‫ل ﺫﻝﻙ ﻴﺅﺩ‪‬ﻯ ﺇﻝﻰ ﻫﺫﺍ ﺍﻝﺴﺅﺍل‪ -:‬ﻤﺎ ﺍﻝﺫﻱ ﻴﻘﻭﻝﻪ ﺩﺭﻴﺩﺍ‪ ،‬ﺒﺎﻝﻀ‪‬ﺒﻁ‪ ،‬ﻓﻲ ﻤﻘﺎﻝﻪ ﻋﻥ ﺒﺎﺒل‪ ،‬ﻋﻥ ﺍﻹﺨﺘﻼﻁ؟ ﻫل‬ ‫ﻜﱡ‬ ‫ﻥ "ﺍﻹﺨﺘﻼﻁ" ﺸﻲﺀ‪ ‬ﻤﺭﻏﻭﺏ؟ ﻫل ﻫﻭ ﻗﺎﺌلٌ‪ ،‬ﻫﻨﺎﻙ‪ ،‬ﺇﻨﹼﻪ ﻏﻴﺭ ﻤﺭﻏﻭﺏ؟ ﻫل ﻫﻭ ﻗﺎﺌلٌ‪،‬‬ ‫ﻫﻭ ﻗﺎﺌلٌ‪ ،‬ﻫﻨﺎﻙ‪ ،‬ﺇ ‪‬‬ ‫ﻥ "ﺍﻹﺨﺘﻼﻁ" ﻤﺎ ﻫﻭ ﺇﻻ‬ ‫ﺙ ﻤﻴﻼ ِﺩ ﺸﻲ ٍﺀ ﺠﺩﻴ ٍﺩ ﻭﺇﻴﺠﺎﺒﻲ‪ ،‬ﺃﻡ ﻫﻭ ﻓﻘﻁ ﻗﺎﺌلٌ‪ ،‬ﻫﻨﺎﻙ‪ ،‬ﺇ ‪‬‬ ‫ﻁ" ﻫﻭ ﻤﺒﻌ ﹸ‬ ‫ﻥ "ﺍﻹﺨﺘﻼ ﹶ‬ ‫ﻫﻨﺎﻙ‪ ،‬ﺇ ‪‬‬ ‫ﻉ ﻨﹸﻠﺯ ‪‬ﻡ ﺃﻨﻔﺴ‪‬ﻨﺎ ﺒﻪِ؟‬ ‫ل ﻤﺸﺭﻭ ٍ‬ ‫ﻗﺩﺭ‪ ‬ﻤﺤﺘﻭﻡ‪ ‬ﻓﺎﺘﻙ‪ ،‬ﻓﻲ ﺍﻝﻨﹼﻬﺎﻴﺔِ‪ ،‬ﺒﻜ ّ‬ ‫ل‪ ،‬ﺨﺼﻭﺼﺎﹰ‪ ،‬ﺒﺄﻭﻝﺌﻙ ﺍﻝﺫﻴﻥ ﻴﺭﻴﺩﻭﻥ‬ ‫ل ﺸﻲﺀٍ‪ ،‬ﻭﻜﺄﻨﹼﻪ ﻋﻘﻭﺒﺔﹲ ﺘﹸﻨﺯ ُ‬ ‫ﻻ ﻭﻗﺒل ﻜ ّ‬ ‫ﻴﺒﺩﻭ ﺍﻹﺨﺘﻼﻁ )ﺍﻹﻝﺘﺒﺎﺱ(‪ ،‬ﺃ ‪‬ﻭ ﹰ‬ ‫ﻥ ﺒﺠ‪‬ﺭ ِﻡ ﻫﺫﻩ ﺍﻝﺨﻁﻴﺌﺔ ﺍﻷﺴﺎﺴﻴ‪‬ﺔ‪-:‬‬ ‫ﻥ ﺍﻝﺴ‪‬ﺎﻤﻴ‪‬ﻴﻥ‪ -‬ﺒﺤﺴﺏ ﺩﺭﻴﺩﺍ‪ -‬ﻝﻤ‪‬ﺩﺍﻨﻭ ‪‬‬ ‫ﺍﻝﺨﻼﺹ ﻤﻥ ﺍﺨﺘﻼﻁﻬﻡ ﺍﻝﺨﺎﺹ‪ .‬ﺇ ‪‬‬ ‫ﻉ‬ ‫ﺠﻤ‪‬ﺎ ِ‬ ‫"ﺘﻌﺎﻝﻭﺍ‪ ،‬ﺩﻋﻨﺎ ﻨﺒﻨﻲ ﻷﻨﻔﺴﻨﺎ ﻤﺩﻴﻨ ﹰﺔ ﻭﺒ‪‬ﺭﺠﺎ‪ /...‬ﺩﻋﻨﺎ ﻨﹸﺨﹼﻠ ‪‬ﺩ ﻷﻨﻔﺴﻨﺎ ﺫﻜﺭﺍ‪ /‬ﺫﻝﻜﻡ ﺤﺘﹼﻰ ﻻ ﻨﺘﻨﺎﺜ ‪‬ﺭ ﺸﺘﺎﺘﹰﺎ ﻋﻠﻰ ِ‬ ‫ﻕ ﻭﺍﻝﺘﹼﻭ ﹼﻜ ِﺩ ﻭﺇﻨﹼﻤﺎ ﻋﻠﻰ ﺃﻨﹼﻪ‬ ‫ﻥ ﺇﻝﻰ ﺍﻝﻌﺎﻝ ِﻡ ﻝﻴﺱ ﻋﻠﻰ ﺃﻨﻪ ﻤﻜﺎﻥ‪ ‬ﻝﻠﺘﹼﺤ ﹼﻘ ِ‬ ‫ﺃﻗﻁﺎ ِﺭ ﺍﻷﺭﺽ" )ﻜﺎﻤﻭﻑ‪ .(248 :‬ﻨﺎﻅﺭﻴ ‪‬‬ ‫ﻥ ﻫﺫﺍ ﺍﻝﻼ‬ ‫ﻥ ﺒﺘﺠﻭﺍﻝﻬﻡ ﻓﻲ ﺍﻵﻓﺎﻕِ‪ ،‬ﺒﻭﻀﻌﻴ‪‬ﺘﻬﻡ ﺍﻝﻼ ﻤﺴﻤ‪‬ﺎﺓ‪ -‬ﺇﻨﹼﻪ ﹶﻝ ‪‬ﻌﻴ‪ ‬‬ ‫ﻤﻜﺎﻥ‪ ‬ﻝﻠﺘﺴﻴﻁﹸﺭ ﻝﻡ ﻴﻜﻥ ﺍﻝﺴﺎﻤﻴ‪‬ﻭﻥ ﺴﻌﻴﺩﻴ ‪‬‬ ‫ﻥ ﺍﻝﺘﹼﺸﺭ‪‬ﺩ‬ ‫ﺕ ﻫﻨﺎ‪" -:‬ﺇ ‪‬‬ ‫ﺽ ﺍﻝﺒﺎﻫ ِ‬ ‫ﺭﻀﺎ ﻋﻠﻰ ﻭﻀﻌﻴ‪‬ﺘﻬﻡ ﻜﺒﺩ ٍﻭ ﻫﻭ ﺍﻝﺫﻱ ﺍﺴﺘﻭﻓ ‪‬ﺯ ﻋﻘﻭﺒﺘﻬﻡ‪ .‬ﺜﻤ ﹸﺔ ﺸﻲ ٍﺀ ﻤﻥ ﺍﻝﺘﹼﻨﺎﻗ ِ‬ ‫ﺏ ﺤﻴﺭ ﹶﺘ ‪‬ﻪ‬ ‫ﻥ ﺇﻻ ﻋﻠﻰ ﺃﻭﻝﺌﻙ ﺍﻝﺫﻴﻥ ﻻ ﻴﺭﻏﺒﺎﻨﻬﻤﺎ"‪ .‬ﺫﻝﻜﻡ ﻜﺄﻨﹼﻤﺎ ﺘﻌﹼﻠ ‪‬ﻡ ﺍﻝﻤﺭ ِﺀ ﺃﻥ ﻴ‪‬ﺤ ‪‬‬ ‫ﻲ ﻭﺍﻹﺨﺘﻼﻁ ﻻ ﻴ‪‬ﻭﻗﻌﺎ ‪‬‬ ‫ﺍﻝﺤﻘﻴﻘ ‪‬‬ ‫ل ﺍﻝﻭﺤﻴ ‪‬ﺩ ﺇﻝﻰ ﺘﺤﺭ‪‬ﺭﻩ ﻤﻨﻬﺎ‪.‬‬ ‫ﻫﻭ ﺩﻭﻤﹰﺎ ﺍﻝﺴ‪‬ﺒﻴ ُ‬ ‫ل‬ ‫ﻥ ﺠﺯﺀ‪ ‬ﻤﻥ ﺨﻁﻴﺌ ِﺔ ﺍﻝﺴﺎﻤﻴ‪‬ﻴﻥ‪ ،‬ﻜﻤﺎ ﻗﺩ ﻴﺒﺩﻭ‪ ،‬ﻓﻲ ﺭﻓﻀﻬﻡ ﻝﻴﺱ ﻓﻘﻁ ﻷﻥ ﻴﺘﻴﻬﻭﺍ ﻓﻲ ﺍﻵﻓﺎﻕ ﺒل‪ ،‬���ﺫﻝﻙ‪ ،‬ﻝﻘﺒﻭ ِ‬ ‫ﻴﻜﻤ ‪‬‬ ‫ﻥ‬ ‫ﻲ ﺍﻝﻭﺤﻴﺩ ﻫﻭ ﺍﺴﻡ "ﻴﻬﻭﻩ"‪ .‬ﻭﻝﺨﺸﻴ ِﺔ ﺍﻝﺴﺎﻤﻴ‪‬ﻴﻥ ﻤﻥ ﺤﻘﻴﻘـ ِﺔ ﺃ ‪‬‬ ‫ﻥ ﺍﻹﺴ ‪‬ﻡ "ﺍﻝ ‪‬ﻌﻠﹶﻡ" ﺍﻝﺤﻘﻴﻘ ‪‬‬ ‫ﺘﺭﻜﻴﺒﻴ‪‬ﺔ )ﺘﻌﺩ‪‬ﺩﻴ‪‬ﺔ( ﺍﻝﻠﻐﺔ‪ .‬ﺇ ‪‬‬ ‫ﺱ ﻤﺨﺘﻠﻔﻴﻥ ﺘﺎﻗﻭﺍ ﺇﻝﻰ ﺠﻼ ٍﺀ ﻜﺫﺍﻙ ﺍﻝﺠ‪‬ﻼﺀ )ﺃﻱ ﺠﻼﺀ ﺍﻹﺴﻡ "ﺍﻝ ‪‬ﻌﻠﹼﻡ" ﻴﻬـﻭ‪‬ﻩ(‪.‬‬ ‫ﻥ ﻤﺨﺘﻠﻔ ٍﺔ ﻷﻨﺎ ٍ‬ ‫ﺍﺴﻤﻬﻡ ﻗﺩ ﻴﺘﹼﺨﺫ ﻤﻌﺎ ٍ‬ ‫ﺙ ﺒﻜﻠﻤ ٍﺔ ﻝﻬـﺎ‬ ‫ﺕ ﺭﻴﺘﺸﺎﺭﺩ ﺭﻭﺭﺘﻲ( "ﻤﺤﺎﻭﻝ ﹰﺔ ﻝﺘﺠﻨﹼﺏ ﺍﻝﻌﻼﺌﻘ ‪‬ﻴﺔﹾ‪ ،...‬ﻝﻠﺘﺤ ‪‬ﺩ ِ‬ ‫ﺒﻬﺫﺍ ﺍﻝﻤﻌﻨﻰ ﻴﻜﻥ ﺒﺭﺝ ﺒﺎﺒل )ﻓﻲ ﻜﻠﻤﺎ ِ‬ ‫ﻥ ﺨﻁﻴﺌ ﹶﺔ ﺍﻝﺴ‪‬ﺎﻤﻴ‪‬ﻴﻥ ﻫـﻲ‬ ‫ﻤﻌﻨﻰ‪ ،‬ﺤﺘﹼﻰ ﻭﺇﻥ ﻝﻡ ﻴﻜﻥ ﻝﻬﺎ ﻤﻜﺎﻥ‪ ‬ﻓﻲ ﻤﻤﺎﺭﺴ ٍﺔ ﺇﺠﺘﻤﺎﻋ ‪‬ﻴ ٍﺔ ﻤﺎ" ) ِﻗﻴ‪‬ﻭﻗﹾﻨﹶﻭﻥ‪ .(353 :‬ﺇ ‪‬‬ ‫ﺕ ﺃﻭ ﻤ‪‬ﻨﺯﺍﺤـﹰﺎ‬ ‫ﻥ ﺍﻹﺴﺘﻌﺎﺩ ِﺓ ﻭﻝﻴﺱ ﻭﺍﻗﻌﹰﺎ ﺘﺤﺕ ﺭﺤﻤ ِﺔ ﺍﻝﺴ‪‬ﻴﺎﻗﺎ ِ‬ ‫ﺘﻭﻗﻬﻡ ﺇﻝﻰ ﺍﻝﻤﻌﻨﻰ ﻓﻲ ﺤ ‪‬ﺩ ﺫﺍ ِﺘﻪِ‪ ،‬ﺼﻔ ‪‬ﻴﺎﹰ‪ ،‬ﺠﻠ ‪‬ﻴﺎﹰ‪ ،‬ﻤ‪‬ﻤﻜ ‪‬‬ ‫ل‬ ‫ﻕ ﻫﺫﺍ‪ ،‬ﻓﻘﻨﺎﻋ ﹸﺔ ﺩﺭﻴﺩﺍ ﺒـ"ﺍﺴﺘﺤﺎﻝ ِﺔ ﺨﺘ ِﻡ" ﺇﻨﺸﺎ ِﺀ ﺃﻤﺜﺎ ِ‬ ‫ل ﺍﻝﺴﺎﻤﻴ‪‬ﻭﻥ‪ ،‬ﺒﺎﻝﻁﹼﺒﻊِ‪ ،‬ﻓﻲ ﺘﺤﻘﻴ ِ‬ ‫ﺕ ﺃﺠﻨﺒﻴ‪‬ﺔ‪ .‬ﻴﻔﺸ ُ‬ ‫ﻓﻲ ﻭﻀﻌﻴ‪‬ﺎ ٍ‬ ‫ﻱ ﺍﺴ ٍﻡ‬ ‫ﻙ ﻭﻫﻲ ﺍﺴﺘﺤﺎﻝ ﹶﺔ ﺃﻥ ﻴﻌﻨﻰ ﺃ ‪‬‬ ‫ﺘﻠﻙ ﺍﻷﺒﺭﺍﺝ‪ -‬ﺍﻝﻤﺸﺎﺭﻴﻊ ﺘﻌﻜﺱ‪ ،‬ﻓﺤﺴﺏ‪ ،‬ﺍﻹﺴﺘﺤﺎﻝ ﹶﺔ ﺍﻷﻜﺜ ‪‬ﺭ ﻋﻤﻭﻤ ‪‬ﻴ ﹰﺔ ﻤﻥ ﺫﻝ ‪‬‬ ‫ﻋﻠ ٍﻡ )ﺒﻤﺎ ﻓﻲ ﺫﻝﻙ ﺍﻹﺴ ‪‬ﻡ ﻴﻬﻭ‪‬ﻩ ﺫﺍ ﹸﺘ ‪‬ﻪ( ﺃﺒﺩﹰﺍ ﺸﻴﺌﹰﺎ ﻭﺍﺤﺩﹰﺍ ﻓﺤﺴﺏ‪ ،‬ﺸﻴﺌﹰﺎ ﻭﺍﺤﺩﹰﺍ ﻓﻘﻁ ﻭﻻ ﻏﻴﺭ‪.‬‬ ‫ﺹ‬ ‫ﻉ ﺨـﺎ ‪‬‬ ‫ﻁ ﺒﺎﻝﻌﻨﻑ‪ -‬ﺫﻝﻙ‪ ،‬ﻋﻠﻰ ﺍﻷﻗلﱢ‪ ،‬ﺒﻨﻭ ٍ‬ ‫ﻀﹰﺎ ﺍﻹﺨﺘﻼ ﹶ‬ ‫ل ﺩﺭﻴﺩﺍ ﺇﻴ‪‬ﺎﻩ ﻴﺒﺩﻭ ﻤ‪‬ﻌﺎ ِﺭ ‪‬‬ ‫ﻥ ﻤﻘﺎ َ‬ ‫ﺍﻝﺸﻲﺀ ﺍﻝﺜﺎﻨﻲ ﻫﻨﺎ ﻫﻭ ﺃ ‪‬‬ ‫ﻥ ﺭﻏﺒﺔ ﺍﻝﺴﺎﻤﻴ‪‬ﻴﻥ ﻓﻲ ﺃﻥ "ﻴ‪‬ﻌﻭِﻝﻤ‪‬ﻭﺍ ﻤﺜﺎﻝﻬﻡ" )ﻜـﺎﻤﻭﻑ‪ ،(253 :‬ﻓـﻲ ﺃﻥ‬ ‫ﻤﻥ ﺍﻝﻌﻨﻑ‪" -:‬ﺍﻝﻌﻨﻑ ﺍﻝﻜﻭﻝﻭﻨﻴﺎﻝﻲ"‪ .‬ﺇ ‪‬‬ ‫‪10‬‬ ‫‪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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