أهلا بك زائرنا الكريم في منتديات آرتين لتعليم اللغات (^_^)
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قوانين المنتدى


تنويه هام : يرجى من أخوتنا الأعضاء كتابة الردود و المواضيع التي فيها فائدة فقط , و أي موضوع أو رد لا يحوي أي فائدة سيُحذف دون الرجوع الى صاحبه  :arrow:

- ننوه الى أخوتنا طلبة الأدب الإنجليزي أنه يمكنهم الاستفادة من أقسام اللغة الإنجليزية التعليمية المتخصصة التي أعدت لهم .


إرسال موضوع جديد الرد على الموضوع  [ 7 مشاركة ] 
الكاتب رسالة
  • عنوان المشاركة: Heart of Darkness  study  - modern prose
مرسل: السبت كانون الأول 31, 2011 10:01 م 
آرتيني نشيط
آرتيني نشيط
صورة العضو الشخصية
اشترك في: 12 كانون الثاني 2009
المواضيع: 81
المشاركات: 583
المكان: Syria
القسم: English
السنة: graduated
لا يوجد لدي مواضيع بعد

:: ذكر ::


غير متصل
[align=center]plot

H eart of Darkness centers around Marlow, an introspective sailor, and his journey up the Congo River to meet Kurtz, reputed to be an idealistic man of great abilities. Marlow takes a job as a riverboat captain with the Company, a Belgian concern organized to trade in the Congo. As he travels to Africa and then up the Congo, Marlow encounters widespread inefficiency and brutality in the Company’s stations. The native inhabitants of the region have been forced into the Company’s service, and they suffer terribly from overwork and ill treatment at the hands of the Company’s agents. The cruelty and squalor of imperial enterprise contrasts sharply with the impassive and majestic jungle that surrounds the white man’s settlements, making them appear to be tiny islands amidst a vast darkness.
Marlow arrives at the Central Station, run by the general manager, an unwholesome, conspiratorial character. He finds that his steamship has been sunk and spends several months waiting for parts to repair it. His interest in Kurtz grows during this period. The manager and his favorite, the brickmaker, seem to fear Kurtz as a threat to their position. Kurtz is rumored to be ill, making the delays in repairing the ship all the more costly. Marlow eventually gets the parts he needs to repair his ship, and he and the manager set out with a few agents (whom Marlow calls pilgrims because of their strange habit of carrying long, wooden staves wherever they go) and a crew of cannibals on a long, difficult voyage up the river. The dense jungle and the oppressive silence make everyone aboard a little jumpy, and the occasional glimpse of a native village or the sound of drums works the pilgrims into a frenzy.

Marlow and his crew come across a hut with stacked firewood, together with a note saying that the wood is for them but that they should approach cautiously. Shortly after the steamer has taken on the firewood, it is surrounded by a dense fog. When the fog clears, the ship is attacked by an unseen band of natives, who fire arrows from the safety of the forest. The African helmsman is killed before Marlow frightens the natives away with the ship’s steam whistle. Not long after, Marlow and his companions arrive at Kurtz’s Inner Station, expecting to find him dead, but a half-crazed Russian trader, who meets them as they come ashore, assures them that everything is fine and informs them that he is the one who left the wood. The Russian claims that Kurtz has enlarged his mind and cannot be subjected to the same moral judgments as normal people. Apparently, Kurtz has established himself as a god with the natives and has gone on brutal raids in the surrounding territory in search of ivory. The collection of severed heads adorning the fence posts around the station attests to his “methods.” The pilgrims bring Kurtz out of the station-house on a stretcher, and a large group of native warriors pours out of the forest and surrounds them. Kurtz speaks to them, and the natives disappear into the woods.

The manager brings Kurtz, who is quite ill, aboard the steamer. A beautiful native woman, apparently Kurtz’s mistress, appears on the shore and stares out at the ship. The Russian implies that she is somehow involved with Kurtz and has caused trouble before through her influence over him. The Russian reveals to Marlow, after swearing him to secrecy, that Kurtz had ordered the attack on the steamer to make them believe he was dead in order that they might turn back and leave him to his plans. The Russian then leaves by canoe, fearing the displeasure of the manager. Kurtz disappears in the night, and Marlow goes out in search of him, finding him crawling on all fours toward the native camp. Marlow stops him and convinces him to return to the ship. They set off down the river the next morning, but Kurtz’s health is failing fast.

Marlow listens to Kurtz talk while he pilots the ship, and Kurtz entrusts Marlow with a packet of personal documents, including an eloquent pamphlet on civilizing the savages which ends with a scrawled message that says, “Exterminate all the brutes!” The steamer breaks down, and they have to stop for repairs. Kurtz dies, uttering his last words—“The horror! The horror!”—in the presence of the confused Marlow. Marlow falls ill soon after and barely survives. Eventually he returns to Europe and goes to see Kurtz’s Intended (his fiancée). She is still in mourning, even though it has been over a year since Kurtz’s death, and she praises him as a paragon of virtue and achievement. She asks what his last words were, but Marlow cannot bring himself to shatter her illusions with the truth. Instead, he tells her that Kurtz’s last word was her name.


Analysis of Major Characters

Marlow

Although Marlow appears in several of Conrad’s other works, it is important not to view him as merely a surrogate for the author. Marlow is a complicated man who anticipates the figures of high modernism while also reflecting his Victorian predecessors. Marlow is in many ways a traditional hero: tough, honest, an independent thinker, a capable man. Yet he is also “broken” or “damaged,” like T. S. Eliot’s J. Alfred Prufrock or William Faulkner’s Quentin Compson. The world has defeated him in some fundamental way, and he is weary, skeptical, and cynical. Marlow also mediates between the figure of the intellectual and that of the “working tough.” While he is clearly intelligent, eloquent, and a natural philosopher, he is not saddled with the angst of centuries’ worth of Western thought. At the same time, while he is highly skilled at what he does—he repairs and then ably pilots his own ship he is no mere manual laborer. Work, for him, is a distraction, a concrete alternative to the posturing and excuse-making of those around him.

Marlow can also be read as an intermediary between the two extremes of Kurtz and the Company. He is moderate enough to allow the reader to identify with him, yet open-minded enough to identify at least partially with either extreme. Thus, he acts as a guide for the reader. Marlow’s intermediary position can be seen in his eventual illness and recovery. Unlike those who truly confront or at least acknowledge Africa and the darkness within themselves, Marlow does not die, but unlike the Company men, who focus only on money and advancement, Marlow suffers horribly. He is thus “contaminated” by his experiences and memories, and, like Coleridge’s Ancient Mariner, destined, as purgation or penance, to repeat his story to all who will listen.


Kurtz

Kurtz, like Marlow, can be situated within a larger tradition. Kurtz resembles the archetypal “evil genius”: the highly gifted but ultimately degenerate individual whose fall is the stuff of legend. Kurtz is related to figures like Faustus, Satan in Milton’s Paradise Lost, Moby-Dick’s Ahab, and Wuthering Heights’s Heathcliff. Like these characters, he is significant both for his style and eloquence and for his grandiose, almost megalomaniacal scheming. In a world of mundanely malicious men and “flabby devils,” attracting enough attention to be worthy of damnation is indeed something. Kurtz can be criticized in the same terms that Heart of Darkness is sometimes criticized: style entirely overrules substance, providing a justification for amorality and evil.

In fact, it can be argued that style does not just override substance but actually masks the fact that Kurtz is utterly lacking in substance. Marlow refers to Kurtz as “hollow” more than once. This could be taken negatively, to mean that Kurtz is not worthy of contemplation. However, it also points to Kurtz’s ability to function as a “choice of nightmares” for Marlow: in his essential emptiness, he becomes a cipher, a site upon which other things can be projected. This emptiness should not be read as benign, however, just as Kurtz’s eloquence should not be allowed to overshadow the malice of his actions. Instead, Kurtz provides Marlow with a set of paradoxes that Marlow can use to evaluate himself and the Company’s men.

Indeed, Kurtz is not so much a fully realized individual as a series of images constructed by others for their own use. As Marlow’s visits with Kurtz’s cousin, the Belgian journalist, and Kurtz’s fiancée demonstrate, there seems to be no true Kurtz. To his cousin, he was a great musician; to the journalist, a brilliant politician and leader of men; to his fiancée, a great humanitarian and genius. All of these contrast with Marlow’s version of the man, and he is left doubting the validity of his memories. Yet Kurtz, through his charisma and larger-than-life plans, remains with Marlow and with the reader



Themes


The Hypocrisy of Imperialism

Heart of Darkness explores the issues surrounding imperialism in complicated ways. As Marlow travels from the Outer Station to the Central Station and finally up the river to the Inner Station, he encounters scenes of torture, cruelty, and near-slavery. At the very least, the incidental scenery of the book offers a harsh picture of colonial enterprise. The impetus behind Marlow’s adventures, too, has to do with the hypocrisy inherent in the rhetoric used to justify imperialism. The men who work for the Company describe what they do as “trade,” and their treatment of native Africans is part of a benevolent project of “civilization.” Kurtz, on the other hand, is open about the fact that he does not trade but rather takes ivory by force, and he describes his own treatment of the natives with the words “suppression” and “extermination”: he does not hide the fact that he rules through violence and intimidation. His perverse honesty leads to his downfall, as his success threatens to expose the evil practices behind European activity in Africa

However, for Marlow as much as for Kurtz or for the Company, Africans in this book are mostly objects: Marlow refers to his helmsman as a piece of machinery, and Kurtz’s African mistress is at best a piece of statuary. It can be argued that Heart of Darkness participates in an oppression of nonwhites that is much more sinister and much harder to remedy than the open abuses of Kurtz or the Company’s men. Africans become for Marlow a mere backdrop, a human screen against which he can play out his philosophical and existential struggles. Their existence and their exoticism enable his self-contemplation. This kind of dehumanization is harder to identify than colonial violence or open racism. While Heart of Darkness offers a powerful condemnation of the hypocritical operations of imperialism, it also presents a set of issues surrounding race that is ultimately troubling.


Madness as a Result of Imperialism


Madness is closely linked to imperialism in this book. Africa is responsible for mental disintegration as well as physical illness. Madness has two primary functions. First, it serves as an ironic device to engage the reader’s sympathies. Kurtz, Marlow is told from the beginning, is mad. However, as Marlow, and the reader, begin to form a more complete picture of Kurtz, it becomes apparent that his madness is only relative, that in the context of the Company insanity is difficult to define. Thus, both Marlow and the reader begin to sympathize with Kurtz and view the Company with suspicion. Madness also functions to establish the necessity of social fictions. Although social mores and explanatory justifications are shown throughout Heart of Darkness to be utterly false and even leading to evil, they are nevertheless necessary for both group harmony and individual security. Madness, in Heart of Darkness, is the result of being removed from one’s social context and allowed to be the sole arbiter of one’s own actions. Madness is thus linked not only to absolute power and a kind of moral genius but to man’s fundamental fallibility: Kurtz has no authority to whom he answers but himself, and this is more than any one man can bear..


The Absurdity of Evil

This novella is, above all, an exploration of hypocrisy, ambiguity, and moral confusion. It explodes the idea of the proverbial choice between the lesser of two evils. As the idealistic Marlow is forced to align himself with either the hypocritical and malicious colonial bureaucracy or the openly malevolent, rule-defying Kurtz, it becomes increasingly clear that to try to judge either alternative is an act of folly: how can moral standards or social values be relevant in judging evil? Is there such thing as insanity in a world that has already gone insane? The number of ridiculous situations Marlow witnesses act as reflections of the larger issue: at one station, for instance, he sees a man trying to carry water in a bucket with a large hole in it. At the Outer Station, he watches native laborers blast away at a hillside with no particular goal in mind. The absurd involves both insignificant silliness and life-or-death issues, often simultaneously. That the serious and the mundane are treated similarly suggests a profound moral confusion and a tremendous hypocrisy: it is terrifying that Kurtz’s homicidal megalomania and a leaky bucket provoke essentially the same reaction from Marlow

Symbols


Fog

Fog is a sort of corollary to darkness. Fog not only obscures but distorts: it gives one just enough information to begin making decisions but no way to judge the accuracy of that information, which often ends up being wrong. Marlow’s steamer is caught in the fog, meaning that he has no idea where
he’s going and no idea whether peril or open water lies ahead.


The “Whited Sepulchre

The “whited sepulchre” is probably Brussels, where the Company’s headquarters are located. A sepulchre implies death and confinement, and indeed Europe is the origin of the colonial enterprises that bring death to white men and to their colonial subjects; it is also governed by a set of reified social principles that both enable cruelty, dehumanization, and evil and prohibit change. The phrase “whited sepulchre” comes from the biblical Book of Matthew. In the passage, Matthew describes “whited sepulchres” as something beautiful on the outside but containing horrors within (the bodies of the dead); thus, the image is appropriate for Brussels, given the hypocritical Belgian rhetoric about imperialism’s civilizing mission. (Belgian colonies, particularly the Congo, were notorious for the violence perpetuated against the natives.)

Women

Both Kurtz’s Intended and his African mistress function as blank slates upon which the values and the wealth of their respective societies can be displayed. Marlow frequently claims that women are the keepers of naïve illusions; although this sounds condemnatory, such a role is in fact crucial, as these naïve illusions are at the root of the social fictions that justify economic enterprise and colonial expansion. In return, the women are the beneficiaries of much of the resulting wealth, and they become objects upon which men can display their own success and status.

The River

The Congo River is the key to Africa for Europeans. It allows them access to the center of the continent without having to physically cross it; in other words, it allows the white man to remain always separate or outside. Africa is thus reduced to a series of two-dimensional scenes that flash by Marlow’s steamer as he travels upriver. The river also seems to want to expel Europeans from Africa altogether: its current makes travel upriver slow and difficult, but the flow of water makes travel downriver, back toward “civilization,” rapid and seemingly inevitable. Marlow’s struggles with the river as he travels upstream toward Kurtz reflect his struggles to understand the situation in which he has found himself. The ease with which he journeys back downstream, on the other hand, mirrors his acquiescence to Kurtz and his “choice of nightmares.”


[/align]

_________________
التوقيع
اشهد ان لا اله الا الله واشهد ان محمدا رسول الله


أعلى .:. أسفل
 يشاهد الملف الشخصي  
 
  • عنوان المشاركة: Heart of Darkness  study  - modern prose
مرسل: السبت كانون الأول 31, 2011 10:13 م 
آرتيني مؤسس
آرتيني مؤسس
صورة العضو الشخصية
اشترك في: 01 آذار 2007
المواضيع: 608
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:: ذكر ::


غير متصل
crespo1989,  
شكرا
بإمكانكم تقروا هون اذا بدكن معلومات اكتر
عذراً, يجب أن تسجل من هنا لترى الرابط إذا كنت عضواً, فقط قم بتسجيل الدخول
موفقين

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التوقيع
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بتمنى تتابعوا صفحتي عالفيس بوك
عنوانها :
( صفوة لتعليم اللغة الإنكليزية و الترجمة )


أعلى .:. أسفل
 يشاهد الملف الشخصي  
 
  • عنوان المشاركة: Heart of Darkness  study  - modern prose
مرسل: السبت كانون الأول 31, 2011 10:23 م 
آرتيني نشيط
آرتيني نشيط
صورة العضو الشخصية
اشترك في: 12 كانون الثاني 2009
المواضيع: 81
المشاركات: 583
المكان: Syria
القسم: English
السنة: graduated
لا يوجد لدي مواضيع بعد

:: ذكر ::


غير متصل
اهلا وسهلا ومرحباااااااا

_________________
التوقيع
اشهد ان لا اله الا الله واشهد ان محمدا رسول الله


أعلى .:. أسفل
 يشاهد الملف الشخصي  
 
  • عنوان المشاركة: Heart of Darkness  study  - modern prose
مرسل: الاثنين كانون الثاني 02, 2012 6:30 م 
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اشترك في: 27 كانون الأول 2011
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غير متصل
ﺮﺍﻛﺰ ﻓﻲ ﺟﻤﻴﻊ ﺃﻧﺤﺎﺀ ﺍﻟﻈﻼﻡ
ﻣﺎﺭﻟﻮ ، ﻭﻫﻮ ﺑﺤﺎﺭ ﺍﻻﺳﺘﻘﺮﺍﺀ ،
ﻭﺭﺣﻠﺘﻪ ﺗﺼﻞ ﺍﻟﻜﻮﻧﻐﻮ
ﻧﻬﺮ ﺍﻟﻮﻓﺎﺀ ﻛﻮﺭﺗﺰ ، ﻭﺳﻤﻌﺘﻪ ﺍﻟﻄﻴﺒﺔ
ﻟﺘﻜﻮﻥ
ﺭﺟﻞ ﻣﺜﺎﻟﻲ ﻣﻦ ﻗﺪﺭﺍﺕ ﻛﺒﻴﺮﺓ.
ﻣﺎﺭﻟﻮ ﻳﺄﺧﺬ ﻋﻠﻰ ﻭﻇﻴﻔﺔ ﺍﻟﺰﻭﺭﻕ
ﻛﺎﺑﺘﻦ ﻣﻊ ﺍﻟﺸﺮﻛﺔ ، ﻭﻫﻲ
ﺍﻟﺒﻠﺠﻴﻜﻲ ﻗﻠﻖ ﺍﻟﻤﻨﻈﻤﺔ ﻟﻠﺘﺠﺎﺭﺓ
ﻓﻲ ﺍﻟﻜﻮﻧﻐﻮ. ﻛﻤﺎ ﻳﺴﺎﻓﺮ ﺇﻟﻰ
ﺛﻢ ﺍﺭﺗﻔﻌﺖ ﺃﻓﺮﻳﻘﻴﺎ ﻭﺍﻟﻜﻮﻧﻐﻮ ،
ﻣﺎﺭﻟﻮ ﻟﻘﺎﺀﺍﺕ ﻭﺍﺳﻌﺔ ﺍﻟﻨﻄﺎﻕ
ﻋﺪﻡ ﺍﻟﻜﻔﺎﺀﺓ ﻭﺣﺸﻴﺔ ﻓﻲ
ﻣﺤﻄﺎﺕ ﺍﻟﺸﺮﻛﺔ. ﺍﻷﺻﻠﻲ
ﺳﻜﺎﻥ ﺍﻟﻤﻨﻄﻘﺔ ﻟﺪﻳﻬﺎ
ﺍﺿﻄﺮﺕ ﺍﻟﺸﺮﻛﺔ ﺍﻟﻰ ﻝ
ﺍﻟﺨﺪﻣﺔ ، ﻭﺃﻧﻬﻢ ﻳﻌﺎﻧﻮﻥ ﺑﺸﻜﻞ ﺭﻫﻴﺐ
ﻣﻦ ﺇﺭﻫﺎﻕ ﻭﺳﻮﺀ ﺍﻟﻤﻌﺎﻣﻠﺔ
ﻓﻲ ﺃﻳﺪﻱ ﻣﻦ ﺷﺮﻛﺔ
ﻭﻛﻼﺀ. ﻭﺍﻟﻘﺴﻮﺓ ﻭﺍﻟﻘﺬﺍﺭﺓ ﻓﻲ
ﺍﻻﻣﺒﺮﺍﻃﻮﺭﻳﺔ ﻣﺆﺳﺴﺔ ﻳﺘﻨﺎﻗﺾ
ﺑﺤﺪﺓ ﻣﻊ ﻭﺛﻴﺎﺑﻬﻢ
ﻣﻬﻴﺐ ﺍﻟﻐﺎﺏ ﺍﻟﺬﻱ ﻳﺤﻴﻂ
ﺍﻟﻤﺴﺘﻮﻃﻨﺎﺕ ﺍﻟﺮﺟﻞ ﺍﻷﺑﻴﺾ ، ﻣﻤﺎ ﻳﺠﻌﻞ
ﻭﻳﺒﺪﻭ ﺃﻥ ﻫﺬﻩ ﺍﻟﺠﺰﺭ ﺍﻟﺼﻐﻴﺮﺓ
ﻭﺳﻂ ﺍﻟﻈﻼﻡ ﻭﺍﺳﻌﺔ.
ﻣﺎﺭﻟﻮ ﻳﺼﻞ ﺍﻟﻤﺮﻛﺰﻱ
ﺍﻟﻤﺤﻄﺔ ، ﺍﻟﺘﻲ ﻳﺪﻳﺮﻫﺎ ﺍﻟﺠﻨﺮﺍﻝ
ﻣﺪﻳﺮ ، ﻭﻏﻴﺮ ﺍﻟﺴﻠﻴﻤﺔ ،
ﺍﻟﺘﺂﻣﺮﻳﺔ ﺣﺮﻑ. ﻳﺠﺪ
ﺍﻟﺘﻲ ﻏﺮﻗﺖ ﺑﺎﺧﺮﺓ ﻟﻪ
ﻭﺗﻨﻔﻖ ﻋﺪﺓ ﺃﺷﻬﺮ
ﻓﻲ ﺍﻧﺘﻈﺎﺭ ﻗﻄﻊ ﺍﻟﻐﻴﺎﺭ ﻹﺻﻼﺣﻪ. ﻟﻪ
ﻣﺼﻠﺤﺔ ﻓﻲ ﻛﻮﺭﺗﺰ ﻳﻨﻤﻮ ﺧﻼﻝ ﻫﺬﻩ
ﺍﻟﻔﺘﺮﺓ. ﺍﻟﻤﺪﻳﺮ ﻭﺍﻟﺮﺋﻴﺲ
ﺍﻟﻤﻔﻀﻠﺔ ، brickmaker ، ﻳﺒﺪﻭ ﺃﻥ
ﺍﻟﺨﻮﻑ ﻛﻮﺭﺗﺰ ﺗﻬﺪﻳﺪﺍ ﻟﻬﺬﻩ
ﺍﻟﻤﻮﻗﻒ. ﻭﻳﺸﺎﻉ ﺃﻥ ﺳﻮﺀ ﻛﻮﺭﺗﺰ ،
ﺟﻌﻞ ﺍﻟﺘﺄﺧﻴﺮ ﻓﻲ ﺇﺻﻼﺡ
ﻛﻞ ﺳﻔﻴﻨﺔ ﺃﻛﺜﺮ ﺗﻜﻠﻔﺔ. ﻣﺎﺭﻟﻮ
ﻳﺤﺼﻞ ﻓﻲ ﻧﻬﺎﻳﺔ ﺍﻟﻤﻄﺎﻑ ﺍﻧﻪ ﻗﻄﻊ
ﻳﺤﺘﺎﺝ ﺇﻟﻰ ﺇﺻﻼﺡ ﺳﻔﻴﻨﺘﻪ ، ﻭﺍﻧﻪ
ﻭﺗﻌﻴﻴﻦ ﻣﺪﻳﺮ ﺧﺎﺭﺟﺎ ﻣﻊ
ﻋﻮﺍﻣﻞ ﻋﺪﺓ )ﺍﻟﺬﻱ ﻳﺪﻋﻮ ﻣﺎﺭﻟﻮ
ﺍﻟﺤﺠﺎﺝ ﺑﺴﺒﺐ ﻏﺮﻳﺒﺎ ﻋﻠﻰ
ﻋﺎﺩﺓ ﺗﺤﻤﻞ ﻃﻮﻳﻠﺔ ﺧﺸﺒﻴﺔ
ﻋﺼﻲ ﺃﻳﻨﻤﺎ ﺫﻫﺒﻮﺍ( ﻭ
ﻃﺎﻗﻢ ﻣﻦ ﺃﻛﻠﺔ ﻟﺤﻮﻡ ﺍﻟﺒﺸﺮ ﻋﻠﻰ ﻓﺘﺮﺓ
ﻃﻮﻳﻠﺔ ،
ﺭﺣﻠﺔ ﺻﻌﺒﺔ ﺣﺘﻰ ﺍﻟﻨﻬﺮ. ﻭ
ﻏﺎﺑﺔ ﻛﺜﻴﻔﺔ ﻭﺍﻟﻘﻤﻌﻴﺔ ﻟﻞ
ﺻﻤﺖ ﺟﻌﻞ ﺍﻟﺠﻤﻴﻊ ﻋﻠﻰ ﻣﺘﻦ ﻃﺎﺋﺮﺓ
ﺛﺎﺏ ﻗﻠﻴﻼ ، ﻭﺃﺣﻴﺎﻧﺎ ﻓﻲ
ﻟﻤﺤﺔ ﻋﻦ ﻗﺮﻳﺔ ﺃﻭ ﺍﻷﻡ
ﺻﻮﺕ ﺍﻟﻄﺒﻮﻝ ﻳﻌﻤﻞ ﺍﻟﺤﺠﺎﺝ
ﻓﻲ ﻧﻮﺑﺔ ﻣﻦ ﺍﻟﺠﻨﻮﻥ.
ﻣﺎﺭﻟﻮ ﻭﻃﺎﻗﻤﻪ ﺗﺄﺗﻲ ﻋﺒﺮ
ﻛﻮﺥ ﻣﻊ ﺍﻟﺤﻄﺐ ﻣﻜﺪﺳﺔ ،
ﻣﻊ ﻣﻼﺣﻈﺔ ﺗﻘﻮﻝ ﺍﻥ
ﺍﻟﺨﺸﺐ ﻫﻮ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻬﻢ ﻭﻟﻜﻨﻬﻢ
ﻭﻳﻨﺒﻐﻲ ﺍﺗﺒﺎﻉ ﻧﻬﺞ ﺣﺬﺭ.
ﺑﻌﺪ ﻓﺘﺮﺓ ﻭﺟﻴﺰﺓ ﻣﻦ ﺑﺎﺧﺮﺓ ﻭ
ﺍﻟﻤﺘﺨﺬﺓ ﻋﻠﻰ ﺍﻟﺤﻄﺐ ، ﻓﻤﻦ
ﻳﺤﻴﻂ ﺑﻬﺎ ﺿﺒﺎﺏ ﻛﺜﻴﻒ. ﻋﻨﺪﻣﺎ
ﻭﻳﻨﻘﺸﻊ ﺍﻟﻀﺒﺎﺏ ، ﻭﻫﺎﺟﻤﻮﺍ ﺳﻔﻴﻨﺔ
ﻗﺎﻣﺖ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻤﻮﺍﻃﻨﻴﻦ ﺍﻟﻐﻴﺐ ،
ﺳﻬﺎﻡ ﺍﻟﻨﺎﺭ ﺍﻟﺬﻱ ﻣﻦ ﺳﻼﻣﺔ
ﺍﻟﻐﺎﺑﺔ. ﻗﺎﺋﺪ ﺍﻟﺪﻓﺔ ﺍﻷﻓﺮﻳﻘﻴﺔ
ﻣﻘﺘﻞ ﻣﺎﺭﻟﻮ ﻗﺒﻞ ﻳﺨﻴﻒ
ﺍﻟﺴﻜﺎﻥ ﺍﻷﺻﻠﻴﻴﻦ ﺑﻌﻴﺪﺍ ﻣﻊ ﺍﻟﺴﻔﻴﻨﺔ
ﺻﺎﻓﺮﺓ ﺍﻟﺒﺨﺎﺭ. ﻟﻢ ﻳﻤﺾ ﻭﻗﺖ ﻃﻮﻳﻞ
ﺑﻌﺪ ،
ﻣﺎﺭﻟﻮ ﻭﺃﺻﺤﺎﺑﻪ ﻳﺼﻠﻮﻥ
ﻓﻲ ﻣﺤﻄﺔ ﻛﻮﺭﺗﺰ ﺍﻟﺪﺍﺧﻠﻴﺔ ، ﻣﺘﻮﻗﻌﺎ
ﻟﻠﻌﺜﻮﺭ ﻋﻠﻴﻪ ﻭﻗﺘﻠﻪ ، ﻭﻟﻜﻦ ﻧﺼﻒ
ﻣﺨﺒﻮﻝ.
ﺍﻟﺘﺎﺟﺮ ﺍﻟﺮﻭﺳﻲ ، ﺍﻟﺬﻳﻦ ﻳﻠﺘﻘﻲ ﺑﻬﻢ
ﻷﻧﻬﺎ ﺗﺄﺗﻲ ﻋﻠﻰ ﺍﻟﺸﺎﻃﺊ ، ﻭﻳﺆﻛﺪ
ﻟﻬﻢ ﺍﻥ ﻛﻞ ﺷﻲﺀ ﻋﻠﻰ ﻣﺎ ﻳﺮﺍﻡ ﻭ
ﺑﺈﻋﻼﻡ ﻟﻬﻢ ﺍﻧﻪ ﻫﻮ ﻭﺍﺣﺪ
ﺍﻟﺬﻳﻦ ﺗﺮﻛﻮﺍ ﺍﻟﺨﺸﺐ. ﺍﻟﺮﻭﺳﻴﺔ
ﺍﻟﻤﻄﺎﻟﺒﺎﺕ ﺍﻟﺘﻲ ﻭﺳﻌﺖ ﻟﻪ ﻛﻮﺭﺗﺰ
ﺍﻟﻌﻘﻞ ، ﻭﻻ ﻳﻤﻜﻦ ﺃﻥ ﺗﺨﻀﻊ ﻟﻞ
ﺍﻷﺣﻜﺎﻡ ﺍﻷﺧﻼﻗﻴﺔ ﻋﻠﻰ ﺍﻟﻨﺤﻮ ﻧﻔﺴﻪ
ﺍﻟﻨﺎﺱ ﺍﻟﻌﺎﺩﻳﺔ. ﻋﻠﻰ ﻣﺎ ﻳﺒﺪﻭ ، ﻛﻮﺭﺗﺰ
ﻭﻗﺪ ﺃﻧﺸﺄ ﻧﻔﺴﻪ ﺑﺄﻧﻪ ﺇﻟﻪ
ﻣﻊ ﺍﻟﻤﻮﺍﻃﻨﻴﻦ ﻭﺍﺳﺘﻤﺮ
ﻏﺎﺭﺍﺕ ﻭﺣﺸﻴﺔ ﻓﻲ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﻤﺤﻴﻄﺔ
ﺍﻷﺭﺽ ﺑﺤﺜﺎ ﻋﻦ ﺍﻟﻌﺎﺝ. ﻭ
ﺟﻤﻊ ﺭﺅﻭﺱ ﻣﻘﻄﻮﻋﺔ
ﺗﺰﻳﻦ ﺍﻟﻤﺸﺎﺭﻛﺎﺕ ﺳﻴﺎﺝ ﺣﻮﻝ
ﻣﺤﻄﺔ ﻳﺸﻬﺪ ﻟﻪ
"ﺍﻟﻄﺮﻕ، " ﻭﺟﻠﺐ ﺍﻟﺤﺠﺎﺝ
ﻛﻮﺭﺗﺰ ﺍﻟﺨﺮﻭﺝ ﻣﻦ ﺍﻟﻤﻨﺰﻝ ﻋﻠﻰ ﻣﺤﻄﺔ
ﻣﺤﻔﺔ ، ﻭﻣﺠﻤﻮﻋﺔ ﻛﺒﻴﺮﺓ ﻣﻦ
ﺍﻟﻤﺤﺎﺭﺑﻮﻥ ﺍﻷﺻﻠﻲ ﻳﺼﺐ ﺧﺎﺭﺝ
ﻭﺍﻟﻐﺎﺑﺎﺕ ﺍﻟﻤﺤﻴﻄﺔ ﺑﻬﺎ. ﻛﻮﺭﺗﺰ
ﻳﺘﺤﺪﺙ ﺇﻟﻴﻬﻢ ، ﻭﺍﻟﺴﻜﺎﻥ ﺍﻷﺻﻠﻴﻴﻦ ﻟﻞ
ﺗﺨﺘﻔﻲ ﻓﻲ ﺍﻟﻐﺎﺑﺔ.
ﻣﺪﻳﺮ ﻳﺠﻠﺐ ﻛﻮﺭﺗﺰ ، ﺍﻟﺬﻱ ﻫﻮ
ﺳﻮﺀ ﺗﻤﺎﻣﺎ ، ﻋﻠﻰ ﻣﺘﻦ ﺑﺎﺧﺮﺓA .
ﺍﻷﻡ ﺍﻣﺮﺃﺓ ﺟﻤﻴﻠﺔ ،
ﻋﻠﻰ ﻣﺎ ﻳﺒﺪﻭ ﻓﻲ ﻛﻮﺭﺗﺰ ﻋﺸﻴﻘﺔ ،
ﻳﻈﻬﺮ ﻋﻠﻰ ﺍﻟﺸﺎﻃﺊ ﻭﻳﺤﺪﻕ
ﻣﻦ ﻋﻠﻰ ﺍﻟﺴﻔﻴﻨﺔ. ﻳﻌﻨﻲ ﺍﻟﺮﻭﺳﻲ
ﺍﻟﺘﻲ ﺗﺸﺎﺭﻙ ﺑﻄﺮﻳﻘﺔ ﺃﻭ ﺑﺄﺧﺮﻯ ﻣﻊ ﺍﻧﻬﺎ
ﻛﻮﺭﺗﺰ ﻭﺗﺴﺒﺐ ﺍﻟﻤﺘﺎﻋﺐ
ﻗﺒﻞ ﺃﻛﺜﺮ ﻣﻦ ﺧﻼﻝ ﻧﻔﻮﺫﻫﺎ
ﻋﻠﻴﻪ. ﺍﻟﺮﻭﺳﻲ ﻳﻜﺸﻒ
ﻣﺎﺭﻟﻮ ، ﻭﺑﻌﺪ ﺍﺩﺍﺀ ﺍﻟﻴﻤﻴﻦ ﻣﻨﻪ
ﺍﻟﺴﺮﻳﺔ ، ﺍﻟﺘﻲ ﺃﻣﺮﺕ ﻛﻮﺭﺗﺰ
ﺍﻟﻬﺠﻮﻡ ﻋﻠﻰ ﺍﻟﺒﺎﺧﺮﺓ ﻝ
ﺟﻌﻠﻬﻢ ﻳﻌﺘﻘﺪﻭﻥ ﺃﻧﻪ ﻗﺪ ﻣﺎﺕ
ﻣﻦ ﺍﺟﻞ ﺍﻥ ﺗﺪﻳﺮ ﻇﻬﺮﻫﺎ ﻷﻧﻬﺎ ﻗﺪ
ﻭﺗﺮﻛﻪ ﻟﺨﻄﻄﻪ. ﻭ
ﺛﻢ ﻳﺘﺮﻙ ﺍﻟﺮﻭﺳﻴﺔ ﺍﻟﺰﻭﺭﻕ ،
ﺧﻮﻓﺎ ﻣﻦ ﺍﺳﺘﻴﺎﺀ
ﺍﻟﻤﺪﻳﺮ. ﻳﺨﺘﻔﻲ ﻓﻲ ﻛﻮﺭﺗﺰ
ﻟﻴﻠﺔ ، ﻭﻳﺨﺮﺝ ﻓﻲ ﻣﺎﺭﻟﻮ
ﺑﺤﺚ ﻋﻨﻪ ، ﻭﺟﺪﺗﻪ ﺍﻟﺰﺣﻒ
ﻋﻠﻰ ﺃﺭﺑﻊ ﺗﺠﺎﻩ ﺍﻷﻡ
ﺍﻟﻤﺨﻴﻢ. ﻣﺎﺭﻟﻮ ﻳﺘﻮﻗﻒ ﻋﻠﻴﻪ ﻭﺳﻠﻢ
ﻳﻘﻨﻌﻪ ﺑﺎﻟﻌﻮﺩﺓ ﺇﻟﻰ
ﺍﻟﺴﻔﻴﻨﺔ. ﻓﺘﻮﺟﻬﺎ ﺇﻟﻰ ﺃﺳﻔﻞ ﺍﻟﻨﻬﺮ.
ﻓﻲ ﺻﺒﺎﺡ ﺍﻟﻴﻮﻡ ﺍﻟﺘﺎﻟﻲ ، ﻭﻟﻜﻦ ﻓﻲ ﻛﻮﺭﺗﺰ
ﺍﻟﺼﺤﺔ ﻫﻲ ﻋﺪﻡ ﺍﻟﺼﻴﺎﻡ.
ﻣﺎﺭﻟﻮ ﻳﺴﺘﻤﻊ ﺇﻟﻰ ﺍﻟﺤﺪﻳﺚ ﺑﻴﻨﻤﺎ ﻛﻮﺭﺗﺰ
ﺍﻧﻪ ﻣﻼﺣﻲ ﺍﻟﺴﻔﻴﻨﺔ ، ﻭﻛﻴﺮﺗﺰ
ﻳﻌﻬﺪ ﻣﺎﺭﻟﻮ ﻣﻊ ﻋﻠﺒﺔ
ﺍﻟﻮﺛﺎﺋﻖ ﺍﻟﺸﺨﺼﻴﺔ ، ﺑﻤﺎ ﻓﻲ ﺫﻟﻚ
ﻛﺘﻴﺐ ﻋﻦ ﺑﻠﻴﻎ ﺍﻟﺤﻀﺎﺭﻳﺔ
ﺍﻟﻤﺘﻮﺣﺸﻴﻦ ﺍﻟﺬﻱ ﻳﻨﺘﻬﻲ ﻣﻊ
ﺧﺮﺑﺶ ﺍﻟﺮﺳﺎﻟﺔ ﺍﻟﺘﻲ ﺗﻘﻮﻝ ،
"ﺍﺑﺎﺩﺓ ﺟﻤﻴﻊ ﺍﻟﻤﺘﻮﺣﺸﻮﻥ"! ﻭ
ﺑﺎﺧﺮﺓ ﻳﻨﻬﺎﺭ ، ﻭﺍﻧﻬﻢ
ﻳﺠﺐ ﺃﻥ ﺗﺘﻮﻗﻒ ﻻﺟﺮﺍﺀ ﺍﺻﻼﺣﺎﺕ. ﻛﻮﺭﺗﺰ
ﻳﻤﻮﺕ ، ﻳﻨﻄﻖ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻷﺧﻴﺮﺓ ﻟﻪ " ،ﺇﻥ
ﺭﻋﺐ! ﺍﻟﺮﻋﺐ،" ! ﻓﻲ
ﺑﺤﻀﻮﺭ ﻣﺎﺭﻟﻮ ﺍﻟﺨﻠﻂ.
ﻣﺎﺭﻟﻮ ﻳﻤﺮﺽ ﻭﺑﻌﺪ ﻓﺘﺮﺓ ﻭﺟﻴﺰﺓ
ﻧﺠﺎ ﺑﺎﻟﻜﺎﺩ. ﻓﻲ ﺍﻟﻨﻬﺎﻳﺔ
ﻳﻌﻮﺩ ﺇﻟﻰ ﺃﻭﺭﻭﺑﺎ ﻭﻳﺬﻫﺐ ﻟﺮﺅﻳﺔ
ﻭﺍﻟﻤﺴﺘﻬﺪﻓﻮﻥ ﻛﻮﺭﺗﺰ )ﺧﻄﻴﺒﺘﻪ.( ﻫﻲ
ﻣﺎ ﺯﺍﻝ ﻓﻲ ﺣﺎﻟﺔ ﺣﺪﺍﺩ ، ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ
ﺃﻧﻬﺎ
ﻭﻗﺪ ﺗﻢ ﻣﻨﺬ ﺃﻛﺜﺮ ﻣﻦ ﻋﺎﻡ ﻓﻲ ﻛﻮﺭﺗﺰ
ﺍﻟﻤﻮﺕ ، ﻭﻫﻲ ﺗﺸﻴﺪ ﺑﻪ ﺑﻮﺻﻔﻪ
ﻣﺜﺎﻻ ﻟﻠﻔﻀﻴﻠﺔ ﻭ
ﺍﻹﻧﺠﺎﺯ. ﺗﺘﺴﺎﺀﻝ ﻣﺎ ﻟﻪ
ﻭﻛﺎﻧﺖ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻷﺧﻴﺮﺓ ، ﻭﻟﻜﻦ ﻣﺎﺭﻟﻮ
ﻻ ﻳﻤﻜﻦ ﺃﻥ ﻳﺠﻠﺐ ﻧﻔﺴﻪ ﻟﺘﺤﻄﻴﻢ ﻟﻬﺎ
ﺃﻭﻫﺎﻡ ﻣﻊ ﺍﻟﺤﻘﻴﻘﺔ. ﺑﺪﻻ ﻣﻦ ﺫﻟﻚ ، ﺍﻧﻪ
ﻳﻘﻮﻝ ﻟﻬﺎ ﺗﻠﻚ ﺍﻟﻜﻠﻤﺔ ﺍﻻﺧﻴﺮﺓ ﻛﺎﻧﺖ ﻛﻮﺭﺗﺰ
ﺍﺳﻤﻬﺎ.
ﺗﺤﻠﻴﻞ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﺮﺋﻴﺴﻴﺔ
ﻣﺎﺭﻟﻮ
ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺃﻥ ﻳﻈﻬﺮ ﻓﻲ ﻣﺎﺭﻟﻮ
ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺃﻋﻤﺎﻝ ﻛﻮﻧﺮﺍﺩ ﺃﺧﺮﻯ ،
ﺍﻟﻤﻬﻢ ﺃﻻ ﻳﻨﻈﺮﻭﻥ ﺇﻟﻴﻪ ﺑﺎﻋﺘﺒﺎﺭﻩ
ﻣﺠﺮﺩ ﺑﺪﻳﻞ ﻟﻠﻤﺆﻟﻒ.
ﻣﺎﺭﻟﻮ ﻫﻮ ﺭﺟﻞ ﻣﻌﻘﺪ ﺍﻟﺬﻳﻦ
ﻭﺗﺘﻮﻗﻊ ﺍﻷﺭﻗﺎﻡ ﺍﻟﻌﺎﻟﻴﺔ
ﺍﻟﺤﺪﺍﺛﺔ ﻓﻲ ﺣﻴﻦ ﻳﻌﻜﺲ ﺃﻳﻀﺎ ﻟﻪ
ﻓﻴﻜﺘﻮﺭﻳﺎ ﺃﺳﻼﻓﻪ. ﻣﺎﺭﻟﻮ ﻓﻲ
ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻄﺮﻕ ﺍﻟﺘﻘﻠﻴﺪﻳﺔ ﺑﻄﻼ :
ﻭﺻﺎﺩﻗﺔ ﺻﻌﺒﺔ ، ﻭﻫﻲ ﻣﺆﺳﺴﺔ ﻣﺴﺘﻘﻠﺔ
ﺍﻟﻤﻔﻜﺮ ﻭﺭﺟﻞ ﻗﺎﺩﺭ. ﻭﻣﻊ ﺫﻟﻚ ﻓﻬﻮ
ﺃﻳﻀﺎ "ﻛﺴﺮ" ﺃﻭ "ﺗﺎﻟﻒ، " ﻣﺜﻞ
ﺱ ﺇﻟﻴﻮﺕ .T ﻝ .J ﺃﻟﻔﺮﻳﺪ ﺑﺮﻭﻓﺮﻭﻙ ﺃﻭ
ﻭﻟﻴﺎﻡ ﻓﻮﻛﻨﺮ ﻛﻮﻳﻨﺘﻴﻦ
.Compson ﻭﻗﺪ ﻫﺰﻡ ﻓﻲ ﺍﻟﻌﺎﻟﻢ
ﻟﻪ ﻓﻲ ﺑﻌﺾ ﺍﻟﻄﺮﻳﻖ ﺍﻷﺳﺎﺳﻴﺔ ،
ﻭﻛﺎﻥ ﺑﺎﻟﻀﺠﺮ ، ﻭﻣﺸﻜﻚ ، ﻭ
ﺳﺎﺧﺮﺓ. ﻣﺎﺭﻟﻮ ﺗﺘﻮﺳﻂ ﺃﻳﻀﺎ
ﺑﻴﻦ ﻫﺬﺍ ﺍﻟﺮﻗﻢ ﻣﻦ
ﺍﻟﻔﻜﺮﻳﺔ ﻭﺫﻟﻚ ﻣﻦ
"ﺍﻟﻌﻤﻞ ﺍﻟﺼﻌﺒﺔ." ﻓﻌﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺃﻧﻪ
ﺫﻛﺎﺀ ﻭﺍﺿﺢ ، ﺑﻠﻴﻎ ، ﻭ
ﺍﻟﻔﻴﻠﺴﻮﻑ ﺍﻟﻄﺒﻴﻌﻲ ، ﻓﻬﻮ ﻻ
ﻣﺜﻘﻠﺔ ﻣﻦ ﺍﻟﺬﻋﺮ
ﻗﺮﻭﻥ "ﺑﻘﻴﻤﺔ ﺍﻟﻐﺮﺑﻴﺔ
ﺍﻟﻔﻜﺮ. ﻓﻲ ﺍﻟﻮﻗﺖ ﻧﻔﺴﻪ ، ﻓﻲ ﺣﻴﻦ
ﻫﻮ ﺩﺭﺟﺔ ﻋﺎﻟﻴﺔ ﻣﻦ ﺍﻟﻤﻬﺎﺭﺓ ﻓﻲ ﻣﺎ ﻳﻔﻌﻞ
، ﺛﻢ ﺍﻧﻪ ﺍﻟﺘﺼﻠﻴﺢ ﻭﺑﺎﻗﺘﺪﺍﺭ ﺍﻟﻄﻴﺎﺭﻳﻦ
ﺳﻔﻴﻨﺘﻪ ﺍﻟﺨﺎﺻﺔ ﺍﻧﻪ ﻟﻴﺲ ﻣﺠﺮﺩ ﺩﻟﻴﻞ
ﻋﺎﻣﻞ. ﺍﻟﻌﻤﻞ ، ﺑﺎﻟﻨﺴﺒﺔ ﻟﻪ ، ﻫﻮ
ﺍﻟﻬﺎﺀ ، ﺑﺪﻳﻼ ﻣﻠﻤﻮﺳﺔ
ﺇﻟﻰ ﺍﻟﻤﻮﺍﻗﻒ ﻭ- ﻋﺬﺭ
ﻣﻤﺎ ﻳﺠﻌﻞ ﻣﻦ ﺣﻮﻟﻪ.
ﻭﻳﻤﻜﻦ ﺃﻳﻀﺎ ﺃﻥ ﺗﻘﺮﺃ ﻣﺎﺭﻟﻮ ﺑﻮﺻﻔﻪ
ﻭﺳﻴﻂ ﺑﻴﻦ ﺍﻟﺒﻠﺪﻳﻦ
ﺍﻗﺼﻰ ﻛﻮﺭﺗﺰ ﻭ
ﺍﻟﺸﺮﻛﺔ. ﻓﻬﻮ ﻣﻌﺘﺪﻝ ﺑﻤﺎ ﻓﻴﻪ ﺍﻟﻜﻔﺎﻳﺔ
ﻟﻠﺴﻤﺎﺡ ﻟﻠﻘﺎﺭﺉ ﻟﺘﺤﺪﻳﺪ ﻣﻊ
ﻟﻪ ، ﻭﻟﻜﻦ ﻣﻨﻔﺘﺤﺔ ﺑﻤﺎ ﻳﻜﻔﻲ ﻝ
ﺗﺤﺪﻳﺪ ﺟﺰﺋﻴﺎ ﻋﻠﻰ ﺍﻷﻗﻞ ﻣﻊ
ﺍﻣﺎ ﺍﻟﻤﺪﻗﻊ. ﻭﺑﺎﻟﺘﺎﻟﻲ ، ﻓﻬﻮ ﺑﻤﺜﺎﺑﺔ
ﺩﻟﻴﻞ ﻟﻠﻘﺎﺭﺉ. ﻣﺎﺭﻟﻮ
ﻭﻳﻤﻜﻦ ﺭﺅﻳﺔ ﻣﻮﻗﻒ ﻭﺳﻴﻂ
ﻓﻲ ﻧﻬﺎﻳﺔ ﺍﻟﻤﻄﺎﻑ ﻭﻣﺮﺿﻪ
ﺍﻻﻧﺘﻌﺎﺵ. ﺧﻼﻓﺎ ﻷﻭﻟﺌﻚ ﺍﻟﺬﻳﻦ ﺣﻘﺎ
ﻣﻮﺍﺟﻬﺔ ﺃﻭ ﻋﻠﻰ ﺍﻷﻗﻞ ﺍﻻﻋﺘﺮﺍﻑ
ﺃﻓﺮﻳﻘﻴﺎ ﻭﺍﻟﻈﻼﻡ ﺩﺍﺧﻞ
ﺃﻧﻔﺴﻬﻢ ، ﻣﺎﺭﻟﻮ ﻻ ﻳﻤﻮﺕ ،
ﻭﻟﻜﻦ ﺧﻼﻓﺎ ﻟﻠﺮﺟﺎﻝ ﺍﻟﺸﺮﻛﺔ ، ﻭﺍﻟﺬﻳﻦ
ﺍﻟﺘﺮﻛﻴﺰ ﻓﻘﻂ ﻋﻠﻰ ﺍﻟﻤﺎﻝ ﻭ
ﺍﻟﺮﻗﻲ ، ﻭﻳﻌﺎﻧﻲ ﻣﺎﺭﻟﻮ
ﻓﻈﻴﻌﺔ. ﻭﻫﻜﺬﺍ ﻛﺎﻥ "ﻣﻠﻮﺛﺔ"
ﻣﻦ ﺧﻼﻝ ﺗﺠﺎﺭﺑﻪ ﻭﺍﻟﺬﻛﺮﻳﺎﺕ ،
ﻭﻣﺜﻞ ﻛﻮﻟﻴﺮﺩﺝ ﺍﻟﻘﺪﻳﻢ ﻟﻞ
ﻣﺎﺭﻳﻨﺮ ، ﺍﻟﻤﻮﺟﻬﺔ ، ﻭﺍﻟﺘﻄﻬﻴﺮ ﺃﻭ
ﺍﻟﺘﻜﻔﻴﺮ ﻋﻦ ﺍﻟﺬﻧﺐ ، ﻟﺘﻜﺮﺍﺭ ﻗﺼﺘﻪ
ﻟﻠﺠﻤﻴﻊ
ﻭﺍﻟﺬﻳﻦ ﻳﺴﺘﻤﻌﻮﻥ.
ﻛﻮﺭﺗﺰ
ﻛﻴﺮﺗﺰ ، ﻣﺜﻞ ﻣﺎﺭﻟﻮ ، ﻳﻤﻜﻦ ﺃﻥ ﺗﻘﻊ
ﺿﻤﻦ ﺃﻛﺒﺮ ﺍﻟﺘﻘﻠﻴﺪ. ﻛﻮﺭﺗﺰ
ﺗﻤﺜﻞ ﺍﻟﺘﻮﺭﺍﺗﻴﺔ "ﺍﻟﺸﺮ
ﻋﺒﻘﺮﻳﺔ :" ﺍﻟﻤﻮﻫﻮﺑﻴﻦ ﻟﻠﻐﺎﻳﺔ ﻭﻟﻜﻦ
ﺗﺘﺤﻮﻝ ﻓﻲ ﻧﻬﺎﻳﺔ ﺍﻟﻤﻄﺎﻑ ﺍﻟﻔﺮﺩﻳﺔ
ﺍﻟﺬﻱ ﻫﻮ ﺳﻘﻮﻁ ﺍﻻﺷﻴﺎﺀ ﻣﻦ ﺃﺳﻄﻮﺭﺓ.
ﻭﻳﺮﺗﺒﻂ ﻟﺸﺨﺼﻴﺎﺕ ﻣﺜﻞ ﻛﻴﺮﺗﺰ
ﻓﺎﻭﺳﺖ ، ﺍﻟﺸﻴﻄﺎﻥ ﻓﻲ ﺍﻟﺠﻨﺔ ﻣﻴﻠﺘﻮﻥ
ﻓﻘﺪﺕ ، ﺃﻫﺎﺏ ﻣﻮﺑﻲ ﺩﻳﻚ ، ﻭ
ﻓﻴﻠﻢ Wuthering ﻫﻴﺜﻜﻠﻴﻒ ﻓﻲ
ﻣﺮﺗﻔﻌﺎﺕ.
ﻣﺜﻞ ﻫﺬﻩ ﺍﻷﺣﺮﻑ ، ﻓﻬﻮ
ﻣﻬﻤﺎ ﻟﻜﻞ ﻣﻦ ﺃﺳﻠﻮﺑﻪ ﻭ
ﺑﻼﻏﺔ ﻭﻣﺘﻜﻠﻔﺎ ﻟﻪ ،
ﺟﻨﻮﻥ ﺍﻟﻌﻈﻤﺔ ﺗﻘﺮﻳﺒﺎ ﻣﻜﻴﺪﺓ.
ﻓﻲ ﻋﺎﻟﻢ ﺍﻟﺨﺒﻴﺜﺔ mundanely
ﺍﻟﺮﺟﺎﻝ ﻭ "ﺍﻟﺸﻴﺎﻃﻴﻦ ﻣﺘﺮﻫﻞ"
ﺟﺬﺏ ﺍﻫﺘﻤﺎﻡ ﺑﻤﺎ ﻳﻜﻔﻲ ﻟﺘﻜﻮﻥ
ﺗﺴﺘﺤﻖ ﺍﻻﺩﺍﻧﺔ ﻫﻲ ﻓﻲ ﺍﻟﻮﺍﻗﻊ
ﺷﻲﺀ ﻣﺎ. ﻳﻤﻜﻦ ﺍﻧﺘﻘﺪ ﻛﻮﺭﺗﺰ
ﻓﻲ ﺍﻟﺸﺮﻭﻁ ﻧﻔﺴﻬﺎ ﺍﻟﺘﻲ ﻣﻦ ﺍﻟﻘﻠﺐ
ﻭﺍﻧﺘﻘﺪ ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ ﺍﻟﻈﻼﻡ :
ﻧﻤﻂ ﻳﻨﻘﺾ ﺗﻤﺎﻣﺎ ﺍﻟﺠﻮﻫﺮ ،
ﺗﻮﻓﻴﺮ ﻣﺒﺮﺭﺍﺕ
ﺍﻟﻼﺃﺧﻼﻗﻴﺔ ﻭﺍﻟﺸﺮ.
ﻓﻲ ﺍﻟﻮﺍﻗﻊ ، ﻳﻤﻜﻦ ﺍﻟﻘﻮﻝ ﺃﻥ ﻧﻤﻂ
ﻻ ﻳﻠﻐﻲ ﻣﻀﻤﻮﻥ ﻓﻘﻂ
ﻟﻜﻦ ﺍﻷﻗﻨﻌﺔ ﻓﻌﻼ ﺣﻘﻴﻘﺔ
ﻛﻮﺭﺗﺰ ﺗﻔﺘﻘﺮ ﺗﻤﺎﻣﺎ ﻓﻲ
ﺍﻟﺠﻮﻫﺮ. ﻣﺎﺭﻟﻮ ﻳﺸﻴﺮ ﺇﻟﻰ ﻛﻮﺭﺗﺰ
ﺑﺄﻧﻬﺎ "ﺟﻮﻓﺎﺀ" ﺃﻛﺜﺮ ﻣﻦ ﻣﺮﺓ. ﻫﺬﺍ
ﻳﻤﻜﻦ ﺍﺗﺨﺎﺫﻫﺎ ﺳﻠﺒﺎ ، ﻋﻠﻰ
ﻳﻌﻨﻲ ﺃﻥ ﻛﻮﺭﺗﺰ ﻻ ﻳﺴﺘﺄﻫﻞ
ﺍﻟﺘﺄﻣﻞ. ﻭﻣﻊ ﺫﻟﻚ ، ﻓﺈﻧﻪ ﺃﻳﻀﺎ
ﻳﺸﻴﺮ ﺇﻟﻰ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺍﻟﻌﻤﻞ ﻛﻮﺭﺗﺰ
ﻙ "ﺧﻴﺎﺭ ﺍﻟﻜﻮﺍﺑﻴﺲ" ﻟﻞ
ﻣﺎﺭﻟﻮ : ﻓﻲ ﺍﻟﻔﺮﺍﻍ ﻟﻪ ﺍﻷﺳﺎﺳﻴﺔ ،
ﻳﺼﺒﺢ ﻭﺍﻟﺸﻔﺮﺍﺕ ، ﻭﻫﻮ ﻣﻮﻗﻊ ﻋﻠﻰ
ﺍﻟﺘﻲ ﻳﻤﻜﻦ ﺃﻥ ﺗﻜﻮﻥ ﺃﺷﻴﺎﺀ ﺃﺧﺮﻯ
ﺍﻟﻤﺘﻮﻗﻌﺔ. ﻳﻨﺒﻐﻲ ﻟﻬﺬﺍ ﺍﻟﻔﺮﺍﻍ
ﻻ ﻳﻤﻜﻦ ﻗﺮﺍﺀﺓ ﻭﺣﻤﻴﺪﺓ ، ﻭﻟﻜﻦ ،
ﻛﻤﺎ ﻳﻨﺒﻐﻲ ﺃﻥ ﺑﻼﻏﺔ ﻛﻮﺭﺗﺰ
ﻻ ﻳﺴﻤﺢ ﻟﺘﻠﻘﻲ ﺑﻈﻼﻟﻬﺎ ﻋﻠﻰ
ﺍﻟﺨﺒﺚ ﻣﻦ ﺃﻓﻌﺎﻟﻪ. ﺑﺪﻻ ﻣﻦ ﺫﻟﻚ ،
ﻛﻮﺭﺗﺰ ﻳﻮﻓﺮ ﻣﺎﺭﻟﻮ ﻣﻊ ﻣﺠﻤﻮﻋﺔ
ﻣﻦ ﺍﻟﻤﻔﺎﺭﻗﺎﺕ ﺍﻟﺘﻲ ﻳﻤﻜﻦ ﺍﺳﺘﺨﺪﺍﻣﻬﺎ
ﻣﺎﺭﻟﻮ
ﻟﺘﻘﻴﻴﻢ ﻧﻔﺴﻪ ﻭ
ﺭﺟﺎﻝ ﺍﻟﺸﺮﻛﺔ.
ﻓﻲ ﺍﻟﻮﺍﻗﻊ ، ﻛﻮﺭﺗﺰ ﻟﻴﺲ ﺫﻟﻚ ﺑﻜﺜﻴﺮ ﻋﻠﻰ
ﺃﺩﺭﻙ ﺗﻤﺎﻣﺎ ﺍﻟﻔﺮﺩﻳﺔ ﻛﺴﻠﺴﻠﺔ
ﻣﻦ ﺍﻟﺼﻮﺭ ﺍﻟﺘﻲ ﺷﻴﺪﺕ ﻣﻦ ﻗﺒﻞ ﺍﻵﺧﺮﻳﻦ
ﻻﺳﺘﻌﻤﺎﻟﻬﻢ ﺍﻟﺨﺎﺹ. ﻛﻤﺎ ﺍﻧﻬﺎ ﻣﺎﺭﻟﻮ
ﺍﻟﺰﻳﺎﺭﺍﺕ ﻣﻊ ﺍﺑﻦ ﻋﻤﻪ ﻛﻮﺭﺗﺰ ، ﻓﺈﻥ
ﺍﻟﺼﺤﺎﻓﻲ ﺍﻟﺒﻠﺠﻴﻜﻲ ، ﻭﻛﻴﺮﺗﺰ ﻓﻲ
ﺍﻟﻤﺨﻄﻮﺑﺔ ﺍﻟﺘﻈﺎﻫﺮ ، ﻳﺒﺪﻭ ﺃﻥ ﻫﻨﺎﻙ
ﺃﻥ ﻫﻨﺎﻙ ﻛﻮﺭﺗﺰ ﺻﺤﻴﺤﺎ. ﻻﺑﻦ ﻋﻤﻪ ،
ﻛﺎﻥ ﻣﻮﺳﻴﻘﻴﺎ ﻛﺒﻴﺮﺍ ، ﻭﺇﻟﻰ
ﺍﻟﺼﺤﺎﻓﻲ ﻭﺍﻟﺴﻴﺎﺳﻲ ﺍﻟﻼﻣﻊ
ﺯﻋﻴﻢ ﻣﻦ ﺍﻟﺮﺟﺎﻝ ؛ ﻟﺨﻄﻴﺒﺘﻪ ، ﻭﻫﻲ
ﻋﻈﻴﻢ ﺍﻹﻧﺴﺎﻧﻴﺔ ﻭﺍﻟﻌﺒﻘﺮﻳﺔ. ﺟﻤﻴﻊ
ﻋﻠﻰ ﺍﻟﻨﻘﻴﺾ ﻣﻦ ﻫﺬﻩ ﺍﻟﺼﻮﺭﺓ ﻣﻊ ﻣﺎﺭﻟﻮ
ﻧﺴﺨﺔ ﻣﻦ ﺍﻟﺮﺟﻞ ، ﻭﻏﺎﺩﺭ
ﺍﻟﺘﺸﻜﻴﻚ ﻓﻲ ﺻﺤﺔ ﻟﻪ
ﺍﻟﺬﻛﺮﻳﺎﺕ. ﻛﻴﺮﺗﺰ ﺣﺘﻰ ﺍﻵﻥ ، ﻣﻦ ﺧﻼﻝ
ﺗﻌﺮﻳﻔﻪ
ﺍﻟﻜﺎﺭﻳﺰﻣﺎ ﻭﺃﻛﺒﺮ ﻣﻦ ﺍﻟﺤﻴﺎﺓ
ﺍﻟﺨﻄﻂ ، ﻭﻳﺒﻘﻰ ﻣﻊ ﻣﺎﺭﻟﻮ
ﻣﻊ ﺍﻟﻘﺎﺭﺉ
ﺍﻟﻤﻮﺿﻮﻋﺎﺕ
ﻧﻔﺎﻕ ﺍﻹﻣﺒﺮﻳﺎﻟﻴﺔ
ﻗﻠﺐ ﺍﻟﻈﻼﻡ ﻳﺴﺘﻜﺸﻒ
ﺍﻹﻣﺒﺮﻳﺎﻟﻴﺔ ﻓﻲ ﺍﻟﻘﻀﺎﻳﺎ ﺍﻟﻤﺤﻴﻄﺔ
ﻃﺮﻕ ﻣﻌﻘﺪﺓ. ﻛﻤﺎ ﻣﺎﺭﻟﻮ
ﻳﺴﺎﻓﺮ ﻣﻦ ﻣﺤﻄﺔ ﺍﻟﺨﺎﺭﺟﻲ
ﺍﻟﻤﺤﻄﺔ ﺍﻟﻤﺮﻛﺰﻳﺔ ﻭﺣﺘﻰ ﺍﻟﻨﻬﺎﻳﺔ
ﺍﻟﻨﻬﺮ ﺇﻟﻰ ﻣﺤﻄﺔ ﺍﻟﺪﺍﺧﻠﻴﺔ ، ﻭﻗﺎﻝ ﺍﻧﻪ
ﻳﺼﺎﺩﻑ ﻣﺸﺎﻫﺪ ﺍﻟﺘﻌﺬﻳﺐ ،
ﺍﻟﻘﺴﻮﺓ ، ﻭﺑﺎﻟﻘﺮﺏ ﻣﻦ ﺍﻟﻌﺒﻮﺩﻳﺔ. ﻓﻲ
ﻋﻠﻰ ﺃﻗﻞ ﺗﻘﺪﻳﺮ ، ﻣﺸﻬﺪ ﻋﺮﺿﻲ
ﺍﻟﻜﺘﺎﺏ ﻳﻘﺪﻡ ﺻﻮﺭﺓ ﻗﺎﺳﻴﺔ
ﺍﻟﻤﺸﺎﺭﻳﻊ ﺍﻻﺳﺘﻌﻤﺎﺭﻳﺔ. ﺍﻟﺰﺧﻢ
ﻭﺭﺍﺀ ﻣﻐﺎﻣﺮﺍﺕ ﻣﺎﺭﻟﻮ ، ﺃﻳﻀﺎ ،
ﻟﻪ ﻋﻼﻗﺔ ﻣﻊ ﺍﻟﻨﻔﺎﻕ
ﺍﻟﻤﺘﺄﺻﻠﺔ ﻓﻲ ﺍﻟﺨﻄﺎﺏ ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﻓﻲ
ﺗﺒﺮﻳﺮ ﺍﻹﻣﺒﺮﻳﺎﻟﻴﺔ. ﺍﻟﺮﺟﺎﻝ ﺍﻟﺬﻳﻦ
ﺍﻟﻌﻤﻞ ﻟﺼﺎﻟﺢ ﺍﻟﺸﺮﻛﺔ ﺗﺼﻒ
ﻣﺎ ﻳﻔﻌﻠﻮﻧﻪ ﺑﺎﺳﻢ "ﺍﻟﺘﺠﺎﺭﺓ، " ﻭﻋﻠﻰ
ﺍﻟﻌﻼﺝ ﻣﻦ ﺍﻷﻓﺎﺭﻗﺔ ﺍﻷﻡ ﻫﻲ
ﺟﺰﺀ ﻣﻦ ﺍﻟﻤﺸﺮﻭﻉ ﺍﻟﺨﻴﺮﻱ ﻟﻞ
"ﺍﻟﺤﻀﺎﺭﺓ." ﻛﻮﺭﺗﺰ ، ﻣﻦ ﻧﺎﺣﻴﺔ ﺃﺧﺮﻯ
ﺟﻬﺔ ، ﻭﻓﺘﺢ ﺣﻮﻝ ﺣﻘﻴﻘﺔ ﺃﻥ
ﺍﻧﻪ ﻻ ﻳﺄﺧﺬ ﺍﻟﺘﺠﺎﺭﺓ ﻭﻟﻜﻦ ﺑﺪﻻ
ﻋﺎﺝ ﺑﺎﻟﻘﻮﺓ ، ﻭﻳﺼﻒ
ﻟﻪ ﺍﻟﻌﻼﺝ ﺍﻟﺨﺎﺻﺔ ﻣﻦ ﺍﻟﻤﻮﺍﻃﻨﻴﻦ
ﻣﻊ "ﺍﻟﻘﻤﻊ" ﻭﻋﺒﺎﺭﺓ
"ﺍﺑﺎﺩﺓ: " ﺍﻧﻪ ﻻ ﻳﺨﻔﻲ
ﺣﻘﻴﻘﺔ ﺍﻧﻪ ﻣﻦ ﺧﻼﻝ ﻗﻮﺍﻋﺪ
ﺍﻟﻌﻨﻒ ﻭﺍﻟﺘﺮﻫﻴﺐ. ﻟﻪ
ﺍﻟﺼﺪﻕ ﺍﻟﻀﺎﺭﺓ ﻳﺆﺩﻱ ﺇﻟﻰ ﺑﻠﺪﻩ
ﺳﻘﻮﻁ ، ﻛﻤﺎ ﻳﻬﺪﺩ ﻧﺠﺎﺣﻪ
ﻟﻔﻀﺢ ﺍﻟﻤﻤﺎﺭﺳﺎﺕ ﻭﺭﺍﺀ ﺍﻟﺸﺮ
ﺍﻟﻨﺸﺎﻁ ﺍﻷﻭﺭﻭﺑﻲ ﻓﻲ ﺃﻓﺮﻳﻘﻴﺎ
ﻭﻣﻊ ﺫﻟﻚ ، ﻟﻤﺎﺭﻟﻮ ﺑﻘﺪﺭ
ﻟﻜﻮﺭﺗﺰ ﺃﻭ ﻟﻠﺸﺮﻛﺔ ،
ﺍﻷﻓﺎﺭﻗﺔ ﻓﻲ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ ﻫﻲ ﻓﻲ
ﻣﻌﻈﻤﻬﺎ
ﺍﻟﻜﺎﺋﻨﺎﺕ : ﻣﺎﺭﻟﻮ ﻳﺸﻴﺮ ﺇﻟﻰ ﺑﻠﺪﻩ
ﺍﻟﺮﺑﺎﻥ ﻛﻘﻄﻌﺔ ﻣﻦ
ﺍﻵﻻﺕ ، ﻭﺍﻷﻓﺮﻳﻘﻴﺔ ﻓﻲ ﻛﻮﺭﺗﺰ
ﻋﺸﻴﻘﺔ ﻓﻲ ﺃﻓﻀﻞ ﻗﻄﻌﺔ ﻣﻦ
ﺍﻟﺘﻤﺎﺛﻴﻞ. ﻭﻳﻤﻜﻦ ﺍﻟﻘﻮﻝ ﺑﺄﻥ
ﻗﻠﺐ ﺍﻟﻈﻼﻡ ﻳﺸﺎﺭﻙ ﻓﻲ
an ﺍﺿﻄﻬﺎﺩ ﻋﻨﺪﻧﺎ ﻧﻮﺍﺏ ﺃﻥ
ﺃﻛﺜﺮ ﺷﺮﺍ ﻭﺍﻟﻜﺜﻴﺮ
ﺃﺻﻌﺐ ﻟﻌﻼﺝ ﻣﻦ ﻓﺘﺢ
ﺍﻧﺘﻬﺎﻛﺎﺕ ﻛﻮﺭﺗﺰ ﺃﻭ ﻟﺸﺮﻛﺔ
ﺍﻟﺮﺟﺎﻝ. ﺍﻷﻓﺎﺭﻗﺔ ﻟﺘﺼﺒﺢ ﻣﺎﺭﻟﻮ
ﻣﺠﺮﺩ ﺧﻠﻔﻴﺔ ، ﺷﺎﺷﺔ ﺍﻹﻧﺴﺎﻥ
ﻋﻠﻰ ﺃﺳﺎﺳﻬﺎ ﻳﻤﻜﻦ ﺃﻥ ﻳﻠﻌﺐ ﺧﺎﺭﺝ ﺑﻠﺪﻩ
ﺍﻟﻔﻠﺴﻔﻴﺔ ﻭﺍﻟﻮﺟﻮﺩﻳﺔ
ﺍﻟﻨﻀﺎﻻﺕ. ﻭﻋﻠﻰ ﻭﺟﻮﺩﻫﻢ
ﺍﻟﻐﺮﺍﺋﺒﻴﺔ ﺗﻤﻜﻴﻦ ﻟﻪ ﺫﺍﺗﻲ
ﺍﻟﺘﺄﻣﻞ. ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ
ﺗﺠﺮﻳﺪ ﻣﻦ ﺍﻟﺼﻌﺐ
ﺗﺤﺪﻳﺪ ﻣﻦ ﺍﻟﻌﻨﻒ ﺍﻻﺳﺘﻌﻤﺎﺭﻱ ﺃﻭ
ﻓﺘﺢ ﺍﻟﻌﻨﺼﺮﻳﺔ. ﺑﻴﻨﻤﺎ ﻗﻠﺐ
ﺍﻟﻈﻼﻡ ﻋﺮﻭﺽ ﻗﻮﻳﺔ
ﺇﺩﺍﻧﺔ ﻟﻠﻨﻔﺎﻕ
ﻋﻤﻠﻴﺎﺕ ﺍﻹﻣﺒﺮﻳﺎﻟﻴﺔ ، ﻓﺈﻧﻪ ﺃﻳﻀﺎ
ﻭﻳﻌﺮﺽ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻘﻀﺎﻳﺎ
ﺍﻟﻤﺤﻴﻄﺔ ﺍﻟﺴﺒﺎﻕ ﺍﻟﺬﻱ ﻫﻮ ﻓﻲ ﻧﻬﺎﻳﺔ
ﺍﻟﻤﻄﺎﻑ
ﻣﺜﻴﺮﺓ ﻟﻠﻘﻠﻖ.
ﺍﻟﺠﻨﻮﻥ ﻭﻧﺘﻴﺠﺔ ﻟﻞ
ﺍﻹﻣﺒﺮﻳﺎﻟﻴﺔ
ﻳﺮﺗﺒﻂ ﺍﺭﺗﺒﺎﻃﺎ ﻭﺛﻴﻘﺎ ﺍﻟﺠﻨﻮﻥ
ﺍﻹﻣﺒﺮﻳﺎﻟﻴﺔ ﻓﻲ ﻫﺬﺍ ﺍﻟﻜﺘﺎﺏ. ﺃﻓﺮﻳﻘﻴﺎ
ﺍﻟﻤﺴﺆﻭﻟﺔ ﻋﻦ ﺍﻟﻌﻘﻠﻴﺔ
ﻓﻀﻼ ﻋﻦ ﺗﻔﻜﻚ ﺍﻟﺒﺪﻧﻴﺔ
ﺍﻟﻤﺮﺽ. ﺍﻟﺠﻨﻮﻥ ﺍﺛﻨﻴﻦ ﺍﻻﺑﺘﺪﺍﺋﻲ
ﺍﻟﻮﻇﺎﺋﻒ. ﺃﻭﻻ ، ﺃﻧﻬﺎ ﺑﻤﺜﺎﺑﺔ
ﺍﻟﺴﺨﺮﻳﺔ ﺍﻟﺠﻬﺎﺯ ﻹﺷﺮﺍﻙ
ﺍﻟﻘﺎﺭﺉ ﺍﻟﺘﻌﺎﻃﻒ. ﻛﻮﺭﺗﺰ ،
ﻭﻗﺎﻝ ﻣﺎﺭﻟﻮ ﻣﻦ ﺍﻟﺒﺪﺍﻳﺔ ،
ﻫﻮ ﺟﻨﻮﻥ. ﻟﻜﻦ ، ﻭﻛﻤﺎ ﻣﺎﺭﻟﻮ ، ﻭ
ﻟﻠﻘﺎﺭﺉ ، ﻭﺍﻟﺒﺪﺀ ﻓﻲ ﺗﺸﻜﻴﻞ ﺃﻛﺜﺮ
ﺻﻮﺭﺓ ﻛﺎﻣﻠﺔ ﻋﻦ ﻛﻮﺭﺗﺰ ، ﻓﺈﻧﻪ
ﻳﺼﺒﺢ ﻣﻦ ﺍﻟﻮﺍﺿﺢ ﺃﻥ ﻟﻪ
ﺍﻟﺠﻨﻮﻥ ﻫﻮ ﻧﺴﺒﻲ ﻓﻘﻂ ، ﻭﺫﻟﻚ ﻓﻲ
ﻓﻲ ﺳﻴﺎﻕ ﺷﺮﻛﺔ
ﺍﻟﺠﻨﻮﻥ ﻫﻮ ﻣﻦ ﺍﻟﺼﻌﺐ ﺗﺤﺪﻳﺪ. ﻭﻫﻜﺬﺍ ،
ﻛﻞ ﻣﻦ ﻣﺎﺭﻟﻮ ﻭﻳﺒﺪﺃ ﺍﻟﻘﺎﺭﺉ
ﺍﻟﺘﻌﺎﻃﻒ ﻣﻊ ﻛﻮﺭﺗﺰ ﻭ
ﻋﺮﺽ ﺍﻟﺸﺮﻛﺔ ﻣﻊ ﺍﻟﺸﻚ.
ﺍﻟﺠﻨﻮﻥ ﺗﻌﻤﻞ ﺃﻳﻀﺎ ﻋﻠﻰ ﺇﻧﺸﺎﺀ
ﺿﺮﻭﺭﺓ ﺍﻟﻮﻫﻤﻲ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ.
ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺃﻥ ﺍﻷﻋﺮﺍﻑ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭ
ﻫﻲ ﻣﺒﺮﺭﺍﺕ ﺗﻔﺴﻴﺮﻳﺔ
ﺃﻇﻬﺮﺕ ﻃﻮﺍﻝ ﻗﻠﺐ
ﺍﻟﻈﻼﻡ ﻷﻧﻬﺎ ﻛﺎﺫﺑﺔ ﺗﻤﺎﻣﺎ ﻭ
ﺑﻞ ﻳﺘﺮﺗﺐ ﻋﻠﻰ ﺫﻟﻚ ﺍﻟﺸﺮ ، ﻓﻬﻲ
ﻭﻣﻊ ﺫﻟﻚ ، ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﻟﻜﻼ
ﻣﺠﻤﻮﻋﺔ ﺍﻟﻮﺋﺎﻡ ﻭﺍﻟﻔﺮﺩﻳﺔ
ﺍﻷﻣﻦ. ﺍﻟﺠﻨﻮﻥ ، ﻓﻲ ﻗﻠﺐ
ﺍﻟﻈﻼﻡ ، ﻫﻮ ﻧﺘﻴﺠﺔ ﻟﻜﻮﻧﻬﺎ
ﺇﺯﺍﻟﺘﻬﺎ ﻣﻦ ﺍﻟﺴﻴﺎﻕ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻭﺍﺣﺪ
ﻭﺳﻤﺢ ﻟﻴﻜﻮﻥ ﺍﻟﺤﻜﻢ ﺍﻟﻮﺣﻴﺪ
ﺃﻓﻌﺎﻝ ﺍﻟﻔﺮﺩ ﺍﻟﺨﺎﺻﺔ. ﺍﻟﺠﻨﻮﻥ
ﻳﺮﺗﺒﻂ ﺑﺬﻟﻚ ﻟﻴﺲ ﻓﻘﻂ ﻟﻠﻤﻄﻠﻘﺔ
ﺍﻟﺴﻠﻄﺔ ﻭﻧﻮﻉ ﻣﻦ ﺍﻟﻌﺒﻘﺮﻳﺔ ﺍﻷﺧﻼﻗﻴﺔ
ﻟﻜﻦ ﺍﻟﺮﺟﻞ ﺍﻷﺳﺎﺳﻴﺔ
ﺍﻟﻼﻋﺼﻤﺔ : ﻛﻮﺭﺗﺰ ﻻ ﻳﻮﺟﺪ ﻟﺪﻳﻪ ﺳﻠﻄﺔ
ﺍﻟﺬﻱ ﻳﺠﻴﺐ ﺇﻻ ﻧﻔﺴﻪ ، ﻭ
ﻫﺬﺍ ﻫﻮ ﺃﻛﺜﺮ ﻣﻦ ﺃﻱ ﺭﺟﻞ ﻭﺍﺣﺪ ﻳﻤﻜﻦ
ﺗﺤﻤﻞ..
ﻋﺒﺜﻴﺔ ﺍﻟﺸﺮ
ﻫﺬﻩ ﺍﻟﺮﻭﺍﻳﺔ ﻫﻲ ﺃﻭﻻ ﻭﻗﺒﻞ ﻛﻞ ﺷﻲﺀ ،
ﺍﻟﺘﻨﻘﻴﺐ ﻋﻦ ﺍﻟﻨﻔﺎﻕ ،
ﺍﻟﻐﻤﻮﺽ ﻭﺍﻻﻟﺘﺒﺎﺱ ﺍﻷﺧﻼﻗﻲ. ﻫﺬﺍ
ﻳﻨﻔﺠﺮ ﻋﻠﻰ ﻓﻜﺮﺓ
ﺍﻟﻤﺜﻞ ﺍﻻﺧﺘﻴﺎﺭ ﺑﻴﻦ
ﺃﻫﻮﻥ ﺍﻟﺸﺮﻳﻦ. ﻛﻤﺎ ﺍﻟﻤﺜﺎﻟﻴﺔ
ﻳﺘﻢ ﻓﺮﺽ ﻧﻔﺴﻪ ﻟﻤﺤﺎﺫﺍﺓ ﻣﺎﺭﻟﻮ
ﻣﻊ ﺇﻣﺎ ﺍﻟﻨﻔﺎﻕ ﻭ
ﺍﻻﺳﺘﻌﻤﺎﺭﻳﺔ ﺍﻟﺨﺒﻴﺜﺔ ﺃﻭ ﺍﻟﺒﻴﺮﻭﻗﺮﺍﻃﻴﺔ
ﻭﺍﻟﺤﺎﻗﺪﺓ ﻋﻠﻨﺎ ،​​ ﺍﻟﻘﺎﻋﺪﺓ
ﺗﺘﺤﺪﻯ ﻛﻴﺮﺗﺰ ، ﻳﺼﺒﺢ
ﻣﻦ ﺍﻟﻮﺍﺿﺢ ﺑﺸﻜﻞ ﻣﺘﺰﺍﻳﺪ ﺃﻥ ﻟﻤﺤﺎﻭﻟﺔ
ﺍﻣﺎ ﺍﻟﻘﺎﺿﻲ ﺍﻟﺒﺪﻳﻞ ﻫﻮ ﻓﻌﻞ
ﻣﻦ ﺍﻟﺤﻤﺎﻗﺔ : ﻛﻴﻒ ﻳﻤﻜﻦ ﺃﻥ ﺍﻟﻤﻌﺎﻳﻴﺮ
ﺍﻷﺧﻼﻗﻴﺔ
ﺃﻭ ﺃﻥ ﺗﻜﻮﻥ ﺍﻟﻘﻴﻢ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺫﺍﺕ ﺍﻟﺼﻠﺔ
ﻓﻲ
ﺍﻟﺤﻜﻢ ﻋﻠﻰ ﺍﻟﺸﺮ؟ ﻫﻞ ﻫﻨﺎﻙ ﺷﻲﺀ ﻣﻦ
ﻫﺬﺍ ﺍﻟﻘﺒﻴﻞ ﻛﻤﺎ
ﺍﻟﺠﻨﻮﻥ ﻓﻲ ﻫﺬﺍ ﺍﻟﻌﺎﻟﻢ ﺍﻟﺬﻱ
ﺫﻫﺒﺖ ﺑﺎﻟﻔﻌﻞ ﻣﺠﻨﻮﻧﺎ؟ ﻋﺪﺩ
ﺣﺎﻻﺕ ﺳﺨﻴﻔﺔ ﻣﺎﺭﻟﻮ
ﺷﻬﻮﺩ ﺑﻤﺜﺎﺑﺔ ﺍﻧﻌﻜﺎﺳﺎﺕ
ﺍﻟﻤﺴﺄﻟﺔ ﺍﻷﻛﺒﺮ : ﻓﻲ ﻣﺤﻄﺔ ﻭﺍﺣﺪﺓ ، ﻣﻦ
ﺃﺟﻞ
ﺳﺒﻴﻞ ﺍﻟﻤﺜﺎﻝ ، ﻳﺮﻯ ﺭﺟﻞ ﻳﺤﺎﻭﻝ
ﺣﻤﻞ ﺍﻟﻤﺎﺀ ﻓﻲ ﺩﻟﻮ ﻣﻊ
ﺣﻔﺮﺓ ﻛﺒﻴﺮﺓ ﻓﻲ ﺫﻟﻚ. ﻓﻲ ﺍﻟﺨﺎﺭﺟﻲ
ﺍﻟﻤﺤﻄﺔ ، ﻭﺍﻧﻪ ﻳﺸﺎﻫﺪ ﺍﻷﺻﻠﻲ
ﻋﻤﺎﻝ ﺍﻻﻧﻔﺠﺎﺭ ﺑﻌﻴﺪﺍ ﻓﻲ ﺍﻟﺘﻼﻝ
ﻣﻊ ﻋﺪﻡ ﻭﺟﻮﺩ ﻫﺪﻑ ﻣﻌﻴﻦ ﻓﻲ ﺍﻻﻋﺘﺒﺎﺭ.

ﺳﺨﻴﻔﺔ ﺗﺎﻓﻬﺔ ﺗﻨﻄﻮﻱ ﻋﻠﻰ ﺣﺪ ﺳﻮﺍﺀ
ﻭﺳﺨﻒ ﺍﻟﺤﻴﺎﺓ ﺃﻭ ﺍﻟﻤﻮﺕ ﺍﻟﻘﻀﺎﻳﺎ ،
ﻓﻲ ﻭﻗﺖ ﻭﺍﺣﺪ ﻓﻲ ﺃﻏﻠﺐ ﺍﻷﺣﻴﺎﻥ. ﺃﻥ
ﺟﺪﻳﺔ ﻭﺍﻟﺪﻧﻴﻮﻳﺔ ﻫﻢ
ﻳﻘﺘﺮﺡ ﻣﻌﺎﻣﻠﺔ ﺑﺎﻟﻤﺜﻞ
ﺍﻻﺭﺗﺒﺎﻙ ﻣﻌﻨﻮﻳﺔ ﻋﻤﻴﻘﺔ ﻭ
ﺍﻟﻨﻔﺎﻕ ﻫﺎﺋﻠﺔ : ﻓﻬﻲ
ﺍﻟﻤﺮﻭﻋﺔ ﺍﻟﺘﻲ ﻛﻮﺭﺗﺰ ﻓﻲ ﺍﻟﻘﺘﻞ
ﻭﺟﻨﻮﻥ ﺍﻟﻌﻈﻤﺔ ﻓﻲ ﺩﻟﻮ ﻣﺜﻘﻮﺏ
ﺗﺜﻴﺮ ﺃﺳﺎﺳﺎ ﻧﻔﺲ
ﺭﺩ ﻓﻌﻞ ﻣﻦ ﻣﺎﺭﻟﻮ
ﺭﻣﻮﺯ
ﺿﺒﺎﺏ
ﺍﻟﻀﺒﺎﺏ ﻫﻮ ﻧﻮﻉ ﻣﻦ ﻃﺒﻴﻌﻴﺔ ﻟﻞ
ﺍﻟﻈﻼﻡ. ﺍﻟﻀﺒﺎﺏ ﻻ ﻳﺤﺠﺐ
ﻟﻜﻦ ﻳﺸﻮﻩ : ﻓﻬﻮ ﻳﻌﻄﻲ ﻭﺍﺣﺪ ﻓﻘﻂ
ﻣﺎ ﻳﻜﻔﻲ ﻣﻦ ﺍﻟﻤﻌﻠﻮﻣﺎﺕ ﻟﺘﺒﺪﺃ
ﺍﺗﺨﺎﺫ ﺍﻟﻘﺮﺍﺭﺍﺕ ﻭﻟﻜﻦ ﺗﻮﺟﺪ ﻃﺮﻳﻘﺔ ﻝ
ﺍﻟﺤﻜﻢ ﻋﻠﻰ ﺩﻗﺔ ﺗﻠﻚ
ﺍﻟﻤﻌﻠﻮﻣﺎﺕ ، ﺍﻟﺘﻲ ﻏﺎﻟﺒﺎ ﻣﺎ ﺗﻨﺘﻬﻲ
ﻳﺠﺮﻱ ﺧﺎﻃﺊ. ﺑﺎﺧﺮﺓ ﻣﺎﺭﻟﻮ ﻫﻮ
ﺍﺷﺘﻌﻠﺖ ﻓﻲ ﺍﻟﻀﺒﺎﺏ ، ﻭﻫﺬﺍ ﻳﻌﻨﻲ ﺃﻧﻪ
ﻻ ﻳﻮﺟﺪ ﻟﺪﻳﻪ ﻓﻜﺮﺓ ﻋﻦ ﻣﻜﺎﻥ
ﺍﻧﻪ ﺫﺍﻫﺐ ﻭﻟﻴﺲ ﻟﺪﻱ ﻓﻜﺮﺓ ﻣﺎ ﺇﺫﺍ ﻛﺎﻥ
ﺧﻄﺮ ﺃﻭ ﺍﻟﻤﻴﺎﻩ ﺍﻟﻤﻔﺘﻮﺣﺔ ﻳﻨﺘﻈﺮﻧﺎ.
ﻓﻲ "ﺍﻟﻘﺒﺮ "Whited
ﻓﻲ "ﺍﻟﻘﺒﺮ "whited ﻫﻮ ﻋﻠﻰ ﺍﻻﺭﺟﺢ
ﺑﺮﻭﻛﺴﻞ ، ﺣﻴﺚ ﻟﻠﺸﺮﻛﺔ
ﻭﻳﻘﻊ ﺍﻟﻤﻘﺮ ﺍﻟﺮﺋﻴﺴﻲA .
ﻳﻌﻨﻲ ﺍﻟﻤﻮﺕ ﻭﺍﻟﻘﺒﺮ
ﺍﻟﺤﺒﺲ ، ﺑﻞ ﻭﺃﻭﺭﻭﺑﺎ
ﺃﺻﻞ ﺍﻻﺳﺘﻌﻤﺎﺭﻳﺔ
ﺍﻟﺸﺮﻛﺎﺕ ﺍﻟﺘﻲ ﺗﺠﻠﺐ ﺍﻟﻤﻮﺕ ﻟﻞ
ﻭﺍﻟﺮﺟﻞ ﺍﻷﺑﻴﺾ ﺍﻻﺳﺘﻌﻤﺎﺭﻳﺔ ﻟﻬﻢ
ﺍﻟﻤﻮﺍﺿﻴﻊ ؛ ﻳﺨﻀﻊ ﺃﻳﻀﺎ ﻣﻦ ﻗﺒﻞ
ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻤﺒﺎﺩﺉ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﻟﺘﻲ
reified
ﺗﻤﻜﻴﻦ ﻛﻞ ﻣﻦ ﺍﻟﻘﺴﻮﺓ ،
ﺍﻟﺘﺠﺮﻳﺪ ﻣﻦ ﺍﻹﻧﺴﺎﻧﻴﺔ ، ﻭﺍﻟﺸﺮ ﻭ
ﻣﻨﻊ ﺍﻟﺘﻐﻴﻴﺮ. ﺍﻟﻌﺒﺎﺭﺓ
"ﺍﻟﻘﺒﺮ "whited ﻳﺄﺗﻲ ﻣﻦ
ﺍﻟﻜﺘﺎﺏ ﺍﻟﻤﻘﺪﺱ ﻣﻦ ﻣﺎﺛﻴﻮ. ﻓﻲ
ﻣﺮﻭﺭ ، ﻭﻣﺎﺛﻴﻮ ﻳﺼﻒ
""sepulchres whited ﻛﺸﻲﺀ
ﺟﻤﻴﻠﺔ ﻋﻠﻰ ﺍﻟﺨﺎﺭﺝ ﻭﻟﻜﻦ
ﺗﺤﺘﻮﻱ ﻋﻠﻰ ﻓﻈﺎﺋﻊ ﺧﻼﻝ )ﻝ
ﺟﺜﺚ ﺍﻟﻘﺘﻠﻰ، ( ﻭﺑﺎﻟﺘﺎﻟﻲ ﻓﺈﻥ
ﺍﻟﺼﻮﺭﺓ ﺍﻟﻤﻨﺎﺳﺒﺔ ﻟﺒﺮﻭﻛﺴﻞ ،
ﻧﻈﺮﺍ ﻻﻟﺒﻠﺠﻴﻜﻲ ﺍﻟﻨﻔﺎﻕ
ﺍﻟﻜﻼﻡ ﻋﻦ ﺍﻹﻣﺒﺮﻳﺎﻟﻴﺔ
ﺣﻀﺎﺭﻳﺔ ﻣﻬﻤﺔ) .ﺍﻟﻤﺴﺘﻌﻤﺮﺍﺕ
ﺍﻟﺒﻠﺠﻴﻜﻴﺔ ،
ﻻ ﺳﻴﻤﺎ ﻭﺍﻟﻜﻮﻧﻐﻮ ، ﻭﻛﺎﻧﺖ
ﺍﻟﻤﻌﺮﻭﻑ ﻋﻦ ﺍﻟﻌﻨﻒ
ﺍﻟﺘﻲ ﺗﺮﺗﻜﺐ ﺿﺪ ﺍﻟﺴﻜﺎﻥ ﺍﻷﺻﻠﻴﻴﻦ.(
ﻧﺴﺎﺀ
ﺍﻟﻤﺴﺘﻬﺪﻓﻮﻥ ﻓﻲ ﻛﻞ ﻣﻦ ﻛﻴﺮﺗﺰ ﻭﻧﻈﻴﺮﻩ
ﺍﻷﻓﺮﻳﻘﻴﺔ ﻭﻇﻴﻔﺔ ﻋﺸﻴﻘﺔ ﻛﻤﺎ ﻓﺎﺭﻏﺔ
ﺍﻷﻟﻮﺍﺡ ﺍﻟﺘﻲ ﺗﻘﻮﻡ ﻋﻠﻴﻬﺎ ﺍﻟﻘﻴﻢ ﻭ
ﺛﺮﻭﺓ ﻛﻞ ﻣﻨﻬﻤﺎ
ﻳﻤﻜﻦ ﻋﺮﺽ ﺍﻟﻤﺠﺘﻤﻌﺎﺕ. ﻣﺎﺭﻟﻮ
ﻣﻄﺎﻟﺒﺎﺕ ﻓﻲ ﻛﺜﻴﺮ ﻣﻦ ﺍﻷﺣﻴﺎﻥ ﺃﻥ ﺍﻟﻨﺴﺎﺀ
ﺣﻔﻈﺔ ﺃﻭﻫﺎﻡ ﺳﺎﺫﺟﺔ ؛
ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺃﻥ ﻫﺬﻩ ﺍﻷﺻﻮﺍﺕ
ﺍﻹﺩﺍﻧﺔ ، ﻓﺈﻥ ﻣﺜﻞ ﻫﺬﺍ ﺍﻟﺪﻭﺭ ﻓﻲ
ﺣﺎﺳﻤﺔ ، ﺣﻴﺚ ﺃﻥ ﻫﺬﻩ ﺃﻭﻫﺎﻡ ﺳﺎﺫﺟﺔ
ﺍﻟﻮﺍﻗﻊ
ﻫﻲ ﻓﻲ ﺟﺬﺭ ﺍﻟﻮﻫﻤﻲ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ
ﺍﻟﻤﺸﺎﺭﻳﻊ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﺍﻟﺘﻲ ﺗﺒﺮﺭ
ﻭﺍﻟﺘﻮﺳﻊ ﺍﻻﺳﺘﻌﻤﺎﺭﻱ. ﻓﻲ ﺍﻟﻤﻘﺎﺑﻞ ،
ﺍﻟﻤﺮﺃﺓ ﻫﻲ ﺍﻟﻤﺴﺘﻔﻴﺪ
ﺟﺰﺀ ﻛﺒﻴﺮ ﻣﻦ ﺍﻟﺜﺮﻭﺓ ﺍﻟﻨﺎﺗﺠﺔ ﻋﻦ ﺫﻟﻚ ،
ﻭﺗﺼﺒﺢ ﺍﻷﺷﻴﺎﺀ ﻋﻠﻰ
ﺍﻟﺮﺟﻞ ﺍﻟﺬﻱ ﻳﻤﻜﻦ ﺃﻥ ﺍﻟﻌﺮﺽ ﺍﻟﺨﺎﺻﺔ
ﺑﻬﻢ
ﺍﻟﻨﺠﺎﺡ ﻭﺍﻟﻤﻜﺎﻧﺔ.
ﻧﻬﺮ
ﻧﻬﺮ ﺍﻟﻜﻮﻧﻐﻮ ﻫﻮ ﻣﻔﺘﺎﺡ
ﺍﻓﺮﻳﻘﻴﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻸﻭﺭﻭﺑﻴﻴﻦ. ﻓﺈﻧﻪ ﻳﺴﻤﺢ
ﻟﻬﻢ ﺑﺎﻟﻮﺻﻮﻝ ﺇﻟﻰ ﻣﺮﻛﺰ ﻟﻞ
ﺍﻟﻘﺎﺭﺓ ﺩﻭﻥ ﺍﻟﺤﺎﺟﺔ ﺇﻟﻰ
ﻋﺒﺮ ﺟﺴﺪﻳﺎ ، ﻭﺑﻌﺒﺎﺭﺓ ﺃﺧﺮﻯ ،
ﻓﻬﻮ ﻳﺴﻤﺢ ﻟﻠﺮﺟﻞ ﺍﻷﺑﻴﺾ ﺃﻥ ﺗﺒﻘﻰ
ﺩﺍﺋﻤﺎ ﻣﻨﻔﺼﻠﺔ ﺃﻭ ﺧﺎﺭﺟﻬﺎ. ﺃﻓﺮﻳﻘﻴﺎ
ﻭﻫﻜﺬﺍ ﻳﻨﺨﻔﺾ ​​ﺇﻟﻰ ﺳﻠﺴﻠﺔ ﻣﻦ ﺍﺛﻨﻴﻦ
ﺍﻷﺑﻌﺎﺩ ﺍﻟﻤﺸﺎﻫﺪ ﺍﻟﺘﻲ ﻛﺘﺒﻬﺎ ﻓﻼﺵ
ﻣﺎﺭﻟﻮ ﺑﺎﺧﺮﺓ ﻛﻤﺎ ﻳﺴﺎﻓﺮ
ﺍﻟﻨﻬﺮ. ﺍﻟﻨﻬﺮ ﻭﻳﺒﺪﻭ ﺃﻳﻀﺎ ﺃﻥ
ﺗﺮﻳﺪ ﻃﺮﺩ ﺍﻷﻭﺭﻭﺑﻴﻴﻦ ﻣﻦ
ﺃﻓﺮﻳﻘﻴﺎ ﺗﻤﺎﻣﺎ : ﺍﻟﺤﺎﻟﻲ
ﻳﺠﻌﻞ ﺍﻟﺴﻔﺮ ﺍﻟﻨﻬﺮ ﻭﺑﻂﺀ
ﻣﻦ ﺍﻟﺼﻌﺐ ، ﻭﻟﻜﻦ ﺗﺪﻓﻖ ﺍﻟﻤﻴﺎﻩ
ﺩﺍﻭﻧﺮﻳﻔﺮ ﻳﺠﻌﻞ ﺍﻟﺴﻔﺮ ، ﻭﺍﻟﻌﻮﺩﺓ
ﻧﺤﻮ ﺳﺮﻳﻊ "ﺍﻟﺤﻀﺎﺭﺓ، " ﻭ
ﻻ ﻣﻔﺮ ﻣﻨﻪ ﻋﻠﻰ ﻣﺎ ﻳﺒﺪﻭ. ﻣﺎﺭﻟﻮ
ﺻﺮﺍﻋﺎﺕ ﻣﻊ ﺍﻟﻨﻬﺮ ﻛﻤﺎ ﺍﻧﻪ
ﻳﺴﺎﻓﺮ ﻧﺤﻮ ﺍﻟﻤﻨﺒﻊ ﻛﻮﺭﺗﺰ
ﺗﻌﻜﺲ ﻧﻀﺎﻻﺗﻪ ﻟﻔﻬﻢ
ﺍﻟﺤﺎﻟﺔ ﺍﻟﺘﻲ ﻭﺟﺪﺕ ﻟﺪﻳﻪ
ﻧﻔﺴﻪ. ﺍﻟﺴﻬﻮﻟﺔ ﺍﻟﺘﻲ ﻛﺎﻥ
ﺭﺣﻼﺕ ﺍﻟﻤﺼﺐ ﺇﻟﻰ ﺍﻟﻮﺭﺍﺀ ، ﻋﻠﻰ
ﻭﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ، ﻟﻪ ﺍﻟﻤﺮﺍﻳﺎ
ﺍﻹﺫﻋﺎﻥ ﻟﻠﻜﻮﺭﺗﺰ ﻭﻧﻈﻴﺮﻩ
"ﺍﻻﺧﺘﻴﺎﺭ ﻣﻦ ﺍﻟﻜﻮﺍﺑﻴﺲ


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  • عنوان المشاركة: Heart of Darkness  study  - modern prose
مرسل: الثلاثاء كانون الثاني 03, 2012 2:01 ص 
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شكرا لجهودكم الرائعة

وموفقين

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صورة


للاختناق [معنى] أخر..!؟


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 يشاهد الملف الشخصي  
 
  • عنوان المشاركة: Heart of Darkness  study  - modern prose
مرسل: الثلاثاء كانون الثاني 03, 2012 1:12 م 
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  • عنوان المشاركة: Heart of Darkness  study  - modern prose
مرسل: الاثنين كانون الثاني 09, 2012 11:46 م 
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*1  *1  *1

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