‫ﺍﻹﺨﺘﻼﻁ‪ ،‬ﺸﻜﻭلٌ ﺸﺘﹼﻰ ﻤﻥ ﺍﻹﻝﺘﺒﺎﺱ‪ ،‬ﻴ‪‬ﻭﺍﺠ ‪‬ﻪ ﺒﻬﺎ ﺍﻝ ‪‬ﻤﻌ‪ ‬ﹶﺘﻘِﺩ‪ .‬ﻝﻜﻥ ﻓﻲ ﺒﻌﺽ ﺍﻝﺤﺎﻻﺕ ﺘﹸﺭﻯ ﻤﺤﺎﻭﻝ ﹸﺔ ﺘﺨﻁﹼﻲ ﺫﺍﻙ‬ ‫ﻱ ﻤﺤﺎﻭﻝـ ٍﺔ ﻜﺘﻠـﻙ ﻝﻴـﺴﺕ‬ ‫ﻥﺃ ‪‬‬ ‫ﺕ ﺃﺨﺭ‪ ،‬ﺃ ‪‬‬ ‫ﺍﻹﺨﺘﻼﻁ‪/‬ﺍﻹﻝﺘﺒﺎﺱ ﻋﻠﻰ ﺃﻨﹼﻬﺎ ﻀﺭﻭﺭﺓﹲ ﺭﻭﺤﻴﺔ ﻓﻴﻤﺎ "ﻴ‪‬ﻔﻬﻡ"‪ ،‬ﻓﻲ ﺤﺎﻻ ٍ‬ ‫ﻕ )ﻭﺩﻭﻥ ﺃﻥ ﻴﻜﻥ ﺍﻨﺘﻘﺎﺩﻴ‪‬ـﹰﺎ(‪،‬‬ ‫ﺕ ﺠﺩﻭﻯ‪ .‬ﻭﺜﺎﻨﻲ ﺍﻷﻭﺠﻪ ﺇﻴﺎﻫﺎ ﻫﻭ ﺃﻥ ﺠﺎﻤﻲ ﻗﺩ ﺍﺴﺘﺠﻠﻰ‪ ،‬ﺒﺤ ﱟ‬ ‫ﺤﻜﻴﻤ ﹰﺔ ﻭﻏﻴ ‪‬ﺭ ﺫﺍ ِ‬ ‫ﺼﻔﻭﻴ‪‬ﺔ ﻤﻌﻴﻨﺔ ﻋﻨﺩ ﺍﺒﻥ ﻋﺭﺒﻲ‪ ،‬ﻭﺫﻝﻜﻡ ﻷﻥ ﺘﺠﺭﺒﺔ ﺍﻹﺨﺘﻼﻁ‪ ،‬ﻓﻲ ﺸﻭ ِﻓﻪِ‪ ،‬ﻝﻴﺴﺕ ﺸﺄﻨﹰﺎ ﻤﻔﺘﻭﺤﹰﺎ ﻝﻠﺠﻤﻴﻊ‪ .‬ﻓﺒﻤﻌﺯل‬ ‫ﻤﻥ ﺘﻠﻙ ﺍﻷﺭﻭﺍﺡ ﺍﻝﻨﺎﺩﺭﺓ )ﺍﻹﺴﺘﺜﻨﺎﺌﻴﺔ( ﺍﻝﺘﻲ ﻴﻜﻥ ﺒﻭﺴﻌﻬﺎ ﺃﻥ ﺘﺭﺴﺦ ﻋﻨﺩ ﻤﻘﺎﻡ ﺤﻴﺭ ٍﺓ ﻤﺘﻭﺍﺼﻠ ٍﺔ ﺘﺒﻘﻰ ﺍﻷﻏﻠﺒﻴـﺔ‬ ‫ﺍﻝﻌﻅﻤﻰ ﻤﻥ ﺫﻭﻱ ﺍﻝﻌﻘﻴﺩ ِﺓ )ﺍﻝﺫﻴﻥ ﻴﺩﻋﻭﻫﻡ ﺠﺎﻤﻲ ﺒﺎﺴﻡ "ﺃﻫل ﺍﻝﻤﻭﺍﻗﻑ"‪ -‬ﺠﻴﺘﻴﻙ ‪ (92 :1982‬ﻗﺎﺼـﺭﻴﻥ ﻋـﻥ‬ ‫ﺡ ﻤﺎ ﺃﻭ ﺁﺨﺭ‪ .‬ﺇﻥ ﺍﻹﻨﺴﺎﻥ ﻴﻜﺎﺩ ﺃﻥ ﻴـﺴﺘﺠﻠﻲ‬ ‫ﻑ ﻭﻀﻭ ٍ‬ ‫ﺕ ﻝﻬﻡ ﻋﻨ ‪‬ﺩ ﻤﻭﻗ ِ‬ ‫ﻥ ﻤﻼﺫﺍ ﹶ‬ ‫ﺒﻠﻭﻍ "ﺍﻝﺤﻴﺭﺓ ﺍﻝﻨﻬﺎﺌﻴﺔ" ﻭﻤﺘﺨﺫﻴ ‪‬‬ ‫ل "ﺍﻝﻤﻌﺭﻓﺔ" ﻭﺇ ﹼﻨﻤﺎ‪ ،‬ﺒﺎﻷﺤﺭﻯ‪ ،‬ﺒﻔﻌل "ﺍﻝﻼ ﻤﻌﺭﻓـﺔ"‪.‬‬ ‫ﻫﻨﺎ ﺘﺭﺍﺘﺒ ‪‬ﻴ ﹰﺔ ﻤﻥ ﺍﻝﺘﺤﻴ‪‬ﺭ‪ ،‬ﺍﻹﻝﺘﺒﺎﺱ‪ ،‬ﺠ‪‬ﻌﻠﺕ ﻤﻤﻜﻨ ﹰﺔ ﻝﻴﺱ ﺒﻔﻌ ِ‬ ‫ﺏ ﺃﻜﺜ ‪‬ﺭ ﺍﻷﻓﻜﺎ ِﺭ ﻭﻀﻭﺤﹰﺎ ﻓﻴﻤﺎ ﻫﻭ ﻴﺠﻌل ﺃﻭﻝﺌـﻙ‬ ‫ﻭﺫﻝﻜﻡ ﻴ‪‬ﺼﻴ‪‬ﺭ ﺃﻭﻝﺌﻙ ﺍﻝﺫﻴﻥ ﻫﻡ ﻋﻨﺩ ﻗﺎﻋﺩﺓ ﺘﻠﻙ ﺍﻝﺘﺭﺍﺘﺒﻴ‪‬ﺔ ﺃﺼﺤﺎ ‪‬‬ ‫ﻥ ﻤﻥ ﺴ ‪‬ﺭ ﺍﻷﻝﻭﻫـﺔِ‪ ،‬ﺫﺍﻙ‬ ‫ل ﻤﻤﻜ ٍ‬ ‫ﺏ ﻤﻨﺎ ٍ‬ ‫ﺱ ﺍﺨﺘﻼﻁﺎﹰ‪ ،‬ﻓﻬﻡ ﻤﻥ ﺒﻠﻐﻭﺍ ﺃﻗﺭ ‪‬‬ ‫ﻑ ﻗﻤ‪‬ﺘﻬﺎ ﺃﻜﺜﺭ ﺍﻷﻨ ِ‬ ‫ﺍﻝﺫﻴﻥ ﻫﻡ ﻋﻠﻰ ﻤﺸﺎﺭ ِ‬ ‫ﺕ ﺩﻭﻨﻪ ﺍﻷﻝﺒﺎﺏ‪ .‬ﻭﺜﺎﻝﺙ ﺍﻷﻭﺠﻪ ﺍﻝﻤﻌﻨﻴـﺔ ﻫـﻭ ﺃﻥ ﺘﻠـﻙ‬ ‫ﻙ ﺍﻝﻔﻜ ِﺭ ﻭﺍﻝﺨﺎﻁ ِﺭ ﻭ ﹸﺘﺒ‪ ‬ﻬ ﹸ‬ ‫ﺍﻝﺫﻱ ﻴﻨﺩ‪ ،‬ﺃﺼﻼﹰ‪ ،‬ﻋﻥ ﺇﻤﺴﺎ ِ‬ ‫"ﺍﻝﺤﻴﺭﺓ ﺍﻝﻨﻬﺎﺌﻴﺔ" ﺍﻝﺘﻲ ﻴﺸﻴﺭ ﺇﻝﻴﻬﺎ ﺠﺎﻤﻲ ﺘﺠﻌﻠﻨﺎ ﻨﺘﺴﺎﺀل ﻋﻤﺎ ﺇﺫﺍ ﻜﺎﻨﺕ ﺍﻝﻐﺎﻴﺔ ﺍﻝﺤﻘﻴﻘﻴﺔ‪ ،‬ﻓﻲ ﺠﻤﻠﺔ ﺁﺜـﺎﺭ ﺍﺒـﻥ‬ ‫ﻋﺭﺒﻲ‪ ،‬ﻫﻲ ﻝﻴﺴﺕ‪ ،‬ﻋﻠﻰ ﺍﻷﻜﺜﺭ‪ ،‬ﺤﺎﻝﺔ ﺍﻹﻝﺘﺒﺎﺱ ﻓﻲ ﺫﺍﺘﻬﺎ ﻭﺇﻨﹼﻤﺎ ﻫﻲ‪،‬ﺒـﺎﻷﺤﺭﻯ‪" ،‬ﺴـﻠﻭﻙ" ﺍﻝﻘﺒـﻭل ﺍﻝﻬـﺎﺩﺉ‬ ‫ﻥ ﻭﻀﻌ ‪‬ﻴ ٍﺔ ﻜﺘﻠﻙ‪ .‬ﻁﺒﻌﹰﺎ ﻴﺒﻘﻰ ﻫﻨﺎ ﺍﻝﺴﺅﺍل ﺍﻝﻤﻤﻜـﻥ‬ ‫ﻝﻭﻀﻌﻴ ٍﺔ ﺒﻌﻴﻨﻬﺎ‪ ،‬ﺒل ﻭﺭﺒﻤﺎ ﺘﻜﻥ ﻫﻲ ﻋﻴﻥ ﻓﻌل ﺍﻹﺤﺘﻔﺎﺀ ﺒﺂ ٍ‬ ‫ﻙ ﻤﺎﻀﻴ ﹰﺔ ﺇﻝﻰ ﺠﻬ ٍﺔ ﻗﺭﻴﺒ ٍﺔ ﻤﻥ ﺫﻝﻙ "ﺍﻝﺘﻭﻜﻴـ ِﺩ‬ ‫ﻋﻥ ﺍﻝﻤﺩﻯ )ﻭﺍﻝﻜﻴﻑ( ﺍﻝﺫﻱ ﻗﺩ ﺘﻜﻥ ﺒﻪ )ﻭﻋﻠﻴﻪ( ﺤﺎﻝ ﹸﺔ ﺍﻹﺤﺘﻔﺎ ِﺀ ﺘﻠ ‪‬‬ ‫ﻥ ﻨﻘﺭُﺃ ﻋﻨ ‪‬ﻪ ﻓﻲ ﺘﻠﻙ ﺍﻝﻔﻘﺭﺍﺕ ﺍﻝﺨﺘﺎﻤﻴﺔ‬ ‫ﻲ[" )ﺩﺭﻴﺩﺍ ‪ (427 :1967‬ﺍﻝﺫﻱ ﻨﺤ ‪‬‬ ‫ﺏ ﺍﻝﻌﺎﻝ ِﻡ ]ﺍﻝﻜﻴﻨﻭﻨ ‪‬‬ ‫ﺞ ﻝﻠﻌ ِ‬ ‫ﻱ ﺍﻝﺒﻬﻴ ِ‬ ‫ﺍﻝﻨﻴﺘﺸﻭ ‪‬‬ ‫ﺏ ﻓِﻜﺭﺍ‪.‬‬ ‫ﺍﻝﺸﻬﻴﺭﺓ ﻤﻥ ﻤﺅﻝ���ﻑ ﺩﺭﻴﺩﺍ ﺍﻝﻤﻭﺴﻭﻡ ﺒـ"ﺍﻝﺒﻨﻴﺔ‪ ،‬ﺍﻝﻌﻼﻤﺔ ﻭﺍﻝﻠﻌﺏ" ﺸﻴﺌﹰﺎ ﻴﺘﻁﹼﻠ ‪‬‬ ‫ﻥ ﺍﻝﻨﺤﻭ ﺍﻝﺫﻱ ﻴﻌﺎﻝﺞ ﺒﻪ ﺍﺒﻥ ﻋﺭﺒﻲ ﺸﺄﻥ ﺍﻝﺼﻭﺭﺓ ﺍﻝﻭﺍﺤﺩﺓ ﻭﺍﻝﺴﺒﻌﻴﻥ ﻤﻥ ﺍﻝﻘﺭﺁﻥ )ﺴﻭﺭﺓ ﻨﻭﺡ( ﻴﻤﺜل ﺃﻨﻤﻭﺫﺠﹰﺎ‬ ‫ﺇ‪‬‬ ‫ﺠﻴﺩﹰﺍ ﻝﻜﻴﻑ ﻴﺤﻴ‪‬ﺭ ﺍﻝﺸﻴﺦ ﻗﺎﺭﺌﻴﻪ ﻭﻴﺒﻬﺘﻬﻡ ﺇﺫ ﻫﻭ ﻴﻘﺩﻡ ﺘﻔﺎﺴﻴﺭ ﻝﻤﻘﺎﻁﻊ ﻤﻌﺭﻭﻓﺔ ﻤﻥ ﺍﻝﻘﺭﺁﻥ ﺘﻜﺎﺩ ﺘﻘﻑ ﻋﻨـﺩ ﺤـ ‪‬ﺩ‬ ‫ﻥ ﺍﻝﺘﺄﻭﻴﻼﺕ ﺍﻝﻤﻨﻁﻭﻱ ﻋﻠﻴﻬﺎ ﻜﺘﺎﺏ "ﺍﻝﻔﺼﻭﺹ" ﺘـﺸﻜل‪،‬‬ ‫ﺍﻝﻨﻘﻴﺽ ﺍﻝﺘﺎﻡ ﻝﺫﺍﺕ ﻤﺎ ﻴﺒﺩﻭ ﺃﻥ ﺘﻠﻙ ﺍﻝﻤﻘﺎﻁﻊ ﺘﻌﻨﻴﻪ‪ .‬ﺇ ‪‬‬ ‫ﺒﺤ ‪‬ﺩ ﺫﺍﺘﻬﺎ‪ ،‬ﺩﺭﺴﹰﺎ ﻓﻲ ﺍﻝﺘﻠﺒﻴﺱ ﻭﺍﻝﺘﹼﺒﻬﻴﻡ‪ ،‬ﻓﻬﻲ ﻤﺸﺘﻤﻠﺔ ﻋﻠﻰ ﺨﻭﻨﺔ ﻭﻁﻐﺎﺓ ﻴﺘﻡ ﺍﻝﺘﻌﺎﻤل ﻤﻌﻬﻡ ﺒﺘﻌﺎﻁﻑ ﻓﻴﻤﺎ ﻴ‪‬ﻅﻬ ‪‬ﺭ‬ ‫ﺡ ﻭﻴ‪‬ﻅﻬ ‪‬ﺭ‬ ‫ﺕ ﻤﺩ ٍ‬ ‫ﺕ ﺍﻹﺩﺍﻨ ِﺔ ﻋﻠﻰ ﺃﻨﻬﺎ ﺁﻴﺎ ﹸ‬ ‫ل ﺁﻴﺎ ﹸ‬ ‫ل ﻓﻴﻬﺎ ﻋﻠﻰ ﺃﻨﻬﻡ ﺠﺎﻫﻠﻴﻥ ﺃﻭ ﻤﻀﱠﻠﻠِﻴﻥ‪ ،‬ﻜﻤﺎ ﻭﻓﻴﻬﺎ ﻴ‪‬ﻌﺎ ‪‬ﺩ ﺘﺄﻭﻴ ُ‬ ‫ﺍﻻﺒﻁﺎ ُ‬ ‫ﻥ "ﺤﻘﻴﻘﺔ ﺍﷲ‬ ‫ﻕ ﻓﺈﻥ ﻗﻨﺎﻋﺔ ﺍﺒﻥ ﻋﺭﺒﻲ ﺒﺄ ‪‬‬ ‫ل ﻻﺤ ٍ‬ ‫ﻥ ﻋﻠﻰ ﺃﻨﹼﻬﻡ ﻤﺴﺘﻨﻴﺭﻭﻥ‪ .‬ﻭﻜﻤﺎ ﺴﻨﺭﻯ ﻓﻲ ﻓﺼ ٍ‬ ‫ﻓﻴﻬﺎ ﻋﺒﺩ ﹸﺓ ﺍﻷﻭﺜﺎ ِ‬ ‫ﺱ ﻜﺎﻤﻨـﺔﹲ‪،‬‬ ‫ﷲ ﺍﻝﻤﻘ ‪‬ﺩ ِ‬ ‫ﺹﺍ ِ‬ ‫ﻥ ﻤﻘﺎﺼ ‪‬ﺩ ﻨ ‪‬‬ ‫ﻥ ﺸﺭﻭﺤ ِﻪ ﻝﻠﻘﺭﺁﻥ‪ ،‬ﻭﺫﻝﻜﻡ ﻷ ‪‬‬ ‫ل ﺍﻷﺸﻴﺎﺀ" ﺘﹸﺘﺭﺠﻡ‪ ،‬ﺒﺘﻤﺎﻡٍ‪ ،‬ﻓﻲ ﻋﻴ ِ‬ ‫ﻜﺎﺌﻨﺔﹲ ﻓﻲ ﻜ ّ‬ ‫ﻙ ﺘﻨﺎﻗـﻀﹰﺎ ﺃﻭ ﻨﺯﻭﻋـﹰﺎ ﻨﺤـﻭ‬ ‫ل ﺍﻝﻘﺭﺍﺀﺍﺕ ﺍﻝﻤﻤﻜﻨﺔ ﻝﻪ‪ ،‬ﺒﻤﺎ ﻓﻲ ﺫﻝﻙ ﺃﻜﺜ ‪‬ﺭ ﻫﺎﺘﻴـ ‪‬‬ ‫ﻑ ﺍﺒﻥ ﻋﺭﺒﻲ‪ ،‬ﻓﻲ ﻜ ّ‬ ‫ﻓﻲ ﺸﻭ ِ‬ ‫‪18‬‬ ‫‪Société Soudanaise des Etudes et Recherches en Arts, Lettres et Sciences Humaines‬‬ ‫‪Sudanese Society for Research in Arts and Humanities‬‬ ‫ا  
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