‫ﺘﻌﺭﻴﺏ ﻟﻁﻔﻲ ﺨﻴﺭﺍﷲ ﻭﺍﻟﺘﹼﻌﻠﻴﻕ ﻤﻨﻪ‪.‬‬ ‫ﺟﺎﻥ ﺑﻮﻝ ﺳﺎﺭﺗﺮ‪.

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‫ﺍﻹﻫﺩﺍﺀ ﺇﻟﻰ ﻭﺍﻟﺩﺘﻲ‬

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‫ﻓﻬﺮس اﻟﻜﺘﺎب‬
‫ﺗﻮﻃﺌﺔ‬
‫ﺍﻷﻧﺴﺎﻕ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ ﺍﻟﻜﱪﻯ‬
‫ﰲ ﻣﺴﺄﻟﺔ ﺍﻟﺼّﻮﺭﺓ ﻭﰲ ﻣﺴﻌﻰ ﻋﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ ﻣﻦ ﺃﺟﻞ ﺇﺻﺎﺑﺔ ﻣﻨﻬﺞ ﻭﺿﻌ ّﻲ‬

‫ﰲ ﺗﻨﺎﻗﻀﺎﺕ ﺍﻟﺘّﺼﻮّﺭ ﺍﻟﻜﻼﺳﻴﻜﻲ‬

‫ﻫﻮﺳّﺮﻝ‬
‫ﺧﺎﲤﺔ‬

‫ﺗﻮﻃﺌﺔ‬

‫ﺴَﺘ ِﻘ ﱠﺮ ﹰﺓ ﻓﻮﻕ ﻃﺎﻭﻟﱵ؛ ﻭﺇﻧّﻲ ﺃﺩﺭﻙ ﺷﻜﻠﻬﺎ‪ ،‬ﻭﻟﻮﻬﻧﺎ‪ ،‬ﻭﻭﺿﻌﻬﺎ‪.‬‬

‫ﺇﻧّﲏ ﺃﻧﻈﺮ ﺇﱃ ﻫﺬﻩ ﺍﻟﻮﺭﻗﺔ ﻣُ ْ‬
‫ﺹ ﻣﺸﺘﺮﻛﺔ‪ :‬ﻓﺄﻭّﻻ ﻫﻲ ُﺗ ْﻌﻄﹶﻰ ﻟﺒﺼﺮﻱ ﺑﻨﺤﻮ‬
‫ﻭﻫﺬﻩ ﺍﻟﻜﻴﻔﻴّﺎﺕ ﺍﳌﺨﺘﻠﻔﺔ ﻫﻲ ﺫﺍﺕ ﺧﻮﺍ ّ‬
‫ﺍﳌﻮﺟﻮﺩﺍﺕ ﺍﻟﹼﱵ ﻻﳝﻜﻨﲏ ﺇ ﹼﻻ ﻣﻌﺎﻳﻨﺘﻬﺎ ﻭﺍﻟﹼﱵ ﻭﺟﻮﺩﻫﺎ ﻻﻳﺘﻮﻗﹼﻒ ﺍﻟﺒﺘّﺔ ﻋﻠﻰ ﺇﺭﺍﺩﰐ‪ .‬ﻓﻬﻲ‬
‫ﻣﻮﺟﻮﺩﺓ ﻣﻦ ﺃﺟﻠﻲ ﺃﻧﺎ‪ ،‬ﻭﻟﻴﺴﺖ ﻫﻲ ﺑﺄﻧﺎ‪ .‬ﻭﻫﻲ ﺃﻳﻀﺎ ﻟﻴﺴﺖ ﺍﻵﺧﺮ‪ ،‬ﺃﻱ ﺃﻧّﻬﺎ ﻟﻴﺴﺖ ﺗﺘﻮﻗﹼﻒ‬

‫‪www.fiseb.com‬‬ ‫‪1‬‬ ‫اﻟﻤﻜﺘﺒﺔ اﻻﻟﻜﺘﺮوﻧﻴﺔ اﻟﻤﺠﺎﻧﻴﺔ‬

‫ﻋﻠﻰ ﻋﻔﻮﻳّﺔ ﻣﻦ ﺍﻟﻌﻔﻮﻳّﺎﺕ‪ ،‬ﻻ ﻋﻠﻰ ﻋﻔﻮﻳّﺘﲏ ﺃﻧﺎ ﻭﻻ ﻋﻠﻰ ﻋﻔﻮﻳّﺔ ﻭﻋﻲ ﺁﺧﺮ‪ .‬ﺇﻧّﻬﺎ ﺣﺎﺿﺮﺓ‬
‫ﺴ ّﻲ ﺍﻟﹼﺬﻱ ﻃﺎﳌﺎ ﻭﺻﻔﻨﺎﻩ‪ ،‬ﺇﻧّﻤﺎ ﻫﻮ ﺍﳌﻮﺟﻮﺩ ﰲ‬
‫ﻭﻋﺎﻃﻠﺔ ﺩﻓﻌﺔ ﻭﺍﺣﺪﺓ‪ .‬ﻭﻋﻄﺎﻟﺔ ﻫﺬﺍ ﺍﶈﺘﻮﻯ ﺍﳊ ّ‬
‫ﺫﺍﺗﻪ‪ .‬ﻭﻻ ﻓﺎﺋﺪﺓ ﰲ ﺃﻥ ﻧﻨﺎﻗﺶ ﺇﻥ ﻛﺎﻧﺖ ﺍﻟﻮﺭﻗﺔ ﺗﻨﺤ ﹼﻞ ﺇﱃ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﺘّﻤﺜﹼﻼﺕ ﺃﻡ ﻫﻞ ﻫﻲ‬
‫ﺑﺎﻻﺿﻄﺮﺍﺭ ﺃﻛﺜﺮ ﻣﻦ ﺫﻟﻚ)‪ .(١‬ﺃﻣّﺎ ﺍﻟﻴﻘﲔ‪ ،‬ﻓﻬﻮ ﺃ ﹼﻥ ﺫﻟﻚ ﺍﻷﺑﻴﺾ ﺍﻟﹼﺬﻱ ﺃﻋﺎﻳﻨﻪ‪ ،‬ﻟﻴﺲ ﻋﻔﻮﻳّﱵ‬
‫ﺃﻧﺎ‪ ،‬ﻗﻄﻌﺎ‪ ،‬ﺍﻟﹼﱵ ﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﺒﺪﻋﻪ‪ .‬ﻓﺬﻟﻚ ﺍﻟﺸّﻜﻞ ﺍﻟﻌﺎﻃﻞ ﺍﻟﹼﺬﻱ ﻫﻮ ﺩﻭﻥ ﻛ ﹼﻞ ﺍﻟﻌﻔﻮﻳّﺎﺕ‬
‫ﺍﻟﻮﺍﻋﻴﺔ ﻭﺍﻟﹼﺬﻱ ﻣﻦ ﺍﳌﻀﻄ ّﺮ ﻣﻌﺎﻳﻨﺘﻪ‪ ،‬ﻭﻣﻌﺮﻓﺘﻪ ﺷﻴﺌﺎ ﻓﺸﻴﺌﺎ‪ ،‬ﻓﻬﻮ ﻣﺎ ﻧﻄﻠﻖ ﻋﻠﻴﻪ ﺍﺳﻢ ﺍﻟﺸّﻲﺀ‪.‬‬
‫ﻭﻻ ﳝﻜﻦ ﲝﺎﻝ ﻣﻦ ﺍﻷﺣﻮﺍﻝ ﺃﻥ ﻳﻜﻮﻥ ﺍﻟﻮﻋﻲ ﺷﻴﺌﺎ‪ ،‬ﻷ ﹼﻥ ﳕﻂ ﻭﺟﻮﺩﻩ ﺑﺎﻟﺬﹼﺍﺕ ﺇﻧّﻤﺎ ﺃﻥ ﻳﻜﻮﻥ‬
‫ﻭﺟﻮﺩﺍ ﻟﺬﺍﺗﻪ‪ .‬ﻓﺄﻥ ﻳﻮﺟﺪ ﺍﻟﻮﻋﻲ‪ ،‬ﻫﻮ ﺃﻥ ﻳﻜﻮﻥ ﻭﺍﻋﻴﺎ ﺑﻮﺟﻮﺩﻩ‪ .‬ﻓﻬﻮ ﻳﻈﻬﺮ ﺑﻨﺤﻮ ﳏﺾ ﻋﻔﻮﻳّﺔ‬
‫ﺑﺈﺯﺍﺀ ﻋﺎﱂ ﺍﻷﺷﻴﺎﺀ ﺍﻟﹼﺬﻱ ﻫﻮ ﳏﺾ ﻋﻄﺎﻟﺔ‪ .‬ﻓﻴﻤﻜﻨﻨﺎ ﺇﺫﻥ ﺃﻥ ﻧﻀﻊ ﻣﻦ ﺍﻷﻭّﻝ ﺿﺮﺑﲔ ﻣﻦ‬
‫ﺍﻟﻮﺟﻮﺩ ‪ :‬ﻓﺎﻷﺷﻴﺎﺀ ﺇﻧّﻤﺎ ﲟﺎﻫﻲ ﻋﺎﻃﻠﺔ ﻫﻲ ﻻ ﻳﻄﺎﳍﺎ ﺳﻠﻄﺎﻥ ﺍﻟﻮﻋﻲ ؛ ﻭﻫﻲ ﺇﻧّﻤﺎ ﻛﻮﻬﻧﺎ ﻋﺎﻃﻠﺔ‬
‫ﻣﺎ ﳛﻔﻆ ﻗﻴﺎﻣﻬﺎ ﺑﺬﺍﻬﺗﺎ ﻭﻳﺼﻮﻧﻪ‪.‬‬
‫ﻓﻬﺎ ﺃﻧﺎ ﺍﻵﻥ‪ ،‬ﻗﺪ ﺃﺩﺭﺕ ﺭﺃﺳﻲ‪ .‬ﻓﻠﻢ ﺃﻋﺪ ﺃﺭﻯ ﺍﻟﻮﺭﻗﺔ‪ .‬ﺑﻞ ﺃﺭﻯ ﺍﻵﻥ ﻭﺭﻗﺔ ﺍﳊﺎﺋﻂ‬
‫ﺍﻟﺮّﻣﺎﺩﻳّﺔ‪ .‬ﺍﻟﻮﺭﻗﺔ ﱂ ﺗﻌﺪ ﺣﺎﺿﺮﺓ ﻭﱂ ﺗﻌﺪ ﻫﻨﺎﻙ‪ .‬ﻭﺃﻧﺎ ﺃﻋﺮﻑ ﺟﻴّﺪﺍ ﺣﻴﻨﻬﺎ ﺑﺄ ﹼﻥ ﺍﻟﻮﺭﻗﺔ ﱂ ﺗﻔﻦ‪:‬‬
‫ﻷ ﹼﻥ ﻋﻄﺎﻟﺘﻬﺎ ﺗﺼﻮﻬﻧﺎ ﻣﻦ ﺫﻟﻚ‪ ،‬ﻭﺇﻧّﻤﺎ ﻓﻘﻂ ﻗﺪ ﻛﻔﹼﺖ ﻋﻦ ﻛﻮﻬﻧﺎ ﻣﻦ ﺃﺟﻠﻲ ﺃﻧﺎ‪ .‬ﺇ ﹼﻻ ﺃﻧّﻪ ﻫﺎﻫﻲ‬
‫ﺗﻠﻚ ﻣﺮّﺓ ﺃﺧﺮﻯ)‪ .(٢‬ﻓﺄﻧﺎ ﱂ ﺃﺩﺭ ﺭﺃﺳﻲ‪ ،‬ﻭﺑﺼﺮﻱ ﻣﺎﺯﺍﻝ ﻣﻨﺼﺒّﺎ ﻋﻠﻰ ﺍﻟﻮﺭﻗﺔ ﺍﻟﺮّﻣﺎﺩﻳّﺔ؛ ﻭﻻ‬
‫ﺷﻲﺀ ﻗﺪ ﲢﺮّﻙ ﰲ ﺍﻟﻐﺮﻓﺔ‪ .‬ﻭﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ‪ ،‬ﻓﺈ ﹼﻥ ﺍﻟﻮﺭﻗﺔ ﺗﻈﻬﺮ ﱄ ﻣﺮّﺓ ﺃﺧﺮﻯ ﺑﺸﻜﻠﻬﺎ ﻭﻟﻮﻬﻧﺎ‬
‫ﻭﻭﺿﻌﻬﺎ؛ ﻭﺃﻧﺎ ﺃﻋﺮﻑ ﺣ ّﻖ ﺍﳌﻌﺮﻓﺔ‪ ،‬ﰲ ﺍﻟﻮﻗﺖ ﺍﻟﹼﺬﻱ ﺗﻈﻬﺮ ﱄ ﻓﻴﻪ‪ ،‬ﺑﺄﻧّﻬﺎ ﻫﻲ ﻧﻔﺲ ﺍﻟﻮﺭﻗﺔ ﺍﻟﹼﱵ‬
‫ﻛﻨﺖ ﺃﺷﺎﻫﺪﻫﺎ ﻣﻦ ﻗﻠﻴﻞ‪ .‬ﻭﻟﻜﻦ ﻫﻞ ﻫﻲ ﻧﻔﺲ ﺍﻟﻮﺭﻗﺔ ﺑﺸﺨﺼﻬﺎ ؟ ﻧﻌﻢ ﻭﻻ‪ .‬ﺻﺤﻴﺢ ﺃﻧّﲏ‬
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‫ﺃﺟﺰﻡ ﺑﺄﻧّﻬﺎ ﻧﻔﺲ ﺍﻟﻮﺭﻗﺔ ﺑﻨﻔﺲ ﻛﻴﻔﻴّﺎﻬﺗﺎ‪ .‬ﻭﻟﻜﻨّﲏ ﺃﻧﺎ ﻻ ﺃﻛﻮﻥ ﻏﺎﻓﻼ ﺑﺄ ﹼﻥ ﻫﺬﻩ ﺍﻟﻮﺭﻗﺔ ﻗﺪ ﹶﻟِﺒﹶﺜ ْ‬
‫ﺖ ﺃﻥ ﺃﺭﺍﻫﺎ ﺣﻘﻴﻘﺔ‪ ،‬ﻓﻼ ﺑ ّﺪ ﻣﻦ ﺃﻥ‬
‫ﻫﻨﺎﻟﻚ ‪ :‬ﻭﺃﻋﺮﻑ ﺃﻧّﲏ ﻟﺴﺖ ﺃﺳﺘﻤﺘﻊ ﲝﻀﻮﺭﻫﺎ ؛ ﻓﻠﻮ ُﺭ ْﻣ ُ‬
‫ﺃﻋﻮﺩ ﳌﻜﺘﱯ‪ ،‬ﻭﺃﻥ ﺃﹸ ْﺭ ِﺟ َﻊ ﺑﺼﺮﻱ ﻋﻠﻰ ﺍﳉﻔﹼﺎﻑ ﺣﻴﺚ ﺍﻟﻮﺭﻗﺔ ﻣﻮﺿﻮﻋﺔ‪ .‬ﻭﺍﻟﻮﺭﻗﺔ ﺍﻟﹼﱵ ﺃﺭﺍﻫﺎ‬
‫ﺍﻵﻥ ﻫﻲ ﺫﺍﺕ ﻣﺎﻫﻴﺔ ﻭﺍﺣﺪﺓ ﻭﺍﻟﻮﺭﻗﺔ ﺍﻟﹼﱵ ﻛﻨﺖ ﺃﺷﺎﻫﺪﻫﺎ ﻣﻦ ﹶﻗ ْﺒﻞﹸ‪ .‬ﻭﻟﺴﺖ ﺃﻋﲏ ﺑﺎﳌﺎﻫﻴﺔ ﺑﻨﻴﺔ‬

‫‪www.fiseb.com‬‬ ‫‪2‬‬ ‫اﻟﻤﻜﺘﺒﺔ اﻻﻟﻜﺘﺮوﻧﻴﺔ اﻟﻤﺠﺎﻧﻴﺔ‬

‫ﺍﻟﻮﺭﻗﺔ ﻭﺣﺪﻫﺎ‪ ،‬ﺑﻞ ﻭﺃﻳﻀﺎ ﻓﺮﺩﻳّﺘﻬﺎ ﻧﻔﺴﻬﺎ)‪ .(٣‬ﻣﺎ ﻋﺪﺍ ﺃ ﹼﻥ ﻫﺬﻩ ﺍﻟﻮﺣﺪﺓ ﰲ ﺍﳌﺎﻫﻴﺔ ﻟﻴﺴﺖ‬
‫ﺗﺼﺤﺒﻬﺎ ﻭﺣﺪﺓ ﰲ ﺍﻟﻮﺟﻮﺩ‪ .‬ﺇﻧّﻬﺎ ﻟﻨﻔﺲ ﺍﻟﻮﺭﻗﺔ‪ ،‬ﺍﻟﻮﺭﻗﺔ ﺍﻟﹼﱵ ﻫﻲ ﺍﻵﻥ ﻓﻮﻕ ﻣﻜﺘﱯ‪ ،‬ﻭﻟﻜ ّﻦ‬
‫ﻭﺟﻮﺩﻫﺎ ﻫﻮ ﻏﲑ ﻭﺟﻮﺩﻫﺎ‪ .‬ﻓﺄﻧﺎ ﻻ ﺃﺭﺍﻫﺎ‪ ،‬ﻭﻫﻲ ﻻ ﲡﺐ ﺑﻨﺤﻮ ﺍﻟﻨّﻬﺎﻳﺔ ﻟﻌﻔﻮﻳّﱵ؛ ﻭﻻ ﻫﻲ ﺃﻳﻀﺎ‬
‫ُﻣ ْﻌﻄﹶﻰ ﻋﺎﻃﻞ ﻣﻮﺟﻮﺩ ﰲ ﺫﺍﺗﻪ‪ .‬ﻭﺑﺎﳉﻤﻠﺔ‪ ،‬ﻓﻬﻲ ﻻﺗﻮﺟﺪ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﺑﻞ ﺗﻮﺟﺪ ﰲ ﺻﻮﺭﺓ‪.‬‬
‫ﻭﻟﻮ ﻓﺤﺼﺖ ﻋﻦ ﻧﻔﺴﻲ ﻣﻦ ﻏﲑ ﺃﺣﻜﺎﻡ ﻣﺴﺒّﻘﺔ؛ ﻟﺘﺒﻴّﻨﺖ ﺃﻧّﲏ ﺃﺿﻊ ﻋﻔﻮﻳّﺎ ﺍﻟﺘّﻔﺮﻗﺔ ﺑﲔ‬
‫ﺍﳌﻮﺟﻮﺩ ﺑﻨﺤﻮ ﺍﻟﺸّﻲﺀ ﻭﺍﳌﻮﺟﻮﺩ ﺑﻨﺤﻮ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻭﻟﺴﺖ ﺃﺣﺼﻲ ﺍﻟﻈﹼﻬﻮﺭﺍﺕ ﺍﻟﹼﱵ ﻧﺴﻤّﻴﻬﺎ‬
‫ﺑﺎﻟﺼّﻮﺭ‪ .‬ﻭﻟﻜﻨّﻪ‪ ،‬ﻭﺳﻮﺍﺀ ﻛﺎﻧﺖ ﻫﺬﻩ ﺍﻟﺼّﻮﺭ ﺍﺳﺘﺤﻀﺎﺭﺍﺕ ﺇﺭﺍﺩﻳّﺔ ﺃﻭﻏﲑ ﺇﺭﺍﺩﻳّﺔ‪ ،‬ﻓﻬﻲ ُﺗ ْﻌﻄﹶﻰ‬
‫ﺣﻴﻨﻤﺎ ﺗﻈﻬﺮ ﺑﺎﻟﺬﹼﺍﺕ‪ ،‬ﺑﻨﺤﻮ ﻣﺎ ﻫﻮ ﻏﲑ ﺍﳊﻀﻮﺭﺍﺕ‪ .‬ﻭﻻ ﺃﺿ ﹼﻞ ﻫﻨﺎﻟﻚ ﺍﻟﺒﺘّﺔ‪ .‬ﻭﺭﺑّﻤﺎ ﺃﺩﻫﺸﻨﺎ‬
‫ﺃﻳّﻤﺎ ﺇﺩﻫﺎﺵ ﺍﻣﺮﺀ ﱂ ﻳﺪﺭﺱ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ‪ ،‬ﻟﻮ ﻃﻠﺒﻨﺎ ﻣﻨﻪ‪ ،‬ﺑﻌﺪ ﺃﻥ ﻧﻜﻮﻥ ﻗﺪ ﺷﺮﺣﻨﺎ ﻟﻪ ﻣﺎ ﻳﻔﻬﻢ‬
‫ﻋﺎﱂ ﺍﻟﻨّﻔﺲ ﻣﻦ ﺍﻟﺼّﻮﺭﺓ‪ :‬ﻫﻞ ﺍﺗّﻔﻖ ﻟﻚ ﺃﻥ ﺧﻠﻄﺖ ﺑﲔ ﺻﻮﺭﺓ ﺃﺥ ﻟﻚ ﻭﺣﻀﻮﺭﻩ ﺍﻟﻔﻌﻠ ّﻲ‬
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‫ﻋﻨﺪﻙ ؟ ﺇﺫ ﺃ ﹼﻥ ﺍﻟﺘﻌﺮّﻑ ﻋﻠﻰ ﺍﻟﺼّﻮﺭﺓ ﻣﻦ ﺣﻴﺚ ﻫﻲ ﻛﺬﻟﻚ ﺇﻧّﻤﺎ ﻫﻮ ُﻣ ْﻌﻄﹶﻰ ﹶﺃ ﱠﻭِﻟ ﱞﻲ ﻟﻠﺤ ّ‬
‫ﲏ‪.‬‬
‫ﺍﻟﺒﺎﻃ ّ‬

‫ﻓﺄﻥ ﻧﺄﺧﺬ ﺃﺧﺬﺍ ﺃﻭّﻟﻴّﺎ ﺻﻮﺭﺓ ﻣﺎ ﻋﻠﻰ ﺃﻧّﻬﺎ ﺻﻮﺭﺓ ﻫﻮ ﺷﻲﺀ‪ ،‬ﻭﺃﻥ ﻧﻜﻮّﻥ ﺃﻓﻜﺎﺭﺍ ﻋﻦ ﻃﺒﻴﻌﺔ‬
‫ﺍﻟﺼّﻮﺭ ﻋﻤﻮﻣﺎ ﻫﻮ ﺷﻲﺀ ﺁﺧﺮ)‪ .(٤‬ﻓﺎﻟﺴّﺒﻴﻞ ﺍﻟﻮﺣﻴﺪ ﻷﻥ ﻧﺆﺳّﺲ ﻧﻈﺮﻳّﺔ ﺻﺎﺩﻗﺔ ﰲ ﺍﻟﻮﺟﻮﺩ ﰲ‬
‫ﺍﻟﺼّﻮﺭﺓ ﺳﻴﻜﻮﻥ ﺑﺄﻥ ﻧﻠﺘﺰﻡ ﺻﺎﺭﻡ ﺍﻻﻟﺘﺰﺍﻡ ﺑﺄﻥ ﻻ ﻧﺪﱄ ﻓﻴﻤﺎ ﻳﺘﻌﻠﹼﻖ ﻬﺑﺎ ﺇ ﹼﻻ ﲟﺎ ﻳﻜﻮﻥ ﺃﺻﻠﻪ‪ ،‬ﺑﻼ‬
‫ﺗﻮﺳّﻂ‪ ،‬ﲡﺮﺑﺔ َﺭ َﻭ ِﻭﱠﻳ ٍﺔ ﺇﺫ ﺃ ﹼﻥ ﺍﻟﻮﺟﻮﺩ ﰲ ﺻﻮﺭﺓ ﻫﻮ ﺿﺮﺏ ﻣﻦ ﺍﻟﻮﺟﻮﺩ ﺻﻌﺐ ﺟﺪّﺍ ﺍﻟﻮﻗﻮﻑ‬
‫ﻋﻠﻴﻪ‪ .‬ﺑﻞ ﻻﺑ ّﺪ ﻣﻦ ﺟﻬﺪ ﺫﻫﲏّ؛ ﻭﻻ ﺑ ّﺪ ﺧﺎﺻّﺔ ﻣﻦ ﺃﻥ ﻧﺘﱪّﺃ ﻣﻦ ﻋﺎﺩﺓ ﻟﻨﺎ ﻻ ﺗﻜﺎﺩ ﺗﻘﻬﺮ ﰲ ﺃﻥ‬
‫ﻱ‬
‫ﻧﺆﺳّﺲ ﻛ ﹼﻞ ﺿﺮﻭﺏ ﺍﻟﻮﺟﻮﺩ ﻋﻠﻰ ﳕﻂ ﺍﻟﻮﺟﻮﺩ ﺍﻟﻔﻴﺰﻳﺎﺋ ّﻲ)‪ .(٥‬ﻭﻫﻮ ﻫﺎﻫﻨﺎ‪ ،‬ﻭﺃﻛﺜﺮ ﻣﻦ ﺃ ّ‬
‫ﻣﻜﺎﻥ ﺁﺧﺮ‪ ،‬ﻛﺎﻥ ﻫﺬﺍ ﺍﳋﻠﻂ ﺑﲔ ﺿﺮﻭﺏ ﺍﻟﻮﺟﻮﺩ ُﻳ ْﻨ َﺰﻉُ ﺇﻟﻴﻪ‪ ،‬ﻷﻧّﻪ‪ ،‬ﺑﻌﺪ ﻛ ﹼﻞ ﺷﻲﺀ‪ ،‬ﻓﺈﻧّﻤﺎ‬
‫ﺍﻟﻮﺭﻗﺔ ﰲ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻟﻮﺭﻗﺔ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻟﻴﺴﺎ ﳘﺎ ﺇ ﹼﻻ ﻭﺭﻗﺔ ﻭﺍﺣﺪﺓ ﻭﻧﻔﺲ ﺍﻟﻮﺭﻗﺔ ﰲ ﻣﻘﺎﻣﲔ‬
‫ﳐﺘﻠﻔﲔ ﻣﻦ ﺍﻟﻮﺟﻮﺩ‪ .‬ﰒﹼ‪ ،‬ﻭﻣﺎ ﺇﻥ ﻧﺼﺮﻑ ﺍﻟﺬﹼﻫﻦ ﻣﻦ ﳏﺾ ﺍﻟﺘّﺄﻣّﻞ ﰲ ﺍﻟﺼّﻮﺭﺓ ﻣﻦ ﺣﻴﺚ ﻫﻲ‬
‫ﻛﺬﻟﻚ‪ ،‬ﻭﻣﺎ ﺇﻥ ﻧﺄﺧﺬ ﰲ ﺍﻟﺘّﻔﻜﲑ ﰲ ﺍﻟﺼّﻮﺭ ﻣﻦ ﻏﲑ ﺃﻥ ﻧﻨﺸﺄ ﺻﻮﺭﺍ‪ ،‬ﻓﻬﻮ ﳛﺪﺙ ﺍﻧﺰﻻﻕ‪،‬‬

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‫ﻭﻣﻦ ﺍﳊﻜﻢ ﺑﺎﳍ ّﻮﻳّﺔ ﰲ ﺍﳌﺎﻫﻴﺔ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﳌﻮﺿﻮﻉ ﻧﻨﺘﻘﻞ ﺇﱃ ﺍﳊﻜﻢ ﺑﻮﺟﻮﺩ ﻫﻮﻳّﺔ ﺑﻴﻨﻬﻤﺎ ﰲ‬
‫ﺍﻟﻮﺟﻮﺩ)‪ .(٦‬ﻓﻠﻤّﺎ ﻛﺎﻧﺖ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﺍﳌﻮﺿﻮﻉ‪ ،‬ﻓﻘﺪ ﺍﺳﺘﻨﺘﺠﻨﺎ ﻣﻦ ﺫﻟﻚ ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﺗﻮﺟﺪ‬
‫ﻛﻤﺎ ﻳﻮﺟﺪ ﺍﳌﻮﺿﻮﻉ‪ .‬ﻭﺑﺬﻟﻚ ﻓﻘﺪ ﻛ ّﻮﻧّﺎ ﻣﺎ ﺍﺻﻄﻠﺤﻨﺎ ﻋﻠﻰ ﺗﺴﻤﻴﺘﻪ ﺑﺎﳌﻴﺘﺎﻓﻴﺰﻳﻘﺎ ﺍﻟﺴّﺎﺫﺟﺔ‬
‫ﻟﻠﺼّﻮﺭﺓ‪ .‬ﻭﻫﺬﻩ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﺎ ﺷﺄﻬﻧﺎ ﺃﻬﻧﺎ ﲡﻌﻞ ﻣﻦ ﺍﻟﺼّﻮﺭﺓ ﻧﺴﺨﺔ ﻣﻦ ﺍﻟﺸّﻲﺀ‪ ،‬ﻭﺗﻜﻮﻥ ﻧﻔﺴﻬﺎ‬
‫ﻣﻮﺟﻮﺩﺓ ﺑﻨﺤﻮ ﺍﻟﺸّﻲﺀ‪ .‬ﻓﻬﺎﻫﻲ ﺇﺫﺍ ﺍﻟﻮﺭﻗﺔ " ﰲ ﺍﻟﺼّﻮﺭﺓ " ﻣﻮﺟﻮﺩ ﻓﻴﻬﺎ ﻧﻔﺲ ﻛﻴﻔﻴّﺎﺕ ﺍﻟﻮﺭﻗﺔ‬
‫" ﰲ ﺷﺨﺼﻬﺎ "‪ .‬ﻓﻬﻲ ﻋﺎﻃﻠﺔ‪ ،‬ﻭﻫﻲ ﻻ ﺗﻮﺟﺪ ﻓﻘﻂ ﻣﻦ ﺃﺟﻞ ﺍﻟﻮﻋﻲ ‪ :‬ﺑﻞ ﻫﻲ ﻣﻮﺟﻮﺩﺓ ﰲ‬
‫ﻒ ﻋﻦ ﺍﻟﻮﺟﻮﺩ ﺣﻴﻨﻤﺎ‬
‫ﺫﺍﻬﺗﺎ‪ ،‬ﻭﻫﻲ ﺗﻈﻬﺮ ﻭﺗﻐﻴﺐ ﻛﻤﺎ ﺗﺸﺎﺀ ﻻ ﻛﻤﺎ ﻳﺸﺎﺀ ﺍﻟﻮﻋﻲ ؛ ﻭﻻﺗﻜ ّ‬
‫ﺗﻨﻘﻄﻊ ﻋﻦ ﻛﻮﻬﻧﺎ ُﻣ ْﺪ َﺭ ﹶﻛﺔﹰ‪ ،‬ﺑﻞ ﺗﺴﺘﻤ ّﺮ ﻣﻮﺟﻮﺩﺓ ﻛﻮﺟﻮﺩ ﺍﻟﺸّﻲﺀ‪ ،‬ﺧﺎﺭﺝ ﺍﻟﻮﻋﻲ‪ .‬ﻭﻫﺬﻩ‬
‫ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﺎ ﺃﻭ ﺑﺎﻷﺣﺮﻯ ﺍﻷﻧﻄﻠﻮﺟﻴﺎ ﺍﻟﺴّﺎﺫﺟﺔ ﻫﻲ ﺃﻧﻄﻠﻮﺟﻴﺎ ﲨﻴﻊ ﺍﻟﻌﺎﱂ‪ .‬ﻣﻦ ﺃﺟﻞ ﺫﻟﻚ ﳓﻦ‬
‫ﻧﺘﺒﻴّﻦ ﻫﺬﻩ ﺍﳌﻔﺎﺭﻗﺔ ﺍﻟﻌﺠﻴﺒﺔ‪ :‬ﻓﻨﻔﺲ ﺍﳌﺮﺀ ﺍﳋﻠﻮ ﻣﻦ ﻣﻌﺮﻓﺔ ﻋﻠﻢ ﻧﻔﺴﻴّﺔ ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﳛﻜﻢ ﻣﻦ‬
‫ﻗﺒﻞ ﺑﻘﺪﺭﺗﺔ ﻗﺪﺭﺓ ﺃﻭّﻟﻴّﺔ ﻋﻠﻰ ﺍﻟﺘّﻌﺮّﻑ ﻋﻠﻰ ﺻﻮﺭﻩ ﻋﻠﻰ ﺃﻧّﻬﺎ ﺻﻮﺭ‪ ،‬ﺳﻮﻑ ﻳﻀﻴﻒ ﺍﻵﻥ ﺑﺄﻧّﻪ‬
‫ﻫﻮ ﻳﺮﻯ ﺻﻮﺭﻩ‪ ،‬ﻭﻳﺴﻤﻌﻬﺎ‪ ،‬ﺇﱃ ﻏﲑ ﺫﻟﻚ‪ .‬ﻭﺫﻟﻚ ﻷ ﹼﻥ ﺍﳉﺰﻡ ﺍﻷﻭّﻝ ﻛﺎﻥ ﻻﺯﻣﺎ ﻋﻦ ﲡﺮﺑﺔ‬
‫ﺴ ٍﺔ ﺗﺄﺳﻴﺴﺎ ﺳﺎﺫﺟﺎ‪ .‬ﻓﻬﻮ ﱂ ﻳﺘﺒﻴّﻦ ﺃﻧّﻪ ﻟﻮ ﻛﺎﻥ‬
‫ﻋﻔﻮﻳّﺔ‪ ،‬ﻭﺍﳉﺰﻡ ﺍﻟﺜﹼﺎﱐ ﻓﻬﻮ ﻻﺯﻡ ﻋﻦ ﻧﻈﺮﻳّﺔ ﻣُ َﺆ ﱠﺳ َ‬
‫ﻳﺮﻯ ﺻﻮﺭﻩ ﺃﻭ ﻳﺪﺭﻛﻬﺎ ﻛﻤﺎ ﻳﺪﺭﻙ ﻭﻳﺮﻯ ﺍﻷﺷﻴﺎﺀ‪ ،‬ﳌﺎ ﺍﺳﺘﻄﺎﻉ ﺃﻥ ﻳﻔﺮّﻗﻬﺎ ﻣﻦ ﺍﳌﻮﺍﺿﻴﻊ؛ ﻭﺇﻧّﻪ‬
‫ﺳﻮﻑ ﻳﻨﺘﻬﻲ ﺇﱃ ﺃﻥ ﻳﺆﺳّﺲ‪ ،‬ﻣﻜﺎﻥ ﻭﺭﻗﺔ ﻭﺍﺣﺪﺓ ﰲ ﻣﻘﺎﻣﲔ ﻭﺟﻮﺩﻳﲔ ﺍﺛﻨﲔ‪ ،‬ﻭﺭﻗﺘﲔ‬
‫ﻣﺘﻤﺎﺛﻠﺘﲔ ﻛ ﹼﻞ ﺍﻟﺘّﻤﺎﺛﻞ ﻣﻮﺟﻮﺩﺗﲔ ﰲ ﻣﻘﺎﻡ ﻭﺍﺣﺪ‪ .‬ﻭﺍﳌﺜﺎﻝ ﺍﻟﺒﺎﻟﻎ ﻋﻠﻰ ﻣﺜﻞ ﻫﺬﻩ ﺍﻟﺸّﻴﺌﺎﻧﻴّﺔ‬
‫ﻒ ﻋﻦ ﺍﻟﺼّﺪﻭﺭ‬
‫ﺍﻟﺴّﺎﺫﺟﺔ ﻟﻠﺼّﻮﺭ ﳒﺪﻫﺎ ﰲ ﻧﻈﺮﻳّﺔ ﺃﺑﻴﻘﻮﺭ ﰲ " ﺍﳍﻴﺎﻛﻞ "‪ .‬ﻓﺎﻷﺷﻴﺎﺀ ﻻ ﻳﻜ ّ‬
‫ﻋﻨﻬﺎ " ﻫﻴﺎﻛﻞ"‪ ،‬ﻭ"ﺃﺻﻨﺎﻡ "‪ ،‬ﺍﻟﹼﱵ ﻫﻲ ﳎﺮّﺩ ﺃﻭﻋﻴﺔ‪ .‬ﻭﻫﺬﻩ ﺍﻷﻭﻋﻴﺔ ﳍﺎ ﻧﻔﺲ ﻛﻴﻔﻴّﺎﺕ‬
‫ﺍﳌﻮﺿﻮﻉ ﻛﻠﹼﻬﺎ‪ ،‬ﻛﺎﶈﺘﻮﻯ‪ ،‬ﻭﺍﻟﺸّﻜﻞ‪ ،‬ﺇﱃ ﻏﲑ ﺫﻟﻚ‪ .‬ﻭﺑﻌﺪﻣﺎ ﺗﺼﺪﺭ ﻫﺬﻩ ﺍﻷﻭﻋﻴﺔ‪ ،‬ﻓﻬﻲ‬
‫ﺾ ﳍﺎ‪ ،‬ﻭﳝﻜﻨﻬﺎ ﺃﻥ ﺗﻮﺍﺻﻞ ﺍﻟﺬﹼﻫﺎﺏ ﰲ ﺍﳍﻮﺍﺀ ﺯﻣﻨﺎ‬
‫ﺗﻮﺟﺪ ﰲ ﺫﺍﻬﺗﺎ‪ ،‬ﻣﺜﻠﻬﺎ ﻣﺜﻞ ﺍﳌﻮﺿﻮﻉ ﺍ ﹸﳌﻔِﻴ ِ‬
‫ﻻ ﳏﺪﻭﺩﺍ‪ .‬ﻭﻳﻜﻮﻥ ﻫﻨﺎﻙ ﺇﺩﺭﺍﻙ ﺣﻴﻨﻤﺎ ﺍﳊﺎﺳّﺔ ﺗﻼﻗﻲ ﻭﺍﺣﺪﺓ ﻣﻦ ﺗﻠﻚ ﺍﻷﻭﻋﻴﺔ ﻭﺗﺴﺘﻮﻋﺒﻬﺎ‪.‬‬

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‫ﲏ ﻳﻌﻠﹼﻤﻨﺎ‬
‫ﺇ ﹼﻥ ﺍﻟﻨّﻈﺮﻳّﺔ ﺍﶈﻀﺔ ﻭﺍﳌﺎﻗﺒﻠﻴّﺔ ﻗﺪ ﺟﻌﻠﺖ ﻣﻦ ﺍﻟﺼّﻮﺭﺓ ﺷﻴﺌﺎ‪ .‬ﻭﻟﻜﻦ ﺍﳊﺪﺱ ﺍﻟﺒﺎﻃ ّ‬
‫ﻱﰲ‬
‫ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻟﻴﺴﺖ ﺍﻟﺸّﻲﺀ‪ .‬ﻭﻣﻌﻄﻴﺎﺕ ﺍﳊﺪﺱ ﺗﻠﻚ ﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﻨﺪﻣﺞ ﰲ ﺑﻨﺎﺀ ﻧﻈﺮ ّ‬
‫ﺷﻜﻞ ﺟﺪﻳﺪ ‪ :‬ﻓﺎﻟﺼّﻮﺭﺓ ﻫﻲ ﺷﻲﺀ‪ ،‬ﻣﺜﻠﻬﺎ ﻣﺜﻞ ﺍﻟﺸّﻲﺀ ﺍﻟﹼﺬﻱ ﻫﻲ ﻟﻪ ﺻﻮﺭﺓ‪ .‬ﻭﻟﻜ ّﻦ ﺍﻟﺼّﻮﺭﺓ‬
‫ﻟﻜﻮﻬﻧﺎ ﺻﻮﺭﺓ‪ ،‬ﻓﻬﻲ َﻳ ْﻌﺘُﻮ ُﺭﻫَﺎ ﺿﺮﺏ ﻣﻦ ﺍﻟﺪّﻭﻧﻴّﺔ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺍﻟﺸّﻲﺀ ﺍﻟﺬﹼﻱ ﲤﺜﹼﻠﻪ‪.‬‬
‫ﻭﺑﺎﳉﻤﻠﺔ‪ ،‬ﻓﺎﻟﺼّﻮﺭﺓ ﻫﻲ ﺷﻲﺀ ﺃﻗ ﹼﻞ‪ .‬ﻓﺄﻧﻄﻠﻮﺟﻴﺎ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ِﺇﺫﹰﺍ ﻗﺪ ﺍﺳﺘﻜﻤﻠﺖ ﻭﺻﺎﺭﺕ‬
‫ﺹ ﺑﻪ‪ ،‬ﻭُﻳ ْﻌﻄﹶﻰ ﻟﻠﻮﻋﻲ ﻛﻤﺎ ُﻳ ْﻌﻄﹶﻰ ﻣﻮﺿﻮﻉ‬
‫ﻧﺴﻘﻴّﺔ‪ :‬ﺇ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﺷﻲﺀ ﺃﻗ ﹼﻞ ﻟﻪ ﻭﺟﻮﺩ ﺧﺎ ّ‬
‫ﻣﻦ ﺍﳌﻮﺍﺿﻴﻊ‪ ،‬ﻭﻫﻲ ﺫﺍﺕ ﻋﻼﻗﺎﺕ ﺧﺎﺭﺟﻴّﺔ ﻣﻊ ﺍﻟﺸّﻲﺀ ﺍﻟﹼﺬﻱ ﻫﻲ ﻟﻪ ﺻﻮﺭﺓ‪ .‬ﻓﻨﺮﻯ ﺃﻧّﻪ ﻟﻴﺲ‬
‫ﻓﻘﻂ ﺇ ﹼﻻ ﺗﻠﻚ ﺍﻟﺪّﻭﻧﻴّﺔ ﺍﳌﺒﻬﻤﺔ ﻭﺍﳌﻌﺮّﻓﺔ ﺗﻌﺮﻳﻔﺎ ﺳﻴّﺌﺎ ) ﺍﻟﹼﱵ ﺭﺑّﻤﺎ ﱂ ﺗﻜﻦ ﺇ ﹼﻻ ﻧﻮﻋﺎ ﻣﻦ ﺍﻟﻮﻫﻦ‬
‫ﻱ ﺃﻭ ﺍﻟﹼﱵ ﻗﺪ ﻧﺼﻔﻬﺎ‪ ،‬ﻋﻠﻰ ﺍﻟﻌﻜﺲ‪ ،‬ﺑﻨﺤﻮ ﺩﺭﺟﺔ ﺃﺩﱏ ﻣﻦ ﺍﻟﺘّﻤﻴّﺰ ﻭﺍﻟﻮﺿﻮﺡ ( ﻭﻫﺬﻩ‬
‫ﺍﻟﺴّﺤﺮ ّ‬
‫ﻼ ِﻥ ﺍﻟﺘّﺴﻤﻴﺔ ﺑﺎﻟﺼّﻮﺭﺓ؛ ﻭ ﺇﻧّﺎ ﻧﺴﺘﺸﻌﺮ ﺃﻳﻀﺎ ﻛ ﹼﻞ ﺍﻟﺘّﻨﺎﻗﻀﺎﺕ ﺍﻟﹼﱵ‬
‫ﺍﻟﻌﻼﻗﺔ ﺍﳋﺎﺭﺟﻴّﺔ ﺍﻟﹼﺘﺎﻥ ﺗُ َﻌ ﱢﻠ ﹶ‬
‫ﺗﻠﺰﻡ ﻣﻦ ﺫﻟﻚ‪.‬‬

‫ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻓﻬﻮ ﻫﺬﻩ ﺍﻷﻧﻄﻠﻮﺟﻴﺎ ﺍﻟﺴّﺎﺫﺟﺔ ﰲ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﹼﱵ ﺳﻮﻑ ﳒﺪﻫﺎ‪ ،‬ﲟﱰﻟﺔ ﻣﺼﺎﺩﺭﺓ‬
‫ﻣﺘﻔﺎﻭﺗﺔ ﺍﻟﻀّﻤﻨﻴّﺔ‪ ،‬ﻟﺪﻯ ﻛ ﹼﻞ ﻋﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ ﺍﻟﹼﺬﻳﻦ ﲝﺜﻮﺍ ﰲ ﻫﺬﻩ ﺍﳌﺴﺄﻟﺔ‪ .‬ﻓﺠﻤﻴﻌﻬﻢ ﺃﻭ ﻳﻜﺎﺩ‬
‫ﻳﻜﻮﻥ ﲨﻴﻌﻬﻢ ﻗﺪ ﻭﻗﻌﻮﺍ ﰲ ﺍﳋﻠﻂ ﺍﳌﺬﻛﻮﺭ ﺃﻋﻼﻩ ﺑﲔ ﺍﳍﻮﻳّﺔ ﰲ ﺍﳌﺎﻫﻴﺔ ﻭﺍﳍﻮﻳّﺔ ﰲ ﺍﻟﻮﺟﻮﺩ‪.‬‬
‫ﻁ‪ :‬ﻓﻤﻜﺎﻥ‬
‫ﻭﲨﻴﻌﻬﻢ ﻗﺪ ﺑﲎ ﻧﻈﺮﻳّﺔ ﺍﻟﺼّﻮﺭﺓ ﻣﺎ ﻗﺒﻠﻴّﺎ‪ .‬ﻭﳌﹼﺎ ﻋﺎﺩﻭﺍ ﺇﱃ ﺍﻟﺘّﺠﺮﺑﺔ ﻛﺎﻥ ﺍﻷﻣﺮ ﻗﺪ ﹶﻓﺮُ ﹶ‬
‫ﺃﻥ ﻧﺘﺮﻙ ﺍﻟﺘّﺠﺮﺑﺔ ﻫﻲ ﺍﻟﹼﱵ ﺗﻘﻮﺩﻫﻢ‪ ،‬ﻓﻘﺪ ﺃﻛﺮﻫﻮﻫﺎ ﻋﻠﻰ ﺃﻥ ﲡﻴﺒﻬﻢ ﺑﻨﻌﻢ ﺃﻭ ﻻ ﻋﻠﻰ ﺃﺳﺌﻠﺔ‬
‫ﺫﺍﺕ ﻏﺮﺽ‪ .‬ﺻﺤﻴﺢ ﺃ ﹼﻥ ﻗﺮﺍﺀﺓ ﺳﻄﺤﻴّﺔ ﻟﻠﻨّﺼﻮﺹ ﺍﻟﻜﺜﲑﺓ ﺍﻟﹼﱵ ﺃﻓﺮﺩﻧﺎﻫﺎ ﻣﻨﺬ ﺳﺘّﲔ ﻋﺎﻣﺎ‬
‫ﳌﺴﺄﻟﺔ ﺍﻟﺼّﻮﺭﺓ ﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﻜﺸﻒ ﻟﻨﺎ ﻋﻦ ﺍﺧﺘﻼﻑ ﺃﻳّﻤﺎ ﻋﻈﻴﻢ ﰲ ﺍﻵﺭﺍﺀ‪ .‬ﺃﻣّﺎ ﻏﺎﻳﺘﻨﺎ ﻓﺄﻥ‬
‫ﻧﱪﻫﻦ ﺃﻧّﻪ ﳝﻜﻨﻨﺎ ﺃﻥ ﳒﺪ ﲢﺖ ﺫﻟﻚ ﺍﻟﺘّﻨﻮّﻉ‪ ،‬ﻧﻈﺮﻳّﺔ ﻭﺍﺣﺪﺓ‪ .‬ﻭﻫﺬﻩ ﺍﻟﻨّﻈﺮﻳّﺔ ﺍﻟﹼﱵ ﺗﻠﺰﻡ ﺃﻭّﻻ ﻣﻦ‬
‫ﺖ ﺑﺘﺄﺛﲑ ﻣﻦ ﻣﺸﺎﻏﻞ ﻛﺜﲑﺓ ﻏﺮﻳﺒﺔ ﻋﻦ ﺍﳌﺴﺄﻟﺔ ﻛﺎﻧﺖ ﻗﺪ‬
‫ﺍﻷﻧﻄﻠﻮﺟﻴﺎ ﺍﻟﺴّﺎﺫﺟﺔ‪ ،‬ﻛﺎﻧﺖ ﻗﺪ ُﻫ ﱢﺬَﺑ ْ‬
‫ﻕ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﺎ ﺍﻟﻜﱪﻯ ﻟﻠﻘﺮﻧﲔ ﺍﻟﺴّﺎﺑﻊ ﻭﺍﻟﺜﹼﺎﻣﻦ ﻋﺸﺮ‪ .‬ﻓﺪﻳﻜﺎﺭﺕ‬
‫ﺃﻭﺭﺛﺘﻬﺎ ﻋﻠﻤﺎ َﺀ ﺍﻟﻨّﻔﺲ ﺍﻷﻧﺴﺎ ُ‬
‫‪Descartes‬ﻭﻟﻴﺒﻨﺘﺰ ‪ Leibnitz‬ﻭﻫﻴﻮﻡ ‪ Hume‬ﻛﺎﻥ ﳍﻢ ﻧﻔﺲ‬

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‫ﺍﻟﺘّﺼﻮّﺭ ﻋﻦ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻭﱂ ﳜﺘﻠﻔﻮﺍ ﺑﻴﻨﻬﻢ ﺇ ﹼﻻ ﻋﻨﺪ ﺑﻴﺎﻥ ﻋﻼﻗﺎﺕ ﺍﻟﺼّﻮﺭﺓ ﺑﺎﻟﻔﻜﺮ‪ .‬ﻭﺍﻟﻌﻠﻢ‬
‫ﺍﻟّﻨﻔﺲ ﺍﻟﻮﺿﻌﻲ ﻗﺪ ﺍﺣﺘﻔﻆ ﲟﻘﻮﻟﺔ ﺍﻟﺼّﻮﺭﺓ ﻛﻤﺎ ﻛﺎﻥ ﻗﺪ ﻭﺭﺛﻬﺎ ﻣﻦ ﻫﺆﻻﺀ ﺍﻟﻔﻼﺳﻔﺔ‪ .‬ﻭﻟﻜﻦ‬
‫ﻼ ﻣﻦ ﺑﲔ ﺍﳊﻠﻮﻝ ﺍﻟﺜﹼﻼﺛﺔ ﺍﻟﹼﱵ ﻛﺎﻥ ﻗﺪ ﺍﻗﺘﺮﺣﻬﺎ ﺃﻭﻻﺋﻚ ﺍﻟﻔﻼﺳﻔﺔ‬
‫ﻫﻮ ﱂ ﻳﻔﻠﺢ ﰲ ﺃﻥ ﳜﺘﺎﺭ ﺣ ﹼ‬
‫ﻓﻴﻤﺎ ﻳﺘﻌﻠﹼﻖ ﲟﺴﺄﻟﺔ ﻋﻼﻗﺔ ﺍﻟﺼّﻮﺭﺓ ﺑﺎﻟﻔﻜﺮ‪ .‬ﻭﻏﺎﻳﺘﻨﺎ ﺃﻥ ﻧﱪﻫﻦ ﺃﻥ ﺍﻷﻣﺮ ﻻ ﳝﻜﻦ ﺑﺎﻻﺿﻄﺮﺍﺭ ﺇﻻ‬
‫ﺃﻥ ﻳﻜﻮﻥ ﻛﺬﻟﻚ‪ ،‬ﻛﻠﹼﻤﺎ ﻗﺒﻠﻨﺎ ﺑﺎ ﹸﳌﺼَﺎ َﺩ َﺭ ِﺓ ﺍﻟﺸّﻲﺀ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻭﻟﻜﻦ‪ ،‬ﻭﻟﻜﻲ ﻧﺘﺒﻴّﻨﻪ ﻭﺍﺿﺢ‬
‫ﺍﻟﺒﻴﺎﻥ‪ ،‬ﻓﻼ ﺑ ّﺪ ﺃﻥ ﻧﺒﺪﺃ ﻣﻦ ﺩﻳﻜﺎﺭﺕ ﻭﺃﻥ ﻧﺒﺴﻂ ﺑﺴﻄﺎ ﳐﺘﺼﺮﺍ ﻟﺘﺎﺭﻳﺦ ﻣﺴﺄﻟﺔ ﺍﻟﺼّﻮﺭﺓ‪.‬‬

‫ﺍﻟﺘّﻌﺎﻟﻴﻖ‬

‫)‪ (1‬ﺇﺷﺎﺭﺓ ﺇﱃ ﺍﳋﻼﻑ ﺍﻟﻔﻠﺴﻔ ّﻲ ﺍﻟﻜﻼﺳﻴﻜ ّﻲ ﻣﺎ ﺑﲔ ﺍﻟﻔﻠﺴﻔﺔ ﺍﻟﻮﺍﻗﻌﻴّﺔ ﻭﺍﻟﻔﻠﺴﻔﺔ ﺍﳌﺜﺎﻟﻴّﺔ ﺍﻟﻐﺎﻟﻴﺔ‪.‬‬
‫ﻓﺎﻷﻭﱃ ﻛﺎﻧﺖ ﺗﻀﻊ ﻣﻮﺟﻮﺩﺍ ﰲ ﺫﺍﺗﻪ ﺧﺎﺭﺝ ﺍﻟﺬﹼﺍﺕ ﻳﺆﺛﹼﺮ ﻓﻴﻬﺎ ﻓﺘﻨﺘﺞ ﲤﺜﹼﻼﺕ ﺫﺍﺗﻴّﺔ‪ .‬ﻭﺍﻟﺜﹼﺎﻧﻴﺔ‪ ،‬ﻭﻫﻲ ﻣﺜﺎﻟﻴّﺔ‬
‫ﺑﺎﺭﻛﻠﻲّ‪ ،‬ﻓﻘﺪ ﻛﺎﻧﺖ ﺗﺮﻯ ﺃ ﹼﻥ ﻛ ﹼﻞ ﺍﻟﻮﺟﻮﺩ ﻫﻮ ﺍ ﹸﳌ ْﺪ َﺭﻙُ‪ ،‬ﻭﺃﻥ ﻻﺷﻲﺀ ﺍﻟﺒﺘّﺔ ﻭﺭﺍﺀ ﺍﻟﺘّﻤﺜﹼﻼﺕ‪.‬‬

‫)‪ (2‬ﺍﻟﻮﺭﻗﺔ ﺍﻟﹼﱵ ﻛﻨﺖ ﺃﻧﻈﺮ ﺇﻟﻴﻬﺎ ﻓﻮﻕ ﺍﻟﻄﹼﺎﻭﻟﺔ‪ ،‬ﻫﺎﻫﻲ ﺍﻵﻥ ﺑﻌﺪﻣﺎ ﻗﺪ ﺃﺩﺭﺕ ﻋﻨﻬﺎ ﺭﺃﺳﻲ ﺗﻈﻬﺮ ﱄ‬
‫ﺨﱠﻴ ﹶﻠﺔﹲ‪ ،‬ﻭﰲ ﺍﻷﻭّﻝ ﻓﻘﺪ‬
‫ﺛﺎﻧﻴﺔ‪ ،‬ﻭﻟﻜﻦ ﻫﺬﺍ ﺍﻟﻈﹼﻬﻮﺭ ﻫﻮ ﻏﲑ ﺷﻚّ‪ ،‬ﻏﲑ ﺍﻟﻈﹼﻬﻮﺭ ﺍﻷﻭّﻝ ؛ ﻓﺎﻵﻥ ﻫﻲ ُﻣَﺘ َ‬
‫ﻛﺎﻧﺖ ﻣُ ْﺪ َﺭ ﹶﻛ ﹰﺔ‪.‬‬

‫)‪ (3‬ﺃﻱ ﺃﻥ ﺳﺎﺭﺗﺮ ﻟﻴﺲ ﻳﻌﲏ ﺑﺎﳌﺎﻫﻴﺔ ﻫﻨﺎ ﺍﳊﻘﻴﻘﺔ ﺍﻟﻜﻠﹼﻴﺔ ﻟﻠﺸّﻲﺀ ﺍﳉﺰﺋ ّﻲ ﲟﺎﻫﻮﻫﻮ‪ ،‬ﺃﻱ ﺍﳌﺎﻫﻴﺔ‬
‫ﺍﻟﺴّﻜﻮﻻﺳﺘﻜﻴّﺔ‪ ،‬ﻭﺇﻧّﻤﺎ ﻳﻌﲏ ﺑﺎﳌﺎﻫﻴﺔ ﻋﲔ ﺍﻟﺸّﻲﺀ ﺍﳉﺰﺋ ّﻲ ﲟﺎ ﻫﻮ ﻧﻔﺲ ﺍﻟﺸّﺨﺺ‪.‬‬

‫)‪ (4‬ﻷ ﹼﻥ ﺍﻟﻮﻋﻲ ﰲ ﺍﻟﻮﺿﻊ ﺍﻷﻭّﻝ ﻳﻜﻮﻥ ﻭﻋﻴﺎ ُﻣ َﺆ ﱢﺳﺴًﺎ ﻟﻠﺼّﻮﺭﺓ‪ ،‬ﻭﺍﳌﻮﺿﻮﻉ ﺍﻟﹼﺬﻱ ﻳﻈﻬﺮ ﻟﻪ ﺇﻧّﻤﺎ ﻫﻮ‬
‫ﺍﻟﺼّﻮﺭﺓ ﻧﻔﺴﻬﺎ‪ .‬ﺃﻣّﺎ ﰲ ﺍﻟﻮﺿﻊ ﺍﻟﺜﹼﺎﱐ ﻓﺎﻟﻮﻋﻲ ﻻ ﻳﻜﻮﻥ ﻭﻋﻴﺎ ُﻣ َﺆ ﱢﺳﺴًﺎ ﻟﻠﺼّﻮﺭﺓ‪ ،‬ﺑﻞ ﻭﻋﻴﺎ َﺭ َﻭ ِﻭﻳ‪‬ﺎ ﻭﻋﻠﻤﻴّﺎ‬
‫ﺲ ﻟﻠﺼّﻮﺭﺓ‪.‬‬
‫ﺭﺍﺟﻌﺎ ﺑﺎﻟﺘّﺄﻣّﻞ ﻟﻴﺲ ﰲ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻭﺇﻧّﻤﺎ ﰲ ﺍﻟﻮﻋﻲ ﺍﳌﹸ َﺆ ﱢﺳ ِ‬

‫)‪ (5‬ﺍﻧﻈﺮ ﻫﻮﺳّﺮﻝ‪ ،‬ﺍﻟﻔﻠﺴﻔﺔ ﲟﺎ ﻫﻲ ﻋﻠﻢ ﺻﺎﺭﻡ‪ ،‬ﺍﻟﻔﺼﻞ ﺍﻷﻭّﻝ‪ ،‬ﺍﻟﻄﹼﺒﻴﻌﺎﻧﻴّﺔ ﺍﻟﻔﻠﺴﻔﻴّﺔ‪.‬‬

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‫ﺨﱠﻴ ﹶﻠ ﹶﺔ ﺍﻵﻥ‪ ،‬ﺃﻱ ﺍﻟﻮﺭﻗﺔ ﰲ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻫﻲ ﻋﲔ ﺍﻟﻮﺭﻗﺔ ﺍﻟﹼﱵ‬
‫)‪ (6‬ﻳﺮﻳﺪ ﺃﻧّﻪ ﻣﻦ ﺍﳊﻜﻢ ﺑﺄ ﹼﻥ ﺍﻟﻮﺭﻗﺔ ﺍﳌﹸَﺘ َ‬
‫ﻛﻨﺖ ﺃﺩﺭﻛﻬﺎ ﺁﻧﻔﺎ‪ ،‬ﻣﻦ ﺣﻴﺚ ﻫﻲ َﻧ ﹾﻔﺲُ ﻣَُﺘ َﻌ ﱠﻠ ِﻖ ﺍﻟﻮ ْﻋَﻴ ْﻴﻦِ‪ ،‬ﺍﻟﻮﻋﻲ ﺍﻹﺩﺭﺍﻛﻲ ﻭﺍﻟﻮﻋﻲ ﺍﻟﺘّﺨﻴّﻠﻲّ‪ ،‬ﻓﺈﻧّﻨﺎ‬
‫ﻛﺜﲑﺍ ﻣﺎ ﻧﱰﻟﻖ ﻟﻠﺤﻜﻢ ﺑﻮﺣﺪﻬﺗﻤﺎ ﰲ ﺍﻟﻮﺟﻮﺩ ﺃﻱ ﺑﺄﻥ ﳒﻌﻞ ﺍﻟﻮﺭﻗﺔ ﰲ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﰲ ﺣﻘﻴﻘﺘﻬﺎ ﺍﻟﻮﺟﻮﺩﻳّﺔ‬
‫ﺨﱠﻴ ﹶﻠﺔﹸ ﻫﻲ ﺷﻲﺀ‪.‬‬
‫ﻋﲔ ﺍﻟﻮﺭﻗﺔ ﺍﳌﹸ ْﺪ َﺭ ﹶﻛ ِﺔ‪ .‬ﻓِﺈﺫﹰﺍ ﻓﻜﻤﺎ ﺃ ﹼﻥ ﺍﻟﻮﺭﻗﺔ ﺍﳌﺪﺭﻛﺔ ﻫﻲ ﺷﻲﺀ‪ ،‬ﻓﻜﺬﻟﻚ ﺍﻟﻮﺭﻗﺔ ﺍ ﹸﳌَﺘ َ‬

‫‪I‬‬
‫ﺍﻷﻧﺴﺎﻕ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ ﺍﻟﻜﱪﻯ‬

‫ﻟﻘﺪ ﻛﺎﻥ ﺷﻐﻞ ﺩﻳﻜﺎﺭﺕ ﺍﻟﺸّﺎﻏﻞ‪ ،‬ﻭﻫﻮ ﰲ ﺣﻀﺮﺓ ﺗﺮﺍﺙ ﻣﺪﺭﺳ ّﻲ ﻛﺎﻥ ﻳُﻨﻈﺮ ﻓﻴﻪ ﺇﱃ‬
‫ﻱ ﻭﻧﺼﻔﻬﺎ ﺭﻭﺣﻲّ‪ ،‬ﺇﻧّﻤﺎ ﺍﻟﻔﺼﻞ ﻓﺼﻼ ﻣﺴﺘﻮﻓﻴﺎ ﺑﲔ‬
‫ﺍﻷﻧﻮﺍﻉ ﻋﻠﻰ ﺃﻧّﻬﺎ ﻛﺎﺋﻨﺎﺕ ﻧﺼﻔﻬﺎ ﻣﺎﺩ ّ‬
‫ﱐ ﺇﱃ ﺍﻵﱄﹼ‪ ،‬ﻓﺎﻟﺼّﻮﺭﺓ ﻫﻲ ﺷﻲﺀ ﻣﺎﺩﻱّ‪،‬‬
‫ﺍﻵﻟﻴّﺔ ﻭﺍﻟﻔﻜﺮ‪ .‬ﻭﺇﺫ ﻫﻮ ﻗﺪ َﺭ ﱠﺩ ﻛ ﹼﻞ ﺍﻟﺮ ّﺩ ﺍﳉﺴﺪﺍ ﹼ‬
‫ﺱ ﻭﺍﻷﻋﺼﺎﺏ‪ .‬ﻓﺎﳌﺎﺩّﺓ‬
‫ﺹ ﺑﺘﻮﺳّﻂ ﺍﳊﻮﺍ ّ‬
‫ﻭﻫﻲ ﺣﺎﺻﻞ ﻓﻌﻞ ﺍﻷﺟﺴﺎﻡ ﺍﳋﺎﺭﺟﻴّﺔ ﰲ ﺟﺴﺪﻧﺎ ﺍﳋﺎ ّ‬
‫ﻭﺍﻟﻮﻋﻲ ﻟﻜﻮﻬﻧﻤﺎ ﻣﺘﻨﺎﻓﻴﲔ‪ ،‬ﻓﺎﻟﺼّﻮﺭﺓ ﻣﻦ ﺣﻴﺚ ﻣﺎ ﻫﻲ َﻣ ﹾﻄ ِﻠﱠﻴﺔﹲ ﻣﺎﺩّﻳﺎ ﰲ ﺟﺰﺀ ﻣﻦ ﺍﻟﺪّﻣﺎﻍ ﻻ‬

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‫ﳝﻜﻦ ﺃﻥ ﻳﻨﻔﺚ ﺍﻟﻮﻋﻲ ﻓﻴﻬﺎ ﻣﻦ ﺭﻭﺣﻪ‪ .‬ﺇﻧّﻬﺎ ﻣﻮﺿﻮﻉ‪ ،‬ﻣﺜﻠﻬﺎ ﻋﻠﻰ ﺍﻟﺴّﻮﺍﺀ ﻣﺜﻞ ﺍﳌﻮﺍﺿﻴﻊ‬
‫ﺍﳋﺎﺭﺟﻴّﺔ‪ .‬ﺇﻧّﻬﺎ ﻋﻠﻰ ﺍﻟﺘّﺤﺼﻴﻞ‪ ،‬ﻬﻧﺎﻳﺔ ﺍﳋﺎﺭﺟﻴّﺔ‪.‬‬

‫ﻓﺎﻟﺘّﺨﻴّﻞ ﺃﻭ ﺍﳌﻌﺮﻓﺔ ﺑﺎﻟﺼّﻮﺭﺓ ﺗﺄﰐ ﻣﻦ ﺍﻟﺬﹼﻫﻦ؛ ﺇﻧّﻪ ﺍﻟﺬﹼﻫﻦ‪ ،‬ﻭﻗﺪ ﺃﹸﻭ ِﻗ َﻊ ﻋﻠﻰ ﺍﻻﻧﻄﺒﺎﻉ‬
‫ﺍﳊﺎﺻﻞ ﰲ ﺍﻟﺪّﻣﺎﻍ‪ ،‬ﺍﻟﹼﺬﻱ ﻳﻌﻄﻲ ﻭﻋﻴﺎ ﺑﺎﻟﺼّﻮﺭﺓ)‪ .(١‬ﻭﻫﺬﻩ ﺍﻟﺼّﻮﺭﺓ ﻛﺬﻟﻚ ﻫﻲ ﻟﻴﺴﺖ‬
‫ﻣﻮﺿﻮﻋﺔ ﻗﺪّﺍﻡ ﺍﻟﻮﻋﻲ ﺑﻨﺤﻮ ﺍﳌﻮﺿﻮﻉ ﺍﳉﺪﻳﺪ ﻟﻠﻤﻌﺮﻓﺔ‪ ،‬ﻋﻠﻰ ﺭﻏﻢ ﻣﺎﳍﺎ ﻣﻦ ﺻﻔﺔ ﻛﻮﻬﻧﺎ ﻭﺍﻗﻌﺔ‬
‫ﺟﺴﺪﺍﻧﻴّﺔ‪ :‬ﻓﺬﻟﻚ ﻛﺎﻥ ﺳﻴﺪﻓﻊ ﺇﱃ ﻣﺎ ﻻﻬﻧﺎﻧﻴﺔ ﺇﻣﻜﺎﻧﻴّﺔ ﻋﻼﻗﺔ ﺍﻟﻮﻋﻲ ﲟﻮﺿﻮﻋﺎﺗﻪ‪ .‬ﻭﺇﻧّﻤﺎ ﻫﻲ‬
‫ﲤﻠﻚ ﻫﺬﻩ ﺍﳋﺎﺻّﺔ ﺍﻟﻐﺮﻳﺒﺔ ﺑﻜﻮﻬﻧﺎ ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺍﺳﺘﺤﺜﺎﺙ ﺃﻓﻌﺎﻝ ﺍﻟﺮّﻭﺡ)‪(٢‬؛ ﻓﺎﳊﺮﻛﺎﺕ‬
‫ﺍﻟﺪّﻣﺎﻏﻴّﺔ ﺇﺫ ﺗﻜﻮﻥ ﻗﺪ ﺳﺒّﺒﺘﻬﺎ ﻣﻮﺍﺿﻴﻊ ﺧﺎﺭﺟﻴّﺔ‪ ،‬ﻋﻠﻰ ﻣﺎﻫﻲ ﻟﻴﺴﺖ ﺗﺸﺘﻤﻞ ﻋﻠﻰ ﺷﺒﻴﻬﺎﻬﺗﺎ‪،‬‬
‫ﻓﻬﻲ ﺗُﻮ ِﻗﻆﹸ ﰲ ﺍﻟﻨّﻔﺲ ﺃﻓﻜﺎﺭﺍ؛ ﻭﺍﻷﻓﻜﺎﺭ ﻻ ﺗﺄﰐ ﻣﻦ ﺍﳊﺮﻛﺎﺕ‪ ،‬ﺑﻞ ﻓﻄﺮﻳّﺔ ﰲ ﺍﻹﻧﺴﺎﻥ‪ .‬ﻓﻬﻲ‬
‫ﺤ ِﺪﺙﹸ ﰲ‬
‫ﲟﻨﺎﺳﺒﺔ ﺍﳊﺮﻛﺎﺕ ﻫﻲ ﺗﻈﻬﺮ ﰲ ﺍﻟﻮﻋﻲ‪ .‬ﻭﺍﳊﺮﻛﺎﺕ ﻫﻲ ﲟﺜﺎﺑﺔ ﺍﻟﻌﻼﻣﺎﺕ ﺍﻟﹼﱵ ﺗُ ْ‬
‫ﺸِﺒﻪُ ﺃﻧّﻪ ﻛﺎﻥ ﻗﺪ‬
‫ﺐ ﰲ ﻓﻜﺮﺓ ﺍﻟﻌﻼﻣﺔ ﻫﺬﻩ ﺍﻟﹼﱵ ﻳُ ْ‬
‫ﺍﻟﻨّﻔﺲ ﺑﻌﺾ ﺍﳌﺸﺎﻋﺮ؛ ﺇ ﹼﻻ ﺃ ﹼﻥ ﺩﻳﻜﺎﺭﺕ ﱂ ُﻳ ﹾﻄِﻨ ْ‬
‫ﺧﻠﻊ ﻋﻠﻴﻬﺎ ﻣﻌﲎ ﺍﻟﺮّﺍﺑﻄﺔ ﺍﻻﻋﺘﺒﺎﻃﻴّﺔ‪ ،‬ﻭﻫﻮ‪ ،‬ﻻﺳﻴّﻤﺎ‪ ،‬ﱂ ﻳﺸﺮﺡ ﻛﻴﻒ ﳛﺼﻞ ﺍﻟﻮﻋﻲ ﻬﺑﺬﻩ‬
‫ﺍﻟﻌﻼﻣﺔ؛ ﺑﻞ ﻫﻮ ﻛﺄﻧّﻪ ﻛﺎﻥ ﻳﻘﺒﻞ ﺑﻨﻮﻉ ﻣﻦ ﺍﻟﻔﻌﻞ ﺍ ﹸﳌَﺘ َﻌﺪﱢﻱ ﺑﲔ ﺍﳉﺴﺪ ﻭﺍﻟﻨّﻔﺲ ﻛﺎﻥ ﻗﺪ ﺃﺩّﺍﻩ‬
‫ﻷﻥ ﻳُ ْﺪ ِﺧ ﹶﻞ ﰲ ﺍﻟﻨّﻔﺲ ﺿﺮﺑﺎ ﻣﻦ ﺍﳌﺎﺩّﻳﺔ ﻭﰲ ﺍﻟﺼّﻮﺭﺓ ﺍﳌﺎ ّﺩﻳّﺔ ﺿﺮﺑﺎ ﻣﻦ ﺍﻟﺮّﻭﺣﺎﻧﻴّﺔ‪ .‬ﻭﻟﺴﻨﺎ ﻧﻔﻬﻢ‬
‫ﺺ ﺍﻻﺧﺘﺼﺎﺹ ﺍﻟﹼﱵ ﻫﻲ‬
‫ﻻ ﻛﻴﻒ ﺍﻟﺬﹼﻫﻦ ﻳﻨﻄﺒﻖ ﻋﻠﻰ ﺗﻠﻚ ﺍﻟﻮﺍﻗﻌﺔ ﺍﳉﺴﺪﺍﻧﻴّﺔ ﺍﳌﺨﺼﻮﺻﺔ ﺃﺧ ّ‬
‫ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻭﻻ ﺑﺎﻟﻌﻜﺲ‪ ،‬ﻛﻴﻒ ﳝﻜﻦ ﺃﻥ ﻳﺪﺧﻞ ﺍﻟﺘّﺨﻴّﻞ ﻭﺍﳉﺴﺪ ﰲ ﺍﻟﻔﻜﺮ‪ ،‬ﺇﺫﺍ ﻛﺎﻥ ﻧﻔﺲ‬
‫ﺍﳉﺴﺪ‪ ،‬ﺣﺴﺐ ﺩﻳﻜﺎﺭﺕ‪ ،‬ﺇﻧّﻤﺎ ﻳُ ْﺪ ِﺭﻛﹸﻪُ ﺍﻟﺬﹼﻫﻦ ﺍﳋﺎﻟﺺ‪.‬‬

‫ﻭﺍﻟﻨّﻈﺮﻳّﺔ ﺍﻟﺪّﻳﻜﺎﺭﺗﻴّﺔ ﻻ ﲤﻜﹼﻨﻨﺎ ﻣﻦ ﺃﻥ ﳕﻴّﺰ ﺍﻹﺣﺴﺎﺳﺎﺕ ﻣﻦ ﺍﻟﺬﹼﻛﺮﻳﺎﺕ ﺃﻭ ﺍﳋﻴﺎﻻﺕ‪،‬‬

‫ﺝ ﺍﻷﺭﻭﺍﺡ‬
‫ﻷﻧّﻪ ﺇﻧّﻤﺎ ﻫﻨﺎﻙ ﰲ ﻛ ﹼﻞ ﺍﻷﺣﻮﺍﻝ ﻧﻔﺲ ﺍﳊﺮﻛﺎﺕ ﺍﻟﺪّﻣﺎﻏﻴّﺔ‪ ،‬ﺳﻮﺍﺀ ﻛﺎﻥ ﺍﻟﹼﺬﻱ َﻳ ُﺮ ﱡ‬
‫ﺕ ﻣﻦ ﺍﳋﺎﺭﺝ‪ ،‬ﺃﻭ ﻣﻦ ﺍﳉﺴﺪ‪ ،‬ﺃﻭ ﺃﻳﻀﺎ ﻣﻦ ﺍﻟﻨّﻔﺲ ﻧﻔﺴﻬﺎ)‪ .(٣‬ﻭﻟﻴﺲ‬
‫ﺍﳊﻴﻮﺍﻧﻴّﺔ ﻫﻮ ﻣﺜﲑ ﻣﺘﺄ ّ‬

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‫ﺇ ﹼﻻ ﺍﳊﻜﻢ ﻭﺍﻟﺬﹼﻫﻦ ﻭﺣﺪﳘﺎ ﺍﻟﹼﺬﺍﻥ ﻣﻦ ﺷﺄﻬﻧﻤﺎ ﺃ ﹼﻥ ﳝﻜﹼﻨﺎﻧﻨﺎ ﻣﻦ ﺃﻥ ﻧﻔﺼﻞ‪ ،‬ﲝﺴﺐ ﺍﻻﻧﺴﺠﺎﻡ‬
‫ﺍﻟﺬﹼﻫﲏ ﻟﻠﺨﻴﺎﻻﺕ‪ ،‬ﺃﻳّﻬﺎ ﺗﺘﻨﺎﺳﺐ ﻣﻊ ﻣﻮﺍﺿﻴﻊ ﻣﻮﺟﻮﺩﺓ‪.‬‬

‫ﻓﺪﻳﻜﺎﺭﺕ ﻗﺪ ﺍﻗﺘﺼﺮ ِﺇﺫﹰﺍ ﻋﻠﻰ ﻭﺻﻔﻪ ﻣﺎ ﻳﻘﻊ ﺑﺎﳉﺴﺪ ﺣﻴﻨﻤﺎ ﺍﻟﻨّﻔﺲ ﺗﻔﻜﹼﺮ‪ ،‬ﻭﻋﻠﻰ ﺑﻴﺎﻧﻪ‬
‫ﻱ ﻋﻼﻗﺎﺕ ﺍﻟﺘّﻼﺻﻖ ﺍﳌﻮﺟﻮﺩﺓ ﺑﲔ ﺗﻠﻚ ﺍﻟﻮﺍﻗﻌﺎﺕ ﺍﳉﺴﺪﺍﻧﻴّﺔ ﺍﻟﹼﱵ ﻫﻲ ﺍﻟﺼّﻮﺭ ﻭﺁﻟﻴّﺔ ﺍﻧﺘﺎﺟﻪ‬
‫ﺃّ‬
‫ﳍﺎ‪ .‬ﻟﻜﻦ ﺍﻷﻣﺮ ﻟﻴﺲ ﻳﺘﻌﻠﹼﻖ ﻟﺪﻳﻪ ﺑﺄﻥ ﳕﻴّﺰ ﺍﻟﻔﻜﺮ ﻋﻦ ﻃﺮﻳﻖ ﺗﻠﻚ ﺍﻵﻟﻴّﺎﺕ ﺍﻟﹼﱵ ﻫﻲ ﺗﻨﺘﻤﻲ‪،‬‬
‫ﻣﺜﻠﻬﺎ ﻣﺜﻞ ﺍﻷﺟﺴﺎﻡ ﺍﻷﺧﺮﻯ‪ ،‬ﺇﱃ ﻋﺎﱂ ﺍﻷﺷﻴﺎﺀ ﺍﳌﺸﻜﻮﻛﺔ‪.‬‬

‫ﺃﻣّﺎ ﺳﺒﻴﻨﻮﺯ ﻓﻘﺪ ﺃﻛﹼﺪ ﺗﺄﻛﻴﺪﺍ ﺃﺷ ّﺪ ﻭﺿﻮﺣﺎ ﻣﻦ ﺩﻳﻜﺎﺭﺕ ﺑﺄ ﹼﻥ ﻣﺴﺄﻟﺔ ﺍﻟﺼّﻮﺭﺓ ﺍﳊﻘﻴﻘﻴّﺔ ﻻ‬
‫ﳝﻜﻦ ﺣﻠﹼﻬﺎ ﰲ ﻣﺮﺗﺒﺔ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻭﺇﻧّﻤﺎ ﻓﻘﻂ ﺑﻄﺮﻳﻖ ﺍﻟﺬﹼﻫﻦ‪ .‬ﻭﻧﻈﺮﻳّﺔ ﺍﻟﺼّﻮﺭﺓ ﻛﻤﺎ ﻛﺎﻧﺖ ﻋﻨﺪ‬
‫ﺩﻳﻜﺎﺭﺕ ﻫﻲ ﻣﻔﺼﻮﻟﺔ ﻋﻦ ﻧﻈﺮﻳّﺔ ﺍﳌﻌﺮﻓﺔ ﻭﻣﺘّﺼﻠﺔ ﺑﻮﺻﻒ ﺍﳉﺴﺪ‪ :‬ﻓﺎﻟﺼّﻮﺭﺓ ﻫﻲ ﺍﻧﻔﻌﺎﻟﻴّﺔ ﰲ‬
‫ﺍﳉﺴﺪ ﺍﻹﻧﺴﺎﱐﹼ؛ ﻭﺍﻟﺼّﺪﻓﺔ‪ ،‬ﻭﺍﻟﺘّﻼﺻﻖ ﻭﺍﻟﻌﺎﺩﺓ ﻫﻲ ﻳﻨﺎﺑﻴﻊ ﺍﺭﺗﺒﺎﻁ ﺍﻟﺼّﻮﺭ ﺑﻴﻨﻬﺎ‪ ،‬ﻭﺍﻟﺬﹼﻛﺮﻯ‬
‫ﻫﻲ ﺍﻧﺒﻌﺎﺛﻴّﺔ ﻣﺎ ّﺩﻳّﺔ ﻻﻧﻔﻌﺎﻝ ﰲ ﺍﳉﺴﺪ‪ ،‬ﻳﻜﻮﻥ ﺃﺣﺪﺛﺘﻪ ﺃﺳﺒﺎﺏ ﺁﻟﻴّﺔ؛ ﺃﻣّﺎ ﺍﳌﺘﻌﺎﻟﻴﺎﺕ ﻭﺍﻷﻓﻜﺎﺭ‬
‫ﺍﻟﻌﺎﻣّﺔ ﺍﻟﹼﱵ ﺗﺆﻟﹼﻒ ﺍﳋﱪﺓ ﺍﳌﺒﻬﻤﺔ ﻓﺈﻧّﻤﺎ ﻫﻲ ﻧﺘﻴﺠﺔ ﳋﻠﻂ ﰲ ﺍﻟﺼّﻮﺭ ﻣﻦ ﻃﺒﻴﻌﺔ ﺃﻳﻀﺎ ﻣﺎ ّﺩﻳّﺔ‪.‬‬
‫ﻭﺍﻟﺘّﺨﻴّﻞ‪ ،‬ﺃﻭ ﺍﳌﻌﺮﻓﺔ ﺑﺎﻟﺼّﻮﺭ ﻫﻲ ﳐﺘﻠﻔﺔ ﻋﻤﻴﻖ ﺍﻻﺧﺘﻼﻑ ﻋﻦ ﺍﻟﺬﹼﻫﻦ؛ ﻓﻬﻲ ﳝﻜﻦ ﺃﻥ ﺗﻨﺤﺖ‬
‫ﺃﻓﻜﺎﺭﺍ ﺧﺎﻃﺌﺔ‪ ،‬ﻭﻻ ﺗﻌﺮﺽ ﺍﳊﻘﻴﻘﺔ ﺇ ﹼﻻ ﰲ ﺻﻮﺭﺓ ﻣﺒﺘﻮﺭﺓ‪.‬‬

‫ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻭﻣﻊ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ُﺗﻀَﺎ ّﺩ ﺍﻟﻔﻜﺮﺓ ﺍﻟﺒﻴّﻨﺔ‪ ،‬ﻓﻬﻲ ﺗﺴﺘﺤﻔﻆ ﻣﻌﻬﺎ ﺑﺸﻲﺀ‬
‫ﻣﺸﺘﺮﻙ‪ ،‬ﺃﻻ ﻭﻫﻮ ﺃﻧّﻬﺎ ﻫﻲ ﺃﻳﻀﺎ ﻓﻜﺮﺓ؛ ﺇﻧّﻤﺎ ﻫﻲ ﻓﻜﺮﺓ ﻣﺒﻬﻤﺔ‪ُ ،‬ﺗ ْﻌﻄﹶﻰ ﺑﻨﺤﻮ ﺍﻟﺸّﻜﻞ ﺍﳌﺘﺮﺩّﻱ‬
‫ﺢ ﻓﻴﻬﺎ ﻧﻔﺲ ﺍﻟﺮّﻭﺍﺑﻂ ﺍﳌﻮﺟﻮﺩﺓ ﰲ ﺍﻟﺬﹼﻫﻦ‪ .‬ﻓﺎﻟﺘّﺨﻴّﻞ ﻭﺍﻟﺬﹼﻫﻦ ﻟﻴﺴﺎ ﳘﺎ‬
‫ﺼﱡ‬‫ﻣﻦ ﺍﻟﻔﻜﺮ‪ ،‬ﻟﻜﻨّﻬﺎ َﺗ ِ‬
‫ﳐﺘﻠﻔﲔ ﺑﺈﻃﻼﻕ‪ ،‬ﻷ ﹼﻥ ﺍﳌﺮﻭﺭ ﻣﻦ ﺃﺣﺪﳘﺎ ﺇﱃ ﺍﻵﺧﺮ ﺑﺘﺤﻘﹼﻖ ﺍﳌﺎﻫﻴﺎﺕ ﺍﳌﻨﻄﻮﻳﺔ ﰲ ﺍﻟﺼّﻮﺭ ﻫﻮ‬
‫ﺃﻣﺮ ﳑﻜﻦ‪ .‬ﺇﻧّﻬﺎ ﻣﺜﻠﻬﺎ ﻣﺜﻞ ﺍﳌﻌﺮﻓﺔ ﻣﻦ ﺍﳉﻨﺲ ﺍﻷﻭّﻝ ﻭﺍﳌﻌﺮﻓﺔ ﻣﻦ ﺍﳉﻨﺲ ﺍﻟﺜﹼﺎﻟﺚ ﺃﻭ ﺍﻟﻌﺒﻮﺩﻳّﺔ‬
‫ﻭﺍﳊﺮﻳّﺔ ﺍﻹﻧﺴﺎﻧﻴّﺘﲔ‪ ،‬ﻣﻮﺻﻮﻻﻥ ﻭﻣﺘّﺼﻼﻥ ﻣﻌﺎ ﺩﻓﻌﺔ ﻭﺍﺣﺪﺓ‪.‬‬

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‫ﻓﻠﻠﺼّﻮﺭﺓ ﻟﺪﻯ ﺳﺒﻴﻨﻮﺯﺍ ﻭﺟﻬﺎﻥ ﺍﺛﻨﺎﻥ‪ :‬ﻓﻬﻲ ﳐﺘﻠﻔﺔ ﻏﺎﻳﺔ ﺍﻻﺧﺘﻼﻑ ﻋﻦ ﺍﻟﻔﻜﺮﺓ‪ ،‬ﺇﺫ ﻫﻲ‬
‫ﻓﻜﺮﺓ ﺍﻹﻧﺴﺎﻥ ﲟﺎﻫﻮ ﺿﺮﺏ ﻣﺘﻨﺎﻩ‪ ،‬ﻭﻣﻊ ﺫﻟﻚ ﻓﻬﻲ ﻓﻜﺮﺓ ﻭﻗﻄﻌﺔ ﻣﻦ ﺍﻟﻌﺎﱂ ﺍﻟﻼﹼﻣﺘﻨﺎﻫﻲ ﺍﻟﹼﺬﻱ‬
‫ﺖ ﻣﻦ ﺍﻟﻔﻜﺮ‪ ،‬ﻛﻤﺎ ﻟﺪﻯ ﺩﻳﻜﺎﺭﺕ‪ ،‬ﻓﺈﻧّﻬﺎ ﲤﻴﻞ ﺃﻳﻀﺎ‪ ،‬ﻛﻤﺎ ﻫﻮ‬
‫ﺼ ﹶﻠ ْ‬
‫ﻫﻮ ﲨﺎﻋﺔ ﺍﻷﻓﻜﺎﺭ‪ .‬ﻭﺇﺫﺍ ﹸﻓ ِ‬
‫ﻋﻨﺪ ﻟﻴﺒﺘﱰ‪ ،‬ﻷﻥ ﲣﺘﻠﻂ ﺑﻪ‪ ،‬ﻭﺫﻟﻚ ﻷ ﹼﻥ ﻋﺎﱂ ﺍﻟﺮّﻭﺍﺑﻂ ﺍﻵﻟﻴّﺔ ﺍﻟﺬﹼﻱ ﻭﺻﻔﻪ ﺳﺒﻴﻨﻮﺯﺍ ﺑﻨﺤﻮ ﻋﺎﱂ‬
‫ﺍﻟﺘّﺨﻴّﻞ‪ ،‬ﻟﻴﺲ ﲟﻨﻔﺼﻞ‪ ،‬ﻣﻊ ﺫﻟﻚ‪ ،‬ﻋﻦ ﺍﻟﻌﺎﱂ ﺍﻟﻌﻘﻠ ّﻲ‪.‬‬

‫ﺐ ﻣﻦ ﺃﺟﻞ ﻭﺿﻊ ﺍﺗّﺼﺎﻟﻴّﺔ ﺑﲔ ﻫﺬﻳﻦ‬

‫ﻭﻛ ﹼﻞ ﺟﻬﺪ ﻻﻳﺒﺘﱰ ﻓﻴﻤﺎ ﻳﺘﻌﻠﹼﻖ ﺑﺎﻟﺼّﻮﺭﺓ ﻗﺪ ﺍﻧﺼ ّ‬
‫ﺸ َﺮَﺑﺔﹲ ﻋﻘﻼ)‪(٤‬‬
‫ﺍﻟﻀّﺮﺑﲔ ﻣﻦ ﺍﳌﻌﺮﻓﺔ‪ :‬ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻟﻔﻜﺮ؛ ﻓﺎﻟﺼّﻮﺭﺓ ﻋﻨﺪﻩ‪ ،‬ﺇﻧّﻤﺎ ﻣُ ْ‬

‫ﻓﻠﻴﺒﻨﺘﺰ ﺃﻳﻀﺎ‪ ،‬ﻗﺪ ﺑﺪﺃ ﺃﻭّﻻ ﺑﻮﺻﻒ ﻋﺎﱂ ﺍﻟﺘّﺨﻴّﻞ ﻋﻠﻰ ﺃﻧّﻪ ﳏﺾ ﺁﻟﻴّﺔ‪ ،‬ﺣﻴﺚ ﻻ ﺷﻲﺀ ﻣﻦ‬
‫ﺷﺄﻧﻪ ﺃﻥ ﳝﻜﹼﻨﻨﺎ ﻣﻦ ﻓﺮﺯ ﺍﻟﺼّﻮﺭ ﺑﺎﳊﻘﻴﻘﺔ ﻣﻦ ﺍﻹﺣﺴﺎﺳﺎﺕ‪ ،‬ﺇﺫ ﻛﻼﳘﺎ ﺇﻧّﻤﺎ ﳘﺎ ﻳﻌّﺒﺮﺍﻥ ﻋﻦ‬
‫ﺃﺣﻮﺍﻝ ﺟﺴﺪﺍﻧﻴّﺔ‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﺗﺮﺍﺑﻄﻴّﺔ ﻻ ﻳﺒﻨﺘﺰ ﱂ ﺗﻌﺪ ﻓﻴﺰﻳﻮﻟﻮﺟﻴّﺔ ‪ :‬ﺑﻞ ﺇﻧّﻤﺎ ﰲ ﺍﻟﻨّﻔﺲ‪ ،‬ﻭﺑﻨﺤﻮ ﻏﲑ‬
‫ﻣﺸﻌﻮﺭ ﺑﻪ‪ ،‬ﺇﻧّﻤﺎ ﺗﻨﺤﻔﻆ ﺍﻟﺼّﻮﺭ ﻭﺗﺮﺗﺒﻂ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ‪ .‬ﻭﻟﻴﺲ ﺇ ﹼﻻ ﺍﳊﻘﺎﺋﻖ ﺍﻟﹼﱵ ﻳﻀﻌﻬﺎ ﺍﻟﻌﻘﻞ ﺍﻟﹼﱵ‬
‫ﺗﺮﺗﺒﻂ ﺑﻴﻨﻬﺎ ﺑﺮﻭﺍﺑﻂ ﺿﺮﻭﺭﻳّﺔ‪ ،‬ﻭﻫﻲ ﻭﺣﺪﻫﺎ ﺍﻟﹼﱵ ﻫﻲ ﺑﻴّﻨﺔ ﻭﻣﺘﻤﻴّﺰﺓ‪ .‬ﻓﻬﻨﺎﻙ ﺇﺫﺍ ﻫﺎﻫﻨﺎ ﺃﻳﻀﺎ‬
‫ﺗﻔﺮﻗﺔ ﺑﲔ ﻋﺎﱂ ﺍﻟﺼّﻮﺭ‪ ،‬ﺃﻭ ﺍﻷﻓﻜﺎﺭ ﺍﻟﻐﺎﻣﻀﺔ‪ ،‬ﻭﻋﺎﱂ ﺍﻟﻌﻘﻞ‪.‬‬

‫ﻱ‪ :‬ﻓﺄﻭّﻻ‪ ،‬ﲝﺴﺐ ﻟﻴﺒﻨﺘﺰ‪ ،‬ﺍﻟﺬﹼﻫﻦ ﻻ ﻳﻜﻮﻥ ﺍﻟﺒﺘّﺔ‬

‫ﺕ ﻋﻠﻰ ﳓﻮ ﻋﺎﺩ ّ‬
‫ﻭﺍﻟﻌﻼﻗﺔ ﺑﻴﻨﻬﺎ ﻗﺪ ﺗُﺼُ ﱢﻮ َﺭ ْ‬
‫ﺧﺎﻟﺼﺎ‪ ،‬ﻷ ﹼﻥ ﺍﳉﺴﺪ ﻫﻮ ﺃﺑﺪﺍ ﺣﺎﺿﺮ ﻟﻠﻨّﻔﺲ‪ ،‬ﻭﻟﻜﻦ‪ ،‬ﻣﻦ ﻭﺟﻪ ﺁﺧﺮ‪ ،‬ﻟﻴﺲ ﻟﻠﺼّﻮﺭﺓ ﺇ ﹼﻻ ﻓﻌﻼ‬
‫ﲔ ﻟﻠﻔﻜﺮ‪ ،‬ﺃﻱ ﻋﻼﻣﺔ‪ .‬ﻟﻘﺪ ﻃﻠﺐ ﻟﻴﺒﻨﺘﺰ ﺃﻥ ﻳﺰﻳﺪ‬
‫ﻋﺮﺿﻴّﺎ ﻭﺗﺎﺑﻌﺎ‪ ،‬ﻭﻫﻮ ﺃﻥ ﻳﻜﻮﻥ ﳎﺮّﺩ ﻣُ ِﻌ ٍ‬
‫ﺗﻌﻤﻴﻘﺎ ﳌﻘﻮﻟﺔ ﺍﻟﻌﻼﻣﺔ ﻫﺬﻩ‪ :‬ﻓﺎﻟﻌﻼﻣﺔ‪ ،‬ﻋﻠﻰ ﺭﺃﻳﻪ‪ ،‬ﺇﻧّﻤﺎ ﻫﻲ ﻋﺒﺎﺭﺓ‪ ،‬ﺃﻱ ﺃﻧّﻪ ﰲ ﺍﻟﺼّﻮﺭﺓ ﻫﻨﺎﻙ‬
‫ﺍﺣﺘﻔﺎﻅ ﺑﻨﻔﺲ ﺍﻟﻌﻼﻗﺎﺕ ﺍﳌﻮﺟﻮﺩﺓ ﰲ ﺍﳌﻮﺿﻮﻉ ﺍﻟﹼﺬﻱ ﻫﻲ ﺻﻮﺭﺓ ﻟﻪ‪ ،‬ﻭﺃ ﹼﻥ ﺗﻐﻴّﺮ ﺃﺣﺪﳘﺎ ﳚﻮﺯ‬
‫ﺢ ﻋﻠﻰ ﺍﻟﺴّﻮﺍﺀ ﻟﻠﻜ ﹼﻞ ﺃﻭ ﻟﻮﺍﺣﺪﺓ ﻭﺍﺣﺪﺓ ﻣﻦ ﺍﻷﺟﺰﺍﺀ‪.‬‬
‫ﺃﻥ ﻳﺘﺤﻘﹼﻖ ﺑﻘﺎﻋﺪﺓ ﺗﺼ ّ‬

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‫ﺃﻣّﺎ ﺍﻟﻔﺮﻕ ﺍﻟﻮﺣﻴﺪ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻟﻔﻜﺮﺓ‪ ،‬ﻓﻬﻮ ﺇﺫﹰﺍ ﺃ ﹼﻥ ﺍﻟﺘّﻌﺒﲑ ﻋﻦ ﺍﳌﻮﺿﻮﻉ ﰲ ﺍﳊﺎﻝ‬
‫ﺲ ﻣﻦ ﺃ ﹼﻥ ﻛ ﹼﻞ ﺣﺮﻛﺔ ﻓﻬﻲ‬
‫ﺍﻷﻭّﻝ ﻳﻜﻮﻥ ﺫﺍ ﹶﻟ ْﺒﺲٍ‪ ،‬ﻭﰲ ﺍﳊﺎﻝ ﺍﻵﺧﺮ ﻓﻴﻜﻮﻥ ﺑﻴّﻨﺎ؛ ﻭﻳﺘﺄﺗّﻰ ﺍﻟ ﱠﻠ ْﺒ ُ‬
‫ﺗﺸﺘﻤﻞ ﻋﻠﻰ ﻻ ﻣﺘﻨﺎﻩ ﺣﺮﻛﺎﺕ ﺍﻟﻌﺎﱂ‪ ،‬ﻭﺍﻟﺪّﻣﺎﻍ ﻳﺘﻠﻘﹼﻰ ﻻﻣﺘﻨﺎﻫﻴﺎ ﻣﻦ ﺍﻟﺘّﻐﻴﲑﺍﺕ ﺍﻟﹼﱵ ﻻ ﳝﻜﻦ‬
‫ﺃﻥ ﺗﻨﺎﺳﺒﻬﺎ ﺇ ﹼﻻ ﻓﻜﺮﺓ ﺫﺍﺕ ﻟﹶﺒﺲ ﻫﻲ ﺗﻨﻄﻮﻱ ﻋﻠﻰ ﻻﻣﺘﻨﺎﻩ ﻣﻦ ﺍﻷﻓﻜﺎﺭ ﺍﻟﺒﻴّﻨﺔ ﺍﻟﹼﱵ ﺗﺘﻨﺎﺳﺐ ﻣﻊ‬
‫ﺟﺰﺀ ﺟﺰﺀ‪ .‬ﻓﺎﻷﻓﻜﺎﺭ ﺍﻟﺒﻴّﻨﺔ ﺇﺫﹰﺍ ﻫﻲ ﳏﺘﻮﺍﺓ ﰲ ﺍﻟﻔﻜﺮﺓ ﺫﺍﺕ ﺍﻟﻠﹼﺒﺲ؛ ﺇﻧّﻬﺎ ﻻ ﻭﺍﻋﻴﺔ‪ ،‬ﺇﻧّﻬﺎ‬
‫ﻣﺪﺭﻛﺔ ﻣﻦ ﻏﲑ ﺃﻥ ﺗﻜﻮﻥ ﻣَُﺘَﺒﱠﻴَﻨﺔﹰ؛ ﻭﻟﻴﺲ ﻳَُﺘَﺒﱠﻴﻦُ ﺇ ﹼﻻ ﲨﻠﺘﻬﺎ ﺍﻟﻜ ﹼﻠﻴّﺔ ﺍﻟﹼﱵ ﺗﺒﺪﻭ ﻟﻨﺎ ﺑﺴﻴﻄﺔ ﳉﻬﻠﻨﺎ‬
‫ﲟﺮﻛﹼﺒﺎﻬﺗﺎ‪.‬‬

‫ﺇﺫﻥ‪ ،‬ﻓﻬﻨﺎﻙ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻟﻔﻜﺮﺓ ﻓﺮﻕ ﻳﺸﺒﻪ ﺃﻥ ﻳﻜﻮﻥ ﳎﺮّﺩ ﻓﺮﻕ ﺭﻳﺎﺿ ّﻲ‪ :‬ﻓﺎﻟﺼّﻮﺭﺓ ﳍﺎ‬
‫ﺛﺨﺎﻧﺔ ﺍﻟﻼﹼﻣﺘﻨﺎﻫﻲ‪ ،‬ﻭﺍﻟﻔﻜﺮﺓ ﳍﺎ ﻭﺿﻮﺡ ﺍﻟﻜ ّﻢ ﺍﳌﺘﻨﺎﻫﻲ ﻭﺍﳌﹸﺤ ﱠﻠ ِﻞ‪ .‬ﻭﻛﻼﳘﺎ ُﻣ َﻌﱢﺒﺮَﺍ ِﻥ‪.‬‬

‫ﺤ ﱡﻞ ﺇﱃ ﻋﻨﺎﺻﺮ ﻻ ﻭﺍﻋﻴﺔ ﻫﻲ ﰲ ﻧﻔﺴﻬﺎ ﻋﻘﻼﻧﻴّﺔ‪ ،‬ﻭﺇﱃ‬

‫ﺇ ﹼﻻ ﺃﻧّﻪ ﺇﺫﺍ ﻛﺎﻧﺖ ﺍﻟﺼّﻮﺭﺓ ُﺗ َ‬
‫ﻻﻣﺘﻨﺎﻫﻲ ﻣﻦ ﺍﻟﻨّﺴﺐ ﺍﻟﺘّﻌﺒﲑﻳّﺔ‪ِ ،‬ﻟُﺘﺸَﺎ ِﺭ َﻙ ﺑﺬﻟﻚ ﺍﻟﻔﻜﺮ ﰲ ﺷﺮﻓﻪ‪ ،‬ﻓﺈ ﹼﻥ ﻭﺟﻬﻬﺎ ﺍﻟﺬﹼﺍﰐ ﻣﺘﻌﺬﹼﺭ‬
‫ﺑﻴﺎﻧﻪ‪ .‬ﺇﺫ ﹶﺃﻧﱠﻰ ﻟﺘﺠﻤﻴﻊ ﺇﺩﺭﺍﻛﺎﺕ ﻻ ﻭﺍﻋﻴﺔ‪ ،‬ﻣﺜﻼ‪ ،‬ﺇﺩﺭﺍﻙ ﺍﻷﺻﻔﺮ ﻭﺍﻷﺯﺭﻕ‪ ،‬ﺃﻥ ﺗﻌﻄﻲ ﺗﺒّﻴﻨﺎ‬
‫ﻭﺍﻋﻴﺎ ﺑﺎﻷﺧﻀﺮ ؟ ﻭﺃﻧّﻰ‪ ،‬ﺇﺫﺍ ﺃﺿﻌﻔﻨﺎ ﻣﻦ ﺩﺭﺟﺔ ﺍﻟﻮﻋﻲ ﺑﺎﻷﻓﻜﺎﺭ ﺍﻟﻌﻨﺼﺮﻳّﺔ‪ ،‬ﻓﺈ ﹼﻥ ﺷﺪّﻬﺗﺎ ﰲ‬
‫ﺍﻟﺬﹼﻫﻦ ﻫﻲ ﺗﻌﻄﻲ ﻣﺜﻞ ﺗﻠﻚ ﺍﻟﺘّﺮﻛﻴﺒﺎﺕ ﺍﻟﻔﺠﺎﺋﻴّﺔ ؟ ﺇ ﹼﻥ ﻟﻴﺒﺘﱰ ﱂ ﳛﺘﻔﻞ ﺑﺒﻴﺎﻥ ﺫﻟﻚ‪ .‬ﻭﺇﻧّﻤﺎ‬
‫ﺍﻟﺘﻤﺲ ﺃﻥ ﳚﺪ ﰲ ﺍﻟﺼّﻮﺭﺓ ﻣﻌﲎ ﻳﺼﻠﻬﺎ ﺑﺎﻟﻔﻜﺮ‪ ،‬ﻓﺒﺪ ّﺩ ﺍﻟﺼّﻮﺭﺓ ﲟﺎ ﻫﻲ ﻛﺬﻟﻚ)‪ .(٥‬ﻭﻫﻮ ﻗﺪ‬
‫ﺃﺿﻠﹼﺘﻪ ﺃﻳﻀﺎ ﻣﺸﺎﻬﺑﺔ ﺭﻳﺎﺿﻴّﺔ ﳌﹼﺎ ﺃﺧﺬ ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﻟﺘّﺴﻠﻴﻢ ﺑﺄ ﹼﻥ ﺍﻟﻠﱠﺒﺲ ﻳﺴﺎﻭﻱ ﻻﻣﺘﻨﺎﻫﻴﺔ‪،‬‬
‫ﻓﻴﺴﺎﻭﻱ ﺛﺨﺎﻧﺔ ﺃﻭ ﺃﻳﻀﺎ ﻻ ﻋﻘﻼﻧﻴّﺔ؛ ﺇﺫ ﺃ ﹼﻥ ﺍﻟﻼﹼﻣﻌﻘﻮﻝ ﺍﻟﺮّﻳﺎﺿﻲ ﻟﻴﺲ ﻫﻮ ﺃﺑﺪﺍ ﺇ ﹼﻻ ﺿﺮﺑﺎ ﻣﻦ‬
‫ﺍﳌﻌﻘﻮﻝ ﱂ ﻧﺴﺘﻮﻋﺒﻪ َﺑ ْﻌﺪُ‪ .‬ﺃﻣّﺎ ﺇﺫﺍ ﻧﻈﺮﻧﺎ ﻧﻈﺮﺍ ﻣﻨﻄﻘﻴّﺎ‪ ،‬ﻓﻠﻴﺲ ﳝﻜﻦ ﺃﺑﺪﺍ ﺃﻥ ﻧﻔﻀﻲ ﺑﻌﺪ ﺑﻨﺎﺀ ﻣﺎ‬
‫ﺇﱃ ﺛﺨﺎﻧﺔ ﻻ ﻣﻨﻄﻘﻴّﺔ ﻳﻬﻮﻥ ﻣﻌﻬﺎ ﻛ ﹼﻞ ﻓﻜﺮ‪ .‬ﻓﺎﻟﻜﻴﻒ ﻟﻴﺲ ﻫﻮ ﺍﻟﻜﻢّ‪ ،‬ﻭﻟﻮ ﻛﺎﻥ ﺍﻟﻜ ّﻢ ﻻﻬﻧﺎﺋﻴّﺎ‪،‬‬
‫ﺢ ﰲ ﺃﻥ ﻳﻌﻴﺪ ﻟﻺﺣﺴﺎﺱ ﺻﻔﺘﻪ ﺍﳊﺴّﻴﺔ ﻭﺍﻟﻜﻴﻔﻴّﺔ ﺍﻟﹼﱵ ﻛﺎﻥ ﻗﺪ ﻧﺰﻋﻬﺎ ﻋﻨﻪ ﺃﻭّﻻ‪.‬‬
‫ﻭﻟﻴﺒﻨﺘﺰ ﱂ ُﻳ ﹾﻔ ِﻠ ْ‬

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‫ﺴﻴّﺔ ﺑﺪﻻﻟﺔ ﺫﻫﻨﻴّﺔ‪ ،‬ﻫﻲ ﻏﺎﻣﻀﺔ‪.‬‬
‫ﹼﰒ ﺇ ﹼﻥ ﻣﻘﻮﻟﺔ ﺍﻟﺘّﻌﺒﲑ‪ ،‬ﺍﻟﹼﱵ ﻛﺎﻧﺖ ﲤﻜﹼﻦ ﻣﻦ ﺇﻓﺎﺩﺓ ﺍﳌﻌﻄﻴﺎﺕ ﺍﳊ ّ‬
‫ﺇﻧّﻬﺎ ﻋﻼﻗﺔ ﻧﻈﺎﻡ ﻭﻣﻨﺎﺳﺒﺔ ﻓﻴﻤﺎ ﻳﻘﻮﻝ ﻻﻳﺒﻨﺘﺰ‪ .‬ﻭﻟﻜﻨّﻪ ﻻﳝﻜﻦ ﺃﻥ ﻳﻮﺟﺪ ﲤﺜﹼﻼ ﻃﺒﻴﻌﻴّﺎ ﻝ " ﺟﻨﺲ‬
‫ﰲ ﻟﻜﻲ ﻳُ ْﻤ ِﻜ َﻦ ﻟﻠﺬﹼﻫﻦ ﻓﻴﻤﺎ ﺑﻌﺪ‬
‫" ﻣﻦ " ﺟﻨﺲ " ﺁﺧﺮ؛ ﺑﻞ ﻳﻨﺒﻐﻲ ﺃﺑﺪﺍ ﺃﻥ ﻳﻜﻮﻥ ﻫﻨﺎﻙ ﺑﻨﺎﺀ ﺟﺰﺍ ﹼ‬
‫ﺃﻥ ﻳﻘﺒﻞ ﺑﺄﻧّﻪ ﻳﻮﺟﺪ ﰲ ﺣﻀﺮﺓ ﻋﻼﻗﺎﺕ ﻣﻜﺎﻓﺌﺔ‪.‬‬

‫ﻓﻠﻴﺒﻨﺘﺰ ﺇﺫﹰﺍ‪ ،‬ﹼﳌﺎ ﺣﺎﻭﻝ ﺃﻥ ﻳﺆﺳّﺲ ﺍﻟﻘﻴﻤﺔ ﺍﻟﱠﺘ َﻤﱡﺜ ِﻠﱠﻴ ِﺔ ﻟﻠﺼّﻮﺭﺓ‪ ،‬ﻓﻘﺪ ﺃﺧﻔﻖ ﺩﻓﻌﺔ ﻭﺍﺣﺪﺓ ﰲ‬
‫ﻭﺻﻔﻪ ﻭﺻﻔﺎ ﺟﻠﻴّﺎ ﻟﻌﻼﻗﺘﻬﺎ ﺑﺎﳌﻮﺿﻮﻉ‪ ،‬ﻭﰲ ﺑﻴﺎﻧﻪ ﻷﺻﺎﻟﺔ ﻭﺟﻮﺩﻫﺎ ﻣﻦ ﺣﻴﺚ ﻣﺎ ﻫﻲ ُﻣ ْﻌﻄﹶﻰ‬
‫ﱄ ﻟﻠﻮﻋﻲ‪ .‬ﻭﰲ ﺣﲔ ﺃ ﹼﻥ ﻻ ﻳﺒﻨﺘﺰ ﻛﺎﻥ ﻗﺪ ﺭﺍﻡ ﻣﻦ ﺃﺟﻞ ﺣﻠﹼﻪ ﻟﻠﻤﻘﺎﺑﻠﺔ ﺍﻟﺪّﻳﻜﺮﺍﺗﻴّﺔ‪ ،‬ﺍﻟﺼّﻮﺭﺓ‬
‫ﺃ ّﻭ ﹼ‬
‫ﻭﺍﻟﻔﻜﺮ‪ ،‬ﻷﻥ ﻳﺼﺮﻑ ﺍﻟﺼّﻮﺭﺓ ﻣﻦ ﺣﻴﺚ ﻫﻲ ﻛﺬﻟﻚ‪ ،‬ﻓﺈ ﹼﻥ ﺧﱪﻳّﺔ ﻫﻴﻮﻡ ﻗﺪ ﺟﻬﺪﺕ ﻋﻠﻰ‬
‫ﺍﻟﻌﻜﺲ‪ ،‬ﻣﻦ ﺃﺟﻞ ﺃﻥ ﺗﺮ ّﺩ ﺍﻟﻔﻜﺮ ﺑﺄﺳﺮﻩ ﺇﱃ ﻧﺴﻖ ﻣﻦ ﺍﻟﺼّﻮﺭ)‪ .(٦‬ﻓﻬﻲ ﻗﺪ ﺍﺳﺘﻌﺎﺭﺕ ﻣﻦ‬
‫ﱄ ﻟﻠﺘّﺨﻴﻞ‪ ،‬ﻭُﺑ َﻌ ْﻴ َﺪﻣَﺎ ﺃﻓﺮﺩﺕ ﻫﺬﺍ ﺍﻟﻌﺎﱂ ﻣﻦ ﲢﺖ ﻋﻦ ﺍﳌﻮﺿﻮﻉ‬
‫ﺍﻟﺪّﻳﻜﺎﺭﺗﻴّﺔ ﻭﺻﻔﻬﺎ ﻟﻠﻌﺎﱂ ﺍﻵ ﹼ‬
‫ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟ ّﻲ ﺍﻟﹼﺬﻱ ﻳﻀﺮﺏ ﻓﻴﻪ‪ ،‬ﻭﻣﻦ ﻓﻮﻕ ﻋﻦ ﺍﻟﺬﹼﻫﻦ‪ ،‬ﻓﻘﺪ ﺟﻌﻠﺖ ﻣﻨﻪ ﺍﳌﻮﺿﻮﻉ ﺍﻟﻮﺣﻴﺪ‬
‫ﻱ ﺣﻘﻴﻘﺔ‪.‬‬
‫ﺍﻟﹼﺬﻱ ﻳﺘﺤﺮّﻙ ﻓﻴﻪ ﺍﻟﺬﹼﻫﻦ ﺍﻟﺒﺸﺮ ّ‬
‫ﻓﻠﻴﺲ ﻳﻮﺟﺪ ﰲ ﺍﻟﺬﹼﻫﻦ ﺇ ﹼﻻ ﺍﻧﻄﺒﺎﻋﺎﺕ ﻭﻧﺴﺦ ﻣﻦ ﺗﻠﻚ ﺍﻻﻧﻄﺒﺎﻋﺎﺕ ﺍﻟﹼﱵ ﻫﻲ ﺍﻷﻓﻜﺎﺭ‬
‫ﻭﺍﻟﹼﱵ ﺗﻨﺤﻔﻆ ﰲ ﺍﻟﺬﹼﻫﻦ ﺑﻀﺮﺏ ﻣﻦ ﺍﻟﻌﻄﺎﻟﺔ ؛ ﻭﺍﻷﻓﻜﺎﺭ ﻭﺍﻻﻧﻄﺒﺎﻋﺎﺕ ﻻ ﲣﺘﻠﻒ ﺑﺎﻟﻄﹼﺒﻴﻌﺔ‪ ،‬ﳑّﺎ‬
‫ﳚﻌﻞ ﺃ ﹼﻥ ﺍﻹﺩﺭﺍﻙ ﻻ ﳜﺘﻠﻒ ﰲ ﻧﻔﺴﻪ ﻋﻦ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻓﻴﻨﺒﻐﻲ ﻟﻜﻲ ﻧﺘﻌﺮّﻑ ﻋﻠﻴﻬﻤﺎ ﺃﻥ ﻧﺴﺘﺨﺪﻡ‬
‫ﻣﻘﻴﺎﺳﺎ ﻣﻮﺿﻮﻋﻴّﺎ ﻣﻘﻴﺎﺱ ﺍﻻﻧﺴﺠﺎﻡ‪ ،‬ﻭﺍﻻﺗّﺼﺎﻟﻴّﺔ ﺫﻱ ﺍﳌﻌﲎ ﺍﻟﻐﺎﻣﺾ ﺃﺷ ّﺪ ﻣﻦ ﻏﻤﻮﺿﻪ ﻟﺪﻯ‬
‫ﻱ ﺷﻲﺀ ﳝﻜﻦ ﻟﻠﻔﻜﺮ ﺃﻥ ﻳﻌﺘﻤﺪ ﺣﺘّﻰ ﻳﻔﺎﺭﻕ ﺍﻻﻧﻄﺒﺎﻋﺎﺕ‬
‫ﺩﻳﻜﺎﺭﺕ‪ ،‬ﻷﻧّﻨﺎ ﻻ ﻧﺮﻯ ﻋﻠﻰ ﺃ ّ‬
‫ﻭﻳﺮﺗﻔﻊ ﻋﻨﻬﺎ ﺑﺎﳊﻜﻢ‪ ،‬ﺇﻥ ﻛﺎﻥ ﻫﻮ ﻟﻴﺲ ﻳﺘﻜﻮّﻥ ﺇ ﹼﻻ ﻣﻦ ﻓﺴﻴﻔﺴﺎﺀ ﻣﻦ ﺍﻻﻧﻄﺒﺎﻋﺎﺕ‪.‬‬

‫ﺇ ﹼﻥ ﺍﻟﺼّﻮﺭ ﻫﻲ ﻣﻮﺻﻮﻟﺔ ﺑﻴﻨﻬﺎ ﺑﻌﻼﻗﺎﺕ ﺍﻟﺘّﻼﺻﻖ ﻭﺍﻟﺘّﺸﺎﺑﻪ ﺍﻟﹼﱵ ﺗﻔﻌﻞ ﺑﻨﺤﻮ " ﻗﻮﻯ‬
‫ﻱ‪ .‬ﻭﺍﻟﺘّﺸﺎﺑﻪ‬
‫ﱄ ﻭﻧﺼﻔﻬﺎ ﺳﺤﺮ ّ‬
‫ﻣﻌﻄﺎﺓ "؛ ﺇﻧّﻬﺎ ﺗﺘﻀﺎﻣّﻢ ﲝﺴﺐ ﺍﳒﺬﺍﺑﺎﺕ ﺫﺍﺕ ﻃﺒﻴﻌﺔ ﻧﺼﻔﻬﺎ ﺁ ﹼ‬
‫ﺍﻟﹼﺬﻱ ﺑﲔ ﺑﻌﺾ ﺍﻟﺼّﻮﺭ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﳝﻜﹼﻨﻨﺎ ﻣﻦ ﺇﻃﻼﻕ ﺍﲰﺎ ﻣﺸﺘﺮﻛﺎ ﻗﺪ ﻳﺪﻓﻌﻨﺎ ﻟﻼﻋﺘﻘﺎﺩ ﰲ‬

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‫ﻭﺟﻮﺩ ﺍﻟﻔﻜﺮﺓ ﺍﻟﻌﺎﻣّﺔ ﺍﳌﻨﺎﺳﺒﺔ ﻟﻪ‪ ،‬ﻭﻣﻊ ﺫﻟﻚ ﻓﺈﻧّﻤﺎ ﳎﻤﻮﻉ ﺍﻟﺼّﻮﺭ ﻫﻲ ﻭﺣﺪﻫﺎ ﺍﳌﻮﺟﻮﺩﺓ ﰲ‬
‫ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻭﻫﻲ ﻣﻮﺟﻮﺩﺓ "ﺑﺎﻟﻘﻮّﺓ " ﰲ ﺍﻻﺳﻢ‪.‬‬

‫ﻭﻫﺬﻩ ﺍﻟﻨّﻈﺮﻳّﺔ ﺑﺄﺳﺮﻫﺎ ﺇﻧّﻤﺎ ﺗﺴﺘﻠﺰﻡ ﻣﻘﻮﻟﺔ ﱂ ﻳﻘﻊ ﻣﻊ ﺫﻟﻚ ﺍﻹﻓﺼﺎﺡ ﻋﻨﻬﺎ ﺑﺘﺎﺗﺎ‪ ،‬ﻭﻫﻲ‬
‫ﻣﻘﻮﻟﺔ ﺍﻟﻼﹼﻭﻋﻲ‪ .‬ﻓﺎﻷﻓﻜﺎﺭ ﻟﻴﺲ ﳍﺎ ﻣﻦ ﻭﺟﻮﺩ ﺇ ﹼﻻ ﻛﻮﺟﻮﺩ ﺍﳌﻮﺿﻮﻋﺎﺕ ﺍﻟﺒﺎﻃﻨﻴّﺔ ﻟﻠﻔﻜﺮ‪ ،‬ﻭﻣﻊ‬
‫ﺻ ﹸﻞ ﺇﱃ ﺃﻓﻜﺎﺭ ﻭﺍﻋﻴﺔ؛ ﻓﻬﻲ‬
‫ﺫﻟﻚ ﻓﻬﻲ ﻟﻴﺴﺖ ﺃﺑﺪﺍ ﻭﺍﻋﻴﺔ‪ ،‬ﺑﻞ ﺇﻧّﻬﺎ ﻻ ﺗﺴﺘﻴﻘﻆ ﺇ ﹼﻻ ﺣﻴﻨﻤﺎ ﺗُﻮ َ‬
‫ِﺇﺫﹰﺍ ﺗﺒﻘﻰ ﻣﻮﺟﻮﺩﺓ ﻭﺟﻮﺩ ﺍﳌﻮﺍﺿﻴﻊ ﺍﳌﺎ ّﺩﻳّﺔ‪ ،‬ﻭﻫﻲ ﺃﺑﺪﺍ ﺣﺎﺿﺮﺓ ﻛﻠﹼﻬﺎ ﺑﺎﻟﺬﹼﻫﻦ‪ :‬ﺇ ﹼﻻ ﺃﻧّﻬﺎ ﻻ ﺗﻜﻮﻥ‬
‫ﺠ ﹶﻠﺐُ ﺑﻘﻮّﺓ ﻣﺎ ﻣﻌﻄﺎﺓ ﺇﱃ‬
‫ﺑﺄﺳﺮﻫﺎ ﻣَُﺘَﺒﱠﻴَﻨ ﹰﺔ‪ .‬ﻭِﻟ َﻢ ﺫﻟﻚ ؟ ﻭﻛﻴﻒ ﳝﻜﻦ ﺃ ﹼﻥ ﻫﺬﻩ ﺍﻟﺼّﻮﺭ ﻣﱴ ﺗُ ْ‬
‫ﺤﻬَﺎ ﺻﻔﺔ ﻛﻮﻬﻧﺎ ﻭﺍﻋﻴﺔ ؟ ﺇ ﹼﻥ ﻫﻴﻮﻡ ﱂ ﻳﻀﻊ ﻫﺬﺍ ﺍﻟﺴّﺆﺍﻝ‪ .‬ﻭﺇﻧّﻤﺎ ﻭﺟﻮﺩ‬
‫ﻓﻜﺮﺓ ﻭﺍﻋﻴﺔ ﻓﺬﻟﻚ ﻣَﺎِﻧ ُ‬
‫ﺍﻟﻮﻋﻲ ﻗﺪ ﺗﺒﺨّﺮ ﺑﺄﻛﻤﻠﻪ ﻭﺭﺍﺀ ﻋﺎﱂ ﻣﻦ ﺍﳌﻮﺍﺿﻴﻊ ﺍﻟﺜﹼﺨﻴﻨﺔ ﺍﻟﹼﱵ ﺗﺘّﺨﺬ‪ ،‬ﻭﻟﺴﻨﺎ ﻧﺪﺭﻱ ﻣﻦ ﺃﻳﻦ‪،‬‬
‫ﻱ ﻋﻤﻞ ﻓﺎﻋﻞ‪.‬‬
‫ﺿﺮﺑﺎ ﻣﻦ ﺍﻟﻔﻮﺳﻮﻓﻮﺭﺳﻴّﺔ ﺍﳌﻮﺯّﻋﺔ‪ ،‬ﻟﻌﻤﺮﻱ‪ ،‬ﺗﻮﺯﻳﻌﺎ ﺟﺰﺍﻓﻴّﺎ‪ ،‬ﻭﻟﻴﺲ ﻟﻪ ﻣﻦ ﺃ ّ‬
‫ﺠَﺒ َﺮﺓﹲ ﻋﻠﻰ ﺃﻥ ﺗﻀﻊ‬
‫ﹼﰒ ﺇ ﹼﻥ ﺍﻟﺘّﺮﺍﺑﻄﻴّﺔ‪ ،‬ﻓﻤﻦ ﺃﺟﻞ ﺃﻥ ﺗﻌﺎﻭﺩ ﺑﻨﺎﺀ ﺍﻟﻔﻜﺮ ﻛﻠﹼﻪ ﺑﺎﻟﺼّﻮﺭ ﻓﻬﻲ ﻣُ ْ‬
‫ﻭﺟﻮﺩ ﺻﻨﻔﺎ ﻛﺎﻣﻼ ﻣﻦ ﺍﻷﻓﻜﺎﺭ ﺫﺍﺕ ﺍﳌﻮﺿﻮﻉ ﺍﻟﹼﺬﻱ‪ ،‬ﻛﻤﺎ ﻛﺎﻥ ﻗﺪ ﺗﺒﻴﻨّﻪ ﺃﻫﻞ ﺍﻟﺪّﻛﺎﺭﺗﻴّﺔ‪،‬‬
‫ﻱ ﺍﻧﻄﺒﺎﻉ ﻣﻦ ﺍﻻﻧﻄﺒﺎﻋﺎﺕ‪.‬‬
‫ﻟﻴﺲ ﻳُﻌﻄﻴﻪ ﺃ ّ‬

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‫ﺖ ﺇﺫﺍ ﻣﺴﺄﻟﺔ ﺍﻟﺼّﻮﺭﺓ‬
‫ﻓﻤﻨﺬ ﻬﻧﺎﻳﺔ ﺍﻟﻨّﺼﻒ ﺍﻷﻭّﻝ ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﻟﺜﹼﺎﻣﻦ ﻋﺸﺮ‪ ،‬ﻗﺪ ﺻِﻴ َﻐ ْ‬
‫ﺻﻮﻏﺎ ﺑﻴّﻨﺎ؛ ﻭﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﻓﻘﺪ ﻭﺿﻌﻨﺎ ﺛﻼﺛﺔ ﺣﻠﻮﻝ‪.‬‬

‫ﻓﺈﻣّﺎ ﺃﻥ ﻧﻘﻮﻝ‪ ،‬ﻣﻊ ﺍﻟﺪّﻛﺎﺭﺗﻴﲔ‪ ،‬ﺑﺄﻧّﻪ ﻳﻮﺟﺪ ﻓﻜﺮ ﳏﺾ‪ ،‬ﺃﻫﻞ ﺃﺑﺪﺍ‪ ،‬ﺃﻭ ﺃﻫﻞ ﻣﻦ ﺟﻬﺔ ﺍﳊ ّﻖ‬
‫ﰲ ﺍﻷﻗﻞﹼ‪ ،‬ﻷ ﹼﻥ ﳛ ﹼﻞ ﳏ ﹼﻞ ﺍﻟﺼّﻮﺭﺓ ﻛﺤﻠﻮﻝ ﺍﳊﻘﻴﻘﺔ ﳏ ﹼﻞ ﺍﻟﻜﺬﺏ ﺃﻭ ﺍﳌﻄﺎﺑﻖ ﳏ ﹼﻞ ﺍﻟﻼﹼﻣﻄﺎﺑﻖ‪.‬‬
‫ﻭﻋﻨﺪﺋﺬ‪ ،‬ﻓﻠﻦ ﻳﻌﻮﺩ ﻫﻨﺎﻙ ﻋﺎﱂ ﺍﻟﺼّﻮﺭﺓ ﻭﻋﺎﱂ ﺍﻟﻔﻜﺮ‪ ،‬ﻭﺇﻧّﻤﺎ ﺿﺮﺏ ﻣﻦ ﺍﻷﺧﺬ ﻧﺎﻗﺺ‪،‬‬
‫ﻭﻣﺒﺘﻮﺭ‪ ،‬ﻭﳏﺾ ﻋﻤﻠ ّﻲ ﻟﻠﻌﺎﱂ‪ ،‬ﻭﺿﺮﺏ ﺁﺧﺮ ﻣﻦ ﺍﻷﺧﺬ ﻳﻜﻮﻥ ﺭﺅﻳﺔ ﺷﺎﻣﻠﺔ ﻭﻏﲑ ﻧﻔﻌﻴّﺔ‪.‬‬

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‫ﻓﺎﻟﺼّﻮﺭﺓ ﻫﻲ ﳎﺎﻝ ﺍﻟﻈﹼﺎﻫﺮ‪ ،‬ﻭﻫﻮ ﺫﻭ ﻇﺎﻫﺮﻳّﺔ ﻃﺒﻴﻌﺘﻨﺎ ﻛﻮﻧﻨﺎ ﺑﺸﺮﺍ ﺗﻔﻴﺪﻫﺎ ﺑﻨﻮﻉ ﻣﻦ ﺍﳉﻮﻫﺮﻳّﺔ‪.‬‬
‫ﻓﻬﻨﺎﻙ ِﺇﺫﹰﺍ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻟﻔﻜﺮ‪ ،‬ﻋﻠﻰ ﺍﻷﻗﻞﹼ‪ ،‬ﰲ ﺍﳌﺮﺗﺒﺔ ﺍﻟﻨّﻔﺴﻴّﺔ‪ ،‬ﻫﻮّﺓ ﺣﻘﻴﻘﻴّﺔ‪ .‬ﻭﺍﻟﺼّﻮﺭﺓ‬
‫ﻟﻴﺴﺖ ﺗﻔﺘﺮﻕ ﻋﻦ ﺍﻹﺣﺴﺎﺱ؛ ﺃﻭ ﺑﺎﻷﺣﺮﻯ ﺇ ﹼﻥ ﺍﻟﺘّﻔﺮﻗﺔ ﺍﻟﹼﱵ ﳓﻜﻢ ﻬﺑﺎ ﺑﻴﻨﻬﺎ ﺇﻧّﻤﺎ ﳍﺎ ﲞﺎﺻّﺔ‬
‫ﻗﻴﻤﺔ ﻋﻤﻠﻴّﺔ‪ .‬ﻭﺍﻻﻧﺘﻘﺎﻝ ﻣﻦ ﺍﳌﺮﺗﺒﺔ ﺍﻟﺘّﺨﻴّﻠﻴّﺔ ﺇﱃ ﺍﳌﺮﺗﺒﺔ ﺍﻟﻔﻜﺮﻳّﺔ ﳛﺼﻞ ﺃﺑﺪﺍ ﺑﻄﺮﻳﻖ ﺿﺮﺏ ﻣﻦ‬
‫ﺍﻟﻘﻔﺰ‪ :‬ﻓﻬﻨﺎﻟﻚ ﺗﻮﺟﺪ ﻻﺍﺗّﺼﺎﻟﻴّﺔ ﺃﻭﱃ ﺗﻘﺘﻀﻲ ﺑﺎﻻﺿﻄﺮﺍﺭ ﻗﻠﺒﺎ ﺃﻭ‪ ،‬ﻛﻤﺎ ﻗﺪ ﺍﻋﺘﺪﻧﺎ ﺍﻟﺘّﻜﺮﺍﺭ‬
‫ﻓﻴﻪ‪ ،‬ﺗﻘﺘﻀﻲ " ﻗﻠﺒﺎ" ﻓﻠﺴﻔﻴّﺎ‪ .‬ﻭﻫﻮ ﻗﻠﺐ ﻋﻠﻰ ﻏﺎﻳﺔ ﻣﻦ ﺍﳉﺬﹼﺭﻳّﺔ ﺣﺘّﻰ ﺃﻧّﻪ ﻗﺪ ﻟﺰﻣﺖ ﻣﻨﻪ ﻣﺴﺄﻟﺔ‬
‫ﺹ‬
‫ﻫﻮﻳّﺔ ﺍﻟﺬﹼﺍﺕ ﻧﻔﺴﻬﺎ‪ :‬ﻋﻠﻰ ﻣﻌﲎ ﺃﻧّﻪ‪ ،‬ﻭﺑﻌﺒﺎﺭﺓ ﻧﻔﺴﻴّﺔ‪ ،‬ﻓﻬﻮ ﺳﻮﻑ ﳚﺐ ﺷﻜﻞ ﺗﺄﻟﻴﻔ ّﻲ ﺧﺎ ّ‬
‫ﺣﺘّﻰ ﳚﺘﻤﻊ ﰲ ﻭﺣﺪﺓ ﻭﻋﻲ ﻭﺍﺣﺪ ﺍﻷﻧﺎ ﺍﻟﹼﺬﻱ ﻳﺘﻌﻘﹼﻞ ﻗﻄﻌﺔ ﺍﻟﺸّﻤﻌﺔ‪ ،‬ﻭﺍﻷﻧﺎ ﺍﻟﹼﺬﻱ ﻳﺘﺨﻴّﻠﻬﺎ‪،‬‬
‫ﺨﱠﻴ ﹶﻠ ِﺔ ﻭﺍﻟﻘﻄﻌﺔ ﺍﳌﹸَﺘ َﻌ ﱠﻘ ﹶﻠ ِﺔ ﰲ ﺣﻜﻢ ﻳﻘﻀﻲ ﺑﺎﳍﻮﻳّﺔ "‬
‫ﻭﺣﺘّﻰ ﲡﺘﻤﻊ ﺑﺎﳌﺴﺎﻭﻗﺔ‪ ،‬ﻗﻄﻌﺔ ﺍﻟﺸّﻤﻊ ﺍﳌﹸَﺘ َ‬
‫ﺑﺄﻧّﻬﺎ ﺇﻧّﻤﺎ ﻫﻲ ﻣﻮﺿﻮﻉ ﻭﺍﺣﺪ ﻫﻮ ﻫﻮ‪ ".‬ﻓﺎﻟﺼّﻮﺭﺓ‪ ،‬ﺑﺎﻟﺬﹼﺍﺕ‪ ،‬ﻻﳝﻜﻨﻬﺎ ﺃﻥ ﺗﻔﻴﺪ ﺍﻟﻔﻜﺮ ﺇ ﹼﻻ‬
‫ﲟﻌﻮﻧﺔ ﻋﻠﻰ ﻏﺎﻳﺔ ﻣﻦ ﺍﻟﺮّﻳﺒﺔ‪ .‬ﻭﻫﻨﺎﻙ ﻣﺴﺎﺋﻞ ﻟﻴﺴﺖ ﺗﻌﺮﺽ ﺇ ﹼﻻ ﰲ ﺣ ّﻖ ﺍﻟﻔﻜﺮ ﺍﶈﺾ‪ ،‬ﻷ ﹼﻥ‬
‫ﺨﱠﻴ ﹶﻞ‪ .‬ﻭﻫﻨﺎﻙ ﺁﺧﺮﻭﻥ ﻳُﺠِﻴﺰُﻭ ﹶﻥ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﺼّﻮﺭ‪ ،‬ﺑﺸﺮﻁ ﺃﻥ ﻧُ ﹶﻘ ﱢﻌ َﺪ‬
‫ﺣﺪﻭﺩﻫﺎ ﻻﳝﻜﻦ ﺍﻟﺒﺘّﺔ ﺃﻥ ﺗَُﺘ َ‬
‫ﻫﺬﺍ ﺍﻻﺳﺘﺨﺪﺍﻡ ﺻﺎﺭﻡ ﺍﻟّﺘﻘﻌﻴﺪ‪ .‬ﻭﻋﻠﻰ ﺃﻳّﺔ ﺣﺎﻝ‪ ،‬ﻓﻬﺬﻩ ﺍﻟﺼّﻮﺭ ﻟﻴﺴﺖ ﳍﺎ ﻣﻦ ﻭﻇﻴﻔﺔ ﺇ ﹼﻻ ﺃﻥ‬
‫ﺨ َﺪﻡُ ﺑﻨﺤﻮ ﺍﳌﺨﻄﹼﻄﺎﺕ ﻭﺍﻟﻌﻼﻣﺎﺕ ﻭﺍﻟﺮّﻣﻮﺯ‪،‬‬
‫ﺴَﺘ ْ‬
‫ﺗُ َﻬﱢﻴﹶﺄ ﺍﻟﺬﹼﻫﻦ ﻷﻥ ﻳﻘﻮﻡ ﺑﺎﻟﻘﻠﺐ‪ .‬ﻓﻬﻲ ﺗُ ْ‬
‫ﺖ ﻭ َﺷ ﹾﺄَﻧﻬَﺎ‪ ،‬ﻓﺈﻧّﻬﺎ‬
‫ﻭﻟﻜﻨّﻬﺎ ﻻ ﺗﺪﺧﻞ ﺇﻃﻼﻗﺎ ﰲ ﻓﻌﻞ ﺍﻟﺘّﺼﻴﲑ ﻓﻜﺮﺍ ﻋﻠﻰ ﺍﻟﺘّﺤﻘﻴﻖ‪ .‬ﺑﻞ ﺇﺫﺍ ﺗُ ِﺮ ﹶﻛ ْ‬
‫ﻑ ﺇﱃ‬
‫ﺼ َﺮ َ‬
‫ﱄ)‪ .(٧‬ﻭﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﻓﻤﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳُ ْ‬
‫ﺗﺘﻌﺎﻗﺐ ﻋﻠﻰ ﳕﻂ ﻣﻦ ﺍﻟﺘّﺮﺍﺑﻂ ﳏﺾ ﺁ ﹼ‬
‫ﻣﻮﺿﻮﻉ ﺍﻹﺣﺴﺎﺳﺎﺕ ﻭﺍﻟﺼّﻮﺭ‪ .‬ﻭﺍﳊﻜﻢ ﺑﻮﺟﻮﺩ ﻓﻜﺮ ﳏﺾ ﻓﻤﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﱰﻉ ﺍﻟﺬﹼﻫﻦ ﻧﻔﺴﻪ‬
‫ﻣﻦ ﺃﻥ ﻳﻜﻮﻥ ﻣﻮﺿﻮﻉ ﻭﺻﻒ ﻧﻔﺴ ّﻲ‪ :‬ﺑﻞ ﺇﻧّﻪ ﻟﻦ ﻳُ ْﻤ ِﻜ َﻦ ﺃﻥ ﻳﻜﻮﻥ ﺇ ﹼﻻ ﻣﻮﺿﻮﻉ ﻓﺤﺺ‬
‫ﺍﺑﺴﺘﻤﻮﻟﻮﺟ ّﻲ ﻭﻣﻨﻄﻘ ّﻲ ﻟﻠﺪّﻻﻻﺕ‪.‬‬

‫ﻟﻜﻨّﻪ ﺭﺑّﻤﺎ ﺍﻟﻮﺟﻮﺩ ﺍﳌﻔﺎﺭﻕ ﳍﺬﻩ ﺍﳌﻌﺎﱐ ﺳﻮﻑ ﻳﺒﺪﻭ ﻟﻨﺎ ﺑﻨﺤﻮ ﺍﳋﻠﻒ‪ .‬ﻓﻬﻲ ﺇﻣّﺎ ﺃﻥ ﻧﺴﻠﹼﻢ‬
‫ﺑﺄﻧّﻬﺎ ﻣﺎﻗﺒﻠﻴّﺔ ﻣﻮﺟﻮﺩﺓ ﰲ ﺍﻟﻔﻜﺮ ﺃﻭ ﺑﺄﻧّﻬﺎ ﲟﱰﻟﺔ ﺍﻟﻜﺎﺋﻨﺎﺕ ﺍﻹﻓﻼﻃﻮﻧﻴّﺔ‪ .‬ﻭﰲ ﻛﻠﺘﺎ ﺍﳊﺎﻟﲔ‪ ،‬ﻓﻬﻲ‬
‫ﲤﺘﻨﻊ ﻋﻦ ﺍﻟﻌﻠﻢ ﺍﻻﺳﺘﻘﺮﺍﺋ ّﻲ‪ .‬ﻭﻟﻮﺭﻏﺒﻨﺎ ﰲ ﺃﻥ ﻧﺆﻛﹼﺪ ﻋﻠﻰ ﺣﻘﻮﻕ ﻋﻠﻢ ﻭﺿﻌ ّﻲ ﺑﺎﻟﻄﹼﺒﻴﻌﺔ‬

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‫ﺍﻹﻧﺴﺎﻧﻴّﺔ‪ ،‬ﺷﺄﻧﻪ ﺃﻧّﻪ ﻳﺮﺗﻔﻊ ﻣﻦ ﺍﻟﻮﺍﻗﻌﺎﺕ ﺇﱃﺍﻟﻘﻮﺍﻧﲔ ﲟﱰﻟﺔ ﺍﻟﻔﻴﺰﻳﺎﺀ ﺃﻭ ﺍﻟﺒﻴﻮﻟﻮﺟﻴﺎ‪ ،‬ﻭﻟﻮ ُﺭ ْﻣﻨَﺎ‬
‫ﺃﻥ ﻧﺘﻨﺎﻭﻝ ﺍﻟﻮﺍﻗﻌﺎﺕ ﺍﻟﻨّﻔﺴﻴّﺔ ﺑﻨﺤﻮ ﺍﻷﺷﻴﺎﺀ‪ ،‬ﻓﺴﻮﻑ ﻳﺘﻮﺟّﺐ ﺃﻥ ﻧﻨﺼﺮﻑ ﻋﻦ ﻋﺎﱂ ﺍﳌﺎﻫﻴﺎﺕ‬
‫ﺫﺍﻙ ﺍﻟﹼﺬﻱ ﻧﺪﺭﻛﻪ ﺑﺎﻟﺘّﺄﻣّﻞ ﺍﳊﺪﺳﻲّ‪ ،‬ﻭﺍﻟﺬﹼﻱ ُﻳ ْﻌﻄﹶﻰ ﻓﻴﻪ ﺍﻟﻌﻤﻮﻡ ﹶﺃ ﱠﻭ ﹶﻝ ﻣﺎُﻳ ْﻌﻄﹶﻰ‪ .‬ﻭﻳﻨﺒﻐﻲ ﺃﻥ ﳓﻜﻢ‬
‫ﻬﺑﺬﻩ ﺍﻟﺒﺪﻳﻬﻴّﺔ ﺍﳌﻨﻬﺠﻴّﺔ‪ :‬ﻭﻫﻲ ﺃﻧّﺎ ﻻ ﳝﻜﻦ ﺃﻥ ﻧﺪﺭﻙ ﻗﺎﻧﻮﻧﺎ ﻭﺍﺣﺪﺍ ﺣﺘّﻰ ﳕ ّﺮ ﺃﻭّﻻ ﺑﺎﻟﻮﺍﻗﻌﺎﺕ‪.‬‬
‫ﺇﺫﻥ‪ ،‬ﻭﺑﺈﺟﺮﺍﺀ ﻣﺸﺮﻭﻉ ﻟﺘﻠﻚ ﺍﻟﺒﺪﻳﻬﻴّﺔ ﻋﻠﻰ ﻧﻈﺮﻳّﺔ ﺍﳌﻌﺮﻓﺔ‪ ،‬ﻓﺈﻧّﻪ ﻟﻌﻤﺮﻱ‪ ،‬ﺇﻧّﻤﺎ ﻳﻨﺒﻐﻲ ﺃﻥ ُﻧ ِﻘ ﱠﺮ‬
‫ﺑﺄ ﹼﻥ ﻗﻮﺍﻧﲔ ﺍﻟﻔﻜﺮ ﻫﻲ ﺃﻳﻀﺎ ﻫﻲ ﺻﺎﺩﺭﺓ ﻣﻦ ﺍﻟﻮﺍﻗﻌﺎﺕ‪ ،‬ﺃﻱ ﺃﻧّﻬﺎ ﺃﺟﺰﺍﺀ ﻧﻔﺴﻴّﺔ)‪ .(٨‬ﻭﻣﻦ ﻫﻨﺎ‬
‫ﻳﺼﺒﺢ ﺍﳌﻨﻄﻖ ﻗﻄﻌﺔ ﻣﻦ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ‪ ،‬ﻭﺍﻟﺼّﻮﺭﺓ ﺍﻟﺪّﻳﻜﺎﺭﺗﻴّﺔ ﺗﺼﺒﺢ ﻭﺍﻗﻌﺔ ﻓﺮﺩﻳّﺔ ﳝﻜﻨﻨﺎ ﺃﻥ‬
‫ﻧﺴﺘﻘﺮﺃ ﺍﺑﺘﺪﺍﺀ ﻣﻨﻬﺎ‪ ،‬ﻭﺍﳌﺒﺪﺃ ﺍﻻﺑﺴﺘﻤﻮﻟﻮﺟ ّﻲ ﺍﻟﻘﺎﺋﻞ‪ " :‬ﺃﻥ ﻧﺒﺘﺪﺃ ﻣﻦ ﺍﻟﻮﺍﻗﻌﺎﺕ ﺣﺘّﻰ ﻧﺴﺘﻘﺮﺃ‬
‫ﺍﻟﻘﻮﺍﻧﲔ "‪ ،‬ﺳﻮﻑ ﻳﺼﺒﺢ ﺫﻟﻚ ﺍﳌﺒﺪﺃ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘ ّﻲ‪ :‬ﻻ ﺷﻲﺀ ﻳﻮﺟﺪ ﰲ ﺍﻟﺬﹼﻫﻦ ﺇ ﹼﻻ ﻭﻗﺪ ﺳﺒﻖ‬
‫ﻭﺟﻮﺩﻩ ﰲ ﺍﻟﻮﺍﻗﻊ ‪Nihil est in intellectu quod‬‬
‫‪non fuerit prius in sensu..‬ﻭﻣﻦ ﹶﺛ ﱠﻢ ﻓﺈ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ‬
‫ﻱ ﺍﻟﹼﺬﻱ ﻳﻨﺒﻐﻲ ﻋﻠﻰ ﺍﻟﻌﺎﱂ ﺃﻥ ﻳﺒﺘﺪﺃ ﻣﻨﻪ‪ ،‬ﻭﺑﻨﺤﻮ‬
‫ﺍﻟﺪّﻛﺎﺭﺗﻴّﺔ ﺗﻈﻬﺮ ﺩﻓﻌﺔ ﺑﻨﺤﻮ ﺍﳌﻮﺿﻮﻉ ﺍﻟﻔﺮﺩ ّ‬
‫ﺤ ِﺪﺙﹸ ﺍﻟﻔﻜﺮ‪ ،‬ﺃﻱ ﳛﺪﺙ ﳎﻤﻮﻉ ﺍﻟﺪّﻻﻻﺕ ﺍﳌﻨﻄﻘﻴّﺔ‪ .‬ﻭﻟﻨﺎ‬
‫ﺍﻟﻌﻨﺼﺮ ﺍﻷﻭّﻝ ﺍﻟﹼﺬﻱ ﺑﺎﻟﺘّﺮﻛﻴﺐ ﻳُ ْ‬
‫ﺼﺔﹲ ﻣﻮﺻﻮﻟﺔ‬
‫ﺨ َ‬
‫ﺸﱢ‬‫ﺃﻥ ﻧﺼﺮّﺡ ﻫﻨﺎ ﺑﺸﻤﻮﻟﻴّﺔ ﻧﻔﺴﻴّﺔ ﻫﻴﻮﻣﻴّﺔ‪ .‬ﻓﺎﻟﻮﺍﻗﻌﺎﺕ ﺍﻟﻨّﻔﺴﻴّﺔ ﻫﻲ ﺃﺷﻴﺎﺀ ﻣَُﺘ َ‬
‫ﺑﻴﻨﻬﺎ ﺑﻌﻼﻗﺎﺕ ﺧﺎﺭﺟﻴّﺔ‪ :‬ﻭﻻ َﺟ َﺮ َﻡ ﺑﺄﻧّﻪ ﻫﻨﺎﻙ ﺗﻜﻮﻳﻦ ﻟﻠﻔﻜﺮ‪ .‬ﻭﺑﺬﻟﻚ ﻓﺈ ﹼﻥ ﺍﻟُﺒﻨَﻰ ﺍﻟﻔﻮﻗﻴّﺔ‬
‫ﺍﻟﺪّﻛﺎﺭﺗﻴّﺔ ﻗﺪ ﻬﺗﺎﻭﺕ‪ ،‬ﻭﱂ ﺗﺒﻖ ﺇ ﹼﻻ ﺍﻟﺼّﻮﺭــ ﺍﻷﺷﻴﺎﺀ‪ .‬ﻭﺑﺘﻬﺎﻭﻱ ﺍﻟﺒﲎ ﺍﻟﻔﻮﻗﻴّﺔ ﺗﺘﻬﺎﻭﻯ ﺃﻳﻀﺎ‬
‫ﺍﻟﻘﺪﺭﺓ ﺍﻟﺘّﺄﻟﻴﻔﻴّﺔ ﻟﻸﻧﺎ ﻭﻧﻔﺲ ﻣﻘﻮﻟﺔ ﺍﻟﺘّﻤﺜﹼﻞ‪ .‬ﻓﺎﻟﺘّﺮﺍﺑﻄﻴّﺔ ﺇﻧّﻤﺎ ﻫﻲ ﻗﺒﻞ ﻛ ﹼﻞ ﺷﻲﺀ‪ ،‬ﺃﻧﻄﻮﻟﻮﺟﻴّﺔ‬
‫ﺗﻘﻀﻲ ﺑﺎﳍﻮﻳّﺔ ﻫﻮﻳّﺔ ﺟﺬﺭﻳّﺔ ﺑﲔ ﺿﺮﺏ ﻭﺟﻮﺩ ﺍﻟﻮﺍﻗﻌﺎﺕ ﺍﻟﻨّﻔﺴﻴّﺔ ﻭﺿﺮﺏ ﻭﺟﻮﺩ ﺍﻷﺷﻴﺎﺀ‪.‬‬
‫ﻓﻠﻴﺲ ﻳﻮﺟﺪ ﻋﻠﻰ ﺍﻟﻌﻤﻮﻡ ﺇ ﹼﻻ ﺍﻷﺷﻴﺎﺀ‪ :‬ﻭﻫﺬﻩ ﺍﻷﺷﻴﺎﺀ ﺗﺮﺗﺒﻂ ﺑﻴﻨﻬﺎ ﺑﻌﻼﻗﺎﺕ ﻓﺘﺆﻟﹼﻒ ﺑﺬﻟﻚ‬
‫ﻧﻮﻋﺎ ﻣﻦ ﺍﺠﻤﻟﻤﻮﻋﺔ ﻧﻄﻠﻖ ﻋﻠﻴﻬﺎ ﺍﺳﻢ ﺍﻟﻮﻋﻲ‪ .‬ﻭﺍﻟﺼّﻮﺭﺓ ﻣﺎ ﻫﻲ ﺇ ﹼﻻ ﺍﻟﺸّﻲﺀ ﻣﻦ ﺣﻴﺚ ﻣﺎ ﻫﻮ‬
‫ﻳﺘّﺼﻞ ﺑﺴﺎﺋﺮ ﺍﻷﺷﻴﺎﺀ ﺑﻀﺮﺏ ﻣﻦ ﺍﻟﻌﻼﻗﺎﺕ‪ .‬ﻭﻫﻨﺎ ﻧﺮﻯ ﻧﻄﻔﺔ ﺍﻟﻮﺍﻗﻌﻴّﺔ ﺍﳉﺪﻳﺪﺓ ﺍﻷﻣﺮﻳﻜﻴّﺔ‪ .‬ﺇ ﹼﻻ‬
‫ﺖ ﲢﻠﻴﻠﻴّﺎ ﻣﻦ ﺍﻧﺼﺮﺍﻓﻨﺎ ﻋﻦ‬
‫ﺃ ﹼﻥ ﻛ ﹼﻞ ﻫﺬﻩ ﺍﻷﺣﻜﺎﻡ ﺍﳌﻨﻬﺠﻴّﺔ ﻭﺍﻷﻧﻄﻮﻟﻮﺟﻴّﺔ ﻭﺍﻟﻨّﻔﺴﻴّﺔ ﺇﻧّﻤﺎ ﹶﻟ ِﺰ َﻣ ْ‬

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‫ﻱ ﺗﻐﻴﲑ‪ ،‬ﳌﹼﺎ ﻛﺎﻧﺖ ﲰﺎﺀ ﺍﻟﻌﻘﻠ ّﻲ‬
‫ﺍﳌﺎﻫﻴﺎﺕ ﺍﻟﺪّﻛﺎﺭﺗﻴّﺔ‪ .‬ﻓﺎﻟﺼّﻮﺭﺓ ﱂ ﺗﺼﺒﺢ ﺷﻴﺌﺎ‪ ،‬ﻭﱂ ﻳﻨﻠﻬﺎ ﺃ ّ‬
‫ﺗﺘﻬﺎﻭﻯ‪ ،‬ﻭﺫﻟﻚ ﻟﺴﺒﺐ ﻳﺴﲑ ﻭﻫﻮ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻛﺎﻧﺖ‪ِ ،‬ﻣ ْﻦ ﹶﻗ ْﺒﻞﹸ‪ ،‬ﻋﻨﺪ ﺩﻳﻜﺎﺭﺕ ﺷﻴﺌﺎ)‪.(٩‬‬
‫ﻭﺫﻟﻚ ﻣﺎ ﻛﺎﻥ ﻇﻬﻮﺭ ﺍﻟﻨّﻔﺴﺎﻧﻴّﺔ ﺍﻟﹼﱵ ﺑﺄﺷﻜﺎﳍﺎ ﺍﳌﺨﺘﻠﻔﺔ ﻣﺎ ﻫﻲ ﺇ ﹼﻻ ﺃﻧﺘﺮﻭﺑﻮﻟﻮﺟﻴّﺔ ﻭﺿﻌﻴّﺔ‪ ،‬ﺃﻱ‬
‫ﻋﻠﻢ ﻳﺮﻭﻡ ﺍﻟﺒﺤﺚ ﰲ ﺍﻹﻧﺴﺎﻥ ﻋﻠﻰ ﺃﻧّﻪ ﺟﺰﺀ ﻣﻦ ﺍﻟﻌﺎﱂ‪ ،‬ﻏﺎﻓﻠﺔ ﻋﻦ ﻫﺬﻩ ﺍﳊﻘﻴﻘﻴﺔ ﺍﳉﻮﻫﺮﻳّﺔ‬
‫ﻭﻫﻲ ﺃ ﹼﻥ ﺍﻹﻧﺴﺎﻥ ﺇﻧّﻤﺎ ﻫﻮ ﻛﺬﻟﻚ ﻛﺎﺋﻦ َﻳَﺘ َﻤﱠﺜﻞﹸ ﺍﻟﻌﺎﱂ ﻭﻫﻮ ﻧﻔﺴﻪ ﺩﺍﺧﻞ ﺍﻟﻌﺎﱂ‪ .‬ﻭﻫﺬﻩ‬
‫ﺍﻷﻧﺘﺮﻭﺑﻮﺑﻮﺟﻴﺎ ﺍﻟﻮﺿﻌﻴّﺔ ﻛﺎﻧﺖ ﻣﻮﺟﻮﺩﺓ ﰲ ﻃﻮﺭ ﺍﻟﱡﻨ ﹾﻄ ﹶﻔ ِﺔ ﰲ ﺍﻟﻨّﻈﺮﻳّﺔ ﺍﻟﺪّﻳﻜﺎﺭﺗّﻴﺔ ﰲ ﺍﻟﺼّﻮﺭﺓ‪.‬‬
‫ﻓﻬﻲ ﻟﻴﺴﺖ ﺗﻀﻴﻒ ﺷﻴﺌﺎ ﻋﻠﻰ ﺍﻟﺪّﻛﺎﺭﺗﻴّﺔ ‪ :‬ﻭﺇﻧّﻤﺎ ﻫﻲ ﻗﺪ ﺍﺟﺘﺰﺃﺕ ﻣﻨﻬﺎ ﻓﻘﻂ‪ .‬ﻓﻠﻘﺪ ﻛﺎﻥ‬
‫ﺩﻳﻜﺎﺭﺕ ﻳﻀﻊ ﻣﻌﺎ ﻭﺟﻮﺩ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻟﻔﻜﺮ ِﺧ ﹾﻠﻮًﺍ ﻣﻦ ﺍﻟﺼّﻮﺭﺓ؛ ﺃﻣّﺎ ﻫﻴﻮﻡ ﻓﻠﻢ ﻳُ ْﺒ ِﻖ ﺇ ﹼﻻ ﻋﻠﻰ‬
‫ﺍﻟﺼّﻮﺭﺓ ﻋﺎﺭﻳﺔ ﻣﻦ ﺍﻟﻔﻜﺮ‪.‬‬
‫ﻓﻘﺪ ﻳﻮﺟﺪ ﺃﻥ ﻧﺒﻐﻲ ﺃﻥ ﳓﺘﻔﻆ ﺑﺎﻟﻜ ﹼﻞ ﰲ ﺍﺗّﺼﺎﻟﻴّﺔ ﺭﻭﺣﻴّﺔ‪ ،‬ﻭﺃﻥ ﻧﺮﻭﻡ ﺍﳉﺰﻡ ﲟﺠﺎﻧﺴﺔ‬
‫ﺍﻟﻮﺍﻗﻌﺔ ﻭﺍﻟﻘﺎﻧﻮﻥ‪ ،‬ﻭﺃﻥ ﻧﱪﻫﻦ ﻋﻠﻰ ﺃ ﹼﻥ ﺍﻟﺘّﺠﺮﺑﺔ ﺍﶈﻀﺔ‪ ،‬ﻛﺎﻧﺖ ﻣﻦ ﹶﻗ ْﺒﻞﹸ ﻋﻘﻼ‪ .‬ﻓﺤﻴﻨﺌﺬ‪ ،‬ﺳﻮﻑ‬
‫ﻧﺸﲑ ﺇﱃ ﺃﻧّﻪ ﺇﻥ ﻛﺎﻥ ﻣﻦ ﺍﳌﻤﻜﻦ ﺍﳌﺮﻭﺭ ﻣﻦ ﺍﻟﻮﺍﻗﻌﺔ ﺇﱃ ﺍﻟﻘﺎﻧﻮﻥ‪ ،‬ﻓﺬﻟﻚ ﻷ ﹼﻥ ﺍﻟﻮﺍﻗﻌﺔ ﻛﺎﻧﺖ‬
‫ﳊ ِﺮﻱﱢ‪ ،‬ﺇ ﹼﻥ ﺍﻟﻮﺍﻗﻌﺔ ﻫﻲ ﺍﻟﻘﺎﻧﻮﻥ‬
‫ﻣﻦ ﹶﻗ ْﺒﻞﹸ ﺑﻨﺤﻮ ﺗﻌﺒﲑ ﻋﻦ ﺍﻟﻘﺎﻧﻮﻥ‪ ،‬ﻭﻋﻼﻣﺔ ﻟﻠﻘﺎﻧﻮﻥ ‪ :‬ﺃﻭ ﺑﺎ ﹶ‬
‫ﺑﻌﻴﻨﻪ‪ .‬ﻓﻠﻢ ﻳﺒﻖ ﺍﻟﺒﺘّﺔ ﺷﻲﺀ ﻣﻦ ﺍﻟﺘّﻔﺮﻗﺔ ﺍﻟﺪّﻛﺎﺭﺗﻴّﺔ ﺑﲔ ﺍﳌﺎﻫﻴﺔ ﺍﻟﻀّﺮﻭﺭﻳّﺔ ﻭﺍﻟﻮﺍﻗﻌﺔ ﺍﳋﱪﻳّﺔ‪ .‬ﺑﻞ‬
‫ﻱ‪ .‬ﺻﺤﻴﺢ ﺃ ﹼﻥ ﺍﻟﻮﺍﻗﻌﺔ ﺇﻧّﻤﺎ ﺗﻈﻬﺮ ﺑﻨﺤﻮ ﺍﳌﻤﻜﻦ؛‬
‫ﻱ ﺍﻟﻀّﺮﻭﺭ ّ‬
‫ﺇﻧّﻤﺎ ﻧﺮﻭﻡ ﺃﻥ ﻧﻠﻔﻰ ﰲ ﺍﳋﱪ ّ‬
‫ﱐ ﻭﺍﺣﺪ ﺑﻘﺎﺩﺭ ﻋﻠﻰ ﺃﻥ ﻳﺴﺘﻮﰲ ﻋﻠﹼﺔ ﻟﻮﻥ ﻫﺬﻩ ﺍﻟﻮﺭﻗﺔ ﺃﻭ ﺷﻜﻠﻬﺎ‪.‬‬
‫ﻭﺻﺤﻴﺢ ﺃﻧّﻪ ﻻﻋﻘﻞ ﺇﻧﺴﺎ ﹼ‬
‫ﻱ ﻫﻮ ﻗﺎﺻﺮ ﰲ ﻃﺒﻴﻌﺘﻪ‪ .‬ﺇﺫ ﻟﻴﺲ ﳝﻜﻨﻨﺎ ﺍﻟﺒﺘّﺔ ﺃﻥ‬
‫ﻭﻟﻜﻦ ﺫﻟﻚ ﻓﻘﻂ ﻣﻦ ﺃﺟﻞ ﺃ ﹼﻥ ﺍﻟﺬﹼﻫﻦ ﺍﻟﺒﺸﺮ ّ‬
‫ﻧﺴﺘﻘﺮﺃ ﺇ ﹼﻻ ﺣﻴﺚ ﳝﻜﻨﻨﺎ ﻣﻦ ﺟﻬﺔ ﺍﳊ ّﻖ ﺃﻥ ﻧﺴﺘﻨﺘﺞ‪ .‬ﻭ" ﺍﳊﻘﺎﺋﻖ ﺍﳌﻤﻜﻨﺔ " ﻟﻠﻴﺒﻨﺘﺰ ﻓﻬﻲ ﻣﻦ‬
‫ﺟﻬﺔ ﺍﳊ ّﻖ ﺣﻘﺎﺋﻖ ﺿﺮﻭﺭﻳّﺔ‪ .‬ﻓﺎﻟﺼّﻮﺭﺓ ﺇﺫﻥ ﻗﺪ ﺑﻘﻴﺖ ﻋﻨﺪ ﻟﻴﺒﻨﺘﺰ ﻭﺍﻗﻌﺔ ﳑﺎﺛﻠﺔ ﻟﺴﺎﺋﺮ ﺍﻟﻮﺍﻗﻌﺎﺕ‪،‬‬
‫ﻭﺍﻟﻜﺮﺳ ّﻲ ﰲ ﺍﻟﺼّﻮﺭﺓ ﻟﻴﺲ ﻣﻐﺎﻳﺮﺍ ﻟﻠﻜﺮﺳ ّﻲ ﰲ ﺍﻟﻮﺍﻗﻊ‪ .‬ﻭﻟﻜﻦ‪ ،‬ﻭﻣﺜﻠﻤﺎ ﺃ ﹼﻥ ﺍﻟﻜﺮﺳ ّﻲ ﰲ ﺍﻟﻮﺍﻗﻊ‬
‫ﻫﻮ ﻣﻌﺮﻓﺔ ﻣﺒﻬﻤﺔ ﳊﻘﻴﻘﺔ ﻣﻦ ﺟﻬﺔ ﺍﳊ ّﻖ ﳝﻜﻦ ﺃﻥ ُﺗ َﺮ ﱡﺩ ﺇﱃ ﻗﻀﻴّﺔ ﻫﻲ ﻫﻲ‪ ،‬ﻛﺬﻟﻚ ﺍﻟﺼّﻮﺭﺓ ﻓﻬﻲ‬
‫ﻟﻴﺴﺖ ﺇ ﹼﻻ ﻓﻜﺮﺓ ﻣﺒﻬﻤﺔ‪ .‬ﻭﺑﺎﳉﻤﻠﺔ‪ ،‬ﺇ ﹼﻥ ﺣ ﹼﻞ ﻟﻴﺒﻨﺘﺰ ﺇﻧّﻤﺎ ﻫﻮ‪ ،‬ﻟﻌﻤﺮﻱ‪ ،‬ﴰﻮﻟﻴّﺔ ﻣﻨﻄﻘﻴّﺔ‪ ،‬ﻣﺎ ﻋﺪﺍ‬

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‫ﺃ ﹼﻥ ﻫﺬﻩ ﺍﻟﺸّﻤﻮﻟﻴّﺔ ﻟﻴﺲ ﳍﺎ ﺇ ﹼﻻ ﻭﺟﻮﺩ ﻣﻦ ﺟﻬﺔ ﺍﳊﻖّ‪ ،‬ﻳﻨﻀﺎﻑ ﺇﱃ ﺧﱪﻳّﺔ ﻭﺍﻗﻌﻴّﺔ‪ .‬ﻓﺒﻤﻘﺘﻀﻰ‬
‫ﻋﻠﻢ ﺍﻟﻨّﻔﺲ‪ ،‬ﳓﻦ ﻻﳏﺎﻟﺔ ﻧﻠﻔﻰ ﻭﺭﺍﺀ ﻛ ﹼﻞ ﺻﻮﺭﺓ‪ ،‬ﺍﻟﻔﻜﺮ ﺍﻟﹼﺬﻱ ﻫﻲ ﺗﻘﺘﻀﻴﻪ ﻣﻦ ﺟﻬﺔ ﺍﳊ ّﻖ ‪:‬‬
‫ﻭﻟﻜﻦ ﺍﻟﻔﻜﺮ ﻻ ﻳﻨﻜﺸﻒ ﺍﻟﺒﺘّﺔ ﳊﺪﺱ ﻭﺍﻗﻌﻲّ‪ ،‬ﻭﻻ ﲢﺼﻞ ﻟﻨﺎ ﺍﻟﺒﺘّﺔ ﲡﺮﺑﺔ ﻣﺘﻌﻴّﻨﺔ ﺑﻔﻜﺮ ﺧﺎﻟﺺ‪،‬‬
‫ﰐ‪ .‬ﻓﺎﻟﻔﻜﺮ ﻟﻴﺲ ﻳﻈﻬﺮ ﻟﺬﺍﺗﻪ‪ ،‬ﻭﻻ ﳝﻜﻦ ﺍﺳﺘﺨﻼﺻﻪ ﺇ ﹼﻻ ﺑﻄﺮﻳﻖ‬
‫ﻛﻤﺎ ﻧﻠﻔﺎﻩ ﺑﺎﻟﻨّﺴﻖ ﺍﻟﺪّﻛﺎﺭ ﹼ‬
‫ﻱ‪ .‬ﻓﻬﻮ ﻣﻦ ﺃﺟﻞ ﺫﻟﻚ ﻛﺎﻥ ﺃﻣﻜﻦ ﻟﻠﻴﺒﻨﺘﺰ ﺃﻥ ﳚﺎﻭﺏ ﻟﻮﻙ ﺑﻌﺒﺎﺭﺗﻪ ﺍﳌﺸﻬﻮﺭﺓ ﺍﻟﻠﹼﻬﻢ‬
‫ﲢﻠﻴﻞ َﺭ َﻭ ِﻭ ﱟ‬
‫ﺇ ﹼﻻ ﺍﻟﻌﻘﻞ ﻧﻔﺴﻪ‪ .‬ﻭﺍﳊ ّﻖ ﺃ ﹼﻥ ﺻﻮﺭﺓ ﺍﳋﱪﻳﲔ ﻫﻲ ﻣﻮﺟﻮﺩﺓ ﻫﺎﻫﻨﺎ ﻛﻤﺎ ﻫﻲ ﻫﻲ ﺑﻨﺤﻮ ﺍﻟﻮﺍﻗﻌﺔ‬
‫ﺍﻟﻨّﻔﺴﻴّﺔ‪ ،‬ﻭﱂ ﻳﻜﻦ ﺇ ﹼﻻ ﻓﻴﻤﺎ ﻳﺘﻌﻠﹼﻖ ﺑﻄﺒﻴﻌﺘﻬﺎ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ ﻛﺎﻥ ﻻﻳﺒﻨﺘﺰ ﰲ ﺧﻼﻑ ﻣﻊ ﻟﻮﻙ‪.‬‬

‫ﻱ ﳝﺘﺎﺯ ﻏﺎﻳﺔ ﺍﻻﻣﺘﻴﺎﺯ ﻋﻦ ﻋﺎﱂ ﺍﻟﺼّﻮﺭﺓ ـ ﺃﻭ ﻋﺎﱂ ﻣﻦ ﳏﺾ ﺍﻟﺼّﻮﺭ ـ ﺃﻭ‬

‫ﺇﻣّﺎ ﻋﺎﱂ ﻓﻜﺮ ّ‬
‫ﻋﺎﱂ ﻣﻦ ﺍﻟﻮﺍﻗﻌﺎﺕ ﺍﻟﺼّﻮﺭ‪ ،‬ﻳﻜﻮﻥ ﺑﺎﻻﺿﻄﺮﺍﺭ ﺃﻥ ﻧﻠﻔﻰ ﻭﺭﺍﺀﻫﺎ ﻓﻜﺮﺍ ﻫﻮ ﻻ ﻳﻈﻬﺮ ﺇ ﹼﻻ ﺑﺘﻮﺳّﻂ‪،‬‬
‫ﺑﻨﺤﻮ ﺍﻟﻌﻠﹼﺔ ﺍﻟﻮﺣﻴﺪﺓ ﺍﳌﻤﻜﻨﺔ ﰲ ﺍﻻﻧﺘﻈﺎﻡ ﻭﺍﻟﻐﺎﺋﻴّﺔ ﺍﻟﹼﺬﻳﻦ ﻧﺘﺒﻴّﻨﻬﻤﺎ ﰲ ﻋﺎﱂ ﺍﻟﺼّﻮﺭ ) ﻣﺜﻞ ﺍﻟﻠﹼﻪ‪،‬‬
‫ﰲ ﺍﻟﱪﻫﺎﻥ ﺍﻟﻔﻴﺰﻳﺎﺋ ّﻲ ﺍﻟﻼﹼﻫﻮﰐ‪ ،‬ﺍﻟﹼﺬﻱ َﻧ ُﺪ ﱡﻝ ﻋﻠﻴﻪ ﻣﻦ ﺍ ِﻹ ْﺣﻜﹶﺎ ِﻡ ﺍﳌﻮﺟﻮﺩ ﰲ ﺍﻟﻌﺎﱂ (‪ :‬ﺗﻠﻚ ﻫﻲ‬
‫ِﺇﺫﹰﺍ ﺍﳊﻠﻮﻝ ﺍﻟﺜﹼﻼﺛﺔ ﺍﻟﹼﱵ ﺑﺴﻄﺘﻬﺎ ﻟﻨﺎ ﺍﳌﺬﺍﻫﺐ ﺍﻟﻜﱪﻯ ﺍﻟﺜﹼﻼﺛﺔ ﰲ ﺍﻟﻔﻠﺴﻔﺔ ﺍﻟﻜﻼﺳﻴﻜﻴّﺔ‪ .‬ﻭﻗﺪ‬
‫ﺣﺎﻓﻈﺖ ﺍﻟﺼّﻮﺭﺓ ﰲ ﺍﳊﻠﻮﻝ ﺍﻟﺜﹼﻼﺛﺔ‪ ،‬ﻋﻠﻰ ﺑﻨﻴﺔ ﻭﺍﺣﺪﺓ‪ .‬ﻓﻬﻲ ﻗﺪ ﺑﻘﻴﺖ ﺷﻴﺌﺎ‪ .‬ﻭﻟﻴﺲ ﺇ ﹼﻻ‬
‫ﻋﻼﻗﺎﻬﺗﺎ ﻣﻊ ﺍﻟﻔﻜﺮ ﺍﻟﹼﱵ ﻛﺎﻧﺖ ﻗﺪ ﺗﻐﻴّﺮﺕ ﲝﺴﺐ ﻣﺎ ﺭُِﺋ َﻲ ﻣﻦ ﺭﺃﻱ ﰲ ﻋﻼﻗﺔ ﺍﻹﻧﺴﺎﻥ ﺑﺎﻟﻌﺎﱂ‪،‬‬
‫ﻭﺍﻟﻜﻠﹼﻲ ﻣﻊ ﺍﻟﻔﺮﺩﻱّ‪ ،‬ﻭﺍﻟﻮﺟﻮﺩ ﺑﻨﺤﻮ ﺍﳌﻮﺿﻮﻉ ﻣﻊ ﺍﻟﻮﺟﻮﺩ ﺑﻨﺤﻮ ﺍﻟﺘّﻤﺜﹼﻞ‪ ،‬ﻭﺍﻟﻨّﻔﺲ ﻣﻊ‬
‫ﺍﳉﺴﺪ‪ .‬ﻭﻋﺴﺎﻧﺎ ﺃﻥ ﻧﺘﺒﻴّﻦ ﺣﻴﻨﻤﺎ ﻧﺘﻌﻘﹼﺐ ﺍﻟﺘّﻄﻮّﺭ ﺍﳌﺘّﺼﻞ ﻟﻨﻈﺮﻳّﺔ ﺍﻟﺼّﻮﺭﺓ ﻋﱪ ﺍﻟﻘﺮﻥ ﺍﻟﺘّﺎﺳﻊ‬
‫ﻋﺸﺮ‪ ،‬ﺑﺄ ﹼﻥ ﻫﺬﻩ ﺍﳊﻠﻮﻝ ﺍﻟﺜﹼﻼﺛﺔ ﻫﻲ ﺍﻟﻮﺣﻴﺪﺓ ﺍﳌﻤﻜﻨﺔ ﻛﻠﹼﻤﺎ ﺍﺭﺗﻀﻴﻨﺎ ﺑﺎ ﹸﳌﺼَﺎ َﺩ َﺭ ِﺓ ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ‬
‫ﻫﻲ ﻟﻴﺴﺖ ﺇ ﹼﻻ ﺷﻴﺌﺎ‪ ،‬ﻭﺑﺄ ﹼﻥ ﺛﻼﺛﺘﻬﺎ ﻛﻠﹼﻬﺎ ﳑﻜﻨﺔ ﻋﻠﻰ ﺍﻟﺴّﻮﺍﺀ ﻭﻛﻠﹼﻬﺎ ﻧﺎﻗﺼﺔ ﻋﻠﻰ ﺍﻟﺴّﻮﺍﺀ‪.‬‬

‫ﺍﻟﺘّﻌﺎﻟﻴﻖ‬

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‫)‪ (1‬ﻓﺪﻳﻜﺎﺭﺕ ِﺇﺫﹰﺍ ﻳﻔﺮّﻕ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﲟﺎ ﻫﻲ ﻣﻮﺿﻮﻉ‪ ،‬ﻭﻳﺮﺩّﻫﺎ ﺇﱃ ﺍﻷﺛﺮ ﺍﳌﺎﺩّﻱ ﺍﳌﺘﺨﻠﹼﻒ ﰲ‬
‫ﲏ‬
‫ﲏ ﻳﺘﻌﻘﹼﻞ ﺍﻷﺛﺮ‪ .‬ﻭﺍﻟﻔﻌﻞ ﺍﻟﺬﹼﻫ ّ‬
‫ﺍﻟﺪّﻣﺎﻍ ﻟﻔﻌﻞ ﺍﻷﺷﻴﺎﺀ ﺍﳌﺎ ّﺩﻳّﺔ ﺍﳋﺎﺭﺟﻴّﺔ‪ ،‬ﻭﺍﻟﻮﻋﻲ ﺑﺎﻟﺼّﻮﺭﺓ ﲟﺎ ﻫﻮ ﻓﻌﻞ ﺫﻫ ّ‬
‫ﺍﳌﹸَﺘ َﻌ ﱠﻘﻞﹸ ﻟﻸﺛﺮ ﻫﻮ ﺫﻭ ﻃﺒﻴﻌﺔ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ ﳐﺘﻠﻔﺔ ﺍﺧﺘﻼﻓﺎ ﺟﻮﻫﺮﻳّﺎ ﻋﻦ ﺍﻷﺛﺮ ﺍﻟﺼّﻮﺭﺓ‪ِ ،‬ﻟ َﻤﻜﹶﺎ ِﻥ ﺍﻻﺧﺘﻼﻑ‬
‫ﻱ ﻧﻔﺴﻪ ﺍﻟﹼﺬﻱ ﺃﺛﺒﺘﻪ ﺩﻳﻜﺎﺭﺕ ﺑﲔ ﺍﳌﺎﺩّﺓ ﻭﺍﻟﺮّﻭﺡ‪.‬‬
‫ﺍﳉﻮﻫﺮ ّ‬

‫)‪ (2‬ﻭﻫﺬﻩ ﺍﻟﺼّﻮﺭﺓ ﺍﻷﺛﺮ ﻭﺇﻥ ﻛﺎﻧﺖ ﻫﻲ ﻣﻦ ﻧﻔﺲ ﻃﺒﻴﻌﺔ ﺍﻷﺷﻴﺎﺀ ﺍﳌﻮﺿﻮﻋﻴّﺔ‪ ،‬ﻓﻬﻲ ﻻ ﺗﻈﻬﺮ‬
‫ﻟﻠﺬﹼﺍﺕ ﺑﻨﺤﻮ ﻣﻮﺿﻮﻉ ﻟﻺﺩﺭﺍﻙ‪ ،‬ﻷﻧّﻪ ﻟﻮ ﻛﺎﻥ ﺍﻷﻣﺮ ﻛﺬﻟﻚ‪ ،‬ﻻﺳﺘﻤ ّﺮ ﺇﱃ ﻣﺎﻻﻬﻧﺎﻳﺔ‪ ،‬ﺇﺫ ﺃ ﹼﻥ ﻧﻔﺲ ﺍﻟﺼّﻮﺭﺓ‬
‫ﺨ ﱢﻠﻒُ ﺃﺛﺮﺍ ﰲ ﺍﻟﺪّﻣﺎﻍ‪ ،‬ﻭﻫﺬﺍ ﺍﻷﺛﺮ ﻧﻔﺴﻪ ﲟﺎﻫﻮ ﺃﻳﻀﺎ ﻣﻮﺿﻮﻉ‬
‫ﺍﻷﺛﺮ ﲟﺎﻫﻲ ﻣﻮﺿﻮﻉ ﻣﺎﺩّﻱ ﺳﻮﻑ ﻳُ َ‬
‫ﺳﻮﻑ ﳜﻠﹼﻒ ﺃﺛﺮﺍ ﺁﺧﺮ ﰲ ﺍﻟﺪّﻣﺎﻍ‪ ،‬ﻓﻴﺘﺴﻠﺴﻞ ﺍﻷﻣﺮ‪ .‬ﻓِﺈﺫﹰﺍ ﻟﻠﺼّﻮﺭﺓ ﺍﻷﺛﺮ َﻣ ِﺰﱠﻳﺔﹲ ﻻﳏﺎﻟﺔ ﻋﻠﻰ ﺍﳌﻮﺿﻮﻉ‬
‫ﲑ ﺍﻷﺭﻭﺍﺡ ﺍﳊﻴﻮﺍﻧﻴّﺔ ﺍﻟﹼﱵ ﻛﺎﻥ ﺩﻳﻜﺎﺭﺕ ﻗﺪ ﺫﻛﺮﻫﺎ ﺑﺎﻟﺘّﻔﺼﻴﻞ ﰲ‬
‫ﺍﳊﻘﻴﻘ ّﻲ ﻭﻫﻲ ﺃﻧّﻬﺎ ﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗُِﺜ َ‬
‫ﻛﺘﺎﺑﻪ ﺍﻧﻔﻌﺎﻻﺕ ﺍﳉﺴﺪ‪.‬‬

‫)‪ (3‬ﺇ ﹼﻥ َﺣ ﱠﺪ ﺩﻳﻜﺎﺭﺕ ﻟﻠﺨﻴﺎﻝ ﺑﺄﻧّﻪ ﺣﺮﻛﺎﺕ ﺍﻷﺭﻭﺍﺡ ﺍﳊﻴﻮﺍﻧﻴّﺔ ِﻟ َﻤﻜﹶﺎ ِﻥ ﺍ َﻷﹶﺛ ِﺮ ﺍﳋﺎﺭﺟ ّﻲ ﺍﻟﹼﺬﻱ ﻳﺜﲑﻫﺎ‪،‬‬
‫ﻚ ﻛﺒﲑ ﻭﻫﻮ ﺃﻧّﻪ ﻛﻴﻒ ﻳﻜﻮﻥ ﻣﻦ ﺍﳌﻤﻜﻦ ﻟﻠﺬﹼﻫﻦ ﺣﻴﻨﺌﺬ ﺃﻥ ﻳﻔﺮّﻕ ﺑﲔ ﺍﳋﻴﺎﻝ‬
‫ﺳﻮﻑ ﻳﻠﺰﻡ ﻋﻨﻪ ﺷ ّ‬
‫ﻚ َﺣ ﱞﻖ ﻟﻠﺴّﺒﺐ ﺍﻵﰐ‪:‬‬
‫ﻭﺍﻟﺬﹼﻛﺮﻯ ؟ ﻭﻫﺬﺍ ﺍﻟﺸّﻚ ﻫﻮ ﺷ ّ‬
‫ﺨﱠﻴﻞٍ‪ ،‬ﻭﻣﻮﺿﻮﻉ ﻣﺎ ﻣَُﺘ ﹶﺬ ﱠﻛ ٍﺮ‪.‬‬
‫ﻓﺎﻟﻮﻋﻲ ﻫﻮ ﻳﻔﺮّﻕ ﺃﺑﺪﺍ ﺗﻔﺮﻗﺔ ﺃﻭﱃ ﻭﻋﻔﻮﻳّﺔ ﺑﲔ ﻣﻮﺿﻮﻉ ﻣﺎ ُﻣَﺘ َ‬
‫ﻓﺎﳌﻮﺿﻮﻉ ﺍﳌﺘﺨﻴّﻞ ﻫﻮ ﻳﻈﻬﺮ ﻟﻠﻮﻋﻲ ﺑﻨﺤﻮ ﻣﺎ ﻫﻮ ﻟﻴﺲ ﻳﻮﺟﺪ ﺑﻠﺤﻤﻪ ﻭﺩﻣﻪ‪ ،‬ﺃﻭ ﺑﻨﺤﻮ ﻣﺎﻟﻴﺲ ﻳﻮﺟﺪ‬
‫ﺇﻃﻼﻗﺎ؛ ﺃﻣّﺎ ﺍﳌﻮﺿﻮﻉ ﺍﳌﹸَﺘ ﹶﺬ ﱠﻛﺮُ ﻓﻬﻮ ﻳﻈﻬﺮ ﻟﻠﻮﻋﻲ ﺑﻨﺤﻮ ﻣﺎ ﻫﻮ ﻣﻮﺟﻮﺩ‪ ،‬ﻭﻟﻜﻦ ﻟﻴﺲ ﻭﺟﻮﺩﺍ ﺣﺎﺿﺮﺍ‪،‬‬
‫ﺴﻤﱠﻰ ﺍﳌﺎﺿﻲ‪ .‬ﻓِﺈﺫﹰﺍ ﹶﻗﺮِﻳَﻨ ﹸﺔ ﺍﻟﺰّﻣﻨﻴّﺔ ﻫﻲ ﻣُ ﹶﻘ ﱢﻮ َﻣﺔﹲ ﻟﻠﻤﻮﺿﻮﻉ ﺍﻟﺘﺬﻛﹼﺮﻱ؛‬
‫ﺨﺬﹰﺍ َﺣﱢﻴﺰًﺍ ﺯﻣﻨﻴّﺎ ُﻳ َ‬
‫ﻭﺇﻧّﻤﺎ ﻭﺟﻮﺩﺍ ُﻣﱠﺘ ِ‬
‫ﻚ ﻫﻮ‪ :‬ﺇﺫﺍ ﻛﺎﻥ ﺍﳋﻴﺎﻝ‬
‫ﻭﻫﻲ ﻟﻴﺴﺖ ﻣﻘﻮّﻣﺔ ﺍﻟﺒﺘّﺔ ﻟﻠﻤﻮﺿﻮﻉ ﺍﻟﺘّﺨﻴّﻠﻲ‪ .‬ﻓﻤﱴ ﺗﻘﺮّﺭ ﺫﻟﻚ‪ ،‬ﻓﺎﻟﺸ ّ‬
‫ﺨ ﱠﻠ ﹶﻔ ﹰﺔ ﺑﺎﻟﺪّﻣﺎﻍ‪ ،‬ﻓﻜﻴﻒ‬
‫ﻭﺍﻟﺬﹼﻛﺮﻯ ﻛﻼﳘﺎ ﻗﺪ ﻧُ ِﻈ َﺮ ﺇﻟﻴﻬﻤﺎ ﻣﻦ ﺟﻬﺔ ﻃﺒﻴﻌﺘﻬﻤﺎ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ ﺑﻜﻮﻬﻧﻤﺎ ﺁﺛﺎﺭﺍ ﻣَُﺘ َ‬
‫ﻛﺎﻥ ﻗﺪ ﺃﻣﻜﻦ ِﺇﺫﹰﺍ ﺃﻥ ﲢﺼﻞ ﺍﻟﺘّﻔﺮﻗﺔ ﺍﻟﹼﱵ ﻳﺄﺗﻴﻬﺎ ﺍﻟﻮﻋﻲ ﺇﺗﻴﺎﻧﺎ ﺑﺪﻳﻬﻴّﺎ ﺑﻴﻨﻬﻤﺎ ﺍﻹﺛﻨﲔ ؟ ﻟﻘﺪ ﻛﺎﻥ ﺣ ﹼﻞ‬
‫ﺩﻳﻜﺎﺭﺕ ﳍﺬﺍ ﺍﻟﺸﻚّ‪ ،‬ﻛﻤﺎ ﺳﻮﻑ ﻳﺬﻛﺮﻩ ﺍﳌﺼﻨّﻒ ﰲ ﺍﻷﺳﻄﺮ ﺍﻟﻘﺎﺩﻣﺔ‪ ،‬ﺑﺄﻥ ﺍﻓﺘﺮﺽ ﻋﻤﻼ ُﺣ ﹾﻜ ِﻤﻴ‪‬ﺎ ﻳﺄﺗﻴﻪ‬
‫ﺍﻟﻮﻋﻲ ﻣﻦ ﺃﺟﻞ ﻓﺮﺯ ﺍﳌﺘﺨﻴّﻞ ﻣﻦ ﺍﳌﺘﺬﻛﹼﺮ ﺑﻄﺮﻳﻖ ﻣﻘﻴﺎﺱ ﺍﻧﺴﺠﺎﻣﻴّﺔ ﻛ ﹼﻞ ﻣﻨﻬﻤﺎ‪.‬‬

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‫)‪ (4‬ﺃﻱ ﺃ ﹼﻥ ﺍﻟﻔﺮﻕ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻟﻔﻜﺮﺓ ﻟﻴﺲ ﻓﺮﻗﺎ ﰲ ﺍﻟﻄﹼﺒﻴﻌﺔ‪ ،‬ﻭﺇﻧّﻤﺎ ﰲ ﺍﻟﺪّﺭﺟﺔ ﻓﻘﻂ‪ .‬ﻓﺎﻟﺼّﻮﺭﺓ‬
‫ﱐ ﲟﻘﺎﺑﻞ ﺍﻟﻔﻜﺮﺓ ﺍﻟﹼﱵ ﻫﻲ ﳏﺾ ﻋﻘﻠﻴّﺔ ﻭﺫﻫﻨﻴّﺔ‪ .‬ﺑﻞ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ‬
‫ﻟﻴﺴﺖ ﺑﺸﻲﺀ ﳏﺾ ﻣﺎﺩّﻱ ﻭﻻ ﻋﻘﻼ ﹼ‬
‫ﺲ ﻭﻫﻲ ﺗﻨﺤ ﹼﻞ ﺇﱃ ﻻ ﻣﺘﻨﺎﻫﻲ ﻣﻦ ﺍﻷﻓﻜﺎﺭ ﺍﻟﹼﱵ ﻫﻲ ﺃﻓﻜﺎﺭ ﻣُ ْﺪ َﺭ ﹶﻛﺔﹲ‬
‫ﻧﻔﺴﻬﺎ ﻓﻜﺮﺓ ﻭﻟﻜﻨّﻬﺎ ﻓﻜﺮﺓ ﺫﺍﺕ ﹶﻟ ْﺒ ٍ‬
‫ﻣﻦ ﻏﲑ ﺃﻥ ﺗﻜﻮﻥ ﻣَُﺘَﺒﱠﻴَﻨ ﹰﺔ ‪. Perçues sans être aperçues.‬‬

‫)‪ (5‬ﻳﺮﻳﺪ ﺃﻥ ﻟﻴﺒﻨﺘﺰ ﺑ َﺮ ْﻭ ِﻣ ِﻪ ﺃﻥ ﻳﺼﻞ ﺍﻟﺼّﻮﺭﺓ ﺑﺎﻟﻔﻜﺮ ﻭﺑﺄﻥ ﳚﻌﻠﻬﺎ ﻣﻦ ﻧﻔﺲ ﻃﺒﻴﻌﺔ ﺍﻟﻔﻜﺮ ﻓﻬﻮ ﻗﺪ ﺑﺪّﺩ‬
‫ﺍﻟﺼّﻮﺭﺓ ﲟﺎ ﻫﻲ ﻛﺬﻟﻚ‪ ،‬ﺃﻱ ﲟﺎﻫﻲ ﺑﻨﻴﺔ ﻓﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟﻴّﺔ ﻭﻋﻴﻴّﺔ ﺃﻭّﻟﻴّﺔ ‪Structure‬‬
‫‪phénoménolgique immédiate de la conscience‬‬

‫)‪ (6‬ﺃﻣّﺎ ﺣ ﹼﻞ ﻫﻴﻮﻡ ﻓﺴﻴﻜﻮﻥ ﻋﻠﻰ ﺟﻬﺔ ﺍﳌﻀﺎﺩّﺓ ﺍﻟﺘّﺎﻣّﺔ ﳊ ﹼﻞ ﻻﻳﺒﻨﺘﺰ‪ .‬ﻓﺈﺫﺍ ﻛﺎﻥ ﻻﻳﺒﻨﺘﺰ ﻗﺪ ﺭﺍﻡ ﻣﻦ ﺃﺟﻞ‬
‫ﺣﻠﹼﻪ ﳌﺴﺄﻟﺔ ﻋﻼﻗﺔ ﺍﻟﺼّﻮﺭﺓ ﺑﺎﻟﻔﻜﺮﺓ ﻷﻥ ﻳﺮ ّﺩ ﻛ ﹼﻞ ﺣﻘﻴﻘﺔ ﺍﻟﺼّﻮﺭﺓ ﺇﱃ ﺣﻘﻴﻘﺔ ﺍﻟﻔﻜﺮ‪ ،‬ﻭﻛﺎﻥ ﻗﺪ ﻭﺿﻊ ﺃ ﹼﻥ‬
‫ﺍﻟﺼّﻮﺭﺓ ﺇﻧّﻤﺎ ﻫﻲ ﺍﻟﻔﻜﺮﺓ ﻣﻦ ﺟﻬﺔ ﺍﳊﻖّ‪ ،‬ﻓﺈ ﹼﻥ ﻫﻴﻮﻡ ﺳﻮﻑ ﻳﺮ ّﺩ ﻛ ﹼﻞ ﺣﻘﻴﻘﺔ ﺍﻟﻔﻜﺮ ﺇﱃ ﺣﻘﻴﻘﺔ ﺍﻟﺼّﻮﺭﺓ‪،‬‬
‫ﺤ ِﺪﹸﺛﻬَﺎ ﺍﳌﻮﺍﺿﻴﻊ ﺍﳋﺎﺭﺟﻴّﺔ ﻓﻴﻨﺎ‪ .‬ﺍﻧﻈﺮ‬
‫ﻭﺳﻮﻑ ﳚﻌﻞ ﻣﻦ ﺍﻟﻮﻋﻲ ﺇﻧّﻤﺎ ﻫﻮ ﳎﻤﻮﻉ ﻧﻔﺲ ﺍﻻﻧﻄﺒﺎﻋﺎﺕ ﺍﻟﹼﱵ ُﺗ ْ‬
‫ﻫﻴﻮﻡ‪ ،‬ﰲ ﺍﻟﻄﹼﺒﻴﻌﺔ ﺍﻻﻧﺴﺎﻧﻴّﺔ‪The nature of human‬‬

‫ﺠ ﱠﺮ ِﺩﻫَﺎ ﻓﺈﻧّﻬﺎ ﺗﻀﺒﻄﻬﺎ ﻧﻔﺲ ﺍﻟﻘﻮﺍﻧﲔ ﺍﻟﹼﱵ ﺗﻀﺒﻂ ﺍﳌﻮﺍﺿﻴﻊ‬

‫)‪ (7‬ﺃﻱ ﺃ ﹼﻥ ﻫﺬﻩ ﺍﻟﺼّﻮﺭ َﻣ ﹾﺄﺧُﻮ ﹶﺫ ﹰﺓ ِﺑ ُﻤ َ‬
‫ﱄ‪ .‬ﻭﺑﺎﳉﻤﻠﺔ ﻓﻬﻲ ﺳﻮﻑ ﺗﻜﻮﻥ ﺷﻴﺌﺎ ﻛﺴﺎﺋﺮ ﺍﻷﺷﻴﺎﺀ‪.‬‬
‫ﺍﻟﻄﹼﺒﻴﻌﻴّﺔ‪ ،‬ﻛﻘﺎﻧﻮﻥ ﺍﻟﻌﻄﺎﻟﺔ ﺃﻭ ﻗﺎﻧﻮﻥ ﺍﻟﺘّﺮﺍﺑﻂ ﺍﻵ ﹼ‬

‫)‪ (8‬ﺍﻧﻈﺮ ﻫﻮﺳّﺮﻝ‪ ،‬ﻣﻘﺪّﻣﺎﺕ ﳌﻨﻄﻖ ﺧﺎﻟﺺ ‪Prolegomena Zur reinen‬‬

‫‪Logik‬‬

‫ﺴ ّﻲ ﻭﺷﻲﺀ‬
‫)‪ (9‬ﻳﺮﻳﺪ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻋﻨﺪ ﻫﻴﻮﻡ ﻣﺎﻫﻲ ﺇ ﹼﻻ ﻧﻔﺲ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺪّﻛﺎﺭﺗﻴّﺔ‪ ،‬ﺃﻱ ﺑﺄﻧّﻬﺎ ﳏﺘﻮﻯ ﺣ ّ‬
‫ﻣﻦ ﺍﻷﺷﻴﺎﺀ‪ .‬ﻭﻛ ﹼﻞ ﺍﻟﻔﺮﻕ ﺑﲔ ﺍﻟﻨّﻈﺮﺗﲔ ﻫﻮ ﺃ ﹼﻥ ﺩﻳﻜﺎﺭﺕ ﻳﻀﻊ ﻣﻊ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﻔﻜﺮ‪ ،‬ﻭﻫﻴﻮﻡ ﻳﺮﻓﻌﻪ ﻋﻦ‬
‫ﺍﻟﺼّﻮﺭﺓ ﺃﻭ ﺍﻻﻧﻄﺒﺎﻉ‪.‬‬

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 ‫‪II‬‬
‫ﰲ ﻣﺴﺄﻟﺔ ﺍﻟﺼّﻮﺭﺓ ﻭﰲ ﻣﺴﻌﻰ ﻋﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ ﻣﻦ ﺃﺟﻞ ﺇﺻﺎﺑﺔ ﻣﻨﻬﺞ ﻭﺿﻌ ّﻲ‬

‫ﻟﻘﺪ ﻛﺎﻥ ﳝﻜﻦ ﳌﺴﺄﻟﺔ ﺍﻟﺼّﻮﺭﺓ ﺃﻥ ﺗﻨﺎﻝ ﻣﻦ ﺍﻟﺮّﻭﻣﻨﻄﻘﻴّﺔ ﲡﺪﻳﺪﺍ ﺣﻘﻴﻘﻴّﺎ‪ .‬ﻓﺎﻟﺮّﻭﻣﻨﻄﻘﻴّﺔ ﰲ‬
‫ﺍﻟﻔﻠﺴﻔﺔ ﻛﻤﺎ ﰲ ﺍﻟﺴّﻴﺎﺳﺔ ﻭﺍﻷﺩﺏ ﺗﻈﻬﺮ ﺑﻌﻮﺩﻬﺗﺎ ﺇﱃ ﺭﻭﺡ ﺍﻟﺘّﺄﻟﻴﻒ ﻭﺇﱃ ﻓﻜﺮﺓ ﺍ ﹶﳌ ﹶﻠ ﹶﻜ ِﺔ ﻭﺇﱃ‬
‫ﻣﻘﻮﻻﺕ ﺍﻟﻨّﻈﺎﻡ ﻭﺍﻟﺘّﺮﺍﺗﺐ ﻭﺇﱃ ﺭﻭﺣﺎﻧﻴّﺔ ﺫﺍﺕ ﺍﻗﺘﺮﺍﻥ ﺑﻔﻴﺰﻳﻮﻟﻮﺟﻴّﺔ ﺣﻴﺎﺗﻴّﺔ‪ .‬ﻭﲝﻖّ‪ ،‬ﻓﻠﻘﺪ ﺑﺪﺍ‬
‫ﻟﻮﻗﺖ ﻣﻦ ﺍﻟﺪّﻫﺮ ﺃﻧّﻨﺎ ﻗﺪ ﺻﺮﻧﻨﺎ ﻧﻌﺘﱪ ﺍﻟﺼّﻮﺭﺓ ﺑﻨﺤﻮ ﻣﻐﺎﻳﺮ ﻛ ﹼﻞ ﺍﳌﻐﺎﻳﺮﺓ ﻟﻸﺭﺍﺀ ﺍﻟﺜﹼﻼﺛﺔ‬
‫ﺖ )ﺃ(‪:‬‬
‫ﺍﻟﻜﻼﺳﻴﻜﻴّﺔ ﺍﻟﹼﱵ ﺃﺣﺼﻴﻨﺎﻫﺎ ﺁﻧﻔﺎ‪ .‬ﻓﻘﺪ ﻛﺘﺐ ِﺑَﻨ ْ‬

‫" ﺇ ﹼﻥ ﻛﺜﲑﺍ ﻣﻦ ﺫﻭﻱ ﺍﻟﻔﻄﻨﺔ ﺍﳉﻴّﺪﺓ ﻛﺎﻧﻮﺍ َﻳ ُﻤﺠﱡﻮ ﹶﻥ ﺍﻟﻘﺒﻮﻝ ﲟﺒﺪﺃ ﺃ ﹼﻥ ﺍﻟﻔﻜﺮ ﳏﺘﺎﺝ‬
‫ﻟﻌﻼﻣﺎﺕ ﻣﺎﺩﻳّﺔ ﺣﺘّﻰ ﻳﺼﲑ ﺫﺍ ﻓﻌﻞ‪ .‬ﻓﻘﺪ ﺑﺪﺍ ﳍﻢ ﺫﻟﻚ ﺑﺄﻧّﻪ ﺳﻴﻜﻮﻥ ﻣﺴﺎﳏﺔ ﻟﻠﻤﺎﺩﻳّﺔ‪ .‬ﻭﰲ ﺳﻨﺔ‬
‫‪ ،١٨٦٥‬ﺃﻱ ﻋﺼﺮ ﺃﻥ ﻛﺎﻥ ﻫﻨﺎﻙ ﺟﺪﻝ ﻛﺒﲑ ﺣﺎﺻﻞ ﰲ ﺻﻠﺐ ﺍﳉﻤﻌﻴّﺔ ﺍﻟ ﹼﻄّﺒﻴّﺔ ﺍﻟﻨّﻔﺴﻴّﺔ ﺫﻭ‬
‫ﺗﻌﻠﹼﻖ ﺑﺎﳍﻠﻮﺳﺔ‪ ،‬ﻛﺎﻥ ﺍﻟﻔﻴﻠﺴﻮﻑ ﻏﺎﺭﻧﻴﻲ‪ ،‬ﻭﻋﻠﻤﺎﺀ ﺟﻨﻮﻥ ﺑﺎﺭﻋﻮﻥ ﺃﻣﺜﺎﻝ‪ ،‬ﺑﻴّﺮﺟﺎﺭ ﻭﺳﻨﺪﺭﺍﺱ‬
‫ﱄ‬
‫ﻭﺁﺧﺮﻭﻥ ﻏﲑﻫﻢ ﻳﺜﺒﺘﻮﻥ ﺑﺄ ﹼﻥ ﻫﻨﺎﻙ ﻫﻮّﺓ ﻻ ﺗُ ﹾﻘ ﹶﻄﻊُ ﺗﻔﺼﻞ ﺑﲔ ﺗﺼّﻮﺭ ﻣﻮﺿﻮﻉ ﻏﺎﺋﺐ ﺃﻭ ﺧﻴﺎ ﹼ‬
‫ـ ﻋﻠﻰ ﻣﻌﲎ ﺍﻟﺼّﻮﺭﺓ ـ ﻭﺍﻹﺣﺴﺎﺱ ﺍﳊﻘﻴﻘ ّﻲ ﺍﳊﺎﺩﺙ ﻋﻦ ﻣﻮﺿﻮﻉ ﺣﺎﺿﺮ؛ ﻭﺃ ﹼﻥ ﻫﺎﺗﲔ‬
‫ﺍﻟﻈﹼﺎﻫﺮﺗﲔ ﻻ ﲣﺘﻠﻔﺎﻥ ﻓﻘﻂ ﺑﺎﻟﺪّﺭﺟﺔ ﻭﺇﻧّﻤﺎ ﺃﻳﻀﺎ ﺑﺎﻟﻄﹼﺒﻊ"‬

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‫ﻓﻘﺪ ﻛﻨّﺎ ِﺇﺫﹰﺍ ﻧﻀﻊ ﺷﻜﹼﺎ ﻋﻠﻰ ﺍﳌﺴﻠﹼﻤﺔ ﺍﳌﺸﺘﺮﻛﺔ ﺑﲔ ﺃﺻﻮﻝ ﻣﻮﺿﻮﻋﺎﺕ ﺩﻳﻜﺎﺭﺕ‬
‫ﻭﻫﻴﻮﻡ ﻭﻟﻴﺒﻨﺘﺰ ﺃﻱ ﻣﺴﻠﹼﻤﺔ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺣﺴﺎﺱ)ﺏ ( ﳘﺎ ﺫﻭﺍ ﻃﺒﻴﻌﺔ ﻭﺍﺣﺪﺓ‪ .‬ﺳﻮﻯ ﺃﻧّﻪ‬
‫ﻛﻤﺎ ﻧﺮﻯ ﺇﻧّﻤﺎ ﺍﻷﻣﺮ ﻳﺘﻌﻠﹼﻖ ﲝﺎﻝ ﻋﺎﻣّﺔ ﺃﻛﺜﺮ ﻣﻦ ﺃﻥ ﻳﺘﻌﻠﹼﻖ ﲟﺬﻫﺐ ﺑﻴّﻦ ﺍﻟﺘّﺤﺪﻳﺪ‪ .‬ﻭﺍﳊﺎﻝ‬
‫ﻣﺎﻟﺒﺜﺖ ﺃﻥ ﺗﻐﻴّﺮﺕ‪ .‬ﺑﻞ ﺇ ﹼﻥ ﺍﳌﻔﻜﹼﺮﻳﻦ ﺍﻟﹼﺬﻳﻦ ﺫﻛﺮﻫﻢ ﺑﻨﺖ ﻛﺎﻥ ﳝﻜﻨﻬﻢ ﺃﻥ ُﻳ َﻌﺪﱡﻭﺍ ﰲ ﺳﻨﺔ‬
‫‪ ١٨٦٥‬ﺑﻨﺤﻮ ﺍﶈﺎﻓﻈﲔ‪ :‬ﻓﺠﻴﺎﺭﺩ ﻛﺎﻥ ﻗﺪ ﻛﺘﺐ‪ " :‬ﺇ ﹼﻥ ﻓﻜﺮﺓ ﺍﻟﻌﻠﻢ ﻫﻲ ﻣﻮﺻﻮﻟﺔ ﲪﻴﻢ ﺍﻟﻮﺻﻞ‬
‫ﰐ ﺍﳊﺘﻤﻴّﺔ ﻭﺍﻵﻟﻴّﺔ"‬
‫ﺑﻔﻜﺮ ﹼ‬

‫ﻚ ﰲ ﺧﻄﺌﻪ‪ :‬ﻭﻟﻜﻦ ﺇﻧّﻤﺎ ﻫﻮ ﺫﻟﻚ ﺍﻟﻌﻠﻢ ﺍﳌﺸﺎﻳﻊ ﻟﻠﺤﺘّﻤﻴّﺔ ﻭﺍﻵﻟﻴّﺔ ﺍﻟﹼﺬﻱ‬

‫ﺸ ﱡ‬
‫ﻭﺇ ﹼﻥ ﺫﻟﻚ ﻻُﻳ َ‬
‫ﻛﺎﻥ ﻗﺪ ﺍﺳﺘﺤﻮﺫ ﻋﻠﻰ ﺟﻴﻞ ‪ .١٨٥٠‬ﻓﻠﻌﻤﺮﻱ‪ ،‬ﻣﻦ َﻳ ﹸﻘ ﹾﻞ ﺁﻟﻴّﺔ َﻳ ﹸﻘ ﹾﻞ ﺭﻭﺡ ﲢﻠﻴﻞ‪ :‬ﻓﺎﻵﻟﻴّﺔ‬
‫ﲏ ﲟﺴﻠﹼﻤﺔ ﺃ ﹼﻥ ﻫﺬﻩ ﺍﻟﻌﻨﺎﺻﺮ ﺇﻧّﻤﺎ ﺗﺒﻘﻰ‬
‫ﺴ ٍﻖ ﻣﺎ ﺇﱃ ﻋﻨﺎﺻﺮﻩ ﻭﺗﻘﺒﻞ ﻋﻠﻰ ﳓﻮ ﺿﻤ ّ‬
‫ﺗﻠﺘﻤﺲ ﺣ ﹼﻞ َﻧ َ‬
‫ﻫﻲ ﻫﻲ ﺑﺎﻟﺘّﻤﺎﻡ‪ ،‬ﺳﻮﺍﺀ ﻛﺎﻧﺖ ﻣُ ﹾﻔ َﺮ َﺩ ﹰﺓ ﺃﻭ ﺩﺍﺧﻠﺔ ﰲ ﺗﺄﻟﻴﻒ‪ .‬ﻓﻴﻠﺰﻡ ﺑﺎﻟﻄﹼﺒﻊ ﻫﺬﻩ ﺍﳌﺴﻠﹼﻤﺔ‬
‫ﺍﻷﺧﺮﻯ‪ :‬ﺇ ﹼﻥ ﺍﻟﻌﻼﻗﺎﺕ ﺍﻟﹼﱵ ﺗﺼﻞ ﻋﻨﺎﺻﺮ ﻧﺴﻖ ﻣﺎ ﺑﻌﻀﻬﺎ ﺑﺒﻌﺾ ﻫﻲ ﺧﺎﺭﺟﻴّﺔ ﻟﺘﻠﻚ ﺍﻟﻌﻨﺎﺻﺮ‪:‬‬
‫ﻭﻫﺬﻩ ﻫﻲ ﺍﳌﺴﻠﹼﻤﺔ ﺍﻟﹼﱵ ﺍﻋﺘﺪﻧﺎ ﻋﻠﻰ ﺻﻮﻏﻬﺎ ﲢﺖ ﺍﺳﻢ ﻣﺒﺪﺃ ﺍﻟﻌﻄﺎﻟﺔ ﻓﺈﺫﻥ ﺃﻥ ﻧﻘﻒ ﻣﻮﻗﻔﺎ‬
‫ﻋﻠﻤﻴّﺎ ﻣﻦ ﻣﻮﺿﻮﻉ ﻣﺎ‪ ،‬ﺳﻮﺍﺀ ﻛﺎﻥ ﺟﺴﻤﺎ ﻓﻴﺰﻳﺎﺋﻴّﺎ ﺃﻭ ﻋﻀﻮﻳّﺔ ﺃﻭ ﻭﺍﻗﻌﺔ ﺗﻨﺘﻤﻲ ﻟﻠﻮﻋﻲ‪ ،‬ﻓﻬﻮ‪،‬‬
‫ﻱ ﺍﻟﻌﺼﺮ ﺍﻟﹼﺬﻱ ﳓﻦ ﺑﺸﺄﻧﻪ‪ ،‬ﺇﻧّﻤﺎ ﺃﻥ ﻧﻀﻊ‪ ،‬ﻗﺒﻞ ﻛ ﹼﻞ ﲢﻘﻴﻖ‪ ،‬ﺃ ﹼﻥ ﺫﻟﻚ ﺍﳌﻮﺿﻮﻉ ﻫﻮ‬
‫ﻟﺪﻯ ﻣﻔﻜﹼﺮ ّ‬
‫ﺗﺮﻛﻴﺐ ﻣﻦ ﻻ ﻣﺘﻐﻴّﺮﺍﺕ ﻋﺎﻃﻠﺔ ﻣﻮﺻﻮﻟﺔ ﺑﻴﻨﻬﺎ ﺑﻌﻼﻗﺎﺕ ﺧﺎﺭﺟﻴّﺔ‪ .‬ﻓﺒﻴﻨﻤﺎ ﻋﻠﻢ ﺍﻟﻌﻠﻤﺎﺀ‪ ،‬ﺍﻟﻌﻠﻢ‬
‫ﺴﻮﱠﻯ " ﻣﺎ ﻛﺎﻥ ﰲ ﺟﻮﻫﺮﻩ ﻻ ﲢﻠﻴﻼ ﻭﻻ ﺗﺄﻟﻴﻔﺎ ﺧﺎﻟﺼﺎ‪ ،‬ﻭﺇﻧّﻤﺎ ﻫﻮ ﻳُ ﹶﻄ ﱢﻮﻉُ ﻣﻨﺎﻫﺠﻬﻪ‬
‫ﺍﻟﹼﺬﻱ " ُﻳ َ‬
‫ﲝﺴﺐ ﻃﺒﻴﻌﺔ ﻣﻮﺍﺿﻴﻌﻪ‪ ،‬ﻓﺈ ﹼﻥ ﺗﺄﻭﻳﻼ ﺳﺎﺫﺟﺎ ﻟﺘﻄﻮّﺭﻩ‪ ،‬ﻛﺎﻥ ﻗﺪ ﺃﻓﻀﻰ ﺑﺎﻟﻔﻼﺳﻔﺔ‪ ،‬ﺑﻄﺮﻳﻖ‬
‫ﻱ ﻟﻠﻘﺮﻥ ﺍﻟﺜﺎﻣﻦ ﻋﺸﺮ‪ ،‬ﻭﺇﱃ ﺍﳌﻌﺎﺩﺍﺓ ﻣﻌﺎﺩﺍﺓ ﻣﺒﺪﺋﻴّﺔ ﻟﺮﻭﺡ‬
‫ﺍﻧﻌﺮﺍﺝ ﻏﺮﻳﺐ‪ ،‬ﺇﱃ ﺍﻟﺮّﺃﻱ ﺍﻟﻨّﻘﺪ ّ‬
‫ﺍﻟﺘّﺄﻟﻴﻒ‪.‬‬
‫ﻭﻣﻦ ﹶﺛ ﱠﻢ ﻓﻜ ﹼﻞ ﻣﺴﻌﻰ ﻣﻦ ﺃﺟﻞ ﺗﺄﺳﻴﺲ ﻋﻠﻢ ﻧﻔﺲ ﻋﻠﻤ ّﻲ ﻓﺴﻴﻨﺤ ﹼﻞ ﺑﺎﻻﺿﻄﺮﺍﺭ ﺇﱃ ﻣﺴﻌﻰ‬
‫ﻣﻦ ﺃﺟﻞ ﺭ ّﺩ ﺍﻟﺘّﺮﻛﻴﺒﻴّﺔ ﺍﻟﻨّﻔﺴﻴّﺔ ﺇﱃ ﺁﻟﻴّﺔ‪.‬‬

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‫"ﺇ ﹼﻥ ﻣﻔﺮﺩﺍﺕ‪ ،‬ﻛﺎﳌﻠﻜﺔ ﻭﺍﻟﻘﺪﺭﺓ ﻭﺍﻟﻘﻮّﺓ ﺍﻟﹼﱵ ﻛﺎﻥ ﳍﺎ ﺃﻳّﻤﺎ ﺷﺄﻥ ﰲ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﻟﻴﺴﺖ‬
‫ﻫﻲ‪ ،‬ﻛﻤﺎ ﺳﻮﻑ ﻧﺮﻯ‪ ،‬ﺇ ﹼﻻ ﺃﲰﺎﺀ ﻧﺎﻓﻌﺔ ﻧﻀﻊ ﺑﺘﻮﺳّﻄﻬﺎ ﻣﻌﺎ ﰲ ﺣﻴّﺰ ﺫﺍ ﺍﻣﺘﻴﺎﺯ ﻛ ﹼﻞ ﺍﻟﻮﺍﻗﻌﺎﺕ‬
‫ﺍﻟﹼﱵ ﺗﺪﺧﻞ ﲢﺖ ﻧﻮﻉ ﺫﻱ ﺍﻣﺘﻴﺎﺯ ؛‪ ...‬ﺇﻧّﻬﺎ ﻻ ﺗﺪ ﹼﻝ ﻋﻠﻰ ﻣﺎﻫﻴﺔ ﺳ ّﺮﻳّﺔ ﻭﻋﻤﻴﻘﺔ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﺪﻭﻡ‬
‫ﻭﲣﺘﻔﻲ ﲢﺖ ﺳﻴّﺎﻝ ﺍﻟﻮﺍﻗﻌﺎﺕ‪ ...‬ﻭﺑﺬﻟﻚ ﻳﺼﺒﺢ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﻋﻠﻤﺎ ﺑﺎﻟﻮﺍﻗﻌﺎﺕ‪ ،‬ﻷ ﹼﻥ ﻣﻌﺎﺭﻓﻨﺎ‬
‫ﺇﻧّﻤﺎ ﻫﻲ ﻭﺍﻗﻌﺎﺕ ؛ ﻓﻨﺤﻦ ﻧﺴﻄﻴﻊ ﺃﻥ ﻧﺘﻜﻠﹼﻢ ﻋﻠﻰ ﺟﻬﺔ ﺍﻟ ّﺪﻗﹼﺔ ﻭﺍﻟﺘّﻔﺼﻴﻞ ﻋﻦ ﺇﺣﺴﺎﺱ ﺃﻭ ﻋﻦ‬
‫ﻼ ِﺑ ِﻤ ﹾﺜ ٍﻞ‬
‫ﻓﻜﺮﺓ ﺃﻭ ﻋﻦ ﺫﻛﺮﻯ ﺃﻭ ﻋﻦ ﺗﻨﺒّﺄ ﻛﻤﺎ ﻧﺘﻜﻠﹼﻢ ﻋﻦ ﺍﻫﺘﺰﺍﺯ ﺃﻭ ﻋﻦ ﺣﺮﻛﺔ ﻓﻴﺰﻳﺎﺋﻴّﺔ َﻣﹶﺜ ﹰ‬
‫‪...‬ﺇ ﹼﻥ ﻣﺎﺩّﺓ ﻛ ﹼﻞ ﻋﻠﻢ ﺍﻟﻴﻮﻡ ﺇﺫﻥ ﺇﻧّﻤﺎ ﻫﻲ ﻭﺍﻗﻌﺎﺕ ﺻﻐﲑﺓ ﳐﺘﺎﺭﺓ ﺧﲑ ﺍﻻﺧﺘﻴﺎﺭ ﺫﺍﺕ ﺑﺎﻝ ﻭ‬
‫ﻱ ﺷﻲﺀ ﻫﻲ‬
‫ﺫﺍﺕ ﺩﻻﻟﺔ ﻭﻣﺴﺘﻮﻓﻴﺔ ﺍﻟﺘّﺤﻴﻴﺰ ﻭﺩﻗﻴﻘﺔ ﺍﻟﺘّﻌﻠﻴﻖ‪ ...‬ﻭﻏﺎﻳﺔ ﻃﻠﺒﻨﺎ ﺇﻧّﻤﺎ ﺃﻥ ﻧﻌﺮﻑ ﺃ ّ‬
‫ﻱ ﺷﻲﺀ ﻫﻮ ﺍﻵﺛﺎﺭ‬
‫ﻱ ﺷﺮﻭﻁ ﺗﺄﺗﻠﻒ ﻭﺃ ّ‬
‫ﺗﻠﻚ ﺍﻟﻌﻨﺎﺻﺮ‪ ،‬ﻭﻛﻴﻒ ﺗﻨﺸﺄ‪ ،‬ﻭﻛﻴﻒ ﺗﺄﺗﻠﻒ ﻭﲝﺴﺐ ﺃ ّ‬
‫ﺍﻟﻘﺎﺭّﺓ ﻟﻠﺘّﺮﻛﻴﺒﺎﺕ ﺍﳌﻜﻮّﻧﺔ ﻋﻠﻰ ﺫﺍﻙ ﺍﻟﻨّﺤﻮ‪ .‬ﺫﻟﻚ ﻫﻮ ﺍﳌﻨﻬﺞ ﺍﻟﹼﺬﻱ ﻗﺪ ﺍﻟﺘﻤﺴﻨﺎ ﺍﺗّﺒﺎﻋﻪ ﻬﺑﺬﺍ‬
‫ﺍﳌﺼﻨّﻒ‪ .‬ﻭﰲ ﻗﺴﻤﻪ ﺍﻷﻭّﻝ ﺍﺳﺘﺨﻠﺼﻨﺎ ﻋﻨﺎﺻﺮ ﺍﳌﻌﺮﻓﺔ ؛ ﻭ ﻣﻦ َﺭ ﱟﺩ ﺇﱃ َﺭﺩﱟ‪ ،‬ﺃﻓﻀﻴﻨﺎ ﺇﱃ ﺃﺷﺪّﻫﺎ‬
‫ﺑﺴﺎﻃﺔ‪ ،‬ﰒﹼ‪ ،‬ﻣﻦ ﻫﻨﺎﻙ‪ ،‬ﺃﻓﻀﻴﻨﺎ ﺇﱃ ﺍﻟﺘّﻐﻴّﺮﺍﺕ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴّﺔ ﺍﻟﹼﱵ ﻫﻲ ﺷﺮﻁ ﻭﻻﺩﻬﺗﺎ‪ .‬ﺃﻣّﺎ ﰲ‬
‫ﺍﻟﻘﺴﻢ ﺍﻟﺜﹼﺎﱐ ﻓﻘﺪ ﻭﺻﻔﻨﺎ ﺃﻭّﻻ ﺁﻟﻴّﺔ ﺗﻀﺎﻣّﻤﻬﺎ ﻭﺃﺛﺮﻫﺎ ﺍﻟﻌﺎﻡّ‪ ،‬ﰒﹼ‪ ،‬ﻭﺑﻌﺪ ﺃﻥ ﺃﻭﻗﻌﻨﺎ ﺍﻟﻘﺎﻧﻮﻥ‬
‫ﺼﻞﹶ‪ ،‬ﻓﻘﺪ ﻓﺤﺼﻨﺎ ﻋﻦ ﻋﻨﺎﺻﺮ ﺃﻣّﻬﺎﺕ ﺿﺮﻭﺏ ﺍﳌﻌﺮﻓﺔ ﻭﺗﻜﻮّﻬﻧﺎ ﻭﻣﺎﳍﺎ ﻣﻦ ﻳﻘﲔ ﻭﻗﺪﺭ‪" .‬‬
‫ﺤ ﱠ‬
‫ﺍ ﹸﳌ َ‬

‫ﺸ َﺮ ﺳﻨﺔ ‪١٨٧١‬‬
‫ﺇﻧّﻪ ﻛﺬﻟﻚ ﻛﺎﻥ ﺗﺎﻥ ﰲ ﻣﻘﺪّﻣﺔ ﻛﺘﺎﺑﻪ ﺍﳌﻮﺳﻮﻡ ﺑﻔﻲ ﺍﻟﺬﹼﻛﺎﺀ ﺍﻟﹼﺬﻱ ﻧُ ِ‬
‫)ﺕ( ﻳﻌﺘﺰﻡ ﺗﺄﺳﻴﺴﻪ ﻋﻠﻢ ﻧﻔﺲ ﻋﻠﻤ ّﻲ‪ .‬ﻭﺇﻧّﺎ ﻟﻨﺘﺒﻴّﻦ ُﺭﻏﹸﻮَﺑ ُﻪ ﺍﻟﺘّﺎﻡ ﻋﻦ ﻣﺒﺎﺩﺉ ﺍﻟﻔﺤﺺ ﺍﻟﻨّﻔﺴ ّﻲ‬
‫ﺍﻟﹼﱵ ﻛﺎﻥ ﻭﺿﻌﻬﺎ ﻣﺎﻥ ﺩﻱ ﺑﲑﺍﻥ ﻓﺎﻷﻣﺜﻞ ﻫﺎﻫﻨﺎ ﻛﺎﻥ ﺃﻥ ﻧﻘﺪﺭ ﻋﻠﻰ ﺃﻥ َﻧ ُﻌ ﱠﺪ ﺍﻟﻮﺍﻗﻌﺔ ﺍﻟﻨّﻔﺴّﻴﺔ‬
‫ﺑﻨﺤﻮ " ﺍﳊﺮﻛﺔ ﺍﻟﻔﻴﺰﻳﺎﺋﻴّﺔ "‪ .‬ﻭﻣﻦ ﹶﺛﻢﱠ‪ ،‬ﻓﻨﺤﻦ ﻧﺸﺎﻫﺪ ﺍﳌﺒﺪﺃ ﺍﶈﺾ ﻣﻨﻬﺠ ّﻲ ﻭﺍﳌﺴﻠﹼﻢ ﻣﺒﺪﺃ‬
‫ﺍﻋﺘﻤﺎﺩ ﺍﻟﺘّﺠﺮﺑﺔ ) " ﻭﺍﻗﻌﺎﺕ ﺻﻐﲑﺓ ﳐﺘﺎﺭﺓ ﺧﲑ ﺍﻻﺧﺘﻴﺎﺭ‪ ،‬ﻭﻏﲑ ﺫﻟﻚ‪ ،(" .‬ﻭﻧﻈﺮﻳّﺔ‬
‫ﻣﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ ﻣﻮﺿﻮﻋﺔ ﻣﺎ ﻗﺒﻠﻴّﺎ ﺫﺍﺕ ﺗﻌﻠﹼﻖ ﺑﻄﺒﻴﻌﺔ ﻭﻏﺎﻳﺎﺕ ﺍﻟﺘّﺠﺮﺑﺔ‪ ،‬ﻳﻮﺟﺪﺍﻥ ﻣﻌﺎ ﰲ ﻧﻔﺲ‬
‫ﺺ )ﺙ(‪ .‬ﻭﺗﺎﻥ ﱂ ﻳﻘﺘﺼﺮ ﻋﻠﻰ ﺃﻥ ﻭﺻّﻰ ﺑﺎﺳﺘﻌﻤﺎﻝ ﻭﺍﺳﻊ ﻟﻠﺘّﺠﺮﺑﺔ‪ :‬ﺑﻞ ﻗﺪ ﻋﻴّﻦ ﻭﻫﻮ‬
‫ﺍﻟّﻨ ّ‬

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‫ﻱ ﺷﻲﺀ ﻳﻨﺒﻐﻲ ﺃﻥ ﺗﻜﻮﻥ ﻫﺬﻩ ﺍﻟﺘّﺠﺮﺑﺔ‪ ،‬ﻭﻭﺻﻒ ﻧﺘﺎﺋﺠﻬﺎ ﻣﻦ ﻗﺒﻞ‬
‫ﻳﺴﺘﻨﺪ ﺇﱃ ﻣﺒﺎﺩﺉ ﻣﻀﻄﺮﺑﺔ ﺃ ّ‬
‫ﺃﻥ ﻳﻜﻮﻥ ﻗﺪ ﺍﺳﺘﻔﺘﺎﻫﺎ ﺃﻭّﻻ‪ ،‬ﻭﻫﺬﺍ ﺍﻟﻮﺻﻒ ﻗﺪ ﺍﻗﺘﻀﻲ ﺑﺎﻟﻄﹼﺒﻊ ﻃﺎﺋﻔﺔ ﻣﻦ ﺍﻹﺛﺒﺎﺗﺎﺕ ﺍﳌﺴﺘﻮﺭﺓ‬
‫ﺲ ﻣﻨﺬ ﻗﺮﺍﺀﺗﻨﺎ ﻟﻠﺼّﻔﺤﺎﺕ ﺍﻷﻭﱃ‬
‫ﺫﺍﺕ ﺗﻌﻠﹼﻖ ﺑﻄﺒﻴﻌﺔ ﺍﻟﻌﺎﱂ ﻭﺍﻟﻮﺟﻮﺩ ﻋﻠﻰ ﳓﻮ ﻋﺎ ّﻡ‪ .‬ﻭﳓ ّ‬
‫ﺗﻠﻚ‪ ،‬ﺑﺄ ﹼﻥ ﻋﻠﻢ ﻧﻔﺲ ﺗﺎﻥ‪ِ ،‬ﻟ َﻤﻜﹶﺎ ِﻥ ﺗﻠﻜﻢ ﺍﻟﻌﺪﻭﻯ ﺍﻷﺻﻠﻴّﺔ‪ ،‬ﺳﻮﻑ ﻳﻜﻮﻥ ﺍﺳﺘﻨﺒﺎﻃﻴّﺎ ﻭﺃ ﹼﻥ‬
‫ﺍﻟﻮﺍﻗﻌﺎﺕ ﺍﻟﻜﺜﲑﺓ ﺍﳌﻌﺮﻭﺿﺔ ﻋﻠﻴﻨﺎ‪ ،‬ﻭﺍﻟﹼﱵ ﻫﻲ ﺃﻳﻀﺎ ﻛﻠﹼﻬﺎ ﺧﺎﻃﺌﺔ‪ ،‬ﻟﻴﺲ ﳍﺎ ﻣﻦ ﺷﺄﻥ ﺇ ﹼﻻ ﺃﻥ‬
‫ﺗﻐﻄﹼﻲ ﺍﻟﺘّﺴﻠﺴﻞ ﺍﶈﺾ ﻣﻨﻄﻘ ّﻲ ﻟﻸﻓﻜﺎﺭ)‪(١‬‬

‫ﻭﻻ ﺗﺰﻳﺪ ﻗﺮﺍﺓ ﺍﻟﻜﺘﺎﺏ‪ ،‬ﻟﻌﻤﺮﻱ‪ ،‬ﺇ ﹼﻻ ﺗﺄﻛﻴﺪﺍ ﳍﺬﻩ ﺍﻟﺘﻨﺒّﺆﺍﺕ‪ .‬ﻭﻗﺪ ﳒﺰﻡ ﺑﺄﻧّﻨﺎ ﻻ ﳒﺪ ﺑﻪ‬
‫ﺍﻟﺒﺘّﺔ ﻭﺻﻔﺎ ُﻣَﺘ َﻌﱢﻴﻨًﺎ ﺃﻭ ﺇﺷﺎﺭﺓ ﺗﻜﻮﻥ ﺃﻣﻠﺘﻬﺎ ﻣﻌﺎﻳﻨﺘﻨﺎ ﻟﻠﻮﺍﻗﻌﺎﺕ‪ :‬ﺑﻞ ﺍﻟﻜ ﹼﻞ ﺑُِﻨ َﻲ ِﺑﻨَﺎ ًﺀ‪ .‬ﻓﺘﻨﺎﻥ‬
‫ﺍﺳﺘﺨﺪﻡ ﺃﻭّﻻ ﺍﻟﺘّﺤﻠﻴﻞ ﺍﻟﺘّﺮﺍﺟﻌﻲ‪ ،‬ﻭﻫﻮ‪ ،‬ﻭﻗﺪ ﺍﺗّﺨﺬ ﻫﺬﻩ ﺍﻟﻄﺮّﻳﻘﺔ‪ ،‬ﻗﻔﺰ‪ ،‬ﻋﻠﻰ ﳓﻮ ﺳﺎﺫﺝ‬
‫ﻭﻣﻄﻤﺌﻦّ‪ ،‬ﻣﻦ ﺍﺠﻤﻟﺎﻝ ﺍﻟﻨّﻔﺴ ّﻲ ﺇﱃ ﺍﺠﻤﻟﺎﻝ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟ ّﻲ ﺍﻟﹼﺬﻱ ﻫﻮ ﻟﻴﺲ ﺳﻮﻯ ﳎﺎﻝ ﺍﻵﻟﻴﺔ‬
‫ﺍﳋﺎﻟﺼﺔ‪ .‬ﹼﰒ ﺇﻧّﻪ ﻗﺪ ﺍﻧﺘﻘﻞ ﺇﱃ ﺍﻟﺘّﺄﻟﻴﻒ‪ .‬ﻟﻜﻦ ﺇﻧّﻤﺎ ﻳﻨﺒﻐﻲ ﺃﻥ ﻧﻔﻬﻢ ﻣﻦ " ﺍﻟﺘّﺄﻟﻴﻒ " ﻫﺎﻫﻨﺎ ﳎﺮّﺩ‬
‫ﻣﻌﺎﻭﺩﺓ ﺍﻟﺘّﺮﻛﻴﺐ)‪ .(٢‬ﺇﺫ ﻫﻮ ﻗﺪ ﺗﺮﻗﹼﻰ ﻣﻦ ﲨﻠﺔ‪ ،‬ﺑﻮﺟﻪ ﻣﺎ ﺑﺴﻴﻄﺔ‪ ،‬ﺇﱃ ﲨﻠﺔ ﺃﺷ ّﺪ ﺗﺮﻛﻴﺒﺎ‪،‬‬
‫ﻀ َﻲ ﺍﻷﻣﺮ‪ :‬ﺃﻱ ﻗﺪ ﺃﹸ ْﺩ ِﺧ ﹶﻞ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟ ّﻲ ﰲ ﺍﻟﻮﻋﻲ‪:‬‬
‫ﻭﻗﹸ ِ‬
‫" ﻟﻴﺲ ﻳﻮﺟﺪ ﺷﻲﺀ ﻭﺍﻗﻌﻲ ﰲ ﺍﻷﻧﺎ ﺇ ﹼﻻ ﺧﻴﻂ ﺃﺣﺪﺍﺛﻪ‪ .‬ﻭﻫﺬﻩ ﺍﻷﺣﺪﺍﺙ ﺫﻭﺍﺕ ﺍﻟﻮﺟﻮﻩ‬
‫ﺤﺪُ ﰲ ﺍﻟﻄﹼﺒﻴﻌﺔ‪ ،‬ﻭُﺗ َﺮ ﱡﺩ ﻛﻠﹼﻬﺎ ﺇﱃ ﺍﻹﺣﺴﺎﺱ؛ ﻭﺍﻹﺣﺴﺎﺱ ﻧﻔﺴﻪ ﻣﻨﻈﻮﺭﺍ ﺇﻟﻴﻪ‬
‫ﺍﳌﺨﺘﻠﻔﺔ‪ ،‬ﻫﻲ َﺗﱠﺘ ِ‬
‫ﻣﻦ ﺧﺎﺭﺝ ﻭﺑﺘﻮﺳّﻂ ﻣﺎ ﻧﻄﻠﻖ ﻋﻠﻴﻪ ﺍﻹﺩﺭﺍﻙ ﺍﳋﺎﺭﺟ ّﻲ ﺇﻧّﻤﺎ ﻳﻨﺤ ﹼﻞ ﺇﱃ ﲨﻠﺔ ﻣﻦ ﺍﳊﺮﻛﺎﺕ‬
‫ﺍﳍﺒﺎﺋﻴّﺔ)ﺝ( "‬
‫ﻱ ﰲ ﺍﳊﻴﺎﺓ ﺍﻟﻨّﻔﺴﻴّﺔ‪ ،‬ﺇﻧّﻤﺎ ﺗﻈﻬﺮ ﰲ ﺇﺑّﺎﻬﻧﺎ ﰲ ﻫﺬﺍ ﺍﻟﺒﻨﺎﺀ‬
‫ﻭﺍﻟﺼّﻮﺭﺓ ﺍﻟﹼﱵ ﻫﻲ ﻋﻨﺼﺮ ﺟﻮﻫﺮ ّ‬
‫ﻭﺗﺄﺧﺬ ﻣﻜﺎﻧﺎ ﺑﻪ ﻛﺎﻥ ﻗﺪ ﻋُﱢﻴ َﻦ ﺳﻠﻔﺎ‪.‬‬

‫" ﻛ ﹼﻞ ﻣﺎ ﰲ ﺍﻟﻔﻜﺮ ﻳﺘﻌﺪّﻯ " ﺍﻹﺣﺴﺎﺱ ﺍﳋﺎ ّﻡ "‪ ،‬ﻓﻬﻮ ُﻳ َﺮ ﱡﺩ ﺇﱃ ﺻﻮﺭ‪ ،‬ﺃﻱ ﺇﱃ ﻣﻌﺎﻭﺩﺍﺕ‬
‫ﻋﻔﻮﻳّﺔ ﻟﻺﺣﺴﺎﺱ "‬

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‫ﻂ‬
‫ﺖ ﺍﺳﺘﻨﺘﺎﺟﺎ ﻣﺎ ﻗﺒﻠﻴّﺎ‪ .‬ﻭﻣﺎ ﺍﺳﺘﻔﺘﻴﻨﺎ ﻗ ﹼ‬
‫ﺠ ْ‬
‫ﻓﺈﺫﻥ ﺇ ﹼﻥ ﻃﺒﻴﻌﺔ ﺍﻟﺼّﻮﺭﺓ ﻧﻔﺴﻬﺎ ﺇﻧّﻤﺎ ﻗﺪ ﺍ ْﺳُﺘ ْﻨِﺘ َ‬
‫ﻣﻌﻄﻴﺎﺕ ﺍﻟﺘّﺠﺮﺑﺔ ﺍﻟﺒﺎﻃﻨﻴّﺔ‪ .‬ﺑﻞ ﻣﻦ ﺍﻷﻭﻝﹼ‪ ،‬ﳓﻦ ﻧﻌﻠﻢ ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻟﻴﺴﺖ ﺇ ﹼﻻ ﺇﺣﺴﺎﺳﺎ ﻣُ ْﻨَﺒ ِﻌﺜﹰﺎ‪،‬‬
‫ﺃﻱ ِﺑﹶﺄ َﺧ َﺮﺓٍ‪ ،‬ﻫﻲ " ﲨﻠﺔ ﻣﻦ ﺍﳊﺮﻛﺎﺕ ﺍﳍﺒﺎﺋﻴّﺔ "‪ .‬ﻭﺫﻟﻚ ﻫﻮ ﻭﺿﻊ ﻟﻠﺼّﻮﺭﺓ ﺑﻨﺤﻮ ﺍﻟﻼﹼﻣﺘﻐﻴّﺮ‬
‫ﺍﻟﻌﺎﻃﻞ‪ ،‬ﻭﻣﻦ ﹶﺛ ﱠﻢ ﻓﺈﻧّﻪ ﺳﻴﻠﺰﻡ ﺇﺑﻄﺎﻝ ﺍﻟﺘّﺨﻴّﻞ‪ .‬ﻓﻐﺎﻳﺔ ﻣﺎ ﻛﺎﻥ ﺗﺒﻴّﻨﻪ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﺍﻟﺘّﺤﻠﻴﻞ ﻫﻲ ﺇﺫﻥ‬
‫ﺃ ﹼﻥ ﺍﻟﺬﹼﻫﻦ ﻫﻮ " ﻛﺜﲑ ﺍﻷﺭﺟﻞ ﻣﻦ ﺍﻟﺼّﻮﺭ "‪ .‬ﻭﻟﻜﻦ ﺗﺎﻥ ﻣﺎ ﻛﺎﻥ ﻗﺪ ﺗﺒﻴّﻦ ﺃ ﹼﻥ ﺫﻟﻚ ﻗﺪ ﻛﺎﻥ‬
‫ﻼ‬
‫ﺃﻳﻀﺎ ﻣﺴﻠﹼﻤﺘﻪ ﺍﻷﺻﻠﻴّﺔ‪ .‬ﻭﺍﺠﻤﻟﻠﹼﺪﺍﻥ ﺍﻟﻀّﺨﻤﺎﻥ ِﻣ ْﻦ ﰲ ﺍﻟﺬﹼﻛﺎﺀ ﱂ ﻳﺰﻳﺪﺍ ﺇ ﹼﻻ ﺃﻥ ﺑﺴﻄﺎ ﺑﺴﻄﺎ ﳑ ﹼ‬
‫ﺍﻟﻘﻮﻝ ﰲ ﻫﺬﻩ ﺍﳉﻤﻠﺔ ﺍﻟﺒﺴﻴﻄﺔ ﺍﻟﺘّﻲ ﺃﺳﻠﻔﻨﺎ ﺫﻛﺮﻫﺎ‪:‬‬
‫ﻱ ﺷﻲﺀ ﻫﻲ ﺗﻠﻚ ﺍﻟﻌﻨﺎﺻﺮ‪ ،‬ﻭﻛﻴﻒ ﺗﻨﺸﺄ‪ ،‬ﻭﻛﻴﻒ ﺗﺄﺗﻠﻒ‬
‫"ﻭﻏﺎﻳﺔ ﻃﻠﺒﻨﺎ ﺇﻧّﻤﺎ ﺃﻥ ﻧﻌﺮﻑ ﺃ ّ‬
‫ﻱ ﺷﺮﻭﻁ ﺗﺄﺗﻠﻒ"‬
‫ﻭﲝﺴﺐ ﺃ ّ‬

‫ﻭ ﻫﻮ ﺑﻌﺪ ﺃﻥ ﻗﺪ ﻭﺿﻊ ﺫﻟﻚ ﺍﳌﺒﺪﺃ‪ ،‬ﱂ ﳛﺘﺞ ﺇ ﹼﻻ ﻷﻥ ﻳﺸﺮﺡ ﻛﻴﻒ ﺗﺄﺗﻠﻒ ﺍﻟﺼّﻮﺭ ﺣﺘّﻰ‬
‫ﻳﻨﺸﺄ ﻋﻨﻬﺎ ﺍﳌﻔﺎﻫﻴﻢ ﻭﺍﳊﻜﻢ ﻭﺍﻻﺳﺘﺪﻻﻝ‪ .‬ﻭﻃﺒﻴﻌ ّﻲ ﺃﻥ ﻳﻜﻮﻥ ﻗﺪ ﺍﺳﺘﻌﺎﺭ ﺷﺮﻭﺣﻪ ﺗﻠﻚ ﻣﻦ‬
‫ﺍﻟﺘّﺮﺍﺑﻄﻴّﺔ‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﻫﻴﻮﻡ‪ ،‬ﻛﺎﻥ ﺃﺣﺬﻕ ﻣﻨﻪ‪ ،‬ﻓﻬﻮ ﻗﺪ ﺳﻌﻰ‪ ،‬ﻋﻠﻰ ﺍﻷﻗﻞﹼ‪ ،‬ﻣﻦ ﺃﺟﻞ ﺑﻨﺎﺀ ﺷﺒﺢ ﻣﻦ‬
‫ﺿ َﻌﺖْ‪ ،‬ﻋﻠﻰ‬
‫ﺞ‪ .‬ﻣﻦ ﺃﺟﻞ ﺫﻟﻚ‪ ،‬ﻛﺎﻧﺖ ﻗﻮﺍﻧﲔ ﺍﻟﺘّﺮﺍﺑﻂ ﻟﺪﻳﻪ‪ ،‬ﻗﺪ ُﻭ ِ‬
‫ﺴَﺘ ْﻨِﺘ َ‬
‫ﺍﻟﺘّﺠﺮﺑﺔ‪ .‬ﻭﱂ ﻳﺮﻡ ﺃﻥ َﻳ ْ‬
‫ﺍﻷﻗ ﹼﻞ ﰲ ﺍﻟﻈﹼﺎﻫﺮ‪ ،‬ﰲ ﳎﺎﻝ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﺍﳋﺎﻟﺺ‪ :‬ﺇﻧّﻬﺎ ﺭﻭﺍﺑﻂ ﺑﲔ ﺍﻟﻈﹼﻮﺍﻫﺮ ﻛﻤﺎ ﺗﻈﻬﺮ ﻟﻠﺬﹼﻫﻦ‪.‬‬
‫ﺼﺢُ‬
‫ﻭﺍﳋﻠﻂ ﺍﻷﺻﻠ ّﻲ ﻋﻨﺪ ﺗﺎﻥ ﺑﲔ ﺍﻟﺘّﺠﺮﺑﺔ ﻭﺍﻟﺘّﺤﻠﻴﻞ‪ ،‬ﻗﺪ ﺃﺩّﺍﻩ ﻷﻥ ﻳﺆﺳّﺲ ﺗﺮﺍﺑﻄﻴّﺔ ﻫﺠﻴﻨﺔ ﺗُ ﹾﻔ ِ‬
‫ﻋﻦ ﻧﻔﺴﻬﺎ ﺗﺎﺭﺓ ﺑﻠﻐﺔ ﻓﻴﺰﻳﻮﻟﻮﺟﻴّﺔ‪ ،‬ﻭﻃﻮﺭﺍ ﺑﻠﻐﺔ ﻧﻔﺴﻴّﺔ‪ ،‬ﻭﺑﺎﻟﻠﹼﻐﺘﲔ ﻣﻌﺎ ﺗﺎﺭﺓ ﺃﺧﺮﻯ؛ ﻟﺬﻟﻚ ﻓﺈ ﹼﻥ‬
‫ﺧﱪﺍﻧﻴّﺘﻪ ﺍﶈﺾ ﻧﻈﺮﻳّﺔ ﺇﻧّﻤﺎ ﻛﺎﻧﺖ ﺗﺰﺍﻭﺟﻬﺎ ﻭﺍﻗﻌﻴّﺔ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ‪ .‬ﳑّﺎ ﻟﺰﻡ ﻋﻨﻪ ﻫﺬﺍ ﺍﻟﺘّﻨﺎﻗﺾ‬
‫ﺍﻟﻌﺠﻴﺐ‪ :‬ﻓﺘﺎﻥ‪ ،‬ﻣﻦ ﺃﺟﻞ ﺃﻥ ﻳﺆﺳّﺲ ﻋﻠﻢ ﻧﻔﺲ ﻋﻠﻰ ﳕﻂ ﺍﻟﻔﻴﺰﻳﺎﺀ‪ ،‬ﺍﻋﺘﻨﻖ ﺍﻟﺮّﺃﻱ ﺍﻟﺘّﺮﺍﺑﻄ ّﻲ‬
‫ﺸ ﱢﺮ ِﻋ ﱟﻲ‪ .‬ﻭﻟﻜﻨّﻪ‪ ،‬ﻭﰲ‬
‫ﻱ ﻟﻜ ﹼﻞ ﻋﻠﻢ ُﻣ َ‬
‫ﺍﻟﹼﺬﻱ ﺷﺄﻧﻪ ﺃﻥ ﻳﻘﻮﺩ‪ ،‬ﻛﻤﺎ ﺑﻴّﻨﻪ ﻛﺎﻧﻂ‪ ،‬ﺇﱃ ﺇﺑﻄﺎﻝ ﺟﻮﻫﺮ ّ‬
‫ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﻓﻴﻪ ﻳﻬﺪﻡ‪ ،‬ﻭﻫﻮ ﻏﺎﻓﻞ‪ ،‬ﻓﻜﺮﺓ ﺍﻟﻀّﺮﻭﺭﺓ ﻧﻔﺴﻬﺎ ﻭﻓﻜﺮﺓ ﺍﻟﻌﻠﻢ ﻣﻦ‬
‫ﳎﺎﻝ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ‪ ،‬ﻓﻘﺪ ﺃﺛﺒﺖ ﻧﺴﻘﺎ ﻣﻦ ﺍﻟﻘﻮﺍﻧﲔ ﺍﻟﻀّﺮﻭﺭﻳﺔ ﰲ ﺍﺠﻤﻟﺎﻝ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟ ّﻲ ﻭﺍﻟﻔﻴﺰﻳﺎﺋ ّﻲ‪.‬‬

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‫ﱐ ﻟﻴﺴﺎ ﳘﺎ ﺇ ﹼﻻ ﻭﺟﻬﲔ ﻟﻮﺍﻗﻌﺔ ﻭﺍﺣﺪﺓ‪ ،‬ﻓﺴﻴﻠﺰﻡ‬
‫ﻭﳌﹼﺎ ﻛﺎﻥ ﻫﻮ ﻳُ ﹾﺜِﺒﺖُ ﺃ ﹼﻥ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟ ّﻲ ﻭﺍﻟﻨّﻔﺴﺎ ﹼ‬
‫ﺃ ﹼﻥ ﺗﺮﺍﺑﻂ ﺍﻟﺼّﻮﺭ ﲟﺎ ﻫﻲ ﻭﺍﻗﻌﺎﺕ ﻟﻠﻮﻋﻲ ‪ -‬ﻭﺍﻟﹼﱵ ﻫﻲ ﺍﻟﻮﺣﻴﺪﺓ ﺍﻟﹼﱵ َﺗِﺒﲔُ ﻟﻨﺎ ‪ -‬ﺇﻧّﻤﺎ ﻫﻲ‬
‫ﻱ‪ .‬ﺇ ﹼﻥ‬
‫ﳑﻜﻨﺔ‪ ،‬ﺃﻣّﺎ ﺗﺮﺍﺑﻂ ﺍﳊﺮﻛﺎﺕ ﺍﳍﺒﺎﺋﻴّﺔ ﺍﳌﻜﻮّﻧﺔ ﳍﺎ ﺑﻨﺤﻮ ﻭﺍﻗﻌﺎﺕ ﻓﻴﺰﻳﺎﺋﻴّﺔ‪ ،‬ﻓﻬﻮ ﺿﺮﻭﺭ ّ‬
‫ﻣﺎﻇﻨﻨّﺎﻩ ﻷﻣﺪ ﻃﻮﻳﻞ ﺑﺄﻧّﻪ ﺧﱪﻳّﺔ‪ ،‬ﻟﻴﺲ ﻫﻮ ﺇﺫﻥ ﺇ ﹼﻻ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﺎ ﻭﺍﻗﻌﻴّﺔ ﻧﺎﻗﺼﺔ‪.‬‬
‫ﺕ ﻣﻦ‬
‫ﻭﻟﻜﻦ ﺃﻓﻜﺎﺭ ﺗﺎﻥ ﺍﻟﹼﱵ ﻛﺎﻧﺖ ﺗﺮﻭﻕ ﲟﺎ ﳍﺎ ﻣﻦ ﻫﻴﺄﺓ ﻋﻠﻤﻴّﺔ‪ ،‬ﻛﺎﻧﺖ ﻗﺪ ﻧﺎﻟﺖ ﻣُﺒَﺎَﻳﻌَﺎ ٍ‬
‫ﻛ ﹼﻞ ﺣﺪﺏ ﻭﺻﻮﺏ‪ .‬ﻓﺎﺳﺘﻘﺼﺎﺀ ﻏﺎﻟﺘﻮﻥ)ﺡ( ﻗﺪ ﺟﻠﺐ ﳍﺎ ﺣﺠﺠﺎ ﺃﺧﺮﻯ ﻭﺍﻗﻌﻴّﺔ‪ .‬ﻭﰲ ﻧﻔﺲ‬
‫ﺍﻟﻮﻗﺖ‪ ،‬ﺃﻱ ﻣﻦ ﺳﻨﺔ ‪ ١٨٦٩‬ﺇﱃ ‪ ،١٨٨٥‬ﺃﺧﺬ ﺑﺴﺘﻴﺎﻥ ﻭﺑﺮﻭﻛﺎ ﻭﻛﻮﺳّﻤﺎﻝ ﻭﺍﻛﺴﻨﺮ‬
‫ﻭﻭﺭﻧﻚ ﻭﺷﺎﺭﻛﻮ ﻳﺆﺳّﺴﻮﻥ ﺍﻟﻨّﻈﺮﻳّﺔ ﺍﻟﻜﻼﺳﻜﻴّﺔ ﰲ ﺍﳊﺒﺴﺔ ﺍﻟﹼﱵ ﺇﻧّﻤﺎ ﻛﺎﻥ ﻣﺮﺍﻣﻬﺎ ﺃﻥ ﺗﻀﻊ‬
‫ﻭﺟﻮﺩ ﺻﻮﺭ ﻣﺘﻤﻴّﺰﺓ‪ :‬ﻭﻗﺪ ﺍﻧﺘﺼﺮ ﺩﺟﲑﻳﻦ ﳍﺬﻩ ﺍﻟﻨّﻈﺮﻳّﺔ ﺃﻳﻀﺎ ﺳﻨﺔ ‪ .١٩١٤‬ﻭﻓﺮﻳﻖ ﺁﺧﺮ ﻣﻦ‬
‫ﻋﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ ـ ﻣﺜﻞ ﺑﻨﺖ ﰲ ﺍﻟﻄﹼﻮﺭ ﺍﻷﻭّﻝ)ﺥ( ـ ﻗﺪ ﺭﻏﺒﻮﺍ ﰲ ﺃﻥ ﻳﻔﺘﺤﻮﺍ ﻣﻮﺍﻃﻦ ﺟﺪﻳﺪﺓ‬
‫ﻟﻠﺘّﺮﺍﺑﻄﻴّﺔ‪ .‬ﻭﺍﺠﻤﻟﺎﺯ ﺍﻟﻔﻴﺰﻳﺎﺋ ّﻲ ﺍﻟﹼﺬﻱ ﳚﻌﻞ ﻣﻦ ﺍﻟﺼّﻮﺭﺓ " ﺑﻘﺎﺀ ﺍﺭﲡﺎﺝ ﺑﻌﺪ ﺍﳌﺜﲑ ﺍﻟﹼﺬﻱ ﻛﺎﻥ‬
‫ﺃﺣﺪﺛﻪ " ﻭﺍﻟﹼﺬﻱ ﳚﻌﻠﻬﺎ ﻣﻦ ﻧﻔﺲ ﻃﺒﻴﻌﺔ ﺗﺮﻧّﺤﺎﺕ ﺍﻟ ّﺮﻗﹼﺎﺹ ﺍﻟﹼﱵ ﺗﻮﺍﺻﻞ ﺍﳊﺪﻭﺙ ﻟﻮﻗﺖ ﻃﻮﻳﻞ‬
‫ﺑﻌﺪﻣﺎ ﺃﻥ ﻧﻜﻮﻥ ﻗﺪ ﺃﺧﺮﺟﻨﺎﻩ ﺑﻘﻮّﺓ ﺃﺟﻨﺒﻴّﺔ ﻣﻦ ﻭﺿﻊ ﺍﻟﺘّﻮﺍﺯﻥ ‪ -‬ﺇ ﹼﻥ ﻫﺬﺍ ﺍﺠﻤﻟﺎﺯ ﻭﻏﲑﻩ ﻣﻦ ﻧﻔﺲ‬
‫ﻍ ﺁﺧﺮ ﺍﻟﻔﺮﺍﻍ ﻛ ﹼﻞ‬
‫ﺍﻟﻨّﻤﻂ ﻛﺎﻧﺖ ﻗﺪ ﺫﺍﻋﺖ ﺃﻳّﻤﺎ ﺫﻳﻮﻉ‪ .‬ﻭﻋﻠﻰ ﺇﺛﺮ ﺳﺘﲑﻭﺍﺕ ﻣﻞ‪ ،‬ﻓﻘﺪ ﹶﻓ َﺮ ﹶ‬
‫ﻣﻦ ﺗﺎﻥ ﻭﻏﺎﻟﺘﻮﻥ ﻣﻦ َﺣ ﱢﺪ ِﻫﻤَﺎ ﻟﻄﺒﻴﻌﺔ ﺍﻟﺼّﻮﺭﺓ‪ :‬ﺇﻧّﻬﺎ ﺇﺣﺴﺎﺱ ﻣُ ْﻨَﺒ ِﻌﺚﹲ ﻭﻗﻄﻌﺔ ﺫﺍﺕ ﺻﻼﺑﺔ‬
‫ﺠَﺘ َﺰ َﺀﺓﹲ ﻣﻦ ﺍﻟﻌﺎﱂ ﺍﳋﺎﺭﺟ ّﻲ‪ .‬ﻭﺃﻳ‪‬ﺎ ﻣﺎ ﻛﺎﻥ ﺍﻟﺮّﺃﻱ ﺍﻟﹼﺬﻱ ﺭﺁﻩ ﻣﻦ ﺑﻌﺪ ﺫﻟﻚ ﻋﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ‪ ،‬ﻓﻘﺪ‬
‫ﻣُ ْ‬
‫ﲏ ﲟﺒﺪﺃ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﺇﺣﻴﺎﺋﻴّﺔ‪ (3).‬ﻭﻧﻔﺲ ﺃﻭﻻﺋﻚ ﺍﻟﹼﺬﻳﻦ‬
‫ﺑﻘﻮﺍ ﻳﻘﺒﻠﻮﻥ ﺃﺑﺪﺍ ﻋﻠﻰ ﳓﻮ ﺿﻤ ّ‬
‫ﻛﺎﻧﻮﺍ ﻳﺮﻭﻣﻮﻥ ﺇﺛﺒﺎﺕ ﻭﺟﻮﺩ ﺗﺄﻟﻴﻔﺎﺕ ﻧﻔﺴﻴّﺔ )‪ ، (٤‬ﻓﻘﺪ ﺃﻗﺮّﻭﺍ ﺃﻳﻀﺎ ﺑﻮﺟﻮﺩ ﺗﻠﻚ ﺍﻟ ﹼﺬﺭّﺍﺕ‬
‫ﺍﻟﹼﱵ ﺃﻭﺭﺛﻬﻢ ﺇﻳّﺎﻫﺎ ﻋﻠﻢ ﻧﻔﺲ ﺍﻟﺘّﺤﻠﻴﻞ‪ ،‬ﺑﻨﺤﻮ ﺍﻟﺒﻘﺎﺋﻴّﺔ ﺃﻭ ﻋﻨﺎﺻﺮ ﺍﻹﻋﺘﻤﺎﺩ‪.‬‬

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‫ﻭﺇﻧّﻪ ﺑﺎﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺍﻟﺘّﺮﺍﺑﻄﻴّﺔ ﻭﺑﺎﳌﻨﺎﻗﻀﺔ ﳍﺎ‪ ،‬ﻛﺎﻥ ﺟﻴﻞ ﺟﺪﻳﺪ ﻣﻦ ﺍﻟﻔﻼﺳﻔﺔ ﻗﺪ ﺃﺧﺬ‬
‫ﻳﻜﻮّﻥ ﺭﺃﻳﺎ ﻟﻪ ﳓﻮ ﺳﻨﺔ ‪ .١٨٨٠‬ﻭﱂ ﻧﻀﺮﺏ ﺻﻔﺤﺎ ﻋﻦ ﺃﻓﻜﺎﺭ ﺗﺎﻥ ﻭﻣﻴﻞ ﻣﻦ ﺃﺟﻞ ﺍﻟﻌﻮﺩﺓ ﺇﱃ‬
‫ﺍﻟﺘّﺠﺮﺑﺔ ﺍﻟﺒﺎﻃﻨﻴّﺔ‪ .‬ﺑﻞ ﻟﻘﺪ ِﺭﱘَ‪ ،‬ﺑﺘﺄﺛﲑ ﻣﻦ ﺃﺳﺒﺎﺏ ﺷﺘّﻰ‪ ،‬ﻷﻥ ﻧﺘﻌﺪّﻯ ﻭﳓﺘﻔﻆ ﻬﺑﺬﻩ ﺍﻵﺭﺍﺀ ﰲ‬
‫ﻱ ﺃﻥ ﻧﺬﻛﺮ ﺃ ﹼﻥ ﻣﻦ ﺍﻷﺳﺒﺎﺏ ﺍﻟﺮّﺋﻴﺴﺔ ﳍﺬﺍ ﺍﻟﺘّﻐﻴّﺮ‪ ،‬ﻫﻮ‬
‫ﺗﺄﻟﻴﻒ ﺃﻭﺳﻊ‪ ،‬ﺩﻓﻌﺔ ﻭﺍﺣﺪﺓ‪ .‬ﻭ َﺣ ِﺮ ﱞ‬
‫ﺗﻌﺎﻇﻢ ﺍﻟﻜﺎﻧﻄﻴّﺔ ﺍﻟﹼﱵ ﻛﺎﻥ ﻻﺷﻴﻠﻴﻴﻪ ﺍﻟﺪّﺍﻋﻲ ﳍﺎ ﰲ ﻓﺮﻧﺴﺎ)ﺩ(‪ .‬ﻓﻌﻠﻰ ﻫﺬﺍ ﺍﻟﺮّﺃﻱ ﳝﻜﻨﻨﺎ ﺃﻥ‬
‫ﻧﺼﻮﻍ ﺍﳌﺴﺄﻟﺔ ﺍﻟﹼﱵ ﺳﺄﳍﺎ ﺍﻟﻔﻼﺳﻔﺔ ﻛﻤﺎ ﻳﻠﻲ ‪ :‬ﻛﻴﻒ ﳝﻜﻦ ﺍﳌﻼﺀﻣﺔ ﰲ ﳎﺎﻝ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﺑﲔ‬
‫ﻣﻘﺘﻀﻴﺎﺕ ﻧﻘﺪ ﺍﳌﻌﺮﻓﺔ‪ ،‬ﻭﻣﻌﻄﻴﺎﺕ ﺍﻟﺘّﺠﺮﺑﺔ)‪ .(٥‬ﻭﺍﻟﹼﺬﻱ ﻟﻨﺮﺍﻩ ﺫﺍ ﺩﻻﻟﺔ‪ ،‬ﻫﻮ ﺃﻧّﻨﺎ ﻛﻨّﺎ َﻧ ُﻌ ﱡﺪ‬
‫ﺕ ﺍﻟﺘّﺠﺮﺑﺔ ﺍﳋﺎﻟﺼﺔ‪ .‬ﻭﺃ ﹼﻥ ﺍﻷﻣﺮ ﻳﺘﻌﻠﹼﻖ ﻓﻘﻂ ﺑﺘﺄﻭﻳﻠﻬﺎ‪ .‬ﻓﻼ ﺃﺣﺪ ﻛﺎﻥ‬
‫ﻭﺻﻔﺎﺕ ﺗﺎﻥ ﺑﻨﺤﻮ ُﻣ ْﻌ ﹶﻄﻴَﺎ ِ‬
‫ﻳﺸﻜﹼﻚ ﺑﺄﻧّﻪ ﻫﻨﺎﻙ ﺻﻮﺭ ﺫﺭّﺍﺕ‪ :‬ﺇﻧّﻬﺎ ﻭﺍﻗﻌﺔ‪ .‬ﺇﺫ ﻛﺜﲑ ﻣﺎ ﻫﻢ ﺍﻟﻔﻼﺳﻔﺔ ﺍﻟﹼﺬﻳﻦ ﺷﺄﻬﻧﻢ ﺃﻥ‬
‫ﺴ ٍﺮ ﺑﺄ ﹼﻥ ﺍﻟﺘّﺠﺮﺑﺔ ﻧﻔﺴﻬﺎ ﻟﻴﺴﺖ ﺗﻜﺸﻒ ﻟﻨﺎ ﺑﻄﺮﻳﻖ ﺃﻭّﻝ ﺇ ﹼﻻ ﻋﻦ ﻣﺜﻞ ﺫﻟﻚ ﺍﻟﻀّﺮﺏ‬
‫ﻳﻘﺒﻠﻮﺍ ِﺑﻴُ ْ‬
‫ﻣﻦ ﺍﻟﺼّﻮﺭ‪ .‬ﻣﺎ ﻋﺪﺍ ﺃﻧّﻪ ﻓﻮﻕ ﺃﻣﺮ ﻣﺎ ﻫﻮ ﺑﺎﻟﻮﺍﻗﻊ‪ ،‬ﻓﻬﻮ ﻳﻮﺟﺪ ﺃﻣﺮ ﻣﺎ ﻫﻮ ﺑﺎﳊ ّﻖ‪ .‬ﻓﺒﺎﳊ ّﻖ ﺇﻧّﻤﺎ‬
‫ﻳﻨﺒﻐﻲ ﺃﻥ ﻳﻜﻮﻥ ﻫﻨﺎﻙ ﺷﻲﺀ ﺁﺧﺮ‪ :‬ﺃﻱ ﻓﻜﺮ ﻳﻨﻈﹼﻢ ﻭﻳﺘﻌﺪّﻯ ﺍﻟﺼّﻮﺭﺓ ﰲ ﻛ ﹼﻞ ﺁﻥ‪ .‬ﻓﺈﺫﻥ ﺇﻧّﻤﺎ‬
‫ﺐ ﺍﳊ ّﻖ ﻭﺭﺍﺀ ﺍﻟﻮﺍﻗﻌﺔ‪.‬‬
‫ﺍﻷﻣﺮ ﻳﺘﻌﻠﹼﻖ ﺑﺄﻥ ُﻧﺼِﻴ َ‬

‫ﻭﻫﻨﺎﻙ ﺃﺳﺒﺎﺏ ﻣﻦ ﺿﺮﺏ ﻣﻐﺎﻳﺮ ﺑﺎﻟﺘّﻤﺎﻡ ﻛﺎﻧﺖ ﺗﻘﻮّﻱ ﻫﺬﺍ ﺍﻟﺮّﺃﻱ‪ :‬ﻓﻠﻘﺪ ﺗﻐﻴّﺮﺕ ﺍﻷﻓﻜﺎﺭ‬
‫ﺍﻻﺟﺘﻤﺎﻋﻴّﺔ ﻭﺍﻟﺴّﻴﺎﺳﻴّﺔ‪ .‬ﻭﺻﺮﻧﺎ ﳓﺬﺭ ﻣﻦ ﺍﻟﻔﺮﺩﺍﻧﻴّﺔ ﺍﻟﻨّﻘﺪﻳّﺔ ِﻟﻤَﺎ ﳍﺎ ﻣﻦ ﻟﻮﺍﺯﻡ ﺃﺧﻼﻗﻴّﺔ ﺳﻴّﺌﺔ‪.‬‬
‫ﻓﻬﻲ ﺗﺆﺩّﻱ ﰲ ﺍﻟﺴّﻴﺎﺳﺔ ﺇﱃ ﺍﻟﻔﻮﺿﻰ‪ ،‬ﻭﺗﺆﺩّﻱ ﺇﱃ ﺍﳌﺎ ّﺩﻳّﺔ ﻭﺍﻹﳊﺎﺩ‪ .‬ﺇﺫ ﻗﺪ ﺣﺼﻞ ﰲ ﺫﻟﻚ‬
‫ﰐ ﺍﻟﻨّﻈﺎﻡ ﻭﺍﻟﺘّﺮﺍﺗﺐ ﲨﻴﻊ ﻗﻮّﻬﺗﻤﺎ‪ .‬ﻭﻟﻘﺪ‬
‫ﻱ ﰲ ﻓﺮﻧﺴﺎ‪ ،‬ﻭﻋﺎﺩﺕ ﻟﻔﻜﺮ ﹼ‬
‫ﺍﻟﻮﻗﺖ ﺭﺟﻮﻉ ﳏﺎﻓﻈ ّﻲ ﻗﻮ ّ‬
‫ﻱ ﺍﳉﺬﺭﻳّﺔ‪ ...‬ﺃﻭﻻﺋﻚ ﺍﻟﹼﺬﻳﻦ ﻻ ﻳﺆﻣﻨﻮﻥ ﺑﺎﻟﻠﹼﻪ ﻭﺍﻟﹼﺬﻳﻦ ﻧﺮﻯ‬
‫َﺑ ﱠﻜ ْﺘﻨَﺎ ﰲ ﳎﻠﺲ ﻓﺮﺳﺎﻱ " ﻣﻔﻜﹼﺮ ّ‬
‫ﻂ ﻣﻦ ﺷﺮﻑ ﺍﻟﻨّﻮﻉ‪) ".‬ﺫ(‬
‫ﳍﻢ ﻓﻴﻤﺎ ﻛﺘﺒﻮﺍ ﺗﻌﺮﻳﻔﺎﺕ ﻋﻦ ﺍﻹﻧﺴﺎﻥ ﲢ ﹼ‬
‫ﻭﺍﺠﻤﻟﻠﺲ ﹶﻟَﻴ ْﻨﻌَﻰ ﻋﻠﻰ ﺍﳉﻤﻠﺔ " ﺍﳌﺬﺍﻫﺐ ﺍﳉﺬﺭﻳّﺔ ﺍﳌﻘﻴﺘﺔ "‪ .‬ﻭﺫﻟﻚ ﺃ ﹼﻥ ﺍﻟﺒﻮﺭﺟﻮﺍﺯﻳّﺔ ﳌﹼﺎ‬
‫ﺖ ﺛﺎﻧﻴﺔ ﺇﱃ ﺍﻟﺪّﻳﻦ ﻛﻤﺎ ﻛﺎﻥ ﻗﺪ ﻭﻗﻊ ﺫﻟﻚ ﰲ ﺍﻟﻔﺘﺮﺓ ﺍﻷﻭﱃ‬
‫ﺃﻓﺰﻋﺘﻬﺎ ﺛﻮﺭﺓ ﺍﻟﻜﻮﻣﲔ‪ ،‬ﻗﺪ َﻳ ﱠﻤ َﻤ ْ‬
‫ﻣﻦ ﺣﻜﻢ ﻟﻮﻳﺲ ﻓﻴﻠﻴﺐ‪ .‬ﻣﻦ ﺃﺟﻞ ﺫﻟﻚ ﻛﺎﻥ ﻗﺪ ﺗﻮﺟّﺐ ﻋﻠﻰ ﺍﳌﻔﻜﹼﺮﻳﻦ ﺍﻟﻘﺎﺋﻤﲔ ﺃﻥ ﳛﺎﺭﺑﻮﺍ‬

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‫ﺿ َﻊ ﻓﻮﻕ ﺍﻟﻔﺮﺩ‬
‫ﺍﳌﻴﻞ ﺍﻟﺘّﺤﻠﻴﻠ ّﻲ ﻟﻠﻘﺮﻥ ﺍﻟﹼﺜﺎﻣﻦ ﻋﺸﺮ ﰲ ﺍﺠﻤﻟﺎﻻﺕ ﻛﻠﹼﻬﺎ‪ .‬ﻓﻜﺎﻥ ﻗﺪ ﻟﺰﻡ ﺃﻥ ﻳُﻮ َ‬
‫ﻭﺍﻗﻌﺎﺕ ﺗﺄﻟﻴﻔﻴّﺔ ﻛﺎﻟﻌﺎﺋﻠﺔ ﻭﺍﻟﻮﻃﻦ ﻭﺍﺠﻤﻟﺘﻤﻊ‪ .‬ﻭﺃﻥ ﻳﻮﺿﻊ ﻓﻮﻕ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﻔﺮﺩﻳّﺔ ﻭﺟﻮﺩ ﺍﳌﻔﺎﻫﻴﻢ‬
‫ﻭﺍﻟﻔﻜﺮ‪ .‬ﻭﻫﻮ ﺇﻧّﻤﺎ ﻣﻦ ﻫﻨﺎ ﻛﺎﻥ ﺍﻟﺴّﺆﺍﻝ ﺍﻟﹼﺬﻱ ﻭﺿﻌﺘﻪ ﻟﻠﻤﻨﺎﻓﺴﺔ ﺃﻛﺎﺩﻣﻴّﺔ ﺍﻟﻌﻠﻮﻡ ﺍﻷﺧﻼﻗﻴّﺔ‬
‫ﻭﺍﻟﺴّﻴﺎﺳﻴّﺔ ﰲ ‪ ٣٠‬ﺃﻓﺮﻳﻞ ﺳﻨﺔ ‪:١٨٨٢‬‬
‫" ﻫﻞ ﻟﻚ ﺃﻥ ﺗﺒﺴﻂ ﺍﻟﻘﻮﻝ ﻭﺗﻨﺎﻗﺶ ﺍﳌﺬﺍﻫﺐ ﺍﻟﻔﻠﺴﻔﻴّﺔ ﺍﻟﹼﱵ َﺗ ُﺮ ﱡﺩ ﻣﻠﻜﺎﺕ ﺍﻟﺬﹼﻫﻦ‬
‫ﱐ ﻭﺍﻷﻧﺎ ﻧﻔﺴﻪ ﺇﱃ ﺣﻘﻴﻘﺔ ﺍﻟﺘّﺮﺍﺑﻂ ﻭﺣﺪﻫﺎ ـ ﻭﻫﻞ ﻟﻚ ﺃﻥ ﺗﻌﺎﻭﺩ ﺇﺛﺒﺎﺕ ﺍﻟﻘﻮﺍﻧﲔ‬
‫ﺍﻹﻧﺴﺎ ﹼ‬
‫ﻭﺍﳌﺒﺎﺩﺉ ﻭﺍﳌﻮﺟﻮﺩﺍﺕ ﺍﻟﹼﱵ ﺭﺍﻣﺖ ﺍﳌﺬﺍﻫﺐ ﺍﳌﺬﻛﻮﺭﺓ ﲢﺮﻳﻔﻬﺎ ﺃﻭ ﺇﺑﻄﺎﳍﺎ"‪.‬‬

‫ﺇ ﹼﻥ ﺍﻟﻌﻠﻢ ﺍﻟﺮّﲰ ّﻲ ﻬﺑﺬﺍ ﺍﻟﻨّﺤﻮ ﺇﺫﹰﺍ ﻗﺪ ﺃﻃﻠﻖ ﺍﻹﺫﻥ‪ .‬ﻭﻟﻜﻦ ﻧﻔﺲ ﻫﺬﺍ ﺍﻟﺮّﺃﻱ ﺃﻳﻀﺎ ﱂ ﻳﻜﻦ‬
‫ﺴﻴّﺔ ﻭﻻ ﺍﻟﻘﻮﺍﻧﲔ ﺍﻟﺘّﺮﺍﺑﻄﻴّﺔ‪ .‬ﻓﻔﺮّﻱ ‪ Ferri‬ﺍﻟﻔﺎﺋﺰ‬
‫ﻏﺮﺿﻪ ﺃﻥ ﻳُ ْﺒ ِﻄ ﹶﻞ ﻭﺟﻮﺩ ﺍﻟﺼّﻮﺭ ﺍﳊ ّ‬
‫ﺑﺎﳌﻨﺎﻓﺴﺔ ﻛﺎﻥ ﻗﺪ ﻛﺘﺐ‪:‬‬
‫"ﳓﻦ ﻣﻘﺘﻨﻌﻮﻥ ﺃﻳّﻤﺎ ﺍﻗﺘﻨﺎﻉ ﺑﻔﺎﺋﺪﺓ ﺍﻟﺘّﺮﺍﺑﻂ ﰲ ﺇﺑﺪﺍﻉ ﺍﳌﻌﺎﺭﻑ ﺣﺘّﻰ ﺃ ﹼﻥ ﺍﻟﺴّﺆﺍﻝ ﻟﺪﻳﻨﺎ‬
‫ﻟﻴﺲ ﰲ ﺃﻥ َﻧَﺘَﺒﱠﻴَﻨﻬَﺎ ﻭﺇﻧّﻤﺎ ﰲ ﺃﻥ ﻧﻘﻴﺴﻬﺎ "‬

‫ﺑﻞ ﺇﻧّﻪ ﻟﻘﺪ ﺫﻫﺐ ﺇﱃ ﺣ ّﺪ ﺍﻻﻋﺘﺮﺍﻑ ﺑﺄ ﹼﻥ ﻣﻌﻄﻴﺎﺕ ﺍﻻﺳﺘﺒﻄﺎﻥ ﻟﻴﺴﺖ ﲤﺪّﻧﺎ ﺇ ﹼﻻ ﺑﺎﻟﺼّﻮﺭ‬
‫ﺍﻟ ﹼﺬﺭّﺍﺕ‪ .‬ﻭﺍﻟﺘّﺠﺮﺑﺔ ﺗﻌﺎﺿﺪ ﺍﻟﺘّﺮﺍﺑﻄﻴﲔ‪ .‬ﻭﻫﻮ ﻳﻨﺒﻐﻲ ﺃﻥ ﻧﺘّﺨﺬ ﳎﺎﻻ ﻧﻘﺪﻳّﺎ ﺣﺘّﻰ ﳝﻜﻦ ﲡﺎﻭﺯﻫﺎ)‬
‫‪:(٦‬‬
‫ﻱ ﺑﺎﻟﻮﺳﺎﺋﻞ ﺍﻟﺬﹼﻫﻨﻴّﺔ‬
‫" ﺇ ﹼﻥ ﺍﻟﻔﻜﺮ ﺍﳋﺎﻟﺺ ﻟﻴﺲ ﺑﻮﻫﻢ ﻷﻧّﻪ ﻳﻘﻒ ﻋﻠﻰ ﺫﺍﺗﻪ ﰲ ﻭﻋﻲ َﺭ َﻭ ِﻭ ﱟ‬
‫ﻱ‪ .‬ﻭﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻟﻴﺲ ﻳﻨﻘﻄﻊ ﺍﻟﺪّﻣﺎﻍ ﺇﻃﻼﻗﺎ ﻋﻠﻰ‬
‫ﻭﺍﳌﻔﺎﻫﻴﻢ‪ ،‬ﻭﺇﻧّﻤﺎ ﺑﻄﺮﻳﻖ ﺟﻬﺪ ﺗﺄﻣّﻠﻲ ﻭﲡﺮﻳﺪ ّ‬
‫ﺍﻟﻌﻤﻞ ﻣﻦ ﺃﺟﻠﻬﺎ‪ ،‬ﻭﻻ ﻋﻠﻰ ﻣﻨﺤﻬﻬﺎ ﺃﺷﺒﺎﺣﺎ ﺑﺼﺮﻳّﺔ ﺃﻭ ﲰﻌﻴّﺔ ﺃﻭ ﳌﺴﻴّﺔ‪ .‬ﺃﻱ ﻣﻮﺍ ّﺩ ﻫﻲ ﻣﻦ‬
‫ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﻄﺒﻌﻬﺎ ﺑﺼﻮﺭﻬﺗﺎ"‬

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‫ﺺ ﻟﻌﺠﻴﺐ‪ :‬ﻓﻼ ﻭﺍﺣﺪ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﺮﻳﻨﺎ ﺃﺣﺴﻦ ﻣﻨﻪ ﺗﺸﻜﹼﻜﺎﺕ ﺍﳌﻌﺮﻓﺔ‬
‫ﺇ ﹼﻥ ﻫﺬﺍ ﺍﻟّﻨ ّ‬
‫ﺼﱢﻨﻒٌ ﻏﺮﺿﻪ ﻫﻮ ﺇﺑﻄﺎﻝ ﺍﻟﺘّﺮﺍﺑﻄﻴّﺔ‪ ،‬ﻫﻮ ﻟﻌﻤﺮﻱ‪ ،‬ﻋﻠﻰ ﻏﺎﻳﺔ ﻣﻦ ﺍﻟﺘّﺸﺒّﻊ‬
‫ﺍﻻﺳﺘﺒﻄﺎﻧﻴّﺔ‪ .‬ﻓﻬﺬﺍ ُﻣ َ‬
‫ﺑﺎﻟﻨّﻈﺮﻳّﺎﺕ ﺍﻟﹼﱵ ﻳﺮﻭﻡ ﺇﺑﻄﺎﳍﺎ ﺣﺘّﻰ ﺃﻧّﻪ ﻗﺪ ﺳﻠﹼﻢ ﳍﺎ ﲟﺰﻳّﺔ ﻛﻮﻬﻧﺎ ﻫﻲ ﺍﻟﺘّﺠﺮﺑﺔ ﻭﻫﻮ ﻟﻴﺲ ﻳﻘﻒ‬
‫ﺐ ﺟﻬﺪ ﲡﺮﻳﺪﻱّ؛‬
‫ﻣﻦ ﻧﻔﺴﻪ ﺇ ﹼﻻ ﻋﻠﻰ ﺻﻮﺭ ﺟﺰﺋﻴّﺔ‪ .‬ﻭﺇ ﹼﻥ ﻋﻤﻞ ﺍﻟﻔﻜﺮ ﻟﻴﺲ ﺑﻈﺎﻫﺮ ﻟﻪ ﺇ ﹼﻻ ِﻏ ﱠ‬
‫ﻭﻫﻮ ﻳﺆﻛﹼﺪ ﺫﻟﻚ‪ ،‬ﻋﻠﻰ ﳓﻮ ﻳﻨﺎﻗﺾ‪ ،‬ﺑﻨﻮﻉ ﻣﺎ‪ ،‬ﺍﻟﺘّﺠﺮﺑﺔ‪ .‬ﹼﰒ ﺧﻠﺖ ﺛﻼﺛﻮﻥ ﺳﻨﺔ‪ ،‬ﻛﻤﺎ ﺳﻨﺮﻯ‪،‬‬
‫ﺨﱠﻴ ﹶﻠ ﹰﺔ ﰲ‬
‫ﻭﻛ ﹼﻞ ﻭﺍﺣﺪ ﻋﻠﻰ ﺳﺠﻴّﺘﻪ‪ ،‬ﻛﺎﻥ ﻗﺪ ﺍﻛﺘﺸﻒ ﺃﻭ ﻇ ّﻦ ﺃﻧّﻪ ﻗﺪ ﺍﻛﺘﺸﻒ ﺃﺣﻮﺍﻻ ﻻ ﻣَُﺘ َ‬
‫ﻕ ﺃﻓﻌﺎﻝ ﺍﻟﺬﹼﻫﻦ‪.‬‬
‫ﺃﺩ ّ‬

‫ﻚ ﺃ ﹼﻥ ﺫﻟﻚ ﺍﻻﻗﺘﺼﺎﺩ ﺇﻧّﻤﺎ ﻣﺄﺗﺎﻩ ﰲ ﺟﺰﺀ ﻣﻨﻪ ﻣﻦ ﺍﻟﺬﹼﻳﻮﻉ ﺍﻟﻌﻈﻴﻢ ﳌﺼﻨّﻔﺎﺕ ﺗﺎﻥ‪.‬‬
‫ﻭﻻ ﺷ ّ‬
‫ﻭﻟﻜﻦ ﻛﺎﻥ ﻫﻨﺎﻙ ﺷﻲﺀ ﺁﺧﺮ‪ .‬ﻭﻫﻮ ﺃ ﹼﻥ ﺍﻟﺮ ّﺩ ﻋﻠﻰ ﺍﻟﺘّﺮﺍﺑﻄﻴّﺔ ﻛﺎﻥ ﻗﺪ ﺗﻜﻔﹼﻠﺖ ﺑﻪ‪ ،‬ﻗﺒﻞ ﺷﻲﺀ‪،‬‬
‫ﲏ ﺟﻠﻴﻞ ﺍﻟﻘﺪﺭ‪ .‬ﻓﺎﻻﻧﺴﺎﻥ‬
‫ﺍﻟﻜﺎﺛﻮﻟﻮﻛﻴّﺔ ﺍﶈﺎﻓﻈﺔ‪ .‬ﻭﰲ ﺭﺃﻱ ﺗﻠﻚ‪ ،‬ﻟِﻨﻈﺮﻳّﺔ ﺍﻟﺼّﻮﺭﺓ ﻣﻌﲎ ﺩﻳ ّ‬
‫ﻛﻤﺎ ﻳﻘﻮﻝ ﺃﺭﺳﻄﻮ‪ ،‬ﻫﻮ ﺧﻠﻴﻂ‪ ،‬ﺃﻱ ﻫﻮ ﻓﻜﺮﺓ ﻣﻮﺻﻮﻟﺔ ﻭﺛﻴﻖ ﺍﻟﻮﺻﻞ ﺑﺎﳉﺴﺪ‪ .‬ﻓﻼ ﻓﻜﺮﺓ ﻻ‬
‫ﻱ‪ .‬ﻭﺍﻟﻔﻜﺮﺓ ﺍﻟﺪّﻳﻜﺎﺭﺗﻴّﺔ ﺍﻟﻘﺎﺋﻠﺔ ﺑﻔﻜﺮ ﳏﺾ‪ ،‬ﺃﻱ ﺑﻨﺸﺎﻁ ﻣﺎ ﻟﻠﺮّﻭﺡ ﳛﺼﻞ ﻣﻦ‬
‫ﻳﺸﻮﻬﺑﺎ ﺍﳉﺴﺪ ّ‬
‫ﻏﲑ ﻣﻌﻮﻧﺔ ﺍﳉﺴﺪ ﺇﻧّﻤﺎ ﻫﻲ ﺯﻧﺪﻗﺔ ﻣﺘﻜﺒّﺮﺓ‪ .‬ﻭﻫﻮ ﺇﻧّﻤﺎ ﻣﻦ ﺃﺟﻠﻬﺎ ﻛﺎﻥ ﻗﺪ ﺟﺎﺯ ﳌﺎﺭﻳﺘﺎﻥ‪:‬ﺃﻥ‬
‫ﻳﻨﺴﺐ ﺩﻳﻜﺎﺭﺕ ﻷﻫﻞ ﺍﻟﱪﻭﺗﺴﺘﻨﺖ‪ .‬ﻓﻠﻘﺪ ُﻋ ْﺪﻧَﺎ ِﺇﺫﹰﺍ ﺇﱃ ﺃﺭﺳﻄﻮ ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﻗﺪ ﻛﺘﺐ ﺑﺄﻧّﻪ ﻻ‬
‫ﻱ ﳛﺼﻞ ﻣﻦ ﻏﲑ ﻣﺸﺎﺭﻛﺔ ﺍﻟﺘّﺨﻴّﻞ)ﺭ(؛ ﻭﻟﻘﺪ ﻋﺪﻧﺎ ﺇﱃ ﻟﻴﺒﻨﺘﺰ ﺍﻟﹼﺬﻱ ﻣﻊ ﺃﻧّﻪ‬
‫ﻧﺸﺎﻁ ﻓﻜﺮ ّ‬
‫ﱵ ﺍﳌﺬﻫﺐ‪ ،‬ﻓﻘﺪ ﻛﺎﻥ ﺩﺍﺋﻤﺎ ﺃﻗﺮﺏ ﺇﱃ ﺍﻟﺮّﺃﻱ ﺍﻟﻜﺎﺛﻮﻟﻴﻜ ّﻲ ﻣﻦ ﺩﻳﻜﺎﺭﺕ‪ .‬ﻓﺬﻟﻚ ِﺇﺫﹰﺍ‬
‫ﺑﺮﻭﺗﺴﺘﻨ ّ‬
‫ﻣﺎ ﻛﺎﻥ ﺍﻟﺴّﺒﺐ ﰲ ﺃﻧّﻨﺎ ﱂ ﻧﻄﹼﺮﺡ ﺍﻟﺘّﺮﺍﺑﻄّﻴﺔ‪ :‬ﻭﺇﻧّﻤﺎ ﻛﺎﻥ ﻗﺪ ﻭﺟﺐ ﻓﻘﻂ ﺇﺩﻣﺎﺟﻬﺎ‪ .‬ﻓﺎﻟﺘّﺮﺍﺑﻄﻴّﺔ‪،‬‬
‫ﺇﻧّﻤﺎ ﻫﻲ ﺍﳉﺴﺪ‪ ،‬ﺇﻧّﻤﺎ ﻫﻲ ﺿﻌﻒ ﺍﻻﻧﺴﺎﻥ‪ .‬ﺃﻣّﺎ ﺍﻟﻔﻜﺮ‪ ،‬ﻓﻬﻮ ﻛﺮﺍﻣﺘﻪ‪ .‬ﻭﻟﻜﻦ ﻟﻴﺲ ﺍﻟﺒﺘّﺔ ﻣﻦ‬
‫ﻛﺮﺍﻣﺔ ﻣﻦ ﻏﲑ ﺿﻌﻒ‪ ،‬ﻭﻻ ﻓﻜﺮ ﻣﻦ ﻏﲑ ﺻﻮﺭﺓ‪ .‬ﻭ ﻬﺑﺬﺍ ﺍﳌﻌﲎ ﻛﺎﻥ ﺑﻴّﻮﺏ ﻗﺪ ﻛﺘﺐ ﰲ ﺳﻨﺔ‬
‫‪ ١٩١٠‬ﰲ ﻣﺼﻨّﻔﻪ ﰲ ﺍﻟﺼّﻮﺭ‪:‬‬
‫ﻱ‪ .‬ﻓﺎﻟﺘّﺠﺮﻳﺪ‬
‫" ﺇ ﹼﻥ ﺍﻟﺼّﻮﺭ ﻻ ﺑ ّﺪ ﻣﻨﻬﺎ ﻟﺘﻜﻮّﻥ ﺍﳌﻔﺎﻫﻴﻢ‪ ،‬ﻭﻻ ﻳﻮﺟﺪ ﻣﻔﻬﻮﻡ ﻭﺍﺣﺪ ﻓﻄﺮ ّ‬
‫ﻏﺮﺿﻪ‪ ،‬ﻋﻠﻰ ﺍﻟﺘّﺤﻘﻴﻖ‪ ،‬ﻭﰲ ﻣﺎ ﻟﻪ ﻣﻦ ﻭﻇﻴﻔﺔ ﺃﺻﻠﻴّﺔ ﻭﻣﻮﻟﹼﺪﺓ ﻟﻠﻤﻌﻘﻮﻝ‪ ،‬ﺇﻧّﻤﺎ ﺃﻥ ﻳﺮﻓﻌﻨﺎ ﻋﻦ‬

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‫ﻱ ﻭﻛ ﹼﻠ ّﻲ‪ .‬ﺇ ﹼﻥ ﺍﻟﺬﹼﻫﻦ ﻣﻨّﺎ ﻻﳝﻜﻨﻪ‬
‫ﺍﻟﺼّﻮﺭﺓ ﻭﳜﻮّﻝ ﻟﻨﺎ ﺃﻥ ﻧﺘﻌﻘﹼﻞ ﻣﻮﺿﻮﻋﻬﺎ ﲢﺖ ﺷﻜﻞ ﺿﺮﻭﺭ ّ‬
‫ﺃﻥ ﻳﺘﺼﻮّﺭ ﺗﺼﻮّﺭﺍ ﺃﻭّﻟﻴّﺎ ﺇ ﹼﻻ ﺍﳌﻌﻘﻮﻝ ﺍﺠﻤﻟﺮّﺩ ﻭﺍﳌﻌﻘﻮﻝ ﺍﺠﻤﻟﺮّﺩ ﻻﳝﻜﻦ ﺇﻧﺘﺎﺟﻪ ﺇ ﹼﻻ ﻣﻦ ﺍﻟﺼّﻮﺭﺓ‬
‫ﲏ‪ .‬ﻓﻜ ﹼﻞ ﻣﺎﺩّﺓ ﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﻳﺴﺘﻐﻠﹼﻬﺎ ﺍﳌﻌﻘﻮﻝ ﻓﻬﻲ ﻣﻦ ﺃﺻﻞ‬
‫ﻭﺑﺎﻟﺼّﻮﺭﺓ ﺑﻮﺍﺳﻄﺔ ﺍﻟﻔﻌﻞ ﺍﻟﺬﹼﻫ ّ‬
‫ﻱ "‬
‫ﺣﺴّﻲ ﻭﺧﱪ ّ‬
‫ﻱ ﺫﻱ ﺍﻟﺘﻌﻠﹼﻖ ﺑﻌﻼﻗﺔ‬
‫ﻭﻫﻜﺬﺍ ﺇﺫﹰﺍ‪ ،‬ﻓﻴﻜﻮﻥ ﻗﺪ ﻋﺎﻭﺩ ﺍﻟﻈﹼﻬﻮﺭ ﹸﻓﺠَﺎ َﺀﺓﹰ‪ ،‬ﺍﳌﺬﻫﺐ ﺍﻟﻼﹼﻳﺒﺘﻨﻴﺰ ّ‬
‫ﺍﻟﺼّﻮﺭﺓ ﺑﺎﻟﻔﻜﺮ)‪ .(٧‬ﻭﺍﳊ ﱠﻖ ﺃﻗﻮﻝ ﺃ ﹼﻥ ﻫﺬﺍ ﺍﳌﺬﻫﺐ ﻫﺎﻫﻨﺎ ﻟﻴﺲ ﻟﻪ ﻛ ﹼﻞ ﻋﻤﻖ ﻣﺎ ﻛﺎﻥ ﻟﺪﻯ‬
‫ﻟﻴﺒﻨﺘﺰ‪ ،‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﺍﳌﺼﻨّﻔﲔ ﳚﺎﻫﺮﻭﻥ ﺍﻋﺘﻤﺎﺩﻫﻢ ﺇﻳّﺎﻩ ﻣﺮﺟﻌﺎ‪ ،‬ﻭﻫﻮ ﻫﺬﺍ ﺍﳌﺬﻫﺐ ﺍﻟﹼﺬﻱ ﻗﺪ ﻭﺳﻢ‬
‫ﺹ ﺍﻟﻮﺳﻢ ﻓﻠﺴﻔﺔ ﻬﻧﺎﻳﺔ ﺍﻟﻘﺮﻥ‪ .‬ﻓﺎﻟﻔﻜﺮﺓ ﺍﻟﻘﺎﺋﻠﺔ ﲝﻀﻮﺭ ﺍﻟﻔﻜﺮﺓ ﰲ ﻛ ﹼﻞ ﻣﻜﺎﻥ‪ ،‬ﻭﻣﻊ ﺫﻟﻚ‪،‬‬
‫ﺧﺎ ّ‬
‫ﻓﻬﻲ ﻟﻴﺴﺖ ﰲ ﻣﺘﻨﺎﻭﻝ ﺍﻟّﺘﺠﺮﺑﺔ ﺍﻟﺒﺎﻃﻨﻴّﺔ‪ ،‬ﺇﻧّﻤﺎ ﻫﻲ ﻓﻜﺮﺓ ﺟﺎﺀﺕ ﻣﻦ ﻻﻳﺒﻨﺘﺰ‪ ،‬ﻭﻫﻮ ﻫﺬﺍ‬
‫ﺍﻟﺘّﺼﻮّﺭ ﺍﻟﹼﺬﻱ ﻛﻨّﺎ ﻗﺪ ﻭﺟﺪﻧﺎﻩ ﻟﺪﻯ ﻓﺮّﻱ ﻭ ﻛﺎﻥ ﺑﺮﺷﺎﺭﺩ ﻓﻘﺪ ﺯﺍﺩ ﻓﻴﻪ ﺑﺎﻟﻘﻮﻝ‪:‬‬
‫" ﳌﹼﺎ ﻛﺎﻥ ﺍﳌﻮﺿﻮﻉ ﻳﻠﺤﻘﻪ ﺍﻟﺘّﻐﻴّﺮ‪ ،‬ﻓﺄﻧﺎ ﺃﻋﻠﻢ ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻻ ﺗﻜﺎﻓﺊ ﺍﳌﻔﻬﻮﻡ‪ .‬ﺇﺫ ﻣﺎ ﳛﺘﻮﻳﻪ‬
‫ﺴ َﺮ‬
‫ﺍﳌﻔﻬﻮﻡ ﺯﻳﺎﺩﺓ‪ ،‬ﺇﻧّﻤﺎ ﻫﻮ‪ ،‬ﻋﻠﻰ ﻋﺒﺎﺭﺓ ﻫﺎﻣﻠﺘﻮﻥ‪ ،‬ﺻﻔﺔ ﻛﻮﻧﻪ ﺑﺎﻟﻘﻮّﺓ ﻛﻠﹼﻴﺎ‪ .‬ﺇ ﹼﻥ ﺍﻟﻔﻜﺮ‪ ،‬ﻭﻗﺪ ﺃﹸ ﹾﻗ ِ‬
‫ﺴﻴّﺔ‪ ،‬ﻓﺈﻧّﻪ ﻳﻈﻬﺮ ﻟﻠﺤﻈﺔ ﻣﺎ ﺑﻨﺤﻮ ﻛﻮﻧﻪ ﻣﻮﺿﻮﻋﺎ ﻣﺎ‪ ،‬ﺃﻭ ﻣﺜﺎﻻ ﻣﺎ‬
‫ﻋﻠﻰ ﺃﻥ ﻳﺘﺤﻠﹼﻰ ﺑﺼﻮﺭﺓ ﺣ ّ‬
‫ﳐﺼﻮﺻﺎ‪ ،‬ﻓﻬﻮ ﻳﺮﻛﻦ ﻓﻴﻬﺎ‪ ،‬ﺑﻨﻮﻉ ﻣﺎ‪ ،‬ﻭﻟﻜﻨّﻪ ﻻ ﻳﻨﻐﻠﻖ ﻭﻻ ﻳﻐﻴﺾ ﻓﻴﻬﺎ؛ ﺑﻞ ﻫﻮ ﻳﺘﻌﺪّﻯ ﺍﻟﺼّﻮﺭ‬
‫ﺍﻟﹼﱵ ﺗﻌﺒّﺮ ﻋﻨﻪ ﻭﻫﻮ ﻗﺎﺩﺭ ﺑﺄﻥ ﻳﺘﺠﺴّﻢ ﻓﻴﻤﺎ ﺑﻌﺪ‪ ،‬ﰲ ﺻﻮﺭ ﺃﺧﺮﻯ ﻣﺘﻔﺎﻭﺗﺔ ﺍﻻﺧﺘﻼﻑ‪ )" .‬ﺯ(‬
‫ﻭﻣﻦ ﻫﻨﺎ ﻓﺈﻧّﺎ ﻧﺼﻞ ﺇﱃ ﺗﺼﻮّﺭ ﻋﺠﻴﺐ ﻋﻦ ﺍﻟﻔﻜﺮ‪ .‬ﻓﺎﻟﻔﻜﺮ ﻻ ﻭﺟﻮﺩ ﻓﻌﻠ ّﻲ ﻟﻪ‪ ،‬ﻭﻻ ﻭﺟﻮﺩ‬
‫ﻣﺘﻌﻴّﻦ ﻟﻪ ﻳﻜﻮﻥ ﰲ ﻣﺘﻨﺎﻭﻝ ﺍﻟﻮﻋﻲ ﺍﻷﻭّﱄ‪ِ ،‬ﻟﻤَﺎ ﻛﺎﻥ ُﻣ ْﻌﻄﹶﻰ ﺍﻻﺳﺘﺒﻄﺎﻥ ﺇﻧّﻤﺎ ﻫﻮ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻭﻻ‬
‫ﻛ ﹼﻠﻴّﺔ ﻟﻪ ﺑﺎﻟﻔﻌﻞ‪ ،‬ﻷﻧّﻪ ﻟﻮﻛﺎﻥ ﻛﺬﻟﻚ‪ ،‬ﻟﻜﻨّﺎ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﺪﺭﻛﻪ ﺇﺩﺭﺍﻛﺎ ﺃﻭّﻟﻴّﺎ‪ .‬ﺑﻞ ﻛﻠﹼﻴﺘﻪ ﺇﻧّﻤﺎ ﻫﻲ‬
‫ﻛ ﹼﻠﻴّﺔ ﺑﺎﻟﻘﻮّﺓ ﻧﺴﺘﻨﺘﺠﻬﺎ ﻣﻦ ﺃﻣﺮ ﺃ ﹼﻥ ﺍﻟﻜﻠﻤﺔ ﳝﻜﻨﻬﺎ ﺃﻥ ﺗﻘﺘﺮﻥ ﺑﺼﻮﺭ ﺃﻳّﻤﺎ ﳐﺘﻠﻔﺔ‪ .‬ﻭﻫﻮ ﳝﺘ ّﺪ ﻋﱪ‬
‫ﺴ ﱢﺪ َﺩ ﺍﺧﺘﻴﺎﺭﻫﺎ‪ .‬ﺑﻴﺪ ﺃﻧّﻪ ﻟﻴﺲ ﻫﻨﺎﻙ " ﻭﻋﻲ‬
‫ﻫﺬﻩ ﺍﻟﺼّﻮﺭ ﺍﳉﺰﺋﻴّﺔ ﻧﻮﻉ ﻣﻦ ﺍﻟﻘﺎﻋﺪﺓ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗُ َ‬
‫ﺑﺎﻟﻘﺎﻋﺪﺓ " ﺑﻨﺤﻮ ﻣﺎ ﻗﺪ ﻓﻬﻤﺘﻪ ﺑﻌﺪﻫﺎ ﻣﺪﺭﺳﺔ ﻭﺭﺯﺑﻮﺭﻍ ﻓﺎﻟﻘﺎﻋﺪﺓ‪ ،‬ﺍﻟﹼﱵ ﻫﻲ ﺍﳌﻔﻬﻮﻡ‪ ،‬ﻻ‬
‫ُﺗ ْﻌﻄﹶﻰ ﺃﻟﺒﺘّﺔ ﺇ ﹼﻻ ﰲ ﺻﻮﺭﺓ ﳐﺼﻮﺻﺔ ﻭﺑﻨﺤﻮ ﳎﺮّﺩ ﺇﻣﻜﺎﻧﻴّﺔ ﻹﺣﻼﻝ ﳏ ﹼﻞ ﺍﻟﺼّﻮﺭﺓ ﺗﻠﻚ‪ ،‬ﺻﻮﺭﺓ‬

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‫ﺃﺧﺮﻯ ﻣﻜﺎﻓﺌﺔ‪ .‬ﻭﻋﻠﻴﻪ ﻓﺈ ﹼﻥ ﺻﻮﺭﺓ ﺍﻟﻮﻋﻲ ﱂ ﺗﺘﻐﻴّﺮ ﻋﻤّﺎ ﻛﺎﻥ ﻗﺪ ﻭﺻﻔﻪ ﺗﺎﻥ‪ :‬ﺇﻧّﻪ ﺻﻮﺭ‪،‬‬
‫ﻭﻋﺒﺎﺭﺍﺕ‪ .‬ﺇ ﹼﻻ ﺃﻧّﻪ‪ ،‬ﻭﻣﻜﺎﻥ ﺭﺍﺑﻂ ﳏﺾ ﺍﻟﻌﺎﺩﺓ ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﻗﺪ ﻭﺿﻌﻪ ﺫﻟﻚ ﺍﳌﺼﻨّﻒ ﺑﲔ‬
‫ﺍﻷﻭﱃ ﻭﺍﻟﺜﹼﺎﻧﻴﺔ‪ ،‬ﻓﺈ ﹼﻥ ﺑﺮﻭﺷﺎﺭﺩ‪ ،‬ﻭﻛﺜﲑﺍ ﻣﻦ ﻣﻌﺎﺻﺮﻳﻪ ﻗﺪ ﻭﺿﻌﻮﺍ ﺭﺍﺑﻄﺎ ﻭﻇﻴﻔﻴّﺎ‪ :‬ﺇﻧّﻪ ﺍﻟﻔﻜﺮ‪.‬‬
‫ﻋﻠﻰ ﺃﻧّﻪ‪ ،‬ﻭﺇﻥ ﻫﻢ ﻛﺎﻧﻮﺍ ﻗﺪ ﺍﺳﺘﻄﺎﻋﻮﺍ‪ ،‬ﺑﻔﻀﻞ ﻫﺬﺍ ﺍﻻﺳﺘﺒﺪﺍﻝ‪ ،‬ﺃﻥ ﻳﻌﺎﻭﺩﻭﺍ ﺇﺩﺧﺎﻝ ﺍﻟﻌﻘﻼﻧﻴّﺔ‬
‫ﻛﻠﹼﻬﺎ‪ ،‬ﻓﺈ ﹼﻥ ﺫﻟﻚ ﻟﻴﺲ ﺑﺎﻟﻌﺎﺻﻢ ﻣﻦ ﺃ ﹼﻥ ﺫﻟﻚ ﺍﻟﻔﻜﺮ ﺍﻟﻐﺮﻳﺐ ﻫﻮ ﻳﺘﺮﺩّﺩ‪ ،‬ﻏﺎﻣﻀﺎ ﻟﻨﻔﺴﻪ‪ ،‬ﻣﺎﺑﲔ‬
‫ﺍﻟﻮﺟﻮﺩ ﺑﺎﳊ ّﻖ ﻭﺍﻟﻮﺟﻮﺩ ﺑﺎﻟﻮﺍﻗﻊ‪ .‬ﺑﻞ ﺇﻧّﻤﺎ ﻫﻮ ﻟﻴﻮﺟﺪ ﺑﻨﺤﻮ ﺍﻟﻮﻇﻴﻔﺔ ﻭ ﻻ ﻭﺟﻮﺩ ﻟﻪ ﺑﻨﺤﻮ‬
‫ﺍﻟﻮﻋﻲ‪ .‬ﻭﻟﻴﺲ ﻟﻪ ﺃﻥ ﻳﻈﻬﺮ ﻟﺬﺍﺗﻪ ﺇ ﹼﻻ ﻣﻦ ﺁﺛﺎﺭﻩ ‪ :‬ﺑﻞ ﺇ ﹼﻥ ﻧﻔﺲ ﺍﻻﻧﺘﻘﺎﻝ ﻣﻦ ﺻﻮﺭﺓ ﺣﺎﺿﺮﺓ ﺇﱃ‬
‫ﺻﻮﺭﺓ ﺃﺧﺮﻯ ﻟﻴﺲ ﻫﻮ ﻣﺎ ﻳﻌﺮّﻑ ﺍﻟﻔﻜﺮ‪ ،‬ﻭﺇﻧّﻤﺎ ﳎﺮّﺩ ﺇﻣﻜﺎﻧﻴّﺔ ﺣﺼﻮﻝ ﻣﺜﻞ ﺫﻟﻚ ﺍﻻﻧﺘﻘﺎﻝ‪.‬‬
‫ﻭﺇﻥ ﻛﺎﻧﺖ ﻫﺬﻩ ﺍﻹﻣﻜﺎﻧﻴّﺔ ﻟﻴﺴﺖ ﺑﺎﻟﻔﻌﻞ ﺣﺎﺿﺮﺓ ﰲ ﺍﻟﻮﻋﻲ‪ ،‬ﻓﺬﻟﻚ ﻷﻧّﻪ ﺇﻧّﻤﺎ ﻫﻲ ﳎﺮّﺩ‬
‫ﺇﻣﻜﺎﻧﻴّﺔ ﻣﻨﻄﻘﻴّﺔ)‪ :(٨‬ﻭﻗﺼﺎﺭﺍﻫﺎ ﺇﻧّﻤﺎ ﺃﻥ ﺗﻈﻬﺮ ﻟﻠ ﱠﺮ ِﻭﱠﻳ ِﺔ ﲢﺖ ﺷﻜﻞ ﻧﻘﺺ ﰲ ﺍﻟﺼّﻮﺭﺓ ﲟﺎ ﻫﻲ‬
‫ﻛﺬﻟﻚ‪.‬‬
‫ﺗﻠﻚ ﻣﺎ ﻛﺎﻧﺖ ﺍﶈﺎﻭﻟﺔ ﺍﳌﻘﺘﺼﺪﺓ ﺍﻟﹼﱵ ﺑﺬﻟﺘﻬﺎ ﺍﻟﻌﻘﻼﻧﻴّﺔ ﺍﳌﻨﺒﻌﺜﺔ ﻣﻦ ﺃﺟﻞ ﳏﺎﺭﺑﺔ ﺍﻟﺘّﺮﺍﺑﻄﻴّﺔ‪.‬‬
‫ﻓﻠﻘﺪ ﺗﻮﻫّﻤﺖ ﺃﻧّﻬﺎ ﻗﺪ ﺍﺗّﺨﺬﺕ ﻣﻜﺎﻧﺎ ﺑﲔ ﻣﻌﻄﻴﺎﺕ ﺍﻻﺳﺘﺒﻄﺎﻥ ﺍﳌﻜﺬﻭﺑﺔ ) ﺇﺫ ﻟﻴﺲ ﺍﻟﺒﺘّﺔ ﰲ‬
‫ﺍﻟﻮﻋﻲ ﺇ ﹼﻻ ﺻﻮﺭ ﻭﻛﻠﻤﺎﺕ ( ﻭﺍﻛﺘﺸﺎﻓﺎﺕ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴﺎ ﺍﳌﻜﺬﻭﺑﺔ ) ﺍﻷﺣﻴﺎﺯ ﺍﻟﺪّﻣﺎﻏﻴّﺔ (‪ .‬ﻓﻬﻢ‬
‫ﻗﺪ ﻓﻮّﺿﻮﺍ ِﺇﺫﹰﺍ ﻟﺘﺎﻥ ﻣﻮﺿﻮﻉ ﺍﻟﻮﺍﻗﻌﺎﺕ ﹼﰒ ﻻﺫﻭﺍ ﲟﻘﺎﻡ ﺍﻟﻨّﻘﺪﻳّﺔ ‪ .‬ﻭﻛﺬﻟﻚ ﻣﺎ ﻛﺎﻥ ﻗﺪﳝﺎ ﻻﻳﺒﺘﱰ‬
‫ﻗﺪ ﺟﺎﻭﺏ ﻟﻮﻙ ﺑﻘﻮﻟﻪ‪ :‬ﻻﺷﻲﺀ ﻳﻮﺟﺪ ﰲ ﺍﻟﺬﹼﻫﻦ ﺇ ﹼﻻ ﻭﻛﺎﻥ ﺃﻭّﻻ ﰲ ﺍﳊﺲّ‪ ،‬ﺍﻟﻠﹼﻬﻢ ﺇ ﹼﻻ ﺍﳌﻌﻘﻮﻝ‬
‫ﰊ ﻣﻦ‬
‫ﻧﻔﺴﻪ‪ .‬ﻭﻛﺬﻟﻚ ﻣﺎ ﻛﺎﻥ ﺟﻮﺍﺏ ﻛﺎﻧﻂ ﳍﻴﻮﻡ‪ " :‬ﺭﺑّﻤﺎ ﳓﻦ ﻻ ﳒﺪ ﺑﺎﳌﻮﺿﻮﻉ ﺍﻟﺘّﺠﺮ ّ‬
‫ﻱ‪ .‬ﻟﻜﻦ‪ ،‬ﻻ ﺗﻜﻮﻥ ﲡﺮﺑﺔ ﻣﺎ ﳑﻜﻨﺔ ﺣﺘّﻰ ﺗﻜﻮﻥ ﻫﻨﺎﻙ‬
‫ﻋﻼﻗﺔ ﻋﻠﻴّﺔ ﺇ ﹼﻻ ﻋﻼﻗﺔ ﺍﻟﺘّﻌﺎﻗﺐ ﺍﳋﱪ ّ‬
‫ﻣﺒﺎﺩﺉ ﺗﺄﻟﻴﻔﻴّﺔ ﻣﺎﻗﺒﻠﻴّﺔ ﺗﺆﺳّﺴﻬﺎ‪(٩)" .‬‬
‫ﻭﻫﺬﺍ ﺍﳉﻮﺍﺏ‪ ،‬ﻭﺇﻥ ُﻳ ْﺮَﺗﻀَﻰ ﺇﺫﺍ ﺗﻌﻠﹼﻖ ﺍﻷﻣﺮ ﺑﺘﺄﺳﻴﺲ ﺍﻟﺘّﺠﺮﺑﺔ ﺗﻠﻚ‪ ،‬ﻓﻬﻮ ﻳﺼﺒﺢ ﻏﲑ‬
‫ﺲ‪:‬‬
‫ﺿ ﱟﻲ ﺇﺫﺍ ﺗﻌﻠﹼﻖ ﺍﻷﻣﺮ ﺑﺒﻴﺎﻥ ﺃﻣﺮ ﺍﻟﻔﻜﺮ ﺑَﺎ ِﻃ َﻦ ﺗﻠﻚ ﺍﻟﺘﺠﺮﺑﺔ‪ .‬ﻓﺎﻟﻔﻜﺮ ﺍﳌﹸ ْﻌَﺘَﺒﺮُ ﻟﻴﺲ ﲟُ َﺆ ﱢﺳ ٍ‬
‫َﻣ ْﺮ ِ‬
‫ﺴﺔﹲ ﺑﲔ ﻇﻮﺍﻫﺮ ﺃﺧﺮﻯ‪ .‬ﻓﺸﻲﺀ ﺃﻥ ﺃﺅﺳّﺲ‬
‫ﻭﺇﻧّﻤﺎ ﻫﻮ ﻓﻌﻞ ﻣﺘﻌﻴّﻦ ﻟﻺﻧﺴﺎﻥ‪ ،‬ﻭﻇﺎﻫﺮﺓ ﻣُ َﺆ ﱠﺳ َ‬

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‫ﺇﺩﺭﺍﻛﻲ ﺍﳊﺎﺿﺮ ) ﺑﻴﺖ‪ ،‬ﺃﻭ ﻛﺘﺐ‪ ،‬ﻭﻏﲑ ﺫﻟﻚ‪ ،( .‬ﺑﻄﺮﻳﻖ ﺗﺄﻟﻴﻔﺎﺕ ﻣﻘﻮﻟﻴّﺔ ﲡﻌﻞ ﺍﻟﻮﻋﻲ‬
‫ﳑﻜﻨﺎ‪ ،‬ﻭﺷﻲﺀ ﺁﺧﺮ ﺃﻥ ﺃﻛﻮّﻥ ﺃﻓﻜﺎﺭﺍ ﻭﺍﻋﻴﺔ ﻋﻦ ﺫﻟﻚ ﺍﻹﺩﺭﺍﻙ ﺑﻌﺪ ﺃﻥ ﻳﻜﺘﻤﻞ ﺗﺄﺳﻴﺴﻪ ) ﻣﺜﻼ‬
‫ﺃﻥ ﺃﻓﻜﹼﺮ‪ :‬ﺑﺄ ﹼﻥ ﺍﻟﻜﺘﺐ ﻓﻮﻕ ﺍﻟﻄﹼﺎﻭﻟﺔ‪ ،‬ﻭﺃ ﹼﻥ ﺫﻟﻚ ﻫﻮ ﺑﺎﺏ‪ ،‬ﻭﻏﲑ ﺫﻟﻚ‪ ( .‬ﺇﺫ ﰲ ﺍﻟﻮﺿﻊ ﺍﻟﺜﹼﺎﱐ‬
‫ﻓﺎﻟﻮﻋﻲ ﻳﻮﺟﺪ ِﻗَﺒ ﹶﻞ ﺍﻟﻌﺎﱂ)‪ :(١٠‬ﻭﻟﻮ ﺃﻧﺎ ﺇﺫﹰﺍ ﻛﻮّﻧﺖ ﻓﻜﺮﺓ ﻋﻦ ﺍﻟﻌﺎﱂ‪ ،‬ﻓﺒﺎﻻﺿﻄﺮﺍﺭﻫﻲ ﺳﻮﻑ‬
‫ﺗﻈﻬﺮ ﱄ ﺑﻨﺤﻮ ﻇﺎﻫﺮﺓ ﻧﻔﺴﻴّﺔ ﻭﺍﻗﻌﻴّﺔ‪ .‬ﻓﻠﻴﺲ ﻳﻮﺟﺪ ﺍﻟﺒﺘّﺔ ﻫﺎﻫﻨﺎ "ﻣﺎ ﺑﺎﻟﻘﻮّﺓ " ﺃﻭ " ﻣﺎ‬
‫ﺑﺎﻹﻣﻜﺎﻥ"‪ :‬ﻭﺇﻧّﻤﺎ ﺍﻟﻮﻋﻲ ﻫﻮ ﻓﻌﻞ ﻭﻛ ﹼﻞ ﻣﺎ ﻳﻮﺟﺪ ﰲ ﺍﻟﻮﻋﻲ ﻳﻮﺟﺪ ﺑﺎﻟﻔﻌﻞ‪.‬‬

‫ﻚ ﺃ ﹼﻥ ﺗﻠﻚ ﺍﳊﺎﻝ ﺍﳉﺪﻳﺪﺓ ﻭﺗﻠﻚ ﺍﳌﻄﺎﻟﺒﺎﺕ ﲝﻘﻮﻕ ﺍﻟﺘّﺄﻟﻴﻒ‬

‫ﻭﻋﻠﻰ ﺃﻳّﺔ ﺣﺎﻝ ﻓﻠﻴﺲ ﻣﻦ ﺷ ّ‬
‫ﻱ ﺗﺄﺛﲑ ﰲ ﺗﻨﺸﺌﺔ ﺭﻳﺒﻮ‪ ،‬ﻣﺆﺳّﺲ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﺍﻟﺘّﺄﻟﻴﻔﻲ‪.‬‬
‫ﺑﺈﺯﺍﺀ ﺍﻟﺘّﺮﺍﺑﻄﻴّﺔ ﺍﻵﻟﻴّﺔ ﻫﻲ ﻗﺪ ﺃﺛﹼﺮﺕ ﺃ ّ‬
‫ﺻﺤﻴﺢ ﺃﻧّﻪ ﱂ ﺗﻜﻦ ﺍﻟﻜﺎﻧﻄﻴّﺔ ﻫﻲ ﺍﻟﹼﱵ ﺃﳍﻤﺖ ﺭﻳﺒﻮ ؛ ﻭﱂ ﺗﻜﻦ ﺃﻳﻀﺎ ﻣﺸﺎﻏﻞ ﺩﻳﻨﻴّﺔ ﻫﻲ ﺍﻟﹼﱵ‬
‫ﺳﺪّﺩﺗﻪ‪ .‬ﺑﻞ ﻏﺮﺿﻪ ﺍﻟﻮﺣﻴﺪ ﻗﺪ ﻛﺎﻥ ﺃﻥ ﻳﺮﺍﺟﻊ ﻣﻘﻮﻟﺔ ﺗﺎﻥ ﻋﻦ " ﻋﻠﻢ ﻧﻔﺲ ﻋﻠﻤ ّﻲ "‪ .‬ﻓﺎﻟﻌﻠﻢ ‪،‬‬
‫ﻚ ﲢﻠﻴﻞ‪ ،‬ﻭﻟﻜﻨّﻪ ﻫﻮ ﺗﺄﻟﻴﻒ ﺃﻳﻀﺎ ؛ ﻭﺃﻥ ﻟﻴﺲ ﻳﻜﻔﻲ ﺍﻟﺒﺘّﺔ ﺃﻥ ﳓ ﹼﻞ‬
‫ﲝﺴﺐ ﺭﺃﻳﻪ‪ ،‬ﻫﻮ ﺑﻼ ﺷ ّ‬
‫ﺺ ﻋﻨﻬﺎ ﻣﻦ ﺣﻴﺚ ﻣﺎ ﻫﻲ‬
‫ﺤ َ‬
‫ﺍﻟﻜ ﹼﻞ ﺇﱃ ﻋﻨﺎﺻﺮﻩ ‪ :‬ﺑﻞ ﻳﻮﺟﺪ ﰲ ﺍﻟﻄﹼﺒﻴﻌﺔ ﺗﺄﻟﻴﻔﺎﺕ ﻻ ﺑ ّﺪ ﺃﻥ ﻳُ ﹾﻔ َ‬
‫ﺸِﺒﻪُ ِﺇﺫﹰﺍ ﰲ ﺑﺎﺩﺉ ﺍﻟﺮّﺃﻱ ﺃ ﹼﻥ ﻣُ ْﺒَﺘ َﺪﹶﺃ ﺭﻳﺒﻮ ﻗﺪ ﻛﺎﻥ ﲤﻌّﻨﺎ ﰲ ﻧﻘﺺ ﻣﻨﻬﺞ ﻋﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ‬
‫ﻛﺬﻟﻚ‪ .‬ﻓﻴُ ْ‬
‫ﺍﻹﳒﻠﻴﺰ ﻭﻣﻨﻬﺞ ﺗﺎﻥ‪ .‬ﻏﲑ ﺃ ﹼﻥ ﺍﻟﻔﻜﺮﺓ ﻧﻔﺴﻬﺎ ﻓﻜﺮﺓ ﺍﻟﺘّﺄﻟﻴﻒ ﺍﻟﻨّﻔﺴﻲّ‪ ،‬ﺃﻓﻠﻴﺲ ﻫﻮ ﺇﻧّﻤﺎ ﻗﺪ‬
‫ﻱ ﺍﻟﻌﻈﻴﻢ ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﻳﺪﻋّﻢ ﰲ ﺫﻟﻚ ﺍﻟﻌﺼﺮ ﻬﻧﻀﺔ ﺍﻟ ﹼﺬﻫﻨﻴّﺔ ؟‬
‫ﺍﺳﺘﻌﺎﺭﻫﺎ ﻣﻦ ﺍﻟﺘﻴّﺎﺭ ﺍﻟﻔﻜﺮ ّ‬
‫ﺺ ﺑﺮﻭﺷﺎﺭﺩ ﺍﻟﹼﺬﻱ ﺃﺳﻠﻔﻨﺎ ﺍﻟﻜﻼﻡ ﻋﻠﻴﻪ ﳑّﺎ ﻛﺎﻥ ﻗﺪ ﻛﺘﺒﻪ ﺭﻳﺒﻮ ﺳﻨﺔ‬
‫ﺏﻧ ّ‬
‫ﻭﻋﺠﻴﺐ ﻣﺎ ﹸﻗ ْﺮ ُ‬
‫‪)١٩١٤‬ﺱ(‪:‬‬
‫" ﺇ ﹼﻥ ﺍﻟﻔﻜﺮ ﻫﻮ ﻭﻇﻴﻔﺔ ﻛﺎﻧﺖ ﻗﺪ ﺍﻧﻀﺎﻓﺖ ﰲ ﺃﺛﻨﺎﺀ ﺍﻟﺘّﻄﻮّﺭ‪ ،‬ﺇﱃ ﺍﻷﺷﻜﺎﻝ ﺍﻷﻭﱃ ﻭﺍﻟﺜﹼﺎﻧﻴﺔ‬
‫ﻱ ﺷﺮﻭﻁ ﻛﺎﻥ ﻗﺪ ﺃﻣﻜﻦ ﻧﺸﺄﻬﺗﺎ ؟‬
‫ﻟﻠﻤﻌﺮﻓﺔ ‪ :‬ﺃﻱ ﺇﺣﺴﺎﺳﺎﺕ ﻭﺫﺍﻛﺮﺓ ﻭﺗﺮﺍﺑﻂ‪ .‬ﻓﺒﺴﺒﺐ ﺃ ّ‬
‫ﻟﻴﺲ ﳝﻜﻨﻨﺎ ﺃﻥ ﳒﺴﺮ ﻫﺎﻫﻨﺎ ﺑﻮﺿﻊ ﺍﻟﻔﺮﺿﻴّﺎﺕ‪ .‬ﻭﻋﻠﻰ ﺃﻳّﺔ ﺣﺎﻝ‪ ،‬ﻓﻬﻮ ﻛﺎﻥ ﻗﺪ ﻇﻬﺮ ﹼﰒ ﹶﻗ ﱠﺮ ﹼﰒ‬
‫َﺗ َﺰﱠﻳ َﺪ‪ .‬ﻟﻜﻨّﻪ ﻭﻣﺜﻠﻤﺎ ﺃﻧّﻪ ﻣﻦ ﺍﳌﻤﺘﻨﻊ ﺃﻥ ﺗﺄﺧﺬ ﻭﻇﻴﻔﺔ ﻣﺎ ﰲ ﺍﻟﻌﻤﻞ ﺇ ﹼﻻ ﺑﺘﺄﺛﲑ ﻣﻦ ﻣﺆﺛﹼﺮﺍﺕ‬
‫ﻣﻼﺋﻤﺔ ﳍﺎ‪ ،‬ﻓﻜﺬﻟﻚ ﻫﻮ ﳑﺘﻨﻊ ﺍﻣﺘﻨﺎﻋﺎ ﻣﺎﻗﺒﻠﻴّﺎ ﻭﺟﻮﺩ ﻓﻜﺮ ﳏﺾ ﻳﻌﻤﻞ ﻣﻦ ﻏﲑ ﺃﻥ ﻳﻜﻮﻥ ﻗﺪ‬

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‫ﺼ َﺮ ﻋﻠﻰ ﺫﺍﺗﻪ‪ ،‬ﻓﻬﻮ ﻓﻌﻞ ﻳﻔﻜﹼﻚ ﻭﻳﺮﺑﻂ‪ ،‬ﻭﻳﺪﺭﻙ‬
‫ﺍﺳﺘﺤﺜﹼﻪ ﺷﻲﺀ ﻣﻦ ﺍﻷﺷﻴﺎﺀ‪ .‬ﻓﺎﻟﻔﻜﺮ ﺇﺫﺍ ﺍ ﹾﻗﺘُ ِ‬
‫ﺍﻟﻌﻼﻗﺎﺕ ﻭﻳﺼﻞ‪ .‬ﺑﻞ ﺭﺑّﻤﺎ ﺟﺎﺯ ﺃﻥ ﻧﻌﺘﻘﺪ ﺑﺄ ﹼﻥ ﺫﻟﻚ ﺍﻟﻔﻌﻞ ﻫﻮ ﺑﻄﺒﻌﻪ‪ ،‬ﻻ ﻭﺍﻉ ﻭﻻ ﻳﺘّﺨﺬ‬
‫ﺻﻮﺭﺓ ﺍﻟﻮﺍﻋﻲ ﺇ ﹼﻻ ﺑﺘﻮﺳّﻂ ﺍﳌﻌﻄﻴﺎﺕ ﺍﻟﹼﱵ ﻳﺼﻮﻏﻬﺎ‪ ...‬ﻭﺍﳋﻼﺻﺔ‪ ،‬ﻓﺈ ﹼﻥ ﺍﻟﻔﺮﺿﻴّﺔ ﺍﻟﻘﺎﺋﻠﺔ ﺑﻔﻜﺮ‬
‫ﳏﺾ ﺧﻠﻮ ﻣﻦ ﺍﻟﺼّﻮﺭ ﻭﺍﻟﻜﻠﻤﺎﺕ ﻫﻲ ﻏﲑ ﳏﺘﻤﻠﺔ‪ ،‬ﻭﻫﻲ ﻋﻠﻰ ﻛ ﹼﻞ ﺣﺎﻝ‪ ،‬ﻏﲑ ﻣﱪﻫﻨﺔ ﻋﻠﻴﻬﺎ‪.‬‬
‫"‬

‫ﺺ ﺑﺮﻭﺷﺎﺩ ﺇ ﹼﻻ ﺃﻧّﻪ ﻣﻨﻘﻮﻝ ﺇﱃ ﻟﻐﺔ ﺑﻴﻮﻟﻮﺟﻴّﺔ ﻭﻋﻤﻠﻴّﺔ‪.‬‬

‫ﺇﻧّﻨﺎ‪ ،‬ﻟﻌﻤﺮﻱ‪ ،‬ﻟﻜﺄﻧّﻨﺎ ﻧﻘﺮﺃ ﻧﻔﺲ ﻧ ّ‬
‫ﻓﺮﻳﺒﻮ ﻣﺜﻠﻪ ﻣﺜﻞ ﺑﺮﻭﺷﺎﺭﺩ‪ ،‬ﻳﺜﺒﺖ ﻭﺟﻮﺩ ﺇﺣﺴﺎﺳﺎﺕ ﻭﺻﻮﺭ ﻣﻮﺻﻮﻟﺔ ﺑﻴﻨﻬﺎ ﺑﻘﻮﺍﻧﲔ ﺗﺮﺍﺑﻄﻴّﺔ‪.‬‬
‫ﺇﻧّﻬﺎ " ﺍﻷﺷﻜﺎﻝ ﺍﻷﻭﱃ ﻭﺍﻟﺜﹼﺎﻧﻴﺔ ﻟﻠﻤﻌﺮﻓﺔ "‪ .‬ﻭﻫﻮ ﻣﺜﻞ ﺑﺮﻭﺷﺎﺭﺩ‪ ،‬ﻓﻘﺪ ﻋﺪّﻫﺎ ﲟﺜﺎﺑﺔ ﺍﳌﻌﻄﻴﺎﺕ‬
‫ﺍﻷﻭّﻟﻴّﺔ ﻟﻼﺳﺘﺒﻄﺎﻥ‪ .‬ﻭ ﻗﺪ ﺍﻋﺘﱪ ﻫﻮ ﺃﻳﻀﺎ ﻣﺜﻠﻪ ﻣﺜﻞ ﺑﺮﻭﺷﺎﺭﺩ ﺑﺄ ﹼﻥ ﺍﻟﻔﻜﺮ ﻟﻴﺲ ﰲ ﻣﺘﻨﺎﻭﻝ‬
‫ﺍﻟﻮﻋﻲ ﺍﳊﺪﺳ ّﻲ‪ .‬ﻭ ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﻔﻜﺮ‪ ،‬ﻋﻠﻰ ﺭﺃﻱ ﺑﺮﻭﺷﺎﺭﺩ‪ ،‬ﻻ ﻳﻨﻜﺸﻒ ﻟﻠﺤﺪﺱ‪ ،‬ﻓﺬﻟﻚ ﻷﻧّﻪ "‬
‫ﻗﻮّﺓ "؛ ﺇﻧّﻪ ﻣﻜﺎﻓﺊ ﻭﺿﻴﻔ ّﻲ ﻟﺼﻮﺭ ﳐﺘﻠﻔﺔ ﻏﺎﻳﺔ ﺍﻻﺧﺘﻼﻑ‪ .‬ﺃﻣّﺎ ﺭﻳﺒﻮ ﻓﻘﺪ ﺍﺳﺘﻌﻤﻞ ﺃﻟﻔﺎﻇﺎ‬
‫ﺷﻴﺌﺎﻧﻴّﺔ ﺃﻳّﻤﺎ ﺷﻴﺌﺎﻧﻴّﺔ‪ .‬ﺇ ﹼﻥ ﺍﻟﻔﻜﺮ ﻫﻮ ﻓﻌﻞ ﻭﺍﻗﻌ ّﻲ ﻟﻜﻨّﻪ ﻻ ﻭﺍﻉ‪ " .‬ﻭﻫﻲ ﻻ ﺗﺘّﺨﺬ ﺷﻜﻼ ﻭﺍﻋﻴﺎ‬
‫ﺇ ﹼﻻ ِﻟ َﻤﻜﹶﺎ ِﻥ ﺍﳌﻌﻄﻴﺎﺕ ﺍﳋﱪﻳّﺔ ﺍﻟﹼﱵ ﺗﺼﻮﻏﻬﺎ "‪ .‬ﻭﻫﺬﺍ ﺍﻟﻌﺎﱂ ﺍﻟﻨّﻔﺲ ﺍﻟﻮﺿﻌﻲّ‪ ،‬ﻭﺑﻌﺪ ﺃﻥ ﻗﺪ‬
‫ﺿ َﻊ‬
‫ﺍﺭﺗﻀﻰ ﺗﻠﻚ ﺍﳌﻘﻮﻟﺔ ﺍﻟﻐﺎﻣﻀﺔ ﻭﺍﳌﺘﻨﺎﻗﻀﺔ ﻋﻦ ﻓﻜﺮ ﻻ ﻭﺍﻉ‪ ،‬ﻓﻘﺪ ﺍﻧﺘﻬﻰ ﻣﺎ ﹶﻗ ْﺒ ِﻠﻴ‪‬ﺎ ﺇﱃ ﹶﺃ ﱠﻥ َﻭ ْ‬
‫ﻭﺟﻮﺩ ﻓﻜﺮ ﳏﺾ ﰲ ﻣﺘﻨﺎﻭﻝ ﺍﻟﻮﻋﻲ ﻫﻮ ﺃﻣﺮ ﺧﺎﺭﺝ ﻋﻦ ﺣ ّﺪ ﺍﳌﻌﻘﻮﻝ)‪ .(١١‬ﻭﺇﻧّﺎ ﻟﻨﺮﻯ ﻛﻢ‬
‫ﰊ ﺇﱃ ﺇﻧﻜﺎﺭﻩ ﻧﺘﺎﺋﺞ ﲡﺮﺑﻴّﺔ ﺑﺎﺳﻢ‬
‫ﻛﺎﻥ ﺗﺄﺛﲑ ﺗﺎﻥ ﻋﻤﻴﻘﺎ‪ :‬ﻭﻫﻮ ﻣﻦ ﺍﻟﻌﻤﻖ ﻣﺎ ﺃﺩّﻯ ﺑﻌﺎﱂ ﻧﻔﺲ ﲡﺮ ّ‬
‫ﺍﺳﺘﻨﺘﺎﺟﺎﺕ ﳏﻀﺔ)ﺵ(‪ .‬ﻓﻌﻨﺪ ﺫﻟﻚ ﺍﳉﻴﻞ ﲨﻴﻌﻪ‪ ،‬ﻓﻘﺪ ﺑﻘﻴﺖ ﺍﻟﺘّﺮﺍﺑﻄﻴّﺔ ﺍﳌﻌﻄﻰ ﺍﻟﻮﺍﻗﻌﻲّ‪ ،‬ﻭﻟﻴﺲ‬
‫ﺍﻟﻔﻜﺮ ﺇ ﹼﻻ ﻓﺮﺿﻴّﺔ ﺿﺮﻭﺭﻳّﺔ ﻣﻦ ﺃﺟﻞ ﻓﻬﻢ " ﺍﻧﺘﻈﺎﻣﻴّﺔ" " ﻭ " ﺗﻨﺴﻴﻘﻴّﺔ " ﻳﺼﻌﺐ ﺃﻳّﻤﺎ ﺻﻮﺑﺔ‬
‫ﺐ ﻋﻠﻰ ﻭﺻﻒ ﺍﻟﺼّﻮﺭﺓ ﻣﻦ ﺣﻴﺚ ﻫﻲ‬
‫ﺗﻌﻠﻴﻠﻬﺎ ﲟﺤﺾ ﺍﻟﺘّﺮﺍﺑﻂ‪ .‬ﻓﻮﺿﻌﻴّﺔ ﺭﻳﺒﻮ‪ ،‬ﻣﻜﺎﻥ ﺃﻥ َﺗ ْﻨ ﹶﻜ ﱠ‬
‫ﻛﺬﻟﻚ‪ ،‬ﻓﻘﺪ ﺳﻠﻜﺖ ﻃﺮﻳﻘﺎ ﻣﻌﺎﻛﺴﺎ‪ ،‬ﺣﻴﻨﻤﺎ ﺍﺑﺘﻜﺮﺕ ﻣﺜﻞ ﺗﻠﻚ ﺍﳌﻘﻮﻟﺔ ﺍﻟﺒﻴﻮﻟﻮﺟﻴّﺔ ﻋﻦ ﻓﻜﺮ‬
‫ﱐ‪.‬‬
‫ﻻ ﻭﺍﻉ ﻛﺎﻥ ﻗﺪ " ﻇﻬﺮ" ﰲ ﺃﺛﻨﺎﺀ ﺍﻟﺘّﻄﻮّﺭ ﺍﻹﻧﺴﺎ ﹼ‬

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‫ﻱ ﻣﺪﻟﻮﻝ ﻟﻔﻜﺮﺓ " ﺍﻟﺘّﺄﻟﻴﻒ " ﺗﻠﻚ ﺍﻟﹼﱵ ﻓﺎﺭﻕ ﻬﺑﺎ ﺭﻳﺒﻮ ﺗﺎﻥ‪ .‬ﺇﻧّﻤﺎ ﻫﻲ ﻓﻜﺮﺓ‬
‫ﻭﻧﺮﻯ ﺃ ّ‬
‫ﻓﻴﺰﻳﻮﻟﻮﺟﻴّﺔ‪ :‬ﻓﺎﻹﻧﺴﺎﻥ ﻫﻮ ﻋﻀﻮﻳّﺔ ﺣﻴّﺔ ﰲ ﺻﻤﻴﻢ ﺍﻟﻌﺎﱂ ﻭﺍﻟﻔﻜﺮ ﻫﻮ ﻋﻀﻮ ﻛﺎﻥ ﻗﺪ ﳕﹼﺘﻪ ﺑﻌﺾ‬
‫ﺍﳊﺎﺟﺎﺕ ؛ ﻭﻣﺜﻠﻤﺎ ﺃﻧّﻪ ﻟﻴﺲ ﻳﻮﺟﺪ ﻫﻀﻢ ﻣﻦ ﻏﲑ ﻃﻌﺎﻡ‪ ،‬ﻛﺬﻟﻚ ﻓﻬﻮ ﻻ ﻳﻮﺟﺪ ﺗﻔﻜﲑ ﻣﻦ ﻏﲑ‬
‫ﺠ ﹶﻠﺐُ ﻣﻦ ﺍﳋﺎﺭﺝ‪ .‬ﻭﻟﻜﻨّﻪ‪ ،‬ﻭﻣﺜﻠﻤﺎ ﺃ ﹼﻥ ﺗﻄﻮّﺭ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴﺎ ﻗﺪ‬
‫ﺴَﺘ ْ‬
‫ﺻﻮﺭ‪ ،‬ﺃﻱ ﻣﻦ ﻏﲑ ﻣﻮﺍ ّﺩ ﺗُ ْ‬
‫ﺟﻌﻠﻨﺎ ﻧﻨﻈﺮ ﻟﻠﻬﻀﻢ ﻋﻠﻰ ﺃﻧّﻪ ﹸﻛ ﱞﻞ ﻭﻇﻴﻔﻲّ‪ ،‬ﻛﺬﻟﻚ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﺍﳉﺪﻳﺪ ﻓﻼﺑ ّﺪ ﻟﻪ ﺃﻥ ﻳﻌﺎﻭﺩ‬
‫ﺗﺄﺳﻴﺲ‪ ،‬ﺍﺑﺘﺪﺍﺀ ﻣﻦ ﺍﳌﻮﺍﺩ ﺍﳋﺎ ّﻡ ﺃﻭ ﺍ ﹸﳌﺼَﺎﻏﹶﺔ ﺍﻟﹼﱵ ﻭﺣﺪﻫﺎ ﺍﻟﻮﺍﻋﻴﺔ‪ ،‬ﺍﻟﻮﺣﺪﺓ ﺍﻟﺘّﺄﻟﻴﻔﻴّﺔ ﻟﻠﻌﻀﻮﻳّﺔ‬
‫ﺍﻟﹼﱵ ﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﺼﻮﻏﻬﺎ‪ .‬ﻭﻣﺜﻠﻤﺎ ﺃ ﹼﻥ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴﺎ ﺍﻟﺘّﺄﻟﻴﻔﻴّﺔ ﻻ ﺗﻨﻔﻲ ﺍﳊﺘﻤﻴّﺔ‪ ،‬ﻛﺬﻟﻚ ﻋﻠﻢ‬
‫ﺍﻟﻨّﻔﺲ ﺍﳉﺪﻳﺪ‪ ،‬ﺇ ﹾﺫ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﻨﻈﺮ ﻟﻠﻔﻌﻞ ﺍﻟﻨّﻔﺴ ّﻲ ﺍﻟﺘّﺄﻟﻴﻔ ّﻲ ﺑﻨﺤﻮ ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﺒﻴﻮﻟﻮﺟﻴّﺔ‪ ،‬ﻓﻬﻮ‬
‫ﻱ ﲞﺼﻮﺹ ﻻ ﺍﻧﻔﺼﺎﻟﻴّﺔ ﺍﻟﻔﻜﺮ ﻋﻦ‬
‫ﺣﺘﻤ ّﻲ ﻛﺎﻣﻞ ﺍﳊﺘﻤﻴّﺔ‪ .‬ﻓﻨﺤﻦ ﳒﺪ ِﺇﺫﹰﺍ ﻫﺎﻫﻨﺎ ﺍﳌﺒﺪﺃ ﺍﻟﻼﹼﻳﺒﺘﻨﻴﺰ ّ‬
‫ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻭﻟﻜﻦ ﻫﺬﺍ ﺍﳌﺒﺪﺃ ﻫﻨﺎ‪ ،‬ﻫﻮ ﻣﺘﺮ ّﺩ ﻭﻣﺘﻬﺎﻭ ﺇﱃ ﻣﺮﺗﺒﺔ ﺍﻟﺸّﻴﺌﻴّﺔ ﺍﳌﺎ ّﺩﻳّﺔ‪ :‬ﻓﺎﻹﻧﺴﺎﻥ ﻫﻮ‬
‫ﺷﻲﺀ ﺣﻲّ‪ ،‬ﻭﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﺷﻲﺀ‪ ،‬ﻭﺍﻟﻔﻜﺮ ﻫﻮ ﺃﻳﻀﺎ ﺷﻲﺀ‪.‬‬

‫ﺲ ﻓﻴﻪ ﻣﺜﻞ ﺫﻟﻚ ﺍﻟﺴّﻘﻮﻁ ﺃﺣﺴﻦ ﻣﻦ ﻣﺼﻨّﻒ ﺭﻳﺒﻮ ﺫﻱ ﺍﻟﻌﻨﻮﺍﻥ ﰲ‬

‫ﻭﻻ ﺷﻲﺀ ﻗﺪ َﻧ ﹾﺄَﻧ ُ‬
‫ﺍﻟﺘّﺨﻴّﻞ ﺍﳌﺒﺪﻉ‪ .‬ﻓﻬﻮ ﰲ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ‪ ،‬ﻗﺪ ﺍﻟﺘﻤﺲ ﺃﻥ ﳛﻠﹼﻞ ﺁﻟﻴﺔ ﺇﺑﺪﺍﻉ ﺍﻟﺼّﻮﺭ ﺍﳉﺪﻳﺪﺓ‪.‬‬
‫ﻭﻟﻜﻨّﻪ‪ ،‬ﺑﺎﻟﻄﹼﺒﻊ‪ ،‬ﻓﻬﻮ ﻗﺪ ﻭﺿﻊ ﺍﳌﺴﺄﻟﺔ ﺑﺎﳌﻌﺎﱐ ﻧﻔﺴﻬﺎ ﺍﻟﹼﱵ ﻛﺎﻥ ﳝﻜﻦ ﺃﻥ ﻳﻀﻌﻬﺎ ﺗﺎﻥ‪ :‬ﺇﺫ ﻗﺪ‬
‫ﺗﺴﺎﺀﻝ ﻛﻴﻒ ﳝﻜﻦ ﺃﻥ ﺗﺄﺗﻠﻒ ﲨﺎﻋﺎﺕ ﺟﺪﻳﺪﺓ ﺃﻭ ﺃﻭﻫﺎﻡ‪ ،‬ﺍﺑﺘﺪﺍﺀ ﻣﻦ ﺍﻟﺼّﻮﺭ ﺍﻟﹼﱵ ﲤﻨﺤﻬﺎ‬
‫ﺍﻟﺬﹼﺍﻛﺮﺓ‪ .‬ﻭﲝﻖّ‪ ،‬ﻓﻬﻮ ﻗﺪ ﺍﺑﺘﺪﺃ ﻭﻫﻮﻳﺆﻛﹼﺪ ﻋﻠﻰ ﺣﻘﻮﻕ ﺍﻟﺘّﺄﻟﻴﻒ‪:‬‬
‫"ﻛ ﹼﻞ ﺍﺑﺪﺍﻉ ﲣﻴّﻠ ّﻲ ﻳﻘﺘﻀﻲ ﻣﺒﺪﺃ ﻭﺣﺪﺓ "‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﻫﺬﺍ ﺍﳌﺒﺪﺃ ﺍﻟﹼﺬﻱ ﻗﺪ ﺃﻃﻠﻖ ﻋﻠﻴﻪ‪،‬‬
‫ﺹ ﻣﻨﻪ ﻟﻠﺒﻘﺎﺀ ﻣﺘّﻔﻘﺎ ﻣﻊ ﻧﻔﺴﻪ‪ ،‬ﺍﺳﻢ " ﻣﺮﻛﺰ ﺍﻟﺘّﺠﺎﺫﺏ ﻭﻧﻘﻄﺔ ﺍﻻﺳﺘﻨﺎﺩ "‪ ،‬ﻭﺍﻟﹼﺬﻱ‬
‫ﻋﻠﻰﻏﲑ ِﺣ ْﺮ ٍ‬
‫ﺭﺁﻩ ﺑﻨﻮﻉ " ﺍﻟﻔﻜﺮﺓ ـ ﺍﻻﻧﻔﻌﺎﻝ ﺍﻟﺜﹼﺎﺑﺘﺔ "‪ ،‬ﻓﻠﻴﺴﺖ ﺗﻨﻔﻊ‪ ،‬ﻋﻠﻰ ﺍﳉﻤﻠﺔ‪ ،‬ﺇ ﹼﻻ ﻟﺘﻮﺟﻴﻪ ﺃﻓﻌﺎﻝ‬
‫ﳏﺾ ﺁﻟﻴّﺔ ‪.‬‬
‫ﻓﻬﻨﺎﻙ ﺇﺫﺍ ﺃﻭّﻻ ﺗﻔﻜﻴﻚ‪ :‬ﺃﻱ ﺃ ﹼﻥ ﺻﻮﺭﺓ ﺍﳌﻮﺿﻮﻉ ﺍﳋﺎﺭﺟ ّﻲ ﻳﻌﺘﻮﺭﻫﺎ ﻋﻤﻞ ﺗﻔﻜﻴﻜ ّﻲ‪.‬‬
‫ﻭﺃﺳﺒﺎﺏ ﺍﻟﺘّﻔﻜﻴﻚ ﻫﻲ " ﺑﺎﻃﻨﻴّﺔ ﻭﺧﺎﺭﺟﻴّﺔ "‪ .‬ﻭﺍﻷﻭﱃ ﺃﻱ " ﺍﻟﺬﹼﺍﺗﻴّﺔ " ﻓﻬﻲ‪ (١) :‬ﺍﻻﻧﺘﻘﺎﺀ ﻣﻦ‬

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‫ﺃﺟﻞ ﺍﻟﻌﻤﻞ؛ )‪ (٢‬ﺍﻷﺳﺒﺎﺏ ﺍﻻﻧﻔﻌﺎﻟﻴّﺔ " ﺍﻟﹼﱵ ﺗﺪﺑّﺮ ﺍﻻﻧﺘﺒﺎﻩ " ؛ )‪ (٣‬ﻭﺃﺳﺒﺎﺏ ﺫﻫﻨﻴّﺔ " ﻭﻧﺸﲑ‬
‫ﲏ ﺃﻭ ﻗﺎﻧﻮﻥ ﺍﳉﻬﺪ ﺍﻷﻗ ﹼﻞ )ﺹ(" ‪ .‬ﺃﻣّﺎ ﺍﻷﺳﺒﺎﺏ ﺍﳋﺎﺭﺟﻴّﺔ‬
‫ﻬﺑﺬﺍ ﺍﻻﺳﻢ ﺇﱃ ﻗﺎﻧﻮﻥ ﺍﻟﻌﻄﺎﻟﺔ ﺍﻟﺬﹼﻫ ّ‬
‫ﻓﻬﻲ " ﺗﻐﻴّﺮﺍﺕ ﺍﻟﺘّﺠﺮﺑﺔ " ﺍﻟﹼﱵ ﺗﻌﺮﺽ ﻣﻮﺿﻮﻋﺎ ﻣﺎ ﺗﺎﺭﺓ ﻣﻘﺘﺮﻧﺎ ﺑﻜﻴﻔﻴّﺔ ﻣﺎ ﻭﻃﻮﺭﺍ ﺧﺎﻟﻴﺎ ﻣﻨﻬﺎ‪:‬‬
‫" ﻓﻤﺎ ﻛﺎﻥ ﻗﺪ ﻭُ ِﺟ َﺪ ﺗﺎﺭﺓ ﻣﻘﺘﺮﻧﺎ ﲟﻮﺿﻮﻉ ﻣﺎ ﻭﺗﺎﺭﺓ ﻣﻘﺘﺮﻧﺎ ﺑﻐﲑﻩ‪ ،‬ﻓﺈﻧّﻪ ﳝﻴﻞ ﻟﻼﻧﺴﻼﺥ ﻣﻨﻬﻤﺎ‬
‫ﺍﻻﺛﻨﲔ‬
‫"‬
‫ﻭﻫﺬﺍ ﺍﻟﺘّﻔﻜﻴﻚ ﺷﺄﻧﻪ ﺃﻥ ﻳﻄﻠﻖ ﻋﺪﺩﺍ ﻣﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﳋﻴﺎﻟﻴّﺔ ﺍﻟﹼﱵ ﳝﻜﻨﻬﺎ ﺍﻵﻥ ﺃﻥ ﺗﺄﺗﻠﻒ ﻣﻌﺎ‬
‫ﻟﻜﻲ ﺗﻜﻮّﻥ ﳎﻤﻮﻋﺎﺕ ﺟﺪﻳﺪﺓ‪ .‬ﻭﻫﻨﺎ ﳓﻦ ﻧﺼﻞ ﺇﱃ ﺍﻟﻘﺴﻢ ﺍﻟﹼﺜﺎﱐ ﻣﻦ ﺍﳌﺴﺄﻟﺔ‪:‬‬
‫ﻱ ﺗﺄﺛﲑ ﻫﻲ ﻣﻦ ﺷﺄﻬﻧﺎ‬
‫ﻱ ﺷﻲﺀ ﻫﻲ ﺃﺷﻜﺎﻝ ﺍﻟﺘّﺮﺍﺑﻂ ﺍﻟﹼﱵ ﺗﻠﺰﻡ ﻋﻨﻬﺎ ﺗﺮﻛﻴﺒﺎﺕ ﺟﺪﻳﺪﺓ ﻭﻷ ّ‬
‫"ﺃ ّ‬
‫ﺃﻥ ﺗﺘﻜﻮّﻥ ؟ )ﺽ("‪ .‬ﻓﻨﺮﻯ ﺃ ﹼﻥ ﺭﻳﺒﻮ ﻗﺪ ﺻﺎﻍ ﻫﺬﺍ ﺍﻟﺴّﺆﺍﻝ ﲟﻌﺎﻥ ﺗﺮﺍﺑﻄﻴّﺔ‪ .‬ﻓﺎﻟﺘّﺮﺍﺑﻄﺎﺕ ﳝﻜﻨﻬﺎ‬
‫ﺴ ﱠﺪ َﺩ ﻣﻦ ﺧﺎﺭﺝ‪ ،‬ﻭﻟﻜﻨّﻪ ﺳﻮﻑ ﺗﻨﺒﻐﻲ ﻣﻌﺠﺰﺓ ﺣﺘّﻰ ﻧﻌﻠﹼﻖ ﻗﻮﺍﻧﻴﻨﻬﺎ‪ ،‬ﻛﻤﺎ ﻟﻮ ﻛﻨّﺎ‬
‫ﺃﻥ ﺗُ َﻮ ﱠﺟ َﻪ ﻭﺃﻥ ﺗُ َ‬
‫ﻧﺒﻐﻲ ﺗﻌﻠﻴﻖ ﻗﺎﻧﻮﻥ ﺍﳉﺎﺫﺑﻴّﺔ‪ .‬ﻭﺑﺎﳉﻤﻠﺔ‪ ،‬ﻭﻣﺜﻠﻤﺎ ﺃ ﹼﻥ ﺑﻌﺾ ﻋﻠﻤﺎﺀ ﺍﻻﻗﺘﺼﺎﺩ ﻗﺪ ﻧﺼﺤﻮﺍ‬
‫ﺑﺎﺳﺘﺒﺪﺍﻝ ﺍﳊ ّﺮﻳّﺔ ﺍﻻﻗﺘﺼﺎﺩﻳّﺔ ﺍﻟﹼﱵ ﺑﺸّﺮ ﻬﺑﺎ ﺍﳋﱪﻳّﻮﻥ ﺍﻻﳒﻠﻴﺰ‪ ،‬ﺑﺎﻗﺘﺼﺎﺩ ُﻣ َﻮ ﱠﺟﻪٍ‪ ،‬ﻛﺬﻟﻚ ﳝﻜﻨﻨﺎ‬
‫ﺃﻥ ﻧﻘﻮﻝ ﺑﺄ ﹼﻥ ﺭﻳﺒﻮ ﻗﺪ ﺍﺳﺘﺒﺪﻝ ﺍﻟﺘّﺮﺍﺑﻄﻴّﺔ ﺍﳊﺮّﺓ ﻟﺘﺎﻥ ﻭﻣﻴﻞﹼ‪ ،‬ﺑﺘﺮﺍﺑﻄﻴّﺔ ُﻣ َﻮ ﱠﺟﻬَﺔ ٍ‪.‬‬
‫ﱄ "‪ ،‬ﻭﺳﺒﺐ "‬
‫ﲏ "‪ ،‬ﻭﺳﺒﺐ " ﺍﻧﻔﻌﺎ ﹼ‬
‫ﻭﻫﻨﺎﻙ ﺛﻼﺙ ﺃﺳﺒﺎﺏ ﻟﻠﺘّﺮﺍﺑﻂ ﺍﳌﺒﺪﻉ‪ :‬ﺳﺒﺐ " ﺫﻫ ّ‬
‫ﻻﻭﺍﻉ‪".‬‬
‫ﲏ ﺇﻧّﻤﺎ ﻫﻮ " ﻣﻠﻜﺔ ﺍﻟﺘّﻔﻜﲑ ﺑﺎﳌﺸﺎﻬﺑﺔ‪ ،‬ﻭﻧﺮﻳﺪ ﺑﺎﳌﺸﺎﻬﺑﺔ ﺷﻜﻼ ﻣﻦ ﺍﳌﻤﺎﺛﻠﺔ‬
‫ﻓﺎﻟﺴّﺒﺐ ﺍﻟﺬﹼﻫ ّ‬
‫ﻧﺎﻗﺼﺎ‪ .‬ﻓﺎﳌﻤﺎﺛﻞ ﻫﻮ ﺟﻨﺲ‪ ،‬ﺍﳌﺸﺎﺑﻪ ﻫﻮ ﻧﻮﻉ ﻟﻪ‪".‬‬

‫ﱄ ﺃﻭ " ﺍﻟﻌﺎﻃﻔ ّﻲ "‪ ،‬ﻓﻘﺪ ﻓﺼّﻞ ﻓﻴﻪ ﺭﻳﺒﻮ ﺍﻟﻘﻮﻝ ﺗﻔﺼﻴﻼ ﻳﺴﲑﺍ ﰲ‬
‫ﺃﻣّﺎ ﺍﻟﺴّﺒﺐ ﺍﻻﻧﻔﻌﺎ ﹼ‬
‫ﻛﺘﺎﺑﻪ ﺍﻟﺘّﺨﻴّﻞ ﺍﳌﺒﺪﻉ‪ .‬ﻭﻟﻜﻨّﻪ ﻗﺪ ﺭﺟﻊ ﺇﻟﻴﻪ ﺑﺎﻟﻘﻮﻝ ﰲ ﻣﺼﻨّﻔﻪ ﻣﻨﻄﻖ ﺍﳌﺸﺎﻋﺮ‪ :‬ﻓﻬﻨﺎﻙ ﺃﻭّﻻ ﻣﺎ‬
‫ﻗﺪ ﺃﻃﻠﻖ ﻋﻠﻴﻪ ﻋﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ ﺍﻟﺘّﺤﻠﻴﻞ ﻣﻦ ﺫﻟﻚ ﺍﻟﻮﻗﺖ ﺑﺎﺳﻢ " ﺍﻟﺘّﻜﺜﻴﻒ"‪ ،‬ﻓﺄﺣﻮﺍﻝ ﺍﻟﻮﻋﻲ‬
‫ﻫﻲ ﺗﺄﺗﻠﻒ ﻷﻧّﻪ ﻫﻨﺎﻙ ﺑﻴﻨﻬﺎ ﻣﻌﲎ ﺍﻧﻔﻌﺎﱄ ﻣﺸﺘﺮﻙ)ﻁ(‪ " .‬ﹼﰒ ﻳﻨﺒﻐﻲ ﺃﻥ ﻧﺸﲑ ﺇﱃ ﺍﻟﻨّﻘﻞ‪:‬‬

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‫" ﺇﺫﺍ ﺍﺗّﻔﻖ ﺃ ﹼﻥ ﺣﺎﻻ ﻣﺎ ﺫﻫﻨﻴّﺔ ﻛﺎﻧﺖ ﻣُ ﹾﻘَﺘ ِﺮَﻧ ﹰﺔ ﺑﺈﺣﺴﺎﺱ ﺣﺎﺩّ‪ ،‬ﻓﺈ ﹼﻥ ﺣﺎﻻ ﺃﺧﺮﻯ ﳑﺎﺛﻠﺔ ﳍﺎ ﺃﻭ‬
‫ﺕ ﻣﻌﺎ‪،‬‬
‫ﺷﺒﻴﻬﺔ ﻬﺑﺎ ﺳﻮﻑ ﲤﻴﻞ ﻷﻥ ﺗﺜﲑ ﻧﻔﺲ ﺍﻟﺸّﻌﻮﺭ‪ ...‬ﻭﻟﻮ ﺍﺗّﻔﻖ ﺃ ﹼﻥ ﺃﺣﻮﺍﻻ ﺫﻫﻨﻴّﺔ ﻗﺪ ﻭُ ِﺟ َﺪ ْ‬
‫ﻓﺈ ﹼﻥ ﺍﻟﺸّﻌﻮﺭ ﺍﳌﻘﺘﺮﻥ ﺑﺎﳊﺎﻝ ﺍﻷﺻﻠﻴّﺔ‪ ،‬ﻟﻮ ﻛﺎﻧﺖ ﺣﺎﺩّﺓ‪ ،‬ﻓﺴﻮﻑ ﲤﻴﻞ ﻷﻥ ﺗﻨﺘﻘﻞ ﻟﺴﺎﺋﺮﻫ ّﻦ"‬

‫ﻓﻴﻤﻜﻦ ﺇﺫﹰﺍ ﺃﻥ ﻳﻜﻮﻥ ﺗﻜﺜﻴﻒ‪ ،‬ﹼﰒ ﻧﻘﻞ‪ ،‬ﹼﰒ ﺗﻜﺜﻴﻒ ﻣﺮّﺓ ﺃﺧﺮﻯ‪ ،‬ﻭﻋﻠﻰ ﻫﺬﺍ ﺍﻟﻨّﻤﻂ ﺍﻻﺛﲏّ‪،‬‬
‫ﺨﱠﻴ ﹶﻠ ﹰﺔ ﱂ ﺗﻜﻦ ﰲ ﺍﻷﺻﻞ ﺫﺍﺕ ﺻﻠﺔ ﺍﻟﺒﺘّﺔ ﺑﻴﻨﻬﺎ‪ ،‬ﺳﻮﻑ ﺗﺘﻘﺎﺭﺏ ﻭﺳﻮﻑ‬
‫ﻓﺈ ﹼﻥ ﻋﻨﺎﺻﺮ ﻣﺎ ﻣَُﺘ َ‬
‫ﺗﻨﺼﻬﺮ ﰲ ﲨﻠﺔ ﺟﺪﻳﺪﺓ‪ .‬ﺃﻣّﺎ ﻓﻴﻤﺎ ﻳﺘﻌﻠﹼﻖ ﺑﺎﻟﺴّﺒﺐ ﺍﻟﻼﹼﻭﺍﻋﻲ‪ ،‬ﻓﻬﻮ ﻟﻴﺲ ﻣﻦ ﻃﺒﻴﻌﺔ ﻣﻐﺎﻳﺮﺓ‬
‫ﲏ ﺃﻭﺍﻧﻔﻌﺎﱄﹼ؛ ﻣﺎ ﻋﺪﺍ ﺃﻧّﻪ ﻟﻴﺲ ﻟﻪ ﺃﻥ ﻳﻜﻮﻥ‪ ،‬ﻋﻠﻰ ﺟﻬﺔ‬
‫ﻟﻠﺴّﺒﺒﲔ ﺍﻵﺧﺮﻳﻦ‪ :‬ﻓﻬﻮ ﺳﺒﺐ ﺫﻫ ّ‬
‫ﺍﳌﺒﺎﺷﺮﺓ ﰲ ﻣﺘﻨﺎﻭﻝ ﺍﻟﻮﻋﻲ‪.‬‬

‫ﻭﺍﳊ ّﻖ ﺃﻗﻮﻝ ﺃﻧّﻪ ﱂ ﻳﻜﻦ ﻣﻦ َﻣ ْﻨﺪُﻭ َﺣ ٍﺔ ﻟﺮﻳﺒﻮ ﺃﻥ ﻳﻠﻮﺫ ﺑﺎﻟﻼﹼﻭﻋﻲ‪ ،‬ﻷﻧّﻪ ﻻ ﺳﺒﺐ ﻭﺍﺣﺪ ﻣﻦ‬
‫ﺍﻷﺳﺒﺎﺏ ﺍﻟﹼﱵ ﺑﺴﻄﻬﺎ ﻫﻮ ﻳﻈﻬﺮ ﻟﻠﻮﻋﻲ‪ .‬ﻓﻨﺤﻦ ﻻ ﻧﻌﻲ ﺍﻟّﺒﺘّﺔ ﺑﺎﻟﺘّﻔﻜﻴﻚ‪ ،‬ﻭﻻ ﻧﻌﻲ ﺍﻟﺒﺘّﺔ‬
‫ﱄ ﺑﻨﺤﻮ ﻣﺎ ﻫﻲ‬
‫ﺑﺎﻟﺘّﺄﻟﻴﻔﺎﺕ ﺍﳉﺪﻳﺪﺓ ‪ :‬ﺑﻞ ﺍﻟﺼّﻮﺭ ﺗﱪﺯ ﺩﻓﻌﺔ ﻭﺍﺣﺪﺓ‪ ،‬ﻭﻫﻲ ُﺗ ْﻌﻄﹶﻰ ﻋﻠﻰ ﳓﻮ ﺃ ّﻭ ﹼ‬
‫ﻫﻲ‪ .‬ﻓﻜﺎﻥ ﻻ ﺑ ّﺪ ﺇﺫﹰﺍ ﻣﻦ ﺃﻥ ﻧﻀﻊ ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﻟﻔﺮﺽ ﺑﺄ ﹼﻥ ﻋﻤﻼ ﻛﺎﻣﻼ ﻫﻮ ﳛﺼﻞ ﺧﺎﺭﺝ‬
‫ﺍﻟﻮﻋﻲ‪ .‬ﻭﺃﻧّﻪ ﻻ ﺍﻟﺘّﺮﺍﺑﻄﺎﺕ ﻭﻻ ﺍﻷﺳﺒﺎﺏ ﺍﻟﺘّﺄﻟﻴﻔﻴّﺔ ﻫﻲ ﺗﻈﻬﺮ ﻟﻨﺎ‪ :‬ﻓﻜ ﹼﻞ ﻫﺬﻩ ﺍﻵﻟﻴّﺔ ﺍﳌﹸ ْﺒ ِﺪ َﻋ ِﺔ‬
‫ﺇﻧّﻤﺎ ﻫﻲ ﳏﺾ ﻓﺮﺽ‪ .‬ﻓﺮﻳﺒﻮ ﻣﺜﻠﻪ ﻣﺜﻞ ﺗﺎﻥ ﱂ ﳛﺘﻔﻞ ﺇﺫﺍ ﺑﻮﺻﻒ ﺍﻟﻮﺍﻗﻌﺎﺕ‪ .‬ﻭﺇﻧّﻤﺎ ﻗﺪ ﺑﺪﺃ‬
‫ﺑﺎﻟﺘّﻔﺴﲑ‪ .‬ﻓﻌﻠﻢ ﺍﻟﻨّﻔﺲ ﺍﻟﺘّﺄﻟﻴﻔ ّﻲ ﺇﺫﹰﺍ‪ ،‬ﰲ ﻣﺒﺘﺪﺋﻪ‪ ،‬ﻗﺪ ﺑﻘﻲ ﻋﻠﻤﺎ ﻧﻈﺮﻳّﺎ ﻣﺜﻠﻪ ﻣﺜﻞ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ‬
‫ﺍﻟّﺘﺤﻠﻴﻞ‪ .‬ﻓﻬﻮ ﻗﺪ ﺍﻗﺘﺼﺮ ﻓﻘﻂ ﻋﻠﻰ ﺗﺮﻛﻴﺐ ﺍﺳﺘﻨﺘﺎﺟﺎﺕ ﳎﺮّﺩﺓ ﳌﹼﺎ ﺯﺍﺩ ﻋﺎﻣﻼ ﰲ ﺍﻟﺘّﺮﻛﻴﺒﺎﺕ‪.‬‬
‫ﻭﻛﺎﻥ ﻗﺪ ﺍﻟﺘﻤﺲ ﻣﻦ ﺃﺟﻞ ﺃﻥ ﻳﺆﺳّﺲ ﻋﻠﻢ ﻧﻔﺲ ﻋﻠﻰ ﳕﻂ ﺍﻟﺒﻴﻮﻟﻮﺟﻴﺎ ﻛﻤﺎ ﻛﺎﻥ ﺍﻵﺧﺮ ﻗﺪ‬
‫ﻼ‬
‫ﺭﺍﻡ ﺗﺄﺳﻴﺴﻪ ﻋﻠﻰ ﳕﻂ ﺍﻟﻔﻴﺰﻳﺎﺀ‪ .‬ﺃﻣّﺎ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻓﻘﺪ ﺑﻘﻴﺖ ﻋﻨﺪ ﺭﻳﺒﻮ ﻛﻤﺎ ﻛﺎﻧﺖ ﻋﻨﺪ ﺗﺎﻥ َﻣﹶﺜ ﹰ‬
‫ﺤ ﹾﻞ ﻋﻦ ﺫﻟﻚ ﻟﺰﻣﻦ ﻃﻮﻳﻞ‪.‬‬
‫ِﺑ ِﻤ ﹾﺜ ٍﻞ‪ .‬ﻭ ﱂ َﺗ ُ‬

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‫ﻭﻫﻮ ﻣﻊ ﺫﻟﻚ ﺇﻧّﻤﺎ ﻣﻊ ﻬﻧﺎﻳﺔ ﺍﻟﻘﺮﻥ ﻛﺎﻥ ﻗﺪ ﺣﺼﻞ ﻣﺎ ﺍﺻﻄﻠﺢ ﻋﻠﻰ ﺗﺴﻤﻴﺘﻪ ﺑﺎﻟﺜﹼﻮﺭﺓ‬
‫ﺍﻟﻔﻠﺴﻔﻴّﺔ‪ .‬ﻓﱪﺟﺴﻦ ﰲ ﻣﺼﻨّﻔﻴﻪ ﺍﻻﺛﻨﲔ‪ ،‬ﻣﻘﺎﻟﺔ ﰲ ﺍﳌﹸﻌﻄﻴﺎﺕ ﺍﻷﻭّﻟﻴّﺔ ﻟﻠﻮﻋﻲ ﻭﺍﳌﺎﺩّﺓ ﻭﺍﻟﺬﹼﺍﻛﺮﺓ‬
‫ﺍﻟﹼﺬﻳﻦ ﻇﻬﺮﺍ ِﺧ ﹾﻠ ﹶﻔ ﹰﺔ ﺳﻨﱵ ‪ ١٨٨٩‬ﻭ‪ ،١٨٩٦‬ﻛﺎﻥ ﻗﺪ ﺍﻧﱪﻯ ﺑﻨﺤﻮ ﺍﳋﺼﻢ ﺍﻟﻠﹼﺪﻭﺩ ﻟﻠﺘّﺮﺍﺑﻄﻴّﺔ‪:‬‬
‫ﺇ ﹼﻥ ﺍﻟﺘّﺼﻮﺭ ﺍﻟﻜﻼﺳﻴﻜ ّﻲ ﻟﻠﺤﺒﺴﺔ ﻭﺍﻷﺣﻴﺎﺯ ﺍﻟﺪّﻣﺎﻏﻴﺔ ﻟﻴﺲ ﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﺜﺒﺖ ﻋﻨﺪ ﻧﻘﺪ ﳍﺎ ؛‬
‫ﻭﺍﻟﺼّﻮﺭﺓ ﺍﻟﺬﹼﻛﺮﻯ ﻫﻲ ﺷﻲﺀ ﺁﺧﺮ ﻭﺃﻛﺜﺮ ﻣﻦ ﺃﻥ ﺗﻜﻮﻥ ﳎﺮّﺩ ﺇﺣﻴﺎﺋﻴّﺔ ﺩﻣﺎﻏﻴّﺔ ؛ ﻭﺍﻟﺪّﻣﺎﻍ ﻟﻴﺲ‬
‫ﻭﻇﻴﻔﺘﻪ ﺑﺄﻥ ﳜﺰﻥ ﺍﻟﺼّﻮﺭ؛ ﻭﺍﻹﺩﺭﺍﻙ ﻫﻮ ﺍﺗّﺼﺎﻝ ﺃﻭّﻝ ﺑﺎﻟﺸّﻲﺀ ؛ ﻭﺑﹶﺄ َﺧ َﺮﺓٍ‪ ،‬ﻓﺈ ﹼﻥ ﺫﻟﻚ ﺍﳌﻔﻬﻮﻡ‬
‫ﺍﻟﹼﺬﻱ ﺃﺣﺪﺛﻪ ﺭﻳﺒﻮ ﻭﻫﻮ ﻣﻔﻬﻮﻡ ﺍﻟﺘّﺄﻟﻴﻒ‪ ،‬ﻓﺴﻮﻑ ﻳُ َﻐﱠﻴﺮُ ﻛﺎﻣﻞ ﺍﻟﺘّﻐﻴﲑ ‪ :‬ﻓﺎﻟﺘّﺄﻟﻴﻒ ﻟﻴﺲ ﻫﻮ ﳎﺮّﺩ‬
‫ﻋﻠﹼﺔ َﺗ ﹾﻘﻌِﻴ ِﺪﱠﻳ ٍﺔ ؛ ﺑﻞ ﺍﻟﻮﻋﻲ ﺑﺄﺳﺮﻩ ﻫﻮ ﺗﺄﻟﻴﻒ‪ ،‬ﺇﻧّﻪ ﻋﲔ ﺿﺮﺏ ﺍﻟﻮﺟﻮﺩ ﺍﻟﻨّﻔﺴ ّﻲ ؛ ﻭﻟﻴﺲ ﻫﻨﺎﻙ‬
‫ﺃﺟﺰﺍﺀ ﺻﻠﺒﺔ ﰲ ﺳﻴّﺎﻝ ﺍﻟﻮﻋﻲ‪ ،‬ﻭﻻ ﺗﺸﺎﻓﻊ ﺃﺣﻮﺍﻝ ‪ :‬ﻭﺇﻧّﻤﺎ ﺍﳊﻴﺎﺓ ﺍﻟﺒﺎﻃﻨﻴّﺔ ﺇﻧّﻤﺎ ﺗﺘﺤﻘﹼﻖ ﺑﻨﺤﻮ‬
‫ﻛﺜﺮﺓ ﻣﻦ ﺍﻟﺘّﻨﺎﻓﺬ‪ ،‬ﺇﻧّﻬﺎ َﺗﺪُﻭ ُﻡ‪ .‬ﺇ ﹼﻥ ﻛ ﹼﻞ ﻫﺬﻩ ﺍﻹﺛﺒﺎﺗﺎﺕ ﺍﳌﺸﻬﻮﺭﺓ ﻇﺎﻫﺮ ﻣﻦ ﺃﻣﺮﻫﺎ ﺃﻧّﻬﺎ ﻣﺪﻋﻮّﺓ‬
‫ﻷ ﹼﻥ ﲡﺪّﺩ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻭﲝ ّﻖ ‪ ،‬ﻓﻜﺜﲑ ﺃﻭﻻﺋﻚ ﺍﻟﹼﺬﻳﻦ ﺍﻋﺘﻘﺪﻭﺍ ﺫﻟﻚ‪ ،‬ﻭﻫﻮ ﻳﻮﺟﺪ‬
‫ﻣﺎﺩّﺓ ﻋﻠﻤﻴّﺔ ﻛﺎﻣﻠﺔ ﺗﺘﺤﺪّﺙ ﻋﻦ ﻣﺴﺄﻟﺔ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﱪﺟﺴﻮﻧﻴّﺔ‪ .‬ﻭﻟﻨﺬﻛﺮ ﻓﻘﻂ ﻣﻘﺎﻟﺔ ﻛﲑﺳﻲ‬
‫ﻣﻦ‬ ‫ﺫﺍﺕ ﺍﻟﻌﻨﻮﺍﻥ " ﰲ ﻧﻈﺮﻳّﺔ ﺑﺮﺟﺴﻮﻧﻴّﺔ ﻟﻠﺼّﻮﺭﺓ)ﻅ(" ﻭﻣﻘﺎﻟﺔ ﺷﻴﻔﺎﻟﻴﻲ ﻭ ﺑﻮﻳﲑ "‬
‫ﺍﻟﺼّﻮﺭﺓ ﺇﱃ ﺍﳍﻠﻮﺳﺔ )ﻉ(‪ ".‬ﻭﻣﻊ ﺫﻟﻚ ﻓﺈ ﹼﻥ ﻓﺤﺼﺎ ﹶﻓ ِﻄﻨًﺎ ﻟﻠﺘّﺼﻮّﺭﺍﺕ ﺍﻟﱪﺟﺴﻮﻧﻴّﺔ ﺇﻧّﻤﺎ ﻣﻦ‬
‫ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﺮﻳﻨﺎ ﺃ ﹼﻥ ﺑﺮﺟﺴﻦ‪ ،‬ﻋﻠﻰ ﺍﺳﺘﻌﻤﺎﻟﻪ ﳌﺼﻄﻠﺤﺎﺕ ﺟﺪﻳﺪﺓ‪ ،‬ﻓﻬﻮ ﺇﻧّﻤﺎ ﻳﺘﻠﻘﹼﻰ ﻣﺴﺄﻟﺔ‬
‫ﺍﻟﺼّﻮﺭﺓ ﻋﻠﻰ ﻭﺟﻬﻬﺎ ﺍﻟﻜﻼﺳﻴﻜ ّﻲ ﻭﺃ ﹼﻥ ﺍﳊ ﹼﻞ ﺍﻟﹼﺬﻱ ﺍﺭﺗﻀﺎﻩ ﻻ ﻳﺄﺗﻰ ﺍﻟﺒﺘّﺔ ﺑﺸﻲﺀ ﺟﺪﻳﺪ)‪.(١٢‬‬

‫ﻭَﺑﻌِﻴﺪٌ ﻋﻦ ﺃﻥ ﻳﻜﻮﻥ ﺑﺮﺟﺴﻦ ﻗﺪ ﻧﻈﺮ ﻟﻸﻣﺮ ﻧﻈﺮﺓ ﻋﻠﻢ ﻧﻔﺴﻴّﺔ ﲝﺘﺔ‪ :‬ﻭﺇﻧّﻤﺎ ﻧﻠﻔﻰ ﰲ‬
‫ﻧﻈﺮﻳّﺘﻪ ﻋﻦ ﺍﻟﺼّﻮﺭﺓ ﻛ ﹼﻞ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﺎﻩ‪ ،‬ﻓﻼ ﺑ ّﺪ ﺃﻥ ﻧﻔﺤﺺ ﺃﻭّﻻ ﻋﻦ ﻫﺬﺍ ﺍﳌﺒﺘﺪﺃ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘ ّﻲ ﻣﺎ‬
‫ﻟﻮ ﺭﻣﻨﺎ ﺃﻥ ﻧﻔﻬﻢ ﺍﻟﻌﻤﻞ ﺍﻟﹼﺬﻱ ﻳﻨﺴﺒﻪ ﻟﻠﺼّﻮﺭﺓ ﰲ ﺣﻴﺎﺓ ﺍﻟﺬﹼﻫﻦ‪.‬‬
‫ﺇ ﹼﻥ ﺑﺎﺭﺟﺴﻦ ﻗﺪ ﺟﻌﻞ ﻣﻦ ﺍﻟﻜﻮﻥ ﻋﺎﳌﺎ ﻣﻦ ﺍﻟﺼّﻮﺭ‪ ،‬ﻣﺜﻠﻪ ﰲ ﺫﻟﻚ ﻣﺜﻞ ﺍﳋﱪﺍﻧﻴّﲔ ﺍﻟﹼﺬﻳﻦ‬
‫ﻛﺎﻥ ﻳﻨﺎﻗﻀﻬﻢ ﺃﻭ ﻫﻴﻮﻡ ﺃﻭ ﺍﻟﻮﺍﻗﻌﻴﻴّﻦ ﺍﳉﺪﺩ‪ .‬ﺇ ﹼﻥ ﻛ ﹼﻞ ﻭﺍﻗﻊ ﻓﻠﻪ " ﻧﺴﺒﺔ ﻣﺎ " ﺑﺎﻟﻮﻋﻲ ﺃﻭ‬

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‫ﻒ ﺑﻨﺎ‬
‫ﻣﺸﺎﻬﺑﺔ ﻣﺎ ﺑﻪ ﺃﻭ ﺇﺿﺎﻓﺔ ﻣﺎ ﺇﻟﻴﻪ ؛ ﻭﻫﻮ ﻷﺟﻞ ﻫﺬﺍ ﺍﻟﺴّﺒﺐ ﻛﺎﻧﺖ ﺍﻷﺷﻴﺎﺀ ﻛﻠﹼﻬﺎ ﺍﻟﹼﻲ ﲢ ّ‬
‫ﺖ ﺑﺎﻟﺼّﻮﺭ‪ .‬ﺇ ﹼﻻ ﺃﻧّﻪ‪ ،‬ﺇﻥ ﻛﺎﻥ ﻫﻴﻮﻡ ﻗﺪ ﻗﺼﺮ ﺍﺳﻢ ﺍﻟﺼّﻮﺭﺓ ﻋﻠﻰ ﺍﻟﺸّﻲﺀ ﻣﻦ ﺣﻴﺚ ﻣﺎ‬
‫ﻗﺪ ُﺳ ﱢﻤَﻴ ْ‬
‫ﺴﻄﹸﻪُ ﻋﻠﻰ ﻧﻮﻉ ﻧﻮﻉ ﻣﻦ ﺍﻟﻮﺍﻗﻊ‪ :‬ﻓﻠﻴﺲ ﻣﻮﺿﻮﻉ ﺍﳌﻌﺮﻓﺔ ﺑﺎﻟﻔﻌﻞ‬
‫ﻫﻮ ُﻣ ْﺪ َﺭﻙٌ‪ ،‬ﻓﺈ ﹼﻥ ﺑﺎﺭﺟﺲ َﻳ ْﺒ ِ‬
‫ﻼ‪.‬‬
‫ﻓﺤﺴﺐ ﻣﺎ ﻫﻮ ﺻﻮﺭﺓ‪ ،‬ﺑﻞ ﻛ ﹼﻞ ﻣﻮﺿﻮﻉ ﳑﻜﻦ ﻷﻥ ﻳﺼﲑ ﻣَُﺘ َﻤﱠﺜ ﹰ‬
‫" ﺇ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﳝﻜﻦ ﺃﻥ ﺗﻜﻮﻥ ﻣﻦ ﻏﲑ ﺃﻥ ﺗﻜﻮﻥ ﻣُ ْﺪ َﺭ ﹶﻛ ﹰﺔ ؛ ﻭﳝﻜﻦ ﺃﻥ ﺗﻜﻮﻥ ﺣﺎﺿﺮﺓ ﻣﻦ‬
‫ﻏﲑ ﺃﻥ ﺗﻜﻮﻥ ﻣَُﺘ َﻤﱠﺜ ﹶﻠ ﹰﺔ)ﻍ(‪(١٣) " .‬‬

‫ﺻﻴّﺔ ﺟﺪﻳﺪﺓ‪ ،‬ﻭ ﻻ ﺑﺈﺿﺎﻓﺔ ﻣﻦ‬

‫ﻱ ﺧﺎ ّ‬
‫ﻓﺎﻟﺘّﻤﺜﹼﻞ ﻻ ﻳﺰﻳﺪ ﺷﻴﺌﺎ ﻟﻠﺼّﻮﺭﺓ‪ ،‬ﺇﻧّﻪ ﻻ ﳝﺪّﻫﺎ ﺑﺄ ّ‬
‫ﺍﻹﺿﺎﻓﺎﺕ‪ :‬ﺑﻞ ﻫﻲ ﺗﺴﺒﻖ ﺑﺎﻟﻜﻮﻥ ﰲ ﺍﻟﻮﺍﻗﻊ ﻭﺑﺎﻟﻘﻮّﺓ ﻭﻋﻠﻰ ﺍﳊﻴﺎﺩ ﻣﻦ ﻗﺒﻞ ﺃﻥ ﺗﺼﺒﺢ ﲤﺜﹼﻼ‬
‫ﻭﺍﻋﻴﺎ‪ :‬ﺇﻧّﻬﺎ ﻣﻮﺟﻮﺩﺓ ﰲ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻭﺍﻟﺼّﻮﺭﺓ ﻛﻲ ﺗﻮﺟﺪ ﺑﺎﻟﻔﻌﻞ‪ ،‬ﻓﺒﺎﻟﻮﺍﺟﺐ ﺃﻥ ﺗُ ﹾﻔ َﺮ َﺩ ﻣﻦ ﺑﲔ‬
‫ﺍﻟﺼّﻮﺭ ﺍﻟﹼﱵ ﺗﻔﻌﻞ ﻓﻴﻬﺎ‪ ،‬ﻭﺃﻧّﻪ " ﻣﻜﺎﻥ ﺃﻥ ﺗﺒﻘﻰ ﻣﻠﺘﺒﺴﺔ ﺑﲔ ﻣﺎ ﳛﻴﻂ ﻬﺑﺎ ﺑﻨﺤﻮ ﺷﻲﺀ ﻣﻦ‬
‫ﺍﻷﺷﻴﺎﺀ‪ ،‬ﻓﺈﻧّﻬﺎ ﺗﻨﻔﺼﻞ ﻋﻨﻪ ﻛﺎﻟﻠﹼﻮﺣﺔ)ﻑ("‬

‫ﻓﺈﺫﻥ‪ ،‬ﱂ ﻳﻜﻦ ﺻﺤﻴﺤﺎ ﺃﻥ ﳕﻴّﺰ ﻛﻤﺎ ﻛﺎﻥ ﻗﺪ ﻓﻌﻞ ﺩﻳﻜﺎﺭﺕ‪ ،‬ﺑﲔ ﺍﻟﺸّﻲﺀ ﻭﺻﻮﺭﺓ ﺍﻟﺸّﻲﺀ‪،‬‬
‫ﻭﺃﻥ ﻧﺄﺧﺬ ِﻏﱠﺒﻬَﺎ ﰲ ﺍﻟﺘﻤﺎﺱ ﻛﻴﻒ ﻳﺮﺗﺒﻂ ﺫﺍﻧﻚ ﺍﳌﻮﺟﻮﺩﺍﻥ‪ ،‬ﻭ ﱂ ﻳﻜﻦ ﺻﺤﻴﺤﺎ ﺃﻥ ﻧﺮﺩّ‪ ،‬ﻛﻤﺎ‬
‫ﻛﺎﻥ ﻗﺪ ﻓﻌﻞ ﺑﺎﺭﻛﻠﻲ‪ ،‬ﺣﻘﻴﻘﺔ ﺍﻟﺸّﻲﺀ ﺇﱃ ﺣﻘﻴﻘﺔ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﻮﺍﻋﻴﺔ‪ ،‬ﻭ ﻻ ﺃﻥ ﻧﺮﻓﻊ‪ ،‬ﻛﻤﺎ ﻛﺎﻥ‬
‫ﻗﺪ ﻓﻌﻞ ﻫﻴﻮﻡ‪ ،‬ﺇﻣﻜﺎﻧﻴّﺔ ﺍﻟﻮﺟﻮﺩ ﰲ ﺫﺍﺗﻪ ﻟﻠﻮﺍﻗﻊ‪ ،‬ﻭﺍﳊﺎﻝ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻭﺣﺪﻫﺎ ﺍﻟﹼﱵ ﺗﻜﻮﻥ‬
‫ﻣﻌﺮﻭﻓﺔ‪ :‬ﻓﻔﻲ ﺍﻟﻮﺍﻗﻌﻴّﺔ ﺍﻟﱪﺟﺴﻮﻧﻴّﺔ‪ ،‬ﺇﻧّﻤﺎ ﺍﻟﺸّﻲﺀ ﻫﻮ ﺍﻟﺼّﻮﺭﺓ ‪ ،‬ﻭﺍﳌﺎﺩّﺓ ﻫﻲ ﳎﻤﻮﻉ ﺍﻟﺼّﻮﺭ‪:‬‬
‫" ﻫﻨﺎﻙ ﺑﲔ ﺍﻟﺼّﻮﺭ ﻓﺮﻕ ﻓﻘﻂ ﺑﺎﻟﺪّﺭﺟﺔ‪ ،‬ﻭﻟﻴﺲ ﻓﺮﻕ ﺑﺎﻟﻄﹼﺒﻊ ﺑﲔ ﺃﻥ ﺗﻮﺟﺪ ﻭﺃﻥ ﺗﻜﻮﻥ‬
‫ﻣُ ْﺪ َﺭ ﹶﻛ ﹰﺔ"‬

‫ﳊ ِﺮﻱﱢ‪،‬‬
‫ﻋﻠﻰ ﻣﻌﲎ ﺃ ﹼﻥ ﳎﻤﻮﻉ ﺍﻟﻮﺍﻗﻊ ﺑﺄﺳﺮﻩ ﻫﻮ ُﻳ ْﻌﻄﹶﻰ ﺃﻭّﻻ ﺑﻨﺤﻮ ﺍﳌﺸﺎﺭﻙ ﻟﻠﻮﻋﻲ‪ ،‬ﺃﻭ ﺑﺎ ﹶ‬
‫ﺑﻨﺤﻮ ﺍﻟﻮﻋﻲ‪ :‬ﻭﺇ ﹼﻻ ﻓﺈ ﹼﻥ ﻫﺬﺍ ﺍﻟﻮﺍﻗﻊ ﱂ ﻳﻜﻦ ﻟﻴﺼﲑ ﺍﻟﺒﺘّﺔ ﻭﺍﻋﻴﺎ‪ ،‬ﺃﻱ ﱂ ﻳﻜﻦ ﻟﻴﺴﺘﻌﲑ ﺧﺎﺻّﻴﺔ‬

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‫ﻫﻲ ﻏﺮﻳﺒﺔ ﻋﻦ ﻃﺒﻴﻌﺘﻪ‪ .‬ﺇ ﹼﻥ ﺑﺮﺟﺴﻦ ﱂ ﻳﻜﻦ ﻳﻈ ّﻦ ﺑﺄ ﹼﻥ ﺍﻟﻮﻋﻲ ﺇﻧّﻤﺎ ﻳﻔﺘﻘﺮ ﺑﺎﻟﻀّﺮﻭﺭﺓ ﹸﳌَﺘ َﻌ ﱠﻠﻖٍ‪ ،‬ﺃﻭ‪،‬‬
‫ﻛﻤﺎ ﻳﻘﻮﻝ ﻫﻮﺳّﺮﻝ‪ ،‬ﺑﺄ ﹼﻥ ﻛ ﹼﻞ ﻭﻋﻲ‪ ،‬ﻓﻬﻮ ﺃﺑﺪﺍ ﻭﻋﻲ ﺑﺸﻲﺀ ﻣﺎ‪ .‬ﺑﻞ ﺍﻟﻮﻋﻲ ﺇﻧّﻤﺎ ﻳﺒﺪﻭ ﻟﺪﻳﻪ‬
‫ﺑﻨﺤﻮ ﺍﻟﻜﻴﻒ‪ ،‬ﺃﻭﺍﳋﺎﺻّﻴﺔ ﺍﳌﻌﻄﺎﺓ ﺃﻭ ﺑﻨﺤﻮ ﺷﻜﻞ ﻣﻦ ﺃﺷﻜﺎﻝ ﺍﻟﻮﺍﻗﻊ ﺍﳌﺘﺠﻮﻫﺮ‪ .‬ﻓﻬﻮ ﻻ ﳝﻜﻨﻪ‬
‫ﻻ ﺃﻥ ﻳﻨﺸﺄ ﺣﻴﺚ ﱂ ﻳﻮﺟﺪ ﻭﻻ ﺃﻥ ﻳﺴﺘﺄﻧﻒ ﺍﻟﻮﺟﻮﺩ ﻭﻻ ﺃﻥ ﻳﻨﺘﻬﻴﻪ‪ .‬ﻭﺑﺎﻟﻌﻜﺲ‪ ،‬ﻓﺎﻟﻮﻋﻲ ﳝﻜﻨﻪ‬
‫ﺃﻥ ﻳﻮﺟﺪ ﻭﻫﻮ ﻣﻔﺎﺭﻕ ﻟﻜ ﹼﻞ ﻓﻌﻞ ﺃﻭ ﺃﻳﻀﺎ ﻣﻔﺎﺭﻕ ﻟﻜ ﹼﻞ ﺷﻜﻞ ﻣﻦ ﺃﺷﻜﺎﻝ ﺃﻥ ﻳﻜﻮﻥ ﺣﺎﺿﺮﺍ‪،‬‬
‫ﺴﺮّﻳﺔ ﺑﻨﺤﻮ ﺍﻟﻼﹼﻭﻋﻲ‪.‬‬
‫ﺺ ﺑﺎﺭﺟﺴﻦ ﻫﺬﺍ ﺍﻟﻮﺍﻗﻊ ﺫﻭ ﺍﻟﺼّﻔﺔ ﺍﻟ ّ‬
‫ﺃﻱ ﰲ ﺣﺎﻝ ﳏﺾ ﹶﻗ َﻮ ِﻭﱠﻳ ٍﺔ ﻭﻗﺪ َﺧ ﱠ‬
‫ﺇ ﹼﻻ ﺃ ﹼﻥ ﺍﻟﻼﹼﻭﻋﻲ ﺍﻟﹼﺬﻱ ﻳﻈﻬﺮ ﻫﺎﻫﻨﺎ‪ ،‬ﺇﻧّﻤﺎ ﻫﻮ ﻋﻠﻰ ﺍﻟﺘّﺨﺼﻴﺺ ﻣﻦ ﻧﻔﺲ ﻃﺒﻴﻌﺔ ﺍﻟﻮﻋﻲ‪ :‬ﻟﻴﺲ‬
‫ﻳﻮﺟﺪ‪ ،‬ﻟﺪﻯ ﺑﺎﺭﺟﺴﻦ ﻋﺪﻡ ﻭﻋﻲ‪ ،‬ﻭﺇﻧّﻤﺎ ﻓﺤﺴﺐ ﻭﻋﻲ ﺫﺍﻫﻞ ﻋﻦ ﺫﺍﺗﻪ‪ .‬ﻭﻟﻴﺲ ﻳﻮﺟﺪ ﺛﺨﻮﻧﺔ‬
‫ﺗﻌﺎﺭﺽ ﺍﻟﻨّﻮﺭ ﻓﺘﺘﻠﻘﹼﺎﻩ‪ ،‬ﻟﺘﻜﻮّﻥ ﺑﺬﻟﻚ ﻣﻮﺿﻮﻋﺎ ﻣﻀﺎﺀ‪ :‬ﺑﻞ ﻫﻨﺎﻙ ﻧﻮﺭ ﳏﺾ‪ ،‬ﻭﻓﻮﺳﻔﻮﺭﺳﻴّﺔ‬
‫ﻣﱰﻭﻋﺔ ﻣﻦ ﻣﺎﺩّﺓ ﻣﻀﺎﺀﺓ‪ ،‬ﻣﺎ ﻋﺪﺍ ﺃ ﹼﻥ ﻫﺬﺍ ﺍﻟﻨّﻮﺭ ﺍﶈﺾ ﻭﺍﳌﺒﺜﻮﺙ ﰲ ﻛ ﹼﻞ ﻣﻜﺎﻥ‪ ،‬ﻻ ﻳﺼﲑ‬
‫ﺑﺎﻟﻔﻌﻞ ﺇ ﹼﻻ ﻋﻨﺪﻣﺎ ﻳﻨﻌﻜﺲ ﻋﻠﻰ ﺳﻄﻮﺡ ﻣﺎ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﺼﻠﺢ ﺑﻨﻮﻉ ﺍﻟﺸّﺎﺷﺔ ﺑﺎﻟﻨّﺴﺒﺔ ﺇﱃ ﺳﺎﺋﺮ‬
‫ﻱ‪ :‬ﻓﻤﻜﺎﻥ ﺃﻥ ﻳﻜﻮﻥ ﺍﻟﻮﻋﻲ ﻫﻮ‬
‫ﺍﻷﻗﺎﻟﻴﻢ ﺍﻟﻀّﻮﺋﻴّﺔ‪ .‬ﻓﻬﻬﻨﺎ ﻳﻮﺟﺪ ﻧﻮﻉ ﻣﻦ ﻗﻠﺐ ﻟﻠﺘّﺸﺒﻴﻪ ﺍﻟﺘّﻘﻠﻴﺪ ّ‬
‫ﺿﻮﺀ ﻳﻨﺒﻌﺚ ﻣﻦ ﺍﻟﺬﹼﺍﺕ ﺇﱃ ﺍﻟﺸّﻲﺀ‪ ،‬ﻓﻘﺪ ﺃﺻﺒﺢ ﺿﻮﺋﻴّﺔ ﺗﻨﺒﻌﺚ ﻣﻦ ﺍﻟﺸّﻲﺀ ﺇﱃ ﺍﻟﺬﹼﺍﺕ‪.‬‬

‫ﺨ ِﺮﺝُ ﺇﱃ ﺍﻟﻔﻌﻞ ﺍﻟﻮﻋﻲ ﺍﳌﻮﺟﻮﺩ‬

‫ﻭﻫﺬﺍ ﺍﳌﺮﻛﺰ ﻣﺮﻛﺰ ﺍﻹﻧﻌﻜﺎﺱ ﻭﺍﻟﻈﹼﻠﻤﺔ ﻣﻌﺎ ﺍﻟﹼﺬﻱ ﻳُ ْ‬
‫ﺑﺎﻟﻘﻮّﺓ‪ ،‬ﺇﻧّﻤﺎ ﻫﻮ ﺍﳉﺴﺪ‪ .‬ﺇﻧّﻪ ﺍﳉﺴﺪ ﺍﻟﹼﺬﻱ ِﺑ َﻌ ْﺰِﻟ ِﻪ ﻟﺒﻌﺾ ﺍﻟﺼّﻮﺭ‪ ،‬ﻓﺈﻧّﻪ ﳚﻌﻠﻬﺎ ﲤﺜﹼﻼﺕ ﺑﺎﻟﻔﻌﻞ )‬
‫‪ .(١٤‬ﻓﻜﻴﻒ ﻳﺎُﺗﺮَﻯ ﳛﺼﻞ ﻣﺜﻞ ﻫﺬﺍ ﺍﻻﻧﺘﻘﺎﻝ ؟‬

‫ﻳﻘﻮﻝ ﺑﺮﺟﺴﻦ ﳓﻦ ﻟﺴﻨﺎ ﲝﺎﺟﺔ ﻷﻥ ﻧﺴﺘﻨﺘﺞ ﺍﻟﻮﻋﻲ‪ ،‬ﻷﻧّﻨﺎ ﺣﻴﻨﻤﺎ ﻧﻀﻊ ﺍﻟﻌﺎﱂ ﺍﳌﺎﺩّﻱ ﻓﺈﻧّﻨﺎ‬
‫ﻧﻀﻊ ﳎﻤﻮﻋﺔ ﻣﻦ ﺍﻟﺼّﻮﺭ‪ .‬ﻭﺃﻧّﻪ ﻻ ﻭﺟﻪ ﰲ ﺃﻥ ﻧﺴﺘﺨﻠﺺ ﺍﻟﻮﻋﻲ ﻣﻦ ﺍﻟﺸّﻲﺀ‪ ،‬ﻷ ﹼﻥ ﻋﲔ ﻭﺟﻮﺩ‬
‫ﺍﻟﺸّﻲﺀ ﻫﻮ ﻭﻋﻲ‪ .‬ﻋﻠﻰ ﺃ ﹼﻥ ﺑﺮﺟﺴﻦ ﻟﻦ ﻳﻜﻔﻪ ﺃﻥ ﻳﻜﻮﻥ ﻗ ّﺪ ﻏﻴّﺮ ﰲ ﺍﻷﻟﻔﺎﻅ ﺣﺘّﻰ ﻳﻜﻮﻥ ﻗﺪ‬
‫ﺣ ﹼﻞ ﺍﻹﺷﻜﺎﻝ‪ ،‬ﻛﻤﺎ ﻛﺎﻥ ﻫﻮ ﻗﺪ ﺗﻮﻫّﻢ‪ :‬ﺇﺫ ﻗﺪ ﺑﻘﻴﺖ ﻣﺴﺄﻟﺔ ﺃﻥ ﻧﻌﺮﻑ ﻛﻴﻒ ﻛﺎﻥ ﳝﻜﻦ‬
‫ﺍﻻﻧﺘﻘﺎﻝ ﻣﻦ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﻼﹼﻭﻋﻴﺔ ﺇﱃ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﻮﺍﻋﻴﺔ)‪ ،(١٥‬ﻭﻛﻴﻒ ﻛﺎﻥ ﳝﻜﻦ ﺍﻻﻧﺘﻘﺎﻝ ﻣﻦ ﻣَﺎ‬

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‫ﺑِﺎﻟﻘﻮّﺓ ﺇﱃ ﻣَﺎ ﺑﺎﻟﻔﻌﻞ‪ .‬ﰒﹼ‪ ،‬ﻟﻴﺖ ﺷﻌﺮﻱ‪ ،‬ﺃﻓﻤﻦ ﺍﻟﻌﻘﻞ ﺃﻧّﻪ ﻳﻜﻔﻲ ﺑﺄﻥ ﻧﻔﺼﻞ ﺻﻮﺭﺓ ﻣﺎ ﻣﻦ ﺳﺎﺋﺮ‬
‫ﺍﻟﺼّﻮﺭ ﺣﺘّﻰ ﺗﺴﺘﻔﻴﺪ ﺗﻠﻚ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻓﺠﺄﺓ‪ ،‬ﺍﻟﺸّﻔﺎﻓﻴّﺔ ﻭﺍﻟﻮﺟﻮﺩ ﻟﺬﺍﺗﻪ ﺍﻟﹼﺬﻱ ﺷﺄﻧﻪ ﺃﻥ ﳚﻌﻠﻬﺎ‬
‫ﻭﺍﻋﻴﺔ ؟ ﻭﺇﻻﹼ‪ ،‬ﻓﻠﻮ ﻛﻨّﺎ ُﻧ ِﻘ ﱡﺮ ﺑﺄﻧّﻬﺎ ﻫﻲ ﹶﻟ ِﻤ ِﻦ ﺍﻷﻭّﻝ ﺇﻧّﻤﺎ ﲤﻠﻚ ﺗﻠﻚ ﺍﻟﺼّﻔﺔ‪ ،‬ﻓﻠﻴﺖ ﺷﻌﺮﻱ ﻛﻴﻒ‬
‫ﻳُ ﹾﻘَﺒﻞﹸ ﺃ ﹼﻥ ﺗﻠﻚ ﺍﻟﺸّﻔﺎﻓﻴّﺔ ﱂ ﺗﻜﻦ ﻣﻮﺟﻮﺩﺓ ﻻ ﻟﺬﺍﺗﻪ ﻭ ﻻ ﻟﺬﺍﺕ ﻣﻦ ﺍﻟﺬﹼﻭﺍﺕ)‪ (١٦‬؟ ﺃﻣّﺎ‬
‫ﺻﻴّﺔ ﺍﳉﻮﻫﺮﻳّﺔ ﰲ ﺍﻟﻮﻋﻲ ﺍﻟﹼﱵ ﻫﻲ ﺇ ﹼﻥ‬
‫ﺑﺮﺟﺴﻦ ﻓﻘﺪ ﻛﺎﻥ ﻳﺮﻯ ﺃﻣﺮﺍ ﻏﲑ ﺫﻱ ﺑﺎﻝ ﺗﻠﻚ ﺍﳋﺎ ّ‬
‫ﺍﻟﻮﻋﻲ ﺇﻧّﻤﺎ ﻳﻈﻬﺮﻋﻠﻰ ﺍﻟﺘّﺤﺼﻴﻞ ﺑﻨﺤﻮ ﺍﻟﻮﺍﻋﻲ؛ ﻭﻟﺴﺒﺐ ﺃﻧّﻪ ﻛﺎﻥ ﻗﺪ ﺧﻠﻂ ﺑﲔ ﺍﻟﻌﺎﱂ ﻭﺍﻟﻮﻋﻲ‬
‫ﻭﻗﺪ ﺃﹸ ِﺧ ﹶﺬ ﺑﻨﻮﻉ ﺍﻟﻜﻴﻒ ﺍﻟﻘﺮﻳﺐ ﻣﻦ ﺃﻥ ﻳﻜﻮﻥ ﺟﻮﻫﺮﻳّﺎ‪ ،‬ﻓﻬﻮ ﺃﻳﻀﺎ ﻗﺪ ﺭ ّﺩ ﺍﻟﻮﻋﻲ ﺍﻟﻨّﻔﺴ ّﻲ ﺇﱃ‬
‫ﳎﺮّﺩ ﻧﻮﻉ ﻣﻦ ﺍﻟﻘﺸﺮﻳّﺔ ﺍﻟﻈﹼﺎﻫﺮﻳّﺔ ﺍﻟﹼﱵ ﳝﻜﻦ ﺃﻥ ﻧﺼﻒ ﻇﻬﻮﺭﻫﺎ ﻭﻟﻜﻨّﻬﺎ ﻫﻲ َﺗ ْﻨﺒُﻮ ﻋﻦ‬
‫ﺍﻟﺘّﻔﺴﲑ‪.‬‬

‫ﻭﲞﺎﺻّﺔ‪ ،‬ﻛﻴﻒ ﻳﻨﻘﻠﺐ ﺍﻟﻮﻋﻲ ﺍﻟﻼﹼﻭﺍﻋﻲ ﻭﺍﻟﻼﹼﺷﺨﺼ ّﻲ ﺇﱃ ﻭﻋﻲ ﻭﺍﻉ‪ ،‬ﻭﻭﻋﻲ ﻳﻨﺘﺴﺐ‬
‫ﻟﺬﺍﺕ ﻓﺮﺩﻳّﺔ ؟ ﻭﻛﻴﻒ ﳝﻜﻦ ﻟﻠﺼّﻮﺭ ﺍﳌﹸَﺘ َﻤﱠﺜ ﹶﻠ ِﺔ ﺑﺎﻟﻘﻮّﺓ ﺑﺼﲑﻭﺭﻬﺗﺎ " ﺣﺎﺿﺮﺓ " ﻓﻬﻲ ﺗﻨﻄﻮﻱ‬
‫ﻓﺠﺄﺓ ﻋﻠﻰ ﻭﺟﻮﺩ " ﺍﻷﻧﺎ "‪ .‬ﺫﻟﻚ ﻣﺎ ﱂ ﻳﺒﻴّﻨﻪ ﺑﺮﺟﺴﻦ‪ .‬ﻭﻣﻊ ﺫﻟﻚ ﻓﺈ ﹼﻥ ﻧﻈﺮﻳّﺔ ﺍﻟﺬﹼﺍﻛﺮﺓ ﺑﺄﺳﺮﻫﺎ‬
‫ﺇﻧّﻤﺎ ﺗﻨﺒﲏ ﻋﻠﻰ ﻣﺒﺪﺃ ﻭﺟﻮﺩ ﻣﺜﻞ ﺗﻠﻚ ﺍﻟﺬﹼﺍﺕ ﻭﻋﻠﻰ ﻣﺒﺪﺃ ﺇﻣﻜﺎﻧﻴّﺔ ﺃﻥ ﺗﺴﺘﻤﻠﻚ ﺍﻟﺬﹼﺍﺕ ﺑﻌﻀﺎ‬
‫ﻣﻦ ﺍﻟﺼّﻮﺭ ﻭﺃﻥ ﺗﺴﺘﺤﻔﻈﻬﺎ‪.‬‬
‫ﺇ ﹼﻥ ﺍﳉﺴﺪ ﻳﻔﻌﻞ ﺑﻨﺤﻮ ﻭﺳﻴﻠﺔ ﺍﻧﺘﻘﺎﺀ ؛ ﻭِﻟ َﻤﻜﹶﺎ ِﻥ ﺍﳉﺴﺪ ﺗﺼﲑ ﺍﻟﺼّﻮﺭﺓ ﺇﺩﺭﺍﻛﺎ ؛ ﻭﺍﻹﺩﺭﺍﻙ‬
‫ﺖ ﺇﱃ ﻓﻌﻞ ﻣﺎ ﳑﻜﻦ ﻟﺼﻮﺭﺓ ﻣﺎ ﻣﻌﻴّﻨﺔ)‪ " (١٧‬ﻭ ﺍﻟﹼﱵ ﻫﻲ ﺍﳉﺴﺪ ﻋﻴﻨﻪ‪.‬‬
‫ﻫﻮ ﺻﻮﺭﺓ " ﻗﹸ ِﺮَﻧ ْ‬
‫ﺕ ﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﺴﻤّﻲ ﺫﻟﻚ ﺍﳉﺴﺪ ﲜﺴﺪﻱ "‬
‫ﻉ ﻇﻬﻮﺭ ﺫﹶﺍ ٍ‬
‫ﻭﻟﻜﻦ ﻛﻴﻒ ﳍﺬﻩ ﺍﻟﻨّﺴﺒﺔ ﺃﻥ ﺗُ ْﺒ ِﺪ َ‬
‫ﺃﻧﺎ " ﻭﺃﻥ ﺗﺴﻤّﻲ ﺳﺎﺋﺮ ﺍﻟﺼّﻮﺭ " ﺑﺘﻤﺜﹼﻼﰐ ﺃﻧﺎ " ؟‬

‫ﻂ ﺍﻟﺼّﻮﺭ ﻋﻠﻰ ﳓﻮ ﻋﺎﻡّ‪ ،‬ﻓﺈ ﹼﻥ ﺟﺴﺪﻱ ﺑﺎﻟﻀّﺮﻭﺭﺓ ﺳﻮﻑ‬

‫ﻭﻗﺪ ﻗﺎﻝ ﺑﺎﺭﺟﺴﻦ " ﺇﻥ ﺃﹸ ْﻋ ﹶ‬
‫ﻳﻨﺘﻬﻲ ﺑﺎﻻﺭﺗﺴﺎﻡ ﺑﻴﻨﻬﺎ ﺑﻨﺤﻮ ﺍﻟﺸّﻲﺀ ﺍﳌﺘﻤﻴّﺰ‪ ،‬ﻭﺫﻟﻚ ﻷ ﹼﻥ ﺍﻟﺼّﻮﺭ ﻫﻲ ﺗﺘﻐﻴّﺮ ﺩﺍﺋﻤﺎ‪ ،‬ﻭﻫﻮ ﻳﺒﻘﻰ‬
‫ﻻ ﻳﺘﻐﻴّﺮ"‬

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‫ﺨﺼَﺎ ِﻥ ﺍﳌﺎﺩّﺓ‪ ،‬ﻋﻠﻰ ﻟﻐﺔ‬
‫ﺸﱢ‬‫ﻚ ُﻳ َ‬
‫ﻭ ﻫﺬﺍ ﺍﻟﺘّﻌﻠﻴﻞ ﹶﻟ ﹶﻔ ِﻜﻪٌ‪ :‬ﻷ ﹼﻥ ﺍﳊﺮﻛﺔ ﻭﺍﻟﺜﹼﺒﺎﺕ ﳘﺎ ﺑﻼ ﺷ ّ‬
‫ﻚ ﳘﺎ ﹶﻟُﻴ ْﺒ ِﻘﻴَﺎ ِﻥ ﻟﻠﻄﹼﺒﻴﻌﺔ ﻣﺎﺩّﻬﺗﺎ‪،‬‬
‫ﺩﻳﻜﺎﺭﺕ‪ ،‬ﺃﻭ " ﺍﻟﺼّﻮﺭ" ﻋﻠﻰ ﻟﻐﺔ ﺑﺮﺟﺴﻦ‪ .‬ﻭﻟﻜﻨّﻬﻤﺎ ﻻ ﺷ ّ‬
‫ﻱ "؛ ﻭ" ﺍﳌﺮﻛﺰ " ﻻ ﻳﻈﻬﺮ‬
‫ﻭﻟﻠﺼّﻮﺭﺓ ﺻﻔﺔ ﻛﻮﻬﻧﺎ ﺻﻮﺭﺓ؛ ﻓﺎﻟﺜﹼﺎﺑﺖ ﻻ ﻳﻈﻬﺮ ﺑﻨﺤﻮ "ﺍﳌﺮﻛﺰ ّ‬
‫ﺑﻨﺤﻮ ﺍﻟﻔﺎﻋﻞ‪ ،‬ﻭﲞﺎﺻّﺔ ﺍﻟﻔﻌﻞ ﻧﻔﺴﻪ‪ ،‬ﻓ ِﻠ ﹶﻜ ْﻮِﻧ ِﻪ ﻟﻴﺲ ﻫﻮ ﺍﻟﺒﺘّﺔ ﺇ ﹼﻻ ﺻﻮﺭﺓ‪ ،‬ﻓﻠﻴﺲ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ‬
‫ﺤﻖُ ﺍﻷﻓﻌﺎﻝ ﺇﱃ ﺫﺍﻬﺗﺎ‪".‬‬
‫ﻳﻨﺸﺄ ﺫﺍﺗﺎ " ﺗُ ﹾﻠ ِ‬

‫ﻚ ﺃﻧّﻪ ﻟﻴﺲ ﺫﻟﻚ ﻣﺎ ﺃﺭﺍﺩ ﻗﻮﻟﻪ ﺑﺮﺟﺴﻦ ﻋﻠﻰ ﺍﻟﺘّﺤﻘﻴﻖ؛ ﺇﺫ ﰲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻻ ﺑ ّﺪ ﺃﻥ‬
‫ﻭﻏﲑ ﺷ ّ‬
‫ﺠﺮِﻱ ﺑﲔ ﺍﻟﺼّﻮﺭ ﺍﻟﹼﱵ‬
‫ﻧﻀﻊ ﺃﻧّﻪ ﻳﻮﺟﺪ ﺑﲔ ﺍﻟﺼّﻮﺭ ﻓﻜﺮ ﻳُ َﻌ ﱠﺮﻑُ ﺑﺄﻧّﻪ ﺫﺍﻛﺮﺓ‪ .‬ﻭﻫﺬﺍ ﺍﻟﻔﻜﺮ ُﻳ ْ‬
‫ﻳﺘﻠﻘﹼﺎﻫﺎ ﻣﻘﺎﺭﻧﺎﺕ ﻭﺗﺄﻟﻴﻔﺎﺕ‪ ،‬ﻭﻫﻮ ﺍﻟﹼﺬﻱ ﻳﻔﺮّﻕ ﺟﺴﺪﻩ ﻫﻮ ﻋﻦ ﺳﺎﺋﺮ ﺍﻟﺼّﻮﺭ ﺍﶈﻴﻄﺔ ﺑﻪ‪ .‬ﻭﲝ ّﻖ‬
‫‪:‬‬
‫ﻒ ﻬﺑﺎ "‬
‫" ﻓﺎﻟﺼّﻮﺭ ﺑﻌﻴﺪﻣﺎ ﺗُ ْﺪ َﺭﻙُ ﻓﺈﻧّﻬﺎ ﺗﺜﺒﺖ ﺑﺎﻟﺬﹼﺍﻛﺮﺓ ﻭﺗﺼﻄ ّ‬
‫ﻭ ﻟﻜﻦ ﺫﻟﻚ ﺇﻧّﻤﺎ ُﻳ ﹾﻠﻘِﻲ ﺑﻨﺎ ﺑﲔ ﺷﻜﻮﻙ ﳑﺘﻨﻌﺔ ﻋﻠﻰ ﺍﳊ ﹼﻞ‪.‬‬
‫ﻱ ﺷﻲﺀ ﻫﻮ ﻭﻋﻲ ُﻣ َﻌﱢﻴﻦٌ ؟ ﺃﻓﻬﻮ ﻓﻌﻞ ﻭﻭﺣﺪﺓ‪ ،‬ﺃﻱ‬
‫ﺢ ﺃ ﹼﻥ ﺍﻟﻜ ﹼﻞ ﻫﻮ ﻭﻋﻲ‪ ،‬ﻓﺄ ّ‬
‫ﻓﺄﻭّﻻ‪ ،‬ﻟﻮ ﺻ ّ‬
‫ﻭﺍﻗﻌﺔ ﳑﺘﺎﺯﺓ ﻋﻦ ﺳﺎﺋﺮ ﺍﻟﻮﻗﺎﺋﻊ‪ ،‬ﻭﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﺼﲑ ﻭﺍﻋﻴﺔ ؟ ﻓﺤﻴﻨﺌﺬ ﻓﺴﻴﻜﻮﻥ ﺧﺮﻭﺟﺎ ﻋﻦ‬
‫ﺴﺪَﺍ ِﺩ ﺃﻥ ﻧﺴﻤّﻲ ﺍﻟﻮﻗﺎﺋﻊ ﺍﻻﻧﻔﻌﺎﻟﻴّﺔ ﺍﻟﹼﱵ ﻣﻦ ﺷﺄﻥ ﺍﻟﻮﻋﻲ ﺃﻥ ﻳﺄﺧﺬﻫﺎ‪ ،‬ﺏ" ﺍﻟﻮﻋﻲ "‪،‬‬
‫َﺣ ﱢﺪ ﺍﻟ ﱠ‬
‫ﻭﺃﻧّﻨﺎ ﺳﻮﻑ ﻧﻌﻮﺩ ﺇﱃ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﺎ ﻟﻴﺴﺖ ﺗﺒﺪﺃ ﻣﻦ ﺍﻟﻌﺎﱂ ﻣﻦ ﺣﻴﺚ ﻫﻮ ﻭﻋﻲ‪ ،‬ﻭﺇﻧّﻤﺎ ﻣﻦ ُﻭ ِﻋ ﱟﻲ‬
‫ﺨﺼُﻪُ ﻫﻮ ﳏﺘﻮﺍﻩ ﻫﻮ ﺍﻟﹼﺬﻱ ﻳﻜﻮﻥ ﻗﺪ ﺍﻧﺘﻘﺎﻩ ﺍﳉﺴﺪ ﺍﳌﻘﺘﺮﻥ ﺑﻪ ؟‬
‫ﺸﱢ‬‫ﺑﺈﺯﺍﺀ ﺍﻟﻌﺎﱂ‪ .‬ﺃﻡ ﻫﻞ ﻣﺎ ﻳُ َ‬
‫ﻭﻟﻜﻦ ﺁﻧﺌﺬ‪ ،‬ﻓﺴﻮﻑ ﳝﺘﻨﻊ ﺃﻥ ﻧﻔﻬﻢ ﻛﻴﻒ ﻳﻔﺘﺮﻕ ﺍﳉﺴﺪ ﻧﻔﺴﻪ ﻭﻣﻌﻪ ﺻﻮﺭﻩ ﺍﳌﻘﺘﺮﻧﺔ ﺑﻪ ﻋﻦ‬
‫ﺳﺎﺋﺮ ﺍﻷﺟﺴﺎﺩ ﻭﻣﻌﻬﺎ ﺳﺎﺋﺮ ﺍﻟﺼّﻮﺭ ﺍﶈﻴﻄﺔ ﻬﺑﺎ‪ ،‬ﺇﺫﺍ ﻛﺎﻧﺖ ﻋﻼﻗﺔ ﺍﻟﻔﻌﻞ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﺍﳉﺴﺪ‬
‫ﻭﺳﺎﺋﺮ ﺍﻟﺼّﻮﺭ ﺇﻧّﻤﺎ ﻫﻲ ﻧﻔﺴﻬﺎ ﺻﻮﺭﺓ‪.‬‬
‫ﻭﻫﻮ ﻣﻊ ﺫﻟﻚ ﺇﻧّﻤﺎ ﺍﳊ ﹼﻞ ﺍﻟﺜﹼﺎﱐ ﻫﺬﺍ ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﻗﺪ ﺍﺭﺗﻀﺎﻩ ﺑﺎﺭﺟﺴﻦ)‪(١٨‬‬
‫ﻭﻟﻜﻦ ﻫﺎﻛﻢ ﺃﻧﺘﻢ ﺷﻜﹼﺎ ﺁﺧﺮ‪ .‬ﻛﻴﻒ ﺍﻟﺼّﻮﺭﺓ ﺗﻨﻘﻠﺐ ﺇﱃ ﺻﻮﺭﺓ ﺫﻛﺮﻯ ؟ ﻓﺎﻟﺼّﻮﺭﺓ ﻫﻲ‬
‫ﺑﺎﳉﻤﻠﺔ‪ ،‬ﺷﻲﺀ ﻣﺎ ﻳﻔﺮّﻗﻪ ﺍﳉﺴﺪ‪ ،‬ﻭﺍﻓﺘﺮﺍﻗﻬﺎ ﺫﺍﻙ ﻫﻮ ﻣﺎ ﳜﻠﻊ ﻋﻠﻴﻬﺎ ﺻﻔﺔ ﺃﺧﺮﻯ ‪ :‬ﺃﻻ ﻭﻫﻲ‬

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‫ﻒ ﻓﻌﻞ ﺍﳉﺴﺪ‪ ،‬ﳝﻜﻦ ﺃﻥ ﺗﺒﻘﻰ ﺍﻟﺼّﻮﺭﺓ ﻣﺘﻔﺮّﺩﺓ‬
‫ﺻﻔﺔ ﻛﻮﻬﻧﺎ ﻣَُﺘ َﻤﱠﺜ ﹶﻠ ﹰﺔ‪ .‬ﻟﻜﻦ‪ ،‬ﻛﻴﻒ ﺣﻴﻨﻤﺎ ﻳﻜ ّ‬
‫ﻼ)‪ (١٩‬؟ ﻓﺈ ﹼﻥ ﺍﻟﻄﹼﺎﻭﻟﺔ ﻛﺎﻥ ﻳﻨﺒﻐﻲ ﺃﻥ ﺗﺮﺗ ّﺪ ﻃﺎﻭﻟﺔ ﻭﺍﻋﻴﺔ ﺑﺎﻟ ﹼﻘ ّﻮﺓ‬
‫ﻭﺗﺴﺘﺤﻔﻆ ﲞﺎﺻّﻴﺔ ﻛﻮﻬﻧﺎ َﺗ َﻤﱡﺜ ﹰ‬
‫ﻒ ﻋﻦ ﺍﻟﻨّﻈﺮ ﺇﻟﻴﻬﺎ‪ ،‬ﻷﻧّﻬﺎ ﺣﻴﻨﺌﺬ ﺳﻮﻑ ﺗﺴﺘﺮﺟﻊ ﻋﻼﻗﺎﻬﺗﺎ ﻣﻊ ﺳﺎﺋﺮ ﺻﻮﺭ ﺍﻟﻌﺎﱂ‬
‫ﺣﺎﳌﺎ ﺃﻛ ّ‬
‫ﺑﺄﺳﺮﻫﺎ ؟ ﻓﻜﻴﻒ ﻛﺎﻥ ﳝﻜﻨﻬﺎ ﺇﺫﹰﺍ ﺃﻥ ﺗﺒﻘﻰ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﻃﺎﻭﻟﺔ ﺑﺬﺍﻛﺮﰐ ؟ ﺃﻭ ﺭﺑّﻤﺎ ﺇﺫﹰﺍ ﺃ ﹼﻥ‬
‫ﺍﻟﺘّﻤﺜﹼﻞ ﻟﻴﺲ ﻳُ َﻌ ﱠﺮﻑُ ﻓﻘﻂ ﺑﺘﻔﺮّﺩ ﺍﻟﺼّﻮﺭﺓ ﻭﺇﻧّﻤﺎ ﻳﻈﻬﺮ ﺑﻨﺤﻮ ﻭﺟﻮﺩ ﳑﺘﺎﺯ ﻛ ﹼﻞ ﺍﻻﻣﺘﻴﺎﺯ ﻋﻦ‬
‫ﺍﻟﺸّﻲﺀ)‪ (٢٠‬؟ ﻭﺍﳌﺮﻭﺭ ﻣﻦ ﺍﻟﻔﺼﻞ ﺍﻷﻭّﻝ ﺇﱃ ﺍﻟﻔﺼﻞ ﺍﻟﺜﹼﺎﱐ ﻣﻦ ﺍﳌﺎﺩّﺓ ﻭﺍﻟﺬﹼﺍﻛﺮﺓ ﻛﺎﻥ ﻗﺪ‬
‫ﺣﺼﻞ ﺑﺘﻮﺳّﻂ ﺳﻔﺴﻄﺔ ﳏﻀﺔ‪ :‬ﺇ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺘّﻤﺜﹼﻞ ﻫﻲ ﺃﻭّﻻ ﺻﻮﺭﺓ ﻣُ ﹾﻔ َﺮ َﺩﺓﹲ ﻋﻠﻰ ﺟﻬﺔ ﺍﳌﺜﺎﻝ‪،‬‬
‫ﻭ ﺗﻜﻮﻥ ﺑﺎﻟﻔﻌﻞ ﻣﻮﺻﻮﻟﺔ ﺇﱃ ﲨﻴﻊ ﺍﻟﺼّﻮﺭ ﺍﻷﺧﺮﻯ‪ ،‬ﹼﰒ ﻫﻲ ﻋﻨﺪﻣﺎ ﺗﺼﺒﺢ ﺻﻮﺭﺓ ﺫﻛﺮﻯ‪،‬‬
‫ﻓﻨﺘﺒﻴّﻦ ﺃﻥ ﺍﻧﻔﺮﺍﺩﻫﺎ ﻋﻠﻰ ﺟﻬﺔ ﺍﳌﺜﺎﻝ ﻳﻨﻘﻠﺐ ﺇﱃ ﺍﻧﻔﺮﺍﺩ ﺣﻘﻴﻘﻲّ‪ ،‬ﻓﺘﻨﻔﺼﻞ ﻋﻦ ﺍﻟﻌﺎﱂ ﻭﺗﻨﻘﻠﺐ‬
‫ﺇﱃ ﺍﻟﺬﹼﻫﻦ‪ .‬ﻟﻘﺪ ﺃﺿﻠﹼﺖ ﺑﺎﺭﺟﺴﻦ ﻣﻘﺎﻳﺴﺔ ﻣﺎ ّﺩﻳّﺔ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻟﻠﹼﻮﺣﺔ‪ :‬ﻓﻤﺜﻠﻪ ﻣﺜﻞ ﺭﺟﻞ ﻛﺎﻥ‬
‫ﺑﻌﺪ ﺃﻥ ﻋﺰﻝ ﻗﻄﻌﺔ ﻣﻦ ﻣﺸﻬﺪ ﻃﺒﻴﻌ ّﻲ ﻷﻧّﻪ ﻧﻈﺮ ﺇﻟﻴﻪ ﻣﻦ ﺧﻠﻞ ﻣﻨﻈﺎﺭ‪ ،‬ﻓﻘﺪ ﺭﺍﻡ ﺃﻥ ﻳﺄﺧﺬ ﻣﻌﻪ‬
‫ﻟﻴﺲ ﻓﻘﻂ ﺍﳌﻨﻈﺎﺭ‪ ،‬ﺑﻞ ﻭﺃﻳﻀﺎ ﻗﻄﻌﺔ ﺍﳌﺸﻬﺪ ﺍﻟﻄﺒﻴﻌ ّﻲ ﺍﻟﹼﱵ ﻗﺪ ﺍﻣﺘﺎﺯﺕ ﺑﻪ‪ .‬ﻭﺇ ﱠﻥ ﻛ ﹼﻞ ﻧﻈﺮﻳّﺔ‬
‫ﺑﺎﺭﺟﺴﻦ ﰲ ﺍﻟﺬﹼﺍﻛﺮﺓ ﺇﻧّﻤﺎ ﻫﻲ ﻣﺒﻨﻴّﺔ ﻋﻠﻰ ﺳﻔﺴﻄﺔ ﻧﺘﺒﻴّﻦ ﻣﻨﻬﺎ ﺍﻟﺼّﻔﺔ ﺍﻟﻮﺍﻗﻌﻴّﺔ ﳍﺬﻩ ﺍﻟﻨّﻈﺮﻳّﺔ؛‬
‫ﻷ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺬﹼﻛﺮﻯ ﺗﻠﻚ ﺍﻟﹼﱵ ﺗﺄﺧﺬﻫﺎ ﺍﻟﺬﹼﺍﻛﺮﺓ ﻣﻌﻬﺎ ﻛﻤﺎ ﳓﻤﻞ ﻟﻮﺣﺔ ﳔﻠﻌﻬﺎ ﻣﻦ ﺍﳉﺪﺍﺭ‪،‬‬
‫ﻼ ِﺑ ِﻤ ﹾﺜ ٍﻞ ) ﻓﺎﻟﺬﹼﺍﻛﺮﺓ ﺗﻠﺘﻘﻂ ﺍﻟﺼّﻮﺭﺓ ﻋﻠﻰ ﻃﻮﻝ ﺍﻟﺰّﻣﻦ ﻭﰲ ﻛ ﹼﻞ ﺍﻟﻮﻗﺖ ﺍﻟﹼﺬﻱ ﺗﻨﺸﺄ ﻓﻴﻪ (‪.‬‬
‫َﻣﹶﺜ ﹰ‬
‫ﻭﺑﺎﺭﺟﺴﻦ ﱂ ﻳﻐﻔﻞ ﺑﺄﻧّﻬﺎ ﻫﻲ ﺃﻳﻀﺎ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺸّﻲﺀ‪ ،‬ﻭﺑﺄﻧّﻬﺎ ﺗﻠﺘﺒﺲ ﺑﺴﺎﺋﺮ ﺍﻟﺼّﻮﺭ ﻭﻫﻲ‬
‫ﻣﻮﺟﻮﺩﺓ ﻣﻦ ﻏﲑ ﺃﻥ ﺗﻜﻮﻥ ُﻣ ْﺪ َﺭ ﹶﻛﺔﹰ‪ ،‬ﻭﻣﻦ ﻫﻨﺎ‪ ،‬ﻓﻘﺪ ﺃﻋﻄﻰ ﺑﺎﺭﺟﺴﻦ‪ ،‬ﻣﺘﺮﺩّﺩﺍ ﺑﲔ ﺍﳌﻌﻨﻴﲔ‬
‫ﺍﻻﺛﻨﲔ ﻟﻌﺒﺎﺭﺓ "ﺻﻮﺭﺓ"‪ ،‬ﻟﻠﺼّﻮﺭﺓ ﺍﻟﺬﹼﻛﺮﻯ ﻛ ﹼﻞ ﺍﻣﺘﻼﺋﻴّﺔ ﺍﳌﻮﺿﻮﻉ؛ ﺑﻞ ﺇﻧّﻤﺎ ﻫﻲ ﺍﳌﻮﺿﻮﻉ‬
‫ﻧﻔﺴﻪ ﻣﻨﻈﻮﺭﺍ ﺇﻟﻴﻪ ﻋﻠﻰ ﳕﻂ ﻣﻦ ﺍﻟﻮﺟﻮﺩ ﺁﺧﺮ‪.‬‬
‫ﻓﺘﻜﻮّﻥ ﺍﻟﺬﹼﻛﺮﻯ ﻫﻮ ﻣﺰﺍﻣﻦ ﺇﺫﺍ ﻟﺘﻜﻮّﻥ ﺍﻹﺩﺭﺍﻙ)‪(٢١‬؛ ﻭﻫﻮ ﺇﻧّﻤﺎ ﺑﺎﻧﻘﻼﺏ ﺍﻟﺼّﻮﺭﺓ‬
‫ﺍﻟﺸّﻲﺀ ﺇﱃ َﺗ َﻤﱡﺜ ٍﻞ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﺍﻟﹼﱵ ﺗﻜﻮﻥ ﻓﻴﻪ ﻣﺪﺭﻛﺔ‪ ،‬ﺇﻧّﻤﺎ ﺗﻨﻘﻠﺐ ﻫﺬﻩ ﺍﻟﺼّﻮﺭﺓ ﺇﱃ‬
‫ﺫﻛﺮﻯ‪.‬‬

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‫"ﺇ ﹼﻥ ﺗﻜﻮّﻥ ﺍﻟﺬﹼﻛﺮﻯ ﻟﻴﺲ ﺍﻟﺒﺘّﺔ ﲟﺘﺄﺧّﺮ ﻋﻦ ﺗﻜﻮّﻥ ﺍﻹﺩﺭﺍﻙ‪ ،‬ﺑﻞ ﻫﻮ ﻣﻌﺎﺻﺮ ﻟﻪ‪ .‬ﻭﰲ ﻛ ﹼﻞ‬
‫ﺍﻟﻮﻗﺖ ﺍﻟﹼﺬﻱ ﻳﻜﻮﻥ ﻓﻴﻪ ﺍﻹﺩﺭﺍﻙ ﻳﺘﻜﻮّﻥ‪ ،‬ﻳﻄﻴﻒ ﲜﺎﻧﺒﻪ ﺍﻟﺬﹼﻛﺮﻯ ﺍﳌﻨﺎﺳﺒﺔ ﻟﻪ)ﻕ("‬
‫ﻭﺍﻟﺬﹼﻛﺮﻯ ﺍﻟﹼﱵ ﻛﺎﻧﺖ ﻗﺪ ﺗﻜﻮّﻧﺖ‪:‬‬
‫"ﺗﻜﻮﻥ ﺩﻓﻌﺔ ﻭﺍﺣﺪﺓ ﻛﺎﻣﻠﺔ ؛ ﻭﺍﻟﺰّﻣﻦ ﻟﻴﺲ ﳝﻜﻨﻪ ﺃﻥ ﻳﻀﻴﻒ ﺷﻴﺌﺎ ﻟﺼﻮﺭﺗﻪ ﺇ ﹼﻻ ﻭﳜﺮﺟﻬﺎ‬
‫ﻣﻦ ﺣ ّﺪ ﻃﺒﻴﻌﺘﻬﺎ ؛ ﻭﺇﻧّﻤﺎ ﳛﻔﻆ ﳍﺎ ﰲ ﺍﻟﺬﹼﺍﻛﺮﺓ ﻣﻜﺎﻬﻧﺎ ﻭﺯﻣﺎﻬﻧﺎ)ﻙ("‬
‫ﻓﻠﻌﻤﺮﻱ ﺇ ﹼﻥ ﺍﻟّﺘﺼّﻮﺭ ﺍﻟﹼﺬﻱ ﻳﻌﺮﺿﻪ ﺑﺎﺭﺟﺴﻦ ﻫﺎﻫﻨﺎ ﻋﻦ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻣﺎ ﺃﺑﻌﺪﻩ ﻋﻦ ﺃﻥ ﻳﻜﻮﻥ‬
‫ﺼﻮّﺭ ﺍﳋﱪﻱ‪ :‬ﻓﻌﻨﺪﻩ ﻣﺜﻠﻤﺎ ﻛﺎﻥ ﻋﻨﺪ ﻫﻴﻮﻡ‪ ،‬ﺇﻧّﻤﺎ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ‬
‫ﳐﺘﻠﻔﺎ‪ ،‬ﻛﻤﺎ ﻛﺎﻥ ﻳﺰﻋﻢ‪ ،‬ﻋﻦ ﺍﻟّﺘ ّ‬
‫ﻋﻨﺼﺮ ﻟﻠﻔﻜﺮ ﻣﻠﺘﺒﺲ ﻋﻠﻰ ﺟﻬﺔ ﺍﳊﻘﻴﻘﺔ ﺑﺎﻹﺩﺭﺍﻙ‪ ،‬ﻭﻳﺘّﺼﻒ ﺑﻨﻔﺲ ﺍﻻﻧﻔﺼﺎﻟﻴّﺔ ﻭﺍﻟﻔﺮﺩﻳّﺔ ﺍﻟﹼﱵ‬
‫ﻳﺘّﺼﻒ ﻬﺑﺎ ﺍﻻﺩﺭﺍﻙ‪ .‬ﻭﻫﻲ‪ ،‬ﻟﺪﻯ ﻫﻴﻮﻡ‪ ،‬ﺇﻧّﻤﺎ ﺗﻈﻬﺮ ﺑﻨﺤﻮ ﻭﻫﻦ ﰲ ﺍﻻﺩﺭﺍﻙ‪ ،‬ﻭﺻﺪﻯ ﻳﺘﺒﻌﻪ ﰲ‬
‫ﻼ ﻳﻼﺯﻡ ﺍﻹﺩﺭﺍﻙ‪ :‬ﻭﰲ ﺍﻟﻮﺿﻌﲔ ﺍﻹﺛﻨﲔ‪ ،‬ﻓﻬﻲ ﻧﺴﺨﺔ‬
‫ﺍﻟﺰّﻣﻦ؛ ﻭﺃﻣّﺎ ﺑﺎﺭﺟﺴﻦ ﻓﻘﺪ ﺟﻌﻞ ﻣﻨﻬﺎ ﻇ ﹼ‬
‫ﺣﻘﻴﻘﻴّﺔ ﻟﻠﺸّﻲﺀ‪ ،‬ﻭﻣﺜﻠﻬﺎ ﻣﺜﻞ ﺍﻟﺸّﻲﺀ ﻓﻬﻲ ﺛﺨﻴﻨﺔ ﻭﻻ ﺗﻘﺒﻞ ﺍﻟﻨّﻔﺎﺫ ﻓﻴﻬﺎ ﻭﺫﺍﺕ ﺻﻼﺑﺔ ﻭﲨﻮﺩ‪،‬‬
‫ﺃﻱ ﻫﻲ ﻧﻔﺴﻬﺎ ﺷﻲﺀ‪.‬‬
‫"ﻓﺎﻟﺼّﻮﺭ ﻟﻴﺲ ﳍﺎ ﺃﻥ ﺗﻜﻮﻥ ﺃﺑﺪﺍ ﺇ ﹼﻻ ﺃﺷﻴﺎﺀ "‬
‫ﻭﻫﻮ ﻣﻦ ﺃﺟﻞ ﺫﻟﻚ ﳓﻦ ﺳﻮﻑ ﻧﺮﻯ ﺑﺄ ﹼﻥ ﺩﺧﻮﻝ ﺍﻟﺼّﻮﺭﺓ ﰲ ﺣﻴﺎﺓ ﺍﻟﺬﹼﻫﻦ ﺇﻧّﻤﺎ ﻳﻘﺘﺮﺏ‬
‫ﺃﻳّﻤﺎ ﺍﻗﺘﺮﺍﺏ ﻟﺪﻯ ﺑﺎﺭﺟﺴﻦ ﻣﻦ ﺩﺧﻮﳍﺎ ﻟﺪﻯ ﺍﳋﱪﻳﻴّﻦ‪ .‬ﻭﺫﻟﻚ ﻷ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻫﺎﻫﻨﺎ ﻗﺪ ﻋﺮّﻓﻨﺎﻫﺎ‬
‫ﺃﻳﻀﺎ ﺃﻭّﻻ ﺑﻨﺤﻮ ﻣﺎ " ﻳﻨﻄﺒﻊ ﺑﺎﻟﺬﹼﻫﻦ "‪ ،‬ﻭﺑﻨﺤﻮ ﺍﶈﺘﻮﻯ ﺍﻟﹼﺬﻱ ﺍﻟﺬﹼﺍﻛﺮﺓ ﺇﻧّﻤﺎ ﻫﻲ ﳎﺮّﺩ ﻗﺎﺑﻞ ﻟﻪ‪،‬‬
‫ﻭﻟﻴﺲ ﺑﻨﺤﻮ ﺍﻟﹼﻠﺤﻈﺔ ﺍﳊﻴّﺔ ﰲ ﺍﻟﻔﻌﻞ ﺍﻟﺮّﻭﺣ ّﻲ‪.‬‬

‫ﻭﺑﺎﺭﺟﺴﻦ ﻛﺎﻥ ﻣﻊ ﺫﻟﻚ ﻗﺪ ﻧﺒّﻪ ﺑﺄﻧّﻪ‪ ،‬ﻋﻠﻰ ﺧﻼﻑ ﺍﳋﱪﻳّﲔ‪ ،‬ﻓﻬﻮ ﻳﺜﺒﺖ ﻭﺟﻮﺩ ﺧﻼﻑ ﰲ‬
‫ﺍﻟﻄﹼﺒﻴﻌﺔ‪ ،‬ﻭﻟﻴﺲ ﻓﻘﻂ ﺑﺎﻟﺪّﺭﺟﺔ‪ ،‬ﺑﲔ ﺍﻹﺩﺭﺍﻙ ﻭﺍﻟﺬﹼﻛﺮﻯ‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﻧﻔﺲ ﻫﺬﻩ ﺍﻟﺘّﻔﺮﻗﺔ‪ ،‬ﻭﻫﻲ‬
‫ﺗﻔﺮﻗﺔ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ ﺃﺣﺮﻯ ﻣﻦ ﺃﻥ ﺗﻜﻮﻥ ﺗﻔﺮﻗﺔ ﻧﻔﺴﻴّﺔ‪ ،‬ﻓﻤﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﻳﻠﺰﻡ ﻋﻨﻬﺎ ﺷﻜﻮﻙ‬
‫ﺤ ﹶﻘ ﹰﺔ ﺇﱃ ﻋﻤﻞ ﻣﺎ ﳑﻜﻦ ﻟﻠﺠﺴﺪ‪ ،‬ﻭﻟﻜﻦ‬
‫ﺃﺧﺮﻯ‪ .‬ﺇﺫ ﻛﻨّﺎ ﻗﺪ ﺭﺃﻳﻨﺎ ﻣﺎ ﺍﻹﺩﺭﺍﻙ ‪ :‬ﺇﻧّﻪ ﺍﻟﺼّﻮﺭﺓ ﻣُ ﹾﻠ َ‬
‫ﻫﻲ ﺗﻜﻮﻥ ﻏﲑ ﻣﻨﻔﻜﹼﺔ َﺑ ْﻌ ُﺪ ﻋﻦ ﺍﻟﺘﺒﺎﺳﻬﺎ ﺑﺴﺎﺋﺮ ﺍﻟﺼّﻮﺭ؛ ﻭﺍﻟﺬﹼﻛﺮﻯ ﻫﻲ ﺻﻮﺭﺓ ﻣﻨﺤﺎﺯﺓ‪ ،‬ﳎﺘﺰﺃﺓ‬

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‫ﻣﻦ ﺳﺎﺋﺮ ﺍﻟﺼّﻮﺭ ﻛﺎﻟﻠﹼﻮﺣﺔ‪ .‬ﻭﻛ ﹼﻞ ﻭﺍﻗﻊ ﳝﻠﻚ ﻣﻌﺎ ﻫﺎﺗﲔ ﺍﳋﺎﺻّﺘﲔ‪ :‬ﺇﻧّﻪ ﻳﻬﻴّﺄ ﺍﳉﺴﺪ ﻟﻠﻔﻌﻞ‪،‬‬
‫ﻭﻫﻮ ﻳﺮﺳﺐ ﰲ ﺍﻟﺬﹼﻫﻦ ﺑﻨﺤﻮ ﺍﻟﺬﹼﻛﺮﻯ ﺍﻟﻐﲑ ﻓﺎﻋﻠﺔ‪.‬‬
‫" ﺇ ﹼﻥ ﺍﳊﺎﺿﺮ ﻳﻨﺸﻄﺮ ﰲ ﻛ ﹼﻞ ﺁﻥ‪ ،‬ﻭﻫﻮ ﻳﻨﺒﺠﺲ‪ ،‬ﺇﱃ ﺧﻴﻄﲔ ﻣﺘﻨﺎﻇﺮﻳﻦ‪ ،‬ﺧﻴﻂ ﻳﺘﺨﻠﹼﻒ ﰲ‬
‫ﺍﳌﺎﺿﻲ ﺑﻴﻨﻤﺎ ﺍﻷﺧﺮ ﻳﻨﺪﻓﻊ ﺇﱃ ﺍﳌﺴﺘﻘﺒﻞ )ﻝ( "‬

‫ﻓﻬﻨﺎﻙ ﺇﺫﺍ ﺑﲔ ﺍﻟﺬﹼﻛﺮﻯ ﺍﻟﻐﲑ ﻓﺎﻋﻠﺔ ﻭﺍﻟﹼﱵ ﻫﻲ ﻓﻜﺮﺓ ﺧﺎﻟﺼﺔ‪ ،‬ﻭﺍﻹﺩﺭﺍﻙ ﺍﻟﹼﺬﻱ ﻫﻮ ﻧﺸﺎﻁ‬
‫ﻱ ﺣﺮﻛﻲّ‪ ،‬ﻓﺮﻕ ﻋﻤﻴﻖ‪ .‬ﻭﻟﻜﻦ ﻫﺬﻩ ﺍﻟﺘّﻔﺮﻗﺔ‪ ،‬ﻓﻔﻀﻼ ﻋﻦ ﺃﻧّﻬﺎ ﰲ ﺍﳊﻴﺎﺓ ﺍﳌﺘﻌﻴّﻨﺔ ﻟﻴﺲ ﻣﻦ‬
‫ﻓﻜﺮ ّ‬
‫ﺷﺄﻬﻧﺎ ﺃﻥ ﲤﻜﹼﻜﻨﺎ ﻣﻦ ﻓﺮﺯ ﺍﻟﺬﹼﻛﺮﻯ ﺍﹼﻟﱵ ﻫﻲ ﺑﺎﻟﻔﻌﻞ )ﺻﻮﺭﺓ ﻫﺬﻩ ﺍﻟﻄﹼﺎﻭﻟﺔ ﺍﻟﹼﱵ ﻋﺎﻭﺩﺕ ﺍﻟﻈﹼﻬﻮﺭ‬
‫ﻱ ﻟﻠﺤﺎﺿﺮ‪ ،‬ﻣﺜﻠﻤﺎ‬
‫( ﻣﻦ ﺍﻹﺩﺭﺍﻙ‪ ،‬ﻓﺈﻧّﻪ ﻣﻦ ﺍﳌﺴﺘﺤﻴﻞ ﺃﻥ ﻧﻔﻬﻢ ﻣﺎ ﻣﻌﲎ ﺫﻟﻚ ﺍﻻﻧﺸﻄﺎﺭ ﺍﻷﺑﺪ ّ‬
‫ﻗﺪ ﻛﺎﻥ ﻣﺴﺘﺤﻴﻼ ﺁﻧﻔﺎ ﺃﻥ ﻧﻔﻬﻢ ﻛﻴﻒ ﺃ ﹼﻥ ﺇﻓﺮﺍﺩ ﻣﺆﻗﹼﺖ ﻟﻠﺸﻲّﺀ ﻫﻮ ﺟﺎﻋﻞ ﻣﻨﻪ ﻓﺠﺄﺓ ﲤﺜﹼﻼ‪:‬‬
‫ﻓﺎﻟﺼّﻮﺭﺓ ﺍﺠﻤﻟﺎﺯﻳّﺔ ﻋﻦ ﺍﻧﺒﺠﺎﺳﻴّﺔ ﻣﻨﺸﻄﺮﺓ ﺇﻧّﻤﺎ ﻧﻠﻔﻰ ﻬﺑﺎ ﻧﻔﺲ ﺍﻟﺴّﻔﺴﻄﺔ ﺍﻷﻭﱃ‪.‬‬
‫ﻱ ﺷﻲﺀ ﻟﻌﻤﺮﻱ ﻫﻮ ﺍﳊﺎﺿﺮ ؟ " ﺇ ﹼﻥ ﺣﺎﺿﺮﻱ ﻫﻮ ﺑﺎﻟﺬﹼﺍﺕ ﺣﺴّﻲ ﺣﺮﻛ ّﻲ " ﺇﻧّﻪ " ﹶﻗ ﹾﻄﻊٌ‬
‫ﺇﺫ ﺃ ّ‬
‫ﻱ"‬
‫" ﻳﻮﻗﻌﻪ ﺍﻹﺩﺭﺍﻙ ﺍﻟﻌﻤﻠ ّﻲ ﰲ ﻛﺘﻠﺔ ﺗﻜﻮﻥ ﻗﻴﺪ ﺍﻟﺴّﻴﻼﻥ‪ .‬ﻭﺫﻟﻚ ﺍﻟﻘﻄﻊ ﻫﻮ " ﺍﻟﻌﺎﱂ ﺍﳌﺎﺩ ّ‬
‫ﻋﻠﻰ ﺍﻟﺘّﺤﺼﻴﻞ‪ .‬ﻭﻫﻮ ﺃﻳﻀﺎ " ﺷﻲﺀ ﻣﺘﻌﻴّﻦ ﺑﺈﻃﻼﻕ‪ ،‬ﻭﻳﻘﻄﻊ ﻋﻦ ﺍﳌﺎﺿﻲ"‬
‫ﺇ ﹼﻥ ﻋﺪﻡ ﺍﻟﻜﻔﺎﻳﺔ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ ﳌﺜﻞ ﻫﺬﺍ ﺍﻟﺘّﻌﺮﻳﻒ ﻟﻠﺤﺎﺿﺮ ﻭﺍﻟ ﱠﺪ ْﻭ َﺭ ﺍﻟﹼﺬﻱ ﻳﻠﺰﻡ ﻋﻨﻪ ) ﻷ ﹼﻥ‬
‫ﺍﳊﺎﺿﺮ ﺍﻟﻌﻤﻠ ّﻲ ﺇﻧّﻤﺎ ﻳﻘﺘﻀﻲ ﺣﺎﺿﺮﺍ ﺍﻧﻄﻠﻮﺟﻴّﺎ ﳚﻌﻠﻪ ﳑﻜﻨﺎ ( ﻟﻴﻈﻬﺮﺍﻥ ﻟﻌﲔ ﺑﺎﺻﺮﺓ‪ .‬ﻭﻟﻜﻦ‬
‫ﻟﻴﺴﺖ ﻏﺎﻳﺘﻨﺎ ﺃ ﹼﻥ ﳔﺼّﻪ ﺑﺎﻟﻨّﻘﺾ‪ .‬ﹶﻓ ﹾﻠَﻨ ﹾﺄ ُﺧ ﹾﺬ ُﻩ ﻛﻤﺎ ﻳﻌﺮﺽ ﻟﻨﺎ‪ :‬ﻓﻨﺘﺒﻴّﻦ ﰲ ﺍﳊﺎﻝ ﺃ ﹼﻥ ﺣﺎﺿﺮﺍ ﻣﺎ‬
‫ﻱ ﺍﻧﺸﻄﺎﺭﻳّﺔ ﻛﺎﻧﺖ ﺃﻥ ﳛﺪﺙ ﻣﺎﺿﻴﺎ ﻏﲑ ﻓﺎﻋﻞ‪ ،‬ﺃﻱ ﻣﺎﺿﻴﺎ‬
‫ﻳﻜﻮﻥ ﻋﻤﻼ ﳏﻀﺎ ﻟﻴﺲ ﳝﻜﻨﻪ ﺑﺄ ّ‬
‫ﻳﻜﻮﻥ ﻓﻜﺮﺓ ﳏﻀﺔ ﻣﻨﻔﺼﻠﺔ ﻋﻦ ﺍﳊﺮﻛﺎﺕ ﻭﺍﻹﺣﺴﺎﺳﺎﺕ‪ .‬ﻓﺴﻮﺍﺀ ﻧﻈﺮﻧﺎ ﻟﻌﻼﻗﺔ ﻋﻤﻞ ـ‬
‫ﺫﻛﺮﻯ ﰲ ﺍﻟﺬﹼﺍﺕ ﺃﻭ ﻟﻌﻼﻗﺔ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺸّﻲﺀ ﻭﺍﻟﺼّﻮﺭﺓ ﺍﻟﺬﹼﻛﺮﻯ ﰲ ﺍﳌﻮﺿﻮﻉ‪ ،‬ﻓﺈﻧّﻨﺎ ﻟﻨﻠﻔﻰ‬
‫ﻧﻔﺲ ﺍﻟﻔﺠﻮﺓ ﺑﲔ ﺿﺮﺑﲔ ﳐﺘﻠﻔﲔ ﻣﻦ ﺍﻟﻮﺟﻮﺩ ﻛﺎﻥ ﻗﺪ ﺃﺻ ّﺮ ﺑﺎﺭﺟﺴﻦ ﻋﻠﻰ ﻭﺿﻌﻬﻤﺎ ﻣﻔﺘﺮﻗﲔ‬
‫) ﻷﻧّﻪ ﻗﺪ ﺭﺍﻡ ﺃﻥ ﻳﻔﺼﻞ ﺍﻟﺮّﻭﺡ ﻣﻦ ﺍﳌﺎﺩّﺓ‪ ،‬ﻭﺍﻟﺬﹼﺍﻛﺮﺓ ﻣﻦ ﺍﳉﺴﺪ (‪ ،‬ﻭﺍﱠﻟ ﹶﺬْﻳ ِﻦ ﻛﺎﻥ‪ ،‬ﻣﻊ ﺫﻟﻚ‪،‬‬
‫ﻳﺮﻳﺪ ﺭﺩّﳘﺎ ﺇﱃ ﺍﻟﻮﺣﺪﺓ‪ :‬ﻭﻫﻮ ﻗﺪ ﻻﺫ ﻣﻦ ﺃﺟﻞ ﺗﻌﻠﻴﻠﻪ ﳍﺬﻳﻦ ﺍﻷﻣﺮﻳﻦ ﺍﳌﺘﻨﺎﻗﻀﲔ ﺑﺘﻠﻔﻴﻘﻴّﺔ ﺑﲔ‬

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‫ﺍﻟﻮﻋﻲ ﻭﺍﳌﺎﺩّﺓ‪ .‬ﻭﻟﻜﻨّﻪ‪ ،‬ﻭﺑﺴﺒﺐ ﺃﻧّﻪ ﻛﺎﻥ ﳜﻠﻂ ﺩﺍﺋﻤﺎ ﺑﲔ ﺍﻟﻨّﻮﺍﻡ ﻭﺍﻟﻨّﻮﺍﺯ)‪)(22‬ﻡ( ﻓﻠﻘﺪ‬
‫ﺃﻓﻀﻰ ﺑﻪ ﺍﻷﻣﺮ ﻷﻥ ﳜﻠﻊ ﻋﻠﻰ ﺗﻠﻚ ﺍﻟﻮﺍﻗﻌﺔ ﺍﻟﺘّﻠﻔﻴﻘﻴّﺔ ﺍﻟﹼﱵ ﻳﺴﻤّﻴﻬﺎ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﺗﺎﺭﺓ ﻣﻌﲎ ﻧﻮّﺍﻣﻲ‪،‬‬
‫ﻱ‪ .‬ﺃﻣّﺎ ﺗﻮﺣﻴﺪ‪ ،‬ﻓﻼ ﺗﻮﺣﻴﺪ ﺍﻟﺒﺘّﺔ ‪:‬‬
‫ﻭﺃﺧﺮﻯ ﻣﻌﲎ ﻧﻮﺍﺯﻱ‪ ،‬ﲝﺴﺐ ﻣﺎ ﺗﻘﺘﻀﻴﻪ ﺣﺎﺟﺔ ﺑﻨﺎﺋﻪ ﺍﻟﻨّﻈﺮ ّ‬
‫ﻱ ﻭﺳﻲّﺀ ﺍﻟﻘﺼﺪ ﻣﻦ ﳎﺎﻝ ﺇﱃ ﺁﺧﺮ‪.‬‬
‫ﻭﺇﻧّﻤﺎ ﺇﻬﺑﺎﻡ ﺩﺍﺋﻢ‪ ،‬ﻭﺍﻧﺰﻻﻕ ﺃﺑﺪ ّ‬

‫ﻓِﺈﺫﹰﺍ ﺑﺎﺭﺟﺴﻦ ﻛﺎﻥ ﻗﺪ ﺭﺍﻡ ﺃﻥ ﻳﻔﺴّﺮ ﻣﺎ ﻛﺎﻥ ﺃﻫﻞ ﺍﳋﱪﻳّﺔ ﻳﻌﺪّﻭﻧﻪ ﺑﻨﺤﻮ ﺍ ﹸﳌ ْﻌﻄﹶﻰ‪ :‬ﺃﻱ‬
‫ﻭﺟﻮﺩ ﺍﻟﺼّﻮﺭ ﺍﻟﻨّﺎﺷﺌﺔ ﻣﻦ ﺍﻹﺩﺭﺍﻙ‪ .‬ﻭﻟﻘﺪ ﺭﺃﻳﻨﺎ ﺃﻧّﻪ ﻗﺪ ﺃﺧﻔﻖ ﰲ ﺫﻟﻚ‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﺍﻟﺮّﺃﻱ ﺍﻟﹼﺬﻱ‬
‫ﻼ َﻙ ﰲ‬
‫ﺴﹶ‬‫ﻛﺎﻥ ﻳﺮﺍﻩ ﻟﻴﻀﻄﺮّﻩ ﻷ ﹼﻥ ﳛ ﹼﻞ َﻣ ﹾﻄ ﹶﻠًﺒﺎ ﺁﺧﺮ‪ :‬ﻭﻫﻮ ﻛﻴﻒ ﳝﻜﻦ ﻟﻠﺼّﻮﺭﺓ ﺃﻥ ﺗﻌﺎﻭﺩ ﺍﻻْﻧ ِ‬
‫ﺍﻟﻌﺎﱂ ﺍﳊﺴّﻲ ﺍﳊﺮﻛ ّﻲ ﻟﻠﺠﺴﺪ ﻭﺍﻹﺩﺭﺍﻙ ؟ ﻭﻛﻴﻒ ﻳﻌﻮﺩ ﺍﳌﺎﺿﻲ ﺣﺎﺿﺮﺍ‪.‬‬
‫ﻓﺎﻟﺼّﻮﺭﺓ ﺍﻟﻠﹼﻮﺣﺔ ﺇﻧّﻤﺎ ﺗﺒﻘﻰ ﺑﻘﺎﺀ ﺣﻘﻴﻘﻴّﺎ ﰲ ﺍﻟﺬﹼﺍﻛﺮﺓ؛ ﻭﻣﺜﻠﻬﺎ ﻣﺜﻞ ﺍﻟﺼّﻮﺭ ﺍﻷﺷﻴﺎﺀ‬
‫ﻓﻴﻤﻜﻨﻬﺎ ﺃﻥ ﺗﻜﻮﻥ ﺇﻣّﺎ ﻣُﻮﻋَﻰ ﻬﺑﺎ ﺑﺎﻟﻔﻌﻞ‪ ،‬ﻭﺇﻣّﺎ ﻣﻮﻋﻰ ﻬﺑﺎ ﺑﺎﻟﻘﻮّﺓ‪ ،‬ﳑّﺎ ﳚﻌﻠﻬﺎ ﺗﻜﻮﻥ ﰲ ﺣﺎﻝ‬
‫ﻻﻣﻮﻋﻰ ﻬﺑﺎ‪ .‬ﻭﺇﺫ ﺃﻥ ﺟ ﹼﻞ ﺫﻛﺮﻳﺎﺗﻨﺎ ﻫﻲ ﻏﲑ ﻣﻮﻋﻰ ﻬﺑﺎ‪ ،‬ﻓﻜﻴﻒ ﻋﺴﺎﻫﺎ ﺃﻥ ﺗﺮﺟﻊ ﺇﱃ ﺍﻟﻮﻋﻲ ؟‬
‫ﺇﻧّﺎ ﳒﺪ ﻬﺑﺬﺍ ﺍﻟﺸّﺄﻥ‪ ،‬ﻟﺪﻯ ﺑﺎﺭﺟﺴﻦ ﻧﻈﺮﻳّﺘﲔ ﻣﺘﻨﺎﻓﺮﺗﲔ‪ ،‬ﻭﳘﺎ ﻣﻊ ﺫﻟﻚ‪ ،‬ﱂ ﳝﻴّﺰ ﺑﻴﻨﻬﻤﺎ ﲤﺎﻡ‬
‫ﺍﻟﺘّﻤﻴﻴﺰ‪ :‬ﺍﻷﻭﱃ ﺗﻀﺮﺏ ﺑﺄﺻﻠﻬﺎ ﰲ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ‪ ،‬ﻭﰲ ﺍﻟﺒﻴﻮﻟﻮﺟﻴّﺔ ﺍﻟﺒﺎﺭﺟﺴﻮﻧﻴّﺔ؛ ﻭﺍﻷﺧﺮﻯ‬
‫ﻓﺘﺘﻼﺀﻡ ﻣﻊ ﺍﳌﻴﻮﻻﺕ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ ﻭﺍﻟﻨّﻔﺴﺎﻧﻴّﺔ ﻟﺒﺎﺭﺟﺴﻦ‪.‬‬
‫ﻭﺍﻟﻨّﻈﺮﻳّﺔ ﺍﻷﻭﱃ ﺗﺒﺪﻭ ﺃﻭّﻻ ﻋﻠﻰ ﻏﺎﻳﺔ ﻣﻦ ﺍﻟﺒﻴﺎﻥ‪ :‬ﻓﻤﺎﻫﻮ ﺑﺎﻟﻔﻌﻞ ﻫﻮ ﺍﳊﺎﺿﺮ؛ ﻭﳛ ّﺪ‬
‫ﺍﳊﺎﺿﺮ ﺑﻜﻮﻧﻪ ﻓﻌﻞ ﺍﳉﺴﺪ‪ .‬ﻭﺍﺳﺘﺤﻀﺎﺭ ﺫﻛﺮﻯ ﻣﺎ ﺇﻧّﻤﺎ ﻫﻮ ﺟﻌﻞ ﺻﻮﺭﺓ ﻣﺎ ﻣﺎﺿﻴﺔ ﺣﺎﺿﺮﺓ‪:‬‬
‫ﻀ َﺮ ﹶﺓ ﻟﻴﺴﺖ ﳎﺮّﺩ ﺍﻧﺒﻌﺎﺙ ﻟﻠﺼّﻮﺭﺓ ﺍﳌﺨﺰّﻧﺔ‪ ،‬ﻭﺇ ﹼﻻ ﻣﺎ ﻛﺎﻥ ﱄ ﻷﻓﻬﻢ‬
‫ﺤ َ‬
‫ﺴَﺘ ْ‬
‫ﻋﻠﻰ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﺍﳌﹸ ْ‬
‫ﻛﻴﻒ ﺇﻧّﲏ ﺍﺳﺘﺤﻀﺮ ﺻﻮﺭﺓ ﻟﻮﺟﻪ ﺃﻣﻠﻚ ﻋﻨﻪ ﻛﺜﺮﺓ ﻣﻦ ﺍﻟﺬﹼﻛﺮﻳﺎﺕ ﺍﳌﺨﺘﻠﻔﺔ ﺗﺘﻨﺎﺳﺐ ﻣﻊ ﻛﺜﺮﺓ‬
‫ﻣﻦ ﺍﻹﺩﺭﺍﻛﺎﺕ‪ ،‬ﺻﻮﺭﺓ ﻭﺍﺣﺪﺓ ﺭﺑّﻤﺎ ﻟﻴﺴﺖ ﺗﺒﻠﻎ ﺃﻥ ﺗﺴﺘﻮﰲ ﻋﻠﻰ ﺟﻬﺔ ﺍﻟﺘّﻤﺎﻡ ﻭﻟﻮ ﻭﺍﺣﺪﺓ‬
‫ﻚﰲ‬
‫ﺴ ِﻠ َ‬
‫ﺤ ﹶﻔ ﹶﻈ ِﺔ‪ .‬ﻓﻼﺑ ّﺪ ﻟﻠﺼّﻮﺭﺓ‪ ،‬ﺣﺘّﻰ ﺗﻌﺎﻭﺩ ﺍﻟﻈﹼﻬﻮﺭ ﰲ ﺍﻟﻮﻋﻲ‪ ،‬ﻣﻦ ﺃﻥ َﺗ ْﻨ َ‬
‫ﺴَﺘ ْ‬
‫ﻣﻦ ﺍﻟﺬﹼﻛﺮﻳﺎﺕ ﺍﳌﹸ ْ‬
‫ﺍﳉﺴﺪ‪ ،‬ﻭﺍﻟﺼّﻮﺭﺓ ﺍﻟﻨّﻔﺴﺎﻧﻴّﺔ ﻭﺍﳌﻮﻋﻰ ﻬﺑﺎ ﻫﻲ ﺗﺘﺠﺴّﻢ ﰲ ﺍﳉﺴﺪ ﻭﰲ ﺍﻵﻟﻴﺎﺕ ﺍﳊﺮﻛﻴّﺔ‬
‫ﻼﻣَُﺘَﺒﱠﻴَﻨ ِﺔ ﻭﺍﻟﹼﱵ ﺗﻘﻮﻡ ﺑﺎﻟﻼﹼﻭﻋﻲ‪ .‬ﻓﺄﻥ ﻳﻌﻴﺶ‪ ،‬ﻋﻨﺪ ﺍﻟﺬﹼﻫﻦ‪ ،‬ﺇﻧّﻤﺎ‬
‫ﻟﻠﺬﹼﻛﺮﻯ ﺍﶈﻀﺔ ﻭﺍﻟﻼﹼﻓﺎﻋﻠﺔ ﻭﺍﻟ ﹼ‬

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‫ﻫﻮ ﺃﺑﺪﺍ " ﺃﻥ ﻳﻨﺴﻠﻚ ﺑﲔ ﺍﻷﺷﻴﺎﺀ ﺑﺘﻮﺳّﻂ ﺁﻟﻴّﺔ ﻣﺎ "‪ .‬ﻓﺎﻟﺬﹼﻛﺮﻯ ﻫﻲ ﺗُ ﹾﺬ ِﻋﻦُ ﺇﱃ ﻫﺬﺍ ﺍﻟﺸّﺮﻁ ؛‬
‫ﻓﻬﻲ ﺇﺫﺍ ﻛﺎﻧﺖ ﳏﻀﺔ ﻓﺈﻧّﻬﺎ ﺗﻜﻮﻥ " ﻧﺎﺻﻌﺔ‪ ،‬ﺩﻗﻴﻘﺔ‪ ،‬ﺇ ﹼﻻ‪ ...‬ﺑﻼ ﺣﻴﺎﺓ"؛ ﻭﻛﺄﻧّﻬﺎ ﺗﻠﻚ ﺍﻷﺭﻭﺍﺡ‬
‫ﺍﻟﹼﱵ ﻛﺎﻥ ﺇﻓﻼﻃﻮﻥ ﻗﺪ ﺗﻜﻠﹼﻢ ﻋﻨﻬﺎ‪ ،‬ﻭﺍﻟﹼﱵ ﻻ ﺑ ّﺪ ﳍﺎ ﻣﻦ ﺃﻥ ﻬﺗﺒﻂ ﺇﱃ ﺍﳉﺴﺪ ﺣﺘّﻰ ﳝﻜﻨﻬﺎ ﺃﻥ‬
‫ﺗﺼﺒﺢ ﺑﺎﻟﻔﻌﻞ ‪ :‬ﺇﻧّﻬﺎ ﻣﻮﺟﻮﺩﺓ ﺑﺎﻟﻘﻮّﺓ‪ ،‬ﻭﻋﺎﺟﺰﺓ‪ .‬ﻓﻬﻲ ﳏﺘﺎﺟﺔ ِﺇﺫﹰﺍ ﺣﺘّﻰ ﺗﺼﲑ ﺣﺎﺿﺮﺓ‪ ،‬ﻷﻥ‬
‫ﺖ ﻣﻦ ﻗﻌﺮ ﺍﻟﺬﹼﺍﻛﺮﺓ‪ ،‬ﻓﺈﻧّﻬﺎ ﺗﺴﺘﺤﻴﻞ ﺇﱃ‬
‫ﺗﻨﺴﻠﻚ ﰲ ﻫﻴﺌﺔ ﺟﺴﺪﺍﻧﻴّﺔ؛ ﻭﺑﻌﺪ ﺃﻥ ﺗﻜﻮﻥ ﻗﺪ ﻧُﻮ ِﺩَﻳ ْ‬
‫ﺫﻛﺮﻳﺎﺕ ﺻﻮﺭ ﻓﺘﻨﺴﻠﻚ ﰲ ﳐﻄﹼﻂ ﺣﺮﻛ ّﻲ ﻭﺗﺼﺒﺢ ﻋﻨﺪﺋﺬ ﻭﺍﻗﻌﺔ ﻓﻌّﺎﻟﺔ‪ ،‬ﺃﻱ ﺻﻮﺭﺓ‪ .‬ﻭﻬﺑﺬﺍ‬
‫ﺍﳌﻌﲎ " ﻓﺈ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﺣﺎﻝ ﺣﺎﺿﺮﺓ ﻭﻻ ﳝﻜﻨﻬﺎ ﺍﳌﺸﺎﺭﻛﺔ ﰲ ﺍﳌﺎﺿﻲ ﺇ ﹼﻻ ﺑﻄﺮﻳﻖ ﺍﻟﺬﹼﻛﺮﻯ‬
‫ﺍﻟﹼﱵ ﻛﺎﻧﺖ ﻗﺪ ﺧﺮﺟﺖ ﻣﻨﻬﺎ " ﻭﻗﺪ ﺃﻛﹼﺪ ﺑﺎﺭﺟﺲ ﻋﻠﻰ ﻋﻤﻞ ﺍﳊﺮﻛﺔ؛ ﻭ ﺑﻴّﻦ ﺃ ﹼﻥ ﻛ ﹼﻞ ﺻﻮﺭﺓ‬
‫ﺑﺼﺮﻳّﺔ ﺃﻭ ﲰﻌﻴّﺔ‪ ،‬ﻭﻏﲑ ﺫﻟﻚ‪ ،‬ﻓﻬﻲ ﻣﻘﺘﺮﻧﺔ ﺃﺑﺪﺍ ِﺑ ُﻤ ْﺒَﺘﺪَﺃ ﻣﻦ ﺍﳊﺮﻛﺎﺕ‪ ،‬ﻭﺍﺑﺘﺪﺍﻉ ﳌﺨﻄﹼﻄﺎﺕ‬
‫ﺣﺮﻛﻴّﺔ‪ .‬ﻓﻠﻮ ﺃﺧﺬﻧﺎ ﻬﺑﺬﻩ ﺍﻟﻨّﻈﺮّﻳﺔ‪ ،‬ﻓﺴﻮﻑ ﺗﻈﻬﺮ ﺍﻟﺼّﻮﺭﺓ ﺑﻨﺤﻮ ﺑﻨﺎﺀ ﺣﺎﺿﺮ‪ ،‬ﻭﺑﻨﺤﻮ ﺍﻟﻮﻋﻲ‬
‫ﻬﺑﻴﺌﺔ ﻣﺎ ﲢﺪّﺩﻫﺎ ﲢﺪﻳﺪﺍ ﺣﺎﺿﺮﺍ ﺣﺮﻛﺎﺕ ﺍﳉﺴﺪ‪ .‬ﻭﻣﻦ ﺫﻟﻚ ﻓﺴﻴﻠﺰﻡ ﺃﻣﺮﺍﻥ ﺍﺛﻨﺎﻥ‪ :‬ﻓﺄﻭّﻻ ﻟﻦ‬
‫ﻳﻜﻮﻥ ﻫﻨﺎﻙ ﺷﻲﺀ ﺍﻟﺒﺘّﺔ ﻣﻦ ﺷﺄﻧﻪ ﺃ ﹼﻥ ﻳﻔﺮﺯ ﺍﻟﺼّﻮﺭﺓ ﻣﻦ ﺍﻹﺩﺭﺍﻙ ﺍﻟﹼﺬﻱ ﻫﻮ ﺃﻳﻀﺎ ﻫﻴﺌﺔ ﺣﺎﺿﺮﺓ‪،‬‬
‫ﻭﺍﻟﺼّﻮﺭﺓ ﺳﻮﻑ ﺗﻜﻮﻥ ﻣﺜﻠﻬﺎ ﻣﺜﻞ ﺍﻹﺩﺭﺍﻙ ﻋﻤﻼ ﻭﻟﻴﺲ ﻣﻌﺮﻓﺔ ؛ ﻭِﺑﹶﺄ َﺧ َﺮﺓٍ‪ ،‬ﻓﺈ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻟﻦ‬
‫ﺗﻜﻮﻥ ﺫﻛﺮﻯ ﻭﺇﻧّﻤﺎ ﺧﻠﻘﺎ ﺟﺪﻳﺪﺍ ﻳﺘﺤﺪّﺩ ﲝﺴﺐ ﺍﳍﻴﺌﺎﺕ ﺍﻟﹼﱵ ﻣﺎ ﺗﻔﺘﺄ ﺗﺘﺠﺪّﺩ ﻟﻠﺠﺴﺪ‪.‬‬

‫ﻭﻟﻜﻦ‪ ،‬ﺇﻥ ﻛﺎﻥ ﺑﺎﺭﺟﺲ ﻗﺪ ﻋﺮّﻑ ﺍﻟﻮﻋﻲ ﺗﻌﺮﻳﻔﺎ ﺣﻴﺎﺗﻴّﺎ‪ ،‬ﺑﻨﺤﻮ ﻓﻌﻠﻴّﺔ ﺗﻨﺸﺄ ﻣﻦ ﺍﳍﻴﺌﺔ‬
‫ﺍﳉﺴﺪﺍﻧﻴّﺔ‪ ،‬ﻓﺎﻟﻮﻋﻲ ﻫﻮ ﺃﻳﻀﺎ‪ ،‬ﻟﺪﻳﻪ‪ ،‬ﺫﻟﻚ ﺍﻟﺒﻌﺪ ﺍﻟﹼﺬﻱ ﻳﻔﺼﻞ ﺍﻟﻌﻤﻞ ﻣﻦ ﺍﻟﻮﺟﻮﺩ ﺍﻟﻔﺎﻋﻞ‪،‬‬
‫ﻭﺗﻠﻚ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺍﻟﻔﺮﺍﺭ ﻣﻦ ﺍﳊﺎﺿﺮ ﻭﺍﳉﺴﺪ‪ ،‬ﺃﻱ ﻫﻮ ﺍﻟﺬﹼﺍﻛﺮﺓ‪ .‬ﻭﻣﻦ ﻫﻨﺎ ﻛﺎﻧﺖ ﺍﻟﻮﺟﻬﺔ‬
‫ﺍﻟﺜﹼﺎﻧﻴﺔ ﰲ ﻧﻈﺮﻳّﺘﻪ ﰲ ﺍﻟﺼّﻮﺭ ‪ :‬ﺇ ﹼﻥ ﺍﻟﺬﹼﻛﺮﻯ ﻟﻴﺴﺖ ﻓﺤﺴﺐ ﻣُﻮﻋَﻰ ﻬﺑﺎ ﻣﻦ ﺣﻴﺚ ﻫﻲ ﺣﺎﺿﺮﺓ‪،‬‬
‫ﺑﻞ ﻭﻣﻦ ﺣﻴﺚ ﻫﻲ ﻣﺎﺽ ﻛﺬﻟﻚ‪ .‬ﻓﻤﻦ ﺃﺟﻞ ﺫﻟﻚ ﻛﺎﻥ ﺑﺎﺭﺟﺴﻦ ﻗﺪ ﻗﺒﻞ‪ ،‬ﻛﻤﺎ ﻗﺪ ﺭﺃﻳﻨﺎ‪ ،‬ﰲ‬
‫ﻣﻘﺎﻟﺘﻪ " ﺗﺬﻛﹼﺮ ﺍﳊﺎﺿﺮ"‪ ،‬ﺑﺄﻧّﻪ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﺍﻟﹼﺬﻱ ﻧﺪﺭﻙ ﻓﻴﻪ ﻣﻮﺿﻮﻋﺎ‪ ،‬ﻓﻴﻤﻜﻨﻨﺎ ﺃﻥ ﳕﻠﻚ‬
‫ﻋﻨﻪ ﺫﻛﺮﻯ‪ ،‬ﻭﻫﻮ ﻣﺎﻳﻔﺴّﺮ ﺗﻠﻚ ﺍﻟﻈﹼﺎﻫﺮﺓ ﺍﳌﻌﺮﻭﻓﺔ ﺑﺎﻟﻨّﺴﻴﺎﻥ ﺍﳌﺴﺎﻭﻕ ﻭﺣﻴﻨﺌﺬ‪ ،‬ﻓﺈ ﹼﻥ ﻓﻌﻠﻴّﺔ‬
‫ﺍﻟﺬﹼﻛﺮﻯ‪ ،‬ﻟﻴﺲ ﻣﻦ ﺷﻚّ‪ ،‬ﻻ ﻳﻜﻮﻥ ﳛﺪّﺩﻫﺎ ﺍﳉﺴﺪ‪ ،‬ﻷ ﹼﻥ ﺍﻟﺘّﻤﺜﹼﻞ ﺍﻟﹼﺬﻱ ﻳﻨﺸﺄ ﻣﻦ ﺍﳍﻴﺌﺔ‬

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‫ﺹ ﳚﻌﻠﻬﺎ‬
‫ﺴﻤﱠﻰ ﺑﺎﻹﺩﺭﺍﻙ‪ .‬ﻓﺎﻟﺬﹼﻛﺮﻯ ﲤﻠﻚ ﻫﺎﻫﻨﺎ ﻭﻋﻲ ﺧﺎ ّ‬
‫ﺍﳉﺴﺪﺍﻧﻴّﺔ ﺍﳌﺘﻌ ﹼﻠﻘﺔ ﺑﺎﳌﻮﺿﻮﻉ ﺇﻧّﻤﺎ ُﺗ َ‬
‫ﺃﻫﻼ ﻷﻥ ﺗﻜﻮﻥ ﺣﺎﺿﺮﺓ ﺑﻨﺤﻮ ﺍﻟﺬﹼﻛﺮﻯ‪ ،‬ﺃﻣّﺎ ﺍﻹﺩﺭﺍﻙ ﻓﻬﻮ ﺣﺎﺿﺮ ﺑﻨﺤﻮ ﺍﻹﺩﺭﺍﻙ‪.‬‬

‫ﺼ ٍﻞ‪ :‬ﻭﺇﻧّﻤﺎ‬
‫ﺤ ﱠ‬
‫ﻭﻣﻦ ﻫﻨﺎ‪ ،‬ﻓﺈ ﹼﻥ ﺍﳉﺴﺪ ﻻ ﻳﻈﻬﺮ ﻋﻠﻰ ﺃﻧّﻪ ﺫﻭ ﻏﻨﺎﺀ ﻟﻠﺬﹼﻛﺮﻯ ﻋﻠﻰ ﳓﻮ ﻣُ َ‬
‫ﹸﻗﺼَﺎﺭَﻯ ﻣﺎ ُﻳﺮَﺍ ُﺩ ﻣﻨﻪ ﻫﻮ ﺃﻥ ﻻ ﻳﻌﻴﻖ ﺍﻟﺬﹼﻛﺮﻯ ﻣﻦ ﺍﻟﻈﹼﻬﻮﺭ‪ ،‬ﻭﱂ ﻳﻌﺪ ﺍﻷﻣﺮ ﻳﺘﻌﻠﹼﻖ ﺑﺎﻧﺴﻼﻙ‬
‫ﺍﻟﺬﹼﻛﺮﻯ ﰲ ﺍﳉﺴﺪ‪ ،‬ﺑﻞ ﺇﻧّﻤﺎ ﻳﺘﻌﻠﹼﻖ ﺑﺄﻥ ﻧﻠﻐﻲ ﺍﳉﺴﺪ‪ ،‬ﺑﻮﺟﻪ ﻣﺎ‪ ،‬ﻛﻤﺎ ﳛﺼﻞ ﺫﻟﻚ ﰲ ﺍﻟﻨّﻮﻡ‬
‫ﻱ ﻭﻓﺮﺓ ﻣﻦ‬
‫ﱯ‪ .‬ﻓﺎﳊﻠﻢ‪ ،‬ﻭﻇﺎﻫﺮﺍﺕ ﺍﻟﺬﹼﺍﻛﺮﺓ ﺍﳌﻔﺮﻃﺔ ﻟﺘﺮﻳﻨﺎ ﺃ ّ‬
‫ﺣﻴﺚ ﻳﻀﻌﻒ ﺗﻮﺗّﺮ ﺍﳉﻬﺎﺯ ﺍﻟﻌﺼ ّ‬
‫ﺍﻟﺘﻮﻫّﻤﺎﺕ ﳝﻜﻦ ﺃﻥ ﺗﻠﺤﻖ ﻣﺜﻞ ﺫﻟﻚ ﺍﻹﻓﻨﺎﺀ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟ ّﻲ‪.‬‬

‫ﻭﻟﻜﻦ‪ ،‬ﻟﻮ ﺻﺢّ‪ ،‬ﻋﻠﻰ ﻣﺎ ﺗﺮﺍﻩ ﻫﺬﻩ ﺍﻟﻨّﻈﺮﻳّﺔ ﺑﺄ ﹼﻥ ﺍﻟﻮﻋﻲ ﻫﻮ ﻣﻮﺻﻮﻝ ﺑﻼ ﺗﻮﺳّﻂ ﺑﺎﻟﺮّﻭﺡ‪،‬‬
‫ﻓﺈ ﹼﻥ ﻗﺪﺭﺓ ﺍﳉﺴﺪ ﻋﻠﻰ ﺻﺮﻑ ﻭﻋﻲ ﺍﻟﺬﹼﻫﻦ ﻭﺟﻌﻠﻪ ﻣﻠﺘﺒﺴﺎ ﺑﺎﻟﻌﻤﻞ ﺗﺼﺒﺢ ﳑﺘﻨﻌﺔ ﻋﻦ ﺍﻟﻔﻬﻢ؛ ﺇﺫ‬
‫ﻟﺴﻨﺎ ﻧﺮﻯ ﻣﺎ ﺍﻟﺸّﻲﺀ ﺍﻟﹼﺬﻯ ﻋﺴﺎﻩ ﺃﻥ ﳝﻨﻊ ﺍﻟﺼّﻮﺭ ﺍﻟﺬﹼﻛﺮﻳﺎﺕ ﻣﻦ ﺃﻥ ﺗﻜﻮﻥ ﺃﺑﺪﺍ ﻭﺍﻋﻴﺔ‪.‬‬

‫ﻓﻤﻦ ﺃﺟﻞ ﺫﻟﻚ ﻛﺎﻥ ﺑﺎﺭﺟﺴﻦ‪ ،‬ﻛﻤﺎ ﻛﻨّﺎ ﻗﺪ ﺭﺃﻳﻨﺎ‪ ،‬ﻗﺪ ﺍﺣﺘﻔﻆ ﺑﺎﻟﻨّﻈﺮﻳّﺘﲔ ﻣﻌﺎ‪ :‬ﺇﻧّﻪ ﺍﳉﺴﺪ‬
‫ﺍﻟﹼﺬﻱ ﳚﻌﻞ ﺍﻟﺬﹼﻛﺮﻯ ﺫﺍﺕ ﻓﻌﻠﻴّﺔ‪ ،‬ﻭﺍﻟﹼﺬﻱ ﳜﺮﺟﻪ ﺇﱃ ﺍﻟﻮﻋﻲ ﺍﻟﺒﻴّﻦ ـ ﻭﻫﻮ ﺃﻳﻀﺎ ﺍﻟﺬﹼﻛﺮﻯ ﺍﻟﹼﱵ‬
‫ﻼ ﻭﺍﻋﻴﺎ‪ .‬ﻓﻜﻴﻒ ﻟﻴﺖ ﺷﻌﺮﻱ‬
‫ﺷﺄﻬﻧﺎ ﺃﻥ ﲡﻌﻞ ﻣﻦ ﺍﻹﺩﺭﺍﻙ ﺍﻟﹼﺬﻱ ﻫﻮ ﳎﺮّﺩ ﳐﻄﹼﻂ ﺣﺮﻛﻲّ‪َ ،‬ﺗ َﻤﱡﺜ ﹰ‬
‫ﻋﺴﻰ ﺃﻥ ﳛﺼﻞ ﻣﺜﻞ ﻫﺬﺍ ﺍﻟﻮﺻﻞ‪ ،‬ﺑﺎﳊﻘﻴﻘﺔ ؟‬
‫ﺇ ﹼﻥ ﺍﻹﺩﺭﺍﻙ‪ ،‬ﺃﻱ ﺍﻟﻌﻤﻞ ﺍﳊﺎﺿﺮ ﻳﺒﺪﻉ ﺍﳌﺨﻄﹼﻂ ﺍﳊﺮﻛﻲّ؛ ﻭﻟﻜﻦ ﻣﺎ ﻳُ َﻌﱢﻴﻦُ ﺫﻛﺮﻯ ﻣﺎ‬
‫ﻟﻼﻧﺴﻼﻙ ﻓﻴﻪ‪ ،‬ﺇﻧّﻤﺎ ﻫﻮ ﺿﺮﺏ ﻣﻦ ﺍﻟﻘﻮّﺓ ﺗﻨﺘﺴﺐ ﺑﺎﻻﺧﺘﺼﺎﺹ ﻟﺘﻠﻚ ﺍﻟﺬﹼﻛﺮﻯ‪ :‬ﻭﻣﻊ ﺃ ﹼﻥ ﺗﻠﻚ‬
‫ﺍﻟﺬﹼﻛﺮﻯ ﱂ ﺗﻜﻦ ﻓﻌّﺎﻟﺔ‪ ،‬ﻓﺈ ﹼﻥ ﺑﺎﺭﺟﺴﻦ ﻗﺪ َﻋ ﱠﺪ ﺃﻧّﻪ ﳍﺎ ﻣﻴﻮﻻﺕ ﻭﻗﻮﻯ ﺳﺤﺮﻳّﺔ ﻛﻘﻮﻯ ﺍﳉﺬﺏ‬
‫ﺍﻟﹼﱵ ﻛﺎﻥ ﻳﻌﺪّﻫﺎ ﻫﻴﻮﻡ ﻟﻠﺼّﻮﺭ‪ .‬ﻓﺎﻟﺼّﻮﺭ‪ ،‬ﻋﻨﺪ ﺑﺎﺭﺟﺴﻦ‪ ،‬ﻫﻲ َﺗﺮُﻭ ُﻡ ﻣﻦ ﺃﺟﻞ ﺃﻥ " ﺗﻨﺪﻓﻊ ﺇﱃ‬
‫ﺍﻟﻨّﻮﺭ ﺍﻟﻜﺎﻣﻞ " ﻭﻻ ﺑ ّﺪ ﻣﻦ ﻋﻨﺎﺀ ﺣﺘّﻰ " ﻧﻜﺒﺢ ﻇﻬﻮﺭﻫﺎ "‪ .‬ﻭﻛﻠﹼﻤﺎ ﻋﺮﺽ ﺍﺳﺘﺮﺧﺎﺀ‪ ،‬ﻓﺈ ﹼﻥ "‬
‫ﺍﻟﺬﹼﻛﺮﻳﺎﺕ ﺍﻟﺜﹼﺎﺑﺘﺔ‪ ،‬ﻭﻗﺪ ﺃﺣﺴّﺖ ﺃﻧّﻪ ﻗﺪ ﺭُ ِﻓ َﻊ ﻋﻨﻬﺎ ﺍﳊﺠﺎﺏ ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﻳﺒﻘﻴﻬﺎ ﲢﺖ ﺍﻟﻮﻋﻲ‪،‬‬

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‫ﻓﺈﻧّﻬﺎ ﺗﺄﺧﺬ ﰲ ﺍﳊﺮﻛﺔ "‪ ...‬ﺇﻧّﻤﺎ ﻫﻮ ﹶﻟﺒِﻄﺮﻳﻖ ﺗﻮﺗّﺮ ﺣﻘﻴﻘ ّﻲ ﻛﺎﻥ ﺍﳉﺴﺪ ﻳﺼ ّﺪ ﻇﻬﻮﺭ ﳎﻤﻮﻉ‬
‫ﺍﻟﺬﹼﻛﺮﻳﺎﺕ ﺍﻟﹼﱵ ﺗﺮﻭﻡ ﺃﻥ ﺗﻮﺟﺪ ﻛﻠﹼﻬﺎ‪ ،‬ﻭﺍﻟﹼﱵ ﻫﻲ ﻣﻦ ﺟﻬﺔ ﺍﳊ ّﻖ ‪en droit‬‬
‫ﻟﻴﻤﻜﻨﻬﺎ ﺫﻟﻚ‪ .‬ﻭﻟﻜﻦ ﻫﺬﻩ ﺍﻻﺳﺘﻌﺎﺭﺍﺕ ﻫﻲ ﰲ ﺃﻗ ﹼﻞ ﻣﺎ ﻧﻘﻮﻝ ﻋﻨﻬﺎ ﺇﻧّﻬﺎ ﻟﺴﻘﻴﻤﺔ‪ .‬ﺇﺫ ﻣﺎ‬
‫ﺳﻴﻜﻮﻥ ِﺇﺫﹰﺍ ﻣﺎ ﺍﻋﺘﱪﻧﺎﻩ ﺃﻭّﻻ ﻟﻠﺠﺴﻢ ﻣﻦ ﺃﻧّﻪ ﻳﺪﺧﻞ ﺑﻨﺤﻮ ﺍﻟﺸّﺎﺷﺔ ﻭﺍﻟﻌﺎﻛﺲ ؟ ﻭﻣﺎﺫﺍ ﻋﺴﻰ‬
‫ﺸِﺒﻪُ‬
‫ﺃﻥ ﻳﺒﻘﻰ ﻣﻦ ﺃﻣﺮ ﺍﻟﺘّﻌﺮﻳﻒ ﺍﳌﺸﻬﻮﺭ‪ " :‬ﺍﻟﻼﹼﻭﻋﻲ ﻫﻮ ﺍﻟﻼﹼﻓﺎﻋﻞ " )‪ (٢٣‬؟ ﺇﻥ ﺑﺎﺭﺟﺴﻦ ﻳُ ْ‬
‫ﺃﻧّﻪ ﻛﺎﻥ ﻗﺪ ﻧﺴﻲ ﺫﻟﻚ ﳌﹼﺎ ﻗﺪ ﺃﺧﺬ ﰲ ﻭﺻﻔﻪ " ﺷﻄﺤﺎﺕ " ﺍﻟﺬﹼﻛﺮﻳﺎﺕ‪.‬‬

‫ﻭﺃﻳﻀﺎ‪ ،‬ﻣﻦ ﺃﻳﻦ ﻛﺎﻥ ﻗﺪ ﺗﺄﺗّﻰ ﻟﻠ ﹼﺬﻛﺮﻳﺎﺕ ﺷﻬﻮﻬﺗﺎ ﰲ ﺃﻥ ﺗﻮﺟﺪ ﺍﻟﻮﺟﻮﺩ ﺍﻟﻔﻌﻠ ّﻲ ؟‬
‫ﻓﺎﳌﺎﺿﻲ‪ ،‬ﺣﺴﺐ ﺑﺎﺭﺟﺴﻦ‪ ،‬ﻫﻮ ﺣﻘﻴﻘﻲّ‪ ،‬ﻋﻠﻰ ﺍﻷﻗﻞﹼ‪ ،‬ﺑﻨﻔﺲ ﻗﻮّﺓ ﺍﳊﺎﺿﺮ ﺍﻟﹼﺬﻱ ﻣﺎ ﻫﻮ ﺇ ﹼﻻ‬
‫ﻬﻧﺎﻳﺘﻪ)‪(24‬؛ ﻓﺎﻟﺘّﻤﺜﹼﻞ ﺍﻟﻼﹼﻭﺍﻋﻲ ﻫﻮ ﻳﻮﺟﺪ ﲤﺎﻡ ﺍﻟﻮﺟﻮﺩ ﻣﺜﻠﻪ ﻣﺜﻞ ﺍﻟﺘّﻤﺜﹼﻞ ﺍﻟﻮﺍﻋﻲ؛ ﻓﻤﻦ ﺃﻳﻦ‬
‫ﺗﺄﺗّﻰ ﻟﻪ ﺇﺫﺍ ﻫﺬﺍ ﺍﻟﺘّﻬﺎﻓﺖ ﻣﻦ ﺃﺟﻞ ﺍﻟﺘّﺠﺴّﻢ ﰲ ﺟﺴﺪ ﻫﻮ ﺫﻭ ﻃﺒﻴﻌﺔ ﻏﺮﻳﺒﺔ ﻋﻨﻪ‪ ،‬ﻭﺍﻟﹼﺬﻱ ﻫﻮ ﻻ‬
‫ﻳﻔﺘﻘﺮ ﺇﻟﻴﻪ ﺍﻟﺒﺘّﺔ ﻣﻦ ﺃﺟﻞ ﺃﻥ ﻳﻮﺟﺪ ؟ ﻭﻣﺎ ﺑﺎﻝ ﺍﻟﺬﹼﻛﺮﻳﺎﺕ‪َ ،‬ﻣﻜﹶﺎ ﹶﻥ ﺃﻥ ﺗﻜﻮﻥ ﻋﺎﻃﻠﺔ ﻭﺍﻷﻣﺮ‬
‫ﺴَﺘﻮٍ‪ ،‬ﻓﻘﺪ ﻛﺎﻧﺖ " ﻣﺘﺄﻫّﺒﺔ‪ ...‬ﻭﻳﺸﺒﻪ ﺃﻥ ﺗﻜﻮﻥ ﻣﺘﺮﺻّﺪﺓ ؟ " ﻭﻋﻠﻰ ﺍﻟﻌﻤﻮﻡ‪ ،‬ﻓﺄﻥ‬
‫ﻋﻨﺪﻫﺎ ُﻣ ْ‬
‫ﺨ ﹶﻠ َﻊ ﻋﻠﻰ ﻋﻨﺎﺻﺮ ﻏﲑ ﻣﺘّﺼﻠﺔ‪ ،‬ﻭﻋﻠﻰ ﳏﺘﻮﻳﺎﺕ ﻭﻋﻲ ﻛﻨّﺎ ﰲ ﺍﻷﻭّﻝ ﻗﺪ ﻓﺼﻠﻨﺎﻫﺎ ﻛ ﹼﻞ ﺍﻟﻔﺼﻞ‬
‫ﻳُ ْ‬
‫ﻋﻦ ﺍﻟﻮﻋﻲ ﺍﻟﻜ ﹼﻠﻲّ‪ ،‬ﻧﺸﺎﻃﺎ ﻣﻨﻈﻮﺭﺍ ﺇﻟﻴﻪ ﺑﻨﺤﻮ ﳕﻂ ﻣﻦ ﺍﻟﻔﻌﻞ ﺍﻟﺮّﻭﺣﻲّ‪ ،‬ﻓﺈ ﹼﻥ ﺫﻟﻚ‪ ،‬ﻟﺴﻘﻮﻁ ﰲ‬
‫ﺍﺗّﺨﺎﺫ ﻣﻔﺎﻫﻴﻢ ﻓﻴﺰﻳﺎﺋﻴّﺔ ﺳﺤﺮﻳّﺔ ﻋﻠﻰ ﻏﺎﻳﺔ ﻣﻦ ﺍﻟﺸّﻨﺎﻋﺔ‪.‬‬
‫ﻭﻻ ﻫﻮ ﺃﻳﻀﺎ ﻃﺒﻴﻌﺔ ﺫﻟﻚ ﺍﻟﻨّﺪﺍﺀ ﺍﻟﹼﺬﻱ ﻳﺒﻌﺚ ﺑﻪ ﺍﻹﺩﺭﺍﻙ ﻟﻠﺬﹼﻛﺮﻯ ﻫﻮ ﺑﺒﻴّﻦ‪ .‬ﻓﺎﻹﺩﺭﺍﻙ‬
‫ﻼ ﻭﺇﻧّﻤﺎ ﳐﻄﹼﻄﺎ ﺣﺮﻛﻴّﺎ‪ ،‬ﻭﻫﺬﺍ ﺍﳌﺨﻄﹼﻂ ﺇﻧّﻤﺎ ﻳﻠﺘﻤﺲ ﻟﺘﺄﺳﻴﺲ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﹼﱵ ﺷﺄﻬﻧﺎ‬
‫ﻟﻴﺲ ﻫﻮ َﺗ َﻤﱡﺜ ﹰ‬
‫ﺃﻥ ﺗﻠﺘﺒﺲ ﺑﺎﻹﺩﺭﺍﻙ‪ .‬ﻭﻟﻜﻦ‪ ،‬ﻭﻫﻨﺎ ﺃﻳﻀﺎ‪ ،‬ﻓﻤﺎ __ﺑﺎﻝ ﺍﻹﺩﺭﺍﻙ ﺍﻟﹼﺬﻱ ﻫﻮ ﺑﺎﻟﻄﹼﺒﻊ ﻓﻌﻞ ﻭﻟﻴﺲ‬
‫ﺑﺘﺄﻣّﻞ‪ ،‬ﺇﻧّﻤﺎ ﻳﺮﻭﻡ ﺃﻥ ﻳﻨﻘﻠﺐ ﺇﱃ َﺗ َﻤﱡﺜ ٍﻞ‪ .‬ﻭﻻ ﺳﻴّﻤﺎ‪ ،‬ﻓﻠﻮ ﻛﺎﻥ ﺍﻹﺩﺭﺍﻙ ﻟﻴﺲ ﺑﺘﻤﺜﹼﻞ‪ ،‬ﻭﻟﻮ ﻛﺎﻧﺖ‬
‫ﻼ ﻟﻺﺩﺭﺍﻙ ﺑﺎﻟﺘّﻤﺎﻡ‪ ،‬ﻓﻤﻦ ﺃﻳﻦ ﻟﻴﺖ ﺷﻌﺮﻱ ﻋﺴﻰ‬
‫ﺍﻟﺬﹼﻛﺮﻯ ﺇﻧّﻤﺎ ﻫﻲ ﻟﻴﺴﺖ ﺇ ﹼﻻ ﻧﺴﺨﺔ ﻭﻇ ﹼ‬
‫ﻟﻠﺘّﻤﺜﹼﻞ ﺃﻥ ﻳﻨﺒﺠﺲ؟ ﻗﺎﻝ ﺑﺎﺭﺟﺴﻦ " ﺇﻧّﻬﺎ ﺍﻟﺬﹼﻛﺮﻯ ﺍﻟﹼﱵ ﲡﻌﻠﻨﺎ ﻧﺮﻯ ﻭﻧﺴﻤﻊ‪ .‬ﻭﺍﻹﺩﺭﺍﻙ ﻟﻴﺲ‬
‫ﻣﻦ ﻣﻘﺪﻭﺭﻩ ﺃﻥ ﻳﺴﺘﺤﻀﺮ ﺍﻟﺬﹼﻛﺮﻯ ﺍﻟﺸّﺒﻴﻬﺔ ﺑﻪ‪ " .‬ﺇﺫ ﺃﻧّﻪ ﻳﻨﺒﻐﻲ ﺃﻥ ﻳﻜﻮﻥ َﺑ ْﻌﺪُ ﻗﺪ ﺍﺗّﺨﺬ‬

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‫ﺤ ﹶﻘ ﹰﺔ ﺇﱃ ﺿﺮﺏ‬
‫ﺷﻜﻼ‪ :‬ﻭﻟﻜ ّﻦ ﺍﻟﺸّﻜﻞ ﻻ ﻳﺘﺄﺗّﻰ ﺇ ﹼﻻ ﻣﻦ ﺍﻟﺬﹼﻛﺮﻯ‪ .‬ﻭﺍﻹﺩﺭﺍﻙ ﻫﻮ ﺍﻟﺼّﻮﺭﺓ ﻣُ ﹾﻠ َ‬
‫ﻣﻦ ﺍﳍﻴﺌﺔ ﺍﳉﺴﺪﺍﻧﻴّﺔ؛ ﻭﻫﺬﻩ ﺍﳍﻴﺌﺔ ﺗﻜﻮﻥ ﺃﻭّﻻ ﻋﺎﻣّﺔ ﺟﺪّﺍ ﻭﻻ ﺗﺘﺒﻊ ﺇ ﹼﻻ ﻋﻦ ﲢﺪﻳﺪﺍﺕ ﺟ ّﺪ‬
‫ﺧﺎﺭﺟﻴّﺔ ﻟﻠﻤﻮﺿﻮﻉ؛ ﻭﻫﻲ ﺇﻧّﻤﺎ ﺑﻄﺮﻳﻖ ﺍﻟﺬﹼﻛﺮﻯ ﻫﻲ ﺗﺰﺩﺍﺩ ﻋﻤﻘﺎ ﻭ ﺗﻈﻔﺮ ﺑﺪﻻﻟﺔ‪ .‬ﺃﻣّﺎ ﻣﻦ ﺃﻳﻦ‬
‫ﻫﺬﻩ ﺍﻷﺷﻜﺎﻝ ﺍﻷﻭﱃ ﻭﺍﻟ ّﺪﻻﻻﺕ ﺍﻷﻭﱃ ﻋﺴﺎﻫﺎ ﺃﻥ ﺗﺘﺄﺗّﻰ‪ ،‬ﻓﺬﻟﻚ ﻣﺎ ﱂ ﻳﺒﻴّﻨﻪ ﺑﺎﺭﺟﺴﻦ ﰲ‬
‫ﺢ ﻛﻤﺎ ﻗﺪ ﺃﻓﺎﺽ ﺑﺎﺭﺟﺴﻦ ﺍﻟﻘﻮﻝ ﻓﻴﻪ ﰲ ﻣﺼﻨّﻔﻪ ﺍﳌﺎﺩّﺓ‬
‫ﻣﻮﺿﻊ ﻣﻦ ﺍﳌﻮﺍﺿﻊ‪ .‬ﹼﰒ ﺇﻧّﻪ ﻟﻮ ﺻ ّ‬
‫ﻭﺍﻟﺬﹼﺍﻛﺮﺓ " ﺃﻥ ﻧﺪﺭﻙ ﻫﻮ ﺃﻥ ﻧﺘﺬﻛﹼﺮ " ﻣﻊ ﺍﻋﺘﺒﺎﺭ ﻣﻌﲎ ﺍﻹﺩﺭﺍﻙ ﻫﻨﺎ ﻻ ﺑﻨﺤﻮ ﺍﻹﺩﺭﺍﻙ‬
‫ﺍﳋﺎﻟﺺ)‪ ،(٢٥‬ﻭﺇﻧّﻤﺎ ﺑﻨﺤﻮ ﺍﻟﺘّﻤﺜﹼﻞ ﰲ ﺍﳊﺎﺿﺮ‪ ،‬ﻓﺴﻮﻑ ﳚﺐ ﺃﻥ ﻧﻘﺒﻞ ﺑﻮﺍﺣﺪ ﻣﻦ ﺍﻷﻣﺮﻳﻦ ‪:‬‬
‫ﺇﻣّﺎ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻋﻠﻰ ﺿ ّﺪ ﻣﺎ ﺳﺒﻖ ﺍﻟﻘﻮﻝ ﺑﻪ‪ ،‬ﻫﻲ ﻻ ﲢﻤﻞ ﻣﻌﻬﺎ ﻋﻼﻣﺔ ﺃﺻﻠﻬﺎ ﺍﳌﺎﺿﻲ ﺑﻞ‬
‫ُﺗ ْﻌﻄﹶﻰ ﺑﻨﺤﻮ ﺍﳊﺎﺿﺮـ ﻭﺇﻣّﺎ ﺃ ﹼﻥ ﺍﻹﺩﺭﺍﻙ ﻫﻮ ﺑﺎﻻﺿﻄﺮﺍﺭ ﺇﻧّﻤﺎ ُﻳ ْﻌﻄﹶﻰ ﺑﻨﺤﻮ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﻘﺎﺩﻣﺔ ﻣﻦ‬
‫ﺍﳌﺎﺿﻲ‪ .‬ﻭﻫﺎﻫﻨﺎ ﺃﻳﻀﺎ ﻧﺮﻯ ﻛﻴﻒ ﺃﻧّﻪ ﻣﺎ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺬﹼﻛﺮﻯ ﺍﻟﹼﱵ ﻫﻲ ﻗﻄﻌﺔ ﻣﻦ ﺍﳌﺎﺿﻲ‬
‫ﻣﺘﺠﺴّﻤﺔ ﰲ ﳐﻄﹼﻂ ﺣﺮﻛ ّﻲ ﺣﺎﺿﺮ‪ ،‬ﻭﺍﻹﺩﺭﺍﻙ ﺍﻟﹼﺬﻱ ﻫﻮ ﳐﻄﹼﻂ ﺣﺮﻛ ّﻲ ﺣﺎﺿﺮ ﺣﻴﺚ ﺗﺘﺠﺴّﻢ‬
‫ﺫﻛﺮﻯ ﻣﺎﺿﻴﺔ‪ ،‬ﻟﺴﻨﺎ ﻧﺼﻴﺐ ﻣﻦ ﻓﺮﻕ ﺣﻘﻴﻘ ّﻲ‪ .‬ﻭﺃﻳ‪‬ﺎ ﻛﺎﻧﺖ ﺟﻬﻮﺩ ﺑﺎﺭﺟﺴﻦ‪ ،‬ﻓﻬﻮ ﻗﺪ ﺃﺧﻔﻖ‬
‫ﰲ ﺃ ﹼﻥ ﻳﻔﺮّﻕ ﺑﻴﻨﻬﻤﺎ‪ ،‬ﻭﺇﻧّﻤﺎ ﻟﻨﻠﻔﻰ ﰲ ﺻﻤﻴﻢ ﻧﻈﺮﻳّﺎﺗﻪ ﺍ ﹸﳌ َﻤ ﱢﻮ َﻫﺔِ‪ ،‬ﻧﻔﺲ ﺇﺛﺒﺎﺕ ﺃﻫﻞ ﺍﳋﱪﻳّﺔ ‪ :‬ﺃﻱ‬
‫ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ ﻻ ﳜﺘﻠﻔﺎﻥ ﺑﺎﻟﻄﹼﺒﻴﻌﺔ ﻭﺇﻧّﻤﺎ ﻓﻘﻂ ﺑﺎﻟﺪّﺭﺟﺔ‪ .‬ﻭﻣﻦ ﻫﻬﻨﺎ‪ ،‬ﻓﺒﺎﺭﺟﺴﻦ ﺑﻌﺪﻣﺎ‬
‫ﺃﻥ ﻣﻴّﺰ ﺩﻗﻴﻖ ﺍﻟﺘّﻤﻴﻴﺰ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ ﻣﻦ ﺟﻬﺔ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﺎ‪ ،‬ﻓﺈﻧّﻪ ﻗﺪ ﺃﹸ ْﺟِﺒ َﺮ ﻷﻥ ﳜﻠﻂ‬
‫ﺑﻴﻨﻬﺎ ﻣﻦ ﺟﻬﺔ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ‪.‬‬

‫ﻱ ﻓﻌﻞ ﳝﻜﻦ ﺃﻥ ﻳﻜﻮﻥ ﻟﻠﺼّﻮﺭﺓ ﺍﻟﺬﹼﻛﺮﻯ ﰲ ﺣﻴﺎﺓ ﺍﻟﻔﻜﺮ‪ .‬ﻟﻘﺪ ﺳﻠﻒ ﺃﻥ‬
‫ﻓﺒﻘﻲ ﺃﻥ ﻧﺒﻴّﻦ ﺃ ّ‬
‫ﺭﺃﻳﻨﺎ ﺃ ﹼﻥ ﺑﺎﺭﺟﺴﻦ ﻛﺎﻥ ﻗﺪ ﺍﺿﻄ ّﺮ ﻷﻥ ﻳﺘﺼﻮّﺭ ﻫﺬﺍ ﺍﻟﻔﻌﻞ ﻋﻠﻰ ﻃﺮﻳﻘﺔ ﺃﻫﻞ ﺍﻟﺘّﺮﺍﺑﻂ‪ ،‬ﹼﰒ ﺭﺃﻳﻨﺎ‬
‫ﻱ َﺷ ْﻲﺀٌ‪ .‬ﺻﺤﻴﺢ ﺃ ﹼﻥ ﺑﺎﺭﺟﺴﻦ‬
‫ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻟﺪﻳﻪ ﻛﻤﺎ ﻟﺪﻯ ﻫﺆﻻﺀ ﺇﻧّﻤﺎ ﻫﻲ ﻋﻨﺼﺮ ﺟﺎﻣﺪ‪ ،‬ﹶﺃ ْ‬
‫ﻛﺎﻥ ﻗﺪ ﺣﺎﺭﺏ ﺃﻳّﻤﺎ ﳏﺎﺭﺑﺔ ﺍﻟﺘّﺼﻮّﺭ ﺍﻟﺘّﺮﺍﺑﻄ ّﻲ‪ .‬ﺇ ﹼﻻ ﺃﻧّﻪ ﱂ ﻳﻜﻦ ﻗﺪ ﻓﻬﻢ ﺃ ﹼﻥ ﺍﻟﺘّﺮﺍﺑﻄﻴّﺔ ﺇﻧّﻤﺎ ﻳﻜﻮﻥ‬
‫ﳍﺎ ﺃﺑﺪﺍ ﺍﻟﻈﹼﻔﺮ ﻋﻠﻰ ﻛ ﹼﻞ َﻣ ْﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﻘﺒﻞ ﲟﺼﺎﺩﺭﻬﺗﺎ ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﺷﻲﺀ‪ ،‬ﻭﻟﻮ ﻛﺎﻥ ﳑّﻦ‬
‫ﻳﻀﻊ ﺑﺈﺯﺍﺀ ﺫﻟﻚ ﺍﻟﺸﻲّﺀ ﻭﺟﻮﺩ ﺍﻟﻔﻜﺮ‪ .‬ﻭﻫﻮ ﱂ ﻳﻨﺘﺒﻪ ﻷ ﹼﻥ ﺍﻟﺴّﺒﻴﻞ ﺍﻟﻮﺣﻴﺪ ﻷﻥ ﻧﻘﻄﻊ ﺩﺍﺑﺮ‬

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‫ﺫﻟﻚ ﺍﳌﺬﻫﺐ ﺍﳌﺘﻮﺳّﻊ ﺇﻧّﻤﺎ ﻳﻜﻮﻥ ﺑﺎﻟﺮّﺟﻮﻉ ﺇﱃ ﺍﻟﺼّﻮﺭﺓ ﻧﻔﺴﻬﺎ ﻭﺑﺄﻥ ﻧﱪﻫﻦ ﺃﻧّﻬﺎ ﺇﻧّﻤﺎ ﻫﻲ‬
‫ﲣﺘﻠﻒ ﺑﺎﻟﺬﹼﺍﺕ ﻋﻦ ﺍﳌﻮﺿﻮﻉ‪ .‬ﻓﻬﻮ ﺇﺫﻥ ﻗﺪ ﹶﺃ ﹶﻻ ﹶﻥ ﻣﻔﻬﻮﻡ ﺍﻟﻮﻋﻲ‪ ،‬ﻭﺭﺍﻡ ﻷﻥ ﳜﻠﻊ ﻋﻠﻴﻬﺎ‬
‫ﺍﻟﺴّﻴﻮﻟﺔ ﻭﺍﻟﻌﻔﻮﻳّﺔ‪ ،‬ﻭﺍﳊﻴﺎﺓ‪ .‬ﻭﻟﻜﻦ ﻋﺒﺜﺎ ﻣﺎ ﺻﻨﻊ‪ :‬ﻓﻠﻘﺪ ﺃﺑﻘﻰ ﰲ ﺻﻠﺐ ﺍﻟﺪّﳝﻮﻣﺔ ﺍﶈﻀﺔ‪،‬‬
‫ﺗﻠﻜﻢ ﺍﻟﺼّﻮﺭ ﺍﻟﻌﺎﻃﻠﺔ‪ ،‬ﻭﻛﺄﻧّﻬﺎ ﺣﻄﺎﻡ ﺳﻔﻦ ﰲ ﻗﻌﺮ ﺍﻟﻴ ّﻢ‪ .‬ﻭﺍﻟﻜ ﹼﻞ ﻳﻨﺒﻐﻲ ﺍﻟﺒﺪﺃ ﻓﻴﻪ ﻣﻦ ﺟﺪﻳﺪ‪.‬‬

‫ﺾ ﺃﻭّﻻ ﻋﻠﻰ‬
‫ﻭﻫﺬﺍ ﻻ ﻳﻌﲏ ﺃﻧّﻨﺎ ﻻ ﳒﺪ ﻧﻘﺪﺍ ﺷﺪﻳﺪﺍ ﻟﻠﺘّﺮﺍﺑﻄﻴّﺔ ﰲ ﻣﺼﻨّﻔﺎﺗﻪ‪ .‬ﻓﻬﻮ ﻗﺪ ﺍﻧﻘ ّ‬
‫ﺠ ﱠﺮ ِﺩﻫَﺎ‬
‫ﰐ ﺍﻟﺘّﺸﺎﺑﻪ ﻭﺍﻟﺘّﻼﺻﻖ ﲟﺎ ﳘﺎ ﻣﻔﻬﻮﻣﺘﺎﻥ ﺑﻨﺤﻮ ﺍﻟﻘﻮﻯ ﺍﻟ ﹼﻠﻴّﻨﺔ‪ :‬ﹶﻓِﺒ َﺰ ْﻋ ِﻤ ِﻪ ﺇ ﹼﻥ ﺍﻟﺼّﻮﺭ ِﺑ ُﻤ َ‬
‫ﻓﻜﺮ ﹼ‬
‫ﻻ ﲤﻠﻚ ﻗﺪﺭﺓ ﺳﺤﺮﻳّﺔ ﲡﺬﺏ ﻬﺑﺎ ﺑﻌﻀﻬﺎ ﺍﻟﺒﻌﺾ‪ :‬ﺑﻞ ﺍﻟﺘﺂﻣﻬﺎ ﻣﻌﺎ ﺇﻧّﻤﺎ ﺗﺴﺘﻔﻴﺪﻩ ﻣﻦ ﺍﻟﻔﻌﻞ‬
‫ﺍﻟﹼﺬﻱ ﺗﻨﺴﻠﻚ ﻓﻴﻪ‪ ،‬ﺃﻭ ﻣﻦ ﺍﳉﺴﺪ ؛ ﻭﻛ ﹼﻞ ﺇﺩﺭﺍﻙ ﻓﻬﻮ ﳝﺘ ّﺪ ﺇﱃ ﺍﻧﻔﻌﺎﻻﺕ ﺣﺮﻛﻴّﺔ ﺗﺴﺘﻌﻤﻞ‬
‫ﺁﻟﻴﺎﺕ ﺣﺮﻛﻴّﺔ ﺗﻜﻮﻥ ﺃﻧﺸﺄﻬﺗﺎ ﺇﺩﺭﺍﻛﺎﺕ ﻣﺸﺎﻬﺑﺔ‪ ،‬ﻭﻫﺬﻩ ﺍﻻﻧﻔﻌﺎﻻﺕ ﲢﺪﺙ ﺍﻧﻔﻌﺎﻻﺕ ﺃﺧﺮﻯ‬
‫ﻛﺎﻧﺖ ﻣﻮﺻﻮﻟﺔ ﻬﺑﺎ ﻓﻴﻤﺎ ﺳﺒﻖ‪ ،‬ﻭﻫﻠ ّﻢ ﺟﺮّﺍ ‪ :‬ﻓﺬﻟﻚ ﻣﺎ ﻫﻮ ﺇﺫﺍ ﻳﻨﺒﻮﻉ ﻋﻼﻗﺎﺕ ﺍﻟﺘّﺸﺎﺑﻪ‬
‫ﻭﺍﻟﺘّﻼﺻﻖ ﺍﻟﹼﱵ ﻫﻲ ﺑﺬﻟﻚ ﺇﻧّﻤﺎ ﺗﺮﺗ ّﺪ ﺇﱃ ﺍﺭﺗﺒﺎﻃﺎﺕ ﺁﻟﻴّﺔ ﺗﻨﺘﺴﺐ ﻟﻠﺠﺴﺪ ﻭﻟﺬﺍﻛﺮﺓ ﺍﳉﺴﺪ ﺃﻭ‬
‫ﻟﻠﺬﹼﺍﻛﺮﺓ ﺍﻟﻌﺎﺩﺓ‪ .‬ﻭﺃﻳﻀﺎ ﺍﻟﻔﻜﺮﺓ ﺍﻟﻌﺎﻣّﺔ ﻟﻴﺴﺖ ﻫﻲ ﺃﺛﺮﺍ ﻟﺘﺮﺍﻛﻢ ﻣﻦ ﺍﻟﺼّﻮﺭ ﺍﻟﻔﺮﺩﻳّﺔ؛ ﺑﻞ ﻫﻲ‬
‫ﺵ ﻣﻦ ﻗﺒﻞ ﺃﻥ ُﺗﺘَﻌ ﱠﻘ ﹸﻞ ؛ ﺇﻧّﻬﺎ ﻋﻠﻰ ﺍﻟﺘّﺤﺼﻴﻞ ﺍﻧﻔﻌﺎﻝ ﻋﻠﻰ ﺍﳉﻤﻠﺔ ﳊﺎﻟﺔ ﻛ ﹼﻠﻴّﺔ‪ ،‬ﻭﻫﻮ ﺇﻧّﻤﺎ‬
‫ُﺗﻌَﺎ ُ‬
‫ﺍﳌﺸﺎﻬﺑﺔ ﺑﲔ ﺍﻻﻧﻔﻌﺎﻻﺕ ﺍﳌﺘﻨﺎﺳﺒﺔ ﻣﻊ ﺷﺘّﻰ ﺍﳊﺎﻻﺕ ﳑّﺎ ﻳﺆﺳّﺲ ﻋﻤﻮﻣﻴّﺘﻬﺎ‪ .‬ﻓﺎﻟﺬﹼﻫﻦ ِﺇﺫﹰﺍ ﻻ‬
‫ﻳﺸﺮﻉ ﺑﺄﻥ ﻳﻜﻮّﻥ ﺻﻮﺭﺍ ﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﺄﺗﻠﻒ ﻓﻴﻤﺎ ﺑﻌﺪ ﺣﺘّﻰ ُﺗ ْﻌﻄِﻲ ﻣﻔﺎﻫﻴﻢ ﻭﺍﺭﺗﺒﺎﻃﺎﺕ‬
‫ﳐﺼﻮﺻﺔ؛ ﺑﻞ ﺍﻹﺩﺭﺍﻙ ﺇﻧّﻤﺎ ﻳﻌﻄﻴﻨﺎ ﺗﺄﻟﻴﻔﺎﺕ ﻟﻴﺴﺖ ﺗﻨﺤ ﹼﻞ ﺇﱃ ﺻﻮﺭ ﺇ ﹼﻻ ِﺑَﺘﹶﺄ ﱡﺧ ٍﺮ‪:‬‬

‫" ﻓﺎﻟﺘّﺮﺍﺑﻂ ِﺇﺫﹰﺍ ﻟﻴﺲ ﺑﺄﻣﺮ ﺃ ّﻭﱄﹼ‪ ،‬ﻭﻫﻮ ﺑﺎﻟﺘّﻔﻜﻴﻚ ﺇﻧّﻤﺎ ﻧﺒﺪﺃ‪ ،‬ﻭ ﻣﻴﻞ ﻛ ﹼﻞ ﺫﻛﺮﻯ ﻷﻥ‬
‫ﺗﻀ ّﻢ ﺇﻟﻴﻬﺎ ﻏﲑﻫﺎ‪ ،‬ﻓﺈﻧّﻤﺎ ﺳﺒﺒﻪ ﻋﻮﺩﺓ ﺍﻟﺬﹼﻫﻦ ﺑﻄﺒﻌﻪ ﺇﱃ ﻭﺣﺪﺓ ﺍﻹﺩﺭﺍﻙ ﺍﻟﻼﹼﻣﺘﺠﺰّﺋﺔ) ﻥ("‪.‬‬

‫ﻭﻟﻜﻦ ﻛﻴﻒ ﳝﻜﻦ ﺃﻥ ﲢﺼﻞ ﻣﺜﻞ ﺗﻠﻚ ﺍﻟﺘّﺠﺰﺋﺔ ؟ ﻓﺎﻟﺴّﺆﺍﻝ ﻟﹶﻌﻈﻴﻢ‪ ،‬ﻷ ﹼﻥ ﺑﺎﺭﺟﺴﻦ ﻛﺎﻥ‬
‫ﻳﺮﻯ ﺣﻴﺎﺓ ﺍﻟﺬﹼﻫﻦ ﺑﺄﻧّﻬﺎ ﺗﺘﺮﻧّﺢ ﺑﲔ ﻗﻄﺒﲔ ﺍﺛﻨﲔ‪ :‬ﻗﻄﺐ ﺍﻹﺩﺭﺍﻙ ﺍﻟﺘّﺄﻟﻴﻔ ّﻲ ﺍﻟﹼﺬﻱ ﻳﻌﺮّﻑ ﺍﳊﺎﺿﺮ‪،‬‬

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‫ﻭﻗﻄﺐ ﺗﻮﺟﺪ ﻓﻴﻪ ﺍﻟﺼّﻮﺭ ﻛ ﹼﻞ ﻭﺍﺣﺪﺓ ﺧﺎﺭﺟﺔ ﻋﻦ ﺍﻷﺧﺮﻯ؛ ﻭﺇ ﹼﻥ ﺍﻟﻔﻬﻢ ﻭﺍﻻﺧﺘﺮﺍﻉ ﻭﺍﻟﺘّﺬﻛﹼﺮ‬
‫ﻭﺑﺎﳉﻤﻠﺔ‪ ،‬ﺍﻟﺘّﻌﻘﹼﻞ‪ ،‬ﺇﻧّﻤﺎ ﻫﻮ ﺃﺑﺪﺍ ﺍﻟﺴّﻌﻲ ﻣﻦ ﻗﻄﺐ ﻵﺧﺮ‪ ،‬ﻣﺘﻨﻘﹼﻼ ﺑﲔ ﻣﺮﺍﺗﺐ ﻣﺘﻮﺳّﻄﺔ‪ ،‬ﺗﻜﻮﻥ‬
‫ﺃﻗ ﹼﻞ ﻛﺜﺎﻓﺔ ﻣﻦ ﺍﻷﻭﱃ‪ ،‬ﻭﺃﻗ ﹼﻞ ﲤﻄﹼﻂ ﻣﻦ ﺍﻟﺜﹼﺎﻧﻴﺔ؛ ﻓﺄﻥ ﻳﻌﻴﺶ ﺍﻟﺬﹼﻫﻦ‪ ،‬ﻟﻴﺲ ﻫﻮ ﺑﺄﻥ ﻳﺼﻞ ﺑﲔ‬
‫ﻂ ﳏﺘﻮﻯ ﻣﺎ ﺗﺄﻟﻴﻔﻴّﺎ ُﻳ ْﻌﻄﹶﻰ ﹶﺃَﺑﺪًﺍ ﰲ ﲤﺎﻣﻪ‪ .‬ﻓﻠﻴﺖ‬
‫ﺞ ﺃﻭ ﻳُ َﻤ ﱢﻄ ﹶ‬
‫ﺸﱢﻨ َ‬
‫ﻋﻨﺎﺻﺮ ﻣﻨﻔﺼﻠﺔ‪ ،‬ﻭﺇﻧّﻤﺎ ﺑﺄﻥ ﻳُ َ‬
‫ﺷﻌﺮﻱ ﻣﻦ ﺃﻳﻦ ِﺇﺫﹰﺍ ﻛﺎﻧﺖ ﺗﻠﻚ ﺍﳌﺮﺍﺗﺐ ﺍﳌﺨﺘﻠﻔﺔ ﻣﻦ ﺍﻟﻮﻋﻲ ﻣﻮﺟﻮﺩﺓ‪ ،‬ﻭﻻ ﺳﻴّﻤﺎ‪ ،‬ﻛﻴﻒ ﺃﻣﻜﻦ‬
‫ﺃﻥ ﳜﺮﺝ ﺍﳌﺎﺿﻲ ﺃﻭ ﺍﳊﻠﻢ ﻣﻦ ﺍﻟﻌﻤﻞ ؟‬

‫ﺇ ﹼﻥ ﺍﻟﻌﻼﻗﺔ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ ﻗﺪ ﻇﻬﺮﺕ ﻣﻦ ﻫﺬﺍ ﺍﻟﻮﺻﻒ ﻭﻛﺄﻧّﻬﺎ ﲣﺘﻠﻒ ﻏﺎﻳﺔ‬

‫ﺍﻻﺧﺘﻼﻑ ﻋﻦ ﺍﻟﻌﻼﻗﺔ ﺍﻟﹼﱵ ﻛﻨّﺎ ﺭﺃﻳﻨﺎﻫﺎ ﻓﻴﻤﺎ ﻣﻀﻰ‪ .‬ﻓﺎﻟﺼّﻮﺭﺓ ﻛﺎﻧﺖ ﺗﻼﺯﻡ ﺍﻹﺩﺭﺍﻙ ﻛﻈﻠﹼﻪ‪،‬‬
‫ﺑﻞ ﻛﺎﻧﺖ ﺍﻹﺩﺭﺍﻙ ﻧﻔﺴﻪ‪ ،‬ﻭﻗﺪ ﻬﺗﺎﻭﻯ ﰲ ﺍﳌﺎﺿﻲ‪ ،‬ﻭﻫﻲ ﻛﺎﻧﺖ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺸّﻲﺀ ﻭﻫﻲ ُﻣ ْﻨﺤَﺎﺯٌ‬
‫ﻬﺑﺎ ﻓﻘﻂ ﻋﻦ ﳏﻴﻄﻬﺎ ﺣﺘّﻰ ﺗﻨﻘﻠﺐ ﺇﱃ ﺻﻮﺭﺓ ﻟﻮﺣﺔ‪ :‬ﺃﻣّﺎ ﺍﻵﻥ‪ ،‬ﻓﺒﺎﻟﻀﺪّ‪ ،‬ﻓﻴﺸﺒﻪ ﺃﻥ ﻳﻜﻮﻥ‬
‫ﺍﻹﺩﺭﺍﻙ ﺇﻧّﻤﺎ ﻳﺘﻀﻤّﻦ ﻋﻠﻰ ﺟﻬﺔ ﺍﻟﺘّﺄﻟﻴﻒ ﻛﺜﺮﺓ ﻣﻦ ﺍﻟﺼّﻮﺭ ﺷﺄﻬﻧﺎ ﺃﻥ ﳜﻠﻊ ﻋﻠﻴﻬﺎ ﺗﻮﺗّﺮ ﺍﳉﺴﺪ‬
‫ﻭﺣﺪﺓ ﻻ ﻣﺘﺠﺰّﺃﺓ‪ ،‬ﺇ ﹼﻻ ﺃﻧّﻬﺎ ﻣﺎ ﺗﻠﺒﺚ ﺃﻥ ﺗﺘﺸﺘّﺖ ﻛﻠﹼﻤﺎ ﺗﺮﺍﺧﻰ ﺍﳉﺴﺪ‪.‬‬
‫ﻭﺫﻟﻚ‪ ،‬ﻛﻤﺎ ﻛﻨّﺎ ﻗﺪ ﺭﺃﻳﻨﺎ‪ ،‬ﻷ ﹼﻥ ﻭﻇﻴﻔﺔ ﺍﻟﺼّﻮﺭﺓ ﰲ ﺍﻹﺩﺭﺍﻙ ﱂ ﺗﻜﻦ ﺍﻟﺒﺘّﺔ ﺑﺒﻴّﻨﺔ؛ ﻓﻠﺴﻨﺎ‬
‫ﻧﻌﻠﻢ ﻣﻦ ﺃﻳﻦ ﺗﻨﺸﺄ‪ ،‬ﻋﻠﻰ ﺭﺃﻱ ﺑﺎﺭﺟﺴﻦ‪ ،‬ﺍﻟﺘّﻤﺜﹼﻼﺕ ﺍﻷﻭّﻟﻴّﺔ‪ .‬ﻓﻔﻲ ﻛ ﹼﻞ ﺇﺩﺭﺍﻙ ﻣﺮﻛﹼﺐ ﺗﻨﺴﻠﻚ‬
‫ﻛﺜﺮﺓ ﻣﻦ ﺍﻟﺼّﻮﺭ ﺗﻜﻮﻥ ﺍﻧﺒﺠﺴﺖ ﻣﻦ ﺍﻟﻼﹼﻭﻋﻲ‪ ،‬ﻭﺗُ ﹶﻜ ﱢﻮﻥﹸ ﻣﻌﺎ‪ ،‬ﺍﻟﺼّﻮﺭ ﺍﻹﺩﺭﺍﻙ ﻭﺍﻟﺼّﻮﺭ‬
‫ﺍﻟﺬﹼﻛﺮﻯ‪ .‬ﻓﺒﻨﻮﻉ ﻣﺎ ِﺇﺫﹰﺍ‪ ،‬ﺇﻧّﻤﺎ ﻫﻨﺎﻙ ﰲ ﺇﺩﺭﺍﻙ ﻭﺍﺣﺪ‪ ،‬ﻛﺜﺮﺓ ﻣﻦ ﺍﻟﺼّﻮﺭ‪ .‬ﺳﻮﻯ ﺃﻧّﻪ‪ ،‬ﻟﻮ ﻧُ ِﻈ َﺮ‬
‫ﺇﱃ ﺍﻟﺼّﻮﺭﺓ ﺍﻹﺩﺭﺍﻙ ﻋﻠﻰ ﺃﻧّﻬﺎ ﻭﺣﺪﺓ ﻻ ﺗﺘﺠﺰّﺃ‪ ،‬ﻓﺴﻴﻠﺰﻡ ﺃﻥ ﻳُ ْﻨ ﹶﻈ َﺮ ﺇﱃ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺬﹼﻛﺮﻯ‬
‫ﺍﳌﻨﺎﺳﺒﺔ ﳍﺎ ﻋﻠﻰ ﺃﻧّﻬﺎ ﻭﺣﺪﺓ ﺃﻳﻀﺎ ؛ ﻭﺑﺎﻟﻌﻜﺲ‪ ،‬ﻓﻠﻮ ﻧُ ِﻈ َﺮ ﺇﱃ ﺍﻟﺜﹼﺎﻧﻴﺔ ﻋﻠﻰ ﺃﻧّﻬﺎ ﻣﺮّﻛﺒﺔ‪ ،‬ﻓﺴﻴﻠﺰﻡ‬
‫ﻱ ﺃﻥ ﺗﻜﻮﻥ ﺍﻟﺼّﻮﺭ ﺍﻷﻭّﻟﻴّﺔ ﻋﻠﻰ‬
‫ﳊ ِﺮ ﱢ‬
‫ﺃﻥ ﻳُ ْﻨ ﹶﻈ َﺮ ﺇﱃ ﺍﻹﺩﺭﺍﻙ ﻧﻔﺴﻪ ﻋﻠﻰ ﺃﻧّﻪ ﻣﺮﻛﹼﺐ‪ .‬ﻭ ﹶﻛ ْﻢ ﺑِﺎ ﹶ‬
‫ﺍﻟﺘّﻤﺎﻡ ﺫﺍﺕ ﻧﻔﺲ ﺍﶈﺘﻮﻯ ﻭﻧﻔﺲ ﺍﻟﻜﺜﺎﻓﺔ ﺍﻟﹼﱵ ﻟﻺﺩﺭﺍﻛﺎﺕ ﺍﻷﻭّﻟﻴّﺔ‪.‬‬

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‫ﻱ ﻣﻌﲎ‪ ،‬ﻋﺴﻰ ﺃﻥ ﻳﻜﻮﻥ ﳍﺬﻩ ﺍﻷﻟﻔﺎﻅ‪ " ،‬ﺍﻟﺘّﺠﺰﺋﺔ "‪ ،‬ﻭ " ﺍﳋﺎﺭﺟﻴّﺔ "‪ ،‬ﻭ‬
‫ﹼﰒ ﺃ ّ‬
‫"ﺍﻟﺘّﻔﻜﻴﻚ"‪ ،‬ﻋﻨﺪ ﺑﺎﺭﺟﺴﻦ‪ ،‬ﻭﻫﻮ ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﻗﺪ ﺑﺴﻂ ﺍﻟﺒﻴﺎﻥ ﰲ ﺃ ﹼﻥ ﺣﻴﺎﺓ ﺍﻟﻔﻜﺮ ﻟﻴﺲ ﳚﻮﺯ‬
‫ﺗﺄﻭﻳﻠﻬﺎ ﺑﺎﺳﺘﻌﺎﺭﺍﺕ ﻣﻜﺎﻧﻴّﺔ ﺍﻟﺒﺘّﺔ ؟ ﻭﺇﻥ ﻫﻮ ﻗﺪ ﺍﺿﻄ ّﺮ ﻻﺳﺘﻌﻤﺎﳍﺎ‪ ،‬ﻓﺬﻟﻚ ﺃﻭّﻻ ﻷﻧّﻪ ﻛﺎﻥ ﻋﻠﻰ‬
‫ﺑﻴّﻨﺔ ﺃ ﹼﻥ ﺍﻟﻮﻋﻲ‪ ،‬ﰲ ﻛ ﹼﻞ ﺁﻥ‪ ،‬ﻫﻮ ﻭﺣﺪﺓ‪ ،‬ﻭﻟﻜﻦ ﺛﺎﻧﻴﺎ‪ ،‬ﻓﺈ ﹼﻥ ﻧﻈﺮﻳّﺘﻪ ﺍﻟﻮﺍﻗﻌﻴّﺔ ﰲ ﺍﻟﺬﹼﺍﻛﺮﺓ ﻗﺪ‬
‫ﻼ‬
‫ﺃﺟﱪﺗﻪ ﻷﻥ ﳜﻠﻊ ﻋﻠﻰ ﻣﻮﺍﺿﻴﻊ ﺍﻟﻼﹼﻭﻋﻲ ﻧﻔﺲ ﺍﻧﻔﺼﺎﻟﻴّﺔ ﻭﻛﺜﺮﺓ ﻣﻮﺍﺿﻴﻊ ﺍﻟﻌﺎﱂ ﺍﳌﺎﺩّﻱ َﻣﹶﺜ ﹰ‬
‫ِﺑ ِﻤ ﹾﺜ ٍﻞ‪ .‬ﻭﳌﹼﺎ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﺎﻩ ﻛﺎﻧﺖ ﺗﻘﺘﻀﻲ ﺃﻥ ﻳﻜﻮﻥ ﺫﻟﻚ ﺍﻟﻼﹼﻭﻋﻲ‪ ،‬ﺃﻭ ﺫﻟﻚ ﺍﳌﺨﺰﻥ ﻣﻦ ﺍﻟﺼّﻮﺭ‬
‫ﺍﳌﻨﺤﺎﺯﺓ ﺣﺎﺿﺮﺍ ﺃﺑﺪﺍ ﺣﻀﻮﺭﺍ ﺣﻘﻴﻘﻴّﺎ ﰲ ﺍﻟﺬﹼﻫﻦ‪ ،‬ﻓﻘﺪ ﺍﻣﺘﻨﻊ ِﺇﺫﹰﺍ ﻋﻠﻰ ﺍﻟﻮﻋﻲ ﺃﻥ ﻳﺘﻨﻮّﻉ ﺇ ﹼﻻ‬
‫ﺑﻄﺮﻳﻖ ﺍﻷﳕﺎﻁ ﺍﳌﺨﺘﻠﻔﺔ ﻣﻦ ﺍﻟﻮﺣﺪﺍﺕ ﺍﻟﹼﱵ ﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﳜﻠﻌﻬﺎ ﻋﻠﻰ ﺫﻟﻚ ﺍﻟﻮﺍﻗﻊ ﺍﳌﺘﻜﺜﹼﺮ‪.‬‬
‫ﻭﻣﻦ ﻫﻨﺎ ﻣﺎ ﻛﺎﻥ ﺍﻟﺘّﺸﺒﻴﻪ ﲟﺨﺘﻠﻒ ﺩﺭﺟﺎﺕ ﺗﻮﺗّﺮ ﺍﻟﻐﺎﺯ‪ ،‬ﺣﻴﺚ ﺃ ﹼﻥ ﻧﻔﺲ ﻛﻤّﻴﺔ ﺍﳍﺒﺎﺀﺍﺕ ﺭﺑّﻤﺎ‬
‫ﺿﻤّﺘﻬﺎ ﺃﺣﺠﺎﻡ ﺷﺘّﻰ؛ ﻭﻣﻦ ﻫﻨﺎ ﻣﺎ ﻛﺎﻧﺖ ﻧﻈﺮﻳّﺔ ﻣﺮﺍﺗﺐ ﺍﻟﻮﻋﻲ ﺍﳌﺨﺘﻠﻔﺔ‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﻣﺒﺪﺃ‬
‫ﻱ ﻏﺎﻳﺔ‬
‫ﻚ ﺑﺎﺭﺟﺴﻦ ﻳﺘﺼﻮّﺭﻩ ﺑﻨﻮﻉ ﻣﺎ ّﺩ ّ‬
‫ﺍﻟﺘّﺄﻟﻴﻒ ﺍﻟﻌﺰﻳﺰ ﺃﻳّﻤﺎ ﻋﺰّﺓ ﻋﻠﻰ ﻧﻔﺲ ﺑﺎﺭﺟﺴﻦ‪ ،‬ﻣﺎ ﺍﻧﻔ ّ‬
‫ﺍﳌﺎ ّﺩﻳّﺔ‪ :‬ﺻﺤﻴﺢ ﺃﻧّﻪ ﻣﻜﺎﻥ ﺍﻟﺘّﺸﺎﻓﻌﻴّﺔ ﺍﻟﻘﺪﳝﺔ ﻟﻠﻌﻨﺎﺻﺮ ﻓﻘﺪ ﺃﺻﺒﺢ ﻫﻨﺎﻙ ﺍﻧﺼﻬﺎﺭﻳّﺔ ﳍﺎ‪ .‬ﻟﻜﻦّ‪،‬‬
‫ﺤ ﹶﻔﻈﹰﺎ‪ .‬ﺇ ﹼﻥ ﺑﺎﺭﺟﺴﻦ ﻛﺎﻥ ﻗﺪ ﺳﻌﻰ ﻣﻦ ﺃﺟﻞ ﺃﻥ ﻳﺴﺘﺒﺪﻝ‬
‫ﺴَﺘ ْ‬
‫ﻟﻌﻤﺮﻱ‪ ،‬ﻓﻘﺪ ﺑﻘﻲ ﻣﺒﺪﺃ ﺍﻟﻌﻨﺎﺻﺮ ُﻣ ْ‬
‫ﱐ ﺍﳌﻨﺘﺴﺐ ﻟﻠﺪّﻳﻜﺎﺭﺗﻴّﺔ‪ ،‬ﺑﺮﻭﺣﺎﻧﻴّﺔ ‪ :‬ﻓﻠﻢ ﻳﻔﻠﺢ ﺇ ﹼﻻ ﰲ ﺍﺑﺘﻜﺎﺭ ﻭﳘﻴّﺔ‬
‫ﺍﳌﺒﺪﺃ ﺍﳍﻨﺪﺳ ّﻲ ﻭﺍﳌﻜﺎ ﹼ‬
‫ﻓﻴﺰﻳﻮﻟﻮﺟﻴّﺔ ﺫﺍﺕ ﺭﻭﺍﺑﻂ ﻫﻲ ﻏﺎﻟﺒﺎ ﻣﺎﻗﺒﻞ ﻣﻨﻄﻘﻴّﺔ‪.‬‬

‫ﻱ ﻣﻌﲎ ﻗﺪ ﻳﻜﻮﻥ ﳌﺜﻞ ﻫﺬﻩ ﺍﻻﻧﺼﻬﺎﺭﻳّﺔ ؟ ﻓﻬﻞ ﻛﺎﻥ ﻫﻨﺎﻙ ﺣﺪﻳﺚ ﰲ ﺍﻟﻨّﻈﺮﻳّﺔ‬
‫ﹼﰒ ﺃﻳﻀﺎ ﻓﺄ ّ‬
‫ﺍﻟﺴّﻴﻨﺘﻜﻴّﺔ ﻟﻠﻐﺎﺯﺍﺕ ﻋﻦ " ﺍﻧﺼﻬﺎﺭ" ﻟﻠﻬﺒﺎﺀﺍﺕ‪ .‬ﻭﺇﻥ ﻫﻮ ﳑﻜﻦ ﻟﻌﻨﺎﺻﺮ ﻏﺎﺯ ﻣﺎ ﺃﻥ ﺗﺸﻐﻞ‬
‫ﺣﺠﻤﺎ ﻣﺘﻐﻴّﺮﺍ‪ ،‬ﻓﺈﻧّﻤﺎ ﺫﻟﻚ ﻷﻧّﻨﺎ ﻧُ ْﻨ ِﻘﺾُ ﺍﻟﺒﻌﺪ ﺍﻟﹼﺬﻱ ﻳﻔﺼﻞ ﺑﻴﻨﻬﺎ ؛ ﻭﻟﻜﻨّﻪ ﻟﻴﺲ ﳝﻜﻨﻨﺎ ﺃﻥ‬
‫ﻱ ﺣ ّﻖ ﻛﺎﻥ ﻟﺘﻠﻚ ﺍﳍﺒﺎﺀﺍﺕ ﺍﻟﻨّﻔﺴﻴّﺔ‪ ،‬ﺃﻱ ﺍﻟﺼّﻮﺭ ﺍﻟﺒﺎﺭﺟﺴﻮﻧﻴّﺔ ﺃﻥ ﺗﻨﺼﻬﺮ ﰲ‬
‫ﳒﻌﻠﻬﺎ ﺗﺘﻨﺎﻓﺬ‪ .‬ﻓﺒﺄ ّ‬
‫ﺺ ﺑﻪ ﺍﻟﻮﻋﻲ ؟ ﻭﻟﻜﻨّﻨﺎ ِﻟﻤَﺎ ﻛﻨّﺎ ﻗﺪ‬
‫ﺗﺄﻟﻴﻒ ﻣﻮﺣّﺪ‪ .‬ﺃﻓﻨﻘﻮﻝ ﺃﻧّﻤﺎ ﻫﺬﺍ ﺍﻟﻨّﻤﻂ ﻣﻦ ﺍﻟﺘّﺄﻟﻴﻒ ﺇﻧّﻤﺎ ﳜﺘ ّ‬
‫ﺃﺳّﺴﻨﺎ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﺎ ﻭﺍﻗﻌﻴّﺔ ﰲ ﺍﻟﺬﹼﺍﻛﺮﺓ‪ ،‬ﻓﻨﺤﻦ ﻧﻜﻮﻥ ﻗﺪ ﻣﻨﻌﻨﺎ ﻋﻠﻰ ﺃﻧﻔﺴﻨﺎ ﺣ ّﻖ ﺍﳉﺰﻡ ﺑﺘﻠﻚ‬
‫ﺍﻟﻘﻮّﺓ ﺍﻟﺬﹼﺍﺗﻴّﺔ ﻟﻠﻨّﻔﺴ ّﻲ‪ .‬ﻓﺎﻟﺼّﻮﺭﺓ‪ِ ،‬ﺇﺫﹰﺍ‪ ،‬ﺇﻧّﻤﺎ ﺗﺒﻘﻰ ﺷﻴﺌﺎ‪ ،‬ﻭ ﺗﺒﻘﻰ ﻋﻨﺼﺮﺍ ﻣﺎ ﺟﺎﻣﺪﺍ؛ ﻭﺇﺫﺍ‬

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‫ﺍﻧﻀﻤّﺖ ﺇﱃ ﺻﻮﺭ ﻏﲑﻫﺎ‪ ،‬ﻓﻼ ﳝﻜﻨﻬﺎ ﺃﻥ ﺗﻨﺘﺞ ﺇ ﹼﻻ ﻋﻤﻼ ﻓﺴﻴﻔﺴﺎﺋﻴّﺎ‪ .‬ﻭﺣﻴﻨﻤﺎ ﻳﻜﻮﻥ ﺍﻟﺬﹼﻫﻦ‬
‫ﻳﺘﺤﺮّﻙ ﰲ ﻣﺮﺗﺒﺔ ﺍﻟﻮﻋﻲ‪ ،‬ﹶﺃﻳ‪‬ﺎ ﻛﺎﻥ ﺿﺮﺑﻪ‪ ،‬ﻓﻠﻴﺲ ﳝﻜﻦ ﺃﻥ ﺗﻨﺸﺄ ﺇ ﹼﻻ ﻋﻼﻗﺎﺕ ﺁﻟﻴّﺔ ﻛﺘﻠﻚ ﺍﻟﹼﱵ‬
‫ﻛﺎﻧﺖ ﻭﺻﻔﺘﻬﺎ ﺍﻟﺘّﺮﺍﺑﻄﻴّﺔ‪ .‬ﺑﻞ ﻫﻮ ﻟﻴﻮﺟﺪ ﻣﻨﻄﻘﺔ ﻛﺎﻣﻠﺔ ﻣﻦ ﺍﳊﻴﺎﺓ ﺍﻟﻨّﻔﺴﻴّﺔ‪ ،‬ﺃﻱ ﺗﻠﻚ ﺍﻟﹼﱵ‬
‫ﲰّﺎﻫﺎ ﺑﺎﺭﺟﺴﻦ ﺑﺎﳌﻨﻄﻘﺔ ﺍﻟﺴّﻔﻠﻰ ﺃﻭ ﺍﻵﻟﻴّﺔ‪ ،‬ﺣﻴﺚ ﺭﻭﺍﺑﻂ ﺍﻟﺼّﻮﺭ ﺑﻴﻨﻬﺎ‪ ،‬ﺑﺎﻋﺘﺮﺍﻑ ﺑﺎﺭﺟﺴﻦ‬
‫ﻧﻔﺴﻪ‪ ،‬ﺇﻧّﻤﺎ ﻫﻲ ﺭﻭﺍﺑﻂ ﳏﺾ ﺗﺮﺍﺑﻄﻴّﺔ‪ :‬ﺇﻧّﻬﺎ ﻣﻨﻄﻘﺔ ﺍﳊﻠﻢ ﻭﺍﻟﺸّﺮﻭﺩ‪.‬‬

‫ﻭﺍﻟﹼﺬﻱ ﳚﻌﻞ ﻋﻔﻮﻳّﺔ ﺍﻟﺬﹼﻫﻦ‪ ،‬ﻓﻬﻮ ﺇﻣﻜﺎﻧﻴّﺘﻪ ﺃﻥ ﳝ ّﺮ ﻣﻦ ﻣﺮﺗﺒﺔ ﺇﱃ ﺃﺧﺮﻯ‪ .‬ﻭﻫﺬﺍ ﺍﻻﻧﺘﻘﺎﻝ‬
‫ﳛﺼﻞ ﺑﻄﺮﻳﻖ ﻣﺎ ﻳﺴﻤﻴّﻪ ﺑﺎﺭﺟﺴﻦ ﺑﺎﳌﺨﻄﹼﻂ ﺍﻟﺪّﻳﻨﺎﻣﻴﻜ ّﻲ‪ .‬ﻓﺎﳌﺨﻄﹼﻂ ﻫﻮ ﻭﺣﺪﺓ‪ ،‬ﻭﻫﻮ ﺗﺄﻟﻴﻒ‬
‫ﳛﺘﻮﻱ ﻋﻠﻰ ﻗﻮﺍﻋﺪ ﺍﻧﺒﺴﺎﻃﻪ ﺇﱃ ﺻﻮﺭ‪ ،‬ﻭﻫﻮ ﳛﺘﻮﻱ " ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﻣﺎ ﻳﻨﺒﻐﻲ ﻓﻌﻠﻪ ﺣﺘّﻰ ُﻳﻌَﺎ َﺩ‬
‫ﺍﻧﺸﺎﺀ ﺍﻟﺼّﻮﺭ "‪ .‬ﺇﻧّﻪ " ﳛﺘﻮﻱ ﰲ ﻭﺿﻊ ﺍﻟﺘّﻼﺯﻡ ﺍﳌﺘﻌﺎﻛﺲ ﺍﻟﺸّﻲﺀ ﺍﻟﺬﹼﻱ ﺷﺄﻥ ﺍﻟﺼّﻮﺭﺓ ﺃﻥ‬
‫ﺗﺒﺴﻄﻪ ﰲ ﺃﺟﺰﺍﺀ ﺧﺎﺭﺟﺔ ﻋﻦ ﺑﻌﻀﻬﺎ ﺍﻟﺒﻌﺾ)ﻩ( "‬

‫ﻭﻗﺪ ﻧﻄﻠﻖ ﺍﻟﻌﻨﺎﻥ ﻟﻠﺬﹼﺍﻛﺮﺓ ﺗﺴﻌﻰ ﻋﻠﻰ ﻏﲑ ﻫﺪﻯ‪ :‬ﻓﺎﻟﺼّﻮﺭ ﺳﻮﻑ ﺗﺘﻌﺎﻗﺐ ﰲ ﻧﻔﺲ ﺍﳌﺮﺗﺒﺔ‬
‫ﻣﻦ ﺍﻟﻮﻋﻲ‪ ،‬ﻭﺳﻮﻑ ﺗﻜﻮﻥ ﻣﺘﺠﺎﻧﺴﺔ‪ .‬ﻭﻋﻠﻰ ﺍﻟﻀﺪّ‪ ،‬ﳚﻮﺯ " ﺃﻥ ﻧﻨﻈﺮ ﻣﻦ ﺟﺎﻧﺐ ﺗﻈﻬﺮ ﻓﻴﻪ‬
‫ﻛﺜﺮﺓ ﺍﻟﺼّﻮﺭ ﻭﻛﺄﻧّﻬﺎ ﺗﺘﻜﺜﹼﻒ ﰲ ﲤﺜﹼﻞ ﻭﺍﺣﺪ ﺑﺴﻴﻂ ﻭﻻ ﻣﺘﺠﺰّﺃ "‪ .‬ﺣﻴﻨﺌﺬ ﻓﺈ ﹼﻥ ﺍﻻﺳﺘﺤﻀﺎﺭ‬
‫ﺳﻮﻑ ﻳﻜﻮﻥ ﻋﺒﺎﺭﺓ ﻓﻘﻂ ﻋﻦ ﻧﺰﻭﻝ ﻣﻦ ﺍﳌﺨﻄﹼﻂ ﺇﱃ ﻣﺮﺗﺒﺔ ﺗﻜﻮﻥ ﻓﻴﻬﺎ ﺍﻟﺼّﻮﺭ ﻣﺘﺸﺬﹼﺑﺔ‪.‬‬
‫ﻓﺄﻥ ﻧﻔﻬﻢ ﻭﺃﻥ ﻧﺴﺘﺤﻀﺮ ﻭﺃﻥ ﻧﺒﺘﻜﺮ ﺇﻧّﻤﺎ ﻫﻮ ﺃﺑﺪﺍ ﺃﻥ ﻧﻜﻮّﻥ ﺃﻭّﻻ ﳐﻄﹼﻄﺎ‪ ،‬ﹼﰒ ﺃﻥ ﻧﱰﻝ ﻣﻦ‬
‫ﺍﳌﺨﻄﹼﻂ ﺇﱃ ﺍﻟﺼّﻮﺭﺓ ﻓﻨﻤﻸ ﺍﳌﺨﻄﹼﻂ ﺻﻮﺭﺍ‪ ،‬ﻭﻫﻮ ﻣﺎ ﻋﺴﺎﻩ ﺃﻳﻀﺎ ﺃﻥ ﻳﻀﻄﺮّﻧﺎ ﺇﱃ ﺃ ﹼﻥ ﻧﻐﻴّﺮ ﻣﻦ‬
‫ﺍﳌﺨﻄﹼﻂ ﰲ ﺃﺛﻨﺎﺀ ﲢﻘﹼﻘﻬﺎ‪ .‬ﻭﺑﺬﻟﻚ ﳝﻜﻦ ﺃﻥ ﻧﻔﺴّﺮ ﻭﺣﺪﺓ ﻭﺍﻧﺘﻈﺎﻣﻴّﺔ ﺍﻟﻔﻌﻞ ﺍﻟﺮّﻭﺣ ّﻲ ﺍﻟﹼﱵ ﳝﺘﻨﻊ‬
‫ﺑﻴﺎﻬﻧﺎ ﻟﻮ ُﻳ ْﺒَﺘ َﺪﺃﹸ‪ ،‬ﻋﻠﻰ ﺍﻟﻌﻜﺲ‪ ،‬ﻣﻦ ﻋﻨﺎﺻﺮ ﻣﻨﻔﺼﻠﺔ ؛ ﻓﺎﻟﻠﹼﻴﻮﻧﺔ ﻭﺍﳉﺪّﺓ ﺇﻧّﻤﺎ ﺗﺘﺄﺗّﻰ ﻣﻦ ﺍﳌﺨﻄﹼﻂ‪.‬‬
‫ﹼﰒ ﺍﻧﺘﻬﻰ ﺑﺎﺭﺟﺴﻦ ﺑﺎﻟﻘﻮﻝ‪:‬‬

‫ﲏ"‬
‫"ﻓﺈﱃ ﺟﺎﻧﺐ ﺁﻟﻴّﺔ ﺍﻟﺘّﺮﺍﺑﻂ‪ ،‬ﻓﺈﻧّﻪ ﺗﻮﺟﺪ ﺁﻟﻴّﺔ ﺍﳉﻬﺪ ﺍﻟﺬﹼﻫ ّ‬

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‫ﻭﺫﻟﻚ ﻣﺎ ﻳﻜﻔﻲ ﺃﻥ ﻳﺆﺭّﺥ ﺭﺃﻳﻪ‪ .‬ﺃﻓﻠﺴﻨﺎ ﻫﺎﻫﻨﺎ ﻭﻛﺄﻧّﻨﺎ ﺇﻧّﻤﺎ ﻧﻘﺮﺃ ﲨﻠﺔ ﻟﺮﻳﺒﻮ؟ ﻓﺒﺎﺭﺟﺴﻦ‬
‫ﻣﺜﻠﻪ ﻣﺜﻞ ﺭﻳﺒﻮ ﱂ ﻳﺘﺒﻴّﻦ ﺃﻧّﻪ ﳝﺘﻨﻊ ﺃﻥ ﻻ ﻧﻌﺘﱪ ﺍﻟﺘّﺮﺍﺑﻄﻴّﺔ‪ .‬ﻓﻠﻮ ﻛﻨّﺎ ﳑّﻦ ﻳﺮﺿﻰ ﺑﺘﺼﻮّﺭ ﺍﻟﺼّﻮﺭﺓ‬
‫ﺍﳉﺎﻣﺪﺓ ﻭﺑﺎﻟﺮّﻭﺍﺑﻂ ﺍﻵﻟﻴّﺔ‪ ،‬ﻭﻟﻮﻛﻨّﺎ ﳑّﻦ ﻳُ ْﺪ ِﺧﻞﹸ ﰲ ﺍﻟﻮﻋﻲ ﺍﻟﺜﹼﺨﻮﻧﺔ ﻭﻣﻘﺎﻭﻣﺔ ﺃﺟﻨﺒﻴّﺔ ﻋﻨﻪ‪ ،‬ﻭﻋﺎﱂ‬
‫" ﺍﻷﺷﻴﺎﺀ"‪ ،‬ﻓﺈﻧّﻪ ﺳﻴﺼﲑ ﳑﺘﻨﻌﺎ ﻋﻠﻴﻨﺎ ﺃﻥ ﻧﻔﻬﻢ ﻃﺒﻴﻌﺔ ﻭﺍﻗﻌﺔ ﺍﻟﻮﻋﻲ‪ .‬ﺇﺫ ﻛﻴﻒ ﳝﻜﻦ ﻟﻠﻮﻋﻲ ﺃﻥ‬
‫ﻳﺘﺼﺮّﻑ ﰲ ﻋﻨﺎﺻﺮ ﻏﺮﻳﺒﺔ ؟ ﺃﻭ‪ ،‬ﺑﻌﺒﺎﺭﺓ ﺑﺎﺭﺟﺴﻮﻧﻴّﺔ‪ ،‬ﻛﻴﻒ ﳝﻜﻦ ﻟﻠﻴﻮﻧﺔ ﺍﳌﺨﻄﹼﻂ ﺃﻥ ﺗﺘﻼﺀﻡ‬
‫ﻱ‪ .‬ﻟﻘﺪ ﻗﺎﻝ ﺑﺎﺭﺟﺴﻦ ﻋﻠﻰ ﳓﻮ‬
‫ﻣﻊ ﺻﻼﺑﺔ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻓﻬﺎﻫﻨﺎ ﺃﻳﻀﺎ ﺳﻮﻑ ﻳﻨﺒﻐﻲ ﺍﻟ ﱢﻠﻮَﺍ ﹸﺫ ﺑﺎﻟﺴّﺤﺮ ّ‬
‫ﺃﻳّﻤﺎ ﻣﺒﻬﻢ‪ ،‬ﺇ ﹼﻥ ﺑﲔ ﺍﳌﺨﻄﹼﻂ ﻭﺍﻟﺼّﻮﺭﺓ ﻫﻨﺎﻙ " ﲡﺎﺫﺏ ﻭﺗﻨﺎﻓﺮ "‪ .‬ﻭﻟﻜﻦ ﻫﻮ ﺑﻴّﻦ ﻭﺍﺿﺢ ﺍﻟﺒﻴﺎﻥ‬
‫ﺑﺄ ﹼﻥ ﺑﺎﺭﺟﺴﻦ ﻟﻴﺲ ﲟﺴﺘﻄﻴﻊ ﺃﻥ ﻳﻔﺴّﺮ ﺍﻻﻧﺘﻘﺎﺋﻴّﺔ ﺍﻟﺘّﻲ ﺗﻘﻮﻡ ﻬﺑﺎ ﺍﻟﺼّﻮﺭ ﺑﻴﻨﻬﺎ‪ ،‬ﻭﻻﻛﻴﻒ ﳝﻜﻨﻬﺎ‬
‫ﺃﻥ ﺗﺘﻌﺮّﻑ ﻋﻠﻰ ﺍﳌﺨﻄﹼﻂ ﺍﻟﹼﺬﻱ ﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﻨﺴﻠﻚ ﻓﻴﻪ‪.‬‬

‫ﻭﻻ ﺳﻴّﻤﺎ‪ ،‬ﺇﺫﺍ ﻛﺎﻧﺖ ﺍﻟﺼّﻮﺭ ﻟﻴﺲ ﳝﻜﻨﻬﺎ ﺃﻥ ﲤﻨﺢ ﺇ ﹼﻻ " ﻓﺴﻴﻔﺴﺎﺀ "‪ ،‬ﻓﻜﻴﻒ ﺍﳌﺨﻄﹼﻂ‬
‫ﳝﻜﻨﻪ ﺃﻥ ﻳﻐﻴّﺮ ﻣﻨﻬﺎ ﻧﻮﻋﺎ ﻣﻦ ﺍﻟﺘّﻐﻴﲑ ﺣﺘّﻰ ﺃﻧّﻬﺎ ﺗﺼﲑ ﻣﻨﺼﻬﺮﺓ ﰲ ﺻﻮﺭﺓ ﺃﺧﺮﻯ ﻻ ﳝﻜﻦ‬
‫ﺍﺧﺘﺰﺍﳍﺎ‪ ،‬ﻭﺑﺎﳉﻤﻠﺔ ﻛﻴﻒ ﳝﻜﻦ ﺃﻥ ﻧﻔﺴّﺮ ﺍﻟﺘّﺨﻴّﻞ ﺍﳌﺒﺪﻉ؟ ﻷ ﹼﻥ ﺍﳌﺨﻄﹼﻂ ﺇﻧّﻤﺎ ﻳﻔﻌﻞ ﻓﻘﻂ ﺑﻨﺤﻮ‬
‫ﺤﺚﱢ؛ ﻭﻫﻮ ﻟﻴﺲ ﳜﺘﻠﻒ ﺃﻳّﻤﺎ ﺍﺧﺘﻼﻑ ﻋﻦ " ﻣﺒﺪﺃ ﺍﻟﻮﺣﺪﺓ‪ ،‬ﻭﻣﺮﻛﺰ ﺍﻟﺘّﺠﺎﺫﺏ ﻭﻧﻘﻄﺔ‬
‫ﺴَﺘ ِ‬
‫ﺍ ﹸﳌ ْ‬
‫ﻂ ﻻ ﻧﻠﻔﻰ ﺇ ﹼﻻ ﺻﻮﺭﺍ ﻣﻨﻔﺼﻠﺔ؛ ﻭﻣﻦ‬
‫ﺍﻻﻋﺘﻤﺎﺩ " ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﻗﺪ ﻭﺿﻌﻪ ﺭﻳﺒﻮ‪ .‬ﻓﻤﻦ ﹶﻗ ْﺒ ِﻞ ﺍﳌﺨ ﱠﻄ ِ‬
‫ﻱ ﻗﻮّﺓ‬
‫ﺼﱠﻨ ﹶﻔ ﹰﺔ ﲝﺴﺐ ﻧﻈﺎﻡ ﺟﺪﻳﺪ ﻣﻦ ﺗﺒﻌﻴّﺔ ﺑﻌﻀﻌﻬﺎ ﻟﺒﻌﺾ‪ :‬ﻭﻟﻜﻦ ﺃ ّ‬
‫ﺑﻌﺪﻩ‪ ،‬ﻓﺎﻟﺼّﻮﺭ ﺗﺼﺒﺢ ﻣُ َ‬
‫ﺃﺷ ّﺪ ﺳﺤﺮﻳّﺔ ﻣﻦ ﻫﺬﻩ " ﺍﻟ ﹼﻘﻮّﺓ ﺍﻟﻠﹼﻄﻴﻔﺔ " ﺍﻟﹼﱵ ﺗُ َﺪﱢﺑﺮُ ﺑﺎﻷﻭّﻝ ﺗﻠﻚ ﺍﻟﺼّﻮﺭ ﻭﺍﻟﹼﱵ ﻫﻲ ﺗﺼﺪﺭ ﻣﻦ‬
‫ﺗﻠﻚ ﺍﻟﺼّﻮﺭ ﺑﻼ ﺗﻮﺳّﻂ‪ ،‬ﺣﺘّﻰ ﺗﻌﻄﻲ ﻧﻔﺲ ﺗﻠﻚ ﺍﻟﻨّﺘﺎﺋﺞ‪ .‬ﻭﺇ ﹼﻻ ﻓﺈﻧّﻪ ﻻﺑ ّﺪ ﺣﻴﻨﺌﺬ ﻣﻦ ﺃﻥ ﻧﻘﺒﻞ‬
‫ﺑﺄ ﹼﻥ ﺍﳌﺨﻄﹼﻂ ﻛﺎﻥ ﻗﺪ ﻏﻴّﺮ ﻣﻦ ﺍﳍﻴﺄﺓ ﺍﻟﺪّﺍﺧﻠﻴّﺔ ﻟﻠﺼّﻮﺭ‪ .‬ﻟﻜﻦ ﺫﻟﻚ ﺇﻧّﻤﺎ ﻳﻘﺘﻀﻲ ﻧﻈﺮﻳّﺔ ﺃﺧﺮﻯ‬
‫ﰲ ﺍﻟﺼّﻮﺭﺓ ﻣﻐﺎﻳﺮﺓ ﻛ ﹼﻞ ﺍﳌﻐﺎﻳﺮﺓ ﺣﻴﺚ ﻫﺬﻩ ﺍﻟﺼّﻮﺭ ﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﻈﻬﺮ ﺑﻨﺤﻮ ﺍﻷﻓﻌﺎﻝ ﻭﻟﻴﺲ‬
‫ﻱ ﻋﻤﻞ‪.‬‬
‫ﺑﻨﺤﻮ ﺍﶈﺘﻮﻳﺎﺕ‪ ،‬ﻭﺣﻴﺚ ﻋﻠﻰ ﺍﻟﺘّﺤﺼﻴﻞ ﺍﳌﺨﻄﹼﻂ ﻟﻴﺲ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﻜﻮﻥ ﻟﻪ ﺃ ّ‬

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‫ﻱ ﺣ ﹼﻞ ﺟﺪﻳﺪ ﻣﻘﻨﻊ ﳌﺴﺄﻟﺔ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﺑﻞ ﻗﺼﺎﺭﻯ ﻣﺎﻓﻌﻞ ﺃﻥ ﻃﺎﺑﻖ ﺑﲔ‬
‫ﻓﺒﺎﺭﺟﺴﻦ ﱂ ﻳﺄﺕ ﺑﺄ ّ‬
‫ﻣﺮﺗﺒﺘﲔ ﰲ ﺍﳊﻴﺎﺓ ﺍﻟﻨّﻔﺴﻴّﺔ‪ ،‬ﻭﺃﻥ ﻧﺎﺩﻯ ﲝﻘﻮﻕ ﺍﻟﺬﹼﻫﻦ ﺍﻟﺘّﺄﻟﻴﻔﻴّﺔ ﻭﺍﻻﺗّﺼﺎﻟﻴّﺔ ‪ :‬ﻟﻜﻨّﻪ ﱂ ﻳﺒﺎﺷﺮ ﻋﻠﻢ‬
‫ﻱ ﺑﻴﺎﻥ ﺟﺪﻳﺪ ؛ ﻭﻫﻮﱂ ﻳﻨﻈﺮ ﰲ ﻭﻗﺖ ﻣﻦ ﺍﻷﻭﻗﺎﺕ ﺇﱃ ﺻﻮﺭﻩ‪ .‬ﻭﻣﻊ‬
‫ﻧﻔﺲ ﺍﻟﺼّﻮﺭﺓ ﻭﱂ ﻳُ ْﻐِﻨﻬَﺎ ﺑﺄ ّ‬
‫ﺃﻧّﻪ ﻃﺎﳌﺎ ﻛﺮّﺭ ﺍﻟﺪّﻋﻮﺓ ﻣﻦ ﺃﺟﻞ ﺣﺪﺱ ﻣﺘﻌﻴّﻦ‪ ،‬ﻓﺎﻟﻜ ﹼﻞ ﻟﺪﻳﻪ ﺇﻧّﻤﺎ ﻫﻮ ﺟﺪﻟﻴّﺔ‪ ،‬ﻭﺍﺳﺘﻨﺘﺎﺝ ﻣﺎ‬
‫ﻗﺒﻠ ّﻲ‪ .‬ﺇﻧّﻬﺎ ﺻﻮﺭﺓ ﺗﺎﻥ ﺍﻟﹼﱵ ﻛﺎﻧﺖ ﻗﺪ ﺍﻧﺘﻘﻠﺖ ﺇﱃ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﺎ ﺑﺎﺭﺟﺴﻦ‪ ،‬ﲝﺬﺍﻓﲑﻫﺎ‪ ،‬ﻭﺑﻼ ﻣﺮﺍﻗﺒﺔ‬
‫ﺑﻨﺤﻮ ﺍﳌﻜﺴﺐ ﺍﻟﻌﻠﻤ ّﻲ ﺍﻟﹼﺬﻱ ﻻ ﺟﺪﺍﻝ ﻓﻴﻪ‪ .‬ﻭﺃﻣّﺎ ﻋﺎﱂ ﺍﻟﻔﻜﺮ ﺍﻟﹼﺬﻱ ﺳﻌﻰ ﺑﺎﺭﺟﺴﻦ‪ ،‬ﻋﻠﻰ ﳓﻮ‬
‫ﺳﻘﻴﻢ‪ ،‬ﻹﺛﺒﺎﺗﻪ‪ ،‬ﻓﻬﻮ ﻣﻨﻔﺼﻞ ﺍﻧﻔﺼﺎﻻ ﺃﺧﲑﺍ ﻋﻦ ﻋﺎﱂ ﺍﻟﺼّﻮﺭ ﻭﻣﻔﺘﻘﺮ ﻟﻄﺎﺋﻔﺔ ﻣﻦ ﺃﺻﻮﻝ‬
‫ﺍﻟﺘّﺰﻭﻳﺪ‪.‬‬
‫ﻭﻟﱰﺩ ﺃ ﹼﻥ ﺑﺎﺭﺟﺴﻦ ﻗﺪ ﻇ ﹼﻞ ﻛﺜﲑﺍ ﻣﺘﺮﺩّﺩﺍ ﰲ ﺫﻟﻚ ﺍﻷﻣﺮ‪ ،‬ﻭﰲ ﺑﻌﺾ ﳏﺎﺿﺮﺗﻪ ﻛﺎﻥ ﻗﺪ‬
‫ﻧﺴﺐ ﻟﻠﺼّﻮﺭﺓ ﻭﻇﻴﻔﺔ ﺗﺘﻨﺎﻓﺮ ﻭﺍﻟ ﹼﻄﺒﻴﻌﺔ ﺍﻟﱵ ﺧﻠﻌﻬﺎ ﻋﻠﻴﻬﺎ ﰲ ﻣﺼﻨّﻔﻴﻪ ﺍﳌﺎﺩّﺓ ﻭﺍﻟﺬﹼﺍﻛﺮﺓ ﻭﺍﻟﻄﹼﺎﻗﺔ‬
‫ﺍﻟﺮّﻭﺣﻴّﺔ ﻓﻤﺜﻼ ﰲ ﺍﳊﺪﺱ ﺍﻟﻔﻠﺴﻔ ّﻲ ﻓﻬﻮ ﻳﺮﻯ ﺍﻟﺼّﻮﺭﺓ ﻋﻠﻰ ﺃﻧّﻬﺎ " ﻣﺘﻮﺳّﻄﺔ ﺑﲔ ﺑﺴﺎﻃﺔ‬
‫ﺍﳊﺪﺱ ﺍﳌﺘﻌﻴّﻦ ﻭﺗﺮﻛﻴﺒﻴّﺔ ﺍﻟﺘّﺠﺮﻳﺪﺍﺕ ﺍﳌﺆﻭّﻟﺔ ﳍﺎ "‪ ،‬ﻭﻛﺎﻥ ﻗﺪ ﺃﻇﻬﺮ ﺿﺮﻭﺭﺓ ﺃﻥ ﻧﺘﻮﺳّﻞ ﺫﻟﻚ‬
‫ﺍﳌﻌﲎ ﺍﻟﻮﺳﻴﻂ " ﺍﻟﹼﺬﻱ ﻫﻮ ﻳﻜﺎﺩ ﻳﻜﻮﻥ ﻣﺎﺩّﺓ ﻣﻦ ﺟﻬﺔ ﺃﻧّﻪ ُﻳﺮَﻯ ﺃﻳﻀﺎ‪ ،‬ﻭﻳﻜﺎﺩ ﻳﻜﻮﻥ ﺭﻭﺣﺎ ﻣﻦ‬
‫ﱐ ﻭﳎﺰّﺀ؛‬
‫ﺟﻬﺔ ﺃﻧّﻪ ﻗﺪ ﺻﺎﺭ ﳑﺘﻨﻌﺎ ﳌﺴﻪ‪ ".‬ﻓﺈﻧّﻤﺎ ﻫﻮ ﺍﳌﻔﻬﻮﻡ ﻣﺎ ﻳﺘﺮﺍﺀﻯ ﺇﺫﺍ ﺟﺎﻣﺪﺍ‪ ،‬ﻭﻛﺄﻧّﻪ ﻣﻜﺎ ﹼ‬
‫ﻭﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﺃﺷ ّﺪ ﺗﺸﻨّﺠﺎ ﻭﺃﺷ ّﺪ ﺩﻧﻮّﺍ ﺇﱃ ﺍﳊﺪﺱ‪ " :‬ﺇﻧّﻤﺎ ﺇﱃ ﻣﻔﺎﻫﻴﻢ ﻳﺘﻄﻮّﺭ ﺍﻟﻨّﺴﻖ‪ ،‬ﻭ ﻫﻮ‬
‫ﺇﻧّﻤﺎ ﺇﱃ ﺻﻮﺭﺓ ﻫﻮ ﻳﺘﻘﺒّﺾ ﺣﻴﻨﻤﺎ ﻳُ ْﺪ ﹶﻓﻊُ ﺑﻪ ﺇﱃ ﺍﳊﺪﺱ ﺍﻟﹼﺬﻱ ﻣﻨﻪ ﻛﺎﻥ ﺍﳓﺪﺍﺭﻩ"‬

‫ﻭﻫﻜﺬﺍ ﻓﻜﻠﹼﻤﺎ ﲢﺪّﺙ ﺑﺎﺭﺟﺴﻦ ﻋﻦ ﺍﳊﺪﺱ‪ ،‬ﻓﻬﻮ ﳝﻴﻞ‪ ،‬ﲢﻔﹼﻈﺎ ﻣﻦ ﺍﻟﻔﻜﺮ ﺍﻻﺳﺘﺪﻻﱄﹼ‪،‬‬
‫ﲑ ﻟﻠﺼّﻮﺭﺓ ﻗﻴﻤﺔ ﺃﻳّﻤﺎ ﻋﻈﻤﻰ‪ .‬ﻭﻟﻜﻨّﻪ‪ ،‬ﻋﻠﻰ ﺍﻟﺘّﺤﻘﻴﻖ‪ ،‬ﻓﻬﻮ ﺑﻨﻈﺮﻳّﺘﻪ ﰲ ﺍﳌﺨﻄﹼﻂ‬
‫ﻷﻥ ﻳُ ِﻌ َ‬
‫ﺍﻟﺪّﻳﻨﺎﻣﻴﻜﻲ ﺍﻟﹼﱵ ﺗﺜﺒّﺖ ﻣﺒﺪﺃ ﺍﺳﺘﺤﺎﻟﺔ ﺍﳌﺮﻭﺭ ﻣﻦ ﺍﳋﻴﺎﻝ ﺍﳌﻌﺎﻭﺩ ﺍﻻﻧﺘﺎﺝ ﺇﱃ ﺍﳋﻴﺎﻝ ﺍﳌﺒﺪﻉ‪،‬‬
‫ﻓﺈﻧّﻪ ﻗﺪ ﻣﻨﻊ ﻋﻦ ﻧﻔﺴﻪ ﺳﺒﻞ ﺇﳊﺎﻗﻪ ﺗﻠﻚ ﺍﻟﻮﻇﻴﻔﺔ ﺍﻟﻔﻠﺴﻔﻴّﺔ ﻟﻠﺼّﻮﺭﺓ ﺇﱃ ﻃﺒﻴﻌﺘﻬﺎ ﺍﻟﻨّﻔﺴﻴّﺔ‪.‬‬

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‫ﻼ ﺟﺪﻳﺪﺍ ﳌﺴﺄﻟﺔ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻭﻟﻜﻦ‬
‫ﻟﻘﺪ ﺗﺒﻴّﻨﺎ ﻓﺸﻞ ﺑﺎﺭﺟﺴﻦ ﰲ ﻣﺴﻌﺎﻩ ﻣﻦ ﺃﺟﻞ ﺇﻋﻄﺎﺀﻩ ﺣ ﹼ‬
‫ﻻ ﺑ ّﺪ ﻣﻦ ﺍﳌﻼﺣﻈﺔ ﺑﺄ ﹼﻥ ﺑﺎﺭﺟﺴﻦ ﻟﻴﺲ ﻭﺣﺪﻩ ﻫﻮ ﻛ ﹼﻞ " ﺍﻟﺒﺎﺭﺟﺴﻮﻧﻴّﺔ "‪ .‬ﺑﻞ ﻟﻘﺪ ﻛﺎﻥ ﺃﺣﺪﺙ‬
‫ﺣﺎﻻ ﻣﺎ‪ ،‬ﻭﻃﺮﻳﻘﺔ ﰲ ﺍﻟﻨّﻈﺮ‪ ،‬ﻭﻣﻴﻼ ﻷﻥ ﻧﺼﻴﺐ ﰲ ﻛ ﹼﻞ ﻣﻜﺎﻥ ﺍﳊﺮﻛﺔ ﻭﺍﳊ ّﻲ‪ .‬ﻭﺍﻟﺒﺎﺭﺟﺴﻮﻧﻴّﺔ‪،‬‬
‫ﲢﺖ ﺫﻟﻚ ﺍﻟﺸّﻜﻞ ﺍﳌﻨﻬﺠﻲّ‪ ،‬ﺑﻨﻮﻉ ﻣﺎ‪ ،‬ﺇﻧّﻤﺎ ُﺗ َﻌ ﱡﺪ ﺗﻴّﺎﺭﺍ ﻓﻜﺮﻳّﺎ ﻋﻈﻴﻤﺎ ﻓﻴﻤﺎ ﻗﺒﻞ ﺍﳊﺮﺏ‪.‬‬
‫ﻱ ﻳﺸﺒﻪ ﺃﻥ ﻳﻜﻮﻥ ﺗﻔﺎﺅﻟﻴّﺔ ﺳﺎﺫﺟﺔ ﻭﺳﻴّﺌﺔ ﺍﻟّﻨﻴّﺔ ﺗﺘﻮﻫّﻢ ﺃﻧّﻬﺎ‬
‫ﻭﺍﳋﺎﺻﻴّﺔ ﺍﻷ ّﻡ ﻟﺬﻟﻚ ﺍﻟﻨّﻤﻂ ﺍﻟﻔﻜﺮ ّ‬
‫ﻗﺪ ﺣﻠﹼﺖ ﺍﳌﺴﺄﻟﺔ‪ ،‬ﺣﻴﻨﻤﺎ ﻫﻲ ﺇﻧّﻤﺎ ﺫﻭّﺑﺖ ﻣﻌﺎﻧﻴﻬﺎ ﰲ ﺍﺗّﺼﺎﻟﻴّﺔ ﻋﺪﳝﺔ ﺍﻟﺸّﻜﻞ‪ .‬ﻓﺠﺎﺯ ﺇﺫﺍ ﺃﻥ‬
‫ﻧﻀﻊ ﺑﺄ ﹼﻥ ﺍﻟﺒﺎﺭﺟﺴﻮﻧﻴّﲔ ﻭﻗﺪ ﺃﺧﺬﻭﺍ ﻣﺴﺄﻟﺔ ﺍﻟﺼّﻮﺭﺓ ﻋﻠﻰ ﳓﻮ ﻣﻌﺎﺭﺽ ﻟﺒﺎﺭﺟﺴﻦ‪ ،‬ﻓﺈﻧّﻬﻢ‬
‫ﺳﻮﻑ ﳜﻠﻌﻮﻥ ﻋﻠﻴﻬﺎ ﻟﻴﻮﻧﺔ ﻭﺣﺮﻛﻴّﺔ ﻛﺎﻥ ﻗﺪ ﻣﻨﻌﻬﺎ ﻋﻨﻬﺎ ﺍﳌﻌﻠﹼﻢ‪.‬‬

‫ﻓﺒﻬﺬﺍ ﺍﻟﻨّﺤﻮ ﻣﺎ ﻛﺎﻥ ﺍﻟﺴﻴّﺪ ﺳﺒﲑ ﰲ ﺃﻭّﻝ ﺃﻋﻤﺎﻟﻪ) ﻭ( ﺍﻟﹼﱵ ﻳﺴﻨﺪﻫﺎ ﻭﺍﺿﺢ ﺍﻹﺳﻨﺎﺩ ﺇﱃ‬
‫ﺤ َﻲ‪ :‬ﺇﻧّﻬﺎ ﺗﻨﺸﺄ ﻭﻬﺗﻠﻚ‪،‬‬
‫ﺍﻟﻔﻜﺮ ﺍﻟﺒﺎﺭﺟﺴﻮﱐ‪ ،‬ﻗﺪ ﺟﻬﺪ ﻣﻦ ﺃﺟﻞ ﺃﻥ ﻳﻈﻬﺮ ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭ ﻫﻲ َﺗ ْ‬
‫ﻭﳍﺎ " ﺷﺮﻭﻗﺎﺕ " ﻭ " ﻏﺮﻭﺑﺎﺕ " ؛ ﺇﻧّﻬﺎ ﺗﻜﱪ ﻭﺗﺘﺰﻳّﺪ‪ .‬ﻓﻠﻘﺪ ﻛﺎﻧﺖ ﺻﻮﺭﺓ ﺃﻫﻞ ﺍﻟﺘّﺮﺍﺑﻂ ﺇﻣّﺎ‬
‫ﺃﻥ ﺗﻜﻮﻥ ﺑﺎﻟﻔﻌﻞ ﺃﻭ ﻟﻴﺴﺖ ﺑﻜﺎﺋﻨﺔ ﺍﻟﺒﺘّﺔ‪ .‬ﺃﻣّﺎ ﺻﻮﺭﺓ ﺃﺷﻴﺎﻉ ﺑﺎﺭﺟﺴﻦ ﻓﻬﻲ ﺍﻧﺘﻘﺎﻝ ﻣﻦ ﺍﻟﻘﻮّﺓ‬
‫ﺇﱃ ﺍﻟﻔﻌﻞ‪ ،‬ﲟﱰﻟﺔ ﺍﳊﺮﻛﺔ ﺍﻷﺭﺳﻄﻴّﺔ‪ .‬ﺇﻧّﻬﺎ ﺗﺘﺰﻳّﺪ ﻭﺗﻨﺤﻮ ﳓﻮ ﺍﻟﻔﻌﻠﻴّﺔ ﻭﺍﻟﺘّﻔﺮّﺩ ﺍﻟﺘّﺎﻡ‪ ،‬ﺃﻱ ﳓﻮ‬
‫ﺿﺮﺏ ﻭﺟﻮﺩ ﺍﻟﺸّﻲﺀ ﺍﳌﺘﻔﺮّﺩ‪ .‬ﻭﻣﺎ ﺍﳍﻴﺌﺔ ﺍﻟﹼﱵ ﺧﻠﻌﻬﺎ ﺃﻫﻞ ﺍﻟﺘّﺮﺍﺑﻂ ﻋﻠﻰ ﺍﻟﺼّﻮﺭﺓ ﺇ ﹼﻻ ﺍﻟﻨّﻬﺎﻳﺔ‬
‫ﺍﻟﻘﺼﻮﻯ ﻟﺘﺰﻳّﺪﻫﺎ‪ .‬ﻟﻜﻦ ﺍﻟﺼّﻮﺭﺓ ﺭﺑّﻤﺎ ﺗﻮﻗﹼﻔﺖ ﰲ ﺍﻟﻄﹼﺮﻳﻖ‪ .‬ﻓﺎﻟﺬﹼﻭﺍﺕ ﻗﺪ ﺗﺒﻴّﻨﺖ ﻣﻴﻼ ﻣﺎ ﰲ‬
‫ﺍﻟﻔﻜﺮ ﻣﻦ ﺃﺟﻞ ﺍﻗﺘﺼﺎﺩ ﺍﳉﻬﺪ‪ .‬ﻭﻗﺪ ﻳﺘّﻔﻖ ﺃﻥ ﺍﻟﻔﻬﻢ ﺍﻟﻜﺎﻣﻞ ﻟﻔﻜﺮﺓ ﻣﺎ ﻳﺴﺒﻖ ﺍﻹﻳﻨﺎﻉ ﺍﻟﻜﻠﹼﻲ‬
‫ﻟﺼﻮﺭﺓ ﻣﻦ ﺍﻟﺼّﻮﺭ‪ .‬ﻭﻋﻨﺪﺋﺬ ﻓﺎﻟﺼّﻮﺭﺓ َﺗ ﱠﺪِﺛﺮُ ﻣﻦ ﻏﲑ ﺃﻥ ﺗﻜﻮﻥ ﻗﺪ ﺑﻠﻐﺖ ﻏﺎﻳﺔ ﻣﺎ ﻓﻴﻬﺎ ﻣﻦ‬
‫ﻱ ﺷﻲﺀ ﻛﺎﻧﺖ ﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﻜﻮﻧﻪ ﰲ ﺁﺧﺮ‬
‫ﳑﻜﻨﺎﺕ‪ ،‬ﻭﻣﻦ ﻏﲑ ﺃﻥ ﻧﻌﻠﻢ ﻋﻠﻰ ﺍﻟﺘّﺤﺼﻴﻞ ﺃ ّ‬
‫ﲢﻘﹼﻘﻬﺎ ﺑﺎﻟﻔﻌﻞ‪ .‬ﻓﻠﻘﺪ ﻛﺎﻥ ﺍﻻﻧﺘﻘﺎﻝ ﻣﻦ ﺻﻮﺭﺓ ﺇﱃ ﺃﺧﺮﻯ ﻟﺪﻯ ﺃﻫﻞ ﺍﻟﺘّﺮﺍﺑﻂ ﺇﻧّﻤﺎ ﳛﺼﻞ ﰲ‬
‫ﺯﻣﻨﲔ ﺍﺛﻨﲔ‪ :‬ﻫﻨﺎﻙ ﺃﻭّﻻ ﺇﻓﻨﺎﺀ ﳏﺾ ﻭﳎﺮّﺩ ﻟﻸﻭﱃ‪ ،‬ﹼﰒ ﺇﺑﺪﺍﻉ ﻣﻦ ﻻ ﺷﻲﺀ ﻟﻠﺜﹼﺎﻧﻴﺔ‪ ،‬ﻭﳘﺎ‬
‫ﺗﺘﻌﺎﻗﺒﺎﻥ ﻣﻦ ﻏﲑ ﺃﻥ ﻳﺘﻼﻣﺴﺎ‪ ،‬ﻛﺎﳊﺎﻝ ﰲ ﻓﻠﺴﻔﺔ ﻫﻴﻮﻡ ﻟﻈﺎﻫﺮﺗﲔ ﻣﻮﺻﻮﻟﺘﲔ ﺑﻌﻼﻗﺔ‬
‫ﺍﻟﻌ ﹼﻠﻴّﺔ‪.‬ﻭﻋﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ ﺍﻟﺒﺎﺭﺟﺴﻮﻧﻴّﺔ ﻗﺪ ﻭﺿﻌﻮﺍ ﺑﲔ ﺻﻮﺭﺗﲔ ﺗﺘﻌﺎﻗﺒﲔ ﺍﻟﻌ ﹼﻠﻴّﺔ ﺍﳌﺘﻌ ّﺪﻳّﺔ ﺑﻞ ﺇﻧّﻪ‬

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‫ﳚﻮﺯ ﺃﻥ ﻧﺘﺤﺪّﺙ ﻋﻦ ﺗﻐﺎﻳﺮﺍﺕ ﻣﺘّﺼﻠﺔ ﻟﺼﻮﺭﺓ ﻭﺍﺣﺪﺓ‪ ،‬ﻫﻨﺎﻟﻚ ﺣﻴﺚ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﺍﻟﻜﻼﺳﻴﻜ ّﻲ‬
‫ﻛﺎﻥ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﺮﻯ ﺗﻌﺎﻗﺐ ﻇﻬﻮﺭﺍﺕ ﻣﻨﻔﺼﻠﺔ‪ .‬ﻓﺎﻟﺼّﻮﺭﺓ ِﺇﺫﹰﺍ ﻗﺪ ﺗﺪﺭّﺟﺖ ﻣﻦ ﻋﺎﱂ ﺍﳌﻌﺪﻧﻴّﺔ‬
‫ﺇﱃ ﻋﺎﱂ ﺍﻟﻜﺎﺋﻨﺎﺕ ﺍﳊﻴّﺔ‪ .‬ﻭﻛ ﹼﻞ ﺻﻮﺭﺓ ﻣﻦ ﺍﻟﺼّﻮﺭ ﻓﻬﻲ ﺗﺘﺰﻳّﺪ ﲝﺴﺐ ﻗﻮﺍﻧﻴﻨﻬﺎ ﺍﳋﺎﺻّﺔ‪ :‬ﻓﻠﻘﺪ‬
‫ِﺭ َﱘ ﺃﻥ ﻧﺴﺘﺒﺪﻝ ﻋﻠﹼﻴﺔ ﻫﻴﻮﻡ ﻭﺗﺎﻥ ﺍﻵﻟﻴّﺔ ﺍﻟﹼﱵ ﺗﻘﺘﻀﻲ ﻋﻄﺎﻟﺔ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﹼﱵ ﺗﺮﺑﻂ ﺑﻴﻨﻬﺎ‪ ،‬ﲝﺘﻤﻴّﺔ‬
‫ﺑﻴﻮﻟﻮﺟﻴّﺔ‪ .‬ﻓﺎﻟﺼّﻮﺭﺓ ﻫﻲ ﺷﻜﻞ ﺣﻲّ‪ ،‬ﻭﺣﻴﺎﺓ‪ ،‬ﺑﻨﻮﻉ ﻣﺎ‪ ،‬ﺗﻘﻮﻡ ﺑﺬﺍﻬﺗﺎ ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺍﳊﻴﺎﺓ‬
‫ﺍﻟﻨّﻔﺴﻴّﺔ ﺍﻟﻜ ﹼﻠﻴّﺔ‪ .‬ﻭﻟﻘﺪ ﺗﻮﻫّﻤﻨﺎ ﺃﻧّﻨﺎ ﲟﺜﻞ ﺃﺷﻜﺎﻝ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺗﻠﻚ‪ ،‬ﻓﻘﺪ ﺭﺩﺩﻧﺎﻫﺎ ﳎﺎﻧﺴﺔ ﻟﻠﻔﻜﺮ‪.‬‬

‫ﻭﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ‪ ،‬ﻓﺈ ﹼﻥ ﻣﻘﻮﻟﺔ ﺍﳌﺨﻄﹼﻂ ﻗﺪ ﺫﺍﻋﺖ ﺃﻳّﻤﺎ ﺫﻳﻮﻉ‪ .‬ﻓﻤﻦ ﻋﻠﻤﺎﺀ ﻧﻔﺲ ﻭﻣﻦ‬
‫ﻋﻠﻤﺎﺀ ﺍﻟﻠﹼﺴﺎﻧﻴّﺔ ﻗﺪ ﺍﺳﺘﺨﺪﻣﻮﺍ ﺩﺍﺋﻢ ﺍﻻﺳﺘﺨﺪﺍﻡ ﻫﺬﻩ ﺍﻟﺼّﻮﺭﺓ ﺍﳌﺨﺘﺼﺮﺓ‪ ،‬ﻭﺍﳌﺘﻮﺳّﻄﺔ ﺑﲔ‬
‫ﻚ ﺃﻧّﻪ ﻻ ﻳﻨﺒﻐﻲ ﺃﻥ ﻧﻌﺘﻘﺪ ﺑﺄ ﹼﻥ ﺍﳌﺨﻄﹼﻂ ﺇﻧّﻤﺎ‬
‫ﻱ ﺍﶈﺾ‪ ،‬ﻭﺍﻟﻔﻜﺮ ﺍﶈﺾ‪ .‬ﻭﻏﲑ ﺷ ّ‬
‫ﺍﶈﺴﻮﺱ ﺍﻟﻔﺮﺩ ّ‬
‫ﻭﺭﻳﻔﻮﻟﺖ ﺩﻱ ﺃﻟﹼﻮﻧﺎﺱ‪ ،‬ﻛﺎﻧﻮﺍ ﻗﺪ ﺗﺄﺛﹼﺮﻭﺍ‬ ‫ﺃﺻﻠﻪ ﺍﻟﺒﺎﺭﺟﺴﻮﻧﻴّﺔ ﻓﻘﻂ ؛ ﻓﺮﺟﺎﻝ ﻣﺜﻞ ﺑﻠﺪﻭﻳﻦ‬
‫ﺑﺄﺭﺍﺀ ﺃﺧﺮﻯ ﻣﻦ ﻗﺒﻞ ﺃﻥ ﻳﻀﻌﻮﺍ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﺍﳌﺨﻄﹼﻄﻲ‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﻣﻘﻮﻟﺔ ﺍﳌﺨﻄﹼﻂ ﻗﺪ ﺻﺎﺩﻓﺖ ﰲ‬
‫ﱐ ﳎﺎﻻ ﻣﻼﺋﻤﺎ ﻟﺘﻄﻮّﺭﻫﺎ‪ .‬ﻓﺎﳌﺨﻄﹼﻂ ﻫﻮ ﺃﻳﻀﺎ ﻗﻮّﺓ‪ .‬ﻭﻫﻮ ﻓﻜﺮﺓ ﺑﺎﻟﻘﻮّﺓ‪،‬‬
‫ﺍﳌﺬﻫﺐ ﺍﻟﺒﺎﺭﺟﺴﻮ ﹼ‬
‫ﻭﺻﻮﺭﺓ ﺑﺎﻟﻘﻮّﺓ‪ ،‬ﻭﻗﺪ ﺍﺳﺘﺤﻔﻆ ﺑﻮﻇﻴﻔﺔ " ﺍﻟﻮﺳﻴﻂ " ﺍﻟﹼﱵ ﻛﺎﻧﺖ ﻟﻪ ﻣﻊ ﻛﺎﻧﻂ‪ ،‬ﻭﺍﻟﹼﱵ ﻛﺎﻥ ﻗﺪ‬
‫ﺃﺑﻘﻰ ﻋﻠﻴﻬﺎ ﺑﺎﺭﺟﺴﻦ‪ .‬ﻭﺍﳊ ّﻖ ﺃﻗﻮﻝ‪ ،‬ﺇﻧّﻤﺎ ﻫﻮ ﻟﻌﻤﺮﻱ‪ ،‬ﻟﻸﻣﺮ ﺍﻟﻮﺣﻴﺪ ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﻗﺪ ﺃﲨﻊ ﻋﻠﻴﻪ‬
‫ﺃﻧﺼﺎﺭ ﺑﺎﺭﺟﺴﻦ‪ .‬ﻓﻘﺪ ﺑﻘﻲ ﻣﺴﻠﹼﻤﺎ ﺃ ﹼﻥ ﺍﳌﺨﻄﹼﻂ‪ ،‬ﻣﺜﻠﻪ ﻣﺜﻞ " ﺩﳝﻮﻥ" ﺍﻟﻔﻠﺴﻔﺔ ﺍﻹﻓﻼﻃﻮﻧﻴّﺔ‪،‬‬
‫ﺸﺄﹸ ﺍﺗّﺼﺎﻟﻴّﺔ ﺑﲔ ﳕﻄﲔ ﻣﻦ ﺍﻟﻮﺟﻮﺩ‪ ،‬ﳘﺎ‪ ،‬ﺑﻨﻮﻉ ﻣﺎ‪ ،‬ﻻ ﳚﺘﻤﻌﺎﻥ؛ ﻓﻬﻮ‬
‫ﻓﻠﻪ ﻭﻇﻴﻔﺔ ﺍﻟﺘّﻮﺳّﻂ‪ .‬ﺇﻧّﻪ ﻳُ ْﻨ ِ‬
‫ﻳﺘﻌﺪّﻯ ﺍﻟﺘّﻨﺎﺯﻋﺎﺕ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻟﻔﻜﺮ ﻭﳛ ﹼﻠﻬﺎ ﰲ ﺻﻤﻴﻤﻪ‪ .‬ﺇ ﹼﻻ ﺃﻧّﻪ‪ ،‬ﻓﻬﻮ ﻣﻦ ﺃﺟﻞ ﺻﻔﺘﻪ ﺗﻠﻚ‬
‫ﻚ‪ .‬ﺇﺫ‬
‫ﺑﻜﻮﻧﻪ ﺧﻠﻴﻄﺎ ﻭﺑﻜﻮﻧﻪ ﺗﺄﻟﻴﻔﺎ ﳎﻤّﻌﺎ‪ ،‬ﺇﻧّﻤﺎ ﻛﺎﻥ ﻋﻠﻰ ﺍﻟﺘّﺨﺼﻴﺺ ﺃﻣﺮ ﻃﺒﻴﻌﺘﻪ ﻟﺸﺪﻳﺪ ﺍﻟﺸ ّ‬
‫ﺗﺎﺭﺓ ﻫﻮ ﻣﺒﺪﺃ ﻭﺣﺪﺓ َﻣ ْﻤ ﹸﻠ ﱞﻮ ﻛﻠﹼﻪ ﻣﻦ ﺍﳌﺎﺩّﺓ ﺍﶈﺴﻮﺳﺔ؛ ﻭﻃﻮﺭﺍ ﻫﻮ ﺻﻮﺭﺓ ﻓﻘﲑﺓ ﺟﺪّﺍ‪ ،‬ﺃﻱ ﻫﻴﻜﻞ‬
‫ﻋﻈﻤﻲّ؛ ﻭ ﺗﺎﺭﺓ ﺃﺧﺮﻯ ﻓﻬﻮ ﺻﻮﺭﺓ ﺃﺻﻴﻠﺔ‪َ ،‬ﺑ ِﺮﱠﻳﺔﹲ ﻣﻦ ﻟﻮﺍﺣﻖ ﺍﳌﻜﺎﻥ ﺍﳍﻨﺪﺳ ّﻲ ﺍﻟﹼﱵ ﺗﺮﻭﻡ ﺃﻥ‬
‫ﺗﺆﻭّﻝ ﺍﻟﻌﻼﻗﺎﺕ ﺍﻟﻔﻜﺮﻳّﺔ ﺇﱃ ﻋﻼﻗﺎﺕ ﻣﻜﺎﻧﻴّﺔ‪.‬‬

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‫ﻭﻟﻴﺖ ﺷﻌﺮﻱ ﻫﻞ ﻛﺎﻥ ﺗﻠﻴﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺇﺑﺪﺍﻉ ﺍﳌﺨﻄﹼﻂ ﻫﻮ ﺗﺘﻄﻮّﺭ ﳓﻮ ﺍﳌﺘﻌﻴّﻦ ؟ ﺃﻣّﺎ ﳓﻦ‬
‫ﻓﻼ ﻧﻌﺘﻘﺪ ﺫﻟﻚ‪ .‬ﺑﻞ ﺑﺎﻟﻌﻜﺲ‪ ،‬ﻓﺈﻧّﺎ ﻧﻌﺘﻘﺪ ﺑﺄ ﹼﻥ ﺗﻠﻚ ﺍﻟﻨّﻈﺮﻳّﺎﺕ ﺍﳉﺪﻳﺪﺓ ﻫﻲ ﺑﻘﺪﺭ ﻣﺎ ﺗﺘﺮﺍﺀﻯ‬
‫ﺃﻧّﻬﺎ ﲡﺪﻳﺪ ﻟﻠﻤﺴﺄﻟﺔ ﻭﺍﳊﺎﻝ ﺃﻧّﻬﺎ ﻟﻴﺴﺖ ﺳﻮﻯ ﻬﺗﺬﻳﺐ ﻭ ﹶﻗ ﱞﺪ ﻋﻠﻰ ﺫﻭﻕ ﺍﻟﻌﺼﺮ ﻟﻠﺨﻄﺄ ﺍﻟﺘّﺮﺍﺑﻄ ّﻲ‬
‫ﺍﻟﻘﺪﱘ‪ ،‬ﺑﻘﺪﺭ ﻣﺎ ﻫﻲ ﻋﻈﻴﻤﺔ ﺍﳋﻄﺐ‪.‬‬

‫ﻓﺒﺰﻋﻤﻬﻢ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﺣﻴّﺔ‪ .‬ﻭﻟﻜﻦ ﻣﺎ ﻣﻌﲎ ﺫﻟﻚ ؟ ﻫﻞ ﻣﻌﻨﺎﻩ ﺃﻧّﻬﺎ ﻫﻲ ﳎﺮّﺩ ﻃﻮﺭ ﰲ‬
‫ﺣﻴﺎﺓ ﺍﻟﻮﻋﻲ ﺍﻟﻜﻠﹼﻲ‪ ،‬ﺃﻡ ﺃﻧّﻬﺎ ﻣﺎ ﻫﻲ ﺇ ﹼﻻ ﺣﻴﺎﺓ ﺑَﺎ ِﻃ َﻦ ﺍﻟﻮﻋﻲ ؟ ﻭﺣﺴﺒﻨﺎ ﺃﻥ ﻧﺘﺼﻔﹼﺢ ﺍﳌﻘﺎﻻﺕ‬
‫ﺕ ﻟﻠﻤﺴﺄﻟﺔ ﺣﺘّﻰ ﻧﺮﻯ ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﺇﻧّﻤﺎ ﺑﻘﻴﺖ ﺷﻴﺌﺎ ﻣﻮﺟﻮﺩﺍ‬
‫ﺍﻟﺒﺎﺭﺟﺴﻮﻧﻴّﺔ ﺍﻟﻜﺜﲑﺓ ﺍﻟﹼﱵ ﺃﹸ ﹾﻓ ِﺮ َﺩ ْ‬
‫ﺴﻲّ‪ ،‬ﻭﻣﻦ ﹶﺛ ﱠﻢ ﻓﻬﻲ ﱂ ﺗﻔﻘﺪ ﺻﻔﺔ ﻛﻮﻬﻧﺎ ﺇﺣﺴﺎﺳﺎ‬
‫ﰲ ﺍﻟﻮﻋﻲ‪ .‬ﻓﺄﻭّﻻ ﻫﻲ ﱂ ﺗﻔﻘﺪ ﳏﺘﻮﺍﻫﺎ ﺍﳊ ّ‬
‫ُﻣ ْﻨَﺒ ِﻌﺜﹰﺎ‪ .‬ﻭﺇﻧّﻤﺎ ﻫﻲ ﻗﺪ ﺍﻛﺘﺴﺒﺖ ﻟﻴﻮﻧﺔ ﻟﻴﺲ ﻏﲑ‪ :‬ﻟﻘﺪ ﻛﺎﻧﺖ ﺻﻮﺭﺓ ﺗﺎﻥ ﺗﻨﺒﻌﺚ ﺃﺑﺪﺍ ﻣﺸﺎﻬﺑﺔ‬
‫ﻟﻨﻔﺴﻬﺎ‪ :‬ﺇﻧّﻬﺎ ﻛﺎﻧﺖ ﻧﺴﺨﺔ‪ .‬ﻭﺍﻟﺼّﻮﺭﺓ ﺍﳊﻴّﺔ‪ ،‬ﺣﻴﻨﻤﺎ ﺗﻌﺎﻭﺩ ﺍﻟﻈﹼﻬﻮﺭ‪ ،‬ﻓﻬﻲ ﺗﺴﺘﻤ ّﺪ ﻣﻌﻨﺎﻫﺎ ﻣﻦ‬
‫ﺍﳊﻴﺎﺓ ﺍﻟﻨّﻔﺴﻴّﺔ ﺍﻟﹼﱵ ﺗﻈﻬﺮ ﻓﻴﻬﺎ‪ .‬ﻓﺎﶈﺘﻮﻯ ﺍﳊﺴّﻲ ﻫﻮ ﺩﺍﺋﻤﺎ ﻣﻮﺟﻮﺩ ﻫﻨﺎﻟﻚ‪ ،‬ﺳﻮﻯ ﺃ ﹼﻥ ﺍﻟﺸّﻜﻞ‬
‫ﻚ ﻳﺘﻨﻘﺾ ﹼﰒ ﻳﻌﺎﻭﺩ ﺍﻟﺘّﺸﻜﹼﻞ‪ .‬ﻓﻠﻘﺪ ﺗﻮﻫّﻤﻨﺎ ﺇﺫﻥ ﺃﻧّﻨﺎ ﺇﺫﺍ ﺧﻠﹼﺼﻨﺎ‬
‫ﺍﻟﹼﺬﻱ ﻳﺘّﺨﺬﻩ ﻫﻮ ﻣﺎ ﻳﻨﻔ ّ‬
‫ﺍﻟﺼّﻮﺭﺓ ﻣﻦ ﻣﺎﺿﻴﻬﺎ ﻓﺈﻧّﻨﺎ ﺍﺳﺘﻮﻓﻴﻨﺎ ﺍﻷﻣﺮ‪ :‬ﻭﲝﻖّ‪ ،‬ﻟﻘﺪﻣﻜﹼﻨﻨﺎ ﺫﻟﻚ ﻣﻦ ﺃﻥ ﻧﻔﻬﻢ ﻓﻬﻤﺎ ﺃﺣﺴﻦ‬
‫ﺍﻟﻮﻇﻴﻔﺔ ﺍﳌﺒﺪﻋﺔ ﻟﻠﺘّﺨﻴّﻞ‪ ،‬ﻷ ﹼﻥ ﻛ ﹼﻞ ﺻﻮﺭﺓ ﻋﻔﻮﻳّﺔ ﻭﻓﺠﺌﻴّﺔ ﻓﻬﻲ ﻋﻠﻰ ﺍﻟﻌﻤﻮﻡ ﺇﺑﺪﺍﻉ‪ .‬ﻭﻟﻜ ّﻦ ﻫﻞ‬
‫َﺟ َﻌ ﹾﻠﻨَﺎ ﺑﺬﻟﻚ ﻋﻼﻗﺔ ﺍﻟﺼّﻮﺭﺓ ﺑﺎﳌﺎﺩّﺓ ﰲ ﻣﺜﻞ ﺗﻠﻚ ﺍﳊﻴﺎﺓ ﺍﻟﻨّﻔﺴﻴّﺔ ﺍﳌﺴﻤّﺎﺓ ﺑﺎﻟﺼّﻮﺭﺓ ﻣﻔﻬﻮﻣﺔ‬
‫ﺃﻛﺜﺮ؟ ﺇﺫ ﻣﻦ ﺃﻳﻦ ﺗﺄﺗّﻰ ﺫﻟﻚ ﺍﻟﺘّﺠﺪّﺩ ﺍﻟﺪّﺍﺋﻢ ﻟﻠﺼّﻮﺭﺓ‪ ،‬ﻭﻣﻦ ﺃﻳﻦ ﺗﺄﺗّﻰ ﳍﺎ ﺗﻜﻴّﻔﻬﺎ ﺍﻟﺪّﺍﺋﻢ ﻣﻊ‬
‫ﺴ ّﻲ ﺇﻧّﻤﺎ ﻳﺒﻘﻰ ﻫﻮﻫﻮ ؟ ﺫﻟﻚ‪ ،‬ﻓﻴﻤﺎ ﻳﺰﻋﻤﻮﻥ‪ ،‬ﺇﻧّﻤﺎ ﻷ ﹼﻥ‬
‫ﺍﳍﻴﺌﺔ ﺍﳊﺎﺿﺮﺓ‪ ،‬ﺇﺫﺍ ﻛﺎﻥ ﳏﺘﻮﺍﻫﺎ ﺍﳊ ّ‬
‫ﺴ ّﻲ ﻓﺎﻋﻞ ؟‬
‫ﺍﻟﻜ ﹼﻞ ﰲ ﺍﻟﻮﻋﻲ ﻫﻮ ﻧﺸﺎﻁ‪ .‬ﻟﻴﻜﻦ ﺫﻟﻚ‪ ،‬ﻭﻟﻜﻦ ﻟﻴﺖ ﺷﻌﺮﻱ ﻣﺎ ﻣﻌﲎ ﳏﺘﻮﻯ ﺣ ّ‬
‫ﻱ ؟ ﻓﻠﻦ ﻳﻜﻮﻥ ِﺇﺫﹰﺍ ﺑﺎﻷﻣﺮ ﺍﶈﺴﻮﺱ‪ .‬ﻭﻗﺪ ﳒﻴﺐ‬
‫ﻫﻞ ﻳﻌﲏ ﺃﻧّﻪ ﳏﺴﻮﺱ ﻣﺎ ﻟﻪ ﺻﻔﺔ ﺍﻟﺘّﻐﻴّﺮ ﺍﻟﻌﻔﻮ ّ‬
‫؛ ﻭﻣﺎ ﺍﻟﻀّﲑ ﰲ ﺃﻥ ﻻﻳﻜﻮﻥ ﳏﺴﻮﺳﺎ‪ ،‬ﺑﻞ ﺣﺴﺒﻨﺎ ﺃﻥ ﻳﻜﻮﻥ ﻗﺪ ﺍﺳﺘﺒﻘﻰ ﻋﻠﻰ ﻛﻴﻔﻪ ﺍﻟﹼﺬﻱ ﻻ‬
‫ﺨَﺘ َﺰﻝﹸ ﺑﻜﻮﻧﻪ ﺃﲪﺮ ﺃﻭ ﺧﺸﻨﺎ ﺃﻭ ﺣﺎﺩّﺍ‪ .‬ﻭﻟﻜﻦ‪ ،‬ﻣﻦ ﺫﺍ ﺍﻟﹼﺬﻱ ﻻ ﻳﺪﺭﻙ‪ ،‬ﻋﻠﻰ ﺍﻟﺘّﺤﺼﻴﻞ‪ ،‬ﺃ ﹼﻥ‬
‫ﻳُ ْ‬
‫ﺨَﺘ َﺰﻝﹸ ؟‬
‫ﺍﻟﻌﻄﺎﻟﺔ‪ ،‬ﻭﺍﻻﻧﻔﺎﻋﻠﻴّﺔ ﺍﳌﻄﻠﻘﺔ‪ ،‬ﺇﻧّﻤﺎ ﻫﻲ ﺍﻟﺸّﺮﻁ ﺍﻟﻀّﺮﻭﺭﻱ ﻟﺘﻠﻚ ﺍﻟﻜﻴﻔﻴّﺔ ﺍﻟﹼﱵ ﻻ ﺗُ ْ‬

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‫ﻱ‬
‫ﻭﻗﺪ ﻛﺎﻥ ﻛﺎﻧﻂ ﻗﺪ ﻻﺣﻆ ﺣ ّﻖ ﺍﳌﻼﺣﻈﺔ ﰲ ﻛﺘﺎﺑﻪ ﻧﻘﺪ ﺍﻟﻌﻘﻞ ﺍﶈﺾ‪ ،‬ﺫﻟﻚ ﺍﻟﻔﺮﻕ ﺍﳉﻮﻫﺮ ّ‬
‫ﺴ ّﻲ ﺍﻟﹼﺬﻱ ﻫﻮ ﺑﺎﻟﻀّﺮﻭﺭﺓ ﺍﻧﻔﻌﺎﱄﹼ‪ ،‬ﻣﻦ ﺍﳊﺪﺱ ﺍﻟﻔﺎﻋﻞ ﺍﻟﹼﺬﻱ ﻫﻮ ﻳﺒﺪﻉ‬
‫ﺍﻟﹼﺬﻱ ﻳﻔﺼﻞ ﺍﳊﺪﺱ ﺍﳊ ّ‬
‫ﺍﳌﻮﺿﻮﻉ‪ .‬ﺇ ﹼﻻ ﺃﻧّﻪ‪ ،‬ﻭﻓﻀﻼ ﻋﻦ ﺫﻟﻚ ﻭﲞﺎﺻّﺔ‪ ،‬ﻓﺈ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻋﻨﺪ ﺃﻫﻞ ﺍﻟﺒﺎﺭﺟﻮﺳﻨﻴّﺔ ﻫﻲ ﺃﺑﺪﺍ‬
‫ﺴِﺒ َﺮﻫَﺎ‪ .‬ﺇﻧّﻬﺎ‪ ،‬ﻻ ﺷﻚّ‪ ،‬ﻷﺷ ّﺪ ﻟﻴﻮﻧﺔ ﻭﺣﺮﻛﻴّﺔ‪ ،‬ﻭﻟﻜﻨّﻬﺎ‬
‫ﻣﻮﺿﻮﻋﺔ ﻗﺪّﺍﻡ ﺍﻟﻔﻜﺮ ﺍﻟﹼﺬﻱ ﺷﺄﻧﻪ ﺃﻥ َﻳ ْ‬
‫ﻣﻊ ﺫﻟﻚ ﻓﻬﻲ ﻟﺘﻈ ﹼﻞ ﻟﻴﺲ ﳑﻜﻨﺎ ﺃﻥ ﻳُ ْﻨ ﹶﻔ ﹶﺬ ﺇﻟﻴﻬﺎ‪ .‬ﺑﻞ ﻻ ﺑ ّﺪ ﻣﻦ ﺃﻥ ﻧﻨﺘﻈﺮﻫﺎ؛ ﻭﻟﻮ ﺍﺗّﻔﻖ‪ ،‬ﻟﺴﺒﺐ‬
‫ﻱ ﻭﺟﻮﺩ ﺳﻴﻜﻮﻥ‬
‫ﻣﻦ ﺍﻷﺳﺒﺎﺏ ﺃﻥ ﺍﺧﺘﻔﺖ ﻣﻦ ﻗﺒﻞ ﺃﻥ ﻳﻜﺘﻤﻞ ﺗﻜﻮّﻬﻧﺎ‪ ،‬ﻓﺈﻧّﻨﺎ ﻟﻦ ﻧﻌﺮﻑ ﺃﺑﺪﺍ ﺃ ّ‬
‫ﻭﺟﻮﺩﻫﺎ‪ .‬ﺑﻞ ﻳﻨﺒﻐﻲ ﺃﻥ ﻧﺘﻔﺤّﺼﻬﺎ‪ ،‬ﻭﺃﻥ ﻧﺴﱪﻩ‪ :‬ﻭﺑﺎﳉﻤﻠﺔ‪ ،‬ﻓﻬﻲ ﺗﻌﻠﹼﻤﻨﺎ ﰲ ﻛ ﹼﻞ ﺁﻥ ﺷﻴﺌﺎ ﻣﺎ‪.‬‬
‫ﻱ ﺷﻲﺀ ﻟﻴﺖ ﺷﻌﺮﻱ ﻫﺬﺍ‪ ،‬ﺇﻥ ﱂ ﻳﻜﻦ ﺃﻧّﻬﺎ ﻋﻠﻰ ﺍﻟﺘّﺤﻘﻴﻖ ﳍﻲ ﺷﻲﺀ ﻛﺎﻷﺷﻴﺎﺀ ؟ ﺻﺤﻴﺢ‬
‫ﻭﺃ ّ‬
‫ﺃﻧّﻨﺎ ﻗﺪ ﺍﺳﺘﺒﺪﻟﻨﺎ ﺍﻷﺣﺠﺎﺭ ﺍﻟﺜﻘﻴﻠﺔ ﻟﺘﺎﻥ ﺑﻀﺒﺎﺏ ﺧﻔﻴﻒ ﺣ ّﻲ ﻳﺘﻐﻴّﺮ ﺑﻼ ﺍﻧﻘﻄﺎﻉ‪ .‬ﻭﻟﻜ ّﻦ ﻫﺬﺍ‬
‫ﺍﻟﻀّﺒﺎﺏ ﻫﻮ ﻧﻔﺴﻪ ﻟﻴﺲ ﻳﻌﺪﻭ ﺃﻥ ﻳﻜﻮﻥ ﺇ ﹼﻻ ﺷﻴﺌﺎ ﻣﻦ ﺍﻷﺷﻴﺎﺀ‪ .‬ﻭﺣﻴﻨﻤﺎ ُﺭ ْﻣﻨَﺎ ﺃﻥ ﳒﻌﻞ ﺍﻟﺼّﻮﺭﺓ‬
‫ﳎﺎﻧﺴﺔ ﻟﻠﻔﻜﺮ‪ ،‬ﻓﻠﻴﺲ ﻳﻜﻔﻲ ﺑﺄﻥ ﳒﻌﻠﻬﺎ ﻣﺸﻔﹼﺔ ﻭﻣﺘﺤﺮّﻛﺔ ﻭﺷﺒﻪ ﺷﻔﹼﺎﻓﺔ‪ .‬ﻭﺇﻧّﻤﺎ ﻛﺎﻥ ﻳﻨﺒﻐﻲ ﺃﻥ‬
‫ﻧﻨﱪﻱ ﻟﻄﺒﻴﻌﺘﻬﺎ ﻧﻔﺴﻬﺎ ﺑﻜﻮﻬﻧﺎ ﺷﻴﺌﺎ ﻣﻦ ﺍﻷﺷﻴﺎﺀ‪ .‬ﻭﺇ ﹼﻻ ﻓﻠﺴﻮﻑ ﻧﺴﻤﻊ ﻳﻘﺎﻝ ﻟﻨﺎ‪ :‬ﺻﺤﻴﺢ ﺃ ﹼﻥ‬
‫ﺠﺮُﻭ ﹶﻥ ﻧﻔﺲ ﺍﳌﻌﺎﱐ ﻋﻠﻰ‬
‫ﻒ ﻭﻣﺘﺤﺮّﻙ‪ ،‬ﻭﺻﺤﻴﺢ ﺃﻧّﻨﺎ ﻟﻨﺮﻯ ﺃﻧّﻜﻢ ﺇﻧّﻤﺎ ُﺗ ْ‬
‫ﺍﻟﻔﻜﺮ ﻫﻮ ﺳﻴّﺎﻝ‪ ،‬ﻭﻣﺸ ّ‬
‫ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻭﻟﻜ ّﻦ ﻫﺬﻩ ﺍﳌﻌﺎﱐ ﺍﳌﻤﺎﺛﻠﺔ ﻟﻴﺲ ﳍﺎ ﻧﻔﺲ ﺍﳌﻌﲎ ﻫﻨﺎ ﻭﻫﻨﺎﻟﻚ‪ .‬ﻓﺤﻴﻨﻤﺎ ﺗﺘﻜﻠﹼﻤﻮﻥ ﻋﻦ‬
‫ﺍﻟﺴّﻴﻮﻟﺔ ﻭﻋﻦ ﺍﳌﺸ ﹼﻔﻴّﺔ ﰲ ﺍﻟﻔﻜﺮ‪ ،‬ﻓﺄﻧﺘﻢ‪ ،‬ﻋﻠﻰ ﺍﳉﻤﻠﺔ ﺇﻧّﻤﺎ ﺗﺴﺘﺨﺪﻣﻮﻥ ﺍﺳﺘﻌﺎﺭﺍﺕ ﻻﳚﺐ‬
‫ﻓﻬﻤﻬﺎ ﻋﻠﻰ ﺍﳊﻘﻴﻘﺔ‪ .‬ﻭﺣﻴﻨﻤﺎ ﺗﻄﻠﻘﻮﻥ ﻧﻔﺲ ﺍﻟﻜﻴﻔﻴّﺎﺕ ﻋﻠﻰ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻓﺈﻧّﻜﻢ ﲡﺮﻭﻬﻧﺎ ﻋﻠﻴﻬﺎ‬
‫ﺇﺟﺮﺍﺀ ﺣﻘﻴﻘﻴّﺎ‪ ،‬ﻣﺎﺩﻣﺘﻢ ﺃﻧّﻜﻢ ﻗﺪ ﻛﻨﺘﻢ ﲡﻌﻠﻮﻥ ﻣﻦ ﺍﻟﺼّﻮﺭﺓ ﺷﻴﺌﺎ ﻣﺎ ﻗﺪّﺍﻡ ﺍﻟﻔﻜﺮ‪ .‬ﻭﻟﻴﺲ ﺇ ﹼﻻ‬
‫ﺑﺘﺼ ّﺮﻑ ﰲ ﺍﻷﻟﻔﺎﻅ ﳏﺾ ﻭﳎﺮّﺩ ﻫﻮ ﳝﻜﻨﻜﻢ ﺃﻥ ﲡﺰﻣﻮﺍ ﲟﺠﺎﻧﺴﺔ ﺍﻟﻔﻜﺮ ﻟﻠﺼّﻮﺭﺓ ﻋﻠﻰ ﺫﻟﻚ‬
‫ﺍﻟﻨّﺤﻮ ﺍﻟﹼﺬﻱ ﻛﻨﺘﻢ ﻗﺪ ﺑﻴّﻨﺘﻤﻮﻩ‪ .‬ﻭﺑﻌﺪ ﺫﻟﻚ‪ ،‬ﻓﻬﻮ ﻟﻦ ﳚﺪﻱ ﻧﻔﻌﺎ ﺃﻥ ﻧﻘﻮﻝ ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ‬
‫ﻋﻀﻮﻳّﺔ ﺣﻴّﺔ ‪ :‬ﻓﺈﻧّﻜﻢ ﱂ ﺗﺮﻓﻌﻮﺍ ﻋﻨﻬﺎ‪ ،‬ﻣﻊ ﺫﻟﻚ‪ ،‬ﻃﺒﻴﻌﺔ ﻛﻮﻬﻧﺎ ﻣﻮﺿﻮﻋﺎ‪ ،‬ﻭﱂ ﺗﻌﺘﻘﻮﻫﺎ ﻣﻦ‬
‫ﺃﺣﻜﺎﻡ ﺍﻟﺘّﺮﺍﺑﻂ‪ ،‬ﻣﺜﻠﻤﺎ ﺃ ﹼﻥ ﻋﻀﻮﻳّﺔ ﻣﺎ ﻟﻴﺲ ُﲟ ْﻌِﺘ ِﻘﻬَﺎ ﻣﻦ ﺃﺣﻜﺎﻡ ﺍﳉﺎﺫﺑﻴّﺔ ﺃﻥ ﺗﻜﻮﻥ ﻛﺎﺋﻨﺎ ﺣﻴّﺎ‪.‬‬

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‫ﺃﻣّﺎ ﺍﳌﺨﻄﹼﻂ ﻓﻬﻮ ﳎﺮّﺩ ﻣﺴﻌﻰ ﻣﻦ ﺃﺟﻞ ﺍﳉﻤﻊ ﺑﲔ ﻣﻌﻨﻴﲔ ﻣﺘﺒﺎﻋﺪﻳﻦ‪ .‬ﻭﻟﻜﻦ ﺍﺳﺘﻌﻤﺎﻟﻨﺎ‬
‫ﻧﻔﺴﻪ ﻟﺘﻠﻚ ﺍﳌﻘﻮﻟﺔ ﻟﺪﻟﻴﻞ ﻋﻠﻰ ﺃﻧّﻨﺎ ﻣﺎﺯﻟﻨﺎ ﻧﺼ ّﺮ ﻋﻠﻰ ﺇﺛﺒﺎﺕ ﻭﺟﻮﺩ ﺫﻳﻨﻚ ﺍﳌﻌﻨﻴﲔ ﺍﳌﺘﺒﺎﻋﺪﻳﻦ‪.‬‬
‫ﻓﻠﻮﻻ ﺍﻟﺼّﻮﺭ ﺍﻷﺷﻴﺎﺀ‪ ،‬ﻣﺎ ﻛﺎﻧﺖ ﺍﳊﺎﺟﺔ ﺇﱃ ﺍﳌﺨﻄﹼﻄﺎﺕ‪ :‬ﻓﺎﳌﺨﻄﹼﻂ‪ ،‬ﻋﻨﺪ ﻛﺎﻧﻂ ﻭﻋﻨﺪ‬
‫ﺲ ﺍﻟﻌﺎﻃﻠﺔ‪.‬‬
‫ﺑﺎﺭﺟﺴﻦ‪ ،‬ﱂ ﻳﻜﻦ ﺇ ﹼﻻ ﺣﻴﻠﺔ ﻣﻦ ﺃﺟﻞ ﻭﺻﻞ ﻧﺸﺎﻁ ﻭﻭﺣﺪﺓ ﺍﻟﺬﹼﻫﻦ ﺇﱃ ﻛﺜﺮﺓ ﺍﳊ ّ‬
‫ﻓﺤ ﹼﻞ ﺍﳌﺨﻄﹼﻄﻴّﺔ ﻳﻈﻬﺮ ِﺇﺫﹰﺍ ﺑﻨﺤﻮ ﺟﻮﺍﺏ ﻛﻼﺳﻴﻜ ّﻲ ﻋﻠﻰ ﺿﺮﺏ ﻣﺎ ﻣﻦ ﺻﻮﻍ ﺍﳌﺴﺄﻟﺔ‪ .‬ﺃﻣّﺎ‬
‫ﺖ ﺻﻮﻏﺎ ﺁﺧﺮ‪ ،‬ﻻﻧﺪﺛﺮ ﻣﻌﲎﺍﳌﺨ ﹼﻄﻂ ﻧﻔﺴﻪ‪ .‬ﻓﺄﻧﺘﻢ ﺗﻘﻮﻟﻮﻥ ﺑﺄﻧّﻪ ﻳﻘﻮﻡ ﺍﻵﻥ ﰲ ﺍﻟﻮﻋﻲ‬
‫ﻟﻮﺻِﻴ َﻐ ْ‬
‫ﺼﺮٌ‪ ،‬ﻋﻠﻰ ﻏﺎﻳﺔ ﻣﻦ ﺍﻟﺘّﻌﻴّﻦ ﺣﺘّﻰ ﺃﻧّﻪ ﻻ ﳝﻜﻦ ﺃﻥ ﻳﻜﻮﻥ ﻣﻦ ﺍﻟﻌﻘﻞ‪ ،‬ﻭﻋﻠﻰ ﻏﺎﻳﺔ ﻣﻦ‬
‫ﺨَﺘ َ‬
‫ﲤﺜﹼﻞ ُﻣ ْ‬
‫ﺍﻟﻼﹼﺗﻌﻴّﻦ ﺣﺘّﻰ ﺃﻧّﻪ ﻻ ﳝﻜﻦ ﳑﺎﻫﺘﻪ ﺑﺎﻷﺷﻴﺎﺀ ﺍﻟﻔﺮﺩﻳّﺔ ﺍﶈﻴﻄﺔ ﺑﻨﺎ؛ ﻭﺃﻧﺘﻢ ﺗﺴﻤّﻮﻥ ﻫﺬﺍ ﺍﻟﺘّﻤﺜﹼﻞ‬
‫ﺑﺎﳌﺨﻄﹼﻂ‪ .‬ﻓﻠﻴﺖ ﺷﻌﺮﻱ ِﻟ َﻢ ﻻ ﻳﻜﻮﻥ‪ ،‬ﺑﺎﺧﺘﺼﺎﺭ‪ ،‬ﺇﻧّﻤﺎ ﻫﻮ ﺍﻟﺼّﻮﺭﺓ ؟ ﺃﻓﻠﺴﺘﻢ ﺗﻌﺘﺮﻓﻮﻥ‪ ،‬ﺣﻴﻨﻤﺎ‬
‫ﺼﺮُﻭ ﹶﻥ ﺍﺳﻢ ﺍﻟﺼّﻮﺭﺓ ﻋﻠﻰ ﺍﻟﻨّﺴﺦ‬
‫ﲡﻌﻠﻮﻥ ﳍﺬﻩ ﺍﻟﺘّﻤﺜﹼﻼﺕ ﺍﳌﺨﺘﺼﺮﺓ ﻗﺴﻤﺎ ﲝﺎﻟﻪ‪ ،‬ﺑﺄﻧّﻜﻢ ُﺗ ﹾﻘ ِ‬
‫ﺍﳌﻄﺎﺑﻘﺔ ﻭﺍﻟﺼّﺎﺩﻗﺔ ﻟﻸﺷﻴﺎﺀ ؟ ﻓﻠﻌ ﹼﻞ ﺍﻟﺼّﻮﺭ ﻟﻴﺴﺖ ﺃﺻﻼ ﻧﺴﺨﺎ ﻟﻸﺷﻴﺎﺀ‪ .‬ﻭﺭﺑّﻤﺎ ﻫﻲ ﱂ ﺗﻜﻦ‬
‫ﺇ ﹼﻻ ﻭﺳﺎﺋﻞ ﻻﺳﺘﺤﻀﺎﺭ ﺍﳌﻮﺍﺿﻴﻊ ﺑﻨﻮﻉ ﻣﻦ ﺍﻷﻧﻮﺍﻉ‪ .‬ﻓﺤﻴﻨﺌﺬ ﻣﺎ ﻣﺂﻝ ﺍﳌﺨﻄﹼﻂ ؟ ﺇﻧّﻪ ﻟﻦ ﻳﻜﻮﻥ‬
‫ﺇ ﹼﻻ ﺻﻮﺭﺓ ﻛﺒﻘﻴّﺔ ﺍﻟﺼّﻮﺭ‪ ،‬ﻣﺎﺩﺍﻡ ﻣﺎ ﻳُ َﻌ ﱢﺮﻑُ ﺍﻟﺼّﻮﺭﺓ ﺇﻧّﻤﺎ ﻫﻮ ﺿﺮﺏ ﺍﺳﺘﻬﺪﺍﻓﻬﺎ ﻣﻮﺿﻮﻋﻬﺎ‬
‫ﻭﻟﻴﺲ ﺛﺮﺍﺀ ﺍﻷﺟﺰﺍﺀ ﺍﻟﹼﱵ ﺑﺘﻮﺳّﻄﻬﺎ ﻫﻲ ﲡﻌﻞ ﺍﳌﻮﺿﻮﻉ ﺣﺎﺿﺮﺍ ﳍﺎ‪.‬‬

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‫ﳘﻴّﺔ ﻣﻦ ﺫﻟﻚ "‬

‫ﻭﻣﻊ ﺫﻟﻚ ﻓﺈ ﹼﻥ ﻣﺴﺄﻟﺔ ﺍﻟﺼّﻮﺭﺓ ﻛﺎﻥ ﻗﺪ ﻧﺎﳍﺎ ﺃﻭّﻝ ﺍﻟﻘﺮﻥ ﺗﻐﻴﲑﺍﺕ ﺃﺷ ّﺪ ﺃ ﹼ‬
‫ﱐ ﺍﳌﺰﻋﻮﻡ‪ :‬ﺇﺫ ﻗﺪ ﺷﻬﺪﻧﺎ ﻇﻬﻮﺭﺛﺎﻧﻴﺔ ﺍﻟﺮّﺃﻱ ﺍﻟﺜﹼﺎﻟﺚ ﰲ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺸّﻲﺀ ﺃﻱ‬
‫ﺍﻟﻘﻠﺐ " ﺍﻟﺒﺎﺭﺟﺴﻮ ﹼ‬
‫ﰐ‪ .‬ﻓﻤﺎﺭﺏ ﻗﺪ ﻧﺸﺮ ‪ ،‬ﺳﻨﺔ ‪ ،١٩٠١‬ﺃﲝﺎﺙ ﻧﻔﺴﻴّﺔ ﺧﱪﻳّﺔ ﰲ ﺍﳊﻜﻢ‪ ،‬ﻭﺗﺒﻌﻪ‬
‫ﺍﻟﺮّﺃﻱ ﺍﻟﺪّﻳﻜﺎﺭ ﹼ‬
‫ﻱ ﻋﻦ ﺍﻟﺬﹼﻛﺎﺀ ﻭﻛﺎﻥ ﻗﺪ ﲣﻠﹼﻰ ﻓﻴﻪ ﻬﻧﺎﺋﻴّﺎ ﻋﻦ ﺭﺃﻳﻪ‬
‫ﺑﻨﺖ ﺑﻨﺸﺮﻩ ﺳﻨﺔ ‪ ١٩٠٣‬ﻛﺘﺎﺑﻪ ﻓﺤﺺ ﺧﱪ ّ‬
‫ﻱ ﻭﺍﻟﻔﻜﺮ " ‪ ،‬ﻭﻛﺘﺐ‬
‫ﻟﺴﻨﺔ ‪١٨٩٦‬؛ ﻭﻛﺘﺐ ﺁﺥ ﺳﻨﺔ ‪ ١٩٠٥‬ﻣﻘﺎﻟﺔ " ﰲ ﺍﻟﻔﻌﻞ ﺍﻹﺭﺍﺩ ّ‬

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‫ﻱ ﻋﻦ ﺍﻟﻔﻜﺮ‪ ،‬ﻭﺑﻮﻟﺮ ﻣﻦ ﺳﻨﺔ ‪ ١٩٠٧‬ﺇﱃ ‪ ١٩٠٨‬ﻓﻘﺪ‬
‫ﻣﺴّﺮ ﺃﲝﺎﺙ ﰲ ﻋﻠﻢ ﻧﻔﺲ ﺧﱪ ّ‬
‫ﻛﺘﺐ ﻭﺍﻗﻌﺎﺕ ﻭﻣﺴﺎﺋﻞ ﻣﻦ ﺃﺟﻞ ﻋﻠﻢ ﻧﻔﺲ ﺑﺄﻓﻌﺎﻝ ﺍﻟﺬﹼﻫﻦ‪ .‬ﻭﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ‪ ،‬ﻧﺸﺮﺕ ﻣﺎﺭﻱ‬
‫ﺳﻨﺔ ‪ ١٩٠٦‬ﻣﺮﺍﺟﻌﺔ ﳌﺴﺄﻟﺔ ﺍﳊﺒﺴﺔ ﻭﺃﻋﻄﺖ ﻓﻴﻤﺎ ﺑﻌﺪ ﻟﻠﻤﺠﻠﹼﺔ ﺍﻟﻔﻠﺴﻔﻴّﺔ ﻣﻘﺎﻟﺔ ﻣﻮﺳﻮﻣﺔ ﺏ"‬
‫ﰲ ﻭﻇﻴﻔﺔ ﺍﺍﻟﻠﹼﻐﺔ‪" .‬‬

‫ﻭﻫﺬﻩ ﺍﻷﻋﻤﺎﻝ ﺫﺍﺕ ﺍﻟﻄﹼﺒﻴﻌﺔ ﺍﳌﺨﺘﻠﻔﺔ ﻭﺍﳌﺼﺪﺭ ﺍﳌﺨﺘﻠﻒ ﺃﻳّﻤﺎ ﺍﺧﺘﻼﻑ‪ ،‬ﺇﻧّﻤﺎ ﻛﺎﻧﺖ‬
‫ﰐ ﰲ ﻋﻼﻗﺔ ﺍﻟﺼّﻮﺭﺓ ﺑﺎﻟﻔﻜﺮ‪ .‬ﻓﻠﻘﺪ ﺗُ ِﺬ ﱢﻛ َﺮ‬
‫ﻧﺘﻴﺠﺘﻬﺎ ﺃﻥ ﻗﺪ ﻋﺎﻭﺩﺕ ﺑﻌﺚ ﺍﻟﺘّﺼﻮّﺭ ﺍﻟﺪﻳﻜﺎﺭ ﹼ‬
‫ﺍﳊﺮﺝ ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﻓﻴﻪ ﺑﺮﻭﺷﺎﺭﺩ ﻭﻓﺮّﻱ ﻭﲨﻴﻊ ﻋﻘﻼﻧﻴّﻲ ﺳﻨﻮﺍﺕ ‪ .٨٠‬ﻭﻫﻢ ﺗﻮﻫّﻤﻮﺍ ﺑﺄﻧّﻬﻢ‬
‫ﻣﺘﺤﻴّﺰﻭﻥ ﻣﺎﺑﲔ ﻣﻌﻄﻴﺎﺕ ﺍﻟﻮﺍﻗﻊ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴّﺔ‪ ،‬ﻭﻣﻌﻄﻴﺎﺕ ﺍﻻﺳﺘﺒﻄﺎﻥ‪ .‬ﻭﻫﺆﻻﺀ ﺍﻟﻔﻼﺳﻔﺔ‪،‬‬
‫ﺑﺎﻟﺮّﻏﻢ ﻣﻦ ﻫﺬﻳﻦ ﺍﻟﻘﺎﻧﻮﻧﲔ ﺍﻟﻜﺒﲑﻳﻦ‪ :‬ﻭﳘﺎ ﻫﻨﺎﻟﻚ ﺃﺣﻴﺎﺯ ﺩﻣﺎﻏﻴّﺔ ـ ﻭﺍﻟﻮﻋﻲ ﻟﻴﺲ ُﻳﻌَﺎِﻳﻦُ ﻣﻦ‬
‫ﺨﱠﻴ ﹶﻠﺔﹰ‪ ،‬ﻭﺑﺎﻟﺮّﻏﻢ ﻣﻦ ﺗﻠﻚ ﺍﻻﺳﺘﻘﺮﺍﺀﺍﺕ ﺍﻟﹼﱵ ﻳﺸﺒﻪ ﺃﻥ‬
‫ﻧﻔﺴﻪ ﻣﻦ ﻇﻮﺍﻫﺮ ﺃﺧﺮﻯ ﺇ ﹼﻻ ﲤﺜﹼﻼﺕ ُﻣَﺘ َ‬
‫ﺗﻜﻮﻥ ﻗﺪ ﻗﺪّﻬﺗﺎ ﻋﺪﺩ ﻣﻦ ﺍﳌﻌﺎﻳﻨﺎﺕ ﺍﳍﺎﻣّﺔ ﻭﺍﳌﺘﻨﻮﻋﺔ‪ ،‬ﻓﻬﻢ ﻗﺪ ﺭﺍﻣﻮﺍ ﺃﻥ ﻳﻌﻴﺪﻭﺍ ﺇﺛﺒﺎﺕ ﻭﺟﻮﺩ‬
‫ﻓﻜﺮ ﺗﺄﻟﻴﻔ ّﻲ ﻳﺴﺘﻌﻤﻞ ﺍﳌﻔﺎﻫﻴﻢ ﻭﻳﻘﻒ ﻋﻠﻰ ﺍﻟﻌﻼﻗﺎﺕ ﻭﺗﻀﺒﻂ ﺃﻓﻌﺎﻟﻪ ﻗﻮﺍﻧﲔ ﻣﻨﻄﻘﻴّﺔ‪ .‬ﻭﻣﻦ ﻫﻨﺎ‬
‫ﻟﻌﻤﺮﻱ‪ ،‬ﻣﺎ ﻛﺎﻥ ﺍﻟ ﱢﻠ َﻮﺍ ﹸﺫ ﺑﻠﻴﺒﺘﺰ ﻭ ﻣﺎ ﻛﺎﻥ ﺍﻟﺘّﺄﻛﻴﺪ ﺍﶈﺾ ﻭﺍﳋﺎﻟﺺ ﻋﻠﻰ ﺣﻘﻮﻕ ﺍﻟﻔﻜﺮ‪ .‬ﻭﻟﻜ ّﻦ‬
‫ﻧﻈﺮﻳّﺔ ﺍﻷﺣﻴﺎﺯ ﺍﻟﺪّﻣﺎﻏﻴﺔ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴّﺔ ﻓﻘﺪ ﺃﺧﺬﺕ ﻓﺠﺄﺓ ﻳﻘ ﹼﻞ ﺇﳝﺎﻥ ﺍﻷﻃﺒّﺎﺀ ﻬﺑﺎ‪ :‬ﺇﺫ ﻫﻲ ﻗﺪ‬
‫ﺕ ﻓﻴﻬﺎ‬
‫ﺸﹶﺌﺖْ‪ ،‬ﻋﻠﻰ ﺍﻟﻌﻤﻮﻡ‪ ،‬ﺍﺑﺘﺪﺍﺀ ﻣﻦ ﻣﻮﺍﺩ ﻣﺸﻜﻮﻙ ﻓﻴﻬﺎ ؛ ﻭﺍﻷﺧﺬ ﺑﺎﻟﺘّﺠﺮﺑﺔ ﻗﺪ ﺍ ْﻋﺘُ ِﻤ َﺪ ْ‬
‫ﹸﺃْﻧ ِ‬
‫ﺍﻟﻄﹼﺮﻳﻘﺔ ﺍﻟﹼﱵ ﻛﺎﻥ ﺃﻭﺻﻰ ﻬﺑﺎ ﺱ ﻣﻞ‪ ،‬ﻭﻫﻲ ﻧﺎﻓﻌﺔ ﺑﻘﺪﺭ ﻣﺎ ﺷﺄﻥ ﻫﺬﻩ ﺍﳌﻨﺎﻫﺞ ﻧﻔﺴﻬﺎ ﺃﻥ ﺗﻨﻔﻊ‪.‬‬
‫ﺃﻣّﺎ ﻣﺎﺭﻱ ﻓﻘﺪ ﻋﺎﻭﺩﺕ ﺗﻨﺎﻭﻝ ﻣﺴﺄﻟﺔ ﺍﳊﺒﺴﺔ ﺍﻟﹼﱵ ﻫﻲ ﺃﺻﻞ ﺍﻟﻨّﻈﺮﻳّﺔ ﺍﻟﻌﻠﻤﻴّﺔ ﰲ ﺍﻷﺣﻴﺎﺯ‬
‫ﺍﻟﺪّﻣﺎﻏﻴّﺔ‪ ،‬ﹼﰒ ﺑﻴّﻨﺖ ﺃﻧّﻪ‪ ،‬ﻣﻜﺎﻥ ﺍﺿﻄﺮﺍﺑﺎﺕ ﻛﺜﲑﺓ ﺗﺘﻨﺎﺳﺐ ﻣﻊ ﲣﺮﻳﺐ ﲣﺮﻳﺐ ﳌﺮﻛﺰ ﻣﺎ‬
‫ﳐﺼﻮﺹ‪ ،‬ﻓﻬﻮ ﻻ ﻳﻮﺟﺪ ﺇ ﹼﻻ ﺿﺮﺏ ﻭﺍﺣﺪ ﻣﻦ ﺍﳊﺒﺴﺔ ﻳﺘﻨﺎﺳﺐ ﻓﺤﺴﺐ ﻣﻊ ﺭﻛﻮﺩ ﻛﻠﹼﻲ‬
‫ﺠ ٍﺰ ﻣﺎ ﺗﺄﻟﻴﻔ ّﻲ‪ .‬ﻓﺎﳊﺒﺴﺔ ﻫﻲ ﺍﺿﻄﺮﺍﺏ ﰲ ﺍﻟﺬﹼﻛﺎﺀ‪ .‬ﻭﻣﻦ ﹶﺛ ﱠﻢ ‪ ،‬ﻓﺈ ﹼﻥ‬
‫ﻟﻠﺪّﺭﺟﺔ ﺍﻟﻨّﻔﺴﻴّﺔ‪ ،‬ﺃﻱ ِﻟ َﻌ ْ‬
‫ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴﺎ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﻨﺤﻮ ﺑﺘﺆﺩﺓ ﳓﻮ ﺗﺼﻮّﺭ ﺗﺄﻟﻴﻔ ّﻲ ﻟﻠﺪّﻣﺎﻍ‪ .‬ﻓﺬﻟﻚ ﻫﻮ ﻋﻀﻮ ﺭﺑّﻤﺎ ﳓﻦ ﳕﻴّﺰ‬

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‫ﺤ ﱠﻞ ﺇﱃ‬
‫ﻓﻴﻪ ﻣﻨﺎﻃﻖ ﳐﺘﻠﻔﺔ ﻛ ﹼﻞ ﻭﺍﺣﺪﺓ ﻣﻨﻬﺎ ﺗﻜﻮﻥ ﺫﺍﺕ ﻭﻇﻴﻔﺔ ﳐﺘﻠﻔﺔ‪ ،‬ﻭﻟﻜﻨّﻪ ﻻ ﳝﻜﻦ ﺃﻥ ُﻳ َ‬
‫ﻓﺴﻴﻔﺴﺎﺀ ﻣﻦ ﺍﳉﻤﻞ ﺍﳋﻼﺋّﻴﺔ‪.‬‬

‫ﻭﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ‪ ،‬ﻓﺈ ﹼﻥ ﺃﻋﻤﺎﻝ ﻣﺪﺭﺳﺔ ﻭﺭﺯﺑﻮﻍ ﻗﺪ ﻏﻴّﺮﺕ ﻣﻦ ﻧﻔﺲ ﺗﺼﻮّﺭ ﻣﻌﻄﻴﺎﺕ‬
‫ﺠﻠﱠﻰ ﳍﺎ ﺑﻼ‬
‫ﺨﱠﻴ ﹶﻠﺔٍ‪ ،‬ﻭﺍﻟﻔﻜﺮ ﻗﺪ َﺗ َ‬
‫ﺍﳊﺪﺱ‪ .‬ﻓﻬﻨﺎﻙ ﹶﺫﻭَﺍﺕٌ ﻗﺪ ﺁﻧﺴﺖ ﰲ ﺃﻧﻔﺴﻬﺎ ﺣﺎﻻﺕ ﻏﲑ ُﻣَﺘ َ‬
‫ﺗﻮﺳّﻂ‪ .‬ﺇﻧّﻬﺎ ﻗﺪ ﺗﺒﻴّﻨﺖ ﻭﺟﻮﺩ ﻣﻌﺎﺭﻑ ﺧﺎﻟﺼﺔ‪ ،‬ﻭ " ُﻭ ِﻋ ﱞﻲ ﺑﺎﻟﻘﻮﺍﻋﺪ "‪ ،‬ﻭ" ﺑﺘﻮﺗّﺮﺍﺕ ﻭﻋﻲ‬
‫ﲏ ﻗﺪ‬
‫ﺲ ﺍﻟﺒﺎﻃ ّ‬
‫ﻭﻏﲑ ﺫﻟﻚ "‪ .‬ﺃﻣّﺎ ﻓﻴﻤﺎ ﻳﺘﻌﻠﹼﻖ ﺑﺎﻟﺼّﻮﺭ ﻋﻠﻰ ﺍﻟﺘّﺨﺼﻴﺺ‪ ،‬ﻓﺈ ﹼﻥ ﻣﻌﻄﻴﺎﺕ ﺍﳊ ّ‬
‫ﺃﻗﺮّﺕ ﻧﻈﺮﻳّﺎﺕ ﺃﻫﻞ ﺍﻟﺒﺎﺭﺟﺴﻮﻧﻴّﺔ‪ :‬ﻓﺎﻟﺼّﻮﺭﺓ ﻫﻲ ﻟﻴّﻨﺔ ﻭﻣﺘﺤﺮّﻛﺔ ﻭﺍﳌﻮﺍﺿﻴﻊ ﺍﻟﹼﱵ ﺗﻈﻬﺮ ﺑﺼﻮﺭﺓ‬
‫ﻟﻴﺴﺖ َﻣ ﹾﻘﺴُﻮ َﺭ ﹰﺓ ﻋﻠﻰ ﺃﻥ ﺗﺘﺸﺨّﺺ ﻧﻔﺲ ﺗﺸﺨّﺺ ﻣﻮﺍﺿﻴﻊ ﺍﻹﺩﺭﺍﻙ‪.‬‬

‫ﻱ‬
‫ﻓﺘﻠﻚ ﻫﻲ ﺇﺫﺍ ﻛﺒﲑ ﻣُ ْﺒَﺘ ﹶﻜ ِﺮ ﻧﻈﺮﻳّﺎﺕ ﻣﺪﺭﺳﺔ ﻭﺭﺯﺑﻮﺭﻍ‪ :‬ﺇ ﹼﻥ ﺍﻟﻔﻜﺮ ﻳﻈﻬﺮ ﻟﺬﺍﺗﻪ ﺑﻼ ﺃ ّ‬
‫ﻭﺍﺳﻄﺔ؛ ﻭﹶﺃ ﹾﻥ ﻧُ ﹶﻔ ﱢﻜ َﺮ ﻭﹶﺃ ﹾﻥ َﻧ ْﻌ ﹶﻠ َﻢ ﺃﻧّﻨﺎ ﻧﻔﻜﹼﺮ ﺇﻧّﻤﺎ ﳘﺎ ﻷﻣﺮﺍﻥ ﻭﺍﺣﺪﺍﻥ‪ .‬ﺁﻧﻔﺎ ﻛﻨّﺎ ﻗﺪ ﺷﺒّﻬﻨﺎ ﻣﺴﻌﻰ‬
‫ﻟﻴﺒﻨﺘﺰ ﻭﺃﺧﻼﻓﻪ ﻣﻦ ﺃﺟﻞ ﺍﻟﺘّﺪﻟﻴﻞ ﻣﻦ ﻧﻈﺎﻡ ﺍﻟﺼّﻮﺭ ﻧﻔﺴﻪ‪ ،‬ﻋﻠﻰ ﻭﺟﻮﺩ ﻓﻜﺮ ﻣﺎﻭﺭﺍﺀ ﺍﻟﺼّﻮﺭ‪،‬‬
‫ﺑﺎﻟﱪﻫﺎﻥ ﺍﻟﻔﻴﺰﻳﺎﺋﻲ ﺍﻟﻼﹼﻫﻮﰐ‪ .‬ﻭﻟﻜ ّﻦ ﻫﺎﻫﻨﺎ‪ ،‬ﻓﻠﻴﺲ ﻣﻦ ﺣﺎﺟﺔ ﻟﺪﻟﻴﻞ‪ :‬ﻓﻤﺜﻠﻤﺎ ﺃ ﹼﻥ ﺍﻟﹼﻠﻪ ﻳﻨﺎﻟﻪ‬
‫ﺼ ﹶﻄﻔﹶﺎﺓﹲ‪ .‬ﻭﺻﺪﻕ ﻫﺬﻩ ﺍﳋﱪﺓ ﺍﳌﺼﻄﻔﺎﺓ‬
‫ﺗﻔﻜﹼﺮ ﺍﻟﺼّﻮﰲﹼ‪ ،‬ﻛﺬﻟﻚ ﻓﺈ ﹼﻥ ﺍﻟﻔﻜﺮ ﺗﻨﺎﻟﻪ ﺧﱪﺓ ُﻣ ْ‬
‫ﰐ)‪( ٢٦‬‬
‫ﻓﻀﺎﻣﻨﻬﺎ " ﺍﻟﻜﻮﺟﻴﻄﻮ ‪" cogito‬ﺍﻟﺪّﻳﻜﺎﺭ ﹼ‬

‫ﻭﻟﻴﺲ ﰲ ﻗﺼﺪﻧﺎ ﺃﻥ ﻧﺒﺴﻂ ﺃﻋﻤﺎﻝ ﻣﺪﺭﺳﺔ ﻭﺭﺯﺑﻮﺭﻍ‪ :‬ﻓﻬﻮ ﻳﻮﺟﺪ ﰲ ﺍﳌﻮﺿﻮﻉ ﲨﻠﺔ ﻣﻦ‬
‫ﻱ ﻓﻘﺪ‬
‫ﺍﻟﺘّﺴﺠﻴﻼﺕ ﺑﺎﻟﻠﹼﻐﺔ ﺍﻟﻔﺮﻧﺴﻴّﺔ‪ ،‬ﻭﺍﻷﳒﻠﻴﺰﻳّﺔ ﻭﺍﻷﳌﺎﻧﻴّﺔ‪ .‬ﺃﻣّﺎ ﻋﻦ ﺻﺪﻕ ﺍﻻﺳﺘﺒﻄﺎﻥ ﺍﳋﱪ ّ‬
‫ﺍ ْﺳُﺘﻔِﻲ ﺍﻟﻘﻮﻝ ﻓﻴﻪ‪ .‬ﻭﳓﻦ ﺇﻧّﻤﺎ ﻧﺮﻭﻡ ﻓﻘﻂ ﺍﻟﺒﻴﺎﻥ ﺑﺄ ﹼﻥ ﻋﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ ﺍﻷﳌﺎﻥ ﻣﺎ ﻛﺎﻧﻮﺍ ﻗﺪ ﻗﺼﺪﻭﺍ‬
‫ﺍﻟﺘّﺠﺮﺑﺔ ﻭﻫﻢ ﺧﺎﻟﻮﻥ ﻣﻦ ﺃﻓﻜﺎﺭ ﻣﺴﺒّﻘﺔ ﻋﻦ ﺍﳋﱪﺓ‪.‬‬

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‫ﳊ ﱠﻖ ﺃﻗﻮﻝ ﺇ ﹼﻥ ﺃﻋﻤﺎﳍﻢ ﱂ ﻳﻜﻦ ﻏﺮﺿﻬﺎ ﻧﻔﺴﺎﻧﻴّﺎ ﺑﺈﻃﻼﻕ‪ .‬ﺑﻞ ﻗﺪ ﻧﻘﻮﻝ ﺑﺄﻧّﻪ ﻛﺎﻧﻮﺍ‬
‫ﻭﺍ ﹶ‬
‫ﻳﺮﻭﻣﻮﻥ ﺗﻌﻴﲔ ﻣﻮﺿﻮﻉ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﺗﻌﻴﻴﻨﺎ ﺻﺎﺭﻣﺎ‪ .‬ﻭﻫﻲ ﺃﻋﻤﺎﻝ ﻗﺪ ﲣﻠﹼﻘﺖ ﺑﺘﺄﺛﲑ ﻣﻦ ﺍﻷﲝﺎﺙ‬
‫ﺍﳌﻨﻄﻘﻴّﺔ ﳍﻮﺳّﺮﻝ ﺍﻟﹼﱵ ﺍﺣﺘﻮﻯ ﺍﳉﺰﺀ ﺍﻷﻭّﻝ ﻣﻨﻬﺎ ﻧﻘﺪﺍ ﻣﺴﺘﻮﻓﻴﺎ ﻟﻠﻨّﻔﺴﺎﻧﻴّﺔ ﲜﻤﻴﻊ ﺃﳕﺎﻃﻬﺎ)‪(٢٧‬‬
‫ﻓﻬﻮﺳّﺮﻝ ﻗﺪ ﻭﺿﻊ ﲟﻘﺎﺑﻞ ﺗﻠﻚ ﺍﻟﻨّﻔﺴﺎﻧﻴّﺔ ﺍﻟﹼﱵ ﻛﺎﻧﺖ ﺗﺒﺘﻐﻲ ﺃﻥ ﺗﺆﺳّﺲ ﺣﻴﺎﺓ ﺍﻟﻔﻜﺮ ﺑﻮﺍﺳﻄﺔ "‬
‫ﺍﳌﻌﺎﱐ ﻫﻲ " ﻣَُﺘ َﻤﱠﺜ ﹶﻠﺔﹲ "‬ ‫ﳏﺘﻮﻳﺎﺕ ﺍﻟﻮﻋﻲ "‪ ،‬ﺗﺼﻮّﺭﺍ ﺟﺪﻳﺪﺍ‪ :‬ﺇﻧّﻪ ﻳﻮﺟﺪ ﻣﺮﺗﺒﺔ ﻣﻔﺎﺭﻗﺔ ﻣﻦ‬
‫ﻭﻟﻴﺴﺖ ﻫﻲ " ﲤﺜﹼﻼﺕ " ﻭﺍﻟﹼﱵ ﻟﻴﺴﺖ ﻣﻦ ﺷﺄﻬﻧﺎ ﺍﻟﺒﺘّﺔ ﺃﻥ ﺗﺘﻜﻮّﻥ ﺑﻄﺮﻳﻖ ﳏﺘﻮﻳﺎﺕ )‪.(٢٨‬‬
‫ﻭﺑﺎﻟﻄﹼﺒﻊ ﻓﻬﺬﺍ ﺍﻟﻌﺎﱂ ﻣﻦ ﺍﳌﻌﺎﱐ ﻳﻨﺎﺳﺒﻪ ﳕﻂ ﻣﺎ ﻣﻦ ﺍﻷﺣﻮﺍﻝ ﺍﻟﻨّﻔﺴﻴّﺔ ﳐﺼﻮﺹ‪ :‬ﺇﻧّﻬﺎ ﺃﺣﻮﺍﻝ‬
‫ﺍﻟﻮﻋﻲ ﺍﻟﹼﱵ َﺗَﺘ َﻤﱠﺜﻞﹸ ﺗﻠﻚ ﺍﳌﻌﺎﱐ ﻭﺍﻟﹼﱵ ﳝﻜﻨﻬﺎ ﺃﻥ ﺗﻜﻮﻥ ﺇﻣّﺎ ﻗﺼﺪﻳّﺎﺕ ﺧﺎﻭﻳﺔ ﺃﻭ ﺣﺪﻭﺱ‬
‫ﻣﺘﻔﺎﺿﻠﺔ ﺍﻟﻮﺿﻮﺡ‪ ،‬ﻭﻣﺘﻔﺎﺿﻠﺔ ﺍﻻﻣﺘﻼﺀ)‪ (٢٩‬ﻭﰲ ﻛ ﹼﻞ ﺍﻷﺣﻮﺍﻝ‪ ،‬ﻓﺎﻟﺪّﻻﻟﺔ ﻭﺍﻟﻮﻋﻲ ﺑﺎﻟﺪّﻻﻟﺔ‬
‫ﺇﻧّﻤﺎ ﳘﺎ ﻟﻴﺲ ﻣﻦ ﻣﺸﻤﻮﻻﺕ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ‪ .‬ﺑﻞ ﺇ ﹼﻥ ﺍﻟﻔﺤﺺ ﻋﻦ ﺍﻟﺪّﻻﻟﺔ ﻣﻦ ﺣﻴﺚ ﻫﻲ ﻛﺬﻟﻚ‪،‬‬
‫ﻓﻬﻲ ﻣﻦ ﻣﺸﻤﻮﻻﺕ ﺍﳌﻨﻄﻖ‪ .‬ﺃﻣّﺎ ﺍﻟﻔﺤﺺ ﻋﻦ ﺍﻟﻮﻋﻲ ﺑﺎﻟﺪّﻻﻟﺔ‪ ،‬ﻣﻦ ﺑﻌﺪ " ﻗﻠﺐ ﳐﺼﻮﺹ" ﺃﻭ‬
‫" ﺧﺰﻝ"‪ ،‬ﻓﻬﻮ ﻣﻦ ﻣﺸﻤﻮﻻﺕ ﻋﻠﻢ ﺟﺪﻳﺪ‪ ،‬ﺃﻻ ﻭﻫﻮ ﺍﻟﻔﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟﻴﺎ‪ .‬ﻭﻫﺎﻫﻨﺎ ﻧﻠﻔﻰ ﻣﺎ ﻛﻨّﺎ‬
‫ﺭﺃﻳﻨﺎﻩ ﻟﺪﻯ ﺩﻳﻜﺎﺭﺕ‪ :‬ﺃﻱ ﺃ ﹼﻥ ﺍﳌﺎﻫﻴﺎﺕ ﻭﺍﳊﺪﺱ ﺑﺎﳌﺎﻫﻴﺎﺕ‪ ،‬ﻭﺃﻓﻌﺎﻝ ﺍﳊﻜﻢ‪ ،‬ﻭﺍﻻﺳﺘﻨﺘﺎﺟﺎﺕ‬
‫ﲏ‬
‫ﺇﻧّﻤﺎ ﻫﻲ ﻟﻴﺴﺖ ﺍﻟﺒﺘّﺔ ﻣﻦ ﻣﺸﻤﻮﻻﺕ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ‪ ،‬ﻣﻨﻈﻮﺭﺍ ﺇﻟﻴﻪ ﲟﺎ ﻫﻮ ﻓﺤﺺ ﺗﻜﻮﻳ ّ‬
‫ﻱ ﻳﺒﺪﺃ ﻣﻦ ﺍﻟﻮﺍﻗﻌﺔ ﻟﻴﺼﻞ ﺇﱃ ﺍﻟﻘﺎﻧﻮﻥ‪ .‬ﺑﻞ ﺑﺎﻟﻌﻜﺲ‪ ،‬ﺇﻧّﻤﺎ ﻫﻲ ﺍﳌﺎﻫﻴﺎﺕ ﺍﻟﹼﱵ ﺷﺄﻬﻧﺎ ﺃﻥ‬
‫ﻭﺗﻔﺴﲑ ّ‬
‫ﲡﻌﻞ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﳑﻜﻨﺎ‪.‬‬
‫ﻭﲝﻖّ‪ ،‬ﻓﻘﺪ ﻛﺎﻧﺖ ﺇﺣﺪﻯ ﻣﺸﺎﻏﻞ ﻋﻠﻤﺎﺀ ﻧﻔﺲ ﻣﺪﺭﺳﺔ ﻭﺭﺯﺑﻮﺭﻍ ﻫﻮ ﺃﻥ ﳛﻘﹼﻘﻮﺍ ﰲ ﳎﺎﻝ‬
‫ﻱ ﻻ ﻧﻔﺴﺎﻧﻴّﺔ ﻫﻮﺳّﺮﻝ‪ .‬ﻓﻠﻮ ﻛﺎﻥ ﻫﻮﺳّﺮﻝ ﻗﺪ ﻗﺎﻝ ﺻﺪﻗﺎ‪ ،‬ﻓﻼ ﺑ ّﺪ ﺃﻥ ﻧﺼﻴﺐ‬
‫ﺍﻻﺳﺘﺒﻄﺎﻥ ﺍﳋﱪ ّ‬
‫ﻫﻨﺎﻟﻚ ﺃﺣﻮﺍﻻ ﳐﺼﻮﺻﺔ ﰲ ﺗﻴّﺎﺭ ﺍﻟﻮﻋﻲ ﺗﻜﻮﻥ‪ ،‬ﻋﻠﻰ ﺍﻟﺘّﺤﻘﻴﻖ‪ُ ،‬ﻭ ِﻋﻴ‪‬ﺎ ﺩﻻﻟﻴّﺔ‪ .‬ﻭﺇﺫﺍ ﻣﺎ ﻭﺟﺪﺕ‬
‫ﺗﻠﻚ ﺍﻷﺣﻮﺍﻝ‪ ،‬ﻓﺈ ﹼﻥ ﺧﺎﺻّﺘﻬﺎ ﺍﳉﻮﻫﺮﻳّﺔ ﺳﻮﻑ ﺗﻜﻮﻥ ﺃﻥ ﲢ ّﺪ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ‪ ،‬ﻭﺃﻥ ﺗﻌﻴّﻦ ﲣﻮﻣﻪ‪.‬‬
‫ﺼﱠﻨﻒَ‪ ،‬ﻭﺑﺬﻟﻚ ﻓﺈﻧّﻬﺎ ﺳﻮﻑ ﺗﺒﻘﻰ‬
‫ﺇﺫ ﺃ ﹼﻥ ﻫﺬﻩ ﺍﻷﺣﻮﺍﻝ ﺳﻴﻜﻮﻥ ﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﻮﺻﻒ ﻭﺃﻥ ُﺗ َ‬
‫ُﻳ ْﻌﻨَﻰ ﻬﺑﺎ ﻋﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ‪ :‬ﻭﻟﻜﻦ‪ ،‬ﻓﻬﻮ ِﻟ َﻤﻜﹶﺎ ِﻥ ﻧﻔﺲ ﻭﺟﻮﺩﻫﺎ‪ ،‬ﻓﻘﺪ ﺗﻮﺟّﺐ ﺃﻥ ﻧﻌﺪﻝ ﻋﻦ ﺃﻥ‬

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‫ﺤ ِﻮ ﺍﻟﹼﺬﻱ‬
‫ﻧﻔﺴّﺮﻫﺎ‪ ،‬ﻭﺃﻥ ﻧﺒﻴّﻦ ﺗﻜﻮّﻬﻧﺎ ﺍﺑﺘﺪﺍﺀ ﻣﻦ ﳏﺘﻮﺍﻳﺎﺕ ﺳﺎﺑﻘﺔ‪ :‬ﺇﺫ ﺃﻧّﻤﺎ ﻫﻲ ﻋﺒﺎﺭﺓ ﻋﻦ ﺍﻟﱠﻨ ْ‬
‫ﱐ‪.‬‬
‫ُﻳ ْﻌﻄﹶﻰ ﻓﻴﻪ ﺍﳌﻨﻄﻖ ﻟﻠﻮﻋﻲ ﺍﻹﻧﺴﺎ ﹼ‬

‫ﻭﳌﹼﺎ ﻛﺎﻥ ﻋﻠﻤﺎﺀ ﻧﻔﺲ ﻣﺪﺭﺳﺔ ﻭﺭﺯﺑﻮﺭﻍ ﻗﺪ ﺍﻛﺘﺸﻔﻮﺍ ﺃﻓﻜﺎﺭﺍ ﺧﺎﻟﺼﺔ‪ ،‬ﻓﻘﺪ ﺗﻮﻫّﻤﻮﺍ‬
‫ﺣﻴﻨﺌﺬ ﺑﺄﻧّﻬﻢ ﻗﺪ ﺩﻟﹼﻠﻮﺍ ﻋﻠﻰ ﻭﺟﻮﺩ ﺍﳌﻨﻄﻖ ﺍﳋﺎﻟﺺ‪ ،‬ﻭﻫﺬﺍ ﺍﻟﺘّﺼﻮّﺭ ﺍﳌﺎﻗﺒﻠ ّﻲ ﻟﻠﻔﻜﺮ ﻓﻘﺪ ﺃﻣﻠﻰ‬
‫ﻋﻠﻴﻬﻢ ﺭﺃﻳﻬﻢ ﻓﻴﻤﺎ ﻳﺘﻌﻠﹼﻖ ﺑﺎﻟﺼّﻮﺭﺓ‪ .‬ﻓﺎﻟﺼّﻮﺭﺓ ﺗﺒﻘﻰ ﺍﻟﻨّﻔﺴ ّﻲ ﺍﳋﺎﻟﺺ ﺑﺈﺯﺍﺀ ﺍﳌﻨﻄﻘ ّﻲ ﺍﳋﺎﻟﺺ‪،‬‬
‫ﺃﻱ ﳏﺘﻮﻯ ﻋﺎﻃﻼ ﺑﺈﺯﺍﺀ ﺍﻟﻔﻜﺮ‪ .‬ﻭﻣﺎ ﺑﲔ ﻋﺎﱂ ﺍﻟﺼّﻮﺭ ﻭﻋﺎﱂ ﺍﻟﻔﻜﺮ‪ ،‬ﻓﻬﻨﺎﻙ ﻫﻮّﺓ‪ ،‬ﻭﻫﻲ ﻋﻠﻰ‬
‫ﺍﻟﺘّﺤﻘﻴﻖ‪ ،‬ﻧﻔﺲ ﺍﳍﻮّﺓ ﺍﻟﹼﱵ ﺃﻟﻔﻴﻨﺎﻫﺎ ﻟﺪﻯ ﺩﻳﻜﺎﺭﺕ‪ .‬ﻭﺑﺮﻭﻫﻠﺮ ﻗﺪ ﻋﺎﻭﺩ ﺍﻷﺧﺬ ﻟﻨﻔﺴﻪ ﺫﻟﻚ‬
‫ﺍﳌﻮﺿﻊ ﺍﻟﺸّﻬﲑ ﻣﻦ ﺍﻟﺘّﺄﻣّﻼﺕ ﺣﻴﺚ ﺑﻴّﻦ ﺩﻳﻜﺎﺭﺕ ﺑﺄ ﹼﻥ ﺍﻟﺬﹼﻫﻦ ﻓﻘﻂ ﳝﻜﻨﻪ ﺃﻥ ﻳﺘﻌﻘﹼﻞ ﻗﻄﻌﺔ‬
‫ﺍﻟﺸّﻤﻊ ﻛﻤﺎ ﻫﻲ ﰲ ﻃﺒﻴﻌﺘﻬﺎ ﺍﳊﻘﹼﺔ؛ ﻓﻘﺪ ﻛﺎﻥ ﻛﺘﺐ‪:‬‬

‫ﻼ‬
‫"ﺇﻧّﻲ ﻷﺟﺰﻡ ﺑﺄﻧّﻪ‪ ،‬ﻣﻦ ﺟﻬﺔ ﺍﳌﺒﺪﺃ‪ ،‬ﻓﻜ ﹼﻞ ﻣﻮﺿﻮﻉ ﳝﻜﻨﻪ ﺃﻥ ﻳﻜﻮﻥ ﻋﻠﻰ ﺍﻟﺘّﻤﺎﻡ ﻭﺍﻟ ّﺪﻗﹼﺔ ﻣَُﺘ َﻌ ﱠﻘ ﹰ‬
‫ﻣﻦ ﻏﲑ ﻣﻌﻮﻧﺔ ﺍﻟﺼّﻮﺭ)ﻱ("‬
‫ﻓﻴﻠﺰﻡ ﻣﻦ ﺫﻟﻚ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻋﻠﻰ ﺭﺃﻱ ﻫﺆﻻﺀ ﺍﻟﻌﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ‪ ،‬ﻟﻴﺲ ﳝﻜﻨﻬﺎ ﺃﻥ ﺗﻜﻮﻥ ﺇ ﹼﻻ‬
‫ُﻣَﻨ ﱢﻐﺼًﺎ ﻟﻠﻔﻜﺮ‪ .‬ﺇﻧّﻤﺎ ﻫﻲ ﻣﻌﺎﻭﺩﺓ ﻇﻬﻮﺭ ﻏﲑ ﻣﻼﺋﻤﺔ ﻟﻠﺸّﻲﺀ ﺑﲔ ﺍﻟ ُﻮ ِﻋ ﱢﻲ ﺍﻟﺪّﻻﻟﻴّﺔ‪ .‬ﻣﻦ ﺃﺟﻞ‬
‫ﺕ ﺃﻥ ﻳﻜﺘﺐ‪:‬‬
‫ﺫﻟﻚ ﻛﺎﻥ ﻗﺪ ﺟﺎﺯ ﻟﻮﺍ ّ‬
‫"ﺇ ﹼﻥ ﻛ ﹼﻞ ﺻﻮﺭﺓ ﻓﻬﻲ ﻋﺎﺋﻖ ﻟﻸﻓﻌﺎﻝ ﺍﳉﺎﻋﻠﺔ ﻣﺜﺎﻻ"‬

‫ﻓﺎﻟﺼّﻮﺭﺓ ﻫﻲ ﺑﻘﺎﺋﻴّﺔ‪ ،‬ﺇﻧّﻬﺎ ﻋﻀﻮ ﰲ ﺳﺒﻴﻞ ﺍﻟﻀّﻤﻮﺭ‪ ،‬ﻭﳌﹼﺎ ﻛﺎﻥ ﳑﻜﻨﺎ ﺃﺑﺪﺍ ﺃﻥ ﻧﺴﺘﺤﻀﺮ‬
‫ﻣﻮﺿﻮﻋﺎ ﻣﺎ ﰲ ﺟﻮﻫﺮﻩ ﺍﳋﺎﻟﺺ‪ ،‬ﻓﻬﻮ ِﺇﺫﹰﺍ ﻟﺘﻔﻮﻳﺖ ﻟﻠﻮﻗﺖ ﺩﺍﺋﻢ ﻭﻧﻜﻮﺹ ﺇﱃ ﺍﻷﺳﻔﻞ ﺃﻥ‬
‫ﻁ ﻭﺑﻮﻫﻠﺮ‪ ،‬ﺑﺼﻔﺔ ﻛﻮﻬﻧﺎ ُﻣﻌِﻴﻘﹰﺎ ﻛﺎﻟﹼﱵ‬
‫ﻧﺴﺘﻌﻤﻞ ﺍﻟﺼّﻮﺭ‪ .‬ﻓﺎﻟﺼّﻮﺭﺓ ِﺇﺫﹰﺍ‪ ،‬ﻗﺪ ﺍﺣﺘﻔﻈﺖ ﻟﺪﻯ ﻭﺍ ﹼ‬
‫ﻂ ﲟﺎ ﻫﻲ ﻫﻲ‪ ،‬ﻭﻻ ﻋﺮﻓﺎ ﻛﻴﻒ ﻳﺴﺘﻐﻼﹼﻥ ﺍﻟﻮﺍﻗﻌﺎﺕ ﺍﻟﺜﹼﺮﻳّﺔ‬
‫ﻟﻠﺸّﻲﺀ‪ .‬ﻓﻬﻤﺎ ﱂ ﻳﻔﺤﺼﺎ ﻋﻨﻬﺎ ﻗ ﹼ‬

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‫ﺍﻟﹼﱵ ﺃﻣﺪّﻬﺗﻤﺎ ﻬﺑﺎ ﲡﺎﺭﻬﺑﻤﺎ‪ .‬ﻓﻨﻈﺮّﻳﺘﻬﻤﺎ ﰲ ﺍﻟﺼّﻮﺭﺓ ﻗﺪ ﺍﺣﺘﻔﻈﺖ ِﺇﺫﹰﺍ ﺑﺼﻔﺘﻬﺎ ﺍﶈﺾ ﺳﻠﺒﻴّﺔ‪ ،‬ﻭﻣﻦ‬
‫ﻫﻨﺎﻙ‪ ،‬ﻓﺈ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻗﺪ ﺑﻘﻴﺖ ﻋﻨﺪﳘﺎ ﻛﻤﺎ ﻗﺪ ﻛﺎﻧﺖ ﻋﻨﺪ ﺗﺎﻥ‪ :‬ﺃﻱ ﺇﺣﻴﺎﺋﻴّﺔ ﺍﳌﻮﺿﻮﻉ‪.‬‬

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‫ﺇﻧّﻨﺎ ﻣﺎ ﺳﻮﻑ ﻧﺴﻌﻰ ﺃ ﹼﻥ ﻧﺒﻴّﻨﻪ ﻓﻴﻤﺎ ﻳﻘﺪﻡ ﻫﻮ ﺇﻥ ﻛﺎﻥ ﻋﻠﻤﺎﺀ ﻧﻔﺲ ﻣﺪﺭﺳﺔ ﻭﺭﺯﺑﻮﺭﻍ ﻗﺪ‬
‫ﻓﻬﻤﻮﺍ ﺣ ّﻖ ﺍﻟﻔﻬﻢ ﻫﻮﺳّﺮﻝ‪ ،‬ﻭﺇﻥ ﻛﺎﻥ ﳝﻜﻦ ﺃﻥ ﻧﺒﲏ ﺍﺑﺘﺪﺍﺀ ﻣﻦ ﺍﻷﲝﺎﺙ ﺍﳌﻨﻄﻘﻴّﺔ ﻋﻠﻢ ﻧﻔﺲ‬
‫ﺟﺪﻳﺪ ﻛ ﹼﻞ ﺍﳉﺪّﺓ‪ .‬ﺃﻣّﺎ ﺍﻵﻥ ﻓﻴﻜﻔﻴﻨﺎ ﺃﻥ ﻧﺒﻴّﻦ ﻛﻢ ﺫﻟﻚ ﺍﻟﺘّﺼﻮّﺭ ﻋﻦ ﻓﻜﺮ ﳏﺾ ـ ﺍﻟﹼﺬﻱ ﻏﺪﺍ‬
‫ﻣﻜﺴﺒﺎ ﻟﻌﻠﻢ ﺍﻟﻨّﻔﺲ‪ ،‬ﻋﻠﻰ ﺭﻏﻢ ﺭﻳﺒﻮ ﻭﺗﻴﺘﺸﻨﺮ‪ ،‬ﺇﱃ ﻏﲑ ﺫﻟﻚ‪ ،.‬ﻫﻮ ﻣﺎ ﻳﺰﺍﻝ ﻣﻀﻄﺮﺑﺎ‬
‫ﻭﻏﺎﻣﻀﺎ‪ .‬ﺇﺫ ﺃﻧّﻪ ﰲ ﳓﻮ ﻧﻔﺲ ﺍﻟﻮﻗﺖ‪ ،‬ﻗﺎﻡ ﺑﻨﺖ ﺑﺘﺠﺎﺭﺏ ﻋﻠﻰ ﺑﻨﺎﺕ ﺃﺧﺘﻪ ﻭﺍﻛﺘﺸﻒ ﻭﺟﻮﺩ‬
‫ﺍﻟﻔﻜﺮ ﺧﻠﻮﺍ ﻣﻦ ﺍﻟﺼّﻮﺭﺓ)ﺃﺃ(‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﺑﻨﺖ ﱂ ﻳﻜﻦ ﻗﺪ ﻗﺼﺪ ﺍﻟﺘّﺠﺮﺑﺔ ﺣﺮّﺍ ﻭﺧﻠﻮﺍ ﻣﻦ ﺃﺣﻜﺎﻡ‬
‫ﻣﺴﺒّﻘﺔ‪ .‬ﺑﻞ ﻫﻮ ﺍﺑﺘﺪﺃ ﻣﻦ ﺍﻟﺘّﺮﺍﺑﻄﻴّﺔ‪ ،‬ﻭﱂ ﻳﺄﺧﺬ ﺑﻌﻠﻢ ﺍﻟﻨّﻔﺲ ﺍﻟﺘّﺄﻟﻴﻔ ّﻲ ﺇ ﹼﻻ ﻓﻴﻤﺎ ﺑﻌﺪ‪ .‬ﻓﻴﻠﺰﻡ ﺃﻧّﻪ‬
‫ﻛﺎﻥ ﻗﺪ ﺣﺎﻓﻆ‪ ،‬ﻋﻠﻰ ﺍﻟﺘّﺼﻮﺭ ﺍﻟﻘﺪﱘ ﻟﻠﺼّﻮﺭﺓ ﺍﻟﺘّﺎﻧﻴّﺔ‪ ،‬ﻭﻫﻮ ﻳﻜﺎﺩ ﻳﻜﻮﻥ ﻏﲑ ﺷﺎﻋﺮ ﺑﺬﻟﻚ‪ .‬ﺇﺫ‬
‫ﺖ ﻭﺟﻮﺩ ﺍﻟﻔﻜﺮ ﲟﻘﺎﺑﻞ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻭﰲ ﺍﳊﺎﻝ ﻓﻘﺪ ﺗﺒﺪّﺕ ﻟﻪ‬
‫ﻣﺎ ﻛﺎﻥ ﻳﺮﻭﻣﻪ ﺇﻧّﻤﺎ ﻫﻮ ﺃﻥ ﻳُ ﹾﺜِﺒ َ‬
‫ﺍﻟﺼّﻮﺭﺓ ﻭﻛﺄﻧّﻬﺎ "ﺭﺳﻢ ﺿﻌﻴﻒ" ﻭﻛﺄﻧّﻬﺎ ﻗﻄﻌﺔ ﻓﻠﺲ‪ ،‬ﰲ ﺣﲔ ﻛﺎﻥ ﺍﻟﻔﻜﺮ ﻫﻮ ﺃﻟﻒ ﻓﺮﻧﻚ‪.‬‬
‫ﺻﺤﻴﺢ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻗﺪ ﻏﺪﺕ ﺗﺪﺧﻞ ﺍﻵﻥ ﰲ ﺗﺮﻛﻴﺒﺎﺕ ﺗﺄﻟﻴﻔﻴّﺔ‪ ،‬ﻭﻟﻜ ّﻦ ﺫﻟﻚ ﺇﻧّﻤﺎ ﻛﺎﻥ ﳍﺎ‬
‫ﺑﻨﺤﻮ ﻣﺎﻫﻲ ﻋﻨﺎﺻﺮ ﻣﻨﻔﺼﻠﺔ‪.‬‬

‫ﻭﲞﺎﺻّﺔ‪ ،‬ﻓﻬﻮ ﱂ ﻳﻜﻦ ﻳﺘﺮﻗﹼﺐ ﻣﻦ ﺍﻟﺘّﺠﺮﺑﺔ ﺃﻥ ﺗﺒﻴّﻦ ﻟﻪ ﻻﻭﺟﻮﺩ ﻭﻻ ﻃﺒﻴﻌﺔ ﺍﻟﻔﻜﺮ‪ :‬ﺑﻞ ﺇﻧّﻪ‬
‫ﻟﻴﻤﻠﻚ ﻣﻦ ﻗﺒﻞ ﺗﺼﻮّﺭﻩ ﻋﻨﻪ‪ ،‬ﺃﻭ ﺑﺎﻷﺣﺮﻯ ﻫﻮ ﻛﺎﻥ ﻳﺘﺮﺩّﺩ ﺑﲔ ﺗﺼﻮّﺭﻳﻦ ﻣﺘﻌﺎﺭﺿﲔ‪.‬‬

‫ﻓﺎﻟﻔﻜﺮ ﻗﺪ ﺑﺪﺍ ﻟﻪ ﻏﺎﻟﺒﺎ ﻋﻠﻰ ﺃﻧّﻪ ﻭﺍﻗﻌﺔ ﰲ ﻣﺘﻨﺎﻭﻝ ﺍﻻﺳﺘﺒﻄﺎﻥ‪ ،‬ﳌﹼﺎ ﻋﻠﹼﻖ ﻣﺜﻼ ﻋﻠﻰ ﺍﳉﻤﻠﺔ‬
‫ﺍﳌﺸﻬﻮﺭﺓ ﻟﻮﺍﺣﺪ ﻣﻦ ﺃﺷﺨﺎﺹ ﲝﺜﻪ‪:‬‬

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‫" ﺇ ﹼﻥ ﺍﻟﻔﻜﺮ ﻳﺒﺪﻭ ﱄ ﻭﻛﺄﻧّﻪ ﺇﺣﺴﺎﺱ ﻛﺴﺎﺋﺮ ﺍﻷﺣﺎﺳﻴﺲ‪ ،" .‬ﻭﻟﻜﻨّﻪ ﻭِﻟ َﻤﻜﹶﺎ ِﻥ ﺗﺄﺛﲑ‬
‫ﺍﻟﱪﺍﻏﻤﺘﻴّﺔ ﺍﻟﺒﻴﻮﻟﻮﺟّﻴﺔ ﻟﺬﻟﻚ ﺍﻟﻌﺼﺮ‪ ،‬ﻓﻘﺪ ﺟﻌﻞ ﻣﻨﻪ ﺗﺒﻴّﻨﺎ ﳍﻴﺌﺔ ﻣﺎ ﺟﺴﺪﺍﻧﻴّﺔ‪ .‬ﻓﺎﻷﻣﺮ ﻳﺘﻌﻠﹼﻖ‬
‫ﻫﻨﺎﻙ ﺇﺫﺍ ﺑﺪﻳﻜﺎﺭﺗﻴّﺔ ﻣﺘﺮﺩّﻳﺔ‪ ،‬ﻭﻣﺘﻬﺎﻭﻳﺔ ﺇﱃ ﻣﺮﺗﺒﺔ ﺍﻟﻄﹼﺒﻴﻌﺎﻧﻴّﺔ‪ ،‬ﻣﺜﻠﻤﺎ ﻛﺎﻥ ﺭﻳﺒﻮ ُﻳ َﻌ ﱡﺪ ﲟﺜﺎﺑﺔ ﺗﺮﺩّﻱ‬
‫ﺍﻟﻼﹼﻳﺒﻨﺘﺰﻳّﺔ‪ .‬ﻭﻣﻦ ﻫﻨﺎ ﻓﺈﻧّﻨﺎ ﳒﺪ ﰲ ﺫﻟﻚ ﺍﻟﻮﻗﺖ ﻟﻴﺲ ﻓﻘﻂ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﺎﺕ ﺍﻟﻜﱪﻯ )ﺍﻟﹼﱵ ﻋﺎﻭﺩﺕ‬
‫ﺍﻟ ﹼﻈﻬﻮﺭ ﻣﻊ ﺑﺮﻭﺷﺎﺭﺩ ﻭﺑﻴﻠﺮ ﻣﺜﻼ( ﺑﻞ ﻭﺃﻳﻀﺎ ﺇﺳﻘﺎﻃﺎﻬﺗﺎ ﻋﻠﻰ ﳎﺎﻝ ﻃﺒﻴﻌﺎﻧﻴّﺔ ﻫﻲ ﺗﻈ ّﻦ ﺑﺄﻧّﻬﺎ "‬
‫ﺼ ﹶﻠﺔﹲ " ﺑﻘﺪﺭ ﻣﺎ ﻛﺎﻧﺖ ﻓﺠّﺔ‪.‬‬
‫ﺤ ﱠ‬
‫ﻣُ َ‬

‫ﺇ ﹼﻻ ﺃ ﹼﻥ ﺑﻨﺖ ﻗﺪ ﺗﺪﺭّﺝ ﺑﻨﺤﻮ ﻏﲑ ﻣﺸﻌﻮﺭ ﺑﻪ ﻣﻦ ﺫﻟﻚ ﺍﻟﺘّﺼﻮّﺭ ﺇﱃ ﺗﺼﻮّﺭ ﺁﺧﺮ‪ :‬ﻓﻬﻮ‪ ،‬ﻭﻗﺪ‬
‫ﲤﻌّﻦ‪ ،‬ﻋﻠﻰ ﳓﻮ ﺑﺮﻭﺷﺎﺭﺩ‪ ،‬ﰲ ﻻﺗﻄﺎﺑﻖ ﺍﻟﺼّﻮﺭﺓ ﻣﻊ ﺍﻟﺪّﻻﻟﺔ‪ ،‬ﻓﻘﺪ ﺍﺳﺘﺨﻠﺺ ﺑﺄ ﹼﻥ ﺍﻟﻔﻜﺮ ﻻ‬
‫ﳝﻜﻨﻪ ﺃﻥ ﻳﻜﻮﻥ ﺷﻴﺌﺎ ﺁﺧﺮ ﺇ ﹼﻻ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻭﺣﻴﻨﺌﺬ‪ ،‬ﻭﻣﻦ ﻏﲑ ﺃﻥ ﻳﻜﻮﻥ ﻗﺪ ﻓﺎﺭﻕ ﻣﺮﺗﺒﺔ‬
‫ﺍﻟﻄﹼﺒﻴﻌﺎﻧﻴّﺔ‪ ،‬ﻓﻘﺪ ﻋﺮﺝ ﺇﱃ ﳎﺎﻝ ﺍﳊ ّﻖ)‪ .(٣٠‬ﻟﻴﻜﺘﺐ ﺑﺬﻟﻚ ﻫﺬﻩ ﺍﳉﻤﻠﺔ ﺍﳌﺸﻬﻮﺭﺓ‪ ،‬ﻣﻨﺎﻗﻀﺎ‬
‫ﻛ ﹼﻞ ﺍﻟﺘّﻨﺎﻗﺾ ﻣﺎ ﻛﺎﻥ ﻗﺪ ﻭﺻﻔﻪ ﺳﺎﻟﻔﺎ‪:‬‬
‫"ﺇ ﹼﻥ ﺍﻟﻔﻜﺮ ﻫﻮ ﻓﻌﻞ ﻻﻭﺍﻉ ﻣﻦ ﺍﻟﺬﹼﻫﻦ ﺷﺄﻧﻪ ﺃﻧّﻪ ﻟﻜﻲ ﻳﺼﺒﺢ ﻭﺍﻋﻴﺎ‪ ،‬ﻓﻬﻮ ﳏﺘﺎﺝ ﻟﺼﻮﺭ‬
‫ﻭﻛﻠﻤﺎﺕ"‬

‫ﻭﻣﻦ ﻫﻨﺎ ﻓﺈ ﹼﻥ ﺍﻟﻔﻜﺮ ﻗﺪ ﺑﻘﻲ ﻭﺍﻗﻌﺔ‪ ،‬ﺑﺴﺒﺐ ﺃ ﹼﻥ ﻣﻘﻮﻟﺔ ﺍﳊ ّﻖ ﻗﺪ ﺛﻘﻠﺖ ﻭﺗﺄﻗﻨﻤﺖ ﺇﱃ ﻣﻘﻮﻟﺔ‬
‫ﺍﻟﻼﹼﻭﻋﻲ‪ ،‬ﻟﻜﻨّﻪ ﻫﻮ ﱂ ﻳﻌﺪ ﰲ ﻣﺘﻨﺎﻭﻝ ﺫﺍﺗﻪ‪ .‬ﻓﺄﻧﺎ ﻟﻮ ﺗﻌﻘﹼﻠﺖ ﺍﳉﻤﻠﺔ " ﺇﻧّﻲ ﺫﺍﻫﺐ ﻏﺪﺍ ﺇﱃ ﺍﳊﻘﻞ‬
‫ﱯ‪ .‬ﻗﺎﻝ ﺑﻨﺖ‪ ،‬ﻭﺣﻴﻨﺌﺬ ﻓﺈ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ‬
‫"‪ ،‬ﻓﻘﺪ ﻻ ﺗﻘﺘﺮﻥ ﰲ ﺫﻫﲏ ﺇ ﹼﻻ ﺑﺼﻮﺭﺓ ﻣﺒﻬﻤﺔ ﳌﺮﺑّﻊ ﻋﺸ ّ‬
‫ﺗﻜﻮﻥ ﻗﺎﺻﺮﺓ ﻋﻠﻰ ﺃﻥ ﺗﺆﺩّﻱ ﻛ ﹼﻞ ﺍﳌﻌﲎ ﺍﳌﺘﻀﻤﱠﻦ ﰲ ﺍﻟﻜﻠﻤﺎﺕ‪ .‬ﻓﻼ ﺑ ّﺪ ِﺇﺫﹰﺍ ﺃﻥ ﻧﻀﻊ ﳍﺎ‬
‫ﻼ ﺿﺮﻭﺭﻳّﺎ ﺧﺎﺭﺝ ﺍﻟﻮﻋﻲ‪ ،‬ﰲ ﺍﻟﻼﹼﻭﻋﻲ‪.‬‬
‫ﻣُ ﹶﻜ ﱢﻤ ﹰ‬

‫ﻭﻟﻜﻦ ﻫﺎﻫﻨﺎ ﺧﻠﻂ ﺷﻨﻴﻊ‪ .‬ﻓﻤﻦ ﺟﻬﺔ ﺍﳊ ّﻖ ﺇ ﹼﻥ ﻫﺬﻩ ﺍﳉﻤﻠﺔ " ﺇﻧّﻲ ﺫﺍﻫﺐ ﻏﺪﺍ ﺇﱃ ﺍﳊﻘﻞ "‬
‫ﺗﻨﻄﻮﻱ ﻋﻠﻰ ﺍﻟﻼﹼﻣﺘﻨﺎﻫﻲ‪ .‬ﻓﺄﻭّﻻ‪ ،‬ﻳﻨﺒﻐﻲ ﺃﻥ ﻳﻜﻮﻥ ﻫﻨﺎﻙ " ﻏﺪ " ﻋﻠﻰ ﻣﻌﲎ ﺃﻥ ﻳﻜﻮﻥ ﻫﻨﺎﻙ‬

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‫ﻧﺴﻖ ﴰﺴﻲّ‪ ،‬ﻭﺛﻮﺍﺑﺖ ﻓﻴﺰﻳﺎﺋﻴّﺔ ﻭ ﻛﻴﻤﻴﺎﺋﻴّﺔ‪ .‬ﻭﺃﻳﻀﺎ ﻳﻨﺒﻐﻲ ﺃﻥ ﺃﺑﻘﻰ ﺣﻴّﺎ‪ ،‬ﻭﺃﻥ ﻻ ﻃﺎﻣّﺔ ﺗﻜﻮﻥ‬
‫ﻗﺪ ﺣﻠﹼﺖ ﺑﺄﻫﻠﻲ ﺃﻭ ﺑﺎﺠﻤﻟﺘﻤﻊ ﺍﻟﹼﺬﻱ ﺃﻋﻴﺶ ﻓﻴﻪ‪ .‬ﻓﻜ ﹼﻞ ﻫﺬﻩ ﺍﻟﺸّﺮﻭﻁ ﻫﻲ‪ ،‬ﺑﻼ ﺷﻚّ‪ ،‬ﺇﻧّﻤﺎ‬
‫ﺗﻘﺘﻀﻴﻬﺎ ﺍﻗﺘﻀﺎﺀ ﺿﻤﻨﻴّﺎ ﺗﻠﻚ ﺍﳉﻤﻠﺔ ﺍﻟﺒﺴﻴﻄﺔ‪ .‬ﻭﺃﻳﻀﺎ‪ ،‬ﻭﻛﻤﺎ ﻗﺪ ﻗﺎﻝ ﺟﻴّﺪ ﺍﻟﻘﻮﻝ ﺑﻨﺖ‪ ،‬ﻓﺈ ﹼﻥ‬
‫ﻣﻌﲎ ﻋﺒﺎﺭﺓ " ﺣﻘﻞ " ﻫﻮ ﻻ ﻳﻨﻀﺐ؛ ﻭﻛﺎﻥ ﻳﻨﺒﻐﻲ ﺃﻥ ﻧﺰﻳﺪ ﻋﻠﻰ ﺫﻟﻚ‪ :‬ﻭﺃﻳﻀﺎ ﻣﻌﲎ ﻋﺒﺎﺭﺓ ﺃﻧﺎ‬
‫ﻭﻣﻌﲎ ﻋﺒﺎﺭﺓ " ﺍﻟﺬﹼﻫﺎﺏ " ﻭﻋﺒﺎﺭﺓ " ﻏﺪﺍ "‪ .‬ﻭﺑﹶﺄ َﺧ َﺮﺓٍ‪ ،‬ﻓﻨﺤﻦ ﻣﻦ ﺷﺄﻧﻨﺎ ﺃﻥ ﻧﺘﺮﺍﺟﻊ ﺍﻟﻘﻬﺮﻗﺮﻯ‪،‬‬
‫ﻭﻗﺪ ﲤﻠﹼﻜﻨﺎ ﺍﻟﻔﺰﻉ‪ِ ،‬ﻟ َﻤ ﹶﻜﺎ ِﻥ ﻋﻤﻖ ﺗﻠﻚ ﺍﻟﻌﺒﺎﺭﺓ ﺍﻟﺴّﺎﺫﺟﺔ ﺍﻟﺼّﻐﲑﺓ‪ .‬ﻭﻟﻨﺎ ﺃﻥ ﻧﺬﹼﻛﺮ ﻫﻨﺎ ﲟﻼﺣﻈﺔ‬
‫ﻟﻔﺎﻟﲑﻱ‪ :‬ﺑﺄﻧّﻪ ﻟﻴﺲ ﻣﻦ ﻋﺒﺎﺭﺓ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻔﻬﻤﻬﺎ ﻟﻮ ﲤﺎﺩﻳﻨﺎ ﻓﻴﻬﺎ ﺇﱃ ﻣﻨﺘﻬﺎﻫﺎ‪.‬‬

‫ﻭﻟﻜ ّﻦ ﻓﺎﻟﲑﻱ ﻛﺎﻥ ﻗﺪ ﺃﺿﺎﻑ " ﻭﻣﻦ ﺗﻌﺠّﻞ ﻓﻘﺪ ﻓﻬﻢ "‪ ،‬ﳑّﺎ ﻳﻌﲏ ﺑﺄﻧّﻨﺎ ﰲ ﺍﻟﻮﺍﻗﻊ ﳓﻦ ﻻ‬
‫ﻧﺘﻤﺎﺩﻯ ﺍﻟﺒﺘّﺔ ﺇﱃ ﺍﻟﻨّﻬﺎﻳﺔ‪ .‬ﻭﺍﳌﻌﲎ ﺍﻟﹼﺬﻱ ﻻ ﻳﻨﻀﺐ ﻟﻠﺠﻤﻠﺔ ﺍﳌﺬﻛﻮﺭﺓ ﻫﻮ ﻣﻮﺟﻮﺩ ﲝﻖّ‪ ،‬ﻭﻟﻜﻨّﻪ‬
‫ﻣﻮﺟﻮﺩ ﺑﺎﻟﻘﻮّﺓ ﻭﻫﻮ ﺍﺟﺘﻤﺎﻋ ّﻲ ‪ :‬ﺇﻧّﻪ ﻳﻮﺟﺪ ﻟﺪﻯ ﺍﻟﻨّﺤﻮﻱّ‪ ،‬ﻭﻟﺪﻯ ﺍﳌﻨﻄﻘﻲّ‪ ،‬ﻭﻟﺪﻯ ﻋﺎﱂ‬
‫ﺍﻻﺟﺘﻤﺎﻉ ؛ ﺃﻣّﺎ ﻋﺎﱂ ﺍﻟﻨّﻔﺲ ﻓﻬﻮ ﻻ ﻳﻬﺘ ّﻢ ﺑﺬﻟﻚ‪ ،‬ﻷﻧّﻪ ﻟﻴﺲ ﳚﺪ ﻣﻜﺎﻓﺌﺎ ﻟﻪ ﻻ ﰲ ﺍﻟﻮﻋﻲ ﻭﻻ ﰲ‬
‫ﻻ ﻭﻋﻲ ﻣﺸﻜﻮﻙ ﻓﻴﻪ ﻣُ ْﺒَﺘ ﹶﻜ ٍﺮ ﻣﻦ ﺃﺟﻞ ﺍﻟﻐﺮﺽ‪ .‬ﺻﺤﻴﺢ ﺃﻧّﻪ ﻗﺪ ﻳﻮﺟﺪ ﺃﺣﻮﺍﻝ ﳝﻴﻞ ﻓﻴﻬﺎ ﺍﻟﻔﻜﺮ‬
‫ﻷﺟﻞ ﺃﻥ ﻳﺴﺘﺠﻠﻲ ﻛﺎﻣﻞ ﺍﻻﺳﺘﺠﻼﺀ ﻣﻔﻬﻮﻡ ﲨﻠﺔ ﻣﻦ ﺍﳉﻤﻞ‪ .‬ﻟﻜﻨّﻨﺎ‪ ،‬ﻟﻮ ﺍﺗّﻔﻖ‪ ،‬ﻛﻤﺎ ﰲ ﺍﻷﻣﺮ‬
‫ﻫﺎﻫﻨﺎ‪ ،‬ﺃﻧّﻨﺎ ﺇﻧّﻤﺎ ﻧﻠﻔﻰ ﻓﺤﺴﺐ ﺻﻮﺭﺓ ﺿﻌﻴﻔﺔ‪ ،‬ﺃﻓﻠﻢ ﻳﻜﻦ ﻣﻦ ﺍﻷﺟﺪﺭ ﺃﻥ ﻧﺘﺴﺎﺀﻝ ﺇﻥ ﱂ ﻳﻜﻦ‬
‫ﻫﻨﺎﻟﻚ ﺃﻳﻀﺎ ﻓﻜﺮ ﺿﻌﻴﻒ ﰲ ﺫﻫﻨﻨﺎ ؟ ﺑﻞ ﻭﺃﻳﻀﺎ ‪ :‬ﳓﻦ ﱂ ﻳﻜﻦ ﻟﻨﺎ ﻭﻋﻲ ﺇ ﹼﻻ ﺑﺎﻟﺼّﻮﺭﺓ‪ .‬ﻭﺑﻌﺪ‬
‫ﻛ ﹼﻞ ﺫﻟﻚ‪ ،‬ﻓﻬﺬﻩ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﺃﻟﻴﺲ ﳝﻜﻦ ﺃﻥ ﺗﻜﻮﻥ ﺇﻧّﻤﺎ ﻫﻲ ﺍﻟﺸّﻜﻞ ﺍﻟﹼﺬﻱ ﻳﻈﻬﺮ ﺑﻪ ﺍﻟﻔﻜﺮ‬
‫ﻟﻠﻮﻋﻲ ؟ ﻓﺬﻟﻚ ﺍﳌﺮﺑّﻊ ﺍﻷﺧﻀﺮ ﻟﻴﺲ ﻛﺄﺣﺪ ﻣﻦ ﺍﳌﺮﺑّﻌﺎﺕ‪ .‬ﻓﺄﻧﺎ ﻗﺪ ﻋﺮﻓﺘﻪ ‪ :‬ﺇﻧّﻪ ﻗﻄﻌﺔ ﻣﻦ‬
‫ﺍﻟﺴّﻬﻞ ﺍﻟﻜﺒﲑ ﺍﻟﻘﺎﺋﻢ ﺃﺳﻔﻞ ﺣﺪﻳﻘﱵ‪ .‬ﻓﺄﻧﺎ ﻫﻨﺎﻟﻚ ﻛﺎﻧﺖ ﻋﺎﺩﰐ ﺃﻥ ﺃﺫﻫﺐ ﻟﻠﺠﻠﻮﺱ‪.‬‬
‫ﻭﻛﺬﻟﻚ‪ ،‬ﻟﻴﺲ ﻫﻮ ﻣﺮﺑّﻌﺎ ﳎﻬﻮﻻ ﻣﻦ ﻣﺮﺑّﻌﺎﺕ ﺫﻟﻚ ﺍﻟﺴّﻬﻞ‪ :‬ﺑﻞ ﻫﻮ ﺫﻟﻚ ﺍﳌﻜﺎﻥ ﺍﳌﺨﺼﻮﺹ‬
‫ﺍﻟﹼﺬﻱ ﻛﻨﺖ ﺍﺻﻄﻔﻴﻪ ﻟﻠﺘّﻤﺪّﺩ ﻋﻠﻴﻪ)‪ .(٣١‬ﻭﺭﺑّﻤﺎ ﹸﺃ ِﺟ ْﺒﺖُ‪ ،‬ﻓﻠﻴﺖ ﺷﻌﺮﻱ‪ ،‬ﺃﻧّﻰ ﻟﻚ ﺃﻥ ﺗﻜﻮﻥ ﻗﺪ‬
‫ﻋﺮﻓﺘﻪ ﺇﻥ ﱂ ﻳﻜﻦ ﺑﻄﺮﻳﻖ ﺍﻟﻔﻜﺮ ؟ ﻟﻜﻦ ﻫﺬﺍ ﺍﻟﺴّﺆﺍﻝ ﺇﻧّﻤﺎ ﻳﻨﻄﻮﻱ ﻋﻠﻰ ﻣﺼﺎﺩﺭﺓ ﳐﻔﻴّﺔ‪ :‬ﻭﻫﻲ‬
‫ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﲣﺘﻠﻒ ﻋﻦ ﺍﻟﻔﻜﺮ‪ ،‬ﻭﺃﻧّﻬﺎ ﺳﻨﺪ ﻟﻠﻔﻜﺮ‪ .‬ﻭﺣﻴﻨﺌﺬ‪ ،‬ﺳﺘﻜﻮﻥ ﻣﱰﻟﺔ ﺍﻟﺼّﻮﺭ ﻣﻦ‬

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‫ﻱ ﺷﻲﺀ ﻳﱪﻫﻦ ﻋﻠﻴﻪ ؟ ﺃﻓﻠﻴﺲ ﻫﻮ ﻣﻦ ﺍﳌﻤﻜﻦ‬
‫ﺍﻟﻔﻜﺮ‪ ،‬ﻛﻤﱰﻟﺔ ﺍﻟﺪّﺍﻝ ﻣﻦ ﺍﳌﺪﻟﻮﻝ‪ .‬ﻭﻟﻜﻦ ﺃ ّ‬
‫ﻣﺎﻗﺒﻠﻴّﺎ ﺃﻥ ﺗﻜﻮﻥ ﺍﻟﺼّﻮﺭﺓ ﻣﻜﺎﻥ ﺃﻥ ﺗﻜﻮﻥ ﺳﻨﺪﺍ ﻋﺎﻃﻼ ﻟﻠﻔﻜﺮ‪ ،‬ﻓﻬﻲ ﻧﻔﺴﻬﺎ ﻓﻜﺮ ﰲ ﺷﻜﻞ‬
‫ﻣﻦ ﺍﻷﺷﻜﺎﻝ‪ .‬ﻭﻟﻌ ﹼﻞ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﺃﺑﻌﺪ ﺷﻲﺀ ﻋﻦ ﺃﻥ ﺗﻜﻮﻥ ﻋﻼﻣﺔ‪ .‬ﻭﻟﻌ ﹼﻞ ﺫﻟﻚ ﺍﳌﺮﺑّﻊ‬
‫ﺍﻟﻌﺸﱯّ‪ ،‬ﻟﻴﺲ ﻫﻮ ﺑﺮﺳﻢ ﳎﻬﻮﻝ‪ ،‬ﺑﻞ ﺑﺎﻷﺣﺮﻯ ﻫﻮ ﻓﻜﺮ ﻣﺘﺤﺪّﺩ‪ .‬ﻓﻠﻘﺪ ﻛﺎﻥ ﺑﺎﻷﻭﱃ ﳌﹼﺎ ﺃﻓﻀﻴﻨﺎ‬
‫ﺇﱃ ﺩﺭﺍﺳﺔ ﻋﻼﻗﺎﺕ ﺍﻟﺼّﻮﺭﺓ ﺑﺎﻟﻔﻜﺮ‪ ،‬ﺃﻥ ﻧﻜﻮﻥ ﻗﺪ ﲣﻠﹼﺼﻨﺎ ﻣﻦ ﺍﳊﻜﻢ ﺍﳌﺴﺒّﻖ ﺍﳌﻨﺘﺴﺐ‬
‫ﻟﻠﺘّﺮﺍﺑﻄﻴّﺔ ﺍﻟﹼﱵ ﻛﺎﻧﺖ ﲡﻌﻞ ﻣﻦ ﺍﻟﺼّﻮﺭﺓ ﻛﺘﻠﺔ ﻋﺎﻃﻠﺔ‪ ،‬ﻭﺃﻥ ﻧﺘﺨﻠﹼﺺ ﻣﻦ ﺗﺼﻮّﺭ ﺧﺎﻃﺊ ﻟﻠﻔﻜﺮ‬
‫ﻕ ﺃﻓﻜﺎﺭﻧﺎ‪ .‬ﺇ ﹼﻥ ﺑﻨﺖ‬
‫ﺍﻟﹼﺬﻱ ﺑﺴﺒﺐ ﺧﻠﻄﻪ ﺑﲔ ﺍﻟﻔﻌﻠ ّﻲ ﻭﻣﺎ ﺑﺎﻟﻘﻮّﺓ‪ ،‬ﻓﻘﺪ ﺃﺩﺧﻞ ﺍﻟﻼﹼﻣﺘﻨﺎﻫﻲ ﰲ ﺃﺩ ّ‬
‫ﺺ ﺍﻵﰐ‬
‫ﱂ ﻳﻜﻦ ﻗﺪ ﺑﻠﻎ ﻫﺬﺍ ﺍﳌﺒﻠﻎ ؛ ﺃﻣّﺎ ﺃﻧّﻪ ﻗﺪ ﺑﻘﻲ ﺗﺮﺍﺑﻄﻴّﺎ ﻟﻠﻨّﺨﺎﻉ‪ ،‬ﻓﻬﻮ ﻣﺎ ﻳﺪﻟﹼﻨﺎ ﻋﻠﻴﻪ ﺍﻟّﻨ ّ‬
‫ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﻗﺪ ﻛﺘﺒﻪ ﻗﺒﻞ ﻭﻓﺎﺗﻪ ﺑﻘﻠﻴﻞ‪:‬‬
‫"ﺇ ﹼﻥ ) ﻋﻠﻢ ﺍﻟﻨّﻔﺲ( ﻳﻔﺤﺺ ﻋﻦ ﻋﺪﺩ ﻣﺎ ﻣﻦ ﺍﻟﻘﻮﺍﻧﲔ ﺍﻟﹼﱵ ﻧﺴﻤّﻴﻬﺎ ﺑﺎﻟﺬﹼﻫﻨﻴّﺔ ﻣﻦ ﺃﺟﻞ ﺃﻥ‬
‫ﻧﻘﺎﺑﻞ ﻬﺑﺎ ﻗﻮﺍﻧﲔ ﺍﻟﻄﹼﺒﻴﻌﺔ ﺍﳋﺎﺭﺟﻴّﺔ ﺍﳌﺨﺘﻠﻔﺔ ﻋﻨﻬﺎ‪ ،‬ﻭﺍﻟﹼﱵ ﻫﻲ‪ ،‬ﻋﻠﻰ ﺍﻟﺘّﺤﻘﻴﻖ‪ ،‬ﻻ ﺗﺴﺘﺤ ّﻖ ﺻﻔﺔ‬
‫ﺍﻟﺬﹼﻫﻨﻴّﺔ ﺗﻠﻚ ﻷﻧّﻬﺎ ﺇﻧّﻤﺎ ﻫﻲ‪ ...‬ﻗﻮﺍﻧﲔ ﺍﻟﺼّﻮﺭ ﻭﺍﻟﺼّﻮﺭ ﻧﻔﺴﻬﺎ ﻫﻲ ﻋﻨﺎﺻﺮ ﻣﺎﺩﻳّﺔ‪ .‬ﻭﻣﻬﻤﺎ ﺑﺪﺍ‬
‫ﻫﺬﺍ ﻋﺠﻴﺒﺎ‪ ،‬ﻓﺈ ﹼﻥ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﻫﻮ ﻋﻠﻢ ﺑﺎﳌﺎﺩّﺓ‪ ،‬ﻭﻋﻠﻢ ﺑﻘﻄﻌﺔ ﻣﻦ ﺍﳌﺎﺩّﺓ ﺍﻟﹼﱵ ﳍﺎ ﺧﺎﺻﻴّﺔ‬
‫ﺍﻻﺳﺘﻌﺪﺍﺩ ﺍﻟﺘّﻜﻴّﻔ ّﻲ)ﺑﺐ( "‬

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‫ﻭﻫﻜﺬﺍ ِﺇﺫﹰﺍ ﻓﺈﻧّﻨﺎ ﳒﺪ ﺛﺎﻧﻴﺔ ﰲ ﺳﻨﺔ ‪ ١٩١٤‬ﺍﻷﺭﺍﺀ ﺍﻟﺜﹼﻼﺛﺔ ﺍﻟﻜﱪﻯ ﺍﻟﹼﱵ ﻛﻨّﺎ ﻭﺻﻔﻨﺎﻫﺎ ﰲ‬
‫ﺍﻟﻔﺼﻞ ﺍﻷﻭّﻝ‪ ،‬ﺑﻼ ﺗﻐﻴّﺮ‪ .‬ﻓﺎﻟﺘّﺮﺑﻄﻴّﺔ ﱂ ﺗﻨﻘﻄﻊ ﻋﻦ ﺍﻟﻮﺟﻮﺩ ﻭﻣﻌﻬﺎ ﺑﻌﺾ ﺍﻷﻧﺼﺎﺭ ﺍﳌﺘﺄﺧّﺮﻳﻦ ﳌﺒﺪﺃ‬
‫ﺍﻷﺣﻴﺎﺯ ﺍﻟﺪّﻣﺎﻏﻴّﺔ؛ ﻭﻫﻲ ﻻﺳﻴّﻤﺎ ﻣﺴﺘﺒﻄﻨﺔ ﻟﺪﻯ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﳌﺼﻨّﻔﲔ ﺍﻟﹼﺬﻳﻦ ﻋﻠﻰ ﻣﺎ ﻗﺪ‬
‫ﰐ ﻋﻦ ﻓﻜﺮ ﳏﺾ ﳝﻜﻨﻪ ﺃﻥ ﳛ ﹼﻞ‬
‫ﺟﻬﺪﻭﺍ‪ ،‬ﻓﻬﻢ ﱂ ﻳﻔﻠﺤﻮﺍ ﰲ ﺍﻟﺘّﺨﻠﹼﺺ ﻣﻨﻬﺎ‪ .‬ﻭﺍﳌﺬﻫﺐ ﺍﻟﺪّﻳﻜﺎﺭ ﹼ‬
‫ﳏ ﹼﻞ ﺍﻟﺼّﻮﺭﺓ ﰲ ﳎﺎﻝ ﺍﻟﺘّﺨﻴّﻞ ﻧﻔﺴﻪ ﻗﺪ ﻋﺎﻭﺩ ﺍﻟﻈﹼﻬﻮﺭ ﻣﻊ ﺑﻮﻳﻠﺮ‪ .‬ﻭِﺑﹶﺄ َﺧ َﺮﺓٍ‪ ،‬ﻓﺈ ﹼﻥ ﻛﺜﲑﺍ ﻣﻦ‬

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‫ﻋﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ‪ ،‬ﻗﺪ ﺃﺛﺒﺘﻮﺍ ﻣﻊ ﺭ‪.‬ﺏ‪ .‬ﺑﻴّﻮﺏ‪ ،‬ﺍﻟﺮّﺃﻱ ﺍﻟﺘّﻮﻓﻴﻘ ّﻲ ﺍﳌﻨﺴﻮﺏ ﺇﱃ ﻟﻴﺒﻨﺘﺰ‪ .‬ﻭﺃﻫﻞ ﲡﺮﺑﺔ‬
‫ﻛﺒﻨﺖ ﻭﻋﻠﻤﺎﺀ ﻧﻔﺲ ﻣﺪﺭﺳﺔ ﻭﺭﺯﺑﻮﺭﻍ ﻓﻘﺪ ﺃﻛﹼﺪﻭﺍ ﺃﻧّﻬﻢ ﻗﺪ ﺗﺒﻴّﻨﻮﺍ ﻭﺟﻮﺩ ﻓﻜﺮ ﺑﻼ ﺻﻮﺭﺓ‪.‬‬
‫ﻭﺁﺧﺮﻭﻥ ﻣﻨﻬﻢ‪ ،‬ﻻ ﻳﻘﻠﹼﻮﻥ ﻋﻦ ﻫﺆﻻﺀ ﻋﻨﺎﻳﺔ ﺑﺎﻟﻮﺍﻗﻌﺎﺕ‪ ،‬ﻣﺜﻞ ﺗﻴﺸﻨﺮ ﻭﺭﻳﺒﻮ‪ ،‬ﻓﻘﺪ ﺃﺑﻄﻠﻮﺍ ﻭﺟﻮﺩ‬
‫ﻣﺜﻞ ﺫﻟﻚ ﺍﻟﻔﻜﺮ‪ ،‬ﺑﻞ ﻭ ﻧﻔﺲ ﺇﻣﻜﺎﻧﻴّﺔ ﻭﺟﻮﺩﻩ‪ .‬ﻓﺈﻧّﻨﺎ‪ ،‬ﻟﻌﻤﺮﻱ‪ ،‬ﻟﺴﻨﺎ ِﺇﺫﹰﺍ ﺑﺄﻛﺜﺮ ﺗﻘﺪّﻣﺎ ﳑّﺎ ﻛﻨّﺎ‬
‫ﻋﻠﻴﻪ ﺯﻣﻦ ﺃﻥ ﻛﺎﻥ ﻟﻴﺒﻨﺘﺰ ﻗﺪ ﻛﺘﺐ ﳎﺎﻭﺑﺎ ﻟﻮﻙ‪ ،‬ﻣﺼﻨّﻔﻪ ﻣﻘﺎﻻﺕ ﺟﺪﻳﺪﺓ‪.‬‬

‫ﻭﺫﻟﻚ ﻷ ﹼﻥ ﺍﳌﹸ ْﺒَﺘ َﺪﹶﺃ ﻗﺪ ﺑﻘﻲ ﻋﻠﻰ ﺣﺎﻟﻪ‪ .‬ﻓﺄﻭّﻻ ﻓﻠﻘﺪ ﺍﺣﺘﻔﻈﻨﺎ ﺑﺎﻟﺘّﺼﻮّﺭ ﺍﻟﻘﺪﱘ ﻟﻠﺼّﻮﺭﺓ‪.‬‬
‫ﺻﺤﻴﺢ ﺃﻧّﻬﺎ ﻗﺪ ﻻﻧﺖ‪ .‬ﻭﺻﺤﻴﺢ ﺃ ﹼﻥ ﺍﻟﺘّﺠﺎﺭﺏ ﻣﺜﻞ ﲡﺎﺭﺏ ﺳﺒﲑ)ﺗﺖ( ﻗﺪ ﺟﻠﺖ ﻋﻦ ﻭﺟﻮﺩ‬
‫ﺿﺮﺏ ﻣﻦ ﺍﳊﻴﺎﺓ ﺣﻴﺚ ﱂ ﻧﻜﻦ ﻧﺮﻯ ﺛﻼﺛﲔ ﺳﻨﺔ ﺧﻠﺖ‪ ،‬ﺇ ﹼﻻ ﻋﻨﺎﺻﺮ ﺟﺎﻣﺪﺓ‪ .‬ﻓﻬﻨﺎﻟﻚ‬
‫ﺷﺮﻭﻗﺎﺕ ﻭﻏﺮﻭﺑﺎﺕ ﻟﻠﺼّﻮﺭﺓ ؛ ﻭﺍﻟﺼّﻮﺭﺓ ﺗﺘﻐﻴّﺮ ِﻟَﻨ ﹶﻈ ِﺮ ﺍﻟﻮﻋﻲ ﳍﺎ‪ .‬ﻭﺻﺤﻴﺢ ﺃ ﹼﻥ ﺃﲝﺎﺙ ﻓﻴﻠﻴﺐ‬
‫)ﺛﺚ( ﻗﺪ ﺑﻴّﻨﺖ ﻭﺟﻮﺩ ﳐﻄﹼﻄﻴّﺔ ﻣﺘﺰﻳّﺪﺓ ﻟﻠﺼّﻮﺭﺓ ﰲ ﺍﻟﻼﹼﻭﻋﻲ‪ .‬ﻭﻗﺪ ﺻﺮﻧﺎ ﺍﻵﻥ ﻧﻘﺒﻞ ﺑﻮﺟﻮﺩ‬
‫ﺻﻮﺭ ﺟﻨﺴﻴّﺔ‪ ،‬ﻭﺃﻋﻤﺎﻝ ﻣﺴّﺮ ﻗﺪ ﻛﺸﻔﺖ ﻋﻦ ﻭﺟﻮﺩ ﻃﺎﺋﻔﺔ ﻣﻦ ﺍﻟﺘّﻤﺜﹼﻼﺕ ﺍﻟﻼﹼﳏﺪّﺩﺓ ﰲ‬
‫ﺏ ﻋﻨﻬﺎ ﺻﻔﺤﺎ ﺁﺧﺮ ﺍﻟﻀّﺮﺏ‪ .‬ﻭﺍﳌﻘﻮﻟﺔ ﺍﻟﻘﺪﳝﺔ ﻟﻠﻤﺨﻄﹼﻂ‪،‬‬
‫ﺍﻟﻮﻋﻲ‪ ،‬ﻭﻓﺮﺩﺍﻧﻴّﺔ ﺑﺮﻛﻠﻲ ﻗﺪ ﺿُ ِﺮ َ‬
‫ﻗﺪ ﻋﺪﻧﺎ ﺇﻟﻴﻬﺎ ﻣﻦ ﺟﺪﻳﺪ ﻣﻊ ﺑﺎﺭﺟﺴﻦ ﻭﺭﻳﻔﻠﺖ ﺩﻟﹼﻮﻧﺲ‪ ،‬ﻭﺑﺘﺰ‪ ،‬ﺇﱃ ﻏﲑ ﺫﻟﻚ‪ .‬ﻭﻟﻜﻨّﻨﺎ ﱂ‬
‫ﻧﻀﺮﺏ ﺻﻔﺤﺎ ﻋﻦ ﻫﺬﺍ ﺍﳌﺒﺪﺃ‪ :‬ﺃﻻ ﻭﻫﻮ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﳏﺘﻮﻯ ﻧﻔﺴ ّﻲ ﻣﺴﺘﻘ ﹼﻞ ﳝﻜﻦ ﺃﻥ ﻳﻨﻔﻊ‬
‫ﺑﻨﺤﻮ ﺳﻨﺪ ﻟﻠﻔﻜﺮ‪ ،‬ﻭﻟﻜﻦ ﻟﻪ ﻗﻮﺍﻧﲔ َﻭ ﹾﻗﻒٌ ﻋﻠﻴﻪ؛ ﻭﻣﻬﻤﺎ ﺃﻥ ﻛﺎﻧﺖ ﺩﻳﻨﺎﻣﻴﻜﻴّﺔ ﺑﻴﻮﻟﻮﺟﻴّﺔ ﻗﺪ‬
‫ﱄ ﺍﻟﻘﺪﱘ‪ ،‬ﻓﺈ ﹼﻥ ﺟﻮﻫﺮﺍﻟﺼّﻮﺭﺓ ﻗﺪ ﺑﻘﻲ ﻛﻮﻬﻧﺎ ﺍﻧﻔﻌﺎﻟﻴّﺔ‪.‬‬
‫ﺣﻠﹼﺖ ﳏ ﹼﻞ ﺍﻟﺘّﺼﻮّﺭ ﺍﻵ ﹼ‬

‫ﻚ ﻳﺘﻌﻠﹼﻖ ﺑﺄ ﹼﻥ‬
‫ﻭﺛﺎﻧﻴﺎ‪ ،‬ﺇﻧّﻨﺎ ﻣﺎﺯﻟﻨﺎ ﻧﺘﻨﺎﻭﻝ ﻣﺴﺄﻟﺔ ﺍﻟﺼّﻮﺭﺓ ﺑﺎﳌﺸﺎﻏﻞ ﻧﻔﺴﻬﺎ‪ .‬ﻓﺎﻷﻣﺮ ﻣﺎ ﺍﻧﻔ ّ‬
‫ﺺ ﺍﳌﺸﻜﻠﺔ‬
‫ﺺ ﺍﳌﺸﻜﻠﺔ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ ﻣﺸﻜﻠﺔ ﺍﻟﺮّﻭﺡ ﻭﺍﳉﺴﺪ‪ ،‬ﺃﻭ ﻓﻴﻤﺎ ﳜ ّ‬
‫ﻧﻘﻄﻊ ﺑﺮﺃﻱ ﻓﻴﻤﺎ ﳜ ّ‬
‫ﺍﳌﻨﻬﺠﻴّﺔ ﻣﺸﻜﻠﺔ ﺍﻟﺘّﺤﻠﻴﻞ ﻭﺍﻟﺘّﺄﻟﻴﻒ‪ .‬ﺻﺤﻴﺢ ﺃ ﹼﻥ ﻣﺴﺄﻟﺔ ﺍﻟﺮّﻭﺡ ﻭﺍﳉﺴﺪ ﱂ ﻧﺼﻐﻬﺎ ﺩﺍﺋﻤﺎ‬
‫ﺑﺎﳌﻌﺎﱐ ﻧﻔﺴﻬﺎ ﺃﻭ‪ ،‬ﻋﻠﻰ ﺍﻷﻗ ﹼﻞ ﱂ ﻧﺼﻐﻬﺎ ﺑﺎﳌﻌﺎﱐ ﻧﻔﺴﻬﺎ‪ :‬ﻭﻣﻊ ﺫﻟﻚ ﻓﻬﻲ ﻗﺪ ﺣﺎﻓﻈﺖ ﻋﻠﻰ‬
‫ﺴﻴّﺔ ﳎﺎﻝ ﺍﻻﻧﻔﻌﺎﻟﻴّﺔ ﺍﳉﺴﺪﺍﻧﻴّﺔ‪ .‬ﻭﳌﹼﺎ ﺑﺮﻭﺷﺎﺭﺩ ﻭﻓﺮّﻱ‬
‫ﻛﺎﻣﻞ ﺃﳘﹼﻴﺘﻬﺎ‪ .‬ﻓﺎﻟﺘّﺨﻴّﻞ ﻗﺪ ﺑﻘﻲ ﻣﻊ ﺍﳊ ّ‬

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‫ﻭﺑﻴّﻮﺏ ﻗﺪ ﺣﺎﺭﺑﻮﺍ ﺗﺮﺍﺑﻄﻴّﺔ ﺗﺎﻥ ﻭﻃﻠﺒﻮﺍ ﺣﺪّﻫﺎ ﻣﻦ ﻏﲑ ﺃﻥ ﻳﺒﻄﻠﻮﻫﺎ‪ ،‬ﻓﺬﻟﻚ ﻷﻧّﻬﻢ ﻛﺎﻧﻮﺍ‬
‫ﻳﺮﻭﻣﻮﻥ ﺃﻥ ﻳﻌﺎﻭﺩﻭﺍ ﺇﺛﺒﺎﺕ ﺷﺮﻑ ﻭﺣﻘﻮﻕ ﺍﻟﻔﻜﺮ ﻓﻮﻕ ﻗﻮﺍﻧﲔ ﺍﳉﺴﺪ‪ .‬ﻓﻤﺮﻛﺰ ﺍﻟﺴّﺆﺍﻝ ﱂ‬
‫ﻳﻨﺘﻘﻞ ﻣﻦ ﻣﻜﺎﻧﻪ‪ :‬ﺑﻞ ﺍﻷﻣﺮ ﻣﺎﺯﺍﻝ ﻳﺘﻌﻠﹼﻖ ﺩﺍﺋﻤﺎ ﺑﺄﻥ ﻧﻔﻬﻢ ﻛﻴﻒ ﳝﻜﻦ ﻟﻠﻤﺎﺩّﺓ ﺃﻥ ﺗﺘﻠﻘﹼﻰ‬
‫ﺴﻴّﺔ ﳝﻜﻨﻬﺎ ﺃﻥ ﻳﺆﺛﹼﺮ ﻓﻴﻬﺎ ﻋﻔﻮﻳّﺔ ﺍﻟﺬﹼﻫﻦ‪ .‬ﻭﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ‪،‬‬
‫ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻭﻛﻴﻒ ﺍﻻﻧﻔﻌﺎﻟﻴّﺔ ﺍﳊ ّ‬
‫ﻚ ﺩﺍﺋﻤﺎ ﻳﻠﺘﻤﺲ ﻣﻨﻬﺠﺎ ﻟﻪ ﻭﺍﳊﻠﻮﻝ ﺍﻟﹼﱵ ﺃﻋﻄﺎﻫﺎ ﳌﺴﺎﺋﻞ ﺍﻟﺘّﺨﻴّﻞ‬
‫ﻓﺈ ﹼﻥ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﻣﺎ ﺍﻧﻔ ّ‬
‫ﺍﻟﻜﱪﻯ ﻓﻘﺪ ﻇﻬﺮﺕ ﲟﺜﺎﺑﺔ ﺑﺮﺍﻫﲔ ﻣﻨﻬﺠﻴّﺔ ﺃﻛﺜﺮ ﻣﻦ ﺃﻧّﻬﺎ ﻛﺎﻧﺖ ﻧﺘﺎﺋﺞ ﳏﺼّﻠﺔ‪ .‬ﻓﻤﻜﺎﻥ ﺃﻥ‬
‫ﻍ ﺍﳌﻨﻬﺞ ﲝﺴﺐ ﺍﳌﻮﺿﻮﻉ‪ ،‬ﻓﻠﻘﺪ ﺣﺪّﺩﻧﺎ ﹶﺃ ﱠﻭ ﹰﻻ ﺍﳌﻨﻬﺞ )ﲢﻠﻴﻞ‬
‫ﺐ َﺭﹾﺃﺳًﺎ ﺇﱃ ﺍﻟﺸّﻲﺀ ﹼﰒ ُﻳﺼَﺎ ﹸ‬
‫ﻳُ ﹾﺬ َﻫ َ‬
‫ﻁ ﺍﳋﱪﻳّﺔ‪ ،‬ﻭﻧﻘﺪﻳّﺔ ﺑﺮﻭﺷﺎﺭﺩ ﺍﻟﺮّﻭﻭﻳّﺔ‪ ،‬ﺇﱃ ﻏﲑ ﺫﻟﻚ( ﹼﰒ‬
‫ﺗﺎﻥ‪ ،‬ﻭﺗﺄﻟﻴﻒ ﺭﻳﺒﻮ‪ ،‬ﻭﻭﺍﺳﺘﺒﻄﺎﻧﻴّﺔ ﻭﺍ ﹼ‬
‫ﺼ ﹾﻎ ﺑﺎﻟﻠﹼﺰﻭﻡ‬
‫ﻂ ﺍﳌﻨﻬﺞ َﻧ ُ‬
‫ﺃﺟﺮﻳﻨﺎ ﻓﻴﻤﺎ ﺑﻌﺪ ﺫﻟﻚ ﺍﳌﻨﻬﺞ ﻋﻠﻰ ﺍﳌﻮﺿﻮﻉ ﻏﺎﻓﻠﲔ ﻋﻦ ﺃﻧّﻨﺎ ﺣﻴﻨﻤﺎ ﻧُ ْﻌ ِ‬
‫ﺍﳌﻮﺿﻮﻉ‪.‬‬
‫ﻓﻠﻮ ﺍﺭﺗﻀﻴﻨﺎ ﺑﺘﻠﻚ ﺍﳌﻘﺪّﻣﺎﺕ‪ ،‬ﻓﻠﻦ ﻳﻜﻮﻥ ﻫﻨﺎﻙ‪ ،‬ﻭﻟﻦ ﳝﻜﻦ ﺃﻥ ﻳﻜﻮﻥ ﻫﻨﺎﻙ ﺇ ﹼﻻ ﺛﻼﺛﺔ‬
‫ﺣﻠﻮﻝ‪ .‬ﻓﺈﻣّﺎ ﺃﻥ ﻧﻀﻊ ﻣﺎﻗﺒﻠﻴّﺎ ﺻﺪﻕ ﺍﻟﺘّﺤﻠﻴﻞ‪ .‬ﻭﺣﻴﻨﺌﺬ ﻓﺴﻮﻑ ﻳﻠﺰﻡ ﺃﻥ ﻧﻀﻊ ﻣﺎ ّﺩﻳّﺔ ﻣﻨﻬﺠﻴّﺔ‪،‬‬
‫ﻷﻧّﻨﺎ ﺳﻮﻑ ﻧﺴﻌﻰ‪ ،‬ﻛﻤﺎ ﺑﻴّﻨﻪ ﻋﻤﻴﻖ ﺍﻟﺒﻴﺎﻥ ﻛﻮﻧﻂ‪ ،‬ﺃﻥ ﻧﻔﺴّﺮ ﺍﻷﺷﺮﻑ ﺑﺎﻷﺩﱏ؛ ﻭﻫﺬﻩ ﺍﳌﺎ ّﺩﻳّﺔ‬
‫ﺴ ٍﺮ ﺇﱃ ﻣﺎ ّﺩﻳّﺔ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ‪.‬‬
‫ﺍﳌﻨﻬﺠﻴّﺔ ﺭﺑّﻤﺎ ﺍﻧﻘﻠﺒﺖ ﺑﻴُ ْ‬

‫ﻭﺇﻣّﺎ ﺃﻥ ﻧﺆﻛﹼﺪ ﻋﻠﻰ ﺿﺮﻭﺭﺓ ﺍﻻﺳﺘﻌﻤﺎﻝ ﻣﻌﺎ ﺍﻟﺘّﺤﻠﻴﻞ ﻭﺍﻟﺘّﺄﻟﻴﻒ‪ .‬ﻭﺑﺬﻟﻚ‪ ،‬ﻓﺈﻧّﺎ ﻧﻌﺎﻭﺩ‬
‫ﻭﺿﻊ ﺍﻟﺘّﺄﻟﻴﻔﺎﺕ ﺍﻟﻔﻜﺮﻳّﺔ ﺑﺈﺯﺍﺀ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻭﺣﻴﻨﺌﺬ‪ ،‬ﻭﲝﺴﺐ ﺍﻟﺮّﺃﻱ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘ ّﻲ ﺍ ﹸﳌ ْﻌَﺘَﻨﻖِ‪،‬‬
‫ﻓﺴﻴﻜﻮﻥ ﺍﻟﻔﻜﺮ ﲟﺜﺎﺑﺔ ﺍﻟﺮّﻭﺡ ﺑﺈﺯﺍﺀ ﺍﳉﺴﺪ ﺃﻭ ﺍﻟﻌﻀﻮ ﺍﻟﺒﻴﻮﻟﻮﺟ ّﻲ ﺑﺈﺯﺍﺀ ﺍﻟﻌﻨﺼﺮ‪ .‬ﻭﻟﻜﻦ‬
‫ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻟﻔﻜﺮ ﺳﻮﻑ ُﻳ ْﻌ ﹶﻄﻴَﺎ ِﻥ ﺑﻨﺤﻮ ﻣﺎ ﻻ ﻳﻨﻔﺼﻼﻥ‪ ،‬ﻭﺍﻷﻭﱃ ﺑﻨﺤﻮ ﺍﻟﺴّﻨﺪ ﻟﻠﺜﹼﺎﱐ‪.‬‬

‫ﻭﺇﻣّﺎ ﺳﻮﻑ ﻧﻄﻠﺐ ﺣﻘﻮﻕ ﺍﻟﻔﻜﺮ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ ﻭﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﺑﺎﳊﻘﻮﻕ ﺍﳌﻨﻬﺠﻴّﺔ ﺫﺍﺕ‬
‫ﺤ ﱠﻠﻞﹸ‪ .‬ﻭﻟﻜﻦّ‪ ،‬ﻭﻷﻧّﻨﺎ ﻧﻜﻮﻥ ﻗﺪ ﺍﺣﺘﻔﻈﻨﺎ ﺑﺎﻟﺼّﻮﺭﺓ ﺑﻨﺤﻮ ﺍﻟﻌﻨﺼﺮ ﺍﻟﻌﺎﻃﻞ‪،‬‬
‫ﺍﻟﺘّﻌﻠﹼﻖ ﺑﺘﺄﻟﻴﻔﻴّﺔ ﻻ ﺗُ َ‬
‫ﻓﺈﻧّﻨﺎ ﺳﻮﻑ ﳓ ّﺪ ﻣﻦ ﳎﺎﻝ ﺍﻟﺘّﺄﻟﻴﻔﺎﺕ ﺍﳋﺎﻟﺼﺔ ﻭﺳﻮﻑ ﻧﺮﻯ ﳕﻄﲔ ﻣﻦ ﺍﻟﻮﺟﻮﺩ ﺍﻟﻨّﻔﺴ ّﻲ‬

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‫ﻳﻮﺟﺪﺍﻥ ﻣﻌﺎ‪ :‬ﺃﻱ ﺍﶈﺘﻮﻯ ﺍﻟﻌﺎﻃﻞ ﺑﻘﻮﺍﻧﻴﻨﻪ ﺍﻟﺘّﺮﺍﺑﻄﻴّﺔ‪ ،‬ﻭﺍﻟﻌﻔﻮﻳّﺔ ﺍﳋﺎﻟﺼﺔ ﻟﻠﺬﹼﻫﻦ‪ .‬ﻭﺣﻴﻨﺌﺬ‬
‫ﻓﺴﻮﻑ ﻳﻜﻮﻥ ﻫﻨﺎﻙ ﺑﲔ ﺍﻟﻔﻜﺮ ﺍﻟﺘّﺨﻴﻠﻲ ﻭﺍﻟﻔﻜﺮ ﺍﳋﻠﻮ ﻣﻦ ﺍﻟﺼّﻮﺭ ﻟﻴﺲ ﻓﻘﻂ ﻓﺮﻕ ﺑﺎﻟﻄﹼﺒﻴﻌﺔ‪،‬‬
‫ﻭﺇﻧّﻤﺎ ﺃﻳﻀﺎ‪ ،‬ﻛﻤﺎ ﻛﻨّﺎ ﻗﺪ ﺑﻴﻨّﺎﻩ ﻋﻨﺪ ﺣﺪﻳﺜﻨﺎ ﻋﻦ ﺩﻳﻜﺎﺭﺕ‪ ،‬ﻓﺮﻕ ﰲ ﺍﻟﺬﹼﺍﺕ)‪ .(٣٢‬ﻭﺍﳌﺸﻜﻠﺔ‬
‫ﺳﺘﻜﻮﻥ ﻫﺎﻫﻨﺎ ﺃﻥ ﻧﺒﻴّﻦ ﻛﻴﻒ ﳝﻜﻦ ﻟﺘﻴﻨﻚ ﺍﻟﺬﹼﺍﺗﲔ ﺃﻥ ﺗﻨﺼﻬﺮﺍ ﰲ ﻭﺣﺪﺓ ﺍﻷﻧﺎ‪.‬‬

‫ﻓﻠﻴﺖ ﺷﻌﺮﻱ ﻫﻞ ﻛﺎﻥ ﳚﺐ ﺃﻥ ﳔﺘﺎﺭ ﻣﻦ ﺑﲔ ﻫﺬﻩ ﺍﳊﻠﻮﻝ ﺍﻟﺜﹼﻼﺛﺔ ؟ ﺇﻧّﺎ ﻗﺪ ﺑﺴﻄﻨﺎ ﺗﺎﺭﳜﻴّﺔ‬
‫ﺍﳌﻌﻀﻼﺕ ﺍﻟﹼﱵ ﺗﺴﺒّﺒﻬﺎ ﻛ ﹼﻞ ﻭﺍﺣﺪﺓ ﻣﻨﻬﺎ‪ .‬ﻭﺍﻵﻥ ﻓﺴﻮﻑ ﻧﻠﺘﻤﺲ ﺑﻴﺎﻥ ﺃﻧّﻬﺎ ﲨﻴﻌﺎ ﺣﺘﻢ ﻋﻠﻴﻬﺎ‬
‫ﺍﻟﻔﺸﻞ‪ ،‬ﻷﻧّﻬﺎ ﻛﻠﹼﻬﺎ ﺛﻼﺛﺘﻬﺎ ﻛﺎﻧﺖ ﻗﺪ ﻗﺒﻠﺖ ﺑﺎﳌﺼﺎﺩﺭﺓ ﺍﻷﺻﻠﻴّﺔ‪ ،‬ﻣﺼﺎﺩﺭﺓ ﺍﻧﺒﻌﺎﺙ ﺍﶈﺘﻮﻳﺎﺕ‬
‫ﺴﻴّﺔ ﺍﻟﻌﺎﻃﻠﺔ)‪(٣٣‬‬
‫ﺍﳊ ّ‬

‫) ﺍﳌﻼﺣﻈﺎﺕ ﺍﻟﹼﱵ ﻗﺒﻠﻬﺎ ﺃﺣﺮﻑ ﻋﺮﺑﻴّﺔ ﻫﻲ ﻣﻦ ﺻﻨﻊ ﺍﳌﺼﻨّﻒ ﻻ ﺍﳌﻌﺮّﺏ(‬ ‫ﺍﻟﺘّﻌﺎﻟﻴﻖ‬

‫)‪ (1‬ﺃﻱ ﺃﻥ ﺗﺎﻥ ﱂ ﻳﻜﻦ ﳝﻠﻚ ﻣﻦ ﺍﻟﺘّﺠﺮﺑﺔ ﺇ ﹼﻻ ﺍﻻﺳﻢ‪ .‬ﻓﺪﺧﻮﻝ ﺍﻟﺘّﺠﺮﺑﺔ ﰲ ﺗﺄﺻﻴﻞ ﺍﳊﻘﻴﻘﺔ ﺍﻟﻌﻠﻤﻴّﺔ‬
‫ﻋﻠﻰ ﺍﻟﺘّﺤﻘﻴﻖ ﺇﻧّﻤﺎ ﻳﻜﻮﻥ ﺑﺄﻥ ﻳُ ﹾﺬ ِﻋ َﻦ ﺇﻟﻴﻬﺎ ﺍﻟﺒﺎﺣﺚ ﻏﺎﻳﺔ ﺍﻹﺫﻋﺎﻥ ﻭﺃﻥ ﻻ ﳛﻜﻲ ﺇ ﹼﻻ ﲝﺴﺐ ﻣﺎﺗﺼﻒ ﻫﻲ‬
‫ﺖ ﻣﻦ ﺃﺟﻞ ﺇﺛﺒﺎﺕ ﺍﺳﺘﻨﺎﺝ ﻣﻨﻄﻘ ّﻲ‬
‫ﻧﻔﺴﻬﺎ‪ .‬ﺃﻣّﺎ ﻋﻨﺪ ﺗﺎﻥ ﻓﺎﻟﺘّﺠﺮﺑﺔ ﱂ ﺗﻜﻦ ﺇ ﹼﻻ ﺫﺭﻳﻌﺔ‪ ،‬ﻭﻣﺎﺩّﺓ ﻗﺪ ﹸﻃ ﱢﻮ َﻋ ْ‬
‫ﺼ ٍﻞ ﻣﻦ ﺫﻱ ﻗﺒﻞ‪.‬‬
‫ﺤ ﱠ‬
‫ﻱ ﻣُ َ‬
‫ﻭﻧﻈﺮ ّ‬

‫ﻱ ﻣَُﺘ َﻌ ﱠﻠﻘﹸﻪُ ﺍﳌﻮﺿﻮﻉ ﺍ ﹸﳌ َﺆﱠﻟﻒُ‪،‬‬

‫)‪ (2‬ﺃﻱ ﺃ ﹼﻥ ﺍﻟﺘّﺄﻟﻴﻒ ﻫﻨﺎ ﻟﻴﺲ ﻫﻮ ﻧﻔﺲ ﻓﻌﻞ ﺍﻟﻮﻋﻲ ﲟﺎ ﻫﻮ ﻭﻋﻲ ﻋﻔﻮ ّ‬
‫ﻱ ﻳﺄﺗﻴﻪ ﺍﻟﻌﺎﱂ ﻓﻴﺤﺼّﻞ ﻣﻮﺿﻮﻋﺎ ﻻ ﻳﻜﻮﻥ ﻣﻮﺿﻮﻉ ﺍﻟﻮﻋﻲ ﺍﻷﻭّﻝ‬
‫ﻭﺇﻧّﻤﺎ ﺍﻟﺘّﺄﻟﻴﻒ ﻫﻨﺎ ﻫﻮ ﻓﻌﻞ ﻣﻨﻄﻘ ّﻲ َﺭ َﻭ ِﻭ ﱞ‬
‫ﻭﺇﻧّﻤﺎ ﻣﻮﺿﻮﻉ ﺍﻟﻮﻋﻲ ﺍ ﹸﳌ َﺮ ﱢﻛِﺒ ﱢﻲ‪.‬‬

‫ﺙ ﻟﻪ‪ ،‬ﺃﻭ ﻳﻌﺎﻭﺩ ﺍﻟﻈﹼﻬﻮﺭ ﺇﺫﺍ ﻣﺎ ﺍﺗّﻔﻖ ﻟﻪ‬

‫ﺤ ِﺪ ِ‬
‫)‪ (3‬ﻣﻌﻨﺎﻩ ﺃﺛﺮ ﻳﺒﻘﻰ ﻭﻳﺴﺘﻤ ّﺮ ﺑﻌﺪ ﺫﻫﺎﺏ ﺍﳌﻮﺿﻮﻉ ﺍﳌﹸ ْ‬
‫ﺫﻟﻚ‪.‬‬

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‫)‪ (4‬ﺃﻱ ﺃ ﹼﻥ ﺍﻟﻘﻮﻝ ﲟﺒﺪﺃ ﺍﻟﺼّﻮﺭ ﲟﺎ ﻫﻲ ﻣﻮﺍﺿﻴﻊ ﺣﻘﻴﻘﻴّﺔ ﺃﻭ ﺫﺭّﺍﺕ ﺇﻥ ﻛﺎﻥ ﻳﻘﺘﻀﻴﻬﺎ ﺍﻗﺘﻀﺎﺀ ﻃﺒﻴﻌﻴّﺎ‬
‫ﺍﳌﻨﻬﺞ ﺍﻟﺘّﺤﻠﻴﻠﻲّ‪ ،‬ﻷﻧّﻪ ﻣﻨﻬﺞ ﻳﺮ ّﺩ ﺍﳌﺮﻛﹼﺐ ﺇﱃ ﺍﻟﺒﺴﻴﻂ‪ ،‬ﻭﻳﻘﻮﻡ ﻋﻠﻰ ﺗﺄﻭﻳﻞ ﺍﻟﻈﹼﻮﺍﻫﺮ ﻋﻠﻰ ﺃﻧّﻬﺎ ﻻﻣﺘﻐﻴّﺮﺍﺕ‬
‫ﻋﺎﻃﻠﺔ‪ ،‬ﺗﺮﺗﺒﻂ ﺑﻴﻨﻬﺎ ﺑﻌﻼﻗﺎﺕ ﺳﺒﺒﻴّﺔ ﺧﺎﺭﺟﻴّﺔ‪ ،‬ﻓﺈ ﹼﻥ ﺍﳌﻨﻬﺞ ﺍﻟﺘّﺄﻟﻴﻔ ّﻲ ﺍﻟﹼﺬﻱ ﺭﻏﻢ ﺃﻧّﻪ ﻳﺆﻛﹼﺪ ﻋﻠﻰ ﻭﺟﻮﺩ‬
‫ﻇﻮﺍﻫﺮ ﺗﺄﻟﻴﻔﻴّﺔ ﻻ ﳝﻜﻦ ﺭﺩّﻫﺎ ﺇﱃ ﺍﻟﺒﺴﻴﻂ‪ ،‬ﻓﻬﻮ ﺃﻳﻀﺎ ﱂ ﻳﻨﻔﻚ ﻋﻦ ﺇﺛﺒﺎﺗﻪ ﻟﻮﺟﻮﺩ ﻧﻔﺲ ﺗﻠﻚ ﺍﻟﺼّﻮﺭ‬
‫ﺍﻟ ﹼﺬﺭّﺍﺕ‪.‬‬

‫)‪ (5‬ﻣﻌﻄﻴﺎﺕ ﺍﻟﺘّﺠﺮﺑﺔ َﺗِﺒﲔُ ﻟﻨﺎ ﺑﻴﺎﻧﺎ ﺃﻭّﻻ‪ ،‬ﻭﻟﻜﻦ ﻫﻲ ﺭﻏﻢ ﺃﻧّﻬﺎ ﺫﺍﺕ ﳏﺘﻮﻯ ﺣﺴّﻲ‪ ،‬ﺃﻱ ﺭﻏﻢ ﺃﻧّﻬﺎ ﰲ‬
‫ﺟﻮﻫﺮﻫﺎ ﻻ ﳏﺪّﺩﺓ ﻭﻻ ﻣﺘﻌﻴّﻨﺔ‪ ،‬ﻓﺈﻧّﻤﺎ ﻫﻲ ﺗﺒﲔ ﻟﻨﺎ ﻣﻨﻈﹼﻤﺔ ﻭﳏﺪّﺩﺓ‪ .‬ﻭﳌﹼﺎ ﻛﺎﻥ ﺍﻟﺘّﺤﺪﻳﺪ ﺫﺍﻙ ﻻ ﳝﻜﻦ ﺃﻥ‬
‫ﻳﻜﻮﻥ ﳍﺎ ﻣﻦ ﺫﺍﻬﺗﺎ‪ ،‬ﻓِﺈﺫﹰﺍ ﻧﺴﺘﻨﺞ ﺑﻄﺮﻳﻖ ﺍﻟﻨّﻘﺪ ﺃﻧّﻪ ﻳﻮﺟﺪ ﻗﻮّﺓ ﹸﺃ ْﺧﺮَﻯ ﻻ ﺗﺒﲔ ﺑﻴﺎﻧﺎ ﺃﻭّﻟﻴّﺎ ﻫﻲ ﺍﻟﹼﱵ ﺗﻨﻈﹼﻢ‬
‫ﺫﻟﻚ ﺍﶈﺘﻮﻯ ﺍﻟﻼﹼﻣﺘﻌﻴّﻦ‪ .‬ﻭﻫﺬﻩ ﺍﻟﻘﻮّﺓ ﻫﻲ ﻣﺎ ﻧﻄﻠﻖ ﻋﻠﻴﻬﺎ ﺍﺳﻢ ﺍﻟﻔﻜﺮ‪.‬‬

‫)‪ (6‬ﺃﻱ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭ ﺍﻟ ﹼﺬﺭّﺍﺕ ﻫﻲ ﻛ ﹼﻞ ﻣﺎ ﻳﻈﻬﺮ ﻟﻮﻋﻲ ﺃ ّﻭﱄﹼ‪ ،‬ﻭﻟﻴﺲ ﳝﻜﻦ ﲣﻄﹼﻲ ﻫﺬﺍ ﺍﳌﻌﻄﻰ ﺍﻷ ّﻭﱄﹼ‪ ،‬ﺃﻭ‬
‫ﻱ ﺃﻭ‬
‫ﱄ ﺫﺍﻙ‪ ،‬ﺃﻱ ﺍﻟﻔﻜﺮ‪ ،‬ﺇ ﹼﻻ ﺑﻄﺮﻳﻖ ﺗﺄﻣّﻞ ﻧﻘﺪ ّ‬
‫ﻟﻴﺲ ﳝﻜﻦ ﺃﻥ ﻳﻌﻄﻰ ﻣﻮﺿﻮﻋﺎ ﺁﺧﺮ ﻭﺭﺍﺀ ﺍﳌﻌﻄﻰ ﺍﻷ ّﻭ ﹼ‬
‫ﺭﺟﻮﻉ ﻓﻠﺴﻔ ّﻲ ﻋﻠﻰ ﻧﻔﺲ ﺫﻟﻚ ﺍﶈﺘﻮﻯ‪.‬‬

‫ﺲ‬
‫ﺺ ﺑﻜﻮﻧﻪ ﻛﺎﻥ ﻳﺜﺒﺖ ﺇﺛﺒﺎﺗﺎ ﺟﻮﻫﺮﻳّﺎ ﻭﺟﻮﺩ ﺍﺗّﺼﺎﻟﻴّﺔ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ ﺣﻘﻴﻘﻴّﺔ ﺑﲔ ﺍﳊ ّ‬
‫)‪ (7‬ﻭﺍﻟﹼﺬﻱ ﳜﺘ ّ‬
‫ﻭﺍﻟﻔﻜﺮ‪ ،‬ﺃﻭ ﺑﺘﺨﺼﻴﺺ ﺃﻛﱪ‪ ،‬ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻟﻔﻜﺮ‪.‬‬

‫)‪ (8‬ﻳﺮﻳﺪ ﺑﺎﻻﻣﻜﺎﻧﻴّﺔ ﺍﳌﻨﻄﻘﻴّﺔ ﺍﻻﻣﻜﺎﻧﻴّﺔ ﰲ ﻣﻌﲎ ﺍﻟﻐﲑ ﺍﳌﻤﺘﻨﻊ‪ ،‬ﺃﻭﰲ ﻣﻌﲎ ﺭﻓﻊ ﺍ ﹸﳌﺤَﺎﻝِ‪ ،‬ﻭﻫﺬﻩ ﻗﺪ‬
‫ﺗﻜﻮﻥ ﻏﲑ ﺫﺍﺕ ﻧﺴﺒﺔ ﺑﺎﻟﻮﺟﻮﺩ‪ ،‬ﺃﻱ ﻗﺪ ﺗﻜﻮﻥ ﻋﺪﻣﺎ ﳏﻀﺎ‪ .‬ﺃﻣّﺎ ﺍﻻﻣﻜﺎﻧﻴّﺔ ﺍﳌﺮﺍﺩﺓ ﻫﺎﻫﻨﺎ ﻓﻬﻲ ﺍﻻﻣﻜﺎﻧﻴّﺔ‬
‫ﺍﻟﹼﱵ ﳍﺎ ﻧﺴﺒﺔ ﺑﺎﻟﻮﺟﻮﺩ‪ ،‬ﻭﺇﻥ ﻛﺎﻥ ﻫﺬﺍ ﺍﻟﻮﺟﻮﺩ ﻫﻮ ﻏﲑ ﺍﻟﻮﺟﻮﺩ ﺍﶈﺾ‪ .‬ﺭﺍﺟﻊ ﺃﺭﺳﻄﻮ‪ ،‬ﻛﺘﺎﺏ ﺍﻟﻌﺒﺎﺭﺓ‪.‬‬

‫)‪ (9‬ﻳﺮﻳﺪ ﺃ ﹼﻥ ﻣﻮﻗﻒ ﺍﻟﻌﻘﻼﻧﻴّﺔ ﺍﳌﻨﺒﻌﺜﺔ ﻣﻦ ﺗﺮﺍﺑﻄﻴّﺔ ﺗﺎﻥ‪ ،‬ﻳﻘﺮﺏ ﻣﻦ ﻣﻮﻗﻒ ﻻﻳﺒﻨﺘﺰ ﻣﻦ ﻟﻮﻙ‪ ،‬ﻭﻛﺎﻧﻂ‬
‫ﻱ ﻭﺳﻠﹼﻤﺖ ﻟﻠﺘّﺮﺍﺑﻄﻴّﺔ ﻣﺎ ﻗﺪّﻣﺘﻪ‬
‫ﻣﻦ ﻫﻴﻮﻡ‪ ،‬ﻓﻴﻤﺎ ﺳﺒﻖ‪ ،‬ﻣﻦ ﺣﻴﺚ ﺃﻧّﻬﺎ ﻛﺎﻧﺖ ﻗﺪ ﺗﻜﻔﹼﻠﺖ ﺑﺎﻟﻌﻤﻞ ﺍﻟﻨّﻘﺪ ّ‬
‫ﻣﻦ ﻣﻌﻄﻴﺎﺕ ﻋﻠﻰ ﺃﻧّﻬﺎ ﻫﻲ ﻧﻔﺲ ﻣﻌﻄﻴﺎﺕ ﺍﻟﺘّﺠﺮﺑﺔ ﺍﳊﻘﻴﻘﻴّﺔ‪.‬‬

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 ‫)‪ (10‬ﺭﺍﺟﻊ ﻫﻮﺳّﺮﻝ‪ ،‬ﺍﻷﻓﻜﺎﺭ‪ ،Ideen‬ﺍﳌﻘﺎﻟﺔ ﺍﻟﺜﹼﺎﻧﻴﺔ ﻭﺍﳌﻘﺎﻟﺔ ﺍﻟﺜﹼﺎﻟﺜﺔ‪.‬‬

‫)‪ (11‬ﻟﻘﺪ ﻧﻌﺖ ﺳﺎﺭﺗﺮ ﻭﺿﻊ ﺍﻣﺘﻨﺎﻉ ﻭﺟﻮﺩ ﻓﻜﺮ ﳏﺾ ﰲ ﻣﺘﻨﺎﻭﻝ ﺍﻟﻮﻋﻲ ﺑﺎﳌﺎﻗﺒﻠﻲّ‪ ،‬ﻟﻜﻮﻧﻪ ﻟﻮ ﻛﺎﻥ‬
‫ﺭﻳﺒﻮ ﻗﺪ ﺭﺟﻊ ﺇﱃ ﺍﻟﺘّﺠﺮﺑﺔ ﺍﻟﺒﺎﻃﻨﻴّﺔ ﺣ ّﻖ ﺍﻟﺮّﺟﻮﻉ ﻭ ﻟﻮ ﻛﺎﻥ ﻗﺪ ﺭﺟﻊ ﺇﻟﻴﻪ ﺣﺮّﺍ ﻣﻦ ﻛ ﹼﻞ ﺣﻜﻢ ﻣﺴﺒّﻖ‬
‫ﻣﻴﺘﺎﻓﻴﺰﻳﻘﻲّ‪ ،‬ﻟﺘﺒﻴّﻦ ﺑﻴﺎﻧﺎ ﻟﻴﺲ ﻓﻮﻗﻪ ﻣﻦ ﻣﺰﻳﺪ ﻇﻬﻮﺭ‪ ،‬ﺑﺄ ﹼﻥ ﺃﻭّﻝ ﻣﺎ ُﻳ ْﻌﻄﹶﻰ ﻟﻠﻮﻋﻲ ﺇﻋﻄﺎﺀ ﺑﺪﻳﻬﻴّﺎ ﺇﻧّﻤﺎ ﻫﻮ‬
‫ﺍﻟﻮﻋﻲ ﻭﺍﻟﻔﻜﺮﻧﻔﺴﻪ )ﺭﺍﺟﻊ ﻫﻮﺳّﺮﻝ‪،‬ﺍﻷﻓﻜﺎﺭ‪ ،‬ﺍﳌﻘﺎﻟﺔ ﺍﻟﺜﹼﺎﻧﻴﺔ(‬

‫)‪ (12‬ﺃﻱ ﺃﻧّﻪ ﻣﺜﻠﻪ ﻣﺜﻞ ﻣﻦ ﺳﺒﻖ ﺫﻛﺮﻫﻢ ﻓﺈ ﹼﻥ ﳏﺼّﻞ ﻧﻈﺮﻳّﺘﻪ ﺇﻧّﻤﺎ ﻫﻮ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﳏﺘﻮﻯ ﻋﺎﻃﻞ‬
‫ﺑﺈﺯﺍﺀ ﻋﻔﻮﻳّﺔ ﺍﻟﻮﻋﻲ‪.‬‬

‫)‪ (13‬ﻓﻴﻜﻮﻥ ُﻣ ﹾﻘَﺘﻀَﻰ ﻫﺬﺍ ﺍﻹﺛﺒﺎﺕ ﺃ ﹼﻥ ﻭﺟﻮﺩ ﺍﻟﺼّﻮﺭﺓ ﻫﻮ ﻏﲑ ﺍﻟﻮﻋﻲ ﻬﺑﺎ‪ ،‬ﻓﻬﻲ ِﺇﺫﹰﺍ ﻣﻮﺿﻮﻉ ﻟﻪ‬
‫ﻗﻮﺍﻧﻴﻨﻪ ﻏﲑ ﻗﻮﺍﻧﲔ ﺍﻟﻮﻋﻲ‪.‬‬
‫)‪ (14‬ﺇﺫﺍ ﻛﺎﻥ ﲨﻴﻊ ﺍﻟﻌﺎﱂ ﻛﻠﹼﻪ ﻫﻮ ﺻﻮﺭ‪ ،‬ﻭﻛﻠﹼﻪ ﻟﻪ ﻧﺴﺒﺔ ﻣﺎ ﺑﺎﻟﻮﻋﻲ‪ ،‬ﻓﻠﻴﺲ ِﺇﺫﹰﺍ ﻭﺟﻮﺩ ﺍﻟﺸّﻲﺀ ﻭﺍﻋﻴﺎ‬
‫ﳑّﺎ ﺳﻴﻨﻘﻠﻪ ﻣﻦ ﳎﺮّﺩ ﺍﳌﻮﺿﻮﻉ ﺇﱃ ﻛﻮﻧﻪ ﺻﻮﺭﺓ ُﻣَﺘ َﻤﱠﺜ ﹶﻠﺔٍ‪ ،‬ﻛﻤﺎ ﻫﻮ ﺍﳊﺎﻝ ﻋﻨﺪ ﺩﻳﻜﺎﺭﺕ ﻣﺜﻼ‪ .‬ﻭﺇﻧّﻤﺎ ﺩﺧﻮﻝ‬
‫ﺾ ﻣﻦ ﺍﻟﺼّﻮﺭ ﺍﻟﹼﱵ ﺗﻮﺟﺪ ﻣﺮﺗﺒﻄﺔ ﻣﻊ ﺳﺎﺋﺮ ﺍﻟﻌﺎﱂ ﳑّﺎ‬
‫ﺻﻮﺭﺓ ﻣﻦ ﺍﻟﺼّﻮﺭ ﺍﳌﻤﺘﺎﺯﺓ‪ ،‬ﺃﻱ ﺍﳉﺴﺪ‪ ،‬ﺑﻌﺰﻟﻪ ﻟَﺒ ْﻌ ٍ‬
‫ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﻨﻘﻞ ﺗﻠﻚ ﺍﻟﺼّﻮﺭﺓ ﺇﱃ ﺃﻥ ﺗﻜﻮﻥ ﺻﻮﺭﺓ ﻣَُﺘ َﻤﱠﺜ ﹶﻠ ﹰﺔ‪.‬‬

‫)‪ (15‬ﺃﻱ ﻣﻦ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﹼﱵ ﱂ ﺗﺼﺮ ﻣﺘﻤﺜﹼﻠﺔ ﺑﻌﺪ ﺇﱃ ﺍﻟﺼّﻮﺭﺓ ﺍﳌﺘﻤﺜﹼﻠﺔ‪.‬‬

‫)‪ (16‬ﻳﺮﻳﺪ ﺃﻧّﻪ ﻛﻴﻒ ﳝﻜﻦ ﺃﻥ ﺗﻜﻮﻥ ﺍﻟﺼّﻮﺭﺓ ﲟﺎ ﻫﻲ ﺻﻮﺭﺓ ﺫﺍﺕ ﺷﻔﺎﻓﻴّﺔ‪ ،‬ﻭﻣﻮﺟﺪﺓ ﻟﺬﺍﻬﺗﺎ ﻣﻦ ﻏﲑ‬
‫ﺃﻥ ﺗﻜﻮﻥ ﻣﻮﺟﻮﺩﺓ ﻟﻮﻋﻲ ﻣﻦ ﺍﻟ ُﻮ ِﻋ ﱢﻲ‪.‬‬

‫)‪ (17‬ﻭﲝﺴﺐ ﺑُ ْﻌ ِﺪ ﺃﻭﻗﺮﺏ ﺍﻟﺼّﻮﺭﺓ ﻣﻦ ﺍﻟﻔﻌﻞ ﻳﺘﺤﺪّﺩ ﻧﻮﻉ ﻭﺟﻮﺩ ﺍﻟﺼّﻮﺭﺓ ﺑﻜﻮﻬﻧﺎ ﻣﻮﺿﻮﻋﺎ ﺇﺩﺭﺍﻛﻴّﺎ‬
‫ﺃﻭ ﻣﻮﺿﻮﻋﺎ ﲤﺜﹼﻠﻴّﺎ‪.‬‬

‫)‪ (18‬ﻳﺮﻳﺪ ﺃ ﹼﻥ ﻣﺒﺪﺃ ﺗﺸﺨّﺺ ﺍﻟﻮﻋﻲ ﻟﺪﻯ ﺑﺎﺭﺟﺴﻦ‪ ،‬ﺃﻱ ﺃﻥ ﻣﺒﺪﺃ ﻣﺎ ﳚﻌﻞ ﻭﻋﻴﺎ ﻣﺎ ﻭﻋﻴﺎ ﻣﻌﻴّﻨﺎ ﺃﻭ‬
‫ُﻣﺸَﺎﺭًﺍ ﺇﻟﻴﻪ ﻋﻠﻰ ﻟﻐﺔ ﺍﻟﻘﺪﺍﻣﻰ‪ ،‬ﺇﻧّﻤﺎ ﻣﺎ ﻳﻮﺟﺪ ُﻣ ﹾﻘَﺘ ِﺮﻧًﺎ ﺑﺎﻟﺼّﻮﺭﺓ ﺍﻟﺜﹼﺎﺑﺘﺔ ﺃﻭ ﺍﳉﺴﺪ ﻣﻦ ﺻﻮﺭ ﻣﻌﻴّﻨﺔ ﺃﺧﺮﻯ‪.‬‬

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‫ﻭﻫﺬﺍ ﺍﻟﺴّﺆﺍﻝ ﻫﺎﻫﻨﺎ ﻟﻪ ﻣﺎ ﻳُﻮ ِﺟُﺒﻪُ‪ ،‬ﻟﻜﻮﻥ ﺑﺎﺭﺟﺴﻦ‪ ،‬ﻛﻤﺎ ﻛﻨّﺎ ﻗﺪ ﺭﺃﻳﻨﺎ‪ ،‬ﺇﻧّﻤﺎ ﻛﺎﻥ ﻳﻀﻊ ﳎﻤﻮﻉ ﺍﻟﻌﺎﱂ‬
‫ﺑﺄﺳﺮﻩ ﻋﻠﻰ ﺃﻧّﻪ ﺫﻭ ﻧﺴﺒﺔ ﺑﺎﻟﻮﻋﻲ‪ ،‬ﺃﻭ ﻫﻮ ﻋﻴﻨﻪ ﺍﻟﻮﻋﻲ‪.‬‬

‫)‪ (19‬ﻟﻮ ﻛﺎﻥ ﻣﺎ ﳚﻌﻞ ﺍﻟﺼّﻮﺭﺓ ﺗﻜﻮﻥ ﺻﻮﺭﺓ ﻣَُﺘ َﻤﱠﺜ ﹶﻠ ﹰﺔ ﻫﻮ ﻓﻌﻞ ﺍﳉﺴﺪ ﻓﻴﻬﺎ‪ ،‬ﻓﻜﻴﻒ ﳝﻜﻦ ﺃﻥ ﻧﻔﺴّﺮ‬
‫ﻒ ﻓﻌﻞ ﺍﳉﺴﺪ ﺍﳌﹸ ﹶﻔ ﱢﺮ ِﺩ‬
‫ِﺇﺫﹰﺍ ﺑﻘﺎﺀ ﺍﻟﺼّﻮﺭﺓ ﲟﺎ ﻫﻲ ﻣﺘﻤﺜﹼﻠﺔ ﺣﺎﺻﻠﺔ ﺃﻳﻀﺎ ﰲ ﺍﻟﺬﱠﺍﻛﺮﺓ‪ ،‬ﺑﻌﺪﻣﺎ ﺃﻥ ﻳﻜﻮﻥ ﻗﺪ ﻛ ّ‬
‫ﳍﺎ ؟‬

‫ﻱ ﺇﻧّﻤﺎ ﻫﻮ ﺍﺳﺘﻔﻬﺎﻡ ﺳﺎﺭﺗﺮ ﻧﻔﺴﻪ‪.‬‬

‫)‪ (20‬ﻭﻫﺬﺍ ﻫﻮ ﺍﳊﻖّ‪ ،‬ﻭﻫﺬﺍ ﺍﻻﺳﺘﻔﻬﺎﻡ ﺍﻟﺘّﻘﺮﻳﺮ ّ‬

‫)‪ (21‬ﻷ ﹼﻥ ﻣﻮﺿﻮﻉ ﺍﻟﺬﹼﻛﺮﻯ ﻫﻮ ﻋﲔ ﻣﻮﺿﻮﻉ ﺍﻹﺩﺭﺍﻙ ﻭﻟﻜﻨّﻪ ﻣﺄﺧﻮﺫﺍ ﻋﻠﻰ ﻏﲑ ﳓﻮ ﺃﺧﺬ‬
‫ﺍﻹﺩﺭﺍﻙ ؛ ﻓﺎﻹﺩﺭﺍﻙ ﻳﺄﺧﺬ ﺍﳌﻮﺿﻮﻉ ﺃﻭ ﺍﻟﺼّﻮﺭﺓ ﲟﺎ ﻫﻲ ﻣﻮﺻﻮﻟﺔ ﻣﻊ ﺳﺎﺋﺮ ﺍﻟﺼّﻮﺭ‪ ،‬ﻭﺍﻟﺬﹼﻛﺮﻯ ﺇﻧّﻤﺎ ﺗﺄﺧﺬ‬
‫ﻧﻔﺲ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﹼﱵ ﻳﻌﻄﻴﻬﺎ ﺍﻹﺩﺭﺍﻙ ﲟﺎ ﻫﻲ ﻣﻨﻔﺼﻠﺔ ﻋﻦ ﺳﺎﺋﺮ ﺍﻟﺼّﻮﺭ‪.‬‬

‫)‪ (22‬ﺍﻟﻨّﻮﺍﺯ ﻭﺍﻟﻨّﻮﺍﻡ ﻋﺒﺎﺭﺗﺎﻥ ﻣﺄﺧﻮﺫﺗﺎﻥ ﻣﻦ ﺍﻟﻠﹼﻐﺔ ﺍﻟﻔﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟﻴّﺔ‪ .‬ﻭﻣﻌﻨﺎﳘﺎ ﺑﺘﻠﺨﻴﺺ ﺷﺪﻳﺪ ﻣﺎ‬
‫ﻳﻠﻲ ‪ :‬ﺍﻟﻨّﻮﺍﺯ ﻫﻮ ﺍﻟﻔﻌﻞ ﲟﺎ ﻫﻮ َﻣﻌِﻴﺶٌ ﳏﺾ ‪ Erlebnis‬ﻭﺣﺪﺙ ﺣﻘﻴﻘ ّﻲ ﰲ ﺍﻟﺬﹼﺍﺕ‪ ،‬ﺃﻣّﺎ ﺍﻟﻨّﻮﺍﻡ‬
‫ﻱ ‪ Corrélatif intentionnel‬ﺃﻭ ﺍ ﹶﳌ ْﻌِﻨ ﱢﻲ ﻟﻠﻔﻌﻞ‪ .‬ﻭﻫﻮ‬
‫ﻓﻬﻮ ﺍﳌﹸَﺘ َﻌ ﱠﻠﻖُ ﺍﻟﻘﺼﺪ ّ‬
‫ﻬﺑﺬﺍ ﺍﻻﻋﺘﺒﺎﺭ ﻻ ﻳﻜﻮﻥ ﻣﻮﺟﻮﺩﺍ ﻭﺟﻮﺩﺍ ﺣﻘﻴﻘﻴّﺎ ﺑﺎﻟﻔﻌﻞ ﰲ ﺍﻟﺬﹼﺍﺕ ﻭﺇﻧّﻤﺎ ﻭﺟﻮﺩﻩ ﻫﻮ ﻭﺟﻮﺩ ﻣﻔﺎﺭﻕ‪.‬‬
‫ﻣﺜﺎﻝ‪ :‬ﺇﺩﺭﺍﻛﻲ ﳍﺬﻩ ﺍﻟﺸّﺠﺮﺓ ﺍﳌﻮﺭﻗﺔ‪ .‬ﻓﻬﻬﺎﻧﺎ ﳓﻦ ﻧﺴﻄﻴﻊ ﺃﻥ ﳕﻴّﺰ ﺑﲔ ﺍﻟﺸّﺠﺮﺓ ﺍﳌﻮﺭﻗﺔ ﲟﺎﻫﻲ ﻣﻮﺿﻮﻉ‬
‫ﻳﻮﺟﺪ ﻫﻨﺎﻙ ﺑﲔ ﺍﻷﺷﻴﺎﺀ‪ ،‬ﻭﻫﻲ ﲟﺎ ﻫﻲ ﻛﺬﻟﻚ ﻟﻴﺴﺖ ﺟﺰﺀ ﺣﻘﻴﻘﻴّﺎ ﻣﻦ ﺍﻟﻮﻋﻲ‪ .‬ﻭﻧﻔﺲ ﻋﻴﺸﻲ ﳍﺬﻩ‬
‫ﻱ‪) .‬ﺭﺍﺟﻊ ﻫﻮﺳّﺮﻝ‪ ،‬ﺍﻷﻓﻜﺎﺭ‪ ،‬ﺍﳌﻘﺎﻟﺔ ﺍﻟﺜﹼﺎﻟﺜﺔ‪ ،‬ﺍﻟﻔﺼﻞ ﺍﻟﺜﹼﺎﻟﺚ‪،‬‬
‫ﰐ ﻭﻣﺎ ّﺩ ّ‬
‫ﺍﻟﺸّﺠﺮﺓ‪ ،‬ﻭﻫﻮ ﺣﺪﺙ ﳏﺾ ﺫﺍ ﹼ‬
‫ﺍﻟﺒﺎﺏ ﺍﻟﺜﹼﺎﻣﻦ ﻭﺍﻟﺜﹼﻤﺎﻧﻮﻥ(‬

‫)‪ (23‬ﺇﻥ ﺑﺎﺭﺟﺴﻦ ﻛﺎﻥ ﻗﺪ ﺳﺒﻖ ﺃﻥ ﺍﻋﺘﱪ ﺑﺄ ﹼﻥ ﺍﳉﺴﺪ ﻳﺪﺧﻞ ﺩﺧﻮﻻ ﻣﻮﺟﺒﺎ ﰲ ﺣﺼﻮﻝ ﺍﻟﺼّﻮﺭﺓ‬
‫ﻋﻠﻰ ﺟﻬﺔ ﺍﻟﺘّﻤﺜﹼﻞ‪ ،‬ﻭﻛﺎﻥ ﻗﺪ ﺍﻋﺘﱪ ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭ ﺇﺫﺍ ﱂ ﺗﻜﻦ ﻭﺍﻋﻴﺔ ﻓﻬﻲ ﻻﺗﻜﻮﻥ ﻓﺎﻋﻠﺔ‪ .‬ﻭﻟﻜﻦ ﻫﺎﻫﻮ ﺍﻵﻥ‬
‫ﻗﺪ ﻭﺿﻊ ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺬﹼﻛﺮﻯ ﺃﻭ ﺍﻟﺼّﻮﺭﺓ ﺍﳋﺎﻟﺼﺔ ﻻ ﳝﻜﻦ ﺃﻥ ﺗﻌﻮﺩ ﻓﻌﻠﻴّﺔ ﺇ ﹼﻻ ﺇﺫﺍ ﺭُ ِﻓ َﻊ ﻋﻨﻬﺎ ﻋﺎﺋﻖ‬

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‫ﺍﳉﺴﺪ‪ .‬ﻭﻫﺎﻫﻮ ﺍﻵﻥ ﻗﺪ ﺯﻋﻢ ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﲟﺠﺮّﺩﻫﺎ ﻓﻠﻬﺎ ﺭﻏﺒﺔ ﻭﻧﺰﻭﻉ ﻷﻥ ﺗﺼﲑ ﺣﺎﺿﺮﺓ‪ ،‬ﻭﺍﳊﺎﻝ ﺃﻧّﻪ‬
‫ﻓﻴﻤﺎ ﻣﻀﻰ ﻛﺎﻥ ﻗﺪ ﺭﻓﻊ ﻋﻨﻬﺎ ﺍﻟﻔﻌﻠﻴّﺔ‪.‬‬

‫)‪ (24‬ﻭﻣﺎﺣﺎﺟﺔ ﺍﻟﺼّﻮﺭ ﺇﱃ ﺍﻟﻮﺟﻮﺩ ﺣﺘّﻰ ﺗﻮﺟﺪ ﳍﺎ ﻫﺬﻩ ﺍﻟﺮّﻏﺒﺔ ﰲ ﺍﻟﻮﺟﻮﺩ ؟! ﺃﻓﻠﻢ ﻳﻜﻦ ﺑﺎﺭﺟﺴﻦ‬
‫ﻗﺪ ﺃﺛﺒﺖ ﻣﻦ ﹶﻗ ْﺒﻞﹸ ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭ ﺍﳌﺘﻤﺜﹼﻠﺔ ﺃﻭ ﺍﻟﺬﹼﻛﺮﻯ ﻫﻲ ﻣﻮﺟﻮﺩﺓ ﻣﺜﻠﻬﺎ ﻣﺜﻞ ﺍﻟﺼّﻮﺭ ﺍﳌﺪﺭﻛﺔ‪ ،‬ﻭﺃ ﹼﻥ‬
‫ﺻﲑﻭﺭﻬﺗﺎ ﻣَُﺘ َﻤﱠﺜ ﹶﻠ ﹰﺔ ﻟﻴﺲ ﻫﻮ ﺍﻟﹼﺬﻱ ﻳﻌﻄﻴﻬﺎ ﺍﻟﻮﺟﻮﺩ ﻭﺇﻧّﻤﺎ ﻓﻘﻂ ﻳﻌﻄﻴﻬﺎ ﺻﻔﺔ ﻛﻮﻬﻧﺎ ﻣﺘﻤﺜﹼﻠﺔ ﻟﻴﺲ ﻏﲑ؟!‬

‫)‪ (25‬ﺍﻹﺩﺭﺍﻙ ﺍﳋﺎﻟﺺ ﻫﻮ ﺍﻹﺩﺭﺍﻙ ﺍﻟﹼﺬﻱ ﻻ ﳜﺎﻟﻄﻪ ﻧﺴﺒﺔ ﻣﻬﻤﺎ ﻗﻠﹼﺖ ﻣﻦ ﺍﻟﺘّﻤﺜﹼﻞ‪ .‬ﻭﻫﺬﺍ ﺍﻹﺩﺭﺍﻙ‬
‫ﻟﻴﺲ ﻟﻪ ﻭﺟﻮﺩ ﺣﻘﻴﻘ ّﻲ ﺍﻟﺒﺘّﺔ‪ ،‬ﻭﺇﻧّﻤﺎ ﻭﺟﻮﺩﻩ ﻫﻮ ﻭﺟﻮﺩ ﻋﻠﻰ ﺟﻬﺔ ﺍﳌﺜﺎﻝ ‪Idéalement‬‬
‫ﻓﺤﺴﺐ‪ ) .‬ﺭﺍﺟﻊ ﻫﻨﺮﻱ ﺑﺎﺭﺟﺴﻦ‪ ،‬ﺍﳌﺎﺩّﺓ ﻭﺍﻟﺬﹼﺍﻛﺮﺓ‪ ،‬ﻓﺼﻞ ﺍﻷﻭّﻝ(‬

‫)‪ (26‬ﺃﻱ ﺃ ﹼﻥ ﺍﻟﻜﻮﺟﻴﻄﻮ‪ ،cogito‬ﻋﻠﻰ ﻣﻌﲎ ﺍﻷﻧﺎ ﺃﻓﻜﹼﺮ‪ ،‬ﻭﻫﻮ ﺣﻀﻮﺭ ﺍﻟﻔﻜﺮ ﻟﺬﺍﺗﻪ ﺑﻼ ﺗﻮﺳّﻂ‬
‫ﺲ ﺃﻭ ﻏﲑﻩ‪ ،‬ﻫﻮ ﺍﻟﻀّﺎﻣﻦ ﻭﻫﻮ ﺍﻟﺪّﻟﻴﻞ ﻋﻠﻰ ﻭﺟﻮﺩ ﻓﻜﺮ ﳏﺾ ﻻ ﻳﻠﺘﺒﺲ ﺑﺼﻮﺭﺓ ﻣﻦ ﺍﻟﺼّﻮﺭﺓ‬
‫ﻣﻦ ﺣ ّ‬
‫ﻭﳝﻜﻦ ﻟﻠﻮﻋﻲ ﺃﻥ ﻳﺪﺭﻛﻪ ﺇﺩﺭﺍﻛﺎ ﺃﻭّﻟﻴّﺎ‪.‬‬

‫)‪ (27‬ﺍﻷﲝﺎﺙ ﺍﳌﻨﻄﻘﻴّﺔ‪ ،‬ﰲ ﺟﺰﺋﲔ‪ ،‬ﺟﺰﺀ ﺃﻭّﻝ ﺫﻭ ﻋﻨﻮﺍﻥ ﻣﻘﺪّﻣﺎﺕ ﻣﻦ ﺃﺟﻞ ﻣﻨﻄﻖ ﺧﺎﻟﺺ‪ ،‬ﻭﺟﺰﺀ‬
‫ﺛﺎﻥ ﻣﻦ ﺳﺘّﺔ ﺃﲝﺎﺙ‪.‬‬

‫)‪ (28‬ﺃﻱ ﺃ ﹼﻥ ﻫﻮﺳّﺮﻝ ﻛﺎﻥ ﻗﺪ ﻣﻴّﺰ ﰲ ﻣﺼﻨّﻔﻪ ﺍﳌﺬﻛﻮﺭ ﻭﺍﺿﺢ ﺍﻟﺘّﻤﻴﻴﺰ‪ ،‬ﻭﻋﻠﻰ ﺟﻬﺔ ﺍﳌﻨﺎﻗﻀﺔ ﻟﻠﺮّﺃﻱ‬
‫ﺍﻟﻨّﻔﺴﺎﱐﹼ‪ ،‬ﺑﲔ ﳏﺘﻮﻯ ﺍﳌﻔﻬﻮﻡ ﻣﻦ ﺣﻴﺚ ﻫﻮ ﳏﺘﻮﻯ ﻣﻨﻄﻘﻲّ‪ ،‬ﻭﺗﻜﻮّﻥ ﺍﳌﻔﻬﻮﻡ ﻣﻦ ﺣﻴﺚ ﻫﻮ ﺣﺼﻮﻟﻪ‬
‫ُﻣ ْﺪ َﺭﻛﹰﺎ ﻟﻠﺬﹼﺍﺕ‪ .‬ﻭﺍﻟﻐﻠﻂ ﺍﻟﹼﺬﻱ ﻭﻗﻌﺖ ﻓﻴﻪ ﺍﻟﻨّﻔﺴﺎﻧﻴّﺔ ﻫﻮ ﺃﻧّﻬﺎ ﻗﺪ ﺣﺎﻭﻟﺖ ﺃﻥ ﺗﻔﺴّﺮ ﺗﻜﻮّﻥ ﺍﳌﻔﻬﻮﻡ ﲟﺎ ﻫﻮ‬
‫ﰐ )ﺭﺍﺟﻊ ﻣﻘﺪّﻣﺎﺕ ﳌﻨﻄﻖ ﺧﺎﻟﺺ‪ ،‬ﻣﻦ ﺍﻟﻔﺼﻞ‬
‫ﻛﺬﻟﻚ‪ ،‬ﺑﺘﻜﻮّﻥ ﺣﺼﻮﻟﻪ ﰲ ﻧﻔﺲ ﺍﻟﻮﻋﻲ ﲟﺎ ﻫﻮ ﺣﺪﺙ ﺫﺍ ﹼ‬
‫ﺍﻟﺮّﺍﺑﻊ ﺇﱃ ﺍﻟﻔﺼﻞ ﺍﻟﺘّﺎﺳﻊ‪(.‬‬

‫ﻫﻲ ﺍﻟﺪّﻻﻟﺔ ﺍﳋﺎﻟﺼﺔ‬ ‫)‪ (29‬ﺍﻟﻘﺼﺪﻳّﺔ ﺍﳋﺎﻭﻳﺔ‪L'intentionalité vide‬‬

‫ﺍﻟﹼﱵ ﺗﺴﺘﻬﺪﻑ ﺍﳌﻮﺿﻮﻉ ﻣﻦ ﻏﲑ ﺃﻥ ﻳﻜﻮﻥ ﻫﻨﺎﻙ ﳏﺘﻮﻯ ﻣﺎ ﺣﺪﺳﻴّﺎ ﳝﻸ ﺫﻟﻚ ﺍﻻﺳﺘﻬﺪﺍﻑ‪ .‬ﻭﻫﺬﻩ‬

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‫ﺍﳌﺮﺗﺒﺔ ﻳﻌﺪّﻫﺎ ﻫﻮﺳّﺮﻝ ﺑﺎﶈﺾ ﻣﻨﻄﻘﻴّﺔ‪ .‬ﺃﻣّﺎ ﺍﳌﻌﺮﻓﺔ ﻓﺘﺒﺪﺃ ﺣﻴﻨﻤﺎ ﲡﺪ ﺗﻠﻚ ﺍﻟﺪّﻻﻟﺔ ﺍﻟﻌﺎﻧﻴﺔ ﳏﺘﻮﻯ ﻣﺎ ﺣﺪﺳﻴّﺎ‬
‫ﳝﻸﻫﺎ‪ ،‬ﻭﲝﺴﺐ ﻗﺮﺏ ﺫﻟﻚ ﺍﶈﺘﻮﻯ ﺍﶈﺪﻭﺱ ﻣﻦ ﻣﻠﺌﻪ ﻟﻜ ﹼﻞ ﻣﺎ ﻳﻘﻮﻡ ﺑﺎﻟﺪّﻻﻟﺔ ﺃﻭ ﺑﻌﺪﻩ‪ ،‬ﻓﺈ ﹼﻥ ﺍﳌﻌﺮﻓﺔ‬
‫ﺗﻘﺘﺮﺏ ﻣﻦ ﺩﺭﺟﺔ ﺍﻟﺒﺪﺍﻫﺔ ﺍﳌﻄﻠﻘﺔ ﺃﻭ ﺗﺒﻌﺪ ) ﺭﺍﺟﻊ ﻫﻮﺳّﺮﻝ‪ ،‬ﺍﻷﲝﺎﺙ ﺍﳌﻨﻄﻘﻴّﺔ‪ ،‬ﺍﳉﺰﺀ ﺍﻟﺜﹼﺎﱐ‪ ،‬ﺍﳌﺒﺤﺚ‬
‫ﺍﻷﻭّﻝ ﻭﺍﳌﺒﺤﺚ ﺍﻟﺴّﺎﺩﺱ‪(.‬‬

‫)‪ (30‬ﺃﻱ ﳎﺎﻝ ﺍﻟﻨّﻘﺪ‪.‬‬

‫)‪ (31‬ﻫﺬﻩ ﺍﻻﺳﺘﻔﻬﺎﻣﺎﺕ ﻫﻲ ﻛﻠﹼﻬﺎ ﺍﺳﺘﻔﻬﺎﻣﺎﺕ ﺳﺎﺭﺗﺮ ﻋﻠﻰ ﺟﻬﺔ ﺍﻟﺘّﻠﻤﻴﺢ ﻟﺮﺃﻱ ﺁﺧﺮ ﰲ ﺗﺄﻭﻳﻞ‬
‫ﺍﳌﺜﺎﻝ ﺍﳌﺬﻛﻮﺭ‪ ،‬ﻭﻫﻮ ﺍﻟﺮّﺃﻱ ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﻳﺮﺍﻩ ﻫﻮ‪ ،‬ﻭﺍﻟﹼﺬﻱ ﻛﺎﻥ ﻗﺪ ﺃﻓﺎﺽ ﻓﻴﻪ ﺍﻟﻘﻮﻝ ﻭﺑﺴﻄﻪ ﰲ ﻣﺆﻟﹼﻔﻪ‬
‫ﱄ ‪ L'imaginaire.‬ﻭﺧﻼﺻﺔ ﻫﺬﺍ‬
‫ﺍﻟﺘّﺄﺳﻴﺴ ّﻲ ﺍﻟﹼﺬﻱ ﺗﻠﻰ ﻛﺘﺎﺏ ﺍﻟﺘّﺨﻴّﻞ‪ ،‬ﺃﻱ ﰲ ﺍﳋﻴﺎ ﹼ‬
‫ﰲ ﻭﻟﻴﺴﺖ ﻫﻲ ﻣﻮﺿﻮﻉ ﻟﻠﻤﻌﺮﻓﺔ ؟‬
‫ﺍﻟﺮّﺃﻱ ﻫﻮ ﺃﻧّﻪ ِﻟ َﻢ ﱂ ﻧﻜﻦ ﻧﻌﺘﱪ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﺇﻧّﻤﺎ ﻫﻲ ﻧﻔﺴﻬﺎ ﻓﻌﻞ ﻣﻌﺮ ﹼ‬
‫)‪ (32‬ﺃﻱ ﺃ ﹼﻥ ﺍﻟﺬﹼﺍﺕ ﺍﻟﹼﱵ ﺗﺘﺨﻴّﻞ ﻫﻲ ﻏﲑ ﺍﻟﺬﹼﺍﺕ ﺍﻟﹼﱵ ﺗﺘﻌﻘﹼﻞ‪ ،‬ﻓﺘﻨﺸﻄﺮ ﺍﻟﺬﹼﺍﺕ ﺇﱃ ﺫﺍﺗﲔ‪.‬‬

‫)‪ (33‬ﺇ ﹼﻥ ﺳﺎﺭﺗﺮ ﰲ ﻛ ﹼﻞ ﻫﺬﺍ ﺍﻟﻔﺼﻞ ﻗﺪ ﺣﺎﻭﻝ ﺃﻥ ﻳﺒﻴّﻦ ﺃﻣﺮﻳﻦ ﻛﺒﲑﻳﻦ ؛ ﻓﺄﻭّﻻ‪ ،‬ﻟﻘﺪ ﺣﺎﻭﻝ ﺃﻥ ﻳﺒﻴّﻦ‬
‫ﺃ ﹼﻥ ﻛ ﹼﻞ ﺍﻟﻨّﻈﺮﻳّﺎﺕ ﺍﻟﹼﱵ ﻇﻬﺮﺕ ﰲ ﺃﻭﺍﺧﺮ ﺍﻟﻘﺮﻥ ﺍﻟﺘّﺎﺳﻊ ﻋﺸﺮ ﻭﺑﺪﺍﻳﺎﺕ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ ﺇﱃ ﺣ ّﺪ ﺍﳊﺮﺏ‬
‫ﺍﻟﻌﺎﳌّﻴﺔ ﺍﻷﻭﱃ‪ ،‬ﻓﻤﻬﻤﺎ ﺍﺧﺘﻠﻔﺖ ﺗﺄﻭﻳﻼﻬﺗﺎ‪ ،‬ﻓﺈﻧّﻬﺎ ﻛﻠﹼﻬﺎ ﻻ ﲣﺮﺝ ﻋﻦ ﺃﻥ ﺗﻜﻮﻥ ﺫﺍﺕ ﻧﺴﺒﺔ ﺑﻮﺍﺣﺪﺓ ﻣﻦ‬
‫ﺍﻟﻨّﻈﺮﻳّﺎﺕ ﺍﻟﻜﻼﺳﻴﻜﻴّﺔ ﺍﻟﺜﹼﻼﺛﺔ ﺍﻟﹼﱵ ﻋﺮﺿﻨﺎ ﳍﺎ ﰲ ﺍﻟﻔﺼﻞ ﺍﻷﻭّﻝ ) ﻧﻈﺮﻳّﺎﺕ ﺩﻳﻜﺎﺭﺕ‪ ،‬ﻭﻟﻴﺒﻨﺘﺰ ﻭﻫﻴﻮﻡ‪.(.‬‬
‫ﻭﺍﻷﻣﺮ ﺍﻟﺜﹼﺎﱐ ﺍﻟﹼﺬﻱ ﺃﺭﺍﺩ ﺑﻴﺎﻧﻪ ﻓﻬﻮ ﺃ ﹼﻥ ﲨﻴﻊ ﻫﺬﻩ ﺍﻷﺭﺍﺀ ﻫﻲ ﺗﻠﺘﻘﻲ ﰲ ﺃﻧّﻬﺎ ﺗﻘﺒﻞ ﻛﻠﹼﻬﺎ‪ ،‬ﺑﻨﺤﻮ ﺻﺮﻳﺢ ﺃﻭ‬
‫ﺴﻲّ‪ ،‬ﻭﺃﻧّﻬﺎ ﺷﻲﺀ ﻣﻮﺿﻮﻉ ﻟﻠﻮﻋﻲ‪ .‬ﻭﺳﻴﺒﻴّﻦ ﺳﺎﺭﺗﺮ ﰲ‬
‫ﻏﲑ ﺻﺮﻳﺢ‪ ،‬ﲟﺒﺪﺃ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﳏﺘﻮﻯ ﺣ ّ‬
‫ﻱ ﺍﻟﺘّﻨﺎﻗﻀﺎﺕ ﺍﻟﹼﱵ ﺗﻠﺰﻡ ﻣﻦ ﻣﺜﻞ ﻫﺬﻩ ﺍﳌﺼﺎﺩﺭﺓ‪ ،‬ﻭﻫﻲ ﺗﻨﺎﻗﻀﺎﺕ ﻳﺘﻌﻠﹼﻖ ﺑﻌﻀﻬﺎ ﺑﺼﻌﻮﺑﺔ‬
‫ﺍﻟﻔﺼﻞ ﺍﻟﻘﺎﺩﻡ ﺃ ّ‬
‫ﺃ ﹼﻥ ﻧﺘﻌﺮّﻑ ﻋﻠﻰ ﺍﻟﺼّﻮﺭﺓ ﻣﻦ ﺣﻴﺚ ﻫﻲ ﻛﺬﻟﻚ؛ ﻭﺍﻟﺒﻌﺾ ﺍﻵﺧﺮ ﻓﻴﺘﻌﻠﹼﻖ ﺑﻌﻼﻗﺔ ﺍﻟﺼّﻮﺭﺓ ﲟﺎ ﻫﻲ ﳏﺘﻮﻯ‬
‫ﻋﺎﻃﻞ‪ ،‬ﻋﻠﻰ ﺫﻟﻚ ﺍﻟﺘّﺄﻭﻳﻞ‪ ،‬ﻭﺍﻟﻔﻜﺮ ﲟﺎ ﻫﻮ ﻋﻔﻮﻳّﺔ ﳏﻀﺔ‪.‬‬

‫ﺃ( ﻋﻠﻢ ﻧﻔﺲ ﺍﻻﺳﺘﺪﻻﻝ‪ ، Psychologie du Raisonnement‬ﺑﺎﺭﻳﺲ‪،‬‬

‫‪.١٨٩٦‬‬

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‫ﺹ ﺍﻟﻘﺮﺍﺀﺓ ﻣﻘﺎﻟﺔ ﻟﻠﺒﻠﺠﻴﻜ ّﻲ ﺃﻫﺮﻧﺲ ‪ Ahrens‬ﻣﻦ ﺃﺟﻞ ﺗﺄﺳﻴﺴﻪ ﻟﻨﻈﺮﻳّﺔ‬
‫ﺏ( ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻘﺮﺃ ﺧﺎ ّ‬
‫ﺟﺪﻳﺪﺩﺓ ﰲ ﺍﻟﺼّﻮﺭﺓ ﰲ ﺩﺭﻭﺱ ﰲ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﺍﻟﹼﱵ ﻛﺎﻥ ﺃﻟﻘﺎﻫﺎ ﺑﺒﺎﺭﻳﺲ ﺳﻨﺔ ‪ .١٨٣٦‬ﻭﻫﻲ ﻣﻦ ﻧﺸﺮ‬
‫ﺑﺮﻭﻛﻨﺲ ﻭ ﺃﻓﺎﻧﺎﺭﻳﻮﺱ‪.‬‬
‫ﺕ( ﰲ ﺍﻟﺬﹼﻛﺎﺀ‪ ، De l'Intelligence‬ﺍﳉﺰﺀ ﺍﻷﻭّﻝ‪ ،‬ﺍﳌﻘﺪّﻣﺔ‪ ،‬ﺹ ‪ ١‬ﻭﺹ ‪.٢‬‬
‫ﺙ( ﻭﻟﻜ ّﻦ ﺍﻟﺘّﺠﺮﺑﻪ ﻫﺎﻫﻨﺎ ﻫﻲ ﻣﻔﻬﻮﻣﺔ ﺑﻨﺤﻮ ﳐﺼﻮﺹ ﻏﺎﻳﺔ ﺍﳋﺼﻮﺹ ‪.‬‬
‫ﺝ( ﺍﳌﺮﺟﻊ ﻧﻔﺴﻪ‪ ،‬ﺹ‪.٩.‬‬
‫ﺡ( ﻏﻠﺘﻮﻥ‪Statics of mental Imagery ( Mind,1880), ،‬‬
‫‪Inquiries to human faculties (1885).‬‬
‫ﺥ( ﺑﻨﺖ‪ ،‬ﻋﻠﻢ ﻧﻔﺲ ﺍﻻﺳﺘﺪﻻﻝ‪.١٨٩٦ ،‬‬
‫‪Psychologie‬‬ ‫‪et‬‬ ‫ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﺎ‬ ‫ﻭ‬
‫ﺩ( ﻻﺷﻴﻠﻴﻲ‪ ،‬ﻋﻠﻢ ﺍﻟﻨّﻔﺲ‬
‫‪Métaphysique.‬‬
‫‪26 ،‬ﻧﻮﻓﻤﱪ‪.١٨٧٢ .‬‬ ‫‪Rapport‬‬ ‫ﺫ( ﺗﻘﺮﻳﺮ ﺑﺘﱯ‪Batbie‬‬
‫ﺭ( ﺃﻧﻈﺮ‪ .‬ﺃﺭﺳﻄﻮ‪ ،‬ﰲ ﺍﻟﻨّﻔﺲ‪ ،‬ﺍﻟﻔﺼﻞ ﺍﻟﺜﹼﺎﻟﺚ‪ ،٨ ،‬ﺃ‪ " : ٨ ،٤٣٢‬ﻭﺍﻟﺘّﻌﻘﹼﻞ ﻧﻔﺴﻪ ﻻ ﳜﻠﻮ ﺍﻟﺒﺘّﺔ ﻣﻦ‬
‫ﺍﻟﺼّﻮﺭﺓ "‬
‫ﺯ( ﺑﺮﻭﺷﺎﺭﺩ‪ ،‬ﰲ ﺍﳋﻄﺄ‪ ، De l'erreur‬ﺹ‪ .١٥١ .‬ﻭﺍﻹﺑﺮﺍﺯ ﻣﻦ ﻋﻨﺪﻧﺎ ‪.‬‬
‫ﺱ( ﺭﻳﺒﻮ‪ ،‬ﺍﳊﻴﺎﺓ ﺍﻟﻮﺍﻋﻴﺔ ﻭﺍﳊﺮﻛﺎﺕ ‪La Vie consciente et les‬‬
‫‪ ،mouvements‬ﺹ ‪ ١١٣‬ﻭﻣﺎﻳﺘﺒﻌﻬﺎ‪ .‬ﻭﰲ ﺗﻠﻚ ﺍﻟﺼّﻔﺤﺎﺕ ﺳﻌﻰ ﺭﻳﺒﻮ ﻣﻦ ﺃﺟﻞ ﺩﺣﻀﻪ ﻧﺘﺎﺋﺞ‬
‫ﻋﻠﻤﺎﺀ ﻧﻔﺲ ﻣﺪﺭﺳﺔ ﻭﺭﺯﺑﻮﺭﻍ ﺫﺍﺕ ﺍﻟﺘّﻌﻠﹼﻖ ﺑﻮﺟﻮﺩ ﻓﻜﺮ ﺧﻠﻮ ﻣﻦ ﺻﻮﺭ‪.‬‬
‫ﺵ( ﻭﻗﺪ ﺷﻜﹼﻚ ﺭﻳﺒﻮ ﰲ ﺻﺪﻕ ﲡﺎﺭﺏ ﻣﺪﺭﺳﺔ ﻭﺭﺯﺑﻮﺭﻍ‪.‬‬
‫ﺹ( ﺃﻧﻈﺮ‪ .‬ﺍﻟﺘّﺨﻴّﻞ ﺍﳌﺒﺪﻉ‪ ، Imagination créatrice‬ﺹ‪ ،١٧ .‬ﻭﻣﺎﻳﺘﺒﻌﻬﺎ ‪.‬‬
‫ﺽ( ﻧﻔﺲ ﺍﳌﺮﺟﻊ‪ ،‬ﺹ‪.٢٠.‬‬
‫ﻁ( ﻣﻨﻄﻖ ﺍﳌﺸﺎﻋﺮ‪ ، Logique des sentiments‬ﺹ‪.٢٢ .‬‬
‫‪Annales‬‬ ‫‪médico‬‬ ‫‪-‬‬ ‫ﻋﻠﻤﻨﻔﺴﻴّﺔ‬ ‫ــ‬ ‫ﻃّﺒﻴّﺔ‬ ‫ﺣﻮﺍﻟﻴّﺎﺕ‬ ‫ﻅ(‬
‫‪1925. ،psychologique‬‬

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‫ﻉ( ﺍﻟﻴﻮﻣﻴّﺔ ﺍﻟﻌﻠﻢ ﻧﻔﺴﻴّﺔ‪15 ، Journal de psychologie‬ﺃﻓﺮﻳﻞ ‪.١٩٢٦‬‬
‫ﱐ ﻟﻠﻬﻠﻮﺳﺔ‪ .‬ﰲ ﳍﺮﻣﻴﺖ‪ ،‬ﰲ ﺍﻟﻨّﻮﻡ‪Le sommeil.‬‬
‫ﺃﻧﻈﺮ ﺃﻳﻀﺎ ﻣﻘﺎﻟﺔ ﰲ ﺗﺄﻭﻳﻞ ﺑﺎﺭﺟﺴﻮ ﹼ‬
‫ﻍ( ﺍﳌﺎﺩّﺓ ﻭﺍﻟﺬﹼﺍﻛﺮﺓ‪ ،‬ﺹ‪.٢٢ .‬‬
‫ﻑ( ﺍﳌﺎﺩّﺓ ﻭﺍﻟﺬﹼﺍﻛﺮﺓ‪ ،‬ﺹ‪. ٢٤ .‬‬
‫ﻕ( " ﺗﺬﻛﹼﺮ ﺍﳊﺎﺿﺮ "‪ ،‬ﰲ ﺍﻟﻄﹼﺎﻗﺔ ﺍﻟﺮّﻭﺣﻴّﺔ ‪" Le souvenir du présent‬‬
‫‪" in Energie spirituelle..‬‬
‫ﻙ( ﺍﳌﺎﺩّﺓ ﻭﺍﻟﺬﹼﺍﻛﺮﺓ‪ ،‬ﺹ ‪. ٨٠‬‬
‫ﻝ( ﺍﻟﻄﹼﺎﻗﺔ ﺍﻟﺮّﻭﺣﻴّﺔ‪ " ،‬ﺗﺬﻛﹼﺮ ﺍﳊﺎﺿﺮ ‪".‬‬
‫ﻡ( ﺃﻧﻈﺮ ﰲ ﺍﻟﺼّﻔﺤﺎﺕ ﺍﻵﺗﻴﺔ‪ ،‬ﰲ ﺍﻟﻔﺼﻞ ﺍﻟﹼﺬﻱ ﺃﻓﺮﺩﻧﺎﻩ ﳍﻮﺳّﺮﻝ‪ ،‬ﻣﻌﲎ ﻫﺬﻩ ﺍﻟﺘّﻔﺮﻗﺔ ﺍﻟﹼﱵ ﲡﺐ ﻋﻠﻰ ﻛ ﹼﻞ‬
‫َﻣ ْﻦ ِﻣ ْﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﺒﺤﺚ ﰲ ﻋﻼﻗﺔ ﺍﻟﻮﻋﻲ ﺑﺎﻟﻌﺎﱂ ‪.‬‬
‫ﻥ( ﺍﳌﺎﺩّﺓ ﻭﺍﻟﺬﹼﺍﻛﺮﺓ‪ ،‬ﺹ ‪. ١٨٠‬‬
‫ﲏ "‪ .‬ﻭﺍﻹﺑﺮﺍﺯ ﻣﻦ ﻋﻨﺪﻧﺎ‪.‬‬
‫ﻩ( ﺍﻟﻄﹼﺎﻗﺔ ﺍﻟﺮّﻭﺣﻴّﺔ ‪ " :‬ﺍﳉﻬﺪ ﺍﻟﺬﹼﻫ ّ‬
‫‪ ،L'image mentale‬ﺍﺠﻤﻟﻠﹼﺔ ﺍﻟﻔﻠﺴﻔﻴّﺔ‪. ١٩١٤ ،‬‬ ‫ﻭ( ﺳﺒﲑ‪ ،‬ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺬﹼﻫﻨﻴّﺔ‬
‫ﻱ ‪) Bruhler, Tatsachen und problem,... etc.‬‬
‫‪Integedanken, 321. Arch.f.ges. psych., 1907,‬‬
‫‪t. IX/‬‬
‫ﱯ ﰲ ﺍﻟﺬﹼﻛﺎﺀ ‪Etude expérimentale de‬‬‫ﺃﺃ( ﲝﺚ ﲡﺮﻳ ّ‬
‫‪1903.‬ﺇﻧّﻨﺎ ﻛﺜﲑﺍ ﻣﺎ ﻋﺒﻨﺎ ﺍﺧﺘﻴﺎﺭ ﺍﳌﻮﺍﺿﻴﻊ) ﻋﻠﻰ ﻏﺎﻳﺔ ﻣﻦ‬ ‫‪،l'intelligence‬‬
‫ﺍﻟﺼّﻐﺮ ( ﻭﺍﺧﺘﻴﺎﺭ ﺍﻹﺧﺘﺒﺎﺭﺍﺕ ) ﻋﻠﻰ ﻏﺎﻳﺔ ﻣﻦ ﺍﻟﻴﺴﺮ(‪ .‬ﺃﻧﻈﺮ ﺭﻳﺒﻮ‪ ،‬ﺍﳊﻴﺎﺓ ﺍﻟﻼﹼﻭﻋﻴﺔ ﻭﺍﳊﺮﻛﺎﺕ ‪.‬‬
‫ﺑﺐ( ﺑﻨﺖ‪ ،‬ﺍﻟﺮّﻭﺡ ﻭﺍﳉﺴﺪ‪ ، L'Ame et le corps‬ﺑﺎﺭﻳﺲ‪ .١٩٠٨ ،‬ﻭ ﻛﺎﻥ ﻗﺪ‬
‫ﻗﻀﻰ ﺑﻨﺖ ﺳﻨﺔ ‪.١٩١١‬‬
‫ﺗﺖ( ﺳﺒﲑ‪ ،‬ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺬﹼﻫﻨﻴّﺔ‪ ،‬ﺍﺠﻤﻟﻠﹼﺔ ﺍﻟﻔﻠﺴﻔﻴّﺔ‪.١٩١٤ ،.‬‬
‫ﺛﺚ( ﻓﻴﻠﻴﺐ‪ ، L'image‬ﺍﻟﺼّﻮﺭﺓ‪.‬‬

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‫ﰲ ﺗﻨﺎﻗﻀﺎﺕ ﺍﻟﺘّﺼﻮّﺭ ﺍﻟﻜﻼﺳﻴﻜﻲ‬
‫ﺃﻭﻣﺄ ﺍﻟﺴّﻴﺪ ﺳﺒﲑ ﰲ ﻣﺼّﻨﻔﻪ ﺍﳌﻮﺳﻮﻡ ﺑﻔﻲ ﺍﻟﻔﻜﺮ ﺍﳌﺘﻌﻴّﻦ ﺍﻟﹼﺬﻱ ﻇﻬﺮ ﺳﻨﺔ ‪ ،١٩٢٧‬ﺑﺄ ﹼﻥ‬
‫ﺍﻷﲝﺎﺙ ﺍﻟﺘّﺠﺮﺑﻴّﺔ ﰲ ﻃﺒﻴﻌﺔ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺬﹼﻫﻨﻴّﺔ ﻗﺪ ﺻﺎﺭﺕ ﺷﺪﻳﺪﺓ ﺍﻟﻨّﺪﺭﺓ ﻣﻨﺬ ﺃﻋﻤﺎﻝ ﻣﺪﺭﺳﺔ‬
‫ﺖ ‪ :‬ﻭﻫﺎﻫﻨﺎ‬
‫ﻭﺭﺯﺑﻮﺭﻍ‪ .‬ﻭﺫﻟﻚ ﻷ ﹼﻥ ﺟ ﹼﻞ ﻋﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ ﺻﺎﺭﻭﺍ ﻳﻌﺘﻘﺪﻭﻥ ﺑﺄ ﹼﻥ ﺍﳌﺴﺄﻟﺔ ﻗﺪ ُﺣ ﱠﻠ ْ‬
‫ﻛﻤﺎ ﰲ ﺳﺎﺋﺮ ﺍﳌﻮﺍﻃﻦ ﻛﻠﹼﻬﺎ ﺗﻘﺮﻳﺒﺎ‪ ،‬ﻓﻘﺪ ﺃﻓﻀﻴﻨﺎ ﺇﱃ ﺍﻧﺘﻘﺎﺋﻴّﺔ‪ .‬ﻭﺍﳌﻘﺎﻝ ﺍﻟﹼﺬﻱ ﻧﺸﺮﻩ ﺍﻟﺴّﻴﺪ‬
‫ﻣﺎﻳﺮﺳﻦ ﰲ ﺍﻟﺮّﺳﺎﻟﺔ ﺍﳉﺪﻳﺪﺓ ﻟﺪﻭﻣﺎ ﻟﺪﻟﻴﻞ ﺑﻠﻴﻎ ﻋﻠﻰ ﺫﻟﻚ ﺍﳌﻴﻞ ﻣﻦ ﺃﺟﻞ ﺍﻟﺘّﻮﻓﻴﻖ ﻭﺍﻟﺘّﻬﻮﻳﻦ‬
‫ﻭﺍﻹﺿﻌﺎﻑ‪ .‬ﻓﻤﺎ ﺍﻧﻔﻜﻜﻨﺎ َﻧ ُﻌ ﱡﺪ ﺍﻟﺼّﻮﺭﺓ ﺑﻨﺤﻮ ﺣﺎﻝ ﻣﺘﺠﻮﻫﺮﺓ ﰲ ﺗﻴّﺎﺭ ﺍﻟﻮﻋﻲ‪ ،‬ﻭﻗﺪ ﺃﺛﺒﺘﻨﺎ ﳍﺎ‬
‫ﺷﻴﺌﺎ ﻣﻦ ﺍﳊﺮﻛﺔ‪ ،‬ﻭﻭﻭﺿﻌﻨﺎ ﺃﻧّﻬﺎ ﲢﻴﺎ ﻭﺗﻨﻘﻠﺐ ﻭﺃﻧّﻪ ﻳﻮﺟﺪ ﺷﺮﻭﻗﺎﺕ ﻭﻏﺮﻭﺑﺎﺕ ﻟﻠﺼّﻮﺭﺓ؛ ﺃﻱ‬
‫ﺃﻧّﻨﺎ ﻗﺪ ﺭﻣﻨﺎ ﺃﻥ ﻧﻔﻴﺪ ﺗﻠﻚ " ﺍﻟ ﹼﺬﺭّﺓ " ﺍﻟﻨّﻔﺴﻴّﺔ ﺍﻟﻘﺪﳝﺔ‪ ،‬ﺷﻴﺌﺎ ﻣﻦ ﺍﻟﻠﹼﻴﻮﻧﺔ ﻛﺎﻧﺖ ﻓﻜﺮﺓ‬
‫ﺍﻟﺘّﻮﺍﺻﻠﻴّﺔ ﻗﺪ ﺧﻠﻌﺘﻬﺎ ﻋﻠﻰ ﺍﳊﻴﺎﺓ ﺍﻟﻨّﻔﺴﻴّﺔ ﺑﺄﺳﺮﻫﺎ‪.‬‬
‫ﻱ ﺑﺄ ﹼﻥ ﺻﻮﺭﻩ ﺫﺍﺕ ﺍﻷﺿﻼﻉ ﺍﳊﻴّﺔ ﻟﻴﺴﺖ ﺇ ﹼﻻ‬
‫" ﻳﻨﺒﻐﻲ ﺃﻥ ﻧُ ﹾﻔ ِﻬ َﻢ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﺍﻟﺘّﻘﻠﻴﺪ ّ‬
‫ﻗﻄﻌﺔ ﺃﻳّﻤﺎ ﺻﻐﲑﺓ ﻣﻦ ﻭﻋﻲ ﻣﺘﻌﻴّﻦ ﻭﺣ ّﻲ‪ .‬ﻓﺎﻟﻘﻮﻝ ﺑﺄ ﹼﻥ ﺍﻟﻮﻋﻲ ﻻ ﻳﻨﻄﻮﻱ ﺇ ﹼﻻ ﻋﻠﻰ ﺗﻠﻚ‬
‫ﺍﻟﻀّﺮﻭﺏ ﻣﻦ ﺍﻟﺼّﻮﺭ ُﻳﻀَﺎﻫِﻲ ﺍﻟﻘﻮﻝ ﺑﺄ ﹼﻥ ﻬﻧﺮﺍ ﻣﺎ ﻟﻴﺲ ﻳﺘﻀﻤّﻦ ﺇ ﹼﻻ ﺃﺳﻄﻞ ﻣﺎﺀ‪ ،‬ﺃﻭ ﺃﺣﺠﺎﻣﺎ‬
‫ﺃﺧﺮﻯ ﻏﲑﻫﺎ ﻣﺴﻜﻮﺑﺔ ﻭﻣﺴﺒﻮﻛﺔ ﰲ ﺃﻭﻋﻴﺘﻬﺎ‪ ،‬ﺃﻱ ﰲ ﻟﺘﺮﺍﺕ ﺃﻭ ﺑﺮﺍﻣﻴﻞ‪ .‬ﻓﻠﻮ ﺷﺌﺖ‪ ،‬ﻓﻠﻨﻠﻖ‬
‫ﺑﻜ ﹼﻞ ﺗﻠﻚ ﺍﻷﻭﻋﻴﺔ ﰲ ﺍﻟﻨّﻬﺮ‪ :‬ﻓﺈﻧّﻪ ﺑﺎﻕ ﺇﱃ ﺟﻨﺒﻬﺎ‪ ،‬ﺍﳌﺎﺀ ﺍﳊ ّﺮ ﺣﻴﺚ ﺗﻐﻮﺹ ﻭﻫﻮ ﻳﺴﻴﻞ ﻓﻴﻤﺎ‬
‫ﺑﻴﻨﻬﺎ‪) ".‬ﺃ(‬

‫ﻓﻠﻘﺪ ﺃﺛﺒﺘﻨﺎ ﻫﻴﺌﺔ ﻣُ ﹾﻔ َﺮ َﺩ ﹰﺓ ﺗﺴﻤّﻰ ﺻﻮﺭﺓ ﺗﻘﻮﻡ ِﺑِﺈﺯَﺍ ِﺀ ﺍﻟﻔﻜﺮ‪ ،‬ﻭﻟﻜﻦ ﺃﻗﺮﺭﻧﺎ ﺑﺄ ﹼﻥ ﺍﻟﻔﻜﺮ ﺇﻧّﻤﺎ‬
‫ﻳﺘﺨﻠﹼﻞ ﻋﻤﻴﻖ ﺍﻟﺘّﺨﻠﹼﻞ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻷﻧّﻪ ﻛ ﹼﻞ ﺻﻮﺭﺓ‪ ،‬ﻓِﻴﻤَﺎ ﺯﻋﻤﻮﺍ‪ ،‬ﻓﻼ ُﺑ ﱠﺪ ﺃﻥ ﺗُ ﹾﻔ َﻬ َﻢ‪:‬‬
‫" ﺇ ﹼﻥ ﺍﻟﻮﻋﻲ ﺑﺎﻟﺼّﻮﺭﺓ ﻳﻘﺘﻀﻲ ﺍﻟﻮﻋﻲ )ﻭﻋﻴﺎ ﻣﺘﻔﺎﻭﺕ ﺍﻟﻈﹼﻬﻮﺭ( ﲟﺪﻟﻮﳍﺎ‪ ،‬ﻭﺍﻟﺼّﻮﺭ ﺍﻟﹼﱵ‬
‫ﻳﻨﻈﺮ ﻓﻴﻬﺎ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﻟﻴﺴﺖ ﲟﺠﺮّﺩ ﻋﻼﻣﺎﺕ ﻋﺎﺭﻳﺔ ﻣﻦ ﻣﺪﻟﻮﻝ‪ .‬ﺃﻱ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﻣﻔﻬﻮﻣﺔ‬

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‫ﻭ‪ ...‬ﺃﻧّﻨﺎ ﰲ ﺍﻟﻔﻜﺮ ﺍﻟﻌﺎﺩﻱ ﻻ ﻳﻘﻊ ﺍﻧﺘﺒﺎﻫﻨﺎ ﻻ ﺩﺍﺋﻤﺎ ﻭﻻ ﰲ ﺍﻷﻛﺜﺮ‪ ،‬ﻋﻠﻰ ﺍﻟﺼّﻮﺭ‪ :‬ﻭﺇﻧّﻤﺎ ﻳﻘﻊ‬
‫ﰲ ﺍﳌﻘﺎﻡ ﺍﻷﻭّﻝ‪ ،‬ﻋﻠﻰ ﻣﺪﻟﻮﳍﺎ)ﺏ( "‬

‫ﺴﻴّﺪ ﺳﺒﲑ ﻗﺪ ﻛﺘﺐ‪ ..." :‬ﺇﻧّﻨﺎ ﻏﺎﻟﺒﺎ ﻣﺎ ﻳﻘﻊ ﺍﻧﺘﺒﺎﻫﻨﺎ ﻻ ﻋﻠﻰ ﻣﻮﺿﻮﻉ‬
‫ﻭﺃﻳﻀﺎ ﻛﺎﻥ ﺍﻟ ّ‬
‫ﺴ ّﻲ ) ﻋﻠﻰ ﺍﻟﺼّﻮﺭﺓ ﺃﻭ ﻋﻠﻰ ﺍﻹﺩﺭﺍﻙ( ﻭﺇﻧّﻤﺎ ﻳﻘﻊ ﻋﻠﻰ ﺍﳌﺪﻟﻮﻝ)ﺕ( "‬
‫ﺍﳊﺪﺱ ﺍﳊ ّ‬

‫ﺴﻴّﺔ ﻟﻠﺼّﻮﺭﺓ؛ ﻭﺇﻧّﻤﺎ ﺃﻛﹼﺪﻧﺎ ﻋﻠﻰ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ‬

‫ﻓﻤﺎ ﺭﻣﻨﺎ ﻗﻂ ﺃﻥ ﻧُ ْﺒ ِﻄ ﹶﻞ ﺣﻘﻴﻘﺔ ﺍﳍﻴﺌﺔ ﺍﳊ ّ‬
‫ﺗﻜﻮﻥ ﻗﺪ ﺻﺎﻏﻬﺎ ﺍﻟﻔﻜﺮ‪ .‬ﻭﻫﺬﻩ ﺍﻟﺼّﻴﺎﻏﺔ ﺃﻳﻀﺎ ﻟﻘﺪ ﻓﻬﻤﻨﺎﻫﺎ ﻋﻠﻰ ﺫﻟﻚ ﺍﻟﻨّﺤﻮ ﺍﻟﻘﺪﱘ ﻣﻦ‬
‫ﺃﻓﻌﺎﻝ"ﺍﻟﺘّﺠﺰﺋﺔ" ﻭ" ﻭﻣﻌﺎﻭﺩﺓ ﺍﻟﺘّﺮﻛﻴﺐ"‪ ،‬ﺃﻱ‪ ،‬ﰲ ﺍﳉﻤﻠﺔ‪ ،‬ﺑﻨﺤﻮ ﺗﺮﻛﻴﺐ ﻟﻌﻨﺎﺻﺮ ﻣﺎ ّﺩﻳّﺔ‪ .‬ﻭﺃﺛﺒﺘﻨﺎ‬
‫ﺹ ﺑﺎﻟﺼّﻮﺭ ﻳﺸﺒﻪ ﺃﻳّﻤﺎ ﺷﺒﻪ ﺍﻟﺘّﺮﺍﺑﻂ‪ ،‬ﻷﻧّﻪ ﻗﺪ ﺑﻘﻲ ﺁﻟﻴﺎ؛ ﻭﻟﻜ ّﻦ ﺷﺄﻧﻪ ﻣﺎ‬
‫ﺿﺮﺑﺎ ﻣﻦ ﺍﻟﻮﺻﻞ ﺧﺎ ّ‬
‫ﻓﺘﺊ ﻳﻨﻘﺺ ﺷﻴﺌﺎ ﻓﺸﻴﺌﺎ‪ ،‬ﻭﻟﻘﺪ ﻫﻠﹼﻠﻨﺎ ﳌﺎ ﻗﺪﺭﻧﺎ ﻋﻠﻰ ﺃﻥ ﻧﻜﺘﺐ " ﻓِﺈﺫﹰﺍ ﻫﺬﺍ ﳍﻮ ﻣﻮﺿﻮﻉ ﻟﻴﺲ‬
‫ﻚ ﻣﻦ ﺍﻟﺘّﺮﺍﺑﻂ ﺃﺭﺍﺿﻴﺎ ﺃﺧﺮﻯ‬
‫ﻳﻄﻮﻟﻪ ﺍﻟﺘّﺮﺍﺑﻂ) ﺙ( " ﻛﻤﺎ ﻟﻮ ﻛﺎﻥ ﺃﻣﺮ ﻋﺎﱂ ﺍﻟﻨّﻔﺲ ﺇﻧّﻤﺎ ﺃﻥ ﻳﻔﺘ ّ‬
‫ﻭ ﺑﻮﻟﺪﺭﺍﺕ‪.‬‬

‫ﻭﻫﻜﺬﺍ ﻓﺎﻟﻜ ﹼﻞ ﻗﺪ ﻭﺟﺪﻧﺎﻩ ﺛﺎﻧﻴﺔ‪ ،‬ﻭﺍﻟﻜ ﹼﻞ ﻗﺪ ﺃﻋﺪﻧﺎ ﻭﺿﻌﻪ‪ :‬ﻓﻠﻘﺪ ﺃﺑﻘﻴﻨﺎ ﻋﻠﻰ ﻣﻘﺎﻡ ﺍﻟﺼّﻮﺭﺓ‬
‫ﻭﻋﻠﻰ ﻣﻘﺎﻡ ﺍﻟﻔﻜﺮ‪ ،‬ﻭﺭﻣﻨﺎ ﺃﻥ ﻧﺒﺴﻂ ﻓﻜﺮﺓ ﺍﻟﺘّﻮﺍﺻﻠﻴّﺔ؛ ﻓﻤﺤﻮﻧﺎ ﺍﻟﺘّﺤﺪﻳﺪﺍﺕ ﺍﻟﺒﻴّﻨﺔ؛ ﻭﺃﻛﹼﺪﻧﺎ‬
‫ﻋﻠﻰ ﻓﻜﺮﺓ ﻭﺣﺪﺓ ﺍﻟﻮﻋﻲ‪ ،‬ﻭﻫﺬﺍ ﻛﺎﻥ ﺷﺄﻧﻪ‪ ،‬ﺑﻄﺮﻳﻖ ﺣﺮﻛﺔ ﺳﺤﺮﻳّﺔ‪ ،‬ﺃﻥ ﻳﺼﻬﺮ ﺍﻟﻔﻜﺮ ﰲ‬
‫ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻟﺼّﻮﺭﺓ ﰲ ﺍﻟﻔﻜﺮ ﺑﺪﻋﻮﻯ ﻏﻠﺒﺔ ﺍﻟﻜ ﹼﻞ ﻋﻠﻰ ﺃﺟﺰﺍﺋﻪ ﺍﳌﹸ ﹶﻜ ﱢﻮَﻧ ِﺔ ﻟﻪ‪ .‬ﹼﰒ ﺃﺧﺬﻧﺎ ﻣﻦ ﹶﺛﻢﱠ‪،‬‬
‫ﻓﺮﺣﲔ‪ ،‬ﰲ ﻛﺘﺎﺑﺔ ﻣﺎ ﻳﻠﻲ ﻣﻦ ﺻﻔﺤﺎﺕ‪ ،‬ﺣﻴﺚ ﻣﺸﻴﺌﺔ ﺍﳉﻤﻊ ﻭﺗﺼﺪﻳﻖ ﺍﳉﻤﻴﻊ ﺗﺘﻘﺮّﺭ ﺑﻨﺤﻮ‬
‫ﺃﻳّﻤﺎ ﻃﺮﻳﻒ‪:‬‬
‫" ﻓﺎﻟﺼّﻮﺭﺓ ِﺇﺫﹰﺍ ﺗﻘﻮﻡ ﻣﻘﺎﻡ ﺍﻟﻌﻼﻣﺔ‪ ...‬ﺇﻧّﻬﺎ ﺫﺍﺕ ﺩﻻﻟﺔ ﻭﻋﻼﻗﺔ ﺑﺸﻲﺀ ﻣﺎ ﻣﻐﺎﻳﺮ ﳍﺎ ؛ ﺇﻧّﻬﺎ‬
‫ﲏ ﻭﻫﻲ ﹶﺃﻣَﺎ َﺭﺓﹲ ﻋﻠﻰ ﻭﺍﻗﻊ ﻣﺎ ﻣﻨﻄﻘ ّﻲ‪ .‬ﺇﻧّﻬﺎ ﻻ ﺗﻮﺟﺪ ﺍﻟﺒﺘّﺔ ﻣُ ﹾﻔ َﺮ َﺩ ٍﺓ‬
‫ﺑﺪﻝ‪ .‬ﺇﻧّﻪ ﳍﺎ ﳏﺘﻮﻯ ﺫﻫ ّ‬
‫ﺑﺎﻟﺘّﻤﺎﻡ‪ :‬ﺑﻞ ﻫﻲ ﺟﺰﺀ ﻣﻦ ﻧﺴﻖ ﺻﻮﺭ ﻋﻼﻣﺎﺕ؛ ﻭﻫﻲ ِﻟ َﻤﻜﹶﺎ ِﻥ ﺫﻟﻚ ﺍﻟﻨّﺴﻖ ﺗﻜﻮﻥ ﻣﻔﻬﻮﻣﺔ‪.‬‬

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‫ﺇﻧّﻬﺎ ﻟﻴﺴﺖ ﺑﺘﺎﻣّﺔ ﺍﻟﺴّﻴﻮﻟﺔ‪ ،‬ﺑﻞ ﻬﺑﺎ ﻣﺎ ﻳﻜﻔﻲ ﻣﻦ ﺍﻟﺜﹼﺒﺎﺕ ﻭﺍﻟ ّﺪﻗﹼﺔ ﻭﺍﻟﺸّﻜﻞ ﻭﲡﺎﻧﺲ ﺍﻟﺸّﻜﻞ‬
‫ﺣﺘّﻰ ﳝﻜﻦ ﻣﻘﺎﻳﺴﺘﻬﺎ ﺇﱃ ﺻﻮﺭ ﺃﺧﺮﻯ ﻭﻋﻼﻣﺎﺕ ﺃﺧﺮﻯ‪ .‬ﺇﻧّﻤﺎ ﻫﻲ ﻣﺮﻛﹼﺐ‪ :‬ﳜﺘﻠﻂ ﻓﻴﻪ َﻣﻌًﺎ‬
‫ﺼﻢُ ُﻋﺮَﺍ ُﻩ‪ .‬ﻭﳝﻜﻨﻨﺎ ﺃﻥ ﻧﺘﺒﻴّﻦ ﺃﺿﻼﻋﺎ‬
‫ﹸﻼ ﻻ َﺗ ْﻨ ﹶﻔ ِ‬
‫ﲏ ﻟﻴﻜﻮّﻧﻮﺍ ﻛ ًّ‬
‫ﺍﻟﺪّﺍﻝ ﻭﺍﳌﺪﻟﻮﻝ‪ ،‬ﻭﺍﳊﺴّﻲ ﻭﺍﻟﺬﹼﻫ ّ‬
‫ﺴﻴّﺔ ﺍﻟﻀّﺮﺏ‪ ،‬ﻭﻟﻜﻨّﻨﺎ ﺣﻴﻨﻤﺎ ﻧُ ﹾﻔ ِﺮﺩُ ﺟﺰﺀ ﻣﺎ‪ ،‬ﻓﻴﻨﺒﻐﻲ‬
‫ﻭﺳﻄﻮﺣﺎ ﻭﻃﺒﻘﺎﺕ ﻣﻦ ﺍﳌﻌﲎ ﺃﻭ ﺃﺟﺰﺍﺀ ﺣ ّ‬
‫ﺃﻥ ﻧﺴﺘﺤﻀﺮ ﺍﺠﻤﻟﻤﻮﻉ ﺣﺘّﻰ َﻧ ﹾﻔ َﻬ َﻤﻬَﺎ)ﺝ(‪ ...‬ﻭﻫﻲ ﻳُ ْﻤ ِﻜﻦُ ﺃﻥ ﺗﻜﻮﻥ ﺫﺍﺕ ﻧﺸﺎﻁ ﻣﺘﻔﺎﻭﺕ‬
‫ﺍﻟﻘﻮّﺓ‪ .‬ﻓﺮﺑّﻤﺎ ﻛﺎﻧﺖ ﳎﺮّﺩ ﻣﺜﺎﻝ َﻳ ِﺪﺏﱡ‪ ،‬ﺑﻮﺟﻪ ﻣﺎ‪ ،‬ﻭﺭﺍﺀ ﺍﻟﻔﻜﺮ‪ ،‬ﻓﻼ ﻳﻜﻮﻥ ﻧﺎﻓﻌﺎ ﻟﺘﻄﻮّﺭﻩ‪ .‬ﻭﺭﺑّﻤﺎ‬
‫ﺴ ﱢﺪﺩُ ﻭﻳﻘﻮﺩ ﺃﻭ ﻧﺸﺎﻃﺎ ﻏﲑ ﳏﺼّﻞ ﻓﻴﻤﻨﻊ ﺃﻭ ﻳﻌﻄﹼﻞ‪ .‬ﻓﻬﻲ‬
‫ﻛﺎﻧﺖ ﺃﻳﻀﺎ ﻧﺸﺎﻃﺎ‪ :‬ﻧﺸﺎﻃﺎ ﳏﺼّﻼ ﻓﻴُ َ‬
‫ﺳﻴﺎﺝ ﳝﻨﻊ ﺍﻟﻔﻜﺮ ﻣﻦ ﺃﻥ ﻳﻀ ﹼﻞ ﺳﺒﻴﻠﻪ‪ ،‬ﻭﻟﻜﻨّﻬﺎ ﺃﻳﻀﺎ‪ ،‬ﺣﻴﻨﺎ ﻣﺎ‪ ،‬ﻫﻲ ﻋﺎﺋﻖ ﻳﻘﻄﻊ ﻋﻠﻴﻪ ﻃﺮﻳﻘﻪ‪.‬‬
‫ﺠﺪُ ﺍﻟﻔﻜﺮ ﺑﻌﺾ ﺍﻹﳒﺎﺩ؛ ﻭﺑﺎﻟﻌﻜﺲ‪ ،‬ﻓﺤﻴﻨﻤﺎ‬
‫ﻓﺈﻧّﻬﺎ ﺣﻴﻨﻤﺎ ﺗﻜﻮﻥ ﻟﻴّﻨﺔ ﻭﻣﻄﹼﺎﻃﺔ‪ ،‬ﻭﻣﺘﺤﺮّﻛﺔ‪ ،‬ﺗُ ْﻨ ِ‬
‫ﺗﻜﻮﻥ ﻋﻠﻰ ﻏﺎﻳﺔ ﺍﻟﺪّﻗﺔ‪ ،‬ﻭﺍﻟﺘّﻌﻴّﻦ ﻭﺍﻟﺜﹼﺒﺎﺕ‪ ،‬ﻭﺇﺫﺍ ﺗﻜﻮﻥ ﺫﺍﺕ ﺩﻭﺍﻡ‪ ،‬ﻓﺈﻧّﻬﺎ ﺗﻌﻄﹼﻞ ﺍﻟﻔﻜﺮ ﺃﻭ‬
‫ﺗﻀﻠﹼﻪ)ﺡ("‬

‫ﻭﺭﺃﻱ ﺍﻟﺴّﻴﺪ ﻣﺎﻳﺮﺳﻦ ﻫﻮ ﺭﺃﻱ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﳌﺼﻨّﻔﲔ‪ .‬ﻭﻣﻊ ﺫﻟﻚ ﻓﺈ ﹼﻥ ﺍﳊ ﹼﻞ ﺍﻟﹼﺬﻱ ﻗﺪ‬
‫ﺃﺭﺗﻀﻮﻩ ﻻ ﻳﺜﺒﺖ ﻋﻨﺪ ﻓﺤﺺ ﻣﺎ ﺣﻘﻴﻘ ّﻲ‪ .‬ﻓﻜﻤﺎ ﺗﻘﻮﻝ ﻋﺒﺎﺭﺓ ﺑﺎﺳﻜﺎﻝ‪ ،‬ﺇﻧّﻤﺎ " ﻃﻤﺴﻨﺎ "‬
‫ﺍﻟﺼّﻌﻮﺑﺎﺕ‪ ،‬ﻭﻟﻜﻨّﻨﺎ ﱂ " ﻧﻔﻜﹼﻬﺎ "‪ .‬ﻓﻔﻲ ﺍﳉﻤﻠﺔ‪ ،‬ﺇﻧّﻤﺎ ﻳﻨﺒﻐﻲ ﺍﳊﺬﺭ ﻣﻦ ﻣﻴﻞ ﻣﻌﺎﺻﺮ ﺷﺄﻧﻪ ﺃﻧّﻪ‬
‫ﻳﻘﻴﻢ ﻣﻘﺎﻡ ﺍﻟﺬﺭّﺍﻧﻴّﺔ ﺍﻟﺘّﺮﺍﺑﻄﻴّﺔ‪ ،‬ﻧﻮﻋﺎ ﻣﻦ ﻣﺘّﺼﻞ ﻋﺪﱘ ﺍﻟﺸّﻜﻞ‪ ،‬ﺗﺬﻭﺏ ﺑﻪ ﻭﺗﺪّﺛﺮ ﻛ ﹼﻞ‬
‫ﻚ ﺍﻟﺒﺘّﺔ ﺃ ﹼﻥ ﺍﻟﻔﻜﺮ‪ ،‬ﲟﺎ ﻫﻮ ﺗﺒﻴّﻦ ﺗﺄﻟﻴﻔﻲ ﻟﻠﻌﻼﻗﺎﺕ‪،‬‬
‫ﺍﻟﺘّﻘﺎﺑﻼﺕ ﻭﺍﻟﺘّﻀﺎﺩﺍﺕ‪ .‬ﻟﻴﺲ ﻣﻦ ﺷ ّ‬
‫ﻭﺻﻮﺭﺓ ﺍﻟﺘّﺮﺍﺑﻄﻴﻴّﻦ ﺇﻧّﻤﺎ ﳘﺎ ﻳﺘﻨﺎﻓﻴﺎﻥ‪ .‬ﻭﻟﻜﻦ‪ ،‬ﻟﻌﻤﺮﻱ‪ ،‬ﻓﺈﻧّﻤﺎ ﻫﻲ ﻛﺬﻟﻚ ﺻﻮﺭﺓ ﺍﻟﺘّﺮﺍﺑﻄﻴﲔ ﻣﺎ‬
‫ﲔ ﻟﻠﻔﻜﺮ)‪ .(١‬ﻣﺎ ﻋﺪﺍ ﺃﻧّﻪ ﻗﺪ ﻟﻔﻔﻨﺎ ﺍﻟﻌﻼﻗﺎﺕ‬
‫ﻳﺮﻭﻡ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ "ﺍﻟﺘّﺄﻟﻴﻔ ّﻲ" ﻭﺿﻌﻬﺎ ﺑﻨﺤﻮ ﺍﳌﹸ ِﻌ ِ‬
‫ﺍﻵﻟﻴّﺔ ﺑﻐﺸﺎﻭﺓ ﻣﻦ ﺿﺒﺎﺏ‪ :‬ﻭﻫﻲ ﺫﻟﻚ ﺍﻟﹼﺬﻱ ﺃﻃﻠﻘﻨﺎ ﻋﻠﻴﻪ ﺍﺳﻢ ﺍﻟ ﱠﺪﻭَﺍ ِﻣﱠﻴﺔﹸ‪ .‬ﻓﻔﻴﻤﺎ ُﺯ ِﻋﻢَ‪ ،‬ﺍﻟﻔﻜﺮ‬
‫ﻳﺪﻭﻡ ﻭﺍﻟﺼّﻮﺭ ﺗﺪﻭﻡ‪ :‬ﻭﻫﺬﺍ ﳍﻮ ﺃﺳﺎﺱ ﻟﺘﻘﺮﻳﺐ ﳑﻜﻦ ﺑﻴﻨﻬﻤﺎ‪ .‬ﻭﻟﻴﺲ ﻳﻀﲑ ﺇﻥ ﻛﺎﻧﺖ ﺍﻟﺼّﻮﺭﺓ‬
‫ﻼ ﺑﺎﺭﺟﺴﻮﻧﻴّﺎ‪ ،‬ﺃﻥ‬
‫ﻻ ﺗﺪﻭﻡ ﻋﻠﻰ ﳓﻮ ﻭﺍﺣﺪ ﻭﺍﻟﻔﻜﺮ‪ .‬ﻓﺎﻻﻧﺘﻘﺎﺋﻴّﺔ ﺍﳌﻌﺎﺻﺮﺓ ﻗﺪ ﺭﺍﻣﺖ ﻣَُﺘ ﹶﻔﱢﻴﹶﺌ ﹰﺔ ﻇﹸ ﹶﻠ ْﻴ ﹰ‬
‫ﲢﺘﻔﻆ ﺑﺎﻹﲰﻴّﺔ ﺍﻟﻌﻘﻼﻧﻴّﺔ ﺍﳌﻨﺴﻮﺑﺔ ﻟﺪﻳﻜﺎﺭﺕ‪ ،‬ﻭﺑﺎﳌﻌﻄﻴﺎﺕ ﺍﻟﺘّﺠﺮﺑﻴّﺔ ﻟﻮﺭﺯﺑﻮﺭﻍ‪ ،‬ﻭﺑﺎﻟﺘّﺮﺍﺑﻄﻴّﺔ‬

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‫ﺑﻨﺤﻮ ﺍﻟﻀّﺮﺏ ﺍﻷﺩﱏ ﰲ ﺍﻟﺘّﺴﻠﺴﻞ‪ ،‬ﻭﺑﺎﳌﺬﻫﺐ ﺍﻟﻼ ﻳﺒﺘﱰﻱ ﺍﻟﻘﺎﺋﻞ ﺑﻮﺟﻮﺩ ﺗﻮﺍﺻﻠﻴّﺔ ﺑﲔ ﺷﺘّﻰ‬
‫ﺿﺮﻭﺏ ﺍﳌﻌﺮﻓﺔ‪ ،‬ﻭﻻ ﺳﻴّﻤﺎ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻟﻔﻜﺮﺓ‪ .‬ﻓﻠﻘﺪ ﻗﺒﻠﻨﺎ ﺑﻮﺟﻮﺩ ﻣﻌﻄﻴﺎﺕ ﺧﺎ ّﻡ ﺷﺄﻬﻧﺎ ﺃﻧّﻬﺎ‬
‫ﺗﺆﻟﹼﻒ ﻣﺎﺩّﺓ ﺍﻟﺼّﻮﺭﺓ ﻧﻔﺴﻬﺎ‪ ،‬ﹼﰒ ﺃﻛﹼﺪﻧﺎ ﺑﺄ ﹼﻥ ﺗﻠﻚ ﺍﳌﻌﻄﻴﺎﺕ ﻳﻨﺒﻐﻲ ﺃﻥ ﻳﻌﺎﻭﺩ ﺍﻟﻔﻜﺮ ﺗﻌﻘﹼﻠﻬﺎ‪ ،‬ﺣﺘّﻰ‬
‫ﻳﺴﻮﻍ ﺃﻥ ﺗﺼﲑ ﻗﻄﻌﺔ ﻣﻦ ﺍﻟﻮﻋﻲ‪ .‬ﻭﺑﺬﻟﻚ ﻓﻘﺪ ﺃﺳّﺴﻨﺎ ﺗﺄﺳﻴﺴﺎ ﺟﺪﻟﻴّﺎ ﻧﻮﻋﺎ ﻣﻦ ﺍﻟﺼّﲑﻭﺭﺓ‬
‫ﺤ َﺪﹶﺛ ِﺔ ﺗﺒﺪﺃ ﻣﻦ ﺍﻟﺼّﻮﺭﺓ ﻭﻫﻲ ﺗﻜﺎﺩ ﺗﻜﻮﻥ ﺧﺎﻣّﺎ‪ ،‬ﻭ" ﺛﺎﺑﺘﺔ ﻭﺩﻗﻴﻘﺔ ﻭﻣﺘﻌﻴّﻨﺔ"‬
‫ﺍﻻﻓﻼﻃﻮﻧﻴّﺔ ﺍﳌﹸ ْ‬
‫ﻟﺘﺼﻞ ﺇﱃ ﺍﻟﻔﻜﺮ ﻭﻫﻮ ﻳﻜﺎﺩ ﻳﻜﻮﻥ ﳏﻀﺎ ﻭﻟﻜﻨّﻪ ﻫﻮ ﻳﺒﻘﻰ ﻣﻨﻄﻮﻳﺎ‪ ،‬ﻣﻊ ﺫﻟﻚ‪ ،‬ﻋﻠﻰ ﻫﻴﻮﻻﻧﻴّﺔ‬
‫ﺴﻴّﺔ ﺗﻜﺎﺩ ﺗﻌﺪﻡ ﺍﻟﺜﹼﻘﻞ‪ .‬ﻭﻟﻜﻦ‪ ،‬ﲢﺖ ﺫﻟﻚ ﺍﻟﻮﺻﻒ ﺫﻱ ﺍﻹﻬﺑﺎﻡ ﻭﺍﻟﻌﻤﻮﻡ‪ ،‬ﻓﺈ ﹼﻥ ﺍﳌﻨﺎﻓﺎﺕ ﱂ‬
‫ﺣّ‬
‫ﺴﻴّﺪ ﻣﺎﻳﺮﺳﻦ ﳌﹼﺎ ﺑﺴﻂ ﺑﺎﻟﻘﻮﻝ‪ ،‬ﻣﺜﻼ‪ ،‬ﺑﺄ ﹼﻥ‬
‫ﺗﺰﻝ ﺑﻌﺪ‪ :‬ﻓﺎﻟﺼّﻮﺭﺓ ﻟﺘﺴﺘﻤ ّﺮ ﻋﻠﻰ ﻏﺎﻳﺔ ﺍﳌﺎ ّﺩﻳّﺔ‪ .‬ﻭﺍﻟ ّ‬
‫ﺍﻟﺼّﻮﺭﺓ ﻳﻨﺒﻐﻲ ﺃﻥ ﺗُ ﹾﻔ َﻬ َﻢ ﺑﺎﻋﺘﺒﺎﺭ ﻣﺎ ﺗﺼﻮّﺭﻩ‪ ،‬ﻭﻟﻴﺲ ﺑﺎﻋﺘﺒﺎﺭ ﻣﺎ ﺗﻈﻬﺮ ﻋﻠﻴﻪ‪ ،‬ﻓﺈﻧّﻤﺎ ﻫﻮ ﻳﻀﻊ‬
‫ﺑﺬﻟﻚ ﺗﻔﺮﻗﺔ ﺑﲔ ﺍﻟﻄﹼﺒﻴﻌﺔ ﺍﳋﺎﺻّﺔ ﻟﻠﺼّﻮﺭﺓ ﻭﺍﻟﻜﻴﻔﻴّﺔ ﺍﻟﹼﱵ ﻳﺘﻨﺎﻭﳍﺎ ﺍﻟﻔﻜﺮ ﻬﺑﺎ‪ ،‬ﻭﻣﻦ ﹶﺛ ﱠﻢ ﻓﺈﻧّﻪ‬
‫ﻳُ ْﺮ ِﺟﻊُ ﺣﻘﻴﻘﺔ ﺍﻟﺼّﻮﺭﺓ ﺇﱃ ﻛﻮﻬﻧﺎ َﺭ ْﻣﺰًﺍ ﻣﺎ ّﺩﻳّﺎ ـ ﻣﺜﻞ ﺍﻟ َﻌ ﹶﻠ ِﻢ ﺍﻟﹼﺬﻱ ﻫﻮ ﺩﺍﺋﻤﺎ ﰲ ﻧﻔﺴﻪ ﺷﻲﺀ‬
‫ﺁﺧﺮ )ﻟﻮﺡ‪ ،‬ﻭﻗﻤﺎﺵ‪ ،‬ﺇﱃ ﻏﲑ ﺫﻟﻚ( ﻏﲑ ﻣﺎ ﻧﺒﻐﻲ ﺃﻥ ﻧﺮﺍﻩ ﻓﻴﻪ‪ .‬ﻭﺑﺎﳉﻤﻠﺔ‪ ،‬ﻓﻜﻠﹼﻤﺎ ﺟﻌﻠﻨﺎ ﻣﻦ‬
‫ﻀ ﹶﻄﺮ‪‬ﺍ ﻓﻬﻤﻬﺎ‪ ،‬ﻓﺈﻧّﻨﺎ ِﺇﺫﹰﺍ ﻧﺪﻓﻊ ﺑﺎﻟﺼّﻮﺭﺓ ﺧﺎﺭﺝ ﺍﻟﻔﻜﺮ‪ :‬ﺇﺫ ﺍﻟﻌﻼﻣﺔ‪ ،‬ﻛﻴﻔﻤﺎ ﻣﺎ‬
‫ﺍﻟﺼّﻮﺭﺓ ﻋﻼﻣﺔ ُﻣ ْ‬
‫ﻛﺎﻥ ﺍﳊﺎﻝ‪ ،‬ﻓﺈﻧّﻤﺎ ﺗﺒﻘﻰ َﺳَﻨ ًﺪﺍ ﺧﺎﺭﺟﻴّﺎ ﻭﻣﺎﺩﻳّﺎ ﻟﻠﻘﺼﺪﻳّﺔ ﺍﻟﻌﺎﻧﻴﺔ ﺇﻧّﻪ ﺑﺬﻟﻚ ﺗﻈﻬﺮ ﺛﺎﻧﻴﺔ ﻣﻊ‬
‫ﻧﻈﺮﻳّﺔ ﰲ ﻇﺎﻫﺮﻫﺎ ﳏﺾ ﻭﻇﻴﻔﻴّﺔ ﻧﻈﺮﻳّﺔ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﻌﻼﻣﺔ‪ ،‬ﺍﻟﺘّﺼﻮّﺭ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘ ّﻲ ﺗﺼﻮّﺭ ﺍﻟﺼّﻮﺭﺓ‬
‫ﺴﻴّﺪ ﺳﺒﲑ ﻻ ُﻳ ِﻘ ﱡﺮ ﺇ ﹼﻻ ﻟﻠﺤﻜﻢ ﻭﺣﺪﻩ ﺑﺎﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺗﻔﺮﻗﺔ ﺍﻟﺼّﻮﺭﺓ ﻣﻦ‬
‫ﺍﻷﺛﺮ)‪ .(٣‬ﻛﺬﻟﻚ ﻓﻠﻤّﺎ ﺍﻟ ّ‬
‫ﺍﻹﺩﺭﺍﻙ‪ ،‬ﻓﻬﻮ ﺑﺎﻟ ﹼﻄﺒﻊ‪ ،‬ﺇﻧّﻤﺎ ﳚﻌﻞ ﺣﻘﻴﻘﺔ ﺍﻟﺸّﻲﺀ ﻛﻤﺎ ﻳﻈﻬﺮ ﰲ ﺻﻮﺭﺓ ﻫﻲ ﻧﻔﺲ ﺣﻘﻴﻘﺔ‬
‫ﺍﳌﻮﺿﻮﻉ ﺍﳌﺎﺩّﻱ ﻣﻮﺿﻮﻉ ﺍﻹﺩﺭﺍﻙ ‪ :‬ﻭ ﻟﻴﺲ ﺇ ﹼﻻ ﺍﳋﺼﺎﺋﺺ ﺍﳋﺎﺭﺟﻴّﺔ ﺍﻟﹼﱵ ﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﲡﻌﻠﻨﺎ‬
‫ﺴِﺒ ُﺮﻫَﺎ ﺍﻟﻔﻜﺮ ﻭﻳﻨﻔﺬ ﺇﻟﻴﻬﺎ ﻭﻳﻔﻜﹼﻜﻬﺎ ﻭﻳﻌﻴﺪ ﺗﺮﻛﻴﺒﻬﺎ‪ ،‬ﺭﺑّﻤﺎ‬
‫ﻧﻔﺮّﻕ ﺑﻴﻨﻬﻤﺎ‪ .‬ﻓﻬﺬﻩ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﹼﱵ َﻳ ْ‬
‫ﻧﺎﻟﺖ ﻣﻨﺬ ﺳﻨﲔ ﻟﻴﻮﻧﺔ ﻣﺎ ﻛﺎﻧﺖ ﻣﻔﺘﻘﺮﻬﺗﺎ ﺇﱃ ﺍﻵﻥ‪ .‬ﻭﻣﻊ ﺫﻟﻚ ﻓﻬﻲ ﻟﺘﺒﻘﻰ ﺻﻮﺭﺓ ﻣﺎﺩﻳّﺔ ﻏﺎﻳﺔ‬
‫ﺍﳌﺎ ّﺩﻳّﺔ ﻛﺘﻠﻚ ﺍﻟﹼﱵ ﰲ ﺍﻟﻔﻠﺴﻔﺔ ﺍﻟﻜﻼﺳﻜﻴّﺔ‪ :‬ﻭﺣﻴﻨﻤﺎ ﻧﻘﻮﻝ ﺑﺄﻧّﻬﺎ ﻻ ﺗﻜﻮﻥ ﺷﻴﺌﺎ _ﺇ ﹼﻻ ﺃ ﹾﻥ‬
‫ﺴﻨَﺎ ﺇﻧّﻤﺎ ُﻧ ِﻘ ﱡﺮ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﺑﺄﻧّﻬﺎ ﱂ ﺗﺰﻝ‬
‫ُﺗَﺘ َﻌ ﱠﻘﻞﹶ‪ ،‬ﻓﺈﻧّﻨﺎ ﻟﻨﻌﺘﺮﻑ ﺑﺎﻟﺘﺒﺎﺱ ﺍﻷﻣﺮﻋﻠﻴﻨﺎ ﻷﻧّﻨﺎ ﹶﺃ َﻭﹶﻟ ْ‬

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‫ﺐ ﺍﻷﺭﺍﺀ ﺍﳌﻮﺟﻮﺩﺓ ﰲ ﺍﺗّﺼﺎﻟﻴّﺔ ﺫﺍﺕ ﺇﻬﺑﺎﻡ‪ ،‬ﻓﻘﺪ‬
‫َﺑ ْﻌﺪُ ﺷﻴﺌﺎ ﺁﺧﺮﻏﲑ ﻣﺎ ﻧﺘﻌﻘﹼﻠﻪ‪ .‬ﻭ َﻣﻜﹶﺎ ﹶﻥ ﺃﻥ ُﻧﺬِﻳ َ‬
‫ﻛﺎﻥ َﺣ ِﺮﻳ‪‬ﺎ ﺑﻨﺎ ﺃﻥ ﻧﺘﻔﺤّﺺ ﻋﻦ ﻫﺬﻩ ﺍﻷﺭﺍﺀ ُﻣﻮَﺍ َﺟ َﻬ ﹰﺔ ﻭﺃﻥ ﻧﺴﺘﺨﻠﺺ ﺍﳌﺴﻠﹼﻤﺔ ﺍﳌﺸﺘﺮﻛﺔ ﺑﻴﻨﻬﺎ‬
‫ﻭﺍﻟﺘّﻨﺎﻗﻀﺎﺕ ﺍﳉﻮﻫﺮﻳّﺔ ﺍﻟﹼﱵ ُﺗ ﹾﻔﻀِﻲ ﺇﻟﻴﻬﺎ‪ .‬ﻭﻟﻘﺪ ﻛﻨّﺎ ﺑّﻴﻨّﺎ ﻓﻴﻤﺎ ﺳﻠﻒ ﻣﻦ ﻓﺼﻞ ﺑﺄ ﹼﻥ ﺍﳌﺴﻠﹼﻤﺔ‬
‫ﺍﳌﺸﺘﺮﻛﺔ ﻟِﺸﺘّﻰ ﺍﻟﻨّﻈﺮﻳّﺎﺕ ﺗﻠﻚ ﺇﻧّﻤﺎ ﻫﻲ ﺍﳌﻤﺎﻫﺎﺕ ﳑﺎﻫﺎﺕ ﺟﻮﻫﺮﻳّﺔ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ‪.‬‬
‫ﺃﻣّﺎ ﺍﻵﻥ ﻓﺴﻮﻑ ﻧﺴﻌﻰ ﻣﻦ ﺃﺟﻞ ﺍﻟﱪﻫﻨﺔ ﺑﺄ ﹼﻥ ﻫﺬﻩ ﺍﳌﺴّﻠﻤﺔ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ‪ ،‬ﺃﻳ‪‬ﺎ ﻛﺎﻧﺖ ﺍﻟﻨّﺘﺎﺋﺞ ﺍﻟﹼﱵ‬
‫ﻧﺴﺘﺨﻠﺼﻬﺎ ﻣﻨﻬﺎ‪ ،‬ﻓﺒﺎﻻﺿﻄﺮﺍﺭ ﺇﻧّﻤﺎ ُﺗ ﹾﻔﻀِﻲ ﺇﱃ ﺗﻨﺎﻗﻀﺎﺕ)‪.(٤‬‬

‫‪ (١‬ﰲ ﻣﺴﺄﻟﺔ " ﺧﺼﺎﺋﺺ ﺍﻟﺼّﻮﺭﺓ ﺍﳊﻘﻴﻘﻴّﺔ "‬

‫ﻟﻘﺪ ﻛﺎﻥ ﻣﺴﻌﻰ ﺍﻟﻔﻼﺳﻔﺔ ﺍﻷﻭّﻝ ﻣﻦ ﺃﺟﻞ ﺍﳌﻤﺎﻫﺎﺕ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ‪ :‬ﺃﻣّﺎ ﺍﳌﺴﻌﻰ‬
‫ﺍﻟﺜﹼﺎﱐ ﻓﻼ ﺑ ّﺪ ﺃﻥ ﻳﻜﻮﻥ ﻣﻦ ﺃﺟﻞ ﺍﻟﺘّﻔﺮﻗﺔ ﺑﻴﻨﻬﻤﺎ‪ .‬ﻓﺎﳊﺪﺱ ﺍﳋﺎ ّﻡ ﺇﻧّﻤﺎ ﳝﺪّﻧﺎ ﺑﻮﺟﻮﺩ ﺻﻮﺭ‬
‫ﻭﺇﺩﺭﺍﻛﺎﺕ؛ ﻭﳓﻦ ﻧﺴﺘﻄﻴﻊ ﻏﺎﻳﺔ ﺍﻻﺳﺘﻄﺎﻋﺔ ﺃﻥ ﻧﻔﺮّﻕ ﺍﻷﻭﱃ ﻣﻦ ﺍﻷﺧﺮﻯ‪ .‬ﻣﻦ ﹶﺛﻢﱠ‪ ،‬ﻓﻤﻦ ﺑﻌﺪ‬
‫ﺍﳌﻤﺎﻫﺎﺕ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ‪ ،‬ﻓﻘﺪ ﻟﺰﻡ ﺿﺮﻭﺭﺓ ﺃﻥ ﻧﻌﺘﱪ ﻫﺬﺍ ﺍﳌﹸﻌﻄﻰ ﺍﻟﻨّﻔﺴ ّﻲ‪ :‬ﻭﻫﻮ ﺃﻧّﻨﺎ ﰲ ﺍﳊﻘﻴﻘﺔ‬
‫ﺿ َﺮ ﺍﻟﻌﻠﻢ ﺑﺄﻧّﻪ‬
‫ﻱ ﺑﲔ ﺗﻴﻨﻚ ﺍﳊﺎﻟﲔ ﺍﻟﻨﻔﺴﻴّﺘﲔ‪ .‬ﻭﺍﻋﻠﻢ ﺣَﺎ ِ‬
‫ﺇﻧّﻤﺎ ﻧﺘﺒﻴّﻦ ﺗﺒﻴّﻨﺎ ﻋﻔﻮﻳّﺎ ﺍﻟﻔﺮﻕ ﺍﳉﻮﻫﺮ ّ‬
‫ﻛﺎﻥ ﻫﻨﺎﻙ ﳓﻮﺍﻥ ﺍﺛﻨﺎﻥ ﰲ ﻭﺿﻊ ﻫﺬﺍ ﺍﻟﺴّﺆﺍﻝ ﺍﳉﺪﻳﺪ‪ :‬ﻭﺃﻧّﻨﺎ ﻛﻨّﺎ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﺴﺄﻝ ﻋﻦ ﻛﻴﻒ‬
‫ﺍﳍﻴﺌﺔ ﺍﻟﻨّﻔﺴﻴّﺔ ﺍﳌﺴﻤّﺎﺓ " ﺻﻮﺭﺓ " ﺗُﻌﻄﻰ ﻟﻠ ﱠﺮ ﱢﻭﱠﻳ ِﺔ ﺑﻨﺤﻮ ﺻﻮﺭﺓ ﻭﺍﳍﻴﺌﺔ ﺍﻟﻨّﻔﺴﻴّﺔ ﺍﳌﺴﻤّﺎﺓ "‬
‫ﺇﺩﺭﺍﻙ" ُﺗ ْﻌﻄﹶﻰ ﻟﻠ ّﺮ ّﻭﻳّﺔ ﻋﻠﻰ ﺃﻧّﻬﺎ ﺇﺩﺭﺍﻙ‪ .‬ﻓﻜﻨّﺎ ﳓﺼﺮ ﺣﻴﻨﺌﺬ ﺍﳌﺴﺄﻟﺔ ﰲ ﻭﺟﻬﻬﺎ ﺍﻟﻨّﻔﺴ ّﻲ ﺍﻟﺒﺤﺖ‬
‫ﻭﻻ ﻧﺴﺘﺠﻠﺐ ﻣﻮﺍﺿﻴﻊ ﺍﻹﺩﺭﺍﻙ ﻭﺍﻟﺘّﺨﻴّﻞ‪ .‬ﺭﺑّﻤﺎ ﺃﺩّﺕ ﻫﺬﻩ ﺍﻟﻄﹼﺮﻳﻘﺔ ﺁﺟﻼ ﺃﻡ ﻋﺎﺟﻼ ﺇﱃ ﻫﺬﺍ‬
‫ﺍﻟﺘّﺒﻴّﻦ‪ :‬ﻭﻫﻮ ﺃﻧّﻪ‪ ،‬ﻋﻠﻰ ﻣﺎ ﺗﻮﺟﺒﻪ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﺎ‪ ،‬ﻓﺒﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ ﻫﻨﺎﻙ ﻓﺮﻕ ﰲ ﺍﻟﻄﹼﺒﻴﻌﺔ)‪٥‬‬
‫(‪ ،‬ﻏﲑ ﺃ ﹼﻥ ﺟ ﹼﻞ ﺍﳌﺼّﻨﻔﲔ ﻗﺪ ﻧﻈﺮﻭﺍ ﻟﻠﻤﺴﺄﻟﺔ ﻋﻠﻰ ﳓﻮ ﻣﻐﺎﻳﺮ ﻛ ﹼﻞ ﺍﳌﻐﺎﻳﺮﺓ‪ .‬ﻓﻬﻢ ﻣﺎ ﺗﺴﺎﺀﻟﻮﺍ ﺇﻥ‬
‫ﻛﺎﻧﺖ ﺍﳌﻜﻮّﻧﺎﺕ ﺍﻟﻨّﻔﺴﻴّﺔ ﺇﻧّﻤﺎ ﺗُﻌﻄﻰ ﻟﻠﻮﻋﻲ ﻣﻦ ﺍﻷﻭّﻝ ﺑﻨﻮﻉ ﻣﺎ ﻫﻲ ﻫﻲ‪ :‬ﺑﻞ ﻟﻘﺪ ﻧﻈﺮﻭﺍ‬
‫ﺼ ﹸﻠﻬَﺎ ﻛ ﹼﻞ ﻭﻋﻲ ﻭﻋﻲ‬
‫ﺤ ﱢ‬
‫ﻟﻸﻣﺮ ﲝﺴﺐ ﺍﻻﻋﺘﺒﺎﺭ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻲ ﺍﳌﻨﻄﻘ ّﻲ ﻟﻠﺤﻘﻴﻘﺔ‪ .‬ﻭﺍﻟﺘّﻔﺮﻗﺔ ﺍﻟﹼﱵ ُﻳ َ‬
‫ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ ﺑﻨﺤﻮ ﻋﻔﻮﻱّ‪ ،‬ﻓﻘﺪ ﻗﻠﺒﻮﻫﺎ‪ ،‬ﺑﻨﻮﻉ ﺿﻤﲏّ‪ ،‬ﺇﱃ ﺗﻔﺮﻗﺔ ﺑﲔ ﺍﻟﺼّﻮﺍﺏ‬

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‫ﻭﺍﻟﻜﺬﺏ‪ .‬ﻟﺬﻟﻚ ﻛﺎﻥ ﺗﺎﻥ ﻗﺪ ﻛﺘﺐ " ﺇ ﹼﻥ ﺍﻹﺩﺭﺍﻙ ﻛﺎﻥ ﻫﻠﻮﺳﺔ ﺻﺎﺩﻗﺔ‪ ".‬ﻭﺍﳊﻘﻴﻘﺔ ﻭﺍﳋﻄﺄ ﱂ‬
‫ﻳﻜﻮﻧﺎ ﻫﻨﺎ ﻣﻔﻬﻮﻣﲔ ﺑﻨﺤﻮ ﻣﻘﺎﻳﻴﺲ ﺑﺎﻃﻨﻴّﺔ ﻋﻠﻰ ﻃﺮﻳﻘﺔ ﺳﺒﻴﻨﻮﺯﺍ‪ .‬ﻭﺇﻧّﻤﺎ ﺍﳊﺎﻝ ﻳﺘﻌﻠﹼﻖ ﺑﺸﺄﻬﻧﻤﺎ‬
‫ﺑﻌﻼﻗﺔ ﻣﻊ ﺍﳌﻮﺿﻮﻉ‪ .‬ﺇﻧّﻨﺎ ﺑﺈﺯﺍﺀ ﻋﺎﱂ ﻣﻦ ﺍﻟﺼّﻮﺭ‪ .‬ﻓﺎﻟﻼﹼﰐ ﳍ ّﻦ ُﻣﺘَﻌ ﱠﻠﻖٌ ﺧﺎﺭﺟ ّﻲ ﻳﻮﺻﻔﻦ ﺑﺎﳊﻘﻴﻘﻴّﺔ‬
‫ﺃﻭ ﺏ" ﺍﻹﺩﺭﺍﻛﺎﺕ " ؛ ﻭﺳﺎﺋﺮﻫ ّﻦ ﻓﻴﻄﻠﻖ ﻋﻠﻴﻬ ّﻦ " ﺍﻟﺼّﻮﺭ ﺍﻟﺬﹼﻫﻨﻴّﺔ "‪ .‬ﻟﻨﺘﻤﻌّﻦ ﰲ ﻫﺬﻩ ﺍﳊﺮﻛﺔ‬
‫ﲏ ﺇﱃ ﻋﻼﻗﺎﺕ ﺧﺎﺭﺟﻴّﺔ ﶈﺘﻮﻯ ﻣﺎ ﻣﻦ ﺍﻟﻮﻋﻲ‬
‫ﺲ ﺍﻟﺒﺎﻃ ّ‬
‫ﺍﻟﺴّﺤﺮﻳّﺔ‪ :‬ﻓﻠﻘﺪﻏﻴّﺮﻧﺎ ﻣﻌﻄﻴﺎﺕ ﺍﳊ ّ‬
‫ﺑﺎﻟﻌﺎﱂ‪ ،‬ﻭ ﺃﺣﻠﻠﻨﺎ ﳏ ﹼﻞ ﺍﻟﺘّﻔﺮﻗﺔ ﺍﻷﻭّﻟﻴّﺔ ﺑﲔ ﺍﶈﺘﻮﻳﺎﺕ‪ ،‬ﺗﺼﻨﻴﻔﺎ ﻟﺘﻠﻚ ﺍﶈﺘﻮﻳﺎﺕ ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ‬
‫ﺷﻲﺀ ﺁﺧﺮ ﻣﻐﺎﻳﺮ ﳍﺎ)‪ .(٦‬ﻭﻗﺪ ﺗﻮﻫّﻤﺖ ﺍﻟﻨّﻈﺮﻳّﺔ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ ﻟﻠﺼّﻮﺭﺓ ﺃﻧّﻬﺎ ﺑﺬﻟﻚ ﻳُ ْﻤ ِﻜﻨُﻬﺎ ﺃﻥ‬
‫ﺗﺴﺘﻮﰲ ﺍﳌﻌﻄﻴﺎﺕ ﺍﻟﻨّﻔﺴﻴّﺔ‪ :‬ﻭﻟﻜﻨّﻬﺎ ﻻ ﺗﺴﺘﻮﻓﻴﻬﺎ ﲝﻖّ‪ ،‬ﻭﺇﻧّﻤﺎ ﻫﻲ ﻟﻴﺴﺖ ﺗﺘﻼﺀﻡ ﺇ ﹼﻻ ﻣﻊ ُﻣﻜﹶﺎ ِﻓ ٍﺊ‬
‫ﻣﻨﻄﻘ ّﻲ ﳍﺎ‪.‬‬

‫ﺼﻮﺭﺓ ﺍﳊﻘﻴﻘﻴّﺔ‬
‫ﺐ "ﺧﺼﺎﺋﺺ ﺍﻟ ّ‬
‫ﰒﹼ‪ ،‬ﻟﻘﺪ ﺑﻘﻲ ﻣﺎ ﻫﻮ ﺃﺷ ّﺪ ﺍﻋﺘﻴﺎﺻﺎ‪ :‬ﺇﺫ ﻗﺪ ﺑﻘﻲ ﺃﻥ ُﻧﺼِﻴ َ‬
‫ﻱ ﻓﺮﻕ ﰲ ﺍﻟﻄﹼﺒﻴﻌﺔ ﺑﺎﻟﻘﻴﺎﺱ‬
‫)ﺥ(" ﻣﻦ ِﻗَﺒ ِﻞ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﺍﳊﻘﻴﻘﻴّﺔ ﻫﻲ ﻻ ﺗﻨﻄﻮﻱ ﻻ ﳏﺎﻟﺔ ﻋﻠﻰ ﺃ ّ‬
‫ﺇﱃ ﺍﻟﺼّﻮﺭﺓ ﺍﳋﺎﻃﺌﺔ‪ .‬ﻓﻠﻴﺲ ﻳﻮﺟﺪ ﺇ ﹼﻻ ﺛﻼﺛﺔ ﺣﻠﻮﻝ ﳑﻜﻨﺔ‪.‬‬

‫ﺍﳊ ﹼﻞ ﺍﻷﻭّﻝ ﻫﻮ ﺣ ﹼﻞ ﻫﻴﻮﻡ‪ :‬ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ ﳘﺎ ﺫﻭﺍ ﺣﻘﻴﻘﺔ ﻭﺍﺣﺪﺓ ﻣﻦ ﺣﻴﺚ‬

‫ﺍﻟﻄﹼﺒﻴﻌﺔ‪ ،‬ﻭﻟﻜﻨّﻬﻤﺎ ﻳﻔﺘﺮﻗﺎﻥ ﻣﻦ ﺟﻬﺔ ﺍﻟﻜﺜﺎﻓﺔ‪ .‬ﺍﻹﺩﺭﺍﻛﺎﺕ ﻫﻲ " ﺍﻧﻄﺒﺎﻋﺎﺕ ﻗﻮﻳّﺔ "‪ ،‬ﺃﻣّﺎ ﺍﻟﺼّﻮﺭ‬
‫ﻱ ِﺑﻨَﺎ ﺃﻥ ُﻧ ِﻘ ﱠﺮ ﳍﻴﻮﻡ ﻬﺑﺬﺍ ﺍﻟﻔﻀﻞ ﺑﺄﻧّﻪ ﻛﺎﻥ ﻗﺪ ﺃﻋﻄﻰ ﺍﻟﺘّﻔﺮﻗﺔ‬
‫ﻓﻬﻲ " ﺍﻧﻄﺒﺎﻋﺎﺕ ﺿﻌﻴﻔﺔ "‪ .‬ﻭ َﺣ ِﺮ ﱞ‬
‫ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ ﻋﻠﻰ ﺃﻬﻧﺎ ﹶﺃ ﱠﻭِﻟﱠﻴﺔﹲ)‪ :(٧‬ﻓﻬﻲ ﲢﺼﻞ ﺑﺬﺍﻬﺗﺎ ﻣﻦ ﻏﲑ ﺍﳊﺎﺟﺔ ﺇﱃ ﺗﻮﺳّﻞ ﺗﺄﻭﻳﻞ‬
‫ﻣﺎ ﻟﻠﻌﻼﻣﺎﺕ ﺃﻭ ﳌﻘﺎﺭﻧﺔ ﻣﺎ ﺑﻴﻨﻬﺎ؛ ﺇﻧّﻬﺎ ﲢﺼﻞ‪ ،‬ﺑﻨﺤﻮ ﻣﺎ‪ ،‬ﺣﺼﻮﻻ ﺁﻟﻴّﺎ‪ :‬ﻓﺎﻻﻧﻄﺒﺎﻋﺎﺕ ﺍﻟﻘﻮﻳّﺔ‬
‫ﻣﻦ ﻧﻔﺴﻬﺎ ُﺗ ﹾﻠﻘِﻲ ﺑﺎﻻﻧﻄﺒﺎﻋﺎﺕ ﺍﻟﻀّﻌﻴﻔﺔ ﺇﱃ ﻣﺮﺗﺒﺔ ﺃﺩﱏ ﻣﻦ ﺍﻟﻮﺟﻮﺩ‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﻫﺬﻩ ﺍﻟﻔﺮﺿﻴّﺔ ﻟﻴﺲ‬
‫ﺺ ﺑﻪ ﺍﻻﺩﺭﺍﻛﺎﺕ ﻣﻦ ﺛﺒﺎﺕ ﻭﺧﺼﻮﺑﺔ‬
‫ﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﺘﺤﻘﹼﻖ ﻋﻨﺪ ﻓﺤﺺ ﳍﺎ‪ .‬ﻓﻤﺎ ﺗﻜﻮﻥ ﲣﺘ ّ‬
‫ﻭﺩﻗﹼﺔ ﻻ ﳝﻜﻨﻪ ﺃﻥ ﻳﻔﺮﺯﻫﺎ ﻣﻦ ﺍﻟﺼّﻮﺭ‪ .‬ﻭﺫﻟﻚ‪ ،‬ﺃﻭّﻻ‪ ،‬ﻷ ﹼﻥ ﻫﺬﻩ ﺍﻟﻜﻴﻔﻴّﺎﺕ ﻫﻮ ﻣﺒﺎﻟﻎ ﻓﻴﻬﺎ ﺟﺪّﺍ‪.‬‬
‫ﻓﻘﺪ ﻛﺘﺐ ﺳﺒﲑ ﻬﺑﺬﺍ ﺍﻟﺸّﺄﻥ‪:‬‬

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‫"ﺇ ﹼﻥ ﺃﻋﻴﻨﻨﺎ ﻭﺁﺫﺍﻧﻨﺎ ﻭﺃﻓﻮﺍﻫﻨﺎ ﺃﺑﺪﺍ َﺗ ْﻌﺘُﻮ ُﺭﻫَﺎ ﺍﻧﻄﺒﺎﻋﺎﺕ ﺃﻳّﻤﺎ ﻣﺒﻬﻤﺔ‪ ،‬ﺃﻳّﻤﺎ ﻣﻠﺘﺒﺴﺔ‪ ،‬ﻻ ﻧﻠﺘﻒ‬
‫ﺕ ﺫﺍﺕ ﻣﻨﺸﺄ ﻗﺮﻳﺐ ﺟﺪّﺍ‪ ،‬ﻓﺈﻧّﻬﺎ‬
‫ﺇﻟﻴﻬﺎ ﺍﻟﺒﺘّﺔ‪ ،‬ﺇﻣّﺎ ﻷﻧّﻬﺎ ﺫﺍﺕ ﻣﻨﺸﺄ ﻧﺎﺀ ﺟﺪّﺍ‪ ،‬ﻭﺇﻣّﺎ‪ ،‬ﻭﺇﻥ ُﻭ ِﺟ َﺪ ْ‬
‫ﺗﻜﻮﻥ ﻏﲑ ﺫﺍﺕ ﻧﺴﺒﺔ ﻗﺮﻳﺒﺔ ﺑﺴﻠﻮﻛﻨﺎ )ﺩ("‬

‫ﺃﻓﻨﺠﻌﻞ ﻣﻨﻬﺎ‪ ،‬ﻣﻦ ﺃﺟﻞ ﺫﻟﻚ‪ ،‬ﺻﻮﺭﺍ ؟ ﹼﰒ ﻫﻨﺎﻙ ﻣﺸﻜﻠﺔ ﺍﳊﺪﻭﺩ‪ :‬ﺇﺫ ﺃ ﹼﻥ ﺇﺣﺴﺎﺳﺎ ﻣﺎ‬
‫ﺢ ﺃﻥ ﻛﺎﻧﺖ ﻃﺒﻴﻌﺔ ﺍﻟﺼّﻮﺭ‬
‫ﻟﻜﻲ ﻳﺘﻌﺪّﻯ ﺣ ّﺪ ﺍﻟﻮﻋﻲ ﻓﻼ ﺑ ّﺪ ﺃﻥ ﻳﻜﻮﻥ ﺫﺍ ﻛﺜﺎﻓﺔ ﺩﻧﻴﺎ‪ .‬ﻓﻠﻮ ﺻ ّ‬
‫ﻫﻲ ﻧﻔﺲ ﻃﺒﻴﻌﺔ ﺍﻹﺣﺴﺎﺱ‪ ،‬ﻓﻼ ﺑ ّﺪ ﺃﻥ ﺗﻜﻮﻥ ﻣﻜﺘﺴﺒﺔ ﻋﻠﻰ ﺍﻷﻗ ﹼﻞ ﻟﺘﻠﻚ ﺍﻟﻜﺜﺎﻓﺔ‪ .‬ﻭﻟﻜﻦ‪،‬‬
‫ﺃﻟﺴﻨﺎ ﺣﻴﻨﺌﺬ ﺳﻮﻑ ﳔﻠﻂ ﺑﻴﻨﻬﺎ ﻭﺍﻹﺣﺴﺎﺳﺎﺕ ﺍﻟﹼﱵ ﻫﻲ ﺫﺍﺕ ﻧﻔﺲ ﺍﻟﻜﺜﺎﻓﺔ)‪ (٨‬ﻭِﻟ َﻢ ﺻﻮﺭﺓ‬
‫ﻃﻠﻘﺔ ﻣﺪﻓﻊ ﺿﻌﻴﻔﺔ ﻟﻴﺴﺖ ﺗﻈﻬﺮ ﺑﻨﺤﻮ ﻗﺮﻗﻌﺔ ﺣﻘﻴﻘﻴّﺔ ﺿﻌﻴﻔﺔ ؟ ﻭِﻟ َﻢ ﳓﻦ ﻻ ﻧﺄﺧﺬ ﺍﻟﺒﺘّﺔ ﺻﻮﺭﻧﺎ‬
‫ﻋﻠﻰ ﺃﻧّﻬﺎ ﺇﺩﺭﺍﻛﺎﺕ ؟ ﻓﺮﺑّﻤﺎ ﺃﺟﺎﺏ ﳎﻴﺐ‪ ،‬ﺑﻞ ﳛﺼﻞ ﺫﻟﻚ‪ .‬ﻣﺜﻼ‪ ،‬ﺃﻧﺎ ﻗﺪ ﺁﺧﺬ ﺟﺬﻉ ﺷﺠﺮﺓ‬
‫ﻋﻠﻰ ﺃﻧّﻪ ﺇﻧﺴﺎﻥ )ﺫ(‪.‬‬

‫ﺫﻟﻚ ﺻﺤﻴﺢ‪ ،‬ﻭﻟﻜﻦ ﺍﳋﻠﻂ ﺣﻴﻨﺌﺬ ﻟﻴﺲ ﻫﻮ ﺑﲔ ﺻﻮﺭﺓ ﻭﺇﺩﺭﺍﻙ‪ :‬ﻭﺇﻧّﻤﺎ ﻳﻜﻮﻥ ﻫﻨﺎﻙ‬
‫ﺗﺄﻭﻳﻞ ﺧﺎﻃﺊ ﻹﺩﺭﺍﻙ ﺣﻘﻴﻘ ّﻲ)‪ .(٩‬ﻓﻠﺴﻨﺎ ﳒﺪ ﻣﺜﺎﻻ ﻟﺼﻮﺭﺓ ﺇﻧﺴﺎﻥ ﺗﻈﻬﺮ ﻓﺠﺄﺓ ﰲ ﻭﻋﻴﻨﺎ‬
‫ﻓﺘُ ﹾﺄ َﺧﺬﹸ ﺑﻨﺤﻮ ﺇﻧﺴﺎﻥ ﺣﻘﻴﻘﻲّ‪ُ ،‬ﻣ ْﺪ َﺭﻙٌ ﺣﻘﻴﻘﺔ ـ ﻭﺳﻮﻑ ﻧﻌﻮﺩ ﳍﺬﺍ ﺍﻷﻣﺮ‪ .‬ﻓﻠﻮ ﱂ ﻳﻜﻦ ﻟﻨﺎ ﺇ ﹼﻻ‬
‫ﺍﻟﻜﺜﺎﻓﺔ ﻃﺮﻳﻘ ﹰﺔ ﻷﺟﻞ ﻓﺮﺯ ﺍﻟﺼّﻮﺭﺓ ﻣﻦ ﺍﻹﺩﺭﺍﻙ‪ ،‬ﻟﺘﻜﺮّﺭﺕ ﺍﻷﺧﻄﺎﺀ؛ ﺑﻞ ﻟﻘﺪ ﻛﺎﻧﺖ ﺗﺘﻜﻮّﻥ‬
‫ﺃﻭﻗﺎﺗﺎ ﻣﺎ‪ ،‬ﻋﻨﺪ ﺍﻟﻐﺮﻭﺏ ﻣﺜﻼ‪ ،‬ﻋﻮﺍﱂ ﻣﺘﻮﺳّﻄﺔ‪ ،‬ﻣﺘﻜﻮّﻧﺔ ﻣﻦ ﺇﺣﺴﺎﺳﺎﺕ ﺣﻘﻴﻘﻴّﺔ ﻭﺻﻮﺭ‪ ،‬ﰲ‬
‫ﻣﻘﺎﻡ ﻣﺘﻮﺳّﻂ ﺑﲔ ﺍﳊﻠﻢ ﻭﺍﻟﻴﻘﻈﺔ‪:‬‬
‫ﺲ َﺣ ﱠﻖ ﺍﻟﺘّﺄﺳﻴﺲ ﻣﺮ ّﺩ ﺃﻣﺮﻩ ﺇﱃ ﻗﻮّﺓ ﺃﻭ‬
‫ﻭﻗﺪ ﻛﺘﺐ ﺳﺒﲑ " ﺇ ﹼﻥ ﺍﻹﻋﺘﻘﺎﺩ ﺑﺄ ﹼﻥ ﺍﻟﻴﻘﲔ ﺍﳌﹸ َﺆ ﱠﺳ َ‬
‫ﺷﺪّﺓ ﺍﻻﻧﻄﺒﺎﻋﺎﺕ ﻓﺈﻧّﻤﺎ ﻫﻮ ﻣﻌﺎﻭﺩﺓ ﻭﺿﻊ ﻣﺒﺪﺃ ﻓﻨﻄﺎﺳﻴﺎ ﻛﺘﺎﻟﺒﺘﻴﻜﺎ ﺍﳌﻨﺴﻮﺏ ﻷﻫﻞ‬
‫ﺍﻟﺮّﻭﺍﻕ)ﺭ(‪".‬‬

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‫ﻭﺑﺎﳉﻤﻠﺔ‪ ،‬ﻓﻠﻮ ﱂ ﺗﻜﻦ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ ﺇﻧّﻤﺎ ﳜﺘﻠﻔﺎﻥ ﻣﻦ ﺍﻷﻭّﻝ ﺍﺧﺘﻼﻓﺎ ﻛﻴﻔﻴّﺎ‪ ،‬ﻣﺎ ﻛﺎﻥ‬
‫ﻟﻴﻜﻮﻥ ﺇ ﹼﻻ ﻋﺒﺜﺎ ﺃﻥ ﻧﻠﺘﻤﺲ ﺍﻟﺘّﻔﺮﻗﺔ ﺑﻴﻨﻬﺎ ﻓﻴﻤﺎ ﺑﻌﺪ‪ ،‬ﺑﻄﺮﻳﻖ ﺍﻟﻜ ّﻢ‪.‬‬
‫ﻭﻫﻮ ﻣﺎ ﻛﺎﻥ ﻗﺪ ﻓﻬﻤﻪ ﺗﺎﻥ ﺟﻴّﺪ ﺍﻟﻔﻬﻢ‪:‬‬
‫ﻱ‬
‫ﻓﻘﺪ ﻛﺘﺐ " ﺇﻧّﻤﺎ )ﺍﻟﺼّﻮﺭﺓ( ﻫﻲ ﺍﻹﺣﺴﺎﺱ ﻧﻔﺴﻪ‪ ،‬ﻭﻟﻜﻨّﻪ ﺇﺣﺴﺎﺱ ﻣﺘﺠﺪّﺩ ﻭﻣﻨﺒﻌﺚ‪ ،‬ﻭﺑﺄ ّ‬
‫ﳓﻮ ﻣﻦ ﺍﻷﳓﺎﺀ ﻧﻈﺮﻧﺎ ﺇﻟﻴﻬﺎ‪ ،‬ﻓﺈﻧّﻨﺎ ﻧﻠﻔﺎﻫﺎ ﺗﺘﻄﺎﺑﻖ ﻣﻊ ﺍﻹﺣﺴﺎﺱ)ﺯ(‪".‬‬

‫ﻭﻣﻦ ﹶﺛﻢﱠ‪ ،‬ﻳﺘﻮﺟّﺐ ﺃﻥ ﻧﻀﺮﺏ ﺻﻔﺤﺎ ﻋﻦ ﺍﻟﺘّﻔﺮﻗﺔ ﺗﻔﺮﻗﺔ ﺩﺍﺧﻠﻴّﺔ ﺑﲔ ﺻﻮﺭﺓ ﻣُ ﹾﻔ َﺮ َﺩ ٍﺓ‬
‫ﱄ ﻟﻠﺼّﻮﺭﺓ ﻋﻠﻰ ﺃﻧّﻬﺎ ﺻﻮﺭﺓ‪ .‬ﺑﻞ‬
‫ﻭﺇﺣﺴﺎﺱ ﻣُ ﹾﻔ َﺮ ٍﺩ‪ .‬ﻓﺒﺎﳉﻤﻠﺔ‪ ،‬ﻟﻴﺲ ﻳﻮﺟﺪ ﺍﻟﺒﺘّﺔ ﺗﻌﺮّﻑ ﺃ ّﻭ ﹼ‬
‫ﲏ ﺇﻧّﻤﺎ ُﺗ ْﻌﻄﹶﻰ ﺑﻨﺤﻮ ﺍﻹﺣﺴﺎﺱ‪.‬‬
‫ﺲ ﺍﻟﺒﺎﻃ ّ‬
‫ﺑﺎﻟﻌﻜﺲ‪ ،‬ﻓﺎﻟﺼّﻮﺭﺓ ﺃﻭّﻝ ﻣﺎ ُﺗ ْﻌﻄﹶﻰ ﻟﻠﺤ ّ‬

‫ﺼ ﹶﻠﺔﹲ‪ ،‬ﻭﺍﻷﺧﺮﻯ ﺳﻠﺒﻴّﺔ‪ ،‬ﻓﻬﺬﻩ ﺍﻟﺜﹼﺎﻧﻴﺔ‬

‫ﺤ ﱠ‬
‫"ﻫﻨﺎﻙ ﳊﻈﺘﺎﻥ ﰲ ﺣﻀﻮﺭ ﺍﻟﺼّﻮﺭﺓ ‪ :‬ﳊﻈﺔ ﺃﻭﱃ ُﻣ َ‬
‫ﺿ َﻊ ﰲ ﺍﻟﻠﹼﺤﻈﺔ ﺍﻷﻭﱃ‪ .‬ﺇﺫﺍ ﻛﺎﻧﺖ ﺍﻟﺼّﻮﺭﺓ ﺩﻗﻴﻘﺔ ﺟﺪّﺍ ﻭﻛﺜﻴﻔﺔ ﺟﺪّﺍ‪،‬‬
‫ﺗُ ﹶﻘﱢﻴﺪُ ﺟﺰﺀﺍ ﳑّﺎ ﻛﺎﻥ ﻗﺪ ﻭُ ِ‬
‫ﺍﻣﺘﺎﺯﺕ ﻫﺎﺗﺎﻥ ﺍﻟﻠﹼﺤﻈﺘﺎﻥ‪ :‬ﻭﺗﻈﻬﺮ ﺍﻟﺼّﻮﺭﺓ ﰲ ﺍﻟﻠﹼﺤﻈﺔ ﺍﻷﻭﱃ ﻭﻛﺄﻧّﻬﺎ ﺧﺎﺭﺟﻴّﺔ ﻗﺎﺋﻤﺔ ﻋﻠﻰ ﺑُ ْﻌ ٍﺪ‬
‫ﻣﻨّﺎ ﺇﺫﺍ ﺗﻌﻠﹼﻖ ﺍﻷﻣﺮ ﺑﺼﻮﺕ ﺃﻭ ﻣﻮﺿﻮﻉ ﻣﺮﺋﻲّ‪ ،‬ﻭﺇﺫﺍ ﺗﻌﻠﹼﻖ ﺍﻷﻣﺮ ﺑﺈﺣﺴﺎﺱ ﴰﹼﻲ ﺃﻭ ﻃﻌﻤﻲ ﺃﻭ‬
‫ﺃﱂ ﺃﻭ ﻟﺬﹼﺓ ﰲ ﺟﺰﺀ ﻣﻦ ﺍﻟﺒﺪﻥ‪ ،‬ﻓﺈﻧّﻬﺎ ﺗﻜﻮﻥ ﻗﺎﺋﻤﺔ ﺑﺎﻟﻠﹼﺴﺎﻥ ﺃﻭ ﺍﻷﻧﻒ ﺃﻭ ﰲ ﻋﻀﻮ ﻣﻨّﺎ) ﺱ(‪".‬‬
‫ﻓﺎﻟﺼّﻮﺭﺓ ﺇﺫﹰﺍ َﺗ ﹾﺜِﺒﺖُ ﺑﺎﻟﻄﹼﺒﻊ ﺑﻨﺤﻮ ﺍﻹﺣﺴﺎﺱ‪ ،‬ﻭﻫﻲ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﺪﻓﻌﻨﺎ ﺩﻓﻌﺎ ﻋﻔﻮﻳّﺎ ﻷﻥ ﻧﺆﻣﻦ‬
‫ﻱ ﺷﻲﺀ ﻳﻠﺰﻡ ﻣﻦ ﺫﻟﻚ ﻭ ﺇﻧّﻪ ﻟﻨﺘﻴﺠﺔ ﺃﻭّﻟﻴّﺔ ﻟﻠﺮّﺃﻱ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘ ّﻲ‬
‫ﺑﻮﺟﻮﺩ ﻣﻮﺿﻮﻋﻬﺎ‪ .‬ﻟﻨﻌﺘﱪ ﺃ ّ‬
‫ﺍﻟﹼﺬﻱ ﻛﻨّﺎ ﻗﺪ ﺃﻭﻣﺄﻧﺎ ﺇﻟﻴﻪ‪ :‬ﺃﻻ ﻭﻫﻮ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﲟﺎ ﻫﻲ ﻛﺬﻟﻚ ﻓﻘﺪ ﺻﺎﺭﺕ ﺻﻔﺮﺍ ﻣﻦ ﺻﻔﺔ‬
‫ﱄ‪ .‬ﻭﺍﳌﻮﺿﻮﻉ ﺍﻟﹼﺬﻱ ﺃﻧﺎ ﺑﺈﺯﺍﺋﻪ‪ ،‬ﺳﻮﻑ ﻳﻘﺘﻀﻲ ﻓﻌﻼ ﻣﻦ ﺍﻟﻮﻋﻲ‬
‫ﻛﻮﻬﻧﺎ ﺇﻧّﻤﺎ ﻫﻲ ُﻣ ْﻌﻄﹰﻰ ﺃ ّﻭ ﹼ‬
‫ﺣﺘّﻰ ﺃﺗﺒﻴّﻨﻪ ﺑﻨﺤﻮ ﺃﻧّﻤﺎ ﻫﻮ ﻣُﻌﻄﻰ ﱄ ﺍﻵﻥ ﰲ ﺻﻮﺭﺓ‪ .‬ﻭﻫﻜﺬﺍ ﻧﺼﻞ ﺇﱃ ﺍﳊ ﹼﻞ ﺍﻟﺜﹼﺎﱐ ﻟﻠﻤﺴﺄﻟﺔ‬
‫ﻣﺴﺄﻟﺔ "ﺧﺼﺎﺋﺺ ﺍﻟﺼّﻮﺭﺓ ﺍﳊﻘﻴﻘﻴّﺔ "‪ .‬ﻓﻌﻨﺪ ﺗﺎﻥ ﺻﺎﺣﺐ ﻫﺬﺍ ﺍﳊﻞﹼ‪ ،‬ﺇﻧّﻤﺎ ﲢﺼﻞ ﺍﻟﺘّﻔﺮﻗﺔ ﺑﲔ‬
‫ﺍﻹﺣﺴﺎﺳﺎﺕ ﻭﺍﻟﺼّﻮﺭ ﺣﺼﻮﻻ ﺁﻟﻴﺎ‪.‬‬

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‫ﻱ‬
‫" ﺇ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﻌﺎﺩﻳّﺔ ﺇﺫﹰﺍ ﻟﻴﺴﺖ ﺑﺸﻲﺀ ﺑﺴﻴﻂ ﻭﺇﻧّﻤﺎ ﺫﻭ ﺍﺛﻨﻴّﺔ‪ .‬ﺇﻧّﻬﺎ ﺇﺣﺴﺎﺱ ﻋﻔﻮ ّ‬
‫ﻭﻣﺘﺠﺪّﺩ ﺷﺄﻧﻪ ﺃﻧّﻪ ﻳﻌﺘﻮﺭﻩ ﺍﻟﻮﻫﻦ ﻭﺍﻟﺘّﻘﻴﻴﺪ ﻭﺍﻟﺘّﺼﻮﻳﺐ ﺑﺴﺒﺐ ﺗﻌﺎﻧﺪﻩ ﻣﻊ ﺇﺣﺴﺎﺱ ﺁﺧﺮ ﻻ‬
‫ﱄ‪ .‬ﻓﻬﻲ ﺗﻨﻄﻮﻱ ﻋﻠﻰ ﳊﻈﺘﲔ ﺍﺛﻨﺘﲔ‪ :‬ﳊﻈﺔ ﺃﻭﱃ ﺗﺒﺪﻭ ﻓﻴﻬﺎ ﻭﻛﺄﻧّﻬﺎ ﺧﺎﺭﺟﻴّﺔ ﻭﺫﺍﺕ‬
‫ﻱ ﻭﺃ ّﻭ ﹼ‬
‫ﻋﻔﻮ ّ‬
‫ﻭﺿﻊ‪ ،‬ﻭﳊﻈﺔ ﺛﺎﻧﻴﺔ ﺗﺮﺗﻔﻊ ﻋﻨﻬﺎ ﻓﻴﻬﺎ ﻫﺬﻩ ﺍﳋﺎﺭﺟﻴّﺔ ﻭﻫﺬﺍ ﺍﻟﻮﺿﻊ‪ .‬ﺇﻧّﻬﺎ ﲦﺮﺓ ﺧﺼﺎﻡ‪ ،‬ﺇﺫ ﺃﻥ‬
‫ﻣﻴﻠﻬﺎ ﻟﻠﻈﹼﻬﻮﺭ ﺧﺎﺭﺟﻴّﺔ‪ ،‬ﺇﻧّﻤﺎ ﻳﻘﺎﻭﻣﻪ ﻭﻳﻈﻬﺮ ﻋﻠﻴﻪ ﻣﻴﻞ ﻣﻨﺎﻗﺾ ﻭﺃﺷ ّﺪ ﻗﻮّﺓ ﻳﻜﻮﻥ ﻳﺜﲑﻩ ﰲ ﻧﻔﺲ‬
‫ﺍﻟﻮﻗﺖ ﺍﻟﻌﺼﺐ ﺍﳌﺮﺟﻮﺝ)ﺵ(‪".‬‬

‫ﱄ‬
‫ﺲ ﺍﻷ ّﻭ ﹼ‬
‫ﻓِﺈﺫﹰﺍ ﺍﻟﻮﻋﻰ ﺑﺎﻟﺼّﻮﺭﺓ ﻳﻜﻮﻥ ﺑﺘﻮﺳّﻂ‪ ،‬ﻭﺍﻟﺘّﻨﺎﺯﻉ ﺑﲔ ﺍﻹﺣﺴﺎﺱ ﺍﳌﺘﺠﺪّﺩ ﻭﺍﳊ ّ‬
‫ﲏ‪ .‬ﻓﺎﻷﻗﻮﻯ ﺍﻟﹼﺬﻱ ﻳﻈﻔﺮ‪.‬‬
‫ﻟﻴﺴﺎ ﺇ ﹼﻻ ﻓﺼﻼ ﻣﻦ ﻓﺼﻮﻝ ﻣﺒﺪﺃ ﺍﻟﺼّﺮﺍﻉ ﻣﻦ ﺃﺟﻞ ﺍﻟﺒﻘﺎﺀ ﺍﻟﺪّﺍﺭﻭﻳ ّ‬
‫ﻱ "‪ .‬ﺣﻴﻨﺌﺬ ﺗﻜﻮﻥ‬
‫ﻭﻗﺪ ﺯﺍﺩ ﺗﺎﻥ ﺑﻘﻮﻟﻪ ﺃ ﹼﻥ ﺍﻟﻈﹼﻔﺮ ﺭﺑّﻤﺎ ﺭﺟﻊ ﺇﱃ ﺍﻹﺣﺴﺎﺱ " ﺍﳌﺘﺠﺪّﺩ ﻭﺍﻟﻌﻔﻮ ّ‬
‫ﻑ ﻋﻠﻰ ﺃﻧّﻬﺎ ﺻﻮﺭﺓ‪ ،‬ﻋﻠﻰ ﻣﻌﲎ ﺃﻧّﻪ ﻣﻦ ﺃﺟﻞ‬
‫ﻫﻨﺎﻙ ﻫﻠﻮﺳﺔ)‪ (١٠‬ﻓﺎﻟﺼّﻮﺭﺓ ﻣﻦ ﺃﺟﻞ ﺃﻥ ﺗُ ْﻌ َﺮ َ‬
‫ﻱ "‪ ،‬ﻓﻼ ﺑ ّﺪ ﻣﻦ ﺃﻥ ﻳﻜﻮﻥ ﻣﻮﺟﻮﺩﺍ ﺇﺣﺴﺎﺱ ﻣﻌﺎﻧﺪ‪ .‬ﻭﻟﻮ ﱂ‬
‫ﺃﻥ ﲢﺪﺙ ﺍﻟﺼّﻮﺭﺓ "ﺃﺛﺮﻫﺎ ﺍﻟﻌﺎﺩ ّ‬
‫ﻳﻮﺟﺪ ﻫﺬﺍ ﺍﻹﺣﺴﺎﺱ‪ ،‬ﺃﻭ ﺍﺗّﻔﻖ ﺃﻥ ﻛﺎﻧﺖ ﺍﻟﺼّﻮﺭﺓ ﺃﺷ ّﺪ ﻗﻮّﺓ‪ ،‬ﺣﻴﻨﺌﺬ ﻓﺈﻧّﻨﺎ ﺳﻨﻮﺟﺪ ﺑﺈﺯﺍﺀ‬
‫ﻣﻮﺿﻮﻉ ﻫﻮ ﰲ ﺍﻟﻮﺍﻗﻊ ﻟﻴﺲ ﲟﻮﺟﻮﺩ‪".‬‬

‫ﻭﺍﳊ ّﻖ ﺃ ﹼﻥ ﻫﺬﺍ ﺍﻟﺮّﺃﻱ ﻟﺸﺪﻳﺪ ﺍﻹﻬﺑﺎﻡ‪ .‬ﺃﻭّﻻ ﻫﻞ ﻫﻮ ﺭﺃﻱ ﻓﻴﺰﻳﻮﻟﻮﺟ ّﻲ ﺃﻡ ﻧﻔﺴ ّﻲ ؟ ﻭﺃﻳﻦ‬
‫ﺞ ﰲ ﺃﻣﺮﻩ ﻭﱂ ﻳﺮﻡ ﺃﻥ ﻳﻘﻄﻊ ﺑﺎﺧﺘﻴﺎﺭ‪ .‬ﻓﺘﺎﺭﺓ‬
‫ﺠ ﹶﻠ َ‬
‫ﲢﺼﻞ ﺍﻟﺘّﻔﺮﻗﺔ ؟ ﻳﺸﺒﻪ ﺃ ﹼﻥ ﺗﺎﻥ ﻛﺎﻥ ﻗﺪ َﺗ ﹶﻠ ْ‬
‫ﻳﻈﻬﺮ ﻭﻛﺄ ﹼﻥ ﺍﻹﺣﺴﺎﺳﺎﺕ ﻭﺍﻟﺼّﻮﺭ ﺇﻧّﻤﺎ ﺗﺘﻌﺎﻧﺪ ﲟﺎ ﻫﻲ ﺃﺣﺪﺍﺙ ﻣَُﺘَﺒﱠﻴَﻨ ﹲﺔ‪:‬‬
‫"ﻓﺤﻴﻨﻤﺎ ﺗﻌﻮﺩ ﺍﻟﺬﹼﻛﺮﻯ‪ ،‬ﻓﺈ ﹼﻥ ﺍﻟﺼّﻮﺭ ﻭﺍﻷﻓﻜﺎﺭ ﺗﻌﺎﻭﺩ ﺍﻟﻈﹼﻬﻮﺭ ﻭﲢﺘﻀﻦ ﺍﻟﺼّﻮﺭﺓ ﰲ‬
‫ﺨ ِﺮ ُﺟﻬَﺎ ﻣﻦ ﺣﻴﺎﺓ ﺍﻟﺘّﻔﺮّﺩ‪ ،‬ﻟﺘﺘﺪﻓﻌﻬﺎ ﺇﱃ ﺍﳊﻴﺎﺓ‬
‫ﺭﻛﺒﻬﺎ‪ ،‬ﻓﺘﺘﻨﺎﺯﻉ ﻣﻌﻬﺎ‪ ،‬ﻓﺘﻈﻬﺮ ﻋﻠﻴﻬﺎ ﻭُﺗ ْ‬
‫ﺍﻹﺟﺘﻤﺎﻋﻴّﺔ ﻭﺗﻌﻮﺩ ﻬﺑﺎ ﺇﱃ ﺗﺒﻌﻴّﺘﻬﺎ ﺍﳌﻌﻬﻮﺩﺓ)ﺹ(‪".‬‬

‫ﻭﻃﻮﺭﺍ‪ ،‬ﳓﻦ ﻧﻘﺮﺃ ﻭﺻﻔﺎ ﻵﻟﻴّﺔ ﻛﻮﺭﺗﻜﻴّﺔ ‪ Cortical‬ﺣﻘﻴﻘﻴّﺔ ﺗﺘﻌﻠﹼﻖ ﺑﺎﳊﺒﺴﻴّﺔ‪:‬‬

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‫" ﳌﹼﺎ ﻣﻬﻠﻮﺱ ﻣﺎ ﻳﺮﻯ‪ ،‬ﻭﻋﻴﻨﺎﻩ ﻣﻔﺘﻮﺣﺘﺎﻥ‪ ،‬ﻋﻠﻰ ﺛﻼﺙ ﺧﻄﻮﺍﺕ ﻣﻨﻪ‪ ،‬ﺻﻮﺭﺓ ﻏﺎﺋﺒﺔ ﻭﻟﻴﺲ‬
‫ﻱ ﺍﻟﻠﹼﻮﻥ ﺗﺘﺨ ﹼﻠﻠﹼﻪ ﺧﻄﻮﻁ ﺧﻀﺮﺍﺀ‪ ،‬ﻓﺈ ﹼﻥ‬
‫ﻳﻜﻮﻥ ﻣﻮﺟﻮﺩﺍ ﺃﻣﺎﻣﻪ ﺇ ﹼﻻ ﺣﺎﺋﻂ ﻣﻐﻠﹼﻒ ﻭﺭﻗﺎ ﺭﻣﺎﺩ ّ‬
‫ﺍﻟﺼّﻮﺭﺓ ﺳﻮﻑ ﺗﻐﻄﹼﻲ ﺟﺰﺀ ﻣﻨﻪ ﻟﺘﺠﻌﻠﻪ ﻏﲑ ﻣﺮﺋﻲّ؛ ﻓﺎﻹﺣﺴﺎﺳﺎﺕ ﺍﻟﹼﱵ ﺷﺄﻥ ﻗﻄﻌﺔ ﺍﻟﻮﺭﻕ ﺃﻥ‬
‫ﺗﺒﻌﺜﻬﺎ ﻓﻴﻨﺎ ﻫﻲ ﺇﺫﺍ ﺻﻔﺮ؛ ﻣﻊ ﺃ ﹼﻥ ﺍﻟﺸّﺒﻜﻴّﺔ‪ ،‬ﻭﺭﺑّﻤﺎ ﺃﻳﻀﺎ ﺍﳌﺮﺍﻛﺰ ﺍﻟﺒﺼﺮﻳّﺔ ﺇﻧّﻤﺎ ﺗﻜﻮﻥ‬
‫ﺗُ َﺮ ْﺟ ِﺮﺟُﻬَﺎ‪ ،‬ﻋﻠﻰ ﳓﻮ ﻣﻌﺘﺎﺩ‪ ،‬ﺍﻷﺷﻌّﺔ ﺍﻟﺮّﻣﺎﺩﻳّﺔ ﻭﺍﳋﻀﺮﺍﺀ‪ .‬ﺃﻱ ﺑﻌﺒﺎﺭﺓ ﺃﺧﺮﻯ‪ ،‬ﺍﻟﺼّﻮﺭﺓ ﺍﳌﹸَﺘ َﻐ ﱢﻠَﺒﺔﹸ‬
‫ﺇﻧّﻤﺎ ﲤﺤﻮ ﻗﻄﻌﺔ ﺍﻹﺣﺴﺎﺱ ﺍﳌﻌﺎﻧﺪﺓ ﳍﺎ)ﺽ(‪".‬‬

‫ﻓﻬﻮ ﻳﺸﺒﻪ ﺃﻥ ﻳﻜﻮﻥ ﺍﻷﻣﺮ ﺇﻧّﻤﺎ ﻳﺘﻌﻠﹼﻖ ﻫﻨﺎ ﲝﺒﺴﻴّﺔ ﻛﻮﺭﺗﻜﻴّﺔ‪ ،‬ﻭﻣﻊ ﺫﻟﻚ ﻓﻨﺤﻦ ﻟﺴﻨﺎ ﻧﻔﻬﻢ‬
‫ﻱ ﻗﺪ ﺗﻌﻄﹼﻠﺖ‪ ،‬ﻭِﻟ َﻢ ﱂ ﻳﻜﻦ ﻓﻘﻂ ﻗﺪ ﺩُ ِﻓ َﻊ ﻬﺑﺎ ﺇﱃ‬
‫ﺗُﺮﻯ ِﻟ َﻢ ﻛﺎﻧﺖ ﺍﺣﺴﺎﺳﺎﺕ ﺍﻷﺧﻀﺮ ﻭﺍﻟﺮّﻣﺎﺩ ّ‬
‫ﻣﺮﺗﺒﺔ ﺍﻟﺼّﻮﺭ‪ .‬ﻭﺍﳊ ّﻖ ﺃﻗﻮﻝ‪ ،‬ﺇ ﹼﻥ ﺗﺎﻥ ﱂ ﻳﻔﺼﻞ ﺍﻷﻣﺮ‪ ،‬ﻷﻧّﻪ ﻛﻤﺎ ﻗﺪ ﺃﺳﻠﻔﻨﺎ‪ ،‬ﱂ ﻳﻜﻦ ﳝﻠﻚ ﺍﻟﺒﺘّﺔ‬
‫ﻓﻜﺮﺓ ﺑﻴّﻨﺔ ﻋﻦ ﺍﻟﺘّﻔﺮﻗﺔ ﺑﲔ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟ ّﻲ ﻭﺍﻟﻨّﻔﺴ ّﻲ‪.‬‬

‫ﹼﰒ ﻟﻨﺎ ﺃﻥ ﻧﺴﺄﻝ‪ ،‬ﻛﻴﻒ ﻋﺴﺎﻧﺎ ﺃﻥ ﻧﻔﻬﻢ ﺫﻟﻚ " ﺍﻟﺘّﺼﺤﻴﺢ " ﻭﻫﺬﺍ " ﺍﻟﺘّﺼﻮﻳﺐ " ؟ ﻟﻘﺪ‬
‫ﻱ ﻭﺍﳌﺘﺠﺪّﺩ‪ ،‬ﻳﻜﻮﻥ ﰲ ﺍﻷﻭّﻝ ﺫﺍ ﻭﺿﻊ ﻭﻗﺎﺋﻤﺎ ﰲ ﺍﳋﺎﺭﺝ‪ .‬ﻭﺗﺎﻥ ﻗﺪ‬
‫ﻗﻴﻞ ﺑﺄ ﹼﻥ ﺍﻹﺣﺴﺎﺱ ﺍﻟﻌﻔﻮ ّ‬
‫ﱯ ﻧﻴﻜﻮﻻﻱ ﻛﺎﻥ ﻗﺪ ﺃﺑﺼﺮ ﺻﻮﺭﺓ ﻣﻴّﺖ " ﻋﻠﻰ ﻋﺸﺮ ﺧﻄﻮﺍﺕ‬
‫ﺃﻭﺭﺩ ﻛﺜﲑﺍ ﻣﻦ ﺍﻷﻣﺜﻠﺔ‪ .‬ﻓﺎﳌﻜﺘ ّ‬
‫ﻣﻨﻪ "‪ .‬ﻭﺫﺍﻙ ﺍﻟﺮﺳّﺎﻡ ﺍﻷﳒﻠﻴﺰﻱ ﻛﺎﻥ " ﻳﺴﺘﺤﻀﺮ ﻣﺜﺎﻻﺗﻪ ﰲ ﺫﻫﻨﻪ " ﹼﰒ " ﻳﻀﻌﻬﺎ ﻓﻮﻕ ﻛﺮﺳ ّﻲ‬
‫ﻱ ﺍﻟﺘّﻔﺤّﺺ‪ ،‬ﻣﻄﺄﻃﺄ ﺭﺃﺳﻪ‪ ،‬ﺭﲰﺎ‬
‫"‪ .‬ﻭﻫﺬﺍ ﺍﻟﺼّﺪﻳﻖ ﻟﺪﺍﺭﻭﻳﻦ ﳌﹼﺎ ﻛﺎﻥ ﺫﺍﺕ ﻳﻮﻡ " ﻳﺘﻔﺤّﺺ ﻗﻮ ّ‬
‫ﻑ ﻣﻦ ﺍﻟﻐﺮﻓﺔ ﺻﻮﺭﺓ‬
‫ﺻﻐﲑﺍ ﻟﻠﻌﺬﺭﺍﺀ ﻭﺍﺑﻨﻬﺎ ﺍﻟﻴﺴﻮﻉ‪...‬ﻓﻤﺎ ﻟﺒﺚ ﺃﻥ ﺗﺒﻴّﻦ ﳌﹼﺎ ﺭﻓﻌﻪ ﻋﻠﻰ ﹶﻃ َﺮ ٍ‬
‫ﺍﻣﺮﺃﺓ ﲢﻤﻞ ﺍﺑﻨﺎ ﺑﲔ ﺫﺭﺍﻋﻴﻬﺎ"‬

‫ﻱ ِﻟ َﻤﻜﹶﺎ ِﻥ ﺗﺄﺛﲑ ﺍﻹﺣﺴﺎﺱ ﺍﳌﻌﺎﻧﺪ‪ ،‬ﻓﺈﻧّﻪ ﻳﺬﻫﺐ ﻋﻨﻪ‬

‫ﻭﺑﻌﺪﺋﺬ‪ ،‬ﻓﺈ ﹼﻥ ﺍﻹﺣﺴﺎﺱ ﺍﻟﻌﻔﻮ ّ‬
‫ﻭﺿﻌﻪ ﻭﺧﺎﺭﺟﻴّﺘﻪ‪ .‬ﻭ ﻟﻌﻤﺮﻱ‪ ،‬ﺇﻧّﻤﺎ ﻫﺬﺍ ﺗﺄﻭﻳﻞ ﻟﻴﺲ ﻣﻦ ﺍﻟﻴﺴﲑ ﺃﻥ ﻳُ ﹾﻘَﺒ ﹶﻞ ﺑﻪ‪ .‬ﺇﺫ ﺃ ﹼﻥ ﺻﻔﺔ‬
‫ﺍﳋﺎﺭﺟﻴّﺔ ﺇﻧّﻤﺎ ﻫﻲ ﺻﻔﺔ ﺩﺍﺧﻠﻴّﺔ ﻟﻠﺘﻤﺜﹼﻞ ﺍﻷﻭّﻝ ﻭ ﻟﻠﺘّﻤﺜﹼﻞ ﺍﻟﺜﹼﺎﱐ ﺳﻮﺍﺀ ﺑﺴﻮﺍﺀ؛ ﻭﻟﻴﺴﺖ ﻫﻲ‬

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‫ﺑﻌﻼﻗﺔ‪ .‬ﻓﻠﻴﺖ ﺷﻌﺮﻱ ﻛﻴﻒ ﺟﺎﺯ ِﺇﺫﹰﺍ ﺃﻥ ﻳﻜﻮﻥ ﺍﻹﺣﺴﺎﺱ ﺍﻷﻭّﻝ ﻻﺗّﺼﺎﻟﻪ ﺑﺎﻻﻧﻄﺒﺎﻉ ﺍﳌﻨﺎﻗﺾ‬
‫ﻫﻮ ﳜﺴﺮ ﺻﻔﺔ ﺍﳋﺎﺭﺟﻴّﺔ‪ .‬ﺻﺤﻴﺢ ﺃﻧّﻪ ﳌﻦ ﺍﻟﻌﺴﲑ ﺃﻥ ﻧﺘﻮﻫّﻢ ﻣﺜﻼ‪ ،‬ﺇﻧﺴﺎﻧﺎ ﻭﻃﺎﻭﻟﺔ ﻳﺸﻐﻼﻥ‬
‫ﺣﻴّﺰﺍ ﻭﺍﺣﺪﺍ‪ .‬ﻭﻟﻜﻦ ﻟﻮ ﺍﺗّﻔﻖ ﺃﻥ ﻛﺎﻥ ﺍﻹﻧﺴﺎﻥ ﻋﻠﻰ " ﻋﺸﺮ ﺧﻄﻮﺍﺕ ﻣﻨّﻲ"‪ ،‬ﻓﻠﻴﺲ ﺣﻀﻮﺭ‬
‫ﺍﻟﻄﹼﺎﻭﻟﺔ ﰲ ﻧﻔﺲ ﺍﳌﻜﺎﻥ ﳑّﺎ ﺳﻴﺒﻄﻞ ﻭﺟﻮﺩﻩ ﻋﻠﻰ ﺑﻌﺪ ﻋﺸﺮ ﺧﻄﻮﺍﺕ‪ .‬ﺭﺑّﻤﺎ ﺗﺎﻥ ﺍﻟﹼﺬﻱ ﻋﺒﺎﺭﺗﻪ‬
‫ﻭﻓﻜﺮﻩ ﻋﻠﻰ ﻏﺎﻳﺔ ﻣﻦ ﺍﻟﻠﱠﺒﺲ‪ ،‬ﺇﻧّﻤﺎ ﻛﺎﻥ ﳜﻠﻂ ﺑﲔ ﺍﳋﺎﺭﺟﻴّﺔ ﻭﺍﳌﻮﺿﻮﻋﻴّﺔ‪ .‬ﻭﻣﻊ ﺫﻟﻚ ﻓﺈ ﹼﻥ‬
‫ﺖ ﺃﻭّﻻ ﺑﻨﺤﻮ ﺍﳌﻮﺿﻮﻉ‪،‬‬
‫ﻚ ﻳﺒﻘﻰ ﻫﻮﻫﻮ ‪ :‬ﺇﺫ ﻛﻴﻒ ﻟَﺘﻌَﺎﻧُ ِﺪﱠﻳ ٍﺔ ﺁﻟﻴّﺔ ﺃﻥ ﺗﻨﻘﻞ ﺻﻮﺭﺓ ﻣﺎ ﹶﺛَﺒَﺘ ْ‬
‫ﺍﻟﺸ ّ‬
‫ﺇﱃ ﺃﻥ ﺗﻨﻘﻠﺐ ﺫﺍﺗﻴّﺔ‪.‬‬

‫ﺇﻧّﻨﺎ ﻧﺪﺭﻙ ﻣﺎ ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﻳﻨﻘﺺ ﺗﺎﻥ ‪ :‬ﻓﺘﺮﺍﺑﻄﻴّﺘﻪ ﻛﺎﻧﺖ ﲤﻨﻊ ﻋﻠﻴﻪ ﺑﺄﻥ ﻳﻠﻮﺫ ﺑﺎﳊﻜﻢ‬
‫ﺍﳌﹸ ﹶﻔ ﱢﺮ ِﺯ‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﲨﻴﻊ ﻣﺎ ﻗﺪ ﺑﺴﻄﻪ ﻣﻦ ﺷﺮﻭﺡ‪ ،‬ﺇﻧّﻤﺎ ﻛﺎﻥ ﺍﻟﻐﺮﺽ ﻣﻨﻪ ﺃﻥ ﻳﺒﺘﻜﺮ ُﻣﻜﹶﺎ ِﻓﺌﹰﺎ ﺗﺮﺍﺑﻄﻴّﺎ‬
‫ﻟﺬﻟﻚ ﺍﳊﻜﻢ ﺑﻄﺮﻳﻖ ﺃﻓﻌﺎﻝ ﺁﻟﻴّﺔ‪.‬‬

‫ﻭﻣﺎ ﻛﺎﻥ ﻗﺪ ﺳُ ﱢﺪ َﺩ ﰲ ﻣﺴﻌﺎﻩ ﺫﺍﻙ‪ .‬ﺃﻭّﻻ ﻓﺈ ﹼﻥ ﻣﻔﻬﻮﻡ "ﺍﻹﺣﺴﺎﺱ ﺍﳌﻨﺎﻗﺾ)ﻁ( " ﺇﻧّﻤﺎ‬
‫ﻳﺴﺘﻌﲑ ﺳﺮّﺍ‪ ،‬ﻣﻦ ﺍﳊﻜﻢ ﻭﺍﺣﺪﺓ ﻣﻦ ﺻﻔﺎﺗﻪ‪ .‬ﺇﺫ ﻟﻴﺲ ﺇ ﹼﻻ ﺍﳊﻜﻢ ﻭﺣﻜﻢ ﺁﺧﺮ ﳑّﺎ ﳚﻮﺯ ﳍﻤﺎ‬
‫ﺍﻟﺘّﻨﺎﻗﺾ‪ .‬ﻓﺄﻧﺎ ﻻ ﺃﺳﺘﻄﻴﻊ ﺃﻥ ﺃﻗﻮﻝ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﰲ ﺣ ّﻖ ﻣﻮﺿﻮﻉ ﻭﺍﺣﺪ ‪ :‬ﺑﺄﻧّﻪ ﺃﺑﻴﺾ ﻭﺑﺄﻧّﻪ‬
‫ﻟﻴﺲ ﺑﺄﺑﻴﺾ‪ .‬ﺃﻣّﺎ ﺇﺣﺴﺎﺳﺎﻥ ﺍﺛﻨﺎﻥ ﻓﻠﻴﺲ ﻣﻦ ﺷﺄﻬﻧﻤﺎ ﺃﻥ ﻳﺘﻨﺎﻗﻀﺎ ﺍﻟﺒﺘّﺔ‪ :‬ﺑﻞ ﳚﺘﻤﻌﺎﻥ ﰲ‬
‫ﺗﺮﻛﻴﺐ‪ .‬ﻓﻠﻮ ﺃﻧﺎ ﺗﻮﳘﹼﺖ ﺻﻮﺭﺓ ﻣﺮﺑّﻊ ﻗﻤﺎﺷ ّﻲ ﺃﺑﻴﺾ " ﻋﻠﻰﻋﺸﺮ ﺧﻄﻮﺍﺕ "‪ ،‬ﻭﺍﺗّﻔﻖ ﺃﻥ ﻛﺎﻥ‬
‫ﻳﻮﺟﺪ ﻋﻠﻰ ﻧﻔﺲ ﺍﳌﺴﺎﻓﺔ ﻭﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﻣﺮّﺑﻊ ﻗﻤﺎﺷ ّﻲ ﺃﺳﻮﺩ‪ ،‬ﻓﻠﻦ ﻳﻜﻮﻥ ﻫﻨﺎﻙ ﻣﻮﺿﻮﻋﺎﻥ‬
‫ﻱ‬
‫ﻳﺘﻨﺎﺯﻋﺎﻥ ﻟﻴﺒﻄﻞ ﻭﺍﺣﺪ ﻣﻨﻬﻤﺎ ﺍﻵﺧﺮ‪ :‬ﻭﺇﻧّﻤﺎ ﻓﺤﺴﺐ ﺳﻮﻑ ﺃﺭﻯ ﺻﻮﺭﺓ ﻣﺮﺑّﻊ ﻗﻤﺎﺷ ّﻲ ﺭﻣﺎﺩ ّ‬
‫ﺢ ﺑﺄ ﹼﻥ ﺍﻹﺣﺴﺎﺳﺎﺕ ﻭﺍﻟﺼّﻮﺭ ﺇﻧّﻤﺎ ﻳﺘﻨﺎﻓﻴﺎﻥ‪ ،‬ﻓﻼ ﺑ ّﺪ ﺃﻥ ﻧﻜﻮﻥ ﻗﺪ‬
‫ﺍﻟﻠﹼﻮﻥ‪ .‬ﺣﻴﻨﺌﺬ‪ ،‬ﻓﻠﻜﻲ ﻳﺼ ّ‬
‫ﻓﻬﻤﻨﺎ ﻣﻦ ﻋﺒﺎﺭﺓ ﺻﻮﺭﺓ‪ ،‬ﻣﻌﲎ ﺍﳊﻜﻢ)‪.(١١‬‬

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‫ﺐ ﺃﻧﻨّﻲ ﺃﻗﺒﻊ ﰲ ﻏﺮﻓﱵ ﺟﺎﻟﺴﺎ ﻋﻨﺪ‬
‫ﻭﻫﻨﺎﻙ ﻣﻼﺣﻈﺔ ﺃﺧﺮﻯ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﺰﻳﺪ ﺍﻷﻣﺮ ﺑﻴﺎﻧﺎ‪َ .‬ﻫ ْ‬
‫ﻃﺎﻭﻟﱵ‪ .‬ﻓﺘﺮﺩﻋﻠﻰ ﻣﺴﻤﻌﻲ ﺃﺻﻮﺍﺕ ﺧﻔﻴﻔﺔ ﺗﻜﻮﻥ ﺃﺣﺪﺛﺘﻬﺎ ﺍﳋﺎﺩﻣﺔ ﺑﺎﻟﻐﺮﻓﺔ ﺍﺠﻤﻟﺎﻭﺭﺓ‪ .‬ﻭ ﻫﺐ‬
‫ﺃﻧّﲏ ﺁﺧﺬ ﰲ ﺍﻟﻮﻗﺖ ﻧﻔﺴﻪ ﰲ ﺍﻟﺘّﺬﻛ ّﺮ َﺑﱢﻴ َﻦ ﺍﻟﺘﺬﻛﹼﺮﻋﺒﺎﺭﺓ ﻛﻨﺖ ﻗﺪ ﲰﻌﺘﻬﺎ ﺃﻣﺲ ﺍﻷﻭّﻝ‬
‫ﺑﺘﻘﻄﻴﻌﻬﺎ ﻭﻧﱪﻬﺗﺎ ﻭﻃﻨﻴﻨﻬﺎ‪ .‬ﻓﹶﺄﱠﻧﻰﻷﺻﻮﺍﺕ ﺍﻟﻘﺮﻗﻌﺔ ﺍﳋﻔﻴﻔﺔ ﺍﻟﺼّﺎﻋﺪﺓ ﻣﻦ ﺍﻟﻐﺮﻓﺔ ﺍﺠﻤﻟﺎﻭﺭﺓ ﺃﻥ "‬
‫ﺸ َﻲ ﺿﺠﻴﺞ‬
‫ﲣﺰﻝ " " ﺍﻹﺣﺴﺎﺳﺎﺕ ﺍﳌﺘﺠﺪّﺩﺓ " ﻟﻠﻌﺒﺎﺭﺓ‪ ،‬ﻭﻫﻲ ﻟﻴﺴﺖ ﺗُ ﹾﻔ ِﻠﺢُ ﰲ ﺃﻥ ﺗُ َﻐ ﱢ‬
‫ﺍﻷﺻﻮﺍﺕ ﺍﳋﺎﻓﺘﺔ ﺍﳌﺘﺼﺎﻋﺪﺓ ﻣﻦ ﺍﻟﺸّﺎﺭﻉ ؟ ﺃﻓﻠﻴﺲ ﺫﻟﻚ ﻣﻘﺘﻀﺎﻩ ﺃ ﹼﻥ ﺗﻠﻚ ﺍﻹﺣﺴﺎﺳﺎﺕ ﺇﻧّﻤﺎ‬
‫ﻫﻲ ﲤﻴّﺰ ﺑﲔ ﻣﺎ ﻳﻨﺒﻐﻲ ﺧﺰﻟﻪ ﻭﻣﺎﻳﻨﺒﻐﻲ ﺗﺮﻛﻪ ؟ ﻭﺃ ﹼﻥ ﺇﺣﺴﺎﺳﺎﺕ ﺍﻟﻘﺮﻗﻌﺔ ﻫﺬﻩ ﺇﻧّﻤﺎ ﻛﺎﻧﺖ َﺑ ْﻌﺪُ‬
‫ُﺣ ﹾﻜﻤًﺎ ؟ ﻭﺇﻻﹼ‪ ،‬ﻓﺈﻧّﻪ ﻟﻮ ﺗﻘﻴّﺪﻧﺎ ﺑﺼﺮﺍﻣﺔ ﻣﻨﻄﻖ ﻧﻈﺮﻳّﺔ ﺗﺎﻥ‪ ،‬ﻓﻘﺪ ﻛﺎﻥ ﺣﻘﹼﻨﺎ ﺃﻥ ﻧﺼﻴﺐ ﻫﺎﻫﻨﺎ‬
‫ﻫﻠﻮﺳﺔ ﲰﻌﻴّﺔ‪ .‬ﻭ ﺇﻧّﻨﺎ ﻋﻨﺪﺋﺬ‪ ،‬ﺳﻮﻑ ﻧﺼﺎﺩﻑ ﻟﻴﺲ ﻓﻘﻂ ﻣﺎﺋﺔ ﺃﻭ ﺃﻟﻒ ﻣﻦ ﺍﳍﻠﻮﺳﺎﺕ‪ ،‬ﻭﺇﻧّﻤﺎ‬
‫ﻣﺘﺘﺎﻟﻴﺔ ﻻ ﻳﻨﻘﻄﻊ ﻣﻨﻬﺎ ‪.‬ﻷ ﹼﻥ ﺻﻤﺖ ﻏﺮﻓﱵ‪ ،‬ﺃﻭ ﺍﳊﻘﻞ ﻟﻜﻮﻧﻪ ﻟﻴﺲ ﺑﺈﺣﺴﺎﺳﺎﺕ‪ ،‬ﻓﺈﻧّﻪ ﻟﻦ‬
‫ﺻ ْﺒﻨَﺎ ﺑﺎﻟﺼّﻤﻢ ﻟﻘﺪ ﻛﻨّﺎ ﻧﺼﲑ ﳎﻨﻮﻧﲔ‬
‫ﻳﻘﺪﺭ ﻋﻠﻰ ﺃﻥ ﻳﻔﻌﻞ ﺑﻨﺤﻮ ﺍﳋﺎﺯﻝ‪ .‬ﻓﻮﺍﻋﺠﱯ ﺃﻛﻨّﺎ ﻟﻮﹸﺃ ِ‬
‫ﺃﺷ ّﺪ ﺍﳉﻨﻮﻥ ؟‬
‫ﱄ ﳏﺾ‪ ،‬ﻫﻮ ﻻ ﳏﺎﻟﺔ ﻣﻦ ﺳﻨﺦ‬
‫ﻭﻫﻨﺎﻙ ﻟﺪﻯ ﺗﺎﻥ‪ ،‬ﻓﻀﻼ ﻋﻦ ﻣﺬﻫﺒﻪ ﰲ ﺧﺰﻝ ﺁ ﹼ‬
‫ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴﺎ‪ ،‬ﻭﻟﻜﻨّﻪ‪ ،‬ﻣﻊ ﺫﻟﻚ‪ ،‬ﻛﺎﻥ ﻳﺘﻮﺳّﻞ ﺍﳊﻜﻢ‪ُ ،‬ﻣ ْﺒَﺘ َﺪﺃﹲ ﻟﻨﻈﺮﻳّﺔ ﺃﺧﺮﻯ ﰲ ﺍﳋﺰﻝ‪ ،‬ﺗﻌﺘﻤﺪ‬
‫ﺑﻴّﻦ ﺍﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺍﳊﻜﻢ‪ .‬ﻓﻘﺪ ﻛﺘﺐ ﺗﺎﻥ‪:‬‬

‫ﻒ ﻫﻲ‬
‫"ﻓﻔﻀﻼ ﻋﻦ ﺍﻷﺛﻘﺎﻝ ﺍﻟﹼﱵ ﺗﺘﻜﻮّﻥ ﻣﻦ ﺍﻹﺣﺴﺎﺳﺎﺕ‪ ،‬ﻫﻨﺎﻙ ﺇﺣﺴﺎﺳﺎﺕ ﺃﺧﺮﻯ ﺃﺧ ّ‬
‫ﻱ ﻭﻋﻨﺪ ﺍﻟﺼﺤّﺔ ﺃﻥ ﺗﺴﻠﺐ ﺍﻟﺼّﻮﺭﺓ ﺧﺎﺭﺟﻴّﺘﻬﺎ ؛ ﺇﻧّﻬﺎ ﺍﻟﺬﹼﻛﺮﻳﺎﺕ‪.‬‬
‫ﺗﻜﻔﻲ ﰲ ﻭﺿﻊ ﻋﺎﺩ ّ‬
‫ﻭﺍﻟﺬﹼﻛﺮﻳﺎﺕ ﻫﺬﻩ ﻫﻲ ﻧﻔﺴﻬﺎ ﺻﻮﺭ‪ ،‬ﻭﻟﻜﻨّﻬﺎ ﺻﻮﺭ ﻣﻘﺘﺮﻧﺔ ﺑﻴﻨﻬﺎ ﻭﻳﻠﺤﻘﻬﺎ ﻣﻌﲎ ﺍﻟﻘﻬﻘﺮﻳّﺔ ﺍﻟﹼﺬﻱ‬
‫ﺖ ﺑﺎﻟﺘّﺠﺮﺑﺔ ﺗُ ﹾﻘ َﺮﻥﹸ ﻬﺑﺎ؛ ﻭﺍﳉﻤﻠﺔ ﻛﻠﹼﻬﺎ ﻣﻌﺎ‪،‬‬
‫ﻂ ﺍﻟﺰّﻣﻨﻴّﺔ‪ ...‬ﻭﺃﺣﻜﺎﻡ ﻋﺎﻣّﺔ ﺍْﻧﺘُ ِﺰ َﻋ ْ‬
‫ﺻ ﹸﻔﻬَﺎ ﻋﻠﻰ ﺧ ﹼ‬
‫ُﻳ َﺮ ﱢ‬
‫ﺗﻜﻮّﻥ ﻃﺎﺋﻔﺔ ﻣﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﻮﺻﻮﻟﺔ ﺑﻴﻨﻬﺎ‪ ،‬ﻭﺍﳌﻌﺘﺪﻟﺔ ﺑﻌﻀﻬﺎ ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﺑﻌﺾ ﲝﻴﺚ ﻳﻜﻮﻥ‬
‫ﺍﻟﻜ ﹼﻞ ﺫﺍ ﻣﺘﺎﻧﺔ ﺃﻳّﻤﺎ ﻋﻈﻴﻤﺔ ﻓﻴﻔﻴﺾ ﺑﻘﻮّﺗﻪ ﻋﻠﻰ ﻛ ﹼﻞ ﻭﺍﺣﺪ ﻭﺍﺣﺪ ﻣﻦ ﻋﻨﺎﺻﺮﻩ)ﻅ(‪".‬‬

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‫ﻚ ِﻟﻤَﺎ ﻛﺎﻥ ﻗﺪ ﺃﻓﺰﻋﻪ ﻣﺎ ﻳﻠﺰﻡ ﻣﻦ ﺁﺭﺍﺀ ﻋﻦ‬
‫ﺻﺤﻴﺢ ﺃﻧّﻪ ﺑﻌﺪ ﺻﻔﺤﺘﲔ)ﻉ(‪ ،‬ﺗﺎﻥ‪ ،‬ﻻ ﺷ ّ‬
‫ﺷﺮﺣﻪ ﺍﳌﺬﻛﻮﺭ ﻣﻦ ﺳﻘﻮﻁ ﻟﻨﻈﺮﻳّﺘﻪ ﺍﻵﻟﻴّﺔ ﺍﳌﺬﻫﺐ‪ ،‬ﻓﻘﺪ ﺯﺍﺩ ﺑﺎﻟﻘﻮﻝ‪:‬‬

‫" ﺇﺫﺍ ﺻﻮﺭﺓ ﻣﺎ ﺍﻛﺘﺴﺒﺖ ﻛﺜﺎﻓﺔ ﻋﻈﻴﻤﺔ ﻓﺄﺑﻄﻠﺖ ﺍﻹﺣﺴﺎﺱ ﺍﳌﺨﺼﻮﺹ ﺍﻟﹼﺬﻱ ﻫﻮ ﺧﺎﺯﳍﺎ‬
‫ﺍﳋﺎﺹّ‪ ،‬ﻓﻤﻬﻤﺎ ﺑﻘﻲ ﻧﻈﺎﻡ ﺍﻟﺬﹼﻛﺮﻳﺎﺕ ﻭﻣﻬﻤﺎ ﺣﺪﺙ ﻣﻦ ﺃﺣﻜﺎﻡ‪ ،‬ﻓﺈﻧّﻨﺎ ﻧﻜﻮﻥ ﺑﺈﺯﺍﺀ ﻫﻠﻮﺳﺔ؛‬
‫ﻭﺍﳊ ّﻖ ﺃﻧّﻨﺎ ﻧﻜﻮﻥ ﻋﻠﻰ ﺑﻴّﻨﺔ ﻣﻦ ﺃﻧّﻨﺎ ﻬﻧﻠﻮﺱ‪ ،‬ﻟﻜ ّﻦ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻣﻊ ﺫﻟﻚ‪ ،‬ﻟﺘﻈ ﹼﻞ ﺗﻈﻬﺮ ﻛﻮﻬﻧﺎ‬
‫ﺧﺎﺭﺟﻴّﺔ ؛ ﻭﺇﺣﺴﺎﺳﺎﺗﻨﺎ ﺍﻷﺧﺮﻯ ﻭﺳﺎﺋﺮ ﺍﻟﺼّﻮﺭ ﻣﺎ ﺗﻔﺘﺄ ﺗﻜﻮّﻥ ﻣﻌﺎ ﲨﻠﺔ ﺫﺍﺕ ﺍﻋﺘﺪﺍﻝ‪ ،‬ﻭﻟﻜﻦ‬
‫ﺹ ﻬﺑﺎ"‬
‫ﺫﻟﻚ ﺍﳋﺎﺯﻝ ﻻ ﻳﻜﻮﻥ ﺫﺍ ﻛﻔﺎﻳﺔ ﻟﻜﻮﻧﻪ ﻻ ﻳﻜﻮﻥ ﺑﺎﳋﺎﺯﻝ ﺍﳋﺎ ّ‬

‫ﻭﺑﺎﳉﻤﻠﺔ‪ ،‬ﻓﺈ ﹼﻥ ﻧﻈﺮﻳّﺔ ﺍﳌﺨﺘﺰﻻﺕ ﺍﳌﻨﺴﻮﺑﺔ ﻟﺘﺎﻥ ﺇﻧّﻤﺎ ﻫﻲ ﻣﺴﻌﻰ ﻣﻦ ﺃﺟﻞ ﻧﻘﻞ ﺇﱃ ﻣﻌﺎﻥ‬
‫ﺁﻟﻴّﺔ ﻣﺬﻫﺒﺎ ﺃﺷ ّﺪ ﻟﻴﻮﻧﺔ ﻭﺃﻛﺜﺮ ﻋﻤﻘﺎ ﺷﺄﻧﻪ ﺃﻧّﻪ ﻳﻮﻛﻞ ﺇﱃ ﻋﻔﻮﻳّﺔ ﺍﳊﻜﻢ ﺃﻣﺮ ﺍﻟﺘّﻔﺮﻗﺔ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ‬
‫ﺼﻮّﺭ ﺍﻷﺧﲑ ﻫﻮ ﺍﻟﹼﺬﻱ ﺳﻮﻑ ﻧﻨﻈﺮ ﻓﻴﻪ ﺍﻵﻥ‪ ،‬ﻭﻫﻮ ﺍﻟﻮﺣﻴﺪ ﺍﻟﹼﺬﻱ ُﻳ ْﻌَﺘ ﱡﺪ‬
‫ﻭﺍﻹﺣﺴﺎﺱ‪ .‬ﻭﻫﺬﺍ ﺍﻟّﺘ ّ‬
‫ﲏ ﰲ ﺍﳌﺬﻫﺒﲔ ﺍﻵﺧﺮﻳﻦ‪ .‬ﻟﻘﺪ ﻛﺎﻥ ﺍﻋﺘﺮﺿﻨﺎ ﻟﺪﻯ ﺩﻳﻜﺎﺭﺕ‬
‫ﺑﻪ‪ ،‬ﻭ ﻗﺪ ﻛﻨّﺎ ﺃﻟﻔﻴﻨﺎﻩ ﻋﻠﻰ ﳓﻮ ﺿﻤ ّ‬
‫ﰐ‪ .‬ﻭﺍﻵﻥ‪ ،‬ﻓﺎﻷﻣﺮ ﻳﺘﻌﻠﹼﻖ ﺑﺄﻥ ﻧﺸﺮﺡ ﻋﻠﻰ ﳓﻮ‬
‫ﻭﺣﻴﻨﻬﺎ ﻛﻨّﺎ ﺗﺒّﻴﻨّﺎ ﻧﻘﺎﺋﺼﻪ ﺩﺍﺧﻞ ﺍﻟﻨّﺴﻖ ﺍﻟﺪّﻳﻜﺎﺭ ﹼ‬
‫ﺃﻳّﻤﺎ ﻋﺎ ّﻡ ﳌﺎﺫﺍ ﱂ ﻳﻜﻦ ﺫﻟﻚ ﺍﻟﺮّﺃﻱ ﻟﲑﺿﻴﻨﺎ‪.‬‬
‫ﻓﻠﻘﺪ ﻋﺪﻧﺎ ﻓﻴﻪ ﻟﻠﺠﺰﻡ ﺑﺄ ﹼﻥ ﺍﻹﺣﺴﺎﺱ ﻭﺍﻟﺼّﻮﺭﺓ ﳘﺎ ﻳﺘّﺤﺪﺍﻥ ﰲ ﺍﻟﻄﹼﺒﻴﻌﺔ‪ .‬ﻭﻟﻘﺪ ﻋﺪﻧﺎ‬
‫ﻟﻠﺠﺰﻡ ﺑﺄ ﹼﻥ ﺻﻮﺭﺓ ﻣﺎ ﻣﻔﺮﺩﺓ ﻻ ﲤﺘﺎﺯ ﻋﻦ ﺇﺩﺭﺍﻙ ﻣﺎ ﻣﻔﺮﺩ‪ .‬ﻣﺎ ﻋﺪﺍ ﺃﻧّﻪ ﻫﺬﻩ ﺍﳌﺮّﺓ ﻓﻘﺪ ﻭﺿﻌﻨﺎ‬
‫ﺑﺄ ﹼﻥ ﺍﻟﺘّﻔﺮﻗﺔ ﺇﻧّﻤﺎ ﺗﻜﻮﻥ ﻧﺘﻴﺠﺔ ﻟﻔﻌﻞ ُﺣ ﹾﻜ ِﻤ ﱟﻲ ﻣﻦ ﺍﻟﺬﹼﻫﻦ‪ .‬ﺇﻧّﻪ ﺍﳊﻜﻢ ﺍﻟﹼﺬﻱ ﺷﺄﻧﻪ ﺃﻥ ﻳﺒﲏ ﻋﺎﳌﲔ‬
‫ﺍﺛﻨﲔ‪ ،‬ﻋﺎﱂ ﺍﳋﻴﺎﻝ ﻭﻋﺎﱂ ﺍﻟﻮﺍﻗﻊ؛ ﻭﻫﻮ ﺃﻳﻀﺎ ﺍﳊﻜﻢ ﺍﻟﹼﺬﻱ ﺷﺄﻧﻪ ﺃﻥ ﻳﻔﺼﻞ‪ ،‬ﺣﻴﻨﻤﺎ ﻳﻜﺘﻤﻞ‬
‫ﺗﺄﺳﻴﺲ ﺫﻳﻨﻚ ﺍﻟﻌﺎﳌﲔ‪ ،‬ﰲ ﺇﻥ ﻛﺎﻥ ﳏﺘﻮﻯ ﻣﺎ ﻧﻔﺴ ّﻲ ﻳﻨﺒﻐﻲ ﻧﺴﺒﺘﻪ ﺇﱃ ﻫﺬﺍ ﺃﻭ ﺫﺍﻙ ﺍﻟﻌﺎﱂ)‪(١٢‬‬
‫ﻱ ﺧﺼﺎﺋﺺ ُﺗﺮَﻯ ﺳﻮﻑ ُﻳ ﹾﻘﻀَﻰ ﺑﺎﳊﻜﻢ ؟ ﺇ ﹼﻥ ﺫﻟﻚ ﻟﻦ ﻳﻜﻮﻥ ﳑﻜﻨﺎ ﺇ ﹼﻻ‬
‫ﺇ ﹼﻻ ﺃﻧّﻪ ﲝﺴﺐ ﺃ ّ‬
‫ﺑﺎﻋﺘﻤﺎﺩ ﻋﻼﻗﺎﺕ ﺧﺎﺭﺟﻴّﺔ‪ ،‬ﻋﻠﻰ ﻣﻌﲎ‪ ،‬ﺃﻭّﻻ‪ ،‬ﺑﺎﻋﺘﻤﺎﺩ ﻣﻘﻴﺎﺱ ﺿﺮﺏ ﻇﻬﻮﺭ ﻭﲡﺪّﺩ ﻭﺗﺴﻠﺴﻞ‬
‫ﺍﶈﺘﻮﻯ ﺍ ﹸﳌ ْﻌَﺘَﺒﺮِ‪ ،‬ﻭﺛﺎﻧﻴﺎ ﺑﺎﻋﺘﻤﺎﺩ ﻣﻘﻴﺎﺱ ﺗﻄﺎﺑﻖ ﺃﻭ ﻻﺗﻄﺎﺑﻖ ﻧﻔﺲ ﺍﳊﺘﻮﻯ ﻣﻊ ﺍﻟﻌﻮﺍﱂ ﺍﻟﹼﱵ ﻗﺪ‬

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‫ﺃﺳّﺴﻨﺎﻫﺎ‪ .‬ﻓﻤﺎ ﻳﻜﻮﻥ ﻏﲑ ﻣﻮﺍﻓﻖ ﻻﻧﺴﺠﺎﻡ ﻭﻧﻈﺎﻡ ﺍﻟﻌﺎﱂ ﺍﻟﻮﺍﻗﻌﻲّ‪ ،‬ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﻣ ﹼﻜﻨﻨﺎ ﻣﻦ ﺗﺒﻴّﻨﻨﺎ‬
‫ﻟﻪ ﻭﺗﺄﺳﻴﺴﻨﺎ ﺇﻳّﺎﻩ ﻃﻮﻳﻞ ﺗﻌﻠﹼﻢ ﻭﺩﺭﺑﺔ‪ ،‬ﻓﺈﻧّﻨﺎ ﻧﺼﻨّﻔﻪ ﰲ ﺑﺎﺏ ﺍﻟﺬﹼﺍﺗﻴّﺔ ﺍﳋﺎﻟﺼﺔ‪ .‬ﻛﺘﺐ ﺍﻟﺴﻴّﺪ ﺳﺒﲑ‬
‫ﻣﺪﺍﻓﻌﺎ ﻋﻦ ﻫﺬﺍ ﺍﻟﺮّﺃﻱ‪:‬‬
‫ﺴ ّﻲ ﺇﻣّﺎ ﻣﻊ ﻧﺴﻖ ﺍﻟﻌﺎﱂ ﺍﳋﺎﺭﺟ ّﻲ‬
‫" ﺇﻧّﻤﺎ ﺣﻴﻨﻤﺎ ﳓﻜﻢ ﺑﺘﻄﺎﺑﻖ ﺃﻭ ﻻ ﺗﻄﺎﺑﻖ ﳏﺘﻮﻯ ﻣﺎ ﺣ ّ‬
‫ﺍﻟﻔﻌﻠﻲّ‪ ،‬ﺃﻭ ﻣﻊ ﻧﺴﻖ ﺍﻟﺘّﺨﻴّﻞ ) ﻛﺎﻧﺖ ﲡﺎﺭﺏ ﻃﻮﻳﻠﺔ ﻭ ﻣﺘّﺼﻠﺔ ﻗﺪ ﻋﻠﹼﻤﺘﲏ ﺃﻥ ﺃﻓﺮّﻗﻪ ﻣﻦ‬
‫ﺍﻷﻭّﻝ(‪ ،‬ﻭﺇﻧّﻤﺎ ﺣﻴﻨﻤﺎ ﻧﻘﺎﻳﺲ ﺑﻄﺮﻳﻖ ﺍﳊﻜﻢ‪ ،‬ﺃﻭ ﳓﻜﻢ ﺑﺎﻟﺘّﻄﺎﺑﻖ ﺃﻭ ﺍﻟﻼﹼﺗﻄﺎﺑﻖ ﺃﻭ ﺍﻟﻨّﺴﺒﺔ‪ ،‬ﺇﱃ‬
‫ﺫﻟﻚ‪ ...‬ﻓﺈﻧّﻨﺎ ﻧﺼﻨّﻒ ﺇﻧﻄﺒﺎﻋﺎ ﻣﺎ ﻓﻨﻀﻌﻪ ﻣﻦ ﲨﻠﺔ ﺍﻹﺩﺭﺍﻛﺎﺕ ﺍﻟﻮﺍﻗﻌﻴّﺔ ﺃﻭ ﻣﻦ ﲨﻠﺔ‬
‫ﺍﻟﺼّﻮﺭ)ﻍ(‪".‬‬

‫ﻭﻫﻬﻨﺎ ﻳﻨﺒﻐﻲ ﺍﻟﺘّﻨﺒﻴﻪ ﺇﱃ ﺃﻣﺮﻳﻦ‪ :‬ﺃﻭّﻻ‪ ،‬ﺇ ﹼﻥ ﻣﻌﻴﺎﺭ ﺍﳊﻘﻴﻘﺔ ﻗﺪ ﺗﻄﻮّﺭ‪ .‬ﻓﻠﻢ ﻳﻌﺪ ﺍﻷﻣﺮ ﻳﺘﻌﻠﹼﻖ‬
‫ﺕ‪ .‬ﺍﳌﻘﻴﺎﺱ ﻗﺪ ﺃﺻﺒﺢ ﻣﻘﻴﺎﺱ‬
‫ﻼ ِ‬
‫ﺑﻌﻼﻗﺔ ﻣﻄﺎﺑﻘﺔ ﻣﻊ ﻣﻮﺿﻮﻉ ﺧﺎﺭﺟ ّﻲ‪ .‬ﺑﻞ ﳓﻦ ﰲ ﻋﺎﱂ ﻣﻦ ﺍﻟﱠﺘ َﻤﱡﺜ ﹶ‬
‫ﺍﺗّﻔﺎﻕ ﺍﻟﺘﻤﺜﹼﻼﺕ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ‪ .‬ﻭﺑﺬﻟﻚ ﻧﻜﻮﻥ ﻗﺪ ﲣﻠﹼﺼﻨﺎ ﻣﻦ ﺍﻟﻮﺍﻗﻌﻴّﺔ ﺍﻟﺴّﺎﺫﺟﺔ‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﹶﺃﻣَﺎ َﺭ ﹶﺓ‬
‫ﺍﳊﻘﻴﻘﺔ ﻗﺪ ﺑﻘﻴﺖ‪ ،‬ﻣﻊ ﺫﻟﻚ‪ ،‬ﺧﺎﺭﺟﻴّﺔ ﺑﺎﻹﺿﺎﻓﺔ ﻟﻠﺘّﻤﺜﹼﻞ ﻧﻔﺴﻪ‪ :‬ﺇﺫ ﱂ ﻳﺰﻝ َﺑ ْﻌﺪُ ﺇﻧّﻤﺎ ﺑﻄﺮﻳﻖ‬
‫ﺍﳌﻘﺎﺭﻧﺔ‪ ،‬ﳓﻦ ﻧﺘﺒﻴّﻦ ﺇﻥ ﻛﺎﻥ ﲤﺜﹼﻞ ﻣﺎ ﳚﺐ ﺇﺩﻣﺎﺟﻪ ﰲ ﺯﻣﺮﺓ ﺍﻟﻮﺍﻗﻊ ﺃﻡ ﻻ‪.‬‬
‫ﻭﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ‪ ،‬ﻓﺈ ﹼﻥ ﻣﺴﺄﻟﺔ " ﺧﺼﺎﺋﺺ ﺍﻟﺼّﻮﺭﺓ ﺍﺍﳊﻘﻴﻘﻴّﺔ " ﻗﺪ ﺗﻐﻴّﺮ ﻣﻌﻨﺎﻫﺎ ﻋﻤﻴﻖ‬
‫ﺍﻟﺘّﻐﻴّﺮ‪ .‬ﻓﻠﻢ ﻳﻌﺪ ﻫﻨﺎﻙ ﻣﻌﻄﻴﺎﺕ ﻫﻲ " ﺻﻮﺭﺓ " ﻭﻣﻌﻄﻴﺎﺕ ﻫﻲ " ﻣﻮﺿﻮﻉ "‪ .‬ﺑﻞ ﺻﺎﺭ ﺍﻷﻣﺮ‬
‫ﻳﺘﻌﻠﹼﻖ ﺑﺘﺄﺳﻴﺲ ﻧﺴﻖ ﻣﻮﺿﻮﻋﻲ ﺍﺑﺘﺪﺍﺀ ﻣﻦ ﻣﻌﻄﻴﺎﺕ ﳏﺎﻳﺪﺓ‪ .‬ﻓﻌﺎﱂ ﺍﻟﻮﺍﻗﻊ ﻟﻴﺲ ﲟﻮﺟﻮﺩ َﺑ ْﻌﺪُ‬
‫ﺼَﻨﻊُ‪ ،‬ﻭﻳﻌﺘﻮﺭﻩ ﺗﺸﺬﻳﺐ ﺩﺍﺋﻢ ﻭﻫﻮ ﻳﻠﲔ ﻭﻳﺰﺩﺍﺩ ﻏﲎ؛ ﻓﺠﻤﻠﺔ ﻣﺎ ﻛﺎﻧﺖ ُﺗ ﹶﻈ ﱡﻦ ﻟﻮﻗﺖ‬
‫ﻭﺇﻧّﻤﺎ ﻫﻮ ُﻳ ْ‬
‫ﻃﻮﻳﻞ ﺑﺄﻧّﻬﺎ ﻣﻮﺿﻮﻋﻴّﺔ ﻓﻬﺎ ﻫﻲ ﺍﻵﻥ ُﺗ ْﻬ َﻤﻞﹸ؛ ﻭﺑﺎﻟﻌﻜﺲ‪ ،‬ﻫﻨﺎﻙ ﲨﻠﺔ ﺃﺧﺮﻯ‪ ،‬ﻣﻜﺜﺖ ﻟﻮﻗﺖ‬
‫ﻃﻮﻳﻞ ﻣﻔﺮﺩﺓ‪ ،‬ﻓﻬﺎﻫﻲ ﺗُ ْﺪ َﻣﺞُ ﺩﻓﻌﺔ ﰲ ﺍﻟﻨّﺴﻖ‪ .‬ﺇ ﹼﻥ ﻣﺴﺄﻟﺔ ﲤﻴﻴﺰ ﺍﻟﺼّﻮﺭ ﻭﻣﺴﺄﻟﺔ ﺗﺄﺳﻴﺲ‬
‫ﺴﻴّﺔ ﻣﺎ ﻻ ﳝﻜﻦ‬
‫ﺍﳌﻮﺿﻮﻋﻴّﺔ ﻟﻴﺴﺎ ﳘﺎ ﺇ ﹼﻻ ﺷﻴﺌﺎ ﻭﺍﺣﺪﺍ‪ .‬ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﻣﺎﻫﻮ ﻣﻦ ﺑﲔ ﺍﳌﻌﻄﻴﺎﺕ ﺍﳊ ّ‬
‫ﻂ ﺃﺷ ّﺪ ﻧﺄﻳﺎ ﻋﻦ ﺍﻟﻨّﻔﺴ ّﻲ ﳑّﺎ ﳓﻦ‬
‫ﺃﻥ ﻳﻨﺘﻘﻞ ﺇﱃ ﺍﳌﻮﺿﻮﻋ ّﻲ‪ .‬ﻓﺎﻟﺼّﻮﺭﺓ ﻫﻲ ﺍﻟﺬﹼﺍﺗﻴّﺔ‪ .‬ﺇﻧّﻨﺎ ﻣﺎ ﻛﻨّﺎ ﻗ ﹼ‬
‫ﱄ ﻫﻮ ﺍﻟﹼﺬﻱ ﻧﺘﺒﻴّﻦ ﺑﻪ ﻃﺒﻴﻌﺔ ﺍﻟﺼّﻮﺭﺓ ﻣﻦ ﺣﻴﺚ ﻣﺎ‬
‫ﻧﺎﺅﻭﻥ ﺍﻵﻥ ‪ :‬ﻓﻤﻜﺎﻥ ﺃﻥ ﻳﻜﻮﻥ ﺣﺪﺱ ﺃ ّﻭ ﹼ‬

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‫ﻫﻲ ﻛﺬﻟﻚ‪ ،‬ﺻﺎﺭ ﻟﺰﺍﻣﺎ ِﺑﹶﺄ َﺧ َﺮ ٍﺓ ﺃﻥ ﻧﻜﻮﻥ ﻣﻜﺘﺴﺒﲔ ﻟﻨﺴﻖ ﻣﻦ ﺍﻹﺣﺎﻻﺕ ﻻﻣﺘﻨﺎﻫﻲ ﺣﺘّﻰ ﻳﺼﲑ‬
‫ﳑﻜﻨﺎ ﺃﻥ ﻧﻔﺼﻞ ﰲ ﺃ ﹼﻥ ﳏﺘﻮﻯ ﻣﺎ ﺃﻫﻮ ﺻﻮﺭﺓ ﺃﻡ ﺇﺩﺭﺍﻙ‪ .‬ﻭﺑﺎﻟﻄﹼﺒﻊ‪ ،‬ﺇّﻧﻨﺎ ﰲ ﺍﻟﻔﻌﻞ‪ ،‬ﺇﻧّﻤﺎ ﻧﻘﺘﺼﺮ‬
‫ﺤ ﹶﻜ َﻤ ِﺔ ﺍﻟﺼّﻨﻊ‪ ،‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﺫﻟﻚ ﺳﻮﻑ ﻳﻠﺰﻡ ﻋﻨﻪ ﺷﻲﺀ ﺃﻳّﻤﺎ ﺧﻄﲑ‪ :‬ﺃﻻ‬
‫ﻋﻠﻰ ﺑﻌﺾ ﺍﳌﻘﺎﺭﻧﺎﺕ ﻣُ ْ‬
‫ﻼ )‪ (١٣‬ﻟﺬﻟﻚ‪ ،‬ﻛﺎﻥ ﻣﺎﻟﺪﻳﺪﻱ ﻗﺪ ﲢﺪّﺙ‬
‫ﺤَﺘ َﻤ ﹰ‬
‫ﻭﻫﻮ ﺃ ﹼﻥ ﺍﳊﻜﻢ ﺍﻟﺘّﻔﺮﻳﻘ ّﻲ ﻻﻳﻜﻮﻥ ﺃﺑﺪﺍ ﺇ ﹼﻻ ﻣُ ْ‬
‫ﰲ ﺍﳌﻘﺎﻝ ﺍﻟﹼﺬﻱ ﺃﺳﻠﻔﻨﺎ ﺫﻛﺮﻩ ﻋﻦ " ﺍﳋﺼﺎﺋﺺ ﺍﶈﺘﻤﻠﺔ ﻟﻠﺼّﻮﺭﺓ ﺍﳊﻘﻴﻘﻴّﺔ "‪ .‬ﻷ ﹼﻥ ﺍﻟﻴﻘﲔ ﻻ‬
‫ﳝﻜﻦ ﺃﻥ ﻳﻮﺻﻞ ﺇﻟﻴﻪ ﺇ ﹼﻻ ﺑﻌﺪ ﻓﺤﺺ ﻣﻘﺎﺭﻥ ﻳﺴﺘﻤ ّﺮ ﺇﱃ ﻣﺎ ﻻﻬﻧﺎﻳﺔ؛ ﻭﺃﻳﻀﺎ‪ ،‬ﻓﺈ ﹼﻥ ﻧﺴﻖ‬
‫ﺍﻹﺣﺎﻻﺕ ﻫﻮ ﻧﻔﺴﻪ ﻳﺘﻐﻴّﺮ ﺑﺎﺳﺘﻤﺮﺍﺭ‪ .‬ﻓﻤﺜﻼ‪ ،‬ﻟﻮ ﻭﺿﻌ ّﻲ ﻣﻠﺤﺪ ﺍﻋﺘﻨﻖ ﺩﻳﻨﺎ‪ ،‬ﻓﺴﻮﻑ ﻳﻘﺒﻞ‬
‫ﺍﻟﻌﻘﺎﺋﺪ ﻭﻳﺆﻣﻦ ﺑﺎﳌﻌﺠﺰﺍﺕ‪ ،‬ﻭ ﻳﺼﲑ ﻟﻪ ﻧﺴﻖ ﻣﻐﺎﻳﺮ ﻟﻠﹼﺬﻱ ﻛﺎﻥ ﻣﻦ ﻗﺒﻞ‪ .‬ﻧﺼﻞ ِﺇﺫﹰﺍ ﺇﱃ ﻫﺬﻩ‬
‫ﺸﻒُ ﻟﻨﺎ ﺑﻄﺮﻳﻖ‬
‫ﺍﻟﻨّﺘﻴﺠﺔ ﺍﻟﻌﺠﻴﺒﺔ‪ :‬ﻭﻫﻲ ﺃﻧّﻪ ﻓﻀﻼ ﻋﻦ ﺃ ﹼﻥ ﺍﻟﻄﹼﺒﻴﻌﺔ ﺍﻟﻌﻤﻴﻘﺔ ﻟﻠﺼّﻮﺭﺓ ﻟﻴﺴﺖ ﺗُ ﹾﻜ َ‬
‫ﻣﻌﺮﻓﺔ ﺃﻭّﻟﻴّﺔ ﻭﺫﺍﺕ ﻳﻘﲔ‪ ،‬ﻓﺈﻧّﻨﺎ ﻻ ﻧﻜﻮﻥ ﺍﻟّﺒﺘّﺔ ﺫﻭﻭﻱ ﻳﻘﲔ ﺑﺄ ﹼﻥ ﳏﺘﻮﻯ ﻣﺎ ﻧﻔﺴﻴّﺎ ﻛﺎﻥ ﻗﺪ ﻇﻬﺮ‬
‫ﱄ ﺫﺍﺕ ﻳﻮﻡ ﺫﺍﺕ ﺳﺎﻋﺔ ﻛﺎﻥ ﲝ ّﻖ ﺻﻮﺭﺓ‪ .‬ﻓﻠﻘﺪ ﺟﺮّﺩﻧﺎ ﺍﻻﺳﺘﺒﻄﺎﻥ ﻋﻠﻰ ﺍﻟﺘّﻤﺎﻡ ﻣﻦ ﺣﻘﻮﻗﻪ‬
‫ﻟﻔﺎﺋﺪﺓ ﺍﳊﻜﻢ‪ ،‬ﻭﺍﻟﻮﻋﻲ ﻭﻫﻮ ﺑﺈﺯﺍﺀ ﻣﻌﻄﻴﺎﺗﻪ ﻓﺴﻮﻑ ﻳﻘﻒ ﻣﻮﻗﻔﺎ ﻓﺮﺿّﻴﺎ ﲡﺮﺑﻴّﺎ ﻛﺎﻟﹼﺬﻱ ﻣﻦ‬
‫ﻋﺎﺩﺗﻪ ﺍﺗّﺨﺎﺫﻩ ﺇﺯﺍﺀ ﺍﻟﻌﺎﱂ ﺍﳋﺎﺭﺟ ّﻲ‪.‬‬
‫ﺇ ﹼﻥ ﺃﺛﺮ ﺍﻟﺼّﻨﻌﺔ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﺘّﺼﻮّﺭ ﻻ ﳜﻔﻰ ﻋﻠﻰ ﻋﲔ ﺑﺎﺻﺮﺓ‪ .‬ﻓﻼ ﺃﺣﺪ ﻗﺪ ﻳﻘﺒﻞ ﺑﺄﻧّﻪ‬
‫ﳚﺐ ﺃﻥ ﻧﺘﻮﺳّﻞ ﻧﺴﻘﺎ ﻣﻦ ﺍﻹﺣﺎﻻﺕ ﻻﻣﺘﻨﺎﻫﻴﺎ ﺣﺘّﻰ ﻧﺜﺒﺖ ﺍﻟّﺘﻔﺮﻗﺔ ﺑﲔ ﺻﻮﺭﺓ ﻣﺎ ﻭﺇﺩﺭﺍﻙ ﻣﺎ‪.‬‬
‫ﻟﻴﺴﺘﺨﱪ ﻛ ﹼﻞ ﻣﻨّﺎ ﲡﺮﺑﺘﻪ ﺍﻟﺒﺎﻃﻨﻴّﺔ‪ .‬ﻓﺄﻧﺎ ﺟﺎﻟﺲ‪ ،‬ﻭﺃﻛﺘﺐ‪ ،‬ﻭﺃﺭﻯ ﺍﻷﺷﻴﺎﺀ ﺗﻜﺘﻨﻔﲏ؛ ﻗﺪ ﺃﺗﻮﻫّﻢ‬
‫ﻟﱪﻫﺔ ﻣﻦ ﺍﻟﺰّﻣﻦ ﺻﻮﺭﺓ ﺻﺪﻳﻘﻲ ﺑﻄﺮﺱ‪ :‬ﻓﻼ ﻧﻈﺮﻳّﺔ ﻭﺍﺣﺪﺓ ﻣﻦ ﻛ ﹼﻞ ﺍﻟﻨّﻈﺮﻳّﺎﺕ ﺍﻟﹼﱵ ﰲ ﺍﻟﻌﺎﱂ‬
‫ﲟﺎﻧﻌﱵ ﻣﻦ ﺃﻧّﲏ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﺍﻟﹼﺬﻱ ﺗﻈﻬﺮ ﱄ ﻓﻴﻪ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻓﺈﻧّﲏ ﺃﻛﻮﻥ ﻋﺎﺭﻓﺎ ﺑﺄ ﹼﻥ ﺗﻠﻚ ﺇﻧّﻤﺎ‬
‫ﻫﻲ ﺻﻮﺭﺓ‪ .‬ﻭﺍﳌﺜﺎﻝ ﺍﻟﹼﺬﻱ ﺃﻭﺭﺩﻩ ﺳﺒﲑ ﻟﻴﺪﻟﹼﻞ ﺑﻪ ﻋﻠﻰ ﺻﺤّﺔ ﺭﺃﻳﻪ)ﻑ( ﻟﻴﺲ ﺑﺎﳌﻘﻨﻊ‪ .‬ﺇﻧّﻪ ﻳﺘﻌﻠﹼﻖ‬
‫ﲔ ﺧﻔﻴﻒ ﻛﺎﻥ ﻗﺪ ﲰﻌﻪ ﺫﺍﺕ ﻳﻮﻡ ﻭﻫﻮ ﻳﻬ ّﻢ ﺑﺎﳋﺮﻭﺝ‪:‬‬
‫ﺸِﻨ ٍ‬
‫ﺑَ‬

‫»ﻓﺘﺴﺎﺀﻟﺖ ﺃﻫﻮ ﺍﳌﻄﺮ ﺃﺧﺬ ﻳﻬﻄﻞ ؟ ﻓﺤﺪّﺩﺕ ﲰﻌﻲ‪ ،‬ﻭﻛﺮّﺭﺕ ﺍﻟﺘّﺤﺪﻳﺪ‪ .‬ﻓﺎﳒﻠﻰ ﱄ ﺑﺄ ﹼﻥ‬
‫ﺍﻟﺼّﻮﺕ ﰲ ﺩﻭﺍﻡ‪ .‬ﺫﻟﻚ ﻫﻮ ﺃﻭّﻝ ﺗﺒﻴّﻦ ﻭﺗﻠﻚ ﻫﻲ ﺃﻭّﻝ ﺃﻣﺎﺭﺓ‪ .‬ﹼﰒ ﺗﺴﺎﺀﻟﺖ ﻫﻞ ﻫﺬﺍ ﻛﺎﻑ ؟‬

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‫ﱐ ﺷﻲﺀ ﻣﻦ ﺍﻟﻮﻗﺮ‪ .‬ﺫﻫﺒﺖ ﻓﻔﺘﺤﺖ ﺍﻟﻨّﺎﻓﺬﺓ‪ :‬ﻓﻤﺎ ﻭﺟﺪﺕ‬
‫ﻼ‪ .‬ﻷﻧّﻪ ﺭﺑّﻤﺎ ﻛﺎﻥ ﻗﺪ ﻋﺮﺽ ﻷﺫ ﹼ‬
‫ﻛﹼ‬
‫ﻗﻄﺮﺓ ﻣﺎﺀ ﻭﺍﺣﺪﺓ ﻋﻠﻰ ﺻﻔﺤﺔ ﺍﻟﺒّﻠﻮﺭ‪ .‬ﺃﻻ ﻳﻜﻮﻥ ﺍﳌﻄﺮ ﺇﻧّﻤﺎ ﻳﱰﻝ ﻋﻠﻰ ﺍﺳﺘﻘﺎﻣﺔ‪ .‬ﻣﻦ ﹶﺛ ﱠﻢ‬
‫ﻓﺘﺤﺖ ﺍﻟﺒﺎﺑﲔ‪ ،‬ﻭﺍﳓﻨﻴﺖ ﺇﱃ ﺍﳋﺎﺭﺝ‪ ...‬ﺇﱃ ﻏﲑ ﺫﻟﻚ)ﻕ(‪".‬‬

‫ﻂ ﻛ ﹼﻞ ﻫﺬﺍ ﺍﻟﺴّﻌﻲ ﻣﻦ ﺃﺟﻞ ﻓﺮﺯﻩ ﺻﻮﺭﺓ ﻣﻦ ﺇﺩﺭﺍﻙ ؟‬

‫ﻣﻦ ﻣﻨّﺎ‪ ،‬ﻟﻌﻤﺮﻛﻢ‪ ،‬ﻛﺎﻥ ﻗﺪ ﺳﻌﻰ ﻗ ﹼ‬
‫ﻓﻠﻮ ﻛﺎﻧﺖ ﺻﻮﺭﺓ ﺍﻟﺸّﻨﲔ ﻗﺪ ﻋﺮﺿﺖ ﲞﺎﻃﺮﻱ ﻟﺘﺒﻴّﻨﺘﻬﺎ ﻣﻦ ﺍﻷﻭّﻝ ﻋﻠﻰ ﺃﻧّﻬﺎ ﺻﻮﺭﺓ‪ ،‬ﻣﻦ ﻏﲑ‬
‫ﺍﳊﺎﺟﺔ ﻷﻥ ﺃﺗﻔﺤّﺺ ﺍﻟﺒﻠﹼﻮﺭ ﺃﻭ ﺃﻥ ﺃﻓﺘﺢ ﺍﻟﻨّﺎﻓﺬﺓ‪ .‬ﻭﺍﳊ ّﻖ ﺃﻧّﻪ ﻗﺪ ﻧﻘﺒﻞ ﺑﺄ ﹼﻥ ﺍﻟﻘﺼّﺔ ﺍﻟﹼﱵ ﺫﻛﺮﻫﺎ‬
‫ﺱ‬
‫ﺳﺒﲑ ﱂ ﺗﻜﻦ ﻛﻠﹼﻬﺎ ﺍﺧﺘﻼﻗﺎ ﻣﻦ ﺃﺟﻞ ﺍﺳﻨﺎﺩ ﻏﺮﺿﻪ‪ .‬ﻭﻟﻜﻦ ﻫﻨﺎﻙ ﺧﻄﺄ ﺷﻨﻴﻊ ﻛﺎﻥ ﻗﺪ ﺍﻧﺪ ّ‬
‫ﰲ ﺑﺮﻫﺎﻧﻪ‪ .‬ﺇﺫ ﻟﻴﺲ ﻣﻦ ﺃﺟﻞ ﺗﻔﺮﻗﺔ ﺻﻮﺭﺓ ﺍﻟﻘﺮﻗﻌﺔ ﻣﻦ ﺍﻹﺩﺭﺍﻙ ﻗﺪ ﺃﳒﺰﻧﺎ ﻛ ﹼﻞ ﺗﻠﻚ ﺍﻟﺴّﻠﺴﻠﺔ‬
‫ﻣﻦ ﺍﻻﺧﺘﺒﺎﺭﺍﺕ ) ﺍﻟﹼﱵ ﺍﺳﺘﻤ ّﺮ ﺳﺮﺩﻫﺎ ﻋﻠﻰ ﺻﻔﺤﺘﲔ ﻣﻦ ﺍﻟﻜﺘﺎﺏ (‪ :‬ﻭﺇﻧّﻤﺎ ﻣﻦ ﺃﺟﻞ ﲤﻴﻴﺰ‬
‫ﺇﺩﺭﺍﻙ ﺧﺎﻃﺊ ﻣﻦ ﺁﺧﺮ ﺻﺎﺩﻕ)‪ .(١٤‬ﻭﺑﺎﻟﻄﹼﺒﻊ‪ ،‬ﻓﺤﻴﻨﻤﺎ ﳓﻦ ﻧﻜﻮﻥ ﻻ ﻧﻘﺒﻞ ﺑﺎﺧﺘﻼﻑ ﺑﲔ‬
‫ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ ﺇ ﹼﻻ ﺫﻟﻚ ﺍﻟﺬﹼﻱ ﻫﻮ ﺑﲔ ﺍﳋﻄﺄ ﻭﺍﻟﺼّﺪﻕ‪ ،‬ﻓﻼ ﻣﻨﺪﻭﺣﺔ ﻟﻨﺎ ﻣﻦ ﺃﻥ ﻧﺴﻤّﻲ‬
‫ﻛ ﹼﻞ ﺇﺩﺭﺍﻙ ﺧﺎﻃﺊ ﺑﺎﺳﻢ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻭﻫﺬﺍ ﻋﲔ ﻣﺎ ﻟﻴﺲ ﻟﻌﺎﱂ ﺍﻟﻨّﻔﺲ ﺃﻥ ﻳﺮﺿﻰ ﺑﻪ‪ .‬ﻓﹶﺄ ﹾﻥ ﻧُ ْﺪ ِﺭ َﻙ‬
‫ﺸﹶﺄ ﺻﻮﺭﺓ ﺇﻧﺴﺎﻥ‪ ،‬ﻭﺇﻧّﻤﺎ ﻫﻮ ﻓﻘﻂ ﹶﺃ ﹾﻥ ﻧُ ْﺪ ِﺭ َﻙ ﺇﺩﺭﺍﻛﺎ َﺳﱢﻴﺌﹰﺎ‬
‫ﺇﻧﺴﺎﻧﺎ ﻣﻜﺎﻥ ﺷﺠﺮﺓ‪ ،‬ﻟﻴﺲ ﻫﻮ ﹶﺃ ﹾﻥ ﻧُ ْﻨ ِ‬
‫ﺍﻟﺸّﺠﺮﺓ‪ .‬ﻓﻨﺤﻦ ﻻ ﻧﻐﺎﺩﺭ ﻣﺮﺗﺒﺔ ﺍﻹﺩﺭﺍﻙ‪ ،‬ﻭ ﺑﻨﻮﻉ ﻣﺎ‪ ،‬ﺇﻧّﻤﺎ ﻧﻜﻮﻥ ﻧﺪﺭﻙ ﺑﺼﻮﺍﺏ‪ :‬ﻓﺒﺤ ّﻖ‬
‫ﻫﻨﺎﻙ ﻣﻮﺿﻮﻉ ﻋﻠﻰ ﻋﺸﺮ ﺧﻄﻮﺍﺕ ﻣﻨّﻲ ﻣﻨﻐﻤﺴﺎ ﰲ ﺍﻟﻈ ﹼﻞ‪ .‬ﻭﻫﻮ ﲝ ّﻖ ﺟﺴﻢ ﳓﻴﻞ‪ ،‬ﻓﺎﺭﻉ‪،‬‬
‫ﻃﻮﻟﻪ ﻣﺘﺮ ﻭﲦﺎﻧﻮﻥ ﺳﻨﻢ ﺗﻘﺮﻳﺒﺎ‪ ،‬ﺇﱃ ﻏﲑ ﺫﻟﻚ‪ .‬ﻟﻜ ّﻦ ﺧﻄﺄﻧﺎ ﺇﻧّﻤﺎ ﻛﺎﻥ ﰲ ﳓﻮ ﹶﺃ ْﺧ ِﺬﻧَﺎ ﳌﻌﲎ ﺫﺍﻙ‬
‫ﺍﳌﻮﺿﻮﻉ‪ .‬ﻭﻫﻨﺎ ﺃﻳﻀﺎ‪ ،‬ﻓﻠﻤّﺎ ﺃﻧﺎ ﺃﻟﻘﻲ ﺑﺄﺫﱐ ﺣﺘّﻰ ﺃﺗﺒﻴّﻦ ﻫﻞ ﻛﺎﻥ ﺍﻟﹼﺬﻱ ﻗﺪ ﺑﻠﻎ ﻣﺴﻤﻌﻲ ﻫﻮ‬
‫ﲝ ّﻖ ﺻﻮﺕ ﻗﺮﻗﻌﺔ‪ ،‬ﻓﺈﻧّﻤﺎ ﺫﻟﻚ ﰲ ﺍﳊﻘﻴﻘﺔ‪ ،‬ﺇﻧّﻤﺎ ﻣﻔﺎﺩﻩ ﺃﻧّﲏ ﺇﻧّﻤﺎ ﺃﻟﺘﻤﺲ ﺍﻟﺘّﺒﻴّﻦ ﺇﻥ ﻛﺎﻥ ﺍﻟﹼﺬﻱ‬
‫ﻛﻨﺖ ﻗﺪ ﲰﻌﺘﻪ ﻫﻮ ﻗﺮﻗﻌﺔ ﻋﻠﻰ ﺍﻟﺘّﺤﻘﻴﻖ‪ .‬ﻓﺮﺑّﻤﺎ‪ ،‬ﻣﺜﻼ)ﻙ(‪ ،‬ﺃﻧﺎ ﻗﺪ ﺃﺧﺬﺕ ﺻﻮﺗﺎ ﻋﻀﻮﻳّﺎ‪ ،‬ﺃﻭ‬
‫ﺻﻮﺕ َﻧ ﹶﻔﺴِﻲ‪ ،‬ﻋﻠﻰ ﺃﻧّﻪ ﺻﻮﺕ ﺷﻨﲔ ﺍﳌﻄﺮ‪.‬‬

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‫ﻭﻫﺐ ﺃﻧّﻨﺎ ﻗﺒﻠﻨﺎ ﺑﺎﺠﻤﻟﺎﺩﻟﺔ ﰲ ﻧﻔﺲ ﺍﺠﻤﻟﺎﻝ ﺍﻟﹼﺬﻱ ﺍﺗّﺨﺬﻩ ﺳﺒﲑ)‪ (١٥‬ﻓﻠﻴﺖ ﺷﻌﺮﻱ ﻛﻴﻒ‬
‫ﳝﻜﻦ ﺃﻥ ﻧﻘﺒﻞ ﺑﺄ ﹼﻥ ﺍﳊﻜﻢ ﺣﻴﻨﻤﺎ ﻳﻀﻊ ﲤﺜﹼﻼ ﻣﺎ ﺑﲔ ﺍﻟﺼّﻮﺭ‪ ،‬ﻓﺈﻧّﻪ ﻳﺮﻓﻊ ﻋﻨﻬﺎ‪ ،‬ﺩﻓﻌﺔ ﻭﺍﺣﺪﺓ‪،‬‬
‫ﺧﺎﺭﺟﻴّﺘﻬﺎ ؟ ﺗﺎﻥ ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﻗﺪ ﺍﺳﺘﺸﺮﻑ ﺍﻟﺘّﻔﺮﻗﺔ ﺑﻄﺮﻳﻖ ﺍﳊﻜﻢ ﱂ ﻳﺴﻘﻂ ﰲ ﻫﺬﺍ ﺍﻷﻣﺮ‪ ،‬ﺇﺫ‬
‫ﻛﺎﻥ ﻗﺪ ﻛﺘﺐ ﻛﻤﺎ ﻛﻨّﺎ ﺭﺃﻳﻨﺎ‪:‬‬

‫"ﺇ ﹼﻥ ﻧﻈﺎﻡ ﺍﻟﺬﹼﻛﺮﻳﺎﺕ ﻣﻬﻤﺎ ﺑﻘﻲ ﻭﺍﻷﺣﻜﺎﻡ ﻣﻬﻤﺎ ﻧﺸﺄﺕ‪ ،‬ﻓﻨﺤﻦ ﻧﻜﻮﻥ ﺑﺈﺯﺍﺀ ﻫﻠﻮﺳﺔ؛ ﻭﺍﳊﻘﻴﻘﺔ‬
‫ﳓﻦ ﻧﻌﻠﻢ ﺃﻧّﻨﺎ ﻬﻧﻠﻮﺱ‪ ،‬ﻭﻣﻊ ﺫﻟﻚ ﻓﺈ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻣﺎ ﺗﻐﺎﺩﺭ ﺗﻈﻬﺮ ﺧﺎﺭﺟﻴّﺔ"‬

‫ﻭﻫﻮ ﻣﺎ ﻳﺸﺒﻪ ﺃﻥ ﻳﻜﻮﻥ ﻭﺍﺟﺒﺎ ﺃﻥ ﳛﺼﻞ ﺃﻳﻀﺎ ﰲ ﻓﺮﺿﻴّﺔ ﺍﻟﺴّﻴﺪ ﺳﺒﲑ ‪ :‬ﻓﺄﻧﺎ ﻟﻮ ﺃﺑﺼﺮﺕ‬
‫ﺇﻧﺴﺎﻧﺎ ﺟﺎﻟﺴﺎ ﻗﺪّﺍﻣﻲ‪ ،‬ﻓﻌﺴﻰ ﺣﻜﻤﻲ ﺃﻥ ﻳﻘﻨﻌﲏ ﺑﺄ ﹼﻥ ﺍﻷﻣﺮ ﺇﻧّﻤﺎ ﻳﺘﻌﻠﹼﻖ ﺑﺮﺅﻳﺎ‪ ،‬ﺃﻭ ﺑﺸﺒﺢ ؛ ﻭﻣﻊ‬
‫ﺫﻟﻚ ﻓﺄﻧﺎ ﻷﻇ ﹼﻞ ﺃﺷﺎﻫﺪ ﺇﻧﺴﺎﻧﺎ ﺟﺎﻟﺴﺎ ﻗﺪّﺍﻣﻲ‪ .‬ﺭﺑّﻤﺎ ﺳﻮﻑ ﻧﻘﻮﻝ ﺑﺄ ﹼﻥ ﺍﳊﻜﻢ ﻫﻮ ﻳﻘﻄﹼﻊ ﻭﻳﺒﲏ‬
‫ﺑﺎﻟﺘّﺴﺎﻭﻕ ﺍﳋﺎﺭﺟﻴّﺔ ﻭﺍﻟﺒﺎﻃﻨﻴّﺔ ﻣﻦ ﳏﺘﻮﻳﺎﺕ ﻧﻔﺴﻴّﺔ ﳏﺎﻳﺪﺓ ؟ ﻓِﺈﺫﹰﺍ ﺫﻟﻚ ﻳﻜﻮﻥ ﺧﺮﻭﺟﺎ ﻋﻦ ﺣ ّﺪ‬
‫ﺍﳌﻌﻘﻮﻝ‪ ،‬ﻭﻋﻦ ﺣ ّﺪ ﺍﳌﻌﻄﻴﺎﺕ ﺍﳊﺎﻟﻴّﺔ ﳌﺴﺄﻟﺔ ﺍﻹﺩﺭﺍﻙ‪.‬‬
‫ﺢ ﰲ ﺑﻌﺾ ﺍﻷﻭﻗﺎﺕ؛ ﺇ ﹼﻻ ﺃﻧّﻬﺎ ﰲ ﺟ ﹼﻞ‬
‫ﻀ ِﻊ ﺃ ﹼﻥ ﻫﺬﻩ ﺍﻟﻄﹼﺮﻳﻘﺔ ﰲ ﺍﻟﺘّﻔﺮﻗﺔ ﻗﺪ ﺗﺼ ّ‬
‫ﻭِﻟَﻨ َ‬
‫ﺍﻟﻮﻗﺖ ﻫﻲ ﻏﲑ ﺫﺍﺕ ﺟﺪﻭﻯ‪ .‬ﺃﻭّﻻ‪ ،‬ﻭﻏﺎﻟﺒﺎ‪ ،‬ﻓﺸﺄﻬﻧﺎ ﺃﻥ ﲡﻌﻠﻨﺎ ﻧﺄﺧﺬ ﺇﺩﺭﺍﻛﺎﺕ ﻣﺎ ﻋﻠﻰ ﺃﻧّﻬﺎ‬
‫ﺻﻮﺭ‪ .‬ﻭﺫﻟﻚ ﻷﻧّﻪ‪ ،‬ﰲ ﻛ ﹼﻞ ﺁﻥ‪ ،‬ﻫﻮ ﻳﻨﺸﺄ ﺣﻮﻟﻨﺎ ﻃﺎﺋﻔﺔ ﻣﻦ ﺃﻋﺮﺍﺽ ﺻﻐﲑﺓ ﻏﺮﻳﺒﺔ‪ ،‬ﻭﻣﻮﺍﺿﻴﻊ‬
‫ﺗﺘﺤﺮّﻙ ﰲ ﻇﺎﻫﺮﻫﺎ ﲟﻔﺮﺩﻫﺎ‪ ،‬ﻭﺗﺼﻮّﺕ ﺃﻭ ﺗﺌﻦّ‪ ،‬ﻭ ﺗﻈﻬﺮ ﺃﻭ ﺗﻐﻴﺐ‪ ،‬ﺇﱃ ﻏﲑ ﺫﻟﻚ‪ .‬ﻭ ﻫﺬﻩ‬
‫ﺍﻷﺣﺪﺍﺙ ﺍﻟﺴّﺤﺮﻳّﺔ ﻛﻠﹼﻬﺎ ﳝﻜﻦ ﺗﻔﺴﲑﻫﺎ ﺑﺄﺩﱏ ﺗﺄﻣّﻞ‪ ،‬ﻭﻟﻜﻦ‪ ،‬ﻛﺎﻥ َﺣ ﱡﻘﻬَﺎ‪ ،‬ﰲ ﺃﻭّﻝ ﻭﻫﻠﺔ‪ ،‬ﺃﻥ‬
‫ُﺗ ْﺒ ِﻬَﺘﻨَﺎ‪ .‬ﻟﻘﺪ ﻛﺎﻥ ﺣﻘﹼﻨﺎ ﺃﻥ ﻳﻌﺮﺽ ﻟﻨﺎ ﻣﻴﻞ‪ ،‬ﻭﻟﻮ ﻟﻠﺤﻈﺔ ﻣﻦ ﺍﻟﺰّﻣﻦ‪ ،‬ﺇﱃ ﺃﻥ ﻧﺼﻨّﻔﻬﺎ ﻣﻦ ﺑﲔ‬
‫ﺍﻟﺼّﻮﺭ‪ .‬ﻓﺄﻧﺎ‪ ،‬ﻣﺜﻼ‪ ،‬ﻟﻘﺪ ﻛﻨﺖ ﻣﺘﺄﻛﹼﺪﺍ ﺃﻧّﲏ ﻗﺪ ﻭﺿﻌﺖ ﻗﺒّﻌﱵ ﰲ ﺍﳋﺰﺍﻧﺔ‪ ،‬ﻭﻫﺎ ﺃﻧﺎ ﺍﻵﻥ‬
‫ﻚ ﰲ ﻧﻔﺴﻲ ؟ ﻭﺃﺭﻓﻊ ﻋﻘﲑﰐ " ﻫﺬﺍ ﺃﻣﺮ ﻻ ﺗﺼﺪّﻗﻪ‬
‫ﹶﻟﹶﺄ ِﺟ ُﺪﻫَﺎ ﻓﻮﻕ ﺍﻟﻜﺮﺳ ّﻲ‪ .‬ﹶﺃ ﹶﻓﻜﹸ ْﻨﺖُ ﺳﻮﻑ ﺃﺷ ّ‬
‫ﺴ ﱢﻠ َﻤﻪُ‬
‫ﻼ ﺍﻟﺒﺘّﺔ‪ .‬ﻓﺮﺑّﻤﺎ ﺃﹸْﻧ ِﻬﻚُ ﻧﻔﺴﻲ ﰲ ﺗﻌﻘﹼﺐ ﻣﻌﺮﻓﺔ ﺍﻷﺳﺒﺎﺏ ‪ :‬ﻭﻟﻜﻦ‪ ،‬ﻣﺎ ﺃﺑﻘﻰ ﻣَُﺘ َ‬
‫ﻋﻴﻨﺎﻱ "‪ ،‬ﻛ ﹼ‬
‫ﻛ ﹼﻞ ﺍﻟﺘّﺴﻠﻴﻢ ﻣﻦ ﺃﻭّﻝ ﺍﻟﺘّﺄﻣّﻞ ﺇﱃ ﺁﺧﺮﻩ‪ ،‬ﻣﻦ ﻏﲑ ﺃﻥ ﺃﺟﺸّﻢ ﻧﻔﺴﻲ ﻣﺸﻘﹼﺔ ﺍﻟﺬﹼﻫﺎﺏ ﻷﳌﺲ‬

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‫ﺍﻟﻘﻤﺎﺵ‪ ،‬ﻫﻮ ﺃ ﹼﻥ ﺍﻟﻘﺒّﺎﻋﺔ ﺍﻟﹼﱵ ﺃﺭﺍﻫﺎ‪ ،‬ﺇﻧّﻤﺎ ﻫﻲ ﻋﻠﻰ ﺍﻟﺘّﺤﻘﻴﻖ ﻟﻘﺒّﻌﱵ ﺃﻧﺎ ﺍﻟﻮﺍﻗﻌﻴّﺔ‪ .‬ﻣﺜﺎﻝ ﺁﺧﺮ‪،‬‬
‫ﻓﺄﻧﺎ ﻛﻨﺖ ﺃﺧﺎﻝ ﺃ ﹼﻥ ﺻﺪﻳﻘﻲ ﺑﻄﺮﺱ ﰲ ﺃﻣﺮﻳﻜﺎ‪ .‬ﻓﺈﺫﺍ ﰊ ﺃﶈﻪ ﰲ ﺯﺍﻭﻳﺔ ﻣﻦ ﺍﻟﺸّﺎﺭﻉ‪ .‬ﺃﻓﻜﻨﺖ‬
‫ﻼ ﺍﻟﺒﺘّﺔ‪ :‬ﺑﻞ ﺃﻭّﻝ ﻓﻌﻞ ﻣﻨّﻲ ﺳﻮﻑ ﻳﻜﻮﻥ ﺃﻥ ﺁﺧﺬ ﰲ‬
‫ﺳﻮﻑ ﺃﻗﻮﻝ " ﺇﻧّﻤﺎ ﺫﻟﻚ ﺻﻮﺭﺓ "‪ ،‬ﻛ ﹼ‬
‫ﺍﻟﺘﻤﺎﺱ ﳌﺎﺫﺍ ﻫﻮ ﻗﺪ ﻋﺎﺩ ﻣﻦ ﻫﻨﺎﻙ ‪ :‬ﺭﺑّﻤﺎ ﻛﻨّﺎ ﻗﺪ ﺩﻋﻮﻧﺎﻩ ؛ ﺃﻭ ﺭﺑّﻤﺎ ﺃﺣﺪ ﺃﻗﺎﺭﺑﻪ ﻗﺪ ﺃﺧﺬﺗﻪ‬
‫ﻋﻠﹼﺔ‪ ،‬ﺇﱃ ﻏﲑ ﺫﻟﻚ‪ .‬ﻣﺜﺎﻝ ﺁﺧﺮ‪ ،‬ﺇﻧّﻲ ﺃﺫﻛﺮ ﺃﻧّﲏ ﻻﻗﻴﺖ ﺫﺍﺕ ﻳﻮﻡ ﺻﺪﻳﻘﺎ ﱄ ﻗﺪﳝﺎ ﻣﻦ ﺃﺻﺪﻗﺎﺀ‬
‫ﺍﳌﻌﻬﺪ ﻛﻨﺖ ﺃﻇﻨّﻪ ﺃﻧّﻪ ﻛﺎﻥ ﻗﺪ ﻗﻀﻰ ﳓﺒﻪ‪ .‬ﻭﺍﻟﻮﺍﻗﻊ ﺃﻧّﻪ ﻛﺎﻥ ﻗﺪ ﺣﺼﻞ ﺿﺮﺏ ﻣﻦ ﺍﻟﻌﺪﻭﻯ‬
‫ﺑﲔ ﺫﻛﺮﻳﲔ ﺍﺛﻨﺘﲔ‪ ،‬ﻭﺭﺑّﻤﺎ ﺃﻧﺎ ﻛﻨﺖ ﺳﻮﻑ ﺃﻗﺴﻢ ﺑﺄﻧّﲏ ﻟﻘﺪ ﻛﺎﻥ ﻭﺻﻠﲏ ﺇﻋﻼﻡ ﲟﻮﺗﻪ‪ .‬ﻓﻬﺬﺍ‬
‫ﺍﻹﻋﺘﻘﺎﺩ ﻟﻴﺲ ﳝﻨﻊ ﺍﻟﺒﺘّﺔ ﻣﻦ ﺃﻥ ﳜﻄﺮ ﺑﺒﺎﱄ ﺃﻭّﻝ ﻣﺎ ﺃﻛﻮﻥ ﻗﺪ ﺭﺃﻳﺘﻪ ﻫﺬﺍ ﺍﳋﺎﻃﺮ " ﻓِﺈﺫﹰﺍ ﺇﻧّﻤﺎ ﺃﻧﺎ‬
‫ﻛﻨﺖ ﻋﻠﻰ ﺿﻼﻝ‪ :‬ﻟﻴﺲ ﻫﻮ ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﻗﺪ ﻣﺎﺕ‪ ،‬ﺑﻞ ﻟﻌﻠﹼﻪ ﻛﺎﻥ ﺃﻧﺘﺎﻝ‪ ،‬ﻭﻫﻜﺬﺍ‪ " .‬ﻓِﺈ ﹶﻻ َﻡ‬
‫ﻧﺮﻳﺪ ﺃﻥ ﻧﺼﻞ ؟ ﺇﱃ ﻫﺬﺍ‪ :‬ﺇﻧّﻬﺎ ﻟﻴﺴﺖ ﺍﻟﺒﻮﺍﻋﺚ ﺍﻟﻌﻘﻼﻧّﻴﺔ ﺍﻟﹼﱵ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﻀﻊ ﺇﺩﺭﺍﻛﺎﺗﻨﺎ‬
‫ﺴ ﱢﺪﺩُ ﺃﺣﻜﺎﻣﻨﺎ ﻭﺍﺳﺘﺪﻻﻻﺗﻨﺎ‪ .‬ﺇﻧّﻤﺎ‬
‫ﻣﻮﺿﻊ ﺷﻚّ‪ ،‬ﺑﻞ‪ ،‬ﺑﺎﻟﻌﻜﺲ‪ ،‬ﺇﻧّﻤﺎ ﻫﻲ ﺇﺩﺭﺍﻛﺎﺗﻨﺎ ﺍﻟﹼﱵ ﺗُ ﹶﻘﱢﻴﺪُ ﻭﺗُ َ‬
‫ﲝﺴﺒﻬﺎ ﻫﻲ ﺇﻧّﻤﺎ ﻧُ ﹶﻜﱢﻴﻒُ ﺑﺎﺳﺘﻤﺮﺍﺭ ﺃﻧﺴﺎﻗﻨﺎ ﺍﳌﺮﺟﻌﻴّﺔ‪ .‬ﻓﺄﻧﺎ ﻗﺪ ﺃﻛﻮﻥ ﻣﻘﺘﻨﻌﺎ ﲟﻮﺕ ﺱ ﺃﻭ ﺑﺴﻔﺮﻩ‬
‫ﺇﱃ ﻣﻜﺎﻥ ﺑﻌﻴﺪ‪ :‬ﻓﺈﻥ ﺍﺗّﻔﻖ ﺃﻥ ﺭﺃﻳﺘﻪ‪ ،‬ﻓﺈّﻧﻲ ﺃﺭﺍﺟﻊ ﺣﻴﻨﺌﺬ ﺃﺣﻜﺎﻣﻲ‪ .‬ﺍﻹﺩﺭﺍﻙ ﻫﻮ ﺍﻟﻴﻨﺒﻮﻉ ﺍﻷﻭّﻝ‬
‫ﻟﻠﻤﻌﺮﻓﺔ؛ ﻭﻫﻮ ﺍﻟﹼﺬﻱ ُﻳﻔِﻴ ُﺪﻧَﺎ ﺑﺎﳌﻮﺍﺿﻴﻊ ﻧﻔﺴﻬﺎ؛ ﺇﻧّﻪ ﺃﺣﺪ ﺍﻷﻧﻮﺍﻉ ﺍﻷ ّﻡ ﻣﻦ ﺍﳊﺪﺱ‪ ،‬ﺫﻟﻚ ﺍﻟﹼﺬﻱ‬
‫ﺲ ﺑﻪ ﺟﻴّﺪ ﺍﻹﺣﺴﺎﺱ‬
‫ﻳﻄﻠﻖ ﻋﻠﻴﻪ ﺍﻷﳌﺎﻥ ﺍﺳﻢ " ﺍﳊﺪﺱ ﺍﳌﻌﻄﻲ ﺍﻷﺻﻠ ّﻲ)‪ ،(16‬ﻭﺇﻧّﻨﺎ ﻟﻨﺤ ّ‬
‫ﲝﻴﺚ ﺃ ﹼﻥ ﳓﻮ ﺗﻨﺎﻭﻝ ﺍﻟﺬﹼﻫﻦ ﻟﻪ ﳍﻮ ﻋﻠﻰ ﻋﻜﺲ ﻣﺎ ﻛﺎﻥ ﻗﺪ ﻭﺻﻔﻪ ﺳﺒﲑ‪ :‬ﻓﻨﺤﻦ ﻻ ﻧﺘﻌﻘﹼﺐ‬
‫ﻋﻴﻮﺑﻪ‪ ،‬ﺑﻞ‪ ،‬ﺑﺎﻟﻌﻜﺲ‪ ،‬ﺇﻧّﻪ ﺣﺎﳌﺎ ﻳﻈﻬﺮ ﻓﺈﻧّﻨﺎ ﻻ ﻧﻄﻠﺐ ﺇ ﹼﻻ ﺍﻟﺘﻤﺎﺱ ﺍﳊﺠّﻪ ﻟﻪ ﺑﺸﺘّﻰ ﺍﻟﻄﹼﺮﻕ‪.‬‬
‫ﻭ ِﻣ َﻦ ﺍﻟﻨّﺎﺱ ﻣﻦ ﺇﺫﺍ ﺗﻮﻫّﻢ ﺃﻧّﻪ ﻗﺪ ﺷﺎﻫﺪ ﺑﻄﺮﺱ‪ ،‬ﻭﻫﻮ ﻣﻦ ﺍﶈﺎﻝ ﺃﻥ ﻳﻜﻮﻥ ﻣﻮﺟﻮﺩﺍ ﺑﻔﺮﻧﺴﺎ‪،‬‬
‫)ﻷﻧّﻨﺎ ﻛﻨّﺎ ﻗﺪ ﺭﺃﻳﻨﺎﻩ ﺃﲝﺮ ﺇﱃ ﻧﻴﻮﺭﻙ ﻣﻦ ﺛﻼﺛﺔ ﺃّﻳﺎﻡ (‪ ،‬ﻟﻴﺘّﺨﺬ ﺃﺷ ّﺪ ﺍﳊﺠﺞ ﺳﻔﺴﻄﺎﺋﻴّﺔ ﻭﻬﺗﺎﻓﺘﺎ‬
‫ﻣﻦ ﺃﺟﻞ ﺇﺛﺒﺎﺕ ﺻﺪﻕ ﺇﺩﺭﺍﻛﺎﺗﻪ ) ﺍﳋﺎﻃﺌﺔ( ﺿ ّﺪ ﺣﺤﺞ ﺍﻟﻌﻘﻞ‪.‬‬

‫ﺇﱃ ﺫﻟﻚ ﻭﺑﻄﺮﻳﻖ ﺍﻟﻌﻜﺲ‪ ،‬ﻓﺈ ﹼﻥ ﻫﺬﻩ ﺍﻟﻄﹼﺮﻳﻘﺔ ﰲ ﺍﻟﺘّﻔﺮﻗﺔ ﻫﻲ ﰲ ﺟ ﹼﻞ ﺍﻟﻮﻗﺖ ﺟ ّﺪ ﻗﺎﺻﺮﺓ‬
‫ﻋﻠﻰ ﻛﺸﻒ ﺍﻟﺼّﻮﺭﺓ ﻋﻠﻰ ﺃﻧّﻬﺎ ﺻﻮﺭﺓ‪ .‬ﻷﻧّﻪ‪ ،‬ﻟﻜﻲ ﺗﻔﻠﺢ ﰲ ﺫﻟﻚ‪ ،‬ﻓﺈﻧّﻪ ﺳﻮﻑ ﻳﻜﻮﻥ ِﻟﺰَﺍﻣًﺎ ﺃﻥ‬

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‫ﺗﻜﻮﻥ ﺍﻟﺘّﺨﻴّﻼﺕ‪ ،‬ﰲ ﻏﺎﻟﺐ ﺍﻟﻮﻗﺖ ﺳﺤﺮﻳّﺔ‪ ،‬ﻣﻀﻄﺮﺑﺔ‪ ،‬ﻭﻏﻨﺎﺋﻴّﺔ‪ ،‬ﻭﲣﺘﻠﻒ ﻋﻦ ﺍﻹﺩﺭﺍﻛﺎﺕ‬
‫ﺍﻟﻴﻮﻣﻴّﺔ ﺃﻳّﻤﺎ ﺇﺧﺘﻼﻑ ﺣﺘّﻰ ﳝﻜﻦ ﻟﻠﺤﻜﻢ ﻣﻦ ﺃﻥ ﻳﻔﺼﻠﻬﺎ ﻣﻦ ﻋﺎﱂ ﺍﻟﻮﺍﻗﻊ ﻓﺼﻼ ﻋﻠﻰ ﻗﺪﺭ ﻣﺎ‬
‫ﱄ ﺍﻟﹼﺬﻱ ﺃﻋﻴﺶ ﻓﻴﻪ ؟‬
‫ﻱ ﺷﻲﺀ ﻫﻮ‪ ،‬ﻋﻠﻰ ﺍﳉﻤﻠﺔ‪ ،‬ﺍﻟﻌﺎﱂ ﺍﳋﻴﺎ ﹼ‬
‫ﻣﻦ ﺍﻻﺣﺘﻤﺎﻝ‪ .‬ﺑﻞ ﻣﻜﺎﻥ ﺫﻟﻚ‪ ،‬ﺃ ّ‬
‫ﻓﺄﻧﺎ ﺃﺗﺮ ﹼﻗﺐ ﺻﺪﻳﻘﻲ ﺑﻄﺮﺱ ﺍﻟﹼﺬﻱ ﻗﺪ ﻳﻘﺪﻡ ﺑﲔ ﺍﻟﻔﻴﻨﺔ ﻭﺍﻷﺧﺮﻯ‪ ،‬ﻓﺄﲤﺜﹼﻞ ﻭﺟﻬﻪ؛ ﻭﺍﻟﺒﺎﺭﺟﺔ‬
‫ﻛﻨﺖ ﻗﺪ ﺫﻫﺒﺖ ﺇﱃ ﻳﻮﺣﻨّﺎ ﻭﺍﻵﻥ ﺃﻧﺎ ﺃﺫﻛﺮ ﻟﺒﺎﺳﻪ‪ .‬ﹼﰒ ﺁﺧﺬ ﺑﻌﺪﻫﺎ ﰲ ﺗﺬﹼﻛﺮ ﻗﻤﻴﺼﻲ ﺑﺎﳋﺰﺍﻧﺔ‪،‬‬
‫ﻭﺩﻭﺍﰐ‪ ،‬ﻭﻫﻜﺬﺍ‪ .‬ﻓﻜ ﹼﻞ ﺗﻠﻚ ﺍﻟﺼّﻮﺭ ﺍﳌﺄﻟﻮﻓﺔ ﻟﻴﺲ ﻳﻌﺎﻧﺪﻫﺎ ﺷﻲﺀ ﻣﻦ ﺍﻟﻮﺍﻗﻊ‪ .‬ﺇ ﹼﻥ ﺑﺎﺏ ﺍﻟﺒﻬﻮ‬
‫ﻳﻔﺘﺢ ﻋﻠﻰ ﻇﻠﻴﻞ‪ .‬ﻓﻼ ﺷﻲﺀ ﳝﻨﻌﲏ ﻣﻦ ﺃﻥ ﺃﲣﻴّﻞ ﺻﻮﺭﺓ ﺑﻄﺮﺱ ﰲ ﻗﻌﺮ ﺍﻟﻈﹼﻠﻤﺔ‪ .‬ﻭﻟﻮ ﻭﻗﻊ‬
‫ﻚ ﰲ ﺣﻘﻴﻘﺔ‬
‫ﺫﻟﻚ‪ ،‬ﻓﺈ ﹼﻥ ﺑﻄﺮﺱ ﳌﹼﺎ ﻛﺎﻥ ﻋﻨﺪﻩ ﻣﻔﺘﺎﺡ ﺍﳌﱰﻝ‪ ،‬ﻓﻠﻴﺲ ﻣﻦ ﺳﺒﺐ ﺍﻟّﺒﺘّﺔ ﻟﻜﻲ ﺃﺷ ّ‬
‫ﻚ ﺑﻌﺪ ﺃﻥ‬
‫ﺠ ْﺒ َ‬
‫ﺗﻠﻚ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻭﻟﻘﺎﺋﻞ ﺃﻥ ﻳﻘﻮﻝ‪ ،‬ﻓﻬﺐ ﺃﻧّﻪ ﱂ ﻳﻘﺘﺮﺏ ﻣﻨﻚ ؟ ﻭﻫﺐ ﺃﻧّﻪ ﱂ ﻳُ ِ‬
‫ﺗﻜﻮﻥ ﻗﺪ ﺩﻋﻮﺗﻪ ﻭﻫﺐ ﺃﻧّﻪ ﻗﺪ ﺍﺩّﺛﺮ ﺩﻓﻌﺔ ؟ ﺻﺤﻴﺢ ﺇﻧّﲏ ﻋﻨﺪﺋﺬ ﺳﻮﻑ ﹶﺃ ُﻋ ﱡﺪ ﺷﺨﺺ ﺑﻄﺮﺱ‬
‫ﻕ ﺑﺄﻧّﻪ ﻛﺎﻥ ﻗﺪ ﺍﺗّﺨﺬ ﻣﺜﻞ ﺗﻠﻚ‬
‫ﺼ ْﺪ ٍ‬
‫ﻋﻠﻰ ﺃﻧّﻪ ﻫﻠﻮﺳﺔ‪ .‬ﻭﻟﻜﻦ ﻣﻦ ﻣﻨّﺎ ﺳﻮﻑ ﳚﺴﺮ ﺑﺎﳉﺰﻡ ﺑ ِ‬
‫ﺍﻟﻄﹼﺮﻕ ﻣﻦ ﺃﺟﻞ ﺃﻥ ﻳﺼﻨّﻒ ﻇﻬﻮﺭﺍ ﻣﺎ ﰲ ﲨﻠﺔ ﺍﻟﺼّﻮﺭ ﺃﻭ ﺍﻹﺩﺭﺍﻛﺎﺕ ؟ ﻓﻔﻲ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﺇ ﹼﻥ ﺗﻮﺍﱄ‬
‫ﺍﻟﺼّﻮﺭ‪ ،‬ﰲ ﻣﻌﻈﻢ ﺍﻟﻮﻗﺖ‪ ،‬ﺇﻧّﻤﺎ ﺗﻨﺘﻈﻢ ﲝﺴﺐ ﺗﺘﺎﱄ ﺇﺩﺭﺍﻛﺎﺗﻨﺎ‪ ،‬ﻭﻣﺎ ﻧﺘﺨﻴّﻠﻪ ﺇﻧّﻤﺎ ﻳﺘﻘﺪّﻡ ﻗﻠﻴﻞ‬
‫ﺍﻟﺘّﻘﺪّﻡ ﻣﺎ ﺳﻮﻑ ﳛﺪﺙ‪ ،‬ﺃﻭ ﻳﻌﻘﺐ ﺑﻘﻠﻴﻞ ﻣﺎ ﻛﺎﻥ ﻗﺪ ﺣﺪﺙ‪ .‬ﺣﻴﺌﺬ‪ ،‬ﻓﺈ ﹼﻥ ﺍﻹﺩﺭﺍﻙ ﺳﻮﻑ‬
‫ﻳﺼﺒﺢ ﰲ ﻛ ﹼﻞ ﳊﻈﺔ ﻏﺰﻭﺍ ﻟﻠﺤﻠﻢ‪ ،‬ﻭﻭﺭﺑّﻤﺎ ﻛﻨّﺎ ﻗﺪ ﻧﺘﻮﺭّﻁ ﺑﺎﺳﺘﻤﺮﺍﺭ ﰲ ﻧﻔﻲ ﺣﻘﻴﻘﺔ ﺻﻮﺭﺓ‬
‫ﺼ ٍﻞ‪.‬‬
‫ﻣﻌﻴّﻨﺔ‪ ،‬ﺠﻤﻟﺮّﺩ ﺩﻋﺎﻭﻱ‪ ،‬ﻭﺃﻥ ﻧﺜﺒﺖ ﻭﺟﻮﺩ ﺻﻮﺭﺓ ﺃﺧﺮﻯ ﻭﺟﻮﺩﺍ ﻭﺍﻗﻌﻴﺎ ﺑﺪﻭﻥ ﺳﺒﺐ ﹶﻓ ْ‬
‫ﺴ ّﻲ ﺍﻟﹼﺬﻱ ﻳﻜﻮﻥ ﻗﺪ ﺍﻛﺘﺴﺒﻨﺎﻩ ﺑﻌﺪ ﻋﻨﺎﺀ ﺷﺪﻳﺪ‪ ،‬ﻗﺪ ﻬﺗﺠﻢ ﻋﻠﻴﻪ ﺑﻼ ﺍﻧﻘﻄﺎﻉ ﺭﺅﻳﺎﺕ‬
‫ﻭﺍﻟﻌﺎﱂ ﺍﳊ ّ‬
‫ﺟ ّﺪ ﻣﻘﻨﻌﺔ‪ ،‬ﻭﻟﻜﻦ ﻫﻮ ﻳﻜﻮﻥ ﻣﻦ ﺍﻟﻮﺍﺟﺐ ﻃﺮﺩﻫﺎ ﺑﻜ ﹼﻞ ﺟﻬﺪ‪ ،‬ﻣﻦ ﻏﲑ ﺃﻥ ﻧﻜﻮﻥ ﻋﻠﻰ ﻳﻘﲔ‬
‫ﻒ ﺍﻟﺒﺘّﺔ‬
‫ﺗﺎ ّﻡ ﻣﻦ ﺃﻧّﻨﺎ ﻛﻨّﺎ ﳏﻘﹼﲔ ﰲ ﺫﻟﻚ‪ .‬ﻓﻨﺘﺒﻴّﻦ ﺇﺫﺍ ﺃ ﹼﻥ ﺍﻟﻌﺎﱂ ﻣﻮﺻﻮﻓﺎ ﻬﺑﺬﺍ ﺍﻟﻨّﺤﻮ‪ ،‬ﺣﻴﺚ ﻻ ﻧﻜ ّ‬
‫ﻋﻦ ﺗﺼﺤﻴﺢ ﻇﻮﺍﻫﺮﻩ‪ ،‬ﻭﺣﻴﺚ ﻛ ﹼﻞ ﺇﺩﺭﺍﻙ ﺇﻧّﻤﺎ ﻫﻮ ﻏﺰﻭ ﻭ ﺣﻜﻢ ﻟﻴﺲ ﻳﺘﻄﺎﺑﻖ ﺍﻟﺒﺘّﺔ ﻣﻊ ﺍﻟﻌﺎﱂ‬
‫ﺍﻟﹼﻲ ﳛﻔﹼﻨﺎ‪ .‬ﺑﻞ ﺍﳊﻘﻴﻘﺔ ﺃ ﹼﻥ ﺍﻷﺷﻴﺎﺀ ﺇﻧّﻤﺎ ﻫﻲ ﻋﻠﻰ ﻗﺪﺭ ﻣﺎ ﻣﻦ ﺍﻟﺜﹼﺒﺎﺕ‪ ،‬ﻭﻋﻠﻰ ﻗﺪﺭ ﻣﺎ ﻣﻦ‬
‫ﻚ ﻣﻦ ﺃﻧّﻪ‪ ،‬ﻏﺎﻟﺒﺎ‪ ،‬ﺇﻧّﻤﺎ ﳚﺐ ﺍﻟﺘّﺮﻳّﺚ ﺣﺘّﻰ ﻧﻌﺮﻑ ﻣﺎﻫﻴﺔ ﻣﻮﺿﻮﻉ ﻣﺎ ؛‬
‫ﺍﻟﻮﺿﻮﺡ ‪ :‬ﻟﻴﺲ ﻣﻦ ﺷ ّ‬

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‫ﻚ ﻣﻦ ﺃ ﹼﻥ ﺫﻟﻚ ﺍﻟﺘّﺮﻳّﺚ ﺭﺑّﻤﺎ ﺟﺎﺯ ﺃﻥ ﻧﻌﺪّﻩ ﺑﻨﺤﻮ ﻣﺎ ﻫﻮ ﺟﻮﻫﺮ ﺍﳌﻮﻗﻒ‬
‫ﻭﻟﻴﺲ ﻣﻦ ﺷ ّ‬
‫ﺍﻹﺩﺭﺍﻛ ّﻲ ﻧﻔﺴﻪ‪ .‬ﻭﻟﻜ ّﻦ ﺍﻟﻈﹼﻬﻮﺭﺍﺕ ﺍﻟﹼﱵ ﺗﺘﺪّﺛﺮ ﺣﻴﻨﺌﺬ‪ ،‬ﻟﻴﺴﺖ ﻫﻲ ﺑﺼﻮﺭ‪ ،‬ﻭﺇﻧّﻤﺎ ﻫﻲ ﻓﻘﻂ‬
‫ﻭﺟﻮﻩ ﻏﲑ ﻣﻜﺘﻤﻠﺔ ﻣﻦ ﺍﻷﺷﻴﺎﺀ‪ .‬ﻭﻻ ﺻﻮﺭﺓ ﻭﺍﺣﺪﺓ ﺍﻟﺒﺘّﺔ ﻫﻲ ﺗﺄﰐ ﻟﺘﺨﺎﻟﻂ ﺍﻷﺷﻴﺎﺀ ﺍﻟﻮﺍﻗﻌﻴّﺔ‪.‬‬
‫ﻭِﻧ َﻌ ﱠﻢ ﻣﺎ ﻛﺎﻥ ﺫﻟﻚ‪ ،‬ﻷﻧّﻪ ﻟﻮ ﱂ ﻳﻜﻦ ﻛﺬﻟﻚ‪ ،‬ﳌﺎ ﻛﺎﻧﺖ ﻟﺘﻜﻮﻥ ﻟﻨﺎ ﻭﺳﻴﻠﺔ ﻭﺍﺣﺪﺓ‪ ،‬ﻛﻤﺎ ﻛﻨّﺎ ﻗﺪ‬
‫ﺭﺃﻳﻨﺎ‪ ،‬ﺣﺘّﻰ ﻧﻔﺼﻞ ﺍﻟﺼّﻮﺭ‪ ،‬ﻭﻣﺎ ﻛﺎﻥ ﻟﻌﺎﱂ ﺍﻟﻮﺍﻗﻊ ﺃﻥ ﻳﻔﺘﺮﻕ َﺑﱢﻴ َﻦ ﺍﻻﻓﺘﺮﺍﻕ ﻋﻦ ﻋﺎﱂ ﺍﳊﻠﻢ‪.‬‬

‫ﻓﺒَﺎ ﹶﻥ ِﺇﺫﹰﺍ ﺃﻧّﻪ ﳌﹼﺎ ﺃﻛﹼﺪﻧﺎ ﺃﻭّﻻ ﻋﻠﻰ ﺍﳍﻮﻳّﺔ ﺍﳉﻮﻫﺮﻳّﺔ ﺑﲔ ﺍﻹﺩﺭﺍﻛﺎﺕ ﻭﺍﻟﺼّﻮﺭ‪ ،‬ﻓﺈﻧّﻨﺎ‬
‫ﺍﺿﻄﺮﺭﻧﺎ ﺇﱃ ﺃﻥ ﻧﻠﺠﺄ ﺇﱃ ﺃﺣﻜﺎﻡ ﺍﻻﺣﺘﻤﺎﻝ ﻣﻦ ﺃﺟﻞ ﻓﺮﺯﳘﺎ ﻓﻴﻤﺎ ﺑﻌﺪ‪ .‬ﻭﻟﻜﻦ ﺃﺣﻜﺎﻡ‬
‫ﺍﻹﺣﺘﻤﺎﻝ ﻫﺬﻩ ﻟﻴﺲ ﳍﺎ ﻣﻦ ﻋﻤﺎﺩ ﺻﻠﺐ‪ :‬ﺇﺫ ﺳﻮﻑ ﻳﻜﻮﻥ ﻭﺍﺟﺒﺎ ﺃﻥ ﻳﻜﻮﻥ ﻧﻈﺎﻡ ﺍﻹﺩﺭﺍﻛﺎﺕ‬
‫ﻱ‪ .‬ﳑّﺎ ﻳﻌﲏ ﺃﻧّﻪ ﻟﻮ ﱂ‬
‫ﻳﻔﺘﺮﻕ َﺑﱢﻴ َﻦ ﺍﻹﻓﺘﺮﺍﻕ ﻋﻦ ﻧﻈﺎﻡ ﺍﻟﺼّﻮﺭ ﺣﺘّﻰ ﻳﺼﲑ ﳑﻜﻨﺎ ﻗﻴﺎﻡ ﺣﻜﻢ ﻣﺎ ﻓﺮﺯ ّ‬
‫ﺗﻜﻦ ﺍﻟﺘّﻔﺮﻗﺔ ﺇﻧّﻤﺎ ﻫﻲ ُﻣ ْﻌﻄﹶﺎﺓﹲ ﺃﻭّﻻ‪ ،‬ﺑﻨﻮﻉ ﻣﻦ ﺍﻷﻧﻮﺍﻉ‪ ،‬ﻓﻼ ﻗﻮّﺓ ﻣﻦ ﻗﻮﻯ ﺍﻟﺬﹼﻫﻦ ﺑﻜﺎﻓﻴﺔ ﻷﻥ‬
‫ﲢﻘﹼﻘﻬﺎ‪ .‬ﻭﻫﻮ ﻣﺎﻛﻨّﺎ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﺘﺒﻴّﻪ ﻣﻦ ﺃﻭّﻝ ﺍﻷﻣﺮ‪ :‬ﺇﻧّﻨﺎ ﺣﻴﻨﻤﺎ ﻧﺒﺘﺪﺃ ﺑﺎﳉﺰﻡ ﻬﺑﻮﻳّﺔ ﺟﻮﻫﺮﻳّﺔ‬
‫ﺑﲔ ﺷﻴﺌﻦ ﺍﺛﻨﲔ‪ ،‬ﻓﺈ ﹼﻥ ﻫﺬﺍ ﺍﳉﺰﻡ‪ِ ،‬ﻟ َﻤﻜﹶﺎ ِﻥ ﻧﻔﺲ ﻃﺒﻴﻌﺘﻪ‪ ،‬ﺇﻧّﻤﺎ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﺮﻓﻊ ﻛ ﹼﻞ ﺇﻣﻜﺎﻧﻴّﺔ‬
‫ﻟﻠﺘّﻔﺮﻗﺔ ﺑﻴﻨﻬﻤﺎ ﻓﻴﻤﺎ ﺑﻌﺪ‪ .‬ﻣﻦ ﺃﺟﻞ ﺫﻟﻚ ﻛﺎﻧﺖ ﺍﻟﻨّﻈﺮﻳّﺔ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ ﰲ ﺍﻟﺼّﻮﺭﺓ ﻗﺪ ﺃﺧﻔﻘﺖ‬
‫ﻱ ﻟﻠﺼّﻮﺭﺓ ﻭﺇ ﹼﻥ ﺃﻭّﻝ ﺍﻟﺘﻤﺎﺱ‬
‫ﻏﺎﻳﺔ ﺍﻹﺧﻔﺎﻕ ﰲ ﻣﺴﻌﺎﻫﺎ ﻣﻦ ﺃﺟﻞ ﺃﻥ ﺗﺼﻴﺐ ﺍﻟﻮﻋﻲ ﺍﻟﻌﻔﻮ ّ‬
‫ﻱ ﺑﻪ ﺃﻥ‬
‫ﻟﻌﻠﻢ ﻧﻔﺲ ﻣﺘﻌﻴّﻦ‪ ،‬ﻳﻨﺒﻐﻲ ﺃﻥ ﻳﻜﻮﻥ ﺑﺄﻥ َﻳَﺘَﺒ ﱠﺮﹶﺃ ﻣﻦ ﻛ ﹼﻞ ﺍﳌﺴﻠﹼﻤﺎﺕ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ‪ .‬ﻭ َﺣ ِﺮ ﱞ‬
‫ﻚ‪ :‬ﻭﻫﻮ ﺃﻧّﻪ ﳌﻦ ﺍﳌﺴﺘﺤﻴﻞ ﺃﻥ ﻧﻨﺸﺄ ﺍﻟﺼّﻮﺭﺓ ﻭﻻ ﻧﻜﻮﻥ‬
‫ﻳﺒﺪﺃ ﻣﻦ ﻫﺬﺍ ﺍﳌﻌﻄﻰ ﺍﻟﹼﺬﻱ ﻻﻳﻨﺎﻟﻪ ﺷ ّ‬
‫ﰲ ﺫﺍﺕ ﺍﻟﻮﻗﺖ ﻋﺎﺭﻓﲔ ﺑﺄﻧّﻬﺎ ﺻﻮﺭﺓ )‪(١٧‬؛ ﻭ ﻋﺴﻰ ﺃﻥ ﺗﺼﺒﺢ ﺍﳌﻌﺮﻓﺔ ﺍﻟﹼﱵ ﱄ ﻟﻠﺼّﻮﺭﺓ ﲟﺎ‬
‫ﻫﻲ ﺻﻮﺭﺓ ﺑﻼ ﺗﻮﺳّﻂ ﻣﺎﺩّﺓ ﻷﺣﻜﺎﻡ ﻭﺟﻮﺩ ) ﻣﻦ ﻧﻮﻉ‪ :‬ﻛﺎﻧﺖ ﱄ ﺻﻮﺭﺓ ﻋﻦ ﺱ‪ ،‬ﻭﻫﺬﻩ ﻫﻲ‬
‫ﺻﻮﺭﺓ‪ ،‬ﻭﻫﻜﺬﺍ( ﺃﻣّﺎ ﺍﻟﺼّﻮﺭﺓ ﻧﻔﺴﻬﺎ ﻓﺈﻧّﻤﺎ ﻫﻲ ﺑﺪﻳﻬﻴّﺔ ﻣﺎ ﻗﺒﻞ ﲪﻠﻴّﺔ‪(١٨).‬‬

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‫ﻭﺍﻟﻴﻮﻡ‪ ،‬ﺭﺑّﻤﺎ ﳒﺪ‪َ ،‬ﲝﻖﱟ‪ ،‬ﺃﻛﺜﺮ ﻣﻦ ﻋﺎﱂ ﻧﻔﺲ ﳑّﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﺘّﻔﻖ ﻣﻌﻨﺎ ﰲ ﺫﻟﻚ ﺍﳌﺒﺪﺃ‪.‬‬
‫ﻱ ﺷﻲﺀ ﻣﺜﻞ ﺗﻠﻚ ﺍﳌﻮﺍﻓﻘﺔ ﻫﻲ‬
‫ﻭﻟﻜﻦ ﻗﻠﻴﻞ ﻣﺎ ﻫﻢ ﺃﻭﻻﺋﻚ ﺍﻟﹼﺬﻳﻦ ﻳﺪﺭﻛﻮﻥ ﺑﻴّﻦ ﺍﻹﺩﺭﺍﻙ ﺑﺄ ّ‬
‫ﺴﻴّﺪ ﻣﺎﻳﺮﺳﻦ ﻛﺎﻥ ﻗﺪ ﻛﺘﺐ ﰲ ﺍﳌﻘﺎﻝ ﺍﻟﹼﺬﻱ ﺃﻭﻣﺄﻧﺎ ﺇﻟﻴﻪ ﺁﻧﻔﺎ‪:‬‬
‫ﺗُ ﹾﻠ ِﺰﻣُﻬُ ْﻢ‪ .‬ﻓﺎﻟ ّ‬

‫" ﻟﻴﺴﺖ ﺍﻟﺼّﻮﺭﻭﺓ ﺑﺈﺩﺭﺍﻙ ﺃﻭ ﺇﺣﺴﺎﺱ ﻭﺍﻫﻦ؛ ﻭﻻ ﺑﺎﻧﻌﻜﺎﺱ ﺑﺎﻫﺖ ﻟﻠﻤﺎﺿﻲ‪ .‬ﺍﻟﺼّﻮﺭﺓ ﻫﻲ‬
‫ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﻟﺘّﺠﺮﻳﺪ ﻭﺍﻟﺘّﻌﻤﻴﻢ؛ ﺇﻧّﻬﺎ ﻋﻠﻰ ﻃﺮﻳﻖ ﺍﻟﻔﻜﺮ‪...‬ﻓﺎﻟﺼّﻮﺭﺓ ِﺇﺫﹰﺍ ﻫﻲ ﺇﺩﺭﺍﻙ ُﻣَﺘ َﻌ ﱠﻘﻞﹲ‪،‬‬
‫ﺴ ّﻲ)ﻝ(‪".‬‬
‫ﻭﻣﻬﻤﺎ ﺑﻘﻴﺖ ﺗﻈﻬﺮ ﻗﺸﻔﺔ‪ ،‬ﻓﻬﻲ ﻣﻌﻘﻠﻨﺔ؛ ﺇﻧّﻬﺎ َﺑ ْﻌﺪُ َﻋ ﹾﻘ ﹶﻠَﻨﺔﹲ ﻟﻠﻤﻌﻄﻰ ﺍﳊ ّ‬

‫ﺃﻥ ﳒﺰﻡ ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻟﻴﺴﺖ ﺑﺈﺩﺭﺍﻙ‪ ،‬ﻓِﻨ َﻌ ﱠﻢ ﺫﻟﻚ‪ .‬ﻭﻟﻜﻦ ﻫﺬﺍ ﺍﳉﺰﻡ ﻟﻴﺲ ﺑﻜﺎﻑ‪ :‬ﺑﻞ‬
‫ﻳﻨﺒﻌﻲ ﺃﻥ َﻧ ﹸﻘ ﱠﺪ ﺫﻟﻚ ﺍﳉﺰﻡ ﺑﺎﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﻭﺻﻒ ﻣﺘّﺴﻖ ﻟﻠﻮﺍﻗﻌﺔ ﺍﻟﻨّﻔﺴﻴّﺔ ﺍﻟﹼﱵ ﻫﻲ "ﺍﻟﺼّﻮﺭﺓ"‪.‬‬
‫ﺃﻣّﺎ ﻟﻮ ﹸﺃْﺑﻨَﺎ ﺑﻨﻮﻉ َﺧ ِﻔ ﱟﻲ ﺇﱃ ﺧﻠﻂ ﺍﻟﺼّﻮﺭﺓ ﻣﻊ ﺍﻹﺩﺭﺍﻙ‪ ،‬ﻓﻠﻴﺲ ﻣﻦ ﻃﺎﺋﻞ ﺃﻥ ﻧﺮﻓﻊ ﻋﻘﲑﺗﻨﺎ‬
‫ﺺ ﺍﻟﹼﺬﻱ ﺳﻠﻒ ﺑﺴﻄﻪ ﺣﺘّﻰ ﻧﺘﺒﻴّﻦ‬
‫ﺴُﺒﻨَﺎ ﺃﻥ ﻧﻘﺮﺃ ﺑﺸﻲﺀ ﻣﻦ ﺍﻻﻧﺘﺒﺎﻩ ﺍﻟّﻨ ّ‬
‫ﺑﺄﻧّﻬﻤﺎ ﻟﻴﺘﺒﺎﻳﻨﺎﻥ‪ .‬ﺇﺫ َﺣ ْ‬
‫ﺑﺄ ﹼﻥ ﺍﻟﻮﺻﻒ ﺍﻟﹼﺬﻱ ﻗﺪّﻣﻪ ﺍﻟﺴﻴّﺪ ﻣﺎﻳﺮﺳﻦ ﻟﻠﺼّﻮﺭﺓ ﺇﻧّﻤﺎ ﻳﻨﻄﺒﻖ ﲝﺬﺍﻓﲑﻩ ﻋﻠﻰ ﺍﻹﺩﺭﺍﻙ‪ .‬ﻓﻬﻮ‬
‫ﺴ ّﻲ "‪ .‬ﻓﻠﻴﺖ ﺷﻌﺮﻱ ﻫﻞ ﺃﻣﺮ ﺍﻹﺩﺭﺍﻙ ﻫﻮ ﻏﲑ‬
‫ﻳﺰﻋﻢ ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ "ﻋﻘﻠﻨﺔ ﻟﻠﻤﻌﻄﻰ ﺍﳊ ّ‬
‫ﺫﺍﻙ ؟ ﻭﻫﻞ ﻳﻮﺟﺪ ﺇﺩﺭﺍﻙ ﻻ ﻳﻜﻮﻥ ﻓﻌﻼ ﻓﻜﺮﻳّﺎ ؟ ﻭﻫﻞ ﻳﻮﺟﺪ ﻣﻦ ﺇﺩﺭﺍﻙ ﺷﺄﻧﻪ ﺃﻥ ﻳﻜﻮﻥ‬
‫ﻱ ؟ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ " ﻋﻠﻰ ﻃﺮﻳﻖ ﺍﻟﺘّﺠﺮﻳﺪ‬
‫ﺴﻴّﺎ ﺧﺎﻟﺼﺎ‪ ،‬ﻭﺻﻔﺮﺍ ﻣﻦ ﻛ ﹼﻞ ﺗﺄﻟﻴﻒ ﻗﺼﺪ ّ‬
‫ﻣﻌﻄﻰ ﺣ ّ‬
‫ﻭﺍﻟﺘّﻌﻤﻴﻢ " ﻓﻤﺎﺫﺍ ﻳﻌﲏ ﺫﻟﻚ‪ :‬ﻫﻞ ﻳﻌﲏ ﺑﺄﻧّﻪ ﻻ ﺗﻮﺟﺪ ﺍﻟﺒﺘّﺔ ﺻﻮﺭﺓ ﺟﺰﺋﻴّﺔ ﺑﺈﻃﻼﻕ ؟ ﻓﺄﻭّﻻ ﻫﺬﺍ‬
‫ﻟﻴﺲ ﺑﺘﺎ ّﻡ ﺍﻟﺼﺤّﺔ‪ :‬ﻭﺇﻧّﻤﺎ ﺫﻟﻚ ﻛﺎﻥ ﺗﺄﻭﻳﻼ ﺧﺎﻃﺌﺎ ﻟﻮﺍﻗﻊ ﻓﻌﻠ ّﻲ ﳓﻦ ﺳﻨﺤﺎﻭﻝ ﺷﺮﺣﻪ ﰲ ﻣﻮﺿﻊ‬
‫ﻼ ِﺑ ِﻤ ﹾﺜ ٍﻞ ؟‬
‫ﺁﺧﺮ‪ .‬ﻭﻫﺐ ﺃ ﹼﻥ ﺫﻟﻚ ﺻﺤﻴﺢ‪ ،‬ﺃ ﻓﻠﻴﺲ ﺍﳊﺎﻝ ﳍﻮ ﻛﺬﻟﻚ ﺃﻳﻀﺎ ﺑﺎﻟﻨّﺴﺒﺔ ﻟﻺﺩﺭﺍﻙ َﻣﹶﺜ ﹰ‬
‫ﻓﺄﻧﺎ ﺃﺭﻯ " ﺩﻭﺍﺓ "‪ ،‬ﻭ" ﻃﺎﻭﻟﺔ " ﻭ " ﻛﺮﺳ ّﻲ ﻟﻮﻳﺲ ﺍﻟﺴّﺎﺩﺱ ﻋﺸﺮ " ؛ ﻓﻠﻜﻲ ﺃﺩﺭﻙ ﺍﳉﺰﺋ ّﻲ‬
‫ﺴﻴّﺔ ﻭﺫﻟﻚ ﺍﻟﺼّﺒﻎ ﺍﳉﺰﺋ ّﻲ ﻟﻘﻄﻌﺔ ﺍﻟﻘﻤﺎﺵ ﺍﻟﹼﱵ ُﺗ َﻐﺸﱢﻲ ﺍﻟﻜﺮﺳﻲّ‪ ،‬ﻓﻼ ﺑ ّﺪ ﻣﻦ‬
‫ﻭﺃﺩﺭﻙ ﺍﳌﺎﺩّﺓ ﺍﳊ ّ‬
‫ﺴ َﻢ ﱄ‪،‬‬
‫ﺑﺬﻝ ﺟﻬﺪ‪ ،‬ﻭﻻ ﺑ ّﺪ ﻣﻦ ﻋﻜﺲ ﺍﺗّﺠﺎﻩ ﺍﻻﻧﺘﺒﺎﻩ‪ .‬ﺃﻭ ﻣﺜﻼ‪ ،‬ﻛﻤﺎ ﻗﺎﻝ ﺍﻟﺴﻴّﺪ ﺳﺒﲑ‪ ،‬ﻟﻘﺪ ﺍْﺑﺘُ ِ‬
‫ﻓﺘﺒﻴّﻨﺖ ﺍﻟﻌﻄﻒ؛ ﻭﻗﺪ ﺭُ ِﻓ َﻊ ﺍﻟﻌﻠﻢ ﻓﺘﺒﻴّﻨﺖ ﺍﻟﻮﻃﻦ‪ ،‬ﺃﻭ ﺷﻌﺎﺭ ﺣﺰﺏ ﻣﻦ ﺍﻷﺣﺰﺍﺏ ﺃﻭ ﻃﺒﻘﺔ ﻣﺎ‪.‬‬

‫‪www.fiseb.com‬‬ ‫‪98‬‬ ‫اﻟﻤﻜﺘﺒﺔ اﻻﻟﻜﺘﺮوﻧﻴﺔ اﻟﻤﺠﺎﻧﻴﺔ‬

‫ﺃﻓﻠﺴﺖ ﻫﻨﺎﻙ ﺇﻧّﻤﺎ ﺃﻧﺎ ﺃﻛﻮﻥ ﻋﻠﻰ ﻧﺼﻒ ﻃﺮﻳﻖ ﺍﻟﺘّﺠﺮﻳﺪ ﻭﺍﻟﺘّﻌﻤﻴﻢ ؟ ﻭﻟﻮ ﻗﺎﺭﻧﺖ ﺑﲔ ﺇﺩﺭﺍﻙ‬
‫ﺑﻴﺖ ﻣﺎ ) ﻟﻘﺪ ﺃﺑﺼﺮﺕ ﻋﻠﻤﺎ ﻋﻨﺪ ﻧﺎﻓﺬﺓ ﻣﱰﻝ ﻣﺎ ( ﻭﺻﻮﺭﺓ ﺫﻛﺮﻯ ﻟﻠﺒﻴﺖ ﺍﻟﹼﺬﻱ ﻛﻨﺖ‬
‫ﻱ ﻓﻌﻠ ّﻲ ﺍﻟﻮﻋﻲ ﺇﻧّﻤﺎ ﻳﻨﺘﺴﺐ ﻟﻠﻌﺎﻡّ؛ ﻭﺃﻳّﻬﻤﺎ ﻳﻨﺘﺴﺐ ﻟﻠﺠﺰﺋ ّﻲ ؟ ﺇ ﹼﻥ‬
‫ﻗﻀّﻴﺖ ﺑﻪ ﺻﺒﺎﻱ‪ ،‬ﻓﺄ ّ‬
‫ﻣﺎﻳﺮﺳﻦ ﻗﺪ ﺯﻋﻢ ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﺇﺩﺭﺍﻙ ﻣَُﺘ َﻌ ﱠﻘﻞﹸ‪ .‬ﻭﻟﻜﻦ‪ ،‬ﻣﱴ ﻳﻜﻮﻥ ﺍﻹﺩﺭﺍﻙ ِﺇﺫﹰﺍ ﻗﺪ " ﺗُﻌُ ﱢﻘ ﹶﻞ‬
‫" ؟ ﺃﻡ ﻫﻞ ﻳﻨﺒﻐﻲ ﺃﻥ ﻧﺘﻮﻫّﻢ ﻧﻮﻋﺎ ﻣﻦ ﺍﻟﻈﹼﻠﻤﺎﺕ ﺍﳌﻼﺋﻤﺔ ﺗﺘﻌﻠﹼﻖ ﺑﻼﻭﻋﻲ‪ ،‬ﻳﻘﻊ ﻓﻴﻬﺎ‪ ،‬ﺑﻨﺤﻮ ﻻ‬
‫ُﻳَﺘَﺒﱠﻴﻦُ‪ ،‬ﻋﻤﻞ ﺻﻘﻞ ﺑﺄﻛﻤﻠﻪ؛ ﺃﻡ ﺭﺑّﻤﺎ ﺳﻮﻑ ﻧﻘﻮﻝ ﺑﺄ ﹼﻥ ﺍﻟﺘّﻐﻴّﺮﺍﺕ ﺇﻧّﻤﺎ ﲢﺼﻞ ﺣﻴﻨﻤﺎ ﺍﻟﺼّﻮﺭﺓ‬
‫ﺗﺘﺮﺍﺀﻯ ﻟﻠﻮﻋﻲ ؟ ﻓﻤﺎ ﺑﺎﻟﻨﺎ ﺣﻴﻨﺌﺬ ﳓﻦ ﻧﻌﺎﻭﺩ ﺗﻌﻘﹼﻞ ﺫﻟﻚ ﺍﻹﺩﺭﺍﻙ ﺍﳌﻨﺒﻌﺚ ﻣﻦ ﺟﺪﻳﺪ ﺍﻵﻥ ؟‬
‫ﻭِﻟ َﻢ ﳓﻦ ﱂ ﻧﻜﻦ ﻗﺪ َﺗ َﻌ ﱠﻘ ﹾﻠﻨَﺎ ُﻩ ﳌﹼﺎ ﻇﻬﺮ ﹶﺃ ﱠﻭ ﹶﻝ ﻣﺎ ﻇﻬﺮ ؟ ﻓﻨﺮﻯ ﺇﺫﺍ ﺃﻥ ﻣﺎﻳﺮﺳﻦ ﻣﺜﻠﻪ ﻣﺜﻞ ﺍﻟﻜﺜﲑ‬
‫ﻣﻦ ﻋﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ ﺍﳌﻌﺎﺻﺮﻳﻦ‪ ،‬ﻛﺎﻥ ﻗﺪ ﺃﻓﻠﺢ ﺃﻳّﻤﺎ ﻓﻼﺡ ﰲ ﻭﺿﻊ ﺍﻟﺘّﻔﺮﻗﺔ ﺍﻟﻼﹼﺯﻣﺔ‪ :‬ﻭﻟﻜﻨّﻪ ﻣﺎ‬
‫ﺃﻓﻠﺢ ﰲ ﺑﻴﺎﻧﻪ ﳌﺎﺫﺍ ﻛﺎﻥ ﻗﺪ ﻓﻌﻞ ﺫﻟﻚ‪.‬‬

‫ﻱ ﺷﻲﺀ ﺇﻧّﻤﺎ ُﻳ ﹾﻠﺰِﻣﻨَﺎ ﻫﺬﺍ ﺍﳉﺰﻡ ﺏ "‬

‫ﺺ ﺍﻟﺴّﺎﻟﻒ ﺍﻟﺬﹼﻛﺮ ﻳﺒﻴّﻦ ﻟﻨﺎ ﻭﺍﺿﺢ ﺍﻟﺒﻴﺎﻥ ﺑﺄ ّ‬
‫ﺇ ﹼﻥ ﺍﻟّﻨ ّ‬
‫ﺴﻴّﺪ ﻣﺎﻳﺮﺳﻦ ﻛﺎﻥ‪ ،‬ﺑﻨﻮﻉ ﻣﺎ‪ ،‬ﻗﺪ‬
‫ﺃﻧّﻪ ﻳﻮﺟﺪ ﺍﺧﺘﻼﻑ ﰲ ﺍﻟﻄﹼﺒﻴﻌﺔ ﺑﲔ ﺍﻹﺩﺭﺍﻙ ﻭﺍﻟﺼّﻮﺭﺓ "‪ ،‬ﻓﺎﻟ ّ‬
‫ﻣﻴّﺰ ﰲ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﺍﳌﺎﺩّﺓ ﻭﺍﻟﺼّﻮﺭﺓ‪ .‬ﻓﺎﳌﺎﺩّﺓ ﻫﻲ ﺍﳌﻌﻄﻰ ﺍﳊﺴّﻲ‪ .‬ﻭﻫﻲ ﺃﻳﻀﺎ ﻣﺎﺩّﺓ ﺍﻹﺩﺭﺍﻙ‪،‬‬
‫ﻭﻟﻜﻦ ﻣﻊ ﺍﻛﺘﺴﺎﻬﺑﺎ ﻟﺼﻮﺭﺓ ﻣﻐﺎﻳﺮﺓ‪ .‬ﺃﻱ ﺃﻧّﻬﺎ ﺗﻜﻮﻥ ﻗﺪ َﺗ ﹶﻔﺸﱠﻰ ﻓﻴﻬﺎ ﺍﻟﻌﻘﻞ‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﻓﺸﻞ‬
‫ﻣﺎﻳﺮﺳﻦ ﰲ ﻣﺴﻌﺎﻩ ﻷﺟﻞ ﻭﺿﻌﻪ ﺍﻟﺘّﻔﺮﻗﺔ ﺑﻴﻨﻬﻤﺎ‪ ،‬ﻟﲑﻳﻨﺎ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ)‪ (١٩‬ﻟﻴﺴﺖ ﺑﻜﺎﻓﻴﺔ ﻷﺟﻞ‬
‫ﺍﻟﺘّﻔﺮﻗﺔ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ‪ .‬ﻭﺇﻥ ﻛﺎﻥ ﻗﺪ ﺻﺢّ‪ ،‬ﻛﻤﺎ ﺳﻮﻑ ﻧﺮﻯ ﻻﺣﻘﺎ‪ ،‬ﺃ ﹼﻥ ﻗﺼﺪﻳّﺔ‬
‫ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﻏﲑ ﻗﺼﺪﻳّﺔ ﺍﻹﺩﺭﺍﻙ‪ .‬ﺑﻞ ﳚﺐ ﺃﻥ ﻧﻀﻊ ﺃﻳﻀﺎ ﺑﺄ ﹼﻥ ﻣﺎﺩّﺓ ﺍﻹﺩﺭﺍﻙ ﻫﻲ ﻏﲑ ﻣﺎﺩّﺓ‬
‫ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻭﻫﻬﻨﺎ ﺗﻌﺘﺮﺿﻨﺎ ﺍﳌﺴﺄﻟﺔ ﺍﻷﺭﺳﻄﻴّﺔ ﺍﳌﺸﻬﻮﺭﺓ ﻭﻫﻲ‪ :‬ﹶﺃﱡﻳ ُﻬﻤَﺎ ﻣﺒﺪﺃ ﺍﻟﺘّﺸﺨّﺺ‪ ،‬ﺃﹶﺍﳌﺎﺩّﺓ ﺃﻡ‬
‫ﺍﻟﺼّﻮﺭﺓ)‪ (٢٠‬؟ ﻓﻨﺠﻴﺐ ﻓﻴﻤﺎ ﻳﺘﻌﻠﹼﻖ ﺑﺎﻟﺼّﻮﺭﺓ ﺑﺄﻧّﻬﻤﺎ ﺍﻹﺛﻨﺎﻥ ﻣﻌﺎ‪ .‬ﻓﻠﻮ ﻛﺎﻧﺖ ﻣﺎﺩّﺓ ﺍﻹﺩﺭﺍﻙ‪،‬‬
‫ﺴﻴّﺔ ﺍﻟﺒﺘّﺔ‪ .‬ﺃﻣّﺎ‬
‫ﺴﻲّ‪ِ ،‬ﺇﺫﹰﺍ ﻳﻠﺰﻡ ﺑﺄﻥ ﺗﻜﻮﻥ ﻣﺎﺩّﺓ ﺍﻟﺼّﻮﺭﺓ ﻟﻴﺲ ﲝ ّ‬
‫ﻛﻤﺎ ﻫﻮ ُﻣ ْﻌَﺘ ﹶﻘﺪٌ‪ ،‬ﻫﻲ ﺍ ﹸﳌ ْﻌﻄﹶﻰ ﺍﳊ ّ‬
‫ﻟﻮ ﻛﺎﻥ‪ ،‬ﺑﻨﺤﻮ ﻣﻦ ﺍﻷﳓﺎﺀ‪ ،‬ﺇﻧّﻤﺎ ﻣﺒﺪﺃ ﺍﳍﻴﺌﺔ ﺍﻟﻨﻔﺴﻴّﺔ ﺍﻟﹼﱵ ﻫﻲ " ﺍﻟﺼّﻮﺭﺓ " ﻫﻮ ﻣﺎﺩّﺓ ﻣﻨﺒﻌﺜﺔ‪،‬‬

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‫ﺕ ﻣُ َﻌ ﹾﻘ ﹶﻠَﻨ ﹰﺔ ﻭﻣﻌﺎﻭﺩﺍ ﺗﺮﻛﻴﺒﻬﺎ‪ ،‬ﻓﻤﻬﻤﺎ ﺍﺗّﺨﺬﻧﺎ ﻣﻦ ﺣﻴﻠﺔ‪ ،‬ﻓﺈﻧّﻪ ﻳﺼﲑ ﳑﺘﻨﻌﺎ‬
‫ﻭﻫﺬﻩ ﺍﳌﺎﺩّﺓ ﻭﺇﻥ ﻭُ ِﺟ َﺪ ْ‬
‫ﺃﺷ ّﺪ ﺍﻹﻣﺘﻨﺎﻉ ﻣﻦ ﺃﻥ ﻧﻀﻊ ﺗﻔﺮﻗﺔ ﻣﺎ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻟﻮﺍﻗﻊ‪ ،‬ﻭﺑﲔ ﻋﺎﱂ ﺍﻟﻴﻘﻈﺔ ﻭﻋﺎﱂ ﺍﳊﻠﻢ‪.‬‬
‫‪ (٢‬ﰲ ﻣﺴﺄﻟﺔ ﻋﻼﻗﺎﺕ ﺍﻟﺼّﻮﺭﺓ ﺑﺎﻟﻔﻜﺮ‬

‫ﺴﻴّﺎ‪ ،‬ﺃﻱ ﺃﻧّﻪ ﳍﺎ ﻣﺎﺩّﺓ‬

‫ﻓِﺈﺫﹰﺍ ﻳﻜﺎﺩ ﻳﻜﻮﻥ ﺍﻟﻜ ﹼﻞ ﻗﺪ ﺃﲨﻊ ﻋﻠﻰ ﺃ ﹼﻥ ﻟﻠﺼّﻮﺭﺓ ﳏﺘﻮﻯ ﺣ ّ‬
‫ﺍﻧﻄﺒﺎﻋﻴّﺔ ﳑﺎﺛﻠﺔ ﻟﻠﹼﱵ ﰲ ﺍﻹﺩﺭﺍﻙ‪ .‬ﻭﻫﺬﻩ ﺍﳌﺎﺩّﺓ ﺗﻮﺟﺐ ﻣﻦ ﺍﻟﺬﹼﻫﻦ ﺃﻥ ﻳﻜﻮﻥ ﻋﻠﻰ ﻗﺪﺭ ﻣﺎ ﻣﻦ‬
‫ﺍﻟ ﹸﻘﺒُﻮِﻟﱠﻴﺔِ؛ ﺇﻧّﻬﺎ ﻻﻣﻌﻘﻮﻝ‪ ،‬ﺇﻧّﻬﺎ ُﻣ ْﻌﻄﹶﻰ‪ .‬ﻭﻟﻮ ﺻﺢّ‪ ،‬ﻋﻠﻰ ﺃﺻﻞ ﻛﻼﻡ ﺳﺒﲑ‪ ،‬ﺏ" ﺃﻥ َﻧ ِﻌ َﻲ ﻫﻮ ﺃﻥ‬
‫َﻧَﺘَﺒﱠﻴ َﻦ"‪ ،‬ﻓﺴﻴﻠﺰﻡ ﺃ ﹼﻥ ﻟﻠﺼّﻮﺭﺓ ﻣﺒﺪﺃ ﻳﻜﻮﻥ ﺷﻴﺌﺎ ﻣﻮﺟﻮﺩﺍ ﻓﺤﺴﺐ‪ ،‬ﻭﻻ ﳝﺘﻨﻊ ﻋﻦ ﺃﻥ ﻳَُﺘَﺒﱠﻴ َﻦ‪.‬‬
‫ﻭﻟﻘﺎﺋﻞ ﺃﻥ ﻳﻘﻮﻝ‪ ،‬ﺫﻟﻚ ﺃﻳﻀﺎ ﻫﻮ ﺣﺎﻝ ﺍﻹﺩﺭﺍﻙ‪ .‬ﺫﻟﻚ ﳊ ّﻖ‪ :‬ﻭﻟﻜﻦ ﺇﻧّﻤﺎ ﺍﳌﻮﺿﻮﻉ ﺍﳌﹸ ْﺪ َﺭﻙُ‬
‫ﺇﻧّﻤﺎ ُﻳﻌَﺎ ِﺭﺽُ ﻭﻳﺘﻐﻠﹼﺐ ﻋﻠﻰ ﺍﻟﻔﻜﺮ‪ ،‬ﺇﻧّﻨﺎ ﻳﻨﺒﻐﻲ ﺃﻥ ﻧﻀﺒﻂ ﲝﺴﺐ ﺍﳌﻮﺿﻮﻉ ﺳﲑ ﺃﻓﻜﺎﺭﻧﺎ‪ ،‬ﻭ‬
‫ﻣﻀﻄﺮّﻭﻥ ﻷﻥ ﻧﺘﺮﻗﹼﺒﻪ‪ ،‬ﻭﺃﻥ ﻧﻀﻊ ﺍﻟﻔﺮﺿﻴّﺎﺕ ﻋﻦ ﻃﺒﻴﻌﺘﻪ ﻭﺃﻥ ﻧﺘﻔﺤّﺼﻪ‪ .‬ﻓﻬﻞ ﻣﺜﻞ ﻫﺬﺍ‬
‫ﺍﳌﻮﻗﻒ ﻫﻮ ﳑﻜﻦ‪ ،‬ﺃﻭ ﻫﻞ ﻳﻜﻮﻥ ﺫﺍ ﻣﻌﲎ ﺣﻴﻨﻤﺎ ﻳﺘﻌﻠﹼﻖ ﺍﻷﻣﺮ ﺑﺎﻟﺼّﻮﺭﺓ‪ ،‬ﺃﻱ ﺑﺸﻲﺀ ﺇﻧّﻤﺎ َﻳ ْﻌ ِﺮﺽُ‬
‫ﺴ ْﺒ ِﺮ ﻭﺍﻟﻔﻬﻢ ﻭﺍﻟﺸّﺮﺡ‪ :‬ﻭﻫﻲ ﻧﻔﺴﻬﺎ ﹶﺃ ﻓﻴﻜﻮﻥ‬
‫ﲔ ﻟﻪ ؟ ﺇ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﺗﻨﻔﻊ ﻟﻠ ﱠ‬
‫ﻟﻠﺬﹼﻫﻦ ﺑﻨﺤﻮ ﺍﳌﹸ ِﻌ ِ‬
‫ﺡ ﺃﻭّﻻ ؟ ﻛﻴﻒ ﻳﻜﻮﻥ ﺫﻟﻚ ؟ ﺃﺑﻄﺮﻳﻖ ﺻﻮﺭﺓ ﺃﺧﺮﻯ)‪٢١‬‬
‫ﺸ َﺮ َ‬
‫ﺴَﺒ َﺮ ﻭﺃﻥ ﺗُ ﹾﻔ َﻬ َﻢ ﻭﺃﻥ ﺗُ ْ‬
‫ﺷﺄﻬﻧﺎ ﺃﻥ ﺗُ ْ‬
‫( ؟ ﻭﺍﳊ ّﻖ ﺃﻥ ﻫﺬﻩ ﺍﻟﺼّﻌﻮﺑﺎﺕ ﺍﻟﹼﱵ ﻻ ﲣﻔﻰ ﻋﻠﻰ ﻋﲔ ﻻ ﳝﻜﻦ ﺇﻏﻔﺎﳍﺎ‪ :‬ﺇﺫ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﹼﱵ‬
‫ﺷﺒّﻬﻨﺎﻫﺎ ﺃﻭّﻻ ﺑﺎﻹﺩﺭﺍﻙ‪ ،‬ﻫﻲ ﺃﻳﻀﺎ ﻓﻜﺮ‪ .‬ﻓﻨﺤﻦ ﻧُ ﹶﻜ ﱢﻮﻥﹸ ﺻﻮﺭﺍ‪ ،‬ﻭَﻧ ْﺒﻨِﻲ ﳐﻄﹼﻄﺎﺕ‪ .‬ﻭﳑّﺎ ﻳﺰﻳﺪ‬
‫ﺍﻷﻣﺮ ﻻ ﳏﺎﻟﺔ ﺇﺷﻜﺎﻻ ﻫﻮ ﺃ ﹼﻥ ﺟ ﹼﻞ ﺍﳌﺼﻨّﻔﲔ‪ ،‬ﺑﻌﺪﻣﺎ ﺟﻌﻠﻮﺍ ﻣﻦ ﺍﻟﺼّﻮﺭﺓ ﻣﻮﺿﻮﻋﺎ ﺧﺎﺭﺟﻴّﺎ‪،‬‬
‫ﻓﺈﻧّﻬﻢ ﺯﺍﺩﻭﺍ ﻓﻮﻕ ﺫﻟﻚ‪ ،‬ﺑﺄﻥ ﺟﻌﻠﻮﺍ ﻣﻨﻬﺎ ﻓﻜﺮﺓ‪ .‬ﻣﺜﻞ ﺍﻟﺴﻴّﺪ ﺳﺒﲑ‪ ،‬ﻓﻬﻮ ﺑﻌﺪ ﺃﻥ ﺑﻴّﻦ ﺃﻧّﻪ ﻻﺑ ّﺪ‬
‫ﻣﻦ ﺍﺗّﺨﺎﺫ ﺍﳊﻜﻢ ﺑﻞ ﻭﺃﻳﻀﺎ ﺍﻹﺳﺘﺪﻻﻝ ﻣﻦ ﺃﺟﻞ ﺗﻔﺮﻗﺔ ﺍﻟﺼّﻮﺭﺓ ﻣﻦ ﺍﻹﺩﺭﺍﻙ‪ ،‬ﱂ ﻳﺘﻮﺭّﻉ ﻋﻦ‬
‫ﻛﺘﺎﺑﺔ ﻣﺎ ﻳﻠﻲ‪:‬‬
‫" ﻟﻴﺲ ﻳﻮﺟﺪ ﺻﻮﺭ ﺑﺮﺃﺳﻬﺎ ﻭﺃﻓﻜﺎﺭ ﺑﺮﺃﺳﻬﺎ‪ ،‬ﻭﺇﻧّﻤﺎ ﻻ ﻳﻮﺟﺪ ﺇ ﹼﻻ ﻣﻔﺎﻫﻴﻢ ﻋﻠﻰ ﻗﺪﺭ ﻣﺎ ﻣﻦ‬
‫ﺍﻟﺘّﻌﻴّﻦ"‬

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‫ﺻﺤﻴﺢ ﺃﻧّﻪ ﺑﻌﺪﻣﺎ ﺍﳌﺘﺲ ﺃﻥ ﻳﺸﺮﺡ ﻛﻴﻒ ﺍﻟﺼّﻮﺭﺓ ﻳﺼﻮﻏﻬﺎ ﻭﳜﻄﹼﻄﻬﺎ ﺍﻟﻌﻘﻞ‪ ،‬ﻓﻘﺪ ﺃﻛﹼﺪ‬
‫ﺴﱠﻴ ِﺔ‪ .‬ﻓﻜ ﹼﻞ ﺻﻮﺭﺓ ﻫﻲ‬
‫ﺑﺎﻟﺘّﺴﺎﻭﻕ ﻋﻠﻰ ﺃﻧّﻨﺎ ﻧﺼﻴﺐ ﰲ ﺍﻹﺩﺭﺍﻙ ﺍﳋﺎﺭﺟ ّﻲ ﻧﺼﻴﺒﺎ ﻣﻦ ﺍﻟﱠﺘ ﹾﺄﺳِﻴ ِ‬
‫ﺩﻻﻟﺔ‪ :‬ﻭﻟﻜﻦ ﺫﻟﻚ ﻷﻧّﻪ ﻛ ﹼﻞ ﺇﺩﺭﺍﻙ ﻓﻬﻮ ﺣﻜﻢ‪.‬‬

‫" ﻓﻠﻴﺲ ﻳﻮﺟﺪ ﺍﻟﺒﺘّﺔ ﺇﺣﺴﺎﺳﺎﺕ ﺧﺎ ّﻡ ﻛﻤﺎ ﻟﻴﺲ ﻳﻮﺟﺪ ﺍﻟﺒﺘّﺔ ﺻﻮﺭ ﺧﺎﻟﺼﺔ‪ ،‬ﻭﻋﻠﻴﻪ ﻓﺈﻧّﻪ ﻻ‬
‫ﺴﻴّﺔ ﻫﻲ ﻧﻔﺲ ﺣﻘﻴﻘﺔ ﺍﻟﻔﻜﺮ"‬
‫ﺷﻲﺀ ﳝﻨﻊ ﻣﻦ ﺃﻥ ﳒﻌﻞ ﺣﻘﻴﻘﺔ ﺍﻟﻮﻋﻲ ﻭﳏﺘﻮﻳﺎﺗﻪ ﺍﳊ ّ‬

‫ﺴﻴّﺔ ﻗﺪ ﻋﻘﻠﻨﻬﺎ ﺍﻟﻔﻜﺮ‪ ،‬ﻟﻴﺲ ﻳﻌﲏ ﺍﻟﺒﺘّﺔ ﺑﺄ ﹼﻥ ﺗﻠﻚ‬

‫ﻓﺄﻭّﻻ‪ ،‬ﺇﻧّﻪ ﺃﻥ ﺗﻜﻮﻥ ﳏﺘﻮﻳﺎﺕ ﻣﺎ ﺣ ّ‬
‫ﺍﶈﺘﻮﻳﺎﺕ ﻫﻲ ﳑﺎﻫﻴﺔ ﻟﻠﻔﻜﺮ؛ ﺑﻞ ﺑﺎﻟﻌﻜﺲ‪ .‬ﹼﰒ ﺇﻧّﻨﺎ ﹶﻟَﻨَﺘَﺒﱠﻴﻦُ ﻣﻦ ﻭﺭﺍﺀ ﺫﻟﻚ ﺍﳉﺰﻡ ﺍﻟﻘﺎﻃﻊ ﺷﻴﺌﺎ ﻣﻦ‬
‫ﺍﻟﺘّﺒﻠﺒﻞ‪ :‬ﻓﺎﻟﺼّﻮﺭﺓ‪ ،‬ﻋﻠﻰ ﺭﺃﻱ ﺳﺒﲑ‪ ،‬ﻟﻴﺴﺖ ﳍﺎ ﻧﻔﺲ ﻭﻇﻴﻔﺔ ﺍﻹﺩﺭﺍﻙ‪ .‬ﺇﻧّﻨﺎ ﻧﺮﻯ ﻓﻴﻬﺎ ﺷﻴﺌﺎ ﻣﻦ‬
‫ﳊ ﹾﻜ ِﻤ ﱢﻲ ﻭ‬
‫ﺸﱢﺒ َﻬﻬَﺎ ﺑﺎﻟﻔﻜﺮ ﺍ ﹸ‬
‫ﺍﳊﺮﻛﺔ ﻭﺍﻟﺸّﻔﺎﻓﻴّﺔ‪ ،‬ﻭﺍﳌﻄﺎﻭﻋﺔ‪ ،‬ﻭﻫﺬﻩ ﺻﻔﺎﺕ ﲡﻌﻠﻬﺎ َﺣﻘِﻴ ﹶﻘ ﹰﺔ ﺑﺄﻥ ُﻧ َ‬
‫ﻚ ﺍﻟﻨّﺤﻮ ﺇﻧّﻤﺎ ﻫﻲ ﻓﻜﺮ‪ِ ،‬ﺇﺫﹰﺍ ﺍﻹﺩﺭﺍﻙ ﻟﻴﺲ ﺑﻔﻜﺮ‪.‬‬
‫ﱄ‪ .‬ﻓﻠﻮ ﻛﺎﻧﺖ ﺍﻟﺼّﻮﺭﺓ ﺇﻧّﻤﺎ ِﺑ ﹶﺬِﻟ َ‬
‫ﺍﻻﺳﺘﺪﻻ ﹼ‬
‫ﺴ ّﻲ ﺍﻟﹼﺬﻱ ﳚﻌﻠﻪ ﺫﹶﺍ ﺧﺎﺭﺟﻴّﺔ ﻭﻣﻮﺿﻮﻋﻴّﺔ‪ .‬ﻓﻜﻴﻒ ﺟﺎﺯ ﻟﻨﺎ ِﺇﺫﹰﺍ ﺃﻥ‬
‫ﻷ ﹼﻥ ﺍﻹﺩﺭﺍﻙ ﺇﻧّﻤﺎ ﳏﺘﻮﺍﻩ ﺍﳊ ّ‬
‫ﻧﻘﺒﻞ ﺑﺄ ﹼﻥ ﺍﶈﺘﻮﻯ ﺍﳊﺴّﻲ ﻫﺎﻫﻨﺎ ﻫﻮ ﻳﻌﺎﺭﺽ ﺍﻟﻮﻋﻲ ﻭﻳﻀﻄﺮّﻩ ﻟﻠﺘﻔﺤّﺺ ﻭﺍﻟﺘّﺮﻗﹼﺐ ﻭ ﻭﺿﻊ‬
‫ﰐ ﺍﻟﺴّﻴﻮﻟﺔ ﻭﺍﳊﺮﻛﺔ ﻭ ﺍﻟﺸّﻔﺎﻓﻴّﺔ‪ .‬ﻭﺑﺎﳉﻤﻠﺔ‪ ،‬ﺍﻟﺼّﻮﺭﺓ‬
‫ﺍﻟﻔﺮﺿﻴّﺎﺕ‪ ،‬ﻭﻫﻮ ﻫﻨﺎﻟﻚ ﻫﻮ ﻳﺸﺎﺭﻙ ﺍﻟﺬﹼﺍ ﹼ‬
‫ﺴﻲّ‪ ،‬ﻓﻌﺴﻰ ﺃﻥ ﻧﻔﻜﹼﺮ ﻓﻴﻬﺎ‪ :‬ﻭﻟﻜﻦ ﺳﻴﻜﻮﻥ ﳑﺘﻨﻌﺎ‪ ،‬ﺣﻴﻨﺌﺬ‪ ،‬ﺃ ﹼﻥ ﻧﻔﻜ ّﺮ‬
‫ﺇﻥ ﻛﺎﻧﺖ ﺫﺍﺕ ﳏﺘﻮﻯ ﺣ ّ‬
‫ﻬﺑﺎ‪.‬‬
‫ﺲ ﳝﻜﻦ ﺃﻥ ﻧﻔﻬﻤﻪ ﺑﻨﺤﻮﻳﻦ ﺍﺛﻨﲔ‪ :‬ﺇﻣّﺎ ﺑﻨﺤﻮ ﻣﺎ‬
‫ﻭﺫﺍ ﺍﻟﻀّﺮﺏ ﻣﻦ ﻣﺸﺎﺭﻛﺔ ﺍﻟﺼّﻮﺭﺓ ﻟﻠﺤ ّ‬
‫ﻓﻬﻤﻪ ﺩﻳﻜﺎﺭﺕ‪ ،‬ﻭﺇﻣّﺎ ﺑﻨﺤﻮ ﻣﺎﻓﻬﻤﻪ ﻫﻴﻮﻡ‪.‬‬

‫ﻛﻨّﺎ ﺭﺃﻳﻨﺎ ﺃ ﹼﻥ ﺩﻳﻜﺎﺭﺕ ﰲ ﻧﻈﺮﻳّﺘﻪ ﰲ ﺍﻟﺼّﻮﺭﺓ ﻛﺎﻥ ﻳُ ْﻨ ِﺰﻝﹸ ﲝﺜﻪ ﰲ ﺍﺠﻤﻟﺎﻝ ﺍﻟﻨّﻔﺴ ّﻲ‬
‫ﺸﹸﺌﻬَﺎ ﺍﻟﻨّﻔﺲ ﺑﺴﺒﺐ ﺍﻧﻔﻌﺎﻝ‬
‫ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟ ّﻲ‪ .‬ﻓﻬﻨﺎﻙ ﻧﻔﺲ ﻭﻫﻨﺎﻙ ﺟﺴﺪ‪ .‬ﻭﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﻓﻜﺮﺓ ُﺗ ْﻨ ِ‬
‫ﻣﺎ ﰲ ﺍﳉﺴﺪ‪ .‬ﻭﻟﻮ ﻃﻬّﺮﻧﺎ ﻫﺬﺍ ﺍﻟﺘّﺼﻮّﺭ ﻣﻦ ﻋﺒﺎﺭﺍﺗﻪ ﺍﻟﺪّﻳﻜﺎﺭﺗﻴّﺔ‪ ،‬ﻓﺴﻮﻑ ﻳﺒﻘﻰ ﻣﺎ ﻳﻠﻲ ‪ :‬ﺇ ﹼﻥ‬

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‫ﲏ ﺃﻭ ﺧﺎﺭﺟ ّﻲ‪ .‬ﻭﻧﻄﻠﻖ ﺍﺳﻢ ﺍﻟﺼّﻮﺭﺓ‬
‫ﺍﳌﺮﺍﻛﺰ ﺍﻟﻨﻔﺴﻴّﺔ ﺍﳊﺮﻛﻴّﺔ ﳝﻜﻨﻬﺎ ﺃﻥ ﻳﺴﺘﻔﺰّﻫﺎ ﻣﺜﲑ ﺑﺎﻃ ّ‬
‫ﻋﻠﻰ ﺍﳊﺎﻝ ﺍﻟ َﻮ ْﻋِﻴﱠﻴ ِﺔ ﺍﻟﹼﱵ ﺗﻨﺎﺳﺐ ﺍﻟﻀّﺮﺏ ﺍﻷﻭّﻝ ﻣﻦ ﺍﳌﺜﲑ‪ ،‬ﻭﺍﺳﻢ ﺍﻹﺩﺭﺍﻙ ﻋﻠﻰ ﺍﳊﺎﻝ ﺍﻟﹼﱵ‬
‫ﱐ ﻣﻨﻪ‪ .‬ﺇ ﹼﻥ ﻋﻤﺎﺩ ﻫﺬﺍ ﺍﻟﺮّﺃﻱ ﻫﻮ ﺍﳉﺰﻡ ﺑﺄ ﹼﻥ ﺍﳋﻼﻳﺎ ﺃﻭ ﲨﻞ ﺍﳋﻼﻳﺎ‬
‫ﺗﻨﺎﺳﺐ ﺍﻟﻀّﺮﺏ ﺍﻟﺜﹼﺎ ﹼ‬
‫ﺍﻟﻌﺼﺒﻴّﺔ ﻫﻲ ﳝﻜﻨﻬﺎ‪ ،‬ﺑﺴﺐ ﺃﻧﻮﺍﻉ ﺷﺘّﻰ ﻣﻦ ﺍﻟﺘّﺄﺛﲑ‪ ،‬ﺃﻥ ﺗﻌﺎﻭﺩ ﺍﺗّﺨﺎﺫ ﺍﳍﻴﺌﺔ ﺍﻟﹼﱵ ﻛﺎﻥ ﻣﺜﲑ ﻣﺎ‬
‫ﺴ ﱢﻢ ﻫﺬﻩ ﺍﻹﻣﻜﺎﻧﻴّﺔ ﺑﺎﻷﺛﺮ ﺍﻟﺪّﻣﺎﻏﻲ ﺃﻭ ﺑﺎ ُﻷْﻧ َﻐﺮَﺍ ْﻡ‬
‫ﺧﺎﺭﺟ ّﻲ ﻗﺪ ﺟﻌﻠﻬﺎ ﻋﻠﻴﻬﺎ ـ ِﻟﻨُ َ‬
‫ﺢ ﺫﻟﻚ‪ ،‬ﻓﺈ ﹼﻥ ﺗﺮﺗﻴﺐ ﻇﻬﻮﺭ ﺍﻟﺼّﻮﺭ ﰲ ﺍﻟﻮﻋﻲ ﺳﻮﻑ ﻳﻜﻮﻥ‬
‫‪Engramme‬ﻭﻟﻜﻦ‪ ،‬ﻟﻮ ﺻ ّ‬
‫ﺕ‬
‫ﲦﺮﺓ ﳌﺴﻠﻚ "ﺍﻷﺭﻭﺍﺡ ﺍﳊﻴﻮﺍﻧﻴّﺔ "‪ ،‬ﻋﻠﻰ ﻣﻌﲎ ﺃﻧّﻬﺎ ﺳﻮﻑ ﺗﻜﻮﻥ ﺗﺎﺑﻌﺔ ﻟﻠﺪﱠﺍﺭَﺍ ِ‬
‫ﱯ‪ .‬ﻭﺑﺎﳉﻤﻠﺔ ﺇﻧّﻤﺎ ﻫﻮ ﺣﺘﻤﻴّﺔ ﻓﻴﺰﻳﻮﻟﻮﺟﻴّﺔ‬
‫‪Circuits‬ﺍﻟﺘّﺮﺍﺑﻄﻴّﺔ ﻭﳌﺴﻠﻚ ﺍﻟﺘﻴّﺎﺭ ﺍﻟﻌﺼ ّ‬
‫ﺍﻟﹼﱵ ﺳﻮﻑ ﺗﻀﺒﻂ ﺗﻌﺎﻗﺐ ﺍﻟﺼّﻮﺭ ﰲ ﺍﻟﻮﻋﻲ ‪ :‬ﻓﺘﻤﺜﹼﻞ ﻣﺎ ﻣﻦ ﺍﻟﺘﻤﺜﹼﻼﺙ ﺇﻧّﻤﺎ ﻳﱪﺯ ﰲ ﺍﻟﻮﻋﻲ‬
‫ﺑﺴﺒﺐ " ﻳﻘﻈﺔ " ﲨﻠﺔ ﻣﺎ ﺗﺮﺍﺑﻄﻴّﺔ‪ .‬ﻭﻟﻜﻦ ﻛﻴﻒ ﺳﻴﺴﻮﻍ ﻟﻨﺎ ِﺇﺫﹰﺍ ﺃﻥ ﻧﻘﻮﻝ ﻋﻠﻰ ﺍﻟﺼّﻮﺭﺓ ﺇﻧّﻬﺎ‬
‫ُﻣ ِﻌﲔٌ ﺣﻘﻴﻘ ّﻲ ﻟﻠﻔﻜﺮ)‪.(٢٢‬‬

‫ﻭﺩﻳﻜﺎﺭﺕ ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﻗﺪ ﺷﻌﺮ ﺑﺎﻻﻋﺘﺮﺍﺽ‪ ،‬ﻛﺎﻥ ﻗﺪ ﺗﻮﻫّﻢ ﻧﻮﻋﺎ ﻣﻦ ﺍﳌﻤﻜﻨﻴّﺔ‬

‫ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴّﺔ ﺷﺄﻬﻧﺎ ﺃﻥ ﲤﻜﹼﻦ ﺍﻟﻨّﻔﺲ ﻣﻦ ﺃﻥ ﺗﻘﻮﺩ ﺍﻷﺭﻭﺍﺡ ﺍﳊﻴﻮﺍﻧﻴّﺔ ﻛﻤﺎ ﺗﺸﺎﺀ‪ .‬ﻭ ﻗﺪ ﺭﺃﻳﻨﺎ‬
‫ﻓﻴﻤﺎ ﺳﻠﻒ ﺃ ﹼﻥ ﻫﺬﻩ ﺍﻟﻨّﻈﺮﻳّﺔ ﺍﻟﻌﺠﻴﺒﺔ ﻟﻴﺴﺖ ﺑﺎﻟﺴّﺪﻳﺪﺓ‪ .‬ﻓﺘﺒﻘﻰ ﻓﺮﺿﻴّﺔ ﺍﳊﺘﻤﻴّﺔ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴّﺔ‬
‫ﺍﻟﺸّﺎﻣﻠﺔ‪ .‬ﻋﻨﺪﺋﺬ‪ ،‬ﻓﺈ ﹼﻥ ﺗﺮﺗﻴﺐ ﻇﻬﻮﺭ ﺍﻟﺼّﻮﺭ ﺳﻮﻑ ﻳﻜﻮﻥ‪ ،‬ﻛﻤﺎ ﻛﺎﻥ ﻗﺪ ﺗﺒﻴّﻨﻪ ﺟﻴّﺪ ﺍﻟﺘّﺒﻴّﻦ‬
‫ﻛﻼﺑﺎﺭﺍﺩ‪ ،‬ﳏﻜﻮﻣﺎ ﺑﺘﻼﺻﻘﻴّﺔ ﻭﺍﻗﻌﻴّﺔ ﻭﻣﺎﺩﻳّﺔ ‪ :‬ﺇﻧّﻬﺎ ﺗﻼﺻﻘﻴّﺔ " ﺍﻵﺛﺎﺭ" ﺍﻟﺪّﻣﺎﻏﻴّﺔ ﻛﹶﺎِﺋَﻨ ﹰﺔ ﰲ‬
‫ﺍﳌﻜﺎﻥ)ﻡ(‪ .‬ﺣﲔ ﺫﻟﻚ‪ ،‬ﻓﺈ ﹼﻥ ﲡﺪّﺩ ﺍﻟﺼّﻮﺭ ﺳﻮﻑ ﻳﻜﻮﻥ ﳏﻜﻮﻣﺎ ﺑﻘﻮﺍﻧﲔ ﺁﻟﻴّﺔ ﻭﻣﻮﺿﻮﻋﻴّﺔ‪.‬‬
‫ﻭﺍﻟﺼّﻮﺭﺓ ﺳﻮﻑ ﺗﺼﲑ ﺟﺰﺀ ﻣﻦ ﺍﻟﻌﺎﱂ ﺍﳋﺎﺭﺟ ّﻲ‪ .‬ﺻﺤﻴﺢ ﺃ ﹼﻥ ﺫﻟﻚ‪ ،‬ﺇﻧّﻤﺎ ﻳﻜﻮﻥ ﻓﻌﻼ ﻧﻔﺴﻴّﺎ‪،‬‬
‫ﻗﺒﻞ ﻛ ﹼﻞ ﺷﻲﺀ‪ .‬ﻭﻟﻜﻦ ﻫﺬﺍ ﺍﻟﻔﻌﻞ ﺇﻧّﻤﺎ ﻳﻨﺎﺳﺐ ﺑﺎﻟﺘّﻤﺎﻡ ﺗﻐﻴّﺮﺍ ﻣﺎ ﻓﻴﺰﻳﻮﻟﻮﺟﻴّﺎ‪ .‬ﻋﻠﻰ ﻣﻌﲎ‪ ،‬ﺃﻧّﻨﺎ‬
‫ﺑﺎﻻﺿﻄﺮﺍﺭ ﺳﻮﻑ ﻧﺘﺮﻗﹼﺐ ﺻﻮﺭﻧﺎ ﻛﻤﺎ ﻧﺘﺮﻗﹼﺐ ﺍﳌﻮﺍﺿﻴﻊ؛ ﻭ ﺑﺎﻻﺿﻄﺮﺍﺭ ﺳﻮﻑ ﺃﺭﺟﻮ ﺻﻮﺭﺓ‬
‫ﺑﻄﺮﺱ ﻛﻤﺎ ﺃﻧﺎ ﺃﺭﺟﻮ ﺻﺪﻳﻘﻲ ﺑﻄﺮﺱ ﺑﻌﻴﻨﻪ‪ .‬ﻓِﺈ ﹶﻻ َﻡ ﻳﻨﻘﻠﺐ ِﺇﺫﹰﺍ ﺃﻣﺮ ﺍﻟﻔﻜﺮ ؟ ﹶﻟ َﻌ ْﻤﺮِﻱ‪ ،‬ﺇﻧّﻪ‬
‫ﻼ ِﺑ ِﻤ ﹾﺜ ٍﻞ‪ :‬ﺇﻧّﻪ ﺍﻟﹼﺬﻱ ﻫﻮ ﻣﺎﻟﻴﺲ‬
‫ﺳﻴﻜﻮﻥ ﺑﺈﺯﺍﺀ ﺍﻟﺼّﻮﺭ ﻛﻤﺎ ﻫﻮ ﳌﹼﺎ ﻳﻜﻮﻥ ﺑﺈﺯﺍﺀ ﺍﻹﺩﺭﺍﻙ َﻣﹶﺜ ﹰ‬

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‫ﺑﺼﻮﺭﺓ‪ ،‬ﻭﻫﻮ ﺍﻟﹼﺬﻱ ﻫﻮ ﻣﺎ ﻟﻴﺲ ﺑﺈﺩﺭﺍﻙ‪ .‬ﻣﺎﻋﺪﺍ ﺃ ﹼﻥ ﻫﺬﺍ ﺍﻟﻔﻜﺮ ﻣﺜﻠﻤﺎ ﻟﻴﺲ ﳝﻜﻨﻪ ﺃﻥ‬
‫ﻳﺴﺘﺠﻠﺐ ﺍﳌﻮﺿﻮﻉ ﺍﳋﺎﺭﺟﻲّ‪ ،‬ﻓﻬﻮ ﺃﻳﻀﺎ ﻻ ﳝﻜﻨﻪ ﺃﻥ ﻳﺘّﺨﺬ ﺍﻟﺼّﻮﺭ ﻣﻌﺎﻭﻧﺎ ﻟﻪ‪ .‬ﺇﻧّﻨﺎ ﻟﻮ ﺳﻠﹼﻤﻨﺎ‬
‫ﺑﺘﻠﻚ ﺍﳌﻘﺪّﻣﺎﺕ‪ ،‬ﻓﺒﺎﻻﺿﻄﺮﺍﺭ ِﺇﺫﹰﺍ ﺃﻥ ﻧﺴﻠﹼﻢ ﺃﻳﻀﺎ ﺑﺂﺭﺍﺀ ﲨﺲ )ﺍﻟﹼﱵ ﺫﻛﺮﻫﺎ ﻛﻼﺑﺎﺭﺩ ﰲ‬
‫ﻣﺼﻨّﻔﻪ(‪ :‬ﻭﻫﻮ ﺃﻧّﻪ ﻟﻴﺲ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻘﺒﻞ ﺑﺄ ﹼﻥ ﺗﻌﻘﹼﻞ ﻣﺸﺎﻬﺑﺔ ﻣﺎ ﺷﺄﻬﻧﺎ ﺃﻥ ﲢﺪﺙ‪ ،‬ﻻﻗﺘﺮﺍﻬﻧﺎ ﻣﻊ‬
‫ﻼﺻُ ِﻘﱠﻴ ِﺔ ﺍﻵﻟﻴّﺔ ﺇﻧّﻤﺎ ﰲ ﻭﻗﺖ‬
‫ﳊ ِﺮﻱﱢ‪ ،‬ﻓﺈ ﹼﻥ ﺍﻟﱠﺘ ﹶ‬
‫ﺇﺩﺭﺍﻙ ﻣﺎ‪ ،‬ﺻﻮﺭﺓ ﻣﺸﺎﻬﺑﺔ ﻟﺬﻟﻚ ﺍﻹﺩﺭﺍﻙ‪ .‬ﺑﻞ‪ ،‬ﺑﺎ ﹶ‬
‫ﺤ ِﺪﺙﹸ ﺍﻟﺼّﻮﺭ ﻭﺍﻹﺩﺭﺍﻙ‪ ،‬ﺃﻭ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻟﺼّﻮﺭﺓ ﺍ ﹸﳌ ْﻌَﺘَﺒ َﺮﺓﹶ‪ ،‬ﻭﺃﻧّﻤﺎ ﻫﻮ ﺣﻴﻨﺌﺬ ﻓﻘﻂ‪،‬‬
‫ﻭﺍﺣﺪ ﻫﻲ ﺗُ ْ‬
‫ﺴ ﱢﺪ ٍﺩ‬
‫ﺨﺬﹸ ﺑﻨﺤﻮ ﻏﺮﺽ ﻣُ َ‬
‫ﻳﺴﺘﻄﻴﻊ ﺍﻟﺬﹼﻫﻦ ﺃﻥ ﻳﺘﺒﻴّﻦ ﺍﳌﺸﺎﻬﺑﺔ‪ .‬ﻭﺑﺎﳉﻤﻠﺔ‪ ،‬ﻓﺎﻟﻔﻜﺮ ﻻ ﳝﻜﻦ ﺃﻥ ﻳُﱠﺘ َ‬
‫‪thème directeur‬ﺇﺫ ﺗﻨﺘﻈﻢ ﻋﻨﺪﻩ ﺻﻮﺭ ﺑﻨﺤﻮ ﻭﺳﺎﺋﻞ ﻭ ﺗﻘﺮﻳﺒﺎﺕ‪ .‬ﻓﺎﻟﻔﻜﺮ‬
‫ﻗﺪ ُﺭ ﱠﺩ ﻋﻠﻰ ﺍﻟﺘّﺤﺼﻴﻞ ﺇﱃ ﻭﻇﻴﻔﺔ ﻭﺍﺣﺪﺓ‪ :‬ﻭﻫﻲ ﺍﻟﻮﻗﻮﻑ ﻋﻠﻰ ﺍﻟﻌﻼﻗﺎﺕ ﺑﲔ ﻧﻮﻋﲔ ﻣﻦ‬
‫ﺍﳌﻮﺍﺿﻴﻊ‪ :‬ﺍﳌﻮﺍﺿﻴﻊ ﺍﻷﺷﻴﺎﺀ‪ ،‬ﻭﺍﳌﻮﺍﺿﻴﻊ ﺍﻟﺼّﻮﺭ‪ .‬ﻭﻛﻤﺎ ﻗﺎﻝ ﺁﻻﻥ‪ ،‬ﻋﻠﻰ ﳓﻮ ﻟﻴﺲ ﳜﺘﻠﻒ‬
‫ﻛﺜﲑﺍ‪ " :‬ﺇﻧّﻨﺎ ﻻ ﻧﺘﻌﻘﹼﻞ ﻣﺎ ﻧﺸﺎﺀﻩ‪".‬‬

‫ﻟﻴﻜﻦ ﺫﻟﻚ‪ ،‬ﻭﻟﻜﻦ ﻣﺎ ﻳﻜﻮﻥ ﺣﺎﻝ ﺍﻟﻘﻮﺍﻧﲔ ﺍﳌﻨﻄﻘﻴّﺔ ؟ ﺻﺤﻴﺢ ﺃﻧّﻨﺎ ﻗﺪ ﻧﺮﺩّﻫﺎ‪ ،‬ﻫﻲ‬
‫ﺃﻳﻀﺎ‪ ،‬ﺇﱃ ﺭﻭﺍﺑﻂ ﺗﺮﺍﺑﻄﻴّﺔ‪ .‬ﺣﻴﻨﺌﺬ‪ ،‬ﻓﺈﻧّﻨﺎ ﳒﺪ ﺛﺎﻧﻴﺔ‪ ،‬ﺑﻮﺟﻪ ﻣﻦ ﺍﻟﻮﺟﻮﻩ‪ ،‬ﺗﺮﺍﺑﻄﻴّﺔ ﺗﺎﻥ ﺁﻧﻔﺔ‬
‫ﺍﻟﺬﹼﻛﺮ‪ .‬ﺃ ّﻣﺎ ﻟﻮ ﻟﺰﻡ ﺃﻥ ﻧُ ْﺒ ِﻘ َﻲ ﻋﻠﻰ ﻣﺒﺪﺃ ﻭﺟﻮﺩ ﻓﻜﺮ ﻗﺎﺋﻤﺎ ﺑﻨﻔﺴﻪ‪ ،‬ﻓﺈﻧّﻪ ﺳﻴﺘﻮﺟّﺐ ﻋﻠﻴﻨﺎ ﻋﻨﺪﻫﺎ‬
‫ﱄ ﲟﻔﺮﺩﻩ ﻭﻫﻮ ﻳﺜﺒﺖ ﰲ ﻭﻗﺖ ﻭﺍﺣﺪ‪ ،‬ﻋﻼﻗﺔ ﻣﻦ ﺍﻟﻌﻼﻗﺎﺕ ﺑﲔ‬
‫ﺃﻥ ﻧﺮﺩّﻩ ﺇﱃ ﺍﳊﻜﻢ ﺍﻷ ّﻭ ﹼ‬
‫ﺇﺩﺭﺍﻛﲔ ﺃﻭ ﺻﻮﺭﺗﲔ ﺃﻭ ﺑﲔ ﺻﻮﺭﺓ ﻭﺇﺩﺭﺍﻙ‪ ،‬ﺗﻜﻮﻥ ﻗﺪ ﻇﻬﺮﺕ ﲟﻨﺄﻯ ﻋﻨﻪ ﺃﻭ ﺑﺮﻏﻢ ﻣﻨﻪ‪ .‬ﹶﻓ َﻤ ْﻦ‬
‫ﺫﹶﺍ ﺍﱠﻟﺬِﻱ ﻗﺪ ﻳﺘﻌﺮّﻑ ﻋﻠﻰ ﻣﻠﻜﺔ ﺍﻻﺳﺘﺪﻻﻝ ﻭﺍﻟﺘّﺼﻮّﺭ ﻭﺑﻨﺎﺀ ﺍﻵﻻﺕ ﻭﲢﻘﻴﻖ ﺍﻟﺘّﺠﺎﺭﺏ ﺍﻟﺬﹼﻫﻨﻴّﺔ‬
‫ﻭﻏﲑﻫﺎ ﻣﻦ ﻫﺬﺍ ﺍﻟﻔﻜﺮ ﺍﳌﻜﺴّﺮ ﻭﺍﳌﻀﻄﺮﺏ ﺍﻟﹼﺬﻱ ﲤﻨﻊ ﳕﻮّﻩ ﻣﻨﻌﺎ ﻬﻧﺎﺋﻴّﺎ ﻇﻬﻮﺭﺍﺕ ﻣﺎ ﺗﻔﺘﺄ‬
‫ﺗﺘﺠﺪّﺩ ﻭﻏﲑ ﺫﺍﺕ ﻧﺴﺒﺔ ﻣﻨﻄﻘﻴّﺔ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ؟‬

‫ﻓﻠﻴﺲ ﺇ ﹼﻻ ﻣﻦ ﺳﺒﻴﻞ ﻭﺍﺣﺪ ﻟﻠﺨﺮﻭﺝ ﻣﻦ ﺍﳊﲑﺓ‪ :‬ﻫﻮ ﺃﻥ ﻧﻘﺒﻞ ﺑﺎﻟّﺘﺴﺎﻭﻕ ﺍﻟﺸّﺎﻣﻞ ﺑﲔ‬
‫ﺿﺮﻭﺏ ﺍﻹﻣﺘﺪﺍﺩ ﻭﺿﺮﻭﺏ ﺍﻟﻔﻜﺮ‪ .‬ﻭﻋﻠﻰ ﻫﺬﺍ‪ ،‬ﻓﺈ ﹼﻥ ﺍﻧﻔﻌﺎﻻﺕ ﺟﺴﺪﻳّﺔ ﻣﺎ ﺗﺘﻨﺎﺳﺐ ﺃﻳﻀﺎ ﻣﻊ‬

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‫ﺍﻟﻔﻜﺮﺍﳌﻨﻄﻘﻲّ‪ ،‬ﻭﻻ ﺷﻲﺀ ﻗﺪ ﳝﻨﻊ ﺃﻧّﻪ ﺑﻄﺮﻳﻖ ﺁﻟﻴّﺔ ﳏﺾ ﻓﻴﺰﻳﻮﻟﻮﺟﻴّﺔ‪ ،‬ﻓﺈ ﹼﻥ ﺗﻠﻚ ﺍﻻﻧﻔﻌﺎﻻﺕ‬
‫ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴّﺔ ﺍﳉﺪﻳﺪﺓ ﺗﻘﻮﺩ ﺇﱃ " ﻳﻘﻈﺔ " ﺁﺛﺎﺭ ﻣﺎ ﺗﺘﻨﺎﺳﺐ ﻣﻊ ﺻﻮﺭ‪ .‬ﻭﺑﺬﻟﻚ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻀﻊ‬
‫ﻓﻜﺮﺍ ﺷﺄﻧﻪ ﺃ ﹼﻥ ﻳﺘﺨﻴّﺮ ﺻﻮﺭﺍ ﻭﻳﻐﻴّﺮ‪ ،‬ﺑﻨﻮﻉ ﻣﺎ‪ ،‬ﻧﻈﺎﻡ ﻇﻬﻮﺭﻫﺎ‪ .‬ﺃﻭ ﻫﻮ ﻋﻠﻰ ﺍﻷﻗﻞﹼ‪ ،‬ﺫﻟﻚ ﻟﻦ‬
‫ﻳﻜﻮﻥ ﳑﺘﻨﻌﺎ ﺑﺎﻋﺘﺒﺎﺭ ﺍﻷﻣﺮ ﻣﻦ ﺟﻬﺔ ﺍﳌﻴﻜﺎﻧﻴﻜﺎ‪ .‬ﻟﻜﻨّﻪ ﻟﻴﺲ ﻳﺬﻫﺐ ﻋﻦ ﺃﺣﺪ ﺃ ﹼﻥ ﺍﻟﺘّﺴﺎﻭﻗﻴّﺔ‬
‫ﺍﻟﺸّﺎﻣﻠﺔ ﻟﻴﺴﺖ ﲡﻮﺯ ﺇ ﹼﻻ ﰲ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﺎ ﺳﺒﻴﻨﻮﺯﻳّﺔ)‪ .(٢٣‬ﻷﻧّﻨﺎ ﻟﻮ ﺭﻣﻨﺎ ﺃﻥ ﻧﻔﻬﻢ ﺍﻵﻟﻴّﺔ‬
‫ﺍﳉﺴﺪﺍﻧﻴّﺔ ﺑﺄﻧّﻬﺎ ﺗﺴﺪّﺩ ﻭﺗﻔﺴّﺮ ﲡﺪّﺩ ﺍﻟﻮﺍﻗﻌﺎﺕ ﺍﻟﻨّﻔﺴﻴّﺔ‪ ،‬ﻓﺴﻴﻠﺰﻡ ﺃ ﹼﻥ ﻋﻔﻮﻳّﺔ ﺍﻟﻮﻋﻲ ﺳﻮﻑ‬
‫ﺗﻀﻤﺤﻞﹼ‪ ،‬ﻭﺍﻟﻘﻮﺍﻧﲔ ﺍﳌﻨﻄﻘﻴّﺔ ﺳﻮﻑ ﺗﻜﻮﻥ ﺣﻘﻴﻘﺘﻬﺎ ﺇﻧّﻤﺎ ﻫﻲ ﳎﺮّﺩ ﺭﻣﻮﺯ ﻟﻘﻮﺍﻧﲔ ﻓﻴﺰﻳﻮﻟﻮﺟﻴّﺔ‬
‫‪ :‬ﻭﺑﺬﻟﻚ ﻧﺘﺮﺩّﻯ ﰲ ﻇﺎﻫﺮﻳّﺔ ﻗﺸﺮﻳّﺔ ِﺇﺫﹰﺍ ﺇﻧّﻤﺎ ﻳﻨﺒﻐﻲ ﺃﻥ ﻧﻔﻬﻢ ﺍﻟﺘّﺴﺎﻭﻗﻴّﺔ ﺑﻨﻮﻉ ﻣﻐﺎﻳﺮ‪ ،‬ﺃﻱ‬
‫ﻛﻤﺎ ﻛﺎﻥ ﺳﺒﻴﻨﻮﺯﺍ ﻳﻜﺮّﺭﺍﻟﻘﻮﻝ ﻓﻴﻪ ﺑﻼ ﻣﻠﻞ‪ ،‬ﻭﻫﻮ ﺃ ﹼﻥ ﺍﻟﻔﻜﺮﺓ ﻻ ﺗﻔﺴّﺮﻫﺎ ﺇ ﹼﻻ ﻓﻜﺮﺓ‪ ،‬ﻭﺍﳊﺮﻛﺔ‬
‫ﻻ ﺗﻔﺴّﺮﻫﺎ ﺇ ﹼﻻ ﺣﺮﻛﺔ ﺃﺧﺮﻯ‪ .‬ﻋﻠﻰ ﺃ ﹼﻥ ﻫﺬﻩ ﺍﻟﺘّﺴﺎﻭﻗﻴّﺔ‪ ،‬ﻟﻜﻮﻬﻧﺎ ﻗﺪ ﺭﺍﻣﺖ ﺃ ﹼﻥ ﺗﻔﺴّﺮ ﻛ ﹼﻞ‬
‫ﺷﻲﺀ‪ ،‬ﻓﻬﻲ‪ ،‬ﰲ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﻋﻠﻰ ﺍﻷﻗﻞ‪ ،‬ﻟﻴﺴﺖ ﺗﻔﻠﺢ ﰲ ﺃﻥ ﺗﻔﺴّﺮ ﺷﻴﺌﺎ ﻣﻦ ﺍﻷﺷﻴﺎﺀ‪ .‬ﻭﺇﻧّﻤﺎ‬
‫ﻓﺎﺋﺪﺓ ﻛﻼﻣﻬﺎ ﺃﻧّﻪ ﻳﻨﺒﻐﻲ ﺃﻥ ﻧﺘﻔﺤّﺺ ﺍﻟﻮﻋﻲ ﲟﻌﺎﻥ ﺗﻨﺘﻤﻲ ﻟﻠﻮﻋﻲ ﻭﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟ ّﻲ ﲟﻌﺎﻥ ﺗﻨﺘﻤﻲ‬
‫ﺐ ﻧﺴﻘﺎ ﺁﻟﻴّﺎ ﺷﺄﻧﻪ ﺃﻥ ﻳﺒﻴّﻦ ﺣﻘﻴﻘﺔ‬
‫ﻟﻠﻔﻴﺰﻳﻮﻟﻮﺟﻴﺎ‪ .‬ﻭﻋﻠﻰ ﺍﳉﻤﻠﺔ‪ ،‬ﻓﺈﻧّﻨﺎ ﻟﻜﻮﻧﻨﺎ ﻗﺪ ُﺭ ْﻣﻨَﺎ ﺃﻥ ُﻧﺼِﻴ َ‬
‫ﻗﺪﺭﺓ ﺍﻟﻔﻜﺮ ﺍﻟﺘّﻨﻈﻴﻤﻴّﺔ‪ ،‬ﻓﻬﺎ ﳓﻦ ﻗﺪ ﹸﺃ ِﻋ ْﺪﻧَﺎ ﺇﱃ ﺍﻟﻮﻋﻲ ﻭﻫﺎ ﳓﻦ ﻣﻀﻄﺮّﻭﻥ ﻷﻥ ﻧﺼﻮﻍ ﺍﳌﺴﺄﻟﺔ‬
‫ﻣﺘّﺨﺬﻳﻦ ﻣﻌﺎﻧﻴﺎ ﳏﺾ ﻧﻔﺴﺎﻧﻴّﺔ‪ .‬ﻓﻌﻠﻴﻨﺎ ﺃﻥ ﻧﻀﺮﺏ ﺻﻔﺤﺎ ﻋﻦ ﺍﻟﺜﹼﻨﺎﺋﻴّﺔ ﺍﻟﺪّﻳﻜﺎﺭﺗﻴّﺔ‪ ،‬ﻭﻳﻨﺒﻐﻲ ﺃﻥ‬
‫ﻧﺘﺨﻠﹼﻰ ﻋﻦ ﻛ ﹼﻞ ﺗﻔﺴﲑ ﺑﻄﺮﻳﻖ ﺍﻵﺛﺎﺭ ﻭﺍﻟﺘّﻼﺻﻘﺎﺕ ﺍﻟﻌﺼﺒﻴّﺔ‪ ،‬ﻭﻏﲑ ﺫﻟﻚ ‪.‬ﳚﻮﺯ ﺃﻥ ﻧﻘﺒﻞ‪ ،‬ﻟﻮ‬
‫ﱐ ؛ ﻭﻟﻜﻦ‪ ،‬ﺇﻧّﻤﺎ ﻫﻮ ﻷﺟﻞ ﺫﻟﻚ ﻋﻠﻰ ﺍﻟﺘّﺤﻘﻴﻖ‪،‬‬
‫ﺷﺌﻨﺎ‪ ،‬ﺑﺄﻧّﻪ ﻛ ﹼﻞ ﻓﻜﺮﺓ ﻓﻴﻨﺎﺳﺒﻬﺎ ﺍﻧﻔﻌﺎﻝ ﺟﺴﺪﺍ ﹼ‬
‫ﻛﺎﻥ ﺍﳉﺴﺪ ﻻ ﻳﻔﺴّﺮ ﺷﻴﺌﺎ ﺍﻟﺒﺘّﺔ‪ ،‬ﻭﻛﺎﻥ ﻗﺪ ﺗﻮﺟّﺐ ﺃﻥ ﻧﻨﻈﺮ ﰲ ﻋﻼﻗﺔ ﺍﻟﻔﻜﺮ ﺑﺎﻟﺼّﻮﺭﺓ ﻛﻤﺎ‬
‫ﻫﻲ ﺗﻈﻬﺮ ﻟﻠﻮﻋﻲ‪.‬‬

‫ﻓﻬﺎ ﳓﻦ ﺃﹸﻭ ﹶﻻ ِﺀ ﻣﻀﻄﺮّﻭﻥ ﻷﻥ ﻧﻨﻈﺮ ﰲ ﻣﺸﺎﺭﻛﺔ ﺍﻟﺼّﻮﺭﺓ ﻟﻠﻔﻜﺮ ﻋﻠﻰ ﺍﻟﻨّﺤﻮ ﺍﻟﺜﹼﺎﱐ‪ ،‬ﺃﻱ‬
‫ﻋﻠﻰ ﳓﻮ ﻫﻴﻮﻡ‪ .‬ﻓﻬﻴﻮﻡ ﰲ ﺍﻟﺒﺪﺀ ﻛﺎﻥ ﳚﻬﻞ ﻛ ﹼﻞ ﺷﻲﺀ ﻋﻦ ﺍﳉﺴﺪ‪ .‬ﺇﻧّﻪ ﻗﺪ ﺍﺑﺘﺪﺃ‪ ،‬ﺃﻭ ﺧﺎﻝ‬
‫ﻧﻔﺴﻪ ﺃﻧّﻪ ﻗﺪ ﺍﺑﺘﺪﺃ ﻣﻦ ﺍﳌﻌﻄﻴﺎﺕ ﺍﻷﻭﱃ ﻟﻠﺘّﺠﺮﺑﺔ‪ :‬ﻫﻨﺎﻟﻚ ﺍﻧﻄﺒﺎﻋﺎﺕ ﻗﻮﻳّﺔ ﻭﺃﺧﺮﻯ ﺿﻌﻴﻔﺔ‪.‬‬

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‫ﺍﻻﻧﻄﺒﺎﻋﺎﺕ ﺍﻟﺜﹼﺎﻧﻴﺔ ﻫﻲ ﺻﻮﺭ ﻭﻻ ﲣﺘﻠﻒ ﻋﻦ ﺍﻷﻭﱃ ﺇ ﹼﻻ ﺑﺎﻟﻜﺜﺎﻓﺔ‪ .‬ﻭﻟﻨﺎ ﺃﻥ ﻧﺴﺄﻝ‪ ،‬ﺃﺗُﺮﺍﻧَﺎ َﺣ ﹶﻠ ﹾﻠﻨَﺎ‬
‫ﺕ‪ :‬ﻭﳓﻦ ﺇﻧّﻤﺎ ﻧﺮﻳﺪ ﺃﻥ ﻧُ ﹾﻈ ِﻬ َﺮ ﺃﻥ‬
‫ﲟﺜﻞ ﻫﺬﺍ ﺍﻟﻘﻠﺐ ﺍﻟﺼّﻌﻮﺑﺎﺕ ﺍﻟﹼﱵ ﻻﻗﻴﻨﺎﻫﺎ ﺁﻧﻔﺎ)‪ (٢٤‬؟ َﻫ ْﻴﻬَﺎ َ‬
‫ﺼﻮّﺭ ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ‬
‫ﻫﺬﻩ ﺍﻟﺼّﻌﻮﺑﺎﺕ ﻟﻴﺲ ﻣﺮﺩّﻫﺎ ﺇﱃ ﺍﻟﺮّﺃﻱ ﺍﳌﺨﺘﺎﺭ ﻭﺇﻧّﻤﺎ ﻣﺮﺩّﻫﺎ ﺍﻋﺘﻤﺎﺩ ﺍﻟﺘ ّ‬
‫ﺴ ّﻲ‪.‬‬
‫ﳏﺘﻮﻯ ﺣ ّ‬

‫ﻓﺎﳋﺎﺻﻴّﺔ ﺍﻷﻭﱃ " ﻻﻧﻄﺒﺎﻋﺎﺕ" ﻫﻴﻮﻡ‪ ،‬ﻫﻲ ﺃﻧّﻬﺎ ﺫﺍﺕ ﺛﺨﻮﻧﺔ‪ .‬ﻭﺛﺨﻮﻧﺘﻬﺎ ﺗﻠﻚ ﻫﻲ ﻣﺎ‬
‫ﳚﻌﻠﻬﺎ َﺗَﺘ ﹶﻘ ﱠﻮﻡُ ﺑﻨﺤﻮ ﺍﶈﺴﻮﺱ‪ .‬ﺫﻟﻚ ﳍﻮ ﻋﲔ ﺍﻟﺼّﻮﺍﺏ ﻟﻮ ﺗﻌﻠﹼﻖ ﺍﻷﻣﺮ ﺑﺎﻻﺩﺭﺍﻛﺎﺕ‪ .‬ﻓﻔﻲ ﻟﻮﻥ‬
‫ﺨَﺘ َﺰﻝﹸ‬
‫ﻫﺬﻩ ﺍﳊﻘﹼﺔ ﺍﻟﺼّﻔﺮﺍﺀ‪ ،‬ﺃﻭ ﺧﺸﻮﻧﺔ ﻗﻄﻌﺔ ﺍﳋﺸﺐ ﺗﻠﻚ‪ ،‬ﻫﻨﺎﻟﻚ ﺷﻲﺀ ﻣﺎ ﻻﳏﺎﻟﺔ ﻟﻴﺲ ﻳُ ْ‬
‫ﻭﻟﻴﺲ ﻳُ ْﻨ ﹶﻔﺬﹸ ﺇﻟﻴﻪ‪ ،‬ﺃﻱ ﺷﻲﺀ ُﻣ ْﻌﻄﹶﻰ‪ .‬ﻭﻫﺬﺍ ﺍﳌﻌﻄﻰ ﻟﻴﺲ ﻳﺘﺤﻘﹼﻖ ﻓﻴﻪ ﻓﻘﻂ ﺟﺎﻧﺐ ﺍﻟﺜﹼﺨﻮﻧﺔ ﰲ‬
‫ﺍﻻﺩﺭﺍﻙ‪ ،‬ﻭﺇﻧّﻤﺎ ﺃﻳﻀﺎ ﺟﺎﻧﺒﻪ ﺍﻵﺧﺮ ﺟﺎﻧﺐ ﺍﻟ ﹸﻘﺒُﻮِﻟﱠﻴ ِﺔ‪ .‬ﺑﻞ ﺇ ﹼﻥ ﺍﻟﺜﹼﺨﻮﻧﺔ ﻭﺍﻟﻘﺒﻮﻟﻴّﺔ ﻟﻴﺴﺘﺎ ﳘﺎ ﺇ ﹼﻻ‬
‫ﺴﻴّﺔ‪.‬‬
‫ﻭﺟﻬﲔ ﺍﺛﻨﲔ ﳊﻘﻴﻘﺔ ﻭﺍﺣﺪﺓ‪ .‬ﻋﻠﻰ ﺃ ﹼﻥ ﻫﻴﻮﻡ ﱂ ﻳﻘﺘﺼﺮ ﻋﻠﻰ ﻭﺻﻔﻪ ﳏﺘﻮﻳﺎﺕ ﺍﻻﺩﺭﺍﻙ ﺍﳊ ّ‬
‫ﺑﻞ ﻟﻘﺪ ﺭَﺍ َﻡ ﺃﻥ ﻳﺒﲏ ﻋﺎﱂ ﺍﻟﻮﻋﻲ ﺑﻮﺍﺳﻄﺔ ﻫﺬﻩ ﺍﶈﺘﻮﻳﺎﺕ ﻭﺣﺪﻫﺎ ؛ ﻋﻠﻰ ﻣﻌﲎ ﺃﻧّﻪ ﻗﺪ ﺯﺍﺩ ﺇﱃ‬
‫ﺴﻴّﺔ ﻋﻴﻨﻬﺎ ﻋﻠﻰ ﻗﺪﺭ ﺃﻗ ﹼﻞ ﻣﻦ ﺍﻟﻜﺜﺎﻓﺔ‪.‬‬
‫ﻧﻈﺎﻡ ﺍﻹﺩﺭﺍﻙ ﻧﻈﺎﻣﺎ ﻣﻦ ﺍﻟﺼّﻮﺭ ﻫﻲ ﺗﻠﻚ ﺍﶈﺘﻮﻳﺎﺕ ﺍﳊ ّ‬
‫ﻓﺼﻮﺭ ﺃﻫﻞ ﺍﻟﺘّﺮﺑﻂ ﻫﻲ ﺇﺫﺍ ﻋﺒﺎﺭﺓ ﻋﻦ ﻣﺮﺍﻛﺰ ﻣﻦ ﺍﻟﺜﹼﺨﻮﻧﺔ ﻭﺍﻟﻘﺒﻮﻟﻴّﺔ‪ .‬ﺇ ﹼﻥ ﻟﻮﻥ ﻫﺬﻩ ﺍﳊﻘﹼﺔ‬
‫ﺍﻷﺻﻔﺮ ﺣﻴﻨﻤﺎ ﻳﻌﺎﻭﺩ ﺍﻟﻨّﺸﺄﺓ ﺑﻨﺤﻮ ﺍﻧﻄﺒﺎﻉ ﺿﻌﻴﻒ‪ ،‬ﻓﺈﻧّﻪ ﻳﺴﺘﺤﻔﻆ ﺑﺼﻔﺔ ﻛﻮﻧﻪ ُﻣ ْﻌﻄﹶﻰ‪:‬‬
‫ﺨَﺘ َﺰﻝﹸ ﻭﻳﺴﺘﻤ ّﺮ ﺑﻨﺤﻮ ﺍﻟﻼﹼﻣﻌﻘﻮﻝ‪ .‬ﻓﺈﻧّﻤﺎ ِﻟ َﻤﻜﹶﺎ ِﻥ ﻛﻮﻧﻪ ﻗﺒﻞ ﻛ ﹼﻞ ﺷﻲﺀ‪ ،‬ﻭﻋﻠﻰ‬
‫ﻭﻳﺴﺘﻤ ّﺮ ﻻ ﻳُ ْ‬
‫ﺍﻟﺘّﺤﻘﻴﻖ ﻫﻮ ﺍﻧﻔﻌﺎﻟﻴّﺔ ﺧﺎﻟﺼﺔ‪ ،‬ﻓﻬﻮ ﻳﺒﻘﻰ ﻋﻨﺼﺮﺍ ﻋﺎﻃﻼ‪ .‬ﻣﺎ ﻣﻌﲎ ﺫﻟﻚ ؟ ﻣﻌﻨﺎﻩ ﺃﻧّﻪ ﻻﻳﺴﺘﻔﻴﺪ‬
‫ﻣﻦ ﺫﺍﺗﻪ ﻭﻻ ﻣﻦ ﺑﺎﻃﻦ ﻛﻴﺎﻧﻪ ِﻋ ﱠﻠ ﹶﺔ ﻇﻬﻮﺭﻩ‪ .‬ﺇﻧّﻪ ﻻ ﻳﺴﺘﻄﻴﻊ ﻣﻦ ِﺗ ﹾﻠﻘﹶﺎِﺋ ِﻪ ﻻ ﺃﻥ ﻳﻈﻬﺮ ﻭﻻ ﺃﻥ‬
‫ﻳﻐﻴﺐ‪ .‬ﺑﻞ ﳚﺐ ﺷﻲﺀ ﺁﺧﺮ ﻏﲑﻩ ﺍﻟﹼﺬﻱ ﻳﺴﺘﺤﻀﺮﻩ ﺃﻭ ﻳﺪﻓﻊ ﺑﻪ‪ .‬ﻭﻟﻜﻦ ﻫﺬﺍ " ﺍﻟﺸّﻲﺀ ﺍﻵﺧﺮ‬
‫" ﻻ ﳝﻜﻨﻪ ﺃﻥ ﻳﻜﻮﻥ ﻋﻔﻮﻳّﺔ ﺗﻨﺴﻴﻘﻴّﺔ‪ ،‬ﻟﻜﻮﻥ ﻛ ﹼﻞ ﻋﻔﻮﻳّﺔ ﻓﻼ ﳝﻜﻨﻬﺎ ﺃﻥ ﺗﻨﻄﻮﻱ ﻋﻠﻰ ﺃﺟﺰﺍﺀ ﻣﺎ‬
‫ﻣﻦ ﺍﻻﻧﻔﻌﺎﻟﻴّﺔ ﺑﺘّﺔ ‪ .‬ﻓﻬﻲ ﺇﻣّﺎ ﺑﺄﺳﺮﻫﺎ ﻧﺸﺎﻁ‪ ،‬ﻭﻣﻦ ﹶﺛ ﱠﻢ ﺗﻜﻮﻥ ﺷﻔﹼﺎﻓﺔ ﻟﺬﺍﻬﺗﺎ‪ ،‬ﺃﻭ ﻻ ﺗﻜﻮﻥ‪.‬‬
‫ﺾ ﻋﺎﱂ ﺍﳋﺎﺭﺟﻴّﺔ‪ ،‬ﺃﻱ ﺇﱃ ﻋَﺎﹶﻟﻢٍ‪،‬‬
‫ﺤ ِ‬
‫ﺴﻴّﺔ ﺇﻧّﻤﺎ ﻳﻨﻘﻠﻨﺎ ﺇﱃ َﻣ ْ‬
‫ﻭﺍﳊ ّﻖ ﺃ ﹼﻥ ﻛ ﹼﻞ ﻭﺿﻊ ﶈﺘﻮﻳﺎﺕ ﻣﺎ ﺣ ّ‬
‫ﺍﶈﺘﻮﻳﺎﺕ ﺍﻟﻌﺎﻃﻠﺔ ﻓﻴﻪ ﳛﺪّﺩ ﺿﺮﻭﺏ ﻇﻬﻮﺭﻫﺎ ﳏﺘﻮﻳﺎﺕ ﺃﺧﺮﻯ ﻋﺎﻃﻠﺔ ﻣﺜﻠﻬﺎ‪ ،‬ﻭﻫﻮﻋﺎﱂ‪ ،‬ﻛ ﹼﻞ‬

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‫ﺍﻟﺘّﻐﻴّﺮﺍﺕ ﻭﺍﻟﺪّﻓﻌﺎﺕ ﺍﳊﺎﺻﻠﺔ ﻓﻴﻪ ﺇﻧّﻤﺎ ﻳﻜﻮﻥ ﺃﺻﻠﻬﺎ ﻣﻦ ﺍﳋﺎﺭﺝ‪ ،‬ﻭﻫﺬﺍ ﺍﻷﺻﻞ ﻳﺴﺘﻤ ّﺮ ﺃﺟﻨﺒﻴّﺎ‬
‫ﺤﻴِﻲ ﻟﻪ‪ .‬ﻣﻦ ﺃﺟﻞ ﺫﻟﻚ ﻛﺎﻧﺖ ﺃﻣّﻬﺎﺕ ﻗﻮﺍﻧﲔ ﺍﻟﺘّﺮﺍﺑﻂ ﺇﻧّﻤﺎ ﻳﻘﺘﻀﻲ ﹸﻛ ﱞﻞ ﻣﻨﻬﺎ‪،‬‬
‫ﻋﻦ ﺍﶈﺘﻮﻯ ﺍ ﹸﳌ ْ‬
‫ﺑﻨﻮﻉ ﺍﳉﺰﻡ ﺍﻟﻀﻤﲏّ‪ ،‬ﻣﺒﺪﺃ ﺍﻟﻌﻄﺎﻟﺔ‪ .‬ﻧﻌﻢ ‪ :‬ﺇﺫ ﻣﺎ ﻣﻌﲎ ﻗﺎﻧﻮﻥ ﺍﳌﺸﺎﻬﺑﺔ ﺇﻥ ﱂ ﻳﻜﻦ ﻭﺿﻊ‬
‫ﺭﻭﺍﺑﻂ ﺧﺎﺭﺟﻴّﺔ ﺑﲔ ﳏﺘﻮﻳﲔ ﻧﻔﺴﻴﲔ ﺍﺛﻨﲔ ؟ ﻓﺒﻄﺮﺱ‪ ،‬ﺇﻧّﻤﺎ ﺑﺎﻟﻌﺮﺽ‪ ،‬ﻛﺎﻥ ﻗﺪ ﺷﺎﺑﻪ ﻳﻮﺣﻨّﺎ‪.‬‬
‫ﻭﲞﺎﺻّﺔ ﻣﺎ ﻣﻌﲎ ﻗﺎﻧﻮﻥ ﺍﳌﻼﺻﻘﺔ ﺇﻥ ﱂ ﻳﻜﻦ ﺇﻧّﻤﺎ ﻫﻮ ﳎﺮّﺩ ﺗﺄﻭﻳﻞ ﻭﳏﺾ ﻧﻘﻞ ﳌﺒﺪﺃ ﺍﻟﻌﻄﺎﻟﺔ ﺇﱃ‬
‫ﻋﺒﺎﺭﺍﺕ ﻧﻔﺴﺎﻧﻴّﺔ ؟ ﺇﺫ ﺃ ﹼﻥ ﻣﻘﺘﻀﻰ ﻫﺬﺍ ﺍﻟﻘﺎﻧﻮﻥ ﺍﻷﺧﲑ ﻫﻮ ﺃ ﹼﻥ ﺍﳌﺒﺪﺃ ﺍﻟﻮﺣﻴﺪ ﻟﻠﺘّﺮﺍﺑﻂ ﺑﲔ‬
‫ﳏﺘﻮﻳﲔ ﺍﺛﻨﲔ ﺇﻧّﻤﺎ ﺍﳌﻼﻗﺎﺓ ﻭﺍﻟﺘّﺸﺎﻓﻊ‪ .‬ﻭﻫﻜﺬﺍ‪ ،‬ﻓﻴﻜﻮﻥ ﻛ ﹼﻞ ﳏﺘﻮﻯ ﻭﻋﻲ ﻫﻮ ﺑﻮﺟﻪ ﻣﺎ‪ ،‬ﺧﺎﺭﺟ ّﻲ‬
‫ﻚ ﺁﺧﺮ ﻫﻮ ﺍﻟﹼﺬﻱ ﻳﺪﻓﻊ ﺑﻪ ﺧﺎﺭﺝ ﺍﻟﻮﻋﻲ‪ .‬ﺇﻧّﻨﺎ‬
‫ﻚ ﻣﺎ ﻫﻮ ﺍﻟﹼﺬﻱ ُﻳ ﹾﻈ ِﻬ ُﺮﻩُ‪ ،‬ﻭﺻ ّ‬
‫ﻋﻦ ﺫﺍﺗﻪ‪ :‬ﺻ ّ‬
‫ﻱ ﺷﻲﺀ ﻫﻮ ﺍﻟﻮﻋﻲ ﻟﺪﻯ ﺃﻫﻞ ﺍﻟﺘّﺮﺍﺑﻂ‪ :‬ﺇﻧّﻪ ﺑﺒﺴﺎﻃﺔ ﻋﺎﱂ ﺍﻷﺷﻴﺎﺀ‪ .‬ﻓﻠﻴﺲ ﻳﻮﺟﺪ‬
‫ﻟﻨﺘﺒﻴّﻦ ﺍﻵﻥ ﺃ ّ‬
‫ﺇ ﹼﻻ ﻋﺎﱂ ﻣﻦ ﺍﳋﺎﺭﺟﻴّﺔ‪ ،‬ﺇﻧّﻪ ﺍﻟﻌﺎﱂ ﺍﳋﺎﺭﺟ ّﻲ‪ .‬ﻭﺑﲔ ﻫﺬﻩ ﺍﻟﻜﺮﺓ ﺍﳊﻤﺮﺍﺀ ﻭﺇﺩﺭﺍﻙ ﺍﻟﻜﺮﺓ ﻟﻴﺲ‬
‫ﻳﻮﺟﺪ ﺍﻟﺒﺘّﺔ ﻣﻦ ﻓﺮﻕ‪ .‬ﻓﻬﺬﻩ ﺍﻟﻜﺮﺓ ﻫﻲ ﺟﺴﻢ ﻋﺎﻃﻞ ﻳﻈ ﹼﻞ ﺳﺎﻛﻨﺎ ﻣﺎ ﱂ ﺗﺄﺕ ﻗﻮّﺓ ﺃﺧﺮﻯ ﺗﻔﻴﺪﻩ‬
‫ﺍﳊﺮﻛﺔ‪ ،‬ﻭﻳﺴﺘﻤ ّﺮ ﺇﱃ ﻣﺎ ﻻﻬﻧﺎﻳﺔ ﻟﻪ ﰲ ﺣﺮﻛﺘﻪ ﻣﺎ ﱂ ﻳﺄﺕ ﺷﻲﺀ ﻳﻮﻗﻔﻪ‪ .‬ﻭﺇﺩﺭﺍﻙ ﺗﻠﻚ ﺍﻟﻜﺮﺓ ﻫﻮ‬
‫ﳏﺘﻮﻯ ﻋﺎﻃﻞ ﻟﻴﺲ ﻣﻦ ﺳﺒﻴﻞ ﻷﻥ ﻳﻈﻬﺮ ﺇ ﹼﻻ ﺑﺄﻥ ﺗﺪﻓﻌﻪ ﺇﱃ ﻣﺮﻛﺰ ﺍﻟﻮﻋﻲ ﳏﺘﻮﻯ ﺁﺧﺮ‪ ،‬ﻭ‬
‫ﺴﻴّﺪ‬
‫ﺑﻌﺪﻣﺎ ﻳﻈﻬﺮ‪ ،‬ﻳﺴﺘﻤ ّﺮ ﺣﺎﺿﺮﺍ ﺇﱃ ﻣﺎ ﻻ ﻬﻧﺎﻳﺔ‪ ،‬ﻣﺎ ﱂ ﻳﺪﻓﻌﻪ ﺷﻲﺀ ﻣﻦ ﺍﻷﺷﻴﺎﺀ‪ .‬ﻟﻘﺪ ﺻﺪﻕ ﺍﻟ ّ‬
‫ﻻ ﺑﻮﺭﺕ ﳌﹼﺎ ﺷﺒّﻪ ﺭﺃﻱ ﻫﻴﻮﻡ ﺑﺮﺃﻱ ﺍﻟﻮﺍﻗﻌﻴﲔ ﺍﳉﺪﺩ‪ .‬ﻓﻔﻲ ﺍﻋﺘﻘﺎﺩﻩ ﻛﻤﺎ ﰲ ﺍﻋﺘﻘﺎﺩﻫﻢ‪ ،‬ﻟﻴﺲ‬
‫ﻳﻮﺟﺪ ﺇ ﹼﻻ ﺍﻷﺷﻴﺎﺀ‪ ،‬ﻭﻫﺬﻩ ﺍﻷﺷﻴﺎﺀ ﻣﻮﺻﻮﻟﺔ ﺑﻴﻨﻬﺎ ﺑﻌﻼﻗﺎﺕ ﺧﺎﺭﺟﻴّﺔ‪ :‬ﻭﻣﺎ ﺍﻟﻮﻋﻲ ﺇ ﹼﻻ ﲨﻠﺔ ﻣﻦ‬
‫ﺗﻠﻚ ﺍﻷﺷﻴﺎﺀ ﻣﻨﻈﻮﺭﺍ ﺇﻟﻴﻬﺎ ﺑﺎﻋﺘﺒﺎﺭ ﳕﻂ ﻣﺎ ﻣﻦ ﺍﻟﻌﻼﻗﺎﺕ ) ﻗﻮﺍﻧﲔ ﺍﻟﺘّﺮﺍﺑﻂ(‪ .‬ﻭﻟﻜﻦ‪ ،‬ﻟﺴﺎﺋﻞ ﺃﻥ‬
‫ﻳﺴﺄﻝ ﺣﻴﻨﺌﺬ‪ُ ،‬ﺗﺮَﻯ ﺃﻳﻦ ﻫﻮ ﺍﻟﻔﺮﻕ ﺑﲔ ﻗﺎﻧﻮﻥ ﺍﻟﺘّﻼﺻﻖ ﻛﻤﺎ ﻓﻬﻤﻪ ﺩﻳﻜﺎﺭﺕ‪ ،‬ﻭﻧﻔﺲ ﺍﻟﻘﺎﻧﻮﻥ‬
‫ﻛﻤﺎ ﺑﺴﻄﺘﻪ ﺍﻟﺘّﺮﺍﺑﻄﻴّﺔ ؟ ﺇﻧّﻨﺎ ﳒﻴﺐ ‪ :‬ﻟﻴﺲ ﻳﻮﺟﺪ ﺍﻟﺒﺘّﺔ ﻣﻦ ﻓﺮﻕ‪ .‬ﻓﻘﺎﻧﻮﻥ ﺍﻟﺘّﻼﺻﻖ ﺍﻟﺪّﻳﻜﺎﺭﰐ‬
‫ﱐ ﻭﻛﺎﻧﺖ ﺗﺴﺘﻨﺪ َﺑﱢﻴ َﻦ‬
‫ﺖ ﲟﻌﲎ ﻣﻜﺎ ﹼ‬
‫ﻛﺎﻥ ﻳﺘﻌﻠﹼﻖ ﺑﺂﺛﺎﺭ ﺩﻣﺎﻏﻴّﺔ‪ .‬ﻭﺍﻟﺘّﻼﺻﻘﻴّﺔ ﻛﺎﻧﺖ ﻗﺪ ﻓﹸ ِﻬ َﻤ ْ‬
‫ﺸَﺘ ﱞﻖ ﺃﻳﻀﺎ ﻣﻦ ﻣﺒﺪﺃ‬
‫ﺍﻻﺳﺘﻨﺎﺩ ﻋﻠﻰ ﻣﺒﺪﺃ ﺍﻟﻌﻄﺎﻟﺔ‪ .‬ﺃﻣّﺎ ﻗﺎﻧﻮﻥ ﺍﻟﺘّﻼﺻﻘﻴّﺔ ﺍﻟﺘّﺮﺍﺑﻄ ّﻲ ﻓﻬﻮ ُﻣ ْ‬
‫ﱐ ﳏﺾ‪ ،‬ﻓﺈﻧّﻪ ﻳﻘﺘﻀﻲ‪ ،‬ﺃﻳﻀﺎ‪ ،‬ﻣﻌﲎ ﺍﳋﺎﺭﺟﻴّﺔ‬
‫ﺍﻟﻌﻄﺎﻟﺔ‪ ،‬ﻭﺇﻥ ﻫﻮ ﱂ ﻳﻜﻦ ﻗﺪ ﻓﹸ ِﻬ َﻢ ﲟﻌﲎ ﻣﻜﺎ ﹼ‬

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‫ﻭﺍﳌﺸﺎﻓﻌﺔ‪ .‬ﻣﺎ ﻋﺪﺍ ﺃﻧّﻪ ﻋﻨﺪ ﺩﻳﻜﺎﺭﺕ ﺍﻟﻮﺷﺎﺋﺞ ﺍﻟﺘّﺮﺑﻄﻴّﺔ ﺇﻧّﻤﺎ ﲢﺼﻞ ﺑﲔ ﺍﻧﻄﺒﺎﻋﺎﺕ ﲣﻠﹼﻔﻬﺎ‬
‫ﺍﳌﻮﺍﺿﻴﻊ‪ ،‬ﺃﻣّﺎ ﻋﻨﺪ ﻫﻴﻮﻡ‪ ،‬ﻓﻬﻲ ﲢﺼﻞ ﺑﲔ ﺍﳌﻮﺍﺿﻴﻊ ﻧﻔﺴﻬﺎ‪.‬‬

‫ﺑﻴﺪ ﺃ ﹼﻥ ﻫﻴﻮﻡ ﻛﺎﻥ ﻣﻨﻄﻘﻴّﺎ ﻛﺎﻣﻞ ﺍﳌﻨﻄﻘﻴّﺔ‪ :‬ﻓﻨﺤﻦ ِﺇﻣﱠﺎ ﺃﻥ ﻧﻘﺒﻞ ﺑﻨﺴﻘﻪ ﺑﺮﻣّﺘﻪ‪ ،‬ﻭﺇﻣّﺎ ﺃﻥ‬
‫ﻧﺮﻓﻀﻪ ﺑﺮﻣّﺘﻪ‪ .‬ﺇﻧّﻪ ﳌﹼﺎ ﻭﺿﻊ ﺃ ﹼﻥ ﻋﻨﺎﺻﺮ ﺍﻟﻮﻋﻲ ﻫﻲ ﺫﺍﺕ ﻃﺒﻴﻌﺔ ﺍﻧﻔﻌﺎﻟﻴّﺔ‪ ،‬ﻓﻘﺪ ﺃﻭﻗﻊ ﻣﺒﺪﺃ‬
‫ﱐ ﻭﺣﻠﹼﻞ ﺍﻟﻮﻋﻲ ﺇﱃ ﻛﻮﻧﻪ ﲨﻠﺔ ﻣﻦ ﳏﺘﻮﻳﺎﺕ ﻋﺎﻃﻠﺔ ﻣﻮﺻﻮﻟﺔ ﺑﻴﻨﻬﺎ‬
‫ﺍﻟﻌﻄﺎﻟﺔ ﻋﻠﻰ ﺍﻷﻣﺮ ﺍﻟﻨّﻔﺴﺎ ﹼ‬
‫ﺑﻌﻼﻗﺎﺕ ﺍﳋﺎﺭﺟﻴّﺔ‪ .‬ﻓﻴﺸﺒﻪ ِﺇﺫﹰﺍ ﺃ ﹼﻥ ﻛ ﹼﻞ ﻋﻠﻢ ﻧﻔﺲ ﺷﺄﻧﻪ ﺃﻥ ﻳﻨﺘﺴﺐ ﻟﻜﻮﻧﻪ " ﺗﺄﻟﻴﻔﻴّﺎ " ﻭﻳﻜﻮﻥ‬
‫ﳚﺰﻡ ﺑﻮﺟﻮﺩ ﻋﻔﻮﻳّﺔ ﻣﺎ ﰲ ﺻﻤﻴﻢ ﺍﻟﻮﻋﻲ‪ ،‬ﺇﻧّﻤﺎ ﻻﺑ ّﺪ ﻟﻪ ﻣﻦ ﺃﻥ ﻳﺘﱪّﺃ ﻭﺍﺿﺢ ﺍﻟّﺘﱪّﺃ ﻣﻦ ﺃﺭﺍﺀ‬
‫ﺴﻴّﺔ ﰲ ﺍﻹﺩﺭﺍﻙ‪ .‬ﻭﻟﻜﻨّﻪ‪ ،‬ﺇﻧّﻤﺎ‬
‫ﻫﻴﻮﻡ‪ .‬ﺑﺎﻟﻄﹼﺒﻊ‪ ،‬ﻫﻮ ﻻﻣﻨﺪﻭﺣﺔ ﻣﻦ ﺃﻥ ُﻧ ِﻘ ﱠﺮ ﺑﻮﺟﻮﺩ ﳏﺘﻮﻳﺎﺕ ﺣ ّ‬
‫ﻫﻮ ﻣﻦ ﺃﺟﻞ ﺫﻟﻚ ﻋﻠﻰ ﺍﻟﺘّﺨﺼﻴﺺ‪ ،‬ﳓﻦ ﻧﻘ ّﺮ ﺑﺄ ﹼﻥ ﻧﻈﺎﻡ ﲡﺪّﺩ ﺗﻠﻚ ﺍﶈﺘﻮﻳﺎﺕ ﻫﻮ ﻣﺴﺘﻘ ﹼﻞ‬
‫ﺻﺎﺭﻡ ﺍﻻﺳﺘﻘﻼﻝ ﻋﻦ ﻧﻈﺎﻡ ﲡﺪّﺩ ﺍﻟﻮﻋﻲ‪ .‬ﻓﻠﻴﺲ ﺍﻷﻣﺮ ﺃﻣﺮﻱ ﰲ ﺃﻥ ﺃﺭﻯ ﻗﺒّﻌﺔ ﻓﻮﻕ ﺣﺎﻣﻞ‬
‫ﺴﻴّﺔ ﻫﻮ ﺇﺫﺍ ﻣﺘﻘﻴّﺪ ﺑﻨﻤﻂ ﻣﺎ‬
‫ﺍﳌﻌﺎﻃﻒ‪ ،‬ﺃﻭ ﺃﻥ ﺃﺭﻯ ﺑﻴﺎﻧﻮ ﻣﻜﺎﻥ ﺍﻟﻜﺮﺳ ّﻲ‪ .‬ﻓﻈﻬﻮﺭ ﺍﶈﺘﻮﻳﺎﺕ ﺍﳊ ّ‬
‫ﺴﻴّﺔ ﻫﻮ‬
‫ﻣﻦ ﺍﻟﺘّﺮﺍﺑﻄﻴّﺔ‪ .‬ﺫﻟﻚ ﻣﺎ ﻛﺎﻥ ﻫﻮﺳّﺮﻝ ﻗﺪ ﻋﺒّﺮ ﻋﻨﻪ ﺑﻘﻮﻟﻪ ﺃ ﹼﻥ ﻣﺒﺪﺃ ﺗﺮﺍﺑﻂ ﺍﶈﺘﻮﻳﺎﺕ ﺍﳊ ّ‬
‫ﲏ)‪) (٢٥‬ﻥ(‪ .‬ﻓﺎﻟﻮﻋﻲ‬
‫ﺍﻟﺘّﻜﻮﻳﻦ ﺍﻻﻧﻔﻌﺎﱄ ﺑﻄﺮﻳﻖ ﺍﻟﺘّﺮﺍﺑﻂ ﻭﺻﻮﺭﺗﻪ ﺍﳉﻮﻫﺮﻳّﺔ ﻫﻲ ﺍﻟﺴّﻴﻼﻥ ﺍﻟﺰّﻣ ّ‬
‫ﺍﻟﻨّﻔﺴ ّﻲ )ﻩ( ﻟﻴﺲ ﳝﻜﻨﻪ ﺃﻥ ﻳﺴ ّﺪﺩ ﺗﻠﻚ ﺍﻟﺘّﺠﺪّﺩﻳّﺔ؛ ﺑﻞ ﺇ ﹼﻥ ﻛ ﹼﻞ ﻭﻋﻲ‪ ،‬ﻓﻸﻧّﻪ ﻓﻌﻞ‪ ،‬ﻓﺈﻧّﻤﺎ "‬
‫ﺹ‬
‫ﻳﺘﺒﻴّﻨﻬﺎ "‪ ،‬ﻛﻤﺎ ﻳﻘﻮﻝ ﺳﺒﲑ‪ .‬ﻭﻋﻨﺪﺋﺬ‪ ،‬ﺃﻱ ﻋﻨﺪ ﺫﻟﻚ ﺍﻟﺘّﺒﻴّﻦ ﺍﻟﹼﺬﻱ ﻻﺯﻡ ﺃﻥ ﻧﺼﻒ ﻫﻴﺌﺎﺗﻪ ﺧﺎ ّ‬
‫ﺍﻟﻮﺻﻒ‪ ،‬ﺇﻧّﻤﺎ ﻳﻜﻮﻥ ﻇﻬﻮﺭﺍﻹﺩﺭﺍﻙ ﺇﺩﺭﺍﻙ ﺍﻟﻌﺎﱂ ﺍﳋﺎﺭﺟ ّﻲ‪.‬‬

‫ﺳﻮﻯ ﺃﻧّﻪ ﺣﻴﻨﻤﺎ ﻧﺄﰐ ﻟﻠﺼّﻮﺭ‪ ،‬ﻓﻘﺪ ﻧﻈ ّﻦ ﺃ ﹼﻥ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﺍﻟﺘّﺄﻟﻴﻔﻲ ﺳﻮﻑ ﻳُ ْﻨ ِﻜﺮُ َﺑﱢﻴ َﻦ‬
‫ﺍﻹﻧﻜﺎﺭ ﺃﻥ ﺗﻜﻮﻥ ﺫﺍﺕ ﺃﺻﻞ ﺣﺴّﻲ ﻭﺃﻧّﻬﺎ ﻧﻔﺴﻬﺎ ﺇﻧّﻤﺎ ﻫﻲ " ﺍﻧﻄﺒﺎﻋﺎﺕ ﺿﻌﻴﻔﺔ "‪ .‬ﻓﻮﺍﺣﺪ‬
‫ﺼ َﺮ ﺃﻣﺮ ﺍﻟﻌﻔﻮﻳّﺔ‬
‫ﻣﻦ ﺍﺛﻨﲔ‪ :‬ﺇﻣّﺎ ﺃﻥ ﺗﺒﻘﻰ ﺍﻟﺼّﻮﺭ ﳏﺘﻮﻳﺎﺕ ﻋﺎﻃﻠﺔ‪ ،‬ﻭﻋﻨﺪﺋﺬ ﻳﺼﲑ ِﻟﺰَﺍﻣًﺎ ﺃﻥ ﻧُ ﹾﻘ ِ‬
‫ﺖ ﺑﺄ ﹼﻥ‬
‫ﻋﻠﻰ ﻣﻌﺎﻳﻨﺔ ﺍﻟﻌﻼﻗﺎﺕ ﺑﲔ ﺍﻟﺼّﻮﺭ ﺍﻟﹼﱵ ﺗﺘﺪﺍﻋﻰ ِﻟ َﻤﻜﹶﺎ ِﻥ ﻗﻮﺍﻧﲔ ﺍﻟﺘّﺮﺍﺑﻂ‪ .‬ﺃﻭ ﺃﻥ ﻧُ ﹾﺜِﺒ َ‬
‫ﺍﻟﻮﻋﻲ ﻫﻮ ﺗﻨﻈﻴﻢ ﻭﺗﻨﺴﻴﻖ‪ ،‬ﻭﺃ ﹼﻥ ﺳﻴﻼﻥ ﺍﻟﻮﺍﻗﻌﺎﺕ ﺍﻟﻨّﻔﺴﻴّﺔ ﺇﻧّﻤﺎ ﺗﻘﻴّﺪﻫﺎ ﺃﻏﺮﺍﺽ ﻣﺎ ﻣﺴﺪّﺩﺓ‪:‬‬

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‫ﺁﻧﺌﺬ ﻓﺈ ﹼﻥ ﳑﺎﻫﺎﺕ ﺍﻟﺼّﻮﺭﺓ ﲟﺤﺘﻮﻯ ﺫﻱ ﺛﺨﻮﻧﺔ ﺫﺍﺕ ﻗﺒﻮﻟﻴّﺔ ﻳﺼﺒﺢ ﺃﻣﺮﺍ ﳑﺘﻨﻌﺎ‪ .‬ﻭﺇﻧّﻨﺎ ﺑﺬﻟﻚ ﻟﻦ‬
‫ﻧﻜﻮﻥ ﻗﺪ ﻛﺴﺒﻨﺎ ﺷﻴﺌﺎ ﻣﻦ ﺍﻷﺷﻴﺎﺀ ﺇﺫﺍ ﻣﺮﺭﻧﺎ ﺇﱃ ﳎﺎﻝ ﺍﻟﻨّﻔﺴّﻴﺔ ﺍﳋﺎﻟﺼﺔ‪ :‬ﺑﻞ ﺑﺎﻟﻌﻜﺲ‪ ،‬ﻓﺈ ﹼﻥ‬
‫ﺿﺮﻭﺭﺓ ﺍﻻﺧﺘﻴﺎﺭ ﺗﺼﲑ ﺃﻛﺜﺮ ﺇﳊﺎﺣﺎ؛ ﻭﻟﻦ ﻳﻨﻔﻊ َﺑ ْﻌﺪُ ﺍﻟ ﱢﻠﻮَﺍ ﹸﺫ ﲝﻴﻞ ﻧﻔﺴﻴّﺔ ﻓﻴﺰﻳﻮﻟﻮﺟﻴّﺔ‪.‬‬

‫ﻟﻜ ّﻦ ﻋﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ ﺍﻟﺘّﺄﻟﻴﻔﻴّﲔ ﱂ ﳜﺘﺎﺭﻭﺍ‪ .‬ﺻﺤﻴﺢ ﺃﻧّﻬﻢ ﻗﺪ ﺃﺛﺒﺘﻮﺍ ﺑﺄ ﹼﻥ ﻛ ﹼﻞ ﺣﺎﻝ ﺣﺎﻝ ﻣﻦ‬
‫ﺍﻟﻮﻋﻲ ﻓﻬﻲ ﺗﺄﻟﻴﻒ‪ ،‬ﻭﺃ ﹼﻥ ﺍﻟﻜ ﹼﻞ ﻳﻔﻴﺾ ﲟﻌﻨﺎﻩ ﻭﺑﻘﻴﻤﺘﻪ ﻋﻠﻰ ﺍﻷﺟﺰﺍﺀ؛ ﻭﺑﺄ ﹼﻥ ﺍﻟﻔﻜﺮ ﻳﺴﺪّﺩ ﻭﳜﺘﺎﺭ‬
‫ﺗﻠﻚ ﺍﻟﺼّﻮﺭ‪ :‬ﻟﻜﻦ‪ ،‬ﻛ ﹼﻞ ﻫﺬﺍ‪ ،‬ﻟﻌﻤﺮﻱ‪ ،‬ﳍﻮ ﻛﺎﻑ ﻭﺣﺪﻩ ﻟﻜﻲ ﻳﻘﻮّﺽ ﻛﺎﻣﻞ ﺍﻟﺘّﻘﻮﻳﺾ ﺻﺪﻕ‬
‫ﻋﻠﻢ ﻧﻔﺴﻴّﻬﻢ‪.‬‬

‫ﻱ ﳓﻮ ﻣﻦ ﺍﻷﳓﺎﺀ‪ ،‬ﺃﻥ ﻧﺼﻠﻬﺎ ﺑﻌﻀﻬﺎ ﺇﱃ‬

‫ﺴﻴّﺔ‪ ،‬ﻓﻴﻨﺒﻐﻲ‪ ،‬ﺑﺄ ّ‬
‫ﺇﻧّﻨﺎ ﺇﺫﺍ ﻭﺿﻌﻨﺎ ﳏﺘﻮﻳﺎﺕ ﺣ ّ‬
‫ﺤﻖﱟ‪ ،‬ﻓﺈﻧّﻪ ﻟﻴﺲ ﻳﻮﺟﺪ‬
‫ﺑﻌﺾ ﺑﻄﺮﻳﻖ ﻗﻮﺍﻧﲔ ﺍﻟﺘّﺮﺍﺑﻂ‪ ،‬ﻷﻧّﻬﺎ ﺍﻟﻮﺣﻴﺪﺓ ﺍﻟﹼﱵ ﺗﺘﻼﺀﻡ ﻣﻊ ﺍﻟﻌﻄﺎﻟﺔ‪ .‬ﻭِﺑ َ‬
‫ﺇ ﹼﻻ ﻗﻠﻴﻞ ﻣﻦ ﻋﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ ﳑّﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﺒﻄﻞ ﺇﺑﻄﺎﻻ ﻣﻄﻠﻘﺎ ﻗﻮﺍﻧﲔ ﺍﻟﺘّﺮﺍﺑﻂ‪ .‬ﺑﻞ ﻫﻲ ﻟﺘﺒﺪﻭ‬
‫ﺩﺍﺧﻠﺔ ﺃﻳّﻤﺎ ﺩﺧﻮﻝ ﰲ ﺗﻘﻮﱘ ﺍﳌﻌﻄﻰ ﺍﳊﺴّﻲ ﺣﺘّﻰ ﺃﻧّﻪ ﻟﻘﺪ ﺃﹸْﺑ ِﻘ َﻲ ﻋﻠﻴﻬﺎ ﰲ ﺍﺠﻤﻟﺎﻝ ﺍﻷﺧﺲّ‪ ،‬ﳎﺎﻝ‬
‫ﺍﳊﻠﻢ‪ ،‬ﻭﺍﻟﺴّﻬﻮ‪ ،‬ﻭ" ﺍﻟﺘّﻮﺗّﺮ ﺍﻷﺿﻌﻒ "‪ .‬ﺇ ﹼﻻ ﺃﻧّﻪ ﻟﻘﺪ ﺃﺛﺒﺘﻨﺎ‪ ،‬ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ‪ ،‬ﻭﺟﻮﺩ ﺍﻧﺴﺠﺎﻣﻴّﺔ‬
‫ﻗﺎﺭّﺓ ﺑﲔ ﺍﻟﺼّﻮﺭ ﺍﻟﻘﺎﺋﻤﺔ ﻗﻴﺎﻣﺎ ﺣﺎﺿﺮﺍ ﰲ ﺍﻟﻮﻋﻲ‪ ،‬ﻭﺍﻷﻏﺮﺍﺽ ﺍﳌﺴﺪّﺩﺓ ﺍﳊﺎﺿﺮﺓ ﰲ ﺍﻟﻔﻜﺮ‪.‬‬
‫ﻓﻜﻴﻒ ﳚﻮﺯ ﺫﻟﻚ ؟‬

‫ﻱ ﳓﻮ ﳛﺼﻞ ﻫﺬﺍ‬
‫ﻭﺠﻤﻟﻴﺐ ﺃﻥ ﳚﻴﺐ‪ ،‬ﻳﻜﻮﻥ ﺫﻟﻚ ﺑﺄﻥ ﳜﺘﺎﺭ ﺍﻟﻔﻜﺮ ﺻﻮﺭﻩ‪ .‬ﻭﻟﻜﻦ ﻋﻠﻰ ﺃ ّ‬
‫ﺍﻻﺧﺘﻴﺎﺭ ؟ ﺃﺑﺄﻥ ﺗُ َﻌ ﱠﻠ َﻖ ﻗﻮﺍﻧﲔ ﺍﻟﺘّﺮﺍﺑﻂ‪ ،‬ﺃﻡ ﺃﻧّﻪ ﻣﻦ ﺷﺄﻥ ﺍﻟﻔﻜﺮ ﺃﻥ ﻳﺴﺘﺨﺪﻣﻬﺎ ﳌﺼﻠﺤﺘﻪ ؟ ﻓﺈﺫﹰﺍ‬
‫ﺇﻧّﻤﺎ ﳓﻦ ﻟﻨﺠﺪ ﺛﺎﻧﻴﺔ ﰲ ﻣﻘﺎﻡ ﺍﻟﻨّﻔﺴﻴّﺔ ﺍﳋﺎﻟﺼﺔ ﻧﻔﺲ ﺍﻹﺷﻜﺎﻝ ﻛﻠﹼﻪ ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﺍﻋﺘﺮﺿﻨﺎ ﰲ‬
‫ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴﺎ ﺍﻟﺪّﻳﻜﺎﺭﺗﻴّﺔ‪ .‬ﻟﻘﺪ ﻛﻨّﺎ ﺗﺴﺎﺀﻟﻨﺎ ﻋﻨﺪﻫﺎ‪ :‬ﻛﻴﻒ ﳝﻜﻦ ﻟﻠﻔﻜﺮ ﺃﻥ ﻳﺴﺪّﺩ ﺍﻷﺭﻭﺍﺡ‬
‫ﺍﳊﻴﻮﺍﻧﻴّﺔ‪ ،‬ﻭﺃﻥ ﻳﺴﺘﺨﺪﻡ ﳌﺼﻠﺤﺘﻪ ﺍﻟﺘّﻼﺻﻘﻴّﺔ ﺍﻟﺪّﻣﺎﻏﻴّﺔ ؟ ﺃﻣّﺎ ﺍﻵﻥ ﻓﺈﻧّﻨﺎ ﻧﻀﻊ ﻧﻔﺲ ﺍﻟﺴّﺆﺍﻝ‬
‫ﺑﻌﺒﺎﺭﺍﺕ ﻻ ﺗﻜﺎﺩ ﲣﺘﻠﻒ ﻋﻦ ﺳﺎﺑﻘﺎﻬﺗﺎ‪ :‬ﻭﻫﻮ ﻛﻴﻒ ﳝﻜﻦ ﻟﻠﻔﻜﺮ ﺃﻥ ﻳﺴﺪّﺩ ﺍﻟﺘّﺮﺍﺑﻄﺎﺕ ﻭﺃﻥ‬

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‫ﻚ ﺃﻥ ﺍﻟﻔﻜﺮ ﻻ ﳜﻠﻖ ﺻﻮﺭﻩ‪ .‬ﺇﺫ ﺃﻧّﻪ‬
‫ﻳﺴﺘﺨﺪﻡ ﳌﺼﻠﺤﺘﻪ ﺍﻟﺘّﻼﺻﻘﻴّﺔ ﺍﻟﻨّﻔﺴﻴّﺔ ؟ ﺇﺫ ﻟﻴﺲ ﻣﻦ ﺷ ّ‬
‫ﺸﻔﹼﺎﻓﻴّﺔ ﺃﻥ ﺗﺒﺪﻉ ﺍﻟﺜﹼﺨﻮﻧﺔ ؟ ﻓﻴﻠﺰﻡ ِﺇﺫﹰﺍ ﺃﻥ ﺗﻜﻮﻥ ﻫﻲ‬
‫ﻉ ﺍﻟﻌﻄﺎﻟﺔ ﻭﹶﺃﻧﱠﻰ ﻟﻠ ّ‬
‫ﹶﺃﻧﱠﻰ ﻟﻠﻌﻔﻮﻳّﺔ ﺃﻥ ﺗُ ْﺒ ِﺪ َ‬
‫ﺍﻟﹼﱵ ﺗﺬﻫﺐ ﺇﻟﻴﻬﺎ ﻓﺘﺼﻴﺒﻬﺎ‪ .‬ﻭﻫﺎﻫﻨﺎ‪ ،‬ﺑﺎﻟﻄﺒّﻊ‪ ،‬ﻓﻘﺪ ﺗﻮﻫّﻤﻨﺎ ﻭﻋﺎﺀ ﻣﻦ ﳏﺘﻮﻳﺎﺕ ﻋﺎﻃﻠﺔ ﻷﺟﻞ‬
‫ﺇﺳﻨﺎﺩ ﺍﻟﻐﺮﺽ‪ :‬ﺇﻧّﻪ ﺍﻟﻼﹼﻭﻋﻲ‪ .‬ﻓﻠﻘﺪ ﺭﺃﻳﻨﺎ ﺁﻧﻔﺎ ﺣﺮﺝ ﻫﻴﻮﻡ ِﻟﻤَﺎ ﻛﺎﻥ ﻣﻔﺘﻘﺮﺍ ﳍﺬﻩ ﺍﳌﻘﻮﻟﺔ‪ .‬ﻭﻫﻮ‬
‫ﱂ ﻳﺒﻠﻎ ﺃﻥ ﻳﻜﻮﻥ ﻗﺪ ﺍﺧﺘﺮﻋﻬﺎ‪ ،‬ﺇ ﹼﻻ ﺃﻧّﻪ ﻟﻘﺪ ﻛﺎﻥ ﻳﻘﺘﻀﻴﻬﺎ ﻋﻠﻢ ﻧﻔﺴﻪ ﺑﺄﻛﻤﻠﻪ‪ .‬ﺃﻣّﺎ ﺍﳌﺼﻨّﻔﻮﻥ‬
‫ﺍﶈﺪﺛﻮﻥ ﻓﻘﺪ ﺗﻮﺳّﻠﻮﻫﺎ ﻭﺍﺳﻊ ﺍﻟﺘّﻮﺳّﻞ‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﺃﻓﻠﻴﺲ ﻫﻮ ﺑﻴّﻦ ﻣﻦ ﺃ ﹼﻥ ﻫﺬﺍ ﺍﻟﻼﹼﻭﻋﻲ ﺍﻟﹼﺬﻱ‬
‫ﺗﻮﺟﺪ ﻓﻴﻪ ﺍﶈﺘﻮﻳﺎﺕ ﺍﻟﻌﺎﻃﻠﺔ ﺑﻨﺤﻮ ﺍﻷﺷﻴﺎﺀ‪ ،‬ﺃﻱ ﻣﻦ ﺩﻭﻥ ﺃﻥ ﺗﻜﻮﻥ ﻣُ ْﺪ َﺭ ﹶﻛ ﹰﺔ ﻻ ﻟﺬﺍﻬﺗﺎ ﻭﻻ‬
‫ﻟﻐﲑﻫﺎ‪ ،‬ﻭﺍﻟﹼﺬﻱ ﺗﻜﻮﻥ ﻓﻴﻪ ﺍﳌﻌﻄﻴﺎﺕ ﺍﻟﺜﹼﺨﻴﻨﺔ ﻟﻴﺲ ﳍﺎ ﻣﻦ ﻋﻼﻗﺎﺕ ﺇ ﹼﻻ ﻋﻼﻗﺎﺕ ﺍﻟﺘّﻼﺻﻖ‬
‫ﱐ ﺷﺒﻴﻪ ﺗﺎ ّﻡ ﺍﻟﺸّﺒﻪ ﺑﺎﻟﺪّﻣﺎﻍ‬
‫ﻭﺍﳌﺸﺎﻬﺑﺔ‪ ،‬ﺃﻓﻠﻴﺲ ﻫﻮ ﺑﻴّﻦ ﻣﻦ ﺃ ﹼﻥ ﻫﺬﺍ ﺍﻟﻼﹼﻭﻋﻲ ﺇﻧّﻤﺎ ﻫﻮ ﻭﺳﻂ ﻣﻜﺎ ﹼ‬
‫؟‬
‫ﻓﻤﺎ ﺗﻐﻴّﺮِﺇﺫﹰﺍ ﺇ ﹼﻻ ﺍﻷﻟﻔﺎﻅ‪ .‬ﻭﺣﲔ ُﻳﺠَﺎ ُﺀ ﺑﺎﻟﻘﻮﻝ ﺑﺄ ﹼﻥ ﺍﻟﻔﻜﺮ ﻳﺬﻫﺐ ﻟﻴﺼﻴﺐ ﺻﻮﺭﻩ‪ ،‬ﻓﺈﻧّﻪ‬
‫ﻳﻠﺰﻡ ﻻ ﳏﺎﻟﺔ ﻫﺬﺍ ﺍﻷﻣﺮ ‪ :‬ﻭﻫﻮﻗﻠﺐ ﺍﻟﻔﻜﺮ ﺇﱃ ﻗﻮّﺓ ﻣﺎ ّﺩﻳّﺔ)‪ .(٢٦‬ﺃﻣّﺎ ﺳﺒﺐ ﺍﳋﻠﻂ ﻓﻬﻮ ﻫﺬﺍ‬
‫ﺍﻟﱠﺘ ْﻤﺜِﻴ ﹸﻞ‪ :‬ﺇﻧّﻪ ﻳﻮﺟﺪ ﰲ ﺍﻟﻌﺎﱂ ﺍﳋﺎﺭﺟ ّﻲ ﺃﻳﻀﺎ ﺃﺷﻴﺎﺀ ﻋﺎﻃﻠﺔ‪ .‬ﻭﺃﻧﺎ ﻗﺪ ﺁﺧﺬﻫﺎ ﺃﻭﺃﻧﻘﻠﻬﺎ ﻣﻦ‬
‫ﻣﻜﺎﻬﻧﺎ ﺃﻭ ﺃﺧﺮﺟﻬﺎ ﻣﻦ ﺍﳋﺰﺍﻧﺔ ﺃﻭ ﺃﺿﻌﻬﺎ ﻓﻴﻬﺎ‪ .‬ﻓﻴﺸﺒﻪ ِﺇﺫﹰﺍ ﺃﻧّﻪ ﳝﻜﻦ ﺃﻥ ﻧﺘﻮﻫّﻢ ﻧﺸﺎﻃﺎ ﻣﺎ ﻳﻘﻊ‬
‫ﺃﻳﻀﺎ ﻋﻠﻰ ﻣﻌﻄﻴﺎﺕ ﻣﺎ ﻋﺎﻃﻠﺔ‪ .‬ﻟﻜﻨّﻪ ﻟﻴﺲ ﻣﻦ ﺍﻟﻌﺴﲑ ﺃﻥ ﻧﻌﻴّﻦ ﺃﺻﻞ ﺍﳋﻄﺄ‪ :‬ﻓﺄﻧﺎ ﺇﻧّﻤﺎ ﻣﻦ‬
‫ﺣﻴﺚ ﺃﻧﺎ ﻋﻀﻮﻳّﺔ‪ ،‬ﺃﻱ ﻣﻦ ﺣﻴﺚ ﺃﻧﺎ ﺟﺴﻢ ﲡﺮﻱ ﻋﻠﻴﻪ ﻧﻔﺲ ﻗﻮﺍﻧﲔ ﺍﻟﻌﻄﺎﻟﺔ‪ ،‬ﺇﻧّﻤﺎ ﺃﺳﺘﻄﻴﻊ ﺃﻥ‬
‫ﺲ‪ .‬ﻓﻤﺠﺮّﺩ ﺃﻥ ﺃﻋﺎﺭﺽ ﺑﺈﻬﺑﺎﻣﻲ ﺍﻷﺻﺎﺑﻊ ﺍﻷﺭﺑﻊ ﺍﻷﺧﺮﻯ‬
‫ﺃﲪﻞ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﺃﻭ ﺫﻟﻚ ﺍﻟﻄ ّ‬
‫ﻀﻤُﻮ َﻣﺔﹰ‪ ،‬ﻓﻬﻮ ﻳﻘﺘﻀﻲ ﻛ ﹼﻞ ﺍﳌﻴﻜﺎﻧﻴﻜﺎ‪ .‬ﻭﺍﻟﻨّﺸﺎﻁ ﻫﻨﺎ ﻟﻴﺲ ﺇ ﹼﻻ ﻭﳘﺎ‪ .‬ﻓﻤﻦ ﺍﶈﺎﻝ ِﺇﺫﹰﺍ ﺃﻥ‬
‫َﻣ ْ‬
‫ﻧﻔﺘﺮﺽ ﻟﻠﻔﻜﺮ ﻗﺪﺭﺓ ﻋﻠﻰ ﺍﺳﺘﺤﻀﺎﺭ ﺍﶈﺘﻮﻳﺎﺕ ﺍﻟﻌﺎﻃﻠﺔ ﺣﺘّﻰ ﳒﻌﻞ ﻣﻨﻪ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﻫﻮ‬
‫ﻧﻔﺴﻪ ﺷﻴﺌﺎ ﻣﺎﺩﻳّﺎ‪ .‬ﻭﻟﻴﺲ ﻗﻠﺐ ﻫﺬﻩ ﺍﻟﻘﺪﺭﺓ ﺍﶈﺼّﻠﺔ ﻋﻠﻰ ﺍﻻﺳﺘﺤﻀﺎﺭ ﺇﱃ ﻗﺪﺭﺓ ﺳﻠﺒﻴّﺔ ﻋﻠﻰ‬
‫ﺤ ﱠﻠ ٍﺔ ﻟﻠﻤﺸﻜﻠﺔ ﺇ ﹼﻻ ﻇﺎﻫﺮﻳّﺎ‪ .‬ﻷ ﹼﻥ ﺍﻟﻔﺼﻞ ﺇﻧّﻤﺎ ﻳﻘﺘﻀﻲ ﻗﺪﺭﺓ ﻣﺎ ّﺩﻳّﺔ ﻋﻠﻰ ﺍﻷﺧﺬ‪،‬‬
‫ﺍﻻﻧﺘﻘﺎﺀ ِﺑﻤُ ِ‬
‫ﻭﻓﻌﻼ ﺑﺎﳌﻼﺻﻘﺔ‪ ،‬ﻣﺜﻠﻪ ﻣﺜﻞ ﺍﻻﺳﺘﺤﻀﺎﺭ‪ .‬ﻭﻟﻘﺎﺋﻞ ﺃﻥ ﻳﻘﻮﻝ‪ ،‬ﺇﻧّﻤﺎ ﺃﻧﺖ ﺃﺿﻠﹼﻚ ﳎﺎﺯ ‪ :‬ﻓﻠﻤّﺎ‬

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‫ﻧﻘﻮﻝ ﺑﺄ ﹼﻥ ﺍﻟﻔﻜﺮ ﻳﺴﺘﺤﻀﺮ‪ ،‬ﻭﻳﺰﻳﻞ‪ ،‬ﻭﺍﻟﻮﻋﻲ ﻳﻨﺘﻘﻲ‪ ،‬ﻓﺈﻧّﻤﺎ ﻛﻼﻣﻨﺎ ﻋﻠﻰ ﻃﺮﻳﻖ ﺍﺠﻤﻟﺎﺯ‪ِ .‬ﻟَﻴﻜﹸ ْﻦ‬
‫ﺫﻟﻚ‪ ،‬ﻭﻟﻜﻦ ﻟﺘﻨﺒﺌﻮﻧﺎ ﻣﺎ ﺍﻟﺸّﻲﺀ ﺍﻟﹼﺬﻱ ﻳﻘﻮﻡ ﲢﺖ ﻫﺬﺍ ﺍﺠﻤﻟﺎﺯ ؟ ﺇﻥ ﻛﺎﻧﺖ ﺍﻷﻟﻔﺎﻅ ﻫﻲ ﳎﺎﺯﻳّﺔ‪،‬‬
‫ﻚ ﺃﻧﻪ ﻟﻴﺲ ﻣﻦ ﺷﻲﺀ ﻳﻮﺟﺪ ﻭﺭﺍﺀ ﺍﻷﻟﻔﺎﻅ‪،‬‬
‫ﻱ ﻭﺍﻗﻊ ﻳﻘﻮﻡ ﲢﺖ ﺍﻷﻟﻔﺎﻅ‪ .‬ﻭﻏﲑ ﺷ ّ‬
‫ﻓﻠﺘﺨﱪﻭﻧﺎ ﺃ ّ‬
‫ﻷﻧّﻪ ﻟﻴﺲ ﻣﻦ ﺷﻲﺀ ﳝﻜﻨﻪ ﺃﻥ ﻳﻮﺟﺪ ﻫﻨﺎﻙ‪ .‬ﺇﻧّﻨﺎ ﻧﺴﻤّﻲ ﻋﻔﻮﻳّﺔ ﻛ ﹼﻞ ﻣﻮﺟﻮﺩ ﻳﺘﺤﺪّﺩ ﺑﺬﺍﺗﻪ ﰲ‬
‫ﻭﺟﻮﺩﻩ‪ .‬ﻋﻠﻰ ﻣﻌﲎ ﺃﻧّﻪ ﺃﻥ ﻳﻮﺟﺪ ﻋﻔﻮﻳّﺎ ﻫﻮ ﺃﻥ ﻳﻮﺟﺪ ﺑﺬﺍﺗﻪ ﻭﻟﺬﺍﺗﻪ‪ .‬ﻭﻋﻠﻴﻪ ﻓﺈﻧّﻤﺎ ﻫﻨﺎﻙ ﺣﻘﻴﻘﺔ‬
‫ﻱ ﻬﺑﺎ ﺍﺳﻢ ﺍﻟﻌﻔﻮﻳّﺔ ‪ :‬ﺇﻧّﻬﺎ ﺍﻟﻮﻋﻲ‪ .‬ﻓﺄﻥ ﻳﻮﺟﺪ ﻭﺃﻥ ﻳﻜﻮﻥ ﻭﺍﻋﻴﺎ ﺑﻮﺟﻮﺩﻩ ﺇﻧّﻤﺎ ﳘﺎ‬
‫ﻭﺍﺣﺪﺓ َﺣ ِﺮ ﱞ‬
‫ﻟﺪﻯ ﺍﻟﻮﻋﻲ ﻟﺸﻲﺀ ﻭﺍﺣﺪ‪ .‬ﻋﻠﻰ ﻣﻌﲎ ﺃﻧّﻤﺎ ﺍﻟﻘﺎﻧﻮﻥ ﺍﻷﻧﻄﻠﻮﺟ ّﻲ ﺍﻷﻛﱪ ﻟﻠﻮﻋﻲ ﻫﻮ ﺍﻵﰐ‪ :‬ﺇ ﹼﻥ‬
‫ﺍﻟﻀّﺮﺏ ﺍﻟﻮﺣﻴﺪ ﰲ ﻭﺟﻮﺩ ﺍﻟﻮﻋﻲ ﺇﻧّﻤﺎ ﺃﻥ ﻳﻜﻮﻥ ﻭﺍﻋﻴﺎ ﺑﻮﺟﻮﺩﻩ‪ .‬ﻓﻴﻠﺰﻡ ﺑﺎﻻﺿﻄﺮﺍﺭ ﺃﻥ ﺍﻟﻮﻋﻲ‬
‫ﳝﻜﻨﻪ ﺃﻥ ﳛﺪّﺩ ﻧﻔﺴﻪ ﻷﺟﻞ ﺍﻟﻮﺟﻮﺩ‪ ،‬ﻟﻜﻨّﻪ ﻟﻴﺲ ﳝﻜﻨﻪ ﺃﻥ ﻳﻔﻌﻞ ﻓﻌﻼ ﻣﻦ ﺍﻷﻓﻌﺎﻝ ﰲ ﺷﻲﺀ‬
‫ﺴﻲّ‪ ،‬ﺇ ﹼﻻ ﺃﻧّﻨﺎ ﻻ ﳝﻜﻨﻨﺎ ﺍﻟﺒﺘّﺔ ﺃﻥ ﻧﻔﻌﻞ‬
‫ﺸﺄﹸ ﻭﻋﻴﺎ ِﻟ َﻤﻜﹶﺎ ِﻥ ﳏﺘﻮﻯ ﻣﺎ ﺣ ّ‬
‫ﺁﺧﺮ ﻣﻐﺎﻳﺮ ﻟﻪ‪ .‬ﻓﻘﺪ ﻧُ ْﻨ ِ‬
‫ﺴﻲّ‪ ،‬ﺃﻱ ﺃﻥ ﻧﺴﺘﺨﺮﺟﻪ ﻣﻦ ﺍﻟﻌﺪﻡ‪ ،‬ﺃﻭ ﻣﻦ ﺍﻟﻼﹼﻭﻋﻲ‪ ،‬ﺃﻭ ﺃﻥ‬
‫ﺑﻄﺮﻳﻖ ﺍﻟﻮﻋﻲ ﰲ ﺫﻟﻚ ﺍﶈﺘﻮﻯ ﺍﳊ ّ‬
‫ﺢ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﻭﻋﻲ‪ ،‬ﻓﻬﻲ ِﺇﺫﹰﺍ ﻋﻔﻮﻳّﺔ ﺧﺎﻟﺼﺔ‪ ،‬ﻋﻠﻰ ﻣﻌﲎ ﺃﻧّﻬﺎ ﻭﻋﻲ‬
‫ﻧﺮﺩّﻩ ﺇﻟﻴﻪ‪ .‬ﻓﻠﻮ ﺻ ّ‬
‫ﺑﺬﺍﺗﻪ ﻭﺷﻔﹼﺎﻓﻴّﺔ ﻟﺬﺍﺗﻪ‪ ،‬ﻭﻟﻴﺴﺖ ﺗﻮﺟﺪ ﺇ ﹼﻻ ﺑﻘﺪﺭ ﻣﺎ ﺗﻜﻮﻥ ﻋﺎﺭﻓﺔ ﺑﺬﺍﻬﺗﺎ‪ .‬ﺍﻟﺼّﻮﺭﺓ ِﺇﺫﹰﺍ ﻟﻴﺴﺖ‬
‫ﺸَﺒ َﻌﺔﹲ ﻓﻜﺮﺍ "‪ .‬ﻓﻬﻲ‬
‫ﺴ ّﻲ‪ .‬ﻭﻻ ﻧﻔﻊ ﺍﻟﺒﺘّﺔ ﰲ ﺃﻥ ﻧﺼﻔﻬﺎ ﺑﺄﻧّﻬﺎ " ﻣُ َﻌ ﹾﻘ ﹶﻠَﻨﺔﹲ " ﻭﺑﺄﻧّﻬﺎ " ﻣُ ْ‬
‫ﲟﺤﺘﻮﻯ ﺣ ّ‬
‫ﺇﻣّﺎ ﺑﺄﺳﺮﻫﺎ ﻣﻮﺻﻮﻓﺔ ﺑﺎﻟﺼّﻔﺔ ﺍﻷﻭﱃ ﺃﻭ ﺑﺄﺳﺮﻫﺎ ﻣﻮﺻﻮﻓﺔ ﺑﺎﻟﺼّﻔﺔ ﺍﻟﺜﹼﺎﻧﻴﺔ ‪ :‬ﺇﻧّﻬﺎ ﺇﻣّﺎ ﺑﺄﺳﺮﻫﺎ‬
‫ﺴﻲّ‪ ،‬ﻭﺣﻴﻨﺌﺬ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻔﻜﹼﺮ‬
‫ﻓﻜﺮ‪ ،‬ﻭﺣﻴﻨﺌﺬ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻔﻜﹼﺮ ﺑﺎﻟﺼّﻮﺭﺓ ؛ ﻭﺇﻣّﺎ ﻫﻲ ﳏﺘﻮﻯ ﺣ ّ‬
‫ِﻟ َﻤﻜﹶﺎ ِﻥ ﺍﻟﺼّﻮﺭﺓ)‪ .(٢٧‬ﻟﻜ ّﻦ ﺍﻟﺼّﻮﺭﺓ ﻫﻨﺎ ﺗﺼﲑ ﻣﻔﺎﺭﻗﺔ ﻟﻠﻮﻋﻲ‪ :‬ﺇﻧّﻬﺎ ﺗﻈﻬﺮ ﻟﻠﻮﻋﻲ ﲟﻘﺘﻀﻰ‬
‫ﺍﻟﻘﻮﺍﻧﲔ ﺍﳌﺨﺼﻮﺻﺔ ﻬﺑﺎ‪ ،‬ﻭﻟﻜﻨّﻬﺎ ﻟﻴﺴﺖ ﻫﻲ ﻭﻋﻴﺎ‪ .‬ﻭﺣﻴﻨﺪﺋﺬ ﻓﻬﺬﻩ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﹼﱵ ﻳﻜﻮﻥ ﻣﻦ‬
‫ﺍﻟﻮﺍﺟﺐ ﺳﱪﻫﺎ ﻭﺗﻔﺤّﺼﻬﺎ ﺇﻧّﻤﺎ ﻫﻲ ﺑﺒﺴﺎﻃﺔ ﺷﻲﺀ ﻣﻦ ﺍﻷﺷﻴﺎﺀ‪ .‬ﻓِﺈﺫﹰﺍ ﺇ ﹼﻥ ﻛ ﹼﻞ ﳏﺘﻮﻯ ﻋﺎﻃﻞ‬
‫ﺼﱠﻨﻒُ ﺑﲔ ﺍﻷﺷﻴﺎﺀ‪ ،‬ﺃﻱ ﰲ ﺍﻟﻌﺎﱂ ﺍﳋﺎﺭﺟ ّﻲ‪.‬‬
‫ﻭﺛﺨﲔ ﻓﺈﻧّﻪ‪ِ ،‬ﻟﻤَﺎ ﻳﻘﺘﻀﻴﻪ ﺑﺎﻟﻀّﺮﻭﺭﺓ ﳕﻂ ﻭﺟﻮﺩﻩ‪ ،‬ﻳُ َ‬
‫ﻓﺈﻧّﻤﺎ ﻫﻮ ﻗﺎﻧﻮﻥ ﺃﻧﻄﻮﻟﻮﺟ ّﻲ ﺃﻧّﻪ ﻟﻴﺲ ﻳﻮﺟﺪ ﺇ ﹼﻻ ﺿﺮﺑﲔ ﻣﻦ ﺍﻟﻮﺟﻮﺩ‪ :‬ﺍﻟﻮﺟﻮﺩ ﲟﺎ ﻫﻮ ﺷﻲﺀ ﰲ‬
‫ﺍﻟﻌﺎﱂ‪ ،‬ﻭﺍﻟﻮﺟﻮﺩ ﲟﺎ ﻫﻮ ﻭﻋﻲ‪(٢٨).‬‬

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‫ﺴﻴّﺎ " ﻓﻬﻮ ُﻣ ﹾﻠﻘﹰﻰ ﻬﺑﺎ‬
‫ﻭﻣّﻤﺎ ﻳﺒﻴّﻦ ﻭﺍﺿﺢ ﺍﻟﺒﻴﺎﻥ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻭﻗﺪ ﺃﺻﺒﺤﺖ " ﳏﺘﻮﻯ ﺣ ّ‬
‫ﺧﺎﺭﺝ ﺍﻟﻮﻋﻲ‪ ،‬ﺃ ﹼﻥ ﻋﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ ﺍﳌﻌﺎﺻﺮﻳﻦ ﻛﺎﻧﻮﺍ ﻳﻘﺒﻠﻮﻥ ﺑﻨﺤﻮ ﺿﻤﲏّ‪ ،‬ﺍﻟﺘّﻔﺮﻗﺔ ﺍﳉﻮﻫﺮﻳّﺔ ﺑﲔ‬
‫ﺍﻟﺼّﻮﺭﺓ ﻭﺗﻌﻘﹼﻞ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻓﻬﻮﺭﻧﻠﻲ ﻛﻤﺎ ﺭﺃﻳﻨﺎ ﻛﺎﻥ ﳝﻴّﺰ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺩﻻﻟﺘﻬﺎ‪ ،‬ﺃﻱ‪ ،‬ﻭﻋﻠﻰ‬
‫ﺍﳉﻤﻠﺔ‪ ،‬ﻛﺎﻥ ﳝﻴّﺰ ﺑﲔ ﺍﻟﺸّﻲﺀ ﺍﻟﹼﺬﻱ ﻫﻮ " ﺍﻟﺼّﻮﺭﺓ " ﻭﻣﺪﻟﻮﻝ ﻫﺬﻩ ﺍﻟﺼّﻮﺭﺓ ﻋﻨﺪ ﺍﻟﻔﻜﺮ‪ .‬ﻭﻛﻨّﺎ‬
‫ﺴ ّﻲ ) ﻋﻠﻰ‬
‫ﺭﺃﻳﻨﺎ ﺳﺒﲑ ﺃﻳﻀﺎ ﺣﲔ ﻗﺎﻝ " ﺇﻧّﻨﺎ ﻏﺎﻟﺒﺎ ﻣﺎ ﻳﻘﻊ ﺍﻧﺘﺒﺎﻫﻨﺎ ﻻ ﻋﻠﻰ ﻣﻮﺿﻮﻉ ﺍﳊﺪﺱ ﺍﳊ ّ‬
‫ﺍﻟﺼّﻮﺭﺓ ﺃﻭ ﻋﻠﻰ ﺍﻹﺩﺭﺍﻙ( ﻭﺇﻧّﻤﺎ ﻳﻘﻊ ﻋﻠﻰ ﺍﳌﺪﻟﻮﻝ‪".‬‬

‫ﺖ ﻭﻛﺄﻧّﻬﺎ ﻣﻮﺿﻮﻉ ﻣﺴﺘﻘﻞﹼ‪ ،‬ﻳﺘﻨﺎﻭﻟﻪ ﺍﻟﻔﻜﺮ‪ ،‬ﺑﻨﺤﻮ ﻣﻦ‬

‫ﺿ ْ‬
‫ﻓﻬﺎﻫﻲ ﺍﻟﺼّﻮﺭﺓ ِﺇﺫﹰﺍ ﻗﺪ ﻓﹸ ِﺮ َ‬
‫ﺍﻷﳓﺎﺀ‪ ،‬ﻭﻟﻜﻦ ﻫﻲ ﻣﻮﺟﻮﺩﺓ ﺑﺬﺍﻬﺗﺎ ﺑﻨﻮﻉ ﻣﻐﺎﻳﺮ ﻟﻮﺟﻮﺩﻫﺎ ﻟﻠﻮﻋﻲ‪ .‬ﻭﻛﺎﻥ ﺳﺒﲑ ﻗﺪ ﺳﺎﻕ ﻣﺜﺎﻻ‬
‫ﻚ ﰲ ﺣﺎﻝ ﺍﻻﺩﺭﺍﻙ ‪ :‬ﺭﺃﻳﺖ ﺑﺴﻤﺔ ) ﺍﻧﺘﻔﺎﺽ ﻏﻀﻮﻥ ﺍﻟﺸّﻔﺘﲔ‪ ،‬ﲤﻄﹼﻂ‬
‫ﺻ ْﺪﻗﹸﻪُ ﻻ ﻳﺮﻗﻰ ﺇﻟﻴﻪ ﺷ ّ‬
‫ِ‬
‫ﺍﳌﻨﺨﺮﻳﻦ‪ ،‬ﺍﺭﺗﻔﺎﻉ ﺍﳊﺎﺟﺒﲔ‪ ،‬ﺇﱃ ﻏﲑ ﺫﻟﻚ ( ﻓﺄﺩﺭﻛﺖ ﺍﻟﻌﻄﻒ‪ .‬ﻣﺎ ﻣﻌﲎ ﺫﻟﻚ ؟ ﻣﻌﻨﺎﻩ ﺃﻧّﻪ‬
‫ﻳﻮﺟﺪ ﺷﻲﺀ ﻣﺎ ﺧﺎﺭﺝ ﻋﻨّﻲ‪ ،‬ﻫﻮ ﻭﺟﻪ‪ .‬ﻭﻫﺬﺍ ﺍﻟﻮﺟﻪ ﻟﻪ ﻭﺟﻮﺩ ﺧﺎﺹّ‪ ،‬ﻓﻬﻮ ﻣﺎ ﻫﻮ‪ ،‬ﻭ ﻳﻨﻄﻮﻱ‬
‫ﻋﻠﻰ ﻻ ﻣﺘﻨﺎﻫﻲ ﻣﻦ ﺍﻷﻭﺟﻪ؛ ﻓﻀﻼ ﻋﻦ ﺫﻟﻚ‪ ،‬ﻓﺈﻧّﻪ ﳛﺘﻮﻱ ﻋﻠﻰ ﻻ ﻣﺘﻨﺎﻫﻲ ﻣﻦ ﺍﻟﺘّﻔﺼﻴﻼﺕ‬
‫ﺍﻟﹼﱵ ﻻ ﺃﺳﺘﻄﻴﻊ ﺭﺅﻳﺘﻬﺎ ) ﺍﳌﺴﺎﻡّ‪ ،‬ﺍﳋﻼﻳﺎ (‪ .‬ﺇ ﹼﻥ ﻣﻌﺮﻓﺔ ﺫﻟﻚ ﺍﻟﻮﺟﻪ ﺗﻘﺘﻀﻲ ﺣﺼﺮﺍ ﻻ ﻳﺘﻨﺎﻫﻰ‪.‬‬
‫ﻓﻬﻮ ِﺇﺫﹰﺍ ﺃﺑﺪﺍ ﺃﻛﺜﺮ ﺛﺮﺍﺀ ﳑّﺎ ﻳﻈﻬﺮ ﻣﻨﻪ‪ .‬ﻣﻦ ﺃﺟﻞ ﺫﻟﻚ‪ ،‬ﺗﻮﺟّﺐ ﺃﻥ ﻧﻨﺘﻈﺮﻩ ﻭﺃﻥ ﻧﺘﻔﺤّﺼﻪ ﻭﺃﻧّﻨﺎ‬
‫ﺺ ﺍﻵﻧﻒ ﻗﺪ ﻣﺎﻫﻴﻨﺎ َﺑﱢﻴ َﻦ ﺍﳌﻤﻬﺎﺓ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ‪،‬‬
‫ﺭّﺑﻤﺎ ﺃﺧﻄﺄﻧﺎﻩ‪ .‬ﻭﻟﻜﻨّﻨﺎ‪ ،‬ﺇﺫ ﻛﻨّﺎ ﰲ ﺍﻟﻨ ّ‬
‫ﻓﻘﺪ ﺟﺎﺯ ِﺇﺫﹰﺍ ﺃﻥ ﻧُﻮ ِﻗ َﻊ ﺍﻟﻮﺻﻒ ﺍﻟﺬﻛﻮﺭ ﲝﺬﺍﻓﲑﻩ ﻋﻠﻰ ﺻﻮﺭﺓ ﺍﻟﻮﺟﻪ‪ .‬ﻓﺎﻟﻮﺟﻪ ﺍﳌﹸ ْﻨَﺒ ِﻌﺚﹸ ﰲ‬
‫ﺻﻮﺭﺓ ﺳﻮﻑ ﻳﻜﻮﻥ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﻜﻮﻥ ﺫﺍ ﻣﺴﺎ ّﻡ ﻭﺧﻼﻳﺎ ﻭﺫﺍ ﻻﻣﺘﻨﺎﻫﻲ ﻣﻦ ﺍﻷﻭﺟﻪ‪ .‬ﻭﻋﻠﻴﻪ‪،‬‬
‫ﻓﻠﻤّﺎ ﻛﺎﻧﺖ ﺣﻘﻴﻘﺔ ﻣﻔﺎﺭﻗﺔ ﺍﻟﺸّﻲﺀ ﺇﻧّﻤﺎ ﺃﻥ ﻳﻜﻮﻥ ﻛﺬﻟﻚ‪ ،‬ﻓﺼﻮﺭﺓ ﺍﻟﻮﺟﻪ ﺗﻠﻚ ﻫﻲ ﺃﻳﻀﺎ‬
‫ﺷﻲﺀ‪ .‬ﻣﺎ ﻋﺪﺍ ﺃﻧّﻨﺎ ﻧﺄﺧﺬ ﻫﺬﺍ ﺍﻟﺸّﻲﺀ ﺑﻨﺤﻮ ﺍﻟﺪّﻻﻟﺔ‪ .‬ﻓﻠﻮ ﺭﻣﻨﺎ ﺃﻥ ﳔﺮﺝ ﻣﻦ ﺍﻟﺼّﻌﻮﺑﺎﺕ‬
‫ﺍﳌﻌﺘﺎﺻﺔ ﻭﺃﻥ ﻧﻀﻊ ﺍﻟﺼّﻮﺭﺓ ﺑﻨﺤﻮ ﺍﻟﻮﺍﻗﻌﺔ ﺍﻟ َﻮ ْﻋِﻴﱠﻴﺔِ‪ ،‬ﻓﻘﺪ ﺗﻮﺟّﺐ ِﺇﺫﹰﺍ ﺃﻥ ﻧﻀﺮﺏ ﺻﻔﺤﺎ ﻋﻦ‬
‫ﺍﻟﺘّﻔﺮﻗﺔ ﻓﻴﻬﺎ ﺑﲔ ﻣﺎﻫﻲ ﻫﻲ ﻭﺑﲔ ﻇﻬﻮﺭﻫﺎ‪ ،‬ﺃﻭ ﺑﻨﻮﻉ ﺃﻓﻀﻞ‪ ،‬ﻓﻘﺪ ﺗﻮﺟّﺐ ﺃﻥ ﻧﻀﻊ ﺃ ﹼﻥ ﺿﺮﺏ‬
‫ﻭﺟﻮﺩ ﺍﻟﺼﻮﺭﺓ ﺇﻧّﻤﺎ ﻫﻮ ﻋﲔ " ﻇﻬﻮﺭﻫﺎ"‬

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‫ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﺴﺘﺨﻠﺺ ﺃ ﹼﻥ ﻛ ﹼﻞ ﻧﻈﺮﻳّﺔ ﰲ ﺍﻟﺼّﻮﺭﺓ ﻓﻴﻨﺒﻐﻲ ﺃﻥ ﺗﺴﺘﻮﰲ ﺿﺮﻭﺭﺗﲔ ﺍﺛﻨﺘﲔ‪ :‬ﻳﻨﺒﻐﻲ‬
‫ﺃﻥ ﺗَُﺒﱢﻴ َﻦ ﻛﻴﻒ ﺃ ﹼﻥ ﺍﻟﻔﻜﺮ ﺇﻧّﻤﺎ ﻳﺄﰐ ﺇﺗﻴﺎﻧﺎ ﻋﻔﻮﻳّﺎ ﺗﻔﺮﻗﺘﻪ ﺑﲔ ﺍﻟﺼّﻮﺭ ﻭﺍﻹﺩﺭﺍﻛﺎﺕ‪ .‬ﻭ ﺛﺎﻧﻴﺎ ﻳﻨﺒﻐﻲ‬
‫ﻱ ﺷﺄﻥ ﻟﻠﺼّﻮﺭﺓ ﰲ ﺃﻓﻌﺎﻝ ﺍﻟﻔﻜﺮ‪ .‬ﺇ ﹼﻥ ﺍﻟﺘّﺼﻮّﺭ ﺍﻟﻜﻼﺳﻴﻜﻲ ﻟﻠﺼّﻮﺭﺓ ﺃﻳّﺎ ﻛﺎﻥ ﺍﻟﺸّﻜﻞ‬
‫ﺃﻥ ﺗﺒﻴّﻦ ﺃ ّ‬
‫ﺢ ﰲ ﺃﻥ ﻳﺴﺘﻮﰲ ﺫﻳﻨﻚ ﺍﻷﻣﺮﻳﻦ ﺍﳉﻮﻫﺮﻳﲔ‪ :‬ﺇﺫ ﺃﻧّﻪ ﺑﻔﺮﺿﻨﺎ ﺃﻥ ﻟﻠﺼّﻮﺭﺓ‬
‫ﺍﻟﹼﺬﻱ ﻗﺪ ﺍﺗّﺨﺬﻩ ﱂ ُﻳ ﹾﻔ ِﻠ ْ‬
‫ﳏﺘﻮﻯ ﺣﺴّﻴﺎ ﻓﻘﺪ ﺟﻌﻠﻨﺎ ﻣﻨﻬﺎ ﺷﻴﺌﺎ ﻳُ ﹾﺬ ِﻋﻦُ ﻟﻘﻮﺍﻧﲔ ﺍﻷﺷﻴﺎﺀ ﻭﻟﻴﺲ ﻟﻘﻮﺍﻧﲔ ﺍﻟﻮﻋﻲ؛ ﻭﺭﻓﻌﻨﺎ‬
‫ﺑﺬﻟﻚ ﻋﻦ ﺍﻟﻔﻜﺮ ﻛ ﹼﻞ ﻗﺪﺭﺓ ﻋﻠﻰ ﺃﻥ ﻳﻌﺮﻓﻬﺎ ﻣﻦ ﺳﺎﺋﺮ ﺃﺷﻴﺎﺀ ﺍﻟﻌﺎﱂ‪ .‬ﻭﺻﺎﺭﳑﺘﻨﻌﺎ ﰲ ﻧﻔﺲ‬
‫ﺍﻟﻮﻗﺖ ﺃﻥ ﻧﺘﺼﻮّﺭ‪ ،‬ﺑﻨﺤﻮ ﻣﻦ ﺍﻷﳓﺎﺀ‪ ،‬ﻋﻼﻗﺔ ﺫﻟﻚ ﺍﻟﺸّﻲﺀ ﺑﺎﻟﻔﻜﺮ‪ .‬ﺇﺫ ﺃﻧّﻨﺎ ﺣﻴﻨﻤﺎ ﻧﻘﺼﻲ‬
‫ﺍﻟﺼّﻮﺭﺓ ﻣﻦ ﺍﻟﻔﻜﺮ‪ ،‬ﻓﺈﻧّﻨﺎ ﳔﻠﻊ ﻋﻨﻬﺎ ﺑﺄﺳﺮﻫﺎ ﺣﺮّﻳﺘﻬﺎ‪ .‬ﻭﻟﻮ ﺃﺩﺧﻠﻨﺎﻫﺎ ﰲ ﺍﻟﻔﻜﺮ‪ ،‬ﻓﺈﻧّﻪ ﻳﺪﺧﻞ‬
‫ﻁ ﺍﻹﺷﺒﺎﻉ‪.‬‬
‫ﺤﻠﹸﻮ ٍﻝ ﻣُ ﹾﻔ َﺮ ِ‬
‫ﻣﻌﻬﺎ ﺍﻟﻌﺎﱂ ﺑﺄﺳﺮﻩ‪ ،‬ﻭﺍﻟﻮﻋﻲ ﻳﺘﺤﺠّﺮ ﺩﻓﻌﺔ‪ ،‬ﻛ َﻤ ْ‬

‫ﻣﻦ ﺃﺟﻞ ﺫﻟﻚ‪ ،‬ﻛﻨّﺎ ﻗﺪ ﺷﺮﻋﻨﺎ‪ ،‬ﰲ ﻓﺘﺮﺓ ﻣﺎ ﻗﺒﻞ ﺍﳊﺮﺏ‪ ،‬ﳓﻤﻞ ﻋﻠﻰ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻓﺒﻨﺎﺕ‬
‫ﻭﻛﺜﲑ ﻣﻦ ﻋﻠﻤﺎﺀ ﻧﻔﺲ ﻣﺪﺭﺳﺔ ﻭﺭﺯﺑﻮﺭﻍ ﻛﺎﻧﻮﺍ ﻗﺪ ﺳﺒﻘﻮﺍ ﺑﺎﻟﻘﻮﻝ ﺑﺄﻧّﻬﺎ ﺗﻌﻴﻖ ﺍﻟﺘّﻔﻜﲑ‪.‬‬
‫ﻭﺁﺧﺮﻭﻥ ﺃﻛﺜﺮ ﺷﺪّﺓ ﻣﻦ ﻫﺆﻻﺀ ﻓﻘﺪ ﺫﻫﺒﻮﺍ ﺇﱃ ﺃﻧّﻪ ﺇﺫﺍ ﻛﺎﻧﺖ ﺍﻟﺼّﻮﺭﺓ ﻟﻴﺴﺖ ﺗﻮﺟﺪ ﺇ ﹼﻻ‬
‫ﱐ‬
‫ﺴﻴّﺔ‪ ،‬ﻓﺈﻧّﻨﺎ ﻣﻀﻄﺮّﻭﻥ ﻷﻥ ﻧﻘﺒﻞ ﺑﺎﻟﺘّﺮﺍﺑﻄﻴّﺔ ﻭﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﺍﻟ ﹼﺬﺭّﺍ ﹼ‬
‫ﺑﺎﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺍﻧﺒﻌﺎﺛﻴّﺔ ﺣ ّ‬
‫ﲏ ﻟﻴﺲ ﻳﻼﺋﻢ ﺇ ﹼﻻ ﻋﺼﺮ ﺍﻷﺣﻴﺎﺯ‬
‫ﻭﲟﺒﺪﺃ ﺗﺸﺎﻓﻌﻴّﺔ ﳏﺘﻮﻳﺎﺕ ﺍﻟﻔﻜﺮ‪ .‬ﺇ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﻣﻮﺟﻮﺩ ﺫﻫ ّ‬
‫ﺍﻟﺪّﻣﺎﻏﻴّﺔ‪ .‬ﻭﻫﻲ ﻻ ﳏﺎﻟﺔ ﻳﻨﺒﻐﻲ ﺃﻥ ﺗﻀﻤﺤ ﹼﻞ ﻣﻊ ﻓﺮﺿﻴّﺎﺕ ﻛﻔﺮﺿﻴّﺎﺕ ﺑﺮﻭﻛﺎ ﻭﻭﺭﻧﻚ ‪ :‬ﺇﺫ ﺃﻧّﻪ‬
‫ﻟﻴﺲ ﳍﺎ ﻣﻦ ﻣﻜﺎﻥ ﰲ ﻋﻠﻢ ﻧﻔﺲ ﺗﺄﻟﻴﻔﻲ‪ .‬ﻓﻘﺪ ﻛﺘﺐ ﻣﻮﺗﻴﻲ‪ ،‬ﺗﻠﻤﻴﺬ ﻣﺎﺭﻱ‪ ،‬ﺳﻨﺔ ‪)١٩٠٨‬ﻭ(‬
‫ﻣﺎ ﻳﻠﻲ‪:‬‬

‫" ﺇ ﹼﻥ ﺍﳋﻄﺄ ﺍﻷﻛﱪ ﰲ ﻣﺴﺄﻟﺔ ﺍﻟﺼّﻮﺭ ﻛﺎﻥ ﺃﻧّﻨﺎ ﻛﻨّﺎ ﻧﻌﺘﻘﺪ ﻓﻴﻬﺎ ﻛﻤﺎ ﻟﻮ ﻛﺎﻧﺖ ﻭﻗﺎﺋﻌﺎ‪ .‬ﻭﺫﻫﺐ‬
‫ﻋﻨّﺎ ﺃ ﹼﻥ ﻭﺟﻮﺩﻫﺎ ﻫﻮ ﳏﺾ ﺍﻓﺘﺮﺍﺿﻲ‪ ،‬ﻭﳏﺾ ﺍﺗّﻔﺎﻗﻲ‪ ،‬ﻓﹶﺄ َﺧ ﹾﺬﻧَﺎ ﺷﻴﺌﺎ ﻓﺸﻴﺌﺎ ﻧﻔﺼﻠﻬﺎ ﻋﻦ ﺍﻟﻌﺒﺎﺭﺓ‬
‫ﻭﻋﻦ ﺍﻟﻔﻜﺮﺓ‪ .‬ﺣﺘّﻰ ﺍﻧﺘﻬﻴﻨﺎ ﺇﱃ ﺃﻥ ﺻﺮﻧﺎ ﻧﻘﺒﻞ ﺑﻮﺟﻮﺩ ﺻﻮﺭ ﰲ ﺍﻟﺪّﻣﺎﻍ ﻣﱰﻭﻋﺔ ﻣﻦ ﺍﻷﻟﻔﺎﻅ‪،‬‬

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‫ﻭﺍﻷﻓﻜﺎﺭ ﻭﺍﻟﺼّﻔﺎﺕ‪ ،‬ﺃﻱ ﺻﻮﺭ ﺧﺎﻟﺼﺔ‪ .‬ﻟﻘﺪ ﻗﹶﺎَﺑ ﹾﻠﻨَﺎ ﺻﻮﺭ ﺍﻷﻟﻔﺎﻅ ﺑﺎﻷﻟﻔﺎﻅ ﺍﳊﻘﻴﻘﻴّﺔ‪،‬‬
‫ﻭﺍﻷﻓﻜﺎﺭ ﻗﺪ ﺟﺮّﺩﻧﺎﻫﺎ ﻣﻦ ﺍﻷﻟﻔﺎﻅ ﻭﻣﻦ ﺍﻟﺼّﻮﺭ ﺣﺘّﻰ ﺍﻧﺘﻬﻴﻨﺎ ﺇﱃ ﺃﻥ ﻧﺴﺒﻨﺎ ﻟﻠﹼﻐﺔ ﺛﻼﺛﺔ ﺃﳓﺎﺀ ﻣﻦ‬
‫ﺍﻟﻮﺟﻮﺩ‪ :‬ﺍﻟﻮﺟﻮﺩ ﺑﺎﻟﻠﹼﻔﻆ‪ ،‬ﻭﺍﻟﻮﺟﻮﺩ ﺑﺼﻮﺭ ﺍﻷﻟﻔﺎﻅ‪ ،‬ﻭﺍﻟﻮﺟﻮﺩ ﺑﺎﻷﻓﻜﺎﺭ ﺍﳋﺎﻟﺼﺔ‪ .‬ﻓﺎﻟﺼّﻮﺭ‬
‫ﻣﺜﻠﻬﺎ ﻣﺜﻞ ﺍﳉﻮﻫﺮ ﺍﳌﻔﻜﹼﺮ‪ ،‬ﺇﻧّﻤﺎ ﻫﻲ " ﻭﻗﺎﺋﻊ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ " ﺇﺫ ﻻ ﺗﻨﺎﺳﺒﻬﺎ ﻭﻟﻮ ﲡﺮﺑﺔ ﻣﻦ‬
‫ﺍﻟﺘّﺠﺎﺭﺏ‪".‬‬

‫ﺇ ﹼﻥ ﻫﺬﺍ ﺍﻟﺘّﺼﻮّﺭ ﺍﻟﹼﺬﻱ ﺍﺟﺘﻤﻊ ﻓﻴﻪ ﻋﻠﻰ ﺍﳉﻤﻠﺔ‪ ،‬ﺭﻭﺡ ﺍﻟﺘّﺄﻟﻴﻒ ﺍﳋﺎﻟﺺ ﻋﻠﻰ ﺍﻟﺘّﻤﺎﻡ‪ ،‬ﻟﻴﺲ‬
‫ﻳﻘﺒﻞ ﺑﻮﺟﻮﺩ ﻋﻨﺎﺻﺮ ﻣﻔﺮﺩﺓ ﰲ ﺍﳊﻴﺎﺓ ﺍﻟﻨّﻔﺴﻴّﺔ‪ .‬ﻭﻟﻜﻨّﻪ ﻫﻮ ﻳﺒﻘﻰ ﻟﺸﺪﻳﺪ ﺍﻹﻬﺑﺎﻡ‪ :‬ﻓﺄﻭّﻻ ﻫﻮ‬
‫ﻳﺪﺧﻞ ﲢﺖ ﺟﻨﺲ ﺍﻟﻨّﻔﺴ ّﻲ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻲ ﺍﻟﻨّﺎﻗﺺ ﺍﻟﻴﻘﲔ؛ ﻓﻬﻢ ﻳﺘﻜﻠﹼﻤﻮﻥ ﻋﻦ ﺻﻮﺭ ﻭﺃﻓﻜﺎﺭ "‬
‫ﰲ ﺍﻟﺪّﻣﺎﻍ "‪ .‬ﻭﳓﻦ ﻟﺴﻨﺎ ﻧﻌﻠﻢ ﻣﺎ ﻣﻌﲎ ﺫﻟﻚ‪ .‬ﻓﻬﻞ ﺍﻷﻣﺮ ﺇﻧّﻤﺎ ﻳﺘﻌﻠﹼﻖ ﺑﻔﺮﺿﻴّﺔ ﻓﻴﺰﻳﻮﻟﻮﺟﻴّﺔ‬
‫ﺗﻌﺮﺽ ﺍﻟﺪّﻣﺎﻍ ﺑﻨﺤﻮ ﺍﻟﻌﻀﻮ ﺍﻟﹼﺬﻱ ﻳﺸﺘﻐﻞ ﻛﺎﻟﻘﻠﺐ‪ ،‬ﻭﺍﻟﻜﺒﺪ‪ ،‬ﰲ ﻭﺣﺪﺓ ﺗﺄﻟﻴﻔﻴّﺔ ﺑﻴﻮﻟﻮﺟﻴّﺔ؛ ﺃﻡ‬
‫ﻫﻮ ﺇﻧّﻤﺎ ﻳﺘﻌﻠﹼﻖ ﺑﻨﻈﺮﻳّﺔ ﻧﻔﺴﻴّﺔ ﺗﺘّﺼﻞ ﺑﻼ ﲡﺰّﺋﻴّﺔ ﺍﳊﺎﻝ ﺍﻟﻨّﻔﺴﻴّﺔ‪ ،‬ﺃﻡ ﺃ ﹼﻥ ﺍﻷﻣﺮ ﺇﻧّﻤﺎ ﻳﺘﻌﻠﹼﻖ ﺑﺎﻻﺛﻨﲔ‬
‫ﻱ ﳓﻮ ﻗﺪ ﺃﺑﻄﻠﻨﺎ ﺣﻘﻴﻘﺔ ﺍﻟﺼّﻮﺭﺓ ؟ ﺃﲟﻌﲎ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﺇﻧّﻤﺎ ﻫﻲ " ﻭﺍﻗﻊ ﻣﻴﺘﺎﻓﻴﺰﻳﻘ ّﻲ‬
‫ﻣﻌﺎ ؟ ﹼﰒ ﺑﺄ ّ‬
‫"‪ ،‬ﻭ " ﲡﺮﻳﺪ " ﻧﻈﲑ ﺍﻟﻔﺮﺩ ﻋﻨﺪ ﺑﻌﺾ ﻋﻠﻤﺎﺀ ﺍﻹﺟﺘﻤﺎﻉ ؟ ﺣﻴﻨﺌﺬ ﻓﺴﻴﻠﺰﻡ ﺃﻥ ﻧﻔﻬﻢ ﺍﻷﻣﺮ ﻓﻘﻂ‬
‫ﻋﻠﻰ ﺃﻧّﻪ ﻟﻴﺲ ﻟﻠﺼّﻮﺭﺓ ﻣﻦ ﺣﻘﻴﻘﺔ ﻭﻇﻴﻔﻴّﺔ‪ ،‬ﻭﺃﻧّﻬﺎ ﻻ ﺗﻮﺟﺪ ﺍﻟﺒﺘّﺔ ﺫﺍﺕ ﺍﺳﺘﻘﻼﻝ ‪.‬ﻟﻜﻨّﻨﺎ‬
‫ﺖ ﺣﻘﻴﻘﺘﻬﺎ ﺑﻨﺤﻮ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻣﻦ ﺣﻴﺚ‬
‫ﺑﺬﻟﻚ ﺇّﻧﻤﺎ ﺳﻨﺮﺗ ّﺪ ﺇﱃ ﺭﺃﻱ ﺍﻟﺴﻴّﺪ ﺳﺒﲑ‪ .‬ﺃﻡ ﻫﻞ ﺃﹸْﺑ ِﻄ ﹶﻠ ْ‬
‫ﻫﻲ ﻫﻴﺌﺔ ﻭﻋﻴﻴّﺔ ﻓﻠﻴﺲ ﳍﺎ ﻣﻦ ﻭﺟﻮﺩ ﺍﻟﺒﺘّﺔ ؟ ﺃﻡ ﻫﻞ ﻋﺴﻰ ﺃﻥ ﺗﻜﻮﻥ ﺩﺍﺋﻤﺎ ﺇﻧّﻤﺎ ﻫﻲ ﺍﻟﺼّﻮﺭﺓ‬
‫ﺍﻷﺛﺮ ﺍﳌﻨﺴﻮﺑﺔ ﻟﱪﻭﻛﺎ ﳑّﺎ ﻳﺮﻭﻡ ﺇﺑﻄﺎﻟﻪ ﻣﻮﺗﻴﻲ ؟ ﻭﺍﳊ ّﻖ ﺃ ﹼﻥ ﻣﻮﺗﻴﻲ ﱂ ﻳﻜﻦ ﻋﺎﱂ ﻧﻔﺲ ‪ :‬ﻭﻣﺎ ﺩﺍﻓﻊ‬
‫ﻚ ﺃﻧّﻪ‬
‫ﻋﻨﻪ ﺿ ّﺪ ﺍﳌﻨﺤﻰ ﺍﻟﺘّﺤﻠﻴﻠ ّﻲ ﻟﱪﻭﻛﺎ ﺃﻭ ﺗﺎﻥ‪ ،‬ﺇﻧّﻤﺎ ﻫﻮ ﻭﺣﺪﺓ ﺍﻟﻜﺎﺋﻦ ﺍﳊ ّﻲ‪ .‬ﻭﻟﻴﺲ ﻣﻦ ﺷ ّ‬
‫ﰲ ﻫﺬﺍ ﺍﳌﻮﺿﻊ ﻫﻨﺎﻙ ﺗﻄﻮّﺭ‪ :‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﻫﺬﺍ ﺍﻟﺘﻄﻮّﺭ ﱂ ﻳﻜﻦ ﺇ ﹼﻻ ﺗﻄﻮّﺭﺍ ﰲ ﺍﳌﻨﻬﺞ‪ .‬ﻷ ﹼﻥ ﻣﻮﺗﻴﻲ ﻣﺜﻠﻪ‬
‫ﱄ‪ .‬ﺑﻞ‪ ،‬ﻟﻘﺪ ﺍﺳﺘﻨﺘﺞ ﻧﻔﻴﻪ ﻟﻠﺼّﻮﺭﺓ ﻣﻦ ﻣﺒﺎﺩﺉ‬
‫ﻣﺜﻞ ﺗﺎﻥ‪ ،‬ﱂ ﻳﻜﻦ ﳛﺘﻔﻞ ﺑﺸﻬﺎﺩﺓ ﺍﻟﻮﻋﻲ ﺍﻷ ّﻭ ﹼ‬
‫ﻋﺎﻣّﺔ ﻭﳎﺮّﺩﺓ‪ .‬ﻓﺘﺎﻥ ﻛﺎﻥ ﻗﺪ ﲣﻴّﺮ ﺍﻟﺼّﻮﺭﺓ ﺑﻨﺤﻮ ﻣﺒﺪﺃ ﺍﻟﺘّﻔﺴﲑ ﺍﻟﻮﺣﻴﺪ‪ ،‬ﻷﻧّﻪ ﻛﺎﻥ ﻳﺮﻭﻡ ﺃﻥ‬
‫ﻳﺒﲏ ﻋﻠﻢ ﻧﻔﺲ ﻋﻠﻤﻴّﺎ ﻋﻠﻰ ﳕﻂ ﺍﻟﻔﻴﺰﻳﺎﺀ‪ .‬ﻭﻛﺬﻟﻚ ﻣﻮﺗﻴﻲ‪ ،‬ﻓ ِﻠ َﻤﻜﹶﺎ ِﻥ ﺍﻟﺒﻴﻮﻟﻮﺟﻴﺎ ﺍﻟﻨّﺎﺷﺌﺔ ﺍﻟﹼﱵ‬

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‫ﺃﺩﺧﻠﺖ ﻓﻜﺮﺓ ﺍﻟﺘّﺄﻟﻴﻒ ﺍﻟﻌﻀﻮﻱّ‪ ،‬ﻭﻷﻧّﻪ ﻛﺎﻥ ﺃﺷ ّﺪ ﻓﻄﻨﺔ ﻣﻦ ﺭﻳﺒﻮ‪ ،‬ﺣﲔ ﺗﺒﻴّﻦ ﺑﺄ ﹼﻥ ﻓﻜﺮﺓ‬
‫ﺍﻟﺘّﺄﻟﻴﻒ ﻻ ﺗﺘﻼﺀﻡ ﻣﻊ ﻓﻜﺮﺓ ﺍﻟ ﹼﺬﺭّﺍﺕ ﺍﻟﻨّﻔﺴﻴّﺔ‪ ،‬ﻓﻘﺪ ﺩﻓﻊ ﺑﺎﻟﺼّﻮﺭﺓ ﺑﲔ " ﺍﻟﻜﺎﺋﻨﺎﺕ‬
‫ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ" )‪ (٢٩‬ﻣﻦ ﺩﻭﻥ ﺃﻥ ﻳُ ْﻤ ِﻌ َﻦ ﻓﺤﺼﺎ ﰲ ﺍﳌﻌﻄﻴﺎﺕ ﺍﳌﺘﻌﻴّﻨﺔ‪ .‬ﻓﺎﻟﻄﹼﺮﻳﻘﺔ ِﺇﺫﹰﺍ ﰲ ﻛﻠﺘﺎ‬
‫ﺍﳊﺎﻟﲔ‪ ،‬ﺇﻧّﻤﺎ ﻛﺎﻧﺖ ﻫﻲ ﻫﻲ)‪).(٣٠‬ﻱ(‬

‫*‬
‫* *‬

‫ﺇﻧّﻬﺎ ﻧﻈﺮﻳّﺔ ﺁﻻﻥ ﰲ ﺍﳌﻌﺮﻓﺔ ﻭﺍﳊﻜﻢ ﺍﹼﻟﱵ ﺃﺩّﺗﻪ ﺇﱃ ﺃﻥ ﻳُ ْﺒ ِﻄ ﹶﻞ ﺍﻟﺼّﻮﺭﺓ ﺇﺑﻄﺎﻻ ﻛ ﹼﻠﻴّﺎ‪.‬‬

‫"ﺇﻧّﻤﺎ ﻫﻲ ﻓﻜﺮﺓ ﺳﺎﺫﺟﺔ‪ ،‬ﻭﻣﻼﺋﻤﺔ‪ ،‬ﻭﻟﻜﻨّﻬﺎ ﻃﻔﻮﻟﻴّﺔ ﺃﻳّﻤﺎ ﻃﻔﻮﻟﻴﺔ ﺗﻠﻚ ﺍﻟﻘﺎﺋﻠﺔ ﺑﺄﻧّﻨﺎ ﳓﺘﻔﻆ ﰲ‬
‫ﺍﻟﺬﹼﺍﻛﺮﺓ ﺑﻨﺴﺦ ﺍﻷﺷﻴﺎﺀ‪ ،‬ﻭﺑﺄﻧّﻨﺎ ﻧﺴﺘﻄﻴﻊ‪ ،‬ﺑﻨﻮﻉ ﻣﺎ‪ ،‬ﺃﻥ ﻧﺘﺼﻔﹼﺤﻬﺎ)ﺃﺃ(‪".‬‬
‫ﻓﺎﻟﺼّﻮﺭﺓ ﻟﻴﺲ ﳍﺎ ﻭﺟﻮﺩ‪ ،‬ﻭﻻ ﳝﻜﻨﻬﺎ ﺃﻥ ﺗﻜﻮﻥ ﻣﻮﺟﻮﺩﺓ‪ :‬ﻭﻣﺎ ﻧﻄﻠﻖ ﻋﻠﻴﻪ ﻫﺬﺍ ﺍﻻﺳﻢ‬
‫ﺇﻧّﻤﺎ ﻫﻮ ﺃﺑﺪﺍ ﺇﺩﺭﺍﻙ ﺧﺎﻃﺊ‪(٣١) .‬‬

‫"ﺇﻧّﻨﺎ ﰲ ﻛ ﹼﻞ ﲣﻴّﻞ‪ ،‬ﻧﻼﻗﻲ ﺛﻼﺛﺔ ﺿﺮﻭﺏ ﻣﻦ ﺍﻟﻌﻠﻞ‪ :‬ﺍﻟﻌﺎﱂ ﺍﳋﺎﺭﺟﻲّ‪ ،‬ﻭﺍﳊﺎﻝ ﺍﳉﺴﺪﻳّﺔ‪،‬‬
‫ﻭﺍﳊﺮﻛﺎﺕ)ﺏ ﺏ(‪".‬‬

‫ﻭﻛ ﹼﻞ ﺇﺩﺭﺍﻙ ﺧﺎﻃﺊ ﻓﻤﺎ ﻫﻮ ﺇ ﹼﻻ ﺣﻜﻢ ﺧﺎﻃﺊ‪ ،‬ﻷﻧّﻪ ﺃﻥ ﻧُ ْﺪ ِﺭ َﻙ ﻫﻮ ﺃﻥ ﳓﻜﻢ‪ .‬ﻓﺠﻤﺎﻋﺔ ﻣﺎ‪،‬‬
‫ﲟﺘﺰ‪ ،‬ﻗﺪ ﺗﻮﻫّﻤﺖ ﺃﻧّﻬﺎ ﺭﺃﺕ ﺟﻴﺸﺎ ﻣﻦ ﺧﻼﻝ ﺑﻠﹼﻮﺭ ﺃﺣﺪ ﺍﳌﻨﺎﺯﻝ‪ .‬ﺇﻧّﻬﺎ ﻟﻘﺪ ﺗﻮﻫّﻤﺖ ﺃﻧّﻬﺎ ﺭﺃﺗﻪ‪،‬‬
‫ﻭﻟﻜﻨّﻬﺎ ﻫﻲ ﱂ ﺗﺮﻩ‪ .‬ﺑﻞ ﻛﺎﻧﺖ ﻫﻨﺎﻟﻚ ﺧﻄﻮﻁ‪ ،‬ﻭﺃﻟﻮﺍﻥ ﻭﺍﻧﻌﻜﺎﺳﺎﺕ‪ :‬ﻭﻟﻴﺲ ﺍﻟﺒﺘّﺔ ﺟﻴﺶ‪.‬‬
‫ﻭﻟﻜﻦ ﻫﻮ ﱂ ﻳﻜﻦ ﻳﻮﺟﺪ ﺃﻳﻀﺎ " َﺗ َﻤﱡﺜﻞﹲ " ﻟﻠﺠﻴﺶ ﰲ ﺍﻷﺫﻫﺎﻥ‪ .‬ﻭﱂ ﻳﻜﻦ ﻫﻨﺎﻙ ﺇﺳﻘﺎﻁ ﻟﻠﺼّﻮﺭﺓ‬
‫ﻋﻠﻰ ﺍﻟﺒﻠﹼﻮﺭ‪ ،‬ﻭﱂ ﻧﺼﻬﺮ ﺫﻛﺮﻯ ﻣﺎ ﰲ ﻣﻌﻄﻴﺎﺕ ﺍﻹﺩﺭﺍﻙ‪ .‬ﻭﺇﻧّﻤﺎ ﺍﳋﻮﻑ‪ ،‬ﻭﺍﻟﻌﺠﻠﺔ ﻗﺪ ﺃﺩّﻳﺎ ﻷﻥ‬
‫ﻧﻌﺠﻞ ﺑﺎﳊﻜﻢ‪ ،‬ﻭﻷﻥ ﻧﺴﻴﺊ ﺍﻟﺘّﺄﻭﻳﻞ‪.‬‬

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‫" ﺣﻴﻨﻤﺎ ﻧﺘﻮﻫّﻢ ﺻﻮﺗﺎ ﻋﻨﺪ ﺩﻗﹼﺎﺕ ﺳﺎﻋﺔ ﻣﺎ‪ ،‬ﻓﻠﺴﻨﺎ ﻧﺴﻤﻊ ﺩﺍﺋﻤﺎ ﺇ ﹼﻻ ﺩﻗﹼﺎﺕ ﺳﺎﻋﺔ‪ .‬ﻭﺃﻗ ﹼﻞ‬
‫ﻚ ﰲ ﻛ ﹼﻞ ﺍﻷﺣﻮﺍﻝ ﺃﻳﻀﺎ‪ ،‬ﺃ ﹼﻥ ﺍﳊﻜﻢ‬
‫ﺍﻧﺘﺒﺎﻩ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﺆﻛﹼﺪ ﻟﻨﺎ ﺫﻟﻚ‪ .‬ﻭﺣﻴﻨﺌﺬ‪ ،‬ﻭﻏﲑ ﺷ ّ‬
‫ﺍﳋﺎﻃﺊ ﻳﻌﻀﺪﻩ ﺍﻟﺼّﻮﺕ ﻧﻔﺴﻪ‪ ،‬ﻭﺍﻟﺼّﻮﺕ ﻳﺒﺪﻉ ﻣﻮﺿﻮﻋﺎ ﺟﺪﻳﺪ ﳛ ﹼﻞ ﳏ ﹼﻞ ﺍﻵﺧﺮ‪ .‬ﻓﻬﺎﻫﻨﺎ‬
‫ﻓﻨﺤﻦ ﻧﺒﺪﻉ ﺍﻟﺸّﻲﺀ ﺍﳌﺘﺨﻴّﻞ؛ ﻭﺍﻟﺸّﻲﺀ ﺍﳌﺘﺨﻴّﻞ‪ ،‬ﻟﻜﻮﻧﻪ ﻣﻨﺤﻮﺗﺎ‪ ،‬ﻓﻬﻮ ﻭﺍﻗﻌﻲّ‪ ،‬ﻭﻣﺪﺭﻙ ﻣﻦ ﻏﲑ‬
‫ﺷﻚ ﺇﻃﻼﻗﺎ)ﺗﺖ(‪".‬‬

‫ﻚ ﻋﻦ ﺍﳊﺮﻛﺎﺕ ﺍﳉﺴﺪﺍﻧﻴّﺔ‪ ،‬ﻭﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ‪...‬‬

‫ﺲ ﻭﻳُ ْﺪ َﺭﻙُ ﻏﲑ ﻣﻨﻔ ّ‬
‫ﺤ ﱡ‬
‫" ﺇ ﹼﻥ ﺍﻧﻔﻌﺎﻻ ﻗﻮﻳّﺎ ُﻳ َ‬
‫ﺍﻋﺘﻘﺎﺩ ﻣﺎ ﻣﻘﻨﻊ‪ ،‬ﻭﻟﻜﻨّﻪ ﻳﻜﻮﻥ ﻣﺴﺘﺸﻌﺮﺍ‪ ،‬ﻭِﺑﹶﺄ َﺧ َﺮ ٍﺓ ﻏﲑ ﺫﻱ ﻣﻮﺿﻮﻉ ﻓﺈﻧّﻪ ﳛﺪﺙ؛ ﻭﺍﳉﻤﻠﺔ ﳍﺎ‬
‫ﱄ ﺑﻨﺤﻮ ﻣﺎ‪ ،‬ﻭﻟﻜﻨّﻪ ﻭﺍﻗﻌ ّﻲ ﲝ ّﻖ ﻣﻦ ﺿﺠﻴﺞ ﺍﳉﺴﺪ‪ ...‬ﻓِﺈﺫﹰﺍ ﻫﻨﺎﻙ‬
‫ﺻﻔﺔ ﺍﻟﺘّﺮﻗﹼﺐ ﺍﳌﻮﻟﻊ‪ ،‬ﻭﺍﳋﻴﺎ ﹼ‬
‫ﻓﻮﺿﻰ ﺑﺎﳉﺴﺪ‪ ،‬ﻭﺧﻄﺄ ﺑﺎﻟﺬﹼﻫﻦ‪ ،‬ﻭﺍﻟﻮﺍﺣﺪ ﻳﻐﺬﹼﻱ ﺍﻵﺧﺮ‪ ،‬ﺫﻟﻚ ﻣﺎ ﻫﻮ ﺣﻘﻴﻘﺔ ﺍﻟﺘّﺨﻴّﻞ‪".‬‬

‫ﻭﺍﻟﹼﺬﻱ ﻛﻨّﺎ ﻗﺪ ﺑﺴﻄﻨﺎﻩ ﰲ ﺍﻟﺼّﻔﺤﺎﺕ ﺍﻟﺴّﺎﻟﻔﺔ ﻣﻦ ﺷﺄﻧﻪ‪ ،‬ﻓﻴﻤﺎ ﻧﻌﺘﻘﺪ‪ ،‬ﺃﻥ ﲡﻌﻠﻨﺎ ﻧﻔﻬﻢ ﺭﺃﻱ‬
‫ﰐ‪ .‬ﻓﺂﻻﻥ ﻳﻘﺒﻞ‪ ،‬ﻣﺜﻞ ﺩﻳﻜﺎﺭﺕ ﺑﺎﳌﺼﺎﺩﺭﺓ ﺍﻷﺻﻠﻴّﺔ ﻬﺑُ ِﻮﱠﻳ ِﺔ ﺍﻟﺼّﻮﺭ‬
‫ﱐ ﺍﻟﺪّﻛﺎﺭ ﹼ‬
‫ﺁﻻﻥ‪ ،‬ﺫﻟﻚ ﺍﻟﻌﻘﻼ ﹼ‬
‫ﻭﺍﻹﺩﺭﺍﻛﺎﺕ ﻫﻮﻳّﺔ ﺟﺬﺭﻳّﺔ‪ .‬ﺇ ﹼﻻ ﺃﻧّﻪ‪ ،‬ﻭﻟﻜﻮﻧﻪ ﻛﺎﻥ ﻣﻔﻜﹼﺮﺍ ﺃﻟﻄﻒ ﻧﻈﺮﺍ ﻭﺃﻛﺜﺮ ﺗﺪﻗﻴﻘﺎ ﻣﻦ ﻋﻠﻤﺎﺀ‬
‫ﺍﻟﻨّﻔﺲ ﺍﻟﹼﺬﻳﻦ ﺭﻣﻨﺎ ﻧﻘﺪﻫﻢ ﻓﻴﻤﺎ ﺳﻠﻒ‪ ،‬ﻓﻘﺪ ﺃﻬﺑﺘﺘﻪ ﺍﻟﺘّﻨﺎﻗﻀﺎﺕ ﺍﻟﹼﱵ ﺗﻠﺰﻡ ﻣﻦ ﺗﻠﻚ ﺍﳌﺼﺎﺩﺭﺓ‪ .‬ﺇﺫ‬
‫ﻣﻦ ﺍﳋﻠﻒ ﺃﻥ ﻧﺰﻋﻢ ﺑﻮﺟﻮﺩ ﺻﻮﺭ ﻣﺸﺎﻬﺑﺔ ﻛﻠﹼﻬﺎ ﻟﻺﺩﺭﺍﻛﺎﺕ‪ ،‬ﹼﰒ ﺃﻥ ﻧﻈ ّﻦ ﺑﻌﺪﻫﺎ ﺃﻧّﻨﺎ ﳝﻜﻨﻨﺎ‬
‫ﺕ ﺍﻟﺘّﺨﻴّﻞ ﻫﻲ ﲣﺘﻠﻒ ﻋﻦ ﻣﻮﺿﻮﻋﺎﺕ‬
‫ﺤ َﺪﺛﹶﺎ ِ‬
‫ﺗﻔﺮﻗﺘﻬﺎ ﻋﻨﻬﺎ‪ .‬ﻟﻜﻨّﻪ ﺣﻴﻨﻤﺎ ﻧﻘﺒﻞ ﲟﺒﺪﺃ ﺃ ﹼﻥ ُﻣ ْ‬
‫ﺍﻹﺩﺭﺍﻙ ﻛﺎﺧﺘﻼﻑ ﺍﳋﻄﺄ ﻣﻦ ﺍﻟﺼّﻮﺍﺏ‪ ،‬ﺃﻓﻠﺴﻨﺎ ﻛﻨّﺎ ﺳﻨﺨﻠﺺ ﻣﻦ ﺍﳌﻌﻀﻠﺔ ﺑﻘﻠﺒﻨﺎ ﻟﻠﻤﺒﺪﺃ ؟‬
‫ﻓﺄﻥ ﻧﻔﺮّﻕ ﺍﻟﺼّﻮﺭﺓ ﻣﻦ ﺍﻹﺩﺭﺍﻙ ﲝﺴﺐ ﻣﻘﻴﺎﺱ ﺍﻟﺼّﻮﺍﺏ ﻭﺍﳋﻄﺄ‪ ،‬ﺇﻧّﻤﺎ ﺑﺎﻻﺿﻄﺮﺍﺭ ﻫﻮ ﺗﺄﻛﻴﺪ‬
‫ﻋﻠﻰ ﺃ ﹼﻥ ﻛ ﹼﻞ ﺇﺩﺭﺍﻙ ﺧﺎﻃﺊ ﻓﻬﻮ ﺻﻮﺭﺓ‪ .‬ﻭﺫﻟﻚ‪ ،‬ﻣﺎ ﻛﺎﻥ ﺍﺗّﺨﺬﻩ ﺳﺒﲑ‪ ،‬ﻛﻤﺎ ﻛﻨّﺎ ﻗﺪ ﺭﺃﻳﻨﺎ‪.‬‬
‫ﺴ ّﻲ " ﺍﳌﺒﻨﻌﺚ ﺍﳌﺸﻬﻮﺭ‪ ،‬ﻻ ﻧﺴﺘﻄﻴﻊ ﻟﻪ ﺗﻔﺴﲑﺍ‪.‬‬
‫ﻭﻟﻜﻦ‪ ،‬ﻋﻨﺪﺋﺬ‪ ،‬ﻓﺴﻴﺒﻘﻰ ﺫﻟﻚ " ﺍﶈﺘﻮﻯ ﺍﳊ ّ‬
‫ﻓﻌﻼﻡ‪ ،‬ﻟﻴﺖ ﺷﻌﺮﻱ‪ ،‬ﻻ ﻧﻘﻮﻝ ‪ ،‬ﺑﺎﻷﺣﺮﻯ‪ ،‬ﺑﻨﺎﺀ ﻋﻠﻰ ﻧﻔﺲ ﺍﳌﺒﺎﺩﺉ‪ ،‬ﺑﺄ ﹼﻥ ﻛ ﹼﻞ ﺻﻮﺭﺓ ﻫﻲ‬

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‫ﺇﺩﺭﺍﻙ ﺧﺎﻃﺊ ؟ ﻭﺣﻴﻨﺌﺬ‪ ،‬ﻓﺈ ﹼﻥ " ﺍﻹﺣﺴﺎﺱ ﺍﳌﻨﺒﻌﺚ " ﻟﻦ ﻳﻜﻮﻥ ﻟﻪ ﻭﺟﻪ ﰲ ﺍﻟﻮﺟﻮﺩ‪ :‬ﻓﻠﻴﺲ‬
‫ﺴﻴّﺔ ﺇ ﹼﻻ ﺍﳌﻌﻄﻴﺎﺕ ﺍﻟﹼﱵ ﳝﻨﺤﻬﺎ ﺑﺎﻟﻔﻌﻞ ﺍﻹﺩﺭﺍﻙ‪ .‬ﻭﲝﺴﺐ ﻣﺎ ﺃﺣﻜﻢ‬
‫ﻳﻮﺟﺪ ﻣﻦ ﻣﻌﻄﻴﺎﺕ ﺣ ّ‬
‫ﺣﻜﻤﺎ ﺻﺎﺋﺒﺎ ﺃﻡ ﺧﺎﻃﺌﺎ‪ ،‬ﺃﺅﺳّﺲ ﺗﻠﻚ ﺍﳌﻌﻄﻴﺎﺕ ﺑﻨﺤﻮ ﻣﻮﺍﺿﻴﻊ ﺣﻘﻴﻘﻴّﺔ ﺃﻭ ﺃﺷﺒﺎﺡ‪ .‬ﻭﺗﻜﻮﻥ‬
‫ﺗﻠﻚ ﺍﻷﺷﺒﺎﺡ ﻋﻠﻰ ﺍﻟﺘّﺤﻘﻴﻖ ﻫﻲ ﺍﻟﺼّﻮﺭ‪ .‬ﻭﻟﻜﻦ ﻫﻨﺎﻙ‪ ،‬ﺑﺎﻟﻄﹼﺒﻊ‪ ،‬ﺿﺮﻭﺏ ﻛﺜﲑﺓ ﰲ ﺍﻟﺘّﺨﻴّﻞ‪.‬‬
‫ﺿﺮﺏ ﺃﻭّﻝ ُﻣَﻴ ﱢﻤﻢٌ ﻟﻠﺨﺎﺭﺝ‪ ،‬ﻭﻫﻮ ﺍﳌﺘﻜﻮّﻥ ﻣﻦ ﺍﻷﺣﻜﺎﻡ ﺍﳋﺎﻃﺌﺔ ﺫﺍﺕ ﺍﻟﺘّﻌﻠﹼﻖ ﺑﺎﳌﻮﺍﺿﻴﻊ‬
‫ﺍﳋﺎﺭﺟﻴّﺔ‪ .‬ﻭ ﺍﻟﻀّﺮﺏ ﺍﻟﺜﹼﺎﱐ ﻣﻴﻤّﻢ ﻟﻠﺒﺎﻃﻦ‪ " ،‬ﻭﻣﻠﺘﻔﺖ ﻋﻦ ﺍﻷﺷﻴﺎﺀ ﻭﻣﻐﻤﺾ ﻋﻴﻨﻴﻪ‪ ،‬ﻭﻣﺘﻨﺒﻪ‬
‫ﲞﺎﺻّﺔ ﳊﺮﻛﺎﺕ ﺍﳊﻴﺎﺓ ﻭﻟﻼﻧﻄﺒﺎﻋﺎﺕ ﺍﻟﻀّﻌﻴﻔﺔ ﺍﻟﻨّﺎﺷﺌﺔ ﻋﻨﻬﺎ‪ " .‬ﻭﺍﳌﻮﺿﻮﻉ ﺍﻟﻮﺍﻗﻌ ّﻲ ﺍﻟﹼﺬﻱ‬
‫ﻳﺘﻨﻜﹼﺒﻪ ﺍﳊﻜﻢ ﻟﻌﺠﻠﺘﻪ ﺍﻟﻜﺒﲑﺓ‪ ،‬ﺃﻭ ﻟﻐﻠﺒﺔ ﺍﳍﻮﻯ‪ ،‬ﻓﻬﻮ ﺍﳌﻌﻄﻰ ﺍﻟﻜﻮﻧﺘﺰﻳﻚ‬
‫‪ ،coenesthésique‬ﺃﻭ ﺃﻳﻀﺎ ﺁﻻﻑ ﺍﻹﺩﺭﺍﻛﺎﺕ ﺍﳌﺘﻨﺎﺛﺮﺓ‪ :‬ﺃﻱ ﺻﻮﺭ ﻣﻜﻤّﻠﺔ‪،‬‬
‫ﻭﺑﻘﻊ ﺃﻧﺘﻮﺑﺘﻴﻚ ‪ entoptiques.‬ﻓﻠﻴﺲ ﻳﻮﺟﺪ ﺇﺫﺍ ﺍﻟﺒﺘّﺔ ﲤﺜﹼﻼﺕ ﻏﲑ ﺗﺎﺑﻌﺔ‪ ،‬ﺫﺍﺕ‬
‫ﳏﺘﻮﻯ ﺧﺎﺹ‪ ،‬ﻭﺫﺍﺕ ﺣﻴﺎﺓ ﺑﺮﺃﺳﻬﺎ‪ :‬ﻓﺎﻟﺼّﻮﺭﺓ ﻣﺎ ﻫﻲ ﺇ ﹼﻻ ﺇﺩﺭﺍﻙ ﻧﺎﻟﻪ ﺍﳋﻄﺄ‪.‬‬

‫ﻭﺑﻌﺪ ﺫﻟﻚ‪ ،‬ﻓﻨﺤﻦ ﱂ ﻧﻌﺪ ﳏﺘﺎﺟﲔ ﻷﻥ ﻧﻀﻊ ﻣﺴﺄﻟﺔ " ﺿﺮﺏ ﺗﺮﺍﺑﻂ " ﺍﻟﺼّﻮﺭ‪ .‬ﻓﻠﻴﺲ‬
‫ﺴﻴّﺔ ﻣﻨﺒﻌﺜﺔ‪.‬‬
‫ﻳﻮﺟﺪ ﻣﻦ ﺗﺮﺍﺑﻂ ﻟﻸﻓﻜﺎﺭ‪ ،‬ﻭﻻ ﺍﻧﺘﻘﺎﺀ ﻳﺄﺗﻴﻪ ﺍﻟﻔﻜﺮ‪ ،‬ﺇﺫ ﱂ ﺗﻌﺪ ﻫﻨﺎﻙ ﳏﺘﻮﻳﺎﺕ ﺣ ّ‬
‫ﺴﻴّﺔ ﺍﳊﺎﺿﺮﺓ‪ ،‬ﻭﻫﺬﻩ ﺍﶈﺘﻮﻳﺎﺕ ﺗﺘﻌﺎﻗﺐ ﻛﻤﺎ ﺗﻘﺘﻀﻴﻪ‬
‫ﻭﺇﻧّﻤﺎ ﳓﻦ ﳓﻜﻢ ﻋﻠﻰ ﺍﶈﺘﻮﻳﺎﺕ ﺍﳊ ّ‬
‫ﻗﻮﺍﻧﲔ ﺍﻟﻌﺎﱂ‪.‬‬

‫" ﺇﻧّﻤﺎ ﺃﺣﻼﻣﻨﺎ ﺗﺄﺗﻴﻨﺎ ﻣﻦ ﺍﻟﻌﺎﱂ ﻻ ﻣﻦ ﺍﻵﳍﺎﺕ"‬

‫ﻱ ـ ﺻﺎﺩﻕ ﺃﻭ ﻛﺎﺫﺏ ـ ﻟﻪ ﺗﻌﻠﹼﻖ ﺑﺎﳌﻌﻄﻴﺎﺕ ﺍﻟﻔﻌﻠﻴّﺔ ﻟﻠﻌﺎﱂ‬

‫ﺇ ﹼﻥ ﺍﻟﻔﻜﺮ ﻫﻮ ﺣﻜﻢ ﻋﻔﻮ ّ‬
‫ﺍﳋﺎﺭﺟ ّﻲ ﻭﺍﳉﺴﺪ‪ .‬ﺇﻧّﻨﺎ ﻧﻠﻔﻰ ﻫﻨﺎ ﺫﻟﻚ ﺍﻟﺘّﺼﻮّﺭ‪ ،‬ﺍﻟﹼﺬﻱ ﻛﻨّﺎ ﺃﻭﻣﺄﻧﺎ ﺇﻟﻴﻪ ﺳﺎﻟﻔﺎ‪ ،‬ﻭﺍﻟﹼﺬﻱ ﻫﻮ‬
‫ﺼﺮُ ﺍﻟﻔﻜﺮ ﻋﻠﻰ ﺍﳊﻜﻢ‪ .‬ﺳﻮﻯ ﺃﻧّﻪ‪ ،‬ﰲ ﺍﳌﺮّﺓ ﺍﻟﺴّﺎﺑﻘﺔ ﻛﺎﻥ ﻫﺬﺍ ﺍﻟﻔﻜﺮ ﺍﳊﻜﻤ ّﻲ ﻣﺘﺤﻴّﺮﺍ‬
‫ﻳُ ﹾﻘ ِ‬

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‫ﺴﻴّﺔ " ﻭﺍﻹﺩﺭﺍﻛﺎﺕ‪ ،‬ﺃﻣّﺎ ﻫﺎﻫﻨﺎ ﻓﻘﺪ ﺃﻋﺘﻘﻪ ﺁﻻﻥ ﻣﻦ‬
‫ﻭﻣﻀﻄﺮﺑﺎ ﻟﻠﺘّﻌﺎﻗﺒﲔ ﺍﻻﺛﻨﲔ ﻟﻠﺼّﻮﺭ " ﺍﳊ ّ‬
‫ﻧﻈﺎﻡ ﺍﻟﺼّﻮﺭ‪ :‬ﺑﻞ ﻫﻮ ﻣﻮﺟﻮﺩ ﲟﻔﺮﺩﻩ ِﻗَﺒ ﹶﻞ ﺍﻟﻌﺎﱂ ﻭﻫﻮ ﻳﺘﻜﻴّﻒ ﲝﺴﺒﻪ‪:‬‬

‫" ﺇﻧّﻨﺎ ﻻ ﻧﻔﻜﹼﺮ ﺍﻟﺒﺘّﺔ ﻛﻤﺎ ﻧﺸﺎﺀ‪ ،‬ﻭﺍﻟﹼﺬﻱ ﳚﻌﻠﻨﺎ ﻧﻌﺘﻘﺪ ﺑﺄﻧّﺎ ﻧﻔﻜﹼﺮ ﻛﻤﺎ ﻧﺸﺎﺀ‪ ،‬ﻫﻮ ﺃ ﹼﻥ‬
‫ﺍﻷﻓﻜﺎﺭ ﺍﻟﹼﱵ ﺗﺮﺩ ﺇﱃ ﺫﻫﻦ ﺍﳌﺮﺀ ﻫﻲ ﻳﺸﺒﻪ ﺃﻥ ﺗﻜﻮﻥ ﺩﺍﺋﻤﺎ ﻧﻔﺲ ﺍﻷﻓﻜﺎﺭ ﺍﻟﹼﱵ ﺗﺘﻼﺀﻡ ﻣﻊ‬
‫ﺍﻷﻭﺿﺎﻉ‪ .‬ﻓﻠﻮ ﺃﻧﺎ ﻛﻨﺖ ﺃﺗﱰﹼﻩ ﻋﻠﻰ ﺍﳉﺴﺮ‪ ،‬ﻓﺴﲑ ﺃﻓﻜﺎﺭﻱ ﻟﻦ ﳜﺘﻠﻒ ﻛﺒﲑ ﺍﺧﺘﻼﻑ ﻋﻦ‬
‫ﺳﻠﺴﻠﺔ ﺍﻷﺷﻴﺎﺀ ﺍﻟﹼﱵ ﺃﺭﺍﻫﺎ‪ ،‬ﻣﺜﻞ ﺭﻓﹼﺎﻋﺔ ﺍﳌﺎﺀ‪ ،‬ﻭﺭﻛﺎﻡ ﻓﺤﻢ‪ ،‬ﻭﺳﻔﻦ ﻭﻗﺎﻃﺮﺍﺕ‪ ،‬ﻭﺑﺮﺍﻣﻴﻞ‪ .‬ﻭﻟﻮ‬
‫ﺃﻧﺎ‪ ،‬ﺣﻴﻨﺎ ﻣﺎ‪ ،‬ﻗﺪ ﺷﺮﺩﺕ ﺑﻌﺾ ﺍﻟﺸّﺮﻭﺩ‪ ،‬ﻓﺬﻟﻚ ﻟﻦ ﻳﺒﻘﻰ ﺃﻃﻮﻝ ﻣﻦ ﺑﻘﺎﺀ ﻇ ﹼﻞ ﺧﻄﺎﻑ‪ .‬ﺑﻞ ﻟﻦ‬
‫ﻱ ﺃﻥ ﻳﻌﺎﻭﺩ ﻭﺿﻌﻲ ﻭﺳﻂ ﺍﻷﺷﻴﺎﺀ ﺍﳊﺎﺿﺮﺓ؛ ﻭﻋﻨﺪﻣﺎ ﺃﻛﻮﻥ ﻣﺘﻴﻘﹼﻈﺎ ﻟﺼﻮﻥ‬
‫ﻳﻠﺒﺚ ﺍﻧﻄﺒﺎﻉ ﻗﻮ ّ‬
‫ﻧﻔﺴﻲ ﺑﲔ ﺗﻠﻚ ﺍﻟﻜﺘﻞ ﺍﻟﺼّﺎﻋﺪﺓ ﻭﺍﻟﻨّﺎﺯﻟﺔ‪ ،‬ﻭﺍﻟﹼﱵ ﺗﺘﺪﺣﺮﺝ‪ ،‬ﻭﺗﺼ ّﺮ ﻭﺗﺼﻄﻚّ‪ ،‬ﻓﺈ ﹼﻥ ﺍﻧﺘﺒﺎﻫﻲ‬
‫ﺳﻮﻑ ﻳﺮﺗﺎﺽ ﺑﺴﺐ ﺫﻟﻚ‪ ،‬ﻭﺳﻮﻑ ﹸﺃ ِﻗ ﱡﺮ ﰲ ﺫﻫﲏ ﺍﻟﻌﻼﻗﺎﺕ ﺍﳊﻘﻴﻘّﻴﺔ ﺑﲔ ﺍﻷﺷﻴﺎﺀ ﺍﻟﻮﺍﻗﻌﻴّﺔ‪.‬‬

‫ﻭﻟﻜﻦ ﻣﻦ ﺃﻳﻦ ﺗﺄﰐ ﺗﻠﻚ ﺍﻷﺣﻼﻡ ﺍﻟﹼﱵ ﺗﺸ ّﻖ ﻣﻦ ﻭﻗﺖ ﻟﻮﻗﺖ ﺇﺩﺭﺍﻛﺎﰐ ؟ ﻓﻠﻮ ﺃﻧﺎ‬
‫ﺗﻔﺤّﺼﺖ ﺟﻴّﺪﺍ ﻋﻦ ﺍﻷﻣﺮ‪ ،‬ﻟﻮﺟﺪﺕ ﺑﺄ ﹼﻥ ﻫﻨﺎﻙ ﺃﺑﺪﺍ ﺗﻘﺮﻳﺒﺎ‪ ،‬ﻣﻮﺿﻮﻋﺎ ﻣﺎ ﺣﻘﻴﻘﻴّﺎ ﱂ ﺃﻛﻦ ﻗﺪ‬
‫ﶈﺘﻪ ﺇ ﹼﻻ ﻟﻠﺤﻈﺔ ﻣﻦ ﺍﻟﺰّﻣﻦ‪ ،‬ﻣﺜﻼ‪ ،‬ﻃﺎﺋﺮﺍ ﰲ ﺍﳍﻮﺍﺀ‪ ،‬ﺃﻭ ﺷﺠﺮﺓ ﺑﻌﻴﺪﺓ ﻋﻨّﻲ‪ ،‬ﺃﻭ ﻭﺟﻪ ﺇﻧﺴﺎﻥ‪،‬‬
‫ﻛﺎﻥ ﻣﻠﺘﻔﺎ ﱄ‪ ،‬ﻟﱪﻫﺔ ﻣﻦ ﺍﻟﺰّﻣﻦ ﻣﻠﻘﻴّﺎ ﺇﱄﹼ‪ ،‬ﻟﻮﻗﺖ ﻛﻠﻤﺢ ﺍﻟﺒﺼﺮ‪ ،‬ﲪﻮﻟﺔ ﺛﺮﻳّﺔ ﻣﻦ ﺍﻵﻣﺎﻝ‬
‫ﻭﺍﳋﺸﻴﺔ ﻭﺍﻟﻐﻀﺐ‪ .‬ﻓﺈﻧّﻤﺎ ﺃﻓﻜﺎﺭﻧﺎ ﻫﻲ ﻣﻨﺴﻮﺧﺔ ﻋﻦ ﺍﻷﺷﻴﺎﺀ ﺍﳊﺎﺿﺮﺓ‪ ،‬ﻭﻗﺪﺭﺗﻨﺎ ﻋﻠﻰ ﺍﳊﻠﻢ‪،‬‬
‫ﻻ ﺗﺬﻫﺐ ﺇﱃ ﺃﺑﻌﺪ ﳑّﺎ ﻛﻨّﺎ ﻧﺰﻋﻢ‪.‬‬

‫ﺃﻧﺎ ﺃﺫﻛﺮ ﺃﻧّﲏ ﻗﺪ ﲢﺎﻭﺭﺕ ﻣﻊ ﺻﺪﻳﻖ ﱄ ﰲ ﻫﺬﻩ ﺍﻷﺷﻴﺎﺀ‪ .‬ﻭﻛﻨّﺎ ﻧﺴﲑ ﻫﻠﻰ ﻏﲑ ﻫﺪﻯ ﺑﲔ‬
‫ﺠ ﹶﻠﺐُ ﻣﻦ‬
‫ﺴَﺘ ْ‬
‫ﺍﻟﺸّﺠﺮ‪ .‬ﻭﻛﺎﻥ ﻗﺪ ﺳﺄﻟﲏ ﻫﻞ ﻋﺴﺎﻧﺎ ﺃﻥ ﻧﺴﺘﺠﻠﺐ ﻣﻦ ﺫﻭﺍﺗﻨﺎ ﻛﻨﻮﺯﺍ ﻛﺄﻧّﻬﺎ ﺗُ ْ‬
‫ﺍﳋﺰﻳﻨﺔ‪ ،‬ﻣﻦ ﻏﲑ ﻣﻌﻮﻧﺔ ﻣﻮﺿﻮﻉ ﺣﺎﺿﺮ‪ .‬ﻭﰲ ﺗﻠﻚ ﺍﻟﻠﹼﺤﻈﺔ‪ ،‬ﻋﺮﺿﺖ ﳋﺎﻃﺮﻱ ﻋﺒﺎﺭﺓ‬
‫ﻚ ﻻ ﻧﺴﺒﺔ ﳍﺎ ﺍﻟﺒﺘّﺔ ﺑﺎﻷﺷﺠﺎﺭ ﻭﺍﻟﻌﺼﺎﻓﲑ‪ .‬ﻓﺬﻛﺮﺕ ﻟﻪ‬
‫‪ Byrrh‬ﺍﻟﹼﱵ ﻟﻴﺲ ﻣﻦ ﺷ ّ‬

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‫ﺫﻟﻚ‪ .‬ﻓﺄﺧﺬﻧﺎ ﰲ ﺍﻟﺘّﺤﺎﺩﺙ ﰲ ﻫﺬﺍ ﺍﻷﻣﺮ‪ .‬ﹼﰒ ﺇﻧّﺎ ﺍﻗﺘﺮﺑﻨﺎ ﺇﱃ ﻧﻮﻉ ﻣﻦ ﺍﻟﺒﻴﺖ‪ ،‬ﻏﻄﹼﺘﻪ ﺇﱃ‬
‫ﺐ ﻋﻠﻴﻬﺎ‬
‫ﺍﻟﻨّﺼﻒ ﺍﻷﺷﺠﺎﺭ؛ ﻭﳌﹼﺎ ﺻﻔﺤﺖ ﺇﻟﻴﻪ ﺑﻨﻈﺮﻱ‪ ،‬ﺭﺃﻳﺖ ﻟﻮﺣﺔ ﻣﻌﻠﹼﻘﺔ ﺑﺎﻟﻨّﺎﻓﺬﺓ‪ ...‬ﻭﻗﺪ ﻛﹸِﺘ َ‬
‫‪)Byrrh‬ﺛﺚ(‪".‬‬

‫ﺖ ﺑﻴّﻦ ﺍﻟﻮﺿﻊ ﻣﻦ ﺃﺟﻞ ﺍﻟﻔﺮﺍﺭ ﻣﻦ ﺍﻟﺘّﻨﺎﻗﻀﺎﺕ ﺍﻟﹼﱵ ﻛﻨّﺎ ﻗﺪ‬

‫ﺿ َﻌ ْ‬
‫ﺇ ﹼﻥ ﻧﻈﺮﻳّﺔ ﺁﻻﻥ ﻗﺪ ﻭُ ِ‬
‫ﺃﺣﺼﻴﻨﺎﻫﺎ ﻬﺑﺬﺍ ﺍﻟﻔﺼﻞ‪ .‬ﻭﻋﻠﻴﻨﺎ ﺃﻥ ﻧﻌﺘﺮﻑ ﺑﺄﻧّﻬﺎ ﻗﺪ ﺑﻠﻐﺖ ﻏﺮﺿﻬﺎ‪ :‬ﻭﻟﻜﻦ ﻫﻲ ﻗﺪ ﺑﻠﻐﺘﻪ‬
‫ﺑﻌﺪﻣﺎ ﲣﻠﹼﺖ ﻋﻦ ﻣﻘﻮﻟﺔ ﺍﻟﺼّﻮﺭﺓ ﻧﻔﺴﻬﺎ‪ .‬ﻓﻨﺤﻦ ﻻ ﳝﻜﻨﻨﺎ ﺃﻥ ﳒﺪ ﺍﺳﺘﺨﻼﺻﺎ ﺃﻓﻀﻞ ﻣﻨﻪ‬
‫ﻱ‪ :‬ﺇﻧّﻨﺎ ﺇﺫﺍ ﻣﺎﻫﻴﻨﺎ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺬﹼﻫﻨﻴّﺔ ﺑﺎﻹﺩﺭﺍﻙ‪ ،‬ﻓﺈ ﹼﻥ ﺍﻟﺼّﻮﺭ ﺳﻮﻑ ﺗﻨﺘﻔﻲ ﺑﺬﺍﻬﺗﺎ؛‬
‫ﳌﺒﺤﺜﻨﺎ ﺍﻟﻨّﻘﺪ ّ‬
‫ﻭﻧﺼﲑ ﻣﻀﻄﺮّﻳﻦ‪ ،‬ﻛﻤﺎ ﻓﻌﻞ ﺁﻻﻥ‪ ،‬ﻷﻥ ﻧﺒﲏ ﻧﻈﺮﻳّﺔ ﰲ ﺍﻟﺘّﺨﻴّﻞ ﻣﻦ ﻏﲑ ﺻﻮﺭ‪.‬‬
‫ﻼ ‪ :‬ﻓﺈ ﹼﻥ ﻫﺬﻩ ﺍﻟﻨّﻈﺮﻳّﺔ ﺍﻟﹼﱵ ﻛﺎﻧﺖ ﻗﺪ ﺗﺼﻮّﺭﺕ‪،‬‬
‫ﻭﻟﻜﻦ ﻫﻞ ﻛﺎﻥ ﺫﻟﻚ ﻟﲑﺿﻴﻨﺎ ؟ ﻛ ﹼ‬
‫ﻛﺎﻟﺒﻘﻴّﺔ‪ ،‬ﺑﻨﺤﻮ ﻣﺎﻗﺒﻠﻲّ‪ ،‬ﻻ ﺗﺘﻄﺎﺑﻖ ﻣﻊ ﺍﻟﻮﺍﻗﻌﺎﺕ‪ .‬ﻭ ﺁﻻﻥ ﺑﺴﺒﺐ ﺃﻧّﻪ ﱂ ﳛﺘﻜﻢ ﻟﺸﻬﺎﺩﺓ ﺍﻟﻮﻋﻲ‪،‬‬
‫ﻓﺈﻧّﻪ ﺑﺈﺑﻄﺎﻟﻪ ﻟﻠﺼّﻮﺭﺓ‪ ،‬ﻓﻘﺪ ﺃﻓﺮﻁ ﻭﻗﺼّﺮ ﻣﻌﺎ ﻓﻴﻤﺎ ﺃﻗ ّﺮ ﻟﻠﺘّﺨﻴّﻞ‪.‬‬

‫ﻓﻘﺪ ﺃﻓﺮﻁ‪ :‬ﻭﺫﻟﻚ ﻷ ﹼﻥ ﺍﻟﺘّﺨﻴّﻞ ﻟﺪﻳﻪ ﻫﻮ ﺑﺎﻻﺿﻄﺮﺍﺭ ﺍﻋﺘﻘﺎﺩ ﰲ ﻣﻮﺿﻮﻉ ﺧﺎﻃﺊ‪ .‬ﻓﺄﻧﺎ‬
‫ﺠ ﹶﻞ ﰲ‬
‫ﺃﲡﻮّﻝ ﺫﺍﺕ ﻣﺴﺎﺀ ﻋﻨﺪ ﻃﺮﻳﻖ ﻣﻈﻠﻢ؛ ﻓﺸﻌﺮﺕ ﺑﺎﳋﻮﻑ‪ ،‬ﻭﺧﻮﰲ ﻫﺬﺍ ﻣﻦ ﺷﺄﻧﻪ ﺃ ﹼﻥ ﻳُ َﻌ ﱢ‬
‫ﺣﻜﻤﻲ ﻭﳚﻌﻠﲏ ﺁﺧﺬ ﺟﺬﻉ ﺍﻟﺸّﺠﺮﺓ ﻋﻠﻰ ﺃﻧّﻪ ﺇﻧﺴﺎﻥ‪ :‬ﺫﻟﻚ‪ ،‬ﻟﻌﻤﺮﻱ‪ ،‬ﻣﺎ ﻫﻮ ﺍﻟﺘّﺨﻴّﻞ ﻋﻨﺪ‬
‫ﻱ ﻭﺍﻟﺘّﻔﺮﻗﺔ ﺍﻟﹼﱵ‬
‫ﺁﻻﻥ‪ .‬ﻭﻷ ﹼﻥ ﺍﻟﺘّﺨﻴّﻞ ﻫﻮ ﺣﻜﻢ‪ ،‬ﻓﻬﻮ ﻳﻨﻄﻮﻱ ﺑﻄﺒﻴﻌﺘﻪ ﻋﻠﻰ ﺟﺰﻡ ﻭﺟﻮﺩ ّ‬
‫ﻭﺿﻌﻬﺎ ﻫﺬﺍ ﺍﻟﻔﻴﻠﺴﻮﻑ ﺑﲔ ﺍﻟﺘّﺨﻴّﻞ ﺍﳌﻴﻤّﻢ ﺇﱃ ﺍﻟﺒﺎﻃﻦ‪ ،‬ﻭﺍﻵﺧﺮ ﺍﳌﻴﻤّﻢ ﺇﱃ ﺍﳋﺎﺭﺝ‪ ،‬ﻟﻴﺲ ﻣﻦ‬
‫ﺿ َﻊ‬
‫ﱄ ﺇﻧّﻤﺎ ﻳﻜﻮﻥ ﻗﺪ ﻭُ ِ‬
‫ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﻐﻴّﺮ ﺷﻴﺌﺎ ﻣﻦ ﺍﻷﺷﻴﺎﺀ ﰲ ﺍﻷﻣﺮ‪ .‬ﲝﻴﺚ ﺃ ﹼﻥ ﻣﻮﺿﻮﻉ ﺍﳋﻴﺎ ﹼ‬
‫ﹶﺃ ﱠﻭ ﹶﻝ ﻣﺎ ﻭﺿﻊ ﺑﻨﺤﻮ ﺍﳌﻮﺿﻮﻉ ﺍﻟﻮﺍﻗﻌ ّﻲ‪ .‬ﻭﺍﻟﺘّﺨﻴّﻞ ﻳﻈﻬﺮ ﺑﻨﺤﻮ ﻣﺘﺘﺎﻟﻴﺔ ﻣﻦ ﺍﻷﺣﻼﻡ ﺍﻟﺼّﻐﲑﺓ‪،‬‬
‫ﺗﻌﻘﺒﻬﺎ ﻳﻘﻈﺎﺕ ﻓﺠﺎﺋﻴّﺔ‪ .‬ﻭﻫﺬﻩ ﺍﻟﺼّﻔﺔ ﺍﳉﺰﻣﻴّﺔ ﰲ ﺍﻟﻔﻜﺮ ﺍﻟﺘّﺨﻴّﻠ ّﻲ ﺭﺑّﻤﺎ ﻛﺎﻧﺖ ﺃﺷ ّﺪ ﻭﺿﻮﺣﺎ‬
‫ﻋﻨﺪ ﺁﻻﻥ ﻣﻨﻬﺎ ﻋﻨﺪ ﻋﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ ﺍﻟﹼﺬﻳﻦ ﻛﺎﻧﻮﺍ ﻳﻘﺒﻠﻮﻥ ﺑﻮﺟﻮﺩ ﳏﺘﻮﻯ ﺣﺴّﻲ ﻣﻨﺒﻌﺚ ﺑﻨﺤﻮ ﻣﺎ‬
‫ﺗﻘﻮﻡ ﻋﻠﻴﻪ ﺍﻟﺼّﻮﺭ‪ .‬ﺇﺫ ﺃﻧّﻪ ﻟﺪﻯ ﻫﺆﻻﺀ‪ ،‬ﻓﺎﳊﻜﻢ ـ ﻟﻮ ﻭﺟﺪ ﺑﻨﺤﻮ ﻋﻔﻮﻳّﺔ ﺗﻘﻮﻡ ﺑﺬﺍﻬﺗﺎ ـ‬

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‫ﻓﻴﻤﻜﻦ ﺃﻥ ﻳﺘﻤﻜﹼﻦ ﺑﺈﺯﺍﺀ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻭﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻨﺠﺰ ﺃﻳﺒﺨﻮﻥ ﺭﻭﺍﻗ ّﻲ‪ Epoché‬ﻭﺃﻥ ﳕﺘﻨﻊ‬
‫ﻋﻦ ﺍﳉﺰﻡ‪ .‬ﻭﻣﻊ ﺫﻟﻚ‪ ،‬ﻓﺈ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﺳﻮﻑ ﻟﻦ ﺗﻨﺪﺛﺮ‪ ،‬ﻷﻧّﻬﺎ ﻫﻲ ﻣﻦ ﺍﻷﻭّﻝ ﻫﻲ ﳏﺘﻮﻯ‬
‫ﺴ ّﻲ‪ .‬ﻓﻬﻲ ﺗﺒﻘﻰ ﺑﻨﺤﻮ ﺍﻟﻼﹼﻭﺍﻗﻌﻲ‪ ،‬ﻭﺣﻴﻨﺌﺬ ﻓﻬﻲ ﺗﻜﺘﺴﻲ ﻋﻠﻰ ﺍﻟﺘّﺤﺼﻴﻞ‪ ،‬ﺻﻔﺘﻬﺎ ﺍﳉﻮﻫﺮﻳّﺔ‪،‬‬
‫ﺣّ‬
‫ﺃﻱ ﺻﻔﺔ ﻛﻮﻬﻧﺎ‪ ،‬ﻋﻠﻰ ﺍﻟﺘّﺤﻘﻴﻖ‪ ،‬ﺍﻟﻼﹼﻣﻮﺟﻮﺩ‪ .‬ﺃﻣّﺎ ﻋﻨﺪ ﺁﻻﻥ‪ ،‬ﻓﻌﻠﻰ ﺍﻟﻌﻜﺲ‪ ،‬ﻓﺎﻟﻌﻨﺼﺮ ﺍﳌﻘﻮّﻡ‬
‫ﻟﻠﻔﻌﻞ ﺍﻟﺘّﺨﻴّﻠ ّﻲ ﺇﻧّﻤﺎ ﻫﻮ ﺍﳊﻜﻢ‪ .‬ﻭﻻ ﺑ ّﺪ ﺃﻥ ﳔﺘﺎﺭ ‪ :‬ﺇﻣّﺎ ﺃﻥ ﻧﻜﻮﻥ ﳓﻦ ﻣﻮﺟﻮﺩﻳﻦ ﰲ ﺍﻟﻔﻌﻞ‬
‫ﺍﻟﺘّﺨﻴّﻠﻲ‪ .‬ﻭﺣﻴﻨﺌﺬ ﳓﻦ ﻧﺪﺭﻙ ﺧﻄﺄ‪ .‬ﻭﺇﻣّﺎ ﺃﻥ ﻧﻜﻮﻥ ﻣﻮﺟﻮﺩﻳﻦ ﻣﻨﺘﺒﻬﲔ‪ ،‬ﻓﻨﻜﻮﻥ ﺧﺎﺭﺝ ﺍﻟﻔﻌﻞ‬
‫ﺍﻟﺘّﺨﻴّﻠﻲ‪ ،‬ﹶﻓﻨُ ﹶﻘ ﱢﻮ ْﻡ ﻣﺎ ﺣﻜﻤﻨﺎ ﺑﻪ ‪ :‬ﻭﺣﻴﻨﺌﺬ ﻻ ﻳﻜﻮﻥ ﻫﻨﺎﻙ ﺧﻴﺎﻝ ﻭﺍﺣﺪ‪ ،‬ﺑﻞ ﻫﻨﺎﻙ ﺍﻟﻮﺍﻗﻊ‬
‫ﲏ ﻫﻮ ﻏﲑ ﺍﳊﻠﻢ ‪ :‬ﻓﺎﳌﺮﺀ ﺍﻟﹼﺬﻱ‬
‫ﻭﺍﳊﻜﻢ ﺍﻟﺼّﻮﺍﺏ‪ .‬ﻭﻟﻴﻜﻦ ﺣﻠﻢ ﻭﻳﻘﻈﺔ‪ .‬ﻭﻟﻜﻦ ﺍﻟﺸّﺮﻭﺩ ﺍﻟﺬﹼﻫ ّ‬
‫ﻳﻨﺴﺎﻕ ﻓﻴﻬﺎ ﺇﻧّﻤﺎ ﻳﺮﻭﻱ ﻟﻨﻔﺴﻪ ﺣﻜﺎﻳﺎﺕ ﻫﻮ ﻻ ﻳﻌﺘﻘﺪ ﻓﻴﻬﺎ ﺍﻟﺒﺘّﺔ ﻭﺍﻟﹼﱵ ﻫﻲ ﻣﻊ ﺫﻟﻚ‪ ،‬ﳍﻲ‬
‫ﺷﻲﺀ ﺁﺧﺮ ﻏﲑ ﺃﻥ ﺗﻜﻮﻥ ﳎﺮّﺩ ﺃﺣﻜﺎﻡ ﳎﺮّﺩﺓ‪ .‬ﻓﻬﺎﻫﻨﺎ ﻫﻨﺎﻙ ﳕﻂ ﻣﻦ ﺍﳉﺰﻡ‪ ،‬ﻭﳕﻂ ﻣﻦ ﺍﻟﻮﺟﻮﺩ‬
‫ﺍﳌﺘﻮﺳّﻂ ﺑﲔ ﺇﺛﺒﺎﺗﺎﺕ ﺍﳊﻠﻢ ﺍﳋﺎﻃﺌﺔ ﻭﻳﻘﻴﻨﺎﺕ ﺍﻟﻴﻘﻈﺔ‪ :‬ﻭﻫﺬﺍ ﺍﻟﻨّﻤﻂ ﻣﻦ ﺍﻟﻮﺟﻮﺩ ﻫﻮ‪ ،‬ﻻﳏﺎﻟﺔ‪،‬‬
‫ﺕ ﺍﳋﻴﺎﻟﻴّﺔ‪ .‬ﻓﺄﻥ ﳒﻌﻞ ﻣﻦ ﻫﺬﻩ ﺍﳌﺒﺪﻋﺎﺕ ﺃﻓﻌﺎﻻ ُﺣ ﹾﻜ ِﻤﱠﻴﺔﹰ‪ ،‬ﺇﻧّﻤﺎﻫﻮ‪ ،‬ﻟﻌﻤﺮﻱ‬
‫ﻭﺟﻮﺩ ﺍ ﹸﳌ ْﺒ َﺪﻋَﺎ ِ‬
‫ﺇﻓﺮﺍﻁ ﻓﻴﻤﺎ ﺃﻋﻄﻴﻨﺎﻫﺎ‪).‬ﺟﺞ(‬

‫ﺼ َﺮ‪ .‬ﺇﺫ ﻛﺎﻥ ﳚﺐ ﺃﻥ ﻧﻌﻮﺩ ﺇﱃ ﻣﻌﻄﻴﺎﺕ ﺍﻟﻮﻋﻲ‪ :‬ﻓﻬﻮ ﺗﻮﺟﺪ ﻭﺍﻗﻌﺔ‬

‫ﻭﻟﻜﻨّﻪ ﺃﻳﻀﺎ ﻫﻮ ﻗﺪ ﹶﻗ ﱠ‬
‫ﻫﻲ " ﺍﻟﺼّﻮﺭﺓ "‪ ،‬ﻭﻫﺬ ﺍﻟﻮﺍﻗﻌﺔ ﻫﻲ ﺑﻨﻴﺔ ﻻ ﳝﻜﻦ ﺧﺰﳍﺎ ﻟﻠﻮﻋﻲ‪ .‬ﻭﺣﻴﻨﻤﺎ ﺃﻧﺎ ﺍﺳﺘﺤﻈﺮ ﺻﻮﺭﺓ‬
‫ﺻﺪﻳﻘﻲ ﺑﻄﺮﺱ‪ ،‬ﻓﺄﻧﺎ ﻻ ﺃﺻﺪﺭ ﺣﻜﻤﺎ ﺧﺎﻃﺌﺎ ﻳﺘﻌﻠﹼﻖ ﲝﺎﻝ ﰲ ﺟﺴﺪﻱ‪ :‬ﻭﻟﻜﻦ ﺻﺪﻳﻘﻲ ﺑﻄﺮﺱ‬
‫ﻫﻮ ﻳﻈﻬﺮ ﱄ؛ ﻭﺻﺤﻴﺢ ﺃﻧّﻪ ﻻﻳﻈﻬﺮ ﱄ ﺑﻨﺤﻮ ﺍﳌﻮﺿﻮﻉ‪ ،‬ﻭ ﺑﻨﺤﻮ ﺍﳌﻮﺟﻮﺩ ﺍﻵﻥ ﺑﺎﻟﻔﻌﻞ‪ ،‬ﺃﻱ‬
‫ﺑﻨﺤﻮ ﺍﻟﹼﺬﻱ ﻫﻮ "ﻫﻨﺎﻟﻚ "‪ .‬ﺑﻞ ﻫﻮ ﻳﻈﻬﺮ ﱄ ﰲ ﺻﻮﺭﺓ‪ .‬ﺻﺤﻴﺢ ﺃﻧّﻪ ﺣﺘّﻰ ﺃﺻﻮﻍ ﺍﻟﻘﻀﻴّﺔ " ﱄ‬
‫ﻱ ﺃﻥ ﺃﻧﺘﻘﻞ ﺇﱃ ﺍﻟ ّﺮ ّﻭﻳّﺔ‪ ،‬ﺃﻱ ﺃﻥ ﺃﺻﺮﻑ ﺍﻫﺘﻤﺎﻫﻲ ﻻ ﺇﱃ ﻣﻮﺿﻮﻉ‬
‫ﺤ ِﺮ ﱞ‬
‫ﺻﻮﺭﺓ ﻟﺒﻄﺮﺱ "‪ ،‬ﻓ َ‬
‫ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻭﺇﻧّﻤﺎ ﺇﱃ ﺍﻟﺼّﻮﺭﺓ ﻧﻔﺴﻬﺎ‪ ،‬ﻣﻦ ﺣﻴﺚ ﻣﺎ ﻫﻲ ﻭﺍﻗﻌﺔ ﻧﻔﺴﻴّﺔ‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﻫﺬﺍ ﺍﻻﻧﺘﻘﺎﻝ ﺇﱃ‬
‫ﺍﻟ ّﺮ ّﻭﻳّﺔ ﻻ ﻳﻐﻴّﺮ ﺍﻟﺒﺘّﺔ ﻣﻦ ﺍﻟﺼّﻔﺔ ﺍﻟﻮﺿﻌﻴّﺔ ﻟﻠﺼّﻮﺭﺓ‪ .‬ﻓﻬﻮ ﻟﻴﺲ ﺑﻴﻘﻈﺔ‪ ،‬ﺃﻭ ﺗﻘﻮﱘ؛ ﻭﺃﻧﺎ ﻻ‬
‫ﺃﻛﺘﺸﻒ ﹸﻓﺠَﺎ َﺀ ﹰﺓ ﺑﺄﻧّﲏ ﻛﻨﺖ ﻗﺪ ﻛﻮّﻧﺖ ﺻﻮﺭﺓ‪ .‬ﺑﻞ ﺑﺎﻟﻌﻜﺲ‪ ،‬ﻓﻔﻲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﺍﻟﹼﺬﻱ ﺃﻗﻀﻲ‬

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‫ﻓﻴﻪ ﺏ" ﻋﻨﺪﻱ ﺻﻮﺭﺓ ﺑﻄﺮﺱ "‪ ،‬ﻓﺈﻧّﲏ ﺃﺗﺒﻴّﻦ ﺑﺄﻧّﲏ ﻟﻘﺪ ﻛﻨﺖ ﺩﺍﺋﻤﺎ ﻋﻠﻰ ﺑﻴّﻨﺔ ﻣﻦ ﺃﻧّﻬﺎ ﻗﺪ‬
‫ﻛﺎﻧﺖ ﺻﻮﺭﺓ‪ .‬ﻣﺎ ﻋﺪﺍ ﺃﻧّﲏ ﻛﻨﺖ ﻋﺎﺭﻓﺎ ﳍﺎ ﻋﻠﻰ ﳓﻮ ﻣﻐﺎﻳﺮ‪ :‬ﻭﺑﺎﳉﻤﻠﺔ ﻓﺈ ﹼﻥ ﻫﺬﻩ ﺍﳌﻌﺮﻓﺔ ﻟﻴﺴﺖ‬
‫ﺇ ﹼﻻ ﺷﻴﺌﺎ ﻭﺍﺣﺪﺍ ﻭﺍﻟﻔﻌﻞ ﺍﻟﹼﺬﻱ ﺑﻪ ﻛﻨﺖ ﺃﺅﺳّﺲ ﺑﻄﺮﺱ ﰲ ﺻﻮﺭﺓ‪.‬‬

‫ﺇ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﻭﺍﻗﻌﺔ ﻧﻔﺴﻴّﺔ ﻳﻘﻴﻨﻴّﺔ؛ ﻭﺍﻟﺼّﻮﺭﺓ ﻻ ﳝﻜﻦ ﺭﺩّﻫﺎ ﺑﻨﺤﻮ ﻣﻦ ﺍﻷﳓﺎﺀ ﺇﱃ ﻛﻮﻬﻧﺎ‬
‫ﳏﺘﻮﻯ ﺣﺴّﻴﺎ‪ ،‬ﻭﻻ ﳝﻜﻦ ﺃﻥ ﺗﺘﻜﻮّﻥ ﺍﺑﺘﺪﺍﺀ ﻣﻦ ﳏﺘﻮﻯ ﺣﺴّﻲ ﻣﺎ‪ :‬ﺗﻠﻚ ﻫﻲ‪ ،‬ﻋﻠﻰ ﻣﺎ ﻧﺘﻤﻨّﻰ ﰲ‬
‫ﻱ‪ .‬ﻭﻟﻮ ﻣﺎ ﺭﻣﻨﺎ ﺍﻟﺬﹼﻫﺎﺏ ﺇﱃ ﺃﺑﻌﺪ ﻣﻦ‬
‫ﺍﻷﻗﻞﹼ‪ ،‬ﺍﻟﻨّﺘﺎﺋﺞ ﺍﻟﹼﱵ ﺗﺴﺘﻠﺰﻡ ﰲ ﺁﺧﺮ ﻫﺬﺍ ﺍﳌﺒﺤﺚ ﺍﻟﻨّﻘﺪ ّ‬
‫ﺫﻟﻚ‪ ،‬ﻓﻼ ﺑ ّﺪ ﻣﻦ ﺃﻥ ﻧﻌﻮﺩ ﻟﻠﺘّﺠﺮﺑﺔ ﻭﺃﻥ ﻧﺼﻒ ﺍﻟﺼّﻮﺭﺓ ﰲ َﺗ َﻌﱡﻴِﻨﻬَﺎ ﺍﻟﺘّﺎﻡ‪ ،‬ﻭﻛﻤﺎ ﻫﻲ ﺗﻈﻬﺮ‬
‫ﻟﻠ ّﺮ ّﻭﻳّﺔ‪ .‬ﻭﻟﻜﻦ‪ ،‬ﻛﻴﻒ ﻋﺴﺎﻧﺎ ﺃﻥ ﳓﺘﺮﺯ ﻣﻦ ﺍﻷﻏﻼﻁ ﺍﻟﹼﱵ ﻛﻨّﺎ ﻗﺪ ﺃﻭﻣﺄﻧﺎ ﺇﻟﻴﻬﺎ ؟ ﻓﺈﻧّﻪ ﻻ ﺍﳌﻨﻬﺞ‬
‫ﰊ ﳌﺪﺭﺳﺔ ﻭﺭﺯﺑﻮﺭﻍ‪ ،‬ﻭﻻ ﺍﻻﺳﺘﺒﻄﺎﻥ ﺍﶈﺾ ﻭﺍﺠﻤﻟﺮّﺩ ﺑﻘﺎﺩﺭﻳﻦ ﻋﻠﻰ ﺇﺭﺿﺎﺋﻨﺎ ‪ :‬ﺇﺫ ﺃﻧّﻨﺎ ﻛﻨّﺎ‬
‫ﺍﻟﺘّﺠﺮ ّ‬
‫ﻗﺪ ﺭﺃﻳﻨﺎ ﺃﻧّﻬﻤﺎ ﻻ ﳝﻜﻨﻬﻤﺎ ﺃﻥ ﻳﺘﱪّﺁ ﻣﻦ ﺍﻷﺣﻜﺎﻡ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ ﺍﳌﺴﺒّﻘﺔ‪ .‬ﺃﻓﻼ ﺗﻜﻮﻥ ﺍﻻﺳﺘﺤﺎﻟﺔ‬
‫ﻫﻨﺎ ﺇﻧّﻤﺎ ﻫﻲ ﺍﺳﺘﺤﺎﻟﺔ ﺫﺍﺗﻴّﺔ ؟‬

‫ﺱ ﺃﺛﻨﺎﺀ ﺍﻟﻔﻌﻞ ﺍﻟ ﱠﺮ َﻭﻭِﻱ ﻧﻔﺴﻪ‪ .‬ﻭﺭﺑّﻤﺎ ﻫﻮ ﻛﺎﻥ ﻗﺪ ﻇﻬﺮ ﰲ‬

‫ﺑﻞ ﺭﺑّﻤﺎ ﺍﳋﻄﺄ ﻛﺎﻥ ﻗﺪ ﺍﻧﺪ ّ‬
‫ﻣﺮﺗﺒﺔ ﺍﻻﺳﺘﻘﺮﺍﺀ‪ ،‬ﺣﻴﻨﻤﺎ ﻛّﻨﺎ ﻧﻀﻊ ﺍﻟﻘﻮﺍﻧﲔ ﺍﺑﺘﺪﺍﺀ ﻣﻦ ﺍﻟﻮﺍﻗﻌﺎﺕ‪ .‬ﻓﻠﻮ ﻛﺎﻥ ﺍﻷﻣﺮ ﻛﺬﻟﻚ‪ ،‬ﺃﻓﻼ‬
‫ﰊ ﻭﻻ ﻳﻜﻮﻥ‬
‫ﻳﺼﲑ ﻣﻦ ﺍﳌﻤﻜﻦ ﺃﻥ ﻧﺒﲏ ﻋﻠﻢ ﻧﻔﺲ ﻳﻜﻮﻥ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﻜﻮﻥ ﻋﻠﻢ ﻧﻔﺲ ﲡﺮ ّ‬
‫ﻋﻠﻤﺎ ﺍﺳﺘﻘﺮﺍﺋﻴّﺎ‪ .‬ﻭﻫﻞ ﻋﺴﻰ ﺃﻥ ﻳﻮﺟﺪ ﳕﻂ ﻣﻦ ﺍﻟﺘّﺠﺮﺑﺔ ﺍﳌﻤﺘﺎﺯﺓ ﺗﻜﻮﻥ ﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﺼﻠﻨﺎ‬
‫ﻭﺻﻼ ﺃﻭّﻟﻴﺎ ﺑﺎﻟﻘﺎﻧﻮﻥ ؟ ﻫﻨﺎﻙ ﻓﻴﻠﺴﻮﻑ ﻋﻈﻴﻢ ﻣﻌﺎﺻﺮ ﻛﺎﻥ ﻗﺪ ﺍﻋﺘﻘﺪ ﺫﻟﻚ‪ ،‬ﻭﻫﻮ ﻧﻔﺴﻪ ﻣﻦ‬
‫ﺳﻮﻑ ﻧﻄﻠﺐ ﻣﻨﻪ ﺍﻵﻥ ﺃﻥ ﻳﺴﺪّﺩ ﺃﻭﱃ ﺧﻄﺎﻧﺎ ﰲ ﻫﺬﺍ ﺍﻟﻌﻠﻢ ﺍﻟﺼّﻌﺐ‪.‬‬

‫) ﺍﳌﻼﺣﻈﺎﺕ ﺍﻟﹼﱵ ﻗﺒﻠﻬﺎ ﺃﺣﺮﻑ ﻋﺮﺑﻴّﺔ ﻫﻲ ﻣﻦ ﺻﻨﻊ ﺍﳌﺼﻨّﻒ ﻻ ﺍﳌﻌﺮّﺏ(‬ ‫ﺍﻟﺘّﻌﺎﻟﻴﻖ‬

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‫)‪ (1‬ﺃﻱ ﺃ ﹼﻥ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﺍﻟﺘّﺄﻟﻴﻔﻲّ‪ ،‬ﻭﺇﻥ ﻫﻮ ﻛﺎﻥ ﻗﺪ ﻭﺿﻊ ﻣﺒﺪﺃ ﻓﻜﺮﻳّﺎ ﳛﻘﹼﻖ ﺍﻟﺘّﺄﻟﻴﻒ‪ ،‬ﻓﻬﻮ ﺇﻧّﻤﺎ ﻳﻀﻊ‬
‫ﺃﻳﻀﺎ ﻧﻔﺲ ﺻﻮﺭﺓ ﺃﻫﻞ ﺍﻟﺘﺮّﺍﺑﻂ ﺑﻨﺤﻮ ﺍﳌﻮﺿﻮﻉ ﺍﻟﹼﺬﻱ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳُﻌﲔ ﺍﻟﻔﻜﺮ ﰲ ﺍﻟﺘّﺄﻟﻴﻒ ﻭﺍﻟﻮﻗﻮﻑ‬
‫ﻋﻠﻰ ﺍﳌﻌﺎﱐ ﺍﻟﺘّﻲ ﺗﻘﻮﻡ ﺑﺎﻟﺼّﻮﺭ ﺑﻨﺤﻮ ﺍﻟﺪّﻻﻟﺔ‪.‬‬

‫)‪ (2‬ﻷ ﹼﻥ ﺍﻟﻘﺼﺪﻳّﺔ ﺍﻟﻌﺎﻧﻴﺔ ﺣﻴﻨﻤﺎ ﺗﻘﺼﺪ ﺍﻟﺼّﻮﺭﺓ ﻣﻔﻬﻮﻣﺔ ﻬﺑﺬﺍ ﺍﻟﻨّﺤﻮ ﻓﺈﻧّﻬﺎ ﻻ ﺗﻘﺼﺪﻫﺎ ﲟﺎ ﻫﻲ‬
‫ﻣﻮﺿﻮﻉ ﺍﻻﺳﺘﻬﺪﺍﻑ ‪ ، l'objet visé‬ﻭﺇﻧّﻤﺎ ﲟﺎﻫﻲ ﻫﻴﻮﱃ ﺍﻻﺳﺘﻬﺪﺍﻑ‪ ،‬ﺃﻱ ﺃ ﹼﻥ ﺍﻟﻮﻋﻲ‬
‫ﺇﻧّﻤﺎ ﻳﻜﻮﻥ ﻳﺴﺘﻬﺪﻑ ﺍﺳﺘﻬﺪﺍﻓﺎ ﻗﺼﺪﻳّﺎ ﺩﻻﻟﺔ ﺗﻠﻚ ﺍﳌﺎﺩّﺓ ﻻ ﺍﳌﺎﺩّﺓ ﻧﻔﺴﻬﺎ‪ ،‬ﺃﻱ ﺍﻟﺼّﻮﺭﺓ ﰲ ﻭﺍﻗﻊ ﺍﳊﺎﻝ‪.‬‬

‫ﰐ ﺍﻟﹼﺬﻱ ﻃﺎﳌﺎ ﻛﺎﻥ ﻗﺪ ﹸﺃﺳْﻠﻒ ﺍﻟﻘﻮﻝ ﻓﻴﻪ‪.‬‬

‫)‪ (3‬ﻭﻫﻮ ﻧﻔﺲ ﺍﻟﺘّﺼﻮّﺭ ﺍﻟﺪّﻛﺎﺭ ﹼ‬

‫)‪ (4‬ﻭﺃﻫ ّﻢ ﻫﺬﻩ ﺍﻟﺘّﻨﺎﻗﻀﺎﺕ ﻫﻲ ﺻﻌﻮﺑﺔ ﺑﻞ ﺍﺳﺘﺤﺎﻟﺔ ﺃﻥ ﲢﺼﻞ ﺗﻔﺮﻗﺔ ﺗﻔﺮﻗﺔ ﻋﻔﻮﻳّﺔ ﺑﲔ ﺍﻟﺘّﺨﻴّﻞ‬
‫ﻭﺍﻹﺩﺭﺍﻙ ؛ ﻭﻟﻜ ّﻦ ﺑﺪﺍﻫﺔ ﺍﳋﱪﺓ ﺍﻷﻭﱃ ﺇﻧّﻤﺎ ﺗﺆﻛﹼﺪ ﻋﻜﺲ ﺫﻟﻚ ﺑﺎﻟﺘّﻤﺎﻡ‪ ،‬ﺃﻱ ﺃﻥ ﻛ ﹼﻞ ﻭﻋﻲ ﻣﻦ ﺍﻟ ُﻮ ِﻋ ﱢﻲ‬
‫ﻓﺈﻧّﻪ ﻳﺄﰐ ﺇﺗﻴﺎﻧﺎ ﻋﻔﻮﻳّﺎ ﻫﺬﻩ ﺍﻟﺘّﻔﺮﻗﺔ‪ .‬ﻭﺍﻟﺘّﻨﺎﻗﺾ ﺍﻟﺜﹼﺎﱐ ﺍﳍﺎﻡّ‪ ،‬ﻓﻬﻮ ﺃﻧّﻪ ﺳﻴﻜﻮﻥ ﻣﻦ ﺍﳌﺘﻌﺬﹼﺭ ﺃﻥ ﻧﻔﻬﻢ ﻛﻴﻒ‬
‫ﳝﻜﻦ ﺃﻥ ﺗﺘﺤ ﹼﻘ ّﻖ ﺍﻟﻌﻼﻗﺔ ﺑﲔ ﺍﻟﻔﻜﺮ ﺍﻟﹼﺬﻱ ﻫﻮﻋﻔﻮﻳّﺔ ﳏﻀﺔ‪ ،‬ﻭﺍﻟﺼّﻮﺭﺓ ﺍﻟﹼﱵ ﻫﻲ ﻋﻄﺎﻟﺔ ﳏﻀﺔ‪ ،‬ﻋﻠﻰ ﻣﺎ‬
‫ﺗﻘﺘﻀﻴﻪ ﻣﺴﻠﹼﻤﺔ ﺗﻠﻚ ﺍﻵﺭﺍﺀ ﺍﳌﺬﻛﻮﺭﺓ‪ ،‬ﻣﻊ ﺑﻘﺎﺀ ﻫﺬﻩ ﺍﻟﺼّﻮﺭﺓ ﺗﻈﻬﺮ ﻟﻠﻔﻜﺮ ﺑﻨﺤﻮ ﺍﻟﺼّﻮﺭﺓ ؟‬

‫)‪ (5‬ﻳﺮﻳﺪ ﺃﻧّﻪ ﺭﻏﻢ ﻣﺎ ﻗﺪ ﺛﺒﺖ ﻟﺪﻯ ﻫﺆﻻﺀ ﺍﻟﻌﻠﻤﺎﺀ ﺍﻟﺴﺎﺑﻖ ﺫﻛﺮﻫﻢ ﻛﻠﹼﻬﻢ ﻣﻦ ﺃ ﹼﻥ ﻫﻮﻳّﺔ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ‬
‫ﻋﲔ ﻫﻮﻳّﺔ ﺍﻹﺩﺭﺍﻙ‪ .‬ﻓﺈ ﹼﻥ ﺍﻟﺘّﺠﺮﺑﺔ ﺍﻷﻭﱃ ﻭﺍﻟﻌﻔﻮﻳّﺔ ﺇﻧّﻤﺎ ُﺗ ْﻌﻄِﻲ ﺍﻟﺼّﻮﺭﺓ ﻋﻠﻰ ﺃﻧّﻬﺎ ﺻﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ ﻋﻠﻰ‬
‫ﺃﻧّﻪ ﺇﺩﺭﺍﻙ‪ ،‬ﻭﻻ ﲣﻠﻂ ﺑﻴﻨﻬﻤﺎ ﺍﻟﺒﺘّﺔ‪ .‬ﺃﻱ ﺃﻧّﻪ ﺑﺎﻋﺘﺒﺎﺭ ﺍﻷﻣﺮ ﻋﻠﻰ ﺟﻬﺔ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﺎ ﻓﻬﻨﺎﻙ ﻫﻮﻳّﺔ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ‬
‫ﻭﺍﻹﺩﺭﺍﻙ‪ ،‬ﻭﻟﻜﻦ ﺑﺎﻋﺘﺒﺎﺭ ﺍﻷﻣﺮ ﻋﻠﻰ ﺟﻬﺔ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ‪ ،‬ﻓﺈ ﹼﻥ ﻫﻨﺎﻙ ﺗﻔﺮﻗﺔ ﺿﺮﻭﺭﻳّﺔ ﻭﺑﺪﻳﻬﻴّﺔ ﺑﻴﻨﻬﻤﺎ‪.‬‬

‫ﺿ َﻊ ﻫﺎﻫﻨﺎ‪ ،‬ﺑﻌﺪﻣﺎ ﻛﺎﻥ ﻗﺪ ﺳُ ﱢﻠ َﻢ ﻛﻤﺎ ﻗﻠﻨﺎ‬

‫)‪ (6‬ﺇ ﹼﻥ ﻣﻘﻴﺎﺱ ﺍﻟﺘّﻔﺮﻗﺔ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ ﺍﻟﹼﺬﻱ ﻭُ ِ‬
‫ﺴﻲّ‪ ،‬ﻫﻮ ﻣﻘﻴﺎﺱ ﺍﳌﻄﺎﺑﻘﺔ‬
‫ﻬﺑﻮﻳّﺔ ﳏﺘﻮﻯ ﺍﻹﺩﺭﺍﻙ ﻭﳏﺘﻮﻯ ﺍﻟﺼّﻮﺭﺓ ﻣﻦ ﺣﻴﺚ ﺃ ﹼﻥ ﻛﻠﻴﻬﻤﺎ ﻫﻮ ﳏﺘﻮﻯ ﺣ ّ‬
‫ﻭﺍﻟﻼﹼﻣﻄﺎﺑﻘﺔ‪ .‬ﺃﻱ ﺃ ﹼﻥ ﻛ ﹼﻞ ﳏﺘﻮﻯ ﺣﺴّﻲ ﰲ ﺍﻟﺬﹼﺍﺕ ﻳﺘّﺼﻞ ﺑﺄﺻﻞ ﺣﻘﻴﻘ ّﻲ ﰲ ﺍﳋﺎﺭﺝ ﻓﻤﻦ ﺷﺄﻥ ﺍﻟﻮﻋﻲ ﺃﻥ‬
‫ﻳﺄﺧﺬﻩ ﻋﻠﻰ ﺃﻧّﻪ ﻣﻮﺿﻮﻉ ﺇﺩﺭﺍﻛﻲّ‪ ،‬ﻭﻛ ﹼﻞ ﳏﺘﻮﻯ ﺁﺧﺮﻯ ﻻ ﻳﺘّﺼﻞ ﺑﺄﺻﻞ ﺣﻘﻴﻘ ّﻲ ﰲ ﺍﳋﺎﺭﺝ‪ ،‬ﻓﻤﻦ ﺷﺄﻥ‬
‫ﺍﻟﻮﻋﻲ ﺃﻥ ﻳﺄﺧﺬﻩ ﻋﻠﻰ ﺃﻧّﻪ ﲣﻴّﻞ‪.‬‬

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‫)‪ (7‬ﻋﻠﻰ ﺃﻧّﻬﺎ ﺃﻭﻟﻴّﺔ ﺃﻱ ﻋﻠﻰ ﺃﻧّﻬﺎ ﲢﺼﻞ ﻣﻦ ﺃﻭّﻝ ﻭﻫﻠﺔ‪ ،‬ﻭﻟﻴﺴﺖ ﺑﻄﺮﻳﻖ ﺭﺟﻮﻉ ﺭﻭﻭﻱّ‪ ،‬ﺑﻨﺤﻮ ﻣﻦ‬
‫ﺃﳓﺎﺀ ﺍﻟﺮّﺟﻮﻉ ﻛﻤﺎ ﺳﻮﻑ ﻧﺮﻯ ﰲ ﺍﻟﻨّﻈﺮﻳّﺎﺕ ﺍﻟﻘﺎﺩﻣﺔ‪.‬‬

‫ﺢ ﻋﻠﻰ ﺭﺃﻱ ﻫﻴﻮﻡ ﺑﺄ ﹼﻥ ﺍﻟﺘّﻔﺮﻗﺔ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ ﺇﻧّﻤﺎ ﲢﺼﻞ ﺣﺼﻮﻻ ﺁﻟﻴﺎ‬
‫)‪ (8‬ﺃﻱ ﺃﻧّﻪ ﻟﻮ ﺻ ّ‬
‫ﺴﻴّﺔ‪ .‬ﻓﺈﻧّﻪ‬
‫ﺴﻴّﺔ‪ ،‬ﻭﻛﺬﻟﻚ ﺍﻹﺩﺭﺍﻛﺎﺕ ﻫﻲ ﳏﺘﻮﻳﺎﺕ ﺣ ّ‬
‫ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﻨّﺤﻮ ؛ ﻭﻫﻮ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭ ﻫﻲ ﳏﺘﻮﻳﺎﺕ ﺣ ّ‬
‫ﺴ ّﻲ ﺍﻟﹼﺬﻱ ﻫﻮ ﺍﻟﺼّﻮﺭﺓ ﻫﻮ ﺻﻮﺭﺓ‪ ،‬ﻓﻼ ﺑ ّﺪ ﺃﻥ ﻳﻜﻮﻥ ِﺇﺫﹰﺍ ﺃﺿﻌﻒ ﻭ ﺃﻗ ﹼﻞ ﻛﺜﺎﻓﺔ‬
‫ﻭِﻟ َﻤﻜﹶﺎ ِﻥ ﺃ ﹼﻥ ﺍﶈﺘﻮﻯ ﺍﳊ ّ‬
‫ﻣﻦ ﳏﺘﻮﻯ ﺍﻹﺩﺭﺍﻙ‪ .‬ﻭ َﻣ ْﻌﻠﹸﻮﻡٌ ﺃ ﹼﻥ ﻛ ﹼﻞ ﻣﺎ ﻫﻮ ﺃﻗﻮﻯ ﻓﻬﻮ ﺇﺫﺍ ﺗﻨﺎﺯﻉ ﻣﻊ ﻣﺎ ﻫﻮ ﺃﺿﻌﻒ‪ ،‬ﻓﺈﻧّﻪ ﻳﻈﻬﺮ ﻋﻠﻴﻪ‬
‫ﻭﻳﻜﻮﻥ ﻗﺎﺩﺭﺍ ﻋﻠﻰ ﺩﻓﻌﻪ‪ .‬ﻓﻜﺬﻟﻚ ﺍﻷﻣﺮ ﻫﺎﻫﻨﺎ‪ ،‬ﺃﻱ ﺃ ﹼﻥ ﺍﶈﺘﻮﻯ ﺍﻹﺩﺭﺍﻛ ّﻲ ﻟﻜﻮﻧﻪ ﺃﻗﻮﻯ ﻣﻦ ﺍﶈﺘﻮﻯ‬
‫ﺍﻟﺼّﻮﺭﻱّ‪ ،‬ﻓﺈﻧّﻪ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﻈﻬﺮ ﻋﻠﻴﻪ ﻭﻳﺪﻓﻌﻪ ﻛﻠﹼﻤﺎ ﺍﺟﺘﻤﻌﺎ ﻭﺗﻨﺎﺯﻋﺎ‪ ،‬ﻭﻫﻮ ﺑﺬﻟﻚ ﲢﺼﻞ ﺍﻟﺘّﻔﺮﻗﺔ‬
‫ﺍﻵﻟﻴّﺔ‪ ،‬ﻋﻠﻰ ﺭﺃﻱ ﻫﻴﻮﻡ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ‪ .‬ﻭﻟﻜﻦ ﺳﺎﺭﺗﺮ ﻗﺪ ﺃﺟﺎﺏ ﻋﻠﻰ ﺟﻬﺔ ﺍﻟﻨّﻘﺾ ﻬﺑﺬﻩ ﺍﳊﺠّﺔ‪،‬‬
‫ﺴ ّﻲ ﻓﻠﻜﻲ ﻳﺘﻌﺪّﻯ ﺍﻟﻮﻋﻲ ﻓﻼ ﺑ ّﺪ ﺃﻥ ﺗﻜﻮﻥ ﻟﻪ ﺩﺭﺟﺔ ﺩﻧﻴﺎ ﻣﻦ ﺍﻟﻜﺜﺎﻓﺔ ؛ ﻓﻜﻴﻒ‬
‫ﻭﻫﻲ ﺃ ﹼﻥ ﻛ ﹼﻞ ﳏﺘﻮﻯ ﺣ ّ‬
‫ﳓﻦ ِﺇﺫﹰﺍ ﻻﳔﻠﻂ ﺑﲔ ﳏﺘﻮﻯ ﺇﺩﺭﺍﻛ ّﻲ ﺿﻌﻴﻒ ﺟﺪّﺍ ﻭﺑﲔ ﺻﻮﺭﺓ ﺗﻜﻮﻥ ﳍﺎ ﻧﻔﺲ ﻛﺜﺎﻓﺔ ﺫﻟﻚ ﺍﶈﺘﻮﻯ‪ ،‬ﺃﻭ‬
‫ﻛﺜﺎﻓﺔ ﺃﻛﱪ ؟‬

‫)‪ (9‬ﺃﻱ ﺃﻧّﲏ ﻭﺇﻥ ﻛﻨﺖ ﻗﺪ ﺭﺃﻳﺖ ﺇﻧﺴﺎﻧﺎ ﻣﻜﺎﻥ ﺷﺠﺮﺓ‪ ،‬ﻓﻬﺬﺍ ﻻﻳﻌﲏ ﺃﻧﻨّﻲ ﻗﺪ ﲣﻴّﻠﺖ ﺷﺠﺮﺓ ﻣﻜﺎﻥ‬
‫ﺃﻥ ﺃﹸ ْﺩ ِﺭ َﻙ ﺇﻧﺴﺎﻧﺎ‪ ،‬ﺑﻞ ﺇ ﹼﻥ ﺃﺧﺬﻱ ﻟﻠﺸّﺠﺮﺓ ﻋﻠﻰ ﺃﻧّﻬﺎ ﺇﻧﺴﺎﻥ ﻫﻮ ﺇﺩﺭﺍﻙ ﻣﺜﻠﻪ ﻣﺜﻞ ﺇﺩﺭﺍﻛﻲ ﻟﻠﺸّﺠﺮﺓ ﻋﻠﻰ‬
‫ﻑ ﰲ ﺧﺎﺻّﻴﺔ ﰲ ﺍﻟﻔﻌﻞ ‪différence‬‬
‫ﻼ ٍ‬
‫ﺃﻧّﻬﺎ ﺷﺠﺮﺓ‪ .‬ﻓﺎﻻﺧﺘﻼﻑ ﺑﲔ ﺍﻷﻣﺮﻳﻦ ﻻ ﻳﺘﻌﻠﹼﻖ ﺑﺎ ْﺧِﺘ ﹶ‬
‫‪ ،dans le‬ﻛﻤﺎ ﻗﺎﻝ ﻫﻮﺳّﺮﻝ‪ ،‬ﻭﺇﻧّﻤﺎ ﻫﻮ ﻓﻘﻂ‬ ‫‪caractère de l'acte‬‬
‫ﺍﺧﺘﻼﻑ ﰲ ﻧﻔﺲ ﺍﻟﻔﻌﻞ‪ .‬ﻓﻠﻤّﺎ ﺃﻧﺎ ﺁﺧﺬ ﺷﺠﺮﺓ ﻣﺎ ﻋﻠﻰ ﺃﻧّﻬﺎ ﺇﻧﺴﺎﻥ ﻓﺄﻧﺎ ﻻ ﺃﻛﻮﻥ ﺃﻓﻌﻞ ﻓﻌﻼ ﻣﻐﺎﻳﺮﺍ‪،‬‬
‫ﻭﺇﻧّﻤﺎ ﺃﻧﺎ ﻓﻘﻂ ﺇﻧّﻤﺎ ﺃﺩﺭﻙ ﺇﺩﺭﺍﻛﺎ ﻣﻐﺎﻳﺮﺍ‪ ،‬ﺃﻱ ﺃﺩﺭﻙ ﺇﺩﺭﺍﻛﺎ ﺧﺎﻃﺌﺎ‪.‬‬

‫ﱄ ﺍﻟﹼﺬﻱ ﻳُ َﻌ ﱢﺮﻑُ ﺍﻹﺩﺭﺍﻙ‪ ،‬ﻫﻮ ﺍﻟﹼﺬﻱ ﻳﻘﻬﺮ ﺍﶈﺘﻮﻯ ﺍﳌﺘﺠﺪّﺩ‬

‫)‪ (10‬ﻓﻔﻲ ﺍﻟﻮﺿﻊ ﺍﻟﺴّﻮﻱّ‪ ،‬ﺍﶈﺘﻮﻯ ﺍﻷ ّﻭ ﹼ‬
‫ﺍﻟﹼﺬﻱ ﻳﻌﺮّﻑ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻭﺍﻟﺼّﻮﺭﺓ ﺍﳊﻘﻴﻘﻴّﺔ ﺇﻧّﻤﺎ ﺗﻈﻬﺮ ﻟﻠﻮﻋﻲ ﻋﻠﻰ ﺍﳊﻘﻴﻘﺔ‪ ،‬ﺣﻴﻨﻤﺎ ﻳﻜﻮﻥ ﻫﻨﺎﻙ ﳏﺘﻮﻯ‬
‫ﱄ‪.‬‬
‫ﱄ ﻳﻌﺎﻧﺪ ﺫﻟﻚ ﺍﶈﺘﻮﻯ‪ .‬ﻭﻟﻜﻦ ﻗﺪ ﳒﺪ ﰲ ﻭﺿﻊ ﺁﺧﺮ ﺃﻥ ﻳﻈﻬﺮ ﺍﶈﺘﻮﻯ ﺍﳌﺘﺠﺪّﺩ ﻋﻠﻰ ﺍﶈﺘﻮﻯ ﺍﻷ ّﻭ ﹼ‬
‫ﺃ ّﻭ ﹼ‬
‫ﻭﺣﻴﻨﺌﺬ ﻓﻨﺤﻦ ﻧﻜﻮﻥ ﺑﺈﺯﺍﺀ ﻫﻠﻮﺳﺔ‪ .‬ﻭﺍﻟﻔﺮﻕ ﺑﲔ ﺍﳍﻠﻮﺳﺔ ﻭﺍﻟﺼّﻮﺭﺓ ﺍﳊﻘﻴﻘﻴّﺔ‪ ،‬ﻫﻮ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﺍﳊﻘﻴﻘﻴّﺔ‬

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‫ﱄ ﻭﻏﲑ ﻣﻮﺟﻮﺩ‪ .‬ﺃﻣّﺎ ﺍﳍﻠﻮﺳﺔ ﻓﻬﻲ‬
‫ﻫﻲ ﺍﶈﺘﻮﻯ ﺍﳌﺘﺠﺪّﺩ ﲟﺎﻫﻮ ﳏﺘﻮﻯ ﻳﻈﻬﺮ ﻟﻠﻮﻋﻲ ﻋﻠﻰ ﺃﻧّﻪ ﻟﻴﺲ ﺃ ّﻭ ﹼ‬
‫ﻧﻔﺲ ﺫﻟﻚ ﺍﶈﺘﻮﻯ ﺍﻟﹼﺬﻱ ﻟﻴﺲ ﻟﻪ ﻭﺟﻮﺩ ﺣﻘﻴﻘﻲّ‪ ،‬ﻭﻟﻜﻨّﻪ ﻳﻈﻬﺮ ﻟﻠﻮﻋﻲ ﻋﻠﻰ ﺃﻧّﻪ ﺣﻘﻴﻘ ّﻲ ﻭﺧﺎﺭﺟ ّﻲ‪.‬‬

‫ﺠ ﱠﺮ ِﺩﻫَﺎ‪ ،‬ﻻ ﳝﻜﻦ ﺃﻥ ﺗﺘﻌﺎﻧﺪ‪ ،‬ﻭﺇﻧّﻤﺎ ﺍﻟﺘّﻌﺎﻧﺪ ﻫﻮ ﻣﻌﲎ ﻣﻨﻄﻘ ّﻲ‬

‫ﺴﻴّﺔ ِﺑﻤُ َ‬
‫)‪ (11‬ﻳﺮﻳﺪ ﺃ ﹼﻥ ﺍﶈﺘﻮﻳﺎﺕ ﺍﳊ ّ‬
‫ﻳﺘﺄﺳّﺲ ﰲ ﻣﺮﺗﺒﺔ ﺍﻟ ﹼﻠﻐﺔ ﻭﺍﳊﻜﻢ‪ .‬ﻓِﺈﺫﹰﺍ ﺇ ﹼﻥ ﻧﻈﺮﻳّﺔ ﺗﺎﻥ ﻧﻈﺮﻳّﺔ ﺍﻟﺘّﻌﺎﻧﺪ ﺍﻟﹼﱵ ﺣﺎﻭﻝ ﺃﻥ ﻳﻔﺴّﺮ ﻬﺑﺎ ﺗﺄﺳّﺲ‬
‫ﺍﻟﺼّﻮﺭﺓ ﺍﳊﻘﻴﻘﻴّﺔ ﻭﺗﻔﺮﻗﺘﻬﺎ ﻣﻦ ﺍﻹﺩﺭﺍﻙ‪ ،‬ﺇﻧّﻤﺎ ﺗﻘﺘﻀﻲ ﺿﻤﻨﻴّﺎ ﻣﻌﲎ ﺁﺧﺮ ﺯﺍﺋﺪ ﱂ ﻳﻜﻦ ﻗﺪ ﺫﻛﺮﻩ ﺗﺎﻥ‪،‬‬
‫ﻭﻟﻜﻨّﻪ ﻫﻮ ﻛﺎﻥ ﻗﺪ ﺳﻌﻰ ﻷﻥ ﳚﺪ ﻣﻜﺎﻓﺌﺎ ﻟﻪ‪ ،‬ﺃﻻ ﻭﻫﻮ ﻣﻌﲎ ﺍﳊﻜﻢ‪.‬‬

‫ﺴﻴّﺔ‪ ،‬ﳏﺘﻮﻯ‬
‫)‪ (12‬ﻓﻬﺬﻩ ﺍﻟﻨّﻈﺮﻳّﺔ ﺍﳉﺪﻳﺪﺓ ﲣﺘﻠﻒ ﻋﻦ ﺍﻷﺧﺮﻳﺎﺕ ﰲ ﺃﻧّﻬﺎ ﻻ ﺗُﻮ ِﻛﻞﹸ ﺠﻤﻟﺮّﺩ ﺍﶈﺘﻮﻳﺎﺕ ﺍﳊ ّ‬
‫ﺍﻟﺼّﻮﺭﺓ ﻭﳏﺘﻮﻯ ﺍﻹﺩﺭﺍﻙ ﺃﻣﺮ ﺍﻟﺘّﻔﺮﻗﺔ ﻭﻭﻭﻗﻮﻑ ﺍﻟﻮﻋﻲ ﻋﻠﻰ ﺍﻟﺼّﻮﺭﺓ ﺍﳊﻘﻴﻘﻴّﺔ‪ .‬ﺑﻞ ﻫﻨﺎﻙ ﻓﻌﻞ ﺛﺎﻥ‬
‫ﻳﺘﺄﺳّﺲ ﻋﻠﻰ ﺍﻟﻔﻌﻞ ﺍﻷﻭّﻝ ﺍ ﹸﳌ ْﻌﻄِﻲ ﻟﻠﻤﺤﺘﻮﻳﻦ ﺍﻹﺛﻨﲔ ﻭﻫﻮ ﻓﻌﻞ ﺍﳊﻜﻢ ﺍﻟﹼﺬﻱ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﻘﻀﻲ ﲝﺴﺐ‬
‫ﺧﺼﺎﺋﺺ ﻛ ﹼﻞ ﻣﻦ ﺍﶈﺘﻮﻳﻦ ﺍﻻﺛﻨﲔ‪ ،‬ﺃﻳّﺎ ﻣﻨﻬﻤﺎ ﻫﻮ ﺍﻟﺼّﻮﺭﺓ ﺍﳊﻘﻴﻘﻴّﺔ ﻭﺃﻳّﺎ ﻣﻨﻬﻤﺎ ﻫﻮ ﺍﻹﺩﺭﺍﻙ‪.‬‬

‫)‪ (13‬ﻭﺍﳊﺎﻝ ﺃ ﹼﻥ ﺍﻟﺘّﺠﺮﺑﺔ ﺍﻟﺒﺪﻳّﻬﻴّﺔ ﺇﻧّﻤﺎ ﺗَُﺒﱢﻴﻦُ ﺃ ﹼﻥ ﻫﺬﻩ ﺍﻟﺘّﻔﺮﻗﺔ ﻫﻲ ﺃﺑﺪﺍ ﺗﻔﺮﻗﺔ ﻣﻄﻠﻘﺔ ﻭﻬﻧﺎﺋﻴّﺔ ﺍﻟﻴﻘﲔ‪.‬‬

‫)‪ (14‬ﺍﻧﻈﺮ ﻣﻼ ﺣﻈﺘﻨﺎ ﺭﻗﻢ )‪(٩‬‬

‫)‪ (15‬ﺃﻱ ﺃ ﹼﻥ ﻣﺮﺗﺒﺔ ﺍﻟﺘّﻔﺮﻗﺔ ﺑﲔ ﺍﻹﺩﺭﺍﻙ ﻭﺍﻟﺼّﻮﺭﺓ ﺍﳊﻘﻴﻘﻴّﺔ ﺇﻧّﻤﺎ ﻫﻲ ﺍﳊﻜﻢ‪.‬‬

‫‪.Erfahrung und‬‬ ‫‪Urteil‬‬ ‫)‪ (16‬ﺃﻧﻈﺮ ﻫﻮﺳّﺮﻝ‪ ،‬ﺍﻟﺘّﺠﺮﺑﺔ ﻭﺍﳊﻜﻢ‪،‬‬

‫ﻭﺃﻳﻀﺎ ﺍﻟﺘّﺄﻣّﻼﺕ ﺍﻟﺪّﻳﻜﺎﺭﺗﻴّﺔ‪.‬‬

‫)‪ (17‬ﺃﻱ ﺃ ﹼﻥ ﻧﺸﺄﺓ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻟﻮﻋﻲ ﻬﺑﺎ ﺇﻧّﻤﺎ ﳘﺎ ﺷﻲﺀ ﻭﺍﺣﺪ‪ .‬ﻓﺎﻟﺼّﻮﺭﺓ ِﺇﺫﹰﺍ ﻟﻴﺴﺖ ﻫﻲ ﻣﺎ ﻳُ ْﻌ َﺮﻑُ‬
‫ﰲ‪.‬‬
‫ﻛﻤﻮﺍﺿﻴﻊ ﺍﻹﺩﺭﺍﻙ‪ ،‬ﻭﺇﻧّﻤﺎ ﻫﻲ ﻧﻔﺴﻬﺎ ﻓﻌﻞ ﻣﻌﺮ ﹼ‬

‫)‪ (18‬ﻳﺮﻳﺪ ﻫﻮﺳّﺮﻝ ﺃ ﹼﻥ ﺍﻟﻘﻀﺎﺀ ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﺇﻧّﻤﺎ ﺗُ ﹾﺄ َﺧﺬﹸ ﺃﺧﺬﺍ ﺃﻭّﻟﻴّﺎ ﺑﻨﺤﻮ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻭﺃ ﹼﻥ ﺫﻟﻚ ﻻ‬
‫ﻳﻜﻮﻥ ﺍﻟﺒﺘّﺔ ﺑﺘﻮﺳّﻂ ﺍﻟﻔﻌﻞ ﺍﳊﻜﻤﻲّ‪ ،‬ﻟﻴﺲ ِﺑﻤَﺎِﻧ ٍﻊ ﺍﻟﺒﺘّﺔ ﻣﻦ ﺃﻥ ﺗﺼﺒﺢ ﻫﻲ ﻧﻔﺴﻬﺎ ﻣﻮﺿﻮﻋﺎ ﻟﻔﻌﻞ ﺣﻜﻤ ّﻲ‪.‬‬

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‫ﻓﺎﻟﺼّﻮﺭﺓ ﲟﺎ ﻫﻲ ﻫﻲ ﺇﻧّﻤﺎ ﻫﻲ ﺑﺪﻳﻬﻴّﺔ ﻣﺎ ﻗﺒﻞ ﲪﻠﻴّﺔ‪ ، anté-prédicative‬ﺃﻱ ﻣﺎ ﻗﺒﻞ‬
‫ﺣُ ﹾﻜ ِﻤﱠﻴ ٍﺔ‪ .‬ﻭﻣﺮﺗﺒﺔ ﺍﳊﻜﻢ ﺇﻧّﻤﺎ ﻫﻲ ﻣﺮﺗﺒﺔ ﺍﻟﻘﻮﻝ ﰲ ﺍﻟﺼّﻮﺭﺓ ﻭﻟﻴﺲ ﻫﻲ ﻣﺮﺗﺒﺔ ﺗﺄﺳﻴﺲ ﺍﻟﺼّﻮﺭﺓ ﻧﻔﺴﻬﺎ‪.‬‬

‫)‪ (19‬ﻫﻬﻨﺎ ﺍﻟﺼّﻮﺭﺓ ﻣﺄﺧﻮﺫﺓ ﺑﺎﳌﻌﲎ ﺍﻷﺭﺳﻄﻲّ‪ ،‬ﺃﻱ ﻣﺎ ﻫﻮ ﻣﻘﺎﺑﻞ ﺍﳍﻴﻮﱃ‪.‬‬

‫)‪ (20‬ﺃﻧﻈﺮ ﺃﺭﺳﻄﻮ‪ ،‬ﻛﺘﺎﺏ ﻣﺎ ﺑﻌﺪ ﺍﻟﻄﹼﺒﻴﻌﺔ‪ ،‬ﻣﻘﺎﻟﺔ ﺍﻟﺰّﺍﻱ‪.‬‬

‫)‪ (21‬ﻭﻫﺬﻩ ﺍﻟﺼّﻮﺭﺓ ﺍﻷﺧﺮﻯ ﺇﻧّﻤﺎ ﻫﻲ ﻧﻔﺴﻬﺎ ﺻﻮﺭﺓ‪ ،‬ﻭﲟﺎ ﻫﻲ ﻛﺬﻟﻚ ﻓﺴﺘﺤﺘﺎﺝ ﻫﻲ ﺃﻳﻀﺎ ﻛﺎﻷﻭﱃ‬
‫ﺇﱃ ﺻﻮﺭﺓ ﺃﺧﺮﻯ ﻓﻴﺴﺘﻤ ّﺮ ﺍﻷﻣﺮ ﺇﱃ ﻣﺎ ﻻﻬﻧﺎﻳﺔ‪.‬‬

‫)‪ (22‬ﺃﻱ ﻛﻴﻒ ﳝﻜﻦ ﺃﻥ ﺗﻜﻮﻥ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﹼﱵ ﰲ ﺳﻠﻮﻛﻬﺎ ﺇﻧّﻤﺎ ﻫﻲ ﺣﻜﻲ ﻟﺴﻠﻮﻙ ﻣﺎ ﳛﺪﺙ ﰲ‬
‫ﺍﻟﺸ ّﻖ ﺍﳉﺴﺪﻱّ‪ ،‬ﻭﻣﻦ ﹶﺛ ﱠﻢ ﻓﻬﻲ ﺩﺍﺧﻠﺔ ﲢﺖ ﻧﻔﺲ ﺍﳊﺘﻤﻴّﺔ ﺍﹼﻟﱵ ﺗﻀﺒﻂ ﺍﺠﻤﻟﺎﻝ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻲّ‪ ،‬ﻛﻴﻒ ﳝﻜﻦ‬
‫ﳍﺬﻩ ﺍﻟﺼّﻮﺭﺓ ﻳﺎﺗُﺮﻯ ﺃﻥ ﺗﻜﻮﻥ ُﻣﻌِﻴﻨًﺎ ﻟﻠﻔﻜﺮ ﺍﻟﹼﺬﻱ ﻫﻮ ﰲ ﺟﻮﻫﺮﻩ ﺇﻧّﻤﺎ ﻫﻮ ﻋﻔﻮﻳّﺔ ﳏﻀﺔ ؟‬

‫)‪ (23‬ﺃﻧﻈﺮ ﺳﺒﻴﻨﻮﺯﺍ‪ ،‬ﺍﻷﺧﻼﻕ‪ ،‬ﺍﳉﺰﺀ ﺍﻟﺜﹼﺎﱐ‪ ،‬ﰲ ﺍﻟﻄﹼﺒﻴﻌﺔ ﻭ ﰲ ﺃﺻﻞ ﺍﻟﻨّﻔﺲ‪.‬‬

‫ﺴ ّﻲ‬
‫)‪ (24‬ﻭﻫﻲ ﺻﻌﻮﺑﺎﺕ ﻛﻴﻒ ﳝﻜﻦ ﻟﻠﺼّﻮﺭﺓ ﻣﻊ ﺃﻧّﻬﺎ ﻋﻠﻰ ﺍﳌﺼﺎﺩﺭﺓ ﺍﳌﻮﺿﻮﻋﺔ ﻫﻲ ﳏﺘﻮﻯ ﺣ ّ‬
‫ﲔ ﻟﻠﻔﻜﺮ‪ ،‬ﻭﻟﻴﺲ ﺑﻨﺤﻮ ﺍﳌﻮﺿﻮﻉ ﺍﻟﹼﺬﻱ ﻳﻌﺎﺭﺽ ﺍﻟﻔﻜﺮ ﻭﻳﻀﻄﺮّﻩ ﻷﻥ‬
‫ﻓﺈﻧّﻬﺎ ﳝﻜﻦ ﺃﻥ ﺗﺪﺧﻞ ﺑﻨﺤﻮ ﺍﳌﹸ ِﻌ ِ‬
‫ﻳﺘﺒﻴّﻨﻪ ﲝﺴﺐ ﺣﻘﻴﻘﺘﻪ ﻫﻮ؟‬

‫)‪ (25‬ﺃﻧﻈﺮ ﻫﻮﺳّﺮﻝ‪ ،‬ﺍﻟﺘّﺠﺮﺑﺔ ﻭﺍﳊﻜﻢ‪.‬‬

‫ﻱ ﻓﻌﻞ ﻣﻦ ﺍﻷﻓﻌﺎﻝ ﰲ ﺍﻟﺼّﻮﺭﺓ ﲟﺎ ﻫﻲ ﺷﻲﺀ ﻋﺎﻃﻞ ﺇ ﹼﻻ ﺇﺫﺍ ﻛﺎﻥ‬

‫)‪ (26‬ﻷﻧّﻪ ﱂ ﻳﻜﻦ ﳝﻜﻨﻪ ﺃﻥ ﻳﻔﻌﻞ ﺃ ّ‬
‫ﻱ ﻻ ﺟﺪﺍﻝ ﻓﻴﻪ ﺫﻟﻚ ﺍﻟﹼﺬﻱ ﻫﻮ ﻻ ﳝﻜﻦ ﺃﻥ َﻳ ﹾﻔ َﻌ ﹶﻞ ﰲ‬
‫ﻫﻮ ﻧﻔﺴﻪ ﻋﺎﻃﻼ‪ ،‬ﺃﻱ ﻣﺎﺩﻳّﺎ‪ .‬ﻓﻬﻮ ﻗﺎﻧﻮﻥ ﺟﻮﻫﺮ ّ‬
‫ﺍﻟﺸّﻲﺀ ﺍﻟﻌﺎﻃﻞ ﺇ ﹼﻻ ﻣﺎ ﻛﺎﻥ ﻋﺎﻃﻼ‪.‬‬

‫)‪ (27‬ﻭﺍﻟﺼّﻮﺭﺓ ﺗﻜﻮﻥ ﻣﻮﺿﻮﻋﺎ ﺇﺩﺭﺍﻛﻴّﺎ ﻭﻟﻴﺲ ﺧﻴﺎﻟﻴّﺎ‪.‬‬

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 ‫)‪ (28‬ﺃﻧﻈﺮ ﻫﻮﺳّﺮﻝ‪ ،‬ﺍﻷﻓﻜﺎﺭ‪ ،‬ﺍﳌﻘﺎﻟﺔ ﺍﻟﺜﹼﺎﻧﻴﺔ ﻭﺍﻟﺜﹼﺎﻟﺜﺔ‪.‬‬

‫)‪ (29‬ﺃﻱ ﺃﻧّﻪ ﺃﺑﻄﻞ ﻭﺟﻮﺩﻫﺎ ﺑﺎﳊﻘﻴﻘﻴﺔ‪.‬‬

‫)‪ (30‬ﺗﻠﺨﻴﺺ ﻛ ﹼﻞ ﻫﺬﺍ ﻫﻮ ﺃ ﹼﻥ ﻛ ﹼﻞ ﺍﻟﹼﺬﻳﻦ ﺳﺒﻘﻮﺍ ﺑﺎﻟﺒﺤﺚ ﰲ ﺃﻣﺮ ﺍﻟﺼّﻮﺭﺓ ﺣﻴﻨﻤﺎ ﺍﺗّﻔﻘﻮﺍ ﻋﻠﻰ ﺃﻧّﻬﺎ ﰲ‬
‫ﺣﻘﻴﻘﺘﻬﺎ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ ﺇﻧّﻤﺎ ﻫﻲ ﳏﺘﻮﻯ ﻋﺎﻃﻞ‪ ،‬ﺃﻱ ﺷﻲﺀ ﻣﻦ ﺍﻷﺷﻴﺎﺀ‪ ،‬ﻓﺈﻧّﻬﻢ ﻗﺪ ﺗﻌﺜﺮّﻭﺍ ﻭﺫﻫﺐ ﺃﻣﺮﻫﻢ‬
‫ﺣﻴﻨﻤﺎ ﺣﺎﻭﻟﻮﺍ ﺃﻥ ﻳﺒﻴّﻨﻮﺍ ﺃﻣﺮﻳﻦ ﻣﻬﻤّﲔ ؛ ﺃﻭّﻻ‪ ،‬ﻛﻴﻒ ﳝﻜﻦ ﺃﻥ ﲢﺼﻞ ﺍﻟﺘّﻔﺮﻗﺔ ﺗﻔﺮﻗﺔ ﺃﻭّﻟﻴّﺔ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ‬
‫ﻭﺍﻹﺩﺭﺍﻙ‪ .‬ﻭﺛﺎﻧﻴﺎ‪ ،‬ﻛﻴﻒ ﳝﻜﻦ ﺃﻥ ﻳﺪﺧﻞ ﺍﻟﻮﻋﻲ ﺍﻟﹼﺬﻱ ﻫﻮ ﰲ ﺟﻮﻫﺮﻩ ﻋﻔﻮﻳّﺔ ﳏﻀﺔ ﺑﺎﻟﺘّﺄﺛﲑ ﰲ ﺍﻟﺼّﻮﺭﺓ‬
‫ﺍﻟﹼﱵ ﻫﻲ‪ ،‬ﻋﻠﻰ ﺭﺃﻳﻬﻢ‪ ،‬ﻋﻄﺎﻟﺔ ﳏﻀﺔ ؟ ﻭﻫﺬﺍ ﺍﻟﺘّﺨﺒّﻂ ﺍﻟﹼﺬﻱ ﻭﻗﻊ ﻓﻴﻪ ﻫﺆﻻﺀ ﰲ ﺍﳉﻮﺍﺏ ﻋﻠﻰ ﻫﺬﻳﻦ‬
‫ﺍﻟﺴّﺆﺍﻟﲔ‪ ،‬ﻛﺎﻥ ﻣﻦ ﺃﺛﺮﻩ ﺃﻥ ﺩﻓﻊ ﺑﻔﺮﻳﻖ ﻣﻦ ﺃﻫﻞ ﺍﻟﺘّﺤﺼﻴﻞ ﺑﻌﺪﻫﻢ ﺇﱃ ﺃﻥ ﺃﻧﻜﺮ ﻭﺟﻮﺩ ﺍﻟﺼّﻮﺭﺓ ﺑﺈﻃﻼﻕ‪.‬‬
‫ﻭﻣﻦ ﻫﺆﻻﺀ‪ ،‬ﺍﻟﻔﻴﻠﺴﻮﻑ ﺍﻟﻔﺮﻧﺴ ّﻲ ﺁﻻﻥ ﺍﻟﹼﺬﻱ ﺳﻴﻌﺮﺽ ﻟﻪ ﺳﺎﺭﺗﺮ ﺍﻵﻥ‪.‬‬

‫)‪ (31‬ﺇ ﹼﻥ ﺗﻌﺮﻳﻒ ﺍﻟﺼّﻮﺭﺓ ﺑﺄﻧّﻬﺎ ﺇﺩﺭﺍﻙ ﺧﺎﻃﺊ ﻗﺪ ﺳﺒﻖ ﺃﻥ ﺭﺃﻳﻨﺎ ﺷﺒﻴﻬﺎ ﺑﻪ ﳌﹼﺎ ﻋﺮﺿﻨﺎ ﻷﺭﺍﺀ ﺳﺒﲑ‪،‬‬
‫ﺹ ﺑﺎﻟﺼّﻮﺭﺓ ﻭﺇﻥ ﻛﺎﻥ‬
‫ﻭﻟﻜﻦ ﺍﻟﻔﺮﻕ ﺑﲔ ﻧﻈﺮﻳّﺔ ﺳﺒﲑ ﻭﻧﻈﺮﻳّﺔ ﺁﻻﻥ ﻫﻮ ﺃ ﹼﻥ ﺳﺒﲑ ﻛﺎﻥ ُﻳ ِﻘ ﱡﺮ ﲟﺤﺘﻮﻯ ﺧﺎ ّ‬
‫ﺴ ّﻲ ﻣﺜﻠﻪ ﻣﺜﻞ ﺍﻹﺩﺭﺍﻙ‪ .‬ﺃﻣّﺎ ﻟﺪﻯ ﺁﻻﻥ ﻓﻠﻴﺲ ﻳﻮﺟﺪ ﺇ ﹼﻻ ﺍﳌﻮﺍﺿﻴﻊ ﺍﻟﹼﱵ‬
‫ﻫﺬﺍ ﺍﶈﺘﻮﻯ ﻧﻔﺴﻪ ﻫﻮ ﳏﺘﻮﻯ ﺣ ّ‬
‫ﻻ ﳝﻜﻦ ﺃﻥ ﺗﻜﻮﻥ ﺇ ﹼﻻ ﻣﻮﺍﺿﻴﻊ ﺍﻹﺩﺭﺍﻙ‪ .‬ﻭﺍﻟﺘّﺨﻴّﻞ ﻟﻴﺲ ﻫﻮ ﻻ ﻓﻌﻼ ﺁﺧﺮ ﻣﻐﺎﻳﺮﺍ ﻟﻔﻌﻞ ﺍﻹﺩﺭﺍﻙ ﻭﻻ ﻫﻮ‬
‫ﻳﻘﺘﻀﻲ ﳏﺘﻮﻯ ﺧﺎﺻّﺎ ﻭﺇﻥ ﻛﺎﻥ ﻫﺬﺍ ﺍﶈﺘﻮﻯ ﻫﻮ ﻣﻦ ﻧﻔﺲ ﳏﺘﻮﻯ ﺍﻹﺩﺭﺍﻙ‪ ،‬ﻭﻟﻜﻨّﻪ ﻳﻜﻮﻥ ﺫﺍ ﻛﺜﺎﻓﺔ ﺃﻗ ﹼﻞ‬
‫ﺃﻭ ﻣﻦ ﳐﻠﹼﻔﺎﺕ ﻓﻌﻞ ﺍﳌﻮﺿﻮﻉ ﰲ ﺍﻟﺬﹼﺍﺕ‪ .‬ﻓﺎﻟﺘّﺨﻴّﻞ ﻟﺪﻯ ﺁﻻﻥ ِﺇﺫﹰﺍ ﺇﻧّﻤﺎ ﻫﻮ ﺇﺩﺭﺍﻙ ﺧﺎﻃﺊ ﻟﻴﺲ ﻏﲑ‪.‬‬

‫ﺃ( ﺟﺎﻣﺲ‪ ،‬ﻣﻘﺎﻟﺔ ﰲ ﻋﻠﻢ ﺍﻟﻨﻔﺲ‪ ، Précis de psychologie‬ﺹ‪،٢١٤ .‬‬

‫ﺫﻛﺮﻩ ﻣﺎﻳﺮﺳﻦ ﰲ ﺍﳌﻘﺎﻝ ﺍﳌﺬﻛﻮﺭ‪ ،‬ﺹ‪. ٥٥٩ .‬‬
‫ﺏ( ﻫﻮﺭﻧﻠﻲ‪ ،‬ﺍﻟﺼّﻮﺭ‪ ،‬ﻭﺍﻟﻔﻜﺮﺓ ﻭﺍﳌﻌﲎ‪ ،‬ﺍﻟﻔﻜﺮ‪Image,Idea and Meaning ،‬‬
‫‪ ،1907‬ﺹ‪٧٥ .‬ـ ‪ .٧٦‬ﻭﻗﺪ ﺫﻛﺮﻩ ﻣﺎﻳﺮﺳﻦ‪.‬‬
‫‪La pensée concrète‬ﺹ‪.٢٠١ .‬‬ ‫ﺕ( ﺳﺒﲑ‪ ،‬ﰲ ﺍﻟﻔﻜﺮ ﺍﳌﺘﻌﻴّﻦ‪،‬‬
‫ﺙ( ﻣﺎﻳﺮﺳﻦ‪ ،‬ﻧﻔﺲ ﺍﳌﺮﺟﻊ‪ ،‬ﺹ‪.٥٧٨ .‬‬

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 ‫ﺝ( ﻣﺎﻳﺮﺳﻦ‪ ،‬ﻧﻔﺲ ﺍﳌﺮﺟﻊ‪ ،‬ﺹ‪.٥٨٢ .‬‬
‫ﺡ( ﻧﻔﺲ ﺍﳌﺮﺟﻊ‪ ،‬ﺹ‪.٥٨٨ .‬‬
‫‪Les‬‬ ‫ﺥ(ﺃﻧﻈﺮ ﻣﺜﻼ‪ ،‬ﻣﺎﻟﺪﻳﻲ‪ ،‬ﺍﳋﺼﺎﺋﺺ ﺍﶈﺘﻤﻠﺔ ﻟﻠﺼّﻮﺭﺓ ﺍﳊﻘﻴﻘﻴّﺔ‪،‬‬
‫‪caractéristiques probables de l'image vraie.‬‬
‫ﺍﺠﻤﻟﻠﹼﺔ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ‪.١٩٠٨ ،‬‬
‫ﺩ( ﺳﺒﲑ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﳌﺬﻛﻮﺭ‪.١٢١ ،‬‬
‫ﻼ ِﺑ ِﻤ ﹾﺜ ٍﻞ‪.‬‬
‫ﺫ( ﻭﺍﳌﺜﺎﻝ ﺍﻟﹼﻲ ﻧﺎﻗﺸﻪ ﺳﺒﲑ ﰲ ﺍﻟﺼّﻔﺤﺔ ‪ ،١٢١‬ﻫﻮ ﻳﺸﺒﻪ ﻫﺬﺍ ﺍﻟﻨّﻤﻂ َﻣﹶﺜ ﹰ‬
‫ﺭ( ﺳﺒﲑ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﳌﺬﻛﻮﺭ‪ ،‬ﺹ‪. ١٢١ .‬‬
‫ﺯ( ﺗﺎﻥ‪ ،‬ﰲ ﺍﻟﺬﹼﻛﺎﺀ‪ ، de l'intelligence‬ﺍﳉﺰﺀ ﺍﻷﻭّﻝ‪ ،‬ﺹ‪.١٢٥ .‬‬
‫ﺱ( ﺗﺎﻥ‪ ،‬ﰲ ﺍﻟﺬﹼﻛﺎﺀ‪ ،‬ﺹ‪.٨٩ .‬‬
‫ﺵ( ﺗﺎﻥ‪ ،‬ﻧﻔﺲ ﺍﳌﺮﺟﻊ‪ ،‬ﺍﳉﺰﺀ ﺍﻷﻭّﻝ‪ ،‬ﺹ‪.٩٩ .‬‬
‫ﺹ( ﺗﺎﻥ‪ ،‬ﻧﻔﺲ ﺍﳌﺮﺟﻊ‪ ،‬ﺹ‪.٩٩ .‬‬
‫ﺽ( ﺗﺎﻥ‪ ،‬ﻧﻔﺲ ﺍﳌﺮﺟﻊ‪ ،‬ﺹ‪. ١٠١ .‬‬
‫" ‪.‬‬ ‫ﻁ( ﺗﺎﻥ‪ ،‬ﻧﻔﺲ ﺍﳌﺮﺟﻊ‪ ،‬ﺹ ‪ " .١٠١‬ﺇﻧّﻤﺎ ﺍﳋﺎﺯﻝ ﺍﳋﺎﺹّ‪ ،‬ﺃﻱ ﺍﻹﺣﺴﺎﺱ ﺍﳌﻌﺎﻧﺪ‬
‫ﻅ( ﻧﻔﺲ ﺍﳌﺮﺟﻊ‪.١١٥ ،‬‬
‫ﻉ( ﻧﻔﺲ ﺍﳌﺮﺟﻊ‪. ١١٧ ،‬‬
‫ﻍ( ﺳﺒﲑ‪ ،‬ﰲ ﺍﻟﻔﻜﺮ ﺍﳌﺘﻌﻴّﻦ‪ ،‬ﺹ‪.١٢٠ .‬‬
‫ﻑ( ﱂ ﻳﻜﻤﺘﻞ ﺍﻟﻴﻘﲔ ﺑﺄ ﹼﻥ ﺳﺒﲑ ﻛﺎﻥ ﻳﻘﺒﻞ ﻗﺒﻮﻻ ﻻ ﲢﻔﹼﻆ ﻓﻴﻪ ﻫﺬﻩ ﺍﻟﻨّﻈﺮﻳّﺔ ﺍﻟﹼﱵ ﺃﺳﻠﻔﻨﺎ ﻋﺮﺿﻬﺎ ﰲ‬
‫ﺍﻟﺼّﻔﺤﺔ ﺍﻟﺴّﺎﺑﻘﺔ‪ .‬ﻭﻟﻜﻦ ﳓﻦ ﻗﺪ ﺭﻣﻨﺎ ﲞﺎﺻّﺔ ﺃﻥ ﻧﻌﻴّﻦ ﻭﺟﻬﺔ‪ ،‬ﻭﺃﻥ ﻧﺼﻒ ﻣﻮﻗﻔﺎ ﻫﻮ‪ ،‬ﻋﻠﻰ ﺍﻟﻌﻤﻮﻡ‪،‬‬
‫ﻣﻌﺘﻨﻖ ﺍﻟﻴﻮﻡ‪.‬‬
‫ﻕ( ﺳﺒﲑ‪ ،‬ﺍﳌﺮﺟﻊ ﺍﳌﺬﻛﻮﺭ‪ .١٢١ ،‬ﻭﺍﻹﺑﺮﺍﺯ ﻣﻦ ﻋﻨﺪﻧﺎ‪.‬‬
‫ﻙ( ﺃﻧﻈﺮ ﻬﺑﺬﺍ ﺍﻟﺸّﺄﻥ ﻣﻼﺣﻈﺎﺕ ﻻﻏﺎﺵ ﺍﳌﻔﻴﺪﺓ ﺟﺪّﺍ‪ ،‬ﻭﺍﻟﹼﱵ ﺗﺘﻌﻠﹼﻖ ﺑﺎﻟﻨّﻈﻢ ﺍﻟﺘّﻨﻔﹼﺴ ّﻲ ﰲ ﺍﳍﻠﻮﺳﺎﺕ‬
‫‪Les‬‬ ‫‪Hallucinations‬‬ ‫ﺍﻟﺴّﻤﻌﻴّﺔ ﰲ ﺍﳍﻠﻮﺳﺎﺕ ﺍﻟﺘّﻠﻔﹼﻈﻴّﺔ ﻭ ﺍﻟﻜﻼﻡ‪،‬‬
‫‪.‬‬ ‫‪verbales et la parole‬ﺑﺎﺭﻳﺲ‪١٩٣٤ ،‬‬

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‫‪Nouveau Traité de‬‬ ‫ﻝ( ﻣﺎﻳﺮﺳﻦ ﰲ ﻣﻘﺎﻟﺔ ﺟﺪﻳﺪﺓ ﰲ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ‪،‬‬
‫‪Psychologie‬ﺍﳉﺰﺀ ﺍﻟﺜﹼﺎﱐ‪ ،‬ﺹ‪.٥٩٤ .‬‬
‫ﻡ( ﻛﻼﺑﺮﺍﺩ‪ ،‬ﺗﺮﺍﺑﻂ ﺍﻷﻓﻜﺎﺭ‪L'association des idées 1903. ،‬‬
‫ﱄ ﰲ ﺍﻟﺘّﺄﻣّﻼﺕ ﺍﻟﺪّﻛﺎﺭﺗﻴّﺔ‪.‬‬
‫ﻥ( ﺃﻧﻈﺮ ﻭﺻﻒ ﻫﺬﺍ ﺍﻟﺘّﻜﻮﻳﻦ ﺍﻻﻧﻔﻌﺎ ﹼ‬
‫ﻩ( ﺍﻟﹼﺬﻱ ﻻ ﺑ ّﺪ ﺃﻥ ﻧﻔﺮّﻗﻪ ﻟﺪﻯ ﻫﻮﺳّﺮﻝ‪ ،‬ﻣﻦ ﺍﻟﻮﻋﻲ ﺍﳌﻄﻠﻖ ﺃﻭ ﺍﻟﻮﻋﻲ ﺍﻟﻔﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟ ّﻲ ‪.‬‬
‫‪L'aphasie de‬‬ ‫ﻭ( ﻣﻮﺗﻴﻲ‪ ،‬ﺣﺒﺴﺔ ﺑﺮﻭﻛﺎ‪ ،‬ﺍﻟﻔﺼﻞ ﺍﻟﺴّﺎﺑﻊ ‪ " :‬ﰲ ﺍﻟﺼّﻮﺭ ﺍﻟﻜﻼﻣﻴّﺔ" ‪،‬‬
‫‪Broca.‬‬
‫ﻱ( ﻭﻫﻮ ﺃﻳﻀﺎ ﻷﺳﺒﺎﺏ ﻣﻨﻬﺠﻴّﺔ‪ ،‬ﻭﰲ ﺍﳊﻘﻴﻘﺔ‪ ،‬ﻷﺳﺒﺎﺏ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ‪ ،‬ﺇﻧّﻤﺎ ﻛﺎﻥ ﺍﻟﺴّﻠﻮﻛﻴّﻮﻥ‬
‫‪Behaviouristes‬ﻗﺪ ﺃﺑﻄﻠﻮﺍ ﻭﺟﻮﺩ ﺍﻟﺼّﻮﺭ‪ :‬ﻓﻘﺪ ﻗﺎﻝ ﻭﺍﻃﺴﻮﻥ " ‪Watson‬‬
‫ﺃﻧﺎ ﺃﺭﻭﻡ ﺃﻥ ﺃﺑﻄﻞ ﺇﺑﻄﺎﻻ ﻬﻧﺎﺋﻴّﺎ ﺍﻟﺼّﻮﺭ‪ ،‬ﻭﺃﻥ ﺃﺑﻴّﻦ ﺑﺄ ﹼﻥ ﻛ ﹼﻞ ﻓﻜﺮ ﻓﻬﻮ ﻳﺮﺟﻊ ﺭﺟﻮﻋﺎ ﻃﺒﻴﻌﻴّﺎ ﺇﱃ ﻛﻮﻧﻪ‬
‫ﺴﻴّﺔ ﺣﺮﻛﻴّﺔ ﺫﺍﺕ ﻣﻜﺎﻥ ﻫﻮ ﺍﻟﻠﹼﲑﻧﻜﺲ " ‪ Larynx.‬ﺃﻧﻈﺮ ﺍﻟﺴّﻠﻮﻛﻴّﺔ‪ ،‬ﺍﺠﻤﻟﻠﹼﺪ‬
‫ﺃﺣﻮﺍﻻ ﺣ ّ‬
‫‪Journal‬‬ ‫‪of‬‬ ‫ﺍﻷﻭّﻝ‪ .‬ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻻﻧﻔﻌﺎﻝ ﰲ ﺍﻟﺴّﻠﻮﻙ‪ ،‬ﺍﻟﺼّﺤﻴﻔﺔ ﺍﻟﻔﻠﺴﻔﻴّﺔ‬
‫‪ ،Philsophy‬ﺟﻮﻳﻠﻴﺔ ‪. ١٩١٣‬‬
‫ﺃﺃ( ﻧﺴﻖ ﺍﻟﻔﻨﻮﻥ ﺍﳉﻤﻴﻠﺔ ‪ ،Système des Beaux - Arts‬ﺹ‪.٢٢‬‬
‫ﺑﺐ( ﻭﺍﺣﺪ ﻭﲦﺎﻧﻮﻥ ﻓﺼﻞ ﰲ ﺍﻟﺮّﻭﺡ ﻭﺍﻻﻧﻔﻌﺎﻻﺕ ‪Quatre - vingt -un‬‬
‫‪ ،chapitres sur l'esprit et les passions‬ﺹ ‪.٤١‬‬
‫ﺗﺖ( ﻧﺴﻖ ﺍﻟﻔﻨﻮﻥ ﺍﳉﻤﻴﻠﺔ‪ ،‬ﺹ ‪. ١٦‬‬
‫ﺛﺚ( ﺃﻗﻮﺍﻝ ﻵﻻﻥ‪ ،N. R. F ، Les propos d'Alain‬ﺍﳉﺰﺀ ﺍﻷﻭّﻝ‪ ،‬ﺹ‬
‫‪ .٣٣‬ﻭﻟﻨﺎ ﺃﻥ ﻧﻘﺮﺃ ﺍﻋﺘﺒﺎﺭﺍﺕ ﺷﺒﻴﻬﺔ ﰲ ﻣﺼﻨّﻒ ﺍﻟﺪّﻛﺘﻮﺭ ﺑﻴﺎﺭ ﻓﺎﺷﻲ ‪D. Pierre‬‬
‫‪ ،Vachet‬ﺍﻟﻔﻜﺮ ﺍﻟﹼﺬﻱ ﻳﱪﺃ‪La Pensée qui guérit.‬‬
‫ﺟﺞ( ﻭﳌﻌﺘﺮﺽ ﺃﻥ ﻳﻌﺘﺮﺽ ﺑﺄﻧّﻪ ﻳﻮﺟﺪ ﺃﺣﻜﺎﻡ ﺗﺘﻌﻠﹼﻖ ﺑﺎﻻﺣﺘﻤﺎﻝ ﺃﻭ ﺍﻻﻣﻜﺎﻧﻴّﺔ‪ .‬ﻭﻟﻜﻦ ﺫﻟﻚ ﻟﻴﺲ ﲝ ﹼﻞ‪.‬‬
‫ﻓﺄﻥ ﻧﻘﻮﻝ " ﻣﺎ ﺃﺷﺎﻫﺪﻩ ﻫﻨﺎﻟﻚ‪ ،‬ﻋﺴﻰ ﺃﻥ ﻳﻜﻮﻥ ﺇﻧﺴﺎﻧﺎ" ﻭﺃﻥ ﺃﲣﻴّﻞ ﺟﺴﻢ ﺇﻧﺴﺎﻥ ﺣﲔ ﺷﺮﻭﺩﻱ‪ ،‬ﺇﻧّﻤﺎ‬
‫ﻫﻮ ﺇﺗﻴﺎﻥ ﻟﻔﻌﻠﲔ ﳐﺘﻠﻔﲔ ﻭﺍﺿﺢ ﺍﻻﺧﺘﻼﻑ‪ .‬ﻭﺭﺃﻱ ﺁﻻﻥ ﺇﻧّﻤﺎ ﻳﻘﺘﻀﻲ ﺗﺼﻮّﺭﺍ ﻟﻠﻔﻌﻞ ﺍﻹﺩﺭﺍﻛ ّﻲ ﻻ ﳝﻜﻦ‬
‫ﺃﻥ ُﻳ ْﺮَﺗﻀَﻰ ﻛﻤّﺎ ﻛﻨّﺎ ﻗﺪ ﺃﺳﻠﻔﻨﺎ ﺑﻴﺎﻧﻪ‪.‬‬

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 ‫‪IV‬‬
‫ﻫﻮﺳّﺮﻝ‬

‫ﻚ ﺃ ﹼﻥ ﺍﳊﺪﺙ ﺍﻷﻛﱪ ﰲ ﻓﻠﺴﻔﺔ ﻣﺎ ﻗﺒﻞ ﺍﳊﺮﺏ ﻛﺎﻥ ﻇﻬﻮﺭﺍﺠﻤﻟﻠﹼﺪ ﺍﻷﻭّﻝ ﻣﻦ ﺍﺠﻤﻟﻠﹼﺔ‬

‫ﻻﺷ ّ‬
‫ﺍﻟﺴّﻨﻮﻳّﺔ ﰲ ﺍﻟﻔﻠﺴﻔﺔ ﻭﰲ ﺍﻷﲝﺎﺙ ﺍﻟﻔﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟﻴّﺔ)ﺃ( ﺍﻟﹼﱵ ﺍﺣﺘﻮﺕ ﻋﻠﻰ ﺍﳌﺼﻨّﻒ ﺍﻷ ّﻡ‬
‫ﺸﻜﱠﻞ ﻟﻔﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟﻴﺎ ﳏﻀﺔ ﻭﻟﻔﻠﺴﻔﺔ ﻓﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟﻴّﺔ)ﺏ(‪ .‬ﻭﻫﺬﺍ ﺍﳌﺼﻨّﻒ‬
‫ﳍﻮﺳّﺮﻝ‪ ،‬ﻭﻫﻮ ُﻣَﺘ َ‬
‫ﻚ ﺃ ﹼﻥ‬
‫ﻛﺎﻥ ُﻣ ﹾﻠ َﺰﻣًﺎ ﺑﻘﻠﺐ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﻣﺜﻠﻤﺎ ﻛﺎﻥ ﻣﻠﺰﻣﺎ ﺑﻘﻠﺐ ﺍﻟﻔﻠﺴﻔﺔ ﻋﻠﻰ ﺍﻟﺴّﻮﺍﺀ‪ .‬ﻭﻏﲑ ﺷ ّ‬
‫ﺍﻟﻔﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟﻴﺎ ﺍﻟﹼﱵ ﻫﻲ ﻋﻠﻢ ﺑﺎﻟﻮﻋﻲ ﺍﶈﺾ ﺍﳌﺘﻌﺎﱄ‪ ،‬ﺇﻧّﻤﺎ ﻫﻲ ﻓ ّﻦ ﻣﻐﺎﻳﺮ ﻛ ﹼﻞ ﺍﳌﻐﺎﻳﺮﺓ ﻟﻌﻠﻮﻡ‬
‫ﺍﻟﻨّﻔﺲ ﺍﻟﹼﱵ ﺗﻔﺤﺺ ﻋﻦ ﻭﻋﻲ ﺍﳌﻮﺟﻮﺩ ﺍﻟﺒﺸﺮﻱّ‪ ،‬ﲟﺎ ﻫﻮ ﻣﻮﺻﻮﻝ ﺇﱃ ﺟﺴﺪ ﻭﻣﻮﺟﻮﺩ ِﺑِﺈ َﺯﺍ ِﺀ‬
‫ﺍﻟﻌَﺎﹶﻟ ِﻢ‪ .‬ﻓﻌﻠﻢ ﺍﻟﻨّﻔﺲ‪ ،‬ﲝﺴﺐ ﻫﻮﺳّﺮﻝ‪ ،‬ﻳﺒﻘﻰ‪ ،‬ﻣﺜﻠﻪ ﻣﺜﻞ ﺍﻟﻔﻴﺰﻳﺎﺀ ﺃﻭ ﺍﻟﻔﻠﻚ‪ ،‬ﻋﻠﻤﺎ " ﻳﻨﺘﺴﺐ‬
‫ﻟﻠﻤﻮﻗﻒ ﺍﻟﻄﹼﺒﻴﻌ ّﻲ)ﺕ(")‪ ،(١‬ﻋﻠﻰ ﻣﻌﲎ ﺃﻧّﻪ ﻫﻮ ﻋﻠﻢ ﻳﻘﺘﻀﻲ ﻭﺍﻗﻌﻴّﺔ ﻋﻔﻮﻳّﺔ‪ .‬ﺃﻣّﺎ‬
‫ﺍﻟﻔﻴﻨﻮﻣﻮﻟﻮﺟﻴﺎ‪ ،‬ﻓﻌﻠﻰ ﺍﻟﻌﻜﺲ‪ ،‬ﻓﻬﻲ ﺗﺒﺪﺃ ﺣﻴﻨﻤﺎ " ُﻧ ﹾﻘﺼِﻲ ﺍﻟﻮﺿﻊ ﺍﻟﻌﺎ ّﻡ ﻟﻠﻮﺟﻮﺩ ﺍﻟﹼﺬﻱ ﻫﻮ‬
‫ﺟﻮﻫﺮ ﺍﳌﻮﻗﻒ ﺍﻟﻄﹼﺒﻴﻌ ّﻲ)ﺙ(‪".‬‬

‫ﻭﺍﻋﻠﻢ ﺃ ﹼﻥ ﺍﻟﺒﻨﻴﺎﺕ ﺍﳉﻮﻫﺮﻳّﺔ ﻟﻠﻮﻋﻲ ﻻ َﺗ ﱠﺪِﺛﺮُ ﺑﻌﺪﻣﺎ ﻳﻨﺤﺒﺲ ﺍﻟﻮﻋﻲ ﰲ ﺍﻟﻌﺎﱂ‪ .‬ﻭﻟﺬﺍ ﻓﺈ ﹼﻥ‬
‫ﺃﻣّﻬﺎﺕ ﻣﻜﺎﺳﺐ ﺍﻟﻔﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟﻴﺎ ﺗﺒﻘﻰ ﺫﺍﺕ ﻧﻔﻊ ﻟﻌﻠﻢ ﺍﻟﻨّﻔﺲ‪ ،‬ﻣﻊ ﺗﻐﻴﲑ ﻣﺎ ﳚﺐ ﺗﻐﻴﲑﻩ‪.‬‬

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‫ﻭﺃﻳﻀﺎ‪ ،‬ﻓﺎﳌﻨﻬﺞ ﻧﻔﺴﻪ ﺍﻟﻔﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟ ّﻲ ﻗﺪ ﻳﺼﻠﺢ ﻷﻥ ﻳﻜﻮﻥ ِﻣﺜﹶﺎ ﹰﻻ ﻟﻌﻠﻤﺎﺀ ﺍﻟّﻨﻔﺲ‪ .‬ﺻﺤﻴﺢ ﺃ ﹼﻥ‬
‫ﺍﻟﻄﹼﺮﻳﻘﺔ ﺍﳉﻮﻫﺮﻳّﺔ ﰲ ﺫﻟﻚ ﺍﳌﻨﻬﺞ ﺇﻧّﻤﺎ ﺗﺒﻘﻰ " ﺍﳋﺰﻝ "‪ ،‬ﺃﻭ " ﺍﻷﺑﻴﺨﻮ " ﺃﻱ ﺍﻟﻮﺿﻊ ﺑﲔ‬
‫ﻫﻼﻟﲔ ﺍﳌﻮﻗﻒ ﺍﻟﻄﹼﺒﻴﻌﻲّ؛ ﻭﻫﻮ ﺃﻳﻀﺎ ﻣﻌﻠﻮﻡ ﺃ ﹼﻥ ﻋﺎﱂ ﺍﻟﻨّﻔﺲ ﻻ ﻳﺄﰐ ﻣﺜﻞ ﻫﺬﺍ ﺍﻷﺑﻴﺨﻮ‪ ،‬ﻭﺇﻧّﻤﺎ‬
‫ﻫﻮ ﻳﺒﻘﻰ ﰲ ﳎﺎﻝ ﺍﳌﻮﻗﻒ ﺍﻟﻄﹼﺒﻴﻌ ّﻲ‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﺍﻟﻔﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟﻲ‪ ،‬ﻓﺒﻌﺪﻣﺎ ﺃﻥ ﻳﺄﰐ ﺍﳋﺰﻝ‪ ،‬ﺇﻧّﻤﺎ ﻳﺼﲑ‬
‫ﺕ‬
‫ﻣﺎﻟﻜﺎ ﻟﻮﺳﺎﺋﻞ ﲝﺚ ﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﻨﻔﻊ ﻋﺎﱂ ﺍﻟﻨّﻔﺲ‪ :‬ﺇ ﹼﻥ ﺍﻟﻔﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟﻴﺎ ﻫﻲ ﻭﺻﻒ ِﻟِﺒ ْﻨﻴَﺎ ِ‬
‫ﺍﻟﻮﻋﻲ ﺍﳌﺘﻌﺎﱄ ﺑﺎﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺣﺪﺱ ﻣﺎﻫﻴﺎﺕ ﺗﻠﻜﻢ ﺍﻟﺒﲎ‪ .‬ﻭﺑﺎﻟﻄﹼﺒﻊ‪ ،‬ﻓﺈ ﹼﻥ ﻫﺬﺍ ﺍﻟﻮﺻﻒ ﺇﻧّﻤﺎ‬
‫ﻳﻘﻊ ﰲ ﻣﺮﺗﺒﺔ ﺍﻟ ﱠﺮ ِﻭﱠﻳ ِﺔ‪ .‬ﻭﻟﻜﻦ ﻻ ﻳﻨﺒﻐﻲ ﺃﻥ ﳔﻠﻂ ﺑﲔ ﺍﻟﺮّﻭﻳّﺔ ﻭ ﺍﻻﺳﺘﺒﻄﺎﻥ‪ .‬ﻓﺎﻻﺳﺘﺒﻄﺎﻥ ﻫﻮ‬
‫ﺐ‬
‫ﺹ ﻣﻦ ﺍﻟﺮّﻭﻳّﺔ ﻳﻠﺘﻤﺲ ﺍﻟﻮﻗﻮﻑ ﻋﻠﻰ ﺍﻟﻮﺍﻗﻌﺎﺕ ﺍﳋﱪﻳّﺔ ﻭﺣﺪﻫﺎ‪ .‬ﻭﻟﻜﻲ ﺗُ ﹾﻘ ﹶﻠ َ‬
‫ﺿﺮﺏ ﺧﺎ ّ‬
‫ﻧﺘﺎﺋﺠﻪ ﺇﱃ ﻗﻮﺍﻧﲔ ﻋﻠﻤﻴّﺔ‪ ،‬ﻓﻼ ﺑﺪّ‪ ،‬ﺑﻌﺪﻫﺎ‪ ،‬ﻣﻦ ﺍﻻﻧﺘﻘﺎﻝ ﺇﻧﺘﻘﺎﻻ ﺍﺳﺘﻘﺮﺍﺋﻴّﺎ ﺇﱃ ﺍﻟﻌﺎ ّﻡ‪ .‬ﻟﻜﻨّﻪ‪،‬‬
‫ﻫﻨﺎﻙ ﳕﻂ ﺁﺧﺮ ﻣﻦ ﺍﻟﺮّﻭﻳّﺔ‪ ،‬ﺇﻧّﻪ ﺍﻟﻨّﻤﻂ ﺍﻟﹼﺬﻱ ﻳﺴﺘﺨﺪﻣﻪ ﺍﻟﻔﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟ ّﻲ ‪ :‬ﻓﻬﺬﻩ ﺍﻟ ّﺮ ّﻭﻳّﺔ ﺇﻧّﻤﺎ‬
‫ﺗﻄﻠﺐ ﺍﻟﻮﻗﻮﻑ ﻋﻠﻰ ﺍﳌﺎﻫﻴﺎﺕ‪ .‬ﺃﻱ ﺃﻧّﻬﺎ ﺗﺒﺪﺃ ﺑﺎﻟﻮﻗﻮﻑ ﻣﻦ ﺍﻷﻭّﻝ ﰲ ﺍﺠﻤﻟﺎﻝ ﺍﻟﻜ ﹼﻠ ّﻲ‪ .‬ﺻﺤﻴﺢ‬
‫ﺴَﺘَﻨﺪُ ﺇﱃ‬
‫ﺃﻧّﻬﺎ ﻫﻲ ﻟﺘﻌﺘﻤﺪ ﻋﻠﻰ ﺃﻣﺜﻠﺔ‪ .‬ﻟﻜﻨّﻪ ﻫﻲ ﻻﻳﻌﻨﻴﻬﺎ ﺇﻥ ﻛﺎﻧﺖ ﺍﻟﻮﺍﻗﻌﺔ ﺍﻟﻔﺮﺩﻳّﺔ ﺍﻟﹼﱵ ﻫﻲ ﺍﳌﹸ ْ‬
‫ﺍﳌﺎﻫﻴﺔ‪ ،‬ﻫﻲ ﺣﻘﻴﻘﻴّﺔ ﺃﻡ ﺧﻴﺎﻟﻴّﺔ‪ .‬ﻓﺎ ﹸﳌ ْﻌﻄﹶﻰ " ﺍﻟﻨّﻤﻮﺫﺝ " ﻭﻟﻮ ﻛﺎﻥ ﳏﺾ ﺧﻴﺎﻝ‪ ،‬ﻓﻬﻮ ِﻟ ﹶﻜ ْﻮِﻧ ِﻪ ﻋﻠﻰ‬
‫ﺍﻟﺘّﺤﺼﻴﻞ‪ ،‬ﻗﺪ ﺃﻣﻜﻦ ﲣﻴّﻠﻪ‪ ،‬ﻓﻼ ﺑ ّﺪ ﺃﻥ ﻳﻜﻮﻥ ﻗﺪ ﺻﺤّﺖ ﰲ ﺫﺍﺗﻪ ﺍﳌﺎﻫﻴﺔ ﺍﳌﻄﻠﻮﺑﺔ‪ ،‬ﻷ ﹼﻥ ﺍﳌﺎﻫﻴﺔ‬
‫ﻫﻲ ﺷﺮﻁ ﺇﻣﻜﺎﻧﻪ ﻧﻔﺴﻪ‪:‬‬
‫" ﻓﻴﺠﻮﺯ ِﺇﺫﹰﺍ ﺃﻥ ﻧﻘﻮﻝ َﺣ ﱠﻖ ﺍﻟﻘﻮﻝ‪ ،‬ﻟﻮ ﻛﻨّﺎ ﳑّﻦ ﻳُﻮﹶﻟﻊُ ﺑﺎﳌﻔﺎﺭﻗﺎﺕ‪ ،‬ﻭﺑﺸﺮﻁ ﺃﻥ ﻧﻔﻬﻢ ﻣﻌﲎ‬
‫ﻱ ﰲ ﺍﻟﻔﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟﻴﺎ‪ ،‬ﻛﻤﺎ‬
‫ﻫﺬﻩ ﺍﳉﻤﻠﺔ ﺍﳌﻠﺘﺒﺲ ﺣ ّﻖ ﺍﻟﻔﻬﻢ‪ ،‬ﺑﺄ ﹼﻥ ﺍﳋﻴﺎﻝ ﻫﻮ ﺍﻟﻌﻨﺼﺮ ﺍﳊﻴﻮ ّ‬
‫ﻛﺎﻥ ﰲ ﻛ ﹼﻞ ﺍﻟﻌﻠﻮﻡ ﺍﻷﻳﺪﻭﺳﻴّﺔ)ﺝ(‪ ،‬ﻭﻫﻮ ﺍﻟﻴﻨﺒﻮﻉ ﺍﻟﹼﺬﻱ ﻧﻨﻬﻞ ﻣﻨﻪ ﺍﳌﻌﺮﻓﺔ ﺑﺎﳊﻘﺎﺋﻖ‬
‫ﺤﻖﱟ‪ ،‬ﻓﻨﺤﻦ‬
‫ﺢ ﺃﻳﻀﺎ ﻋﻠﻰ ﻋﺎﱂ ﺍﻟﻨّﻔﺲ‪ .‬ﻭِﺑ َ‬
‫ﺢ ﻋﻠﻰ ﺍﻟﻔﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟﻲّ‪ ،‬ﻳﺼ ّ‬
‫ﺍﻷﺯﻟﻴّﺔ)ﺡ(‪ " .‬ﻭﻣﺎ ﻳﺼ ّ‬
‫ﻻ ﻧﺒﻐﻲ ﺇﻧﻜﺎﺭ ﺍﻟﻔﺎﺋﺪﺓ ﺍﳉﻮﻫﺮﻳّﺔ ﻟﻠﺘّﺠﺮﺑﺔ ﻭﺍﻻﺳﺘﻘﺮﺍﺀ ﺑﺸﺘّﻰ ﺃﺷﻜﺎﳍﺎ ﰲ ﺑﻨﺎﺀ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ‪ .‬ﺑﻴﺪ‬
‫ﻕ ﳓﻮ ﳑﻜﻦ ﻋﻠﻰ ﻣﺎﺫﺍ ﳓﻦ ﺳﻮﻑ‬
‫ﻱ ﺃﻥ ﻧﻌﺮﻑ ﻋﻠﻰ ﺃﺩ ّ‬
‫ﺃﻧّﻪ‪ ،‬ﻭﻗﺒﻞ ﺃﻥ ﳒﺮّﺏ‪ ،‬ﹶﺃ ﹶﻓ ﹶﻠ ْﻢ ﻳﻜﻦ ﺑﺎﳊﺮ ّ‬
‫ﳒﺮّﺏ)‪ .(٢‬ﻭﻫﺎﻫﻨﺎ ﻓﺎﻟﺘّﺠﺮﺑﺔ ﻻ ﳝﻜﻨﻬﺎ ﺃﻥ ُﺗ ْﻌﻄِﻲ ﺃﺑﺪﺍ ﺇ ﹼﻻ ﺃﺧﺒﺎﺭﺍ ﻏﺎﻣﻀﺔ ﻭﻣﺘﻨﺎﻗﻀﺔ‪.‬‬

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‫" ﺇ ﹼﻥ ﺍﻟﻌﺼﺮ ﺍﻟﻌﻈﻴﻢ ﻟﻠﻔﻴﺰﻳﺎﺀ ﻛﺎﻥ ﻗﺪ ﺑﺪﺃ ﻣﻊ ﺍﻟﻌﺼﻮﺭ ﺍﳊﺪﻳﺜﺔ‪ ،‬ﻋﻨﺪﻣﺎ‪ ،‬ﻭ ﺑﻘﻮّﺓ ﻭﺩﻓﻌﺔ‬
‫ﻭﺍﺣﺪﺓ‪ ،‬ﺃﺧﺬﻧﺎ ﻧﺴﺘﻌﻤﻞ ﺍﳍﻨﺪﺳﺔ ﰲ ﻣﻨﻬﺞ ﺍﻟﻌﻠﻮﻡ ﺍﻟﻄﹼﺒﻴﻌﻴّﺔ ﺍﻟﹼﱵ ﻫﻲ ﻣﻨﺬ ﺍﻟﻌﺼﺮ ﺍﻟﻘﺪﱘ )ﻭﻻ‬
‫ﺳﻴّﻤﺎ ﻣﻊ ﺍﻹﻓﻼﻃﻮﻧﻴّﲔ( ﻛﺎﻥ ﻗﺪ ﺭُ ِﻗ َﻲ ﻬﺑﺎ ﺃﻳّﻤﺎ ُﺭ ِﻗ ﱟﻲ ﺇﱃ ﻣﺮﺗﺒﺔ ﺍﻷﻳﺪﻭﺳﻴّﺔ ﺍﶈﻀﺔ‪ .‬ﻓﻠﻘﺪ ﺗﺒّﻴﻨّﺎ ِﺇﺫﹰﺍ‬
‫ﻱ ﻫﻲ ﺃﻧّﻪ ﺷﻲﺀ ُﻣ ْﻤَﺘﺪﱞ‪ ،‬ﻭﻣﻦ ﻫﻨﺎﻙ‪ ،‬ﺑﺄ ﹼﻥ ﺍﳍﻨﺪﺳﺔ ﻫﻲ ﺍﻟﻔ ّﻦ ﺍﻷﻧﻄﻮﻟﻮﺟ ّﻲ‬
‫ﺑﺄ ﹼﻥ ﻣﺎﻫّﻴﺔ ﺍﻟﺸّﻲﺀ ﺍﳌﺎ ّﺩ ّ‬
‫ﻱ ﰲ ﺍﻟﺸّﻲﺀ‪ :‬ﺃﻻ ﻭﻫﻮ ﺍﻟﺒﻨﻴﺔ ﺍﳌﻜﺎﻧﻴّﺔ‪ .‬ﻭﻗﺪ ﺗﺒّﻴﻨّﺎ ﺃﻳﻀﺎ‪ ،‬ﺑﺄ ﹼﻥ‬
‫ﺍﻟﹼﺬﻱ ﻳﺘﻨﺎﺳﺐ ﻣﻊ ﻣﻌﲎ ﺟﻮﻫﺮ ّ‬
‫ﺍﳌﺎﻫﻴﺔ ﺍﻟﻜ ﹼﻠﻴّﺔ ﻟﻠﺸّﻲﺀ ﺗﺴﺘﻐﺮﻕ ﺃﻳﻀﺎ ﺑﻨﻴﺎﺕ ﺃﺧﺮﻯ‪ .‬ﻭﻫﻮ ﻣﺎ ﻗﺪ ﻧﺘﺒﻴّﻨﻪ ﺣ ّﻖ ﺍﻟﺘّﺒﻴّﻦ ﻣﻦ ﺗﻄﻮّﺭ‬
‫ﺤﻮ‪‬ﺍ ﺟﺪﻳﺪﺍ‪ :‬ﻓﻠﻘﺪ ُﺭ ْﻣﻨَﺎ ﺃﻥ ﻧﺒﲏ ﺳﻠﺴﻠﺔ ﻣﻦ ﺍﻟﻌﻠﻮﻡ‬
‫ﺖ ﻣﻦ ﺫﻟﻚ ﺍﻟﻮﻗﺖ ُﻧ ُ‬
‫ﺤ ْ‬
‫ﺍﻟﻌﻠﻮﻡ ﺍﻟﹼﱵ َﻧ َ‬
‫ﺍﳉﺪﻳﺪﺓ ﺗﻜﻮﻥ ﻣﻮﺻﻮﻟﺔ ﺇﱃ ﺍﳍﻨﺪﺳﺔ ﻭﺗﻮﻛﻞ ﺇﻟﻴﻬﺎ ﻭﻇﻴﻔﺔ ﻭﺍﺣﺪﺓ ‪ :‬ﺃﻻ ﻭﻫﻲ ﻋﻘﻠﻨﺔ ﺍﳌﻌﻄﻴﺎﺕ‬
‫ﺍﳋﱪﻳّﺔ)ﺥ(‪".‬‬

‫ﻭﻣﺎ ﻛﺘﺒﻪ ﻫﻮﺳّﺮﻝ ﻋﻦ ﺍﻟﻔﻴﺰﻳﺎﺀ‪ ،‬ﳚﻮﺯ ﻧﻘﻠﻪ ﺇﱃ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ‪ .‬ﻓﻬﺬﺍ ﺍﻟﻌﻠﻢ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ‬
‫ﺲ ﻭﺗﻨﺎﻗﺾ‪ ،‬ﹼﰒ ﻳﺒﺘﺪﺃ‬
‫ﺤﱡﻴ ِﺮ ﺑﲔ ﲡﺎﺭﺏ ﺫﺍﺕ ﹶﻟ ْﺒ ٍ‬
‫ﳜﻄﻮ ﺧﻄﻮﺓ ﻋﻤﻼﻗﺔ‪ ،‬ﺇﺫﺍ ﻫﻮ ﲣﻠﹼﻰ ﻋﻦ ﺍﻟﱠﺘ َ‬
‫ﺑﺎﺳﺘﺠﻼﺀ ﺍﻟﺒﻨﻴﺎﺕ ﺍﳉﻮﻫﺮﻳّﺔ ﺍﻟﹼﱵ ﻫﻲ ﻣﻮﺿﻮﻉ ﺃﲝﺎﺛﻪ‪ .‬ﻓﻠﻘﺪ ﺃﺳﻠﻔﻨﺎ ﺍﻟﺮّﺅﻳﺔ‪ ،‬ﻣﺜﻼ‪ ،‬ﺑﺄ ﹼﻥ ﺍﻟﻨّﻈﺮﻳّﺔ‬
‫ﺍﻟﻜﻼﺳﻴﻜﻴّﺔ ﰲ ﺍﻟﺼّﻮﺭﺓ ﺇﻧّﻤﺎ ﺗﻨﻄﻮﻱ ﻋﻠﻰ ﻣﻴﺘﺎﻓﻴﺰﻳﻘﺎ ﺿﻤﻨﻴّﺔ ﻛﺎﻣﻠﺔ‪ ،‬ﻭﺃّﻧﻨﺎ ﻛﻨّﺎ ﻗﺪ ﻣﺮﺭﻧﺎ ﺇﱃ‬
‫ﺍﻟﺘّﺠﺮﺑﺔ ﻣﻦ ﻗﺒﻞ ﺃﻥ ﻧﺘﺨﻠﹼﺺ ﻣﻦ ﻃﺎﺋﻔﺔ ﻣﻦ ﺍﻷﺣﻜﺎﻡ ﺍﳌﺴﺒّﻘﺔ َﻳ ْﺮﻗﹶﻰ ﺑﻌﻀﻬﺎ ﺇﱃ ﺃﺭﺳﻄﻮ‪ .‬ﺃﻓﻠﻢ‬
‫ﻳﻜﻦ ﻣﻦ ﺍﳌﻤﻜﻦ ﺃﻥ ﻧﺸﺮﻉ ﺃﻭّﻻ ﻭ ﻗﺒﻞ ﻛ ﹼﻞ ﺍﺳﺘﺨﺪﺍﻡ ﻟﻠﺘّﺠﺮﺑﺔ )ﺳﻮﺍﺀ ﻛﺎﻧﺖ ﺍﻻﺳﺘﺒﻄﺎﻥ‬
‫ﻱ ﺷﻲﺀ ﻫﻲ ﺍﻟﺼّﻮﺭﺓ ؟ ﻭﻫﺬﺍ ﻭﻫﻞ ﻳﺎُﺗﺮَﻯ ﳍﺬﺍ‬
‫ﻱ ﻃﺮﻳﻘﺔ ﺃﺧﺮﻯ ( ﺑﺎﻟﺘّﺴﺎﺅﻝ ‪ :‬ﺃ ّ‬
‫ﱯ ﺃﻭ ﺃ ّ‬
‫ﺍﻟﺘّﺠﺮﻳ ّ‬
‫ﳘﻴّﺔ ﰲ ﺍﳊﻴﺎﺓ ﺍﻟﻨّﻔﺴﻴّﺔ ﺑﻨﻴﺔ ﺟﻮﻫﺮﻳّﺔ ﺗﻜﻮﻥ ﰲ ﻣﺘﻨﺎﻭﻝ ﺍﳊﺪﺱ‪ ،‬ﻭﳝﻜﻦ ﺃﻥ‬
‫ﺍﻟﻌﻨﺼﺮ ﺍﳍﺎ ّﻡ ﺃﻳّﻤﺎ ﺃ ﹼ‬
‫ﳓﺪّﻫﺎ ﺑﺎﻷﻟﻔﺎﻅ ﻭﺍﳌﻔﺎﻫﻴﻢ ؟ ﻭﻫﻞ ﻳﺎُﺗﺮَﻯ ﻫﻨﺎﻙ ﺃﺣﻜﺎﻡ ﺗﺘﻨﺎﰱ ﻣﻊ ﺍﻟﺒﻨﻴﺔ ﺍﳉﻮﻫﺮﻳّﺔ ﻟﻠﺼّﻮﺭﺓ ؟‬
‫ﻭﻫﻠ ّﻢ ﺟﺮّﺍ‪ .‬ﻭﺑﺎﳉﻤﻠﺔ‪ ،‬ﻓﻌﻠﻢ ﺍﻟﻨّﻔﺲ ﺇﻧّﻤﺎ ﻫﻮ ﺧﱪﻳّﺔ ﻣﺎﺯﺍﻟﺖ ﺗﺒﺤﺚ ﻋﻦ ﻣﺒﺎﺩﺋﻬﺎ ﺍﻷﻳﺪﻭﺳﻴّﺔ‪.‬‬
‫ﻭﻫﻮﺳّﺮﻝ ﺍﻟﹼﺬﻱ ﻏﺎﻟﺒﺎ ﻣﺎ ِﻋ ْﺒﻨَﺎ ﻋﻠﻴﻪ‪َ ،‬ﺧ ﹶﻄﺄﹰ‪ ،‬ﻣﻌﺎﺩﺗﻪ ﺍﳌﺒﺪﺋﻴّﺔ ﻟﻌﻠﻢ ﺍﻟﻨّﻔﺲ‪ ،‬ﺇﻧّﻤﺎ ﻛﺎﻥ‪ ،‬ﻋﻠﻰ‬
‫ﰊ؛‬
‫ﺍﻟﻌﻜﺲ‪ ،‬ﺇﻧّﻤﺎ ﻳﺮﻭﻡ ﻣﻦ ﺃﺟﻞ ﻧﻔﻌﻪ ﺫﻟﻚ ﺍﻟﻌﻠﻢ‪ :‬ﻓﻬﻮ ﱂ ﻳﻨﻜﺮ ﺃﻧّﻪ ﻫﻨﺎﻙ ﻋﻠﻢ ﻧﻔﺲ ﲡﺮ ّ‬
‫ﻭﻟﻜﻨّﻪ ﻛﺎﻥ ﻳﻌﺘﻘﺪ ﺑﺄﻧّﻪ‪ ،‬ﻗﺒﻞ ﻛ ﹼﻞ ﺷﻲﺀ‪ ،‬ﻓﻌﺎﱂ ﺍﻟﻨّﻔﺲ ﻳﻨﺒﻐﻲ ﺃﻥ ﻳﺆ ّﺳﺲ ﻋﻠﻢ ﻧﻔﺲ ﺃﻳﺪﻭﺳ ّﻲ‪.‬‬

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‫ﻭﺑﺎﻟﻄﹼﺒﻊ‪ ،‬ﻓﻌﻠﻢ ﺍﻟﻨّﻔﺲ ﻫﺬﺍ‪ ،‬ﺳﻮﻑ ﻟﻦ ﻳﺴﺘﻌﲑ ﻣﻨﺎﻫﺠﻪ ﻣﻦ ﺍﻟﻌﻠﻮﻡ ﺍﻟﺮّﻳﺎﺿﻴّﺔ ﺍﻟﹼﱵ ﻫﻲ ﻋﻠﻮﻡ‬
‫ﺍﺳﺘﻨﺘﺎﺟﻴّﺔ)‪ ،(٣‬ﻭﺇﻧّﻤﺎ ﻣﻦ ﺍﻟﻌﻠﻮﻡ ﺍﻟﻔﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟﻴّﺔ ﺍﻟﹼﱵ ﻫﻲ ﻋﻠﻮﻡ ﻭﺻﻔﻴّﺔ‪ .‬ﺇﻧّﻪ ﺳﻴﻜﻮﻥ " ﻋﻠﻢ‬
‫ﺠ َﺰ ﰲ ﳎﺎﻝ ﺍﳌﻮﺟﻮ ِﺩ َﺑﺎﻃ َﻦ ﺍﻟﻌَﺎﹶﻟ ِﻢ ﺃﲝﺎﺛﺎ‬
‫ﻧﻔﺲ ﻓﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟ ّﻲ "؛ ﻭ ﻫﻮ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳُ ْﻨ ِ‬
‫ﻭﲢﺪﻳﺪﺍﺕ ﻣﺎﻫﻮﻳّﺔ‪ ،‬ﻣﺜﻠﻤﺎ ﺗﻔﻌﻠﻪ ﺍﻟﻔﻴﻨﻮﻣﻠﻮﺟﻴﺎ ﰲ ﺍﳌﻘﺎﻡ ﺍﳌﺘﻌﺎﱄ‪ .‬ﻭﺑﺎﻟﻄﹼﺒﻊ ﻓﻬﻮ ﳚﻮﺯ ﻟﻨﺎ ﺃﻥ‬
‫ﻧﺘﻜﻠﹼﻢ ﻫﺎﻫﻨﺎ ﺃﻳﻀﺎ ﻋﻦ ﲡﺮﺑﺔ‪ ،‬ﻷ ﹼﻥ ﻛ ﹼﻞ ﺭﺅﻳﺔ ﺣﺪﺳﻴّﺔ ﻟﻠﻤﺎﻫﻴﺔ ﻓﻬﻲ ﲡﺮﺑﺔ)‪ .(٤‬ﻭﻟﻜﻨّﻬﺎ ﻫﻲ‬
‫ﲡﺮﺑﺔ ﺳﺎﺑﻘﺔ ﻟﻜ ﹼﻞ ﲡﺮﺑﺔ‪.‬‬
‫ﻓِﺈﺫﹰﺍ ﻛ ﹼﻞ ﲝﺚ ﰲ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻓﻴﺒﻐﻲ ﺃﻥ ﻳﻜﻮﻥ ﺑﻨﺤﻮ ﻣﺴﻌﻰ ﻣﻦ ﺃﺟﻞ ﲢﻘﻴﻖ ﰲ ﻣﻮﺿﻮﻉ ﻣﺎ‬
‫ﳐﺼﻮﺹ‪ ،‬ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﺍﻟﻔﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟ ّﻲ‪ .‬ﻭﻳﻨﺒﻐﻲ ﺃﻥ ﻧﻠﺘﻤﺲ ﺗﺄﺳﻴﺲ ﺃﻳﺪﻭﺳﻴّﺔ ﻟﻠﺼّﻮﺭﺓ‪ ،‬ﺃﻱ‬
‫ﻱ‪ .‬ﰒﹼ‪ ،‬ﻭﺑﻌﺪﻣﺎ‬
‫ﺃﻥ ﳓ ّﺪ ﻭﺃﻥ ﻧﺼﻒ ﻣﺎﻫﻴﺔ ﺗﻠﻚ ﺍﻟﺒﻨﻴﺔ ﺍﻟﻨّﻔﺴﻴّﺔ ﻛﻤﺎ ﻫﻲ ﺗﻈﻬﺮ ﻟﻠﺤﺪﺱ ﺍﻟ ﱠﺮ َﻭ ِﻭ ّ‬
‫ﻧﻜﻮﻥ ﻗﺪ ﻋﻴﻨّﺎ ﲨﻠﺔ ﺍﻟﺸّﺮﻭﻁ ﺍﻟﹼﱵ ﳚﺐ ﺃﻥ ﺗﺘﺤﻘﹼﻖ ﺑﺎﻻﺿﻄﺮﺍﺭ ﰲ ﺣﺎﻝ ﻧﻔﺴﻴّﺔ ﻣﺎ ﺣﺘّﻰ ﺗﻜﻮﻥ‬
‫ﲏ ﺇﱃ ﺍﶈﺘﻤﻞ ﻓﻨﺴﺘﺨﱪ ﺍﻟﺘّﺠﺮﺑﺔ ﻋﻦ ﺍﻟﺼّﻮﺭ‬
‫ﺻﻮﺭﺓ‪ ،‬ﻓﻌﻨﺌﺬ ﻓﻘﻂ‪ ،‬ﻻ ﺑ ّﺪ ﻣﻦ ﺍﻻﻧﺘﻘﺎﻝ ﻣﻦ ﺍﻟﻴﻘﻴ ّ‬
‫ﻱ ﻣﻌﺎﺻﺮ‪.‬‬
‫ﻛﻤﺎ ﻣﻦ ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﻌﺮﺽ ﻟﻮﻋﻲ ﺑﺸﺮ ّ‬

‫ﻭﻟﻜﻦ ﻫﻮﺳّﺮﻝ ﱂ ﻳﻘﺘﺼﺮ ﻓﻴﻤﺎ ﻳﺘﻌﻠﹼﻖ ﲟﺴﺄﻟﺔ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﺑﺄﻥ ﺃﻓﺎﺩﻧﺎ ﲟﻨﻬﺞ‪ :‬ﺑﻞ ﻫﻨﺎﻙ ﰲ "‬
‫ﺍﻷﻓﻜﺎﺭ " ﺃﺻﻮﻝ ﻟﻨﻈﺮﻳّﺔ ﰲ ﺍﻟﺼّﻮﺭ ﺟﺪﻳﺪﺓ ﻛﺎﻣﻞ ﺍﳉﺪّﺓ‪ .‬ﻭﺍﳊ ّﻖ ﺃﻗﻮﻝ ﺃ ﹼﻥ ﻫﻮﺳّﺮﻝ ﱂ ﻳﺘﻨﺎﻭﻝ‬
‫ﺍﳌﺴﺄﻟﺔ ﺇ ﹼﻻ ﻋﺮﺿﺎ‪ ،‬ﻭﺃﻳﻀﺎ‪ ،‬ﻓﻨﺤﻦ ﻻ ﻧﺘّﻔﻖ ﻣﻌﻪ‪ ،‬ﻛﻤﺎ ﺳﻮﻑ ﻧﺮﻯ‪ ،‬ﰲ ﻛ ﹼﻞ ﺍﻷﻣﻮﺭ‪ .‬ﻭﺃﻳﻀﺎ‪،‬‬
‫ﻓﺈ ﹼﻥ ﺷﺮﻭﺣﻪ ﺗﺴﺘﻠﺰﻡ ﺗﻌﻤﻴﻘﺎ ﻭﺗﻜﻤﻠﺔ‪ .‬ﻋﻠﻰ ﺃ ﹼﻥ ﺍﻹﺷﺎﺭﺍﺕ ﺍﻟﹼﱵ ﻛﺎﻥ ﻗﺪ ﺃﻋﻄﺎﻧﺎﻫﺎ ﳍﻲ ﻋﻠﻰ‬
‫ﻏﺎﻳﺔ ﻣﻦ ﺍﻟﻔﺎﺋﺪﺓ‪.‬‬

‫ﺠ ﱠﺰ َﺀﺓﹰ‪ ،‬ﻓﺈ ﹼﻥ ﺑﺴﻄﻬﺎ ﻫﻮ ﻣﻦ ﺍﻟﺼّﻌﻮﺑﺔ ﲟﻜﺎﻥ‪ .‬ﻭﻻ‬

‫ﻭﻷ ﹼﻥ ﻣﻼﺣﻈﺎﺕ ﻫﻮﺳّﺮﻝ ﻗﺪ ﺟﺎﺀﺕ ُﻣ َ‬
‫ﻳﻨﺒﻐﻲ ﺃﻥ ﻧﻄﻤﻊ ﰲ ﺃﻥ ﳒﺪ ﰲ ﺍﻟﻔﻘﺮﺍﺕ ﺍﻟﹼﱵ ﳊﻘﺖ ﺑﻨﺎﺀ ﻧﺴﻘﻴّﺎ‪ ،‬ﻭﺇﻧّﻤﺎ ﻓﻘﻂ ﳎﻤﻮﻋﺔ ﻣﻦ‬
‫ﺍﻻﺭﺷﺎﺩﺍﺕ ﺍﻟﻨّﺎﻓﻌﺔ‪.‬‬

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‫ﺇ ﹼﻥ ﻣﻔﻬﻮﻡ ﺍﻟﻘﺼﺪﻳّﺔ ‪ Intentionalitât‬ﻧﻔﺴﻪ ﳍﻮ ﻣﺪﻋ ّﻮ ﻣﻦ ﺃﺟﻞ ﲡﺪﻳﺪ‬
‫ﻣﻘﻮﻟﺔ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻭﳓﻦ ﻧﻌﻠﻢ ﺑﺄﻧّﻪ‪ ،‬ﻋﻨﺪ ﻫﻮﺳّﺮﻝ‪ ،‬ﻓﻜ ﹼﻞ ﺣﺎﻝ ﺣﺎﻝ ﰲ ﺍﻟﻮﻋﻲ‪ ،‬ﺃﻭ ﺑﺎﻷﺣﺮﻯ‪،‬‬
‫ﻭﻛﻤﺎ ﻳﻘﻮﻝ ﺍﻷﳌﺎﻥ ﻭﻛﻤﺎ ﻧﻘﻮﻝ ﳓﻦ ﻣﻌﻬﻢ‪ ،‬ﻛ ﹼﻞ ﻭﻋﻲ ﻓﻬﻮ ﻭﻋﻲ ﺑﺸﻲﺀ ﻣﺎ‪.‬‬

‫" ﺇ ﹼﻥ ﻛ ﹼﻞ " ﺍﳌﻌﺎﻳﻴﺶ‪ "Erlebnisse‬ﺍﻟﹼﱵ ﺗﺸﺘﺮﻙ ﻛﻠﹼﻬﺎ ﰲ ﺗﻠﻚ ﺍﳋﺎﺻﻴّﺔ‬

‫ﺍﳉﻮﻫﺮﻳّﺔ ﻫﻲ ﺗﺪﻋﻰ ﺃﻳﻀﺎ " ﺑﺎﳌﻌﺎﻳﻴﺶ ﺍﻟﻘﺼﺪﻳّﺔ "‪ :‬ﻭﻟﻜﻮﻬﻧﺎ ﻫﻲ ﻭﻋﻴﺎ ﺑﺸﻲﺀ ﻣﺎ ﻓﻨﻘﻮﻝ ﻋﻨﻬﺎ‬
‫ﺑﺄﻧّﻬﺎ " ﺗﺘﻌﻠﹼﻖ ﻗﺼﺪﻳّﺎ " ﺑﺬﻟﻚ ﺍﻟﺸّﻲﺀ)ﺩ(‪".‬‬

‫ﻓﺒﻨﻴﺔ ﻛ ﹼﻞ ﻭﻋﻲ ﺍﳉﻮﻫﺮﻳّﺔ‪ ،‬ﻫﻲ ﺇﺫﺍ ﻛﻮﻧﻪ ﻗﺼﺪﻳّﺔ‪ .‬ﻓﻴﺴﺘﻠﺰﻡ ﻣﻦ ﺫﻟﻚ ﺑﺎﻟﻄﹼﺒﻊ‪ ،‬ﺗﻔﺮﻗﺔ‬
‫ﺟﺬﺭﻳّﺔ ﻣﺎ ﺑﲔ ﺍﻟﻮﻋﻲ ﻭﺍﻷﻣﺮ ﺍﻟﹼﺬﻱ ﻳﺘﻌﻠﹼﻖ ﺑﻪ ﺍﻟﻮﻋﻲ‪ .‬ﺇ ﹼﻥ ﻣﻮﺿﻮﻉ ﺍﻟﻮﻋﻲ ﺃﻳّﺎ ﻛﺎﻥ )ﺑﺎﻻﺳﺜﻨﺎﺀ‬
‫ﻱ ( ﻫﻮ ﺑﺎﻟﺬﹼﺍﺕ ﺧﺎﺭﺝ ﺍﻟﻮﻋﻲ‪ :‬ﺇﻧّﻪ ﻣﻔﺎﺭﻕ‪ .‬ﻭﻫﺬﻩ ﺍﻟﺘّﻔﺮﻗﺔ ﺍﻟﹼﱵ ﻋﺎﺩ ﺇﻟﻴﻬﺎ‬
‫ﺍﻟﻮﻋﻲ ﺍﻟﺮّﻭﻭ ّ‬
‫ﺾ ﺃﺧﻄﺎﺀ ﺿﺮﺏ ﻣﻦ ﺍ ﹸﳌﺤَﺎَﻳِﺜﱠﻴ ِﺔ ﺍﻟﹼﱵ ﻛﺎﻧﺖ‬
‫ﻫﻮﺳّﺮﻝ ﻣﺮّﺍﺕ ﺑﻼ ﻣﻠﻞ‪ ،‬ﺇﻧّﻤﺎ ﻏﺮﺿﻬﺎ ﺃﻥ َﺗ ْﻨ ِﻘ َ‬
‫ﺗﺮﻭﻡ ﺃﻥ ﺗﺒﲏ ﺍﻟﻌﺎﱂ ﲟﺤﺘﻮﻳﺎﺕ ﺍﻟﻮﻋﻲ ) ﻣﺜﻞ ﻣﺜﺎﻟﻴّﺔ ﺑﺎﺭﻛﻠ ّﻲ (‪ .‬ﺇﻧّﻪ ﺗﻮﺟﺪ‪ ،‬ﻻﳏﺎﻟﺔ‪ ،‬ﳏﺘﻮﻳﺎﺕ‬
‫ﻭﻋﻲ‪ ،‬ﻭﻟﻜﻦ ﻫﺬﻩ ﺍﶈﺘﻮﻳﺎﺕ ﻫﻲ ﻟﻴﺴﺖ ﻣﻮﺿﻮﻉ ﺍﻟﻮﻋﻲ ‪ :‬ﻭﺇﻧّﻤﺎ ﺑﺘﻮﺳّﻄﻬﺎ ﺗﻜﻮﻥ ﺍﻟﻘﺼﺪﻳّﺔ‬
‫ﺗﺴﺘﻬﺪﻑ ﺍﳌﻮﺿﻮﻉ ﺍﻟﹼﺬﻱ ﻫﻮ ﻣَُﺘ َﻌ ﱠﻠﻖُ ﺍﻟﻮﻋﻲ‪ ،‬ﻭﻟﻜﻨّﻪ ﻟﻴﺲ ﻫﻮ ﺍﻟﻮﻋﻲ‪ .‬ﺇ ﹼﻥ ﺍﻟﻨّﻔﺴﺎﻧﻴّﺔ ﻭﻗﺪ‬
‫ﺍﺳﺘﻨﺪﺕ ﺇﱃ ﺍﳉﻤﻠﺔ ﺫﺍﺕ ﺍﻟﻠﱠﺒﺲ " ﺍﻟﻌﺎﱂ ﻫﻮ ﲤﺜﹼﻞ ﻟﻨﺎ " ﻓﻘﺪ ﺫﻭّﺑﺖ ﺍﻟﺸّﺠﺮﺓ ﺍﻟﹼﱵ ﺃﺩﺭﻛﻬﺎ ﺇﱃ‬
‫ﺤﺼَﻰ ﻣﻦ ﺍﻹﺣﺴﺎﺳﺎﺕ‪ ،‬ﻭﺍﻻﻧﻄﺒﺎﻋﺎﺕ ﺍﳌﻠﻮّﻧﺔ ﻭﺍﻟﻠﹼﻤﺴﻴّﺔ ﻭﺍﳊﺮﺍﺭﻳّﺔ‪ ،‬ﻭﻏﲑ ﺫﻟﻚ‪،‬‬
‫ﻛﺜﺮﺓ ﻻ ُﺗ ْ‬
‫ﺼﻞﹲ ﻣﻦ‬
‫ﺤ ﱠ‬
‫ﻭﺍﻟﹼﱵ ﻫﻲ " ﲤﺜﹼﻼﺕ "‪ .‬ﺣﺘّﻰ ﺃ ﹼﻥ ﺍﻟﺸّﺠﺮﺓ ﻛﺎﻧﺖ ﻗﺪ ﻇﻬﺮﺕ ِﺑﹶﺄ َﺧ َﺮ ٍﺓ ﻭﻛﺄﻧّﻬﺎ ُﻣ َ‬
‫ﺍﶈﺘﻮﻳﺎﺕ ﺍﻟﺬﹼﺍﺗﻴّﺔ ﻭﺃﻧّﻬﺎ ﻫﻲ ﻧﻔﺴﻬﺎ ﻫﻲ ﻇﺎﻫﺮﺓ ﺫﺍﺗﻴّﺔ‪ .‬ﺃﻣّﺎ ﻫﻮﺳّﺮﻝ‪ ،‬ﻓﻌﻠﻰ ﺍﻟﻌﻜﺲ‪ ،‬ﻓﻬﻮ ﻗﺪ‬
‫ﺍﺑﺘﺪﺃ ﺑﺄﻥ ﻭﺿﻊ ﺍﻟﺸّﺠﺮﺓ ﺧﺎﺭﺟﺎ ﻋﻨّﺎ‪(٥).‬‬

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‫" ﻓﻌﻠﻰ ﺍﻟﻌﻤﻮﻡ ﺍﻟﻜ ﹼﻠ ّﻲ ﺑﺈﻃﻼﻕ‪ ،‬ﺍﻟﺸّﻲﺀ ﻻ ﳝﻜﻦ ﺃﻥ ُﻳ ْﻌﻄﹶﻰ ﰲ ﺇﺩﺭﺍﻙ ﻣﻦ ﺍﻻﺩﺭﺍﻛﺎﺕ‬
‫ﺍﳌﻤﻜﻨﺔ‪ ،‬ﺃﻱ ﻻﳝﻜﻦ ﺃﻥ ُﻳ ْﻌﻄﹶﻰ ﰲ ﻭﻋﻲ ﻣﻦ ﺍﻟ ُﻮ ِﻋ ﱢﻲ ﺍﳌﻤﻜﻨﺔ ﻋﻠﻰ ﺍﻟﻌﻤﻮﻡ‪ ،‬ﺑﻨﺤﻮ ﺍﶈﺎﻳﺚ ﺍﻟﻔﻌﻠ ّﻲ‬
‫ﻟﻪ )ﺫ(‪".‬‬

‫ﺻﺤﻴﺢ ﺃ ﹼﻥ ﻫﻮﺳّﺮﻝ ﻻ ﻳﻨﻜﺮ ﺍﻟﺒﺘّﺔ ﻭﺟﻮﺩ ﻣﻌﻄﻴﺎﺕ ﺑﺼﺮﻳّﺔ ﺃﻭ ﳌﺴﻴّﺔ ﺗﺪﺧﻞ ﰲ ﺍﻟﻮﻋﻲ‪،‬‬
‫ﺑﻨﺤﻮ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺬﹼﺍﺗﻴّﺔ ﺍﶈﺎﻳﺜﺔ‪ .‬ﻟﻜﻦ ﻫﺬﻩ ﺍﳌﻌﻄﻴﺎﺕ ﻟﻴﺴﺖ ﻫﻲ ﺍﳌﻮﺿﻮﻉ ‪ :‬ﻭﺍﻟﻮﻋﻲ ﻻ‬
‫ﻱ‬
‫ﻳﻘﺼﺪﻫﺎ ﻫﻲ‪ ،‬ﻭﺇﻧّﻤﺎ ِﺑَﺘ َﻮ ﱡﺳ ِﻄﻬَﺎ ﻫﻮ ﻳﺴﺘﻬﺪﻑ ﺍﳌﻮﺿﻮﻉ ﺍﳋﺎﺭﺟ ّﻲ‪ .‬ﻭﺫﻟﻚ ﺍﻻﻧﻄﺒﺎﻉ ﺍﻟﺒﺼﺮ ّ‬
‫ﺍﻟﹼﺬﻱ ﻳﺪﺧﻞ ﺍﻵﻥ ﰲ ﻭﻋﻴﻲ ﻟﻴﺲ ﻫﻮ ﺍﻷﲪﺮ‪ .‬ﺑﻞ ﺍﻷﲪﺮ ﻫﻮ ﻛﻴﻒ ﰲ ﺍﳌﻮﺿﻮﻉ‪ ،‬ﻭﻫﻮ ﻛﻴﻒ‬
‫ﻣﻔﺎﺭﻕ‪ .‬ﻭﺫﻟﻚ ﺍﻻﻧﻄﺒﺎﻉ ﺍﻟﺬﹼﺍﰐ ﺍﻟﹼﺬﻱ‪ ،‬ﻟﻴﺲ ﻣﻦ ﺷﻚّ‪ ،‬ﻝ"ﺷﺒﻴﻪ " ﺑﺎﻻﲪﺮ ﰲ ﺍﳌﻮﺿﻮﻉ ﻟﻴﺲ‬
‫ﻫﻮ ﺇ ﹼﻻ " ﺷﺒﻪ ﺃﲪﺮ "‪ :‬ﺃﻱ ﺃﻧّﻪ ﻫﻮ ﺍﳌﺎﺩّﺓ ﺍﻟﺬﹼﺍﺗﻴّﺔ‪ ،‬ﻭ "ﺍﳍﻴﻮﱃ " ﺍﻟﹼﱵ ﺗﻘﻊ ﻋﻠﻴﻬﺎ ﺍﻟﻘﺼﺪﻳّﺔ ﺍﻟﹼﱵ‬
‫ﺷﺄﻬﻧﺎ ﺃﻥ ﺗﺘﻌﺎﱃ ﻃﻠﺒﺎ ﻻﻗﺘﻨﺎﺹ ﺍﻷﲪﺮ ﺍﳋﺎﺭﺝ ﺍﻟﺬﹼﺍﺕ‪.‬‬

‫" ﳚﺐ ﺃ ﹼﻻ ﻧﻐﻔﻞ ﺃﺑﺪﺍ ﻋﻦ ﺃ ﹼﻥ ﺍﳌﻌﻄﻴﺎﺕ ﺍﻻﻧﻄﺒﺎﻋﻴّﺔ ﺍﻟﹼﱵ ﻭﻇﻴﻔﺘﻬﺎ ﺃﻥ " ﺗﻠﻮّﺡ" ﺑﺎﻟﻠﹼﻮﻥ‪،‬‬
‫ﻭﺍﳌﻜﺎﻥ‪ ،‬ﻭﺍﻟﺸّﻜﻞ)ﺭ( ) ﺃﻱ ﺍﻟﹼﱵ ﻭﻇﻴﻔﺘﻬﺎ " ﺍﻟﺘّﻤﺜﹼﻞ " (‪ ،‬ﺇﻧّﻤﺎ ﻫﻲ ﺑﺎﻟﺬﹼﺍﺕ ﲣﺘﻠﻒ ﺍﺧﺘﻼﻓﺎ‬
‫ﺟﺬﺭﻳّﺎ ﻋﻦ ﺍﻟﻠﹼﻮﻥ‪ ،‬ﻭﺍﳌﻜﺎﻥ‪ ،‬ﺃﻭ ﺍﻟﺸﻜﹼﻞ‪ ،‬ﺃﻱ‪ ،‬ﻋﻦ ﲨﻴﻊ ﻛﻴﻔﻴّﺎﺕ ﺍﻟﺸّﻲﺀ‪).‬ﺯ("‬

‫ﻱ ﺍﻟﻠﹼﻮﺍﺯﻡ ﺍﻟﻘﺮﻳﺒﺔ ﻟﺬﻟﻚ ﻋﻠﻰ ﺍﻟﺼّﻮﺭﺓ‪ :‬ﻓﺎﻟﺼﻮّﺭﺓ ﻫﻲ ﺃﻳﻀﺎ ﺻﻮﺭﺓ ﻟﺸﻲﺀ‬

‫ﻭﳓﻦ ﻧﺮﻯ ﺃ ّ‬
‫ﻣﺎ‪ .‬ﻓﺈﻧّﻨﺎ ِﺇﺫﹰﺍ ﺑﺴﺒﻴﻞ ﻋﻼﻗﺔ ﻗﺼﺪﻳّﺔ ﻟﻀﺮﺏ ﻣﻦ ﺍﻟﻮﻋﻲ ﺑﻀﺮﺏ ﻣﻦ ﺍﳌﻮﺿﻮﻉ‪ .‬ﻭﺑﺎﳉﻤﻠﺔ‪،‬‬
‫ﻓﺎﻟﺼّﻮﺭﺓ ﻗﺪ ﻛﻔﹼﺖ ﻋﻦ ﻛﻮﻬﻧﺎ ﳏﺘﻮﻯ ﻧﻔﺴﻴّﺎ ؛ ﻓﻬﻲ ﱂ ﺗﻌﺪ ﺗﻮﺟﺪ ﰲ ﺍﻟﻮﻋﻲ ﲟﱰﻟﺔ ﺍﻟﻌﻨﺼﺮ‬
‫ﺍﳌﹸ ﹶﻘ ﱢﻮ ِﻡ ؛ ﻭﺇﻧّﻤﺎ‪ ،‬ﻓﻔﻲ ﺍﻟﻮﻋﻲ ﺑﺸﻲﺀ ﻣﺎ ﰲ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻫﻮﺳّﺮﻝ ﻗﺪ ﻣﻴّﺰ‪ ،‬ﻛﻤﺎ ﰲ ﺍﻹﺩﺭﺍﻙ‪ ،‬ﺑﲔ‬
‫ﺨﱢﻴ ﹶﻠ ٍﺔ ﻭﻫﻴﻮﱃ " َﺗ ْﻨﻔﹸﺚﹸ " ﻓﻴﻬﺎ ﺍﻟﻘﺼﺪﻳّﺔ ﻣﻦ ﺭﻭﺣﻬﺎ)ﺱ(‪ .‬ﻭﺍﳍﻴﻮﱃ‪ ،‬ﺑﺎﻟﻄﹼﺒﻊ‪ ،‬ﺇﻧّﻤﺎ‬
‫ﻗﺼﺪﻳّﺔ ﻣَُﺘ َ‬
‫ﻚ ﻋﻦ ﳏﺾ " ﺍﶈﺘﻮﻯ "‪،‬‬
‫ﺗﺒﻘﻰ ﺫﺍﺗﻴّﺔ‪ ،‬ﻭﻟﻜﻦ‪ ،‬ﻭﻟﻨﻔﺲ ﺍﻟﺴّﺒﺐ‪ ،‬ﻓﺈ ﹼﻥ ﻣﻮﺿﻮﻉ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﺇﺫ ﻳﻨﻔ ّ‬
‫ﻓﻬﻮ ﻳﺮﻛﻦ ﺧﺎﺭﺝ ﺍﻟﻮﻋﻲ ﺑﻨﺤﻮ ﺍﻟﺸّﻲﺀ ﺍﳌﺨﺘﻠﻒ ﻋﻨﻬﺎ ﻛ ﹼﻞ ﺍﻻﺧﺘﻼﻑ‪(٦) .‬‬

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‫" ﺃﻣﺎ ﻟﻨﺎ ﺃﻥ ﻧﻌﺘﺮﺽ ﺑﺄ ﹼﻥ ﺳﻨﺘﻮﺭ)‪(7‬ﻣﺎ ﻳﻌﺰﻑ ﻋﻠﻰ ﺍﻟﻨّﺎﻱ‪ ،‬ﻭﻫﻮ ﺧﻴﺎﻝ ﻗﺪ ﻛ ّﻮﻧّﺎﻩ‬
‫ﲟﺸﻴﺌﺘﻨﺎ‪ ،‬ﺇﻧّﻤﺎ ﻫﻮ ﻛﺎﻥ ﻣﻦ ﺃﺟﻞ ﺫﻟﻚ‪ ،‬ﲡﻤﻴﻌﺎ ﺣﺮّﺍ ﻟﺘﻤﺜﹼﻼﺕ ﻓﻴﻨﺎ ؟ ﻓﻨﺠﻴﺐ‪ :‬ﺻﺤﻴﺢ ﺇ ﹼﻥ‬
‫ﲏ‪ .‬ﻭﻟﻜﻦ‪،‬‬
‫ﺤ َﺪﺙﹲ ﺫﻫ ّ‬
‫ﺍﳋﻴﺎﻝ ﺍﳊ ّﺮ ﳛﺼﻞ ﺣﺼﻮﻻ ﻋﻔﻮﻳّﺎ‪ ،‬ﻭﻣﺎ ﻧُ ْﺒ ِﺪﻋُﻪُ ﻋﻔﻮﻳّﺎ‪ ،‬ﻫﻮ‪ ،‬ﺑﻼ ﺷﻚ‪ُ ،‬ﻣ ْ‬
‫ﻓﻔﻴﻤﺎ ﻳﺘﻌﻠﹼﻖ ﺑﺎﻟﺴﻨﺘﻮﺭ ﺍﻟﻌﺎﺯﻑ ﻋﻠﻰ ﺍﻟﻨّﺎﻱ‪ ،‬ﻓﺈﻧّﻤﺎ ﻫﻮ ﲤﺜﹼﻞ ﻟﻜﻮﻥ ﺃﻧّﻨﺎ ﻧﻄﻠﻖ ﺍﺳﻢ ﲤﺜﹼﻞ ﻋﻠﻰ ﻣﺎ‬
‫ﻫﻮ ُﻣَﺘ َﻤﱠﺜﻞﹲ‪ ،‬ﻭﻟﻴﺲ ﲟﻌﲎ ﺃﻥ ﺍﻟﺘّﻤﺜﹼﻞ ﻫﻮ ﺍﺳﻢ ﻳﻄﻠﻖ ﻋﻠﻰ ﺣﺎﻝ ﻧﻔﺴﻴّﺔ ﻣﺎ‪ .‬ﺃﻣّﺎ ﺍﻟﺴّﻨﺘﻮﺭ ﻧﻔﺴﻪ‪،‬‬
‫ﻓﻬﻮ ﻻﳏﺎﻟﺔ‪ ،‬ﻟﻴﺲ ﺑﻨﻔﺴﻲّ‪ ،‬ﻭﻫﻮ ﻻﻳﻮﺟﺪ ﻻ ﰲ ﺍﻟﻨّﻔﺲ‪ ،‬ﻭﻻ ﺧﺎﺭﺝ ﺍﻟﻮﻋﻲ‪ ،‬ﻭﻻ ﰲ ﻣﻜﺎﻥ ﻣﻦ‬
‫ﺍﻷﻣﻜﻨﺔ ؛ ﺇﻧّﻪ ﻻﻳﻮﺟﺪ ﺇﻃﻼﻗﺎ‪ ،‬ﺑﻞ ﻫﻮ ﲝﺬﺍﻓﲑﻩ ﺇﻧّﻤﺎ ﻫﻮ ﺍﺧﺘﺮﺍﻉ‪ .‬ﻭﻟﻨﺪﻗﹼﻖ ﺃﻛﺜﺮ‪ :‬ﺇ ﹼﻥ ﺣﺎﻝ‬
‫ﺍﻟﻮﻋﻲ ﺍﻻﺧﺘﺮﺍﻋﻲ ﻫﻮ ﺍﺧﺘﺮﺍﻉ ﻟﺬﻟﻚ ﺍﻟﺴّﻨﺘﻮﺭ‪ .‬ﻭﻻ ﳏﺎﻟﺔ ﻋﻨﺪﺋﺬ ﳝﻜﻨﻨﺎ ﺍﻟﻘﻮﻝ ﺑﺄ ﹼﻥ " ﺍﻟﺴّﻨﺘﻮﺭ‬
‫ﺶ " ﻧﻔﺴﻪ‪ .‬ﺇ ﹼﻻ ﺃﻧّﻪ ﺇﻳّﺎﻧﺎ ﻭﺃﻥ‬
‫ﺨَﺘ َﺮﻉُ "‪ ،‬ﻫﻮ ﻳﺪﺧﻞ ﰲ " ﺍ ﹶﳌﻌِﻴ ِ‬
‫ﺴَﺘ ْﻬ َﺪﻑُ "‪ ،‬ﺃﻱ " ﺍﻟﺴّﻨﺘﻮﺭ ﺍﳌﹸ ْ‬
‫ﺍﳌﹸ ْ‬
‫ﻉ ﻣﻦ‬
‫ﳔﻠﻂ ﺃﺑﺪﺍ ﺑﲔ " ﻣﻌﻴﺶ " ﺍﻻﺧﺘﺮﺍﻉ ﺫﺍﻙ‪ ،‬ﻭﺍﻟﺸّﻲﺀ ﺍﻟﹼﺬﻱ ﺑﺘﻮﺳّﻂ ﺍﳌﻌﻴﺶ ﻫﻮ ﻗﺪ ﺍ ْﺧﺘُ ِﺮ َ‬
‫ﺣﻴﺚ ﻫﻮ ﻛﺬﻟﻚ)ﺵ(‪ " .‬ﺇ ﹼﻥ ﻫﺬﺍ ﺍﻟﻨّﺺ ﻟﺮﺋﻴﺲ ‪ :‬ﻓﻼ ﻭﺟﻮﺩ ﺍﻟﺴّﻨﺘﻮﺭ ﺃﻭ ﺍﻟﻐﻮﻝ ﳝﻨﻊ ﻋﻨﹼﺎ ﺇﺫﹰﺍ‬
‫ﺃﻥ ﻧﺮﺩّﳘﺎ ﺇﱃ ﻛﻮﻬﻧﻤﺎ ﳎﺮّﺩ ﻣﻜﻮّﻧﺎﺕ ﻧﻔﺴﻴّﺔ‪ .‬ﺻﺤﻴﺢ ﺃﻧّﻪ ﻳﻮﺟﺪ‪ِ ،‬ﻟ َﻤﻜﹶﺎ ِﻥ ﺗﻠﻚ ﺍﻟﻼﹼﻣﻮﺟﻮﺩﺍﺕ‪،‬‬
‫ﻣﻜ ّﻮﻧﺎﺕ ﻧﻔﺴﻴّﺔ ﻓﻌﻠﻴّﺔ؛ ﻭﺇﻧّﺎ ﻟﻨﻔﻬﻢ ﺯﻟﻞ ﺍﻟﻨّﻔﺴﺎﻧﻴّﺔ‪ :‬ﻓﻠﻘﺪ ﻛﺎﻧﺖ ﺍﻟﺸّﻬﻮﺓ ﻗﻮﻳّﺔ ﻷﻥ ﻧﺘﺮﻙ ﺗﻠﻚ‬
‫ﺍﻟﻜﺎﺋﻨﺎﺕ ﺍﻷﺳﻄﻮﺭﻳّﺔ ﰲ ﺍﻟﻌﺪﻡ ﻭﺃﻥ ﻻ ﻧﻌﺒﺄ ﺇ ﹼﻻ ﺑﺎﶈﺘﻮﻳﺎﺕ ﺍﻟﻨّﻔﺴﻴّﺔ‪ .‬ﻭﻟﻜ ّﻦ ﻫﻮﺳّﺮﻝ‪ ،‬ﻋﻠﻰ‬
‫ﺍﻟﺘّﺤﺼﻴﻞ‪ ،‬ﻗﺪ ﺃﻋﺎﺩ ﻟﻠﺴّﻨﺘﻮﺭ ﺗﻌﺎﻟﻴﻪ ﰲ ﺻﻤﻴﻢ ﻋﺪﻣﻪ‪ .‬ﻭﹶﺃﻳ‪‬ﺎ ﻣﺎﺷﺌﻨﺎ ﻣﻦ ﻋﺪﻡ‪ :‬ﻓﻬﻮ ﻣﻦ ﺃﺟﻞ‬
‫ﺫﻟﻚ ﻟﻴﺲ ﲟﻮﺟﻮﺩ ﰲ ﺍﻟﻮﻋﻲ‪.‬‬

‫ﺴ ٍﺮ َﺟﻠِﻴ ﹶﻞ‬
‫ﻭﻫﻮﺳّﺮﻝ ﱂ ﻳﺴﺘﻔﺾ ﺃﻛﺜﺮ ﻓﻴﻤﺎ ﻳﺘﻌﻠﹼﻖ ﺑﺒﻨﻴﺔ ﺍﻟﺼّﻮﺭﺓ ﻧﻔﺴﻬﺎ‪ .‬ﻟﻜﻨّﻨﺎ ﹶﻟﻨُ ﹶﻘ ﱢﺪﺭُ ِﺑﻴُ ْ‬
‫ﻀ ِﻞ ﺍﻟﹼﺬﻱ ﻋﺎﺩ ﺑﻪ ﻋﻠﻰ ﻋﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ‪ .‬ﻓﺎﻟﺼّﻮﺭﺓ‪ ،‬ﻭﻗﺪ ﺃﺻﺒﺤﺖ ِﺑ ْﻨَﻴ ﹰﺔ ﻗﺼﺪﻳّﺔ‪ ،‬ﻓﺈﻧّﻬﺎ ﺗﻨﺘﻘﻞ‬
‫ﺍﻟ ﹶﻔ ْ‬
‫ﻣﻦ ﺣﺎﻝ ﻛﻮﻬﻧﺎ ﳏﺘﻮﻯ ﻋﺎﻃﻼ ﻟﻠﻮﻋﻲ ﺇﱃ ﺣﺎﻝ ﻛﻮﻬﻧﺎ ﻭﻋﻴﺎ ﻭﺍﺣﺪﺍ ﻭﺗﺄﻟﻴﻔﻴّﺎ ﺫﺍ ﻋﻼﻗﺔ ﲟﻮﺿﻮﻉ‬
‫ﻣﻔﺎﺭﻕ‪ .‬ﻓﺼﻮﺭﺓ ﺻﺪﻳﻘﻲ ﺑﻄﺮﺱ ﻟﻴﺴﺖ ﺑﻔﻮﺳﻔﺮﺳﻴّﺔ ﻣﺒﻬﻤﺔ‪ ،‬ﺃﻭ ﺃﺛﺮﺍ ﻗﺪ ﺧﻠﹼﻔﻪ ﰲ ﻭﻋﻴﻲ‬
‫ﺇﺩﺭﺍﻛﻲ ﻟﺒﻄﺮﺱ‪ :‬ﺑﻞ ﻫﻲ ﺷﻜﻞ ﰲ ﺍﻟﻮﻋﻲ ﺫﻱ ﺗﻨﻈﻴﻢ ﻳﺘﻌﻠﹼﻖ ﻋﻠﻰ ﻃﺮﻳﻘﺘﻪ‪ ،‬ﺑﺼﺪﻳﻘﻲ ﺑﻄﺮﺱ‪،‬‬

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‫ﻭﻫﻲ ﺃﺣﺪ ﻭﺟﻮﻩ ﺍﳌﻤﻜﻨﺔ ﻻﺳﺘﻬﺪﺍﰲ ﻟﻮﺟﻮﺩ ﺑﻄﺮﺱ ﺍﻟﻔﻌﻠ ّﻲ‪ .‬ﻭﻣﻦ ﻫﻨﺎ‪ ،‬ﻓﻔﻲ ﻓﻌﻞ ﺍﻟﺘّﺨﻴّﻞ‪،‬‬
‫ﻓﺎﻟﻮﻋﻲ ﺇﻧّﻤﺎ ﻳﺘﻌﻠﹼﻖ َﺭﹾﺃﺳًﺎ ﺑﺒﻄﺮﺱ ﻭﻟﻴﺲ ﺫﻟﻚ ﺑﺘﻮﺳّﻂ ﺷﺒﺢ ﻳﻜﻮﻥ ﻗﺎﺋﻤﺎ ﻓﻴﻪ)‪ (٨‬ﻭﺑﺪﻓﻌﺔ‬
‫ﻭﺍﺣﺪﺓ‪ ،‬ﺗﺒﻄﻞ ﻣﻊ ﺑﻄﻼﻥ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﺎ ﺍ ﹸﳌﺤَﺎِﻳِﺜﱠﻴ ِﺔ ﻟﻠﺼّﻮﺭﺓ ﻛ ﹼﻞ ﺍﳌﺼﺎﻋﺐ ﺍﻟﹼﱵ ﺫﻛﺮﻧﺎﻫﺎ ﰲ ﺍﻟﻔﺼﻞ‬
‫ﺺ ﻋﻼﻗﺔ ﺫﻟﻚ ﺍﻟﺸّﺒﺢ ﲟﻮﺿﻮﻋﻪ ﺍﳊﻘﻴﻘ ّﻲ ﻭﺍﻟﻔﻜﺮ ﺍﳋﺎﻟﺺ ﻣﻊ ﺫﻟﻚ ﺍﻟﺸّﺒﺢ‪.‬‬
‫ﺍﻟﺴّﺎﺑﻖ ﻓﻴﻤﺎ ﳜ ّ‬
‫ﺇ ﹼﻥ " ﺑﻄﺮﺱ ﰲ ﺻﻮﺭﺓ ﳐﺘﺰﻟﺔ "‪ ،‬ﺫﻟﻚ ﺍﳍﻮﻣﻮﻧﻜﻠﻮﺱ ‪ Homunculus‬ﺍﻟﹼﺬﻱ ﳚﺮّﻩ‬
‫ﺍﻟﻮﻋﻲ ﻫﻮ ﻟﻴﺲ ﺍﻟﺒﺘّﺔ ﻣﻦ ﺍﻟﻮﻋﻲ‪ .‬ﺇﻧّﻪ ﻛﺎﻥ ﻣﻮﺿﻮﻋﺎ ﻣﻦ ﻣﻮﺍﺿﻴﻊ ﺍﻟﻌﺎﱂ ﺍﳌﺎﺩّﻱ ﻣﺘﺮﻭﻛﺎ ﺑﲔ‬
‫ﺍﻟﻜﺎﺋﻨﺎﺕ ﺍﻟﻨّﻔﺴّﻴﺔ‪ .‬ﻓﻠﻤّﺎ ﺃﻟﻘﻴﻨﺎﻩ ﺧﺎﺭﺝ ﺍﻟﻮﻋﻲ‪ ،‬ﻭﳌﹼﺎ ﻫﻮﺳّﺮﻝ ﻗﺪ ﺃﻛﹼﺪ ﺑﺄﻧّﻪ ﻟﻴﺲ ﻳﻮﺟﺪ ﺇ ﹼﻻ‬
‫ﺑﻄﺮﺱ ﻭﺍﺣﺪ ﻫﻮﻫﻮ‪ ،‬ﻫﻮ ﻣﻮﺿﻮﻉ ﺍﻹﺩﺭﺍﻛﺎﺕ ﻭﻣﻮﺿﻮﻉ ﺍﻟﺼّﻮﺭ‪ ،‬ﻓﺈﻧّﻪ ﻗﺪ ﺧﻠﹼﺺ ﺍﻟﻨّﻔﺴ ّﻲ ﻣﻦ‬
‫ﻒ ﺑﺎﻟﻐﻤﻮﺽ ﺍﳌﺴﺄﻟﺔ ﺍﻟﻜﻼﺳﻴﻜﻴّﺔ ﰲ‬
‫ِﻭ ْﺯ ٍﺭ ﺛﻘﻴﻞ ﻭﳏﺎ ﺗﻘﺮﻳﺒﺎ‪ ،‬ﻛ ﹼﻞ ﺍﻟﺸّﻜﻮﻙ ﺍﻟﹼﱵ ﻛﺎﻧﺖ ﺗﻠ ّ‬
‫ﻋﻼﻗﺎﺕ ﺍﻟﺼّﻮﺭﺓ ﺑﺎﻟﻔﻜﺮ‪.‬‬

‫ﻭﺍﻋﻠﻢ ﺃ ﹼﻥ ﻫﻮﺳّﺮﻝ ﱂ ﻳﻘﺘﺼﺮ ﻋﻠﻰ ﻫﺬﻩ ﺍﻻﺭﺷﺎﺩﺍﺕ‪ :‬ﻭﲝﻖّ‪ ،‬ﻓﺎﻟﺼّﻮﺭﺓ ﻟﻮ ﻛﺎﻧﺖ ﻟﻴﺴﺖ‬
‫ﺇ ﹼﻻ ﺍﲰﺎ ﻧﻄﻠﻘﻪ ﻋﻠﻰ ﳓﻮ ﻣﻦ ﺍﳓﺎﺀ ﺍﻟﻮﻋﻲ ﰲ ﺍﺳﺘﻬﺪﺍﻓﻪ ﻣﻮﺿﻮﻋﻪ‪ ،‬ﻓﻼ ﺷﻲﺀ ﻗﺪ ﳝﻨﻌﻨﺎ ﻣﻦ ﺃﻥ‬
‫ﻧﺸﺒّﺔ ﺍﻟﺼّﻮﺭ ﺍﳌﺎ ّﺩﻳّﺔ )ﺃﻟﻮﺍﺡ‪ ،‬ﻭﺭﺳﻮﻡ ﻭﺻﻮﺭ ﻓﻮﺗﻐﺮﺍﻓﻴّﺔ ( ﺑﺎﻟﺼّﻮﺭﺓ ﺍﳌﻘﻮﻝ ﻋﻨﻬﺎ ﻧﻔﺴﻴّﺔ‪.‬‬
‫ﻭﺍﻟﻐﺮﻳﺐ ﺃ ﹼﻥ ﺍﻟﻨّﻔﺴﺎﻧﻴّﺔ ﻛﺎﻧﺖ ﻗﺪ ﺍﻧﺘﻬﺖ ﻟﻠﻔﺼﻞ ﻓﺼﻼ ﺟﺬﺭﻳّﺎ ﺑﲔ ﺍﻷﻭﱃ ﻭﺍﻟﺜﹼﺎﻧﻴﺔ‪ ،‬ﻣﻊ ﺃﻧّﻬﺎ‬
‫ﻛﺎﻧﺖ ﺇﻧّﻤﺎ ﺗﺮ ّﺩ ﰲ ﺍﳊﻘﻴﻘﺔ ﺍﻟﺼّﻮﺭ ﺍﻟﻨّﻔﺴﻴّﺔ ﺇﱃ ﻛﻮﻬﻧﺎ ﳎﺮّﺩ ﺻﻮﺭ ﻣﺎﺩﻳّﺔ ﻗﺎﺋﻤﺔ ﻓﻴﻨﺎ‪ .‬ﻭِﺑﹶﺄ َﺧ َﺮﺓٍ‪،‬‬
‫ﻓﺒﺤﺴﺐ ﺫﻟﻚ ﺍﳌﺬﻫﺐ‪ ،‬ﺇﻧّﻨﺎ‪ ،‬ﻟﻌﻤﺮﻱ‪ ،‬ﻻ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧﺆﻭّﻝ ﻟﻮﺣﺔ ﺃﻭ ﺻﻮﺭﺓ ﻓﻮﺗﻐﺮﺍﻓﻴّﺔ ﺇ ﹼﻻ‬
‫ﺇﺫﺍ ﺍﻋﺘﱪﻧﺎ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺬﹼﻫﻨﻴّﺔ ﺍﻟﹼﱵ ﺗﺴﺘﺤﻀﺮﻫﺎ ﺑﺎﻟﺘّﺮﺍﺑﻂ‪ :‬ﻭﺫﻟﻚ ﻛﺎﻥ ﺗﻘﺮﻳﺒﺎ‪ ،‬ﺇﺣﺎﻟﺔ ﻻﻣﺘﻨﺎﻫﻴﺔ‪،‬‬
‫ﻷ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺬﹼﻫﻨﻴّﺔ ﻟﻜﻮﻬﻧﺎ ﻫﻲ ﻧﻔﺴﻬﺎ ﺻﻮﺭﺓ ﻓﻮﺗﻐﺮﺍﻓﻴّﺔ‪ ،‬ﻓﻘﺪ ﻛﺎﻥ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﺘﻮﺟّﺐ‬
‫ﻭﺟﻮﺩ ﺻﻮﺭﺓ ﺃﺧﺮﻯ ﻟﻔﻬﻤﺎ‪ ،‬ﻭﻫﻠ ّﻢ ﺟﺮّﺍ‪ .‬ﻭﺑﺎﻟﻌﻜﺲ‪ ،‬ﻓﻠﻮ ﻛﺎﻧﺖ ﺍﻟﺼّﻮﺭﺓ ﺇﻧّﻤﺎ ﻫﻲ ﳓﻮ ﻣﻦ‬
‫ﺸﱢﺒ َﻪ ﻭﻗﻮﻓﻨﺎ ﻋﻠﻰ‬
‫ﺃﳓﺎﺀ ﺍﻹﺣﻴﺎﺀ ﺇﺣﻴﺎﺀ ﻗﺼﺪﻳّﺎ ﶈﺘﻮﻯ ﻣﺎ ﻫﻴﻮﻻﱐﹼ‪ ،‬ﻓﻴﻤﻜﻨﻨﺎ ﺃﻳّﻤﺎ ﺇﻣﻜﺎﻥ ﺃﻥ ﻧُ َ‬
‫ﺼﻮﺭﺓ ﺑﺄﺧﺬﻧﺎ ﺃﺧﺬﺍ ﻗﺼﺪﻳّﺎ ﶈﺘﻮﻯ ﻣﺎ " ﻧﻔﺴ ّﻲ "‪ .‬ﻭﻳﻜﻮﻥ ﺍﻷﻣﺮ ﻳﺘﻌﻠﹼﻖ ﺑﻨﻮﻋﲔ‬
‫ﻟﻮﺣﺔ ﺑﻨﺤﻮ ﺍﻟ ّ‬
‫ﳐﺘﻠﻔﲔ ﻣﻦ ﺃﻧﻮﺍﻉ ﺍﻟﻮﻋﻲ " ﺍﻟﺘّﺨﻴّﻠ ّﻲ "‪ .‬ﺇ ﹼﻥ ﺍﻟﺒﺪﺀ ﺑﻮﺿﻊ ﻣﺜﻞ ﻫﺬﻩ ﺍﳌﺸﺎﻬﺑﺔ ﺇﻧّﻤﺎ ﻧﻠﻔﺎﻫﺎ ﲟﻮﺿﻊ‬

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‫ﻣﻦ " ﺍﻷﻓﻜﺎﺭ " ﺍﻟﹼﺬﻱ ﻫﻮ ﹶﻟﹶﺄ ْﻫﻞﹲ ِﻟﹶﺄ ﹾﻥ ﻳﺒﻘﻰ ﻣﻦ ﺍﻷﻋﻤﺎﻝ ﺍﻟﻜﻼﺳﻴﻜﻴّﺔ‪ ،‬ﺣﻴﺚ ﺣﻠﹼﻞ ﻫﻮﺳّﺮﻝ‬
‫ﺃﺧﺬﺍ ﻗﺼﺪّﻳﺎ ﻟﺮﺳﻢ ﻟﺪﻭﺭﺭ‪Dürer‬‬

‫" ﻓﻠﻨﻌﺘﱪ ﺭﺳﻢ ﺩﻭﺭﺭ‪ ،‬ﺍﻟﻔﺎﺭﺱ ﻭﺍﳌﻮﺕ ﻭﺍﻟﺸّﻴﻄﺎﻥ‪ .‬ﻓﻨﺤﻦ ﳕﻴّﺰ ﰲ ﺍﻷﻭّﻝ ﻫﺎﻫﻨﺎ ﺍﻹﺩﺭﺍﻙ‬
‫ﺍﻟﻌﺎﺩّﻱ ﺍﻟﹼﺬﻱ ﻣَُﺘ َﻌ ﱠﻠﻘﹸﻪُ ﻫﻮ ﺍﻟﺸّﻲﺀ " ﺍﻟﺮّﺳﻢ "‪ ،‬ﺃﻱ ﻭﺭﻗﺔ ﳎﻠﹼﺪ ﺍﻟﺼّﻮﺭ ﺫﺍﻙ‪(٩ )".‬‬
‫ﺴﻮﺩﺍﺀ‪،‬‬
‫ﹼﰒ ﺛﺎﻧﻴﺎ‪ ،‬ﳓﻦ ﻧﻠﻔﻰ ﺍﻟﻮﻋﻲ ﺍﻹﺩﺭﺍﻛ ّﻲ ﺍﻟﹼﺬﻱ ﺑﻪ‪ ،‬ﻭﻣﻦ ﺧﻼﻝ ﺗﻠﻜﻢ ﺍﳋﻄﻮﻁ ﺍﻟ ّ‬
‫ﻭﺍﻟﺼّﻮﺭ ﺍﻟﺼّﻐﲑﺓ ﻏﲑ ﺍﳌﻠﻮّﻧﺔ‪ ،‬ﻳﻈﻬﺮﻟﻨﺎ " ﻓﺎﺭﺱ ﳑﺘﻂ ﻓﺮﺳﺎ "‪ ،‬ﻭ ﻳﻈﻬﺮ" ﺍﳌﻮﺕ "‪ ،‬ﻭ"‬
‫ﺍﻟﺸّﻴﻄﺎﻥ "‪ .‬ﻓﻨﺤﻦ ﺣﲔ ﺍﻟﺘّﺄﻣّﻞ ﺍﳉﻤﺎﱄﹼ‪ ،‬ﻻ ﻧﻜﻮﻥ ﻗﺎﺻﺪﻳﻨﻬﺎ ﻣﻦ ﺣﻴﺚ ﻣﺎ ﻫﻲ ﻣﻮﺍﺿﻴﻊ ‪:‬‬
‫ﻭﺇﻧّﻤﺎ ﻧﻜﻮﻥ ﻗﺎﺻﺪﻳﻦ ﺍﻟﻮﺍﻗﻌﺎﺕ ﺍﻟﹼﱵ ﻫﻲ ﻣﺘﻤﺜﹼﻠﺔ " ﰲ ﺻﻮﺭﺓ "‪ ،‬ﺃﻭ ﺑﺎﻷﺣﺮﻯ ﻧﻜﻮﻥ ﻗﺎﺻﺪﻳﻦ‬
‫ﺨﱠﻴ ﹶﻠ ﹶﺔ "‪ ،‬ﺃﻱ ﺍﻟﻔﺎﺭﺱ ﺑﻠﺤﻤﻪ ﻭﻋﻀﻤﻪ ﻭﻫﻜﺬﺍ‪).‬ﺹ("‬
‫ﺍﻟﻮﺍﻗﻌﺎﺕ " ﺍﳌﹸَﺘ َ‬

‫ﺺ ﳝﻜﻦ ﺃﻥ ﻳﻜﻮﻥ ﺃﺻﻼ ﻟﺘﻔﺮﻗﺔ ﺑﺎﻃﻨﻴّﺔ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ )ﺽ(‪ .‬ﺻﺤﻴﺢ‬

‫ﻓﻬﺬﺍ ﺍﻟّﻨ ّ‬
‫ﱄ ﻟﻠﻔﺎﺭﺱ‪ ،‬ﻭﺍﳌﻮﺕ ﻭﺍﻟﺸّﻴﻄﺎﻥ‪ ،‬ﻫﻲ ﻻ‬
‫ﺃ ﹼﻥ ﺍﳍﻴﻮﱃ ﺍﻟﹼﱵ ﻧﺄﺧﺬﻫﺎ ﻣﻦ ﺃﺟﻞ ﺗﺄﺳﻴﺲ ﺍﻟﻈﹼﻬﻮﺭ ﺍﳉﻤﺎ ﹼ‬
‫ﳏﺎﻟﺔ ﻧﻔﺴﻬﺎ ﺍﻟﹼﱵ ﺗﻜﻮﻥ ﰲ ﺍﻹﺩﺭﺍﻙ ﺍﶈﺾ ﻭﺍﺠﻤﻟﺮّﺩ ﻟﻮﺭﻗﺔ ﺍﻷﻟﺒﻮﻡ ‪ Album.‬ﻭﺍﻟﻔﺮﻕ‬
‫ﺇﻧّﻤﺎ ﻳﻮﺟﺪ ﰲ ﺍﻟﺒﻨﻴﺔ ﺍﻟﻘﺼﺪﻳّﺔ‪ .‬ﻭﻣﺎ ﻳﻬ ّﻢ ﻫﻮﺳّﺮﻝ ﻫﺎﻫﻨﺎ‪ ،‬ﻫﻮ ﺃ ﹼﻥ " ﺍﻟﻮﺿﻊ ‪" Thèse‬‬
‫ﻱ)‪)(10‬ﻁ(‪ .‬ﻭﻟﺴﻨﺎ ﻧﻨﻮﻱ ﺃﻥ ﻧﺒﺤﺚ ﻫﺎﻫﻨﺎ ﰲ ﻫﺬﺍ‬
‫ﺤﱢﻴ ِﺪ ّ‬
‫ﺃﻭ ﻭﺿﻊ ﺍﻟﻮﺟﻮﺩ ﻗﺪ ﻧﺎﻟﻪ ﺗﻐﻴﲑ ُﻣ َ‬
‫ﺍﻷﻣﺮ‪ .‬ﺑﻞ ﻳﻜﻔﻴﻨﺎ ﺃﻥ ﻧﻌﺮﻑ ﺃ ﹼﻥ ﺍﳌﺎﺩّﺓ ﻭﺣﺪﻫﺎ ﻻ ﳝﻜﻨﻬﺎ ﺃﻥ ﲤﻴّﺰ ﺍﻟﺼّﻮﺭ ﻣﻦ ﺍﻹﺩﺭﺍﻙ‪ .‬ﻭﺇﻧّﻤﺎ‬
‫ﻛ ﹼﻞ ﺫﻟﻚ ﻣﻮﻗﻮﻑ ﻋﻠﻰ ﺿﺮﺏ ﺇﺣﻴﺎﺀ ﺗﻠﻚ ﺍﳌﺎﺩّﺓ‪ ،‬ﺃﻱ ﻋﻠﻰ ﺷﻜﻞ ﻣﺎ ﻳﻨﺸﺄ ﰲ ﺍﻟﺒﻨﻴﺎﺕ ﺍﻷﺷ ّﺪ‬
‫ﺑﺎﻃﻨﻴّﺔ ﰲ ﺍﻟﻮﻋﻲ‪(١١) .‬‬

‫ﻚ ﻗﺪ ﺯﺍﺩﻫﺎ‬
‫ﺗﻠﻚ ﻣﺎ ﻛﺎﻧﺖ ﺇﺫﺍ ﺍﻹﺷﺎﺭﺍﺕ ﺍﳌﻘﺘﻀﺒﺔ ﺍﻟﹼﱵ ﺟﺎﺀ ﻬﺑﺎ ﻫﻮﺳّﺮﻝ ﻟﻨﻈﺮﻳّﺔ ﻫﻮ ﻻﺷ ّ‬
‫ﺠ ﱠﺰﹶﺃ ﹰﺓ‪.‬‬
‫ﺗﺪﻗﻴﻘﺎ ﰲ ﺃﻋﻤﺎﻟﻪ ﺍﻟﻐﲑ ﻣﻨﺸﻮﺭﺓ‪ ،‬ﻭﻟﻜﻨّﻬﺎ ﻫﻲ ﰲ ﺍﻷﻓﻜﺎﺭ ﻗﺪ ﺑﻘﻴﺖ ﺃﻳﻀﺎ ﺃﻳّﻤﺎ ﻣُ َ‬
‫ﻭﺻﺤﻴﺢ ﺃ ﹼﻥ ﺍﻟﻔﺎﺋﺪﺓ ﺍﻟﹼﱵ ﻋﺎﺩ ﻬﺑﺎ ﻋﻠﻰ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﻟﻌﻈﻴﻤﺔ‪ ،‬ﻭﻣﻊ ﺫﻟﻚ ﻓﺈ ﹼﻥ ﲨﻴﻊ ﺍﻟﺸّﻜﻮﻙ ﱂ‬

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‫ﺺ ﻣﻨﻬﺎ ﻛﻠﹼﻬﺎ‪ .‬ﺻﺤﻴﺢ ﺃﻧّﻪ ﺻﺮﻧﺎ ﺍﻵﻥ ﻧﺴﺘﻄﻴﻊ ﺍﻟﻔﻬﻢ ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ ﳘﺎ "‬
‫ﺨ ﹸﻠ ْ‬
‫َﻧ ْ‬
‫َﻣﻌِﻴﺸَﺎ ِﻥ " ﻗﺼﺪﻳّﺎﻥ ﳜﺘﻠﻔﺎﻥ ﻗﺒﻞ ﻛ ﹼﻞ ﺷﻲﺀ ﺑﻘﺼﺪﻳّﺘﻬﻤﺎ‪ .‬ﻭﻟﻜ ّﻦ ﻣﺎ ﻃﺒﻴﻌﺔ ﻗﺼﺪﻳّﺔ ﺍﻟﺼّﻮﺭﺓ ؟‬
‫ﻱ‪ .‬ﻭﻷ ﹼﻥ ﻫﻮﺳّﺮﻝ‬
‫ﻭﻓﻴﻤﺎ ﲣﺘﻠﻒ ﻋﻦ ﻗﺼﺪﻳّﺔ ﺍﻹﺩﺭﺍﻙ ؟ ﻓﻬﻮ ﻫﺎﻫﻨﺎ ﲝﻖّ‪ ،‬ﻣﺎ ﻳﻠﺰﻡ ﻭﺻﻒ ﻣﺎﻫﻮ ّ‬
‫ﺠَﺒﺮُﻭ ﹶﻥ ﻋﻠﻰ ﺃﻥ ﻧﺄﰐ ﺑﺄﻧﻔﺴﻨﺎ ﻫﺬﺍ ﺍﻟﻮﺻﻒ‪.‬‬
‫ﱂ ﻳﺰﺩ ﺗﻮﺿﻴﺤﺎ‪ ،‬ﻓﻨﺤﻦ ُﻣ ْ‬
‫ﻭﻓﻀﻼ ﻋﻦ ﺫﻟﻚ‪ ،‬ﻓﻬﻨﺎﻙ ﻣﺴﺄﻟﺔ ﺟﻮﻫﺮﻳّﺔ ﻗﺪ ﺑﻘﻴﺖ ﺑﻼ ﺣ ﹼﻞ‪ :‬ﺇﺫ ﳓﻦ ﻗﺪ ﺍﺳﺘﻄﻌﻨﺎ ﻋﻠﻰ‬
‫ﻱ ﻳﺴﺘﻐﺮﻕ ﺍﻟﺼّﻮﺭ ﺍﳌﻘﻮﻝ ﻋﻨﻬﺎ ﺑﺎﻟﺼّﻮﺭ "‬
‫ﹶﺃﹶﺛ ِﺮ ﻫﻮﺳّﺮﻝ ﺃﻥ ﻧﻀﻊ ﻭﺻﻔﺎ ﻋﺎﻣّﺎ ﻟِﻘﺴﻢ ﻛﺒﲑ ﻗﺼﺪ ّ‬
‫ﺍﻟﺬﹼﻫﻨﻴّﺔ "‪ ،‬ﻭﺍﻟﺼّﻮﺭ ﺍﻟﹼﱵ ﺳﻨﺴﻤّﻴﻬﺎ‪ ،‬ﻷﻧّﻨﺎ ﱂ ﳒﺪ ﺃﻓﻀﻞ ﻣﻦ ﻫﺬﻩ ﺍﻟﺘّﺴﻤﻴﺔ‪ ،‬ﺑﺎﻟﺼّﻮﺭ ﺍﳋﺎﺭﺟﻴّﺔ‪.‬‬
‫ﻭﳓﻦ ﻧﻌﻠﻢ ﺃ ﹼﻥ ﺍﻟﻮﻋﻲ ﺑﺎﻟﺼّﻮﺭﺓ ﺍﳋﺎﺭﺟﻴّﺔ ﻭﺍﻟﻮﻋﻲ ﺍﻹﺩﺭﺍﻛ ّﻲ ﺍﳌﻨﺎﺳﺐ ﳍﺎ‪ ،‬ﻣﻊ ﺃّﻧﻬﻤﺎ ﳜﺘﻠﻔﺎﻥ‬
‫ﻛ ﹼﻞ ﺍﻻﺧﺘﻼﻑ ﰲ ﻗﺼﺪﻳّﺘﻬﻤﺎ‪ ،‬ﻓﻠﻬﻤﺎ ﻣﺎﺩّﺓ ﺍﻧﻄﺒﺎﻋﻴّﺔ ﻭﺍﺣﺪﺓ‪ .‬ﻓﺎﳋﻄﻮﻁ ﺍﻟﺴّﻮﺩ ﺗﻠﻚ ﺗﺼﻠﺢ‬
‫ﺴﻮَﺍ ِﺀ ﻟﺘﺄﺳﻴﺲ ﺻﻮﺭﺓ " ﺍﻟﻔﺎﺭﺱ " ﺃﻭ ﻟﺘﺄﺳﻴﺲ ﺇﺩﺭﺍﻙ "ﳋﻄﻮﻁ ﺳﻮﺩﺍﺀ ﻋﻠﻰ ﺻﻔﺤﺔ ﻭﺭﻗﺔ‬
‫ﺑﺎﻟ ﱠ‬
‫ﺢ ﺫﻟﻚ ﻛﻠﹼﻪ ﺃﻳﻀﺎ ﰲ ﺣﺎﻝ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺬﹼﻫﻨﻴّﺔ ؟ ﻫﻞ ﻟﻠﺼّﻮﺭﺓ ﺍﻟﺬﹼﻫﻨﻴّﺔ‬
‫ﺼﱡ‬‫ﺑﻴﻀﺎﺀ "‪ .‬ﻭﻟﻜﻦ ﹶﺃَﻳ ِ‬
‫ﻧﻔﺲ ﻫﻴﻮﱃ ﺍﻟﺼّﻮﺭﺓ ﺍﳋﺎﺭﺟﻴّﺔ‪ ،‬ﺃﻱ ِﺑﹶﺄ َﺧ َﺮ ٍﺓ ﻧﻔﺲ ﻫﻴﻮﱃ ﺍﻹﺩﺭﺍﻙ ؟ ﻳﺸﺒﻪ ﺃﻥ ﺗﻜﻮﻥ ﺑﻌﺾ‬
‫ﺍﳌﻮﺍﺿﻊ ﻣﻦ ﺍﻷﲝﺎﺙ ﺍﳌﻨﻄﻘﻴّﺔ )ﻅ( ﺗﺮﻯ ﺍﻷﻣﺮ ﻛﺬﻟﻚ‪ .‬ﺇﺫ ﺃ ﹼﻥ ﻫﻮﺳّﺮﻝ ﻗﺪ ﺷﺮﺡ ﻓﻴﻬﺎ ﺑﺄﻧّﻪ‬
‫ﻸ " ﺍﳌﻌﺎﺭﻑ ﺍﳋﺎﻭﻳﺔ ﻣﺜﻠﻬﺎ ﻣﺜﻞ ﺍﻷﺷﻴﺎﺀ ﺍﳌﹸ ْﺪ َﺭ ﹶﻛ ِﺔ‪ .‬ﻓﻤﺜﻼ‪ ،‬ﻓﻠﻮ ﺃﻧّﺎ‬
‫ﻟﻠﺼّﻮﺭﺓ ﻭﻇﻴﻔﺔ ﺃﻥ " َﺗ ْﻤ َ‬
‫ﺙ ﻓﻘﻂ ﻗﺼﺪﻳّﺔ ﻋﺎﻧﻴﺔ ﺗﺴﺘﻨﺪ ﺇﱃ‬
‫ﻓ ﹼﻜﺮﺕ ﰲ ﻋﺼﻔﻮﺭ‪ ،‬ﻓﻘﺪ ﺃﻓﻜﹼﺮ ﻓﻴﻪ ﻋﻠﻰ ﺧﻮﺍﺀ‪ ،‬ﺃﻱ ﺃﻥ ﺃﹸ ْﺣ ِﺪ ﹶ‬
‫ﻟﻔﻈﺔ " ﻋﺼﻔﻮﺭ "‪ .‬ﻟﻜﻨّﻪ‪ ،‬ﻓﻠﻜﻲ ﺃﻣﻸ ﺫﻟﻚ ﺍﻟﻮﻋﻲ ﺍﳋﺎﻭﻱ ﻭﺃﺟﻌﻠﻪ ﻭﻋﻴﺎ ﺣﺪﺳﻴّﺎ‪ ،‬ﻓﻬﻮ‬
‫ﻳﺴﺘﻮﻱ ﺃﻥ ﺃﻛﻮّﻥ ﺻﻮﺭﺓ ﻋﺼﻔﻮﺭ ﺃﻭ ﺃﻥ ﺃﻧﻈﺮ ﺇﱃ ﻋﺼﻔﻮﺭ ﺑﻠﺤﻤﻪ ﻭﻋﻈﻤﻪ‪ .‬ﻓﻤﻸ ﺍﻟ ﱠﺪ ﹶﻻﹶﻟ ﹶﺔ‬
‫ﺴَﺘ َﺪ ﱡﻝ ﻣﻨﻪ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ ﲤﻠﻚ ﻣﺎﺩّﺓ ﺍﻧﻄﺒﺎﻋﻴّﺔ ﻣﺘﻌﻴّﻨﺔ ﻭﺃﻧّﻬﺎ ﻧﻔﺴﻬﺎ ﻫﻲ‬
‫ﺸِﺒﻪُ ﺃﻧّﻪ ُﻳ ْ‬
‫ﺑﺎﻟﺼّﻮﺭﺓ ﻳُ ْ‬
‫ﲏ‬
‫ﺍﻣﺘﻼﺀ ﻣﺜﻞ ﺍﻹﺩﺭﺍﻙ)ﻉ(‪ .‬ﻭﻓﻀﻼ ﻋﻦ ﺫﻟﻚ‪ ،‬ﻓﻘﺪ ﻣﻴّﺰ ﻫﻮﺳّﺮﻝ ﰲ ﺩﺭﻭﺱ ﰲ ﺍﻟﻮﻋﻲ ﺍﻟﺒﺎﻃ ّ‬
‫‪ Vorlesungen‬ﻥ ‪nomenologie des‬‬ ‫ﻟﻠﺰّﻣﻦ‪zur Ph‬‬
‫‪ ،inneren Zeitbewusstseins‬ﻭَﺍ ِﻓ َﺮ ﺍﻟﺘّﻤﻴﻴﺰ ﺍﻟﺘّﺬﻛﹼﺮ ﺍﻟﹼﺬﻱ ﻫﻮ‬
‫ﻚ ‪ Retention‬ﺍﻟﹼﺬﻱ ﻫﻮ ﳓﻮ‬
‫ﺴ ِ‬
‫ﺇﻋﺎﺩﺓ ﺇﻇﻬﺎﺭ ﺃﺷﻴﺎﺀ ﺍﳌﺎﺿﻲ ﻭﻣﻌﻬﺎ ﻛﻴﻔﻴّﺎﻬﺗﺎ‪ ،‬ﻣﻦ ﺍ ﹶﳌ ْ‬

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‫ﻆ ﺍﳌﺎﺿﻲ ﲟﺎ ﻫﻮ ﻣﺎﺽ‪.‬‬
‫ﺤ ﹾﻔ ِ‬
‫ِﻟ ِ‬ ‫ﰲ ﺍﻟﻮﻋﻲ ﻏﲑ ﻭﺍﺿﻊ‪non- posionel‬‬
‫ﻓﺎﻷﻣﺮ ﻳﺘﻌﻠﹼﻖ ﰲ ﺍﻟﺘّﺬﻛﹼﺮ ﺑﻔﻌﻞ ﺍ ْﺳِﺘ ْﻤﺜﹶﺎِﻟ ﱟﻲ‪ Unselbst‬ﻥ‪ ،ndigkeit‬ﻭﻫﺬﺍ‬
‫ﺍﻟﻔﻌﻞ ﻳﻘﺘﻀﻲ ﻣﻌﺎﻭﺩﺓ ﺗﻜﺮﺍﺭ‪ ،‬ﻣﻊ ﺃﻧّﻪ ﰲ ﻭﻋﻲ ُﻣ َﻐﱠﻴ ٍﺮ ﻓﻴﻪ‪ ،‬ﻟﻜ ﹼﻞ ﺍﻷﻓﻌﺎﻝ ﺍﻹﺩﺭﺍﻛﻴّﺔ ﺍﻷﺻﻠﻴّﺔ‪.‬‬
‫ﻓﻤﺜﻼ‪ ،‬ﻟﻮ ﺃﻧﺎ ﻛﻨﺖ ﻗﺪ ﺃﺩﺭﻛﺖ ﻣﺴﺮﺣﺎ ﻣﻀﺎﺀ‪ ،‬ﻓﺄﻧﺎ ﻗﺎﺩﺭ ﺑﺎﻟﺴّﻮﺍﺀ ﻋﻠﻰ ﺃﻥ ﺃﻋﺎﻭﺩ ﺍﺳﺘﺤﻀﺎﺭ‬
‫ﺍﳌﺴﺮﺡ ﺍﳌﻀﺎﺀ ﺃﻭ ﺇﺩﺭﺍﻛﻲ ﻟﻠﻤﺴﺮﺡ ﺍﳌﻀﺎﺀ ﰲ ﺫﺍﻛﺮﰐ ) ﻓﻘﺪ ﻛﺎﻥ ﻫﻨﺎﻙ ﰲ ﺫﻟﻚ ﺍﳌﺴﺎﺀ‬
‫ﻱ ﺃﻧّﻨﺎ‬
‫ﺖ ﺭﺃﻳﺖ ﺍﻟﻨّﻮﺍﻓﺬ ﻣﻀﺎﺀﺓ ‪ (...‬ﺃ ّ‬
‫ﺣﻔﻠﺔ ﰲ ﺍﳌﺴﺮﺡ‪ " (...‬ﻭﳌﹼﺎ ﻣﺮﺭﺕ‪ ،‬ﺫﻟﻚ ﺍﳌﺴﺎﺀ‪ ،‬ﹸﻛ ْﻨ ُ‬
‫ﻱ ﰲ ﺍﻟ ﱢﺬ ﹾﻛﺮَﻯ‪ :‬ﻭﺫﻟﻚ‪ ،‬ﻷﻧّﻪ ﺑﺎﻟﻨّﺴﺒﺔ ﺇﱃ ﻫﻮﺳّﺮﻝ‪ ،‬ﻣﻌﺎﻭﺩﺓ‬
‫ﰲ ﺍﻟﻮﺿﻊ ﺍﻷﺧﲑ ﻧﺴﺘﻄﻴﻊ ﺃﻥ ﻧُ َﺮ ﱢﻭ َ‬
‫ﺍﻧﺘﺎﺝ ﺍﳌﺴﺮﺡ ﺍﳌﻀﺎﺀ ﻫﻮ ﻳﻘﺘﻀﻲ ﻣﻌﺎﻭﺩﺓ ﺍﻧﺘﺎﺝ ﺇﺩﺭﺍﻙ ﺍﳌﺴﺮﺡ ﺍﳌﻀﺎﺀ‪ .‬ﻭﻧﺘﺒﻴّﻦ ﺃ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ‬
‫ﺍﻟﺬﹼﻛﺮﻯ ﻟﻴﺴﺖ ﺷﻴﺌﺎ ﺁﺧﺮ‪ ،‬ﻫﺎﻫﻨﺎ‪ ،‬ﺇ ﹼﻻ ﻭﻋﻴﺎ ﺇﺩﺭﺍﻛﻴّﺎ ُﻣ َﻐﱠﻴﺮًﺍ ﻓﻴﻪ‪ ،‬ﺃﻱ َﻭ ْﻋﻴًﺎ ﺍﻋﺘﺎﺭﻩ ﻋﺎﻣﻞ‬
‫‪Coefficient‬ﺍﳌﺎﺿﻲ‪ .‬ﻓﻴﺸﺒﻪ ِﺇﺫﹰﺍ ﺃﻥ ﻳﻜﻮﻥ ﻫﻮﺳّﺮﻝ‪ ،‬ﻣﻊ ﻭﺿﻌﻪ ﻷﺻﻮﻝ ﲡﺪﻳﺪ‬
‫ﻱ ﻟﻠﻤﺴﺄﻟﺔ‪ ،‬ﻓﻘﺪ ﺑﻘﻲ ﺳﺠﲔ ﺍﻟﺘّﺼﻮّﺭ ﺍﻟﻘﺪﱘ‪ ،‬ﺃﻭ ﻋﻠﻰ ﺍﻷﻗ ﹼﻞ ﻓﻴﻤﺎ ﻳﺘﻌﻠﹼﻖ ﻬﺑﻴﻮﱃ ﺍﻟﺼّﻮﺭﺓ‬
‫ﺟﺬﺭ ّ‬
‫ﺴ ّﻲ ﺍﳌﻨﺒﻌﺚ‪).‬ﻍ(‬
‫ﺍﻟﹼﱵ ﻗﺪ ﺑﻘﻴﺖ ﻋﻨﺪﻩ ﺫﻟﻚ ﺍﻻﻧﻄﺒﺎﻉ ﺍﳊ ّ‬

‫ﻓﻠﻮ ﻛﺎﻥ ﺍﻷﻣﺮ ﻛﺬﻟﻚ‪ ،‬ﻓﺴﻮﻑ ﻧﻼﻗﻲ ﺻﻌﻮﺑﺎﺕ ﻣﺸﺎﻬﺑﺔ ﻟﻠﹼﱵ ﺍﺳﺘﻮﻗﻔﺘﻨﺎ ﰲ ﺍﻟﻔﺼﻞ‬
‫ﺍﻵﻧﻒ‪.‬‬

‫ﻓﺄﻭّﻻ‪ ،‬ﻭﻣﻦ ﺍﳉﻬﺔ ﺍﻟﻔﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟﻴّﺔ‪ ،‬ﺃﻱ ﺑﻌﺪ ﺇﲤﺎﻡ ﺍﳋﺰﻝ‪ ،‬ﻓﻴﺒﺪﻭ ﺃﻧّﻪ‪ ،‬ﻟﻮ ﻛﺎﻧﺖ ﻣﺎﺩّﻬﺗﻤﺎ‬
‫ﻭﺍﺣﺪﺓ‪ ،‬ﻓﺴﻴﻜﻮﻥ ﻣﻦ ﺍﻟﺼّﻌﺐ ﺃﻳّﻤﺎ ﺻﻌﻮﺑﺔ ﺍﻟﺘّﻔﺮﻗﺔ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ ﺑﻄﺮﻳﻖ ﻗﺼﺪﻳّﺔ ﻛ ﹼﻞ‬
‫ﻣﻨﻬﺎ‪ .‬ﻓﺎﻟﻔﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟ ّﻲ ﺑﻮﺿﻌﻪ ﻟﻠﻌﺎﱂ ﺑﲔ " َﻣ ْﻌﻘﹸﻮ ﹶﻓ ْﻴ ِﻦ " ﻓﻬﻮ ﻣﻊ ﺫﻟﻚ‪ ،‬ﱂ ﻳﻔﻘﺪﻩ‪ .‬ﻭﺍﻟﺘّﻔﺮﻗﺔ‬
‫ﻭﻋﻲ ــ ﻋﺎﱂ ﺻﺎﺭﺕ ﻏﲑ ﺫﺍﺕ ﻣﻌﲎ‪ .‬ﻭﺍﻵﻥ ﻓﺎﻟﻘﻄﻊ ﻫﻮ ﳛﺼﻞ ﺣﺼﻮﻻ ﻣﻐﺎﻳﺮﺍ‪ ،‬ﻓﻨﻤﻴّﺰ‬
‫ﳎﻤﻮﻉ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟ ِﻔ ْﻌ ِﻠﱠﻴ ِﺔ ﻟﻠﺘّﺄﻟﻴﻒ ﺍﻟﻮﺍﻋﻲ )ﺍﳍﻴﻮﱃ ﻭ ﳐﺘﻠﻒ ﺍﻷﻓﻌﺎﻝ ﺍﻟﻘﺼﺪﻳّﺔ ﺍﻟﹼﱵ ُﺗﺤِﻴﻴﻬَﺎ (‪،‬‬
‫ﻭﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ‪ " ،‬ﺍﳌﻌﲎ " ﺍﻟﹼﺬﻱ ﻳﺴﻜﻦ ﺫﻟﻚ ﺍﻟﻮﻋﻲ‪ .‬ﻓﺎﻟﻮﺍﻗﻌﺔ ﺍﻟﻨّﻔﺴّﻴﺔ ﺍﳌﺘﻌﻴّﻨﺔ ﺗﺴﻤّﻰ‬
‫ﺍﻟﻨّﻮﺍﺯ‪ ،‬ﻭﺍﳌﻌﲎ ﺍﻟﹼﺬﻱ ﻳﻠﺒﺴﻪ ﻳﺴﻤّﻪ ﺍﻟﻨﻮّﺍﻡ‪ .‬ﻓﻤﺜﻼ " ﺍﻟﺸّﺠﺮﺓ ﺍﳌﻮﺭﻗﺔ ﺍﳌﹸ ْﺪ َﺭ ﹶﻛﺔﹸ " ﻫﻲ ﻧﻮّﺍﻡ‬

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‫ﺍﻹﺩﺭﺍﻙ ﺍﻟﹼﺬﻱ ﻫﻮ ﱄ ﺍﻵﻥ )ﻑ(‪ .‬ﻭﻟﻜﻦ " ﻫﺬﺍ ﺍﳌﻌﲎ ﺍﻟﻨّﻮﺍﻣ ّﻲ " ﺍﻟﹼﺬﻱ ﻳﻨﺘﻤﻲ ﻟﻮﻋﻲ ﻭﻋﻲ‬
‫ِﻓ ْﻌ ِﻠﻲﱟ‪ ،‬ﻓﻬﻮ ﻧﻔﺴﻪ ﻟﻴﺲ ﺑﺸﻲﺀ ﻓﻌﻠ ّﻲ ﺍﻟﺒﺘّﺔ‪.‬‬

‫" ﻛ ﹼﻞ " ﻣﻌﻴﺶ " ﻫﻮ ﺑﺎﻟﻄﹼﺒﻊ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﺗﻮﺟﺪ ﻟﻪ ﺇﻣﻜﺎﻧﻴّﺔ ﻷﻥ ﻧﻘﺼﺪﻩ ﺑﺎﻟﻨّﻈﺮ ﻭﻧﻘﺼﺪ‬
‫ﻣﻜﻮّﻧﺎﺗﻪ ﺍﻟﻔﻌﻠﻴّﺔ ﺃﻭ‪ ،‬ﰲ ﺍﺗّﺠﺎﻩ ﻋﻜﺴﻲّ‪ ،‬ﺃﻥ ﻧﻘﺼﺪ ﺑﺎﻟﻨّﻈﺮ ﺍﻟﻨّﻮﺍﻡ‪ ،‬ﻣﺜﻼ ﺍﻟﺸّﺠﺮﺓ ﺍﳌﺪﺭﻛﺔ ﻣﻦ‬
‫ﺣﻴﺚ ﻫﻲ ﻛﺬﻟﻚ )‪ .(١٢‬ﻭﻣﺎ ﻗﺪ ﻳﻼﻗﻴﻪ ﺍﻟﻨّﻈﺮ ﰲ ﻫﺬﺍ ﺍﻻﺗّﺠﺎﻩ ﺍﻷﺧﲑ ﺇﻧّﻤﺎ ﻫﻮ‪ ،‬ﰲ ﺍﻟﻮﺍﻗﻊ‪،‬‬
‫ﻣﻮﺿﻮﻉ ﺑﺎﳌﻌﲎ ﺍﳌﻨﻄﻘ ّﻲ ﻭﻟﻜﻨّﻪ ﻫﻮ ﻣﻮﺿﻮﻉ ﻻ ﳝﻜﻨﻪ ﺃﻥ ﻳﻮﺟﺪ ﺑﺬﺍﺗﻪ‪ .‬ﻓﺄﻥ " ﻳُﻮ َﺟ َﺪ " ﻫﻮ‬
‫ﻓﻘﻂ ﺃﻥ ﻳﻜﻮﻥ " ُﻣ ْﺪ َﺭﻛﹰﺎ "‪ .‬ﻭﻟﻜﻦ ﻫﺬﻩ ﺍﳉﻤﻠﺔ ﻻ ﳚﺐ ﺃﻥ ﻧﻔﻬﻤﺎ ﺑﺎﳌﻌﲎ ﺍﻟﺒﺎﺭﻛﻠﻲّ‪ ،‬ﻷ ﹼﻥ ﺃﻥ "‬
‫ﻳﺪﺭﻙ " ﻻﺗﺸﺘﻤﻞ ﻫﻨﺎ ﻋﻠﻰ " ﺃﻥ ﻳﻮﺟﺪ " ﺑﻨﺤﻮ ﺍﻟﻌﻨﺼﺮ ﺍﻟﻔﻌﻠ ّﻲ‪(١٣).‬‬

‫ﻓﺎﻟﻨّﻮﺍﻡ ِﺇﺫﹰﺍ ﻫﻮ ﻋﺪﻡ ﻟﻴﺲ ﻟﻪ ﺇ ﹼﻻ ﻭﺟﻮﺩ ِﻣﺜﹶﺎِﻟﻲﱟ‪ ،‬ﻭﳕﻂ ﻣﻦ ﺍﻟﻮﺟﻮﺩ ﻳﻘﺮﺏ ﻣﻦ ﳕﻂ ﺍﻟﻠﹼﻜﺘﻮﻥ‬
‫ﻱ ﻟﻠﻨّﻮﺍﺯ‪" :‬ﻓﺄﻳﺪﻭﺱ ﺍﻟﻨّﻮﺍﻡ ُﻳﺤِﻴ ﹸﻞ‬
‫‪Lecton‬ﺍﻟﺮّﻭﺍﻗ ّﻲ‪ .‬ﺇﻧّﻤﺎ ﻫﻮ ﻓﺤﺴﺐ ﺍﳌﹸَﺘ َﻌ ﱠﻠﻖُ ﺍﻟﻀّﺮﻭﺭ ّ‬
‫ﺇﱃ ﺃﻳﺪﻭﺱ ﺍﻟﻮﻋﻲ ﺍﻟﹼﻨﻮﺍﺯﻱّ؛ ﻭﻛﻼﳘﺎ ﻳﻘﺘﻀﻲ ﺍﻵﺧﺮ ﺍﻗﺘﻀﺎﺀ ﺃﻳﺪﻭﺳﻴّﺎ‪).‬ﻕ(‬

‫ﻭﺇﻥ ﺗﻘﺮّﺭ ﺫﻟﻚ‪ ،‬ﻓﻜﻴﻒ ﳝﻜﻦ‪ ،‬ﺑﻌﺪ ﺍﳋﺰﻝ‪ ،‬ﺃﻥ ﻧﻔﺮّﻕ ﺍﻟﺴّﻨﺘﻮﺭ ﺍﳌﺘﺨﻴّﻞ ﻣﻦ ﺍﻟﺸّﺠﺮﺓ‬
‫ﻱ ﳑﺘﻸ‪ .‬ﻭﻫﻮ ﺃﻳﻀﺎ ﻟﻴﺲ‬
‫ﺨﱠﻴ ﹶﻞ " ﻫﻮ ﺃﻳﻀﺎ ﻧﻮﺍﻡ ﻟﻮﻋﻲ ﻧﻮﺍﺯ ّ‬
‫ﺍﳌﻮﺭﻗﺔ ﺍﳌﺪﺭﻛﺔ ؟ ﺇ ﹼﻥ " ﺍﻟﺴّﻨﺘﻮﺭ ﺍﳌﹸَﺘ َ‬
‫ﺑﺸﻲﺀ‪ ،‬ﻭﻫﻮ ﺃﻳﻀﺎ ﻻ ﻳﻮﺟﺪ ﰲ ﻣﻜﺎﻥ ﻣﻦ ﺍﻷﻣﻜﻨﺔ‪ :‬ﻭﻟﻘﺪ ﻛﻨّﺎ ﺭﺃﻳﻨﺎ ﺫﻟﻚ ﺳﻠﻔﺎ‪ .‬ﻣﺎ ﻋﺪﺍ ﺃﻧّﻪ‬
‫ﻭﻗﺒﻞ ﺍﳋﺰﻝ‪ ،‬ﻓﺈﻧّﻨﺎ ﻧﻠﻔﻰ ﰲ ﺫﻟﻚ ﺍﻟﻌﺪﻡ ﻧﻔﺴﻪ ﻃﺮﻳﻘﺔ ﻟﻠﺘّﻔﺮﻗﺔ ﺑﲔ ﺍﳋﻴﺎﻝ ﻭﺍﻹﺩﺭﺍﻙ‪ :‬ﻓﺎﻟﺸّﺠﺮﺓ‬
‫ﺍﳌﻮﺭﻗﺔ ﻫﻲ ﻣﻮﺟﻮﺩﺓ ﲟﻜﺎﻥ ﻣﻦ ﺍﻷﻣﻜﻨﺔ ﺧﺎﺭﺝ ﺫﻭﺍﺗﻨﺎ‪ ،‬ﻭﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻠﻤﺴﻬﺎ ﻭﺃﻥ ﳓﻀﻨﻬﺎ ﻭﺃﻥ‬
‫ﻧﻨﺼﺮﻑ ﻋﻨﻬﺎ‪ ،‬ﻭﻟﻮ ﻋﺪﻧﺎ ﺃﺩﺭﺍﺟﻨﺎ ﻓﻴﻤﻜﻨﻨﺎ ﺃﻥ ﻧﻠﻔﺎﻫﺎ ﰲ ﻋﲔ ﺍﳌﻜﺎﻥ‪ .‬ﺃﻣّﺎ ﺍﻟﺴّﻨﺘﻮﺭ‪ ،‬ﻓﻌﻠﻰ‬
‫ﺍﻟﻌﻜﺲ‪ ،‬ﺇﻧّﻪ ﻏﲑ ﻣﻮﺟﻮﺩ ﲟﻜﺎﻥ ﻣﻦ ﺍﻷﻣﻜﻨﺔ‪ ،‬ﻻ ﰲ ﺫﺍﰐ‪ ،‬ﻭﻻ ﺧﺎﺭﺝ ﺫﺍﰐ‪ .‬ﻭﺍﻵﻥ‪ ،‬ﻓﺈ ﹼﻥ‬
‫ﺿ َﻊ ﺑﲔ ﻣﻌﻘﻮﻓﲔ‪ ،‬ﻭﻟﻴﺲ ﻟﻨﺎ ﺃﻥ َﻧ ْﻌ ِﺮ ﹶﻓﻪُ ﺇ ﹼﻻ ﺑﻨﺤﻮ ﻧﻮّﺍﻡ ﺇﺩﺭﺍﻛﻨﺎ ﺍﻟﻔﻌﻠﻲّ؛‬
‫ﺍﻟﺸّﻲﺀ ﺍﻟﺸّﺠﺮﺓ ﻗﺪ ﻭُ ِ‬
‫ﻭﺍﻟﻨّﻮﺍﻡ ﻣﻦ ﺣﻴﺚ ﻫﻮ ﻛﺬﻟﻚ‪ ،‬ﻓﻬﻮ ﻻ ﻭﺍﻗﻌﻲ ﻣﺜﻠﻪ ﻣﺜﻞ ﺍﻟﺴّﻨﺘﻮﺭ‪.‬‬

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‫ﺠ ﱠﺮ ِﺩﻫَﺎ‪ ،‬ﺃﻱ ﺍﻟﺸّﺠﺮﺓ ﺍﻟﻘﺎﺋﻤﺔ ﺑﺎﻟﻄﹼﺒﻴﻌﺔ ﻟﻴﺴﺖ ﻫﻲ ﻫﺬﻩ " ﺍﻟﺸّﺠﺮﺓ‬
‫" ﺇ ﹼﻥ ﺍﻟﺸّﺠﺮﺓ ﲟُ َ‬
‫ﺍﳌﹸ ْﺪ َﺭ ﹶﻛﺔﹸ ﻣﻦ ﺣﻴﺚ ﻫﻲ ﻛﺬﻟﻚ‪ ،‬ﺍﻟﹼﱵ ﻫﻲ ﺗﻨﺘﻤﻲ ﺑﺎﻟﺬﹼﺍﺕ ﺑﻨﺤﻮ " ﻣﺎ ﻫﻮ ُﻣ ْﺪ َﺭﻙٌ " ﺇﱃ ﻣﻌﲎ‬
‫ﺤ ﱠﻞ ﺇﱃ ﻋﻨﺎﺻﺮﻫﺎ ﺍﻟﻜﻴﻤﺎﻳﺎﺋﻴّﺔ‪،‬‬
‫ﺍﻹﺩﺭﺍﻙ‪ .‬ﻓﺎﻟﺸّﺠﺮﺓ ﺍﶈﻀﺔ ﻭﺍﺠﻤﻟﺮّﺩﺓ ﳝﻜﻨﻬﺎ ﺃﻥ ﲢﺘﺮﻕ‪ ،‬ﻭﺃﻥ َﺗ ْﻨ َ‬
‫ﻭﻏﲑ ﺫﻟﻚ‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﺍﳌﻌﲎ‪ ،‬ﺃﻱ ﻣﻌﲎ ﺫﻟﻚ ﺍﻹﺩﺭﺍﻙ ﺑﻌﻴﻨﻪ‪ ،‬ﺍﻟﹼﺬﻱ ﻫﻮ ﻋﻨﺼﺮ ﻳﻨﺘﻤﻲ ﺍﻧﺘﻤﺎﺀ‬
‫ﺿﺮﻭﺭﻳّﺎ ﺇﱃ ﻣﻌﻨﺎﻩ‪ ،‬ﻓﻼ ﳝﻜﻦ ﺃﻥ ﳛﺘﺮﻕ‪ ،‬ﻭﻟﻴﺲ ﻟﻪ ﻋﻨﺎﺻﺮ ﻛﻴﻤﻴﺎﺋﻴّﺔ‪ ،‬ﻭﻟﻴﺲ ﻟﻪ ﹸﻗﻮَﻯ ﺃﻭ‬
‫ﺧﺼﺎﺋﺺ ﺣﻘﻴﻘﻴّﺔ‪).‬ﻙ(‬

‫ﻱ ﺳﺒﺐ‬
‫ﻱ ﺳﺒﺐ ﻛﺎﻥ ﻫﻨﺎﻙ ﺻﻮﺭ ﻭﻫﻨﺎﻙ ﺇﺩﺭﺍﻛﺎﺕ ؟ ﻭﻷ ّ‬
‫ﻓﺈﺫﺍ ﺃﻳﻦ ﻫﻮ ﺍﻟﻔﺮﻕ ؟ ﻭﻷ ّ‬
‫ﺣﻴﻨﻤﺎ ﻧﺮﻓﻊ ﺍﳋﺰﻝ ﺍﻟﻔﻴﻤﻮﻣﻴﻨﻮﻟﻮﺟﻲّ‪ ،‬ﻓﺈﻧّﺎ ﻧﻠﻔﻰ ﺛﺎﻧﻴﺔ ﻋﺎﳌﺎ ﻭﺍﻗﻌﻴّﺎ ﻭﻋﺎﳌﺎ ﺧﻴﺎﻟﻴّﺎ‪.‬‬

‫ﻱ‪ .‬ﺃﻓﻠﻢ‬
‫ﺐ ﺃﻥ ﳚﻴﺐ‪ ،‬ﺇﻧّﻤﺎ ﺍﻟﻜ ﹼﻞ ﻳﺘﺄﺗّﻰ ﻣﻦ ﺍﻟﻘﺼﺪﻳّﺔ )‪ ،(١٤‬ﺃﻱ ﻣﻦ ﺍﻟﻔﻌﻞ ﺍﻟﻨّﻮﺍﺯ ّ‬
‫ﻭِﻟ ُﻤﺠِﻴ ٍ‬
‫ﺻ ﹶﻞ ﻟﺘﻔﺮﻗﺔ ﺗﻔﺮﻗﺔ ﺑﺎﻃﻨﻴّﺔ ﺑﲔ‬
‫ﺗﻜﻮﻧﻮﺍ ﻗﺪ ﺳﺒﻘﺘﻢ ﺑﺎﻟﻘﻮﻝ ﺃﻧﺘﻢ ﺃﻧﻔﺴﻜﻢ ﺑﺄ ﹼﻥ ﻫﻮﺳّﺮﻝ ﻛﺎﻥ ﻗﺪ ﹶﺃ ﱠ‬
‫ﺍﻟﺼّﻮﺭﺓ ﻭﺍﻹﺩﺭﺍﻙ ﺑﺘﻮﺳّﻂ ﺍﻟﻘﺼﺪﻳّﺎﺕ ﻭﻟﻴﺲ ﺑﻄﺮﻳﻖ ﺍﳌﺎﺩّﺍﺕ ؟ ﻭﻫﻮﺳّﺮﻝ ﻧﻔﺴﻪ‪ ،‬ﻛﺎﻥ ﻗﺪ ﻣﻴّﺰ‬
‫ﰲ ﺍﻷﻓﻜﺎﺭ‪ ،‬ﻧﻮﺍﺯﺍﺕ ﺍﻟﺼّﻮﺭﺓ ﻣﻦ ﺍﻟﺬﹼﻛﺮﻳﺎﺕ ﺃﻭ ﻣﻦ ﺍﻷﺷﻴﺎﺀ ﺍﳌﹸ ْﺪ َﺭ ﹶﻛ ِﺔ‪.‬‬

‫" ﺭﺑّﻤﺎ ﻳﺘﻌﻠﹼﻖ ﺍﻷﻣﺮ ﰲ ﻛ ﹼﻞ ﻣﻜﺎﻥ ﺑﺸﺠﺮﺓ ﻣﻮﺭﻗﺔ ﻭﻫﺬﻩ ﺍﻟﺸّﺠﺮﺓ ﺭﺑّﻤﺎ ﻇﻬﺮﺕ ﰲ ﻛ ﹼﻞ‬
‫ﻣﻜﺎﻥ ﲝﻴﺚ ﺃﻧّﻬﺎ ﻟﻜﻲ ﻧﺼﻒ ﻭﺻﻔﺎ ﺻﺎﺩﻗﺎ ﻣﺎ ﻳﻈﻬﺮ ﲟﺎ ﻫﻮ ﻛﺬﻟﻚ‪ ،‬ﻓﻼ ﺑ ّﺪ ﺃﻥ ﻧﺴﺘﻌﻤﻞ‬
‫ﺕ ﺍﻟﻨّﻮﺍﻣﻴّﺔ ﻫﻲ ﳐﺘﻠﻔﺔ ﺑﺎﻟﺬﹼﺍﺕ ﰲ ﺣﺎﻝ‬
‫ﺍﺳﺘﻌﻤﺎﻻ ﺻﺎﺭﻣﺎ ﻟﻨﻔﺲ ﺍﻟﻌﺒﺎﺭﺍﺕ‪ .‬ﺇ ﹼﻻ ﺃ ﹼﻥ ﺍ ﹸﳌَﺘ َﻌ ﱠﻠﻘﹶﺎ ِ‬
‫ﺍﻹﺩﺭﺍﻙ‪ ،‬ﺃﻭ ﺍﻟﺘّﺨﻴّﻞ‪ ،‬ﺃﻭ ﺍﻻﺳﺘﻤﺜﺎﻝ ﺍﳌﺘﺨﻴّﻞ‪ ،‬ﺃﻭ ﺍﻟﺬﹼﻛﺮﻯ‪ ،‬ﺇﱃ ﻏﲑ ﺫﻟﻚ‪ .‬ﻓﺘﺎﺭﺓ ﺍﻟﻈﹼﻬﻮﺭ‬
‫ﺺ‬
‫ﺨ ﱡ‬
‫ﺺ ﺑﻨﺤﻮ ﺍﳋﻴﺎﻝ‪ ،‬ﻭ ﺗﺎﺭﺓ ﺃﺧﺮﻯ ﻳُ َ‬
‫ﺨ ﱡ‬
‫ﺺ ﺑﻜﻮﻧﻪ "ﻭﺍﻗﻌﺔ ﺑﻠﺤﻤﻬﺎ ﻭﺩﻣﻬﺎ "‪ ،‬ﻭﻃﻮﺭﺍ ُﻳ َ‬
‫ﺨ ﱡ‬
‫ُﻳ َ‬
‫ﺑﻨﺤﻮ ﺍﻻﺳﺘﻤﺜﺎﻝ ﰲ ﺍﻟﺬﹼﻛﺮﻯ‪ ،‬ﻭﻏﲑ ﺫﻟﻚ‪).‬ﻝ("‬

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‫ﻭﻟﻜﻦ ﻛﻴﻒ ﻋﺴﺎﻧﺎ ﺃﻥ ﻧﻔﻬﻢ ﺫﻟﻚ ؟ ﻭﻫﻞ ﻛﺎﻥ ﳝﻜﻨﲏ ﺃﻥ ﺃﹸ ْﺣِﻴ َﻲ ﻣﺎﺩّﺓ ﺍﻧﻄﺒﺎﻋﻴّﺔ ﹶﺃﻳ‪‬ﺎ ﻛﺎﻧﺖ‬
‫ﻱ ﻣﻌﲎ ﻟﻞ " ﺍﻟﺼّﻮﺭﺓ " ﺃﻭ "ﺍﻟﺸّﻲﺀ ﺍﳌﹸ ْﺪ َﺭ ِﻙ " ﺣﻴﻨﺌﺬ‬
‫ﻣﺜﻞ ﺍﻻﺩﺭﺍﻙ ﺃﻭ ﺍﻟﺼّﻮﺭﺓ ﻛﻤﺎ ﺃﺷﺎﺀ ؟ ﻭﺃ ّ‬
‫؟ ﻓﻬﻞ ﻛﺎﻥ ﻳﻜﻔﻲ ﺃﻥ ﳕﺘﻨﻊ ﻋﻦ ﻭﺻﻞ ﺍﻟّﻨﻮﺍﻡ " ﺍﻟﺸّﺠﺮﺓ ﺍﳌﻮﺭﻗﺔ " ﺇﱃ ﺍﻟﻨﻮّﺍﻣﺎﺕ ﺍﳌﺘﻘﺪّﻣﺔ ﺣﺘّﻰ‬
‫ﺃﺅﺳّﺲ ﺻﻮﺭﺓ ﻣﺎ ؟ ﺻﺤﻴﺢ ﺃﻧّﻪ ﻟﻜﺬﻟﻚ ﺇﻧّﻤﺎ ﺃﻓﻌﻞ ﺑﺈﺯﺍﺀ ﺭﺳﻢ ﺩﻭﺭﺭ ﺍﻟﹼﺬﻱ ﳝﻜﻨﻨﺎ ﻛﻤﺎ ﻧﺸﺎﺀ‬
‫ﺃﻥ ﻧﺪﺭﻛﻪ ﺇﻣّﺎ ﺑﻨﺤﻮ ﺍﳌﻮﺿﻮﻉ ﺍﻟﺸّﻲﺀ ﺃﻭ ﺍﳌﻮﺿﻮﻉ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻭﺍﻋﻠﻢ ﺃ ﹼﻥ ﺫﻟﻚ ﺇﻧّﻤﺎ ﻛﺎﻥ ﻣﻦ‬
‫ﺃﺟﻞ ﺃﻧّﻪ ﻫﻨﺎﻙ ﺗﺄﻭﻳﻼﻥ ﺇﺛﻨﺎﻥ ﻟﻨﻔﺲ ﺍﳌﺎﺩّﺓ ﺍﻻﻧﻄﺒﺎﻋﻴّﺔ‪ .‬ﻓﻠﻌﻤﺮﻱ‪ ،‬ﹶﺃﻣﱠﺎ ﻟﻮ ﺗﻌﻠﹼﻖ ﺍﻷﻣﺮ ﺑﺎﻟﺼّﻮﺭﺓ‬
‫ﺍﻟﺬﹼﻫﻨﻴّﺔ‪ ،‬ﻓﻜﻠﹼﻨﺎ ﳝﻜﻨﻪ ﺃﻥ ﻳﺘﺒﻴّﻦ ﺃﻧّﻪ ﻳﺴﺘﺤﻴﻞ ﻋﻠﻴﻪ ﺃﻥ ﳛﻲ ﻫﻴﻮﻻﻩ ﺣﺘّﻰ ﳚﻌﻞ ﻣﻨﻬﺎ ﻣﺎﺩّﺓ‬
‫ﺇﺩﺭﺍﻛﻴّﺔ‪ .‬ﻭﻫﺬﻩ ﺍﻟﻘﻴﻤﺔ ﺍﻻﺛﻨﻴّﺔ ﻟﻠﻬﻴﻮﱃ ﻫﻮ ﻏﲑ ﳑﻜﻦ ﺇ ﹼﻻ ﰲ ﺣﺎﻻﺕ ﻗﻠﻴﻠﺔ ﳑﺘﺎﺯﺓ ) ﻟﻮﺣﺎﺕ‪ ،‬ﻭ‬
‫ﺻﻮﺭ‪ ،‬ﻭﳏﺎﻛﺎﺕ‪ ،‬ﺇﱃ ﻏﲑ ﺫﻟﻚ‪ .( .‬ﻭﺇﻥ ﺍﺗّﻔﻖ ﻭﺃﻥ ﻛﺎﻥ ﺫﻟﻚ ﳑﻜﻨﺎ‪ ،‬ﻓﺴﻮﻑ ﻳﻨﺒﻐﻲ ﺃﻥ ﻧﻔﺴّﺮ‬
‫ﻣﺎ ﺑﺎﻝ ﺍﻟﻮﻋﻲ ﻳﻘﺼﺪ ﻣﺎﺩّﺓ ﻣﺎ ﰲ ﺻﻮﺭﺓ ﻭﻻ ﻳﻘﺼﺪﻫﺎ ﰲ ﺇﺩﺭﺍﻙ‪ .‬ﺇ ﹼﻥ ﻫﺬﺍ ﺍﻟﺴّﺆﺍﻝ ﻳﺘﻌﻠﹼﻖ ﲟﺎ‬
‫ﻳﺴﻤّﻴﻪ ﻫﻮﺳّﺮﻝ ﺑﺎﻟﺪّﻭﺍﻓﻊ ﻭﻇﺎﻫﺮ ﺃﻧّﻨﺎ ﻧﺘﺒﻴّﻦ ﺟﻴّﺪ ﺍﻟﺘّﺒﻴّﻦ ﺃ ﹼﻥ ﺇﺣﻴﺎﺀ ﺍﳌﺎﺩّﺓ ﺍﻻﻧﻄﺒﺎﻋﻴّﺔ ﻟﻠﺮّﺳﻢ‬
‫ﻣﻦ ﺃﺟﻞ ﺃﻥ ﲡﻌﻞ ﻣﻨﻬﺎ ﺻﻮﺭﺓ ﺇّﻧﻤﺎ ﻫﻮ ﻣﺘﻮﻗﹼﻒ ﻋﻠﻰ ﺩﻭﺍﻓﻊ ﺧﺎﺭﺟﻴّﺔ )ﻷﻧّﻪ ﳝﺘﻨﻊ ﺃ ﹼﻥ ﻳﻜﻮﻥ‬
‫ﻫﺬﺍ ﺍﻟﺮّﺟﻞ ﻫﻨﺎﻟﻚ‪ ،‬ﺇﱃ ﻏﲑ ﺫﻟﻚ‪ (.‬ﻭﺑﺎﳉﻤﻠﺔ‪ ،‬ﻓﻨﺤﻦ ﻧﻌﻮﺩ ﺇﱃ ﺍﳌﻘﺎﻳﻴﺲ ﺍﳋﺎﺭﺟﻴّﺔ ﻟﻠﻴﺒﻨﺘﺰ‬
‫ﺻ ِﺮ ﹾﻓﻨَﺎ‬
‫ﻭﺳﺒﲑ‪ .‬ﻭﻟﻮ ﻛﺎﻥ ﺍﻷﻣﺮ ﻛﺬﻟﻚ ﺑﺎﻟﻨّﺴﺒﺔ ﻟﻠﺼّﻮﺭﺓ ﺍﻟﺬﹼﻫﻨﻴّﺔ‪ ،‬ﻓﻬﺎ ﳓﻦ ﺃﹸﻭ ﹶﻻﺀِ‪ ،‬ﺑﺬﻟﻚ‪ ،‬ﻗﺪ ُ‬
‫ﺛﺎﻧﻴﺔ ﺇﱃ ﺻﻌﻮﺑﺎﺕ ﺍﻟﻔﺼﻞ ﺍﻟﺴّﺎﺑﻖ‪ .‬ﻓﻠﻘﺪ ﻛﺎﻧﺖ ﺍﳌﺴﺄﻟﺔ ﺍﻟﹼﱵ ﺍﻋﺘﺎﺻﺖ ﻋﻠﻰ ﺍﳊ ﹼﻞ‪ :‬ﻫﻲ ﻛﻴﻒ‬
‫ﻋﺴﺎﻧﺎ ﺃﻥ ﻧﺼﻴﺐ ﺧﺼﺎﺋﺺ ﺍﻟﺼّﻮﺭﺓ ﺍﳊﻘﻴﻘﻴّﺔ ؟ ﺃﻣّﺎ ﺍﳌﺴﺄﻟﺔ ﺍﻵﻥ ﻓﻬﻲ‪ :‬ﻛﻴﻒ ﻋﺴﺎﻧﺎ ﺃﻥ‬
‫ﺱ ﻣﺎﺩّﺓ ﻣﺎ ﺻﻮﺭﺓ ﺫﻫﻨﻴّﺔ ﺑﺪﻝ ﺇﻟﺒﺎﺳﻬﺎ ﺻﻮﺭﺓ ﺇﺩﺭﺍﻛﻴّﺔ ؟ ﻓﻔﻲ ﺍﻷﻭّﻝ‪ ،‬ﻛﻨّﺎ‬
‫ﻧﺼﻴﺐ ﺩﻭﺍﻓﻊ ِﺇﹾﻟﺒَﺎ ِ‬
‫ﻗﺪ ﺃﺟﺒﻨﺎ‪ :‬ﺇﺫﺍ ﻛﺎﻧﺖ ﺍﶈﺘﻮﻳﺎﺕ ﺍﻟﻨّﻔﺴﻴّﺔ ﻣﺘﻜﺎﻓﺌﺔ‪ ،‬ﻓﻠﻦ ﻳﻜﻮﻥ ﻣﻦ ﺳﺒﻴﻞ ﺃﺑﺪﺍ ﻷﻥ ﻧﻌﻴّﻦ ﺍﻟﺼّﻮﺭﺓ‬
‫ﺍﳊﻘﻴﻘﻴّﺔ‪ .‬ﻭﰲ ﺍﻟﻮﺿﻊ ﺍﻟﺜﹼﺎﱐ ﻓﻼ ﺑ ّﺪ ﺃﻥ ﳒﻴﺐ‪ :‬ﺇﺫﺍ ﻛﺎﻧﺖ ﺍﳌﻮﺍ ّﺩ ﺫﺍﺕ ﻃﺒﻴﻌﺔ ﻭﺍﺣﺪﺓ‪ ،‬ﻓﻠﻦ‬
‫ﻱ ﺩﺍﻓﻊ ﻣﻌﻘﻮﻝ‪.‬‬
‫ﻳﻜﻮﻥ ﻫﻨﺎﻙ ﺃ ّ‬

‫ﻭﺍﳊ ّﻖ ﺃﻗﻮﻝ‪ ،‬ﻫﻨﺎﻟﻚ ﻟﺪﻯ ﻫﻮﺳّﺮﻝ‪ ،‬ﻣﺒﺘﺪﺃ ﳉﻮﺍﺏ‪ .‬ﻓﺎﳋﻴﺎﻝ " ﺍﻟﺴﻨﺘﻮﺭ ﻳﻌﺰﻑ ﻋﻠﻰ ﺍﻟﻨّﺎﻱ‬
‫"ﻗﺪ ﺷُﱢﺒ َﻪ ﰲ ﺍﻷﻓﻜﺎﺭ ﺑﻔﻌﻞ ﺍﳉﻤﻊ‪ .‬ﻓﺎﻷﻣﺮ ﻳﺘﻌﻠﹼﻖ ﰲ ﺍﻟﻮﺿﻌﲔ ﺍﻻﺛﻨﲔ ﺑﻮﻋﻲ ﻫﻮ ﺏ" ﺍﻻﺿﻄﺮﺍﺭ‬

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‫ﻱ‪ .‬ﹼﰒ‬
‫ﺴﻲّ‪ ،‬ﺃﻱ ﺍﻟﻮﻋﻲ ﺍﳋﱪ ّ‬
‫ﻱ "‪ ،‬ﺃﻣّﺎ ﻫﺬﻩ ﺍﻟﻌﻔﻮﻳّﺔ ﻓﻼ ﺳﺒﻴﻞ ﺇﻟﻴﻬﺎ ﰲ ﺣﺎﻝ ﺍﻟﻮﻋﻲ ﺍﳊ ّ‬
‫ﻋﻔﻮ ّ‬
‫ﻓﻴﻤﺎ ﺑﻌﺪ‪ ،‬ﺃﻱ ﰲ ﺍﻟﺘّﺄﻣّﻼﺕ ﺍﻟﺪّﻳﻜﺎﺭﺗﻴّﺔ‪ ،‬ﻓﻘﺪ ﻣﻴ ّﺰ ﻫﻮﺳّﺮﻝ ﺍﻟﺘّﺄﻟﻴﻔﺎﺕ ﺍﻻﻧﻔﻌﺎﻟﻴّﺔ ﺍﻟﹼﱵ ﲢﺼﻞ‬
‫ﺑﻄﺮﻳﻖ ﺍﻟﺘّﺮﺍﺑﻂ ﻭﺍﻟﹼﱵ ﺻﻮﺭﻬﺗﺎ ﻫﻲ ﺍﻟﺴّﻴﻼﻥ ﺍﻟﺰّﻣﲏّ‪ ،‬ﻭﺍﻟﺘّﺄﻟﻴﻔﺎﺕ ﺍﻟﻔﻌّﺎﻟﺔ ) ﺣﻜﻢ‪ ،‬ﺧﻴﺎﻝ‪ ،‬ﺇﱃ‬
‫ﻏﲑ ﺫﻟﻚ(‪ .‬ﻭﻣﻦ ﻫﻨﺎ ﻓﺈ ﹼﻥ ﻛ ﹼﻞ ﺧﻴﺎﻝ ﻫﻮ ﺗﺄﻟﻴﻒ ﻓﻌّﺎﻝ‪ ،‬ﻭﺃﺛﺮ ﻟﻌﻔﻮﻳّﺘﻨﺎ ﺍﳊﺮّﺓ ؛ ﺃﻣّﺎ ﻛ ﹼﻞ ﺇﺩﺭﺍﻙ‪،‬‬
‫ﱄ‪ .‬ﻭﺍﻟﻔﺮﻕ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﺍﳋﻴﺎﻝ ﻭﺍﻹﺩﺭﺍﻙ ﺇﻧّﻤﺎ ﻳﺘﺄﺗّﻰ‬
‫ﻓﻌﻠﻰ ﺍﻟﻌﻜﺲ‪ ،‬ﻓﻬﻮ ﺗﺄﻟﻴﻒ ﳏﺾ ﺍﻧﻔﻌﺎ ﹼ‬
‫ﺇﺫﺍ ﻣﻦ ﺍﻟﺒﻨﻴﺔ ﺍﻟﻌﻤﻴﻘﺔ ﻟﻠﺘّﺄﻟﻴﻔﺎﺕ ﺍﻟﻘﺼﺪﻳّﺔ‪.‬‬

‫ﻭﺇﻧّﻨﺎ ﻟﻨﺸﺎﻳﻊ ﻫﺬﺍ ﺍﻟﺘّﻔﺴﲑ ﻛ ﹼﻞ ﺍﳌﺸﺎﻳﻌﺔ‪ .‬ﻟﻜﻨّﻪ ﻫﻮ ﺗﻔﺴﲑ ﻗﺪ ﺑﻘﻲ ﻛﺬﻟﻚ ﺃﻳّﻤﺎ ﻧﺎﻗﺺ‪.‬‬
‫ﻓﺄﻭّﻻ ﺇ ﹼﻥ ﻛﻮﻥ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﺗﺄﻟﻴﻒ ﻓﻌّﺎﻝ ﻓﻬﻞ ﻳﻠﺰﻡ ﻋﻨﻪ ﺗﻐﻴﲑ ﰲ ﺍﳍﻴﻮﱃ ﺃﻡ ﻓﻘﻂ ﺗﻐﻴﲑ ﰲ ﳕﻂ‬
‫ﺍﻻﺟﺘﻤﺎﻉ ؟ ﻓﻘﺪ ﳚﻮﺯ ﻛ ﹼﻞ ﺍﳉﻮﺍﺯ ﺃ ﹼﻥ ﻧﺘﺼﻮّﺭ ﺗﺄﻟﻴﻔﺎ ﻓﻌّﺎﻻ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﳛﺼﻞ ﺑﻄﺮﻳﻖ ﺗﺮﻛﻴﺐ‬
‫ﺴﻴّﺔ ﻣﻨﺒﻌﺜﺔ‪ .‬ﻓﺴﺒﻴﻨﻮﺯﺍ ﻭﺩﻳﻜﺎﺭﺕ ﺇﻧّﻤﺎ ﻋﻠﻰ ﺫﻟﻚ ﺍﻟﻨّﺤﻮ ﻛﺎﻧﺎ ﻗﺪ ﻓﺴّﺮﺍ ﺍﳋﻴﺎﻝ‪.‬‬
‫ﻻﻧﻄﺒﺎﻋﺎﺕ ﺣ ّ‬
‫ﺚ ﻟﻠﻔﺮﺱ‪ ،‬ﻭﻣﻦ ﺇﺩﺭﺍﻙ‬
‫ﻱ ﻹﺩﺭﺍﻙ ﻣُ ْﻨَﺒ ِﻌ ٍ‬
‫ﻓﺎﻟﺴّﻨﺘﻮﺭ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﻜﻮﻥ ﻣﻜﻮّﻧﺎ ﻣﻦ ﺗﺄﻟﻴﻒ ﻋﻔﻮ ّ‬
‫ﻣﻨﺒﻌﺚ ﻹﻧﺴﺎﻥ‪ .‬ﻭﻟﻜﻨّﻪ ﺭﺑّﻤﺎ ﻧﻈ ّﻦ)ﻡ( ﺑﺄ ﹼﻥ ﺍﳌﺎﺩّﺓ ﺍﻻﻧﻄﺒﺎﻋﻴّﺔ ﻟﻺﺩﺭﺍﻙ ﻫﻲ ﻻ ﺗﺘﻼﺀﻡ ﻣﻊ‬
‫ﻱ ﻟﻠﺼّﻮﺭﺓ ﺍﳋﻴﺎﻝ‪ .‬ﺇ ﹼﻥ ﻫﻮﺳّﺮﻝ ﱂ ﻳﺒﺴﻂ ﺍﻟﻘﻮﻝ ﰲ ﻫﺬﺍ ﺍﻟﺸّﺄﻥ‪ .‬ﻭﻋﻠﻰ ﺃﻳّﺔ‬
‫ﺍﻟﻀّﺮﺏ ﺍﻟﻘﺼﺪ ّ‬
‫ﺣﺎﻝ‪ ،‬ﻓﺈ ﹼﻥ ﻧﺘﻴﺠﺔ ﻫﺬﺍ ﺍﻟﺘّﺼﻨﻴﻒ ﻫﻲ ﺃﻥ ﺗُ ﹶﻘ ﱠﻄ َﻊ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺬﹼﻛﺮﻯ ﺗﻘﻄﻴﻌﺎ ﺟﺬﺭﻳّﺎ ﻣﻦ ﺍﻟﺼّﻮﺭﺓ‬
‫ﺍﳋﻴﺎﻝ‪ .‬ﻭﻟﻘﺪ ﻛﻨّﺎ ﺃﺳﻠﻔﻨﺎ ﺍﻟﺮّﺅﻳﺔ ﺑﺄ ﹼﻥ ﺗﺬﻛﹼﺮ ﺍﳌﺴﺮﺡ ﺍﳌﻀﺎﺀ ﺇﻧّﻤﺎ ﻛﺎﻥ ﺍ ْﺳِﺘ ْﻤﺜﹶﺎ ﹰﻻ ﻟﻠﺸّﻲﺀ "‬
‫ﺍﳌﺴﺮﺡ ﺍﳌﻀﺎﺀ " ﻣﻊ ﻣﻌﺎﻭﺩﺓ ﺍﻧﺘﺎﺝ ﺍﻷﻋﻤﺎﻝ ﺍﻹﺩﺭﺍﻛﻴّﺔ‪ .‬ﹶﻓَﺒﱢﻴﻦٌ ِﺇﺫﹰﺍ ﺃ ﹼﻥ ﺍﻷﻣﺮ ﻛﺎﻥ ﻳﺘﻌﻠﹼﻖ ﺑﺘﺄﻟﻴﻒ‬
‫ﱄ‪ .‬ﻭﻟﻜﻨّﻪ ﻫﻮ ﻳﻮﺟﺪ ﻣﺎ ﺷﺌﺖ ﻣﻦ ﺃﺷﻜﺎﻝ ﺑﲔ ﺍﺍﻟﺼّﻮﺭﺓ ﺍﻟﺬﹼﻛﺮﻯ ﻭﺍﻟﺼّﻮﺭﺓ ﺍﳋﻴﺎﻝ ﺣﺘّﻰ‬
‫ﺍﻧﻔﻌﺎ ﹼ‬
‫ﻱ‪ .‬ﻓﺈﻣّﺎ ﺃﻥ ﻳﻜﻮﻧﺎ ﺍﻻﺛﻨﺎﻥ ﺗﺄﻟﻴﻔﲔ ﺍﻧﻔﻌﺎﻟﻴﲔ‬
‫ﺃﻧّﻨﺎ ﻻ ﳝﻜﻨﻨﺎ ﺃﻥ ﻧﻘﺒﻞ ﲟﺜﻞ ﺫﻟﻚ ﺍﻟﻔﺼﻞ ﺍﳉﺬﺭ ّ‬
‫)ﻭﻫﻮ‪ ،‬ﻋﻠﻰ ﺍﳉﻤﻠﺔ‪ ،‬ﺍﻷﺻﻞ ﺍﳌﻮﺿﻮﻉ ﺍﻟﻜﻼﺳﻜ ّﻲ (‪ ،‬ﻭﺇﻣّﺎ ﳘﺎ ﺍﻻﺛﻨﺎﻥ ﺗﺄﻟﻴﻔﺎﻥ ﻓﻌّﺎﻻﻥ‪ .‬ﻓﻌﻠﻰ‬
‫ﻂ ﺇﱃ ﺍﻟﻨّﻈﺮﻳّﺔ ﺍﻟﻜﻼﺳﻴﻜﻴّﺔ ؛ ﻭﰲ ﺍﻟﻮﺿﻊ ﺍﻟﺜﹼﺎﱐ‪ ،‬ﻓﻼ ﺑ ّﺪ ﻣﻦ‬
‫ﺍﻟﻮﺿﻊ ﺍﻷﻭّﻝ‪ ،‬ﻓﻨﺤﻦ ﻧﻌﻮﺩ ِﺑَﺘ َﻮ ﱡﺳ ٍ‬
‫ﺃﻥ ﻧﺘﺨﻠﹼﻰ ﻋﻦ ﻧﻈﺮﻳّﺔ "ﺍﻻﺳﺘﻤﺜﺎﻝ "‪ ،‬ﺃﻭ ﻋﻠﻰ ﺍﻷﻗﻞﹼ‪ ،‬ﻋﻠﻰ ﺍﻟﻨّﺤﻮ ﺍﻟﹼﺬﻱ ﻛﺎﻥ ﻗﺪ ﺃﻋﻄﺎﻩ ﺇﻳّﺎﻫﺎ‬
‫ﲏ ﻟﻠﺰّﻣﻦ‪ .‬ﻭﰲ ﻛ ﹼﻞ ﺍﻷﺣﻮﺍﻝ‪ ،‬ﻓﻠﻘﺪ ُﺭ ِﺩ ْﺩﻧَﺎ ﺇﱃ‬
‫ﻫﻮﺳّﺮﻝ ﰲ ﻣﺼﻨّﻔﻪ ﺩﺭﻭﺱ ﰲ ﺍﻟﻮﻋﻲ ﺍﻟﺒﺎﻃ ّ‬

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‫ﻣﻌﺎﻳﻨﺘﻨﺎ ﺍﻷﻭﱃ‪ :‬ﺇ ﹼﻥ ﺍﻟﺘّﻔﺮﻗﺔ ﺑﲔ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺬﹼﻫﻨﻴّﺔ ﻭﺍﻹﺩﺭﺍﻙ ﻻﳝﻜﻨﻬﺎ ﺃﻥ ﺗﺄﰐ ﻣﻦ ﺍﻟﻘﺼﺪﻳّﺔ‬
‫ﻭﺣﺪﻫﺎ‪ :‬ﻓﻬﻮ ﺿﺮﻭﺭﻱّ‪ ،‬ﻭﻟﻜﻦ ﻟﻴﺲ ﺑﻜﺎﻑ ﺃﻥ ﲣﺘﻠﻒ ﺍﻟﻘﺼﺪﻳّﺎﺕ؛ ﻭﻟﻜﻨّﻪ ﳚﺐ ﺃﻳﻀﺎ ﺃﻥ‬
‫ﺗﺘﻐﺎﻳﺮ ﺍﳌﻮﺍ ّﺩ‪ .‬ﺑﻞ ﺭﺑّﻤﺎ ﺃﻳﻀﺎ ﻫﻮ ﳚﺐ ﺃﻥ ﺗﻜﻮﻥ ﻣﺎﺩّﺓ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﻧﻔﺴﻬﺎ ﻋﻔﻮﻳّﺔ‪ ،‬ﺇ ﹼﻻ ﺃﻧّﻬﺎ‬
‫ﻋﻔﻮﻳّﺔ ﻣﻦ ﻧﻮﻉ ﺃﺩﱏ‪.‬‬

‫ﻭﰲ ﻛ ﹼﻞ ﺍﻷﺣﻮﺍﻝ‪ ،‬ﻓﻬﻮﺳّﺮﻝ ﻗﺪ ﻓﺘﺢ ﺍﻟﻄﹼﺮﻳﻖ‪ ،‬ﻭﻻ ﺩﺭﺍﺳﺔ ﻭﺍﺣﺪﺓ ﰲ ﺍﻟﺼّﻮﺭﺓ ﳝﻜﻨﻬﺎ ﺃﻥ‬
‫ﺗﻐﻔﻞ ﺍﻟﺒﻴﺎﻧﺎﺕ ﺍﻟﺜﹼﺮﻳّﺔ ﺍﻟﹼﱵ ﺃﻋﻄﺎﻧﺎﻫﺎ‪ .‬ﻓﻘﺪ ﺻﺮﻧﺎ ﻧﻌﺮﻑ ﺍﻵﻥ ﺑﺄﻧّﻪ ﻳﻨﺒﻐﻲ ﺍﻻﺑﺘﺪﺍﺀ ﻣﻦ ﺍﻟﺼّﻔﺮ‪،‬‬
‫ﻭﻳﻨﺒﻐﻲ ﺃﻥ ﻧﻀﺮﺏ ﺻﻔﺤﺎ ﻋﻦ ﻛ ﹼﻞ ﺍﻟﻨّﺼﻮﺹ ﺍﳌﺎﻗﺒﻞ ﻓﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟﻴّﺔ ﻭﺃﻥ ﻧﻠﺘﻤﺲ ﻗﺒﻞ ﻛ ﹼﻞ‬
‫ﺷﻲﺀ ﺍﻛﺘﺴﺎﺏ ﺭﺅﻳﺔ ﺣﺪﺳﻴّﺔ ﻋﻦ ﺍﻟِﺒ ْﻨَﻴ ِﺔ ﺍﻟﻘﺼﺪﻳّﺔ ﻟﻠﺼّﻮﺭﺓ‪ .‬ﻛﻤﺎ ﻳﻨﺒﻐﻲ ﺃﻳﻀﺎ ﺃﻥ ﻧﻀﻊ ﺍﻟﺴّﺆﺍﻝ‬
‫ﺍﳉﺪﻳﺪ ﻭﺍﻟﻌﻮﻳﺺ ﰲ ﻋﻼﻗﺎﺕ ﺍﻟﺼّﻮﺭﺓ ﺍﻟﺬﹼﻫﻨﻴّﺔ ﺑﺎﻟﺼّﻮﺭﺓ ﺍﳌﺎ ّﺩﻳّﺔ ) ﻟﻮﺣﺔ‪ ،‬ﺃﻭ ﺻﻮﺭﺓ‬
‫ﻱ ﺑﻨﺎ ﺃﻳﻀﺎ ﺃﻥ ﻧﻘﺎﺭﻥ ﺑﲔ ﺍﻟﻮﻋﻲ ﺑﺎﻟﺼّﻮﺭﺓ ﻭﺍﻟﻮﻋﻲ ﺑﺎﻟﻌﻼﻣﺔ‬
‫ﻓﻮﺗﻐﺮﺍﻓﻴّﺔ‪ ،‬ﻭ ﻏﲑ ﺫﻟﻚ‪ ( .‬ﻭ َﺣ ِﺮ ﱞ‬
‫ﺺ ﺁﺧﺮ ﺍﻟﺘّﺨﻠﻴﺺ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﻣﻦ ﺫﻟﻚ ﺍﳋﻄﺄ ﺍﻟﺸّﻨﻴﻊ ﺍﻟﹼﺬﻱ ﺩﺃﺏ ﻋﻠﻰ ﺟﻌﻠﻪ‬
‫ﺨ ﱢﻠ َ‬
‫ﺣﺘّﻰ ﻧُ َ‬
‫ﺍﻟﺼّﻮﺭﺓ ﻋﻼﻣﺔ‪ ،‬ﻭﺍﻟﻌﻼﻣﺔ ﺻﻮﺭﺓ‪ .‬ﻭِﺑﹶﺄ َﺧ َﺮ ٍﺓ ﻭﻻ ﺳﻴّﻤﺎ‪ ،‬ﻓﻼ ﺑ ّﺪ ﺃﻥ ﻧﻔﺤﺺ ﻋﻦ ﺍﳍﻴﻮﱃ ﺍﳋﺎﺻّﺔ‬
‫ﺑﺎﻟﺼّﻮﺭﺓ ﺍﻟﺬﹼﻫﻨﻴّﺔ‪ .‬ﻭﻋﺴﻰ ﺃﻧّﻨﺎ‪ ،‬ﰲ ﺃﺛﻨﺎﺀ ﻣﺴﻌﺎﻧﺎ‪ ،‬ﳓﻦ ﺳﻮﻑ ﻧﻐﺎﺩﺭ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﺍﻷﻳﺪﻭﺳ ّﻲ‬
‫ﻱ ﺑﻨﺎ ﺃﻥ ﻧﺒﺪﺃ ﺑﺎﻟﻮﺻﻒ‪ :‬ﻓﺎﻟﺴّﺒﻴﻞ‬
‫ﻟﻨﻠﺠﺄ ﺇﱃ ﺍﻟﺘّﺠﺮﺑﺔ ﻭﺇﱃ ﺍﻟﻄﹼﺮﻕ ﺍﻻﺳﺘﻘﺮﺍﺋﻴّﺔ‪ .‬ﻭﻟﻜﻨّﻪ َﺣ ِﺮ ﱞ‬
‫ُﺣ ﱞﺮ ِﺇﺫﹰﺍ ﻣﻦ ﺃﺟﻞ ﻋﻠﻢ ﻧﻔﺲ ﻓﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟ ّﻲ ﻟﻠﺼّﻮﺭﺓ‪.‬‬

‫ﺍﻟﺘّﻌﺎﻟﻴﻖ ) ﺍﳌﻼﺣﻈﺎﺕ ﺍﻟﹼﱵ ﻗﺒﻠﻬﺎ ﺃﺣﺮﻑ ﻋﺮﺑﻴّﺔ ﻫﻲ ﻣﻦ ﺻﻨﻊ ﺍﳌﺼﻨّﻒ ﻻ ﺍﳌﻌﺮّﺏ(‬

‫ﺤ ِﺪﺛﹸﻪُ ﺍﳌﻮﻗﻒ ﺍﻟﻄﺒﻴﻌ ّﻲ‪ .‬ﻭﻋﺒﺎﺭﺓ‬

‫ﻒ ﺍﻟﻄﹼﺒﻴﻌﻲّ‪ ،‬ﻭﺇﻧّﻤﺎ ﺍﻟﻌﻠﻢ ﺍﻟﹼﺬﻱ ﻳﺮﺍﻩ ﻭﻳُ ْ‬
‫)‪ (1‬ﻟﻴﺲ ﻣﻌﻨﺎﻩ ﺃﻧّﻪ ﻋﻠﻢ ﺑﺎ ﹶﳌ ْﻮ ِﻗ ِ‬
‫ﻱ ﺃﻱ ﻏﲑ ﺍﻟﻔﻠﺴﻔ ّﻲ‪ .‬ﻓﻠﺬﻟﻚ‪ ،‬ﻓﺈ ﹼﻥ ﻧﻔﺲ ﺍﳌﻮﺍﻗﻒ‬
‫ﺍﳌﻮﻗﻒ ﺍﻟﻄﹼﺒﻴﻌ ّﻲ ﺇﻧّﻤﺎ ﻳﺮﺍﺩ ﻬﺑﺎ‪ ،‬ﻣﻮﻗﻒ ﺍﻟﻮﻋﻲ ﻏﲑ ﺍﻟﻨّﻘﺪ ّ‬
‫ﺍﻟﻌﻠﻤﻴّﺔ ﻏﲑ ﺍﻟﻔﻠﺴﻔﻴّﺔ‪ ،‬ﻣﺜﻞ ﺍﳌﻮﻗﻒ ﺍﻟﻔﻴﺰﻳﺎﺋ ّﻲ ﺃﻭ ﺍﻟﻜﻴﻤﻴﺎﺋﻲّ‪ ،‬ﻭﻏﲑ ﺫﻟﻚ‪ ،‬ﻭﺇﻥ ﻛﺎﻧﺖ ﻋﻠﻰ ﻣﺮﺗﺒﺔ ﻣﺎ ﻣﻦ‬

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‫ﺍﻟﻨّﻘﺪﻳّﺔ ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﻣﻮﻗﻒ ﺍﻟﺮّﺟﻞ ﺍﻟﻌﺎﺩﻱّ‪ ،‬ﺃﻱ ﺭﺟﻞ ﺍﻟﺸّﺎﺭﻉ‪ ،‬ﻓﻬﻲ ﺃﻳﻀﺎ ُﺗ َﻌ ﱡﺪ ﻃﺒﻴﻌﻴّﺔ‪ ،‬ﻣﺜﻠﻬﺎ ﻣﺜﻞ‬
‫ﻱ‪ ).‬ﺭﺍﺟﻊ ﻫﻮﺳّﺮﻝ‪ ،‬ﺍﻷﻓﻜﺎﺭ‪ ،‬ﺍﳌﻘﺎﻟﺔ ﺍﻟﺜﹼﺎﻧﻴﺔ‪ ،‬ﺍﻟﻔﺼﻞ ﺍﻷﻭّﻝ‪(.‬‬
‫ﺍﳌﻮﻗﻒ ﺍﻟﻌﺎﺩ ّ‬

‫ﻱ ﻻ ﳝﻜﻦ ﺃﻥ ﻳﺼﲑ ﻋﻠﻤﺎ ﺣﻘﻴﻘﻴّﺎ ﺇ ﹼﻻ ﺑﺎﺳﺘﻨﺎﺩﻩ ﻋﻠﻰ ﻋﻠﻢ ﺃﻳﺪﻭﺳ ّﻲ ﻳﺘﻌﻠﹼﻖ‬

‫)‪ (2‬ﺇ ﹼﻥ ﻛ ﹼﻞ ﻋﻠﻢ ﺧﱪ ّ‬
‫ﲟﻮﺿﻮﻋﻪ‪ ،‬ﻭﺇ ﹼﻻ ﺣﻴﻨﻤﺎ ﻳﻜﺘﻤﻞ ﻫﺬﺍ ﺍﻟﻌﻠﻢ‪ .‬ﻓﻤﺜﻼ ﻋﻠﻢ ﺍﻟﻔﻴﺰﻳﺎﺀ ﱂ ﻳﻜﻦ ﻗﺪ ﺑﻠﻎ ﻣﺎ ﺑﻠﻐﻪ ﰲ ﺍﻟﻌﺼﺮ‬
‫ﺻﺔ ﻣﻊ ﻏﺎﻟﻴﻠﻲّ‪ ،‬ﻣﻦ ﻗﻮّﺓ ﻭﺗﻮﻓﻴﻖ‪ ،‬ﺇ ﹼﻻ ﳌﹼﺎ ﺗﻌﻴّﻨﺖ ﺍﳌﺎﻫﻴﺔ ﺍﻷﻳﺪﻭﺳﻴّﺔ ﻟﻠﻄﹼﺒﻴﻌﺔ ﺑﻜﻮﻬﻧﺎ ﺷﻴﺌﺎ‬
‫ﺍﻟﻜﻼﺳﻴﻜﻲّ‪ ،‬ﻭﲞﺎ ّ‬
‫ﳑﺘﺪّﺍ‪Res extensa.‬‬

‫)‪ (3‬ﺃﻱ ﻋﻠﻮﻡ ﲢﻠﻴﻠﻴّﺔ‪ ،‬ﺍﻟﻨّﺘﺎﺋﺞ ﻓﻴﻬﺎ ﺗﻜﻮﻥ ﻣﻮﺟﻮﺩﺓ ﺑﺎﻟﻘﻮّﺓ ﰲ ﺍﳌﻘﺪّﻣﺎﺕ ﺃﻭﺍﳌﺒﺎﺩﺉ‪.‬‬

‫)‪ (4‬ﻭﻗﺪ ﺟﺎﺯ ﺗﺴﻤﻴﺘﻬﺎ ﺑﺎﻟﺘّﺠﺮﺑﺔ‪ ،‬ﻣﻊ ﺃﻧّﻬﺎ ﻟﻴﺴﺖ ﻫﻲ ﺍﻟﺒﺘّﺔ ﻛﺴﺎﺋﺮ ﺍﻟﺘّﺠﺎﺭﺏ‪ ،‬ﻷ ﹼﻥ ﻫﻮﺳّﺮﻝ ﻛﺎﻥ ﻗﺪ‬
‫ﺃﺛﺒﺖ ﺑﺄ ﹼﻥ ﺍﳊﺪﺱ ﻻ ﻳﻘﺘﺼﺮ ﻓﻘﻂ ﻋﻠﻰ ﺣﺪﺱ ﺍﶈﺴﻮﺳﺎﺕ‪ ،‬ﺑﻞ ﻫﻨﺎﻙ ﺿﺮﺏ ﺁﺧﺮ ﻣﻦ ﺍﳊﺪﺱ ﻏﻔﻞ ﻋﻨﻪ‬
‫ﺍﻟﻔﻼﺳﻔﺔ ﺍﻟﺴّﺎﺑﻘﻮﻥ‪ ،‬ﻭﻫﻮ ﺣﺪﺱ ﺍﳌﻔﺎﻫﻴﻢ ﻭﺍﳌﻘﻮﻻﺕ ﻭﺍﻟﻌﻤﻮﻣﻴّﺎﺕ‪ ).‬ﺃﻧﻈﺮ ﻫﻮﺳّﺮﻝ ﺍﻷﲝﺎﺙ ﺍﳌﻨﻄﻘﻴّﺔ‪،‬‬
‫ﺲ ﻭﺍﻟﺬﹼﻫﻦ‪(.‬‬
‫ﺍﳌﺒﺤﺚ ﺍﻟﺴّﺎﺩﺱ‪ ،‬ﺍﳌﻘﺎﻟﺔ ﺍﻟﺜﹼﺎﻧﻴﺔ‪ ،‬ﺍﳊ ّ‬

‫)‪ (5‬ﺃﻧﻈﺮ ﻣﻘﺎﻟﺔ ﺳﺎﺭﺗﺮ ﰲ ﺍﻷﺯﻣﺎﻥ ﺍﳊﺪﻳﺜﺔ‪Les Temps modernes‬؛ ﻣﻘﻮﻟﺔ‬

‫ﺟﻮﻫﺮﻳّﺔ‪ ،‬ﺍﻟﻘﺼﺪﻳّﺔ‪(.‬‬

‫ﺻ ﹶﺔ ﹸﻇﻬُﻮ ِﺭ ِﻩ ‪Son‬‬
‫)‪ (6‬ﺃﻱ‪ ،‬ﻭﺑﻠﻐﺔ ﺍﻷﻓﻜﺎﺭ‪ ،‬ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﻣﻌﲎ ﻧﻮﺍﻣ ّﻲ ﳕﻴّﺰ ﻓﻴﻪ ﺍﳌﻮﺿﻮﻉ ﻭﺧَﺎ ﱠ‬
‫‪caractère d'apparaitre‬ﺑﻜﻮﻧﻪ ﻣﻮﺿﻮﻋﺎ ﻏﲑ ﻣﻮﺟﻮﺩ‪ .‬ﻭﻫﺬﺍ ﺍﳌﻌﲎ ﺍﻟﻨﻮّﺍﻣﻲ‬
‫ﰐ ﳕﻴّﺰ ﻓﻴﻪ ﻣﺎﺩّﺓ ﺍﻟﻔﻌﻞ‬
‫ﻱ ﺫﺍ ﹼ‬
‫ﺍﳌﺮﻛﹼﺐ‪ ، Composé‬ﺇﻧّﻤﺎ ﻫﻮ ﻳﺘﻨﺎﺳﺐ ﺗﻨﺎﺳﺒﺎ ﺿﺮﻭﺭﻳّﺎ ﻣﻊ ﻣﻌﻄﻰ ﻧﻮّﺍﺯ ّ‬
‫ﺍﻟﺘّﺨﻴّﻠﻲّ‪ ،‬ﻭﺧﺎﺻّﺘﻪ‪ ) .‬ﺭﺍﺟﻊ ﺍﻷﻓﻜﺎﺭ‪ ،‬ﺍﳌﻘﺎﻟﺔ ﺍﻟﺜﹼﺎﻟﺜﺔ‪ ،‬ﺍﻟﻔﺼﻞ ﺍﻟﺜﹼﺎﻟﺚ‪(.‬‬

‫ﱐ ﻭﻫﻮ ﻓﺮﺱ ﺭﺃﺳﻪ ﺭﺃﺱ ﺍﻧﺴﺎﻥ‪.‬‬

‫)‪ (7‬ﺍﻟﺴّﻨﺘﻮﺭ ﻛﺎﺋﻦ ﺧﺮﺍﰲ ﻳﻮﻧﺎ ﹼ‬

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‫)‪ (8‬ﺃﻱ ﺑﺘﻮﺳّﻂ ﳏﺘﻮﻳﺎﺕ ﺣﺴّﻴﺔ ﺫﺍﺗﻴّﺔ ﺗَُﺘ َﻤﱠﺜﻞﹸ ﺃﻭّﻻ‪ ،‬ﹼﰒ ﻳﻔﻬﻤﻬﺎ ﺍﻟﺬﹼﻫﻦ ﺑﻌﺪﻫﺎ ﻋﻠﻰ ﺃﻧّﻬﺎ ﻣﺜﺎﻝ ﻭﻋﻼﻣﺔ‬
‫ﳌﻮﺟﻮﺩ ﻏﲑ ﺣﺎﺿﺮ ﺍﻵﻥ‪ ،‬ﻛﻤﺎ ﻛﺎﻧﺖ ﻗﺪ ﺍﺟﺘﻤﻌﺖ ﻋﻠﻰ ﺍﻟﻘﻮﻝ ﺑﻪ ﺍﻵﺭﺍﺀ ﺍﻟﺴّﺎﺑﻘﺔ ﺍﻟﹼﱵ ﻛﺎﻥ ﻗﺪ ﻧﻘﻀﻬﺎ‬
‫ﺳﺎﺭﺗﺮ ﻓﻴﻤﺎ ﺳﻠﻒ ﻣﻦ ﻓﺼﻮﻝ‪.‬‬

‫ﱄ‪.‬‬
‫)‪ (9‬ﺍﻻﺩﺭﺍﻙ ﺍﻟﻌﺎﺩﻱّ‪ ،‬ﺃﻱ ﻣَُﺘ َﻌ ﱠﻠﻖُ ﺍﻹﺩﺭﺍﻙ ﰲ ﻫﺬﻩ ﺍﻟﻠﹼﻮﺣﺔ ﻟﻴﺲ ﻫﻮ ﻧﻔﺴﻪ ﻣَُﺘ َﻌ ﱠﻠﻖُ ﺍﻟﺘّﺄﻣّﻞ ﺍﳉﻤﺎ ﹼ‬
‫ﱯ ﻭﻭﺭﻗﻲّ‪ ،‬ﻣﻄﻠ ّﻲ ﲟﻮﺍ ّﺩ ﺳﻮﺩﺍﺀ ﻭﺧﻀﺮﺍﺀ‪ ،‬ﻭﻏﲑ ﺫﻟﻚ‪ .‬ﻭﻟﻜﻦ ﻣﺎ‬
‫ﺇﻧّﻪ ﺍﻟﻠﹼﻮﺣﺔ ﻧﻔﺴﻬﺎ ﲟﺎ ﻫﻲ ﺷﻲﺀ ﺧﺸ ّ‬
‫ﺇﻥ ﻳﻘﻒ ﺍﳌﺮﺀ ﻣﻦ ﻧﻔﺲ ﺗﻠﻚ ﺍﻟﻠﹼﻮﺣﺔ ﻣﻮﻗﻔﺎ ﲨﺎﻟﻴّﺎ‪ ،‬ﻓﺈ ﹼﻥ ﻣﺘﻌﻠﹼﻖ ﺍﻟﻔﻌﻞ ﺣﻴﻨﺌﺬ ﻟﻦ ﻳﺒﻘﻰ ﺍﻟﻠﹼﻮﺣﺔ ﲟﺎ ﻫﻲ‬
‫ﻛﺬﻟﻚ‪ ،‬ﻭﺇﻧّﻤﺎ ﻣﻦ ﺧﻼﻝ ﺍﻟﻠﹼﻮﺣﺔ‪ ،‬ﺍﻟﻔﺎﺭﺱ ﻭﺍﳌﻮﺕ ﻭﺍﻟﺸّﻴﻄﺎﻥ‪.‬‬

‫ﻱ ﻫﻮ ﺃﻥ ﺗُ َﻌ ﱠﻠ َﻖ ﻓﻌﻠﻴّﺔ ﺍﻟﻔﻌﻞ ﺍﻟﹼﺬﻱ ُﻳ ْﻌﻄِﻲ ﺍﳌﻮﺿﻮﻉ‪ ،‬ﰲ ﻭﺿﻌﻪ ﺃﻭ ﺭﻓﻌﻪ ﻟﻘﻴﻤﺔ‬

‫ﺤﱢﻴ ِﺪ ّ‬
‫)‪ (10‬ﺍﻟﺘّﻐﻴﲑ ﺍ ﹸﳌ َ‬
‫ﺍﻟﻮﺟﻮﺩ‪ ) .‬ﺭﺍﺟﻊ ﻫﻮﺳّﺮﻝ‪ ،‬ﺍﻷﻓﻜﺎﺭ‪ ،‬ﺍﳌﻘﺎﻟﺔ ﺍﻟﺜﹼﺎﻧﻴﺔ‪ ،‬ﻭﺍﳌﻘﺎﻟﺔ ﺍﻟﺜﹼﺎﻟﺜﺔ‪(.‬‬

‫)‪ (11‬ﺃﻱ ﻋﻠﻰ ﺧﺎﺻﻴّﺔ ﺍﻟﻔﻌﻞ‪.‬‬

‫)‪ (12‬ﻭﻫﺬﻩ ﺍﻻﻣﻜﺎﻧﻴّﺔ ﻫﻲ ﻧﻔﺴﻬﺎ ﺍﻟﹼﱵ ﺗﻨﺒﲏ ﻋﻠﻴﻬﺎ ﻛ ﹼﻞ ﺇﻣﻜﺎﻧﻴّﺔ ﻗﻴﺎﻡ ﺍﻟﻌﻠﻢ ﺍﻟﻔﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟ ّﻲ‪.‬‬

‫)‪ (13‬ﺃﻱ ﺑﻨﺤﻮ ﺍﳉﺰﺀ ﺍﳌﺎﺩّﻱ ﻟﻠﻔﻌﻞ ﺍﻹﺩﺭﺍﻛ ّﻲ‪.‬‬

‫)‪ (14‬ﻳﺮﻳﺪ ﺃ ﹼﻥ ﻣﺎ ﳚﻌﻠﻨﺎ ﺇﻧّﻤﺎ ﻧُ ْﺪ ِﺭﻙُ ﺇﺩﺭﺍﻛﺎ ﺃﻭّﻟﻴّﺎ ﺍﻟﻔﺮﻕ ﺑﲔ ﺍﻟﺴّﻨﺘﻮﺭ ﺍﻟﹼﺬﻱ ﻻ ﻳﻮﺟﺪ ﰲ ﻣﻜﺎﻥ ﻣﻦ‬
‫ﺍﻷﻣﻜﻨﺔ‪ ،‬ﻭﺍﻟﻨّﻮﺍﻡ ﺍﻹﺩﺭﺍﻛ ّﻲ ﺑﻌﺪ ﺍﳋﺰﻝ‪ ،‬ﺃﻱ ﺑﻌﺪ ﺃﻥ ﻧﱰﻉ ﻋﻨﻪ ﻛ ﹼﻞ ﻗﻴﻤﺔ ﻭﺟﻮﺩﻳّﺔ‪ ،‬ﺇﻧّﻤﺎ ﻫﻮ ﺍﺧﺘﻼﻑ‬
‫ﻱ ﺗﺄﺛﲑ‪ ،‬ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﺮّﺃﻱ ﰲ ﺗﺄﺳﻴﺲ ﺍﻟﻔﺮﻕ ﺑﲔ ﺃﻳﺪﻭﺱ ﺍﳋﻴﺎﻝ‬
‫َﻣ ْﻌَﻨَﻴ ْﻲ ﺍﻟﻘﺼﺪﻳّﺘﲔ‪ .‬ﻓﻠﻴﺲ ِﺇﺫﹰﺍ ﻟﻠﻤﺎﺩّﺓ ﺃ ّ‬
‫ﻭﺃﻳﺪﻭﺱ ﺍﻹﺩﺭﺍﻙ‪ .‬ﻭﻟﻜﻦ ﺳﺎﺭﺗﺮ ﺳﻮﻑ ﻟﻦ ﻳﺮﺗﻀﻲ ﻫﺬﺍ ﺍﻟﺮّﺃﻱ‪ ،‬ﻋﻠﻰ ﻣﺎ ﺳﻨﺮﻯ ﻓﻴﻤﺎ ﻳﻠﻲ ﻣﻦ ﺃﺳﻄﺮ‪.‬‬

‫ﻥ‬ ‫‪Jahrbuc‬‬ ‫‪fur‬‬ ‫‪Philosophie‬‬ ‫‪und‬‬ ‫ﺃ‪ph‬‬

‫‪nomenologische Forschung/ bd. I.‬‬
‫‪IDEENN ZU EINER‬‬ ‫ﺏ ‪REINEN PHAENOMENOLOGIE‬‬
‫‪UND PHAENOMENOLOGISCHEN PHILOSOPHIE.‬‬
‫ﺕ( ﻧﻔﺲ ﺍﳌﺮﺟﻊ‪ ،‬ﺹ‪.٥٣ .‬‬

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 ‫ﺙ( ﻧﻔﺲ ﺍﳌﺮﺟﻊ‪ ،‬ﺹ ‪. ٦٥‬‬
‫ﺝ( ﺃﻳﺪﻭﺳ ّﻲ ﰲ ﻣﻌﲎ " ﻋﻠﻮﻡ ﺍﳌﺎﻫﻴﺔ "‪ .‬ﻓﺎﻟﺮّﻳﺎﺿﻴﺎﺕ ﻫﻲ ﻋﻠﻮﻡ ﺃﻳﺪﻭﺳﻴّﺔ ‪.‬‬
‫ﺡ( ﺍﻷﻓﻜﺎﺭ‪ ،‬ﺹ‪. ١٣٢ .‬‬
‫ﺥ( ﺍﻷﻓﻜﺎﺭ‪ ،‬ﺹ‪.٢٠ .‬‬
‫ﺩ( ﺍﻷﻓﻜﺎﺭ‪ ،‬ﺹ ‪ ،٦٤‬ﺃﺭﻟﺒﻴﻨﻴﺲ‪ ، Erlebnis‬ﻋﺒﺎﺭﺓ ﳝﺘﻨﻊ ﻧﻘﻠﻬﺎ ﻟﻠﻔﺮﻧﺴﻴّﺔ‪ ،‬ﻭﻫﻲ ﻣﺸﺘﻘﹼﺔ ﻣﻦ‬
‫"‪ erleben‬ﻣﻌﻨﺎﻩ " ﺃﻥ ﻳﻌﻴﺶ ﺷﻴﺌﺎ ﻣﺎ "‪.‬‬ ‫ﻓﻌﻞ ﺃﺭﻟﻴﱭ "‪Etwas erleben‬‬
‫ﻓﺄﺭﻟﻴﺒﻨﺲ‪ ،‬ﻳﻘﺮﺏ ﻣﻌﻨﺎﻫﺎ ﻣﻦ ﻣﻌﲎ " ﺍﳌﻌﻴﺶ " ﻟﺪﻯ ﺃﻫﻞ ﺍﻟﺒﺎﺭﺟﺴﻮﻧﻴّﺔ ‪.‬‬
‫ﺫ( ﺍﻷﻓﻜﺎﺭ‪ ،‬ﺹ‪.٧٦ .‬‬
‫‪tteabschattung,‬ﻭﻏﲑ‬ ‫ﺭ‪) Farbenabschattung, Gl‬ﻥ‬
‫ﺫﻟﻚ‪ ...‬ﲤﺘﻨﻊ ﻋﻦ ﺍﻟﻨّﻘﻞ‪.‬‬
‫ﺯ(ﺍﻷﻓﻜﺎﺭ‪ ،‬ﺹ‪.٧٥ .‬‬
‫ﺱ ‪ ،) " beseelen ",‬ﺍﻧﻈﺮ ﺍﻷﻓﻜﺎﺭ‪ ،‬ﰲ ﻣﻮﺍﺿﻊ ﺃﺧﺮﻯ(‬
‫ﺵ( ﺍﻷﻓﻜﺎﺭ‪ .٤٣ ،‬ﺍﻹﺑﺮﺍﺯ ﻣﻦ ﻋﻨﺪﻧﺎ‪.‬‬
‫ﺹ( ﺍﻷﻓﻜﺎﺭ‪ ،‬ﺹ‪.٢٢٦ .‬‬
‫ﺽ( ﻭﻫﻲ ﺗﻔﺮﻗﺔ ﱂ ﻳﻜﻦ ﻫﻮﺳّﺮﻝ‪ ،‬ﻣﻊ ﺫﻟﻚ‪ ،‬ﻗﺪ ﺑﻠﻎ ﻬﺑﺎ ﺍﻟﻐﺎﻳﺔ ﻓﻴﻤﺎ ﻇﻬﺮ ﻟﻪ ﻣﻦ ﺃﻋﻤﺎﻝ‪.‬‬
‫ﻁ( ﻭﻫﻮ ﻳﺮﻳﺪ ﺃﻥ ﻳﺒﻴّﻦ ﲞﺎﺻّﺔ ﺑﺄﻧّﻪ ﰲ ﺍﻟﺘّﺄﻣّﻞ ﺍﳉﻤﺎﱄﹼ‪ ،‬ﺍﳌﻮﺿﻮﻉ ﻻﻳﻜﻮﻥ ﻣﻮﺿﻮﻋﺎ ﺑﻨﺤﻮ ﺍﳌﻮﺟﻮﺩ‪.‬‬
‫ﻓﻮﺻﻔﺎﺗﻪ ﺗﺴﺘﻠﻬﻢ ﲝ ّﻖ ﻣﻦ ﻧﻘﺪ ﺍﳊﻜﻢ ‪.‬‬
‫ﻅ( ﰲ ﻣﺼﻨّﻔﻪ ﺍﳌﺮﺍﺟﻊ ﺑﻌﺪ ﺍﳊﺮﺏ‪ ،‬ﻭﺍﻟﹼﺬﻱ ﻳﺄﺧﺬ ﰲ ﺍﳊﺴﺒﺎﻥ ﺍﻟﺘّﻄﻮ ّﺭ ﺍﻟﹼﺬﻱ ﺃﳒﺰﻩ ﻫﻮﺳّﺮﻝ ﻣﻨﺬ ﺍﻟﻄﹼﺒﻌﺔ‬
‫ﺍﻷﻭﱃ ﻣﻦ ﻫﺬﺍ ﺍﳌﺼﻨّﻒ ‪.‬‬
‫ﻉ( ﻭﻋﻠﻰ ﺃﻳّﺔ ﺣﺎﻝ‪ ،‬ﻓﻬﺬﺍ ﺍﻟﺮّﺃﻱ ﺍﻟﹼﺬﻱ ﺳﻨﻠﺘﻤﺲ ﺩﺣﻀﻪ ﻓﻴﻤﺎ ﺑﻌﺪ‪ ،‬ﻟﻪ ﻓﻀﻞ ﻛﺒﲑ ﰲ ﺃﻥ ﺟﻌﻞ ﺍﻟﺼّﻮﺭﺓ‬
‫‪.‬‬ ‫ﺴ ّﻲ ﺍﳌﻌﺎﺻﺮ‬
‫ﻱ ﻭﺍﻟﻔﺮﻧ ّ‬
‫ﺷﻴﺌﺎ ﺁﺧﺮ ﻏﲑ ﺍﻟﻌﻼﻣﺔ‪ ،‬ﻋﻠﻰ ﺧﻼﻑ ﻋﻠﻢ ﺍﻟﻨّﻔﺲ ﺍﻷﳒﻠﻴﺰ ّ‬
‫ﻍ( ﳓﻦ ﻧﻌﺘﺮﻑ ﺣ ّﻖ ﺍﻻﻋﺘﺮﺍﻑ ﺑﺄ ﹼﻥ ﺍﻷﻣﺮ ﻳﺘﻌﻠﹼﻖ ﻫﺎﻫﻨﺎ ﺑﺘﺄﻭﻳﻞ ﺗﺒﻴﺤﻪ ﻟﻨﺎ ﺍﻟﻨّﺼﻮﺹ‪ ،‬ﻭﻟﻜﻦ ﻻ ﺗﻮﺟﺐ‬
‫ﻋﻠﻴﻨﺎ ﺃﻥ ﻧﻘﺒﻞ ﺑﻪ‪ .‬ﻓﻬﻲ ﻧﺼﻮﺹ ﺫﺍﺕ ﹶﻟ ْﺒﺲٍ‪ ،‬ﻭﺍﳌﺴﺄﻟﺔ ﺇﻧّﻤﺎ ﺗﻘﺘﻀﻲ‪ ،‬ﺑﺎﻟﻌﻜﺲ‪ ،‬ﺃﻥ ﻧﻌﺘﻨﻖ ﺭﺃﻳﺎ ﻭﺍﺿﺢ‬
‫ﺍﻻﻋﺘﻨﺎﻕ ﻭﺑﻴّﻨﻪ‪.‬‬

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‫ﺞ ﻏﺎﻳﺔ ﺍﻟﻔﺠﺎﺟﺔ‪ ،‬ﻧﻈﺮﻳّﺔ ﻫﻲ ﺟ ّﺪ ﺩﻗﻴﻘﺔ‪ ،‬ﺩﻗﺎﺋﻘﻬﺎ ﻟﻴﺴﺖ ﺗﻌﻨﻴﻨﺎ‬
‫ﻕ( ﺇﻧّﻤﺎ ﳓﻦ ﻫﻨﺎ ﻧﻌﺮﺽ ﻋﻠﻰﳓﻮ ﹶﻓ ﱟ‬
‫ﺑﺎﻟﻘﺼﺪ ﺍﻷﻭّﻝ‪.‬‬
‫ﻙ( ﺍﻷﻓﻜﺎﺭ‪ ،‬ﺹ‪.١٨٤ .‬‬
‫ﻝ( ﻧﻔﺲ ﺍﳌﺮﺟﻊ‪ ،‬ﺹ‪.١٨٨ .‬‬
‫ﻡ( ﻭﻫﻮ ﻣﺎ ُﺭ ْﻣﻨَﺎ ﺑﻴﺎﻧﻪ ﻓﻴﻤﺎ ﺳﻠﻒ ﻣﻦ ﻓﺼﻞ‪.‬‬

‫ﺧﺎﲤﺔ‬

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‫ﻛ ﹼﻞ ﻭﺍﻗﻌﺔ ﻧﻔﺴﻴّﺔ ﻓﻬﻲ ﺗﺄﻟﻴﻒ‪ ،‬ﻭﻛ ﹼﻞ ﻭﺍﻗﻌﺔ ﻧﻔﺴﻴّﺔ ﻓﻬﻲ ﺻﻮﺭﺓ ﻭﳍﺎ ﺑﻨﻴﺔ‪ .‬ﺫﻟﻚ ﺇﺫﺍ ﻫﻮ‬
‫ﻚ ﺃ ﹼﻥ ﺫﻟﻚ ﺍﳉﺰﻡ ﳍﻮ ﻳﺘﻼﺀﻡ‬
‫ﺍﳉﺰﻡ ﺍﻟﹼﺬﻱ ﺍﺗّﻔﻖ ﻓﻴﻪ ﻋﻠﻤﺎﺀ ﺍﻟﻨّﻔﺲ ﺍﳌﻌﺎﺻﺮﻭﻥ ﲨﻴﻌﻬﻢ‪ .‬ﻭﻏﲑ ﺷ ّ‬
‫ﻛﺎﻣﻞ ﺍﻟﺘّﻼﺅﻡ ﻣﻊ ﻣﻌﻄﻴﺎﺕ ﺍﻟ ّﺮﻭّﻳﺔ‪ .‬ﺇ ﹼﻻ ﺃﻥ ﻣﻨﺸﺄﻩ‪ ،‬ﻫﻮ ﻟﻌﻤﺮﻱ‪ ،‬ﻣﻦ ﺃﻓﻜﺎﺭ ﻣﺎﻗﺒﻠﻴّﺔ‪ :‬ﺇﻧّﻪ ﻳﺘﻼﺀﻡ‬
‫ﺲ ﺍﻟﺒﺎﻃﲏّ‪ ،‬ﻭﻟﻜﻨّﻪ ﻫﻮ ﻟﻴﺲ ﻳﺘﺄﺗّﻰ ﻣﻨﻪ‪ .‬ﻭﻣﻦ ﻫﻨﺎ ﻓﻘﺪ ﻛﺎﻥ ﺟﻬﺪ ﻋﻠﻤﺎﺀ‬
‫ﻣﻊ ﻣﻌﻄﻴﺎﺕ ﺍﳊ ّ‬
‫ﺍﻟﻨّﻔﺲ ﺷﺒﻴﻬﺎ ﲜﻬﺪ ﻋﻠﻤﺎﺀ ﺍﻟﺮّﻳﺎﺿﻴّﺎﺕ ﺍﻟﹼﺬﻳﻦ ﺭﺍﻣﻮﺍ ﺃﻥ ﻳﺼﻴﺒﻮﺍ ﺍﳌﺘّﺼﻞ ﺑﺘﻮﺳّﻂ ﻋﻨﺎﺻﺮ‬
‫ﺐ ﺍﻟﺘّﺄﻟﻴﻒ ﺍﻟﻨّﻔﺴ ّﻲ ﺑﺎﻟﺒﺪﺀ ﻣﻦ ﻋﻨﺎﺻﺮ ﻳﻌﻄﻴﻬﺎ ﺍﻟﺘّﺤﻠﻴﻞ ﺍﳌﺎﻗﺒﻠ ّﻲ‬
‫ﻣﻨﻔﺼﻠﺔ‪ :‬ﻓﻠﻘﺪ ِﺭ َﱘ ﺃﻥ ُﻧﺼِﻴ َ‬
‫ﻣﻦ ﺑﻌﺾ ﺍﳌﻔﺎﻫﻴﻢ ﺍﳌﻴﺘﺎﻓﻴﺰﻳﻘﻴّﺔ ﺍﳌﻨﻄﻘﻴّﺔ‪ .‬ﻭﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﺇﺣﺪﻯ ﺗﻠﻚ ﺍﻟﻌﻨﺎﺻﺮ)ﺃ(‪ :‬ﺇﻧّﻬﺎ ُﺗ َﻌ ﱡﺪ ﰲ‬
‫ﺭﺃﻳﻨﺎ ﺍﻟﻔﺸﻞ ﺍﻷ ﹼﰎ ﻟﻌﻠﻢ ﺍﻟﻨّﻔﺲ ﺍﻟﺘّﺄﻟﻴﻔ ّﻲ‪ .‬ﻓﻠﻘﺪ ﺭﻣﻨﺎ ﺃﻥ ﻧﻠﻴّﻨﻬﺎ‪ ،‬ﻭﺃﻥ ﳒﻌﻠﻬﺎ ﳓﻴﻠﺔ ﻭﺃﻥ ﳒﻌﻠﻬﺎ‬
‫ﻼ ﺗﻌﻴﻖ ﺍﻟﺘّﺄﻟﻴﻔﺎﺕ ﻣﻦ ﺍﻟﺘّﺤﻘﹼﻖ‪ .‬ﻭﳌﹼﺎ ﻓﺮﻳﻖ ﻣﻦ ﺍﳌﺼﻨّﻔﲔ‬
‫ﺫﺍﺕ ﺇﻬﺑﺎﻡ ﻭﺫﺍﺕ ﺷﻔﺎﻓﻴّﺔ ﻣﺎ ﺃﻣﻜﻦ‪ ،‬ﻟﺌ ﹼ‬
‫ﺕ ﻣُ ﹶﻘﱠﻨ َﻌ ﹰﺔ ﺑﺬﻟﻚ ﺍﻟﻨّﺤﻮ‪ ،‬ﻓﻼ ﳏﺎﻟﺔ ﻫﻲ ﺗﻘﻄﻊ ﺗﻮﺍﺻﻠﻴّﺔ ﺗﻴّﺎﺭ ﺍﻟﻮﻋﻲ‪،‬‬
‫ﻗﺪ ﺗﺒﻴّﻦ ﺑﺄﻧّﻪ ﻭﻟﻮ ﻭُ ِﺟ َﺪ ْ‬
‫ﻓﺈﻧّﻬﻢ ﻗﺪ ﺍﻧﺼﺮﻓﻮﺍ ﻋﻨﻬﺎ ﺁﺧﺮ ﺍﻻﻧﺼﺮﺍﻑ ﻭﻋﺪّﻭﻫﺎ ﺑﻨﺤﻮ ﳎﺮّﺩ ﻛﺎﺋﻦ ﻣﺪﺭﺳ ّﻲ)‪ .(١‬ﺇ ﹼﻻ ﺃﻧّﻬﻢ ﱂ‬
‫ﻳﻜﻮﻧﻮﺍ ﻗﺪ ﺍﻧﺘﺒﻬﻮﺍ ﺇﱃ ﺃ ﹼﻥ ﻣﻨﺎﻗﻀﺎﻬﺗﻢ ﺗﻠﻚ ﺇﻧّﻤﺎ ﺗﻨﺎﻝ ﺗﺼﻮّﺭﺍ ﻣﺎ ﻟﻠﺼّﻮﺭﺓ‪ ،‬ﻭﻟﻴﺲ ﺍﻟﺼّﻮﺭﺓ‬
‫ﺴﱢﻴﹶﺌ ﹸﺔ ﻛﻠﹼﻬﺎ ﺇﻧّﻤﺎ ﻧﺸﺄﺕ ﻣﻦ ﺃﻧّﻨﺎ ﻛﻨّﺎ ﻗﺪ ﺫﻫﺒﻨﺎ ﺇﱃ ﺍﻟﺼّﻮﺭﺓ ﻭﻣﻌﻨﺎ ﻓﻜﺮﺓ ﺍﻟﺘّﺄﻟﻴﻒ‪،‬‬
‫ﺑﻌﻴﻨﻬﺎ‪ .‬ﻓﺎﻟ ﱠ‬
‫ﺽ ﺃﻥ ﻧﺴﺘﺨﻠﺺ ﺗﺼﻮّﺭﺍ ﻣﺎ ﻋﻦ ﺍﻟﺘّﺄﻟﻴﻒ ﻣﻦ َﺗ َﺮﻭﱢﻳﻨَﺎ ﰲ ﺍﻟﺼّﻮﺭﺓ‪ .‬ﻭﻟﻘﺪ ﻛﻨّﺎ ﻭﺿﻌﻨﺎ ﺍﻟﺴّﺆﺍﻝ‬
‫ِﻋ َﻮ َ‬
‫ﺍﻵﰐ ‪ :‬ﻛﻴﻒ ﳝﻜﻦ ﻟﻮﺟﻮﺩ ﺍﻟﺼّﻮﺭﺓ ﺃﻥ ﲡﺘﻤﻊ ﻣﻊ ﺿﺮﻭﺭﺍﺕ ﺍﻟﺘّﺄﻟﻴﻒ ـ ﻭﱂ ﻧﺘﺒﻴّﻦ ﺃﻧّﻪ ﰲ‬
‫ﺷﻜﻞ ﺻﻮﻏﻨﺎ ﻟﻠﻤﺴﺄﻟﺔ ﻧﻔﺴﻬﺎ‪ ،‬ﻓﺈ ﹼﻥ ﺍﻟﺘّﺼﻮّﺭ ﺍﻟﺬﺭّﻱ ﻟﻠﺼّﻮﺭﺓ ﻛﺎﻥ ﻣﻨﻄﻮﻳﺎ ﻓﻴﻪ‪ .‬ﻭﺍﳊﻖّ‪ ،‬ﻓﻼ ﺑ ّﺪ‬
‫ﺖ ُﺗ ُﻌ ﱡﺪ ﳏﺘﻮﻯ ﻧﻔﺴﻴّﺎ ﻋﺎﻃﻼ‪ ،‬ﻓﻼ ﳝﻜﻨﻬﺎ ﲝﺎﻝ ﺃﻥ‬
‫ﺃﻥ ﳒﻴﺐ ﺑﻮﺿﻮﺡ‪ :‬ﺑﺄ ﹼﻥ ﺍﻟﺼّﻮﺭﺓ‪ ،‬ﻣﺎ َﺑ ِﻘَﻴ ْ‬
‫ﲡﺘﻤﻊ ﻣﻊ ﺿﺮﻭﺭﻳّﺎﺕ ﺍﻟﺘّﺄﻟﻴﻒ‪ .‬ﻭﻻ ﳝﻜﻨﻬﺎ ﺃﻥ ﺗﺪﺧﻞ ﰲ ﺗﻴّﺎﺭ ﺍﻟﻮﻋﻲ ﺇ ﹼﻻ ﺑﺸﺮﻁ ﺃﻥ ﺗﻜﻮﻥ ﻫﻲ‬
‫ﻧﻔﺴﻬﺎ ﺗﺄﻟﻴﻔﺎ ﻻ ﻋﻨﺼﺮﺍ‪ .‬ﻓﻠﻴﺲ ﻫﻨﺎﻙ ﻣﻦ ﺻﻮﺭ ﺑَﺎ ِﻃ َﻦ ﺍﻟﻮﻋﻲ‪ ،‬ﻭﻟﻴﺲ ﻣﻦ ﺷﺄﻧﻪ ﺃﻥ ﻳﻜﻮﻥ ﻫﻨﺎﻙ‬
‫ﺻﻮﺭ‪ .‬ﻭﺇﻧّﻤﺎ ﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﳕﻂ ﻣﺎ ﻣﻦ ﺍﻟﻮﻋﻲ‪ .‬ﻭﺍﻟﺼّﻮﺭﺓ ﻫﻲ ﻓﻌﻞ ﻭﻟﻴﺴﺖ ﺑﺸﻲﺀ‪ .‬ﻭﺍﻟﺼّﻮﺭﺓ‬
‫ﻫﻲ ﻭﻋﻲ ﺑﺸﻲﺀ ﻣﺎ‪.‬‬

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‫ﺇ ﹼﻥ ﺃﲝﺜﻨﺎ ﺍﻟﻨّﻘﺪﻳّﺔ ﻻﳝﻜﻨﻬﺎ ﺃﻥ ﺗﺄﺧﺬﻧﺎ ﺃﺑﻌﺪ ﻣﻦ ﺫﻟﻚ‪ .‬ﻓﻼ ﺑ ّﺪ ﺍﻵﻥ ﻣﻦ ﺃﻥ ﻧﺘﻨﺎﻭﻝ ﺍﻟﻮﺻﻒ‬
‫ﺍﻟﻔﻴﻨﻮﻣﻴﻨﻮﻟﻮﺟ ّﻲ ﻟﺒﻨﻴﺔ " ﺍﻟﺼّﻮﺭﺓ "‪ .‬ﻭﻫﻮ ﻣﺎ ﺳﻮﻑ ﻧﻠﺘﻤﺴﻪ ﰲ ﻣﺼﻨّﻒ ﺁﺧﺮ)‪(٢‬‬

‫) ﺍﳌﻼﺣﻈﺎﺕ ﺍﻟﹼﱵ ﻗﺒﻠﻬﺎ ﺃﺣﺮﻑ ﻋﺮﺑﻴّﺔ ﻫﻲ ﻣﻦ ﺻﻨﻊ ﺍﳌﺼﻨّﻒ ﻻ ﺍﳌﻌﺮّﺏ(‬ ‫ﺍﻟﺘّﻌﺎﻟﻴﻖ‬

‫)‪ (1‬ﻋﻠﻰ ﺟﻬﺔ ﺍﻟﺘّﺤﻘﲑ‪ ،‬ﻭﻛﺄﻧّﻬﻢ ﻗﺪ ﻗﺎﻟﻮﺍ ﺑﺄﻧّﻪ ﻻ ﻭﺟﻮﺩ ﺣﻘﻴﻘ ّﻲ ﳍﺎ‪.‬‬
‫)‪ (2‬ﻭﻟﻘﺪ ﺃﳒﺰ ﺳﺎﺭﺗﺮ ﻧﻈﺮﻳّﺘﻪ ﺍﻟﺘّﺄﺳﻴﺴﻴّﺔ ﰲ ﺍﻟﺼّﻮﺭﺓ ﻭﺍﳋﻴﺎﻝ‪ ،‬ﰲ ﻣﺼﻨّﻔﻪ ﺍﻟﹼﺬﻱ ﺗﻼ ﻫﺬﺍ ﺍﳌﺼﻨّﻒ‪ ،‬ﰲ‬
‫ﱄ‪.‬‬
‫ﺍﳋﻴﺎ ﹼ‬

‫ﺴﻴّﺪ ﺑﻮﺭﻟﻮﺩ ‪ M. Burloud‬ﰲ ﺍﻟﻔﻜﺮ ﻋﻠﻰ ﺭﺃﻱ ﻭﺍﻁ‪،‬‬

‫ﺍﻧﻈﺮ ﻣﺜﻼ ﺍﺳﺘﺨﻼﺹ ﺍﻟ ّ‬ ‫ﺃ(‬
‫ﻭﻣﺴّﺮ ﻭﺑﻮﻫﻠﺮ ‪La pensée d'après watt, Messer‬‬
‫‪et Bûhler‬ﻓﻼ ﺑ ّﺪ ﺃ ﹼﻥ ﳕﻴّﺰ ﰲ ﺍﻟﻔﻜﺮ ﺑﲔ ﺃﻣﺮﻳﻦ ﺍﺛﻨﲔ ‪ :‬ﺑﻨﻴﺘﻪ ﻭﳏﺘﻮﺍﻩ‪ .‬ﻓﺎﻟﻔﻜﺮ ﻟﻪ‬
‫ﺴﻴّﺔ ﺃﻭ ﻋﻨﺎﺻﺮﻋﻼﻗﻴّﺔ ﺃﻭ ﻛﻼﳘﺎ ﺍﻹﺛﻨﺎﻥ ﺩﻓﻌﺔ ﻭﺍﺣﺪﺓ‪ .‬ﺃﻣّﺎ ﰲ‬
‫ﻣﻦ ﺣﻴﺚ ﺍﶈﺘﻮﻯ ﻋﻨﺎﺻﺮ ﺣ ّ‬
‫ﺑﻨﻴﺘﻪ‪ ،‬ﻓﺎﻟﻔﻜﺮ ﻟﻴﺲ ﺑﺸﻲﺀ ﺁﺧﺮ ﺇ ﹼﻻ ﳓﻮ َﺗَﺒﱡﻴِﻨﻨَﺎ ﻟﺬﻟﻚ ﺍﶈﺘﻮﻯ‪ ،".‬ﺹ‪.١٧٤ .‬‬

‫ﺘ ّﻡ ﺘﻌﺭﻴﺏ ﺍﻟﻜﺘﺎﺏ ﻭﺍﻟﺘﹼﻌﻠﻴﻕ ﻋﻠﻴﻪ ﺭﺒﻴﻊ ‪ ٢٠٠١‬ﺒﻁﺒﻠﺒﺔ‪ ،‬ﻭﻟﻭﺍﻫﺏ ﺍﻟﻌﻘل ﺍﻟﺤﻤﺩ ﻭﺍﻟﻤﻨﹼﺔ‪.‬‬

‫رأي اﻟﻘﺎرئ وﺳﺆاﻟﻪ‬

‫ﻟﻄﻔﻲ ﺧﻴﺮاﷲ‬
‫ﺗﻮﻧﺲ‬
‫ﺗﺎرﻱﺦ اﻟﻤﻴﻼد ‪ ١٩٦٥/٠٢/٢١‬ﺑﻄﺒﻠﺒﺔ‬
‫ﺑﺎﺣﺚ ﻓﻲ اﻟﻔﻠﺴﻔﺔ‬
‫اﻟﺒﺮﻱﺪ اﻻﻟﻜﺘﺮوﻧﻲ ‪kirallalotfi@yahoo.fr‬‬
‫ﻋﻨﻮان ﻡﻮﻗﻊ اﻟﻤﻌﺮّب‪Membres.lycos.fr/philosophie15 :‬‬

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