‫ﻲ ﻤﺤﻴﻲ ﺍﻝﺩﻴﻥ ﺍﺒﻥ ﻋﺭﺒﻲ )ﺍﻝـﺫﻱ‬ ‫ﻲ‪-‬ﺍﻹﺴﺒﺎﻨ ‪‬‬ ‫ﻥ ﺍﻝﺜﹼﺎﻝﺙ ﻋﺸﺭ‪ ‬ﺍﻝﻌﺭﺒ ‪‬‬ ‫ﻙ ﺍﻝﺫﻴﻥ ﻝﻴﺴﻭﺍ ﻋﻠﻰ ﺇﻝﻔ ٍﺔ ﻤﻊ ﻤ‪‬ﻔ ﹼﻜ ِﺭ ﺍﻝﻘﺭ ِ‬ ‫ﻷﻭﻝﺌ ‪‬‬ ‫ﻥ ﻋﻤﻠـﻪ‬ ‫ل ﻫﻴﺌ ﹰﺔ ﻤﺤﻭﺭ ‪‬ﻴ ﹰﺔ ﻓﻲ ﺘﺎﺭﻴﺦ ﺍﻝﻔﻜﺭ ﺍﻹﺴـﻼﻤﻲ‪ .‬ﻭﺭ‪‬ﻏـ ‪‬ﻡ ﺃ ‪‬‬ ‫ل ﺇ ﹼﻨ ‪‬ﻪ ﻴ‪‬ﻤ ﹼﺜ ُ‬ ‫ﺦ ﺍﻷﻜﺒﺭ"( ﻨﻘﻭ ُ‬ ‫ﺸ ِﻬ ‪‬ﺭ ﺒﺎﺴ ِﻡ "ﺍﻝﺸﹼﻴ ِ‬ ‫ﹸ‬ ‫ﻲ ﺍﻝﻤ‪‬ﺤﺩﺙ ﻭﺍﻝﺭﻭﺤﺎﻨﻴ‪‬ﺔ ﺍﻹﺴﻼﻤﻴ‪‬ﺔ‬ ‫ﺍﻝﻔﻠﺴﻔﻲ‪ ،‬ﺍﻝﺫﻱ ﻫﻭ ﺘﻘﻁﻴﺭ‪ ‬ﻤ‪‬ﺭ ﹼﻜﺏ‪ ‬ﻭﻤ‪‬ﻨﻤﺎﺯ ﺍﻝﻔﺭﺍﺩﺓ )ﺍﻷﺼﺎﻝﺔ( ﻝﻠﻔﻜﺭ ﺍﻹﻓﻼﻁﻭﻨ ‪‬‬ ‫ﻥ ﻜﺘﺎﺒ ‪‬ﻪ ﺍﻝﻀ‪‬ﺨﻡ ﺍﻝﻔﺘﻭﺤﺎﺕ ﺍﻝﻤ ﹼﻜﻴ‪‬ﺔ ﻭﻤﺅﻝﹼﻔـ ‪‬ﻪ‬ ‫ﻻﺃ‪‬‬ ‫ﻥﺇﹼ‬ ‫ﻑ ﻤﻥ ﺍﻝﻌﻨﺎﻭﻴ ِ‬ ‫ﺊ ﻤﻥ ﻤﺎ ﻴﺭﺒﻭ ﻋﻠﻰ ﻋ ‪‬ﺩ ِﺓ ﺁﻻ ٍ‬ ‫ﺸَ‬ ‫ﺍﻝﺒﺎﻜﺭﺓ‪ ،‬ﻗﺩ ُﺃﻨﹾ ِ‬ ‫ل ﻓﻲ ﻤﻌﺭﻓﺔ ﺍﻝﺨﻭﺍﺹ )ﺍﻝﻤ‪‬ﺼﻁﻔﻴﻥ‪ ،(‬ﻓﺼﻭﺹ ﺍﻝﺤﻜﻡ ﻫﻤﺎ ﺍﻝ ﹼﻨﺼ‪‬ﺎﻥ ﺍﻝﻠﹼﺫﺍﻥ ﺍﺸﺘﹸﺸ ِﻬ ‪‬ﺩ‬ ‫ﺍﻷﻗﺼﺭ ﻜﺜﻴﺭﺍﹰ‪ ،‬ﺒﻴﺩ ﺃﻨﹼﻪ ﺃﻭﻏ َ‬ ‫ﻅ ‪‬ﺭ ﺇﻝﻴ ِﻪ ﻓﻲ ﻋﻠـﻰ ﺃﻨﹼـﻪ‬ ‫ﺏ ﻤﺩﻯ ﺘﺄﺜﺭ ﺍﺒﻥ ﻋﺭﺒﻲ‪ ،‬ﺍﻝﺫﻱ ﻜﺜﻴﺭﹰﺍ ﻤﺎ ﹸﻨ ِ‬ ‫ﺒﻬﻤﺎ ﻭﺘﹸﺭﺠﻤﺎ ﺃﻜﺜ ‪‬ﺭ ﻤﻥ ﺨِﻼ ِﻓ ِﻬﻤ‪‬ﺎ‪ .‬ﻭﻴ‪‬ﺤﺴ ‪‬‬ ‫ﻙ ﺍﻝـﺫﻱ‬ ‫ﻲ ﻓﻲ ﺍﻝﻘﺭﻭﻥ ﺍﻝﺘﻲ ﺘﻠﺕ ﻭﻓﺎﺘﻪ ﻤ‪‬ﻘﺎﺭ ‪‬ﺒﺎﹰ‪ ،‬ﻓﻲ ﺍﻝﺤﻕﱢ‪ ،‬ﻝﺫﺍ ‪‬‬ ‫ﻤﺎﺴﺘﺭ ﺇﻴﻜﻬﺎﺭﺕ ﺇﺴﻼﻤﻲ‪ ،‬ﻋﻠﻰ ﺍﻝﻌﺎﻝ ِﻡ ﺍﻹﺴﻼﻤ ‪‬‬ ‫ل ﺁﺴﻥ ﺒﻼﺴﻴﻭﺱ ﻗﺩ ﻤﺩ‪‬ﻭﺍ ﺃﺜـ ‪‬ﺭ‬ ‫ﻥ ﻤﻔﻜﹼﺭﻴﻥ ﺃﻭﺭﺒﻴ‪‬ﻴﻥ ﻤﻥ ﺃﻤﺜﺎ ِ‬ ‫ﺍﻨﻤﺎﺯ ﺒﻪ ﺘﻭﻤﺎﺱ ﺃﻜﻭﺍﻴﻨﺎﺱ )ﺘﻭﻤﺎ ﻻﻜﻭﻴﻨﻲ(‪ ،‬ﺒل ﺃ ‪‬‬ ‫ﻲ ﺃﻭﺭﻫﺎﻥ ﻴـﺎﻤﻭﻙ‬ ‫ﻲ ﺍﻝﺘﹼﺭﻜ ‪‬‬ ‫ﻱ ﺒﻌﻴﺩﹰﺍ ﺤﺘﹼﻰ ﺒﻠﻐﻭﺍ ﺒﻪ ﺩﺍﻨﺘﻲ‪ .‬ﻭﺘﻠ ﹸﻜ ‪‬ﻡ ﻓﻜﺭﺓﹲ ﺘﻬ ﹼﻜ ‪‬ﻡ ﻤﻨﻬﺎ‪ ،‬ﺃﻭ ﺒﻬﺎ‪ ،‬ﺍﻝﺭ‪‬ﻭﺍﺌ ‪‬‬ ‫ﺦ ﺍﻝﻔِﻜﺭ ‪‬‬ ‫ﺍﻝﺸﹼﻴ ِ‬ ‫ل‬ ‫ﻥ ﺘﺤﻔﹼﻅﺎﺕ ﺍﺒﻥ ﻋﺭﺒﻲ‪ ،‬ﻤ‪‬ﺜﹸﻠﻬ‪‬ﺎ ﻓﻲ ﺫﻝﻙ ‪‬ﻤﺜﹶـ ُ‬ ‫ل ﻗﺎﺌﻤ ﹰﺔ ﺤﻘﻴﻘ ﹸﺔ ﺃ ‪‬‬ ‫ﻓﻲ ﺭﻭﺍﻴﺘﻪ ﺍﻝﻤﻭﺴﻭﻤﺔ ﺍﻝﻜﺘﺎﺏ ﺍﻷﺴﻭﺩ‪ .‬ﻝﻜﻥ‪ ‬ﺘﻅ ﱡ‬ ‫ﺙ ﻋـﻥ‬ ‫ﺞ ﺫﻴﻨﻜﹸﻤﺎ ﻓﻲ ﺃﻤ ِﺭ ﺍﻝﺤﺩﻴ ِ‬ ‫ﻲ( ﺁﻨﻤﺎ ‪‬ﻴﻭﻝ ‪‬‬ ‫ﻲ )ﺍﻝﺫﹼﻫﻨ��ﻨ ‪‬‬ ‫ل ﻭﺍﻝﺘﹼﻔﻜﻴ ِﺭ ﺍﻝﻌﻘﻼﻨ ‪‬‬ ‫ﻥ ﺍﻝﻌﻘ ِ‬ ‫ﺘﺤﻔﹼﻅﺎﺕ ﻤﺎﺴﺘﺭ ﺇﻴﻜﻬﺎﺭﺕﹾ‪ ،‬ﺒﺸﺄ ِ‬ ‫ﻱ ﻗﹸـﺭ‪‬ﺍ ِﺀ ﺍﻝﻨﹼﻅﺭﻴ‪‬ـﺔ‬ ‫ﺕ ﺘﺒﺩﻭ‪ ،‬ﻭﻴﺎ ﻝﻠﺩ‪‬ﻫﺸﺔ!‪ ،‬ﻤﺄﻝﻭﻓ ﹰﺔ ﻝﺩ ‪‬‬ ‫ﺽ ﺘﻀﻤﻴﻨﺎ ٍ‬ ‫ل ﻤﻌﻬﺎ ﺒﻌ ‪‬‬ ‫ﻙ ﺍﻝﹼﺫﻱ ’ﻴﻨ ‪‬ﺩ ﻋﻥ ﺍﻝﺤﺩﻴﺙ‘ ﺘﺤﻤ ُ‬ ‫ﺫﺍ ‪‬‬ ‫ﺍﻝﻤﻌﺎﺼﺭﺓﹾ‪.‬‬ ‫ﻱ ﻤﻥ ﺍﺒﻥ ﻋﺭﺒﻲ ﻭﺠﺎﻙ ﺩﺭﻴﺩﺍ ﻋﻠﻰ ﻫﻴﺌﺔ ﺍﻝﺨﺎﺌﻑ ﻤﻥ ﺍﻝﺤﻴﺭﺓ ﺃﻭ‪ ،‬ﻋﻠﻰ ﺍﻷﺩﻕﱢ‪ ،‬ﺍﻝﺘﹼﺤﻴ‪‬ﺭ‪ .‬ﻓﻠﺌﻥ ﻴﻜـﻥ‬ ‫ﻻ ﻴﺒﺩﻭ ﺃ ‪‬‬ ‫ﺙ )ﺩﺭﻴـﺩﺍ‬ ‫ﺹ ﺍﻝﻤﻨﺒـ ﱢ‬ ‫ﺍﻝﺸﺄﻥ ﻫﻨﺎ ﻫﻭ ﺸﺄﻥ ﺘﻠﻙ "ﺍﻵﻓﺎﻕ ﺍﻝﺴ‪‬ﻴﻤﻭﻁﻴﻘﻴ‪‬ﺔ ﺍﻝﻤﺘﻔﺠ‪‬ﺭﺓ"‪ ،‬ﻋﻠﻰ ﻨﺤ ٍﻭ ﺩﻴﻤﻭﻤﻲ‪ ،‬ﻤﻥ ﺍﻝـ ﹼﻨ ‪‬‬ ‫‪ ،(1987،45a‬ﺃﻭ ﻫﻭ ﺸﺄﻥ ﺍﻝﻬﺩﻯ ﺍﻝﺫﻱ ﻴﻌﻨﻲ ﺤﺎل ﺍﻝﻤﺭﺀ ﺇﺫ "ﻴ‪‬ﻬﺩﻯ ﺇﻝﻰ ﺍﻝﺤﻴـﺭﺓ" )ﻋﻔﻴﻔـﻲ‪200 :‬؛ ﺃﻭﺴـﺘﻥ‬ ‫ﻼ ﻤﺘﹼﺴﻕ" )ﺩﺭﻴﺩﺍ ‪224 :1987‬؛ ﺃﻨﻅﺭ ﺒﺎﺱ‪ ،(151 :‬ﺃﻭ ﻫﻭ ﺸـﺄﻥ‬ ‫‪ ،(254 :1980‬ﺃﻭ ﺸﺄﻥ "ﻗﺒﻭل ﺍﻻﺘﺴﺎﻕ ﺍﻝ ﹼ‬ ‫ﻲ‬ ‫ﻥ ﻝﺘﻘﻠﻴ ٍﺩ ﻓﻠـﺴﻔ ‪‬‬ ‫ل ﺩﺭﻴﺩﺍ ﻭﺍﺒﻥ ﻋﺭﺒﻲ‪ ،‬ﻤﻌﺎﹰ‪ ،‬ﻤ‪‬ﻔﺎﺭ ﹶﻗﻴ‪ ‬‬ ‫ل ﻤﻜﺎﻥ ﻭﻓﻲ ﻻ ﻤﻜﺎﻥ ﻴﻅ ّ‬ ‫ﺫﺍﻙ ﺍﻹﻝﻪ ﺍﻝﺫﻱ ﻫﻭ‪ ،‬ﻤﻌﺎﹰ‪ ،‬ﻓﻲ ﻜ ّ‬ ‫ﺱ ﺸﻴﺌﹰﺎ ﻤﺭﺍﺩﻓﹰﺎ ﻝﻠﺨﻁﺄ‪ ،‬ﺍﻝﻔﺸل‪ ،‬ﺍﻝﻼﺤﻘﻴﻘﺔ ﻭﺍﻝﺨﻁﻴﺌﺔ‪.‬‬ ‫ﻲ ﻴﺭﻯ ﺍﻹﻝﺘﺒﺎ ‪‬‬ ‫ﻭﻗﺭﺁ ِﻨ ‪‬‬ ‫ﻱ ﺍﻹﻝﺘﺒﺎﺱ‪ ،‬ﻓﻲ ﺍﻝﻐﺭﺏ‪ ،‬ﻋﻠﻰ ﻨﺤ ٍﻭ ﺩﺠﺎﺌ ٍﻡ ﺘﻘﺭﻴﺒﺎﹰ‪ ،‬ﻋﻠﻰ ﺃﻨﹼﻪ "ﻤﺸﻜﻠﺔ" ﺍﻝﻔﻠﺴﻔﺔ‪ ...‬ﻭﻴ‪‬ﻠﺨﹼﺹ ﻭﺘﻘﻴﻨﺸﺘﺎ ِﻴﻥ‪ ‬ﺘﻠـﻙ‬ ‫‪‬ﺭ ِﺅ ‪‬‬ ‫ﺏ‬ ‫ﻑ ﻓﻲ ﺍﻨﻔﻼ ِﺘﻪِ‪ ،‬ﺼﺎﺭﺨﺎﹰ ﺒﻘﹼﻠ ِﺔ ﺤﻴﻠﺔٍ‪ ،‬ﺤﺘﹼﻰ ﻴـﺄﺘﻲ ﺇﻝـﻰ ﻗﻠـ ِ‬ ‫ل ﻭﺠ ٍﻪ ﺇﺫ ﻴﻘﻭل‪" :‬ﻴﻌﻤ ‪‬ﻪ ﺍﻝﻔﻴﻠﺴﻭ ﹸ‬ ‫ﺍﻝﻔﻜﺭﺓ ﻋﻠﻰ ﺃﻓﻀ ِ‬ ‫ﺴ ِﻪ" )ﻜﻴﻨﻲ‪ .(271 :‬ﻭﻝﺌﻥ ﻴﻜﻥ ﺍﻷﻤﺭﺙ ﻫﻭ ﺃﻤ ‪‬ﺭ ﺭﻏﺒ ِﺔ ﺍﺴﺒﻴﻨﻭﺯﺍ ﻓﻲ ﺃﻥ ﻴﻔﻬﻡ ﻁﺒﻴﻌﺔ ﺍﻷﻓﻌﺎل ﺍﻹﻨﺴﺎﻨﻴ‪‬ﺔ‪ ،‬ﺃﻭ‬ ‫ﺍﻝﺘﺒﺎ ِ‬ ‫ﺸﻙ‪ ،‬ﺩﻭﻤﺎﹰ‪ ،‬ﻫﻭ‬ ‫ﻑ ﻭﺍﻝ ﹼ‬ ‫ﻕ ﺍﺭﺘﻴﺎﺒ ِﻪ ﺍﻝﺨﺎﺹ ﻴﺒﻘﻰ ﺨﻭﻑﹲ ﻤﻥ ﺍﻹﺨﺘﻼ ِ‬ ‫ﺃﻤﺭ ﻤﺸﺭﻭﻉ ﺩﻴﻜﺎﺭﺕ ﺍﻵﻤل ﻓﻲ ﺍﻝ ﹶﻐﹶﻠ ‪‬ﺒ ِﺔ ﻋﻠﻰ ﻗﻠ ِ‬ ‫ﺕ ﺍﻝﻤﻌﻨﻰ ﺍﻝـﺴﺎﻝﺏ ﻓﹸﻬﻤـﺕﹾ ﻜﻠﻤـﺔ "ﺍﻹﻝﺘﺒـﺎﺱ"‬ ‫ﺍﻝﻘﻭ‪‬ﺓ ﺍﻝﺩﺍﻓﻌﺔ ﺍﻝﻘﺎﺌﻤﺔ ﺨﻠﻑ ﻤﻌﻅﻡ ﺍﻝﻤﺸﺎﺭﻴﻊ ﺍﻝﻔﻠﺴﻔﻴ‪‬ﺔ‪ ...‬ﺒﺫﺍ ِ‬ ‫‪3‬‬ ‫‪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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