻥ ﺍﻟﺸﱡﻌﻭﺏ ﺒـﺄﻥ ﺍﻷﺤﻼﻡ ﺘﹶﻌﺒﻴﺭ ﻋﻤﺎ ﺴﻴ ﹶﻘ ﻊ ﻟﻠﻨﱠﺎﺌﻡ ﺃﻭ ﻟﻐﻴﺭﻩ ﻤﻥ ﻤﻌﺎﺭِﻓﻪ .ﻭﻴﺅﻜﱢ ﺩ ﺍﻟﻌﻠﻤـﺎﺀ w. ﻋﻠﻰ ﺸﻜل ﺜﹸﻌﺒﺎﻥ ،ﻭﺭﻤﺤﺎ ﻤ ﹾﻠ ﹶﺘ ِﻬﺒـﺎ، ﺍﻟﺭﻭﺡ ﺃﺜﻨﺎﺀ ﺍﻟﻨﻭﻡ ،ﻭﻴﺫﻫﺏ ﺍﻟﺒﻌﺽ IGIGI ﺡ ﺍﻟﺘﻲ ﺘﻅﻬﺭ ﻤﺜل ﺍﻟﻨﺠﻭﻡ ﺍﻷﺭﻭﺍ ﻷﻓﹸﻕ ،ﻜﻤﺎ ﺠـﺎﺀ ﻓﻲ ﺍﻟﺴﻤﺎﺀ ﻓﻭﻕ ﺍ ُ ﻓﻲ ﺍﻷﺴـﻁﻭﺭﺓ ﺍﻟﺒﺎ ِﺒِﻠﻴـﺔ .ﻭﻜـﺎﻥ ﺤﹸﻠﻤـﻭﻥ ﺃﺜﻨـﺎﺀ ﺃﻥ ﺍﻟﻨﱠﺎﺱ ﺠﻤﻴﻌﺎ ﻴ ﻥ ﺍﻟﻨﱠﻭﻡ ﻁﻭل ﺍﻟﻠﻴل ،ﻭﺃﻨﻬﻡ ﻗﺩ ﻴـ ﺭ ﻭ ﺤﻠﹾﻡ ﻓﻲ ﺍﻟﻠﱠﻴﻠﺔ ﺍﻟﻭﺍﺤِﺩﺓ. ﺃﻜﺜﺭ ﻤﻥ ـﻼﻡ ـﻭﻥ ﺍﻷﺤـ ـﻲ ﺃﻥ ﺘﻜـ ﻭﻁﺒﻴﻌـ ww ﺴ ﻭﺩ ،ﻭﻴﺤﻤل ﻓﻲ ﻴﺩﻩ ﻟِـﻭﺍ ﺀ ﹶﺜ ﻭﺒﺎ َﺃ ﺨ ِﻔﻴﺔ ﺘﻘﻭﻡ ﺒﻬـﺎ ﺍﻷﺤﻼﻡ ﻤﻐﹶﺎ ﻤﺭﺍﺕ ﹶ alk ﻭﻫﻭ ﺃَﺤﻤ ﺭ ﺍﻟﻠﱠﻭﻥ ﻭﻟـﻪ ﻭﺠﻬـﺎﻥ ـﻌﺒﻴﺔ ﺃﻥ ـﺩﺍﺕ ﺍﻟﺸﱠـ ـﻥ ﺍﻟ ﻤ ﻌ ﹶﺘﻘﹶـ ﻤـ ﻋﺠِﻴﺒﺔ ﻻ ﹶﺘ ﹶﺘ ﻤﺸﱠﻰ ﻤﻊ ﺍﻟﻤﻨﻁﻕ ،ﻭﻤﻥ ﹶﺜ ﻡ ﻴﻠﺠﺄ ﺍﻟﻨﺎﺱ ﺇﻟـﻰ ﻤﺘﺨﺼﺼـﻴﻥ ٣٠ ﻥ. ﻋﻠﻴﻪ ﺭﻤﻭﺯ ﺍﻷَﺤﻼﻡ ﻤﻥ ﻤﻌﺎ ٍ ﺙ ﺭﻭﺍﺠﻬﺎ ،ﻭﻟﻜﻥ ﻤـﻥ ﻻ ﻤﻥ ﺤﻴ ﹸ ﺤﺭﺓ ﺍﻟﻤﺘﺨﺼﺼــﻴﻥ ﻗــﺩ ﻭﺍﻟﺴــ ﻭﻴﻌﺘﻘﺩ ﺍﻟﻌﺭﺏ – ﻜﻐﻴﺭﻫﻡ ﻤـﻥ ﺤﻴﺙ ﺍﻻﻋﺘﻘﺎﺩ ﻓﻴﻬﺎ ،ﺒل ﺇﻥ ﻫﻨـﺎﻙ ﻴﺴﺘﻁﻴﻌﻭﻥ ﺍﺴﺘﻌﺎﺩﺓ ﺍﻟـﺭﻭﺡ ﺇﻟـﻰ ﺍﻟﺸﻌﻭﺏ – ﻓﻲ ﺼِـﺤﺔ ﺍﻷﺤـﻼﻡ. ﺼ ﱠﻨﻔﹶﺎﺕ ﺭ ﱠﺘﺒـﺕ ﺼـﻭﺭﺍ ﻜﻠﻴـﺔ ﻤ ﺸﺘﹼﻰ. ﺴﺎﺕ ﹶ ﺍﻟﺠﺴﻡ ﺒﻁﻘﻭﺱ ﻭ ﻤﻤﺎ ﺭ ﺍﻟﺫﻴﻥ ﺍﺸﺘﻬﺭﻭﺍ ﺒﺘﻔﺴﻴﺭ ﺍﻷﺤﻼﻡ ﻤﻥ ﻭﺍﻨﺘﻘﻠﺕ ﻫﺫﻩ ﺍﻟﺩﻻﻻﺕ ﻭﺍﻟﺭﻤﻭﺯ ﻼﺤِـﻡ ﻭﺍﻟﺴـﻴﺭ ﺍﻟﺭﺌﻴﺴﻴﺔ ﻓـﻲ ﺍﻟﻤ ﹶ ﺒﻴﻥ ﺍﻷﺠﻴﺎل ﻭﺍﻟﺸـﻌﻭﺏ ،ﻭﻭﺠـﺩ ﺤﻜﹶﺎﻴﺎﺕ ﺍﻟﺸﱠﻌﺒﻴﺔ؛ ﻓـﺈﻥ ﺍﻟﺤﻠـﻡ ﻭﺍﻟ ِ ﺍﻟﺒﺎﺤِﺜﻭﻥ ﺃﻥ ﺃﻤﺜﺎل ﺍﻷﺤﻼﻡ ﺍﻟﺘﺎﻟﻴـﺔ ﻴﻌﺒﺭ ﻋﻥ ﺍﻟﻤﺴﺘﻘﺒل ﺍﻟﻤﻨﺸﻭﺩ ﻋﻨـﺩ ﺘﻌﺩ ﻤﻥ ﹸﻨ ﹸﺫ ِﺭ ﺍﻟ ﱠﺘﺸﹶﺎﺅﻡ ﻓﻲ ﺃﻤﺭﻴﻜـﺎ ﹶﺘَﺄﺯﻡ ﺍﻷﺤﺩﺍﺙ ﺃﻤﺎﻡ ﺍﻟ ﺒﻁﹶـل ،ﻭﻗـﺩ m ﻁﻭِﻱ ِﻟ ﹶﺘ ﹾﻔﺴِﻴﺭﻫﺎ ﻭﻟﻴﺸﺭﺤﻭﺍ ﻟﻬﻡ ﻤﺎ ﹶﺘ ﹾﻨ ﹶ ﺴ ﻤ ﹸﺔ ﺍﻟﺸﱠﻌ ِﺒﻴﺔ ُﺃﻟﱢﻔﺕ ﻜﺘﺏ ﻜﺜﻴﺭﺓ ﻟﻬﺎ ِ ﺍﻟﻭﻗﺕ ﺍﻟﻤﻼﺌـﻡ؛ ﻓـﺈﻥ ﺍﻟﻌـﺭﺍﻓِﻴﻥ ﻭﻫﻨﺎﻙ ﺒﻌﺽ ﺍﻟ ﹸﻔﻘﹶﻬـﺎﺀ ﻭﺍﻟ ﻌﻠﹶﻤـﺎﺀ .co ﻑ ﻋﻬﺩ ﺍﺒﻥ ﺴِـﻴﺭِﻴﻥ ﺍﻟـﺫﻱ ﻋـﺭِ ﹶ ﺒﺎﻟﻨﱡﺒﻭﻍ ﻓﻲ ﺘﻔﺴﻴﺭ ﺍﻷﺤﻼﻡ ،ﻭﻟـﻪ ﻜِﺘﺎﺏ ﻤﺸﻬﻭﺭ ﻓـﻲ ﺫﻟـﻙ ،ﻴﻌـﺩ ﻭ ﹸﺘ ﻌﺩ ﺍﻷﺤـﻼﻡ ﻤـﻥ ﺍﻟﻤﺤـﺎﻭِﺭ ﻟﻸﺤﻼﻡ ،ﻤﻊ ﺒﻴﺎﻥ ﺩﻻﻻﺘﻬﺎ. ﺍﻟﻭﺴﻁﹶﻰ :ﺭﺅﻴﺔ ﺍﻟﻠﱠﺤـﻡ ﺍﻟـﻭﻓﻴﺭ – ﺘﻔﺼﺢ ﻟﻪ ﻋـﻥ ﺍﻟﻁﺭﻴـﻕ ﺍﻟـﺫﻱ ﻭﻴ ﻌ ﹶﺘﻘِ ﺩ ﺍﻟﻜﹶﺜﻴﺭﻭﻥ ﺃﻥ ﺍﻟﻨﱠﺎﺌﻡ ﺘﹶﻁﻴـﺭ ﺭﺅﻴﺔ ﺍﻟﻤﺎﺀ ﺃﻭ ﺍﻟ ﹶﻐﺭﻕ ﻓﻲ ﺍﻟﻤﺎﺀ – ﻴﺴﻠﻜﻪ ،ﻭﻜﺜﻴﺭﺍ ﻤﺎ ﻴﺴﺘﻌﻴﻥ ﺍﻷﺒﻁﺎل ﺭﻭﺤﻪ ﻓﻲ ﺍﻟﻨﱠﻭﻡ ﻭﻫﻲ ﻓـﻲ ﻟـﻭﻥ ﺭﺅﻴﺔ ﺍﻟﻨﱠﺎﺭ ﺘﺤﺭﻕ ﺠﺴﻡ ﺇﻨﺴـﺎﻥ – ﺒﻤﻥ ﻴ ﹶﻔﺴﺭ ﻟﻬﻡ ﺃﺤﻼﻤﻬﻡ ﺃﻭ ﺃﺤـﻼﻡ ﺙ ﻜﺜﻴﺭﺓ؛ ﻓﺈﺫﺍ ﺤﻭﺍﺩِ ﹶ ﺃﺨﻀﺭ ﻓﺘﺭﻯ ﺤﻴﺎﺕ ...ﺇﻟﺦ. ﺴﺤﺎﻟﻲ ﻭﺍﻟ ﺭﺅﻴﺔ ﺍﻟ ﻏﻴﺭﻫﻡ .ﻭﺍﻟﺩﺍﺭِﺱ ﻴﺠـﺩ ﺍﻟﺸﱠـﻭﺍ ِﻫ ﺩ ott ob ﺤﻘﹶـﺔ. ﻼِ ﺤﺠﺔ ﻟﻸﺠﻴﺎل ﺍﻟ ﱠ ﺍﻷﺼل ﻭﺍﻟ ﺕ ﺇﻟﻰ ﺍﻟ ﺒﺩﻥ ﹶﺘ ﹶﺫﻜﱠﺭﺕ ﻤﺎ ﺭﺃﺘﻪ. ﺠ ﻌ ﹾ ﺭ ﻭﻫﻨﺎﻙ ﺍﻋﺘﻘﺎﺩ ﺸﻌﺒﻲ ﺒﺄﻥ ﺍﻟﺤﻠـﻡ ـﻡ ـﺏ ﺍﻟﻤﻼﺤـ ـﻲ ﺃﻏﻠـ ـﺭﺓ ﻓـ ﺍﻟﻜﺜﻴـ ﻨﻘﻴﻀﻪ ،ﻓﺈﺫﺍ ﺭﺃﻯ ﺍﻟﻨﱠﺎﺌِﻡ ﻨﻔﺴﻪ ﻓـﻲ ﺨﻁﹶﺭ؛ ﺫﻟﻙ ﻷﻥ ﺍﻟﺭﻭﺡ ﺘﻔـﺎﺭِﻕ ﺒﺎﻟ ﹶ ﺘﻔﺴﻴﺭ ﺍﻷﺤﻼﻡ ﺃﻗﻭﻯ ﻤـﻥ ﻗِـﺭﺍﺀﺓ ل ﺫﻟﻙ ﻋﻠﻰ ﺍﻟﺴـﻌﺔ ،ﻭﺇﺫﺍ ﻀِﻴﻕ ﺩ ﱠ ﺍﻟﺠﺴﻡ ﻓﻲ ﺃﺜﻨـﺎﺀ ﺍﻟﻨـﻭﻡ ﻭﺘﻬـﻴﻡ ﻁﻭﺍﻟِﻊ ﺍﻟ ﱡﻨﺠﻭﻡ ﺃﻭ ﺍﻟﻤﺴﺘﻘﺒل ﺒﻭﺴﺎﻁﺔ ﹶ ﺭﺃﻯ ﺴﻌﺔ ﻓﻬـﻭ ﻀِـﻴﻕ ﻭﺸـﻘﺎﺀ. ﻕ ﻤ ﹶﺘﺠ ﻭﹶﻟﺔﹰ ﺒﻌﻴﺩﺍ ﻋﻨـﻪ ،ﻓـﺈﺫﺍ ﺍ ﱡﺘﻔِـ ﹶ ﺍﻟﺭﻤﺎل ﺃﻭﻏﻴﺭﻫﺎ. ﺤﻤـﺎﺭ ﻭﻴﻌﺘﻘﺩﻭﻥ ﺃﻥ ﻓﻲ ﺭﻜﹸﻭﺏ ﺍﻟ ِ ﻭﺤﺩﺙ ﺸﻲﺀ ﻟﻠﺭﻭﺡ ﻓﻠﻥ ﻴﺴـﺘﻴﻘﻅ ﺱ ﺍﻟﺸﱠﻲ ﺀ ﻋﻠﻰ ﻭﻜﺜﻴﺭﺍ ﻤﺎ ﻴ ﹶﻔﺴﺭ ﺍﻟﻨﱠﺎ ﻓﻲ ﺫﺍﺘـﻪ ﺭﺒﻤـﺎ ﻜـﺎﻥ ﻤﺤﻔﻭﻓﹰـﺎ alk ﺕ ﺩل ﺨ ﹶﺫ ﺍﻟﺤﺎِﻟ ﻡ ﺸﹶﻴﺌًﺎ ﻤﻥ ﻤ ﻴ ٍ ﻭﺇﺫﺍ َﺃ ﹶ ﻭﻟﺫﻟﻙ ﻴﺤﺭﺹ ﺍﻟﻜﺜﻴﺭﻭﻥ ﻋﻠﻰ ﻋﺩﻡ ﺫﻟﻙ ﻋﻠﻰ ﻁﻭل ﺍﻟﻌﻤﺭ ،ﻭﺍﻟـ ﺯﻭﺍﺝ ﺇﻴﻘﺎﻅ ﺍﻟﻨﺎﺌﻡ ﺒﻌﻨﻑ ،ﺨﺸﻴﺔ ﺃﻥ ﻴﻜﻭﻥ ﻤﻭﺕ ﻭﻟﺒﺱ ﺍﻷﺒﻴﺽ ﹶﻓﺭﺡ ،ﻭﻟﺒﺱ ﻤﺴﺘﻐﺭﻗﹰﺎ ﻓﻲ ﺃﺤﻼﻤـﻪ ،ﻭﺭﻭﺤـﻪ ﺍﻷﺴﻭﺩ ﺤﺯﻥ. ﻫﺎﺌﻤﺔ؛ ﻓﺈﺫﺍ ﻤﺎ ﺍﺴـﺘﻴﻘﻅ ﻓﺭﺒﻤـﺎ ﻻ ﺘﺘﻤﻜﻥ ﺍﻟﺭﻭﺡ ﻤـﻥ ﺍﻟﻌـﻭﺩﺓ ﺇﻟـﻰ ﺍﻟﺠﺴﻡ ﻓﻲ ﺍﻟﻭﻗﺕ ﺍﻟﻤﻨﺎﺴِﺏ. ﺜﺎﺒِﺘﺔ .ﹶﻓ ﹶﺜ ﻤ ﹶﺔ ﻤﺎ ﻴ ﹶﻔﺴﺭ ﺒﺎﻟﻀﺩ ﻓﻴﻤـﺎ ﻭﻤﻥ ﺍﻟﺸﱠﺎﺌﻊ ﺒﻴﻥ ﺍﻹﻓـﺭﻴﻘﻴﻥ ﺃﻥ ﻴﺭﺘﺒﻁ ﺒﺎﻟﻤﺴﺘﻘﺒل ،ﻭﺜﻤﺔ ﻤﺎ ﺃﺼـﺒﺢ ﺍﻟﺭﻭﺡ ﺇﺫﺍ ﻏﺎﺩﺭﺕ ﺍﻟﺠﺴـﻡ ﺃﺜﻨـﺎﺀ ﺭﻤﺯﺍ ﻟﻠﺘﻔﺎﺅل ﺃﻭ ﹶﻨﺫِﻴﺭﺍ ﺒﺸﺅﻡ .ﻭﻗﺩ ﺍﻟﻨﻭﻡ ،ﻭ ﹶﺘﻌ ﱠﺫﺭ ﻋﻠﻴﻬﺎ ﺍﻟﻌـﻭﺩﺓ ﻓـﻲ www.alkottob.com AHMAD AMIN ﻤﻥ ﺭﻭﺍﺩ ﺍﻟﺩﺭﺍﺴـﺎﺕ ﺍﻟﻔﻠﺴـﻔﻴﺔ ﻭﺍﻷﺩﺒﻴﺔ ﻓﻲ ﺍﻟﻌﺼﺭ ﺍﻟﺤﺩﻴﺙ .ﻭِﻟ ﺩ ـﻡ ـﺎﻡ ١٨٨٧ﻡ ،ﻭﺘﻌﱠﻠـ ـﺎﻫﺭﺓ ﻋـ ﺒﺎﻟﻘـ ﺍﻟﻤﺒﺎﺩﺉ ﺍﻷُﻭﻟﹶﻰ ﻋﻠﻰ ﻭﺍِﻟﺩِﻩ .ﻭﻗـﺩ ww ﻻﻻﹶﺕ ﺤﺩﺍﺕ ﻤﻥ ﺍﻷﺤﻼﻡ ﻟﻬـﺎ ﺩ ﹶ ﻭ ﺃﲪﺪ ﺃﻣﲔ w. ﹶﻓﺭﺠﺎ ،ﻭﻓﻲ ﺭﻜﻭﺏ ﺍﻟ ﹶﻔﺭﺱ ﻋِـﺯﺍ، ﺍﻟﻨﺎﺌﻡ ،ﻭﻗـﺩ ﻴﺼـﺎﺏ ﺒـﺎﻟ ﻤﺭﺽ؛ ﻭﻫﻜﺫﺍ ﻤﻴﺯﺕ ﺍﻟﻌﻘﻠﻴـﺔ ﺍﻟﺸﱠـﻌﺒﻴﺔ ﻭﺍﻟﺤﻜﺎﻴﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ،ﻭﻗـﺩ ﻴﻜـﻭﻥ ﺼﺒﺎﻩ ﻭﻤﺭﺍﺤل ﺘﺤﺩﺙ ﻋﻥ ﻨﺸﺄﺘﻪ ﻭ ِ ﻤﻥ ﺴِﻴﺭﺘﻪ ﻓﻲ ﺍﻟﺘﺭﺠﻤﺔ ﺍﻟﺫﱠﺍﺘﻴﺔ ﺍﻟﺘﻲ ﻜﺘﺒﻬﺎ ﻋﻥ ﻨﻔﺴﻪ ﺒﻌﻨﻭﺍﻥ "ﺤﻴـﺎﺘﻲ". ﻭﻜﺎﻥ ﻤﻥ ﺃﻭﺍﺌل ﺍﻟـﺫﻴﻥ ﺍﻟﺘﺤﻘـﻭﺍ ٣١ m ﺃﲪــــــﺪ ﺗﻴﻤــــــﻮﺭ ﺒﻤﺩﺭﺴﺔ ﺍﻟﻘﻀﺎﺀ ﺍﻟﺸﱠﺭﻋﻲ ،ﻭﺍﻟﺘـﻲ ﺃﺠﺯﺍﺀ ،ﻭﻟﻪ ﻤﻘﺎﻻﺕ ﺃﺩﺒﻴﺔ ﻨﺸـﺭﻫﺎ AHMAD ﺍﻗﺘﺭﻨﺕ ﺒﺎﺴﻡ ﺍﻟ ﻤ ﺭﺒـﻲ ﺍﻟﻤﻌـﺭﻭﻑ ﻓﻲ ﻤﺠﻠﺘﻲ "ﺍﻟﺭﺴـﺎﻟﺔ" ﻭ"ﺍﻟﺜﻘﺎﻓـﺔ"TAIMUR . ﻭﻗﺘﺫﺍﻙ ﻤﺤﻤﺩ ﻋـﺎﻁﻑ ﺒﺭﻜـﺎﺕ ،ﻭﻗﺩ ﺠ ﻤﻌﻬﺎ ﻗﺒﻴل ﻭﻓﺎﺘﻪ ﻓﻲ ﻜﺘـﺎﺏ "١٩٣٠ – ١٨٧١ﻡ" ﻑ ﻓﻲ ﺍﻟﻤﺭﺤﻠﺔ ﺍﻷﻭﻟﻰ ﻤـﻥ ﺸﻐِ ﹶ ﻭﹸ ﻋﻨﻭﺍﻨﻪ "ﻓﻴﺽ ﺍﻟﺨـﺎﻁﺭ" ،ﻭ ﹸﺘﻌـ ﺩ ﻭﻜﺎﻥ ﻤﻥ ﺍﻟﺭﻭﺍﺩ ﻓﻲ ﹶﺘ ْﺄﺼِﻴل ﻫـﺫﻩ ﻁﻭﺭ ﺍﻷﺩﺒﻲ ﺍﻟﺫﻱ ﻴﻜﺸﻑ ﻋـﻥ ﺍﻟ ﱠﺘ ﹶ .co ﺤﻴﺎﺘﻪ ﺍﻟﻌﻠﻤﻴﺔ ﺒﺎﻟﻔﻠﺴﻔﺔ ﻭﺍﻷﺨـﻼﻕ، ﺘﺭﺠﻤﺘﻪ ﺍﻟﺫﺍﺘﻴﺔ )ﺤﻴﺎﺘﻲ( ﻤﻥ ﻤﻌﺎﻟِﻡ ـﺎﺀ ﻀـ ـﺘﻐل ﺒﺎﻟ ﹶﻘ ـﺎﺕ .ﻭﺍﺸـ ﺍﻟﺩﺭﺍﺴـ ﺍﻟﺸﺭﻋﻲ ،ﻓﻠﻤﺎ ﺃُﻨﺸِـ َﺌﺕِ ﺍﻟﺠﺎﻤﻌـﺔ ﺍﻟﻤﺼﺭﻴﺔ )ﺠﺎﻤﻌﺔ ﺍﻟﻘﺎﻫﺭﺓ( ﺍﻨﺘﻘـل ﺍﻟﺤﺩﻴﺙ .ﻭِﻟ ﺩ ﻓـﻲ ﺍﻟﻘـﺎﻫﺭﺓ ﻋـﺎﻡ ١٨٧١ﻡ .ﻨﺸﺄ ﺃﻭل َﺃ ﻤﺭِﻩِ ﻓﻲ ﺒﻴـﺕ ﺃﺒﻴﻪ ﺇﺴﻤﺎﻋﻴل ﺘﻴﻤﻭﺭ ﺭﺌﻴﺱ ﺍﻟﺩﻴﻭﺍﻥ ﺍﻟﻌﻨﺎﻴﺔ ﺒﺎﻟﺫﱠﺍﺕ ﺒﻌﺩ ﺍﻟ ِﻌﻨﹶﺎﻴﺔ ﺒﺎﻟﺸﱠـﻜل ﺍﻟﺨﺩﻴﻭﻱ ،ﻭﻫﻭ ﻤﻥ ﺃﺼل ﺘﹸﺭﻜـﻲ، ﻭﺍﻟﻘﻭﺍﻋﺩ ﺍﻟﺤﺭﻓﻴﺔ ،ﻭﻴﺫﻜﺭ ﺩﺍﺌﻤﺎ ﻤﻊ ﺸﻘِﻴ ﹶﻘﺘِﻪِ ﺍﻟﺸﱠﺎﻋِﺭﺓ ﻋﺭﻉ ﻓﻲ ﺒﻴﺕ ﹶ ﻭ ﹶﺘﺭ ﻜﺘﺎﺏ "ﺍﻷﻴﺎﻡ" ﻟﻠﺩﻜﺘﻭﺭ ﻁﻪ ﺤﺴﻴﻥ. ﺍﻟﻤﻌﺭﻭﻓﺔ ﻋﺎﺌﺸﺔ ﺍﻟﺘﻴﻤﻭﺭﻴﺔ .ﻭﻗـﺩ ـﻴﻥ ـﺩ ﺃﻤـ ـﻠﻭﺏ ﺃﺤﻤـ ـﺎﺯ ﺃﺴـ ﻭﻴﻤﺘـ ott ob ﺇﻟﻰ ﺍﻟﺘﺩﺭﻴﺱ ﺒ ﹸﻜﻠﱢﻴ ِﺔ ﺍﻵﺩﺍﺏ ﺒﻘﺴـﻡ ـﻲ ـﺭ ﺍﻟﻌﺭﺒـ ـﻼﻡ ﺍﻟﻔﻜـ ـﻥ ﺃﻋـ ﻤـ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺭﺒﻴـﺔ ،ﻭﺃﺼـﺒﺢ ﺃﺴـﺘﺎﺫ ﻲ ﺃﺤﻤﺩ ﻋ ِﻨ ﺒﺎﻟﻭﻀﻭﺡ ﻭﺍﻟﺴﻬﻭﻟﺔ .ﻭ ﻜﹸﺭﺴﻲ ﺃﺩﺏ ﻤﺼﺭ ﺍﻹﺴﻼﻤﻴﺔ ،ﺜـﻡ ﺃﻤﻴﻥ ﺒﺎﻟﺘﱡﺭﺍﺙ ﺍﻟﺸﱠـﻌﺒﻲ؛ ﹶﻓ ﻭﻀـ ﻊ ﻋﻤِﻴﺩﺍ ﻟﻬﺫﻩ ﺍﻟﻜﻠﻴﺔ ،ﻓ ﻤﺩِﻴﺭﺍ ﻟﻠﺜﻘﺎﻓـﺔ "ﻗﺎﻤﻭﺱ ﺍﻟﻌﺎﺩﺍﺕ ﻭﺍﻟﺘﻘﺎﻟﻴﺩ ﻭﺍﻟﺘﻌﺎﺒﻴﺭ ﺍﻟﻌﺎﻤﺔ ﺒﻭﺯﺍﺭﺓ ﺍﻟﻤﻌﺎﺭﻑ )ﺍﻟﺘﺭﺒﻴـﺔ ﺍﻟﻤﺼﺭﻴﺔ"؛ ﻭﻫﻭ ﻴﺭﻭﻱ ﻓﻲ ﻤﻘﺩﻤﺘﻪ "ﻟﺠﻨﺔ ﺍﻟﺘﺄﻟﻴﻑ ﻭﺍﻟﺘﺭﺠﻤﺔ ﻭﺍﻟﻨﺸـﺭ" ﺍﻟﺫﻱ ﺍﺼﻁﻨﻌﻪ ﻓﻴﻪ" :ﺒﺩﺃﺕ ﺒﺤﺭﻑ ل ﺭﺌﻴﺴﺎ ﻟﻬﺎ ﺇﻟﻰ ﻋﺎﻡ .١٩١٤ﻭﻅ ﱠ ﺍﻷﻟﻑ ﺒﺎﻹﺒﺭﺓ ،ﺃﺫﻜﺭ ﻋﻠﻰ ﺍﻷﺨﹶﺹ ﺁﺨﺭ ﺤﻴﺎﺘﻪ؛ ﻭﻫﻲ ﺍﻟﻠﺠﻨـﺔ ﺍﻟﺘـﻲ ﻋﻘﺎﺌﺩ ﺍﻟﻤﺼﺭﻴﻴﻥ ﻓﻴﻬـﺎ ﻭﺍﻷﻤﺜـﺎل ﻀــﻤﺕ ﺼــ ﹾﻔ ﻭ ﹰﺓ ﻤــﻥ ﺍﻷﺩﺒــﺎﺀ ﺍﻟﺘﻲ ﻗِﻴﻠﹶﺕ ﻓﻴﻬﺎ ...ﻭﺍﺴﺘﻐﺭﻕ ﻤﻨـﻲ ﻭﺍﻟﺘﻌﻠﻴﻡ( .ﻭﻗﺩ ﺃﺴﻬﻡ ﻓـﻲ ﺇﻨﺸـﺎﺀ ﺒﺎﻟﻤﻌﺭﻓــﺔ ﻭﺍﻻﻁﱢــﻼﻉ ﻭﺍﻷﺩﺏ، ـﻼﻡ ـﻥ ﺃﻋـ ـﺭﻴﻥ ﻤـ ـل ﺒﻜﺜﻴـ ﻭﺍﺘﱠﺼـ ﻋﺼﺭﻩ ،ﺃﻤﺜـﺎل ﺍﻟﺸـﻴﺦ ﺤﺴـﻥ ﺍﻟﻁﻭﻴل ،ﻭﺍﻟﺸﻴﺦ ﻤﺤﻤـﺩ ﻤﺤﻤـﻭﺩ ﺍﻟﺸﻨﻘﻴﻁﻲ. alk ﻓﺭﻴﺩ ﺃﺒﻲ ﺤﺩﻴﺩ ،ﻭﺸﻔﻴﻕ ﻏﺭﺒـﺎل، ﻜﺜﻴﺭﺓ ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﻭﻀﻭﻉ؛ ﻓﻠﻡ ﺃﻜﻥ ﻭﺍﻟﺩﻜﺘﻭﺭ ﻁـﻪ ﺤﺴـﻴﻥ ،ﻭﺃﻤـﻴﻥ ﻋ ﹶﺘﻤِﺩ ﺇﻻ ﻋﻠﻰ ﺍﻟـﺫﹼﺍﻜﺭِﺓ ﻏﺎِﻟﺒـﺎ، َﺃ ﺍﻟﺨﻭﻟﻲ ﻭﻏﻴﺭﻫﻡ. ﻭﺴﺎﻋﺩﻨﻲ ﺃﻨﻲ ﺘﺭﺒﻴﺕ ﻓـﻲ ﺤـﺎ ﺭ ٍﺓ ﻭﻜﺎﻥ ﻴ ﻌ ِﻘ ﺩ ﻓﻲ ﺩﺍﺭﻩ ﺤﻠﻘﺎﺕ ﺘﻀﻡ ﹸﻨﺨﹾﺒ ﹰﺔ ﻤﻥ ﺃﻫل ﺍﻟﻌﻠﻡ ﻭﺍﻷﺩﺏ؛ ﺃﻤﺜﺎل ﻤﺤﻤــﻭﺩ ﺴــﺎﻤﻲ ﺍﻟﺒــﺎﺭﻭﺩﻱ، ﻭﺇﺴﻤﺎﻋﻴل ﺼﺒﺭﻱ ،ﻭﺍﻟﺸﻴﺦ ﻤﺤﻤﺩ ﻋﺒﺩﻩ ،ﻭﺘﹶﻭ ﱠﺜ ﹶﻘﺕِ ﺍﻟﺼﹶﻠ ﹸﺔ ﺒﻴﻨﻪ ﻭﺒـﻴﻥ w. ﻭﺍﻟﻤﻔﻜﺭﻴﻥ ﻭﺍﻟﻌﻠﻤﺎﺀ؛ ﺃﻤﺜﺎل ﻤﺤﻤـﺩ ﺕ ﻭﺍﻟﺘﻘﺎﻟﻴﺩ". ﺒﹶﻠﺩِ ﻴﺔٍ ﹶﺘ ﹾﻜﺜﹸ ﺭ ﻓﻴﻬﺎ ﺍﻟﻌﺎﺩﺍ ﹸ ﻟﻠﺤﻴﺎﺓ ﺍﻟﻌﻘﻠﻴﺔ ﻟﻠﻤﺴـﻠﻤﻴﻥ ،ﻭﺘﻀـﻡ ﻭﻴﻌﺩ ﻜﺘﺎﺒـﻪ "ﻗـﺎﻤﻭﺱ ﺍﻟﻌـﺎﺩﺍﺕ ﻫﺫﻩ ﺍﻟﺴﻠﺴـﻠﺔ؛ "ﻓﺠـﺭ ﺍﻹﺴـﻼﻡ" ﻭﺍﻟﺘﻘﺎﻟﻴﺩ ﻭﺍﻟﺘﻌﺎﺒﻴﺭ ﺍﻟﻤﺼﺭﻴﺔ" ﻤـﻥ ﻭ"ﻀﺤﻰ ﺍﻹﺴـﻼﻡ" ﻓـﻲ ﺜﻼﺜـﺔ ـﻲ ـﺩﺓ ﻓـ ـﺎل ﺍﻟﺭﺍﺌـ ـل ﺍﻷﻋﻤـ ﺃﻭﺍﺌـ ﺃﺠﺯﺍﺀ ،ﻭ"ﻅﻬﺭ ﺍﻹﺴﻼﻡ" ﻓﻲ ﺃﺭﺒﻌﺔ ﺍﻟ ﺩﺭﺍﺴﺎﺕ ﺍﻟﺸﱠﻌﺒﻴﺔ. ﺍﻟﻌﻼﱠﻤﺔ ﺍﻟﺸﻴﺦ ﻁـﻪ ﺍﻟﺠﺯﺍﺌـﺭﻱ، ﻭﺍﻟﻤﺤﻘﱢﻕ ﻤﺤﻤﺩ ﻜﺭﺩ ﻋﻠﻲ .ﻭﻜـﺎﻥ ﺠ ﻤ ِﻊ ﹶﻨﻔﹶﺎﺌِﺱ ﺍﻟﻤﺨﻁﹸﻭﻁـﺎﺕ ﻑ ﺒ ﻴ ﹾﻜﹶﻠ ﹸ ww ﺴﻠﹶﺔ ﺍﻟﻤﺸﻬﻭﺭﺓ ﺍﻟﺘـﻲ َﺃ ﺭﺨﹶـﺕ ﺴ ﹾﻠ ِ ﺍﻟ ﻲ ﺃﺤﻤﺩ ﺃﻤﻴﻥ ﻋﺎﻡ ،١٩٥٤ ﻭﺘﹸﻭ ﱢﻓ www.alkottob.com ﺍﻟﻠﱡﻐـﺔ ﺍﻟﻌﺭﺒﻴـﺔ ،ﻭﻜـﺎﻥ ﺸﹶـﻐﹸﻭﻓﹰﺎ ﺍﻟﺒﺎﻋﺙ ﻋﻠﻰ ﺘﺼـﻨﻴﻔﻪ ،ﻭﺍﻟﻤـﻨﻬﺞ ﺫﻟﻙ ﺃﺭﺒﻊ ﺴﻨﻴﻥ ،ﻭﺭﺃﻴﺕ ﺼﻌﻭﺒﺎﺕ ﻭَﺃ ﻫ ﻡ ﻤ َﺅﻟﱠﻔﺎﺕ ﺃﺤﻤﺩ ﺃﻤﻴﻥ ﺘﻠـﻙ ﻑ ﺘﻌﻠﱠﻡ ﻓﻲ ﺍﻟﻤﺩﺍﺭﺱ ﺍﻟﻔﺭﻨﺴﻴﺔ ،ﻭ ﹶﺜﻘِ ﹶ ﻲ ﺒﺘﺭﺘﹶﻴـﺏ ﻋﻨِـ ﻭ ﹶﻨﻭﺍﺩِﺭ ﺍﻟ ﹸﻜﺘﹸﺏ ،ﻭ ﺴﺘِﻬﺎ ،ﻭﺘﻀ ﻡ ﺤـﻭﺍﻟﻲ ﻤﻜﺘﺒﺘﻪ ﻭ ﹶﻓ ﻬ ﺭ ١٨٠٠٠ﻤﺠﻠﱠﺩ؛ ﻭﻫـﻲ ﺍﻵﻥ ﻤـﻥ ﹶﺫﺨﹶﺎﺌِﺭ ﺩﺍﺭ ﺍﻟﻜﺘﺏ ﺒﺎﻟﻘﺎﻫﺭﺓ. ٣٢ ﺍﻟﻤﻜﺘﺒﺔ ﺇﻟﻰ ﺠﺎﻨﺏ ﺍﻟﻤﺨﻁﻭﻁـﺎﺕ ﺍﻷﺼﻭل ﺍﻟﻌﺭﺒﻴـﺔ ﻋﻠﻴﻬـﺎ ،ﻭ ِﻗﻠﱠـﺔ ﻁﻔﹶـﺕ ﻓﺈﻨﻬﺎ ﺘﻜﻭﻥ ﺁﺜﻤﺔ ،ﺃﻤـﺎ ﺇﺫﺍ ﹶ ﺠﻠﹸﻭﺩ ﺍﻟﺘـﻲ ﻭﺍﻟﻤﻁﺒﻭﻋﺎﺕ؛ ﺃﻨﻭﺍﻉ ﺍﻟ ﺍﻟﺩﺨﻴل ﻓﻴﻬﺎ .ﻭﻗـﺩ ﺼـ ﺩ ﺭ ﻤﻨـﻪ ﻓﺈﻨﻬﺎ ﺘﻜﻭﻥ ﺒﺭﻴﺌـﺔ .ﻭﻗـﺩ ﺼـﻨﻊ ﻜﺎﻨﺕ ﺘﹶﺼ ﹶﻨ ﻊ ﻟﻠﻜﺘﺏ ﻓـﻲ َﺃﻁﹾـﻭﺍ ِﺭ ـﺎﻤﻲ ـﺎﻨﻲ ﻋـ ـﺯﺁﻥ ﺍﻷﻭل ﻭﺍﻟ ﱠﺜـ ﺠـ ﺍﻟ ١٩٧١ﻭ ١٩٧٨ﻋــﻥ ﺍﻟﻬﻴﺌــﺔ ﻓﺭﺠﻴل-ﻋﻨﺩﻤﺎ ﻗﺎ ﻡ ﺒﺩﻭﺭ ﺍﻟﺴﺎﺤﺭ- ﻼ ﻤﻥ ﺍﻟﻨﱡﺤﺎﺱ؛ ﻻﺨﺘﺒـﺎﺭ ﺜﹸﻌﺒﺎﻨﹰﺎ ﻫﺎ ِﺌ ﹰ ﺞ ﺍﻟ ﹸﻘ ﺩﻤﺎﺀ ﻭﺍ ﱠﺘﺒﻊ ﺃﺤﻤﺩ ﺘﻴﻤﻭﺭ ﻤ ﹾﻨ ﻬ ﺤﻘِﻴـﻕِ ﺍﻟﻤﺼﺭﻴﺔ ﺍﻟﻌﺎﻤﺔ ﻟﻠﻜﺘﺎﺏ ،ﺒِ ﹶﺘ ﺍﻟﻤﺭﺃﺓ ﺍﻟﻤﺸ ﹶﺘﺒﻪ ﻓﻲ ﺃﻤﺭﻫﺎ ،ﻭﻜﺎﻨﺕ ﺍﻟﺩﻜﺘﻭﺭ ﺤﺴﻴﻥ ﻨﺼﺎﺭ. ﹸﺘ ﹾﻜﺭﻩ ﻋﻠﻰ ﺃﻥ ﺘﻀﻊ ﺫﺭﺍﻋﻬﺎ ﻓﻲ ﻓﻡ m ﻭﻟﻡ ﻴﻨﺱ ﺃﻥ ﻴﺠﻤﻊ ﻓـﻲ ﻫـﺫﻩ ﻏﹶﻠﺒـﺔ ﺍﻟﻌﺎﻤﻴﺔ ﺍﻟﻤﺼﺭﻴﺔ ،ﻭ ﹸﺘ َﺅﻜﱢـﺩ ﹶ ﻏ ِﺭﻗﹶﺕ ﺃﻴﻀﺎ ﺒﺈﻟﻘﺎﺌﻬﺎ ﻓﻲ ﺍﻟﹶﻴﻡ؛ ﻓﺈﺫﺍ ﹶ ﺤﻀﺎﺭﺓ ﺍﻟﻌﺭﺒﻴﺔ ﻭﺍﻹﺴﻼﻤﻴﺔ. ﺍﻟ .co ﺠﻤـﻊ ﺍﻟﺭﻭﺍﻴـﺎﺕ ﺍﻟﺸﱢـﻔﺎ ِﻫﻴﺔ ﻓﻲ ﻭﺍﻷﻤﺜــﺎل ﻭﺍﻟﻜﺘﺎﺒــﺎﺕ ﺍﻟﻌﺎﻤﻴــ ﹶﺔ ﻭﺍﻟﻤﻌﺎﺭﻑ ﺍﻟﺸﻌﺒﻴﺔ ،ﺒﺎﻹﻀﺎﻓﺔ ﺇﻟﻰ ﻲ ﺃﺤﻤﺩ ﺘﻴﻤـﻭﺭ ﺒﺎﻟﻘـﺎﻫﺭﺓ ﻭ ﹸﺘ ﻭ ﱢﻓ ﻫﺫﺍ ﺍﻟﺜﻌﺒﺎﻥ؛ ﻓﺈﺫﺍ ﻜﺎﻨﺕ ﺁﺜِﻤ ﹰﺔ ﻓﺈﻨـﻪ ﻋﺎﻡ ،١٩٣٠ﻭ ﻴ ﻌﺩ ﻤﻥ ﺃﻭﺍﺌل ﺍﻟﺫﻴﻥ ﻁﺒِﻕ ﺒﺄَﺴﻨﺎﻨﻪ ﻋﻠﻰ ﺫﺭﺍﻋﻬﺎ .ﻭﻜﺎﻥ ﻴ ﹾ ﻭﺃﻓﹶﺎ ﺩ ﻤﻥ ﺍﻟﺘﱠﺼﻭﻴﺭ ﺍﻟﺸﱠﻤﺴـﻲ؛ ﻥ ﺍﺴﻤﻪ ﺩﺍﺌﻤﺎ ﺒﺎﺴـﻡ ﺍﻟﺸﻌﺒﻲ ،ﻭ ﻴ ﹾﻘ ﺭ ل ﺃﺒﻴﺽ؛ ﻓﺈﻥ ﻫﺫﺍ ﺩﻟﻴـل ﻋﻠـﻰ ﻅﱠ ل ﺍﻵﺜﺎﺭ ﺍﻟﻤِﻌﻤﺎ ِﺭﻴـﺔ ،ﺍﻟﺘـﻲ ﺠَ ﹶﻓﺴ ﺸﻘﻴﻘﺘﻪ ﻋﺎﺌﺸﺔ ﺍﻟﺘﻴﻤﻭﺭﻴﺔ ،ﻭﺒﺎﺴـﻡ ﻋﻔﱠﺘﻬﺎ ،ﺃﻭ ﹶﺘ ﹾﻠﺒﺱ ﺨﺎ ﹶﺘﻤﺎ؛ ﻓـﺈﺫﺍ ﻤـﺎ ﻜﺎﻨﺕ ﻗﺎﺌﻤﺔ ﻋﻠﻰ ﺠـﺎﻨﺒﻲ ﺍﻟﺨﻠـﻴﺞ ﻭﻟﺩﻴﻪ ﺍﻟﺭﺍﺌﺩﻴﻥ ﻓﻲ ﺃﺩﺏ ﺍﻟﻤﺴـﺭﺡ ﻕ ﻋﻠـﻰ ﺨﺎﻨﹶﺕ ﺯﻭﺠﻬﺎ ﻓﺈﻨﻪ ﻴﻀِـﻴ ﹸ ﺍﻟﻨﺎﺼﺭﻱ ﻗﺒل ﺭ ﺩﻤِﻪ ﻭﺘﺤﻭﻴﻠﻪ ﺇﻟﻰ ﻭﺍﻟﻘﺼﺔ ﻤﺤﻤﺩ ﻭﻤﺤﻤﻭﺩ ﺘﻴﻤﻭﺭ. ﺇﺼﺒﻌﻬﺎ ﻭﻴﻘﻁﹶﻌﻪ .ﻭﻜـﺎﻥ ﻫﻨـﺎﻙ ﺍﻟﻌﻠﻭﻡ ﺍﻟﺘﻘﻠﻴﺩﻴﺔ. ott ob ﹶﻨ ﺒﻬﻭﺍ ﺒﻌﻤﻠﻬﻡ ﺇﻟﻰ ﺍﻟﻌﻨﺎﻴﺔ ﺒـﺎﻟﺘﺭﺍﺙ ﻋﻠﻰ ﺍﻟﻤﺭﺃﺓ ﺃﻥ ﺘﺭﺘﺩﻱ ﹶﻗﻤِﻴﺼﺎ؛ ﻓﺈﺫﺍ ﺨﻠِـﻴﺞ .ﻭﻟـﻪ ﻤﺼـﻨﱠﻔﺎﺕ ﺸﺎﺭِﻉ ﺍﻟ ﹶ ﺕ ﻟﺠﻨـﺔ ﺨﺎﺼـﺔ ﻋﻨِﻴ ﹶ ﻜﺜﻴﺭﺓ ،ﻭﻗﺩ ﺒﻁﺒﻊ ﹸﺘﺭﺍ ِﺜ ِﻪ ﺍﻟﻌﻠﻤﻲ ﻭﺍﻷﺩﺒﻲ .ﻭﻤﻥ ﻤﺸﺭﻭﺤﺔ ﻭﻤﺭﺘﺒﺔ ﻋﻠـﻰ ﺍﻟﺤـﺭﻑ ـﺎﺕ ـل" ،ﻭ"ﺍﻟ ِﻜﻨﹶﺎ ﻴـ ـﻥ ﺍﻟ ﻤ ﹶﺜـ ﺍﻷﻭل ﻤـ ﺍﻟﻌﺎﻤﻴﺔ" ،ﻭﺴﺎ ﺭ ﻓﻴﻬﺎ ﻋﻠﻰ ﻤ ﹾﻨ ﻬﺠِـ ِﻪ ﺍﻟﻅﱢل ،ﻭﺁﺨﺭ ﻋﻥ ﺍﻟ ﺩﻤﻰ ﻭﺍﻟﻠﱡﻌـﺏ ﻋﻨﺩ ﺍﻟﻌﺭﺏ .ﻭﻟﻪ ﺃﻴﻀـﺎ ﺍﻟﻤﻌﺠـﻡ ﻤﺠﻤﻭﻋﺔ ﻜﺒﻴﺭﺓ ﻤﻥ ﺍﻷﻟﻔﺎﻅ ﺍﻟﻌﺎﻤﻴﺔ ﻻﻻﹶﺘﻬـﺎ ،ﻭﺍﻟﺸﱠـﻭﺍﻫﺩ ﺍﻟﻘﺎﻫﺭﻴﺔ ﻭ ﺩ ﹶ ﺍﻟﻤﺅﻴﺩﺓ ﻟﻬﺫﻩ ﺍﻟﺩﻻﻻﺕ ،ﻭﻗـﺩﻡ ﻟـﻪ ﺒ ِﺩﺭﺍﺴﺔ ﺘﹸﺒﻴﻥ ﺨﺼـﺎﺌﺹ ﺍﻟﻠﻬﺠـﺔ www.alkottob.com CHASTITY TEST ﺍﺨﺘﺒﺎ ﺭ ﻟﻠﺘﺄﻜﱡﺩ ﻤﻤـﺎ ﺇﺫﺍ ﻜﺎﻨـﺕ ﺍﺧﺘِﺒﺎﺭﺍﺕ ﺷﻌﺒِﻴﺔ ﺍﻟﻤــﺭﺃ ﹸﺓ ﻤﺨﻠﺼــ ﹰﺔ ﻟﺯﻭﺠﻬــﺎ ﺃﻭ ﻋﺸِﻴﻘﻬﺎ .ﻭ ﹶﺘ ﹶﺘ ﺭﺩﺩ ﻓـﻲ ﺍﻟﺤِﻜﺎﻴـﺎﺕ ـﺫﺍ ـﺩﺓ ﻟﻬـ ﻋﺩِﻴـ ـﻜﺎل ـﻌﺒﻴﺔ ﺃﺸـ ﺸـ ﺍﻟ ﱠ ﺍﻻﺨﺘﺒﺎﺭ .ﻭﺍﻻﺨﺘﺒﺎﺭ ﺒﺎﻟﻨﱠﺎﺭ ﺸـﺎﺌﻊ، FOLK TESTS ﻤﻥ ﺍﻟﻤﺄﻟﻭﻑ ﻓـﻲ ﺍﻟﺠﻤﺎﻋـﺎﺕ ﺍﻟﺒﺩﺍﺌﻴﺔ ﺃﻥ ﻴ ﹾﻨ ﹶﺘﻅِﻡ ﺍﻟ ﻌ ﺭﻑﹸ ﻤﺠﻤﻭﻋ ﹰﺔ ﻤﻥ ﺍﻟﺸﱠﻌﺎﺌﺭ ﻭﺍﻟﺘﻘﺎﻟﻴـﺩ ﻭﺍﻟﻌـﺎﺩﺍﺕ ﺠ ﺒ ﺭ ﺍﻟﻤﺭﺃ ﹸﺓ ﺍﻟﻤﺸـﺘﺒﻪ ﻓـﻲ ﻭﻓﻴﻪ ﺘﹸ ﺍﻟﺘﻲ ﺘﻘﻭﻡ ﺒﺎﺨﺘﺒﺎﺭ ﻗﹸﺩﺭﺓ ﺍﻹﻨﺴـﺎﻥ ﺃﻤﺭﻫﺎ ﻋﻠﻰ ﺃﻥ ﹶﺘﻀﻊِ ﺫﺭﺍﻋﻬﺎ ﻓـﻲ ﺨ ﹸﺫ ﻫﺫﻩ ﻋﻠﻰ ﺍﻟ ِﻘﻴﺎﻡ ﺒﻌﻤل ﻤﻌﻴﻥ .ﻭ ﹶﺘﺘﱠ ِ ﺍﻟﻤﺎﺀ ﺍﻟ ﻤ ﹾﻐِﻠﻲ ،ﺃﻭ ﻓـﻲ ﹶﻟﻬـﺏٍ ،ﺃﻭ ﺍﻻﺨﺘﺒﺎﺭﺍﺕ ﺸﹶـ ﹾﻜﻠﹶﻬﺎ ﻤـﻥ ﻁﺒﻴﻌـﺔ ﺠﻤـ ِﺭ ﹸﺘ ﹾﻜﺭﻩ ﻋﻠﻰ ﺃﻥ ﹶﺘﺴِﻴ ﺭ ﻋﻠﻰ ﺍﻟ ﺍﻟ ﻌﻤل ﺃﻭ ﺍﻟ ﻤ ِﻬﻤﺔ ﺍﻟﺘﻲ ﻴﺭﺍﺩ ﻟﻠﻔـﺭﺩ ﺤﺎﻓﻴﺔ ﺍﻟﻘﺩﻤﻴﻥ؛ ﻓﺈﺫﺍ ﺍﺤﺘﺭﻗﺕ ﻓﺈﻨﻬﺎ ﺃﻥ ﻴﻘﻭﻡ ﺒﻬﺎ؛ ﻭﻫﻲ ﺘﺩل ﻋﻠﻰ ﹶﺘﺤ ﻭلِ ﺘﻜﻭﻥ ﺁﺜِﻤﺔ ،ﻭﺇﺫﺍ ﻟﻡ ﺘﺤﺘﺭﻕ ﻓﺈﻨﻬـﺎ ﺍﻟﻤﺭﺀ ﻤﻥ ﻤﺭﺤﻠﺔ ﺇﻟﻰ ﻤﺭﺤﻠﺔ ﺃﻜﺒﺭ ﺘﻜﻭﻥ ﺒﺭﻴﺌ ﹰﺔ .ﻭﻜﺎﻨﺕ ﺍﻟﻤﺭﺃﺓ ﺘﹸﺨﺘﹶﺒﺭ ww ﺍﻟﻜﺒﻴﺭ ﻓﻲ ﺍﻷﻟﻔﺎﻅ ﺍﻟﻌﺎﻤﻴﺔ ،ﻭﻴﻀـﻡ ﺯ ﻭﺠﻬﺎ. w. ﺨﻴـﺎل ﺙ ﻋﻥ ﹶ ﻓﻲ ﺍﻷﻤﺜﺎل .ﻭﻟﻪ ﺒﺤ ﹲ ﺍﺧﺘِﺒﺎﺭ ﺍﻟﻌِﻔﱠﺔ alk ﺃﻫﻡ ﹶﺘﺼﺎﻨِﻴﻔﻪ" :ﺍﻷﻤﺜـﺎل ﺍﻟﻌﺎﻤﻴـﺔ ﻑ ﻴﺼـﺩﺃ ﺇﺫﺍ ﺨﺎﻨﹶـﺕ ﻤﺎِﻟ ﹶﻜﺘﹸـﻪ ﺴﻴ ﹲ ﻤﻨﻬﺎ ،ﻴﻁﻠﺏ ﻓﻴﻬﺎ ﺃﻥ ﻴﻘﻭﻡ ﺒِ ﹶﺘﺒِﻌـﺎﺕٍ ٣٣ ل ﻋﺸﻴﺭﺘﻪ .ﻭﻤﻥ ﺃﺸـﻬﺭ ﺘﻠـﻙ ﻗِﺒَ ﺍﻟﻨﺎﺤﻴﺔ ﺍﻟﻌﻘﻠﻴﺔ ﺼﻭﺭﺍ ﻤﺘﺸـﺎﺒﻬﺔ، ﻋﻠﻴﻪ ﺃﻥ ﻴﻌﻭﺩ ﺒﺈﻜﺴﻴﺭ ﺍﻟﺤﻴـﺎﺓ... ﺍﻻﺨﺘﺒﺎﺭﺍﺕ ﻤﺎ ﻴﺼﺎﺤِﺏ ﺍﻻﺤﺘﻔـﺎل ﺠ ﻤ ٍﻊ ﺘﻘﻭﻡ ﻋﻠﻰ ﺍﺨﺘﺒﺎﺭ ﺍﻟﺸﺎﺏ ﺃﻤﺎ ﻡ ﻭﻋﻠﻴﻪ ﺃﻥ ﻴﻘﺘل ﺍﻟﺘﱢﻨﻴﻥ ﺫﺍ ﺍﻟـﺭﺀﻭﺱ ﺒﺎﻟﺯﻭﺍﺝ ﻓﻲ ﺍﻟﻤﺠﺘﻤﻌﺎﺕ ﺍﻟﺒﺩﺍﺌﻴـﺔ، ﺤﺎﺸﺩ ﻤﻥ ﺍﻟﻨﺎﺱ ،ﻭﺘﻭﺠﻴﻪ ﺍﻷﺴﺌﻠﺔ ﺍﻟﺴﺒﻌﺔ ...ﻋﻠﻴﻪ ﻓﻲ ﺒﻌﺽ ﺍﻷﺤﻴﺎﻥ ﺘﻠــﻙ ﺍﻟﻌــﺎﺩﺍﺕ ﻤﻭﺠــﻭﺩﺓ ﻓــﻲ ﺍﻻﺨﺘﺒﺎﺭ ﺇﻟﻰ ﻤﺎ ﻴﺸﺒﻪ ﺍﻟ ﻤﺒـﺎ ﺭﺯﺓ. ﻼﻤِﺢ ﻓﺘﻴﺎﺕ ﻜﺜﻴﺭﺍﺕ ﻴﺸﺒﻬﻨﻬﺎ ﻓﻲ ﺍﻟ ﻤ ﹶ ﻥ ﺍﻟﺘﺤﻭل ﻤﻥ ﺍﻟ ﱠﺘ ﹾﻠﻤـ ﹶﺫﺓِ ﻋﻨـﺩ ﻜﻤﺎ ﺃ ﻱ ...ﻋﻠﻴﻪ ﺃﻥ ﻴﻤﻴﺯ ﺍﺒﻨﻪ ﺍﻟﺫﻱ ﻭﺍﻟ ﺯ ﺤﺒﻪ ﺃﻴﻀـﺎ ﺤﺭﻑ ﹸﺘﺼﺎ ِ ﺃﺼﺤﺎﺏ ﺍﻟ ِ ﻟﻡ ﻴﺘﺢ ﻟﻪ ﺃﻥ ﻴﺭﺍﻩ ﻤﻥ ﻗﺒل ﻤﻥ ﺒﻴﻥ ل ﻤﺭﺍﺴِﻴﻡ ﻭﺸﻌﺎﺌﺭ ﻭﻋـﺎﺩﺍﺕ ﹸﺘ ﻤﺜﱢـ ُ ﺠﻤ ٍﻊ ﺤﺎﺸ ٍﺩ ﻤﻥ ﺍﻷﻁﻔﺎل. m ل ﺃﺴﺭﺘﻪ ،ﺃﻭ ل ﻨﻔﺴﻪ ،ﺃﻭ ﻗِﺒَ ﺃﻜﺒﺭ ﻗِﺒَ ﻭﺍﺘﺨﺫﺕ ﻫﺫﻩ ﺍﻻﺨﺘﺒﺎﺭﺍﺕ ﻓـﻲ ﺃﻥ ﻴﻜﻭﻥ ﺃﺴﺭﻉ ﻤـﻥ ﺍﻟﻔﹶـﺭﺱ... ﺏ ﻤـﻥ ﺴ ﻅﻭﺍ ِﻫ ﺭ ﻭ ﺭﻭﺍ ِ ﻭﻻ ﺘﺯﺍل ﹶ .co ﺤﻀﺭﺓ ...ﻤﻥ ﺘﻠﻙ ﺍﻟﻤﺠﺘﻤﻌﺎﺕ ﺍﻟ ﻤ ﹶﺘ ﺽ ﺃﺠﺴﺎﻡ ﺍﻟﻔِﺘﻴﺎﻥ ِﻟ ﹾﻠ ﺒﻌﻭﺽ ﺃﻭ ﹶﺘ ﻌﺭِﻴ ﺍﻟﻨﱠﺤل ﻻﺨﺘﺒـﺎﺭ ﻗﹸـﺩﺭﺘﻬﻡ ﻋﻠـﻰ ﺍﻟﺼﻌﺒﺔ ﺇﻟﻴﻪ .ﻭﻜﺜﻴﺭﺍ ﻤـﺎ ﻴﺘﺤـﻭل ﺠﺎ ِﻨﺒﺎ ﻤﻥ ﺍﻻﺨﺘﺒﺎﺭﺍﺕ ﺍﻟﺸﻌﺒﻴﺔ. ﻭﻤﻥ ﺍﻻﺨﺘﺒـﺎﺭﺍﺕ ﺍﻟﺘـﻲ ﻟﻬـﺎ ott ob ﺤﻠﹾﻘﺔ ﺭﺌﻴﺴﻴﺔ ﻤﻥ ﺍﻻﺤﺘﻤﺎل ،ﻭﺫﻟﻙ ﹶﻜ ﺃﻥ ﻴﺘﻌﺭﻑ ﻋﻠﻰ ﻋﺭﻭﺴﻪ ﻤﻥ ﺒـﻴﻥ ﺤﻠﻘﺎﺕ ﺍﻻﺤﺘﻔﺎل ﺒـﺎﻟﺯﻭﺍﺝ ،ﻭﻤـﻥ ﻭﺘﺩﻭﺭ ﺍﻟﺤِﻜﺎﻴﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺤـﻭل ﻤﻜﺎﻨﺘﻬﺎ ﻓﻲ ﺍﻟﺤﻜﺎﻴﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻗﹸﺩﺭ ﹸﺓ ﻀ ﺭﺒﻬﻡ ﺒﺎﻟﺴـﻴﺎﻁ ﻻﺨﺘﺒـﺎﺭ ﺫﻟﻙ ﺍﻟﻨﱠﺠﺎﺡ ﻓﻲ ﺘﻠﻙ ﺍﻻﺨﺘﺒﺎﺭﺍﺕ ﺍﻟﺘـﻲ ﻁﹶﻠﺔِ ﻋﻠﻰ ﺤل ﺍﻷﻟﻐﺎﺯ، ﻁلِ ﺃﻭ ﺍﻟﺒ ﹶ ﺍﻟﺒ ﹶ ﺠﹶﻠﺩِﻫﻡ ...ﻭﻤﻥ ﺫﻟﻙ ﺘﻜﻠﻴﻔﻬﻡ ﺒﻤﻬﺎﻡ ﺨ ﹸﺫ ﺼﻭﺭ ﹰﺓ ﻤ ﹶﺘ ﻌﺫﱢﺭ ﹰﺓ ﺃﻭ ﻤﺴﺘﺤِﻴﻠﺔ؛ ﹶﺘﺘﱠ ِ ﺤﻠﱢﻬـﺎ. ﺃﻭ ﻓﻘﺩ ﺤﻴﺎﺘﻪ ﺇﺫﺍ ﻋﺠﺯ ﻋﻥ ﻟﻬﺎ ﻤﻜﺎﻨﺘﻬﺎ ﻭﺨﻁﺭﻫـﺎ؛ ﻜﺎﻟﻘﻀـﺎﺀ ﻭﻫﻲ ﺒﻤﺜﺎﺒﺔ ﺍﻟﻤﺒﺎﻟﹶﻐﺔ ﻓـﻲ ﺘﻤﺜﻴـل ﻭﺃﻤﺜﺎل ﻫﺫﻩ ﺍﻻﺨﺘﺒﺎﺭﺍﺕ ﺸﺎﺌﻌﺔ ﻓﻲ ﺠﻤـ ٍﺔ ﻋﻠﻰ ﻭﺤﺵ ﻤ ﹾﻔ ﹶﺘﺭِﺱ ﻓـﻲ َﺃ ﺨﺭِﺝ ﺍﻻﺨﺘﺒﺎ ﺭ ﻤﻥ ﺤ ﺩ ﻴ ﹾ ﺍﻟﻭﺍﻗِﻊ ،ﺇﻟﻰ ﻗﺭﻴﺒﺔ ،ﺃﻭ ﺍﻹﺘﻴﺎﻥ ﺒﻬﺩﻴـﺔ ﻨﻔﻴﺴـﺔ ﺇﻁﺎﺭ ﺍﻟ ﻤ ﻤﻜِﻥ ﺃﻭ ﺍﻟﻤﻌﻘﻭل .ﻭ ﻴﻌـ ﺩ ﻭﻤــﻥ ﺍﻟﻤﺸــﻬﻭﺭ ﻓــﻲ ﺍﻷﺩﺏ ل ل ﺒﻁﹶـ ٍ ﺒﻌﻴﺩﺓ ﺍﻟ ﻤﻨﹶﺎل ﺇﻻ ﻋﻠﻰ ﻜﹸـ ﱢ ﺍﻻﺨﺘﺒﺎﺭ ﻓﻲ ﺍﻟﺤﻜﺎﻴﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻤﻥ ﺍﻟﻌﺭﺒﻲ ﺍﻟﺭﺴﻤﻲ ﻭﺍﻟﺸﱠـﻌﺒﻲ ﻋﻠـﻰ ﻱ ﻗﺎﺩِﺭ ﻋﻠﻰ ﺍﺤﺘﻤـﺎل ﺸـﺩﺍﺌﺩ ﹶﻗ ِﻭ ﺍﻷﺼﻭل ﺍﻟﺤﺭﻓﻴﺔ ﻓﻲ ﺒﻨﺎﺌﻬﺎ ﺍﻟﻔﻨﻲ؛ ﺍﻟﺴﻭﺍﺀ ﺃﻥ ﻋﻨﺘﺭﺓ ﺒﻥ ﺸﺩﺍﺩ ﺍﻟﻌﺒﺴﻲ، ﺍﻟﺴﻔﺭ ،ﻭﺍﻟﺘﻌﺭﺽ ﻟﻠﺤﺭﺏ ﻭﻏﻴﺭﻫﺎ ﺕ ﻓﻴﺠﺏ ﻋﻠـﻰ ﺍﻟﺒﻁـل ﺃﻥ ﻴ ﹾﺜﺒِـ ﹶ ﺃﺩﺏ ﺍﻟﺸﻌﻭﺏ ﻋﻠﻰ ﺍﺨﺘﻼﻓﻬﺎ. alk ـﻑ ـﺭﺓ( ﻜﻠـ ـﻴﺭﺓ ﻋﻨﺘـ ـﺭ :ﺴـ )ﺍﻨﻅـ ﻕ ...ﻭﻤﻥ ﺫﻟﻙ ﺍﺨﺘﺒـﺎﺭ ﻤﻥ ﺍﻟ ﻤﺸﹶﺎ ﱢ ﺠﺩﺍ ﺭﺘﻪ ،ﻭﻟﻴﺱ ﻫﻨﺎﻙ ﺒﺭﻫﺎﻥ ﺃﻗﻭﻯ ﻗﺩﺭﺓ ﺍﻟﻌﺭﻴﺱ ﻋﻠﻰ ﺍﻟﻌﻤل ﺒﺘﻜﻠﻴﻔـﻪ ﻤﻥ ﹶﻨﺠﺎﺤِﻪ ﻓـﻲ ﺍﺠﺘﻴـﺎﺯ ﺍﺨﺘﺒـﺎﺭ ﺍﻟ ﹶﻐﺭﺱ ﻭﺍﻟﺤﺼﺎﺩ ﻓﺘﺭﺓ ﻤ ﻌﻴﻨﺔ ﻤـﻥ ـﻭﺍل. ﻕ ﻭﺍﻷﻫـ ـﺎ ﱢ ـﻭﻑ ﺒﺎﻟﻤﺸﹶـ ﻤﺤﻔـ ﺍﻟﺯﻤﻥ ،ﺃﻭ ﺍﺨﺘﺒﺎﺭ ﺼـﺒﺭ ﺍﻟ ﹶﻔﺘﹶـﻰ ل ﺃﺼﻐﺭ ﻭﺍﻟﻤﺄﻟﻭﻑ ﺃﻥ ﻴﻜﻭﻥ ﺍﻟﺒﻁ ُ ﻭﺍﺤﺘﻤﺎﻟﻪ ﻭﺘﻭﺍﻀﻌﻪ ﺒـﺄﻥ ﻴﻌﻁﹶـﻰ ﺇﺨﻭﺘﻪ ،ﻭﻴﻨﺠﺢ ﻓﻲ ﺍﻟﻭﻗـﺕ ﺍﻟـﺫﻱ ﺸﻠﹸﻭﻥ ﻓﻴﻪ ،ﻭﻴﺠﺏ ﻋﻠﻰ ﺍﻟﺒﻁل ﺃﻥ ﻴ ﹾﻔ ﹶ ﺍﻟﺫﱠﻫﺒﻴﺔ ،ﻭﻋﻥ ﺍﺴﺘﺤﻀﺎﺭ ﺒﻌـﺽ ﺴ ﹶﺘﺴﺎﻍ ،ﻭﺇﺠﺒﺎﺭﻩ ﻋﻠﻰ ﺍﻻﺴﺘﻴﻘﺎﻅ ﻤ ﻴﻘﻭﻡ ﺒﺄﻋﻤﺎل ﻤ ﻌﻴﻨﺔ ﺃﻭ ﻴﻨﺠﺢ ﻓـﻲ ﺍﻷﺩﻭﺍﺕ ﺍﻟﺴﺤﺭﻴﺔ .ﻭﻟﻘـﺩ ﻋـﺭﻑ ﻤ ﺒ ﱠﻜﺭﺍ ،ﺜﻡ ﺘﻜﻠﻴﻔﻪ ﺒﺎﻷﻋﻤﺎل ﺍﻟﺸـﺎﻗﺔ ﺍﺨﺘﺒﺎﺭ ﻤﻌـﻴﻥ ،ﺃﻭ ﻴﺘﻐﻠﱠـﺏ ﻋﻠـﻰ ـﻲ ـﺭﻱ ﻓـ ـﻌﺒﻲ ﺍﻟﻤﺼـ ﺍﻷﺩﺏ ﺍﻟﺸﱠـ ﻀﻨِﻴﺔ. ﺍﻟ ﻤ ﺨﺼﻡ ﺭﻫﻴﺏ ﻗﺒل ﺃﻥ ﻴﺼﺒﺢ ﻜﻔﺌًـﺎ ﻤﺭﺤﻠﺔ ﻤﺘﺄﺨﺭﺓ ﺤِﻜﺎﻴﺎﺕ ﺍﻟﺸﱡـﻁﱠﺎﺭ ﺨﻁﹾﺒ ِﺔ َﺃﻤِﻴ ﺭ ِﺘ ِﻪ ﺍﻟﺘﻲ ﺃﺤﺒﻬﺎ ..ﻋﻠﻴـﻪ ِﻟ ِ ﺍﻟﺘﻲ ﻟﻌﺒﺕ ﻓﻴﻬﺎ ﺍﻻﺨﺘﺒﺎﺭﺍﺕ ﺍﻟﺩﻭﺭ ﻭﻴﻌﺩ ﻫﺫﺍ ﺸﹶـﺭﻁﹰﺎ ﺃﺴﺎﺴـﻴﺎ ﻟﻜـﻲ w. www.alkottob.com ﻜﺎﻨﺕ ﻋﻨﺩ ﺍﻟﻨﻌﻤﺎﻥ ﺒـﻥ ﺍﻟﻤﻨـﺫﺭ، ﻴﺤﻅﻰ ﺒﺨﻁﺒﺔ ﺼﺎﺤﺒﺘﻪ ﻋﺒﻠﺔ. ﻭﻤﺜل ﺫﻟﻙ ﻴﻘـﺎل ﻋـﻥ ﺍﻟﺠِـﺯﺓ ww ـﺭ ـﺎ ﻏﻴـ ﻁﻌﺎ ﻤـ ﺸ ـﻨﹰﺎ ،ﻭ ﹶ ﺨِ ـﺎ ﹶ ﺸـ ﻓِﺭﺍ ﹰ ﺒﺈﺤﻀﺎﺭ ﺍﻟﻨﱡﻭﻕ ﺍﻟﻌﺼـﺎﻓﻴﺭ ﺍﻟﺘـﻲ ٣٤ ﺠﺩﺍ ﺭﺘﹶﻪ ﺇﺫﺍ ﻗﺎﻡ ﺒﻤـﺎ ﻴﺴـﻤﻰ ﻓـﻲ ﻁِﻠﻘﹸﻭﻥ ﻋﻠﻴﻬﺎ ﺍﺴـﻡ "ﺨﻤـﺱ" ﺃﻭ ﻴ ﹾ ﺤﻴﺔ ﺃﻭ ﺍﻟﺘﻨﻴﻥ. ﺍﻟ ﻤﺼﻁﻠﺤﻬﻡ "ﺍﻟﻨﻔﻴﻠﺔ"؛ ﻭﻫﻲ ﻋﻤـل "ﺒﺎﻨﻭﺒﻭﻟﻴﺱ" ،ﻭﺘﻘـﻊ ﻓـﻲ ﻨﺎﺤﻴـﺔ ﺨﺎﺭِﻕ ﺇﺫﺍ ﹶﻨﺠﺢ ﻓﻴﻪ ﺴـﻤﺢ ﻟـﻪ ﺃﻥ ﺴﻭﻫﺎﺝ ﺒﻤﺤﺎﻓﻅﺔ ﺴﻭﻫﺎﺝ .ﻭﺘﺸﺘﻬﺭ ﻉ ﺒـﻴﻥ ﻋﺼ ﺒﺘِﻬﻡ .ﻭ ﻴﻘﹸﻭ ﻡ ﺍﻟﺼـﺭﺍ ﺠﻠﹸﻭﺩ ﺍﻹﺨﻤﻴﻤﻴﺔ. ﺍﻟﻨﱠﺴﻴﺞ ﺍﻟﺸﻌﺒﻲ ﻭﺍﻟ m ل ﻻ ﻴ ﹾﺜﺒِـﺕ ﺍﻟﺭﺌﻴﺴﻲ؛ ﻓـﺈﻥ ﺍﻟ ﺒﻁﹶـ َ ﺍﻟﻌﺭﺒﻲ "ﺇﺨﻤﻴﻡ" ،ﻭﻜـﺎﻥ ﺍﻟﻴﻭﻨـﺎﻥ ﺩﺒﺎﻏﹰﺎ ،ﻭﺃﻥ ﺍﺴـﻤﻪ ﺃﻭﺭﺍﻥ ﻤﻌﻨـﺎﻩ ﻴﺩﺨل ﻓﻲ ﺍﻟﺯﻤﺭﺓ ،ﻭﺃﻥ ﻴﺼﺒﺢ ﻤﻥ .co ﺍﻟﻔِﺘﻴﺎﻥ ﻓﻲ ﺃﻤﺜﺎل ﻫـﺫﻩ ﺍﻟﺤﻜﺎﻴـﺎﺕ ﺼﺏِ؛ ﻭﻫﻲ ﺃﻗﺭﺏ ﺇﻟـﻰ ﻋﻠﻰ ﺍﻟ ﻤﻨﹶﺎ ِ ﺕ ﺍﻟ ﹸﻘﻭﺓ ﻭﺍﻟﺫﻜﺎﺀ ﻭﺇﻋﻤـﺎل ﺨ ِﺘﺒﺎﺭﺍ ِ ﺍﹾ ﺇﺨﻤﻴﻡ ﻤﻨﺫ ﺍﻟ ِﻘﺩﻡ ﺒﺼﻨﺎﻋﺔ ﺃﻨﻭﺍﻉ ﻤﻥ AKHI-BABA ﺦ ﹶﺘ ِﻜﻴﺔ *ﺃﺨـﻲ ﺃﻭﺭﺍﻥ ﺏ ﺸﹶﻴ ِ ﹶﻟ ﹶﻘ ﺍﻟﺘﱡﺭﻜِﻲ ،ﻭﻜﺎﻨﺕ ﺃﻫﻡ ﻭﺍﺠﺒﺎﺘﻪ ﺍﻟﻘِﻴﺎﻡ ﻭﻗﺩ ﺍﺸﺘﻬﺭﺕ ﻫـﺫﻩ ﺍﻟﻤﺩﻴﻨـﺔ ﻓـﻲ ﺒ ﻤﺭﺍﺴِﻡ ﺩﺨﹸﻭل ﺍﻟﻤﺭﻴﺩﻴﻥ ﻓﻲ ﻨﻘﺎﺒﺎﺕ ﺒﻌﺽ ﺍﻟﻌﺼﻭﺭ ﺒﻭﺠﻭﺩ ﻋﺩﺩ ﻜﺒﻴـﺭ ـﻭﺩ ﺼـﻨﱠﺎﻉ ﺍﻟﺠﻠـ ـﻥ ـﺩﺒﺎﻏﻴﻥ ﻤـ ﺍﻟـ ﻤﻥ ﺍﻟﻤﺸﺘﻐﻠﻴﻥ ﺒﺎﻟﺴـﺤﺭ .ﻭ ﹶﻨﺸﹶـﺄَﺕ ـﺄﺩﺍﺀ ﺤ ـﺫﱠﺍﺌِﻴﻥ( ﺒـ ﺠﻴﺔ ﻭﺍﻟ ـﺭﻭ ِ )ﺍﻟﺴـ ﻲ )ﺍﻟﺘﻲ ﻜﺎﻨﺕ ﺘﺤـﺘﻔﻅ ل ﺍﻟ ﺒﺭﺍ ِﺒ ﺤﻭ َ ott ob ـل ـل ﺍﻟﺒﻁـ ـﺩ ﻴﺘﻭﺴـ ـﺔ ،ﻭﻗـ ﺍﻟﺤِﻴﻠﹶـ ﺃﺧِﻲ ﺑﺎﺑﺎ ﺒﻀﺭﻭﺏ ﺃﺨﺭﻯ ،ﺘﺨﺭﺝ ﻤﻥ ﺇﻁﺎﺭ ﺸ ﹾﻜﻠِﻬﺎ ﻓﻲ ﺍﻟﻌﺼـﻭﺭ ﺍﻟﻭﺴـﻁﻰ( ﺒﹶ ﺙ ﺍﻟﺨﺎﺭِﻕ .ﻭﻤﻥ ﺤ ﺩ ِ ﺍﻟﻤﻌﻘﻭل ﺇﻟﻰ ﺍﻟ ل ﺕ ﻭﺃﺴﺎﻁِﻴﺭ ،ﻭﻜﺎﻨﺕ ﺍﻟﺘﱠﻤﺎﺜِﻴ ُ ﺨﺭﺍﻓﺎ ﹲ ﹸ ﺸﻭﺍﻫِﺩ ﻋﻠﻰ ﺍﻻﺨﺘﺒـﺎﺭﺍﺕ ﻓـﻲ ﺍﻟ ﱠ ـﻭﺍﻥ ـﻴﻥ ﻭﺍﻟﺤﻴـ ـﻭ ﺭ ﻟﻶﺩﻤﻴـ ﻭﺍﻟﺼـ ﺸﻁﱠﺎﺭ ﻤﺎ ﻴﺘﻜـﺭﺭ ﻓـﻲ ﺤِﻜﺎﻴﺎﺕ ﺍﻟ ﱡ ﻭﺍﻟﻨﺠﻭﻡ ﻭﻏﻴﺭﻫﺎ؛ ﻤﺼﺩﺭﺍ ﻷﻟﻭﺍﻥ ﺴِﻴﺭﺓ *ﻋﻠﻲ ﺍﻟﺯﻴﺒـﻕ ﺍﻟﻤﺼـﺭﻱ. ﺨﻴﺎﻻﹶﺕ ﻭﺍﻷﻭﻫﺎﻡ ،ﻓﻴﻤﺎ ﺸﺘﹼﻰ ﻤﻥ ﺍﻟ ﹶ ﹶ ﻭﻤﻥ ﺍﻟﺸﻭﺍﻫﺩ ﻋﻠﻰ ﺍﺨﺘﺒﺎﺭ ﺍﻟﺒﻁـل ﻲ. ﻴ ﱠﺘﺼِل ﺒﻬﺫﻩ ﺍﻟ ﺒﺭﺍ ِﺒ ل ﺃﻭ ﺍﻟﺒﻁﻠﺔ ﻓﻲ ﺍﻟﻘﹸﺩﺭﺓ ﻋﻠـﻰ ﺤـ ﱢ ﺍﻟﻤﺸﻬﻭﺭﺓ ،ﻭﻫﻨﺎﻙ ﹶﺘﺸﹶﺎﺒﻪ ﺒل ﹶﺘﻤﺎﺜﹸل ﺒﻴﻥ ﺍﻻﺨﺘﺒﺎﺭﺍﺕ ﻋﻠـﻰ ﺍﺨـﺘﻼﻑ ﺸﺭﻗﻴﺔ ﻋﻬﺎ ﻓﻲ ﺁﺩﺍﺏ ﺍﻟﺸﱡﻌﻭﺏ ﹶ َﺃ ﹾﻨﻭﺍ ِ ﻗﺩﻴﻤﺔ ﺃﻭ ﺤﺩﻴﺜﺔ. ﺇﺧﻤِﻴﻢ EKHMEEM ﺘﹸﻌﺭﻑ ﻋﻨﺩ ﹸﻗ ﺩﻤﺎﺀ ﺍﻟﻤِﺼﺭﻴﻴﻥ ﺒﺎﺴﻡ "ﺃﺒﻭ" ﺃﻭ"ﺨﻨﺘﻲ ﻤﻴﻥ" ،ﻭﻤﻨﻬﺎ ﺍﺸـﺘﻕ ﻲ "ﺸـﻤﻴﻥ" ،ﻭﺍﺴـﻤﻬﺎ ﻁ ﺍﺴﻤﻬﺎ ﺍﻟﻘِﺒ ِ www.alkottob.com ﺃُﻨﺜﹶﻰ ﻭﺤﺵ ﻫﺎ ِﺌﻠﹶﺔ ﻨﺼﻔﻬﺎ ﺍﻤﺭﺃﺓ ﻭﺍﻟﻨﱢﺼﻑ ﺍﻵﺨﺭ ﺜﹸﻌﺒـﺎﻥ ،ﻭﺍﺒﻨـﺔ ﻜﺭﻴﺴـــــﺎ ﺃُﻭﺭ ،Chrysaor AKHI-URAN ﻲ ﹸﺘ ﺭ ِﻜﻲ ﺸِﺒﻪ ﺃُﺴﻁﹸﻭ ِﺭﻱ؛ ﻭﻫﻭ ﻭﻟ ﺤﺎﻤِﻲ ﻨِﻘﺎﺒﺎﺕ ﺍﻟﺩﺒﺎﻏﻴﻥ ﺍﻷﺘﺭﺍﻙ ،ﻟﻪ ﻀﺭﻴﺢ ﻴﺅﻤﻪ ﺯﻭﺍ ﺭ ﻜﺜﻴﺭﻭﻥ .ﻭﻗـﺩ ﻭﻜﺎﻟﻴﺭﻫﻭ ،Callirhoeﻭﺃﺨـﺕ ﺕ ﺠﻴﺭﻭﻭﻥ ،Geryonﻭﻗﺩ َﺃ ﹾﻨﺠﺒ ﹾ ﻤﻥ ﺘﻭﻓﻭﻥ Typhonﻜﹶﺜﻴﺭﺍ ﻤـﻥ ﺍﻟ ﻭﺤﻭﺵ ﺍﻟﻬﺎ ِﺌﻠﹶﺔ ﺍﻟﺘﻲ ﺘﺤﺩﺜﺕ ﻋﻨﻬﺎ ﺍﻷﺴﺎﻁﻴﺭ :ﺨﻴﻤـﺎﻴﺭﺍ ،ﻭﺃﻭﺭﺘـﻭﺱ ﹸﻨﺴِﺠﺕ ﺤﻭﻟﻪ ﺃﺴﺎﻁﻴﺭ ﻋﺩﻴﺩﺓ. ـﻲ ﺃﻭﺭﺍﻥ ـﺎﻁﻴﺭ ﺃﺨـ ـﺭ ﺩ ﺃﺴـ ﻭ ﹶﺘـ ﻋ ﺭﻀﺎ ﻓﻲ ﻤﺼﻨﱠﻔﺎﺕ ﹸﻜﺘﱠﺎﺏ ﻤﺜـل ـﺎﺕ ـﺏ ِﻨﻘﹶﺎ ﺒـ ـﻲ ،ﻭ ﹸﻜ ﹸﺘـ ـﺎ ﺠﻠﺒـ ﺃﻭﻟﻴـ ﺍﻟﺩﺒﺎﻏﻴﻥ ،ﻭﻓﻲ ﺭﻭﺍﻴـﺎﺕ ﺸـﻔﻬﻴﺔ، ل ﻋﻤِـ َ ﻭﺘﺫﻫﺏ ﺇﻟﻰ ﺃﻥ ﺃﺨﻲ ﺃُﻭﺭﺍﻥ ـﻭل، ـﻭ ﺍﻟﻬــ ،Orthosﻭ* ﺃﺒــ ﻭﺴﻴﺭﺒﺭﻭﺱ ،Cerberusﻭﺴﻴﻼ ـﺎﺕ ـﺩﺭﺍ ،Hydraﻭﺘﻨﻴﻨــ ﻭﻫﻴــ *ﺍﻟﻬﺴﺒﻴﺭﻴﺩﻴﺎﺕ ﻭﺍﻟﻜﻭﻟﺸﻴﺱ ،ﻭﺃﺴﺩ ww ﺼﻌِﻴﺩ ﻤﺼﺭ ،ﻜﺎﻨـﺕ ﻤﺩﻴﻨﺔ ﺒ ﺇﺧِﻴﺪﻧﺎ ECHIDNA w. ﻏ ﺭ ِﺒﻴﺔ ،ﺁﺴـﻴﻭﻴﺔ ﺃﻭ ﺇﻓﺭﻴﻘﻴـﺔ، ﺃﻭ ﹶ ﺽ ﺍﻟﺭﺴﻭﻡ. ﹶﺘ ﹾﻘﺘﹶﻀﻲ ﺒ ﻌ alk ـﺔ ﹶﺘ ـ ﻭﺩﺩ ـﺔ ﺍﻟﺠﺎﺭﻴـ ﺼـ ـﺎﺯ ِﻗ ﺍﻷﻟﻐـ ﺃﺧﻲ ﺃﹸﻭﺭﺍﻥ ﻁﻘﹶﺔ؛ ﻭﻫـﺫﻩ ﺍﻟﺸﱠـﻌِﻴﺭﺓ ﺸﻌِﻴﺭﺓ ﺍﻟﻤِ ﹾﻨ ﹶ ﹶ ﻨﻴﻤﻴﺎ )ﻓﻲ ﺍﻟﻴﻭﻨﺎﻥ( ،ﻭﺍﻟﻨﱠﺴﺭ ﺍﻟـﺫﻱ ل ﹶﻜﺒِﺩ* ﺒﺭﻭﻤِﻴﺜﻴﻭﺱ. َﺃ ﹶﻜ َ ٣٥ ل ﺸﺭﻗﻲ ،ﻭﺃﻨﻬﺎ ﻜﺎﻨﺕ ﹸﺘ ِﻘﻴ ﻡ ﻤﻥ ﺃَﺼ ٍ ﻓﺘﺎﺓ ﺼﻐﻴﺭﺓ ،ﺘﻌـﻴﺵ ﻓـﻭﻕ ِﻗﻤـ ِﻡ ﻟﻪ ﻗﺼـﺭﺍ ﻤ ﻌﱠﻠﻘﹰـﺎ ﺒـﻴﻥ ﺍﻟﺴـﻤﺎﺀ ﺕ ﺍﻷﺭﺽ ﺃﺴﻔل ﺃﺭﻴﻤﺎ ،ﻭﻴﻘـﺎل ﺤ ﹶ ﹶﺘ ﺍﻟﺠﺒﺎل ،ﻭﻟﻜﻨﻬﺎ ﺘﻬﺒﻁ ﺇﻟﻰ ﺍﻟ ِﻭ ﺩﻴـﺎﻥ ﻭﺍﻷﺭﺽ ،ﻭﻭﻋﺩﻩ ﺒﺄﻥ ﻴـﺩﻓﻊ ﻟـﻪ ـﻰ ـل ﻋﻠـ ـﺎﻭﻤﺕ * ِﻫ ﺭ ﹾﻗـ ـﺎ ﺴـ ﺇﻨﻬـ ﻟِﻠ ﻌ ﺭ ﺒﺩﺓ ﺃﺜﻨﺎﺀ ﺍﻟﻠﻴل ،ﻜﻤﺎ ﻭﺭﺩ ﻓـﻲ ﻤﻘﺎﺒل ﺫﻟﻙ ﻤﺒﻠﻐﹰﺎ ﻁـﺎ ِﺌﻼﹰ ،ﻭﻟﻜﻨِـﻪ ﺃﺒﻨﺎﺀ؛ ﺍﺴﺘﻁﺎﻉ ﺃﺤﺩﻫﻡ ﻭﻫﻭ ﺴـﻜﻴﺜﺎ ﻴﺼﻴﺏ ﻤـﻥ ﻴ ﺭﺘﹶـﺩﻭﻥ ﻤﻼﺒـﺱ ل ﻓﻲ ﺒﻨﺎﺀ ﻫﺫﺍ ﺍﻟﻘﺼﺭ. ﻨﻔﺴﻪ ﺇﺫﺍ ﹶﻓﺸِ َ ﺤﻤﺭﺍﺀ؛ ﻭﻟﻬﺫﺍ ﻴﺤﺭﺹ ﺍﻟﻭﺍﻟِـﺩﺍﻥ ل ﻓـﻲ ﺨ ﺒ ﺭ ﺍﻟﻤـ ﹾﺫ ِﻫ ُ ﻭﺍﻨﺘﺸﺭ ﻫﺫﺍ ﺍﻟ ﹶ ﻱ ﺤـﻭل ﻁ ﺨﻴﻁ ِﻗ ﺭﻤِـ ِﺯ ﻋﻠﻰ ﺭ ﺒ ِ ﺃﺭﺠﺎﺀ ﺍﻟﺒِﻼﺩ ،ﻭﺴﻤﻊ ﺒﻪ ﺃﺨﻴﻜـﺎﺭ، ﺃﻋﻨﺎﻕ ﺃﻁﻔﺎﻟﻬﻡ ،ﻟﻭﻗﺎﻴﺘﻬﻡ ﻤﻥ ﻫـﺫﺍ ﺨﺒﺄﻩ ،ﻭﻋﻠﻡ ﺴـﻨﺨﺭﻴﺏ ﹶﻓﺒﺭﺯ ﻤﻥ ﻤ ﹾ m ﺽ ﺍﻟ ﻌﻠﹶﻤﺎﺀ ﺇﻟﻰ ﺃﻨﻬـﺎ ﻭﻴﺫﻫﺏ ﺒﻌ ل ﻤﻥ ﺸﹶـﺒﺢ ﺏ ﺍﻷﻁﻔﺎ َ ﺩﺍ ﺀ ﻴﺼِﻴ ﻲ ﻤِﺼﺭ ﺒﺭﺴﺎﻟﺔ ،ﻁﻠﹶﺏ ﻓﻴﻬﺎ ﺃﻥ ﻴﺒﻨ ﺠ ﻌﺘِﻬﺎ ،ﻭﺃﻨﺠﺒﺕ ﻤﻨـﻪ ﺜﻼﺜـﺔ ﻤﻀﺎ .co Scythaﺃﻥ ﻴﺜﻨﻲ ﹶﻗ ﻭﺱ ﻫﺭﻗـل، ﻭﺃﺼﺒﺢ ﻤِﻠﻜﹰﺎ ﻟﻸﺴﻜﻭﺜﻴﻴﻥ ،ﻭﻟﻘﻴـﺕ ﺼ ﺭﻋﻬﺎ ﺃﺨﻴﺭﺍ ﻋﻠـﻰ ﻴـ ِﺩ ﺇﺨﻴﺩﻨﺎ ﻤ ﻱ .ﻭﺍﻷﺨﻴـﺭﻱ ﻻ ﺍﻟﻔﹸﻭﻟﻜﻠﹸﻭﺭ ﺍﻟﻬِﻨﺩ ﺍﻟﻤﺭﺽ .ﻭﻋﻨﺩ ﺍﻋـ ِﺘﻼﹶل ﺼِـﺤﺔ ﺃﻨﻪ ﻻ ﻴﺯﺍل ﻋﻠـﻰ ﻗﻴـﺩ ﺍﻟﺤﻴـﺎﺓ؛ ﺍﻷﻁﻔﺎل ﻴﻘﺎل ﺇﻥ ﺍﻷﺨِﻴﺭِﻱ ﻗﺩ َﺃ ﹾﻟﻘﹶﻰ ﻓﺄﺭﺴﻠﻪ ﺇﻟﻰ ِﻓ ﺭﻋﻭﻥ ﻭﺯﻴـﺭﺍ ﻟـﻪ ﻅﻠﱠ ﻪ ﻋﻠﻴﻬﻡ. ِ ﺤﺭﺍ .ﻭﺘﻤﻜﱠﻥ ﺃﺨﻴﻜﺎﺭ ﻤﻥ ﺒﻨـﺎ ِﺀ ﻭﺴﺎ ِ ott ob ﺃﺭﺠﻭﺱ ﺒﺎﻨﻭﻴﺘﺱ. ﺍﺸﺘﺭﻁ ﻋﻠﻴﻪ ﺃﻥ ﻴﺩﻓﻊ ﻟﻪ ﻫﺫﺍ ﺍﻟﻤﺒﻠﻎ ﺃﹶﺧِﲑﻭﻥ ACHERON ﻨﹶﻬ ﺭ ﺍﻟ ﻭ ﻴلِ ،ﺃﺤﺩ ﺍﻷﻨﻬﺎﺭ ﺍﻟﺨﻤﺴﺔ ﺍﻟﻘﺼﺭ ﺒﺴﻬﻭﻟﺔ ﻓﻲ ﺍﻟﻬﻭﺍﺀ ،ﻭﻋـﺎ ﺩ ﻁ ﺒﺎﻟﻌﺎﻟﹶﻡ ﺍﻟﺴﻔﻠﻲ ،ﻭﻴﺭﺍﺩِﻑ ﺃﺧِﻴﻜــﺎﺭ ﺃﻭ ﺃﻫِﻴﻜــﺎﺭ ﺃﻭ ﺍﻟﺘﻲ ﹸﺘﺤِﻴ ﹸ ﺃﺤﻴﺎﻨﹰﺎ ﻫﺎﺩﻴﺱ ﻨﻔﺴﻪ ،ﻜﻤﺎ ﺠﺎﺀ ﻓـﻲ ﺃﺧﻴﺎﻛﹶﺎﺭﻭﺱ ﺍﻟﺘﻲ ﻗﺩﻤﻬﺎ ﻟـﻪ ﻓﺭﻋـﻭﻥ .ﻭﻫـﺫﻩ ﺍﻷُﺴﻁﹸﻭﺭﺓ ﺍﻹﻏﺭﻴﻘﻴﺔ .ﻭﻗﺩ ﻭ ﺭ ﺩ ﻓﻲ ﺤﻜﹶﺎﻴﺔ ﻤﺤﻔﻭﻅـﺔ ﻓـﻲ ﺍﻟﻜﺘـﺏ ACHIKAR, AHIKARﺍﻟ ِ ﺨﺭﻭﻴﺎﺕ ﻟﺩﻯ ﺍﻟﻴﻬﻭﺩ ،ﺃﻥ ﻓﻠﺴﻔﺔ ﺍﻷ ﹾ OR ACHIACARUSﺍﻵﺸﻭﺭﻴﺔ ﻭﺍﻟﻌﺭﺒﻴـﺔ ﻭﺍﻹﺜﻴﻭﺒﻴـﺔ ﺴ ﹶﺘﺤِ ﻡ ﻓﻴﻪ ﻗﺒل ﺩﺨـﻭل ﺍﻟﻨﻬﺭ ،ﺃﻭ ﹶﺘ ﺤﻴﺔ ﺍﻟﺠﻨﱠﺔ .ﻭﺘﺫﻫﺏ ﺃﺴﻁﻭﺭﺓ ﻤﺴِـﻴ ِ ـﻰ ﺃﻥ ﺃﺨِﻴـ ﺇﻟـ ـﺭﺓ ـﺭﻭﻥ )ﺃﻭ ﺍﻟﺒﺤﻴـ ﺨﻠِـﻪ ﻤﺩﻴﻨـﺔ ﻜﺎﻟﻠﺒﻥ ،ﻭﺘﻘﻊ ﻓـﻲ ﺩﺍ ِ ﺍﻟﺭﺏ .ﻭﻓﻲ ﻨﻬﺭ ﺃﺨﻴـﺭﻭﻥ ﻴ ﹾﻠﻘﹶـﻰ ﻤﻴﻜﺎﺌﻴل ﺍﻟﺘﱠﺎﺌﺒﻴﻥ ،ﺜﻡ ﻴﺨﺭِﺠﻬﻡ ﻤﻨﻪ، ﻴﻘِﻴ ﻡ ﺍﻟ ﻤ ﱠﺘﻘﹸﻭﻥ. ﺃﺧِﲑِﻱ www.alkottob.com ﺤ ِﻜ ﻡ ﻋﻠﻴﻪ ﺒﺎﻹﻋﺩﺍﻡ ،ﻭﻟﻜﻨﻪ ﻅﹸﻠﻤﺎ ،ﻭ ﹶﻓ ﺭ ﻭﺍﺨﺘﻔﻰ ﻓﺘﺭﺓ ،ﺜﻡ ﻋﺎﺩ ﻋﻨـﺩﻤﺎ ﺍﺸﺘﺩﺕ ﺤﺎﺠ ﹸﺔ ﺍﻟ ﻤﻠِﻙ ﺇﻟﻴﻪ ،ﻭﺃﻨﻘـﺫﻩ. ﻕ ﺃﺨِﻴﻜـﺎﺭ ﺃﻭﻻﺩﺍ ﻤـﻥ ﻭﻟﻡ ﻴـ ﺭ ﺯ ﹾ ﺯﻭﺠﺎﺘِﻪ ﺍﻟﺴﺘﱢﻴﻥ ،ﻭﺘﺒﻨﱠﻰ ﺍﺒﻥ ﺃﺨﻴـﻪ ل ﻋﻤـﻪ، ﺤ ﺩ ﻓﹶﻀـ َ ﺠ ﻨﺎﺩﺍﻥ ،ﺍﻟﺫﻱ ﻭﺘﺂﻤﺭ ﻋﻠﻴﻪ ،ﻭﻨﺠﺢ ﻓﻲ ﺇﺩﺍﻨﺘﻪ ﻓﺤﻜﻡ ﻋﻠﻴﻪ ﺒﺎﻹﻋﺩﺍﻡ .ﻭﻤﺎ ﺇﻥ ﻭﺼل ﹶﻨﺒـُﺄ ACHERI ﻕ ﺒ ﺭ ِﺩ ﻴﺔٍ ،ﺘﺭﺠﻊ ﺇﻟﻰ ﺍﻟﻘﺭﻥ ﻓﻲ ﺃﻭﺭﺍ ٍ ﺍﻟﺨﺎﻤِﺱ ﻗﺒل ﺍﻟﻤﻴﻼﺩ ،ﻭﻟﻜﻥ ﻴﻌ ﹶﺘﻘﹶـ ﺩ ﺃﻨﻬﺎ ﻤﻥ ﺃﺼل ﻤ ﹾﻘﺩﻭﻨﻲ .ﻭﻗﺩ ﺭﻭِﻴﺕ ﺒﺎﻟﺘﱠﻔﺼﻴل ﻓﻲ ﻜﺘﺎﺏ "*ﺃﻟـﻑ ﻟﻴﻠـﺔ ﻭﻓﺎ ِﺓ ﺃﺨﻴﻜﺎﺭ ﺇﻟﻰ ﺍﻟﻤﻠﻙ ﺴـﻨﺨﺭﻴﺏ ﻥ ﻤﻠـﻙ ﺙ ﺇﻟﻴـﻪ ﺍﻟ ِﻔ ﺭﻋـﻭ ﺤﺘﱠﻰ ﺒﻌ ﹶ ﻭﻟﻴﻠﺔ" .ﻭﺤﻜﹶﺎﻴﺔ ﺃﺨﻴﻜـﺎﺭ ﻨﻤـﻭﺫﺝ ﻟﻠﺤﻜﺎﻴﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﺘﻲ ﹶﺘ ﺭﻭِﻱ ﻤـﺎ ﺤﺩﺙ ﺃﺜﻨﺎﺀ ﺍﻨﺘﺸﺎﺭ ﻤﺠﺎﻋﺔ؛ ﺇﺫ َﺃﻤﺭ ww ﻭﻴﺄﺘﻲ ﺒﻬﻡ ﺇﻟﻰ ﻤﺩﻴﻨﺔ ﺍﻟﺭﺏ؛ ﺤﻴﺙ ﺴﻨﺨﺭﻴﺏ ﻤﻠﻙ ﺁﺸﻭﺭ .ﻭﻗـﺩ ﺍ ﱡﺘﻬِـ ﻡ ﻭﺍﻷﺭﻤﻴﻨﻴﺔ ﺍﻟﻘﺩﻴﻤﺔ ،ﻭﻻ ﺘﺯﺍل ﺒﺎﻗﻴﺔ w. ﺍﻷﺨﻴﺭﻭﻨﻴﺔ( ﹶﺘ ﹶﺘ ﺩﻓﱠﻕ ﻤﻨﻪ ﻤﻴﺎﻩ ﺒﻴﻀﺎﺀ alk ﺡ ﺍﻟ ﻤ ﻭﺘﹶﻰ ﻴﺠﺏ ﺃَﻥ ﹶﺘ ﻌ ﺒﺭ ﻫـﺫﺍ ﺃﺭﻭﺍ ﺦ ﺍﻟﺤﻜــﻴﻡ ،ﻤﺴﺘﺸــﺎﺭ ﺍﻟﺸﱠــﻴ ﹸ ﺇﻟﻰ ﺴﻨﺨﺭﻴﺏ ﻴﺤﻤل ﺍﻟﺜﱠﺭﻭﺓ ﺍﻟﻁﺎﺌﻠﺔ ﻙ ﺒﻘﺘل ﺠﻤﻴﻊ ﺍﻟﺸﻴﻭﺥ ،ﺘـﻭﻓﻴﺭﺍ ﺍﻟﻤﻠ ﻟِﻠﻘﹸﻭﺕ ،ﻭﺍﺴﺘﻁﺎﻉ ﺸﺎﺏ ﺃﻥ ﻴﺨﻔـﻲ ﺃﺒﺎﻩ ﺍﻟﺸﱠﻴﺦ ،ﺤﺘﱠﻰ ﺒ ﺭ ﺯ ﻤﻥ ﻤﺨﺒـﺄﻩ ٣٦ ﻓﻲ ﻭﻗﺕ ﺴﺎﺀﺕ ﻓﻴﻪ ﺃﺤﻭﺍل ﺍﻟﺒﻼﺩ؛ ﺒﺭﻴﺯﻴﺱ ﻤﻥ ﺃﺨﻴل ﺍﻟـﺫﻱ ﺴـﻠﱠﻤﻬﺎ ﺴﻔﻥ ﺍﻟﻴﻭﻨﺎﻥ ،ﻭﻟﻜﻨﻪ ﺃﺴـﻠﻡ ﺍﻟﺠﺜـﺔ ﻓﺄَﻨﻘﺫ ﺒﺤﻜﻤﺘﻪ ﺍﻟﻨﺎﺱ ﻤﻥ ﺍﻟ ﻤﺠﺎﻋﺔ. ﺕ ﺇﻟﺤﺎﺡ ﺃﺜﻴﻨﺎ ،ﻭﻟﻜﻨﻪ ﻗﻌﺩ ﻓـﻲ ﺤ ﹶ ﹶﺘ ﺇﻟﻰ *ﺒﺭﻴـﺎﻤﻭﺱ ﻋﻨـﺩﻤﺎ ﺃﻗﺒـل ﺍﻟﻭﻗﺕ ﻨﻔﺴﻪ ﻋﻥ ﺍﻻﺴـﺘﻤﺭﺍﺭ ﻓـﻲ ﺴﻼﹰ ﺒﺄَﻥ ﻴﺘـﺭﻙ ﻟـﻪ ﺒﺸﺨﺼﻪ ﻤ ﹶﺘﻭ ﺍﻟﺤﺭﺏ ،ﻭﺍﻋﺘـﺯل ﺍﻟﻨـﺎﺱ ﻓـﻲ ﺠﺜﻤﺎﻥ ﺍﺒﻨﻪ. m ﺃﹶﺧِﻴﻞ ACHILLES ل ﺠ ﻊ ﺃﺒﻁـﺎ ِ ل ﻭﺃﻗﻭﻯ ﻭﺃﺸﹾـ ﺠ ﻤ ُ َﺃ .co ﺍﻟﻴﻭﻨﺎﻥ ﻓﻲ *ﺇﻟﻴـﺎﺫﺓ ﻫـﻭﻤﻴﺭﻭﺱ، ﻭﻫﻭ ﺍﺒﻥ ﺒﻠﻴـﻭﺱ Peleusﻭ* ﺜﻴﺘﻴﺱ ،ﻭﻗﺩ ﺃﺨﺫﺘﻪ ﺃﻤﻪ ﻭﻫﻭ ﻁﻔل، ﻏﻁﱠﺴﺘﻪ ﻓﻲ ﻨﻬﺭ "ﺴﺘﻴﻜﺱ" ﻟﻜـﻲ ﻭﹶ ـﻭﺕ ﺇﻻ ﺇﺫﺍ ـﺒﺢ ﺨﺎِﻟ ـﺩﺍ ﻻ ﻴﻤـ ﻴﺼـ ﻭﺩﺍﺭﺕ ﺍﻟﺩﺍﺌﺭ ﹸﺓ ﻋﻠﻰ ﺍﻟﻴﻭﻨـﺎﻥ؛ ﺍﻟﻁﺭﻭﺍﺩﻴﻴﻥ .ﻭﺘﺫﻫﺏ ﺍﻟﻤﻠﺤﻤﺔ ﺒﻌﺩ ﻓﺄﺭﺴﻠﹸﻭﺍ ﺇﻟﻴﻪ ﻭﻓﺩﺍ ،ﻭﻗـﺩﻤﻭﺍ ﺇﻟﻴـﻪ ﺫﻟﻙ ﺇﻟـﻰ ﺃﻥ *ﺒـﺎﺭﻴﺱ ﺍﻜﺘﺸـﻑ ﻫﺩﺍﻴﺎ ﻨﻔﻴﺴـﺔ ،ﻭﻭﻋـﺩﻭﻩ ﺒﺈﻋـﺎﺩﺓ ﺍﻟﻤﻭﻀﻊ ﺍﻟﺫﻱ ﻴﺼﺎﺏ ﻤﻨﻪ ﺃﺨﻴـل ﺒﺭﻴﺯﻴﺱ ﺇﻟﻴـﻪ ،ﺇﺫﺍ ﺍﺸـﺘﺭﻙ ﻓـﻲ ﻕ ﻋﻠﻰ ﻜﹶﻌﺒِﻪ ﺴﻬﻤﺎ ﻁﹶﻠ ﹶ ﻓﻲ ﻤﻘﺘل؛ ﻓَﺄ ﹾ ﻭﺃﺨﻴﺭﺍ ﺴﻤﺢ ﻟـ* ﺒﺘﺭﻭﻜﻠﺱ ﻭﻫﻭ ﻭﻴﻅﻬﺭ ﺃﺨﻴل ﻓـﻲ ﺍﻷﺴـﺎﻁﻴﺭ ﺨﻴﻠﻪ ﺃﺨﻠﺹ ﺃﺼﺩﻗﺎﺌﻪ ،ﺒﺄﻥ ﻴﺴﺘﺨﺩﻡ ﹶ ﺍﻟﺴﺎﺒِﻘﺔ ﻋﻠﻰ ﻤﻠﺤﻤﺔ ﻫﻭﻤﻴﺭﺱ ﻓﻲ ﻭ ِﺩ ﺭﻋﻪ ﻭﺴِﻼﺤﻪ ،ﻭﻟﻘﻲ ﺒﺘﺭﻭﻜﻠﺱ ﺼﻭﺭﺓ ﺇﻟﻪ ﻟﻠﺒﺤﺭ ،ﺘﺸـﻴﺩ ﻤﻌﺎﺒـﺩﻩ ﻤﺼﺭﻋﻪ ﻓﻲ ﺍﻟ ِﻘﺘﹶﺎل ،ﹶﻓﺤﺯِﻥ ﻋﻠﻴـﻪ ﺨ ﹾﻠﺠــﺎﻥ ﻋﻠــﻰ ﺍﻟﻤﻀــﺎﻴﻕ ﻭﺍﻟ ﹸ ﺜﻴﺘﻴﺱ ،ﻭﻭﻋﺩﺘﻪ ﺒﺴِـﻼﺡ ﺠﺩﻴـﺩ، ﺤﻴﺙ ﻴﺴﺘﻁﻴﻊ ﺍﻟﺒﺤﺎﺭﺓ ﺍﻟﺘﻭﺴل ﺇﻟﻴﻪ ﻴﺼﻨﻌﻪ ﻟﻪ ﻫﻴﻔﺎﻴﺴﺘﻭﺱ .ﻭﺤﺭﻀﺘﻪ ﺒﺄﻥ ﻴﺭﺴل ﺇﻟﻴﻬﻡ ﺍﻟﺭﻴﺎﺡ ﺍﻟﻤﻭﺍﺘﻴـﺔ *ﺃﻴﺭﻴﺱ ﻋﻠﻰ ﺍﺴـ ِﺘﻌﺎﺩﺓ ﺠﺜﻤـﺎﻥ ﻟﻬﻡ ،ﻭﺃﻥ ﻴﺼل ﺒﻬـﻡ ﺇﻟـﻰ ﺒـ ﺭ ﺍﻟﺤﺭﺏ ،ﻭﻟﻜﻨﻪ ﺍﺴﺘﻤﺭ ﻓﻲ ﻋﻨـﺎﺩﻩ، ﻤﺴﻤﻭﻤﺎ ﹶﻗﻀﻰ ﻋﻠﻴﻪ. ott ob ﺃﺼﻴﺏ ﻓﻲ ﹶﻜ ﻌﺒِﻪِ ﺍﻟﺫﻱ ﻟـﻡ ﺘﻤﺴـﻪ ﺨ ﻴﻤﺘﻪ. ﹶ ﻭﻫﻜﺫﺍ ﺘﻡ ﺍﻟﻨﺼﺭ ﻟﻠﻴﻭﻨﺎﻥ ﻋﻠـﻰ ﺍﻟﻤﻴﺎﻩ؛ ﻷﻥ ﺃﻤﻪ ﺤﻤﻠﺘﻪ ﻤﻨﻪ ﻭﻫـﻲ ﺼﺒﺎﻩ ﺃﺩﺒـﻪ ﺘﻐﻤﺭﻩ ﻓﻲ ﺍﻟﻨﻬﺭ ،ﻭﻓﻲ ِ ﺨﻴﺭﻭﻥ .Chironﻭﻟﻤﺎ ﺒﹶﻠ ﹶﻎ ﻤ ﺒﹶﻠ ﹶﻎ ﻱ ﻓﺘﺎﺓ ﻓﻲ ﺒﻼﻁ ﺍﻟﺭﺠﺎل ﺘﻨﻜﱠﺭ ﻓﻲ ِﺯ ﻟﻭﻜﻭﻤﻴﺩﻴﺱ ،ﻭﻫﻨـﺎﻙ ﻜﺸـﻑ * ﺃﻭﻟﻴﺴﺱ ﺃﻤﺭﻩ ،ﻭﺃﻏﺭﺍﻩ ﺒﻤﺸـﺎﺭﻜﺔ ﻭﺘﺫﻫﺏ ﺒﻌﺽ ﺍﻟﺭﻭﺍﻴﺎﺕ ﺇﻟﻰ ﺃﻥ ﺃﻤﻪ ﺃﺨﺒﺭﺘﻪ ﺒﺄﻨﻪ ﺇﻤـﺎ ﺃﻥ ﻴﺤـ ِﺭ ﺯ ﺍﻟﻨﱠﺼ ﺭ ﻭﻴﻤﻭﺕ ﻤﺒﻜﱢـﺭﺍﹰ ،ﻭﺇﻤـﺎ ﺃﻥ ﺨﻤﻭل .ﻭﺁﺜﺭ ﺃﺨﻴـل ﺃﻥ ﻴﻅﻔـﺭ ﺍﻟ ﹸ ﺒﺎﻟﻤﺠﺩ ،ﻭﺇﻥ ﻟﻘﻲ ﺤﺘﻔﻪ ﻓﻲ ﺯﻫـﺭﺓ ـﺭﺏ ـﻲ ﺤـ ـﺘﺭﻙ ﻓـ ـﺭ ،ﻭﺍﺸـ ﺍﻟﻌﻤـ ﻭﻟﻤــﺎ ﺃُﺭﻏِــ ﻡ ﺃﺠــﺎﻤﻤﻨﻭﻥ Agamemnonﻋﻠــﻰ ﺘﺴــﻠﻴﻡ ﻜﺭﻴﺯﻴﻥ ﺇﻟﻰ ﺃﺒﻴﻬﺎ ﻫﺩﺩ ﺒﺄﻥ ﻴﺄﺨـﺫ www.alkottob.com ﺤ ﹰﺔ ﻤﺩﻭﻴـﺔ ﻟﻠﺤﺭﺏ ،ﻭﺃﻁﻠﹶﻕ ﺼـ ﻴ ﺠﻌﻠﺕ ﺍﻟﻁﺭﻭﺍ ِﺩﻴﻴﻥ ﻴﻔـﺭﻭﻥ ﻓـﻲ ﺨﻭﻑ ﻭﻫﻠﻊ ،ﺜﻡ ﺃﺴﺭﻉ ﺇﻟﻰ ﺤﻭ ﻤ ِﺔ ﻭﺃﺨﻴل ﻓﻲ ﺍﻟﻤﺄﺜﹸﻭﺭﺍﺕ ﺍﻟﺸـﻌﺒﻴﺔ ﻫﻭ ﺍﻟﻨﱠﻤﻭﺫﺝ ﻟﻠﺒﻁل ﺍﻟﺨﺎﺭِﻕ ،ﺍﻟﺫﻱ ﻴﺅﺜﺭ ﺍﻟﻤﺠ ﺩ ﻋﻠﻰ ﺍﻟﺤﻴﺎﺓ ﺍﻟﻁﱠﻭﻴﻠـﺔ، ﺍﻟ ﻭﻏﹶﻰ ،ﺒﻌﺩ ﺃﻥ ﺃُﺤﻀﺭ ﺇﻟﻴﻪ ﺴﻼﺤﻪ ﻭﺘﻀﻡ ﻤﻠﺤﻤﺘـﻪ ﺃﺭﺒﻌـﺔ ﻤﺤـﺎﻭﺭ ﺍﻟﺠﺩﻴﺩ ،ﻭﻗﺘل ﺍﻟﻌﺩﺩ ﺍﻟﻌﺩﻴـﺩ ﻤـﻥ ﻱ ﺭﺌﻴﺴﻴﺔ ﻫﻲ :ﺍﻟﺒﻁل ﻴ ﹶﺘ ﹶﻨﻜﱠﺭ ﻓﻲ ِﺯ ﺃﻋﺩﺍﺌﻪ ﻭﺃﻋﺩﺍﺀ ﺍﻟﻴﻭﻨـﺎﻥ ،ﻭﺃﺨﻴـﺭﺍ ﺍﻤﺭﺃﺓ ،ﻭﺍﻟﻤﻭﻀِﻊ ﺍﻟﺫﻱ ﻴﺼﺎﺏ ﻤﻨﻪ ww ﻁﺭﻭﺍﺩﺓ. ﺼﺩﻴﻘِﻪ ﺒﺘﺭﻭﻜﻠﺱ .ﻭ ﹶﻨﻬﺽ ﺃﺨﻴـل ﺍﻷﻤﺎﻥ. w. ﺏ ﻋﻠﻴﻬﺎ ﻼ ﻓﻲ ﺤﻴﺎﺓ ﻴﻐِﻠ ﻴ ﻌ ﻤ ﺭ ﻁﻭﻴ ﹰ alk ﻀ ﺩ ﻁﺭﻭﺍﺩﺓ. ﺍﻟﻴﻭﻨﺎﻥ ﻓﻲ ﺤﺭﺒﻬﻡ ِ ﺸﺩِﻴﺩﺍ ،ﻭﻭﺍﺴـﺘﻪ ﺃﻤـﻪ ﺃﺨِﻴل ﺤﺯﻨﹰﺎ ﹶ ﻭﺍﻟﺼﺨﻭﺭ ،ﻋﻠﻰ ﻁﻭل ﺍﻟﺸﱠـﺎﻁِﺊ؛ ﺍﻟﺘﻘﻰ ﺒـ* ﻫﻜﺘﻭﺭ ،ﻭﺒﺎ ﺭﺯﻩ ﺜﻼﺙ ﻓﻲ ﻤ ﹾﻘﺘﹶل ،ﻭﺍﻟﺴـﻼﺡ ﺍﻟﻤﺴـﺤﻭﺭ، ﻤﺭﺍﺕ ﺤﻭل ﺃﺴﻭﺍﺭ ﻤﺩﻴﻨﺔ ﻁﺭﻭﺍﺩﺓ، ﺤﺼﺎﻥ ﺍﻟﻨﱠﺎﻁِﻕ. ﻭﺍﻟ ِ ﻭﻗﺘﻠﻪ ﺁﺨﺭ ﺍﻷﻤﺭ ،ﻭﺃﻭﺜﻕ ﺠﺜﻤﺎﻨـﻪ ﺢ ﺃﺨﻴل ﺍﻟ ﻌﺠِﻴﺏ ﻭﻗﺩ ﺍﺸﺘﻬﺭ ﺭﻤ ﺒﻌﺠﻠﺘﻪ ﺍﻟﺤﺭﺒﻴﺔ ،ﻭﺍﻨﻁﻠﻕ ﺒﻪ ﺇﻟـﻰ ـﻔﺎﺀ ـﻰ ﺸـ ـﺔ ﻋﻠـ ـﻪ ﺍﻟﺨﺎﺭِﻗـ ﺒﻘﺩﺭﺘـ ٣٧ Telephusﻤﻠﻙ ﻤﻴﺯﻴﺎ Mysia ﺤﻜﹶﺎﻴﺔ ﺘﹶﻀ ﻡ ﻤﻐﹶﺎﻤﺭ ﹰﺓ ﺸﺨﺼﻴﺔ ﻋﻠﻰ ِ ﺠﻨﺎﺤﻴﻬﺎ .ﻭﻟﻡ ﺘﻬﺏ ﺍﻟـﺭﻴﺢ ﻟﻤـﺩﺓ ﺢ ﺃﺨﻴـل ﺒﺠـﺭﺡ ﻓـﻲ ﺃﺼﺎﺒﻪ ﺭﻤ ﺨﻴﺔ .ﻭﺍﻷﺴﻁﻭﺭﺓ ﻟﺩﻯ ﺼ ﹰﺔ ﺘﺎﺭِﻴ ِ ﺃﻭ ِﻗ ﺴﺒﻌﺔ ﺃﻴﺎﻡ .ﻭﺘﺴﺎﺀل ﺁﻨﻭ ﺇﻟﻪ ﺍﻟﺴﻤﺎﺀ ﻤﻌﺭﻜﺔ ﻤﻊ ﺍﻟﻴﻭﻨﺎﻥ ﺍﻟﺫﻴﻥ ﻨﺯﻟﻭﺍ ﺇﻟﻰ "ﺍﻟﺘﺴﻤﺸﻴﻴﻥ" ﺒﺎﻟﻬِﻨﺩ ﻟﻴﺴﺕ ﺇﻻ ﺤﻜﺎﻴﺔ ﻋﻥ ﺴﺒﺏ ﻋﺩﻡ ﻫﺒﻭﺒﻬﺎ ،ﻭﺃُﺒﻠِ ﹶﻎ ﺒﻤـﺎ m ـﻭﺱ ـﺭﻭﻯ ﺃﻥ ﺘﻠﻴﻔـ ـﺭﻭﺡ ،ﻭﻴـ ﺍﻟﺠـ "ﻤﺎﻜﺴﻙ" ،ﺍﻟﻤﺼﻁﹶﻠﺢ ﺍﻟـﺫﻱ ﻴـ ﺩلﱡ ﺽ ﻋﻠـﻰ "ﺸـﻭﺘﻭ" ،ﻭﺤﻁﱠـﻡ ﻭﺍﻨﹾﻘ ﺇﻟﻰ ﻁـﺭﻭﺍﺩﺓ ،ﻭﻟـﻡ ﻴﻠﺘـﺌﻡ ﻫـﺫﺍ ﻤﻀﻰ ﻤﻥ ﺍﻟﺯﻤﺎﻥ ،ﻭﺸﹶﺨﺼِـﻴﺎﺘﹸﻬﺎ ﺃﻤﺎﻤﻪ .ﻭﺃﺸﻔﻕ ﺇﻴـﺎ ﻋﻠـﻰ ﺍﺒﻨـﻪ؛ ﺤﻴﻭﺍﻨﺎﺕ ﺘﺘﺤﺩﺙ ﻤﺜل ﺍﻟ ﺒﺸﹶـﺭ ،ﻭﻻ ﻓﺤﺫﺭﻩ ﻤﻥ ﺘﻨﺎﻭل ﺍﻟﺨﹸﺒﺯ ﺃﻭ ﺍﻟﻤـﺎﺀ ﺘﺨﺘﻠﻑ ﻋﻨﻬﻡ ﻓﻲ ﺴﻠﻭﻜﻬﺎ .ﻭﻜﺜﻴـﺭ ﺇﺫﺍ ﹸﻗﺩﻤﺎ ﺇﻟﻴﻪ؛ ﻷﻨﻪ ﺇﻥ ﻓﻌل ﺫﻟﻙ ﻓﻠﻥ ﺤﻜﹶﺎﻴﺎﺕ ﻴـﺭﻭﻱ ِﻗﺼـ ﹶﺔ ﻤﻥ ﻫﺫﻩ ﺍﻟ ِ ل ﺁﺩﺍﺒـﺎ ﺢ ﻟﻪ ﺒﺎﻟ ﻌ ﻭ ﺩ ِﺓ ﺃﺒﺩﺍ .ﻭﻤ ﹶﺜ َ ﺴ ﻤ ﻴ ﻁﺭﻭﺍﺩﺓ ،ﻭﺤﺼل ﻋﻠـﻰ ﻤـﺭﻫﻡ ﻭﺨﺼﺎﺌﺼــﻬﺎ ﺍﻟﻤﻤﻴــﺯﺓ .ﺃﻤــﺎ ﻭ ﹶﻨ ﺩﻤِﻪ ﻋﻠﻰ ِﻓ ﻌﹶﻠ ِﺘﻪِ؛ ﹶﻓ ﻌﻔﹶﺎ ﺁﻨﻭ ﻋﻨـﻪ ﻴﺤﺘﻭﻱ ﻋﻠﻰ ﺼﺩﺃ ﻤﻥ ﺫﻟﻙ ﺍﻟﺭﻤﺢ "ﺍﻟﻤﺎﻜﺴﻙ"؛ ﻓﻘـﺩ ﺘﻀـﻡ ﺃﺤـﺩﺍﺜﹰﺎ ﺠﺸﹾـﺯﻴﺩ. ﺒﻌﺩ ﺃﻥ ﺘﺸﻔﱠﻊ ﻟﻪ ﹶﺘﻤﻭﺯ ﻭ ِ ﻋﺒِـ ﺩ ﺍﻟﻌﺠﻴﺏ؛ ﻓﺎﻟﺘﺄَﻡ ﺍﻟﺠﺭﺡ .ﻭﻟﻘﺩ ﻭﺸﺨﺼﻴﺎﺕ ﺨﺎ ِﺭﻗﹶﺔ ﻟﻠﻌﺎﺩﺓ؛ ﻷﻥ ﻜل ﻭﺃﺩﺭﻙ ﺍﻵﻟﻬﺔ ﺃﻥ ﺁﺩﺍﺒﺎ ﺍﻁﹼﻠﻊ ﻋﻠـﻰ ﺃﺨﻴل ﻓﻲ ﺃﻤﺎﻜﻥ ﻤﺘﻌﺩﺩﺓ .ﻭﺍﻟﺭﺍﺠِﺢ ﻤﺎ ﻫﻭ ﺨﺎﺭِﻕ ﻟﻠﻁﺒﻴﻌﺔ ﻤﻭﺠﻭﺩ ﺩﺍﺌﻤﺎ ﺃﺴــﺭﺍﺭ ﺍﻟﺴــﻤﻭﺍﺕ ﻭﺍﻷﺭﺽ؛ ﺸﺨﺼﻴﺔ ﻟﻬﺎ ﻨﺼﻴﺏ ﻤﻥ ﺍﻟﻭﺍﻗـﻊ، ﻷﺴﺎﻁِﻴﺭ، ﺍﻟﺤِﻜﺎﻴ ﹶﺔ ﻻ ﹸﺘ ﻌﺩ ﻤﻥ ﹶﻗﺒِﻴل ﺍ َ ﺨﻠﹸﻭﺩ ،ﻭﻟﻜﻨـﻪ ﺤﻴﺎﺓِ ،ﻟ ﻴ ﹾﻜﺘﹶﺏ ﻟﻪ ﺍﻟ ﹸ ﺍﻟ ﻥ ﻭﻟﻡ ﻴﻌﺜﺭ ﻋﻠﻰ ﺘﻤﺎﺜﻴل ﺘﹸﺠﺴﻤﻪ ،ﻭﺇ ﺇﻻ ﺇﺫﺍ ﻜﺎﻨﺕ ﺃﺤﺩﺍﺜﹸﻬﺎ ﻗﺩ ﻭﻗﻌﺕ ﻓﻲ ﺘﺫﻜﺭ ﺘﺤﺫِﻴ ﺭ ﺃﺒﻴﻪ ﺇﻴﺎ ﻭﻟﻡ ﻴﻤﺴـﻬﻤﺎ، ﺕ ﻟﻪ ﻟﻭﺤـﺎﺕ ﻭﺭﺴـﻭﻡ ﻓﻨﻴـﺔ ﺒ ِﻘ ﻴ ﹾ ﺘﻠﻙ ﺍﻟﻔﺘﺭﺓ ﺍﻟ ﻌﺠِﻴﺒﺔ ﺍﻟﺘﻲ ﻜﺎﻥ ﺍﻟﻌﺎﻟﹶﻡ ﻭﻫﻜﺫﺍ ﻀﺎﻋﺕ ﻤﻨﻪ ﻓﺭﺼﺔ ﺍﻟﺨﻠﻭﺩ. ﻜﺜﻴﺭﺓ. ﻓﻴﻬﺎ ﻤﺨﺘِﻠﻔﹰﺎ ﺘﻤﺎﻤﺎ ﻋﻥ ﻋﺎﻟﹶﻡ ﺍﻟﻴﻭﻡ. .co ﺍﻟﺒﺭ ﻓﻲ ﺒﻼﺩﻩ ،ﻭﻫﻡ ﻓﻲ ﺍﻟﻁﱠﺭﻴـﻕ ﻋﻥ ﺃﺤﺩﺍﺙ ،ﻴﻌﺘﹶﻘﺩ ﺃﻨﻬﺎ ﻭﻗﻌﺕ ﻓﻴﻤﺎ ﺤ ﺩﺙﹶ؛ ﻓﺎﺴـ ﹶﺘ ﺩﻋﻰ ﺁﺩﺍﺒـﺎ ﻟﻠ ﻤﺜﹸـﻭل ﺍﻟﺠﺭﺡ .ﻭﺍﺘﻔﻕ ﺃﻥ ﺴﻤﻊ ﺘﻠﻴﻔـﻭﺱ ﺠﺭﺡ ﻴﺴـ ﹶﺘﻁِﻴ ﻊ ﻋﺒﺎﺭﺓ ﺃﺒﻭﻟﱡﻭ" :ﻤﻥ ﻴ ﻲ"؛ ﻓﺒﺤﺙ ﻋﻥ ﺃﺨﻴل ﺒـﻴﻥ ﺸ ِﻔ ﺃﻥ ﻴ ﹾ ﺨﻠﻕ ﺍﻟﻌﺎﻟﹶﻡ ﻭﺍﻹﻨﺴﺎﻥ ﻭﺍﻟﺤﻴﻭﺍﻨﺎﺕ، ott ob ﺍﻟﻴﻭﻨﺎﻥ ﺍﻟ ﻤﺭﺍ ِﺒﻁِﻴﻥ ﺃﻤـﺎﻡ ﻤﺩﻴﻨـﺔ ﺃﻤﺎﻡ ﺁﻨﻭ ،ﻭﺃﻋﺭﺏ ﻟﻪ ﻋـﻥ ﺃﺴـﻔﻪ ﺃﻥ ﻭﺭﺍﺀ ﺍﻷﺴــﻁﻭﺭﺓ ﻭﺍﻟﻤﻠﺤﻤــﺔ ﺤﻴﺎﺓ ﺍﻟﻴﻭﻤﻴﺔ ﺒﺎﻟﻬِﻨـﺩ .ﻭﻟﻜـﻥ ﻓﻲ ﺍﻟ ﺁﺩﺍﭘﺎ alk ﺃﹶﺧِﻴﻠﱢﻲ ACHILLEA ADAPA ﺤ ﺯ ﹾﻨﺒل ﻭ ﺒﻘﹾﻠﺔ ﺍﻟ ﻌﻁﹶﺎﺱ؛ ﻭﻫﻭ ﺍﺴﻡ ﺍﻟ ﺴﻤﻙ ﻤﻥ ﻤﺩﻴﻨﺔ ﺇِﺭﻴﺩﻭ ﻋﻠﻰ ﺍﻟﺨﻠﻴﺞ ﺤ ﺭ ﺒ ِﺔ ﺃﺨﻴل ،ﻭﻓﻲ ﻁﻠﹶﻕ ﻋﻠﻰ ﻜﺎﻥ ﻴ ﹾ ﺍﻟﻌﺭﺒﻲ؛ ﻭﻫﻭ ﺍﺒﻥ ﺇﻴﺎ ﺇﻟﻪ ﺍﻟﺤﻜﻤـﺔ ﺍﺴﺘﺨﺩﻤﻪ ﺃﺨﻴل ﻓﻲ ﻋِﻼﺝ ﺘﻠﻴﻔﻭﺱ. ﺨﺭﺝ ﻴﻭﻤﺎ ﻭﺘﹶﺭﻭِﻱ ﺍﻷﺴﻁﻭﺭﺓ ﺃﻨﻪ ﹶ ﻤﺼﻁﻠﹶﺢ ﻫﻨﺩﻱ ﺘﺴﻤﺸﻲ ،ﻴﻁﻠﹶﻕ ﻋﻠﻰ ﺍﻷُﺴﻁﹸﻭﺭﺓ ،ﺘﹶﻤﻴﻴﺯﺍ ﻟﻬﺎ ﻋـﻥ www.alkottob.com ADAD OR HADAD ﺼﻔﹶﺔ ﻭﺍﻟﺭﻴﺢ ﻭﺍﻟ ﻤﻁﹶﺭ ﻓﻲ ﺇﻟ ﻪ ﺍﻟﻌﺎ ِ ﺍﻟﺫﻱ ﻤﻨﺤـﻪ ﺍﻟﻤﻌﺭﻓـﺔ ﻭﺍﻟـﺫﱠﻜﺎﺀ. ﺢ ﺕ "ﺸﹸﻭﺘﹸﻭ" ﺭِﻴ ﻟﺼﻴﺩ ﺍﻟﺴﻤﻙ؛ ﻓ ﹶﻘﹶﻠﺒ ﹾ ﺠﻨﹸﻭﺏ ﻗﺎ ِﺭﺒﻪ؛ ﻓﻭﺠﺩ ﻨﻔﺴـﻪ ﻓـﻲ ﺍﻟ ﺏ ﺃﺩﺍﺒـﺎ، ﻏﻀِـ ﺕ ﺍﻟﺴﻤﻙ" .ﻭ ﹶ " ﺒ ﻴ ِ ﺍﻷﺴﺎﻁِﻴﺭ ﺍﻵﺸﻭﺭﻴﺔ ﻭﺍﻟﺒﺎ ِﺒِﻠﻴﺔ .ﻭﻓﻲ ﺒﺎﺒِل ﺃﺼﺒﺢ ﺍﺴﻤﻪ ﻤﺭﺍ ِﺩﻓﹰﺎ ﻟﺭﺍﻤـﺎﻥ ﺇﻟﻪ ﺍﻟﺭﻋﺩ .ﻭﻜﺎﻥ ﺍﻟﻨﺎﺱ ﻴﺨﺸـﻭﻨﻪ ww ﺁﺩﺍﺃﻭﻛﹾﺲ ADAOX ﺁﺩﺍﺩ ﺃﻭ ﻫﺎﺩﺍﺩ w. ﺍﺴ ﻡ ﹶﻓﺼِﻴﻠﺔٍ ﻤﻥ ﺍﻟ ﻌ ﻭﺴﺞ ،ﹶﺘﻀـ ﻡ ﻲ ﺃُﺴﻁﹸﻭ ِﺭﻱ ﻭﺼـﺎﺌِﺩ ل ﺒﺎ ِﺒِﻠ ﻁٌ ﺒ ﹶ ـﻰ ﻨﺒـﺎﺕ ـﺎﺕ ﻋﻠـ ـﺽ ﺍﻟﺭﻭﺍﻴـ ﺒﻌـ ﺤﻴﺎ ِﺓ ﻭﻤـﺎ ﺀ ﹶﻓﻌﺭﻀﻭﺍ ﻋﻠﻴﻪ ﺨﹸﺒ ﺯ ﺍﻟ ﺒﺎﻋﺘﺒﺎﺭﻩ ﺇﻟﻬﺎ ﻟﻠﻌﺎﺼِـﻔﺔ ﻭﺍﻟـﺭﻴﺢ، ﻭﻴﻌﺒﺩﻭﻨﻪ ﺒﺎﻋﺘﺒﺎﺭِﻩ ﺇﻟﻬﺎ ﻟﻠ ﻤﻁﹶﺭ ﺍﻟﺫﻱ ﻴﺤﻴﻲ ﺍﻷﺭﺽ ﺒﻌﺩ ﻤﻭﺍﺘِﻬﺎ ﻭﻴﺤﻤﻴﻬﺎ ﺠﻔﹶﺎﻑ .ﻭﻗﺩ ﻗﺎﻡ ﺒـﺩﻭﺭ ﺇﻟـﻪ ﻤﻥ ﺍﻟ ٣٨ ﺍﻟﺤﺭﺏ ،ﻭﻜﺎﻥ ﺍﻟﻨﺎﺱ ﻴ ﺒ ﹶﺘﻬِﻠﹸﻭﻥ ﺇﻟﻴﻪ ﺍﻟﻬﻴﺌﺎﺕ ﺍﻟﺘﻲ ﻜﺎﻥ ﻴﺒﺩﻭ ﻓﻴﻬﺎ؛ ﻷﻨـﻪ ﻤﻥ ﺍﻷﻤﻡ؛ ﻓﻠﻡ ﻴﻌﺩ ﻤﻘﺼﻭﺭﺍ ﻋﻠـﻰ ﻟﻴﻘﻀﻲ ﻋﻠﻰ ﺃﻋﺩﺍﺌﻬﻡ ،ﺒﺄﻥ ﻴﺭﺴـل ل ﺒِ ﹶﺜ ﻭﺭٍ. ﻜﺎﻥ ﻴ ﻤﺜﱠ ُ ﺍﻟﻤﺩﻭﻨﺎﺕ ﻭﺍﻟﻨﱡﻘﻭﺵ ﻭﺍﻵﺜﺎﺭ ﺍﻟﻤﺎﺩﻴﺔ m ﻋﻠﻴﻬﻡ ﺍﻟﺼـﻭﺍﻋِﻕ ﺃﻭ ﺍﻟﺯﻭﺍﺒِـﻊ ﺃﻭ ﻴﺒﺘﻠﻴﻬﻡ ﺒﺎﻟ ﹶﻘﺤﻁ .ﻭﻗﺎﻡ ﺒﺩﻭﺭ ﻫﺎ ٍﻡ ﻓﻲ ﺃﺴﻁﻭﺭﺓ ﺍﻟ ﹶﻔﻴﻀﺎﻥ ﺍﻟﺒﺎ ِﺒِﻠﻴﺔ .ﻭﻴﻌـﺩ .co ﺁﺩﺍﺩ ﻤﻥ ﺍﻵﻟﻬﺔ ﺍﻟﺜﻼﺜﺔ ﺍﻟ ِﻌﻅﹶﺎﻡ ﻤـﻊ ﺴﻥ ﻭﺸﺎﻤﺎﺵ ،ﻭﺇﻥ ﻜﺎﻨﺕ ﻋﺸـﺘﺎﺭ ل ﻤﺤﻠﱠﻪ ﺃﺤﻴﺎﻨﹰﺎ .ﻭﺭﻤـﺯﻩ ﻫـﻭ ﺘﹶﺤ ﱡ ﺍﻟﺼﺎﻋِﻘﺔ ،ﻭﺤﻴﻭﺍﻨﹸﻪ ﺍﻟﻤﻘـﺩﺱ ﻫـﻭ ﺍﻷَﺩﺏ ﺍﻟﺸﻌﺒِﻲ ﺹ ﺍﻟﺸﻔﺎﻫﻴﺔ ،ﻭﺍﻟﺭﻭﺍﻴـﺎﺕ ﺍﻟﻨﺼﻭ ِ ﺍﻟﺘﻲ ﺘﻨﺘﻘل ﻤﻥ ﻓﹶﺭ ٍﺩ ﺇﻟﻰ ﻓﹶﺭﺩ ،ﻭﻤﻥ FOLK LITERATURE ﻲ ﻤﺼﻁﹶﻠﺢ ﺠﺩﻴـﺩ ﺏ ﺍﻟﺸﻌﺒ ﺍﻷﺩ ل ﺇﻟﻰ ﺠِﻴل ،ﻭﻤﻥ ﺒِﻴﺌﺔ ﺇﻟﻰ ﺒﻴﺌﺔ ﺠِﻴ ٍ ﻲ ﺍﻟ ﻤﺘﹶﻭﺴـل ل ﻋﻠﻰ ﺍﻟﺘﱠﻌﺒﻴﺭ ﺍﻟﻔﹶﻨ ﻴﺩ ﱡ ﺤﻔﹾــﻅ ﺃﻭ ﺒﻭﺍﺴــﻁﺔ ﺍﻟ ﱠﺘﹶﻠﻘﱢــﻲ ﺃَﻭ ﺍﻟ ِ ﺒﺎﻟ ﹶﻜﻠِﻤﺔ ،ﻭﻤﺎ ﻴﺼﺎﺤﺒﻬﺎ ﻤﻥ ﺤﺭﻜـﺔ ﺍﻟﺘﱠﺭﺩِﻴــﺩ .ﻭﺃﺩﻯ ﺘﺼــﺤﻴﺢ ﺍﻷﺩﺏ ﻭﺇﺸﺎﺭﺓ ﻭﺇﻴﻘﺎﻉ؛ ﺘﹶﺤﻘِﻴﻘﹰـﺎ ﻟﻭﺠـﺩﺍﻥ ﺍﻟﻘﻭﻤﻲ ﺇﻟﻰ ﺇﻋﺎﺩﺓ ﺍﻟﻨﱠﻅﺭ ﻓﻲ ﺘﹶﻘﺴِﻴﻡ ﺠﻤﺎﻋﺔ ﻓﻲ ﺒﻴﺌﺔ ﺠﻐﺭﺍﻓﻴﺔ ﻤﻌ ﻴﻨﺔ ﺃﻭ ﺍﻟﺘﻌﺒﻴﺭ ﺍﻟ ﹶﻔﻨﱢﻲ ﺍﻟﻤﺘﻭﺴل ﺒﺎﻟﻜﻠﻤﺔ ﺇﻟﻰ ott ob ﺍﻟﺜﱠــﻭﺭ ،ﻭ ﺭ ﹾﻗﻤــﻪ ﺍﻟﻤﻘــﺩﺱ .٦ ﻭﺤﺩﻫﺎ ،ﻭﺇﻨﻤـﺎ ﺃﺼـﺒﺢ ﻴﺸـﻤل ﻭﺍﻨﺘﺸﺭﺕ ﻋﺒﺎﺩﺘﻪ ﻓﻲ ﺒﺎﺒـل ﻷﻭل ﻤﺭﺓ ﻓﻲ ﻤـﻭﺭﻭ ﻓـﻲ ﺍﻟﺠﻨـﻭﺏ. ﻋ ﺒ ﺩ ﻩ ﻭﺯﻭﺠﺘﻪ ﻫﻲ ﺴﺎﻻ ﺃﻭ ﺸﺎﻻ .ﻭ ﺱ ﻓﻲ ﺸﻤﺎﻟﻲ ﺴﻭﺭﻴﺎ ﺒﺎﻋﺘﺒﺎﺭﻩ ﺍﻟﻨﱠﺎ ﺇﻟﻬﺎ ﻟﻠﻤﻁﺭ ﻭﺍﻟ ﱠﻨﺒﺕ .ﻭﻜـﺎﻥ ﻓـﻲ ﺍﻟﻘﺭﻥ ﺍﻟﺜﺎﻤﻥ ﻗﺒـل ﺍﻟﻤـﻴﻼﺩ ﺃﻫـﻡ ﺍﻵﻟﻬﺔ ﺍﻟﻘﺩﻴﻤﺔ ﻫﻨﺎﻙ .ﻭﻜﺎﻥ ﻜﺒﻴـﺭ ﺍﻟﻨﺎﺱ ﺒﺎﻋﺘﺒﺎﺭﻩ ﺍﻹﻟﻪ ﻤـﺎﺭﺘﻭﻭﻜﻭﺭ ﺠﺒل ﺍﻟ ﻌﻅِﻴﻡ( .ﻭﺘـﺫﻫﺏ – ﺠﺎل )ﺍﻟ ﺒﻌﺽ ﺍﻟﺭﻭﺍﻴﺎﺕ ﺇﻟﻰ ﺃﻨﻪ ﺍﻹﻟـﻪ * ﻑ ﻓﻲ ﻓﻠﺴﻁﻴﻥ ﻫﻲ *ﺸﻴﺭﺍ .ﻭﻋـﺭِ ﹶ ﻲ ﺒﺎﺴﻡ ﺠـﻭﺒﻴﺘﺭ ﻓﻲ ﺍﻟﻌﻬﺩ ﺍﻟﺭﻭﻤﺎ ِﻨ ﺠﻭﺒﻴﺘﺭ ﺩﺍﻤﺎﺴﻴﻨﻭﺱ .ﻭﻟﻜـﻥ ﺁﺩﺍﺩ ﺍﻟﺴﻭﺭﻱ ﻜﺎﻥ ﻴﻤﻜﻥ ﺍﻟﺘﻌﺭﻑ ﻋﻠﻴﻪ ﺩﺍﺌﻤﺎ ،ﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤـﻥ ﺍﺨـﺘﻼﻑ www.alkottob.com ل ﻭﺍﻷﺩﺒﻴﺔ؛ ﻓﻘﺩ ﻜﺎﻥ ﻴﻌﻨﻲ ﻓﻲ ﺍﻟ ﺩ ﻭ ِ ﻲ ﺇﻟﻰ ﺃﺠﻨـﺎﺱ ﺘﻘﺴﻴﻡ ﺍﻷﺩﺏ ﺍﻟﺸﱠﻌ ِﺒ ﺃﺼﺒﺢ ﻤﺭﺍ ِﺩﻓﹰﺎ ﻟﻠﻔﻭﻟﻜﻠﻭﺭ ،ﺜﻡ ﺤـ ﺩ ﺩ ﻭﻀﻊ ﺨﻁﻭﻁ ﻓﺎﺼﻠﺔ ﺒﻴﻥ ﻤﺨﺘﻠﻑ ﺍﻟﻼﺘﻴﻨﻴﺔ ﻜل ﻤﺎ ﻴﻌﻨﻴـﻪ ﻤﺼـﻁﻠﺢ ﻭﺇﻟﻰ ﺃﺸﻜﺎل ،ﻤﻊ ﺍﻟﺘﱠﺴـﻠِﻴﻡ ﺒ ﹶﺘﻌـﺫﺭ ل ﺍﻷﺩﺏ ﺍﻟﺸﻌﺒِﻲ ﺒﻌﺩ ﺃﻥ ﺃﺼﺒﺢ ﻤﺠﺎ ُ ﺍﻟﻔﻭﻟﻜﻠﻭﺭ ﻋِﻠﻤﺎ ﻗﺎﺌﻤﺎ ﺒﺭﺃﺴﻪ ،ﻟـﻪ ﻉ ﺍﻷﺠﻨﺎﺱ ﻭﺍﻷﺸﻜﺎل .ﻭﻴﻐﻠِﺏ ﺍﻹﺒﺩﺍ ﻤﻨﺎﻫﺠﻪ ﻭﺩﻭﺍﺌـﺭ ﺒﺤﺜـﻪ .ﻭﺍﻷﺩﺏ ﺍﻟﺸﱠﻌﺒﻲ ﺠﺯﺀ ﻜﺒﻴﺭ ﻤﻥ ﺍﻟﻤﺄﺜﹸﻭﺭﺍﺕ ﺏ ﺍﻟﻌﺎﻤﻲ. ﺍﻟﺸﱠﻌﺒﻴﺔ ،ﻭﻫﻭ ﻟﻴﺱ ﺍﻷﺩ ل ﻤﺎ ﺘﺘﺴﻡ ﺒﻪ ﺍﻟﻤﺄﺜﹸﻭﺭﺍﺕ ﺴ ﻡ ﺒﻜ ِ ﻭ ﻴ ﱠﺘ ِ ﻲ ﺍﻟﺫﻱ ﺘﺴﻬﻡ ﻓﻴـﻪ ﺍﻟﺤﺭﻜـﺔ ﺍﻟﺸﻌ ِﺒ ـﺎﺀ. ـﻴﻘﻰ ﻭﺍﻟﻐِﻨـ ـﺎﻉ ﻭﺍﻟﻤﻭﺴـ ﻭﺍﻹﻴﻘـ ﻭﻫﻨﺎﻙ ﺃﻨﻭﺍﻉ ﺃﺩﺒﻴﺔ ﻴﻭﺠـﺩ ﻓﻴﻬـﺎ ﺍﻟﻤﻨﻅﹸﻭﻡ ﻭﺍﻟﻤﻨﺜﹸﻭﺭ ﺍﻟﻤﺴﺠﻭﻉ ﺠﻨﺒـﺎ ﺇﻟﻰ ﺠﻨﺏ. ﺍﻟﺸﻌﺒﻴﺔ ﻤـﻥ ﺍﻟ ﻌﺭﺍﻗﹶـﺔ ﻭﺍﻟﺘﻠﻘﺎﺌﻴـﺔ ﻏﹶﻠﺒﺔ ﺍﻟﻌﺭﻑ ،ﻭﻭﺠـﻭﺩ ﺍﻟﻅﺎﻫﺭﺓ ،ﻭ ﹶ ﺍﻟﻤﻀﺎﻤﻴﻥ ﺍﻟﺜﻘﺎﻓﻴﺔ ،ﺇﻟـﻰ ﺠﺎﻨـﺏ ﺍﻟﻤﺭﻭﻨﺔ ﻓـﻲ ﺍﻟﺘﻁـﻭﺭ ﻭﺍﻟﺠﻬـل ﺒ ﻤ َﺅﱢﻟﻑِ ﺍﻟﻨﱠﺹ ﻓﻲ ﻤﻌﻅﻡ ﺍﻷﺤﻴﺎﻥ. ﻭﺍﺴﺘﺘﺒﻊ ﺍﻻﻫﺘﻤﺎﻡ ﺒﺎﻷﺩﺏ ﺍﻟﺸﻌﺒﻲ ﻲ ِﻟ ﹸﻜلﱢ ﺃُﻤـﺔ ﺢ ﺍﻟﺘﱡﺭﺍﺙ ﺍﻟﻘﻭﻤ ﺼﺤِﻴ ﹶﺘ ﻭﻫﻨﺎﻙ ﺃﺸﻜﺎل ﺃﺨـﺭﻯ ﺘﺴـﺘﻘل ﺒﺎﻟﻨﱠﻅﻡ ﺃﻭ ﺒﺎﻟﻨﱠﺜﺭ ،ﻭﺍﻟﻌِﺒﺭﺓ ﺒﺠﻤﺎﻋﻴﺔ ﺤﻜﹾﻡ ﺍﻟﺘﱠﻌﺒﻴﺭ ﻭﺘﻤﻴﻴﺯ ﺍﻟﻭﻅﻴﻔﺔ ﻋﻨﺩ ﺍﻟ ww ﺃﻭﺒﺘﻴﻤﻭﺱ ﻤﺎﻜﺴﻴﻤﻭﺱ ،ﺃﻭ ﺒﺎﺴـﻡ ﺒﺎﺨﺘﻼﻑ ﺍﻟﻤـﺩﺍﺭﺱ ﺍﻟﻔﹸﻭﻟﻜﻠﹸﻭ ِﺭﻴـﺔ ﺍﻟﻭﻅﻴﻔﺔ ﺃﺼﺒﺤﺕ ﻫﻲ ﺍﻷﺴﺎﺱ ﻓﻲ w. ﺒﻌل ﻓﻲ ﺠﺒل ﻟﺒﻨﺎﻥ .ﻭﻜﺎﻨﺕ ﺯﻭﺠﺘﻪ ﺍﺨﺘﻠﻑ ﻤﺩﻟﻭل ﻫـﺫﺍ ﺍﻻﺼـﻁﻼﺡ ﺍﻟﻌــﺭﻭﺽ ﺍﻟﺘﻘﻠﻴــﺩﻱ ،ﻜﻤــﺎ ﺃﻥ alk ﺍﻵﻟﻬﺔ ﻓﻲ ﺃﺭﺽ ﹶﻜ ﹾﻨﻌﺎﻥ ،ﻭﻋﺒـﺩﻩ ﻤﺭﺤﻠﺔ ﻤﺤﺩﻭﺩﺓ ﻤﻥ ﺍﻟﺘﱠﺎﺭِﻴﺦ .ﻭﻟﻘﺩ ﺸﻌﺭ ﻭﺇﻟﻰ ﻨﺜﺭ ﻓﻨﻲ ،ﻋﻠﻰ ﺃﺴـﺎﺱ ﺹ ﺒﺄﻨﻪ ﻴ ﹾﻨ ﹶﺘﻤِﻲ ﺇﻟﻰ ﺠﻨﺱ ﺃﻭ ﻋﻠﻰ ﹶﻨ ﻨﻭﻉ ﺃﻭ ﺸﻜل ﻤﻌﻴﻥ. ﻭﺘﺨﺘﻠﻑ ﺍﻟﻤﺩﺍﺭﺱ ﺍﻟﻔﻭﻟﻜﻠﻭﺭﻴـﺔ ﻓﻲ ﺍﻟﻨﱠﻅﺭ ﺇﻟﻰ ﺍﻷﺴﺎﻁﻴﺭ؛ ﻓﺒﻌﻀﻬﺎ ٣٩ ﻭﻴﻨﻅﺭ ﺇﻟﻰ ﺴِـﻴﺎﻗِﻬﺎ ﺍﻟﻘﺼﺼـﻲ، ﻭﺃﻨﺸﺄﻭﻫﺎ ﹶﺘﻘِﻠﻴﺩﺍ ﻟﻺﻟﻴﺎﺫﺓ ﻭﺍﻷﻭﺩﻴﺴﺎ، ﻭﺍﺸ ﹸﺘﻬِﺭ ﻓﻲ ﻋﺎﻟﹶﻤﻨﺎ ﺍﻟﻌﺭﺒﻲ ﺍﻟﺘﻤﺜﻴل ﻭﺍﻋﺘﻤﺎﺩﻫﺎ ﻋﻠﻰ ﺍﻟﻜﻠﻤﺔ .ﻭﻴـﺫﻫﺏ ﻭﻋ ﺒﺭﻭﺍ ﺒﻬـﺎ ﻋـﻥ ﺸﺨﺼـﻴﺎﺘﻬﻡ ل ل ﺍﻟﻅﱢـ ِ ﺨﻴﺎ ِ ﻏﻴﺭ ﺍﻟ ﻤﺒﺎﺸِﺭ ﻜﹷ * ﹶ ـﻰ ﺃﻥ ـﺎﺀ ﺇﻟـ ـﺽ ﻤــﻥ ﺍﻟ ﻌﻠﹶﻤـ ﺒﻌـ ﻥ ﻟﻪ ﻤﻨﻬﺠﻪ ﻭﻤﺠﺎﻟـﻪ ﺍﻷﺴﻁﻭﺭﺓ ﹶﻓ ﺢ ﻋﻠﻰ ﺘﺴﻤﻴﺘﻬﺎ ﻁِﻠ ﺼﹸ ﺍﻟﻤﻔﺭﺩﺓ؛ ﻓﻘﺩ ﺍ ﻼﺤِﻡ ﺍﻷﺩﺒﻴـﺔ ،ﻜﺘﻠـﻙ ﺍﻟﺘـﻲ ﺒﺎﻟ ﻤ ﹶ ﻭ* ﺍﻟﻘﺭﺍﻜﻭﺯ. ﻭﻤﺼـــﻁﻠﺤﺎﺘﻪ ﺃﻴﻀـــﺎ ،ﻭﺃﻥ ﺢ ﻓﺭﺠﻴـل ﻭﺩﺍﻨﺘـﻲ ﺃﺒﺩﻋﺘﻬﺎ ﻗﺭﺍﺌ ِ ﺱ ـﺎ ٍ ـﻰ ﺃﺴـ ـﻌ ﺭ ﻋﻠـ ﺸـ ـﻤﻭﺍ ﺍﻟ ﱢ ﺴـ ﻴﻘ ﻭﻤﻠﺘــﻭﻥ .ﻭﻟﻘــﺩ ﻋــﺭﻑ ﺍﻷﺩﺏ ﻀﻲ ،ﻭﺫﻫﺒﻭﺍ ﻓﻲ ﺍﻟﺤﻜﻡ ﻋﻠﻰ ﻋﺭﻭ ِ ﻲ ﺍﻟﻤﻠﺤﻤـﺔ ﺍﻟﺸـﻌﺒﻴﺔ ﺍﻟﺘـﻲ ﺍﻟﻌﺭﺒ ﻲ ﺇﻟـﻰ ﺃﻥ ﻱ ﺍﻟﻌﺭﺒ ﺙ ﺍﻟﺸﱢﻌﺭ ﺍﻟﺘﱡﺭﺍ ِ ﺘﺴﺘﻭﻋﺏ ﺍﻟ ﻤ ﹾﻨﻅﹸﻭ ﻡ ﻭﺍﻟ ﻤ ﹾﻨﺜﹸﻭﺭ ،ﻭﺍﻟﺘﻲ ﺽ ﺇﻨﻤﺎ ﻫﻭ ﺍﻟ ﹶﻘﺼِﻴﺩ ﻭﺍﻟﺭﺠﺯ ﺍﻟ ﹶﻘﺭِﻴ m ﺨﻠﹸﻬﺎ ﻓﻲ ﻤﺠﺎل ﺍﻷﺩﺏ ﺍﻟﺸﱠـﻌﺒﻲ، ﻴ ﺩ ِ ﻋﻥ ُﺃﺩﺒـﺎﺀ ﺃﻭ ﺸﹸـﻌﺭﺍﺀ ﺒﺄﻋﻴـﺎﻨﻬﻡ ﺸ ـ ِﺒ ﺨﹶ ل ﺍﻟ ﹶ ـﺎ ِ ـﻭﺭﺓ ﺃﻭ ﺍﻟﺘﱢﻤﺜـ ﺼـ ﺍﻟ ﻲ. .co ﺍﻷﺴﻁﻭﺭﺓ ﻋﻨﺩﻤﺎ ﺘﻔﻘﺩ ﻜﻴﺎﻨﻬﺎ ﺍﻷﻭل ﺒﺎﻋﺘﺒﺎﺭﻫﺎ ﻋﻘﻴﺩﺓ ﺃﻭ ﺭﻤﺯﺍ ﻴ ﹶﻔﺴـ ﺭ ﻅﻭﺍﻫِﺭ ﻭﺍﻟﻜﹶﻭﻥ ﻭﺍﻟﻁﺒﻴﻌﺔ ﻭﺃﻭﻟﻴﺎﺕ ﺸ ﺩ ﻋﻠﻰ ﻨﻐﻤﺎﺕ ﺁﻟـﺔ ﻤﻭﺴـﻴﻘﻴﺔ ﺘﹸ ﹾﻨ ﹶ ﻓﺤﺴﺏ ،ﻭﻟﻡ ﻴﻤـﻨﻌﻬﻡ ﺫﻟـﻙ ﻤـﻥ ﻭ ﹶﺘ ِﺭﻴﺔ ﻫﻲ ﺭﺒﺎﺒﺔ ﺍﻟﺸﱠﺎﻋِﺭ. ﺍﻻﻫﺘﻤﺎﻡ ﺒﺎﻟ ﻤﻭﺍل ﻭﺍﻟ ﺯﺠـل ﻭﻤـﺎ ott ob ﺍﻟﻨﻅﻡ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ؛ ﻓﺈﻨﻬـﺎ ﹶﺘ ﹾﻨﻔﹶـﺭِﻁ ﻭﻟﻘﺩ ﺍﻋﺘﹶﺎ ﺩ ﺍﻟ ﻌﻠﹶﻤـﺎ ﺀ ﻗـﺩﻴﻤﺎ ﺃﻥ ﺤﻭل ﺇﻟﻰ ﺸـﻌﺎ ِﺌ ﺭ ﺍﺠﺘﻤﺎﻋﻴـﺔ ﻭ ﹶﺘ ﹶﺘ ﻭﻋﻘﺎ ِﺌ ﺩ ﺜﺎﻨﻭﻴﺔ ﻭﺤﻜﺎﻴﺎﺕ ﺸـﻌﺒﻴﺔ، ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﻫﺫﻩ ﺍﻟﻤﻼﺤﻡ ﺍﻟﺸﻌﺒﻴﺔ ﺇﻟﻴﻬﻤﺎ .ﺒﻴﺩ ﺃﻥ ﺘﺼـﺤﻴﺢ ﺍﻟﺘـﺭﺍﺙ ﺤﻭل ﻓﻲ ﻤﺠﺎل ﻭﺘﺩﺨل ﺒﻌﺩ ﻫﺫﺍ ﺍﻟ ﱠﺘ ﺍﻟﻌﺭﺒﻴﺔ ﹶﺘﺨﹾـﺭﺝ ﻋﻠـﻰ ﺍﻟ ﱠﻨﻤـﻭﺫﹶﺝ ﺠﻌل ﺍﻟﻨﻅﺭﺓ ﻻ ﺘﺴﺘﻘﻴﻡ ﻤﻊ ﻁﺒﻴﻌﺘﻪ ﺍﻟﻔﻭﻟﻜﻠﻭﺭ ،ﺜﻡ ﻓـﻲ ﻤﺠـﺎل ﺍﻷﺩﺏ ﺍﻟﻴﻭﻨﺎﻨﻲ ﺍﻟﻘـﺩﻴﻡ؛ ﻓـﺈﻥ ﺫﻟـﻙ ﻻ ﻱ ﻋﺭﻑ ﺼﺭِﻩ؛ ﻓﺎﻟﺸﱢﻌﺭ ﺍﻟ ﺒ ﺩ ِﻭ ﻭﻋﻨﺎ ِ ﻭﺃﻫﻡ ﻨﻭﻉ ﻤـﻥ ﺃﻨـﻭﺍﻉ ﺍﻷﺩﺏ ﺍﻟﻤﻠﺤﻤﻲ .ﻭﻴﻌﻭﺩ ﺍﻟﻔﻀل ﺇﻟﻰ ﻫـﺫﻩ ﺠﻤﻴﻊ ﺍﻷﻏﺭﺍﺽ ﺍﻟﺘﻲ ﺍﺴـﺘﻁﺎﻋﺕ ﺤﻘﱢـﻕ ﺤﻤﺔ ﺍﻟﺘﻲ ﹸﺘ ﺍﻟﺸﻌﺒﻲ؛ ﻫﻭ ﺍﻟ ﻤ ﹾﻠ ﻅﻬﻭﺭ ﺍﻟﻤﻼﺤﻡ ﺍﻟﺸﱠﻌﺒﻴﺔ ﺍﻟﻌﺭﺒﻴﺔ ﻓﻲ ﹸ ﺍﻷﺭﺍﺠِﻴ ﺯ ﺃﻥ ﺘﺴﺘﻭﻋﺒﻬﺎ ﻟﻤﺭﻭﻨﺘﻬﺎ، ﹶﻨ ﺯﻋ ﹶﺔ ﻤﺠﺘﻤﻊ ﺇﻟﻰ ﺍﻟﺘﱠﻭﺤِﻴﺩ ،ﻭ ﹸﺘﻌـ ﺩ ﺤﻤِﻲ ﺃﻭﺭﻭﺒﻲ ﻴﺸـﺘﺭﻙ ﻗﺼﺹ ﻤ ﹾﻠ ﻭﺃﻫﻡ ﻤﻥ ﻫﺫﺍ ﻜﻠﻪ ﺃﻥ ﹶﻨ ﹾﻨﻅﹸـ ﺭ ﺇﻟـﻰ ﺸﺭﺍ ﻋﻥ ﺍﻷﺴﻁﻭﺭﺓ .ﻓﺈﺫﺍ ﹶﺘﻁﹶﻭﺭﺍ ﻤﺒﺎ ِ ﻓﻴﻪ ﺍﻟﺸﱢﻌﺭ ﻭﺍﻟﻨﱠﺜﺭ؛ ﻤﺜل ﺍﻟ ﻤ ﹾﻠﺤﻤـﺔ ﺇﻟﻪ ﺃﻭ ﺸﺒﻪ ﺇﻟﻪ ﺘﻔﺴـﻴﺭﺍ ﻟﻅـﻭﺍﻫﺭ ﺃﻱ ﺍﻟﻘﺎﺴﻡ ﻭﻨﻴﻜﻭﻟﻴﺕ .ﻭﻋﻥ ﺍﻷﻨﻭﺍﻉ ﺍﻟﺤﻴﺎﺓ ﺍﻟﻁﺒﻴﻌﻴـﺔ ﻭﺍﻟﻜـﻭﻥ؛ ﻓـﺈﻥ ﺍﻟﻜﺒﻴﺭﺓ ﺘﺘﺸـﻌﺏ ﺃﻨـﻭﺍﻉ ﺃﺨـﺭﻯ ﺍﻟ ﻤ ﹾﻠﺤﻤﺔ ﺘﺘﺭﻜﱠﺯ ﺤﻭل ﺒﻁل ﺇﻨﺴﺎﻨﻲ، ﺃﺼﻐﺭ ﻤﻨﻬﺎ ،ﻭﺘﺨﺘﻠﻑ ﻭﻅﺎﺌﻔﻬـﺎ؛ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﺘﺭﻓﻴﻬﻴﺔ ﻭﺍﻟﺭﻭﺤﻴﺔ. ﻤﻬﻤﺎ ﻜﺎﻥ ﺍﻨﹾﺘﺴﺎﺒﻪ ﺇﻟـﻰ ﺍﻵﻟﻬـﺔ، ﺤﻜﹶﺎﻴﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﺘﻲ ﺘﻨﻘﺴـﻡ ﻤﻨﻬﺎ ﺍﻟ ِ ﻷﻏﹾﻨﻴﺔ ﺍﻟﺸﱠـﻌﺒﻴﺔ ﺘﹸﺴـﺎﻴ ﺭ ﺩﻭﺭ ﹶﺓ ﻭﺍ ُ ﺍﻟﺸﻌﺒﻲ. ـﺭ ـﺎﺭ ﺍﻟﺘﱠﻌﺒﻴـ ـﻥ ﺇﻁـ ـﺎ ﻤـ ﻴﺨﺭِﺠﻬـ alk ﻜﺎﻨﺕ ﺍﻷﺨﻴﺭﺓ ﻤﺤﺎﻜﺎﺓ ﺇﻟﻪ ﺃﻭ ﺍﺒـﻥ ل ﺍﺴـﺘﻭﻋﺏ ﺍﻟﻘﺼﻴﺩ ،ﻜﻤﺎ ﺃﻥ ﺍﻟ ﻤﻭﺍ َ ﺍﻟﻤﺸﻬﻭﺭﺓ ﺃﻭ ﻜﺎﺴﺎﻥ ﻭﻨﻴﻜﻭﻟﻴـﺕ؛ ﻋﻠﹶﺔ ﺤ ﻴ ِﺔ ﺍﻟﻤﺘﻔﺎ ِ ﺹ ﻓﻲ ﺼﻭ ﺭ ِﺘ ِﻪ ﺍﻟ ﺍﻟ ﱠﻨ ﻤﻊ ﺍﻟﻤﺘ ﹶﺫﻭﻗﻴﻥ؛ ﻭﻫﻨﺎ ﺘﺒﺭﺯ ﺃﻫﻤﻴـﺔ ﺍﻷﻏﻨﻴﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻓـﻲ ﻤﻀـﺎﻤِﻴﻨﻬﺎ w. ﻭﻗﻭﺍﻟﺒﻬﺎ ﺍﻟﻤﻭﺴﻴﻘﻴﺔ ،ﻭﻓﻲ ﻭﻅﺎﺌﻔﻬﺎ ﻤﻠﺤﻤﺘﺎ "ﻫﻭﻤﻴﺭﻭﺱ ﺍﻟﻤﺸﻬﻭﺭﺘﺎﻥ * ﺍﻟﺘﱠﻤﺜﻴل ﺍﻟ ﻤﺒﺎﺸِﺭ ﻭﻏﻴﺭ ﺍﻟﻤﺒﺎﺸﺭ... ﻭﺘﹸﺼﻭ ﺭ ﻓﺭﺤ ﹶﺔ ﺍﻟﺤﻴـﺎﺓ ﺒﺎﺴـﺘﻘﺒﺎل "ﺍﻹﻟﻴﺎﺫﺓ" ﻭ*" ﺍﻷﻭﺩﻴﺴﺎ" ﻤﻥ ﺍﻷﺩﺏ ﺠﻤﺎﻫِﻴ ﺭ ﻓﻲ ﺍﻟﻤﺒﺎﺸﺭ ﺍﻟﺫﻱ ﻴﻭﺍﺠِﻪ ﺍﻟ ل ﺍﻟﺫﻱ ﺘﺭﻴﺩ ﺍﻟﻤﻭﻟﻭﺩ ﺍﻟﺠﺩﻴﺩ ،ﻭﺍﻟﻤ ﹶﺜ َ ﺠﺩﺍﻥ ﺍﻟﺸﱠﻌﺒﻲ؛ ﻷﻨﻬﻤﺎ ﺘﹸﻌﺒﺭﺍﻥ ﻋﻥ ِﻭ ﺍﻟ ﻤﻭﺍﺴِﻡ ﻭﺍﻷﺴﻭﺍﻕ ،ﻭﻏﻴﺭ ﺍﻟ ﻤﺒﺎﺸِﺭ ﺏ ﻋﻠﻴـﻪ ﺍﻷﻓـﺭﺍﺩ ،ﻭﻫـﻲ ﺸ ﺃﻥ ﻴ ِ ﻼﺤِﻡ ﺍﻟﺘﻲ ﺼﺩﺭﺕ ﺠﻤﺎﻋﺔ .ﺃﻤﺎ ﺍﻟ ﻤ ﹶ ل ل ﺒﺎﻟﺼـﻭ ﺭ ِﺓ ﺃﻭ ﻅِـ ﱢ ﺴُ ﺍﻟﺫﻱ ﻴ ﹶﺘﻭ ﺘﺼﻭﺭ ﺍﻟﻔﺭﺡ ﺒﺎﻟﻤﺤﺎﻓﻅـﺔ ﻋﻠـﻰ www.alkottob.com ww ﻭﻜﺎﻨﺕ ﻋﻼﻗﺔ ﺍﻵﻟﻬﺔ ﺒـﻪ .ﻭ ﹸﺘﻌـ ﺩ ﺒﺩﻭﺭﻫﺎ ﺇﻟﻰ ﺃﻨﻭﺍﻉ ﻭﺃﺸﻜﺎل ،ﻭﻤﺜل ﺍﻟﺤﻴﺎﺓ ﻤﻥ ﻤﻭﻟِﺩ ﺍﻹﻨﺴﺎﻥ ﺇﻟﻰ ﻭﻓﹶﺎ ِﺘﻪِ، ٤٠ ﻟﻠﺤــﺯﻥ ﻋﻠــﻰ ﺍ ﹾﻓ ِﺘﻘﹶــﺎﺩ ﺍﻷﻫــل ﺍﻟﻔﻭﻟﻜﻠﻭﺭﻴﺔ ﻤﻥ ﺨﺼـﺎﺌﺹ .ﻭﺇﺫﺍ ﻻ ﻤﻨـﻪ. ﺕ ﺒـﺩ ﹰ ﺃﺤﺩﺍ ﻴﻘﺒل ﺃﻥ ﻴﻤﻭ ﹶ ﻭﺍﻷﺼﺩﻗﺎﺀ ،ﻭﺘﻌﻴﻥ ﻋﻠﻰ ﻤﻭﺍﺠﻬـﺔ ﻜﺎﻨﺕ ﺍﻟﺩﺭﺍﺴﺔ ﻗﺩ ﺒﺩﺃﺕ ﺒﺎﻟﻨﺼﻭﺹ ﻋ ﺒﺜﹰﺎ ﺃﻥ ﻴﺠﺩ ﻫﺫﺍ ﻭﺤﺎﻭل ﺃﺩﻤﻴﺘﻭﺱ ﺍﻟﻌﻤل ﻓـﻲ ﺍﻟﻐﹶـﺭﺱ ﻭﺍﻟﺤﺼـﺎﺩ ـﺙ ﺃﻥ ـﻡ ﺘﻠﺒـ ـﺎ ﻟـ ـﺔ؛ ﻓﺈﻨﻬـ ﺍﻟ ﻤ ﺩ ﻭﻨﹶـ ﺨﺩﻤﻪ ﻭﺭﻓﹶﺎﻗﻪ ،ﻭﺃﻗﺎﺭﺒﻪ ﺍﻟﺒﺩﻴل ﺒﻴﻥ ﹶ ـﺩ، ـﺞ ﻭﺍﻟﻤﻭﺍﻟـ ـﻲ ﺍﻟﺤـ ـﺔ ﻓـ ﺍﻟﺩﻴﻨﻴـ ﻻ ﻭﻗﺒل ﹸﻜلﱢ ﺸـﻲﺀ ﻋﻠـﻰ ﻴﻘﻭﻡ ﺃﻭ ﹰ ﻋ ﺭﻀـﺕ ﺃﻥ ﹸﺘﻀـﺤﻲ ﺯﻭﺠﺘﻪ ﻭ ﺤﻔﱠﺎﻅِﻬﺎ ﺠ ﻤ ِﻊ ﺍﻟﻨﺼﻭﺹ ﺍﻷﺩﺒﻴﺔ ﻤﻥ ﺒﺤﻴﺎﺘﻬﺎ ﻓِﺩﺍ ﺀ ﻟـﻪ ،ﻭﻓـﻲ ﺍﻟﺴـﺎﻋﺔ ﻭ ﻤ ﹶﺘ ﹶﺫ ﻭﻗِﻴﻬﺎ ﻓـﻲ ﺒﻴﺌـﺎﺘﻬﻡ ،ﻭﻓـﻲ ﺍﻟﻤﺤﺩﺩﺓ ﻤﺎﺘﺕ .ﻭﻓﻲ ﺃﺜﻨﺎﺀ ﺘﺸـﻴﻴﻊ ﺤﻘﱠﻕ ﺒﻬﺫﺍ ﺴ ِﻡ ﻭﺍﻟﺸﱠﻌﺎ ِﺌ ِﺭ ﺍﻟﺘﻲ ﹶﺘ ﹶﺘ ﺍﻟ ﻤﻭﺍ ِ ﺠﻨﺎﺯﺘﻬﺎ ﺤﻀﺭ* ِﻫ ﺭﻗﹾل ،ﻭﺼـﺎﺭﻉ m ﺍﻟﻨﱠﻭﻉ ﻓﻲ ﺍﻷﻋـﺭﺍﺱ ﺘﺼـﻭﻴﺭﻫﺎ ﻲ ﺒﻤﺎ ﹶﺘ ﱠﺘﺴِﻡ ﺒﻪ ﺍﻟﻤـﺎﺩﺓ ﺏ ﺍﻟﺸﱠﻌ ِﺒ ﺍﻷﺩ ﺒﺤﻴﺎﺓ ﺃﻁﻭل ،ﺇﺫﺍ ﺍﺴﺘﻁﺎﻉ ﺃﻥ ﻴﺠـﺩ ـﻑ ـﺎﺤﺏ ﺍﻟﻌﻭﺍﻁـ ـﺎﺀ ،ﻭﺘﺼـ ﻭﺍﻟﺒﻨـ .co ﻭﺘﺴــﺘﻌﻴﻥ ﺒــﺎﻵﻻﺕ ﺍﻟﻤﻭﺴــﻴﻘﻴﺔ ـﺔ ـﺎﺭﺓ ﻭﺍﻟﺤﺭﻜـ ـﺘﻌﺎﻨﺘﻬﺎ ﺒﺎﻹﺸـ ﺍﺴـ ﻭﺍﻹﻴﻘﺎﻉ ﻓﻲ ﻜﺜﻴﺭ ﻤﻥ ﺍﻷﺤﻴﺎﻥ. ـﻰ ـﺎﺌِﺭﺓ ﻋﻠـ ﺴـ ـﺎل ﺍﻟ ـﺎ ﺍﻷﻤﺜـ ﺃﻤـ ﺍﺼﻁﻨﻌﺕ ﺍﻟﻤﻨﻬﺞ ﺍﻟﻤﻴﺩﺍﻨﻲ ﺍﻟـﺫﻱ ﺍﻟﻁﱠﺎﻋﻨﻴﻥ ﻓـﻲ ﺍﻟﺴـﻥ .ﻭﺘﻘـﺩﻤﺕ ﺍﻷﻟﺴﻨﺔ ،ﻭﺍﻟﺘﻲ ﺘﻌﺩ ﺤﺼﻴﻠﺔ ﻜﺎﻤﻠـﺔ ﺃﻥ ﺤﺼــﻴﻠﺔ ﺍﻟﺠﻬــﻭﺩ ﺍﻟﻤﻴﺩﺍﻨﻴــﺔ ﺴ ـ ﹾﻔﻠِﻲ، ـﺎﻟﻡ ﺍﻟ ـﻲ ﺍﻟﻌـ ـﺎﺩﻴﺱ( ﻓـ ﻫـ ﻟ ﻤﻌﺎﺭِﻑ ﺍﻟﺸﱠﻌﺏ ﻭﺨﺒﺭﺍﺘﻪ ،ﻭﺍﻟﺘـﻲ ﺴﺘﺅﺩﻱ ﺇﻟﻰ ﺘﺼﺤﻴﺢ ﻤﻔﺎﻫﻴﻡ ﻜﺜﻴﺭﺓ ﻭﺃﻋﺎﺩﻫﺎ ﺇﻟﻰ ﺯﻭﺠﻬـﺎ ﺃﺩﻤﻴﺘـﻭﺱ. ﻁ ﻭﺍﻟ ﻤﺜﹸـل؛ ﺝ ﻭﺍﻷﻨﻤﺎ ﹶ ﺴﺠل ﺍﻟﻨﱠﻤﺎ ِﺫ ﹸﺘ ﻏﻠﺒﺕ ﻋﻠـﻰ ﻤﻔﻬـﻭﻡ ﺍﻷﺩﺏ ﻤـﻥ ﻭﻫﺫﻩ ﺍﻟﻘﺼﺔ ﻨﻤـﻭﺫﺝ ﻜﻼﺴـﻴﻜﻲ ﻓﻠﻬﺎ ﻤﻜﺎﻨﻬـﺎ ﻤـﻥ ﺃﻨـﻭﺍﻉ ﺍﻷﺩﺏ ﺍﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺍﻷﺸـﻜﺎل ﺍﻟﺘﻘﻠﻴﺩﻴـﺔ ﻟﻠﻘﺼﺹ ﺍﻟﺘﻲ ﹸﺘ ﻤﺠﺩ ﻭﻓﺎ ﺀ ﺍﻟﺯﻭﺠﺔ؛ ott ob ﺍﻷﺩﺏ ﺍﻟﺸﻌﺒﻲ .ﻭﻟﻴﺱ ﻤﻥ ﺸﻙ ﻓﻲ ﺜﺎﻨﺎﺘﻭﺱ ﻋﻨﺩ ﻤﻘﺒـﺭﺓ ﺃﻟﺴـﺘﺱ )ﺃﻭ ﺍﻟﺸﻌﺒﻲ ،ﻭﻫﻲ ﻭﺇﻥ ﺭ ﺩﺩﻫﺎ ﺍﻷﻓﺭﺍﺩ ﻟﺘﺒﺭﻴﺭ ﻤﻭﻗﻑ ﺃﻭ ﺍﻟﺘﺨﻠﱡﺹ ﻤﻨﻪ ﺃﻭ ﺍﻟﺘﻬﻭﻴﻥ ﻤﻥ ﻓﺸل؛ ﻓﺈﻨﻬﺎ ﻤﻥ ﺃﻫـﻡ ﺍﻟﺠﻤﺎﻋﺎﺕ ﻭﺍﻟﺸﻌﻭﺏ ﺇﺫﺍ ﹶﺘﻤﺎﺜﹶﻠـﺕِ ﻓﻲ ﻤﺭﺍﺤل ﺍﻟﺘﻁﻭﺭ ﺃﻭ ﺍﻟﺤﻀﺎﺭﺓ. ﻕ ﻋﻠﻰ ﺍﻟﻤ ﹶﺜلِ ﻴﻨﻁﺒـﻕ ﻁﺒِ ﹸ ﻭﻤﺎ ﻴ ﹾﻨ ﹶ ﻤﺠﺭﺩ ﺭﻴﺎﻀﺔ ﻋﻘﻠﻴﺔ ﻜﻤـﺎ ﻴﺒـﺩﻭ ﻟﻠﻨﱠﻅﺭﺓ ﺍﻷﻭﻟـﻰ ،ﻭﻟﻜﻨﻬـﺎ ﺍﻤﺘـﺩﺍﺩ ﺤﻴﺎ ِﺓ ﻭﺘﺴﺎﺅﻟﻪ؛ ﺍﻹﺴﻜﻨﺩﺭ ﺃﻤﺎﻡ ﹸﻟ ﹾﻐ ِﺯ ﺍﻟ ﻫﻭ ﺒﻌﻴﻨﻪ ﺍﻟﺫﻱ ﺤﻔﺯ ﺇﻟﻰ ﻅﻬـﻭﺭ ﻫﺫﺍ ﺍﻟﻨﻭﻉ ﺍﻟﻘﺩﻴﻡ ﻤﻥ ﺃﻨﻭﺍﻉ ﺍﻷﺩﺏ ﻲ ﺃﻥ ﻴ ﱠﺘﺴِـ ﻡ ﺍﻟﺸﻌﺒِﻲ ،ﻭﻤﻥ ﺍﻟﻁﺒﻴﻌ www.alkottob.com ﺃﹶﺩﻣِﻴﺘﻮﺱ ADMETUS ﻤﺎ ﻓﻌﻠﺘﻪ ﺍﻟﺯﻭﺠﺔ ﺍﻟﻭﻓﻴـﺔ ،ﻋﻨـﺩﻤﺎ ﻤﻠﻙ ﻓِﻴـﺭﺍﻱ Pheraeﻓـﻲ ـﺘﺱ ـﺎﻟﻴﺎ ،ﻭﺯﻭﺝ ﺃﻟﺴـــ ﺘﻴﺴـــ ل *َﺃﺒﻭﻟﱡـﻭ ﻋﻤِـ َ .Alcestisﻭﻗﺩ ﻴﻭﻤﺎ ﻟﺩﻯ ﺃﺩﻤﻴﺘﻭﺱ ،ﺩﻭﻥ ﺃﻥ ﻴﻌﻠﹶﻡ ﺤﺘﱠـﻰ ﺃﻏﺭﻗﺕ ﻨﻔﺴﻬﺎ ﻟِ ﹶﺘ ﻬﺩِ َﺌﺔِ ﺍﻵﻟﻬﺔ ﺏ ﺯﻭﺠﻬﺎ. ﻻ ﹶﺘ ﹾﻘﻠِﺏ ﻗﺎ ِﺭ ﺃﹶﺩﻫﻢ ﺍﻟﺸﺮﻗﹶﺎﻭِﻱ ADHAM AL-SHARKAWI ﻫﺫﺍ ﺍﻟﻤﻠﻙ ﺒﺸﺨﺼﻴﺘﻪ؛ ﻭﺫﻟﻙ ﻋﻨﺩﻤﺎ ﻗﺎﻡ ﺒﺎﻟ ﱠﺘ ﹾﻜﻔِﻴ ِﺭ ﻋﻥ ﺇﺭﺍﻗـﺔ ﺍﻟـﺩﻤﺎﺀ؛ ﻥ. ﻕ ﻹﻨﺴﺎﻥ ﻓـﺎ ٍ ﻓﺎﺸﺘﻐل ﹶﻜﻌ ﺒﺩٍ ﺭﻗِﻴ ٍ ﺏ ﺍﻹﻟﻪ ﺒـﺄﺩﻤﻴﺘﻭﺱ ﻟﺭﻗﱠﺘـﻪ ﺠ ﻋِ ﻭُﺃ ﻭ ﻭﺴﺎﻤﺘﻪ؛ ﻓﺒﺫل ﺠﻬﺩﺍ ﻜﺒﻴﺭﺍ ﻟﺘﻨﻤﻴﺔ ﺴﻴﺩﻩ .ﻭﺍﻜﺘﺸـﻑ ﺃﺒﻭﻟـﻭ ﺃﻥ ﺜﺭﻭﺓ ﺵ ﻁﹶﻭﻴﻼﹰ؛ ﻓﻭﻋﺩﻩ ﺃﺩﻤﻴﺘﻭﺱ ﻟﻥ ﻴﻌﻴ ﹶ ـﻪ ﻤ ـﻭﺍل ـﺯ ﺤﻭﹶﻟـ ل ﻴﺘﺭ ﱠﻜـ ﺒﻁ ـ ٌ ﻗﺼﺼﻲ ﻤﺸـﻬﻭﺭ ،ﻭﻴﺒـﺩﻭ ﻤـﻥ ﻲ ﻟﻠﻤ ﻭﺍل ﺃﻨﻪ ُﺃﻟﱢـﻑ ل ﺍﻟﺩﺍﺨﻠ ﺍﻟﺘﱠﺤﻠﻴ ِ ﻓﻲ ﺍﻟﻌﺼﺭ ﺍﻟﺤﺩﻴﺙ ،ﻜﻤـﺎ ﺘﹶـﺩل ww ﻟﺘﺴﺎﺅل ﺍﻹﻨﺴﺎﻥ ﺍﻟﻘﺩﻴﻡ ...ﺇﻥ ﺤ ﻴﺭ ﹶﺓ ﻭﺜﻤﺔ ﺤﻜﺎﻴﺔ ﺸﻌﺒﻴﺔ ﻴﺎﺒﺎﻨﻴﺔ ﺘﹶـ ﺭﻭِﻱ w. ﻋﻠﻰ ﺍﻷﺤﺎﺠِﻲ ﻭﺍﻷ ﹾﻟﻐﹶﺎﺯ ﺍﻟﺘﻲ ﻟﻴﺴﺕ ﺍﻟﺭﺴﻤﻴﺔ ﻭﺤﺩﻫﺎ. alk ﺏ ﺍﻟﻭﺜــﺎﺌﻕ ﺍﻟﺘــﻲ ﹸﺘ َﺅﻜﱢــﺩ ﹶﺘﻘﹶــﺎ ﺭ ﻀﺤﻲ ﺒﻨﻔﺴﻬﺎ ﻓﺩﺍﺀ ﻟﺯﻭﺠﻬـﺎ. ﺇﺫ ﹸﺘ ﺍﻟﻨﱢﺴﺒﺔ )ﺍﻟﺸﺭﻗﺎﻭﻱ( ،ﻋﻠﻰ ﺃﻨﻪ ﻓـﻲ ﺍﻷﺼل ﻤﻥ ﺇﻗﻠﻴﻡ "ﺍﻟﺸﱠﺭﻗﻴﺔ" ﺒﺎﻟﺩﻴﺎﺭ ﺍﻟﻤﺼﺭﻴﺔ .ﻭﺘﺸﻴﺭ ﻤ ﹶﻘﺩﻤﺔ ﺍﻟﻤـﻭﺍل ٤١ ﺃﺠﻴﺏ ﻨﺎﺱ ﻟﻤﻌﻨﺎﺕ ﺍﻟﻜﻼﻡ ﻴﺘﻠﻭﻩ... ﺍﻷﺴﺭ ﺘﻠﹾﻤﻴﺫﹰﺍ ﻴﻁﻠﺏ ﺍﻟ ِﻌ ﹾﻠﻡ ،ﻋﻨـﺩﻤﺎ ﻴﻐﺩﻴﻙ ...ﻭﺇﻥ ﻜﻨﺕ ﻋﺭﻴﺎﻥ ﻻﺠﻴﺏ ﺸﺒﻪ ﺍﻟﻤﺅﻴﺩ ﺇﺫﺍ ﺤﻔﻅ ﺍﻟﻌﻠﻭﻡ ﻭﺘﻠﻭﻩ". ل ﻋﻤـﻪ، ﺠﺎﺀﻩ ﺍﻟﻨﱠﺒﺄ ﺍﻟﻤﺸﺌﻭﻡ ﺒ ﹶﻘﺘﹾـ ِ ﻟﻙ ﺤﺭﻴﺭ ﺴﻨﺩﺴﻲ ﻭﺍﻜﺴِﻴﻙ ...ﻗﻌﺩ ﻭﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤـﻥ ﺘـﺩﻭﻴﻥ ﻫـﺫﺍ ﻋﺸﹶﺭﺓ ﻤﻥ ﻭﻜﺎﻥ ﺇﺫ ﺫﺍﻙ ﻓﻲ ﺍﻟﺜﱠﺎ ِﻤﻨﹶﺔ ﻤﻌﺎﻩ ﻤﻥ ﺍﻟﺼﺒﺢ ﻟﻠﻀﻬﺭ ﻁﻕ ﻤﻨـﻪ ﺨﺼﺎﺌِﺹ ﺍﻟﺸﻔﺎﻫﻴﺔ ﻭﺍﻟﻐﻨﺎﺌﻴﺔ ﺍﻟﺘﻲ ﺍﻟ ﹶ ﻭﻤﻀﻰ ﺇﻟﻰ ﺍﻟﻘﺭﻴـﺔ ﻴﺴـﺄل ﻋـﻥ ﺒﺈﺩﻴﻪ". m ﺇﻟﻰ ﺃﻨﻪ ﻗﺩ ﺘﻜﺎﻤل ﺒﺎﻟﺘﺩﻭﻴﻥ" :ﻤﻨﻴﻥ ﺒﺄﺴﺭﻫﺎ .ﻭﻜﺎﻥ ﻜﻐﻴﺭﻩ ﻤـﻥ ﺃﺒﻨـﺎﺀ ﻜﻨﺕ ﺠﻌـﺎﻥ ﺃﻫـﻡ ﹶﻟﺤـﻡ ﻜﺘـﺎﻓﻲ ﺍﻟﻤﻭﺍل؛ ﻓﺈﻨﻪ ﻴﺤ ﹶﺘﻔِﻅ ﺒﻜﺜﻴـﺭ ﻤـﻥ .co ﺘﺠﻌﻠﻪ ﻴﺴﻤﻊ ﺃﻜﺜـﺭ ﻤﻤـﺎ ﻴﻘـﺭﺃ، ﻭﻴﺤﻔﻅﹸﻪ ﻤﻌﻅ ﻡ ﺃﻫل ﺍﻟﺭﻴـﻑ ﻓـﻲ ﺍﻟﺩﻴﺎﺭ ﺍﻟﻤﺼﺭﻴﺔ ،ﻭﻴﺘﻐﻨﻭﻥ ﺒﻪ ،ﻜﻤﺎ ﻤﺎﺕ ،ﻤﺎ ﻜﻔﻬﺵ ﻤﻭﺘﻪ ﻗﺎﻡ ﻓﺴـﺨﻪ ﻋﻤﺭﻩ؛ ﻓﺼﻤﻡ ﺃﻥ ﻴﺄﺨـﺫ ﺒﺎﻟﺜﱠـﺄﺭ، ﻭﺍﺘِﺭﻩ ﻓﻲ ﻋﻤـﻪ ،ﻭﺨـﺭﺝ ﻋـﻥ ﻀ ﻊ ﺃﺩﻫﻡ ﺍﻟﺸﱠـﺭﻗﺎﻭﻱ ﻓـﻲ ﻭ ﻭ ِ ﺤﻀـﺭِﻱ ،ﻭﺘﻤﻠﻜﺘـﻪ ﺃﺨﻼﻗﻴﺎﺕ ﺍﻟ ﺼ ٍﺔ ﺒﻪ ﺒﻌﺩ ﺃﻥ ﺍ ﹾﻨ ﹶﺘ ﹶﻘﻡ ﻤﻥ ِﺯ ﹾﻨﺯﺍﻨﹶﺔ ﺨﺎ ﺴ ﻭ ﺭ ﹸﺓ ﺍﻟ ﺒﺩﺍﻭﺓ؛ ﻓﻤﺎ ﻜﺎﺩ ﻴﺼل ﺇﻟـﻰ ﻏﹶﺭﻴﻤﻪ .ﻭﺃﺩﺭﻙ ﺍﻟﻤﺼـﻴﺭ ﺍﻟـﺫﻱ ﻙ ﺒـﺎﺒﻥ ﺍﻟﻘﺎﺘِـل، ﺍﻟﻘﺭﻴﺔ ﺤﺘﻰ ﹶﻓﺘﹶـ ﻴﻨﺘﻅﺭﻩ ،ﻭﺍﺴﺘﻁﺎﻉ ﺒ ﹸﻘ ﻭﺘِﻪ ﻭﺭﺸﹶـﺎ ﹶﻗﺔِ ﻤﺤ ﺒﺒﺎ ،ﻴﺭ ﺩﺩﻭﻨﻪ ﻋﻠﻰ ﺍﻟﻤﺴـﺘﻤﻌﻴﻥ ﺤﻜِـ ﻡ ﻋﻠـﻰ ﻭﺒﺎﺜﻨﻴﻥ ﻤﻥ ِﺭﻓﹶﺎﻗِﻪ .ﻭ ﺏ ﻤﻥ ﺴﺠﻨﻪ".ﺍﻟﻭﻟﺩ ﺴﻤِﻪ ﺃﻥ ﻴ ﻬ ﺭ ﺠ ِ ﻓــﻲ ﺍﻟﻤﻭﺍﺴــﻡ ﻭﺍﻷﺴــﻭﺍﻕ. ﺃﺩﻫﻡ ﺍﻟﺸﺭﻗﺎﻭﻱ ﺒﺎﻹﻋﺩﺍﻡ ،ﻭﻟﻜـﻥ ﻼﻗﻪ... ﻜﺎﻥ ﺭﻓﻴﻊ ﺍﻟﻭﺴﻁ ﺴﺒﺤﺎﻥ ﺨ ﱠ ﻭﺍﻟﻤﻭﻀﻭﻉ ﺍﻟﺭﺌﻴﺴﻲ ﻟﻬﺫﺍ ﺍﻟﻤـﻭﺍل ﺤﻤﺔ ﺍﻟﺜﱠﺄﺭ ﻟﻡ ﺘﺒﻠﻎ ﻏﺎﻴﺘﹶﻬﺎ ﺒﻌـﺩ؛ ﻤ ﹾﻠ ﺍﻨﺘﻨﻰ ﻭﺍﻨﻔﺭﺩ ﻓـﻲ ﺍﻟﺯﻨﺯﺍﻨـﺔ ﻫـﺩ ﺍﻟﻘﺼﺼﻲ ﻫﻭ ﺍﻟﺼﺭﺍﻉ ﺒﻴﻥ ﺍﻟﻘﺎﻨﻭﻥ ﺤ ﹾﻜ ﻡ ﺍﻹﻋـﺩﺍﻡ ﻑ ﺨ ﱢﻔ ﹶ لﻭﹸ ل ﺍﻟﻤﺎ ُ ﺨَ ﹶﻓ ﹶﺘﺩ ﱠ ﺭﻜﻨﻬﺎ ...ﻭﻨﻁ ﻤﻥ ﺍﻟﺴﺠﻥ ﺤﺘﻰ ﻟﻡ ﺍﻟﺘﻲ ﻜﺎﻥ ﻓﻴﻬﺎ ﺍﻵﺤـﺎﺩ ﺍﻟﻌـﺎﺩﻴﻭﻥ ل ﺍﻟﻤﻭﺍل ﻭﻜﺎﻥ ﻻﺒﺩ ﺃﻥ ﻴ ﹾﻠ ﹶﺘﻘِﻲ ﺒﻁ ُ ﻭﻴﻨﻁﻠﻕ ﺃﺩﻫﻡ ﺇﻟﻰ ﺍﻟﺼـﺤﺭﺍﺀ، ﻅﻡ ﺍﻟ ﻤﺘﱠﺒﻌـﺔ ﻻ ﻴﺸﻌﺭﻭﻥ ﺒﺄﻥ ﺍﻟـ ﱡﻨ ﹶ ﺒ ﹶﻐﺭِﻴﻤﻪ ﺍﻟﺫﻱ ﻜـﺎﻥ ﻓـﻲ ﺍﻟﺴـﺠﻥ ﺤ ﻡ ﺒﺎﻷﻋﺭﺍﺏ ،ﻭﻴﺘﻨﻜﱠﺭ ﻓﻲ ﺯﻱ ﻭﻴ ﹾﻠ ﹶﺘ ِ ل ﻜﻤﺎ ﻴﺘﺼﻭﺭﻭﻨﻪ ،ﻭﺃﻥ ﺤﻘﱢﻕ ﺍﻟﻌﺩ َ ﹸﺘ ﻴﻘﻀﻲ ﻫﻭ ﺍﻵﺨﺭ ﺍﻟ ﻌﻘﹸﻭﺒـﺔ ﺍﻟﺘـﻲ ﺤﻜﻤﺩﺍﺭ ،ﻭﻴﺠﻤﻊ ﺍﻟﺴﻼﺡ .ﻭﻴﺘﺤﻭل ﺍﻟﺤﻜﻡ ﺭﻫـﻥ ﺒﺄﺼـﺤﺎﺏ ﺍﻟﺠـﺎﻩ ﺤ ِﻜ ﻡ ﺒﻬـﺎ ﻋﻠﻴـﻪ ،ﻭﺃﺨـﺫ ﺃﺩﻫـﻡ ل ﺍﻹﻨﺴـﺎﻨﻲ، ﺠﺴ ﻡ ﺍﻟﺒﻁل ﺍﻟﻤ ﹶﺜ َ ﻭ ﻴ ﺍﻟﺫﻴﻥ ﻜﺎﻨﻭﺍ ﻴﻤﺜﱢﻠﻭﻥ ﺒﻴﺌﺎﺕ ﻤﺨﺘﻠﻔـﺔ ﻲ ل ﺍﻟﺸﱠﻌ ِﺒ ﺨﻴﺎ ُ ﻜﻤﺎ ﻜﺎﻥ ﻴﻁﻤﺢ ﺇﻟﻴﻪ ﺍﻟ ﹶ ﻭﻨﻭﺍﺯﻉ ﻤ ﹶﺘﻀﺎ ِﺭﺒﺔ ،ﻭﺘﻐﻠﱠﺏ ﻋﻠـﻴﻬﻡ ﻻ ﺒﺠﻤـﺎل ﻭﻗﺘﺫﺍﻙ؛ ﻭﻫﻭ ﻴ ﱠﺘﺴِـ ﻡ ﺃﻭ ﹰ ﺠﻤﻴﻌﺎ .ﻭﻜﺎﻥ ﻴﺴﺄل ﹸﻜلﱠ ﻭﺍﺤ ٍﺩ ﻤﻨﻬﻡ ﻜﻐﻴﺭﻫﻡ ﻴﻌﺭﻓـﻭﻥ ﺃﻥ ﺍﻷﺩﻫـﻡ ﻻ ﺍﻟﺼﻭﺭﺓ ،ﻭﺜﺎﻨﻴﺎ ﺒﺄﻨﻪ ﻤـﻥ ﺃُﺴـﺭﺓ ﺠ ﺭ ِﻤﻪ .ﻭﻴﻠﺘﻘـﻲ ﺁﺨـﺭ ﻋﻥ ﺒﹶﻠﺩِﻩِ ﻭ ﺼﺭﻭﻥ ﺍﻟﺩﺍﺭ ،ﻭﻴﺨﺭﺝ ﻴﻜﺫﺏ ،ﻭﻴﺤﺎ ِ ott ob ﺨﺫﹸﻩ ﺒﻌﺽ ﺍﻟﻤﻨﺸﺩﻴﻥ ﻤﻭﻀـﻭﻋﺎ ﻴ ﱠﺘ ِ ﺼ ٍﺔ ﻓﻲ ﺍﻟﻤﺭﺤﻠـﺔ ﺍﻟﻭﻀﻌﻲ ،ﻭﺒﺨﺎ ﺒﺎﻟﺴﺠﻥ ﺴﺕ ﺴﻨﻭﺍﺕ. alk ﻭﺍﻟﺜﱠﺭﺍﺀ. ﺤﺎﺸﻪ". ل ِﺭﻓﹶﺎﻗﹶﻪ ﻓﻲ ﺍﻟﺴﺠﻥ، ﺍﻟﺸﺭﻗﺎﻭﻱ ﻴﻨﹶﺎ ِﺯ ُ ﺨ ِﺭ ﺴﹾ ﻥ ﻓﻲ ﺍﻟ ﺇﻟﻰ ﺯﻋﻴﻡ ﻋﺼﺎﺒﺔ ﻴﺘﹶﻔﻨﱠ ﻑ ﺨﻔﹶﺎ ﹸ ﻤﻥ ﻤﻁﹶﺎ ِﺭﺩِﻴﻪ .ﻭﻴﺒﻠﻎ ﺒﻪ ﺍﻻﺴ ِﺘ ﹾ ﺒﻬﻡ ﺇﻟﻰ ﺩﻋـﻭﺘﻬﻡ ﻓـﻲ ﻤﻨﹾﺯﻟـﻪ. w. ﻭﻴﺴﺘﺠﻴﺏ ﺭﺠﺎل ﺍﻟﺸﺭﻁﺔ؛ ﻷﻨﻬـﻡ ﺍﻟﺨِﺼﺎل ﺍﻟﺘﻲ ﻻﺒﺩ ﻤﻨﻬﺎ ﻟﻔﺘﻰ ﻤﺜﺎﻟﻲ ﻴﺎ ﻟﻠﱢﻲ ﻋﻠﻴﻙ ﺍﻟﻌِﻴﻥ ﺒﺘـﺩﻭﺭ ...ﻴـﺎ ﺠﻤﺎل ،ﺘﻜﺸﻑ ﻋﻥ ﺒﻌﺽ ﺒﺎﺭِﻋﺔ ﺍﻟ ﻤﻥ ﻓﺘﻴﺎﻥ ﺍﻟﺭﻴﻑ ،ﹸﻗ ﺩ ﺭ ﻟﻪ ﺃﻥ ﻴﻜﻭﻥ ﺸِﺒﻪ ﻗﻨـﺩﻴل ﻓـﻲ ِﻭﺴـﻁ ﺍﻟﺒﻴـﺕ ﻤﻔﺎ ِﺘﻨِﻬﺎ ،ﻭﺘﺤﻤل ﺸﹶـ ﻤ ﻌ ﹰﺔ ﻤﻀِـﻴﺌﺔ. ﻼ ﻤﺭﻫـﻭﺏ ﺍﻟ ﹶﻜﻠِﻤـﺔ ﻻ ﻓـﻲ ﺒﻁ ﹰ ﻭﻤﻨﻭﺭ ...ﺇﻥ ﻜﻨﺕ ﻋﻁﺸﺎﻥ ﹶﻟﺠِﻴﺏ ﻭﻴﺴﺄل ﺭﺌﻴﺱ ﺍﻟﺸﺭﻁﺔ ﺍﻟﻔﺘﺎﺓ ﻋـﻥ ﺍﻟﺸﱠﺭﻗﻴﺔ ﻭﺤﺩﻫﺎ ،ﻭﻟﻜﻥ ﻓﻲ ﻤﺼـﺭ ﻟﻙ ﻤﺎﺀ ﺍﻟـﺯﻻل ﻭﺃﺴـﻘِﻴﻙ ...ﻭﺇﻥ ﺍﻷﺩﻫﻡ؛ ﻓﺘﺠﻴﺏ ﺒﻬﺫﻩ ﺍﻟﻌﺒﺎﺭﺓ ﺍﻟﺘـﻲ www.alkottob.com ww ل ﺠﻤـ ﻊ ﻜﹸـ ﱠ ﻏ ِﻨﻴـﺔ .ﻭﻗـﺩ ﻜﺭﻴﻤﺔ ﹶ ل ﺍﻷﻤﺭ ﺒﻐﺭﻴﻤﻪ ﺍﻟﻤﻨﺸﻭﺩ .ﻗﺎل" :ﺘﻌﺎ َ ﻱ ﻓﺘـﺎﺓ ﺍﻷﺩﻫﻡ ﺇﻟﻴﻬﻡ ﻤ ﹶﺘ ﹶﻨ ﱢﻜﺭﺍ ﻓﻲ ِﺯ ٤٢ ﻟﻬﻡ ﺃﻨﺎ ﺍﻷﺩﻫﻡ ،ﻭﺍﺠﻴﺒـﻪ ﻤﻨـﻴﻥ... ـﻲ ـﻭﻥ ﻓـ ﺨﺼﺼـ ـﻪ ﺍﻟ ﻤ ﹶﺘ ﹶ ـﺘﻡ ﺒـ ﺍﻫـ ﻤﻥ ﻜﻠﻤﺔ ﺃﺩﻭﻥ ﺍﻟﺴـﺎ ِﻤﻴﺔ ﺒﻤﻌﻨـﻰ ﻭﺃﻨﺎ ﺍﻷﺩﻫﻡ ﺴﻤﻌﺕ ﺇﻨﻪ ﻴﺠﻤﻊ ﻤـﻥ ﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻟﻔﻭﻟﻜﻠﻭﺭﻴـﺔ .ﻭﻴﻘـﻭل ﻋﺒـﺎ ﺩ ﹸﺓ ﻫـﺫﺍ ﺴﻴﺩ .ﻭﻋﻨﺩﻤﺎ ﺍﻨﺘﻘﻠﺕ ِ ﺍﻟﺭﺠﺎل ﺃﻟﻔﻴﻥ". ﺍﻟﺩﻜﺘﻭﺭ ﻋﺒﺩ ﺍﻟﻌﺯﻴﺯ ﺍﻷﻫﻭﺍﻨﻲ" :ﻟﻘﺩ ﺱ ﺃﻥ ﺍﻹﻟﻪ ﺇﻟﻰ ﺍﻟ ﹶﻐﺭﺏ ﺍﻋﺘﻘﺩ ﺍﻟﻨﱠـﺎ m ل ﻋﻥ ﺍﻟﺼﺩﻕ" :ﻗﺎل ﻁَ ﺨﺭِﺝ ﺍﻟﺒ ﹶ ﻻ ﹸﺘ ﹾ ﺸﺨﺼﻴﺔ ﻤﻌﺎﺼﺭﺓ ﺒﺎﻟـﺫﺍﺕ .ﻭﻗـﺩ ﻲ ﻤـﺄﺨﻭﺫ ﻟﻘﺏ ﻟﻺﻟﻪ ﺘﻤﻭﺯ ﺍﻟﺒﺎﺒﻠ ﻟﻠﺒﻁل ﺍﻟﺸـﻌﺒﻲ؛ ﻓﻴﺠﻌـل ﺃﺩﻫـﻡ ﻋ ِﺔ ﺍﻟﺸﱠﺭﻗﺎﻭﻱ( ﻴﺠﻤﻊ ﺇﻟـﻰ ﺍﻟﺸﱠـﺠﺎ "ﺘﻤﻭﺯ" ﻋﺎﺸﻕ *ﻋﺸﺘﺭﻭﺕ ﺍﻟﻔﺘـﻰ ﺡ ﻭﺍﻟـﺫﱠﻜﺎ ﺀ ﺠﺴـ ِﺩ ﺍﻟﻤـ ﺭ ﻭ ﹸﻗ ﻭ ِﺓ ﺍﻟ ﺠﻤِﻴل ﺃﺩﻭﻨﻴﺱ ،ﺍﻟـﺫﻱ ﻋِﺸـﻘﹶﺘﻪ ﺍﻟ ـﺔ ﺡ ﺍﻟ ﹸﻔﻜﹶﺎ ﻫـ ـل ﻭﺭﻭ ـﺔ ،ﺒـ ﻭﺍﻟ ﻤﺭﻭﻨـ ـﺎﺀ ـﺎ ﺠـ ـﺎ ﻟﻤـ ـﺕ ،ﻁﺒﻘﹰـ *ﺃﻓﺭﻭﺩﻴـ ﻭﺤﺴﻥ ﺍﻟﺤِﻴﻠﹶﺔ؛ ﻓﺈﺫﺍ ﻗِﻴﺱ ﺒﺄﺒﻁـﺎل ﺒﺎﻷﺴﻁﻭﺭﺓ ﺍﻟﻴﻭﻨﺎﻨﻴﺔ .ﻭﻗـﺩ ﹶﻟﻘِـﻲ .co ﻭ ﻴﺴﺎﻴ ﺭ ﺍﻟ ﻤﻭﺍل ﺍﻟﺼﻭﺭﺓ ﺍﻟﻤﺄﻟﻭﻓﺔ ﻭﻓﱢﻕ ﺍﻟﺸﺎﻋﺭ ﺒﺄﻥ ﺠﻌﻠﹶﻪ )ﺃﻱ ﺃﺩﻫـﻡ ﺃﺩﻭﻨﻴﺱ ﺍﺴﻡ ﻟﻺﻟﻪ ،ﻭﻫﻜﺫﺍ ﺃﺼـﺒﺢ ﺍﻟﺸﺭﻗﺎﻭﻱ ﺼﺎﺤﺏ ﺤِﻴﻠﹶـﺔ ،ﺇﻟـﻰ ﺠﺎﻨﺏ ﹸﻗ ﻭﺘِـ ِﻪ ﻭﻤﻀـﺎﺀ ﻋﺯﻴﻤﺘـﻪ ﻭﺠﻤﺎل ﺼﻭﺭﺘﻪ .ﻭﻜﺜﻴﺭﺍ ﻤﺎ ﻴﺼﻭﺭ ﺍﻟﻴﻭﻨﺎﻥ ﻜﺎﻥ ﺃﻗﺭﺏ ﺇﻟﻰ ﺘﻴﺯﻴﻪ ﻤﻨـﻪ ﺨ ﹾﻨﺯِﻴـ ٍﺭ ﺒـﺭﻱ؛ ﻤﺼﺭﻋﻪ ﻋﻠﻰ ﻴﺩ ِ ﻱ ﻱ ﺤﻜﻤﺩﺍﺭ ،ﻭﺃﺨﺭﻯ ﻓﻲ ِﺯ ﻓﻲ ِﺯ ﺇﻟﻰ * ِﻫ ﺭﻗﹾل؛ ﻓـﺎﻷﻭل ﻓﻴـﻪ ﻤـﻊ ﻭﻫﻭ ﻴﻤﺎﺭﺱ ﺍﻟﺼﻴ ﺩ ﻓﻲ ﺍﻟﺠِﺒـﺎل؛ ﻱ ﺨﻭﺍﺠـﺔ، ﻓﺘﺎﺓ ،ﻭﺜﺎِﻟﺜﹶـﺔ ﻓـﻲ ِﺯ ﺍﻟﺸﱠﺠﺎﻋﺔ ﺍﻟﺼﺭﺍﻤﺔ ﻭﺍﻟﻌﺒﻭﺱ ،ﻭﻫﺫﺍ ﻕ ﻓﻨﺒﺘﺕ ﻤﻥ ﺩ ِﻤ ِﻪ ﺍﻟﻤﺴـﻔﻭﺡ ﺸﹶـﻘﹶﺎ ِﺌ ﹸ ﻭﻫﻜﺫﺍ. ﺝ ـﺯﺍ ـﻭ ﺭ ﺍﻟﻤِـ ـﺩ ﻴﺼـ ـﺎ ﺃﻋﺘﻘـ ﻓﻴﻤـ ﺤ ِﺯﻨﹶــﺕ ﺃﻓﺭﻭﺩﻴــﺕ ﺍﻟﻨﱡﻌﻤــﺎﹶﻥ .ﻭ ﺍﻟ ِﻤﺼﺭﻱ ،ﺍﻟﺫﻱ ﻴﻌﺸﻕ ﻤﻊ ﺍﻟﻘﹸـ ﻭ ِﺓ ﻟﻤﺼﺭﻋﻪ ﺤﺯﻨﹰﺎ ﺸـﺩﻴﺩﺍ؛ ﻓﻘـﺭﺭﺕ ott ob ل ﺃﺩﻫﻡ ﺍﻟﺸﺭﻗﺎﻭﻱ ﻤﺘﻨﻜﺭﺍ ﻤﺭ ﹰﺓ ﺍﻟﻤﻭﺍ ُ ﻭﻴﻘﻊ ﺍﻟﺒﻁل ﻓﻲ ﺤﺒﺎﺌِل ﺼـﺩﻴﻕ ﺨﺎﺌِﻥ ،ﺍﺸـﺘﺭﺍﻩ ﺃﻋـﺩﺍﺅﻩ ﺒﺎﻟﻤـﺎل. ﻭﻴﺤﺱ ﺃﺩﻫﻡ ﺒ ﺩ ﹸﻨﻭ ﺴﺎﻋﺘﻪ ﺇﺤﺴﺎﺴـﺎ ﻥ ﻋﻠﻴﻪ ﺃﺭﺒﻊ ﻕ ﺍﻟﺨﺎ ِﺌ ﻏﺎ ِﻤﻀﺎ ،ﻭﻴﻁِﻠ ﹸ ﻱﻻ ﻭﻤﻊ ﺫﻟﻙ ﻓﺈﻥ ﺃﺩﻫﻡ ﺍﻟﺸﱠـﺭﻗﺎﻭ ﻴ ﹶﺘﺨﹶــﺎﺫﹶل ،ﻭﻴﻘــﺩ ﻡ ﺍﻟﻤﻭﻋﻅــﺔ ﺨﹶﻠﺼﺔ ﻤﻥ ﺍﻟﻤﻭﻗﻑ؛ ﻓﻴﻘـﻭل: ﺴ ﹶﺘ ﹾ ﺍﻟ ﻤ ﺘﺄﻤﻨﺵ ﻟﺼﺎﺤﺏ ﺩﻨﻴﺎ ﻏـﺭﻭﺭﺓ... ـﺏ ـﺎﺤﺏ ﺇﻻ ﻴﺠﻴـ ـﻴﺵ ﻭﻻ ﺼـ ﻤﻔـ ﺍﻟ ﻤ ﻌ ِﻨﻴﻴﻥ ﺒﺎﻷﺩﺏ ﺍﻟﺸﻌﺒﻲ ﺇﻟـﻰ ﺃﻥ ﻤﻭﺍل ﺃﺩﻫﻡ ﺍﻟﺸﺭﻗﺎﻭﻱ ﻤﻥ ﺘـﺄﻟﻴﻑ ﺃﺩﻴﺏ ﻤ ﻌﻴﻥ ،ﻭﻟﻴﺴﺕ ﻫﻨﺎﻙ ﻗﺭﻴﻨـﺔ ﺠ ﻤ ﻊ َﺃﺩﻭﻥ ،ﺍﻹﻟﻪ ﺍﻟﺴﺎ ِﻤﻲ ،ﻭﻫﻭ ﻲ ﺍﻟـﺫﻱ ﻻ ﻴﺠـﻭﺯ ﺨ ِﻔ ﺍﺴﻡ ﺍﻹﻟﻪ ﺍﻟ ﹶ ﺍﻟﱡﻨﻁﹾﻕ ﺒﻪ ،ﻭﻤﻥ ﻫﻨﺎ ﺍﺴﺘﺒﺩل ﺒﻪ ﺍﺴﻡ َﺃﺩﻭﻨﹶﺎﻱ .ﻭﻜﺎﻥ ﺍﻻﺴﻡ ﺃﺩﻭﻥ ﻻ ﻴﺯﺍل ﺸﺎﺌِﻊ ﺍﻻﺴﺘﻌﻤﺎل ﻓﻲ ﻋﻬﺩ ﺍﻟﻤﻌﺒـﺩ ـﻲ ِﺒﺩﺍﻴـ ِﺔ ﺍﻟﻌﺼـ ِﺭ ـﻲ .ﻭﻓـ ﺍﻷﺜﻴﻨـ ل ﻫـﺫﺍ ﻲ ﺃﺼﺒﺢ ﺍﺴـﺘﻌﻤﺎ ُ ﺴ ِﺘ ﺍﻟﻬﻠﻴﻨ ﺍﻻﺴﻡ ﻤ ﹾﻘﺼﻭﺭﺍ ﻋﻠﻰ ﺍﻟﻤﻌﺒﺩ ،ﺃﻤـﺎ ﻥ ﺍﻷﺨـﺭﻯ ﻓﻘـﺩ ﻜـﺎﻥ ﻷﻤﺎ ِﻜ ِ ﻓﻲ ﺍ َ ﺍﻟ ﹶﻜﻬ ﹶﻨ ﹸﺔ ﻤﻀﻁﺭﻴﻥ ﺇﻟﻰ ﺍﺴﺘﻌﻤﺎل ﺍﺴﻡ "ﺃﺩﻭﻨﺎﻱ". ﹸﺘ ﺭﺠﺢ ﻨِﺴﺒ ﹶﺔ ﻫـﺫﺍ ﺍﻟﻤـﻭﺍل ﺇﻟـﻰ ﺃﹶﺩﻭﻧِﻴﺲ www.alkottob.com ﺍﻷﺨﺭﻯ؛ ﻓﻴﻘﻀـﻴﻬﺎ ﻓـﻲ ﺍﻟﻌـﺎﹶﻟﻡِ ﻲ .ﻭﻗﺼﺔ ﻭﻓﺎﺓ ﻫـﺫﺍ ﺍﻹﻟـﻪ ﺍﻟﺴﻔِﻠ ﻭ ﺒ ﻌ ِﺜ ِﻪ ﺘﺭﻤﺯ ﺇﻟﻰ ﺫﺒﻭل ﺍﻟﻨﺒﺎﺕ ﻓـﻲ ﻓﺼل ﺍﻟﺨﺭﻴﻑ ،ﻭﺍﺯﺩﻫـﺎﺭﻩ ﻓـﻲ ﻓﺼل ﺍﻟﺭﺒﻴﻊ؛ ﻭﻫﻲ ﻋﻘﻴﺩﺓ ﹶﺘﺘﹶـ ﺭﺩﺩ ﻓﻲ ﻜل ﻤﻜﺎﻥ ﻤﻥ ﻏﺭﺏ ﺁﺴﻴﺎ ﺇﻟـﻰ ـﻡ ـﻁ ،ﺜـ ـﺭ ﺍﻟﻤﺘﻭﺴـ ـﺎﻁﻕ ﺍﻟﺒﺤـ ﻤﻨـ ﺍﻨﺘﺸﺭﺕ ﻓﻲ ﺒﻼﺩ ﺃﻭﺭﺒﺎ ﺤﺘﻰ ﺒﻠﻐﺕ ﺍﻟﺠﺯﺭ ﺍﻟﺒﺭﻴﻁﺎﻨﻴﺔ. ww ﺍﻷﺫﻯ ﺒﺈﺩﻴﻪ .ﻭﻗﺩ ﺫﻫـﺏ ﺒﻌـﺽ ADONAI w. "ﺃﻤﺎﻨﺔ ﻴﺎ ﻤﻥ ﻋﺸـﺕ ﺒﻌـﺩﻱ ﻤـﺎ ﻤﻥ ﻜل ﻋﺎﻡ ،ﺃﻤﺎ ﺍﻷﺸـﻬﺭ ﺍﻟﺴـﺘﺔ alk ﺭﺼﺎﺼﺎﺕ ﻭﻫﻭ ﻴﻘﺩﻡ ﺇﻟﻴﻪ ﺍﻟ ﻌﺸﹶﺎ ﺀ. ﻑ". ﻁ ﹶ ل ﻭﺍﻟﱡﻠ ﹾ ﺠﻤﺎ َ ﺍﻟ ﺃﺩﻭﻧﺎﻱ ﺍﻵﻟﻬﺔ ﺃﻥ ﻴﻤﻀﻲ ﻤﻌﻬﺎ ﺴﺘﺔ ﺃﺸﻬﺭ ﻭﻤﻥ ﺃﻗﺩﻡ ﻤﺎ ﻴﺭﻭﻯ ﻋﻥ ﺃﺩﻭﻨﻴﺱ ﺃﻥ ﻤِﻴﺭﺍ ﺃﻭ ﺴﻤﻴﺭﻨﺎ ﺍﺒﻨﺔ ﺜﻴﺎﺱ ﻤﻠﻙ ﺃﺸﻭﺭ ﺭﺍﻭﺩﺘﻬﺎ ﺭﻏﺒ ﹲﺔ ﻋﺎ ِﺭﻤﺔ ﻓـﻲ ADONIS ﺠ ﻊ ﺃﺒﺎﻫـﺎ ﺒﺘـﺄﺜﻴﺭ ﻤـﻥ ﺃﻥ ﹸﺘﻀﺎ ِ ٤٣ ﹶﺘ ﻤﺠِﻴﺩِﻫﺎ ،ﻭﺍﺤﺘﺎﻟﺕ ﻋﻠـﻰ ﺇﻁﻔـﺎﺀ ل ﺃﺩﻭﻨﻴﺱ ،ﻭﺃﺼـﺩﺭ ﺨ ﹾﻨﺯِﻴﺭ ﻟِﻴ ﹾﻘ ﹸﺘ َ ﺍﻟ ِ ﺏ ﺍﻟﺒﺤـﺭ. ﺼ ﻭ ﺠﻬﺔ ﺍﻟﺤﻤﺭﺍﺀ ﺍﻟ ﻤ ﱠﺘ ِ ﺸ ﻬﻭﺘﻬﺎ ﺍﻟﻤﺤﺭﻤـﺔ ﻓـﻲ ﺍﻟﻅﱠـﻼﻡ ﹶ ﺢ ﻷَﺩﻭﻨـﻴﺱ ﺴ ﻤ ﺯﻴﻭﺱ ﺤﻜﻤﺎ ﺒﺄﻥ ﻴ ﻭﻜﺎﻥ ﺍﻻﻋﺘﻘﺎﺩ ﺃﻥ ﻫﺫﻩ ﺍﻟﺤﻤﺭﺓ ﻫﻲ ﺴ ﹾﻜ ِﺭ ﺃﺒﻴﻬﺎ ﺍﻟ ﻌﺠﻭﺯ. ﻤ ﹾﻨﺘﹶﻬﺯﺓﹰ ﻓﺭﺼﺔ ﺒﺎﻟﻌﻭﺩﺓ ﺇﻟﻰ ﻫﺫﺍ ﺍﻟﻌﺎﻟﹶﻡ ﻟﻴﻤﻀﻲ ﻓﻴﻪ ﺠﺴـﻡ ﻅﹸﻬـﻭ ﺭ ﺩِﻤﺎﺀ ﺃﺩﻭﻨﻴﺱ .ﻭ ﻴ ﺍﺴﺘﺸﺎﻁ ﻏﹶﻀﺒﺎ ﻭ ﻫ ﻡ ﺒﻘﺘﻠﻬﺎ ،ﻭﻟﻜﻨﻬﺎ ﻭﻗﺩ ﺍﻨﺘﺸﺭﺕ ﻋِﺒﺎ ﺩ ﹸﺓ ﺃﺩﻭﻨﻴﺱ ﻓﻲ ﺴﻭﺭﻴﺔ ﻋﻨﺩ ﺤﻠﻭل ﻋﻴـﺩ ﺍﻟ ِﻔﺼـﺢ ﺒﺎﺒِل ﻭﺴﻭﺭﻴﺎ ﻋﻥ ﻁﺭﻴﻕ ﻓِﻴﻨﻴﻘﻴـﺎ، ﻋﻭﺩﺘﻪ ﺇﻟﻰ ﺍﻟﺤﻴﺎﺓ ،ﻭﻤﻥ ﺜﹶـ ﻡ ﻴـﺘﻡ ﻭﻤﻥ ﻗﺒﺭﺹ ﺇﻟﻰ ﺒـﻼﺩ ﺍﻟﻴﻭﻨـﺎﻥ؛ ﺴﺭِﻫﺎ ﻓـﻲ ﺤـﺩﻭﺩ ﺘﻤﺜﻴل ﺍﻟ ِﻘﺼﺔ ﺒَﺄ ﺤﻴﺙ ﺍﺴﺘﻘﺭﺕ ﻋِﺒﺎ ﺩﺘﹸﻪ ﻓﻲ ﺍﻟﻘـﺭﻥ ﻋﺸﺭﺓ ﺃﻴﺎﻡ ﺘﻘﺭﻴ ﺒﺎ .ﻭﻜﺎﻨﺕ ﺍﻟﺸﱠﻌﺎ ِﺌ ﺭ m ﻏﺒـﺕ ﻋـﻥ ﺃﻓﺭﻭﺩﻴﺕ ،ﺒﻌﺩ ﺃﻥ ﺭ ِ ﺴﺩ ﻓﻲ ﺼﻭﺭﺓ ﻫـﺫﺍ ﻭﻴﻘﺎل ﺇﻨﻪ ﹶﺘﺠ ﻴﺠﻌل ﻨﻬﺭ ﺒﻴﺒﻠﻭﺱ ﻴﺯﺨﺭ ِﺒ ِﻤﻴﺎﻫِـ ِﻪ ﻭﻋﻨﺩﻤﺎ ﺃﻓﺎﻕ ﺃﺒﻭﻫﺎ ﻤـﻥ ﺴـ ﹾﻜ ﺭ ِﺘ ِﻪ .co ﻓﺭﺕ ﻤﻨـﻪ ﻭﺍﺤﺘﻤـﺕ ﺒﺎﻵﻟﻬـﺔ؛ ﻓﺄﺤﺎﻟﻭﻫــﺎ ﺇﻟــﻰ ﺸــﺠﺭﺓ ﺍﻟﻤــﺭ )ﺍﻟﺭﺍﺘﻴﻨﺞ( ﻭﻤﻥ ﻫﺫﻩ ﺍﻟﺸﱠﺠﺭﺓ ﻭﻟِـ ﺩ ﺃﺩﻭﻨﻴﺱ .ﻭﻤﻌﻅﻡ ﺍﻟﻘﺼﺹ ﺘﹶـ ﺭﻭِﻱ ﺝ ﺸﻘﺎﺌﻕ ﺍﻟﻨﻌﻤﺎﻥ ﺍﻟﺤﻤﺭﺍﺀ ﻓﻲ ﻤﺭﻭ ِ ﺠﺎ ِﻨﺒﺎ ﻤﻥ ﻜل ﻋﺎﻡ. ﻕ ﻟِﺤـﺎ ﺀ ﻫـﺫﻩ ﺸﱠ ﺨ ﹾﻨﺯِﻴﺭﺍ ﺒﺭﻴﺎ ﹶ ﺃﻥ ِ ﻴﻌﺒﺩﻭﻨﻪ ﺃﻥ ﺃﺩﻭﻨﻴﺱ ﻴ ﹾﻠﻘﹶﻰ ﻤﺼﺭﻋﻪ ﻨﻔﺴﻪ ،ﺃﻤﺎ ﻓﻲ ﺃَﺭﺠﻭﺱ؛ ﻓﻘﺩ ﻜﺎﻨﺕ ﺍﻟﺸﺠﺭﺓ؛ ﻓﺒـﺭﺯ ﻤﻨﻬـﺎ ﺍﻟﻁﱢﻔـل، ﻱ ﻓﻭﻕ ل ﻋﺎﻡ ﻋﻠﻰ ﻴﺩ ﺨِﻨﺯِﻴ ٍﺭ ﺒ ﺭ ﻜﱠ ﺨﻨﹶﺎﺯِﻴ ﺭ ﻗﹸﺭﺒﺎﻨﹰﺎ ﻷﻓﺭﻭﺩﻴـﺕ ﺤ ﺭ ﺍﻟ ﹶ ﺘﹸ ﹾﻨ ﻭﻋﺜﺭﺕ ﻋﻠﻴﻪ ﺃﻓﺭﻭﺩﻴـﺕ ﻭ ﹸﻓ ِﺘﻨﹶـﺕ ﻲ؛ ﺴﻔِﻠ ﺍﻟﺠﺒل ،ﻭﻴﺫﻫﺏ ﺇﻟﻰ ﺍﻟﻌﺎﹶﻟﻡِ ﺍﻟ ﺭﻤﺯﺍ ﻟﻌﻼﻗﺘﻬﺎ ﺒﺄﺩﻭﻨﻴﺱ. ﺠﻤﺎِﻟﻪِ؛ ﻓﻭﻀـﻌﺘﻪ ﺩﺍﺨـل ﺒﺴﺤﺭ ﻓﺘﻨﻁﹼﻠﻕ ﺤﺒﻴﺒﺘﻪ ﺍﻹﻟﻬﺔ ﺒﺎﺤِﺜ ﹰﺔ ﻋﻨـﻪ، ott ob ﺍﻟﺨﺎﻤِﺱ ﻗﺒل ﺍﻟﻤﻴﻼﺩ .ﻭﻴ ﻌ ﹶﺘﻘِ ﺩ ﻤـﻥ ﻓﻲ ﺍﻹﺴﻜﻨﺩﺭﻴﺔ ﹸﺘﻘﹶﺎ ﻡ ﻋﻠـﻰ ﺍﻟﻨﱠﺤـﻭ ﻱ ﻟﻪ ﺩﻻﻟﺔ ﺨﺎﺼﺔ ﺨ ﹾﻨﺯِﻴ ﺭ ﺍﻟ ﺒ ﺭ ﻭﺍﻟ ِ *ﺒﺭﺴﻴﻔﻭﻨﻲ ﻟﺘﻌﻨﻰ ﺒﻪ ،ﻓﻔﺘﻨﺕ ﺒـﻪ ﹶﺘ ﹶﺘ ﻌﺭﺽ ﻫـﺫﻩ ﻷﺸـﻌﺔ ﺍﻟﺸـﻤﺱ ﻟِﺤﺎ ﺀ ﺍﻟﺸﱠﺠﺭﺓ ﺍﻟﺘﻲ ﺨـﺭﺝ ﻤﻨﻬـﺎ ﻫﺫﻩ ﺒﺩﻭﺭﻫﺎ ﻓﻴﻤﺎ ﺒﻌـﺩ ،ﻭﻋـﺭِﺽ ﺍﻟﺤﺎﺭِﻗﺔ ،ﻭﻻ ﺘﻨﺸﺄ ﺃﻱ ﻋﺎﻁﻔﺔ ﺤﺏ ﺃﺩﻭﻨﻴﺱ ،ﻭﻫﻭ ﺍﻟﺫﻱ ﻗﺘل ﺍﻟ ﹶﻔﺘﹶﻰ ﻓﻲ ﺍﻷﻤﺭ ﻋﻠﻰ ﺯﻴﻭﺱ؛ ﻓـﺄﻤﺭ ﺒـﺄﻥ ـﺭ ـﻰ ،ﻭﻻ ﺘﹸﺯﻫـ ـﺭ ﻭﺃﻨﺜـ ـﻴﻥ ﺫﻜـ ﺒـ ﻁ ﺨِﻠ ﹸ ﺍﻟﻐﺎﺒﺔ .ﻭﺠﻤﻴﻊ ﺍﻟﻌﻘﺎﺌﺩ ﺍﻟﻘﺩﻴﻤﺔ ﹶﺘ ﹾ ﻴﻘﻀﻲ ﺃﺩﻭﻨﻴﺱ ﺃﺭﺒﻌﺔ ﺃﺸﻬﺭ ﻜـل ﺍﻟﻨﱠﺒﺎﺘﺎﺕ ﻭﻻ ﻴﻭﻟﹶﺩ ﻤﺨﻠﹸﻭﻕ .ﻭﻓﻲ ﻜل ﺃﺨﺭﻯ ﻤﻊ *ﺒﺭﺴﻴﻔﻭﻨﻲ ﻓﻲ ﻫﺎﺩﻴﺱ ﺍﻟﻴﻭﻨﺎﻥ ﺃﺩﻭﻨﻴﺱ ،ﻭﻴﻠﻘﻴﻥ ﺒﺘﻤﺜﺎل ﻟﻪ ﺍﻟﻌﺎﻟﹶﻡ ﺍﻟﺴﻔﻠﻲ ،ﺃﻤﺎ ﺍﻷﺸﻬﺭ ﺍﻷﺭﺒﻌﺔ ﻓﻲ ﺍﻟﺒﺤﺭ ﻋﻠـﻰ ﻁـﻭل ﺤـﺩﺍﺌِﻕ ﻁﻠﹶﻕ ﺍﻟﺤﺭﻴﺔ ﻓـﻲ ﺃﻥ ﺍﻟﺒﺎﻗﻴﺔ؛ ﻓﻠﻪ ﻤ ﹾ ﻥ ﺃُﻏﻨﻴـﺔ ﻟﻁﻴﻔـﺔ ﺸ ﺩ ﺃﺩﻭﻨﻴﺱ ،ﻭ ﻴ ﹸﻨ ِ ل ﻋـﺎﻡ ﻴ ﹾﻨﺤـ ﺭ ﺍﻟﻨﺴﺎﺀ .ﻭﻓـﻲ ﻜـ ِ ﻴﻤﻀﻴﻬﺎ ﻜﻤﺎ ﻴﺸﺎﺀ. ل ﻓﻲ ﻋﻭﺩﺘـﻪ ،ﻭﺒﻌـﺩ ﺨ ﺭ ﺒﺎﻷﻤ ِ ﹶﺘ ﺯ ﹶ ﻕ ﺇ ﺭﺒﺎ ﻭ ﻴ ْﺅ ﹶﻜلُ ﻱ ﻭ ﻴ ﻤﺯ ﹸ ﺨ ﹾﻨﺯِﻴ ﺭ ﺍﻟ ﺒ ﺭ ﺍﻟ ِ ﻋﺎﻡ ﻤﻊ ﺃﻓﺭﻭﺩﻴﺕ ،ﻭﺃﺭﺒﻌﺔ ﺃﺸـﻬﺭ alk ﺼﻨﺩﻭﻕ ﺼﻐﻴﺭ ،ﻭﺃﻋﻁﺘـﻪ ﺇﻟـﻰ ﻭﺒﻴﻨﻤﺎ ﻫﻲ ﻏﺎﺌﺒـﺔ ﻋـﻥ ﺍﻷﺭﺽ ﻕ ﻓﻲ ﻫﺫﻩ ﺍﻟ ﻌﻘِﻴﺩﺓ .ﻓﻬﻭ ﺍﻟـﺫﻱ ﺸﹶـ ﱠ ﻋﺎﻡ ﺘﻨﺩﺏ ﻨﺴﺎﺀ ﺁﺴﻴﺎ ﺍﻟﻐﺭﺒﻴﺔ ﻭﺒﻼﺩ ﺒﻴﻥ ﻫﺫﺍ ﺍﻟﺨِﻨﺯِﻴ ِﺭ ﺍﻟﺒـﺭﻱ ﻭﺒـﻴﻥ ﺃﺩﻭﻨﻴﺱ ﻨﻔﺴﻪ؛ ﻓﻴﺒﺩﻭ ﻓﻲ ﺇﺤﺩﻯ ﻫﺫﻩ ﺍﻟﻌﻘﺎﺌﺩ ﺃﺩﻭﻨﻴﺱ ﻓﻲ ﺼﻭﺭ ِﺓ ﺨِﻨﺯﻴ ٍﺭ w. ﺒﺭﻱ ﻤﻘﺩﺱ ﻴﻌﺒـﺩﻩ ﻓﺭﻴـﻕ ﻤـﻥ ﺴ ﻭ ﹸﺓ ﻓـﻲ ﻕ ﺍﻟﻨﱢ ﺴ ﹶﺘ ﹾﻐ ِﺭ ﹸ ﻟﹶﺤﻤﻪ ،ﺒﻴﻨﻤﺎ ﹶﺘ ﻜﺎﻥ ﺃﺩﻭﻨﻴﺱ ﻤﻨﻁﻠﻘﹰﺎ ﻓـﻲ ﺍﻟﺼـﻴﺩ ﺇﻟﻰ ﺍﻷﺭﺽ ﻤﺠﺴﻤ ﹰﺔ ﻓـﻲ ﹶﺘﻔﹶـﺘﱡﺢ ﺍﻟﻨﱡﻭﺍﺡ ﻋﻠﻴﻪ ،ﺜﻡ ﻴﺤﺘﻔﻠﻥ ﺒﻌﺩ ﺃﻴـﺎﻡ ﺨﻨﹾﺯﻴ ﺭ ﺒـﺭﻱ .ﻭﺘـﺫﻫﺏ ﻋ ﻪ ِ ﺼ ﺭ ﺸﻘﹶﺎﺌﻕ ﺍﻟﻨﱡﻌﻤﺎﻥ .ﻭﺤﺩﺩ ﻤﻭﻋﺩ ﻫـﺫﺍ ﹶ ﺴﺩﺍ ﻓـﻲ ﺠ ﻗﻠﻴﻠﺔ ِﺒ ﺒ ﻌﺜِﻪ ﺇﻟﻰ ﺍﻟﺤﻴﺎﺓ ﻤ ﻕ ﺭﻭﺍﻴﺔ ﺃﺨـﺭﻯ ﺇﻟـﻰ ﺃﻥ ﻋﺎﺸِـ ﹶ ﺍﻻﺤﺘﻔﺎل ﻓـﻲ ﺒﻴﺒﻠـﻭﺱ ﺒﻔﻴﻨﻴﻘﻴـﺎ؛ ﺨ ﹾﻨﺯِﻴ ٍﺭ ﻭﻟﻴ ٍﺩ .ﻭﺫﻫﺏ ﺒﻌﺽ ﺼﻭﺭﺓ ِ ﺃﻓﺭﻭﺩﻴﺕ ﺍﻟﺴﺎﺒﻕ ﻫﻭ ﺍﻟﺫﻱ ﻗﺘﻠـﻪ، ﺒﺤﻴﺙ ﻴﺘﻔﻕ ﻤﻊ ﹶﻨﺴِﻴﻡ ﺍﻟﺠﺒل ﺍﻟـﺫﻱ ﺍﻟﻜﺘﺎﺏ ﻓﻲ ﺍﻟﻘﺭﻥ ﺍﻟﻌﺎﺸﺭ ﺇﻟـﻰ ﺃﻥ www.alkottob.com ww ﻭﺘﺫﻫﺏ ﺍﻷﺴﻁﻭﺭﺓ ﺇﻟﻰ ﺃﻨﻪ ﺒﻴﻨﻤﺎ ﻤﺭﻭﺭ ﺴﺒﻌﺔ ﺃﻴﺎﻡ ﻴﺒﺘﻬﺠﻥ ﺒﻌﻭﺩﺘـﻪ ٤٤ ﺤ ﺭ ﺍﻟﻘﻤﺢ ﻋﻨﺩ ﺍﻟﻔﻴﻨﻴﻘﻴﻴﻥ؛ ﻭﻤﻥ ﹶﺜ ﻡ ﻴ ﹾﻨ ﺏ ﻴ ﹶﻘﺴﻤﻭﻥ ﻜﺘﺎﺒﻪ "ﺍﻟﻘﺎﻨﻭﻥ" ﺇﻥ ﺍﻟﻌﺭ ﺒﻜل ﺸـﻲﺀ ،ﻭﻤﻨـﻪ ﹶﺘ ﹶﺘﻭﻟﱠـﺩ ﻜﹸـل ﻥ ﻋِﻅﺎﻤﻪ ﻭ ﹸﺘ ﹶﺫﺭ ﻓﻲ ﺤ ﻁ ﺍﻟﺨﻨﺯﻴﺭ ﻭﺘﹸ ﹾ ﺍﻷﺩﻭﻴﺔ ﺇﻟﻰ " ﻤﻔﹾـ ﺭ ﺩ ٍﺓ" ﻭ" ﻤ ﺭﻜﱠﺒـﺔ" ﺍﻟﻜﺎ ِﺌﻨﹶﺎﺕ ،ﻭﻫﻭ ﻻ ﻴﺭﻯ .ﻭﻤﻊ ﺫﻟﻙ ﺍﻟﺤﻘﻭل ﻹﺨﺼﺎﺒﻬﺎ. ﻁِﻠﻘﹸﻭﻥ ﻋﻠـﻰ ﺍﻷﺨﻴـﺭﺓ ﺍﺴـﻡ ﻭ ﻴ ﹾ ﻓﺈﻨﻪ ﻨﹸﻭ ﺭ ﺨﺎﻟِﺹ .ﻭﺒﻭﺫﹶﺍ ﻓﻲ ﺤﺎﻟـﺔ ﻭ ﹶﺘ ﹾﻨ ﹶﻘﺴِ ﻡ ﺍﻷﺩﻭﻴ ﹸﺔ ﺍﻟﻤﺭﻜﱠﺒـﺔ ﺇﻟـﻰ ﻭﺇﻥ ﻜﺎﻨﻭﺍ ﻻ ﻴﺘﻀﺭﻋﻭﻥ ﺇﻟﻴﻪ ﻭﻫﻡ ﻁﺒﺔ ﻭﻴﺎ ِﺒﺴﺔ .ﻭﻫﺫﺍ ﺤﺎﺭﺓ ﻭﺒﺎ ِﺭﺩﺓ ﻭ ﺭ ﹾ ﻴﺼﻠﱡﻭﻥ ،ﻭﻤﻊ ﺫﻟﻙ ﻓـﺈﻥ ﺍﻟﻼﱠﻤـﺎ ﺍﻟﺘﱠﻘﺴﻴﻡ ﻴﻁﺎﺒِﻕ ﺃﻗﺴﺎﻡ ﺍﻟﺤﺭﺍﺭﺓ ﻓـﻲ ﺍﻟﺒﻭﺫﻴﻴﻥ ﻓﻲ ﺍﻟﺘﺒﺕ ﻴﺴﺘﻐﻴﺜﻭﻥ ﺒـﻪ ﺴ ِﻡ ﺍﻹﻨﺴﺎﻨﻲ ،ﻭﺘﻨﻘﺴﻡ ﺍﻷﺩﻭﻴـﺔ ﺠ ﺍﻟ ِ ﺒﺼﻔﺔ ﻤﻨﺘﻅﻤﺔ .ﻭُﺃﻀِﻴﻑ ﻓﻲ ﺍﻟﻘﺭﻥ m ﺘﻤﻭﺯ ﺃﺩﻭﻨﻴﺱ ﻟﻪ ﻋﻼﻗـﺔ ﺒِـﺭﻭﺡ ﺠ ﻤ ﻊ ﺩﻭﺍﺀ ،ﻭﻴﻘﻭل ﺍﺒﻥ ﺴﻴﻨﺎ ﻓﻲ ﻋﻠِـﻴﻡ ﺼﻴِﻥ ﻭﺍﻟﻴﺎﺒﺎﻥ؛ ﻭﻫﻭ ﻜﺎﺌﻥ ﺍﻟ ﻏﻠﹶـﺔ ﻓـﻲ ﻭﻜﺎﻨﺕ ﺍﻟﺸﱠﻌﺎ ِﺌ ﺭ ﺍﻟﻤﻭ ِ .co ﺍﻟ ِﻘﺩﻡ ﺘﹸﺠﺴﻡ ﺍﻹﻟﻪ ﺍﻟﻤﻘﺘﻭل ﺒﻀـﺤﻴﺔ ﺒﺭﻴﺔ ﻴﻘﻁﻊ ﺠﺴﻤﻬﺎ ﺇﻟـﻰ ﺃﺠـﺯﺍﺀ، ﻭﺘﹸﺩﻓﹶﻥ ﻋﻠﻰ ﻓﺘﺭﺍﺕ ﻓـﻲ ﺍﻟﺤﻘـل، ﺼﻭ ﺭ ﺃﻨﻬﺎ ﺘﻌﻭﺩ ﺇﻟﻰ ﺍﻟﺤﻴﺎﺓ ﻤﻊ ﻭ ﻴ ﹶﺘ ﺍﻟ ﻤ ﹾﻔﺭﺩﺓ ﺇﻟﻰ ﺃﻭﻟـﻰ ﻭﺜﺎﻨﻴـﺔ ﺘﺒﻌـﺎ ﺼ ﻭ ﺭ ﺠﺩﻴﺩ ﻴﺘﻀـﻤﻥ ﺃﻥ ﺍﻟﻌﺎﺸﺭ ﹶﺘ ﻟﻤﺯﺍﺠﻬﺎ ﺍﻟﻁﺒﻴﻌﻲ. ﺨﻠﹶﻕ ﺒﺨﻤﺴـﺔ ﺃﻋﻤـﺎل ﺁﺩﻱ ﺒﻭﺫﺍ ﹶ ott ob ﺍﻟﻤﺤﺼﻭل. ﻷ ﹾﻗﺭﺒﺎﺫِﻴﻥ. ﺍَ "ﻨﺭﻓﺎﻨﺎ" ،ﻭﻴﻌﺒﺩﻩ ﺍﻟﻨﺎﺱ ﻓﻲ ﺍﻟ ﻬﻴﺎﻜِل، ﺠ ﺭ ِﺩ ﻭﻫﺫﺍ ﻴﺭﻓﻊ ﺍﻷﺴﻁﻭﺭﺓ ﻤﻥ ﻤ ﻭﺍﻟﺨﹶﻭﻑ ﻤﻨﻪ ،ﺇﻟﻰ ﺭﻤ ٍﺯ ﻟﻠﺘﻀﺤﻴﺔ ﺙ ﺼ ﻴ ﺩﻟﹶﺔ" ﺇﻥ ﻟﻜل ﻨﺒﺎﺕ ﻤﻥ ﺤﻴـ ﹸ ﺍﻟ ـﺎ ـﻭﺒﻬﻴﺎ ،ﺭﺍﺘﻨـ ـﺎﻨﺎ ،ﺃﻜﺼـ )ﻓﻴﺭﻭﺸـ ﺒﺎﻹﻟﻪ ﻤﻥ ﺃﺠل ﺍﻹﻨﺴﺎﻥ ،ﺜﻡ ﺒ ﻌﺜِـﻪ ﻋ ِﺭﻓﹶـﺕ ﻁﺒﻴﺔ؛ ﺴﻭﺍﺀ ﺍﻟﻨﻅ ﺭ ﻗﻴﻤﺔ ِ ﻼ ﺃﻭ ﻟـﻡ ﺘﹸﻌـﺭﻑ. ﻫﺫﻩ ﺍﻟﻘِﻴﻤﺔ ﻓِﻌ ﹰ ﺴﺎﻤﺒﻬﺎﭭﺎ ،ﺃﻤﻴﺘﺎﺒﻬﺎ ،ﺃﻤﻭﺠﻬﺎ ﺴﻴﺩﺫﺍ، ﻭﺃﺤﻴﺎﻨﹰﺎ ﻓﺎﺠﺭﺍ ﺴﺎﺘﻔﺎ( ﺍﻟﺫﻴﻥ ﺨﻠﻘـﻭﺍ ﺍﻹﻨﺴﺎﻥ ﻓﻲ ﺍﻟﺤﻴﺎﺓ. ﺏ ﺍﻟﺸﻌﺒِﻲ ﻁ ل ﺍﻟﻤﺸﺘ ِﻐﻠﹸﻭﻥ ﺒﺎﻟ ﱢ ﻭﺍﺴﺘﻐ ﱠ ﺨﻤﺴﺔ ﻤﻥ ﺍﻟﺒﻭﺫﻴﺴـﺎﺘﻔﺎ ﻟﻠﺘﺄﻤـل، ﻭﺇﺫﺍ ﻜﺎﻥ ﺃﺩﻭﻨﻴﺱ ﻴﻌـﺩ ﺼِـ ﹾﻨﻭﺍ ﺤﻠﹸـﻭﺍ ﺒﻌﺽ ﻫﺫﻩ ﺍﻟﻤﻌﻠﻭﻤـﺎﺕ ،ﻭ ﹶﻨ ﻓﺄﻭﺠﺩﻭﺍ ﺒﺩﻭﺭﻫﻡ ﺍﻟﻌﻭﺍﻟﻡ ﺍﻟﺨﻤﺴـﺔ ﻟﺘﻤﻭﺯ؛ ﻓﺈﻥ ﺍﻟﺘﱠﺭﻜﻴﺯ ﻋﻠﻰ ﻤﺼﺭﻋﻪ ﻋﻠﻴﻬﺎ ﺃﻭﺼﺎﻓﹰﺎ ﺃﺨﺭﻯ ،ﻭ ﻤ ﺯﺠﻭﻫـﺎ ﻓﻲ ﻫﺫﺍ ﺍﻟ ﹶﻜﻭﻥ ،ﺍﻟﺘﻲ ﻨﺴﻜﻥ ﻤﻨﻬـﺎ ﻭﺒﻌﺜﻪ ﻴﻀﻊ ﺃﺴﻁﻭﺭﺘﻪ ﻤﻊ ﺃﺴﺎﻁﻴﺭ ﺒﻜﺜﻴﺭ ﻤﻥ ﺍﻷﺩﻋﻴﺔ ﻭﺍﻟﺭﻗﻰ. ﺇﻟﻰ ﺍﻟﺤﻴﺎﺓ ﻟﻜﻲ ﻴﺭﻤﺯ ﺇﻟـﻰ ﺃﻤـل ﺒﺩﺍ ِﺌﻴﺔ ﻤﺘﻌﺩﺩﺓ ﺘﺭﻤﺯ ﺇﻟﻰ ﺍﻟﺨﺼـﺏ ﻭﺍﻟﻨﻤﺎﺀ .ﻭﻴﺭﺒﻁ ﺒﻴﻥ ﻫـﺫﺍ ﺍﻹﻟـﻪ ﺍﻟﻴﻭﻨﹶﺎﻥ ﻭﺃﻭﺯﻴﺭﻴﺱ ﻤـﻥ ﻤﺼـﺭ، ﻭﺩﻴﻭﻨﻴﺯﻭﺱ ﺍﻹﻏﺭﻴﻘـﻲ ﻭﺒﺎﻟـﺩﻭ ﺍﻹﻨﺠﻠﻴﺯﻱ. ﺃﹶﺩﻭِﻳﺔ DRUGS ADIBUDDHA ﺒﻭﺫﹶﺍ ﺍﻟﻌﻅﻴﻡ ﻤ َﺅﺴـﺱ ﺍﻟﺩﻴﺎﻨـﺔ ﺍﻟﺒﻭ ِﺫﻴﺔ ﺍﻟﻤﺎﻫﺎﻴﺎﻨﻴﺔ ﻓﻲ ﺍﻟﻬِﻨﺩ ،ﺍﻟﺘﻲ ﺍﻨﺘﺸﺭﺕ ﻓﻲ ﺍﻟﻘـﺭﻥ ﺍﻟﺜـﺎﻨﻲ ﻓـﻲ ﺏ ﻉ ﻫﺫﺍ ﺍﻟﻀﺭ ﺸﻤﺎل ﺍﻟﻬﻨﺩ .ﻭﻗﺩ ﺫﺍ ﻤﻥ ﺍﻟﺒﻭ ِﺫﻴﺔ ﺍﻟ ﺭﺒﻭ ِﺒﻴﺔ ﻓـﻲ ﺃﻭﺍﺴِـﻁ ﻭﺠﻨﻭﺏ ﺸﺭﻗﻲ ﺁﺴﻴﺎ ﺤﺘﻰ ﺴﻴﻼﻥ، ﻭﻻ ﻴﺯﺍل ﺒﺎﻗﻴﺎ ﺇﻟـﻰ ﺍﻟﻴـﻭﻡ ﻓـﻲ www.alkottob.com ﺒﻭﺫﺍ ﻓﻲ "ﺍﻟﻔﺎﻤﺎﺴـﺎﻤﺠﻴﺘﻲ" ﻋﻠـﻰ ﻤﺎﻨﺠﻭﺴﺭﻱ؛ ﺒﺎﻋﺘﺒﺎﺭﻩ ﺘﺠﺴﻴﻤﺎ ﻟﺘﻠﻙ ﺍﻟﻤﻌﺭﻓﺔ ﺍﻟﺘﻲ ﻴﻨﺸﺄ ﻤﻨﻬﺎ ﻜل ﺒـﻭﺫﺍ، ل ﺤﻤِـ ُ ﻭﻫﻭ ﻴﺒﺩﻭ ﻓﻲ ﺍﻷﻴﻘﹸﻭﻨﺎﺕ ،ﻴ ﺠﻬل. ﺴﻴﻔﹰﺎ ﻴ ﹾﻘﻀِﻲ ﺒﻪ ﻋﻠﻰ ﺍﻟ ﺍﻵﺩِﻳﺘﺎﻭِﻳﻮﻥ ADITYAS ww ﺍﻹﺴﻜﻨﺩﻨﺎﻓﻲ ﻭﺠﻭﻥ ﺒﺎﺭﻟﻲ ﻜـﻭﺭﻥ ﺁﺩِﻱ ﺑﻮﺫﹶﺍ ﺍﻟﻌﺎﻟﹶﻡ ﺍﻟﺭﺍﺒﻊ .ﻭﻴﻁﻠﹶـﻕ ﺍﺴـﻡ ﺁﺩﻱ w. ﻭﺒﻴﻥ ﺃﺴـﺎﻁﻴﺭ ﺒﺭﺴـﻴﻔﻭﻨﻲ ﻤـﻥ alk ﺍﻻﺴــﺘﺠﺎﺒﺔ ﺍﻟﺸﱠــﺭﻁﻴﺔ ﻟﻠﺠــﻭﻉ ﻥ ﻲ ﻓﻲ ﻜِﺘﺎﺒﻪ "ﻓﹶـ ﻭﻴﻘﻭل ﺍﻟ ﺒ ﻴﺭﻭ ِﻨ ـﺔ ـل ﺍﻟﺨﻤﺴـ ـﺔ ﺍﻟﺘﺄ ﻤـ ـﺔ؛ ﺁﻟﻬـ ﺒﻭﺫﻴـ ﺍﻷﺒﻨﺎﺀ ﺍﻟﺴﺒﻌﺔ ﺍﻟـﺫﻴﻥ ﺃﻨﺠﺒـﺘﻬﻡ ﺁﺩﻴﺘﻲ ﻜﻤﺎ ﺠﺎ ﺀ ﻓـﻲ ﺍﻷُﺴـﻁﹸﻭﺭﺓ ﺍﻟﻘﺩﻴﻤﺔ ﺍﻟﭭﻴﺩﻴﺔ )ﺇﻟﻰ ﺠﺎﻨـﺏ ﺍﺒـﻥ ٤٥ ﺜﺎﻤﻥ ﻫﻭ ﻤﺎﺭﺕ – ﺃﻨـﺩﺍ( ،ﻭﻫـﻡ ﻭﺨﺎِﻟﺩﻭﻥ ،ﻭﻴﺤﻔﻅﻭﻥ ﻀﻭﺀ ﺍﻟﺴﻤﺎﺀ ﺴﺨﱠﺭ ﻓﻲ ﺍﻟﻌﻤل، ﻴﺴﺭﺡ ﺃﺒﺩﺍ ،ﻭﻻ ﻴ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺁﻟﻬﺔ ﺍﻟﺘﺄﻤل :ﻤﻴﺘـﺭﺍ ﺍﻷﺒﺩﻱ. ﺒل ﻴ ﹾﻨﺫﹶﺭ ﻟﻺﻟﻪ ،ﻟﻔﺘﺭﺓ ﻤﺎ ﺃﻭ ﻟﻸﺒـﺩ. m )ﻀﻭﺀ ﺍﻟﻨﻬﺎﺭ( ،ﻭﺒﻬﺎﺠـﺎ )ﺍﻟﺤـﻅ ﺍﻟﺴﻌﻴﺩ ﺃﻭ ﺍﻟﺜﱠـﺭﺍﺀ ﺃﻭ ﺍﻟﺴـﺨﺎﺀ(، ـﺩﻴﻕ ـﻕ ﺃﻭ ﺍﻟﺼـ ـﺎﻥ )ﺍﻟﺭﻓﻴـ ﻭﺃﺭﻴﻤـ .co ﺍﻟﺤﻤﻴﻡ( ،ﻭﺃﻨﺴﺎ )ﺍﻟﻜﺭﻡ( ﻭﺩﺍﻜﺸـﺎ )ﺍﻟﻤﻬﺎﺭﺓ ﺃﻭ ﺍﻟﺤِـﺫﻕ( ،ﻭﭭﺎﺭﻭﻨـﺎ، ﻭﺭﺒﻤــﺎ ﺴــﻭﺭﻴﺎ ﺃﻭ ﺴــﺎﭭﺘﺭﻱ )ﺍﻟﺸﻤﺱ( .ﻭﻓﻲ ﺒﻌﺽ ﺍﻟﺭﻭﺍﻴـﺎﺕ ADITI ﺃﺸﻬﺏ ﺍﻟﻠﱠﻭﻥ ،ﺃﻭ ﺜﻭﺭﺍ ﺃﺤﻤـﺭ ،ﺃﻭ ﻼﻨِﻬﺎﺌﻲ ﻓـﻲ ﺍﻟﺩﻴﺎﻨـﺔ ﺍﻟﻔﻀﺎ ﺀ ﺍﻟ ﱠ ﻏﹸﺭﺍﺒﺎ ﺃﺴﻭﺩ ،ﺃﻭ ﺤﻤﺎﻤﺔ ﺃﻭ ﺴـﻤﻜﺔ ﺠﺴِـﻴ ﻡ ﻤﺠـ ﺭ ﺩ ﺍﻟﻬِﻨﺩﻴﺔ ،ﻭﺃﺤﻴﺎﻨﹰﺎ ﹶﺘ ﻻ ﺘﹸﺼﺎﺩ ﺒﺎﻟﻁﱠﺒﻊ ﺒﻌﺩ ﺫﻟـﻙ ﺃﺒـﺩﺍ. ﺽ ﻟﻠﻔﻀــﺎﺀ ﺍﻟﻔﺴــﻴﺢ ﺃﻭ ﻤﺤــ ﻑ ﺍﻟﺒﻭ ِﺫﻴﻭﻥ ﺍﻟﻤﻨﻐﻭﻟﻴﻭﻥ ﻫﺫﻩ ﻭﻋﺭ ﹶ ﻥ ﺃﺨـﺭﻯ ﺍﻟﻼﻨﻬﺎﺌﻴﺔ ،ﻭﻓﻲ ﺃﺤﻴـﺎ ٍ ﺍﻟﻌﺎﺩﺓ ،ﻭ ﹶﻨ ﹶﺫﺭﻭﺍ ﺤﻴﻭﺍﻨﺎﺕ ﻵﻟﻬـﺘﻬﻡ ﺘﹶﺠﺴِﻴﻡ ﺃﺴﻁﻭﺭﻱ ﻟﺩﻭﺭ ﺍﻷﻨﺜﻰ ﻓﻲ ﻁِﻠﻘﹸﻭﻥ ﻋﻠﻰ ﺍﻵﺩِﻴﺦ ﺍﻟﺒﻭﺫﻴﺔ ،ﻭﻫﻡ ﻴ ﹾ ﺨﻠﹾﻕ ،ﻭ ﹸﺘﻌﺭﻑ ﻓﻲ ﺃﺴﻔﺎﺭ "ﺍﻟﭭﻴـﺩﺍ" ﺍﻟ ﹶ ﺍﺴﻡ ﺴﺘﺭﺘﻲ. ﺒﺄﻨﻬــﺎ ﺃﻡ ﺍﻟﻌــﺎﻟﻡ ،ﻭﺃﻡ ﺍﻵﻟﻬــﺔ، ott ob ﻴﺤل ﺇﻨﺩﺭﺍ ﻤﺤـل ﺩﺍﻜﺸـﺎ ،ﻭﻓـﻲ ﺁﺩِﻳﺘِﻲ ﺠﻭﺍﺩﺍ ﺃﻭ ﺜﹶـﻭﺭﺍ ﻭﻗﺩ ﻴﻜﻭﻥ ﺍﻵﺩﻴﺦ ﺍﻟﺒﻌﺽ ﺍﻵﺨﺭ ﻴﻀﺎﻑ ﺇﻟﻰ ﻗﺎﺌﻤـﺔ ﻭﺍﻟﺩﻋﺎﻤﺔ ﺍﻟﺘـﻲ ﺘﹶﺭﻓﹶـ ﻊ ﺍﻟﺴـﻤﺎﺀ ،ﺁﺩِﻳﺮِﻱ ﻫﺫﻩ ﺍﻵﻟﻬﺔ ،ﺴﺎﻓﺘﺭﻱ ﻭﺩﻫـﺎﺘﺭﻱ. ﻭﻜﺒﻴﺭ ﻫﺅﻻﺀ ﺍﻵﻟﻬﺔ ﻫﻭ ﻓﺎﺭﻭﻨـﺎ، ﺤﺎﻜﻡ ﺍﻟﻠﱠﻴل ،ﻭ ﹶﻨﺼِـﻴﺭ ﺍﻷﺨـﻼﻕ، ﻭﻴﻌﺭﻑ ﺒﺎﺴﻡ ﺁﺩﻴﺘﻴﺎ .ﻭﻗﺩ ﺠﺎﺀ ﻓﻲ ﺍﻟ ﹸﻜﺘﹸﺏ ﺍﻟﺴﻨﺴﻜﺭﻴﺘﻴﺔ ﺍﻟﻤﺘـﺄﺨﱢﺭﺓ ﺃﻥ ﺁﺩﻴﺘﻴﺎ ﺃﺤﺩ ﺍﻷﺴﻤﺎﺀ ﺍﻟﺘﻲ ﺘﹸﻁﻠﹶﻕ ﻋﻠﻰ ﻷﻥ ﻜل ﺍﺴﻡ ﻓﻲ ﻗﺎﺌﻤﺔ ﻫﺫﻩ ﺍﻵﻟﻬـﺔ ﻜﺎﻥ ﻴﺩل ﻋﻠﻰ ﺇﻟﻪ ﻟﻠﺸﱠﻤﺱ ﻓﻲ ﻭﻗﺕ ﻤﺎ .ﻭﺘﺫﻫﺏ ﺃﺴﻔﺎﺭ ﺍﻟﺒﺭﺍﻫﻤﺎﻨﺎ ﺇﻟـﻰ ﻴﻤﺜل ﻜل ﻤﻨﻬﺎ ﻭﺠﻬﺎ ﻤـﻥ ﻭﺠـﻭﻩ ﺍﻟﺸﻤﺱ ﻓﻲ ﻜل ﺸﻬﺭ ﻤﻥ ﺸـﻬﻭﺭ ،Vishnuﻭﺇﻥ ﻜﺎﻨـــــﺕ "* ﺍﻟﻤﻴﻼﻨﻴﺯﻴﺔ ،ﻭﻻ ﺘﺨﺘﻠـﻑ ﺍﻟﺤﻴـﺎﺓ ﺍﻟﻤﻬﺎﺒﻬﺎﺭﺍﺘﺎ" ﻭ"*ﺍﻟﺭﺍﻤﺎﻴﺎﻨﺎ" ﺘﺫﻫﺒﺎﻥ ﺇﻟﻰ ﺃﻨﻬﺎ ﺃﻡ ﭭﺸﻨﻭ ،ﻭﺘﺸـﻴﺭ ﺇﻟﻴﻬـﺎ ﺍﻷﺭﺽ ،ﻭﺇﻥ ﻜﺎﻨﺕ ﺃَﻴﺴﺭ .ﻭﻜﺎﻨﺕ "ﺍﻟﺒﻭﺭﺍﻨﺎ" ﺒﺄﻨﻬﺎ ﺃﻡ ﭭﺸﻨﻭ Vishnu ﺠ ﺩﺒﺔ ،ﻻ ﺁﺩﻴﺭﻱ ﻓﻲ ﺍﻷﺼل ﺃﺭﻀﺎ ﻭ*ﺇﻨﺩﺭﺍ .ﻭﻭﺭﺩ ﻓﻲ "ﺍﻟﺭﻴﺞ – ﭭﻴﺩﺍ" ﻴﺴﻜﻨﻬﺎ ﺇﻻ ﺭﺠل "ﺁﺩﻴﺭﻱ" ،ﻭﺍﺒﻨﺘـﻪ ﺃﻨﻬﺎ ﺃﻨﺠﺒﺕ ﺜﻤﺎﻨﻴﺔ ﺃﺒﻨـﺎﺀ ،ﻗـﺩﻤﺕ ﺕ ﻤﻨﻬﻡ ﺴﺒﻌﺔ ﺇﻟﻰ ﺍﻵﻟﻬـﺔ ،ﻭ ﺭﻤـ ِ ـﺩﺍ ـﺎﺭﺕ – ﺃﻨـ ـﻭ ﻤـ ـﺎﻤﻥ ﻭﻫـ ﺍﻟﺜﱠـ )ﺍﻟﺸﻤﺱ( ،ﻭﻫﻭ ﺍﺒﻨﻬﺎ ﻤﻥ ﺍﻟﺸﻤﺱ. ﺤ ﺭﻤــﺎﺘﹸﻬﻡ ﻙ ﻤﻘﺩﺴــﻭﻥ ﻻ ﹸﺘ ﹾﻨ ﹶﺘﻬــ ﻲ ﻵﺩﻴـﺭﻱ، ﻁﺭِﻴﻕ ﻋﻨﺩﻤﺎ ﺘﹸـ ﻭ ﱢﻓ ﺍﻟ ﱠ ﺍﻟﺫﻱ ﺘﺯﻭﺝ ﻤﻥ ﺩﻴﺭﻴﻔﻭ ،ﻭﻤﻥ ﻤ ِﻨ ﻴ ِﻪ ﺃﻤﺎ ﺍﻟﺴﺒﻌﺔ ﺍﻵﺨﺭﻭﻥ؛ ﻓﻤﻨﻬﻡ ﺁﻟﻬـﺔ ﺍﻵﺩﻴﺘﻴﺎ. ﺍﻟﻤﺨﺘﻠﻔﺔ ﺍﻟﺘﻲ ﻨﻤـﺕ ﻓـﻲ ﺍﻟﻌـﺎﻟﹶﻡ ADYKH ﻁﻬﺭ ﻫـﺫﺍ ﻥ ﻴ ﹾﻨ ﹶﺫ ﺭ ﻹﻟﻪ .ﻭ ﻴ ﹶ ﺤ ﻴﻭﺍ ﺍﻟﺤﻴﻭﺍﻥ ﺒﺩﺨﺎﻥ ﺸـﺠﺭ ﺍﻟ ﻌ ﺭﻋـﺭ، ﻭ ﻴ ﺭﺵﱡ ﺒﺎﻟﻨﺒﻴﺫ ،ﻭﻴـ ﺯﻴﻥ ﺒﺸـﺭﺍﺌﻁ ﻤﻠﻭﻨﺔ ،ﺜﻡ ﻴﻁﻠﹶﻕ ﺒﻴﻥ ﺍﻟﻘﻁﻴـﻊ ،ﻭﻻ www.alkottob.com ﺢ ﺃﻥ ﺴﻴﺩﻭ ﺍﻹﻨﺴـﺎﻥ ﺍﻷﻭل َﺃ ﹾﻓﺴـ ﺍﻵﺨﺭ .ﻭﺘﹶـﺭﻭﻱ ﺍﻷﺴـﻁﻭﺭﺓ ﺃﻥ ل ﺍﻟﻨﱠـﺎ ﺭ ﺁﺩﻴﺭﻱ ﺍﺴﺘﻁﹶﺎﻉ ﺃﻥ ﻴﺸﹾـﻌِ َ ww ﺍﻵﺩﻴﺘﻴﺎ ﻫﻡ ﺃﺒﻨﺎﺀ *ﺁﺩﻴﺘﻲ ،ﻭﻫﻡ ﺁﻟﻬﺔ "ﺩﻴﺭﻴﻔﻭ" .ﻭﺘﺫﻫﺏ ﺍﻷﺴﻁﻭﺭﺓ ﺇﻟـﻰ ﺒ ﺭﺯﺕ ﺇﻟﻰ ﺍﻟ ﻭﺠﻭﺩ ﹸﻜلﱡ ﺍﻟﻨﺒﺎﺘـﺎﺕ ﺍﻟﺴﻨﺔ ﺍﻻ ﹾﺜﻨﹶﻲ ﻋ ﹶﺸﺭ .ﻭﻴﻜﺎﺩ ﻋﹶﻠﻤـﺎ ﺀ ﺁﺩﻳﺦ ﺍﻷﺴﺎﻁِﻴﺭ ﻴﺠ ِﻤﻌﻭﻥ ﻋﻠﻰ ﺃﻥ ﺁﻟﻬـﺔ ﻅﻬـ ِﺭ ﻋﻠﻴﻬﺎ ﻋﻥ ﺍﻟﺤﻴـﺎﺓ ﻋﻠـﻰ ﹶ w. ﻋ ﺩ ﺩ ﺁﻟﻬﺔ ﺍﻟﺸﻤﺱ ﺍﺜﻨﺎ ﻋﺸـﺭ، ﺃﻥ ﻭﺘﺤﻤِل ﺍﻷﺭﺽ ،ﻭﺯﻭﺠـﺔ ﭭﺸـﻨﻭ ﺽ ﺍﻟﻤﻭﺘﹶﻰ ﻓﻲ ﺍﻷﺴـﻁﻭﺭﺓ ﺃﺭ alk ﺍﻟﺸﱠﻤﺱ ،ﻭﻫﻭ ﺃﻤﺭ ﻻ ﻴﺜﻴﺭ ﺍﻟﺩﻫﺸﺔ؛ ADIRI ﺨﺸﹶﺏ ،ﺜﻡ ﺒﻨﻰ ﺒﻴﺘﹰﺎ ﻙ ﺃﺴﻨﺎﻨﻪ ﺒﺎﻟ ﹶ ﺤ ِﺒ ﺡ ﻁﻭﻟﻪ ﺒﻀﻌﺔ ﺃﻤﻴﺎل ،ﺍﺘﺨﺫﺘﻪ ﺃﺭﻭﺍ ﺍﻟﻤﻭﺘﹶﻰ ﻤﻘﺭﺍ ﻟﻬﺎ ﺒﻌﺩ ﺫﻟﻙ. ٤٦ ﺁﺫﹶﺭﻳﻮﻥ CALENDULA " ﺒﺎﻟﻔﺎﺭﺴﻴﺔ ﺁﺫﺭﻜـﻭﻥ = ﻟـﻭﻥ m ﺍﻟﻨﱠﺎﺭ" ﺍﺴﻡ ﻨﺒـﺎﺕ ﺃﻭﺭﺍﻗﹸـﻪ ﻤﺴـ ﹶﺘﻁِﻴﻠﹶﺔ ﻁﻭﻟﹸﻬﺎ ﻨﺤـﻭ ِﺇﺼـﺒﻊ ،ﻭﺃﺯﻫـﺎﺭﻩ .co ﺍﻟﺤﻤﺭﺍﺀ ﺍﻟﻀﺎﺭِﺒﺔ ﺇﻟـﻰ ﺍﻟﺼـﻔﺭﺓ ﺫﺍﺕ ﺭﺍﺌﺤﺔ ﻜﹶﺭﻴﻬﺔ ﻭ ﺒﺫﹸﻭﺭ ﺴﻭﺩﺍﺀ. ﻲ ﺏ ﺍﻟ ﻌ ﺭﺒِـ ﻁ ﻭ ﻴ ﻌﺩ ﺍﻵ ﹶﺫ ﺭﻴﻭﻥ ﻓﻲ ﺍﻟ ﱢ ﺩﻭﺍ ﺀ ﻤﻘ ﻭﻴﺎ ﺃﻭ ِﺘ ﺭﻴﺎﻗﹰﺎ ،ﻭﻜﺎﻥ ﻴﻌﺘﻘﺩ ﺘﻁﺭﺩ ﺍﻟﺫﱡﺒﺎﺏ ﻭﺍﻟﺠِﺭﺫﹶﺍﻥ ﻭﺍﻟﻀﺒﺎﺏ. ﺍﻷُﺫﹸﻥ ﺕ ﺍﻟﻤﻌﺒﺩ ﻭﻓﻲ ﻤ ﺩﺭﺍﺱ ﺘﹶﻌﻤِﺩ ﺭﺍﻗِﺼﺎ ﹸ ﺴﻴﺔ .ﻭﻗﺩ ﺴـﺎﺩ ﺒـﻴﻥ ﻭ ِﻤ ﺩ ﹶﻓﺄَﺓ ﻨﹸﺤﺎ ِ ﻥ ﻓﻲ ﺍﻟﺴﻥ ﺇﻟﻰ ﺍﻨﺘﺯﺍﻉ ﻋﻨﺩﻤﺎ ﻴﺘﹶﻘ ﺩ ﻤ ﺍﻟﺭﻭﻤﺎﻥ ﺍﻋﺘﻘـﺎﺩ ﺒﺄﻨﻬـﺎ ﻫﻴﻜـل ﺍﻷﻗﺭﺍﻁ ﻤﻥ ﺁﺫﺍ ِﻨﻬِﻥ ،ﻭﻴﺨﺭﺠﻥ ﻤﻥ ﺩﻴﻭﻨﻴﺯﻭﺱ ،ﻭﻤِﺩﻓﹶﺄﺓ ﻴﺤـﺭﻕ ﻓﻴﻬـﺎ ﺍﻟﻤﻌﺒﺩ ﺩﻭﻥ ﺃﻥ ﻴ ﹾﻠ ﹶﺘﻔِ ﹾﺘﻥ ﺇﻟﻰ ﺍﻟ ﻭﺭﺍﺀ. ﺍﻟ ﺒﺨﹸﻭﺭ ،ﻭ ﻤ ﹾﺫﺒﺢ ﺼـﻐﻴﺭ ﻴﺤـﺭﻕ ﻭﺍﻷﻗﺭﺍﻁ ﺘﹸﻌﺎﺩ ﺇﻟﻴﻬﻥ ﻓﻴﻤـﺎ ﺒﻌـﺩ. ﻓﻭﻗﻪ ﺍﻟ ﺒﺨﹸﻭﺭ ﻤﻥ ﺃﺠـل ﺍﻟﻤـﻭﺘﹶﻰ، ﻁ ﻊ ﻭﻓﻲ ﺒﻌﺽ ﺍﻟﻘﺼﺹ ﺍﻟﻬﻨﺩﻱ ﺘﹸﻘ ﹶ ﻭ ِﻤﺩﻓﹶﺄﺓ ،ﻭﺃﺤﻴﺎﻨﹰﺎ ﭭﺴﺘﺎ ﺇﻟﻬﺔ ﺍﻟﻤﻭﻗﺩ. ـﺔ ـﻭﺹ ﻭﺁﺫﺍﻥ ﺍﻟ ﺯﻭﺠـ ﺁﺫﺍﻥ ﺍﻟﻠﱡﺼـ ﻁِﻠﻕﹸ ﻋﻠﻴﻬﺎ ﺍﻟﻔﻠﻜﻴﻭﻥ ﺍﻟﻌﺭﺏ ﺍﺴﻡ ﻭ ﻴ ﹾ ﺍﻟﺨﺎ ِﺌﻨﹶﺔ ،ﻭﻟﻜﻥ ﻓﻲ ﺍﻟﺸﱠﺭﻕ ﺍﻷﻭﺴﻁ ﺠ ﻤﺭﺓ"؛ ﺃﻱ ﺍﻟ ِﻤ ﺒﺨﹶﺭﺓ .ﻭﻴﻘـﻭل "ﺍﻟ ِﻤ ﺒﻌﺽ ﺍﻟﺩﺍﺭﺴﻴﻥ ﻭﺍﻟﻔﻠﻜﻴـﻴﻥ ﻓـﻲ ﺏ ﻫـﺅﻻﺀ ﻭﺍﻟﺸﱠﺭﻕ ﺍﻷﻗﺼﻰ ﻴﻌﺎ ﹶﻗ ott ob ﺴﻬل ﺍﻟﻭﻻﺩﺓ ،ﻭﺃﻨﻬـﺎ ﺃﻥ ﺭﺍﺌﺤﺘﻪ ﹸﺘ ﺤﺴﺩ. ﺍﻟ ِﻌﻠﹶل ﻭﺍﻷﺭﻭﺍﺡ ﺍﻟﺸﱢﺭﻴﺭﺓ ﻭﺍﻟ ﻭﺁﺨﺭﻭﻥ ﺒﺄﻨﻬﺎ ﻫﻴﻜـل ﻭ ِﻤ ﺒﺨﹶـﺭﺓ EAR ﺍﻟﻘﺭﻭﻥ ﺍﻟﻭﺴﻁﹶﻰ ﺇﻨﻬﺎ ﺃﺤﺩ ﻫﻴﺎﻜـل ِﺒ ﺒ ﹾﺘ ِﺭ ُﺃﻨﹸﻭﻓﻬﻡ. ﻤﻭﺴﻰ ﺃﻭ ﺍﻟﻬﻴﻜل ﺍﻟﺫﻱ ﺒﻨﺎﻩ ﻨـﻭﺡ ﺁﺭﺍ ﺃﻭ ﺇِﺭ ARA OR ER ﺒﻌﺩ ﺍﻟﻁﱡﻭﻓﹶﺎﻥ. ﻷﺫﹸﻥ ﺒــﺎﻟﻜﺜﻴﺭ ﻤــﻥ ﻁﺍُ ﺘﹶــﺭ ﹶﺘ ِﺒ ﹸ ﺱ ﺏ *ﺴــﻤﻴﺭﺍﻤﻴ ) (١ﺤﺒﻴــ ﺤﺴـﺎﺱ ﺍﻟﻤـﺭﺀ ﺃﻭﺭﺒﺎ ﻴﻘـﺎل ﺇﻥ ﺇ ﻋﺸِـﻴﻘﹰﺎ ﻴ ﹶﺘﺯ ﻭﺝ ﻤﻨﻬﺎ ،ﺃﻭ ﺘﺤﺘﻔﻅ ﺒﻪ ﻉ ﺍﻟﻨﺴﺎﺠﺎﺕ ﻓﻲ ﻟِﻴ ﺩﻴﺎ ،ﻭﻗـﺩ َﺃ ﺒ ﺭ ﻟﻬﺎ ﻓـﻲ ﺍﻷﺴـﻁﻭﺭﺓ ﺍﻷﺭﻤﻴﻨﻴـﺔ. ﺘﺤﺩﺕ *ﺃﺜﻴﻨﺎ ﺃﻥ ﺘﺩﺨل ﻤﻌﻬﺎ ﻓـﻲ ﻭﺭﻓﺽ ﺁﺭﺍ ،ﻭﹶﻟﻘِﻲ ﻤﺼﺭﻋﻪ ﻋﻠﻰ ﻤﺒﺎﺭﺍﺓ ﻓﻲ ﺍﻟ ﱠﻨﺴِﻴﺞ ﻜﻤﺎ ﺠـﺎ ﺀ ﻓـﻲ ﺍﻟﺴﺎ ِﻤﻴﺔ ،ﺍﻟﺘﻲ ﻋﺭﻀﺕ ﻋﻠﻴـﻪ ﺃ ﻥ ﺃﹶﺭﺍﺧﻨِﻲ ARACHNE ل ﺍﻟ ﻤ ﻌ ﹶﺘ ﹶﻘﺩﺍﺕ ﺍﻟﺸﱠﻌ ِﺒﻴﺔ؛ ﻓﻔـﻲ ﺸـﻤﺎ َ ل ﺒﻁﻨِﻴﻥ ﻓﻲ ﺃﺫﻨﻪ ﺃﻭ ﺍﺨﺘﻼﺠﻬﺎ ﻓـﺄ ٌ ﺍﻟ ﻬﻨﹸﻭﺩ ،ﻭﻟﻜﻥ ﻨﺴـﺎﺀﻫﻡ ﻴﻘﻠـﻥ ﺇﻥ ﺍﺨﺘﻼﺝ ﺍﻷﺫﻥ ﺍﻟﻴﺴﺭﻯ ﻫﻭ ﺍﻟـﺫﻱ ﻴﺩﻋﻭ ﺇﻟﻰ ﺍﻟﺘﱠﻔﺎﺅل ،ﻭﻫﻥ ﻴﻌﺘﻘﺩﻥ ﺃﻥ ﺩﺍ ِ ﻋﺭﻭﻥ .ﻭﻓﻲ ﻤﻭﻀﻊ ﺁﺨﺭ ﻴﻌﺘﻘﺩ ﺼﻘﹶﺔ ﺒﺎﻟﺭﺃﺱ ﺍﻟﻨﱠﺎﺱ ﺃﻥ ﺍﻵﺫﺍﻥ ﺍﻟ ﻤ ﹾﻠ ﹶﺘ ِ ﺤﺭِﻴﺼـﻭﻥ ﺘﺩل ﻋﻠﻰ ﺃﻥ ﺃﺼﺤﺎﺒﻬﺎ ﻥ ﺒﻬﺎ ﺍﻵﺫﺍﻥ ﻗﺩ ﻻ ﻲ ﺍﻟﺘﻲ ﹸﺘ ﺯﻴ ﺤِﻠ ﻭﺍﻟ ﺼ ﺩ ﺒﻬﺎ ﻤﺠﺭﺩ ﺍﻟﺯﻴﻨﹶﺔ؛ ﻓﻜﺜﻴﺭﺍ ﻤﺎ ﻴ ﹾﻘ ﺠﺴـ ِﻡ ﻤـﻥ ﺕ ﺍﻟ ِ ﺘﻜﻭﻥ ﻟﻭﻗﺎﻴﺔ ﹸﻓ ﹾﺘﺤﺎ ِ www.alkottob.com ﺒﻨﻔﺴــﻬﺎ ﻟﻤﺤﺎﺭﺒﺘــﻪ .ﻭﺤﺎﻭﻟــﺕ ﺤﻴــﺎﺓ ﺴــﻤﻴﺭﺍﻤﻴﺱ ﺃﻥ ﹸﺘﻌِﻴــﺩﻩ ِﻟ ﹾﻠ ﹶﻓ ﹶﻔﺸِﻠﹶﺕ؛ ﻓﻤﺎ ﻜﺎﻥ ﻤﻨﻬﺎ ﺇﻻ ﺃﻥ ﹶﻟ ِﺒﺴﺕ ﺍﻟﺘﺤﺩﻱ ﻭﺤﺎﻜﹶـﺕ ﻓـﻲ ﻨﺴـﻴﺠﻬﺎ ﻏﻀﺏ ﺍﻵﻟﻬﺔ، ﻗﺼﺹ ﻤﻥ َﺃﺜﹶﺎﺭﻭﺍ ﹶ ﻭﺁﺜﺭﺕ ﺃﺭﺍﺨﻨﻲ ﺃﻥ ﺘﺤﻭﻙ ﻗﺼﺼﺎ ﻋﺸﱠـﺎﻗِﻬﺎ ،ﻭﺯﻋﻤـﺕ ﺃﻥ ﻱ ﺃﺤﺩ ِﺯ ﺘﺭﻭﻱ ﺍﻷﺨﻁـﺎﺀ ﺍﻟﺘـﻲ ﺍﺭﺘﻜﺒﻬـﺎ ﺍﻵﻟﻬﺔ ﻗﺩ ﺃﻋـﺎﺩﺕ ﺁﺭﺍ ﺇﻟـﻰ ﻗﻴـﺩ ﺍﻵﻟﻬﺔ .ﻭ ﹶﺘ ﻤﻴﺯﺕ ﺃﺜﻴﻨﺎ ﻏﻴﻅﹰﺎ ﻋﻨﺩﻤﺎ ﺍﻟﺤﻴﺎﺓ .ﻭﻴﻘﻭل ﺃﻓﻼﻁـﻭﻥ ﺇﻥ ﺁﺭﺍ ـﻭﻕ ـﻲ ﻴﻔـ ـﻴﺞ ﺃﺭﺍﺨﻨـ ﺭﺃﺕ ﺃﻥ ﻨﺴـ ﺙ ﻋﻨﺩﻤﺎ ﻜﺎﻥ ﻋﻠـﻰ ﻭﺸـﻙ ﺃﻥ ﺒﻌِ ﹶ ﻨﺴﻴﺠﻬﺎ ﺠﻭﺩﺓ ﻭﺠﻤـﺎﻻﹰ؛ ﻓﻤﺯﻗﺘـﻪ ﺤ ﺭﻗﹶﺔ. ﻀ ﻊ ﻋﻠﻰ ﺍﻟ ِﻤ ﻴﻭ ِﺇ ﺭﺒﺎ .ﻭﺤﺯﻨـﺕ ﺃﺭﺍﺨﻨـﻲ ﺤﺯﻨﹰـﺎ ﺠﻤﻭﻋ ﹲﺔ ﻤﻥ ﺍﻟ ﱡﻨﺠﻭﻡ ﻓـﻲ ) (٢ﻤ ﺍﻟﺠﻨــﻭﺏ ،ﹶﻓﺴــﺭﻫﺎ ﺒﻁﻠﻴﻤــﻭﺱ ww ﻋﻠﻰ ﺍﻟﻤﺎل ﺇﻟـﻰ ﺩﺭﺠـﺔ ﺍﻟﺸﱡـﺢ، ﻴﺩ ﹸﻗﻭﺍﺕ ﺍﻹﻟﻬﺔ ،ﻭﺍﻟﺘـﻲ ﻗﺎﺩﺘﻬـﺎ ﺴﻁﹸﻭﺭﺓ ﺍﻹﻏﺭﻴﻘﻴﺔ ،ﻭﻗﺒﻠﺕ ﺃﺜﻴﻨﺎ ﻷ ﺍُ w. ﺍﻟﺭﺠــﺎل ﺫﻭﻱ ﺍﻵﺫﺍﻥ ﺍﻟﻁﻭﻴﻠــﺔ alk ﺤﺴﻥ .ﻭ ﻴﺴﻭ ﺩ ﻫﺫﺍ ﺍﻻﻋﺘﻘـﺎ ﺩ ﺒـﻴﻥ ﺤﻭﻟﺘﻬـﺎ ﺸ ﹶﻨﻘﹶﺕ ﻨﻔﺴﻬﺎ ،ﻭ ﺸﺩﻴﺩﺍ ،ﻭ ﹶ ﻋ ﹾﻨ ﹶﻜﺒﻭﺕ. ﺃﺜﻴﻨﺎ ﺇﻟﻰ ٤٧ ﺁﺭﺍﻟﻮ ARALU ﺽ ﺍﻟﻘﺎﺤِﻠﺔ ﻭﺍﻟ ﻤ ﹾﻘﻔِـﺭﺓ ﻓـﻲ ﺍﻷﺭ m ﻲ ،ﺍﻟﺘﻲ ﺘﻬـﺒﻁ ﺇﻟﻴﻬـﺎ ﺍﻟﻌﺎﻟﻡ ﺍﻟﺴﻔﻠ ﺭﻭﺡ ﺍﻟﻤﻴﺕ ﻭﻻ ﺘﻌﻭﺩ ﺃﺒﺩﺍ ،ﻜﻤـﺎ ﺠﺎﺀ ﻓﻲ ﺍﻷﺴﻁﹸﻭﺭﺓ ﺍﻟﺒﺎﺒﻠﻴﺔ ،ﻭﺍﻟﺘﻲ .co ﺘﺫﻫﺏ ﺇﻟﻰ ﺃﻨﻬﺎ ﻤﺤﺎﻁﹶـﺔ ﺒﺴـﺒﻌﺔ ﻋﺩﺓ ﺃﺒﻭﺍﺏ ،ﻭﻴﺤﻜﻤﻬـﺎ ﺃﺴﻭﺍﺭ ﻟﻬﺎ ِ ﻨﺭﺠﺎل ﻭﺃﻻﺘﻭ .ﻭﻗﺩ ﻋﺎﺸﹶﺕ ﻓﻴﻬـﺎ ﺍﻷﺭﻭﺍﺡ؛ ﻤﺜل "ﻁﻴﻭﺭ ﻟﻬﺎ ﺃﺠﻨﺤـﺔ" ﺸـﻴﺎﻁِﻴﻥ. ـﺭﻴﺭﺓ ﻭ ﹶ ﺸـ ـﺎ ﺃﺭﻭﺍﺡ ِ ﺒﻬـ ﺡ ﻤﺎ ﹶﺘ ﹾﻘﺘﹶﺎﺘﹸـ ﻪ ﻭﻫﻨﺎﻙ ﻻ ﺘﺠﺩ ﺍﻷﺭﻭﺍ ﺴِﻭﻯ ﺍﻟﺘﱡﺭﺍﺏ ﻭﺍﻟﻁﱢﻴﻥ ،ﺇﺫﺍ ﻟﻡ ﻴﻘﺩﻡ ﻟﻬﺎ ﺍﻷﺤﻴﺎ ﺀ ﺍﻟﻁﱠﻌﺎﻡ ﻭﺍﻟﺸﺭﺍﺏ؛ ﻓﺈﻥ ﻟﻡ ﺘﺠﺩ ﻤﻨﻬﻤﺎ ﺸﻴﺌًﺎ؛ ﻓﺈﻨﻬﺎ ﺘﻬﻴﻡ ﻋﻠﻰ ﻭﺠﻬﻬﺎ ﺒﺤﺜﹰﺎ ﻋﻥ ﺍﻟﻔﻀﻼﺕ ﻭﺍﻟﻁﻌﺎﻡ ﺍﻟ ﻤ ﹾﻠﻘﹶﻰ ﺒﻴﻥ ﺍﻟﱡﻨﻔﹶﺎﻴﺎﺕ. ﺃﻥ ﺃﺭﺘﻴﻤﻴﺱ ﺍﺒﻨﺔ *"ﺯﻴـﻭﺱ" ﻭ* ﺴ ﹶﺘﺤِ ﻡ. ﻋﺎﺭِﻴﺔ ﹶﺘ ﺸﻘِﻴﻘﹶﺔ ﺍﻟﺘﱠﻭﺃﻡ "ﺯﻴﻭﺱ" ﻭ* "ﻟﻴﺘﻭ" ،ﻭﺍﻟ ﱠ ﻭﺍﺘﱠﻔﻕ ﺃﻥ ﺼ ﺭﻋﺕ "ﺃﻭﺭﻴـﻭﻥ" ﻟﻺﻟﻪ "* ﺃﺒﻭﻟﻭ" .ﻭﻟﻘﺩ ﻭِﻟﺩﺕ ﻓـﻲ ﺨﻁﹶﺄﻫﺎ ﺴ ﻬ ٍﻡ ﻁﺎﺌِﺵ ،ﻭ ﹶﻨ ِﺩﻤﺕ ﻋﻠﻰ ﹶ ﺒ ﺠﺄَﺕ ﺇﻟﻴﻬـﺎ ﺠﺯﻴﺭﺓ ﺩﻴﻠﻭﺱ ﺍﻟﺘﻲ ﹶﻟ ﻓﺭﻓﻌﺘﻪ ﺒﻴﻥ ﺍﻟﻨﱡﺠـﻭﻡ ﻤـﻊ ﻜﻠﺒـﻪ ﺃﻤﻬﺎ ﻓِﺭﺍﺭﺍ ﻤﻥ ِﻨ ﹾﻘﻤﺔ *"ﻫﻴﺭﺍ". "ﺴــﻴﺭﻴﻭﺱ" )ﻜﻠــﺏ ﺍﻟﺠﺒــﺎﺭ( ﻭ ﺸﻘِﻴﻘﻬﺎ ﻭﺍﺸﺘﺭﻜﺕ ﺃﺭﺘﻴﻤﻴﺱ ﻤﻊ ﹶ "ﺒﻠﻴﺎﺩﺱ" * )ﺍﻟ ﱡﺜ ﺭﻴﺎ( ﺍﻟﺘـﻲ ﻜـﺎﻥ ﺃﺒﻭﻟﻭ ﻓﻲ ﻜل ﻤﻐﺎ ﻤﺭﺍﺘﻪ ﺘﻘﺭﻴﺒﺎ؛ ﻓﻘﺩ ﻴﺤﺒﻬﺎ. ﺘﹶﻐﻠﱠﺒــﺎ ﻤﻌــﺎ ﻋﻠــﻰ*"ﺍﻟﺒﻴﺘــﻭﻥ" ﻲ ﻤﻥ ﻭﻴﺒﺩﻭ ﺃﺼﻠﹸﻬﺎ ﻏﻴﺭ ﺍﻟﻬﻴﻠﻴﻨ ﻭ*"ﻓﻴﻨﻴــﻭﺱ" ﻭﺃﺴــﻬﻤﺕ ﻓــﻲ ﺍﻟ ﻤﻜﹶﺎﻨﹶﺔ ﺍﻟﺘـﻲ ﻭﻀـﻌﻬﺎ ﻓﻴﻬـﺎ * ott ob ﻓﻲ ﺍﻟﻅﱠﻼﻡ ،ﻭﺴﻁ ﺍﻟ ﹸﻐﺒﺎﺭ ،ﺘﺤـﻴﻁ ﻭﺘﺫﻫﺏ ﺍﻷُﺴﻁﹸﻭﺭ ﹸﺓ ﺍﻟﻴﻭﻨﺎﻨِﻴﺔ ﺇﻟﻰ ﻜِﻼ ﺒ ﻪ ﻷﻨﻪ ﹶﺘﹶﻠﺼﺹ ﻋﻠﻴﻬـﺎ ﻭﻫـﻲ ﺍﻟﺭ ﺒ ﹸﺔ ﺍﻟ ﻌ ﹾﺫﺭﺍ ﺀ ﻟﻠﻁﱠﺒﻴﻌﺔ ﻭﺍﻟ ﹶﻘﻤـﺭ ﻓﻲ ﺍﻟﻤﻴﺜﹸﻭﻟﻭﺠﻴﺎ ﺍﻟﻴﻭﻨﺎ ِﻨﻴﺔ ،ﻭﻜﺎﻨـﺕ ﺼ ٍﺔ ﻭﺍﻟﻐﺎﺒﺎﺕ ﻭﺍﻟﺤﻴﺎﺓ ﺍﻟﺒﺭﻴﺔ ،ﻭﺒﺨﺎ ﺇﻟﻰ ﺯﻴﻭﺱ. ﻤﻨﻬﺎ ﻗﹶﻭﺴِﻬﺎ ﻭﺃﻟﻬﺒﺘﻬﺎ ﺒﻪ ﻭﺃﺠﻠﺘﻬـﺎ ﻋ ِﺭﻓﹶﺕ ﺃﺭﺘﻴﻤﻴﺱ ِﺒﺼـﺭﺍﻤﺘﻬﺎ؛ ﻭ ﻋﻥ ﻤﻴﺩﺍﻥ ﺍﻟ ﻤ ﻌ ﺭﻜﹶﺔ ﺒﺎﻜِﻴﺔ. ﻓﻘﺩ َﺃ ﹾﻨ ﺯﻟﹶﺕ ﺒﺠﻴﺵ ﺍﻹﻏﺭﻴﻕ ﻭﺒـﺎ ﺀ ﻁﻘﹸﻭﺱ ﻋﺒﺎﺩﺘِﻬﺎ ،ﻭﺘﹸﻘـﺩ ﻡ ﻭ ﹶﺘ ﹶﺘ ﻌﺩﺩ ﹸ ﺍﻟﻁﱠﺎﻋﻭﻥ ﻭﻫﻭ ﻋﻠﻰ ُﺃ ﻫ ﺒ ِﺔ ﺍﻟﺴـﻔﺭ ـﻰ ﻟﻠ ﹶﻘـﻨﹾﺹ ﺕ ﺍﻷﻭﻟـ ـﺭﺍ ﹸ ـﺎ ﺍﻟﺜﱠﻤـ ﻟﻬـ ﺤﺼﺎﺭ ﻁﺭﻭﺍﺩﺓ ،ﻭﺤﺎﻟﹶـﺕ ﺒـﻴﻥ ِﻟ ِ ﻭﺍﻟﺼﻴﺩ ،ﺇﻤﺎ ﻓﻲ ﻫﻴﺎﻜﻠﻬﺎ ﺃﻭ ﺘﹸﻌﻠﱠـﻕ ﺴ ﹸﻔﻨِﻬﻡ ﻟﺘﻤﻨﻌﻬـﺎ ﻤـﻥ ﺍﻟﺭﻴﺢ ﻭﺒﻴﻥ ﻕ ﺒﺎﺴﻤِﻬﺎ ﻋﻠﻰ ﺍﻷﺸـﺠﺎﺭ ،ﻭﺘﹸﺤـ ﺭ ﹸ ﺍﻹﺒﺤﺎﺭ؛ ﻭﺫﻟﻙ ﻷﻥ ﺃﺠﺎﻤﻤﻨﻭﻥ ﹶﻗﺘﹶل ﻼ ﻤﻘ ﺩﺴﺎ ﻷﺭﺘﻴﻤﻴﺱ .ﻭﻟﻤﺎ ﻫـ ﻡ ﻭﻋ ﹰ ﻲ ﺒﺎﺒﻨﺘـﻪ ﺤ ﺃﺠﺎﻤﻤﻨﻭﻥ ﺒـﺄﻥ ﻴﻀـ ﻀ ِﺒﻬﺎ ﻏ ﺴ ﻭ ﺭ ِﺓ ﹶ *ﺇﻓﻴﺠﻴﻨﻴﺎ ِﻟ ﻴ ﻬﺩﺉ ﻤﻥ ﺏ ﺇﻟﻴﻬﺎ ﺍﻟ ﺩ ﺒ ﺒ ﹸﺔ ﻗﹸﺭﺒﺎﻨﹰﺎ ﻟﻬﺎ ،ﻭﻗﺩ ﻴ ﹶﺘ ﹶﻘ ﺭ ﺒﺎﻟﻤﺎﻋِﺯ. ﻁﻘﹸﻭﺱ ﺍﻟﺘـﻲ ﺍﻗﺘﺭﻨـﺕ ﻭﻤﻥ ﺍﻟ ﱡ ﺹ ﺍﻟﻔﺘﻴﺎﺕ ﻤـﻥ ﺒﺄﺭﺘﻴﻤﻴﺱ ﺃﻥ ﺘﹶﺭ ﹸﻗ w. ﻓﻲ ﺍﻷﺼل ﺇﻟﻬﺔ ﺍﻟﺒﺤ ﻴﺭﺍﺕ ﻭﺍﻷﻨﻬﺎﺭ ﺠ ﺭ ﹾﺘﻬـﺎ ﻜﺎﻟﱢﻴﺴﺘﻭ ﺇﻟﻰ ﺩﺏ؛ ﻷﻨﻬﺎ ﻫ ﻓﻘﺩ ﻨﺎﻅﹶﺭﺕ "ﻫﻴﺭﺍ" ﺍﻟﺘﻲ ﺍﻨﺘﺯﻋـﺕ alk ﺃﹶﺭﺗﻴﻤﻴﺲ ARTEMIS ﺴﺨﹶﺕ * ﺹ ﻤﻥ "ﻨﻴﻭﺒﻲ" ،ﻭ ﻤ ﺍﻟ ِﻘﺼﺎ ِ ﻫﻭﻤﻴﺭﻭﺱ ﺒﻴﻥ ﺍﻵﻟﻬﺔ ﺍﻟ ﻤ ﹶﺘﺤﺎ ِﺭﺒﺔ؛ ـل ﺍﻟ ﹶﻐـﺯﺍل ـﻴﺩ؛ ﻤﺜـ ﺼـ ـﻭﺍﻥ ﺍﻟ ﺤﻴـ ﻁ ﹶﻔ ﹾﺘﻬﺎ ﺍﻹﻟﻬﺔ ﺃﺭﺘﻴﻤﻴﺱ ﻭﺍﻓ ﹶﺘ ﺩ ﹾﺘﻬﺎ ﺨ ﹶﺘ ﹶ ﺍﹾ ﺱ ﻼﺒِـ ﺍﻟﺨﺎﻤِﺴﺔ ﺇﻟﻰ ﺍﻟﻌﺎﺸِﺭﺓ ﻓﻲ ﻤ ﹶ ﺒ ﹶﻐﺯﺍﻟﹶﺔ ،ﻭﻨﺼﺒﺕ ﺍﻟﻔﺘﺎﺓ ﻜﺎﻫﻨﺔ ﻓـﻲ ﺢ ﻷﻱ ﻥ ﺍﻟ ﺩﺒﺒ ﹶﺔ .ﻭﻻ ﻴﺴ ﻤ ﺯﺍﻫِﻴﺔ ﻴ ﻤﺜﱢﻠ ﻭﺘﻁﻭﺭﺕ ﻤﻥ ﺭِﻋﺎﻴـﺔ ﺍﻟﺤﻴـﺎﺓ ﺕ "ﺃﺭﺘﻭﺴﺎ" ﺇﻟﻰ ﹶﻨﺒﻊ ﻤﺎﺀ ﺨ ﹾ ﻭﻤﺴ ﹶ ﺸﻌِﻴﺭﺓ ﺍﻟﺘﻲ ﻴﺭﺠﺢ ﺃﻨﻬـﺎ ﺍﻤﺘـﺩﺍﺩ ﺍﻟ ﱠ ﺴﺨﹶﺕ ِﻟ ﹸﺘﻨﹾﻘﺫﹶﻫﺎ ﻤﻥ "ﺍﻟﻔﻴﻭﺱ" ،ﻜﻤﺎ ﻤ ل ﻤـﻥ ﻁﻘﹸﻭﺱ ﺍﻟﺨﺎﺼﺔ ﺒـﺎﻟﺘﱠﺤ ﻭ ِ ﻟﻠ ﱡ * "ﺃﻜﺘﹶﺎﻴﻭﻥ" ﺇﻟﻰ ﻭﻋـل ﺍﻟﺘﻬﻤﺘـﻪ ﻤﺭﺤﻠﺔ ﺇﻟﻰ ﺃﺨﺭﻯ ﻤـﻥ ﻤﺭﺍﺤِـل ﺨ ﹾﻨﺯِﻴﺭ ﺍﻟﺒﺭﻱ. ﻭﺍﻟ ﻭﻋل ﻭﺍﻟ ِ ﺍﻟﺨِﺼﺏ ﻭﺍﻟﺯﻭﺍﺝ ﻭﺍﻟﻭِﻻﺩﺓ. ww ﺍﻟﺒﺭﻴﺔ ﺍﻟﻤﺴﺘﻭﺤﺸـﺔ ﺇﻟـﻰ ﺭﺒـﺔ ﻤﻌﺒﺩﻫﺎ. ﻓﺘﺎﺓ ﺃﻥ ﺘﺘﺯﻭﺝ ﻗﺒل ﺃﻥ ﺘﻘﻭﻡ ﺒﻬـﺫﻩ ﺍﻟ ﻌﻤﺭ. www.alkottob.com ٤٨ ﺍﻟﻤﺭﺘﺒﻁــﺔ ﺒﻌﺒــﺎﺩﺓ ﺃﺭﺘﻴﻤــﻴﺱ ﺤﻴﻭﺍﻥِ، ﻋ ﻴ ِﺔ ﺍﻟ ﺍﻟﻴﻭﻨﺎﻥ ﻓﻲ ﺼﻭﺭ ِﺓ ﺭﺍ ِ ﻑ ﻋﻥ ﺃﺭﺘﻴﻤـﻴﺱ ﺨ ﹶﺘﻠِ ﹸ ﻭﺇﻥ ﻜﺎﻨﺕ ﹶﺘ ﹾ ﺹ ﺒﺎﻋﺘﺒﺎﺭﻫﺎ ﺇﻟﻬﺔ ﺍﻷﺸﺠﺎﺭ ﺃﻥ ﺘﹶﺭ ﹸﻗ ﻭﻴﺼﻭﺭﻫﺎ ﺍﻟﺸﱡـﻌﺭﺍ ﺀ ﻭﺍﻟ ﹶﻔﻨﱠـﺎﻨﹸﻭﻥ ﺍﻟﺘﻲ ﻋﺭﻓﹶﻬﺎ ﺍﻟﻴﻭﻨﹶﺎﻥ. ﺍﻟ ﻌﺫﹶﺍﺭﻯ ﻓﻲ ﺼـﻭﺭﺓ ﺤﻭ ِﺭﻴـﺎﺕ، ﺏ ﺼﻴ ٍﺩ .ﻭﻜﺎﻥ ل ﺃﻭ ﹶﻜ ﹾﻠ ﻋٌ ﻭﻤﻌﻬﺎ ﻭ ﺏ ﺃﺤﻴﺎﻨﹰـﺎ ﺒﺎﻟ ﻤ ﺭﺒﻴـ ِﺔ ﻭﻜﺎﻨﺕ ﹸﺘﹶﻠﻘﱠ ﻋﺒﺎﺩﺓ ﺃﺭﺘﻴﻤﻴﺱ ﹶﻜ ﺭﺒـ ِﺔ ﺍﺴﺘﻭﻋﺒﺘﻬﺎ ِ ﻤﻥ ﺠﻤﻴﻊ ﺍﻷﻨﻭﺍﻉ ﻗﹸﺭﺒﺎﻨﹰﺎ ،ﻭ ﹸﺘﻜﹶـ ﻭ ﻡ ﻋﻤﻭﻤﺎ ﻫـﻭ ﺍﻟـﺫﻱ ﺒﺭﻋﺎﻴﺔ ﺍﻟﻤﺭﺃﺓ ﺢ ﺜﻡ ﺘﹸﺤﺭﻕ. ﺍﻟﺫﱠﺒﺎ ِﺌ ﻥ ﻋﻠﻰ ﺇﻅﻬﺎﺭﻫﺎ ﻓﻲ ﺼـﻭﺭﺓ ﺃﻋﺎ m ﻭﻤﻥ ﺍﻟﻤﺄﻟﹸﻭﻑ ﻓـﻲ ﺍﻟﻁﻘـﻭﺱ ﺝ ﺒـﻼﺩ ﻭﺘﹶﻅﻬ ﺭ ﺃﺭﺘﻴﻤﻴﺱ ﺨﺎﺭ ﻜﺎﻥ ﻴ ﻌﺩ ﻤﻥ ﻋﺠﺎﺌﺏ ﺍﻟﺩﻨﻴﺎ ﺍﻟﺴﺒﻊ، ﻭﻫﺫﺍ ﺠﺎﻨِﺏ ﻤﻥ ﺍﻟ ﻤﻴـﺎﺩِﻴﻥ ﺍﻟﺘـﻲ .co ﺕ ﺍﻟﺒﺭﻱ ،ﻭﻫﻲ ﹸﺘﹶﻠﻘﱠﺏ ﻓﻲ ﺒﻼﺩ ﺍﻟ ﱠﻨﺒﺎ ِ ﺤ ﻴ ﺭﺓِ؛ ﻷﻨﻬﺎ ﹶﺘ ﺭﻋﻰ ﺍﻟﻴﻭﻨﹶﺎﻥ ﺒﺈﻟﻬﺔ ﺍﻟ ﺒ ﺍﻟﻤﻴﺎﻩ ﻭﺍﻟﻨﱠﺒﺎﺘﹶﺎﺕ ﺍﻟ ﺒﺭﻴـﺔ ،ﹸﺘﻌﺎ ِﻭﻨﹸﻬـﺎ ﻴ ﹶﻘﺩ ﻡ ﻟﻬﺎ ﻋﺩ ﺩ ﻜﺒﻴﺭ ﻤﻥ ﺍﻟﺤﻴﻭﺍﻨـﺎﺕ ﺍﻷﻡ. ﻭﻜﺎﻥ ﺍﻷﺜﻴﻨﻴﻭﻥ ﻴﻘﺩﻤﻭﻥ ﻟﻬﺎ ﻜل ﻭﻴﺅﻜﱢﺩ ﺍﻟﺸﱡﻌﺭﺍﺀ ﺍﻟﺫﻴﻥ ﺠﺎﺀﻭﺍ ﺒﻌﺩ ـﺎﻋﺯ؛ ـﻥ ﺍﻟﻤـ ـﺎﻡ ٥٠٠ﺭﺃﺱ ﻤـ ﻋـ *ﻫﻭﻤﻴﺭﻭﺱ ﻋِ ﱠﻔ ﹶﺔ ﺃﺭﺘﻴﻤﻴﺱ ،ﻭﻗـﺩ ﺍﻋﺘﺭﺍﻓﹰﺎ ﻤﻨﻬﻡ ﺒﻔﻀﻠﻬﺎ ﻋﻠﻴﻬﻡ ﻓـﻲ ott ob ـﻭﻜﱠﻼ ﹸ ﺕ ﺍﻟ ﻤـ ـﺎ ﹸ ﺍﻟﺤﻭ ِﺭ ﻴـ ـﺎ ِﺭ ﺕ ﺒﺎﻵ ﺒـ ـﺎ ـﺩﻭ ﺃﻥ ﺍﻗﺘﺭﺍﻨﻬـ ﻭﺍﻟ ﻤ ﻭﻟﱢــﺩﺓ ،ﻭﻴﺒـ ﺕ ـﺎ ﹸ ـ َﺅﺩﻯ ﺍﻟﺭﻗﺼـ ـﺎﺒِﻴﻊ .ﻭﺘﹸـ ﻭﺍﻟ ﻴﻨﹶـ ﺼﻭ ﺭ ﻟﻨﺸﺄﺓ "ﺍﻟﺼـﻴﺎﺩﺓ ﻤ ﻬ ﺩ ﻫﺫﺍ ﺍﻟﺘﱠ ﻭﺍ ِﻗﻌﺔ ﻤﺎﺭﺍﺘﻭﻥ. ﺍﻟ ﻤ ﻤ ﱢﺜﻠﹶﺔ ﻟﻬﺫﻩ ﺍﻟﻌِﺒﺎﺩﺓ ﻓـﻲ ﺒﻌـﺽ ل ﺱ ﹶﺘﺘﹶﻘﺒـ ُ ﻁﻘﹸـﻭ ِ ﺽ ﺍﻟ ﱡ ﻭﻓﻲ ﺒﻌـ ِ ﺍﻟ ﻌ ﹾﺫﺭﺍﺀ" ﺍﻟﺘﻲ ﺍﺴﺘﻐﻠﱠﻬﺎ "ﻴﻭﺭﻭﺒﻴﺩﺱ" ﻑ ﻋﻨِﻴـ ٍ ل ِ ﺸـ ﹾﻜ ٍ ـﺎﻥ ﺒ ﹶ ﺭﺒـﻭﻉ ﺍﻟﻴﻭﻨـ ﺕ ﻤﻥ ﺍﻟـﺩﻡ ﻁﺭﺍ ٍ ﻀ ﻊ ﹶﻗ ﹶ ﺃﺭﺘﻴﻤﻴﺱ ِﺒ ﺤﻴﻥ ﺠﻌل ﻤﻨﻬـﺎ ﺭﻤـﺯﺍ ﻷﻤـل ﺸ ﻬﻭﺍﻨِﻲ ﺒﻤﺼﺎﺤﺒﺔ ﻨﺎﻱ .ﻭﻴـ ﺭ ﺩ ﻭﹶ ﻕ َﺃﺤـ ِﺩ ﻋﻨﹸـ ِ ﺨ ﹸﺫ ﺒﺎﻟﺴﻴﻑ ﻤـﻥ ﺘﹸﺅ ﹶ ﻥ ﻫﺫﺍ ﺸ ِﺭﻴﺔ ﻓﻲ "ﻫﻴﺒﻭﻟﻴﺘﻭﺱ" .ﻓﺈ ﺍﻟ ﺒ ﹶ ﻋﻭِﻱ. ﺍﻟ ﺭ ل ﺫﻟﻙ ﺃﺜﺭ ﻤﻥ ﺸﹶـﻌِﻴﺭﺓِ ﺍﻟﻨﱡﻭ ِﺭ .ﻭﹶﻟ ﻌ ﱠ ﻴﻨﺒﺫ ﺃﻓﺭﻭﺩﻴﺕ؛ ﻭﻫﻭ ﺃﻤـﺭ ﻴﻜـﺎﺩ ﻉ ﺃﺨﺭﻯ ﻤـﻥ ﺒـﻼﺩ ﻭﻓﻲ ﺭﺒﻭ ٍ ﺍﻟﺘﱠﺤﻴﺔ ﺒﺈﻨﺴﺎﻥ ﻗﹸﺭﺒﺎﻨﹰﺎ ﻟﻺﻟﻬـﺔ ،ﻭﺇﻥ ﺸﺭِ. ل ﻋﻠﻰ ﻏﻴﺭِﻩ ﻤﻥ ﺍﻟﺒ ﹶ ﺴ ﹶﺘﺤِﻴ ُ ﻴ ﺽ ﺍﻟﺭﺍ ِﻗﺼِـﻴﻥ ﺱ ﺒﻌـ ﺍﻟﻴﻭﻨﺎﻥ ﻴ ﹾﻠ ﺒ ﻁﻭﺭﺕ ﺒﺎﻓﺘﺩﺍﺀ ﺸﻌِﻴ ﺭ ﹸﺓ ﻗﺩ ﹶﺘ ﹶ ﻜﺎﻨﺕ ﺍﻟ ﱠ ﻷ ﹾﻗﻨﹶﻌﺔﹶ ،ﻭ ﹸﺘ ﹶﻐﻨﱢﻲ ﺍﻟﻔﺘﻴﺎﺕ ﺃُﻨﺸﻭﺩ ﹰﺓ ﻟﻬﺎ ﺍَ ﺤ ﻴﻭﺍﻥ ،ﻜﻤﺎ ﺤ ﻴ ٍﺔ ﻤﻥ ﺍﻟ ﻀِ ﺍﻹﻨﺴﺎﻥ ﺒُﺄ ﻅﻬﻭ ﺭ ﺍﻟﺸﱢـﻌ ِﺭ ﻁﻘﹸﻭﺱ ﹸ ﺇﻟﻰ ﻫﺫﻩ ﺍﻟ ﱡ ﺍﻟ ﺒﻁﹶل ﺍﻟﺫﻱ ﹶﻨ ﹶﺫﺭ ﻨﻔﺴﻪ ﻷﺭﺘﻴﻤﻴﺱ ﻟﻡ ﺍﻟﺭﺠﺎل؛ ﻭﺫﻟﻙ ﺒﺎﻋﺘﺒﺎﺭﻫـﺎ ﺭﺒـ ﹶﺔ alk ﺽ ـﺫﻫﺏ ﺒﻌ ـ ﺠـ ِﺭ .ﻭﺘـ ل ﺍﻟ ﹶﻔ ﹸﻗ ﺒ ﻴـ َ ﻓﻌﻠﺕ ﺃﺭﺘﻴﻤﻴﺱ ﻋﻨـﺩﻤﺎ ﺍ ﹾﻓﺘﹶـﺩﺕ * ﺕ ﺍﻟﻘﺩﻴﻤﺔ ﺇﻟﻰ ﺃﻥ ﺍﻟﻔﺘﻴـﺎﺕ ﺍﻟﺭﻭﺍﻴﺎ ِ ﺇﻓﻴﺠﻴﻨﻴﺎ ﺒ ﹶﻐﺯﺍﹶﻟﺔ. ﻀﺒﺔِ ﻏ ﻭﻤﻥ ﺍﻟ ﹶﻜﻠِﻡِ ﺍﻟ ﻤ ْﺄﺜﹸﻭﺭﺓ ﻋﻥ ﹶ ﺏ ﻟﻬﺎ ﺴ ﻥ ﺍﻷُﺴﻁﹸﻭﺭ ﹶﺓ ﹶﺘ ﹾﻨ ِ ﺃﺭﺘﻴﻤﻴﺱ ﺃ ﺤﺸِ ﻴ ﹶﺔ ﺍﻟﺘﻲ ﹶﺘ ﱠﺘﺴِﻡ ﺒ ﻌﺩﺍﻭﺓ ﺍﻟﻁﱠﺒﻴﻌ ﹶﺔ ﺍﻟﻭ ﺨ ﹾﻨﺯِﻴﺭﺍ ﺒﺭﻴﺎ ﺍﻹﻨﺴﺎﻥ؛ ﻓﺈﻥ ﺇﺭﺴﺎﻟﹶﻬﺎ ِ ﺕ ﻁ ﹾ ﺴـ ﹶ ـﺔ ﺒ ـﻰ ﺃﻥ ﺍﻹﻟﻬـ ﻴـ ﺩلﱡ ﻋﻠـ ﺃﻥ ﺃﺭﺘﻴﻤﻴﺱ ﻜﺎﻨﺕ ﻓﻲ ﺍﻷﺼل ﺭ ﺒ ﹰﺔ ﻏﻀـ ﺒ ِﺘﻬﺎ ﻋﻠﻴـﻪ، ﺇﻨﻤﺎ ﻴ ﺩلﱡ ﻋﻠﻰ ﹶ ﻼﺤـﺔ ﺍﻟﻤﻌﺘﻤِـﺩﺓ ﺭِﻋﺎ ﻴﺘﹶﻬﺎ ﻋﻠﻰ ﺍﻟﻔِ ﹶ ﺠﺒـﺎل ﺴلِ ﺇﻟﻬـﺔ ﺍﻟ ِ ﻟﻸﻤﻭﻤﺔ ﻤﻥ ﹶﻨ ﺍﻟﻜﺭﻴﺘﻴﺔ؛ ﻭﻫﻲ ﻓـﻲ ﻫـﺫﺍ ﹸﺘﺸﹾـﺒِﻪ ﻭ ﹶﻓﺩﺍﺤﺔ ﺍﻟﺜﱠﻤﻥ ﺍﻟﺫﻱ ﺩﻓﻌﻪ ﻟﺘﺠﺎ ﻫﻠِـﻪ ﺠﺴـ ﻡ ﻗﹸـﻭﺓ ﻫﺫﻩ ﺍﻟﺤﻘﻴﻘﺔ ﺍﻟﺘـﻲ ﹸﺘ ﻑ ﻋﺒﺎ ﺩﺘﹶﻬﺎ ﺒﻌﺩ ﺫﻟﻙ ﺠـ ﻭ ﻭﺍ ﹾﻜ ﹶﺘ ﹶﻨ ﹶ ﻅﻤﻰ" ﺍﻵﺴﻴﻭﻴﺔ .ﻭﺍﻟﻭﺍﻗﻊ *"ﺍﻷﻡ ﺍﻟ ﻌ ﹾ ﺍﻟﻁﱠﺒﻴﻌﺔ ﺍﻟﻌﺎ ِﺘﻴﺔ. ﺱ ﻁﻘﹸـﻭ ﻤﻥ ﺍﻟﺭﻫﺒﺔ؛ ﻓﻘﺩ ﺼﺎﺤﺒﺘﻬﺎ ﹸ ﺇﻥ ﺃﺭﺘﻴﻤﻴﺱ ﺫﺍﺕ ﺍﻟ ﱡﻨﻬﻭﺩ ﺍﻟ ﹶﻜﺜِﻴـﺭﺓ ﻼ ﹶﻗﺔِ ﺃﺭﺘﻴﻤـﻴﺱ ﻭﻟﻘﺩ ﹶﻨ ﹶﺘﺞ ﻋﻥ ﻋ ﹶ ﺠ ﹾﻠ ِﺩ ﺍﻟﻔﺘﻴـﺎﻥ ﻭﺍﻟﻔﺘﻴـﺎﺕ ﺘﻘﻭﻡ ﻋﻠﻰ ﻓﻲ ﺃﻓﻴﺴﻭﺱ ﻜﺎﻨﺕ ُﺃﻤﺎ ﺘﹶﺒـﺩﻭ ﻓـﻲ ﺍﻟﻘﺩﻴﻤﺔ ﺒــ "ﻫﻴﻜـﺎﺘﻲ" ﺃﻥ ﺍ ﻤﺘﹶـ ﺩ ﺤﻬﺎ. ﺃﻤﺎﻡ ﻤ ﹾﺫ ﺒ ِ ﺼﻭﺭﺓ *"ﺍﻷﻡ ﺍﻟﻌﻅﻤﻰ" ،ﻭﻤﻌﺒﺩﻫﺎ ﺴﺤﺭ ﻭﺍﻟﻠﱠﻴل ﻭﺍﻟ ﹶﻘﻤﺭ، ﺴﻠﻁﺎﻨﹸﻬﺎ ﺇﻟﻰ ﺍﻟ ww www.alkottob.com w. ﺤﺭﺍﺜﹰﺎ ،ﻭﻫﺫﺍ ﻜﻥ ﻴﻘﺩﻤﻥ ﻷﺭﺘﻴﻤﻴﺱ ِﻤ ﻭﻴﺫﻫﺏ ﻜﺜﻴ ﺭ ﻤﻥ ﺍﻟﺩﺍﺭِﺴﻴﻥ ﺇﻟﻰ ﻋﻠﻰ ﺇﺭﺍﺩﺓ ﺍﻹﻨﺴﺎﻥ. ﺤﻘﹸﻭل ﺃﻭﻨﻴـﻭﺱ؛ ﻲ ﺙ ﹶﻓﺴﺎﺩﺍ ِﻓ ِ ﻴﻌِﻴ ﹸ ٤٩ ﻋ ِﻬ ﺩ ﺒـﻪ ﺕ ﻟﻪ ﺍﺒﻨﹰﺎ "ﻤﺭﻟﻴﻥ"؛ ﹶﻓَﺄ ﹾﻨﺠﺒ ﹾ ﻭﻫﻲ ﺘﻅﻬﺭ ﺤﺎﻤﻠﺔ ﺸﹸﻌﻠﺔ ﻗﺩ ﺘﻜﻭﻥ ﺭﻤﺯﺍ ﻟﻠﻘﻤﺭ ﺃﻭ ﺭﻤـ ﺯﺍ ﻟﻠﻤﺴـﺎﺀ. m ﻭﻜﺎﻨﺕ ﺘﺴﻜﻥ ﺠﺒل "ﺘـﺎﻴﺠﻴﺘﻭﺱ"؛ ﺤﻴﺙ ﻴﻨﻤﻭ ﻋﺸﺏ ﻴﺤﻤـل ﺍﺴـﻤﻬﺎ "ﺍﺭﺘﻴﻤﻴﺴﻴﺎ" .ﻭﻜﺎﻥ ﻫﻴ ﹶﻜﻠﹸﻬـﺎ ﻓـﻲ .co ﺸﻔﹶﺎﺀ. ﺴ ِﺘ ﹾ ﻕ ﺍﻻ ﻁِ "ﻟﻭﺯﻱ" ﻴ ﻌﺩ ﻤﻥ ﻤﻨﹶﺎ ِ ﻭﺍﻟ ﻤ ﹶﺘ ﹶﺘ ﺒ ﻊ ﻟﻌﺒﺎﺩ ِﺓ ﺃﺭﺘﻴﻤﻴﺱ ﻭﺘﻁﻭﺭ ﻤﺠﺎﻻﺘﻬﺎ؛ ﻴﺴﺘﻁﻴﻊ ﺃﻥ ﻴﻘـﺭﺭ ﻓـﻲ ل ﻜﺜﻴﺭ ﻤﻥ ﺍﻟ ﱢﺜﻘﹶﺔ ﺃﻨﻬﺎ ﻜﺎﻨـﺕ ِﻤﺜﹾـ َ ﺃﺸﻬﺭ ﺃﺒﻁﺎل ﺍﻟ ﻤ ﹾﻠﺤﻤﺔ ﺍﻹﻨﺠﻠﻴﺯﻴﺔ ﻙ ل ﺭِﻭﺍﻴ ﹲﺔ ﺃﺨﺭﻯ ﺇﻥ ﺍﻟ ﻤﻠِـ ﻭﺘﻘﻭ ُ ﺍﻟﻤﻌﺭﻭﻓﺔ ﺒﻬﺫﺍ ﺍﻻﺴﻡ ﻓﻲ ﺍﻟﻘﹶـ ﺭﻨﹶﻴﻥ ﺃُﻭﺜﺭ ﺒﻨﺩﺭﺍﺠﻭﻥ ﹶﺘﺯ ﻭﺝ ﻤﻥ ﺇﻴﺠﺭﻥ ﺍﻟﺨﺎﻤِﺱ ﻭﺍﻟﺴـﺎﺩِﺱ ﺍﻟﻤﻴﻼﺩﻴـﻴﻥ. ﻋ ِﻘ ﺏ ﻭﻓﹶـﺎﺓِ ﺯﻭﺠﻬـﺎ "ﺠﻭﺭﻟـﻭﺍ"، ﺴﺘﹶﻭﻋِﺏ ﻫـﺫﻩ ﺍﻟ ﻤ ﹾﻠﺤﻤـ ﹸﺔ ﻋِـﺩﺓ ﻭ ﹶﺘ ﺠﺒﺎ "ﺁﺭﺜﹶﺭ" .ﻭَﺃﻤـ ﺭ ﻤـﺭﻟﻴﻥ ﺃﻥ ﻭَﺃ ﹾﻨ ل ﺍﻟﻤﻠﻙ ﺁﺭﺜﹶـﺭ ﺕ ﹶﺘﺩﻭ ﺭ ﺤﻭ َ ﺤﻜﹶﺎﻴﺎ ٍ ِ ﺸﺩﻩ ﻭﻴﺤﻜ ﻡ ﻴﺨﹾﻔﻰ ﺁﺭﺜﹶﺭ ﺤﺘﱠﻰ ﻴﺒﻠﻎ َﺃ ﹸ ﻭﻓﹸﺭﺴــﺎﻥ ﻤﺎ ِﺌ ﺩﺘِــﻪ ﺍﻟﻤﺴــ ﹶﺘﺩِﻴﺭﺓ، ﺒﺭﻴﻁﺎﻨﻴﺎ؛ ﹶﻓﻌﻬِﺩ ﺒﻪ ﻤﺭﻟﻴﻥ ﺇﻟﻰ ﺴِﻴﺭ ﺱ ﻼﻁِﻪ ﻭُﺃﺴﻁﹸﻭﺭ ِﺓ ﺍﻟﻜﹶـ ْﺄ ِ ﺕ ﺒ ﹶ ﺴ ﻴﺩﺍ ِ ﻭ ﺱ ﺒﺄﻥ َﺃ ﹾﻜﺘﹸﻭﺭ ﺍﻟﺫﻱ ﹶﺘﻅﹶﺎ ﻫ ﺭ ﺃﻤﺎ ﻡ ﺍﻟﻨﱠﺎ ِ ل ﻤﻐﹶــﺎﻤﺭﺍﺕ ﺠﺎﻻﻫــﺎﺩ ﹶﺘ ﹶﺘﻨﹶــﺎ ﻭ ُ ﻜﺎﻱ. ﺤﻜﹶﺎﻴـﺎﺕ ﺍﻟ ﻤ ﹶﻘﺩﺴﺔ .ﻭﺃﻫـﻡ ﻫـﺫﻩ ﺍﻟ ِ ﻕ ﺃﺼﻐﺭ ﻻﺒﻨـﻪ ﺴـﻴﺭ ﺸﻘِﻴ ﹲ ﺁﺭﺜﹶﺭ ﹶ ott ob ﺃﺒﻭﻟﻭ ،ﻏﻴﺭ ﻫﻴﻠﻴﻨ ﻴ ِﺔ ﺍﻷﺼل .ﻭﻟـﻡ THE ROUND TABLEﺇﻟﻰ ﻤﺭﻟﻴﻥ ﻟﺘﺭﺒﻴﺘﻪ. ﻼﻗﹶﺔ؛ ﻓﻘﺩ ﻜﺎﻨﺕ ﺘﹸﻌ ﺒ ﺩ ﺘﻜﻥ ﻟﻬﺎ ﺒﻪ ﻋ ﹶ ل ﺍﻟﻌﺼﺭ ﻓﻲ ﺒﻼﺩ ﺍﻹﻏﺭﻴﻕ ﻓﻴﻤﺎ ﹶﻗ ﺒ َ ﻲ ﻭﻓﻲ ﺁﺴﻴﺎ ﺍﻟﺼﻐﺭﻯ ،ﻭﻓﻲ ﺍﻟﻬِﻴﻠِﻴﻨ ﺠﺯﻴﺭﺓ ﻜﺭﻴﺕ ﺒﺎﻋﺘﺒﺎﺭﻫـﺎ ﺇﻟﻬـﺔ ﺽ .ﻭﻤﺠﺎﻟﻬﺎ ﺍﻟﺭﺌﻴﺴﻲ ﺍﻟﺤﻴﺎﺓ ﺍﻷﺭ ِ ﻻﺩﺓ ﻉ ﻭ ِﻭ ﹶ ﺍﻟﺒﺭﻴــﺔ ﻭﻨﻤــﺎﺀ ﺍﻟــﺯﺭ ِ ﺍﻹﻨﺴﺎﻥ ،ﺜﻡ ﺍﻤﺘﺩﺕ ﺭﻋﺎﻴﺘﹸﻬﺎ ﺤﺘـﻰ ﻭﺘﻁــﻭﺭﺕ ﺼــﻭ ﺭﺘﹸﻬﺎ ﺒﺘــﺄﺜﻴﺭ ﺍﻷﺴﻁﻭﺭﺓ ﺍﻟﻬﻭﻤﻴﺭﻴﺔ؛ ﺒﺎﻋﺘﺒﺎﺭﻫـﺎ ﺽ ﺼﺒﺢ ﺍﻟﻐﹸﻤـﻭ ﻷﻡ ﺍﻟﻌﻅﻤﻰ" ،ﻭَﺃ "ﺍ ُ ﺭ ﻤ ﺯ ﺍﻟ ِﻌﻔﱠﺔ. ﻻﻨﺴﻠﻭﺕ ﻭﺇﻴﻠﻴﻥ ،ﻭ ِﻗﺼـﺔ ﺁﺭﺜﹶـﺭ ﻙ ﻟﺒﺭﻴﻁﺎﻨﻴﺎ ﻜﻨﺘﺭﺒﺭﻱ ﻴﺒﺤﺙ ﻋﻥ ﻤﻠ ٍ ﻭﻗﺼﺔ ﺘﺭﻴﺴﺘﺎﻥ ﻭ*ﺃﻴﺯﻭﻟﺩ ،ﻭﺒﻠﻴﺎﺱ ﻥ ﻟﻪ ﻫﺫﺍ ﻁﹶﻠﺏ ﻤﻥ ﻤﺭﻟﻴﻥ ﺃﻥ ﻴ ﻌ ﻴ ﹶﻓ ﹶ ﻭﺠﻨﻴﻔﺭ ،ﻭﺤﻜﺎﻴﺔ ﺠﻴﺭﻴﻨﺕ ﻭﺇﻴﻨﻴـﺩ، ﻻﺀِ؛ ﺠﻤِﻴ ﻊ ﺒﺎﻟﻁﱠﺎﻋﺔ ﻭﺍﻟ ﻭ ﹶ ﻥ ﻟﻪ ﺍﻟ ﻴﺩِﻴ ـﺕ ﻭﻟﻴﻨﻴــﺕ، ﻭﺇﻴﻨــﺎﺭﻱ ،ﻭﺠﺎﺭﻴـ ﻭﺠﻭﻴﻥ ﻭﺒﻴﺩﻴﻔﻴﺭ ،ﻭﻤﺭﻟﻴﻥ ﻭﻓﻴﻔﻴﺎﻥ، ﺍﻟﻤﻠﻙ ،ﹶﻓَﺄ ﺒﹶﻠﻐﹶـ ﻪ ﻤـﺭﻟﻴﻥ ﺃﻥ ﻤِﻠﻜﹰـﺎ ﻭﺃﻭﺜــﺭﻥ ﻭﺇﻴﺠــﺭﻥ ،ﻭﺠﻭﺭﻟــﻭﺍ ﻭﻓﻭﺭﺘﻴﺠﺭﻥ. ل ﻋﺩِﻴﺩﺓ ﺘﺩﻭﺭ ﺤﻭ َ ﻭ ﹶﺜﻤﺔ ﺭﻭﺍﻴﺎﺕ ﺏ ﺇﺤﺩﺍﻫﺎ ﻤ ﻭِﻟ ِﺩ ﺍﻟﻤﻠﻙ ﺁﺭﺜﹶﺭ ،ﻭﺘﺫﻫ ﻉ ﻅﻬﺭ ،ﻭﻻ ﻴﻤﻜﻥ ﺃﻥ ﻴﻨﹶﺎ ِﺯ ﺴﻭﻑ ﻴ ﹾ ﺱ ﻋﻠـﻰ ﺠﻠﹸﻭ ِ ﺤﻘﹸﻭ ِﻗ ِﻪ ﻓﻲ ﺍﻟ ﺃﺤ ﺩ ﻓﻲ ﺵ ﺒﺭﻴﻁﺎﻨﻴﺎ. ﻋ ﺭ ِ ﺠ ﺭ ﻀﺨﻡ ﻤﺜﺒـﺕ ﺤ ﻭﻜﺎﻥ ﻫﻨﺎﻙ ﻑ ﺠﻤﻴـل ﺒﻪ ﺴ ﹾﻨﺩﺍﻥ ﺩﻓﻊ ﻓﻴﻪ ﺴـﻴ ﹲ w. ﻏﺩﺕِ ﺍﻟﺼﻴﺎﺩ ﹶﺓ ﺍﻟﻌـ ﹾﺫﺭﺍﺀ ﻴ ﹾﻜ ﹶﺘ ِﻨﻔﹸﻬﺎ ،ﻭ ﹶ ﺱ ﺍﻟ ﻤ ﹶﻘ ﺩﺴـﺔِ ،ﻭ ِﻗﺼـﺔ ﻋﻠﻰ ﺍﻟﻜﹶـ ْﺄ ِ ﻋ ﻤﺭِﻩ؛ ﻜـﺎﻥ ﹶﻜﺒِﻴـ ﺭ ﺃﺴـﺎ ِﻗﻔﹶﺔ ﻤﻥ alk ﻥ ﺤﻲ، ل ﻜﺎﺌ ٍ ﺸﻤِﹶﻠﺕ ﺍﻟﺼﻐﺎ ﺭ ﻤﻥ ﻜ ﱢ ﹶ ﻭﺒﺭﺴﻴﭭﺎل ﺍﻟﺫﻱ ﹶﻨﺠﺢ ﻓﻲ ﺍﻟ ﻌﺜﹸـﻭﺭ ﻭﻋﻨﺩﻤﺎ ﺒﹶﻠ ﹶﻎ ﺁﺭﺜﹶﺭ ﺍﻟﺜﱠﺎﻤِﻨﺔ ﻋﺸﺭﺓ ﺇﻟﻰ ﺃﻥ ﺃُﻭﺜـﺭ ﺒﻨـﺩﺭﺍﺠﻭﻥ ﻤﻠـﻙ ﺤﺒﺎ ﺒﺎﻟﺴﻴﺩﺓ ﺇﻴﺠـﺭﻥ ﺒﺭﻴﻁﺎﻨﻴﺎ ﻫﺎ ﻡ ﺵ ﺠﺎ ﺀ ﺒﻪ ﺃﻥ ﻤﻥ ﻴﺴﺘﻁﻴﻊ ﻋﻠﻴﻪ ﹶﻨ ﹾﻘ ﹲ ﻏﻤـﺩﻩ ﻑ ﻤﻥ ِ ﺏ ﻫﺫﺍ ﺍﻟﺴﻴ ﹶ ﺠ ِﺫ ﺃﻥ ﻴ ﺁﺭﺛــــﺮ )ﺍﳌﹶﻠِــــﻚ ﺁﺭﺛﹶــــﺮ ﻭﻓﹸﺮﺳـــــﺎﻥ ﺍﳌﺎﺋِـــــﺪﺓ ﺵ. ﻕ ﻓﻲ ﺍ ﺭ ِﺘﻘﹶﺎ ِﺀ ﺍﻟ ﻌ ﺭ ِ ﺤﱢ ﻟﺜﻼﺙ ﺒﻨﹶﺎﺕ .ﻭﺍﺴﺘﻁﹶﺎﻉ ﺍﻟﻤﻠﻙ ﺃُﻭﺜﺭ ﺍﻟ ﺍﳌﹸﺴﺘﺪِﻳﺮﺓ( ﺨ ﺩﻋِﻬﺎ ﻤﺘﻨ ﱢﻜﺭﺍ ﻓﻲ ﺃﻥ ﻴ ﹶﺘ ﺭﺩﺩ ﻋﻠﻰ ﻤ ﹾ ﻑ ﺴِـﻴﺭ ﻁﻡ ﺴـﻴ ﹸ ﺙ ﺃﻥ ﹶﺘﺤ ﱠ ﻭﺤﺩ ﹶ www.alkottob.com ﺤ ِﺭ ﺼﻭﺭﺓ ﺯﻭﺠِﻬـﺎ ﺒﻔﻀـل ﺴِـ ﻜﺎﻱ ﻓﻲ ﺇﺤﺩﻯ ﺍﻟ ﻤﻌﺎ ِﺭﻙِ؛ ﻓﻁﻠـﺏ ww KING ARTHUR AND THE KNIGHTS OF ﺯﻭﺠﺔ "ﺠﻭﺭﻟﻭﺍ" ﺍﻟﺘﻲ ﻜﺎﻨـﺕ ُﺃﻤـﺎ ﺏ ﺤ ﻭ ﻴﻌِﻴﺩﻩ ﺇﻟﻰ ﻤﻭﻀﻌﻪ ﻴﻜﻭﻥ ﺼﺎ ِ ﺴﻴﺭ ﻜﺎﻱ ﻤـﻥ َﺃﺨِﻴـﻪ ﺁﺭﺜﹶـﺭ ﺃﻥ ٥٠ ﺠﺭﻯ ﺁﺭﺜﹶﺭ ﺇﻟـﻰ ﺤﻴـﺙ ﻴﻭﺠـﺩ ﹶﻓ ﻋﺎ ﻻ ِﻤﻌﺎ ﺒﻌﺽ ﺍﻷﺤﺎﻴﻴﻥ ﻴﺤﻤل ﺩِﺭ ﹶﺘﺯ ﻭﺝ ﺁﺭﺜﹶﺭ ﻤﻥ "ﺠﻨﻴﻔﺭ" ،ﻭﺃﺸـﺎ ﺭ ﻱ ﻤﻥ ﻑ ﺍﻷ ﹶﺜ ِﺭ ﺍﻟﺴﻨﺩﺍﻥ ﻭﺠ ﹶﺫﺏ ﺍﻟﺴﻴ ﹶ ﻴ ﺒ ِﻬ ﺭ ﺒﺭﻴ ﹸﻘ ﻪ ﺃﺒﺼﺎ ﺭ ﻜل ﻤﻥ ﻴﺤـﺩﻕ ﺏ ﻤﻥ ﺃﺒﻴﻬﺎ ﺃﻥ ﻁﹸﻠ ﻋﻠﻴﻪ ﻤﺭﻟﻴﻥ ﺃﻥ ﻴ ﹾ ﻏ ﻤﺩِﻩ ،ﻭﺃﻋﻁﹶﺎﻩ ﻟﺴﻴﺭ ﻜﺎﻱ .ﻭﻋﻨﺩﻤﺎ ِ ﻓﻴﻪ .ﻭﻜﺎﻥ ﺸِﻌﺎ ﺭ ﺍﻟﻤﻠﻙ ﺁﺭﺜﹶﺭ ِﺘﻨﱢﻴﻨﹰﺎ ﻴ ﹶﻘ ﺩﻡ ﻟﻪ )ﻜﻬﺩﻴـﺔ ﺯﻭﺍﺝ( ﺍﻟﻤﺎﺌِـﺩﺓ ﻋﺘِﻪ، ﺼﺩﻕ ﺃﻥ ﻫﺫﺍ ﻓـﻲ ﺍﺴـ ِﺘﻁﹶﺎ ﻴ ﻭﺘﻘﻭل ﺍﻷُﺴﻁﻭﺭﺓ ﺇﻥ ﺁﺭﺜﹶﺭ ﹶﻓﻘﹶـ ﺩ ﺼ ﹶﻨ ﻌﻬﺎ ﻟﻠﻤﻠﻙ ﺃﻭﺜـﺭ ﺒﻨـﺩﺭﺍﺠﻭﻥ، ﻱ ﻓﻲ ﺇﺤﺩﻯ ﺍﻟ ﻤﻌﺎﺭِﻙ؛ ﺴﻴﻔﹶﻪ ﺍﻟﺴﺤ ِﺭ ﺤ ِﺭ ﻴ ﹰﺔ ﻻ ﻴﺴـﺘﻁﻴﻊ ﺴ ﻭﻜﺎﻨﺕ ﻤﺎﺌﺩ ﹰﺓ ِ ﺏ ﺴﻴﻔﹰﺎ ﺁﺨﺭ ﻓﻨﺼﺤﻪ ﻤﺭﻟﻴﻥ ﺃﻥ ﻴﻁﹸﻠ ﺱ ﺇﻟﻴﻬــﺎ ﺇﻻ ﺍﻟﻔﹸﺭﺴــﺎﻥ ﺠﻠِــ ﺃﻥ ﻴ ﺤ ﻴﺭﺓ "ﻨﻴﻤـﻭﻱ" ﺍﻟﺘـﻲ ﻤﻥ ﺴﻴﺩﺓ ﺍﻟ ﺒ ل ﺠﺩِﻴﺭﻭﻥ ﺒﻬﺫﺍ ﺍﻟﺸﱠﺭﻑ .ﻭﺘﻘـﻭ ُ ﺍﻟ m ﻑ ﺁﺨـﺭ؛ ﻻ ﻋﻠﻰ ﺴﻴ ٍ ل ﻟﻪ ﺤﺎ ﹰ ﺼَ ﺤ ﻴ ﻭﻻ ﺘﻘﻁﻌﻬﺎ ﺍﻷﺴﻠﺤﺔ ،ﻭﻜـﺎﻥ ﻓـﻲ ﺃﻥ ﻴﺸﺘﺭﻙ ﻓﻲ ﺁﺨِﺭ ﻤ ﻌﺭ ﹶﻜﺔٍ .ﻭﻗـﺩ ﻋِﻠ ﻡ ﺴِﻴﺭ ﺃﻜﺘﻭﺭ ﺒﻤﺎ ﻓﻌﻠﻪ ﺁﺭﺜﹶﺭ؛ ﻟﻡ .co ﺼ ﺭ ﻋﻠﻰ ﺃﻥ ﻴﻘﹸﻭ ﻡ ﺁﺭﺜﹶﺭ ﺒﺈﻋﺎﺩﺓ ﻭَﺃ ﺍﻟﺴﻴﻑ ﺇﻟﻰ ﻤﻭﻀﻌﻪ ،ﻭ ﹶﻨ ﺯﻋِﻪِ ﻤﻨـﻪ ﻤِﺭﺍﺭﺍ ﻭ ﹶﺘﻜﹾﺭﺍﺭﺍ؛ ﹶﻓ ﹶﻨ ﱠﻔ ﹶﺫ ﺁﺭﺜﹶﺭ ﻤﺎ ﻁﻠﹶﺒﻪ ﻟﻪ ﺭ ْﺃﺴﺎﻥ. ﺴ ﹶﺘﺩِﻴﺭﺓ ﺍﻟﺘﻲ ﻜﺎﻥ ﻤـﺭﻟﻴﻥ ﻗـﺩ ﺍﻟ ﻤ ﺴ ﹶﺘﺠﺎﺒﺕ ﻟﻪ ﻓﻲ ﺍﻟﺤﺎل؛ ﻓﺒـﺭﺯﺕ ﺍ ﺱ ﺍﻟﺫﻱ ﻴﻘـﻊ ﺴﻁﹸﻭﺭ ﹸﺓ ﺇﻥ ﺍﻟﻔﺎ ِﺭ ﻷ ﺍُ ﺴﻴﺭ ﺃﻜﺘﻭﺭ ﻤِﻠﻜﹰﺎ .ﻭﻜـﺭﺭ ﺁﺭﺜـﺭ ﺤ ﻴ ﺭ ِﺓ ﺘﺤﻤل ﺴﻴﻔﹰﺎ ﻉ ﻤﻥ ﻭﺴﻁ ﺍﻟ ﺒ ﺫِﺭﺍ ﺱ ﺇﻟﻴﻬﺎ ﻭﻴﻜﻭﻥ ﺠِﻠ ﻋﻠﻴﻪ ﺍﻻﺨﺘﻴﺎﺭ ِﻟ ﻴ ﻏ ﻤﺩِﻩ ﻭﺇﻋﺎﺩﺘِـﻪ ﺏ ﺍﻟﺴﻴﻑ ﻤﻥ ِ ﺠ ﹾﺫ ﺭﺍﺌﻌﺎ؛ ﹶﻓ ﹶﻘ ﹶﻔﺯ ﺁﺭﺜﺭ ﻓﻲ ﻗﺎﺭِﺏ ﺼﻐﻴﺭ ﺠﺩِﻴﺭﺍ ﺒﻬﺫﺍ ﺍﻟﺸﱠﺭﻑ ﻴـﺭﻯ ﺍﺴـﻤﻪ ﻥ ﺇﻟﻰ ﻤﻜﺎﻨﻪ ﻓﻲ ﺃﻴﺎﻡ ﺍﻷﻋﻴﺎﺩ ،ﻭ ﺒ ﺭ ﻫ ﺴ ﺭﻋﺎﻥ ﻤﺎ ﻭﺠﺩﻩ ﻋﻠﻰ ﺍﻟﺸﱠﺎﻁﺊ ،ﻭ ﻑ ﻤﻥ ﺫﻫـﺏ، ﺤﺭﻭ ٍ ﻤﻜﺘﻭﺒﺎ ﺨﻠﻔﻪ ﺒ ﺵ ﺤﻘﱢﻪ ﻓﻲ ﺍﺭﺘﻘﺎﺀ ﻋـ ﺭ ِ ﺒﺫﻟﻙ ﻋﻠﻰ ﺤﻤﻠﻪ ﺒﻁﺭﻴﻘﺔ ﻋﺠﻴﺒﺔ ﺇﻟـﻰ ﻭﺴـﻁ ﺤﺭﻭﻑ ﺇﻻ ﻋﻨـﺩ ﻭﻻ ﺘﺨﺘﻔﻲ ﻫﺫﻩ ﺍﻟ ott ob ﺴﻴﺭ ﺃﻜﺘﻭﺭ ،ﻭﻋﻨﺩﺌﺫ ﺍﻋﺘﺭﻑ ﺒـﻪ ﺍﻟﻤﻠﻭﻙ ﻭﺍﻷﻤـﺭﺍﺀ ...ﻭﺍﺴـﺘﻁﺎﻉ ﺤﺘﻰ ﺍﺨﺘﻔﺕ ﺍﻟ ﻴ ﺩ ﺍﻟﻐﺎﻤِﻀﺔ ﻓﺠـﺄ ﹰﺓ. ﺒﺎﻟﺠﻠﻭﺱ ﺇﻟﻴﻬﺎ .ﻭﻜﺎﻥ ﻋﻠـﻰ ﺃﺤـﺩ ﺁﺭﺜﹶﺭ ﺒﻤﻌﻭﻨﺔ "ﻤـﺭﻟﻴﻥ" ﻭﻓﺭﺴـﺎﻨﻪ ﻭﺃﺒﻠﻎ ﻤﺭﻟﻴﻥ ﺍﻟﻤﻠﻙ ﺁﺭﺜﹶﺭ ﺃﻨﻪ ﻟـﻥ ﺠﺎﻨﺒﻲ ﺁﺭﺜﹶﺭ " ﻤ ﹾﻘﻌﺩ ﺍﻟﻬـﻼﹶﻙ" ،ﻭﻻ ل ﺍﻟﺜﱠـﻭﺭﺍﺕ ﺨ ِﻤ ﺩ ﻜﹸـ ﱠ ﺍﻷﺒﻁﺎل ﺃﻥ ﻴ ﹾ ﻑ ل ﺒﻬﺫﺍ ﺍﻟﺴﻴ ِ ﻴﻬ ﺯ ﻡ ﻗﹶﻁ ﻤﺎ ﺩﺍﻡ ﻴﻘﹶﺎ ِﺘ ُ ﺱ ﻋﻠﻴﻪ ﺇﻻ ﺍﻟﻔﺎﺭِﺱ ﺠِﻠ ﻴﺴﺘﻁﻴﻊ ﺃﻥ ﻴ ﻥ ﺠﻬِﻪ ،ﻭﺩﺍ ﻭﺍﻟ ِﻔﺘﹶﻥ ﺍﻟﺘﻲ ﻗﺎﻤﺕ ﻓﻲ ﻭ ﺍﻟﻌﺠﻴﺏ "ﺇﻜﺴﻜﺎﻟﻴﺒﻭﺭ" ،ﻭﺃﻨـﻪ ﻟـﻥ ﻟﻪ ﺍﻟﺠﻤﻴ ﻊ ﺒﺎﻟﻁﱠﺎﻋ ِﺔ ﻭﺍﻟ ﻭﻻﹶﺀ. ﻙ ﺁﺭﺜﺭ ﺍﺜﻨﺘـﻲ ﺽ ﺍﻟ ﻤِﻠ ﻭﻗﺩ ﺨﺎ alk ﺒﺭﻴﻁﺎﻨﻴﺎ؛ ﻓـﺎﻋﺘﺭﻑ ﺒـﻪ ﺠﻤﻴـ ﻊ ﻑ ﺠ ﹶﺘ ﹶﺫﺏ ﺍﻟﺴـﻴ ﹶ ﺍﻟﺒﺤﻴﺭﺓ ،ﻭﻤﺎ ﺇﻥ ﺍ ﺠﺩﺍ ﺭﺘﹶـﻪ ﻭﻓﺎﺘِﻪ ،ﺃﻭ ﻋﻨـﺩﻤﺎ ﻴﻔﻘـﺩ ﻏ ﻤ ﺩ ﻫـﺫﺍ ﺏ ﺒﺠﺭﺡ ﻁﺎﻟﻤﺎ ﺃﻥ ِ ﻴﺼﺎ ﺍﻟﺴﻴﻑ ﻤﻌﻠﱠﻕ ﺒﺠﺎﻨﺒﻪ. ل ﺤﺼـﻭ ِ ﻷﻗﹾـﺩﺍ ﺭ ِﻟ ﹾﻠ ﺍﻟﺫﻱ ﺍﺨﺘﺎﺭﺘﻪ ﺍ َ ﺱ ﺍﻟ ﻤ ﹶﻘ ﺩﺴـﺔ .ﻭﺘـﺫﻫﺏ ﻋﻠﻰ ﺍﻟ ﹶﻜ ْﺄ ِ ـﻭﺭﺩﺭﺩ" ـﻰ ﺃﻥ "ﻤـ ﺍﻷُﺴ ـﻁﹸﻭﺭ ﹸﺓ ﺇﻟـ ﺽ ﺍﻟﺸﱡﻌﺭﺍﺀ ﺍﻻﺒﻥ ﻏﻴﺭ )ﻭﻴﻌﺩﻩ ﺒﻌ ﻭﻗﺎﻡ ﺒﻜﺜﻴﺭ ﻤﻥ ﺍﻟﻤﻐﺎﻤﺭﺍﺕ ﻭﺘﺤﺩﻯ ﻏﻀﺏ ﻤﻭﺭﺠﺎﻨـﺎ ﺍﻟﺠِﻨﻴـﺔ ﺁﺭﺜﹶﺭ َﺃ ﹾ ﺍﻟﺸﺭﻋﻲ ﻟﻠﻤﻠﻙ ﺁﺭﺜﺭ ،ﺒﻴﻨﻤﺎ ﻴﻘـﻭل ﺏ ﻓﻲ ﻤﺒﺎ ﺭ ﺯﺘِـ ِﻪ ﻭ ﹶﺘ ﹶﻐﻠﱠـﺏ ﻏ ٍ ل ﺭﺍ ِ ﻜﱡ )ﺃﺨﺘﻪ ﻏﻴﺭ ﺍﻟﺸﱠﻘﻴﻘﺔ(؛ ﻓﺎﺴـﺘﻌﺎﺭﺕ ﺁﺨﺭﻭﻥ ﺇﻨﻪ ﺍﺒﻥ ﺃﺨﻴﻪ( ﺜﺎ ﺭ ﻓﻲ ﻭﺠﻪ w. ﺤ ﹾﻜﻤِـﻪ، ل ﻤ ﺩ ِﺓ ﻋﺸﺭﺓ ﻤﻌﺭﻜ ﹰﺔ ﺨِﻼ َ ﻭﺘﺫﻫﺏ ﺍﻷُﺴـﻁﹸﻭﺭ ﹸﺓ ﺇﻟـﻰ ﺃﻥ ﺤﻨﹶﺔ. ﺏ ﻟﻨﺠﺩﺓ ﺴﻴﺩﺍﺕ ﹸﻜﻥ ﻓﻲ ِﻤ ﻭ ﻫ ﺼ ﹶﻨﻌﺕ ﺴﻴ ﹰﻔﺎ ﺁﺨ ﺭ ﻴﺸﺒﻬﻪ ﺭﺅﻴﺘﻪ ،ﺜﻡ ﻤﻌﺭﻜﺔ ﻗﺭﺏ "ﺘﻨﺘﺎﺠل"؛ ﺤﻴﺙ ﻭﻟِـ ﺩ ﻭﻜﺎﻥ ﻓﻲ ﺨِﻼل ﻫـﺫﻩ ﺍﻟ ﻤﻌـﺎﺭِﻙ ﻑ ﺘﻤﺎﻡ ﺍﻟﺸﱠﺒﻪ ،ﻭﺍﺤﺘﻔﻅـﺕ ﺒﺎﻟﺴـﻴ ِ ﻭ ﹶﺘﹶﻠﻘﱠﻰ ﻤﻥ ﺍﻟﻤﻠﻙ ﺁﺭﺜﹶـﺭ ﻀـﺭﺒ ﹰﺔ ﺏ ﺼـﻨﻌﻬﺎ ﻟـﻪ ﻋ ﺩ ﹶﺓ ﺤـﺭ ٍ ﻴ ﺭ ﹶﺘﺩِﻱ ﺡ ﺁﺭﺜﹶﺭ ﻭ ﻫ ِﺯﻡ ،ﺇﻻ ﺠ ِﺭ ﺍﻟﺴﺤﺭِﻱ؛ ﻓ ﻭﺍﺤﺩ ﹰﺓ ﻤﻥ ﺴـﻴﻔﻪ "ﺇﻜﺴـﻜﺎﻟﻴﺒﻭﺭ" "ﻤﺭﻟﻴﻥ" ﻜﺎﻨﺕ ﻻ ﺘﻨﻔﺫ ﻓﻴﻬﺎ ﺍﻟﺴـﻬﺎﻡ ل ﺴ ﹶﺘﻌﺎ ﺩ ﺴﻴﻔﹶﻪ "ﺇﻜﺴﻜﺎﻟﻴﺒﻭﺭ" ﻗﹶﺒ َ ﺃﻨﻪ ﺍ ﺼﺭِﻉ" ﻤﻭﺭﺩﺭﺩ". ﹶﻓ www.alkottob.com ww ﻷﺴـﺭﻯ، ﻋﻠﻴﻪ ،ﻭﺃﻨ ﹶﻘ ﹶﺫ ﹶﻜﺜِﻴﺭﺍ ﻤﻥ ﺍ َ ﻤﻨﻪ ﺍﻟﺴﻴﻑ "ﺇﻜﺴـﻜﺎﻟﻴﺒﻭﺭ" ﺒﺤﺠـﺔ ﺁﺭﺜﹶﺭ؛ ﻓﺎﺸﺘﺒﻙ ﻤﻌـﻪ ﺍﻟﻤﻠـﻙ ﻓـﻲ ٥١ ﻑ ﺴﻴﺭ ﺒـﺩﻴﻔﻴﺭ ﺃﻥ ﻴﻌﻴـ ﺩ ﺍﻟﺴـﻴ ﹶ ﻭﻴﻘﺎل ﺇﻥ*ﺃﺜﻴﻨـﺎ ﺃﻭ* ﺒﻭﺴـﺎﻴﺩﻭﻥ، ﻁ ﻓـﻲ ﻴ ﹶﻐ ﺭﺭ ﺒﺂﺭﭽﻭﺱ؛ ﻓﺠﻌﻠﹶﻪ ﻴ ِﻐ ﱡ ﺤﻴـ ﺭﺓِ، ﻱ ﺇﻟـﻰ ﺴـ ﻴ ﺩ ِﺓ ﺍﻟ ﺒ ﺍﻟﺴﺤﺭ ﻭﻀﻌﺎﻫﺎ ﻓﻲ ﺍﻟﺴﻤﺎﺀ ﻟﺘﻬﺩﻱ ﺍﻟﻨﺎﺱ ﻋﻴﻭﻨﹶﻪ ﺍﻟﻨﱠﻭﻡ ﻭ ﹶﻗ ﹶﺘﹶﻠ ﻪ .ﻭﺍﻗﺘﻠﻌﺕ ﻫﻴﺭﺍ ﻭﺘﺫﻫﺏ ﺍﻟﺭﻭﺍﻴﺔ ﺇﻟﻰ ﺃﻥ ﻴﺩﺍ ﺒ ﺭﺯﺕ ﻤﻥ ﺍﻟﺒﺤﻴﺭﺓ ﻭﺍﺨﺘﻁﻔﺕ ﺍﻟﺴﻴﻑ ،ﺜﻡ ﺠ ﹸﻨـ ـﺎ ِﺭ ﺍﻟ ﺤـ ـﻲ ِﺒ ـﺭﻭﻱ ـﻭﺏ .ﻭﺘـ ﻓـ ﺃﺴﻁﻭﺭﺓ ﻴﻭﻨﺎﻨﻴﺔ ﺃﺨﺭﻯ ﺃﻨﻬـﺎ ﺃﻭل ل ﻁﺎﻭﻭﺴِﻬﺎ ﻜﹶﺤﻠﻲٍ ﻭ ﹶﻨ ﹶﺜ ﺭ ﹾﺘﻬﺎ ﻋﻠﻰ ﺫﹶﻴ ِ ﺍﺨﺘﻔﺕ ﺒﻪ ﺘﺤﺕ ﺍﻟﻤﺎﺀ ،ﺜـﻡ ﺤﻤـل ﺼ ِﻨ ﻊ ﻓﻲ ﻫﺫﺍ ﺍﻟﻌﺎﻟﹶﻡ ،ﻭﺃﺒﺤﺭ ﻗﺎﺭِﺏ ﺏ *ﺃﻭﺩﻴﺴﻴﻭﺱ ﺍﻟـﺫﻱ ) (٢ﹶﻜ ﹾﻠ ﻓﻴﻪ ﺩﺍﻨﺎﻭﺱ ﻭﺩﺍﻨﻴﺩﺱ ﻤﻥ ﻤِﺼـ ﺭ ﻑ ﻋﻠﻴﻪ ﻋﻨـﺩ ﻋﻭﺩﺘـﻪ ﻤـﻥ ﹶﺘﻌ ﺭ ﹶ ﺇﻟﻰ ﺠﺯﻴﺭﺓ ﺭﻭﺩﺱ. ﺠﻭﻻﺘﻪ ،ﻜﻤﺎ ﺠﺎ ﺀ ﻓﻲ ﺍﻷُﺴـﻁﹸﻭﺭﺓ m ﺱ ﺁﺭﺜﺭ ﺒ ﺩ ﹸﻨﻭ ﺃﺠِﻠ ِﻪ ﻓﹶـَﺄﻤﺭ ﺤ ﻭَﺃ ﺍﻟﺫﱠﻫﺒﻴﺔ ﻓﻲ ﻜـﻭﻟﺨﻴﺱ ،Colchis ﻤﻥ ﺍﻟﺒ ﹶﻘ ِﺭ .ﻭﺍﺴﺘﻁﺎﻉ *ﻫِﻴﺭﻤﻴﺱ ﺃﻥ .co ﻙ ﺁﺭﺜﹶـﺭ ﺇﻟـﻰ ﺴﻴﺭ ﺒﺩﻴﻔﻴﺭ ﺍﻟ ﻤﻠِـ ﺴﻔِﻴ ﹶﻨ ﹲﺔ ﺍﻟﺸﱠﺎﻁﺊ؛ ﺤﻴﺙ ﻜﺎﻨﺕ ﻫﻨﺎﻙ ﺤ ﹶﺘﻀِـﺭ، ﻙ ﺍﻟ ﻤ ﺤﻤِل ﺍﻟ ﻤﻠِـ ﻋﺩﺕ ِﻟ ﹶﺘ ُﺃ ِ ﻭﺍﻨﻘﺴﻤﺕ ﻫﺫﻩ ﺍﻟﻜﹶﻭ ﹶﻜ ﺒ ﹸﺔ ﻓﻲ ﺃﺯﻤﻨﺔ ﺍﻹﻏﺭﻴﻘﻴﺔ. ﺕ ﺴ ِﺒﻴﺎ ،ﺇﻟﻰ ﺜﻼﺙ ﹶﻜ ﻭﻜﹶﺒـﺎ ٍ ﺤﺩِﻴ ﹶﺜ ٍﺔ ِﻨ ) (٣ﺼﺎ ِﻨ ﻊ ﺍﻟﺴﻔﻴﻨﺔ *ﺃﺭﭽـﻭ، ott ob ﻭﻜﺎﻥ ﻓﻴﻬﺎ ﺃﺨﻭﺍﺘﻪ ﺍﻟـﺜﻼﺙ ﻏﻴـﺭ ﻟﻪ. ﻙ ﺁﺭﺜﹶـﺭ ﺍﻟﺸﱠﻘﻴﻘﺎﺕ .ﻭﻴﻘﺎل ﺇﻥ ﺍﻟ ﻤِﻠ ﺴﻔِﻴﻥ، ﺼﻐﻴﺭﺓ؛ ﻫﻲ :ﺍﻟﺠﺅﺠﺅ ﺃﻭ ﺍﻟ ﺴ ﹶﻨﺩ ﺭﺃﺴـ ﻪ ﻓـﻲ ﺤِﺠـﺭ ﺃﺨﺘـﻪ َﺃ ﻭﺍﻟ ﹶﻜ ﻭﺜﹶــل ﺃﻭ ﻤــ َﺅﺨﱠﺭ ﺍﻟﺴــﻔِﻴﻨﺔ، "ﻤﻭﺭﺠﺎﻨﺎ ﺍﻟﺠﻨﻴـﺔ" ،ﻭﺃﻋﻠﹶـﻥ ﺃﻨـﻪ ﻭﺍﻟ ﱢﻨﻘﹶﺎﺏ ﺃﻭ ﺍﻟﺸﱢﺭﺍﻉ .ﻭﻜﺎﻥ ﺍﻟﺭﻭﻤﺎﻥ ﺠﺯِﻴﺭﺓ ﺃﻓـﺎﻟﻭﻥ، ﺴﻭﻑ ﻴﺴﺎﻓِﺭ ﺇﻟﻰ ﻁِﻠﻘﹸﻭﻥ ﻋﻠﻴﻬﺎ ﺃﻴﻀﺎ ﺍﺴﻡ َﺃ ﺭﭽـﻭ. ﻴ ﹾ ﺱ ﻜﺎﻨﻭﺍ ﻴﺘﺭﻗﱠﺒـﻭﻥ ﺃﺤﺩ" .ﻭﻟﻜﻥ ﺍﻟﻨﱠﺎ ﺴﻔِﻴﻨﹶﺔ .ﻭﻗﺎل ﺍﻟ ﹶﻔﹶﻠﻜِﻴﻭﻥ ﺍﻟﻜﺘـﺎﺒﻴﻭﻥ ﺍﻟ ﻋﻭﺩﺘﻪ ،ﻭﻴﻌﺘﻘﺩﻭﻥ ﺃﻨﻪ ﺴﻴﻅﻬﺭ ﻴﻭﻤﺎ ﻙ ﻨﹸﻭﺡ. ﺇﻨﱠﻬﺎ ﻓﹸ ﹾﻠ ﻥ ﻻ ﻴﻌﻭﺩ ﻤﻨـﻪ ﺜﻡ ﹶﺫﻫﺏ ﺇﻟﻰ "ﻤﻜﺎ ٍ ﻋﻬﺎ. ﺭﺒﻭ ِ ﺃﹶﺭﭼﻮ ﺃﻭ ﺃﹶﺭﭼﻮ ﻧﺎﭬِﻴﺲ ﺴﻬﻴل ﻫﻭ ﺍﻟﻨﱠﺠﻡ ﺍﻟﻼﱠﻤﻊ ﻓﻲ ﺠ ﻡ ﻭ ﹶﻨ ﺩ ﱠﻓ ِﺔ ﺍﻟ ﹶﻜ ﻭ ﹶﻜﺒـ ِﺔ َﺃ ﺭﭽـﻭ )ﺍﻟﺴـﻔِﻴﻨﹶﺔ( ﺴﻤﻰ ﺃﭽﺎﺴﺘﻴﺎ .ﻭﻫـﺫﻩ ﺍﻟ ﹶﻜ ﻭ ﹶﻜﺒـ ﹸﺔ ﻭ ﻴ ﺼ ِﺭ ﻴﺔِ، ﺴﻁﹸﻭﺭﺓ ﺍﻟ ِﻤ ﻷ ﹸﺘﺭﺍ ِﺩﻑﹸ ،ﻓﻲ ﺍ ُ ﻑ ﺍﻟ ﹸﻜ ﺭ ِﺓ ﺍﻟ ﺠﻨﹸﻭ ِﺒﻲ ،ﺸﺭﻗﻲ ﹶﻜﻠﹾﺏ ﺁﺭﭼﻮﺱ ﺼ ِ ِﻨ ﺍﻹﻏﺭِﻴ ِﻘ ﻴ ﹸﺔ ﺇﻟﻰ ﺃﻨﻬﺎ ﺍﻟﺴﻔﻴﻨﺔ ﺍﻟﺘـﻲ ﺭ ِﻜ ﺒﻬﺎ ﺠﺎﺴﻭﻥ ﻭﺭﺠﺎﻟﹸﻪ ﺍﻟﺨﻤﺴﻭﻥ، ﻭﺍﻨﻁﻠﻘﻭﺍ ﺒﻬﺎ ﻴﺒﺤﺜﻭﻥ ﻋﻥ ﺍﻟﺠِـﺯﺓ www.alkottob.com ﻓﻲ ﺍﻷُﺴﻁﹸﻭ ﺭ ِﺓ ﺍﻟﻬِﻨﺩ ﻴﺔِ؛ ﻭﻫﻭ ﺍﺒـﻥ ﻟـــ * ﺃﻨــﺩﺭﺍ .ﻭﻗــﺩ َﺃ ﻭ ﺭﺩﺕ "*ﺍﻟﻤﻬﺎﺒﻬﺎﺭﺍﺘﺎ" ﺃﻥ * ﺃﺭﺠﻭﻨﺎ ﻜﺎﻥ ﻤﺤﺎ ِﺭﺒﺎ ﺸﹸـﺠﺎﻋﺎ ﻭﺭﺍ ِﻤﻴـﺎ ﻤـﺎ ِﻫﺭﺍ ﺞ ﺇﻟﻰ ﺠﺒـﺎل ﺤ ﻤﺸﻬﻭﺭﺍ ،ﻭﻗﺎ ﻡ ﺒﺎﻟ ﺍﻟﻬﻴﻤﻼﻴــﺎ ﻻﺴ ِﺘ ﺭﻀــﺎﺀ ﺍﻵﻟﻬــﺔ ل ﻋﻠﻰ ﺼَ ﺤ ﻭﺍﻻ ﺒ ِﺘﻬﺎل ﺇﻟﻴﻬﻡ؛ ﻟﻜﻲ ﻴ ARGUS OR ARGOS ﺠﺒﺎ ﺭ ﺫﻭ ﺍﻟﻤﺎﺌﺔ ﻕ ﺍﻟ ﻼﹸ ) (١ﺍﻟ ِﻌ ﻤ ﹶ ﻋ ﻴﻥٍ ،ﺍﻟﺫﻱ ﺃﺭﺴﻠﺘﻪ *ﻫﻴﺭﺍ ﻟﺤﺭﺍﺴﺔ ﺠﹶﻠﺔٍ * ﺃﻴﻭ ﺃﺜﻨﺎﺀ ﹶﺘ ﹶﻨﻜﱡﺭﻫﺎ ﻓﻲ ﻫﻴﺌ ِﺔ ﻋِ ﺴﻤﺎ ِﻭﻴﺔ ﻴﺴـﺘﺨﺩﻤﻬﺎ ﻀـﺩ ﺃﺴﻠﺤﺔ "ﺍﻟﻜﻭﺭﺍﻓﻴﻴﻥ" .ﻭﺍﻨﻁﻠﹶﻕ ﻤـﻥ ﻫـﺫﻩ ﺍﻟﺠِﺒﺎل ﺇﻟﻰ ﺃﻤﺎﺭﺍﭭـﺎﺘﻲ ،ﻋﺎﺼـﻤﺔ ﺠﻨﺔ ﺇﻨـﺩﺭﺍ ،ﻭﺍﻜﺘﺴـﺏ ﻤﻌﺭﻓـﺔ ww ﺠﺒــﺎﺭ .ﻭﺘــﺫﻫﺏ ﺍﻷُﺴــﻁﹸﻭﺭﺓ ﺍﻟ ﻭﺍﻟﺜﱠﺎﻟِﺙ ﺒﻴﻨﻬﻡ ﻓﻲ ﺍﻟﺘﱠﺭﺘﻴﺏ ﻜﻤﺎ ﺠﺎ ﺀ w. ARGO OR ARGO NAVISﺇﻴﺯﻴﺱ ِﻟ ﻴ ﹾﻨ ﺠﻭﺍ ﻤﻥ ﺍﻟﻁﱡﻭﻓﹶﺎﻥ. ARJUNA َﺃ ﺒ ﺭ ﺯ ُﺃ ﻤﺭﺍ ِﺀ ﺒﺎﻨـﺩﺍﭭﺎ ﺍﻟﺨﻤﺴـﺔ، ﺏ ﻓﻘـﺩ ﺴـﻤﻭﻫﺎ ﺒﺎﺴـﻡ ﺃﻤﺎ ﺍﻟ ﻌ ﺭ ﺍﻟ ﹸﻔﻠﹾﻙ ﺍﻟﺫﻱ ﺍﺴﺘﻘﻠﱠﻪ *ﺃﻭﺯﻴﺭﻴﺱ ﻭ* ﺍﻟﺴﻔﻴﻨﺔ؛ ﻭﻫﻲ ﻜﹶﻭﻜﹶﺒﺔ ﻀﺨﻤﺔ ﻓﻲ ﺃﺭﺟﻮﻧﺎ alk ﻟﻴﻨﺼﺭ ﺒﻼﺩﻩ ،ﻭﻴﻨﺸﺭ ﺍﻟﺴﻼﻡ ﺒـﻴﻥ ﻭﺍﺒﻥ *ﻓﺭﻴﻜﺴﻭﺱ ،ﺃﻭ ﺃﺭﻴﺴﺘﻭﺭ. ﺴﺎﻋﺩﺘﻪ ﻋﻠﻰ ﺘﹶﺤﺴﻴﻥ ﻤﺴﺘﻭﺍﻩ ﻓـﻲ ﻤﺠﺎل ﺍﺴﺘﺨﺩﺍﻡ ﺍﻷﺴﻠﺤﺔ .ﻭﺃﺭﺴـﻠﻪ ﺇﻨﺩﺭﺍ ﺇﻟﻰ "ﺍﻟـﺩﺍﻴﺘﻴﻴﻥ" ﻓﻬـﺯﻤﻬﻡ. ٥٢ ﻼ ﻋﻠﻴﻪ ﺤ ﺭ ِﺒﻴﺔ ،ﻭﺘ ﹶ ﻜﺭﺸﻨﺎ ﻋﺠﹶﻠ ﹶﺘ ﻪ ﺍﻟ ﺒﺎﻋﺘﺒﺎﺭِﻩ ﺍﻹﻟﻪ ﺁﺭﺱ .ﻭﻜﺎﻥ ﻤﺭﺍ ِﺩﻓﹰﺎ ﺼﻠﹶﻬﺎ ﻴ ﹾﻜﻤـﻥ ﻓـﻲ ﺍﻟﻁﱠﺒﻴﻌـ ِﺔ ﺃﻥ َﺃ "ﺍﻟﺒﻬﺎﺠﺎﭭﺎﺩ – ﺠﻴﺘﺎ". ﺱ ﻋﻨﺩ ﺍﻟﺭﻭﻤﺎﻥ .ﻭﻟـﻡ ﻟﻺﻟﻪ *ﻤﺎ ِﺭ ِ ﺍﻟﺴﺤ ِﺭ ﻴ ِﺔ ﺍﻟﺘـﻲ ﻜﺎﻨـﺕ ﻟﻠـﺯﺭﻉ ﻴﻜﻥ ﻟﻬﺫﺍ ﺍﻹﻟﻪ ﺸـﺄﻥ ﻴـﺫﻜﹶﺭ ﻓـﻲ ﺱ ﻭﻻ ﻕ ﺍﻟﻐﹶـﺭ ﺨﻔِـ ﹸ ﻭﺍﻟ ﱠﻨﻤﺎﺀ ،ﻭﻗﺩ ﻴ ﹾ ﺨ ِﺩ ﻡ ﺍﺴـﻤﻪ ﻟِﻴﺼـ ﻭ ﺭ ﺍﻟﻘﹸـﻭﺓ ﺴ ﹸﺘ ﹾ ﻭﺍ ﺼﹶﻠ ﹲﺔ ِﺒ ﺒ ﹾﺫ ِﺭ ﺍﻟﺤﺒـﻭﺏ. ﺱ ﻟﻬﺎ ِ ﻁﻘﹸﻭ ﹸ ﺍﻟﺤﺭﺒﻴﺔ ﻟِﹶﻠﻌ ﺩﻭ ،ﺍﻟﺫﻱ ﻴﺘﻐﻠﱠﺏ ﻋﻠﻴـﻪ ﺽ ﻭُﺃﻟﱢﻬـﺕ ﺕ ﺍﻷﺭ ﺼ ِ ﺨ ﺸﱢ ﻭﻫﻜﺫﺍ ﹸ ﻋ ﺩ ِﺓ ﺁﻟﻬﺘﻬﻡ ﺯﻴـﻭﺱ ﺍﻹﻏﺭﻴﻕ ﺒ ﻤﺴﺎ ﻓﻲ ﻭﻗﺕ ﻭﺍﺤﺩ .ﻭﻤﻥ ﺍﻟﻌﻘﺎﺌﺩ ﺍﻟﺘـﻲ ﻭ* ﺃﺒﻭﻟــﻭ ﻭ* ﺃﺜﻴﻨــﺎ .ﻭﺘــﺭﻭﻱ ﺸﺎﻋﺕ ﻓﻲ ﺍﻟﻌﺎﻟﹶﻡ ﹸﻜﻠﱢـﻪ ﺘﻘﺭﻴﺒـﺎ ﺃﻥ m ﻭﻋﻨﺩﻤﺎ ﺤﺎﺭﺏ "ﺍﻟﻜﻭﺭﺍﻓﻴﻴﻥ" ﻗـﺎ ﺩ ﻋﺒﺎﺩﺘﹸﻪ ﻓـﻲ ﺃﻜﺴـﻭﻡ )ﺒﺈﺜﻴﻭﺒﻴـﺎ( ﺍﻟﻌﺒﺎﺩﺓ ﺤﻭل "ﺍﻷﺭﺽ ﺍﻷﻡ" .ﻭﻴﺒﺩﻭ ﻥ ﻴ ﹾﺫ ﹶﻜ ﺭ ﹶﻟﺩﻯ ﺸ ْﺄ ﻭﻟﻴﺱ ﻷﺭﺠﻭﻨﺎ ﹶ ﺍﻟﻬﻨﺩﻭﺱ ﺍﻟﻤﺤ ﺩﺜِﻴﻥ. .co ﺇﺭﺩِﻟﹾﻴِــــﻲ )ﭼــــﺎﻧﻮﺱ ﺇِﺭﺩِﻟﹾﻴِﻲ( JANOS ERDELYI ـﺎﺭﻱ، ـﻭﻑ ﻫِﻨﻐـ ﺴـ ـﺏ ﻭ ﹶﻓ ﻴﹶﻠ ﻜﺎ ِﺘـ ﺍﺸﺘﻬﺭ ﺒﺠﻤﻌﻪ ﻟﻸﻏـﺎﻨﻲ ﺍﻟﺸﱠـﻌﺒﻴﺔ ـﺎل ـﻌﺒﻴﺔ ﻭﺍﻷﻤﺜـ ﺕ ﺍﻟﺸـ ـﺎ ِ ﺤﻜﹶﺎﻴـ ﻭﺍﻟ ِ ﺠﻤﻭﻋـ ﹲﺔ ﺸﺭﺕ ﻟﻪ ﻤ ﺍﻟﻬﻨﻐﺎﺭﻴﺔ ،ﻭ ﹸﻨ ِ ﻀﻡ ﻗﺼـﺎ ِﺌ ﺩ ﻭﺤِﻜﺎﻴـﺎﺕ ﺸـﻌﺒﻴﺔ ﹶﺘ ﺠ ِﺭﻴﺔ ﻓﻲ ﺜﻼﺜﺔ ﻤﺠﻠﱠﺩﺍﺕ )١٨٤٦ ﻤ ﺘﻀﻡ ﺜﻼﺜﻤﺎﺌﺔ ﺃﻏﻨﻴﺔ ﻭﻁِﻨﻴﺔ ﻭﺘﺴـ ﻊ ﻋﺸﺭ ﹶﺓ ﺤِﻜﹶﺎﻴﺔﹰ ﺸﻌﺒﻴﺔ ﻭ ٧٣٦٢ﻤـﻥ ﺍﻷﻤﺜﺎل ﺒﻌﺩ ﻋﺎﻡ ﻤﻥ ﻭﻓﹶﺎﺘِﻪ. ﺠﻴـﺔٍ، ﺸ ﻴ ٍﺔ ﻭ ﻫ ﻤ ِ ﺤِ ل ﻭ ﻓﻴﻬﺎ ﻤﻥ ﺃﻋﻤﺎ ٍ *ﺃﻓﺭﻭﺩﻴﺕ ﺃﻭ ﻋﺸﻴﻘﻬﺎ ،ﻜﻤﺎ ﺠـﺎﺀ ﻓﻲ ﺍﻷُﺴﻁﹸﻭﺭ ِﺓ ﺍﻹﻏﺭﻴﻘﻴﺔ .ﻭﻜـﺎﻥ ﻴﺭﺍ ِﺩﻑﹸ ﻓـﻲ ﺍﻟ ﺩﻴﺎﻨـ ِﺔ ﺍﻟ ِﻤﺼـ ِﺭ ﻴ ِﺔ ﺍﻟﻴﻭﻨﺎﻨﻴﺔ ﺃﻭﻨـﻭﺭﻴﺱ ،ﻭﺍﻨﺘﺸـﺭﺕ ﻥ ﺇﻟﻰ ﺃﻥ ﹶﺘ ﻤﻜﱠـ ِﻗ ﺩ ٍﺭ ﻤﻥ ﺍﻟ ﻤ ﻌ ِﺩ ِ ﻥ* ﻷﺭﺽ ﺸﺄَﺕ ﺃُﺴـﻁﹸﻭﺭﺓ "ﺍ َ ﻭﻫﻜﺫﺍ ﹶﻨ ﹶ ﺴﺭﺍﺤِﻪ ﺒﻌـﺩ ﻫﻴﺭﻤﻴﺱ ﻤﻥ ﺇﻁﻼﻕ ﺍﻷُﻡ" ﻭ"ﺍﻟﺴﻤﺎﺀ ﺍﻷﺏ"؛ ﻫﺫﻩ ﺍﻟﻤﻌﺒﻭﺩﺓ ١٣ﺸﻬﺭﺍ .ﻭﻗﺩ ﺭﻭﻯ *ﻫﻭﻤﻴﺭﻭﺱ ل ﻓـﻲ ﺴ ﹶﺘ ﹾﻘ ِﺒ ُ ل ﺒ ﻌﻁﹶﺎﺌِﻬﺎ ﹶﺘ ﺨُ ﺍﻟﺘﻲ ﻻ ﹶﺘ ﺒ ﹶ ـﺎ ﺃﻥ ﺤﻜﺎﻴ ـ ﹰﺔ ﻤﺭِﺤ ـ ﹰﺔ ﺠ ـﺎ ﺀ ﻓﻴﻬـ ﺕ ﻅ ِﻬ ﺭ ﻤ ﻌ ﹶﺘ ﹶﻘﺩﺍ ﹲ ﺃﻁﻭﺍﺌﻬﺎ ﺍﻟ ﻤ ﻭﺘﹶﻰ .ﻭﺘﹸ ﹾ ﻫﻴﻔﺎﻴﺴـــﺘﻭﺱ Hephaestus ﺸﺎﺌِﻌﺔ ﻓﻲ ﻜﺜﻴﺭ ﻤﻥ ِﺒﻘﹶﺎﻉ ﺍﻟﻌـﺎﻟﹶﻡ؛ ﻀﺒﻁﻪ ﻓﻲ ﻤﻭﻗﻑ ﻏﺭﺍﻤﻲ ﺸـﺎﺌِﻥ ﻤﺜل ﺃﻤﺭﻴﻜﺎ ﺍﻟﺸﱠـﻤﺎﻟﻴﺔ ،ﻭﻏـﺭﺏ ﻤﻊ* ﺃﻓﺭﻭﺩﻴـﺕ؛ ﻓـﺄﻟﻘﻰ ﻋﻠﻴﻬﻤـﺎ ﺇﻓﺭﻴﻘﻴﺔ ،ﻭﻤﻨﻐﻭﻟﻴـﺎ ﻭﻏﻴﺭﻫـﺎ؛ ﺃﻥ ﺴﺭﻫﻤﺎ ﺃﻤﺎ ﻡ ﺍﻵﻟﻬـﺔ، ﺸ ﺒ ﹶﻜﺔﹰ ،ﻭﻫ ﹶﺘﻙِ ﹶ ﻭﺘﻌﺭﻀﺎ ﻟﻠﺴﺨﺭِﻴﺔ ﻭﻫﻤﺎ ﻓﻲ ﻫـﺫﺍ ﺨﺯِﻱ .ﻭﻗـﺩ ﻭﺼـ ﹶﻔ ﻪ ﺍﻟﻤﻭﻗﻑ ﺍﻟ ﻤ ﹾ ﻱ ﺤﻅﹶﻰ ﺒﺄ ﺴﻭﻓﻭﻜﻠﻴﺱ ﺒﺄﻨﻪ "ﺇﻟﻪ ﻻ ﻴ ﺍﺤﺘﺭﺍ ٍﻡ ﺒﻴﻥ ﺍﻵﻟِﻬﺔ". ﺍﻷَﺭﺽ ﻷ ﺭﺽِ ﺘﺼـﺤﺒﻪ ﻥ ﺍﻟﻤﻭﺘﻰ ﻓﻲ ﺍ َ ﺩ ﹾﻓ ﺱ ﺸﻌﺎ ِﺌ ِﺭ ﺍﻟﻐﹶـ ﺭ ِ ﺸﻌِﻴ ﺭ ﹲﺓ ﻤﻥ ﹶ ﺃﻴﻀﺎ ﹶ ﺕ ﺡ ﺍﻟ ﻤﻴـ ِ ﻭﺍﻟ ﺯﺭﺍﻋﺔِ؛ ﺫﻟﻙ ﻷﻥ ﺭﻭ ل ﺠِﺴ ﻡ ﺍﻤﺭﺃﺓ ﻟﺘﺨﺭﺝ ﻤـﺭ ﹰﺓ ﺨُ ﻗﺩ ﹶﺘ ﺩ ﹸ EARTH ﻷ ﺭﺽِ ﻗﺩﻴﻤـ ﹰﺔ ﻟﻘﺩ ﻜﺎﻨﺕ ﻋِﺒﺎ ﺩ ﹸﺓ ﺍ َ ﺸ ِﺒ ﻪ ﻋﺒﺎﺩﺓ ﻤﻭﻏِﹶﻠﺔﹰ ﻓﻲ ﺍﻟ ِﻘ ﺩﻡِ ،ﻭﻫﻲ ﺘﹸ ﹾ ﺃﺨﺭﻯ ﻤﻥ ﺍﻟﻌِﺒﺎﺩﺍﺕ ﺍﻟﺘﻲ ﻅﻬـﺭﺕ ﻓﻲ ﺍﻟﻌﺎﻟﹶﻡ ﺍﻟﻘﺩﻴﻡ ،ﻭ ﹶﺘ ﹶﺘ ﺭﻜﱠـ ﺯ ﻫـﺫﻩ ﺃﺨﺭﻯ ﻤﻨﻪ ﻓـﻲ ﺼـﻭ ﺭ ِﺓ ﻤﻭﻟﹸـﻭ ٍﺩ ﺠﺩﻴﺩ .ﻭﻫﻜﺫﺍ ﻜﺎﻨﺕ ﺍﻷﺭﺽ ﻓـﻲ ﻤﺜل ﻫﺫﻩ ﺍﻟﻤﻌﺘﻘﺩﺍﺕ ﺇﻟﻬﺔ ﺘﹶﺤـﺭِﻴﻡ، ww ﻭﻫﻭ ﺍﺒﻥ *ﺯﻴﻭﺱ ﻭ*ﻫﻴﺭﺍ ،ﻭﺯﻭﺝ * ﺍﻷﻟﻭﺍﺩﻱ ﺃﻭﺜﻘﺎﻩ ،ﻭﺤﺒﺴـﺎﻩ ﻓـﻲ ﺃﻨﺜﻰ ،ﻭﺃﺼـﺒﺤﺕ "ﺍﻹﻟﻬـﺔ ﺍﻷﻡ"، w. ARES ﺏ ﺍﻟﺫﻱ ﻴ ﻤﺜﱢل ﻜل ﻤـﺎ ﺇﻟ ﻪ ﺍﻟﺤﺭ ِ www.alkottob.com ﺍﻷُﺴﻁﹸﻭﺭ ﹸﺓ ﺍﻹﻏﺭﻴﻘﻴﺔ ﺃﻥ ﻋﻤﻼﻗـﻲ ﺽ ﺍﻟ ﻤ ﹾﻨﺘِﺠ ﹶﺔ ﻟﻠﺜﱢﻤﺎﺭ ﺍﻋﺘﺒـﺭﺕ ﺍﻷﺭ alk – ،(١٨٤٨ﻭﻤﺠﻤﻭﻋــﺔ ﺃﺨــﺭﻯ ﺁﺭِﺱ ـﻭﺕ، ـﻼﻕ ﺃﻭ ﺍﻟﻼﱠﻫـ ـﺎل ﺍﻷﺨـ ﻤﺠـ ott ob "١٨٦٨ – ١٨١٤ﻡ" ﻴﺄﺘﻲ ﺒ ﹶﺜ ﻤﺭﺍﺘِـﻪ ﺍﻟ ﻤ ﹾﻨﺸﹸـﻭ ﺩﺓِ؛ ﻓﺘﹸﻘـﺎ ﻡ ﻭﺍﻻﻋﺘﻘﺎﺩ ﻓﻴﻬﺎ ﻴﺴﺘﻭﻋﺏ ﹶﺘﺼـ ﻭ ﺭ ﺵ ﺃﺭﻭﺍﺡ ﺍﻟﻌﺎﻟﹶﻡ ﺍﻟﺴﻔﻠﻲ؛ ﺤﻴﺙ ﺘﻌﻴ ﹸ ﺍﻟ ﻤ ﻭﺘﹶﻰ. ٥٣ ـﺎ ـل ﺍﻷﺭﺽ ﻭﻁﺒﻴﻌﺘﻬـ ـﻥ ﺃﺼـ ﻋـ ﺏ ﺍﻟﺭﺠـﺎل ﻴﺴﺘﻘﺒل ﺍﻟﻨﱢﺴﺎ ﺀ ﻤﻭﻜِـ ﻙ ﻓﻲ ﻴـﺩِﻫﺎ ﺴ ﺼﻔﺭﺍﺀ ﺫﻫﺒﻴﺔ ،ﻭﺘﹸ ﻤ ِ ﺃﻴﻀﺎ ،ﻭﻫﻲ ﻓﻲ ﻫﺫﻩ ﺍﻷُﺴـﻁﹸﻭﺭﺓ ﻥ ﺃﻗﺩﺍﻤﻬﻥ ،ﺜﻡ ﻴﺘﻘﺩﻡ ﺴ ﹾﻠ ﺍﻟﻌﺎﺌﺩﻴﻥ ﻭ ﻴ ﹾﻐ ِ ﻅ ﻬﺭ ﹶﻜ ﺒﺵٍ. ﺤﺒﻼﹰ ،ﻭ ﹶﺘ ﻤ ﹶﺘﻁِﻲ ﹶ ﻤﺎﺩﺓ ﻟﻡ ﺘﺤﻅ ﺒﺎﻟﺘﱠﺸﺨِﻴﺹ .ﻭﻫﻲ ﻓﻲ ل ﻭﻫـﻡ ﺏ ﺤﺎﻓِـ ٍ ﺍﻟﺠﻤﻴﻊ ﻓﻲ ﻤﻭﻜـ ٍ ﻥ ﺃﻨﻔﺴﻬﻡ ﻤﻥ ﻲ ﺍﻟﺴﻜﺎ ﺤ ِﻤ ﻭﻟﻜﻲ ﻴ ﻤﻥ ﻗﺎﻉ ﺍﻟ ِﻤﻴﺎ ِﻩ ﺍﻟ ﹶﻜ ﻭ ِﻨﻴﺔ ،ﻭﻓﻲ ﻁﺎﺌﻔﺔ ﻥ ﺠﻬِـﻴ ﻭﻴﺭ ﹸﻗﺼﻭﻥ ،ﻭﻴﻁﻔِـﺭﻭﻥ ﻤ ﱠﺘ ِ ﺝ ﺍﻟﺩﺍﺭ ﻤﺎ ﻴﺸـﺒﻪ ﻓﻭﻕ ﺍﻟﺒﺎﺏ ﺨﺎ ِﺭ ﻋ ﺩ ﻟﻬﺫﻩ ﺕ ﺍﻟﻜﺎﻫِﻥ؛ ﻭﺍﻟﺫﻱ ُﺃ ِ ﺤﻭ ﺒﻴ ِ ﹶﻨ ﺸ ﻤ ﻌﺩﺍﻥ ،ﻭﻓﻴﻪ ﺠﻤﺠﻤـﺔ ﻜﹶـ ﺒﺵٍ، ﺍﻟ ﱠ ﻥ ﺒﺎﻷﺯﻫﺎﺭ ﻭﺃﻭﺭﺍﻕ ﺴﺒﺔ ،ﻭ ﺯ ﻴ ﺍﻟ ﻤﻨﹶﺎ ﻭﻤﺠﻤﻭﻋﺔ ﻤ ﹶﻨﻭﻋﺔ ﻤـﻥ ﺍﻷﺸـﻴﺎﺀ ﺝ ﺒﻴﻥ ﺸ ﻬ ﺩ ﺯﻭﺍ ٍ ل ﻤ ﹾ ﺍﻟﺸﱠﺠﺭِ ،ﺜﻡ ﻴ ﻤﺜﱠ ُ ﺍﻟﺜﱠﻤﻴﻨﺔ؛ ﻤﺜل ﺭﻗﺎﺌِﻕ ﻤـﻥ ﺍﻟـﺫﱠﻫﺏ m ﻭﺘﺤﻜﻲ ﺃﺴﺎﻁﻴ ﺭ ﻜﺜﻴﺭﺓ ﻭ ﻤ ﹶﻨﻭﻋﺔ ﻑ ﺍﻟﻘﺭﻴﺔ ل ﹶﻓ ِﺘﻲ ،ﻭﻋﻠﻰ ﻤﺸﹶﺎ ِﺭ ِ ﺠٍ ﺭ ﻭﺘﺭﺘﺩﻱ "ﺨـﻭﻥ ﻤـﺎ" ﺃﺜﻭﺍﺒـﺎ ﺒﻌﺽ ﺍﻷﺴﺎﻁﻴﺭ ﺍﻷﺨﺭﻯ ﻗﺩ ﺒﺭﺯﺕ .co ﺜﺎﻟِﺜﺔ ﻤﻥ ﺍﻷﺴﺎﻁﻴﺭ ﻴﻌﺘﻘﺩ ﺃﻨﻬﺎ ﺠﺴﻡ ﺵ ﻓﺎﺭﻗﺘـﻪ ﺠﺜﱠﺔ ﻭﺤـ ٍ ﺇﻟﻪ ﻤﻴﺕ ﺃﻭ ﺽ ﻋﻠـﻰ ﺍﻟ ﺴ ﹶﺘﻘِ ﺭ ﺍﻷﺭ ﺤﻴﺎ ﹸﺓ .ﻭﻗﺩ ﹶﺘ ﻥ ل ﻭ ﻴ ﹶﻐﻨﱡــﻭ ﻥ ﺍﻟﻁﱡﺒــﻭ َ ﻴ ﹾﻘ ﺭﻋــﻭ ﻥ ﺸﻴﺎﻁﻴﻥ "ﺨﻭﻥ ﻤﺎ"؛ ﻓﺈﻨﻬﻡ ﻴ ﹶﺜ ﺒﺘﹸـﻭ ﺠﺘِﻪ ﺭﻤـﺯﹰﺍ ﻻﺘﱢﺤـﺎ ِﺩ ﺍﻟﻜﺎﻫِﻥ ﻭ ﺯ ﻭ ﻭﺍﻟ ِﻔﻀﺔ ،ﻭ ﹸﻓﺼﻭﺹ ﻤﻥ ﺍﻟ ﹶﻔ ﻴﺭﻭﺯ، ﺨﺫﹸﻭﻥ ﺃﻤﺎﻜِﻨﻬﻡ ﻋﻨـﺩ ﻴﺤﻤﻠﻬﺎ ﺁﻟﻬﺔ ﻴ ﱠﺘ ِ ﻷ ﺭﺽِ .ﻭﺒﻌﺩ ﺫﻟﻙ ﻴﻌﻭﺩ ﺱ ﻭﺍ َ ﺍﻟﺸﱠﻤ ِ ﻭﻤِﻘﺩﺍﺭ ﻤﻥ ﺍﻷﻁﻌﻤﺔ ﺍﻟﺠﺎﻓﺔ ﻜﺎﻷﺭﺯ ﺃﺭﻜﺎﻨِﻬﺎ ﺍﻷﺭﺒﻌـﺔ .ﻭﻟﻌـل ﻫـﺫﻩ ﺍﻟﺠﻤﻴ ﻊ ﺇﻟـﻰ ﺍﻟﺸﱠـﺭﺍﺏ ﻭﺍﻟﻁﱠﻌـﺎ ﻡ ﺤﻤﺹ ﻭﺍﻟﻔﻭل ،ﻭﺼﻭ ﺭ ﻭﺍﻟﻘﻤﺢ ﻭﺍﻟ ِ ﺍﻟﺘﱠﺼﻭﺭﺍﺕ ﻫﻲ ﺍﻟﺴﺒﺏ ﻓﻲ ﻨﺸـﺄﺓ ﻭﺍﻟﻠﱠﻬﻭ ﻭﻴﺭﻗﺼﻭﻥ ﻭﻴﻨﺸﺩﻭﻥ ﺒﻌﺽ ﻭ ﹶﺘﻤﺎ ِﺜﻴل ﻟﺭﺠل ﻭﺍﻤـﺭﺃﺓ ﻭﺒﻴـﺕ. ﻻﺯِلِ؛ ﻷﻨﻪ ﺍﻷﺴﺎﻁﻴﺭ ﺍﻟﺨﹶﺎﺼﺔ ﺒﺎﻟ ﺯ ﹶ ﺨﻠِﻴﻌﺔ .ﻭﺍﻟﻐـﺭﺽ ﻤـﻥ ﺍﻷﻏﺎﻨﻲ ﺍﻟ ﹶ ﺽ ﻤـﻥ ﻭﻀـﻊ ﺍﻟﺘﱠﻤﺎﺜِﻴـل ﻭﺍﻟ ﹶﻐ ﺭ ﺍﻟ ﻤ ﻭ ﱠﻜﻠﹸﻭﻥ ﺒﺤﻤل ﺍﻷﺭﺽ ﺃﻤﺎﻜﻨﻬﻡ؛ "ﺍﻷﺭﺽ ﺍﻷﻡ" ﻟﻜﻲ ﹶﺘﺠﻭ ﺩ ﺒﺜﻤﺭﺍﺘﻬﺎ. ـﺕ ل ﺍﻟﺒﻴـ ـﻭ ِ ﺨـ ـﻰ ﺩ ﹸ ﺃﺼ ـﺭﻭﺍ ﻋﻠـ ل .ﻭﻴﻌﺒـﺩ ﻻ ِﺯ ُ ﺍﻫﺘﺯﺕ ﻭﻜﺎﻨﺕ ﺍﻟـﺯ ﹶ ﻁﻘﹸﻭﺱ ﺃُﺨـﺭﻯ ﺘـﺭﺘﺒﻁ ﻭﻫﻨﺎﻙ ﹸ ل ﻭﺍﻟﺼـﻭﺭ؛ ﻭﺇﻴﻬﺎﻤﻬﻡ ﺃﻥ ﺍﻟﺘﱠﻤﺎﺜﻴـ َ ﺽ ـﺎل ﺍﻷﺭ ـﺎﻟﻲ ﺍﻟﺒﻨﻐـ ﺽ ﺃﻫـ ﺒﻌ ـ ﻥ ﺒﺤﻤﺎﻴﺔ ﺍﻹﻨﺴـﺎﻥ ﻤـﻥ ﺸﹶـﻴﺎﻁِﻴ ِ ﻥ ﺍﻟﺒﻴـﺕ ﺃﻨﻔﺴـﻬﻡ، ﺴﻜﱠﺎ ﺇﻨﻤﺎ ﻫﻲ ل ﻋـﺎ ٍﻡ ﻥ ﻜـ ﱠ ﺤ ﹶﺘ ِﻔﻠﹸـﻭ ﻭ ﻴ َﺅﱢﻟﻬﻭﻨﹶﻬﺎ ﻭ ﻴ ﻼ ﺍﻷﺭﺽ .ﻓﻔﻲ ﺇﻗﻠﻴﻡ ﺍﻟﺘﺒـﺕ ﻤـﺜ ﹰ ﻭﺫﻟﻙ ﻋﻨـﺩﻤﺎ ﹸﺘ ﺯﻫِـ ﺭ ﺍﻷﺸـﺠﺎﺭ، ﺤﺼـ ﺭ ﻟﻬـﺎ ،ﻭﻫـﻡ ﺸﻴﺎﻁِﻴﻥ ﻻ ﹶ ل ﻋﻠﻰ ﺍﻟﻨﱠﺤﻭ ﺍﻟﺘﱠﺎﻟﻲ: ﺤ ِﺘﻔﹶﺎ ُ ﻭﻴﻜﻭﻥ ﺍﻻ ﻴﺨﺸﻭﻨﻬﺎ ﻭﻴﺅﻤﻨـﻭﻥ ﺒـﺄﻥ ﻫـﺫﻩ ل ﺤ ﻡ ﺍﻟﺠﻤﻴ ﻊ ﻭ ﻴﻠﹸﻭ ﹸﺫ ﺍﻟﺭﺠـﺎ ُ ﺴ ِﺘ ِ " ﻴ ﻥ ﺍﻷﻡ ﺍﻟﺸﻴﺎﻁﻴﻥ ﺘﺨﻀـﻊ ِﻟﺴـ ﹾﻠﻁﹶﺎ ِ ل ﺃﺤ ﺩ ﺍﻟ ﹶﻜﻬ ﹶﻨﺔِ ﺇﻟـﻰ ﻁﻘﹸﻭﺱ ﻴﺘﻭﺴُ ﺍﻟ ﱡ ﺒﺎﻟﻐﺎﺒﺔ ﺍﻟﻤﻘﺩﺴـﺔ ،ﺒﻴﻨﻤـﺎ ﻴﺠﺘﻤـﻊ ﺍﻟ ﻌﺠﻭﺯ "ﺨﻭﻥ ﻤﺎ"؛ ﻭﻫـﻲ ﺘﹸﺸـﺒِﻪ "ﻤﺎﻨﻴﺎ" ﺍﻟﺭﻭﻤﺎﻨﻴﺔ ﺍﻟﺘﻲ ﻜﺎﻨﺕ ﺍﻷﻡ ﺃﻭ ل ﻷﻡ ﺍﻟ ﻌﺠﻭﺯ "ﺨﻭﻥ ﻤﺎ" ﺃﻥ ﹶﺘ ﹶﺘ ﹶﻘﺒـ َ ﺍُ ﺘﻠﻙ ﺍﻟ ﻬﺩﺍﻴﺎ ﺍﻟﻔﺎﺨِﺭﺓ ،ﻭﺃﻥ ﺘﹸﻭﺼِـ ﺩ ل ﺒﺘﻘﺩﻴﻡ ﺒﻌﺽ ﺍﻟﻁﱠﻴ ِﺭ ﻭﻴﻘﻭﻡ ﺍﻟﺭﺠﺎ ُ ﺠﺩﺓ ﻟﻸَﺸﺒﺎﺡ ﺍﻟﺘﻲ ﻜﺜﻴﺭﺍ ﻤﺎ ﺘﻅﻬﺭ ﺍﻟ ﺏ ﺍﻷﺭﺽ ﺍﻟﻤﻔﺘﻭﺤﺔ؛ ﺤﺘﻰ ﻻ ﺃﺒﻭﺍ ﻗﹸﺭﺒﺎﻨﹰﺎ ﻹﻟﻪ ﺍﻟﺸﱠﻤﺱ ،ﺜﻡ ﻴﺸـﺭﺒﻭﻥ ﻟﻠﻨﱠﺎﺱ. ﺝ ﻤﻨﻬﺎ ﺍﻟﺸﱠﻴﺎﻁِﻴﻥ ﻹﻴﺫﺍﺀ ﺃﻫـل ﻴﺨﺭ ott ob ﹶﻗ ﺭﻥِ ﺜﹶﻭ ٍﺭ ﺃﻭ ﻜﺎﻫِل ﺇﻨﺴـﺎﻥ ،ﻭﻗـﺩ ﺇﺫﺍ ﺘﺤﺭﻙ ﺍﻟﺜﱠﻭ ﺭ ﺃﻭ ﺘﺒﺎﺩل ﺍﻵﻟِﻬـﺔ ﻑ ﻻ ﻋﻠـﻰ ﹶﻜﺘِـ ِ ﺇﻟﻰ ﺍﻟﻘﺭﻴﺔ ﻤﺤﻤﻭ ﹰ www.alkottob.com ﻥ ﻤـﻥ ﻫﺫﻩ ﺍﻷﺸﻴﺎﺀ ﻭﻴﻨﺠﻭ ﺍﻟﺴـﻜﺎ ﺸ ﺭﻫﺎ. ﹶ ل ﺍﻟﺩﺍﺭ ﺒﻬـﺫﻩ ﻭﻋﻨﺩﻤﺎ ﻴﻨﻬﺽ ﺃﻫ ُ w. ﻥ ﻭﻴﺭﻗﺼﻭﻥ ،ﻭﻋﻨﺩﺌﺫ ﻴﻌﻭ ﺩ ﺍﻟﻜـﺎ ِﻫ ﺱ ﺃﻥ ﻓــﻲ ﺍﻷﺭﺽ ﻴﻌﺘﻘــﺩ ﺍﻟﻨﱠــﺎ ﻥ ﻨِ ﹾﻘﻤﺘﹶﻬﺎ ﻋﻠﻰ ﺙ ﺍﻟﺸﱠﻴﺎﻁﻴ ﻭﺒﺫﻟﻙ ﹶﺘ ﹾﻨ ﹸﻔ ﹸ ww ﺍﻟﻨﱢﺴﺎ ﺀ ﻓﻲ ﻤﻨﺯل ﻜـﺎﻫِﻥ ﺍﻟﻘﺭﻴـﺔ، ﺍﻻﺤﺘﻔﺎل ﻜﻠﻪ ﻫـﻭ ﺍﻟﺘـﺄﺜﻴﺭ ﻓـﻲ alk ِﺒ ﺯﻭﺍﺠِﻬﺎ ﻤﻥ ﺇﻟﻪ ﺍﻟﺸﱠﻤﺱ "ﺩﺭﺍﻤﻲ"؛ ﻀﻠِﻴل ﺍﻟﺸﱠﻴﺎﻁﻴﻥ ﺇﺫﺍ ﻭﺍﻟﺼﻭﺭ ﻫﻭ ﹶﺘ ﺙ ﺒﺎﻟﺤﻴﺎﺓ ﻭﺍﻷﺤﻴﺎﺀ. ﺍﻟﺩﺍ ِﺭ ﻭﺍﻟ ﻌ ﺒ ِ ٥٤ ﺢ ﻁ ﺍﻹﻤﺒﺭﺍﻁـــﻭﺭﻱ ﺃﻥ ﻴﻨﹾـــ ﺒ ِ ل ﻤﻨﻬﺎ ،ﻭﻁﹶﻔﺎ ﻋﻠﻰ ﺍﻟﺴﻁﺢ ﺒﻴﻥ ﺃُﺭﺴِ َ ﺒﺒﻨﹶﺎﺀ ﻤﺩﻴﻨﺔ ﻤـﻥ ﹶﺫﻫـﺏ ﻭ ِﻓﻀـﺔ ﺽ ﺍﻹﻤﺒﺭﺍﻁﻭ ﺭ ﻨﻔﺴﻪ ﻋﻠـﻰ ﺍﻷﺭ ِ ل ﺒـﻴﻥ ﺤﻤـ َ ﺤﻴﺎ ِﺓ ﻭﺍﻟ ﻤ ﻭﺕِ ،ﻭﻗﺩ ﺍﻟ ﻭ ﺯ ﺒ ﺭﺠﺩ ﻭﻴﺎﻗﹸﻭﺕ ﻭﻟﹸﺅﹸﻟﺅَ ،ﻋﻠﻰ ﺃﻥ ل ﺃَﻤﺎﻡ ﺨﻤﺱ ﺁﻜﺎﻡ ﻤﻥ ﺍﻟﺘﱡﺭﺍﺏ ﹸﺘ ﻤﺜﱢـ ُ ﻤﺨﺎﻟِﺒﻪ ﺒﻌﺽ ﺍﻟﻁﱢﻴﻥ ﻭﺍﻟﺭﻤﺎل ﺍﻟﺘﻲ ﺢ ﺍﻟﻤـﺎﺀ ،ﺜـﻡ ﻁِ ﺴ ﹾ ﻀﻌﺕ ﻋﻠﻰ ﻭ ِ ﺘﹸﻘﺎ ﻡ ﻗﹸﺼﻭﺭﻫﺎ ﻓﻭﻕ ﺃﻋﻤِـﺩﺓ ﻤـﻥ ﺱ ﺘﺤـﺕ ﺘﻠـﻙ ﺍﻟ ﺯ ﺒ ﺭﺠﺩ .ﻭﻏﹶـ ﺭ ﺠﻨﹸــﻭﺏ ﻭﺍﻟﺸﱠــﺭﻕ ﻭﺍﻟﻐﹶــﺭﺏ ﻭﺍﻟ ﺤ ِﺭ ﻴ ٍﺔ ﺍﻤﺘﺩﺕ ﺭﻗﻌﺘﻬﺎ ﺒﻁﺭﻴﻘـ ٍﺔ ﺴِـ ﺍﻟ ﹸﻘﺼﻭﺭ ﻭﻓﻲ ﺸـﻭﺍﺭﻉ ﺍﻟﻤﺩﻴﻨـﺔ ﺨﺎﺭِﻗ ٍﺔ ﻭﺃﺼـﺒﺤﺕ ﺍﻟﻌـﺎﻟﹶﻡ ﻜﻤـﺎ ﺃﻨﻭﺍﻋﺎ ﻤﺨﺘﻠِﻔـ ﹰﺔ ﻤـﻥ ﺍﻷﺸـﺠﺎﺭ ﻑ ﺼﻭﺭﺓﹸ ﺍﻟﺤﻴـﻭﺍﻥ ﺨ ﹶﺘﻠِ ﹸ ﻨﻌﺭﻓِﻪ .ﻭ ﹶﺘ ﹾ ﺍﻟ ﻤ ﹾﺜ ِﻤﺭﺓ ،ﺃﺠﺭﻯ ﻤﻥ ﺘﺤﺘﻬﺎ ﺍﻷﻨﻬﺎ ﺭ ل ﻓﻴـﻪ ﻏﻴـﺭﻩ، ﻕ ﻓﻴﻤﺎ ﹶﻓﺸِ َ ﺍﻟﺫﻱ ﻭ ﱢﻓ ﹶ ﻓﻲ ﹶﻗﻨﹶﻭﺍﺕٍ ﻤﻥ ﺍﻟـﺫﱠﻫﺏ ﻭﺍﻟ ِﻔﻀـﺔ. ﻫﺫﺍ ﺍﻟﺘﱠﺼﻭ ﺭ ﺍﻷُﺴﻁﹸﻭ ِﺭﻱ ﻟﺘﻜـﻭﻴﻥ ﺜﻼﺜﻤﺎﺌﺔ ﺴﻨﺔ ،ﻭﻜﺎﻥ ﺸﺩﺍﺩ ﻗﺩ ﺒﻠﹶـﻎ ﺍﻷﺭﺽ. ﻤﻥ ﺍﻟﻌﻤﺭ ﺘﺴﻌﻤﺎﺌﺔ ﺴﻨﺔ .ﻭﻋﻨـﺩﻤﺎ m ﺱ ﺍﻟﺼﻴﻥ ﻓﻲ ﺍﻟﻌﺼﺭ ﻁﻘﹸﻭ ِ ﻭﻤﻥ ﹸ ﻓﻲ ﻤﻬﻤﺘﻬﺎ ﺤﺘﱠﻰ ﹶﻨﺠﺢ ﺁﺨِـ ﺭ ﻤـﻥ ﻲ ﻤﺜﻠﹶﻬﺎ ﻓﻲ ﺍﻟـﺩﻨﻴﺎ ،ﻓـﺄﻤﺭ ﺃﻥ ﻴ ﺒ ِﻨ ﺍﻟﺠِﻬﺎﺕ ﺍﻟﺨﹶﻤﺱ؛ ﻭﻫـﻲ ﺍﻟﺸﱠـﻤﺎل .co ﻭﻤﺭﻜـــﺯ ﺍﻷﺭﺽ ،ﻭﻴﻘـــﺩﻡ ﺍﻹﻤﺒﺭﺍﻁﻭ ﺭ ﺜﹶﻭﺭﺍ ،ﻜﻤﺎ ﻴﻘﺩﻡ ﺃﻜﺎﺒ ﺭ ﺭِﺠﺎل ﺍﻟﺩﻭﻟﺔ ﺭﺅُﻭﺴﺎ ﻤﻥ ﺍﻷﻏﻨـﺎﻡ ott ob ﻸﺭﺽ. ﻥ ِﻟ َ ﹶﻗﺭﺍﺒِﻴ ﺒﺎﺨﺘﻼﻑ ﺍﻟﻘﺒﺎﺌل ﺍﻟﻬﻨﺩﻴﺔ ﺍﻟﺘﻲ ﹶﺘ ﻌ ﹶﺘﻨِﻕ ﻭﻗﺩ ﹶﺘ ﻡ ﺒﻨﺎ ﺀ ﻫـﺫﻩ ﺍﻟﻤﺩﻴﻨـﺔ ﻓـﻲ ﺼﻭ ﺭ ﻭﻓﻲ ﺃﺴﺎﻁِﻴﺭ ﻫﻨﹸﻭﺩ ﻜﺎﻨﻭ ﹸﺘ ﺽ ﻓﻲ ﺼﻭ ﺭ ِﺓ ﺤﻴﻭﺍﻥ ﻀـﺨﻡ ﺍﻷﺭ ﻥ ﺩﺍﺌﻡ ﺍﻟ ﹶﻐﻭﺹ ﻓﻲ ﺍﻟ ِﻤﻴﺎﻩ ﺫﻱ ﹶﻗ ﺭﻨﹶﻴ ِ ـﺎﺌﺢ ﺴـ ـﻪ ﺍﻟ ـﺎﻥ ﺍﻹﻟـ ـﺔ .ﻭﻜـ ﻷﺯﻟ ﻴـ ﺍَ ﺒﻠﻐﻪ ﺃﻥ ﻤﺩﻴﻨﺔ ﺇِﺭﻡ ﺫﺍﺕ ﺍﻟﻌِﻤﺎﺩ ﻗـﺩ ﺇﺭﻡ ﺫﺍﺕ ﺍﻟﻌِﻤﺎﺩ ل ﻤﻊ ﻨﺴﺎ ِﺌ ِﻪ ﻭﺠﻭﺍﺭﻴﻪ ﹶﺘ ﻡ ﺒﻨﺎﺅُﻫﺎ ﺭﺤَ ﺱ ﻫـﺫﺍ ﻨﺎﺠﺎﺒﺸﻭ ﻴﺠﻠﺱ ﻓـﻭﻕ ﺭﺃ ِ IRAM THAT AL 'IMADﻭﺴﺎ ﺭ ﺒﻬﻡ ﻓﻲ ﻤﻭﻜِﺏ ﻋﻅﻴﻡ ﺤﺘﱠـﻰ ﻀ ِﻌ ِﻪ ﺴ ﹶﺘ ﹶﻘ ﺭ ﻓﻲ ﻭ ﺴ ﻴ ِﺭ ِﻩ ﺇﻟﻰ ﺃﻥ ﺍ ﻓﻲ ﺇﺫﺍ ﻟﻡ ﻴﺒﻕ ﺒﻴﻨـﻪ ﻭﺒـﻴﻥ ﺇﺭﻡ ﺫﺍﺕ ﺠﺴﻡ ﻟﻸﺭﺽ ،ﻭ ﻴ ﻭﺠﻬﻪ ﻥ ﺍﻟ ﻤ ﺤﻴﻭﺍ ِ ﺍﻟ ﻭﻴﻌﺘﻘﺩ ﻫﻨﻭﺩ ﻜﺎﻟﻴﻔﻭﺭﻨﻴﺎ ﻭﻏﻴﺭﻫﺎ ﻤﻥ ﺃﻗـﺎﻟﻴﻡ ﺃﻤﺭﻴﻜـﺎ ﺍﻟﺸﱠـﻤﺎﻟﻴﺔ ﺃﻥ ﻤﺩِﻴﻨ ﹲﺔ ﹶﻗﺩِﻴﻤﺔ ﻭﺭﺩ ﺫِﻜﺭﻫـﺎ ﻓـﻲ ﺕ ﺇﻥ ﺍﻟﻘﺭﺁﻥ ﺍﻟﻜﺭﻴﻡ .ﻭﺘﻘﻭل ﺍﻟﺭﻭﺍﻴﺎ ﹸ alk ﺍﻟﺤﺎﻟِﻲ. ﺤﺠﺎﺒﻪ ﻭ ﹸﻗﻭﺍﺩﻩ، ﻭﺨﺩ ِﻤ ِﻪ ﻭﻭﺯﺭﺍﺌﻪ ﻭ ﻤﺒﺎﻨﻴﻬﺎ ﻤﻥ ﺫﻫﺏ ﻭ ِﻓﻀﺔ ،ﻭﺃَﻋ ِﻤﺩﺘﻬﺎ ﺤﺼـﺒﺎﺅﻫﺎ ﻤﻥ ﺯ ﺒ ﺭﺠﺩ ﻭﻴﺎﻗﹸﻭﺕ ،ﻭ ﺍﻟﻌِﻤﺎﺩ ﺇﻻ ﻤﺭﺤﻠﺔ ﻭﺍﺤـﺩﺓ ﺃﺭﺴـل ﻋﻠﻴﻬﻡ ﺍﷲ ﺼﻴﺤ ﹰﺔ ﺃﻫﻠﻜﺘﻬﻡ ﺠﻤﻴﻌﺎ. ﻭﺍﻟﺠﺯﻴﺭﺓ". ﺤﺜﹸﻭﻥ ﻓﻲ ﺃﺴﺎﻁﻴﺭ ﺠ ﺩ ﺍﻟﺒﺎ ِ ﻭﻟﻘﺩ ﻭ ﻷ ﺭﺽِ ﻟﻌل ﺃﻫﻤﻬﺎ ﺃﻥ ﺃﻨﻭﺍﻋﺎ ﻋﻥ ﺍ َ ﻤﺨﺘﻠِﻔﺔ ﻤـﻥ ﺍﻟﺤﻴـﻭﺍﻥ ﻭﺍﻟﻁﱠﻴـﺭ ﺹ ﻓﻲ ﺍﻟﻤﺎﺀ ﺍﻟﺫﻱ ﻜﺎﻥ ﺴﻠﹶﺕ ﹶﺘﻐﹸﻭ ُﺃ ﺭ ِ ﺨ ﹶﻔﻘﹶﺕ ﺠﻤ ِﻴﻌﻬـﺎ ﻴ ﹶﻐﻁﱢﻲ ﺍﻷﺭﺽ ،ﻭَﺃ ﹾ www.alkottob.com ﺏ ﻭﻟﺩﻴﻥ ﻫﻤـﺎ ﺃﻥ ﻋﺎﺩﺍ ﺍﻷﻭل ﺃﻨﺠ ﺸ ﺩﺍﺩ .ﻭﻋﻨﺩﻤﺎ ﻫﻠﹶـﻙ ﻋـﺎﺩ ﺸﺩِﻴﺩ ﻭ ﹶ ﹶ ﻙ ﻤﻥ ﺒﻌﺩﻩ ﺍﺒﻨﹸﻪ ﺸﹶـﺩِﻴﺩ، ﹶﺘ ﻭﻟﱠﻰ ﺍﻟ ﻤ ﹾﻠ ﺕ ﺘﻭﻻﱠﻩ ﺸﺩﺍﺩ ﺒﻥ ﻋﺎﺩ. ﻭﻋﻨﺩﻤﺎ ﻤﺎ ﹶ ﻭﻜﺎﻥ ﻤﻭﹶﻟﻌﺎ ﺒﻘﺭﺍﺀﺓ ﺍﻟ ﹸﻜﺘﹸﺏ ﺍﻟﻘﺩﻴﻤﺔ. ﺠﻨﱠ ﹸﺔ ﻭﻤﺎ ﻓﻴﻬﺎ ﻤﻥ ﹸﻗﺼﻭ ٍﺭ ﻓﺄﻋﺠﺒﺘﻪ ﺍﻟ ﻭﺃﺸﺠﺎﺭ ﻭﺜِﻤﺎﺭ؛ ﻓﺩﻋﺘﻪ ﻨﻔﺴﻪ ﺇﻟـﻰ "١٩٢٥ – ١٨٦٧ﻡ" ﻋﻠﹶﻤﺎﺀ ﺍﻟﻔﻭﻟﻜﻠـﻭﺭ، ﺃﺤ ﺩ ﻤﺸﹶﺎﻫِﻴ ِﺭ ﻭﻤﻥ ﺃﻋﻼﻡ ﺒﻬﻠﺴـﻨﺠﻔﻭﺭﺱ ِﻟ ِﻌﻠﹾـﻡ ww ﺕ ﺃﺨـﺭﻯ ﺃﻤﺭﻴﻜﺎ ﺍﻟﺸﱠﻤﺎﻟﻴﺔ ﻤ ﻌ ﹶﺘ ﹶﻘﺩﺍ ٍ w. ـﺭ ﺁﺭﱐ )ﺃﻧﱵ ﺁﺭﱐ ( ـﻙ ﻭﺍﻟ ﻌ ﹾﻨ ﺒـ ـﺅ ﻭﺍﻟﻤٍﺴـ ـﻥ ﺍﻟﻠﺅﻟـ ﺍﻷﺭﺽ ﺘﻁﻔﻭ ﻋﻠﻰ ﺍﻟﻤﺎﺀ ،ﻭﺘﹶـ ِﺭ ﺩ ﻤـ ﻓﻲ ﺃﺴـﺎﻁﻴﺭﻫﻡ ﻋﺒـﺎﺭﺓ "ﺍﻷﺭﺽ ﻭﺍﻟﺯﻋﻔﹶﺭﺍﻥ .ﻭﺘﺫﻫﺏ ﺍﻟﺭﻭﺍﻴ ﹸﺔ ﺇﻟـﻰ ANTTI AARNE ﺍﻟﻔﻭﻟﻜﻠــﻭﺭ ﺍﻟﻔﻨﻠﻨــﺩﻱ ﺍﻟﻤﻘــﺎﺭﻥ، ﺤﻜﹶﺎﻴﺔ ﻭﺍﻟﺨﹸﺭﺍﻓﺔ ﺨﺼﺹ ﻓﻲ ﺍﻟ ِ ﻭ ﻤ ﹶﺘ ﹶ ﺍﻟﺸﻌﺒﻴﺔ. ٥٥ ﻲ ﺍﻟﺠﻐﺭﺍﻓـﻲ ،ﻭﺍﻟﻌـﺎﻤﻠﻴﻥ ﺍﻟﺘﱠﺎﺭﻴﺨ ﺍﻟﺒﺤﺙ ﺍﻟﺼـﺤﻴﺢ ﻓـﻲ ﺍﻟﺤﻜﺎﻴـﺔ ﺼﺭﺕ ﺍﻟﻨﱠﻅﺭ ﹸﺓ ﺇﻟﻴﻬﺎ ﻋﻠﻰ ﺃﻨﻬـﺎ ﺍ ﹾﻗ ﹶﺘ ﻋﻠﻰ ﺘﹶﻁﻭِﻴ ِﺭﻩِ؛ ﻭﻫﻭ ﺍﻻﺘﱢﺠﺎﻩ ﺍﻟـﺫﻱ ل ﺸﺎﻕﱞ؛ ﻭﺫﻟﻙ ﻟﻐﺯﺍﺭﺓ ﻋ ﻤ ٌ ﺍﻟﺸﻌﺒﻴﺔ ﺴ ِﺔ ﺍﻷﺴﺎﻁِﻴﺭ ﺃﻭ ﻤﺎﺩﺓ ﻤﻌﺎ ِﻭﻨﹶﺔ ِﻟﺩِﺭﺍ ﺒﺩﺃﻩ ﺍﻟﻌﺎِﻟ ﻡ ﺍﻟﻔﻨﻠﻨﺩﻱ "ﻜﺎﺭل ﻜﺭﻭﻥ". ﺼﻌﻭﺒﺔ ﺠﻤـﻊ ﺍﻟﻤﺎﺩﺓ ﺍﻟﻤﺩ ﺭﻭﺴﺔ ،ﻭ ﺼ ﺩ ﻟﺫﺍﺘِﻬﺎ ﺏ ﺃﻥ ﺘﹸﻘ ﺠ ﻏﻴﺭﻫﺎ ،ﻭﺍﻟﻭﺍ ِ ـﺔ ـﻰ ﺤﺭﻜـ ـﺭﻓﻴﻥ ﻋﻠـ ـﻡ ﺍﻟﻤﺸـ ﺃﻫـ ﺼﻌﻭﺒﺔ ،ﻭﺃﻥ ﺏ ﻋﻠﻰ ﻫﺫﻩ ﺍﻟ ﺃﻥ ﻴﺘﹶﻐﱠﻠ ﺕ ﺁﺭﻨـﻲ ﺃﻥ ﻭﺃﻭﻀﺤﺕ ﺩِﺭﺍﺴﺎ ﹸ ﻴﻔِﻴ ﺩ ﻓﻲ ﺍﻟﻭﻗـﺕ ﻨﻔﺴـﻪ ﺠﻤﻬـﺭﺓ ل ﺇﻥ ﺍﻷﺠﺯﺍ ﺀ ﺍﻟﺘﻲ ﺍﻟﻔِﻜﺭ ﹶﺓ ﺍﻟﺘﻲ ﹶﺘ ﹸﻘﻭ ُ ﺍﻟﺩﺍﺭِﺴﻴﻥ ﺍﻟﻔﻭﻟﻜﻠﻭﺭﻴﻴﻥ ،ﻭﺘﻭﺼـل ﺏ ﻟﻬﺎ ﺍﻟﺒﻘـﺎﺀ ﻓـﻲ ﺍﻟﺤﻜﺎﻴـﺔ ﻴﻜ ﹶﺘ ﺒﻤﻌﺎﻭﻨﺔ ﺒﻌﺽ ﺍﻟ ﻌﻠﹶﻤﺎﺀ ﺇﻟﻰ ﻓﻜـﺭﺓ ﺍﻟﺸﻌﺒﻴﺔ ﻫﻲ ﺍﻟﻤﺤـﺎ ِﻭ ﺭ ﺍﻟﺭﺌﻴﺴِـ ﻴ ﹸﺔ m ـﺎ ِﻩ ﺸـ ﺭﺍﺡ ﺍﻻﺘﱢﺠـ ـﺎﻥ َﺃ ﻫـ ﻡ ﹸ ﻭﻜـ ﻭﻗﺩ ﻻﺤﻅ ﻓﻲ ﹸﻜ ﹸﺘ ِﺒ ِﻪ ﺍﻟﺴـﺎﺒﻘﺔ ﺃﻥ ﺍﻟﺤِﻜﺎﻴﺔ ﺍﻟﺸﱠﻌﺒِ ﻴ ﹶﺔ ﻻ ﻗِﻴﻤـ ﹶﺔ ﻟﻬـﺎ ﺇﺫﺍ ﻭﺃﺼﺒﺢ ﺁﺭﻨﻲ ﻤﻊ ﻫﺫﺍ ﺍﻟﻌﺎﻟِﻡ ﻤـﻥ .co ﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻟﻔﻭﻟﻜﻠﻭﺭﻴﺔ ﺍﻟﻔﻨﻠﻨﺩﻴﺔ. ل ﻤﺅﻟﱠﻔﺎ ِﺘ ِﻪ :ﺒﺤﺙ ﻤﻘﺎﺭﻥ ﻓﻲ ﻭﺃﻭُ ﺍﻟﺤِﻜﺎﻴﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ،ﺍﻟﺫﻱ ﻅﻬﺭ ﻋﺎﻡ ﻁﻤﺢ ﺇﻟﻰ ﺍﻟﻤﺼﺎﺩِﺭ ﺍﻟ ﻤﺘﹶﻌﻠﱢﻘﺔ ﺒﻬﺎ .ﻭ ﹶ ﻓﻲ ﺍﻟﺒﺤﺙ ﻭﺍﻟﺩﺭﺍﺴﺔ. ﺘﺼﻨﻴﻑ ﺍﻟﺤِﻜﺎﻴﺎﺕ ﺍﻟﺸﱠﻌ ِﺒﻴﺔ ﻋﻠـﻰ ﺍﻟﻤﺴ ﹶﺘ ِﻘﱠﻠﺔﹸ؛ ﺨﺎﻁِﺌﺔ ﻤـﻥ ﺃﺴﺎﺴِـﻬﺎ، ﺍﻟﺤِﻜﺎﻴﺎﺕ ﺍﻟﺸﱠﻌﺒﻴﺔ ﻋﺎﻡ ،١٩١١ﻭﻗﺩ ﻲ ﺇﺤﺼﺎﺌﻲ ،ﻭﺃﺨﻀـﻊ ﺱ ﻋِﻠﻤ ﺃﺴﺎ ٍ ﻭﺃﻭﻀﺤﺕ ﺠﻬﻭﺩﻩ ﺃﻥ ﹸﻜلﱠ ﺤِﻜﺎﻴـ ٍﺔ ﻁ ﺍﻟﻌِﻠ ِﻤﻴﺔ ﻋﻨـﺩ ﻋ ﹶﺘ ﺭﻓﹶﺕ ﺒﻪ ﺍﻷﻭﺴﺎ ﹸ ﺍ ﺠﻤِﻴـ ﻊ ﺍﻟﺤِﻜﺎﻴـﺎﺕ ﻟﻬﺫﺍ ﺍﻟﺘﱠﺼﻨﻴﻑ ﺸﹶﻌ ِﺒ ﻴ ٍﺔ ﻟﻬﺎ ﻋﻘﺩﺘﻬﺎ ﺍﻟﺨﺎﺼـﺔ ﺒﻬـﺎ ﻅﻬﻭﺭﻩ .ﻭﻓﻲ ﻋﺎﻡ ١٩١٣ﺃﻭﻀﺢ ﺍﻟﻤﺸﻬﻭﺭﺓ ﻓﻲ ﺍﻟﺘﱡﺭﺍﺙ ﺍﻷﻭﺭﻭﺒـﻲ ﺴﺠِﻡ. ﻭﺒﻨﺎﺅﻫﺎ ﺍﻟﻤﻭﺤﺩ ﺍﻟﻤﻨ ﺍﻟﻤﺒﺎﺩﺉ ﺍﻟﻨﱠﻅﺭﻴﺔ ﺍﻟﺘﻲ َﺃﻗﹶﺎ ﻡ ﻋﻠﻴﻬـﺎ ﻭﺃﻋﻁﹶﻰ ِﻟ ﹸﻜلﱢ ﹶﻨﻤﻁٍ ﻤﻥ ﺍﻟﺤِﻜﺎﻴـﺎﺕ ott ob ﺱ ﻷﻨﻤـﺎﻁ ،١٩٠٨ﻭﺃﻋﻘﺒﻪ :ﺍﻟ ِﻔ ﻬ ِﺭ ﻑ ﺍﻟﺤِﻜﺎﻴـﺎﺕ ﻤِﻨﻬﺠﻪ ﻓـﻲ ﹶﺘﺼـﻨِﻴ ِ ﺭﻗﻤﺎ ﺨﺎﺼﺎ ﺒﻪ؛ ﺤﺘﱠﻰ ﻴﻬﺘﺩﻯ ﺇﻟﻴـﻪ ﺍﻟﺸﱠﻌ ِﺒﻴﺔ ﻭ ِﺩﺭﺍﺴـﺘِﻬﺎ؛ ﻭﺫﻟـﻙ ﻓـﻲ ﺒﺴﻬﻭﻟﺔ. ل ﺼﻴ ِ ﻅﻬﺭ ﺒﺎﻟﺘﱠﻔ ِ ل ﻤﻥ َﺃ ﹾ ﻭﻜﺎﻥ َﺃ ﻭ َ ل ﻷﺼـﻭ ِ ﺃﻥ ﻨﻅﺭﻴﺔ * ِﺒ ﹾﻨﻔِﻲ ﻓـﻲ ﺍ ُ ﺼﺤِﻴﺤﺔ، ﺍﻟﻬِﻨ ِﺩ ﻴ ِﺔ ﻟﻠﺤﻜﺎﻴﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﺤﻜﺎﻴﺎﺕ ﺍﻟﺸﱠﻌﺒﻴﺔ ،ﺜﻡ ﺒﺩَﺃ ﺴِﻠﺴـﻠ ﹰﺔ ل ـﱠ ـﺎ ﺩ ﻜﹸـ ـﻌﺒﻴﺔ ﺃﻓـ ـﺎﺕ ﺍﻟﺸـ ﻟﻠﺤﻜﺎﻴـ ﺸﺄَﺕ ﻫﻨﺎﻙ ﺤﻜﺎﻴﺎﺕ ﺸﻌﺒﻴﺔ ﺃُﺨﺭﻯ ﹶﻨ ﹶ ﺕ ﺕ ﺍﻟ ﻤ ﹶﻔﺼﻠﺔ ﻟﺤﻜﺎﻴـﺎ ٍ ﻤﻥ ﺍﻟﺩﺭﺍﺴﺎ ِ ﺍﻟﺩﺍﺭِﺴﻴﻥ ﺍﻟﻤﺘﺨﺼﺼﻴﻥ ،ﺜﻡ ﺠـﺎ ﺀ ﺒِﹸﻠ ﹶﻐﺔِ ﺍﻟﺤﻴﻭﺍﻥ ﻭﺯﻭﺠﺘﻪ ﺍﻟ ﹸﻔﻀـﻭﻟﻴﺔ، ﺍﻟﺘﱠﺼﻨﻴﻑ ،ﻭﻫﻜﺫﺍ ﺍﺴﺘﻁﹶﺎﻉ ﺁﺭﻨـﻲ ﻲ ﻭﺯﻭﺝ ﺍﺒﻨﺘﻪ ،ﻭﺍﻟﻨﱠﺎﻱ ﻭﺍﻟﺭﺠل ﺍﻟﻐﻨ ﺠﻤِﻴـ ﻊ ﻑ ﺒﻬﺫﺍ ﺍﻟﻤِﻨﻬﺞ ﺃﻥ ﻴﺼـ ﱢﻨ ﹶ ﺍﻟﻤﺴﺤﻭﺭ. ﺍﻟﺤِﻜﺎﻴــﺎﺕ ﺍﻟﺸــﻌﺒﻴﺔ ﺍﻟﻔﻨﻠﻨﺩﻴــﺔ ﺤﻠﱢﻴـ ِﺔ ل ﺍﻟ ﻤ ﻁﻭﺭ ﺍﻷﺸـﻜﺎ ِ ﻭﻋﻠﻰ ﹶﺘ ﹶ ـﺎﻡ ١٩١٢ ـﻲ ﻋـ ـﻴﻭﻴﺔ .ﻭﻓـ ﻭﺍﻵﺴـ ﻟﻠﺤﻜﺎﻴﺎﺕ .ﻭﻋﻠﻰ ﻴﺩ ﺁﺭﻨﻲ ﺃﺼـﺒﺢ ﺸﻌﺒﻴ ٍﺔ ﺒﺄﻋﻴﺎﻨﻬﺎ؛ ﻤﻨﻬـﺎ :ﺍﻟﻌـﺎﺭِﻑ "ﺴﺘﻴﺙ ﻁﻭﻤﺴـﻭﻥ" ﹶﻓﺘﹶﻭﺴـﻊ ﻓـﻲ ﻥ ﻼ ﻓﻲ ﻏـﺭﺏ ﺃﻭﺭﻭﺒـﺎ ﺇﺒـﺎ ﺃﺼ ﹰ ﺍﻟ ﹸﻘﺭﻭﻥ ﺍﻟﻭﺴﻁﹶﻰ .ﻭَﺃ ﹾﻟﻘﹶﻰ ﻜﺜﻴﺭﺍ ﻤﻥ ﺍﻟﻀﻭ ِﺀ ﻋﻠـﻰ ﻫِﺠـﺭﺓ ﺍﻟﺤﻜﺎﻴـﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻤﻥ ﺍﻟﺸﱠﺭﻕ ﺇﻟﻰ ﺍﻟﻐـﺭﺏ، w. ﺸﺩ ﻟﻬﺫﻩ ﺍﻟﺩﺭﺍﺴـﺎﺕ ﻤـﺎ ﺩ ﹰﺓ ﻭﺤ ﹶ alk ِﺩﺭﺍﺴ ِﺘ ِﻪ ﺍﻟﺸﱠﺎﻤِﹶﻠﺔِ ﻟ ﻤﺩﺍﺭ ﺍﻟﺒﺤﺙ ﻓـﻲ ﻲ ﻭﻫــﺫﺍ ﺍﻟﺘﱠﺼــﻨﻴﻑ ﺍﻟﻨﱠﻤﻁِــ ﻭﻟﻜﻨﻪ ﻓﻲ ﺍﻟﻭﻗﺕ ﻨﻔﺴـﻪ ﺃﺜﺒـﺕ ﺃﻥ ﻏﺯِﻴﺭ ﹰﺓ ﺭﺍﺌﻌـ ﹰﺔ ﻜﺎﻨـﺕ ﺘﹶﺴـﺘﹶﻠﺯ ﻡ ﹶ ﺼﺩﺭ ﺘﹶﺼﻨِﻴﻔﹰﺎ ﻟﻠﺤﻜﺎﻴﺎﺕ ﺍﻟﻔﻨﻠﻨﺩﻴـﺔ َﺃ ﺕ ﻤﺘﻌـﺩﺩ ﹰﺓ ﺒﺎ ِﻫﻅﹶـ ﹶﺔ ﺍﻟﻨﻔﻘـﺔ ِﺭﺤﻼ ٍ ﺍﻟﺨﺎﺼﺔ ﺒﺎﻟﺘﱠﻜﻭِﻴﻥ .ﻭﻴﻌﻭﺩ ﺍﻟﻔﻀـل ﻲ ﻤﺤﺩﺩ ﺒﻌﺩ ﺃﻥ ﻜﺎﻥ ﺍﻟﺸﱠﺎﺌﻊ ﺘﺎﺭﻴﺨ ﺒﺎﻟﻨﱢﺴﺒﺔ ﺇﻟﻴﻪ؛ ﺤﺘﱠﻰ ﻴﺘـﺎﺡ ﻟـﻪ ﺃﻥ ﻑ ﺇﻟﻰ ﻫﺫﺍ ﺍﻟﻌﺎﻟِﻡ ﺍﻟﻔﻨﻠﻨﺩﻱ ﻓﻲ ﺘﹶﺼﻨِﻴ ِ ل ﺕ ﻓﻲ ﻋﺼ ٍﺭ ﹶﻗﺩِﻴ ٍﻡ ﻤﻭﻏِـ ٍ ﺸَﺄ ﹾ ﺃﻨﻬﺎ ﹶﻨ ﹶ ﻴــﺯﻭ ﺭ ﺃﻫــ ﻡ ﺍﻟﻤﻜﺘﺒــﺎﺕ ﻭﺩﻭﺭ ﺕ ﺍﻟﺸﱠﻌ ِﺒ ﻴ ِﺔ ﻋﻨـﺩ ﻤﺨﹾﺘﻠـﻑ ﺍﻟﺤِﻜﺎﻴﺎ ِ ﻓﻲ ﺍﻟ ِﻘ ﺩ ِﻡ ﻻ ﻴﻤﻜﻥ ﺘﹶﺤﺩِﻴﺩﻩ. ﺍﻟﻤﺤﻔﻭﻅﺎﺕ. ﺏ ﺁﺭﻨـﻲ ﺇﻟـﻰ ﺃﻥ ﺍﻷﻗﻭﺍ ِﻡ .ﻭﻴﺫﻫ ww www.alkottob.com ﻟﻨﺸﺄَﺓ ﺍﻟﺤﻜﺎﻴﺎﺕ ﺍﻟﺸـﻌﺒﻴﺔ ﻋﺼـﺭ ٥٦ ﺇﺭﻳﻜﺴـــــﻮﻥ )ﻟﻴـــــﻒ ARURU ﺃﹶﺭﻭﺭﻭ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ؛ ﻤﺜل ﻗﹶﺘل ﺍﻷﻗـﺎﺭِﺏ ﺃﻭ ﺍﻹﻟﻬــﺔ ﺍ ُﻷﻡ ﻓــﻲ ﺍﻷُﺴــﻁﹸﻭﺭ ِﺓ ﺇﺭﻳﻜﺴﻮﻥ( ﺕ ﻻ ﻀــﺎﺭﺓ ﺒﺎﻟﻌﻼﻗﹶــﺎ ِ ﺃﻓﻌــﺎ ﹰ m ﺕ ﺒﺎﻹﻟـﻪ ﺍﻟﺒﺎﺒﻠﻴﺔ ،ﻭﻗـﺩ ﺍ ﺭ ﹶﺘ ﺒﻁﹶـ ﹾ ﺸﺭِ .ﻭﻫﻲ ﻤﺭﺩﻭﺥ ﺒﺎﻋﺘﺒﺎﺭِﻫﺎ ُﺃﻤﺎ ﻟِ ﹾﻠﺒ ﹶ ﺨﺎِﻟﻘﹶــﺔ ﺇﻴﺒــﺎﻨﻲ ﻓــﻲ ﺃُﺴــﻁﹸﻭ ﺭ ِﺓ .co ﺠﻠﹾﺠﺎﻤِﺵ. *ِ ﺃﹶﺭِﻳﺴﺘﺎﻳﻮﺱ ARISTAEUS LEIF ERICSSON ﺍﻨﻅﺭ :ﻟﻴﻑ ﺇﺭﻴﻜﺴـﻭﻥ Ericsson ﺍﻟ ﻌﺩﺍﹶﻟﺔﹶ ،ﻭﻻ ﺃﻫﻤﻴﺔ ﻟﺩﻴﻬﻥ ﻟﻠـﺩﺍﻓِﻊ Leif ﻋﻠﻰ ﺍﺭﺘﻜـﺎﺏ ﺍﻟﺠﺭﻴﻤـﺔ ،ﻭﻜـﻥ ﻴﻨﺘﻘﻤﻥ ﻤﻥ ﺍﻟ ﻤ ﹾﺫ ِﻨﺏِ؛ ﺴﻭﺍﺀ ﺍﺭﺘﻜـﺏ ﺇﺭِﻳﻨﻮﻳﺲ ERINYES ﻋﻤـ ٍﺩ. ﺠﺭﻴﻤﺘﻪ ﻋﻤﺩﺍ ﺃﻭ ﻋﻥ ﻏﻴﺭ ﻀﺒﺎﺕ ،ﺍﻟﻼﱠﺘﻲ ﺕ ﺍﻻ ﹾﻨ ِﺘﻘﹶﺎ ِﻡ ﺍﻟﻐﺎ ِ ﺭﺒﺎ ﹸ ﻭﻻ ﻴﻨﺼﺭﻓﻥ ﻋﻥ ﻤﺘﹶﺎ ﺒ ﻌﺘِـ ِﻪ ﺇﻻ ﺇﺫﺍ ﹸﻜﻥ ﻴ ﹶﺘﻌ ﱠﻘ ﺒﻥ ﺍﻵ ِﺜﻤِـﻴﻥ ،ﻭ ﻴﻌـﺎﻗِ ﺒﻨﹶﻬﻡ ﻗﺎ ﻡ ﺒﺎﻟ ﱠﺘ ﹾﻜﻔِﻴ ِﺭ ﻋـﻥ ﺫﻨﺒـﻪ .ﻭﻟﻬـﺫﺍ ﺒﻘﺴﻭﺓ ﻤﺘﻨﺎﻫﻴـﺔ ،ﻭﻜـﺎﻥ ﺍﻵﻟِﻬـﺔ ل ﺴﺘِﻴﺱ ﻋﻨﺩﻤﺎ ﹶﻗﺘﹶـ َ ﻥ * ﺃُﻭﺭِﻴ ﻁﺎ ﺭ ﺩ ott ob ﻥ * َﺃﺒﻭﻟﱡﻭ ،ﻭﺍﻟﺤﻭ ِﺭﻴﺔ ﺴﻴﺭﻴﻥ ﺍﺒ ﺠﺴـﺩﻥ ﻋﻘﹸﻭﻕ ﺍﻟﻭﺍﻟﺩﻴﻥ .ﻭﻫـﻥ ﻴ ،Cyreneﻭﺤــﺎﺭِﺱ ﹸﻗﻁﹾﻌــﺎﻥ ﻏﻨﹶﺎﻡ ،ﻭﺍﻟﺤﺎﻓِﻅ ﻟﻠﻨﱠﺤل ﻭﺤـﺎﻤِﻲ ﻷﹾ ﺍَ ﺍﻟ ﹸﻜﺭﻭﻡ ﻭﺍﻟﺯﻴﺘﹸﻭﻥ ﻓﻲ ﺍﻷُﺴـﻁﹸﻭﺭ ِﺓ ﺍﻹﻏﺭﻴﻘﻴﺔ ﻭﺍﻟﺭﻭﻤﺎﻨﻴـﺔ .ﻭﺍﺸﹾـ ﹶﺘﻬﻰ ﺃ ِﺭﻴﺴﺘﺎﻴﻭﺱ *ﻴﻭﺭﻭﺩﻴﻜﻲ؛ ﹶﻓﻔﹶـﺭﺕ ﻤﻨﻪ ،ﻭﻓﻲ ﺃﺜﻨﺎ ِﺀ ﻤﺤﺎﻭﻟﺘِﻬﺎ ﺍﻟﻨﱠﺠـﺎ ﹶﺓ ﺕ. ﻁﺌَﺕ ﺜﹸﻌﺒﺎﻨﹰﺎ ﹶﻓ ﻌﻀﻬﺎ ﻭﻤﺎ ﹶﺘ ﹾ ﻤﻨﻪ ﻭ ِ ـﻰ ـﻪ ﺇﻟـ ـﻠﺘﻪ ﺃﻤـ ـﺎﺩﺙ ،ﻓﺄﺭﺴـ ﺍﻟﺤـ ﺒﺭﻭﺘﻴﻭﺱ Proteusﻟﻴﻌﺭﻑ ﻤﻨﻪ ﺏ ﻓﻴﻤﺎ ﻭ ﹶﻗﻊ ﻟﻠﻨﱠﺤل ،ﻓﻘﻴل ﻟﻪ ﺇﻥ ﺴ ﺒ ﺍﻟ ﻴﻭﺭﻭﺩﻴﻜﻲ ،ﻓﺎ ﹾﻨ ﹶﺘ ﹶﻘ ﻤﻥ ﻟﻬﺎ ﺒﺎﻟ ﹶﻘﻀـﺎﺀِ ﻋﻠﻰ ﺍﻟﻨﱠﺤـل ،ﻭﻋﻨـﺩ ﺫﻟـﻙ ﻗﹶـﺩﻡ ﺠﻨﹶﺎﺌ ِﺯﻴــﺔ ﻟـــ * ﺒﺎﻟ ﻤﺭﺍﺴِــﻴ ِﻡ ﺍﻟ ﺃﻭﺭﻓﻴﻭﺱ ﻭﻴـﻭﺭﻭﺩﻴﻜﻲ ،ﻭﻫﻜـﺫﺍ ﺤﻴﺎ ﹶﺓ ِﻟ ﹶﻨﺤﻠﻪ. ﺴ ﹶﺘﻌﺎ ﺩ ﺍﻟ ﺍ www.alkottob.com * ﺠِﻴﺎ ﻤﻥ ِﺩﻤﺎﺀ *ﺃﻭﺭﺍﻨﹸﻭﺱ ﺍﻟﺘـﻲ ـﻴﻤﻨﺎﻱ )ﺍﻟﺸﱠـــﻔﹸﻭﻗﹶﺎﺕ( ﻭﺍﻟﺴـــ ﺴﻘﻁﺕ ﻋﻠﻰ ﺍﻷﺭﺽ ﻋﻨﺩﻤﺎ ﹸﻗﻁِـ ﻊ )ﺍﻟ ﻤ ﻭﻗﱠﺭﺍﺕ( .ﻭﻜﺎﻥ ﻫﻨﺎﻙ ِﻤ ﻬ ﺭﺠﺎﻥ ـﻭﻜﺱ ـﺎﺕ ﹸﻨـ ـﻪ ،ﺃﻭ ﺒﻨـ ﻀ ـ ﻭ ﻟـ ﻋ ﺴ ﹶﻨ ِﻭﻴﺎ ﻟﻸﺭﻴﻨﻭﻴﺱ ﹸﺘ ﹶﻘﺩ ﻡ ﻟﻬـﻥ ﻴﻘﺎ ﻡ ﺴﻜﹸﻭﺘﹸﻭﺱ .ﻭﻜﻥ ﺃﻜﺒﺭ ﺴِـ ﹼﻨﹰﺎ ﻤـﻥ ﻭِ ﻥ ﻋ ِﻤﻠﹾـ ﺨ ِﺩ ﻤﻨﹶـ ﻪ ﻭ ِ * ِﺯﻴﻭﺱ؛ ﻓﻠـﻡ ﻴ ﹾ ﻥ ﺞ ﻤـﻥ ﺍﻟﻠﱠـﺒ ِ ﻥ ﻤﻥ ﻤﺯِﻴ ٍ ﻓﻴﻪ ﹶﻗﺭﺍﺒِﻴ ـﺎﺕ ـﺫﻫﺏ ﺍﻟﺭﻭﺍﻴـ ﻤﺴ ـ ﹶﺘ ِﻘﻼﱠﺕ .ﻭﺘـ ﻥ ﺜـﻼﺙ؛ ﻋ ﺩ ﺩ ﻫ ﺍﻟ ﻤﺘﺄﺨﹼﺭﺓ ﺇﻟﻰ ﺃﻥ ﺏ ﺍﻟﻤﺴ ﹶﺘ ِﻤ ﺭ(، ﻀ ﻭﻫﻥ :ﺃﻟﻴﻜﺘﻭﺭ )ﺍﻟ ﹶﻐ ﻭﺘﻴﺴﻴﻔﻭﻨﻲ )ﺍﻟ ﻤ ﹾﻨ ﹶﺘ ِﻘﻤـ ﹸﺔ ﺍﻟ ﺩ ﻤ ِﻭﻴـﺔ(، ﻑ ﺨﺭﺍ ِ ﻙ ﻭﺍﻟ ِ ل ﻭﺍﻟﻤﺎ ِﺀ ﻭﺍﻟﻜﹶﻌ ِ ﺴِ ﻭﺍﻟ ﻌ ﻷ ﺯﻫﺎ ِﺭ .ﻭﻟﻴﺱ ﻫﻨـﺎﻙ ﺍﻟﺴﻭﺩﺍ ِﺀ ﻭﺍ َ ل ﺒـﺄﻨﻬﻥ ﻱ ﻤ ﺒ ﺭ ٍﺭ ِﻟ ﹾﻠ ﹶﻘ ﻭ ِ ﻓﻴﻤﺎ ﻴﺒﺩﻭ؛ ﺃ ﻥ ﺍﻟـ * ﺴﺎﺭﺍﻨﻴﻭ ﻓﻲ ﺍﻟﻬﻨﺩ. ﻴﺭﺍ ِﺩ ﹾﻓ ﺃﹶﺯﻫِﻲ ﺩﺍﻫﺎﻛﹶﺎ ﺃﻭ ﺩﺍﻫﺎﻙ ﻥ ﻭﻤﻴﺠﺎﻴﺭﺍ )ﺍﻟﹶﻐﻴﻭﺭﺓ( .ﻭ ﻴﺼـ ﻭ ﺭ ﺸﻌﻭﺭ ﻤـﻥ ﻋﺫﹶﺍﺭﻯ ﻤﺠﻨﱠﺤﺎﺕ ﻟﻬﻥ ﹸ AZHI DAHAKA OR DAHAK ل ﺍﻷُﻓﻌﻭﺍﻨﹶﺎﺕ ،ﻭﻴﺤﻤﻠـﻥ ﺍﻟﻤﺸﹶـﺎﻋِ َ )ﺒﺎﻟﱡﻠ ﹶﻐ ِﺔ ﺍﻟﺒ ﻬﹶﻠﻭِﻴـﺔ ﺁﺫﻱ ﺩﺍﻫـﺎﻙ، ﺍﻟﺜﱠﻌــﺎﺒِﻴﻥ ،ﻭﺘﺤــﻴﻁ ﺒﺄﺠﺴــﺎﺩِﻫﻥ ل .ﻭﻫﻥ ﻴﺴـ ﹸﻜﻥ ﻁ ﻭﺍﻟ ﻤﻨﹶﺎﺠِ َ ﻭﺍﻟﺴﻴﺎ ﹶ ﻥ ﺇﻟـﻰ ﺍﻟﻌﺎﻟﹶﻡ ﺍﻟﺴﻔِﻠﻲ ،ﻭﻟﻜﻨﻬﻥ ﻴ ﻌ ﺩ ﺍﻷﺭﺽ ِﻟ ﻤﻁﹶﺎ ﺭ ﺩ ِﺓ ﻤـﻥ ﻴﺭﺘﻜﺒـﻭﻥ ww ﺃﺭﻴﺴﺘﺎﻴﻭﺱ ﻟﻬﺎ ﺍﻟﻘﹶـﺭﺍﺒِﻴﻥ ،ﻭﻗـﺎ ﻡ ﺕ ﻭﺩﻴﺭﺍﻱ )ﺍﻟ ﻤ ﹾﻨ ﹶﺘﻘِﻤﺎﺕ( .ﻭﻫﻥ ﺒﻨﹶـﺎ ﹸ ﻥ ﺃﻴﻀـﺎ ﺍﻟﻴﻭﻤﻴﻨﻴـﺩﺱ ﺴ ﻤ ﻴ ﻭﻫﻥ ﻴ w. ﻥ ﻟﻤﺼـﺭﻉ * ﻏﻀِـ ﺒ ﺍﻟﺤﻭﺭﻴﺎﺕ ﹶ ﻼﺘِﻴ ِﻨﻴﺔ ﻓﻭﺭﻴـﺎﻱ ﻕ ﻋﻠﻴﻬﻥ ﺒﺎﻟ ﱠ ﻁﹶﻠ ﹸ ﻭ ﻴ ﹾ ﻋﻨﺩﻤﺎ ﺒﺭَﺃ ﻩ ﺍﻷﺭﻴﻭﺒﺎﺠﻭﺱ ﻓﻲ ﺃﺜﻴﻨﺎ. alk ل ﺒﻌﺩ ﻫـﺫﺍ ﺴ ﺭﻋﺎﻥ ﻤﺎ ﻫﹶﻠﻙ ﺍﻟﻨﱠﺤ ُ ﻭ ﺱ ﻴﺨﺎﻓﹸﻭﻥ ﻤﻨﻬﻥ، ﻥ ﻭﺍﻟﻨﱠﺎ ﻴ ﺭ ﻫﺒﻭ ﹶﻨ ﻬ ﺃﻤﻪ ﻋﻤﺩﺍ ،ﻭﻟﻡ ﻴﻨﺼﺭﻓﻥ ﻋﻨـﻪ ﺇﻻ ﺤﺩِﻴﺜﹶـ ِﺔ ﺁﺫ ﺩﺍﻫـﺎﻙ(. ﻭﺒﺎﻟﻔﺎﺭِﺴﻴﺔ ﺍﻟ ﻥ ﺃﻭ ﺜﹸﻌﺒﺎﻥ ﻟﻪ ﺜﻼﺜـﺔ ﺭﺀﻭﺱ، ِﺘﻨﱢﻴ ﻜﺎﻨﺕ ﻟﻪ ﺍﻟﺴﻴﻁﺭﺓ ﻓـﻲ ﺍﻟ ﻌﺼـﺭ ٥٧ ﺦ ﺍﻟ ﺒﺸﹶـ ِﺭﻴﺔ. ﺍﻷﻟﻔﻲ ﺍﻟﺜﱠﺎﻨﻲ ﻤﻥ ﺘﺎﺭﻴ ِ ﻷ ِﭭﺴﺘﺎ. ﺨ ﹾﻠﻕِ ﻜﻤﺎ ﺠﺎ ﺀ ﻓﻲ ﺍ َ ﻭﺜﺎﻤِﻥ ﺍﻟ ﹶ m ﻭ ﻭ ﺭ ﺩ ﺫِﻜﺭﻩ ﻓﻲ ﺍﻟــ ﺸﱠـﺎ ﻫﻨﹶﺎﻤﻪ، ﻑ ﺒﺄﻨﻪ ﺭﺠل ،ﹶﻨﻤﺎ ﺜﹸﻌﺒﺎﻨﹶـﺎﻥ ﻭﻭﺼِ ﹶ ﺨﹶﻠﻘﹶـ ﻪ * ﺃﻨﺠـﺭﺍ ﻤﻥ ﻜﺘﻔﻪ .ﻭﻗـﺩ ﹶ .co ﻤﺎﻴﻨﻴﻭ ﻟﻠ ﹶﻘﻀـﺎﺀِ ﻋﻠـﻰ ﺍﻟﻤـﺅﻤﻨﻴﻥ ﺴ ﺒ ﻪ ﺇﻟﻰ ﺃﻨﺠـﺭﺍ ﻷ ﺒﺭﺍ ِﺭ .ﻭﻴﺭﺠﻊ ﹶﻨ ﺍَ ل ﺇﻨﻪ ﻤﺎﻴﻨﻴﻭ ﻓﻲ "ﺍﻟﺒﻭﻨﺩﺍﻫﺸﻥ" ،ﻭ ﻴﻘﹶﺎ ُ ﺡ ﺍﻟﻘﹸﺭﺒﻰ ﻤـﻊ ﺍ ﺭ ﹶﺘ ﹶﻜﺏ ﺠﺭﻴﻤ ﹶﺔ ﺴِﻔﺎ ِ ASAPURNA, ASAPURA ORﻋﻨﺩﻫﻤﺎ. ASAPURI ﺍﻨﻅﹸﺭ ﺍﻟﺘﻔﺎﺼـﻴل ﻓـﻲ ﻜﺘـﺎﺏ ﺽ ﺃﻭ ﺍﻹﻟﻬﺔ ﺍﻷﻡ ﻓﻲ ﺇﻟﻬ ﹸﺔ ﺍﻷﺭ ِ "ﺍﻷﺼﻨﺎﻡ" ﻷﺒﻲ ﺍﻟﻤﻨﺫﺭ ﻫﺸﺎﻡ ﺒـﻥ ﺍﻷُﺴﻁﹸﻭﺭ ِﺓ ﺍﻟﻬِﻨ ِﺩ ﻴﺔِ ،ﻭﻤﻌﻨﺎﻫﺎ ﺤﺭﻓﻴﺎ ﻤﺤﻤﺩ ﺒﻥ ﺍﻟﺴﺎﺌﺏ ﺍﻟﻜﻠﺒﻲ. ﻕ ﺍﻟﺭﻏﺒـﺔ" .ﻭﺘﻨﺘﺸـﺭ ﺤﻘﱢـ ﹸ "ﺍﻟﺘﻲ ﹸﺘ ﻋﺒﺎﺩﺘﹸﻬﺎ ﻓﻲ ﻭﻻﻴﺔ ﻜـﺘﺵ ﺒﺎﻟﻬﻨـﺩ .ﺃﺳﺒﺠﺮﻧﺴـــﻦ )ﭘﻴﺘـــﺮ ﻭﻴﻘﺩ ﻡ ﻟﻬﺎ ﹸﻜلﱠ ﻋﺎﻡ ﻗﹸﺭﺒﺎ ﻥ ﻴ ﹾﺫ ﺒ ﺢ ﻓﻴﻪ ﻛﺮﻳﺴــــــــــــــــــﱳ ﺴﺒﻌ ﹲﺔ ﻤﻥ ﺍﻟﺜﱢﻴﺭﺍﻥ. ﺃﺳﺒﺠﺮﻧﺴــﻦ( "١٨١٢ – ١٨٨٥ﻡ " ﺇِﺳﺎﻑ ﻭﻧﺎﺋِﻠﹶﺔ ﻤﺅﻟﱢﻑ ﻭﻋﺎِﻟ ﻡ ﻓﻭﻟﻜﻠﻭﺭ ﻨﺭﻭﻴﺠﻲ، ott ob ُﺃﻤﻪ ﺍﻟﺸﱠﻴﻁﹶﺎﻨﹶﺔ ﺃﻴﻭﻁـﺎﻙ .ﻭﺘﹶـ ﺭﻭِﻱ ﻥ ﻥ ﻭ ﻴ ﹾﺫ ﺒﺤﻭ ﺤﺭﻭ ﺍﻵﺨﺭ ،ﻭﻜﺎﻨﻭﺍ ﻴ ﹾﻨ ل ﺍﻷُﺴﻁﹸﻭﺭ ﹸﺓ ﺃﻥ ﺃﺯﻫﻲ ﺩﺍﻫﺎﻜﺎ ﹶﻗﺘﹶـ َ ل ﺃﻥ ﻴ ﹾﻐ ﹶﺘﺼِﺏ ﻤﺠـﺩﻩ. ﻴﻴﻤﺎ ،ﻭﺤﺎﻭَ ﻭﺍﻨﺘﺼ ﺭ ﻋﻠﻴﻪ ﺜﺭﺍﺌﻴﺘـﺎ ﺃﻭﻨـﺎ )ﺃﻭ ﻑ ﻋـﺎﻡٍ، ﺤﻜﹾـﻡ ﺩﺍ ﻡ ﺃﻟـ ﹶ ﺁﺘﺎﺭ( ﺒﻌﺩ ﻭﺃﻭﺜﻘﻪ ﻋﻠﻰ ﺠﺒل ﺩﻤﺎﻓﺎﻨﺩ .ﻭﺘﺫﻫﺏ ﺍﻷُﺴﻁﹸﻭﺭ ﹸﺓ ﺇﻟﻰ ﺃﻨﻪ ﺴﻭﻑ ﻴﺤﻁﱢـﻡ ﹸﻗﻴﻭﺩﻩ ﻗﺒل ﻤﺠِﻲﺀ ﻜﻴﺭﻴﺴﺎﺴﺒﺎ ﻋﻨـﺩ ﻀﻤﺎﻥ ﻤﺸﻬﻭﺭﺍﻥ ﻓﻲ ﺍﻟﺠﺎ ِﻫِﻠﻴﺔ. ﺠ ﻡ ﻋﺩ ﹸﺓ ﻤﺅﻟﹼﻔﺎﺕ ﻓﻲ ﺍﻟﻔﻭﻟﻜﻠﻭﺭ ،ﹸﺘ ﺭ ِ ِ ﻱ ﺃﻥ ﺇﺴﺎﻓﹰﺎ ﻫﻭ ﺭﺠـل ﻤـﻥ ﻭ ﺭ ِﻭ ﺒﻌﻀﻬﺎ ﺇﻟﻰ ﺍﻟﻠﱡﻐﺔ ﺍﻹﻨﺠﻠﻴﺯﻴﺔ ﻓـﻲ ﺠ ﺭﻫﻡ ﻴﻘﺎل ﻟﻪ "ﺇﺴﺎﻑ ﺒﻥ ﻴﻌﻠﹶـﻰ"، ﻜﺘﺎﺏ "ﺤﻜﺎﻴﺎﺕ ﺸﻌﺒﻴﺔ ﻤﻥ ﺍﻟﻨﺭﻭﻴﺞ" ﺃﻴﻀﺎ؛ ﻫﻲ "ﻨﺎﺌﻠـﺔ ﺒﻨـﺕ ﺯﻴـﺩ". ﻓﻴﻠﺩ ﺒﺎﻟﻨﺭﻭﻴﺞ" ﻋﺎﻡ ،١٨٧٤ﻭﻜﺘﺎﺏ ﻭﺃﻥ ﻨﺎﺌﻠﺔ ﻫﻲ ﺍﻤﺭﺃﺓ ﻤـﻥ ﺠـ ﺭﻫﻡ ﺏ ﺍﻷُﺴﻁﹸﻭﺭ ﹸﺓ ﺇﻟﻰ ﺃﻥ ﺇﺴـﺎﻓﹰﺎ ﻭﺘﺫﻫ ﻋﺎﻡ ،١٨٥٩ﻭﻜﺘﺎﺏ "ﺤﻜﺎﻴﺎﺕ ﻤﻥ alk ﻨِﻬﺎﻴﺔ ﺍﻟﻌﺎﻟﹶﻡ ،ﻭﺃﻨﻪ ﺴﻭﻑ ﻴ ﹾﻘﻀِـﻲ ﻸﺴﺎﻁِﻴﺭ ،ﻭﻟﻪ ESAF AND NA'ILAﻗﺎﻡ ﺒﺩﺭﺍﺴ ٍﺔ ﻤﻘﺎﺭﻨ ٍﺔ ﻟ َ ﻕ ﻨﺎﺌِﹶﻠ ﹶﺔ ﻓﻲ ﺃﺭﺽ ﺍﻟﻴﻤﻥ، ﺸﹸ ﻜﺎﻥ ﻴ ﹶﺘﻌ ﱠ "ﺤﻭل ﻴﻭﻟﻲ ﻟﻭﺝ" ﻋﺎﻡ .١٨٨١ ﻋﻠﻰ ﹸﺜﹸﻠ ِ ﺙ ﺍﻟ ﺒ ﹶﺸﺭِ ،ﻭﻜـﺫﻟﻙ ﺍﻟﻤـﺎﺀ ﻭﺍﺘﻔﻕ ﺃﻥ ﺫﻫﺒﺎ ﻟِﻠ ﺤ ﺞ ﻓﺩﺨﻼ ﺍﻟ ﹶﻜ ﻌ ﺒﺔﹶ؛ ﺍﺳﺘﺨﺎﺭﺓ ﻭﺍﻟﻨﺎﺭ ﻭﺍﻟﻨﺒﺕ ،ﻭﻟﻜﻨﻪ ﺴﻭﻑ ﻴﻠﻘـﻰ ﻤﺼﺭﻋﻪ ﻋﻠﻰ ﻴـﺩ ﻜﻴﺭﻴﺴﺎﺴـﺒﺎ. ﻥ ﻤـﻥ ﺍﻀـﻁِﻬﺎ ٍﺩ ﻋﺎﻨﹶﺎﻩ ﺍﻹﻴﺭﺍ ِﻨﻴﻭ ـﺩ ـﻰ ﻴـ ـﺎ ٍﻡ ﻋﻠـ ﻑ ﻋـ ـﺘﻤ ﺭ ﺃﻟ ـ ﹶ ﺍﺴـ ﺱ ﻓﻭﺠﺩﻭﺍ ﺇﺴﺎﻓﹰﺎ ﻭﻨﺎﺌِﹶﻠﺔﹰ ﺢ ﺍﻟﻨﺎ ﻭﺃَﺼ ﺒ ﻕ ﻤﻥ ﺍﻟ ِﻔﻌل ﻏﻴﺭﻩ؛ ﻭﻫﺫﺍ ﺍﻟﻠﱠﻔﻅ ﻤﺸ ﹶﺘ ﱞ ﺨ ﻴﻥِ؛ ﻓﻭﻀﻌﻭﻫﻤﺎ ﻋﻨﺩ ﺍﻟﻜﻌﺒـﺔ ﺴﹶ ﻤ ل ﺱ .ﻓﻠﻤـﺎ ﻁﹶـﺎ َ ﻅ ﺒﻬﻤﺎ ﺍﻟﻨﱠـﺎ ﻟِﻴ ﱠﺘﻌِ ﹶ ﻋﺒِـﺩﺍ ﺕ ﺍﻷﺼـﻨﺎ ﻡ ﻋ ِﺒ ﺩ ِ ﻤ ﹾﻜﺜﹸﻬﻤﺎ ﻭ ﻕ ﺍﻟ ﹶﻜ ﻌﺒﺔ، ﺼِ ﻤﻌﻬﺎ ،ﻭﻜﺎﻥ ﺃﺤﺩﻫﻤﺎ ِﺒِﻠ ﺴ ِﺘﺨﹶﺎ ﺭ ِﺓ ﻟﻜل "ﺨﺎﺭ" .ﻭ ﻴ ﹾﺘﻠﹶﻰ ﺩﻋﺎ ﺀ ﺍﻻ ﺃﻤﺭ ﻋﻠﻰ ﺍﻨﻔﺭﺍﺩ ﻗﺒل ﺃﻥ ﹶﺘ ﹾﻨﻌﻘِﺩ ﻋﻠﻴﻪ ل ﺍﻻﺴــ ِﺘﺨﹶﺎ ﺭ ﹸﺓ ﺍﻟﻨﱢﻴــﺔ ،ﻭﻻ ﹸﺘ ﻌﻤــ ُ ww ﺍﻹﻤﺒﺭﺍﻁﻭﺭﻴﺔ ﺍﻟﺒﺎ ِﺒِﻠﻴﺔ. ﺴﺨﹶﺎ. ﺍﻟ ﺒ ﻴﺕِ ،ﹶﻓ ﹶﻔﺠﺭ ﺒﻬﺎ ﻓﻲ ﺍﻟ ﺒﻴﺕ ﻓ ﻤ ِ ل ﻤﺎ ﹶﻜﺴ ﹶﻔﺭٍ ﺃﻭ ﻋ ﻤ ٍ ﻟﻪ ﺍﷲ ﺘﻌﺎﻟﻰ ﻓﻲ w. ﺠﺴﻡ ﻤـﺎ ﻭﻴﺒﺩﻭ ﺃﻥ ﺃﺯﻫﻲ ﺩﺍﻫﺎﻜﺎ ﻴ ﺨﻠﹾﻭ ﹰﺓ ﻓـﻲ ﻏﻔﹾﻠ ﹰﺔ ﻤﻥ ﺍﻟﻨﱠﺎﺱ ﻭ ﹶ ﻓﻭﺠﺩﺍ ﹶ ﺨﻴـ ﺭ ل ﺒﻪ ﺍﻟﻤﺭ ﺀ ﺃﻥ ﻴ ﹶ ﺴَﺄ ُ ﺩﻋﺎ ﺀ ﻴ ﺒﺎﻟﺠﻤﻠﺔ؛ ﻜﺄﻥ ﻴﺘﻠﹶﻰ ﺍﻟـﺩﻋﺎ ﺀ ﻓـﻲ ﺁﺳﺎﭘﻮﺭﻧﺎ ﺃﻭ ﺁﺳﺎﭘﻮﺭﺍ ﺃﻭ ﺕ ﺍﻟﺼﺒﺎﺡ ﻟﺠﻤﻴـﻊ ﺍﻟﻤﺴـﺎﺌل ﺍﻟﺘـﻲ ﻭﺍﻵﺨﺭ ﻓﻲ ﻤ ﻭﻀِﻊ ﺯ ﻤﺯﻡ .ﻭ ﹶﻨ ﹶﻘﹶﻠ ﹾ ﺁﺳﺎﭘﻮﺭﻱ ﻕ ﺍﻟﻜﻌﺒﺔ ﺇﻟﻰ ﺼِ ﻗﺭﻴﺵ ﺍﻟﺫﻱ ﻜﺎﻥ ِﺒِﻠ www.alkottob.com ﹶﺘ ﹶﺘﺠ ﻤ ﻊ ﺨﻼل ﺍﻟﻴﻭﻡ. ٥٨ ﻷ ﹾﻜﻤﺎﻡ" ﺍﻟﻭﺍ ِﺭﺩﺓ ﻓﻲ ﺃﻟﻑ ﻟﻴﻠـﺔ ﻓﻲ ﺍ َ ﺍﻟﺸﱠﻌ ِﺒﻴﺔ ﻋﻠﻰ ﻫﺫﻩ ﺍﻟ ﻤ ﹾﻘﺩِﺭﺓ ﻓـﻲ ﺃﻥ ﻁﻠﱠﺴـﻡ ﻴﻌﻴـﻨﻬﻡ ﻋﻠـﻰ ﻤـﺎ ﻋﻠﻰ ِ ﻭﻟﻴﻠﺔ؛ ﻨﺠﺩ ﺃﻡ ﻭﺭﺩ ﻓـﻲ ﺍﻷﻜﻤـﺎﻡ ﻴﺴﺘﺨﻔﻲ ﻋـﻥ ﺍﻷﻋـﻴﻥ ﺒﻭﺴـﺎﻁﺔ ﺨﻭﺍﺭِﻕ. ﻥ ﺇﻟﻴﻪ ﻤﻥ ﹶ ﻁ ﻤﺤﻭ ﻴ ﹾ ﺼﻠﱢﻲ ﺭ ﹾﻜ ﻌﺘﹶﻲ ﺍﻻﺴـ ِﺘﺨﹶﺎ ﺭ ِﺓ ﻜـﻲ ﹸﺘ ﺒﻌﺽ ﺍﻷﺩﻭﺍﺕ ﺍﻟﺴـﺤ ِﺭﻴﺔ؛ ﻤﺜـل ﻲ ﻤـﻥ ﻭﻫﺫﺍ ﺍﻟﻤِﺤـﻭﺭ ﺍﻟﺭﺌﻴﺴـ ـﺩﻋﻴﻡ ﺽ ﺇﻟـﻰ ﺘـ ﻭﻴﻠﺠـﺄ ﺍﻟـﺒﻌ ﺍﻷﺤﺠﺎﺭ ﺍﻟﺘﻲ ﻟﻬﺎ ﻗﹸـﻭﺓ ﺴِـﺤ ِﺭﻴﺔ ﻓﻲ ﺠﻤﻴﻊ ﺃﻨﺤـﺎﺀ ﺍﻟﻌـﺎﻟﹶﻡ؛ ﻓﻬـﻭ ﻤ ﻌﻴﻨﺔ ،ﺃﻭ ﺒﻭﺴﺎﻁﺔ ﻤﻭﺍ ﺩ ﻋﺠﻴﺒـ ٍﺔ ﻤﻭﺠﻭﺩ ﻓـﻲ ﺍﻟﻘﺼـﺹ ﺍﻟﻬﻨـﺩﻱ ﺨﺱِ ﻭﺘـﺎﺝ ﺏ ﺍﻟﺴﺭ ﹶ ﺤ ِ ﺃﺨﺭﻯ؛ ﻤﺜل ﻭﺍﻟﺼﻴﻨﻲ ﻭﺠﻭﺩﻩ ﻓـﻲ ﺤﻜﺎﻴـﺎﺕ ﺤﻴﺔ ﻭﻗﻠﺏ ﻁِﻔل ﹶﻟﻤﺎ ﻴﻭﻟﹶﺩ .ﻭﻟﻘـﺩ ﺍﻟ ﺃﻭﺭﻭﺒﺎ ﺍﻟﺸﺭﻗﻴﺔ ﻭﺍﻟﻭﺴﻁﹶﻰ؛ ﺒل ﺇﻨﻪ ﻟﻠﺤﻜﺎﻴﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﻤﺎ ﻴﻘﹾـﺭﺏ ﻤـﻥ ﺃﻤﺭﻴﻜﺎ. m ﻭﻓﻲ ﻗﺼﺔ "َﺃﻨﹶﺱ ﺍﻟ ﻭﺠﻭﺩ ﻭ ﻭ ﺭ ﺩ ﻭﻴﺤﺼل ﺍﻟﺒﻁل ﻓﻲ ﺍﻟﺤِﻜﺎﻴـﺎﺕ ﺤﺼﻭﻟِﻬﻡ ﺱ ﻻﺒﺩ ﻤﻥ ﺍﻷﻗﺯﺍﻡ ﻭﺍﻟﻨﱠﺎ ِ ﺨ ﻴﺭ ﻓﻲ ﻏﺭﺍﻡ ﺍﺒﻨﺘﻬﺎ. ﻴﻠﻬﻤﻬﺎ ﺍﷲ ﺍﻟ ﹶ .co ﺍﻻﺴﺘﺨﺎﺭﺓ ﻋﻥ ﻁﺭﻴﻕ ﺍﻻﻗﺘـﺭﺍﻉ؛ ﺠﺫﹶﺍﺫﹶﺍﺕٍ ﻤﺎ ﻴﻔﻴـﺩ ﺏ ﻋﻠﻰ ﺒﺄﻥ ﻴ ﹾﻜ ﹸﺘ ﺍﻹﻗﺩﺍﻡ ﻭﺍﻹﺤﺠﺎﻡ ﺜﻡ ﻴ ﹾﻘ ﺭ ﻉ ﺒﻴﻨﻬـﺎ. ﺼﺤﻑ. ﺍﻟ ﻤ ﺍﻻِﺳﺘِﺨﻔﹶﺎﺀ INVISIBILITY "ﻃﺎﻗِﻴﺔﹸ ﺍﻹﺧﻔﹶﺎﺀ " ﺴ ِﺘﺘﹶﺎ ِﺭ ﻋـﻥ ﺙ ﺤﺎﹶﻟﺔٍ ﻤﻥ ﺍﻻ ﺤﺩﻭ ﹸ ﻋ ِﺘﺼﺎ ِﻡ ﺒﺸﻲﺀ ﻋـﺎﺩﻱ ﹶﻜﺜِﻴـﻑ ﺍﻻ ﺠﺩﺍ ٍﺭ ﺃﻭ ﺴﺎﺘِﺭ( ،ﻭﻟﻜﻨﻬـﺎ ﺘﹶـ ِﺘ ﻡ ) ﹶﻜ ِ ﺏ ﺍﻟﻤﺭ ﺀ ﻋـﻥ ﺠ ﺒﻌﺎﻤِل ﺨﺎﺭِﻕ ﻴﺤ ﺃﻭﺭﺩ ﻁﻭﻤﺴــﻭﻥ ﻓــﻲ ﺘﺼــﻨﻴﻔﻪ ﻲ ﻓـﻲ ﻭﺍﻻﺴﺘﺨﻔﺎﺀ ﻤِﺤﻭﺭ ﺭﺌﻴﺴ ﺍﻟﻤﺄﺜﹸﻭﺭﺍﺕ ﺍﻟﺸﱠﻌ ِﺒﻴﺔ ﺒﺼﻔﺔ ﻋﺎﻤـﺔ، ﻭﻓﻲ ﺍﻟﺤﻜﺎﻴﺎﺕ ﺍﻟﺸـﻌﺒﻴﺔ ﺒﺼـﻔﺔ ﻟﻤﻌﺘﻘﺩﺍﺕ ﻭﺘﺼـﻭﺭﺍﺕ ﺸـﻌﺒﻴﺔ ﻻ ﺘﺯﺍل ﻤﻨﺘﺸﺭﺓ ﻓﻲ ﺒﻌﺽ ﺍﻟ ﺭﺒـﻭﻉ ﺍﻻﺴﺘﺨﻔﺎﺀ ،ﻭﻫﺫﻩ ﺍﻷﺩﻭﺍﺕ ﺍﻟﺨﺎ ِﺭﻗﹶﺔ ﺍﻟﻌﺭﺒﻴﺔ ﺠﻤﻴ ﻊ ﻫﺫﻩ ﺍﻷﺩﻭﺍﺕ ﺘﻘﺭﻴﺒﺎ، ﻕ ل ﺍﻟﻘﹸﺩﺭ ﹶﺓ ﻋﻠﻰ ﺍﺴـ ِﺘﺭﺍ ِ ﻁَ ﺢ ﺍﻟﺒ ﹶ ﹶﺘ ﻤ ﹶﻨ ﺒﻴﺩ ﺃﻥ ﺃَﺸﻬﺭﻫﺎ ﻁﺎﻗِﻴﺔ ﺍﻹﺨﻔﺎﺀ ﺍﻟﺘﻲ ﻙ. ﻋﻥ ﹶﻜﺜﹶﺏ ﻭﺍﻟﻔﻭﺯ ﻓـﻲ ﺍﻟ ﻤﻌـﺎ ِﺭ ِ ﺸﻭﺍ ِﻫ ِﺩ ﻋﻠﻰ ﺫﻟﻙ ﻜﺘﺎﺏ "ﺃﻟﻑ ﻭﻤﻥ ﺍﻟ ﱠ ﺕ ﻀﻡ ﻫﺫﻩ ﺍﻷﺩﻭﺍﺕ ﻋـﺎﺩ ﹰﺓ ﺃﺩﻭﺍ ٍ ﻭ ﹶﺘ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" ﺍﻟﺫﻱ ﹶﺘﺭِﺩ ﻓﻴـﻪ ﻁﺎ ِﻗﻴـ ﹸﺔ ﺤ ِﺭ ﻴ ﹰﺔ ﺃﺨﺭﻯ؛ ﻤﺜل ﺍﻟﻨﱢﻌﺎل ﺍﻟﺘـﻲ ﺴ ِ ﺍﻹﺨﻔﺎﺀ ﻓﻲ ﺤﻜﺎﻴﺔ ﺤﺴﻥ ﺍﻟﺒﺼﺭﻱ، ﹶﺘ ﹶﺘﺭ ﺩ ﺩ ﻓﻲ ﻜﺜﻴﺭ ﻤـﻥ ﺍﻟﺤﻜﺎﻴـﺎﺕ. ﺍﻟﺴﻤﻊ ﻭﺍﻟﺘﱠﺠﺴﺱ ،ﻭﻤﺸﺎﻫﺩﺓ ﺍﻟ ﻌ ﺩﻭ ـﻴﺭ ﺴـ ـﻰ ﺍﻟ ـﺎ ﻋﻠـ ـﺎﻋِﺩ ﻤ ﹾﻨ ﹶﺘﻌِﻠﻴﻬـ ﺘﺴـ ـﺔ ـﻭﻕ ﻁﺎﻗـ ﺴ ـﻌﺔ ﻓـ ـﺎﻓﺎﺕ ﺸﺎ ِ ﻤﺴـ ﺍﻹﻨﺴﺎﻥ ،ﻭﻁﺎ ِﻗﻴﺔ ﺍﻟﺤِﻜﻤﺔ ،ﻭﺘﻌﺭﻑ ﻓﻲ ﺒﻌـﺽ ﺍﻟﺤﻜﺎﻴـﺎﺕ ﺍﻟﺸـﻌﺒﻴﺔ ﻭﻓﻲ ﺴِﻴﺭﺓ ﺴﻴﻑ ﺒﻥ ﺫﻱ ﻴﺯﻥ ﺘﺭﺩ ﻁﺎ ِﻗﻴﺔ ﺃﻓﻼﻁﻭﻥ ،ﻭﺭﺒﻤـﺎ ﻜﺎﻨـﺕ ﻤﺭﺍﺩِ ﹶﻓﺔﹰ ﻟﻤﺎ ﻭﺭﺩ ﻓـﻲ ﺍﻟﺤﻜﺎﻴـﺎﺕ ﺤ ﹾﻜﻤﺔ. ﺍﻟﻴﻭﻨﺎﻨﻴﺔ ﻋﻥ ﻁﺎ ِﻗﻴﺔ ﺍﻟ ِ ﺍﻟﻌﺭﺒﻴﺔ ﺒﻁﺎ ِﻗﻴﺔ ﺃﻓﻼﻁﻭﻥ ،ﻭﻜـﻴﺱ ل ﻓﻲ ﺤﻜﺎﻴﺎﺕ ﺴَ ل ﺁﺭﺜﹶﺭ ﺘﹶﻭ ﻁُ ﻭﺍﻟ ﺒ ﹶ ﺍﻟﻨﱡﻘﻭﺩ ﺍﻟﺫﻱ ﻻ ﻴﻔﺭﻍ ﻤﻥ ﺍﻟﺩﺭﺍﻫِﻡ، ﻓﺭﺴﺎﻥ ﺍﻟﻤﺎﺌﺩﺓ ﺍﻟﻤﺴﺘﺩﻴﺭﺓ ِﺒﻌﺒـﺎﺀﺓ ﻭﺍﻟﺴﻴﻑ ﺍﻟﺫﻱ ﻻ ﻴﺨﻁـﺊ ﻫﺩﻓـﻪ، ﺏ ﺍﻟﺴﺭﺨﹶﺱ ﻟﻴﺱ ﺤ ﺱ ﺍﻹﺨﻔﺎﺀ .ﻭﻟ ﺒ ww ـﺎﺱ ـﻪ ﺍ ﹾﻨ ِﻌ ﹶﻜـ ـﺩﻭ ﺃﻨـ ـﺔ ،ﻭﻴﺒـ ﺼـ ﺨﺎ ﺜﻼﺜﻴﻥ ﻭﺴﻴﻠﺔ ﺴﺤﺭﻴﺔ ﺘﻌﻴﻥ ﻋﻠـﻰ ﺤﻜﹶﺎﻴـ ﹸﺔ ﺍﻟﺸﱠـﻌ ِﺒﻴﺔ ﻋ ﺭﻓﹶﺕ ﺍﻟ ِ ﻭﻟﻘﺩ w. ﺃﻋﻴﻥ ﺍﻟﻨﱠﺎﻅﺭﻴﻥ. www.alkottob.com ﻴﻭﺠﺩ ﻜﺫﻟﻙ ﻓﻲ ﺤﻜﺎﻴـﺎﺕ ﻫﻨـﻭﺩ alk ﻕ ﺒﻤﺠــﺭﺩ ﺤﻘﱠــ ﹸ ﺍﻷَﻋــﻴﻥ ،ﻭﻻ ﹶﺘ ﹶﺘ ﺇﻟﻰ ﺍﻵﻥ. ﺍﻟﻁﱠﺎ ِﻗﻴﺔ ﻭﺍﻟ ﻌﺒﺎﺀﺓ ﻭﺍﻟﺨﺎﺘﹶﻡ ،ﻭﺒﻌـﺽ ott ob ﺢ ﺴـ ِﺘﺨﹶﺎ ﺭ ﹲﺓ ِﺒ ﹶﻔـ ﹾﺘ ِ ـﺎ ﺍ ﻀـ ـﺎﻙ ﺃﻴ ﻭﻫﻨـ ﻤﺤﺎﻭِﺭ ﺍﻟﺤِﻜﺎﻴﺎﺕ ﺍﻟﺸﱠﻌ ِﺒﻴﺔ ﻤﻨﺘﺸـﺭ ﻭﺍﻟﺨﺎﺘﹶﻡ ﺍﻟﺫﻱ ﻟﻪ ﺨﺎﺩِﻡ ﻴﺄ ﹶﺘ ِﻤ ﺭ ﺒـﺄﻤﺭ ﻫﻭ ﺍﻟﻭﺤﻴـﺩ ﺍﻟـﺫﻱ ﻴﻌـﻴﻥ ﻋﻠـﻰ ﻻﺒﺴﻪ .ﻭﻫﻨﺎﻙ ﻜﺎﺌﻨﺎﺕ ﻟﻴﺴﺕ ﻓـﻲ ﺽ ﺍﻟﺤِﻜﺎﻴـﺎﺕ ﺍﻻﺨﺘﻔﺎﺀ؛ ﻓﺈﻥ ﺒﻌـ ﺤﺎﺠﺔ ﺇﻟﻰ ﻫﺫﻩ ﺍﻷﺩﻭﺍﺕ ﻭﺃﺸـﺒﺎﻫﻬﺎ ﻋﺒﺎ ﺩ ﺍﻟﺸﱠﻤﺱ ﻟـﻪ ﻨﻔـﺱ ﺘﹸﻭﺭِﺩ ﺃﻥ ﺙ ﺍﻟﺨـﺎﺭِﻕ .ﻭﻟﻜـﻥ ﻟﻠﻘﻴﺎﻡ ﺒﺎﻟﺤـ ﺩ ِ ﺍﻟ ﹸﻘﻭﺓ ﺍﻟﺴﺤ ِﺭﻴﺔ. ٥٩ ﻴﺭ ﺩﺩﻫﺎ ﺃﻭ ﻤﻥ ﺘﹸـﺭﺩﺩ ﻟﻤﺼـﻠﺤﺘﻪ ﻀﺤﺎﻴﺎ ﻭ ﹶﻗﺭﺍﺒِﻴﻥ ،ﻭﻴـﺄﺘﹸﻭﻥ ﻥ ﻴ ﹶﻘ ﺩﻤﻭ ﻁﺭﻻﺏ ﺴﹸ ﻷ ﺍﻟ ﺯﻭﺍﻴﺎ .ﻭﺃﺨِﻴﺭﺍ ﻫﻨﺎﻙ ﺍ َ ﺨﺘِﻔﺎ ِﺀ ﻋﻥ ﺍﻷﻋﻴﻥ. ﺍﻟ ﹸﻘ ﺩﺭ ﹶﺓ ﻋﻠﻰ ﺍﻻ ﹾ ل ﺭ ﻤ ِﺯﻴﺔ ﻴﻘﺼﺩﻭﻥ ﺒﻬﺎ ﺍﻟ ﱠﺘ ﹶﻘﺭﺏ ﺒﺄﻓﻌﺎ ٍ ل ﻁﺭﻻﺏ ﻴ ﻤﺜﱢـ ُ ﺴﹸ ﻷ ﺍﻟ ﹸﻜﺭﻱ .ﻭﻫﺫﺍ ﺍ َ ﻭﻓﻲ ﺇﺤـﺩﻯ ﺍﻟﺤِﻜﺎﻴـﺎﺕ ﺍﻟﻬِﻨ ِﺩﻴـﺔ ﺇﻟﻰ ﺍﷲ. ﻕ ﻷ ﹸﻓ ِ ﺍﻟﺤﺭﻜﺔ ﺍﻟﻴﻭﻤﻴﺔ ﻟﻠﻜﺭﺓ ﺒﺎﻟﻨﱢﺴﺒﺔ ِ m ﺢ ﻤـﻥ ﺼ ﻴ ﹲﻎ ﺴِﺤﺭﻴﺔ ﹶﺘ ﻤ ﹶﻨ ﻭ ﹶﺜ ﻤ ﹶﺔ ِ ﺱ ﻟ ﹾﻠ ﻤﻁﹶـﺭ .ﻭﻗـﺩ ﻉ ﻤﻥ ﺍﻟﺘﱠﻘﺩِﻴ ِ ﺒﻨﻭ ِ ﺱ ﺒﺎﻟ ﻌﺼﺎ ،ﻭﻫـﻲ ﹶﺘﺼـﻠﹸﺢ ﻟﻘﻴـﺎ ِ ﺹ ﺒـﺘﻼﻭ ِﺓ ﺍﻟﺼـﻴﻐﹶﺔ ﻴﺨﺘﻔﻲ ﺍﻟﺸﱠﺨ ﻥ ﻤﻌﻠﹸـﻭ ٍﻡ ﺩﻭﻥ ﺍﻟﺘﺠـﺎﺀ ﺇﻟـﻰ ﻤﻜﺎ ٍ .co ﺃﹶﺳـــــــــــــﻄﹸﺮﻻﺏ ﺃﻭ ﺴ ﹶﻘﻁِ؛ ﻭﻫﻭ ﻟﺫﻟﻙ ﺼﺎﻟِﺢ ﻟﻘﻴـﺎﺱ ﺍﻟ ﻤ ﺍﻟﺴــﺤ ِﺭﻴﺔ ﺍﻟﺨﺎﺼــﺔ ﺒﺴــﻴﺎﻗِﻬﺎ ﺃﹶﺻﻄﹸﺮﻻﺏ ﺏ ﻋـﻥ ﺍﻷﻓـﻕ، ﺍﺭﺘﻔﺎﻋﺎﺕ ﺍﻟ ﹶﻜﻭﺍ ِﻜ ِ ﻁﺒِﻴ ِﻌﻲ ،ﻓﺈﺫﺍ ﹶﻗﺭﺃﻫﺎ ﻤﻥ ﺁﺨﺭﻫـﺎ ﺍﻟ ﱠ ﺇﻟﻰ ﺃﻭﻟﻬﺎ؛ ﻓﺈﻨﻪ ﻴﺘﱠﺨﺫ ﺍﻟﻬﻴﺌ ﹶﺔ ﺍﻟﺘـﻲ ﻴﺭﻴﺩﻫﺎ. ـﻥ ـل ﻤـ ـﺔ ﺍﻷﺼـ ـﺔ ﻴﻭﻨﺎ ِﻨ ﻴـ ﹶﻜِﻠ ﻤـ ل ﺍﻟ ﹶﻔﻠﹶﻙ ﺍﻟ ﹸﻜﺭﻱ .ﻭ ﻴﻌـ ﺩ ﻤـﻥ ﻤﺴﺎ ِﺌ ِ ﺤ ِﺭ ﻴ ﹲﺔ ﻉ ﻤﻤﺎﺭﺴـ ﹲﺔ ﺴِـ ﻤﻥ ﺍﻟ ﺭﺒـﻭ ِ ﻁِﻠﻘﹶﺕ ﻋﻠـﻰ ﻋِـﺩﺓ ﺃﺴﺘﺭﻻﺒﻭﺱُ ،ﺃ ﹾ ﺕ ﻤﺠ ﱠﻔﻔﹶﺔ، ل ﻴ ِﺩ ﻤ ﻴ ٍ ﺹ ﻓﻲ ﺤﻤ ِ ﺨ ﹶﺘ ﹶﺘﹶﻠ ﱠ ﺸ ﹾﻨﻘﹰﺎ ،ﻭﻫﻲ ﺘﻤﻨﺢ ﺤﺎ ِﻤﻠﹶﻬـﺎ ﺒﺎﻹﻋﺩﺍﻡ ﹶ ﻭﺍﻟﺜﱠﺎﻨﻲ ﻤﺴﻘﻁ ﻫﺫﺍ ﺍﻟﻤﺴﻘﻁ ﻋﻠـﻰ ﺤ ِﻜ ﻡ ﻋﻠﻴﻪ ل ﺃﻥ ﺘﻜﻭﻥ ﻟﺭﺠل ﻭ ﻴ ﹶﻔﻀُ ﺍﻟﻘﹸﺩﺭ ﹶﺓ ﻋﻠﻰ ﺍﻻﺨﺘﻔـﺎﺀ .ﻭﺘـﺫﻫﺏ ل ﺒﻌﺽ ﺍﻟﻘﺼﺹ ﺇﻟﻰ ﺃﻨﻬـﺎ ﹶﺘﺸﹸـ ﱡ ﺤﺭ ﹶﻜ ﹶﺔ ﺍﻟﺫﻴﻥ ﺘﹸﻘﺩ ﻡ ﺇﻟﻴﻬﻡ ،ﻭﺘﹸﺴـﻤﻰ ﺏ ﺍﻟ ﻤﻁﹶـﺭ ﻋﻨـﺩﻤﺎ ﻁﻠﹶـ ِ ﺼﻼ ﹲﺓ ِﻟ ﹶ ل ﺒﻬﺎ ﺍﻟﻤﻁـ ﺭ ﻗﺩﻴﻤـﺔ ﺴ ﹶﺘ ﹾﻨ ﺯ ُ ﺍﻟﺘﻲ ﻴ ﺠﺩﺍ ،ﻭﺘﺨﺘﻠﻑ ﺒﺎﺨﺘﻼﻑ ﺍﻟﻤﻌﺘﻘﺩﺍﺕ ﺍﻟﺩﻴﻨﻴﺔ ،ﻜﻤﺎ ﺘﺨﺘﻠﻑ ﺒﻴﻥ ﺍﻟﺠﻤﺎﻋﺎﺕ ﺱ ﺸ ﺒﻌﺔ ﺒﺎﻟﺴﺤﺭ .ﻭﻴﻘـﻭﻡ ﺍﻟﻨﱠـﺎ ﻤ ﹶﺘ ﹶ ﻥ ِﺒ ِﺘﻼﹶﻭ ِﺓ ﺼِـﻴﻎ ،ﻭﺍﻟﺘﱠـﺭﻨﱡﻡ ﺒﺄﻏـﺎ ٍ ﻭﺃﻨﺎﺸﻴﺩ .ﻭﻫﻨﺎﻙ ﺸﹶـﻌﺎ ِﺌ ﺭ ﻤﺘﱠﺼـﻠﹶﺔ www.alkottob.com ﻭﺘﻌﻨﻲ ﻓﻲ ﺍﻻﺴﺘﻌﻤﺎل ﺍﻟـﺩﺍﺭِﺝ، ﻭﻋﻠﻰ ﺃﻗﻼﻡ ﻏﻴﺭ ﺍﻟﻤﺘﺨﺼﺼـﻴﻥ؛ ﻁ ﻤﺴﺘﻘﻴﻡ ،ﻭﺍﻟﺜﱠﺎﻟﺙ ﺍﻟﻜﹸﺭﺓ ﺒﺫﺍﺘِﻬﺎ ﺨﱟ ﹶ " ﹸﻜلﱠ ﺸـﻲﺀ ﻴﻨـﺎﻗِﺽ ﺍﻟﻭﺍﻗـﻊ"،ﺃﻭ ﻱ ﻤﺴﻘﻁ ﻤﺎ. ﺒﻼ ﺃ ﺒﺘﻌﺒﻴﺭ ﺁﺨﺭ "ﻤﺎﻻ ﻭﺠﻭﺩ ﻟـﻪ ﻓـﻲ ﻁﺭﻻﺏ ﺴﹸ ﻷ ﺼ ِﻨ ﻊ ﻫﻭ ﺍ َ ل ﻤﺎ ﻭَﺃﻭُ ﻲ ﺃﻭ ﺍﻟ ﻤﺴـﻁﱠﺢ .ﻭ ﻴ ﻌﻁِـﻲ ﺤ ﻁِ ﺴ ﹾ ﺍﻟ ﺏ ﺒﺎﻟﺭﺼـ ِﺩ ﺍﻟ ﱠﻨﻅﹶـﺭِﻱ ﻁﺭﻻ ﺴﹸ ﻷ ﺍَ ﻉ ﻨﹶﺠ ٍﻡ ﻤﺎ ،ﻭﺒﺎﻟﺘﱠـﺎﻟِﻲ ﺍﻟﻤﺴﺘﻘﻴﻡ ﺍﺭﺘﻔﺎ ﻤِﻘﺩﺍ ﺭ ﻤﺎ ﺍﻨﻘﻀـﻰ ﻤـﻥ ﺴـﺎﻋﺎﺕ ل ﺇﻟـﻰ ﺍﻟﻨﱠﻬﺎﺭ ﻭﺍﻟﻠﱠﻴل ،ﻭﻴﻤﻬﺩ ﺍﻟﺴﺒﻴ َ ﺍﻟﻭﺍﻗِــﻊ" .ﻭﺍﻟــﺭﺍﺠِﺢ ﺃﻥ ﻫــﺫﺍ ﺍﻻﺴﺘﻌﻤﺎل ﺇﻨﻤﺎ ﺠﺎ ﺀ ﻤـﻥ ﺍﺠﺘﻬـﺎﺩ ﺍﻟ ﻤ ﹶﺘﺭﺠﻤﻴﻥ ﻓﻲ ﺃﻭﺍﺌـل ﺍﻟ ﱠﻨﻬﻀـﺔ ﺠﻤـ ﹰﺔ ﺠ ﻌﻠﹸﻭﺍ ﺍﻷُﺴﻁﹸﻭﺭ ﹶﺓ ﹶﺘ ﺭ ﻋﻨﺩﻤﺎ ﻟﻜﻠﻤﺔ mythﺍﻟﺘﻲ ﻜﺎﻨﺕ ﺘﹶﻌﻨِﻲ ﻤﺎ ل ﺠﻤﻴﻊ ﻤﺴﺎﺌل ﻋِﻠﻡ ﺍﻟ ﹶﻔﹶﻠﻙِ ﺍﻟ ﹸﻜﺭﻱ ﺤﱢ ﺕ ﺩﻭﻥ ﺍﻻﻟﺘﺠــﺎﺀ ﺇﻟــﻰ ﺍﻟ ﻌ ﻤِﻠﻴــﺎ ِ ﺏ ﻁﺭﻻ ﻷﺴـ ﹸ ﺤﺴﺎ ِﺒ ﻴ ِﺔ .ﻭﻫﻨـﺎﻙ ﺍ َ ﺍﻟ ِ ﻋﺼـﺎ ﺨﻁﹼﻲ ،ﻭ ﻴﺴـﻤﻰ ﺃﻴﻀـﺎ ﺍﻟ ﹶ ﺴﻲ ،ﻭﻫـﻭ ﻴﺸـﺒﻪ ﺒﻬﻴﺌﺘـﻪ ﻁ ﻭ ِ ﺍﻟ ﱠ ـﺫﺍ ـﺎﺏ .ﻭﻓـﻲ ﻫـ ﺴـ ﺤ ِﻤﺴـﻁﹶﺭ ِﺓ ﺍﻟ ٍ ـﺔ ـﻭﻁ ﻤ ﺭﺒﻭﻁﹶـ ﺨﻴـ ـﻁﺭﻻﺏ ﹸ ﺍﻷﺴـ ﺽ ﺍﻟﻭﺍﻗِــﻊ ،ﻭﺃﻜﱠــﺩ ﻫــﺫﺍ ﻴﻨﹶــﺎ ِﻗ ل ﺍﻟﺩﻻﻟــ ﹸﺔ ﺍﻟﺘﱠﻘﻠِﻴ ِﺩﻴــ ﹸﺔ ﺍﻻﺴــﺘﻌﻤﺎ َ ﻷﺴﺎﻁﻴﺭ ﺍﻷﻭﻟﻴﻥ ﺍﻟﺘﻲ ﻜﺎﻨﺕ ﺘﺘﻌﻠﱠﻕ ﺒﺄﺨﺒﺎﺭ ﺍﻟﺸﱠﺭﻑ ﻭﻤﺎ ﻴﺘﱠﺼل ﺒﻪ. ww ﻥ ﻭﺍﺤﺩ ،ﻭﻫﻲ ﺠﻤﻴﻌﺎ ﻥ ِﺒﺩِﻴ ٍ ﺍﻟﺘﻲ ﹶﺘﺩِﻴ ﺢ ﻤﺴ ﹶﺘﻭٍ، ﻁٍ ﺴ ﹾ ﺍﻟ ﹸﻜ ﺭ ِﺓ ﺍﻟﺴﻤﺎﻭﻴﺔ ﻋﻠﻰ MYTH w. ﺱ ﻭﺍﻟﺸﱠﻌﺎ ِﺌ ﺭ ﻼ .ﻭﺍﻟﻁﱡﻘﻭ ﻴﻨﻘﻁﻊ ﻁﻭﻴ ﹰ ﺃﹸﺳﻄﹸﻮﺭﺓ alk ﺍِﺳﺘِﺴﻘﹶﺎﺀ ﻥ. ﺠﻤِﻴ ﺍﻟ ﻤ ﹶﻨ ﺁﻻﺕ ﹶﻓﹶﻠ ِﻜﻴﺔ .ﹶﺘ ﹾﻨﺤﺼِ ﺭ ﻓـﻲ ﺜﻼﺜـﺔ ﻁ ﺴ ﹶﻘ ﹶ ل ﻤ ﺃﻨﻭﺍﻉ ﺭﺌﻴﺴﻴﺔ :ﺍﻷﻭل ﻴ ﻤﺜﱢ ُ " ﻴ ﺩ ﺍﻟ ﻤﺠﺩ". ﺴ ﻴ ِﺔ ﻋﻨﺩ ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﻑ ﺍﻷﺴﺎ ِ ﺍﻟ ﻤﻌﺎ ِﺭ ِ ott ob ﻭﺸﺎﻋﺕ ﻓﻲ ﺃﻭﺭﻭﺒﺎ ﻭﻓﻲ ﻏﻴﺭﻫﺎ ASTROLABE ل ﻁﺎ ِﺌﻔﹶـ ٍﺔ ﻤـﻥ ﻭﺘﻌﻴﻴﻥ ﺍﻟﺯﻤﻥ ﻭﺤ ﱢ ﻥ ﺃﻥ ﻫـﺫﺍ ﺍﻟ ﹶﻔﻬـ ﻡ ﺏ ﺍﻟﻅﱠـ ِ ﻭﺃَﻏِﻠ ﻟﻸﺴﻁﻭﺭﺓ – ﺒﺎﻋﺘﺒﺎﺭِﻫﺎ ﻤﻨﺎﻗِﻀـ ﹰﺔ ﺽ ﻟﻠﻭﺍﻗِﻊ – ﹶﻗﺩِﻴﻡ؛ ﻓﻘﺩ ﺍﻋﺘﺭﺽ ﺒﻌ ٦٠ ﻋﺩﻭﺍ ﻤﺎ ﻋ ﺭ "*ﻫﻭﻤﻴﺭﻭﺱ" ،ﻭ ﺍﻟﺸﱠﺎ ِ ﺴ ﹶﺘ ﺩﻋِﻲ ﻤﺭﺤﻠـ ﹰﺔ ﺍﻹﻨﺴﺎﻨﻴﺔ ﻋﻨﺩﻤﺎ ﹶﺘ Mullerﻓﻲ ﺍﻟﻨﺼﻑ ﺍﻟﺜﺎﻨﻲ ﻤـﻥ ﻁﻴِﺭ ﻋﺒﺎﺭ ﹰﺓ ﻋـﻥ ﺃﻭﺭﺩﻩ ﻤﻥ ﺍﻷﺴﺎ ِ ﺒﻠﻎ ﻤﻥ ﺒﻌـﺩِﻫﺎ ﻓـﻲ ﺍﻟﺯﻤـﺎﻥ ﺃﻥ ﺼﻨﱠﻔﺎﺕ ﺍﻟﻘﺭﻥ ﺍﻟﺘﺎﺴ ﻊ ﻋﺸﺭ ،ﻭﻟﻪ ﻤ ﺨﻴـﺎلٍ ﻭ ﻭﻫـﻡ ...ﻭَﺃﺒـﻰ ﹶﺘﻬﺎﻭِﻴل ﹶ ﺽ ﻓﻲ ﺍﻟﺯﻤﺎﻥ ﻤـﻥ ﺍ ﹾﻜ ﹶﺘ ﹶﻨﻔﹶﻬﺎ ﺍﻟ ﹸﻐﻤﻭ ﻜل ﺠﺎﻨﺏ ،ﻭﺃﻋﺎﻥ ﺫﻟـﻙ ﺍﻟﺨﻴـﺎل ﻓﻲ ﻋﻠﻡ ﺍﻷﺴﺎﻁِﻴ ِﺭ ﺍﻟﻤﻘﺎﺭﻥ؛ ﻭﻫـﻭ ﻴﺫﻫﺏ ﺇﻟﻰ ﺃﻥ ﺍﻷﺴـﻁﹸﻭﺭﺓ ﺇﻨﻤـﺎ ـﻭﻤﻴﺭﻭﺱ ـﻪ *ﻫـ ل ﺒـ ـﺎ َ ـﺫﻱ ﻗـ ﺍﻟـ ﻋﻠﻰ ﺘﺼﻭﻴﺭ ﺍﻟﻤﻠـﻭﻙ ﺘﹶﺼـﻭِﻴﺭﺍ ﺠ ﹶﺔ ﹸﻗﺼﻭﺭ ﻓﻲ ﺍﻟﻠﻐﺔ؛ ﻤﻤﺎ ﺸﺄَﺕ ﹶﻨﺘِﻴ ﹶﻨ ﹶ ﺕ ﻏﹶﻠﺒـ ﹾ ﺴﺤِﻴ ﹶﻘﺔٍ ﹶ ﻋﺼﻭ ٍﺭ ﺨﺎ ِﺭﻗﹰﺎ ﻓﻲ ﻴﺅﺩﻱ ﺇﻟﻰ ﺃﻥ ﻴﻜﻭﻥ ﻟِﻠﺸﱠﻲﺀ ﺍﻟﻭﺍﺤﺩ ﺏ ﻫﺫﺍ ﺍﻟـﺭﺃﻱ ﺴ ﻋﻠﻴﻬﺎ ﺍﻟ ﺒﺩﺍ ﻭﺓ .ﻭ ﻴ ﹾﻨ ﺃﺴﻤﺎﺀ ﻤﺘﻌـﺩﺩﺓ ،ﻜﻤـﺎ ﺃﻥ ﺍﻻﺴـ ﻡ ﺕ ﻓـﻲ ﺇﻟﻰ "ﻴﻭﻫِﻴﻤِﻴﺭﻭﺱ" ﺍﻟﺫﻱ ﻤﺎ ﹶ ﺤ ﺩ ﻜﺜﻴﺭﺍ ﻤﺎ ﻴﻁﻠﻕ ﻋﻠﻰ ﺃﺸﻴﺎ ﺀ ﺍﻟﻭﺍ ِ ﺍﻟ ﹸﻘ ﺩﺭﺓ ﻋﻠـﻰ ﺍﻟﺭﺴـﻡ؛ ﻟﺼـﻭﺭﺕ ﻑ ﻗِﺼ ﹰﺔ ﺨﻴﺎِﻟﻴﺔ ﻓـﻲ ﺼـﻭﺭﺓ ﺼ ﱠﻨ ﹶ ﺠ ِﺔ ﻫﺫﺍ ﺍﻟﺘﱠﺼ ﻭ ِﺭ ﺃﻥ ﻭﻜﺎﻥ ﻤﻥ ﻨﹶﺘﻴ ﺕ ﻅﱠﻠ ـ ِ ـﺎ .ﻭ ﹶ ـﻰ ِﻤﺜﹶﺎﻟﻬـ ـﺔ ﻋﻠـ ﺍﻵﻟﻬـ ﺭﺤﻠﺔ ﻓﻠﺴﻔﻴﺔ ﺘﻌﺭﻑ ﺒﺎﺴﻡ "ﺍﻟﺘﱠﺎﺭﻴﺦ ﺱ ﺒﻴﻥ ﺍﻷﺴﻤﺎﺀ ،ﻭﻤـﺎﻟﻭﺍ ﺨﻠﹶﻁ ﺍﻟﻨﱠﺎ ﺍﻷﺴﺎﻁِﻴﺭ ﻋِﺒﺎﺭﺓ ﻋﻥ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻟﻤﻘﺩﺱ". ﺇﻟﻰ ﺍﻻﻋﺘﻘﺎ ِﺩ ﺒﺄﻥ ﺍﻵﻟﻬﺔ ﺍﻟﻤﺘﻌـﺩﺩﺓ m ﺴﻔﹶﺔ ﺍﻹﻏﺭﻴﻕ ﻋﻠـﻰ ﻤـﺎ ﺭﻭﺍﻩ ﻼِ ﹶﻓ ﹶ ل ﺍﻟـﺫﱠﺍﻜﺭ ﹶﺓ ﺍﻷﺴﺎﻁﻴﺭ ﻤﻨﺫ ﺫﺍﻙ ،ﹸﺘ ﻤﺜﱢ ُ ﺍﻟ ﱡﺫﻴﻭﻉ ﺇﻻ ﺒﻔﻌل ﻤﺎﻜﹾﺱ ﻤﻭﻟﺭ Max ﺨﻠﹸﻭﺩ ﺍﻵﻟِﻬﺔ ﺃﻜﺯﻭﻨﻭﻓﻭﻥ ﺃﻥ ﻴ ﹾﻘ ﹶﺘﻨِﻊ ﺒ ﹸ .co ﺽ ﻫــﺫﺍ ﻋﺘﹶــ ﺭ ﻭ*ﻫﻴﺴــﻴﻭﺩ ،ﻭﺍ ﺍﻟﻔﹶﻴﹶﻠﺴﻭﻑ ﺒﺼﻔ ٍﺔ ﺨﺎﺼـﺔٍ ،ﻋﻠـﻰ ﺞ ﺒﺄﻨـﻪ ﺤ ﹶﺘ ﺘﺸﺒﻴﻪ ﺍﻵﻟﻬﺔ ﺒﺎﻟﻨﱠﺎﺱ ،ﻭﺍ ﺃﻭﺍﺌل ﺍﻟﻘﺭﻥ ﺍﻟﺭﺍﺒﻊ ﻗﺒل ﺍﻟﻤﻴﻼﺩ؛ ﺇﺫ ott ob ﺵ ﻷ ﹾﻨﻌﺎ ِﻡ ﻭﺍﻟ ﻭﺤﻭ ِ ل ﻭﺍ َ ﺨ ﻴ ِ ﺢ ِﻟ ﹾﻠ ﹶ ﻟﻭ ُﺃﺘِﻴ ﻤﺨﺘِﻠﻔﹶﺔ. ﻥ ﻭﻗﹸـﻭﻯ ﺍﻟ ﺭﻤﻭﺯ ﻭﺍﻟ ﻤﺠﺎﺯﺍﺕ ﻟ ﻤﻌﺎ ٍ ﺕ ﺃﻥ ﻜل ﻭﻗﺩ ﺤﺎﻭل ﻓﻴﻬﺎ ﺃﻥ ﻴ ﹾﺜﺒِ ﹶ ﺕ ﻤﺨﺘﻠِﻔﺔ ﻹﻟـﻪ ﻟﻴﺴﺕ ﺇﻻ ﺘﺼﻭﺭﺍ ٍ ﺴﻭﻯ ﺍﻟﺘﱠﺸﺨِﻴﺹ ﻟﻤﺒـﺎﺩﺉ ﻭﻫﺅﻻﺀ ِ ﺤﻘِﻴﻘﻴﺔ ،ﻭﺃﻭﻀـﺢ ﺨﻴﺔ ﺃﺤﺩﺍﺙ ﺘﺎﺭِﻴ ِ ﺍﻹﻟﻪ ﺍﻟﻭﺍﺤِﺩ ﻋﻠﻰ ﻫﻴﺌﺎ ٍ ﺕ ﻤﺘﻌـﺩﺩﺓ. ﻅﻬﺭ ﺃﺨﻼﻗﻴﺔ ﻭ ﹶﻨﻭﺍﻤِﻴﺱ ﻁﺒﻴﻌﻴﺔ .ﻭ ﹶ ﺃﻥ ﺍﻵﻟﻬﺔ ﻟﻡ ﺘﻜﻥ ﻓﻲ ﺍﻷﺼل ﺴِﻭﻯ ل ﺍﻟ ﻤﻘﹶﺎﻁِﻊ ﺍﻷﺨﻴـﺭﺓ ﺜﻡ ﺇﻥ ﺍﺴﺘﻌﻤﺎ َ ل ﻓـﻲ ﺤ ﹶﺘﻜِ ﻡ ﺇﻟﻰ ﺍﻟ ﻌﻘﹾـ ِ ﺍﺘﺠﺎﻩ ﺁﺨﺭ ﻴ ﻜﺎﺌِﻨﺎﺕ ﺇﻨﺴﺎﻨﻴﺔ َﺃ ﹾﺜ ﺒﺘﹶﺕ ﺍﻤﺘﻴﺎﺯﻫﺎ؛ ﻓﻤﺎ ﺱ ﺘﺫﻜﻴﺭﺍ ﻭﺘﺄﻨﻴﺜﹰـﺎ ﺠ ﹾﻨ ِ ﺍﻟﺩﺍﻟﺔ ﻋﻠﻰ ﺍﻟ ِ ﺘﻔﺴﻴﺭ ﺍﻷﺴﺎﻁِﻴﺭ ،ﻭﻴﺫﻫﺏ ﺃﺼﺤﺎﺒﻪ ﻜﺎﻥ ﻤﻥ ﺍﻟﻨﱠﺎﺱ ﺇﻻ ﺃﻥ ﻋﺒﺩﻭﻫﺎ ﺒﻌﺩ ﻁﺎﺌﻔ ﹰﺔ ﻤﻥ ﺍﻟ ﻤﻠﹸﻭﻙ ﺒﻠﻐﺕ ﻤﻥ ﺍﻟﻘﹸـ ﻭ ِﺓ ـﺔ" ـﻡ "ﺍ ﹾﻟﻴﻭﻫِﻴﻤﻴﺭﻴــــ ﺒﺎﺴــــ ﺱ ﻭﺍﻟﺘﺄﺜﻴﺭ ﺸﹶﺄ ﻭﺍ ﻋﻅﻴﻤﺎ ﺠﻌل ﺍﻟﻨﱠـﺎ ـﺘﻁِﻴ ﻊ .euhemerismﻭﻴﺴـــ ﻴ ﹶﺘﺠﺎ ﻭﺯﻭﻥ ﺒﻬﺎ ﻋﺎﻟﹶﻡ ﺍﻟﻭﺍﻗِـﻊ ﺇﻟـﻰ ﺙ ﺃﻥ ﻴﻘــﺭﺭ ﺃﻥ ﺩِﺭﺍﺴــ ﹶﺔ ﺍﻟﺒﺎﺤِــ ﹸ ﺞ ﻭﺍ ﹾﻨ ﹶﺘ ﹶﻘﺩ ﺃﻨﺩﺭﻭ ﻻﻨﺞ ﻫﺫﺍ ﺍﻟﻤِـﻨﻬ ﺨﻭﺍﺭِﻕ ،ﺜﻡ ﻴ َﺅﱢﻟﻬﻭﻨﹶﻬﺎ .ﻭﻟﻬﺫﺍ ﻋﺎﻟﹶﻡ ﺍﻟ ﹶ ﻲ ﺇﻨﻤـﺎ ﺞ ﺍﻟ ِﻌ ﹾﻠﻤِـ ﺍﻷُﺴﻁﹸﻭﺭﺓ ﺒﺎﻟﻤﻨﻬ ِ ﺍﻷُﺴﻁﹸﻭ ِﺭﻱ ﺍﻟﺫﻱ ﻴﺘﺭﻜﱠـﺯ ﺤـﻭل ﻭ ﻤﺜﹸل .ﻭﻟﻡ ﹶﺘ ﻌﺩِ ﺍﻵﻟﻬﺔ ﻋﻨﺩ ﺃﻭﻟﺌـﻙ ﺍﻷﺴﺎﻁﻴﺭ ﺍﻟﻘﺩﻴﻤـﺔ ﻋﺒـﺎﺭﺓ ﻋـﻥ alk ﺇﻟﻰ ﺃﻥ ﺍﻵﻟﻬﺔ ﻜﺎﻨﺕ ﻓـﻲ َﺃﺼـِﻠﻬﺎ ﺠ ﹶﻨﺤﻭﺍ ﻜﺫﻟﻙ ﺇﻟﻰ ﺘﺼـﻭﺭ ﻭﺍﺤِﺩ ،ﻭ ﻤﻭﺘﻬﺎ ...ﻭﺍﺸﺘﻬﺭ ﻫـﺫﺍ ﺍﻟﻤـﺫﻫﺏ ﻴﺅﻜﱢﺩ ﺘﹶﺸﺨِﻴﺹ ﺍﻵﻟِﻬـﺔ ...ﻭﻴـﺭﻯ ﺸﺄُﻭﺍ ﻤﺠـﺎﻤِﻊ ﻤﻭﻟﺭ ﺃﻥ ﺍﻵﺭﻴﻴﻥ ﺃَﻨ ﹶ ﺁﻟﻬﺘﻬﻡ ﺤـﻭل ﺍﻟﺸﱠـﻤﺱ ﻭﺍﻟﻔﺠـﺭ w. ﻭﺍﻟﺴﻤﺎﺀ. ﺸِﻤﺱ ﻓﻲ ﺘﻔﺴﻴﺭ ﺍﻷﺴﺎﻁِﻴﺭ ،ﻭﺃﻜﱠﺩ ﺍﻟ ﱠ ﺨﻴـﺎ ،ﻭﻟﻌـل ﻟﻸﺴﺎﻁﻴﺭ ﻭﺍ ِﻗﻌﺎ ﺘﺎﺭِﻴ ِ ﻤﻭﻟﺭ ﻓﻲ ﻜﺘﺎﺒﻪ "ﻤﻘﺩﻤﺔ ﻓﻲ ﺩِﺭﺍﺴﺔ ﺃﻥ ﺍﻷﺴﺎﻁِﻴ ﺭ ﻟﻡ ﺘﻨﺸﺄ ﻋﻥ ﹸﻗﺼـﻭ ٍﺭ ل ﺇﻥ ﺍﻷﺴﺎﻁِﻴ ﺭ ﻗـﺩ ﺍﻷﺼﺢ ﺃﻥ ﻴﻘﺎ َ ﺍﻷُﺴﻁﹸﻭﺭﺓ" ﺍﻟـﺫﻱ ﺼـ ﺩ ﺭ ﻋـﺎ ﻡ ﻓﻲ ﺍﻟﻠﱡﻐﺔ ،ﻭﻟﻜﻨﻬـﺎ ﻨﺸـﺄﺕ ﻤـﻥ ﺃﺼﺒﺢ ﻟﻬﺎ ﺒﻔﻀل ﻫﺫﺍ ﺍﻻﺘﺠﺎﻩ ﻭﺍ ِﻗ ﻊ ﺙ ﺍﻟﺠـﺎﺩﺓ ،١٨٢٥ﺒ ﻴ ﺩ ﺃﻥ ﺍﻟﻤﺒﺎﺤِ ﹶ ﺼ ِﺭ ﺍﻟﻜﹶﻭ ِﻨﻴﺔ .ﻭﻫـﻭ ﺘﹶﺸﺨِﻴﺹِ ﺍﻟ ﻌﻨﹶﺎ ِ ـﺫﺕ ـﺎﺭﻴﺦ .ﻭﺃﺨـ ـل ﺍﻟﺘﱠـ ـﺎ ﻗﺒـ ﻓﻴﻤـ ﺤﻅﱡﻬﺎ ﻤـﻥ ل ﻋﻥ ﺍﻷﺴﻁﻭﺭﺓ ﻟﻡ ﻴ ِﻘ ّ ﻉ ﺇﻟﻰ ﺍﻟﺘﱠﺸـﺨﻴﺹ ﻴﺭﻯ ﺃﻥ ﺍﻟ ﱡﻨﺯﻭ www.alkottob.com ww ل ﺠﻌـ َ ﺍﻻﺘﺠﺎﻩ ﺃَﻫﻤﻴﺘﹸﻪ؛ ﺫﻟﻙ ﻷﻨـﻪ ﺒﺩﺃﺕ ﻋﻠﻰ ﻴﺩ ﻜـﺎﺭل ،ﺃﻭ ﺘﻔﺭﻴـﺩ ٦١ ﺤﻴـﺎﺓ ﻋﻠـﻰ ﺴﺒﺎﻍ ﺍﻟ ﺒﺎﻟﺘﱠﺠﺴِﻴﻡ ،ﻭﺇ ﺱ ﺃﺴﺒﻕ ﻤﻥ ﺍﻷﺴﻁﹸﻭﺭﺓ ﻓﻲ ﺍﻟﻁﻘﻭ ِﻟﻬِﺩﺍﻴﺔ ﺍﻹﻨﺴﺎﻥ .ﻭﺍﻷُﺴﻁﻭﺭﺓ ﺒﻬـﺫﺍ ﻅﻭﺍﻫِﺭ. ﺍﻟﻤﺤﺴﻭﺴﺎﺕ ﻭﺍﻟﻜﺎﺌِﻨﺎﺕ ﻭﺍﻟ ﱠ ﻅﻬﻭﺭ ،ﻭ ﹸﺘ ﻌﺩ ﺍﻷُﺴـﻁﹸﻭﺭ ﹸﺓ ﻋﻨـﺩ ﺍﻟ ﱡ ـﻲ ـﻭﻱ ﻓـ ـﺭ ﺤﻴـ ـﻰ ﻋﻨﺼـ ﺍﻟﻤﻌﻨـ ﻭﺍﺴﺘﻨﺩ ﺃﻨﺩﺭﻭ ﻻﻨﺞ ﻓﻲ ﻨﻘﺩﻩ ﻟﻨﻅﺭﻴﺔ ﺃﺼﺤﺎﺏ ﻫـﺫﺍ ﺍﻟﻤـﺫﻫﺏ ﺘﻔﺴـﻴﺭﺍ ﺤﻀﺎﺭﺓ ﺍﻹﻨﺴﺎﻨﻴﺔ ،ﻭﻫﻲ ﻟﻴﺴـﺕ ﺍﻟ m ﻤﺭﺤﻠﺔ ﻤﻥ ﻤﺭﺍﺤِل ﺍﻟ ِﻔﻜﹾـﺭ ﹶﺘ ﱠﺘﺴِـ ﻡ ﺍﻟﻤﺤ ﺩﺜِﻴﻥ ﻓﻲ ﺍﻷﺴـﺎﻁِﻴﺭ ﺇﻟـﻰ ﺃﻥ ﺍﻟﻁﱡﻘﻭﺱ ،ﻭﺘﹸﻨﻅﱢﻡ ﻗﹶﻭﺍﻋِـ ﺩ ﻋﻤﻠﻴـﺔ ﻅﻬـﻭﺭ ﺙ ﺍﻟ ﱡ ﺍﻹﻨﺴﺎﻥ" ،ﻭﻜﺎﻥ ﺤـﺩﻴ ﹶ ﺠ ِﻤﻌﻭﻥ ﺍﻵﻥ ﻋﻠﻰ ﻭﺠﻭ ِﺩ ﺭﺍ ِﺒﻁﹶـﺔ ﻴ ﻭﻟﻜﻨﻬﺎ ﹸﻗﻭﺓ ﹶﻓﻌﺎﻟﺔ ﺘﺴـﺘﻠﺯﻡ ﺠﻬـﺩﺍ ﻁﻘﹸﻭﺱ. ﻭﺜﻴﻘﺔ ﺒﻴﻥ ﺍﻷﺴﺎﻁِﻴﺭ ﻭﺍﻟ ﱡ ﻤﻀ ِﻨﻴﺎ ...ﺇﻨﻬﺎ ﻟﻴﺴﺕ ﺘﻔﺴﻴﺭﺍ ﺫِﻫﻨﻴﺎ .co ﻋ ﹾﻠ ﻡ ﻤﻭﻟﺭ ﺇﻟﻰ ﺍﻟﻤﻭﺍ ﺩ ﺍﻟﺘﻲ ﻴﻌﺎِﻟﺠﻬﺎ " ِ ﻁﻘﹸﻭﺱ ،ﻭﻴﻜـﺎ ﺩ ﺍﻟ ﻌﻠﹶﻤـﺎ ﺀ ﺘﻤﺜﻴﻠﻴﺎ ﻟﻠ ﱡ ﺤﺴﺏ، ﻍ ﹶﻓ ﺠﻴﺔ ﺍﻟﻔﹶﺭﺍ ِ ﺴ ﻤﺭﺍ ﻴﻘﻭﻡ ﺒ ﹶﺘ ﺯ ِ ﺠلﱡ ﺍﻋﺘﻤـﺎﺩِﻩ ﻋﻠـﻰ ﻭﻗﺘﺌﺫ ،ﻭﻜﺎﻥ ﺕ ﺍﻟ ِﻌ ﹾﻠ ِﻤﻴﺔ ﻟﺤﻴﺎﺓ ﺕ ﺍﻟﺩﺭﺍﺴﺎ ﹸ ﻭَﺃ ﹾﺜﺒﺘ ِ ﻭﻻ ﺘﺼﻭﻴﺭﺍ ﻓﹶﻨﻴﺎ ،ﻭﻟﻜﻨﻬﺎ ﻤﻴﺜـﺎﻕ ﺠﻤﺎﻋﺎﺕ ﺍﻟ ﺒﺩﺍ ِﺌﻴﺔ ﺃﻥ ﺍﻷُﺴـﻁﹸﻭﺭ ﹶﺓ ﺍﻟ ﺤﻜﹾﻤـﺔ ﻋﻤﻠﻲ ﻟﻠ ﻌﻘِﻴ ﺩ ِﺓ ﺍﻟﺒﺩﺍﺌِﻴـﺔ ﻭﺍﻟ ِ ﻤﻥ ﻤﺭﺍﺤل ﺍﻟﺩﻴﻥ .ﻭﻓـﻲ ﺃﻭﺍﺌـل ﺤﻜﺎﻴﺔ ﻭﺍﻗﻌﻴﺔ ﻟﻬﺎ ﻤﻜﺎﻨﻬﺎ ﺍﻟﻤﻤﺘـﺎﺯ ﻱ ﺍﻟﻤﻌﺘﻘﺩﻴﻥ ﻓﻴﻬﺎ ﺘﻘﺭﻴﺭ ﻟﻭﺍ ِﻗ ٍﻊ ﻓِﻁﺭ ﺍﻟﻘﺭﻥ ﺍﻟﻌﺸﺭﻴﻥ ﺃﺤﻴـﺎ ﺍﻟﻤﻔﻜـﺭﻭﻥ ﺴﺒﺒﻴﻥ: ﻓﻲ ﺤﻴﺎﺘﻪ ﹶﻟ ﺱ ﻻ ﻴﺯﺍل ﻴﺘﺤﻜﱠﻡ ﻓﻲ ﺤﻴـﺎ ِﺓ ﺍﻟﻨﱠـﺎ ِ ﺭﺃﻱ ﺘﻴﻠﻭﺭ ﺍﻟﺫﻱ ﻴ ﹶﺘﹶﻠﺨﱠﺹ ﻓـﻲ ﺃﻥ ﺍﻻﻋﺘﻘﺎ ﺩ ﺒﻭﺠﻭﺩ ﺍﻟﺭﻭﺡ ﻓـﻲ ﻜـل ott ob ﺸﻲﺀ ﻜﺎﻥ ﺒﻤﺜﺎﺒﺔ ﺍﻟﻤﺭﺤﻠﺔ ﺍﻷُﻭﻟﹶـﻰ ﻋﻥ ﺍﻹﻨﺴﺎﻥ ﺍﻟﺒﺩﺍﺌِﻲ؛ ﺇﻨﻤـﺎ ﺘﻌﻨـﻲ ﻋﻨﹾـ ﺩ ﺍﻷﺨﻼ ِﻗﻴﺔ ...ﻭﻫﺫﻩ ﺍﻟﺤِﻜﺎﻴﺎﺕ ِ ﺏ ﺍﻟـﺫﻱ ﻴ ﹶﻔﺴـﺭ ﺍﻷﻟﻤﺎﻥ ﺍﻟﻤـﺫﻫ ﺃﻭﻟﻬﻤﺎ -ﹶﻗﺩﺍﺴ ﹸﺔ ﺍﻷُﺴﻁﹸﻭﺭﺓ ﻋﻨـﺩ ﺍﻷﺴﺎﻁِﻴ ﺭ ﺒﺄﻨﻬﺎ ﺃﺼﺩﺍﺀ ﺍﻟﻅـﻭﺍﻫﺭ ﺍﻹﻨﺴﺎﻥ ﺍﻟﺒﺩﺍﺌﻲ. ﺍﻟﺸﱠﻤﺱ ﻭﺍﻟﻘﻤﺭ ﺒﺼِ ﹶﻔﺔٍ ﺨﺎﺼﺔ. ﺼﻭﺭﻩ. ﻓﻲ ﹶﺘ ﺴﻤﺎ ِﻭﻴﺔ ﺒﺼِ ﹶﻔﺔٍ ﻋﺎﻤﺔ ،ﻭﺤﺭﻜـﺎﺕ ﺍﻟ ﻭﺃﻗﺩﺍﺭِﻫﻡ ﻭﺃﻋﻤﺎﻟِﻬﻡ ﻓﻲ ﻋﺼـﺭِﻨﺎ ﻥ ﺍﻟﺤﺎﻀﺭ ،ﻭﻤﻌﺭﻓﺘﻬﺎ ﹸﺘ ِﻤﺩ ﺍﻹﻨﺴـﺎ ﻭﺜﺎﻨﻴﻬﻤﺎ -ﺃﻥ ﻟﻬﺎ ﻫﺩﻓﹰﺎ ﻋﻅﻴﻤـﺎ ﺽ ﺒﺎﻷﻋﺒـﺎﺀ ﺒﺎﻟﺤﺎﻓِﺯ ﻋﻠﻰ ﺍﻟﻨﱡﻬـﻭ ِ ﺱ ﻭﺍﻟ ﹶﻔﻀـﺎ ِﺌلُ، ﺍﻟﺘﻲ ﺘﹸﻤﻠِﻴﻬﺎ ﺍﻟﻁﱡﻘﻭ ﺍﻹﻨﺠﻠﻴﺯﻴﺔ )ﻭﻋﻠﻰ ﺭﺃﺴﻬﺎ ﺍﻟﺴـﻴﺭ ﺕ ﻭﻫـﻲ ﺴ ﹾ "ﺇﻥ ﺍﻷُﺴﻁﹸﻭﺭ ﹶﺓ ﺇﺫﺍ ﺩ ِﺭ ﺢ ﻟﻪ ﻁﺭﻴﻘ ﹶﺔ ﺃﺩﺍﺌِﻬـﺎ" .ﻭﻤـﻥ ﺘﹸﻭﻀ ﺠﻴﻤﺱ ﺠﻭﺭﺝ ﻓﺭﻴـﺯﺭ ،ﻭﺠـﻴﻥ ﺤﻴﺔ ﻓﻌﺎﻟﺔ ...ﻓﺴﻭﻑ ﻴﺘﱠﻀﺢ ﺃﻨﻬـﺎ alk ﺃﻤﺎ ﺍﻟﻤﺩﺭﺴـﺔ ﺍﻷﻨﺜﺭﻭﺒﻭﻟﻭﺠﻴـﺔ ﻭﻴﻘﻭل ﺒﺭﻭﻨﺴﻼﻭ ﻤﺎﻟﻴﻨﻭﻓﺴﻜﻲ: ﻜﻤﺎ ﺘﹸـ ﺯ ﻭﺩﻩ ﺒﺎﻹﺭﺸـﺎﺩﺍﺕ ﺍﻟﺘـﻲ ﺍﻟ ﻌﺴِﻴﺭ ﺃﻥ ﹶﻨﻀﻊ ﺘﻌﺭﻴﻔﹰﺎ ﻟﻸُﺴﻁﹸﻭﺭ ِﺓ ﻫﺎﺭﻴﺴﻭﻥ(؛ ﻓﻘﺩ ﺤﺎﻭﻟﺕ ﺃﻥ ﹸﺘ ﹶﻔﺴـﺭ ﻟﻴﺴﺕ ﺘﻔﺴﻴﺭﺍ ﺘﻤﻠﻴﻪ ﺍﻟﻔﺎﺌِﺩ ﹸﺓ ﺍﻟﻌﻠﻤﻴﺔ؛ ﺃﺴﺎﻁِﻴ ﺭ ﺍﻟﺸﱠـﺭﻕ ﺍﻷﺩﻨـﻰ ﻭﺒـﻼﺩ ﻭﺇﻨﻤﺎ ﻫﻲ ﺇﺤﻴﺎﺀ ﻗﺼﺼﻲ ﻟﻭﺍﻗـ ٍﻊ ﺱ ﻁﻘﹸـﻭ ِ ﻁﻠﹶﺤﺎﺕِ ﺍﻟ ﱡ ﺍﻟﻴﻭﻨﺎﻥ ﺒ ﻤﺼـ ﹶ ﻁﺭِﻱ ﻴﺭﻭﻯ ﺍﺴـﺘﺠﺎﺒ ﹰﺔ ﹶﻟ ﹶﻨﺯﻋـﺎﺕٍ ِﻓ ﹾ ﻭﺍﻟﺴﺤ ِﺭ .ﻭ ﻴﺭﻯ ﻓﺭﻴـﺯﺭ ﺃﻥ ﺩ ﻭﺭﺓ ﺩﻴﻨﻴﺔ ﻋﻤﻴﻘـﺔ ﻭﻤﻴـﻭل ﺃﺨﻼﻗﻴـﺔ، ﻭﺠﻬﺎﺕ ﺍﻟ ﱠﻨﻅﹶﺭ ،ﻭﺤﺴﺒﻨﺎ ﺃﻥ ﻨﹸـﻭ ِﺭ ﺩ ﺍﻟﻨﱠﻤﺎﺀ ﻭﺍﻟ ﹸﺫﺒﻭل ﻫﻲ ﺍﻟﺘﻲ ﺃَﺒـﺩﻋﺕ ﻭﺍﺭﺘﺒﺎﻁﺎﺕ ﺍﺠﺘﻤﺎﻋﻴﺔ؛ ﺒل ﻟﺘﺤﻘﻴﻕ ﺸﻤﻭل؛ ﺴ ﻡ ﺒﺎﻟ ﱡ ﻑ ﺍﻟﺫﻱ ﻴ ﱠﺘ ِ ﻫﺫﺍ ﺍﻟﻭﺼ ﹶ ﺼﺼﻭﻥ؛ ﺨ ﺠ ِﻤ ﻊ ﻋﻠﻴﻪ ﺍﻟ ﻌﻠﹶﻤﺎ ﺀ ﺍﻟﻤﺘ ﹶ ﻴ ﻲ ﺫﻟﻙ ﻷﻥ ﺍﻷُﺴﻁﹸﻭﺭﺓ ﻭﺍﻗِـ ﻊ ﺜﻘـﺎﻓ w. ﻥ ﻓﻲ ﺍﻟﺘﱠﻌﻘِﻴﺩ ِ ،ﺘﺨﺘﻠِﻑ ﺤﻭﻟﹶـﻪ ﻤ ﻤ ِﻌ ـﺭ ﺤ ﹶﺘﻀِــ ـﻪ ﺍﻟ ﻤ ـﻭﺭ ﹶﺓ ﺍﻹﻟــ ﺼــ ﺤﺎﺠﺎﺕ ﻋﻤﻠﻴﺔ .ﻓﺎﻷُﺴﻁﹸﻭﺭﺓ ﺘﻘـﻭﻡ ﻭﺃﺴﻁﻭﺭﺘﻪ ،ﻭﻫـﺫﺍ ﻫـﻭ ﺘﻔﺴـﻴﺭ ﻰ ﻤﻥ ﺍﻟﺜﱠﻘﺎﻓ ِﺔ ﺍﻟﺒﺩﺍ ِﺌﻴﺔ ﺒﻭﻅِﻴﻔﺔ ﻻ ﻏِﻨ ﺴ ِﺭ ﺩ ﺤـﺩﺜﹰﺎ ﻭﻗﹶـ ﻊ ﻓـﻲ ﻤﻘ ﺩﺴﺎ ﻭ ﹶﺘ ـﻭل ـﺩﻭﺭ ﺤـ ـﻲ ﺘـ ـﺎﻁِﻴﺭ ﺍﻟﺘـ ﻟﻸﺴـ ﻋﻨﻬﺎ؛ ﻓﻬﻲ ﹸﺘ ﻌﺒـﺭ ﻋـﻥ ﺍﻟ ﻌ ِﻘﻴـﺩ ِﺓ ﻋﺼﻭ ٍﺭ ﻤ ﻤﻌِ ﹶﻨﺔٍ ﻓﻲ ﺍﻟ ِﻘ ﺩﻡِ،ﻋﺼـﻭﺭ *ﺃﺩﻭﻨﻴﺱ ﻭ* ﺃﺘﻴﺱ ﻭ* ﺃﻭﺯﻴﺭﻴﺱ. ﻕ ﻭ ﹸﺘ ﺯﻜﱢﻴﻬﺎ ﻭ ﹸﺘ ﹶﻘ ﱢﻨﻨﹸﻬﺎ ،ﻭ ﹶﺘﺼﻭﻥ ﺍﻷﺨﻼ ﹶ ﺨﺭﺍﻓﻴﺔ ﺘﺴﺘﻭﻋﺏ ﺒِﺩﺍﻴ ﹶﺔ ﺍﻟﺨﻠﻴﻘﺔ ،ﺃﻭ ـﻴﻥ ﺽ ﺍﻟﻤﺘﺨﺼﺼـ ـﺫﻫﺏ ﺒﻌ ـ ﻭﻴـ ﻭﺘﺩﻋﻤﻬﺎ ،ﻭﺘﺒﺭﻫﻥ ﻋﻠـﻰ ﻜﻔـﺎﺀﺓ ﺒﻌﺒﺎﺭﺓ ﺃﺨﺭﻯ ﺍﻷﺴـﻁﻭﺭﺓ ﺘﺤﻜـﻲ ww www.alkottob.com ﻭﻫﻭ ﺃﻥ ﺍﻷُﺴﻁﹸﻭﺭ ﹶﺓ ﺘﹶﺭﻭِﻱ ﺘﺎﺭﻴﺨﹰـﺎ ٦٢ ﺕ ﺨﺎﺭِﻗـﺔ؛ ﺘﺴﺘﻭﻋﺏ ﺘﹶﺸﻜِﻴ َل ﺍﻟﻤﺎﺩﺓ .ﻭﻫﻲ ﻋﻨﺩ ﺍﻹﺳﻜﹶﻨﺪﺭ ﺍﻷﻛﱪ ل ﻜﺎﺌﻨـﺎ ٍ ﺒﻭﺴﺎﻁﺔ ﺃﻋﻤﺎ ِ ﻭﺍﻗﻌﺔ ...ﻗﺩ ﺘﻜﻭﻥ ﻜل ﺍﻟﺤﻘﻴﻘـﺔ ﺃﻭ ﻁﻘﹸﻭﺴﻬﺎ ،ﻓﺈﺫﺍ ﺘﻌـﺭﺽ ﺍﻟﻤﺠﺘﻤـﻊ ﹸ ﻜل ﺍﻟﻭﺍﻗﻊ ﻤﺜل ﺍﻟ ﹶﻜﻭﻥ ﺃﻭ ﺍﻟﻌﺎﻟﹶﻡ... ل ﻤﻌـﻪ ﺍﻷﺴـﻁﻭﺭﺓ ﺍﻟﺫﻱ ﹶﺘ ﹶﺘﻔﹶﺎﻋـ ُ ﺠ ﺯﺭِ ،ﺃﻭ ﻓﺼﻴﻠﺔ ﻤﻥ ﺠﺯِﻴﺭﺓ ﻤﻥ ﺍﻟ ﺒﺘﻁﻭﺭﻩ ،ﻭﻗﺩ ﹶﺘ ﹶﺘﺒ ﺩ ﺩ ﺘﺤـﺕ ﻭﻁـﺄﺓ ﺍﻟﺘﺎﺭﻴﺦ ﻏﺯﺍ ﺍﻟﻌﺎﻟﹶﻡ ﻤﻥ ﺍﻟﻨﱢﻴل ﺇﻟـﻰ ﺢ ﺍﻟﻜﻴـﺎﻥ ﺴ ﹾﻔ ِ ﺤﺩِﺭ ﺇﻟﻰ ﻋ ﹾﻘ ﺩﺘﹸﻬﺎ ﻭ ﹶﺘ ﹾﻨ ﺵ ﻋﻠﻰ ﻴﺩﻱ ﺃﺭﺴﻁﻭ ﻭﺍﺭﺘﻘﹶﻰ ﺍﻟﻌ ﺭ ﹶ m ﺕ ﺇﻟﻰ ﺍﻟ ﻭﺠـﻭ ِﺩ ﺤﻘﻴﻘـﺔ ﻜﻴﻑ ﺒ ﺭ ﺯ ﹾ ـﺎ ـﺩﺓ ﻟﻬـ ﻲ ﻋﻘﻴـ ـﺩﺍ ِﺌ ـﺎﻥ ﺍﻟﺒـ ﺍﻹﻨﺴـ ﻭﻗﺩ ﺘﻜﻭﻥ ﺠﺎﻨﺒﺎ ﻤﻥ ﺍﻟﺤﻘﻴﻘﺔ؛ ﻤﺜـل .co ﻙ ﺍﻟ ﱠﻨﺒﺎﺕ ،ﺃﻭ ﻀﺭﺏ ﻤـﻥ ﺍﻟﺴـﻠﻭ ِ ﺍﻹﻨﺴﺎﻨﻲ ،ﺃﻭ ﻤﻨﻅﻤﺔ ﺍﺠﺘﻤﺎﻋﻴﺔ... ﻭﺍﻷُﺴﻁﹸﻭﺭﺓ ﺒﻬﺫﺍ ﺍﻟﻤﻌﻨـﻰ ِﻗﺼـﺔ ﻫﻭ ﺍﻹﺴﻜﻨﺩﺭ ﺒﻥ ﻓﻴﻠﻴـﺏ ﻤﻠـﻙ ﻟﻌﻭﺍﻤل ﺍﻟﺘﻐﻴﺭ؛ ﺘﻁﻭﺭﺕ ﺍﻷُﺴﻁﹸﻭﺭ ﹸﺓ ﻤ ﹾﻘﺩﻭﻨﹾﻴﺎ ،ﻤﻥ ﺃﺸﻬﺭ ﺍﻟﻔﺎﺘِﺤﻴﻥ ﻓـﻲ ﺼ ﺭ ﺜﻘﺎﻓﻴـﺔ ﺃﻗـﻭﻯ؛ ﹶﻓ ﹶﺘ ﹾﻨﻔﹶـﺭِﻁ ﻋﻨﺎ ِ ﻑ ﺍﻹﺴﻜﻨﺩﺭ ﺍﻟﻤ ﻌﺭِﻓـ ﹶﺔ ﺍﻟﻬِﻨﺩ.ﻭﻗﺩ ﹶﺜﻘِ ﹶ ﺍﻻﺠﺘﻤــﺎﻋﻲ ،ﺃﻭ ﹶﺘ ﺭﺴــﺏ ﻓــﻲ ﻭﻫﻭ ﻓﻲ ﺍﻟﻌﺸﺭﻴﻥ ﻤـﻥ ﻋﻤـﺭِﻩ، ل ﻋﻠـﻰ ﺍﻟﺤـﺎﻟﹶﻴﻥ ﻅﱡ ﺸﻌﻭﺭ ،ﻭ ﹶﺘ ﹶ ﻼﹸ ﺍﻟ ﱠ ﻉ ﺒﻔﻀل ﺒﺭﺍﻋﺘﻪ ﻓﻲ ﻓﻨﻭﻥ ﻭﺍﺴﺘﻁﺎ ott ob ﺸَﺄ "ﻭﺠﻭﺩ ﻤﺎ"؛ ﻓﻬﻲ ﺘﹶﺭﻭِﻱ ﻜﻴﻑ ﹶﻨ ﹶ ALEXANDER THE GREAT ﻫﺫﺍ ﺍﻟﺸﻲﺀ ﺃﻭ ﺫﻟﻙ ،ﻭﻫﻲ ﺘـﺭﺘﺒﻁ ﺏ ﻋﻘﻴﺩ ﹰﺓ ﺃﻭ ﻀـﺭﺒﺎ ﻤـﻥ ﻀـﺭﻭ ِ ﺒﺎﻟﻭﺍﻗِﻊ ﻓـﻲ َﺃﻭﻟﻴﺎﺘِـ ِﻪ .ﻭﺃﺒﻁﺎﻟﹸﻬـﺎ ﺴ ﹰﺔ ﻏﻴﺭ ﻤﻌﻘﻭﻟﺔ ﺃﻭ ﺍﻟﺴﺤﺭ ﺃﻭ ﻤﻤﺎ ﺭ ﺏ ﺜـﻡ ﺍﻟﺤﺭﺏ ﺃﻥ ﻴﻐﹾـ ﺯ ﻭ ﺍﻟﻐﹶـ ﺭ ﺤ ﱠﻘﻘﹸﻭﺍ ﻜﺎﺌﻨﺎﺕ ﺨﺎﺭِﻗﺔ ﻭﻴﻌ ﺭﻓﹸﻭﻥ ﺒﻤﺎ ﻋﻴـ ﹰﺔ .ﻭﻜﺜﻴـﺭﺍ ﻤـﺎ ﺸﻌِﻴ ﺭ ﹰﺓ ﺍﺠﺘﻤﺎ ِ ﹶ ﻓﻲ ﻋﺼﻭﺭ ﺍﻟﺘﱠﻜﻭِﻴﻥ ،ﻭﻟﻡ ﻴ ﻌ ﺩ ﻤﻥ ﺘﺘﺤﻭل ﺇﻟﻰ ﻤﺤﺎ ِﻭ ﺭ ﺭﺌﻴﺴﻴﺔ ﺘﹸﻌـﺎ ﺩ ﻭﺍﻟﺜﻼﺜﻴﻥ. ﻏﻴﺭﻫﺎ؛ ﺫﻟﻙ ﻷﻥ ﺍﻷُﻭﻟﹶﻰ ﹶﺘ ﹶﺘﺭﻜﱠـﺯ ﻭﺍﻷُﺴﻁﹸﻭﺭﺓ ﹸﺘ ﻌﺩ ﻤـﺎ ﺩ ﹰﺓ ﻟﻠﻌﻠﹾـ ِﻡ ل ﺘﹶﺼـ ﻭ ِﺭ ﺍﻟﻭﺍﻗِـﻊ ﻭﺇﻥ ﻜـﺎﻥ ﺤﻭ َ ﺼﺹِ ﻓﻲ ﺩِﺭﺍﺴﺎﺘِﻬﺎ؛ ﻭﻫـﻭ ﺨ ﺍﻟ ﻤ ﹶﺘ ﹶ ﺕ ﺇﻟـﻰ ﺍﻟﻭﺍﻗِـ ِﻊ ﺤﻜﺎﻴﺎﺕ ﻻ ﹶﺘﻤـ ﱡ ﻥ ﺩﺍﺌﻤـﺎ ﺘﹶﺼ ﻭﺭﺍ ﺨﺎ ِﺭﻗﹰـﺎ ،ﻭ ﹶﺘ ﹾﻘﺘﹶـ ِﺭ ﻋﻠﻡ ﺍﻷﺴﺎﻁِﻴﺭ ﺃَﻭ "ﺍﻟﻤِﻴﺜﹸﻭﻟﹸﻭﺠﻴـﺎ"؛ ﻁﻘﹸﻭﺱ ﺍﻟﺘﻲ ﹸﺘ ﻤﺜﱢﻠﹸﻬﺎ. ﺒﺎﻟ ﱡ ﻭﻫﺫﺍ ﺍﻟﻌﻠﻡ ﺇﻨﻤﺎ ﻴﻌﻨﹶﻰ ﺒﻬﺎ ﻭﻫﻲ ﺤﻴﺔ ﺍﻟﺤِﻜﺎﻴﺎﺕ ﺘﻠﻙ ﺍﻟﺤِﻜﺎﻴﺔ ﺍﻟﻤِﺼـ ِﺭﻴﺔ ﺍﻟﺼﻌﺏ ﺘﻤﻴﻴ ﺯ ﺍﻷُﺴـﻁﹸﻭﺭﺓ ﻋـﻥ alk ﺍﻷُﺴﻁﹸﻭﺭﺓ؛ ﻓﺈﻨﻨﺎ ﻨﹸﺸﻴﺭ ﺇﻟـﻰ ﺃﻨﻬـﺎ ل ﺍﻟﺘﱠﻤﺜﻴﻠﻲ ،ﻓﺈﺫﺍ ﺘﺤﻭﻟﺕ ﺇﻟﻰ ﻭﺍﻟﺸﱠﻜ ِ ﺤﻜﺎﻴﺔ ﺇﻟﻪ ﺃﻭ ﺸِﺒﻪ ﺇﻟـﻪ ،ﺃﻭ ﻜـﺎﺌِﻥ ﻋﻘﻴﺩﺓ ﺜﺎﻨﻭﻴﺔ ﺃﻭ ﺍﺭﺘﺒﻁﺕ ﺒﺎﻟﺸﱠﻌﺎﺌﺭ ﻕ ﺍﻹﻨﺴـﺎﻥ ﺨﺎﺭِﻕ ﹸﺘ ﹶﻔﺴـﺭ ﺒ ﻤ ﹾﻨﻁِـ ِ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﺃﻭ ﺃﺼـﺒﺤﺕ ﺤﻜﺎﻴـ ﹰﺔ ﻅﻭﺍ ِﻫ ﺭ ﺍﻟﺤﻴـﺎﺓ ﻭﺍﻟﻁﱠﺒﻴﻌـﺔ ﻲ ﹶ ﺍﻟﺒﺩﺍ ِﺌ ﻋ ﹾﻠ ِﻡ ﺸﻌﺒﻴﺔﹰ؛ ﻓﺈﻨﻬﺎ ﺘﹶﺨﺭﺝ ﻤﻥ ﺇﻁﺎﺭ ِ ﻉ ﻓﻲ ﻭَﺃ ﻭِﻟﻴﺎﺕ ﺍﻟﻤﻌﺭِﻓﺔ ،ﻭﻫﻲ ﹶﺘﻨﹾﺯ ﻋﻠﹾـﻡ * ﺍﻟﻔﹸﻭﻟﻜﻠﹸـﻭﺭ ﺃﻭ ﻤﻥ ﻤﻭﺍ ﺩ ِ ﺹ ﻭﺍﻟﺘﱠﻤﺜِﻴـل ﺘﻔﺴﻴﺭﻫﺎ ﺇﻟﻰ ﺍﻟﺘﱠﺸﺨِﻴ ِ ﺍﻟﻤﺄﺜﹸﻭﺭﺍﺕ ﺍﻟﺸﱠﻌ ِﺒﻴﺔ. www.alkottob.com ﻲ ﺒﺼﻠﺔ .ﻭﻤﻥ ﺃﺸﻬﺭ ﻫـﺫﻩ ﺨ ﺍﻟﺘﹼﺎﺭِﻴ ِ ﺍﻟﻤﻌﺭﻭﻓﺔ ﺒﺎﺴـﻡ "ﺨﺩﻤـﺔ ﺍﻟﻤﻠـﻙ ﻨﻜﺘﺎﻨﻴﺒﻭ" ،ﻭﺘﺘﻠﺨﱠﺹ ﻓﻲ ﺃﻥ ﺍﻟﻤﻠـﻙ ﻋﻠﹸـﻭﻡ ﻨﻜﺘﺎﻨﻴﺒﻭ ﻜﺎﻥ ﺒﺎ ِﺭﻋـﺎ ﻓـﻲ ﺼﻨﹾﻊ ﺍﻟﺴﺤﺭ ،ﻭﻜﺎﻥ ﻴﺤﻤِﻲ ﻤﻤﻠﻜﺘﹶﻪ ﺒ ﺍﻷﺴﺎﻁﻴﺭ ،ﻭﺘﺼﺒﺢ ﻤﺎ ﺩ ﹰﺓ ﺭﺌﻴﺴِـ ﻴ ﹰﺔ ﹶﺘﻤﺎﺜِﻴل ﻭﻨﹶﻤﺎﺫِﺝ ﻤﻥ ﺍﻟﺸﱠـﻤﻊ ﺘﻤﺜﱢـل ﹸﻗﻭﺍﺕ ﺃﻋﺩﺍﺌِﻪ ،ﺜﻡ ﻴﺘﻠﻭ ﻋﻠﻴﻬﺎ ﺒﻌﺽ ﺍﻟﺘﻌﺎﻭِﻴــﺫ ﺍﻟﺴــﺤﺭﻴﺔ ﻭﻴﺤﻁﱢﻤﻬــﺎ ww ﻭﺍﻟﺤﺭﻜﺔ ﻭﺍﻹﺸﺎﺭﺓ ﻭﺍﻹﻴﻘﺎﻉ ،ﻭﻗـﺩ ل ﺍﻹﺴـﻜﻨﺩﺭ؛ ﻭﻫـﻲ ﺘﺩﻭﺭ ﺤـﻭ َ w. ل ـﺎ َ ـﺎ ﺃﻥ ﻨﹸﺤ ـ ﺩ ﺩ ﻤﺠـ ﻭﺇﺫﺍ ﺃﺭﺩﻨـ ﻭﺍﻟﺘﱠﺤﻠِﻴــل ،ﻭﺘﺴــﺘﻭﻋﺏ ﺍﻟﻜﻠﻤــﺔ ﺕ ﺍﻟﺸﱠﻌ ِﺒﻴﺔ ﺍﻟﺘﻲ ﻭﻤﺎ ﺃﻜﺜ ﺭ ﺍﻟﺤِﻜﺎﻴﺎ ِ ﺼِﻴﺎﻏﺘﹸﻬﺎ ﻓﻲ ﺤﻜﺎﻴﺎﺕ ﺸﻌﺒﻴﺔ. ﺸﻌِﻴ ﺭ ِﺓ ﻓﻌﺎﻟﺔ ،ﺘﻘﻭﻡ ﻋﻠﻰ ﺍﻟ ﻌﻘِﻴ ﺩ ِﺓ ﻭﺍﻟ ﱠ ﻭﺍﻟﻜﹶــﻭﻥ ﻭﺍﻟﻨﱢﻅــﺎﻡ ﺍﻻﺠﺘﻤــﺎﻋﻲ ﺕ ﻭﻟﻤﺎ ﻴﻨﺎﻫِﺯ ﺍﻟﺭﺍﺒﻌﺔ ﺸﺭﻕ ،ﻭﻤﺎ ﹶ ﺍﻟ ﱠ ل ﻫـﺫﺍ ﻓﻴﻘﻀﻲ ﻋﻠﻰ ﺃﻋﺩﺍﺌِﻪ .ﻭﻅﹶـ ﱠ ﺸﺄﻨﻪ ﺇﻟﻰ ﺃﻥ ﻓﹸـﻭﺠﺊ ﻴﻭﻤـﺎ ﺒـﺄﻥ ﺢ ﻓﻲ ﺍﻟﻘﻀﺎﺀ ﻋﻠـﻰ ﺴِﺤﺭﻩ ﻟﻡ ﻴ ﹾﻔِﻠ ﻋ ﺩﻭ ﻟﻪ؛ ﹶﻓ ﹶﻔ ﺭ ﻤﻥ ﻤِﺼﺭ ،ﻭﺭﺤـل ٦٣ ﻱ. ﻑ ﻤﺼ ِﺭ ﻋﺭﺍ ﹲ ﻕ ﺃﻥ ﻗـﺭﺃ ﻁﺎِﻟﻌـﻪ ﺃﻨﻔﺎﺴﻪ ﺇﻨﻪ ﺴﺒ ﹶ ﺹ ﺭﺠل ﺴﻌﻴﺩ ﻟﻴﺸـﻔﹶﻰ ﻤـﻥ ﹶﻗﻤِﻴ ﺕ ﺒـﻪ ﺍﻟ ﻤِﻠﻜﹶـ ﹸﺔ ﺃﻭﻟﻴﻤﺒﻴـﺎ ﺴ ِﻤ ﻌ ﹾ ﻭ ﺤ ﹾﺘﻔﹶﻪ ﻋﻠﻰ ﻴـ ِﺩ ﻭﺘﺒﻴﻥ ﻟﻪ ﺃﻨﻪ ﺴﻴﻠﻘﻰ ﻤ ﺭﻀِﻪ؛ ﻓﻠﻡ ﻋ ﹶﺜﺭ ﺃﻋﻭﺍﻨﹸـﻪ ﻋﻠـﻰ ﺠ ﹸﺔ ﺍﻟ ﻤﻠِﻙ ﻓﻴﻠﻴﺏ؛ ﻓﺄﺭﺴﻠﺕ ﻓـﻲ ﺯﻭ ﺕ ﺍﻹﺴﻜﻨﺩﺭ ﻓﺼـﺎﺭﺤﻪ ﺍ ﺒﻨِﻪ ،ﻭ ﺒﻬِ ﹶ ل ﺃﻥ ﻨﻜﺘﺎﻨﻴﺒﻭ ﺒﺤﻘﻴﻘـﺔ ﹶﻨﺴـﺒِﻪ ﹶﻗﺒـ َ ﺍﻟﺭﺠل ﺍﻟﺴﻌﻴﺩ ﻭﺠﺩﻭﺍ ﺃﻨﻪ ﺸﺤﺎﺫ ﻻ ﻴﻤﻠﻙ ﹶﻗﻤِﻴﺼﺎ ،ﻜﻤﺎ ﻴﺫﻜﱢﺭﻨﺎ ﺇﺭﺴـﺎل ﻁ ﻤَﺄ ﹶﻨﻬـﺎ ﻲ ﻟﻠﻌﻬـﺩ؛ ﹶﻓ ﹶ ﺘﹸﺭﺯﻕ ﺒـﻭﻟ ﻴﻤﻭﺕ. ﺍﻟﻤﺭﻴﺽ ﺒﺤﻜﺎﻴﺔ ﺒﻴﺕ ﻟﻡ ﻴﻌـﺭﻑ m ﻉ ﺒﻴﻥ ﺍﻟﻨﺎﺱ ﺃﻨﻪ ﺇﻟﻰ ﻤ ﹾﻘﺩﻭﻨﹾﻴﺎ ،ﻭﺃﺸﺎ ﻅ ﺍﻟﺤﺎﺩِﺙ؛ ﻓﻘﺎل ﻨﻜﺘﺎﻨﻴﺒﻭ ﻭﻫﻭ ﻴ ﹾﻠﻔِـ ﹸ ﺤﻜﹶﻤﺎ ﺀ ﺃﻥ ﻴ ﺭ ﹶﺘﺩِﻱ ﻑ ﻟﻪ ﺍﻟ ﺍﻟﺫﻱ ﻭﺼ ﹶ ﻁﻠﺒﻪ ﻭﺼﺎﺭﺤﺘﻪ ﺒﺄﻨﻬﺎ ﺘﺨﺸـﻰ ﺃﻻ .co ﻨﻜﺘﺎﻨﻴﺒﻭ ،ﻭﺃﻨﺒﺄﻫﺎ ﺒﺄﻥ ﺍﻹﻟﻪ ﺯﻴﻭﺱ ﺍﻟﻤﻭﺕ ﻁﺭﻴﻘﻪ ﺇﻟﻴﻪ. ﺵ ﺍﻹﺴﻜﻨﺩﺭ ﺤﻴـﺎ ﹰﺓ ﺤﺎﻓِﻠـﺔ ﻭﻋﺎ ﹶ ﺒﻤﺌﺎﺕ ﺍﻷﺤﺩﺍﺙ ﺍﻟﺘﻲ ﹶﺘﺘﹶـ ﺭﺩ ﺩ ﻓـﻲ ﻁ ﺒـﻴﻥ ﺤِﻜﺎﻴـﺎﺕ ﻭﻫﻨﺎﻙ ﺨﹶﻠـ ﹲ ﺕ ﺍﻟﺸﱠﻌ ِﺒ ﻴ ِﺔ .ﻭﺘﹶﺭﻭِﻱ ﺇﺤﺩﻯ ﺍﻟﺤِﻜﺎﻴﺎ ِ ﺍﻹﺴﻜﻨﺩﺭ ﻭﺒﻴﻥ ِﻗﺼﺔ ﺫﻱ ﺍﻟﻘﹶﺭﻨﹶﻴﻥ. ل ﺴﺘﹶﻌﺎﻥ ﺒﺴـﺤﺭﻩ ﻭﺃﺭﺴـ َ ِﺘﻨﱢﻴﻥ ،ﻭﺍ ﺍﺴﺘﹶﻁﺎﻉ ﺃﻥ ﻴ ﻤ ﹶﺘﻁِﻲ ﺼ ﻬﻭ ﹶﺓ ﺠـﻭﺍﺩﻩ ﺏ ﻟﺸﺨﺼﻴﺔ ﺍﻹﺴـﻜﻨﺩﺭ ﻓـﻲ ﺍﻷﺩ ِ ﻉ ﺍﻟﻤﻠﻜﺔ ،ﺜﻡ ﺩﺨﹶـل ﺨ ﺩ ِ ﺤ ﻴ ﹰﺔ ﺇﻟﻰ ﻤ ﹾ ﺍﻷﺴﻭﺩ ﺒﻭﺴﻴﻔﺎﻟﻭﺱ ،ﺒﻌﺩ ﺃﻥ ﺃﺩﺭﻙ ﺍﻟﺸﱠﻌ ِﺒﻲ ،ﺩﻭﻥ ﺃﻥ ﻴﻀـﻴﻑ ﺇﻟـﻰ ﻋﻠﻰ ﺇﺜﺭﻫﺎ. ﻅﻠﱠـﻪ؛ ﺨﺸﹶﻰ ِ ﺃﻥ ﺍﻟﺠﻭﺍﺩ ﺇﻨﻤﺎ ﻜﺎﻥ ﻴ ﹾ ﺍﻟﺤﻜﺎﻴﺎﺕ ﺍﻟﻤِﺼﺭﻴﺔ ﻭﺍﻟﻴﻭﻨﺎﻨﻴﺔ ﺘﻠﻙ ﺕ ﺃﻭﻟﻴﻤﺒﻴـﺎ ﺃﻥ ﻴﺘﱠﻬﻤﻬـﺎ ﺨﺸِﻴ ﹾ ﻭﹶ ﻓﺤ ﻭل ﺭﺃﺴﻪ ﻨﺎﺤِﻴﺔ ﺍﻟﺸﱠﻤﺱ .ﻭ ﹶﺘﺴﺭ ﺩ ﺍﻟﺘﻲ ﺘﺭﺩﺩﺕ ﻓﻲ ﻓـﺎﺭِﺱ ،ﻭﺍﻟﺘـﻲ ﺨ ﺒ ﺭﻫﺎ ﺃﻥ ﺍﻹﻟﹶـﻪ ﺁﻤـﻭﻥ ﺴـﻭﻑ َﺃ ﹾ ﺍﻟﻔﻴﻠﺴﻭﻑ ﺍﻟﺫﻱ ﻁﻠﹶﺏ ﻤﻥ ﺍﻹﺴﻜﻨﺩﺭ ﻤﺩﻴﻨﺔ ﺍﻟﻨﱡﺤﺎﺱ ﺍﻟﻤﺸﻬﻭﺭﺓ... ﻴﻅﻬﺭ ﻟﺯﻭﺠﻬﺎ .ﻭ ﻴ ﺭﻭﻯ ﺃﻥ ﻓﻴﻠﻴﺏ ﺤﺘﱠـﻰ ﻻ ﻑ ﺒﻌﻴﺩﺍ ﻤﻠﻙ ﺍﻟﻌﺎﻟﹶﻡ ﺃﻥ ﻴﻘِ ﹶ ﻙ ﺒﺎﻟﻔﻌـل؛ ﻓﻅﻬـﺭ ﺸﻜﹸﻭ ﺴﺎ ﻭ ﺭ ﹾﺘ ﻪ ﺍﻟ ﱡ ﻴﺤﺠﺏ ﻋﻨﻪ ﺍﻟﻀﻭﺀ. ﺨ ﺩﻋِﻬﺎ، ﺁﻤﻭﻥ ﺴﻭﻑ ﻴﺯﻭﺭﻫﺎ ﻓﻲ ﻤ ﹾ ﻭﻴﻨﻔﹸﺦ ﻓﻴﻬﺎ ﻤﻥ ﺭﻭﺤِـﻪ؛ ﻓﺘﻀـﻊ ott ob ﺠ ﹾﻠ ﺩ ﻤﻭﻟﻭﺩﺍ ﺫﻜﺭﺍ .ﻭﺍ ﺭ ﹶﺘﺩﻯ ﻨﻜﺘﺎﻨﻴﺒﻭ ِ ﻫــﺫﻩ ﺍﻟﺤِﻜﺎﻴــﺎﺕ ﺃﻥ ﺍﻹﺴــﻜﻨﺩ ﺭ ﻭﻻ ﻴﺴﺘﻁﻴﻊ ﺒﺎﺤِـﺙ ﺃﻥ ﻴﺘﻌـﺭﺽ ﺯﻭﺠﻬﺎ ﺒﺎﻟﺨِﻴﺎﻨﺔ ،ﻭﻟﻜـﻥ ﻨﻜﺘـﺎﻨﻴﺒﻭ ﻭﻜﻤﺎ ﺭﺒﻁ ﺍﻟﻤﺼـﺭﻴﻭﻥ ﺒـﻴﻥ alk ﻨﻜﺘﺎﻨﻴﺒﻭ ﻤ ﺭ ﹰﺓ ﺃﺨﺭﻯ ﻓـﻲ ﺼـﻭﺭﺓ ﺤِﻜﺎﻴ ﹲﺔ ﺃﺨﺭﻯ ﺃﻨﻪ ﺍ ﹾﻟ ﹶﺘﻘﹶﻰ ﺒـﺩﻴﻭﺠﻴﻨﻲ ﺘﺫﻜﺭ ﺃﻥ ﺍﻹﺴﻜﻨﺩ ﺭ ﻫﻭ ﺍﻟﺫﻱ ﺸﹶـ ﻴ ﺩ ﻭﺠﺎ ﺀ ﻓـﻲ ﺤِﻜﺎﻴـﺔ ﺜﺎﻟِﺜـﺔ ﺃﻥ ﺘﻨﻴﻥ ،ﻭﺘﺭﺍﺀﻯ ﻟﻔﻴﻠﻴﺏ ﻓﻲ ﺃﺤﻼﻤِـﻪ ﺤ ﻤﻠﹶـ ﻪ ﻁـﺎﺌِﺭﺍﻥ ﺃﺨـﺫﺍ ﺍﻹﺴﻜﻨﺩ ﺭ ﺸﻜﹸﻭﻜﹶﻪ. ﻟﻜﻲ ﻴ ﺒ ﺩ ﺩ ﹸ ﺸﻘﹼﺎﻥ ﺒﻪ ﺃﺠﻭﺍﺯ ﺍﻟ ﹶﻔﻀﺎﺀ ،ﻭﻴﻘـﺎل ﻴ ﹸ ﺍﻹﺴﻜﻨﺩﺭ ﺍﻟﻔﺎﺘِﺢ ﻭﺒﻴﻥ ﺁﻤﻭﻥ؛ ﻓﻘـﺩ ﺭﺒﻁ ﺍﻟ ﹸﻔﺭﺱ ﺒﻴﻨﻪ ﻭﺒﻴﻥ ﺍﻟﻤﻠﻙ ﺩﺍﺭﺍ، ﻭﺯﻋﻤﻭﺍ ﺃﻨﻪ ﺍﺒﻨﻪ ،ﻤﻊ ﺃﻥ ﺍﻟﺘﱠـﺎﺭِﻴﺦ ﻴﺫﻜﺭ ﺃﻥ ﺍﻹﺴـﻜﻨﺩﺭ ﹶﻗﻬـ ﺭ ﺫﻟـﻙ ﺏ ﺘﻠﻙ ﺍﻟﺤِﻜﺎﻴﺔ ﺍﻟﻤِﺼـ ِﺭﻴﺔ ﻭ ﹶﺘ ﹾﺫ ﻫ ﻁ ﻌ ٍﺔ ﻤﻥ ﺍﻟ ﹶﻜﺒِﺩِ ﺇﻨﻪ ﻜﺎﻥ ﻴﻭﺠﻬﻬﻤﺎ ﺒ ِﻘ ﹾ ﻁﹶﻠﺏ ﻤﻥ ﻨﻜﺘﺎﻨﻴﺒﻭ ﺇﻟﻰ ﺃﻥ ﺍﻹﺴﻜﻨﺩﺭ ﹶ ﺤﺭﺒـ ٍﺔ ﺭ ﹶﻓﻌﻬـﺎ ﹶﺜ ﺒﺘﹶﻬﺎ ﻓـﻲ ﺭﺃﺱ ل ﺍﻟﻔﺎﺭِﺴﻴﺔ ﺃﻴﻀﺎ ﺃﻥ ﺍﻹﺴﻜﻨﺩﺭ ﺍﺤﺘﺎ َ ﺃﻥ ﻴﺼﻌﺩ ﻤﻌﻪ ﻴﻭﻤﺎ ﺇﻟﻰ ِﻗ ﻤ ِﺔ ﺍﻟﺠﺒل ﺃﻤﺎﻤﻬﻤﺎ. ﺤﺼﻭل ﻋﻠﻰ ﺍﻟﻤﺎﺱ ﻤﻥ ﺍﻟـﻭﺍﺩﻱ ﻟﻠ w. ﺍﻟﻤﻠﻙ ...ﻭﻟﻘﺩ ﺠﺎ ﺀ ﻓﻲ ﺍﻟ ﱡﻨﺼـﻭﺹ ﺤﺘﱠﻰ ﺩ ﹶﻓﻊ ﺒﻪ ﻭﺼﻼ ﺇﻟﻰ ﺘﻠﻙ ﺍﻟ ِﻘﻤﺔ ﺱ ﺒ ﺩ ﹸﻨﻭ ﻤ ِﻨﻴﺘﻪ؛ ﺃﻗﺎﻡ ﻭﻟﻴﻤ ﹰﺔ ﻜﺒﺭﻯ ﺃﺤ ﺃﻟﻘﻰ ﻓﻲ ﺠﻭﻓﻪ ﻗِﻁﻌﺎ ﻤﻥ ﺍﻟﻠﱠﺤﻡ ،ﺜﻡ ﺠﺒـل ،ﺜـﻡ ﺍﻹﺴﻜﻨﺩﺭ ﺇﻟﻰ ﺃﺴﻔل ﺍﻟ ﻥ ﺩﻋﺎ ﺇﻟﻴﻬﺎ ﺍﻟﺫﻴﻥ ﻟﻡ ﻴﻌﺭﻓﻭﺍ ﺍﻟﺤـ ﺯ ﺃﻁﻠﹶﻕ ﺃﺴﺭﺍﺒﺎ ﻤﻥ ﺍﻟﺼﻘﻭﺭ ﻭﺍﻟﺘﻘﻁﺕ ﻉ ﺇﻟﻴﻪ ﻭﺴﺄﻟﻪ ﺇﺫﺍ ﻜﺎﻨﺕ ﺍﻟﻨﱡﺠـﻭﻡ ﻫﺭ ﻭﺍﻟ ﻬ ﻡ ﻓﻠﻡ ﻴﺤﻀﺭ ﺃﺤﺩ .ﻭﻴـﺫﻜﱢﺭﻨﺎ ﻼ ﺒﺎﻟﻤﺎﺱ. ﺍﻟﻠﱠﺤﻡ ﻤﺤ ﻤ ﹰ ﻗﺩ ﺃﻁﻠﻌﺘﻪ ﻤﻥ ﻗﺒـل ﻋﻠـﻰ ﻫـﺫﺍ ﻲ ﺒﺤِﻜﺎﻴﺔ ﺍﻟ ﻤِﻠﻙ ﻫﺫﺍ ﺍﻟﻤِﺤ ﻭ ﺭ ﺍﻟﺭﺌﻴﺴ www.alkottob.com ww ﻁِﻠ ﻌ ﻪ ﻋﻠﻰ ﺍﻷﻓـﻼﻙ ،ﻭﻤـﺎ ﺇﻥ ِﻟ ﻴ ﹾ ﻭﻴﺭﻭﻯ ﺃﻥ ﺍﻹﺴـﻜﻨﺩﺭ ﻋﻨـﺩﻤﺎ ﺠ ِﺭ ﺍﻟﻨﱠﻔﻴﺱ ﺒـﺄﻥ ﺤ ﺍﻟﺨﺎﺹ ﺒﻬﺫﺍ ﺍﻟ ٦٤ ﻥ ﺍﻟﻭﺴـﻁﹶﻰ ﺍﻷﻭﺭﺒﻴﺔ ﻓﻲ ﺍﻟﻘﹸـﺭﻭ ِ ﻫﺫﺍ ﺍﻷ ﹶﺜ ﺭ ﺇﻟـﻰ ﻤﻌﻅﹶـ ِﻡ ﺍﻟﻠﱡﻐـﺎﺕ ﺃﺸﻬﺭ ﺸﺨﺼﻴﺔ ﻓﻲ ﻋﺎﻟﹶﻡ ﺍﻟﺤِﻜﺎﻴﺎﺕ ﺕ ﺍﻹﺴﻜﻨﺩﺭ ﻭﻭﻗﺎ ِﺌﻌِﻪ ﻓـﻲ ﺒﻤﻐﺎﻤﺭﺍ ِ ﺍﻷﻭﺭﺒﻴﺔ ،ﻭﻜﺎﻥ ﻤﻥ ﺃﺭﻭﺝ ﺍﻟ ﹸﻜﺘﹸـﺏ ﺍﻟﺸﱠﻌﺒﻴﺔ ﻟﻤﻠﻙ ﻟﻪ ﻤﻜﺎﻨﹸﻪ ﻓﻲ ﺍﻟﻭﺍﻗِـﻊ ﺤﺭﻭﺒﻪ ﻤﻊ ﺒﻼﺩ ﺍﻟﻬِﻨﺩ؛ ﻭﻫﻲ ﺘﹶﺭﻭِﻱ ﻓﻲ ﺍﻟﻘﺭﻭﻥ ﺍﻟﻭﺴﻁﻰ ،ﻭﺘﺭﻙ ﺁﺜﺎﺭﻩ ﺨﻲ؛ ﻭﻫﻭ ﻭﺍﻗِﻊ ﻟـﻪ ﺤـﺩﻭﺩﻩ ﺍﻟﺘﹼﺎﺭِﻴ ِ ﺕ ﺍﻹﺴﻜﻨﺩﺭ ﻓﻲ ﻭ ﹶﺘ ﺭ ﺩﺩﺕ ﺤِﻜﺎﻴﺎ ﹸ ﻴﻤﻜــﻥ ﺃﻥ ﹶﺘﺘﹶﺠــﺎﻭﺯ ﺍﻟﻤﻤﻜــﻥ m ﺕ ﺍﻟﺸﱠـﻌ ِﺒ ﻴ ﹸﺔ ﻭﻟﻘﺩ ﺤ ﹶﻔﹶﻠﺕِ ﺍﻟﺤِﻜﺎﻴﺎ ﹸ ﺠ ﻡ ﺕ ﺍﻹﺴﻜﻨﺩﺭ ﺒﺎﻟﺴﻡ ،ﻭﻗﺩ ﺘﹸـﺭ ِ ﻤﻭ ِ ﺘﺯﺍل ﺤ ﻴ ﹰﺔ ﻓﻌﺎﻟ ﹰﺔ ﺇﻟﻰ ﺍﻟﻴﻭﻡ ،ﻭ ﹸﺘﻌـ ﺩ ﺏ ﻤﻥ ﻨﻤل ﻫﺎﺌل ﺍﻟﺤﺠﻡ ،ﻭﻤﻊ ﺃﺴﺭﺍ ٍ .co ﺕ ﹸﻟﺤﻭ ِﻡ ﺍﻟ ﺒﺸﹶﺭ ،ﻭﻤﻊ ﺍﻟﻤـ ﺭ ﺩ ِﺓ ﺁﻜﻼ ِ ﺴﺘﹶﺔ ،ﻭﻤﻊ ﺃﻗـﺯﺍﻡ ﺫﻭﻱ ﺍﻟﺭﺀﻭﺱ ﺍﻟ ﺨ ﻴلٍ ﻕ ﻭﺍﺤﺩﺓ ،ﻭ ﹶ ﻴﺴِﻴﺭﻭﻥ ﻋﻠﻰ ﺴﺎ ٍ ﻟﻬﺎ ﻭﺠﻭﻩ ﺁﺩﻤﻴﺔ ،ﻭﺃﻨﺎﺱ ﻟﻬﻡ ﻭﺠﻭﻩ ﻋﻠﻰ ﺍﻵﺩﺍﺏ ﺍﻷﻭﺭﺒﻴﺔ. ﺍﻟﺘﻲ ﻗﺩ ﹸﺘﺜِﻴﺭ ﺍﻟﺨﹶﻴـﺎل ،ﻭﻟﻜﻨﻬـﺎ ﻻ ﺙ ﺍﻟ ﻌﺭﺒﻲ ،ﻭﻜﺎﻥ ﻟﻬﺎ ﻤﻜـﺎﻥ ﺍﻟﺘﱡﺭﺍ ِ ﻭﺍﻟﻤﻌﻘﻭل. ﻲ .ﻭﻓـﻲ ﻓﻲ *ﺸﺎﻫﻨﺎﻤﺔ ﺍﻟﻔِﺭﺩﻭﺴـ ﻭﻟﻴﺱ ﺃﺩل ﻋﻠﻰ ﻤﺎ ﻓﻴﻬـﺎ ﻤـﻥ ﺍﻟﺼﻴﻐﺔ ﺍﻟﺤﺒﺸـﻴﺔ ﻤـﻥ ﺤﻜﺎﻴـﺎﺕ ﺼ ﺭ ﺃُﺴﻁﹸﻭ ِﺭ ﻴ ٍﺔ ﺴـﺎﺒﻘﺔ؛ ﻤـﻥ ﻋﻨﺎ ِ ﺍﻹﺴﻜﻨﺩﺭ؛ ﺘﺤﻭﻟﺕ ﺍﻵﻟﻬﺔ ﺍﻟﻴﻭﻨﺎﻨﻴﺔ ﻭﻅﻴﻔﺘﻬﺎ ﺍﻟﺸﹼـﺎ ِﺭﺤﺔ ﻓـﻲ ﺒﻌـﺽ ل ﺃﻥ ﻴ ﹾﻘ ـ ﹶﺘﺤِﻡ ـﺎﻭَ ـﻜﻨﺩﺭ ﺤـ ﺃﻥ ﺍﻹﺴـ ﺇﻟﻰ ﺭﺴل ،ﻜﻤﺎ ﺘﺤﻭل ﺍﻹﺴـﻜﻨﺩﺭ ﺍﻷﺤﻴﺎﻥ ،ﻭﻤﻥ ﺩﻭﺭﺍﻨِﻬﺎ ﻋﻠﻰ ﺃﻟﻐﺎﺯ ﺨﺴﺭﺍﻥ ،ﻭﺜﻤﺔ ﺠﻨﱠﺔ ،ﻭﻟﻜﻨﻪ ﺒﺎ ﺀ ﺒﺎﻟ ﹸ ﺍﻟ ﺇﻟﻰ ِﻗﺩﻴﺱ. ﺙ ﻭﺍﻟﻭﻗﺎ ِﺌ ﻊ ﺕ ﺘﻘﻭﻡ ﺍﻷﺤﺩﺍ ﹸ ﻭ ﻤ ﻌﻀِﻼ ٍ ott ob ﺕ ﺇﻟﻰ ﺏ ﻫﺫﻩ ﺍﻟﺤِﻜﺎﻴﺎ ﹸ ﻜِﻼﺏ .ﻭ ﹶﺘ ﹾﺫ ﻫ ﺭﻭﺍﻴﺔ ﺴﺭﻴﺎﻨﻴﺔ ﺘﺤﻜﻲ ﺃﻥ ﺍﻹﺴﻜﻨﺩ ﺭ ـﻲ ﻲ ﻓـ ـﻭﺜﻨ ﻙ ﺍﻟـ ﻅ ﻬ ـ ﺭ ﺍﻟ ﻤِﻠ ـ ﻭﹶ ﺠﻨﱠـﺔ ،ﻭﻫﻨـﺎﻙ ﺃﺩﺭﻙ ل ﺇﻟﻰ ﺍﻟ ﻭﺼَ ﺤﻴﺎ .ﻭ ﻴ ﻌﺩ ﺍﻟﺤﻜﺎﻴﺎﺕ ﺍﻟﺴﺭﻴﺎﻨﻴﺔ ﻤﺴِﻴ ِ ﺴﺭِﻩ، ﺢ ﺇﻟﻰ ﺍﺴﺘِﻴﻌﺎﺏ ﺍﻟﻌﺎﻟﹶﻡ ﺒَِﺄ ﻁ ﻤ ﹶﺘ ﹾ ﺍﻹﺴﻼﻤﻲ ﻤﺭﺍ ِﺩﻓﹰﺎ ﻟـﺫﻱ ﺍﻟﻘﹶـ ﺭﻨﹶﻴﻥ، ﺏ ﺤ ﹾﻔﻨﹶـ ﹲﺔ ﻤـﻥ ﺍﻟﺘﱡـﺭﺍ ِ ﻭﻤﻊ ﺫﻟﻙ ﹶﻓ ﺢ ﻟﻬـﻡ ﺃﻥ ﻭﺃﺤﺩ ﺍﻷﺭﺒﻌﺔ ﺍﻟﺫﻴﻥ ﺃﺘِﻴ ﹶﺘ ﻤﹶﻠﺅُﻫﺎ. ﻴﻤﻠﻜﻭﺍ ﺍﻟﻌﺎﻟﹶﻡ ﺒﺄﺴـﺭِﻩ* :ﺍﻟﻨﱠﻤـﺭﻭﺩ ﻭ ﹶﺘ ﹶﺘﺭ ﺩ ﺩ ﺤِﻜﺎﻴﺎﺕ ﺍﻹﺴﻜﻨﺩﺭ ﻋﻠﻰ ﺴﻨﹶﺔ ﺍﻟﻨﹼﺎﺱ ﻓـﻲ ﺠﻤﻴـﻊ ﺃﻨﺤـﺎﺀ َﺃ ﹾﻟ ِ ﻭ*ﺴﻠﻴﻤﺎﻥ ﻭ* ﻨﹸﺒﻭﺨﺫ ﻨﺼﺭ ﻭ* ﺫﻭ ﻙ ﺍﻟﻘﺭﻨﻴﻥ .ﻭﺍﻹﺴﻜﻨﺩﺭ ﺃﺤﺩ ﺍﻟ ﻤﻠﹸـﻭ ِ ﺽ ﺢ ﺒﻌـ ﺍﻷﻁﻠﺴﻲ ﻏﺭﺒﺎ ،ﻭﻴـ ﺭﺠ ﺃﻭﺭﺍﻕ ﺍﻟﻠﱠﻌﺏ. ﻋ ﹲﺔ ﻼﺠِل؛ ﻫﻭ ﻗﹸﺭ ﺏ ﻤﻥ ﺍﻟﺠ ﹶ ﻀﺭ ﺨﺩﻡ ﻤـﻊ ﺴ ﹶﺘ ﹾ ﻰ ﺃﻭ ﺒﺫﹸﻭﺭ ،ﹸﺘ ﺒﻬﺎ ﺤﺼ ﻁﺒﻭل ﻓﻲ ﻫﺎﻴﻴﺘﻲ ،ﻋﻨـﺩ ﺇﻗﺎﻤـﺔ ﺍﻟ ﹶ ﺨ ِﺩ ﻡ ﻫـﺫﺍ ﺒﻌﺽ ﺍﻟﻁﻘﱡﻭﺱ .ﻭ ﻴﺴـ ﹶﺘ ﹾ ﻥ ﻤ ﺒ ﹶﺘﺩِﺉ؛ ﻼﺠِلِ ﻤﻐ ﺏ ﻤﻥ ﺍﻟﺠ ﹶ ﺍﻟﻀﺭ ﺤ ِﺩﺙﹸ ﺒﻬﺎ ﺇﻴﻘﺎﻋﺎ ﻴﺼﺎﺤِﺏ ﺩﻗﱠـﺎﺕ ﹶﻓ ﻴ ﺍﻟﻁﺒﻭل؛ ﻭﺫﻟﻙ ِﺒ ﻬﺯﻫﺎ ﻟﻴﺨﺭﺝ ﻤﻨﻬﺎ ل ﻗِﻴـل ﻤﺄﺨﹸﻭﺫ ﻤﻥ ﻤﺠﻤﻭﻋﺔ ﺭﺴﺎﺌ َ ﺼﻴﺔ ﻗـﺩ ﺃﺜﱠـﺭﺕ ﻓـﻲ ﻫﺫﻩ ﺍﻟﺸﱠﺨ ِ ﻁﻌﻥ ﺍﻷﺴﺘﺎﺫ ﺍﻟﻔﻴﻠﺴﻭﻑ ﻓﻲ ﻋﻨﺩﻤﺎ ﹶ ﺃﺴﻁﹸﻭﺭﺓ ﺩﻴﻭﻨﻴﺯﻭﺱ ،ﻭﺍﺴـﺘﻭﻋﺒﺕ ﺍﻟﺴﻥ؛ ﹶﻓﻌﺠﺯ ﻋﻥ ﺍﻟﻁﱠـﻭﺍﻑ ﻤـﻊ ﺍﻟﺘﺼﻭﺭﺍﺕ ﺍﻟﺨﺎﺼﺔ ﺒﺫﻟﻙ ﺍﻹﻟـﻪ؛ ل ِﺘ ﹾﻠﻤِﻴﺫﻩ ...ﻭﻤـﻥ ﻫـﺫﻩ ﺍﻟﺭﺴـﺎﺌ ِ ﻓﺄﺼﺒﺤﺕ ﻭﺍﺴِﻌﺔ ﺍﻻﻨﺘِﺸـﺎ ِﺭ ﻓـﻲ ﺸﺄَﺕ ﺤِﻜﺎﻴﺔ ﺍﻟ ﻤ ﹾﻨ ﹶﺘﺤﹶﻠﺔِ ﻋﻠﻰ ﺃﺭﺴﻁﻭ ﹶﻨ ﹶ ﺃﺭﺠﺎﺀ ﺍﻟﻌﺎﻟﹶﻡ ﺸـﺭﻗﹰﺎ ﻭﻏﺭﺒـﺎ .ﻭﻻ ﺍﻟﻌﻨﺎﺼﺭ ﺍﻟﺘﻲ ﻜﺎﻨﺕ ﹶﺘﺘﹶﺄﻟﱠﻑ ﻤﻨﻬـﺎ ﻑ ﺕ ﻤﺘﹶﻭﺍﺼِل .ﻭﻴﺘﻘﺩﻡ ﻋـﺎ ِﺯ ﹸ ﺼﻭ ﹲ ﺍﻟﺠﻼﺠل ﺃﺤﻴﺎﻨﹰﺎ ،ﻭ ﻴ ﻬﺯﻫﺎ ﺒﺸﺩﺓ ﻓﻭﻕ ﺭﺀﻭﺱ ﺍﻟﺭﺍﻗﺼﻴﻥ ،ﻭﻋﻨﺩ ﺘﹶﺭﺩِﻴـﺩ ﺠﻭﻗﺔ ﺍﻟﺘﺭﻨﻴﻡ ﻟﺒﻌﺽ ﺍﻟﻤﻘﺎﻁِﻊ ﻤـﻥ ww ﺍﻟﺒﺎﺤﺜﻴﻥ ﺃﻥ ﻤﻌﻅﻡ ﻫﺫﻩ ﺍﻟﺤِﻜﺎﻴـﺎﺕ ﺽ ﺍﻟﺒﺎﺤﺜﻴﻥ ﺇﻟـﻰ ﺃﻥ ﻭﻴﺫﻫﺏ ﺒﻌ www.alkottob.com AÇON w. ﻁ ﺍﻟﻌﺎﹶﻟﻡ؛ ﻤﻥ ﺍﻟﻬﻨﺩ ﺸﺭﻗﹰﺎ ﺇﻟﻰ ﺍﻟﻤﺤﻴ ِ ﺼ ﻭﺭﻫﻡ ﻋﻠﻰ ﻁ ﺒ ﻊ ﺍﻟﺫﻴﻥ ﺍﻨﺘﺨﺒﻭﺍ ﻟ ﹸﺘ ﹾ ﺴﻁﹸﻭ ﺒﻌﺙ ﺒﻬﺎ ﺇﻟﻰ ﺍﻹﺴﻜﻨﺩﺭ ﺇﻥ َﺃ ِﺭ ﺁﺳﻮﻥ alk ﻥ ﺙ ﺍﻟﺠﻬﺩ ﺍﻹﻨﺴﺎﻨﻲ" :ﺇﻥ ﺍﻟﻌـ ﻴ ﻋﺒ ﹶ ﺍﻹﺴﻜﻨﺩﺭ ﻓﻲ ﺒﻌـﺽ ﺍﻟﻘﺼـﺹ ﺤﻠﱢﻬﺎ. ﻋﻠﻰ ﹶﺘ ﹾﻔﺴِﻴﺭِﻫﺎ ﺃﻭ ﺃﻏﻨﻴﺔ ،ﻭﻜﺫﻟﻙ ﻋﻨﺩﻤﺎ ﻴﺭﺩﺩﻫﺎ ﻤ ﹶﻐﻥ ﺨ ﺩ ﻡ ﺍﻵﺴـﻭﻥ ﻤـﻊ ﻭﺍﺤﺩ .ﻭ ﹸﺘﺴـ ﹶﺘ ﹾ ٦٥ ﺍﻟﻁﱡﺒﻭل ﻓﻲ ﺍﻻﺤﺘﻔﺎﻻﺕ ﺍﻟﺨﺎﺼـﺔ ﺃﻤﺎ ﻡ ﺍﻟﺸﱠﺨﺼﻴﺔ ﺍﻟﺘﻲ ﻴ ﹶﺘ ﹶﻘﻤﺼﻬﺎ ﺴ ﻴ ﺩ ﺍﻟﺨﺼﺭ ﻟﻴﻪ ﺨﻠﺨﺎل ﻋﻭﻴﺸﺔ ﺭﻨـﺔ ﺒﺸﻌﺎﺌﺭ ﺍﻟﺘﱠﻌﻤِﻴﺩ. ﻤﻥ ﺍﻷﺴﻴﺎﺩ .ﻓﺈﺫﺍ ﺍﺴﺘﺠﺎﺒﺕ ِﻟ ﹶﻨ ﹾﻐﻤـ ٍﺔ ﺒﺭﻨﺔ .ﻴﺎ ﻋﻭﻴﺸﺔ ﷲ ﻴﺎ ﻤﻐﺭﺒﻴﺔ ،ﻴﺎ ﻼ ﻋﻠﻰ ﻫ ِﻭﻴـﺔ ﻤﻌﻴﻨ ٍﺔ ﻜﺎﻥ ﺫﻟﻙ ﺩﻟﻴ ﹰ ﻋﻭﻴﺸﺔ ﷲ ﺍﺭﻀﻲ ﻋﻠﻲ ،ﻴﺎ ﻋﻭﻴﺸﺔ ﺴﻴﺩ" ﺍﻟﺫﻱ ﻴﺭﻜﺏ ﺠِﺴﻤﻬﺎ. "ﺍﻟ ﷲ ﻤﻥ ﺍﻟﻤﻐﺭﺏ ﺠﻴﺎ ﻴﺎ ﻋﻭﻴﺸـﺔ ﷲ m ﺍﻷﺳﻴﺎﺩ )ﲨﻊ ﺳﻴﺪ( ﺤﺘِـﺭﺍ ِﻡ ﻥ ﺍﻻ ﻭﻫﻲ ﺼِﻴﻐﺔ ﺘﹶﻨ ﻡ ﻋ ِ .co ﻟﻸﻭﻟﻴﺎﺀ ﻭﻟﻠﻜﺎﺌﻨﺎﺕ ﺍﻟﻐﹶﻴﺒﻴﺔ ﻤﻥ ﻋﺎﻟ ِﻡ ل ﻟﻠﺩﻻﻟـﺔ ﻋﻠـﻰ ﺴ ﹶﺘ ﻌ ﻤ ُ ﺍﻟﺠﺎﻥِ ،ﻭ ﹸﺘ ﺹ ﺍﻟﻌﻔﺎﺭِﻴﺕ ﻭﺍﻷﻭﻟﹶﻴﺎﺀ ﺍﻟﺘﻲ ﺘﹶـ ﹶﺘﻘﱠﻤ ﺍﻹﻨﺴﺎﻥ؛ ﻓﻴﻘﺎل "ﻋﻠﻴـﻪ ﺃﺴـﻴﺎﺩ" ﺃﻭ ﺠﺜﱠﺘـﻪ ﻏﻴـﺭ "ﺭﻜﺒﻪ ﻋِﻔﺭﻴﺕ" ﺃﻭ " "ﻗﺎﻤﻭﺱ ﺍﻟﻌﺎﺩﺍﺕ ﻭﺍﻟﺘﱠﻘﺎﻟﻴﺩ ﻭﺍﻟﺘﻌﺎﺒﻴﺭ ﻤﻜﺔ ﺠﻴـﻪ ،ﻭﺴـﺕ ﻋﻅﻴﻤـﺔ... ﻭﻫﻜﺫﺍ"". ﺽ ﺍﻷﻏـﺎﻨﻲ ﺍﻟﺘـﻲ ﺍﻟﻤﺼﺭﻴﺔ" ﺒﻌ ﹶﺘ ﹶﺘﺭ ﺩ ﺩ ﻓـﻲ ﺍﻟــ* ﺯﺍﺭ ﻤﻨﺎﺴـﺒﺔ ﻑ ﻭﻟﻸﺴﻴﺎﺩ ﻨِﻅﺎﻡ ﻓـﻲ ﺍﻟﺘﱠﻌـ ﺭ ِ ﻟﺸﻌﻭﺏ ﺍﻷﺴﻴﺎﺩ ﻭﺒﻴﺌـﺎﺘﻬﻡ .ﻗـﺎل: ﻋﻠﻴﻬﻡ ﻭﺍﻻﺤﺘﻔﺎل ﺒﻬﻡ ﻹﺭﻀﺎﺌﻬﻡ. "ﻓﺈﺫﺍ ﻜﺎﻨﺕ ﺍﻷﺴﻴﺎ ﺩ ﻤﻥ ﹶﻨﺠﺩ؛ ﻜـﺎﻥ ﺍﻨﻅﺭ :ﺍﻟﺯﺍﺭ. ott ob ﺨﺎﻟِﺼﺔ )ﻤﺵ ﺨﺎﻟﺼﺔ( .ﻭﺍﻷﺴـﻴﺎﺩ ﻭﻗﺩ ﺃﻭﺭﺩ ﺍﻷﺴﺘﺎﺫ ﺃﺤﻤﺩ ﺃﻤﻴﻥ ﻓﻲ ﺍﺭﻀﻲ ﻋﻠﻲ .ﻤﻥ ﺘﻭﻨﺱ ﺠﻴﻪ ،ﻤﻥ ﺘﹶﺭﻜﹶﺏ ﺃﺠﺴﺎ ﺩ ﺍﻟﻨﱢﺴﺎﺀ ﻭﺍﻟﺭﺠﺎل ﻋﻠﻰ ﻑ ﺍﻟﻨﱢﺴﺎ ﺀ ﺃﻜﺜـﺭ ﺍﻟﺴﻭﺍﺀ ،ﻭﻟﻜﻨﻬﺎ ﺘﺄﹶﻟ ﹸ ﻅﺭﻭﻑ ﺤﻴﺎﺘِﻬﻥ ﻭ ِﺭﻗﹼﺔ ﺃﻋﺼﺎﺒِﻬﻥ. ﻟﹸ ﻭﺍﻷﺴﻴﺎ ﺩ ﻜﺎﻷﻓﺭﺍﺩ ﻤـﻥ ﺍﻟﻨﹼـﺎﺱ ﺠ ﹾﻨﺴِـﻴﺎﺘﹸﻬﻡ ﻭﺸﹸـﻌﻭﺒﻬﻡ... ﻑ ِ ﺘﹶﺨﺘِﻠ ﹸ ﻱ ﻲ ﻭﺍﻟﺤِﺠــﺎ ِﺯ ﻤــﻨﻬﻡ ﺍﻟﺴــﻭﺩﺍ ِﻨ ﻭﻤﻨﻬﻡ ﺍﻟ ﱡﺫﻜﹸﻭﺭ ﻭﺍﻹﻨﺎﺙ. ﻭﻟﻠﺘﱠﻌﺭﻑ ﻋﻠﻰ ﻫﺅﻻﺀ ﺍﻷﺴـﻴﺎﺩ ﻴﻘﺎ ﻡ ﺍﻟـ*ﺯﺍﺭ ،ﻭﻟﻜل "ﺴﻴﺩ" ﻤـﻨﻬﻡ ﺠﺘﹶـﻪ، ﻥ ﺘﻼﺌـﻡ ﻟﹸﻐﺘﹶـﻪ ﺃﻭ ﹶﻟ ﻬ ﻭﺃﻏﺎ ٍ ﻭﺭﻗﺼﺎﺕ ﺘﻨﺎﺴﺏ ﺍﻟﺸﱠـﻌﺏ ﺍﻟـﺫﻱ ﻑ ﻴﻨﺘﻤﻲ ﺇﻟﻴﻪ ،ﻭﺇﻴﻘﺎﻋﺎﺕ ﻤﻥ ﺍﻟـ ﺩ ﱢ ﻭﻁﺭﻴﻘﺔ ﺍﻟﺘﱠﻌﺭﻑ ﻋﻠـﻰ ﻫﻭﻴـﺔ "ﺍﻟﺴﻴﺩ" ﻫﻲ ﺍﺴـﺘﻌﺭﺍﺽ ﺍﻷﺯﻴـﺎﺀ ﻭﺍﻷﻏﺎﻨﻲ ﻭﺍﻟﺭﻗﺼﺎﺕ ﻭﺍﻹﻴﻘﺎﻋﺎﺕ www.alkottob.com ﻓﻲ ﺍﻟﻤﻴﺩﺍﻥ ،ﻴـﺎ ﻤﻜﺤـل ﻋﻴﻭﻨـﻪ ﺼ ﻭ ﺭ ﻫـﺅﻻﺀ ﻭﺠﻭﺯﻴﻔﻭﺱ .ﻭﻗﺩ ﻭﺭﺍﺨــﻲ ﺸــﻌﻭﺭﻩ" .ﻭﺇﺫﺍ ﻜــﺎﻥ ﺍﻟﺭﺠﺎل ،ﻭﻭﺠﻭﻫﻬﻡ ﻅﺎﻫِﺭﺓ ﻋﻠـﻰ ﺴﻭﺩﺍﻨﻴﺎ ﻓﻤـﻥ ﺃﻏﺎﻨﻴـﻪ":ﻴـﺎ ﺃﺒـﻭ ﺼﺩﻭﺭِﻫﻡ. ﺍﻟﻌﺒﺎﺱ ،ﻴﺎ ﺴﻠﻁﺎﻥ ﺍﻟﺭﺠـﺎل ،ﻴـﺎ ﺤﺎﻤﻲ ﺍﻟﺭﺠﺎل ﻴﺎ ﻤﺭﺤﺒﺎ ﺒـﻙ ﻴـﺎ ﻤﺭﺤﺒﺎ ﻴﺎ ﻻﺒﺱ ﺍﻟﻴﺎﻗـﺔ ﻭﺍﻟﻜﻭﻓﻴـﺔ ﻋﻠﻰ ﺍﻟﻌﻤﺎﻤﺔ".ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﺍﻟﺴـﻴﺩﺓ ﺴﻭﺩﺍﻨﻴﺔ ﻀـ ِﺭﺒﺕ ﻟﻬـﺎ ﺍﻟﺩﻟﱡﻭﻜـﺔ ﻭﻗﺎﻟﻭﺍ" :ﺩﻟﻜﺘﻙ ﻴﺎ ﺩﻟﻭﻜﺔ ﻴﺎ ﻤﺭﺤﺒﺎ ﺃﹶﺷﻌﺐ ASH'AB ﻫﻭ ﺃﺸﻌﺏ ﺍﻟﻤﻠﻘﱠـﺏ ﺒﺎﻟﻁﻤـﺎﻉ، ﻙ ﻤﻥ ﺃﻫـل ﺍﻟﻤﺩﻴﻨـﺔ ﻜـﺎﻥ ﺤ ﻤﻀ ِ ﺨﻠﹶﻔــﺎﺀ ﻴﺘــﺭﺩﺩ ﻋﻠــﻰ ﺃﺤﻔــﺎﺩ ﺍﻟ ﹸ ﺵ ﺤﺘـﻰ ﺴـﻨﺔ ﺸﺩِﻴﻥ ،ﻭﻋـﺎ ﹶ ﺍﻟﺭﺍ ِ ﻴﺎ ﺩﻟﻭﻜﺔ ،ﻋـﺩﻱ ﺍﻟﺒﺤـﺭ ﻋﻠـﻰ ﺩﺭﺍﻋﻪ ،ﻁﻠﻊ ﺍﻟﻨﺨﻠﺔ ﺒﺩﻤﺎﻏـﻪ ،ﻴـﺎ ﻓﺎﺭﺱ ﺒﻴﻥ ﺃﺨﻭﺍﺘـﻪ".ﻭﺇﺫﺍ ﻜﺎﻨـﺕ ﻤﻐﺭِﺒﻴﺔ ﺴﻤﻭﻫﺎ ﻋﻭﻴﺸﺔ ﻭﻗﺎﻟﻭﺍ" :ﻴﺎ ﻋﻭﻴﺸﺔ ﷲ ﻴﺎ ﻤﻐﺭﺒﻴﺔ ،ﻴﺎ ﻋﻭﻴﺸﺔ ﷲ ﻋﻘﺒﺎل ﻴﻭﻤﻙ .ﺤﻠﻕ ﻋﻭﻴﺸﺔ ﻋﻠـﻰ ﺍﻟﺨﺩ ﻨﺎﺩﻱ ،ﺤﺯﺍﻡ ﻋﻭﻴﺸـﺔ ﻋﻠـﻰ ـﺎﺕ ــ )٧٧١ﻡ( .ﻭﺍﻟﺭﻭﺍﻴـ ١٥٤ﻫـ ﺨﻴﺔ ﻋﻨـﻪ ﻜﺜﻴـﺭﺓ ﹶﺘﺸﹸـﻭﺒﻬﺎ ﺍﻟﺘﺎﺭِﻴ ِ ﺍﻟﻤﺒﺎﻟﹶﻐﺔ ،ﻭﺍﻟﻨﱠﻭﺍ ِﺩ ﺭ ﺍﻟﻤﺄﺜﹸﻭﺭﺓ ﻋﻨـﻪ ww ﺘﻼﺌﻡ ﺍﻟﺭﻗﺼﺎﺕ. ﺭﺀﻭﺱ ،ﺘﺤﺩﺙ ﻋﻨﻬﺎ ﻫﻴـﺭﻭﺩﻭﺕ w. ﺱ ﺘﹸﻨﺎﺴِﺏ ﺒﻴﺌﺘـﻪ ﻭﺠﻨﺴـﻴﺘﻪ، ﻤﻼ ِﺒ ﻤﺩﻟﻊ ﻓﻲ ﺍﻟﻤﻴﺩﺍﻥ ،ﻴﺎ ﻻﺒﺱ ﺍﻟﻌﺒﺎﻴﺔ ُﺃﻤﺔ ﺨﹸﺭﺍ ِﻓﻴﺔ ﻓﻲ ﻟﻴﺒﻴﺎ ،ﺭﺠﺎﻟﹸﻬﺎ ﺒﻼ ﻻﺒﺱ ﺴﻴﻔﻙ ،ﻴﺎ ﻤﺤﻴﻲ ﻀﻴﻔﻙ ،ﻴـﺎ alk ﻱ ﻭﺍﻟﺭﻭﻤـﻲ، ﻲ ﻭﺍﻟﻨﱠﺠـ ِﺩ ﻭﺍﻟﻤﻐﺭﺒ ﻀِﻤﻥ ﺍﻷﻏﻨﻴﺔ" :ﻴﺎ ﺴﻴﺩ ﻨﺠـﺩ ،ﻴـﺎ ﺁﺳِﻴﻔﺎﻟِﻲ ACEPHALI ﺴﻴﺔ ﻭﺩِﻴﻨﻴﺔ ،ﻭ ﹶﺘﺩﻭ ﺭ ﻟﻬﺎ ﺼِﺒﻐﹶﺔ ﺴِﻴﺎ ِ ل ﺤﻴـﺎﺓ ﺍﻟﻁﱠﺒﻘـﺔ ﻓﻲ ﺃﻏﻠﺒﻬﺎ ﺤـﻭ َ ﺍﻟﻭﺴﻁﻰ .ﻭﻟﻘـﺩ ﺭﺍﺠـﺕ ﻨـﻭﺍ ِﺩ ﺭ ﺦ ﺍﻹﺴـﻼﻤﻲ، ﺃﺸﻌﺏ ﻁﻭﺍل ﺍﻟﺘﹼﺎﺭِﻴ ِ ٦٦ ﻲ ﻀـﺎ ﻴ ﹶﻔ ﻪ ﻥ ﺃﺸﻌﺏ ﺍﻟﻁﱡﻔﻴِﻠ ﹶﺘ ﺭﻭِﻱ ﺃ ل ﺒﺄﻨﻪ ﻱ ﺍﻟﻘﺎﺌِ َ ﻥ ﹸﺘ َﺅﻴﺩ ﺍﻟ ﺭ ْﺃ ﺃﻥ ﺍﻟ ﹶﻘﺭﺍ ِﺌ ﹶﻜﻠِﻤﺔٍ ﻤﻌﻨﺎﻫﺎ "ﺍﻟﺨﹶﻴـﺭ ﺃﻭ ﺍﻟﻜﹶـﺭﻡ"، ﺹ ﺽ ﺍﻟﺼﺒﻴﺎﻥ ﻓﺄﺭﺍﺩ ﺃﻥ ﻴـﺘﺨﱠﻠ ﺒﻌ ﺴﻴﺔ. ﺸ ﻤ ِ ﻜﺎﻥ ﺇﻟﻪ ﺃﺴﻁﻭﺭﺓ ﹶ ل ﺍﻹﻟﻪ ﺤﱠ ل ﻤ ﻭﻤﻥ ﺜ ﻡ ﻓﺈﻥ ﺁﺸﻭﺭ ﺤ ﱠ m ﻭﻤﻥ ﺃﺸﻬﺭ ﻫﺫﻩ ﺍﻟﻨﱠﻭﺍ ِﺩ ِﺭ ﺘﻠﻙ ﺍﻟﺘـﻲ ﺍﻵﺨﺭ ﺃﻨﻪ ﻴ ﺭ ﻤ ﺯ ﻟﻠﻨﹼﺎﺭ ﺃﻭ ﺍﻟﻤﺎﺀ .ﺒﻴﺩ ﻕ ﻤـﻥ ﻭﺍﺴﻡ ﺍﻹﻟﻪ ﺁﺸﻭﺭ ﻤﺸﹾـ ﹶﺘ ﱞ ﺕ ﻤﻨﻬﻡ؛ ﹶﻓﺯﻋﻡ ﻟﻬﻡ ﺃﻥ ﻫﻨﺎﻙ ﻫِﺒـﺎ ٍ ﺠﺴـ ﻤﻪ ،ﻭﻻ ﻥ ﻴ ﻭﻟﻡ ﻴﻜﻥ ﻟﻪ ﻭ ﹶﺜ ﺘﻤِﺜﺎل ﻋﻠﻰ ﻫ ﻴ َﺌﺔِ ﺇﻨﺴﺎﻥ ﻴﺸﺨﺼـﻪ، ﻭﻟﻘﺩ ﻜﺎﻥ ﻫﺫﺍ ﺍﻹﻟ ﻪ ﻫﻭ ﺍﻟﺸﱢـﻌﺎ ﺭ ﺙ ﺃﻥ ﻓﺎﻨﺼﺭﻓﻭﺍ ﻋﻨﻪ ،ﻭﻟﻜﻨﻪ ﻤﺎ ﹶﻟﺒِ ﹶ ﻭﻜﺎﻥ ﻴ ﺭ ﻤ ﺯ ﻟﻪ ﺒﻌﻠﻡ ﻴﺘـﺄﻟﱠﻑ ﻤـﻥ ﺍﻟﺫﻱ ﻴﺴِﻴ ﺭ ﺍﻵﺸﻭﺭﻴﻭﻥ ﺨﻠﻔﻪ ﺇﻟـﻰ ﺕ ﻋﻠﻴـﻪ ل ﻴﺤﻴﻁ ﺒﻪ ﻗﹸﺭﺹ ﹸﺜ ﺒ ﹶ ﺤﺎ ِﻤ ٍ ل ﺍﻟﺤﺭﺏ .ﻭﻜـﺎﻥ ﻴﻭﺠـ ﺩ ﺒﺄﺸـﻜﺎ ٍ ل ﺠﻨﺎﺤﺎﻥ ،ﻭﻓﻭﻕ ﺍﻟﻘـﺭﺹ ﺘِﻤﺜـﺎ ُ ﻤ ﹶﺘﻔﹶﺎﻭِﺘﺔ ﻓﻲ ﺍﻷﻗﺎﻟﻴﻡ ﺍﻟﺘﻲ ﻴ ﻤ ﹶﺘ ﺩ ﺇﻟﻴﻬﺎ ﺱ ﻭﺴﻬﻡٍ ،ﻭﻫﺫﺍ ﻙ ِﺒﻘﹶﻭ ٍ ﺴ ﺏ ﻴ ﻤ ِ ﻤﺤﺎ ِﺭ ٍ ﺤ ﹾﻜ ﻡ ﺍﻵﺸﻭﺭﻴﻴﻥ. ﺁﺸﻭﺭ .ﻭﺍﻟﺭﺍﺠﺢ ﺃﻥ ﻫﺫﺍ ﺍﻟ ﻌﻠﹶﻡ ﺍﻟﺫﻱ ﺍﻟﺫﻱ ﻴﺤﺭﺯﻭﻨﻪ ﻋﻠـﻰ ﺃﻋـﺩﺍﺌﻬﻡ. ﻜﺎﻥ ﻴﺭﻤﺯ ﺇﻟﻴﻪ ﻋﺒﺎﺭﺓ ﻋـﻥ ﺒﻘﺎﻴـﺎ ﺠ ﺩ ﺭ ﺍﻹﺸﺎﺭﺓ ﺇﻟﻴﻪ ﺃﻨﻪ ﻜـﺎﻥ ﻭﻤﻤﺎ ﹶﺘ ﺝ ﺒﺘﻤﺜـﺎل ﻁﻤِﻲ ﻜﺎﻥ ﻴ ﹶﺘﻭ ﻁ ﻭ ﹶ ﺸِﻌﺎﺭ ﹶ ﻓﻲ ﺍﻷﺼل ﺒﻼ ﺯ ﻭﺠـ ٍﺔ ﻭﻻ ﻭﻟﹶـﺩٍ، ﻕ ﺃﻭ ﻋﻠﻰ ﻫ ﻴ َﺌﺔِ ﺇﻨﺴﺎﻥ ﻹﻟـﻪ ﺍﻟﺒـ ﺭ ِ ﺏ ﺍﻵﺸﻭﺭﻴﻴﻥ ﻫﺎﻟﺘﻬﻡ ﻭﻴﺒﺩﻭ ﺃﻥ ﺍﻟ ﹸﻜﺘﱠﺎ ﻀ ﻊ ﻋﻠﻴﻪ ﺍﻟﺭﻤﻭﺯ. ﺘﹸﻭ ﺠ ﻌﻠﹸﻭﺍ ﹶﻓﺠ ﹶﻨﺤﻭﺍ ﻓﻲ ﺩﻋﺎﺌِﻬﻡ ﺇﻟﻰ ﺃﻥ ﻴ ﺽ ﺍﻷﻤــﺎﻜِﻥ ﻉ ﻓــﻲ ﺒﻌــ ِ ﺘــﻭ ﺯ ِ .co ﺠﺭﻯ ﺨﻠﻔﻬﻡ ﻤ ﹶﺘﻭ ﻫﻤـﺎ ﺃﻥ ِﻗﺼـ ﹶﺘ ﻪ ﺤﻘِﻴﻘ ﻴ ﹶﺔ. ﺃﺷﻨﻮ ﻥ ﻲ ﺍﻟﺫﻱ ﻴ ِﺯ ﻥ ﺍﻟﺫﱠﻫ ِﺒ ﻙ ﺒﺎﻟﻤِﻴﺯﺍ ِ ﺴ ﻴ ﻤ ِ ﺡ ﻋﻨﺩ ﺍﻟﻤﺤﺎ ﹶﻜﻤﺔ. ﺒﻪ ﺍﻷﺭﻭﺍ ﺁﺷﻮﺭ ASHUR "ﺇﻟﻪ ﺍﻟﺤﺭﺏ ﻋﻨﺩ ﺍﻵﺸﹸﻭ ِﺭﻴﻴﻥ" ﻜﺎﻨﺕ ﺍﻟﺩﻴﺎﻨﺔ ﺍﻵﺸﻭﺭﻴﺔ ﺍﻟﺭﺴ ِﻤﻴﺔ ﺏ ﻤﺜـل ﺨ ﻴﺭ ﺭ ﻤ ٍﺯ ﻹﻟﻪ ﺤـﺭ ٍ ﻜﺎﻥ ﹶ ﻁ ﻤﺠـﺩﻩ ﺁﻟﻬﺔ ﺍﻷﺴﺎﻁﻴﺭ ﺇﻟﻪ ﺍ ﺭﺘﹶـ ﺒ ﹶ ﺒﺎﻹﻤﺒﺭﺍﻁﹸﻭ ِﺭ ﻴ ِﺔ ﺍﻟﺘﻲ ﻋﺒﺩﺘﻪ ﻤﺜـل ﺁﺸﹸﻭﺭ. ﻭﻟﻘﺩ ﺒﺩﺃﺕ ﻋِﺒﺎ ﺩ ﹸﺓ ﺁﺸـﻭﺭ ﻓـﻲ ﹶﺘ ﹶﻘ ﻊ ﻋﻠﻰ ﺍﻟﻀﻔ ِﺔ ﺍﻟﻐﹶﺭﺒﻴﺔ ِﻟﻨﹶﻬﺭ ﺩِﺠﻠﹶﺔ ﺏ ﺍﻷﺩﻨﹶﻰ ﻏﻴﺭ ﺒﻌﻴﺩ ﻋﻥ ﻤﻠ ﹶﺘﻘﹶﻰ ﺍﻟﺯﺍ ِ ﻥ ﻋﻠﻰ ﻫـﺫﺍ ﺍﻹﻟـﻪ ﺍﻟﻤﺠ ﺩ ﻭﺍﻟﺴﻠﻁﺎ ﺽ ﺒﺎﺯﺩِﻫﺎ ِﺭ ﺩﻭﻟﺔ ﺁﺸﹸﻭﺭ .ﻭ ﻴﺭﻯ ﺒِﻌ ﺍﻟ ﻌﻠﹶﻤﺎ ِﺀ ﺃﻨﻪ ﻜﺎﻥ ﻓﻲ ﺍﻷﺼـل ﺇﻟـﻪ ﺽ ﺃﺴﻁﻭﺭ ٍﺓ ﹶﻗﻤﺭِﻴﺔ ،ﻭﻴـﺭﻯ ﺍﻟـﺒﻌ ﻭﺭﺒﻤﺎ ﻜﺎﻨﺕ ﺍﻟﺸﱠﻤﺱ ﻓﻲ ﻭﻗـﺕ ﻤﻥ ﺍﻷﻭﻗﺎﺕ ﻁﹶﻭﻁﻤﺎ ﻟﻶﺸـﻭﺭﻴﻴﻥ؛ ﻟﻪ ﺯﻭﺠ ﹰﺔ ﻭﺒﻼﻁﹰﺎ ﻭﻭﺯﺭﺍﺀ. ل ﺍﻟﻤﺤﺎﺭِﺏ ﺍﻟـﺫﻱ ﻥ ﺘِﻤﺜﺎ َ ﻭﺫﻟﻙ ﻷ ﻴﺤﻤل ﺍﻟﻘﻭﺱ ﻭﺍﻟﺴﻬﻡ ﻴﺭﻤﺯ ﻓﻴﻤـﺎ ﻕ ﺃﻭ ﺍﻟﻌﺎﺼِـ ﹶﻔﺔِ؛ ﻴﺒﺩﻭ ﺇﻟﻰ ﺇﻟﻪ ﺍﻟ ﺒ ﺭ ِ ﻱ ﻜﺜﻴﺭﺍ ﻤـﺎ ﺼﻭِﻴ ﺭ ُﺃﺴﻁﹸﻭ ِﺭ ﻭﻫﻭ ﹶﺘ ـﻁﹸﻭﺭﺘﹸﻪ ـﻭﺭﺕ ﺃُﺴـ ـﺫﺍ ﺘﻁـ ﻭﻫﻜـ ـﺘﺭﻭﺕ ـﺔ *ﻋﺸـ ـﺕ ﺒﺎﻹﻟﹶﻬـ ﻓﺎﺭﺘﺒﻁـ ﺒﺎﻋﺘﺒﺎﺭِﻫﺎ ﺯﻭﺠ ﹰﺔ ﻟﻪ. ﺃِﺷِﲑﺍ ASHERAH ﻴﻘﺘﺭﻥ ﺒﺎﻟﺸﱠﻤﺱ ﺍﻟﺘﻲ ﻜـﺎﻥ ﻴ ﹾﻨﻅﹶـ ﺭ ﻋﻨِﻴﺩ .ﻭﻟﻤﺎ ﺇﻟﻴﻬﺎ ﻋﻠﻰ ﺃﻨﻬﺎ ﻤﺤﺎﺭِﺏ ﻕ ﺼﻔﹶﺔ ﻴ ﹶﺘﺤ ﱠﻜ ﻡ ﻓﻲ ﺍﻟ ﺒ ﺭ ِ ﻜﺎﻥ ﺇﻟﻪ ﺍﻟﻌﺎ ِ ﺴﻬﻡ؛ ﻓﻘﺩ ﺃﺼﺒﺢ ﺍﻟﻤﺠﺴﻡ ﻋﻠﻰ ﻫﻴﺌﺔ ل ﺇﻟـﻰ ﺇﻟـﻪ ﻑ ﺃﻥ ﻴ ﹶﺘﺤﻭ َ ﻤﻥ ﺍﻟﻤﺄﻟﹸﻭ ِ ﺤﺭﺏ. )ﻭﺍﻟﺠﻤــــﻊ ﺁﺸِــــﻴﺭِﻴﻡ (ASHERIM ﺏ ﺸﺎﺨﺹ ﻤ ﹶﻘﺩﺱ ﻜـﺎﻥ ﻴ ﹾﻨ ﹶﺘﺼِـ ﺒﺎﻟﻘﺭﺏ ﻤﻥ ﺍﻟﻬﻴ ﹶﻜلِ ﻋﻨﺩ ﺍﻟﺴـﺎﻤﻴﻴﻥ ww ﻲ ﺃﻥ ﻴﺴﺒ ﹶﻎ ﺒﻬﺫﹶﺍ ﺍﻟﻨﻬﺭ .ﻭﻤﻥ ﺍﻟﻁﱠﺒﻴﻌ ﺼﻔﹶﺔ ،ﻭﺍﻟﺤﺎﻤِل ﻫﻭ ﺨﻴـﺭ ﻤـﺎ ﺍﻟﻌﺎ ِ w. ل ﺍﺴﻤﻪ ،ﻭﺍﻟﺘـﻲ ﺍﻟ ﻤﺩِﻴ ﹶﻨ ِﺔ ﺍﻟﺘﻲ ﺘﹶﺤ ِﻤ ُ ﺘﻠﻙ ﺍﻟﻭﺤﺩﺓ ﺍﻟﻘﺎﺴِـﻴﺔ ِﺒ ﻤ ﻌﺒـﻭ ِﺩﻫِﻡ؛ alk ﺘﺘﺭﻜﱠﺯ ﺤﻭل ﻫﺫﺍ ﺍﻹﻟﹶﻪ .ﻭﻟﻴﺱ ﺒﻴﻥ www.alkottob.com ﺴ ﺭ ﺍﻟﻨﱠﺼـ ِﺭ ﻭﻜﺎﻥ ﻴ ﻌ ﺩ ﻋﻨﺩﻫﻡ ِ ott ob ﻙ ﺍﻟ ﻌﺩﺍﹶﻟ ِﺔ ﺍﻟﻔـﺎﺭِﺱ ﺍﻟـﺫﻱ ﻼ ﻤ ﹶ ﺢ ﺍﻷﺭﺽ. " ﻤ ﺭﺩﻭﺥ" ﺒﺎﻋﺘﺒﺎﺭﻩ ﻤ ﹾﻔِﻠ ﺼلِ ﺸـﺠﺭ ﹰﺓ ﻷ ﺍﻟ ﹸﻘﺩﻤﺎﺀ .ﻭﻜﺎﻥ ﻓﻲ ﺍ َ ﻤﻘﺩﺴﺔﹰ ،ﺜﻡ ﻜـﺎﻥ ﻴﺼـﻁﻨﻊ ﻤـﻥ ﺍﻟﺨﺸﺏ ﺒﻌﺩ ﺫﻟﻙ ،ﻭﺃﺤﻴﺎﻨﹰﺎ ﻓﻲ ﻫ ﻴ َﺌﺔِ ﺘﻤﺜﺎل .ﺇﻥ ﺍﻟﱡﻨﺼﺏ ﺍﻟ ﻌﻤﻭ ِﺩﻴﺔ ﻜﺎﻨﺕ ٦٧ ﺠﺯﺀﺍ ﻤﻥ ﹶﻟﻭﺍ ِﺯ ِﻡ ﺍﻟﻌِﺒﺎﺩﺓ ﻓﻲ ﻫﻴﻜل * ﺃﺩﺍﺩ ،ﻭﺯﻭﺠﻬﺎ ﻓﻲ ﺒﻼﺩ ﺍﻟﻌـﺭﺏ ﻴﻬﻭﻩ ﻓﻲ ﺃُﻭ ﺭﺸﹶـﻠِﻴﻡ ﺤﺘـﻰ ﻋﻬـﺩ ﻫﻭ ﻭﺍﺩ. m ﺇﺼﻼﺡ ﻴﻭﺸﻴﺎ ،ﺍﻟﻭﺍﺭِﺩ ﻓـﻲ ﺴِـﻔﹾﺭ ﺍﻟﺘﱠﺜﻨﻴﺔ. ﺹ ﺍﻟﻔِﻴﻨﻴﻘﻴـﺔ ﺨ ﺼﻭ ﺭ ﺍﻟﺸﱠـﻭﺍ ِ ﻭ ﹸﺘ .co ﺼﺏٍ ﻋﻤﻭﺩ ﻴ ٍﺔ ﻫﻴﻔـﺎﺀ ﻴﻌﻠﹸﻭﻫـﺎ ﹶﻜ ﹸﻨ ﺤﻨِﻴـﺔ ﺘﻜـﻭﻥ ﺨﻁﹸﻭﻁ ﻤ ﹾﻨ ﻫِﻼل ،ﻭ ﹸ ﻀﺭﺒﺎ ﻤـﻥ ﻗـﺭﺹ ﺍﻟﺸﱠـﻤﺱ ﺃﻭ ﻗﹸﺭﺼﻴﻥ ﻟﻠﺸﻤﺱ .ﻭﻫﻲ ﻜﺜﻴﺭﺍ ﻤـﺎ ﺒِﺭﺠﺎِﻟﻪِ ،ﻭﺃﻤﺭﻫﻡ ﺒ ﹶﻔ ﹾﺘﺢِ ﺒﺎﺏ ﺍﻟﻜﻬﻑ ﺤﻅِﻴﺭ ﹰﺓ ﻟ ﹶﻐ ﹶﻨﻤِـﻪ. ﺨ ﹶﺫ ﻤﻥ ﺍﻟﻜﻬﻑ ﻟﻴ ﱠﺘ ِ ﺃﹶﺻﺤﺎﺏ ﺍﻟﻜﹶﻬﻒ ل ﺭِﺠﺎﻟﹸﻪ ﺍﻟﻜﻬﻑﹶ؛ ﻟﻡ ﻴ ﺭﻭﺍ ﻭﻟﻤﺎ ﺩﺨ َ ل ﺍﻷﻤﺭ ﺍﻟﻔِ ﹾﺘﻴ ﹶﺔ ﺍﻟﺫﻴﻥ ﺒﻌـﺜﻬﻡ ﻓﻲ ﺃ ﻭ ِ ASHAB AL-KAHF ﺕ ﺍﻟﻌﺎ ﺩ ﹸﺓ ﻓﻲ ﺠ ﺭ ِ ﻫﻡ ﺍﻟﻔِﺘﻴ ﹸﺔ ﺍﻟﺫﻴﻥ ﻀ ـ ﺭ ﺒ ﻪ ـﺫﻱ ـل ﺍﻟـ ـﻲ ﺍﻷﺠـ ﺍﷲ ﻓـ ﺏ ﻋﻠـﻰ ﺘﺴـﻤﻴﺘﻬﻡ "ﻨﹸـﻭﺍﻡ ﺍﻟﻤﻐ ِﺭ ِ ﻟﻴﻘﻅﺘﻬﻡ .ﻭﻋﻨﺩﻤﺎ ﺍﺴﺘﻴﻘﻅﻭﺍ ﻜﺎﻨﻭﺍ ﻻ ﺃﻓﺴﻭﺱ ﺍﻟﺴﺒﻌﺔ" ،ﻭﻗﺩ ﻭﺭﺩ ﺫِﻜﺭﻫﻡ ﺏ ﻭ ﹶﻓﺯﻉٍ ﻤﻥ ﻴﺯﺍﻟﹸﻭﻥ ﻓﻲ ﺤﺎﹶﻟﺔِ ﺭﻋ ٍ ﺏ ـﺫﻫ ـﺭﻴﻡ .ﻭﻴـ ـﺭﺁﻥ ﺍﻟﻜـ ـﻲ ﺍﻟﻘـ ﻓـ ﻁﺭِ ﺍﻟﺫﻱ ﻨﺠﻭﺍ ﻤﻨﻪ .ﹶﻓﻌﻤﺩﻭﺍ ﺇﻟﻰ ﺨﹶ ﺍﻟ ﹶ ﺍﻟﻔِﺘﻴﺔ ﻤـﻥ ﻤﺩِﻴﻨـ ٍﺔ ﻜﺎﻨـﺕ ﺘﻌﺒـﺩ ﻑ ﺸ ﹶﺘﺭِﻱ ﻁﻌﺎﻤﺎ ،ﻭﻟﻡ ﻴﻌ ِﺭ ﹾ ﺍﻟ ﻤﺩِﻴﻨﺔ ﻟِﻴ ﹾ ﺽ ﺍﻟ ﹶﻜﺜِﻴﺭﻭﻥ ﻤﻥ ﺍﻟﺭﻭﺍﺓ ﺇﻟﻰ ﺃﻥ ﺒﻌ ﺤ ﻴﻁﹶﺔ ،ﻭﺒﻌﺜـﻭﺍ ﺒﺄﺤـﺩﻫِﻡ ﺇﻟـﻰ ﺍﻟ ِ ott ob ﺘﹸﺼﻭﺭ ﻜﺎﻟﻨﱠﺨﻴـل ﻓـﻲ ﺍﻟﺭﺴـﻭﻡ. ﺙ ﺃﺤـﺩ ﺍﻟﺭﻋـﺎﺓ ﻭﺫﺍﺕ ﻴﻭﻡ ﺒﻌ ﹶ ﻭﻜﺎﻨﺕ ﺃﺤﻴﺎﻨﹰﺎ ﹸﺘ ﹾﻨﺤﺕ ﻓﻴﻤـﺎ ﻴﺸـﺒﻪ ﺸ ﹾﻜلِ ﺃﻋﻀﺎ ِﺌ ِﻪ ل ﺇﻨﺴﺎﻥ ،ﺃﻭ ﻓﻲ ﹶ ﺸ ﹾﻜ َ ﹶ ﺴِﻠﻴﺔ ،ﻭﻜﺜﻴﺭﺍ ﻤﺎ ﻜﺎﻨﺕ ﹸﺘ ﹾﻜﺴـﻰ ﺍﻟﺘﱠﻨﺎ ﻁ ﻭ ﺭ ﻤـﻥ ﺍﻟﺸـﺎﺨﺹ ﺒﺎﻟﺠﻭﺥ .ﻭ ﹸ ﺍﻟﺼﻨ ﻡ ﺍﻟﻤﺼﻨﻭﻉ ﻤﻥ ﺍﻟﺨﺸﺏ. ﻭﻜﺎﻥ ﺍﻷﺸﻴﺭﺍ ﻴﻌ ﹶﺘ ﺒ ﺭ ﺃﺤﻴﺎﻨﹰﺎ ﺭﻤﺯﺍ ﻁﹶﻠﻕﹸ ﺍﺴﻤﻪ ﺃﺤﻴﺎﻨﹰـﺎ ﻋﻠـﻰ ﻹﻟﻪ ،ﻭ ﻴ ﹾ ﺍﻟ ﹶﻜﻨﹾﻌﺎ ِﻨﻴﻭﻥ ﺍﺴ ﻡ ﺃﺸﻴﺭﺍ ﻋﻠﻰ ﺇﻟﻬـﺔ ﻕ ﻫﺫﺍ ﻁﻠِ ﹶ ﺏ ﻭﺍﻟﺭﺨﺎﺀ ،ﻜﻤﺎ ُﺃ ﹾ ﺼ ِ ﺨ ﺍﻟ ِ ﻱ ﺍﻻﺴ ﻡ ﻋﻠﻰ ﺯﻭﺠ ﹶﺔ ﺍﻹﻟ ِﻪ ﺍﻟﺴـﻭﺭ ﺒﺎﻹﻟﻬﺔ ﺍﻷﻡ ﻓﻲ ﺒﻌﺽ ﺍﻟﻤﻨـﺎﻁِﻕ، ﻭﻴ ﻌ ﹶﺘﻘِ ﺩ ﻜﺭﺍﺏ ﺃﻨﻬﺎ ﺍﻟﺭﺒﺔ ﺍﻟﻌﻅﻤـﻰ ﺠ ِﺭ ﻴ ٍﺔ ﺇﻤﺎ ﺃﻥ ﺘﻜﻭﻥ ﺒﻘﺎﻴﺎ ﻤ ﺭﺤﹶﻠﺔٍ ﺸﹶـ ﻲ- ﺱ ﺇﻟﻰ ﺍﻟﺤ ﺩ ﺍﻟﺭﻭﻤﺎ ِﻨ ﺃﻭ -ﺒﺎﻟﻘِﻴﺎ ِ ل. ﻁﻘﹶـ ِﺔ ﺍﻟ ﻬ ﻴﻜﹶـ ِ ﺤ ﺩﻴﺔ ﻟِﻤ ﹾﻨ ﹶ ﻋﻼﻤﺎﺕ ﺝ ﺃﺸﻴﺭﺍ ﻓﻲ ﻓﻠﺴﻁﻴﻥ ﻫﻭ ﻭﻜﺎﻥ ﺯﻭ www.alkottob.com ﺍﻟﻔِﺘﻴﺔ ﹶﻨ ﺒﺫﹸﻭﺍ ﻋِﺒﺎﺩ ﹶﺓ ﺍﻷﻭﺜﺎﻥ ،ﻭﺃﺨﺫﻭﺍ ﺕ ﻭﺘﺴﻌﺎ ،ﻭﻜﺎﻨﺕ ﺍﻟﻭ ﹶﺜﻨِ ﻴ ﹸﺔ ﻗﺩ ﺍ ﹾﻨ ﹶﻘﺭﻀ ﹾ ﻥ ﻴﻌﺒﺩﻭﻥ ﺍﷲ ﻓﻲ ﻤﺩﻴﻨﺔ ﻤِـﻥ ﻤـ ﺩ ِ ﺤﻴ ﹸﺔ ﺕ ﺍﻟ ﻤﺴِﻴ ِ ﺨﻼل ﻫﺫﻩ ﺍﻟ ﻤﺩﺓ ،ﻭﺤﱠﻠ ِ ﺍﻟــﺭﻭﻡ )ﺍﻟﻴﻭﻨــﺎﻥ ﺃﻭ ﺁﺴــﻴﺔ ﺍﻟﺼﻐﺭﻯ( ،ﺜﻡ ﻓﹶـﺭﻭﺍ ﻤـﻥ ﺘﻠـﻙ ﻤﺤﻠﱠﻬﺎ .ﻭﻟﻡ ﻴﻜﺩ ﺍﻟﻔﺘﻰ ﻴﻌﻭﺩ ﺇﻟـﻰ ﺍﻟﻤﺩﻴﻨﺔ ﻭَﺃ ﻭﻭﺍ ﺇﻟﻰ ﻜﹶﻬـﻑٍ ،ﻭﻜـﺎﻥ ﺠﺯﻭﺍ ﻋـﻥ ﺇﺒﻌـﺎﺩِﻩ، ﻋ ﻤﻌﻬﻡ ﻜﻠﺏ ﻭﻨﺎﻤﻭﺍ ﻓﻲ ﺫﻟﻙ ﺍﻟﻜﻬﻑ .ﺜﻡ ﺠـﺎ ﺀ ﻲ ﺩﺍﻗﻴﻭﺱ )ﺃﻭ ﺩﺍﻗﻨﻴﻭﺱ ﻙ ﺍﻟﻭ ﹶﺜﻨِ ﺍﻟ ﻤِﻠ ﺏ ﺍﻟﻜﻬﻑ ﺜﺎﻨﻴ ﹰﺔ ﻟﺭﻓﺎ ِﻗﻪِ؛ ﺤﺘﱠﻰ ﻀـ ﺭ ﺍﷲ ﻋﻠﻰ ﺁﺫﺍﻨﻬﻡ ﻤﺭ ﹰﺓ ﺃﺨﺭﻯ. ﻭ ِﻗﺼ ﹸﺔ َﺃﺼﺤﺎﺏِ ﺍﻟ ﹶﻜ ﻬﻑِ ﻤﺸﻬﻭ ﺭ ﹲﺓ ﺏ ﺍﻟﺸﱠﺭ ِﻗ ﻴ ِﺔ ﻭﺍﻟ ﹶﻐ ﺭ ِﺒﻴﺔ ﺫﺍﺌﻌﺔ ﻓﻲ ﺍﻵﺩﺍ ِ ـ ﺩ ﺴـ ـﺯﺍل ـﻭﺍﺀ .ﻭﻻ ﺘـ ـﻰ ﺤـ ﻋﻠـ ﺽ ﺃﻭ ﺩﺍﻗﻴﺎﻨﻭﺱ( ﻭﻤﻌﻪ ﺃﺘﺒﺎﻋﻪ ِﻟ ﹾﻠﻘﹶﺒ ِ ﻱ ﻭﺍﺤـ ٍﺩ ﻋﻠﻴﻬﻡ ،ﻭﻟﻜﻥ ﻟﻡ ﻴﺴﺘﻁﻊ ﺃ ل ﻟﻠﻜﻬﻑ .ﻭ ﺒﻨﹶﻰ ﻋﻠﻴﻬِﻡ ﻤﻨﻬﻡ ﺍﻟ ﺩﺨﹸﻭ َ ﺏ ﺍﻟﻜﻬﻑ ﻟﻴﻤﻭﺘﻭﺍ ﺠﻭﻋﺎ ﺩﺍﻗﻴﻭﺱ ﺒﺎ ﺱ ﺃﻤﺭﻫﻡ ﺒﻌﺩ ﻲ ﺍﻟﻨﱠﺎ ﺴ ﻁﺸﹰﺎ ،ﻭﻨ ِ ﻭﻋ ﹶ ﺫﻟﻙ. ﻤﻭﻀﻭﻋﺎ ﻴﺤﻔـﺯ ﺍﻷﺩﺒـﺎﺀ ﺇﻟـﻰ ﺍﺴــﺘﻠﻬﺎﻤﻪ ﻓــﻲ ﺍﻟﻤﺴــﺭﺤﻴﺎﺕ ﻭﺍﻟﻘﺼﺹ. ww ﺏ ﺍﻟ ﻌﻤﻭ ِﺩﻴﺔ ﺼ ﻟﺩﻯ ﺍﻟﺴﻭﺭﻴﻴﻥ .ﻭﺍﻟﻨﱡ ﻱ ﻋﻠﻰ ﺃﻥ ﻋﺩﺩﺍ ﻤـﻥ ﺃﻭﺭﻫﺎ ﺍﻟﻁﱠﺒﺭ ﹶﺘﺒ ﻴﻥ ﺃﻥ ﺍﻟ ِﻔ ﹾﺘﻴ ﹶﺔ ﻨﺎﻤﻭﺍ ﺜﻼﺜﻤﺎﺌﺔ ﺴـﻨﺔ w. ﻁ ﻫﺫﺍ ﺍﻻﺴ ﻡ ﺃﻴﻀـﺎ ﺃﻤﻭﺭﻭ .ﻭﺍ ﺭ ﹶﺘﺒ ﹶ ﻤﺨﻠﺼﻴﻥ .ﻭ ﹶﺘ ﱠﺘﻔِﻕ ﺍﻟﺭﻭﺍﻴﺎﺕ ﺍﻟﺘـﻲ ﺍﻟ ﹶﻔﺘﹶﻰ؛ ﻓﺴﺎ ﹶﻗ ﻪ ﺇﻟﻰ ﺍﻟ ﻤِﻠﻙِ ،ﻭﻫﻨـﺎﻙ alk ﻕ ﻁﻠﹶـ ﹶ ﺍﻹﻟﻪ ﺍﻟﺫﻱ ﻴﺭﻤﺯ ﺇﻟﻴﻪ .ﻭﻗﺩ َﺃ ﹾ ﺍﻷﻭﺜﺎﻥ؛ ﻅﻠﱡﻭﺍ ﻭﺤﺩﻫﻡ ﻴﻌﺒﺩﻭﻥ ﺍﷲ ﺒﺎﺌ ﻊ ﺍﻟﻁﱠﻌﺎ ِﻡ ﺍﻟ ﱡﻨﻘﹸﻭ ﺩ ﺍﻟﺘﻲ ﺩ ﹶﻓﻌﻬﺎ ﺇﻟﻴﻪ ﺃﻃﻼﻧﺘﺎ ATALANTA ﺍﺒﻨ ﹸﺔ ﺃﻴﺎﺴﻭﺱ ﻭﻜﻠـﻭﻤﻴﻨﻲ ﻓـﻲ ﺍﻷﺴﺎﻁِﻴﺭ ﺍﻟﻴﻭﻨﺎ ِﻨﻴﺔ ،ﻭﻗﺩ ﺃﻨﻜﹶﺭﻫـﺎ ٦٨ ﺏ َﺃﺒﻭﻫﺎ ﻷﻨﻪ ﻜﺎﻥ ﻴﺭﻴـﺩ ﺃﻥ ﻴ ﹾﻨﺠِـ ﺒﺎﺯﺜﻴﻨﻭﺒﺎﻴﻭﺱ ﺃﺤﺩ ﺍﻟ ﹸﻘﻭﺍﺩ ﺍﻟﺴـﺒﻌﺔ ﻀ ﻌ ﹾﺘﻬﺎ ﺩ ﺒ ﹲﺔ ﻭﻫﻲ ﺭﻤـﺯ ﹶﺫ ﹶﻜﺭﺍ ﹶﻓَﺄ ﺭ ﺍﻟﺫﻴﻥ ﺤﺎﺭﺒﻭﺍ ﻓﻲ ﻁِﻴﺒﺔ. ﻭ ﹶﺜ ﻤ ﹶﺔ ﺭِﻭﺍﻴﺔ ﻤﺘﺄﺨﱢﺭﺓ ﻋﻥ ﻫـﺫﻩ ﺍﻷُﺴﻁﹸﻭﺭﺓ ﺘﻘﻭل ﺇﻥ ﺃﻁﻠـﺱ ﻜـﺎﻥ ﺁﺜﺭﺕ ﺃﻥ ﺘﻌﻴﺵ ﻋﺫﺭﺍﺀ ،ﻭﺃﻥ ﹶﺘ ﹾﻨﻔِﺭ *ﺃﻓﺭﻭﺩﻴﺕ ﻟﻬﻤﺎ ،ﻭﻟﻡ ﻴﻘﹶـﺩﻤﺎ ﻟﻬـﺎ ﻴﻘ ﺩ ﻡ ﻟﺒﺭﺴﻴﻭﺱ ﺍﻟﻁﱠﻌﺎ ﻡ ﻭﺍﻟﻤـﺄﻭﻯ، m ﻟﻺﻟﻬﺔ * ﺃﺭﺘﻴﻤﻴﺱ .ﻭﻟﻤـﺎ ﺸـﺒﺕ ل ﺠﻤِﻴـ ِ ﻭﻟﻡ ﻴ ﻌ ﹶﺘﺭِﻑِ ﺍﻟﺯﻭﺠـﺎﻥ ﺒ ﺽ ﺃﻥ ﺠ ﺒﻼﹰ؛ ﻷﻨﻪ ﺭﻓﹶـ ﺦ ﺇﻨﺴﺎﻨﹰﺎ ﻤﺴِ ﹶ ل ﺍﺜﻨﻴﻥ ﻤﻥ ﻜﺎﺌِﻨـﺎﺕ ﻭ ﹸﻗ ﻭﺘِﻬﺎ ﺃﻥ ﹶﺘ ﹾﻘ ﹸﺘ َ ﺕ ﻤﻨﻬﻤـﺎ ﺍﻟ ﻤﻌﺎ ِﺒ ِﺩ ﺒﻐﺭﺍﻤِﻬﻤﺎ ،ﻓﺎ ﹾﻨ ﹶﺘ ﹶﻘﻤ ﹾ ﺍﻟﻐﹸﻭﻟﹶﺔ ﺍﻟﺨﹸﺭﺍ ِﻓﻴﺔ؛ ﻓﻤـﺎ ﻜـﺎﻥ ﻤـﻥ ﺤ ﻭﻟﹶﺘﻬﻤﺎ ﺇﻟﻰ ﺍﻹﻟﻬﺔ * ﻜﻭﺒﻴﻠﻲ ﺒﺄﻥ ﺱ ﻫـﺫﻩ ﺒﺭﺴﻴﻭﺱ ﺇﻻ ﺃﻥ ﺭ ﹶﻓﻊ ﺭ ْﺃ ﺃﺴﺩﻴﻥ. ﺦ ﺃﻁﻠـﺱ ﺍﻟﻐﹸﻭﻟﹶﺔ ،ﻭﻋﻨﺩﺌـﺫ ﻤﺴِـ ﹶ .co ﻤﻥ ﺍﻟﺯﻭﺍﺝ .ﻭﺍﺴﺘﻁﺎﻋﺕ ﺒﺠِـﺩﻫﺎ ﺽ ﺍﻟ ﱠﺘ ﺒﺠِﻴـل ،ﻭﺩﻨﱠﺴـﺎ َﺃﺤـ ﺩ ﹸﻓﺭﻭ ل ﻤِﻴﺩﻭﺴـﺎ ل ﻫﺫﺍ ﺍﻟ ﺒﻁﹶـ ُ ﺒﻌﺩ ﺃﻥ ﹶﻗ ﹶﺘ َ "ﺍﻟﻘﻨﻁﻭﺭﺱ" ﺍﻟﺨﹸﺭﺍ ِﻓﻴـﺔ؛ ﻷﻨﱠﻬﻤـﺎ ﻁﺎﺭﺩﺍﻫﺎ ،ﺜﻡ ﺍﺸﺘﺭﻜﺕ ﻓﻲ ﻤﺒـﺎﺭﺍ ِﺓ ﺍﻟﺼﻴﺩ ﺍﻟﻜﺎﻟﻭﺩﻭﻨﻴﺔ )ﺍﻨﻅﺭ :ﺼـﻴﺩ ﻭ ﹸﺘ ﺭﻭﻯ ﻋﻥ ﺃﻁﺎﻻﻨﺘﺎ ﺍﻟﺒﻭﺸـﻴﺔ ﺤ ﻴ ﹸﺘ ﻪ ﻭﺸﹶـ ﻌ ﺭ ﻩ ﺠﺭﺍ ،ﻭﺃﺼﺒﺤﺕ ِﻟ ﺤ ﺕ ﻋـﻥ ﺙ ﻨﻔﺴﻬﺎ ﺍﻟﺘﻲ ﺭ ِﻭ ﻴ ﹾ ﺍﻷﺤﺩﺍ ِ ﺴ ﻪ ﺼﺨﹸﻭﺭﺍ ﻭﺭﺃ ﻏﺎﺒﺎﺕ ،ﻭﻋِﻅﺎ ﻤ ﻪ "ﻤﻴﻠﻴﺎﺠﺭ" ﺠﺎﺌِﺯ ﹶﺓ ﺍﻟﻔﹶﻭ ِﺯ ﻭﻫﻲ ﺠِﻠـﺩ ل ﺇﻨﻬـﺎ ﺍﺒﻨـﺔ ﺍﻷﺭﻜﺎﺩﻴﺔ ،ﻭﺇﻥ ﻗِﻴـ َ ﺠﺭِ ،ﻭﺃﺨﺫ ﻜل ﺠﺯ ٍﺀ ﻤـﻥ ﺤ ﺫِﺭﻭ ﹶﺓ ﺍﻟ ﺨِﻨﺯِﻴ ٍﺭ ﺒﺭﻱ؛ ﻓﺎﻋﺘﺭﻑ ﺒﻬﺎ ﺃﺒﻭﻫـﺎ ﺴﺨﻭﻴﻨﻴﻭﺱ ،ﻭﺇﻥ ﺍﻟﺫﻱ ﻓﺎ ﺯ ﻋﻠﻴﻬﺎ ﻫﺫﻩ ﺍﻷﺠﺯﺍﺀ ﻴﺯﺩﺍ ﺩ ﺤﺘﱠﻰ ﺃﺼـﺒﺢ ﺕ ﻁ ﹾ ﺸ ﹶﺘﺭ ﹶ ﺏ ﺇﻟﻴﻬﺎ ﺃﻥ ﹶﺘ ﹶﺘ ﺯ ﻭﺝ ،ﻓﺎ ﹾ ﻭﻁﻠ ﻓــﻲ ﺍﻟﺴــﺒﺎﻕ ﻭ ﹶﺘﺯﻭﺠﻬــﺎ ﻫــﻭ ل ﺤﻤِـ ُ ل ﺍﻟـﺫﻱ ﻴ ﺠﺒـ َ ﺍﻟ ﹼﻜلﱡ ﺫﻟﻙ ﺍﻟ ل ﻤﻌﻬﺎ ﹸﻜلﱡ ﻤﻥ ﻴﺨﻁﺒﻬﺎ ﻓﻲ ﺨَ ﺃﻥ ﻴﺩ ﹸ ﺴِﺒﺎﻕ؛ ﻷﻨﻬﺎ ﻜﺎﻨﺕ ﻋﻠﻰ ﻴﻘﻴﻥ ﺒﺄﻨﻬﺎ "ﻫﻴﺒﻭﻤﻴﻨﻴﺱ" ،ﻭﺇﻨﻬﻤﺎ ﺘﺤﻭﻻ ﺃﻴﻀﺎ ﺇﻟﻰ ﺃﺴـﺩﻴﻥ ﻋﻠـﻰ ﻴـﺩ ﺍﻹﻟﻬـﺔ ﺍﻟﺴﻤﺎﺀ .ﻭﻜﺎﻥ ﺍﻟ ﻤ ﻌ ﹶﺘﻘﹶـ ﺩ ﺃﻥ ﻫـﺫﺍ ﻕ ﻋﻠﻴﻪ ﻜﺎ ِﺌﻨﹰﺎ ﻤـﻥ ﻴﻜﹸـﻭﻥ، ﺴ ﹶﺘ ﹶﺘ ﹶﻔ ﻭ ﹸ "*ﻜﻭﺒﻴﻠﻲ". ﺴﻌﺕ ﺭ ﹾﻗﻌـ ﹸﺔ ﺍﻟﻌـﺎﹶﻟﻡِ ﺒﻤـﺎ ﻭﻟﻤﺎ ﺍ ﱠﺘ ott ob ﺍﻟﺨﻨﺯﻴﺭ ﺍﻟﻜﺎﻟﻭﺩﻭﻨﻲ( ،ﻭﺘﺴﻠﱠﻤﺕ ﻤﻥ ﻋﺩﺍ ٍﺀ ﻋﻠﻰ ﻅﹶﻬ ِﺭ ﺴﺭﻉ ﻷﻨﻬﺎ ﻜﺎﻨﺕ َﺃ ﻉ ﺃﻥ ﺝ ﻤﻨﻪ .ﻭﺍﺴـﺘﻁﺎ ﻗﺒﻠﺕ ﺍﻟﺯﻭﺍ ﻕ ﻋﻠﻴﻬــﺎ ﺁﺨــﺭ ﺍﻷﻤــﺭ ﻴ ﹶﺘﻔﹶــ ﻭ ﹶ ﻋ ﺩ ِﺓ "ﻤﻴﻠﻴــﺎﺘﻴﻭﻥ"؛ ﻭﺫﻟــﻙ ﺒﻤﺴــﺎ ﺕ ﹶﺫ ﻫ ِﺒﻴﺔ ﺃﺨﺫ ﻴﻠﻘﻴﻬـﺎ ﺃﺜﻨـﺎﺀ ﹸﺘﻔﹼﺎﺤﺎ ٍ ﺕ ﻕ ﻭﺍﺤﺩ ﹰﺓ ﺒﻌﺩ ﺃﺨﺭﻯ .ﻭ ﹸﻓ ِﺘﻨﹶـ ﹾ ﺍﻟﺴﺒﺎ ِ ﻁ ﹸﻜلﱠ ﹸﺘﻔﹼﺎﺤ ٍﺔ ﻋﻨﺩ ﺤﻨِﻲ ﻟِ ﹶﺘ ﹾﻠ ﹶﺘﻘِ ﹶ ﻓﻜﺎﻨﺕ ﹶﺘ ﹾﻨ ﺇﻟﻘﺎﺌﻬﺎ ،ﻭﻫﻜﺫﺍ ﹸﻗ ﺩ ﺭ ﻟﻤﻴﻠﻴـﺎﺘﻭﻥ ﺃﻥ ﻴﻔﻭﺯ ﺒﻬﺎ ﺯﻭﺠـﺎ ﻟـﻪ ،ﻭﺃﻨﺠﺒـﺕ ﺍﻷﺴﺎﻁِﻴ ِﺭ ﺍﻟﻴﻭﻨﺎﻨﻴﺔ ﺃﻥ ﻴ ﺭ ﹶﻓﻊ ﺍﻟﺴﻤﺎ ﺀ ﻁﺒِﻕ ﺤﺘﱠﻰ ﻻ ﹶﺘ ﹾﻨ ﹶ ﻋﻠﻰ ﺭﺃﺴﻪ ﻭﻜﺘﻔﻴﻪ؛ ﻋﻠﻰ ﺍﻷﺭﺽ .ﻭ ﻴ ﺭﻭِﻱ *ﻫﻴﺴـﻴﻭﺩ ﻱ ﺍﻟﺸﹼﺎ ِﺌ ﻊ ﻫـﻭ ﺃﺨﺭﻯ .ﺒﻴﺩ ﺃﻥ ﺍﻟ ﺭ ْﺃ ﻲ ل ﺍﻟﻐﹶﺭﺒِـ ﺃﻥ ﺃﻁﻠﺱ ﻴﻘﻊ ﻓﻲ ﺍﻟﺸﱠﻤﺎ ِ ﺠ ﺩ ﻁ ﹶﻘﺔِ ﺍﻟﺘﻲ ﺘﹸﻭ ﻤﻥ ﺇﻓﺭﻴﻘﻴﺔ ﻓﻲ ﺍﻟﻤِ ﹾﻨ ﹶ ل ﺃﻁﻠﺱ .ﻭﺠـﺩِﻴ ﺭ ﻓﻴﻬﺎ ﺴِ ﹾﻠﺴِﹶﻠ ﹸﺔ ﺠِﺒﺎ ِ ﺃﻥ ﺃﻁﻠﺱ ﻫـﻭ ﺍﺒـﻥ ﺃﻴـﺎﺒﻴﺘﻭﺱ ﻭﻜﻠﻭﻤﻴﻨﻲ ،ﻭﺸﻘﻴﻕ *ﺒﺭﻭﻤﻴﺜﻴـﻭﺱ ﻭﺃﺒﻴﻤﻴﺜﻴﻭﺱ ﻭﻤﻴﻨﻭﻴﺘﻴـﻭﺱ ،ﻭﻗـﺎ ﺩ ﺍﻟﺘﱢﻴﺘﺎﻥ "ﺍﻟ ﻤ ﺭﺩﺓ" ﻀـﺩ *ﺯﻴـﻭﺱ؛ ل ﺍﻟﺴـﻤﺎﺀ ﺤﻤِ َ ﻋﻘﹸﻭﺒﺘﹸﻪ ﺃﻥ ﻴ ﻓﻜﺎﻨﺕ ﻋﻠﻰ ﺭﺃﺴﻪ. ﻥ ﺒﺎﻟ ﱢﺫ ﹾﻜ ِﺭ ﺃﻥ ﺍﻟ ﺒ ﺭ ﺒ ﺭ ﻴ ﹾﻜ ِﺒﺭﻭﻥ ﻤﻥ ﺸﹶﺄ ِ ل. ﻫﺫﻩ ﺍﻟﺠِﺒﺎ ِ ﻭﻤِﻥ ﺍﻟﻅﱠﻭﺍ ِﻫ ِﺭ ﺍﻟﺘﻲ ﻟﻬﺎ ﺃﻫﻤﻴﺘﻬﺎ ww ﺃﻁﺎﻻﻨﺘﺎ ِﺒﺠﻤﺎل ﻫـﺫﻩ ﺍﻟ ﱡﺘﻔﹼﺎﺤـﺎﺕ؛ ﺍﻹﹶﻟ ﻪ ﺍﻟـﺫﻱ ﻗﹸـ ﺩ ﺭ ﻋﻠﻴـﻪ ﻓـﻲ ﻕ ل ﻓﻲ ﻤﻨﺎﻁِ ﹶ ﺍﺴ ﻡ ﺃﻁﻠﺱ ﻋﻠﻰ ﺠِﺒﺎ ٍ w. ﺙ *ﺃﻓﺭﻭﺩﻴﺕ ﺍﻟﺘﻲ ﺃﻋﻁﺘـﻪ ﺜﹶـﻼ ﹶ ﻕ ﻁﻠِـ ﹶ ﺠﺩِﻴـﺩﺓ؛ ُﺃ ﹾ ﻑ ﻤﻥ ﺃﻗﺎﻟِﻴ ﻡ ﺍ ﹾﻜ ﹸﺘﺸِ ﹶ alk ﺍﻷﺭﺽ ،ﻓﺈﺫﺍ ﺘﻐﻠﱠﺏ ﻋﻠﻴﻬـﺎ ﺃﺤـﺩ ﺃﹶﻃﹾﻠﹶﺲ ATLAS ل ﻴ ﹶﻘ ﻊ ﻋﻠـﻰ ﺤﺎﻓﹼـ ِﺔ ﺍﻷﺭﺽ، ﺍﻟﺠﺒَ ﺃﻥ ﺍﻟﻌِﻤﺎﺭ ﹶﺓ ﺍﻟﻴﻭﻨﺎﻨِﻴ ﹶﺔ ﻓﻲ ﺍﻟﻌﺼـ ِﺭ ﻲ ﻋﺭﻓﺕ ﺍﻷﻁﻠﻨﻁﻴﺎﺕ ،ﻭﻫﻲ ﺍﻟﻬﻴﻠﻴﻨ ﺕ ﹶﻜ ﺩﻋِﺎ ِﺌ ﻡ ِﻟ ﹾﻠﻤﺒـﺎﻨِﻲ ﺨ ِﺩ ﻤ ﹾ ﺴ ﹸﺘ ﹾ لﺍ ﺘﹶﻤﺎﺜِﻴ ُ ﻋ ِﻤ ﺩﺓِ ،ﻭﻫـﺫﺍ ﺒﺘـﺄﺜﻴﺭ ﻷ ﻻ ﻤﻥ ﺍ َ ﺒﺩ ﹰ www.alkottob.com ٦٩ ﺼ ِﺔ ﺒﺠﺒل ﺃﻁﻠـﺱ ﺍﻷُﺴﻁﹸﻭﺭ ِﺓ ﺍﻟﺨﺎ ﻥ ﻤﺘﹶﻔﺎﻭِﺘﺔ ﺍﻟﻁﻭل ،ﻭ ﹸﺘ ﹾﻨﺸﹶﺩ ﻋﻠﻰ ﹶﻟﺤـ ٍ ﺭﻭﻨﺴﻴﺴﻔﺎل( ﻤﺴـﺭﺤﺎ ﻷﺤـﺩﺍﺙ ﺍﻟﺫﻱ ﻴﺤﻤل ﺍﻟﺴﻤﺎ ﺀ ﻋﻠـﻰ ﺭ ْﺃﺴِـ ِﻪ ﺸﺒﻪ ﺩِﻴﻨﻲ ﻴﺘﻜﺭﺭ ﻤﻊ ﹸﻜلﱢ ﺒﻴﺕ. ِ ﺕ ﺒﻴﻥ ﺍﻟﻔﺭﻨﺴﻴﻴﻥ ﺍﻟﻤﻌﺎﺭِﻙ ﺍﻟﺘﻲ ﹶﻨﺸِﺒ ﹾ ﺏ ﺃﺨـﺭﻯ؛ ﻓﻔـﻲ ﺃﺴﺎﻁِﻴﺭ ﺸﹸـﻌﻭ ٍ ﺃﻏﻨﻴﺔ ﺭﻭﻻﻨـﺩ .ﻭﺒﻌـﺽ ﺃﻏـﺎﻨﻲ ﺍﻟﻤﻜﺎﻥ ﻴ ﹶﺘﺭ ﺩ ﺩ ﻋﻠﻰ ﻜل ﻟِﺴﺎﻥٍ ،ﻜﻤﺎ m ﻭﻜﹶﺘ ﹶﻔﻴﻪ .ﻭﻫﺫﻩ ﺍﻟ ِﻔ ﹾﻜ ﺭ ﹸﺓ ﺘﻭﺠـﺩ ﻓـﻲ ﺸ ﻬ ﺭ ﻫﺫﻩ ﺍﻷﻏـﺎﻨﻲ ﻫـﻲ * ﻭَﺃ ﹾ ﻭﺍﻟﻤﺴﻠﻤﻴﻥ ،ﻭﺠﻌﻠـﺕ ﺍﺴـ ﻡ ﻫـﺫﺍ ﺍﻟﺴﻤﺎ ﺀ ﻴﺤ ِﻤﻠﹸﻬﺎ ﺁﻟﻬﺔ ﺃﺭﺒﻌـﺔ ﻤـﻥ ﻗﺼﺼﻴﺔ ﻤﻥ ﻨﻭﻉ ﺍﻟﺒﺎﻻﺩ ،ﻭﻤﻥ ﻫﺫﺍ ﺏ ﺍﻟﺸﱡﺠﺎﻉ ﺍﻟـﺫﻱ ﻻ ﹶﺘﻠِـﻴﻥ ِﻟ ﹾﻠﻤﺤﺎ ِﺭ ِ ﺍﻟﻨﱠﻭﻉ ﺃُﻏﻨﻴﺔ ﺠﻭﺭﻤﻭﻥ ﻭﺇﻴﺯﻤﺒﺎﺭﺩ، ﻉ ﺍﻟـﺫﻱ ﹶﻗﻨﹶﺎﺘﹸ ﻪ .ﺇﻟﻰ ﺠﺎﻨﺏ ﺍﻟﺼﺭﺍ ِ ﻭﺃﻏﻨﻴﺔ ﻭﻴﻠﻴﺎﻡ. ﻥ ﻀ ﹾﺘ ﻪ ﺍﻟ ﻤ ﹾﻠﺤﻤ ﹸﺔ ﺒﻴﻥ ﻤﻌﺴـ ﹶﻜﺭﻴ ِ ﻋ ﺭ .co ﺱ ﺃﻥ ﻼ ﻴﻌﺘﻘـﺩ ﺍﻟﻨﹼـﺎ ﺴﻴﺒﻴﺭﻴﺎ ﻤـﺜ ﹰ ﺕ ﺏ ﻤ ﹾﻘﻁﹸﻭﻋـﺎ ٍ ﻋ ﺕ ﻴﺴـ ﹶﺘ ﻭ ِ ﺍﻟ ﺒﻁﹸﻭﻻ ِ ﻻ ﻁﻠﹶﻬـﺎ ﺭﻭﻻﻨـﺩ ﻤِﺜـﺎ ﹰ ﺼﻭﺭﺕ ﺒ ﹶ ﺃﺭﻜﺎﻨِﻬﺎ ﺍﻷﺭﺒﻌﺔ. ﺸﺒِﻴ ﻪ ﺒﻬﺫﺍ ﺍﻟﺘﱠﺼﻭﺭ ﻤﺎ ﻨﺠﺩﻩ ﻓﻲ ﻭﹶ ﺤﻠﹾﻘـ ﹰﺔ ﻭﺘﹸﺅﻟﱢﻑ ﺃﻏﺎﻨﻲ ﺍﻟ ﺒﻁﹸﻭﻻﺕ ﻥ ﻤﻥ ﺃﺠل ﻋﻘﻴﺩﺓ ﺩﻴﻨﻴـﺔ؛ ﻤﺘﹶﺤﺎ ِﺭﺒﻴ ِ ﺠﺩﻩ ل ﻋﻠﻰ ﺫﻟﻙ ﻤﺎ ﹶﻨ ِ ﺇﻨﺴﺎﻥ ،ﻭﺍﻟﻤِﺜﺎ ُ ﺸ ﺩ ﺍﻟﺠﻭﺍل ﻓﻲ ﺍﻟﻘﺭﻨﻴﻥ ﺍﻟﻌﺎﺸِﺭ ﺍﻟ ﻤ ﹾﻨ ِ ﺒﻴﻥ ﺸﺨﺼﻴﺘﻴﻥ ﹶﺘ ﱠﺘﺴِﻤﺎﻥ ﺒﺎﻟ ﺒﻁﹸﻭﻟـﺔِ، ﻲ ﻤﻥ ﺃﻥ ﺃﻁﻠـﺱ ﻷﺩﺏِ ﺍﻟﻴﻭﻨﺎ ِﻨ ﻓﻲ ﺍ َ ﻱ ﻋﺸ ﺭ ﺍﻟﻤِﻴﻼ ِﺩﻴﻴﻥ. ﻭﺍﻟﺤﺎ ِﺩ ﻭﺘﹶﺨﺘﻠِﻔﺎﻥ ﻓﻲ ﺍﻟﻨﱠﻭﺍﺯِﻉ ﻭﺍﻟﻁﱢﺒـﺎﻉِ؛ ﺏ ﻼﻑِ ﺍﻟﺸﱡـﻌﻭ ِ ﺨﺘِ ﹶ ﺍﻷَﺴﺎﻁِﻴ ِﺭ ﻋﻠﻰ ﺍ ﹾ ott ob ﺽ ﻴﺤﻤﻠﻬﺎ ﺍﻟﺘﻲ ﺘﻌﺘﻘﺩ ﻓﻴﻬﺎ ﺃﻥ ﺍﻷﺭ ﺕ ﻤﺎ ﻜﺎﻥ ﻴـﺭﺩﺩﻩ ﺴ ﻴ ﹰﺔ ﻤﻥ ﺤﻠﻘﺎ ِ ﺭﺌﻴ ِ ﻉ ﺁﺨﹶـ ﺭ ﻓﺈﻥ ﻫﻨﺎﻙ ﺼِﺭﺍﻋﺎ ﻤﻥ ﻨﹶﻭ ٍ ل ﺍﻟﻌﺎﹶﻟﻡ ﻋﻠﻰ ﻜﺘﻔﹶﻴﻪ. ﺤ ِﻤ ُ ﺇﻨﻤﺎ ﻴ ﺃﹸﻏﹾﻨِﻴﺔﹸ ﺍﻟﺒﻄﹸﻮﻻﺕ ﻼ ﻨﺒﻴﻼﹰ ،ﻭﻟﻜﻨﻪ ﻜﺎﻥ ﻜﺎﻥ ﺭﻭﻻﻨﺩ ﺒﻁ ﹰ ﺃﹸﻏﹾﻨِﻴﺔﹸ ﺭﻭﻻﻧﺪ ﺏ ﺍﻟﺭﺃﻱ ،ﻭﻻ ﺴﻴﻤﺎ ﻓﻲ ﻋﻨِﻴﺩﹰﺍ ﺼ ﹾﻠ ل ﺒﺎﻟﻜﹶﺭﺍﻤـ ِﺔ ﺍﻷﻤﻭﺭ ﺍﻟﺘـﻲ ﹶﺘ ﱠﺘﺼِـ ُ SONG OF ROLAND ﺴﻴﺔ ﹶﻗﺩِﻴﻤﺔ ﻤﻥ ٤٠٠٠ ﻤ ﹾﻠﺤﻤ ﹲﺔ ﻓﹶﺭ ﹾﻨ ِ ل ﻥ ﻴ ِﻘ ﱡ ﻭﺍﻟﺴﻤﻌﺔ .ﺃﻤﺎ ﺃﻭﻟﻴﻔﺭ؛ ﻓﻠﻡ ﻴ ﹸﻜ ﻀ ﺩ ﺍﻟﻤﺴﻠﻤﻴﻥ ﻓﻲ ﻙ ﺸﺎﺭﻟﻤﺎﻥ ِ ﻤﻌﺎ ِﺭ ِ ل ﻋﻥ ﺒﻌﺽ ﺭﺃﻴـﻪ ﺇﻴﺜـﺎﺭﺍ ﻴﺘﹶﻨﺎﺯُ ﻭﺍﻟﺘﱠﺭﺠﻤ ﹸﺔ ﺍﻟﺤﺭﻓﻴ ﹸﺔ ﻟﻬﺎ "ﺃُﻏﻨِﻴـ ﹸﺔ ﻷﻋﻤﺎل" ...ﺃﻱ ﺃﻋﻤﺎل ﺍﻷﺒﻁـﺎل؛ ﺍَ ﺤ ِﻤﻴـﺔ ﻓﹶﺭﻨﺴِـﻴﺔ ﹶﻗﺩِﻴﻤـﺔ ﻗﹶﺼﻴﺩ ﹲﺓ ﻤ ﹾﻠ ﺃﻋﻼﻡ ﺍﻟﺭﺠـﺎل؛ ﻤﺜـل ﺭﻭﻻﻨـﺩ ﻭﺸﺎﺭﻟﻤﺎﻥ ﻭﻫﻭﻥ ﺫﻱ ﺒـﻭﺭﺩﻭ... ﺏ ﺴ ﻡ ِﺒﻀـﺭ ٍ ﺇﻟﺦ .ﻭﻫﺫﻩ ﺍﻟﻘﺼﻴﺩﺓ ﹶﺘﺘﱠ ِ ﺕ ﻑ ﺍﻟﻠﱢﻴﻥ ﻓـﻲ ﺇﻁـﺎ ِﺭ ﺍﻟﺒﻴـ ِ ﺤﺭﻭ ﹸ ﺕ ﺍﻟﻭﺍﺤِﺩ ،ﻭ ﹶﺘ ﹾﻨ ﹶﻘﺴِ ﻡ ﺇﻟـﻰ ﻤﻘﻁﹸﻭﻋـﺎ ٍ ﻤﻀﻰ ﻋﻠﻰ ﻫﺫﻩ ﺍﻟﻤﻠﺤﻤﺔ ﺒﺼﻭﺭﺘﻬﺎ ﺍﻟﻤﺘﻜﺎﻤﻠﺔ ﺍﻟ ﻤ ﻌﺭﻭﻓﹶﺔ ﻨﺤﻭ ﺘﺴـﻌﻤﺎﺌﺔ ﺴﻨﺔ ،ﻭﹶﻟ ﻌﻠﱠﻬﺎ ﺃﻗﺩﻡ ﻭﺃﺭﻭﻉ ﺍﻟﻤﻼﺤِـﻡ ﺕ ﻓﻲ ﺍﻟ ﹸﻘﺭﻭﻥ ﺍﻟﻭﺴﻁﻰ، ﻅﻬﺭ ﹾ ﺍﻟﺘﻲ ﹶ ﻲ. ﻷﺩﺏِ ﺍﻟﻌﺎﹶﻟ ِﻤ ﻭ ﹸﺘ ﻌﺩ ﻤﻥ ﺭﻭﺍ ِﺌ ِﻊ ﺍ َ ﺕ ﻭ ﹸﺘﺸِــﻴ ﺭ ﺃَﻗــﺩ ﻡ ﺍﻟﻤﺨﻁﹸﻭﻁــﺎ ِ ﺤﻤـ ِﺔ ﺇﻟـﻰ ﺃﻥ ﺍﻟﺨﺎﺼﺔ ﺒﻬﺫﻩ ﺍﻟ ﻤ ﹾﻠ ﻤﺅﻟﱢﻔﻬــﺎ ﺭﺒﻤــﺎ ﻜــﺎﻥ ﺘﻭﺭﻭﻟــﺩ ﺼ ﹶﺔ ﺒﻁﹸﻭﻟﺔ ﺍﻟﻨﻭﺭﻤﺎﻨﺩﻱ .ﻭ ﹶﺘ ﺭﻭِﻱ ﻗِ ﺕ ﻤــﻥ ﺭﻭﻨﺴــﻴﻔﻭ )ﺃﻭ ﺠﻌﻠﹶــ ﹾ www.alkottob.com ل ﺍﻟﺨﺎﺌﻥ ﺠﺎﻨﻴﻠﻭﻥ ﺍﻟﺫﻱ ﻟﻡ ﻴﻜﻥ ﻴﻘِـ ﱡ ﺤﺘِﺩ ﻋﻥ ﻏﻴـﺭﻩ ﺸﹶﺠﺎﻋ ﹰﺔ ﻭﻻ ﹶﻜﺭﻡ ﻤ ﻤﻥ ﻜِﺒﺎ ِﺭ ﺍﻟﻔﹸﺭﺴﺎﻥِ ،ﻜﻤﺎ ﺃﻨﻪ ﻜـﺎﻥ ﻤﻭﺍِﻟﻴﺎ ﻟﻺﻤﺒﺭﺍﻁﻭﺭ ،ﻭﻟﻜـﻥ ﻭﻻﺀﻩ ﻜﺎﻥ ﻴﺨﻀﻊ ﻷﻫﻭﺍﺌِـﻪ ﺍﻟﺸﱠﺨﺼـﻴﺔ ﺩﺍﺌﻤﺎ ،ﻭﻴﻨﻘﺎﺩ ﻓﻲ ﺠﻤﻴ ِﻊ ﺍﻷﺤـﻭﺍل ww ﺨِﻠﻴﺔ ،ﺘﺘﻜﺭﺭ ﻓﻴﻪ ﻤﻥ ﺍﻟﻤﻭﺴﻴﻘﹶﻰ ﺍﻟﺩﺍ ِ ﺍﻟﺤﺭﺏ ﺍﻟﺼﻠﻴﺒﻴﺔ ﺍﻷﻭﻟـﻰ .ﻭﻗـﺩ ﺨﺼِـﻴ ﹸﺔ ﺸﹾ ِﻟ ﹾﻠ ﻤ ﹾﻨ ﹶﻔﻌﺔ ﺍﻟﻌﺎﻤﺔ .ﻭﻫﻨﺎﻙ ﹶ w. ﺽ ل ﻤﺂ ِﺜ ﺭ ﻭ ﺒﻁﹸـﻭﻻﺕ ﺒﻌـ ِ ﹶﺘﺘﹶﻨﺎﻭُ alk CHANSON DE GESTE = SONG OFﺒﻴﺕ ،ﻴـﺩﻭ ﺭ ﻤﻭﻀـﻭﻋﻬﺎ ﻋﻠـﻰ ﻋﻥ ﺭﻭﻻﻨﺩ ﺒﻁﹸﻭﻟﺔﹰ ،ﻭﻟﻜﻨـﻪ ﻜـﺎﻥ DEEDS ﺨﺼﻭ ﻤﺘِﻪ ﻟﻠ ﺒﻁﹶل ﺭﻭﻻﻨﺩ؛ ﻭﻫـﻲ ﻟﹸ ﺤﻘﹾﺩ ﻋﻠﻴﻪ. ﺕ ﹶﻗ ﹾﻠﺒﻪ ﺒﺎﻟ ِ ﻸ ﹾ ﺨﺼﻭ ﻤ ﹲﺔ ﻤ َ ﹸ ﺤ ﻤ ﹸﺔ ﺃﻥ ﺸـﺎﺭﻟﻤﺎﻥ ﻭ ﹶﺘ ﺭﻭِﻱ ﺍﻟ ﻤ ﹾﻠ ﻙ ﺍﻟﻌﻭﺩﺓ ﺇﻟﻰ ﻓﺭﻨﺴﺎ ﺸِ ﻜﺎﻥ ﻋﻠﻰ ﻭ ﹾ ٧٠ ﺽ ﺍﻟﺫﻱ ل ﺍﻟ ﻌ ﺭ ﻋﺩﺍ ﺴﺭﻗﺴﻁﺔ ،ﻭ ﹶﻗﺒِ َ ﹶﻜﺒِﻴ ﺭ ﺍﻷﺴـﺎﻗِﻔﺔ ﺘﺭﺒـﺎﻥ Turpin ﻤﺭﺍﺕ ،ﻭﻟﻜﻨﻪ ﹶﻨ ﹶﻔ ﹶﺫ ﻓـﻲ ﺍﻟﺼـﺨﺭ ﻙ ﻤﺎﺭﺴـﻴﻠﻴﻭﻥ ﻋﻠـﻰ ﺘﻘﺩﻡ ﺒﻪ ﺍﻟ ﻤِﻠ ﻭﻗﺎل ﻟﻬﻤﺎ" :ﺍﻨﻔﺨﺎ ﻓﻲ ﺍﻟﺒﻭﻕ ﺤﺘﱠـﻰ ﻕ ل ﺴﻠﻴﻤﺎ ﹶﻓﻭﻀﻌ ﻪ ﻤـﻊ ﺍﻟﺒـﻭ ِ ﻭﻅ ﱠ ﺍﻟﺭﻏﻡ ﻤﻥ ﻤﻌﺎﺭﻀﺔ ﺍﺒـﻥ ﺃﺨِﻴـ ِﻪ ﻴ ﹾﻨ ﹶﺘﻘِﻡ ﺸﺎﺭﻟﻤﺎﻥ ﻟﻠﻘﺘﻠﻰ. ﺦ ﺭﻭﻻﻨﺩ ﻓﻲ ﺍﻟﺒـﻭﻕ ﻭﺃﺨﻴﺭﺍ ﹶﻨ ﹶﻔ ﹶ ﺡ. ﺤﺘﹶﻪ ،ﻭﻫﻜﺫﺍ ﺃﺴﻠﹶﻡ ﺍﻟﺭﻭ ﹶﺘ ﻭﻭﺼل ﺍﻹﻤﺒﺭﺍﻁﻭﺭ ﺇﻟﻰ ﺴﺎﺤ ِﺔ ﻁلِ ﺭﻭﻻﻨـﺩ ﺇﻟـﻰ ﺴﺭﻗﺴـﻁﺔ ﺍﻟﺒ ﹶ ﺢ ﺼ ﺩﻏﹸﻪ ،ﻭﺤﻤﻠﺕ ﺍﻟﺭﻴ ﻕ ﺤﺘﱠﻰ ﹶﺘﻤ ﺯ ﹶ ـﺩﺍﺙﹸ، ﺕ ﺍﻷﺤـ ـﺔ ،ﻭﺘﹶﺘﺎ ﺒ ﻌ ـ ِ ﺍﻟﻤﻌﺭﻜـ ﻕ ﺇﻟﻰ ﺸﺎﺭﻟﻤﺎﻥ ﺍﻟـﺫﻱ ﺕ ﺍﻟﺒﻭ ِ ﺼﻭ ﹶ ﺕ ﺒ ﹶﻨﺼــﺭِ ﺸــﺎﺭﻟﻤﺎﻥ، ﻭﺍ ﹾﻨ ﹶﺘﻬــ ﹾ ﻜﺎﻥ ﻋﻠﻰ ﺒﻌ ِﺩ ﺜﻼﺜـﻴﻥ ﻓﺭﺴـﺨﹰﺎ. ﺕ ﺴ ِﻤ ﻌ ﹾ ﻭﺍﺴﺘﺴﻼﻡ ﺴِﺭﻗﺴﻁﺔ .ﻭﻟﻤﺎ ﻭﺍﺴــ ﹶﺘﻤ ﺭﺕِ ﺍﻟﻤﻌﺭﻜــ ﹸﺔ ﻭَﺃ ﺒﻠﹶــﻰ ـﺩ ﺨﻁِﻴﺒـ ﹸﺔ ﺭﻭﻻﻨـ ﺠﻤِﻴﻠـ ﹸﺔ ) ﹶ "ﺃﻭﺩ" ﺍﻟ ﻭﻟﻜﻨﻬﻡ ﻤﻊ ﺫﻟﻙ ﻫ ِﺯﻤﻭﺍ. ـ ﺩﻤﻲ ـ ﺩ ﻗﹶـ ـﺭﻴﻌ ﹰﺔ ﻋِﻨـ ـﺭﺕ ﺼـ ﺨﹶـ m ﺒﻌﺩ ﺃﻥ ﺩﺍﻨﹶﺕ ﻟﻪ ﺇﺴﺒﺎﻨﻴﺎ ﻜﻠﻬﺎ ،ﻤـﺎ ﺴ ﻤ ﻪ ﺤ ﻋﻨِﻴﻑ ل ﺠ ﺩ ُ ﺒﻴﻥ ﺍﻟﺼﺩﻴﻘﻴﻥ ﺏ ﺒﻪ ﺍﻟﺼﺨﺭ ﺜﻼﺙ ﻀ ﺭ ﺃﻋﺩﺍﺌِﻪ ،ﻭ ﺝ ُﺃﻡ ﺭﻭﻻﻨﺩ ،ﻭﺃﺭﺴل ﺠﺎﻨﻴﻠﻭﻥ ﺯ ﻭ .co ﻁ ﺍﻟﺴـﻠﹾﻡ. ﺽ ﻓـﻲ ﺸﹸـﺭﻭ ِ ﻟﻠﺘﱠﻔﺎ ﻭ ِ ﺠﺘِـﻪ ﻅ ﺠﺎﻨﻴﻠﻭﻥ ﻤﻥ ﺍﺒﻥ ﺯ ﻭ ﻭﺍﻏﺘﺎ ﹶ ﻷﻨﻪ ﻫﻭ ﺍﻟﺫﻱ ﺍ ﹾﻗ ﹶﺘﺭﺡ ﺇﻴﻔﺎﺩﻩ ﻓﻲ ﻫﺫﻩ ﺍﻟﻔﺭﻨﺴﻴﻭﻥ ﻓﻴﻬﺎ ﺃﺤﺴـﻥ ﺍﻟـﺒﻼﺀ، ott ob ﺨﻁِﻴـﺭﺓ ،ﻭﺘـﺂﻤﺭ ﻤـﻊ ﺍﻟ ﻤ ِﻬ ﻤ ِﺔ ﺍﻟ ﹶ ﺸﻘِﻴ ﹶﻘ ﹸﺔ ﺃﻭﻟﻴﻔـﺭ( ﺃﻨﺒـﺎ ﺀ ﺍﻟﻔﺎﺠِﻌـﺔ ﻭﹶ ﻼﻙِ ﺭﻭﻻﻨـﺩ، ﺍﻷﻋﺩﺍﺀ ﻋﻠـﻰ ﻫـ ﹶ ﻋﻭﺩﺘِـﻪ ﺃﻥ ﻴ ﹾﻘﻨِـ ﻊ ﻉ ﺒﻌـﺩ ﻭﺍﺴﺘﻁﺎ ﻥ ﺃﻭﻟﻴﻔﺭ ﺒـﺎﻟﺠِﺭﺍﺡ ﺍﻟﺘـﻲ ﺨ ﻭُﺃ ﹾﺜ ِ ﺍﻹﻤﺒﺭﺍﻁﻭ ﺭ ﺒﺘﻌﻴﻴﻥ ﺭﻭﻻﻨﺩ ﻗﺎﺌـﺩﺍ ﺏ ﺕ ﻋﻠﻰ ﻨﹸﻭ ِﺭ ﻋﻴﻨﻴﻪ؛ ﻓﺄَﺼـﺎ ﻀ ﹾ ﹶﻗ ﻭ ﹸﺘﺨﹾــ ﹶﺘ ﻡ ﺍﻟ ﻤ ﹾﻠﺤﻤــ ﹸﺔ ﺒﻤﺤﺎ ﹶﻜﻤــ ِﺔ ﺵ .ﻭﻟﻤﺎ ﺭﺃَﻯ ﺃﻭﻟﻴﻔﺭ ﺠ ﻴ ِ ﺨﺭﺓِ ﺍﻟ ﻟِ ﻤ َﺅ ﱠ ﺼﺩِﻴ ﹶﻘ ﻪ ﺭﻭﻻﻨﺩ ﺒﻁﻌﻨﺔ ﺨﺎﻁِﺌﺔ ،ﺜـﻡ ﺠﺎﻨﻴﻠﻴﻭﻥ ﺒ ﹸﺘ ﻬ ﻤ ِﺔ ﺨِﻴﺎﻨﺔ ﺍﻹﻤﺒﺭﺍﻁﻭﺭ؛ ﺼﺩِﻴﻘ ِﻪ ل ﺍﻷﻋﺩﺍﺀ ﺃﺸﺎ ﺭ ﻋﻠﻰ ﺠﺤﺎﻓِ َ ﻕ ﻤﻥ ﻭﻋﺎ ﺩ ﺭﻭﻻﻨﺩ ﻴﻨﻔﺦ ﻓﻲ ﺍﻟﺒﻭ ِ ﺝ ﻋﻠـﻰ ﻁﺎﻋـﺔ ﺨﺭﻭ ﺴ ﹶﺘ ﻬﺩِﻑ ﺍﻟ ﹸ ﻴ ﺦ ﻓﻲ ﺤﺭﺹ ،ﻭﺤﺜﱠﻪ ﻋﻠﻰ ﺃﻥ ﻴ ﹾﻨ ﹸﻔ ﹶ ﺒﺎﻟ ِ ﺨﻔﹸﻭﺕ. ﺠﺩﻴﺩ ،ﻭﻟﻜﻥ ﻓﻲ ﻀﻌﻑ ﻭ ﹸ ـﺘﻬﺩﻑ ـﺎ ﺍﺴـ ـﻭﺭ؛ ﻭﺇﻨﻤـ ﺍﻹﻤﺒﺭﺍﻁـ ﻥ ﻤﻥ ﺸـﺎﻟﻤﺎﻥ. ﻕ ﻁﺎِﻟﺒﺎ ﺍﻟ ﻌ ﻭ ﺍﻟﺒﻭ ِ ل ﺠﻴﺵ ﻁﺒﻭ ِ ﻭﺴﻤﻊ ﺍﻷﻋﺩﺍﺀ ﺩﻗﹼﺎﺕ ﹸ ﺍﻟﺘﺨﻠﺹ ﻤﻥ ﺭﻭﻻﻨﺩ ﻓﺤﺴﺏ .ﻭﺤ ﹶﻜﻡ ﻭﻟﻜﻥ ﺭﻭﻻﻨﺩ ﺍﻟﻌﻨﻴﺩ َﺃﺒﻰ ،ﻭﻟﻡ ﻴﻜﻥ ـﻭﺍ ـﺎﺭﻟﻤﺎﻥ؛ ﻓﻭﻟـ ـﻭﺭ ﺸـ ﺍﻹﻤﺒﺭﺍﻁـ ﺏ( ﻕ ﺭﻭﻻﻨﺩ ﻓﻲ ﺍﻟﺤـ ﺭ ِ )ﻭﻫﻭ ﺭﻓﻴ ﹸ ﺕ ِﻟ ﹶﺘﻭﻫﺎ. ﺸﺎﺭﻟﻤﺎﻥ ،ﻭﻤﺎ ﹶﺘ ﹾ ﻉ ﻋﻥ ﹶﻨ ﹾﻔﺴِﻪِ ﺒﺄﻨﻪ ﻟـﻡ ﻓﻴﺤﺎ ِﻭلُ ﺍﻟﺩﻓﺎ ﺤ ﺒ ﻪ. ﹶﻗﻀﻰ ﹶﻨ alk ﺍﻟﻨﱡﺒﻼ ﺀ ِﺒﺒﺭﺍ ﺀﺘِﻪ ﺃﻭل ﺍﻷﻤﺭ ،ﺒﻴﺩ ﺃﻥ ﻥ ﺍﻹﻤﺒﺭﺍﻁﻭﺭ "ﺜﻴـﺭﻱ" ﺃﺤﺩ ﻓﹸﺭﺴﺎ ِ ﺒ ﺩ ﻤﻥ ﺍﻻﻟﺘِﺤﺎﻡ ﺒﺎﻟ ﻌ ﺩﻭ ﻓﻲ ﻤﻌﺭﻜـﺔ ﻫﺎﺭِﺒﻴﻥ ﺒﻌـﺩ ﺃﻥ ﺒـ ﹶﺫﻟﹸﻭﺍ ﻤﺤﺎﻭﻟـ ﹰﺔ ﺕ ِﺒ ﻬﺯِﻴﻤـﺔ ﻏﻴﺭ ﻤﺘﹶﻜﺎﻓِﺌـﺔ؛ ﺍ ﹾﻨ ﹶﺘﻬـ ﹾ ﺕ ﻜﺒﻴـ ﺭ ﺃﺨﻴﺭ ﹰﺓ ﻟﻘﺘل ﺭﻭﻻﻨﺩ .ﻭﻤﺎ ﹶ ﺞ ﻤﻨﻬﻡ ﻏﹶﻴ ﺭ ﺍﻟﻔﺭﻨﺴﻴﻴﻥ ﺍﻟﺫﻴﻥ ﻟﻡ ﻴ ﹾﻨ ﺍﻷﺴﺎﻗِﻔﺔ ﺘﺭﺒﺎﻥ ﺒﻌﺩ ﺃﻥ ﻗﺎ ﻡ ﺒﻭﺍﺠﺒﻪ ﺤ ﹾﻔﻨﹶﺔ ﺼﻐﻴﺭ ٍﺓ ﻤﻥ ﺍﻟﺭﺠﺎلِ ،ﻋﻠـﻰ ﻓﻲ ﺍﻟﺼﻼﺓ ﻋﻠﻰ ﺃﺭﻭﺍﺡ ﺭِﻓﺎﻗِﻪ ﻓﻲ ﺒﻴﻨﻪ ﻭﺒﻴﻥ "ﺒﻴﻨﺎﺒل" ﻨﺼﻴﺭ ﺠﺎﻨﻴﻠﻭﻥ، ل. ﺴ ِﺘﺒﺴﺎﻟِﻬﻡ ﻓﻲ ﺍﻟﻘِﺘﺎ ِ ﺍﻟﺭﻏﻡ ﻤﻥ ﺍ ﺍﻟﺴﻼﺡ ،ﻭﺃﺼﺒﺢ ﺭﻭﻻﻨﺩ )ﺍﻟﺫﻱ ﻟﻡ ﺤ ﹾﻜ ﻡ ﻭﺍﻨﺘﻬﺕ ﺒﺎﻨﺘﺼﺎﺭ" ﺜﻴﺭﻱ"؛ ﹶﻓ ﹸﻨ ﱢﻔ ﹶﺫ ﺽ ﻋﻠﻰ ﻫﺫﺍ ﺍﻟﺤﻜﻡ ،ﻭﻜـﺎﻥ ﻋ ﹶﺘﺭ ﺍ w. ﺠﺭﺍﺀ ﺫﻟﻙ ﺃﻥ ﺭﺘﱢﺒﺕ ﻤﺒـﺎ ﺭ ﺯ ﹲﺓ ﻤﻥ ﺍﻹﻋﺩﺍ ِﻡ ﺸﻨﻘﹰﺎ ﻋﻠﻰ ﺍﻟﺨﺎﺌِﻥ ﺠﺎﻨﻴﻠﻭﻥ؛ ﹶﻨﺭﻯ ﺃﻭﻟﻴﻔﺭ ﻴﺭﻓﹸﺽ ﻓﻲ ﻫﺫﻩ ﺍﻟﻤﺭﺓ ﹶﺘ ﻤﺴ ﻪ ﺒﺴﻭﺀ( ﻭﺤﻴﺩﹰﺍ ﻓـﻲ ﺴـﺎﺤﺔ ﺦ ﻓﻲ ﺍﻟﺒﻭﻕ ،ﻭﻴﻜﺭﺭ ﻋﺒـﺎﺭﺍﺕ ﺍﻟ ﱠﻨ ﹾﻔ ﹶ ﺱ ﺒـ ﺩ ﹸﻨﻭ ﻤﻨ ﻴﺘِـ ِﻪ ﺍﻟﻘِﺘﺎل ،ﻭﻟﻜﻨﱠﻪ ﺃﺤ ﺢ ﺃﻥ ﻫـﺫﻩ ﺍﻟﻤﻨﻅﹸﻭﻤـﺔ ﺠ ﻭﺍﻟﺭﺍ ِ ﺼﺩِﻴﻘِﻪ ﻗﹸﺒﻴل ﺍﻟﻤﻌﺭﻜﺔ؛ ﻷﻨﻪ ﺃﺩﺭﻙ ل ﺃﻥ ﻴﺤﻁﱢـ ﻡ ﺴـﻴﻔﹶﻪ ﺍﻟﺒﺘﹼـﺎﺭ ﻓﺤﺎﻭَ ﺍﻟﻁﱠﻭﻴﻠﺔ ﻜﺎﻨﺕ ﻓﻲ ﺍﻷﺼل ﻤﺠﻤﻭﻋ ﹰﺔ ﺕ ﺃﻭﺍﻨﹸﻬﺎ .ﻭﺜـﺎ ﺭ ﺃﻥ ﺍﻟﻤﺤﺎﻭﹶﻟ ﹶﺔ ﻗﺩ ﻓﺎ ﹶ "ﺩﺭﻨﺩﺍل" ﺤﺘﻰ ﻻ ﻴﻘﹶـﻊ ﻓـﻲ ﻴـﺩ ﻤﻥ ﺍﻷﻏـﺎﻨﻲ ﺍﻟﺸﹼـﺎﺌﻌﺔ .ﻭﻫﻨـﺎﻙ www.alkottob.com ww ﺸﻬﺩ ﻗﺼﻴﺭ ﻤﺅﺜﱢﺭ ﻭﺭﺍﺌﻊ؛ ﻭﻓﻲ ﻤ ﹾ ﺘﺴﺘﻁﻊ ﻴ ﺩ ﻭﺍﺤﺩ ٍﺓ ﻤﻥ ﺃﻋﺩﺍﺌِـﻪ ﺃﻥ ﺕ ﻋﺩﺍﹶﻟ ﹸﺔ ﺸﺎﺭﻟﻤﺎﻥ. ﻭﻫﻜﺫﺍ ﹶﺘﺤ ﱠﻘ ﹶﻘ ﹾ ٧١ "ﺘﻭﺭﻭﻟﺩ" ﺍﻟﺫﻱ ﻭ ﺭ ﺩ ﻓﻲ ﺨِﺘﺎﻡ ﺃﻗﺩﻡ ﺤﻤـﺔ. ﹶﻓﺠﻭ ﹰﺓ ﺒﻴﻥ ﺍﻟﺘﺎﺭِﻴﺦ ﻭﺒﻴﻥ ﺍﻟ ﻤ ﹾﻠ ﻕ ﺃﻭ ﺍﻟﺸﱠﺭﺡ. ل ﺒﺎﻟﺘﱠﻌﻠِﻴ ِ ﺨَ ﺩﻭﻥ ﺃﻥ ﻴ ﹶﺘﺩ ﱠ ﺤ ﻤ ِﺔ ﻤﻭﺠﻭﺩﺓ ﺇﻟـﻰ ﻤﺨﻁﻭﻁﺔ ِﻟ ﹾﻠ ﻤ ﹾﻠ ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﻗِﺼﺔ ﺭﻭﻻﻨﺩ ﻗﺩ ﹶﻨﺒﺘﹶـﺕ ﺸﺨﹸﻭﺼِـﻪ... ﻉ ﺒﻴﻥ ﹸ ﻭَﺃ ﺒﺭﺯ ﺍﻟﺼﺭﺍ ﺍﻵﻥ ﻓﻲ ﻤﻜﺘﺒﺔ ﺒﻭ ﺩﻟِﻴﺎﻥ ﺒُﺄﻜﹾﺴﻔﹸﻭﺭﺩ؛ ﻓﻲ ﻜﹶﻨﺎﺌِﺱِ ﺭﻭﻨﺴﻴﻔﻭ ﻤﻨﺫ ﻋﻬﺩ ﻤﺒﻜﱢﺭ ﺒﻴﻥ ﺭﻭﻻﻨﺩ ﻭﺠـﺎﻨﻴﻠﻴﻭﻥ ...ﺒـﻴﻥ ﻤﺠﺭﺩ ﻨﺎﺴِﺦ ﺃﻭ ﻨﺎﻗل ﺃﻭ ﻤ ﹾﻨﺸِﺩ؟ ﺍﻟﻘﺎﹶﻟﺏ ﺍﻟﺸـﻌﺭِﻱ ﺇﻻ ﻓـﻲ ﺍﻟﻘـﺭﻥ ﺠﺎﻨﻴﻠﻭﻥ ﻭﺸﺎﺭﻟﻤﺎﻥ ...ﺒﻴﻥ ﺭﻭﻻﻨﺩ ﻱ ﻋﺸ ﺭ .ﻭﻤﻥ ﺍﻟ ﻤ ﱠﺘﻔﹶﻕ ﻋﻠﻴـﻪ ﺍﻟﺤﺎ ِﺩ ﻭﺃﻭﻟﻴﻔﺭ. m ـﻭل ﻥ ﺤـ ـﻴ ﺴـ ـﻴﻥ ﺍﻟﺩﺍ ِﺭ ِ ـﻼﻑ ﺒـ ﺨـ ِ ﺴﱠﻠ ِﻡ ﺒـﻪ ﺃﻥ ﻫﻨـﺎﻙ ﻭﺃﺼﺒﺢ ﻤﻥ ﺍﻟ ﻤ ﺕ ﻲ( ﺍﻟﺸﱠﺨﺼِـﻴﺎ ِ ﺠ ﻤﻌِـ ﺍﻟﻭِﺠﺩﺍﻥ ﺍﻟ ﻫل ﻫﻭ ﺍﻟﺸﹼﺎﻋﺭ ﺍﻟﺫﻱ ﺃﺒـ ﺩﻋﻬﺎ ﺃﻭ .co ﻭﺘﺨﺘﻠﻑ ﺃﺒﻴﺎﺘﹸﻬﺎ ﻓـﻲ ﺍﻟﻁﱡـﻭل، ﺨﻤﺴﺔ ﺍﻟﺘﱠﻔﺎﻋِﻴل ،ﻭ ﹶﺘ ﹾﻨﺘﹶﻬـﻲ ﻭﻫﻲ ﻤ ﹶ ﺒﻘﺎﻓِﻴ ٍﺔ ﻭﺍﺤﺩﺓ؛ ﻫﻲ ﹶﻜﻠِﻤﺔ ﻟﻡ ﻴﻭﻓﱠـﻕ ـﻴﻥ ـﻴﻠﻴﻭﻥ ...ﺒـ ـﺎﻨﻴﻠﻭﻥ ﻭﻤﺎﺭﺴـ ﺠـ ﺴ ﹶﺘ ﹾﻜﻤِلِ ﻴﻜﺘﻨﻔﻪ ﺍﻟ ﹸﻐﻤﻭﺽ؛ ﻓﺈﻨﻬﺎ ﻟﻡ ﹶﺘ ﺒﺼﻔﺔ ﻋﺎﻤﺔ ﺃﻥ ﺃﻏﻨﻴـﺔ ﺭﻭﻻﻨـﺩ ﻋ ﺭ ﻭﻓﻲ ﻫﺫﻩ ﺍﻟﻤﺸﺎ ِﻫ ِﺩ ﻋﺒﺭ ﺍﻟﺸﹼﺎ ِ ﺠﺩﺕ ﺒﺎﻟﻔﻌل ﻗﺒل ﻫﺫﻩ ﺍﻟ ﻤ ﹾﻨﻅﹸﻭﻤـﺔ ﻭ ِ ﺨ ﹶﺘﻠِﻔـﺔِ ﻟﻺﻗﻁـﺎﻉ ﻋﻥ ﺍﻟﻤﻔﺎﻫِﻴﻡ ﺍﻟ ﻤ ﹾ ﺍﻟﻤﺘﻜﺎﻤِﻠﺔ ﺍﻟﻤﻌﺭﻭﻓﺔ ﺍﻵﻥ ،ﻭﻟﻡ ﺘﻜﻥ ل ﻓـﻲ ﺤ ِﻤ ُ ﺘﹶﻌﺒﻴﺭﺍ ﺩِﺭﺍ ِﻤﻴﺎ ﻭﺇﻨﺴﺎﻨﻴﺎ ﻴ ﺠﻤﺕ ﻓـﻲ ﺍﻟﻘـﺭﻥ ﺍﻟ ﻤ ﹾﻠﺤﻤ ِﺔ ﺃﻥ ﺘﹸﺭ ِ ﺨ ﹶﺘﻠِﻑ ﻋﻨﻬـﺎ ﻓـﻲ ﺍﻟﻤﻀـﺎﻤِﻴﻥ ﹶﺘ ﹾ ﺤ ﹾﺘ ِﻤ ﻴ ِﺔ ﺍﻟﻨﱢﻬﺎﻴـ ِﺔ ﺃﻋﻁﺎﻓِﻪ ﹶﻟﻤﺤﺎﺕٍ ﻤﻥ ﻲ ﻋﺸــ ﺭ ﺇﻟــﻰ ﺍﻟﻼﱠﺘﻴﻨﻴــﺔ ﺍﻟﺜــﺎﻨ ﺢ ﺃﻨﻬﺎ ﻭﺠِﺩﺕ ﻓﻲ ﺠ ﺴ ﻴ ِﺔ .ﻭﺍﻟﺭﺍ ِ ﺍﻷﺴﺎ ِ ﺕ ﻓــﻲ ﺍﻟ ﻤ ْﺄﺴــﺎ ِﻭﻴﺔ ﻜﻤــﺎ ﺒــ ﺭ ﺯ ﹾ ﺼﺩﺭ ﺍﻹﻟﻬـﺎﻡ ﻭﺍﻷﻟﻤﺎﻨﻴﺔ ،ﻭﻜﺎﻨﺕ ﻤ ﻱ ﻋﺸـ ﺭ ﻤﻨﺘﺼﻑ ﺍﻟﻘـﺭﻥ ﺍﻟﺤـﺎ ِﺩ ل ﺍﻟﺘﺭﺍﺠﻴﺩﻴﺎ ﺍﻟﻴﻭﻨﺎﻨﻴﺔ .ﻭﻤﻬﻤـﺎ ﻗِﻴـ َ ﻟﻌﺩ ٍﺩ ِﻜﺒِﻴ ٍﺭ ﻤﻥ ﺍﻟﺸﱡﻌﺭﺍﺀ؛ ﻓﻘﺩ ﹶﻨﻅﹶـ ﻡ ﺏ ﻋ ﺘﻘﺭﻴﺒﺎ ،ﻭﺃﻨﻬـﺎ ﻜﺎﻨـﺕ ﹶﺘﺴـﺘﹶﻭ ِ ﻋ ٍﺭ ﻋﻥ ِﻨﺴﺒﺔ ﻫﺫﻩ ﺍﻷﻏﻨﻴـﺔ ﻟﺸﹼـﺎ ِ ﺍﻟﺸﱡﻌﺭﺍﺀ؛ ﺃﻤﺜﺎل ﺠﻭﺘـﻪ ،ﻭﺸـﻴﻠﺭ، ﻭﺠﺎﻨﻴﻠﻭﻥ. ﻲ ﻤﻭﺼـﻭل ﺍﻟﺤﻴـﺎﺓ ﻉ ﺸﹶـﻌ ِﺒ ﺇﺒﺩﺍ ٍ ott ob ﻉ ﺃﺤ ﺩ ﺇﻟﻰ ﺘﺭﺠﻤﺘﻬﺎ .ﻭﺒﹶﻠ ﹶﻎ ﻤﻥ ﹸﺫﻴﻭ ِ ل ﺕ ﺭﻭﻻﻨﺩ ﹶﻨ ﹶﻔ ﺭ ﻤﻥ ﹸﻓﺤـﻭ ِ ﻓﻲ ﻤﻭ ِ ﺸﺨﺼــﻴﺎﺕ ﺃﻭﻟﻴﻔــﺭ ﻭﺘﺭﺒــﺎﻥ ﻭﺍﺤﺩٍ؛ ﻓﺈﻨﻬﺎ ﻤﻥ ﻏﻴﺭ ﺸـﻙ ﹶﺜﻤـﺭﺓ ﻭﺒﺭﻨﻲ ،ﻭﺒﻭﺭﻴﻴـﻪ ،ﻭﺩﻱ ﻟﻴﻤـﻲ. ﺴ ﱠﻜ ﹸﺔ ﺍﻟﻤﻀﺭﻭﺒﺔ ﻓﻲ ﺫﻟﻙ ﺍﻟﻌﻬـﺩ، ﺍﻟ ﻨﺎﻀِﺠﺔ ﻟﻤﺠﻤﻭﻋﺔ ﻤـﻥ ﺍﻷﻏـﺎﻨﻲ ﻭﻴﺴﺘﻁﻴﻊ ﺍﻟﻨﻘﺎ ﺩ ﺇﺤﺼﺎ ﺀ ﻜﺜﻴﺭ ﻤـﻥ ﻭﺃﺨﺒﺎﺭ ﺍﻟﻌﻼﻗﺎﺕ ﺍﻟﺩﺒﻠﹸﻭﻤﺎﺴﻴﺔ ،ﺒﺄﻨﻪ ﺭﻭﻻﻥ؛ ﻻ ﻓﻲ ﺸﹶﻤﺎل ﻓﺭﻨﺴﺎ ﻓﻘـﻁ، "ﺭﻭﺩﻻﻨﺩﻭﺱ" ﺃﻭ "ﺭﻭﺘﻭﻻﻨـﺩﻭﺱ" ﻭﻟﻜﻥ ﻓﻲ ﺠﻨﻭﺒﻬﺎ ﻭﻓـﻲ ﺇﺴـﺒﺎﻨﻴﺎ ﺒﻴﻥ ﺤﺎﺸﻴﺔ ﺍﻹﻤﺒﺭﺍﻁﻭﺭ ﺸﺎﺭﻟﻤﺎﻥ. ﻭﺇﻴﻁﺎﻟﻴﺎ ﻭﻏﻴﺭﻫﺎ. ﻭﺃﻭﺭﺩ ﺇﻴﻨﻬﺎﺭﺕ ﺍﺴﻡ "ﺭﻭﻻﻨﺩ ﺤﺎﻤﻲ ﺍﻷﻋﻤﺎل ﺍﻷﺩﺒﻴﺔ ﺍﻟﺘﻲ ﺘﺄﺜﱠﺭﺕ ﺒﺄُﻏﻨﻴﺔ alk ﻭﺒﻭﻟﺸﻲ ،ﻭﺒﻭﻴﺎﺭﺩﻭ ،ﻭﺃﺭﻴﻭﺴـﺘﻭ، ﻭﻫﻨﺎﻙ ﺒﺭﻫﺎﻥ ﻗـﺎﻁِﻊ ﺴـﺠﻠﺘﻪ ﻭﺍﻟﺘﻘﺎﻟﻴﺩ ...ﺇﻥ ﺃﻏﻨﻴﺔ ﺭﻭﻻﻨﺩ ﺜﻤﺭﺓ ﺹ ﺍﺴــﻤﻪ ﻗــﺩ ﻭﺠِــ ﺩ ﺸﹶــﺨ ﺍﻟﺸﱠﻌﺒﻴﺔ ﺍﻟﺘﻲ ﺘﻘﺎﺒل ﺍﻟﻤﻼﺤﻡ ﺍﻷﺩﺒﻴﺔ، ﺕ ﻓﻲ ﺍﻟ ﻌﺼﻭ ِﺭ ﻭﺇﻥ ﻜﺎﻨﺕ ﻗﺩ ﺘﻜﺎ ﻤﹶﻠ ﹾ w. ﻲ ﻋﻠﻰ ﺍﻟﻤﻭﺍﺯ ﹶﻨﺔِ ﺒﻴﻥ ﺍﻟﻭﻗـﺎﺌﻊ ﺍﻷﺩﺒ ﺒﻌﺩ ﺃﻥ ﺘﻜﺎ ﻤﻠﹶﺕ ﻓﻲ ﻫﺫﻩ ﺍﻟ ﹶﻘﺼِـﻴﺩﺓ ﺍﻟﺘﺎﺭﻴﺨﻴﺔ ﻤﻥ ﻨﺎﺤﻴﺔ ﻭﺒﻴﻥ ﺍﻷﺤﺩﺍﺙ ل ﺍﻟﻁﱠﻭﻴﻠﺔ ﻤﺒﺎﺸِﺭ ﻭ ﻤ ﱠﺘﺯِﻥ ﻭﺠﺎ ﺩ ﻭﺨﺎ ٍ ﺕ ﻓـﻲ ﺼﻴﺎﺕ ﺍﻟﺘـﻲ ﻭ ﺭ ﺩ ﹾ ﻭﺍﻟﺸﱠﺨ ِ ﺨﺭﻑ .ﻭﻓﻲ ﻫﺫﻩ ﺍﻟﻤﻠﺤﻤـﺔ ﻤﻥ ﺍﻟ ﺯ ﹾ ﺃُﻏﻨﻴﺔ ﺭﻭﻻﻥ ﻤﻥ ﻨﺎﺤِﻴﺔ ﺃﺨـﺭﻯ. ﺴ ﻡ ﺍﻟﺸﹼﺎ ِ ﻋﺒـ ﺭ ﻋـﻥ ﻋ ﺭ )ﺍﻟـﺫﻱ ﺭ www.alkottob.com ﻀﻤﻬﺎ ﺍﻟﺩﺍ ِﺭﺴﻭﻥ ﺇﻟـﻰ ﺍﻟﻤﻼﺤـﻡ ﻴ ﺏ ﺍﻟﻤﻠﺤﻤـﺔ ﻓﻲ ﺭﻭﻨﺴﻴﻔﻭ .ﻭﺃُﺴﻠﹸﻭ ﺍﻟﻭﺴﻁﹶﻰ. ﺍﻷُﻏﹾﻨِﻴﺔﹸ ﺍﻟﺸﻌﺒِﻴﺔ ww ﻑ ﺍﻟ ﻌﻠﹶﻤـــﺎ ﺀ ﻋﻜﹶـــ ﹶ ﻭﻟﻘـــﺩ ﺤﺩﻭﺩ ﺒﺭﻴﺘﺎﻨﻲ" ﺒﻴﻥ ﻗﺎﺌﻤﺔ ﺍﻟﻘﺘﻠـﻰ ﺱ ﺨﺼﺼﻭﻥ ﻓﻲ ﻫـﺫﺍ ﺍﻟﺠـﻨ ِ ﺍﻟ ﻤ ﹶﺘ ﹶ ﺍﻟﺸﱠﻌﺒﻴﺔ ﺍﻟﺴﺎﺒِﻘﺔ ﻋﻠﻴﻬـﺎ؛ ﻭﻟـﺫﻟﻙ FOLK SONG ﻲ ﻭﺍﻟﻤﻭﺴـﻴﻘﹶﻰ ﻫﻲ ﺍﻟﺸﱢﻌ ﺭ ﺍﻟﺸﱠﻌﺒ ﺤ ﺒ ﹸﺔ ﻟـﻪ ﺍﻟﻠـﺫﺍﻥ ﺘﹸﺭﺩﺩﻫﻤـﺎ ﺍﻟﻤﺼﺎ ِ ﺕ ﺍﻟﺘـﻲ ﻴﻨﺘﺸـﺭ ﺃﺩﺒﻬـﺎ ﺍﻟﺠﻤﺎﻋﺎ ﹸ ٧٢ ﺍﻟﺘﺩﻭﻴﻥ ﻭﺍﻟﻁﱢﺒﺎﻋﺔ .ﻭﻴﺫﻫﺏ ﺃﻜﺜـ ﺭ ل ﺍﻟﺸﱢـﻌ ﺭ ﻭﺍﻷﻏﻨﻴـﺔ ﺍﻟﺸﻌﺒﻴﺔ ﺘﻘﺎ ِﺒ ُ ﻉ". ﻕ "ﺍﻟﺴﻤﺎ ِ ﺒﻁﺭﻴ ِ ﺕ ﺠﻤﺎﻋـﺎ ِ ﺍﻟﺩﺍﺭِﺴﻴﻥ ﺇﻟﻰ ﺃﻥ ﻫﺫﻩ ﺍﻟ ـﺔ، ـﺎﺌﻌﺔ ﺃﻭ ﺍﻟﺩﺍﺭِﺠـ ﺸـ ـﻌﺒﻴﺔ ﺍﻟ ﹼ ﺍﻟﺸـ )ﻭﻫﻲ ﻤﻥ ﺃﻫل ﺍﻟﺭﻴﻑ ﻓﻲ ﺍﻷﺼل( ﻭﻤﻭﺴﻴﻘﻰ ﺍﻟﻤﺩﻴﻨﺔ. m ـﻁﺔ ـﻔﻭﻴﺔ ﻻ ﺒﻭﺍﺴـ ـﺔ ﺍﻟﺸﱠـ ﺒﺎﻟﺭﻭﺍﻴـ ﺍﻟﺸﻌﺒﻴ ﹶﺔ ﺍﻟﺘﻲ ﺘﺴﺘﻭﻋﺏ ﺍﻟﻤﻭﺴـﻴﻘﹶﻰ ﺽ ﺍﻷﻓﺭﺍﺩ ﻋﻠﻰ ﺃﺩﺍﺌِﻬﺎ ﻭﺘﺩﺭﺏ ﺒﻌ ﻅ ﺤﺘِﻔـﺎ ِ ﺃﻗﺩ ﺭ ﻤﻥ ﻏﻴﺭﻫﺎ ﻋﻠـﻰ ﺍﻻ .co ﺒﻘﺩ ٍﺭ ﻤﻥ ﺍﻟﺜﹼﻘﺎﻓﺔ ﺍﻟﻘﹶﺩﻴﻤﺔ ﺍﻟﺼـﺎﺩِﺭﺓ ﻑ ﻫﺫﻩ ﺤ ﺩ ِﺓ ﺍﻟﻘﻭﻤﻴﺔ ﺍﻟﺘﻲ ﻴﺅﻟﱢ ﹸ ﻤﻥ ﺍﻟ ﻭ ﺕ ﺠﺯﺀﺍ ﻤﻨﻬﺎ ،ﻭﻫﻲ ﺒﺫﻟﻙ ﺍﻟﺠﻤﺎﻋﺎ ﹸ ﻥ ﺒﻤﺎ ﺘﻘﻭﻡ ﻋﻠﻴﻪ ﻥ ﺍﻟ ﻤ ﺩ ِ ﻀلُ ﺴﻜﺎ ﹶﺘ ﹾﻔ ﺽ ﺇﻟﻰ ﻤﺎ ﻴﺸﺒ ﻪ ﺍﻟﺩﻭﻟﻴـﺔ ،ﻭ ﹶﺘ ﹶﺘﻌـ ﺭ ﺕ ﺴﺭﻴﻌﺔ ﻓﻲ ﺃﻨﻤﺎﻁ ﺕ ﻭﺘﻘﻠﱡﺒﺎ ٍ ﻟﺘﻐﻴﺭﺍ ٍ ﺍﻟﺤﻴﺎﺓ .ﻭﺍﻷﻏﻨﻴﺔ ﺍﻟﺸﱠـﻌﺒﻴﺔ ﺒﻬـﺫﺍ ﺕ ﺤﻠﹶﻘـﺎ ِ ﺴﻴﺔ ﻤﻥ ﺤﻠﹾﻘﺔ ﺃﺴﺎ ِ ﺍﻟﻤﻔﻬﻭﻡ ل ﹶﺜﻘﹶﺎﻓﹶـ ﹶﺔ ﺍﻟﺜﱠﻘﺎﻓ ِﺔ ﺍﻟﺸﱠﻌﺒﻴ ِﺔ ﺍﻟﺘﻲ ﺘﹸﻘﺎﺒِـ ُ ﺍﻟ ﻤﺩﻥ. ل ﻋﻠﻰ ﻭﻤﻔﻬﻭﻡ "ﺍﻟﺸﱠﻌﺏ" ﻜﻤﺎ ﺘﺩ ﱡ ﻋﺒﻬﺎ ﺤﺎﻓِﻅ ﹸﺔ ﺠﻤﺎﻋ ٍﺔ ﹶﺘﺼـ ﺩ ﺭ ﺴ ﹶﺘ ﻭ ِ ﹶﺘ ﻭ ﹶﺘ ﺯﺩﻫِ ﺭ ﺍﻷﻏﻨﻴ ﹸﺔ ﺍﻟﺸﱠـﻌ ِﺒﻴ ﹸﺔ ﻓـﻲ ﻥ ﻕ ﻭﺠﻭﺩِﻫﺎ ﻋـﻥ ﻭِﺠـﺩﺍ ٍ ﻓﻲ ﺘﹶﺤﻘﻴ ِ ﻤﻨﺎﻁﻕ ﺍﻟﺭﻴﻑ ﻓﻲ ﺠﻤﻴـﻊ ﺃﻨﺤـﺎﺀ ﺸ ﻌﺒِﻲ. ﹶ ـﺔ ـﺎ ﺍﻟﻐﺭﺒﻴـ ـﻲ ﺃﻭﺭﺒـ ـﺎﻟﹶﻡ ...ﻓـ ﺍﻟﻌـ ﻅ ﺍﻟ ﺩﺍﺭِﺴﻭﻥ ﺃﻥ ﺍﻷﻏﻨﻴ ﹶﺔ ﻭﻟﻘﺩ ﻻﺤ ﹶ ﻭﺃﻤﺭﻴﻜﺎ ﻭﻓﻲ ﺍﻟﺸﱠﺭﻕ ﻋﻠﻰ ﺍﺨﺘﻼﻑ ﺨ ﹸﺫ ﻓﻲ ﺍ ﹾﻨﺘِﺸﺎﺭِﻫﺎ ﻁﺭﻴﻘﻴﻥ ﺍﻟﺸﱠﻌﺒِﻴ ﹶﺔ ﹶﺘﺘﱠ ِ ﺭﺒﻭﻋﻪ .ﻭﻟﻘﺩ ﻅﻬﺭﺕ ﻓﻲ ﺍﻵﻭِﻨـﺔ ﻑ ل ﻤﻥ ﺍﻟ ﺭ ِ ﺠ ﻪ ﺍﻷﻭ ُ ﻤﺘﹶﻌﺎﺭِﻀﻴﻥ؛ ﻴ ﱠﺘ ِ ﺍﻷﺨﻴﺭﺓ ﻋِﻨﺎﻴ ﹲﺔ ﻤ ﹾﻠﺤﻭﻅ ﹲﺔ ﺒـﺎﻵﺩﺍﺏ ﺠﻤﺎﻋ ﹰﺔ ﻻ ﺘﺘﻌـﺭﺽ ﻟﻤﺜـل ﻤـﺎ ﺘﺘﻌﺭﺽ ﻟﻪ ﺍﻟ ﻤ ﺩ ِﻨ ﻴ ﹸﺔ ﻤـﻥ ﺍﻟﺘﻨـﻭﻉ ﻭﺍﻟﻤﻐﺎ ﻴ ﺭ ِﺓ ﻓﻲ ﺍﻟﺜﹼﻘﺎﻓﺔ ﻭﺍﻻﻗﺘﺼـﺎﺩ ﻓﺈﻥ ﺃﻓـﺭﺍ ﺩ ﺍﻟﺠﻤﺎﻋـ ِﺔ ﻴﻌﺭﻓـﻭﻥ ـﺎﺓ ـﺎﻁ ﺍﻟﺤﻴـ ـﻲ ﺃﻨﻤـ ـﻬﻤﻭﻥ ﻓـ ﻭﻴﺴـ ﻭﻤﻨﻬﺎ ﺍﻷﻏﺎﻨﻲ؛ ﺫﻟﻙ ﻷﻥ ﹶﻨﺼِـﻴﺏ ﺍﻟ ﹶﻔﺭ ِﺩ ﻤﻥ ﺍﻟﺜﱠﻘﺎﻓﺔ ﻴﻜﺎﺩ ﻴﻌﺎﺩِل ﹶﻨﺼِﻴﺏ ﺍﻵﺨﺭ .ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﺍﻟﺜﱠﻘﺎﻓﺔ ﺍﻟﺸـﻌﺒﻴﺔ ل ﺜﹶﻘﺎﻓ ﹶﺔ ﺍﻟ ﻤ ﺩﻨﱢﻴﺔ؛ ﻓﺈﻥ ﺍﻷﻏﻨﻴـ ﹶﺔ ﺘﻘﺎ ِﺒ ُ ﺍﻻﺠﺘﻤﺎﻋﻲ ﻓﻲ ﺍﻟﻤﺩﻴﻨﺔ ﺇﻟﻰ ﺍﻟ ِﻘﻤـﺔ، ﺍﻟﻤﻭﻀﻭﻋﺎﺕ ﺍﻟﺘﻲ ﹶﺘﺭ ﱠﻜﺯ ﺤﻭﻟﹶﻬـﺎ ﻅ ﻫﺫﺍ ﺍﻻﺘﱢﺠـﺎ ﻩ ﺒﺎﻷﺸـﻜﺎل ﺤ ﹶﺘﻔِ ﹸ ﻭﻴ ﺍﻻﻫﺘﻤﺎ ﻡ ﺍﻷﻏﻨﻴ ﹸﺔ ﺍﻟﺸﻌﺒﻴﺔ .ﻭﻴﺠـﺏ ﺕ ﻭﺍﻷﻟﹾﺤﺎﻥ ﻭﺍﻟ ﹶﻜﻠِﻤﺎﺕِ ﺍﻟﺘﻲ ﺼـ ﺩ ﺭ ﹾ ﺠ ﺩ ﻀﺤﺎ ﺃﻨﻪ ﻻ ﻴﻜﺎﺩ ﻴﻭ ﺃﻥ ﻴﻜﻭﻥ ﻭﺍ ِ ﻋﻥ ﻤﺭﺤﹶﻠﺔٍ ﺴﺎﺒِﻘﺔ ﻤـﻥ ﻤﺭﺍﺤـل ﺤﻀـ ِﺭﻴﺔ ﺘﻨﺎﻗﹸﺽ ﺒﻴﻥ ﺍﻟﺠﻤﺎﻋﺎﺕ ﺍﻟ ﺍﻟﺜﱠﻘﺎﻓﹶﺔ .ﺃﻤﺎ ﺍﻻﺘﱢﺠﺎ ﻩ ﺍﻟﺜﹼـﺎﻨﻲ؛ ﻓﻬـﻭ ﻭﺍﻟﺭﻴﻔﻴﺔ ﻋﻨﺩ ﺍﻟﺸـﻌﻭﺏ ﺍﻟﺒﺩﺍ ِﺌﻴـﺔ، ﻷﻤﻴﺔ ،ﻭﻟﻴﺱ ﻫﻨﺎ ﺏ ﻋﻠﻴﻬﺎ ﺍ ُ ﺍﻟﺘﻲ ﹶﺘ ﹾﻐِﻠ ﺠ ﻪ ﻤﻥ ﺍﻟﻤﺩﻴﻨﺔ ل ﻴ ﱠﺘ ِ ﺱ ﺍﻷ ﻭ ِ ﻋ ﹾﻜ ِ ﻋﻠﻰ ﻤﺠﺎل ﺍﻟﺘﻌـﺭﺽ ﻷﻏﻨﻴـﺎﺕ ﻫـﺫﻩ ﺍﻟﺸﻌﻭﺏ. ﻭﺍﻷﻏﻨﻴ ﹸﺔ ﺍﻟﺸﱠﻌﺒﻴ ﹸﺔ ﻜﻐﻴﺭﻫﺎ ﻤـﻥ ل ﺒﺎﻟﻜﻠﻤ ِﺔ ﺴُ ﻉ ﺍﻟﻔﻨﱢﻴ ِﺔ ﺍﻟﺘﻲ ﹶﺘ ﹶﺘﻭ ﺍﻷﻨﻭﺍ ِ ﺵ ﻓﻲ ﺍﻷﻏﻠﺏ ﺍﻷﻋﻡ؛ ﺇﻨﻤـﺎ ﹶﺘﻌِـﻴ ﹸ ﺇﻟﻰ ﺍﻟﻘﺭﻴﺔ ﺃﻭ ﺇﻟﻰ ﺍﻟﺭﻴـﻑ ،ﻜﻤـﺎ ﻴﺘﱠﺠﻪ ﻤﻥ ِﻗ ﻤ ِﺔ ﺍﻟ ﻬ ﺭ ِﻡ ﺍﻻﺠﺘﻤﺎﻋﻲ ﻓﻲ ل ﻫـﺫﺍ ﺴ ﹾﻔﺤِﻪ ،ﻭﻴﺤﻤـ ُ ﺍﻟﻤﺩﻴﻨﺔ ﺇﻟﻰ ل ﺍﻻﺘﱢﺠﺎ ﻩ ﻓـﻲ ﺃﻋﻁﺎﻓِـ ِﻪ ﺍﻷﺸـﻜﺎ َ ﻼ ﻥ ﻭﺍﻟ ﹶﻜﻠِﻤﺎﺕ ﺍﻟﺘﻲ ﺘﹸﺅﻜﱢﺩ ﻤ ﹸﺜ ﹰ ﻭﺍﻷﻟﺤﺎ ﺕ ل ﺒـﻴﻥ ﺍﻷﻓـﺭﺍ ِﺩ ﻭﺍﻟﺒﻴﺌـﺎ ِ ﻭﺘﹶﻨ ﹶﺘ ﱠﻘ ُ ل ﺒﻭﺍﺴﻁﺔ ﺍﻟﺭﻭﺍﻴﺔ ﺍﻟﺸﱠﻔﻭﻴﺔ. ﻭﺍﻷﺠﻴﺎ ِ ﻅ ﺍﻟﺩﺍ ِﺭﺴﻭﻥ ﺃﻥ ﺍﻟ ﻤ ﹶﻐﻨﱢـﻴﻥ ﻭﻗﺩ ﻻﺤ ﹶ ﻲ ﺍﻟﺸﱠﻌﺒﻴﺔ ﻻ ﻥ ﺍﻷﻏﺎﻨ ﺍﻟﺫﻴﻥ ﻴ ﺭ ﺩﺩﻭ ﻴﻌﺘﻤﺩﻭﻥ ﻋﻠﻰ ﺍﻟﺘﱠﺩﻭﻴﻥِ؛ ﺤﺘﹼﻰ ﻭﻟـﻭ ﻜﺎﻨﻭﺍ ﻋﻠﻰ ﺤﻅ ﺒﻤﻌﺭﻓ ِﺔ ﻤﻥ ﺍﻟﻘِﺭﺍﺀﺓ ﻭﺍﻟ ِﻜﺘﺎﺒﺔ ،ﻓﺎﻷﻏﺎﻨﻲ ﺍﻟﺸﱠﻌ ِﺒﻴ ﹸﺔ ﺘﹸﻌﻠﱠـﻡ ﻓﻴﻤﺎ ﻴﺘﹶﺠـﺎﻭﺯ ﺍﻟﻘﺭﻴـﺔ ﻭﺍﻟﻤﺩﻴﻨـﺔ، ﻭﺘﹸﻌﺒﺭ ﻋﻥ ﻭِﺠـﺩﺍﻥ ﺃ ﻭﺴـ ﻊ ﻫـﻭ ل ﻓﻲ ﺍﻟﻭﻗﺕ ﻥ ﺍﻟﻘﻭﻤﻲ ،ﻭﺘﻌﻤ ُ ﺍﻟﻭِﺠﺩﺍ ww ـﻭﻥ ـﺎﺭِﻑ ﻭﺍﻟ ﹸﻔ ﹸﻨـ ـﺎﺩﺍﺕ ﻭﺍﻟﻤﻌـ ﻭﺍﻟﻌـ ﻥ ﺍﻟﺸﱠﻌﺒِﻴﺔِ ،ﻭﻜﺎﻥ ﻋﻠﻰ ﺭﺃﺱ ﻭﺍﻟ ﹸﻔﻨﹸﻭ ِ w. ﻭﻤﺭﺍﺤِل ﺍﻟﺘﱠﻌﻠِﻴﻡ ﻭﺃﻨﻭﺍﻋﻪ .ﻭﻟـﺫﻟﻙ ﺢ ﺍﻟﻜﻴـﺎﻥ ﺴ ﹾﻔ ِ ﺇﻟﻰ ﺍﻟﻤﺩﻴﻨﺔ ،ﺃﻭ ﻤﻥ alk ﺕ ﺍﻟﺸﱠﻌﺒﻴﺔ؛ ﺇﻨﻤﺎ ﻴﻌﻨﻲ ﺫﻟﻙ ﺍﻟﻤﺄﺜﹸﻭﺭﺍ ﹸ www.alkottob.com ﻫﻭ ﺃﻨﻬﺎ ﺍﻷﻏﺎﻨﻲ ﺍﻟ ﻤ ﺭﺩﺩﺓ ،ﻭﺍﻟﺘـﻲ ott ob ﻤﻥ ﺤﻀﺎ ﺭ ٍﺓ ﻤﻌﻘﱠﺩﺓ ﹶﺘﺘﹶﺠﺎﻭ ﺯ ﺍﻟﻘﻭﻤﻴﺔ ﺨﻴﺭ ﺘﹶﺤﺩﻴ ٍﺩ ﻟﻸﻏﻨﻴﺔ ﺍﻟﺸﱠﻌﺒﻴﺔ ﻭﺇﻥ ﹶ ﺢ ﺍﻟﻜﻴـﺎﻥ ﻨﻔﺴﻪ ﻋﻠﻰ ﺇﻤـﺩﺍﺩ ﺴـ ﹾﻔ ِ ﺍﻻﺠﺘﻤﺎﻋﻲ ﻓـﻲ ﺍﻟﻤﺩﻴﻨـﺔ ﻭﺃﻫـل ﻁ ﺠﺩﻴـﺩﺓ ﻭﺘﻌﺒﻴـﺭﺍﺕ ﺍﻟﺭﻴﻑ ﺒﺄﻨﻤﺎ ٍ ﻕ ﻁﺩِ ﻡ ﺒﺎﱠﹼﻟﺫﹸﻭ ِ ﺼﹶ ﺠﺩﻴﺩﺓ ،ﻭﻜﺜﻴﺭﺍ ﻤﺎ ﹶﺘ ٧٣ ﻭﻻﺀﻤﺕ ﺒﻴﻥ ﻤﺎ ﻓﻴﻬﺎ ﻤـﻥ ِﺒﺩﻋـ ٍﺔ ﺍﻷﻏﻨﻴ ِﺔ ﺍﻟﺸﱠﻌ ِﺒ ﻴ ِﺔ ﻭﺘﺤﺩﻴـﺩِﻫﺎ ﻫـﻭ ﻅ ﺁﻻﻑ ﺤ ﹾﻔ ـ ِ ﻥ ِﺒ ِ ﺸ ـ ﹸﺘ ِﻬ ﺭ ﺴ ـﻨﹼﺎﺕ ﺍ ﹾ ﻤ ِ ﻕ ﺍﻟﺸﱠﻌﺒﻲ؛ ﻓﺈﻨﻬﺎ ﺘﺼﺒﺢ ﻭﺒﻴﻥ ﺍﻟﺫﱠﻭ ِ ﻕ ﺍﻟﺭﻭﺍﻴـ ِﺔ ﺍ ﹾﻨﺘِﺸﺎﺭﻫﺎ ﻋـﻥ ﻁﺭﻴـ ِ ﺍﻷﻏﺎﻨﻲ. ﻋﻠﻰ ﺍﻟﻤﺩﻯ ﺍﻟﻁﱢﻭﻴل ﺃﻏﻨﻴ ﹰﺔ ﺸﻌﺒﻴ ﹰﺔ. ﺸ ﹶﻔﻭِ ﻴﺔِ. ﺍﻟ ﱠ ﺕ ﺍﻷﻏﻨﻴـﺔ ﺍﻟﺸـﻌﺒﻴﺔ ﻭﻤﻥ ﺴِﻤﺎ ِ ﻲ ﺍﻟﻤﻤﺘﺎﺯ ﻫﻭ ﺍﻟﺫﻱ ﻴﺴﺘﻁﻴﻊ ﺍﻟﺸﱠﻌ ِﺒ ﺕ ﻥ ﻭﻜﻠﻤﺎ ٍ ﻥ ﻭﺁﺨ ﺭ ﻤﻥ ﺃﻟﺤﺎ ٍ ﺒﻴﻥ ﺤﻴ ٍ ﺃﻴﻀﺎ ﺃﻥ ﹸﻜلﱠ ﻓﺭ ٍﺩ ﻓﻲ ﺍﻟﺠﻤﺎﻋ ِﺔ ﺍﻟﺘﻲ ل ﺒﻁﻭﻟـﻪ ﺩﻭﻥ ﺃﻥ ﺃﻥ ﻴ ﹶﻐ ﱢﻨﻲ ﺍﻟﻠﱠﻴـ َ ﺸﺭِﻫﺎ، ﺤ ﹾﻔﻅِﻬﺎ ﻭ ﹶﻨ ﹾ ﹶﺘ ﹶﺘ ﹶﺫ ﻭﻗﹸﻬﺎ ﻴﺴ ِﻬ ﻡ ﻓﻲ ِ ﻁﺭ ﺇﻟﻰ ﹶﺘﻜﹾﺭﺍﺭِ ﺃﻏﻨﻴﺔ ﻭﺍﺤـﺩﺓ. ﻀﹶ ﻴ ﻙ ﻓﻲ ﺃﺩﺍﺌﻬﺎ ،ﻭﻴﻜﺎﺩ ﺸ ﹶﺘﺭِ ﻭﻜﺜﻴﺭﺍ ﻤﺎ ﻴ ﹾ ﺠﻴﺩ ﹶﺓ ﻟﻬﺎ ﻅ ﹶﺔ ﺍﻟ ﻭ ﻤ ﻌﻨﹶﻰ ﺫﻟﻙ ﺃﻥ ﺍﻟﺤﺎﻓِ ﹶ ﻋ ﹾﻠ ٍﻡ ل ﺍﻟﻘﺭﻴﺔ ﺠﻤﻴﻌﺎ ﻋﻠﻰ ِ ﻴﻜﻭﻥ ﺃﻫ ُ ﻥ ﺍﻟﺼﺩﺍﺭ ِﺓ ﺒـﻴﻥ ﺍﻟﻤـﺅﻫﻼﺕ ﻤﻜﺎ ﺃﻴﻀﺎ ﺍﻨﺘﺸﺎ ﺭ ﺒﻌﺽ ﺍﻷﻏﺎﻨﻲ ﺍﻟﺘـﻲ ﻭﻴﺤﻔﻅﻭﻨﻬﺎ ﻭﻴﺭ ﺩﺩﻭﻨﹶﻬـﺎ ﻓﹸـﺭﺍﺩﻯ ﻲ. ﺍﻟﺸﻌﺒ ـﻥ ـﻡ ﻭﻋـ ﺼـ ـﻥ ﺍﻟﻌﻭﺍ ِ ـﺩﺭ ﻋـ ﺘﺼـ ﺕ ﻭﺠﻤﺎﻋﺎﺕ .ﻭﺇﺫﺍ ﻜﺎﻨـﺕ ﺍﻟﺒﻴﺌـﺎ ﹸ ﻭﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤﻥ ﺸﻴﻭﻉ ﺍﻷﻏﻨﻴﺔ ل ﺍﻟﻁﱠﺒﻘﺎﺕ ﺍﻟ ﻌ ﹾﻠﻴـﺎ ،ﻭﻋـﻥ ﻭﺴـﺎ ِﺌ ِ ﻥ ـﻴ ـﺕ ﺍﻟﻤﻐ ﱢﻨـ ﻋ ﺭ ﹶﻓـ ـﺩ ـﻌ ِﺒﻴ ﹸﺔ ﻗـ ﺸـ ﺍﻟ ﱠ ﺍﻟﺸﻌﺒﻴﺔ ﺒﻴﻥ ﺍﻷﻓﺭﺍﺩ ﺠﻤﻴﻌﺎ؛ ﺘﻤﻴﻴﺯﺍ ﺍﻹﻋﻼﻡ ﺍﻟﻤﺭﻜﺯﻴﺔ ﻓـﻲ ﺍﻟﻌﺼـ ِﺭ ﺍﻟﺤﺎﻀِﺭ .ﻭﺍﻟ ِﻌ ﺒ ﺭ ﹸﺓ ﺒﻤﺩﻯ ﺍﻻﻨﺘِﺸـﺎ ِﺭ ﻥ ﺃَﻭ ﺍﻟﻤﺤ ﹶﺘﺭِﻓﻴﻥ؛ ﻓﺈﻨﻬﺎ ﺼﺼِﻴ ﺨ ﺍﻟ ﻤ ﹶﺘ ﹶ ﺘﹸﺭﺩ ﺩ ﺍﻷﻏﺎﻨﻲ ﺍﻟﺸﻌﺒﻴ ﹶﺔ ﻓﻲ ﻜﺜﻴ ٍﺭ ﻤﻥ ﻭﺤِﻔﻅﹰﺎ؛ ﻓﺈﻥ ﻫﻨﺎﻙ ﻀـﺭﺒﺎ ﻤـﻥ ﻼﺀﻤ ِﺔ ﺒـﻴﻥ ﺍﻟﺘﻌﺒﻴـﺭ ﻭﺍﻟﺒﻘﺎﺀ ،ﻭﺍﻟ ﻤ ﹶ ﺤﻠﹾﻘ ﹰﺔ ﺕ ﺍﻟﺘﻲ ﻴﻜﻭﻥ ﺍﻟﻐِﻨﺎ ﺀ ﺍﻟﻤﻨﺎﺴﺒﺎ ِ ـﺎﻨﻲ ـﻌﺒﻴﺔ ...ﻓﺎﻷﻏـ ﺸـ ـﺎﻨﻲ ﺍﻟ ﱠ ﺍﻷﻏـ ﻲ. ﻥ ﺍﻟﺸﱠﻌ ِﺒ ﻭﺍﻟﻭِﺠﺩﺍ ِ ﻤ ِﻬ ﻤ ﹰﺔ ﻤﻥ ﻤﺭﺍﺴِﻴﻤِﻬﺎ ﺃﻭ ﺸﹶـﻌﺎ ِﺌﺭِﻫﺎ. ﺍﻟﻤﺼﺎﺤِﺒﺔ ﻷﻟﻌـﺎﺏ ﺍﻷﻁﻔـﺎل ﻻ ـﻲ ل ﻓـ ـﺎ ﺃﻥ ﹸﻨ ـ ﺩﺨِ َ ﺠ ـ ﺩ ﺭ ﺒﻨـ ﻭ ﻴ ﻴﻜﻔﻲ ﺃﻥ ﻴﻜﻭﻥ ﺍﻟﻤﻐﻨﻲ ﺃﻭ ﺍﻟﻤﻐﻨﱡﻭﻥ ﺤﺏ ﺘﻜﺎﺩ ﻴﺭ ﺩﺩﻫﺎ ﺍﻟﻜِﺒﺎﺭ ،ﻭﺃﻏﺎﻨﻲ ﺍﻟ ﺍﻻﻋﺘﺒــﺎ ِﺭ ﺃﻥ ﺍﻟﺜﱠﻘﺎﻓﹶــ ﹶﺔ ﺍﻟﺸﱠــﻌﺒﻴ ﹶﺔ ﺤﺴﻨ ِﺔ .ﻭﻟﻴﺱ ﻤﻥ ﺫﻭﻱ ﺍﻷﺼﻭﺍﺕ ﺍﻟ ﺒﻬﺫﻩ ﺍﻟﺼﻭﺭﺓ؛ ﻷﻥ ﺍﻟﻭﺍ ِﻗ ﻊ ﻴﺅﻜﱢـﺩ ﻭﺍﻷﺨﻴﺭ ِﺓ ﻟﻸﻓﺭﺍﺩ ﺍﻟﺫﻴﻥ ﻴﺸﺘﻬﺭﻭﻥ ﻲ ﺃﻭ ﺨﺎﻟﺹ، ﺱ ﻨﻘ ﻋ ﺩ ﻡ ﻭﺠﻭ ِﺩ ﺠِﻨ ٍ ﻉ ﺃﻭ ﺹ ﺃﻭ ﺍﻟ ﱠﺘﻔﹶـــ ﺭ ِ ﺨﺼـــ ِ ﺒﺎﻟ ﱠﺘ ﹶ ﻭﺜﻘﺎﻓﺔ ﻓِﻁﺭﻴﺔ ﺃﻭ ﺸﹶﻌﺒﻴﺔ ﻨﻘﻴـﺔ ﺃﻭ ل ﺍﻷﻏﻨﻴـ ِﺔ ﻑ ﻓـﻲ ﻤﺠـﺎ ِ ﺍﻻﺤﺘﺭﺍ ِ ﻓﺈﻨﻬﺎ ﻤ ﹾﻘﺼـﻭﺭﺓ ﻋﻠـﻰ ﺍﻟﺭﺠـﺎل. ل ﺨﺎﻟِﺼﺔ .ﻭﻤﻥ ﺍﻟﻤﺴﱠﻠ ِﻡ ﺒﻪ ﺃﻥ ﻜـ ﱠ ﺍﻟﺸﱠﻌﺒﻴﺔِ؛ ﻓـﺈﻥ ﺍﻟـﺫﺍ ِﻜﺭﺓ ﺍﻟﻭﺍﻋِﻴـ ﹶﺔ ﻥ ﻭﺍﻟﻜﻠﻤـﺔ ﻅ ﺍﻟﻠﱠﺤ ِ ﺤ ﹾﻔ ِ ﺍﻟﻘﺎﺩِﺭ ﹶﺓ ﻋﻠﻰ ِ ل ﺹ ﻓـﻲ ﻤﺠـﺎ ِ ﺨﺼ ﻭﻴﺘﻭﻗﱠﻑ ﺍﻟﺘﱠ ﹶ ﺍﻷﻏﻨﻴﺔ ﺍﻟﺸﻌﺒﻴﺔ ﻋﻠﻰ ﺍﻟﺩﻭﺭ ﺍﻟـﺫﻱ ﻭﺃﻓﺎﺩﺕ ﻤـﻥ ﻋﻨﺎﺼِـ ﺭ ﻭﺍﻓـﺩ ٍﺓ ﺃﻭ ﺕ ﻥ ﺍﻟﺼﻭ ِ ﹸﺘ ﻌﺩ ﻤ ِﺯ ﻴ ﹰﺔ ﺃﻋﻅﻡ ﻤﻥ ﺤﺴ ِ ﻴﺅﺩﻴﻪ ﺍﻟﻔﹶﺭ ﺩ ﻓﻲ ﻤﻨﺎﺴﺒ ٍﺔ ﻤ ﻌﻴﻨﺔ .ﻭﺇﺫﺍ ﺏ ﻗﹸﺩﺭ ﹰﺓ ﻁﱠﻠ ﻑ ﹶﺘ ﹶﺘ ﹶ ﻅﺭﻭ ٍ ﺠﺩﻴﺩﺓ ،ﺒﺘﺄﺜﻴﺭ ﹸ ﻑ ﻭﻋﻨﺩ ﻜﺜﻴ ٍﺭ ﻅﺭﻭ ِ ﻓﻲ ﻜﺜﻴﺭ ﻤﻥ ﺍﻟ ﱡ ﺱ ﻑ ﻓﻲ ﺍﻟﻌـ ﺭ ِ ﻜﺎﻨﺕ ﺃُﻏﻨﻴ ﹸﺔ ﺍﻟﺯﻓﺎ ِ ﻁﻭﺭ ﻭﺍﻟﺘﱠﻌﺩِﻴل .ﻭﻤﻬﻤﺎ ﻴﻜﻥ ﻤﻥ ﺍﻟ ﱠﺘ ﹶ ﺏ .ﻭﺍﻟ ﻌﻠﹶﻤﺎ ﺀ ﻴـ ﹾﺫ ﹸﻜﺭﻭﻥ ﺸﻌﻭ ِ ﻤﻥ ﺍﻟ ﱡ ﺤ ﹶﺘﺭِﻓﺎﺕِ ﺘﻜﺎﺩ ﹶﺘ ﹾﻨﺤﺼِ ﺭ ﻓﻲ ﺍﻟﻨﱢﺴﺎ ِﺀ ﺍﻟ ﻤ ﻼ ﻜـﺎﻥ ﺃﻭ ﻤﻥ ﺃﻤﺭ ﺍﻟﻤﺼﺩﺭ ،ﺃﺼﻴ ﹰ ﺠ ﻤ ِﻊ ﺍﻷﻏﺎﻨِﻲ ﻤﻥ ل ﻋﻠﻰ ﻋِﻨ ﺩ ﺍﻟ ﻌ ﻤ ِ ﺱ ﺃﻭ ﺃﻗﺎﺭِﺏ ﺍﻟﻌﺭﻭﺴﻴﻥ؛ ﻓﺈﻥ ﺍﻟ ﻌﺭﻭ m ﺵ ﺕ ﺃﻥ ﹶﺘﻌِﻴ ﹶ ﻲ .ﻓﺈﻥ ﺍﺴﺘﻁﺎﻋ ِ ﺍﻟﺸﻌﺒ ل ﻓـﻲ ﺘﻤﻴﻴـ ِﺯ ﺩﺨﻴﻼﹰ؛ ﻓﺈﻥ ﺍﻟ ﹶﻔ ﻴﺼَ ﺕ ﺸﻌﻭﺏ ﺍﻟﺒﻠﻁﻴﻕ ﺃﻨﻬﻡ ﺍﻟﺘﻘﹶﻭﺍ ﺒﺴﻴﺩﺍ ٍ ل ﺍﻟﻤﺩﻴﻨ ﹸﺔ ﻋﻠﻴـﻪ ﻭﻫﺫﺍ ﻴ ﹶﻔﺴ ﺭ ﻤﺎ ﹸﺘ ﹾﻘ ِﺒ ُ .co ﻭﻗﻴ ٍﻡ ﺭﻴﻔ ﻴﺔٍ ،ﻭﺒﻴﻥ ﻤﺎ ﻴ ﹾﻨﺸﹶـ ﺭ ﻓـﻲ ﺍﻟ ﹸﻘﺭﻯ ﻤـﻥ ﻤﻭﺴِـﻴﻘﹶﻰ ﻭﺃﻨﺎﺸِـﻴ ﺩ ﻅ ﻤـﻥ ﺍﻟﺜﱠﻘﺎﻓـ ِﺔ ﺤﱟ ﻭﺃﻏﻨﻴﺎﺕ ﻋﻠﻰ ﺒﺄﻏﺎﻨِﻴﻬﻡ ﺍﻟﺸﻌﺒﻴﺔ ...ﺇﻨﻬﻡ ﻴ ﻤ ﻴﺯﻭﻨﹶﻬﺎ ﻥ ﻫﻭ ﺍﻟ ﻤ ِﺯ ﻴ ﹸﺔ ﺍﻷﻭﻟﻰ ﺴ ﺤ ﺕ ﺍﻟ ﺍﻟﺼﻭ ﹸ ﺤﺼﻭﺭ ﹰﺓ ﺒـﻴﻥ ﺍﻟﺸﱠـﺒﺎﺏِ، ﺘﻜﻭﻥ ﻤ ﻭﺍﻟﺒﻜﺎﺌﻴﺎﺕ ﻗﻠﱠﻤﺎ ﻴﺘﺨﺼـﺹ ﻓﻴﻬـﺎ ﺤ ﻡ ﺍﻟﺘﻲ ﹶﺘ ﹶﺘ ﹶﻐﻨﱠـﻰ ﺍﻟﺭﺠﺎلُ ،ﺃﻤﺎ ﺍﻟﻤﻼ ِ w. ﺏ ﻭ ﺒﻁﹸﻭﻟ ِﺔ ﺍﻷﺒﻁـﺎل؛ ﺒﺄﻤﺠﺎﺩ ﺍﻟﺸﱠﻌ ِ ww ﻁ ﺍﻟﻔﻨﻴﺔ ﺇﻨﻤﺎ ﻨﺸﺄﺕ ﻉ ﻭﺍﻷﻨﻤﺎ ِ ﺍﻷﻨﻭﺍ ِ ﺹ ﹶﻓﺭﺽ ﻭﺠـﻭ ﺩ ﻩ ﻋﻠـﻰ ﺼ ِ ﺨ ﺍﻟ ﱠﺘ ﹶ alk ﺍﻟﺨﺎﻟِﺼ ﹶﺔ ﺃﻭ ﺍﻟ ﱠﻨ ِﻘ ﻴ ﹶﺔ ﺘﻜﺎﺩ ﻻ ﺘﹸﻭﺠـﺩ www.alkottob.com ﺍﻟﻭﺍﺠِﺏ ﺘﻭﺍﻓﺭﻫـﺎ ﻓـﻲ ﺍﻟﻤﻐﻨﱢـﻲ ott ob ﻭﺍﻟﺤِﺭﻓ ﻴ ِﺔ ﺍﻟ ﹶﻔﻨﱢﻴ ِﺔ .ﻭﻫﺫﺍ ﻤـﺎ ﻴﻔﺴـﺭ ﻲ ـ ـﻬﻭ ِﺭ ﺃﻥ ﺍﻟﻤﻐﻨﱢـ ـﻥ ﺍﻟ ﻤﺸﹾـ ﻭﻤـ ٧٤ ﺸﻬﻭﺭﺓ. ﺒﺄُﻏﻨﻴ ٍﺔ ﺸﹶﻌ ِﺒ ﻴ ٍﺔ ﻤ ﹾ ﻭﺍﻟﻤﻁﺭِﺏ ﺃﻭ ﺍﻟﻤﻁﺭﺒﺔ ﻭﺠﻤﻬـﻭﺭ ﺍﻟ ﻤ ﻬﺩِ ،ﺘﻘﻭﻡ ﺒﻭﻅﻴﻔ ٍﺔ ﹶﺘ ﻌﻠِﻴﻤِﻴﺔٍ ﹸﺘﻌِﻴﻨـ ﻪ ﺏ ﺹ ﺇﻟﻰ ﻀﺭ ٍ ﺨﺼ ﻭﻴﺘﺤﻭل ﺍﻟﺘﱠ ﹶ ﺴ ﹶﺘ ِﻤﻌِﻴﻥ؛ ﻓﺈﻥ ﺍﻟﻘﺭﻴﺔ ﻻ ﺘﻌـﺭﻑ ﺍﻟ ﻤ ﺤ ﺒ ِﻭ ﺇﻟﻰ ل ﻤﻥ ﻤﺭﺤﻠﺔ ﺍﻟ ﻋﻠﻰ ﺍﻟﺘﱠﺤ ﻭ ِ ﻥ ﻑ ﻻ ﻟﻭﺠﻭﺩ ﺍﻟﻤﺯ ﻴ ﹶﺘ ﻴ ِ ﺤﺘِﺭﺍ ِ ﻤﻥ ﺍﻻ ﺴﻥ ﻭﺍﻟﺫﹼﺍﻜِﺭﺓ ﺍﻟﺠﻴﺩﺓ( ﺤ )ﺍﻟﺼﻭﺕ ﺍﻟ ﻫﺫﻩ ﺍﻟﺤﺩﻭﺩ ﻤﻁﻠﻘﹰـﺎ ﺤﺘﱠـﻰ ﺒـﻴﻥ ـﻲ ـﻴﻥ ﻓـ ﺨﺼﺼـ ـﺭﻓﻴﻥ ﺍﻟ ﻤ ﹶﺘ ﹶ ﺍﻟﻤﺤﺘـ ﺍﻟﻤﺸﻲ ،ﻭﺘﺴﺎﻋِﺩﻩ ﻋﻠﻰ ﺘﹶﻌﻠﱡﻡ ﺍﻟﻌـ ﺩ ِﺩ ﻓﺤﺴﺏ؛ ﻭﻟﻜﻥ ﻷﻥ ﺍﻟﻤﻨﺎﺴﺒ ﹶﺔ ﻤـﻥ ﺍﻷﻏﺎﻨﻲ ﺍﻟﺸﻌﺒﻴﺔ. ل ﺸﺠ ﻌ ﻪ ﻋﻠـﻰ ﺘﻨـﺎ ﻭ ِ ﺍﻟﺼﺒﺎﺡ ،ﻭ ﹸﺘ ﹶ m ﻉ ﺃﻫﻠﹶﻬـﺎ ﻓﻲ ﺃﻭﺭﺒﺎ ﺍﻟﺸﱠﺭﻗﻴﺔ ﺘﹸـﻭ ﺩ ﻤ َﺅﱢﻟﻑِ ﺍﻟﻜﻠﻤﺎﺕ ﻭﻭﺍﻀِـ ِﻊ ﺍﻟﻠﱠﺤـﻥ ﺃﻨﻬﺎ-ﺇﻟﻰ ﺠﺎﻨﺏ ﻫ ﺩ ﻫ ﺩ ِﺓ ﺍﻟﻁﱢﻔل ﻓـﻲ .co ﺼﺼـﺎ ﺨ ﺍﻷﻫﻤﻴ ِﺔ ﺒﺤﻴﺙ ﺘﺴﺘﻠﺯﻡ ﻤ ﹶﺘ ﹶ ﻤ ﹶﺘ ﹶﻔ ﺭﻏﹰﺎ ،ﺇﻟﻰ ﺠﺎﻨِﺏ ﺍﻟﻤﻬﺎﺭﺓ ﺍﻟﺘـﻲ ﺒﺎﺴﺘﺨﺩﺍﻡ ﺃﺼﺎ ِﺒﻌِﻪ ،ﻭﺘﹸﻭ ِﻗﻅﹸـ ﻪ ﻓـﻲ ﺏ ﻭﻤﻥ ﺍﻟﻤﻘﻁﻭﻉ ﺒﻪ ﺃﻥ ﺍﻟﺠﺎﻨِـ ﺠ ﺩ ﻭﺍﻟﺘِـﺯﺍ ِﻡ ﺤﺜﱡ ﻪ ﻋﻠﻰ ﺍﻟ ِ ﺍﻟﻁﱠﻌﺎﻡ ،ﻭ ﹶﺘ ﻲ ﻓﻲ ﺍﻷﻏﻨﻴ ِﺔ ﺍﻟﺸﱠﻌﺒ ﻴ ِﺔ ﺃﻗﻭﻯ ﺍﻟﻭﻅﻴﻔ ﺍﻟ ﹶﻔﻀِﻴﻠﹶﺔ. ﻭﺃﻋﻅﻡ ﻤﻨﻪ ﻓﻲ ﺍﻷﻏﻨﻴـﺔ ﺍﻟﻔﻨﻴـﺔ ﻭﻤﻥ ﺃﻫﻡ ﺍﻟﻅﱠﻭﺍ ِﻫ ِﺭ ﺍﻟﺘﻲ ﻻﺤﻅﹶﻬﺎ ﻥ ﻁﺎﺌِﻔ ﹸﺔ ﺍﻟﻤﺤﺘﺭﻓﻴﻥ ،ﻭﻴﻅﻬﺭ ﺍﻟﺘﱠﻠﻘِـﻴ ﺩﻭﺭ ﹶﺓ ﺍﻟﺤﻴﺎﺓ ﻋﻨﺩ ﹸﻜلﱢ ﺇﻨﺴﺎﻥ ﻻﺒﺩ ﺃﻥ ﺼ ﻭ ِﺭ ﻓﻲ ﺍﻟﻠﱠﺤﻥ ،ﻭﻓﻲ ﻜﺜﻴﺭ ﻤﻥ ﺍﻟ ﻋ ِﺔ ﻤﻌﺎ. ﻍ ﻭﺍﻟﺒﺭﺍ ﺍﻟ ﻤ ﻌ ﹶﺘ ِﻤ ﺩ ﻋﻠﻰ ﺍﻟ ﱠﺘ ﹶﻔ ﺭ ِ ﺤﺒﻬﺎ ﺍﻷُﻏﻨﻴ ﹸﺔ ﺍﻟﺸﱠﻌﺒﻴﺔ ...ﺇﻨﻬـﺎ ﺘﹸﺼﺎ ِ ﺍﻟ ﻤﺘﹶﻀ ﻤﻨﹶﺔ ﻓﻲ ﺍﻟﺸﱢﻌﺭ ﺒﻴﻥ ﺃﻏـﺎﻨﻲ ل ﻥ ﻓﻲ ﺍﻟ ﱠﺘﺠـﻭﺍ ِ ﺤ ﹶﺘ ِﺭﻓﹸﻭ ﻭﻴﺄﺨﺫ ﺍﻟ ﻤ ﺘﺴﺘﻘﺒل ﺍﻟﻤﻭﻟﹸﻭﺩ ﺍﻟﺠﺩﻴـ ﺩ ...ﺇﻨﻬـﺎ ﺏ ﻋﻠـﻰ ﺍﺨﺘﻼﻓِﻬـﺎ؛ ﻓـﺈﻥ ﺸﻌﻭ ِ ﺍﻟ ﱡ ﻑ ﻭﻗﺩ ﻕ ﺍﻟﺭﻴ ِ ﻁِ ﺒﻴﻥ ﺍﻟ ﹸﻘﺭﻯ ﻓﻲ ﻤﻨﺎ ِ ﻁﻔﹸﻭﻟﹶﺔ ...ﺇﻨﻬﺎ ﺘﺤﺘﻔل ﺒﺤﻔﻅ ﹸﺘ ﻬ ﺩ ِﻫ ﺩ ﺍﻟ ﱡ ﻲ ...ﺇﻨﻬـﺎ ﺘﹸﺴـﺎﻴﺭ ﻉ ﺍﻹﻨﺴﺎﻨ ﺍﻟﻨﱠﻭ ِ ﺏ ﺃَﻟﻌـﺎﺏ ﺤ ﻲ ﺍﻟﺘـﻲ ﺘﹸﺼـﺎ ِ ﺍﻷﻏﺎﻨ ل ﻭﺘﻜﺎﺩ ﹶﺘﺘﹶﻁﺎﺒﻕ ﺒﻴﻥ ﺍﻷﻁﻔﺎل ﹶﺘﺘﹶﻤﺎ ﹶﺜ ُ ﺫﻟﻙ ﺸﺎﺭ ﹰﺓ ﻋﻠﻰ ﺍ ﻤﺘِﻴﺎ ِﺯﻫِﻡ ﻭ ﹶﺘ ﹶﻔ ﻭﻗِﻬﻡ، ل ﻤﺴﺎﻴﺭ ﹰﺓ ﺩﻗﻴﻘ ﹰﺔ ...ﺇﻨﻬﺎ ﺠـﺯﺀ ﺍﻟﻌﻤَ ﺏ ﺍﻟﻤﺨﺘﻠﻔﺔ ،ﻭﻨﺤـﻥ ﺸﻌﻭ ِ ﺃﻁﻔﺎل ﺍﻟ ﱡ ﻥ ﺏ ﺴـﻜﹼﺎ ﻁﻠﹸ ﻭﻗﺩ ﻴﺤﺩﺙ ﺍﻟﻌﻜﺱ ﹶﻓ ﻴ ﹾ ـﻴﻡ ـﻥ ﺍﻟﻤﺭﺍﺴــ ﻻ ﻴ ﹶﺘﺠـ ـﺯﺃ ﻤــ ﻨﺠﺩ ﻓﻲ ﺍﻟﺸﱠﺭﻕ ﺃﻟﺤﺎﻨﹰﺎ ﹶﺘﺘﹶﺭﺩﺩ ﻓـﻲ ﺤ ﹶﺘ ِﺭﻓﹰﺎ ﺃﻭ ﻤﺠﻤﻭﻋـ ﹰﺔ ﻤـﻥ ﺍﻟ ﹸﻘﺭﻯ ﻤ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ...ﺇﻨﻬـﺎ ﺘﹸﻌﺒـﺭ ﻋـﻥ ﻭﺴﻁ ﺃﻭﺭﺒﺎ ﻭﺠﻨﻭﺒﻬﺎ ﻭﻏﺭﺒﻬﺎ. ﺍﻟﻤﺤﺘﺭﻓﻴﻥ ﻤﻥ ﺍﻟﻤﺩﻴﻨـﺔ ﻹﺤﻴـﺎﺀ ﺍﻟﺘﱠﻐﻴﺭ ﻓﻲ ﻅﻭﺍﻫﺭ ﺍﻟﻁﱠﺒﻴﻌﺔ ...ﺇﻨﻬﺎ ﺍﻟﺩﺍﻋِﻴﻥ ﺇﻟﻰ ﺍﻻﺤﺘﻔﺎل ،ﻭﺇﻤﺎ ﻟﺤﺎﺠﺔ ﺍﻷﺨﻴﺭ ...ﺇﻨﻬﺎ ﻻ ﺘﻘـﻭﻡ ﺒﻭﻅﻴﻔـ ٍﺔ ﻲ ﺇﻟﻰ ﺍﻟﺘﱠﺠﺩِﻴﺩ. ﻕ ﺍﻟﺸﱠﻌ ِﺒ ﺍﻟﺫﱠﻭ ِ ﺕ ﺠﻤﺎِﻟﻴﺔ ،ﻭﻻ ﺘﺴﺘﺠﻴﺏ ِﻟ ﻤ ﹾﻘ ﹶﺘﻀـﻴﺎ ِ ﺘﻔﺭﻀﻬﺎ ﺘﻠﻙ ﺍﻟﻤﻨﺎﺴﺒﺎﺕ ﻓﻴﻤﺎ ﻴﺘﺭﺩﺩ ott ob ﻓﻴﻬﺎ ﻤﻥ ﺍﻷﻏﺎﻨﻲ ...ﻭﻤﻥ ﻫﻨﺎ ﹶﺘ ﺒ ﺭ ﺯ ﺍﻟﻤﻌﻘﱠﺩﺓ ﺃﻭ ﺍﻟﻤﺼـﻘﹸﻭﻟﹶﺔ؛ ﺫﻟـﻙ ﻷﻥ ﻥ ﻟﻸﻏﻨﻴ ِﺔ ﺍﻟﺸﱠﻌ ِﺒ ﻴ ِﺔ ﺍﻟﺘﱠﻤﺎﺜﹸل ﺍﻟﺩﺍ ِﺭﺴﻭ ﻴﺘﺠﺎ ﻭﺯﻭﻨﹶﻬﺎ ﺇﻟﻰ ﺍﻟ ﻤﺩِﻴﻨﺔِ ،ﻭﻴﻜـﻭﻥ alk ﻤﻨﺎﺴﺒﺔ ﻤﻌﻴﻨﺔ؛ ﺇﻤﺎ ﻹﻅﻬﺎ ِﺭ ﻤﻜﺎﻨـﺔ ﻲ ﺇﻟﻰ ﻤﻘﹶـﺭﻩ ﻥ ﺍﻹﻨﺴﺎﻨ ﺘﹸﻭﺩﻉ ﺍﻟﻜﺎﺌ ل ﻑ ﻓـﻲ ﻜﹸـ ﱢ ﻭﻫﺫﻩ ﺍﻷﻏﺎﻨﻲ ﹶﺘ ﹶﺘَﺄﱠﻟ ﹸ ﻥ ﻤﻥ ﺃﺠﺯﺍﺀ ﻤﻨﻘﻭﻟﺔ ﻋﻥ ﺃﻏﺎﻨﻲ ﻤﻜﺎ ٍ ل ﺍﻟﻜِﺒﺎﺭ ﻭﻓِﻌـﺎﻟِﻬﻡ ،ﻭﻤـﻥ ﺍﻟﺘﱠﻤﺜِﻴـ ِ w. ﺼﺎﻤِﺕ ﺍﻟ ﻤ ﻌ ﹶﺘﻤِﺩ ﻋﻠﻰ ﺍﻹﺸـﺎﺭﺓ، ﺍﻟ ﻭﺍﻷﻤ ِﺜﹶﻠ ﹸﺔ ﻋﻠﻰ ﺫﻟﻙ ﻜﺜﻴﺭﺓ؛ ﺃﻏﺎﻨﻲ ﺍﻟﺘﱠﻌﺒﻴ ِﺭ ﺍﻟ ﹶﻔﻨﱢـﻲ ،ﻭﻟﻜﻨﻬـﺎ ﺘـﻨﻬﺽ ﺕ ﻭﻤﻥ ﺒﻘﺎﻴـﺎ ﺃﺴـﺎﻁِﻴ ﺭ ﻭﺤِﻜﺎﻴـﺎ ٍ ﺍﻷﻋﺭﺍﺱ ....ﺍﻷﻏﺎﻨﻲ ﺍﻟﺩﻴﻨﻴﺔ ﻓـﻲ ﺤ ﻴ ِﻭ ﻴ ِﺔ ﻭﺍﻻﺠﺘﻤﺎﻋﻴـﺔ ﺒﺎﻟﻭﻅﺎﺌﻑ ﺍﻟ ﺕ ﻋﻥ ﻭﻅِﻴ ﹶﻔﺘِﻬﺎ ﺍﻷﻭﻟﻰ ﺇﻟـﻰ ﹶﺘﺤ ﻭﹶﻟ ﹾ ﻕ ﺴ ﹶﺘ ﹾﻐ ِﺭ ﹸ ﺍﻷﻭﻟﻴﺎﺀ ...ﺍﻟﻤﻭﺍﺴﻡ ﺍﻟﺘﻲ ﹶﺘ ﺘﺭﺴﻴﺏ ﺍﻟﺨﺒﺭﺓ ،ﻭﺘﺴﺠﻴل ﺍﻟﺘﹼﺎﺭﻴﺦ، ﻁ ِﻔ ﻴ ﹸﺔ ﺍﻟﺘـﻲ ﻭ ﹶﺘ ﹾﻨ ﹶﺘﺸِ ﺭ ﺍﻷﻏﺎﻨﻲ ﺍﻟﻌﺎ ِ ﻋﺩﺩﺍ ﻤﻥ ﺍﻟﻠﱠﻴﺎﻟﻲ ،ﻭﺘﺤﺘـﺎﺝ ﺇﻟـﻰ ﺠ ﻤﻌِﻲ ﹶﻗ ﺒِﻠﻴﺎ ﻭﺍﻻﺴﺘﺠﺎﺒﺔ ﻟﻠﻭِﺠﺩﺍﻥ ﺍﻟ ﺏ ل ﺒﻴﻥ ﺸﹶـﺒﺎ ِ ﺤﺏ ﻭﺍﻟ ﹶﻐﺯَ ﺱ ﺍﻟ ﹶﺘ ﻌ ِﻜ ﺍﻹﻨﺸﺎﺩ ﻭﺍﻟ ﱠﺘ ﹶﻨﻭﻉ ﻓﻲ ﻭﻗﺕ ﻭﺍﺤﺩ... ﻜﺎﻥ ﺃﻭ ﻗﹶﻭﻤﻴﺎ ...ﻭﻟﻴﺱ ﻫﻨﺎﻙ ﻤـﻥ ﻁ ﺴﺭِﻩ ،ﻭﻜﺜﻴﺭﺍ ﻤـﺎ ﺘﹸـ ﺭ ﺒ ﹸ ﺍﻟﻌﺎﻟﹶﻡ ﺒَﺄ ﺕ ﺒـﻴﻥ ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﺍﻟﻤﺩﻴﻨ ﹸﺔ ﻗﺩ ﻤ ﻴ ﺯ ﹾ ل ﻋﻠﻰ ﻭﻅﻴﻔ ِﺔ ﺍﻷُﻏﻨﻴـﺔ ﻤـﻥ ﻤِﺜﺎ ٍ ِﺒُﺄ ﻤﺴِﻴﺎﺕ ﺍﻟﺸﱢﺘﺎ ِﺀ ﺃﻭ ﺍﻟﺭﺒﻴﻊ ،ﻭﻜﺜﻴﺭﺍ www.alkottob.com ww ﺕ ﺍﻟﺩﻴﻨﻴــﺔ ﻭﻤﻭﺍﻟــﺩ ﺍﻟﻤﻨﺎﺴــﺒﺎ ِ ل ﻋﻠـﻰ ﺏ ﺍﻟ ﻌﻤـ ِ ﻭﺍﻟﻔﻨﻴﺔ ،ﺇﻟﻰ ﺠﺎﻨ ِ ﻫﺫﻩ ﺍﻟﻭﻅﻴﻔﺔ ﺍﻟﺠﺩﻴﺩﺓ. ٧٥ ﻤِﺜل ﺍﻟﻐﹶـﺯل ﻭﺍﻟﻨﱠﺴـﻴﺞ ﺍﻟﻴـﺩﻭﻴﻴﻥ ﻁﻠﹶﻕ ﻋﻠﻴﻬﺎ ﺍﺴﻡ ﺃﻏﺎﻨﻲ ﺍﻟﺘﱠﻘـﻭِﻴﻡ؛ ﻴ ﹾ ﻴﺅﺩﻴﻬﺎ ﺍﻵﻥ ﺍﻷﻓﺭﺍ ﺩ ﻟﻤﺠﺭﺩ ﺍﻟﺘﱠﺴﻠﻴﺔ ﻁﺤﻥ ﺍﻟﻐِـﻼل ،ﻭﻏﻴﺭﻫـﺎ ﻤـﻥ ﻭﹶ ﺦ ﺕ ﻟﻬﺎ ﺘﹶﻭﺍﺭِﻴ ﹲ ﻁ ﺒﻤﻨﺎﺴﺒﺎ ٍ ﻷﻨﻬﺎ ﹶﺘ ﺭ ﹶﺘﺒِ ﹸ ل ﻋﻠـﻰ ﺃﻨﻬـﺎ ﻭﺍﻟﺘﹶﺭﻓﻴﻪ؛ ﻤﻤﺎ ﻴـﺩ ﱡ ﺤﺒﻭﺏ ...ﻭﻤﻥ ﺃﺸﻬﺭ ﺍﻷﻏـﺎﻨﻲ ﺍﻟ ﻤ ﻌﻴﻨﺔ ﻓﻲ ﺍﻟﺘﱠﻘﻭﻴﻡ. ﺍﺭﺘﺒﻁﺕ ﺒﻬﺫﻩ ﺍﻟﻭﻅﻴﻔـﺔ ﻭﺤـﺩﻫﺎ، m ل ﺍﻟﻤﻨﺯﻟـﻲ؛ ﻤﺎ ﺘﺼﺤﺏ ﺃﻴﻀﺎ ﺍﻟﻌﻤَ ﻥ ﺸﻌﺒﻴﺔ ﻴﻤﻜـﻥ ﺃﻥ ﻭﻫﻨﺎﻙ ﺃﻏﺎ ٍ ﻲ ﺍﻟﺸﱠﻌ ِﺒﻴﺔ ﺍﻟﺘﻲ ﻭﻤﺎ ﺃﻜﺜ ﺭ ﺍﻷﻏﺎ ِﻨ ﻑ ﺍﻹﻴﻘـﺎﻉ ﻑ ﺒـﺎﺨﺘِﻼ ِ ﺨ ﹶﺘﻠِ ﹸ ﻭﻫﻲ ﹶﺘ ﹾ ﺍﻟﺼﻔ ﹸﺔ ﺍﻟﺩﻴﻨﻴ ﹸﺔ ﻓﻲ ﻤﻌﻅـﻡ ﺃﻨﺤـﺎﺀ ﺤ ﻴ ِﻭﻴـﺔ ﺍﻷﺤﻴﺎﻥ ،ﻭﻓﻘﺩﺕ ﻭﻅﺎﺌﻔﻬﺎ ﺍﻟ ﺍﻟﻌﺎﻟﹶﻡ؛ ﻜﺎﻷﻏﺎﻨﻲ ﺍﻟﺨﺎﺼﺔ ﺒﺸـﻬﺭ ﺠﺘِﻤﺎﻋﻴﺔ ﺍﻟ ﹶﻘﺩِﻴﻤﺔ. ﻭﺍﻻ .co ﻁ ﺒﺎﻟ ﻌﻤل... ﺍﻟﺸﱠﻌﺒ ﻴ ِﺔ ﺘﻠﻙ ﺍﻟﺘﻲ ﹶﺘ ﺭ ﹶﺘﺒِ ﹸ ﺏ ﻋﻠـﻰ ﻫـﺫﻩ ﺍﻷﻏـﺎﻨﻲ ﻭﻴﻐِﻠ ﺹ ﻓـﻲ ﻤﻌﻅـ ِﻡ ﺕ ﺍﻟـﺭﻗ ﺤ ﺒ ِ ﻭﺼﺎ ﺕ ﺍﻟ ﻌﻤل ...ﻫﻨـﺎﻙ ﺤ ﺭﻜﹶﺎ ِ ﺍﻟﺨﺎﺹ ﺒ ﺤﺼﺎﺩ ،ﻭﺃﻏﺎﻨﻲ ﺃﻏﺎﻨﻲ ﺍﻟ ﹶﻐﺭﺱ ﻭﺍﻟ ﺍﻟﺒِﻨﺎﺀ ،ﻭﺃﻏﺎﻨﻲ ﺍﻟﺸﹼﺎﺩﻭﻑ ،ﻭﺃﻏﺎﻨﻲ ﺍﻟﺼﻴﺎ ِﺩِﻴﻥ ،ﻭﺍﻟﻐﹶﻭﺹ ﻓـﻲ ﺍﻟﺒﺤـﺭ ﺞ ﻭﺒﺎﻟ ﻤ ﻭِﻟ ِﺩ ﺍﻟﻨﱠﺒﻭﻱ، ﺤ ﺭﻤﻀﺎﻥ ﻭﺒﺎﻟ ﻭﺍﻷﻏﻨﻴ ﹸﺔ ﺍﻟﺸﱠﻌﺒِﻴ ﹸﺔ ﻻ ﻴﻤﻜـﻥ ﺃﻥ ﻭﻏﻴﺭﻫﺎ ﻤﻥ ﺍﻟﻤﻨﺎﺴﺒﺎﺕ ﺍﻟﺩﻴﻨﻴﺔ ﻓﻲ ﺱ ﺍﻟﺸﱢﻌ ِﺭ ﻭﺤـﺩﻩ، ﹸﺘ ﺩﺭﺱ ﻋﻠﻰ ﺃﺴﺎ ِ ﺍﻟﺨﺎﺼﺔ ﺒﻌﻴﺩ ﺍﻟﻤﻴﻼﺩ ﻭﺭﺃﺱ ﺍﻟﺴﻨﺔ ﺍﻟﺘﻲ ﺘﻘﻭﻡ ﻋﻠﻴﻬﺎ ﻭﻫﻲ ﺍﻟﻤﻭﺴـﻴﻘﹶﻰ. ﻭﻟﻴﺱ ﻤﻥ ﺸﻙ ﻓﻲ ﺃﻥ "ﺍﻟ ﻌﺩِﻴـ ﺩ" ﺢ ﻋﻨـﺩ ﺍﻟﻤﺴـﻴﺤﻴﻴﻥ، ﺼِ ﻭﻋﻴﺩ ﺍﻟ ِﻔ ﻥ ﺍﻟﻤﻭﺍ ﺯﻨﹶﺔ ﺒﻴﻥ ل ﺍﻟﺩﺍ ِﺭﺴﻭ ﻭﻟﻘﺩ ﺤﺎﻭَ ﺼ ٍﺔ ﻓﻲ ﺒﻌـﺽ ﺤ ﹾﻠﻘﹶﺔ ﹶﻜﺒِﻴﺭﺓ -ﻭﺒﺨﺎ ل ﺒﺄﻭل ﻤﺎﻴﻭ ﻓﻲ ﻜﺜﻴ ٍﺭ ﻤﻥ ﻭﺒﺎﻻﺤﺘﻔﺎ ِ ﺍﻟﺩﻋﺎﻤﺘﻴﻥ :ﺍﻟﻜﻠﻤﺎﺕ ﻭﺍﻟﻤﻭﺴﻴﻘﻰ ﻤﻥ ﺕ ﺍﻷﻏـﺎﻨﻲ ﺤﻠﹶﻘـﺎ ِ ﺍﻷﻗﻁﺎﺭ -ﻤﻥ ﺃﻨﺤﺎ ِﺀ ﺍﻟﻌﺎﻟﹶﻡ ﻋﻠﻰ ﺃﻨﻪ ﻋﻴﺩ ﺍﻟ ﻌﻤﺎل؛ ﻁ ﻭ ِﺭ ﻻﺭﺘﺒﺎﻁِﻪ ﺒﻤ ﻌﹶﻠﻡٍ ﻤﻥ ﻤﻌﺎِﻟ ِﻡ ﺍﻟ ﱠﺘ ﹶ ﺙ ﺍﻟ ﹸﻘ ﺩﺭﺓ ﻋﻠﻰ ﺙ ﺍﻟ ِﻘﺩﻡ ،ﻭﻤﻥ ﺤﻴ ﹸ ﺤﻴ ﹸ ﺍﻻﺴﺘﻤﺭﺍﺭ ﻭﻤﺩﻯ ﺍﻟﺘﱠﻐﻴـ ِﺭ ﺍﻟـﺫﻱ ﺍﻟﻘﺭﻴﺔ ﺃﻥ ﺍﻟﻤﺭَﺃ ﹶﺓ ﺍﻟﺭﻴﻔ ﻴ ﹶﺔ ﹸﺘ ﺭﺩ ﺩ ﻫﺫﺍ ﻓﻲ ﺍﻟﺤﺭﻜﺔ ﺍﻟ ﻌﻤﺎِﻟﻴﺔ ،ﻭﻜـﺎﻥ ﻓـﻲ ﺤﻜﹾـﻡ؛ ﻓـﺈﻥ ﻴﻠﺤﻘﹸﻬﺎ .ﻭﺃﻴﺎ ﻜـﺎﻥ ﺍﻟ ﺕ ﺇﻟـﻰ ﻨﻔﺴـﻬﺎ.. ﺨﻠﹶـ ﹾ ﺍﻟ ﻌﺩِﻴ ﺩ ﺇﺫﺍ ﹶ ل ﺒﻌﻴﺩ ﺍﻟﺭﺒﻴﻊ ﻓـﻲ ﺍﻷﺼل ﺍﻻﺤﺘﻔﺎ ُ ﺤ ِﻔ ﺭ ﻟﻪ ﻤﻜﺎﻨﹰـﺎ ﻥ ﻴ ﺍﻟﻤﻼﺤﻅ ﺃﻥ ﺍﻟﻠﱠﺤ ﻓﺎﻟﺒﻜﺎﺌﻴﺎﺕ ﻟﻴﺴﺕ ﻤﺠﺭﺩ ﺍﺴـﺘﺠﺎﺒﺔ ﺸﻌﻭﺏ ﺍﻷﻭﺭﻭﺒﻴﺔ ...ﻭﻤﻥ ﺒﻌﺽ ﺍﻟ ﱡ ﻓﻲ ﺍﻟﺫﹼﺍ ِﻜ ﺭ ِﺓ ﻜﺎﻟﺸﱢﻌﺭ. ل ﻋﻠـﻰ ﻟﻤﻨﺎﺴﺒﺔ ﻭﻓﺎﺓ ،ﻭﻟﻜﻨﻬﺎ ﹶﺘ ﻌ ﻤ ُ ﺍﻷﻋﻴﺎ ِﺩ ﺍﻟﻁﱠﺒﻴﻌ ﻴ ِﺔ ﻓﻲ ﻤﺼﺭ "ﺸـﻡ ل ﻓﻲ ﺍﻟﻭﻗﺕ ﻨﻔﺴﻪ ﺴﺠُ ﺍﻟﺤﺯﻥِ ،ﻜﻤﺎ ﹸﺘ ﺍﻟﺭﺒﻴﻊ. ott ob ـﺎﻨﻲ ـﻼﻤﻲ ،ﻭﻜﺎﻷﻏـ ـﺎﹶﻟﻡِ ﺍﻹﺴـ ﺍﻟﻌـ ﺒل ﻻﺒﺩ ﻤﻥ ﺩﺭﺍﺴﺔ ﺍﻟﺩﻋﺎﻤﺔ ﺍﻟﺜﺎﻨﻴﺔ ﻻﺴﺘﺨﺭﺍﺝ ﺍﻟﻠﺅﻟﺅ ...ﺇﻟﺦ. ﺍﻟﺸﻌﺒﻴﺔ ،ﻭﺒﻠﹶﻎ ﻤﻥ ﻋﻤﻕ ﺘﺄﺜﻴﺭﻩ ﻓﻲ alk ﺕ ﺃﻭ ﺸﻌﻭﺭ ﺒﺎﻟ ﹶﻜﺒـ ِ ﺸﺤﻨﺎﺕ ﺍﻟ ﹸ ﺘﹶﻔﺭِﻴ ِﻎ ِ ﺍﻟﻨﺴﻴﻡ "؛ ﻭﻫﻭ ﺃﻴﻀﺎ ﻤـﻥ ﺃﻋﻴـﺎ ِﺩ ـﻔﺔ ـﻌﺒِﻴﺔ ﺒﺼـ ﺸـ ـﻴﻘﻰ ﺍﻟ ﱠ ﻭﺍﻟﻤﻭﺴـ ﻋﺎﻤﺔ ،ﻭﺍﻟﻠﱠﺤـﻥ ﺍﻟﺸﱠـﻌﺒِﻲ ﺒﺼـﻔﺔ ﺨﺎﺼﺔ ﻴﺘﱠﺴـ ﻡ ﺃﻴﻀـﺎ ﺒﺎﻟ ﻤﺭﻭﻨﹶـﺔ، ل ﺘﺒﻌﺎ ﻟﻁﺎﻗﺔ ﺍﻟـﺫﹼﺍﻜِﺭﺓ ﻋﻨـﺩ ﻭﻴﺘﻌ ﺩ ُ ﻲ ﺘﺼـﻌﻴﺩ ﺍﻷﻓـﺭﺍﺩ ﺍﻟﻤﺠﺘﻤ ﻊ ﺍﻟﺭﻴﻔ ﺍﻟ ﻌﻠﹶﻤﺎ ﺀ ﺇﻟﻰ ﺃﻨﻬﺎ ﻤ ﹾﻠ ﹶﺘﻘﹶـﻰ ﺭﺍﻓِـﺩﻴﻥ ﺝ ﺍﻟﺸﱠﻌﺒِﻲ ﺍﻟﻌـﺎﻡ، ﺍﻟ ﻤ ﹶﻐﻨﱢﻲ ،ﻭِﻟ ﹾﻠﻤِﺯﺍ ِ ﺇﻟﻴﻬﺎ .ﻭﻴﺫﻫﺏ ﺒﻌﺽ ﺍﻟﻤﺘﺨﺼﺼﻴﻥ ﻋﻴﺔ ﻜﺒﻴﺭﻴﻥ :ﺍﻷﻭل ﺍﻟﺤﺭﻜﺎﺕ ﺍﻹﻴﻘﺎ ِ ل ﺍﻟﺒﺴﻴﻁﺔ ﺍﻟﺘﻲ ﻴﻐﻠِﺏ ﻋﻠﻴﻬﺎ ﺍﻷَﺼـ ُ ل ﻤﻥ ﺒﻴﺌﺔ ﺇﻟﻰ ﺒﻴﺌﺔ ،ﻭﻤـﻥ ﻭﻟﻠﺘﱠﺤ ﻭ ِ ﺽ ﺠِﻴل ﺇﻟﻰ ﺠﻴل .ﻭﻜﺜﻴﺭﺍ ﻤﺎ ﻓﹶـ ﺭ *ﺇﻴﺯﻴﺱ ﺍﻟﻤﺸﻬﻭﺭﺓ ﻗﺩ ﺃﺜﺭﺕ ﺘﺄﺜﻴﺭﺍ ﺍﻟﻁﻘﱠﺴﻲ ﺍﻟﻘﺩﻴﻡ ،ﻭﺍﻟﺜﺎﻨﻲ ﺍﻟ ﺭﻗﹶﺼﺎﺕ ﺍﻟﻠﱠﺤﻥ ﻭﺠﻭﺩﻩ ﻋﻠﻰ ﺍﻟﻤﻭﺴﻴﻘﹶﻰ ﺍﻟﻔﻨﻴﺔ ﻻ ﻴﺯﺍل ﻤﻠﺤﻭﻅﹰـﺎ ﻓـﻲ ﺒﻜﺎ ِﺌﻴـﺎﺕ ﺍﻟ ﻤ ﻌﻘﱠﺩﺓ ﺇﻟﻰ ﺤﺩ ﻤﺎ ،ﻭﺍﻟﺘﻲ ﺃﺜﻤﺭﺘﻬﺎ ﺃﻭ ﺍﻟﻤﻌﻘﱠﺩﺓ ﻓﻲ ﺍﻟﻤﺩﻴﻨﺔ .ﻭﻗﺩ ﺘﹸﺴﺘﹶﻌﺎ ﺭ ﺼﻌِﻴ ِﺩ ﻤﺼﺭ. ﺍﻟﺤﻴﺎ ﹸﺓ ﺍﻟ ﻤ ﺩ ِﻨ ﻴ ﹸﺔ ﻟﻠﺘﱠﺴﻠﻴﺔ ﻭﺍﻟﺘﱠﺭﻓﻴﻪ. ﺕ ﻜﹸﻠﻬﺎ ﺃﻭ ﺒﻌﻀﻬﺎ .ﻭﻻﺒﺩ ﻤﻥ ﺍﻟ ﹶﻜﻠِﻤﺎ ﹸ ww ﻓﻲ ﺍﻵﺜﺎﺭ ﺍﻟﻤﺼﺭﻴﺔ ﺇﻟﻰ ﺃﻥ ﺒﻜﺎﺌﻴﺔ w. ل ﺍﻟﺘﻲ ﻴﺭﻴـﺩ ﺝ ﻭﺍﻟ ِﻘ ﻴ ﻡ ﻭﺍﻟ ﻤ ﹸﺜ َ ﺍﻟﻨﱠﻤﺎ ِﺫ ﺃﻤﺎ ﺃﻏﺎﻨﻲ ﺍﻟـﺭﻗﺹ؛ ﻓﻴـﺫﻫﺏ ـﺫﻱ ـﺎﺭ ﺍﻟـ ـﻴﻥ ﺍﻻﻨﺘﺸـ ـﻕ ﺒـ ﺍﻟ ﱠﺘﻔﺭِﻴـ www.alkottob.com ٧٦ ﺏ ﻓِﻁﺭِﻴـﺔ، ﻴﺘﻌﺭﺽ ﻟﻠﺘﱠﻐﻴﻴﺭ ﻷﺴﺒﺎ ٍ ﺢ ﺒـﺎﺏ ﻓﺎﺴﺘﺨﺩﻤﻬﺎ ﻭ ﹶﻨﺠﺢ ﻓﻲ ﻓﹶـ ﹾﺘ ِ ﺴﻤﺴﻡ" ﻋﻨﻭﺍﻨﹰﺎ ﻋﻠﻰ ﻫﺫﻩ ﺍﻟﻭﻅﻴﻔـﺔ ِ ﻭﺒــﻴﻥ ﺍﻻﺴــﺘﻌﺎﺭﺓِ ﺃﻭ ﺍﻷﺨــﺫِ ﺍﻟ ﹶﻜ ﹾﻨﺯِ. ﺏ ﺍﻟﱠﻠُﻐﻭﻴﺔ. ﺸِﺒﻪ ﺍﻟﺨﺎﺭِﻗﺔ ﻟﻠﺘﱠﺭﺍﻜِﻴ ِ ﺍﻷﻏﻨﻴ ﹶﺔ ﻤـﻥ ﺸﹶـﻌﺒ ﻴﺘﹶﻬﺎ ،ﻭﺍﻟﺜﹼـﺎﻨﻲ ل ﻓﻲ ﺍﻟﻤﺸﺎ ِﻫ ِﺩ ﻭﺍﻷﺴﻤﺎﺀ ﺇﻟـﻰ ﹶﺘ ﻌﺩِﻴ ٍ m ﺝ ل ﻻ ﻴﺨﹾــ ِﺭ ﺍﻟ ﻤ ﹶﺘ ﻌﻤــﺩ ...ﻓــﺎﻷ ﻭ ُ ﻭﻟﻘﺩ ﹸﻨ ِﻘﻠﹶﺕ ﻫـﺫﻩ ﺍﻟﺤِﻜﺎﻴـﺔ ﻤـﻊ ﻥ ﺍﻟﻤﺴﺘﻌﺎﺭ ﺃﻥ ﻴ ﹾﻨ ﹶﺘﺸِـﺭ، ﻟﻬﺫﺍ ﺍﻟﻠﱠﺤ ِ ﺍﻟﺼﻴﻐ ﹸﺔ ﺍﻟﺴـﺤﺭﻴﺔ ﻓـﻲ ﺒﻌـﺽ .co ﺢ ﻴﺴﺘﻠﻬﻤﻬﺎ ﺃﻭ ﻴﺴﺘﻐﻠﱡﻬﺎ؛ ﻓـﺈﺫﺍ ُﺃﺘِـﻴ ﺏ ﻜﺜﻴـﺭﺓ ،ﻭ ﹶﺘﺤ ﻭﻟﹶـﺕ ﺸﻌﻭ ٍ ﺁﺩﺍﺏ ﹸ ﻭﺃﻥ ﹸﺘ ﺭ ﺩ ﺩ ﻩ ﺠﻤﺎﻫِﻴ ﺭ ﺍﻟﺸﱠﻌﺏ؛ ﻓﺈﻨـﻪ ﺭﺒﻤﺎ ﻴﻜﺘﺴﺏ ﺍﻟﺼﻔ ﹶﺔ ﺍﻟﺸﱠﻌﺒِﻴ ﹶﺔ .ﻭﻗﺩ ﺘﻌﻴﺵ ﺍﻷﻏﻨﻴﺔ ﺍﻟﻘﺩﻴﻤﺔ ﺇﻟﻰ ﺠﺎﻨِـﺏ APHRODITE ل ـﺎ ِ ﺏ ﻭﺍﻟﺠﻤــ ﺭﺒـ ـ ﹸﺔ ﺍﻟﺤـ ـ ل ﺍﻟ ِﻔﺘﹾﻨ ِﺔ ﻭﺍﻟﺴـﺤ ِﺭ ﻭﺍﻹﺨﺼﺎﺏِ ،ﻤِﺜﺎ ُ ﺤﺠﺭ" ،ﻭﻗﺩ ﺍﻟﺤِﻜﺎﻴﺎﺕ ﺇﻟﻰ "ﺍﻓﺘﺢ ﻴﺎ ﻓﻲ ﺍﻟﻤ ﺭَﺃﺓِ .ﻭ ﹸﺘ ﻌﺩ ﺃﺤﻴﺎﻨﹰـﺎ ﺤﺎﻤﻴـﺔ ﺘﺼﺤﺏ ﻫﺫﻩ ﺍﻟﺼﻴﻐﺔ ﺍﻟﺴﺤ ِﺭﻴ ﹸﺔ ﺃﺩﺍﺓ ﺍﻟ ﺒﺤﺎﺭﺓ ،ﻭﺭﺍﻋِﻴﺔ ﺍﻟﻤﺤﺎﺭِﺒﻴﻥ ﻓـﻲ ﺴِﺤﺭِﻴﺔ ﻤﺜل ﺍﻟﻌﺼﺎ ،ﻜﻤﺎ ﺃﻥ ﺒﻌﺽ ﻉ ﺨﺎﺹ .ﻭﻴﺒﺩﻭ ﺃﻨﻬـﺎ ﺴ ﺒﺭﻁﺔ ﺒﻨﻭ ٍ ﺃ ﺍﻟﻨﱠﺒﺎﺘﺎﺕ ُﺃﺴـ ِﺒﻐﹶﺕ ﻋﻠﻴﻬـﺎ ﺍﻟﻘﹸـ ﻭ ﹸﺓ ott ob ل ﻓـﻲ ﺼُ ﺤﺩﺜﹶﺔ ،ﻭﺍﻟ ﹶﻔ ﻴ ﺴ ﹶﺘ ﺍﻷﻏﻨﻴﺔ ﺍﻟ ﻤ ﺃﹶﻓﹾﺮﻭﺩِﻳﺖ ﻑ ﻋﻠـﻰ ﺒﻘﺎ ِﺀ ﺇﺤﺩﺍﻫﻤﺎ؛ ﺇﻨﻤﺎ ﻴ ﹶﺘ ﻭﻗﱠـ ﹸ ﺢ ﺢ ﻟﻬـﺎ ﻓﹶـ ﹾﺘ ﺍﻟﺴﺤ ِﺭﻴ ﹸﺔ ﺍﻟﺘـﻲ ﺘﹸﺘِـﻴ ﻲ ﻟﻬﺎ. ﻥ ﺍﻟﺸﱠﻌ ِﺒ ﻗﺒﻭل ﺍﻟﻭِﺠﺩﺍ ِ ﺍﻷَﺒﻭﺍﺏِ ،ﻭﺍﻟﻭﺼﻭل ﺇﻟـﻰ ﺍﻟ ﹶﻜﻨﹾـ ِﺯ ﺍﻓﹾﺘﺢ ﻳﺎ ﺳِﻤﺴِﻢ OPEN SESAME ﺏ ﺢ ﺒﻬﺎ ﺍﻷﺒﻭﺍ ﺼِﻴ ﹶﻐ ﹲﺔ ﺴِﺤﺭ ﻴ ﹲﺔ ﺘﹸ ﹾﻔ ﹶﺘ ﻕ ﻟﻬـﺎ ﺍﻷَﺸـﺠﺎ ﺭ ﺸﱡ ﻭﺍﻟ ﹸﻜﻬﻭﻑ ،ﻭ ﹶﺘ ﹾﻨ ﹶ ﺍﻟﺼﻴﻐﺔ ﺒﻌﺩ ﺃﻥ ﻭ ﺭﺩﺕ ﻓﻲ ﺍﻟﺤِﻜﺎﻴﺔ ﺍﻟﺸﱠﻌﺒﻴﺔ ﺍﻟﻤﺸﻬﻭﺭﺓ "ﻋﻠـﻲ ﺒﺎﺒـﺎ"؛ ﻭﻫﻲ ﺤِﻜﺎﻴﺔ ﺃﻀﻴﻔﹶﺕ ﺇﻟﻰ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻑ ﻋﻠـﻲ ﺒﺎﺒـﺎ ﺍﻟﺤِﻜﺎﻴﺔ ﻫﻭ ﺍﻜﺘِﺸﺎ ﹸ ﺍﻟ ﻤ ﹾﻨﺸﹸﻭﺩ. ﺢ ﺃﻨﻬﺎ ﺍﻨﺘﻘﻠﺕ ﺇﻟﻰ ﺍﻟﻴﻭﻨﺎﻥ ﺠ ﻭﺍﻟﺭﺍ ِ ﺍﻷﺒﻭﺍﺏ .ﻭ ﹸﺘﻌـ ﺩ ﻫـﺫﻩ ﺍﻟﺼـﻴ ﹶﻐ ﹸﺔ ﺕ ﺍﻟﻠﱠﻴﺎﻟﻲ ﺸﺎ ِﻫﺩﺍ ﺍﻟﻤﺄﺨﻭﺫﺓ ﻤﻥ ﺤِﻜﺎﻴﺎ ِ ﻋ ﹾﻠ ِﻡ ﺍﻟﻠﱡﻐﺔ ﺍﻟﻌﺎﻡ ﻋﻠـﻰ ﺭﺌﻴﺴﻴﺎ ﻓﻲ ِ ﺴﺤﺭﻴﺔ ،ﺃﻭ ﺍﻷﺴﻁﹸﻭﺭﻴﺔ ل ﺍﻟ ﻷﺼﻭ ِ ﺍُ ﺕ ﺍﻟﻠﱡﻐ ِﺔ ﻭﺘﺭﺍﻜِﻴﺒﻬـﺎ. ﻟﺒﻌﺽ ﻤ ﹾﻔ ﺭﺩﺍ ِ ﻭﻫــﻲ ﻤﻼﺤﻅــﺎﺕ ﺨﺭﺠــﺕ ﺒﺎﻟﺩﺭﺍﺴﺎﺕ ﺍﻟﻠﻐﻭﻴﺔ ﻋـﻥ ﻤﺠـ ﺭ ِﺩ ـﺭﻕ ﺸـ ـﻰ ﺍﻟ ﹼ ـﺭﺹ ،ﻤ ﹾﻠ ﹶﺘ ﹶﻘـ ـﻥ ﻗﺒـ ﻤـ ﺽ ﺒﺎﻟﻐﺭﺏ ،ﻭﺃﻨﻬﺎ ﺍﺴﺘﻭﻋﺒﺕ ﺒﻌـ ﻤﻼﻤﺢ ﺁﻟﻬﺔ ﻤﺎ ﻗﺒل ﺍﻟﻬﻴﻠﻴﻨﻴﺔ .ﻭﺃﻨﻬﺎ ﺽ ﻤﻼﻤﺢ ﺁﻟﻬﺔ ﻤـﺎ ﺍﺴﺘﻭﻋﺒﺕ ﺒﻌ ﻗﺒل ﺍﻟﻬﻴﻠﻴﻨﻴـﺔ .ﺃﻤـﺎ ﻓـﻲ ﺭﻭﻤـﺎ ﺼ ﻴ ِﻎ ﺕ ﻭﺍﻟ ﺍﻟﻨﱠﻅ ﺭ ِﺓ ﺍﻟﻭﺍ ِﻗ ِﻌﻴﺔ ﻟﻠﻌﺒﺎﺭﺍ ِ ﺃﺼﺤﺎﺒﻬﺎ ﺃﻥ ﺍﻟﻠﱠﻐ ﹶﺔ ﻟﻴﺴﺕ ﻟﻤﺠـﺭﺩ ﻕ ﻤـﻥ ﺫﻟـﻙ؛ ﻋ ﻤ ﹸ ﺍﻹﻓﺎﺩﺓ ،ﻭﻟﻜﻨﻬﺎ َﺃ ﺢ ﻴـﺎ ﻭﻤﻥ ﹶﺜ ﻡ ﺃﺼﺒﺤﺕ ﻋِﺒﺎﺭﺓ "ﺍ ﹾﻓ ﹶﺘ ﺍﻟﻘﺩﻴﻤﺔ؛ ﻓﻘـﺩ ﻜﺎﻨـﺕ ﺃﻓﺭﻭﺩﻴـﺕ ﺏ ﻑ * ﭭﻴﻨـﻭﺱ ﺭﺒـﺔ ﺍﻟﺤـ ﺘﹸﺭﺍ ِﺩ ﹸ ﻭﺍﻟﺠﻤﺎ ِ ل .ﻭ ﺭﻭﺕ ﺍﻟـ *ﺇﻟﻴـﺎﺫﺓ ﺃﻥ ww ﻋﻠﻲ ﺒﺎﺒﺎ ﻤﻥ ﻜﺒﻴـﺭﻫﻡ ﺍﻟﺼـﻴﻐﺔ www.alkottob.com ﻭﺍﻹﻟﻬﺔ *ﺃﻨﺎﻫﻴﺘﺎ ﻋﻨﺩ ﺍﻟﻔﺭﺱ. ﻜﺎﻨﺕ ﻟﻪ ﻭﺤﺩﻩ ﺍﻟ ﹸﻘﻭ ﹸﺓ ﺍﻟﺴﺤ ِﺭﻴ ﹸﺔ ﻟِ ﹶﻔ ﹾﺘﺢِ ﺍﻟﻠﱡﻐﻭﻴﺔ؛ ﻭﻫﻲ ﺍﻟﻨﱠﻅﺭﺓ ﺍﻟﺘﻲ ﻗﹶـ ﺭ ﺭ ﺍﻟ ﹶﻜﻬﻑ؛ ﻭﻫﻲ" :ﺍﻓﺘﺢ ﻴﺎ ﺴﻤﺴـﻡ"؛ ﺍﻟﺴﻤﺎﺀ "ﻋﺸﺘﺭﻭﺕ" ﻋﻨﺩ ﺍﻟﺴـﺎﻤﻴﻴﻥ ﺴ ﻤﺴِﻡ" ﻫـﻭ ﺍﻟـﺫﻱ ﺍﺴﻡ ﺍﻟﻨﱠﺒﺎﺕ "ﺍﻟ ﺨﻔِﻲ ﻓﻴـﻪ ﻋﺼـ ﺒ ﹲﺔ ﻤـﻥ ﻟِ ﹶﻜ ﻬﻑٍ ﹸﺘ ﹾ ﺏ ﺢ ﺒﻬـﺎ ﺒـﺎ ﺍﻟﺴﺤﺭﻴﺔ ﺍﻟﺘﻲ ﻴﻔﹾـ ﹶﺘ ﻑ ﺇﻟﻬـﺔ ﺃﻭﺭﺍﻨﻴﺎ ،ﻭﺃﺼﺒﺤﺕ ﺘﹸﺭﺍ ِﺩ ﹸ ﻭﻴﺫﻫﺏ ﺒﻌﺽ ﺍﻟﺩﺍﺭﺴﻴﻥ ﺇﻟﻰ ﺃﻥ ﻁ ِﻘﻴﺔ ،ﺇﻟـﻰ ﺩﺍﺌِـﺭ ِﺓ ﺍﻟﺘﱠﻌﻠِﻴﻼﺕ ﺍﻟ ﻤ ﹾﻨ ِ ﺴ ِﻤ ﻊ ﺹ ﹸﻜﻨﹸﻭﺯﻫﺎ .ﻭﺍﺘﻔﻕ ﺃﻥ ﺍﻟﻠﱡﺼﻭ ِ ﺍﻟﻴﻭﻨﺎﻥ؛ ﻓﻘـﺩ ﹸﻟﻘﱢﺒـﺕ ﺃﻓﺭﻭﺩﻴـﺕ w. ﻲ ﻓﻲ ﻫﺫﻩ ﺤ ﻭ ﺭ ﺍﻟﺭﺌﻴﺴ ﻭﻟﻴﻠﺔ" .ﻭﺍﻟ ِﻤ ل *ﻋﺸﺘﺎﺭ .ﺃﻤـﺎ ﻓـﻲ ﺒـﻼﺩ ﺘﹸﻤﺎ ِﺜ ُ alk ل .ﻭﻗـ ِﺩ ﺍﺸﹾـ ﹸﺘ ِﻬﺭﺕ ﻫـﺫﻩ ﻭﺍﻟﺠِﺒﺎ ُ ﻜﺎﻨﺕ ﻓﻲ ﺍﻷﺼل ﻤ ﻌﺒﻭﺩﺓ ﺸﹶـﺭﻗ ﻴ ﹰﺔ ﺃﻓﺭﻭﺩﻴﺕ ﺍﺒﻨﺔ *ﺯﻴﻭﺱ ﻭ*ﺩﻴﻭﻨﻲ. ﺕ ﻷﻭل ﻤﺭﺓ ﻓـﻲ ﺍﻟﻨﱢﺸـﻴﺩ ﺼ ﻭ ﺭ ﹾ ﻭ ﺍﻟﺭﺍﺒ ﻊ ﻋﺸﺭ ﻋﻥ ﺍﻹﻟﻴﺎﺫﺓ ﻋﻠﻰ ﺃﻨﻬﺎ ﺍﻹﻟﻬﺔ ﺍﻟﺘﻲ ﹶﺘ ﹾﻘ ﻬ ﺭ ﺠﻤﻴـ ﻊ ﺍﻟﺭﺠـﺎل ٧٧ ﺍﻟﻨﱠﻤﻭﺫﹶﺝ ﺃﻭ ﺍﻟﻤِﺜﺎل ﺍﻟﺫﻱ ﺘﻐﻨﱠﻰ ﺒـﻪ ﻭﻀﻌﺕ ﺃﻗﺩﺍﻤﻬﺎ ﻷﻭل ﻤﺭﺓ ﻋﻠـﻰ ﺍﻷﻗﺎﻟِﻴﻡ ﻭﺍﻟ ﻌﺼـﻭ ِﺭ .ﻭﻟﻘـﺩ ﻜـﺎﻥ ﻲ ﺍﻟﻘﺩﻴﻡ. ﺍﻟﺸﱢﻌ ﺭ ﺍﻟﻴﻭﻨﺎﻨ ﺕ ﺃﺭﺽ ﺠﺯﻴﺭﺓ ﻗﺒﺭﺹ؛ ﺤﺘﹼﻰ ﹶﻨﺒـ ﹶ ﺒﺎﻟﻘﺭﺏ ﻤﻥ ﺃﺤﺩ ﻤﻌﺎﺒـﺩﻫﺎ؛ ﻋـﻴﻥ ﻕ ﻁﹸ ل ﻴ ﹾﻨ ِ ﻀﺭ؛ ﻭﻫﻭ ﺩﻟﻴ ٌ ﺨ ﺏ ﺍﻷ ﹾ ﺸ ﺍﻟ ﻌ ﹾ ﺏ ﺍﻟﻨﱢﺴﺎ ﺀ ﻤﻥ ﻤﺎﺌِﻬـﺎ، ﺸ ﺭ ﺠﺎﺭِﻴﺔ ﻴ ﹾ ﻅﻬﺭﺕ ﺇﻟﻰ ﺍﻟﻭﺠﻭﺩ. ﺍﻟ ﻴﺴﺭ ﻓﻲ ﺍﻟﻭِﻻ ﺩ ِﺓ .ﻭﻜﺎﻥ ﺍﻟﻨﱢﺴﺎ ﺀ ﻓﻲ m ﻭﺠﻤﻴﻊ ﺍﻵﻟﻬﺔ ﺒﺎﻟﺸﱠـﻬﻭﺓ ،ﻭﻜﺎﻨـﺕ ـﺎ ﺇﻥ ـﺕ ﻤـ ـﻴﻭﺩ ﺃﻥ ﺃﻓﺭﻭﺩﻴـ *ﻫﻴﺴـ ﺍﻟﻤﺭﺘﺒﻁﺔ ﺒِﻌﺒﺎ ﺩ ِﺓ ﺃﻓﺭﻭﺩﻴﺕ ﺒﺎﺨﺘِﻼﻑ ﻭﻟﻘﺩ ﹶﻨﺴﺏ ﺇﻟﻴﻬﺎ *ﻫﻴﺴـﻴﻭﺩ ﺃﻥ ﻤﻥ ﺼِﻔﺎﺘﻬﺎ ﺩﻻل ﺍﻟﻐﻴﺩﺍﺀ ،ﻭﺴِـﺤﺭ .co ﺍﻟﻔﺘﺎﺓ ،ﻭ ﻤﻜﹾﺭ ﺍﻷُﻨﺜﹶﻰ ،ﺇﻟﻰ ﺠﺎﻨِﺏ ﻤﺎ ﻭﻴﻐﺘﺴﻠﻥ ﺒﻪ ﺍﻟﺘﻤﺎﺴـﺎ ﻟﻠﺤﻤـل ﺃﻭ ﺒﻘﻭﺓ ﺘﺄﺜِﻴﺭﻫﺎ ﻋﻠـﻰ ﺍﻟﻨﱠﻤـﺎﺀ ﻤﻨـﺫ ﻭﻜﺎﻨــﺕ ﺃﻓﺭﻭﺩﻴــﺕ ﺯﻭﺠــ ﹶﺔ ﻫﺭﻤﻴﺴــﻭﻥ ﻴﻘــﺩﻤﻥ ﺍﻟﻘــﺭﺍﺒﻴﻥ "ﻫﻴﻔﺎﻴﺴﺘﻭﺱ" ،ﻭﻟﻜﻨﻬﺎ ﻟﻡ ﺘﻜﻥ ﻭﻓ ﻴ ﹰﺔ ﺤ ﺒ ـ ِﺔ ـل ﺍﻟ ﻤ ـﻥ ﺃﺠـ ـﺕ ﻤـ ﻷﻓﺭﻭﺩﻴـ ﻟﻪ ،ﻭﺃﺤﺒﺕ "ﺁﺭﺱ" ﺇﻟﻪ ﺍﻟﺤـﺭﺏ، ﺏ. ﺠﻴـﺔ ﻭﺍﻹﻨﺠـﺎ ِ ﻭﺍﻟﺴﻌﺎﺩ ِﺓ ﺍﻟﺯﻭ ِ ﺍﻷﺤﻴﺎﺀ ﻤﺎ ﻋﺩﺍ ﺜﻼﺜﹰﺎ ﻤﻥ ﺍﻟﺭﺒـﺎﺕ ﻭ*ﻫﻴﺭﻤﻴﺱ ﻭ*ﺒﻭﺴﺎﻴﺩﻭﻥ ،ﻭﻫﺎﻤﺕ ﻥ ﺃﻓﺭﻭﺩﻴﺕ ﻭﺭ ﺒ ِﺔ ﺍﻟـﺯﻭﺍﺝ ،ﻭﻜﹸـ ﺍﻟﹶﻌﺫﺍﺭﻯ .ﻭﻜﺎﻨﺕ ﻋﻨـﺩ ﺍﻟﺸﱡـﻌﺭﺍﺀ ﺒﺎﻟ ﹶﻔﺘﹶﻰ ﺍﻟﺠﻤﻴل *ﺃﺩﻭﻨﻴﺱ .ﻭﺘﻔﻭﻗﺕ ﻁﺒـﺔ ﺨ ﹾ ﻴﻘﺩﻤﻥ ﺍﻟﻘﺭﺍﺒﻴﻥ ﺇﻟﻴﻬﺎ ﻋﻨﺩ ِ ﻼ ﺃﻋﻠـﻰ ﺍﻟﻐِﻨﺎﺌ ﻴﻴﻥ ﺍﻟﻘﹸـﺩﺍﻤﻰ ﻤـﺜ ﹰ ـﻲ ـﺎ ﻓـ ـﻰ ﻗﺭﻴﻨﺎﺘﻬـ ـﺕ ﻋﻠـ ﺃﻓﺭﻭﺩﻴـ ﺒﻨﺎﺘﻬﻥ ﺤﺘﱠﻰ ﻴﻭﻓﻘﻥ ﻓـﻲ ﺤﻴـﺎﺘﻬﻥ ﺏ .ﻓـﺈﻥ ل ﻭﺍﻟﺤـ ﺏ ﻭﺍﻟﺠﻤﺎ ِ ﻟﻠﺸﹼﺒﺎ ِ ﺍﻟﺠﻤﺎل ،ﻭﺘﺴﻠﱠﻤﺕ ﻤـﻥ *ﺒـﺎﺭﻴﺱ ﺍﻟ ﺯﻭﺠﻴﺔ ﺇﻟﻰ ﺍﻟﺭﻓﺎ ِﺀ ﻭﺍﻟﺒﻨﻴﻥ .ﻭﻗـﺩ ﺸ ﹸﺘ ِﻬﺭﺕ ﺒﻌﺎﻁِﻔﺘﻬﺎ ﺍﻟﻤﺘﺄﺠﺠﺔ؛ ﻗـﺩ ﺍﹾ ﻟﻬﺎ ﺍﻟﻘﹸﺩﺭﺓ ﻋﻠﻰ ﺃﻥ ﹶﺘﻬﺏ ﺍﻵﺨـﺭﻴﻥ ـﺕ؛ ـﻰ ﺃﻓﺭﻭﺩﻴـ ـﻲ ﺃُﻫـﺩِﻴﺕ ﺇﻟـ ﺍﻟﺘـ ـﺕ، ـﺄﻥ ﺃﻓﺭﻭﺩﻴـ ـﻥ ﺸـ ـﺭﺕ ﻤـ ﺃﻜﺒـ ل ﻭﺍﻟ ِﻔ ﹾﺘﻨﹶﺔ ،ﻭﻴﻘﺎل ﺇﻥ ﻜل ﻓﺘﺎﺓ ﺍﻟﺠﻤﺎ َ ﺼﺏِ .ﻭﺍﻗﺘﺭﻨﺕ ﺨ ﺒﺎﻋﺘﺒﺎﺭِﻫﺎ ﺭﺒﺔ ﺍﻟ ﹶ ﻭﺠﻌﻠﺘﻬﺎ ﻓﻲ ﻤ ﺭﺘﹶﺒ ٍﺔ ﻻ ﺘﺼل ﺇﻟﻴﻬـﺎ ﺃﻭ ﺍﻤﺭﺃﺓ ﺘﻀﻊ ﺍﻟ ِﻤ ﹾﻨﻁﹶﻘ ﹶﺔ ﺃﻭ ﺍﻟﺤِﺯﺍ ﻡ ﻋِﺒﺎ ﺩﺘﹸﻬﺎ ﻓـﻲ ﻜﻭﺭﻨﺜـﺔ ﻭﻗﺒـﺭﺹ ﺭ ﺒ ﹲﺔ ﺃﺨﺭﻯ .ﻭﺘﺴﺎﺀل ﻤﻤﻨﺭﻤـﻭﺱ: ﺏ ﻷﻓﺭﻭﺩﻴـﺕ ﻱ ﺍﻟﻤﻨﺴـﻭ ﺍﻟﺴﺤ ِﺭ ﺃﻓﺭﻭﺩﻴﺕ...؟". ﺱ ﻭﻫﻨﺎﻙ ﻋﺩﺩ ﻤﻥ ﺍﻟﻁﱠﻴﺭ ﺍﻟﺫﻱ ﹸﻗ ﺩ ـﺏ ـﺔ ﻭﺍﻟﺤـ ـﻴﻌﻪ ﻤــﻥ ﺍﻟﺒﻬﺠـ ﺘﺸـ ﻭﺍﻟﻭﺩﺍﻋﺔ. ﻥ ـﻠﻁﺎ ﺴـ ـﻭﻤﻴﺭﻭﺱ ـل ﻫـ ﻭﺠﻌـ ﻜﻤﺎ ﺃﺤﺒـﺕ ﺍﻵﻟِﻬـﺔ ﺩﻴـﻭﻨﻴﺯﻭﺱ ott ob ل ﺠﻤﻴـ ﻊ ﺃﻓﺭﻭﺩﻴﺕ ﻴﻤﺘﺩ ﺤﺘﱠﻰ ﻴﺸﻤ َ ﻁ ﺍﻷﻤﻬﺎﺕ ﻓﻲ ﺃﺴﺒﺭﻁﺔ ﺒـﻴﻥ ﺨﹶﻠ ﹶ ﻭﹶ ﺍﻟﺸﱠﺎﻋِﺭ ﹶﺓ "ﺴﺎﻓﻭ" Sapphoﺍﻟﺘـﻲ ﺼ ﹰﺔ ﺒﺎﻟﺠﻤﺎل ،ﻭﻜﺎﻨﺕ ﺍﻟﺠﺎﺌِﺯﺓ ﺍﻟﺨﺎ alk "ﻤــﺎ ﻗﻴﻤــﺔ ﺍﻟﺤﻴــﺎﺓ ﺒــﺩﻭﻥ ﺠ ﹾﻨﺴِـﻴﺔ ﻋﺜﺭ ﻋﻠﻰ ﺒﻌﺽ ﺍﻟﺭﻤﻭ ِﺯ ﺍﻟ ِ ﻀ ﻊ ﺍﻟ ﺘﺼﺒﺢ ﻤﻭ ِ ﺤﺏ ﻭﺍﻻﺸـﺘﻬﺎ ِﺀ. ﻭﺼﻘﻠﻴﺔ ﺒﺒﻌﺽ ﻅﹶـﻭﺍ ِﻫ ِﺭ ﺍﻟﺒِﻐـﺎﺀ. ﻭﻟﻴﺴﺕ ﺍﻟﻔﺠﻭﺓ ﻜﺒﻴﺭﺓ ﺒﻴﻥ ﺍﻟﺸﱠـﻬﻭ ِﺓ ﺏ ﻤﻥ ﺴﻴﺔ ﻤﻥ ﻨﺎﺤﻴﺔ ،ﻭﺍﻹﻨﺠﺎ ِ ﺠ ﹾﻨ ِ ﺍﻟ ِ ﻭﻴﻘﻭل*ﺃﺨﻴل ﻓﻲ ﺍﻟﻨﱠﺸﻴﺩ ﺍﻟﺘﹼﺎﺴـﻊ ﺠﺭ ﻋﺭﺒﺘﻬـﺎ ﺃﻭ ﻟﻬﺎ؛ ﻷﻨﻬﺎ ﻜﺎﻨﺕ ﹶﺘ ﺝ ﺍﺒﻨـﺔ ﻤﻥ ﺍﻹﻟﻴﺎﺫﺓ ﺇﻨﻪ ﻟﻥ ﻴﺘﹶـ ﺯ ﻭ ﺘﺤﻤل ﺭﺴﺎﺌﻠﻬﺎ ﻤﺜـل ﺍﻟﻌﺼـﻔﹸﻭﺭ ﻗﺩ ﹸﻗﺩﻤﺕ ﻷﻓﺭﻭﺩﻴـﺕ ﻤـﻥ ﺃﺠـل ﺃﺠﺎﻤﻤﻨﻭﻥ "ﺤﺘﻰ ﻟﻭ ﹶﺘ ﹶﻔ ﻭﻗﹶﺕ ﻋﻠـﻰ ﺨﻁﹼﺎﻑ. ﻭﺍﻟﺤﻤﺎﻡ ﻭﺍﻟ ﺒﺠﻊ ﻭﺍﻟ ﹸ ﺕ ﻟﻬﺎ ﺃﻴﻀﺎ ﻤﻥ ﺍﻹﻨﺠﺎﺏِ؛ ﻓﺈﻨﻬﺎ ﹸﻗ ﺩ ﻤ ﹾ w. ﻭﻟﻘﺩ ﺼﻭﺭﻫﺎ ﺍﻟﻔﻨﹼﺎﻨﻭﻥ ﻤﻊ ﺍﺒﻨﻬﺎ ﺏ ﻭﺍﻟﻨﱠﻤـﺎﺀ .ﻭﻤـﻥ ﺨﺼِـ ِ ﺃﺠل ﺍﻟ ِ ﻭﺘﺫﻫﺏ ﺃُﺴﻁﹸﻭﺭ ﹸﺓ ﺃﻓﺭﻭﺩﻴﺕ ﻓـﻲ *ﺇﻴﺭﻭﺱ ،ﻭﺃَﺸﻬ ﺭ ﺘﻤﺎﺜﻴﻠﻬـﺎ ﻓـﻲ ﺍﻟﺸﱠﻌﺎ ِﺌ ِﺭ ﺍﻟﺨﺎﺼـﺔ ﺒﺄﻓﺭﻭﺩﻴـﺕ ﺃﻥ ﺕ ﺒﻌﺽ ﻤﺭﺍﺤِﻠﻬﺎ ﺇﻟﻰ ﺃﻨﻬﺎ ﹶﺘ ﹶﻜ ﻭﻨﹶـ ﹾ ﻷ ﺯﻤِﻨ ِﺔ ﺍﻟﻘﺩﻴﻤﺔ ﺍﻟﺘﱢﻤﺜﺎل ﺍﻟﺫﻱ ﹶﻨﺤ ﹶﺘ ﻪ ﺍَ ﻱ ﺍﻤـﺭﺃﺓ ،ﻭﺃﻥ ﻴ ﹶﺘ ﹶﻨ ﱠﻜﺭ ﺸﺎﺏ ﻓﻲ ِﺯ ﻤﻥ ﺯ ﺒ ِﺩ ﺍﻟﺒﺤﺭ ،ﺍﻟﺫﻱ ﻜﺎﻨـﺕ ﻟـﻪ ـﻭﺱ ـﺎل ﻤﻴﻠـ ـﻴﺘﻴﻠﻴﺱ ﻭﺘﻤﺜـ ﺒﺭﺍﻜﺴـ ﻴﻘﱢﻠ ﺩ ﺼﻴﺤﺎﺘﻬﺎ ﺃﺜﻨﺎﺀ ﺍﻟﻤﺨﺎﺽ ،ﻭﻻ ل ﺠَ ﻋﻼﻗﺔ ﺒﺎﻹﺨﺼﺎﺏ .ﻭﻟﻘـﺩ ﺴـ ﺨ ﹶﺘﹶﻠﻔﹶــﺕ ﺍﻟﺸﱠــﻌﺎ ِﺌ ﺭ ﺍﻟﻤﺤﻔــﻭﻅ .ﻭﺍ ﹾ ل ﻫﺫﻩ ﺍﻟﺸﱠـﻌﻴﺭﺓ ﻋﻠـﻰ ﻴ ﻌ ﺭﻑﹸ ﺃَﺼ ُ www.alkottob.com ww ﺃﻓﺭﻭﺩﻴﺕ ﻓﻲ ﺍﻟﺠﻤﺎل". ﻨﺎﺤﻴﺔ ﺃﺨﺭﻯ .ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﺍﻟﻘﺭﺍﺒﻴﻥ ٧٨ ﻭﻫﻲ ﺘﺸﺘﻬﺭ ﺒﺎﻟﺜﱠﺭﺜﹶﺭ ِﺓ ﻭﺇﻓﺸـﺎ ِﺀ ﺍﻟﺘﱠﻜﻭﻴﻥ ،ﻭﺃُﺴﻁﹸﻭﺭﺓ ﻴﻴﻤﺎ ،ﻭﺍﻟﻌﺼﺭ ﺍﻷﺴﺭﺍﺭ؛ ﻭﻫﺫﺍ ﻫﻭ ﺍﻟﺴﺒﺏ ﺍﻟـﺫﻱ ﻲ ﺏ ﺍﻟﺭﻭﺤــﺎ ِﻨ ﺍﻟــﺫﱠﻫﺒِﻲ ﻭﺍﻟﻁﱢــ ﺠﹶﻠﺕِ ﺍﻷﺨﺒﺎ ﺭ ﻭﺍﻟﺭﻭﺍﻴﺎﺕ ﻭﻟﻘﺩ ﺴ ﺠﻌل ﻤﻥ ﻴ ﻤ ﱢﺜﻠﹸﻬـﺎ ﻓـﻲ ﺍﻟـﺭﻗﺹ ﻱ. ﺴ ِﺩ ﺠ ﻭﺍﻟ ﺍﻷﺩﺒﻴﺔ ﺍﻟﺩﻭ ﺭ ﺍﻟﻌﻅﻴﻡ ﺍﻟﺫﻱ ﻗﺎﻤـﺕ ﺼ ﺒﻌِﻪ ﻋﻠـﻰ ﻴﺤﺭِﺹ ﻋﻠﻰ ﻭﻀ ِﻊ ﺇ ﺱ ﻁﻘﹸﻭ ِ ﺍﻟﺘﱠﺤﻘﻴﻕ ،ﻭﻟﻜﻨﻬﺎ ﺘﺸﻴﺭ ﺇﻟﻰ ﺍﻟ ﱡ ﺼ ِﺔ ﺒﺎﻹﺨﺼﺎﺏ. ﺍﻟﺨﺎ m ﺕ ﺍﻟﻼﺘـﻲ ﺒﻪ ﺍﻟﻨﱢﺴﻭ ﹸﺓ ﺍﻟﻜﻭﺭﻨﺸـﻴﺎ ﹸ .co ـﻌﺎﺌﺭ ﺸـ ـﺘﻼﻑ ﺍﻟ ﱠ ـﺈﻥ ﺍﺨـ ـﻲﺀ ﻓـ ﺸـ ﻭﺍﻟﻁﱡﻘﻭﺱ ﺍﻟﺨﺎﺼﺔ ﺒﺄﻓﺭﻭﺩﻴﺕ ﻟـﻥ ل ﻭﺍﻹﻗﺩﺍﻡ ،ﻭﻫﻲ ﺍﻟﺘﻲ ﻅﻠﱠﺕ ﻭﺍﻟﺠﻤﺎ ِ ﻉ ﻅ ﺍﻟﻨﱠـﻭ ِ ﺹ ﺤِﻔ ﹶ ﺸﺨﱢ ﻼ ﹸﺘ ﹶ ﺃﻤﺩﺍ ﻁﻭﻴ ﹰ ﻋﻨﺩ ﺍﻹﻨﺴﺎﻥ ،ﻭﻋﻨﺩ ﻏﻴـﺭﻩ ﻤـﻥ ﺍﻟﻜﺎﺌﻨﺎﺕ ،ﻭﻻ ﺘﺯﺍل ﺇﻟﻰ ﺍﻵﻥ ﺘﹸ ﹾﻠ ِﻬ ﻡ ﻗﹶﺭﺍﺌِﺢ ﺍﻟ ﹶﻔﻨﹼﺎﻨِﻴﻥ ﻭﺍﻟﺸﱡﻌﺭﺍﺀ ﺒﺭﻭﺍﺌـﻊ ل ﻭﻗﺼﺎﺌ ِﺩ ﺍﻟﺸﱢﻌﺭ. ﺼ ﻭ ِﺭ ﻭﺍﻟﺘﱠﻤﺎﺜِﻴ ِ ﺍﻟ AVESTA AFYRIKETE ﻤﻥ ﻤﻌﺒـﻭﺩﺍﺕ ﺩﺍﻫـﻭﻤﻲ ﻓـﻲ ﺇﻓﺭﻴﻘﻴﺔ .ﻭﻫﻲ ﺍﻻﺒﻨـﺔ ﺍﻟﺼـﻐﺭﻯ ﺏ ﺃﺤﻴﺎﻨﹰـﺎ "َﺃ ِﻭﺴـﺘﺎ " )ﻷﻥ ﻭﺘﹸ ﹾﻜ ﹶﺘ ﺍﻟﻭﺍﻭ ﺘﻨﻁﻕ vﺒﺎﻟﻔﺎﺭﺴﻴﺔ( ،ﻭ ﹸﺫﻜِﺭﺕ ﻑ ﻨﺎﺒِﻀــ ٍﺔ ﺒﺎﻟﺤﻴــﺎﺓ ﺒﺄﻭﺼــﺎ ٍ ﻓﻲ ﺒﻌـﺽ ﺍﻟﻤﺼـﻨﱠﻔﺎﺕ ﺍﻟﻘﺩﻴﻤـﺔ ﻷﻫﻭﺭﺍ ﻤﺯﺩﺍ ،ﻭﻤﻌﺎﻭِﻨﻴﻪ ﻤﻥ ﺼِﻐﺎﺭ "ﺃﺒﺴﺘﺎﻕ" :ﺍﻟﻜﺘﺎﺏ ﺍﻟﻤﻘﺩﺱ ﻟﻠﻌﻘﻴـﺩﺓ ﺍﻟﻨﹼﺎﺱ ﻋﻠﻰ ﺍﻟﺴﻭﺍﺀ ،ﻭﻓﻴﻬﺎ ﻤﻼﺀﻤﺔ ﻭﻴﻀﻡ ﻫﺫﺍ ﺍﻟﻜﺘﺎﺏ ﺨﻤﺴﺔ ﺃﺠﺯﺍﺀ ﻟﻤﻘﺘﻀﻴﺎﺕ ﺍﻟﺤﻴﺎﺓ ﺍﻟ ﻴﻭﻤﻴﺔ .ﻭﺍﻷﭭﺴﺘﺎ ﻫﻲ: ﺍﻟﺤﺎﻟِﻴﺔ ﻋﻨﺩ ﺍﻟﺒﺭﺴﻴﻴﻥ ﻓﻲ ﺍﻟﻬِﻨﺩ ﻻ ) (١ﺍﻟﻴﺎﺴﻨﺎ ،ﻭﻴﺤﺘـﻭﻱ ﻋﻠـﻰ ﻲ ﻤﻥ ﺸﹶﻌﺎﺌ ِﺭ ﺍﻟـﺩﻴﻥ، ﺍﻟﻘِﺴ ِﻡ ﺍﻟﺭﺌﻴﺴ ﻭ ﹶﺘ ِﺭ ﺩ ﻓﻴﻪ ﺍﻟﻐﺎﺜﺎ؛ ﻭﻫﻲ ﻤﺠﻤﻭﻋـﺔ ﻤﻥ ﺍﻷﺤﺎﺩِﻴﺙ ﻭﺍﻟﻨﱠﺼـﺎﺌِﺢ ،ﻭﻤـﺎ ﺼﻭ ﺭ ﺃﻨﻪ ﻭﺤﻲ ﻤـﻥ ﺍﻹﻟـﻪ * ﻴ ﹶﺘ ﺃﻫﻭﺭﺍ ﻤﺯﺩﺍ. ـﺘﺎ ـﻥ ﺍﻷﭭﺴـ ل ﺇﻻ ﻗِﺴ ـﻤﺎ ﻤـ ﹸﺘ ﻤ ﱢﺜ ـ ُ ﻥ ﺏ ﺩِﻴـ ٍ ﺍﻷﺼﻠﻴﺔ .ﻭﻫﻲ ﻟﻴﺴﺕ ﻜِﺘﺎ ﺏ ﻋِﻠ ٍﻡ ﺃﻴﻀﺎ. ﻓﺤﺴﺏ ،ﻭﻟﻜﻨﻬﺎ ﻜِﺘﺎ ﻭﺘﺫﻫﺏ ﺍﻟﺭﻭﺍﻴﺎﺕ ﺃﻴﻀﺎ ﺇﻟﻰ ﺃﻥ ـﺔ ﺱ ﺍﻟﺩﻭﻟـ ل ﻤﺅﺴـ ﺃﺭﺩﺸـﻴﺭ ﺍﻷ ﻭ َ ﹶﺘ ِﺘﻤﺔ ﺍﻟﺸﱠﻌﺎ ِﺌ ِﺭ ﺍﻟﻤﺘﻌﻠﱢﻘـﺔ ﺒﺼِـﻐﺎﺭ ﺠﺴﻡ ﺍﻟﻤﻌﺎﻨﻲ ﺍﻹﻟﻪ ﺃﻫﻭﺭﺍﻤﺯﺩﺍ ،ﻭ ﹸﺘ ﺍﻟﻁﱠﻴﺒﺔ. ـﻡ ـﻭ ﺍﻟﻘِﺴـ ـﺩﺍﺩ؛ ﻭﻫـ ) (٣ﺍﻟﻔﻨﺩﻴـ ﺍﻟﺨﺎﺹ ﺒﺎﻟ ﹶﻜﻬﻨﹶﺔ ،ﻭﻴﺘﻨـﺎﻭل ِﻗﺼـﺔ ﺍﻟﺴﺎﺴﺎ ِﻨﻴﺔ )٢٤٠ – ٢٢٤ﻡ( ﻋﻨﺩﻤﺎ ﺃﺭﺍ ﺩ ﺃﻥ ﻴﻌﻴ ﺩ ﻤﺎ ﺘﻔﺭﻕ ﻤـﻥ ﻫـﺫﺍ ﺍﻟﻜﺘﺎﺏ ﻟﻡ ﻴﺠﺩ ﺒﺩﺍ ﻤﻥ ﻨﻘل ﺍﻷﺠﺯﺍﺀ ww ﺍﻻﺴﺘﻘﺭﺍﺭ ﺍﻟﺫﻱ ﻴ ﱠﺘﺴِﻡ ﺒـﻪ ﺍﻟﺒﺤـ ﺭ ﺍﻟﺼﻠﻭﺍﺕ ﺍﻟﻘِﺼﺎﺭ ﻟﻠﻜﻬﻨﺔ ﻭﻋﺎﻤـﺔ ﻭﻤﻌﻨﺎﻩ "ﺘﻔﺴﻴﺭ ﺍﻟﻘﺎﻨﻭﻥ". ﻭﺘﻅﻬﺭ ﺃﻓِﺭﻴﻜِﻴﺕ ﻓـﻲ ﺒﻌـﺽ ﺠﺴ ﻡ ﺒﺫﻟﻙ ﻋـ ﺩ ﻡ ﻤﺤﺘﺎﻟ ٍﺔ ﻤﺎﻜِﺭﺓ ،ﹸﺘ ﺍﻟﺼﻐﻴﺭﺓ؛ ﻭﻫﻲ ﻤﺠﻤﻭﻋـﺔ ﻤـﻥ ﻋﻠﻰ ﻜِﺘﺎﺒﻬﻡ ﺍﺴـﻡ "ﺃ ِﭭﺴـﺘﺎ ﺯﻨﹾـﺩﺍ" ﻥ ﺍﻷﺭﺒﺎﺏ ﺃﻭ ﺍﻟﻤﻼﺌﻜﺔ ﺍﻟﺘـﻲ ﺘﹸﻌِـﻴ ﺨﺼِـ ﻴ ٍﺔ ﺸﹾ ﺍﻷﺴﺎﻁﻴﺭ ﻋﻠﻰ ﻫﻴﺌـ ِﺔ ﹶ ) (٥ﺍﻟﺨﺭﺩﺓ ﺃﭭﺴﺘﺎ ﺃﻱ ﺍﻷﭭﺴـﺘﺎ ﻁِﻠﻘﹸـﻭﻥ ﻓﻲ ﺍﻟﻬﻨﺩ ﻴﻌﺘﻨﻘﻭﻨﻬﺎ ،ﻭﻫﻡ ﻴ ﹾ ﺤ ِﺭ .ﻭ ﹸﺘﻌـ ﺩ ﺍﻟﺤﺎﺭِﺴـ ﹶﺔ ﻟﻜﻨـﻭﺯ ﺍﻟ ﺒ ﺍﻟﺒﺤﺭ. ﺍﻷﺭﺒﺎﺏ ﺃﻭ ﺍﻟﻤﻼﺌﻜﺔ. ﺴﻴﻭﻥ ﺍﻟﺯﺭﺍﺩﺸﺘﻴﺔ ﺍﻟﺘﻲ ﻻ ﻴﺯﺍل ﺍﻟﺒ ﺭ ِ ) (٢ﺍﻟﻔﺴﺒﺭﻴﺩ ،ﻭﻴﺤﺘﻭﻱ ﻋﻠـﻰ www.alkottob.com ﺝ ﺦ ﺍﻷُﺴﻁﻭﺭِﻱ ﺍﻟـﺫﻱ ﻤـ ِﺯ ﻟﻠﺘﹼﺎﺭﻴ ِ w. ﻟﻺﻟﻬﻴﻥ * :ﺃﭽﺒﻲ ﻭﻨﺎﻴﺘﻲ ،ﻤﻥ ﺁﻟﻬ ِﺔ ﻋﺎﺩ ﹰﺓ. ﺍﻟﻨﱡﺼﻭﺹ ﺍﻹﻴﺭﺍﻨ ﻴﺔ ،ﻭ ﹸﺘ ﻌﺩ ﻤﺼﺩﺭﺍ alk ﺃﻓِﺮِﻳﻜِﻴﺖ ﺍﻟﺩﺍﺭِﺴﻭﻥ ﺇﻟﻰ ﺃﻨﻬـﺎ ﻤـﻥ ﺃﻗـﺩﻡ ott ob ﺏ ﻴ ﹶﻐﻴﺭ ﻤﻥ ﺼﻭﺭﺘﻬﺎ ﹶﻜﺭ ﻤﺯِ ﺍﻟﺤـ ﻤﻥ ﺍﻷﻨﺎﺸِـﻴ ِﺩ ﺍﻟﺩﻴﻨﻴـﺔ .ﻭﻴـﺫﻫﺏ ﺸﻔﺘﻴﻪ!... ﻭﻫﺒﻥ ﺃﺠﺴﺎﺩﻫﻥ ﻷﻓﺭﻭﺩﻴﺕ ﺃﺜﻨـﺎﺀ ﺍﻷَﭬِﺴﺘﺎ ﺍﻟﻐﺯﻭ ﺍﻟﻔﺎﺭِﺴﻲ .ﻭﻤﻬﻤﺎ ﻴﻜﻥ ﻤـﻥ ) (٤ﺍﻟﻴﺎﺸﺕ؛ ﻭﻫﻲ ﻤﺠﻤﻭﻋـﺔ ﺍﻟﺨﺎﺼﺔ ﺒﺎﻟﻌﻠﻭﻡ ﻋﻥ ﺍﻟﻴﻭﻨﺎﻨﻴﺔ. ﻭ ﹸﺘ ﻌﺩ ﺍﻷﭭﺴـﺘﺎ ﻤﺭﺸِـﺩﺍ ﻟﻠﺤﻴـﺎﺓ ﺏ ﻁـ ﺏ ﺍﻟ ﱢ ـﺈﻟﻰ ﺠﺎﻨ ـ ِ ـﺔ ،ﻓـ ﺍﻟﻌﻤﻠﻴـ ﺠﺴـ ِﺩﻱ؛ ﻨﺠـﺩ ﺃﻥ ﻲ ﻭﺍﻟ ﺍﻟﺭﻭﺤﺎ ِﻨ ٧٩ ﻋﺎﻤﺔ ،ﻭﻋﻠـﻰ ﺍﻟﺯﺭﺍﻋـﺔ ﺒِﺼـﻔ ٍﺔ ﺕ ﺍﻟﻤﺠﻤﻭﻋﺔ ﻤﻥ ﻋﻘﺎ ِﺌ ﺩ ﻭ ﹶﺘﺼـﻭﺭﺍ ٍ ﺍﻟ ﻤ ﹾﻔ ﹶﺘﺭِﺴﺔ. ـﺎ" :ﺇﻥ ـﺎ ﺀ ﻓﻴﻬـ ـﺩ ﺠـ ﺼـﺔٍ ،ﻭﻗـ ﺨﺎ ﺕ ﻑ ﻗﺩ ﺍﺴﺘﻭﻋﺒﺘﻪ ﺍﻟ ﻤ ْﺄﺜﹸﻭﺭﺍ ﹸ ﻭﻤﻌﺎ ِﺭ ﹶ ﻷ ﹾﻓﻌـﻰ ﺃﺸـﻴﺎﺀ ﻭﺘﹸﺭﻭﻯ ﻋـﻥ ﺍ َ ﻉ ﺤﻴﻥ ﻴﺒ ﹶﺫ ﺭ ﺍﻟﻘﹶﻤﺢ، ﻥ ﹸﺘ ﺭﻭ ﺍﻟﺸﱠﻴﺎﻁِﻴ ﺍﻟﺸﱠﻌﺒ ﻴ ﹸﺔ ﻓﻲ ﺘﻠـﻙ ﺍﻟﻤِ ﹾﻨﻁﹶﻘـﺔِ ﺃﻤـﺩﺍ ﻼ ﺇﻨﻬـﺎ ﺨﹸﺭﺍ ِﻓﻴﺔ ﻜﺜﻴﺭﺓ؛ ﻓﻴﻘﺎل ﻤـﺜ ﹰ m ل ﺒﺼـﻔﺔ ﺤﺙﱡ ﻋﻠﻰ ﺍﻟ ﻌﻤـ ِ ﺍﻷﭭﺴﺘﺎ ﹶﺘ ـﺫﻩ ـﻲ ﻫـ ـﺎ ﻓـ ﺽ ﻤـ ـﻲ ﺃﻥ ﺒﻌ ـ ﻓـ ﺸﻊِ ﺍﻟﺤﻴﻭﺍﻨﹶﺎﺕ ﺍﻹﻨﺴﺎﻥ ،ﻭﻫﻲ ﻤﻥ َﺃ ﺒ ﹶ ﺴ ﹶﺘﻭِﻱ ﻋﻠﻰ ﺴﻭ ِﻗﻪِ، ﺏ ﻋﻨﺩﻤﺎ ﻴ ﻭ ﹶﺘ ﹾﻨ ﹶﺘﺤِ ﺸﺘﹼﻰ. ﹶ ﺕ ﻋﻴﻨﻴﻬﺎ ﺒﺸـﺠﺭﺓ ﺤ ﱠﻜ ﹾ ﺘﺴﺘﻌﻴﺩﻩ ﺇﺫﺍ .co ﺽ ﺤـﻴﻥ ﻴ ﹾﻨﺒـﺕﹸ، ﺏ ﺒﺎﻟ ﻤ ﺭ ِ ﻭﺘﹸﺼﺎ ﺕ ﻁﻭﻴﻼﹰ ،ﻭﻋﻨﻬﺎ ﺍﻨﺘﻘﻠﺕ ﺇﻟﻰ ﺜﹶﻘﺎﻓـﺎ ٍ ﻑ ﻋﺎﻡ ،ﻭ ﹶﺘ ﹾﻔ ِﻘ ﺩ ﺒﺼﺭﻫﺎ ،ﺜﻡ ﺘﻌﻴﺵ َﺃ ﹾﻟ ﹶ ﻭ ﹸﺘ ﻭﻟﱢﻲ ﺍﻷﺩﺒـﺎ ﺭ ﻋﻨـﺩﻤﺎ ﺘﻅﻬـﺭ ل .ﻭﺍﻟﺒﻴﺕ ﺍﻟﺫﻱ ﻴﺨﺯﻥ ﺍﻟﻘﻤﺢ ﺴﻨﹶﺎ ِﺒ ُ ﺍﻟ ﻥ". ﻓﻴﻪ ﹶﺘ ِﻔ ﺭ ﻤﻨﻪ ﺍﻟﺸﱠﻴﺎﻁِﻴ ﺒﺎﻟﺤﻴﻭﺍﻥ ﺍﻷﻟﻴـﻑ .ﻭﺍﻟﺤﻴﻭﺍﻨـﺎﺕ ﺍﻷﻟﻴﻔﺔ ﻓﻲ ﻫﺫﻩ ﺍﻟﺩﻨﻴﺎ ﻫﻲ ﺍﻟﺼﻭﺭﺓ ﺍﻟﺜﺎﻨﻴﺔ ﻟﻠﻤـﻼﻙ "ﻭﻫﻭﻤﻨـﻪ" ﺍﻟـﺫﻱ ﺏ ﻭﻴﺤﻤﻴﻬـﺎ ﻴﺤﻤِﻲ ﺍﻟ ِﻔﻜﹾـ ﺭ ﺍﻟﻁﱠﻴـ ﺠﻤﻴﻌﺎ. ﻑ ﺍﻟﻌﺎﹶﻟﻡِ ل ﻓﻲ ﺘﹶﻌﺭﻴ ِ ﻀُ ﻭ ﻴﻌﻭ ﺩ ﺍﻟ ﹶﻔ ﻕ ﺴ ﹶﺘﺸﹾـ ِﺭ ِ ﻲ ﺒﺎﻷﭭﺴﺘﺎ ﺇﻟﻰ ﺍﻟ ﻤ ﺍﻟﻐﹶﺭ ِﺒ ﻭﺍﻷَﻓﻌﻰ ﻓﻲ ﺍﻟﺸﱢﻌﺭ ﺍﻟﻘﺩﻴﻡ ﺭﻤـ ﺯ ﺕ ﺕ ﺍﻟﺤﻴﻭﺍﻨﺎ ِ ﺘﹶﻌﻭِﻴ ﹶﺫ ﹲﺓ ﻀ ﺩ ﻋﻀﺎ ِ ﺤﻨِﻲ ﺼ ٍﺔ ﻟﻤﻥ ﻴ ﹾﻨ ﻟﻠ ﻌ ﺩﻭ ﺍﻟﱠﻠﺩﻭﺩ ،ﻭﺒﺨﺎ ﺵ ﺽ ﺍﻟـﺩﺭﺍﻭِﻴ ِ ﺍﻟﺴﺎ ﻤ ِﺔ .ﻭﻴﻘﻭل ﺒﻌ ﺏ ﺒِﻬﺎ ﺍﻟﻤ ﹶﺜل؛ ﻀ ﺭ ﻋﻠﻴﻬﺎ ﻟﻴﻘﺘﻠﻬﺎ .ﻭ ﻴ ﻥ ﺇﻥ ﻓﻲ ﻭﺴﻌﻬﻡ ﺍﻟﺘﺄﺜﻴ ﺭ ﻋﻠﻰ ﺍﻟﺜﱠﻌﺎﺒِﻴ ِ ﺍﻟﻁﱠﻭﻴﻠﹶﺔ ﻓﻲ ﺒـﻼﺩ ﺍﻟﻬﻨـﺩ ،ﻭﻤـﻥ ﺸ ِﺭ ﺒﺎﻟﻜﻬﻨﺔ ﺍﻟﺒﺭﺴﻴﻴﻥ؛ ﺍﺘﱢﺼﺎِﻟ ِﻪ ﺍﻟﻤﺒﺎ ِ ﺏ ﺇﻟﺦ ،ﻭﺇﻨﻬﻡ ﻴﺴـﺘﻁﻴﻌﻭﻥ ﻭﺍﻟﻌﻘﺎ ِﺭ ِ ﺠ ﻡ ﺒﻌﺩ ﺫﻟﻙ ﺇﻟـﻰ ﻭﺭﻭﺍﺌِﻌﻬﺎ ،ﻭ ﹸﺘ ﺭ ِ ﺠﺴـ ِﻡ ﻫـﻭ ﺤﺩﺍ ﻤﻥ ﺍﻟ ِ ﺇﻥ ﺠﺯﺀﺍ ﻭﺍ ِ ﺢ ﻤﻥ ﻫﺫﻩ ﻀ ﺕ ﻤ ﹶﻨﻭﻋﺔ .ﻭﺍ ﱠﺘ ﺩِﺭﺍﺴﺎ ﹲ ﻱ ﺠﻬﻭ ِﺩ ﻤﺎ ﻟﻸﭭﺴﺘﺎ ﻤﻥ ﺘﺄﺜﻴ ٍﺭ ﻗﹶـ ِﻭ ﺍﻟ ﺤ ﺒ ٍﺔ ﻤـﻥ ﻋﻠﻰ ﺍﻟ ِﻔ ﹾﻜ ِﺭ ﻓﻲ ِﻤ ﹾﻨﻁﹶﻘ ٍﺔ ﺭ ﺍﻟﺸﱠﺭﻕ ﺍﻷَﻭﺴﻁ .ﻭﻟﻴﺱ ﻤﻥ ﺸـﻙ ﺤ ﺒ ِ ﻴﺨﺎﻑ ﻤﻥ ﺍﻟ ل". ﺕ ﻋﻀـﺎ ِ ﺍﻟﺫﻱ ﻴ ﹶﺘﻤ ﱠﺘ ﻊ ﺒﺎﻟﺤِﻤﺎﻴ ِﺔ ﻤﻥ ﺏ ﻜﻤـﺎ ﺍﻋﺘﻘـ ﺩ ﻭﻴﻌﺘﻘﺩ ﺍﻟﻌـﺭ ﺍﻟﺜﱠﻌﺎﺒﻴﻥ ﻭﺍﻟﻌﻘﺎﺭِﺏ ﻭﻏﻴﺭﻫﺎ؛ ﻜﺎﻟﻴﺩ ﺍﻹﻏﺭﻴﻕ ﺃﻥ ﹶﻟﺤـ ﻡ ﺍﻷﻓﻌـﻰ ﺩﻭﺍﺀ ﺍﻟﻴﻤﻨﹶﻰ ﺃﻭ ﺍﻟﻴﺩ ﺍﻟﻴﺴﺭﻯ ﻤﺜﻼﹰ؛ ﻭﻤﻥ ﺵ ﻙ ﺍﻟـﺩﺭﻭﻴ ﹸ ﹶﺜ ﻡ ﻴﺠـﺏ ﺃﻻ ﻴ ﻤﺴِـ ل ﻭﻏﻴـﺭﻩ ﻤـﻥ ﻨﺎﺠِﻊ ﻟِـﺩﺍ ِﺀ ﺍﻟﻔِﻴـ ِ ﺒﺜﹸﻌﺒﺎﻥ ﺃﻭ ﻋﻘﺭﺏ ﺇﻻ ﺒﺎﻟﻴـﺩ ﺍﻟﺘـﻲ ﹶﺘ ﹾﻨ ﻌ ﻡ ﺒﺎﻟﺤِﻤﺎﻴﺔ. VIPER ﺤﻴـ ﹲﺔ ﺤﻴﺎﺕِ؛ ﻭﻫﻲ ﺍﻷُﻨﺜﹶﻰ ﻤﻥ ﺍﻟ ﺍﻷﻤﺭﺍﺽ ﺍﻟﺠِﻠ ِﺩ ﻴﺔِ ،ﻭﺃﻥ ﺩﻤﻬﺎ ﻴﺠﻠﻭ ﻑ ﻗﹶﻠﺒﻬﺎ ﻭﺸﹸﺩ ﻋﻠﻰ ﺠ ﱢﻔ ﹶ ﺼﺭ ،ﻭﺇﺫﺍ ﺍﻟ ﺒ ﺍﻹﻨﺴﺎﻥ؛ ﻓﺈﻨﻪ ﻻ ﻴﺅﺜﱢﺭ ﻓﻴﻪ ﺍﻟﺴﻡ. ﺤﻀـ ﺭ ﻤـﻥ ﺍﻷﻓﻌـﻰ ﻭﻜﺎﻥ ﻴ ﺽ ﺍﻟﺒﺩﻭ ﻤـﻥ ﺨ ﺩ ﺒﻌ ﺍﻟﺘﱢﺭﻴﺎﻕ ،ﻭ ﻴ ﱠﺘ ِ ﻋﺭِﻴﻀـ ﹸﺔ ﺭﻗﺸﺎﺀ ﻤﺨﺘﻠﻔﺔ ﺍﻟﺤﺠـﻡ ﺍﻷﻓﻌﻰ ﻏِﺫﺍ ﺀ. ﺱ ﺩﻗِﻴﻘﹶﺔ ﺍﻟ ﻌ ﹸﻨ ِ ﺍﻟﺭﺃ ِ ﻕ ﹶﻗﺼِﻴ ﺭ ﹸﺓ ﺍﻟ ﹶﺫﻨﹶﺏ ،ﺇِﻓﻴﺠِﻴﻨﻴﺎ ﺽ ﺍﻷﺤﻴـﺎﻥ ﻴﻜﻭﻥ ﻟﻬﺎ ﻓـﻲ ﺒﻌـ ِ ﹶﻗ ﺭﻨﹶﺎﻥ. ﻷ ﹾﻓﻌﻰ ﺍﻟﺘـﻲ ﺏ ﺃﻥ ﺍ َ ﻭﻴﻘﻭل ﺍﻟ ﻌ ﺭ ﻋﺩﻯ ﺃﻋﺩﺍﺀ ﺨ ﹶﺘﻔِﻲ ﻓﻲ ﺍﻟﺭﻤﺎل ﻫﻲ َﺃ ﹶﺘ ﹾ ww ﻑ ﺍﻟﻠﱡﻐﺎﺕ ،ﻭﻅﻬـﺭﺕ ﻋﻨـﻪ ﻤﺨﺘِﻠ ِ ﻭﻴﻘﺎلُ ﺃﻴﻀﺎ" :ﻤﻥ ﹶﺘ ﹾﻠ ﺩﻏﹸ ﻪ ﺍﻷﻓﻌـﻰ w. ﺏ ﺕ ﺍﻟﺸﱡـﻌﻭ ِ ﺍﻟﺫﻱ ﻴ ﻌﺩ ﻤـﻥ ﺁﻴـﺎ ِ ﺼ ﺩ ﺇﻟﻴﻪ ﻴ ﻬﺭﺏ ﻤﻨﻪ ﺃﻫﻠﹸـﻪ، ﺕ ﺘﹶﻘ ِ ﺒﻴ ٍ ل ﻫﺫﻩ ﺍﻟ ﻤ ﹾﻘ ِﺩﺭﺓ ﻵﺨﺭﻴﻥ .ﻭﻴﻘـﺎل ﹶﻨ ﹾﻘ َ ﻓﺘﺭﺠﻡ ﺍﻷﭭﺴـﺘﺎ ﺇﻟـﻰ ﺍﻟﻔﺭﻨﺴـﻴﺔ ،ﺍﻷَﻓﹾﻌﻰ ﻭﺒﺫﻟﻙ ﺍ ﹾﻨ ﹶﺘﺒﻪ ﺍﻟ ﻌﻠﹶﻤﺎ ﺀ ﺇﻟﻰ ﻫﺫﺍ ﺍﻟﻜِﺘﺎﺏ ل ﻅﹶﻠ ﻡ ﻤﻥ َﺃ ﹾﻓﻌﻰ"؛ ﻷﻥ ﻜﹸـ ﱠ ﻓﻴﻘﺎلَ" :ﺃ ﹾ alk "ﺩﻴﺒﺭﻭﻥ" ﺍﻟﺫﻱ ﺃﻓﺎ ﺩ ﻤـﻥ ﺇﻗﺎ ﻤﺘِـﻪ www.alkottob.com AFSUN ott ob ﺤ ﱠﺜ ِ ﻭﻟﻘﺩ ﺕ ﺍﻷﭭﺴﺘﺎ ﻋﻠﻰ ﺍﻟﻌِﻨﺎﻴـ ِﺔ ﺃﹶﻓﹾﺴﻮﻥ ﺍﻟﺭﺍﺯﺒﺎﺭﻨﺞ. IPHIGENIA ﺍﺒﻨـــــ ﹸﺔ ﺃﺠـــــﺎ ﻤ ِﻤﻨﹸﻭﻥ Agamemnonﻭﻜﻠﻴﺘﻤﻨﺴــﺘﺭﺍ Clytemnestraﻓﻲ ﺍﻷﺴﺎﻁِﻴﺭ ٨٠ ﺼﻭﺭﺓ ﻤﻥ *ﺃﺭﺘﻴﻤﻴﺱ؛ ﻷﻥ ﺍﺴﻤﻬﺎ ﻭ ﹶﻓﺭﺍ ﻤﻌﺎ .ﻭﻓﻲ ﺩﻟﻔﻲ ﺍﻟﺘﻘﺕ ﺇﻟﻴﻜﺘﺭﺍ ل ﻋﻠـﻰ ﺼَ ﺤ ﻤﻴﻼﻤﺒﻭﺱ ﻴﺭﻴﺩ ﺃﻥ ﻴ ﻴﻌﻨِﻲ "ﺍﻟﻘﻭﻴﺔ ﻤﻨﺫ ﻤﻭِﻟﺩِﻫﺎ". ﺕ ﺃﻥ ﹶﺘ ﹾﻨ ﹶﺘﻘِﻡ ﺸ ﹶﻜ ﹾ ﺒﺄﺨﺘِﻬﺎ ﺇﻓﻴﺠﻴﻨﻴﺎ ،ﻭَﺃ ﻭ ﹶ ﺒﻌﺽ ﺍﻟﻤﺎﺸِـﻴﺔ ﻤـﻥ ﻓﻴﻼﻜـﻭﺱ؛ ﻭ ﹶﺘ ﺭﻭِﻱ ﺍﻷُﺴﻁﹸﻭﺭ ﹸﺓ ﺃﻥ ﺃﺠﺎﻤﻤﻨﻭﻥ ﻤﻨﻬﺎ ﻟِﻤﺎ ﺴﻤﻌﺘﻪ ﻋﻥ ﻤ ﹾﻘ ﹶﺘلِ ﺃﺨﻴﻬـﺎ، ل ﻓـﻲ ﺒﻴﺩ ﺃﻥ ﺃﻭﺭﻴﺴـﺘﻴﺱ ﻭﺼـ َ ﻕ ﻟـﻪ ﺭﻏﺒﺘﹶـﻪ ﺇﻥ ﹶﻓﻭﻋﺩ ﻩ ﺒﺄﻥ ﻴﺤ ﱢﻘ ﹶ ـﻥ ـﺩﻩ ﻤـ ـﻔﻲ ﻭﻟـ ﺍﺴـﺘﹶﻁﺎﻉ ﺃﻥ ﻴﺸـ ﺨﺭ ﺒﻌﺩ ﻼ ﻤ ﹶﻘ ﺩﺴﺎ ﻟﻬﺎ ،ﻭﺍ ﹾﻓ ﹶﺘ ﹶ ﻋﹰ ل ﻭ ﻗ ﹶﺘ َ ﺍﻟﻠﱠﺤﻅﺔ ﺍﻟﻤﻨﺎﺴﺒﺔ ﻭﺍ ﹾﻟ ﹶﺘﻘﹶﻰ ﺍﻟﺠﻤﻴـ ﻊ. ﻤ ﺭﻀِﻪ .ﻭﺍﻜﺘﺸﹶﻑ ﻤﻴﻼﻤﺒـﻭﺱ ﺃﻥ ل ﺃﺭﺘﻴﻤﻴﺱ ﺍﻟﻤﺴﺭﻭﻕ ﻀ ﻊ ﺘِﻤﺜﺎ ُ ﻭ ﻭ ِ ﺠ ﻊ ﺇﻟـﻰ ﺃﻨـﻪ ﺽ ﺇﻓﻴﻜﻠﻭﺱ ﻴ ﺭ ِ ﻤ ﺭ ﻓﻲ ﻤ ﻌ ﺒﺩِﻫﺎ ﺒﻤﺩﻴﻨﺔ ﺒﺭﻭﺭﻭﻥ؛ ﺤﻴﺙ ﺴﻜﱢﻴﻨﹰﺎ ﹶﺘ ﹾﻘﻁﹸ ﺭ ﺩﻤﺎ، ﻋ ﺭ ﻋﻨﺩﻤﺎ ﺭﺃَﻱ ِ ﹸﺫ ِ ﺃﺼﺒﺤﺕ ﺇﻓﻴﺠﻴﻨﻴﺎ ﻜﺎﻫﻨ ﹰﺔ ﻟﻬﺎ ﻫﻨﺎﻙ، ـﺽ ـﻭﺱ ﺒﻌـ ـﺎ ﻓﻭﻻﻜـ ـ ﺭ ﺒﻬـ ﹶﻨﺤـ ﻟﻬﺎ ﻗﹸﺭﺒﺎﻨﹰﺎ؛ ﻓﻤﺎ ﻜﺎﻥ ﻤﻥ ﺃﺭﺘﻴﻤـﻴﺱ ﹸﺘ ﹶﻘﺩ ﻡ ﺇﻟﻴﻬﺎ ﺍﻟﻤﻼ ِﺒﺱ ،ﻭﺒﺨﺎﺼـ ٍﺔ ﺇﺫﺍ ﻑ ﻟـﻪ ﺩﻭﺍﺀ ﻴﺸـﺭﺒﻪ ِﻟﻤـ ﺩ ِﺓ ﹶﻓﻭﺼ ﹶ ﻥ ﺢ ﺒـﺄﻥ ﹶﺘﺴـ ﹸﻜ ﺇﻻ ﺃﻥ َﺃﻤﺭﺕِ ﺍﻟﺭﻴ ﻜﺎﻨﺕ ﺍﻟﻤﺭﺃﺓ ﻟﻥ ﺘﻤﻭﺕ ﻓﻲ ﺃﺜﻨـﺎﺀ ﺕ ﺠﺭﻋـﺎ ٍ ﻋﺸﺭﺓ ﺃﻴﺎﻡ ،ﻴﺘﻜﻭﻥ ﻤﻥ ل ﺍﻟﻴﻭﻨـﺎﻨﻲ، ل ﺒﻴﻥ ﺍﻷﺴـﻁﹸﻭ ِ ِﻟ ﹶﺘﺤﻭ َ ـﺎﺕ ـﺎﻙ ﺭِﻭﺍﻴـ ـﺎﺽ ...ﻭﻫﻨـ ﺍﻟﻤﺨـ ﺝ ِﺒﺼـﺩﺃ ﺘﻠـﻙ ﺨ ﻤﺭِ ﺍﻟ ﻤ ﻤﺯﻭ ِ ﻤﻥ ﺍﻟ ﹶ ﻭﺒﻴﻥ ﺍﻹﺒﺤﺎﺭ ﺇﻟﻰ ﻁﺭﻭﺍﺩﺓ .ﻭﺃﻋﻠﹶﻥ ﺢ ﻟﻥ ﺘﻌﻭ ﺩ ﺹ ﺃﻥ ﺍﻟﺭﻴ ﻑ ﺍﻟﺨﺎ ﺍﻟ ﻌﺭﺍ ﹸ ﺙ ﺍﻟﺨﺎﺼـﺔ ﻤﺨﺘﻠِﻔﺔ ﻋﻥ ﺍﻷﺤـﺩﺍ ِ ﺒﺈﻓﻴﺠﻴﻨﻴﺎ ﻓﻲ ﺍﻷﺴﻁﻭﺭﺓ ،ﻭﻻ ﺴﻴﻤﺎ ﻥ .ﻭﺸﹸـ ِﻔ ﺴﻜﱢﻴ ِ ﺍﻟ ﻲ ﺇﻓﻴﻜﻠـﻭﺱ ﻤـﻥ ﻋﻴﺕ ﺴ ﹸﺘ ﺩ ِ ﻀﺤﻲ ﺒﺈﻓﻴﺠﻴﻨﻴﺎ ،ﻭﺍ ﺇﻻ ﺇﺫﺍ ﺱ ﺍﻟﻤﺭﺘﺒﻁﺔ ﻁﻘﹸﻭ ِ ﻕ ﻤﻨﻬﺎ ﺒﺎﻟ ﱡ ﻤﺎ ﻴﺘﻌﻠﱠ ﹸ ،Podarcesﻭﺒﺭﻭﺘﻴﺴــﻴﻼﻭﺱ ﻑ ﺍﻟﻔﺘــﺎ ﹸﺓ ﺒﺤﺠــﺔ ﺃﻨﻬــﺎ ﺴــﺘﹸﺯ ﱡ ﺒﻌﺒﺎﺩﺓ ﺃﺭﺘﻴﻤﻴﺱ؛ ﻓﻔـﻲ ﺒـﺭﻭﺭﻭﻥ .Protesilaus m ﺽ ﺇﻟﻰ ﺃﻨﻬﺎ ﺏ ﺍﻟﺒﻌ ﺍﻟﻴﻭﻨﺎﻨﻴﺔ .ﻭﻴﺫﻫ ﺃﺘﻴﻜﺎ؛ ﹶﻓ ﹶﺘ ﻌ ﺭﻓﹶﺕ ﻋﻠﻴﻪ ﺃﺨﺘﹸﻪ ﺇﻓﻴﺠﻴﻨﻴﺎ ﺍﻟﻁﱡﻴــﻭﺭ ﻭﺍﻟﺤﻴﻭﺍﻨــﺎﺕ .ﻭﻜــﺎﻥ ﻕ ﺍﻹﻟﻬﺔ ﺃﺭﺘﻴﻤﻴﺱ ﻋﻨـﺩﻤﺎ ﺤ ﹶﻨ ﹶ ﻗﺩ َﺃ .co ﺫﻟﻙ ﺒﺄﻥ ﺃﺭﺘﻴﻤﻴﺱ ﻨﻔﺴﻬﺎ ﻟﻡ ﺘﻜـﻥ ل ﺨﻴﺭﺍ ﻤﻤﺎ ﹶﻓﻌـل. ﺘﺴﺘﻁﻴﻊ ﺃﻥ ﺘﻔﻌ َ ﻕ ﺍﻹﻟﻬﺔ ﺤ ﹶﻨ ﹶ ﻭﻓﻲ ﺭِﻭﺍﻴﺔ ﺃﺨﺭﻯ ﺇﻨﻪ َﺃ ﻭﻤﺎﺘﹶﺕ ﺒﻌﺩ ﺫﻟﻙ ﺒﺴﻨﻭﺍﺕ .ﻭﻜﺎﻨـﺕ ott ob ﺙ ﺒﻭﻋﺩِﻩ ﺃﻥ ﻴ ﹶﻘ ﺩﻡ ﺃﺭﺘﻴﻤﻴﺱ ﻷﻨﻪ ﺤﻨِ ﹶ ﻏﺭﺴﻬﺎ ﻓـﻲ ﺸـﺠﺭﺓ؛ ﺍﻟ ﻌﻨﹶﺯﺍﺕِ ،ﻭ ﹶ ﺏ ﺒــﻭﺩﺍﺭﻜﻴﺱ ﻤ ﺭﻀِــ ِﻪ ﻭَﺃ ﹾﻨﺠــ alk ﺇﻟﻰ*ﺃﺨﻴل .ﻭﻤﺎ ﻜﺎﺩﺕ ﺘﹸﻘﺩﻡ ﻟﻠ ﻤ ﹾﺫﺒﺢ؛ ﺒﺎﻟﻘﺭﺏ ﻤﻥ ﻤﺩﻴﻨﺔ ﻤـﺎﺭﺍﺘﻭﻥ ﻓـﻲ ﺇﻓﻴﻜﹾﻠِﻴﺲ ﺤﺘﱠﻰ ﺍ ﹾﻓ ﹶﺘ ﺩﺘﹾﻬﺎ ﺃﺭﺘﻴﻤﻴﺱ ﺒﻐﹶﺯﺍﻟﹶـﺔ ﺃﻭ ل ﺱ ﺃﻨﻬﺎ ﺍﺒﻨﺔ ﺍﻟ ﺒﻁﹶـ ِ ﻋ ﹶﺘ ﹶﻘﺩ ﺍﻟﻨﹼﺎ ﺃﺘﻴﻜﺎ ﺍ ﺒﻴﻥ ﺍﻟﺭﻭﺍﻴﺎﺕ ﻓﻲ ﺫﻟﻙ .ﻭﺤﻤﻠـﺕ ﻭﻫﻨﺎﻙ ﺭﻭﺍﻴـﺔ ﺘـﺫﻫﺏ ﺇﻟـﻰ ﺃﻥ ﺃﺭﺘﻴﻤﻴﺱ ﺍﻟﻔﺘـﺎ ﹶﺓ ﺇﻓﻴﺠﻴﻨﻴـﺎ ﻋﻠـﻰ ﺇﻓﻴﺠﻴﻨﻴﺎ ﻟﻡ ﹶﺘ ﻤﺕﹾ ،ﻭﻟﻜﻨﻬـﺎ ﻭ ﻫﺒـﺕ ـﺙ ـﺎﻭﺭﻴﺱ؛ ﺤﻴـ ـﻰ ﺘـ ـﺤﺎﺒ ٍﺔ ﺇﻟـ ﺴـ ﺕ ﻤﻥ *ﺃﺨﻴل. ﺨﻠﹸﻭﺩ ،ﻭ ﹶﺘﺯ ﻭﺠ ﹾ ﺍﻟ ﹸ ﺩﺒﺔ ﺃﻭ ﺍﻤﺭﺃﺓ ﻋﺠﻭﺯ ،ﻋﻠﻰ ﺘﹶﻔﺎ ﻭﺕٍ ﺍﻟﺘﱠﻀﺤِﻴﺔ ﺒﺎﻟﻐﹸﺭﺒﺎ ِﺀ ﻋـﻥ ﺍﻟﻤﺩﻴﻨـﺔ ﻟﻺﻟﻬﺔ ﺃﺭﺘﻴﻤﻴﺱ ،ﻭﺍﺘﻔﻕ ﺃﻥ ﺠـﺎ ﺀ *ﺃﻭﺭﻴﺴﺘﻴﺱ ﺇﻟﻰ ﻤﺩﻴﻨﺔ ﺘـﺎﻭﺭﻴﺱ ل ﺃﺭﺘﻴﻤﻴﺱ ﻤﻨﻬـﺎ ﺇﻟـﻰ ل ﺘِﻤﺜﺎ َ ﻟِﻴ ﹾﻨ ﹸﻘ َ www.alkottob.com ـﺎﺩ ﻴﻜــﻭﻥ ،Amphitryonﻭﻴﻜـ ﺍﻷﺥ ﺍﻟﺘﱠﻭﺃﻡ *ِﻟ ِﻬ ﺭﻗﹾل؛ ﺇﺫ ﻭِﻟ ﺩ ﻓـﻲ ﺍﻟﻠﱠﻴﻠﺔ ﺍﻟﺘﱠﺎﻟﻴﺔ ِﻟ ﻤ ﻭِﻟ ِﺩ ِﻫ ﺭﻗﹾل .ﻭﺘﺫﻫﺏ IPHICLUS ﺕ ﻀ ﻌ ﹾ ﺍﻷُﺴﻁﹸﻭﺭ ﹸﺓ ﺇﻟﻰ ﺃﻥ *ﻫﻴﺭﺍ ﻭ ﻥ ﻓﹸﻭﻻﻜﹸﻭﺱ Phylacusﻓﻲ ﺍﺒ ﺜﹶﻌﺎﺒِﻴﻥ ﻓﻲ ﻤ ﻬ ِﺩ ﺇﻓﻴﻜﻠﻴﺱ ﻭﻫﺭﻗـل؛ ﺇﻓِﻴﻜﹾﻠﹸﻮﺱ ﻋﻨﱢﻴﻨﹰﺎ؛ ﺍﻷُﺴﻁﹸﻭﺭ ِﺓ ﺍﻹﻏﺭﻴﻘﻴﺔ .ﻭﻜﺎﻥ ِ ﹶﻓﹶﻠﺠــﺄ ﻭﺍﻟِــﺩﻩ ﻓﻭﻻﻜــﻭﺱ ﺇﻟــﻰ ﺏ ﺍﻟﻘﹸـﺩﺭﺓ * ﻤﻴﻼﻤﺒﻭﺱ ﺍﻟﺫﻱ ﻭ ِﻫ ﻋﻠﻰ ﺃﻥ ﻴﺴﻤﻊ ﻭﻴﻔﻬـﻡ ﺃﺼـﻭﺍﺕ ﹶﻓﺠﺭﻯ ﻤﻨﻬﺎ ﺇﻓﻴﻜﻠﻴﺱ ،ﺃﻤﺎ ﻫﺭﻗـل ww ﻙ ﻓـﻲ ﻭﺍﺠﺒﺎﺘﻬﺎ ﻫﻨﺎﻙ ﺃﻥ ﺘﺸـﺘﺭ ﻥ ﺃﻤﻔﻴﺘـــــﺭﻭﻭﻥ ﺍﺒـــــ w. ﺃﺼﺒﺤﺕ ﻜﺎﻫِﻨ ﹰﺔ ﻟﻬﺎ .ﻭﻜـﺎﻥ ﻤـﻥ ﺍﻟﻘﻭﻤﻲ *ﺜﻴﺴـﻴﻭﺱ ،Theseus IPHICLES ﺨ ﹶﻨﻘﹶﻬﺎ .ﻭﻗﺩ ﺭﺍﻓﹶـﻕ ﺇﻓﻴﻜﻠـﻴﺱ ﻓﻘﺩ ﹶ ﻫﺭﻗل ﻓﻲ ﻤﻨﺎﺴﺒﺎﺕ ﻋﺩﻴﺩﺓ ،ﻭﺯﺍ ﻤﻠﹶﻪ ـﻭﺱ ـﺩ ﺃﺭﺠﻴﻨـ ﺤ ﻤﹶﻠ ـ ِﺔ ﻀـ ـﻲ ﺍﻟ ﻓـ ٨١ ﻤﻥ ﺃﻭﺘﻭﻤﻴﺩﻭﺴﺎ ﺍﺒﻨـﺔ ﺍﻟﻜـﺎﺜﻭﺱ، ﺤﻜﱠـ ٍﺔ ﻓـﻲ ﺍﻟﺜﱠﺭﺜﹶﺭﺓ ،ﻭﻴﺸـﻌﺭﻭﻥ ﺒ ِ ﻭَﺃ ﹾﻨﺠﺏ ﻤﻨﻬﺎ ﺇﻴﻭﻻﻭﺱ ،ﺜﻡ ﺘﹶـﺯﻭﺝ ﻥ ﻓـﻲ ﻥ ﺍﻟ ﻌ ﻴ ِ ﺃﻨﻭﻓﻬﻡ ،ﻭﻴﺘﻘﻠﱠﺹ ﺇﻨﺴﺎ ﺹ ﺍﻷﻓﻴﻭﻥ ﻤﻨﺫ ﻋﺭِﻓﺕ ﺨﻭﺍ ﻭﻗﺩ ﺼ ﹾﻐﺭﻯ ﺸـﻘﻴﻘﺔ ﻤﻥ ﺍﺒﻨﺔ ﻜﺭﻴﻭﻥ ﺍﻟ ﻤﻴﺠﺎﺭﺍ ﺯﻭﺠﺔ ﻫﺭﻗل .ﻭﻗﺩ ﺠﺎ ﺀ ﻓﻲ ﻥ ﻟـﻪ .ﻭﻗﻠﱠﻤـﺎ ﻴﻬﺘـﺎﺝ ﺨٍ ﻜل ﻤـ ﺩ ﱢ ﻥ ﺇﻟﻰ ﺍﻟﻤﺩﺨﻨﻭﻥ ﻟﻸﻓﻴﻭﻥ ﺃﻭ ﻴ ﹾﻠﺠﺄﻭ ﺏ ﻓﻲ ﺍﻟﻁﹼﺏ ،ﻭﺇﻥ ﻜﺎﻥ ﺠ ﺭ ﺍﻟ ِﻘ ﺩ ِﻡ ﻭ ل ﺃﺒﻨـﺎﺀﻩ ﺍﻷُﺴﻁﹸﻭﺭ ِﺓ ﺃﻥ ﻫﺭﻗل ﹶﻗﺘﹶـ َ ﺍﻟ ﻌ ﹾﻨﻑِ ،ﻭﻴﺒﺩﻭ ﺃﻥ ﻗﹸﻭﺍﻫﻡ ﺍﻟ ﻌ ﹾﻘِﻠﻴﺔ ﻻ ﺸ ﻬ ﺭ ِﺓ ﻫـﺫﺍ ﺴ ِﺘﻤﺘﺎﻉ .ﻭﺒﹶﻠ ﹶﻎ ﻤﻥ ﹸ ﻟﻼ ﹶﺘﺘﹶﺄﺜﱠ ﺭ ﻜﺜﻴﺭﺍ ،ﺒل ﺇﻨﻬﺎ ﹶﺘ ﹶﺘ ﹶﻨ ﺒ ﻪ .ﻭﺃﺤﻴﺎﻨﹰﺎ ﺍﻟ ﻌﻘﹼﺎﺭ ﺃﻥ َﺃ ﱠﺜﺭ ﻓﻲ ﺍﻟﺨﹶﻴﺎلِ ﺍﻟﺸﱠﻌ ِﺒﻲ؛ ﻥ ﻟ ﹶﻨﻭﺒﺎﺕٍ ﻴﺘﻌﺭﺽ ﺍﻟ ﻤ ﺩ ِﻤﻨﹸﻭﻥ ﻟﻸﻓﻴﻭ ِ ﻥ ﻟﻪ ،ﻭﻤﻥ ﻤﻥ ﻨﺎﺤﻴﺔ ﺘﹶﺼﻭِﻴ ِﺭ ﺍﻟ ﻤ ﺩ ِﻤ ِ ﻥ ﺭﺅﻴ ﹶﺔ ﺃﺸﻴﺎﺀ ﺨ ﻴﻠﹸﻭ ﻤﻥ ﺍﻟ ﻬﺫﹶﻴﺎﻥ ،ﻭ ﻴ ﹶﺘ ﹶ ﺘﹶﺴﺠِﻴلِ ﺒﻌﺽ ﻨﻭﺍﺩِﺭﻩ. m ﻭﺃﻭﺠﻴﺎﺱ ﻭﻻﻭﻭﻤﻴﺩﻭﻥ .ﻭﻗﺩ ﹶﺘﺯ ﻭﺝ ﻋﺎﺩ ﹰﺓ ﹶﺘ ﹶﺘﻤﱠﻠﻜﹸﻬﻡ ﺭﻏﺒ ﹲﺔ ﻋﺎﺭِﻤـ ﹲﺔ ﻓـﻲ .co ﺠﻨﹸـﻭﻥِ، ﺏ ﺒِ ﹶﻨ ﻭﺒِﺔٍ ﻤﻥ ﺍﻟ ﻋﻨﺩﻤﺎ ُﺃﺼِﻴ ل ﺃﺒﻨﺎ ﺀ ﺇﻓﻴﻜﻠﻴﺱ ﻭﻟﻡ ﻴﻨﺞ ﻤـﻨﻬﻡ ﻭ ﹶﻗ ﹶﺘ َ ﺇﻻ ﺇﻴﻭﻻﻭﺱ؛ ﺇﺫ َﺃ ﹾﻨ ﹶﻘ ﹶﺫ ﻩ ﺇﻓﻴﻜﻠﻴﺱ ﻤﻊ ﺃﹶﻓﹾﻴﻮﻥ OPIUM ﺨﺸﹾﺨﺎﺵِ ﺠﻤ ﺩ ﻤﻥ ﺍﻟ ﹶ ﺍﻟ ﻌﺼِﻴ ﺭ ﺍﻟ ﻤ ﹶﺘ ﻥ ﻸ ﹾﻓﻴﻭ ِ ﻏﻴﺭ ﺍﻟﻨﹼﺎﻀِﺞ .ﻭﺍﻟ ﻤ ﺩﺨﱢﻨﻭﻥ ﻟ َ ﻴﺼﻨﻌﻭﻥ ﻤﻨﻪ ﻤﺨﺭﻭﻁﹰﺎ ﻭﻴﺜﻘﺒﻭﻨـﻪ ﻏ ﹾﻠﻴﻭﻥ ﻤﺜﻘﱠـﺏ ﻭﻴﺜﺒﺘﹼﻭﻨﻪ ﺇﻟﻰ ﺍﻨﺘﻔﺎﺥ ﹶ ﺃﻴﻀﺎ ،ﺜﻡ ﻴﻭﻀﻊ ﺍﻷﻓﻴـﻭﻥ ﻓـﻭﻕ ﺹ ﻜـﺄَﺩﺍﺓٍ ل ﺒﻭﺠ ٍﻪ ﺨـﺎ ﺴ ﹸﺘ ﻌ ِﻤ َ ﻗﺩ ﺍ ﻻ ﻭﺠﻭ ﺩ ﻟﻬﺎ ﻓﻲ ﺍﻟﻭﺍﻗِﻊ .ﻭﺍﻷﻓﻴﻭﻥ ﺍﻗﹾﺘِﺮﺍﻉ SORTITION ﺸ ﹸﻘ ﻪ ﺍﻟ ﻤ ﺩﺨﱢﻨﻭﻥ .ﻭﻜﻠﻤـﺎ ﺴ ﹶﺘ ﹾﻨ ِ ﺩﺨﺎﻥ ﻴ ﻥ ﺒﻬﺫﺍ ﺍﻟﺩﺨﺎﻥ ﺩﺍﺨِـل ﺍﺤﺘﻔﻅ ﺍﻟ ﻤ ﺩﺨﱢ ﺼﺩ ِﺭ ِﻩ ﻜﺎﻥ ﺘﺄﺜﻴﺭ ﺍﻷﻓﻴﻭﻥ ﻗﻭﻴـﺎ. ﻴﻌﺘﻘﺩﻭﻥ ﺃﻥ ﺃﺠﻭ ﺩ ﺃﻨﻭﺍﻉ ﺍﻷﻓﻴـﻭﻥ ﻱ .ﻭﻜﺜﻴﺭﹰﺍ ﻫﻭ ﺍﻟﻔﺎﺭﺴﻲ ،ﻴﻠﻴﻪ ﺍﻟﻬِﻨﺩ ﺨ ﹾﻠﻁِـ ِﻪ ﺒـﺒﻌﺽ ﻤﺎ ﻴ ﹶﻐﺵﱡ ﺍﻷﻓﻴﻭﻥ ِﺒ ﹶ ﻥ ﻓـﻲ ﻭﻴﺨﺘﻠﻑ ﺘﹶـﺄﺜِﻴ ﺭ ﺍﻷﻓﻴـﻭ ِ ﺏ ﺴ ﺤ ﺠ ﻭ ﺩﺘِﻪ ،ﻭ ﺏ ﺴ ﺤ ﺍﻟ ﻤ ﺩﺨﱢﻨﻴﻥ ﻟﻪ ﺝ ﻤﻥ ﻴ ﺩﺨﱢﻨﻪ .ﻭﺍﻟﻤﺩﺨﻨﻭﻥ ﻟـﻪ ﻤِﺯﺍ ِ ـﺎ ﻴﺘﹶــ ﻭﻫ ﻡ ـﺎﻟﺯﻤﻥ ،ﻭﻜﺜﻴــﺭﺍ ﻤـ ﺒـ ﻥ ﺍﻟﺤﺎﺠِﺒﻴﻥ ﺍ ﹾﻗﺘِﺭﺍ ﺨﻨﹸﻭﻥ ﻟﻸﻓﻴـﻭﻥ ﺃﻨﻬـﻡ ﻅﻠﱡـﻭﺍ ﺍﻟ ﻤ ﺩ ﱢ ﻥ ﻓﻲ ﺒﻌﺽ ﺠ ِﺒ ﻴ ِ ﻥ ﺍﻟﺤﺎ ِ ﻴ ﻌﺩ ﺍ ﹾﻗﺘِﺭﺍ ل ﻓﻲ ﺤﺎﻟـ ِﺔ ﻤﺴﺘﻴﻘﻅﻴﻥ ﻁﻭﺍل ﺍﻟﻠﱠﻴ ِ ﺕ ﺍﻟﺠﻤـﺎلِ، ﺍﻟﻤﺠ ﹶﺘﻤﻌﺎﺕِ ﻤﻥ ﺴِـﻤﺎ ِ ﺍﺴﺘﺭﺨﺎﺀ ﻫﺎﺩﺉ ﹶﻟﺫِﻴﺫ .ﻭﻓﻲ ﺍﻟﻠﱠﻴﻠـ ِﺔ ﺒﻴﻨﻤﺎ ﻴ ﻌ ﹶﺘ ﺒ ﺭ ﻓﻲ ﻤﺠﺘﻤﻌﺎﺕ ﺃﺨـﺭﻯ ﺴ ﹶﺘ ﹾﻐ ﺭﻗﹸﻭﺍ ﻓـﻲ ﺍﻟﺘﹼﺎﻟﻴﺔ ﻴﻘﻭﻟﻭﻥ ﺇﻨﻬﻡ ﺍ ﺹ ﺇﻨﺴـﺎﻥ ﺨ ﻼ ﻋﻠﻰ ﺃﻥ ﺍﻟﺸﱠـ ﹾ ﺩﻟﻴ ﹰ ﻱ ﺃﺤـﻼ ٍﻡ ﺨﱠﻠﻠﹾـ ﻪ ﺃ ﻕ ﻟﻡ ﹶﺘ ﹶﺘ ﹶ ﻋﻤِﻴ ٍ ﻨﹶﻭ ٍﻡ ﺱ ل ﹶﻓﻘﹾـ ﺩ ﺍﻹﺤﺴـﺎ ِ ﻤ ﺯﻋِﺠﺔ .ﻭﹶﻟﻌـ ﱠ ﺨﻨِﻲ ﺒﺎﻟﺯﻤﻥ؛ ﻫﻭ ﺍﻟﺫﻱ ﻴـ ﺩ ﹶﻓ ﻊ ﻤـ ﺩ ﱢ ﺍﻷﻓﻴﻭﻥ ﺇﻟﻰ ﺍﻻﻋﺘﻘﺎ ِﺩ ﺒﺄﻥ ﹶﺘﻌـﺎﻁِﻲ ﺴ ﹶﺘ ﹾﻐ ِﺭﻗﹸﻬﺎ ل ﺍﻟ ﻤ ﺩ ﹶﺓ ﺍﻟﺘﻲ ﹶﺘ ﺍﻷﻓﻴﻭﻥ ﻴﻁِﻴ ُ ﺴﻴﺔ .ﻭﺁﺜـﺎ ﺭ ﹶﺘﻌـﺎﻁِﻲ ﺠ ﹾﻨ ِ ﺍﻟ ﻌ ﻤِﻠ ﻴ ﹸﺔ ﺍﻟ ِ ﺹ ﺏ ﺫِﺌﺒﺎ ﺃﻭ ﻋﻠﻰ ﺃﻨﻪ ﻤﺼـﺎ ﻴ ﹾﻨ ﹶﻘﻠِ ﻋﺘِﻘـﺎ ﺩ ﻟِﻠﺩﻤﺎﺀ ﺃﻭ ﺴﺎﺤِﺭ .ﻭﻫﺫﺍ ﺍﻻ ﺸﺎﺌِﻊ ﻓﻲ ﺠﻨﻭﺏ ﺭﻭﺴﻴﺎ ﻭﺍﻟﻴﻭﻨـﺎﻥ ـﺩﺍﻨﻤﺎﺭﻙ ـﺎ ﻭﺍﻟـ ـﺎ ﻭﺃﻟﻤﺎﻨﻴـ ﻭﺒﻭﻫﻴﻤﻴـ ﻭﺃﻴﺴﻠﻨﺩﺓ ﻭﺍﻟﻬﻨﺩ. ﻅ ﻬ ﺭ ﺒﺴﺭﻋﺔ ﻜﻤﺎ ﻫـﻭ ﺍﻷﻓﻴﻭﻥ ﻻ ﹶﺘ ﹾ ﺍﻟﺤﺎل ﻤﻊ ﺸﺎ ِﺭﺒِﻲ ﺍﻟﺨﹶﻤﺭ ،ﻭﻟـﻴﺱ ﻥ ﻤﻥ ﺸﻙ ﻓﻲ ﺃﻥ ﺇﻋـﺩﺍ ﺩ ﺍﻟ ﹶﻐ ﹾﻠﻴـﻭ ِ ﻕ ﻭﻗﺘﹰـﺎ ﻟﺘﺩﺨﻴﻥ ﺍﻷﻓﻴﻭﻥ ﻴﺴـ ﹶﺘ ﹾﻐ ِﺭ ﹸ ﺏ ﺍﻟﺨﹶﻤـﺭِ ﺼ ل ﻤﻤﺎ ﻴﺴﺘﻐﺭﻗﻪ ﺃﻁﻭ َ ﺤﺘِﺴﺎﺌِﻬﺎ. ﺱﻻ ﻓﻲ ﻜﺄ ٍ ﻭﻴﻌ ﹶﺘ ﹶﻘ ﺩ ﻓﻲ ﺇﻨﺠﻠﺘﺭﺍ ﻭﺍﻟﺼﻴﻥ ﺃﻥ ﻥ ﺤﺎﺠِﺒﺎ ﻩ ﺴـﻌِﻴ ﺩ ل ﺍﻟﺫﻱ ﻴ ﹾﻘ ﹶﺘﺭِ ﺠَ ﺍﻟ ﺭ ﻥ ﺤﻅﱢ ،ﻭﺃﻥ ﺍﻟﻔﹶﺘﺎﺓﹶ ،ﺍﻟﺘـﻲ ﻴ ﹾﻘﺘﹶـ ِﺭ ﺍﻟ ﺤﺎﺠِﺒﺎﻫﺎ ،ﻭﺘﻌﺘﻤﺩ ﻋﻠﻰ ﺍﻟﺒﻠﺩ ﺍﻟـﺫﻱ ww ﺍﻟﻤﻭﺍ ﺩ ﺍﻷﺨﺭﻯ. ﻅ ﺭ :ﹸﻗﺭﻋﺔ. ﺍ ﹸﻨ ﹸ w. ﻭﻜﺎﻥ ﺍﻟﻤﺩﺨﻨﻭﻥ ﺍﻟﺼﻴﻨﻴﻭﻥ ﻟﻸﻓﻴﻭﻥ ـﺎﺱ ﺍﻟ ﻤ ـﺩﻤﻨﻴﻥ ـﻲ ﺇﺤﺴـ ﻴ ـ َﺅﺜﱢ ﺭ ﻓـ alk ﺨﻠِﻪ ،ﹶﻓﻴﺘﹶﺼﺎﻋ ﺩ ﻤﻨﻪ ﹶﻟﻬﺏٍ ﻭﻟﻴﺱ ﺒﺩﺍ ِ www.alkottob.com ﺼﺤﺔ. ﻟﻬﺎ ﺘﺄﺜﻴ ﺭ ﻀﺎ ﺭ ﻤ ﺩﻤﺭ ﻟِﻠ ott ob *ﻤﻴﺠﺎﺭﺍ ﺯﻭﺠﺔ ﻫﺭﻗل. ﺕ ﺍﻷﻓﻴﻭﻥ ﻤﺜل ﺍﻟﻬﻴﺭﻭﻴﻥ ﺸ ﹶﺘﻘﹼﺎ ﹸ ﻭ ﻤ ﹾ ﺘﻌﻴﺵ ﻓﻴﻪ؛ ﺴﻭﻑ ﺘﻜﻭﻥ ﺴﻌﻴﺩ ﹰﺓ ﻓﻲ ﺯﻭﺍﺠِﻬــﺎ ﺃﻭ ﻻ ﹶﺘﺘﹶــ ﺯﻭﺝ ﻋﻠــﻰ ٨٢ ﺍﻹﻁﹾﻼﻕ ،ﺃﻭ ﺘﻜﻭﻥ ﺯ ﻭﺠـ ﹰﺔ ﻏﻴـﺭ ﺭِﺠل ﻤﺴﻠﹸﻭﺨﺔ" ﻭ"ﺍﻟﻘﹶﺼﻴﺭ ﺍﻷﺸﻴﺏ" ﺠﺤﻭ ِﺭ ﺍﻷﻗﺯﺍﻡ؛ ﻓﺈﻥ ﻕ ﺏ ﻓﻭ ﹶ ﺍﻟﻀﺒﺎ ﺼﺎﻟِﺤﺔ. ﻭ"ﺃﺒﻭ ﺭِﺠل ﻭﺯﺓ" ...ﺇﻟﺦ. ﻤﻌﻨﹶﻰ ﺫﻟﻙ ﺃﻨﻬﻡ ﻤﺸﻐﹸﻭﻟﹸﻭﻥ ﺒﺎﻟﻁﱠﻬﻲ m ﺍﻷَﻗﹾﺰﺍﻡ ﻭﻫﻡ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻟﻜﺎﺌِﻨﺎﺕ ﺍﻟﺘﻲ .co ﺢ ﺇﻨﺴﺎﻨﻴﺔ ،ﻭﺇﻥ ﻜﺎﻨﺕ ﻤﻥ ﻼﻤِ ﻟﻬﺎ ﻤ ﹶ ﻥ ﺃﻭ ﺍﻟﻌﻔﺎﺭِﻴـﺕ .ﻭﻫـﻡ ﺠ ﻋﺎﻟﹶﻡ ﺍﻟ ِ ﺕ ﺍﻟﺸﱠـﻌ ِﺒ ﻴ ِﺔ ﺸﻬﻭﺭﻭﻥ ﻓﻲ ﺍﻟﺤِﻜﺎﻴﺎ ِ ﻤ ﹾ ﻋﺼﻭﺭِﻫﺎ، ﻋﻠﻰ ﺍﺨﺘِﻼﻑ ﺒِﻴﺌﺎﺘِﻬﺎ ﻭ ﺨ ﺭ ﺒﻬﻡ ﺍﻟﺤﻭﺍﺩﻴـﺕ ﺍﻟﻌﺭﺒﻴـﺔ، ﻭ ﹶﺘ ﺯ ﹶ ﺼﻔِﻴ ﹶﻘ ﹸﺔ ﺍﻟﺠِﻠـﺩ ﻤﺘ ﹶﻐﻀـﻨﺔ ﻜﺜﻴـﺭﺓ ل ﺍﻟﺤِـﺩﺍﺩﺓ ﻭﺍﻟﺴـﺒﺎﻜﺔ ﻓﻲ ﺃﻋﻤـﺎ ِ ﻏﻠِﻴﻅﺔ ﻭﻟِﺤﺎﻫﻡ ﻁﻭﻴﻠﺔ، ﻭﺭﺀﻭﺴﻬﻡ ﹶ ﺞ .ﻭﻤـﻥ ﺃﻴﻀﺎ ﻓﻲ ﺍﻟ ﹶﻐ ﺯلِ ﻭﺍﻟﻨﱠﺴـﻴ ِ ﺴﻁﱠﺤﺔ ،ﺃﻭ ﻭﺃﻗﺩﺍﻤﻬﻡ ﺇﻤﺎ ﺃﻥ ﺘﻜﻭﻥ ﻤ ﺍﻟﻤﺄﺜﹸﻭ ِﺭ ﺃﻥ ﺍﻷﻗﺯﺍ ﻡ ﻫﻡ ﺍﻟﺫﻴﻥ ﻋﻠﱠﻤﻭﺍ ﻜﺄﻗﺩﺍﻡ ﺍﻹ ﻭ ﺯ ﺃﻭ ﺍﻟ ﺒﻁﱢ ،ﺃﻭ ﻤﺼـﺎﺒﺔ ﺱ ﻜﻴﻑ ﻴﺨﺒﺯﻭﻥ ،ﻭﻴﺴـﺒﻜﻭﻥ ﺍﻟﻨﹼﺎ ل ﺨﻁﻭﺍﺘﻬﻡ ﻤ ﹶﺘﻌﺜﱢـﺭﺓﹰ ﺃﻭ ﺠ ﻌ ُ ﺒﻌﺎﻫﺔ ﹶﺘ ﺏ. ﻥ ﻭ ﻴﺨِﻴﻁﹸﻭﻥ ﺍﻟﺜﱢﻴﺎ ﺍﻟﻤﻌ ِﺩ ﻭﺍﻟﺼﻴﺎﻏﺔ ،ﻭﻨﺴـﺎﺅُﻫﻡ ﺒﺎﺭِﻋـﺎﺕ ﺍﻟ ﹶﺘﺠﺎﻋِﻴــﺩ ،ﻭﺃﻓــﻭﺍﻫﻬﻡ ﻭﺍﺴــﻌﺔ، ﺏ ﺭﺩﺍﺌﻬﻡ ﺍﻷﺨﻀﺭ ﻏﹶﻠ ﻤ ﹶﺘ ﺭﻨﱢﺤ ﹰﺔ .ﻭَﺃ ﹾ ﻭﻴﺴﺘﻁﻴﻊ ﺍﻷﻗﺯﺍ ﻡ ﻤﻌﺭِﻓ ﹶﺔ ﺍﻟﻐﹶﻴﺏ، ﺃﻭ ﺍﻷﻏﺒــﺭ ،ﻭﻴﻀــﻌﻭﻥ ﻋﻠــﻰ ﻭﺍﻟﺘﱠﻨﺒﺅ ﺒﺎﻟﺠﻭ ،ﻭﻫﻡ ﻋﻠﻰ ﻗﺩ ٍﺭ ﻜﺒﻴ ٍﺭ ﺭﺅﻭﺴﻬﻡ ﻁﻭﺍﻗﻲ )ﺠﻤـﻊ ﻁﺎ ِﻗﻴـﺔ( ﺱ ﻥ ﺍﻟﻨﱠـﺎ ﻤﻥ ﺭﺠﺎﺤ ِﺔ ﺍﻟﻌﻘل ،ﻴﻌِﻴﻨﹸﻭ ﺤﻤﺭﺍﺀ ﻟﻬﺎ ﻋﺩﺒﺎﺕ )ﺍﻟﻌﺩﺒـﺔ ﻫـﻲ ﻥ ﻴـ ﺩ ﺒﺭﺃﻴﻬﻡ ﺍﻟﺴﺩﻴ ِﺩ ﺤﻴﻨﹰﺎ ،ﻭ ﻴ ﻤﺩﻭ ﺍﻟﺠﺯﺀ ﺍﻟﻤﺘﺩﻟﻲ ﺨﻠـﻑ ﺍﻟـﺭﺃﺱ(. ﺕ ﺃﻭ ﺍﻟﻤﺴﺎﻋﺩ ِﺓ ﻟﻠﻌﺎﻤِﻠﻴﻥ ﻓـﻲ ﺍﻟﺒﻴـ ِ ott ob ﺱ ﺍﻟﺒـﺎﺤﺜﻭﻥ ﺍﻟ ﻤ ﹶﻘﻭﻤـﺎﺕ ﻭﻟﻘﺩ ﺩ ﺭ ﻭﻟﻸﻗﺯﺍ ِﻡ ﻭﺠﻭ ﻩ ﺍﻟ ﺒﺸﹶﺭ ،ﻭﻟﻜﻨﻬـﺎ ﺃﻭ ﺼِﻴﺎﻏ ِﺔ ﺍﻟﻤﻌﺎﺩِﻥ .ﻭﻫﻡ ﺒﺎ ِﺭﻋﻭﻥ ﺍﻟﺠﺜﻤﺎﻨﻴﺔ ﻭﺍﻷﺨﻼﻗﻴﺔ ﺍﻟﺘﻲ ﺘﹸﺅﻟﹼـﻑ ﻑ ﻋﻨﻬﻡ ﻓـﻲ ﺸﺨﺼﻴﺎﺘﻬﻡ .ﻭﻗﺩ ﻋﺭ ﹶ ﺍﻟﺸﱠﺭﻕ ﻭﺍﻟﻐﺭﺏ ﻋﻠﻰ ﺍﻟﺴﻭﺍﺀ ﺃﻨﻬﻡ ﻴﺅﻟﱢﻔﻭﻥ ﻓﻲ ﺒﻌﺽ ﺍﻷﺤﻴﺎﻥ ﺠﻤﺎﻋ ﹰﺔ ﻤﺴﺘﻘﻠﺔ ،ﻭﺭﺒﻤﺎ ﻜﺎﻥ ﻨﻅﺎﻤﻬﺎ ﻤﹶﻠ ِﻜﻴﺎ. ل ﻭﻴﻌﺘﹶﻘ ﺩ ﺃﻨﻬﻡ ﻜﺎﻨﻭﺍ ﻓﻲ ﺍﻷﺼـ ِ ﺃﻭ ﻓﻲ ﺍﻟﻌﺎﹶﻟﻡِ ﺍﻟﺴﻔِﻠﻲ ،ﺜﻡ ﻋﺎﺸـﺕ ﻋﻠﻰ ﺍﻟﺠِﺒﺎل ﻭﺍﻟﺘﱢﻼل ﻭﻓﻲ ﺍﻟ ﹸﻜﻬﻭﻑ، ﺏ ﻤﻥ ﻭﺃﺤﻴﺎﻨﹰﺎ ﻓﻲ ﺍﻷﻨﻬﺎﺭِ ،ﺃﻭ ﺒﺎﻟﻘﹸﺭ ِ ﺒﺄﻨﻬﺎ ﹸﻗﺼﻭ ﺭ ﻤﻨِﻴﻔﺔ .ﻭﻴﺼل ﺍﻟﻘﹶـ ﺯ ﻡ ﻤﻥ ﻫﺅﻻﺀ ﺇﻟﻰ ﺃﻗﺼﻰ ﹸﻨﻤـ ﻭ ِﻩ ﻓـﻲ ﺍﻟﺜﺎﻟِﺜﺔ ﻤﻥ ﻋﻤﺭﻩ ،ﻭﺘﹸﺼﺒِﺢ ﻟﻪ ﻟِﺤﻴﺔ ﺒﻌﻀﻬﻡ ِﺒ ﻤ ِﺯ ﻴ ٍﺔ ﻴ ﺩلﱡ ﻋﻠﻴﻬﺎ ﺍﺴﻤﻪ ﺃﻭ ﻋ ﹾﻘﹶﻠﺔﹸ ﺍﻟﺼﺒﺎﻉ" ،ﻭ"ﺃﺒـﻭ ﹶﻟ ﹶﻘﺒﻪ؛ ﻤﺜل " www.alkottob.com ـﺎ ﻴﺭﻴ ـﺩﻭﻥ ﺃﻥ ـﺎﻨﻬﻡ ،ﻭﻜﺄﻨﻤـ ﺒﺄﻋﻴـ ﻭﺍﻟﻜِﺒﺎ ِﺭ ﻋﻠﻰ ﺍﻟﺴﻭﺍﺀ؛ ﻓﺈﻨﻬﻡ ﻜﺜﻴـﺭﺍ ﺴ ﺭ ﻤـﻥ ﺍﻷﺴـﺭﺍﺭ. ﻴﺼﺎ ِﺭﺤﻭﻫﻡ ﺒ ِ ﻭﻤﻥ ﺍﻷﻗﺯﺍﻡ ﻁﺎﺌِﻔﺔ ﺘﻅﻬﺭ ﻨﹶﻬـﺎﺭﺍ ﻼ ﻓـﻲ ﻓﻲ ﺼﻭﺭﺓ ﺍﻟﻀﻔﺎ ِﺩﻉِ ،ﻭﻟـﻴ ﹰ ﺼﻭﺭﺓ ﺍﻵﺩﻤﻴﻴﻥ ،ﻭﺒﻌﻀﻬﻡ ﻴﺘﺤﻭل ﻤﺎ ﻴ ﹶﻘﺩﻤﻭﻥ ﻟﻬﻡ ﺍﻟﻬﺩﺍﻴﺎ .ﻭﺍﻟﻭﺍ ِﻗ ﻊ ﺇﻥ ﻜل ﻫﺩﻴﺔ ﻴﺘﻠﻘﹼﺎﻫﺎ ﺇﻨﺴﺎﻥ ﻤـﻥ ﻗﹶـ ﺯ ٍﻡ ل ﺒﻴﻥ ﻴﺩﻴﻪ ﺇﻟﻰ ﹶﺫﻫﺏ. ﻻﺒﺩ ﺃﻥ ﹶﺘ ﹶﺘﺤ ﻭ َ ﻥ ﻭﻤﻥ ﺭﺫﺍﺌﻠﻬﻡ ﺃﻨﻬـﻡ ﻤ ﹾﻐ ﺭﻤـﻭ ﺸﺭﻭ ِ ﺠ ٍﺭ ﺒ ﹸ ﺤ ﺇﻟﻰ ﻕ ﺍﻟﺸﱠﻤﺱ. ﻑ ﻑ ﺍﻷﻗــﺯﺍ ﻡ ﺒﺎﻟ ﹶﻘﺼــ ِ ﻭ ﻴ ﹾﻜﻠﹶــ ﹸ ﺼ ِﺔ ﻓـﻲ ﺍﻟﻠﻴـﺎﻟﻲ ﻭﺍﻟﺭﻗﺹ ،ﻭﺒﺨﺎ ﻑ ﺍﻟﻨﱢﺴـﺎ ِﺀ ﺨﻁﹾـ ِ ﻥﺒﹶ ﺴﺭِﻗﺔِ ،ﹶﻜِﻠﻔﹸﻭ ﺒﺎﻟ ﻥ ﺭﺒـ ﹸﺔ ﺤﺼـ ﻭﺍﻷﻁﻔﺎل؛ ﻭﻟﺫﻟﻙ ﹶﺘ ﹶﺘ ﺤﺠِﺒـﺔ ﺕ ﻤـﻨﻬﻡ ﺒـﺒﻌﺽ ﺍﻷ ﺍﻟﺒﻴ ِ ww ﻏﹶﺒﺭﺍﺀ ﻭﻫﻭ ﻓﻲ ﺍﻟﺴﺎﺒِﻌﺔ .ﻭﻗﺩ ﻴﻤﺘﺎ ﺯ ﺱ ﻭﻗﺩ ﻴﻘﺘﺭﺏ ﺍﻷﻗﺯﺍﻡ ﻤﻥ ﺃُﻨـﺎ ٍ ل ﺍﻷﻗﺯﺍ ِﻡ ﻤـﻥ ﻤﻌﺎﻜﹶﺴـﺔِ ﺍﻷﻁﻔـﺎ ِ w. ﺼﻔﹶﺕ ﻤﺴـﺎ ِﻜﻨﹸﻬﻡ ﻴﻨﺎﺒِﻴ ِﻊ ﺍﻟﻤِﻴﺎ ِﻩ .ﻭﻭ ِ ﺒﻭﺍﺴﻁﺔ ﺍﻟﻁﹼﺎ ِﻗﻴﺔ ﺃﻭ ﺍﻟﻌﺒﺎﺀﺓ. ﻭﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤﻤـﺎ ُﺃﺜِـ ﺭ ﻋـﻥ alk ﺕ ﺍﻷﺭﺽ ﻜﺎﺌﻨﺎﺕ ﺨﺎﺭِﻗﺔ ﺘﻌﻴﺵ ﺘﹶﺤ ﹶ ﻭﻟﺒﻌﻀﻬﻡ ﺍﻟﻘﹸﺩﺭﺓ ﻋﻠﻰ ﺍﻻﺴـ ِﺘﺨﹾﻔﺎﺀ ل ﺤﻴﻨﹰﺎ ﺁﺨﺭ. ﺍﻟﺤﻘ ِ ﺍﻟ ﻤ ﹾﻘ ِﻤﺭﺓ ﻋﻠﻰ ﺃﻨﻐﺎ ٍﻡ ﻤﻭﺴﻴﻘﻴﺔ ﺨﻔﻴﻔﺔ ﺢ ﻭﻤﺎ ﺇﻟﻴﻪ ﻓﻲ ﻭﺍﻟﺘﱠﻌﺎﻭِﻴﺫ ،ﻭﻨﹶﺜ ِﺭ ﺍﻟﻤِﻠ ِ ﻤﺭِﺤﺔ ،ﻭﻟﻜﻨﻬﻡ ﻓﻲ ﻤﻌﻅﻡ ﺃﻭﻗـﺎﺘﻬﻡ ﺃﺭﺠﺎﺀ ﺍﻟـﺩﺍﺭ ...ﻭﻤـﻥ ﺍﻟﻌـﺎﺩﺍﺕ ﺸﻁﹸﻭﻥ .ﻭﻤﻥ ﺍﻟﻤﻌ ﹶﺘﻘﹶﺩﺍﺕِ ﺠﺎﺩﻭﻥ ﻨﺎ ِ ﻋﻴﺔ ﻋﻨﺩ ﺍﻟﺭﻴﻔﻴﻴﻥ ﺃﻨﻬﻡ ﻴﻘﺩﻤﻭﻥ ﺍﻟﻤﺭ ِ ﺏ ﺃﻭ ﺍﻟﺸﹼﻌ ِﺒ ﻴ ِﺔ ﺃﻨﻪ ﺇﺫﺍ ﺸﹸﻭ ِﻫ ﺩ ﺍﻟﺴﺤﺎ ﺇﻟﻰ ﺍﻷﻗﺯﺍﻡ ﻗِﻁﻌﺎ ﻤﻥ ﺍﻟﻔﹶﻁﻴـ ِﺭ ﺃﻭ ٨٣ ﻭﺫﻟﻙ ﻨﻅﻴﺭ ﻤﻌﺎﻭﻨﺘﻬﻡ ﻓﻲ ﺃﻋﻤـﺎل ﻥ ﻋﻠﻰ ﺍﻟﻤ ﻌﺒﺭ ﺒـﻴﻥ ﺇﺭﺍﺩﺓ ﺍﻹﻨﺴـﺎ ِ ﻟﻠﺤِﻜﺎﻴﺎﺕ ﺍﻟﺸﱠﻌ ِﺒﻴﺔ ﺍﻟﺘﻲ ﺘﹶﺭﻭِﻱ ﻤـﺎ ﺍﻟﺤﻘل. ﺫﺍﺕ ﺍﻟﻁﹼﺎﻗﺔ ﺍﻟﻤﺤﺩﻭ ﺩ ِﺓ ﻭﺒﻴﻥ ﺁﻤﺎﻟِـ ِﻪ ﻼ ﻴﺤﺩﺙ ﻟﻜل ﻤـﻥ ﻴﺭﺘﻜـﺏ ﻓِﻌـ ﹰ ﻭﺍﻷﻗﺯﺍﻡ ،ﺒﻭﺠ ٍﻪ ﻋﺎﻡ ،ﻴﻼﺌﻤـﻭﻥ ﺍﻟﻘﺭﻴﺒﺔ ﻭﺍﻟﺒﻌﻴﺩﺓ ﻤﻌﺎ ...ﺍﻟﻘﺭﻴﺒﺔ ﻓﻲ ﻅﺭ ﺇﻟﻰ ﺇﻟﻬﺔ ﺱ ﺍﻟ ﱠﻨ ﹶ ﺨ ﹶﺘﻠِ ﻤﺤﻅﹸﻭﺭﺍ ،ﻭﻴ ﹾ ﺇﺫﺍ ﺃﺴﺎ ﺀ ﺇﻟـﻴ ِﻬﻡ ﺃﺤـﺩ؛ ﻓـﺈﻨﻬﻡ ﻻ ل ﻭﺍﻟﺤﺎﺠ ﹶﺔ ...ﻭﺍﻟﺒﻌﻴـﺩﺓ ﻓـﻲ ﺍﻟﻌﻤَ m ﺍﻟﺨﹸﺒﺯ ،ﻴﻀﻌﻭﻨﻬﺎ ﻋﻠﻰ ﻤِﺤـﺭﺍﺙ؛ ﻻﻻﹶﺕ ﻴﻜﻥ ﻤﻥ ﺸﺊ؛ ﻓﺈﻥ ﺍﻷﻗﺯﺍ ﻡ ﺩ ﹶ ﺝ ﻭﻫــﺫﻩ ﺍﻷُﺴــﻁﹸﻭﺭ ﹸﺓ ﹶﻨﻤــﻭ ﹶﺫ ﺒﻴﻥ ﻁﹶﺒﺎﺌِﻌِﻬﻡ ﻭﺒﻴﻥ ﺍﻟﻅﱡﺭﻭﻑ .ﻭﻟﻜﻥ .co ﻥ ﻓﻲ ﺍﻻﻨﺘِﻘﺎﻡ ﻤﻨﻪ ﺒﻘﹶﺴـﻭﺓ. ﻴ ﹶﺘ ﺭ ﺩﺩﻭ ﺏ ﻭﻟﻸﻗﺯﺍﻡ ﻤﻜﺎﻨﺔ ﻤﻤﺘﺎﺯﺓ ﻓـﻲ ﺍﻷﺩ ِ ـﻲ ـﺔ ،ﻭﻓـ ـﻔ ٍﺔ ﻋﺎ ﻤـ ـﻌﺒﻲ ﺒﺼـ ﺸـ ﺍﻟ ﱠ ﻭﻓﺎ ِﺀ ﺍﻟﻁﱠﺒﻴﻌﺔ ﺒﻤﺤﺼـﻭل ﻴﻜـﺎﻓِﺊ ﺃﹶﻛﹾﺜﹶﻢ ﺑﻦ ﺻﻴﻔِﻲ ل ل ﻋﻠﻰ ﻨﻌﻴ ٍﻡ ﻴﻘﺎﺒل ﺍﻟ ﻌﻤـ َ ﺤﺼﻭ ِ ﺍﻟ ﻀﻨِﻲ ﺍﻟﻤﺘﻜﺭﺭ ﻓﻲ ﻜل ﻴﻭﻡ. ﺍﻟ ﻤ AKTHAM IBN SAIFI ﻥ ﺭِﻴﺎﺡ ﺒـﻥ ﺍﻟﺤـﺎﺭِﺙ ﺒـﻥ ﺍﺒ ﺍﻷُﻗﹶﻴﺼِﺮ ﺤﻴﺩﺓ )ﺃﻭ ﺃﺒﻭ ﺍﻟﺤﻔﹼﺎﺩ(؛ ﻤﺨﺎﺸِﻥ ﺃﺒﻭ ott ob ﺕ ﺍﻟﺸﱠﻌ ِﺒﻴﺔ ﺒﺼﻔ ٍﺔ ﺨﺎﺼـﺔ، ﺍﻟﺤِﻜﺎﻴﺎ ِ ﻭﻫﻲ ﻋﺎﺭِﻴﺔ. ﻭﻤﻥ ﺃﺸﻬﺭﻫﻡ "ﻋﻘﻠﺔ ﺍﻟﺼﺒﺎﻉ" ﺍﻟﺫﻱ ﻴﻭﺠﺩ ﻓﻲ ﺁﺩﺍﺏ ﻜﺜﻴ ٍﺭ ﻤﻥ ﺍﻟﺸﱡﻌﻭﺏ. ﺕ ﻤﻼ ِﻤﺤﻬﻡ ﻭﺃﺨﹾﻼﻗﻴـﺎﺘﹸﻬﻡ ﻭﻟﻘﺩ ﹶﻓ ﹶﺘ ﹶﻨ ﹾ ل ﺍﻹﻋﻼﻡ ﺍﻟﺘﻲ ﺍﻟ ﹶﻘﻭﺍﻤِﻴﻥ ﻋﻠﻰ ﻭﺴﺎ ِﺌ ِ ﺘﺠﻤﻊ ﺒﻴﻥ ﺍﻟﺼﻭﺭ ِﺓ ﻭﺍﻟ ﹶﻜﻠِﻤﺔ؛ ﻤـﻥ ﺫﻟﻙ ﺤِﻜﺎﻴﺔ ﺍﻷﻗﺯﺍﻡ ﺍﻟﺴـﺒﻌﺔ ﺍﻟﺘـﻲ ﺨﺭﺠﻬﺎ ﻭﺍﻟﺕ ﺩﻴﺯﻨـﻲ ﺒﺎﻟﺼـﻭ ِﺭ َﺃ ﹾ ﺃﻨﺤﺎﺀ ﺍﻟﻌﺎﻟﹶﻡ. ﻥ ﺃﻥ ﻴﻤِﻴﻁﹸﻭﺍ ل ﺍﻟﺩﺍ ِﺭﺴﻭ ﻭﻟﻘﺩ ﺤﺎﻭَ ل ﺍﻟﻠﱢﺜﺎ ﻡ ﻋـﻥ ﻤﻨـﺎﺒ ِﻊ ﻫـﺫﺍ ﺍﻟﺨﹶﻴـﺎ ِ ل ﺃﺴﻁﻭﺭﻴﺔ ﻵﻟﻬﺔ ،ﻭﻜﺎﺌﻨـﺎﺕ ُﺃﺼﻭ ٍ ل ﺃﻭ ﺨﺎﺭِﻗــﺔ ﺃَﺼــﺎﺒﻬﺎ ﺍﻟﺘﱠﻌــﺩِﻴ ُ ﻉ ﺇﻟﻰ ﺃﻥ ﺍﻷﻗﺯﺍﻡ ﻅﺎﻫِﺭﺓ ﹸﺘ َﺅﻜﱢ ﺩ ﹸﻨﺯﻭ ﺢ ﺇﻟﻰ ﺍﻟﺨﻴﺎل ...ﻭﺘﺫﻫﺏ ﺠ ﹶﻨ ﻜﺜﻴﺭﺓ ﹶﺘ ل ﺍﻟﺸﹼﺎﻡ .ﻭﻜـﺎﻨﻭﺍ ﻭﹶﻟﺨﹾﻡ ﻭﺠﺫﺍﻡ ﻭﺃﻫ ِ ﻥ ﺭﺀﻭﺴـﻬﻡ ﺤِﻠﻘﹸﻭ ﻥ ﺇﻟﻴﻪ ،ﻭ ﻴ ﺤﺠﻭ ﻴ ﻙ ﺽ ﺍﻟ ﻤﻠﹸـﻭ ِ ﺕ ﺇﻟﻰ ﺃﻥ ﺒﻌـ ﺍﻟﺭﻭﺍﻴﺎ ﹸ ﻕ ﺭﺠل ﻤﻨﻬﻡ ﻋﻨﺩﻩ ،ﻭﻜﺎﻥ ﻜﻠﻤﺎ ﺤﹶﻠ ﹶ ﻭﺍﻷﻤﺭﺍﺀ ﻭﺸﻴﻭﺥ ﺍﻟﻘﺒﺎﺌـل ﻜـﺎﻨﹸﻭﺍ ﺼ ﺭ ﹰﺓ ﻤﻥ ل ﺸﹶﻌﺭﺓٍ ﺭ ْﺃﺴﻪ ﺃﻟﻘﻰ ﻤﻊ ﻜ ﱢ ﺏ ﺇﻟﻴﻪ ﺃﻗﻭﺍل ﻴﻁﻠﺒﻭﻥ ﹸﻨ ﺴ ﺼﺤﻪ .ﻭﺘﹸ ﹾﻨ ﺏ ﺽ ﺍﻟ ﻌ ـ ﺭ ِ ـﺎﻥ ﺒﻌ ـ ـﻕ .ﻭﻜـ ﺩﻗِﻴـ ﻤ ْﺄﺜﹸﻭﺭﺓ ﻋـﻥ ﺍﻟﺤﻴـﺎﺓ ﻭﺍﻟﺼـﺩﺍﻗﺔ ﺨ ِﺒﺯﻭﻨﹶـﻪ ﻕ ﻭ ﻴ ﹾ ﻥ ﻫﺫﺍ ﺍﻟـ ﺩﻗِﻴ ﹶ ﺠ ﻤﻌﻭ ﻴ ﻭﻴﺄ ﹸﻜﻠﹸﻭﻨﻪ. ﺃﻛﺘﺎﻳﻮﻥ ACTAEON ـﺎﺀ، ـﻴﻠﹶﺔ ﻭﺍﻟﻨﱢﺴـ ﻀـ ﺴ ـﻠﹸﻭﻙ ﻭﺍﻟ ﹶﻔ ِ ﻭﺍﻟ ﻭﻏﻴﺭﻫﺎ .ﻭﻫﺫﻩ ﺍﻟﺸﱠﺨﺼﻴﺔ ﺘﹸـ ﹶﺫﻜﱢﺭﻨﺎ ﻥ ﺍﻟﺤﻜﻴﻡ ﺍﻟﺫﻱ ﺩﺍﺌﻤﺎ ﺒﺸﺨﺼﻴﺔ ﹸﻟﻘﹾﻤﺎ ﺤ ﹶﻜ ﻡ ﻷﻜـﺜﻡ .ﻭﺍﺸﹾـ ﹸﺘ ِﻬ ﺭ ﹸﻨﺴِﺒﺕ ﺇﻟﻴﻪ ِ ﻥ ﺃﺭﻴﺴـﺘﺎﻴﻭﺱ Aristaeus ﺍﺒ ﺏ ﻭﺃﻭﺘﻭﻨﻭﻱ ،Autonoeﻭﺘﹶـ ﹾﺫ ﻫ ﺍﻷُﺴﻁﹸﻭﺭ ﹸﺓ ﺍﻟﻴﻭﻨﺎﻨﻴﺔ ﺇﻟﻰ ﺃﻨﻪ ﻜـﺎﻥ ل ﻷﻨﻪ ﺭﺃﻯ ل ﺇﻟﻰ ﻭﻋ ٍ ﺼﻴﺎﺩﺍ ﻭﺘﹶﺤ ﻭ َ ﺒﺄﻨﻪ ﻤﻥ ﺍﻟﻤﻌ ﻤﺭِﻴﻥ .ﻭﺘﺫﻫﺏ ﺇﺤﺩﻯ ﺍﻟﺭﻭﺍﻴﺎﺕ ﺇﻟـﻰ ﺃﻨـﻪ ﺩﺨﹶـل ﻓـﻲ ﺍﻹﺴﻼﻡ. ww ﻑ ﻓﻴﻤﺎ ﺒﻌﺩ .ﻭﺫﻫﺏ ﺁﺨﺭﻭﻥ ﺍﻟﺘﱠﺤﺭِﻴ ﹸ ﺼﻨﹶﻡ ﻜﺎﻥ ﻟﻘﹸﻀﺎﻋﺔ ﺍﻟﺠﺎ ِﻫِﻠﻴﺔ .ﻭﻫﻭ ﻲ .ﻭﺘﹶـﺩﻭ ﺭ ﺤﻭﻟﹶـﻪ ﺃﺨﺒـﺎ ﺭ ﺍﻟﺠﺎ ِﻫِﻠ w. ﺍﻟﺸﱠﻌﺒِﻲ ،ﻭﺫﻫﺏ ﺒﻌﻀﻬﻡ ﺇﻟﻰ ﹶﺘ ﹶﺘﺒـ ِﻊ ﻤﻥ ﻤﻌﺒـﻭﺩﺍﺕ ﺍﻟﻌـﺭﺏ ﻓـﻲ ﻜﺎﻥ ﻤﻥ ﺍﻟﻘﹸﻀـﺎ ِﺓ ﻓـﻲ ﺍﻟﻌﺼـ ِﺭ alk ﺸ ﹸﺘ ِﻬﺭﺕ ﻓـﻲ ﺠﻤﻴـﻊ ﺍﻟ ﻤﺘﹶﺤﺭﻜﺔِ؛ ﻓﺎ ﹾ AL-OKAISER ﺴﻴﺩ ﻤﻥ ﻗﺒﻴﻠﺔ ﹶﺘﻤِﻴﻡ. ﻥ ُﺃ ﻁِ ﻭﻫﻭ ﻤﻥ ﺒ ﹾ *ﺩِﻴﺎﻨﺎ ،ﻭﻫﻲ ﹶﺘ ﺴ ﹶﺘﺤِ ﻡ؛ ﻓﻤﺯﻗﺘﻪ ﻜﻼﺒﻪ ﺍﻹﻛﹾﺴِﲑ ﻲ ﺇﻟﻰ ﺘﹶﻔﺴـﻴ ِﺭ ﺒﻌـﺽ ل ﺍﻟﺸﱠﻌ ِﺒ ﺍﻟﻌﻘ ِ ﺍﻟﻅﱠــﻭﺍ ِﻫ ِﺭ ﺍﻟﻁﱠﺒﻴﻌﻴــ ِﺔ ﻭﺍﻟ ﹶﻜ ﻭ ِﻨﻴــ ِﺔ ﺹ ...ﻭﻤﻬﻤـﺎ ﺴﻴ ِﻡ ﻭﺍﻟﺘﱠﺸـﺨِﻴ ِ ﺒﺎﻟﺘﱠﺠ ِ www.alkottob.com ﺇ ﺭﺒﺎ. ELIXIR ـﺎﻥ ـﻲ ﻜـ ـﺭﻴﺔ ﺍﻟﺘـ ﺴـ ـﺎﺩﺓ ﺍﻟ ﺍﻟﻤـ ﺍﻟﻜِﻴﻤﻴﺎ ِﺌﻴﻭﻥ ﺍﻟﻘﹸﺩﻤﺎ ﺀ ﻴﻌﺘﻘﺩﻭﻥ ﺃﻨﻬـﺎ ٨٤ ﺤﺠـ ﺭ ﻭ ﹶﺫﻫﺏ .ﻭﻫـﻲ ﺘﹸـﺭﺍﺩِﻑ " ﺍﻵﻻﺕ ﺍﻟﻤﻭﺴِﻴ ِﻘﻴﺔ .ﻭﻓـﻲ ﻤﺼـﺭ ﻀـ ﻊ ﺨ ـﻭﺭﺯ ،ﻭ ﹶ ل ﺍﻟﺒـ ﺠ ﺒـ ِ ـﻭﻕ ﻓـ ﺴﻔﹶﺔ" .ﻭﻫﺫﺍ ﺍﻹﻜﺴﻴﺭ ﻴ ﹾﻨ ﹸﻔ ﹸﺫ ﺇﻟﻰ ﺍﻟﻔﹶﻼ ِ ﺘﹸﺴﻤﻰ ﺍﻟﻤﻐﻨﱢﻴﺔ "ﻋﺎﻟِﻤﺔ". ل ﻫﺫﺍ ﻥ * ﺃﻨﺠﺭﺍ ﻤﺎﻴﻨﻴﻭ ِﺒ ِﻔ ﻌ ِ ﻟﻠﺸﱠﻴﻁﺎ ِ m ﻀ ٍﺔ ﺨﺴِﻴﺴ ﹶﺔ ﺇﻟﻰ ِﻓ ﺘﹸﺤﻭل ﺍﻟﻤﻌﺎﺩِﻥ ﺍﻟ ﹶ ﻴﻜﻭﻥ ﻤ ﹶﻐ ﱢﻨﻴﺎ ﺃﻭ ﻋﺎ ِﺯﻓﹰﺎ ﻋﻠﻰ ﺇﺤـﺩﻯ ﻉ ﻁ ﻬﻤﻭﺭﺍﺕ Tohmurathﺍﻟ ﹶﻔ ﺯ ﹸ ﻥ ﻭﻴﺴﺭِﻱ ﻓﻴﻬﺎ ﻜﻤﺎ ﻴﺴـﺭِﻱ ﺍﻟﻤﻌﺎ ِﺩ ِ ﺠﺴـﺩ ،ﻭﺘﻜﻔـﻲ ﻜﹶﻤﻴـﺔ ﺴ ﻡ ﻓﻲ ﺍﻟ ﺍﻟ .co ل ﺼﻐﻴﺭﺓ ﻤﻨﻪ ِﻟﺘﹶﺤﻭِﻴلِ ﻤـﺎ ﻴﻌـﺎ ِﺩ ُ ﻥ ﺇﻟﻰ ﻭﺯﻨﻬﺎ ﻤﻠﻴﻭﻥ ﻤﺭﺓ ﻤﻥ ﺍﻟﻤﻌ ِﺩ ِ ﻅ ﺏ .ﻭﻻ ﻴﻤﻜــﻥ ﺍﻻﺤﺘﻔــﺎ ﹸ ﹶﺫﻫــ ٍ ﺏ ﺃﻭ ﺒﺎﻹﻜﺴﻴ ِﺭ ﺇﻻ ﻓﻲ ﺁﻨﻴ ٍﺔ ﻤﻥ ﺍﻟﺫﱠﻫ ِ ﺃﹶﻟﹾﭙﻤِﺶ ALPAMYSH ﻼﺤِﻡِ ﺍﻟﺘﺭﻜﻴﺔ ﻓـﻲ ﺃﹶﻟﹾﻒ ﻟﹶﻴﻠﹶﺔٍ ﻭﻟﹶﻴﻠﹶﺔ ﺸﻬﺭِ ﺍﻟﻤ ﹶ ﻤﻥ َﺃ ﹾ ﺁﺴﻴﺎ ﺍﻟﻭﺴﻁﹶﻰ .ﻭﻤﻥ ﺍﻟ ﻌﺴِـﻴ ِﺭ ﺃﻥ ARABIAN NIGHTS ﺦ ﺘﺄﻟِﻴﻔِﻬﺎ ،ﻭﺇﻥ ﻜﺎﻥ ﻤـﻥ ﻨﹸﺤ ﺩ ﺩ ﺘﺎﺭﻴ ﹶ ﺕ ﺍﻟﺸﱠﻌ ِﺒ ﻴ ِﺔ ﺠﻤﻭﻋ ﹲﺔ ﻤﻥ ﺍﻟﺤِﻜﺎﻴﺎ ِ ﻤ ﺍﻟ ﻤ ﺭﺠﺢ ﺃﻻ ﺘﻜﻭﻥ ﻗﺩ ﹸﻜ ِﺘﺒـﺕ ﻗﺒـل ـﺎ ﺃﻭ ﺍﻟ ﻌ ﺭ ِﺒﻴـ ِﺔ ﻻ ﻴﻌـ ﺭﻑﹸ ﺘﺎﺭِﻴﺨﹸﻬـ ﺃﻭﺍﺌل ﺍﻟﻘـﺭﻥ ﺍﻟﻌﺎﺸـﺭ ﺍﻟﻬِﺠـﺭﻱ ﻤﺼﺩﺭﻫﺎ ﻋﻠﻰ ﻭﺠﻪ ﺍﻟﺘﱠﺤﻘﻴﻕ .ﻭﻗﺩ )ﺍﻟﺴﺎﺩِﺱ ﻋﺸﺭ ﺍﻟﻤﻴﻼﺩﻱ(. ott ob ل ﻤﻊ ﻋُ ﻀ ِﺔ ﺃﻭ ﺍﻟ ِﺒﻠﱠﻭﺭ؛ ﻷﻨﻪ ﻴ ﹶﺘﻔﹶﺎ ﺍﻟ ِﻔ ﺍﻟ ﹶﻔﺯﻉِ ﻭﺤﺩﻩ. ﺍﻟﺯﺠﺎﺝ .ﻭ ﻭ ﺭ ﺩ ﻓﻲ ﻜﺘﺎﺏ "ﻤﻔـﺎﺘﻴﺢ ﺍﻟﻌﻠﻭﻡ" ﺃﻥ ﺍﻹﻜﺴﻴ ﺭ ﻫـﻭ ﺍﻟـﺩﻭﺍ ﺀ ﻥ ﺍﻟﻤﺼﻬﻭ ﺭ ﺇﻟﻰ ل ﺍﻟﻤﻌ ِﺩ ﺤﻭُ ﺍﻟﺫﻱ ﻴ ﹶﺫﻫﺏٍ ﺃﻭ ِﻓﻀﺔ ﻋﻨﺩ ﻏﹶﻠﻴﻬﻤﺎ ﻤﻌﺎ. ﺕ ﺍﻟﻌﺭﺒﻴﺔ ﺽ ﺍﻟﺭﻭﺍﻴﺎ ِ ﺏ ﺒﻌ ﻭﺘﹶﺫﻫ ل ﺤﻴـﺎ ﹶﺓ ﺇﻟﻰ ﺃﻥ ﺍﻹﻜﺴﻴ ﺭ ﻤﺎﺩﺓ ﹸﺘﻁِﻴ ُ ل ﺍﻹﻨﺴﺎﻥ ،ﻷﻨﻬﺎ ﻁﺎﻟﻤﺎ ﺃﻨﻬﺎ ﺘﹸﺤـﻭُ ﺤﻤـ ﹸﺔ ﺤـﻭل ﻭﺘﺩﻭ ﺭ ﻫـﺫﻩ ﺍﻟ ﻤ ﹾﻠ ﺤ ِﺔ ﺃﻤﺭﺍﻀِﻪ ،ﻭﻴﺤﺎ ِﻓﻅﹸ ﻋﻠـﻰ ﺼِـ ﺤﺒـﻴﻥ، ﺨﻁِﻴﺒﺔ ﻭ ﹶﺘﻨﹶـﺎﻓﹸﺱ ﺍﻟ ﻤ ِ ﻋﻥ ﺍﻟ ﹶ ﻁﻭِﻴﻠﺔﹰ ﻥ ﺒﺎﻟﻜِﻴﻤﻴﺎ ِﺀ ﹸﻗﺭﻭﻨﹰﺎ ﹶ ﺸ ﹶﺘ ِﻐﻠﹸﻭ ﺍﻟ ﻤ ﹾ ﻥ ﺘﹶﺤﻀِﻴ ﺭ ﺇﻜﺴﻴ ِﺭ ﺍﻟﺤﻴﺎ ِﺓ ﻤﻥ ﻴﺤﺎ ِﻭﻟﹸﻭ ﺝ ﻓـﻲ ﺍﻟﻴـﻭﻡ ﻭﺜﺎﻨِﻴﻬﻤﺎ ﻋﻭﺩ ﹸﺓ ﺍﻟﺯﻭ ِ ﺁﻻﺗِﻲ MUSICIAN ﻨِﺴﺒ ﹰﺔ ﺇﻟﻰ ﺁﻻﺕ ﻭﺍﻟﺠﻤﻊ ﺁﻻ ِﺘﻴﺔ، ﻭﻫﻭ ﺍﻟﻤﻭﺴﻴﻘﻲ ﺍﻟﻤﺤﺘﹶـﺭِﻑ ،ﻭﻗـﺩ www.alkottob.com ﺱ ﺍﻟﺸﱠﺭﻕ ﻭﺍﻟﻐﺭﺏ ،ﻭﺘﺩﺍﻭﻟﹶﻬﺎ ﺍﻟﻨﹼـﺎ ﺝ ﺨﻁِﻴ ﺒﺘﹸﻪ ﺃﻥ ﹶﺘﺘﹶﺯ ﻭ ﺍﻟﺫﻱ ﺘﻭﺸﻙ ﻓﻴﻪ ﹶ ﻓﻲ ﻜل ﻤﻜـﺎﻥ ،ﻭﺍﻗﺘﺒﺴـﻭﺍ ﻤﻨﻬـﺎ ﺹ ﺁﺨﹶﺭ. ﻤﻥ ﺸﺨ ٍ ALBURZ ﺕ ﻭﻤﺴـﺭﺤﻴﺎﺕ ﻗِﺼﺼﺎ ﻭﺭِﻭﺍﻴـﺎ ٍ ﺱ ﻓـﻲ ﺍﻷﺴـﺎﻁِﻴ ِﺭ ل ﺍﻟ ﻤ ﹶﻘﺩ ﺠ ﺒ ُ ﺍﻟ ﺍﻟﻔﺎ ِﺭﺴِﻴﺔ ﺍﻟﻘﺩﻴﻤﺔ؛ ﻭﻫﻭ ﺃﻭل ﺠﺒـل ـﺭ. ﺱ ﻭﺍﻟ ﹶﻘ ﻤـ ـﻤ ﺸـ ـﻪ ﺍﻟ ﱠ ﺩﺍﺭﺕ ﺤﻭﻟـ ﻭﺍﻟﻨﱡﻭﺭ ﻴﺴﻁﹶﻊ ﻤﻨﻪ ﻭﻴﻌﻭﺩ ﺇﻟﻴﻪ ﻭﻻ ﺴ ﹶﺘ ﹾﻠ ﻬﻤﻭﺍ ﻤﻨﻬﺎ ﻗِﻁﻌـﺎ ﻭﺃُﻭﺒﺭﺍﺕ ،ﻭﺍ ﻤﻭﺴﻴﻘ ﻴ ﹰﺔ ﺭﺍﺌﻌ ﹰﺔ. ﻁﺒﻌ ٍﺔ ﻋﺭﺒﻴﺔ ﻤﻥ ل ﹶ ﻭﻅﻬﺭﺕ َﺃﻭُ ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ ﻓـﻲ ﻜﻠﻜﺘـﺎ ﻋـﺎﻡ ،١٨١٨ﻭﻜﺎﻥ ﻴﻨ ﹸﻘﺼﻬﺎ ﻨﺤﻭ ﻤﺎﺌﺘﻲ ﺏ ﻅﻼﻡ ﻓﻭﻕ ﺍﻟﺠﺒل ﻨﻔﺴﻪ .ﻭﺘﹶـﺫﻫ ﺍﻷُﺴﻁﹸﻭﺭ ﹸﺓ ﺃﻴﻀﺎ ﺇﻟـﻰ ﺃﻥ ﻤﻴﺜﹾـﺭﺍ ل ﺍﻟﺒـﻭﺭﺯ ﺠ ﺒ ِ ﺨ ﹶﺫ ﻤﻥ Mithraﺍ ﱠﺘ ﹶ ﻁلﱡ ﻤﻨﻪ ﻋﻠـﻰ ﺍﻟﻌـﺎﹶﻟﻡِ ﻤﺴﻜﻨﹰﺎ ﻟﻪ ﻴ ِ ﺸِﺘﻴﺔ ﺴﺭِﻩ .ﻭﻓﻲ ﺍﻷُﺴﻁﹸﻭﺭ ِﺓ ﺍﻟﺯﺭﺍ ﺩ ﹾ ﺒَﺄ ﺕ ﺨﺭﺠ ﹾ ل ﻓﻲ ﺍﻟﻌﺎﻟﹶﻡ ﹶ ﺇﻥ ﺠﻤﻴ ﻊ ﺍﻟﺠِﺒﺎ َِ ﻙ ﺠ ﹾﺫ ِﺭ ﻫﺫﺍ ﺍﻟﺠﺒل .ﻭﻟﻘﺩ ﹶﺘ ﻤﻠﱠـ ﻤﻥ ِ ﺕ ﺍﻟﻠﱠﻴﺎﻟﻲ ﻓﻲ ﺒﺭﺴﻼﻭ ﻁ ِﺒ ﻌ ِ ﻟﻴﻠﺔ ،ﺜﻡ ﹸ ﻋﺎﻡ ١٨٢٥ﻋﻠﻰ ﻴﺩ ﻤﺎﻜﺴـﻴﻤﻠﻴﺎﻥ ـﻡ ُﺃﻋِﻴ ـ ﺩ ـﺕ ،Habichtﺜـ ﻫﺎﺒﺨـ ww ﺨ ﹶﺘﻠِﻔﺔ. ﺕ ﻤ ﹾ ﻤ ﺭﻜﱠﺒﺎ ٍ ﻭﻗﺩ ﺍﻫﺘﻡ ﺒﺎﻟﻠﱠﻴﺎﻟِﻲ ﺍﻟﺒﺎﺤﺜﻭﻥ ﻓـﻲ w. ل ل ﺤﻴﺎﺘﹶﻪ .ﻭﻗـﺩ ﻅﹶـ ﱠ ﺍﻟﻤﺭ ِﺀ ﻭ ﻴﻁِﻴ ُ ﻲ ﺁﺨﺭ. ﺃﺩﺒ alk ﺩﻭﺍﺀ ﻨﺎﺠِﻊ ﻴﺸﹾـﻔِﻲ ﺍﻟﺠِﺴـ ﻡ ﻤـﻥ ل ﻉ ﻤﺎ ﻟﻡ ﻴﺤﻅ ﺒﻪ ﺃﻱ ﻋﻤـ ٍ ﻭﺍﻟ ﱡﺫﻴﻭ ِ ﻤﻭﻀﻭﻋِﻴﻥ ﻗﺩﻴﻤﻴﻥ؛ ﺃﻭﻟﻬﻤﺎ ﺍﻟﺒﺤﺙ ﺍﻟﻤﻌﺎ ِﺩ ﻥ ﺍﻟ ﹶﺨﺴِﻴﺴ ﹶﺔ ﺇﻟﻰ ﹶﺫﻫﺏٍ ﺒﻌﺩ ﺃﻥ ﺍﻟﹾﺒﻮﺭﺯ ﻋﻴﻭﺒِﻬﺎ؛ ﻓﺈﻨﻬﺎ ﺃﻴﻀـﺎ ﺨﻠﱢﺼﻬﺎ ﻤﻥ ﹸﺘ ﹶ ﻨﺎﻟﹶﺕ ﻫﺫﻩ ﺍﻟﺤِﻜﺎﻴﺎﺕ ﻤـﻥ ﺍﻟﺸﱡـﻬﺭ ِﺓ ﻁﹶﺒﻌﻬــﺎ ﻓــﻲ ﻜﻠﻜﺘــﺎ )– ١٨٣٩ ﺕ ﻤﺨﺘﻠِﻔﺔ ﻟﻬﺫﺍ ﻁﺒﻌﺎ ﹲ .(١٨٤٢ﻭ ﹶﺜ ﻤ ﹶﺔ ﹶ ﻕ ﻋﺎﻡ ﺍﻟﻜﺘﺎﺏ؛ ﺃَﺸﻬﺭﻫﺎ ﻁﹶﺒﻌﺔ ﺒﻭﻻ ِ ﺕ ﺃﻭﺭﻭﺒـﺎ ﻫـﺫﻩ ،١٨٣٥ﻭﻋﺭ ﹶﻓ ﹾ ٨٥ ﺍﻟﻔﺭﻨﺴﻴﺔ ِﻟﻠﱠﻴﺎﻟﻲ ،ﻭﺍﻟﺘﻲ ﻗـﺎ ﻡ ﺒﻬـﺎ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" ،ﻭ ﻴﺭﻯ ﺠﺎﻻﻥ ﺃﻥ ﺴﻴﺎ ﺍﺴﻤﻪ "ﻫـﺯﺍﺭ ﻓﻴﻪ ﺃﻥ ﻜِﺘﺎﺒﺎ ﻓﺎ ِﺭ ِ ﺃَﻨﻁـــﻭﺍﻥ ﺠـــﺎﻻﻥ )– ١٦٤٦ ل ﻫﺫﻩ ﺍﻟﺤﻜﺎﻴﺎﺕ ﻫِﻨﺩﻱ ،ﻭﻴﻘﻭل ﺼَ َﺃ ل ﺃﻓﺴﺎﻨﻪ" )ﺃﻟﻑ ﺨﺭﺍﻓـﺔ( ﻫـﻭ ﺃﻭُ ﺸﺭﺕ ﻓﻲ ﻋﺸﺭﺓ (١٧١٥؛ ﻭﺍﻟﺘﻲ ﹸﻨ ِ ﭭﻭﻥ ﻫﺎﻤﺭ ﺇﻥ ﻫﻨﺎﻙ ﻨﺼﺎ ﻓﻲ ﻜﺘﺎﺏ ﻑ ﻫﺫﺍ ﺼ ﹸ ﻋﻤل ﻓﻲ ﺍﻟﺨﹸﺭﺍﻓﺎﺕ ،ﻭ ﻭ ،١٧١٢ﻭﻅﻬﺭ ﻤﻨﻬـﺎ ﺍﻟﻤﺠﻠـﺩﺍﻥ ﺇﻟﻰ ﻭﺠﻭ ِﺩ ﻜﺘﺎﺏ ﺒﺎﺴﻡ ﺃﻟـﻑ ﻟﻴﻠـﺔ ـﺔ ـﻲ ﺭﻭﺍﻴـ ـﺔ ﻓـ ـﺔ ﺍﻟﻌﺎ ﻤـ ﻭﺍﻟﻁﱠﺭﻴﻘـ ﺠ ﻡ ﻤـﻥ ﺍﻟﻔﺎﺭﺴـﻴﺔ ﺃَﻴـﺎ ﻡ ﻭﻟﻴﻠﺔ ﺘﹸﺭ ِ ﺍﻟﺤﻜﺎﻴﺎﺕ ﻋﻠﻰ ﻤﺎ ﻭ ﺭ ﺩ ﻓﻲ ﻜﺘـﺎﺏ ﺍﻟﻤﺄﻤﻭﻥ ﺃﻭ ﺍﻟﻤﻨﺼﻭﺭ ،ﻭﺃﻥ ﹸﻜ ﹸﺘﺒـﺎ ﻥ ﺍﻟﻨـﺩﻴﻡ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" ﻭ ﻴﺭﻯ ﺍﺒ ﺃﺨﺭﻯ ﻤﺜﻠﻪ ﻜﺎﻨﺕ ﻤﻌﺭﻭﻓﺔﹰ؛ ﻤﺜـل ﺙ ﺒﺎﺭِﺩ. ﻏ ﱞ ﺏ ﹶ ﺃﻥ ﻫﺫﺍ ﺍﻟﻜِﺘﺎ ـﺎﺕ ﻑ ﻟﻠﺤﻜﺎﻴـ ـﺎ ﹶ ـﺔ ،ﻭﺃَﻀـ ﺍﻟﺘﱠﺭﺠﻤـ ﺕ ﺍﻟﺘﻲ ﺃﺩﻤِﺠـﺕ ﻓـﻲ ﻤﻥ ﺍﻟﺤِﻜﺎﻴﺎ ِ ﺇﺩﻭﺍﺭﺩ ﻟِﻴﻥ ﺃﻥ ﻤ َﺅﻟﱢﻑ ﺤِﻜﺎﻴﺎﺕ ﺃﻟﻑ ﻏ ﻴﺭ ﻓﻴﻬـﺎ ﺤﺘـﻰ ﻭﺤﺫﹶﻑ ﻤﻨﻬﺎ ،ﻭ ﹶ ﺸﺭ ﺘﺭﻴﺒﻭﺘﻴﺎﻥ ﺍﻟﻤﺠﻤﻭﻋﺔ .ﻭﻋﻨﺩﻤﺎ ﹶﻨ ﹶ ﺹ ﻭﺍﺤِـﺩ؛ ﻷﻨﻬـﺎ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ ﺸﺨ ﻕ ﺍﻷﻭﺭﻭﺒﻲ ،ﻭﻟﻜﻨﻪ ﻜﺎﻥ ﺘﹸﻼ ِﺌ ﻡ ﺍﻟﺫﱠﻭ ﹶ ﺽ ﻓﻲ ﺍﻟﻤﻘﺩﻤﺔ ﹶﺘ ﺭﺠﻤ ﹶﺘ ﻪ ِﻟﻠﱠﻴﺎﻟﻲ ﺘﻌ ﺭ ﻅﺭﻭﻓﹰﺎ ﺍﺠﺘﻤﺎﻋﻴـﺔ ﹶﺘ ﱠﺘﺴِـ ﻡ ﺼﻭ ﺭ ﹸ ﹸﺘ ﺠ ﻤﺘﹸـ ﻪ ﺕ ﹶﺘ ﺭ ﻁ ﺒﻌِﻪ؛ ﹶﻓﺤﻅِﻴـ ﹾ ﻗﺎﺼﺎ ﺒِ ﹶ ل ﻫﺫﻩ ﺍﻟﺤِﻜﺎﻴـﺎﺕ ﻭﻗـﺎل ﺇﻥ ﻷﺼ ِ ل ﺇﻤﺎ ﻋﻥ ﺍﻟﻬﻨﺩ ﺒﻌﻀﻬﺎ ﻗﺩﻴﻡ ﺠﺩﺍ ﹸﻨﻘِ َ ﻕ ﻭﺍﻻ ﹾﻨﺴِـﺠﺎﻡِ ،ﻭﻷﻥ ﻫـﺫﻩ ﺒﺎﻟﺘﹼﻭﺍ ﹸﻓ ِ ﺕ ﺍﻟﺤِﻜﺎﻴﺎﺕ ﻻ ﺘﹸﻭﺠﺩ ﻓﻲ ﻤﺼـﻨﱠﻔﺎ ٍ ﺏ ﻭﺍﺴــﺘﻬﻭﺕ ﺍﻟﻠﱠﻴــﺎﻟِﻲ ﺸﹸــﻌﻭ ل ﻓﻴﻪ ﺃﻭ ﻓﺎﺭﺱ؛ ﻭﻫﻲ ﻨﻭﻋﺎﻥ :ﺍﻷﻭُ ﻋﺼـ ﺭ ﺤ ﺩ ﺩ ﻟِﻴﻥ ﻋﺭﺒﻴﺔ ﻗﺩﻴﻤﺔ .ﻭ ـﺎ ـﻰ ﻟﹸﻐﺎﺘِﻬـ ـﺎ ﺇﻟـ ـﺎ؛ ﻓﻨﻘﻠﺘﻬـ ﺃﻭﺭﻭﺒـ ﻑ ﺇﻟﻰ ﺍﻟﺘﱠﺴـﻠﻴﺔ، ﺨﹶﻴﺎل ﻭﻤﺒﺎﻟﹶﻐﺔ ﻴﻬ ِﺩ ﹸ ﺝ ﺍﻟﺼﻭﺭ ِﺓ ﺍﻷﺨﻴـﺭﺓ ﻟﻜﺘـﺎﺏ ﺇﺨﺭﺍ ِ ﺍﻟﻤﺨﺘﻠِﻔﺔ ،ﻭﻻﻗﺕ ﻫـﺫﻩ ﺍﻟﺘﱠـﺭﺍﺠﻡ ﻭﺍﻟﺜﹼﺎﻨﻲ ﻴﻘـﺩﻡ ﻟﻠﻨـﺎﺱ ﺍﻟﻤﻭﻋﻅـﺔ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" ﺒﺄﻨـﻪ ﻴﻘﹶـ ﻊ ﺒـﻴﻥ ﺒﺩﻭﺭﻫﺎ ﻨﺠﺎﺤﺎ ﻋﻅﻴﻤﺎ ،ﻭﻤﻥ ﺃﺸﻬﺭ ﻭﺍﻟﻌِﺒﺭﺓ ،ﻭﻤﻨﻬﺎ ﻤﺎ ﻫـﻭ ﻋﺭﺒـﻲ m ﻕ ﺍﻟﺘﱠﺭﺠﻤـ ِﺔ ﺍﻟﺤﻜﺎﻴﺎﺕ ﻋﻥ ﻁﺭﻴـ ِ ل ﻥ ﻓﻲ ﺃﺼـ ِ ﺤﺜﹸﻭ ِ ﻭﻗﺩ ﺍﺨﺘﻠﹶﻑ ﺍﻟﺒﺎ ِ ﻟﻤﺤﻤﺩ ﺒﻥ ﺇﺴﺤﻕ ﺍﻟﻨﺩﻴﻡ ﻭﻗﺩ ﺠـﺎ ﺀ ﻤﺠﻠﱠﺩﺍﺕ ﺒـﻴﻥ ﻋـﺎﻤﻲ ١٧٠٤ﻭ .co ﺍﻟﺤﺎﺩﻱ ﻋﺸﺭ ﻭﺍﻟﺜﺎﻨﻲ ﻋﺸﺭ ﻋـﺎﻡ ١٧١٧ﺒﻌﺩ ﻭﻓﺎﺓ ﺠﺎﻻﻥ .ﻭﻟﻡ ﺘﻜﻥ ﻫﺫﻩ ﺍﻟﺘﱠﺭﺠﻤﺔ ﺃﻤﻴﻨ ﹰﺔ ﻟﻸﺼل؛ ﻓﻘـﺩ ﻉ ﻭﺍﻻ ﹾﻨ ِﺘﺸﹶﺎ ِﺭ. ﺒﺎﻟ ﱡﺫﻴﻭ ِ " ﻤﺭﻭﺝ ﺍﻟﺫﱠﻫﺏ" ﻟﻠﻤﺴﻌﻭﺩﻱ ﻴﺸـﻴﺭ ﻜِﺘﺎﺏ ﺍﻟﺴﻨﺩﺒﺎﺩ ،ﻭﺸﻤﺎﺱ ﻭﻏﻴﺭﻫﻤﺎ ﻕ ﺍﻹﻨﺠﻠﻴـﺯﻱ ﺸ ِﺭ ﹸ ﺴ ﹶﺘ ﹾ ﻭ ﻴﺭﻯ ﺍﻟ ﻤ ott ob ﺘﺼﺭﻑ ﺠـﺎﻻﻥ Gallandﻓـﻲ ﻕ ﻤﻥ ﺤﻴﺙ ﺍﻟﻤﻘﺩﻤـﺔ ﻁﺒِ ﹸ ﺏ ﻴ ﹾﻨ ﹶ ﺍﻟﻜِﺘﺎ ِ alk ﺱ ﻋﺸـ ﺭ ﺃﻭﺍﺨﺭ ﺍﻟﻘـﺭﻥ ﺍﻟﺨـﺎ ِﻤ ﺍﻟ ﻤ ﹶﺘ ﺭﺠِﻤِﻴﻥ ﻟﻬـﺫﺍ ﺍ َ ﻲ ﻷﺜﹶـ ِﺭ ﺍﻷ ﺩﺒِـ ﺍﻷﺼل ﻭﻤﺎ ﻫﻭ ﻤﺼﺭﻱ ﻴﺼـﻭ ﺭ ﺍﻟ ﻌﻅِﻴﻡ ﭭﻭﻥ ﻫﺎﻤﺭ ،ﻭﭭﺎﻴل ،ﻭﻫﺎﻨﻨﺞ، ﺍﻟﺤﻴﺎ ﹶﺓ ﺍﻻﺠﺘﻤﺎﻋﻴـﺔ ﻓـﻲ ﺍﻟـﺩﻴﺎ ِﺭ ﻭﺠﺭﻴﻔﻴﻪ ،ﻭﺘﺭﻴﺒﻭﺘﻴﺎﻥ ،ﻭﺠﻭﻨﺎﺜـﺎﻥ ﻱ ﺽ ﺩﻭﺴﺎﺴﻲ ﺭﺃ ﺍﻟﻤﺼﺭﻴﺔ .ﻭﻋﺎ ﺭ ﺴﻜﻭﺕ ،ﻭﻫﻨﺭﻱ ﺘﻭﺭﻨﺯ ،ﻭﺇﺩﻭﺍﺭﺩ ﭭﻭﻥ ﻫﺎﻤﺭ ،ﻭﺘﺸﻜﱠﻙ ﻓـﻲ ﺼـﺤﺔ ل ﻟﻴﺘﻤﺎﻥ :ﺇﻥ ﺼﻭﺭ ﹰﺓ ﻤـﻥ ﻭ ﻴﻘﹸﻭ ُ ﻟﻴﻥ .ﻭﺘﺭﺠﻤﺔ ﻫـﺫﺍ ﺍﻟﻤﺴﺘﺸـﺭﻕ ﺹ ﺍﻟﻤﺴﻌﻭﺩﻱ ،ﻭﺭﺠﺢ ﺃﻥ ﻴﻜﻭﻥ ﹶﻨ ﺕ ﻓـﻲ ﻋ ِﺭ ﹶﻓ ﹾ ﻜﺘﺎﺏ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" ﺱ ﺍﻟﻤﻴﻼﺩﻱ ،ﻭﺃﻭﺍﺌل ﺍﻟﻘﺭﻥ ﺍﻟﺴـﺎﺩ ﻥ ﻥ ﻟِﻴﻥ ﻭﻁﹶـ ﻋ ﻴ ﻋﺸ ﺭ ﺍﻟﻤﻴﻼﺩﻱ .ﻭ w. ﺼﻨﱢﻑ ﺒﺄﻨﻪ ﺍﻟﺩﻴﺎﺭ ﺍﻟﻤﺼﺭﻴﺔ. ﺍﻟ ﻤ ﻸﺼل .ﻭﻓﻲ ﻋـﺎﻡ ١٨٨٢ﻗـﺎ ﻡ ِﻟ َ ﺍﺴ ﻡ ﺍﻟﻜِﺘﺎﺏ ﺍﻟﺫﻱ ﻭ ﺭ ﺩ ﻓﻲ ﺍﻟﻨﱠﺹ. ﺍﻟﻘﺭﻥ ﺍﻟﺜﺎﻨﻲ ﻋﺸﺭ ﺍﻟﻤﻴﻼﺩﻱ ،ﺜـﻡ ﺠﻭﻥ ﭙﺎﻴﻥ ﺒﺘﺭﺠﻤﺔ ﺇﻨﺠﻠﻴﺯﻴﺔ ﻜﺎﻤِﻠﺔ ﻭ ﹶﻨﺸﹶﺭ ﭭﻭﻥ ﻫﺎﻤﺭ ﻋﺎﻡ ١٨٣٩ﻨﺼﺎ ﺃﺨﺫﺕ ﺘﻨﻤﻭ ﻭ ﹶﺘﺘﹶﻜﺎ ﹶﺜ ﺭ ﻋﻠﻰ ﺍﻷﻴـﺎﻡ. ﻟﻠﻨﱠﺹ ﺍﻟ ﻌﺭﺒﻲ ،ﻭﺍﻋﺘ ﻤ ﺩ ﻓﻴﻬﺎ ﻋﻠـﻰ ﺁﺨﺭ ﻴ َﺅﻴ ﺩ ﺒﻪ ﻭِﺠﻬ ﹶﺔ ﹶﻨ ﹶ ﻅﺭِﻩ .ﻭﻫـﺫﺍ ﺹ ﺍﻟﺯﻫـ ِﺩ ﺼ ﻭ ﻴﺭﻯ ﻟﻴﺘﻤﺎﻥ ﺃﻥ ِﻗ ﻁﺒﻌﺎﺕ ﻜﻠﻜﺘﺎ ﻭﺒﺭﺴﻼﻭ ﻭﺒﻭﻻﻕ. ﹶ ﺍﻟﻨﱠﺹ ﻭ ﺭ ﺩ ﻓﻲ ﻜﺘـﺎﺏ ﺍﻟﻔﻬﺭﺴـﺕ ﻥ ل ﻫِﻨـﺩﻱ ،ﻭﺃ ﺃﻜﺜﺭﻫﺎ ﻤﻥ ﺃﺼـ ٍ www.alkottob.com ww ﺍﻷﺨﻴﺭ ﺘﻜﺎﺩ ﺘﻜﻭﻥ ﺘﺭﺠﻤ ﹰﺔ ﺃﻤﻴﻨـ ﹰﺔ ﻑ ﺃﺤﺩ ﺍﻟﻨﺴﺎﺨِﻴﻥ ﻫﻭ ﺍﻟـﺫﻱ ﺃﻀـﺎ ﹶ ﺍﻟﺩﻴﺎﺭ ﺍﻟﻤﺼﺭﻴﺔ ﺤـﻭل ﻤﻨﺘﺼـﻑ ٨٦ ﺴﻲ ،ﻭﺃﻥ ل ﻓﺎ ِﺭ ِ ﻥ ﻤﻥ ﺃﺼ ٍ ﻭﺍﻟﺸﱠﻴﺎﻁِﻴ ِ ﻭﺍﺤِﺩ" .ﻭ ﻴﺭﻯ ﺃﻨﻪ ﻻ ﺒﺩ ﻤﻥ ﺩﺭﺍﺴﺔ ﺠﺴـ ﻡ ﻁﹶﻠﺏِ ﺍﻟﻌﺩل ،ﻭ ﹸﺘ ﻭﺘﻌﺒﺭ ﻋﻥ ﹶ ﻲ ﻗﺩﻴﻡ ل ﺒﺎﺒﻠ ﻫﻨﺎﻙ ﻗِﺼﺼﺎ ﻤﻥ ﺃﺼ ٍ ﺍﻟﻘﺼﺹ ﺍﻟﺘﻲ ﹶﺘﺘﹶﻘﺎﺒل ،ﻭﺒـﺎﻟﻘﺭﺍﺌﻥ ﺠﺎ ِﻨﺒﺎ ﻤﻥ ﺍﻟﺴﺨﻁ ﻋﻠﻰ ﻭﺍ ِﻗ ِﻊ ﺍﻟﺤﻴﺎﺓِ، ﻤﺜل ِﻗﺼﺔ ﺒﻠﻭﻗﻴﺎ ،ﻭ ِﻗﺼـﺔ ﻤﺩﻴﻨـﺔ ﺍﻟﻤﺒﺎﺸِﺭﺓ ﺍﻟﺘﻲ ﺘﹶﺤ ِﻤﻠﹸﻬﺎ ﺒﻴﻥ ﻁﻴﺎﺘِﻬـﺎ ل ﻫﺫﻩ ﺍﻟﺤِﻜﺎﻴﺎﺕ ﺃﻴﻀـﺎ ﺨُ ﻭﺇﻥ ﻟﻡ ﹶﺘ ﹾ ﺤﻭل ﺍﻟﺨﹸﻠﻔﺎﺀ ﻭﺍﻷﺜﺭﻴـﺎﺀ؛ ﻓﺈﻨﻬـﺎ ﺘﺤﻭل ﻫﺫﺍ ﺍﻷﺼـل ﻋﻠـﻰ ﻤـ ﺭ ﻕ ﺠﺭﻭﻨﻴﺒﺎﻭﻡ ﺸ ِﺭ ﹸ ﺴ ﹶﺘ ﹾ ﻑ ﺍﻟ ﻤ ﻭﺃﻀﺎ ﹶ ﺍﻟ ﻌﺼﻭﺭ ،ﻭﻭﺼﻭﻟﻪ ﺇﻟﻰ ﺍﻟﺼـﻭﺭ ِﺓ ﺒﻴﺌ ﹰﺔ ﺃﺨﺭﻯ ﺯﻋـ ﻡ ﺃﻨﻬـﺎ ﻴﻭﻨﺎﻨﻴـﺔ ـﺘﹶﻁﺎﻉ ـﺩ ﺍﺴــ ـﺭﺓ .ﻭﻗــ ﺍﻷﺨﻴــ ﺍﻷﺼل ،ﻭ ﺒﻨﹶﻰ ﺭﺃﻴﻪ ﻋﻠﻰ ﺍﻟﻤﻭﺍﺯ ﹶﻨﺔِ ﺕ ﺃﻭﻴﺴﺘﺭﻭﺏ ﺃﻥ ﻴ ﻤ ﻴ ﺯ ﺃﺭ ﺒ ﻊ ﺒﻴﺌـﺎ ٍ ﺒﻴﻥ ﺒﻌﺽ ﺍﻟﺤِﻜﺎﻴﺎﺕ ﺍﻟﻭﺍﺭِﺩﺓ ﻓـﻲ m ﻥ ﺠ ﺕ ﺍﻟﺘـﻲ ﺘﹶﺯﺨﹶـ ﺭ ﺒـﺎﻟ ِ ﺍﻟﺨﹸﺭﺍﻓﹶﺎ ِ ﻭﺍﺤﺩٍ ،ﻭﺍﻟﻅﺎ ِﻫ ﺭ ﺃﻨﻬﺎ ﻟﻴﺴﺕ ﻟ ﻤ َﺅﱢﻟﻑٍ ﺙ ﻋـﻥ ﺍﻟ ﻌﻴـﺎﻕ ﻭﺍﻟﺸﱡـﻁﹼﺎﺭ ﹶﻓ ﹶﺘ ﹶﺘﺤ ﺩ ﹸ ﺍﻟﻨﱡﺤﺎﺱ .ﺃﻤﺎ ﺍﻟﺤِﻜﺎﻴﺎﺕ ﺍﻟﺘﻲ ﺘـﺩﻭﺭ .co ﺒﻐﹾﺩﺍ ِﺩﻴﺔ ﺍﻷﺼلِ ،ﻭﺃﻤـﺎ ﻗِﺼـﺹ ﺸﻁﹼﺎﺭ ﻭﺍﻟﻨﱠﻭﺍﺩِﺭ ﻭﺍﻟﺤِﻜﺎﻴﺎﺕ ﺍﻟﺘﻲ ﺍﻟ ﱡ ﻥ ﻥ ﻋﻠﻰ ﺍﻟﺠِـ ﻁ ﺭ ﻓﻴﻬﺎ ﺍﻹﻨﺴﺎ ﻴﺴﻴ ِ ل ﺒﻭﺴﺎﻁﺔ ﺍﻟﺘﱠﻌﺎﻭِﻴﺫ؛ ﻓﻬﻲ ﻤﻥ ﺃﺼـ ٍ ﻤﻥ ﺍﻟﺴﺤﺭ ﻭﺍﻟﺨﹶﻭﺍﺭِﻕ. ﺼلِ ﻭﻜﹶﻴﻔﻴﺔ ﻷ ﻴﻤﻜﻥ ﺍﻟﻭﺼﻭل ﺇﻟﻰ ﺍ َ ﻤِﺼﺭﻱ ،ﻭﺭﺒﻤﺎ ﻜﺎﻨﺕ ﻟﻬﺎ ﺠـﺫﹸﻭﺭ ﺍﻟﻠﱠﻴﺎﻟِﻲ ،ﻭﻫﺫﻩ ﺍﻟﺒﻴﺌﺎﺕ ﻫﻲ :ﺍﻟﺒِﻴﺌـﺔ ﻲ ﺏ ﺍﻟﻴﻭﻨـﺎﻨ ﺃﻭ ﻴﻘﺎ ِﺭﺒﻬﺎ ﻓـﻲ ﺍﻷﺩ ِ ِﻓ ﺭﻋﻭ ِﻨﻴﺔ ﻜﻤﺎ ﻫﻭ ﺍﻟﺤﺎل ﻓﻲ ﺤﻜﺎﻴﺔ ﺢ ﺃﻨﻬـﺎ َﺃﻗﹾـ ﺩ ﻡ ﺍﻟﻬِﻨﺩﻴﺔ؛ ﺍﻟﺘﻲ ﻴـ ﺭﺠ ﺍﻟ ﻤ ﹶﺘَﺄﺨﱢﺭ. ﻋﻠﻲ ﺍﻟﺯﻴﺒﻕ ،ﻭﻗﺩ ﺃَﺸﺎﺭ ﻨﻭﻟﺩﻜﻪ ﺇﻟﻰ ﺍﻟﺒِﻴﺌﺎﺕ ،ﻭﺍﻟﺘـﻲ ﺘﺴـﺘﻬﺩﻑ ﻤﻨـﻊ ﻭﻤﻬﻤﺎ ﻴﻜﻥ ﻤﻥ ﺸﻲﺀ؛ ﻓﺈﻥ ﻫﺫﻩ ﺼ ِﺔ ﺍﻟﻔﺭﻋﻭﻨﻴـﺔ ﺠ ﺩ ﻓﻲ ﺍﻟ ِﻘ ﺃﻨﻬﺎ ﺘﹸﻭ ـﺭﺩ ـﻭﺭ ﺒﺴـ ـﻥ ﺍﻟﺘﻬـ ـﺎﻥ ﻤـ ﺍﻹﻨﺴـ ﺏ ﺍﻷﻤﺜﺎلِ ،ﻭﻤـﻥ ﻀ ﺭ ِ ﺍﻟﺤﻜﺎﻴﺎﺕ ﻭ ل ﺤﺴﻥِ ﺍﻷﺤـﻭﺍ ِ ﺍﻷﺤﻜﺎﻡ ﹶﺘﻘﹸﻭ ﻡ ﻓﻲ َﺃ ﺙ ﺤ ﹸ ﻋﻠﻰ ﺍﻟﺘﱠﺭﺠِﻴﺢ ،ﻭﻻ ﻴﺴﺘﻁِﻴ ﻊ ﺍﻟﺒﺎ ِ ﺸﺒﻴﺠﻠﺒﺭﺝ ﺇﻥ ِﻗﺼﺔ ﺍﻟﻘِﺭﺩ ﺍﻟﻜﺎﺘِـﺏ ﺍﻟﺸﱠﻭﺍ ِﻫ ِﺩ ﻋﻠﻴﻬﺎ ﻤ ﹶﻘﺩﻤﺔ ﺍﻟﻠﱠﻴﺎﻟﻲ ،ﻭﺇﻥ ﺃﻥ ﻴﻘﻁﹶﻊ ﺒﻬﺎ؛ ﻭﺫﻟـﻙ ﺒـﺎﻋﺘﺭﺍﻑ ﺕ ﻓﻲ ﺤِﻜﺎﻴ ِﺔ "ﺍﻟﺼﻌﻠﹸﻭﻙ ﺍﻟﺘﻲ ﻭ ﺭ ﺩ ﹾ ﺕ ﺃﺴﻤﺎ ﺀ ﻓﺎﺭﺴـﻴﺔ ،ﻭﺤِﻜﺎﻴـﺔ ﺨ ﹶﺫ ﹾ ﺍ ﱠﺘ ﹶ ﺨﺼﺼﻴﻥ. ﺍﻟﺩﺍﺭِﺴﻴﻥ ﺍﻟ ﻤ ﹶﺘ ﹶ ﺍﻟﺜﺎﻨﻲ" ﻓﻲ ِﻗﺼﺔ "ﺍﻟﺤﻤﺎل ﻭﺍﻟﺜﹼﻼﺙ ﺍﻟ ﺒﺒﻐﺎﺀ ﺍﻷﺭﻴﺒﺔ ﺍﻟﺘﻲ ﻤ ﹶﻨﻌﺕِ ﺍﻟﺯﻭﺠ ﹶﺔ ﺒﻨﺎﺕ" ﺘﹸﺫﻜﱢﺭﻨﺎ ﺒﻨـﻭﺕ ﺍﻟﻤﺼـﺭﻱ ﻤﻥ ﺨِﻴﺎﻨﺔ ﺯﻭﺠِﻬﺎ ﺒﺎﻟ ِﻘﺼﺹ ،ﻭﺒﻴﺌﺔ ﻗﺭﺩ ،ﺜﻡ ﺇﻥ ﹶﺘ ﹶﻔﺭﻉ ﺍﻟﺤﻜﺎﻴـﺎﺕ ﻤـﻥ ﺨﹶﺼﺎﺌِﺹِ ﺍﻟﻬِﻨﺩ ﻭﻓـﺎﺭِﺱ؛ ﻭﻫـﺫﻩ ﻁﺭِﻴﻘﺔ ﺸـﺎﺌِﻌﺔ ﻓـﻲ ﻤﻘﺩﻤﺔ )ﻭﻫﺫﻩ ﹶ ل ﺍﻟﻁﱠﺒﻘ ﹶﺔ ﺍﻟﺒﻭﺭﺠﻭﺍﺯﻴﺔ ﻓﻲ ﺍﻟﺒﻴﺌﺔ ﹸﺘ ﻤﺜﱢ ُ ﺏ ﻱ( ﻟﻪ ﺃﺸﻴﺎﺀ ﻓﻲ ﺍﻷ ﺩ ِ ﺏ ﺍﻟﻬِﻨﺩ ﺍﻷ ﺩ ِ ﺍﻟﻌﻬﺩ ﺍﻹﺴﻼﻤﻲ ،ﻭ ﹶﺘﻘﹸﻭ ﻡ ﻋﻠﻰ ﺍﻟ ِﻘ ﻴ ِﻡ ﻟﻸﺸﻜﺎل ﻭﺍﻟﻤﻀﺎﻤِﻴﻥ ﻭﺍﻟﻌﻼﻗـﺎﺕ ﻱ ﺍﻟ ﹶﻘﺩِﻴﻡ. ﺍﻟﻤِﺼﺭ ﺸﺨﹸﻭﺼﻬﺎ ﹸﺘﺠﺎﺭ ،ﻭﻓﻴﻬﺎ ﺍﻟﻤﻁﹶﻠﻘﹶﺔ ،ﻭ ﹸ ﻓﻲ ﻫﺫﻩ ﺍﻟﻤﺠﻤﻭﻋﺔ ﺍﻟﻤﺸﻬﻭﺭﺓ ﻤـﻥ ott ob ﺕ ﺕ ﻓﻴﻬـﺎ ﺤِﻜﺎﻴـﺎ ﹸ ﺠﻤـ ﹾ ﻤﺨﺘﻠِﻔﺔ ﹶﻨ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" ،ﻭﺒﻴﻥ ﻤﺎ ﻴﺸﹾـ ِﺒﻬﻬﺎ ﺍﻟﻘﺩﻴﻤﺔ ﻜﹶﻨﺯ ﺭﺍﻤﺒﺴـﻴﻨﺕ .ﻭﻗـﺎل alk ﺼﻭ ﺭ ﺃﺤﻴﺎﻨﹰﺎ ﻓﻲ ﻫﻴﺌﺔ ﺍﻟﻘﺩﻴﻡ ﺍﻟﺫﻱ ﻴ ﺠ ﻤ ﻊ ﺒﻴﻥ ﺤﻠﹾﻘ ﹲﺔ ﹶﺘ ﺒﻐﺩﺍﺩﻴﺔ ﻤﻬﺩﺕ ﻟﻬﺎ ﻅﻬﺭﺕ ﻓﻲ ﻤﺼﺭ ﺩِﺭﺍﺴـ ﹲﺔ ﻭﻗﺩ ﹶ ﺠﺎﻤِﻌ ﹲﺔ ﺠﺎ ﺩ ﹲﺓ ﻋـﻥ ﻫـﺫﺍ ﺍﻟﻜِﺘـﺎﺏ ﺕ ﺁﺭﺍ ﺀ ﺍﻟﺴﺎﺒِﻘﻴﻥ ،ﻭﺍﻋﺘﻤـﺩﺕ ﺠ ﻤ ﻌ ﹾ ﻲ ﺍﻟﻨﱠﻘـ ِﺩ ﻭﺍﻟﻤﻭﺍﺯﻨـﺔ، ﺠِ ﻋﻠﻰ ِﻤ ﹾﻨ ﻬ ِ w. ﻲ ﻭﺃﻓﺎﺩﺕ ﻤﻥ ﺍﻟﺘﱠﻔﺴـﻴ ِﺭ ﺍﻻﺠﺘﻤـﺎﻋ ل "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ"، ﺴﺒﻘﹸﻭﻩ ﻓﻲ ﺃﺼ ِ ﻭﺘﺄﺘﻲ ﺒﻌ ﺩ ﺫﻟﻙ ﺒﻴﺌﺘﺎﻥ ﻤِﺼـ ِﺭﻴﺘﺎﻥ؛ ﺍﻟﺩﺭﺍﺴﺔ ﺍﻟﺩﻜﺘﻭﺭﺓ ﺴﻬﻴﺭ ﺍﻟﻘﻠﻤﺎﻭﻱ. ﺜﻡ ﻴﻘـﻭل :ﺇﻥ ﺍﻟﻠﱠﻴـﺎﻟﻲ ﻤﺠﻤﻭﻋـﺔ ـﻭل ـﻰ ﺤـ ـﺎﺕ ﺍﻷ ﻭﹶﻟـ ﺘﹶـﺩﻭ ﺭ ﺤِﻜﺎﻴـ ﺽ ﺍﻷﺩﺒﺎﺀ ﺃﻥ ﻴﻬﺫﱢﺒﻭﺍ ل ﺒﻌ ﻭﺤﺎﻭَ ﻋ ﺩﺩﻫﺎ ﻭﺘﹶﺭﺘِﻴﺒﻬـﺎ ﻑ ﺹ ﻴﺨﺘِﻠ ﹸ ﺼ ٍ ِﻗ ﺍﻷﺭﺼﺎﺩ ﻭﺍﻟﺴﺤﺭ ﻭﺘﻐﻴـﺭ ﺍﻵﺜـﺎﺭ ﻫﺫﻩ ﺍﻟﺤِﻜﺎﻴﺎﺕ ﺃﻭ ﻴﻌﻴﺩﻭﺍ ﺼﻴﺎﻏﹶﺘﻬﺎ. ﺒﺎﺨﺘِﻼﻑ ﺍﻟﻨﱡﺴﺦ ،ﻭﻜﹸﻠﻬﺎ ﻓﻲ ﺇﻁـﺎ ٍﺭ ﻭﺍﻟﻬﻴﺎﻜِل ﺍﻟﻐﺎﻤِﻀﺔ ،ﺃﻤـﺎ ﺍﻟﺜﹼﺎﻨِﻴـﺔ ﻭﻤﻤﺎ ﻴ ﺩلﱡ ﻋﻠﻰ ﺃﻥ ﻜﺘﺎﺏ "ﺃﻟﻑ ﻟﻴﻠﺔ www.alkottob.com ww ﺽ ﺃﻭﻴﺴﺘﺭﻭﺏ ﺁﺭﺍ ﺀ ﻤﻥ ﺴ ﹶﺘ ﻌ ِﺭ ﻭ ﻴ ﺤ ﹲﺔ ﺭﻭﻤﺎﻨﺴـﻴﺔ. ﺴ ﺘﹶﻀﺤﻴﺎﺕ ﻟﻬﺎ ﻤ ﺍﻟﺤِﻜﺎﻴﺎﺕ ﺍﻟﺸﱠﻌ ِﺒ ﻴﺔِ ،ﻭﻗﺎﻤـﺕ ﺒﻬـﺫﻩ ٨٧ ﺱ ـﺎ ـﺎﻡ ﺇﺤﺴـ ـﻰ ﺍﻹﻟﻬـ ﺤ ِﻔـ ﺯ ﺇﻟـ ﻭ ﻴ ﻼ ﺼﻤ ﻡ ﻋﻠـﻰ ﺃﻥ ﺘﻜـﻭﻥ ﺴـﺒﻴ ﹰ ﹸﺘ ﺤﻘﱢﻕ ﻟﻪ ﻤﺎ ﻴﺭﻴﺩ ﻜﻤﺎ ﻓﻲ ﺤﻜﺎﻴـﺔ ﻭ ﻴ ﺠﻤﺎﻫِﻴ ِﺭ ﺍﻟ ﹸﻘﺭﺍ ِﺀ ﻓﻲ ﺍﻟﻌﺎﻟﹶﻡ ﺍﻟﻌﺭﺒـﻲ ﺹ ﺒﻨﺎﺕ ﺠِﻨﺴِﻬﺎ ﻤﻥ ﺸﻬﺭﻴﺎﺭ. ﻟﺨﻼ ِ "ﻤﻌﺭﻭﻑ ﺍﻹﺴﻜﺎﻓﻲ" .ﻭ ﹶﺘ ﹶﺘﺭ ﺩ ﺩ ﻓـﻲ ﺒﺤﺎﺠﺘﻬﻡ ﺍﻟ ﻤِﻠﺤﺔ ﺇﻟﻰ ﻨﺴﺨﺔ ﻜﺎﻤﻠـﺔ ﻭﻫﻜﺫﺍ ﹶﺘ ﺒﺩﺃ ﺸﻬﺭﺯﺍﺩ ﻟﻴﺎﻟﻴﻬﺎ ﺍﻟﺭﺍﺌﻌﺔ ﺍﻟﺘﻲ ﺤﺎﻟﹶﺕ ﺒﻴﻥ ﺍﻟﻤﻠﻙ ﻭﺒﻴﻥ ﺍﻟ ﱠﺘ ﻬﻭﺭ ل ـﺔ ﻤِﺜ ـ ُ ﺕ ﺨﺎﺭِﻗـ ﺕ ﺃﺩﻭﺍ ﹲ ـﺎ ِ ﺍﻟﺤِﻜﺎﻴـ ـﺔ ـﻲ ﺤِﻜﺎﻴـ ـﺎﺌِﺭ ﻓـ ﻁـ ـﺎﻥ ﺍﻟ ﹼ ﺍﻟﺤِﺼـ ﹶﻨﻬﺽ ﺍﻷﺴﺘﺎﺫ ﺃﺤﻤﺩ ﺭﺸﺩﻱ ﺼﺎﻟﺢ ﺤﺭﺍﻑ. ﻭﺍﻻ ﹾﻨ ِ ﺍﻟﺼﻌﻠﹸﻭﻙ ﺍﻟﺜﹼﺎﻟﺙ ﻤﻥ ﻗﺼﺔ ﺍﻟﺤﻤﺎل m ﻭﻟﻴﻠﺔ" ﻻ ﻴﺯﺍل ﺤﻴﺎ ﻴﺜﻴ ﺭ ﺍﻻﻫﺘﻤﺎﻡ َ، ﺝ ﻤﻥ ﺸﻬﺭﺯﺍﺩ ﺍﻟﺘﻲ ﻭﺃﺨﻴﺭﹰﺍ ﻴﺘﺯ ﻭ ﻲ ﻴـ ْﺄ ﹶﺘ ِﻤ ﺭ ﺒـﺄﻤﺭِﻩ، ﺠﻨﱢـ ﻓﻴﻅﻬﺭ ﻟﻪ ِ ﻲ .ﻭﻗـﺩ ﻤﻥ ﻫﺫﺍ ﺍﻟﻜﺘـﺎﺏ ﺍﻟﻌـﺎﹶﻟ ِﻤ .co ﻕ ل ﻋﻠﻰ ﺘﺤﻘﻴـ ِ ﺒﻬﺫﻩ ﺍﻟ ﻤ ِﻬﻤﺔ؛ ﹶﻓﻌﻤِ َ ﺍﻟﻜﺘﺎﺏِ ،ﻭﺍﻟﺘﻤﻬﻴ ِﺩ ﻟﻪ ﺒﺩﺭﺍﺴ ٍﺔ ﺘﹸﻌﺭﻑ ﺕ ﺘـﺄﺜﻴﺭِﻩ، ﺒﻪ ﻭﺒﺘﺎﺭﻴﺨﻪِ ،ﻭﻤﺠﺎﻻ ِ ﻥ ﺠ ﺨ ﺭ ﺒـﺎﻟ ِ ﻭ"ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" ﹶﺘ ﺯ ﹶ ﻭﺍﻟﺜﻼﺙ ﺒﻨﺎﺕ ،ﻭ"ﺠﺭﺍﺏ ﺠـﻭﺩﺭ" ﻥ ﺇﻤﺎ ﺠ ﻭﺍﻟﻌﻔﺎﺭِﻴﺕ ﻭﺍﻟﺨﹶﻭﺍﺭِﻕ .ﻭﺍﻟ ِ ﺍﻟﺫﻱ ﻴﻤﺩﻩ ﺒﻤﺎ ﻴﺸﺘﻬﻲ ﻤﻥ ﻁﻌـﺎﻡ، ﻑ ﺇﻟﻰ ﹶﻨﺠﺩ ِﺓ ﺍﻟﺒﻁل ﻋﻨﺩﻤﺎ ﺨ ﱡ ﺨﻴﺭﺓ ﹶﺘ ِ ﹶ ل ﺒﻬـﺎ ﺴُ ﻭﻁﺎ ِﻗﻴﺔ ﺍﻹﺨﻔﺎﺀ ﺍﻟﺘﻲ ﻴ ﹶﺘﻭ ﺸﺭﻴﺭﺓ ﹶﺘﻀـ ﺭ ﻴﺘَﺄﺯﻡ ﺍﻟﻤﻭﻗﻑ ،ﺃﻭ ِ ﻻ ِﺒﺴﻬﺎ ﻟﻼﺨﺘﻔﺎﺀ ﻋﻥ ﺍﻷﻨﻅﺎﺭ ﻜﻤـﺎ ﹶﻗﻠِﻴﻠ ٍﺔ ﺩﺭﺍﺴ ﹲﺔ ﻭﺼ ِﻔ ﻴ ﹲﺔ ﻟﻜﺘﺎﺏ "ﺃﻟـﻑ ﻲ ﺠﻨﱢـ ﻕ ﺍﻟ ِ ﺸﹸ ﺍﻹﻨﺴﺎﻥ ،ﻭﻜﺜﻴﺭﺍ ﻤﺎ ﻴ ﻌ ﹶ ﻓﻲ ﺤِﻜﺎﻴﺔ "ﺤﺴﻥ ﺍﻟﺒﺼﺭﻱ". ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" ﻗﺎﻡ ﺒﻬﺎ ﺍﻷﺴﺘﺎﺫ ﻓـﺎﺭﻭﻕ ﺴﻴﺎ .ﻭﻗﺩ ﻕ ﺍﻟﺠﻨﱢﻴ ﹸﺔ ﺇﻨ ِ ﺸﹸ ﺴ ﻴ ﹰﺔ ﺃﻭ ﹶﺘ ﻌ ﹶ ﺇﻨ ِ ﻭﻟﻠﺴﺤﺭ ﻤﻜﺎﻨـﺔ ﺨﺎﺼـﺔ ﻓـﻲ ﺕ ﻓﻲ ﻜﺘﺎﺏ ﺒﺎﺴﻡ "ﻤﻥ ﺸ ﺭ ﹾ ﺴﻌﺩ ،ﻭ ﹸﻨ ِ ﻲ ﺒﺎﻟﺴﺤ ِﺭ ﻜﻤـﺎ ﻓـﻲ ﺠ ﱢﻨ ل ﺍﻟ ِ ﺼُ ﻴ ﹶﺘﻭ ل ﺒـﻪ ﺴُ ﺍﻟﻠﻴﺎﻟﻲ ...ﻭﻫﻭ ﺴِﺤﺭ ﹶﺘ ﹶﺘﻭ ﻭﺤﻲ ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" ،ﻭﺘﺤﺩﺙ ﻓﻴﻬﺎ ﺤِﻜﺎﻴ ِﺔ ﺍﻟﺼﻌﻠﻭﻙ ﺍﻟﺜﹼﺎﻨِﻲ ﻤﻥ ِﻗﺼـ ِﺔ ﺒﻌــﺽ ﺍﻟﺸﱠﺨﺼــﻴﺎﺕ ﺍﻟﺸﱢــﺭﻴﺭﺓ ott ob ﺕ ﻓﻲ ﺒﻴﺭﻭﺕ ﻤﻨﺫ ﺃﻋﻭﺍ ٍﻡ ﻅﻬﺭ ﹾ ﻜﻤﺎ ﹶ ﺢ ﺍﻟﺸﱡــﻌﺭﺍ ِﺀ ﻭﺍﻟﺩﺍﺭِﺴــﻴﻥ ﻗﹶــﺭﺍ ِﺌ ِ ﻲ ﻜﻤﺎ ﻓﻲ ﺤﻜﺎﻴﺔ ﺴ ﺴﺒﺒﺎ ﻓﻲ ﺸﹶﻘﺎﺀِ ﺇﻨ ِ ﺤﻴﻭﺍﻥ ﺃﻭ ﺠﻤﺎﺩ ،ﻜﻤﺎ ﻓﻲ ﺤِﻜﺎﻴـﺔ ﻭﺍﻟﻤﻭﺴِـــﻴ ِﻘﻴﻴﻥ ﻭﺍﻟﻤﺼـــ ﻭﺭِﻴﻥ "ﺃﺒﻲ ﻤﺤﻤﺩ ﺍﻟﻜﺴﻼﻥ" ،ﻭﻗﺩ ﻴﺤﻠـﻭ ﺍﻟﺘﹼﺎﺠِﺭ ﻭﺍﻟﻌِﻔﺭﻴـﺕ ،ﻭﻴـ ِﺘ ﻡ ﻫـﺫﺍ ﻭﺍﻟ ﻤﺜﹼﺎﻟِﻴﻥ. ﺸﺭِ ﻜﻤﺎ ﻓﻲ ﺙ ﺒﺎﻟﺒ ﹶ ﻟﻠﻌﻔﺎﺭﻴﺕ ﺃﻥ ﹶﺘ ﻌﺒ ﹶ ل ﺒﻭﺍﺴﻁﺔ ﻤﺎﺀ ﻴﻘﹾـ ﺭُﺃ ﻋﻠﻴـﻪ ﺍﻟﺘﱠﺤﻭُ ﺏ ﻭﺇﻟﻰ ﺠﺎﻨـﺏ ﻫـﺫﺍ؛ ﻓـﺈﻥ ﺃﺩ ﺱ ﺒﺤِﻜﺎﻴﺎﺕ ﺴ ﹶﺘ ْﺄ ِﻨ ل ﻜﺜﻴﺭﺍ ﻤﺎ ﻴ ﺍﻷﻁﻔﺎ ِ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" ﺠﻤﻠ ﹰﺔ ﻭﺘﹶﻔﺼِﻴﻼﹰ. alk ﻋﻥ ﺘﺄﺜﻴﺭ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" ﻋﻠـﻰ "ﺍﻟﺤﻤﺎل ﻭﺍﻟﺜﹼﻼﺙ ﺒﻨﺎﺕ" ،ﻭﻗﺩ ﻴﻜﻭﻥ ﻲ ﺇﻟـﻰ ﻟﺘﺤﻭﻴل ﺍﻟﺒﻁل ﻤـﻥ ﺁﺩﻤـ ﺤﻜﺎﻴﺔ "ﻨﻭﺭ ﺍﻟﺩﻴﻥ ﻭﺃﺨﻴـﻪ ﺸـﻤﺱ ﺍﻟﺩﻴﻥ" ﻭﺤﻜﺎﻴـﺔ "ﻗﻤـﺭ ﺍﻟﺯﻤـﺎﻥ". ﻑ ﺒﺎﻟﻭﻓﺎﺀِ ،ﻭﻜﺜﻴﺭﺍ ﻤﺎ ﺼ ﹸ ﻥ ﹶﺘﺘﱠ ِ ﺠ ﻭﺍﻟ ِ ﺽ ﺤ ﺭ ﺃﻭ ﺍﻟﺴــﺎﺤِﺭ ﹸﺓ ﺒﻌــ ﺍﻟﺴــﺎ ِ ﺍﻟﺘﹶﻌﺎﻭِﻴﺫِ ،ﺜﻡ ﻴﺭﺸﱡﻪ ﻋﻠـﻰ ﺍﻟﺒﻁـل ﻥ ﺃﻭ ﺠﻤﺎﺩ، ﹶﻓ ﹶﺘﺘﹶﻐ ﻴ ﺭ ﻫﻴﺌﺘﹸﻪ ﺇﻟﻰ ﺤﻴﻭﺍ ِ ﻥ ﺍﷲ ﻭﻴﻅل ﻫﺫﺍ ﺤﺎﻟﹸﻪ ﺤﺘﱠـﻰ ﻴـﺄﺫ ﺴ ﺭ ِﺩ ﺍﻟﺤﻜﺎﻴﺎﺕ، ﻫﻭ ﺒﻤﺜﺎﺒﺔ ﺘﺒﺭﻴ ٍﺭ ﻟ ﺒﺠﻤﻴﻠﻪ؛ ﻴﻘﺘل ﻋﺒﺩ ﺍﷲ ﺒﻥ ﻓﺎﻀـل ﺴلُ ﻤﻥ ﻴ ﺒﻁِل ﻫـﺫﺍ ﺍﻟﺴـﺤﺭ، ﹶﻓ ﻴ ﺭ ِ ﻭﻴﻜﺘﺸﻑ ﺍﻟﻤﻠﻙ ﺸـﻬﺭﻴﺎﺭ ﺨِﻴﺎﻨـ ﹶﺔ ﺏ ﺤﻴـ ﹰﺔ ﺤ ﻴ ﹰﺔ ﺴﻭﺩﺍ ﺀ ﺭﺁﻫـﺎ ﹶﺘ ﹶﺘ ﻌﻘﱠـ ﻭﻴﻌﻴﺩﻩ ﺇﻟﻰ ﺼﻭﺭ ِﺘ ِﻪ ﺍﻵﺩﻤﻴﺔ ﻜﻤـﺎ ل ﻟﻴﻠ ٍﺔ ﺯﻭﺠ ﹰﺔ ﺨ ﹸﺫ ﻜ ﱠ ﻨﻔﺴﻴ ﹰﺔ ﺤﺎ ﺩﺓﹰ؛ ﻓﻴ ﱠﺘ ِ ﻅ ﻟﻪ ﻫﺫﺍ ﺍﻟﺠﻤﻴـل ،ﻭﺘﺼـﺒﺢ ﺤ ﹶﻔ ﹸ ﹶﺘ ﺡ. ﻋﺫﺭﺍ ﺀ ﻭﻴﻘﺘﻠﹸﻬـﺎ ﻓـﻲ ﺍﻟﺼـﺒﺎ ِ ﻁ ﻭﻉ ﺃﻤﺭﻩ. ﹶ ﺱ ﺒﺒﻨﺎﺘِﻬﻡ ﻤﻥ ﺍﻟﻤﺩﻴﻨﺔ. ﺏ ﺍﻟﻨﹼﺎ ﻭ ﻴ ﻬ ﺭ www.alkottob.com ﺠﻨﱢﻴـﺔ ﺒﻴﻀﺎﺀ؛ ﻓﺈﺫﺍ ﺒﻬﺫﻩ ﺍﻷﺨﻴﺭﺓ ِ ﻓﻲ ﺤِﻜﺎﻴـﺔ "ﺍﻟﺴـﻠﻁﺎﻥ ﻤﺤﻤـﻭﺩ ww ﺯﻭﺠﺘﻪ؛ ﻓﹶﻴﻘ ﹸﺘﻠﹸﻬﺎ ،ﻭﻴﺠﺘـﺎﺯ ﺃﺯﻤـ ﹰﺔ w. ﺨلِ ﺃﻭ ﹶﺘ ﻤﻬِﻴـﺩٍ ﻭ ﹶﺘ ﺒ ﺩُﺃ ﺍﻟﻠﱠﻴﺎﻟِﻲ ﺒﻤ ﺩ ﹶ ـﺎ ﻲ ﺇﻨﺴـﻴﺎ ﺍﻋﺘﺭﺍ ﹰﻓـ ﺠ ﱢﻨـ ـﺎﻋﺩ ﺍﻟ ِ ﻴﺴـ ﺼﺎﺤﺏ ﺍﻟﺠﺯﺍﺌﺭ ﺍﻟﺴﻭﺩ". ﻭﺍﻟ ﹸﻜﻨﹸﻭ ﺯ ﻤﻥ ﺍﻟﻤﺤﺎ ِﻭ ِﺭ ﺍﻟ ﺭﺌِﻴﺴِـ ﻴ ِﺔ ﻭﻤﻥ ﺃﺒﺭﺯ ﺍﻟﺨﻭﺍﺭِﻕ ﻓﻲ ﺍﻟﻠﻴﺎﻟﻲ ﻓﻲ ﺤِﻜﺎﻴﺎﺕ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠـﺔ"... ل ﺨﺎﺘﹶﻡ ﺴـﻠﻴﻤﺎﻥ ...ﻴ ﹾﻔ ﺭﻜﹸـﻪ ﺍﻟ ﺒﻁﹶـ ُ ل ﻋﻠﻰ ﻜﻨﺯ ﻓﻴﻨﺘﻘل ﻤـﻥ ﻁُ ﻴ ﻌﺜﹸ ﺭ ﺍﻟ ﺒ ﹶ ٨٨ ﻭﻀﺤﺎﻫﺎ ﻤﻥ ﺫﻭﻱ ﺍﻟﺜﱠﺭﺍ ِﺀ ﻭﺍﻟ ﱡﻨﻔﹸﻭﺫِ، ﻭﻴﻌﻴﺸﻭﻥ ﻓﻲ ﺒ ﹶﺫﺥٍ ﻭ ﹶﺘﺭﻑٍ .ﻏﻴﺭ ﺃﻥ ﺥ ل ﺍﻟـ ﺭ ﱢ ﺕ ﺨﹸﺭﺍ ِﻓ ﻴ ٍﺔ ﻤﺜ ِ ﺤﻴﻭﺍﻨﺎ ٍ ﻋﻥ ﻜﻤﺎ ﻓﻲ ﺤﻜﺎﻴﺔ "ﺠـﻭﺩﺭ" ﻭﺤﻜﺎﻴـﺔ ﺕ ﻟﻴﺴﻭﺍ ﺠﻤﻴﻌﺎ ﻤـﻥ ل ﺍﻟﺤِﻜﺎﻴﺎ ِ ﺃﺒﻁﺎ َ ﻱ". ﺤ ِﺭ ﻓﻲ ﺤِﻜﺎﻴﺔ "ﺍﻟﺴﻨﺩﺒﺎﺩ ﺍﻟ ﺒ "ﻭﺭﺩﺍﻥ ﺍﻟﺠﺯﺍﺭ" .ﻭﺍﻟ ﹶﻜﻨﹾـ ﺯ ﻋـﺎﺩ ﹰﺓ ﺤ ﺭ ِﻓﻴﻴﻥ ﺫﻭﻱ ﺍﻟﺜﱠﺭﺍﺀِ ،ﺒل ﺇﻥ ﻤﻨﻬﻡ ِ ﺏ ﻋﻠﻰ ﺤِﻜﺎﻴـﺎﺕ ﺍﻟﻠﻴـﺎﻟﻲ ﻭ ﹶﺘ ﹾﻐِﻠ ﻭﻻ ﻴﻔﺘﹶﺢ ﺇﻻ ﻟﻪ. ﺤﻁﱠـﺎﺏ، ﺍﻟﺨﻴﺎﻁ ﻭﺍﻟﻁﹼـﺎﻫِﻲ ...ﻭﺍﻟ ﺨ ﻴﺭ ﺠﺯﺍﺅُﻩ ﺍﻟﺨﹶﻴـﺭ، ﻤﻨﺎﺴﺒﺔ ﺃﻥ ﺍﻟ ﹶ ﺨﺒﺎﺯ ،ﻭﺍﻹﺴـﻜﺎﻑ. ﺼﻴﺎﺩ ،ﻭﺍﻟ ﹶ ﻭﺍﻟ ﺸﺭﻴﺭ ﻻﺒـﺩ ﺃﻥ ﻴﻼﻗـﻲ ﻭﺃﻥ ﻜل ِ ﻭﻫﻡ ﺠﻤﻴﻌﺎ ﻴﺸﻘﻭﻥ ﻓﻲ ﺴﺒﻴل ﻟﹸﻘﻤ ِﺔ ﻥ ﺕ ﻤِـ ﺠﺯﺍﺀﻩ ،ﻭﺃﻥ ﺍﻵ ِﺜ ﻡ ﻻ ﻴ ﹾﻔﻠِـ ﹸ ل ﺃﻭ ﺵ ﻭﻻ ﻴﻌﺭﻓـﻭﻥ ﺍﻟﺘﱠﺴـ ﻭ َ ﺍﻟﻌﻴ ِ ﺨﻔﹶـﻰ ﺏ ﺍﻟﻌﺎﺠِل؛ ﺤﺘﱠﻰ ﻟـﻭ َﺃ ﹾ ﺍﻟﻌِﻘﺎ ِ m ﻋﺸِـ ﻴ ٍﺔ ﺤﺎل ﺇﻟﻰ ﺤﺎل ﻭﻴﺼﺒﺢ ﺒﻴﻥ ﻙ ﻭﺍﻟﺴـﻼﻁِﻴﻥ ﻭﻴﺼﺎﻫِﺭﻭﻥ ﺍﻟ ﻤﻠﹸﻭ ﺽ ﺍﻟﺤِﻜﺎﻴﺎﺕ ﺙ ﺒﻌ ﺍﻟﺤِﻜﺎﻴﺔ ،ﻭ ﹶﺘ ﹶﺘﺤﺩ ﹸ ﻴﻜﻭﻥ ﻤﺭﺼﻭﺩﺍ ﺒﺎﺴﻡ ﺸﺨﺹ ﻤﻌﻴﻥ .co ﻭﺘﻠﻌﺏ ﺍﻟﻤﺭﺃﺓ ﺩﻭﺭﺍ ﺨﻁﻴﺭﺍ ﻓﻲ ﺍﻟﻠﻴﺎﻟﻲ؛ ﻗﺩ ﺘﻜﻭﻥ ﻤﻠِﻜ ﹰﺔ ﺃﻭ ﺠﺎﺭﻴﺔﹰ، ﺏ ﻭﻟﻜﻨﻬﺎ ﺩﺍﺌﻤﺎ ﺸﺎﺒﺔ ﻓﺎﺘِﻨـﺔ ﻴﺨﻠـ ل ﺸ ﺭﺩ؛ ﺒل ﻴﺅﻤﻨﻭﻥ ﺒـﺄﻥ ﺍﻟ ﻌﻤـ َ ﺍﻟ ﱠﺘ ﹶ ﻥ ﻁِ ﺱ ﻓـﻲ ﺒـﺎ ِ ﻋ ﻴﻥِ ﺍﻟﻨﹼﺎ ِ ﺇﺜﻤﻪ ﻋﻥ َﺃ ﺸﺭﻑ ﻭﻭﺍﺠﺏ. ﺽ. ﺍﻷَﺭ ِ ott ob ﺏ .ﻭﻴﺘﻔـﻨﱠﻥ ﺍﻟـﺭﺍﻭِﻱ ﺠﻤﺎﻟﹸﻬﺎ ﺍﻷﻟﺒﺎ ِ ﻤﻥ ﺃﺒﻨﺎﺀ ﺍﻟﻁﱠﺒ ﹶﻘﺔِ ﺍﻟﻜﺎﺩِﺤﺔ ...ﻓـﻴﻬﻡ ﹶﻨﺯﻋ ﹸﺔ ﺍﻟﺨﹶﻴﺭِ ،ﻭﻫﻲ ﹸﺘ َﺅﻜﱢﺩ ﻓﻲ ﻜـل ﻁﻠﹶـ ِﺔ ﻥ ﺍﻟ ﺒ ﹶ ﺴِ ﻑ ﻤﺤﺎ ِ ﻋﺎﺩ ﹰﺓ ﻓﻲ ﻭﺼ ِ ل ﺍﻟﺴـﺎﻤِﻌﻴﻥ. ﺏ ﺨﻴـﺎ َ ﻭﺼﻔﹰﺎ ﻴ ﹾﻠﻬِـ ﺕ ﻓـﻲ ﻑ ﺍﻟﺸﱠﺨﺼﻴﺎ ِ ﻭﻤﻥ ﺃﻁﺭ ِ ﺕ "ﺃﻟـﻑ ﺽ ﺤﻜﺎﻴﺎ ِ ﻁ ﺭﻕﹸ ﺒﻌ ﻭ ﹶﺘ ﹾ ﻭﺍﻟﺒﻁﻠﺔ ﻁﻴﺒﺔ ﺍﻟﻘﻠﺏ ﺴﻠﻴﻤﺔ ﺍﻟﻁ ِﻭﻴﺔ ﻙ ﻭﺍﻟﺸﱡــﻁﹼﺎﺭ، ﺍﻟﻠﻴــﺎﻟﻲ ﺍﻟﺼــﻌﺎﻟﻴ ﺕ ﺘﹶﻌﻠِﻴﻤﻴﺔ ﻜﻤﺎ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" ﻤﻭﻀﻭﻋﺎ ٍ ﻏﺎِﻟﺒﺎ ،ﻭﻟﻜﻨﻬﺎ ﻻ ﺘﺨﻠﻭ ﻤﻥ ﺍﻟ ﻤﻜﹾـ ِﺭ ﺹ ﻭﺍﻟ ﻌﻴﺎﻕ .ﻭﺍﻟﺸﱠﺎﻁِﺭ ﻴﺫﻜﱢﺭﻨﺎ ﺒـﺎﻟﱢﻠ ﻫﻭ ﺍﻟﺤﺎل ﻓﻲ ﺤِﻜﺎﻴـﺔ "ﺍﻟﺠﺎﺭﻴـﺔ "ﻗﻤﺭ ﺍﻟﺯﻤﺎﻥ ﻭﺍﻟﻤﻠﻜﺔ ﺒﺩﻭﺭ". ﻹﻅﻬﺎ ِﺭ ﺒﺭﺍﻋ ِﺘ ِﻪ ﻭ ﹶﺘ ﹶﻔ ﻭﻗِﻪِ ﻋﻠﻰ ﺃﻗﺭﺍ ِﻨ ِﻪ ﻥ ﺍﻟﺘﱠﺸﻜِﻴِﻠ ﻴ ِﺔ ﻤﻜﺎﻥ ﻤﺭﻤﻭﻕ ﻭﻟﻠ ﹸﻔﻨﹸﻭ ِ ﻭﻟﻠﻤﺭﺃﺓ ﺍﻟ ﻌﺠﻭﺯ ﺩﻭﺭ ﻻ ﻴﻨﻜﹶـﺭ ﻁ ﺭ ﻓﻲ "ﺍﻟﻤﻼﻋﻴﺏ" .ﻭﻴ ﹶﺘﻤ ﻴ ﺯ ﺍﻟﺸﹼـﺎ ِ ﻼ ﻓـﻲ ﻓﻲ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ"؛ ﻓﻤـﺜ ﹰ ﻓﻲ ﺒﻌﺽ ﺍﻟﺤِﻜﺎﻴﺎﺕ ،ﻭﻜﺜﻴﺭﺍ ﻤـﺎ ﺕ ﺨﺎﺼﺔ ،ﻭﻻﺒﺩ ﺃﻥ ﺢ ﻭﺼِﻔﺎ ٍ ﺒﻤﻼ ِﻤ ﺤِﻜﺎﻴﺔ" ﺘﺎﺝ ﺍﻟ ﻤﻠﹸﻭﻙ ﻭﺩﻨﻴـﺎ ﺍﺒﻨـﺔ ﺙ ﺘﻜﻭﻥ ﺴﺒﺒﺎ ﻓﻲ ﺘﻐﻴﺭ ﻤﺠﺭﻯ ﺃﺤﺩﺍ ِ ﻲ ﺘﻘﺎﻟِﻴﺩ ﺃﺒﻨﺎﺀ ﻁﺎﺌ ﹶﻔﺘِﻪ .ﻭ ﻴﺭﻯ ﻋ ﻴﺭﺍ ِ ل ﻋﻠﻰ ﺍﻟﺠﻤ ِﻊ ﺒـﻴﻥ ﺍﻟﺤِﻜﺎﻴﺎﺕ ﹶﺘ ﻌ ﻤ ُ ﺴ ﻴ ِﺭ ﺸﻁﹼﺎﺭ ﻤﺘﺄﺨﱢﺭﺓ ﺒﺎﻟﻘِﻴﺎﺱ ﺇﻟﻰ ِ ﺍﻟ ﱡ ﺍﻟ ﻌﺸﹼﺎﻕِ ،ﻓﺈﻨﻬﺎ ﻓﻲ ﺤِﻜﺎﻴﺔ ﺃﺨـﺭﻯ ﻥ ﻅﹸﻬﻭﺭﻫـﺎ ﺠﺤـﻭ ﺍﻟﻔﹸﺭﺴﺎﻥِ ،ﻭ ﻴ ﺭ ﺨﺒِﻴﺜﺔ ﻤﺜل ﺍﻟﻌﺠﻭﺯ "ﺸﺎﻫﻲ" ﺸﺭﻴﺭﺓ ﹶ ِ ﻭﺘﻜﺎ ﻤﻠﹶﻬﺎ ﻓﻲ ﺍﻟﺤﻭﺍﻀِـ ِﺭ ﺒﺼـﻔﺔ ﺍﻷﻤﻴﺭﺓ ﺩﻨﻴﺎ ،ﻭﺘﻜﻭﻥ ﻫﺫﻩ ﺍﻟﺼﻭﺭﺓ ﻓﻲ ﺤِﻜﺎﻴﺔ "ﻋﻤﺭ ﺍﻟﻨﻌﻤﺎﻥ". ﻋﺎﻤﺔ ،ﻭﻓﻲ ﻤﺩﻴﻨﺔ ﺍﻟﻘﺎﻫﺭﺓ ﺒﺼـﻔﺔ ﺝ ﺴﺒﺒﺎ ﻓﻲ ﺘﻭﻁﻴﺩ ﺍﻟﻌﻼﻗﺔ ﺒﻴﻥ ﺘـﺎ ِ ﻭﺍﻟﺩﻫﺎ ِﺀ ﺃﺤﻴﺎﻨﹰﺎ ،ﻜﻤﺎ ﻓـﻲ ﺤﻜﺎﻴـﺔ ﺕ ـﺎ ِ ـﻴﻥ ﺃﻥ ﺤِﻜﺎﻴـ ﺽ ﺍﻟﺩﺍﺭِﺴـ ـ ﺒﻌـ ﺴ ﻡ ﻟﻪ ﻙ ﻴﻠﺠﺄ ﺇﻟﻰ ﻤﺼ ﻭ ٍﺭ ِﻟ ﻴ ﺭ ﺍﻟ ﻤﻠﹸﻭ ِ ﻁﻴﻭﺭﺍ ﻋﻠﻰ ل ﺼﻴﺎﺩﺍ ﻭ ﹸ ﺼﻭﺭ ﹰﺓ ﹸﺘ ﻤﺜﱢ ُ ﺠِﺩﺍ ِﺭ "ﺍﻟﻤﻨﺯل ﺍﻷﺒﻴﺽ" ﻓﻲ ﺒﺴﺘﺎﻥ w. ﺨﺎﺼﺔ. ﺝ ﺍﻟ ﻤﻠِﻙ ﺸـﻬﺭﻤﺎﻥ"؛ ﻨﺠـﺩ ﺃﻥ ﺘـﺎ ﺍﻟﻤﻠﻭﻙ ﻭﺍﻷﻤﻴﺭﺓ ﺩﻨﻴﺎ .ﻭﻗﺩ ﺃﺜﱠـﺭﺕ ww ﻭﻤﻥ ﺍﻟﺸﱠﺨﺼﻴﺎﺕ ﺍﻟﺒﺎﺭِﺯﺓ ﻓـﻲ ﺍﻟﺸﱠــﺭﻴﻑ؛ ﻓﻬــﻭ ﻻ ﻴﺴــﺭِﻕ ﺇﻻ alk ﺍﻟﺤِﻜﺎﻴﺔ ...ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﻓﻲ ﺒﻌـﺽ ﹶﺘ ﻭﺩﺩ". ﺤﻜﺎﻴﺎﺕ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" ﺍﻟ ﱡﺘﺠـﺎﺭ، ﻭﻴﻠﻌﺏ ﺍﻟﺤﻴﻭﺍﻥ ﺩﻭﺭﺍ ﻫﺎﻤﺎ ﻓـﻲ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" ﻓـﻲ ﻜﺜﻴـﺭ ﻤـﻥ ﻭ ﻴﻤﺜﻠﻭﻥ ﺍﻟﻁﱠﺒﻘ ﹶﺔ ﺍﻟﺒﻭﺭﺠﻭﺍﺯﻴﺔ ،ﻭﻫﻡ ﻼ ﻓﻲ ﺤﻜﺎﻴﺎﺕ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ"؛ ﻓﻤﺜ ﹰ ﺼ ِﺔ ﻴﺒﺩﻭ ﻫﺫﺍ ﺍﻟ ﹸﻔﻨﹸﻭﻥ؛ ﻓﻔﻲ ﻤﺠﺎل ﺍﻟ ِﻘ ﻋﺎﺩ ﹰﺓ ﻋﻠﻰ ﺩﺭﺠـﺔ ﻜﺒﻴـﺭﺓ ﻤـﻥ ﺤِﻜﺎﻴﺔ "ﻗﻤﺭ ﺍﻟﺯﻤﺎﻥ ﻭﺍﻟﻤﻠﻜﺔ ﺒﺩﻭﺭ" ﻷ ﹶﺜ ﺭ ﻭﺍﻀِـﺤﺎ ﻓـﻲ ﻜﺜﻴـﺭ ﻤـﻥ ﺍَ ﺍﻟﺜﱠــﺭﺍﺀ ...ﻴﺴــﻜﻨﻭﻥ ﺍﻟ ﹸﻘﺼــﻭ ﺭ ﻲ ﻓـﻲ ﻁ ﻴ ﺭ ﻤِﺤﻭ ﺭ ﺭﺌﻴﺴ ﻨﺠﺩ ﺃﻥ ﺍﻟ ﱠ ﺹ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻓﻲ ﺇﻴﻁﺎﻟﻴـﺎ ﺼ ِ ﺍﻟ ِﻘ www.alkottob.com ٨٩ ﻥ ﻋﺸـﺭ ،ﻭﻓـﻲ ﺍﻟﻭﻻﻴـﺎﺕ ﺍﻟﺜﺎﻤ ـﻭ ـﺭﻱ ﺭﺍﺒــ ـﻴﻘﻰ ﻫﻨــ )ﻤﻭﺴــ ـﻥ ـﺎﺘﻴﺱ ،Matisseﻭﻤــ ﻭﻤــ ﺍﻟﻤﺘﺤﺩﺓ ﻓﻲ ﺍﻟﻘﺭﻥ ﺍﻟﺘﺎﺴ ﻊ ﻋﺸـﺭ، ،H. Rabaudﻭﺘﺄﻟﻴﻑ ﻟﻭﺴﻴﺎﻥ ﺍﻷﻋﻤﺎل ﺍﻟﻤﻌﺎﺼِﺭﺓ ﻟﻭﺤﺔ "ﺭﺍﻗِﺼﺔ ﻭﻓﻲ ﻤﺼﺭ ﺨﻼل ﺍﻟﻘـﺭﻥ ﺍﻟﺘﺎﺴـ ﻊ ﻋﺸﺭ .ﻭﻻ ﺘﺯﺍل "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ " ﻨﻴﺒﻭﺘﻲ .(Lucien Nepotyﺃﻤﺎ ﻋﻥ ﺃﺜﺭ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" ﻓﻲ ﻤﺠﺎل ﺸـــﺭﻗﻴﺔ" ﻟﻔـــﺎﻥ ﺩﻭﻨﺠـــﻥ ﺏ ﺍﻟ ِﻘﺼـﺹ ﺴ ﹶﺘ ﹾﻠ ِﻬ ﻤ ﻪ ﹸﻜﺘﹼﺎ ﻤﺼﺩﺭﺍ ﻴ ﺍﻟﻤﻭﺴﻴﻘﻰ؛ ﻓﺤﺴﺒﻨﺎ ﺃﻥ ﹸﻨﺸِﻴ ﺭ ﺇﻟـﻰ ﻥ ﺤِﻜﺎﻴﺎﺕ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠـﺔ" ﻤﻴـﺩﺍ ﻤﺘﹶﺘﺎﺒِﻌــﺔ "ﺸــﻬﺭﺯﺍﺩ" ﻟﺭﻤﺴــﻜﻲ ﺼِﻨﺎﻋ ِﺔ ﺍﻟﺴﻴﻨﻤﺎ ،ﻭﻤﻥ ﺍﻷﻓﻼﻡ ﺍﻟﺘﻲ ﻜﻭﺭﺴــﺎﻜﻭﻑ.ﻭﻤــﻥ ﺍﻟﺒﺎﻟِﻴﻬــﺎﺕ ﻋﻅِﻴﻤﺎ ﻤﻥ ﺍﻟﺠﻤﻬـﻭ ِﺭ ﻻ ﻻﻗﹶﺕ ﺇﻗﺒﺎ ﹰ ﺍﻟﺭﺍﻗِﺼﺔ ﺒﺎﻟﻴﻪ "ﺸﻬﺭﺯﺍﺩ". ﺹ ﺒﻐﺩﺍﺩ" ،ﻭﻓﻴﻠﻡ "ﻋﻠﻲ ﺒﺎﺒﺎ ﻓﻴﻠﻡ "ِﻟ m ﻭﻓﺭﻨﺴﺎ ﻭﺇﻨﺠﻠﺘﺭﺍ ﺨـﻼل ﺍﻟﻘـﺭﻥ ﻭﺃﻭﺒﺭﺍ "ﻤﻌﺭﻭﻑ ﺇﺴﻜﺎﻑ ﺍﻟﻘﺎﻫﺭﺓ" ،Ingresﻭﺭﻴﻨــﻭﺍﺭ ،Renoir .co ﻓﻲ ﺍﻟﻌﺎﻟﹶﻡ ﺤﺘﻰ ﺍﻟﻴﻭﻡ. ﺴ ﺭﺡِ؛ ﻨﺠـﺩ ﺃﻥ ل ﺍﻟ ﻤ ﻭﻓﻲ ﻤﺠﺎ ِ ﺽ ﺍﻟﻤﺴﺭﺤﻴﺎﺕ ﺍﻟﻌﺭﺒﻴﺔ ﺍﻟﺘـﻲ ﺒﻌ ﻭﻗﺩ ﺍ ﻫ ﹶﺘ ﻡ ﺍﻟﺭﺴﺎﻤﻭﻥ ﺒﺘﺼـﻭﻴﺭ ﻱ". ﺤ ِﺭ " ،ﻭﻓﻴﻠﻡ "ﺍﻟﺴﻨﺩﺒﺎﺩ ﺍﻟ ﺒ ott ob ﻅﻬﺭﺕ ﻓﻲ ﺍﻟﻘﺭﻥ ﺍﻟﺘﺎﺴﻊ ﻋﺸﺭ ﻗﺩ .Van Dongenﻭﻗﺩ ﻏـﺯﺕ ﺽ "ﺒﺎﺒﺎﺕ" ﻼ ﻋﻥ ﻫﺫﺍ ﻓﺈﻥ ﺒﻌ ﻭﻓﻀ ﹰ ﻁﺒﻌﺎﺕِ ﺕ ﻫﺫﻩ ﺍﻟ ﺭﺴﻭﻡ ﻓﻲ ﹶ ﻅﻬﺭ ﹾ ﻭﹶ ﻲ ﺃﻥ ﻷﺩﺏِ ﺍﻟﻌﺎﹶﻟ ِﻤ ﻫﺫﺍ ﺍﻟﻜِﺘﺎﺏ ﻓﻲ ﺍ َ ل ﻓﻲ ﺍﻟﺠﺯﺍﺌﺭ ﻤﺴﺘﹶﻭﺤﺎﺓ ﻅﱢ ل ﺍﻟ ﱢ *ﺨﹶﻴﺎ ِ ﺠ ﺩ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" ﺍﻟ ﻤ ﹶﺘ ﺭﺠﻤﺔ.ﻜﻤﺎ ﹶﻨ ِ ل ﻋﻠﻰ ﺕ ﺍﻟﺘﻲ ﹶﺘ ﻌ ﻤ ُ ﺠﻤِﻴ ﻊ ﺍﻟﻤﺤﺎﻭﻻ ِ ﻤﻥ ﺍﻟﻠﱠﻴﺎﻟﻲ ،ﻜﻤﺎ ﺃﻥ ﻜﺜﻴـﺭﺍ ﻤـﻥ ﺕ ﺍﻟﻤﻜﺘﺒـﺔ ﺍﻟﻭﻁﻨﻴـﺔ ﻓﻲ ﻤﺤﻔﹸﻭﻅﺎ ِ ﺝ ل ﻨﹶﻤـﺎ ِﺫ ﺒﺒﺎﺭﻴﺱ ﻋِ ﺩ ﹶﺓ ﺭﺴﻭﻡ ﹸﺘ ﻤﺜﱢ ُ ﺏ ﻓﻲ ﺍﻟﻌﺎﻟﹶﻡ ﻟﻡ ﻑ ﺭﻭﺍ ِﺌ ِﻊ ﺍﻷ ﺩ ِ ﺼﻨِﻴ ِ ﹶﺘ ﺏ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" ،ﻭﺃﻨﻬﺎ ﺘﹸﻐﻔِل ﻜِﺘﺎ ﺘﺸﻴﻜﻭﺴﻠﻭﻓﺎﻜﻴﺎ ﻭﺃﻟﻤﺎﻨﻴﺎ ﻭﺍﻻﺘﺤـﺎﺩ ﻤﻥ "ﺃﻟـﻑ ﻟﻴﻠـﺔ ﻭﻟﻴﻠـﺔ"؛ ﻤﻨﻬـﺎ ﺠﻬـﻭ ِﺩ ﻀ ﻌ ﹾﺘ ﻪ ﺩﺍ ِﺌﻤﺎ ﻓﻲ ﻤﻘﺩﻤﺔ ﺍﻟ ﻭ ﺍﻟﺴﻭﻓﻴﺘﻲ ،ﺘﻘﻭﻡ ﻋﻠـﻰ ﺤِﻜﺎﻴـﺎﺕ "ﺍﻟﺠﺎﺭِﻴﺔ" ﻭ"ﺍﻤﺭﺃﺓ ﻤـﻥ ﺍﻟﺤـﺭِﻴﻡ". ﺨﻠﹸﻭﺩِ، ﺤﻅﹶﻰ ﺒﺎﻟ ﹸ ﺍﻟﺘﻲ ﺍﺴﺘﻁﺎﻋﺕ ﺃﻥ ﹶﺘ ﻤﺸﻬﻭﺭﺓ ﻤﻥ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ". ﻭ ﹶﻨﺭﻯ َﺃ ﹶﺜﺭ ﺍﻟﻠﱠﻴﺎﻟﻲ ﻭﺍﻀِـﺤﺎ ﻓـﻲ ﺏ ﺒﻬـﺎ ﺠ ﹶﺘﻤﻊ ﻋﻠﻰ ﺍﻹﻋﺠﺎ ِ ﻭﺍﻟﺘﻲ ﺍ ﺡ ﺍﻟﻌﺭﺍﺌِﺱ ﻓـﻲ ﺴ ﺭ ِ ﻤﻭﻀﻭﻋﺎﺕ ﻤ alk ﺕ ﺤِﻜﺎﻴﺎﺕ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠ ﹰﺔ"، ﺤ ﹾ ﺴ ﹶﺘ ﻭ ﺍ ﺼﻴﺎﺕ "ﺃﻟـﻑ ﻟﻴﻠـﺔ ﻭﻟﻴﻠـﺔ"، ﺸﺨ ِ ﻭﻤﻥ ﺃﻗﻭﻱ ﺍﻷ ِﺩﱠﻟ ِﺔ ﻋﻠﻰ ﻤﻜﺎﻨـ ِﺔ ﻕ ﺃﻥ ﺃﺸﺭﻨﺎ ﺇﻟﻰ ﺃﻥ "ﺃﻟﻑ ﻭﻗﺩ ﺴﺒ ﹶ ﻥ ﺍﻟﻔﺭﻨﺴﻲ ﺩﻴﻼ ﺕ ﺍﻟﻔﻨﹼﺎ ِ ﺒﻌﺽ ﻟﹶﻭﺤﺎ ِ ل ﻓﻲ ﻜﺜﻴ ٍﺭ ﻤﻥ ﺒِـﻼ ِﺩ ﻷﺩﺏ ﺍﻷﻁﻔﺎ ِ ﻥ ﻭﻗﺩ ﺍﺴﺘ ﻬﻭﺕ ﻫﺫﻩ ﺍﻟﻠﱠﻭﺤ ﹸﺔ ﺍﻟﻔﻨﹼـﺎ ﺍﻟﻌﺎﹶﻟﻡِ .ﻭﻤـﻥ ﺍﻷﻭﺒـﺭﺍﺕ ﺍﻟﺘـﻲ ﺒﺎﺒﻠﻭ ﺒﻴﻜﺎﺴﻭ؛ ﻓﻘﺩﻡ ﻋﻨﻬـﺎ ﺃﺭﺒـ ﻊ ﺴ ﹸﺘ ﹾﻠ ِﻬﻤﺕ ﻤﻭﻀﻭﻋﺎﺘﹸﻬﺎ ﻤﻥ ﺤِﻜﺎﻴﺎﺕ ﺍ ﻋﺸﹾﺭ ﹶﺓ ﺩِﺭﺍﺴـ ﹰﺔ ﹶﺘ ﹾﻜﻌِﻴﺒﻴـﺔ .ﻭﻤـﻥ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" ﺃﻭﺒﺭﺍ "ﻋﻼﺀ ﺍﻟﺩﻴﻥ ﺕ ﺩﻴﻼﻜﺭﻭﺍ ﺍﻟﺘـﻲ ﺘﹸـ ﹶﺫ ﱢﻜﺭﻨﺎ ﻟﹶﻭﺤﺎ ِ ﺒِﺤﻜﺎﻴﺎﺕ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" "ﺍﻟﻤﻬﺭﺝ ﺕ ﺕ ﻓﻲ ﺍﻟﻠﹼﻴﺎﻟﻲ ،ﻭ ﹶﻓﺭﻀ ﹾ ﺼﻴﺎ ِ ﺍﻟﺸﱠﺨ ِ ﺇﻴﺯﻭﺍﺭ ،Isouardﻭﺘﺄﻟﻴﻑ ﺇﺘﻴﻴﻥ ﻲ" ،ﻭ"ﻤﻌﺭﻜــﺔ ﻋﺭﺒﻴــﺔ"، ﺍﻟﻌﺭﺒــ ﺠﺴ ﻡ ل ﹶﺘ ﺭﺩِﻴﺩﻫﺎ؛ ﻷﻨﻬﺎ ﹸﺘ ﻋﻠﻰ ﺍﻷﺠﻴﺎ ِ ،(Etienneﻭﺃﻭﺒﺭﺍ "ﻋﻠﻲ ﺒﺎﺒـﺎ" ﻭ"ﻓﺎﺭِﺱ ﻋﺭﺒﻲ ﻴﻠﻌﺏ ﻋﻠﻰ ﺠﻭﺍﺩِﻩ". ﻗِﻴﻤ ﹰﺔ ﺃﻭ ﻤﻭﻗِﻔﹰﺎ ﺃﻭ ﺼِﻔ ﹰﺔ ﺃﺨﻼ ِﻗ ﻴﺔﹰ؛ ﺃﻭ )ﻤﻭﺴﻴﻘﻰ ﻜﺭﻤﺒﻴﻨﻲ ،Crembini ـَﺄﺜﱠﺭﻭﺍ ـﺫﻴﻥ ﺘﹶـ ـﺎﻨِﻴﻥ ﺍﻟـ ـﻥ ﺍﻟ ﹶﻔﻨﹼـ ﻭﻤـ ل ﻓـﻲ ﻋـﺎﹶﻟﻡٍ ﻷﻤـ َ ل ﺍَ ﻷﻨﻬﺎ ﹸﺘ ﻤﺜﱢـ ُ ﻭﺘــﺄﻟﻴﻑ ﺴــﻜﺭﻴﺏ ،(Scribe ﺒﻤﻭﻀﻭﻋﺎﺕ "ﺃﻟﻑ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ" ﺇﻨﺠﺭ ﺕ ﻭﺍﻷﻫﻭﺍﺀ؛ ﻤﺜل ﻋ ﻪ ﺍﻟﻨﱠﺯﻋﺎ ﹸ ﹶﺘﺘﹶﺼﺎ ﺭ ﻟﻴﻠﺔ ﻭﻟﻴﻠﺔ " ﹸﺘ ﻌﺩ ﻤﺼـﺩﺭﺍ ﺃﺴﺎﺴِـﻴﺎ ﺼﻭﺭﻭﻥ ،ﻭﺍﻟﻤﻭﺴِﻴ ِﻘﻴﻭﻥ ،ﻭ ﹸﻜلﱡ ﻭﺍﻟ ﻤ ﻕ ﺍﻟﺘﱠﺠﺭِﺒ ﹶﺔ ﺍﻟ ﹶﻔﻨﱢﻴ ﹶﺔ ﺒﺎﻟﻜﻠﻤِـ ِﺔ ﺤﻘﱢ ﹸ ﻤﻥ ﻴ w. www.alkottob.com ﻷﺩﺒــﺎ ﺀ ﺇﻟــﻰ ﻓﹶــﻥ؛ ﺍﻟ ﻌﻠﹶﻤــﺎ ﺀ ﻭﺍ ُ ل ﺍﻟﻤﺎﺩﺓ. ﺸﻜِﻴ ِ ﻉ ﻭ ﹶﺘ ﹾ ﻭﺍﻹﺸﺎ ﺭ ِﺓ ﻭﺍﻹﻴﻘﺎ ِ ﺽ ﺸ ﹸﺘ ِﻬﺭﺕ ﺃﺴـﻤﺎ ﺀ ﺒﻌـ ِ ﻭﻗﺩ ﺍ ﹾ ww ﻭﺍﻟﻤﺼﺒﺎﺡ ﺍﻟﺴـﺤﺭﻱ" )ﻤﻭﺴـﻴﻘﻰ ﻜﺭﻭﺍ؛ ﻤﺜل ﻟﻭﺤﺔ "ﻨِﺴﺎﺀ ﺍﻟﺠﺯﺍﺌـﺭ" ﻥ ﻭ ﹶﻨ ﹾﻘﻠِﻬﺎ ﻤﻥ ﻟﹸﻐ ٍﺔ ﺇﻟﻰ ﻟﹸﻐ ٍﺔ ﻭﻤﻥ ﻓﹶـ ٩٠ ﺸﻬﺭﺯﺍﺩ ﻭﺍﻟﺴﻨﺩﺒﺎﺩ ،ﻭﻋﻠـﻲ ﺒﺎﺒـﺎ ،ﹸﺨ ﺩ ﻋ ﹶﺘﻪ؛ ﻜﺎﻨﺕ ﺍﻷﺴﺌﻠﺔ ﻭﺍﻷﺠﻭِﺒﺔ ﻗﺩ ﺇِﻟﹾﻤﺎﺭِﻳﻦ ﺸﻐﻠﺕ ﺍﻟﻠﻴل ،ﻭﻜﺎﻨﺕ ﺍﻟﺸﱠﻤﺱ ﻓـﻲ ﺤﺴﻥ. ﻭﺍﻟﺸﱠﺎﻁِﺭ m ﺃﹶﻟﹾﭭِﻴﺲ ALVISS ﺤﺼـﻥ: ﻤﻌﻨﺎﻩ ﺤﺭﻓﻴﺎ ﺍﻟﺤﻜﻴﻡ ﺍﻟ ﻤ .co ﺕ ﺍﻟ ﹶﻘﺯﻡ ﺍﻟﺫﻱ ﻜـﺎﻥ ﻴﻌـﻴﺵ ﺘﺤـ ﹶ ﻁﹶﻠﺏ ﻴﺩ ﺜﺭﻭﺩ ،ﺍﺒﻨـﺔ * ﺢﻭﹶ ﻁِ ﺍﻷﺴ ﹸ ﺕ ﺜﹸﻭﺭ ،ﻜﻤﺎ ﺠﺎ ﺀ ﻓﻲ ﹶﻗﺼِـﻴﺩ ٍﺓ ﻭ ﺭ ﺩ ﹾ ﻓﻲ ﻜﺘﺎﺏ ﺍﻷﺴـﺎﻁِﻴﺭ ﺍﻟﻨﺭﻭﻴﺠﻴـﺔ ﺃﻻﺩﺓ ﺍﻟﻤﻨﻅﻭﻤﺔ ﺸِﻌﺭﺍ. ﺱ ﺍﻟﻠﱠﻁﻴﻑ ﺢ ﻭﺍﻟﻁﱠﻘ ِ ) (١ﺇﻟ ﻪ ﺍﻟﺭﻴ ِ ﺍﻟﺤﺠﺭﺓ ،ﻭﻜﺎﻥ ﻋﻠـﻰ ﺃﻟﭭـﻴﺱ ﺃﻥ ﺱ ﻁ ﹾﻘ ﻋﻨﺩ ﺍﻟ ِﻔ ﹾﻨﹶﻠ ﹾﻨ ِﺩﻴﻴﻥ ،ﺍﻟﺫﻱ "ﻴﻤﻨﺢ ﺍﻟ ﱠ ل ﻻ ﹶﺘﺤ ﻭ َ ﻉ ﻤﻊ ﻀﻭ ِﺀ ﺍﻟﻨﱠﻬﺎ ِﺭ ﻭﺇ ﱠ ﻴ ﻬ ﺭ ﺍﻟﻬﺎﺩِﺉ ﻭﺍﻟﺴﻲﺀ ﻋﻠـﻰ ﺍﻟﺴـﻭﺍﺀ، ﺠ ٍﺭ .ﻭ ﹸﺘ ﻌﺩ ﻫﺫﻩ ﺍﻷُﺴـﻁﹸﻭﺭ ﹸﺓ ﺤ ﺇﻟﻰ ﻭﻴﺴﺎﻋﺩ ﺍﻟﻤﻼﱠﺤﻴﻥ ﻋﻠﻰ ﺍﻟﺴﻔﺭ". ﻥ ﻤﻥ َﺃ ﹾﻗﺩﻡِ ﺍﻟ ِﻘﺼﺹ ﺍﻟﺘـﻲ ﹶﺘ ﹶﺘﻀـ ﻤ ل "ﺍﻟﻜﺎﻟِﻴﻔـﺎﻻ"، ﺤ ﺩ ﺃَﺒﻁـﺎ ِ )َ (٢ﺃ ﺏ ﻓﺘﺎﺓﹰ، ﺏ ﻋﻨﻬﺎ ﻤﻥ ﻴﺨﹾﻁ ﺃﻟﻐﺎﺯﺍ ﻴﺠِﻴ ﺍﻟﺤﺩﺍﺩ ﺍﻟﺨﺎﻟِﺩ .ﻭﻗﺩ ﻗﺎ ﻡ ﺒِﺼـﻴﺎﻏ ِﺔ ﻭﻟﻜﻥ ﻤﻥ ﻴ ﹶﺘﻭﺼـل ﺇﻟـﻰ ﺇﺠﺎﺒـ ِﺔ ـﺭ ﻭ"* ـﻤﺱ ﻭﺍﻟﻘﻤـ ﺸـ ـﻤﺎ ِﺀ ﻭﺍﻟ ﱠ ﺴـ ﺍﻟ ﺝ ﻤﻥ ﻓﹶﺘﺎﺘِﻪ. ﺒﺎﻟﺯﻭﺍ ِ ﺫﻫﺒﻴﺔ ﻟﻨﻔﺴﻪ .ﻭﻜﺎﻥ ﺼﺩﻴﻘﹰﺎ ﻟــ* ﺍﻷﺴﺌﻠﺔ ﺍﻟﺘﻲ ﹸﺘ ﹾﻠ ﹶﻘﻰ ﻋﻠﻴﻪ؛ ﻻ ﻴﺤﻅﹶﻰ ﺍﻟﺴﺎﻤﺒﻭ" ﺍﻟﺸﱠﻬﻴﺭ ،ﺒـل ﻭﺯﻭﺠـﺔ ott ob ﻭﺘﹶﺭﻭِﻱ ﻫﺫﻩ ﺍﻷُﺴﻁﹸﻭﺭ ﹸﺓ ﺃﻥ ﺜﹸﻭﺭﺍ ILMARIN ﺽ ﻓﻲ ﺯﻭﺍ ِﺝ ﺍﺒﻨﺘﻪ ﻤـﻥ ﺃﹶﻟﻠﹶﺖ ﻜﺎﻥ ﻴﻌﺎ ِﺭ ﻁﻠﹶﻘﺎ ﻤﻌﺎ ﭭﺎﻴﻨﺎﻤﻭﻴﻨﻴﻥ ،ﻭﻜﺜﻴﺭﺍ ﻤﺎ ﺍ ﹾﻨ ﹶ ALELAT ﻕ ل ﻟﻪ ﺇﻨـﻪ ﻴﻭﺍﻓِـ ﹸ ﺃﻟﭭﻴﺱ ،ﻭﻟﻜﻨﻪ ﻗﺎ َ ﻴﻘﻭل ﻫﻴﺭﻭﺩﻭﺕ ﺇﻥ ﺃَﻟﻠﹶﺕ ﺍﺴـﻡ ﺏ ﻋﻠـﻰ ﺝ ﺇﺫﺍ ﺃﺠﺎ ﻋﻠﻰ ﻫﺫﺍ ﺍﻟﺯﻭﺍ ِ ﺇﻟﻬﺔ ﻤﻥ ﺁﻟﻬﺔ ﺍﻟﻌﺭﺏ ﺍﻟﺫﻴﻥ ﺴـ ﻤﻭﺍ ل ﻱ ﺴـﺅﺍ ٍ ﺏ ﻋﻠﻰ ﺃ ﻭﺴ ِﻌ ِﻪ ﺃﻥ ﻴﺠِﻴ ـﺎ ـﺎل Opatalﻭﺃﻭﺭﺍﻨﻴــ ﺃُﻭﺒﺎﺘــ ﻑ ﺒﺘﺴـﻌﺔ ﻴﻭﺠﻪ ﺇﻟﻴﻪ ﺒﻌﺩ ﺃﻥ ﻁـﺎ ﹶ ) Uraniaﺃﻱ ﺃﻓﺭﻭﺩﻴﺕ ﺃﻭﺭﺍﻨﻴـﺎ( ﺏ ﻋﻠﻰ ﻋﻭﺍِﻟﻡ؛ ﻓﻭﺍﻓﹶﻕ ﻋﻠﻰ ﺃﻥ ﻴﺠِﻴ ﺒﺎﺴﻡ َﺃِﻟﻠﹶﺕ. ﺕ ﺕ ﻗﺎﻤﺎ ﻓﻴﻬﺎ ﺒﻤﻐـﺎﻤﺭﺍ ٍ ﺇﻟﻰ ِﺭﺤﻼ ٍ ﻋﺩِﻴﺩﺓ. ﺽ ﺍﻷﺴﺌﻠﺔ .ﻭﻅ ﻥ ﺃﻟﭭﻴﺱ ﺃﻥ ﻓﻲ ﺩﻴــﻭﻨﻴﺯﻭﺱ Dionysosﺒﺎﺴــﻡ ﺃﻟﻮ ﺃﺩﻱ ﺒﻌ ِ ALOADAE ﺍﻟﻌِﻤﻼﻗﺎﻥ ﺇﻓﻴﺎﻟﺘﺱ Ephialtes ـﻘﻴﻘﺎﻥ ـﻭﺱ ،Otusﺍﻟﺸﱠــ ﻭﺃﻭﺘــ alk ﺍﻟﺘﹼﻭﺃﻤــﺎﻥ ،ﺍﺒﻨــﺎ* ﺒﻭﺴــﺎﻴﺩﻭﻥ ﻻ ﺠ ﻪ ﺇﻟﻴﻪ ﺜﹸﻭﺭ ١٣ﺴﺅﺍ ﹰ ﺍﻷﺴﺌِﹶﻠﺔِ .ﻭ ﻭ ـﻭل ـﺭ ﻴﻘـ ـﻲ ﻤﻭﻀ ـ ٍﻊ ﺁﺨـ ﻭﻓـ ﺴﺤﺏ ﻭﺍﻟﺴﻤﺎﺀ ﻭﺍﻟ ﹶﻘﻤﺭ ﻭﺍﻟﺸﱠﻤﺱ ﻭﺍﻟ ﺃﻓﺭﻭﺩﻴﺕ ﺃﻭﺭﺍﻨﻴـﺎ ﺒﺎﺴـﻡ ﻤِﻴﻠِﻴﺘﹼـﺎ ﺴﻜﹸﻭﻥ ﻭﺍﻟﻨﹼﺎﺭ ،ﻭﺍﻟﺒﺤﺭ ﻭﺍﻟﺭﻴﺢ ،ﻭﺍﻟ ﺏ ﻴﺴـﻤﻭﻨﻬﺎ ،Mylittaﻭﺇﻥ ﺍﻟ ﻌ ﺭ ﺠﻨﹶﺔ ﺢ ﻭﺍﻟ ﻭﺍﻷﺸﺠﺎﺭ ،ﻭﺍﻟﻠﱠﻴل ،ﻭﺍﻟﻘﹶﻤ ِ ﺒﺎﺴﻡ َﺃِﻟﺘﹼﻪ ،Alittaﻭﺍﻟﻤـﺭﺠﺢ ﺃﻥ ﻓﻲ ﹸﻜلﱢ ﻋﺎﹶﻟﻡٍ ﻤﻥ ﻋﻭﺍِﻟ ِﻡ ﺃَﺴﻴﺭ )ﻜﺒﻴﺭ ﺍﻵﻟﻬﺔ ﻓﻲ ﺍﻷُﺴﻁﹸﻭﺭ ِﺓ ﺍﻟﻨﺭﻭﻴﺠﻴـﺔ( ﺍﺴﻡ ﻤِﻴﻠِﻴﺘﹼﺎ ﺍﻟﺫﻱ ﻭ ﺭ ﺩ ﺫِﻜـﺭﻩ ﻋﻨـﺩ ﺽ ﺼﺩ ِﺭ ﹸﻜلﱟ ﻤﻨﻬﻤﺎ ﺘﺴﻌﺔ ﻋ ﺭ ﻜﺎﻥ ﻑ ﻓـﻲ ﺸَﺄ ﻋﻥ ﺘﹶﺤﺭِﻴ ٍ ﻫﻴﺭﻭﺩﻭﺕ ﹶﻨ ﹶ ﻭﺍﻵﻟﻬــﺔ ﻓــﺎﻨﻴﺭ ،ﻭﺍﻟﻌﻤﺎﻟِﻘــﺔ، ﺽ ﺍﻟﺭﺴ ِﻡ ﻟﻜﻠﻤﺔ َﺃِﻟﻠﹶﺕ .ﻭ ﻴ ﺭﻯ ﺒﻌـ ﺒﺎﻋﺎﺕ ) ٥٤ﻗﺩﻤﹰﺎ( .ﻭﻫﺩﺩﺍ ﺒﻘِﺘـﺎل ﻑ ﻭﺍﻟﻌﻔﺎﺭﻴﺕ ﺍﻟ ﹶﻘﻤِﻴﺌﺔ ﻭﺍﻵﻟﻬﺔ .ﻭﻋﺭ ﹶ ﺍﻟﺩﺍ ِﺭﺴِﻴﻥ ﺃﻥ ﻜﻠﻤـﺔ َﺃﻟِﻠﹶـﺕ ﻫـﻲ ﺴﻬﻭﹶﻟﺔٍ ﻋﻠﻰ ﻜل ﺏ ﺒ ﺃﻟﭭﻴِﺱ ﺃﻥ ﻴﺠِﻴ ﺃﻟِﻼﺕ؛ ﻭﺒﺫﻟﻙ ﺘﻜﻭﻥ ﻫـﻲ ﻜﻠﻤـﺔ ـﻭﺭ ﻑ ﹸﺜـ ﺸـ ﹶ ـﺌﻠﺔ .ﻭﺍ ﹾﻜ ﹶﺘ ﹶ ـﺫﻩ ﺍﻷﺴـ ﻫـ ﺍﻟﻼﺕ ﻋﻴﻨﻬﺎ. ل ﻤـﻥ ﺍﻟﻌـﺎﻟﹶﻡ، ﻫﻲ :ﻤﺎ ﺍﺴﻡ ﻜﹸـ ﱢ ﺴﺠﻨﺎ ﺒﻭﺴﺎﻴﺩﻭﻥ ﻭﺍﻹﻟﻬﺔ ﺍﻷﻡ ،ﻭﻗﺩ *ﺃﺭﺱ ﻓﻲ ﻗِـﺩ ٍﺭ ﻤـﻥ ﺍﻟﻨﱡﺤـﺎﺱ. w. ﻭﻋﻨﺩﻤﺎ ﺒﻠﹶﻐﺎ ﺍﻟﺘﺎﺴِﻌﺔ ﻤﻥ ﻋﻤﺭﻫﻤـﺎ ل ﻗﺎﻤﺔ ﹸﻜلﱟ ﻤﻨﻬﻤﺎ ﺘﺴﻊ َﺃ ﹾﺫ ﺭﻉٍ ،ﻭﻁﹸﻭ ُ ﺁﻟِﻬ ِﺔ *ﺍﻷﻭﻟﻴﻤﺏ ،ﻭﺤﺎﻭﻻ ﹶﺘﻜﹾـﻭِﻴ ﻡ ww www.alkottob.com ﻥ ﻫﻴﺭﻭﺩﻭﺕ ﺇﻥ ﺍﻵﺸﻭﺭﻴﻴﻥ ﻴﺴـﻤﻭ ـﺩﻴﺎ ،Iphimediaﺃﻭ ﻭﺇﻴﻔﻴﻤﻴـــ ل ﺍﻷﻭﻟﻴﻤـﺏ، ﺠ ﺒ ِ ل ﺒﻴﻠﻴﻭﻥ ﻋﻠﻰ ﺠ ﺒ ِ ل ﺒﻴﻠﻴـﻭﻥ ﺠﺒـ ِ ل ﺃُﻭﺴﺎ ﻋﻠـﻰ ﺠ ﺒ ِ ﻭ ل ﺇﻟﻰ ﺍﻟﺴـﻤﺎﺀ ،ﻭﻟﻜﻨﻬﻤـﺎ ﻟﻠ ﻭﺼﻭ ِ ٩١ *ﺃﺒﻭﻟﻭ ﻗﺒل ﺃﻥ ﻴﻨﻔﱢـﺫﺍ ﺨﻁﺘﻬﻤـﺎ. ﻭﺍﻟﺸﱠﻤﺎل ﺃﺼﻔﺭ )ﻭﺃﺤﻴﺎﻨﹰﺎ ﺃﺯﺭﻕ ﺃﻭ ﺒﺎﻟﺴﻤﺎﺀِ ،ﻭﺍﻷﺨﻀ ﺭ ﺒﺎﻟﻨﱠﻤﺎ ِﺀ....ﺇﻟﺦ ﻭﻁﻠﺒﺎ ﺍﻟـﺯﻭﺍﺝ ﻤـﻥ*ﺃﺭﺘﻴﻤـﻴﺱ ﺃﺴﻭﺩ( ،ﻭﺍﻟﻐﹶﺭﺏ ﺃﺯﺭﻕ )ﺃﻭ ﺃﺼﻔﺭ( ﻥ ﺍﻷﺴﻭ ﺩ ﻭﻓﻲ ﺍﻟﻬِﻨﺩ ﻴ ﻌ ﹶﺘ ﹶﻘ ﺩ ﺃﻥ ﺍﻷﻟﻭﺍ ﻭ*ﻫﻴﺭﻭ ،ﻭﻟﻜﻥ ﺃﺭﺘﻴﻤﻴﺱ ﺍﺤﺘﺎﻟﹶﺕ ﻭﺍﻟﺠﻨﻭﺏ ﺃﺤﻤﺭ )ﺃﻭ ﺃﺯﺭﻕ( ﻭﻓﻭﻕ ﻥ ﻭﺍﻷﺤﻤ ﺭ ﻭﺍﻷﺼﻔ ﺭ ﹶﺘﻘِﻲ ﺍﻹﻨﺴـﺎ ﻭﺠﺎ ﺀ ﻓﻲ ﺒﻌﺽ ﺍﻷﺴـﺎﻁِﻴ ِﺭ ﺃﻥ ﻑ ﻤﻥ ﻗﺒﻴﻠ ٍﺔ ﻷﺨﺭﻯ .ﻭﻋﻨـﺩ ﺨ ﹶﺘﻠِ ﹸ ﹶﺘ ﹾ ﻥ ﺍﻟﺜﱠﻼﺜ ﹶﺔ .ﻭﻓﻲ ﺍﻟﻴﺎﺒـﺎﻥ ﻫﺫﻩ ﺍﻷﻟﻭﺍ ﺒﻌﺽ ﺍﻟﻘﹶﺒﺎﺌِلِ ﻴﻌﻨِﻲ ﺍﻟﻠﱠﻭﻥ ﺍﻷﺤﻤـﺭ ﻥ ﻥ ﺍﻷﺤﻤـ ﺭ ﻭﺍﻟﻠﱠـﻭ ﺨ ﺩ ﻡ ﺍﻟﻠﱠﻭ ﺴ ﹶﺘ ﹾ ﻴ ﻕ ﻭﺍﻟﻨﱠﺠﺎﺡ ،ﻭﺍﻷﺯﺭﻕ ﻴﻌﻨـﻲ ﺍﻟﺸﱠﺭ ﹶ ل ﺍﻟﺴﺤﺭ .ﻭﺇﺫﺍ ﻲ ﻓﻲ ﺃﻋﻤﺎ ِ ﺍﻷُﺭﺠﻭﺍﻨ ل ﻭﺍﻟﻤﺘﺎﻋِﺏ ،ﻭﺍﻷﺴﻭﺩ ﺍﻟﻐﺭﺏ ﺍﻟﺸﱠﻤﺎ َ ﻥ ﺍﻷﺨﻀ ﺭ ﻤﻜﺭﻭﻫﺎ ﻟﺩﻯ ﻜﺎﻥ ﺍﻟﻠﱠﻭ m ﻼ ﻭﹶﻟﻘِﻴﺎ ﻤﺼﺭﻋﻬﻤﺎ ﻋﻠـﻰ ﻴـﺩ ﹶﻓﺸِ ﹶ ـﻴﺽ ـﺭﻕ ﺃﺒـ ﺸـ ـﻭﻥ؛ ﻓﺎﻟ ﱠ ـﺔ ﺒﹶﻠـ ﺠﻬـ ﻕ ﻭﺍﻟﻐﻀــﺏ ﻭﺍﻟﻌﺎﻁِﻔــﺔ ،ﻭﺍﻷﺯﺭ ﹶ ل ﻤﻨﻬﻤﺎ ﺍﻵﺨﺭ. ل ﹸﻜ ُﱞ ﻋﻠﻴﻬﻤﺎ ﹶﻓ ﹶﻘ ﹶﺘ َ .co ﺨﻠﹸﻭﻗﹶﻴﻥ ﺒﺎﺭﻴﻥ ﺃﻨﺸﺄﺍ ﺃﻟﻭ ﺃﺩﻱ ﻜﺎﻨﺎ ﻤ ﹾ ﻋِ ﺩ ﹶﺓ ﻤ ﺩﻥٍ ،ﻭَﺃ ﹾﻨ ﹶﻘﺫﹶﺍ ﺃﻤﻬﻤﺎ ﻭﺸﻘﻴﻘﺘﻬﻤﺎ. ﺍﻷَْﻟﹾﻮﺍﻥ COLOURS ـﺩﻯ ـﻪ ﻟـ ـﻌﻭﺏ؛ ﻓﺈﻨـ ـﺽ ﺍﻟﺸﱡـ ﺒﻌـ ﻭﺍﻟﻤــﻭﺕ ،ﻭﺍﻷﺒــﻴﺽ ﺍﻟﺠﻨــﻭﺏ ott ob ﺙ ﻴ ﹶﺘﺭ ﺩ ﺩ ِﺫ ﹾﻜ ﺭ ﺍﻷﻟﻭﺍﻥ ﻓﻲ ﺍﻷﺤﺎﺩِﻴ ِ ﻭﺘﺤﺕ ﺒﻠﻭﻥ ﺃﺴﻭﺩ؛ ﻭﻫﺫﻩ ﺍﻷﻟـﻭﺍﻥ ﺤﺏ ﺡ ﺍﻟﺸﺭﻴﺭﺓ ﺍﻟﺘﻲ ﻻ ﹸﺘ ِ ﻤﻥ ﺍﻷﺭﻭﺍ ِ ﻼ" :ﻫـل ﻜـﺎﻥ ﺍﻟﻴﻭﻤﻴﺔ؛ ﻓﻴﻘﺎل ﻤﺜ ﹰ ﺠﻬِﻲ ﺃﺤﻤﺭ" ﻭ"ﻴـﺩ ﺒﻴﻀـﺎﺀ"... ﻭ ﺇﻟﺦ ...ﻭﻴﺘﺭﺩﺩ ﺫِﻜﺭﻫﺎ ﻓـﻲ ﺍﻷﺩﺏ ﻭﻓﻲ ﺍﻟﺼﻴ ِﻎ ﺍﻟﺸﱠﻌ ِﺒ ﻴ ِﺔ ﻓﻴﻘﺎل" :ﺸﻌﺭ ﺃﺴﻭﺩ ﻓﺎﺤِﻡ ﻤﺜل ﺭِﻴﺵ ﺍﻟﻐﹸـﺭﺍﺏ"، ﺸﻔﹶﺘﺎﻥ ﺤﻤﺭﺍﻭﺍﻥ ﻤﺜل ﺍﻟﻴـﺎﻗﹸﻭﺕ ﻭ" ﹶ ﺠﻨﱢﻴ ﹸﺔ ﺒﺄﻥ ﻟﻬﺎ ﻑ ﺍﻟ ِ ﺼ ﹸ ﺍﻟﺤﻠﻴﺏ" .ﻭﺘﹸﻭ ﺭﺃﺴﺎ ﺃﺤﻤﺭ ،ﻭﺍﻟﺸﱠﻴﻁﺎﻥ ﺒﺄﻨﻪ ﺃﺴﻭﺩ، ﻭﺍﻟﺸﱠﺒﺢ ﺒﺄﻨﻪ ﺃﺒﻴﺽ ،ﻭﺍﻟﻔِﻴﻠﺔ ﺒﺄﻨﻬـﺎ ﺢ ﺃﻤـﺎ ﻡ ﻫﻨﺎﻙ ﺩﻭﺍ ِﺌ ﺭ ﺤﻤﺭﺍﺀ ﹶﺘﺴـ ﺒ ﺍﻟﻌﻴﻨﻴﻥ .ﻭﺍﻟﻠﱠﻭﻥ ﻟﻪ ﺭﻤﻭﺯ ﹸﺘ ﻭﺠـ ﻪ ﺤﺭ ﹶﻜ ﹶﺔ ﺍﻟ ﻤﺭﻭﺭِ؛ ﻓﺎﻷﺤﻤﺭ ﻟﻠ ﻭﻗﹸﻭﻑ، ﻥ ﻋﻼﻤﺎﺕ ﺒـﺎﻷﻟﻭﺍﻥ ﹸﺘﻨﹾـ ِﺫ ﺭ ﺍﻟﺴـ ﹸﻔ ل ﻑ .ﻭﻋﻨﺩ ﻗﹶﺒﺎﺌِـ ِ ﺼ ِ ﺒﺎﻗﺘﺭﺍﺏ ﺍﻟﻌﻭﺍ ِ ﺍﻟ ﻬﻨﹸﻭ ِﺩ ﺍﻟﺤﻤﺭ ﺒﺄﻤﺭﻴﻜﺎ ﻴ ﺭ ﻤ ﺯ ﻟﻜـل www.alkottob.com ﺽ ﺍﻟﻁﱠﻬﺎﺭﺓ ،ﻭﺍﻷﺴﻭ ﺩ ﺍﻟﻤﻭﺕ، ﺍﻷﺒﻴ ﻓﻲ ﺍﻷﻋﻼ ِﻡ ﻭﺍﻟﺴـﺘﺭﺍﺕ؛ ﻓـﺄﻋﻼ ﻡ ـﺔ ،ﻭﺍﻷﺨﻀـ ﺭ ﻭﺍﻷﺤﻤـ ﺭ ﺍﻟﻌﺎﻁِﻔـ ﺍﻟﺒِﻼ ِﺩ ﺍﻹﺴﻼ ِﻤﻴﺔ ﺨﹶﻀﺭﺍﺀ ،ﻭﺃﻋﻼ ﻡ ﻥ ﺒـﺩﻭ ٍﺭ ﻫـﺎ ﻡ ﻓـﻲ ﻭﻴﻘﻭ ﻡ ﺍﻟﻠﱠﻭ ﻥ ﻥ ﺃﺴﻭﺩ ،ﻭﻜﺎﻨـﺕ ﺃﻟـﻭﺍ ﺍﻟﻘﹸﺭﺼﺎ ِ ﺱ ﺍﻟﺤِﺩﺍﺩ ﻓﻲ ﺃﻭﺭﺒﺎ ﻼﺒِ ﺍﻷﺯﻴﺎﺀِ؛ ﹶﻓﻤ ﹶ ﺍﻟﻨﱡﺠﻭ ِﻡ )ﺍﻷﺒﺭﺍﺝ( ﺘﹸﺤـﺩ ﺩ ﺭﺴـﻤﻴﺎ: ﺱ ﻥ ﻫﺫﻩ ﺍﻟﻤﻼﺒِـ ﻋﺎﺩ ﹰﺓ ﺴﻭﺩﺍﺀ ،ﻭﻟﻜ ﺽ ﻟﻠﻁﻬــﺎﺭﺓ ﻭﺍﻟﺒــﺭﺍﺀﺓ، ﺍﻷﺒــﻴ ﺍﻟﺤﻴﺎﺓ. ـ ﻡ ﻋﻠﹶـ ـﺎﻥ ـﺭﺍﺀ ،ﻭﻜـ ـﻭﺭ ِﺓ ﺤﻤـ ﺍﻟﺜﱠـ ﻜﺎﻨﺕ ﻓﻲ ﺭﻭﻤـﺎ ﺍﻹﻤﺒﺭﺍﻁﻭ ِﺭﻴـﺔ ﺒﻴﻀﺎﺀ ،ﻭﻫﻲ ﻜﺫﻟﻙ ﺃﻴﻀـﺎ ﻓـﻲ ﺤﺩِﻴﺜﺔ. ﺍﻟﺼﻴﻥ ﺍﻟ ﺱ ﺍﻟﺴﻭﺩﺍﺀ ﻜﺎﻨﺕ ﻭﻗﻴل ﺇﻥ ﺍﻟﻤﻼ ِﺒ ـﺠﺎﻋﺔ، ـﺭﺃﺓ ﻭﺍﻟﺸﱠـ ـﺭ ﻟﻠﺠـ ﻭﺍﻷﺤﻤـ ـﺔ ﻭﺍﻟﻤﺜـــﺎﺒﺭﺓ ﻕ ﻟﻠﻴ ﹶﻘﻅﹶــ ﻭﺍﻷﺯﺭ ﹸ ﺏ ﺘﹶﻘـﻭ ﻡ ﻭﺍﻟﻌﺩﺍﻟﹶﺔ .ﻭﻓـﻲ ﺍﻷﻟﻌـﺎ ِ ﺞ ﻥ ﺒﺩﻭ ٍﺭ ﻫﺎﻡ؛ ﻓﻔﻲ ﺍﻟﺸﱠـﻁﹶﺭ ﹾﻨ ِ ﺍﻷﻟﻭﺍ ﻍ ﺍﻟـﺫﻱ ﻯ ﻟِﻠﻔﹶﺭﺍ ِ ﹸﺘ ﹾﻠﺒﺱ ﻟﺘﻜﻭﻥ ﺼﺩ ﻁ ﻊ ﺒﻴﻀﺎ ﺀ ﻭﺴﻭﺩﺍﺀ ،ﻭﺍﻷﺒـﻴﺽ ﺍﻟ ِﻘ ﹶ ﻴﺤ ِﺩﺜﹸﻪ ﺍﻟﻤﻭﺕﹸ ،ﻭﺇﻥ ﺍﻷﺒﻴﺽ ﻭﻫـﻭ ﺏ. ﻴ ﺒ ﺩُﺃ ﺒﺎﻟﺤﺭﻜ ِﺔ ِﻟ ﻴﻜﹾﺴ ﻟﻭﻥ ﺍﻟﻁﱠﻬﺎﺭﺓ ﻭﺍﻟﻨﱠﻘﺎﺀ ﺴﻭﻑ ﻴ ﺒﻌِـ ﺩ ﺡ ﺍﻟﻐﻴﻭﺭ ﻤﻥ ﻤﺤﺎﻭﹶﻟﺔِ ﺍﻟﻌـﻭ ﺩ ِﺓ ﺍﻟﺭﻭ ﺇﻟﻰ ﻤﻜﺎﻨِﻬﺎ ﺍﻟﺴﺎﺒِﻕ ﻓـﻲ ﺍﻟﻌـﺎﻟﹶﻡ. ل ﺍﻷﺤﻤ ﺭ ﺒﻠﻭﻥ ﻅﺭِ ﻴ ﹲﺔ ﺘﹸﻌﺎ ِﺩ ُ ﻭﻫﻨﺎﻙ ﹶﻨ ﹶ ـﺔ ﻙ ﺍﻟﺤﺭﺒﻴـ ـﻲ ﺍﻟﻤﻌــﺎ ِﺭ ِ ـﺩﻡ ﻓـ ﺍﻟـ ﺍﻹﻟﹾﻴﺎﺫﺓ ILIAD ww ﻭﺍﻷﺨﻀــﺭ ﻟِﻠﻤــﺭﻭ ِﺭ .ﻭﻫﻨــﺎﻙ ﻥ ﺤﺩِﻴﺜﺔ ﻴﻌﻨﻲ ﺍﻟﻠﱠﻭ ﻭﻓﻲ ﺃﻭﺭﻭﺒﺎ ﺍﻟ ﻥ ﺒﺩﻭ ٍﺭ ﻫﺎ ﻡ ﺍﻷﺸﺭﺍﻑ .ﻭ ﹶﺘﻘﹸﻭ ﻡ ﺍﻷﻟﻭﺍ w. ﻗﺭﻤﺯﻴﺔ ﺃﻭ ﺃﺭﺠﻭﺍ ِﻨﻴﺔ ،ﻭﻴﻘـﺎل ﺇﻥ ﻭﺍﻟﺴﻌﺎﺩﺓ. alk ﺍﻷﺤﻤﺭ" ،ﻭ" ﺒﺸﹶﺭﺓ ﺒﻴﻀﺎﺀ ﻤﺜل ﺍﻟﻠﱠﺒﻥ ﺍﻟﻤﺴِﻠﻤِﻴﻥ ﺍﻟﻠﱠـﻭﻥ ﺍﻟـﺫﻱ ﻴـ ْﺅ ِﺜﺭﻩ ﻤﻥ ﺃﺭﻭﻉ ﻤﺎ ُﺃ ِﺜ ﺭ ﻋـﻥ ﺍﻟﺸﱢـﻌ ِﺭ ﺸﻌﻭﺏ ،ﻭﻓﻲ ﻲ ﻋﻨﺩ ﺠﻤﻴﻊ ﺍﻟ ﱡ ﺤ ِﻤ ﺍﻟ ﻤ ﹾﻠ ﺏ ﺍﻹﻟﻴـﺎ ﹶﺫ ﹸﺓ ﺴ ﺠﻤﻴﻊ ﺍﻟ ﻌﺼﻭ ِﺭ .ﻭﺘﹸ ﹾﻨ ٩٢ ﻥ ﻲ *ﻫﻭﻤِﻴﺭﻭﺱ ﺍﻟﺫﻱ ﻴﻅﹶـ ﺍﻟﻴﻭﻨﺎﻨ ل ﻓﻴﻤـﺎ ﺒﺤﺭﺏ ﻁﺭﻭﺍﺩﺓ .ﻭ ﹶﺘﺘﹶﻨـﺎ ﻭ ُ ﻀ ِﺘﻨﹶﺎ ﺠ ﻡ ﻓﻲ ﺒﻭﺍﻜِﻴ ِﺭ ﹶﻨ ﻬ ل ﻤﺎ ﹸﺘ ﺭ ِ ﺃﻭﺍ ِﺌ ِ ﺵ ﺒﻴﻥ ﻋﺎﻤﻲ ٨٥٠ ،١٠٥٠ ﺃﻨﻪ ﻋﺎ ﹶ ﺘﺘﻨﺎﻭﻟﻪ ﺤﺎﺩِﺜ ﹶﺔ ﺍﻟ ﱡﺘﻔﹼﺎﺤـ ِﺔ ﺍﻟﺫﱠﻫ ِﺒﻴـﺔِ، ﺍﻷَﺩ ِﺒﻴﺔ ،ﻭ ﹶﻨ ﹶﻘﻠﹶﻬﺎ ﺇﻟﻰ ﺍﻟﻌﺭﺒﻴﺔ ﺸِـﻌﺭﺍ ﻕ.ﻡ .ﻭﻤﻨﺫ ﺍﻟﻘـﺭﻥ ﺍﻟﺜـﺎﻨﻲ ﻗﺒـل ﺸﺩﻩ ﺒـﻴﻥ ﻑ ﻋﻠﻰ َﺃ ﹸ ﺍﻟﻤﻴﻼﺩ ﻭﺍﻟﺨِﻼ ﹸ ﻑ ـ ﹶ ﺨﻁﹾـ ـﺎﺭﻴﺱ ،ﻭ ﹶ ـﺔ *ﺒـ ﻭﻤﺤﺎﻜﹶﻤـ ﺸ ﺩ ﺍﻟ ﹸﻘﻭﺍﺕ ﺍﻟﻴﻭﻨﺎ ِﻨﻴـﺔِ، ﺤﹾ *ﻫﻴﻠﻴﻥ ،ﻭ ﻁﺒِﻌـﺕ ﻥ ﺍﻟﺒﺴـﺘﺎﻨﻲ ،ﻭﻗـﺩ ﹸ ﺴﻠﻴﻤﺎ ﺍﻷُﺩﺒﺎ ِﺀ ﻭﻤـﺅﺭﺨﻲ ﺍﻷﺩﺏ ﺤـﻭل ﺴ ﻴ ﹶﺔ ﻓـﻲ ﺍﻟﺴـﻨﻭﺍﺕ ﻭﺍﻟﻭﻗﺎ ِﺌ ﻊ ﺍﻷﺴﺎ ِ ١٩٠٤ﻡ. m ﻋ ِﺭ ﻤﻊ * ﺍﻷُﻭﺩِﻴﺴـﺎ ﺇﻟـﻰ ﺍﻟﺸﱠـﺎ ِ ل ﹸﻜﻠﱡﻬـﺎ ﺍﻟﻁﺭﻭﺍﺩﻴﺔ"؛ ﻷﻨﻬﺎ ﹶﺘ ﱠﺘﺼِـ ُ ﻟﻬﺎ ﻤﻐﺯﺍﻫﺎ ،ﺇﻥ ﺍﻹﻟﻴﺎﺫ ِﺓ ﻜﺎﻨﺕ ﻤﻥ .co ﺼِﻠﺔ ﻫﻭﻤﻴﺭﻭﺱ ﺒﺎﻹﻟﻴـﺎﺫﺓ؛ ﺃﻫـﻭ ﻤﺅﱢﻟﻔﹸﻬﺎ ﻋﻠﻰ ﺍﻟﺘﱠﺤﻘﻴﻕ ،ﺃﻡ ﺃﻨﻪ ﻤﺠﺭﺩ ﺸﺎﻋِﺭ ﺠﻭﺍل ﺍﺤﺘـﺭﻑ ﺭﻭﺍﻴﺘﹶﻬـﺎ ﺍﻟﺘﱢﺴﻊ ﺍﻷﻭﻟﻰ ﻤﻥ ﺤﺭﺏ ﻁﺭﻭﺍﺩﺓ. ﻭﺘﺭﻭﻱ ﺍﻷُﺴﻁﹸﻭﺭ ﹸﺓ ﺃﻥ ﻨﻴﺘـﻴﺱ ﻭﺘﹶﺒ ﺩُﺃ ﺍﻹﻟﻴﺎﺫﺓ ﺒﻌﺩ ﻫـﺫﻩ ﺍﻷﺤـﺩﺍﺙ ﺭ ﺒ ﹶﺔ ﺍﻟﺒﺤ ِﺭ ﺘﺯﻭﺠﺕ ﻤـﻥ ﺒﻴﻠـﻭﺱ ﻏﻀﺒ ِﺔ *َﺃﺨِﻴـل ﻤﺒﺎﺸﺭﺓﹰ؛ ﺃﻱ ﺒﻌﺩ ﹶ ل ﺯِﻓﺎﻓِﻬﺎ ﻀ ﺭ ﺤ ﹾﻔ َ ﺤ ﻤﻠﻙ ﺘﻴﺴﺎﻟﻴﺎ ،ﻭ ﻭﺘﻨﺘﻬﻲ ﺒﻤﺄﺘﻡ * ِﻫ ﹾﻜﺘﹸﻭﺭ .ﻭﻻ ﹶﺘﺨﹾـ ِﺘ ﻡ ل ﺠﻤﻴ ﻊ ﺍﻵﻟِﻬﺔ .ﻭﻓﻲ ﻫـﺫﺍ ﺍﻟﺤﻔـ ِ ﺏ ﻁﺭﻭﺍﺩﺓ؛ ﻷﻨﻬﺎ ﺙ ﺤﺭ ﻫﺫﻩ ﺍﻷﺤﺩﺍ ﹸ ﻗﺩﻤﺕ ﺭﺒ ﹸﺔ ﺍﻟﺸﱢﻘﺎﻕ ﹸﺘﻔﹼﺎﺤ ﹰﺔ ﺫﹶﻫﺒِﻴـﺔﹰ، ﺤ ﻡ ﺃﺨﺭﻯ. ﺍﺴﺘﻤﺭﺕ ﻓﻲ ﻤﻼ ِ ﺏ ﻭﺃﻋﻠﻨﺕ ﺃﻨﻬﺎ ﺴﺘﻜﻭﻥ ﻤﻥ ﻨﹶﺼـﻴ ِ ott ob ﻭﺇﻨﺸﺎﺩﻫﺎ؟. ـﺎﻡ ـﻼل ﺒﻤﺼـ ﺭ ﻋـ ـﺔ ﺍﻟ ِﻬـ ﺒﻤﻁﺒﻌـ ﺙ ﺍﻟﺘـﻲ ﺕ ﺍﻷﺤـﺩﺍ ﹸ ﻭﻟﻘﺩ ﻭ ﹶﻗﻌـ ِ ﻥ ﻀﻤﻬﺎ ﺍﻹﻟﻴﺎﺫ ﹸﺓ ﻓﻲ ﻓﺘﺭﺓ ﻤﻥ ﺍﻟﺯﻤ ِ ﹶﺘ ﻗﺒل ﻋﺎﻡ ١١٠٠ﻕ.ﻡ .ﻭ ﻴ ﻌ ﹶﺘﻘﹶـ ﺩ ﺃﻥ ﻕ ﺏ ﻋﻠﻰ ﺍﻟﺘﱠﻔﺭِﻴ ِ ﺠ ِﻤ ﻊ ﹸﻨﻘﹼﺎ ﺩ ﺍﻷﺩ ِ ﻭ ﻴ ﺕ ﻋﻠﻴﻬﺎ ﺴ ﹾ ﺃﺠﻤل ﺍﻟﺤﺎﻀِﺭﺍﺕ؛ ﹶﻓﻨﹶﺎ ﹶﻓ ﺠ ﻤﻌﻬـﺎ ﻗﹶﺼﺎﺌِﺩ ﻫﻭﻤﻴﺭﻭﺱ ﺇﻨﻤـﺎ ﻭ ﺩ ﻭﻨﹶﻬﺎ ﺒﻴﺯﺍﻴﺴﺘﺭﺍﺘﻭﺱ ﻓﻲ ﻋﺼـ ِﺭ ﺒﻴﻥ ﺍﻟ ﻤ ﹾﻠﺤﻤ ِﺔ ﺍﻟﺸﱠـﻌ ِﺒ ﻴ ِﺔ ﺃﻭ ﻤﻠﺤﻤـﺔ ﺍﻟﻭﻗﺎ ِﺌ ِﻊ ﺍﻟﺼﺤﻴﺤﺔ ﻤﻥ ﻨﺎﺤﻴﺔ ،ﻭﺒﻴﻥ ﻴﻭﻨﻭ ﻭ*ﻤﻴﻨﻴﺭﭭِﺎ ﻭ* ﭭﻴﻨﻭﺱ .ﻭﺁ ﹶﺜ ﺭ ﻲ" ،ﺃﻭ ﻓﻲ ﺍﻟﻌﺼـ ِﺭ ﺤ ِﻤ "ﺍﻟﺸﱢﻌ ِﺭ ﺍﻟ ﻤ ﹾﻠ ﻋ ﺭ ﻓﹶﺭ ﺩ ﺍﻟ ﻤ ﹾﻠﺤﻤ ِﺔ ﺍﻷَﺩ ِﺒ ﻴ ِﺔ ﻴﺒ ِﺩﻋﻬﺎ ﺸﺎ ِ ﺨﺘِﻴ ﺭ ﭙﺎﺭﻴﺱ ﺍﺒﻥ ﻤﻠﻙ ﻁـﺭﻭﺍﺩﺓ ﻓﺎ ﹾ ﺏ ﺍﻟﻴﻭﻨﺎﻨﻲ؛ ﻋﺼﻭ ِﺭ ﺍﻷﺩ ِ ﺍﻟﺜﱠﺎﻨﻲ ﻤﻥ ﺴ ﻡ ﺒﺎﻟﻁﹼﺎ ﺒ ِﻊ ل ﺍﻷُﻭﻟﹶﻰ ،ﻭ ﹶﺘﺘﱠ ِ ﻋﻠﻰ ﻤِﺜﺎ ِ ﻋ ﺭﻀﺕ ﻋﻠﻴﻪ ﭭﻴﻨﻭﺱ ﺃﻥ ﺤ ﹶﻜﻤﺎ ،ﻭ ﻭﻫﻭ ﺍﻟﺫﻱ ﻴﻨﺘﻬﻲ ﻋﺎﻡ ٦٠٠ﻕ.ﻡ. ﺨ ﹶﺘﻔﹶﻰ ﻫـﺫﺍ ﻲ ِﻟ ﻤ ﺒ ِﺩﻋِﻬﺎ ،ﻭﺇﻥ ﺍ ﹾ ﺍﻟﺫﺍ ِﺘ ل ﺍﻤﺭﺃ ٍﺓ ﻓﻲ ﺍﻟﻌﺎﻟﹶﻡ؛ ﹶﻓ ﹶﻘﻀﻰ ﺠﻤَ ﹶﺘﻬﺒ ﻪ َﺃ alk ﺕ ﺴ ﹶﺘ ﹾﻠ ﻬ ﻤ ﹾ ﺢ ﺃﻥ ﺍﻹﻟﹾﻴﺎﺫ ﹶﺓ ﻗﺩ ﺍ ﺠ ﻭﺍﻟﺭﺍ ِ ﺙ ﺍﻟﻁﹼﺎ ﺒ ﻊ ﻓﻲ ﹶﺘﻀـﺎﻋِﻴﻑ ﺍﻷﺤـﺩﺍ ِ ﺴ ﻡ ﺒﻪ ﻓﻲ ل ﺍﻟﺫﻱ ﹶﺘﺘﱠ ِ ﺫﻟﻙ ﻷﻥ ﺍﻟﻜﹶﻤﺎ َ ل ﻟﺠﻤﻴـﻊ ل ﺍﻟ ﻤﺴـ ﹶﺘ ﹾﻜﻤِ َ ﺍﻷﻭل ﺍﻟﻤِﺜﺎ َ ل ﻭﻓﻲ ﺍﻟﺒِﻨﺎ ِﺀ ﻤﻌﺎ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﺍﻟﺸﱠﻜ ِ ﻤ ﹶﻘﻭﻤﺎﺘِﻪ؛ ﻭﻫﻭ ﺇﻟﻴﺎﺫﺓ ﻫـﻭﻤﻴﺭﻭﺱ، ﻑ ﺃﻨﻪ ﻗـﺩ ﻴ ِﺘ ﻡ ﻓﺠﺄ ﹰﺓ .ﻭﻤﻥ ﺍﻟﻤﻌﺭﻭ ِ ﻉ ﺍﻟﺜﹼـﺎﻨﻲ ﺇﻨﹾﻴـﺎﺩﺓ ﻥ ﻟﻠﻨﱠﻭ ِ ﻀ ِﺭﺒﻭ ﻭ ﻴ ﺴﺒﻘﺕ ﺍﻹﻟﻴـﺎﺫ ﹶﺓ ﻤﺠﻤﻭﻋـ ﹲﺔ ﻤـﻥ ﭭﺭﺠﻴل ﻭﻏﻴﺭﻫـﺎ .ﻭﻟـﻴﺱ ﻤـﻥ ﺕ ﻋﻠﻴﻬـﺎ؛ ﻋ ﹶﺘﻤﺩ ﹾ ﹶﻗﺼِﺎ ِﺌ ﺩ ﺴﺎﺒِﻘ ﹰﺔ ﺃﻭ ﺍ ﺍﻵﻟِﻬ ﹸﺔ ﺃﻥ ﻴ ﺒ ﹶﺘﻌِﺩﻭﺍ ﻋﻥ ﻫﺫﺍ ﺍﻟﻨﱢﺯﺍﻉ؛ ﻉ ﺏ ﺍﻟﻨﻘﺎ ﺩ ﻟِﻠﻨﱠﻭ ِ ﻀ ِﺭ ﺸﺨﹸﻭﺹ .ﻭ ﻴ ﻭﺍﻟ ﱡ ﻟﻬﺎ ﺒﺎﻟﺘﱡﻔﺎﺤ ِﺔ ﺍﻟﺫﱠﻫ ِﺒﻴﺔ .ﻭﻁﻠﺒﺕ ﻤﻨـﻪ ﭭﻴﻨﻭﺱ ﺃﻥ ﻴﺴﺎ ِﻓ ﺭ ﺇﻟﻰ ﺒﻼﺩ ﺍﻟﻴﻭﻨﺎﻥ، ﻭﻴﺨﻁﻑ *ﻫﻴﻠﻴﻥ ﺍﺒﻨﺔ *ﺠﻭﺒﻴﺘﺭ ﻭ* w. ـﻙ ـﻴﻼﻭﺱ ﻤﻠـ ـﺔ ﻤﻨـ ـﺩﺍ ﻭﺯﻭﺠـ ﻟﻴـ ﺇﺴﺒﺎﺭﻁﺔ. ﻭﺍ ﹾﻨ ﹶﺘﻬﺯ ﺒﺎﺭﻴﺱ ﻓﹸﺭﺼـ ﹶﺔ ﺘﹶﻐﻴـﺏِ ﻅﻤﻬﺎ ،ﻭﻤﺎ ﺒﻘـﻲ ﻤﻨﻬـﺎ ﻉ ﻤﻌ ﹶ ﻀﺎ ﺤﺴـﺒﻨﺎ ﻑ ﺍﻟ ﻤ ﹾﻠﺤﻤ ِﺔ ﺍﻟﺸﱠﻌ ِﺒ ﻴﺔِ ،ﻭ ﺘﹶﻌﺭِﻴ ِ ﻤﻌـــﻪ .ﻭﻋـــﺎ ﺩ ﻤﻨـــﻴﻼﻭﺱ ﻋﺒﺎﺭﺓ ﻋﻥ ِﻓﻘﹾﺭﺍﺕ ﻏﻴﺭ ﻤﺘﺭﺍﺒِﻁﺔ. ﺝ ﺍﻟـﺫﻱ ﺃﻥ ﺍﻹﻟﻴﺎﺫﺓ ﻜﺎﻨﺕ ﺍﻟ ﱠﻨﻤـﻭ ﹶﺫ Menelausﻟﻴﻜﺘﺸــﻑ ﻓِــﺭﺍ ﺭ ﺤ ِﻡ ﻤﺎ ﻋ ﺩ ﺩ ﻤﻥ ﺘﻠﻙ ﺍﻟﻤﻼ ِ ﻑ ﻭﻴﺅﻟﱢ ﹸ ﺴﻁﹸﻭ ﻓـﻲ ﹶﺘ ﻌﺭِﻴـﻑ ﺍﻫﺘﺩﻯ ﺒﻪ ﺃ ِﺭ ﺯﻭﺠﺘﻪ؛ ﹶﻓﺘﹶﻤ ﻴ ﺯ ﻏﻀﺒﺎ ،ﻭﺃَﻋ ﺩ ﺤﻤﻠ ﹰﺔ ﺤﻠﹾﻘـﺔ ﺢ ﻋﻠـﻰ ﺘﹶﺴـﻤِﻴﺘِﻪ "ﺍﻟ ﻁِﻠ ﺼﹸ ﺍ ﺤﻤﺔ .ﻭﻤﻥ ﺍﻟﻤﻌﺎِﻟ ِﻡ ﺍﻷﺩﺒﻴﺔ ﺍﻟﺘﻲ ﺍﻟ ﻤ ﹾﻠ ﺘﺄﺩِﻴ ِﺒ ﻴ ﹰﺔ ﻀﺨﻤ ﹰﺔ ﻋﻠﻰ ﺭﺃﺴِﻬﺎ ﺃﺨـﻭﻩ www.alkottob.com ww ﺍﻟﻤﻼﺤِﻡ ﺍﻟﻴﻭﻨﺎ ِﻨ ﻴ ِﺔ ﺍﻟﻘِﺼـﺎﺭ ،ﻭﻗـﺩ ل ﺍﻟﻘﹶﻭل ﻓـﻲ ﻏﺭﻀِﻨﺎ ﻫﻨﺎ ﺃﻥ ﻨﹸﻔﺼ َ ﹶ ﻏﺭﻯ ﻫﻴﻠﻴﻥ ﺒﺄﻥ ﹶﺘ ِﻔ ﺭ ﻤﻨﻴﻼﻭﺱ ،ﻭَﺃ ﹾ ٩٣ ـﻴﺱ ـﻥ *ﺜﻴﺘـ ـل ﺒـ ل َﺃﺨِﻴـ ـُ ﻭﺍﻟ ﺒﻁﹶـ ﻥ ﺨ ﻴ ﻤﺘِﻪ ﻏﻀـﺒﺎ ﻓﻴﻨﺴﺤﺏ ﻫﺫﺍ ﺇﻟﻰ ﹶ ِﺒ ﹶﺘ ﹾﻨﻔِﻴﺫِﻩ. ﻭﺒﻴﻠﻴﻭﺱ. ﻥ ﺴ ﻡ ﺃﻨﻪ ﻟﻥ ﻴ ﻤﺩ ﻴ ﺩ ﺍﻟﻌـﻭ ِ ﺃﺴِﻔﺎ ،ﻭ ﻴ ﹾﻘ ِ ﺱ ﻫﻴﻠــﻴﻥ ﺒﺠــﻭﺍﺭ* ﻭﺘﹶﺠﻠِــ ﻕ ﻁـﺭﻭﺍﺩﺓ، ﺼ ﺭ ﺍﻹﻏﺭﻴـ ِ ﻭﺤﺎ ﺇﻟﻰ ﺍﻹﻏﺭﻴﻕ ﺤﺘﻰ ﻟﻭ ﺭﺁﻫﻡ ﻴﺒﺎﺩﻭﻥ ﺒﺭﻴــﺎﻤﻭﺱ ﻭﻴﻠﺘﻘــﻲ ﺒــﺎﺭﻴﺱ ﺤﺼِﻴﻨﺔﹶ ،ﻭﺩﺍ ﻡ ﺤِﺼـﺎﺭﻫﻡ ﺍﻟ ﹶﻘﻠﹾﻌ ﹶﺔ ﺍﻟ ﻋﺎ ﻤـﻊ ﻭﻴﻌ ِﻘ ﺩ ﺃﺠﺎﻤﻤﻨﻭﻥ ﺍﺠﺘﻤﺎ ﻅ ﺒـﺎﺭﻴﺱ ﻓﻴﻁـﻴﺢ ﻭﻴﺤﺎِﻟﻑﹸ ﺍﻟﺤـ ﱡ ﻱ ﻋﻠـﻰ ﺃﻻ ﹸﻗﻭﺍ ِﺩ ِﻩ ﻭ ﻴﺴـ ﹶﺘ ِﻘ ﺭ ﺍﻟـﺭْ ﺃ ﻑ ﻤﻨﻴﻼﻭﺱ ،ﻭﻟﻜﻥ ﻫﺫﺍ ﻴﺘﻘـﺩﻡ ﺒﺴﻴ ِ ﺼ ﹾﻔ ﺭ ﺍﻷﻴـﺩﻱ ﻴﻌﻭﺩﻭﺍ ﺇﻟﻰ ﺒﻼﺩِﻫﻡ ِ ﻙ ﺒـﺎﺭﻴﺱ ﻤـﻥ ﻓﻲ ﺠﺭﺃ ٍﺓ ﻭ ﻴ ﻤﺴِـ ﻕ ﻭﺇﻻ ﹶﻟﺤِﻘﹶﻬﻡ ﺍﻟﻌﺎ ﺭ .ﻭﻴﻘﺭﺭ ﺍﻹﻏﺭﻴ ﹸ ﺨﹸﻭ ﹶﺫﺘِﻪ .ﻭ ﹶﺘﺭﻯ ﻓﻴﻨﻭﺱ ﺃﻥ ﺍﻟـﺩﺍﺌِﺭﺓ ﻁﺭﻭﺍﺩﺓ .ﻭﺘﻁﻴﺭ*ﺃﻴﺭﻴﺱ ِﻟ ﹸﺘﺤـ ﱢﺫ ﺭ ﻑ ﺒـﺎﺭﻴﺱ ﺨﻁﹶـ ﹸ ﺃﺭﺒِﻁ ﹶﺔ ﺍﻟﺨﹸﻭ ﹶﺫﺓِ ﻭ ﹶﺘ ﹾ ﻭﺘﺭﻭﻱ ﺍﻹﻟﻴﺎﺫﺓ ﺃﺤﺩﺍﺙ ﺨﻤﺴﻴﻥ ﻕ ﺍﻟﻁﺭﻭﺍﺩﻴﻴﻥ ﻤﻥ ﻫﺠﻭ ِﻡ ﺍﻹﻏﺭﻴـ ِ ﻭﺘﻌﻭﺩ ﺒﻪ ﺇﻟﻰ ﻗﹶﺼ ِﺭ ِﻩ ﻓﻲ ﻁﺭﻭﺍﺩﺓ، ﻴﻭﻤﺎ ﻓﻲ ﺍﻟﺴﻨﺔ ﺍﻟﺘﺎﺴﻌﺔ ،ﻭﺘﹸﺤـﺩﺜﻨﺎ ﺴ ﹶﺘ ﺩﻋِﻲ ﻫﻜﺘﻭﺭ ﹸﻗﻭﺍﺘِﻪ، ﺍﻟﻤﺭ ﹶﺘ ﹶﻘﺏِ؛ ﹶﻓ ﻴ ﺜﻡ ﺘﻌﻭﺩ ﺇﻟﻰ ﻫﻴﻠﻴﻥ ﻓﻲ ﻫﻴﺌ ِﺔ ﻋﺠﻭ ٍﺯ ﻥ ﻤﻌﺒﺩ * ﺃﺒﻭﻟﱡﻭ ﻴ ﹾﻘ ِﺒلُ ﺒﻨﻔﺴﻪ ﺃﻥ ﻜﺎ ِﻫ ـﺎﺭﻴﺱ ـﻭﻩ ﺒـ ـﻬﺎ ﺃﺨـ ﺴـ ـﻰ ﺭﺃ ِ ﻭﻋﻠـ ﺱ ﻓﻲ ُﺃ ﹸﺫﻨِﻬـﺎ ﺒـﺄﻥ ﺸﻤﻁﺎﺀ ﻭ ﹶﺘ ﻬ ِﻤ ﺍﻷَﺴﻴﺭﺓ ﺍﻟﺘﻲ ﻜﺎﻨﺕ ﻤـﻥ ﹶﻨﺼِـﻴﺏِ ﻋ ﺩﻭﻩ ﺒـﺎﺭﻴﺱ ﻭﻴﻠﻤﺢ ﻤﻨﻴﻼﻭﺱ ﺏ ﻑ ﻫﻴﻠﻴﻥ ﻋﻠﻰ ﺭﺒﺔ ﺍﻟﺤـ ﻭ ﹶﺘ ﹶﺘﻌ ﺭ ﹸ ﺃﺠﺎﻤﻤﻨﻭﻥ ،ﻓﻴﻘﺎﺒِﻠﻪ ﻫﺫﺍ ﺃﺴﻭَﺃ ﻤﻘﺎﺒﻠﺔ. ﺍﻟﺫﻱ ﺃَﻏـﺭﻯ ﺯﻭﺠﺘﹶـﻪ ﺒـﺎﻟﻔِﺭﺍﺭ؛ ﻋﻠﻰ ﺍﻟﺭﻏ ِﻡ ﻤﻥ ﹶﺘ ﹶﻨ ﱡﻜﺭِﻫﺎ ،ﻭﺘﻭﺠـﻪ ﻥ ﻭﻴﻁﻠﹸﺏ ﻤﻥ ﺃﺒﻭﻟﻭ ﻭﻴﻐﻀﺏ ﺍﻟﻜﺎﻫ ﻙ ﺒﻪ ،ﻭﻟﻜﻥ ﺒﺎﺭﻴﺱ ﻓﻴﻨﺩﻓﻊ ﺇﻟﻴﻪ ِﻟ ﻴ ﹾﻔ ِﺘ ﺇﻟﻴﻬﺎ ﺍﻟﻠﻭﻡ ِﻟ ﹶﺘ ﺩﺨﱡﻠﻬﺎ ﻓﻲ ﺍﻟﻤﻌﺭﻜـﺔ، ﺕ ﺍﻟ ﻌﺩﻭ. ﻙ ﺒ ﹸﻘﻭﺍ ِ ل ﻭﺒﺎ ﺀ ﻴ ﹾﻔ ِﺘ ﺃﻥ ﻴﺭﺴِ َ ﻴﺘﺠﻨﱠﺏ ﻟﻘـﺎﺀﻩ ،ﻭﻴﺨﺘﻔـﻲ ﻭﺴـﻁ ﻋﻠﻴﻬﻡ ﺃﻥ ﻴﻌِﻴﺩﻭﺍ ﺍﻟﻔﺘﺎ ﹶﺓ ﺍﻷﺴﻴﺭ ﹶﺓ ﺇﻟﻰ ﻫﻜﺘﻭﺭ ﻭﻴﻘﻭل ﺇﻨﻪ ﻜﺎﻥ ﻴـ ْﺅ ِﺜ ﺭ ﺃﻥ ﻭﺍﻟﺩِﻫﺎ ﻟﻜﻲ ﻴﻨﺠﻭﺍ ﻤﻥ ﻫﺫﺍ ﺍﻟﻭﺒﺎﺀ؛ ﻕ ﺒـﻪ ﻴﺭﻯ ﺃﺨﺎﻩ ﻤﻴﺘﹰﺎ ﻗﺒل ﺃﻥ ﻴﻠﺤِ ﹶ ﻓﻴﻁﻠﺒﻭﻥ ﻤﻥ ﺃﺠﺎﻤﻤﻨﻭﻥ ﺃﻥ ﻴ ﹶﺘﻨﹶﺎﺯل ﻭﺒﻘﻭﻤﻪ ﻫﺫﺍ ﺍﻟﻌـﺎﺭ ،ﻓﻴﻘـﻭل ﻟـﻪ ﻋ ﺒﺜﹰـﺎ ﺃﻥ ﻴﻌﺜـﺭ ﻋﻠـﻰ ﻤﻨﻴﻼﻭﺱ ﺡ ﺃﺠـﺎﻤﻤﻨﻭﻥ ﺼﺭ ﻋﻥ ﺍﻷﺴِﻴﺭ ِﺓ .ﻭ ﻴ ﺴ ِﺘﻌﺩﺍ ٍﺩ ِﻟﻤﺒـﺎ ﺭ ﺯ ِﺓ ﺒﺎﺭﻴﺱ ﺇﻨﻪ ﻋﻠﻰ ﺍ ﻤﻨﻴﻼﻭﺱ ﻋﻠﻰ ﺃﻥ ﺘﻜﻭﻥ ﻫﻴﻠﻴﻥ ﻤﻥ ﻋ ﺩﻭﻩ ،ﻭﻴ ﱠﺘ ِﻬ ﻡ ﺍﻟﻁـﺭﻭﺍﺩﻴﻴﻥ ﺒـﺄﻨﻬﻡ ﻙ ﺒﻌـ ﺩ ﻭﻩِ، ﺤﺎﻟﹸﻭﺍ ﺒﻴﻨﻪ ﻭﺒﻴﻥ ﺍﻟ ﹶﻔﺘﹾـ ِ ﺇﺫﺍ ﺤﺼل ﻋﻠـﻰ ﺠﺎﺭِﻴـ ِﺔ ﺃﺨﻴـل؛ ﺏ ﻫﻜﺘﻭﺭ ﺏ ﺍﻟ ﻤ ﹾﻨ ﹶﺘﺼِﺭِ .ﻭ ﻴ ﺭﺤ ﹶﻨﺼِﻴ ِ ﺏ ﺒِ ﹶﺘﺴـﻠِﻴ ِﻡ ﻭﻴﺘﻘﺩﻡ ﺃﺠﺎﻤﻤﻨﻭﻥ ﻭﻴﻁﺎِﻟ ﻥ ﺃﻨـﻪ ﺴـﻭﻑ ﹶﻓ ﻴﺜﹸﻭ ﺭ ﻫﺫﺍ ﻭ ﻴ ﻌﻠِـ ﺡ ﻭﻴﻌﺭِﻀـﻪ ﻋﻠـﻰ ﺒﻬﺫﺍ ﺍﻻﻗﺘـﺭﺍ ِ ﺼ ـ ﺭ ـﺩ ﺃﻥ ﺍ ﹾﻨ ﹶﺘ ـﻭﺭﺍ ﺒﻌـ ـﻴﻥ ﻓـ ﻫﻴﻠـ ﺕ ﻁﻴـ ﹾ ل ﺇﺫﺍ ﺃُﻋ ِ ﻴﻨﺴﺤﺏ ﻤﻥ ﺍﻟﻘِﺘـﺎ ِ ﺍﻹﻏﺭﻴﻕ ﻓﻴﻘﺒﻠﹸﻭﻨﻪ ﻋﻠﻰ ﺃﻥ ﻴ ﹶﺘ ﻌﻬـ ﺩ ـﻲ ـﺎﺭﻴﺱ ﻓـ ـﻰ ﺒـ ـﻴﻼﻭﺱ ﻋﻠـ ﻤﻨـ m ﺃﺠـــﺎ ِﻤ ﻤﻨﹸﻭﻥ Agamemnon ﺃﺠﺎﻤﻤﻨﻭﻥ ﻻ ﻴﻌﺒﺄ ﺒﻭﻋﻴـﺩ ﺃﺨﻴـل، *ﺒﺭﻴﺎﻤﻭﺱ ﻤﻠﻙ ﻁﺭﻭﺍﺩﺓ ﺸﹶﺨﺼﻴﺎ ﻭﻋﺒﺜﹰﺎ ﺤﺎ ﻭﻟﹸﻭﺍ ﺃﻥ ﻴﻘﺘﺤﻤـﻭﺍ ﻫـﺫﻩ .co ﻟﻬﺎ ﺘِﺴﻊ ﺴﻨﻭﺍﺕ. ﺴ ِﺒﻴﺘﺎﻥ ﻓـﻲ ﺕ ﻁ ﹾ ﺙ ﺃﻥ ﺴ ﹶﻘ ﹶ ﻭﺤﺩ ﹶ ﺃﻴﺩﻱ ﺍﻹﻏﺭﻴﻕ ،ﻭ ﻤ ِﻨﺤﺕ ﺇﺤـﺩﺍﻫﻤﺎ ﺃﺨﻴل. ﺴ ﹶﻜﺭِ ﺍﻹﻏﺭﻴﻕ ِﻟﻴﻔ ﹶﺘﺩِﻱ ﺍﺒﻨﺘﻪ ﺇﻟﻰ ﻤﻌ ﺒﺎﺭﻴﺱ ﻤﺭ ﹰﺓ ﺃﺨﺭﻯ ،ﻭﻟﻜﻥ ﻓﻴﻨﻭﺱ ﺢ ﻓﻲ ﺇﻗﻨﺎﻋِﻬﺎ ﺒﺭﺅﻴﺘﻪ. ﺠ ﹶﺘ ﹾﻨ ل ﻥ ﺫﻟﻙ ﺍﻟﻭﻗﺕ ﻴﺤﺎ ِﻭ ُ ﻏﻀﻭ ِ ﻭﻓﻲ ﹸ w. ﺠﺎﺭﻴﺘﹸــﻪ ﻷﺠــﺎﻤﻤﻨﻭﻥ .ﻭﻟﻜــﻥ ﻑ ﺍﻟﻁـﺭﻭﺍﺩﻴﻴﻥ .ﻭﻴﺤـﺯﻥ ﺼﻔﹸﻭ ِ ﺡ ﺒﺄﻨﻬﺎ ﻻ ﺘﹶـ ﻭ ﺩ ﺃﻥ ﺘﹶـﺭﻯ ﻭﺘﹸﺼﺭ ww ﺴﺒِﻴﻠِﻬﺎ ﺃﻨﻪ ﻻ ﻤﺎ ِﻨ ﻊ ﻟﺩﻴﻪ ﻤﻥ ﺇﺨﻼﺀ ﻭﺇﻨﻴﺎﺱ ،ﻭﻴﺨﺭﺝ ﻟﻤﻼﻗﺎ ِﺓ ﺍﻹﻏﺭﻴﻕ. ﺒﺎﺭﻴﺱ ﻴﻨﺘﻅﺭﻫـﺎ ﻓـﻲ ﺍﻟﻘﹶﺼـﺭِ. alk ﻕ ﻤـﻥ ﺍﻟ ﹶﻜﻬﻨـﺔِ ﺃﻥ ﻭﻴﻌﹶﻠ ﻡ ﺍﻹﻏﺭﻴ ﹸ www.alkottob.com ﺍﻟﻘِﻴﺎ ﻡ ﺒﻤﺤﺎﻭﻟﺔ ﺃﺨﻴﺭﺓ ﻟﻠ ﻬﺠﻭ ِﻡ ﻋﻠﻰ ﻙ ﺕ ﻋﻠﻰ ﻨﹶﺼـﻴﺭِﻫﺎ؛ ﹶﻓ ﹶﺘﻔﹸـ ﻗﺩ ﺩﺍ ﺭ ﹾ ott ob ل ﻁـ ِ ـﺭﻯ ﻟﻠ ﺒ ﹶ ـﺎﻤﻤﻨﻭﻥ ،ﻭﺍﻷﺨـ ﻷﺠـ ﺨﺭِﻫﻡ. ﻋﻥ ﺁ ِ ﻭﻤﻨﻴﻼﻭﺱ ﻓـﻲ ﻤ ﻌﺭﻜـ ٍﺔ ﺭﻫِﻴﺒـ ٍﺔ ﺍﻟﻤﻌﺭﻜﺔ. ٩٤ ﺽ ﺠﻨــ ِﺩﻴﺎ ﻤﺤــﺎﺭِﺏ ،ﻭﺘﹸﺤــﺭ ﻫﻜﺘــﻭﺭ ﻭﺯﻭﺠﺘِــ ِﻪ ﺃﻨــﺩﺭﻭﻤﺎﻙ ﹸﻗﻭﺍ ِﺩ ِﻩ ﻓﻲ ﺨﻴﻤﺘﻪ ،ﻭﻴﻨـﺯل ﻋﻠـﻰ ﻕ ﺴـﻬﻤﺎ ﻁﻠِـ ﹸ ﻁﺭﻭﺍﺩﻴﺎ ،ﻋﻠﻰ ﺃﻥ ﻴ ﹾ ﺘﹶﺼــﻭِﻴﺭﺍ ﻤــ َﺅ ﱢﺜﺭﺍ .ﻭﺘﺤــﺎﻭل ﺇﺭﺍﺩﺓ ﺍﻟﺤﺎﻀِﺭﻴﻥ ،ﻭﻴﻘﺒل ﺍﻻﻋﺘﺫﺍ ﺭ ﻴﺼﻴﺏ ﺒـﻪ ﻤﻨـﻴﻼﻭﺱ؛ ﹶﻓ ﻴﺜﹸـﻭ ﺭ ﺃﻨــﺩﺭﻭﻤﺎﻙ Andromacheﺃﻥ ﻥ ﺘﺜﻨﻲ ﺯﻭﺠﻬﺎ ﻋﻥ ﺍﻟﻌﻭﺩ ِﺓ ﺇﻟﻰ ﻤﻴﺩﺍ ِ ﺙ ﺇﻟﻴــﻪ ﺇﻟــﻰ *ﺃﺨِﻴــل ،ﻭ ﻴ ﺒﻌــ ﹸ *ﺃﻭﻟﻴﺴﻭﺱ ﻭﺃﺠﺎﻜﺱ؛ ﻟِﻴﻁﻠﹸﺒﺎ ﻤﻨـﻪ ﺍﻟﻁﺭﻭﺍﺩﻴﻴﻥ ﻭﺘﺴﻴل ﺍﻟﺩﻤﺎ ﺀ ﺍﻨﻬﺎﺭﺍ. ﺍﻟﻘِﺘﺎل؛ ﹶﻓ ﹸﺘ ﹶﺫﻜﱢ ﺭ ﻩ ﺒﺄﻨﻪ ﻟﻡ ﻴﻌﺩ ﻫﻨـﺎﻙ ﺍﻟﻌﻭﺩ ﹶﺓ ﻭﺍﻻﺸﺘﺭﺍﻙ ﻓـﻲ ﺍﻟﻘِﺘـﺎل، ﺕ ﹸﻜلﱠ ﻤﻥ ﻴﺤﻤﻴﻬﺎ ﺴِﻭﺍﻩ ﺒﻌﺩ ﺃﻥ ﹶﻓ ﹶﻘﺩ ﹾ ﺨﻠﱠﻰ ﻟـﻪ ﺃﺠـﺎﻤﻤﻨﻭﻥ ﻭ ﻴ ِﻌﺩﺍ ﻩ ﺒﺄﻥ ﻴ ﹶﺘ ﹶ ﺃَﻫﻠِﻬﺎ ﻭﻋﺸﻴﺭﺘﻬﺎ ،ﻭﻟﻜـﻥ ﻫﻜﺘـﻭﺭ ﻋﻥ ﺍﻟﺠﺎﺭﻴﺔ ،ﻭﺒﺄﻥ ﻴ ﺯ ﻭﺠـﻪ – ﺇﺫﺍ ﻴﺘﺨﻠﱠﺹ ﻤﻨﻬﺎ ِﺒ ِﺭﻓﹾﻕ ،ﻭﻴﻘﻭل ﻟﻬﺎ ﺇﻥ ﺸﺎ ﺀ – ﻤﻥ ﺇﺤﺩﻯ ﺒﻨﺎﺘِـﻪ ،ﻭﻟﻜـﻥ m ﻱ ﻁ ﺍﻟ ﺭ ﺒ ﹸﺔ *ﻤﻴﻨﻴﺭﻓﺎ ﻓـﻲ ِﺯ ﻭ ﹶﺘ ﻬ ِﺒ ﹸ ﺼﻭ ﺭ ﺍﻹﻟﻴـﺎﺫ ﹸﺓ ﺍﻟﻠﻘـﺎ ﺀ ﺒـﻴﻥ ﻭ ﹸﺘ ﻭ ﻴ ﻌ ِﻘ ﺩ ﺃﺠﺎﻤﻤﻨﻭﻥ ﻤـﺅﺘﻤﺭﺍ ﻤـﻊ ﺠ ﻡ ﺒﺠﻨﻭﺩﻩ ﻋﻠـﻰ ﺃﺠﺎﻤﻤﻨﻭﻥ ،ﻭ ﻴ ﻬ .co ﺏ ﺩﻴﻭﻤﻴﺩﺱ Diomedes ﻭﻴﺼﺎ ﺡ ﻗﺎﺘِل ﻭﻟﻜﻥ ﻤﻴﻨﻴﺭﻓﺎ ﺘﻌﺎﻟﺠـﻪ ﺒﺠﺭ ٍ ﺡ ﻓﻲ ﺍﻟﺤـﺎل ،ﻭﻴﻌـﻭﺩ ﻓﻴﻠ ﹶﺘ ِﺌ ﻡ ﺍﻟﺠﺭ ﺽ ﻑ ﻴﻘﺘﻀــﻴﻪ ﺃﻥ ﻴﺨﹸــﻭ ﺍﻟﺸﱠــﺭ ﹶ ﺃﺨﻴل ﻴـﺭﻓﺽ ﺍﻟﻌـﻭﺩﺓ .ﻭﻴﻌـﻭﺩ ﺒﺎﻟﻌﺸﺭﺍﺕ ﻤﻥ ﺃﻋﺩﺍﺌِﻪ ﻭﻴﻭﺸـﻙ ﺃﻥ ﻀﻡ ﻁﻨِﻪ ،ﺜﻡ ﻴ ﺍﻟﻤﻌﺭﻜﺔ ﻤﻊ ﺃﺒﻨﺎﺀ ﻭ ﹶ ﻑ ﺍﻟ ﺭﺴﻭﻻﻥ ﻟﻴﻌﻠﻨﺎ ﺍﻟ ﱠﻨﺒﺄ ﺒـﻴﻥ َﺃﺴـ ِ ﻉ ﻴﻘﻀﻲ ﻋﻠﻰ ﺃﻨﻴﺎﺱ ،ﻟﻭﻻ ﺃﻥ ﹸﺘ ﻬ ﺭ ﻭﹶﻟﺩ ﻩ ﺇﻟﻰ ﺼﺩﺭِﻩ ﻭﻴﺴﻠﻤﻪ ﺇﻟﻰ ﺃﻤﻪ، ﺠﻤِﻴﻊ. ﺍﻟ ﻁﻔﹶـ ﻪ ﺒﻌﻴـﺩﺍ. ﺨ ﹶﺘ ِ ﺇﻟﻴﻪ *ﻓﻴﻨﻭﺱ ﻭ ﹶﺘ ﹾ ﻭﻴﻨﻁﻠﻕ ﺇﻟﻰ ﻤﻴﺩﺍﻥ ﺍﻟﻘﺘﺎل ،ﻭﻴﻨﻀﻡ ـﻨﻬﺽ ل ﻴـ ـِ ـﺎ ِﺀ ﺍﻟﻠﱠﻴـ ـﻲ ﺃﺜﻨـ ﻭﻓـ ﻙ ﻁﻭﺍل ﺍﻟﻨﻬـﺎﺭ. ﺴ ﹶﺘﻤِ ﺭ ﺍﻟﻤﻌﺎ ِﺭ ﻭ ﹶﺘ ﺇﻟﻴﻪ ﺃﺨﻭﻩ ﺒﺎﺭﻴﺱ .ﻭﻤﺎ ﺇﻥ ﻴـﺭﻯ ﺃﺠﺎﻤﻤﻨﻭﻥ ﻭﻤﻨﻴﻼﻭﺱ ﻭ* ﻨﺴﻁﻭﺭ، ﻭﻴﻘﺭ ﺭ ﺍﻟﻌﻭﺩ ﹶﺓ ﺇﻟﻰ ﻁﺭﻭﺍﺩﺓ ﻟﻴﻁﻠﺏ ﺤﺘﻰ ﻴ ﻬﻠﱢﻠﻭﺍ ﹶﻓ ﺭﺤﺎ. ﻤﺭﺍﻜﺯ ﺍﻹﻏﺭﻴﻕ ،ﻭﻴﻘﺘﺭﺡ ﻨﺴﻁﻭﺭ ott ob ﻙ ﺩﻴﻭﻤﻴﺩﺱ ﺇﻟﻰ ﻤﻴﺩﺍﻥ ﺍﻟﻘِﺘﺎل ﻭ ﻴ ﹾﻔ ِﺘ ﻭﻴﺘﺸﺎﻭﺭ *ﻫﻜﺘﻭﺭ ﻤﻊ ﺃﺼـﺩﻗﺎﺌِﻪ، ـﺩﺱ ِﻟ ﹶﺘ ﹶﻔ ﱡﻘـ ِﺩ ﻭﺃﻭﻟﻴﺴـﻭﺱ ،ﻭﺩﻴﻭﻤﻴـ ﺍﻟﻁﺭﻭﺍﺩﻴﻭﻥ ﺍﻟﺸـﻘﻴﻘﻴﻥ ﻴﺒـﺭﺯﺍﻥ؛ ﻟﻠ ﺭ ﺒ ِﺔ ﻤﻴﻨﻴﺭﻓﺎ ،ﺜﻡ ﻴﻨـﺩﻓﻊ ﻫﻜﺘـﻭﺭ ل ﺍﻹﻏﺭﻴﻕ؛ ﹶﻓ ﻴﺒـ ﺭ ﺯ ﺤﺩﻯ ﺃﺒﻁﺎ َ ﻭ ﻴ ﹶﺘ ﺍﻟﻁﺭﻭﺍﺩﻴﻴﻥ ﻻﻜﺘﺸﺎﻑ ﻤﺎ ﻴـ ﺩ ﺒﺭﻭﻥ ﺤﺜﹰﺎ ﻋﻥ ﺒـﺎﺭﻴﺱ؛ ﻓﻴﺠـﺩﻩ ﻓـﻲ ﺒﺎ ِ ﺇﻟﻴﻪ ﺃﺠﺎﻜﺱ Ajaxﻭﻴﺩﻭﺭ ﺒﻴﻨﻬﻤـﺎ alk ﻤﻥ ﻨِﺴﺎﺌِﻬﺎ ﺃﻥ ﻴﻘﹶـﺩﻤﻥ ﺍﻟﻘـﺭﺍﺒﻴﻥ ﻭﻴﺘﻘﺩﻡ ﻫﻜﺘـﻭﺭ ﺇﻟـﻰ ﺍﻟﻤﻴـﺩﺍﻥ ﺃﻥ ﻴﺘﺴﻠﱠل ﺃﺤـﺩﻫﻡ ﺇﻟـﻰ ﻤﻌﺴـﻜ ِﺭ ﻭﻴﻁﻠﺏ ﻫﻜﺘﻭﺭ ﻤﻥ ﺃﺨﻴﻪ ﺃﻥ ﻴﻌﻭ ﺩ ل ﺒﻴﻨﻬﻤﺎ ﺇﻟﻰ ل ﺍﻟﻘِﺘﺎ ُ ﺍﻟﺸﹼﻤﺱ ،ﻭ ﻴ َﺅﺠُ ﺤ ﻪ ﺒﺄﻨﻪ ﻥ ﺍﻟﻘِﺘﺎل ،ﻭﻴﺼﺎ ِﺭ ﺇﻟﻰ ﻤﻴﺩﺍ ِ ﺍﻟ ﹶﻐﺩِ. ﻤﺴــﺌﻭل ﻋﻤــﺎ ﻴﺘﻌــﺭﺽ ﻟــﻪ ﻭﺩﻴﻭﻤﻴﺩﺱ ﺒﺎﻟﻘِﻴﺎ ِﻡ ﺒﻬـﺫﺍ ﺍﻟﻌﻤـل. ﻭﻴﻠﺘﻘﻴﺎﻥ ﻓﻲ ﻁﺭﻴﻘﻬﻤـﺎ ﺒـﺩﻭﻟﻭﻥ؛ ﻭﻫــﻭ ﺠﺎﺴــﻭﺱ ﻁــﺭﻭﺍﺩﻱ، w. ﺍﻟﻘﹶﺼ ِﺭ ﻤﻊ *ﻫﻴﻠﻴﻥ ﻭﻭﺼـﻴﻔﺎﺘِﻬﺎ، ﺏ ﺴ ﹶﺘﻤِ ﺭ ﺤﺘﻰ ﻏﹸـﺭﻭ ِ ل ﻤﺭِﻴ ﺭ ﻴ ﻗِﺘﺎ ٌ ﻁﻁٍ؛ ﹶﻓ ﻴ ﺭﺤـﺏ ﺃﻭﻟﻴﺴـﻭﺱ ﺨﹶ ﻤﻥ ﹸ ل ﻑ ﺍﻟﻘِﺘـﺎ ِ ﻭﻴﻘﺘﺭﺡ ﺒﺭﻴﺎﻤﻭﺱ ﻭ ﹾﻗ ﹶ ﻭﻴﺴﺘﺨﻠﺼﺎﻥ ﻤﻨﻪ ﻜل ﻤﺎ ﻴﺘﹸﻭﻗـﺎﻥ ﺕ ﻟﻤﺎ َﺃﺒـﺩﺍ ﻩ ﺍﻟﻁﺭﻭﺍﺩﻴﻭﻥ ﻤﻥ ﻭﻴﻼ ٍ ﻥ ﺍﻟ ﹶﻘ ﹾﺘﻠﹶﻰ. ﺒﻴﻥ ﺍﻟﻔﺭﻴﻘﻴﻥ ﻓﺘﺭ ﹰﺓ ِﻟ ﺩ ﹾﻓ ِ ل ﺯﻭﺠﺘﹶﻪ ﻭﺍﺒﻨﻪ ﻓﻤﻥ ﺇﻟﻰ ﻤﺴﻜﻨﻪ ﻟِ ﻴ ﹶﻘ ﺒ َ ﻱ ﻤﺴـﺎﻋﺩ ٍﺓ ﻴ ﻤ ﹶﺘ ِﻨﻌﻭﺍ ﻋﻥ ﺘﹶﻘـﺩِﻴ ِﻡ ﺃ ل ﺃﻭﻟﻴﺴﻭﺱ ﻭﺩﻴﻭﻤﻴـﺩﺱ ﻭﻴ ﹶﺘﺴﱠﻠ ُ ﻴﺩﺭﻱ؛ ﻟﻌﻠﻪ ﻻ ﻴﺭﺍﻫﻤﺎ ﺒﻌﺩ ﺍﻟﻴـﻭﻡ. ﻟﻠﻔﺭﻴﻘﻴﻥ ﺍﻟﻤﺘﺤﺎﺭِﺒﻴﻥ ،ﻭﺇﻻ ﻋﺎ ﹶﻗﺒﻬﻡ ﺇﻟــﻰ ﻤﻌﺴــﻜﺭ ﺍﻟﻁــﺭﻭﺍﺩﻴﻴﻥ، ﺨﺩﻡ ﺃﻨﻬﺎ ﻓﻭﻕ ﺍﻷﺴﻭﺍﺭ ﻭ ﻴ ﻌﹶﻠ ﻡ ﻤﻥ ﺍﻟ ﹶ ـﺎﺭﻭﺱ ـﻲ ﺘﺎﺭﺘــ ـﺠﻥ ﻓــ ﺒﺎﻟﺴــ ﺴﺘﹶﻭﻟِﻴﺎﻥ ﻋﻠـﻰ ﺍﻟﺠِﻴـﺎ ِﺩ .ﻭﻓـﻲ ﻭ ﻴ ﺏ ﺍﻟﻤﻌﺭﻜ ﹶﺔ ﻓﻴﻨﻁﻠﻕ ﺇﻟﻴﻬﺎ. ﹶﺘ ﺭﻗﹸ .Tartarus ﺏ ﺍﻟﺼﺒﺎﺡ ﻴ ﹾﻠ ﹶﺘﺤِ ﻡ ﺍﻟﺠﻴﺸﺎﻥ ،ﻭﻴﺼـﺎ www.alkottob.com ﻤﻜﺎﻥ ﺠِﻴﺎﺩ ﺭﻴﺯﻭﺱ. ww ﻉ ﻫﻜﺘﻭﺭ ﻥ .ﻭ ﻴ ﻬ ﺭ ﺠ ﺒ ٍ ﻑ ﻭ ﻤﻥ ﻀﻌ ٍ ﻭ ﻴﺤــﺫﱢ ﺭ ﺠــﻭﺒﻴﺘﺭ ﺍﻵﻟﻬــﺔ ﺃﻥ ﺇﻟﻴﻪ ﻤﻥ ﻤﻌﻠﹸﻭﻤﺎﺕ ،ﻭﻴﻌﺭﻓﺎﻥ ﻤﻨـﻪ ٩٥ ﺤﺙﱡ ﺭﺠﺎﻟﹶﻪ ﻋﻠﻰ ﺠ ﻊ ﻫﻜﺘﻭﺭ ،ﻭ ﺸ ﻓﹶﻴ ﹶﺘ ﹶ ﺃﺨﻴﺭﺍ ﺒﻬﻜﺘﻭﺭ ﻭﻴﺩﻭﺭ ﺒﻴﻨﻬﻤﺎ ﻗِﺘـﺎل ﺤﻘﱢـﻪِ، ﻋﻤﺎ ﺍﺭﺘﻜﺒﻪ ﻤﻥ ﺨﻁﺄ ﻓـﻲ ﻤﻬﺎﺠﻤ ِﺔ ﺍﻹﻏﺭﻴﻕ ،ﻭ ﻴ ﺭ ﹶﺘ ﺩ ﻫـﺅﻻﺀ ﻑ ﺃﺒﻭﻟـﻭ ﺨ ﹶﺘﻁِـ ﹸ ﻋﻨﻴﻑ ،ﻭﻓﺠـﺄ ﹰﺓ ﻴ ﹾ ﻭﻴﻘﺩﻡ ﻟﻪ ﺍﻟﻬـﺩﺍﻴﺎ ﻭﻴﻘـﻴﻡ ﻤ ْﺄﺩﺒـ ﹰﺔ ل ﻤﻌﺴﻜﺭﻫﻡ. ﻥ ﺩﺍﺨِ َ ﺼﻨﹸﻭ ﺤ ﻭ ﻴ ﹶﺘ ﻭﻓﻲ ﺍﻟﻴﻭ ِﻡ ﺍﻟﺘﱠﺎﻟﻲ ﻴﺘﺠﺩ ﺩ ﺍﻟﻘِﺘـﺎل، ﺍﻟﺨﹸﻭ ﹶﺫ ﹶﺓ ﻤﻥ ﻓﻭﻕ ﺭﺃﺱ ﺒﺘـﺭﻭﻜﻠﺱ، ﺕ ﻋـﺩﻭﻩ ﻀ ﺭﺒﺎ ِ ﻭﻴﺘﺭﻜﻪ ﻋﺭﻀ ﹰﺔ ِﻟ ل ﺃﻥ ﻀﺭﻫﺎ ﻗﹶﺒ َ ﺤ ﺽ ﺃﺨﻴل ﺃﻥ ﻴ ﻴ ﺭﻓﹸ ﻑ ﺃﺠﺎﻜﺱ ﺼﺨﺭ ﹰﺓ ﺘﺴﻘﻁ ﻋﻠﻰ ﻭﻴﻘ ِﺫ ﹸ ﺡ ﺨﻁﻴـ ٍﺭ ﺏ ﺒﺠـﺭ ٍ ﺍﻟﱠﻠﺩﻭﺩ؛ ﹶﻓﻴﺼﺎ ﻋﺭﺒ ِﺘ ِﻪ ﺍﻟﺤﺭﺒﻴﺔ، ﻭ ﻴ ﹾﻘ ِﻔ ﺯ ﺃﺨﻴل ﺇﻟﻰ ﻅ ﺃﻨﻔﺎﺴﻪ .ﻭﻴﻨﺩﻓﻊ ﻤﻨـﻴﻼﻭﺱ ﻭ ﻴ ﹾﻠ ِﻔ ﹸ ﻥ ﺍﻟﻘِﺘﺎل ،ﻭﻴﻠﺘﻘﻲ ﻕ ﺇﻟﻰ ﻤﻴﺩﺍ ِ ﻁﻠِ ﹸ ﻭﻴ ﹾﻨ ﹶ ِﻟﺤِﻤﺎﻴ ِﺔ ﺠﺜﻤﺎﻥ ﺒﺘﺭﻭﻜﻠﺱ ،ﻭﺇﻨﻘـﺎﺫ ﻙ ﺒﻪ ﻟﻭﻻ ﺃﻥ ﺒﺎﻨﻴﺎﺱ ﻭﻴﻭﺸﻙ ﺃﻥ ﻴ ﹾﻔ ِﺘ ﻉ ﻓﻲ ﻋ ﺩ ِﺓ ﺃﺨﻴل ﺍﻟﺤﺭﺒﻴﺔ ﻤﻥ ﺍﻟ ﻭﻗﹸﻭ ِ ﹶﺘ ﻤ ﹶﺘ ﺩ ﺃﻴﺩﻱ ﺍﻵﻟﻬﺔ ﻭﺘﺨﺘﻁﻔـﻪ ﻤـﻥ ﺏ ﺒﻴـﻨﻬﻡ ﺃﻨﻔﺴﻬﻡ ﺒﻼ ﻗﺎﺌِـﺩ؛ ﹶﻓﺘﹶـ ِﺩ ﻉ ل ﺇﻟﻰ *ﺃﺨﻴل ﹶﻨ ﺒُﺄ ﻤﺼـ ﺭ ِ ﺼُ ﻭ ﻴ ِ ﻭﻴﻁﻠﺏ ﻤﺒﺎﺭﺯ ﹶﺓ ﻫﻜﺘﻭﺭ ،ﻓﻴﺘﻘﺩﻡ ﺇﻟﻴﻪ ﺍﻟﻔﹶﻭﻀﻰ ﻭﻴﺘﺭﺍﺠﻌـﻭﻥ .ﻭﻴﺭﺴِـلُ ل ﻭﻴ ﹾﻨ ﹶﺘﺤِـﺏ ﻁُ ﺒﺘﺭﻭﻜﻠﺱ؛ ﻓﻴﺒﻜﻲ ﺍﻟ ﺒ ﹶ ﻫﺫﺍ ﻓﻲ ﺸﹶﺠﺎﻋﺔٍ ،ﻭﻟﻜﻥ ﻤﻨِ ﻴ ﹶﺔ ﻫﻜﺘﻭﺭ ﺠﻭﺒﻴﺘﺭ ﺍﻹﻟﻪ ﺃﺒﻭﻟﻭ ِﻟﻌِﻼﺝ ﻫﻜﺘﻭﺭ. ﻉ ل ﺘﺴﻤﻌﻪ ﺜﻴﺘﻴﺱ؛ ﹶﻓﺘﹸ ﻬ ﺭ ﺕ ﻋﺎ ٍ ﺒﺼﻭ ٍ ﻟﻡ ﺘﺤِﻥ ﺒﻌﺩ ،ﻓﺘﻔﺼل ﺍﻵﻟﻬﺔ ﺒـﻴﻥ ﺜﻡ ﻴﻬﺠﻡ ﺍﻟﻁﺭﻭﺍﺩﻴﻭﻥ ﻭﻴﻘﺘﺤﻤـﻭﻥ ﻑ ﺒﺠﻭﺍﺭ ﻭﻟﺩﻫﺎ ،ﻭ ﻴ ﹾﻘﺴِـ ﻡ ﻟﻬـﺎ ﻟِ ﹶﺘﻘِ ﹶ ﺍﻟﻤﺘﺤﺎﺭِﺒﻴﻥ. m ﻁﻌﻨـﺔٍ ﻤـﻥ ﺭﻤـﺢ؛ ﺃﺠﺎﻤﻤﻨﻭﻥ ﺒ ﹶ ﺒﺘﺭﻭﻜﻠﺱ ﻭﻴﻁﺎ ِﺭ ﺩ ﺃﻋﺩﺍﺀﻩ .ﻭ ﻴ ﹾﻠ ﹶﺘﻘِﻲ ﺼﺩﻴﻘﻪ ،ﻭﻴ ﻌ ﹶﺘﺫِ ﺭ ﺃﺠﺎﻤﻤﻨﻭﻥ ﻷﺨﻴل .co ﻫﻜﺘﻭﺭ ﻓﻴﻘﻊ ﻋﻠﻰ ﺍﻷﺭﺽِ ،ﻭﻟﻜـﻥ ل ﺃﻥ ﻴ ﹶﻘﻊ ﺃﺴـﻴﺭﺍ ﻓـﻲ ﺃﻴـﺩﻱ ﻗﺒ َ ﻉ ﺇﻟﻴـﻪ ﺭﺠﺎﻟﹸـﻪ ﺍﻹﻏﺭﻴﻕ؛ ﻴﻬـ ﺭ ﻥ ﺍﻟﻤﻌﺭﻜـﺔ؛ ﻓﻴﻨـﺎﺩﻱ ﺃﺨﻴـل ﻤﻴﺩﺍ ِ ﻙ ﺭﻫﻴﺒﺔ. ﻴ ِﺩ ﺍﻟ ﻌ ﺩﻭ ،ﻭﺘﺩﻭﺭ ﻤﻌﺎ ِﺭ ott ob ـﻭﻥ ﺠ ـ ﺩ ﺍﻟﻁﺭﻭﺍﺩﻴـ ﻭﻴﻨﻘﺫﻭﻨـ ـﻪ .ﻭ ﻴ ِ ﻴ ﹾﻨ ﹶﺘﻘِﻡ ﻟﺼﺩﻴﻘِﻪ. ل ﺃﻥ *ﺒﺘﺭﻭﻜﻠﺱ ﺇﻟﻰ ﺃﺨﻴل ،ﻭﻴﺤﺎ ِﻭ ُ ﻓﺘﻁﻠﺏ ﻤﻨﻪ ﺃﻤﻪ ﺃﻥ ﻴﻨﺘﻅﺭ ﺇﻟﻰ ﺍﻟﻐﺩ ﻥ ﺇﻟـﻰ ﻨﹶﻬـﺭِ ﺍﻹﻏﺭﻴﻕ ،ﻭ ﻴﺼِـﻠﹸﻭ ﺠﺩﺓِ ﺒﻨﻲ ﻭﻁﻨـﻪ، ﻴ ﹾﻐﺭِﻴﻪ ﺒﺎﻟﻘِﺘﺎل ﻟِ ﹶﻨ ل ﻟﻪ ﻤﻥ *ﻓﻭﻟﻜـﺎﻨﻭﺱ ﺼَ ﺤ ﺤﺘﱠﻰ ﹶﺘ ﻙ ﺇﻜﺴﺎﻨﺘﻭﺱ ،ﻭ ﻴ ﹶﺘ ﻌﻘﱠﺒﻬﻡ ﺃﺨﻴل ﻭ ﻴ ﹾﻔ ِﺘ ﻭﻟﻜﻥ ﺃﺨﻴـل ﻴﺼـ ﻡ ﺃﺫﻨﻴـﻪ ﻋـﻥ ﺏ ﺠﺩﻴـﺩﺓ؛ ﻓﻴﻌـﺩﻫﺎ ﻋ ﺩ ِﺓ ﺤﺭ ٍ ﻋﻠﻰ ﺒﺎﻟﻤِﺌﺎﺕ ﻤﻨﻬﻡ ،ﺜﻡ ﻴﻌﻭﺩ ﻭﻤﻌﻪ ﺍﺜﻨـﺎ ﺘﻭﺴﻼﺕ ﺒﺘﺭﻭﻜﻠﺱ؛ ﻓﻴﻁﻠﺏ ﻤﻨـﻪ ﻕ ﺼـﻴﺤ ﹰﺔ ﻁﻠِ ﹶ ﺒﺫﻟﻙ ،ﻭﻴﻜﺘﻔﻲ ﺒﺄﻥ ﻴ ﹾ alk ﻉ ﻕ ﻤﻥ ﺠﺩﻴﺩ؛ ﻓ ﻴﻬﺭ ﻤﻌﺴﻜ ﺭ ﺍﻹﻏﺭﻴ ِ ﺃﺨﻴل ﺃﻨﻪ ﺴﻴ ﹾﻨ ﹶﺘﻘِ ﻡ ﻟﻤﺼﺭﻉ ﺼﺩﻴ ِﻘﻪِ؛ ﻭ ﻴﻔِــ ﺭ ﺍﻟﻁﺭﻭﺍﺩﻴــﻭﻥ ﺃﻤــﺎ ﻡ ﻋﺭﺒ ﹶﺘ ﻪ ﻭﺭﺤﻠﻪ؛ ﹶﻓ ﻴﺠِﻴ ﺒ ﻪ ﺃﺨﻴل ﺇﻟﻰ ﻭ ﻓﻴﻔﺭﻭﻥ ،ﻭﻫﻜﺫﺍ ﻴﺴﺘﻁﻴﻊ ﺍﻹﻏﺭﻴﻕ ﻁﻠﺒﻪ. ﺠﺜﱠﺔ ﺒﺘـﺭﻭﻜﻠﺱ ﺇﻟـﻰ ﺃﻥ ﻴﺤﻤﻠﻭﺍ ﺠﺩﺓِ ﺯﻤﻼﺌِﻪ، ﻭﻴﻨﺩﻓﻊ ﺒﺘﺭﻭﻜﻠﺱ ﻟِ ﹶﻨ ﻭﻴﻌﺘﻘﺩ ﺍﻟﻁﺭﻭﺍﺩﻴﻭﻥ ﺃﻨـﻪ ﺃﺨﻴـل؛ ﺼﺩِﻴﻘِﻪ .ﻭﻴﻐﻀﺏ ﺇﻟ ﻪ ﺍﻟﻨﱠﻬ ِﺭ ﻋﻨﺩﻤﺎ ﺼﻡ ﺃﺫﻨﻴـﻪ ﻋـﻥ ﻴﺭﻯ ﺃﻥ ﺃﺨﻴل ﻴ ﺕ ﺍﻷﺴﺭﻯ ﺒﺎﻹﺒﻘـﺎ ِﺀ ﻋﻠـﻰ ﹶﺘ ﻭﺴﻼ ِ w. ﻋﺩﺘـ ﻪ ﺍﻟﺤﺭ ِﺒﻴـ ﹶﺔ ﻫﺫﺍ ﺃﻥ ﻴﻌِﻴـﺭﻩ ﻤ ﺩﻭﻴ ﹰﺔ ﺘﻬﺘﺯ ﻟﻬﺎ ﺃَﻓﺌِﺩ ﹸﺓ ﺍﻟﻁـﺭﻭﺍﺩﻴﻴﻥ ﻲ ﺒﻬﻡ ﻓﻭﻕ ﻗﹶﺒ ِﺭ ﺤ ﻀ ﻋﺸ ﺭ ﺃﺴﻴﺭﺍ ﻟ ﻴ ﻑ ﺍﻟﻤﻌﺴﻜﺭ ،ﻭﺘﻐﺭﺏ ﺍﻟﺸﻤﺱ ﻭﻴ ﹶﺘﻭ ﱠﻗ ﹸ ﺠ ﺩ ﺃﻥ ﺤﻴﺎﺘِﻬﻡ ،ﻭ ﻴﺜﹸﻭ ﺭ ﺍﻹﻟﻪ ﻋﻨﺩﻤﺎ ﻴ ِ ﺍﻟﻘِﺘﺎل. ﺙ ﺠﺜﹶـ ِ ﺱ ِﺒ ﺽ ﺍﻟﻨﱠﻬﺭ ﻗﺩ ﹶﺘﻜﹶـ ﺩ ﺤﻭ ﻕ ﹶﻓﻴﻁﺎ ِﺭﺩﻭﻨﻬﻡ ﺤﺘﱠﻰ ﺃﺒﻭﺍﺏ ﺍﻹﻏﺭﻴ ﹸ ﺏ ﻋ ﺩ ِﺓ ﺤـﺭ ٍ ﻤﻥ *ﻓﻭﻟﻜﺎﻨﻭﺱ ﻋﻠﻰ ﻟﻭﻻ ﺃﻥ ﹶﺘ ﻤ ﹶﺘ ﺩ ﺃَﻴﺩِﻱ ﻨﺒﺘﻭﻥ ﻭﻤﻴﻨﻴﺭﻓﺎ ﻁﺭﻭﺍﺩﺓ .ﻭﻴﻭﺸـﻙ ﺒﺘـﺭﻭﻜﻠﺱ ﺃﻥ ﺠﺩِﻴﺩﺓ ،ﻭﺘﻘﺩﻤﻬﺎ ﻻﺒﻨﻬـﺎ ،ﻭﻤـﺎ ﺇﻥ ﻹﻨﻘﺎﺫِﻩ. ﻙ ﺒﻬﻜﺘﻭﺭ ﻟـﻭﻻ ﺃﻥ ﻴ ﻌ ﹶﺘﺭِﻀـﻪ ﻴ ﹾﻔ ِﺘ ﺏ ﻓﻴـﻪ ﻴﺭﺍﻫﺎ ﺃﺨﻴـل ﺤﺘﱠـﻰ ﺘﹶـ ِﺩ ﻙ ﻭﻋﻨﺩﻤﺎ ﻴﺭﻯ *ﺒﺭﻴﺎﻤﻭﺱ ﻤﻠِـ ﺴﺎﺭﺒﻴﺩﻭﻥ ﻭﻴﺘﺤـﺩﺍﻩ؛ ﻓﻴﺼـﺭﻋﻪ ﺴ ﻡ ﺃﻥ ﻴ ﹾﻨ ﹶﺘﻘِﻡ ﻟﻤﺼﺭﻉ ﺍﻟﺤﻤﺎﺴﺔ ،ﻭ ﻴ ﹾﻘ ِ ﺠﻨﹸـﻭﺩِﻩ؛ ﻁﺭﻭﺍﺩﺓ ﺍﻟ ﻌﺠﻭ ﺯ ﻫﺯِﻴﻤ ﹶﺔ www.alkottob.com ww ﺠ ﻊ ﻓﻴﺘﺭﺍﺠﻌﻭﻥ ﻤﻥ ﺃَﻤﺎﻤِـﻪ ﻭ ﻴ ﹶﺘﺸﹶـ ﻭﻓﻲ ﻫﺫﻩ ﺍﻟﻠﱢﻴﻠ ِﺔ ﺘﺤﺼل ﺜﻴﺘـﻴﺱ ﺸ ِﺭﻑﹸ ﺃﺨﻴل ﻋﻠﻰ ﺍﻟ ﹶﻐﺭﻕِ ﺍﻟ ﹶﻘ ﹾﺘﻠﹶﻰ ،ﻭ ﻴ ﹾ ٩٦ ﻟﻤﻥ ﻨﺠﺎ ﻤﻨﻬﻡ ﺒﺎﻟ ﺩﺨﹸﻭل ،ﺜﻡ ﻴ ﹾﻐِﻠﻘﹸﻬﺎ ﻥ ﺍﺜﻨﻲ ﻋﺸﺭ ﻁﺭﻭﺍﺩﻴﺎ ﺴﻭﻑ ﻴ ﻌ ﺩﻤﻭ ﺽ ﺃﻴﺎ ﻡ ﺍﻟﻌﺒﺎﺴﻴﻴﻥ ،ﻜﻤﺎ ﺃﺸﺎ ﺭ ﺒﻌـ ﺒﺴﺭﻋﺔ ﻓﻲ ﻭﺠ ِﻪ ﺍﻟ ﻌﺩﻭ. ﺤﺭ ﹶﻗﺘِﻪ ،ﻭﺃﻥ ﺠﺜـ ﹶﺔ ﻋـﺩﻭﻩ ﻓﻭﻕ ﻤِ ﺠﻤِﻴﻥ ﻭﺍﻟ ﻤﺼــﻨﱢﻔﻴﻥ ﺇﻟــﻰ ﺍﻟ ﻤﺘﹶــ ﺭ ِ ﺴﻴﻠﻘﹶﻰ ﺒﻬﺎ ﻟﻠﻜﻼﺏ. ﺕ ﺍﻹﻟﻴــﺎﺫﺓ ،ﻭﺇﻥ ﻜﺎﻨــﺕ ﺇﺸــﺎﺭﺍ ٍ m ﻴ ْﺄ ﻤ ﺭ ﺒ ﹶﻔ ﹾﺘﺢِ ﺃﺒﻭﺍﺏ ﺍﻟﻤﺩﻴﻨﺔ ﻭﻴﺴـﻤﺢ ﺒﺘﺭﻭﻜﻠﺱ ،ﻭﻴﻨﺎﺠِﻲ ﺼـﺩِﻴ ﹶﻘ ﻪ ﺒـﺄﻥ *ﻫﻭﻤﻴﺭﻭﺱ ﻓﻲ ﻋﺼ ِﺭ ﺍﻟ ﱠﺘﺭﺠﻤـ ِﺔ ﻋ ﺩﻭ ﻩ ﻫﻜﺘﻭﺭ ﻭﺍﻗﻔﹰﺎ ﺢ ﺃﺨﻴل ﻭ ﻴ ﹾﻠ ﻤ ﺏ ﺍﻟﻤﺩﻴﻨﺔ؛ ﻓﻴﻨﺩﻓﻊ ﻨﺤـﻭﻩ ﺒﺠﻭﺍ ٍﺭ ﺒﺎ ِ .co ل ﺴُ ﺨﺔﹰ ﻋﺎﻟِﻴ ﹰﺔ .ﻭﻴ ﹶﺘﻭ ﻁِﻠﻕﹸ ﺼ ﺭ ﹶ ﻭﻫﻭ ﻴ ﹾ ﺒﺯﻴﺎﻤﻭﺱ ﺇﻟﻰ ﻫﻜﺘﻭﺭ ﺃﻥ ﻴﻠﹾﺠَﺄ ﺇﻟﻰ ﻀ ﻡ ﺇﻟﻴﻪ ﺃﻤﻪ ،ﻭﻟﻜـﻥ ﺍﻟﻤﺩﻴﻨﺔ ،ﻭ ﹶﺘ ﹾﻨ ﻫﻜﺘﻭﺭ ﻴﺭﻓﺽ ﻓﻲ ﺇﺼﺭﺍ ٍﺭ .ﻭﻟﻜﻥ ﻁﻭﺍل ﺍﻟﻠﻴل ﻭﻓﻲ ﺍﻟﺼﺒﺎﺡ ﻴﺭﻜـﺏ ﻨﻅﻤﺎ ﻟﻡ ﺘﻅﻬﺭ ﺇﻻ ﻓﻲ ﺃﻭﺍﺌِل ﻫـﺫﺍ ﻋﺭﺒﺘﻪ ﺍﻟﺤﺭﺒﻴﺔ ﻭﻴﺩﻭﺭ ﺒﺠﺜﺔ ﻫﻜﺘﻭﺭ ﺍﻟﻘﺭﻥ ﻜﻤﺎ ﺃﺸﺭﻨﺎ ﻤﻥ ﻗﺒل. ﺤﻭل ﻗﺒـﺭ ﺒﺘـﺭﻭﻜﻠﺱ .ﻭﻴﻘﺒِـل ﺇﻟﻴﺴﺎ ﺒﺭﻴﺎﻤﻭﺱ ﺇﻟﻰ ﺨﻴﻤﺔ ﺃﺨﻴل ﻭﻴﺘﻭﺴل ELISSA ﺍﻨﻅﺭ :ﺩﻴﺩﻭ. ﺇﻟﻴﻪ ﺃﻥ ﻴﻬﺒﻪ ﺠﺜﺔ ﻭﻟـﺩﻩ؛ ﻓﻴـﺫﻭﺏ ott ob ﻋﻨﺩﻤﺎ ﹶﺘ ﹾﻠ ﹶﺘﻘِﻲ ﻋﻴﻨﺎ ﻩ ﺒﻌﻴﻨـﻲ ﺃﺨﻴـل ﻭﻴﺒﻜﻲ ﺃﺨﻴل ﺤﺯﻨﹰﺎ ﻋﻠﻰ ﺼﺩﻴﻘﻪ ﻤﺠ ﻤﻠﹶﺔ ،ﻭﻟﻜﻥ ﺍﻟﺘﱠﺭﺠﻤـ ﹶﺔ ﺍﻟﻜﺎﻤِﻠـ ﹶﺔ ﺍﻟﻠﺘﻴﻥ ﺘﹸﺭﺴِﻼﻥ ﺸﹸﻭﺍﻅﹰﺎ ﻤـﻥ ﻨـﺎ ِﺭ ﻗﻠﺏ ﺃﺨﻴل ﻭ ﹶﺘﺴِﻴل ﺍﻟـﺩﻤﻭ ﻉ ﻋﻠـﻰ ﺇﻟﻴﺴﻴﻮﻡ ELYSIUM ﻉ ﻓـﻲ ﻗﻠﺒـﻪ، ﺏ ﺍﻟ ﹶﻔ ﺯ ﺍﻟ ﹶﻐﻀﺏ؛ ﻴ ِﺩ ﺨﺩﻴﻪ ،ﻭﻴﺠﻴـﺏ ﺒﺭﻴـﺎﻤﻭﺱ ﺇﻟـﻰ ﹶ ﻭ ﻴ ِﻔ ﺭ ﻭﻓﻲ ﺃﻋﻘﺎﺒِﻪ ﺃﺨﻴل ﻴ ﹾﻘ ِﺫ ﹸﻓ ﻪ ﺒﻭﺍﺒل ﻤ ﹾﻠ ﹶﺘ ﻤﺴِﻪ. ﻅ ﺍﻟﺴﺒﺎﺏ. ﻤﻥ ﺃﻟﻔﺎ ِ ﺇﺨﻭ ِﺓ ﻫﻜﺘـﻭﺭ ،ﻭﻴﻌـﺭﺽ ﻋﻠﻴـﻪ ﺃﻤﻪ ،ﻭﺃﻨﺩﺭﻭﻤﺎﻙ ،ﻭﻨﺴﺎﺀ ﻁـﺭﻭﺍﺩﺓ ﺍﻟﻌﻭﻥ؛ ﻓﻴﻌﻭﺩ ﻫﻜﺘﻭﺭ ﻟﻤﻘﺎﺘﹶﻠ ِﺔ ﺃﺨﻴل. ﺒﺎﻟﺒﻜﺎ ِﺀ ﻭﺍﻟﻨﱡﻭﺍﺡ ،ﻭﺘﻨﺘﻬـﻲ ﺇﻟﻴـﺎﺫﺓ ﺠﺩﺓِ ﺃﺨﻴل .ﻭﻓـﻲ ﻉ ﻤﻨﻴﺭﻓﺎ ﻟِ ﹶﻨ ﻭﺘﹸ ﻬ ﺭ ﻫﻭﻤﻴﺭﻭﺱ ﺒﺘﺸﻴﻴﻊ ﺠﻨﺎﺯﺓ ﻫﻜﺘﻭﺭ. ﺍﻟﻐﹶﺭﺏِ؛ ﺤﻴـﺙ ﻴﺴـﻜﻥ ﺍﻟﺴـﻌﺩﺍ ﺀ ﺍﻟﻤﺒــﺎ ﺭﻜﹸﻭﻥ ،ﻜﻤــﺎ ﺠــﺎ ﺀ ﻓــﻲ ـﻭل ـﺔ .ﻭﻴﻘـ ﺍﻷُﺴ ـﻁﹸﻭﺭ ِﺓ ﺍﻹﻏﺭﻴﻘﻴـ alk ﻭﻴ ﹶﺘ ﹶﻨ ﱠﻜ ﺭ ﺃﺒﻭﻟﻭ ﻓﻲ ﺼﻭ ﺭ ِﺓ ﺃﺤـ ِﺩ ﻭﻗﺩ ﹸﻨﻘِﹶﻠﺕِ ﺍﻹﻟﻴﺎﺫ ﹸﺓ ﺇﻟـﻰ ﺠﻤﻴـ ِﻊ ﺨﻠﱠﻰ ﻋﻨﻪ ﺃﺒﻭﻟﻭ ﻭﻴﺘﺭﻜﻪ ﻴﻭﺍﺠِـﻪ ﻴ ﹶﺘ ﹶ ﺨﺼﺼ ﹲﺔ ﺕ ﻤ ﹶﺘ ﹶ ﻭﻅﻬﺭﺕ ﻋﻨﻬﺎ ﺩِﺭﺍﺴﺎ ﹲ ﺠلُ ﺃﺨﻴـل ﺤﺘﹸﻭ ﻡ .ﻭﻴﻌﺎ ِ ﻤﺼِﻴ ﺭ ﻩ ﺍﻟ ﻤ ﻭﻭﻗﻔﺕ ﻋﻠﻴﻬﺎ ﺃﺴﺘﺎﺫﻴﺎﺕ ﻤ ﺭﻤﻭﻗﹶـﺔ، ﻋﺩﻭﻩ ﻫﻜﺘـﻭﺭ ِﺒﻀـﺭﺒ ٍﺔ ﻗﺎﺘِﻠـﺔ، ﻭﺘﺄﺜﱠﺭ ﺒﻬـﺎ ﺍﻟﺸﱡـﻌﺭﺍ ﺀ ﻭﺍﻟ ﹸﻜﺘﱠـﺎﺏ؛ ﺴ ﺩ ﻩ ﻟﻴﻜـﻭﻥ ﺠ ﻭﻴﺼﻴﺢ ﺃﻨﻪ ﺴﻴﺘﺭﻙ ﻓﺎﺴﺘﻠﻬﻤﻭﺍ ﺃﺤـﺩﺍﺜﻬﺎ ﻭﺸﺨﻭﺼـﻬﺎ ﻥ ﻫــﺫﻩ *ﻫــﻭﻤﻴﺭﻭﺱ ﺇﻥ ﺴــﻜﹼﺎ ﻁ ﻓﻴﻬﺎ ﺴ ﹸﻘ ﹸ ﺠﻤِﻴﹶﻠﺔِ ﺍﻟﺘﻲ ﻻ ﻴ ﺽ ﺍﻟ ﺍﻷﺭ ِ ﻑ ﺍﻟﺒـ ﺭﺩ؛ ﻁ ﺭ ﻭﻻ ﹶﺘ ﻌ ِﺭ ﹸ ﺠﻠِﻴ ﺩ ﺃﻭ ﻤ ﹶ ﻟﻴﺴﻭﺍ َﺃﻁﹾﻴﺎﻓﹰﺎ ،ﺒـل ﺇﻨﻬـﻡ ﺃﺒﻁـﺎل ﻜﻤﻴﻨﻴﻼﻭﺱ ،Menelausﺍﻟـﺫﻱ ل ﺘﺫﻫﺏ ﺍﻷُﺴﻁﹸﻭﺭ ﹸﺓ ﺇﻟﻰ ﺃﻨـﻪ ﺍ ﹾﻨ ﹶﺘﻘﹶـ َ w. ﻷﺴـﻠِﺤﺔ؛ ﺴ ﻴ ﻤﺩﻩ ﺒﺎ َ ﺃﺨﺎﻩ ﺍﻟﻤﺯﻋﻭﻡ ﺤ ﻴ ِﺔ ﺍﻟﻤﻌﺭﻭﻓﺔ ﻓﻲ ﺍﻟﻌﺎﹶﻟﻡِ، ﺕ ﺍﻟ ﺍﻟﻠﱡﻐﺎ ِ ﻫﻜﺘﻭﺭ ﺃﻨﻔﺎﺴﻪ؛ ﹶﻓﻴ ﺭﺒِﻁﹸ ﻪ ﺃﺨﻴل ﻤـﻥ ﻭﺍﻟﺸﱠﺨﺼﻴﺎﺕ ﺭﻤـﻭﺯﺍ ﺃﺼـﺒﺤﺕ ﻋ ِﻘ ﺒﻴﻪ ﺇﻟﻰ ﻋﺭﺒﺘﻪ ﺍﻟﺤﺭﺒﻴﺔ ،ﻭ ﻴﺠـ ﺭ ﻻﺘِﻬــﺎ ﻻﹶ ﻁﻠﹶﺤﺎﺕِ ﻓــﻲ ﺩ ﹶ ﻜﺎﻟ ﻤﺼــ ﹶ ل ﺇﻟﻰ ﺨﻴﻤﺘﻪ، ﻋ ﺩ ﻭ ِﻩ ﺤﺘﱠﻰ ﻴﺼِ َ ﺠ ﱠﺜ ﹶﺔ ﻋﻴﺔ ﻭﺍﻟﻨﹶﻔﺴ ﻴ ِﺔ ﻭﺍﻹﻨﺴـﺎﻨﻴﺔ. ﺍﻻﺠﺘﻤﺎ ِ ﻥ ﺠ ﹼﺜ ِﺔ ﻫﻜﺘﻭﺭ ﺤﻭل ﺠﺜﻤـﺎ ِ ﻭﻴﺩﻭﺭ ﺒ ﻋ ﺭ ـﺎ ِ ﺸـ ﺏ ﺍﻟ ﹼ ﻑ ﺍﻟ ﻌ ـ ﺭ ﻋ ـﺭ ﹶ ـﺩ ﻭﻗـ ﻟﻬــﺫﻩ ﺍﻷﺭﺽ ﺩﻭﻥ ﺃﻥ ﻴﻤــﻭﺕ. ﺕ ﺤﻜ ـ ِﻡ ـﻜﹼﺎﻨﹸﻬﺎ ﺘﺤ ـ ﹶ ـﻴﺵ ﺴـ ﻭﻴﻌـ *ﺭﺍﺩﺍﻤﺎﻨﺘﻭﺱ ،ﻭﻴﻘﻭل *ﻫﻴﺴﻴﻭﺩ ﺇﻥ ww ﻅ ﻁﹶﻌﺎﻤﺎ ﻟﻠﻨﱡﺴﻭﺭ ﻭﺍﻟـﺫﺌﱢﺎﺏ .ﻭ ﻴ ﹾﻠﻔِـ ﹸ ﻭﺍﺘﱠﺨﺫﻭﺍ ﻤﻥ ﺍﻟﻭﻗـﺎﺌﻊ ﻭﺍﻟﻌﻼﻗـﺎﺕ www.alkottob.com ﻲ ﻨﻬﺭ ﺍﻷﻭﻗﻴﺎﻨﻭﺱ ﻓﻲ ﺃﻗﺼﻰ ﻀ ﱠﻔ ﹶﺘ ِ ﺠ ﱠﺜ ﹶﺔ ﺍﺒﻨﻪ ﻭﻴﻌـﻭﺩ ﻭﻴﺤﻤل ﺒﺭﻴﺎﻡ ﺒﻬﺎ ﺇﻟﻰ ﻁﺭﻭﺍﺩﺓ ،ﻭﻫﻨﺎﻙ ﺘﺴـﺘﻘﺒِﻠﻪ ﺕ ﺍﻟﺫﻱ ﻴﻌﺘﻘﺩ ﻓﻴﻪ ﻫﻜﺘـﻭﺭ ﺃﻥ ﺍﻟﻭﻗ ِ ل ﺍﻟﺘﻲ ﻜﺎﻨﺕ ﹶﺘ ﻤ ﹶﺘ ﺩ ﻋﻠـﻰ ﺤﻘﹸﻭ ُ ﺍﻟ ﻫﺫﻩ ﺍﻷﺭﺽ ﻫﻲ ﺠـ ﺯ ﺭ ﺍﻟﺴـﻌﺩﺍ ِﺀ ﺍﻟﻤﺒﺎ ﺭﻜِﻴﻥ ،ﻭﻴﺤﻜﻤﻬﺎ *ﻜﺭﻭﻨـﻭﺱ، ل ﻭﺭﺍﺩﺍﻤﺎﻨﺘﻭﺱ؛ ﺍﻟﺫﻱ ﻴﻘﻀﻲ ﺒﺎﻟ ﻌ ﺩ ِ ﺱ .ﺃﻤــﺎ ﺍﻷُﺴــﻁﹸﻭﺭ ﹸﺓ ﻭﺍﻟ ِﻘﺴــﻁﹶﺎ ِ ٩٧ ﺍﻹﻟﻴﺴﻴﻭﻡ ﺠﺯﺀ ﻤﻥ ﺍﻟﻌﺎﻟﹶﻡ ﺍﻟﺴﻔﻠﻲ، ﺍﻟﻌﻅﻤﻰ ﻗﺩﻴﻡ ﻤﻭﻏِل ﻓﻲ ﺍﻟ ِﻘﺩﻡ؛ ﻷﻥ ﺼﻐﻴﺭ ﻗﻴل ﺇﻨﻪ ﺴﻘﻁ ﻤﻥ ﺍﻟﺴـﻤﺎﺀ. ل ﺇﻟﻴﻬﺎ ﺍﻷﻁﻴﺎﻑ ﺜﻼﺜـ ﹰﺔ ﻤـﻥ ﺴُ ﻴﺭ ِ ل ﺍﻟﺒﺎﺤﺜﻴﻥ ﻗﺩ ﻋﺜﺭﻭﺍ ﻋﻠـﻰ ﺘﻤﺎﺜﻴـ َ ل ﺒﻴﻨﻬﺎ ﻭﺒﻴﻥ *ﻤﺎﻴﺎ ﻭﻗﺩ َﺃﺩﻯ ﺍﻟﺘﱠﻤﺎ ﹸﺜ ُ ﺍﻟﻘﹸﻀــﺎﺓ؛ ﻫــﻡ :ﺭﺍﺩﺍﻤــﺎﻨﺘﻭﺱ ﺒﺩﺍ ِﺌﻴﺔ ﻟﺭﺒﺎﺕ ﺍﻷﻤﻭﻤﺔ ﻓﻲ ﺁﺜﺎﺭ ﻤـﺎ ﻭ*ﺭﻴﺎ ﻭﺴـﻴﺭﻴﺱ ﺇﻟـﻰ ﺭﺴـﻭﺥ ﺃﻥ ﻤِﻨﻁﻘ ﹶﺔ ﺸﺭﻗﻲ ﺍﻟﺒﺤﺭ ﺍﻟﻤﺘﻭﺴـﻁ ـﻭ ﺭ ﺍﻷﻡ ـﺩﺩﺕ ﺼـ ـﺎ ﺘﻌـ ﻭﻤﻬﻤـ ﻫﻲ ﺍﻟﻤﻭﻁﻥ ﺍﻷﻭل ﻟﻼﻋﺘﻘﺎﺩ ﻓـﻲ ﺍﻟﻌﻅﻤﻰ؛ ﻓﺈﻨﻬـﺎ ﺍﺘﺴـﻤﺕ ﺩﺍﺌﻤـﺎ ﺍﻷﻡ ﺍﻟﻌﻅﻤﻰ؛ ﻭﻫﻭ ﺍﻻﻋﺘﻘﺎﺩ ﺍﻟـﺫﻱ ﺒﺼﻔﺎﺕ ﺜﺎﺒﺘﺔ ﻟﻌل ﺃﺸﻬﺭﻫﺎ ﺃﻤﻭﻤﺘﻬﺎ ﺘﺭﻙ ﺁﺜﺎﺭﺍ ﻭﺍﻀﺤﺔ ﻓـﻲ ﺩِﻴﺎﻨـﺎﺕ ﺍﻟﺸﺎﻤﻠﺔ ﻟﻜل ﺼﻭﺭ ﺍﻟﺤﻴﺎﺓ؛ ﻓﻬﻲ ﺃﻡ m ل ﺤﻘﹸـﻭ َ ﺍﻟﺭﻭﻤﺎ ِﻨﻴﺔ؛ ﻓﺘﺫﻫﺏ ﺇﻟﻰ ﺃﻥ ﻭﺍﻟﺭﺍﺠﺢ ﺃﻥ ﺍﻻﻋﺘﻘـﺎ ﺩ ﻓـﻲ ﺍﻷﻡ ﻭﻜﺎﻥ ﻫﺫﺍ ﺍﻟﺭﻤﺯ ﻋﺒﺎﺭﺓ ﻋﻥ ﺤﺠﺭ ﻭ*ﻤﻴﻨﻭﺱ ﻭﺃﻴﺎﻜﻭﺱ .Aeacus .co ﺍﻷُﻡ ﺍﻟﻌﻈﹾﻤﻰ MAGNA MATER ـل ـﺩ ﹲﺓ ﺘﺘﺼـ ـﻰ ﻋﻘﻴـ ﻅ ﻤـ ﻷﻡ ﺍﻟ ﻌ ﹾ ﺍُ ﺽ ﺍﻟﻌﻠﻤﺎﺀ ﻗﺒل ﺍﻟﺘﺎﺭﻴﺦ .ﻭﻴﺭﻯ ﺒﻌ ـﻊ ـﺭ ،ﻭﺃﻡ ﺠﻤﻴـ ـﺔ ﻭﺃﻡ ﺍﻟﺒﺸـ ﺍﻵﻟﻬـ ـﻤﻴﺭ ـﺭ ﺍﻟﻀـ ـﺫ ﻓﺠـ ـﺔ ﻤﻨـ ﺍﻟﻤِﻨﻁﻘـ ott ob ﺨﺼﺏ ﻷﻤﻭﻤﺔ ،ﻭﺘﻘﺘﺭﻥ ﺒﺭِﻋﺎﻴﺔ ﺍﻟ ِ ﺒﺎ ُ ﻋﺒﺎﺩﺘﻬﺎ ﻓﻲ ﻨﻔﻭﺱ ﺍﻟﺭﻭﻤﺎﻥ. ﻭﺍﻟ ﱠﻨﺴل ﻭﺍﻟﻨﱠﻤـﺎﺀ ﻋﻨـﺩ ﺍﻹﻨﺴـﺎﻥ ﻭﺍﻟﺤﻴﻭﺍﻥ ﻭﺍﻟﻨﺒﺎﺕ .ﻭﻟﻘـﺩ ﻋﺒـﺩﺕ ﺍﻟﻜﺎﺌﻨﺎﺕ ﺍﻟﺤﻴﺔ ﻋﻠﻰ ﺍﻷﺭﺽ .ﻭﻤﻥ ﺍﻹﻨﺴﺎﻨﻲ. ﻓﻬﺫﻩ *ﺇﻴﺯﻴﺱ ﺍﻹﻟﻬﺔ ﺍﻟﻤﺼـﺭﻴﺔ ﻲ ﺨﺼﺎﺌﺼﻬﺎ ﺃﻤﻭﻤﺘﻬﺎ ﻟﻜل ﻜﺎﺌﻥ ﺤ ﺍﻟﻌﺎﻟﹶﻡ ﺍﻟﻘﺩﻴﻡ ،ﻭﺇﻥ ﺘﻔﺎﻭﺘﺕ ﻭﻅﺎﺌﻔﻬﺎ ﺍﻟﻌﺭﻴﻘﺔ ﻜﺎﻨﺕ ﺭ ﺒ ﹶﺔ ﺍﻟﺨِﺼﺏ؛ ﻭﻫﻲ ﻱ ﺃﻭ ﻤﺘﻭﺤﺵ .ﻭﹸﻟﻘﱢﺒﺕ ﺒﺄﻡ ﺍﻟﺠﺒل ﺒﺭ ﺘﻘﺎﺒل ﺴﻴﺭﻴﺱ ﺍﻟﺭﻭﻤﺎﻨﻴﺔ ﻭ*ﺩﻴﻤﻴﺘﻴﺭ ﻭﺸﻴﺩﺕ ﻤﻌﺎﺒﺩﻫﺎ ﻋﻠﻰ ﻗﻤﻡ ﺍﻟﺠﺒـﺎل ﺃﻥ ﻫﺫﻩ ﺍﻹﻟﻬﺔ ﺍﻷﻡ ﻤﻥ ﺍﻟﻤـ ﻭﻜﱠﻼﺕ ﺭﺒﻤﺎ ﻜﻥ ﺍﻤﺘﺩﺍﺩﺍ ﻟﻌﻘﻴﺩ ٍﺓ ﺸﺎﻤﻠ ٍﺔ ﻓـﻲ ﺍﻷﺴﻭﺩ .ﻭﻴﺅﻜﺩ ﺭﻋﺎﻴﺘﻬﺎ ﻟﻠﻁﺒﻴﻌـﺔ ﺍﻷﻡ ﺍﻟﻌﻅﻤﻰ ﺍﻨﺘﺸﺭﺕ ﻗﺒل ﺫﻟﻙ ﻓﻲ ﺍﻟﺒﺭﻴﺔ ﻤﺎ ﺍﺘﺴﻤﺕ ﺒﻪ ﺸﻌﺎﺌﺭ ﻋﺒﺎﺩﺘﻬﺎ ﻤﻨﻁﻘﺔ ﺍﻟﺒﺤﺭ ﺍﻟﻤﺘﻭﺴﻁ. ﻤﻥ ﻋﻨﻑ .ﻭﻜﺎﻥ ﺴﺩ ﹶﻨﺘﹸﻬﺎ ﻤﺘﻭﺤﺸﻴﻥ ﺍﻹﻟﻬﺔ ﺍﻷﻡ ﻓﻲ ﺃﻗﺎﻟﻴﻡ ﻤﺨﺘﻠﻔﺔ ﻤـﻥ ﺒﺘﻔﺎﻭﺕ ﺍﻟﺒﻴﺌﺎﺕ ﻭﺍﻟﺸﻌﻭﺏ .ﻭﺍﻟﻐﺎﻟﺏ ﺒﺎﻷﺭﺽ ،ﻭﻋﻨﻬﺎ ﻅﻬـﺭﺕ ﺠﻤﻴـﻊ ﺍﻟﻌﻅﻤﻰ *ﻜﻭﺒﻴﻠﻲ )ﺍﻟﺘﻲ ﺍﻨﺘﺸـﺭﺕ ﻋﺒﺎﺩﺘﹸﻬﺎ ﻓﻲ ِﻤ ﹾﻨﻁﹶﻘﺔ ﺍﻟﺒﺤﺭ ﺍﻟﻤﺘﻭﺴﻁ( ﻓﻲ ﻋﺒﺎﺩﺍﺕ ﺭﺒﺎﺕ ﺍﻷﻤﻭﻤـﺔ ﻓـﻲ ﻭ*ﺃﻓﺭﻭﺩﻴﺕ ،ﻭﻟﻴﺱ ﻤﻥ ﺸﻙ ﻓـﻲ ﻭﺍﻷﻡ ﺍﻟﻌﻅﻤﻰ ﻋﻨﺩ ﺍﻟﻴﻭﻨﺎﻥ ﻫﻲ ﺴﻴﺭﻴﺱ ،ﻭﻟﻌﻠﻬﺎ ﺍﻨﺘﻘﻠﺕ ﺇﻟﻰ ﺸـﺒﻪ ﺍﻟﺠﺯﻴﺭﺓ ﻤﻥ ﺁﺴﻴﺎ ﺍﻟﺼﻐﺭﻯ .ﻭﺭﺃﻯ ﺍﻟﻴﻭﻨﺎﻥ ﻤﻨﺫ ﺍﻟﺒﺩﺍﻴﺔ ﺃﻥ ﺍﻷﻡ ﺍﻟﻌﻅﻤﻰ ﺃﻗﺭﺏ ﺇﻟﻰ ﺍﻟﺸﻴﺎﻁﻴﻥ ﻭﻜﻬﻨﺘﻬﺎ ﻤـﻥ ﻱ ﺍﻟﻨﺴﺎﺀ ﺒﺎﻟﺸﻌﻭﺭ ﺨﺼﻴﺎﻥ ﻓﻲ ِﺯ ﺍﻟ ِ ﺍﻟﻤﺭﺴﻠﺔ ﺍﻟﻤﻀﻤﺨﺔ ﺒﺎﻟﻌﻁﺭ .ﻭﻜﺎﻨﻭﺍ ﻴﺤﺘﻔﻠﻭﻥ ﻤﻊ ﺍﻟﻜﺎﻫﻨﺎﺕ ﺒﺸﻌﺎﺌﺭ ﺍﻷﻡ w. ﺍﻟﻤِﻨﻁﻘﺔ ﻨﻔﺴﻬﺎ؛ ﻤﺜـل *ﻋﺸـﺘﺎﺭ alk ﺍﻟﻜﺎﺌﻨﺎﺕ ﺍﻟﺤﻴﺔ .ﻭﻟﻘﺩ ﺃﺜﱠـﺭﺕ ﺍﻷﻡ ﺍﻟﻴﻭﻨﺎﻨﻴﺔ ،ﻭﻫﺅﻻﺀ ﺍﻟﺭﺒﺎﺕ ﺍﻟـﺜﻼﺙ ﻭﻓﻲ ﺍﻟﻜﻬﻭﻑ .ﻭﻟﻡ ﺘﻜـﻥ ﺘﻔـﺎﺭﻕ ﺕ ﺍﻟﺸﱠﻌﺒﻴﺔ ﺃﻥ ﺍﻷﺴﺎﻁﻴ ﺭ ﻭﺍﻟﻤﺄﺜﹸﻭﺭﺍ ِ ﺘﺸﺒﻪ ﺇﻟﻬﺘﻬﻡ "*ﺭﻴـﺎ" ،ﺜـﻡ ﻨﹸﻘﻠـﺕ ﺍﻟﻌﻅﻤــﻰ؛ ﺒــﺎﻟﺭﻗﺹ ﺍﻟﻌﻨﻴــﻑ ﻋﺒﺎﺩﺘﻬﺎ ﺇﻟﻰ ﺭﻭﻤﺎ ﻓﻲ ﺃﻭﺍﺌل ﺍﻟﻘﺭﻥ ﻭﺍﻟﻤﻭﺴﻴﻘﻰ ﺍﻟﺼﺎﺨﺒﺔ؛ ﺤﺘﻰ ﻴﺘﺒـﺩﺩ ل ﺍﻹﻨﺴـﺎﻥ ﺒﺎﻟﺘﱠﻌﺒﻴ ِﺭ ﻋـﻥ ﺇﺠـﻼ ِ ﻭﻗﺘﺫﺍﻙ ﺃﻥ ﻜﻭﺒﻴﻠﻲ ﺃﻜﺩﺕ ﺍﻟﻘﻀـﺎ ﺀ ﺤ ﻤﻴﺎ ﺍﻟﺼـﺨﹶﺏ ﻤـﻥ ﺍﻟﺭﺠﺎل ﻓﻲ ﻏ ﺯﻭ ﺇﻴﻁﺎﻟﻴـﺎ؛ ﻋﻠﻰ ﻜل ﻋﺩﻭ ﻴﺭﻴﺩ ﹶ ﺒﻌﺽ ﺃﻋﻀﺎﺌﻬﻡ. ﻟﻸﻤﻭﻤﺔ؛ ﻤﻤﺎ ﻴﻌﻜـﺱ ﺍﻟﻤﻌﺘﻘـﺩﺍﺕ ﺍﻟﺩﻴﻨﻴﺔ ﻤـﻥ ﻨﺎﺤﻴـﺔ ،ﻭﺍﻟﺘﱠﻌـﺎﻁﻑ ﺍﻹﻨﺴﺎﻨﻲ ﻤـﻥ ﻨﺎﺤﻴـﺔ ﺃﺨـﺭﻯ. www.alkottob.com ww ﻗﺩ ﺍﺤﺘﻔﻅـﺕ ﻭﻻ ﺘـﺯﺍل ﺘﺤـﺘﻔﻅ ﻉ ﺍﻟﺜﺎﻟﺙ ﻗﺒل ﺍﻟﻤـﻴﻼﺩ؛ ﻓﻘـﺩ ﺸـﺎ ﺍﻟﺭﺸﺎﺩ ﻭﻴﺸﻴﻊ ﺍﻟﺘﱠﻬﺘﱡﻙ ،ﻭﻗﺩ ﻴﺘﺨﻠﺹ ﺇﺫ ﻨﹸﻘﻠﺕ ﻋﺒﺎﺩﺓ ﺍﻷﻡ ﺍﻟﻌﻅﻤـﻰ ﻤـﻊ ﻭﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤﻥ ﺃﻥ ﻋﺒﺎﺩ ﹶﺓ ﺍﻷﻡ ﺍﻟﺭﻤﺯ ﺍﻟﺫﻱ ﻴﻤﺜﻠﻬﺎ ﺇﻟـﻰ ﺭﻭﻤـﺎ، ﺍﻟﻌﻅﻤﻰ ﺘﻜﺎﻤﻠﺕ ﻭﺍﺴﺘﻘﻠﺕ ﺒﺭﺃﺴﻬﺎ؛ ٩٨ ﻥ ﺒﻌﺒﺎﺩﺓ *ﺃﺘﻴﺱ .ﻭﻅل ﻫﺫﺍ ﺍﻻﻗﺘﺭﺍ ﻭﻓﻲ ﺍﻟﻴﻭﻡ ﺍﻷﺨﻴﺭ ﻴﺤﻤل ﺘﻤﺜﺎل ﺍﻷﻡ ﻋﻨﹰﺎ ﻓﻲ ﺍﻟﺴﻥ؛ ﻓﺈﻥ ﻅﻔﺭﺕ ﺒﻬـﺎ ﻁﺎ ِ ﻤﺭﻋﻴﺎ ﻓﻲ ﺍﻟﻌﻬﺩ ﺍﻟﺭﻭﻤـﺎﻨﻲ؛ ﻓﻘـﺩ ﺍﻟﻌﻅﻤﻰ ﺍﻟﻤﺼﻨﻭﻉ ﻤـﻥ ﺍﻟﻔﻀـﺔ، ﻓﺘﺎﺓ ﻓﺈﻨﻬﺎ ﺘﺘﺯﻭﺝ ﻤﻥ ﺃﺭﻤـل ،ﻭﺇﻥ ﻓﺴﺭ ﻓﻼﺴﻔ ﹸﺔ ﺍﻟﻌﻬ ِﺩ ﺍﻷﺨﻴـﺭ ﻤـﻥ ﻭﻋﻠﻰ ﺭﺃﺴﻪ ﺍﻟﺤﺠﺭ ﺍﻟﻤﻘﺩﺱ؛ ﻭﺫﻟﻙ ﻅﻔﺭ ﺒﻬﺎ ﻓﺘﻰ ﻓﺈﻨﻪ ﻴﺘـﺯﻭﺝ ﻤـﻥ ﺃﺘﻴﺱ ﺒﺄﻨﻬﺎ ﺇﻨﻤﺎ ﺘﺭﻤﺯ ﺇﻟﻰ ﻋﻼﻗـﺔ ﺍﻷﻟﻤﻭ؛ ﻭﻫﻭ ﻨﻬﻴﺭ ﻤﺘﻔﺭﻉ ﻤﻥ ﻨﻬﺭ ﻭﺘﺩل ﺠﻤﻴ ﻊ ﺍﻟﻘـﺭﺍﺌﻥ ﺍﻷﺜﺭﻴـﺔ ﺍﻟﺘﻴﺒﺭ ،ﻭﺒﻌﺩ ﺫﻟﻙ ﺘﻤﺜل ﺃﺴـﻁﻭﺭﺓ ﻭﺍﻟﻔﻭﻟﻜﻠﻭﺭﻴﺔ ﻋﻠﻰ ﺃﻥ ﺍﻷﻡ ﺍﻟﻌﻅﻤﻰ ﺍﻷﻡ ﺍﻟﻌﻅﻤﻰ ﻭﺃﺘﻴﺱ ﻭﺴﻁ ﻤﻅﺎﻫﺭ ﻜﺎﻨﺕ ﺘﺠﺴﻴﻤﺎ ﻟﻜل ﻤﺎ ﻴﺘﱠﺼل ﺒﺤﻔﻅ ﺍﻟﻔﺭﺡ ﻭﺍﻟﺒﺸﺭ. ﺍﻟﻨﻭﻉ ﺒﻴﻥ ﺍﻷﺤﻴﺎﺀ ﻭﺍﻟﻜﺎﺌﻨﺎﺕ ﻋﻠﻰ m ﺇﻻ ﺃﻨﻬﺎ ﺍﻗﺘﺭﻨﺕ ﻓﻲ ﻤﺭﺤﻠﺔ ﺘﻜﺎﻤﻠﻬﺎ ﺍﻟﻠﺫﻴﻥ ﻴﺭﻤﺯﺍﻥ ﺇﻟﻰ ﺒﻌﺙ ﺃﺘـﻴﺱ. ﺍﻟﺯﻭﺠﺔ ﺍﻟﻤﻨﺸﻭﺩﺓ ﻻ ﺒﺩ ﺃﻥ ﻴﻜـﻭﻥ ﺍﻹﻤﺒﺭﺍﻁﻭﺭﻴﺔ ﺍﻟﺭﻭﻤﺎﻨﻴﺔ ﺃﺴﻁﻭﺭﺓ .co ﺍﻷﺭﺽ ﺍﻷﻡ ﺒﻨﺴﻠﻬﺎ ﻤﻥ ﺍﻟﺜﻤﺎﺭ... ﻭﻟﻡ ﻴﻜﻥ ﺘﻔﺴـﻴﺭﻫﻡ ﺒﻌﻴـﺩﺍ ﻋـﻥ ﺍﻟﻭﺍﻗﻊ؛ ﺫﻟـﻙ ﻷﻥ ﺍﻷﻡ ﺍﻟﻌﻅﻤـﻰ ﻋﺠﻭﺯ ﺤﻴ ﺯﺒﻭﻥ. ﻓﻲ ﻤﻭﻜﺏ ﺤﺎﻓل ،ﻭﻴﻐﻤﺭ ﻓﻲ ﻤﻴﺎﻩ ﻭﻅﻠﱠﺕ ﻫﺫﻩ ﺍﻟﻌﻘﻴﺩ ﹸﺓ ﺭﺍﺴﺨ ﹰﺔ ﻓـﻲ ﺍﺨﺘﻼﻓﻬﺎ ،ﻭﻗـﺩ ﺍﺘﺨـﺫﺕ ﺃﺴـﻤﺎﺀ ﻭﻜﺎﻥ ﻴﺤﺘﻔل ﺒﻌﺒﺎﺩﺓ ﺍﻷﻡ ﺍﻟﻌﻅﻤﻰ ﺍﻟﻨﻔﻭﺱ ﻤﻘﺘﺭﻨ ﹰﺔ ﺒﻤﻭﺍﺴﻡ ﺍﻟﻁﺒﻴﻌـﺔ، ﻤﺨﺘﻠﻔــﺔ ﺒــﺎﺨﺘﻼﻑ ﺍﻟﻤﻨــﺎﻁﻕ ﻓﻲ ﺭﻭﻤﺎ ﺒﺈﻗﺎﻤﺔ ِﻤ ﻬﺭﺠﺎﻥ ﺴـﻨﻭﻱ ﻭﺍﻤﺘﺩﺕ ﺁﺜﺎﺭﻫﺎ ﺇﻟﻰ ﺒﻌﺽ ﺍﻟﻌﺒﺎﺩﺍﺕ ﻭﺍﻟﻌﺼﻭﺭ ﻭﺍﻟﺸﻌﻭﺏ .ﻭﻜﺎﻥ ﻟﻬـﺎ ﻴﺒﺩﺃ ﻓﻲ ﺍﻟﻴﻭﻡ ﺍﻟﺨﺎﻤﺱ ﻋﺸﺭ ﻤـﻥ ﺍﻟﺘﻲ ﻻ ﺘﺯﺍل ﻤﺭﻋﻴ ﹰﺔ ﻓﻲ ﺍﻟﺒﻴﺌـﺎﺕ ﻋﺸﻴﻕ ﺃﻭ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻟ ﻌﺸﹼﺎﻕ ﻤﻥ ﻤﺎﺭﺱ ،ﻭﻴﻨﺘﻬﻲ ﻓﻲ ﺍﻟﻴﻭﻡ ﺍﻟﺴـﺎﺒﻊ ﻭﺍﻟﻌﺸﺭﻴﻥ ﻤﻥ ﺍﻟﺸﻬﺭ ﻨﻔﺴﻪ .ﻭﻴﺒﺩﺃ ﺍﻟﺯﺭﺍﻋﻴﺔ ﺇﻟﻰ ﺍﻵﻥ ،ﻭﺘﺴﻤﻰ ﺴﻨﺎﺒل ﺍﻟﻘﻤﺢ ﺍﻷﺨﻴﺭﺓ ﻓﻲ ﻤﻭﺴﻡ ﺍﻟﺤﺼـﺎﺩ ﺍﻵﻟﻬﺔ ﺍﻟﺫﻴﻥ ﻴﺴـﺭﻱ ﻋﻠـﻴﻬﻡ ﻤـﺎ ﺍﻻﺤﺘﻔﺎل ﺒﺘﻘﺩﻴﻡ ﺍﻟﻘﺭﺒـﺎﻥ؛ ﻭﻫـﻭ ﺏ ﺤﺘـﻰ ﺸﺫﱠ ﺒﺎﺴﻡ ﺍﻷﻡ ﺍﻟﻌﻅﻤﻰ ،ﻭ ﹸﺘ ﹶ ـﺎل ﺍﻷﻡ ـﺙ .ﻭﺍﺘﺼـ ـﻭﺕ ﻭﺒﻌـ ﻭﻤـ ل ﺍﻟﺴﺎﺩﺱ ﺤ ﻭ ِ ﻋﺒﺎﺭﺓ ﻋﻥ ﺜﻭﺭ ﻓﻲ ﺍﻟ ﺘﺼﺒﺢ ﻗﺭﻴﺒ ﹰﺔ ﻤﻥ ﺼﻭﺭﺓ ﺍﻟﻤـﺭﺃﺓ، ﺍﻟﻌﻅﻤﻰ ﺒﻌﺸﺎﻗﻬﺎ ﻤـﻥ ﺍﻟﻀـﺭﻭﺭﺓ ﻤﻥ ﻋﻤﺭﻩ .ﻭﻓـﻲ ﺍﻟﻴـﻭﻡ ﺍﻟﺜـﺎﻨﻲ ﻭﻴــﺭﻗﺹ ﺤﻭﻟﻬــﺎ ﺍﻟﻔﻼﺤــﻭﻥ ﺒﻤﻜﺎﻥ ﻋﻅﻴﻡ ﻟﻠﻤﺤﺎﻓﻅﺔ ﻋﻠﻰ ﺃﻨﻭﺍﻉ ﺼ ﹶﻨ ﻭﺒﺭ ﺍﻟﻤﻘﺩﺱ ﻭﺍﻟﻌﺸﺭﻴﻥ ﻴﺤﻤل ﺍﻟ ـﺎﺩ ـﻤﺔ ﻟﻠﺤﺼـ ـﺎ ﺍﻟﻤﺠﺴـ ﺒﺎﻋﺘﺒﺎﺭﻫـ ott ob ﻟﻴﺴﺕ ﺘﺠﺴﻴﻤﺎ ﻟﺨﺼﻭﺒﺔ ﺍﻷﺭﺽ. alk ﺃﺘﱢﻴﺱ -ﺇﻟﻰ ﺍﻟﻤﻌﺒﺩ ،ﻭﻓـﻲ ﺍﻟﻴـﻭﻡ ﺍﻟﺴﻨﺎﺒل ﺍﻷﺨﻴﺭﺓ ﺇﻟﻰ ﺍﻟﺠﺭﻥ؛ ﺒﺤﻴﺙ ﺍﻟﺭﺍﺒﻊ ﻭﺍﻟﻌﺸﺭﻴﻥ؛ ﻴﺼﻭﺭ ﺍﻟﺤـﺯﻥ ﺘﻤﺘﺩ ﺇﻟﻴﻬﺎ ﺃﻴﺩﻱ ﺍﻟﺠﻤﻴـﻊ ،ﻭﻜـﺎﻥ ﻋﻠﻰ ﺍﻹﻟﻪ ﺒﺎﻟﺒﻜﺎﺀ ﻭﺍﻟﺼﻭﻡ ﻤﺸﺎﺭﻜﺔ ـﺩ ـﻬﺎ ﻴﺅﻜـ ـﻰ ﻟﻤﺴـ ـﺭﺹ ﻋﻠـ ﺍﻟﺤـ ﻟﻸﻡ ﺍﻟﻌﻅﻤﻰ ﻓﻲ ﺃﺴﺎﻫﺎ ﻋﻠﻰ ﻤﻭﺕ ﺍﺴﺘﻤﺭﺍ ﺭ ﺍﻟﺤﻴﺎﺓ ﻭﺍﻟﺘﻜﺎﺜﹸﺭ .ﻭﻴﺨﺘﺼﻡ ﻤﺤﻤﻭﻡ. ﺃﺠل ﺍﻟﻅﱠﻔﺭ ﺒﺤﻤل ﻫـﺫﻩ ﺍﻟﺤﺯﻤـﺔ ﺍﻷﻡ ﻣﺎﺗﻮﺗﺎ MATER MATUTA ﺃﻤــﺎ ﻓــﻲ ﺍﻟﻴــﻭﻡ ﺍﻟﺨــﺎﻤﺱ ﻭﺍﻟﻌﺸﺭﻴﻥ؛ ﻓﻴﺘﺒﺩﺩ ﺍﻟﺤﺯﻥ ﻭﺘﺸـﻴﻊ ﺃﻥ ﻤﻥ ﻴﻅﻔﺭ ﺒﻬﺎ ﺴﻴﺘﺯﻭﺝ ﻓﻲ ﺍﻟﻌﺎﻡ ﺍﻟﺒﻬﺠﺔ ﺒﻌﻭﺩﺓ ﺍﻟﺸـﻤﺱ ﻭﺍﻟﺭﺒﻴـﻊ ﺍﻟﻘﺎﺩﻡ ،ﻭﺇﻥ ﻜﺎﻥ ﺍﻟﺯﻭﺝ ﺍﻟﻤﻨﺸﻭﺩ ﺃﻭ ﺍﻨﻅﺭ :ﻤﺎﺘﻭﺘﺎ Matuta ﺃﻣﺎﺭﺍﭬﺎﰐ ww ﺍﻟﻔﻼﺤﻭﻥ ﻓﻲ ﺒﻌﺽ ﺍﻟﺭﺒﻭﻉ ﻤـﻥ ﺍﻷﺨﻴﺭﺓ ﻤﻥ ﺍﻟﻤﺤﺼﻭل ،ﻭﺍﻟﻤﻌﺘﻘـﺩ www.alkottob.com ﺍﻟﻨﺒﺎﺕ ﻭﺍﻟﺤﻴﻭﺍﻥ ﻭﺍﻹﻨﺴﺎﻥ. w. -ﻓﻲ ﻤﻭﻜﺏ ﻤﺸﻬﻭﺩ ﺭﻤﺯﹰﺍ ﻟﻺﻟـﻪ ﺍﻟﻤﻘﺒل ،ﻭﻜﺜﻴﺭﺍ ﻤـﺎ ﺘﹸﻨﻘـل ﻫـﺫﻩ ﺃﺘﻴﺱ ،ﻭﻴﺩﻭﺭ ﻓﻲ ﻫﺫﺍ ﺍﻟﻴﻭﻡ ﺭﻗﺹ ﻴﺴﺭﻱ ﻋﻠﻰ ﺍﻷﺤﻴﺎﺀ ﻤـﻥ ﹸﺫﺒـﻭل AMARAVATI ﻋﺎﺼﻤ ﹸﺔ ﺴﻔﺎﺭﺠﺎ ،ﺠﻨﺔ *ﺇﻨﹾﺩﺭﺍ، ﻭﺘﻘﻊ ﺒﺎﻟﻘﺭﺏ ﻤﻥ ﺠﺒل ﻤِﻴﺭﻭ ﻜﻤـﺎ ﺠﺎﺀ ﻓﻲ ﺍﻷﺴﻁﻭﺭﺓ ﺍﻟﻬﻨﺩﻴﺔ .ﻭﻟﻬﺫﻩ ٩٩ ﺸﻬﻭﺍﺕ )ﺍﻟﺠﻭﺍﻫﺭ ،ﻭﺍﻷﺸﻴﺎﺀ ﺍﻟﺘﻲ ﺍﻟ ﱠ ﺒﻭﺼﻑ ﺍﻟﻤﻌﺎﺭﻙ ﺍﻟﺘﻲ ﺩﺍﺭﺕ ﺒـﻴﻥ ﺃﺤﺩ ﻗﺭﻨﻲ ﺃﻤﺎﻟﺜﻴﺎ؛ ﻓﺄﺼـﺒﺢ ﻗـﺭﻥ ﺘﺭﻀﻲ ﺍﻟﻐﺭﻭﺭ ﻭﺘﺤﻘـﻕ ﺍﻟﻠـﺫﺓ( ﺍﻹﻏﺭﻴﻕ ﻭﺒﻴﻥ ﻨﺴﺎﺀ ﺍﻷﻤﺎﺯﻭﻥ. ﺍﻻﻤﺘﻼﺀ ﻭﺍﻟﺭﺨﺎﺀ. m ﻑ ﺒﺎﺏ ،ﺘﺯﻴﻨﻬـﺎ ﺜﻤـﺎ ﺭ ﺍﻟﻤﺩﻴﻨﺔ ﺃﻟ ﹸ ﻭﺘﺯﺨــﺭ ﺍﻟﻤﻼﺤــﻡ ﺍﻟﻴﻭﻨﺎﻨﻴــﺔ ﻓﻲ ﻫﺫﻩ ﺍﻷﺴﻁﻭﺭﺓ ﺃﻥ ﺯﻴﻭﺱ ﻜﺴﺭ ﻭﺤﻭ ِﺭﻴﺎﺕ ﺍﻹﻴﺴﺎﺭﺍﺱ ،ﻭﻻ ﻴﺸ ﻌ ﺭ ـﺎﺕ ـﺅﻻﺀ ﺍﻟﻤﺤﺎﺭﺒـ ـﺕ ﻫـ ﻭﻜﺎﻨـ ﻴﻌﺭِﻓﻭﻥ ﺍﻟﺤﺯﻥ ﺃﻭ ﺍﻟﻴﺄﺱ .ﻭﻴـﺄﺘﻲ ﻭﺍﻟﺤﺭﺒﺔ ﻭﺒﻠﻁﺔ ﺨﻔﻴﻔﺔ ،ﻭﻨﺼـﻑ ﺴــﻜﹼﺎﻨﹸﻬﺎ ﺒــﺎﻟﺤﺭ ﺃﻭ ﺍﻟﺒــﺭﺩ ،ﻭﻻ .co ـﻥ ﻴﻘ ـ ﺩﻤﻭﻥ ـﺎﺌِﺒﻭﻥ ﻭﻤـ ـﺎ ﺍﻟﺘـ ﺇﻟﻴﻬـ ﻥ ﻭﺍﻟﻤﺤــﺎﺭﺒﻭﻥ ﺍﻟــﺫﻴﻥ ﺍﻟﻘﹶــﺭﺍﺒِﻴ ﻴﺴﻘﻁﻭﻥ ﻓﻲ ﻤﻴﺩﺍﻥ ﺍﻟﻘِﺘﺎل. ـﻭﺱ ـﺎل ﺍﻟﻘـ ـﻲ ﺍﻟﻘِﺘـ ـﺘﺨﺩﻤﻥ ﻓـ ﻴﺴـ AMBROSIA ﻁﹶﻌﺎ ﻡ ﺍﻵﻟﻬ ِﺔ ﺃﻭ ﺸـﺭﺍﺒﻬﺎ ﺍﻟـﺫﻱ ﺩﺭﻉ ﻋﻠﻰ ﺸﻜل ﻫـﻼل ﻭﺨـﻭﺫﺓ، ل ﹸﻜلﱠ ﻤﻥ ﺘﻨﺎﻭﻟﻪ ﺨﺎﻟِـﺩﺍ ،ﻜﻤـﺎ ﺠﻌَ ﻭﻴﺭﺘﺩﻴﻥ ﺜﻭﺒﺎ ﻤﻥ ﻗﻤﺎﺵ ﺨﻔﻴـﻑ، ﺠﺎﺀ ﻓﻲ ﺍﻷﺴـﻁﻭﺭﺓ ﺍﻹﻏﺭﻴﻘﻴـﺔ ﻭﻴﺘﻤﻨﻁﻘﻥ ﺒﺤﺯﺍﻡ ﻴﺭﻓﻊ ﺍﻟﺜﻭﺏ ﺃﻋﻠﻰ ﻭﺍﻷﺴﻁﻭﺭﺓ ﺍﻟﺭﻭﻤﺎﻨﻴـﺔ ،ﻭﻴﻘـﻭل ﺍﻟﺭﻜﺒﺘﻴﻥ؛ ﺤﺘﻰ ﻻ ﻴﻌـﻭﻗﻬﻥ ﻋـﻥ ott ob ﺃﻣﺎﺯﻭﻥ AMAZON ﺃﹶﻣﺒﺮﻭﺳﻴﺎ ﺍﻟﻤﺭﺃ ﹸﺓ ﺍﻟﻤﺤﺎﺭِﺒ ﹸﺔ ﻓﻲ ﺍﻷﺴـﻁﻭﺭﺓ ﺍﻟﻴﻭﻨﺎﻨﻴﺔ ،ﻭﻴﻘﺎل ﺇﻥ ﻨﺴﺎﺀ ﺍﻷﻤﺎﺯﻭﻥ ﻥ ﺤﺘﻰ ﻻ ﻱ ﺍﻷﻴﻤ ﻥ ﺍﻟ ﱠﺜ ﺩ ﺼ ﹾﻠ ﺴ ﹶﺘ ْﺄ ِ ﹸﻜﻥ ﻴ ﻕ ﺤﺭﻜ ﹶﺔ ﻭﺘ ِﺭ ﺍﻟ ﹶﻘﻭﺱ. ﻴﻌﻭ ﹶ ﻭﺘﺭﻭﻱ ﺍﻟﻤﻼﺤِـ ﻡ ﺍﻟﻴﻭﻨﺎﻨﻴـﺔ ﺃﻥ ﻴﻨﺘﻴﺴﻴﻠﻴﺎ ﻤﻠﻜﺔ ﺍﻷﻤـﺎﺯﻭﻥ ﺠـﺎﺀﺕ ﻟﻤﺴﺎﻋﺩﺓ *ﺒﺭﻴﺎﻤﻭﺱ ﻤﻠﻙ ﻁﺭﻭﺍﺩﺓ، ﻭﺃﻨﻬﺎ ﻟﻘﻴﺕ ﻤﺼﺭﻋﻬﺎ ﻋﻠـﻰ ﻴـﺩ ﺍﻟﺒﻁل *ﺃﺨﻴل .ﻜﻤـﺎ ﺘـﺭﻭﻱ ﺃﻥ ـﺎﺯﻭﻥ ـﺔ ﺍﻷﻤـ ـﺎﺭ ﻤﻠﻜـ ـﻰ ﺯ ﹼﻨـ ﻋﻠـ ﻭﻗﺩ ﺃﻜﱠﺩ ﺍﻟﺭﺤﺎﻟﺔ ﻓﺭﺍﻨﺸﺴﻜﻭ ﺩﻱ ﻤﺤﺎﺭﺒﺔ ﺍﻷﻤﺎﺯﻭﻥ ،ﻭﺇﻨﻪ ﺘﺯﻭﺝ ﻤﻥ ﺇﺤﺩﺍﻫﻥ ﻭﻫﻲ ﺃﻨﺘﻴﻭﺒﻲ Antiope ـﺎﻓﻭ ـﺩﺜﺕ ﺴـ ـﺩ ﹶﺘﺤـ ـﺔ .ﻭﻟﻘـ ﺍﻵﻟﻬـ ﺍﻟﻨﺴﺎﺀ ﺍﻟﻤﺤﺎﺭﺒﺎﺕ ﻓﻲ ﺃﺜﻨﺎﺀ ﺍﺭﺘﻴﺎﺩﻩ Sapphoﻭﺃﻨﺎﻜﺴﺎﻨﺩﺭﻴﺩﺱ ﻋـﻥ ﺃﻤﺭﻴﻜﺎ ﺍﻟﺠﻨﻭﺒﻴﺔ ﻓﻲ ﺍﻟﻘﺭﻥ ﺍﻟﺴﺎﺩﺱ ﺃﻤﺒﺭﻭﺴﻴﺎ ﻓﻭﺼﻔﺎﻩ ﺒﺄﻨـﻪ ﺸـﺭﺍﺏ ﻋﺸﺭ؛ ﻭﺫﻟﻙ ﻋﻨﺩ ﻨﻬﺭ ﻤـﺎﺭﺍﻨﻴﻭﻥ؛ ﺍﻵﻟﻬﺔ ﻭﺃﻥ ﺍﻟﺭﺤﻴﻕ ﻁﻌﺎﻤﻬﺎ. ﻓﺴﻤﻲ ﻫـﺫﺍ ﺍﻟﻨﻬـﺭ ﺒﺎﺴـﻡ ﻨﻬـﺭ ﺍﻷﻤــﺎﺯﻭﻥ ،ﻭﺇﻥ ﻜــﺎﻥ ﺒﻌــﺽ ﺍﻟﺩﺍﺭﺴﻴﻥ ﻴﺭﻭﻥ ﺃﻥ ﻫـﺫﺍ ﺍﻻﺴـﻡ ﻤﺸﺘﻕ ﻤﻥ ﺍﻟﻜﻠﻤﺔ ﺍﻟﻬﻨﺩﻴﺔ "ﺃﻤﺎﺴﻭﻨﺎ"؛ ﺃﻱ "ﻤﺤﻁﱢﻡ ﺍﻟﻘﻭﺍﺭﺏ" ﻨﻅﺭﺍ ﻟﺸـﺩﺓ ﺍﻟﺘﻴﺎﺭ ﻓﻲ ﻫﺫﺍ ﺍﻟﻨﻬﺭ. ﺃﹶﻣﺖ ﺃﻭ ﺃﹶﻣﺖ AMMIT OR AMMUT ﺵ ﻤﻥ ﺍﻟﻌﺎﹶﻟﻡِ ﺍﻟﺴـ ﹾﻔﻠِﻲ ﻓـﻲ ﻭﺤ ﹲ ﺍﻷﺴﺎﻁﻴﺭ ﺍﻟﻤﺼﺭﻴﺔ ﺍﻟﻘﺩﻴﻤﺔ ﻴﺠﻤﻊ ﺒﻴﻥ ﻓﺭﺱ ﺍﻟﻨﻬﺭ ﻭﺍﻷﺴﺩ ،ﻭﻟﻪ ﻓﻜﹼﻲ ﺘﻤﺴﺎﺡ. AMALTHEA ﺍﻟ ﻌﻨﹾﺯ ﹸﺓ ﺍﻟﺘﻲ ﹶﺘ ﺭﺒﻰ * ِﺯﻴﻭﺱ ﻋﻠﻰ ﻟﺒﻨﻬﺎ ﻭﻫﻲ ﻁﻔل ،ﻋﻨـﺩﻤﺎ ﺃﺭﺴـﻠﺘﻪ ﺃﻤﻪ ﺇﻟﻰ ﺠﺯﻴﺭﺓ ﻜﺭﻴﺕ ﻜﻤﺎ ﺠـﺎﺀ ﻭﺘﺭﻭﻱ ﺍﻷﺴﻁﻭﺭ ﹸﺓ ﺃﻨـﻪ ﻴﻘﺒـﻊ ﺒﺠﺎﻨﺏ ﻤﻴﺯﺍﻥ ﺍﻟﻌﺩﺍﻟﺔ ﻓـﻲ ﻗﺎﻋـﺔ ww ﻭﻴﻘﺎل ﺇﻥ * ﺜﻴﺴﻴﻭﺱ ﺍﺸﺘﺭﻙ ﻓﻲ ﻴﺘﻨﺎﻭﻟﻪ ،ﻭﺇﻥ ﺭﺤﻴﻘﻪ ﻜﺎﻥ ﺸـﺭﺍﺏ ﺇﺩﺭﻴﻼﻨﺎ ﺃﻨﻪ ﺍﻟﺘﻘـﻰ ﺒﻔﺭﻴـﻕ ﻤـﻥ ﻻﻴﻭﺭﻴﺴـﺘﻴﻭﺱ ،ﻭﺃﺴـﻔﺭﺕ ﻫـﺫﻩ ﺃﹶﻣﺎﻟﹾﺜِﻴﺎ ﺍﻟﺤﻤﻠﺔ ﻋﻥ ﺍﻻﻨﺘﺼـﺎﺭ ﻋﻠـﻴﻬﻥ، ﺨﻠﹸﻭ ﺩ ﻟﻤـﻥ ﺍﻟﻁﻌﺎﻡ ﺍﻟﺫﻱ ﻴﻀﻤﻥ ﺍﻟ ﹸ w. *ﻫﺭﻗل ﺃﺭﺴل ﺤﻤﻠـﺔ ﻟﻠﺤﺼـﻭل ﺍﻟﺤﺭﻜﺔ ﺍﻟﺴﺭﻴﻌﺔ. alk ﻋﻠﻰ ﺭﺃﺱ ﻓﺭﻗﺔ ﻤﻥ ﺍﻟﻤﺤﺎﺭﺒـﺎﺕ *ﻫﻭﻤﻴﺭﻭﺱ ﺇﻥ ﺃﻤﺒﺭﻭﺴـﻴﺎ ﻜـﺎﻥ *ﺃﻭﺯﻴﺭﻴﺱ ﻭﻴﻠﺘﻬﻡ ﹸﻜلﱠ ﻗﻠﺏ ﺃﺜﻘﻠﺘﻪ ﺍﻵﺜﺎﻡ. ﻓﻲ ﺍﻷﺴﻁﻭﺭﺓ ﺍﻹﻏﺭﻴﻘﻴﺔ .ﻭﻗﺩ ﻭﺭﺩ ﺇﻣﺮﺍﻣﺎ www.alkottob.com IMRAMA ١٠٠ ﺕ .ﻭﻫـﻲ ﻤﻌﻨﺎﻫﺎ ﺤﺭﻓﻴﺎ ﺍﻟﺭﺤﻼ ﹸ ﻁﺎﺌﻔ ﹲﺔ ﻤﻥ ﺍﻟﺤِﻜﺎﻴﺎﺕ ﺍﻹﻴ ﺭﹶﻟ ﹾﻨ ِﺩﻴﺔ ﺃﻫﻡ ﺍﻟﻠﺤﻅﺔ ﺍﻟﺘﻲ ﺘﻁﺄ ﻓﻴﻬـﺎ ﺃﻗـﺩﺍﻤﻬﻡ ﻟﻭﻜﻭﺱ ﺃﺨـﺎﻩ ﻨﻭﻜﻴﺘـﻭﺱ ﻭﻫـﻭ ﺽ ﺍﻟﺸﱠﺎﻁِﻲﺀ. ﺃﺭ ﺤ ﹶﺘﻀﺭ ﺃﻥ ﻴﺒﺤﺙ ﻋﻨﻬـﺎ ﻭﻴﻨـﺘﻘﻡ ﻴ ﻥ ـﺭﺍ ـ ﹸﺔ ﺒـ ـﺎﺕ ﺭﺤﻠـ ـﺫﻩ ﺍﻟﺤﻜﺎﻴـ ﻫـ ﺠﺯﺭ ﺍﻟﺘـﻲ ﻴﻌـﻴﺵ ﺭﺍﺌﻊ ﻟﺒﻌﺽ ﺍﻟ ﺒﺎﻷﻏﻼل ﺇﻟﻰ ﻤﻨﺯﻟﻪ؛ ﺤﻴﺙ ﻋﺎﻤﻠﺘﻬﺎ ﻕ ﻤﺎﺜﻴﻠـﺩﻭﻴﻥ )ﻓـﻲ ﻭﺭﺤﻠ ﹸﺔ ﺯ ﻭ ﺭ ِ ﺍﻟﻔﺎﺨﺭ ﺘﺤﺕ ﺸﺠﺭﺓ ﻭﺴـﻁ ﺃﻨﻐـﺎﻡ ـﻰ ـﺕ ﺇﻟـ ـﺭﺕ ﻭﺫﻫﺒـ ـﻭﺒﻲ ﻓـ ﺃﻨﺘﻴـ ﺍﻟﻤﻭﺴﻴﻘﻰ ،ﺩﻭﻥ ﺭﻗﻴﺏ ،ﻭﺍﻟﺠﺯﻴﺭﺓ ﻜﻴﺜﺎﻴﺭﻭﻥ؛ ﺤﻴﺙ ﺍﺴﺘﻨﺠﺩﺕ ﺒﺄﺒﻨﺎﺌﻬﺎ ﺍﻟﺒﻌﻴﺩﺓ ﺍﻟﺘﻲ ﻭﻋﺩ ﺒﻬﺎ "ﺒﺭﺍﻥ" ﻫـﻲ ﻓﻘﺘﻠﻭﺍ ﻟﻭﻜﻭﺱ ﻭﺭﺒﻁـﻭﺍ ﺯﻭﺠﺘـﻪ "ﺠﺯﻴﺭﺓ ﺨﺎﻟﻴﺔ ﻤﻥ ﺍﻟﻬﻡ ﻭﺍﻟﺤـﺯﻥ ﺩﻴﺭﻜﻲ ﻤﻥ ﺸﻌﺭِﻫﺎ ﺇﻟﻰ ﺜﻭﺭ .ﻭﻗﺩ m ﻤﺎ ﻓﻴﻬﺎ ﻫﻭ ﺍﻟﺭﺤﻠ ﹸﺔ ﺫﺍﺘﹸﻬﺎ ...ﻭﻤـﻥ ﻭﺘﺤﻔل ﻫﺫﻩ ﺍﻟﺤﻜﺎﻴﺎﺕ ﺒﻭﺼـﻑ ﻤﻨﻬﺎ .ﻭﻗﺒﺽ ﻋﻠﻴﻬﺎ ﻭﺃﺨﺫﻫﺎ ﻤﻜﺒﻠﺔ ﻭﻤﻐﺎﻤﺭﺍﺘﹸﻪ )ﺤﻭﺍﻟﻲ ﺍﻟﻘﺭﻥ ﺍﻟﺜﺎﻤﻥ(، .co ﺍﻟﻘﺭﻭﻥ ﺍﻟﺤﺎﺩﻱ ﻋﺸـﺭ ﻭﺍﻟﺭﺍﺒـﻊ ﻋﺸﺭ ﻭﺍﻟﺴﺎﺩﺱ ﻋﺸﺭ( ﻭﺭﺤﻠﺔ ﺃﻭﻱ ﻜﻭﺭﺍ ،ﻭﺭﺤﻠـﺔ ﺯﻭﺭﻕ ﺴـﻴﺩﺠﺱ ﻭﺍﻟﻤﻭﺕ ﻭﺍﻟﻤﺭﺽ ﻭﺍﻟﺸﻴﺨﻭﺨﺔ". ﺍﺸﺘﺭﻙ ﺃﻤﻔﻴﻭﻥ ﻤﻊ ﺸﻘﻴﻘﻪ ﺯِﻴﺜـﻭﺱ ott ob ﻭﻤﺎﻙ ﺭﻴﺎﺠﻼ ،ﻭﺭﺤﻠﺔ ﺒﺭﺍﻨﺩﻭﻥ. ﻓﻭﻗﻬﺎ ﺭﺠﺎل ﻭﻨﺴﺎﺀ ﻴﺸﺭﺒﻭﻥ ﺍﻟﻨﺒﻴﺫ ﺯﻭﺠﺘﻪ ﺩﻴﺭﻜﻲ ﻤﻌﺎﻤﻠﺔ ﺍﻷﻤﺔ .ﻭﻟﻜﻥ ﻭﻫﺫﻩ ﺍﻟﺭﺤﻼﺕ ﺘﺘﻡ ﺇﻤـﺎ ﺒـﺩﺍﻓﻊ ﺍﻻﻨﺘﻘﺎﻡ ﻜﻤﺎ ﻓﻲ ﺤﺎﻟﺔ ﻤﺎﺜﻴﻠﺩﻭﻴﻥ ،ﺃﻭ ﻟﻤﺠﺭﺩ ﺤﺏ ﺍﻟﺴﻔﺭ ﺃﻭ ﺍﻟﺭﻏﺒﺔ ﻓـﻲ ﺠ ﺯ ِﺭ ﺍﻟﺴﻌﺎﺩﺓ .ﻭﻓـﻲ ﺍﻟ ﻌﺜﹸﻭ ِﺭ ﻋﻠﻰ ﺭﺤﻠﺔ ﺒﺭﺍﻥ ﻴﺯﻭﺭ ﺍﻟﺭﺤﺎﻟﺔ ﺠـ ﺯﺭﺍ ﺘﺴﻜﻨﻬﺎ ﻤﺨﻠﻭﻗﺎﺕ ﺨﺎﺭِﻗﺔ ،ﻭﺭِﺠـﺎل ﻭﻨﺴﺎﺀ ﻭﻁﻴﻭﺭ ﻭﺤﻴﻭﺍﻨﺎﺕ ﻋﺠﻴﺒﺔ. ﺒﺴﻔﻨﻬﻡ ﻫﻨﺎ ﻭﻫﻨﺎﻙ ،ﻭﻗﺩ ﻻ ﻴﺴـﻤﺢ ﻟﻬﻡ ﺒﺎﻟﻨﱡﺯﻭل ﺇﻟﻰ ﺍﻟﺒﺭ ﻭﻴﺸـﺎﻫﺩﻭﻥ OM'ALI ﻭﻴﺭﻭﻯ ﺃﻨﻪ ﻜـﺎﻥ ﻴﻌـﺯﻑ ﻋﻠـﻰ ﻕ ﺤ ﹾﻠﻭﻯ ﻟﺫﻴﺫﺓ ﺘﹸﺼﻨﻊ ﻤﻥ ﺍﻟﺭﻗـﺎ ِ ﻗﻴﺜﺎﺭﺘﻪ ﺒﺒﺭﺍﻋﺔ ﻓﺘﺨﺭﺝ ﺃﻟﺤﺎﻨﹰﺎ ﻋﺫﺒﺔ ﻥ .ﻭﻴﻭﻀـﻊ ﻥ ﻭﺍﻟﺴﻤ ِ ﺍﻟﺭﻗﻴ ِﻊ ﻭﺍﻟﻠﺒ ِ ﻜﺎﻨﺕ ﺘﺤﺭﻙ ﺍﻷﺤﺠـﺎﺭ ،ﺩﻭﻥ ﺃﻥ ﺍﻟﺭﻗﺎﻕ ﻓﻲ ﺼِﻴﻨﻴﺔ ،ﻭﻓﻭﻗﻪ ﺠـﻭﺯ ﻴﻤﺴﻬﺎ ﻭﺘﺫﻫﺏ ﺇﻟﻰ ﺃﻤﺎﻜﻨﻬﺎ .ﻭﻗـﺩ ﻭﻟﹶﻭﺯ ﻭﺯﺒﻴﺏ ﻭﺒﻨﺩﻕ ﻤ ﹶﻜﺴـﺭ ،ﺜـﻡ ﺘﺯﻭﺝ ﺃﻤﻔﻴﻭﻥ ﻤﻥ ﻨﻴﻭﺒﻲ .ﻭﻋﻨﺩﻤﺎ ﻴﻀﺎﻑ ﺍﻟﻠﺒﻥ ﻭﺍﻟﺴﻤﻥ ،ﺜﻡ ﺘﹸﻭﻀـﻊ ﺍﻟﺼﻴﻨﻴﺔ ﻓﻲ ﺍﻟﻔﺭﻥ ﺤﺘـﻰ ﻴﻨﻀـﺞ ﺍﻟﺭﻗﺎﻕ. ﺭﻓﻀﺕ ﻨﻴﻭﺒﻲ ﺘﻜﺭﻴ ﻡ ﻟﻴﺘـﻭ ﻗﺘـل alk ﻭﺃﺒﻁﺎل ﻫﺫﻩ ﺍﻟﺤﻜﺎﻴـﺎﺕ ﻴﺭﺴـﻭﻥ ﺃﻡ ﻋﻠﻲ ﻓﻲ ﺍﺤـﺘﻼل ﻁِﻴﺒـ ﹶﺔ ﻭﺘﺤﺼـﻴﻨﻬﺎ، ﻭﻴﺒﺩﻭ ﺃﻥ ﻫﺫﻩ ﺍﻟﺘﱠﺴﻤﻴﺔ ﺃﺨـﺫﺕ ﺃﺒﻭﻟﻭ ﻭﺃﺭﺘﻴﻤـﻴﺱ ﺃﻭﻻﺩ ﺃﻤﻔﻴـﻭﻥ، ﻓﻘﺘل ﻨﻔﺴﻪ. ﻤﻥ ﺴﻴﺩﺓ ﺍﺸﹸﺘﻬِﺭﺕ ﺒﺎﻟﺒﺭﺍﻋﺔ ﻓـﻲ ﺃﹶﻣِﻨﺘِﻲ ﺃﺸﻴﺎﺀ ﻏﺭﻴﺒﺔ ،ﻭﻴﻜﺘﺴـﺒﻭﻥ ﺤﻜﻤـﺔ ﺍﻷﻤﺭ ﺇﻟﻰ ﺠﺯﻴﺭﺓ ﺘﻔـﻭﻕ ﺍﻟﺠـﺯﺭ ﺃﹶﻣﻔِﻴﻮﻥ ﺍﻟﺘﻲ ﺯﺍﺭﻭﻫﺎ ﻤـﻥ ﻗﺒـل ﺠﻤـﺎﻻﹰ، ﺃﺤﻴﺎﻨﹰﺎ ﺇﻟﻰ ﻭﻁﻨﻬﻡ ﻟﻴﻘﺼﻭﺍ ﻤﺎ ﺤﺩﺙ ـﺎ ـﺎﻤﺭﺍﺕ ،ﻭﺃﺤﻴﺎ ﹰﻨـ ـﻥ ﻤﻐـ ـﻡ ﻤـ ﻟﻬـ ﺘﻜﺘﺴﺤﻬﻡ ﻋﺎﺼـﻔﺔ ﺘﹸﺭﺍﺒﻴـﺔ ﻓـﻲ AMPHION ﻥ ِﺯﻴﻭﺱ ﻭﺃﻨﺘﻴﻭﺒﻲ Antiope ﺍﺒ ﻕ ﺯﻴﺜﻭﺱ Zethusﺍﻟﺘﻭﺃﻡ. ﻭﺸﻘﻴ ﹸ ﻭﺘﺫﻫﺏ ﺍﻷﺴﻁﻭﺭﺓ ﺇﻟـﻰ ﺃﻥ ﺃﻤـﻪ ﻭﻀﻌﺘﻪ ﻓﻭﻕ ﺠﺒـل ﻜﻴﺜـﺎﻴﺭﻭﻥ، ﻭﺘﺭﻜﺘﻪ ﻟﻴﺘﻭﻟﻰ ﺍﻟﺭﻋﺎﺓ ﺘﺭﺒﻴﺘﻪ ،ﺜـﻡ ﻫﺭﺒﺕ ﺨﻭﻓﹰﺎ ﻤﻥ ﺃﺒﻴﻬـﺎ .ﻭﻭﻋـﺩ www.alkottob.com ﺍﻟﻤﺼﺭﻴﺔ ﺍﻟﻘﺩﻴﻤﺔ .ﻭﺘﻌﻨﻲ ﺃﻤﻨﺘـﻲ ﺍﻷﺭﺽ ﺍﻟﺨﻔﻴﻀﺔ؛ ﻭﻫﻲ ﺘﻘﻊ ﻓـﻲ ﺱ ﻋﻨـﺩ ﺍﻟﻐﺭﺏ ﺤﻴﺙ ﺘﺨﺘﻔﻲ ﺍﻟﺸﱠﻤ ﺍﻟﻐﺭﻭﺏ .ﻭﺘﺭﻭﻱ ﺍﻷﺴـﻁﻭﺭﺓ ﺃﻥ ww ﻭﺘﻀﻡ ﺃﺸﻴﺎﺀ ﻋﺠﻴﺒﺔ .ﻭﻫﻡ ﻴﻌﻭﺩﻭﻥ ـﺔ ـﻲ ﺍﻟﺩﻴﺎﻨـ ﻲ ﻓـ ﺴ ـ ﹾﻔِﻠ ﺍﻟﻌ ـﺎﹶﻟ ﻡ ﺍﻟ w. ﺠﺩﻴﺩﺓ .ﻭﻫﻡ ﺩﺍﺌﻤﺎ ﻴﺼﻠﻭﻥ ﻓﻲ ﺁﺨﺭ ﺘﻬﻴﺌﺔ ﻫﺫﺍ ﺍﻟﻨﻭﻉ ﻤﻥ ﺍﻟﺤﻠﻭﻯ. AMENTI ﺡ ﻋﻨﺩﻤﺎ ﺘﻔﺎﺭﻕ ﺍﻟﺠﺴ ﺩ ﻭﺘﺩﺨل ﺍﻟﺭﻭ ﺃﻤﻨﺘﻲ ﻴﺼﺤﺒﻬﺎ *ﺃﻨﻭﺒﻴﺱ ﺇﻟﻰ ﻗﺎﻋﺔ *ﺃﻭﺯﻴﺭﻴﺱ ،ﻭﻫﻨﺎﻙ ﺘﹸﺤﺎ ﹶﻜ ﻡ ﺃﻤـﺎﻡ ١٠١ ﺍﻟﻤﻴﺕ ﺒﺭﻴﺸﺔ ﺍﻟﺤﻘﻴﻘﺔ؛ ﻓﺈﺫﺍ ﺍﺠﺘﺎﺯﺕ ﺹ ﻋﻨﺩﻤﺎ ﺠﺎﺀ ﺇﻟـﻰ ﻤﺼـﺭ، ﺤ ﺭ ﺍﻟﺒﻭﺫﻴﻴﻥ ﻓﻲ ﺍﻟﺼﻴﻥ .ﻭﻗﺩ ﺃﺩﺨﻠـﺕ ﺢ ﻟﻬـﺎ ﺍﻟﺭﻭﺡ ﻫﺫﺍ ﺍﻻﺨﺘﺒﺎﺭ ﺴـ ِﻤ ﻋﻠﻰ ﺯﻴﺎﺭﺓ ﻤﻌﺒﺩ ﺁﻤﻭﻥ ﻓﻲ ﺴﻴﻭﺓ؛ ﻁﺎﺌﻔـــﺔ ﺍﻟﺠـــﻭﺩﻭ ،ﻋﻘﻴـــﺩﺓ ﺒﺎﻟﺫﱠﻫﺎﺏ ﺇﻟـﻰ ﺤﻘـﻭل ﺁﻟـﻭ ،ﻭﺇﺫﺍ ﺤﻴﺙ ﺭﺤﺏ ﺒﻪ ﺍﻟﻜﻬﻨﺔ ﺒﺼﻔﺘﻪ ﺍﺒﻨﹰـﺎ ﺍﻟﺴﻭﻜﻬﺎﻓﺎﺘﻲ ،ﻭﻫﻲ ﺠﻨﺔ ﺃﻤﻴﺘﺎﺒﻬـﺎ ﻭﻗﺩ ﺼﻭﺭ ﺁﻤﻭﻥ ﻓﻲ ﻫﻴﺌﺔ ﺭﺠل ﺤﻴﺙ ﻴﻁﻠﻕ ﻋﻠـﻰ ﺭﺍﻋﻴﻬـﺎ ﺍﺴـﻡ ﻤ ﹾﻠ ﹶﺘﺢٍ ﻴﻀﻊ ﻋﻠﻰ ﺭﺃﺴـﻪ ﹶﻗﹶﻠ ﹾﻨﺴـﻭ ﹰﺓ ﺃﻤﻴﺩﺍ ،ﻭﺴﻜﺎﻥ ﺠﻨﺔ ﺍﻟﺴﻭﻜﻬﺎﻓﺎﺘﻲ ﻻ ﻤﺯﻴﻨﺔ ﺒﺭﻴﺸﺘﻴﻥ ﻁﻭﻴﻠﺘﻴﻥ ،ﺃﻭ ﻟـﻪ ﻴﻌﺭﻓﻭﻥ ﺍﻵﻻﻡ ﺍﻟﺫﻫﻨﻴﺔ ﺃﻭ ﺍﻟﺠﺴﺩﻴﺔ؛ ﺭﺃﺱ ﹶﻜﺒﺵ .ﻭﻤﻥ ﺤﻴﻭﺍﻨﺎﺘﻪ ﺍﻟﻤﻘﺩﺴﺔ ﺒل ﻴﻌﻴﺸﻭﻥ ﻓﻲ ﻨﻌﻴﻡ ﺩﺍﺌﻡ .ﻭﻜـل m ﺏ ﻥ ﻗﹶﻠ ﺍﺜﻨﻴﻥ ﻭﺃﺭﺒﻌﻴﻥ ﻗﺎﻀﻴﺎ .ﻭﻴﻭ ﺯ ﺍﻟﻤﻌﺭﻭﻑ ﺃﻥ *ﺍﻹﺴﻜﻨﺩﺭ ﺍﻷﻜﺒـﺭ ﻤﻤﺎ ﻴﺤﻅﻰ ﺒﻪ ﺃﻱ ﺇﻟﻪ ﻤـﻥ ﺁﻟﻬـﺔ ﻋﺠﺯﺕ ﺩ ِﻓ ﻊ ﺒﻬـﺎ ﺇﻟـﻰ ﺍﻟﻌـﺫﺍﺏ ﺁﻣﻮﻥ .co ﺍﻟﻤﻘﻴﻡ. AMON ﻤﻥ ﺃﺸﻬﺭ ﺍﻵﻟﻬﺔ ﻓـﻲ ﻤﺼـﺭ ﺍﻟﻘﺩﻴﻤﺔ ،ﻭﻻ ﻴﻌﺭﻑ ﻜﻴﻑ ﻭﺼـﻠﺕ ﺃﻤﺭ؛ ﻓﺈﻥ ﻫﺫﻩ ﺍﻟﻤﺩﻴﻨـﺔ ﺃﺼـﺒﺤﺕ ﻋﺎﺼﻤ ﹰﺔ ﻟﻤﺼﺭ ﺒﻌﺩ ﺍﻨﺘِﺸﺎﺭ ﻋﺒﺎﺩﺘﻪ ﻓﻴﻬﺎ ﺒﻭﻗﺕ ﻗﺼﻴﺭ. ﺍﻟﻜﺒﺵ ﻭﺍﻹﻭﺯﺓ ،ﻭﻴﻘﺎل ﺇﻨﻪ ﺘﺠﺴـﺩ ﻤﻥ ﻴﺒﺘﻬل ﺒﺎﺴﻡ ﺃﻤﻴﺘﺎﺒﻬـﺎ ﻴﺤﻅـﻰ ﻓﻲ ﺼﻭﺭﺓ ﻜﺒﺵ ﻓﻲ ﻁﻴﺒﺔ .ﻭﻟـﻡ ﺒﺎﻟﺨﻼﺹ ﻭﺫﻟﻙ ﺒﻤﻌﺎﻭﻨـﺔ ﺒـﻭﺫﻱ ﻴﺘﺒﻕ ﻤﻥ ﻤﻌﺒﺩﻩ ﺇﻻ ﺃﻁـﻼل ﻓـﻲ ﺴﺎﺘﻔﺎ )ﻜﻭﺍﻥ – ﻴﻥ( ﻭﻤﺎﻫﺎﺴﺘﺎﻤﺎ )ﺘﺎ ﺍﻷﻗﺼﺭ. – ﺸﻴﻪ ﺘﺸـﻴﻪ( .ﻭﻗـﺩ ﻭﺭﺩ ﻓـﻲ ott ob ﻋﺒﺎﺩﺘﻪ ﺇﻟﻰ ﻁِﻴﺒﺔ .ﻭﻤﻬﻤﺎ ﻴﻜﻥ ﻤﻥ ﻵﻤﻭﻥ. ﺍﻟﻐﺭﺒﻴﺔ ﻓﻲ ﺍﻟﺩﻴﺎﻨﺔ ﺍﻟﺒﻭﺫﻴﺔ ﺒﺎﻟﻴﺎﺒﺎﻥ؛ ﺍﻷﺴﻁﻭﺭﺓ ﺃﻥ ﺃﻤﻴﺘﺎﺒﻬﺎ ﻭﻟﺩ ﺘﻠﻘﺎﺌﻴـﺎ ﻭﻓﻲ ﻋﻬﺩ ﺍﻷﺴﺭﺓ ﺍﻟﺜﺎﻤﻨ ﹶﺔ ﻋﺸﺭ ﹶﺓ ﺃﹶﻣِﻴﺘﺎﺑﻬــﺎ ﺃﻭ ﺃﹶﻣِﻴﺘــﺎ ﺃﻭ ﺃﺼﺒﺢ -ﺒﺼـﻔﺘﻪ ﺭﺍﻋﻴـﺎ ﻟﻤﺩﻴﻨـﺔ ﺃﹶﻣِﻴﺪﺍ ﻁﻴﺒﺔ -ﻜﺒﻴﺭ ﺍﻵﻟﻬﺔ ﻓـﻲ ﻤﺼـﺭ، ﺍﻨﺘﺼﺎﺭﺍﺕ ﺍﻟﻔﺭﺍﻋﻨﺔ ﺇﻨﻤـﺎ ﻴﺭﺠـﻊ ﺇﻟﻴﻪ .ﻭﻜﺎﻥ ﻜﻬﻨﺔ ﺁﻤﻭﻥ ﻴﺘﻤﺘﻌـﻭﻥ ﻥ ﺍﻟﻔﺭﺍﻋﻨﺔ. ﺒﻨﻔﻭﺫ ﻜﺒﻴﺭ ﻴﻔﻭﻕ ﺴﻠﻁﺎ ﺍﻟﻨﻭﺒﺔ ،ﻭﺍﻨﺘﺸﺭﺕ ﺤﺘﻰ ﻭﺼﻠﺕ ﺇﻟﻰ ﺍﻟﻭﺍﺤﺎﺕ .ﻭﻗﺎﻡ ﺇﺨﻨـﺎﺘﻭﻥ ﺒﺜـﻭﺭﺓ ﺩﻴﻨﻴﺔ ﺍﺴﺘﻬﺩﻓﺕ ﺃﺴﺎﺴﺎ ﺍﻟﻘﻀﺎﺀ ﻋﻠﻰ ﺍﻟﺜﻭﺭﺓ ﺍﻟﻨﺠﺎﺡ ،ﻭﺴﺭﻋﺎﻥ ﻤﺎ ﺍﺴﺘﻌﺎ ﺩ ﻜﻬﻨﺔ ﺁﻤﻭﻥ ﻨﻔﻭﺫﻫﻡ ﺍﻟﻘﺩﻴﻡ ﺇﺜﺭ ﺘﻭﻟﻲ ﺘﻭﺕ ﻋﻨﺦ ﺁﻤﻭﻥ ﺍﻟﺤﻜـﻡ .ﻭﻤـﻥ www.alkottob.com ﺍﻟﺩﻴﺎﻨﺔ ﺍﻟﺒﻭ ِﺫﻴـﺔ؛ ﻭﻫـﻭ ﺍﻟﻀـﻭﺀ ل ﺃﻤﻴﺘﺎﺒﻬـﺎ ﻤﺤـل ﻱ .ﻭﺤ ﱠ ﺴ ﺭ ﻤ ِﺩ ﺍﻟ ﺴﺎﻜﻴﺎﻤﻭﻨﻲ ،ﺍﻟﺒﻭﺫﺍ ﺍﻟﺘﺎﺭﻴﺨﻲ؛ ﻭﻫﻭ ﻭﻭﺍﻟ ﺩ *ِﺇ ﹾﻨﻠِﻴل ﺇﻟ ِﻪ ﺍ ﹾﻟﻬﻭﺍﺀ ﻤﻥ ﻜِـﻲ ﺇﻟﻬﺔ ﺍﻷﺭﺽ. ﻭﺘﺫﻫﺏ ﺍﻷﺴـﻁﻭﺭﺓ ﺇﻟـﻰ ﺃﻨـﻪ ـﻥ ـﻤﺎﺀ ﻋـ ـﻠﺕ ﺍﻟﺴـ ـﺩﻤﺎ ﺍﻨﻔﺼـ ﻋﻨـ ﺘﺠﺴﻴﺩ ﻟﻜل ﻋﻨﺎﻴﺔ ﺇﻟﻬﻴـﺔ ،ﻭﻫـﻭ ﺍﻟﺤﻜﻴﻡ ﺍﻟﻘﻭﻱ ﻭﻴﺘﱠﺼـﻑ ﺒـﺎﻟﺠﻭﺩ ـﺎﺩﺓ ـﺎﻥ .ﻭﻋﺒـ ـﺔ ﻭﺍﻹﺤﺴـ ﻭﺍﻟﺭﺤﻤـ ﺃﻤﻴﺘﺎﺒﻬﺎ ﺘﺅﻜﺩ ﺍﻟﻭﻻﺀ ﺃﻜﺜـﺭ ﻤـﻥ ﺍﻟﻤﻨﺎﻓﺴﺔ ،ﻭﻜﺎﻥ ﺒﺎﻋﺘﺒﺎﺭﻩ ﺃﻭ – ﻤﻲ – ﺘﻭ – ﻓﻭ ﺍﻹﻟﻪ ﺍﻟـﺫﻱ ﻴﺤﻅـﻰ ﺒﺎﺤﺘﺭﺍﻡ ﻋﻅﻴﻡ ﻭﺸﻌﺒﻴﺔ ﺠﺎﺭﻓﺔ ﺃﻜﺜﺭ ل ﺤﻤـ َ ﺤﻤل ﺁﻥ ﺍﻟﺴﻤﺎﺀ ،ﻭ ﺍﻷﺭﺽ ﺇﻨﺩﻟﻴل ﺍﻷﺭﺽ. ﻥ ﻜﻠﻤﺔ ﺁﻥ ﺒﺼﻭﺭﺓ ﺭﻤﺯﻴﺔ ﻭ ﹸﺘ ﺩﻭ ﻋﻠﻰ ﺸﻜل ﻨﺠﻤـﺔ ﻤ ﹶﺜﻤﻨـﺔ ﺘﺴـﺒﻕ ww ﻋﺒﺎﺩﺓ ﺁﻤﻭﻥ ،ﻭﻟﻜﻥ ﻟﻡ ﻴﻘﺩﺭ ﻟﻬـﺫﻩ ﺃﺤ ﺩ ﺁﻟﻬﺔ ﺍﻟﺘﺄﻤل ﺍﻟﺨﻤﺴـﺔ ﻓـﻲ ﺇﻟ ﻪ ﺍﻟﺴﻤﺎ ِﺀ ﻋﻨـﺩ ﺍﻟﺴـﻭﻤﺭﻴﻴﻥ، w. ﺜﻡ ﺍﻨﺘﻘﻠﺕ ﻋﺒﺎﺩﺓ ﺁﻤﻭﻥ ﺇﻟﻰ ﺒﻼﺩ ﺁﻥﹾ ﺃﻭ ﺁﻧﺎ AN OR ANA alk ل ﻓـﻲ ﻭﺴﺎ ﺩ ﺍﻻﻋﺘﻘﺎ ﺩ ﺒﺄﻥ ﺍﻟﻔﻀـ َ AMITABHA, AMITA OR AMIDA ﻤﻥ ﺯﻫﺭﺓ ﻟﹸﻭﺘﺱ. ﺃﺴﻤﺎﺀ ﺍﻵﻟﻬﺔ ،ﻭﻤﻌﻨﺎﻫﺎ "ﺍﻟﺴﺎﻤﻲ" ﺃﻭ "ﺍﻟﺴﻤﺎﺀ" ﻭﻗﺩ ﺘﻌﻨﻲ "ﺍﻹﻟﻪ". ١٠٢ ﺃﹶﻧﺎﻧﺴِﻲ ﺃﻧﺎﺙ ﺃﻭ ﺃﻧﺎﺕ ANATH OR ANAT m ﺇﻟﻬ ﹲﺔ ﺒﺩﺍ ِﺌﻴـﺔ ﻟﻠﺤـﺭﺏ؛ ﻭﻫـﻲ ﺴﻭ ِﺭﻴ ﹸﺔ ﺍﻷﺼل ،ﻜﻤﺎ ﺃﻨﻬﺎ ﹸﺘ ﻌﺩ ﻤﻠﻜﺔ .co ﺍﻟﺴﻤﺎﺀ ﻭﺴﻴﺩﺓ ﺍﻵﻟﻬﺔ .ﻭﻗﺩ ﺍﻨﺘﺸﺭﺕ ﺏ ﺍﻟﺴـﺎﻤﻴﺔ ﻋﺒﺎﺩﺘﹸﻬﺎ ﺒـﻴﻥ ﺍﻟﺸﱡـﻌﻭ ِ ﻭﺍﻨﺘﻘﻠﺕ – ﻓﻴﻤـﺎ ﻴﻘـﻭل ﺒﻌـﺽ ﺍﻟﺒﺎﺤﺜﻴﻥ – ﺇﻟﻰ ﻤﺼﺭ ﻓـﻲ ﻋﻬـﺩ ﺘﺤﺘﻤﺱ ﺍﻟﺜﺎﻟﺙ؛ ﺃﻱ ﻓـﻲ ﺍﻟﻘـﺭﻥ ANANSI ﺩﺍﺌﻤﺎ ﻴﺤﺘـﺎل ﻋﻠـﻰ ﺍﻟﺤﻴﻭﺍﻨـﺎﺕ ﺍﻟﻌﻨﻜﺒﻭﺕ :ﺍﻟﺒﻁل ﻓﻲ ﻋﺩﺩ ﻜﺒﻴﺭ ﺍﻷﺨﺭﻯ ﻟﻴﺴﺘﻔﻴﺩ ﻤﻥ ﺫﻟﻙ ،ﻭﺃﺤﻴﺎﻨﹰﺎ ﻤﻥ ﺍﻟﺤﻜﺎﻴﺎﺕ ﺍﻟﺸـﻌﺒﻴﺔ ﺍﻹﻓﺭﻴﻘﻴـﺔ ﻴﻐﺭﺭ ﺒﺎﻹﻨﺴﺎﻥ .ﻭﻜﺜﻴﺭﺍ ﻤﺎ ﻴﻜـﻭﻥ ﺍﻟﺘﻲ ﻴﻘﻭﻡ ﻓﻴﻬﺎ ﺒﺩﻭﺭ ﺍﻟﻤﺤﺘﺎل .ﻭﻫﻭ ﺍﻟﻨﻤﺭ ﻫﺩﻓﹰﺎ ﻟﺴﺨﺭﻴﺘﻪ ،ﻭﻟﻜﻥ ﺃﻨﺎﻨﺴﻲ ﻤﻌﺭﻭﻑ ﻓﻲ ﻜل ﻤﻜﺎﻥ ﻓﻲ ﺠـﺯﺭ ﻴﻘﻊ ﺃﺤﻴﺎﻨﹰﺎ ﻓﻲ ﺍﻟﺤﻔﺭﺓ ﺍﻟﺘﻲ ﺤﻔﺭﻫﺎ ﺍﻟﻬﻨﺩ ﺍﻟﻐﺭﺒﻴﺔ ،ﻭﻓﻲ ﺃﺠﺯﺍﺀ ﺃﺨـﺭﻯ ﻟﻐﻴﺭﻩ ،ﺃﻭ ﻴﻔﺸل ﻓﻲ ﺨﺩﺍﻉ ﻀﺤﻴﺔ ﻤﻥ ﺍﻟﻌﺎﻟﻡ ﺍﻟﺠﺩﻴـﺩ .ﻭﺍﻟﻌﻨﻜﺒـﻭﺕ ﻤﻥ ﻀﺤﺎﻴﺎﻩ .ﻭﻫﻭ ﺃﺤﻴﺎﻨﹰﺎ ﻴﻠﺠﺄ ﺇﻟﻰ ﻴﺴﻤﻰ ﺠﻴﺯﻭ ﺒﻠﻐﺔ ﺍﻟﻬﺎﻭﺴﺎ ،ﻭﻴﻁﻠﻕ ﺍﻟﺴﺤﺭ ﻓﻴﺒﺩﻭ ﺁﻨﹰﺎ ﻓﻲ ﺼﻭﺭﺓ ﺇﻨﺴﺎﻥ ﻋﻠﻴﻪ ﺍﺴﻡ ﻜﻭﺍﻜـﻭ ﺃﻨﺎﻨﺴـﻲ ﻟـﺩﻯ ﻭﺁﻨﹰﺎ ﺁﺨﺭ ﻓﻲ ﺼـﻭﺭﺓ ﻋﻨﻜﺒـﻭﺕ. ﺍﻟﺸﻌﻭﺏ ﺍﻟﺘﻲ ﺘﺘﻜﻠﻡ ﺒﻠﻐﺔ ﺍﻷﻜـﺎﻥ. ott ob ﺍﻟﺨﺎﻤﺱ ﻋﺸﺭ ﻗﺒل ﺍﻟﻤﻴﻼﺩ؛ ﺤﻴـﺙ ﻓﻲ ﺍﻹﻴﻘﺎﻉ ﺒﻤﻥ ﻴﺘﻌﺭﺽ ﻟﻪ .ﻭﻫﻭ ﺃﺼﺒﺤﺕ ﺍﺒﻨﺔ ﺭﻉ .ﻭ ﹸﺘ ﻤﺜﱠل ﻭﻋﻠـﻰ ﺭﺃﺴِﻬﺎ ﺨﹸﻭﺫﺓ ﻭﻓﻲ ﻴـﺩﻫﺎ ﺍﻟﻴﻤﻨـﻰ ﺩِﺭﻉ ﻭﺤﺭﺒﺔ ﻭﻓﻲ ﺍﻟﻴﺴﺭﻯ ﺒﻠﻁﺔ ﺃﻭ ﻋﺼﺎ ﻏﻠﻴﻅﺔ .ﻭﻫﻨﺎﻙ ﺼﻭﺭﺓ ﻟﻬـﺎ ﺘﺒﺩﻭ ﻓﻴﻬﺎ ﻤﻤﺘﻁﻴﺔ ﻅﻬﺭ ﺃﺴﺩ .ﻭﻟـﻡ ﺘﺜﺒﺕ ﺼﻠﺘﻬﺎ ﺒﺎﻹﻟﻬﺔ ﺍﻟﺒﺎﺒﻠﻴﺔ" ﺃﻨﺘﻭ"، ﺍﻟﻔِﻴ ِﻨ ِﻴ ِﻘﻴﺔ "ﺃﻨﺘﻴﺕ" ﻋﻴﻨﻬﺎ ﺃﻭ ﺍﻹﻟﻬـﺔ "ﺃﻨﺘﻴﻭﺱ" ،ﻭﻜل ﻤﻨﻬﻤﺎ ﺇﻟﻬ ﹸﺔ ﺤﺭﺏ. ﻭﻋﺩﺕ ﻤﻤﺎﺜﻠﺔ ﻟﻺﻟﻬﺔ *ﺃﺜﻴﻨـﺎ ﻓـﻲ ﺍﻟﻌﺼﺭ ﺍﻟﻬﻴﻠﻴﻨﺴﺘﻲ. ﺼﻔ ﹲﺔ ﻟﻜﺎﻤﺎ ﺇﻟـﻪ ﺍﻟﺤـﺏ ﻓـﻲ ﺠﺴﺩ" ﻭﻗﺩ ﺃﻁﻠﻘﺕ ﻋﻠﻴﻪ ﻫﺫﻩ ﺍﻟﺼﻔﺔ ﻷَﻥ ﻋﻴﻥ ﺸﻴﻔﺎ Shivaﺃﻓﻨﺘﻪ ﻋﻨﺩﻤﺎ ل ﺒﺎﻟﻭﻻﺀ ﻟﺸﻴﻔﺎ ﺒﺄﻓﻜـﺎﺭ ﻋـﻥ ﺃﺨ ﱠ ﺒﺎﺭﻓﺎﺘﻲ. www.alkottob.com ﻴﻁﻠﻕ ﻋﻠﻴﻪ ﺍﺴﻡ ﻨﺎﻨﺴﻲ .ﻭﺍﺴﻤﻪ ﻓﻲ ﺒﻪ ﺍﻟﺨﻁﺭ ،ﻭﻫﻜﺫﺍ ﺘﻜﺘﺏ ﻟﻪ ﺍﻟﻨﺠﺎﺓ ﻫﺎﻴﺘﻲ ﻫﻭ "ﺘﻲ – ﻤﺎﻟﻴﺱ" .ﻭﺘﺭﻭﻱ ﻤﻥ ﻤﺼﻴﺭ ﺭﻫﻴﺏ .ﻭﺜﻤـﺔ ﻤﺜـل ﺤﻜﺎﻴﺎﺕ ﺃﻨﺎﻨﺴﻲ ﻓﻲ ﺠﺎﻤﺎﻴﻜﺎ ﻓـﻲ ﻴﺘﺭﺩﺩ ﻓﻲ ﻏﺭﺏ ﺇﻓﺭﻴﻘﻴـﺔ ﻭﻫـﻭ ﺍﻟﺴﻬﺭﺍﺕ ،ﻭﻟﻠﺤﺸﻭﺩ ﺍﻟﺘﻲ ﺘﺘﺠﻤـﻊ "ﺍﻟﻭﻴل ﻟﻤﻥ ﻴﻀﻊ ﺜﻘﺘﻪ ﻓﻲ ﺃﻨﺎﻨﺴﻲ؛ ﻹﻗﺎﻤﺔ ﺍﻟﺸﻌﺎﺌﺭ ﻟﻠﻤﻭﺘﻰ .ﻭﻴﻘﺎل ﺇﻥ ﻓﻬﻭ ﻤﺎﻜﺭ ﻭﺃﻨﺎﻨﻲ ﺠﺸـﻊ" .ﻭﻤﺜـل ﺍﻟﺯﻨﻭﺝ ﻓﻲ ﺘﺭﻴﻨﻴـﺩﺍﺩ ﻗـﺩ ﻓﻘـﺩﻭﺍ ﺍﻫﺘﻤﺎﻤﻬﻡ ﺒﺤﻜﺎﻴﺎﺕ ﺃﻨﺎﻨﺴـﻲ ،ﻭﺇﻥ ﻜﺎﻥ ﺍﻷﻁﻔﺎل ﻫﻨـﺎﻙ ﻻ ﻴﺯﺍﻟـﻭﻥ ﻴﺭﺩﺩﻭﻥ ﻫﺫﻩ ﺍﻟﺤﻜﺎﻴﺎﺕ. ﻭﻜﺎﻥ ﺃﻨﺎﻨﺴﻲ ﻓﻲ ﺍﻷﺼل ﺨﺎﻟﻘﹰـﺎ ﻟﻬﺫﺍ ﺍﻟﻌﺎﻟﻡ ،ﻜﻤﺎ ﺘﺫﻫﺏ ﺇﻟﻰ ﺫﻟـﻙ ﺁﺨﺭ ﻴﻘﻭل":ﺇﻥ ﺤﻜﻤـﺔ ﺍﻟﻌﻨﻜﺒـﻭﺕ ﺃﻋﻅﻡ ﻤﻥ ﺤﻜﻤﺔ ﺍﻟﻨﺎﺱ ﺠﻤﻴﻌﺎ ﻓﻲ ـﻬﺭ ـﻥ ﺃﺸـ ـﺭﻩ" .ﻭﻤـ ـﺎﻟﻡ ﺒﺄﺴـ ﺍﻟﻌـ ﺍﻟﺤﻜﺎﻴﺎﺕ ﺍﻟﺘﻲ ﺘﺭﺩﺩ ﻋﻥ ﺃﻨﺎﻨﺴـﻲ ﺤﻜﺎﻴﺔ ﺍﻟ ِﻘﺩﺭ ﺍﻟ ﻤﻠِﻴﺌﺔ ﺩﺍﺌﻤﺎ ﺒﺎﻟﻁﻌﺎﻡ، ﺍﻷﺴﻁﻭﺭﺓ ﻓﻲ ﻏـﺭﺏ ﺇﻓﺭﻴﻘﻴـﺔ، ﻭﺘﺭﺩﺩ ﺒﻌﺽ ﺍﻟﺤﻜﺎﻴﺎﺕ ﺃﻨﻪ ﻴﺴﺭﻕ ﺍﻟﺸﻤﺱ .ﻭﺍﻟﻌﻨﻜﺒﻭﺕ ﻓﻲ ﻓﻭﻟﻜﻠـﻭﺭ ﺍﻟﻴﺎﻨﺘﻭ ﻴﺭﺘﺒﻁ ﺒﺎﻟﺸﻤﺱ .ﻭﻤﻬﻤﺎ ﻴﻜﻥ ﻤﻥ ﺃﻤﺭ ﻓﺈﻥ ﺩﻭﺭﻩ ﺍﻟﺭﺌﻴﺴﻲ ﻓـﻲ ﺍﻟﺤﻜﺎﻴﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻹﻓﺭﻴﻘﻴـﺔ ﻫـﻭ ﺩﻭﺭ ﺍﻟﻤﺤﺘﺎل ﺍﻟﺩﺍﻫﻴﺔ ﺍﻟﺫﻱ ﻴﻭﻓـﻕ ﻭﺍﻟﺘﻲ ﺤﻁﻤﻬﺎ ﺃﻁﻔـﺎل ﺃﻨﺎﻨﺴـﻲ، ﻭﺍﻟﺴﻭﻁ ﺍﻟﺫﻱ ﺤﺼل ﻋﻠﻴﻪ ﻟﻴﻌﺎﻗﺒﻬﻡ ﺒﻪ ،ﻭﻅل ﻴﻀﺭﺒﻬﻡ ﺒﻪ ﺩﻭﻥ ﺘﻭﻗﻑ ww ﺍﻷﺴﻁﻭﺭﺓ ﺍﻟﻬﻨﺩﻴﺔ ،ﻭﻤﻌﻨﺎﻫﺎ " ﺒـﻼ ﺃﻨﺎﻨﺴﻲ ﺇﻟﻰ ﻋﻨﻜﺒﻭﺕ ﻋﻨﺩﻤﺎ ﻴﺤﻴﻕ w. ﺃﹶﻧﺎﻧﭽﺎ ANANGA ﻭﻓﻲ ﻓﻴﻭﺭﺍﺴﻭ ﺒﺠﺯﺭ ﺍﻟﻬﻨﺩ ﺍﻟﻐﺭﺒﻴﺔ alk ﻭﺭﺒﻤﺎ ﻜﺎﻨﺕ ﻫﻲ ﺍﻹﻟﻬﺔ ﺍﻟﺴـﻭﺭﻴﺔ ﻭﺘﺭﻭﻱ ﺤﻜﺎﻴﺎﺕ ﻋﺩﻴﺩﺓ ﻴﺘﺤﻭل ﻓﻴﻬﺎ ﻋﻨﺩﻤﺎ ﺤﺼـﻠﻭﺍ ﻋﻠﻴـﻪ ،ﻭﻗـﺎﻤﻭﺍ ﺒﻔﺤﺼﻪ. ١٠٣ ﺃﻧﺎﻫِﻴﺘﺎ ANAHITA ﻷﻡ ﺍﻟﻌﻅﻤﻰ ﻋﻨﺩ ﺍﻹﻴـﺭﺍﻨﻴﻴﻥ *ﺍ ُ m ﺍﻟﻘﺩﻤﺎﺀ ،ﻭﻫـﻲ ﺇﻟﻬـﺔ ﺍﻟﺨِﺼـﺏ. ﻭﺘﺫﻫﺏ ﺍﻷﺴﻁﻭﺭﺓ ﺇﻟﻰ ﺃﻨـﻪ ﺇﻨﻤـﺎ ل ﻓـﻲ ﺘﺨﺼـﻴﺏ ﻴﻌﻭﺩ ﺇﻟﻴﻬﺎ ﺍﻟﻔﹶﻀ ُ .co ـﻊ ـﻙ ﺍﻟﻨﱠﺒـ ـﺔ ﺫﻟـ ـﺎﻩ ،ﻭﺒﺨﺎﺼـ ﺍﻟﻤﻴـ ﺍﻟﻤﻭﺠﻭﺩ ﺒﻴﻥ ﺍﻟﻨﺠﻭﻡ؛ ﻭﺍﻟﺫﻱ ﺘﻔﻴﺽ ﻋﻨﻪ ﻜل ﺃﻨﻬﺎﺭ ﺍﻟﻌﺎﻟﻡ .ﻭﺍﻨﺘﺸـﺭﺕ ﻋﺒﺎﺩﺘﹸﻬﺎ ﻏﺭﺒﺎ ﺤﺘﻰ ﺒﻠﻐـﺕ ﺒﺤـﺭ ﺍﻟﻌﻅﻴﻤﺎﺕ ﻓﻲ ﻫﺫﻩ ﺍﻟﻤِﻨﻁﻘﺔ؛ ﻤﺜـل *ﺃﺜﻴﻨﺎ ﻭ*ﻋﺸﺘﺎﺭ ﻭ*ﺴـﻤﻴﺭﺍﻤﻴﺱ ﻭ* ﻜﻭﺒﻴﻠﻲ ﻭ* ﺃﻓﺭﻭﺩﻴﺕ .ﻭﻅﻬﺭ ﻥ ﺍﻨﺘﺸﺎ ِﺭ ﺍﻟﻌﻘﻴـﺩ ِﺓ ﺍﻻﻋﺘﻘﺎﺩ ﻓﻴﻬﺎ ﺇﺒﺎ ﺍﻟ ﻤ ﺯ ﺩ ِﻜﻴــﺔ ﺒﻌــﺩ ﺍﻟﺯﺭﺍﺩﺸــﺘﻴﺔ، ﻭﺍﻗﺘﺭﻨﺕ ﻋﺒﺎﺩﺘﻬﺎ ﺒﺎﻹﻟﻬـﺔ ِﻤﺜﹾـﺭﺍ ،Mithraﺃﻭ ﻤﺎﺯﺩﺍ. ﻭﻟﻤﺎ ﻜﺎﻨﺕ ﺃﻨﺎﻫﻴﺘﺎ ﺘﻌـﺩ ﺇﻟﻬـﺔ ـﺎﺤﺜﻴﻥ ﺃﻥ ﺽ ﺍﻟﺒـ ﺢ ﺒﻌـ ﻭﻴـﺭﺠ ﺼ ﻭﺭﺕ ﻭﻫـﻲ ﺤﺭﺏ ﺃﻴﻀﺎ؛ ﻓﻘﺩ ﺍﻹﻟﻬﺔ ﺃﻨﺎﻫﻴﺘـﺎ ﺴـﺎﻤﻴﺔ ﺍﻷﺼـل، ﺘﺴﻭﻕ ﻋﺠﻠﺔ ﺤﺭﺒﻴﺔ ﻴﺠﺭﻫﺎ ﺃﺭﺒﻌ ﹸﺔ ﻭﺭﺒﻤﺎ ﻜﺎﻨﺕ ﻤﺭﺍﺩﻓﺔ ﻟﻺﻟﻬﺔ ﺁﻨﺎﺕ، ل ﻋﻠﻰ ﺍﻟﺘﺭﺘﻴﺏ: ﺠﻴﺎﺩ ﺒﻴﻀﺎﺀ ،ﺘﹸﻤﺜﱢ ُ ﻭﻴﺅﻴﺩ ﻫﺫﺍ ﺍﻟﺭﺃﻱ ﺍﻟﺒِﻐﺎ ﺀ ﺍﻟﻤﻘـﺩﺱ ﺍﻟﺭﻴﺢ ﻭﺍﻟﻤﻁﺭ ﻭﺍﻟﺴﺤﺎﺏ ﻭﺍﻟﺒـﺭﺩ. ﺍﻟﺫﻱ ﻴﻤﺎﺭﺴﻪ ﻋﺒﺎﺩﻫﺎ ﻓﻲ ﺍﻟﻤﻌﺒـﺩ، ﻭﻴﻘﺎل ﺇﻨﻬﺎ ﺘﻬﺏ ﺍﻟﻨﺼﺭ ﻟﻠﻤﻨﺎﻀﻠﻴﻥ. ﻭﺘﺼﻭﺭﻫﺎ ﻤﺭﺍﺩﻓﺔ ﻟﻺﻟﻬﺘﻴﻥ ﻨِﻴﻨـﺎ ﻭﻗﺩ ﺃﺼـﺒﺤﺕ ﺒﺘـﺄﺜﻴﺭ ﻋﺒـﺎﺩﺓ ﻋﺸﹾﺘﺎﺭ. ﻭ* ِ ﺍﻟﻜﻭﺍﻜﺏ ﻋﻨـﺩ ﺍﻟ ِﻜﻠﹾـﺩﺍﻥ ﺘـﺭﺍﺩﻑ ﻭﻟﻘﺩ ﺭﻭﻯ ﻫِﻴﺭﻭﺩﻭﺕ ﺃﻥ ﺍﻟ ﹸﻔﺭﺱ ﻁﻬـ ﺭ ﻓﻬﻲ ﺍﻟﺘﻲ ﻜﺎﻥ ﻋﻠﻴﻬـﺎ ﺃﻥ ﹸﺘ ﹶ ﻥ ﺍﻟﺭﻀـﺎﻉ. ﺤ ﻡ ﻭﻟﹶـ ﺒ ﺍﻟ ﱡﻨﻁﹾﻔ ﹶﺔ ﻭﺍﻟ ﺭ ِ ل ﺕ ﻭﺍﻟﺤﻭﺍﻤــ ُ ﻭﻜﺎﻨــﺕ ﺍﻟﺯﻭﺠــﺎ ﹸ ﺘﺘﻘﺩﻡ ﺒﺎﻟﻌﻭﻥ ﻓﻲ ﺤﺎﻻﺕ ﺍﻟﻤـﺭﺽ ﺼﻔﹶﺕ ﺃﻨﺎﻫﻴﺘﺎ ﻓـﻲ ﺍﻟﺸﱠﺩﻴﺩ .ﻭﻟﻘﺩ ﻭ ِ ﺍﻟﻘﺎﻤﺔ ﻗﻭﻴﺔ ﺍﻟﺒِﻨﻴﺔ ،ﻤﻠﺘﺤﻔﺔ ﺒﻌﺒـﺎﺀﺓ ﻤﻭﺸﹼﺎﺓ ﺒﺎﻟﺫﻫﺏ ،ﻭﺘﻀﻊ ﻓﻲ ﺃﺫﻨﻴﻬـﺎ ﻗﹸﺭﻁِﻴﻥ ،ﻭﻓﻲ ﻋﻨﻘﻬﺎ ﻋﻘﺩﺍ ،ﻭﻋﻠـﻰ ﺭﺃﺴﻬﺎ ﺘﺎﺠﺎ ،ﻭﻜﻠﻬﺎ ﻤﺼﻨﻭﻋﺔ ﻤـﻥ ﺃﻨﺎﻫﻴﺘﺎ ﻫﻲ ﺍﻟﻤﻘﺼﻭﺩﺓ ﺒﺫﻟﻙ. ﺃﺸﻬﺭ ﺍﻵﻟﻬﺔ ﺠﻤﻴﻌﺎ ،ﻭﻋﺭﻓﺕ ﺒﺎﺴﻡ "ﺃﻨﺎﻫﻴﺘﺎ" ،ﻭﺃﻗﻴﻤﺕ ﻟﻬﺎ ﻫﻨﺎﻙ ﻤﻌﺎﺒِـ ﺩ ﻭﻟﻘﺩ ﺍﺘﺤﺩ *ﻤﺜﺭﺍ ﻤﻊ ﺃﻨﺎﻫﻴﺘﺎ ﻓﻲ ﻤﺘﻌﺩﺩﺓ ،ﻭﺒﻠﻎ ﻤﻥ ﻤﻜﺎﻨﺘﻬﺎ ﺃﻥ ﺃﻓﺭﺍﺩﺍ ﺍﻟﻨﻘﻭﺵ ﺍﻟﺘﻲ ﺘﺭﺠـﻊ ﺇﻟـﻰ ﻋﻬـﺩ ﻻ ﻭﻨﺴﺎﺀ ﻜـﺎﻨﻭﺍ ﻤﻥ ﺍﻟﻨﺒﻼﺀ؛ ﺭﺠﺎ ﹰ ﺍﻟﻤﻠﻭﻙ ﺍﻷﺨﻤﻴﻨﻴﻴﻥ ﻓﻲ ﺒﻼﺩ ﻓﺎﺭﺱ. ﻴﻨﺨﺭﻁﻭﻥ ﻓﻲ ﺨﺩﻤﺘﻬﺎ ،ﻭﻴﻘـﺎل ﺇﻥ ﺍﻟﻨﺴﺎﺀ ﻜﻥ ﻴﻤﺎﺭﺴﻥ ﺍﻟﺒﻐـﺎ ﺀ ﻋﻠـﻰ ـﺕ ـﺎ .ﻭﻜﺎﻨـ ـﺒﻴل ﺍﻟﺘﻘـﺭﺏ ﺇﻟﻴﻬـ ﺴـ ﺱ ﺍﻟﺨﺎﺼﺔ ﺒﻬﺎ ﻓﻲ ﺃﺭﻤﻴﻨﻴـﺔ ﺍﻟﻁﱡﻘﻭ ﺘﺘﺴﻡ ﺒﺎﻟﺼﺨﺏ ﻭﺍﻟﺨﻼﻋﺔ ،ﻭﺘﻘـﺎﻡ ﻓﻲ ﺍﻟﺨﺎﻤﺱ ﻋﺸـﺭ ﻤـﻥ ﺸـﻬﺭ ﺴﺒﺘﻤﺒﺭ ﻜل ﻋﺎﻡ. ﺃﹶﻧﺘﺎﻳﻮﺱ ANTAEUS ﻥ *ﺒﻭﺴﺎ ﻴﺩﻭﻥ ﻭ*ﺠﻴﺎ؛ ﻭﻫـﻭ ﺍﺒ ﻕ ﻜﺎﻥ ﻴﻌﻴﺵ ﻓﻲ ﻟﻴﺒﻴﺎ ،ﻜﻤـﺎ ﻋﻤﻼ ﹲ ﺠﺎ ﺀ ﻓﻲ ﺍﻷُﺴـﻁﹸﻭﺭﺓ ﺍﻹﻏﺭﻴﻘﻴـﺔ. ﻭﺘﺫﻫﺏ ﺍﻷﺴﻁﻭﺭﺓ ﺇﻟﻰ ﺃﻨـﻪ ﻜـﺎﻥ ﻭﺨﻠﻁ ﺍﻟﻴﻭﻨﺎﻥ )ﺍﻟﺫﻴﻥ ﻋﺭﻓﻭﻫـﺎ ﺒﺎﺴـــﻡ "ﺃﻨﻴﺘـــﻴﺱ"( ﺒﻴﻨﻬـــﺎ ﻭﺒﻴﻥ*ﺃﻓﺭﻭﺩﻴﺕ؛ ﺒﺎﻋﺘﺒﺎﺭﻫﺎ ﺇﻟﻬـﺔ ﺍﻟﺨﺼﺏ ﻭ* ﺃﺜﻴﻨﺎ؛ ﺒﺎﻋﺘﺒﺎﺭﻫﺎ ﺇﻟﻬﺔ ﺍﻟﺤﺭﺏ .ﻭﺍﻨﺘﺸﺭﺕ ﻋﺒﺎﺩﺘﹸﻬـﺎ ﻓـﻲ ﺍﻟﻌﺎﻟﹶﻡ ﺍﻟﻼﺘﻴﻨـﻲ؛ ﺒﺎﻋﺘﺒﺎﺭﻫـﺎ ﺍﻷﻡ ﻤﺼﺎ ِﺭﻋﺎ ﻻ ﻴﻘﻬـﺭ ،ﻁﺎﻟﻤـﺎ ﺃﻨـﻪ ﻤﺘﱠﺼــل ﺒﺄﻤــﻪ ﺍﻷﺭﺽ ،ﻭﻜــﺎﻥ ﺏ ﺇﻟــﻰ ل ﺍﻷﻏﹾــﺭﺍ ِ ﻁ ﺭ ﻜﹸــ ﱠ ﻴﻀــ ﹶ ﻤﺼﺎﺭﻋ ِﺘ ِﻪ ﻋﻠﻰ ﺸﺭﻴﻁﺔ ﺃﻥ ﻴﻌﺩﻤﻭﺍ ww *ﺍﻷﻓﺴﺘﺎ ﺒﺄﻨﻬﺎ ﻓﺘﺎﺓ ﺠﻤﻴﻠﺔ ﻁﻭﻴﻠـﺔ ﺃﻤﺎ ﻓﻲ ﺒﻼﺩ ﺃﺭﻤﻴﻨﻴﺔ؛ ﻓﻘﺩ ﻜﺎﻨﺕ ﺃﻓﺭﻭﺩِﻴﺕ ﺍﻟﺴﻤﺎﻭﻴﺔ ،ﻭﺭﺒﻤﺎ ﻜﺎﻨـﺕ w. ﻴﺘﻀﺭﻋﻥ ﺇﻟﻴﻬﺎ ،ﻜﻤﺎ ﺃﻨﻬـﺎ ﻜﺎﻨـﺕ ﻜﻭﻜﺏ ﺍﻟ ﺯﻫﺭﺓ. ﺘﻌﻠﱠﻤﻭﺍ ﻤـﻥ ﺍﻵﺸـﻭﺭﻴﻴﻥ ﻋﺒـﺎﺩﺓ alk ﻭﻜﺎﻨﺕ ﺃﻨﺎﻫﻴﺘﺎ ﹸﺘ ﻌﺩ ﺇﻟﻬﺔ ﺍﻟﺘﻨﺎﺴل؛ www.alkottob.com ﺠﻠﺩ ﻜﻠﺏ ﺍﻟﺒﺤﺭ. ﺍﻟﻤﻴﻼﺩﻱ. ott ob ﺇﻴﺠﺔ ،ﻭﺃﺼﺒﺤﺕ ﻤﺭﺍﺩﻓ ﹰﺔ ﻟﻸﻤﻬﺎﺕ ﺍﻟﺫﱠﻫﺏ ،ﻭﺘﺘﺯﻴﻥ ﺒﺜﻼﺜﻴﻥ ﻗﻁﻌﺔ ﻤﻥ ﺍﻟﻌﻅﻤــﻰ ﻤﻨــﺫ ﺍﻟﻘــﺭﻥ ﺍﻷﻭل ل ﺴِـ ﺭ ﺇﺫﺍ ﻗﻬﺭﻫﻡ .ﻭﺍﻜﺘﺸﻑ * ِﻫ ﺭ ﹾﻗ ُ ﻗﻭﺘﻪ؛ ﻓﺄﻤﺴﻙ ﺒـﻪ ﻭﺭﻓﻌـﻪ ﻋـﻥ ﺍﻷﺭﺽ ﻭﺨﻨﻘﻪ ﻭﻫﻭ ﻴﺤﻤﻠﻪ. ١٠٤ ﺃﹶﻧﺜِﻴﺴﺘِﲑﻳﺎ ﻭﺃﻨﺠﺭﺍ ﻤـﺎﻴﻨﻴﻭ ﻟـﻴﺱ ﺨﺎﻟـﺩﺍ، ﺠﻠﹸــﻭ ﻷ ﹾﻨ ِ ﺍﻟﺭﻭﺍﻴــﺎﺕ ﺇﻨــﻪ ﺠــ ﺩ ﺍ َ ANTHESTERIA m ﻥ ﻴﺴﺘﻤﺭ ﺜﻼﺜﺔ ﺃﻴﺎﻡ ﻴﻘـﺎ ﻡ ِﻤ ﻬﺭﺠﺎ ﺴﻨﻭﻴﺎ ﻓﻲ ﺃﺜﻴﻨﺎ ﻤﻥ ١١ﺇﻟـﻰ ١٣ .co ﻤﻥ ﺸﻬﺭ ﺃﻨﺜﺴﺘﻴﺭﻴﻭﻥ )ﻓﺒﺭﺍﻴـﺭ – ﻤﺎﺭﺱ(؛ ﺘﻜﺭﻴﻤـﹰﺎ ﻟﺩﻴﻭﻨﻴﺴـﻭﺱ. ﻭﺍﻟﻐﺭﺽ ﻤﻨﻪ ﻫﻭ ﺍﻻﺤﺘﻔﺎل ﺒﻨﻀﺞ ﺴﺎ ﹾﻜﺴﻭﻥ. ﻭﺘﻘﻭل ﺍﻷُﺴﻁﹸﻭﺭ ﹸﺓ ﺇﻥ ﻤﺼﻴﺭﻩ ﺍﻟﻔﻨﺎﺀ ﻭﻴﺭﻯ ﺍﻟﺒﻌﺽ ﺃﻥ ﺃﺴﻁﻭﺭﺓ ﺇﻨﺞ ﻴﻭﻡ ﺍﻟﺒﻌﺙ ،ﻭﺇﻨﻪ ﻻ ﻴـﺩﺭﻱ ﺒﻤـﺎ ﺃﻗﺩﻡ ﺍﻟﺩﻻﺌل ﻋﻠﻰ ﺭﺤﻠﺔ ﺍﻟﻤﻭﺕ ﺃﻭ ﺴﻭﻑ ﻴﺤﺩﺙ ﻟﻪ ،ﻭﻟﻬﺫﺍ ﻻ ﻴﺘﺨـﺫ ﺤﻭﻟﻬــﺎ ﺃﺴــﺎﻁﻴﺭ ﺘﻨﺘﺸــﺭ ﻓــﻲ ﺍﻟﻤﺼﻴﺭ ﺍﻟﻤﺤﺘﻭﻡ. ﺍﻟﺭﺤﻠﺔ ﺇﻟﻰ ﺍﻟﻌﺎﹶﻟﻡِ ﺍﻵﺨﺭ ﺍﻟﺘﻲ ﺘﺩﻭﺭ ﺍﻟﻭﺴﺎﺌل ﺍﻟﻜﻔﻴﻠﺔ ﺒﺈﻨﻘﺎﺫﻩ ﻤـﻥ ﻫـﺫﺍ ﺍﻟﺩﺍﻨِﻤﺎﺭﻙ. ﺃﹶﻧﺤﺮ ﺍﻟﻜﺭﻭﻡ ﺍﻟﻤﺨﺯﻭﻨﺔ ﻓﻲ ﺁﻭﺍ ِﻥ ﺍﻟﻘِﻁﺎﻑ ﺃﹶﻧﭽِﺮﺍ ﻣﺎﻳﻨﻴﻮ ﺍﻟﺴﺎﺒﻕ ﻭﺒﺩﺍﻴـﺔ ﺍﻟﺭﺒﻴـﻊ .ﻭﻜـﺎﻥ ﺃﺤﺩ ﺁﻟﻬﺔ ﺍﻟﺸﱠﻤﺱ ﻭﺍﻟﺴﻤﺎﺀ ﻓـﻲ ﻤﺼﺭ ﺍﻟﻘﺩﻴﻤﺔ؛ ﻭﻫﻭ "ﺍﻟﺫﻱ ﻴﻘـﻭﺩ ANGRA MAINYU ﺱ ﻓـﻲ ﺍﻟﺴﻤﺎﺀ" ،ﻭﻗﺩ ﻋﺒـﺩﻩ ﺍﻟﻨﹼـﺎ ott ob ﺍﻟﻴﻭﻤﺎﻥ ﺍﻷﻭﻻﻥ؛ ﻭﻫﻤﺎ ﺒﻴﺜﻭﻴﺠﻴـﺎ )ﻓﺘﺢ ﺍﻟﺒﺭﺍﻤﻴل( ﻭﺨـﻭﺍﻴﺱ )ﻋﻴـﺩ ﺍﻟﺩﻨﺎﻥ( ﻴﻌﺘﺒﺭﺍﻥ ﻤﻥ ﺃﻴﺎﻡ ﺍﻟـﻨﺤﺱ، ﻭﻴﺘﻁﻠﺏ ﺍﻷﻤـﺭ ﺴـﻜﺏ ﺍﻟﺨﻤـﺭ ﻟﻠﺘﻜﻔﻴﺭ؛ ﻓﻔﻲ ﻫﺫﻴﻥ ﺍﻟﻴﻭﻤﻴﻥ ﺘﺴـﻴﺭ ﺃﺭﻭﺍﺡ ﺍﻟﻤﻭﺘﻰ ﻓﻲ ﺍﻟﺨﺎﺭﺝ .ﻭﻓـﻲ ﺍﻟﻴﻭﻡ ﺍﻟﺜﺎﻟﺙ ،ﻭﻴﺴﻤﻰ ﺨﺘﺭﻭﻱ )ﻋﻴﺩ ﺇِﻧﭻ ING ﺴﻁﹸﻭﺭِﻱ ِﺘﻴﻭﺘﹸﻭﻨِﻲ ،ﻴﻌـ ﺩ ل ُﺃ ﺒﻁ ٌ ﺽ ﺍﻟﻘﺒﺎﺌل ﺍﻟﺘﻲ ﺘﻌﻴﺵ ﻋﻠﻰ ﺠ ﺩ ﺒﻌ ِ ل ﺃُﺴﻁﹸﻭﺭﺓ ﺘﺫﻫﺏ ﺇﻟﻰ ﺃﻨـﻪ ﻭﺼـ َ ﺒﻁﺭﻴﻘﺔ ﻏﺎﻤِﻀﺔ ﻓﻲ ﺴـﻔﻴﻨﺔ ﻤـﻥ ﺃﻗﺩﺍﻡ ﺠﻨﺱ ﺤﺎﻜﻡ ،ﺜﻡ ﺴﺎﻓﺭ ﻓﺠـﺄﺓ ﻭﺒﺼﻭﺭﺓ ﻏﺎﻤﻀﺔ ،ﻭﺍﻨﻁﻠﻕ ﺇﻟـﻰ ﺠﻬﺔ ﻤﺠﻬﻭﻟـﺔ ،ﻭﺘﻘـﻭل ﺒﻌـﺽ www.alkottob.com ﺸ ِﺘﻴﺔ .ﻭﺘﺫﻫﺏ ﺍﻷﺴـﻁﻭﺭﺓ ﺍﻟﺯﺭﺍ ﺩ ﹾ ﻤﺤﻔﻭﻅﺔ ﺒﻤﺩﻴﻨﺔ ﺘﻴﻨـﻴﺱ ﺒﻤﺼـﺭ ﺇﻟﻰ ﺃﻨﻪ ﺒ ﺭ ﺯ ﻤﻥ ﻭ ﻫ ﺩ ِﺓ ﺍﻟﻅﻠﻤـﺎﺕ ﺍﻟﻌﻠﻴﺎ. ﺍﻟﺴﺤﻴﻘﺔ. ﻭﻴﺒﺩﻭ ﺍﻹﻟﻪ ﺃﻨﺤﺭ ﻓـﻲ ﺼـﻭﺭﺓ ﻭﺃﻨﺠﺭﺍ ﻤﺎﻴﻨﻴﻭ ﺘﺠﺴـﻴﺩ ﻟﻠﺸﱠـﺭ، ﺁﺩﻤﻲ ﻴﺤﻤل ﺼﻭﻟﹶﺠﺎﻨﹰﺎ .ﻭﻗﺩ ﺃﺼﺒﺢ ل ﻁ ﹸﻜلﱠ ﻋﻤ ٍ ﺤﺒ ﹶ ﻭﻫﻭ ﻻ ﻴﻬﺩﺃ ﺇﻻ ﺇﺫﺍ َﺃ ﺒﺼﻔﺘﻪ ﺇﻟﻬﺎ ﻟﻠﺸﻤﺱ ،ﻤﺭﺍﺩﻓﹰﺎ ﻟﻺﻟـﻪ ﺼﺎﻟﺢٍ ،ﻭﻴﺤﺱ ﺒﺎﻟﺴـﻌﺎﺩﺓ ﻋﻨـﺩﻤﺎ ﻴﺘﻤﺭﺩ ﺇﻨﺴﺎﻥ ﻋﻠﻰ * ﺃﻫﻭﺭﺍﻤـﺎﺯﺩﺍ ﻉ. ﻥ ﺍﻹﻟﻪ * ﺭ ﺸﹸﻭ ﺍﺒ ِ ﺇﻟﻪ ﺍﻟﺨﻴﺭ ،ﻭﻴﻁﺭﺏ ﻋﻨﺩﻤﺎ ﻴـﺭﻯ ﺃﹶﻧﺤﻮﺭ ﺕ ﻭﺍﻟﺩﻤﺎﺭ ﻭﺍﻟﻭﺒﺎ ﺀ ﻴﺸﻴﻊ ﻓـﻲ ﺍﻟﻤﻭ ﹶ ﻜل ﻤﻜﺎﻥ ،ﺜﻡ ﺇﻨﻪ ﺍﻟﺴﺒﺏ ﻓﻲ ﻭﺠﻭﺩ ﺍﻟﻨﻘﺎﺌﺹ ﻭﺍﻟﺭﺫﺍﺌل. ANHUR ﺏ ﻭﺍﻟﻤﻭﺘﹶﻰ ﻋﻨـﺩ ﻤﻥ ﺁﻟِﻬ ِﺔ ﺍﻟﺤﺭ ِ ﺼ ِﺭﻴﻴﻥ ﺍﻟﻘـﺩﻤﺎﺀ ﻭﻤـﻥ ﺁﻟﻬـﺔ ﺍﻟ ِﻤ َﺃﺒِﻴﺩﻭﺱ .ﻭﻫﻭ ﻴﺼﻭﺭ ﺃﺤﻴﺎﻨﹰﺎ ﻓـﻲ ﻭﺘﺭﻭﻱ ﺍﻷﺴﻁﻭﺭﺓ ﺍﻟﺯﺭﺍﺩﺸـﺘﻴﺔ ﻥ *ﺃﺯﻫـﻰ ﺩﺍﻫﺎﻜـﺎ ﺃﻨﻪ ﺃﻭﺠﺩ ﺍﻟﺘﱢﻨﻴ ﻟﻴﻘﻀﻲ ﻋﻠـﻰ ﺍﻟﻤـﺅﻤﻨﻴﻥ ﺒﺎﻹﻟـﻪ ﺙ ﺒﻌﻅﺎ ٍﺓ )ﺴِﺤﻠﻴﺔ( ﺃﻫﻭﺭﺍﻤﺎﺯﺩﺍ ،ﻭﺒﻌ ﹶ ﻤﻬﻭﻟﺔ ﻟﺘﻠﺘﻬﻡ ﺸﺠﺭﺓ ﺍﻟﺤﻴﺎﺓ ﻓﻲ ﺒﺤﺭ ﻓﻭﺭﻭﻜﺎﺸﺎ .ﻜﻤﺎ ﺘﺫﻫﺏ ﺍﻷﺴـﻁﻭﺭﺓ ل ﺍﻟﺜﱠﻭ ﺭ ﺍﻷﻭل. ﺇﻟﻰ ﺃﻨﻪ ﹶﻗ ﹶﺘ َ ﺤﺭﺒﺔ. ﻫﻴﺌﺔ ﺭﺠل ﻴﺭﺘﻜﺯ ﻋﻠﻰ ﻭﻟﻘﺩ ﺃﺼﺒﺢ ﻤﺭﺍ ِﺩﻓﹰﺎ ﻹﻟﻪ ﺍﻟﺤﺭﺏ *ﺁﺭﺱ ﻋﻨﺩﻤﺎ ﺨﻀـﻌﺕ ﻤﺼـﺭ ww ﻤﻜﺎﻥ ﻤﺠﻬﻭل ،ﻭﺃﻗﺎﻡ ﻫﻨﺎﻙ ﻟﻴﻭﻁﺩ ﺃﻤﺎﻜﻥ ﻋﺩﻴﺩﺓ ،ﻭﻴﻘﺎل ﺇﻥ ﻤﻭﻤﻴـﺎﺀﻩ w. ـﺎﻙ ـﻤﺎل .ﻭﻫﻨـ ـﺭ ﺍﻟﺸـ ـﻭل ﺒﺤـ ﻁـ ﻥ ﻓﻲ ﺍﻟﻌﻘﻴﺩﺓ ﺸ ﺭ ﺃﻭ ﺍﻟﺸﻴﻁﺎ ﺇﻟ ﻪ ﺍﻟ ﱠ alk ﺍﻟﻘﺩﻭﺭ( ﻴﻘﺎﻡ ِﻤ ﻬ ﺭﺠﺎﻥ ﻟﻠﻤﻭﺘﻰ. ANHER ﻟﻠﻨﻔﻭﺫ ﺍﻹﻏﺭﻴﻘـﻲ ،ﻭﺭﺒﻤـﺎ ﻜـﺎﻥ ﻤﺭﺍﺩﻓﹰﺎ ﻓﻲ ﺍﻟﻭﻗﺕ ﻨﻔﺴـﻪ ﻟﻺﻟـﻪ * ﺃﻨﺤﺭ. ١٠٥ ﺇﻧﺪِﺭﺍ INDRA ﺇﻟ ﻪ ﺍﻟﺠ ﻭ ﻭﺍﻟﻤﻁ ِﺭ ﻓﻲ ﺍﻷﺴﺎﻁﻴ ِﺭ m ﺍﻟﻬﻨﺩﻴﺔ ﺍﻟﻘﺩﻴﻤﺔ .ﻭﻫﻭ ﺍﺒﻥ ﺩﻴـﺎﻭﺱ ﺃﻭ ﺘﻔﺎﺸــﺘﺭﻱ ،ﻭﺃﻤــ ﻪ ﺒﻘــﺭ ﹲﺓ ﺃﻭ ﻨﺸﺘﺠﺭﻱ ،ﻭﻗﺩ ﺍﺴﺘﻁﺎﻉ ﺃﻥ ﻴﺼﺒﺢ .co ﺃﺤﺩ ﻜﺒﺎﺭ ﺍﻵﻟﻬﺔ ﻋﻨـﺩﻤﺎ ﺼـﺭﻉ ﭭﺭﻴﺘﺭﺍ ﺍﻟﺘﻨﻴﻥ ﺍﻟﻤﻭﻜـل ﺒـﺎﻟﻘﺤﻁ؛ ﻭﺒﺫﻟﻙ ﺃﻁﻠﻕ ﺍﻟﻤﻴﺎ ﻩ ﺍﻟﺤﺒﻴﺴﺔ ،ﻭﺃﻋﺎﺩ ﻟﻠﺸﻤﺱ ﻀﻴﺎﺀﻫﺎ ،ﻭﻟﻠﻔﺠﺭ ﺇﺸﺭﺍﻗﻪ. ﻟﻶﺩﻤﻴﻴﻥ ﻓﻲ ﻜﻔﺎﺤﻬﻡ ﻀﺩ ﻋﺩﻭﻫﻡ، ﻭﻜﺎﻥ ﻤﺭﻫﻭﺏ ﺍﻟﺠﺎﻨـﺏ ﻟﺘﺴـﻠﻁﻪ ﻋﻠــﻰ ﺍﻟﻌﻭﺍﺼــﻑ ﻭﺍﻟﺒــﺭﻭﻕ ﻭﺍﻟﺭﻋﻭﺩ ،ﻭﻟﻜﻨﻪ ﻜﺎﻥ ﻓﻲ ﺍﻟﻭﻗـﺕ ﻨﻔﺴﻪ ﻤﻭﻀِـ ﻊ ﺍﻟﺘﻘـﺩﻴﺭ ﺒﺼـﻔﺘﻪ ﺍﻟﺒﺎﻋﺙ ﻋﻠﻰ ﺍﻹﺨﺼﺎﺏ ﻭﺍﻟﻤـﺩﺒﺭ ﻟﻬﻁﻭل ﺍﻟﻤﻁﺭ. ﺍﻟﻁﺭﻴﻕ ﺍﻟﻘﻭﻴﻡ ﻭﻗﺘل ﻓﺴﻔﺎﺭﻭﺒﺎ ،ﺍﺒﻥ ﺇﻨﺩﺭﺍ ،ﻭﺤﻤﻠﻪ ﺇﻟﻰ ﻻﻨﻜﺎ )ﺠﺯﻴـﺭﺓ ﺘﻔﺎﺸﺘﺭﻱ؛ ﻓﻤﺎ ﻜﺎﻥ ﻤﻥ ﻫﺫﺍ ﺍﻷﺨﻴﺭ ﺴﻴﻼﻥ( .ﻭﻤﺎ ﻜﺎﻥ ﻤﻥ ﺍﻹﻟﻬﺔ ﺇﻻ ﺃﻥ ﻥ *ﭭﺭﻴﺘـﺭﺍ ﻕ ﻟﻪ ﺍﻟﺘﱢﻨـﻴ ﺨﹶﻠ ﹶ ﺇﻻ ﺃﻥ ﹶ ﻴﺒﺫﻟﻭﺍ ﺍﻟﺠﻬﺩ ﻹﻁﻼﻕ ﺴﺭﺍﺡ ﺇﻨﺩﺭﺍ ﻟﻴﻨﺘﻘﻡ ﻻﺒﻨﻪ .ﻭﺤﺎﻭﻟﺕ ﺍﻹﻟﻬـﺔ ﺃﻥ ﺨﻠﹸﻭ ﺩ. ﺒﺄﻥ ﻴﻤﻨﺤﻭﺍ ﺭﺍﭭﺎﻨﺎ ﺍﻟ ﹸ ﺘﻭﻓﻕ ﺒﻴﻥ ﺍﻟﻤﺘﺨﺎﺼﻤﻴﻥ؛ ﻓﺭﻀـﻲ ﺙ ﻭﻴﻌﺘﻘﺩ ﺍﻟﺒﺭﺍﻫِﻤ ﹸﺔ ﺃﻥ ﺇﻨﺩﺭﺍ ﺍﺠﺘ ﱠ ﭭﺭﻴﺘﺭﺍ ﺇﺫﺍ ﻭﻋﺩﻩ ﺇﻨﺩﺭﺍ ﺒﺄﻻ ﻴﻤﺴـﻪ ﺃﺠﻨﺤ ﹶﺔ ﺍﻟﺠﺒﺎل؛ ﻷﻨﻬﺎ ﻜﺎﻨـﺕ ﻤـﻥ ﺒﺄﺫﻯ ﻓﻲ ﺃﻭﻗﺎﺕ ﺍﻟﻤﻁﺭ ﻭﺍﻟﺠﻔﺎﻑ، ﺍﻟﻌﻭﺍﻤل ﺍﻟﻜﺒﺭﻯ ﻋﻠﻰ ﺍﻀـﻁﺭﺍﺏ ﻭﺃﻻ ﻴﺠﺭﺤﻪ ﺍﻟﺴـﻴﻑ ﺃﻭ ﺍﻟـﺭﻤﺢ، ﺍﻷﺠﻭﺍﺀ .ﻭﺘﺭﻭﻱ ﺍﻟﻤﻼﺤﻡ ﺍﻟﻬﻨﺩﻴـﺔ ﻭﺃﻻ ﻴﺅﺫﻴﻪ ﺍﻟﺤﺠﺭ ﺃﻭ ﺍﻟﺨﺸﺏ ﻓـﻲ ﺃﻨﻪ ﺍﺸﺘﺭﻙ ﻓﻲ ﺤﺭﻭﺏ ﺍﻟﺒﺸﺭ ،ﻭﺃﻨﻪ ﺃﺜﻨﺎﺀ ﺍﻟﻨﻬﺎﺭ ﺃﻭ ﺍﻟﻠﻴل ،ﻭﻟﻜﻥ ﺇﻨـﺩﺭﺍ ﻴﻀﻊ ﻗﻭﺱ ﹸﻗﺯﺡ ﻓﻲ ﺍﻟﺴﻤﺎﺀ ﻜﺩﻟﻴل ﻗﺘل ﺍﻟﺘﻨﻴﻥ ﭭﺭﻴﺘﺭﺍ ﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤﻥ ﻋﻠﻰ ﻭﺠﻭﺩﻩ. ﺍﻟﻤﺘَﺄﺨﱢﺭﺓ ﺇﻟﻪ ﺍﻟﺠﻭ ﻭﺤﺎﻜﻡ ﺴﻔﺎﺭﺠﺎ )ﺴﻤﺎﺀ ﺇﻨـﺩﺭﺍ( .ﺒﻴـﺩ ﺃﻥ ﻤﻜﺎﻨﺘـﻪ ﺃﺼﺒﺤﺕ ﺃﻗل ﻤﻤﺎ ﻜﺎﻨﺕ ﻋﻠﻴﻪ ﻓـﻲ ﺇﻨﺩﺭﺍ ﻓﻲ ﺼﻑ ﺍﻹﻟﻪ ﺴﻭﺭﺍ ﻀـﺩ ﺃﺴﻭﺭﺍ ﺒﻌﺩ ﺍﻟﻁﻭﻓﺎﻥ ،ﻭﻟﻜﻨـﻪ ﻟـﻡ ﺒﻤﺴﺎﻋﺩﺓ ﭭﺸﻨﻭ؛ ﻓﻜﻭﻓﻲﺀ ﺇﻨﺩﺭﺍ ﻋﻠﻰ ل ﺤﺎ ِﻜﻤﺎ ﻋﻠـﻰ ﺠﻌِ َ ﺠﻬﻭﺩﻩ ﻫﺫﻩ ﺒﺄﻥ ﺍﻟﻌﻭﺍﻟﻡ ﺍﻟﺜﱠﻼﺜـﺔ .ﻭﺃﻋﻘـﺏ ﺫﻟـﻙ ﺍﻟﻌﺼﺭ ﺍﻟﺫﻫﺒﻲ ﺍﻟﺫﻱ ﺍﻤﺘﻁﻰ ﺇﻨﺩﺭﺍ ﺍﻟ ﹶﻐﺴﻕ ﻋﻠﻰ ﺒﻘﻌﺔ ﻤﻥ ﺍﻟﺴﺎﺤل ﺘﻠﺘﻘﻲ ﻓﻲ ﺍﻟﻁﻭل ،ﻭﻴﺭﻜﺏ ﻋﺭﺒﺔ ﺫﻫﺒﻴـﺔ ﻓﻴﻬﺎ ﺍﻟﺭﻁﻭﺒ ِﺔ ﺒﺎﻟﺠﻔﺎﻑ ،ﻭﺼـﺭﻋﻪ ﻴﺠﺭﻫﺎ ﺠﻭﺍﺩﺍﻥ ﺃﺼﻬﺒﺎﻥ )ﻭﻴﺘﻔﺎﻭﺕ ﺒﺎﻟﺼﺎﻋﻘﺔ ﻭﺯﺒﺩ ﺍﻟﺒﺤﺭ ،ﺜﻡ ﹶﻓ ﺭ ﺇﻟﻰ ﻋﺩﺩ ﺍﻟﺠﻴﺎﺩ ﻓﻲ ﺒﻌﺽ ﺍﻟﺭﻭﺍﻴـﺎﺕ ﺵ ﻤﺨﺘﺒﺌًـﺎ ﺒﺤﻴﺭﺓ ﻨﺎﺌﻴﺔ؛ ﺤﻴﺙ ﻋﺎ ﹶ ﻓﻲ ﺇﺤﺩﻯ ﺴﻴﻘﺎﻥ ﻨﺒـﺎﺕ ﺍﻟﻠـﻭﺘﺱ. ﻭﺠﺎﺀ ﺍﻟﻘﺤﻁ ﻭﻋﻡ ﺍﻟﺒﻼﺀ ﻓﻠﻡ ﻴﺠـﺩ ﭭﺸﻨﻭ ﻤﻨﺎﺼﺎ ﻤﻥ ﺃﻥ ﻴﻌـﺩ ﺇﻨـﺩﺭﺍ ﻀﺤﻰ ﺒﺠـﻭﺍﺩ ﺒﺎﺴﺘﻌﺎﺩﺓ ﻤﻜﺎﻨﺘﻪ ﺇﺫﺍ ﻗﺭﺒﺎﻨﹰﺎ ﻟﻶﻟﻬﺔ. ﺒﻴﻥ ﺃﻟﻑ ﻭﻤﺎﺌﺔ ﺠـﻭﺍﺩ ﻭﻋﺸـﺭﺓ ﺁﻻﻑ ﺠﻭﺍﺩ( ،ﻭﺴﻼﺤﻪ ﺍﻟﺼـﺎﻋِﻘﺔ ﺨﻁﹼــﺎﻑ ﻭﺍﻟﻘﹶــﻭﺱ ﻭﺍﻟﺴــﻬﺎﻡ ﻭﺍﻟ ﹸ ﻭﺍﻟﺸﺒﻜﺔ ﻭﺍﻟﺤﺭﺒﺔ. ﻭﺘﺫﻜﺭ ﺍﻷﺴﺎﻁﻴﺭ ﺍﻟﻤﺘـﺄﺨﺭﺓ ﺃﻥ ﻭﻻ ﺘﹸﻘﺩﻡ ﻓﺭﻭﺽ ﺍﻟﻌﺒﺎﺩﺓ ﻹﻨﺩﺭﺍ ﻥ ﻤﺒﺎﺸﺭﺓ ،ﻭﻤﻊ ﺫﻟﻙ ﻴﻘﺎﻡ ِﻤ ﻬﺭﺠـﺎ ﺒﺎﺴﻤﻪ ﻓﻲ ﻜل ﻋﺎﻡ. ww ﻴﺴﺘﻁﻊ ﺃﻥ ﻴﻅﻔﺭ ﺒﺎﻟﻨﺼﺭ ﻟﻺﻟﻬﺔ ﺇﻻ ﻟﻶﻟﻬﺔ؛ ﻭﺫﻟﻙ ﻋﻨﺩ ﺍﻟﺘﻘﺎﺌﻪ ﺒﻪ ﻓـﻲ ﺫﻫﺒﻲ ﺍﻟﻠﻭﻥ ،ﻭﻟﻪ ﺫﺭﺍﻋﺎﻥ ﻤﻤﻌﻨﺘﺎﻥ w. ﺍﻷﺴﺎﻁﻴﺭ ﺍﻟﻘﺩﻴﻤﺔ .ﻭﻗـﺩ ﺤـﺎﺭﺏ ﻁﻌـﻪ ﻋﻠـﻰ ﻨﻔﺴـﻪ ﻋ ِﺩ ﺍﻟﺫﻱ ﹶﻗ ﹶ ﺍﻟ ﻭ ﻭﻴﺼﻭﺭ ﺇﻨﺩﺭﺍ ﺒﺄﻨـﻪ ﺃﺤﻤـﺭ ﺃﻭ alk ﻭﻅل ﺇﻨﺩﺭﺍ ﻓﻲ ﺍﻷﺴﺎﻁِﻴ ِﺭ ﺍﻟﻬﻨﺩﻴﺔ www.alkottob.com ﺍﻟﻌﺎﻟﹶﻡ ﺍﻟﺴﻌﻴﺩ .ﻭﻟﻜﻨﻪ ﺍﻨﺤﺭﻑ ﻋـﻥ ﺍﻟﺭﺍﻤﺎﻴﺎﻨﺎ ﺃﻥ ﺭﺍﭭﺎﻨﺎ ﺍﻨﺘﺼﺭ ﻋﻠـﻰ ott ob ﻭﻜﺎﻥ ﺇﻨـﺩﺭﺍ ﺍﻟﻤﻌـﻴﻥ ﺍﻷﻜﺒـﺭ ﻓﻴﻪ ﺇﻴﺭﺍﭭﺎﻨﺎ )ﻓﻴل ﺇﻨـﺩﺭﺍ( ﻟﻴﺭﺍﻗـﺏ ﺍﻟ ﻭﺼﻤﺎﺕ ﺃﻭ ﺍﻟﻌﻴﻭﻥ .ﻭﺠﺎﺀ ﻓﻲ * ﺇﻨﺩﺭﺍ ﺍﻗﺘﺭﻑ ﺒﻌﺽ ﺍﻵﺜﺎﻡ .ﻭﺫﻜﺭﺕ ﻭ ﻴﻌﺯﻯ ﻫﺒﻭﻁـﻪ ﻤـﻥ ﻤﻜﺎﻨﺘـﻪ * ﺍﻟﻤﻬﺎﺒﻬﺎﺭﺘﺎ ﺃﻨﻪ ﺤـﺎﻭل ﺇﻏـﺭﺍﺀ ﺍﻟﻤﻤﺘﺎﺯﺓ ﺇﻟﻰ ﺍﻟﻜﻬﻨـﺔ ﻓـﻲ ﻋﻬـﺩ ﺃﻫﺎﻟﻴﺎ ﺯﻭﺠﺔ ﺠﻭﺘﺎﻤﺎ ﻓﻌﻭﻗﺏ ﻋﻠـﻰ ﺍﻟﺒﺭﺍﻫﻤﺔ؛ ﻷﻨﻬﻡ ﻜـﺎﻨﻭﺍ ﻴﻜﺭﻫـﻭﻥ ﺫﻟﻙ ﺒﺄﻥ ﺭﺸـﻕ ﺠﺴـﻤﻪ ﺒـﺂﻻﻑ ١٠٦ ﺇﻨﺩﺭﺍ ﺒﺼﻔﺘﻪ ﺇﻟﻪ ﺤﺭﺏ. ﻭﻴﺭﻭﻱ ﻟﻬﺎ ﺤِﻜﺎﻴﺎﺕ ﻴﺠـﻭﺩ ﺒﻬـﺎ ﻨﻔﺴﻬﺎ ﻤﺜِﻠﺙ ﻟﻪ ﻤﺴﺭﺤﻴﺔ ﻤﻥ ﺘﺄﻟﻴﻔﻪ ﻭﻴﺴﻤﻰ ﻓﻲ ﺒﻼﺩ ﻓﺎﺭﺱ ﺇﻨـﺩﺭﺍ، ﺨﻴﺎﻟﹸﻪ ﺍﻟﺨﹶﺼﺏ .ﻭﺤﺎﻭل ﺃﻨﺩﺭﺴـﻥ، ﻋﻠﻰ ﺍﻟﻤﺴﺭﺡ ﺍﻟﻤﻠﻜﻲ .ﻭﻓﻲ ﺴـﻨﺔ ﻭﺃﺼﺒﺢ ﺃﺤﺩ ﺍﻟﺸـﻴﺎﻁﻴﻥ ﺍﻟﺴـﺒﻌﺔ ﺒﻌﺩ ﻭﻓﺎﺓ ﻭﺍﻟﺩﻩ ﺃﻥ ﻴـﺘﻌﻠﻡ ﺤﺭﻓـﺔ، ﻭﻟﻜﻥ ﺠﻬﻭﺩﻩ ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﻴﺩﺍﻥ ﺒﺎﺀﺕ ١٨٣١ﺴﺎﻓﺭ ﺇﻟﻰ ﺃﻟﻤﺎﻨﻴـﺎ ،ﻭﻋﻨـﺩ ﻋﻭﺩﺘﻪ ﻤﻥ ﻫﺫﻩ ﺍﻟﺭﺤﻠﺔ ﻜﺘﺏ ﻋﻨﻬﺎ ﻭﻴﻌﺎﻭﻥ *ﺃﻨﺠﺭﺍ ﻤﺎﻴﻨﻴﻭ ﺇﻟﻪ ﺍﻟﺸﺭ. ﺒﺎﻟ ﹶﻔﺸﹶل؛ ﻓﺭﺤل ﺇﻟـﻰ ﻜﻭﺒﻨﻬـﺎﺠﻥ "ﺍﺴﻜﺘﺸﹰﺎ" .ﻭﺤﺎﻭل ﺨﻼل ﺍﻟﻌـﺎﻤﻴﻥ "ﻟﻴﺤﻅﻰ ﺒﺎﻟﺸﱡﻬﺭﺓ" .ﻭﻫﻨﺎﻙ ﺤـﺎﻭل ﺍﻟﺘﺎﻟﻴﻴﻥ ﺃﻥ ﻴﻜﺘﺏ ﻗﺼﺎﺌﺩ ﻭﺃﻭﺒﺭﺍﺕ ﺃﻥ ﻴﻠﺘﺤﻕ ﺒﺎﻟﻤﺴﺭﺡ ﺍﻟﻤﻠﻜﻲ ﻟﻴﻌﻤل ﻭﻤﺴﺭﺤﻴﺎﺕ ،ﻭﻟﻜﻨﻬﺎ ﻟﻡ ﺘﺼـﺎﺩِﻑ ﻥ ﺃﻭ ﻤﻤﺜل ،ﻭﻋﺎﺵ ﻓﺘـﺭﺓ ﺒﻪ ﻜﻤﻐ ٍ ﻨﺠﺎﺤﺎ ﻴﺫﻜﺭ .ﻭﺴﺎﻓﺭ ﺇﻟﻰ ﺇﻴﻁﺎﻟﻴـﺎ m ﺍﻟﻁﺒﻘﺔ ﺍﻟﻤﺤﺎﺭِﺒﺔ ﺍﻟﺘﻲ ﻜﺎﻨﺕ ﺘﺠـل ﺼﺤﺒﺔ ﺃﻗﺭﺍﻨـﻪ ﻤـﻥ ﺍﻷﻁﻔـﺎلِ، ﻓﻲ ﺸﻭﺍﺭﻉ ﻜﻭﺒﻨﻬﺎﺠﻥ ،ﻭﻓﻲ ﺍﻟﺴﻨﺔ ﺍﻟﻜﺒﺎﺭ ﻓـﻲ ﺍﻟﻌﻘﻴـﺩﺓ ﺍﻟﺯﺭﺍﺩﺸـﺘﻴﺔ .co ﻭﻫﻜﺫﺍ ﻴﺘﻀـﺢ ﻤـﻥ ﺍﻟﺩﺭﺍﺴـﺔ ﺍﻟﻤﻘﺎﺭﻨــﺔ ﻟﻸﺴــﺎﻁﻴﺭ ﺍﻟﻬﻨﺩﻴــﺔ ﻭﺍﻹﻴﺭﺍﻨﻴﺔ ﺃﻥ ﺇﻨﺩﺭﺍ ﺇﻨﻤﺎ ﻜﺎﻥ ﻴﻔﺴﺭ ﻁ ـﺎﺭِﺯﺓ ﹶﺘـ ﺭ ﹶﺘ ِﺒ ﹸ ـﺔ ﺒـ ـﺎﻫﺭﺓ ﻜﻭﻨﻴـ ﻅـ ﻕ ﺒﺎﻹﺨﺼﺎﺏ .ﻭﻫﻭ ﺒﺎﻷﺠﻭﺍﺀ ﻭ ﹶﺘ ﹶﺘﻌﱠﻠ ﹸ ﺒﻌــﺽ ﺍﻟ ﹸﻜﺘﹼــﺎﺏ ﻭﺍﻟ ﻤﹶﻠﺤﻨــﻴﻥ ﻋﻭﺩﺘﻪ ﻤﻨﻬﺎ ﺭﻭﺍﻴـﺔ "ﺍﻟﻤﺭﺘﺠـل"؛ ﺒﻬﺫﻩ ﺍﻟﻤﺜﺎﺒﺔ ﻗﺩ َﺃ ﱠﺜﺭ ﻓـﻲ ﺃﺴـﺎﻁﻴﺭ ﺍﻟﻤﻌﺭﻭﻓﻴﻥ ﻓﻲ ﻫﺫﺍ ﺍﻟﻌﻬﺩ. ﻭﻫﻲ ﺃﻭل ﺭﻭﺍﻴﺔ ﻁﻭﻴﻠﺔ ﻟﻪ ﻻﻗـﺕ ott ob ﻋﻠﻰ ﺍﻹﻋﺎﻨﺎﺕ ﺍﻟﺘﻲ ﻜﺎﻥ ﻴﺘﻠﻘﹼﺎﻫﺎ ﻤﻥ ﺒﺤﺜﹰﺎ ﻋﻥ ﺍﻹﻟﻬـﺎﻡ ،ﻭﻜﺘـﺏ ﻋﻨـﺩ ﻜﻤﺎ ﺃﻨﻪ ﻴﺭﺍﺩﻑ ﺍﻹﻟﻪ *ﺜﹸـﻭﺭ ﻓـﻲ ﻜﻭﻟﻴﻥ ،ﺃﺤﺩ ﺍﻟﻤﺸﺘﻐﻠﻴﻥ ﺒﺎﻟﻤﺴـﺭﺡ؛ ﻓﺘﻌﻬﺩﻩ ﺒﺎﻟﺭﻋﺎﻴـﺔ ﻭﺃﺭﺴـﻠﻪ ﻋـﺎﻡ ﺍﻷﻟﻤﺎﻨﻴﺔ ﻭﺍﻹﻨﺠﻠﻴﺯﻴﺔ ،ﻭﻜﺎﻨﺕ ﺴﺒﺒﹰﺎ ﻓﻲ ﺸﻬﺭﺘﻪ ﺍﻟﻌﺎﻟﻤﻴﺔ ،ﻭﺼﺩﺭﺕ ﻟـﻪ ﺍﻟﺸﻤﺎﻟﻴﺔ. ١٨٢٢ﺇﻟﻰ ﻤﺩﺭﺴﺔ ﻟﻴﺘﻔﻘﱠـﻪ ﻓـﻲ ﺒﻌﺩ ﺫﻟﻙ ﺭﻭﺍﻴﺎﺕ "ﺍﻟﻌﻬـﺩ ﺍﻟﻘـﺩﻴﻡ" ﺍﻟﻠﻐﺔ ،ﻭﻟﻜﻥ ﻨﺎﻅﺭ ﻫﺫﻩ ﺍﻟﻤﺩﺭﺴـﺔ ـﻭﻥ ﺃﻭ ﻻ ـﺎﺭﻭﻨﺘﻴﻥ" ﻭ"ﺃﻥ ﻴﻜـ ﻭ"ﺍﻟﺒـ ﺩَﺃﺏ ﻋﻠﻰ ﺍﻟﺴﺨﺭﻴﺔ ﻤﻥ ﺃﻨﺩﺭﺴـﻥ؛ ﻴﻜﻭﻥ" ﻭ"ﺍﻟﺭﻓﻴﻕ ﺍﻟﻤﺤﻅﻭﻅ". ﺍﻷﺴﺎﻁﻴﺭ ﺍﻟﻨﻭﺭﺩﻴـﺔ ﻓـﻲ ﺃﻭﺭﺒـﺎ ﺃﹶﻧﺪﺭﺳــــــﻦ )ﻫــــــﺎﻧﺰ ﻛِﺮِﻳﺴﺘِﻴﺎﻥ ﺃﹶﻧﺪﺭﺳﻦ( alk ﺸﻌﻭﺏ ﺃﺨﺭﻯ ﻏﻴﺭ ﺍﻟﻬﻨﻭﺩ ﻭﺍﻟﻔﺭﺱ ﻭﺃﺴﻌﺩﻩ ﺍﻟﺤﻅ ﺒﻠﻘـﺎﺀ ﺠﻭﻨـﺎﺱ ﻨﺠﺎﺤﺎ ﻋﻅﻴﻤـﺎ ،ﻭ ﹸﺘ ﺭﺠِﻤـﺕ ﺇﻟـﻰ ﻤﻤﺎ ﺩ ﹶﻓﻊ ﺒﻪ ﺇﻟﻰ ﺤﺎﻓﺔ ﺍﻟﻴﺄﺱ .ﻭﺨﻑ ﻜﻭﻟﻴﻥ ﺇﻟﻰ ﻨﺠﺩﺓ ﺃﻨﺩﺭﺴﻥ ،ﻭﻋﻬـﺩ ﺜﻡ ﺒﺩﺃ ﺃﻨﺩﺭﺴﻥ ﻴﻜﺘﺏ ﺤِﻜﺎﻴـﺎﺕ ﺨﺭﺍﻓﻴﺔ ﻟﻸﻁﻔﺎل؛ ﻓﻅﻬﺭﺕ ﻟﻪ "ﻋﻠﺒﺔ HANS CHRISTIAN ANDERSENﺇﻟﻰ ﺒﻌﺽ ﺍﻷﺴﺎﺘﺫﺓ ﺒﺘﺜﻘﻴﻔﻪ ﺇﻟﻰ ﺃﻥ ﺍﻟﺼﻭﻓﺎﻥ" ،ﻭ"ﻜـﻼﻭﺱ ﺍﻟﺼـﻐﻴﺭ ﺕ ﻑ ﺤﻜﺎﻴﺎ ٍ ﻲ ﻭﻤﺅﻟ ﹸ ﺏ ﺩﻨِﻤ ﺭ ِﻜ ﻜﺎﺘ ﻋﺎﹶﻟﻤﻴ ٍﺔ ﻤﺸﻬﻭﺭﺓ .ﻭِﻟ ﺩ ﻓـﻲ ﺍﻟﻴـﻭﻡ ﻭﻜﺎﻥ ﺃﺒﻭﻩ ﺇﺴﻜﺎﻓﹰﺎ ﻓﻘﻴﺭﺍ ،ﻭﺃﻤﻪ ﺴﻴﺩﺓ ﺃﻤﻴﺔ ﺘـﺅﻤﻥ ﺒﺎﻟﺨﺭﺍﻓـﺎﺕ .ﻭﻜـﺎﻥ ﻁﻔﹸﻭﻟﺘِﻪ ﻴﺅﺜﺭ ﺍﻟﻠﻌـﺏ ﺃﻨﺩﺭﺴﻥ ﻓﻲ ﹸ ﻤﻊ ﺩﻤﻴﺔ ﺼﻨﻌﻬﺎ ﻟﻪ ﺃﺒـﻭﻩ ﻋﻠـﻰ www.alkottob.com ﻭﻗﺩ ﻨﺸﺭ ﺃﻨﺩﺭﺴﻥ ﺃﻭل ﻜﺘﺎﺏ ﻟﻪ ﻭﺍﻟﺒﺎﺯﻻﺀ" ﻭ"ﺃﺯﻫﺎﺭ ﺇﻴﺩﺍ ﺍﻟﺼﻐﻴﺭﺓ". ﻭﻓﻲ ﺴـﻨﺔ ١٨٣٧ﺼـﺩﺭﺕ ﻟـﻪ ﻋﺎﻡ ١٨٢٢ﺒﺎﺴﻡ ﻤﺴﺘﻌﺎﺭ ﻫﻭ ﻭﻟﻴﺎﻡ ﻤﺠﻤﻭﻋﺔ ﻗﺼﺼﻴﺔ ،ﻭﻓـﻲ ﺴـﻨﺔ ﻜﺭﺴﺘﻴﺎﻥ ﻭﺍﻟﺘﺭ )ﻭﻫﻭ ﻋﺒﺎﺭﺓ ﻋـﻥ ١٨٤٢ﻅﻬــﺭﺕ ﻟــﻪ ﻤﺠﻤﻭﻋــﺔ ـﻡ ـﺒﻴﺭ ﻭﺍﺴـ ـﻡ ﺸﻜﺴـ ـﻤﻪ ﻭﺍﺴـ ﺍﺴـ ﺃﺨﺭﻯ .ﻭﺍﺴﺘﻤﺭ ﻓﻲ ﻜﺘﺎﺒﺔ ﺤﻜﺎﻴﺎﺕ ﺴﻜﻭﺕ( .ﻭﻓﻲ ﺴﻨﺔ ١٨٢٩ﻨﺸـﺭ ﺨﺭﺍﻓﻴﺔ ،ﻭﻨﺸﺭِﺕ ﻟﻪ ١٦٨ﺤﻜﺎﻴـﺔ ﻜﺘﺎﺒﺎ ﻭﺼﻑ ﻓﻴﻪ ﺭﺤﻠ ﹰﺔ ﻋﻠﻰ ﺍﻷﻗﺩﺍﻡ ww ﺍﻟﺜﺎﻨﻲ ﻤﻥ ﺃﺒﺭﻴـل ﻋـﺎﻡ ،١٨٠٥ ﻜﻭﺒﻨﻬﺎﺠﻥ. w. ""١٨٧٥ – ١٨٠٥ ﺍﻟﺘﺤــﻕ ﻋــﺎﻡ ١٨٢٨ﺒﺠﺎﻤﻌــﺔ ﻭﻜــﻼﻭﺱ ﺍﻟﻜﺒﻴــﺭ" ﻭ"ﺍﻷﻤﻴــﺭﺓ ١٠٧ ﺃﻜﺜﺭ ﻤﻥ ٨٠ﻟﻐﺔ. ﺤﻜﺎﻴﺔ "ﻤﻠﻜﺔ ﺍﻟﺠﻠﻴﺩ" ،ﻭﻟﻜـﻥ ﺜﻤـﺔ ﻫﺫﻩ ﺍﻟﺒﻼﺩ ﻓﻲ ﻋـﺩﺩ ﻤـﻥ ﻜﺘﺒـﻪ. ﻭﻫﺫﻩ ﺍﻟﺤﻜﺎﻴﺎﺕ ﻋﻠـﻰ ﺩﺭﺠـﺔ ﺤﻜﺎﻴﺎﺕ ﺃﺨﺭﻯ ﺘﻌﺒﺭ ﻋﻥ ﺍﻟﺘﺸـﺎﺅﻡ ﻭﺍﻟﺘﻘﻰ ﺃﻨﺩﺭﺴﻥ ﻓﻲ ﺃﻟﻤﺎﻨﻴﺎ ﻭﻓﺭﻨﺴﺎ ﻜﺒﻴﺭﺓ ﻤﻥ ﺍﻟﻜﻤﺎل ﺍﻟﻔﻨـﻲ ،ﻭﻫـﻲ ﻭﺘﺼﻭﺭ ﺍﻻﻨﺘﺼﺎﺭ ﺍﻟﻨﻬﺎﺌﻲ ﻟﻠ ﻤ ﹶﻘﻠﱢـﺩ ﺏ ﻭﺍﻟ ﹶﻔﻨﱠـﺎﻨﻴﻥ. ﺒﻜﺜﻴﺭ ﻤـﻥ ﺍﻟ ﹸﻜﺘﱠـﺎ ِ ﺍﻟﺴﻭﺍﺀ ،ﻭﻗﺩ ﺍﺴﺘﻠﻬﻤﻬﺎ ﺃﻨﺩﺭﺴﻥ ﻤﻥ ﻭﻓﻲ ﻤﻌﻅـﻡ ﺤﻜﺎﻴﺎﺘـﻪ ﻨـﺭﻯ ﻋﺎﻡ ١٨٤٧ﺍﺴﺘﻘﺒﻠﻪ ﺍﻟﻤﺠﺘﻤﻊ ﻜﻤـﺎ ﺒﻭﻀﻭﺡ ﻋﻨﺼﺭ ﺍﻟﺴﻴﺭﺓ ﺍﻟﺫﺍﺘﻴـﺔ، ﻴﺴﺘﻘﺒل ﺃﺤﺩ ﺍﻟﻨﺠﻭﻡ ،ﻭﺍﻟﺘﻘﻰ ﻫﻨـﺎﻙ ﻑ ﻋﻠـﻰ ﻭﻴﻤﻜﻥ ﻟﻠﻘﺎﺭِﺉ ﺃﻥ ﻴ ﹶﺘﻌـ ﺭ ﹶ ﺒﻜﺜﻴﺭ ﻤﻥ ﺍﻟ ﹸﻜﺘﹼﺎﺏ ﺍﻟﻼﻤﻌﻴﻥ ،ﻭﻤـﻥ ﺃﻨﺩﺭﺴﻥ ﻤﻥ ﺨﻼل ﺤﻜﺎﻴﺎﺕ "ﺍﻟﺒﻁﱠﺔ ﺒﻴﻨﻬﻡ ﺘﺸـﺎﺭﻟﺯ ﺩﻴﻜﻨـﺯ ...ﻭﻜـﺎﻥ m ﺤﺘﻰ ﻋﺎﻡ ،١٨٧٢ﻭﺘﹸﺭﺠِﻤﺕ ﺇﻟـﻰ ﻋﻨﺎﺼﺭ ﺍﻟﺨﻴﺭ ﻭﺍﻟﺠﻤـﺎل؛ ﻤﺜـل ﻭﺇﻓﺭﻴﻘﻴﺎ ،ﻭﻗﺩ ﺴﺠل ﺍﻨﻁﺒﺎﻋﺎﺘﻪ ﻋﻥ ﺘﻌﺠﺏ ﺍﻷﻁﻔـﺎل ﻭﺍﻟﻜﺒـﺎﺭ ﻋﻠـﻰ .co ﺍﻟﺤِﻜﺎﻴﺎﺕ ﺍﻟﺸﱠﻌ ِﺒﻴﺔ ﺍﻟﺘﻲ ﺴﻤﻌﻬﺎ ﻓﻲ ﻁﻔﻭﻟﺘﻪ ،ﻭﻤﻥ ﺍﻷﺤﺩﺍﺙ ﺍﻟﺘﻲ ﻤﺭﺕ ﺒﻪ. ﻭﻓﻲ ﻜﺜﻴ ٍﺭ ﻤﻥ ﺤﻜﺎﻴﺎﺕ ﺃﻨﺩﺭﺴﻥ ﻭﻋﻨﺩﻤﺎ ﺯﺍ ﺭ ﺇﻨﺠﻠﺘـﺭﺍ ﻷﻭل ﻤـﺭﺓ ﻭﺍﻟﻁﱡﻔﻴﻠِﻲ؛ ﻤﺜل ﺤﻜﺎﻴﺔ "ﺍﻟﺨﻴﺎل". ﻨﺭﻯ ﺍﻟﺤﻴﺎ ﹶﺓ ﺘـﺩﺏ ﻓـﻲ ﺍﻟﺠﻤـﺎﺩ؛ ﻭ"ﺸﺠﺭﺓ ﺍﻟﺘﻨﻭﺏ" ،ﻭﺍﻟﺠﻨـﺩﻱ ﻓـﻲ ﻓﻲ ﺍﻟﺩﻨﻤﺭﻙ ،ﻭﻟﻜﻨﻪ ﻜﺎﻥ ﻴﻌﺘﺒﺭ ﺃﻥ ﺹ ـﻴ ٍ ـﺭ ﹰﺓ ﺃﻭ ﻴﺎﻗ ـ ﹶﺔ ﻗﻤـ ـﻬﺩ ﺇﺒـ ﻓﻨﺸـ "ﻋﻠﺒﺔ ﺍﻟﺼﻭﻓﺎﻥ" ﻭﺍﻟـﺭﺍﻭﻱ ﻓـﻲ ﺒﻴﺕ ﺠﻭﻨﺎﺱ ﻜﻭﻟﻥ ﻤﻘﺭﻩ ﺍﻟﺤﻘﻴﻘﻲ، ﹶﺘﺘﹶﺼﺭﻑ ﻜﺎﻟﺒﺸﺭ ،ﻭﺘﻜﺸـﻑ ﻋـﻥ "ﺍﻟﺤﻘﻴﺒﺔ ﺍﻟﻁﺎﺌﺭﺓ" .ﻭﺤﻜﺎﻴﺎﺘﻪ ﻜﻠﻬـﺎ ﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤﻥ ﺸﻌﻭﺭﻩ ﺒﺄﻥ ﺍﻷﺴﺭﺓ ﻨﻭﺍﺤﻲ ﺍﻟﻀﻌﻑ ﺍﻟﺒﺸﺭﻱ ﻭﺘﺴـﺨﺭ ﺘﺩﻭﺭ ﺤـﻭل ﻤﺸـﻜﻼﺕ ﺇﻨﺴـﺎﻨﻴﺔ ﻋﺎﻟﻤﻴﺔ ﺃﺒﻁﺎﻟﻬﺎ ﻤـﻥ ﺍﻟﻐﺭﺒـﺎﺀ ﺃﻭ ﻻ ﺘﻘﺒﻠﻪ ﺘﻤﺎﻤﺎ ،ﻭﻤﻥ ﺃﻥ ﺼـﺩﺍﻗﺘﻪ ﻤﻊ ﺇﺩﻭﺍﺭﺩ ﺍﻻﺒﻥ ﺍﻷﻜﺒﺭ ﺘﻤﺯﻗﻬـﺎ ﺕ ﻭﺤﻴﻭﺍﻨﺎﺕ ﺘﺤـﺱ ﺃﺸﺠﺎﺭﺍ ﻭﻨﺒﺎﺘﺎ ٍ ﺍﻟﻤﻨﺒﻭﺫﻴﻥ ،ﺃﻭ ﻤﻥ ﺍﻟﺫﻴﻥ ﻴﻔﺘﻘـﺭﻭﻥ ﺍﻷﻋﺎﺼﻴﺭ. ﻭﺘﹸﻌﺒﺭ ﻋﻥ ﻤﺸﺎﻋِﺭﻫﺎ ﻜـﺎﻵﺩﻤﻴﻴﻥ، ﺇﻟﻰ ﺍﻟﻘﺩﺭﺓ ﻋﻠﻰ ﺍﻻﺴﺘﻤﺘﺎﻉ ﺒﻠﺤﻅﺔ ل ﺤﻴﺎﺘِـﻪ ﻭﺇﻥ ﺏ ﻁﹶﻭﺍ َ ﻭﻅل ﺃﻋﺯ ﻭﻴﺒﺩﻭ ﻫﺫﺍ ﺒﻭﻀﻭﺡ ﻓـﻲ ﺸـﺠﺭﺓ ﻤﻥ ﻟﺤﻅﺎﺕ ﺍﻟﺴﻌﺎﺩﺓ ،ﺃﻭ ﻤﻥ ﺍﻟﺫﻴﻥ ﻜﺎﻥ ﻗﺩ ﺘﻭﺭﻁ ﺃﻜﺜﺭ ﻤﻥ ﻤﺭﺓ ﻓـﻲ ﺍﻟ ﱠﺘﻨﱡﻭﺏ ﻭﻨﺒﺎﺕ ﺍﻷﻗﺤﻭﺍﻥ ،ﻜﻤﺎ ﻨﺠﺩ ﻍ ﻟﺴـﻌﺎﺩﺓ ﻴﺤﺴﻭﻥ ﺒﺤﻨـﻴﻥ ﻁـﺎ ٍ ott ob ﺍﻟﻘﺒﻴﺤﺔ" ﻭ"ﺠﻨﻴﺔ ﺍﻟﺒﺤﺭ ﺍﻟﺼـﻐﻴﺭﺓ" ﺃﻨﺩﺭﺴﻥ ﻴﻨﺯل ﻓﻲ ﻀﻴﺎﻓﺔ ﺍﻟﻨﱡـﺒﻼ ِﺀ ﻤﻨﻬﺎ ،ﻭﻓﻲ ﺤﻜﺎﻴﺎﺕ ﺃﺨﺭﻯ ﻨـﺭﻯ alk ﺃﻥ ﻋﺎﻟﻡ ﺤﻜﺎﻴﺎﺕ ﺍﻟﻔﻴﺭﻱ Fairy ﻤﻔﻘﻭﺩﺓ .ﻭﻜﺎﻥ ﺃﻨﺩﺭﺴﻥ ﻤﺠ ﺩﺩﺍ ﻓـﻲ ﻋﻼﻗﺎﺕ ﻏﺭﺍﻤﻴﺔ ،ﻭﺒﺨﺎﺼـﺔ ﻤـﻊ ﺠﻴﻨﻲ ﻟﻴﻨﺩ ﺍﻟﻤﻐﻨﻴﺔ ﺍﻟﺴﻭﻴﺩﻴﺔ ،ﻭﻗـﺩ Talesﻻ ﻴﺨﺘﻠﻑ ﻜﺜﻴـﺭﺍ ﻋـﻥ ﺃﺴﻠﻭﺒﻪ ،ﻭﻗﺩ ﺍﺴـﺘﺨﺩﻡ ﺒﺸـﺠﺎﻋﺔ ﻋﺎﻟﻤﻨﺎ؛ ﻓﺤﻜﺎﻴﺘﺎ "ﺭﺍﻋﻲ ﺍﻟﺨﻨـﺎﺯﻴﺭ ـﺔ ـﺏ ﻟﻐﻭﻴـ ـﻁﻼﺤﺎﺕ ﻭﺘﺭﺍﻜﻴـ ﺍﺼـ ﻭﺍﻷﻤﻴﺭﺓ " ﻭ" ﺍﻟﺒﻠﺒل" ﻤﻭﺠﻬﺘﺎﻥ ﺇﻟﻰ ﻴﺘﻜﻠﻤﻬﺎ ﺍﻟﻨﺎﺱ ،ﻭﺨﺭﺝ ﻋﻠﻰ ﺍﻟﺘﻘﺎﻟﻴﺩ ﻫﺅﻻﺀ ﺍﻟـﺫﻴﻥ ﻴﻔﻀـﻠﻭﻥ ﺍﻟﺘﻘﻠﻴـﺩ ﺍﻷﺩﺒﻴﺔ ﺍﻟﻤﺼﻁﻠﹶﺢ ﻋﻠﻴﻬﺎ ﻓﻲ ﻋﻬﺩﻩ. ﻭﻗﺎﻡ ﺃﻨﺩﺭﺴﻥ ﻓﻲ ﺍﻟﻤﺩﺓ ﻤﻥ ﺴﻨﺔ ﻴﺩﻭﺭ ﺤﻭل ﻨﻔﺴﻪ ،ﻭﻗﺩ ﻜﺘﺏ ﺜﻼﺙ ـﻭﺭ ـﺱ ﺍﻹﻤﺒﺭﺍﻁـ ـﺔ "ﻤﻼﺒـ ﻭﺤﻜﺎﻴـ ١٨٤٠ﺇﻟﻰ ﺴﻨﺔ ١٨٥٧ﺒﺭﺤﻼﺕ ﺴ ﻴ ٍﺭ ﺫﺍﺘﻴﺔ؛ ﺇﺤﺩﺍﻫﺎ ﺨﺎﺼﺔ ﻜﺘﺒﻬـﺎ ِ ﺡ. ﺍﻟﺠﺩﻴﺩﺓ" ﺘﻔﻴﺽ ﺒﺎﻟ ﻤ ﺭ ِ ﻜﺜﻴﺭﺓ؛ ﻓﺯﺍﺭ ﺍﻟﺴﻭﻴﺩ ،ﻭﺍﻟﻨـﺭﻭﻴﺞ، ﻋﺎﻡ ،١٨٣٢ﻭﻨﺸﺭﺕ ﻋﺎﻡ ،١٩٢٦ ﻭﻜﺜﻴﺭ ﻤﻥ ﺤﻜﺎﻴـﺎﺕ ﺃﻨﺩﺭﺴـﻥ ﻭﺇﻴﻁﺎﻟﻴﺎ ،ﻭﺇﺴـﺒﺎﻨﻴﺎ ،ﻭﺍﻟﺒﺭﺘﻐـﺎل، ﻭﺍﻟﺜﺎﻨﻴﺔ ﺼﺩﺭﺕ ﻓﻲ ﺃﻟﻤﺎﻨﻴﺎ ﻋـﺎﻡ ﻴﺒﻌﺙ ﻋﻠﻰ ﺍﻟﺘﻔﺎﺅل ،ﻭﺘﺘﻐﻠﱠﺏ ﻓﻴـﻪ ﻭﺍﻟﻴﻭﻨــﺎﻥ ،ﻭﺁﺴــﻴﺎ ﺍﻟﺼــﻐﺭﻯ، w. www.alkottob.com ﺼﺩﻴﻘﺔ ﺤﻤﻴﻤﺔ ﻭﺃﻟﻬﻤﺘـﻪ ﺒﻌـﺽ ﻗﺼﺼﻪ ﺍﻟﺠﻴﺩﺓ. ﻭﻜﺜﻴﺭ ﻤﻥ ﻤﺅﻟﻔـﺎﺕ ﺃﻨﺩﺭﺴـﻥ ww ﺍﻟﺭﺨﻴﺹ ﻋﻠﻰ ﺍﻟﻔـﻥ ﺍﻷﺼـﻴل، ﺍﻟﺘﻘﻰ ﺒﻬﺎ ﻋﺎﻡ .١٨٤٣ﻭﺃﺼـﺒﺤﺕ ١٠٨ ﺍﻟ ﺩﻨِﻤﺭﻜﻴﺔ. ﺍﻟﺫﻱ ﺴﺒﻕ ﺃﻥ ﺃﻨﻘﺫﻩ ﺃﻨﺩﺭﻭﻜﻠﺱ ﻤﻥ ﻜِﻴﺸﺎﺭ ،ﻭﻭﺍﻟ ﺩ ﺁﻨﹸﻭ ﻭﺇﻴﺎ ﻭ*ﺇﻨﻠﻴـل، ﺕ ﺃﻨﺩﺭﺴﻥ ﻓﻲ ﺒﻴـﺕ ﺁل ﻭﻗﺩ ﻤﺎ ﹶ ﻻ ﻤﻥ ﺃﻥ ﻴﻬﺎﺠﻤﻪ ﺃﺨـﺫ ﺍﻷﻟﻡ ،ﻭﺒﺩ ﹰ ﻭﺇﹶﻟ ﻪ ﺍﻟﻌﺎﻟﹶﻡ ﺍﻟ ﻌ ﹾﻠ ِﻭﻱ ﻜﻤﺎ ﺠـﺎﺀ ﻓـﻲ ﻤﻠﺸﻴﻭﺭ ﻓﻲ ﻜﹸﻭﺒﻨﻬﺎﺠﻥ ،ﻓﻲ ﺍﻟﻴـﻭﻡ ﻴﻼﻁﻔﻪ ﻓﺄﻁﻠﻕ ﺍﻟﺭﻭﻤـﺎﻥ ﺴـﺭﺍﺡ ﺍﻷﺴﻁﻭﺭﺓ ﺍﻟﹾﺒﺎ ِﺒِﻠﻴﺔ ،ﻭﻴﻌﺘﻘﹶـﺩ ﺃﻨـﻪ ﻭﻫﺫﻩ ﺍﻟ ِﻘﺼـﺔ ﻫـﻲ ﻤﻭﻀـﻭﻉ ﺍﻷﺴﻁﻭﺭﺓ ﺍﻷﺸﻭﺭﻴﺔ .ﻭﻓﻲ ﺤﻜﺎﻴﺔ ـﺩ" ـﺩﺭﻭﻜﻠﺱ ﻭﺍﻷﺴـ ـﺭﺤﻴﺔ "ﺃﻨـ ﻤﺴـ ﺨﻠﹾﻕ ،ﻴﺄﻤﺭ ﺃﻨﺸﺎﺭ ﺍﺒﻨﻴﻪ ﺁﻨﻭ ﻭﺇﻴـﺎ ﺍﻟ ﹶ ﻟ ِﺒﺭﻨﺎﺭﺩ ﺸﹸﻭ. ﺃﻥ ﻴﻘــﺎﺘﻼ *ﺘﻴﺎﻤــﺎﺕ ،ﻭﻟﻜﻨﻬﻤــﺎ m ،١٨٤٧ﻭﺍﻟﺜﺎﻟﺜﺔ ﺼﺩﺭﺕ ﻟﻪ ﺒﺎﻟﻠﻐﺔ ﻓﻲ ﺍﻟﺴﻴﺭﻙ؛ ﻓﺘﻌﺭﻑ ﻋﻠﻴﻪ ﺍﻟﺤﻴﻭﺍﻥ ﺝ ﺨﻤﻭ ﻭﻻﺨﺎﻤﻭ ،ﻭﺯﻭ ﻥ *ﻻﹾ ﺍﺒ ﺍﻟﺭﺍﺒﻊ ﻤﻥ ﺃﻏﺴﻁﺱ ﻋﺎﻡ .١٨٧٥ .co ﻭﺘﻜﺸﻑ ﺁﻻﻑ ﺍﻟﺭﺴﺎﺌل ﺍﻟﺘﻲ ﺘﺭﻜﻬﺎ ـﻪ، ﺏ ِﺒ ﹶﻨ ﹾﻔﺴِـ ـ ٍ ـﺎﻥ ﻤ ﻌﺠـ ـﻥ ﺇﻨﺴـ ﻋـ ﻭ ﻤﺘﹶﻭﺍﻀِ ٍﻊ ﻓﻲ ﺁﻥ ﻭﺍﺤﺩ ...ﺤﺴﺎﺱ ﻟﻠﻨﱠﻘــﺩ ،ﻟﻤــﺎﺡ ﺍﻟــﺫﻜﺎﺀ ﻗــﻭﻱ ﺃﺼﻴل ،ﻭﺘﺘﺴﻡ ﺤﻜﺎﻴﺎﺘـﻪ ﺒﺒﺴـﺎﻁﺔ ﺒﺎﺭِﻋﺔ ﻗﻠﱠﻤﺎ ﺘﺘﻭﺍﻓﺭ ﻓـﻲ ﻏﻴﺭﻫـﺎ، ﻭﺃﺴﻠﻭﺒﻪ ﺍﻟﺒﺎﺭﻉ ﻜﺜﻴﺭﺍ ﻤـﺎ ﻴﺘـﺄﺜﺭ ﺒﺎﻟﺘﺭﺠﻤﺔ. ﺃﹶﻧﺪﺭﻭﻛِﻠﺲ ﺃﻨﺩﺭﻭﻜﻠﺱ. ﻴﺘﺭﺍﺠﻌﺎﻥ ﹶﻓﺯﻋﺎ ،ﻭﺃﺨﻴـﺭﺍ ﻋﻨـﺩﻤﺎ ﺇﻧﺪِﳚِﻴﺘِﻴﺲ ل ﺍﻟﺫﻴﻥ ﻋﺎﺸـﻭﺍ ﺍﻵﻟِﻬ ﹸﺔ ﻭﺍﻷﺒﻁﺎ ُ ﻭﻴﻘﺘﻠﻬﺎ؛ ﻴﺴـﺘﻌﻴﺩ ﺃﻨﺸـﺎﺭ ﺒﻌـﺽ ﻓﻲ ﺭﻭﻤﺎ ﻜﻤﺨﻠﻭﻗﺎﺕ ﻓﺎﻨِﻴـﺔ ،ﺜـﻡ ﺴﻠﻁﺎﻨﻪ ﺍﻟﻀﺎﺌﻊ .ﻭﻜﺎﻥ ﺃﻨﺸﺎﺭ ﺇﻟـﻪ ﻋ ِﺒﺩﻭﺍ ﺒﺎﻋﺘﺒﺎﺭﻫﻡ ﺤﻤـﺎ ﹶﺓ ﺍﻟﺩﻭﻟـﺔ، ﺍﻟﺴﻤﺎﺀ ﻟﻴﻼﹰ ،ﻭﻴﺠﺴﻡ ﺒﺼﻔﺔ ﺨﺎﺼﺔ ﻤﺎ ﻴﺸﺘﺭﻜﻭﻥ ﻤـﻊ ﺍﻵﻟﻬـﺔ؛ ﻤﺜـل ﺍﻟﻨﺠﻭﻡ؛ ﺤﻴﺙ ﺭﻗﺹ ﻜﻌﻨﺯﺓ ،ﻴﺤﻴﻁ ﻭﺒﺨﺎﺼﺔ ﺃﺤﻔﺎ ﺩ *ﺃﻴﻨﻴﺎﺱ .ﻭﻜﺜﻴـﺭﺍ ل ﻗﺼـ ٍﺔ ﻲ ﻭﻫﻭ ﺒﻁ ُ ﻋﺒ ﺩ ﺭﻭﻤﺎﻨ ﺍﻟﺫﻴﻥ ﻜﺎﻥ ﻟﻬﻡ ﺩﻭﺭ ﻓـﻲ ﺘﺄﺴـﻴﺱ Aulus ﺭﻭﻤﺎ ،ﻭﻴـﺫﻜﺭﻭﻥ ﻤـﻊ ﻻﺭﻴـﺱ ﻑ ﹶﻓ ﺭ ﻤﻥ ﻗﺴﻭﺓ ﺴﻴﺩﻩ ،ﻭﻟﺠﺄ ﺇﻟﻰ ﻜﻬ ٍ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻤﺜل ﺠﺎﻨﻭﺱ Janus ﻓﻲ ﺇﻓﺭﻴﻘﻴﺎ ،ﻭﺒﻴﻨﻤﺎ ﻫﻭ ﺠﺎﻟِﺱ ﻓـﻲ ﻭ* ﺇﻴﻔﺎﻨـــﺩﺭ ﻭ* ﻫﺭﻗـــل ﻭ* ل ﺃﺴﺩ ،ﻭﺘﻘـﺩﻡ ﺤﺘـﻰ ﺨَ ﺍﻟﻜﻬﻑ ﺩ ﹶ ﺭﻭﻤﻭﻟﻭﺱ؛ ﺘﻌـﺩ ﺼـﻭﺭﺍ ﻟﻺﻟـﻪ ﺨﻠﹶﺒﻪ ﺸﻭﻜ ﹰﺔ ﻜﺒﻴﺭﺓ ﺘﻭﺭﻤﺕ ﺒﺴﺒﺒﻬﺎ ِﻤ ﹾ ﺠﻨﹸـﻭ ﺩ ﻗﺩﻤﻪ ﻓﺎﻨﺘﺯﻋﻬﺎ .ﻭﺤﺩﺙ ﺃﻥ ﺍﻟﺭﻭﻤﺎﻥ ﻋﺜﺭﻭﺍ ﻋﻠﻰ ﺃﻨـﺩﺭﻭﻜﻠﺱ ﻲ ﺒﻪ ﻟﻠـﻭﺤﺵ ﻭﻗﺒﻀﻭﺍ ﻋﻠﻴﻪ ،ﻭُﺃ ﹾﻟ ِﻘ ﺍﻷﻋﻠﻰ. ﺍﻟﺩﺏ ﺍﻷﻜﺒﺭ. ﺍﻷﻨﻑ: ﺠﻡٍ ﻫـﻭ ﺜـﺎﻨﻲ ﺃﻭ ﺜﺎﻟـﺙ ﺍﺴ ﻡ ﹶﻨ ﺍﻟﻨﺠﻭﻡ ﹶﻗ ﺩﺭﺍ ﻓـﻲ ﺍﻟ ﹶﻜ ﻭﻜﹶﺒـﺔِ ﺍﻟﺘـﻲ ﺱ ﻴﻌﺭﻓﻬﺎ ﺍﻟﻌـﺭﺏ ﺒِﺎﺴـ ِﻡ ﺍﻟﻔﹶـ ﺭ ِ ﺍﻷﻋﻅﻡ ،ﻭﻴﺴﻤﻴﻪ ﺍﻟﻘﺯﻭﻴﻨـﻲ ﻓـ ﻡ ﺍﻟ ﹶﻔﺭﺱ .ﻭﺍﻟﺭﺍﺠﺢ ﺃﻥ ﺍﻻﺴﻡ ﺃﻨـﻑ ﺃﹶﻧﺸﺎﺭ ﺃﻭ ﺃﹶﻧﺴﺎﺭ ANSHAR OR ANSAR ﺩﺨل ﻓﻲ ﺍﻟﺘﱠﺭﺠﻤﺎﺕ ﺍﻟﻼﺘﻴﻨﻴﺔ ﻓـﻲ ww ﺍﻟﻌﺒﺩ ﺍﻟﺭﻭﻤﺎﻨﻲ ﻓﻼﺤـﻅ ﺃﻥ ﻓـﻲ ﺒﻪ ﻤﺴﺎﻋﺩﻭﻩ ﺍﻟﺴﺒﻌﺔ ﻤـﻥ ﻨﺠـﻭﻡ w. .Geliusﻭﺘﺭﻭﻱ ﺃﻥ ﺃﻨﺩﺭﻭﻜﻠﺱ ﻭﺒﻴﻨــﺎﺘﻴﺱ .ﻭﻜﺎﻨــﺕ ﺒﻌــﺽ ﻭﻗﻑ ﺃﻤﺎﻡ ﺃﻨﺩﺭﻭﻜﻠﺱ؛ ﻓﺘﻁﻠﱠﻊ ﺇﻟﻴـﻪ ﺍﻟﻨﺠﻡ ﺍﻟﻘﻁﺒﻲ ،ﺍﻟﺫﻱ ﻜﺎﻥ ﻗﻤﺔ ﺠﺒل alk ANDROCLES ﻷﻭﻟــﻭﺱ ﺠﻴﻠﻴــﻭﺱ ﻟﻶﻟﻬﺔ ،ﻭﻴﺤﺎﺭﺏ ﺁﻟﻬـﺔ ﺍﻟﻼﺘﻜـﻭﻥ INDIGETES *ﻤﺎﺭﺱ ﻭ* ﻓﺴـﺘﺎ ﻭ* ﻓﻴﻨـﻭﺱ؛ www.alkottob.com ﻴﺭﺴل ﻤﺎﺭﺩﻭﺥ )ﺒﺎﻋﺘﺒﺎﺭﻩ ﻤﻨﺘﻘﻤـﺎ( ott ob ﺍﻟﻤﻼﺤﻅﺔ ...ﺇﻥ ﺃﻨﺩﺭﺴـﻥ ﻓﻨﹼـﺎﻥ ﻑ ﻟﻺﻟــﻪ * َﺁﺸﹸــﻭﺭ ﻓــﻲ ﻤــﺭﺍ ِﺩ ﹲ ﺍﻟﻌﺼﻭﺭ ﺍﻟﻭﺴﻁﻰ ﻋـﻥ ﻁﺭﻴـﻕ ﻤﻨﺠﻤﻲ ﺍﻟﻌﺭﺏ ﻓﻲ ﺍﻟ ﻤ ﹾﻐﺭِﺏ. ١٠٩ ﺍِﻧﻔِﺼﺎﻝﹸ ﺍﻟﺮﻭﺡِ SOUL LOSS m ﺍﻋﺘﻘﺎ ﺩ ﺸـﺎﺌ ﻊ ﺒـﻴﻥ ﺍﻟﺸﱠـﻌﻭﺏ ﺍﻟﺒﺩﺍ ِﺌﻴﺔ ،ﻭﻴﺭﺩ ﺫﻜﺭﻩ ﻜﺜﻴـﺭﺍ ﻓـﻲ .co ـﻭﺭ ـﻌﺒﻴﺔ ﻭﺍﻟﻔﻭﻟﻜﻠـ ـﺎﺕ ﺍﻟﺸـ ﺍﻟﺤﻜﺎﻴـ ﺒﺼﻔﺔ ﻋﺎﻤﺔ ﻓـﻲ ﺠﻤﻴـﻊ ﺃﺭﺠـﺎﺀ ﺍﻟﻌﺎﻟﹶﻡ .ﻭﻴﺫﻫﺏ ﻫﺫﺍ ﺍﻻﻋﺘﻘﺎ ﺩ ﺇﻟﻰ ﺃﻥ ﻋِﺒﺎﺩﺘﹸﻪ ﺍﺭﺘﺒﺎﻁﹰﺎ ﻭﺜﻴﻘﹰﺎ ﺒﻌﺒﺎﺩﺓ "ﻨِﻴﻨـﺎ" ﺽ ﻭﺍﻟﻬﻭﺍ ِﺀ ﻭﺍﻟﻌﺎﺼِـﻔ ِﺔ ﺇﻟ ﻪ ﺍﻷﺭ ِ ﻤﻠﻜﺔ ﺍﻟﻤﻴﺎﻩ؛ ﻭﻫـﻲ ﺍﺒﻨﺘﹸـﻪ ،ﻜﻤـﺎ ﻓﻲ ﺍﻷُﺴﻁﹸﻭﺭ ِﺓ ﺍﻟﺴـﻭ ﻤ ِﺭﻴﺔ ،ﻭﻫـﻭ ﺍﺭﺘﺒﻁﺕ ﺒﻌﺒـﺎﺩﺓ "ﻨﻨﺠﺭﺴـﻭ" ﺇﻟـﻪ ﻴﻜﻭﻥ ﺜﺎﻟﻭﺜﹰﺎ ﻤﻊ ﺁﻨﻭ ﻭﺇﻴﺎ .ﻭﻜـﺎﻥ ﺍﻟﺭﻱ. ﺭﺍﻋﻴﺎ ﻟﻨﻴﺒﻭﺭ Nippur؛ ﺤﻴﺙ ﻜﺎﻥ ﻭﻋﺭﻑ ﺃﺤﻴﺎﻨﹰﺎ ﺒﺎﺴﻡ "ﺇﻴﺎ" ،ﻭﻴﻘﺎل ﻤﻌﺒﺩﻩ ﺍﻟﻤﺴﻤﻰ ﺇﻴﻜﻭﺭ )ﺃﻱ ﺍﻟﺒﻴـﺕ ﺇﻥ * ﺃﺭﻭﺭﻭ ﻫﻲ ﺍﻟﺘﻲ ﺨﻠﻘﺘﻪ ﻤـﻥ ﺍﻟﺠﺒﻠﻲ( .ﻭﻜﺎﻥ ﺇﻨﻠﻴل ﺴﻴﺩﺍ ﻟﻸﺭﻭﺍﺡ ل. ﺼ ﹾﻠﺼﺎ ِ ﻟﻌﺎﺒﻬﺎ ﺍﻟﺫﻱ ﺍﺨﺘﻠﻁ ﺒﺎﻟ ـﺫﻟﻙ ـﻭﺍﺀ ،ﻭﻜـ ـﻲ ﺍﻷﺭﺽ ﻭﺍﻟﻬـ ﻓـ ﻑ ﺍﻷﺸﺒﺎﺡ ﻭﺍﻟﺸﱠﻴﺎﻁﻴﻥ ،ﻭﻜﺎﻥ ﻴﻌ ﺭ ﹸ ﺍﻟﺭﻭ ﺡ ﻴﻤﻜﻥ ﺃﻥ ﺘﺴـﻜﻥ ﻤﻨﻔﺼـﻠﺔ ﺇﻧﻜِﻴﻼﺩﻭﺱ ﻋﻥ ﺍﻟﺠﺴﺩ؛ ﻤـﻥ ﺃﺠـل ﺴـﻼﻤﺔ ﻭﻴﺴﻤﻰ ﻫﺫﺍ ﺒﺎﻨﻔﺼﺎل ﺍﻟﺭﻭﺡ. ﺇِﻧﻔِﲑﻱ ﺍﻟﺒﻁل ﻓﻲ ﺍﻟﻨﱡﺴﺨﺔ ﺍﻷﺼـﻠﻴﺔ ﻟــ ENCELADUS ott ob ـﺭﻯ. ـﺒﺎﺏ ﺃﺨـ ـﺨﺹ ﺃﻭ ﻷﺴـ ﺍﻟﺸـ ﺒﺎﺴﻡ "ﺍﻟﺠﺒل ﺍﻟﻌﻅﻴﻡ" .ﻭﻟﻌﻠﻪ ﻜـﺎﻥ INFERI ﺕ ﺍﻟﺤﻴ ﹸﺔ ﺍﻟﺘﻲ ﺘﻌﻴﺵ ﻓـﻲ ﺍﻟﻜﺎﺌﻨﺎ ﹸ ﺍﻷﺭﺽ ،ﻭﺒﺨﺎﺼﺔ ﺁﻟﻬـﺔ ﺍﻟﻌـﺎﹶﻟﻡِ ﺍﻟﺴــ ﹾﻔِﻠﻲ ،ﻭﻓــﻲ ﺍﻟﻐﺎﻟــﺏ ﺃﺭﻭﺍﺡ ﺍﻟﺭﺍﺤﻠﻴﻥ )ﻜﻤﺎ ﺠﺎﺀ ﻓﻲ ﺍﻷﺴﻁﻭﺭﺓ ﺴــﻭﺒﻴﺭﻱ ﺃﻭ ﺍﻟﻜﺎﺌﻨــﺎﺕ ﺍﻟﺤﻴــﺔ * ِﺯﻴﻭﺱ ﻜﻤﺎ ﺠﺎﺀ ﻓﻲ ﺍﻷﺴـﻁﻭﺭﺓ ﻭﺍﻵﺸﻭﺭﻴﺔ ﺍﻷﺨﻴﺭﺓ؛ ﻫﻨﺎﻙ ﻤﺎ ﻴﺩل ﻥ *ﺃﻭﺭﺍﻨﹸـﻭﺱ ﺍﻹﻏﺭﻴﻘﻴﺔ ،ﻭﻫﻭ ﺍﺒ ﻋﻠﻰ ﺃﻨﻪ ﻜﺎﻥ ﻫﻨﺎﻙ ﺇﻟـﻪ ﻋﺎﺼـﻔﺔ ﻭ*ﺠﻴﺎ ﺍﻟﺘﻲ ﺤﻤﻠﺕ ﺒﻪ ﻋﻨﺩﻤﺎ ﺴﻘﻁ ﻴﻘﻭﻡ ﺒﺩﻭﺭ ﺇﻨﻠﻴل ،ﻭﻟﻜﻥ ﻟـﻡ ﻴـﺭﺩ ﺩﻡ ﺃﻭﺭﺍﻨﻭﺱ ﻋﻠﻰ ﺍﻷﺭﺽ ﻋﻨﺩﻤﺎ ﺫﻜﺭ ﻹﻨﻠﻴل ﻨﻔﺴﻪ .ﻭﻟﻬﺫﺍ ﻓﺈﻥ ﺇﻨﻠﻴل ﻗﻁــﻊ ﺃﺤــﺩ ﺃﻋﻀــﺎﺀ ﺠﺴــﻤﻪ. ﻫﻭ ﺍﻟﻘﺎﻫِﺭ ﺍﻷﺼـﻠﻲ *ﻟﺘﻴﺎﻤـﺎﺕ، ﻭﺃﻨﻜﻴﻼﺩﻭﺱ ﻟﻪ ﺸﻜل ﺇﻨﺴﺎﻥ ﺃﻗﺩﺍﻤﻪ ﻋﻠﻰ ﺸﻜل ﺜﻌﺎﺒﻴﻥ .ﻭﻗﺩ ﺃﻟﻘﺕ *ﺃﺜﻴﻨﺎ ﻭﻜل ﺼِﻔﺎﺕ ﺇﻨﻠﻴل ﻭﺃﻓﻌﺎﻟﻪ ﻜﺎﻨـﺕ alk ﺍﻟﻜِﻼﺴﻴﻜﻴﺔ(؛ ﻭﻫﻲ ﺘﺘﻤﻴـﺯ ﻋـﻥ ﺃﺤ ﺩ ﺍﻟﻌﻤﺎﻟﻘـ ِﺔ ﺍﻟـﺫﻴﻥ ﺤـﺎﺭﺒﻭﺍ ﺦ ﺍﻟﺒﺎﺒﻠﻴﺔ ﺴِ "ﺃﻨﻭﻤﺎ ﺇﻴﻠﻴﺵ" .ﻭﻓﻲ ﺍﻟ ﱡﻨ ﻋﻠﻴﻪ ﺠﺯﻴﺭﺓ ِ ﺼ ِﻘﱢﻠﻴﺔ ﺃﺜﻨﺎﺀ ﺍﻟﻘﺘـﺎل. ﺘﹸﻨﺴﺏ ﺇﻟـﻰ * ﺒﻌـل ﻭﻤـﺭﺩﻭﺥ Marduk ﺍﻷﻭﻟﻴﻤﺒﻴﺔ ﻭﺍﻟﻤﺨﻠﻭﻗﺎﺕ ﺍﻟﻔﺎﻨﻴﺔ ﺍﻟﺘﻲ ﻭﺘﹸﺭ ﺩ ﺩ ﺃﺴﻁﻭﺭﺓ ﺃﻨﻪ ﻟﻘﻲ ﻤﺼـﺭﻋﻪ ﺃﹶﻧﻮﺑِﻴﺲ ﺘﻌﻴﺵ ﻋﻠﻰ ﻅﻬـﺭ ﺍﻷﺭﺽ .ﻭﻗـﺩ ﺴﻜﺎﻥ ﺍﻟﻌﺎﻟﻡ ﺍﻟﺴﻔﻠﻲ. ﺇﻧﻜِﻲ ENKI "ﺇﻴﺭِﻴﺩﻭ ﺃﺒﻭ ﺸﻬﺭﻴﻥ" ﻟﻠﻤﺎﺀ .ﻭﻗـﺩ ﻋﺭِﻑ ﻤﻌﺒﺩﻩ ﺒﺎﺴﻡ "ﺇﻱ – ﺃﺒﭽﻭ" ﺃﻭ ﺒﻴﺕ ﺍﻟﺒﺤﺭ ﺍﻟﻤﻨﺨﻔﺽ .ﻭﺍﺭﺘﺒﻁـﺕ www.alkottob.com ﺁﻭﻯ ﻜﺎﻥ ﻴﻌﺒـﺩ ﻓـﻲ ﺃﺒﻴـﺩﻭﺱ. ﺇﺘﻨﺎ ﻓﻲ ﺠﺯﻴﺭﺓ ﺼﻘﻠﻴﺔ .ﻭﻴﻘـﺎل ﺇﻥ ل ﺍﻟﺘﻲ ﺘﺤﺩﺙ ﻓﻲ ﺍﻟﻤﻨﻁﻘـﺔ ﺍﻟﺯﻻﺯِ َ ﺍﻟﻘﺭﻴﺒﺔ ﻤﻥ ﺠﺒل ﺇﺘﻨﺎ؛ ﺘﻨﺸـﺄ ﻤـﻥ ﻤﺤﺎﻭﻻﺘﻪ ﺍﻟﻤﻀﻨِﻴﺔ ﻟﺘﺤﺭﻴﺭ ﻨﻔﺴﻪ. ﺇﻧﻠِﻴﻞ EN-LIL ﻭﺘﺫﻫﺏ ﺍﻷُﺴﻁﹸﻭﺭﺓ ﺇﻟﻰ ﺃﻨـﻪ ﻜـﺎﻥ ﺠﺜﹶﺙ ﺍﻟﻤﻭﺘﻰ. ﻴﺸﺭﻑ ﻋﻠﻰ ﺘﺤﻨﻴﻁ ﻭﻫﻭ ﺍﺒﻥ *ﺃﻭﺯﻴـﺭﻴﺱ ﻭ*ﻨﻔﺘـﻴﺱ ww ﻲ ﻟﻠﻤﺎﺀ ﺍﻟﻌـﺫﹾﺏ ،ﻭﺇﻟـ ﻪ ﺇﻟ ﻪ ﺒﺎ ِﺒِﻠ ﻥ ﺘﺤﺕ ﺠﺒـل ﺠ ﺴِ ﺃﺨﺭﻯ ﺇﻟﻰ ﺃﻨﻪ ﻥ ﺱ ﺍﺒـ ِ ﻱ ﻗﺩﻴﻡ ﻟﻪ ﺭﺃ ﺼ ِﺭ ﺇﻟ ﻪ ِﻤ w. ﺕ ﻜﻠﻤ ﹸﺔ ﺇﻨﻔﻴﺭﻱ ﺒﺄﻨﻬﺎ ﺘﻌﻨﻲ ﻜل ﺴ ﺭ ﹾ ﹸﻓ ﻋﻠﻰ ﻴﺩ ﺯﻴﻭﺱ .ﻭﺘﺫﻫﺏ ﺃﺴﻁﻭﺭﺓ ANUBIS ﻭﻴﻘﺎل ﺇﻥ ﺃﻤﻪ ﺃﻟﻘﺕ ﺒﻪ ،ﻓﺎﻨﻁﻠﻘـﺕ *ﺇﻴﺯﻴﺱ ﺘﺒﺤـﺙ ﻋﻨـﻪ ﻤﺴـﺘﻌﻴﻨﺔ ﺒﺒﻌﺽ ﺍﻟﻜﻼﺏ ﺤﺘﻰ ﻭﺠﺩﺘﻪ .ﻭﻨﺸﺄ ﺃﻨﻭﺒﻴﺱ ﻓﻲ ﺤﺠﺭﻫﺎ ،ﺜﻡ ﺃﺼﺒﺢ ﻟﻬﺎ ١١٠ ﺍﺴﻤﻪ "ﺭﻗﻴﺏ ﻋﻠﻰ ﺍﻟﻜِﻼﺏ ﻭﺤﺎﺭِﺱ ﺍﻟﺯﺭﺍﺩﺸﹾﺘﻴﺔ ،ﻭﻫﻭ ﻓﻲ ﺼﺭﺍﻉ ﺩﺍﺌﻡ ﺍﻟﻤﻴﺎﻩ ﻓﻲ ﺍﻟﻌﻴﻭﻥ ﻗﺒـل ﻭﺼـﻭل ﻟﻬﺎ"؛ ﻭﻫﻭ ﻴﺸﺭﻑ ﻤﻊ "ﺃﺒـﻭ ﺃﻭﺕ" ﻤﻊ ﺇﻟﻪ ﺍﻟﺨﻴﺭ *َﺃﻫﻭﺭﺍﻤﺎﺯﺩﺍ .ﻭﺭﺒﻤﺎ ﺍﻟﻤﺴﺎﻓﺭﻴﻥ .ﻭﺘﹸﺭﻯ ﺃﺤﻴﺎﻨﹰﺎ ﻓﻲ ﻫﻴﺌﺔ ﻋﻠﻰ ﻋﺎﻟﹶﻡ ﺍﻟﻤﻭﺘﹶﻰ؛ ﻓﻴﻘﻭﺩﻫﻡ ﺇﻟـﻰ ﻜﺎﻥ ﺃﺘﺒﺎﻉ ﺃﻫﺭﻴﻤﺎﻥ ﻫﻡ ﺁﻟﻬ ﹸﺔ ﺍﻟﻔﹸﺭﺱ ﺃﻋﻤﺩﺓ ﻤﻥ ﺍﻟﺭﻤﺎل ﺘﺘﺼﺎﻋﺩ ﺃﺜﻨـﺎﺀ m ﺤﺎﺭﺴﺎ ﻭﺘﺎ ِﺒﻌﺎ ﻓﻲ ﺠﻭﻻﺘﻬﺎ .ﻭﻤﻌﻨﻰ ﺸ ﺭ ﻓـﻲ ﺍﻟﻌﻘﻴـﺩﺓ ﺯﻋﻴ ﻡ ﹸﻗﻭﻯ ﺍﻟ ﱠ ﻭﺍﻷﻀﺭﺍﺭ ،ﻭﺘﻌﻤل ﻋﻠﻰ ﻨﻀـﻭﺏ ﻥ ﺍﻟﻘﻠﻭﺏ .ﻭﺭﺒﻤﺎ ﻜﺎﻨﺕ ﻋﺒﺎﺩﺘﻪ ﻭ ﺯ ِ ل ﺍﻟﻬﻨﺩﻴـ ﹸﺔ ﺡ ﺒﻼﺩﻫـﻡ ﺍﻟﻘﺒﺎﺌـ ُ ﺘﺠﺘﺎ .co ﻗﺎﻋﺔ ﺍﻟﺤﺴﺎﺏ ،ﻭﻴﺭﺍﻗـﺏ ﻋﻤﻠﻴـ ﹶﺔ ﺍﻟﺒﺩﺍﺌِﻴﻴﻥ ﻭﺃﺒﻁﺎﻟﹸﻬﻡ؛ ﻭﺫﻟﻙ ﻗﺒـل ﺃﻥ ﺃﻗﺩﻡ ﻤﻥ ﻋﺒﺎﺩﺓ ﺃﻭﺯﻴﺭﻴﺱ ،ﻭﻟﻌﻠﻬـﺎ ﻁﹶﻭﻁﹶﻤﻴﺔ ﻓﻲ ﺃﺼﻠﻬﺎ. ﺕ ﺃﺨﺭﻯ ﺘﺫﻫﺏ ﺇﻟﻰ ﻭ ﹶﺜ ﻤ ﹶﺔ ﺭﻭﺍﻴﺎ ﹲ ﻭﺭﺒﻤﺎ ﻴﻜﻭﻥ ﻗﺩ ﺍﺭﺘﻔﻊ ﺇﻟـﻰ ﻤﻘـﺎﻡ ﺍﻵﻟِﻬﺔ ﻟﻴﺤﻭل ﺒﻴﻥ ﺒﻨﺎﺕ ﺁﻭﻯ ﻭﺒﻴﻥ ﺙ ﺍﻟﻤﻭﺘﻰ. ﺍ ﹾﻟﺘِﻬﺎﻡ ﺠﺜ ِ ﻭﻤﻥ ﺃﺴﻤﺎﺌﻪ ﺃﻨﺒﻭ ﻭﺃﻨﻭﺏ ﻭﻭﻴﺏ. ﺃﹶﻧﻮﻧﺎﻛِﻲ ﺃﻭ ﺇﻧﻮﻛِﻲ ﺍﻟﺠﺭﻤﺎﻨﻴﺔ .ﻭﻗﺩ ﺘﻜﻭﻥ "ﺍﻟﺜﱡﻨﺎ ِﺌﻴـﺔ"، ﺍﻟﺘﻲ ﺘﻘﻭل ﺒﻭﺠﻭﺩ ﺇﻟﻬﻴﻥ ﺃﺤـﺩﻫﻤﺎ ﻥ ﻗﹸﻀـﺎﺓ ﻉ ﺁ ) (١ﺃﻁﻔﺎل ﻭَﺃﺘﹾﺒﺎ ﺍﻟﻌﺎﻟﹶﻡ ﺍﻟﺴﻔﻠﻲ ﺍﻟﻤﻔﺯِﻋﻴﻥ ﻜﻤﺎ ﺠـﺎﺀ ﻓﻲ ﺍﻷُﺴﻁﹸﻭﺭﺓ ﺍﻟﺴﻭﻤﺭﻴﺔ. ـﺔ ـﺭ ﺍﻵﻟﻬـ ﺏ ﺍﻟﺤﻜﻤ ـ ِﺔ ﻭﻜﺒﻴـ ﺭ ـﺭ ﹰﺓ ـﺭ؛ ﺜﻤـ ـﺎ ﻟﻠﺸـ ـﺭ ﻭﺜﺎﻨﻴﻬﻤـ ﻟﻠﺨﻴـ ـﺩﺓ ـﻲ ﺍﻟﻌﻘﻴـ ـﺩ ﺭ ﺍﻟﺨﻴ ـ ِﺭ ﻓـ ﻭﻤﺼـ ﺼﺭﻑ ﺍﻨﺘﺒـﺎ ِﻩ ﺍﻟﺠﻤـﺎﻫﻴﺭ ﺇﻟـﻰ ِﻟ ﺁﻟﻬ ﹸﺔ ﺍﻟﻨﺠﻭﻡ ﺍﻟﺫﻴﻥ ﻏﺎﺼﻭﺍ ﺘﺤـﺕ ﺍﻷﻓﻕ ﻭﺃﺼﺩﺭﻭﺍ ﺍﻷﺤﻜـﺎﻡ ﻋﻠـﻰ ﻭﻤﻤﺎ ﺘﺠﺩﺭ ﺍﻹﺸﺎﺭﺓ ﺇﻟﻴﻪ ﺃﻥ ﺍﺴﻡ ﻭﺤﺩﺩﻭﺍ ﺸﺭﻭﻁ ﺇﻗﺎﻤﺘﻬﻡ ﻫﻨﺎﻙ. AHRIMAN ﺍﻟﺸﺭﻴﻌﺔ ﻭﺍﻟﻌﺩﺍﻟﺔ .ﻭﺃﻫﻭﺭﺍﻤـﺎﺯﺩﺍ ﺃﻫﺭﻴﻤﺎﻥ ﻜﺎﻥ ﻴﻨﻅﺭ ﺇﻟﻴﻪ ﻋﻠﻰ ﺃﻨـﻪ ﻫﻭ ﺭﻭﺡ ﺍﻟﺤﻜﻤﺔ ،ﻭﻴﻌﻴﺵ ﻭﺴـﻁ ﺼﻴﻐﺔ ﻤﺅﻨﱠﺜﺔ ﻓﻲ ﺍﻟﻠﻐﺔ ﺍﻟﻔﺎﺭﺴـﻴﺔ ﻱ ﻻ ﻨﻬﺎﻴﺔ ﻟﻪ ،ﻭﻫـﻭ ﺴ ﺭ ﻤ ِﺩ ﻀﻭﺀ ﺽ ﺍﻟﻘﺩﻴﻤﺔ؛ ﻤﻤﺎ ﻗﺩ ﻴﺭﺠﺢ ﺍﻻﻓﺘـﺭﺍ ﻏﺭﻴﻡ* ﺃﻨﺠﺭﺍﻤﺎﻴﻨﻴﻭ ﺍﻟﺫﻱ ﻴﻌـﻴﺵ ﺒﺄﻥ ﺫﻟﻙ ﻜﺎﻥ ﺍﻤﺘـﺩﺍﺩﺍ ﻟﻼﻋﺘﻘـﺎﺩ ﻓﻲ ﻅﻼﻡ ﻜﺜﻴﻑ .ﻭﻷﻫﻭﺭﺍﻤـﺎﺯﺩﺍ ﺒﻭﺠﻭﺩ ﺃﻡ ﻤ َﺅﻟﱠﻬﺔ. ـﻴﻥ ﺃﻥ ـﺽ ﺍﻟﺩﺍﺭﺴـ ـﺭﻯ ﺒﻌـ ﻭﻴـ ﺃﻫﺭﻴﻤﺎﻥ ﺍﺴﻡ ﻓﺎﺭﺴﻲ ﺤﺩﻴﺙ ﻴﻁﻠﻕ ﻋﻠﻰ* ﺃﻨﺠﺭﺍﻤﺎﻴﻨﻴﻭ ﻤﺼﺩﺭ ﺍﻟﺸﺭ. ـﺎﻩ ـﻭﺍﻥ؛ ﻓﻭﻫﻭﻤﺎﻨــ ﺴــﺘﺔ ﺃﻋــ )"ﺍﻟﺤﺴﺎﻥ"( ،ﻭﺃﺸﺎﻓﺎﻫﺸﺘﺎ )"ﺍﻟﺘـﺩﺒﻴﺭ ﺍﻟﻤﺤﻜﻡ"( ،ﻭﺨﺸـﺎﺘﺭﻓﺎﻴﺭﻴﺎ )"ﻗـﻭﺓ ﺍﻟﺨﻴﺭ"( ﻭﺴﺒﻨﺘﺎ ﺃﺭﻤﺎﻴﺘﻲ )"ﺍﻟـﻭﻻﺀ ﻭﺍﻟﺤﻜﻤﺔ"( ،ﻭﻫﻭﺭﻓﺎﺘﺎﺘﺎﺕ )"ﺍﻟﺼﺤﺔ AHL AL-TURAB ﺕ ﺨﺎﺭِﻗﺔ ﺘﺴﻜﻥ ﻋﺎﹶﻟﻤﺎ ﺘﺤﺕ ﻜﺎﺌﻨﺎ ﹲ ﻭﺍﻟﻔﻼﺡ"( ،ﻭﺃﻤﺭﻴﺘﺎﺕ )"ﺍﻟﺨﻠـﻭﺩ"(، ﻭﺴﺭﺍﻭﺸﺎ )"ﺍﻟﻁﺎﻋﺔ"( ،ﻭﻟـﻪ ﻓـﻲ ﺍﻟﺼﺤﺭﺍﺀ ﺍﻟﻜﺒﺭﻯ ﻓـﻲ ﺇﻓﺭﻴﻘﻴـﺎ. ﺒﻌﺽ ﺍﻷﺤﻴﺎﻥ ﻋﻭﻥ ﺴﺎﺒﻊ ﻴﺴﺘﻜﻤل ل ﺍﻟﻁـﻭﺍﺭﻕ ﺃﻥ ﻫـﺫﻩ ﻭﺘﻌﺘﻘﺩ ﻗﺒﺎﺌ ُ ﺒﻪ ﺃﻫﻭﺭﺍﻤـﺎﺯﺩﺍ ﺍﻟـﺭﻗﻡ ﺍﻟﻤﻘـﺩﺱ ﻕ ﺒﺎﻟﻨﺎﺱ ﺍﻟﻜﺜﻴ ﺭ ﻤـﻥ ﺤﹸ ﺡ ﹸﺘ ﹾﻠ ِ ﺍﻷﺭﻭﺍ ﻋﻨﺩﻤﺎ ﻻ ﻴﻜﻭﻥ ﻤـﻊ ﺍﻟﻤﺠﻤﻭﻋـﺔ. ﺍﻷﺫﻯ؛ ﻓﻬﻲ ﺘﻌﺭﻗل ﺴﻴﺭ ﺍﻟﻘﻭﺍﻓـل ﻭﻜﺜﻴﺭﺍ ﻤﺎ ﻴﺄﺘﻠﻑ ﻫﺅﻻﺀ ﺍﻷﻋﻭﺍﻥ، ﻋﻨﺩﻤﺎ ﺘﺼﻴﺏ ﺍﻹﺒـل ﺒﺎﻷﻭﺼـﺎﺏ ww ﺍﻟﻨﺎﺱ ﻭﻫﻡ ﻴﺩﺨﻠﻭﻥ ﺍﻟﻌﺎﻟﻡ ﺍﻟﺴﻔﻠﻲ، ﻭﻗﺎﺩِﺭ ﻋﻠـﻰ ﻜـل ﺸـﻲﺀ ،ﻭﺭﺏ w. ﺍﻟﺴﻔﻠﻲ( ﻓﻲ ﺍﻷُﺴﻁﹸﻭﺭ ِﺓ ﺍﻟﺒﺎ ِﺒِﻠﻴﺔ؛ ﻫﻡ ﺸ ِﺘﻴﺔ .ﻭﻫﻭ ﻋﺎﻟِﻡ ﺒﻜل ﺸﻲﺀ، ﺍﻟﺯﺭﺍ ﺩ ﹾ ﺠﺩﺩ. ﻏﺭﻤﺎﺌِﻬﻡ ﺍﻵﻟﻬ ِﺔ ﺍﻟ ﹸ ﺽ )ﺍﻟﻌــﺎﻟﹶﻡ ﺃﹶﻫﻞﹸ ﺍﻟﺘﺮﺍﺏ ) (٢ﺁﻟِﻬــﺔﹸ ﺍﻷﺭ ِ www.alkottob.com AHURA-MAZDA alk ANUNNAKI OR ENNUKI ﺃﹶﻫﺮِﳝﺎﻥ ﺃﹶﻫﻮﺭﺍﻣﺎﺯﺩﺍ ott ob ﺸ ِﺭ ﻭﺍﻟﻅـﻼﻡ، ﺕ" ﺇﻟ ِﻪ ﺍﻟ ﹼ ﺴ ﹾ ﻥ"ِ ﺃﻨﻪ ﺍﺒ ﻫﺒﻭﺏ ﺍﻟﻌﻭﺍﺼﻑ. ﻭﻟﻜﻨﻬﻡ ﻟﻴﺴﻭﺍ ﺸﺨﺼﻴﺎﺕ ﻤﺘﻤﺎﻴﺯﺓ، ١١١ ﻭﻗﺩ ﺍﻨﻔﺼﻠﻭﺍ ﻋـﻥ ﺃﻫﻭﺭﺍﻤـﺎﺯﺩﺍ ،ﺁﻫِﻲ ﻭﺍﺴﺘﻘﻠﻭﺍ ﺒﺎﻟﻭﺠﻭﺩ ،ﻭﻭﺭﺩ ﺫﻜـﺭﻫﻡ m ﻓﻲ ﺍﻟـ *ﺃﻓﺴﺘﺎ ﺍﻟﻤﺘﺄﺨﺭﺓ ﻋﻠﻰ ﺃﻨﻬﻡ ﺁﻟﻬﺔ ﺃﻭ ﻁﻭﺍﻭﻴﺱ ﻤﻼﺌﻜﺔ ،ﻋﻠـﻴﻬﻡ ﺃﻥ ﻴﺴﺎﻋﺩﻭﺍ ﺃﻫﻭﺭﺍﻤﺎﺯﺩﺍ ﻓﻲ ﻫِﺩﺍﻴﺔ .co ﺍﻟﻌﺎﻟﻡ. ﻭ ﻴ ﻌﺩ ﺃﻫﻭﺭﺍﻤﺎﺯﺩﺍ ﻏﺭﻴﻤﺎ ﻹﻟـﻪ ﺍﻟﺸﺭ ﺃﻨﺠﺭﺍﻤﺎﻴﻨﻴﻭ .ﻭﺘﺫﻫﺏ ﺇﺤـﺩﻯ ﺍﻷﺴﺎﻁﻴﺭ ﺇﻟﻰ ﺃﻨﻪ ﺒﺭﺯ ﻤﻥ ﺍﻷﺒـﺩ. ﻙ ﺍﻋﺘــﺭﺕ ﺜﻤــﺭ ﹶﺓ ﻟﺤﻅــ ِﺔ ﺸــ ﺃﻫﻭﺭﺍﻤﺎﺯﺩﺍ. AHI ﻭﻴﺼﻭﺭ ﺃﻨﺠـﺭﺍ ﻤـﺎﻴﻨﻴﻭ ﻓـﻲ ﻼ ﻟﺴـﺒﻨﺘﺎ ﻤـﺎﻴﻨﻴﻭ "ﺍﻟﻐﺎﺜﺎﺕ" ﻤﻘـﺎﺒ ﹰ ﺍﻟﺭﻭﺡ ﺍﻟﻤﻘﺩﺱ ﻷﻫﻭﺭﺍﻤﺎﺯﺩﺍ. ﻭﺘﺫﻫﺏ ﺍﻷﺴﻁﻭﺭﺓ ﺇﻟﻰ ﺃﻥ ﺃﻭل ﺨﻠِﻴﻘــﺔ ﻭﻫــﻭ ﺭﺠــل ﻓــﻲ ﺍﻟ ﹶ ﻭﻤﻌﻨﺎﻫﺎ ﺤﺭﻓﻴﺎ ﺍﻟﺜﻌﺒﺎﻥ؛ ﻭﻫـﻭ ﻭﻗﺩ ﺃﻭﻟﺕ ﺩﻴﺎﻨﺔ ﺍﻟﻴﺎﻨﻴﺔ )ﺩﻴﻥ ﻫﻨﺩﻱ ﺍﻷﺴﻁﻭﺭﺓ ﺍﻟﻔِﻴ ِﺩﻴﺔ ،ﺍﻟﺫﻱ ﺍﻤـﺘﺹ ﻴﻤﺕ ﺇﻟﻰ ﺍﻟﺒﻭﺫﻴﺔ( ﻫـﺫﻩ ﺍﻟﻔﻜـﺭﺓ ﺍﻟﻤﻴﺎﻩ ﺍﻟﻜﻭﻨﻴﺔ ،ﻭﺭﻗﺩ ﻤﻠﺘﻔﺎ ﺤـﻭل ﺍﻟﻤﻜﺎﻨ ﹶﺔ ﺍﻷﻭﻟﻰ ﻓﻲ ﻋﻘﺎﺌﺩﻫﺎ .ﻭﺘﻌـﺩ ـﺫﻫﺏ ـﺎل .ﻭﺘـ ـﻭﻕ ﺍﻟﺠﺒـ ـﻪ ﻓـ ﻨﻔﺴـ ﺍﻷﻫﻴﻤﺴﺎ ﺃﻭل ﺍﻟﻌﻬﻭﺩ ﺍﻟﺨﻤﺴﺔ ﻓـﻲ ﺍﻷﺴﻁﻭﺭﺓ ﺇﻟﻰ ﺃﻥ *ﺇﻨﺩﺭﺍ ﺃﺭﺴـل ﻲ ﺴ ِﻜﻴﺔ ﺍﻟﻴﺎﻨﻴﺔ ،ﻭﺍﻟﻨﹼﺎﺴِـﻙ ﺍﻟﻴـﺎﻨ ﺍﻟ ﱡﻨ ﺼﺎﻋِﻘ ﹰﺔ ﻗﻀﺕ ﻋﻠﻰ ﻫﺫﺍ ﺍﻟﺘﻨـﻴﻥ؛ ﻴﺭﺍﻋــﻲ ﺒﻜــل ﺩﻗــﺔ ﻗﻭﺍﻋــﺩﻫﺎ ﻓﺘﺩﻓﻘﺕ ﺍﻟﻤﻴﺎﻩ ﺍﻟﺜﻤﻴﻨﺔ ﻤـﻥ ﺒﻁﻨـﻪ ﺍﻟﻤﺘﻌﺼﺒﺔ ﺍﻟﻤﺘﻁﺭﻓﺔ؛ ﻓﻬﻭ ﻻ ﻴﻘﺘـل ﺍﻟﺫﻱ ﺸـﻘﺘﻪ ﺍﻟﺼـﺎﻋﻘﺔ ،ﻭﺴـﺎﻟﺕ ﺃﻭ ﻓﺭﻴﺘﺭﺍ ﻴﻁﻠﻕ ﻋﻠﻴﻪ ﺃﺤﻴﺎﻨﹰﺎ ﺍﺴـﻡ ﺜﻭﺏ ﺘﻜﺘﺴﻲ ﺒﻪ ﺍﻟﺴﻤﺎﻭﺍﺕ ﺍﻟﺼﻠﺩﺓ، ﺸﻴﻁﺎﻥ ﺍﻟﺴﺤﺎﺏ ،ﻭﻴﻌﺘﺒﺭ ﺘﺠﺴـﻴﺩﺍ ﻭﺍﻗﺘــﺭﻥ ﺍﺴــﻡ ﺃﻫﻭﺭﺍﻤــﺎﺯﺩﺍ ﺒﺎﻟﻔﺎﺭﻭﻨﺎ ﺍﻟﻔﻴﺩﻴﺔ ،ﻭﺒﺎﻹﻟﻪ *ﺯﻴﻭﺱ ﻋﻨﺩ ﺍﻟﻴﻭﻨﺎﻥ ،ﻭﺍﻹﻟﻪ ﺒل ﻤـﺭﻭﺩﺍﺥ ﺍﻟﺒﻭﺫﻴﻭﻥ ﺍﻷﻭﺍﺌل ﻻ ﻴﺄﻜﻠﻭﻥ ﺍﻟﻠﱠﺤـ ﻡ ﻟﻠﺸﺘﺎﺀ؛ ﻭﻟﻴﺱ ﻤﺠﺭﺩ ﻤﺨﺘﺯﻥ ﻟﻤﺎﺀ ﻼ ﻤﻨﻬﻤـﺎ ﻗـﺩ ﺃﻭ ﺍﻟﻔﺎﻜﻬﺔ؛ ﻷﻥ ﻜ ﹰ ﺢ ﺍﻟﻤﻁﺭ ،ﻭﺃﺩﻯ ﻤﺼﺭﻋﻪ ﺇﻟﻰ ﻓﹶـ ﹾﺘ ِ AHIMSA ﺍﻟﻌﻘﻴﺩ ﹸﺓ ﺍﻟﻬﻨﺩﻴ ﹸﺔ ﻋﻥ ﺍﻟﻁﱠﻬﺎﺭﺓ ﻓﻲ ﻼ ﺕ ﺃﺼـ ﹰ ﻀـ ﹾ ﻋ ِﺭ ـﺩ ـﺎﺓ ،ﻭﻗـ ﺍﻟﺤﻴـ ﻴﺤﺘﻭﻱ ﻋﻠﻰ ﺩِﻴﺩﺍﻥ ،ﻭﻟﻜﻥ ﺍﻟﺒﻭﺫﻴﻴﻥ ﺍﻟﻴﻭﻡ ﻻ ﻴﻔﻌﻠﻭﻥ ﺸﻴﺌًﺎ ﻴﺘﺠﺎﻭﺯ ﺍﻟﻌﻘل ﻓﻲ ﻋﺒﺎﺩﺍﺘﻬﻡ ﻭﻁﻌﺎﻤﻬﻡ .ﻭﺍﻟﻤـﺫﻫﺏ ﺍﻟﻨﺒﺎﺘﻲ ﺸﺎﺌﻊ ﺒﻴﻨﻬﻡ ،ﻭﻟﻜﻨـﻪ ﻟـﻴﺱ ﺸﺭﺍ ﺒﺼﻔﺔ ﻤﻁﻠﻘﺔ .ﻭﻻ ﻴـﺯﺍل ﻤ ﹾﻨ ﹶﺘ ِ ﺒﺎﻟﺘﻔﺼﻴل ﻓﻲ ﺃﺤﺩ ﻜﺘﺏ ﺍﻷُﻭﺒﺎﻨِﻴﺸﺎﺩ Upanishadﺤــﻭﺍﻟﻲ ﺍﻟﻘــﺭﻥ ﺍﻟﺴﺎﺒﻊ ﻗﺒل ﺍﻟﻤﻴﻼﺩ ،ﻭﻫﻲ ﺸـﺎﺌﻌﺔ ﺒﻴﻥ ﹸﻜلﱢ ﺍﻟﻁﱠﻭﺍﺌﻑ ﺍﻟﻬِﻨﺩﻴﺔ ﻤﻨﺫ ﺫﻟﻙ ﺍﻟﻭﻗﺕ .ﻓﻌﻠﻰ ﺍﻟﺒﺭﺍﻫﻤﻲ ﺃﻻ ﻴﺤـﺭ ﻡ ﺃﻱ ﻤﺨﻠﻭﻕ ﺤﻴﺎﺘﹶﻪ؛ ﺴـﻭﺍﺀ ﺃﻜـﺎﻥ ﺇﻨﺴﺎﻨﹰﺎ ﺃﻡ ﻭﺤﺸﹰﺎ ﺃﻡ ﺩﻭﺩﺓ ﺃﻡ ﻨﺤﻠـﺔ؛ ﺍﻟﺠﺩل ﺩﺍﺌﺭﺍ ﺤﻭل ﻤـﺎ ﺇﺫﺍ ﻜﺎﻨـﺕ ﻋﻘِﻴـﺩﺓ ﺍﻷﻫﻴﻤﺴﺎ ﺘﺴﺘﻤﺩ ﻗﻭﺘﻬﺎ ﻤﻥ ﺹ ﺍﻷﺭﻭﺍﺡ ﺃﻭ ﻻ .ﻭﺇﺠﻤـﺎﻉ ﺘﹶﻘ ﻤ ِ ww ﻭﻴﺘﺨﺫ ﻤﻥ ﺍﻟﻠﻬﺏ ﻏﻁﺎ ﺀ ﻟﻪ. ﻏﻔﹾﻠﺔ ﺤﺸـﺭﺓ .ﻭﻜـﺎﻥ ﻻ ﻴﺒﺘﻠ ﻊ ﻓﻲ ﹶ alk ﺼﻭ ﺭ ﻓﻲ ﻫﻴﺌﺔ ﻴﺒﺎﺭﻙ ﺃﺘﺒﺎﻋﻪ .ﻜﻤﺎ ﻴ ﺼﻐﻴﺭ .ﻭﻫﻭ ﻻ ﻴﺄﻜل ﺒﺎﻟﻠﻴل ﺤﺘـﻰ w. ﻴﺩﻴﻪ ﺨﺎﺘﻤﺎ ﻭﻴﺭﻓﻊ ﺍﻷﺨﺭﻯ ﻜﺄَﻨـﻪ ﻴﻁﺄ ﺃﻭ ﻴﺠﻠﺱ ﻋﻠﻰ ﺃﻱ ﻜﺎﺌﻥ ﺤـﻲ ﺍﻟﺩﻡ ﺤﺎﺭﺍ ﻓﻲ ﻋﺭﻭﻕ ﺍﻟﺒﺸﺭ .ﻭﺁﻫﻲ ﺭﺠل ﺠﻠﻴل ﻟﻪ ﻟِﺤﻴﺔ ،ﻭﺘﺤـﻴﻁ ﺒـﻪ ﺩﺍﺌﺭﺓ ﻤﺠﻨﺤﺔ ،ﻭﻴﻤﺴﻙ ﻓﻲ ﺇﺤـﺩﻯ ﺃﻭ ﻴﻜﻨﺱ ﺍﻷﺭﺽ ﺃﻤﺎﻤﻪ ﺤﺘـﻰ ﻻ ﺍﻷﺸﺠﺎﺭ؛ ﻓﺄﺨﺭﺠﺕ ﺜِﻤﺎﺭﻫﺎ ،ﻭﺘﺩﻓﱠﻕ ﺃﹶﻫِﻴﻤﺴﺎ ﺼﻭ ﺭ ﻓﻲ ﻫﻴﺌﺔ ﺃﻫﻭﺭﺍﻤﺎﺯﺩﺍ ﺍﻟﺫﻱ ﻴ ﺕ ﺍﻟﺘﻲ ﺘﻤﺭﺡ ﻓﻲ ﺠﺴـﺩﻩ، ﺍﻟﺤﺸﺭﺍ ِ ﺃﻨﻬﺎﺭﺍ ﻋﻠﻰ ﺍﻷﺭﺽ .ﻭﺴﻘﺕ ﺍﻟﻤﻴﺎﻩ ﻕ "ﻤﺎﻴﺎﻤﺎﺭﻴﺘﺎﻥ" ﺇﻨﻤﺎ ﻭِﻟ ﺩ ﻤﻥ ﻋـ ﺭ ِ www.alkottob.com ﻜﺎﺌﻥ ﻤﺎﺌﻲ ﺤﻲ ﻓﻲ ﺍﻟﺭﻤﺎل ﺍﻟﺠﺎﻓﺔ. ﺨ ﺭ ﻟـ *ﻓﺭﻴﺘﺭﺍ ﺍﻟﺘِﻨﻴﻥ ﻓـﻲ ﺍﺴﻡ ﺁ ﹶ ﺍﻷﻨﻬﺎﺭ ﺍﻟﻤﺘﺠﻤﺩﺓ. ﻋﻨﺩ ﺍﻟﺒﺎﺒﻠﻴﻴﻥ. ﺍﻷﺭﺽ؛ ﺤﺘﻰ ﻻ ﻴﺘﺴﺒﺏ ﻓﻲ ﻫﻼﻙ ott ob ﻭﺘﺭﻭﻱ ﺃﺨﺭﻯ ﺃﻥ ﺃﻨﺠﺭﺍﻤﺎﻴﻨﻴﻭ ﻜﺎﻥ ﺒل ﻋﻠﻴﻪ ﺃﻻ ﻴﺼﺏ ﺍﻟﻤـﺎ ﺀ ﻋﻠـﻰ ﺍﻟﺭﺃﻱ ﺃﻥ ﺍﻹﺠﺎﺒـﺔ ﺒـﺎﻟﻨﻔﻲ ،ﻭﺭﺩ ﺍﻟﻔﻌل ﺍﻹﻨﺴﺎﻨﻲ ﺍﻟﻤﻨﺎﺴﺏ ﻀﺩ ﻋﺩﻡ ﺍﻟﻤﺒﺎﻻﺓ ﺍﻟﻔﻅﱠﺔ ﺒﺎﻟﺤﻴﺎﺓ ﻓﻲ ﺍﻟﻘﺭﺍﺒﻴﻥ ١١٢ ﺍﻷﻭﻟﻰ؛ ﺘﺅﻴﺩ ﺍﻟﻔﻜﺭﺓ ﻓـﻲ ﺴـﺎ