Free Essay

Public Enemy Arabic

In: English and Literature

Submitted By alaabzor
Words 36234
Pages 145
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‫ﻋـﺪﻭ ﺍﻟﺸـﻌﺐ‬
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‫ﺗﺼﻤﻴﻢ ﺍﻟﻐﻼﻑ‬ ‫ﺃﲪﺪ ﺇﲰﺎﻋﻴﻞ‬

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‫ﻋﺪﻭ ﺍﻟﺸﻌﺐ‬
‫‪‬‬
‫‪‬‬ ‫‪‬‬ ‫ﺗﺄﻟﻴﻒ : ﻫﻨـﺮﻳـــﻚ ﺇﺑﺴــــﻦ‬ ‫ﺗﺮﲨﺔ: ﺩ. ﻓﺆﺍﺩ ﻋﺒﺪ ﺍﳌﻄﻠﺐ‬

‫‪ ‬‬

‫ﻣﻨﺸﻮﺭﺍﺕ ﺍﳍﻴﺌﺔ ﺍﻟﻌﺎﻣﺔ ﺍﻟﺴﻮﺭﻳﺔ ﻟﻠﻜﺘﺎﺏ‬ ‫ﻭﺯﺍﺭﺓ ﺍﻟﺜﻘﺎﻓﺔ - ﺩﻣﺸﻖ ٢١٠٢ﻡ‬

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‫ﺍﻟﻌﻨﻮﺍﻥ ﺍﻷﺻﻠﻲ ﻟﻠﻜﺘﺎﺏ:‬
‫‪An Enemy‬‬ ‫‪Of the People‬‬ ‫‪By‬‬ ‫‪Henrik lbsen‬‬

‫ﻋﺪﻭ ﺍﻟﺸﻌﺐ / ﺗﺄﻟﻴﻒ ﻫﻨﺮﻳﻚ ﺇﺑﺴﻦ؛ ﺗﺮﲨﺔ ﻓﺆﺍﺩ ﻋﺒـﺪ‬ ‫ﺍﳌﻄﻠﺐ .- ﺩﻣﺸﻖ : ﺍﳍﻴﺌﺔ ﺍﻟﻌﺎﻣﺔ ﺍﻟـﺴﻮﺭﻳﺔ ﻟﻠﻜﺘـﺎﺏ،‬ ‫٢١٠٢ﻡ .- ٤٢٢ ﺹ؛ ٠٢ ﺳﻢ.‬ ‫)ﻣﺴﺮﺣﻴﺎﺕ ﻋﺎﳌﻴﺔ؛ ٥(‬ ‫٢- ﺍﻟﻌﻨ ـﻮﺍﻥ‬ ‫ـ‬ ‫٥- ﺍﻟﺴﻠﺴﻠﺔ‬ ‫ﻣﻜﺘﺒﺔ ﺍﻷﺳﺪ‬ ‫١- ٢٨,٩٣٨ ﺇ ﺏ ﺱ ﻉ‬ ‫٣- ﺇﺑﺴﻦ ٤- ﻋﺒﺪ ﺍﳌﻄﻠﺐ‬

‫‪ ‬‬ ‫‪‬‬
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‫ﻣﻘﺪﻣﺔ ﺍﻟﱰﲨﺔ ﺍﻟﻌﺮﺑﻴﺔ‬

‫ﻣﺪﺧﻞ ﻟﺪﺭﺍﺳﺔ ﺇﺑﺴﻦ ﻭﻣﺴﺮﺣﻴﺔ‬ ‫»ﻋﺪﻭ ﺍﻟﺸﻌﺐ«‬
‫ﻭﻟﺩ ﻫﻨﺭﻴﻙ ﺇﺒﺴﻥ ﻓﻲ ﺍﻟﻌﺸﺭﻴﻥ ﻤﻥ ﺁﺫﺍﺭ ﻋﺎﻡ )٨٢٨١( ﻓﻲ‬

‫»ﺴﻜﻴﻴﻥ«، ﻭﻫﻲ ﺒﻠﺩﺓ ﻓﻲ ﺍﻟﻨﺭﻭﻴﺞ ﺒﻠﻎ ﻋﺩﺩ ﺴﻜﺎﻨﻬﺎ ﺁﻨﺫﺍﻙ ﺜﻼﺜﺔ‬

‫ﻭﺴﺭﻋﺎﻥ ﻤﺎ ﺃﺼﺎﺒﻪ ﺍﻹﻓﻼﺱ ﻋﺎﻡ )٦٣٨١(، ﻓﺎﻨﺘﻘﻠﺕ ﺍﻟﻌﺎﺌﻠﺔ ﺇﻟﻰ‬

‫ﻴﺼﻨﻊ ﺩﻤ ‪ ‬ﻤﻥ ﺃﺠل ﻋﺭﻭﺽ ﻤﺴﺭﺤﻴﺔ ﻤﻨﺯﻟﻴﺔ. ﻋﻤل ﻭﺍﻟﺩﻩ ﺘﺎﺠﺭ ﹰ،‬ ‫ﺍ‬ ‫ﻰ‬

‫ﺁﻻﻑ ﻨﺴﻤﺔ. ﺍﻫﺘﻡ ﺇﺒﺴﻥ ﺒﺎﻟﻤﺴﺭﺡ ﻤﻨﺫ ﻨﻌﻭﻤﺔ ﺃﻅﻔﺎﺭﻩ، ﺤﻴﺙ ﻜﺎﻥ‬

‫ﻤﻨﺯل ﺭﻴﻔﻲ. ﻭﻓﻲ ﺍﻟﺨﺎﻤﺴﺔ ﻋﺸﺭﺓ ﻤﻥ ﻋﻤﺭﻩ، ﺘﺭﻙ ﺇﺒﺴﻥ‬ ‫ﺍﻟﻤﺩﺭﺴﺔ، ﻭُﺭﺴل ﺇﻟﻰ ﺒﻠﺩﺓ ﺃﺨﺭﻯ ﺼﻐﻴﺭﺓ ﺘﺩﻋﻰ، »ﻏﺭﻤﺴﺘﺎﺩ«‬ ‫ﺃ‬ ‫ﻭﻜﺎﻥ ﻨﺎﻗﻤ ﹰ ﻋﻠﻰ ﻭﻀﻌﻪ ﺍﻻﺠﺘﻤﺎﻋﻲ ﻭﻓﻘﺭﻩ ﺍﻟﻤﺩﻗﻊ ﻭﻋﺎﺯﻤ ﹰ ﻋﻠﻰ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺤﻴﺙ ﻋﻤل ﻓﻲ ﺼﻴﺩﻟﻴﺔ ﻫﻨﺎﻙ. ﻋﺎﺵ ﺇﺒﺴﻥ ﻭﻗﺘﺌ ٍ ﺃﻭﻀﺎﻋ ﹰ ﻤﺯﺭﻴﺔ،‬ ‫ﺎ‬ ‫ﺫ‬ ‫ﺇﻴﺠﺎﺩ ﻤﺨﺭﺝ، ﻓﺤﺎﻭل ﺇﺒﻌﺎﺩ ﺍﻟﻜﺂﺒﺔ ﻭﺍﻟﻴﺄﺱ ﻋﻨﻪ ﺒﻜﺘﺎﺒﺔ ﺍﻟﺸﻌﺭ،‬ ‫ﻭﺤﻴﻥ ﺒﻠﻭﻏﻪ ﺍﻟﺜﺎﻤﻨﺔ ﻋﺸﺭﺓ ﺘﺒﻨﻰ ﻁﻔ ﹰ ﺃﺨﺫ ﻴﻌﻴﻠﻪ ﻤﻥ ﻤﻭﺍﺭﺩﻩ‬ ‫ﻼ‬ ‫ﺍﻟﻀﺌﻴﻠﺔ ﻁﻭﺍل ﺍﻷﺭﺒﻊ ﻋﺸﺭﺓ ﺴﻨﺔ ﺍﻟﺘﺎﻟﻴﺔ.‬

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‫ﻋﻠﻰ ﺸﻲﺀ ﻤﻥ ﺴﻴﺎﺩﺘﻬﺎ، ﻟﻜﻨﻬﺎ ﻟﻡ ﺘﺴﺘﻘل ﺘﻤﺎﻤ ﹰ ﺇﻻ ﻓﻲ ﺍﻟﻌﺎﻡ‬ ‫ﺎ‬ ‫)٥٠٩١( ﺃﻱ ﻗﺒل ﺴﻨﺔ ﻤﻥ ﻭﻓﺎﺓ ﻫﻨﺭﻴﻙ ﺇﺒﺴﻥ. ﻭﻅﻠﺕ ﺍﻟﻨﺭﻭﻴﺞ ﺒﻌﺩ‬ ‫ﺫﻟﻙ ﺒﻠﺩﹰ ﺼﻐﻴﺭ ﹰ ﺭﻴﻔﻴ ﹰ ﻴﺤﻜﻤﻪ ﻜﻠﻴ ﹰ ﻤﻭﻅﻔﻭ ﺍﻟﺤﻜﻭﻤﺔ، ﻭﺘﺴﻭﺩﻩ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﺍ‬ ‫ﻨﻅﺭﺓ ﺩﻴﻨﻴﺔ ﻭﺍﺠﺘﻤﺎﻋﻴﺔ ﺘﻘﻠﻴﺩﻴﺔ ﻤﺤﺎﻓﻅﺔ.‬ ‫ﻜﺎﻥ ﺇﺒﺴﻥ ﺍﻟﺸﺎﺏ ﻴﺸﻌﺭ ﻭﻜﺄﻨﻪ ﻤﻨﺒﻭﺫ ﻤﻥ ﻤﺠﺘﻤﻌﻪ، ﻓﻘﺩ ﻓﻘﺩﺕ‬ ‫ﺍﻟﻌﺎﺌﻠﺔ ﻤﺎﻟﻬﺎ ﻭﻤﻜﺎﻨﺘﻬﺎ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ. ﻭﺤﺎﺼﺭﺘﻪ ﺍﻟﺜﺭﺜﺭﺍﺕ ﺍﻟﻤﺤﻠﻴﺔ‬ ‫ﺃﺒﻭﻴﻥ ﻏﻴﺭ ﺸﺭﻋﻴﻴﻥ. ﻭﺤﻴﻥ ﻜﺎﻥ ﻴﻌﻤل ﻓﻲ »ﻏﺭﻤﺴﺘﺎﺩ« ، ﻜﺎﻥ‬

‫ﺍﻟﺤﺭﻭﺏ ﺍﻟﻨﺎﺒﻠﻴﻭﻨﻴﺔ، ﺤﺎﺯﺕ ﺍﻟﻨﺭﻭﻴﺞ ﺍﺴﺘﻘﻼﻟﻬﺎ ﻟﻤﺩﺓ ﺒﺴﻴﻁﺔ، ﻓﻘﺩ‬ ‫ﺨﻀﻌﺕ ﺒﻌﺩﻫﺎ ﻟﺴﻴﻁﺭﺓ ﺍﻟﺴﻭﻴﺩ ﺍﻟﺴﻴﺎﺴﻴﺔ ﻤﻊ ﺃﻨﻬﺎ ﺤﺎﻭﻟﺕ ﺍﻟﺤﻔﺎﻅ‬

‫ﻟﻡ ﻴﻜﻥ ﺍﻷﺩﺏ ﻴﻜﺘﺏ ﺒﺎﻟﻨﺭﻭﻴﺠﻴﺔ ﺒل ﺒﺎﻟﺩﻨﻤﺎﺭﻜﻴﺔ. ﻭﻓﻲ ﻤﺭﺤﻠﺔ‬

‫ﺍﻟﻌﺎﻡ )٤١٨١(، ﻭﺍﻋﺘﻤﺩﺕ ﺜﻘﺎﻓﻴ ﹰ ﺇﻟﻰ ﺤﺩ ﻜﺒﻴﺭ ﻋﻠﻰ ﺍﻟﺩﻨﻤﺎﺭﻙ، ﺇﺫ‬ ‫ﺎ‬

‫ﺍ‬ ‫ﻜﺎﻨﺕ ﺍﻟﻨﺭﻭﻴﺞ ﺃﻴﺎﻡ ﺇﺒﺴﻥ ﺒﻠﺩﹰ ﺯﺭﺍﻋﻴ ﹰ ﻤﻥ ﺃﻗل ﺍﻟﺒﻠﺩﺍﻥ ﺘﻁﻭﺭﹰ‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﻓﻲ ﺃﻭﺭﻭﺒﺎ ﺍﻟﻐﺭﺒﻴﺔ، ﻭﻴﻌﻴﺵ ﻅﺭﻭﻓ ﹰ ﺸﺒﻴﻬﺔ ﺒﻅﺭﻭﻑ ﺍﻟﻘﺭﻭﻥ‬ ‫ﺎ‬ ‫ﺍﻟﻭﺴﻁﻰ. ﻓﻘﺩ ﺨﻀﻌﺕ ﻟﻠﺤﻜﻡ ﺍﻟﺩﻨﻤﺎﺭﻜﻲ ﻤﻨﺫ ﺍﻟﻌﺎﻡ )٧٨٣١( ﺤﺘﻰ‬

‫ﺒﺄﻨﻪ ﻗﺩ ﻴﻜﻭﻥ ﻫﻭ ﻨﻔﺴﻪ ﺍﺒﻨ ﹰ ﻏﻴﺭ ﺸﺭﻋﻲ، ﻷﻨﻪ ﺘﺒﻨﻰ ﻁﻔ ﹰ ﻤﻥ‬ ‫ﻼ‬ ‫ﺎ‬ ‫‪‬ﻠ ‪‬ﺔ ﺍﻟﻘﻭﻡ ﻫﻨﺎﻙ ﻴﻨﻅﺭﻭﻥ ﺇﻟﻴﻪ ﻨﻅﺭﺓ ﺍﺠﺘﻤﺎﻋﻴﺔ ﺩﻭﻨﻴﺔ. ﻨﺘﻴﺠﺔ ﻟﺫﻟﻙ‬ ‫ﻋﻴ‬

‫ﻜﺎﻥ ﺤﻘﻴﻘ ﹰ ﻤﻨﺒﻭﺫﹰ ﻤﻥ ﺍﻟﻨﺎﺤﻴﺘﻴﻥ ﺍﻟﻌﺎﻁﻔﻴﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ، ﻓﺄﺨﺫﺕ ﺃﻓﻜﺎﺭﻩ‬ ‫ﺍ‬ ‫ﺔ‬ ‫ﺍﻟﺨﺭﻭﺝ ﻤﻥ ﺘﻘﻴﻴﺩﺍﺕ ﺍﻟﻤﺠﺘﻤﻊ ﺍﻟﻤﺤﻠﻲ، ﻓﺎﺴﺘﻌﺩ ﻟﻼﻟﺘﺤﺎﻕ ﺒﺠﺎﻤﻌﺔ‬ ‫ﺍﻟﻌﻠﻤﺎﻨﻴﺔ ﺒﺎﻟﻅﻬﻭﺭ، ﻭﺍﻋﺘﻨﻕ ﻤﺒﺎﺩﺉ ﺴﻴﺎﺴﻴﺔ ﻤﺘﻁﺭﻓﺔ، ﻭﺼﻤﻡ ﻋﻠﻰ‬

‫ﻜﺭﻴﺴﺘﻴﺎﻨﻴﺎ )ﺃﻭﺴﻠﻭ ﺤﺎﻟﻴ ﹰ(، ﻭﺭﺍﺡ ﻴﻜﺘﺏ ﺍﻟﻤﺴﺭﺤﻴﺎﺕ ﺍﻟﺸﻌﺭﻴﺔ. ﻓﻘﺩ‬ ‫ﺎ‬

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‫ﻨﺸﺭ ﺃﻭل ﻤﺴﺭﺤﻴﺔ ﻟﻪ »ﻜﺎﺘﺎﻟﻴﻥ« ﻋﺎﻡ )٠٥٨١( ﺒﻤﺴﺎﻋﺩﺓ ﺃﺤﺩ‬ ‫ﻭﺒﻴﻌﺕ ﻤﻌﻅﻡ ﺍﻟﻨﺴﺦ ﻟﺒﻘﺎل ﻤﺠﺎﻭﺭ ﻜﻲ ﻴﺴﺘﺨﺩﻤﻬﺎ ﻓﻲ ﺼﺭ ﻤﺒﻴﻌﺎﺘﻪ.‬ ‫ﺃﺼﺩﻗﺎﺌﻪ، ﻭ ‪‬ﻓﻀﺕ ﺍﻟﻤﺴﺭﺤﻴﺔ ﻟﻠﻌﺭﺽ ﻓﻲ ﻤﺴﺭﺡ ﻜﺭﻴﺴﺘﻴﺎﻨﻴﺎ،‬ ‫ﺭ‬

‫ﺍﻷﺤﺩﺍﺙ ﺍﻟﺜﻭﺭﻴﺔ ﺍﻟﺴﻴﺎﺴﻴﺔ ﺍﻟﺘﻲ ﺴﺎﺩﺕ ﺃﻭﺭﻭﺒﺎ ﻓﻲ ﺍﻟﻌﺎﻡ )٨٤٨١(،‬ ‫ﻭﺠﻴﺯﺓ، ﻀﺩ ﺃﺸﻜﺎل ﺍﻟﺤﻜﻡ ﺍﻟﺸﻤﻭﻟﻲ. ﺍﻨﺼﺏ ﺍﻫﺘﻤﺎﻡ ﺇﺒﺴﻥ ﻤﻨﺫ‬ ‫ﻭﺍﻟﺘﻲ ﻜﺎﻥ ﻤﻥ ﻨﺘﺎﺌﺠﻬﺎ ﻅﻬﻭﺭ ﺤﻜﻭﻤﺎﺕ ﺩﻴﻤﻭﻗﺭﺍﻁﻴﺔ، ﻭﻟﻭ ﻟﻤﺭﺍﺤل‬

‫ﺍﺴﺘﻨﺩﺕ ﺍﻟﻤﺴﺭﺤﻴﺔ ﺇﻟﻰ ﺃﺤﺩﺍﺙ ﺜﻭﺭ ٍ ﺃﻴﺎ ‪ ‬ﺍﻟﺭﻭﻤﺎﻥ، ﻤﺴﺘﻠﻬﻤﺔ‬ ‫ﺓ ﻡ‬

‫ﺍﻟﺒﺩﺍﻴﺔ ﻋﻠﻰ ﻤﻭﻀﻭﻉ ﺴﻌﻲ ﺍﻟﻔﺭﺩ ﻤﻥ ﺃﺠل ﺍﻟﺤﺼﻭل ﻋﻠﻰ ﺤﺭﻴﺘﻪ‬ ‫ﺍﻟﻔﺭﺩﻴﺔ ﺍﻹﻨﺴﺎﻨﻴﺔ ﻜﻲ ﻴﺘﻤﻜﻥ ﻤﻥ ﺘﻘﺭﻴﺭ ﻤﺼﻴﺭﻩ ﻓﻲ ﺍﻟﺤﻴﺎﺓ ﺃﻜﺜﺭ ﻤﻥ‬ ‫ﻭﻓﻲ ﻨﻴﺴﺎﻥ ﻋﺎﻡ )٠٥٨١( ﻏﺎﺩﺭ ﺇﺒﺴﻥ »ﻏﺭﻤﺴﺘﺎﺩ« ﻭﺃﻤﻀﻰ‬ ‫ﺃﺴﺒﻭﻋﻴﻥ ﻤﻊ ﻋﺎﺌﻠﺘﻪ ﻓﻲ ﺁﺨﺭ ﺯﻴﺎﺭﺓ ﻟﻬﻡ؛ ﻓﺫﻫﺏ ﺇﻟﻰ ﺩﺭﺍﺴﺔ ﺍﻟﻁﺏ‬ ‫ﺭﺴﺏ ﺒﻌﺩﻫﺎ ﻓﻲ ﺍﻟﻠﻐﺔ ﺍﻹﻏﺭﻴﻘﻴﺔ ﻭﺍﻟﺤﺴﺎﺏ، ﻓﺘﺭﻙ ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﺍﻟﺠﺎﻤﻌﻴﺔ ﻭﻗﺘﺌ ٍ. ﻜﺎﻨﺕ ﻤﺴﺭﺤﻴﺘﻪ »ﺭﺍﺒﻴﺔ ﺍﻟﺩﻓﻥ« ﺃﻭل ﻤﺴﺭﺤﻴﺔ‬ ‫ﺫ‬ ‫ﹸﻌﺭﺽ ﻟﻪ ﻋﻠﻰ ﺨﺸﺒﺔ ﻤﺴﺭﺡ ﻜﺭﻴﺴﺘﻴﺎﻨﻴﺎ ﻓﻲ ﺇﻴﻠﻭل ﻋﺎﻡ )٠٥٨١(.‬ ‫ﺘ‬ ‫ﻭﻓﻲ ﺍﻟﻌﺎﻡ ﺍﻟﺘﺎﻟﻲ، ‪‬ﻴﻥ ﺇﺒﺴﻥ ﻤﺩﻴﺭ ﹰ ﻟﻠﻤﺸﺎﻫﺩ ﻓﻲ ﺍﻟﻤﺴﺭﺡ ﺍﻟﻘﻭﻤﻲ‬ ‫ﺍ‬ ‫ﻋ‬ ‫ﻓﻲ ﺠﺎﻤﻌﺔ ﻜﺭﻴﺴﺘﻴﺎﻨﻴﺎ ﻭﺍﻟﺘﺤﻀﻴﺭ ﻤﻥ ﺃﺠل ﺍﻤﺘﺤﺎﻨﺎﺕ ﺍﻟﺩﺨﻭل،‬ ‫ﺤﺼﻭﻟﻪ ﻋﻠﻰ ﺤﺭﻴﺘﻪ ﺍﻟﺴﻴﺎﺴﻴﺔ.‬

‫ﻓﻲ »ﺒﻴﺭﻏﻥ« ﻭﺍﻟﺫﻱ ﺍﺴﺘﻤﺭ ﻴﻌﻤل ﻓﻴﻪ ﻁﻴﻠﺔ ﺍﻟﺴﻨﻭﺍﺕ ﺍﻟﺴﺕ ﺍﻟﺘﺎﻟﻴﺔ.‬ ‫ﻓﻘﺩ ﻜﺎﻥ ﻤﺴﺅﻭ ﹰ ﻋﻥ ﺇﺩﺍﺭﺓ ﺍﻟﺨﺸﺒﺔ، ﻭﺘﺭﺘﻴﺏ ﺍﻟﻤﺸﺎﻫﺩ، ﻭﺍﻹﺸﺭﺍﻑ‬ ‫ﻻ‬

‫ﻋﻠﻰ ﺤﺭﻜﺔ ﺍﻟﻤﻤﺜﻠﻴﻥ، ﻜﻤﺎ ﻜﺎﻥ ﻴﻘﺩﻡ ﻤﺴﺭﺤﻴﺎﺘﻪ ﺍﻟﻤﻜﺘﻭﺒﺔ ﻟﻠﺘﻤﺜﻴل‬

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‫ﺍﻟﺩﻨﻤﺎﺭﻜﻲ. ﻭﻤﻥ ﺍﻟﻤﺴﺭﺤﻴﺎﺕ ﺍﻟﺘﻲ ﻜﺘﺒﻬﺎ ﺇﺒﺴﻥ ﻓﻲ ﺘﻠﻙ ﺍﻷﺜﻨﺎﺀ‬ ‫»ﺃﻤﺴﻴﺔ ﺴﺎﻥ ﺠﻭﻥ« )٢٥٨١(، ﻭ»ﺍﻟﺴﻴﺩ ﺇﻴﻨﻐﺭ ﻤﻥ ﺃﻭﺴﺘﺭﺍﺕ«‬

‫ﻤﺤﺎﻭﻟﺔ ﺨﻠﻕ ﺘﻘﺎﻟﻴﺩ ﻨﺭﻭﺠﻴﺔ ﻓﻨﻴﺔ ﺘﻘﻑ ﻓﻲ ﻭﺠﻪ ﺍﻟﻤﺴﺭﺡ‬

‫ﺍﻟﻤﺴﺭﺤﻲ. ﺩﺃﺏ ﺍﻟﻤﺴﺭﺡ ﺍﻟﻘﻭﻤﻲ ﻓﻲ »ﺒﻴﺭﻏﻥ« ﺁﻨﺫﺍﻙ ﻋﻠﻰ‬

‫ﺍﻟﻤﺴﺎﺭﺡ ﻓﻲ ﺃﻟﻤﺎﻨﻴﺎ ﻭﺍﻟﺩﻨﻤﺎﺭﻙ، ﺤﻴﺙ ﺘﻌﻠﻡ ﺍﻟﻜﺜﻴﺭ ﻋﻥ ﺍﻟﻌﺭﻭﺽ‬ ‫ﺍﻟﻤﺴﺭﺤﻴﺔ ﺍﻟﺤﺩﻴﺜﺔ ﺍﻟﺘﻲ ﻜﺎﻨﺕ ﺘﻬﻤﻪ ﻓﻲ ﻋﻤﻠﻪ ﻭﻓﻲ ﺘﻁﻭﻴﺭ ﺇﺒﺩﺍﻋﻪ‬

‫ﻋﻠﻰ ﻨﺤﻭ ﻤﻨﺘﻅﻡ. ﻭﻓﻲ ﺍﻟﻌﺎﻡ )٢٥٨١( ﻗﺎﻡ ﺒﺭﺤﻠﺔ ﺩﺭﺍﺴﻴﺔ ﺯﺍﺭ ﻓﻴﻬﺎ‬

‫)٤٥٨١(، ﻭ»ﺍﻟﻌﻴﺩ ﻓﻲ ﺴﻭﻟﻬﻭﻍ« )٥٥٨١(، ﻭ»ﺍﻟﻔﺎﻴﻜﻨﻎ ﻓﻲ‬ ‫ﻫﻴﻠﻐﻼﻨﺩ« )٧٥٨١(، ﻭ»ﻤﻠﻬﺎﺓ ﺍﻟﺤﺏ« )٥٥٨١(.‬ ‫ﻜﺎﻥ ﺇﺒﺴﻥ ﻗﺩ ﺤﺼل ﻋﻠﻰ ﻭﻅﻴﻔﺔ ﻓﻲ ﺍﻟﻤﺴﺭﺡ ﺍﻟﻨﺭﻭﻴﺠﻲ ﻓﻲ‬

‫ﺜﻭﺭﻨﺴﻥ. ﺘﺩﻫﻭﺭ ﻭﻀﻊ ﻫﺫﺍ ﺍﻟﻤﺴﺭﺡ ﻤﺎﻟﻴ ﹰ ﺇﺫ ﻜﺎﻥ ﻴﺘﻌﺭﺽ ﻻﻨﺘﻘﺎﺩ‬ ‫ﺎ‬ ‫ﺍﻨﻘﻁﺎﻉ ﺍﻟﺭﺍﺘﺏ ﺍﻟﻤﻨﺘﻅﻡ ﺍﻟﺫﻱ ﺘﺴﻠﻤﻪ ﺇﺒﺴﻥ ﻤﺩﺓ ﺴﻨﺘﻴﻥ. ﺤﺼل ﺇﺒﺴﻥ‬

‫ﻤﺴﺭﺤﻴﺎﺘﻪ، ﻭﺒﻌﺩﻫﺎ ﺒﺴﻨﺔ ﺘﺯﻭﺝ ﺒﻨﺕ ﻗﺴﻴﺱ ﺘﺩﻋﻰ ﺴﻭﺯﺍﻨﺎ‬ ‫ﺒﺴﺒﺏ ﺴﻴﺎﺴﺎﺘﻪ، ﻭﺃﻓﻠﺱ ﻓﻲ ﻋﺎﻡ )٢٦٨١(، ﺍﻷﻤﺭ ﺍﻟﺫﻱ ﺃﺩﻯ ﺇﻟﻰ‬

‫ﻜﺭﻴﺴﺘﻴﺎﻨﻴﺎ ﻓﻲ ﺍﻟﻌﺎﻡ )٧٥٨١(، ﺤﻴﺙ ‪‬ﺭﻀﺕ ﻓﻴﻪ ﺒﻌﺽ‬ ‫ﻋ‬

‫ﺍﻷﻏﺎﻨﻲ ﻭﺍﻟﺤﻜﺎﻴﺎﺕ ﺍﻟﺸﻌﺒﻴﺔ. ﻭﻓﻲ ﺍﻟﻌﺎﻡ )٤٦٨١( ﺤﺼل ﻋﻠﻰ‬

‫ﺨﻼل ﺘﻠﻙ ﺍﻷﻴﺎﻡ ﻋﻠﻰ ﻤﻨﺤﺔ ﺤﻜﻭﻤﻴﺔ ﻟﻤﺩﺓ ﻭﺠﻴﺯﺓ ﻗﺎﻡ ﻓﻴﻬﺎ ﺒﺠﻤﻊ‬

‫ﻤﻨﺤﺔ ﺴﺎﻓﺭ ﺒﻬﺎ ﺇﻟﻰ ﺭﻭﻤﺎ. ﻭﻗﻀﻰ ﺒﻌﺩﻫﺎ ﻤﻌﻅﻡ ﺤﻴﺎﺘﻪ ﺨﺎﺭﺝ ﺒﻼﺩﻩ‬ ‫ﺒﺴﺒﺏ ﺇﺭﺍﺩﺘﻪ ﺍﻟﺫﺍﺘﻴﺔ ﻭﺒﺴﺒﺏ ﺍﻤﺘﻌﺎﻀﻪ ﻤﻥ ﺭﻓﺽ ﺍﻟﺴﻭﻴﺩ ﻭﺍﻟ ﻨﺭﻭﻴﺞ‬

‫ﻤﺘﻨﻘ ﹰ ﺒﻴﻥ ﺇﻴﻁﺎﻟﻴﺎ ﻭﺃﻟﻤﺎﻨﻴﺎ ﺤﺘﻰ ﺍﻟﻌﺎﻡ)١٩٨١(. ﻭﻜﺎﻥ ﺍﺒﺘﻌﺎﺩﻩ‬ ‫ﻼ‬

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‫ﻤﺴﺎﻋﺩﺓ ﺍﻟﺩﺍﻨﻤﺭﻙ ﻓﻲ ﺤﺭﺒﻬﺎ ﻤﻊ ﺃﻟﻤﺎﻨﻴﺎ، ﻓﻘﺩ ﻜﺎﻨﺕ ﺍﻟﺤﺭﻜﺔ‬ ‫ﺍﻟﻨﺭﻭﻴﺠﻴﺔ ﹼﻨﺫﺍﻙ ﺠﺯﺀﹰ ﻻ ﻴﺘﺠﺯﺃ ﻤﻥ ﺍﻟﻨﺯﻋﺔ ﺍﻹﺴﻜﻨﺩﻨﺎﻓﻴﺔ ﺍﻟﻜﺒﺭﻯ.‬ ‫ﺍ‬ ‫ﺍ‬ ‫ﻜﺎﻨﺕ ﻤﺴﺭﺤﻴﺎﺕ ﺇﺒﺴﻥ ﻗﺒل ﺃﻥ ﻴﻐﺎﺩﺭ ﺍﻟﻨﺭﻭﻴﺞ، ﻤﻊ ﺍﺴﺘﺜﻨﺎﺀﺍﺕ‬ ‫ﻗﻠﻴﻠﺔ، ﻤﺴﺭﺤﻴﺎﺕ ﺘﺎﺭﻴﺨﻴﺔ ﻤﻜﺘﻭﺒﺔ ﺸﻌﺭﹰ. ﻭﺤﻴﻥ ﻏﺎﺩﺭ، ﺍﺒﺘﻌﺩ ﺇﺒﺴﻥ‬ ‫ﺍ‬ ‫ﻋﻥ ﺍﻟﺭﻭﺡ ﺍﻟﻘﻭﻤﻴﺔ ﺍﻟﺭﻭﻤﺎﻨﺘﻴﻜﻴﺔ ﺍﻟﺘﻲ ﺘﻤﻴﺯﺕ ﺒﻬﺎ ﻤﺴﺭﺤﻴﺎﺘﻪ‬ ‫ﺍﻟﺒﺎﻜﺭﺓ. ﻭﻤﻊ ﺫﻟﻙ، ﺘﺎﺒﻊ ﻜﺘﺎﺒﺔ ﺍﻟﻤﺴﺭﺤﻴﺎﺕ ﻭﻜﺎﻨﺕ ﺍﻟﻨﺭﻭﺝ ﺃﺭﻀﻴﺔ‬ ‫ﺍﺠﺘﻤﺎﻋﻴﺔ ﻟﻬﺎ ﻤﺩﻋﻴ ﹰ ﺃﻨﻪ ﻴﻬﺩﻑ ﻤﻥ ﻭﺭﺍﺀ ﺫﻟﻙ ﺇﻟﻰ ﺍﺴﺘﻨﻬﺎﺽ‬ ‫ﺎ‬ ‫ﻤﻭﺍﻁﻨﻴﻪ ﻤﻥ ﺨﻤﻭﻟﻬﻡ. ﹸﺘﺒﺕ ﻤﺴﺭﺤﻴﺔ »ﺒﺭﺍﻨﺩ« ﻓﻲ ﺭﻭﻤﺎ ﻭ ﹸﺸﺭﺕ‬ ‫ﻨ‬ ‫ﻜ‬ ‫ﻋﺎﻡ )٦٦٨١( ﻭﻫﻲ ﻤﺴﺭﺤﻴﺔ ﺸﻌﺭﻴﺔ ﻤﻁﻭﻟﺔ ﹸﻌﻨﻰ ﺒﻜﻔﺎﺡ ﺍﻹﻨﺴﺎﻥ‬ ‫ﺘ‬ ‫ﻤﻥ ﺃﺠل ﺘﺤﻘﻴﻕ ‪‬ﺜل ﻋﻠﻴﺎ ﻭﻀﺩ ﺍﻟﻘﻴﻭﺩ ﺍﻟﻤﻔﺭﻭﻀﺔ ﻋﻠﻰ ﺠﻬﻭﺩﻩ.‬ ‫ﻤ‬ ‫ﺃﺴﺴﺕ ﻫﺫﻩ ﺍﻟﻤﺴﺭﺤﻴﺔ ﻟﺸﻬﺭﺓ ﺇﺒﺴﻥ ﺒﻭﺼﻔﻪ ﻜﺎﺘﺒ ﹰ ﻨﺭﻭﻴﺠﻴ ﹰ ﻜﺒﻴﺭ ﹰ؛‬ ‫ﺍ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻭﺒﻌﺩ ﺍﻟﻌﺎﻡ )٦٦٨١( ﺘﺤﺭﺭ ﻨﻬﺎﺌﻴ ﹰ ﻤﻥ ﺃﻋﺒﺎﺌﻪ ﺍﻟﻤﺎﺩﻴﺔ. ﻭﻤﻊ ﺍﻟﻨﻘﺹ‬ ‫ﺎ‬ ‫ﻓﻲ ﺩﺭﺍﺴﺘﻪ ﺍﻟﺠﺎﻤﻌﻴﺔ ﻭﻓﻲ ﺍﻟﺘﻘﺎﻟﻴﺩ ﺍﻟﻤﺴﺭﺤﻴﺔ ﻓﻲ ﺍﻟﻨﺭﻭﻴﺞ، ﺘﻤﻜﻥ‬ ‫ﺇﺒﺴﻥ ﻤﻥ ﻤﻭﺍﺠﻬﺔ ﻫﺫﺍ ﺍﻟﺘﺤﺩﻱ ﻋﻥ ﻁﺭﻴﻕ ﻗﺭﺍﺀﺘﻪ ﺍﻟﻭﺍﺴﻌﺔ‬ ‫ﺎ‬ ‫ﻭﻤﺤﺎﻭﻟﺘﻪ ﺍﻟﻤﺴﺘﻤﺭﺓ ﻭﻤﻼﺤﻅﺘﻪ ﺍﻟﺩﻗﻴﻘﺔ ﻟﻴﺼﺒﺢ ﻜﺎﺘﺒ ﹰ ﻤﺴﺭﺤﻴ ﹰ‬ ‫ﺎ‬ ‫ﻨﺎﺠﺤ ﹰ. ﻭﻓﻲ ﻋﺎﻡ )٧٦٨١( ﻨﺸﺭﻤﺴﺭﺤﻴﺔ »ﺒﻴﺭﺠﻨﺕ« ﻭﻫﻲ‬ ‫ﺎ‬ ‫ﻤﺴﺭﺤﻴﺔ ﺸﻌﺭﻴﺔ ﻁﻭﻴﻠﺔ ﺘﻌﺎﻟﺞ ﻤﻭﻀﻭﻉ ﺍﻟﺴﻌﻲ ﻤﻥ ﺃﺠل ﻗﻀﻴﺔ‬ ‫ﺍﻟﺤﺭﻴﺔ ﻭﺍﻟﻤﺜل ﺍﻟﻌﻠﻴﺎ ﻤﻥ ﺯﺍﻭﻴﺔ ﺃﺨﺭﻯ. ﻓﺤﻴﻥ ﻴﻅﻬﺭ ﺒﺭﺍﻨﺩ ﺭﺠل‬ ‫ﺩﻴﻥ ﻤﺜﺎﻟﻴ ﹰ ﻴﻀﺤﻲ ﺒﺤﻴﺎﺓ ﺍﺒﻨﻪ ﻓ ﻲ ﺃﺜﻨﺎﺀ ﻤﺤﺎﻭﻟﺔ ﺒﺤﺜﻪ ﻋﻥ ﺫﺍﺘﻪ‬ ‫ﺎ‬ ‫ﺍﻟﺩﻴﻨﻴﺔ ﻭﺘﺤﻘﻴﻘﻬﺎ، ﻴﻅﻬﺭ ﺒﻴﺭﺠﻨﺕ ﺒﻭﺼﻔﻪ ﻤﻐﺎﻤﺭﹰ ﻤﺴﺘﻬﺘﺭ ﹰ ﻏﻴﺭ‬ ‫ﺍ‬ ‫ﺍ‬ ‫ﺼﺎﺩﻕ ﻭﻏﻴﺭ ﻤﻨﺴﺠﻡ ﻤﻊ ﻨﻔﺴﻪ. ﻜﺘﺒﺕ ﻫﺎﺘﺎﻥ ﺍﻟﻤﺴﺭﺤﻴﺘﺎﻥ‬

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‫ﺍﻟﺸﻌﺭﻴﺘﺎﻥ ﻤﻥ ﺃﺠل ﺍﻟﻘﺭﺍﺀﺓ ﻭﻟﻴﺱ ﻤﻥ ﺃﺠل ﻭﻀﻌﻬﻤﺎ ﻋﻠﻰ‬ ‫ﺍﻟﻤﺴﺭﺡ، ﻭﺘﺒﻌﺘﻬﻤﺎ ﻤﺴﺭﺤﻴﺔ »ﺍﻹﻤﺒﺭﺍﻁﻭﺭ ﻭﻏﻠﻴﻠﻲ« ﻋﺎﻡ‬ ‫)٣٧٨١(، ﻭﻫﻲ ﻤﺴﺭﺤﻴﺔ ﻨﺜﺭﻴﺔ ﻋ ‪‬ﻫﺎ ﺇﺒﺴﻥ ﺩﺍﺌﻤ ﹰ ﻋﻤﻠﻪ ﺍﻟﺭﺌﻴﺱ،‬ ‫ﺎ‬ ‫ﺩ‬ ‫ﻭﺘﺩﻭﺭ ﺤﻭل ﺍﻟﺼﺭﺍﻉ ﺒﻴﻥ ﺍﻟﻘﻭﺘﻴﻥ ﺍﻟﺩﻴﻨﻴﺔ ﻭﺍﻟﺩﻨﻴﻭﻴﺔ.‬ ‫ﻟﻘﺩ ﻜﺎﻨﺕ ﺍﻟﻤﺴﺭﺤﻴﺎﺕ ﺍﻟﺘﻲ ﻜﺘﺒﻬﺎ ﻓﻲ ﺍﻟﻤﺭﺤﻠﺔ ﺍﻟﺘﺎﻟﻴﺔ ﺴﺒﺏ‬ ‫ﺸﻬﺭﺘﻪ ﺍﻟﻜﺒﺭﻯ، ﺤﻴﻥ ﻗﺎﻡ ﺒﺎﻟﺠﻤﻊ ﺒﻴﻥ ﺍﻟﺨﻠﻔﻴﺔ )ﺍﻟﺯﻤﺎﻨﻴﺔ ﻭﺍﻟﻤﻜﺎﻨﻴﺔ(‬ ‫ﺍﻟﻤﺭﺴﻭﻤﺔ ﻓﻲ ﻤﺴﺭﺤﻴﺘﻲ »ﺒﺭﺍﻨﺩ« ﻭ»ﺒﻴﺭﺠﻨﺕ« ﻭﺍﻷﺴﻠﻭﺏ ﺍﻟﻨﺜﺭﻱ‬ ‫ﺍﻟﺫﻱ ﺍﺘﺨﺫﻩ ﻓﻲ ﻤﺴﺭﺤﻴﺘﻪ »ﺍﻹﻤﺒﺭﺍﻁﻭﺭ ﻭﻏﺎﻟﻴﻠﻲ « ﻟﻴﻁﻭﺭ‬ ‫ﺍﻟﻤﺴﺭﺤﻴﺔ ﺍﻟﻭﺍﻗﻌﻴﺔ ﺍﻟﻘﺎﺩﺭﺓ ﻋﻠﻰ ﺍﻟﺘﻌﺒﻴﺭ ﻋﻥ ﺍﻫﺘﻤﺎﻤﻪ ﺍﻷﺴﺎﺴﻲ‬

‫ﺒﻘﻀﻴﺔ ﺒﺤﺙ ﺍﻹﻨﺴﺎﻥ ﻋﻥ ﺤﺭﻴﺘﻪ ﻭﺍﻟﻨﻀﺎل ﻀﺩ ﺍﻟﻘﻴﻭﺩ ﺍﻟﺘﻲ‬ ‫ﻴﻔﺭﻀﻬﺎ ﺍﻟﻤﺠﺘﻤﻊ ﻭﺍﻟﻤﺎﻀﻲ ﻋﻠﻰ ﻫﺫﺍ ﺍﻟﺒﺤﺙ. ﻟﻡ ﺘﻜﻥ ﻫﺫﻩ‬ ‫ﻋﺒﺭ ﺃﺤﺩﺍﺙ ﺍﻟﺤﻴﺎﺓ ﺍﻟﻴﻭﻤﻴﺔ ﻭﺃﻓﻌﺎﻟﻬﺎ، ﺍﺴﺘﺨﺩﻡ ﺇﺒﺴﻥ ﻓﻴﻬﺎ‬ ‫ﺍﻟﻤﺴﺭﺤﻴﺎﺕ ﺸﺎﻋﺭﻴﺔ ﻤﻥ ﺠﻬﺔ ﻟﻐﺘﻬﺎ، ﻟﻜﻨﻬﺎ ﹸﻅﻬﺭ ﺭﺅ ‪ ‬ﺸﺎﻋﺭﻴﺔ‬ ‫ﻯ‬ ‫ﺘ‬

‫ﺸﺨﺼﻴﺎﺕ ﻭﺨﻠﻔﻴﺎﺕ ﻭﺃﺯﻴﺎﺀ ﻭﺤﻭﺍﺩﺙ ﻭﺍﻗﻌﻴﺔ ﻟﻠﺘﻌﺒﻴﺭ ﻋﻥ ﺭﺅﺍﻩ‬ ‫ﺍﻟﻔﻠﺴﻔﻴﺔ ﺍﻹﻨﺴﺎﻨﻴﺔ ﻭﺍﻻﺠﺘﻤﺎﻋﻴﺔ. ﻓﻤﺴﺭﺤﻴﺔ »ﺃﻋﻤﺩﺓ ﺍﻟﻤﺠﺘﻤﻊ«‬ ‫ﺍﻟﺸﻌﺏ« )٢٨٨١( ﻏﺎﻟﺒ ﹰ ﻤﺎ ﺘﻌﺩ ﻤﻥ ﺭﻭﺍﺌﻊ ﺍﻟﻤﺴﺭﺡ ﺍﻟﻭﺍﻗﻌﻲ‬ ‫ﺎ‬ ‫)٧٧٨١(، ﻭ»ﺒﻴﺕ ﺍﻟﺩﻤﻴﺔ« )٩٧٨١(، ﻭ»ﺍﻷﺸﺒﺎﺡ«، ﻭ»ﻋﺩﻭ‬

‫ﺃﻤﺎ ﻤﺴﺭﺤﻴﺎﺕ ﺇﺒﺴﻥ ﺍﻷﺨﻴﺭﺓ ﻓﻜﺎﻨﺕ ﺃﻜﺜﺭ ﺭﻤﺯﻴﺔ، ﻭﺘﻬﺘﻡ ﻋﻠﻰ‬ ‫ﺍﻷﻏﻠﺏ ﺒﺎﻟﺼﺭﺍﻋﺎﺕ ﺒﻴﻥ ﺃﺸﺨﺎﺹ ﻤﺜﺎﻟﻴﻴﻥ ﻭﺍﻟﻤﺠﺘﻤﻊ ﻤﻥ ﺤﻭﻟﻬﻡ.‬

‫ﺍﻷﻭﺭﻭﺒﻲ، ﻓﻘﺩ ﺃﺩﻯ ﻨﺸﺭ ﻫﺫﻩ ﺍﻟﻤﺴﺭﺤﻴﺎﺕ ﻭﻋﺭﻀﻬﺎ ﺇﻟﻰ ﺠﻌﻠﻪ‬ ‫ﺃﻜﺜﺭ ﺍﻟﻜﺘﺎﺏ ﺍﻟﻤﺴﺭﺤﻴﻴﻥ ﻨﻘﺎﺸ ﹰ ﻓﻲ ﺃﻭﺭﻭﺒﺎ.‬ ‫ﺎ‬

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‫ﻭﺜﻤﺔ ﺘﻘ ‪ ‬ﻤﺭﻴﺭ ﻟﺩﻭﺭ ﺍﻟﻔﻨﺎﻥ ﻭﺍﻟﻤﺜﺎﻟﻲ ﻓﻲ ﺍﻟﻤﺠﺘﻤﻊ ﻴﺘﺠﻠﻰ ﻓﻲ‬ ‫ﺹ‬ ‫ﻤﺴﺭﺤﻴﺎﺕ ﻋﻅﻴﻤﺔ ﻤﺜل »ﺍﻟﺒﻁﺔ ﺍﻟﺒﺭﻴﺔ« )٤٨٨١(، ﻭ»ﺒﻴﺕ ﹼل‬ ‫ﺍ‬ ‫ﺭﻭﺯﻤﺭ« )٦٨٨١(، ﻭ»ﻫﻴﺩﺍ ﻏﺎﺒﻠﺭ« )٠٩٨١(، ﻭ»ﻤﻌﻠﻡ ﺒﻨﺎﺀ«‬ ‫)٢٩٨١(، ﻭ»ﺠﻭﻥ ﻏﺎﺒﺭﻴﻴل ﺒﻭﺭﻜﻤﺎﻥ« )٦٩٨١(، ﻭﺁﺨﺭ ﻤﺴﺭﺤﻴﺔ‬ ‫ﻜﺘﺒﻬﺎ ﺇﻴﺴﻥ »ﻋﻨﺩﻤﺎ ﹸﺒﻌﺙ ﻨﺤﻥ ﺍﻟﻤﻭﺘﻰ« )٩٩٨١(. ﻭﻓﻲ ﻋﺎﻡ‬ ‫ﻨ‬ ‫)٠٠٩١( ﺃﺼﻴﺏ ﺇﺒﺴﻥ ﺒﺠﻠﻁﺔ ﺩﻤﺎﻏﻴﺔ ﺩﺨل ﻋﻠﻰ ﺇﺜﺭﻫﺎ ﻓﻲ ﺤﺎﻟﺔ‬ ‫ﺸﻠل ﺍﻨﻬﺎﺭﺕ ﻗﻭﺍﻩ ﺒﻌﺩ ﺫﻟﻙ ﻭﺘﻭﻓﻲ ﻓﻲ ﺍﻟﻌﺎﻡ )٦٠٩١(.‬ ‫ﻏﺎﻟﺒ ﹰ ﻤﺎ ‪‬ﻨﻅﺭ ﺇﻟﻰ ﺇﺒﺴﻥ ﻋﻠﻰ ﺃﻨ ﻪ ﺃﻋﻅﻡ ﻜﺎﺘﺏ ﻤﺴﺭﺤﻲ‬ ‫ﻴ‬ ‫ﺎ‬ ‫ﻴﻅﻬﺭﻓﻲ ﺃﻭﺭﻭﺒﺎ ﺒﻌﺩ ﺸﻜﺴﺒﻴﺭ، ﻭﺨﻼل ﺤﻴﺎﺘﻪ ﻜﺎﻨﺕ ﻤﺴﺭﺤﻴﺎﺘﻪ‬ ‫ﺎ‬ ‫ﻤﺤل ﺠﺩل ﻭﺨﻼﻑ ﻟﻜﻨﻪ ﹸ ‪‬ﻡ ﻋﺎﻟﻤﻴ ﹰ ﺒﻭﺼﻔﻪ ﻜﺎﺘﺒ ﹰ ﻤﺴﺭﺤﻴ ﹰ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻜﺭ‬ ‫ﺍﺴﺘﻁﺎﻉ ﺘﻐﻴﻴﺭ ﺍﺘﺠﺎﻩ ﺍﻟﻤﺴﺭﺡ ﻓﻲ ﺃﻴﺎﻤﻪ ﺒﺎﺘﺠﺎﻩ ﺍﻟﻤﺴﺭﺡ ﺍﻟﻭﺍﻗﻌﻲ‬ ‫ﺍﻻﺠﺘﻤﺎﻋﻲ ﺍﻟﺤﺩﻴﺙ ﺍﻟﺫﻱ ﺃﺜﺭ ﻓﻲ ﻜﺜﻴﺭ ﻤﻥ ﹸﺘﺎﺏ ﺍﻟﻤﺴﺭﺡ ﺍﻟﻌﺎﻟﻤﻲ‬ ‫ﻜ‬ ‫ﺃﻤﺜﺎل: ﺃﻨﻁﻭﻥ ﺘﺸﻴﺨﻭﻑ )٠٦٨١- ٤٠٩١( ﻭﺃﻭﻏﺴﺕ ﺴﺘﺭﻨﺩﺒﺭﻍ‬ ‫)٤٩٨١ـ٢١٩١( ﻭﺠﻭﺭﺝ ﺒﺭﻨﺎﺭﺩ ﺸﻭ )٦٥٨١ - ٠٥٩١( ﻭﺸﻭﻥ‬ ‫ﺃﻭﻜﻴﺴﻲ )٠٨٨١-٤٦٩١( ﻭﺃﺭﺜﺭ ﻤﻴﻠﺭ )٥١٩١-٥٠٠٢(،‬ ‫ﻭﻏﻴﺭﻫﻡ.‬ ‫ﹸﻘﻠﺕ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﺇﻟﻰ ﺍﻟﻌﺭﺒﻴﺔ ﻤﻥ ﺘﺭﺠﻤﺔ ﺇﻨﻜﻠﻴﺯﻴﺔ‬ ‫ﻨ‬ ‫ﻗﺎﻡ ﺒﻬﺎ ﻭﻗﺩﻡ ﻟﻬﺎ ﻤﺎﻴﻜل ﻤﻴﻴﺭ ﻀﻤﻥ ﻤﺠﻤﻭﻋﺔ ﺃﻋﻤﺎل ﺇﺒﺴﻥ‬

‫ﺍﻟﻤﺴﺭﺤﻴﺔ ﺍﻟﺘﻲ ﺼﺩﺭﺕ ﺒﻁﺒﻌﺘﻬﺎ ﺍﻷﻭﻟﻰ ﻓﻲ ﺃﺭﺒﻌﺔ ﻤﺠﻠﺩﺍﺕ ﻋﻥ‬ ‫ﺩﺍﺭ ﻤﺜﻴﻭﻥ ﻓﻲ ﻟﻨﺩﻥ )٠٨٩١(، ﻭﺍﻟﺘﻲ ﺘﻭﺍﻟﺕ ﻁﺒﻌﺎﺘﻬﺎ ﺒﻌﺩ ﺫﻟﻙ.‬ ‫ﺍﺤﺘﻭﻯ ﺍﻟﻤﺠﻠﺩ ﺍﻟﺜﺎﻨﻲ ﻤﻨﻬﺎ ﺜﻼﺙ ﻤﺴﺭﺤﻴﺎﺕ: »ﺒﻴﺕ ﺍﻟﺩﻤﻴﺔ«‬

‫-١١-‬

‫ﻭ»ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﻭ»ﻫﻴﺩﺍ ﻏﺎﺒﻠﺭ«. ﻭﻴﻤﻜﻥ ﻭﺼﻑ ﺘﺭﺠﻤﺔ ﻤﺎﻴﻜل‬

‫ﻤﻴﻴﺭ ﺍﻹﻨﻜﻠﻴﺯﻴﺔ ﺒﺄﻨﻬﺎ ﻨﺎﺠﺤﺔ ﻤﺴﺭﺤﻴ ﹰ، ﻓﻌﺒﺎﺭﺍﺘﻪ ﻟﻁﻴﻔﺔ ﻭﻤﺸﺤﻭﻨﺔ‬ ‫ﺎ‬ ‫ﺒﺎﻟﺩﻻﻻﺕ، ﻭﺘﺨﺎﻁﺏ ﺃﺤﺎﺴﻴﺱ ﺍﻟﻨﻅﺎﺭﺓ ﻭﻋﻘﻭﻟﻬﻡ ﻓﻲ ﺍﻵﻥ ﻨﻔﺴﻪ،‬ ‫ﻭﻻ ﺘﻌﻤﺩ ﺇﻟﻰ ﺍﻟﻭﺼﻑ ﻭﺍﻟﺸﺭﺡ ﺃﻜﺜﺭ ﻤﻤﺎ ﻫﻭ ﻀﺭﻭﺭﻱ. ﻭﻓﻲ ﻫﺫﺍ‬ ‫ﺍﻟﺴﻴﺎﻕ، ﻴﺒﺩﻱ ﻤﺎﻴﻜل ﻤﻴﻴﺭ ﻓﻲ ﻤﻘﺎل ﻟﻪ ﺒﻌﻨﻭﺍﻥ »ﻓﻲ ﺘﺭﺠﻤﺔ‬ ‫ﺍﻟﻤﺴﺭﺤﻴﺎﺕ« )ﺍﻟﺼﺎﺩﺭﺓ ﻓﻲ ﻜﺘﺎﺏ »ﺩﺭﺍﺴﺎﺕ ﺍﻟﻘﺭﻥ ﺍﻟﻌﺸﺭﻴﻥ«‬ ‫٤٧٩١( ﺭﺃﻴ ﹰ ﻤﻔﺎﺩﻩ، ﻭﻫﻭ ﻴﻘﺘﺒﺱ ﻤﻥ ﺕ. ﺭﺍﺘﻴﻐﻥ، ﺃ ‪ ‬ﺍﻟﻜﻠﻤﺔ‬ ‫ﻥ‬ ‫ﺎ‬

‫ﺍﻟﻤﻨﻁﻭﻗﺔ ﺃﺸﺩ ﻭﻗﻌ ﹰ ﻤﻥ ﺍﻟﻜﻠﻤﺔ ﺍﻟﻤﻜﺘﻭﺒﺔ ﺒﺨﻤﺱ ﻤﺭﺍﺕ ﻋﻠﻰ ﺍﻷﻗل،‬ ‫ﺎ‬ ‫ﺃﻱ ﺃﻥ ﻤﺎ ﻴﻜﺘﺒﻪ ﺍﻟﺭﻭﺍﺌﻲ ﻓﻲ ﺜﻼﺜﻴﻥ ﺴﻁﺭﹰ، ﻴﻘﻭﻟﻪ ﺍﻟﻜﺎﺘﺏ‬ ‫ﺍ‬ ‫ﺍﻟﻤﺴﺭﺤﻲ ﻓﻲ ﺨﻤﺴﺔ ﺃﺴﻁﺭ. ﻟﻴﺴﺕ ﺍﻟﻤﺴﺄﻟﺔ ﻫﻨﺎ ﺩﻗﺔ ﺍﻟﺤﺴﺎﺒﺎﺕ، ﺒل‬

‫ﻓﻴﻬﺎ. ﻭﻤﻤﺎ ﻴﺠﺩﺭ ﺫﻜﺭﻩ ﻫﻨﺎ ﺃﻥ ﺍﻟﻤﺘﺭﺠﻤﻴﻥ ﻓﻲ ﺍﻟﻌﺎﻟﻡ ﺍﻷﻨﺠﻠﻭ –‬

‫ﻤﺎ ﻫﻭ ﻤﻬﻡ ﺃﻥ ﺍﻟﺘﺭﺠﻤﺔ ﺍﻟﻤﺴﺭﺤﻴﺔ ﻴﺠﺏ ﺃﻥ ﺘﻜﻭﻥ ﺩﻗﻴﻘﺔ ﻭﻻ ﻤﻐﺎﻻﺓ‬

‫ﺃﻤﺭﻴﻜﻲ ﻋﻤﻭﻤ ﹰ ﺤﺎﻭﻟﻭﺍ ﻓﻲ ﺃﺜﻨﺎﺀ ﺘﺭﺠﻤﺘﻬﻡ ﻤﺴﺭﺤﻴﺎﺕ ﺇﺒﺴﻥ ﺇﻟﻰ‬ ‫ﺎ‬ ‫ﺇﺒﺴﻥ ﻜﺘﺏ ﻤﺴﺭﺤﻴﺎﺘﻪ ﺃﺼ ﹰ ﺒﺎﻹﻨﻜﻠﻴﺯﻴﺔ. ﻭﻗﺩ ﺃﺸﺎﺭﺕ ﺃﻭﻨﺎ ﺇﻴﻠﻴﺱ‬ ‫ﻼ‬ ‫ﻓﻴﺭﻤﺭ ﺇﻟﻰ ﻫﺫﻩ ﺍﻟﻤﺤﺎﻭﻟﺔ ﻓﻲ ﻤﻘﺩﻤﺔ ﺘﺭﺠﻤﺘﻬﺎ ﺒﻌ ‪ ‬ﻤﺴﺭﺤﻴﺎﺕ‬ ‫ﺽ‬

‫ﺍﻹﻨﻜﻠﻴﺯﻴﺔ ﺍﻟﻘﻴﺎﻡ ﺒﻤﻬﻤﺔ ﺘﻜﺎﺩ ﺘﻜﻭﻥ ﻤﺴﺘﺤﻴﻠﺔ ﺃﻻ ﻭﻫﻲ ﺍﻹﻴﻬﺎﻡ ﺃﻥ‬

‫ﺒﻨﻐﻭﻴﻥ‬

‫ﻤﻥ ﺨﻼل ﺘﺭﺠﻤﺘﻬﺎ ﺇﻟﻰ ﺍﻹﻨﻜﻠﻴﺯﻴﺔ« )ﺍﻨﻅﺭ، ﻫﻨﺭﻴﻙ ﺇﺒﺴﻥ، ﺜﻼﺙ‬ ‫ﻜﺘﺏ‬ ‫ﻤﻴﺩﻟﺴﻜﺱ:‬ ‫ﺴﻭﺭﺙ،‬ ‫ﻫﺎﺭﻤﻭﻨﺩ‬ ‫ﺍﻟﻜﻼﺴﻴﻜﻴﺔ، ٦٥٩١(.‬ ‫ﻤﺴﺭﺤﻴﺎﺕ،‬

‫ﺇﺒﺴﻥ ﻗﺎﺌﻠﺔ: »ﺒﺎﻟﻔﻌل ﻟﻘﺩ ﺤﻘﻘﺕ ﻤﺴﺭﺤﻴﺎﺕ ﺇﺒﺴﻥ ﺸﻬﺭﺘﻬﺎ ﺍﻟﻌﺎﻟﻤﻴﺔ‬

‫-٢١-‬

‫ﻜﺎﻨﺕ ﺍﻟﺘﺭﺠﻤﺔ ﻭﻻ ﺘﺯﺍل ﺘﻤﺜل ﺍﻟﻤﻘﺩﺭﺓ ﻭﺍﻟﻜﻔﺎﺀﺓ ﻋﻠﻰ ﺍﻷﺨﺫ ﺒﻴﺩ‬ ‫ﺍﻟﻘﺭﺍﺀ ﻭﺍﻟﻤﺸﺎﻫﺩﻴﻥ ﻭﺍﻟﻤﻀﻲ ﺒﻬﻡ ﻋﺒﺭ ﻓﻀﺎﺀﺍﺕ ﻟﻡ ﻴﻜﻭﻨﻭﺍ‬ ‫ﻟﻴﺠﻭﺒﻭﻫﺎ ﻭﺤﺩﻫﻡ ﻗﻁ؛ ﻭﻫﻲ ﺍﻟﺘﻲ ﻤﻥ ﺸﺄﻨﻬﺎ ﺃﻴﻀ ﹰ ﺃﻥ ﺘﻤﻜﻨﻬﻡ ﻤﻥ‬ ‫ﺎ‬ ‫ﺍﻜﺘﺸﺎﻑ ﺃﺸﻴﺎﺀ ﻭﻅﻭﺍﻫﺭ ﻓﻲ ﺍﻷﺩﺏ ﺍﻟﻌﺎﻟﻤﻲ ﻤﺎ ﻜﺎﻥ ﻟﻬﻡ ﺃﻥ‬ ‫ﻴﻌﺭﻓﻭﻫﺎ ﻋﻠﻰ ﻨﺤﻭ ّﺨﺭ. ﻟﺫﻟﻙ ﻅﻠﺕ ﺍﻟﺘﺭﺠﻤﺎﺕ ﺍﻷﺩﺒﻴﺔ ﺍﻟﻤﺴﺭﺤﻴﺔ‬ ‫ﺁ‬ ‫ﺍﻟﻨﺎﺠﺤﺔ ﻷﻋﻤﺎل ﺇﺒﺴﻥ ﺘﻠﻘﻰ ﺘﺭﺤﻴﺒ ﹰ ﻭﺭﻭﺍﺠ ﹰ ﻓﻲ ﺠﻤﻴﻊ ﺒﻠﺩﺍﻥ ﺍﻟﻌﺎﻟﻡ.‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻭﻗﺩ ﺃﺩﺕ ﺍﻟﻨﺠﺎﺤﺎﺕ ﺍﻟﺘﻲ ﺃﺤﺭﺯﺘﻬﺎ ﻤﺴﺭﺤﻴﺎﺕ ﺇﺒﺴﻥ ﻭﻋﺭﻭﻀﻬﺎ‬ ‫ﻭﺘﺭﺠﻤﺎﺘﻬﺎ ﻓﻲ ﺃﻟﻤﺎﻨﻴﺎ ﻭﺇﻨﻜﻠﺘﺭﺍ ﻭﺃﻭﺭﻭﺒﺎ ﻋﻤﻭﻤﺎ ﺇﻟﻰ ﺇﺴﻜﺎﺕ‬ ‫ﺍﻟﻤﻌﺎﺭﻀﺔ ﺍﻟﻨﻘﺩﻴﺔ ﺍﻟﺘﻲ ﺜﺎﺭﺕ ﻀﺩﻩ ﻓﻲ ﺒﻼﺩﻩ ﻭﺇﻟﻰ ﺘﺒ ‪‬ﺌﻪ ﻤﻜﺎﻨﺔ‬ ‫ﻭ‬ ‫ﻤﺭﻤﻭﻗﺔ ﻓﻲ ﺤﺭﻜ ﺔ ﺍﻟﻤﺴﺭﺡ ﺍﻟﻌﺎﻟﻤﻲ ﺍﻟﺤﺩﻴﺙ.‬ ‫ﺘﻤﻴﺯﺕ ﺍﻟﻤﺴﺭﺤﻴﺎﺕ ﺍﻟﺘﻲ ﻜﺘﺒﻬﺎ ﺇﺒﺴﻥ ﻭ ‪‬ﺭﻀﺕ ﻓﻲ ﺍﻟﺴﺒﻌﻴﻨﻴﺎﺕ‬ ‫ﻋ‬ ‫ﻭﺍﻟﺜﻤﺎﻴﻨﻴﺎﺕ ﻋﻠﻰ ﻤﺴﺎﺭﺡ ﺃﻭﺭﻭﺒﻴﺔ ﻤﺨﺘﻠﻔﺔ ﺒﻤﻌﺎﻟﺠﺎﺘﻬﺎ ﺍﻟﻌﻤﻴﻘﺔ‬ ‫ﺍﻟﻤﻭﻀﻭﻋﺎﺕ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻹﻨﺴﺎﻨﻴﺔ، ﺒﺄﺤﺩﺍﺜﻬﺎ ﻭﺸﺨﺼﻴﺎﺘﻬﺎ‬ ‫ﻭﺤﻭﺍﺭﺍﺘﻬﺎ ﻭﻤﻭﺍﻗﻔﻬﺎ ﻭﺃﺭﻀﻴﺎﺘﻬﺎ ﺍﻟﻭﺍﻗﻌﻴﺔ ﺍﻟﺒﻌﻴﺩﺓ ﻜل ﺍﻟﺒﻌﺩ ﻋﻥ‬ ‫ﺍﻟﺭﻭﺡ ﺍﻟﺭﻭﻤﺎ ﻨﺴﻴﺔ ﺍﻟﺘﻲ ﻜﺎﻨﺕ ﺴﺎﺌﺩﺓ ﻓﻲ ﺍﻟﻤﺴﺭﺡ ﺍﻷﻭﺭﻭﺒﻲ ﺒﻌﺎﻤﺔ‬

‫ﻤﻨﺫ ﺒﺩﺍﻴﺎﺕ ﺍﻟﻘﺭﻥ ﺍﻟﺘﺎﺴﻊ ﻋﺸﺭ. ﻜﻤﺎ ﻜﺎﻨﺕ ﺭﺩﻭﺩ ﻓﻌل ﺍﻟﺠﻤﻬﻭﺭ‬ ‫ﻭﺍﺴﻌﺔ ﻭﻋﻨﻴﻔﺔ ﺃﺤﻴﺎﻨ ﹰ ﻭﺒﺨﺎﺼﺔ ﺒﻌﺩ ﻋﺭﻭﺽ ﻤﺴﺭﺤﻴﺘﻲ »ﺒﻴﺕ‬ ‫ﺎ‬ ‫ﻫﺫﻩ ﺍﻟﻤﺴﺭﺤﻴﺎﺕ ﺒﻘﺴﻭﺓ. ﻭﻗﺩ ﺃﺩﻯ ﺫﻟﻙ ﺇﻟﻰ ﺘﻘﻭﻴﺔ ﺸﻌﻭﺭﺇﺒﺴﻥ ﺒﺄﻨﻪ‬ ‫ﺍﻟﺩﻤﻴﺔ« ﻭ»ﺍﻷﺸﺒﺎﺡ«، ﺇﺫ ﻗﺎﻤﺕ ﺍﻷﻭﺴﺎﻁ ﺍﻟﺘﻘﻠﻴﺩﻴﺔ ﺍﻟﻤﺤﺎﻓﻅﺔ ﺒﺎﻨﺘﻘﺎﺩ‬

‫ﻴﺠﺏ ﺃﻴﻀ ﹰ ﺍﻟﺭﺩ ﻋﻠﻰ ﺃﻭﻟﺌﻙ ﺍﻟﻤﻨﺘﻘﺩﻴﻥ ﺍﻟﻤﺤﺎﻓﻅﻴﻥ ﻭﺇﺤﺩﺍﺙ ﻫﺯﺓ‬ ‫ﺎ‬ ‫ﻓﻲ ﺸﻌﻭﺭﻫﻡ ﺒﺎﻟﺭﻀﻰ ﻭﺍﻟﻘﻨﺎﻋﺔ ﻭﺼﻭﺍﺒﻴﺔ ﺃﻓﻜﺎﺭﻫﻡ. ﻭ ‪   ‬ﺤﻨﻘﻪ‬ ‫ﺴﺭﻉ‬

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‫ﻏﺎﺼﺕ ﻓﻴﻪ ﻀﻤﺎﺌﺭ ﺍﻟﻨﺎﺱ ﻓﻲ ﺇﺤﺩﻯ ﺍﻟﺒﻠﺩﺍﺕ ﻓﻲ ﺸﻤﺎل ﺸﺭﻕ‬ ‫ﺍﻟﻨﺭﻭﻴﺞ.‬

‫ﻓﻲ ﻜﻭﺒﻨﻬﺎﻨﻐﻥ ﻓﻲ ﺘﺸﺭﻴﻥ ﺍﻟﺜﺎﻨﻲ ﻋﺎﻡ )٢٨٨١(. ﻭﺘﺘﺨﺫ ﺍﻟﻤﺴﺭﺤﻴﺔ‬ ‫ﻤﻭﻀﻭﻋ ﹰ ﻟﻬﺎ ﺘﻠﻭﺙ ﻓﻌﻠﻲ ﺒﻭﺼﻔﻪ ﺭﻤﺯﹰ ﻟﻠﻤﺴﺘﻨﻔﻊ ﺍﻷﺨﻼﻗﻲ ﺍﻟﺫﻱ‬ ‫ﺍ‬ ‫ﺎ‬

‫ﺍﻟﺸﺩﻴﺩ ﻤﻨﻬﻡ ﻜﺘﺎﺒﺘﻪ ﺍﻟﻤﺴﺭﺤﻴﺔ ﺍﻟﺘﺎﻟﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﺍﻟﺘﻲ ﹸﺸﺭﺕ‬ ‫ﻨ‬

‫ﺘﺩﻭﺭ ﺃﺤﺩﺍﺙ ﺍﻟﻤﺴﺭﺤﻴﺔ ﺤﻭل ﺍﻟﺩﻜﺘﻭﺭ ﺘﻭﻤﺎﺱ ﺴﺘﻭﻜﻤﺎﻥ، ﺭﺏ‬ ‫ﻋﺎﺌﻠﺔ ﻭﻁﺒﻴﺏ، ﻓﻲ ﺒﻠﺩﺓ ﺴﺎﺤﻠﻴﺔ ﺼﻐﻴﺭﺓ ﻗﺭﺏ ﻴﻨﺒﻭﻉ ﻤﻴﺎﻩ ﻤﻌﺩﻨﻴﺔ.‬ ‫ﻭﺒﻌﺩ ﻤﺩﺓ ﻁﻭﻴﻠﺔ ﻤﻥ ﺍﻟﺘﺤﻠﻴل ﻟﻤﻴﺎﻩ ﺍﻟﻴﻨﺒﻭﻉ ﺍﻟﺫﻱ ﺃﺴﺴﻪ ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺴﺘﻭﻜﻤﺎﻥ ﻟﻴﻜﻭﻥ ﻤﻨﺘﺠﻌ ﹰ ﻟﻠﺯﻭﺍﺭ ﻤﻥ ﺍﻟﺒﻠﺩﺓ ﻭﺨﺎﺭﺠﻬﺎ، ﻴﻜﺘﺸﻑ‬ ‫ﺎ‬ ‫ﺴﺘﻭﻜﻤﺎﻥ ﺃﻨﻬﺎ ﻤﻠﻭﺜﺔ ﻭﺨﻁﺭﺓ ﻋﻠﻰ ﺼﺤﺔ ﻜل ﻤﻥ ﻴﺯﻭﺭ ﺍﻟﻤﻜﺎﻥ.‬ ‫ﻭﻜﺎﻥ ﻫﻨﺎﻙ ﺃﻤل ﻜﺒﻴﺭ ﻟﺩﻯ ﺍﻟﻨﺎﺱ ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﺸﺭﻭﻉ ﺒﺄﻨﻪ ﺴﻴﻜﻭﻥ‬ ‫ﻤﺼﺩﺭ ﺸﻬﺭﺓ ﻭﺍﺯﺩﻫﺎﺭ ﻟﻠﺒﻠﺩﺓ ﻜﻠﻬﺎ، ﻭﻟﻜﻥ ﺘﺘﻜﻭﻥ ﻗﻨﺎﻋﺔ ﻋﻨﺩ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﺃﻨﻪ ﻻ ﻴﻤﻜﻥ ﺍﻻﺴﺘﻤﺭﺍﺭ ﺒﻬﺫﺍ ﺍﻟﻤﺸﺭﻭﻉ ﻋﻠﻰ‬ ‫ﺍﻟﻨﺤﻭ ﺍﻟﻤﻌﻤﻭل ﺒﻪ، ﻟﺫﻟﻙ ﻴﺭﻯ ﺃﻨﻪ ﻴﺠﺏ ﺇﻏﻼﻗﻪ ﺇﻟﻰ ﺃﻥ ﻴﺘﻡ ﺇﺼﻼﺡ‬ ‫ﺍﻷﻭﻀﺎﻉ ﺍﻟﻔﻨﻴﺔ ﺍﻟﻘﺎﺌﻤﺔ ﻭﺍﻻﺒﺘﻌﺎﺩ ﻋﻥ ﻓﻀﻼﺕ ﺍﻟﻤﺩﺍﺒﻎ ﺍﻟﻘﺭﺒﻴﺔ ﺍﻟﺘﻲ‬ ‫ﺘﻠﻭﺙ ﻤﻴﺎﻩ ﺍﻟﺤﻤﺎﻤﺎﺕ. ﻴﺘﻠﻘﻰ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﺍﻻﺴﺘﺤﺴﺎﻥ‬ ‫ﻭﺍﻟﻤﺩﻴﺢ ﻓﻲ ﺍﻟﺒﺩﺍﻴﺔ ﻋﻠﻰ ﺍﻜﺘﺸﺎﻓﻪ ﻫﺫﺍ، ﻭﻟﻜﻥ ﺴﺭﻋﺎﻥ ﻤﺎ ﻴﺘﺒﻴﻥ ﺃﻥ‬ ‫ﻡ‬ ‫ﺇﻨﺠﺎﺯ ﺍﻹﺼﻼﺤﺎﺕ ﻴﺘﻁﻠﺏ ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﺍﻟﻤﺎل ﻭﺍﻟﻭﻗﺕ، ﻭﻤﻥ ﺜ ‪‬‬ ‫ﻴﺘﻌﺫﺭ ﺍﻟﻤﻭﺍﻓﻘﺔ ﻋﻠﻰ ﺘﺼﺤﻴﺢ ﺍﻷﻭﻀﺎﻉ، ﻓﺘﺘﺤﻭل ﺍﻟﺼﺤﺎﻓﺔ‬ ‫ﻭﺍﻟﺴﻠﻁﺎﺕ ﻭﺍﻟﻨﺎﺱ ﺠﻤﻴﻌ ﹰ ﻀﺩﻩ. ﻭﻴﺒﺭﺯ ﺃﺨﻭﻩ ﺒﻴﺘﺭ ﺴﺘﻭﻜﻤﺎﻥ‬ ‫ﺎ‬ ‫ﺒﻭﺼﻔﻪ ﺃﻗﻭﻯ ﻤﻌﺎﺭﺽ ﻟﻪ ﻤﺴﺘﺨﺩﻤ ﹰ ﻨﻔﻭﺫﻩ ﺒﻭﺼﻔﻪ ﺭﺌﻴﺴ ﹰ ﻟﻠﺒﻠﺩﻴﺔ‬ ‫ﺎ‬ ‫ﺎ‬

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‫ﻭﺁﻤﺭﹰ ﻟﻠﺸﺭﻁﺔ. ﻭﻴﻁﻠﺏ ﻤﻥ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﺘﺨﻔﻴﻑ ﻤﻁﺎﻟﺒﻪ‬ ‫ﺍ‬ ‫ﻭﺒﺨﺎﺼﺔ ﺇﻏﻼﻕ ﺍﻟﺤﻤﺎﻤﺎﺕ، ﻓﻴﺭﻓﺽ ﻭﻴﺼﺭ ﻋﻠﻰ ﺇﻁﻼﻉ ﺍﻟﻨﺎﺱ‬ ‫ﻋﻠﻰ ﺍﻟﺤﻘﻴﻘﺔ ﻭﺃﻥ ﻴﻜﻭﻥ ﻟﻬﻡ ﺭﺃﻱ ﻓﻴﻬﺎ، ﻭﻴﺩﻋﻭ ﺇﻟﻰ ﺍﺠﺘﻤﺎﻉ ﻋﺎﻡ‬ ‫ﻜﻲ ﻴﻌﺭﺽ ﺍﻟﻘﻀﻴﺔ ﻋﻠﻴﻬﻡ، ﻭﻴﺘﻀﺢ ﺒﻌﺩ ﺫﻟﻙ ﺍﻟﺭﺃﻱ ﺍﻟﻘﺎﺘل ﺇﻥ‬ ‫ﺍﻷﻏﻠﺒﻴﺔ ﺍﻟﺴﺎﺤﻘﺔ ﺍﻟﺘﻲ ‪‬ﻤﺜﻠﻬﺎ ﺍﻟﻐﻭﻏﺎﺀ ﻫﻲ ﺩﺍﺌﻤ ﹰ ﻋﻠﻰ ﺨﻁﺄ ﻭﺃﻥ‬ ‫ﺎ‬ ‫ﻴ‬ ‫ﺍﻷﻗﻠﻴﺔ ﺍﻟﺘﻲ ﻴﻤﺜﻠﻬﺎ ﺍﻟﻤﺘﻨﻭﺭﻭﻥ ﻫﻲ ﺩﺍﺌﻤ ﹰ ﻋﻠﻰ ﺼﻭﺍﺏ. ﻭﻴﻘﻭﻡ‬ ‫ﺎ‬ ‫ﺍﻟﺤﻀﻭﺭ ﻓﻲ ﺍﻻﺠﺘﻤﺎﻉ ﺒﻤﻬﺎﺠﻤﺘﻪ ﺒﺈﻁﻼﻕ ﺘﺴﻤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ«‬ ‫ﻋﻠﻴﻪ ﻭﻴﻌﺩﻭﻨﻪ ﺨﻁﺭﹰ ﻋﻠﻰ ﺍﻟﻤﺠﺘﻤﻊ ﻭﻴﺠﺒﺭﻭﻨﻪ ﻋﻠﻰ ﺍﻟﺨﺭﻭﺝ ﻤﻥ‬ ‫ﺍ‬ ‫ﺍﻻﺠﺘﻤﺎﻉ. ﻭﻴﺤﺼﺩ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻭﻋﺎﺌﻠﺘﻪ ﻨﺘﺎﺌﺞ ﻤﺄﺴﺎﻭﻴﺔ‬ ‫ﺍﺠﺘﻤﺎﻋﻴ ﹰ ﻭﺇﻨﺴﺎﻨﻴ ﹰ ﻨﺘﻴﺠﺔ ﻟﻤﻭﺍﻗﻔﻪ؛ ﺇﺫ ﻴﺒﺘﻌﺩ ﻋﻨﻪ ﻤﺭﻀﺎﻩ ﺍﻟﺫﻴﻥ ﻜﺎﻨﻭﺍ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻴﺯﻭﺭﻭﻨﻪ، ﻭ ‪‬ﻁﺭﺩ ﻤﻥ ﻭﻅﻴﻔﺘﻪ ﺒﻭﺼﻔﻪ ﻁﺒﻴﺏ ﺼﺤﺔ ﻓﻲ ﺍﻟﻤﺸﺭﻭﻉ،‬ ‫ﻴ‬ ‫ﻭ ﹸﻔﺼل ﺍﺒﻨﺘﻪ ﺒﺘﺭﺍ ﻤﻥ ﺍﻟﺘﺩﺭﻴﺱ ﻭﻴﺘﺨﻠﻰ ﻋﻨﻬﺎ ﺨﻁﻴﺒﻬﺎ، ﻭﻴﺘﻌﺭﺽ‬ ‫ﺘ‬ ‫ﺃﻁﻔﺎﻟﻪ ﺇﻟﻰ ﻤﻀﺎﻴﻘﺎﺕ ﻓﻲ ﺍﻟﻤﺩﺭﺴﺔ، ﻭﺘﻔﻘﺩ ﺍﻟﻌﺎﺌﻠﺔ ﻤﻨﺯﻟﻬﺎ ﺃﻴﻀ ﹰ.‬ ‫ﺎ‬ ‫ﺘﺘﻤﺜل ﺭﺩﺓ ﻓﻌل ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﺍﻷﻭﻟﻰ ﻭﻫﻭ ﻓﻲ ﺫﺭﻭﺓ‬ ‫ﺍﻟﻐﻀﺏ ﻭﺨﻴﺒﺔ ﺍﻷﻤل ﻓﻲ ﺍﻟﺴﻔﺭ ﺇﻟﻰ ﺃﻤﺭﻴﻜﺎ ﻤﻊ ﻋﺎﺌﻠﺘﻪ، ﻭﺤﺘﻰ ﻫﺫﺍ‬ ‫ﺍﻷﻤﺭ ﻻ ﻴﺘﺤﻘﻕ ﻷﻥ ﺼﺩﻴﻘﻪ ﺍﻟﻘﺒﻁﺎﻥ ﻫﻭﺭﺴﺘﺭ، ﻗﺒﻁﺎﻥ ﺍﻟﺴﻔﻴﻨﺔ ﺍﻟﺘﻲ‬

‫ﺴﺘﻘﻠﻪ ﺇﻟﻰ ﻫﻨﺎﻙ، ﻴﻔﻘﺩ ﻭﻅﻴﻔﺘﻪ ﺒﺴﺒﺏ ﻭﻗﻭﻓﻪ ﺇﻟﻰ ﺠﺎﻨﺏ ﺴﺘﻭﻜﻤﺎﻥ.‬ ‫ﻭﻴﺘﻌﺭﺽ ﺇﻟﻰ ﻤﺤﺎﻭﻻﺕ ﺍﻻﺒﺘﺯﺍﺯ ﻭﺍﻟﺘﻬﺩﻴﺩ، ﻴﻘﺭﺭ ﻨﻬﺎﺌﻴ ﹰ ﺍﻟﺒﻘﺎﺀ ﻓﻲ‬ ‫ﺎ‬ ‫ﺍﻟﺒﻠﺩﺓ ﻭﺘﻜﺭﻴﺱ ﻨﻔﺴﻪ ﻹﻨﺸﺎﺀ ﻤﺩﺭﺴﺔ ﻴﺘﻌﻠﻡ ﻓﻴﻬﺎ ﺍﻷﻭﻻﺩ ﻭﻻﺴﻴﻤﺎ‬ ‫ﻭﺤﻴﻥ ﻴﻘﺫﻓﻪ ﺍﻟﻨﺎﺱ ﺒﺎﻟﺤﺠﺎﺭﺓ، ﻭﻴﻜﺴﺭﻭﻥ ﻨﻭﺍﻓﺫ ﻤﻨﺯﻟﻪ، ﻭﻴﺸﺘﻤﻭﻨﻪ،‬

‫ﺍﻟﻤﺘﺸﺭﺩﻴﻥ ﻤﻨﻬﻡ ﻜﻲ ﻴﺼﺒﺤﻭﺍ ﻤﻭﺍﻁﻨﻴﻥ ﺫﻭﻱ ﺃﻓﻜﺎﺭ ﺤﺭﺓ ﻗﺎﺩﺭﻴﻥ‬

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‫ﻭﺍﻟﺤﻘﻴﻘﺔ ﻭﺍﻟﺼﺎﻟﺢ ﺍﻟﻌﺎﻡ. ﻭﻓﻲ ﺨﻀﻡ ﻓﺸﻠﻪ ﻭﻫﺯﻴﻤﺘﻪ ﻴﺭﺩﺩ ﻜﻠﻤﺎﺕ‬ ‫ﺍﻟﻤﺴﺭﺤﻴﺔ ﺍﻷﺨﻴﺭﺓ ﻤﺅﻤ ﹰ ﺍﻻﺴﺘﻤﺭﺍﺭ ﻓﻲ ﺍﻟﻤﻭﺍﺠﻬﺔ: »ﺇﻥ ﺃﻗﻭﻯ‬ ‫ﻼ‬

‫ﻋﻠﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻟﻔﺴﺎﺩ ﻭﺍﻟﻜﺫﺏ ﻭﺍﻷﻨﺎﻨﻴﺔ ﻭﺍﻟﺩﻓﺎﻉ ﻋﻥ ﺍﻟﺤﺭﻴﺔ‬

‫ﺇﻥ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﺤﺎﻓﻠﺔ ﺒﺎﻟﺴﺨﺭﻴﺔ ﻭﺍﻟ ﺘﻬﻜﻡ ﻷﻨﻬﺎ‬ ‫ﻤﺒﻨﻴﺔ ﻋﻠﻰ ﺍﻟﺘﺒﺎﻴﻥ ﺒﻴﻥ ﺍﻷﺨﻭﻴﻥ ﺴﺘﻭﻜﻤﺎﻥ: ﺘﻭﻤﺎﺱ ﺍﻟﻤﻨﻔﺘﺢ ﺒﻁﺒﻴﻌﺘﻪ‬ ‫ﺍﻟﺫﻱ ﻴﻠﺘﻑ ﻤﻥ ﺤﻭﻟﻪ ﺍﻷﺫﻜﻴﺎﺀ ﺍﻟﻤﺘﻌﻠﻤﻭﻥ ﻭﺍﻟﻌﺎﻤﻠﻭﻥ ﺍﻟﻤﺠﺩﻭﻥ،‬ ‫ﻭﺒﻴﺘﺭ ﺍﻟﺭﺼﻴﻥ ﺍﻟﻭﻗﻭﺭ ﺍﻟﻤﺤﺎﻓﻅ ﺍﻟﺫﻱ ﻻ ﻴﺭﺘﺎﺡ ﺃﺒﺩﹰ ﺇﻟﻰ ﺭﻓﻘﺔ‬ ‫ﺍ‬ ‫ﺍﻟﻨﺎﺱ ﺍﻟﻤﺘﺤﺭﺭﻴﻥ، ﻭﺍﻟﺫﻱ ﻴﻤﺜل ﺍﻟﻌﺎﻟﻡ ﺍﻟﻘﺎﺌﻡ ﻋﻠﻰ ﺍﻷﻋﺭﺍﻑ‬

‫ﺘﻜﺎﺩ ﺘﺨﻠﻭ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﻤﻥ ﺍﻟﺘﻌﻘﻴﺩ ﻭﺍﻟﺨﻴﺎل ﺃﻭ‬ ‫ﺍﻟﺸﺎﻋﺭﻴﺔ ﺃﻭ ﺍﻟﺭﻭﻤﺎﻨﺴﻴﺔ ﺍﻟﺘﻲ ﺘﺘﻤﻴﺯ ﺒﻬﺎ ﺒﻌﺽ ﻤﺴﺭﺤﻴﺎﺘﻪ، ﻟﻜﻨﻬﺎ‬ ‫ﻋﻤﻭﻤ ﹰ ﹸﻌﺩ ﻤﻥ ﺃﻜﺜﺭ ﺍﻷﻋﻤﺎل ﻭﺍﻗﻌﻴﺔ ﻭﺍﻨﺘﻘﺎﺩﹰ ﻭﺇﺘﻘﺎﻨ ﹰ ﻭﺤﻴﻭﻴﺔ، ﺇﺫ‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﺎ ﺘ‬ ‫ﺘﻜﺘﺴﺏ ﺍﺴﺘﻤﺭﺍﺭﻴﺔ ﺍﻻﻫﺘﻤﺎﻡ ﺒﻬﺎ ﻤﻥ ﺍﺴﺘﻤﺭﺍﺭ ﺍﻟﺸﺭ ﻭﺍﻟﻔﺴﺎﺩ‬ ‫ﺍﻻﻨﺘﻬﺎﺯﻴﺔ ﻭﺍﻟﻜﻔﺎﺡ ﺍﻟﺩﺍﺌﻡ ﻤﻥ ﺃﺠل ﺍﻟﺨﻴﺭ ﻭﺍﻟﺤﻘﻴﻘﺔ ﻭﺍﻟﻤﺼﻠﺤﺔ‬ ‫ﺍﻟﻌﺎﻤﺔ. ﻭﻟﻤﻭﻀﻭﻉ ﺍﻟﻤﺴﺭﺤﻴﺔ ﺃﺒﻌﺎﺩ ﺇﻨﺴﺎﻨﻴﺔ ﻭﺍﺠﺘﻤﺎﻋﻴﺔ ﻭﺴﻴﺎﺴﻴﺔ‬ ‫ﻭﺍﻀﺤﺔ ﻷﻨﻬﺎ ﹸﺭﻜﺯ ﻋﻠﻰ ﺍﻟﺠﻭﺍﻨﺏ ﺍﻟﺴﻠﺒﻴﺔ ﻓﻲ ﺒﻠﺩﺓ ﻴﺘﺤﻜﻡ ﻓﻲ‬ ‫ﺘ‬ ‫ﺴﻠﻭﻙ ﺃﻫﻠﻬﺎ ﺍﻟﻜﺫﺏ ﻭﺍﻟﻤﺼﺎﻟﺢ ﺍﻟﺫﺍﺘﻴﺔ ﺒﻐﺽ ﺍﻟﻨﻅﺭ ﻋﻤﺎ ﺴﻴﺠﻠﺒﻪ‬ ‫ﺫﻟﻙ ﻤﻥ ﻨﺘﺎﺌﺞ ﻤﺄﺴﻭﻴﺔ ﻋﻠﻰ ﺍﻟﻤﺠﺘﻤﻊ. ﻭﺘﺴﻭﺩ ﺍﻟﻤﺴﺭﺤﻴﺔ ﺒﻌﺩ‬ ‫ﺍﻟﻔﺼل ﺍﻷﻭل ﺤﺘﻰ ﻨﻬﺎﻴﺘﻬﺎ ﺃﺠﻭﺍﺀ ﺴﻭﺩﺍﻭﻴﺔ ﺘﺸﺎﺅﻤﻴﺔ ﻤﺎ ﻋﺩﺍ‬ ‫ﺍﻟﻌﺒﺎﺭﺓ ﺍﻟﻤﺘﻔﺎﺌﻠﺔ ﺍﻷﺨﻴﺭﺓ ﺍﻟﺘﻲ ﻴﻁﻠﻘﻬﺎ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻤﻌﺒﺭﹰ ﻋﻥ‬ ‫ﺍ‬ ‫ﻋﺯﻤﻪ ﻋﻠﻰ ﺍﻟﻭﻗﻭﻑ ﻓﻲ ﻭﺠﻪ ﺍﻟﺴﻠﻁﺎﺕ ﺍﻟﻔﺎﺴﺩﺓ ﻓﻲ ﺒﻠﺩﺘﻪ.‬

‫ﺭﺠل ﻓﻲ ﺍﻟﻌﺎﻟﻡ ﻫﻭ ﻤﻥ ﻴﻘﺎﺘل ﻭﺤﻴﺩﹰ....«‬ ‫ﺍ‬

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‫ﻭﺍﻟﻨﻅﺎﻡ. ﻴﺴﻌﻰ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﺃﻥ ‪‬ﺩﺨل ﺃﻓﻜﺎﺭ ﹰ ﺠﺩﻴﺩﺓ‬ ‫ﺍ‬ ‫ﻴ‬ ‫ﻭﺇﺼﻼﺤﺎﺕ ﻤﻥ ﺃﺠل ﻓﺎﺌﺩﺓ ﺍﻟﻤﺠﺘﻤﻊ، ﺒﻴﻨﻤﺎ ﻴﻅﻬﺭ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ‬ ‫ﺒﻭﺼﻔﻪ ﺸﺨﺼﻴﺔ ﻭﺍﻋﻴﺔ ﺘﻤﺎﻤ ﹰ ﻟﻤﺭﻜﺯﻫﺎ ﻭﻗﻭﺘﻬﺎ، ﻓﻲ ﺤﻴﻥ ﻴﺒﺩﻭ‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﺃﻨﻪ ﻴﻌﻲ ﻭﺍﺠﺒﻪ ﺒﻭﺼﻔﻪ ﻤﻭﺍﻁﻨ ﹰ ﺼﺎﻟﺤ ﹰ ﻓﺤﺴﺏ.‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻭﺘﺘﺴﻡ ﺸﺨﺼﻴﺔ ﺍﻟﺩﻜﺘﻭﺭ ﺒﺎﻟﺸﺠﺎﻋﺔ ﻭﺍﻟﻨﺒل ﻭﺘﺤﺩﻱ ﺍﻟﻐﻭﻏﺎﺀ ﺍﻟﺘﻲ ﻻ‬ ‫ﻴﺭﻯ ﻓﻴﻬﺎ ﺇﻻ ﺠﻤﺎﻋﺔ ﻤﻥ ﺍﻟﺠﺒﻨﺎﺀ، ﺒﻴﻨﻤﺎ ﺘﺘﺼﻑ ﺸﺨﺼﻴﺔ ﺭﺌﻴﺱ‬ ‫ﺍﻟﺒﻠﺩﻴﺔ ﻓﻲ ﻜﻭﻨﻪ ﻻﻋﺒ ﹰ ﺫﻜﻴ ﹰ ﻴﺴﺘﻁﻴﻊ ﺘﻀﻠﻴل ﺍﻟﻨﺎﺱ ﻭﺠﻌﻠﻬﻡ ﻴﻘﻔﻭﻥ‬ ‫ﺎ ﺎ‬ ‫ﺎ‬ ‫ﺇﻟﻰ ﺠﺎﻨﺒﻪ. ﻭﺘﻜﻤﻥ ﺍﻟﺴﺨﺭﻴﺔ ﺍﻟﺭﺌﻴﺴﺔ ﻓﻲ ﺍﻟﻤﺴﺭﺤﻴﺔ ﻓﻲ ﺃﻥ ﺸﺨﺼ ﹰ‬ ‫ﺨﻴﺭﹰ ﻤﺜل ﺴﺘﻭﻜﻤﺎﻥ ‪‬ﻌﺎﻤل ﻋﻠﻰ ﺃﻨﻪ ﻋﺩ ‪ ‬ﻟﻠﺸﻌﺏ، ﺒﻴﻨﻤﺎ ﻴﺴﻌﻰ‬ ‫ﻭ‬ ‫ﻴ‬ ‫ﺍ‬ ‫ﺤﺜﻴﺜ ﹰ ﻤﻥ ﺃﺠل ﺃﻥ ‪‬ﻌﺭﺽ ﺍﻷﻭﻀﺎﻉ ﺍﻟﻤﺯﺭﻴﺔ ﻓﻲ ﺍﻟﺤﻤﺎﻤﺎﺕ‬ ‫ﻴ‬ ‫ﺎ‬ ‫ﻭﻴﺼﺤﺤﻬﺎ ﻜﻲ ﻻ ﻴﺴﻘﻁ ﺍﻟﻨﺎﺱ ﻤﺭﻀﻰ ﻭﻀﺤﺎﻴﺎ ﻟﻠﺘﻠﻭﺙ، ﻭﻨﺘﻴﺠﺔ‬ ‫ﻟﺠﻬﻭﺩﻩ ‪‬ﺤﺎﺭﺏ ﺒﻭﺼﻔﻪ ﻋﺩﻭﹰ ﻟﻠﺸﻌﺏ، ﺒﻴﻨﻤﺎ ‪‬ﻌ ‪ ‬ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ‬ ‫ﻴﺩ‬ ‫ﺍ‬ ‫ﻴ‬ ‫ﺒﻁ ﹰ ﻨﻅﺭ ﹰ ﻟﺴﻌﻴﻪ ﻟﻠﻤﺼﻠﺤﺔ ﺍﻟﺸﺨﺼﻴﺔ ﻭﻹﺨﻤﺎﺩﻩ ﺍﻟﺤﻘﻴﻘﺔ.‬ ‫ﺍ‬ ‫ﻼ‬ ‫ﻜﺎﻥ ﻫﻨﺭﻴﻙ ﺇﺒﺴﻥ ﺃﻭل ﻜﺎﺘﺏ ﻤﺴﺭﺤﻲ ﻜﺒﻴﺭ ﻴﻌﺎﻟﺞ ﻤﺂﺴﻲ ﺍﻟﻨﺎﺱ‬ ‫ﺍﻟﻌﺎﺩﻴﻴﻥ ﺍﻟﺫﻴﻥ ﻴﻌﻴﺸﻭﻥ ﻅﺭﻭﻓ ﹰ ﺍﻋﺘﻴﺎﺩﻴﺔ، ﻤﺴﺘﺨﺩﻤ ﹰ ﻓﻲ ﺫﻟﻙ ﻟﻐﺔ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺍﻟﺤﻴﺎﺓ ﺍﻟﻴﻭﻤﻴﺔ ﻓﻲ ﺤﻭﺍﺭﺍﺕ ﺍﻟﺸﺨﺼﻴﺎﺕ، ﺒﺎﻟﻤﻘﺎﺭﻨﺔ ﻤﻊ ﺍﻟﻤﺴﺭﺤﻴﺎﺕ‬ ‫ﺍﻟﻤﺄﺴﺎﻭﻴﺔ ﺍﻟﺴﺎﺒﻘﺔ ﺍﻟﺘﻲ ﺍﺨﺘﺼﺕ ﺒﺤﻴﻭﺍﺕ ﺍﻟﻤﻠﻭﻙ ﻭﺸﺅﻭﻨﻬﻡ ﻭﺒﻠﻐﺔ‬ ‫ﺸﻌﺭﻴﺔ ﻤﻨﻤﻘﺔ ﻋﺎﻟﻴﺔ. ﺃﻤﺎ ﻤﻭﻀﻭﻋﺎﺕ ﺍﻟﻤﺴﺭﺤﻴﺎﺕ ﺍﻟﻀﺎﺤﻜﺔ ﺃﻭ‬ ‫ﺍﻟﻬﺯﻟﻴﺔ ﻓﻜﺎﻨﺕ ﺘﺩﻭﺭ ﻓﻲ ﺃﻴﺎﻤﻪ ﺤﻭل ﺃﺒﻨﺎﺀ ﺍﻟﻁﺒﻘﺎﺕ ﺍﻟﻭﺴﻁﻰ ﺃﻭ‬ ‫ﺍﻟﺩﻨﻴﺎ. ﻤﺎ ﻗﺎﻡ ﺒﻪ ﺇﺒﺴﻥ ﻫﻭ ﺘﻨﻘﻴﺔ ﺤﺒﻜﺎﺕ ﻤﺴﺭﺤﻴﺎﺘﻪ ﻤﻥ ﺍﻟﻌﻨﺼﺭ‬ ‫ﺍﻟﻀﺎﺤﻙ ﺇﻟﻰ ﺤﺩ ﻜﺒﻴﺭ، ﻤﺒﺘﻌﺩﹰ ﻋﻥ ﻤﻤﺎﺭﺴﺎﺕ ﺍﻟﻤﺴﺭﺡ ﺍﻟﺴﺎﺒﻕ ﻟﻪ‬ ‫ﺍ‬

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‫ﺍﻟﻤﺴﺭﺤﻴﺔ ﺍﻟﻜﻼﺴﻴﻜﻴﺔ ﻤﻥ ﺨﻤﺴﺔ ﺇﻟﻰ ﺜﻼﺜﺔ ﺃﻭ ﺃﺭﺒﻌﺔ ﻓﺼﻭل. ﻜﻤﺎ‬ ‫ﺃﻥ ﻨﺜﺭﻩ ﺍﻟﻤﺴﺭﺤﻲ ﻏﺎﻟﺒ ﹰ ﻤﺎ ‪‬ﻌﺩ ﻤﻥ ﺃﻓﻀل ﻤﺎ ﹸﺘﺏ ﻓﻲ ﻤﻴﺩﺍﻥ‬ ‫ﻜ‬ ‫ﻴ‬ ‫ﺎ‬ ‫ﺍﻟﻨﺜﺭ ﺍﻹﺒﺩﺍﻋﻲ. ﻓﻜﺜﻴﺭﹰ ﻤﺎ ﺠﻌل ﺸﺨﺼﻴﺎﺘﻪ ﺘﺘﺤﺩﺙ ﺒﺼﻭﺭﺓ‬ ‫ﺍ‬ ‫ﻁﺒﻴﻌﻴﺔ، ﻤﻊ ﺍﺨﺘﻼﻑ ﻓﻲ ﻤﺴﺘﻭﻯ ﻜل ﺸﺨﺼﻴﺔ ﻤﺜﻠﻬﺎ ﻤﺜل‬

‫ﺃﻭ ﺃﺤﺎﺩﻴﺙ ﹸﺴﻤﻊ ﻤﺼﺎﺩﻓﺔ ﺃﻭ ﺍﺘﻔﺎﻗ ﹰ ﺃﻭ ﺍﺴﺘﺭﺍﻕ ﺍﻟﺴﻤﻊ، ﺃﻭ ﺭﺴﺎﺌل‬ ‫ﺎ‬ ‫ﺘ‬ ‫‪‬ﻌﺘﹶ ‪‬ﻀﺔ ﺃﻭ ﺍﺭﺘﺩﺍﺀ ﺃﻗﻨﻌﺔ. ﻜﻤﺎ ﻗﺎﻡ ﻋﻤﻭﻤ ﹰ ﺒﻀﻐﻁ ﻋﺩﺩ ﻓﺼﻭل‬ ‫ﺎ‬ ‫ﻤ ﺭ‬

‫ﺍﻟﺫﻱ ﺍﺴﺘﻨﺩ ﺇﻟﻰ ﺘﻘﻨﻴﺎﺕ ﺍﺼﻁﻨﺎﻋﻴﺔ: ﻓﻤﺴﺭﺤﻴﺎﺘﻪ ﺘﺨﻠﻭ ﻤﻥ ﺍﻟﻤﻨﺎﺠﺎﺓ‬

‫ﺸﺨﺼﻴﺎﺕ ﺍﻟﺭﻭﺍﻴﺎﺕ ﺍﻟﻌﻅﻴﻤﺔ. ﻜﻤﺎ ﻴﺘﺠﻠﻰ ﻋﻤﻘﻬﺎ ﺍﻹﻨﺴﺎﻨﻲ‬ ‫ﻭﺘﻌﻘﻴﺩﻫﺎ ﺍﻟﻨﻔﺴﻲ ﻤﻥ ﺨﻼل ﺘﻠﻙ ﺍﻷﺤﺎﺩﻴﺙ ﺍﻟﺘﻲ ﺘﺘﺠﺭﺩ ﻤﻥ‬ ‫ﺍﻟﺯﻴﺎﺩﺍﺕ ﻓﻲ ﺍﻟﻜﻼﻡ ﻭﺘﻘﺘﺼﺩ ﻓﻲ ﺘﻌﺎﺒﻴﺭﻫﺎ ﻋﻥ ﺍﻷﻓﻜﺎﺭ. ﻭﻗﺩ ﺃﺜﺭ‬ ‫ﺫﻟﻙ ﻋﻠﻰ ﻨﺤﻭ ﻭﺍﻀﺢ ﻓﻲ ﻁﺭﻴﻘﺔ ﺍﻟﺘﻤﺜﻴل ﻭ ‪ ‬ﻠﻬﺎ ﺃﻜﺜﺭ ﻭﺍﻗﻌﻴﺔ‬ ‫ﺠﻌ‬ ‫ﻭﺒﻌﺩﹰ ﻋﻥ ﺍﻟﺭﻭﻤﺎﻨﺴﻴﺔ ﻭﺍﻟﻤﻭﺍﻗﻑ ﺍﻟﻤﺼﻁﻨﻌﺔ. ﻜﻤﺎ ﻴﺘﻁﻠﺏ ﻋﻤﻕ‬ ‫ﺍ‬ ‫ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭﺘﻌﻘﻴﺩﻫﺎ ﻤﻥ ﺍﻟﻤﻤﺜﻠﻴﻥ ﺍﻟﺘﺄﻨﻲ ﻭﺍﻟﺘﺤﻠﻴل ﺃﻜﺜﺭ، ﻭﺍﻟﻐﻭﺹ‬

‫ﻓﻲ ﺃﻋﻤﺎﻕ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭﺤﺴﺎﺴﻴﺎﺘﻬﺎ ﻭﻗﺩ ﺠﻌﻠﺕ ﻭﺍﻗﻌﻴﺘﻪ ﺍﻟﻤﻤﺜﻠﻴﻥ‬ ‫ﻴﺴﺘﻨﺩﻭﻥ ﺇﻟﻰ ﻤﻌﺭﻓﺘﻬﻡ ﺍﻟﺤﻴﺎﺘﻴﺔ ﻓﻲ ﺃﺜﻨﺎﺀ ﺘﻤﺜﻴﻠﻬﻡ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺃﻜﺜﺭ‬

‫ﻤﻥ ﻗﻴﺎﻤﻬﻡ ﺒﺎﻻﺴﺘﺤﻭﺍﺫ ﻋﻠﻰ ﺇﻋﺠﺎﺏ ﺍﻟﺠﻤﻬﻭﺭ ﻤﻥ ﺨﻼل ﺃﻗﻭﺍل‬ ‫ﺒﺎﻟﻐﺔ ﺍﻟﺘﻜﻠﻑ، ﺃﻭ ﺩﻤﻭﻉ ﻭﻋﻭﺍﻁﻑ ﻤﻔﺘﻌﻠﺔ، ﺃﻭ ﺍﻨﻔﻌﺎﻻﺕ ﺼﺎﺭﺨﺔ،‬ ‫ﺒﻌﺩ ﻤﺴﺭﺤﻴﺔ »ﺒﻴﺕ ﺍﻟﺩﻤﻴﺔ« ﻋﺎﻡ )٩٧٨١( ﻭﻤﺴﺭﺤﻴﺔ‬ ‫»ﺍﻷﺸﺒﺎﺡ« ﻋﺎﻡ )١٨٨١( ﺍﻟﻠﺘﻴﻥ ﻫﺎﺠﻡ ﻓﻴﻬﻤﺎ ﻗﻴﻡ ﺍﻟﻤﺠﺘﻤﻊ‬ ‫ﺍﻟﺒﺭﺠﻭﺍﺯﻱ »ﺍﻟﻤﺤﺘﺭﻡ« ﺍﻟﻤﺤﺎﻓﻅ ﻭﻋﻠﻰ ﺭﺃﺴﻬﺎ ﺍﻟﻨﻔﺎﻕ ﻭﺍﻷﻨﺎﻨﻴﺔ‬ ‫ﺃﻭ ﻏﻴﺭﻫﺎ ﻤﻥ ﺍﻟﻤﻬﺎﺭﺍﺕ ﺍﻟﻔﻨﻴﺔ.‬

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‫ﻭﺍﻟﻜﺫﺏ، ﺘﺎﺒﻊ ﺇﺒﺴﻥ ﻨﻘﺩﻩ ﻫﺫﺍ ﺍﻟﻤﺠﺘﻤﻊ ﻓﻲ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ«‬ ‫ﻋﺎﻡ )٢٨٨١( ﻤﺅﻜﺩﹰ ﺃﻥ ﺍﻷﻏﻠﺒﻴﺔ ﻋﺎﺩﺓ ﻤﺎ ﺘﻜﻭﻥ ﻋﻠﻰ ﺨﻁﺄ ﻭﺃﻥ‬ ‫ﺍ‬ ‫ﺍﻷﻗﻠﻴﺔ ﺩﺍﺌﻤ ﹰ ﻋﻠﻰ ﺼﻭﺍﺏ ﻋﺒﺭ ﺭﻓﻀﻪ ﺍﻟﻤﻁﻠﻕ ﺍﻹﺼﻼﺡ ﺍﻟﻤﻨﻔﺭﺩ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻭﺍﻫﺘﻤﺎﻤﻪ ﺒﻤﻭﻀﻭﻉ ﺍﻟﺤﺭﻴﺔ: ﺤﺭﻴﺔ ﺍﻟﻔﺭﺩ ﺍﻟﻜﺎﻤﻠﺔ ﺃﻥ ﻴﻜﻭﻥ ﺼﺎﺩﻗﹰ‬ ‫ﻤﻊ ﻨﻔﺴﻪ ﻭﺃﻥ ﻴﻘﻭل ﺍﻟﺤﻘﻴﻘﺔ ﻜﺎﻤﻠﺔ. ﻭﻗﺩ ﻜﺎﻨﺕ ﻤﻬﻤﺘﻪ ﺘﻭﻀﻴﺢ ﺫﻟﻙ‬ ‫ﻋﺒﺭ ﺘﺼﻭﻴﺭﻩ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻹﻨﺴﺎﻨﻴﺔ، ﻭﻓﻲ ﻁﻠﻴﻌﺔ ﻫﺫﻩ ﺍﻟﺸﺨﺼﻴﺎﺕ‬ ‫ﺀ‬ ‫ﺸﺨﺼﻴﺔ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ. ﻋﻠﻰ ﻤﺎﻴﺒﺩﻭ ﺃﻥ ﺇﺒﺴﻥ ﻗﺩ ﻭﺠﺩ ﻋﺯﺍ ‪‬‬ ‫ﻓﻲ ﺸﺨﺼﻴﺔ ﻫﺫﺍ ﺍﻟﻤﺘﻤﺭﺩ ﺍﻟﻭﺤﻴﺩ، ﻓﻘﺩ ﺼﺭﺡ ﻤﺭﺓ ﻓﻲ ﺭﺴﺎﻟﺔ ﺇﻟﻰ‬ ‫ﺠﻭﺭﺝ ﺒﺭﺍﻨﺩﻴﺱ ﺃﻥ: »ﺍﻷﻏﻠﺒﻴﺔ، ﺍﻟﺠﻤﻬﻭﺭ، ﺍﻟﻐﻭﻏﺎﺀ، ﻻ ﻴﻤﻜﻨﻬﺎ‬ ‫ﺇﺩﺭﺍﻜﻪ، ﻟﺫﻟﻙ ﻻ ﻴﻤﻜﻨﻪ ﺃﻥ ﻴﺤﺼل ﻋﻠﻰ ﺍﻷﻏﻠﺒﻴﺔ ﺇﻟﻰ ﺠﺎﻨﺒﻪ... ﻓﻲ‬ ‫ﺍﻟﻨﻘﻁﺔ ﺍﻟﺘﻲ ﺃﻗﻑ ﻋﻨﺩﻫﺎ ﺤﻴﻥ ﺃﻜﺘﺏ ﺃﻴ ﹰ ﻤﻥ ﻜﺘﺒﻲ، ﺘﻘﻑ ﺍﻵﻥ‬ ‫ﺎ‬ ‫ﺍﻷﻏﻠﺒﻴﺔ ﺍﻟﺴﺎﺤﻘﺔ ﻓﻲ ﻤﻌﻅﻤﻬﺎ، ﻟﻜﻨﻨﻲ ﺃﻨﺎ ﻨﻔﺴﻲ ﺍﻵﻥ ﻻﺃﻗﻑ ﻋﻨﺩ‬ ‫ﻫﺫﻩ ﺍﻟﻨﻘﻁﺔ، ﺃﻨﺎ ﻓﻲ ﻤﻜﺎﻥ ﺁﺨﺭ، ﺁﻤل، ﺃﻥ ﻴﻜﻭﻥ ﻤﺘﻘﺩﻤ ﹰ ﺃﻜﺜﺭ.‬ ‫ﺎ‬ ‫ﺼﺤﻴﺢ ﺃﻥ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻴﻨﺘﻬﻲ ﺇﻟﻰ ﻫﺯﻴﻤﺔ ﺸﻨﻴﻌﺔ، ﻟﻜﻨﻪ‬ ‫ﻴﺭﻓﺽ ﺃﻥ ﻴﻨﺴﺤﺏ ﻤﻥ ﺍﻟﻤﻌﺭﻜﺔ ﻤﻊ ﻤﺎ ﻴﺴﻤﻰ »ﺭﺃﻱ ﺍﻟﺠﻤﻬﻭﺭ« ﺃﻭ‬ ‫»ﺍﻟﻐﺎﻟﺒﻴﺔ ﺍﻟﺴﺎﺤﻘﺔ« ﺃﻭ ﻤﺎ ﺸﺎﺒﻪ ﺫﻟﻙ ﻤﻥ ﺍﻟﺘﻌﺎﺒﻴﺭ ﺍﻟﺸﻴﻁﺎﻨﻴﺔ... ﻓﺄﻨﺎ‬ ‫ﺃﺭﻴﺩ ﺃﻥ ﺃﺴﻭﻕ ﺇﻟﻰ ﺃﺫﻫﺎﻥ ﺃﻭﻟﺌﻙ ﺍﻟﻐﻭﻏﺎﺀ ﺃﻥ ﺍﻟﻠﻴﺒﺭﺍﻟﻴﻴﻥ ﻫﻡ ﺃﺨﺒﺙ‬ ‫ﺍﻷﻋﺩﺍﺀ ﺍﻟﺫﻴﻥ ﻴﻨﺒﻐﻲ ﻋﻠﻰ ﺍﻟﻨﺎﺱ ﺍﻷﺤﺭﺍﺭ ﺃﻥ ﻴﻭﺍﺠﻬﻭﻫﻡ، ﻭﺃﻥ‬ ‫ﺍﻟﺒﺭﺍﻤﺞ ﺍﻟﺤﺯﺒﻴﺔ ﺘﻘﺼﻡ ﻅﻬﻭﺭ ﺍﻟﺸﺒﺎﺏ ﻭﺍﻟﺤﻘﺎﺌﻕ ﺍﻟﺤﻴﺔ ﺠﻤﻴﻌﻬﺎ، ﺇﻥ‬ ‫ﺍﻻﻋﺘﺒﺎﺭﺍﺕ ﺍﻟﻌﻤﻠﻴﺔ ﺘﻘﻠﺏ ﺍﻟﻌﺩﺍﻟﺔ ﻭﺍﻷﺨﻼﻕ ﺭﺃﺴ ﹰ ﻋﻠﻰ ﻋﻘﺏ، ﻓﻴﺼﺒﺢ‬ ‫ﺎ‬ ‫ﺍﻟﻌﻴﺵ ﻓﻲ ﺍﻟﺤﻴﺎﺓ ﺒﺒﺴﺎﻁﺔ ﻻ ﻴﻁﺎﻕ«. ﻴﺨﺴﺭ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﺍﻟﻤﻌﺭﻜﺔ‬ ‫ﻤﻥ ﺃﺠل ﻴﻨﺎﺒﻴﻊ ﺍﻟﻤﻴﺎﻩ، ﻟﻜﻥ ﻤﻌﺭﻜﺘﻪ ﻀﺩ ﺍﻟﻜﺫﺏ ﻭﺍﻟﻨﻔﺎﻕ ﺘﺴﺘﻤﺭ.‬

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‫ﹸﺘﺒﺕ ﻤﺴﺭﺤﻴﺎﺕ ﺇﺒﺴﻥ ﺒﺩﺍﻴﺔ ﺒﺎﻟﻠﻐﺔ ﺍﻟﻨﺭﻭﻴﺠﻴﺔ، ﺜﻡ ﺃﺨﺫﺕ ﺘﻅﻬﺭ‬ ‫ﻜ‬ ‫ﺘﺭﺠﻤﺎﺘﻬﺎ ﺇﻟﻰ ﺍﻟﻠﻐﺎﺕ ﺍﻷﻭﺭﻭﺒﻴﺔ ﺘﺒﺎﻋ ﹰ. ﻭﻗﺩ ﺃﺴﻬﻤﺕ ﺍﻟﺘﺭﺠﻤﺎﺕ‬ ‫ﺎ‬ ‫ﺍﻹﻨﻜﻠﻴﺯﻴﺔ ﻭﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻟﻨﻘﺩﻴﺔ ﺍﻟﻤﺴﺭﺤﻴﺔ ﺍﻟﻤﻜﺘﻭﺒﺔ ﺒﺎﻹﻨﻜﻠﻴﺯﻴﺔ ﻓﻲ‬ ‫ﺍﻨﺘﺸﺎﺭ ﺇﺒﺴﻥ ﻓﻲ ﺍﻟﻌﺎﻟﻡ ﺍﻵﻨﺠﻠﻭ ـ ﺃﻤﺭﻴﻜﻲ ﻭﻓﻲ ﺒﻠﺩﺍﻥ ﻜﺜﻴﺭﺓ.‬ ‫ﻭﻴﻤﻜﻥ ﺍﻟﻨﻅﺭ ﻓﻲ ﺜﺒﺕ ﻤﺭﺍﺠﻊ ﺃﻴﺔ ﺩﺭﺍﺴﺔ ﺤﻭل ﻤﺴﺭﺤﻴﺎﺕ ﺇﺒﺴﻥ‬ ‫ﻜﻲ ﹸﻅﻬﺭ ﺤﺠﻡ ﺍﻻﺤﺘﻔﺎﺀ ﺍﻟﻨﻘﺩﻱ ﺒﻤﺴﺭﺤﻴﺎﺘﻪ ﺤﺘﻰ ﻓﻲ ﺃﻴﺎﻤﻨﺎ ﻫﺫﻩ،‬ ‫ﺘ‬ ‫ﻜﻤﺎ ﻴﻤﻜﻨﻨﺎ ﺃﻴﻀ ﹰ ﺍﻟﻨﻅﺭ ﻓﻲ ﺁﺭﺍﺀ ﻨﻘﺎﺩﻩ ﻤﻥ ﺍﻟﻤﻌﺎﺼﺭﻴﻥ ﻟﻪ ﻤﻤﻥ‬ ‫ﺎ‬ ‫ﺃﺒﺩﻭﺍ ﺁﺭﺍﺀﻫﻡ ﺤﻭل ﻤﺴﺭﺤﻴﺎﺘﻪ ﻭﺒﺨﺎ ‪‬ﺔ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ«.‬ ‫ﺼ‬ ‫ﻜﺘﺏ ﺇﺩﻤﻭﻨﺩ ﻏﻭﺱ ﻋﺎﻡ ٢٨٨١ ﻤﻌﻠﻘ ﹰ ﻋﻠﻰ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺭﺌﻴﺴﺔ‬ ‫ﺎ‬ ‫ﻓﻲ ﺍﻟﻤﺴﺭﺤﻴﺔ:‬

‫ﺇﻥ ﺒﻁل ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﻫﻭ ﻋﻠﻰ ﻨﺤﻭ ﻤﺎ ﻫﻨﺭﻴﻙ‬ ‫ﺇﺒﺴﻥ ﻨﻔﺴﻪ ﻓﻲ ﺍﻟﺤﻴﺎﺓ ﺍﻟﻌﻤﻠﻴﺔ، ﻫﻭ ﻨﺎﻗﺩ ﻤﻜﺭﻭﻩ؛ ﻷﻨﻪ ﻴﻘﻭل ﺍﻟﺤﻘﻴﻘﺔ‬

‫ﻟﻤﺠﺭﺩ ﻗﻭﻟﻪ ﺒﺼﻭﺕ ﻤﺭﺘﻔﻊ ﻤﺎ ﻴﻘﺘﻨﻊ ﻜل ﺸﺨﺹ ﺒﺩﺍﺨﻠﻪ ﻋﻠﻰ ﺃﻨﻪ‬

‫ﺍﻟﻭﺍﻀﺤﺔ ﻵﺫﺍﻥ ﻻ ﺘﺭﻏﺏ ﻓﻲ ﺴﻤﺎﻋﻬﺎ... ﻓ ‪‬ﺘﻬﻡ ﺒﺼﻭﺕ ﻋﺎل ﺒﺄﻨﻪ‬ ‫ﻴ‬ ‫ﻋﺩﻭ ﻟﻠﺸﻌﺏ، ﻭ ‪‬ﻘﺎﻁﻊ، ﻭ ‪‬ﺭﺠﻡ ﺒﺎﻟﺤﺠﺎﺭﺓ، ﻭ ‪‬ﻘﺎﺩ ﺨﺎﺭﺝ ﺍﻟﺒﻠﺩ،‬ ‫ﻴ‬ ‫ﻴ‬ ‫ﻴ‬ ‫ﺍﻟﺤﻘﻴﻘﺔ.‬

‫ﺍﻟﺭﻤﺯ ﻭﺍﻀﺢ ﻭﺸﻔﻴﻑ، ﻭﺍﻟﻤﺴﺭﺤﻴﺔ ﻫﻲ ﺤﻘﻴﻘﺔ ﻗﻁﻌﺔ ﻤﻥ‬ ‫ﺎ‬ ‫ﺍﻟﺠﺩﺍل ﺍﻟﺸﺨﺼﻲ ﺍﻟﻌﻨﻴﻑ. ﻭﺍﻟﻘﺼﺔ ﻴﻤﻜﻥ ﺃﻥ ﺘﻜﻭﻥ ﻤﻭﻀﻭﻋﹰ‬ ‫ﻟﺭﻭﺍﻴﺔ ﻤﺎﺘﻌﺔ، ﻟﺫﻟﻙ ﺘﺘﺤﻤل ﺍﻟﻤﻌﺎﻟﺠﺔ ﺍﻟﻤﺴﺭﺤﻴﺔ ﺒﺼﻌﻭﺒﺔ. ﻋﻠﻰ ﺃﻴﺔ‬ ‫ﺤﺎل، ﻴﺒﻘﻰ ﻫﺫﺍ ﺍﻟﻌﻤل ﺇﻟﻰ ﺤﺩ ﺒﻌﻴﺩ ﺼﺤﻴﺤ ﹰ ﻤﺴﺭﺤﻴ ﹰ ﻤﻥ ﺠﻬﺔ ﻋﺩﻡ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻭﺠﻭﺩ ﻋﻼﻗﺔ ﺸﺨﺼﻴﺔ ﺒﻴﻥ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻭﺇﺒﺴﻥ ﻨﻔﺴﻪ، ﺃﻭ‬

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‫ﺤﺘﻰ ﺇﻨﻪ ﻗﺩ ﻻ ﻴﻜﻭﻥ ﻤﺘﺤﺩﺜ ﹰ ﺒﺎﺴﻡ ﺇﺒﺴﻥ ﻭﺃﻓﻜﺎﺭﻩ، ﺒل ﻫﻭ ﺘﻤﺜﻴل‬ ‫ﺎ‬ ‫ﻟﻨﻤﻭﺫﺝ ﺃﻭ ﻟﻤﺯﺍﺝ ﻤﻌﻴﻥ، ﻟﻜﻨﻪ ﻤﻥ ﺍﻟﻨﻭﻉ ﺍﻟﻭﺍﻀﺢ ﻭﺍﻟﻤﻨﺴﺠﻡ ﺘﻤﺎﻤ ﹰ.‬ ‫ﺎ‬ ‫ﺇﻨﻪ ﻤﺘﻁﺭﻑ ﻭﺒﺼﻭﺭﺓ ﺤﺎﺩﺓ ﻤﻊ ﺃﻥ ﺍﻟﺘﻁﺭﻑ ﻫﻭ ﺃﻤﺭ ﻤﻜﺭﻭﻩ‬ ‫ﺒﺎﻟﻨﺴﺒﺔ ﺇﻟﻴﻪ ﻤﺜﻠﻪ ﻤﺜل ﺃﻱ ﺸﻜل ﻤﻥ ﺃﺸﻜﺎل ﺍﻟﺨﺩﺍﻉ ﺍﻟﺴﻴﺎﺴﻲ.‬ ‫ﻭﻗﻭﺍﻋﺩ ﺍﻟﺴﻠﻭﻙ ﺍﻟﻭﺤﻴﺩﺓ ﺍﻟﺘﻲ ﻴﻌﺘﺭﻑ ﺒﻬﺎ ﻫﻲ ﺍﻟﺼﺩﻕ ﺍﻟﻜﺎﻤل‬ ‫ﻭﻤﻬﻤﺎ ﻜﺎﻥ ﺍﻟﺜﻤﻥ، ﻭﺍﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺍﻟﺫﺍﺕ ﺍﻟﻔﺭﺩﻴﺔ ﻤﻬﻤﺎ ﺘﻌﺭﻀﺕ‬ ‫ﻟﻸﺫﻯ. ﻭﻁﺒﻘ ﹰ ﻟﻬﺫﺍ ﺍﻟﻜﻼﻡ، ﺒﻴﻨﻤﺎ ‪‬ﺠﻤﻊ ﺍﻟﻨﻘﺩ ﺍﻟﻤﺴﺭﺤﻲ ﺍﻹﺴﻜﻨﺩﻨﺎﻓﻲ‬ ‫ﻴ‬ ‫ﺎ‬ ‫ﻋﻠﻰ ﺍﻻﻋﺘﻘﺎﺩ ﺃﻥ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﻟﻴﺴﺕ ﻓﻲ ﻁﻠﻴﻌﺔ‬ ‫ﺍﻷﻋﻤﺎل ﺍﻟﻤﺴﺭﺤﻴﺔ ﺍﻟﺘﻲ ﻜﺘﺒﻬﺎ ﺇﺒﺴﻥ، ﻓﻴﻤﻜﻥ ﺃﻥ ﻨﻘﻭل ﺇ ‪ ‬ﺸﺨﺼﻴﺔ‬ ‫ﻥ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻫﻲ ﻤﻥ ﺃﻜﺜﺭ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺃﺼﺎﻟﺔ، ﻭﺒﺎﻟﻨﺴﺒﺔ ﺇﻟﻲ‬ ‫ﻤﻥ ﺃﻜﺜﺭ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺘﻤﻴﺯﹰ، ﻀﻤﻥ ﺇﺒﺩﺍﻋﺎﺕ ﺇﺒﺴﻥ ﺍﻟﻤﺴﺭﺤﻴﺔ، ﺜﻤﺔ‬ ‫ﺍ‬ ‫ﺘﺸﺎﺒﻬﺎﺕ ﻜﺜﻴﺭﺓ ﺒﻴﻨﻪ ﻭﺒﻴﻥ ﺍﻟﻜﻭﻨﺕ ﻟﻴﻭ ﺘﻭﻟﺴﺘﻭﻱ، ﺴﻭﺍﺀ ﺃﻜﺎﻥ ﺇﺒﺴﻥ‬ ‫ﻴﻌﺭﻑ ﺸﻴﺌ ﹰ ﺃﻡ ﻻ ﻋﻥ ﺍﻟﺤﻴﺎﺓ ﺍﻟﺨﺎﺼﺔ ﺃﻭ ﻋﻥ ﺸﺨﺼﻴﺔ ﺍﻷﺩﻴﺏ‬ ‫ﺎ‬ ‫ﺍﻟﺭﻭﺴﻲ ﺍﻟﻜﺒﻴﺭ ﺤﺘﻰ ﺍﻟﻌﺎﻡ ٢٨٨١ ﻻ ﺃﺩﺭﻱ.‬ ‫ﻭﻜﺄﻨﻬﺎ ﺘﻌﺯﺯ ﻤﻥ ﻤﻭﺠﺔ ﺍﻟﻤﺜﺎﻟﻴﺔ ﺍﻟﻐﺎﻀﺒﺔ ﺍﻟﻌﺎﻟﻴﺔ ﻟﺩﻴﻪ. ﻟﻘﺩ ﺼﺭﺡ‬ ‫ﻓﻲ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﺒﺩﺕ ﺍﻟﺭﻭﺡ ﺍﻟﻁﺒﻴﻌﻴﺔ ﻋﻨﺩ ﺍﻟﺸﺎﻋﺭ‬

‫ﺒﺄﻥ ﺍﻷﻜﺜﺭﻴﺔ ‪ ‬ﺠﻨﺔ ﻭﺠﺒﺎﻨﺔ ﻭﻤﻨﺎﻓﻘﺔ، ﻭﻫﺫﺍ ﺼﺤﻴﺢ، ﻟﻜﻨﻪ ﻭﻋﺩ ﺒﺄﻥ‬ ‫ﻤﺩ‬ ‫ﺍﻟﺭﺠل ﺍﻟﺨﻴﺭ، ﺤﺘﻰ ﻭﺇﻥ ﻜﺎﻥ ﻭﺤﻴﺩﹰ، ﻴﺠﺩ ﻓﻲ ﻤﺒﺩﺌﻪ ﻤﻜﺎﻓﺄﺓ ﻟﻪ،‬ ‫ﺍ‬ ‫ﻭﻴﺸﻌﺭ ﺒﺎﻻﻨﺘﺼﺎﺭ ﻤﺜﻠﻪ ﻤﺜل ﺃﺒﻨﺎﺀ ﺍﻟﻨﻭﺭ...‬

‫ﻜﻤﺎ ﺃﺒﺩﻯ ﻭﻴﻠﻴﺎﻡ ﺁﺭﺘﺸﺭ ﺭﺃﻴﻪ ﺤﻭل ﺍﻟﻤﺴﺭﺤﻴﺔ ﻓﻲ ﺍﻟﻌﺎﻡ ﻨﻔﺴﻪ‬ ‫ﻗﺎﺌ ﹰ:‬ ‫ﻼ‬

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‫)) ﻟﻘﺩ ﺤﺎﻭل ﺍﻟﺸﺎﻋﺭ ﻓﻲ ﻫﺫﻩ ﺍﻟﻤﺴﺭﺤﻴﺔ ﺒﻌﻨﺎﺀ ﺘﺠﻨﺏ ﺃﻱ ﺘﺄﺜﻴﺭ‬

‫ﻟﻺﺜﺎﺭﺓ ﺍﻟﻤﺴﺭﺤﻴﺔ، ﺒﻴﺩ ﺃﻥ ﺍﻟﻔﻜﺭﺓ ﺒﺭﻤﺘﻬﺎ ﻭﻜﺜﻴﺭﹰ ﻤﻥ ﺍﻟﻤﺸﺎﻫﺩ‬ ‫ﺍ‬ ‫»ﺃﻋﻤﺩﺓ ﺍﻟﻤﺠﺘﻤﻊ« ﻭ »ﺒﻴﺕ ﺍﻟﺩﻤﻴﺔ« ﻫﻲ ﻏﺎﺌﺒﺔ ﻜﻠﻴ ﹰ. ﻓﻔﻲ ﺍﻷﻭﻀﺎﻉ‬ ‫ﺎ‬

‫ﺍﻟﻤﻨﻔﺭﺩﺓ ﻤﺅﺜﺭﺓ ﺒﻘﻭﺓ، ﻟﻜﻥ ﺍﻟﺤﺎﻻﺕ ﺍﻟﻤﺜﻴﺭﺓ ﻓﻲ ﻤﺴﺭﺤﻴﺎﺕ ﻤﺜل‬ ‫ﺍﻟﻤﻀﺤﻜﺔ ﺍﻟﻜﺜﻴﺭﺓ، ﻜﻤﺎ ﻓﻲ ﺤﺎﻻﺕ ﺃﺨﺭﻯ، ﺘﺸﺒﻪ ﻫﺫﻩ ﺍﻟﻤﺴﺭﺤﻴﺔ‬ ‫ﻓﺤﻭﺍﺭﺍﺘﻬﺎ ﺘﺎﻤﺔ ـ ﻻ ﻴﻭﺠﺩ ﻜﻠﻤﺔ ﻭﺍﺤﺩﺓ ﺘﻠﻘﻰ ﺠﺯﺍﻓ ﹰ، ﻭﻻ ﻴﻭﺠﺩ‬ ‫ﺎ‬ ‫ﻭﻜل ﺸﺨﺼﻴﺔ ﻤﺘﻔﺭﺩﺓ ﻋﻠﻰ ﻨﺤﻭ ﻭﺍﻀﺢ، ﻟﺫﻟﻙ ﺴﺘﺄﺨﺫ ﺸﺨﺼﻴﺔ‬

‫ﻤﺴﺭﺤﻴﺔ »ﺭﺍﺒﻁﺔ ﺍﻟﺸﺒﺎﺏ« ﺃﻜﺜﺭ ﻤﻥ ﺍﻟﻤﺴﺭﺤﻴﺎﺕ ﺍﻟﺘﻲ ﻜﺘﺒﻬﺎ ﺴﺎﺒﻘ ﹰ.‬ ‫ﺎ‬ ‫ﻜﻼﻡ ﻤﺘﺄﻟﻕ ﺒﺼﻭﺭﺓ ﻏﻴﺭ ﻤﻨﺎﺴﺒﺔ، ﻭﻻ ﻴﻭﺠﺩ ﻜﻠﻤﺔ ﻭﺍﺤﺩﺓ ﻤﻤﻠﺔ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻤﻜﺎﻨﻬﺎ ﺍﻟﻼﺌﻕ ﻴﻭﻤ ﹰ ﻤﺎ ﻀﻤﻥ ﻤﺠﻤﻭﻉ‬ ‫ﺎ‬

‫ﻤﻌﻬﺎ. ﻟﻴﺱ ﻫﻨﺎﻙ ﻓﻲ ﺴﺎﺌﺭ ﻤﺴﺭﺤﻴﺎﺘﻪ ﻤﺜل ﺍﻟﺘﻘﻨﻴﺔ ﺍﻟﺩﻗﻴﻘﺔ ﺍﻟﺘﻲ‬ ‫ﺍﺴﺘﺨﺩﻤﻬﺎ ﻓﻲ ﻫﺫﻩ ﺍﻟﻤﺴﺭﺤﻴﺔ، ﺤﻴﺙ ﺘﻠﺘﺤﻡ ﺍﻟﺸﺨﺼﻴﺔ ﻭﺍﻟﺤﺩﺙ‬ ‫ﻁﺭﻴﻘﺘﻪ ﺍﻟﻤﺴﺭﺤﻴﺔ ﺍﻟﻘﺩﻴﻤﺔ ﻭﻴﻘﺩﻡ ﻟﻨﺎ ﻤﺴﺭﺤﻴﺎﺕ ﺨﻴﺎﻟﻴﺔ ﺭﺍﺌﻌﺔ‬ ‫ﺒﺼﻭﺭﺓ ﺃﻜﺜﺭ ﺠﺩﻴﺔ. ﻟﻌل ﺒﻌﻀﻨﺎ ﻴﺭﻏﺏ ﺃﻥ ﻴﻌﻭﺩ ﺍﻟﺸﺎﻋﺭ ﺇﻟﻰ‬

‫ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﺘﻲ ﺃﺒﺩﻋﻬﺎ ﺇﺒﺴﻥ ﻭﺍﻟﺘﻲ ﻤﻥ ﺍﻟﻤﻤﻜﻥ ﺃﻥ ﻨﺘﻌﺎﻁﻑ‬

‫ﺸﻌﺭ ﹰ، ﻟﻜﻨﻪ ﻁﺎﻟﻤﺎ ﻴﻘﺩﻡ ﻟﻨﺎ ﻤﺴﺭﺤﻴﺎﺕ ﻤﺜل »ﻋﺩﻭ ﺍﻟﺸﻌﺏ«، ﻻ‬ ‫ﺍ‬ ‫ﻴﻭﺠﺩ ﺴﺒﺏ ﻭﺠﻴﻪ ﻴﺠﻌﻠﻨﺎ ﻨﺄﺴﻑ ﻻﺴﺘﺨﺩﺍﻤﻪ ﺍﻟﻨﺜﺭ ﻭﺍﻟﻭﺍﻗﻌﻴﺔ....((‬ ‫ﻭﻗﺩ ﻜﺘﺏ ﺇﻱ . ﺃ . ﺒﻭﻏﺎﻥ ﻋﺎﻡ ٥٠٩١ ﺤﻭل ﺇﺒﺴﻥ ﻭﻤﺴﺭﺤﻴﺘﻪ:‬

‫ﻤﻥ ﺍﻟﻤﻌﺭﻭﻑ ﺃﻥ ﺇﺒﺴﻥ ﻜﺘﺏ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﻋﻠﻰ ﺃﻨﻬﺎ ﺠﻭﺍﺏ‬ ‫ﻋﻠﻰ ﺍﻟﻨﻘﺩ ﺍﻟﻌﺩﺍﺌﻲ ﺍﻟﺫﻱ ‪‬ﺠﻪ ﺇﻟﻰ ﻤﺴﺭﺤﻴﺔ »ﺍﻷﺸﺒﺎﺡ«، ﻭﻟﻴﺱ‬ ‫ﻭ‬

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‫ﺒﺎﻟﻨﺴﺒﺔ ﺇﻟﻰ ﻤﺤﺏ ﺍﻟﻤﺴﺭﺡ ﺍﻟﻌﺎﺩﻱ ﻟﻴﺴﺕ ﺍﻟﻤﺸﻜﻼﺕ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ‬ ‫ﺍﻟﻤﺜﺎﺭﺓ ﻓﻲ ﻫﺫﻩ ﺍ ﻟﻤﺴﺭﺤﻴﺔ ﺍﻟﻤﻔﻌﻤﺔ ﺒﺎﻟﺤﺭﻜﺔ ﻭﺍﻟﻤﺸﺎﻋﺭ ﻫﻲ ﺍﻟﻨﻘﺎﻁ‬ ‫ﺍﻟﻤﻬﻤﺔ. ﺇﻥ ﻫﺩﻑ ﺍﻟﻤﺴﺭﺤﻴﺎﺕ ﻜﻠﻬﺎ ﻫﻭ ﺍﻟﺴﺅﺍل ﺍﻵﺘﻲ: ﻫل ﻨﺠﺢ‬ ‫ﺍﻟﻜﺎﺘﺏ ﺍﻟﻤﺴﺭﺤﻲ ﻓﻲ ﺍﻟﺤﻔﺎﻅ ﻋﻠﻰ ﺘﺴﻠﺴل ﺍﻨﺘﺒﺎﻩ ﺍﻟﻨﻅﺎﺭﺓ ﻭﺘﺤﺭﻴﻙ‬ ‫ﻤﺸﺎﻋﺭﻫﻡ؟ ﻗﺩ ﺘﻭﺍﻓﻕ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻋﻠﻰ ﺃﻥ ﺍﻟﻔﺭﺩﻴﺔ ﻫﻲ‬ ‫ﺎ‬ ‫ﺍﻟﻤﻭﻗﻑ ﺍﻟﻤﻁﻠﻭﺏ ﺃﻥ ﻴﺘﺨﺫﻩ ﺍﻟﺭﺠل ﺍﻟﻘﻭﻱ، ﻭﺃﻥ ﺍﻷﻗﻠﻴﺔ ﻫﻲ ﺩﺍﺌﻤ ﹰ‬ ‫ﻋﻠﻰ ﺼﻭﺍﺏ، ﺃﻭ ﺃﻥ ﺍﻷﻏﻠﺒﻴﺔ ﺍﻟﺴﺎﺤﻘﺔ، ﺤﺴﺏ ﻗﻭل ﻜﺎﺭﻟﻴل، ﻫﻲ‬ ‫ﺒﺎﻟﺘﺄﻜﻴﺩ ﻋﻠﻰ ﺨﻁﺄ، ﻭﻗﺩ ﺘﻨﺎﻗﺵ ﻤﺴﺄﻟﺔ ﺇﺫﺍ ﻜﺎﻥ ﺍﻟﻭﺍﺠﺏ ﺍﻷﻭل‬ ‫ﻟﻺﻨﺴﺎﻥ ﻫﻭ ﺘﺠﺎﻩ ﻋﺎﺌﻠﺘﻪ ﺃﻭ ﺘﺠﺎﻩ ﺍﻟﻌﺎﺌﻠﺔ ﺍﻷﻜﺒﺭ ﺃﻱ ﻤﺠﺘﻤﻌﻪ ﺍﻟﺫﻱ‬ ‫ﻴﻌﻴﺵ ﻓﻴﻪ، ﻟﻜﻥ ﺤﻴﻭﻴﺔ ﻫﺫﻩ ﺍﻟﻤﺴﺭﺤﻴﺔ ﻻ ﺘﻜﻤﻥ ﻓﻲ ﺍﻷﻓﻜﺎﺭ ﺍﻟﺘﻲ‬ ‫ﺘﻌﺒﺭ ﻋﻨﻬﺎ ﺃﻭ ﺘﻘﺘﺭﺤﻬﺎ. ﺍﻟﻜﺭﺍﺴﺔ ﺍﻟﺩﻴﻨﻴﺔ ﺃﻭ ﺍﻟﺴﻴﺎﺴﻴﺔ ﻻ ﺘﺸﻜل‬ ‫ﻤﺴﺭﺤ ﹰ.‬ ‫ﺎ‬ ‫ﺇﻨﻲ ﺃﺘﺭﻙ ﺍﻹﺠﺎﺒﺔ ﻋﻥ ﻫﺫﻩ ﺍﻷﺴﺌﻠﺔ ﻜﻠﻬﺎ ﺇﻟﻰ ﺃﻗﻼﻡ ﺃﻜﺜﺭ ﻗﺩﺭﺓ‬ ‫ﻤﻥ ﻗﻠﻤﻲ. ﻭﺠل ﻤﺎ ﺃﺒﻐﻲ ﻤﻌﺎﻟﺠﺘﻪ ﻫﻨﺎ ﻜﺜﺎﻓﺔ ﺍﻟﻤﺴﺭﺤﻴﺔ ﺍﻟﺘﻲ ﻤﻜﻨﺕ‬ ‫ﺇﺒﺴﻥ ﻤﻥ ﺒﻨﺎﺌﻬﺎ ﻤﻥ ﺍﻟﻤﺎﺩﺓ ﺍﻟﻤﺘﻭﺍﻓﺭﺓ ﻟﺩﻴﻪ. ﺃﻋﺘﻘﺩ ﻫﻨﺎ ﺃﻥ ﺍﻟﺠﻤﻴﻊ‬ ‫ﻴﻭﺍﻓﻕ ﻋﻠﻰ ﺃﻥ ﺍﻟﻤﺴﺭﺤﻴﺔ ﻗﻭﻴﺔ، ﻭﺃﻨﻬﺎ ﺘﺤﺭﻙ ﺍﻟﻜﺜﻴﺭ ﻋﻠﻰ ﻨﺤﻭ‬

‫ﻋﻠﻰ ﻨﺤﻭ ﺃﻭﻟﻲ ﻜﺈﺴﻬﺎﻡ ﻓﻲ ﻨﻘﺎﺵ ﻴﺩﻭﺭ ﺤﻭل ﺍﻷﺨﻼﻕ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ‬ ‫ﻭﺍﻟﺨﺎﺼﺔ ﺒﺄﻋﻤﺎل ﺍﻟﺒﻠﺩﻴﺔ... .‬

‫ﺃﺼﻴل، ﺇﻥ ﻤﺸﻬﺩ ﺭﺠل ﻗﻭﻱ ﻭﺠﺭﻱﺀ ﻴﺘﺤﺩﻯ ﺠﻴﺸ ﹰ ﻤﻥ ﺍﻟﺠﺒﻨﺎﺀ‬ ‫ﺎ‬ ‫ﺃﺨﻼﻗﻴ ﹰ ﻻﺒﺩ ﺃﻥ ﻴﻜﻭﻥ ﻤﺤﺭﻜ ﹰ ﺩﺍﺌﻤ ﹰ. ﻭﺘﻤﺘﺎﺯ ﻫﺫﻩ ﺍﻟﻤﺴﺭﺤﻴﺔ ﺒﺄﻨﻪ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺎ‬

‫ﻟﻴﺱ ﻓﻴﻬﺎ ﻭﻋﻅ. ﻓﺎﻟﺸﺨﺼﻴﺎﺕ ﻫﻲ ﺸﺨﺼﻴﺎﺕ ﻓﻲ ﻤﺴﺭﺤﻴﺔ ﻭﻟﻴﺴﺕ‬

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‫ﺘﺠﺭﻴﺩﺍﺕ ﻓﺤﺴﺏ ﺃﻭ ﺩﻤﻰ ﺘﺘﺤﺭﻙ ﻓﻲ ﻜﺭﺍﺴﺔ ﺍﻟﻜﺎﺘﺏ ﺍﻟﻤﺴﺭﺤﻲ‬ ‫ﻭﻗﺩ ﻜﺘﺏ ﺍﻟﻤﻤﺜل ﻭﺍﻟﻤﺨﺭﺝ ﺍﻟﻤﺴﺭﺤﻲ ﺍﻟﺸﻬﻴﺭ ﻜﻭﻨﺴﺘﺎﻨﺘﻴﻥ‬ ‫ﺴﺘﺎﻨﺴﻼﻓﺴﻜﻲ )٣٦٨١-٨٣٩١( ﻭﺍﻟﻤﺅﺴﺱ ﺍﻟﻤﺸﺎﺭﻙ ﻟﻤﺴﺭﺡ‬ ‫ﻤﻭﺴﻜﻭ ﺍﻟﻔﻨﻲ، ﻋﻥ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﻓﻲ ﻤﻘﺎل ﺒﻌﻨﻭﺍﻥ‬ ‫»ﻨﻅﺎﻡ ﺍﻟﻔﻥ ﺍﻟﺨﻼﻕ ﻭﻁﺭﺍﺌﻘﻪ« ﻨﺸﺭﻩ ﺩﻴﻔﻴﺩ ﻤﺎﻏﺎﺭﺸﺎﻙ ﻓﻲ ﻜﺘﺎﺏ‬ ‫ﺤﺭﺭﻩ ﻭﻨﺸﺭﻩ ﺘﺤﺕ ﻋﻨﻭﺍﻥ: )ﺴﺘﺎﻨﺴﻼﻓﺴﻜﻲ ﺤﻭل ﻓﻥ ﺍﻟﻤﺴﺭﺡ(‬ ‫ﻋﺎﻡ ٠٥٩١:‬ ‫ﺍﻟﺼﻐﻴﺭﺓ....‬

‫ﻟﻘﺩ ﻜﺎﻥ ﺤﺩﺴﻲ ﺍﻟﺫﻱ ﺃﻭﺤﻰ ﺇﻟﻲ ﺒﻤﻅﻬﺭ ﺴﺘﻭﻜﻤﺎﻥ ﺍﻟﺨﺎﺭﺠﻲ،‬ ‫ﺍﻟﻤﺘﻜ ‪‬ﻥ ﺒﺼﻭﺭﺓ ﻁﺒﻴﻌﻴﺔ ﻤﻥ ﻋﻤﻕ ﻫﺫﺍ ﺍﻹﻨﺴﺎﻥ: ﻓﻘﺩ ﺍﺘﺤﺩ ﺠﺴﺩ‬ ‫ﻭ‬ ‫ﺍﻟﻭﺍﺤﺩ ﻭﺭﻭﺤﻪ ﺒﺎﻵﺨﺭ ﻋﻀﻭﻴ ﹰ، ﺴﺘﻭﻜﻤﺎﻥ ﻭﺴﺘﺎﻨﺴﻼﻓﺴﻜﻲ.‬ ‫ﺎ‬ ‫ﻭﺒﻤﺠﺭﺩ ﺃﻥ ﻨﻅﺭﺕ ﻓﻲ ﺃﻓﻜﺎﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻭﻫﻤﻭﻤﻪ، ﺘﺒﺩﻯ ﺃﻤﺎﻤﻲ‬

‫ﺤﻴﻥ ﻜﻨﺕ ﺃﻋﻤل ﻋﻠﻰ ﺩﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ، ﻜﺎﻥ ﺤﺏ ﺴﺘﻭﻜﻤﺎﻥ‬ ‫ﻭﺘﻭﻗﻪ ﻟﻠﺤﻘﻴﻘﺔ ﺍﻷﻤﺭ ﺍﻟﺫﻱ ﺃﺜﺎﺭ ﺍﻫﺘﻤﺎﻤﻲ ﺒﺎﻟﻤﺴﺭﺤﻴﺔ ﻭﺒﺩﻭﺭﻱ ﻓﻴﻬﺎ.‬ ‫ﻟﻘﺩ ﻜﺎﻥ ﺍﻟﺤﺩﺱ، ﻭﺍﻟﻐﺭﻴﺯﺓ، ﻤﺎ ﺠﻌﻼﻨﻲ ﺃﻓﻬﻡ ﺍﻟﻁﺒﻴﻌﺔ ﺍﻟﺩﺍﺨﻠﻴﺔ‬ ‫ﻟﺸﺨﺼﻴﺔ ﺇﺒﺴﻥ، ﺒﻜل ﺨﺼﻭﺼﻴﺎﺘﻬﺎ، ﻭﻁﻔﻭﻟﺘﻬﺎ، ﻭﻗﺼﺭ ﻨﻅﺭﻫﺎ،‬ ‫ﻓﻬﻲ ﺍﻟﺘﻲ ﺃﻟﻘﺕ ﺍﻟﻀﻭﺀ ﻋﻠﻰ ﺍﻟﻌﻤﻰ ﺍﻟﺩﺍﺨﻠﻲ ﻋﻨﺩ ﺴﺘﻭﻜﻤﺎﻥ ﺤﻴﺎل‬ ‫ﻨﻘﺎﺌﺹ ﺍﻟﺒﺸﺭ، ﻭﻋﻠﻰ ﻤﻭﻗﻔﻪ ﺍﻟﺤﻤﻴﻡ ﺘﺠﺎﻩ ﺯﻭﺠﻪ ﻭﺃﻁﻔﺎﻟﻪ، ﻭﻋﻠﻰ‬ ‫ﺤﺒﻭﺭﻩ ﻭﺤﻴﻭﻴﺘﻪ. ﻟﻘﺩ ﻭﻗﻌﺕ ﺘﺤﺕ ﺴﺤﺭ ﺸﺨﺼﻴﺔ ﺴﺘﻭﻜﻤﺎﻥ، ﺍﻟﺫﻱ‬ ‫ﻴﺠﻌل ﻜل ﺃﻭﻟﺌﻙ ﺍﻟﺫﻱ ﻴﺤﺘﻜﻭﻥ ﺒﻪ ﻭﻴﺘﻌﺭﻓﻭﻥ ﺇﻟﻴﻪ ﺃﻨﺎﺴ ﹰ ﺃﻓﻀل‬ ‫ﺎ‬ ‫ﻭﺃﻨﻘﻰ ﻭﻴﻅﻬﺭ ﺍﻟﺠﻭﺍﻨﺏ ﺍﻷﻓﻀل ﻤﻥ ﻁﺒﺎﺌﻌﻬﻡ ﻓﻲ ﺃﺜﻨﺎﺀ ﺤﻀﻭﺭﻩ.‬

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‫ﻗﺼﺭ ﻨﻅﺭﻩ ﻤﻥ ﺘﻠﻘﺎﺀ ﻨﻔﺴﻪ، ﺭﺃﻴﺕ ﺍﻨﺤﻨﺎﺀﺓ ﺠﺴﻤﻪ ﻨﺤﻭ ﺍﻷﻤﺎﻡ‬ ‫ﻭﻤﺸﻴﺘﻪ ﺍﻟﺴﺭﻴﻌﺔ. ﺭﺃﻴﺕ ﺍﻷﺼﺒﻌﻴﻥ ﺍﻷﻭل ﻭﺍﻟﺜﺎﻨﻲ ﻤﺸﺩﻭﺩﻴﻥ ﺇﻟﻰ‬ ‫ﺍﻷﻤﺎﻡ ﻋﻔﻭﻴ ﹰ ﻭﻜﺄﻨﻬﻤﺎ ﻴﺭﻤﻴﺎﻥ ﻟﻠﻜﺒﺱ ﻋﻠﻰ ﻤﺸﺎﻋﺭﻱ ﻭﻜﻠﻤﺎﺘﻲ‬ ‫ﺎ‬ ‫ﻭﺃﻓﻜﺎﺭﻱ ﻟﺘﻨﻁﻠﻕ ﺒﺎﺘﺠﺎﻩ ﺭﻭﺡ ﺫﻟﻙ ﺍﻹﻨﺴﺎﻥ ﻨﻔﺴﻪ ﺍﻟﺫﻱ ﺃﺘﺤﺩﺙ ﺇﻟﻴﻪ.‬ ‫ﻭﻗﺩ ﻜﺘﺏ ﻫﺎﺭﻭﻟﺩ ﻜﻼﺭﻤﺎﻥ ﻓﻲ ﻜﺘﺎﺒﻪ »ﺇﺒﺴﻥ« ) ﻟﻨﺩﻥ:‬ ‫ﻤﺎﻜﻤﻴﻼﻥ، ٧٧٩١( ﺤﻭل ﺸﺨﺼﻴﺔ ﺴﺘﻭﻜﻤﺎﻥ ﻓﻲ ﺨﺎﺘﻤﺔ ﻨﻘﺎﺸﻪ‬ ‫ﺍﻟﻤﺴﺭﺤﻴﺔ:‬

‫ﺇﻥ ﻫﺯﻴﻤﺔ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﻌﻅﻴﻤﺔ ﻤﺅﻗﺘﺔ، ﻓﻬﻡ ﻴﺤﺭﺯﻭﻥ ﺍﻟﻨﺼﺭ‬ ‫ﺒﻌﺩ ﺴﻨﻴﻥ ﻤﻥ ﺍﻟﻨﻀﺎل ﺍﻟﺸﺎﻕ. ﻭﻴﺒﻘﻰ ﺴﺘﻭﻜﻤﺎﻥ ﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤﻥ‬ ‫ﺫﻟﻙ ﻤﺘﻔﺎﺌ ﹰ ﺤﺘﻰ ﺍﻟﻨﻬﺎﻴﺔ. ﺇﻨﻬﻡ ﺍﻟﺸﺒﺎﺏ ﻜﻤﺎ ﻴﺘﺼﻭﺭﻫﻡ ﻫﻭ، ﻋﺒﺭ‬ ‫ﻼ‬ ‫ﺃﻁﻔﺎﻟﻪ ﻭﺨﺼﻭﺼ ﹰ ﺍﺒﻨﺘﻪ ﺒﺘﺭﺍ ﺍﻟﺘﻲ ﺘﺘﻠﻔﻅ ﺒﺎﻟﻭﻗﺎﺌﻊ ﺍﻟﺤﻘﻴﻘﻴﺔ، ﻭﺍﻟﺘﻲ‬ ‫ﺎ‬ ‫ﺘﻘﻭل، )ﻓﻲ ﺍﻟﺒﻴﺕ ﻴﻘﻭﻟﻭﻥ ﻟﻨﺎ ﻻ ﺘﺘﻜﻠﻤﻭﺍ ﺍﻀﺒﻁﻭﺍ ﺃﻟﺴﻨﺘﻜﻡ، ﻭﻓﻲ‬ ‫ﺍﻟﻤﺩﺭﺴﺔ ﻨﻌﻠﻡ ﺍﻷﻭﻻﺩ ﺍﻟﻜﺫﺏ(، ﺇﻨﻬﺎ ﻫﻲ ﺍﻟﺘﻲ ﺘﺭﺒﺢ ﺍﻟﻠﺤﻅﺔ )ﺭﺒﻤﺎ ﻟﺤﻅﺔ‬ ‫ﻭﺍﺤﺩﺓ( ﻭﻟﻜﻥ ﺒﺎﻟﻨﺴﺒﺔ ﺇﻟﻰ ﻋﺎﺌﻠﺔ ﺴﺘﻭﻜﻤﺎﻥ ﻓﻬﻲ ﺘﺭﺒﺢ ﺍﻟﻌﺎﻟﻡ ﻜﻠﻪ.‬ ‫ﻟﻘﺩ ﻜﺘﺏ ﻤﺭﺓ ﺍﻟﻜﺎﺘﺏ ﺍﻟﻜﻼﺴﻴﻜﻲ ﺍﻟﻬﺎﺩﺉ ﺒﻭل ﻓﺎﻟﻴﺭﻱ: ﺇﻥ‬ ‫ﺍﻟﻤﺘﻁﺭﻓﻴﻥ ﻴﻌﻁﻭﻥ ﺍﻟﻌﺎﻟﻡ ﻗﻴﻤ ﹰ، ﻭﺍﻟﻨﺎﺱ ﺍﻟﻌﺎﺩﻴﻭﻥ ﻴﺠﻌﻠﻭﻨﻪ ﻴﺴﺘﻤﺭ،‬ ‫ﺎ‬ ‫ﺃﻤﺎ ﺍﻟﺜﻭﺭﻴﻭﻥ ﻓﻴﺠﻌﻠﻭﻨﻪ ﺠﺩﻴﺭﹰ ﺒﺎﻟﻌﻴﺵ، ﻭﺍﻟﻤﻌﺘﺩﻟﻭﻥ ﻴﺠﻌﻠﻭﻨﻪ‬ ‫ﺍ‬ ‫ﻤﺴﺘﻘﺭﹰ. ﺇﻥ ﺴﺘﻭﻜﻤﺎﻥ ﻤﺘﻁﺭﻑ ﺃﻭ ﺃﻨﻪ ﻴﺼﺒﺢ ﻜﺫﻟﻙ ﻤﺜل ﺇﺒﺴﻥ ﻜﻤﺎ‬ ‫ﺍ‬ ‫ﻴﻅﻬﺭ ﻓﻲ ﻫﺫﻩ ﺍﻟﻤﺴﺭﺤﻴﺔ. ﺒﻴﺩ ﺃﻥ ﻫﺫﺍ ﺍﻟﻌﺎﻟﻡ ﻴﺠﺏ ﺃﻥ ﻴﺤﺘﻭﻱ ﻋﻠﻰ‬ ‫ﻤﺘﻁﺭﻓﻴﻥ ﺇﺫﺍ ﻜﺎﻥ ﻋﻠﻰ ﻤﺠﺘﻤﻌﺎﺘﻨﺎ ﺃﻻ ﺘﻔﺴﺩ ﺃﻭ ﺘﺫﻭﻱ ﺇﻟﻰ ﺍﻟﺘﺴﻁﺢ‬ ‫ﺃﻭ ﺍﻟﻌﺩﻡ.‬

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‫ﻟﻘﺩ ﻗﻴل ﺇ ‪ ‬ﺇﺒﺴﻥ ﺒﻌﺩ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﺃﺨﺫ ﺒﺎﻟﺘﺭﺍﺠﻊ‬ ‫ﻥ‬ ‫ﻓﻲ ﺤﺭﺒﻪ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ. ﻭﻟﻜﻥ ﻤﻥ ﺒﺎﺴﺘﻁﺎﻋﺘﻪ ﺃﻥ ﻴﺅﻜﺩ ﺫﻟﻙ ﺘﻤﺎﻤ ﹰ.‬ ‫ﺎ‬ ‫ﻓﺭ ‪‬ﹰ ﻋﻠﻰ ﻫﺫﺍ ﺍﻻﺘﻬﺎﻡ ﺒﺄﻨﻪ ﺍﻨﺴﺤﺏ ﺴﺭﻴﻌ ﹰ ﻤﻥ ﻤﻭﺍﻗﻔﻪ ﺍﻟﺘﻲ ﺍﺘﺨﺫﻫﺎ‬ ‫ﺎ‬ ‫ﺩﺍ‬ ‫ﺴﺎﺒﻘ ﹰ، ﻴﺒﺩﻭ ﻜﻤﺎ ﻟﻭ ﺃﻨﻪ ﻗﺩ ﺃﻁﻠﻕ ﺘﺼﺭﻴﺤﻪ ﻤﺜل ﻭﺍﻟﺕ ﻭﻴﺘﻤﺎﻥ )ﻫل‬ ‫ﺎ‬ ‫ﺃﻨﺎﻗﺽ ﺒﺫﻟﻙ ﻨﻔﺴﻲ؟ ﺤﺴﻨ ﹰ، ﺃﻨﺎ ﺃﻨﺎﻗﺽ ﻨﻔﺴﻲ!(.‬ ‫ﺎ‬ ‫ﺩ. ﻓﺅﺍﺩ ﻋﺒﺩ ﺍﻟﻤﻁﻠﺏ‬

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‫ﻣﻘﺪﻣﺔ ﻣﺎﻳﻜﻞ ﻣﻴﲑ ﻟﻠﱰﲨﺔ ﺍﻹﻧﻜﻠﻴﺰﻳﺔ‬
‫ﻜﺘﺏ ﺇﺒﺴﻥ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﻓﻲ ﺭﻭﻤﺎ، ﺒﻴﻥ ﺸﻬﺭﻱ‬ ‫ﺁﺫﺍﺭ ﻭﺤﺯﻴﺭﺍﻥ ﻤﻥ ﻋﺎﻡ ٢٨٨١، ﺒﻤﺩﺓ ﺘﻘل ﻋﻥ ﺴﺘﺔ ﺸﻬﻭﺭ ﺒﻌﺩ‬ ‫ﺍﺴﺘﻜﻤﺎﻟﻪ ﻤﺴﺭﺤﻴﺔ »ﺍﻷﺸﺒﺎﺡ«. ﻭﻴﺤﺘﻤل ﺃﻥ ﻴﻜﻭﻥ ﻗﺩ ﺒﺩﺃ ﺒﺎﻟﺘﺨﻁﻴﻁ‬ ‫ﻟﻜﺘﺎﺒﺘﻬﺎ ﻤﻨﺫ ﺃﻭﺍﺌل ﻋﺎﻡ ٠٨٨١، ﺫﻟﻙ ﺃﻨﻪ ﻓﻲ ﺍﻟﺴﺎﺩﺱ ﻭﺍﻟﻌﺸﺭﻴﻥ‬ ‫ﻤﻥ ﺘﺸﺭﻴﻥ ﺍﻟﺜﺎﻨﻲ ﻤﻥ ﺫﻟﻙ ﺍﻟﻌﺎﻡ، ﻜﺘﺏ ﺇﻟﻰ ﺇﺩﻤﻭﻨﺩ ﻏﻭﺱ ﺒﺄﻨﻪ‬ ‫ﻜﺎﻥ: »ﻤﺸﻐﻭ ﹰ ﻓﻲ ﺍﻟﺘﻔﻜﻴﺭ ﺒﻤﺴﺭﺤﻴﺔ ﺠﺩﻴﺩﺓ ﺁﻤل ﺇﻨﺠﺎﺯﻫﺎ ﺨﻼل‬ ‫ﻻ‬ ‫ﺍﻟﺼﻴﻑ«. ﻜﻤﺎ ﺃﻥ ﻜ ﹰ ﻤﻥ ﻟﻭﺭﻴﻨﺘﺯ ﺩﻴﺘﺭﻴﻜﺴﻭﻥ ﻭﻜﺭﻴﺴﺘﻭﻓﺭ‬ ‫ﻼ‬ ‫ﺠﺎﻨﺴﻭﻥ ﺃﻓﺎﺩﺍ ﺒﺄﻥ ﺤﺩﻴﺜ ﹰ ﺠﺭﻯ ﻤﻊ ﺇﺒﺴﻥ ﻓﻲ ﺫﻟﻙ ﺍﻟﻭﻗﺕ ﺘﻘﺭﻴﺒ ﹰ،‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻭﺃﻥ ﺇﺒﺴﻥ ﺸﺭﺡ ﻓﻴﻪ ﻋﺩﺩﹰ ﻤﻥ ﺍﻵﺭﺍﺀ ﺍﻟﺘﻲ ﻋﻘﺩ ﺍﻟﻌﺯﻡ ﻋﻠﻰ ﺍﻟﺘﻌﺒﻴﺭ‬ ‫ﺍ‬ ‫ﻋﻨﻬﺎ ﻻﺤﻘ ﹰ ﺒﻠﺴﺎﻥ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ. ﻟﻜﻨﻪ ﻭﻀﻊ ﻫﺫﺍ ﺍﻟﻤﺸﺭﻭﻉ‬ ‫ﺎ‬ ‫ﺠﺎﻨﺒ ﹰ ﺭﻴﺜﻤﺎ ﻴﻜﺘﺏ ﻤﺴﺭﺤﻴﺔ »ﺍﻷﺸﺒﺎﺡ«، ﻭﻗﺩ ﻜﺘﺏ ﺇﻟﻰ ﻨﺎﺸﺭﻩ ﻫﻴﻐل‬ ‫ﺎ‬ ‫ﻤﻥ ﻏﻴﻠﺩﻴﻨﺩﺍل ﺃﻨﻬﺎ: »ﻓﻜﺭﺓ ﻟﻁﺎﻟﻤﺎ ﺸﻐﻠﺕ ﺘﻔﻜﻴﺭﻱ، ﻭﻤﻊ ﻤﺭﻭﺭ‬ ‫ﺍﻟﻭﻗﺕ ﻜﺎﻨﺕ ﺘﺩﻫﻤﻨﻲ ﺒﺎﺴﺘﻤﺭﺍﺭ ﺤﺘﻰ ﺇﻨﻲ ﻟﻡ ﺃﻋﺩ ﺃﺴﺘﻁﻊ ﺘﺠﺎﻫﻠﻬﺎ«.‬

‫ﻏﻀﺏ ﺇﺒﺴﻥ ﻟﻤﺎ ﻻﻗﺘﻪ ﻤﺴﺭﺤﻴﺔ »ﺍﻷﺸﺒﺎﺡ« ﻤﻥ ﺍﺴﺘﻘﺒﺎل ﻋﺩﺍﺌﻲ‬ ‫ﻓﻲ ﺍﺴﻜﻨﺩﻨﺎﭭﻴﺔ، ﻟﺩﻯ ﻅﻬﻭﺭﻫﺎ ﻓﻲ ﻜﺎﻨﻭﻥ ﺍﻷﻭل ١٨٨١. ﻭﻜﺘﺏ ﺇﻟﻰ‬ ‫ﺠﻭﺭﺝ ﺒﺭﺍﻨﺩﻴﺱ ﻓﻲ ٣ ﻜﺎﻨﻭﻥ ﺍﻟﺜﺎﻨﻲ ٢٨٨١: "ﻤﺎ ﻋﺴﻰ ﺍﻟﻤﺭﺀ ﺃﻥ‬ ‫ﻴﻘﻭل ﻋﻥ ﻤﻭﻗﻑ ﺍﺘﺨﺫﺘﻪ ﻤﺎ ﺘﺴﻤﻰ ﺒﺎﻟﺼﺤﺎﻓﺔ ﺍﻟﺤﺭﺓ؟ ﻫﺅﻻﺀ ﺍﻟﻘﺎﺩﺓ‬ ‫ﺍﻟﺫﻴﻥ ﻴﺘﺤﺩﺜﻭﻥ ﻭﻴﻜﺘﺒﻭﻥ ﻋﻥ ﺍﻟﺤﺭﻴﺔ ﻭﺍﻟﺘﻘﺩﻤﻴﺔ، ﻭﻓﻲ ﺍﻟﻭﻗﺕ ﻨﻔﺴﻪ‬ ‫ﻴﺴﻤﺤﻭﻥ ﻷﻨﻔﺴﻬﻡ ﺒﺄﻥ ﻴﻜﻭﻨﻭﺍ ﻋﺒﻴﺩ ﺍﻵﺭﺍﺀ ﺍﻟﻤﺯﻋﻭﻤﺔ ﻟﻠﻤﺸﺘﺭﻜﻴﻥ‬

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‫ﻓﻲ ﺼﺤﻔﻬﻡ! ﻟﻘﺩ ﺯﺍﺩﺕ ﻗﻨﺎﻋﺘﻲ ﺒﺄﻥ ﻫﻨﺎﻙ ﺸﻴﺌ ﹰ ﻤﺜﺒﻁ ﹰ ﻟﻠﻌﺯﻴﻤﺔ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺤﻴﺎل ﺍﺸﺘﺭﺍﻙ ﺍﻟﻤﺭﺀ ﻓﻲ ﺍﻟﺴﻴﺎﺴﺔ، ﺃﻭ ﺍﻻﻨﺘﺴﺎﺏ ﺇﻟﻰ ﺤﺯﺏ ﻤﺎ. ﻟﻥ‬ ‫ﺃﺭﺘﺒﻁ ﺃﺒﺩﹰ، ﻭﺘﺤﺕ ﺃﻱ ﻅﺭﻑ ﻤﻥ ﺍﻟﻅﺭﻭﻑ، ﺒﺄﻱ ﺤﺯﺏ ﺘﺅﻴﺩﻩ‬ ‫ﺍ‬ ‫ﺍﻷﻏﻠﺒﻴﺔ. ﻴﻘﻭل ﺒﻴﻭﺭﻨﺴﻭﻥ: »ﺍﻷﻏﻠﺒﻴﺔ ﺩﺍﺌﻤ ﹰ ﻋﻠﻰ ﺼﻭﺍﺏ«. ﺃﻅﻥ‬ ‫ﺎ‬ ‫ﺃﻥ ﻋﻠﻴﻪ ﻗﻭل ﺫﻟﻙ ﻜﻭﻨﻪ ﺴﻴﺎﺴﻴ ﹰ ﻤﺘﻤﺭﺴ ﹰ. ﻟﻜﻨﻨﻲ ﺃﻗﻭل: »ﺍﻷﻗﻠﻴﺔ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺩﺍﺌﻤ ﹰ ﻋﻠﻰ ﺼﻭﺍﺏ«. ﻭﺃﻨﺎ ﺒﺎﻟﻁﺒﻊ ﻻ ﺃﻋﻨﻲ ﺍﻷﻗﻠﻴﺔ ﻤﻥ ﺍﻟﺭﺠﻌﻴﻴﻥ‬ ‫ﺎ‬ ‫ﺍﻟﺫﻴﻥ ﺨﱠﻔﻬﻡ ﺍﻟﺤﺯﺏ ﺍﻟﻤﺭﻜﺯﻱ ﺍﻟﻜﺒﻴﺭ ﻭﺭﺍﺀﻩ ﻭﺍﻟﺫﻱ ﻨﺴﻤﻴﻪ »ﺤﺯﺏ‬ ‫ﻠ‬ ‫ﺍﻷﺤﺭﺍﺭ«. ﺒل ﺃﻋﻨﻲ ﺍﻷﻗﻠﻴﺔ ﺍﻟﺘﻲ ﺘﺸﻕ ﻁﺭﻴﻘﻬﺎ ﻓﻲ ﺃﺭﺽ ﻟﻡ ﺘﺼل‬ ‫ﺇﻟﻴﻬﺎ ﺍﻷﻏﻠﺒﻴﺔ ﺒﻌﺩ. ﺃﻋﺘﻘﺩ ﺃﻨﻪ ﻋﻠﻰ ﺼﻭﺍﺏ ﻤﻥ ﻴﻬﻴﺊ ﻨﻔﺴﻪ‬ ‫ﻟﻠﻤﺴﺘﻘﺒل... ﻭﺍﻟﺤﺭﻴﺔ ﺒﺎﻟﻨﺴﺒﺔ ﺇﻟﻲ ﻫﻲ ﺍﻟﺸﺭﻁ ﺍﻷﻭل ﻭﺍﻷﺴﻤﻰ‬ ‫ﻟﻠﺤﻴﺎﺓ. ﻻ ﻴﻬﺘﻡ ﺍﻟﻨﺎﺱ ﻓﻲ ﺍﻟﻭﻁﻥ ﺒﺎﻟﺤﺭﻴﺔ ﻜﺜﻴﺭﹰ، ﺒل ﺒﺎﻟﺤﺭﻴﺎﺕ ﻓﻘﻁ‬ ‫ﺍ‬ ‫– ﺃﻜﺜﺭ ﺃﻭ ﺃﻗل، ﺘﺒﻌﺎ ﻟﻤﻨﻁﻠﻘﺎﺕ ﺤﺯﺒﻴﺔ. ﺃﺸﻌﺭ ﺃﻨﻨﻲ ﻤﺘﺄﻟﻡ ﻟﻠﻐﺎﻴﺔ‬ ‫ﺒﻬﺫﻩ ﺍ ﻟﺴﻭﻗ ‪‬ﺔ، ﻭﻫﺫﺍ ﺍﻻﺒﺘﺫﺍل ﻓﻲ ﻤﻨﺎﻗﺸﺎﺘﻨﺎ ﺍﻟﻌﺎﻤﺔ. ﻟﻘﺩ ﻗﻁﻊ ﺍﻟﻨﺎﺱ‬ ‫ﻴ‬ ‫ﺩﻭﻥ ﻗﺼﺩ ﺸﻭﻁ ﻁﻭﻴﻼ ﻋﻠﻰ ﻁﺭﻴﻕ ﺘﺤﻭﻴﻠﻨﺎ ﺇﻟﻰ ﻤﺠﺘﻤﻊ ﻏﻭﻏﺎﺌﻲ،‬ ‫ﻭﺫﻟﻙ ﻓﻲ ﺃﺜﻨﺎﺀ ﺠﻬﻭﺩﻫﻡ ﺍﻟﻘ ‪‬ﻤﺔ ﺍﻟﺘﻲ ﻻ ﹸﻨﻜﹶﺭ ﻟﺘﺤﻭﻴل ﺒﻠﺩﻨﺎ ﺇﻟﻰ‬ ‫ﺘ‬ ‫ﻴ‬ ‫ﻤﺠﺘﻤﻊ ﺩﻴﻤﻘﺭﺍﻁﻲ. ﻭﻴﺒﺩﻭ ﺃﻥ ﺃﺭﺴﺘﻘﺭﺍﻁﻴﺔ ﺍﻟﻔﻜﺭ ﻻ ﺘﺘﻤﺘﻊ ﺒﻘﺎﻋﺩﺓ‬ ‫ﻗﻭﻴﺔ ﺍﻟﺩﻋﻡ ﻓﻲ ﺍﻟﻨﺭﻭﻴﺞ".‬ ‫ﺇﻟﻰ ﺃﻭﻻﻑ ﺴﻜﺎﭭـﻼﻥ: " ﺃﻨﺎ ﺸﺨﺼﻴ ﹰ، ﻭﺃﻨﺎ ﻓﻘﻁ، ﻤﺴﺅﻭل ﻋﻤﺎ‬ ‫ﺎ‬ ‫ﺤﺯﺏ. ﺃﺭﻴﺩ ﺃﻥ ﺃﺘﺼﺭﻑ ﻭﺤﺩﻱ ﺒﻭﺼﻔﻲ ﻗﻨﺎﺼ ﹰ ﻓﻲ ﺍﻟﻤﻭﺍﻗﻊ‬ ‫ﺎ‬ ‫ﺃﻜﺘﺏ. ﻻ ﻴﻤﻜﻨﻨﻲ ﺃﻥ ﺃﺤﺭﺝ ﺃﻱ ﺤﺯﺏ، ﻷﻨﻨﻲ ﻻ ﺃﻨﺘﻤﻲ ﻷﻱ‬ ‫ﻓﻲ ﺁﺨﺭ ﺍﻟﺸﻬﺭ ﻨﻔﺴﻪ )٤٢ ﻜﺎﻨﻭﻥ ﺍﻟﺜﺎﻨﻲ ٢٨٨١(، ﻜﺘﺏ ﺇﺒﺴﻥ‬

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‫ﺍﻷﻤﺎﻤﻴﺔ ﻭﺃﺘﺤﺭﻙ ﺒﻤﻔﺭﺩﻱ... ﻓﻬل ‪‬ﺴﻤﺢ ﻟﻠﺭﺠﺎل ﻓﻲ ﺍﻟﻨﺭﻭﻴﺞ ﺃﻥ‬ ‫ﻴ‬ ‫ﺍ‬ ‫ﺍﻹﻨﺴﺎﻥ ﻓﻲ ﺍﻟﻤﻘﺎﻡ ﺍﻷﻭل ﻫﻲ ﺍﻟﺘﻲ ﺘﺤﺘﺎﺝ ﺇﻟﻰ ﺘﺤﺭﻴﺭ؟ ﺇﻥ ﻋﺒﻴﺩﹰ‬

‫ﻴﻌﻤﻠﻭﺍ ﻤﻥ ﺃﺠل ﺍﻟﺤﺭﻴﺔ ﻓﻲ ﺍﻟﻤﺠﺎل ﺍﻟﺴﻴﺎﺴﻲ ﻓﻘﻁ؟ ﺃﻟﻴﺴﺕ ﺭﻭﺡ‬ ‫ﺭﻭﺤﺎﻨﻴﻴﻥ ﻤﺜﻠﻨﺎ ﻻ ﻴﻤﻜﻨﻬﻡ ﺤﺘﻰ ﺍﻹﻓﺎﺩﺓ ﻤﻥ ﺍﻟﺤﺭﻴﺎﺕ ﺍﻟﺘﻲ ﺤﺼﻠﻭﺍ‬ ‫ﺒﺼﻭﺭﺓ ﺍﻋﺘﻴﺎﺩﻴﺔ، ﺴﻤﺢ ﺇﺒﺴﻥ ﻟﺜﻤﺎﻨﻴﺔ ﻋﺸﺭ ﺸﻬﺭ ﹰ ﺃﻥ ﺘﻤﺭ ﺒﻴﻥ‬ ‫ﺍ‬ ‫ﺇﻨﺠﺎﺯ ﻤﺴﺭﺤﻴﺔ ﻭﺍﻟﺒﺩﺀ ﺒﺄﺨﺭﻯ ) ١(، ﻟﻜﻨﻪ ﻓﻲ ٦١ ﺁﺫﺍﺭ ﻓﺎﺠﺄ ﻫﻴﻐل‬

‫ﻋﻠﻴﻬﺎ ﺴﺎﺒﻘ ﹰ. ﺇﻥ ﺍﻟﻨﺭﻭﻴﺞ ﺒﻠﺩ ﺤﺭ ﻴﻘﻁﻨﻪ ﻋﺒﻴﺩ ﺍﻷﺭﺽ."‬ ‫ﺎ‬

‫ﻭﺠﺩ ﻨﻔﺴﻪ ﻭﻗﺩ ﺘﻘﺩﻡ ﻋﻠﻰ ﺠﺩﻭل ﺍﻟﻌﻤل، ﻗﺎﻡ ﻓﻲ ١٢ ﺤﺯﻴﺭﺍﻥ‬ ‫ﺒﺎﻟﻜﺘﺎﺒﺔ ﺇﻟﻰ ﻫﻴﻐل ﻭﻫﻭ ﻻ ﻴﺯﺍل ﻓﻲ ﺭﻭﻤﺎ: »ﺃﻨﻬﻴﺕ ﺍﻟﺒﺎﺭﺤﺔ‬
‫)1( . ﺒﻴﻥ ﻋﺎﻡ ٧٧٨١ ﺍﻟﺫﻱ ﺃﻨﻬﻰ ﻓﻴﻪ ﻤﺴﺭﺤﻴﺔ »ﺃﻋﻤﺩﺓ ﺍﻟﻤﺠﺘﻤﻊ« ﻭﻋﺎﻡ‬ ‫٦٩٨١ ﺍﻟﺫﻱ ﻜﺘﺏ ﻓﻴﻪ ﻤﺴﺭﺤﻴﺔ »ﺠﻭﻥ ﻏﺎﺒﺭﻴﻴل ﺒﻭﺭﻜﻤﺎﻥ«، ﻤﺜﻠﺕ‬ ‫ﻤﺴﺭﺤﻴﺔ ﺇﺒﺴﻥ ﺍﻷﺨﻴﺭﺓ »ﻋﻨﺩﻤﺎ ﻨﺴﺘﻴﻘﻅ ﻨﺤﻥ ﺍﻟﻤﻭﺘﻰ« ﺒﻌﺩ ﺜﻼﺙ ﺴﻨﻭﺍﺕ‬ ‫ﻤﻥ »ﺠﻭﻥ ﻏﺎﺒﺭﻴﻴل ﺒﻭﺭﻜﻤﺎﻥ«، ﻭﻫﺫﺍ ﻋﺎﺌﺩ ﺇﻟﻰ ﺤﺩ ﻜﺒﻴﺭ ﺇﻟﻰ ﺃﻨﻪ ﻓﻲ ﻋﺎﻡ‬ ‫٨٩٨١ ﺠﺭﻯ ﺍﻟﺘﺤﻀﻴﺭ ﻟﻼﺤﺘﻔﺎل ﺒﻌﻴﺩ ﻤﻴﻼﺩ ﺇﺒﺴﻥ ﺍﻟﺴﺒﻌﻴﻥ.‬ ‫ﻤﺴﺭﺤﻴﺔ » ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﺍﻻﺴﺘﺜﻨﺎﺀ ﺍﻟﻭﺤﻴﺩ ﻟﻬﺫﻩ ﺍﻟﻘﺎﻋﺩﺓ. ﻭﻗﺩ ﺠﺎﺀﺕ‬

‫ﺍﻟﻤﺴﺭﺤﻴﺔ، ﻭﺴﺄﺤﺎﻭل ﺃﻥ ﺃﻨﺠﺯﻫﺎ ﻓﻲ ﺃﻭﺍﺌل ﺍﻟﺨﺭﻴﻑ«. ﻓﻤﺎ ﺍﻥ‬

‫ﺍﻟﻤﺴﺭﺡ ﻷﻥ ‪‬ﺤﺠﻡ ﻋﻨﻪ. ﻴﺠﺏ ﺃﻻ ﺃﻭﺍﺠﻪ ﺼﻌﻭﺒﺔ ﻓﻲ ﺼﻘل ﺘﻠﻙ‬ ‫ﻴ‬

‫ﻟﻤﺴﺭﺤﻴﺘﻲ ﺍﻟﺠﺩﻴﺩﺓ. ﻫﺫﻩ ﺍﻟﻤﺭﺓ ﺴﺘﻜﻭﻥ ﻋﻤ ﹰ ﺴﻠﻤﻴ ﹰ ﻴﻤﻜﻥ ﻟﺭﺅﻭﺴﺎﺀ‬ ‫ﺎ‬ ‫ﻼ‬ ‫ﻭﺯﺍﺭﺍﺕ ﻗﺭﺍﺀﺘﻪ ﻭﻜﺫﻟﻙ ﺘﺠﺎﺭ ﺍﻟﺠﻤﻠﺔ ﻭﺯﻭﺠﺎﺘﻬﻡ ﺃﻴﻀ ﹰ. ﻭﻟﻥ ﻴﺤﺘﺎﺝ‬ ‫ﺎ‬

‫ﺤﻴﻥ ﻜﺘﺏ: »ﺃﺴﺘﻁﻴﻊ ﺇﺨﺒﺎﺭﻙ ﺃﻨﻨﻲ ﺍﻵﻥ ﻤﺸﻐﻭل ﺘﻤﺎﻤ ﹰ ﺒﺎﻹﻋﺩﺍﺩ‬ ‫ﺎ‬

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‫ﺃﻴﻀ ﹰ ﻤﻭﻀﻭﻋ ﹰ ﺠﺎﺩﹰ ﺭﺌﻴﺴ ﹰ... ﻓﻲ ﻏﻀﻭﻥ ﺃﻴﺎﻡ ﻗﻠﻴﻠﺔ ﺴﺄﺒﺩﺃ‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﺎ‬ ‫ﺎ‬

‫ﺨﻤﺴﺔ ﻓﺼﻭل. ﻟﺴﺕ ﻤﺘﺄﻜﺩﹰ ﺒﻌﺩ ﻫل ﺃﺴﻤﻴﻬﺎ ﻜﻭﻤﻴﺩﻴﺎ، ﺃﻭ ﺃﺴﻤﻴﻬﺎ‬ ‫ﺍ‬ ‫ﺒﺒﺴﺎﻁﺔ ﻤﺴﺭﺤﻴﺔ. ﻓﻔﻴﻬﺎ ﻜﺜﻴﺭ ﻤﻥ ﺼﻔﺎﺕ ﺍﻟﻜﻭﻤﻴﺩﻴﺎ، ﻟﻜﻨﻬﺎ ﺘﺤﺘﻭﻱ‬

‫ﻤﺴﺭﺤﻴﺘﻲ ﺍﻟﺠﺩﻴﺩﺓ. ﻭﻫﻲ ﺒﻌﻨﻭﺍﻥ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ«، ﻭﺘﺘﺄﻟﻑ ﻤﻥ‬

‫ﺒﺎﻟﻨﺴﺨﺔ ﺍﻟﻨﻬﺎﺌﻴﺔ، ﻭﺍﻟﺘﻲ ﺴﺘﻜﻭﻥ ﺠﺎﻫﺯﺓ ﻋﻨﺩ ﺃﻗﺭﺏ ﻓﺭﺼﺔ ﻓﻲ‬ ‫ﻟﺴﻭﺀ ﺍﻟﺤﻅ ﻟﻡ ﺘﺘﻭﺍﻓﺭ ﺃﻴﺔ ﻤﻼﺤﻅﺎﺕ ﺃﻭ ﻤﺴﻭﺩﺓ ﺃﻭﻟﻴﺔ ﻟﻤﺴﺭﺤﻴﺔ‬ ‫»ﻋﺩﻭ ﺍﻟﺸﻌﺏ«، ﻟﺫﺍ ﻻ ﻨﻌﺭﻑ ﺒﺎﻟﻀﺒﻁ - ﻜﻤﺎ ﻫﻲ ﺤﺎل ﻤﻌﻅﻡ‬ ‫ﻤﺴﺭﺤﻴﺎﺘﻪ ﺍﻷﺨﺭﻯ - ﻜﻡ ﻤﻥ ﺍﻟﻭﻗﺕ ﺍﺴﺘﻐﺭﻕ ﻓﻲ ﻜﺘﺎﺒﺔ ﻜل ﻓﺼل،‬ ‫ﻭﻤﺎ ﺍﻟﺘﻐﻴﻴﺭﺍﺕ ﺍﻟﺘﻲ ﺃﺠﺭﺍﻫﺎ ﻋﻠﻰ ﻓﻜﺭﺘﻪ ﺍﻷﺼﻠﻴﺔ.‬ ‫ﻓﻲ ﺒﺩﺍﻴﺔ ﺁﺏ، ﻏﺎﺩﺭ ﺭﻭﻤﺎ ﺇﻟﻰ ﻏﻭﺴﻴﻨﺴﺎﺱ ﻓﻲ ﺘﻴﺭﻭل، ﻭﻤﻥ‬ ‫ﻫﻨﺎﻙ، ﻓﻲ ٨٢ ﺁﺏ، ﺃﺭﺴل ﺍﻟﻨﺴﺨﺔ ﺍﻟﻨﻬﺎﺌﻴﺔ ﺇﻟﻰ ﻫﻴﻐل ﻭﻓﻴﻬﺎ‬ ‫ﺍﻟﻔﺼﻭل ﺍﻷﺭﺒﻌﺔ ﺍﻷﻭﻟﻰ، ﺸﺎﺭﺤ ﹰ ﺒﺄﻥ: »ﺍﻟﺨﺎﻤﺱ ﺴﻴﺄﺘﻲ ﺒﻌﺩﻫﺎ‬ ‫ﺎ‬ ‫ﺒﺒﻀﻌﺔ ﺃﻴﺎﻡ، ﺇﺫ ﺇﻨﻨﻲ ﺃﻨﺠﺯﺕ ﻨﺼﻔﻪ. ﻭﺍﻟﺴﺒﺏ ﻓﻲ ﺃﻥ ﺍﻟﻤﺨﻁﻭﻁﺔ‬ ‫ﺴﺘﺼل ﻤﺘﺄﺨﺭﺓ ﺇﻟﻰ ﺤﺩ ﻤﺎ ﻋﻥ ﺍﻟﻭﻗﺕ ﺍﻟﻤﺫﻜﻭﺭ ﻓﻲ ﺭﺴﺎﻟﺘﻲ‬ ‫ﺍﻟﺴﺎﺒﻘﺔ، ﻫﻭ ﺃﻨﻨﻲ ﻨﺴﺨﺕ ﺍﻟﻤﺴﺭﺤﻴﺔ ﻜﺎﻤﻠﺔ ﻤﺭﺘﻴﻥ ﺒﺨﻁ ﻴﺩﻱ ﻷﺤﻘﻕ‬ ‫ﺃﻗﺼﻰ ﺩﺭﺠﺔ ﺇﺘﻘﺎﻥ ﻓﻲ ﺍﻟﺤﻭﺍﺭ«. ﻭﻗﺩ ﺃﺭﺴل ﺍﻟﻔﺼل ﺍﻟﺨﺎﻤﺱ‬ ‫ﻭﺍﻷﺨﻴﺭ ﻓﻲ ﺍﻟﺘﺎﺴﻊ ﻤﻥ ﺃﻴﻠﻭل. ﻭﻜﺘﺏ ﺇﺒﺴﻥ: »ﻟﻘﺩ ﺍﺴﺘﻤﺘﻌﺕ‬ ‫ﺒﺎﻟﻌﻤل ﻓﻲ ﻫﺫﻩ ﺍﻟﻤﺴﺭﺤﻴﺔ، ﻭﺃﺸﻌﺭ ﺒﺎﻟﺤﺭﻤﺎﻥ ﻭﺍﻟﻔﺭﺍﻍ ﻷﻨﻨﻲ‬ ‫ﺍﺒﺘﻌﺩﺕ ﻋﻨﻬﺎ. ﻟﻘﺩ ﺍﻨﺴﺠﻤﺕ ﺃﻨﺎ ﻭﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﺒﺸﻜل ﺭﺍﺌﻊ،‬ ‫ﺎ‬ ‫ﻓﻨﺤﻥ ﻤﺘﻔﻘﺎﻥ ﻓﻲ ﻋﺩﺓ ﺃﺸﻴﺎﺀ، ﻟﻜﻥ ﺍﻟﺩﻜﺘﻭﺭ ﻴﺤﻤل ﺒﻴﻥ ﻜﺘﻔﻴﻪ ﺭﺃﺴ ﹰ‬ ‫ﻨﻬﺎﻴﺔ ﺘﻤﻭﺯ. ﻭﺴﺄﺭﺴل ﺇﻟﻴﻙ ﺍﻟﻤﺨﻁﻭﻁﺔ ﻋﻠﻰ ﻤﺭﺍﺤل ﻜﺎﻟﻌﺎﺩﺓ. «‬

‫-٠٣-‬

‫ﺃﻜﺜﺭ ﺘﺸﻭﻴﺸ ﹰ ﻤﻥ ﺭﺃﺴﻲ، ﺒﺎﻹﻀﺎﻓﺔ ﺇﻟﻰ ﺃﻨﻪ ﻴﺘﺼﻑ ﺒﺒﻌﺽ‬ ‫ﺎ‬ ‫ﺍﻟﺼﻔﺎﺕ ﺍﻟﺘﻲ ﺴﺘﺠﻌل ﺍﻟﻨﺎﺱ ﻴﺘﻐﺎﻀﻭﻥ ﻋﻥ ﻋﺩﺓ ﺃﺸﻴﺎﺀ ﻴﺘﻠﻔﻅ ﺒﻬﺎ؛‬ ‫ﺃﺸﻴﺎﺀ ﻟﻥ ﻴﻘﺒﻠﻭﻫﺎ ﺒﺴﻬﻭﻟﺔ ﻟﻭ ﺘﻠﻔﻅﺕ ﺒﻬﺎ ﺃﻨﺎ. ﻭﺃﻋﺘﻘﺩ ﺃﻨﻙ‬ ‫ﺴﺘﺸﺎﻁﺭﻨﻲ ﻫﺫﺍ ﺍﻟﺭﺃﻱ ﻟﻭ ﺒﺩﺃﺕﹶ ﺒﻘﺭﺍﺀﺓ ﺍﻟﻤﺨﻁﻭﻁﺔ«.‬ ‫ﺘﻤﺕ ﻁﺒﺎﻋﺔ ٠٠٠،٠١ ﻨﺴﺨﺔ ﻤﻥ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﻤﻥ‬ ‫ﻗﺒل ﻏﻴﻠﺩﻴﻨﺩﺍل ﻓﻲ ﻜﻭﺒﻨﻬﺎﻏﻥ، ﻓﻲ ٨٢ ﺘﺸﺭﻴﻥ ﺍﻟﺜﺎﻨﻲ ٢٨٨١)ﻋﻠﻰ‬ ‫ﺍﻟﺭﻏﻡ ﻤﻥ ﺍﻟﻤﺒﻴﻌﺎﺕ ﺍﻟﻔﺎﺠﻌﺔ ﻟﻤﺴﺭﺤﻴﺔ »ﺍﻷﺸﺒﺎﺡ«(. ﻜﺎﻥ ﺍﺴﺘﻘﺒﺎﻟﻬﺎ‬

‫ﻤﺨﺘﻠﻁ ﹰ، ﻭﻟﻴﺱ ﻏﺭﻴﺒ ﹰ ﺃﻥ ﻤﻼﺤﻅﺎﺕ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﺍﻟﻘﺎﺴﻴﺔ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻴﻨﺘﻤﻭﻥ ﻷﻱ ﻤﻥ ﺘﻠﻙ ﺍﻷﺤﺯﺍﺏ. ﻜﺎﻨﺕ ﺍﻟﺩﻭﺍﺌﺭ ﺍﻟﻠﻴﺒﺭﺍﻟﻴﺔ ﺒﺎﻟﺘﺤﺩﻴﺩ‬ ‫ﻋﺩﻴﻤﺔ ﺍﻻﻜﺘﺭﺍﺙ، ﻭﻗﺩ ﺭﻓﻀﻬﺎ ﺴﺘﺭﻨﺩﺒﺭﻍ ﻭﺍﺼﻔ ﹰ ﺇﻴﺎﻫﺎ ﺒﺄﻨﻬﺎ »ﺫﺍﺕ‬ ‫ﺎ‬ ‫ﺍﻟﻤﺴﺎﺭﺡ ﺘﻬﺎﻓﺘﺕ ﻋﻠﻰ ﻋﺭﺽ ﺍﻟﻤﺴﺭﺤﻴﺔ. ﻭﻤﺴﺭﺡ ﻜﺭﻴﺴﺘﻴﺎﻨﻴﺎ‬ ‫ﺤﻭل ﺍﻷﺤﺯﺍﺏ ﺍﻟﺴﻴﺎﺴﻴﺔ ﺃﺜﺎﺭﺕ ﺍﻟﻨﻘﺎﺩ ﻭﺍﻟﺼﺤﻔﻴﻴﻥ ﻜ ﻠﻬﻡ ﺍﻟﺫﻴﻥ‬

‫ﺠﻤﺎﻟﻴﺔ ﻻ ﺘﺤﺘﻤل« )ﺍﻟﻜﻠﻤﺔ ﺍﻟﺤﺩﻴﺜﺔ ﻗﺩ ﺘﻜﻭﻥ »ﻏﻴﺭ ﻤﻠﺘﺯﻤﺔ«(. ﻟﻜﻥ‬

‫ﻭﺍﻟﻤﺴﺎﺭﺡ ﺍﻟﻤﻠﻜﻴﺔ ﻓﻲ ﻜﻭﺒﻨﻬﺎﻏﻥ ﻭﺴﺘﻭﻜﻬﻭﻟﻡ – ﺍﻟﺘﻲ ﺭﻓﻀﺕ‬ ‫»ﺍﻷﺸﺒﺎﺡ« ﻋﻠﻰ ﺃﻨﻬﺎ ﻏﻴﺭ ﻤﻨﺎﺴﺒﺔ ﻟﻠﻌﺭﺽ ﺃﻤﺎﻡ ﺍﻟﻌﺎﻤﺔ – ﺤﺼﻠﺕ‬

‫ﻤﺒﺎﺸﺭﺓ ﻋﻠﻰ ﺤﻘﻭﻕ ﺇﻨﺘﺎﺝ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ«، ﻭﻋﻠﻰ ﻤﺎ ﻴﻅﻬﺭ ﺃﻨﻬﺎ ﻟﻡ‬ ‫ﺘﺘﺄﺜﺭ ﺒﺄﻥ ﻤﻭﻀﻭﻉ ﺍﻟﻤﺴﺭﺤﻴﺔ ﺁﻨﻔﺔ ﺍﻟﺫﻜﺭ ﻜﺎﻨﺕ ﺤﻭل ﻋﺩﻡ ﻭﺠﻭﺩ‬

‫ﻤﺴﺭﺡ ﻜﺭﻴﺴﺘﻴﺎﻨﻴﺎ ﻓﻲ ٣١ ﻜﺎﻨﻭﻥ ﺍﻟﺜﺎﻨﻲ ٣٨٨١، ﻭﻓﻲ ﺒﻴﺭﻏﻥ ﻓﻲ‬ ‫٤٢ ﻜﺎﻨﻭﻥ ﺍﻟﺜﺎﻨﻲ، ﻭﻓﻲ ﻏﻭﺘﻨﺒﺭﻍ ﻓﻲ ﺸﺒﺎﻁ، ﻭﻓﻲ ﺴﺘﻭﻜﻬﻭﻟﻡ‬

‫ﻗﻴﻤﺔ ﻷﻭﻟﺌﻙ ﺍﻟﺫﻴﻥ»ﻻ ﻴﺠﺭﺅﻭﻥ«، ﻭﻜﺎﻨﺕ ﻨﺘ ﻴﺠﺘﻬﺎ »ﺃﻥ ﺃﻗﻭﻯ ﺭﺠل‬ ‫ﻓﻲ ﺍﻟﻌﺎﻟﻡ ﺫﻟﻙ ﺍﻟﺫﻱ ﻴﻘﻑ ﻭﺤﻴﺩﹰ«. ﻭﻗﺩ ‪‬ﺭﻀﺕ ﺍﻟﻤﺴﺭﺤﻴﺔ ﻋﻠﻰ‬ ‫ﻋ‬ ‫ﺍ‬

‫-١٣-‬

‫ﻤﻥ ﺩﻭﻥ ﺤﻤﺎﺴﺔ ﺯﺍﺌﺩﺓ. ﻭﻤﻥ ﺍﻟﻐﺭﻴﺏ ﺃﻨﻬﺎ ﻟﻡ ﺘﻌﺭﺽ ﻓﻲ ﺃﻟﻤﺎﻨﻴﺎ‬ ‫ﺤﺘﻰ ﻋﺎﻡ ٧٨٨١، ﻭﺫﻟﻙ ﺒﺎﻟﻨﻅﺭ ﺇﻟﻰ ﺸﻌﺒﻴﺔ »ﺃﻋﻤﺩﺓ ﺍﻟﻤﺠﺘﻤﻊ«‬ ‫ﻓﻲ ﻋﺎﻡ ٢٩٨١، ﺘﻡ ﺘﻤﺜﻴل »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﻓﻲ ﻨﻴﻭﻴﻭﺭﻙ، ﺒﺎﻟﹼﻐﺔ‬ ‫ﻠ‬ ‫ﺍﻷﻟﻤﺎﻨﻴﺔ) ١(. ﻭﻓﻲ ﺍﻟﺴﻨﺔ ﺍﻟﺘﺎﻟﻴﺔ ‪ ‬ﹼﻠﻬﺎ ﻟﻭﻨﻴﻴﻪ- ﺒﻭ ﻤﺴﺭﺤﻴ ﹰ ﻓﻲ‬ ‫ﺎ‬ ‫ﻤﺜ‬ ‫ﺒﺎﺭﻴﺱ ﻋﻠﻰ ﻤﺴﺭﺡ ﺍﻟﻠﻭﭬﺭ. ﻭﻜﺘﺏ ﺁﺭﺘﺸﺭ: "ﻓﻲ ﺍﻟﻠﻴﻠﺔ ﺍﻷﻭﻟﻰ،‬ ‫ﻜﺎﻨﺕ ﺍﻟﻤﺴﺭﺤﻴﺔ ﻤﺴﺒﻭﻗﺔ ﺒﻤﺤﺎﻀﺭﺓ ﺃﻟﻘﺎﻫﺎ ﻡ. ﻟﻭﺭﻴﻨﺕ ﺘﻴﻠﻬﻴﺩ،‬ ‫ﺎ‬ ‫ﻭﺍﻟﺘﻲ ﻟﻡ ﺘﻌﺭﺽ ﻜﺜﻴﺭﹰ ﻟﻠﻤﺴﺭﺤﻴﺔ، ﺒﻘﺩﺭ ﻤﺎ ﻜﺎﻨﺕ ﻫﺠﻭﻤ ﹰ ﻋﻨﻴﻔ ﹰ‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﻋﻠﻰ ﻜل »ﺍﻟﻘﺎﺩﺓ« ﻓﻲ ﺍﻟﺴﻴﺎﺴﺔ ﻭﺍﻷﺩﺏ ﺍﻟﻔﺭﻨﺴ ‪‬ﻴﻥ. ﺒﺎﻟﻤﻘﺎﺭﻨﺔ ﻤﻊ‬ ‫ﻴ‬ ‫ﺍﻟﺨﻁﺎﺏ ﺍﻟﺭﻨﺎﻥ ﻟﻠﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻓﻲ ﺍﻟﻔﺼل ﺍﻟﺭﺍﺒﻊ ﻤﻥ‬ ‫ﺍﻟﻤﺴﺭﺤﻴﺔ ﻴﺒﺩﻭ ﻤﻌﺘﺩ ﹰ، ﻭﻤﻌﺴﻭل ﺍﻟﻠﺴﺎﻥ ﺘﻘﺭﻴﺒ ﹰ... ﻭﻗﺩ ﺍﺴﺘﻤﻊ‬ ‫ﺎ‬ ‫ﻻ‬ ‫ﺍﻟﺠﻤﻬﻭﺭ - ﻤﻊ ﺸﻲﺀ ﻤﻥ ﺍﻻﺤﺘﺠﺎﺝ - ﺇﻟﻰ ﺨﻁﺒﺔ ﻡ. ﺘﻴﻠﻬﻴﺩ‬ ‫ﺍﻟﻼﺫﻋﺔ، ﺤﺘﻰ ﻅ ‪ ‬ﺍﻷﺨﻴﺭ ﺃ ﹼﻪ ﻤﻥ ﺍﻟﻤﻼﺌﻡ ﺃﻥ ﻴﺼﻑ ﺍﻻﺤﺘﻔﺎل‬ ‫ﻨ‬ ‫ﻥ‬ ‫ﺍﻟﻔﺭﻨﺴﻲ-ﺍﻟﺭﻭﺴﻲ ﺍﻟﺫﻱ ﺤﺩﺙ ﻤﺅﺨﺭ ﹰ ﺒﺄﻨﻪ ﺠﻨﻭﻥ ﺠﻤﺎﻋﻲ. ﻓﻲ ﻫﺫﺍ‬ ‫ﺍ‬ ‫ﺍﻟﻭﻗﺕ ﺒﺎﻟﺫﺍﺕ ﺍﻨﻔﺠﺭﺕ ﻋﺎﺼﻔﺔ ﻤﻥ ﺍﻟﻐﻀﺏ، ﺍﺴﺘﻤﺭﺕ ﺩﻭﻥ ﺘﻭﻗﻑ‬
‫ﺍﻹﻨﻜﻠﻴﺯﻴﺔ، ﻭﺫﻟﻙ ﺒﺴﺒﺏ ﺍﻟﻨﺴﺒﺔ ﺍﻟﻤﺭﺘﻔﻌﺔ، ﻓﻲ ﺘﻠﻙ ﺍﻷﻴﺎﻡ، ﻟﻠﺠﻴل ﺍﻷﻭل ﻤﻥ‬ ‫)1( . ﻜﺎﻨﺕ ﻋﺩﺓ ﻤﻥ ﺍﻟﻌﺭﻭﺽ ﺍﻷﻤﺭﻴﻜﻴﺔ ﺍﻷﻭﻟﻰ ﻹﺒﺴﻥ ﺒﻠﻐﺔ ﺃﺨﺭﻯ ﻏﻴﺭ‬

‫ﻭﻜﻭﺒﻨﻬﺎﻏﻥ ﻓﻲ ﺁﺫﺍﺭ. ﻭﻗﺩ ﹸﺴﺘﻘﺒﻠﺕ ﺒﻤﻭﺩﺓ ﻓﻲ ﺍﻟﺒﻠﺩﺍﻥ ﺍﻟﺜﻼﺜﺔ، ﻟﻜﻥ‬ ‫ﺍ‬

‫ﻭ»ﺒﻴﺕ ﺍﻟﺩﻤﻴﺔ«، ﻭﺍﻻﻫﺘﻴﺎﺝ ﺍﻟﺫﻱ ﺴﺒﺒﻪ ﻨﺸﺭ »ﺍﻷﺸﺒﺎﺡ«.‬

‫ﺍﻟﻤﻬﺎﺠﺭﻴﻥ ﺍﻷﻭﺭﻭﺒﻴﻴﻥ. ﺃﻤﺎ ﺍﻟﻌﺭﺽ ﺍﻟﻌﺎﻟﻤﻲ ﺍﻷﻭل ﻟﻤﺴﺭﺤﻴﺔ »ﺍﻷﺸﺒﺎﺡ«‬ ‫ﻓﻜﺎﻥ ﻓﻲ ﺘﺸﻴﻜﺎﻏﻭ ﺒﺎﻟﻠﻐﺔ ﺍﻟﻨﺭﻭﻴﺠﻴﺔ ) ﺃﻭ ﺒﻤﺯﻴﺞ ﻤﻥ ﺍﻟﻠﻐﺘﻴﻥ ﺍﻟﻨﺭﻭﻴﺠﻴﺔ‬ ‫ﻭﺍﻟﺩﻨﻤﺎﺭﻜﻴﺔ(.‬

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‫ﻤﺩﺓ ﺭﺒﻊ ﺴﺎﻋﺔ، ﻭﻟﻡ ﺘﻬﺩﺃ ﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤﻥ ﺘﺩﺨل ﻡ. ﻟﻭﻨﻴﻴﻪ- ﺒﻭ‬ ‫ﻹﻴﻘﺎﻓﻬﺎ. ﻭﺍﻨﺘﻬﺕ ﺍﻟﻤﺤﺎﻀﺭﺓ ﻭﺴﻁ ﻓﻭﻀﻰ ﻋﺎﺭﻤﺔ، ﻭﻜﺎﻥ ﺍﻟﻤﺸﻬﺩ‬ ‫ﺍﻟﺘﻤﻬﻴﺩﻱ ﻜﻠﻪ ﻓﻲ ﻗﺎﻋﺔ ﺍﻻﺴﺘﻤﺎﻉ ﺃﺸﺒﻪ ﺒﺄﺩﺍﺀ ﺘﺩﺭﻴﺒﻲ ﺠﺭﻱﺀ‬ ‫ﻟﻼﺠﺘﻤﺎﻉ ﺍﻟﺫﻱ ‪‬ﻘﺩ ﻓﻲ ﻤﻨﺯل ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ.‬ ‫ﻋ‬ ‫ﻭﻓﻲ ﻋﺎﻡ ٣٩٨١ ﻗﺩﻡ ﻫﺭﺒﺭﺕ ﺒﻴﺭﺒﻭﻡ ﺘﺭﻱ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ‬ ‫ﺍﻟﺸﻌﺏ« ﻓﻲ ﺍﻨﻜﻠﺘﺭﺍ ﻋﻠﻰ ﻤﺴﺭﺡ ﻫﻴﻤﺎﺭﻜﺕ- ﻭﻫﻲ ﺃﻭل ﻤﺴﺭﺤﻴﺔ‬ ‫ﻹﺒﺴﻥ ﺘﺠﺫﺏ ﺍﻨﺘﺒ ﹰﻩ ﻤﻤﺜل-ﻤﺩﻴﺭ ﻤﺴﺭﺡ ﻋﺼﺭﻱ، ﻭﺘﺘﻠﻘﻰ ﻋﻨﺎﻴﺔ‬ ‫ﺎ‬ ‫»ﻤﺸﻭﻩ ﻋﻠﻰ ﻨﺤﻭ ﺭﻫﻴﺏ« ﻭﺃﻥ ﺍﻹﻨﺘﺎﺝ »ﺒﻼ ﺭﻴﺏ ﺃﺩﻨﻰ ﻤﻥ‬

‫ﻜﺎﻤﻠﺔ ﻓﻲ ﻤﻨﻁﻘﺔ ﺍﻟﻭﺴﺕ ﺇﻨﺩ ﻓﻲ ﻟﻨﺩﻥ. ﻭﻗﺩ ﻭﺠﺩ ﺁﺭﺘﺸﺭ ﺃ ‪ ‬ﺍﻟﻨﺹ‬ ‫ﻥ‬

‫ﺒﻤﻌﺯل ﻋﻥ ﺍﻟﺤﻔﻠﺔ ﺍﻟﻨﻬﺎﺭﻴﺔ ﺍﻟﻭﺤﻴﺩﺓ ﻋﺎﻡ ٨٢٩١ ﺍﺤﺘﻔﺎ ﹰ ﺒﺎﻟﺫﻜﺭﻯ‬ ‫ﻻ‬ ‫ﻟﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﻤﻨﺫ ﻋﺭﺽ ﺘﺭﻱ، ﻓﻲ ﻋﺎﻡ ٩٣٩١، ﺤﻴﻥ‬ ‫ﺃﺨﺭﺠﻬﺎ ﺘﻴﺭﻭﻥ ﻏﻭﺜﺭﻱ ﻋﻠﻰ ﻤﺴﺭﺡ ﺃﻭﻟﺩ ﭭﻴﻙ ﻤﻊ ﺭﻭﺠﺭ ﻟﻴﻔﻴﺴﻲ‬ ‫ﺍ‬ ‫ﺍﻟﻤﺌﻭﻴﺔ ﻟﻭﻻﺩﺓ ﺇﺒﺴﻥ، ﺸﻬﺩﺕ ﻤﺩﻴﻨﺔ ﻟﻨﺩﻥ ﻓﻘﻁ ﺇﻨﺘﺎﺠ ﹰ ﻭﺍﺤﺩﹰ‬ ‫ﺎ‬

‫ﻨﺎﺠﺤ ﹰ، ﻭﻗﺩ ﺃﻋﺎﺩﻩ ﺘﺭﻱ ﻋﺩﺓ ﻤﺭﺍﺕ، ﻭﺃﺨﺫﻩ ﺇﻟﻰ ﺃﻤﺭﻴﻜﺎ ﻋﺎﻡ‬ ‫ﺎ‬ ‫٥٩٨١ ﺇﺫ ﺘﻜﺭﺭ ﻨﺠﺎﺤﻪ ﻫﻨﺎﻙ. ﻤﻊ ﺫﻟﻙ. ﻭﻷﺴﺒﺎﺏ ﺴﻨﻨﺎﻗﺸﻬﺎ ﻻﺤﻘ ﹰ،‬ ‫ﺎ‬

‫ﻤﺴﺭﺤﻴﺔ ﺇﺒﺴﻥ، ﻤﻥ ﻨﺎﺤﻴﺔ ﺘﻜﻭﻴﻥ ﺍﻟﺸﺨﺼﻴﺔ«. ﻟﻜ ‪ ‬ﺍﻹﻨﺘﺎﺝ ﻜﺎﻥ‬ ‫ﻥ‬

‫ﻅﺭﻴﻑ ﻭﻤﻤﺘﻊ ﻓﻲ ﺃﺴﻠﻭﺒﻪ، ﺸ ﹼل ﺍﻟﻘﻁﺏ ﺍﻟﻤﺨﺎﻟﻑ ﻟﺴﺘﻭﻜﻤﺎﻥ ﻓﻲ‬ ‫ﻜ‬

‫ﻤﺴﺘﻭﻯ ﻤﺎ ﻴﺴﻤﻰ ﺒﻌﺭﻭﺽ »ﺍﻟﺨﺭﺒﺸﺎﺕ« ﺍﻟﺘﻲ ﺍﻋﺘﺩﻨﺎ ﻋﻠﻴﻬﺎ«.‬ ‫ﺍﻋﺘﻘﺩ ﺒﺭﻨﺎﺭﺩ ﺸﻭ ﺃﻥ ﻋﺭﺽ ﺘﺭﻱ ﺍﻟﺨﺎﺹ »ﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤﻥ ﺃﻨﻪ‬

‫ﺒﺩﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ، ﻭﺇﺩﻭﺍﺭﺩ ﺘﺸﺎﺒﻤﺎﻥ ﺒﺩﻭﺭ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ. ﻭﻗﺩ ﻤﺜﻠﻬﺎ‬

‫ﺠﻭﺍﻥ ﻟﻴﺘﻠﻭﻭﺩ ﻓﻲ ﻤﺴﺭﺡ ﺴﺘﺭﺍﺘﻔﻭﺭﺩ ﺇﻴﺴﺕ ﻋﺎﻡ ٤٥٩١، ﻤﻊ‬

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‫ﻫﺎﻭﺍﺭﺩ ﻏﻭﺭﻨﻲ ﺒﺩﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ، ﻭﻫﺎﺭﻱ ﻜﻭﺭﺒﻴﺕ ﺒﺩﻭﺭ ﺭﺌﻴﺱ‬

‫ﺍﻟﺒﻠﺩﻴﺔ، ﺤﻴﺙ ﺘﺠﺭﻱ ﺍﻷﺤﺩﺍﺙ ﻓﻲ ﻤﻨﻁﻘﺔ ﻻﻨﻜﺸﺎﻴﺭ، ﻭﻟﻜﻥ، ﻜﻤﺎ‬ ‫ﻋﻠﻕ ﺕ. ﺱ. ﻭﺭﺴﻠﻲ، ﻜﺎﻨﺕ ﻓﺭﻗﺔ ﺍﻟﻭﺭﺸﺔ ﺍﻟﻤﺴﺭﺤﻴﺔ »ﺃﻗل ﺴﻌﺎﺩﺓ‬ ‫ﺒﺴﺒﺏ ﺍﻷﺴﻠﻭﺏ ﺍﻟﻁﺒﻴﻌﻲ ﺃﻜﺜﺭ ﻤﻥ ﺃﻱ ﺸﻲﺀ ﺁﺨﺭ ﻓﻲ ﺍﻟﻤﺴﺭﺤﻴﺔ«.‬ ‫ﻭﻓﻲ ﻋﺎﻡ ٥٠٩١ ﻜﺎﻨﺕ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﺴﺒﺒ ﹰ ﻟﻠﺘﻅﺎﻫﺭ‬ ‫ﺎ‬

‫ﺍﻟﺫﻱ ﻜﺎﻥ ﻴﺅﺩﻱ ﺩﻭﺭ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ، ﺍ ﻟﺤﺎﺩﺜﺔ ﺒﺸﻜل ﻤﺅﺜﺭ ﻓﻲ‬ ‫»ﻓﻲ ﺫﻟﻙ ﺍﻟﻭﻗﺕ ﻤﻥ ﺍﻻﻀﻁﺭﺍﺏ ﺍﻟﺴﻴﺎﺴﻲ – ﻗﺒل ﺍﻟﺜﻭﺭﺓ‬

‫ﻤﺴﺭﺡ ﺍﻟﻔﻨﻭﻥ ﻓﻲ ﻤﻭﺴﻜﻭ، ﻭﻗﺩ ﻭﺼﻑ ﻜﻭﻨﺴﺘﺎﻨﺘﻴﻥ ﺴﺘﺎﻨﺴﻼ ﭬﺴﻜﻲ،‬ ‫ﺴﻴﺭﺘﻪ ﺍﻟﺫﺍﺘﻴﺔ »ﺤﻴﺎﺘﻲ ﻭﺍﻟﻔﻥ«:‬

‫ﺒﺸﻜل ﻤﻠﺤﻭﻅ ﺃﻜﺜﺭ ﻤﻤﺎ ﺘﺴﺒﺒﺕ ﺒﻪ ﻓﻲ ﺒﺎﺭﻴﺱ. ﻭﻗﻌﺕ ﺍﻟﺤﺎﺩﺜﺔ ﻓﻲ‬

‫ﺍﻷﻭﻟﻰ ﺒﻤ ‪‬ﺓ ﻭﺠﻴﺯﺓ – ﻜﺎﻨﺕ ﻤﺸﺎﻋﺭ ﺍﻻﺤﺘﺠﺎﺝ ﻗﻭﻴﺔ ﺠﺩﹰ ﻓﻲ‬ ‫ﺍ‬ ‫ﺩ‬ ‫ﺍﻟﺤﻘﻴﻘﺔ ﺒﻘﻭﺓ ﻭﺸﺠﺎﻋﺔ ﻭﻫﻭ ﺒﻴﻥ ﻓ ﹼﻲ ﺍﻟﺤﻜﻭﻤﺔ ﻗﺎﺒﻀﻴﻥ ﻋﻠﻴﻪ. ﻻ‬ ‫ﻜ‬

‫ﻤﺠﺎﻻﺕ ﺍﻟﻤﺠﺘﻤﻊ ﻜﻠﻬﺎ. ﻜﺎﻨﻭﺍ ﻴﻨﺘﻅﺭﻭﻥ ﺍﻟﺒﻁل ﺍﻟﺫﻱ ﺴﻴﺨﺒﺭﻫﻡ‬

‫ﻋﺠﺏ ﺃﻥ ﺼﻭﺭﺓ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﺤﺎﺯﺕ ﻤﺒﺎﺸﺭﺓ ﺍﻟﺸﻌﺒﻴﺔ ﻓﻲ‬ ‫ﺍﻟﻤﺴﺭﺤﻴﺔ ﺍﻟﻤﻔﻀﻠﺔ ﻋﻨﺩ ﺍﻟﺜﻭﺭﻴﻴﻥ، ﻭﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤﻥ ﺤﻘﻴﻘﺔ ﺃﻥ‬

‫ﻤﻭﺴﻜﻭ، ﻭﺨﺎﺼﺔ ﻓﻲ ﺒﺘﺭﻭﻏﺭﺍﺩ. ﻭﺃﺼﺒﺤﺕ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ«‬

‫ﻴﺄﺘﻤﻨﻬﻡ ﻋﻠﻰ ﻗﻴﺎﺩﺓ ﺍﻟﺤﻴﺎﺓ. ﻟﻜﻥ ﺴﺘﻭﻜﻤﺎﻥ ﺜﺎﺭ، ﻓﻘﺩ ﻗﺎل ﺴﺘﻭﻜﻤﺎﻥ‬ ‫ﺍﻟﺤﻘﻴﻘﺔ، ﻭﻜﺎﻥ ﻫﺫﺍ ﻴﻌﺩ ﻜﺎﻓﻴ ﹰ«.‬ ‫ﺎ‬

‫ﺴﺘﻭﻜﻤﺎﻥ ﻨﻔﺴﻪ ﻴﻜﺭﻩ ﺍﻷﻏﻠﺒﻴﺔ ﺍﻟﺼ ‪‬ﺎﺀ ﻭﻴﺅﻤﻥ ﺒﺎﻷﻓﺭﺍﺩ ﺍﻟﺫﻴﻥ‬ ‫ﻤ‬

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‫ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ « ﹸﻤ ﱠل ﻋﻠﻰ ﻤﺴﺭﺤﻨﺎ. ﻜﺎﻨﺕ ﻨﺴﺒﺔ‬ ‫ﺘﺜ‬ ‫ﺒﺘﺭﻭﻏﺭﺍﺩ. ﻭﺃﺫﻜﺭ ﺃﻥ ﺍﻟﺼﻔﻭﻑ ﺍﻷﻤﺎﻤﻴﺔ ﻤﻥ ﻗﺎﻋﺔ ﺍﻟﻤﺴﺭﺡ ﻜﺎﻨﺕ‬ ‫ﺍﻟﺤﻀﻭﺭ ﺍﻟﻌﺎﻟﻴﺔ ﺘﻠﻙ ﺍﻟﻠﻴﻠﺔ ﻤﻥ ﺃﻫل ﺍﻟﻔﻜﺭ ﻭﺍﻷﺴﺎﺘﺫﺓ ﻭﺍﻟﻌﻠﻤﺎﺀ ﻓﻲ‬

‫"ﻓﻲ ﺫﻜﺭﻯ ﺍﻟﻤﺠﺯﺭﺓ ﺍﻟﻤﻌﺭﻭﻓﺔ ﻓﻲ ﺴﺎﺤﺔ ﻜﺎﺯﺍﻨﺴﻜﻲ)*(، ﻜﺎﻨﺕ‬

‫ﻤﻤﺘﻠﺌﺔ ﻜﻠﻬﺎ ﺘﻘﺭﻴﺒﺎ ﺒﺭﺅﻭﺱ ﺸﺎﺌﺒﺔ. ﻭﺒﻔﻀل ﺍﻷﺤﺩﺍﺙ ﺍﻟﺤﺯﻴﻨﺔ ﻓﻲ‬ ‫ﺴﻤﺎﻋﻪ ﺤﺘﻰ ﺃﻀﺄل ﺍﻟﺘﻠﻤﻴﺤﺎﺕ ﺇﻟﻰ ﺍﻟﺤﺭﻴﺔ ﻓﻲ ﻜل ﻜﻠﻤﺔ ﻤﻥ ﻜﻠﻤﺎﺕ‬ ‫ﺫﻟﻙ ﺍﻟﻴﻭﻡ، ﻜﺎﻥ ﺠﻤﻬﻭﺭ ﺍﻟﻤﺴﺭﺤﻴﺔ ﻓﻲ ﻏﺎﻴﺔ ﺍﻻﺴﺘﺜﺎﺭﺓ ﻭﻴﻨﻔﻌل ﻋﻨﺩ‬

‫ﺍﺤﺘﺠﺎﺝ ﺴﺘﻭﻜﻤﺎﻥ. ﻭﻓﻲ ﺃﻤﺎﻜﻥ ﻏﻴﺭ ﻤﺘﻭﻗﻌﺔ ﻓﻲ ﺍﻟﻤﺴﺭﺤﻴﺔ، ﻴﺠﺘﺎﺡ‬

‫ﻭﻜﺎﻨﻭﺍ ﻴﺘﺄﻜﺩﻭﻥ ﻤﻥ ﺃﻨﻨﻲ ﻓﻲ ﺃﺩﺍﺌﻲ ﺩﻭﺭ ﺍﻟﺩﻜﺘﻭﺭﺴﺘﻭﻜﻤﺎﻥ ﺃﺘﻘﻴﺩ‬

‫ﻟﺤﻅﺔ. ﺃﻤﺎ ﺍﻟﺭﻗﺒﺎﺀ ﺍﻟﺫﻴﻥ ﺤﻀﺭﻭﺍ ﻋﺭﻭﺽ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﻜﻠﻬﺎ‬

‫ﺍﻟﻤﺴﺭﺡ، ﻓﻘﺩ ﻜﻨﺎ ﻨﺘﻭﻗﻊ ﺤﺩﻭﺙ ﺍﻋﺘﻘﺎﻻﺕ ﻭﺇﻴﻘﺎﻑ ﺍﻟﻌﺭﺽ ﻓﻲ ﺃﻴﺔ‬

‫ﺍﻟﻌﺭﺽ ﻋﺎﺼﻔﺔ ﻤﻥ ﺍﻟﺘﺼﻔﻴﻕ.... ﺃﻤﺎ ﻋﻥ ﺍﻟﺠﻭ ﺍﻟﻌﺎﻡ ﻓﻲ‬

‫ﺍﻟﺭﻗﺎﺒﺔ، ﻷﻥ ﺭﻗﺎﺒﺘﻬﻡ ﻜﺎﻨﺕ ﻫﺫﻩ ﺍﻟﻠﻴﻠﺔ ﺃﺸﺩ ﻤﻥ ﺫﻱ ﻗﺒل. ﻭﻜﺎﻥ ﻋﻠﻲ‬ ‫ﺍ‬ ‫ﺃﻥ ﺃﻀﺎﻋﻑ ﺤﺭﺼﻲ. ﻓﺤﻴﻥ ‪‬ﻘﺘﻁﻊ ﻜﻼﻡ ﻤﻥ ﺩﻭﺭ ﻤﺎ ﻤﺭﺍﺭﹰ‬ ‫ﻴ‬ ‫ﻭﺘﻜﺭﺍﺭﹰ، ﻓﻠﻴﺱ ﻤﻥ ﺍﻟﺼﻌﺏ ﺍﺭﺘﻜﺎﺏ ﺍﻷﺨﻁﺎﺀ ﻭﺯﻴﺎﺩﺓ ﺍﻟﻜﻼﻡ ﺃﻭ‬ ‫ﺍ‬

‫ﺒﻨﺹ ﺍﻟﺭﻗﺎﺒﺔ، ﻭﻜﺎﻨﻭﺍ ﻴﻔﺘﻌﻠﻭﻥ ﻤﺸﻜﻠﺔ ﻓﻲ ﻜل ﻤﻘﻁﻊ ﻟﻡ ﺘﻭﺍﻓﻕ ﻋﻠﻴﻪ‬

‫ﺇﻨﻘﺎﺼﻪ. ﻓﻔﻲ ﺁﺨﺭ ﻓﺼل ﻤﻥ ﺍﻟﻤﺴﺭﺤﻴﺔ، ﻴﺠﺩ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ -‬
‫)*( ﻤﺫﺒﺤﺔ ﺴﺎﺤﺔ ﻜﺎﺯﺍﻨﺴﻜﻲ: ﺠﺭﺕ ﻓﻲ ﻴﻭﻡ ﺃﺤﺩ ﻤﻥ ﻜﺎﻨﻭﻥ ﺍﻷﻭل ﻋﺎﻡ‬ ‫٥٠٩١ ﻓﻲ ﺭﻭﺴﻴﺎ، ﻭ ‪‬ﻤﻲ ﺫﻟﻙ ﺍﻟﻴﻭﻡ »ﺍﻷﺤﺩ ﺍﻟﺩﺍﻤﻲ« ﺤﻴﺙ ﺸﻬﺩﺕ ﺍﻟﺴﺎﺤﺔ‬ ‫ﺴ‬ ‫ﻤﺫﺒﺤ ﹰ ﺸﻨﻴﻌﺔ ﺃﻤﺎﻡ ﻗﺼﺭ ﺍﻟﺸﺘﺎﺀ ﻭﻤﺒﻨﻰ ﺍﻟﻬﺭﻤﻴﺘﺎﺝ.‬ ‫ﺔ‬

‫-٥٣-‬

‫) ١(‬

‫ﻟﺯﻭﺠﻪ: ﻋﻠﻰ ﺍﻟﻤﺭﺀ ﺃﻻ ﻴﻠﺒﺱ ﺃﺒﺩ ﹰ ﻤﻌﻁﻔ ﹰ ﺠﺩﻴﺩ ﹰ ﺤﻴﻥ ﻴﺨﺭﺝ‬ ‫ﺍ‬ ‫ﺎ‬ ‫ﺍ‬ ‫"ﻭﻗﺩ ﺭﺒﻁ ﺍﻟﺠﻤﻬﻭﺭ ﻓﻲ ﺍﻟﻤﺴﺭﺡ ﻫﺫﻩ ﺍﻟﺠﻤﻠﺔ ﺒﻤﺠﺯﺭﺓ ﺴﺎﺤﺔ‬

‫ﺍﻻﺠﺘﻤﺎﻉ ﺃﻭل ﺃﻤﺱ. ﻭﻋﻨﺩﻤﺎ ﻭﺠﺩ ﺴﺘﻭﻜﻤﺎﻥ ﺸﻘ ﹰ ﻓﻲ ﺍﻟﺜﻴﺎﺏ، ﻗﺎل‬ ‫ﺎ‬ ‫ﻟﻴﻨﺎﻀل ﻤﻥ ﺃﺠل ﺍﻟﺤﺭﻴﺔ ﻭﺍﻟﺤﻘﻴﻘﺔ".‬

‫ﺍﻷﺴﻭﺩ ﻓﻲ ﻏﻤﺎﺭ ﺍﻟﻔﻭﻀﻰ ﺍﻟﻌﺎﺭﻤﺔ، ﺫﻟﻙ ﺍﻟﺫﻱ ﻅﻬﺭ ﻓﻴﻪ ﻓﻲ‬

‫ﻭﻫﻭ ﻴﺭﺘﺏ ﻏﺭﻓﺘﻪ ﺍﻟﺘﻲ ﺭﺸﻘﺘﻬﺎ ﺍﻟﺤﺸﻭﺩ ﺒﺎﻟﺤﺠﺎﺭﺓ – ﻤﻌﻁﻔﻪ‬

‫ﺍﻟﺤﺭﻴﺔ ﻭﺍﻟﺤﻘﻴﻘﺔ. ﻭﻋﻠﻰ ﻨﺤﻭ ﻏﻴﺭ ﻤﺘﻭﻗﻊ، ﺃﺜﺎﺭﺕ ﻜﻠﻤﺎﺘﻲ ﺠﻠﺒﺔ‬ ‫ﺍﻀﻁﺭﺭﻨﺎ ﻋﻠﻰ ﺇﺜﺭﻫﺎ ﻹﻴﻘﺎﻑ ﺍﻟﻌﺭﺽ، ﺤﻴﺙ ﻭﻗﻊ ﻤﺸﻬﺩ ﻏﻭﻏﺎﺌﻲ‬

‫ﻜﺎﺯﺍﻨﺴﻜﻲ، ﻓﻤﻥ ﺍﻟﻤﺅﻜﺩ ﺃﻥ ﺃﻜﺜﺭ ﻤﻥ ﻤﻌﻁﻑ ﺠﺩﻴﺩ ﺘﻤﺯﻕ ﺒﺎﺴﻡ‬

‫ﺒﺄﻨﻔﺴﻬﻡ ﺒﺄﺩﺍﺀ ﺩﻭﺭ ﺍﻟﻤﻤﺜل ﺍﻟﺭﺌﻴﺱ ﻓﻲ ﺍﻟﻤﺴﺭﺡ، ﻭﻫﺫﺍ ﺍﻟﻌﻤل‬ ‫ﺍﻟﻐﻭﻏﺎﺌﻲ ﻨﻔﺴﻪ ﻫﻭ ﺍﻟﺫﻱ ﻴﺘﺤﺩﺙ ﻋﻨﻪ ﺒﻜﺜﺭﺓ ﺍﻟﺒﺎﺤﺜﻭﻥ ﺍﻟﻨﻅﺭﻴﻭﻥ‬ ‫ﻓﻲ ﺍﻟﻔﻥ. ﺇﺫ ﻨﻬﺽ ﺠﻤﻴﻊ ﺍﻟﻤﺸﺎﻫﺩﻴﻥ ﻤﻥ ﺃﻤﺎﻜﻨﻬﻡ ﻭﺍﻨﺩﻓﻌﻭﺍ ﺘﺠﺎﻩ‬ ‫ﺃﻀﻭﺍﺀ ﻤﻘﺩﻤﺔ ﺍﻟﻤﺴﺭﺡ. ﻭﻷﻥ ﺨﺸﺒﺔ ﺍﻟﻤﺴﺭﺡ ﻜﺎﻨﺕ ﻤﻨﺨﻔﻀﺔ ﻭﻟﻡ‬ ‫ﻭﻜﻨﺕ ﻤﺠﺒﺭﹰ ﻋﻠﻰ ﻤﺼﺎﻓﺤﺘﻬﺎ ﻜﻠﻬﺎ. ﻗﻔﺯ ﺍﻟﺸﺒﺎﺏ ﻤﻥ ﺍﻟﺤﻀﻭﺭ ﺇﻟﻰ‬ ‫ﺍ‬

‫ﺤﻘﻴﻘﻲ ﺍﺭﺘﺠﺎﻟﻲ. ﻭﻫﻨﺎﻙ ﺍﺘﺤﺩ ﺍﻟﻤﻤﺜل ﻭﺍﻟﺠﻤﻬﻭﺭ ﺍﻟﺫﻴﻥ ﻗﺎﻤﻭﺍ‬

‫ﻴﻜﻥ ﻋﺎﺯﻓﻭ ﺍﻟﻤﻭﺴﻴﻘﻰ ﺃﻤﺎﻤﻬﺎ، ﺭﺃﻴﺕ ﻤﺌﺎﺕ ﺍﻷﻴﺩﻱ ﺘﻤﺘﺩ ﻨﺤﻭﻱ،‬ ‫ﺨﺸﺒﺔ ﺍﻟﻤﺴﺭﺡ ﻭﻋﺎﻨﻘﻭﺍ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ. ﻟﻡ ﻴﻜﻥ ﻤﻥ ﺍﻟﺴﻬل‬
‫)1( ﺒﺎﻷﺤﺭﻯ ﺒﻨﻁﺎﻟﻪ.‬

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‫ﺇﻋﺎﺩﺓ ﺍﻟﻨﻅﺎﻡ ﻭﻤﺘﺎﺒﻌﺔ ﺍﻟﻤﺴﺭﺤﻴﺔ. ﻭﺍﻜﺘﺸﻔﺕ ﺫﻟﻙ ﺍﻟﻤﺴﺎﺀ ﻤﻥ ﺨﻼل‬

‫ﺘﺠﺭﺒﺘﻲ ﺍﻟﻘﻭﺓ ﺍﻟﻤﺅﺜﺭﺓ ﺍﻟﺘﻲ ﻴﻤﻜﻥ ﺃﻥ ﻴﻤﺎﺭﺴﻬﺎ ﺍﻟﻤﺴﺭﺡ«) ١(.‬

‫ﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤﻥ ﺃﻥ ﺍﻻﺴﺘﻘﺒﺎل ﺍﻟﻌﺎﻡ ﻟﻤﺴﺭﺤﻴﺔ »ﺍﻷﺸﺒﺎﺡ« ﻜﺎﻥ‬ ‫ﺇﻟﻬﺎﻤ ﹰ ﻤﺒﺎﺸﺭ ﹰ ﻟﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ«، ﻟﻡ ﺘﻜﻥ ﺍﻵﺭﺍﺀ ﺍﻟﺘﻲ ﻋﺒﺭ‬ ‫ﺍ‬ ‫ﺎ‬ ‫ﻋﻨﻬﺎ ﺇﺒﺴﻥ ﻓﻲ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ « ﺠﺩﻴﺩﺓ ﻋﻠﻴﻪ. ﻓﺈﻨﻨﺎ ﻨﺭﺍﻫﺎ‬ ‫ﺒﺸﻜل ﻤﺴﺘﻤﺭ ﻓﻲ ﻤﺭﺍﺴﻼﺘﻪ ﺍﻷﻭﻟﻰ، ﻭﺒﺨﺎﺼﺔ ﻓﻲ ﺭﺴﺎﺌﻠﻪ ﺇﻟﻰ‬ ‫ﺍﻟﻨﺎﻗﺩ ﺍﻟﺩﻨﻤﺎﺭﻜﻲ ﺠﻭﺭﺝ ﺒﺭﺍﻨﺩﻴﺱ. ﻓﻔﻲ ﺃﻭﺍﺌل ﻋﺎﻡ ١٧٨١، ﺃﻱ‬ ‫ﻗﺒل ﺒﺩﺌﻪ ﺒﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﺒﺈﺤﺩﻯ ﻋﺸﺭﺓ ﺴﻨﺔ، ﺼﺭﺡ‬ ‫ﻟﺒﺭﺍﻨﺩﻴﺱ ﻗﺎﺌ ﹰ: »ﻻ ﻴﻤﻜﻨﻨﻲ ﺃﺒﺩ ﹰ ﺃﻥ ﺃﻨﻅﺭ ﺇﻟﻰ ﺍﻟﺤﺭﻴﺔ ﺒﻭﺼﻔﻬﺎ‬ ‫ﺍ‬ ‫ﻼ‬ ‫ﻤﺭﺍﺩﻓﺔ ﻟﻠﺤﺭﻴﺔ ﺍﻟﺴﻴﺎﺴﻴﺔ. ﻤﺎ ﺘﺴﻤﻴﻪ ﺃﻨﺕ ﺤﺭﻴﺔ، ﺃﺴﻤﻴﻪ ﺃﻨﺎ ﺤﺭﻴﺎﺕ،‬ ‫ﻭﻤﺎ ﺃﺴﻤﻴﻪ ﻗﺘﺎ ﹰ ﻤﻥ ﺃﺠل ﺍﻟﺤﺭﻴﺔ ﻻ ﻴﻌﻨﻲ ﺸﻴﺌ ﹰ ﻏﻴﺭ ﺍﻟﺴﻌﻲ ﺍﻟﺤﻲ‬ ‫ﺎ‬ ‫ﻻ‬ ‫ﻭﺍﻷﺒﺩﻱ ﻟﻠﺤﺭﻴﺔ. ﺇﻥ ﻤﻥ ﻴﻤﺘﻠﻙ ﺍﻟﺤﺭﻴﺔ ﺒﻁﺭﻴﻘﺔ ﺘﺨﺘﻠﻑ ﻋﻥ ﻜﻭﻨﻬﺎ‬ ‫ﻫﺩﻓ ﹰ ﻴﺘﻡ ﺍﻟﺴﻌﻲ ﻤﻥ ﺃﺠﻠﻪ، ﻓﻬﻭ ﻴﻤﻠﻙ ﺸﻴﺌ ﹰ ﻤﻴﺘ ﹰ ﺒﻼ ﺭﻭﺡ. ﺫﻟﻙ ﺃﻥ‬ ‫ﺎ ﺎ‬ ‫ﺎ‬ ‫ﺠﻭﻫﺭ ﺍﻟﺤﺭﻴﺔ ﻫﻭ ﺃﻨﻬﺎ ﺘﻨﻤﻭ ﺒﻌﺩ ﺃﻥ ﻴﻨﺎﻟﻬﺎ ﺍﻟﻔﺭﺩ، ﻟﺫﺍ ﺇﺫﺍ ﻭﻗﻑ ﺃﻱ‬
‫ﺃﻴﺎﻡ ﻗﻀﻴﺔ ﺩﺭﻴﻔﻭﺱ - ﺘﻌﺭﻑ ﺍﻟﺠﻤﻴﻊ ﺇﻟﻰ ﺴﺘﻭﻜﻤﺎﻥ ﻋﻠﻰ ﺃﻨﻪ ﺇﻤﻴل ﺯﻭﻻ،‬ ‫ﺒﺎﻟﻨﺴﺒﺔ ﺇﻟﻰ ﻟﻭﻨﻴﻴﻪ - ﺒﻭ. ﻭﻗﺩ ﺘﻡ ﺍﺨﺘﻴﺎﺭ ﺍﻟﻤﺴﺭﺤﻴﺔ ﻋﻤﺩﹰ ﻤﻥ ﺃﺠل ﺃﻭل‬ ‫ﺍ‬ ‫ﺇﻨﺘﺎﺝ ﻤﺴﺭﺤﻲ ﻹﺒﺴﻥ ﻓﻲ ﺇﺴﺒﺎﻨﻴﺔ )ﻓﻲ ﺒﺭﺸﻠﻭﻨﺔ، ٤١ ﻨﻴﺴﺎﻥ ٣٩٨١(‬ ‫ﺃﺠل ﺃﻭل ﺇﻨﺘﺎﺝ ﻴﺎﺒﺎﻨﻲ ﻟﻠﻤﺴﺭﺤﻴﺔ )ﻓﻲ ﻁﻭﻜﻴﻭ ﻋﺎﻡ ٨٩٨١( ﺒﻭﺼﻔﻬﺎ‬ ‫ﺍﺤﺘﺠﺎﺠ ﹰ ﻋﻠﻰ ﺍﻟﺘﺴﺭﺏ ﺍﻟﺨﻁﻴﺭ ﻤﻥ ﻤﺼﻨﻊ ﻜﻴﻤﻴﺎﺌﻲ.‬ ‫ﺎ‬ ‫)1( . ﻭﻋﻠﻰ ﻨﺤﻭ ﻤﻤﺎﺜل، ﻓﻲ ﺃﺜﻨﺎﺀ ﺍﻟﻌﺭﺽ ﺍﻷﻭل ﻓﻲ ﺒﺎﺭﻴﺱ - ﺍﻟﺘﻲ ﺠﺭﻯ‬

‫ﻟﻤﺴﺎﻋﺩﺓ ﺍﻟﻤﻌﺎﺭﻀﺔ ﺍﻟﻤﻨﻅﻤﺔ ﻹﻋﺎﺩﺓ ﺍﻟﻨﻅﺎﻡ ﻓﻲ ﺍﻟﺤﻜﻭﻤﺔ ﻭﺍﻟﺼﻨﺎﻋﺔ، ﻭﻤﻥ‬

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‫ﺒﻌﺩ ﻨﺸﺭ »ﺒﻴﺕ ﺍﻟﺩﻤﻴﺔ« ﺒﺄﺴﺒﻭﻋﻴﻥ، ﺃﻱ ﻓﻲ ٩١ ﻜﺎﻨﻭﻥ ﺍﻷﻭل‬ ‫ﻤﻥ ﻋﺎﻡ ٩٧٨١، ﻜﺘﺏ ﺇﻟﻰ ﻟﻭﺭﻴﻨﺘﺯ ﺩﻴﺘﺭﻴﻜﺴﻭﻥ: »ﻴﺒﺩﻭ ﻤﻥ‬ ‫ﺍﻟﻤﺭﻴﺏ ﺒﺎﻟﻨﺴﺒﺔ ﺇﻟﻲ ﺇﺫﺍ ﻜﺎﻥ ﻤﻥ ﺍﻟﻤﻔﻴﺩ ﺍﻟﺤﺼﻭل ﻋﻠﻰ ﻅﺭﻭﻑ‬ ‫ﻓﻨﻴﺔ ﺃﻓﻀل ﻓﻲ ﺒﻠﺩﻨﺎ ﻫﺫﺍ ﻗﺒل ﺃﻥ ﹸﺤﺭﺙ ﺍﻟﺘﺭﺒﺔ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺤﺭﺜ ﹰ ﺠﻴﺩﹰ،‬ ‫ﺎ ﺍ‬ ‫ﺘ‬

‫ﻭﻓﻲ ١٢ ﺁﺫﺍﺭ ﻤﻥ ﻋﺎﻡ ٢٧٨١، ﺃﻜﺩ ﺇﺒﺴﻥ ﻟﻔﺭﻴﺩﺭﻴﻙ ﺠﻴﺭﺘﺴﻥ‬ ‫ﺃﻥ: »ﻤﺒﺩﺃﻩ ﺍﻷﺴﺎﺴﻲ ﻓﻲ ﻜل ﺴﻴﺎﻕ ﻭﻤﻭﻗﻑ ﺘﺤﺩﻴﺩﹰ ﻫﻭ ﺃﻥ ﺍﻷﻗﻠﻴﺔ‬ ‫ﺍ‬ ‫ﺩﺍﺌﻤ ﹰ ﻋﻠﻰ ﺼﻭﺍﺏ«. ﻭﻓﻲ ﺍﻟﺸﻬﺭ ﺍﻟﺘﺎﻟﻲ ﻜﺘﺏ ﺇﻟﻰ ﺒﺭﺍﻨﺩﻴﺱ:‬ ‫ﺎ‬ ‫)ﺼﺩﻴﻘﻲ ﺍﻟﻌﺯﻴﺯ، ﺇﻥ ﺃﻋﻀﺎﺀ ﺤﺯﺏ ﺍﻷﺤﺭﺍﺭ ﻫﻡ ﺃﻟﺩ ﺃﻋﺩﺍﺀ‬ ‫ﺍﻟﺤﺭﻴﺔ. ﻓﺎﻟﺤﺭﻴﺔ ﺍﻟﻔﻜﺭﻴﺔ ﻭﺍﻟﺭﻭﺤﻴﺔ ﺘﺯﺩﻫﺭ ﺒﺼﻭﺭﺓ ﺃﻓﻀل ﻓﻲ ﻅل‬ ‫ﺎ‬ ‫ﺍﻻﺴﺘﺒﺩﺍﺩ، ﻭﻗﺩ. ﺜﺒﺕ ﻫﺫﺍ ﻓﻲ ﻓﺭﻨﺴﺎ، ﻭﻤﻥ ﺒﻌﺩﻫﺎ ﻓﻲ ﺃﻟﻤﺎﻨﻴﺎ، ﻭﺤﺎﻟﻴ ﹰ‬ ‫ﻴﺘﻡ ﺘﺄﻜﻴﺩ ﺫﻟﻙ ﻓﻲ ﺭﻭﺴﻴﺎ... ﻭﻓﻴﻤﺎ ﻴﺨﺹ ﻫﺫﺍ ﺍﻻﻫﺘﻴﺎﺝ ﺍﻟﺫﻱ ﻜﺎﻥ‬ ‫‪ ‬ﻌﺩ ﻀﺩﻙ، ﻤﻊ ﻤﺎ ﻓﻴﻪ ﻤﻥ ﻜﺫﺏ ﻭﻁﻌﻥ ﻓﻲ ﺍﻟﻅﻬﺭ ﻭﻏﻴﺭﻩ،‬ ‫ﻴﺼ‬ ‫ﺩﻋﻨﻲ ﺃﻗﺩﻡ ﻟﻙ ﻨﺼﻴﺤﺔ ﺃﻋﻠﻡ ﺃﻨﻬﺎ ﻓﻌﺎﻟﺔ ﻤﻥ ﺒﺎﺏ ﺨﺒﺭﺘﻲ ﺍﻟﺸﺨﺼﻴﺔ:‬ ‫ﻜﻥ ﺃﺭﺴﺘﻘﺭﺍﻁﻴ ﹰ! ﻓﺎﻷﺭﺴﺘﻘﺭﺍﻁﻴﺔ ﻫﻲ ﺍﻟﺴﻼﺡ ﺍﻟﻭﺤﻴﺩ ﻀﺩ ﻫﺫﺍ‬ ‫ﺎ‬ ‫ﺍﻟﻨﻭﻉ ﻤﻥ ﺍﻷﺸﻴﺎﺀ. ﺃﻅﻬﺭ ﻻ ﻤﺒﺎﻻﺓ، ﻭﻻ ﺘﻜﺘﺏ ﺃﺒﺩﹰ ﺃﻱ ﺭﺩ ﻓﻲ‬ ‫ﺍ‬ ‫ﺍﻟﺼﺤﻑ. ﺇﺫﺍ ﺠﺎﺩﻟﺕ ﻓﻲ ﻜﺘﺎﺒﺎﺘﻙ، ﻓﻼ ﺘﻭﺠﻪ ﺠﺩﺍﻟﻙ ﺃﺒﺩ ﹰ ﺒﻭﺼﻔﻪ‬ ‫ﺍ‬ ‫ﻫﺠﻭﻤ ﹰ ﻀﺩ ﻫﺫﺍ ﺍﻟﻬﺩﻑ ﺍﻟﻤﻌﻴﻥ ﺃﻭ ﺫﺍﻙ. ﻭﻻ ﺘﻜﺘﺏ ﻭﻟﻭ ﻜﻠﻤﺔ‬ ‫ﺎ‬ ‫ﻭﺍﺤﺩﺓ ﺘﺒﻴﻥ ﺃﻥ ﺃﻋﺩﺍﺀﻙ ﻭﺠﺩﻭﺍ ﺃﻨﻔﺴﻬﻡ ﻓﻲ ﻜﻼﻤﻙ. ﺒﺎﺨﺘﺼﺎﺭ،‬ ‫ﺘﺼﺭﻑ ﻭﻜﺄﻨﻙ ﻻ ﺘﻤﻠﻙ ﺃﺩﻨﻰ ﻓﻜﺭﺓ ﺃﻥ ﻫﻨﺎﻙ ﻤﻥ ﻴﻌﺎﺭﻀﻙ.(‬

‫ﺸﺨﺹ ﻓﻲ ﺃﺜﻨﺎﺀ ﺍﻟﻤﻌﺭﻜﺔ ﻭﻗﺎل: »ﺍﻵﻥ ﺤﺼﻠﺕ ﻋﻠﻴﻬﺎ!« ، ﻓﻬﻭ‬ ‫‪‬ﻔﺼﺢ ﺒﻬﺫﻩ ﺍﻟﻤﻘﻭﻟﺔ ﺇﻟﻰ ﺃﻨﻪ ﻗﺩ ﺃﺨﺫ ﻴﻔﻘﺩﻫﺎ.«‬ ‫ﻴ‬

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‫ﻭ ﹸﻨﻅﹶﻑ ﻭ ﹸ ‪‬ﻔﻑ ﻤﻥ ﻜل ﻤﺴﺘﻨﻘﻌﺎﺘﻬﺎ.« ﻜﺎﻥ ﻫﺫﺍ ﻜﻼﻤ ﹰ ﻤﺠﺎﺯﻴ ﹰ ﻋﺎﺩ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺘﺠ‬ ‫ﺘ‬ ‫ﺇﻟﻴﻪ ﻓﻲ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ«. ﻜﻤﺎ ﻨﻘل ﻜﺭﻴﺴﺘﻭﻓﺭ ﺠﺎﻨﺴﻭﻥ -‬ ‫ﻭﻫﻭ ﺍﻟﻜﺎﺘﺏ ﺍﻟﺫﻱ ﻜﺎﻥ ﻋﻠﻰ ﻨﺤ ٍ ﻤﺎ ﺃ ‪‬لَ ﺸﺨﺼﻴﺔ ﻫﺠﻠﻤﺎﺭ ﺇﻜﺩﺍل‬ ‫ﺼ‬ ‫ﻭ‬ ‫ﻓﻲ ﻤﺴﺭﺤﻴﺔ »ﺍﻟﺒﻁﺔ ﺍﻟﺒﺭﻴﺔ«- ﻓﻲ ﺤﺩﻴﺙ ﺃﺠﺭﺍﻩ ﻤﻊ ﺇﺒﺴﻥ ﻤﺴﺎﺀ‬ ‫ﻋﻴﺩ ﺭﺃﺱ ﺍﻟﺴﻨﺔ، ﻋﺎﻡ ٠٨٨١، ﺤﻴﻥ ﻜﺎﻥ ‪‬ﻌﺘﻘﺩ ﺃﻥ ﺇﺒﺴﻥ ﻴﻀﻊ‬ ‫ﻴ‬ ‫ﺃﻓﻜﺎﺭﻩ ﺍﻷﻭﻟﻰ ﻟﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ«. ﺜﺎﺭ ﺇ ﺒﺴﻥ: »ﺍﻷﻏﻠﺒﻴﺔ؟ ﻤﺎ‬ ‫ﻫﻲ ﺍﻷﻏﻠﺒﻴﺔ؟ ﺠﻤﻬﻭﺭ ﻤﻥ ﺍﻟﺠﻬﻠﺔ! ﺍﻟﻔﻁﻨﺔ ﻤﻭﺠﻭﺩﺓ ﺩﺍﺌﻤ ﹰ ﻋﻨﺩ‬ ‫ﺎ‬ ‫ﺍﻷﻗﻠﻴﺔ. ﻜﻡ ﻤﻥ ﺍﻷﻏﻠﺒﻴﺔ ﻤﺅﻫﻠﻭﻥ ﺒﺭﺃﻴﻙ ﻻﺘﺨﺎﺫ ﺭﺃﻱ؟ ﻤﻌﻅﻤﻬﻡ‬ ‫) ١(‬ ‫ﻤﺠﺭﺩ ﻜﻼﺏ ﻴﺭﺍﻓﻘﻭﻥ ﺍﻟﺭﻋﺎﺓ«.‬ ‫ﻜﺘﺏ ﺇﻟﻰ ﺒﺭﺍﻨﺩﻴﺱ ﻓﻲ ﺍﻟﺤﺎﺩﻱ ﻭﺍﻟﻌﺸﺭﻴﻥ ﻤﻥ ﺃﻴﻠﻭل ﻤﻥ‬ ‫ﻋﺎﻡ ٢٨٨١، ﻭﺒﻌﺩ ﻤ ‪‬ﺓ ﻗﺼﻴﺭﺓ ﻤﻥ ﺇﻨﻬﺎﺀ ﺇﺒﺴﻥ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ‬ ‫ﺩ‬ ‫ﺍﻟﺸﻌﺏ«: »ﺤﻴﻥ ﺘﺼل ﺇﻟﻴﻙ ﻤﺴﺭﺤﻴﺘﻲ ﺍﻟﺠﺩﻴﺩﺓ، ﺭﺒﻤﺎ ﺴﺘﺘﻤﻜﻥ ﻤﻥ‬ ‫ﻓﻬﻡ ﻤﺩﻯ ﺍﻻﻫﺘﻤﺎﻡ، ﻭﺭﺒﻤﺎ ﺃﻴﻀ ﹰ ﺍﻟﻤﺭﺡ ﺍﻟﺫﻱ ﺤﺼﻠﺕ ﻋﻠﻴﻪ ﺤﻴﻥ‬ ‫ﺎ‬ ‫ﺘﺫﻜﺭﺕ ﻜﺜﻴﺭ ﹰ ﺍﻟﻤﻠﺤﻭﻅﺎﺕ ﺍﻟﻤﺒﻌﺜﺭﺓ ﻭﺍﻟﻤﺘﻘﻁﻌﺔ ﺍﻟﺘﻲ ﻜﺘﺒﺘﻬﺎ ﻓﻲ‬ ‫ﺍ‬ ‫ﺭﺴﺎﺌﻠﻲ ﺇﻟﻴﻙ«. ﻭﺒﻌﺩ ﺘﺴﻌﺔ ﺃﺸﻬﺭ، ﺒﻌﺙ ﺇﻟﻴﻪ ﺃﻴﻀ ﹰ ﻴﺨﺒﺭﻩ ﺒﺈﻀﺎﻓﺔ‬ ‫ﺎ‬

‫ﺎ‬ ‫)١( ﻭﺫﺍﺕ ﻤﺭﺓ ﻗﺩﻡ ﻤﻼﺤﻅﺔ ﺇﻟﻰ ﺠﺎﻨﺴﻭﻥ: "ﺍﻟﻨﺎﺱ ﺍﻟﺫﻴﻥ ﺃﺘﻌﺎﻁﻑ ﻤﻌﻬﻡ ﺤﻘﹰ‬ ‫ﻫﻡ ﺍﻟﻌﺩﻤﻴﻭﻥ ﻭﺍﻻﺸﺘﺭﺍﻜﻴﻭﻥ. ﺇﺫﺍ ﺃﺭﺍﺩﻭﺍ ﺸﻴﺌ ﹰ ﻓﺈﻨﻬﻡ ﻴﺴﻌﻭﻥ ﺇﻟﻴﻪ ﻤﻥ‬ ‫ﺎ‬ ‫ﺸﻭ ﻋﺎﻡ ٠٩٨١، ﺒﺎﻟﻤﻁﺎﺒﻘﺔ ﺒﻴﻥ »ﺍﻹﺒﺴﻨﻴﺔ« ﻭ»ﺍﻻﺸﺘﺭﺍﻜﻴﺔ« ﻟﻜﻨﻪ‬ ‫ﺍﻋﺘﺭﺽ ﺒﺎﻟﻔﻌل ﺤﻴﻥ ﺼ ‪‬ﺤﺕ ﺒﻌﺽ ﺍﻟﺠﺭﺍﺌﺩ ﺃﻨﻪ ﻻ ﻋﻼﻗﺔ ﻟﻪ‬ ‫ﺭ‬ ‫ﺒﺎﻻﺸﺘﺭﺍﻜﻴﺔ".‬ ‫ﻗﻠﻭﺒﻬﻡ، ﻭﻫﻭ ﻤﻨﺴﺠﻤﻭﻥ ﻤﻊ ﺃﻨﻔﺴﻬﻡ. ﻟﻡ ﻴﻌﺘﺭﺽ ﺇﺒﺴﻥ، ﺤﻴﻥ ﻗﺎﻡ ﺒﺭﻨﺎﺭﺩ‬

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‫ﻤﻠﺤﻕ ﻤﺜﻴﺭ ﻟﻠﻐﻀﺏ ﻓﻲ ﺍﻟﻤﺴﺭﺤﻴﺔ. ﻭﺼﺭﺡ ﺒﺄﻥ: » ﺍﻟﻤﻔﻜﺭ ﺍﻟﺭﺍﺌﺩ‬ ‫ﻻ ﻴﻤﻜﻨﻪ ﺃﺒﺩﹰ ﺃﻥ ﻴﺠﻤﻊ ﺍﻷﻏﻠﺒﻴﺔ ﻤﻥ ﺤﻭﻟﻪ. ﻓﻘﺩ ﺘﺘﻤﻜﻥ ﺍﻷﻏﻠﺒﻴﺔ ﺒﻌﺩ‬ ‫ﺍ‬ ‫ﻋﺸﺭ ﺴﻨﻭﺍﺕ ﻤﻥ ﺍﻟﻭﺼﻭل ﺇﻟﻰ ﺍﻟﻨﻘﻁﺔ ﺍﻟﺘﻲ ﻭﻗﻑ ﻋﻨﺩﻫﺎ ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺴﺘﻭﻜﻤﺎﻥ ﺤﻴﻥ ﻋﻘﺩ ﺍﻟﻨﺎﺱ ﺍﺠﺘﻤﺎﻋﻬﻡ. ﻟﻜﻥ ﺨﻼل ﺘﻠﻙ ﺍﻟﺴﻨﻭﺍﺕ‬ ‫ﺍﻟﻌﺸﺭ ﻟﻥ ﻴﺒﻕ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺎﻜﻨ ﹰ ﺒﻼ ﺤﺭﺍﻙ، ﻓﻼ ﻴﺯﺍل ﻋﻠﻰ ﺍﻷﻗل‬ ‫ﺎ‬ ‫ﻤﺘﻘﺩﻤ ﹰ ﺒﻌﺸﺭ ﺴﻨﻭﺍﺕ ﻋﻠﻰ ﺍﻵﺨﺭﻴﻥ. ﻭﺍﻷﻏﻠﺒﻴﺔ، ﻭﺍﻟﺠﻤﺎﻫﻴﺭ،‬ ‫ﺎ‬ ‫ﻭﺍﻟﻐﻭﻏﺎﺀ، ﻟﻥ ﻴﺘﻤﻜﻨﻭﺍ ﺃﺒﺩﹰ ﻤﻥ ﺍﻟﻠﺤﺎﻕ ﺒﻪ. ﻭﻫﻭ ﻻ ﻴﺴﺘﻁﻴﻊ ﺃﺒﺩﹰ ﺃﻥ‬ ‫ﺍ‬ ‫ﺍ‬ ‫ﻴﺠﻤﻌﻬﻡ ﻤﻥ ﻭﺭﺍﺌﻪ. ﻭﺃﻨﺎ ﺸﺨﺼﻴ ﹰ ﺃﺸﻌﺭ ﺃﻴﻀ ﹰ ﻭﺒﺼﺭﺍﻤﺔ ﺒﻀﺭﻭﺭﺓ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺍﻟﻤﻀﻲ ﻗﺩﻤ ﹰ. ﻓﺎﻵﻥ ﻴﻘﻑ ﺤﺸﺩ ﺤﻴﺙ ﻭﻗﻔﺕ ﺃﻨﺎ ﺤﻴﻥ ﻜﺘﺒﺕ ﺃﻭﻟﻰ‬ ‫ﺎ‬ ‫ﻜﺘﺒﻲ. ﻟﻜﻨﻨﻲ ﺍﻵﻥ ﻟﻡ ﺃﻋﺩ ﻫﻨﺎﻙ. ﺃﻨﺎ ﻓﻲ ﻤﻜﺎﻥ ﺁﺨﺭ – ﻤﺘﻘﺩﻡ ﻋﻠﻴﻬﻡ‬ ‫ﺒﻜﺜﻴﺭ – ﺃﻭﺁﻤل ﺃﻥ ﺃﻜﻭﻥ ﻜﺫﻟﻙ. ﺤﺎﻟﻴ ﹰ، ﺃﺴﻌﻰ ﺠﺎﻫﺩﹰ ﺇﻟﻰ ﻜﺘﺎﺒﺔ‬ ‫ﺍ‬ ‫ﺎ‬ ‫ﻤﺴﺭﺤﻴﺔ ﺠﺩﻴﺩﺓ ﺘﺘﺄﻟﻑ ﻤﻥ ﺃﺭﺒﻌﺔ ﻓﺼﻭل...« ﻫﺫﻩ ﺍﻟﻤﺴﺭﺤﻴﺔ‬ ‫ﺍﻟﺠﺩﻴﺩﺓ، ﻭﺍﻟﺘﻲ ﺘﻠﺕ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ«، ﻫﻲ ﻤﺴﺭﺤﻴﺔ‬ ‫»ﺍﻟﺒﻁﺔ ﺍﻟﺒﺭﻴﺔ«.‬ ‫ﺘﺄﺘﻲ ﺤﺒﻜﺔ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﻓﻲ ﺍﻷﺼل ﻤﻥ ﺤﺎﺩﺜﺘﻴﻥ‬ ‫ﺤﻘﻴﻘﻴﺘﻴﻥ ﺃﺜﺎﺭﺘﺎ ﺍﻫﺘﻤﺎﻡ ﺇﺒﺴﻥ. ﻓﻘﺩ ﺃﺨﺒﺭﻩ ﺃﻟﻔﺭﺩ ﻤﻴﺴﻨﻴﺭ، ﻭﻫﻭ ﺸﺎﻋﺭ‬ ‫ﺃﻟﻤﺎﻨﻲ ﺸﺎﺏ ﺘﻌﺭﻑ ﺇﻟﻴﻪ ﻓﻲ ﻤﻴﻭﻨﻴﺦ، ﻜﻴﻑ ﺍﻨﺘﺸﺭﺕ ﺍﻟﻜﻭﻟﻴﺭﺍ ﺤﻴﻥ‬

‫ﻜﺎﻥ ﻭﺍﻟﺩﻩ ﻁﺒﻴﺒ ﹰ ﻤﻭﻅﻔ ﹰ ﻓﻲ ﻤﺼﺤﺔ ﺒﻠﺩﺓ ﺘﻴﺒﻠﻴﺘﺯ ﻓﻲ ﺍﻟﺜﻼﺜﻴﻨﻴﺎﺕ،‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻭﻜﻴﻑ ﺸﻌﺭ ﻭﺍﻟﺩﻩ ﺃﻥ ﻤﻥ ﻭﺍﺠﺒﻪ ﺃﻥ ﻴﻨﺸﺭ ﺨﺒﺭﻫﺎ ﺒﻴﻥ ﺍﻟﻨﺎﺱ.‬ ‫ﻭﺒﺎﻟﻨﺘﻴﺠﺔ، ﺘﺨﺭﺏ ﺍﻟﻤﻭﺴﻡ، ﻭﻏﻀﺏ ﻤﻭﺍﻁﻨﻭ ﺘﻴﺒﻠﻴﺘﺯ ﺠﺩﹰ ﻟﺩﺭﺠﺔ‬ ‫ﺍ‬

‫ﺃﻨﻬﻡ ﺭﺸﻘﻭﺍ ﻤﻨﺯل ﺍﻟﺩﻜﺘﻭﺭ ﺒﺎﻟﺤﺠﺎﺭﺓ ﻭﺃﺭﻏﻤﻭﻩ ﻋﻠﻰ ﻤﻐﺎﺩﺭﺓ ﺍﻟﺒﻠﺩﺓ.‬

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‫ﺜﻡ ﻭﻗﻌﺕ ﺤﺎﺩﺜﺔ ﻓﻲ ﺍﻟﻨﺭﻭﻴﺞ ﻤﻊ ﺼﻴﺩﻻﻨﻲ ﻴﺩﻋﻰ ﻫﺎﺭﺍﻟﺩ ﺘﺎﻭﻟﻭ.‬ ‫ﺫﻟﻙ ﺃﻥ ﺘﺎﻭﻟﻭ ﺍﺴﺘﻤﺭ ﻗﺭﺍﺒﺔ ﻋﺸﺭ ﺴﻨﻭﺍﺕ ﻓﻲ ﻤﻬﺎﺠﻤﺔ ﺍﻟﻤﻁﺎﺒﺦ‬ ‫ﺍﻟﺒﺨﺎﺭﻴﺔ ﻓﻲ ﻜﺭﻴﺴﺘﻴﺎﻨﻴﺎ ﻷﻨﻬﺎ ﺘﺠﺎﻫﻠﺕ ﻭﺍﺠﺒﺎﺘﻬﺎ ﺘﺠﺎﻩ ﻓﻘﺭﺍﺀ ﺍﻟﺒﻠﺩﺓ.‬ ‫ﻭﻗﺩ ﺃﻟﻘﻰ ﺨﻁﺎﺒ ﹰ ﻋﻨﻴﻔ ﹰ ﺤﻭل ﻫﺫﺍ ﺍﻟﻤﻭﻀﻭﻉ ﻋﺎﻡ ٤٧٨١، ﺤﻴﻥ ﻋﺎﺩ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺇﺒﺴﻥ ﻟﺯﻴﺎﺭﺓ ﺍﻟﻨﺭﻭﻴﺞ. ﻭﻗﺩ ﺤﺎﻭل ﺘﺎﻭﻟﻭ، ﻓﻲ ٣٢ ﺸﺒﺎﻁ ﻤﻥ ﻋﺎﻡ‬ ‫١٨٨١، ﻭﻗﺒل ﻭﻓﺎﺘﻪ ﺒﺄﺴﺒﻭﻋﻴﻥ، ﺃﻥ ﻴﻘﺭﺃ ﺨﻁﺎﺒ ﹰ ﺃﻋﺩﻩ ﺒﻤﻨﺎﺴﺒﺔ‬ ‫ﺎ‬ ‫ﺍﻻﺠﺘﻤﺎﻉ ﺍﻟﺴﻨﻭﻱ ﺍﻟﻌﺎﻡ ﻋﻥ ﺍﻟﻤﻁﺎﺒﺦ ﺍﻟﺒﺨﺎﺭﻴﺔ. ﺤﺎﻭل ﺭﺌﻴﺱ‬ ‫ﺍﻻﺠﺘﻤﺎﻉ ﻤﻨﻌﻪ ﻤﻥ ﺍﻟﺘﻜﻠﻡ، ﻭﻓﻲ ﺍﻟﻨﻬﺎﻴﺔ ﺃﺠﺒﺭﻩ ﺍﻟﺠﻤﻬﻭﺭ ﻋﻠﻰ ﺍﻟﺒﻘﺎﺀ‬ ‫ﺼﺎﻤﺘ ﹰ ﻀﻤﻥ ﺃﺠﻭﺍﺀ ﻤﻥ ﺍﻟﻔﻭﻀﻰ. ﻗﺭﺃ ﺇﺒﺴﻥ ﺘﻘﺭﻴﺭ ﹰ ﻋﻥ ﻫﺫﺍ‬ ‫ﺍ‬ ‫ﺎ‬ ‫ﺍﻻﺠﺘﻤﺎﻉ ﻓﻲ ﺼﺤﻴﻔﺔ »ﺃﻓﺘﻨﺒﻭﺴﺘﻥ« ﻓﻲ ﺍﻟﺘﻭﻗﻴﺕ ﻨﻔﺴﻪ ﺍﻟﺫﻱ ﻭﺼﻠﺕ‬ ‫ﻓﻴﻪ ﻨﻘﻤﺘﻪ ﻋﻠﻰ ﺍﻻﺴﺘﻘﺒﺎل ﺍﻟﺫﻱ ﺘﻠﻘﺘﻪ ﻤﺴﺭﺤﻴﺔ »ﺍﻷﺸﺒﺎﺡ« ﺇﻟﻰ‬ ‫ﺫﺭﻭﺘﻬﺎ. ﻭﻻ ﺒﺩ ﺃﻨﻪ ﻟﻤﺱ ﻓﻲ ﺍﻟﺼﻴﺩﻻﻨﻲ ﺍﻟﻌﺠﻭﺯ ﻏﺭﻴﺏ ﺍﻷﻁﻭﺍﺭ‬ ‫ﺭﻭﺤ ﹰ ﻗﺭﻴﺒﺔ ﺠﺩ ﹰ ﻤﻥ ﺭﻭﺤﻪ. ﻴﺴﺘﺤﻕ ﺍﻟﺘﻘﺭﻴﺭ ﺍﻟﺫﻱ ﹸﺘﺏ ﻓﻲ‬ ‫ﻜ‬ ‫ﺍ‬ ‫ﺎ‬ ‫ﺍﻟﺼﺤﻴﻔﺔ ﺃﻥ ‪‬ﺴﺘﺸﻬﺩ ﺒﻪ:‬ ‫ﻴ‬ ‫ﺘﺎﻭﻟﻭ: ﻟﻥ ﺃﺘﻭﻗﻑ، ﻭﻟﻴﺱ ﻟﺩﻴﻙ ﺍﻟﺤﻕ ﺒﺈﻴﻘﺎﻓﻲ ﺴﻴﺩﻱ ﺍﻟﺭﺌﻴﺱ.‬ ‫)ﻴﺘﺎﺒﻊ(. ﺍﻟﻨﻘﻁﺔ ﺍﻟﻌﺎﺸﺭﺓ –‬ ‫ﻗﻨﺼل ﻫﻴﻔﺘﻲ: ﻴﺠﺏ ﺇﻴﻘﺎﻑ ﺍﻟﺴﻴﺩ ﺘﺎﻭﻟﻭ!‬

‫ﻴﺘﺎﺒﻊ ﺘﺎﻭﻟﻭ. ﻭﻴﻅﻬﺭﺍﻟﻌﺩﻴﺩ ﻤﻥ ﺍﻟﺤﻀﻭﺭ ﺍﺴﺘﻴﺎﺀﻫﻡ ﻤﻥ‬ ‫ﺨﻼل ﺍﻟﻤﺸﻲ ﻀﻤﻥ ﺍﻟﻘﺎﻋﺔ. ﻴﺴﺄل ﺭﺌﻴﺱ ﺍﻟﻤﺠﻠﺱ ﺍﻟﺴﺎﺩﺓ‬ ‫ﺍﻷﻋﻀﺎﺀ ﻓﻴﻤﺎ ﺇﺫﺍ ﻜﺎﻥ ﻤﻥ ﺤﻘﻪ ﺃﻥ ﻴﻤﻨﻊ ﺍﻟﺴﻴﺩ ﺘﺎﻭﻟﻭ ﻤﻥ‬ ‫ﺍﻟﺼﻌﻭﺩ ﺇﻟﻰ ﺍﻟﻤﻨﺼﺔ. ﻤﻭﺍﻓﻘﺔ ﺒﺎﻹﺠﻤﺎﻉ »ﻨﻌﻡ«. ﻴﻁﻠﺏ‬

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‫ﺭﺌﻴﺱ ﺍﻟﻤﺠﻠﺱ ﻤﺠﺩﺩﹰ ﻤﻥ ﺍﻟﺴﻴﺩ ﺘﺎﻭﻟﻭ ﺍﻟﺘﻭﻗﻑ ﻋﻥ‬ ‫ﺍ‬ ‫ﺍﻟﻘﺭﺍﺀﺓ.‬

‫ﺘﺎﻭﻟﻭ: ﺴﺄﻭﺠﺯ ﻜﻼﻤﻲ ﺠﺩﹰ. )ﻴﺘﺎﺒﻊ ﺍﻟﻘﺭﺍﺀﺓ(‬ ‫ﺍ‬ ‫ﺘﺎﻭﻟﻭ )ﻴﺘﺎﺒﻊ ﺍﻟﻘﺭﺍﺀﺓ(: ﺇﻥ ﺍﻹﻨﺠﺎﺯﺍﺕ ﺍﻟﻤﺠﻴﺩﺓ ﻟﻤﻁﺎﺒﺦ ﻜﺭﻴﺴﺘﻴﺎﻨﻴﺎ‬ ‫ﺍﻟﺒﺨﺎﺭﻴﺔ - ﺴﺄﻨﺘﻬﻲ ﺤﺎ ﹰ -‬ ‫ﻻ‬ ‫ﻗﻨﺼل ﻫﻴﻔﺘﻲ: ﺇﺫﺍ ﺍﺴﺘﻤﺭ ﺍﻟﻭﻀﻊ ﻫﻜﺫﺍ، ﻓﻠﻥ ﻴﺴﺘﻤﺭ ﺍﻻﺠﺘﻤﺎﻉ.‬ ‫ﺍﻟﻤﻨﺼﺔ -‬ ‫ﺭﺌﻴﺱ ﺍﻟﻤﺠﻠﺱ: ﺁﺴﻑ ﻷﻥ ﻋﻠﻲ ﻤﻘﺎﻁﻌﺔ ﺍﻟﺴﻴﺩ ﺘﺎﻭﻟﻭ. ﺍﺘﺭﻙ‬ ‫ﺘﺎﻭﻟﻭ ﻴﺴﺘﻤﺭ ﻓﻲ ﺍﻟﻘﺭﺍﺀﺓ.‬ ‫ﻗﻨﺼل ﻫﻴﻔﺘﻲ: ﺍﺼﻤﺕ، ﻭﺇﻻ ﻓﺴﻨﺭﻤﻴﻙ ﺨﺎﺭﺠ ﹰ.‬ ‫ﺎ‬ ‫ﺘﺎﻭﻟﻭ: ﺁﻩ، ﺤﺴﻨ ﹰ.‬ ‫ﺎ‬ ‫ﻴﺠﻠﺱ ﺘﺎﻭﻟﻭ ﻓﻲ ﺍﻟﻨﻬﺎﻴﺔ. ﻭﺒﻌﺩ ﺃﻥ ﻴﻘﺭﺃ ﺭﺌﻴﺱ ﺍﻟﻤﺠﻠﺱ‬ ‫ﺘﻘﺭﻴﺭﻩ ﻟﺒﻀﻌﺔ ﺩﻗﺎﺌﻕ-‬ ‫ﻗﻨﺼل ﻫﻴﻔﺘﻲ: ﻫل ‪‬ﺴﻤﺢ ﻟﻪ ﺒﺎﻟﻤﺘﺎﺒﻌﺔ؟‬ ‫ﻴ‬

‫ﺭﺌﻴﺱ ﺍﻟﻤﺠﻠﺱ: ﻓﻲ ﻫﺫﻩ ﺍﻟﺤﺎﻟﺔ ﺴﻭﻑ -‬

‫ﺘﺎﻭﻟﻭ: ﻟﻥ ﺃﺼﻤﺕ.‬

‫ﺘﺎﻭﻟﻭ:... ﻫﺫﺍ ﻜﺜﻴﺭ ﺠﺩ ﹰ. ﻻ ﻓﺎﺌﺩﺓ ﻤﻥ ﻤﺤﺎﻭﻟﺔ ﻤﻌﺎﺭﻀﺔ ﺍﻟﻐﻭﻏﺎﺀ٠‬ ‫ﺍ‬ ‫ﻗﻨﺼل ﻫﻴﻔﺘﻲ: ﻫل ﺴﻤﻊ ﺭﺌﻴﺱ ﺍﻟﻤﺠﻠﺱ ﺍﻟﺴﻴﺩ ﺘﺎﻭﻟﻭ ﻭﻫﻭ ﻴﺸﻴﺭ‬ ‫ﺇﻟﻴﻨﺎ ﺒﺎﻟﻐﻭﻏﺎﺀ؟...‬

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‫ﻓﻲ ﺍﻟﻨﻬﺎﻴﺔ، ﻏﺎﺩﺭ ﺍﻟﺴﻴﺩ ﺘﺎﻭﻟﻭ ﺍﻻﺠﺘﻤﺎﻉ ﻏﺎﻀﺒ ﹰ، ﻭﻫﻭ ﻴﻘﻭل: ﻟﻡ‬ ‫ﺎ‬ ‫ﻴ ‪‬ﺩ ﻫﻨﺎﻙ ﺸﻲﺀ ﺃﻓﻌﻠﻪ ﻟﻜﻡ ﻫﻨﺎ. ﻟﻥ ﺃﺭﻤﻲ ﻵﻟﺌﻲ ﻓﻲ ﺍﻟﺭﻤل. ﺇﻨﻬﺎ‬ ‫ﻌ‬ ‫ﺇﻫﺎﻨﺔ ﺒﻜل ﻤﻌﻨﻰ ﺍﻟﻜﻠﻤﺔ ﺴﺄﺘﻭﺠﻪ ﻷﻨﺎﺱ ﺃﺤﺭﺍﺭ ﻓﻲ ﻤﺠﺘﻤﻊ ﺤﺭ.ﺃﻨﺎ‬ ‫ﺫﺍﻫﺏ ﺍﻵﻥ! ﻗﻔﻭﺍ ﻓﻲ ﺍﻟﺯﺍﻭﻴﺔ ﻤﺜل ﺍﻷﻏﺒﻴﺎﺀ ﻭﺍﺨﺠﻠﻭﺍ ﻤﻥ ﺃﻨﻔﺴﻜﻡ!‬ ‫ﻤﻥ ﺍﻟﻤﺤﺘﻤل ﺃﻥ ﻋﻀﻭﹰ ﺇﻨﻜﻠﻴﺯﻴ ﹰ ﻓﻲ ﺍﻟﺒﺭﻟﻤﺎﻥ ﺃﺴﻬﻡ ﺒﺸﻲﺀ ﻤﺎ‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﻓﻲ ﺍﻟﻤﺴﺭﺤﻴﺔ. ﻜﺎﻥ ﺘﺸﺎﺭﻟﺯ ﺒﺭﺍﺩﻟﻭ، ﺍﻟﺫﻱ ﻨﺠﺎ ﺒﺼﻌﻭﺒﺔ ﻤﻥ ﺍﻟﺴﺠﻥ‬ ‫ﻟﻤﺸﺎﺭﻜﺘﻪ ﻓﻲ ﻜﺘﻴﺏ ﻴﺩﺍﻓﻊ ﻋﻥ ﺘﺤﺩﻴﺩ ﺍﻟﻨﺴل، )ﻓﻲ ﺍﻟﻭﺍﻗﻊ ﺼﺩﺭ‬ ‫ﻤﺘﻁﺭﻓ ﹰ ﻓﻲ ﺍﻟﺒﺭﻟﻤﺎﻥ ﻋﻥ ﻨﻭﺭﺜﺎﻤﺒﺘﻭﻥ ﻋﺎﻡ ٠٨٨١، ﻟﻜﻨﻪ ‪‬ﺭﻡ ﻤﻥ‬ ‫ﺤ‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﺍﻟﺤﻜﻡ ﺒﺤﻘﻪ، ﻟﻜﻨﻪ ﻫﺭﺏ ﻓﻲ ﻤﺭﺤﻠﺔ ﺍﻻﺴﺘﺌﻨﺎﻑ(، ﻗﺩ ﺍﻨﺘﺨﺏ ﻋﻀﻭﹰ‬

‫ﻁﺭﺩ‬ ‫ﻟﻠﻤﺠﻠﺱ ﻓﻲ ﻜل ﻤﺭﺓ، ﻟﻜﻨﻪ ﻜﺎﻥ ‪‬ﺴﺘﺒﻌﺩ. ﻭﻓﻲ ﻋﺎﻡ ١٨٨١، ﹸ ِ ‪‬‬ ‫ﻴ‬

‫ﻤﻘﻌﺩﻩ ﻋﻠﻰ ﺃﺴﺎﺱ ﺍﻋﺘﺭﺍﻓﻪ ﺃﻨﻪ ﻤﻔﻜﺭ ﺤﺭ ﻤﻌﺘﺭﻑ ﺒﻪ ﻭﺃﻥ ﺍﻟﻘﹶ ‪‬ﻡ ﻟﻥ‬ ‫ﺴ‬ ‫‪‬ﻠ ِﻤﻪ. ﺠﺭﺕ ﺍﻨﺘﺨﺎﺒﺎﺕ ﺠﺩﻴﺩﺓ ﻓﻲ ﻨﻭﺭﺜﺎﻤﺒﺘﻭﻥ، ﻭﻜﺎﻥ ﻴﻌﻭﺩ‬ ‫ﻴﺯ‬

‫ﺒﺎﻟﻘﻭﺓ ﻤﻥ ﺍﻟﺒﺭﻟﻤﺎﻥ ﺒﻭﺴﺎﻁﺔ ﻋﺸﺭﺓ ﺭﺠﺎل ﺸﺭﻁﺔ. ﻭﺒﻘﻴﺕ ﺍﻟﺤﺎل‬

‫ﻜﺫﻟﻙ ﺤﺘﻰ ﻋﺎﻡ ٦٨٨١ ﺤﺘﻰ ﻤﻨﺤﻪ ﺭﺌﻴﺱ ﺁﺨﺭ ﻟﻠﺒﺭﻟﻤﺎﻥ ﺍﻟﺤﻕ‬ ‫ﺒﺎﻟﻘﺴﻡ ﻭﺍﻻﺸﺘﺭﺍﻙ ﻓﻲ ﺍﻟﻤﺠﻠﺱ. » ﻴﺠﺏ ﺃﻥ ﺘﺴﻤﻊ ﻤﺎ ﻗﺎﻟﻪ ﺇﺒﺴﻥ ﻋﻥ‬ ‫ﺃﺨﻴﻪ ﺘﺸﺎﺭﻟﺯ ﻓﻲ ﺍﻟﺭﺍﺒﻊ ﻋﺸﺭ ﻤﻥ ﺁﺫﺍﺭ ﻋﺎﻡ ٢٨٨١، ﺤﻴﻥ ﻜﺎﻥ‬ ‫ﺒﺭﺍﺩﻟﻭ - ﻓﻘﺩ ﻜﺎﻥ ﻴﺅﻴﺩﻩ ﻜﺜﻴﺭﹰ«، ﻫﺫﺍ ﻤﺎ ﻜﺘﺒﻪ ﻭﻴﻠﻴﺎﻡ ﺁﺭﺘﺸﺭ ﺇﻟﻰ‬ ‫ﺍ‬

‫ﻟﻜ ‪ ‬ﺸﺨﺼﻴﺔ ﺴﺘﻭﻜﻤﺎﻥ ﻨﻔﺴﻪ ‪‬ﻨﻴﺕ ﺃﺴﺎﺴ ﹰ ﻋﻠﻰ ﺍﺜﻨﻴﻥ ﻤﻥ‬ ‫ﺎ‬ ‫ﺒ‬ ‫ﻥ‬ ‫ﻤﻌﺎﺭﻑ ﺇﺒﺴﻥ ﺍﻟﻘﺩﻤﺎﺀ، ﻭﻜﻼﻫﻤﺎ ﻜﺎﺘﺒﺎﻥ ﻤﻤﻴﺯﺍﻥ: ﺠﻭﻨﺎﺱ ﻻﻱ‬

‫ﺇﺒﺴﻥ ‪  ‬ﺎ ِﺭ ﻜﺘﺎﺒﺔ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ«. ﻭﻜﺎﻥ ﺒﺭﺍﺩﻟﻭ ﻴﺸﺒﻪ‬ ‫ﺴﻴﺒ ﺸ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻟﺩﺭﺠﺔ ﻜﺒﻴﺭﺓ.‬

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‫ﻭﺒﻴﻭﺭﻨﺴﺘﻴﺭﻥ ﺒﻴﻭﺭﻨﺴﻭﻥ. ﻗﺎﺒل ﺇﺒﺴﻥ ﻻﻱ ﻤﻥ ﺠﺩﻴﺩ ﻓﻲ‬ ‫ﺒﻴﺭﻜﺘﺴﻐﺎﺩﻥ ﺍﻟﺼﻴﻑ ﺍﻟﻤﺎﻀﻲ ﻋﺎﻡ ٠٨٨١، ﻓﻭﺠﺩﻩ ﻤﺭﺘﺒﻜ ﹰ،‬ ‫ﺎ‬ ‫ﻭﺤﻨﻭﻨ ﹰ، ﻭﻤﺘﻘﻠﺒ ﹰ ﻭﻋﺩﻴﻡ ﺍﻟﺼﺒﺭ ﻜﻌﺎﺩﺘﻪ. ﻴﺸﺘﺭﻙ ﺒﻴﻭﺭﻨﺴﻭﻥ ﻤﻌﻪ ﻓﻲ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺍﻟﺤﻨﺎﻥ ﻭﻋﺩﻡ ﺍﻟﺼﺒﺭ، ﺇﻀﺎﻓﺔ ﺇﻟﻰ ﺍﻟﻔﺼﺎﺤﺔ ﻭﺍﻟﺸﻌﻭﺭ ﺍﻟﻌﺎﺌﻠﻲ‬ ‫ﺍﻟﻘﻭﻱ ﻭﺍﻟﻤﻘﺩﺭﺓ ﻏﻴﺭ ﺍﻟﻤﺤﺩﻭﺩﺓ ﻋﻠﻰ ﺍﻟﻐﻀﺏ ﺍﻷﺨﻼﻗﻲ. ﻟﻜﻥ ﻴﺠﺏ‬ ‫ﺃ ﹼ ﻨﻨﺴﻰ، ﺤﻴﻥ ﻨﺄﺨﺫ ﻓﻲ ﺍﻋﺘﺒﺎﺭﻨﺎ ﺃﺼﻭل ﺴﺘﻭﻜﻤﺎﻥ، ﺃﻥ ﺇﺒﺴﻥ ﺫﺍﺘﻪ‬ ‫ﻻ‬ ‫ﺤﻴﻥ ﻜﺎﻥ ﺸﺎﺒ ﹰ ﻴﺎﻓﻌ ﹰ ﻜﺎﻥ ﺨﻁﻴﺒ ﹰ ﻤﻔﻭﻫ ﹰ ﻭﺤﻤﺎﺴﻴ ﹰ ﻓﻲ ﺍﻟﻘﻀﺎﻴﺎ ﺍﻟﺘﻲ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻴﺘﺄﺜﺭ ﺒﻬﺎ. ﻭﻗﺩ ﻭﺼﻔﻪ ﻟﻭﺭﻴﻨﺘﺯ ﺩﻴﺘﺭﻴﻜﺴﻭﻥ ﺤﻴﻥ ﺨﻁﺏ ﻓﻲ ﺤﺸﺩ‬ ‫ﻤﻥ ﺍﻟﺠﺎﻟﻴﺔ ﺍﻹﺴﻜﻨﺩﻨﺎﻓﻴﺔ ﻓﻲ ﺭﻭﻤﺎ ﻋﺎﻡ ٤٦٨١، ﻓﻲ ﻤﻭﻀﻭﻉ‬ ‫ﺍﻟﺤﺭﺏ ﺍﻟﺩﻨﻤﺎﺭﻜﻴﺔ-ﺍﻷﻟﻤﺎﻨﻴﺔ. »ﺍﻷﺴﻰ ﻜﻠﻪ ﺍﻟﺫﻱ ﺍﺨﺘﺯﻨﻪ ﻓﻲ ﺩﺍﺨﻠﻪ‬ ‫ﻟﺯﻤﻥ ﻁﻭﻴل، ﻭﺍﻟﻨﻘﻤﺔ ﺍﻟﻌﺎﺭﻤﺔ ﻭﺍﻟﻌﺎﻁﻔﺔ ﺍﻟﻤﺘﻘﺩﺓ ﻜﻠﻬﺎ ﺘﺠﺎﻩ ﺍﻟﻘﻀﻴﺔ‬ ‫ﺍﻹﺴﻜﻨﺩﻨﺎﻓﻴﺔ ﺍﻟﺘﻲ ﻜﺒﺤﻬﺎ ﻟﺯﻤﻥ ﻁﻭﻴل ﻭﺠﺩﺕ ﻟﻬﺎ ﻤﺘﻨﻔﺴ ﹰ ﻋﻨﺩﺌ ٍ. ﺒﺩﺃ‬ ‫ﺫ‬ ‫ﺎ‬ ‫ﺼﻭﺘﻪ ﻴﺭﻥ، ﻭﻓﻲ ﺍﻟﻐﺴﻕ ﻻ ﻴﺴﺘﻁﻴﻊ ﺍﻟﻤﺭﺀ ﺃﻥ ﻴﺭﻯ ﺴﻭﻯ ﻋﻴﻨﻴﻪ‬ ‫ﺍﻟﻤﺘﻘﺩﺘﻴﻥ. ﻭﺤﻴﻥ ﺍﻨﺘﻬﻰ، ﻟﻡ ﻴﻜﻥ ﻫﻨﺎﻙ ﻤﻥ ﻴﺭﻓﻊ ﻜﺄﺴﻪ ﺃﻭ ﻴﻘﻭل‬ ‫ﺒﺭﺍﭭﻭ، ﻟﻜﻨﻨﻲ ﺃﻋﺘﻘﺩ ﺃﻨﻨﺎ ﻜﻠﻨﺎ ﺸﻌﺭﻨﺎ ﺃﻨﻪ ﻓﻲ ﺘﻠﻙ ﺍﻟﻠﻴﻠﺔ ﻋﻼ ﺼﻭﺕ‬ ‫ﻨﺸﻴﺩ ﻤﺎﺭﺴﻴﻠﻴﺱ ﺍﻟﺸﻤﺎل ﻓﻲ ﺃﺠﻭﺍﺀ ﺘﻠﻙ ﺍﻟﻠﻴﻠﺔ ﺍﻟﺭﻭﻤﺎﻨﻴﺔ«. ﻭﻫﺫﺍ‬ ‫ﻟﻴﺱ ﺒﻌﻴﺩ ﹰ ﺠﺩ ﹰ ﻋﻥ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻓﻲ ﺍﻟﻔﺼل ﺍﻟﺭﺍﺒﻊ، ﻭﻤﺎ‬ ‫ﺍ ﺍ‬ ‫ﻴﺴﺘﺤﻕ ﺍﻟﺫﻜﺭ ﻫﻨﺎ ﺃﻥ ﺍﻟﻤﻨﺯل ﺍﻟﺫﻱ ﻭﻟﺩ ﻓﻴﻪ ﺇﺒﺴﻥ ﻓﻲ »ﺴﻜﻴﻴﻥ«‬ ‫ﻜﺎﻥ ﻴﺴﻤﻰ ﺴﺘﻭﻜﻤﺎﻨﺯﻏﺎﺭﺩﻥ.‬ ‫ﺃﺴﻼﻜﺴﻥ، ﺍﻟﺫﻱ ﻴﻌﻤل ﻓﻲ ﺍﻟﻁﺒﺎﻋﺔ، ﺸﺨﺼﻴﺔ ﻤﻥ ﺸﺨﺼﻴﺎﺕ‬ ‫ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ«، ﻭﻗﺩ ﻅﻬﺭﺕ ﺴﺎﺒﻘ ﹰ ﻓﻲ ﻤﺴﺭﺤﻴﺔ »ﻋﺼﺒﺔ‬ ‫ﺎ‬

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‫ﺼﻐﻴﺭ ﺤﺯﻴﻥ، ﺃﻤﺎ ﻓﻲ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﻓﻘﺩ ﺃﺼﺒﺢ ﻜﺘﻠﺔ‬

‫ﺍﻟﺸﺒﺎﺏ« ﺍﻟﺘﻲ ﺃﻨﺠﺯﺕ ﻋﺎﻡ ٩٦٨١. ﻅﻬﺭ ﻓﻴﻬﺎ ﻋﻠﻰ ﺃﻨﻪ ﺴﻜﻴﺭ‬ ‫ﻤﻥ ﺍﻻﺤﺘﺭﺍﻡ ﻭﺍﻻﻋﺘﺩﺍل. ﺃﻤﺎ ﻤﻭﺭﺘﻥ ﻜﻴل، »ﺍﻟ ﹸ ‪‬ﻴﺭ«، ﻓﻘﺩ ﺘﻡ‬ ‫ﻐﺭ‬

‫ﺘﺼﻤﻴﻤﻪ ﻟﻴﻜﻭﻥ ﺸﺨﺼﻴﺔ ﻤﻥ ﺸﺨﺼﻴﺎﺕ ﻤﺴﺭﺤﻴﺔ »ﺃﻋﻤﺩﺓ‬ ‫ﻟﻜﻨﻪ ﻟﻡ ‪‬ﻭﻀﻊ ﻓﻲ ﺍﻟﻤﺴﻭﺩﺓ ﺍﻷﺨﻴﺭﺓ. ‪‬ﺼﻑ ﺇﺒﺴﻥ، ﻤﺜل ﻭﺼﻑ‬ ‫ﻭ‬ ‫ﻴ‬ ‫ﺭﺠل ﻤﻘﺘﺼﺩ...‬ ‫ﺍﻟﻤﺠﺘﻤﻊ«. ﻭﻗﺩ ﻅﻬﺭ ﻓﻲ ﺍﻟﻤﻼﺤﻅﺎﺕ ﺍﻟﺘﺤﻀﻴﺭﻴﺔ ﻟﺘﻠﻙ ﺍﻟﻤﺴﺭﺤﻴﺔ،‬

‫ﺒﺘﻥ ﻤﻭﻟﺩﺭ ﻟﻠﺴﻴﺩ ﻓﻲ ﻤﺴﺭﺤﻴﺔ »ﺒﻴﺭ ﺠﻨﺕ«، ﺒﺄﻨﻪ:‬ ‫ﻓﻬﻭ ﻻ ﻴﺭﻤﻲ ﺃﻱ ﺸﻲﺀ‬

‫ﻓﻲ ﺃﻭﺍﺨﺭ ﺘﺸﺭﻴﻥ ﺍﻷﻭل ﻤﻥ ﻋﺎﻡ ٤٦٩١ ﹸ ِﻊ ﻋﺩﺩ ﻤﻥ‬ ‫ﻁﺒ‬ ‫ﺭﺴﺎﺌل ﺇﺒﺴﻥ، ﺍﻟﺘﻲ ﻟﻡ ﹸﻨﺸﺭ ﺴﺎﺒﻘ ﹰ، ﺒﺼﻭﺭﺓ ﺸﺨﺼﻴﺔ ﻭﻓﻲ ﻁﺒﻌﺔ‬ ‫ﺎ‬ ‫ﺘ‬ ‫ﻤﺤﺩﻭﺩﺓ) ١(، ﻤﻥ ﺒﻴﻨﻬﺎ ﺜﻼﺜﺔ ﺭﺴﺎﺌل ﺫﺍﺕ ﺃﻫﻤﻴ ﺔ ﺨﺎﺼﺔ ﻴﺘﺤﺩﺙ ﻓﻴﻬﺎ‬ ‫ﺇﺒﺴﻥ ﺒﺎﻟﺘﻔﺼﻴل ﻋﻥ ﺸﺨﺼﻴﺎﺕ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ«. ﻭﻗﺩ‬ ‫ﺒﻌﺙ ﻫﺎﻨﺯ ﺸﺭﻭﻴﺩﺭ - ﻤﺩﻴﺭ ﻤﺴﺭﺡ ﻜﺭﻴﺴﺘﻴﺎﻨﻴﺎ ﺍﻟﺫﻱ ﻜﺎﻥ ﻗﺩ‬ ‫ﺭﻓﺽ ﻤﺴﺭﺤﻴﺔ »ﺍﻷﺸﺒﺎﺡ« ﻭﻫﻲ ﺫﻜﺭﻯ ﻅﻠﺕ ﻤﺅﻟﻤﺔ ﻟﻬﺫﺍ ﺍﻟﺭﺠل‬ ‫ﺴﻲﺀ ﺍﻟﺤﻅ ﻁﻭﺍل ﺤﻴﺎﺘﻪ- ﺒﺘﻠﻐﺭﺍﻑ ﺇﻟﻰ ﺇﺒﺴﻥ ﻓﻲ ﺭﻭﻤﺎ ﻟﻴﺴﻤﺢ ﻟﻪ‬ ‫ﺒﺎﻟﻌﺭﺽ ﺍﻷﻭل ﻟﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ«. ﻭﺍﻓﻕ ﺇﺒﺴﻥ، ﻟﻜﻨﻪ‬
‫)1( . ﻤﺭﺍﺴﻼﺕ ﻫﻨﺭﻴﻙ ﺇﺒﺴﻥ ﻤﻊ ﻤﺴﺭﺡ ﻜﺭﻴﺴﺘﻴﺎﻨﻴﺎ ٨٧٨١ -٩٩٨١، ﺤﺭﺭﻩ‬ ‫ﻤﻊ ﺘﻌﻠﻴﻕ ﺃﻭﻴـﭭﻴﻨﺩ ﺁﻨﻜﺭ )ﻏﻴﻠﺩﻴﻨﺩﺍل ﻨﻭﺭﺴﻙ ﻓﻭﺭﻻﻍ، ﺃﻭﺴﻠﻭ، ٤٦٩١(.‬

‫ﻴﻤﻜﻥ ﺍﺴﺘﺨﺩﺍﻤﻪ ﺜﺎﻨﻴﺔ ﻜﻤﺎﺩﺓ ﺨﺎﻡ‬

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‫ﺃﻏﻀﺒﻬﻡ ﺤﻴﻥ ﻁﻠﺏ ﺃﻥ ﻴﺩﻓﻌﻭﺍ ﻟﻪ ﻤﻜﺎﻓﺄﺓ ﻗﺩﺭﻫﺎ ٠٠٠٤ ﻜﺭﻭﻥ‬ ‫)ﻭﻜﺎﻥ ﻗﺩ ﺴﻤﺢ ﻟﻬﻡ ﺒﺄﻥ ﻴﺄﺨﺫﻭﺍ ﻤﺴﺭﺤﻴﺔ »ﺒﻴﺕ ﺍﻟﺩﻤﻴﺔ« ﻤﻘﺎﺒل‬ ‫٠٠٥٢(، ﻭﺒﻌﺩ ﺃﺴﺒﻭﻉ، ﻓﻲ ٤١ ﻜﺎﻨﻭﻥ ﺍﻷﻭل ٢٨٨١، ﻜﺘﺏ ﺇﻟﻰ‬ ‫ﺸﺭﻭﻴﺩﺭ ﻤﻥ ﺭﻭﻤﺎ:‬ ‫"ﺍﺴﻤﺢ ﻟﻲ ﺃﻥ ﺃﻭﺠﻪ ﺇﻟﻴﻙ ﺒﻀﻌﺔ ﺃﺴﻁﺭ ﺘﺘﻌﻠﻕ ﺒﺎﻹﻨﺘﺎﺝ ﺍﻟﻘﺎﺩﻡ‬ ‫ﻟﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ«. ﻟﻴﺱ ﻓﻲ ﻨﻴﺘﻲ ﺃﻭ ﺭﻏﺒﺘﻲ ﻤﺤﺎﻭﻟﺔ ﺍﻟﺘﺄﺜﻴﺭ‬ ‫ﻓﻲ ﺍﻹﺨﺭﺍﺝ ﺍﻟﻤﺴﺭﺤﻲ ﺃﻭ ﻓﻲ ﺃﺩﺍﺀ ﺍﻷﺩﻭﺍﺭ ﻓﻲ ﻏﻴﺎﺏ ﺍﻟﻤﺅﻟﻑ،‬ ‫ﻟﻜﻥ ﺍﻟﺘﻌﺒﻴﺭ ﻋﻥ ﺒﻌﺽ ﺍﻟﻤﺸﺎﻋﺭ ﺍﻟﺘﻲ ﺃﺤﻤﻠﻬﺎ ﺘﺠﺎﻩ ﺠﻭﺍﻨﺏ ﻤﺘﻨﻭﻋﺔ‬ ‫ﻓﻲ ﺍﻟﻤﺴﺭﺤﻴﺔ ﻻ ﺘﺅﺫﻱ. ﺇﻨﻨﻲ ﻭﺍﺜﻕ ﻤﻥ ﺍﻓﺘﺭﺍﻀﻲ ﺃﻥ ﺍﻟﺴﻴﺩﺓ ﻭﻭﻟﻑ‬

‫ﺴﺘﺅﺩﻱ ﺩﻭﺭ ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ.... ﺃﻤﺎ ﻓﻴﻤﺎ ﻴﺘﻌﻠﻕ ﺒﺩﻭﺭ ﻫﻭﭬﺴﺘﺎﺩ،‬ ‫ﻓﺈﻥ ﺃﺭﺩﺕ ﺍﺨﺘﻴﺎﺭ ﻤﻤﺜل ﻤﻨﺎﺴﺏ ﻟﻠﺩﻭﺭ، ﻓﻌﻠﻴﻙ ﺍﻨﺘﻘﺎﺀﻩ ﺒﺤﻴﺙ ﻻ‬ ‫ﺘﻜﻭﻥ ﺸﺨﺼﻴﺘﻪ ﺒﻁﻭﻟﻴﺔ ﻟﻠﻐﺎﻴﺔ. ﻫﺫﺍ ﻫﻭ ﻨﻭﻉ ﺍﻟﺭﺠل ﺍﻟﺫﻱ ﻋﻠﻴﻙ‬ ‫ﻭﻋﻠﻰ ﻁﻌﺎﻡ ﻗﻠﻴل ﻭﺒﺎﺌﺱ. ﻭﻗﺩ ﻋﺎﻨﻰ ﺨﻼل ﻁﻔﻭﻟﺘﻪ ﻅﺭﻭﻑﹶ ﺍﻟﺒﺭﺩ‬ ‫ﺍﻟﺸﺩﻴﺩ ﻭﺍﻟﻌﻤل ﺍﻟﻤﻀﻨﻲ. ﻭﻓﻴﻤﺎ ﺒﻌﺩ، ﺤﻴﻥ ﻏﺩﺍ ﺸﺎﺒ ﹰ ﺍﺒ ﹸِﻲ ﺒﺎﻟﻔﻘﺭ‬ ‫ﺎ ﺘﻠ‬ ‫ﻭﺘﺎﺒﻊ ﺤﻴﺎﺘﻪ ﻤﺘﺤﻤﻼ ﺍﻟﻌﻭﺯ ﻭﺍﻟﺤﺭﻤﺎﻥ. ﺇﻥ ﻅﺭﻭﻓ ﹰ ﻤﻌﻴﺸﻴﺔ ﻜﻬﺫﻩ‬ ‫ﺎ‬ ‫ﺍﺨﺘﻴﺎﺭﻩ. ﻫﻭﭬﺴﺘﺎﺩ ﻫﻭ ﺍﺒﻥ ﻋﺎﺌﻠﺔ ﻓﻘﻴﺭﺓ، ﺘﺭﺒﻰ ﻓﻲ ﺒﻴﺕ ﻤﺘﺴﺦ‬

‫ﺘﺘﺭﻙ ﺃﺜﺭﻫﺎ ﻓﻲ ﺍﻟﻤﻅﻬﺭ ﺍﻟﺨﺎﺭﺠﻲ ﻟﻺﻨﺴﺎﻥ، ﻭﻟﻴﺱ ﻓﻘﻁ ﻓﻲ ﺭﻭﺤﻪ.‬ ‫ﻭﺇﻥ ﻭﺠﺩﺕ ﺒﻴﻥ ﺍﻟﻌﺎﻤﺔ ﺭﺠﺎ ﹰ ﻴﻤﻠﻜﻭﻥ ﻤﻅﻬﺭﹰ ﺒﻁﻭﻟﻴ ﹰ ﻓﻬﻭ ﺃﻤﺭ‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﻻ‬ ‫ﺍﺴﺘﺜﻨﺎﺌﻲ. ﻭﻤﻬﻤﺎ ﻜﺎﻨﺕ ﺍﻟﻅﺭﻭﻑ ﻓﻼ ﺒﺩ ﺃﻥ ﻴﻜﻭﻥ ﻤﻅﻬﺭ ﻫﻭﭬﺴﺘﺎﺩ‬

‫ﻜﺌﻴﺒ ﹰ ﻨﻭﻋ ﹰ ﻤﺎ ﻭﻤﻨﻜﻤﺸ ﹰ ﻭﻤﺘﺫﻟ ﹰ، ﻭﻏﻴﺭ ﻭﺍﺜﻕ ﻓﻲ ﺤﺭﻜﺎﺘﻪ. ﻭﻜل‬ ‫ﻼ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻫﺫﻩ ﺍﻷﻤﻭﺭ ﻁﺒﻌ ﹰ ﻴﺠﺏ ﺃﻥ ﹸﺼ ‪‬ﺭ ﺒﺼﻭﺭﺓ ﻁﺒﻴﻌﻴﺔ ﺠﺩﹰ. ﺃﺴﻁﺭ‬ ‫ﺍ‬ ‫ﺘ ﻭ‬ ‫ﺎ‬

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‫ﻻ ﻟﻬﺠﺔ ﻤﺜل ﻟﻬﺠﺔ ﺃﻫل ﺒﻴﺭﻏﻥ. ﻭﻫﻭ ﺒﺎﻷﺼل ﺸﺨﺼﻴﺔ ﻤﻥ‬ ‫ﺍﻟﺴﺎﺤل ﺍﻟﺸﺭﻗﻲ. ﻭﻗﺩ ﺃﺴﺎﺀ ﻨﺎﻗﺩ ﺩﻨﻤﺎﺭﻜﻲ ﻓﻬﻡ ﺸﺨﺼﻴﺔ ﺍﻟﻜﺎﺒﺘﻥ‬

‫ﺸﺨﺼﻴﺔ ﺒﻴﻠﻴﻨﻎ ﻓﻴﻬﺎ ﻜﻼﻡ ﻜﺜﻴﺭ؛ ﻟﺫﺍ ﺘﺘﻁﻠﺏ ﻟﻬﺠﺔ ﺍﻟﺴﺎﺤل ﺍﻟﺸﺭﻗﻲ‬

‫ﻫﻭﺭﺴﺘﺭ ﻋﻠﻰ ﻨﺤﻭ ﻤﻀﺤﻙ. ﻓﻘﺩ ﻭﺼﻑ ﻫﻭﺭﺴﺘﺭ ﺒﺄﻨﻪ ﺭﺠل‬

‫ﻋﺠﻭﺯ، ﻭﺃﻨﻪ ﺼﺩﻴﻕ ﻗﺩﻴﻡ ﻟﻠﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ، ﺍﻟﺦ. ﻭﻫﺫﺍ ﺒﺎﻟﻁﺒﻊ‬

‫ﺸﻲﺀ ﺨﺎﻁﺊ ﺘﻤﺎﻤ ﹰ. ﻓﻬﻭﺭﺴﺘﺭ ﺸﺎﺏ، ﻤﻥ ﺍﻟﺸﺒﺎﺏ ﺍﻟﺫﻴﻥ ﻴﺒﺘﻬﺞ‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﻟﺸﻬﻴﺘﻬﻡ ﺍﻟﻘﻭﻴﺔ، ﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤﻥ ﺃﻨﻪ ﺯﺍﺌﺭ ﻨﺎﺩﺭ ﻟﻠﻤﻨﺯل‬ ‫ﻷﻨﻪ ﻴﻜﺭﻩ ﺼﺤﺒﺔ ﻫﻭﭬﺴﺘﺎﺩ ﻭﺒﻴﻠﻴﻨﻎ. ﻭﺴﺎﺒﻘ ﹰ ﻓﻲ ﺍﻟﻔﺼل ﺍﻷﻭل، ﻻ‬ ‫ﺎ‬

‫ﻭﺨﻼل ﺍﻷﺤﺎﺩﻴﺙ ﺍﻟﻤﺨﺘﺼﺭﺓ ﺍﻟﻤﺘﺒﺎﺩﻟﺔ ﺒﻴﻨﻪ ﻭﺒﻴﻨﻬﺎ ﻓﻲ ﺍﻟﻔﺼل‬ ‫ﺍﻟﺨﺎﻤﺱ، ﻻ ﺒﺩ ﺃﻥ ﻨﺸﻌﺭ ﺃﻨﻬﻤﺎ ﺍﻵﻥ ﻴﻘﻔﺎﻥ ﻋﻠﻰ ﻋﺘﺒﺔ ﻋﻼﻗﺔ‬

‫ﺒﺩ ﺃﻨﻪ ﺘﻤﺕ ﺍﻹﺸﺎﺭﺓ ﺒﺸﻜل ﻁﻔﻴﻑ ﺇﻟﻰ ﺍﻫﺘﻤﺎﻡ ﻫﻭﺭﺴﺘﺭ ﺒﺒﺘﺭﺍ،‬

‫ﻻ ﺒﺩ ﻤﻥ ﺇﺭﺸﺎﺩ ﻜﻼ ﺍﻟﻁﻔﻠﻴﻥ ﺒﺤﺭﺹ، ﻟﻴﺘﻀﺢ ﺍﻟﻔﺭﻕ ﺒﻴﻥ‬ ‫ﺸﺨﺼﻴﺘﻴﻬﻤﺎ. ﻭﺃﻟﺘﻤﺱ ﻤﻨﻙ ﺍﺴﺘﺨﺩﺍﻡ ﻜل ﻤﻤﺜل ﻴﻜﻭﻥ ﺘﺤﺕ ﺘﺼﺭﻓﻙ‬ ‫ﻓﻲ ﺍﻟﻔﺼل ﺍﻟﺭﺍﺒﻊ. ﻭﻻ ﺒﺩ ﺃﻥ ﻴﻔﺭﺽ ﺍﻟﻤﺨﺭﺝ ﺍﻟﻤﺴﺭﺤﻲ ﻫﻨﺎ‬ ‫ﺃﻗﺼﻰ ﺩﺭﺠﺎﺕ ﺍﻟﻁﺒﻴﻌﻴﺔ ﻭﻴﻤﻨﻊ ﺒﺎﻟﺘﺤﺩﻴﺩ ﺃﻴﺔ ﺴﺨﺭﻴﺔ ﺃﻭ ﻤﺒﺎﻟﻐﺔ.‬ ‫ﻭﻜﻠﻤﺎ ﻭﻀﻌﺕ ﺸﺨﺼﻴﺎﺕ ﻭﺍﻗﻌﻴﺔ ﻓﻲ ﺍﻟﺤﺸﺩ ﻜﺎﻥ ﺃﻓﻀل ﻟﻠﻌﺭﺽ.‬

‫ﻋﺎﻁﻔﻴﺔ ﻋﻤﻴﻘﺔ.‬

‫ﻭﻁﻭﺍل ﺍﻟﻌﺭﺽ ﺍﻟﻤﺴﺭﺤﻲ، ﻋﻠﻰ ﺍﻟﻤﺨﺭﺝ ﺃﻥ ﻴﻠ ‪ ‬ﺒﺸﺩﺓ ﻋﻠﻰ‬ ‫ﺢ‬ ‫ﻜل ﻤﻤﺜل ﺃﻭ ﻤﻤﺜﻠﺔ ﺃ ﹼ ﻴﺤﻭﺭ ﺍﻟﻜﻼﻡ ﻓﻲ ﺩﻭﺭﻩ. ﻓﻴﺠﺏ ﺃﻥ ﻴﻠﻔﻅ‬ ‫ﻻ‬ ‫ﺍﻟﺩﻭﺭ ﻜﻤﺎ ﻜﺘﺏ ﻓﻲ ﺍﻟﻨﺹ ﺘﻤﺎﻤ ﹰ. ﻭ ‪‬ﺴﺘﺤﺴﻥ ﺃﻥ ﻴﻜﻭﻥ ﺍﻹﻴﻘﺎﻉ‬ ‫ﺎ ﻴ‬ ‫ﺤﻴﻭﻴ ﹰ. ﻓﻲ ﺁﺨﺭ ﻤﺭﺓ ﻜﻨﺕ ﻓﻴﻬﺎ ﻤﻭﺠﻭﺩﹰ ﻓﻲ ﻤﺴﺭﺡ ﻜﺭﻴﺴﺘﻴﺎﻨﻴﺎ، ﺒﺩﺍ‬ ‫ﺍ‬ ‫ﺎ‬

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‫ﻟﻲ ﺇﻴﻘﺎﻉ ﺍﻟﻜﻼﻡ ﺒﻁﻴﺌ ﹰ. ﻟﻜﻥ ﻓﻭﻕ ﻜل ﺫﻟﻙ،ﻴﺠﺏ ﺃﻥ ﻴﻜﻭﻥ ﻫﻨﺎﻙ‬ ‫ﺎ‬ ‫ﺇﺨﻼﺹ ﻟﻠﻁﺒﻴﻌ ﺔ - ﺃﻱ ﻭﻫﻡ ﺃﻥ ﻜل ﺸﻲﺀ ﺤﻘﻴﻘﻲ، ﻭﺃﻥ ﺍﻟﻤﺭﺀ‬ ‫ﻴﺠﻠﺱ ﻭﻴﺸﺎﻫﺩ ﺸﻴﺌﺎ ﻴﺤﺩﺙ ﻓﻌ ﹰ ﻓﻲ ﺍﻟﺤﻴﺎﺓ ﺍﻟﻭﺍﻗﻌﻴﺔ. ﻟﻴﺱ ﻤﻥ‬ ‫ﻼ‬ ‫ﺍﻟﺴﻬل ﺘﻤﺜﻴل ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ«. ﻓﻬﻲ ﺘﺘﻁﻠﺏ ﺒﺸﻜل‬ ‫ﺍﺴﺘﺜﻨﺎﺌﻲ ﻁﺎﻗﻤ ﹰ ﺘﻤﺜﻴﻠﻴ ﹰ ﻤﺩﺭﺒ ﹰ ﻋﻠﻰ ﻨﺤﻭ ﺠﻴﺩ، ﺃﻱ ﺍﻟﻘﻴﺎﻡ ﺒﺘﺩﺭﻴﺒﺎﺕ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻤﺴﺭﺤﻴﺔ ﻤﻁﻭﻟﺔ ﻴﺘﻡ ﺍﻹﺸﺭﺍﻑ ﻋﻠﻴﻬﺎ ﺒﺩﻗﺔ. ﻟﻜﻨﻨﻲ ﺃﻋﺘﻤﺩ ﻋﻠﻰ‬ ‫ﺍﻹﺭﺍﺩﺓ ﺍﻟﻁﻴﺒﺔ ﻟﻜل ﺍﻟﻤﻌﻨﻴﻴﻥ ﺒﺎﻟﻌﺭﺽ...."‬ ‫ﻭﺒﻌﺩ ﻋﺸﺭﺓ ﺃﻴﺎﻡ، ﻓﻲ ﻋﺸﻴﺔ ﻋﻴﺩ ﺍﻟﻤﻴﻼﺩ، ﺴﻨﺤﺕ ﺍﻟﻔﺭﺼﺔ‬ ‫ﻹﺒﺴﻥ ﺃﻥ ﻴﻜﺘﺏ ﺜﺎﻨﻴﺔ ﺇﻟﻰ ﺸﺭﻭﻴﺩﺭ: » ﻨﹶﺸﹶ ‪ ‬ﺕﹾ »ﻤﻭﺭﻏﻨﺒﻼﺩﻴﺕ«‬ ‫ﺭ‬ ‫ﺎ‬ ‫ﺇﻋﻼﻨ ﹰ ﺤﻭل ﺘﻤﺜﻴل ﻤﺴﺭﺤﻴﺔ»ﻋﺩﻭ ﺍﻟﺸﻌﺏ«، ﻟﺫﻟﻙ ﺴﺄﺯﻋﺠﻙ ﺃﻴﻀ ﹰ‬ ‫ﺎ‬ ‫ﺒﺒﻌﺽ ﺍﻷﺴﻁﺭ. ﺃﺭﻯ ﺃﻥ ﻴﺅﺩﻱ ﻏﻨﺩﺭ ِﻥ ﺩﻭﺭ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ.‬ ‫ﺴ‬ ‫ﻓﻤﻅﻬﺭ ﻫﺫﺍ ﺍﻟﻤﻤﺜل ﻴﺩل ﺒﺼﻌﻭﺒﺔ ﻋﻠﻰ ﺭﺠل ﻻ ﻴﺴﺘﻁﻴﻊ ﺘﺤﻤل ﺃﻜل‬ ‫ﺍﻟﻁﻌﺎﻡ ﺍﻟﺴﺎﺨﻥ ﻓﻲ ﺍﻟﻤﺴﺎﺀ، ﻭﻤﻌﺩﺘﻪ ﻤﺘﻌﺒﺔ ﻭﻫﻀﻤﻪ ﻏﻴﺭ ﺠﻴﺩ،‬ ‫ﻭﻴﻌﻴﺵ ﻋﻠﻰ ﺍﻟﺸﺎﻱ ﺍﻟﺨﻔﻴﻑ. ﻭﻻ ﻴﻨﺎﺴﺏ ﺍﻟﺩﻭﺭ ﺭﺠ ﹰ ﻴﻭﺼﻑ ﺒﺄﻨﻪ‬ ‫ﻼ‬ ‫ﺃﻨﻴﻕ، ﻭﻤﻬﺫﺏ، ﻭﺸﺩﻴﺩ ﺍﻟﺤﺴﺎﺴﻴﺔ. ﻟﻜﻥ ﻨﻘﺎﻁ ﺍﻟﻀﻌﻑ ﻫﺫﻩ ﻴﻤﻜﻥ‬ ‫ﺍﻟﺘﻌﺎﻤل ﻤﻌﻬﺎ ﺇﻟﻰ ﺤﺩ ﻤﺎ ﺒﺎﻟﻠﺒﺎﺱ ﺍﻟﻤﻨﺎﺴﺏ ﻭﻤﺴﺎﺤﻴﻕ ﺍﻟﺘﺠﻤﻴل. ﻟﺫﺍ‬ ‫ﻋﻠﻰ ﺍﻟﺴﻴﺩ ﻏﻨﺩﺭﺴﻥ ﺃﻥ ﻴﻨﺘﺒﻪ ﺠﻴﺩﹰ ﺇﻟﻰ ﻫﺎﺘﻴﻥ ﺍﻟﻨﻘﻁﺘﻴﻥ. ﻜﻤﺎ ﺃﻥ‬ ‫ﺍ‬ ‫ﺍﻟﺒﻨﻴﺔ ﺍﻟﺠﺴﺩﻴﺔ ﻟﻠﺴﻴﺩ ﺭﻴﻤﻴﺭﺱ ﻻ ﺘﻨﺎﺴﺏ ﻤﺯﺍﺠ ﹰ ﻜﻤﺯﺍﺝ ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺎ‬ ‫ﺴﺘﻭﻜﻤﺎﻥ، ﻓﺎﻷﺸﺨﺎﺹ ﺫﻭﻭ ﺍﻟﻤﺯﺍﺝ ﺍﻟﺤﺎﺩ ﻟﻬﻡ ﺒﻨﻴﺔ ﺃﻜﺜﺭ ﻀﺂﻟﺔ‬ ‫ﺎ‬ ‫ﺒﺸﻜل ﻋﺎﻡ. ﻭﺍﻟﻨﺼﻴﺤﺔ ﺍﻟﺘﻲ ﻭﺠﻬﺘﻬﺎ ﻟﻠﺴﻴﺩ ﻏﻨﺩﺭﺴﻥ ﺘﻨﻁﺒﻕ ﺃﻴﻀ ﹰ‬ ‫ﻋﻠﻰ ﺍﻟﺴﻴﺩ ﺭﻴﻤﻴﺭﺱ. ﻓﻌﻠﻴﻪ ﺃﻥ ﻴﺠﻌل ﻨﻔﺴﻪ ﺃﻨﺤﻑ ﻭﺃﺼﻐﺭ ﻗﺩﺭ‬ ‫ﺍﻟﻤﺴﺘﻁﺎﻉ«".‬

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‫ﻭﻓﻲ ١٣ ﻜﺎﻨﻭﻥ ﺍﻷﻭل ﻋﺎﻡ ٢٨٨١، ﻜﺘﺏ ﺇﺒﺴﻥ ﻤﻥ ﺠﺩﻴﺩ:‬ ‫"ﺃﺨﺸﻰ ﺃﻨﻨﻲ ﺴﺄﺯﻋﺠﻙ ﺜﺎﻨﻴﺔ ﺒﺒﻌﺽ ﺍﻷﺴﻁﺭ. ﻟﻘﺩ ﺍﺴﺘﻨﺘﺠﺕ ﻤﻥ‬ ‫ﺭﺴﺎﻟﺘﻙ ﺍﻟﻠﻁﻴﻔﺔ ﺍﻟﺘﻲ ﻭﺼﻠﺘﻨﻲ ﺍﻟﺒﺎﺭﺤﺔ ﺃﻥ ﺍﻟﻤﻘﺼﻭﺩ ﻫﻭ ﺠﻌل‬ ‫ﻓﺘﺎﺘﻴﻥ ﺘﻤﺜﻼﻥ ﺩﻭﺭ ﺍﻟﻭﻟﺩﻴﻥ ﻓﻲ ﻤﺴﺭﺤﻴﺘﻲ. ﺃﺯﻋﺠﻨﻲ ﻫﺫﺍ ﺒﻌﺽ‬ ‫ﺍﻟﺸﻲﺀ، ﻓﻤﻀﻤﻭﻨﻬﺎ ﻴﺩل ﻋﻠﻰ ﺃﻨﻪ ﻟﻡ ﻴﺘﻡ ﺇﻋﻁﺎﺀ ﺍﻨﺘﺒﺎﻩ ﻜﺎﻑ ﻟﻠﺭﻭﺡ‬ ‫ﺍﻟﺘﻲ ﹸﺘﺒﺕ ﺒﻬﺎ ﺍﻟﻤﺴﺭﺤﻴﺔ، ﻭﺍﻟﺘﻲ ‪‬ﻁﻠﺏ ﺃﻥ ﺘﻤﺜل ﺒﻬﺎ ﻋﻠﻰ ﺨﺸﺒﺔ‬ ‫ﻴ‬ ‫ﻜ‬ ‫ﺍﻟﻤﺴﺭﺡ. ﻭﺃﻥ ﻨﺴﻤﺢ ﻟﻠﻨﺴﺎﺀ ﺃﻥ ﻴﺄﺨﺫﻥ ﺃﺩﻭﺍﺭ ﺍﻟﺼﺒﻴﺎﻥ ﻫﻭ ﺃﻤﺭ ﻗﺩ‬ ‫‪‬ﻐﺘﻔﺭ ﺃﺤﻴﺎﻨﺎ ﻓﻲ ﺍﻷﻭﺒﺭﻴﺕ، ﻭﺍﻟﻤﺴﺭﺤﻴﺎﺕ ﺍﻟﻬﺯﻟﻴﺔ، ﺃﻭ ﻤﺎ ﻴﺴﻤﻰ‬ ‫ﻴ‬ ‫ﺒﺎﻟﻤﺴﺭﺤﻴﺎﺕ ﺍﻟﻐﺭﺍﻤﻴﺔ، ﺫ ﻟﻙ ﻷﻥ ﺍﻟﻤﻁﻠﺏ ﺍﻷﺴﺎﺴﻲ ﻓﻲ ﻫﺫﻩ‬ ‫ﺎ‬ ‫ﺍﻟﻤﺴﺭﺤﻴﺎﺕ ﻫﻭ ﺍﻟﻭﻫﻡ ﺍﻟﺘﺎﻡ، ﻭﻜل ﻭﺍﺤﺩ ﻤﻥ ﺍﻟﺠﻤﻬﻭﺭ ﻴﻌﻲ ﺘﻤﺎﻤ ﹰ‬ ‫ﺨﻼل ﺍﻷﻤﺴﻴﺔ ﺃﻨﻪ ﺠﺎﻟﺱ ﻓﻲ ﻤﺴﺭﺡ، ﻭﻴﺸﺎﻫﺩ ﻋﺭﻀ ﹰ ﻤﺴﺭﺤﻴ ﹰ.‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻟﻜﻥ ﻟﻴﺱ ﻫﺫﺍ ﻤﺎ ﻴﺠﺏ ﺃﻥ ﺘﻜﻭﻥ ﻋﻠﻴﻪ ﺍﻟﺤﺎل ﺤﻴﻥ ﺘﻤﺜل ﻤﺴﺭﺤﻴﺔ‬ ‫»ﻋﺩﻭ ﺍﻟﺸﻌﺏ«. ﺒل ﻴﺠﺏ ﺃﻥ ﻴﺸﻌﺭ ﺍﻟﻤﺸﺎﻫﺩ ﻭﻜﺄﻨﻪ ﺸﺨﺹ ﻤﻭﺠﻭﺩ‬ ‫ﻟﻜﻥ ﻏﻴﺭ ﻤﺭﺌ ﻲ ﻓﻲ ﻏﺭﻓﺔ ﻤﻌﻴﺸﺔ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ. ﻓﻜل ﺸﻲﺀ‬ ‫ﻫﻨﺎ ﻴﺠﺏ ﺃﻥ ﻴﺒﺩﻭ ﺤﻘﻴﻘﻴ ﹰ، ﺤﺘﻰ ﺍﻟﻭﻟﺩﺍﻥ. ﻭﻤﻥ ﺜ ‪ ‬ﻻ ﻴﻤﻜﻥ ﺃﻥ‬ ‫ﻡ‬ ‫ﺎ‬ ‫ﺘﺅﺩﻱ ﺩﻭﺭﻴﻬﻤﺎ ﻤﻤﺜﻠﺘﺎﻥ ﺘﺭﺘﺩﻴﺎﻥ ﺸﻌﺭﹰ ﻤﺴﺘﻌﺎﺭﹰ ﻭﻤﺸﺩﺍﺕ،‬ ‫ﺍ‬ ‫ﺍ‬ ‫ﻓﻤﻅﻬﺭﻫﻤﺎ ﺍﻷﻨﺜﻭﻱ ﻻ ﻴﻤﻜﻥ ﺇﺨﻔﺎﺅﻩ ﺒﻠﺒﺱ ﺍﻟﻘﻤﻴﺹ ﻭﺍﻟﺒﻨﻁﺎل، ﻭﻟﻥ‬ ‫ﺘﺴﺘﻁﻴﻌﺎ ﺃﺒﺩ ﹰ ﺠﻌل ﺃﻱ ﻤﺸﺎﻫﺩ ﻴﺼﺩﻕ ﺃﻨﻪ ﻴﻨﻅﺭ ﺇﻟﻰ ﺘﻠﻤﻴﺫﻱ ﻤﺩﺭﺴﺔ‬ ‫ﺍ‬ ‫ﺤﻘﻴﻘﻴﻴﻥ ﻤﻥ ﺇﺤﺩﻯ ﺍﻟﻤﺩﻥ ﺍﻟﺼﻐﻴﺭﺓ. ﻜﻴﻑ ﻴﻤﻜﻥ ﻓﻲ ﺃﻴﺔ ﺤﺎل‬ ‫ﻻﻤﺭﺃﺓ ﻨﺎﻀﺠﺔ ﺃﻥ ﺘﺠﻌل ﻨﻔﺴﻬﺎ ﺘﺒﺩﻭ ﻜﻭﻟﺩ ﻋﻤﺭﻩ ﻋﺸﺭ ﺴﻨﻭﺍﺕ؟‬ ‫ﺇﺫﹰ، ﻻ ﺒﺩ ﺃﻥ ﻴﻘﻭﻡ ﻭﻟﺩﺍﻥ ﺒﺘﻤﺜﻴل ﻫﺫﻴﻥ ﺍﻟﺩﻭﺭﻴﻥ، ﺃﻭ ﻓﻲ ﺃﺴﻭﺀ‬ ‫ﺍ‬ ‫ﺍﻷﺤﻭﺍل ﻓﺘﺎﺘﺎﻥ ﺼﻐﻴﺭﺘﺎﻥ ﻟﻡ ﺘﻅﻬﺭ ﻋﻠﻴﻬﻤﺎ ﻋﻼﻤﺎﺕ ﺍﻷﻨﻭﺜﺔ ﻜﺎﻤﻠﺔ‬

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‫ﺒﻌﺩ، ﻭﺒﻌﺩﻫﺎ ﺍﻟﻠﻌﻨﺔ ﻋﻠﻰ ﺍ ﻟ ِ ﹼﺩﺍﺕ، ﻭﺍﺠﻌﻠﻬﻤﺎ ﺘﻨﺘﻌﻼﻥ ﺃﺤﺫﻴﺔ‬ ‫ﻤﺸ‬ ‫ﺼﺒﻴﺎﻥ ﻜﺒﺎﺭ. ﻜﻤﺎ ﻴﺠﺏ ﺘﻌﻠﻴﻤﻬﻥ ﺍﻟﻁﺭﻴﻘﺔ ﺍﻟﺘﻲ ﻴﺘﺼﺭﻑ ﺒﻬﺎ‬ ‫ﺍﻟﺼﺒﻴﺎﻥ.‬ ‫ﺍﻟﻌﺎﻡ ﻴﺭﺘﺩﻱ ﺒﺩﻟﺔ ﺴﻭﺩﺍﺀ، ﻟﻜﻨﻪ ﻤﻼﺒﺴﻪ ﻴﺠﺏ ﺃ ﹼ ﺘﻜﻭﻥ ﺠﺩﻴﺩﺓ ﻭﻻ‬ ‫ﻻ‬ ‫ﺃﻨﻴﻘﺔ، ﻭﺭﺒﻁﺔ ﻋﻨﻘﻪ ﺍﻟﺒﻴﻀﺎﺀ ﻴﺠﺏ ﺃﻥ ﺘﻜﻭﻥ ﻤﻠﺘﻭﻴﺔ ﻗﻠﻴﻼ.«‬ ‫ﺎ‬ ‫ﻤﻥ ﺒﻴﻥ ﻜل ﺍﻷﺩﻭﺍﺭ ﺍﻟﺘﻲ ﺃ ‪‬ﺍﻫﺎ ﻜﻭﻨﺴﺘﺎﻨﺘﻴﻥ ﺴﺘﺎﻨﺴﻼ ﭬﺴﻜﻲ ﺃﻴ ﹰ‬ ‫ﺩ‬ ‫ﻜﺎﻥ ﺍﻟﻜﺎﺘﺏ ﺍﻟﺫﻱ ﻜﺘﺒﻬﺎ، ﻜﺎﻥ ﺩﻭﺭ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﺍﻟﻤﻔﻀل‬ ‫ﻟﺩﻴﻪ. ﻭﻗﺩ ﻜﺘﺏ ﻓﻲ »ﺤﻴﺎﺘﻲ ﻭﺍﻟﻔﻥ« ﻤﺎﻴﻠﻲ: »ﺸﻌﺭﺕ ﻭﺃﻨﺎ ﻋﻠﻰ‬ ‫ﺨﺸﺒﺔ ﺍﻟﻤﺴﺭﺡ ﺃﻨﻨﻲ ﺃﺘﻤﺘﻊ ﺒﺤﺭﻴﺘﻲ ﺤﻴﻥ ﺃﺩﻴﺕ ﺩﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ،‬ ‫ﺃﻜﺜﺭ ﻤﻥ ﺃﻱ ﺩﻭﺭ ﺁﺨﺭ ﻤﻥ ﺍﻷﺩﻭﺍﺭ ﺍﻟﺘﻲ ﺃﺩﻴﺘﻬﺎ... ﻓﺒﺎﻟﻨﺴﺒﺔ ﺇﻟﻲ ﻟﻡ‬ ‫ﻴﻜﻥ ﺴﺘﻭﻜﻤﺎﻥ ﺭﺠل ﺴﻴﺎﺴﺔ، ﻭﻻ ﺨﻁﻴﺒ ﹰ ﻓﻲ ﺍﻻﺠﺘﻤﺎﻋﺎﺕ، ﻭﻻ‬ ‫ﺎ‬ ‫ﻤﻔﻜﺭﹰ، ﺒل ﺭﺠ ﹰ ﺫﺍ ‪‬ﺜل ﻋﻠﻴﺎ، ﺼﺩﻴﻘ ﹰ ﻤﺨﻠﺼ ﹰ ﻟﺒﻠﺩﻩ ﻭﻟﺸﻌﺒﻪ. ﻟﻘﺩ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻼ ﻤ‬ ‫ﺍ‬ ‫ﻜﺎﻥ ﺃﻓﻀل ﻭﺃﻨﻘﻰ ﻤﻭﺍﻁﻥ ﻓﻲ ﻭﻁﻨﻪ ﺍﻷﻡ.« ﻭﻴﺘﺎﺒﻊ ﺴﺘﺎﻨﺴﻼﭬﺴﻜﻲ‬ ‫ﺤﺩﻴﺜﻪ ﻋﻥ: »ﺼﻭﺭﺘﻪ ﺍﻟﺩﺍﺨﻠﻴﺔ ﺒﻜل ﻤﻴﺯﺍﺘﻬﺎ ﻭﺘﻔﺎﺼﻴﻠﻬﺎ؛ ﻭﺍﻟﻌﻴﻭﻥ‬ ‫ﻗﺼﻴﺭﺓ ﺍﻟﻨﻅﺭ ﺍﻟﺘﻲ ﺘﺘﺤﺩﺙ ﺒﺒﻼﻏﺔ ﻋﻥ ﻋﻤﺎﻩ ﺍﻟﺩﺍﺨﻠﻲ ﻟﻨﻘﺎﺌﺹ‬ ‫ﺍﻟﺒﺸﺭ، ﻭﻁﺭﻴﻘﺔ ﺤﺭﻜﺘﻪ ﺍﻟﻔﺘﻴﺔ ﻭﺍﻟﻁﻔﻭﻟﻴﺔ، ﻭﻋﻼﻗﺘﻪ ﺍﻟﺤﻤﻴﻤﻴﺔ‬ ‫ﺒﺄﻁﻔﺎﻟﻪ ﻭﻋﺎﺌﻠﺘﻪ، ﻭﺍﻟﺴﻌﺎﺩﺓ، ﻭﺤﺏ ﺍﻟﻤﺯﺍﺡ ﻭﺍﻟﻠﻌﺏ، ﻭﺤﺴﻪ‬ ‫ﺍﻻﺠﺘﻤﺎﻋﻲ ﻭﺠﺎﺫﺒﻴﺘﻪ ﺍﻟﺘﻲ ﺃﺠﺒﺭﺕ ﻜل ﻤﻥ ﺍﺤﺘﻜﻭﺍ ﺒﻪ ﺃﻥ ﻴﺼﺒﺤﻭﺍ‬ ‫ﺃﻓﻀل ﻭﺃﻨﻘﻰ ﻭﺃﻥ ‪‬ﻅﻬﺭﻭﺍ ﺃﻓﻀل ﺨﺼﺎﻟﻬﻡ ﻓﻲ ﺤﻀﻭﺭﻩ... ﻜﺎﻥ‬ ‫ﻴ‬ ‫ﻋﻠﻲ ﻓﻘﻁ ﺃﻥ ﺃﻓﻜﺭ ﺒﻤﺎ ﻴﻔﻜﺭ ﺒﻪ ﻭﻤﺎ ﻴﻬﺘﻡ ﻟﻪ ﺴﺘﻭﻜﻤﺎﻥ، ﻭﻋﻼﻤﺎﺕ‬ ‫»ﺫﻜﺭ ﻓﻲ ﺍﻟﻤﺴﺭﺤﻴﺔ ﺃﻥ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻓﻲ ﺃﺜﻨﺎﺀ ﺍﻻﺠﺘﻤﺎﻉ‬

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‫ﻗﺼﺭ ﺍﻟﻨﻅﺭ ﺴﺘﻅﻬﺭ ﻭﺤﺩﻫﺎ ﻤﻊ ﺍﻨﺤﻨﺎﺀ ﺍﻟﺠﺴﺩ ﺇﻟﻰ ﺍﻷﻤﺎﻡ، ﺍﻟﺨﻁﺎ‬ ‫ﺍﻟﺴﺭﻴﻌﺔ، ﺍﻟﻌﻴﻨﺎﻥ ﺍﻟﻠﺘﺎﻥ ﺘﻨﻅﺭﺍﻥ ﺒﺜﻘﺔ ﺇﻟﻰ ﺃﻋﻤﺎﻕ ﺭﻭﺡ ﺍﻹﻨﺴﺎﻥ ﺃﻭ‬ ‫ﺇﻟﻰ ﺫﻟﻙ ﺍﻟﺸﻲﺀ ﻋﻠﻰ ﺍﻟﻤﺴﺭﺡ ﻤﻌﻲ، ﺍﻟﺴﺒﺎﺒﺔ ﻭﺍﻷﺼﺎﺒﻊ ﺍﻟﻭﺴﻁﻰ‬ ‫ﻓﻲ ﺍﻟﻴﺩ ﺘﻤﺘﺩ ﻭﺤﺩﻫﺎ ﻟﻠﺩﻻﻟﺔ ﻋﻠﻰ ﻗﺩﺭ ﺃﻜﺒﺭ ﻤﻥ ﺍﻹﻗﻨﺎﻉ، ﻭﻜﺄﻨﻬﺎ‬ ‫ﺘﺩﻓﻊ ﺒﺄﻓﻜﺎﺭﻱ ﺍﻟﺨﺎﺼﺔ ﻭﻤﺸﺎﻋﺭﻱ ﻭﻜﻠﻤﺎﺘﻲ ﺒﺎﺘﺠﺎﻩ ﺭﻭﺡ‬ ‫) ١(‬ ‫ﻤﺴﺘﻤﻌﻲ«.‬

‫ﻗﱠﺕﹾ ﻨﺴﺒﺔ ﻋﺭﺽ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﺍﻟﻴﻭﻡ، ﺃﻜﺜﺭ ﻤﻥ ﺃﻱ‬ ‫ﻠ‬ ‫ﻤﻥ ﻤﺴﺭﺤﻴﺎﺕ ﺇﺒﺴﻥ ﺍﻟﻨﺎﻀﺠﺔ، ﻭﺫﻟﻙ ﻟﺴﺒﺒﻴﻥ ﺃﺴﺎﺴﻴﻴﻥ. ﺃﺤﺩﻫﻤﺎ‬ ‫ﻫﻭ ﺤﺠﻡ ﺍﻟﻜﺎﺩﺭ ﺍﻟﺘﻤﺜﻴﻠﻲ ﺒﺒﺴﺎﻁﺔ. ﻓﻬﺫﺍ ﺍﻟﺤﺸﺩ ﻴﻜﻠﻑ ﻤﺎ ﹰ، ﻭﻤﻥ‬ ‫ﻻ‬ ‫ﺩﻭﻥ ﺍﻟﺤﺸﺩ ﻴﻔﻘﺩ ﺍﻟﻔﺼل ﺍﻟﺭﺍﺒﻊ ﺍﻟﻜﺒﻴﺭ ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﺘﺄﺜﻴﺭﻩ )ﻭﻗﺩ ﻜﺎﻥ‬ ‫ﻟﻌﺭﺽ ﻤﺴﺭﺤﻴﺔ ﺸﻜﺴﺒﻴﺭ »ﻴﻭﻟﻴﻭﺱ ﻗﻴﺼﺭ« ﺍﻟﻤﺸﻜﻠﺔ ﻨﻔﺴﻬﺎ(.‬ ‫ﻭﺍﻟﺼﻌﻭﺒﺔ ﺍﻷﺨﺭﻯ ﻫﻲ ﺼﻌﻭﺒﺔ ﺇﻴﺩﻴﻭﻟﻭﺠﻴﺔ. ﻓﺒﻌﺽ ﺍﻵﺭﺍﺀ ﺍﻟﺘﻲ‬ ‫ﻋﺒﺭ ﻋﻨﻬﺎ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ، ﻭﺨﺎﺼﺔ ﻤﻁﺎﻟﺒﺘﻪ »ﺒﺎﻷﺭﺴﺘﻘﺭﺍﻁﻴﺔ«،‬ ‫ﻭﺍﺤﺘﻘﺎﺭﻩ ﻟﻠﺠﻤﺎﻫﻴﺭ، ﻭﺘﺄﻜﻴﺩﻩ ﺃﻥ »ﺍﻷﻗﻠﻴﺔ ﺩﺍﺌﻤ ﹰ ﻋﻠﻰ ﺼﻭﺍﺏ«، ﻟﻬﺎ‬ ‫ﺎ‬ ‫ﻨﻐﻤﺔ ﻏﻴﺭ ﺘﺤﺭﺭﻴﺔ ﻓﻲ ﺍﻵﺫﺍﻥ ﺍﻟﻌﺼﺭﻴﺔ. ﻭﻓﻲ ﻫﺎﺘﻴﻥ ﺍﻟﻨﻘﻁﺘﻴﻥ ﻜﺎﻥ‬ ‫ﺇﺒﺴﻥ ﻓﻲ ﺍﻟﻭﺍﻗﻊ ﻴﻌﺒﺭ ﻋﻥ ﺭﺃﻱ ﻴﺸﺘﺭﻙ ﻓﻴﻪ ﺍﻟﺠﻤﻴﻊ: ِﻴل‬ ‫ﻤ‬ ‫ﻭﺘﻭﻜﻭﻴـﭭﻴل ﻭﺩﻴﻜﻨﺯ ﻭﻤﻌﻅﻡ ﺍﻟﻤﻔﻜﺭﻴﻥ ﺍﻟﻤﺘﺤﺭﺭﻴﻥ ﻓﻲ ﺫﻟﻙ‬
‫)1( . ﺒﻨﻰ ﺴﺘﺎﻨﺴﻼﭭﺴﻜﻲ ﻤﻅﻬﺭﻩ ﺍﻟﺠﺴﻤﺎﻨﻲ ﻓﻲ ﺍﻟﺩﻭﺭ ﻋﻠﻰ ﺃﺴﺎﺱ ﺭﻴﻤﺴﻜﻲ‬ ‫ ﻜﻭﺭﺴﺎﻜﻭﭫ، ﻭﺍﺴﺘﻌﺎﺭ ﻋﺩﺓ ﺇﻴﻤﺎﺀﺍﺕ ﻭﺼﻔﺎﺕ ﻤﻥ ﻏﻭﺭﻜﻲ. ﻭﻗﺩ‬‫ﻻﺤﻅ ﺍﻟﻤﻤﺜل ل. ﻡ. ﻟﻴﻭﻨﻴﺩﻭﭪ ﺃﻥ »ﻋﺯﻟﺔ ﺴﺘﻭﻜﻤﺎﻥ ﻜﺎﻨﺕ ﻤﻥ ﻁﺒﻴﻌﺔ‬

‫ﻋﺯﻟﺔ ﺴﺘﺎﻨﺴﻼﭭﺴﻜﻲ ﻨﻔﺴﻬﺎ «.‬

‫-١٥-‬

‫ﺍﻟﻌﺼﺭ ﻤﻤﻥ ﻟﻡ ﻴﺜﻘﻭﺍ ﺒﺎﺴﺘﺒﺩﺍﺩ ﺍﻷﻏﻠﺒﻴﺔ ﺍﻟﺸﻌﺒﻴﺔ. »ﺃﻭﻟﺌﻙ ﺍﻟﺫﻴﻥ‬ ‫ﻴﻌﻁﻭﻥ ﺁﺭﺍﺀﻫﻡ ﺒﺎﺴﻡ ﺍﻟﺭﺃﻱ ﺍﻟﻌﺎﻡ... ﻫﻡ ﺩﺍﺌﻤ ﹰ ﺍﻟﺠﻤﺎﻫﻴﺭ، ﺃﻱ‬ ‫ﺎ‬ ‫ﺠﻤﺎﻋﺔ ﻤﻥ ﻤﺘﻭﺴﻁﻲ ﺍﻟﻤﻘﺩﺭﺓ«، ﻫﺫﺍ ﻤﺎ ﻜﺘﺒﻪ ﻤﻴل ﻓﻲ ﻤﻘﺎﻟﻪ ﺍﻟﻌﻅﻴﻡ‬ ‫»ﻓﻲ ﺍﻟﺤﺭﻴﺔ«. »ﻟﻴﺱ ﻫﻨﺎﻙ ﻤﻥ ﺤﻜﻭﻤﺔ ﻤﻨﺘﺨﺒﺔ ﺩﻴﻤﻘﺭﺍﻁﻴ ﹰ ﺃﻭ‬ ‫ﺎ‬ ‫ﺘﺘﺄﻟﻑ ﻤﻥ ﻏﺎﻟﺒﻴﺔ ﺃﺭﺴﺘﻘﺭﺍﻁﻴﺔ، ﺴﻭﺍﺀ ﻓﻲ ﺃﻋﻤﺎﻟﻬﺎ ﺍﻟﺴﻴﺎﺴﻴﺔ ﺃﻭ ﻓﻲ‬ ‫ﺁﺭﺍﺌﻬﺎ، ﺃﻭ ﺼﻔﺎﺘﻬﺎ، ﺃﻭ ﺇﻴﻘﺎﻉ ﺘﻔﻜﻴﺭﻫﺎ ﺍﻟﺫﻱ ﺘﺭﻭﺝ ﻟﻪ، ﺍﺴﺘﻁﺎﻋﺕ‬ ‫ﺃﻭ ﺘﺴﻨﻰ ﻟﻬﺎ ﺃﻥ ﺘﻨﻬﺽ ﻓﻭﻕ ﻤﺴﺘﻭﻯ ﺍﻟﻭﺴﻁ، ﺇﻻ ﺒﻘﺩﺭ ﻤﺎ ﺘﺴﻤﺢ‬ ‫ﺍﻷﻜﺜﺭﻴﺔ ﺍﻟﺤﺎﻜﻤﺔ ﻟﻨﻔﺴﻬﺎ ﺃﻥ ﺘﻨﻘﺎﺩ )ﻭﻫﺫﺍ ﻤﺎ ﻴﻔﻌﻠﻭﻨﻪ ﻓﻲ ﺃﺤﺴﻥ‬ ‫ﺤﺎﻻﺘﻬﻡ ﺩﺍﺌﻤ ﹰ( ﺒﺎﻟﺘﺸﺎﻭﺭ ﺃﻭ ﺒﺘﺄﺜﻴﺭ ﺸﺨﺹ ﺃﻭ ﺃﺸﺨﺎﺹ ﺃﻜﺜﺭ‬ ‫ﺎ‬ ‫ﻤﻭﻫﺒﺔ ﻭﺘﻌﻠﻴﻤ ﹰ. ﺇﻥ ﺍﻟﻤﺒﺎﺩﺭﺓ ﻓﻲ ﻜل ﻤﺎ ﻫﻭ ﺤﻜﻴﻡ ﻭﻨﺒﻴل ﻴﺄﺘﻲ ﺃﻭ ﻻ‬ ‫ﺎ‬ ‫ﺒﺩ ﺃﻥ ﻴﺄﺘﻲ ﻤﻥ ﺃﻓﺭﺍﺩ؛ ﻭﺒﺸﻜل ﻋﺎﻡ ﻓﻲ ﺍﻟﺒﺩﺍﻴﺔ ﻴﺄﺘﻲ ﻤﻥ ﺸﺨﺹ‬ ‫ﻭﺍﺤﺩ«. ﻫﺫﻩ ﻫﻲ ﺭﺴﺎﻟﺔ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﺒﺎﺨﺘﺼﺎﺭ. ﻟﻜﻨﻬﺎ ﻭﺠﻬﺔ‬ ‫ﻨﻅﺭ ﻗﺩﻴﻤﺔ ﺇﺫﺍ ﻭﻀﻌﺕ ﻓﻲ ﻋﺼﺭ ﻴﺴﻭﺩ ﻓﻴﻪ ﺤﻕ ﺍﻻﻗﺘﺭﺍﻉ‬ ‫ﺍﻟﻌﺎﻟﻤﻲ.‬ ‫ﻭﻗﺩ ﻋﺎﻨﺕ ﺍﻟﻤﺴﺭﺤﻴﺔ ﺃﻴﻀ ﹰ ﻤﺎ ﻫﻭ ﺃﺴﻭﺃ ﻤﻥ ﺍﻟﻨﻘﺩ ﺍﻷﻜﺎﺩﻴﻤﻲ‬ ‫ﺎ‬ ‫ﺍﻟﻘﺩﻴﻡ. ﻭﻴﺘﻠﺨﺹ ﺫﻟﻙ ﻓﻲ ﺍﻟﺘﻌﻠﻴﻕ ﺍﻟﺫﻱ ﻴﺼﺭﻑ ﺍﻟﻨﻅﺭ ﻋﻥ‬ ‫ﻭﻤﺴﺭﺤﻴﺔ »ﺒﺭﺍﻨﺩ« ﻋﻠﻰ ﺃﻨﻬﺎ »ﻏﺎﻤﻀﺔ«، ﻭﻤﺴﺭﺤﻴﺔ »ﺁﻴﻭﻟﻑ‬ ‫ﺍﻟﺼﻐﻴﺭ« ﻋﻠﻰ ﺃﻨﻬﺎ »ﻫﺎﺒﻁﺔ« )ﻟﻼﺴﺘﺸﻬﺎﺩ ﺒﻬﺎ ﻤﻥ ﻜﺘﺎﺏ ﺠﺩﻴﺩ‬

‫ﻤﺴﺭﺤﻴﺔ »ﺍﻹﻤﺒﺭﺍﻁﻭﺭ ﻭﻏﺎﻟﻴﻠﻲ« ﻋﻠﻰ ﺃﻨﻬﺎ »ﺒﺎﺭﺩﺓ ﻤﺜل ﺍﻟﺤﺠﺭ«،‬

‫ﻭﻤﺤﻴﺭ ﻗﺼﺩ ﺒﻪ ﺍﻟﺩﻓﺎﻉ ﻋﻥ ﺇﺒﺴﻥ(، ﻭﻗﺼﺩ ﺍﻻﻋﺘﺭﺍﺽ ﺃﻴﻀ ﹰ ﻋﻠﻰ‬ ‫ﺎ‬

‫ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﺒﻭﺼﻔﻬﺎ »ﻀﻌﻴﻔﺔ«. ﺇﻨﻬﺎ ﺘﻔﺘﻘﺩ ﻓﻲ ﺍﻟﻭﺍﻗﻊ‬

‫-٢٥-‬

‫ﻟﻠﻜﺜﺎﻓﺔ ﻭﻟﻠﻤﻌﺎﻨﻲ ﺍﻹﻀﺎﻓﻴﺔ ﺍﻟﻤﻭﺠﻭﺩﺓ ﻓﻲ ﺃﻋﻤﺎل ﺇﺒﺴﻥ ﺍﻷﺨﻴﺭﺓ.‬

‫ﺎ‬ ‫ﺍﻟﻤﻘﺎﺭﻨﺔ. ﻭﻻ ﻴﻤﻜﻥ ﺼﺭﻑ ﺍﻟﻨﻅﺭ ﻋﻨﻬﺎ ﺴﻁﺤﻴ ﹰ ﺒﻭﺼﻔﻬﺎ ﺃﻟﻌﺎﺒ ﹰ‬ ‫ﺎ‬ ‫ﻓﻜﺭﻴﺔ. ﺤﺘﻰ ﻟﻭ ُﺩ ‪‬ﺕ ﻋﻠﻰ ﺍﻟﻤﺴﺭﺡ ﺒﺼﻭﺭﺓ ﻤﻨﺎﺴﺒﺔ، ﻓﻬﻲ ﻭﺍﺤﺩﺓ‬ ‫ﺃﻴ‬

‫ﻭﻟﻜﻥ ﻫﻨﺎﻙ ﻤﺴﺭﺤﻴﺎﺕ ﺃﺨﺭﻯ ﺜﻤﻴﻨﺔ ﺒﻌﻴﺩﹰ ﻋﻥ ﺍﻟﻤﺴﺭﺤﻴﺎﺕ‬ ‫ﺍ‬ ‫ﺍﻟﻴﻭﻨﺎﻨﻴﺔ ﻭﺸﻜﺴﺒﻴﺭ ﻭﺘﺸﻴﺨﻭﻑ ﺍﻟﺘﻲ ﻻ ﺤﺎﺠﺔ ﻤﻌﻬﺎ ﺇﻟﻰ ﺍﻟﺨﻭﻑ ﻤﻥ‬

‫ﺴﻴﺎﺴﺔ. ﻁﺎﻟﻤﺎ ﺃﻨﻪ ﺴﻴﻜﻭﻥ ﻫﻨﺎﻙ ﺩﺍﺌﻤ ﹰ ﻓﻲ ﻤﻜﺎﻥ ﻤﺎ ﻤﻥ ﺍﻟﻌﺎﻟﻡ ﺴﺎﺤﺔ‬ ‫ﺎ‬ ‫ﻜﺎﺯﺍﻨﺴﻜﻲ.‬ ‫ﻤﺎﻴﻜل ﻤﻴﻴﺭ‬

‫ﻭﻤﻥ ﺍﻟﻤﺤﺘﻤل ﺃﻥ ﺘﻅل ﻗﺎﺌﻤﺔ ﻁﺎﻟﻤﺎ ﺃﻥ ﻫﻨﺎﻟﻙ ﻤﺠﺎﻟﺱ ﻤﺩﻥ ﻭﺭﺠﺎل‬

‫ﻜﺘﺒﻬﺎ ﺇﺒﺴﻥ. ﺇﻥ ﺍﻟﺤﻘﺎﺌﻕ ﺍﻟﺘﻲ ﻋﺒﺭﺕ ﻋﻨﻬﺎ ﻟﻡ ﺘﺼﺒﺢ ﻗﺩﻴﻤﺔ ﺒﻌﺩ،‬

‫ﻤﻥ ﺃﻜﺜﺭ ﺍﻟﻤﺴﺭﺤﻴﺎﺕ ﺍﻟﻤﻨﻔﺘﺤﺔ ﻭﺍﻟﺘﻲ ﻻ ﹸﻘﺎﻭﻡ ﻹﺒﺴﻥ، ﻭﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺘ‬ ‫ﺴﺘﻭﻜﻤﺎﻥ ﻭﺍﺤﺩ ﻤﻥ ﻋﺩﺩ ﻗﻠﻴل ﻤﻥ ﺍﻷﺩﻭﺍﺭ ﺍﻟﻌﻅﻴﻤﺔ ﻟﻠﺭﺠﺎل ﺍﻟﺘﻲ‬

‫-٣٥-‬

‫ﺘﻡ ﺘﻤﺜﻴل ﻫﺫﻩ ﺍﻟﺘﺭﺠﻤﺔ ﻟﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﻋﻠﻰ ﺨﺸﺒﺔ‬ ‫ﺍﻟﻤﺴﺭﺡ ﺃﻭل ﻤﺭﺓ ﻓﻲ ٣ ﻨﻴﺴﺎﻥ ﻋﺎﻡ ٢٦٩١، ﻋﻠﻰ ﻤﺴﺭﺡ ﺒﻠﻲ‬ ‫ﻫﺎﻭﺱ ﻓﻲ ﻨﻭﺘﻴﻨﻐﻬﺎﻡ، ﺒﺎﻟﻔﺭﻗﺔ ﺍﻟﺘﺎﻟﻴﺔ:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺘﻭﻤﺎﺱ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﺩﻴﺭ ﺼﺤﺔ ﻓﻲ ﻤﺸﺭﻭﻉ ﺍﻟﺤﻤﺎﻤﺎﺕ.‬ ‫ﺠﻭﻥ ﺴﺘﺭﺍﺘﻭﻥ‬

‫ﺩﻭﺭﻭﺜﻲ ﺒﺭﺍﻴﻤﺭﻭﺯ‬ ‫ﺘﻴﺭﻱ ﺴﻤﻴﺙ‬

‫ﺁﻨﻲ ﺴﺘﺎﻟﻴﺒﺭﺍﺱ‬
‫ا‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺯﻭﺠﺘﻪ.‬ ‫ﺍﺒﻨﺎﻫﻤﺎ‬ ‫ﺇﻴﻠﻴﻑ: ﻋﻤﺭﻩ ٣١ ﺴﻨﺔ‬ ‫ِﺘﺭﺍ: ﺍﺒﻨﺘﻬﻤﺎ، ﻤﻌﻠﻤﺔ.‬ ‫ﺒ‬

‫ﺒﻴﺘﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺍﻷﺥ ﺍﻷﻜﺒﺭ ﻟﻠﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ، ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ‬ ‫ﻭﺍﻟﻤﺩﻴﺭ ﺍﻟﻤﺴﺅﻭل ﻋﻥ ﺍﻷﻤﻥ، ﻭﺭﺌﻴﺱ ﻟﺠﻨﺔ ﻤﺸﺭﻭﻉ‬ ‫ﺍﻟﺤﻤﺎﻤﺎﺕ، ﺍﻟﺦ‬ ‫ﺃﻻﻥ ﻤﺎﻜﻨﻭﺘﺎﻥ‬

‫ﺒﻭل ﻨﻴﻭﻏﻨﺕ‬

‫ﻤﻭﺭﺘﻥ: ﻋﻤﺭﻩ ٠١ ﺴﻨﻭﺍﺕ‬

‫ﺭﻭﻻﻨﺩ ﻜﻴﻭﺭﺍﻡ‬

‫ﺴﺘﺎﻓﻭﺭﺩ ﺒﻴﺭﻥ‬ ‫ﺭﻭﺠﺭ ﺠﻴﺭﻭﻡ‬

‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﺼﺎﺤﺏ ﻤﺩﺒﻐﺔ، ﻭﺍﻟﺩ ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ ﺒﺎﻟﺘﺒﻨ ﻲ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻤﺤﺭﺭ ﺠﺭﻴﺩﺓ »ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ«‬ ‫ﻫﻭﺭﺴﺘﺭ: ﻗﺒﻁﺎﻥ ﺒﺤﺭﻱ.‬

‫ﺒﺎﺭﺘﻠﻴﺕ ﻤﻭﻟﻴﻨﺯ‬

‫ﺭﻭﻨﺎﻟﺩ ﻤﺎﺠﻴل‬

‫ﺒﻴﻠﻴﻨﻎ: ﻤﻭﻅﻑ ﻓﻲ ﺍﻟﺠﺭﻴﺩﺓ‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻋﺎﻤل ﻤﻁﺒﻌﺔ.‬

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‫ﭭﺍﻨﻴﺴﺎ ﻓﻭﺭﺴﻴﺙ، ﺒﻭﻟﻴﻥ ﻤﺎﺴﻭﻥ، ﺇﻴﺜل ﻓﺎﺭﻭﺠﻴﺎ، ﻤﺎﻴﻜل‬ ‫ﻜﻭﻟﻴﻔﺎﻜﺱ، ﺒﻭل ﺴﻴﻠﺒﻴﺭ، ﺠﻭﻥ ﺘﻭﺭﺩﻭﻑ، ﺭﻭﻱ‬ ‫ﻏﺭﻴﻨﻭﻭﺩ، ﻜﺭﻴﺴﺘﻭﻓﺭ ﺃﻜﻭﺭﺴﺕ، ﺭﻭﺠﺭ ﺩﻴﺎﺴﻭﻥ، ﺇﺩﻤﻭﻨﺩ‬ ‫ﺘﻭﻤﺎﺱ، ﻫﻴﺭﺒﻴﺭﺕ ﺴﻴﻤﺒﺴﻭﻥ.‬ ‫ﺘﺠﺭﻱ ﺍﻷﺤﺩﺍﺙ ﻓﻲ ﺒﻠﺩﺓ ﺴﺎﺤﻠﻴﺔ ﺠﻨﻭﺏ ﺍﻟﻨﺭﻭﻴﺞ.‬

‫ﺤﺸﺩ ﻤﻥ ﺍﻟﻨﺎﺱ ﻓﻲ ﺍﻻﺠﺘﻤﺎﻉ ﺍﻟﻌﺎﻡ - ﺭﺠﺎل ﻤﻥ ﻜل‬ ‫ﺍﻟﻁﺒﻘﺎﺕ، ﺒﻌﺽ ﺍﻟﻨﺴﺎﺀ ﻭﻤﺠﻤﻭﻋﺔ ﻤﻥ ﻁﻼﺏ ﺍﻟﻤﺩﺍﺭﺱ:‬

‫ﺍﻟﻤﺨﺭﺝ: ﺃﻻﻥ ﺩﻴـﭭﻴﺯ.‬

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‫ﺍﻟﻔﺼﻞ ﺍﻷﻭﻝ‬
‫ﻤﺴﺎﺀ، ﻓﻲ ﻏﺭﻓﺔ ﺠﻠﻭﺱ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ. ﻭﻫﻲ ﻏﺭﻓﺔ‬ ‫ﻤﺭﺘﺒﺔ ﻭﺫﺍﺕ ﻓﺭﺵ ﻤﺘﻭﺍﻀﻊ، ﻟﻜﻨﻪ ﺃﻨﻴﻕ. ﻴﻭﺠﺩ ﺒﺎﺒﺎﻥ ﻋﻠﻰ ﺍﻟﺠﺩﺍﺭ‬ ‫ﺍﻷﻴﻤﻥ. ﺍﻟﺒﺎﺏ ﺍﻟﺒﻌﻴﺩ ﻴﺅﺩﻱ ﺇﻟﻰ ﺍﻟﺭﺩﻫﺔ، ﻭﺍﻟﻘﺭﻴﺏ ﻴﺅﺩﻱ ﺇﻟﻰ‬ ‫ﻫﻨﺎﻙ ﺒﺎﺏ ﻴﺅﺩﻱ ﺇﻟﻰ ﺍﻟﻐﺭﻑ ﺍﻷﺨﺭﻯ ﺍﻟﺘﻲ ﺘﺸﻐﻠﻬﺎ ﺍﻟﻌﺎﺌﻠﺔ. ﻭﻓﻲ‬ ‫ﻤﻜﺘﺏ ﺍﻟﺩﻜﺘﻭﺭ. ﻭﻓﻲ ﺍﻟﺠﺩﺍﺭ ﺍﻟﻤﻘﺎﺒل، ﺒﻤﻭﺍﺠﻬﺔ ﺒﺎﺏ ﺍﻟﺭﺩﻫﺔ،‬

‫ﻤﻨﺘﺼﻑ ﻫﺫﺍ ﺍﻟﺠﺩﺍﺭ ﺘﻭﺠﺩ ﻤﺩﻓﺄﺓ ﻤﻜﺴﻭﺓ ﺒﺎﻟﻘﺭﻤﻴﺩ. ﻭﻓﻲ ﻭﺴﻁ‬ ‫ﺍﻟﻤﺴﺭﺡ ﻫﻨﺎﻙ ﺃﺭﻴﻜﺔ ﻜﺒﻴﺭﺓ، ﺘﻌﻠﻭﻫﺎ ﻤﺭﺁﺓ. ﺘﻭﺠﺩ ﺃﻤﺎﻡ ﺍﻷﺭﻴﻜﺔ‬ ‫ﻁﺎﻭﻟﺔ ﺒﻴﻀﺎﻭﻴﺔ ﺍﻟﺸﻜل ﻋﻠﻴﻬﺎ ﻏﻁﺎﺀ. ﻭﻋﻠﻰ ﺍﻟﻁﺎﻭﻟﺔ ﻤﺼﺒﺎﺡ‬ ‫ﻤﻀﻲﺀ ﺘﻌﻠﻭﻩ ﻤﻅﻠﺔ ﻟﺘﺨﻔﻴﻑ ﺍﻟﻨﻭﺭ. ﻓﻲ ﻨﻬﺎﻴﺔ ﺍﻟﻤﺴﺭﺡ ﺒﺎﺏ‬ ‫ﻤﻔﺘﻭﺡ ﻋﻠﻰ ﻏﺭﻓﺔ ﺍﻟﻁﻌﺎﻡ، ﺤﻴﺙ ‪‬ﻤﻜﻥ ﺭﺅﻴﺔ ﻁﺎﻭﻟﺔ ﻤﻌ ‪‬ﺓ‬ ‫ﺩ‬ ‫ﻴ‬ ‫ﻟﻠﻌﺸﺎﺀ، ﻭﻋﻠﻴﻬﺎ ﻤﺼﺒﺎﺡ.‬ ‫ﻴﺠﻠﺱ ﺒﻴﻠﻴﻨﻎ ﺇﻟﻰ ﻫﺫﻩ ﺍﻟﻤﺎﺌﺩﺓ، ﻭﺍﻀﻌ ﹰ ﻤﻨﺩﻴل ﺍﻟﻤﺎﺌﺩﺓ ﺘﺤﺕ‬ ‫ﺎ‬ ‫ﺫﻗﻨﻪ. ﻭﺘﻘﻑ ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ ﺒﺠﻭﺍﺭ ﺍﻟﻤﺎﺌﺩﺓ ﺘﻘﺩﻡ ﻟﻪ ﻁﺒﻘ ﹰ ﻓﻴﻪ‬ ‫ﺎ‬ ‫ﻋﺩﻡ ﺍﻟﺘﺭﺘﻴﺏ ﻋﻠﻴﻬﺎ ﺩﻻﻟﺔ ﻋﻠﻰ ﺃﻥ ﻭﺠﺒﺔ ﺍﻟﻌﺸﺎﺀ ﻗﺩ ﺍﻨﺘﻬﺕ.‬

‫ﻗﻁﻌﺔ ﻜﺒﻴﺭﺓ ﻤﻥ ﺍﻟﻠﺤﻡ. ﺒﻘﻴﺔ ﺍﻟﻤﻘﺎﻋﺩ ﺤﻭل ﺍﻟﻤﺎﺌﺩﺓ ﻓﺎﺭﻏﺔ، ﻭﻴﻅﻬﺭ‬

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‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺘﻔﻀل، ﻴﺎ ﺴﻴﺩ ﺒﻴﻠﻴﻨﻎ! ﻟﻭ ﺃﻨﻙ ﺘﺄﺨﺭﺕ ﺴﺎﻋﺔ‬ ‫ﺃﺨﺭﻯ، ﻟﻭﺠﺏ ﻋﻠﻴﻙ ﺃﻥ ﺘﺄﻜﻠﻪ ﺒﺎﺭﺩﹰ.‬ ‫ﺍ‬ ‫ﺎ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻨ ﹰ، ﺃﻨﺕ ﺘﻌﻠﻡ ﻜﻡ ﻴﺤﺏ ﺯﻭﺠﻲ ﺍﻟﺩﻗﺔ ﺩﺍﺌﻤ ﹰ‬ ‫ﺎ‬ ‫ﻓﻲ ﻤﻭﺍﻋﻴﺩ ﺍﻟﻁﻌﺎﻡ -‬ ‫ﺒﻴﻠﻴﻨﻎ: ﻫﺫﺍ ﻻ ﻴﺯﻋﺠﻨﻲ. ﻓﺄﻨﺎ ﺃﺴﺘﻤﺘﻊ ﺒﺘﻨﺎﻭل ﺍﻟﻁﻌﺎﻡ ﻭﺤﺩﻱ، ﺩﻭﻥ‬ ‫ﺍﻟﺘﺤﺩﺙ ﺇﻟﻰ ﺃﺤﺩ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻨ ﹰ، ﻁﺎﻟﻤﺎ ﺃﻨﻙ ﺘﺴﺘﻤﺘﻊ ﺒﻭﺠﺒﺘﻙ، ﻓﺫﺍﻙ-‬ ‫ﺎ‬ ‫)ﺘﺼﻐﻲ ﺴﻤﻌﻬﺎ ﺒﺎﺘﺠﺎﻩ ﺍﻟﺭﺩﻫﺔ.( ﺁﻩ، ﻻ ﺒﺩ ﺃﻨﻪ ﺍﻟﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ.‬ ‫ﻴﺩﺨل ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ ﺒﻴﺘﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻤﺭﺘﺩﻴ ﹰ ﻤﻌﻁﻔﻪ ﻭﻗﺒﻌﺘ ﻪ‬ ‫ﺎ‬ ‫ﺍﻟﺭﺴﻤﻴﺔ، ﻭﻴﺤﻤل ﻋﺼﺎ.‬ ‫ﺒﻴﻠﻴﻨﻎ: ﻋﻠﻰ ﺍﻷﺭﺠﺢ.‬ ‫ﺒﻴﻠﻴﻨﻎ )ﻭﻫﻭ ﻴﺄﻜل(: ﻴﺎ ﺴﻼﻡ، ﻟﻜﻥ ﻫﺫﺍ ﺍﻟﻁﻌﺎﻡ ﻁ ‪‬ﺏ. ﻁ ‪‬ﺏ ﺠﺩﹰ!‬ ‫ﺍ‬ ‫ﻴ‬ ‫ﻴ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻤﺴﺎﺀ ﺍﻟﺨﻴﺭ ﻴﺎ ﺯﻭﺠﺔ ﺃﺨﻲ ﺍﻟﻌﺯﻴﺯﺓ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﺩﺨل ﻏﺭﻓﺔ ﺍﻟﺠﻠﻭﺱ(: ﺁﻩ، ﻤﺴﺎﺀ ﺍﻟﻨﻭﺭ! ﺇﻨﻨﻲ‬ ‫ﺴﻌﻴﺩﺓ ﺒﺭﺅﻴﺘﻙ ﻫﻨﺎ! ﺠﻤﻴل ﻤﻨﻙ ﺃﻥ ﺘﺄﺘﻲ ﻟﺯﻴﺎﺭﺘﻨﺎ.‬ ‫ﺍﻟﻁﻌﺎﻡ.( ﻟﻜﻥ ﻴﺒﺩﻭ ﺃ ‪ ‬ﻟﺩﻴﻜﻡ ﻀﻴﻭﻓ ﹰ.‬ ‫ﺎ‬ ‫ﻥ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻜﻨﺕ ﻤﺎﺭﺍ ﺒﺎﻟﺠﻭﺍﺭ، ﻟﺫﺍ-)ﻴﻨﻅﺭ ﺒﺎﺘﺠﺎﻩ ﻏﺭﻓﺔ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﺭﺘﺒﻙ ﻗﻠﻴ ﹰ(: ﺁﻩ، ﻻ ﺃﺒﺩﹰ، ﻟﻴﺱ ﻟﺩﻴﻨﺎ ﻀﻴﻭﻑ.‬ ‫ﺍ‬ ‫ﻼ‬ ‫)ﺒﺴﺭﻋﺔ( ﺃﻻ ﺘﺭﻴﺩ ﺃﻥ ﺘﺄﻜل ﺸﻴﺌ ﹰ ﺃﻴﻀ ﹰ؟‬ ‫ﺎ‬ ‫ﺎ‬

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‫ﺎ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻨﺎ؟ ﻻ، ﺸﻜﺭﹰ! ﻴﺎ ﺇﻟﻬﻲ، ﺘﺭﻴﺩﻴﻨﻨﻲ ﺃﻥ ﺃﺘﻨﺎﻭل ﻁﻌﺎﻤ ﹰ‬ ‫ﺍ‬ ‫ﻤﻁﻬﻭﹰ ﻋﻠﻰ ﺍﻟﻌﺸﺎﺀ! ﻟﻥ ﺘﺘﺤﻤﻠﻪ ﻤﻌﺩﺘﻲ.‬ ‫ﺍ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻜﻼ، ﻜﻼ! ﻫﺫﺍ ﻟﻁﻑ ﻤﻨﻙ، ﻟﻜﻨﻨﻲ ﻤﻌﺘﺎﺩ ﻋﻠﻰ‬ ‫ﺍﻟﺸﺎﻱ ﻭﺍﻟﺸﻁﺎﺌﺭ، ﻭﺴﺄﺒﻘﻰ ﻋﻠﻴﻬﻤﺎ. ﻓﻬﻲ ﺼﺤﻴﺔ ﺃﻜﺜﺭ ﻋﻠﻰ‬ ‫ﺍﻟﻤﺩﻯ ﺍﻟﺒﻌﻴﺩ، ﻭﺃﻗل ﻜﻠﻔﺔ ﻨﻭﻋ ﹰ ﻤﺎ.‬ ‫ﺎ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ ﻟﻭ ﻤﺭﺓ ﻭﺍﺤﺩﺓ ﻓﻘﻁ -‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻟﻴﺱ ﻜﺫﻟﻙ ﻴﺎ ﺯﻭﺠﺔ ﺃﺨﻲ ﺍﻟﻌﺯﻴﺯﺓ. ﻟﻡ ﻴﺨﻁﺭ ﺫﻟﻙ‬ ‫ﺒﺒﺎﻟﻲ. ) ﻴﺸﻴﺭ ﺇﻟﻰ ﻤﻜﺘﺏ ﺍﻟﺩﻜﺘﻭﺭ.( ﺃﻟﻴﺱ ﻓﻲ ﺍﻟﻤﻨﺯل؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﺘﺴﺎﺀل ﻓﻴﻤﺎ ﺇﺫﺍ ﻜﺎﻥ ﻤﻥ ﺍﻟﺤﻜﻤﺔ ﺍﻟﻤﺸﻲ ﻤﺒﺎﺸﺭﺓ‬ ‫ﺒﻌﺩ ﺍﻟﻁﻌﺎﻡ؟ )ﻴﻨﺼﺕ.( ﺁﻩ، ﻻ ﺒﺩ ﺃﻨﻪ ﻫﻭ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﺒﺘﺴﻡ(: ﺃﻨﺕ ﺘﺘﺤﺩﺙ ﻭﻜﺄﻨﻨﺎ ﺃﻨﺎ ﻭﺘﻭﻤﺎﺱ ﻤﺒ ﱢﺭﺍﻥ.‬ ‫ﺫ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ، ﻟﻘﺩ ﺫﻫﺏ ﻟﻴﺘﻤﺸﻰ ﻗﻠﻴ ﹰ ﻤﻊ ﺍﻷﻭﻻﺩ.‬ ‫ﻼ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ، ﻻ ﺃﻋﺘﻘﺩ ﺃﻨﻪ ﻭﺼل ﺒﻌﺩ. )ﻁﺭﻕ ﻋﻠﻰ‬ ‫ﺍﻟﺒﺎﺏ.( ﺍﺩﺨل!‬ ‫ﻴﺩﺨل ﻫﻭﻓﺴﺘﺎﺩ، ﻤﺤﺭﺭ ﺍﻟﺠﺭﻴﺩﺓ ﺍﻟﻤﺤﻠﻴﺔ، ﻤﻥ ﺍﻟﺭﺩﻫﺔ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺁﻩ - ﺍﻟﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ -؟‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻨﻌﻡ. ﺍﻋﺫﺭﻴﻨﻲ ﺃﺭﺠﻭﻙ، ﻟﻘﺩ ﺘﺄﺨﺭﺕ ﻓﻲ ﺍﻟﻤﻁﺒﻌﺔ. ﻤﺴﺎﺀ‬ ‫ﺍﻟﺨﻴﺭ ﻴﺎ ﺴﻴﺩﻱ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﻴﺤﻴﻪ ﺒﺠﻔﺎﺀ ﺘﻘﺭﻴﺒ ﹰ(: ﻤﺴﺎﺀ ﺍﻟﺨﻴﺭ. ﺃﻋﺘﻘﺩ ﺃﻨﻙ ﻫﻨﺎ‬ ‫ﺎ‬ ‫ﻟﺸﺄﻥ ﻤﺎ؟‬

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‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻫﺫﺍ ﻤﺎ ﺍﻋﺘﻘﺩﺘﻪ. ﺴﻤﻌﺕ ﺃﻥ ﺃﺨﻲ ﻴﺴﻬﻡ ﺒﺎﻨﺘﻅﺎﻡ ﻓﻲ‬ ‫ﺠﺭﻴﺩﺓ »ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ«.‬ ‫ﺍﻟﺤﻘﻴﻘﺔ ﻓﻲ ﺃﻤﺭ ﻤﺎ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺇﻟﻰ ﺤﺩ ﻤﺎ. ﻤﻥ ﺃﺠل ﻤﻘﺎﻟﺔ ﻟﺠﺭﻴﺩﺘﻲ -‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻨﻌﻡ، ﻓﻬﻭ ﻋﺎﺩﺓ ﻤﺎ ﻴﺭﺍﺴﻠﻨﺎ ﺇﺫﺍ ﺸﻌﺭ ﺃﻨﻪ ﻻ ﺒﺩ ﻤﻥ ﻗﻭل‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺇﻟﻰ ﻫﻭﭭﺴﺘﺎﺩ، ﻤﺸﻴﺭﺓ ﺇﻟﻰ ﻏﺭﻓﺔ ﺍﻟﻁﻌﺎﻡ(:‬ ‫ﻟﻜﻥ- ﺃﻻ ﺘﺭﻴﺩ ﺃﻥ-؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻴﺎ ﺇﻟﻬﻲ، ﻻ ﺘﻅﻨﻲ ﺃﻨﻨﻲ ﺃﻟﻭﻤﻪ ﻋﻠﻰ ﺍﻟﻜﺘﺎﺒﺔ ﻟﺫﺍﻙ‬ ‫ﺍﻟﻨﻭﻉ ﻤﻥ ﺍﻟﻘ ‪‬ﺍﺀ ﺍﻟﺫﻴﻥ ﻴﺘﻭﻗﻊ ﺃﻥ ﻴﺅﻴﺩﻭﺍ ﺃﻓﻜﺎﺭﻩ. ﺇﻀﺎﻓﺔ ﺇﻟﻰ ﺃﻨﻪ‬ ‫ﺭ‬ ‫ﻟﻴﺱ ﻫﻨﺎﻙ ﺴﺒﺏ ﻴﺠﻌﻠﻨﻲ ﺃﺤﻤل ﺃﻱ ﻀﻐﻴﻨﺔ ﺘﺠﺎﻩ ﺠﺭﻴﺩﺘﻙ، ﻴﺎ‬ ‫ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ -‬

‫ﻫﻭﭬﺴﺘﺎﺩ: ﻟﻴﺱ ﻟﺩﻱ ﺸﻙ ﻓﻲ ﺫﻟﻙ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺇﺠﻤﺎ ﹰ، ﺃﻋﺘﻘﺩ ﺃﻨﻪ ﻴﻤﻜﻨﻨﻲ ﺍﻟﻘﻭل ﺇﻥ ﺭﻭﺤ ﹰ ﺭﺍ ﺌﻌﺔ‬ ‫ﺎ‬ ‫ﻻ‬ ‫ﻤﻥ ﺍﻟﺘﺴﺎﻤﺢ ﺘﺴﻭﺩ ﺒﻠﺩﺘﻨﺎ. ﺭﻭﺤ ﹰ ﺠﻤﺎﻋﻴﺔ ﺠﻤﻴﻠﺔ! ﻭﺴﺒﺏ ﺫﻟﻙ‬ ‫ﺎ‬ ‫ﻭﺠﻭﺩ ﻫﺫﻩ ﺍﻟﻤﺼﻠﺤﺔ ﺍﻟﻤﺸﺘﺭﻜﺔ ﺍﻟﻌﻅﻴﻤﺔ ﺍﻟﺘﻲ ﺘﺭﺒﻁﻨﺎ- ﻤﺼﻠﺤﺔ‬ ‫ﺘﻬﻡ ﺠﻤﻴﻊ ﺍﻟﻤﻭﺍﻁﻨﻴﻥ ﻤﻥ ﺃﺼﺤﺎﺏ ﺍﻟﻌﻘﻭل ﺍﻟﺴﻠﻴﻤﺔ -‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺘﻘﺼﺩ ﺍﻟﺤﻤﺎﻤﺎﺕ؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺘﻤﺎﻤ ﹰ! ﺤﻤﺎﻤﺎﺘﻨﺎ ﺍﻟﺠﺩﻴﺩﺓ ﺍﻟﺭﺍﺌﻌﺔ. ﺴﺠل ﻜﻼﻤﻲ ﻴﺎ‬ ‫ﺎ‬ ‫ﺴﻴﺩ! ‪‬ﻴﺜ ‪‬ﺕ ﺃﻥ ﻫﺫﻩ ﺍﻟﺤﻤﺎﻤﺎﺕ ﻫﻲ ﻟﺏ ﺤﻴﺎﺘﻨﺎ ﻭﺠﻭﻫﺭﻫﺎ! ﻤﺎ‬ ‫ﺴ ﺒ‬ ‫ﻤﻥ ﺸﻙ ﻓﻲ ﻫﺫﺍ.‬

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‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻤﺫﻫﻠﺔ ﺤﻘ ﹰ ﺍﻟﺨﻁﻭﺍﺕ ﺍﻟﺘﻲ ﺃﻨﺠﺯﻫﺎ ﻫﺫﺍ ﺍﻟﻤﻜﺎﻥ‬ ‫ﺎ‬ ‫ﺨﻼل ﺍﻟﺴﻨﺘﻴﻥ ﺃﻭ ﺍﻟﺜﻼﺙ ﺍﻟﻤﺎﻀﻴﺔ. ﺍﻟﺒﻠﺩﺓ ﺘﺯﺩﻫﺭ. ﻭﺍﻟﻨﺎﺱ‬ ‫ﻴﺴﺘﻴﻘﻅﻭﻥ ﻭﻴﺒﺩﺅﻭﻥ ﺍﻟﺴﻌﻲ ﻤﻥ ﺃﺠل ﺤﻴﺎﺘﻬﻡ. ﺃﺠﺭﺓ ﺍﻷﺒﻨﻴﺔ‬ ‫ﻭﺍﻷﺭﺍﻀﻲ ﺘﺯﺩﺍﺩ ﻴﻭﻤ ﹰ ﺒﻌﺩ ﻴﻭﻡ.‬ ‫ﺎ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻨﻌﻡ، ﻭﻫﺫﺍ ﻤﺎ ﻴﺤﺩﺙ ﺃﻴﻀ ﹰ. ﻜﻤﺎ ﺃﻥ ﺍﻟﻌﺏﺀ ﺍﻟﻤﻠﻘﻰ‬ ‫ﺎ‬ ‫ﻋﻠﻰ ﻜﺎﻫل ﺍﻟﻁﺒﻘﺔ ﺍﻟﺜﺭﻴﺔ ﻟﻤﺴﺎﻋﺩﺓ ﺍﻟﻁﺒﻘﺔ ﺍﻟﻔﻘﻴﺭﺓ ﻗﺩ ﺘﻀﺎﺀل‬ ‫ﺒﺸﻜل ﻴﺒﻌﺙ ﻋﻠﻰ ﺍﻟﺴﺭﻭﺭ - ﻭﺴﻴﺘﻀﺎﺀل ﺃﻜﺜﺭ ﻓﻴﻤﺎ ﻟﻭ ﺘﻭﺍﻓﺭ‬ ‫ﻟﺩﻴﻨﺎ ﻤﻭﺴﻡ ﺼﻴﻔﻲ ﺠﻴﺩ ﻫﺫﻩ ﺍ ﻟﺴﻨﺔ، ﻤﻊ ﺍﻟﻌﺩﻴﺩ ﻤﻥ ﺍﻟﺯﻭﺍﺭ. ﻤﺎ‬ ‫ﻨﺭﻏﺏ ﻓﻴﻪ ﺃﻜﺜﺭ ﻫﻭ ﻤﺠﻲﺀ ﺍﻟﻤﺭﻀﻰ ﺍﻟﻤﺼﺎﺒﻴﻥ. ﻓﻬﺅﻻﺀ‬ ‫ﺴﻴﻤﻨﺤﻭﻥ ﺤﻤﺎﻤﺎﺘﻨﺎ ﺴﻤﻌﺔ ﻁﻴﺒﺔ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺇﻥ ﺍﻷﻤﻭﺭ ﻜﺫﻟﻙ ﻓﻌ ﹰ. ﻓﺎﻟﻁﻠﺏ ﻋﻠﻰ ﺍﻟﻤﻨﺎﺯل ﻴﺯﺩﺍﺩ‬ ‫ﻼ‬ ‫ﻜل ﻴﻭﻡ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻭﻩ، ﻫل ﻜﺘﺏ ﺸﻴﺌ ﹰ ﺠﺩﻴﺩﹰ؟‬ ‫ﺍ‬ ‫ﺎ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻌﻡ، ﻫﺫﺍ ﺒﺎﻟﻀﺒﻁ ﻤﺎ ﻴﻘﻭﻟﻪ ﺘﻭﻤﺎﺱ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻭﻨﺴﺒﺔ ﺍﻟﺒﻁﺎﻟﺔ ﺘﻘل.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻭﺃﻨﺎ ﺃﺴﻤﻊ ﻜﻼﻤ ﹰ ﻭﺍﻋﺩﹰ ﻴﺩل ﻋﻠﻰ ﺫﻟﻙ.‬ ‫ﺍ‬ ‫ﺎ‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺤﺴﻨ ﹰ ﺇﺫ ﹰ، ﺴﺘﺄﺘﻲ ﻤﻘﺎﻟﺔ ﺍﻟﺩﻜﺘﻭﺭ ﻓﻲ ﻭﻗﺘﻬﺎ.‬ ‫ﺎ ﺍ‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻻ، ﺇﻨﻪ ﺸﻲﺀ ﻜﺘﺒﻪ ﺍﻟﺸﺘﺎﺀ ﺍﻟﻤﺎﻀﻲ؛ ﻤﺩﻴﺢ ﻟﻠﺤﻤﺎﻤﺎﺕ‬ ‫ﻭﻟﻠﺘﺴﻬﻴﻼﺕ ﺍﻟﺼﺤﻴﺔ ﺍﻟﻤﻤﺘﺎﺯﺓ ﻓﻲ ﺍﻟﺒﻠﺩﺓ. ﻟﻜﻨﻨﻲ ﻗﺭﺭﺕ ﺘﺄﺠﻴﻠﻬﺎ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺁﻩ، ﻫل ﻜﺎﻥ ﻫﻨﺎﻙ ﻋﻘﺒﺔ ﻤﺎ؟‬

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‫ﻫﻭﭭﺴﺘﺎﺩ: ﻻ، ﻟﻴﺱ ﺍﻷﻤﺭ ﻜﺫﻟﻙ. ﻟﻜﻨﻨﻲ ﻅﻨﻨﺕ ﺃﻨﻪ ﻤﻥ ﺍﻷﻓﻀل ﺃﻥ‬ ‫ﺃﻨﺘﻅﺭ ﺤﺘﻰ ﺍﻟﺭﺒﻴﻊ. ﻓﺎﻟﻨﺎﺱ ﺤﺎﻟﻴ ﹰ ﺘﻔﻜﺭ ﺒﺸﺄﻥ ﺍﻟﻤﻜﺎﻥ ﺍﻟﺫﻱ‬ ‫ﺎ‬ ‫ﺴﻴﻘﻀﻭﻥ ﻓﻴﻪ ﻋﻁﻠﺘﻬﻡ ﺍﻟﺼﻴﻔﻴﺔ -‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺘﻭﻤﺎﺱ ﻻ ﻴﺘﻭﻗﻑ ﻋﻥ ﺍﻟﺘﻔﻜﻴﺭ ﺒﺘﻠﻙ ﺍﻟﺤﻤﺎﻤﺎﺕ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻨﻌﻡ، ﻜﻤﺎ ﺃﻨﻪ ﻫﻭ ﺍﻟﺫﻱ ﺃﻨﺸﺄﻫﺎ، ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻜﻴﻑ ﻻ، ﻭﻫﻭ ﻤﻭﻅﻑ ﻫﻨﺎﻙ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﺼﺒﺕ ﺘﻤﺎﻤ ﹰ! ﺃﺼﺒﺕ ﺘﻤﺎﻤ ﹰ، ﻴﺎ ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ.‬ ‫ﺎ‬ ‫ﺎ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻫل ﻜﺎﻥ ﻫﻭ؟ ﺤﻘ ﹰ؟ ﻨﻌﻡ، ﻟﻘﺩ ﺴﻤﻌﺕ ﺃﻥ ﺒﻌﺽ‬ ‫ﺎ‬ ‫ﺍﻟﻨﺎﺱ ﻴﻅﻨﻭﻥ ﺫﻟﻙ. ﻭﻻ ﺒﺩ ﻤﻥ ﺃﻥ ﺃﻭﻀﺢ ﺃﻨﻨﻲ ﻜﻨﺕ ﺃﻋﻤل‬ ‫ﺘﺤﺕ ﺫﻟﻙ ﺍﻟﻭﻫﻡ ﻭﺃﻨﻪ ﻜﺎﻥ ﻟﻲ ﻨﺼﻴﺏ ﻤﺘﻭﺍﻀﻊ ﻓﻲ ﺘﺄﺴﻴﺱ ﺫﻟﻙ‬ ‫ﺍﻟﻤﺸﺭﻭﻉ.‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻨﻌﻡ، ﻟﻁﺎﻟﻤﺎ ﻜﺎﻥ ﻋﻨﺩ ﺃﺨﻲ ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﺍﻷﻓﻜﺎﺭ -‬ ‫ﻟﺴﻭﺀ ﺍﻟﺤﻅ. ﻟﻜﻥ ﻋﻨﺩﻤﺎ ﻴﺤﻴﻥ ﻤﻭﻋﺩ ﺘﻨﻔﻴﺫ ﺍﻷﺸﻴﺎﺀ، ﻓﺈﻨﻨﺎ ﻨﺤﺘﺎﺝ‬ ‫ﻟﻨﻭﻉ ﺁﺨﺭ ﻤﻥ ﺍﻟﺭﺠﺎل، ﻴﺎ ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ. ﻭﺃﻋﺘﻘﺩ ﺃﻨﻪ ﻓﻴﻤﺎ‬ ‫ﻴﺨﺹ ﻫﺫﺍ ﺍﻟﻤﻨﺯل ﻋﻠﻰ ﺍﻷﻗل -‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻻ ﺃﺤﺩ ﻴﻨﻜﺭ ﺫﻟﻙ، ﻴﺎ ﺴﻴﺩﻱ. ﻓﻘﺩ ﺃﺸﺭﻓﺕ ﻋﻠﻰ ﺴﻴﺭ‬ ‫ﺍﻟﻌﻤل، ﻭﺍﻁﻠﻌﺕ ﻋﻠﻰ ﻜل ﺍﻟﺘﻔﺎﺼﻴل ﺍﻟﻌﻤﻠﻴﺔ، ﺠﻤﻴﻌﻨﺎ ﻴﻌﺭﻑ‬ ‫ﺫﻟﻙ. ﻟﻜﻥ ﻤﺎ ﻗﺼﺩﺘﻪ ﻓﻘﻁ ﻫﻭ ﺃﻥ ﺍﻟﺩﻜﺘﻭﺭ ﻫﻭ ﻤﻥ ﺒﺩﺃ ﺍﻟﻔﻜﺭﺓ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﻫﺫﺍ ﻤﺎ ﻴﻘﻭﻟﻪ ﺘﻭﻤﺎﺱ ﻟﻠﻨﺎﺱ ﺩﻭﻤ ﹰ.‬ ‫ﺎ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ ﻴﺎ ﺴﻠﻔﻲ ﺍﻟﻌﺯﻴﺯ-!‬

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‫ﻫﻭﭭﺴﺘﺎﺩ: ﺸﻜﺭﹰ ﻟﻙ - ﺴﺄﺘﻨﺎﻭل ﺸﻴﺌ ﹰ ﻤﺎ ﺭﺒﻤﺎ. )ﻴﺩﺨل ﻏﺭﻓﺔ‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﺍﻟﻁﻌﺎﻡ.(‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ ) ﻴﺨﻔﺽ ﺼﻭﺘﻪ ﻗﻠﻴ ﹰ(: ﺇﻥ ﻫﺅﻻﺀ ﺍﻟﻘﺭﻭﻴﻴﻥ ﺃﻤﺭﻫﻡ‬ ‫ﻼ‬ ‫ﻏﺭﻴﺏ ﺤﻘ ﹰ، ﻓﻬﻡ ﻻ ﻴﺘﻌﻠﻤﻭﻥ ﺃﺒﺩ ﹰ ﻤﻌﻨﻰ ﺍﻟﻠﺒﺎﻗﺔ.‬ ‫ﺍ‬ ‫ﺎ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺭﺠﻭﻙ ﻴﺎ ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ ﺍﺩﺨل ﻭﺘﻨﺎﻭل ﺸﻴﺌ ﹰ.‬ ‫ﺎ‬ ‫ﺴﻴﺼل ﺯﻭﺠﻲ ﻓﻲ ﺃﻴﺔ ﻟﺤﻅﺔ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻨﺕ ﺒﺎﻟﺘﺄﻜﻴﺩ ﻴﺎ ﺴﻴﺩﻱ ﻻ -؟‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ ﻫل ﻴﺯﻋﺠﻙ ﻫﺫﺍ ﺤﻘ ﹰ؟ ﺃﻻ ﻴﻜﻔﻴﻜﻤﺎ ﺃﻨﺕ‬ ‫ﺎ‬ ‫ﻭﺘﻭﻤﺎﺱ ﺃﻥ ﺘﺘﻘﺎﺴﻤﺎ ﺸﺭﻑ ﻜﻭﻨﻜﻤﺎ ﺃﺨﻭﻴﻥ؟‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻨﻌﻡ، ﻫﺫﺍ ﻫﻭ ﺍﻟﻤﻔﺭﻭﺽ. ﻟﻜﻥ ﻴﺒﺩﻭ ﺃﻥ ﺍﻟﻘﺴﻤﺔ ﻻ‬ ‫ﺘﺭﻀﻲ ﺒﻌﻀﻬﻡ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻭﻩ، ﻫﺫﺍ ﻫﺭﺍﺀ! ﺃﻨﺕ ﻭﺘﻭﻤﺎﺱ ﺩﺍﺌﻤ ﹰ ﻋﻠﻰ ﻭﻓﺎﻕ‬ ‫ﺎ‬ ‫ﺘﺎﻡ. ﺁﻩ، ﻴﺒﺩﻭ ﺃﻨﻪ ﻭﺼل.‬ ‫ﺘﺫﻫﺏ ﻭﺘﻔﺘﺢ ﺍﻟﺒﺎﺏ ﺍﻟﻤﺅﺩﻱ ﺇﻟﻰ ﺍﻟﺭﺩﻫﺔ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ) ﻀﺎﺤﻜ ﹰ ﻭﻤﻔﻌﻤ ﹰ ﺒﺎﻟﺤﻴﻭﻴﺔ(: ﻤﺭﺤﺒ ﹰ، ﻜﺎﺜﺭﻴﻥ!‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻟﺩﻱ ﻀﻴﻑ ﺁﺨﺭ ﻟﻙ ﻫﻨﺎ! ﺃﻟﻴﺴﺕ ﺍﻷﻤﻭﺭ ﺃﺒﻬﺞ ﺍﻵﻥ؟ ﺘﻔﻀل ﻴﺎ‬

‫ﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ. ﻋﻠﻕ ﻤﻌﻁﻔﻙ ﻫﻨﺎﻙ ﻋﻠﻰ ﺍﻟﻤﺸﺠﺏ. ﻻ، ﻋﻔﻭﹰ،‬ ‫ﺍ‬ ‫ﺃﻨﺕ ﻻ ﺘﺭﺘﺩﻱ ﻤﻌﻁﻔ ﹰ، ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟ ﺘﺨﻴﻠﻲ ﻴﺎ ﻜﺎﺜﺭﻴﻥ ﺃﻨﻨﻲ‬ ‫ﺎ‬

‫ﺼﺎﺩﻓﺘﻪ ﻓﻲ ﺍﻟﻁﺭﻴﻕ! ﻭﻭﺍﺠﻬﺕ ﺼﻌﻭﺒﺔ ﻓﻲ ﺇﻗﻨﺎﻋﻪ ﺒﺎﻟﻤﺠﻲﺀ‬ ‫ﻤﻌﻲ.‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻋﻨﺩ ﻤﺩﺨل ﺍﻟﺒﺎﺏ(: ﺍﺩﺨﻠﻭﺍ ﺤﺎ ﹰ ﻴﺎ ﺃﻭﻻﺩ.‬ ‫ﻻ‬ ‫)ﻟﻠﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ( ﺇﻨﻬﻡ ﺠﺎﺌﻌﻭﻥ ﻤﻥ ﺠﺩﻴﺩ. ﺘﻔﻀل ﻤﻥ ﻫﻨﺎ‬ ‫ﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ، ﺴﺘﺘﻨﺎﻭل ﺃﻁﻴﺏ ﻟﺤﻡ ﻤﺸﻭﻱ ﺘﻨﺎﻭﻟﺘﻪ ﻓﻲ ﺤﻴﺎﺘﻙ.‬ ‫ﺎ‬ ‫ﻴﻘﺘﺎﺩ ﻫﻭﺭﺴﺘﺭ ﺇﻟﻰ ﻏﺭﻓﺔ ﺍﻟﻁﻌﺎﻡ. ﻭﻴﺩﺨل ﺇﻟﻴﻬﺎ ﺃﻴﻀ ﹰ‬ ‫ﺇﻴﻠﻴﻑ ﻭﻤﻭﺭﺘﻥ‬

‫ﻴﺩﺨل ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ ﻭﻴﺼﺎﻓﺢ ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺴﺘﺩﻴﺭ ﻋﻨﺩ ﻤﺩﺨل ﺍﻟﺒﺎﺏ(: ﺃﻭﻩ، ﻤﺭﺤﺒ ﹰ ﺒﻴﺘﺭ!‬ ‫ﺎ‬ ‫)ﻴﺘﻭﺠﻪ ﺇﻟﻴﻪ ﻭﻴﺼﺎﻓﺤﻪ( ﺴﻌﻴﺩ ﺒﺭﺅﻴﺘﻙ!‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﺨﺸﻰ ﺃﻨﻨﻲ ﻟﻥ ﺃﺒﻘﻰ ﺴﻭﻯ ﺒﻀﻌﺔ ﺩﻗﺎﺌﻕ ﺃﺨﺭﻯ -‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺭﺍﺀ. ﺴﻨﺘﻨﺎﻭل ﺸﻴﺌ ﹰ ﻤﻥ ﺍﻟﱡﻭﺩ ‪ (*)‬ﺤﺎ ﹰ. ﺃﻨﺕ‬ ‫ﻻ‬ ‫ﺘ ﻱ‬ ‫ﺎ‬ ‫ﻟﻡ ﺘﻨﺴﻲ ﺍﻟﺸﺭﺍﺏ ﺍﻟ ‪ ‬ﹼﻰ ﺍﻟﺴﺎﺨﻥ ﻴﺎ ﻜﺎﺜﺭﻴﻥ، ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟‬ ‫ﻤﺤﻠ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻁﺒﻌ ﹰ ﻻ. ﻟﻘﺩ ﻭﻀﻌﺕ ﺍﻟﻐﻼﻴﺔ ﻋﻠﻰ ﺍﻟﻨﺎﺭ-‬ ‫ﺎ‬ ‫)ﺘﺩﺨل ﻏﺭﻓﺔ ﺍﻟﻁﻌﺎﻡ(‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺸﺭﺍﺏ ﻜﺤﻭﻟﻲ ﺴﺎﺨﻥ ﺃﻴﻀ ﹰ-؟‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻌﻡ. ﻭﺍﻵﻥ ﺍﺠﻠﺱ، ﻭﺴﻨﻘﻀﻲ ﻭﻗﺘ ﹰ ﻁﻴﺒ ﹰ ﻤﻌ ﹰ.‬ ‫ﺎ ﺎ ﺎ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﺸﻜﺭﻙ. ﻟﻜﻨﻨﻲ ﻻ ﺃﺸﺘﺭﻙ ﻓﻲ ﺤﻔﻼﺕ ﺸﺭﺏ ﺃﺒﺩﹰ.‬ ‫ﺍ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ ﻫﺫﻩ ﻟﻴﺴﺕ ﺤﻔﻠﺔ.‬
‫)*( ‪ – Toddy‬ﺍﻟﱡﻭﺩ ‪ :‬ﺸﺭﺍﺏ ‪‬ﺴ ِﺭ ‪‬ﺤﹼﻰ .‬ ‫ﻤ ﻜ ﻤ ﻠ‬ ‫ﺘ ﻱ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺘﻭﻤﺎﺱ! ﺃﻻ ﺘﺭﻯ ﻤﻥ -؟‬

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‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻫل ﻴﻤﻜﻨﻨﻲ ﺃﻥ ﺃﺴﺄل ﻋﻥ ﺍﻟﺸﻲﺀ ﺍﻟﺫﻱ ﻴﺤﺘﺎﺝ ﺇﻟﻰ‬ ‫»ﺼﻨﺎﻋﺔ«، ﻜﻤﺎ ﺃﺴﻤﻴﺘﻪ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺘﻭﺠﻪ ﺒﺴﺅﺍﻟﻙ ﻋﻥ ﺫﻟﻙ ﺇﻟﻰ ﺍﻟﻨﺵﺀ ﺍﻟﺠﺩﻴﺩ -‬ ‫ﺤﻴﻥ ﻴﺤﻴﻥ ﺍﻟﻭﻗﺕ. ﻓﻨﺤﻥ ﻁﺒﻌ ﹰ ﻟﻥ ﻨﺭﺍﻩ. ﻓﻤﻥ ﺍﻟﻭﺍﻀﺢ ﺃﻥ ﺍﻷﻤﺭ‬ ‫ﺎ‬ ‫ﻟﻥ ﻴﺘﺤﻘﻕ ﺒﺄﺸﺨﺎﺹ ﻤﺘﺯﻤﺘﻴﻥ ﻤﻥ ﺃﻤﺜﺎﻟﻲ ﻭﺃﻤﺜﺎ ﻟﻙ -.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺤﻘ ﹰ! ﻫﺫﻩ ﺃﻏﺭﺏ ﻁﺭﻴﻘﺔ ﺘﺼﻔﻨﺎ ﻓﻴﻬﺎ -‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺘﺄﺨﺫ ﻜﻼﻤﻲ ﻜﺜﻴﺭﹰ ﻋﻠﻰ ﻤﺤﻤل ﺍﻟﺠﺩ، ﻴﺎ‬ ‫ﺍ‬ ‫ﺒﻴﺘﺭ. ﻓﺄﻨﺎ، ﻜﻤﺎ ﺘﺭﻯ، ﺃﺸﻌﺭ ﺒﺒﻬﺠﺔ ﻭﺴﻌﺎﺩﺓ ﺍﻵﻥ. ﻤﻥ ﺍﻟﺭﺍﺌﻊ ﺃﻥ‬ ‫ﻨﻌﻴﺵ ﻓﻲ ﺯﻤﻥ ﻜﻬﺫﺍ، ﺤﻴﺙ ﻜل ﺸﻲﺀ ﻴﺘﻭﻟﺩ ﻭﻴﻨﻔﺠﺭ ﻤﻥ ﺤﻭﻟﻨﺎ.‬ ‫ﺎ‬ ‫ﺃﻭﻩ، ﺇﻨﻪ ﻟﻌﺼﺭ ﻤﺠﻴﺩ ﻫﺫﺍ ﺍﻟﺫﻱ ﻨﻌﻴﺸﻪ. ﺃﺸﻌﺭ ﻭﻜﺄﻥ ﻋﺎﻟﻤ ﹰ‬ ‫ﺠﺩﻴﺩﹰ ﻴﺨﺭﺝ ﺇﻟﻰ ﺍﻟﺤﻴﺎﺓ ﺃﻤﺎﻡ ﺃﻋﻴﻨﻨﺎ!‬ ‫ﺍ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻫل ﺘﺸﻌﺭ ﺒﺫﻟﻙ ﺤﻘ ﹰ؟‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل. ﻁﺒﻌ ﹰ ﺃﻨﺕ ﻻ ﻴﻤﻜﻨﻙ ﺃﻥ ﺘﺭﻯ ﺫﻟﻙ‬ ‫ﺎ‬ ‫ﺍﻻﺠﺘﻤﺎﻋﻴﺔ، ﻟﺫﺍ ﻟﻡ ﺘﺘﺭﻙ ﻓﻴﻙ ﺍﻻﻨﻁﺒﺎﻉ ﻨﻔﺴﻪ ﺍﻟﺫﻱ ﺘﺭﻜﺘﻪ ﻓ ‪.‬‬ ‫ﻲ‬ ‫ﺒﻭﻀﻭﺡ ﻜﻤﺎ ﺃﺭﺍﻩ. ﻓﻘﺩ ﻗﻀﻴﺕ ﺤﻴﺎﺘﻙ ﻓﻲ ﻫﺫﻩ ﺍﻟﺒﻴﺌﺔ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺤﺴﻨ ﹰ، ﻭﻟﻜﻥ-! )ﻴﻨﻅﺭ ﺒﺎﺘﺠﺎﻩ ﻏﺭﻓﺔ ﺍﻟﻁﻌﺎﻡ.(‬ ‫ﺎ‬ ‫ﺃﺴﺘﻐﺭﺏ ﺤﻘ ﹰ ﺍﻟﻜﻤﻴﺎﺕ ﺍﻟﺘﻲ ﻴﺄﻜﻠﻭﻨﻬﺎ!‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻔﺭﻙ ﻴﺩﻴﻪ(: ﻨﻌﻡ، ﻟﻴﺱ ﻫﻨﺎﻙ ﺃﺠﻤل ﻤﻥ ﺭﺅﻴﺔ‬ ‫ﺍﻟﺸﺒﺎﺏ ﻴﺄﻜﻠﻭﻥ، ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟ ﺩﺍﺌﻤ ﹰ ﺠﺎﺌﻌﻭﻥ! ﻫﻜﺫﺍ ﻴﺠﺏ ﺃﻥ‬ ‫ﺎ‬ ‫ﻴﻜﻭﻨﻭﺍ! ﻋﻠﻴﻬﻡ ﺃﻥ ﻴﺄﻜﻠﻭﺍ! ﻓﺎﻷﻜل ﻴﻤﻨﺤﻬﻡ ﺍﻟﻘﻭﺓ، ﻓﻬﻡ ﺍﻟﺫﻴﻥ‬ ‫ﺴﻴﺼﻨﻌﻭﻥ ﺍﻟﻤﺴﺘﻘﺒل ﻴﺎ ﺒﻴﺘﺭ.‬

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‫ﺃﻤﺎ ﺃﻨﺎ ﻓﻘﺩ ﺘﻭﺠﺏ ﻋﻠﻲ ﺃﻥ ﺃﻗﻀﻲ ﺘﻠﻙ ﺍﻟﺴﻨﻴﻥ ﻜﻠﻬﺎ ﺠﺎﻟﺴ ﹰ ﻫﻨﺎﻙ‬ ‫ﺎ‬ ‫ﻭﺠﻬ ﹰ ﺠﺩﻴﺩﹰ ﻟﺩﻴﻪ ﻜﻠﻤﺔ ﻤﺸﺠﻌﺔ ﻴﻘﻭﻟﻬﺎ ﻟﻲ. ﻟﺫﺍ ﻴﺒﺩﻭ ﺍﻷﻤﺭ‬ ‫ﺍ‬ ‫ﺎ‬ ‫ﻓﻲ ﺫﻟﻙ ﺍﻟﺭﻜﻭﺩ ﺍﻟﺸﻤﺎﻟﻲ ﺍﻟﻠﻌﻴﻥ، ﺤﻴﺙ ﻨﺎﺩﺭﹰ ﻤﺎ ﻜﻨﺕ ﺃﺭﻯ‬ ‫ﺍ‬

‫ﺒﺎﻟﻨﺴﺒﺔ ﺇﻟ ‪ ‬ﻭﻜﺄﻨﻨﻲ ﺍﻨﺘﻘﻠﺕ ﺇﻟﻰ ﻗﻠﺏ ﻋﺎﺼﻤﺔ ﺘﻨﺒﺽ ﺒﺎﻟﺤﻴﺎﺓ -‬ ‫ﻲ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻋﺎﺼﻤﺔ ﺇﺫ ﹰ-؟‬ ‫ﺍ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻋﻠﻡ ﺃ ﻨﻬﺎ ﻗﺩ ﺘﺒﺩﻭ ﺼﻐﻴﺭﺓ ﻤﻘﺎﺭﻨﺔ ﻤﻊ ﻜﺜﻴﺭ ﻤﻥ‬ ‫ﺍﻟﻤﺩﻥ ﺍﻷﺨﺭﻯ. ﻟﻜﻥ ﻓﻴﻬﺎ ﺤﻴﺎﺓ، ﺘﺒ ﹼﺭ ﺒﺎﻟﻨﺠﺎﺡ، ﻭﺍﻟﻜﺜﻴﺭ ﻤﻥ‬ ‫ﺸ‬ ‫ﺍﻷﺸﻴﺎﺀ ﻟﺘﻨﺠﺯﻫﺎ ﻭﻟﺘﻘﺎﺘل ﻤﻥ ﺃﺠﻠﻬﺎ! ﻭﻫﺫﺍ ﻫﻭ ﺍﻟﻤﻬﻡ. ) ﻴﻨﺎﺩﻱ(‬ ‫ﻜﺎﺜﺭﻴﻥ، ﺃﻟﻡ ﻴﺄﺕ ﺍﻟﺒﺭﻴﺩ ﺒﻌﺩ؟‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﻤﻥ ﻏﺭﻓﺔ ﺍﻟﻁﻌﺎﻡ(: ﻻ، ﻟﻴﺱ ﺒﻌﺩ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﻜﻲ ﻴﺅﻤﻥ ﺍﻟﻤﺭﺀ ﻋﻴﺸﺔ ﻜﺭﻴﻤﺔ، ﻴﺎ ﺒﻴﺘﺭ. ﻫﺫﺍ‬ ‫ﺸﻲﺀ ﻴﺘﻌﹼﻡ ﺍﻟﻤﺭﺀ ﻜﻴﻑ ﻴﻘﺩﺭﻩ ﺒﻌﺩ ﺃﻥ ﻴﻘﻀﻲ ﻤ ‪‬ﺓ ﻤﻥ ﻋﻤﺭﻩ‬ ‫ﺩ‬ ‫ﻠ‬ ‫ﺠﺎﺌﻌ ﹰ، ﻜﻤﺎ ﻜﻨﺎ-‬ ‫ﺎ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻭﻩ، ﻁﺒﻌ ﹰ-!‬ ‫ﺎ‬ ‫ﻫﻨﺎﻙ. ﺃﻤﺎ ﺍﻵﻥ، ﻓﻴﻤﻜﻨﻨﺎ ﺍﻟﻌﻴﺵ ﻜﻨﺒﻼﺀ! ﺍﻟﻴﻭﻡ، ﻤﺜ ﹰ، ﻟﺩﻴﻨﺎ ﻟﺤﻡ‬ ‫ﻼ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻌﻡ، ﺃﺴﺘﻁﻴﻊ ﺃﻥ ﺃﺨﺒﺭﻙ ﺃﻨﻨﺎ ﻗﺎﺴﻴﻨﺎ ﺍﻟﻜﺜﻴﺭ‬

‫ﻤﺸﻭﻱ ﻋﻠﻰ ﺍﻟﻐﺩﹰﺀ! ﻭﻗﺩ ﺒﻘﻲ ﻤﻨﻪ ﻤﺎ ﻴﻜﻔﻲ ﻟﻠﻌﺸﺎﺀ! ﺃﻻ ﺘﺄﻜل‬ ‫ﺍ‬ ‫ﺒﻌﻀ ﹰ ﻤﻨﻪ؟ ﺩﻋﻨﻲ ﺃﺭﻴﻙ ﺇﻴﺎﻩ ﻋﻠﻰ ﺃﻱ ﺤﺎل. ﺘﻌﺎل، ﺃﻟﻕ ﻨﻅﺭﺓ -‬ ‫ﺎ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻻ، ﺃﻨﺎ ﺤﻘﻴﻘﺔ -‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻨ ﹰ، ﺍﻨﻅﺭ ﺇﻟﻰ ﻫﺫﺍ! ﺃﺘﺭﻯ؟ ﻟﺩﻴﻨﺎ ﻏﻁﺎﺀ ﻁﺎﻭﻟﺔ!‬ ‫ﺎ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﺠل، ﻻﺤﻅﺕ ﺫﻟﻙ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﻟﺩﻴﻨﺎ ﻤﺼﺒﺎﺡ ﻋﻠﻴﻪ ﻏﻁﺎﺀ ﻤﻅﻠﺔ ﺃﻴﻀ ﹰ،‬ ‫ﺎ‬ ‫ﺃﺘﺭﻯ؟ ﻫﺫﺍ ﻜﻠﻪ ﻤﻤﺎ ﺍﺩﺨﺭﺘﻪ ﻜﺎﺜﺭﻴﻥ! ﺇﻨﻪ ﻴﺠﻌل ﺍﻟﻐﺭﻓﺔ ﻤﺭﻴﺤﺔ‬ ‫ﺠﺩﹰ، ﺃﻻ ﺘﻌﺘﻘﺩ ﺫﻟﻙ ﻤﻌﻲ؟ ﺘﻌﺎل ﻭﻗﻑ ﻫﻨﺎ- ﻻ، ﻻ، ﻟﻴﺱ ﻫﻨﺎﻙ!‬ ‫ﺍ‬ ‫ﺎ‬ ‫ﻫﻜﺫﺍ، ﻭﺍﻵﻥ! ﺍﻨﻅﺭ! ﺃﺘﺭﻯ ﻜﻴﻑ ﻴﺘﺠﻤﻊ ﺍﻟﻨﻭﺭ ﻓﻲ ﺍﻷﺴﻔل؟ ﺤﻘﹰ‬ ‫ﺃﻋﺘﻘﺩ ﺃﻥ ﺍﻟﻤﺼﺒﺎﺡ ﻴﺒﺩﻭ ﺃﻨﻴﻘ ﹰ ﺠﺩﹰ، ﺃﻻ ﺘﻌﺘﻘﺩ ﺫﻟﻙ؟‬ ‫ﺎ ﺍ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺤﺴﻨ ﹰ، ﻟﻭ ﺘﺴﻨ ﻰ ﻟﻠﻤﺭﺀ ﺃﻥ ﻴﻌﻴﺵ ﻓﻲ ﻫﺫﻩ ﺍﻟﺭﻓﺎﻫﻴﺔ‬ ‫ﺎ‬ ‫ﻜﻠﻬﺎ -‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻭﻩ، ﺃﻋﺘﻘﺩ ﺃﻨﻨﻲ ﺃﺴﺘﻁﻴﻊ ﺘﺤﻤل ﻤﺼﺎﺭﻴﻑ ﺫﻟﻙ‬ ‫ﺍﻵﻥ. ﺘﻘﻭل ﻜﺎﺜﺭﻴﻥ ﺇﻨﻨﻲ ﺃﻜﺴﺏ ﺘﻘﺭﻴﺒ ﹰ ﻗﺩﺭ ﻤﺎ ﻨﻨﻔﻕ.‬ ‫ﺎ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺘﻘﺭﻴﺒ ﹰ!‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻌﻡ، ﻋﻠﻰ ﺭﺠل ﺍﻟﻌﻠﻡ ﺃﻥ ﻴﻌﻴﺵ ﻓﻲ ﺴﻌﺔ‬ ‫ﺒﻌﺽ ﺍﻟﺸﻲﺀ. ﻭﺃﻨﺎ ﻤﺘﺄﻜﺩ ﺃﻥ ﺃﻱ ﻗﺎ ٍ ﻴﻨﻔﻕ ﻓﻲ ﺍﻟﺴﻨﺔ ﺃﻜﺜﺭ‬ ‫ﺽ‬ ‫ﻤﻤﺎ ﺃﻨﻔﻘﻪ ﺒﻜﺜﻴﺭ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻨﻌﻡ، ﺃﺭﻯ ﺫﻟﻙ. ﻟﻜﻥ ﻓﻲ ﺍﻟﻨﻬﺎﻴﺔ، ﺍﻟﻘﺎﻀﻲ ﻤﻭﻅﻑ‬ ‫ﺒﻤﺭﻜﺯ ﻋﺎﻡ ﻭﻤﻬﻡ -‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﻜﺫﻟﻙ ﺘﺎﺠﺭ ﺍﻟﺠﻤﻠﺔ. ﺭﺠل ﻜﻬﺫﺍ ﻴﻨﻔﻕ ﺃﻜﺜﺭ‬ ‫ﺒﻜﺜﻴﺭ -‬

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‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻅﺭﻭﻓﻪ ﻤﺨﺘﻠﻔﺔ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺫﺍ ﻻ ﻴﻌﻨﻲ ﺃﻨﻨﻲ ﻤﺒﺫﺭ، ﻴﺎ ﺒﻴﺘﺭ. ﻟﻜﻨﻨﻲ ﻻ‬ ‫ﺃﺴﺘﻁﻴﻊ ﺃﻥ ﺃﺤﺭﻡ ﻨﻔﺴﻲ ﻤﺘﻌﺔ ﻭﺠﻭﺩ ﺍﻟﻨﺎﺱ ﻤﻥ ﺤﻭﻟﻲ. ﻓﺄﻨﺎ‬ ‫ﺒﺤﺎﺠﺔ ﺇﻟﻰ ﺫﻟﻙ، ﻜﻤﺎ ﺘﻌﻠﻡ. ﻓﻘﺩ ﻋﺸﺕ ﺨﺎﺭﺝ ﺍﻟﻌﺎﻟﻡ ﻤﺩﺓ ﻁﻭﻴﻠﺔ‬ ‫ﻴﺘﻤﺘﻌﻭﻥ ﺒﺎﻟﺸﺒﺎﺏ، ﻭﺍﻟﺠﺭﺃﺓ، ﻭﺍﻟﻤﺭﺡ، ﻭﻴﻤﻠﻜﻭﻥ ﻋﻘﻭ ﹰ ﺤﺭﺓ‬ ‫ﻻ‬

‫ﺠﺩﹰ، ﻭﻤﻥ ﺍﻟﻀﺭﻭﺭﺍﺕ ﺒﺎﻟﻨﺴﺒﺔ ﺇﻟﻲ ﺃﻥ ﺃﻋﻴﺵ ﻤﻊ ﺃﻨﺎﺱ‬ ‫ﺍ‬

‫ﺍﻟﺩﺍﺨل ﻴﺴﺘﻤﺘﻌﻭﻥ ﺒﻭﺠﺒﺔ ﻟﺫﻴﺫﺓ! ﺃﺘﻤﻨﻰ ﻤﻨﻙ ﺃﻥ ﺘﺘﻌﺭﻑ ﻫﻭﭬﺴﺘﺎﺩ‬ ‫ﺃﻜﺜﺭ -‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻟﻘﺩ ﺫﻜﺭﺘﻨﻲ، ﺃﺨﺒﺭﻨﻲ ﻫﻭﭭﺴﺘﺎﺩ ﺃﻨﻪ ﺴﻴﻁﺒﻊ ﻤﻘﺎﻟﺔ‬ ‫ﺃﺨﺭﻯ ﻤﻥ ﻤﻘﺎﻻﺘﻙ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﻘﺎﻟﺔ ﻟﻲ؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻨﻌﻡ، ﻋﻥ ﺍﻟﺤﻤﺎﻤﺎﺕ. ﺸﻲﺀ ﻜﺘﺒﺘﻪ ﺍﻟﺸﺘﺎﺀ ﺍﻟﻤﺎﻀﻲ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺁﻩ، ﺫﻟﻙ ﺍﻟﻤﻘﺎل. ﻻ، ﻻ ﺃﺭﻴﺩﻫﻡ ﺃﻥ ﻴﻁﺒﻌﻭﻩ‬ ‫ﺍﻵﻥ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻻ؟ ﻟﻜﻨﻨﻲ ﻅﻨﻨﺕ ﺃﻥ ﺍﻵﻥ ﻫﻭ ﺍﻟﻭﻗﺕ ﺍﻷﻨﺴﺏ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺴﻴﻜﻭﻥ ﻤﻨﺎﺴﺒ ﹰ ﻓﻲ ﺍﻷﺤﻭﺍل ﺍﻟﻁﺒﻴﻌﻴﺔ. )ﻴﺘﻤﺸﻰ‬ ‫ﺎ‬ ‫ﻓﻲ ﺍﻟﻐﺭﻓﺔ( -‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﻴﺘﺒﻌﻪ ﺒﻌﻴﻨﻴﻪ(: ﻭﻤﺎ ﺍﻟﻐﺭﻴﺏ ﻓﻲ ﺍﻟﻅﺭﻭﻑ ﺍﻵﻥ؟‬

‫ﻭﻨﺸﻴﻁﺔ - ﻭﻫﺫﺍ ﻤﺎ ﻫﻡ ﻋﻠﻴﻪ ﻓﻌ ﹰ، ﻓﻜل ﺍﻟﺭﺠﺎل ﺍﻟﺠﺎﻟﺴﻴﻥ ﻓﻲ‬ ‫ﻼ‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ) ﻴﺘﻭﻗﻑ(: ﺁﺴﻑ ﻴﺎ ﺒﻴﺘﺭ. ﻻ ﺃﺴﺘﻁﻴﻊ ﺇﺨﺒﺎﺭﻙ‬ ‫ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﺍﻷﻤﻭﺭ ﻏﻴﺭ ﺍﻟﻁﺒﻴﻌﻴﺔ، ﻭﻗﺩ ﻻ ﻴﻜﻭﻥ ﻫﻨﺎﻙ ﺸﻲﺀ‬ ‫ﺍﻟﺒﺘﺔ. ﻭﺭﺒﻤﺎ ﻜﺎﻥ ﺫﻟﻙ ﻤﻥ ﺒﻨﺎﺕ ﺨﻴﺎﻟﻲ -‬ ‫ﺒﺫﻟﻙ ﺒﻌﺩ. ﻟﻴﺱ ﻫﺫﺍ ﺍﻟﻤﺴﺎﺀ ﻋﻠﻰ ﻜل ﺤﺎل. ﻗﺩ ﻴﻜﻭﻥ ﻫﻨﺎﻙ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻨﺕ ﺘﺠﻌل ﺍﻷﻤﻭﺭ ﺘﺒﺩﻭ ﻏﺎﻤﻀﺔ. ﻫل ﻫﻨﺎﻙ ﺸﻲﺀ‬ ‫ﻤﺎ؟ ﺸﻲﺀ ﻻ ﻴﺠﺩﺭ ﺒﻲ ﺃﻥ ﺃﻋﺭﻓﻪ؟ ﻟﻜﻨﻨﻲ ﻓﻜﺭﺕ ﺃﻨﻨﻲ، ﺒﻭﺼﻔﻲ‬ ‫ﺭﺌﻴﺱ ﻟﺠﻨﺔ ﺍﻟﺤﻤﺎﻤﺎﺕ -‬ ‫ﺼﻭﺍﺒﻨﺎ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﺃﻋﺘﻘﺩ ﺃﻨﻨﻲ ﺒﺎﻋﺘﺒ ﹰﺭﻱ- ﺤﺴﻨ ﹰ، ﺩﻋﻨﺎ ﻻ ﻨﻔﻘﺩ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻻ ﺴﻤﺢ ﺍﷲ. ﻟﻴﺱ ﻤﻥ ﻋﺎﺩﺘﻲ ﺃﻥ ﺃﻓﻘﺩ ﺼﻭﺍﺒﻲ، ﻜﻤﺎ‬ ‫ﺍﻟﺭﺴﻤﻴﺔ ]ﻭﺃﻥ ﺘﻁﻠﻊ ﻋﻠﻴﻬﺎ ﺍﻟﺴﻠﻁﺎﺕ ﺍﻟﻤﺨﺘﺼﺔ[ ) ١(. ﻟﻥ ﺃﺴﻤﺢ‬ ‫ﺘﻘﻭل. ﻟﻜﻨﻨﻲ ﺃﺼﺭ ﻋﻠﻰ ﺃﻥ ﺘﻤﺭ ﻜل ﺍﻟﺘﺭﺘﻴﺒـﺎﺕ ﻋﺒﺭ ﺍﻷﻗﻨﻴﺔ‬ ‫ﺒﺄﻱ ﻁﺭﻕ ﻤﻠﺘﻭﻴﺔ ﺃﻭ ﺴﺭﻴﺔ.‬ ‫ﺴﺭﻴﺔ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫل ﺍﺴﺘﺨﺩﻤﺕ ﻓﻲ ﺤﻴﺎﺘﻲ ﻁﺭﻗ ﹰ ﻤﻠﺘﻭﻴﺔ ﺃﻭ‬ ‫ﺎ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻨﺕ ﺩﺍﺌﻤ ﹰ ﺘﺼﺭ ﻋﻠﻰ ﺍﺘﺒﺎﻉ ﻁﺭﻗﻙ ﺍﻟﺨﺎﺼﺔ. ﻭﻫﺫﺍ‬ ‫ﺎ‬
‫)1( ﺍﻷﻗﻭﺍﺱ ﺍﻟﻤﺭﺒﻌﺔ ﻓﻲ ﺍﻟﻨﺹ ﺩﻟﻴل ﻋﻠﻰ ﺇﻤﻜﺎﻨﻴﺔ ﺇﺴﻘﺎﻁ ﺍﻟﺠﻤﻠﺔ ﻓﻲ ﺃﺜﻨﺎﺀ‬ ‫ﺍﻟﻌﺭﺽ .‬

‫ﺃﻴﻀ ﹰ ﺃﻤﺭ ﻤﺭﻓﻭﺽ ﺘﻘﺭﻴﺒ ﹰ ﻓﻲ ﻤﺠﺘﻤﻊ ﻴﻘﻭﻡ ﻋﻠﻰ ﺍﻟﻨﻅﺎﻡ. ﻓﻌﻠﻰ‬ ‫ﺎ‬ ‫ﺎ‬

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‫ﺍﻟﻔﺭﺩ ﺍﻻﻨﺼﻴﺎﻉ ﻟﻺﺭﺍﺩﺓ ﺍﻟﻌﺎﻤﺔ، ﺃﻭ ﺒﺎﻷﺤﺭﻯ ﻹﺭﺍﺩﺓ ﺍﻟﺴﻠﻁﺎﺕ‬

‫ﺍﻟﺘﻲ ﻤﻥ ﻭﺍﺠﺒﻬﺎ ﺘﻭﻟﻲ ﺃﻤﻭﺭ ﺍﻟﻤﺼﻠﺤﺔ ﺍﻟﻌﺎﻤﺔ.‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻫﺫﺍ ﻤﺎ ﺃﻗﺼﺩﻩ، ﻴﺎ ﻋﺯﻴﺯﻱ ﺘﻭﻤﺎﺱ، ﻭﻫﻭ ﺍﻟﺸﻲﺀ‬ ‫ﺍﻟﺫﻱ ﻻ ﺘﺭﻴﺩ ﺘﻌﻠﻤﻪ ﺃﺒﺩﹰ. ﻟﻜﻥ ﺍﻨﺘﺒﻪ. ﺴﺘﺩﻓﻊ ﺜﻤﻥ ﺫﻟﻙ ﻴﻭﻤ ﹰ ﻤﺎ.‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﺤﺴﻨ ﹰ، ﻟﻘﺩ ﺤﺫﺭﺘﻙ. ﻭﺩﺍﻋ ﹰ.‬ ‫ﺎ‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺫﺍ ﻤﻤﻜﻥ. ﺒﺤﻕ ﺍﻟﺠﺤﻴﻡ ﻤﺎ ﻋﻼﻗﺘﻲ ﺒﻬﺫﺍ‬ ‫ﺍﻟﻤﻭﻀﻭﻉ؟‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻟﻴﺱ ﺫﻟﻙ ﻤﻥ ﻋﺎﺩﺘﻲ. ﺤﺴﻨ ﹰ، ﺍﺴﻤﺤﻭﺍ ﻟﻲ -‬ ‫ﺎ‬ ‫)ﻴﻨﺤﻨﻲ ﺘﺠﺎﻩ ﻏﺭﻓﺔ ﺍﻟﻁﻌﺎﻡ.( ﻭﺩﺍﻋ ﹰ ﻴﺎ ﺯﻭﺠﺔ ﺃﺨﻲ. ﻁﺎﺏ‬ ‫ﺎ‬ ‫ﻴﻭﻤﻜﻡ ﻴﺎ ﺴﺎﺩﺓ. )ﻴﺫﻫﺏ.(‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫل ﺠﻨﻨﺕ؟ ﺃﻨﺕ ﺘﺴﻌﻰ ﺇﺫﹰ ﻭﺭﺍﺀ ﺍﻟﺸﺨﺹ‬ ‫ﺍ‬ ‫ﺍﻟﺨﻁﺄ -.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻌﻡ ﻴﺎ ﻜﺎﺜﺭﻴﻥ، ﻭﻓﻲ ﻤﺯﺍﺝ ﺴﻲﺀ ﻟﻠﻐﺎﻴﺔ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺸﻲﺀ ﺍﻟﺒﺘﺔ. ﻴﻨﺒﻐﻲ ﻤﻨﻪ ﺃﻻ ﻴﺘﻭﻗﻊ ﻤﻨﻲ ﺃﻥ‬ ‫ﺃﻗﺩﻡ ﻟﻪ ﺘﻘﺭﻴﺭﹰ، ﻋﻥ ﻜل ﺃﻤﺭ ﻗﺒل ﺍﻟﻭﻗﺕ ﺍﻟﻤﻨﺎﺴﺏ.‬ ‫ﺍ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺘﺄﺒﻬﻲ ﻟﺫﻟﻙ، ﻴﺎ ﻜﺎﺜﺭﻴﻥ. ﺘﺒ ﹰ، ِ ‪ ‬ﻟﹶﻡ‪ ‬ﻴﺼل‬ ‫ﺎ ﻟﻡ‬ ‫ﺍﻟﺒﺭﻴﺩ ﺒﻌﺩ؟‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺘﻌﻁﻴﻪ ﺘﻘﺭﻴﺭ ﹰ؟ ﻋﻥ ﻤﺎﺫﺍ؟‬ ‫ﺍ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﻌﻭﺩ ﺇﻟﻰ ﻏﺭﻓﺔ ﺍﻟﻁﻌﺎﻡ.(: ﻫل ﻏﺎﺩﺭ؟‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻭﻩ، ﺘﻭﻤﺎﺱ، ﻤﺎﺫﺍ ﻓﻌﻠﺕ ﻟﻪ ﻫﺫﻩ ﺍﻟﻤﺭﺓ؟‬

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‫ﻴﻨﻬﺽ ﻫﻭﻓﺴﺘﺎﺩ، ﻭﺒﻴﻠﻴﻨﻨﻎ، ﻭﻫﻭﺭﺴﺘﺭ ﻤﻥ ﻋﻠﻰ ﺍﻟﻤﺎﺌﺩﺓ،‬ ‫ﻭﻴﺩﺨﻠﻭﻥ ﻏﺭﻓﺔ ﺍﻟﺠﻠﻭﺱ. ﻴﺘﺒﻌﻬﻡ ﺇﻴﻠﻴﻑ ﻭﻤﻭﺭﺘﻥ ﺒﻌﺩ‬ ‫ﻟﺤﻅﺎﺕ ﻗﻠﻴﻠﺔ.‬

‫ﺒﻴﻠﻴﻨﻎ )ﻴﺘﻤﻁﻰ(: ﺁﻩ، ﻭﺠﺒﺔ ﻜﺘﻠﻙ ﺘﺸﻌﺭ ﺍﻟﻤﺭﺀ ﺒﺄﻨﻪ ﺸﺨﺹ ﺠﺩﻴﺩ.‬ ‫ﺃﻗﺴﻡ ﻋﻠﻰ ﺫﻟﻙ!‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺴﻴﺎﺩﺘﻪ ﻟﻡ ﻴﻜﻥ ﻓﻲ ﻤﺯﺍﺝ ﺠﻴﺩ ﺍﻟﻠﻴﻠﺔ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻌﻡ، ﻫﺫﺍ ﺒﺴﺒﺏ ﻤﻌﺩﺘﻪ. ﻗﺎﺒﻠﻴﺘﻪ ﻀﻌﻴﻔﺔ ﻭﻟﺩﻴﻪ‬ ‫ﻋﺴﺭ ﻫﻀﻡ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻋﺘﻘﺩ ﺃﻨﻨﺎ ﻨﺤﻥ ﺍﻟﺼﺤﻔﻴﻴﻥ ﺍﻟﻤﺘﻁﺭﻓﻴﻥ ﺸﻭﻜﺔ ﻓﻲ ﺤﻠﻘﻪ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺇﻨﻬﺎ ﻤﺠﺭﺩ ﻫﺩﻨﺔ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻅﻨﻨﺕ ﺃﻨﻙ ﻋﻠﻰ ﻭﻓﺎﻕ ﻤﻌﻪ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺒﻴﺘﺭ ﻤﺴﻜﻴﻥ، ﺇﻨﻪ ﺭﺠل ﻭﺤﻴﺩ. ﻴﺠﺏ ﺃﻻ ﻨﻨﺴﻰ‬ ‫ﺫﻟﻙ. ﻟﻴﺱ ﻟﺩﻴﻪ ﻤﻨﺯل ﻴﺭﺘﺎﺡ ﻓﻴﻪ، ﺤﻴﺎﺘﻪ ﻜﻠﻬﺎ ﺃﻋﻤﺎل ﻤﺘﻭﺍﺼﻠﺔ،‬ ‫ﻭﻜل ﺫﻟﻙ ﺍﻟﺸﺎﻱ ﺍﻟﻠﻌﻴﻥ ﺍﻟﺫﻱ ﻴﻤﻸ ﺒﻪ ﻤﻌﺩﺘﻪ! ﺤﺴﻨ ﹰ ﻴﺎ ﺃﻭﻻﺩ،‬ ‫ﺎ‬ ‫ﺨﺫﻭﺍ ﺃﻤﺎﻜﻨﻜﻡ! ﻜﺎﺜﺭﻴﻥ، ﺃﻴﻥ ﺍﻟﺸﺭﺍﺏ ﺍﻟ ‪‬ﺤﻠﻰ ﺍﻟﺴﺎﺨﻥ؟‬ ‫ﻤ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ، ﺘﻌﺎل ﻭﺍﺠﻠﺱ ﻫﻨﺎ ﻋﻠﻰ‬ ‫ﺍﻷﺭﻴﻜﺔ ﺒﺠﺎﻨﺒﻲ،. ﻓﺄﻨﺕ ﻗﻠﻤﺎ ﺘﺯﻭﺭﻨﺎ. ﺘﻔﻀﻠﻭﺍ، ﺍﺠﻠﺴﻭﺍ ﻴﺎ ﺴﺎﺩﺓ!‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﺩﺨل ﻏﺭﻓﺔ ﺍﻟﻁﻌﺎﻡ.(: ﺴﺄﺤﻀﺭﻩ ﺤﺎ ﹰ.‬ ‫ﻻ‬

‫ﺒﻴﻠﻴﻨﻎ: ﻜﻤﺎ ﺘﻘﻭل ﺘﻤﺎﻤ ﹰ! ﻫﺫﻩ ﺍﻟﻜﻠﻤﺔ ﺘﻠﺨﺹ ﺍﻟﻤﻭﻗﻑ ﺒﻴﻨﻨﺎ ﺒﺤﺭﻭﻑ‬ ‫ﺎ‬ ‫ﺼﻐﻴﺭﺓ.‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺄﺨﺫ ﻜﺄﺴ ﹰ(: ﺃﻻ ﺘﻘﻠﻘﻴﻥ ﻟﻬﺫﺍ! )ﻜﻭﻥ ﺸﺭﺍﺏ‬ ‫ﺎ‬ ‫ﺍﻟﺘﻭﺩﻱ ﻤﺨﻠﻭﻁ ﹰ.( ﻟﻜﻥ ﺃﻴﻥ ﺍﻟﺴﻴﺠﺎﺭ؟ ﺃﻨﺕ ﺘﻌﺭﻑ ﺃﻴﻥ ﺍﻟﺼﻨﺩﻭﻕ‬ ‫ﺎ‬ ‫ﻴﺎ ﺇﻴﻠﻴﻑ. ﺃﻤﺎ ﺃﻨﺕ ﻴﺎ ﻤﻭﺭﺘﻥ ﻓﺄﺤﻀﺭ ﻟﻲ ﺍﻟﻐﻠﻴﻭﻥ. )ﻴﺩﺨل‬ ‫ﺍﻟﻭﻟﺩﺍﻥ ﺍﻟﻐﺭﻓﺔ ﺍﻟﺘﻲ ﻋﻠﻰ ﺍﻟﻴﻤﻴﻥ.( ﻟﺩﻱ ﺸﻌﻭﺭ ﺒﺄﻥ ﺇﻴﻠﻴﻑ‬ ‫ﻴﺴﺭﻕ ﺴﻴﺠﺎﺭﹰ ﻤﻥ ﺁﻥ ﻵﺨﺭ، ﻟﻜﻨﻨﻲ ﺃﺘﻅﺎﻫﺭ ﺃﻨﻨﻲ ﻻ ﺃﻋﺭﻑ،‬ ‫ﺍ‬ ‫)ﻴﻨﺎﺩﻱ( ﻭﺇﻟﻲ ﺒﺎﻟﻤﺸﺭﺏ ﻴﺎ ﻤﻭﺭﺘﻥ. ﻜﺎﺜﺭﻴﻥ، ﻫﻼ ﺃﺨﺒﺭﺘﻪ ﺃﻴﻥ‬ ‫ﺃﻀﻌﻬﺎ؟ ﺁﻩ، ﻻ ﺒﺄﺱ، ﻟﻘﺩ ﻭﺠﺩﻫﺎ. )ﻴﻌﻭﺩ ﺍﻟﻭﻟﺩﺍﻥ ﺒﺎﻷﺸﻴﺎﺀ ﺍﻟﺘﻲ‬ ‫ﻁﻠﺒﻬﺎ ﻭﺍﻟﺩﻫﻤﺎ.( ﻫﻠﻤﻭﺍ ﺇﻟﻰ ﻜﺅﻭﺴﻜﻡ ﻴﺎ ﺃﺼﺩﻗﺎﺀ. ﻓﺄﻨﺎ ﺴﺄﻗﺘﺼﺭ‬ ‫ﻋﻠﻰ ﺍﻟﺘﺩﺨﻴﻥ. ﺃﺘﻌﻠﻤﻭﻥ، ﻟﻘﺩ ﻜﺎﻥ ﻴﺭﺍﻓﻘﻨﻲ ﻫﺫﺍ ﺍﻟﺼﺩﻴﻕ ﺍﻟﻘﺩﻴﻡ‬ ‫ﻓﻲ ﺃﻴﺎﻡ ﻋﺼﻴﺒﺔ ﻤﺭﺭﺕ ﺒﻬﺎ ﻫﻨﺎﻙ ﻓﻲ ﺍﻟﺸﻤﺎل. ) ﻴﺘﻘﺎﺭﻋﻭﻥ‬ ‫ﺍﻟﻜﺅﻭﺱ.( ﻓﻲ ﺼﺤﺘﻜﻡ. ﻻ ﺒﺩ ﻟﻲ ﻤﻥ ﺍﻟﻘﻭل ﺇﻥ ﺍﻟﺠﻠﻭﺱ ﻓﻲ‬ ‫ﻫﺫﺍ ﺍﻟﺭﻜﻥ ﺃﻜﺜﺭ ﺭﺍﺤﺔ ﻭﺩﻓﺌ ﹰ.‬ ‫ﺎ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺠﺎﻟﺴﺔ ﺘﺤﻴﻙ ﺍﻟﺼﻭﻑ(: ﻫل ﺴﺘﺒﺤﺭ ﻗﺭﻴﺒ ﹰ، ﻴﺎ‬ ‫ﺎ‬ ‫ﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ؟‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺫﻩ ﺍﻟﻤﺭﺓ ﺴﺘﺫﻫﺏ ﺇﻟﻰ ﺃﻤﺭﻴﻜﺎ، ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟‬ ‫ﻫﻭﺭﺴﺘﺭ: ﻨﻌﻡ، ﻫﻜﺫﺍ ﺍﻟﻨﻴﺔ.‬ ‫ﻫﻭﺭﺴﺘﺭ: ﺃﻅﻥ ﺃﻨﻨﻲ ﺴﺄﻨﻁﻠﻕ ﺍﻷﺴﺒﻭﻉ ﺍﻟﻘﺎﺩﻡ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺘﻔﻀﻠﻭﺍ. ﻫﺫﺍ ﻋﺭﻕ، ﻭﻫﺫﺍ ﺭﻭﻡ، ﻭﻫﺎﻜﻡ‬ ‫ﺍﻟﻜﻭﻨﻴﺎﻙ. ﻭﺍﻵﻥ ﺘﻔﻀﻠﻭﺍ.‬

‫ﻴﺠﻠﺱ ﺍﻟﻀﻴﻭﻑ ﺤﻭل ﺍﻟﻁﺎﻭﻟﺔ. ﺘﺤﻀﺭ ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ‬ ‫ﺼﻴﻨﻴﺔ ﻋﻠﻴﻬﺎ ﻏﻼﻴﺔ، ﻭﺁﻨﻴﺔ ﺸﺭﺍﺏ، ﻭﻜﺅﻭﺱ، ﺍﻟﺦ‬

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‫ﺒﻴﻠﻴﻨﻎ: ﻟﻜﻥ ﻓﻲ ﻫﺫﻩ ﺍﻟﺤﺎل ﻟﻥ ﺘﻜﻭﻥ ﻗﺎﺩﺭﹰ ﻋﻠﻰ ﺍﻟﻤﺸﺎﺭﻜﺔ ﻓﻲ‬ ‫ﺍ‬ ‫ﺍﻻﻨﺘﺨﺎﺒﺎﺕ ﺍﻟﻘﺎﺩﻤﺔ ﻟﻤﺠﻠﺱ ﺍﻟﺒﻠﺩﺓ!‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺃﻟﻡ ﺘﺴﻤﻊ ﺒﺫﻟﻙ؟‬

‫]ﻫﻭﺭﺴﺘﺭ: ﻫل ﺴﺘﻜﻭﻥ ﻫﻨﺎﻙ ﺍﻨﺘﺨﺎﺒﺎﺕ ﺠﺩﻴﺩﺓ؟‬ ‫ﻫﻭﺭﺴﺘﺭ: ﻻ، ﻓﺄﺸﻴﺎﺀ ﻜﻬﺫﻩ ﻻ ﺘﻬﻤﻨﻲ.‬

‫ﺒﻴﻠﻴﻨﻎ: ﻻ ﻓﺭﻕ، ﻟﻜﻥ ﻋﻠﻰ ﺍﻟﻤﺭﺀ ﺃﻥ ﻴﺩﻟﻲ ﺒﺼﻭﺘﻪ ﻋﻠﻰ ﺍﻷﻗل.‬ ‫ﻫﻭﺭﺴﺘﺭ: ﺤﺘﻰ ﻭﻟﻭ ﻜﺎﻥ ﻻ ﻴﻔﻬﻡ ﺤﻭل ﻤﺎﺫﺍ ﻴﻘﺘﺭﻉ؟‬ ‫ﺒﻴﻠﻴﻨﻎ: ﻴﻔﻬﻡ؟ ﻤﺎ ﻋﻼﻗﺔ ﺍﻟﻔﻬﻡ ﺒﺎﻻﻗﺘﺭﺍﻉ؟ ﺇﻥ ﺍﻟﻤﺠﺘﻤﻊ ﻤﺜل ﺍﻟﺴﻔﻴﻨﺔ.‬ ‫ﻋﻠﻰ ﻜل ﺭﺠل ﻤﻥ ﺭﺠﺎﻟﻬﺎ ﺃﻥ ﻴﺴﺎﻋﺩ ﻓﻲ ﺇﺩﺍﺭﺓ ﺍﻟﺩﻓﺔ.‬ ‫ﻫﻭﺭﺴﺘﺭ: ﻫﺫﺍ ﻻ ﻴﺤﺩﺙ ﻓﻲ ﺴﻔﻴﻨﺘﻲ!‬ ‫]ﻫﻭﭭﺴﺘﺎﺩ: ﻏﺭﻴﺒﺔ ﻫﻲ ﺍﻟﻁﺭﻴﻘﺔ ﺍﻟﺘﻲ ﻴﺘﻌﺎﻤل ﺒﻬﺎ ﺍﻟﺒﺤﺎﺭﺓ ﺍﻟﺼﻐﺎﺭ‬ ‫ﻤﻊ ﻤﺎ ﻴﺠﺭﻱ ﻓﻲ ﺒﻠﺩﺘﻬﻡ.‬ ‫ﺒﻴﻠﻴﻨﻎ: ﻏﺭﻴﺒﺔ ﺠﺩﹰ.[‬ ‫ﺍ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺍﻟﺒﺤﺎﺭﺓ ﻜﺎﻟﻁﻴﻭﺭ ﺍﻟﻌﺎﺒﺭﺓ، ﺃﻴﻨﻤﺎ ﻴﺤﻠﻭﻥ‬ ‫ﻨﺸﺎﻁ ﹰ ﺃﻜﺒﺭ ﺘﺠﺎﻩ ﺍﻟﺸﺅﻭﻥ ﺍﻟﻌﺎﻤﺔ، ﻴﺎ ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ. ﻫل ﻟﺩﻴﻙ‬ ‫ﺎ‬ ‫ﻴﺸﻌﺭﻭﻥ ﺃﻨﻬﻡ ﻓﻲ ﻤﻭﻁﻨﻬﻡ. ﻟﺫﺍ ﻴﻨﺒﻐﻲ ﺃﻥ ﻴﺒﺩﻱ ﺍﻟﺒﺎﻗﻭﻥ ﻤﻨﺎ‬

‫ﻫﻭﺭﺴﺘﺭ: ﻻ، ﻓﺄﻨﺎ ﻻ ﺃﻓﻬﻡ ﻓﻲ ﻤﺜل ﻫﺫﻩ ﺍﻷﻤﻭﺭ.‬

‫ﺒﻴﻠﻴﻨﻎ: ﻟﻜﻥ ﻋﻠﻴﻙ ﺃﻥ ﺘﻬﺘﻡ ﺒﺎﻟﺸﺅﻭﻥ ﺍﻟﻌﺎﻤﺔ؟[‬

‫ﺸﻲﺀ ﻤﻔﻴﺩ ﺘﻘﺩﻤﻪ ﻟﻨﺎ ﻏﺩﹰ ﻓﻲ »ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ«؟‬ ‫ﺍ‬

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‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻴﺱ ﻫﻨﺎﻙ ﺸﻲﺀ ﻴﺘﻌﻠﻕ ﺒﺎﻷﻤﻭﺭ ﺍﻟﻤﺤﻠﻴﺔ. ﻟﻜﻨﻨﻲ ﻓﻜﺭﺕ‬ ‫ﻓﻲ ﺃﻥ ﺃﻁﺒﻊ ﻤﻘﺎﻟﺘﻙ ﺒﻌﺩ ﻏﺩ -‬

‫ﺘﺩﺨل ﺒﺘﺭﺍ ﻤﻥ ﺍﻟﺭﺩﻫﺔ، ﻤﺭﺘﺩﻴﺔ ﻗﺒﻌﺔ ﻭﻤﻌﻁﻔ ﹰ، ﻭﺘﺤﻤل‬ ‫ﺎ‬ ‫ﻤﻌﻬﺎ ﻜﻭﻤﺔ ﻤﻥ ﺍﻟﺩﻓﺎﺘﺭ ﺍﻟﻤﺩﺭﺴﻴﺔ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﺃﺠل، ﺃﻨﺕ ﻋﻠﻰ ﺤﻕ، ﻟﻜﻥ ﻤﻊ ﺫﻟﻙ ﻋﻠﻴﻙ‬ ‫ﺍﻻﻨﺘﻅﺎﺭ. ﺴﺄﺸﺭﺡ ﻟﻙ ﻓﻴﻤﺎ ﺒﻌﺩ -‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻤﺎﺫﺍ؟ ﻟﻜﻥ ﻟﺩﻴﻨﺎ ﻤﺘﺴﻊ ﻜﺒﻴﺭ ﻓﻲ ﺼﺤﻴﻔﺘﻨﺎ ﺍﻵﻥ، ﻭﻜﻨﺕ‬ ‫ﺃﻅﻥ ﺃﻨﻪ ﺍﻟﻭﻗﺕ ﺍﻷﻨﺴﺏ ﻟﻨﺸﺭﻫﺎ -‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻴﺎ ﺇﻟﻬﻲ ﻨﻌﻡ، ﺘﻠﻙ ﺍﻟﻤﻘﺎﻟﺔ! ﻻ، ﺍﻨﻅﺭ، ﻋﻠﻴﻙ ﺃﻥ‬ ‫ﺘﺘﺭﻴﺙ ﻓﻲ ﺃﻤﺭﻫﺎ ﺍﻵﻥ.‬

‫ﻴﺤﻴﻴﻬﺎ ﺍﻟﺒﺎﻗﻭﻥ، ﻭﻫﻲ ﺘﺭﺩ ﺍﻟﺘﺤﻴﺔ. ﺘﺨﻠﻊ ﻤﻌﻁﻔﻬﺎ،‬ ‫ﻭﻗﺒﻌﺘﻬﺎ ﻭﺘﻀﻌﻬﻤﺎ ﻭﺍﻟﻜﺘﺏ ﻋﻠﻰ ﻜﺭﺴﻲ ﺒﺠﺎﻨﺏ ﺍﻟﺒﺎﺏ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﺭﺤﺒ ﹰ ﺒﺘﺭﺍ، ﺃﻫﺫﺍ ﺃﻨﺕ؟‬ ‫ﺎ‬

‫ﺒﺘﺭﺍ: ﻤﺴﺎﺀ ﺍﻟﺨﻴﺭ.‬

‫ﺒﺘﺭﺍ: ﺃﻨﺘﻡ ﺘﺠﻠﺴﻭﻥ ﺠﻤﻴﻌ ﹰ ﻫﻨﺎ ﻭﺘﺤﺘﻔﻠﻭﻥ ﺒﻴﻨﻤﺎ ﺃﻨﺎ ﺃﻋﻤل ﻓﻲ ﺍﻟﺨﺎﺭﺝ!‬ ‫ﺎ‬ ‫ﺒﻴﻠﻴﻨﻎ: ﻫل ﺃﻤﺯﺝ ﻟﻙ ﻜﺄﺴ ﹰ ﺼﻐﻴﺭﺓ؟‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻨ ﹰ، ﺘﻌﺎﻟﻲ ﻭﺸﺎﺭﻜﻴﻨﺎ ﺤﻔﻠﺘﻨﺎ ﺃﻴﻀ ﹰ.‬ ‫ﺎ‬ ‫ﺎ‬

‫ﺎ‬ ‫ﺒﺘﺭﺍ )ﺘﺄﺘﻲ ﺇﻟﻰ ﺍﻟﻁﺎﻭﻟﺔ(: ﺸﻜﺭﹰ، ﺴﺄﻗﻭﻡ ﺒﺫﻟﻙ ﺒﻨﻔﺴﻲ، ﻓﺄﻨﺕ ﺩﺍﺌﻤ ﹰ‬ ‫ﺍ‬ ‫ﺘﺠﻌﻠﻪ ﺜﻘﻴ ﹰ. ﺼﺤﻴﺢ، ﺒﺎﻟﻤﻨﺎﺴﺒﺔ، ﻟﻙ ﺭﺴﺎﻟﺔ ﻋﻨﺩﻱ ﻴﺎ ﺃﺒﻲ.‬ ‫ﻼ‬ ‫ﺘﺫﻫﺏ ﺇﻟﻰ ﺍﻟﻜﺭﺴﻲ ﺍﻟﺫﻱ ﻭﻀﻌﺕ ﻋﻠﻴﻪ ﺃﺸﻴﺎﺀﻫﺎ.‬

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‫ﺒﺘﺭﺍ )ﺘﺒﺤﺙ ﻓﻲ ﺠﻴﺏ ﻤﻌﻁﻔﻬﺎ(: ﺃﻋﻁﺎﻨﻲ ﺇﻴﺎﻫﺎ ﺴﺎﻋﻲ ﺍﻟﺒﺭﻴﺩ ﻟﺩﻯ‬ ‫ﺨﺭﻭﺠﻲ ﻤﻥ ﺍﻟﻤﻨﺯل -‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺭﺴﺎﻟﺔ؟ ﻤﻤﻥ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻤﺴﻙ ﺍﻟﺭﺴﺎﻟﺔ(: ﺩﻋﻴﻨﻲ ﺃﺭﺍﻫﺎ ﻴﺎ ﺒﻨﺘﻲ، ﺩﻋﻴﻨﻲ‬ ‫ﺃﺭﺍﻫﺎ! )ﻴﻨﻅﺭ ﺇﻟﻰ ﺍﻟﻅﺭﻑ.( ﺃﺠل، ﻫﺫﻩ ﻫﻲ!‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻫل ﻫﻲ ﺍﻟﺭﺴﺎﻟﺔ ﺍﻟﺘﻲ ﻜﻨﺕ ﻤﺘﺤﺭﻗ ﹰ ﻟﻭﺼﻭﻟﻬﺎ،‬ ‫ﺎ‬ ‫ﺘﻭﻤﺎﺱ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﻲ ﺒﻌﻴﻨﻬﺎ. ﻴﺠﺏ ﺃﻥ ﺃﺫﻫﺏ ﻭﺃﻗﺭﺃﻫﺎ ﺤﺎ ﹰ. ﺃﻴﻥ‬ ‫ﻻ‬ ‫ﻴﻤﻜﻨﻨﻲ ﺃﻥ ﺃﺠﺩ ﻀﻭﺀﹰ ﻴﺎ ﻜﺎﺜﺭﻴﻥ؟ ﺃﻟﻴﺱ ﻫﻨﺎﻙ ﻤﺼﺒﺎﺡ ﻓﻲ‬ ‫ﺍ‬ ‫ﻏﺭﻓﺘﻲ ﺃﻴﻀ ﹰ؟‬ ‫ﺎ‬

‫ﺒﺘﺭﺍ: ﻓﻲ ﺍﻟﻭﺍﻗﻊ ﻟﻡ ﻴﻜﻥ ﻟﺩﻱ ﻤﺘﺴﻊ ﻤﻥ ﺍﻟﻭﻗﺕ ﻷﻋﻭﺩ ﺜﺎﻨﻴﺔ. ﻫﺎ ﻫﻲ‬ ‫ﺫﻱ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻨﻬﺽ ﻭﻴﺘﺠﻪ ﻨﺤﻭﻫﺎ(: ﻟﻤﺎﺫﺍ ﻟﻡ ﺘﻌﻁﻨﻲ ﺇﻴﺎﻫﺎ‬ ‫ﻭﻗﺘﺌ ٍ؟‬ ‫ﺫ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﻫﻨﺎﻙ ﻤﺼﺒﺎﺡ ﻤﻨﻴﺭ ﻋﻠﻰ ﻤﻜﺘﺒﻙ.‬ ‫ﻴﺩﺨل ﺍﻟﻐﺭﻓﺔ ﺍﻟﺘﻲ ﺇﻟﻰ ﺍﻟﻴﻤﻴﻥ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺠﻴﺩ، ﺠﻴﺩ. ﻟﺤﻅﺔ ﻤﻥ ﻓﻀﻠﻜﻡ -‬ ‫ﺒﺘﺭﺍ: ﻤﺎ ﻋﺴﺎﻩ ﹸﺘﺏ ﻓﻴﻬﺎ ﻴﺎ ﺃﻤﻲ؟‬ ‫ﻜ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺃﺩﺭﻱ. ﻓﻔﻲ ﺍﻷﻴﺎﻡ ﺍﻷﺨﻴﺭﺓ ﺍﻟﻤﺎﻀﻴﺔ ﻜﺎﻥ‬ ‫ﺸﻐﻠﻪ ﺍﻟﺸﺎﻏل ﺍﻟﺴﺅﺍل ﻋﻥ ﺍﻟﺒﺭﻴﺩ.‬

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‫ﺒﺘﺭﺍ: ﻤﺴﻜﻴﻥ ﺃﺒﻲ! ﺴﻴﺩﺭﻙ ﺤﺎ ﹰ ﺃﻨﻪ ﻴﺤ ‪‬ل ﻨﻔﺴﻪ ﺃﻜﺜﺭ ﻤﻤﺎ‬ ‫ﻤ‬ ‫ﻻ‬ ‫ﻴﺴﺘﻁﻴﻊ. )ﺘﻤﺯﺝ ﻟﻨﻔﺴﻬﺎ ﻜﺄﺴ ﹰ( ﻴﺎ ﺴﻼﻡ، ﻤﺫﺍﻗﻪ ﺭﺍﺌﻊ!‬ ‫ﺎ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻫل ﻜﺎﻥ ﻟﺩﻴﻙ ﺤﺼﺹ ﻤﺴﺎﺌﻴﺔ ﺍﻟﻴﻭﻡ ﺃﻴﻀ ﹰ؟‬ ‫ﺎ‬ ‫ﺒﺘﺭﺍ )ﺘﺄﺨﺫ ﺭﺸﻔﺔ(: ﺴﺎﻋﺘﻴﻥ.‬

‫ﺒﻴﻠﻴﻨﻎ: ﺭﺒﻤﺎ ﻜﺎﻨﺕ ﻤﻥ ﺃﺤﺩ ﺍﻟﻤﺭﻀﻰ ﺨﺎﺭﺝ ﺍﻟﺒﻠﺩﺓ-‬

‫ﺒﻴﻠﻴﻨﻎ: ﻭﺃﺭﺒﻊ ﺴﺎﻋﺎﺕ ﻫﺫﺍ ﺍﻟﺼﺒﺎﺡ ﻓﻲ ﺍﻟﻤﺩﺭﺴﺔ ﺍﻟﻔﻨﻴﺔ -‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﻟﺩﻴﻙ ﺩﻓﺎﺘﺭ ﺘﺼﺤﺤﻴﻨﻬﺎ ﺍﻟﻠﻴﻠﺔ، ﻜﻤﺎ ﺃﺭﻯ.‬ ‫ﻫﻭﺭﺴﺘﺭ: ﻴﺒﺩﻭ ﻟﻲ ﺃﻨﻙ ﺃﻨﺕ ﺃﻴﻀ ﹰ ﺘﺸﺘﻐﻠﻴﻥ ﺃﻜﺜﺭ ﻤﻥ ﻁﺎﻗﺘﻙ.‬ ‫ﺎ‬ ‫ﺒﺘﺭﺍ: ﺃﺠل، ﻋﺩﺩ ﻜﺒﻴﺭ.‬ ‫ﺒﺘﺭﺍ )ﺘﺠﻠﺱ ﺇﻟﻰ ﺍﻟﻁﺎﻭﻟﺔ(: ﺨﻤﺱ ﺴﺎﻋﺎﺕ.‬

‫ﺒﺘﺭﺍ: ﺃﺠل، ﻟﻜﻨﻨﻲ ﺃﺤﺏ ﺫﻟﻙ. ﻓﻬﻭ ﻴﻤﻨﺤﻨﻲ ﺸﻌﻭﺭﹰ ﺭﺍﺌﻌ ﹰ ﺒﺎﻟﺘﻌﺏ.‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﺒﺘﺭﺍ: ﺃﺠل. ﺒﻌﺩﻫﺎ ﺃﻨﺎﻡ ﻨﻭﻤ ﹰ ﻋﻤﻴﻘ ﹰ.‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺒﺘﺭﺍ: ﺸﺭﻴﺭﺓ؟‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺸﻌﻭﺭﹰ ﺭﺍﺌﻌ ﹰ!‬ ‫ﺎ‬ ‫ﺍ‬

‫ﻤﻭﺭﺘﻥ: ﻤﻥ ﺍﻟﻤﺅﻜﺩ ﺃﻨﻙ ﺸﺭﻴﺭﺓ ﻟﻠﻐﺎﻴﺔ.‬ ‫ﻤﻭﺭﺘﻥ: ﺃﺠل، ﻷﻨﻙ ﺘﻌﻤﻠﻴﻥ ﻜﺜﻴﺭﹰ. ﻓﻘﺩ ﻗﺎل ﺍﻟﺩﻜﺘﻭﺭ ﺭﻭﺭﻟﻨﺩ ﺇﻥ‬ ‫ﺍ‬ ‫ﺍﻟﻌﻤل ﻫﻭ ﻋﻘﺎﺏ ﻟﺨﻁﺎﻴﺎﻨﺎ.‬

‫ﺇﻴﻠﻴﻑ )ﺒﺎﺯﺩﺭﺍﺀ(: ﻫﺫﺍ ﺴﺨﻑ! ﺃﻨﺕ ﻤﻭﻟﻊ ﺒﺘﺼﺩﻴﻕ ﺘﻔﺎﻫﺎﺕ ﻜﺘﻠﻙ!‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﻴﺎ، ﻫﻴﺎ ﺇﻴﻠﻴﻑ!‬

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‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻻ ﺘﺭﻴﺩ ﺃﻥ ﺘﻌﻤل ﻜﺜﻴﺭﹰ ﺃﻨﺕ ﺃﻴﻀ ﹰ ﻴﺎ ﻤﻭﺭﺘﻥ؟‬ ‫ﺎ‬ ‫ﺍ‬

‫ﺒﻴﻠﻴﻨﻎ )ﻴﻀﺤﻙ(: ﻫﺎ! ﻋﻅﻴﻡ ﺠﺩﹰ!‬ ‫ﺍ‬ ‫ﻤﻭﺭﺘﻥ: ﻻ، ﻟﺴﺕ ﺃﻨﺎ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻜﻥ ﻤﻥ ﺍﻟﻤﺅﻜﺩ ﺃﻨﻙ ﺘﺭﻴﺩ ﺃﻥ ﺘﺼﺒﺢ ﺸﺨﺼ ﹰ ﻤﻬﻤ ﹰ؟‬ ‫ﺎ ﺎ‬

‫ﻤﻭﺭﺘﻥ: ﺃﺭﻴﺩ ﺃﻥ ﺃﺼﺒﺢ ﻗﺭﺼﺎﻨ ﹰ ﭭﺍﻴﻜﻴﻨﻎ!‬ ‫ﺎ‬ ‫ﻤﻭﺭﺘﻥ: ﻻ ﺒﺄﺱ، ﺴﺄﺼﺒﺢ ﻭﺜﻨﻴ ﹰ!‬ ‫ﺎ‬

‫ﺇﻴﻠﻴﻑ: ﻟﻜﻥ ﻋﻠﻴﻙ ﺃﻥ ﺘﻜﻭﻥ ﻭﺜﻨﻴ ﹰ ﺁﻨﺫﺍﻙ.‬ ‫ﺎ‬

‫ﺒﻴﻠﻴﻨﻎ: ﻭﺃﻨﺎ ﻤﻌﻙ ﻓﻲ ﻫﺫﻩ ﺍﻟﻨﺎﺤﻴﺔ ﻴﺎ ﻤﻭﺭﺘﻥ. ﻷﻥ ﻫﺫﻩ ﻫﻲ‬ ‫ﻤﻌﺘﻘﺩﺍﺘﻲ ﺃﻴﻀ ﹰ.‬ ‫ﺎ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﻭﻤﺊ ﻟﻪ(: ﺃﻨﺎ ﻤﺘﺄﻜﺩﺓ ﺃﻨﻙ ﻟﺴﺕ ﻜﺫﻟﻙ، ﻴﺎ ﺴﻴﺩ‬ ‫ﺒﻴﻠﻴﻨﻎ.‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺼﺩﻗﻴﻨﻲ ﺇﻨﻲ ﻜﺫﻟﻙ! ﺃﻨﺎ ﻏﻴﺭ ﻤﺘﺩﻴﻥ ﻭﺃﻨﺎ ﻓﺨﻭﺭ ﺒﻬﺫﺍ!‬ ‫ﻭﺴﺘﺭﻴﻥ ﺒﻌﺩ ﻤ ‪‬ﺓ ﻭﺠﻴﺯﺓ ﺃﻥ ﻤﺠﺘﻤﻌﻨﺎ ﺒﺄﻜﻤﻠﻪ ﺴﻴﺼﺒﺢ ﻏﻴﺭ‬ ‫ﺩ‬ ‫ﻤﺘﺩﻴﻥ. ﻓﻘﻁ ﺍﻨﺘﻅﺭﻱ ﻭﺴﺘﺭﻴﻥ.‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺃﺠل ﻴﺎ ﻤﻭﺭﺘﻥ! ﺴﺘﺭﻯ -‬

‫ﻤﻭﺭﺘﻥ: ﻭﻫل ﺴﻴﻜﻭﻥ ﺒﺎﺴﺘﻁﺎﻋﺘﻨﺎ ﺁﻨﺫﺍﻙ ﺃﻥ ﻨﻔﻌل ﻤﺎ ﻨﺸﺎﺀ؟‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻜﻔﻰ ﺍﻵﻥ ﻴﺎ ﺃﻭﻻﺩ. ﺃﻨﺎ ﻭﺍﺜﻘﺔ ﺃ ‪ ‬ﻋﻨﺩﻜﻡ ﺒﻌﺽ‬ ‫ﻥ‬ ‫ﻭﺍﺠﺒﺎﺕ ﻤﺩﺭﺴﻴﺔ ﺘﻜﺘﺒﻭﻨﻬﺎ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ، ﻻ ﻴﻤﻜﻨﻙ. ﺍﺫﻫﺒﺎ، ﻜﻼﻜﻤﺎ!‬ ‫ﺇﻴﻠﻴﻑ: ﺃﺴﺘﻁﻴﻊ ﺍﻟﺒﻘﺎﺀ ﻟﺒﻀﻌﺔ ﺩﻗﺎﺌﻕ ﺃﺨﺭﻯ -‬

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‫ﻴﺘﻤﻨﻰ ﺍﻟﺼﻐﻴﺭﺍﻥ ﻟﻴﻠﺔ ﺴﻌﻴﺩﺓ، ﻭﻴﺩﺨﻼﻥ ﺍﻟﻐﺭﻓﺔ ﺍﻟﺘﻲ ﺇﻟﻰ‬ ‫ﺍﻟﻴﺴﺎﺭ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻓﻲ ﺍﻟﺤﻘﻴﻘﺔ، ﻻ ﺃﻋﻠﻡ. ﻟﻜﻨﻨﻲ ﻻ ﺃﺤﺏ ﻫﺫﻩ‬ ‫ﺍﻷﺤﺎﺩﻴﺙ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺭﺒﻤﺎ ﺃﻜﻭﻥ ﻤﺨﻁﺌﺔ، ﻟﻜﻨﻨﻲ ﻻ ﺃﺤﺏ ﻫﺫﻩ‬ ‫ﺍﻷﺤﺎﺩﻴﺙ. ﻟﻴﺱ ﻫﻨﺎ ﻓﻲ ﻤﻨﺯﻟﻲ.‬ ‫ﺒﺘﺭﺍ: ﻫﻨﺎﻙ ﺨﻭﻑ ﻜﺒﻴﺭ ﻤﻥ ﻗﻭل ﺍﻟﺤﻘﻴﻘﺔ، ﻓﻲ ﻜل ﻤﻜﺎﻥ! ﻓﻲ ﺍﻟﺒﻴﺕ‬ ‫ﻭﻓﻲ ﺍﻟﻤﺩﺭﺴﺔ. ﻫﻨﺎ ﻋﻠﻴﻨﺎ ﺃﻥ ﻨﻠﺘﺯﻡ ﺍﻟﺼﻤﺕ، ﻭﻓﻲ ﺍﻟﻤﺩﺭﺴﺔ‬ ‫ﻋﻠﻴﻨﺎ ﺃﻥ ﻨﻘﻑ ﺃﻤﺎﻡ ﺍﻟﻁﻼﺏ ﻭﻨﺨﺒﺭﻫﻡ ﺍﻷﻜﺎﺫﻴﺏ.‬ ‫ﻫﻭﺭﺴﺘﺭ: ﺘﻜﺫﺒﻴﻥ ﻋﻠﻴﻬﻡ؟‬ ‫ﺒﺘﺭﺍ: ﺃﺠل، ﻓﺄﻨﺕ ﺘﺩﺭﻙ ﺒﺎﻟﺘﺄﻜﻴﺩ ﺃﻥ ﻋﻠﻴﻨﺎ ﺘﻌﻠﻴﻤﻬﻡ ﻜل ﺍﻷﺸﻴﺎﺀ ﺍﻟﺘﻲ‬ ‫ﻨﺤﻥ ﺃﻨﻔﺴﻨﺎ ﻻ ﻨﺅﻤﻥ ﺒﺼﺤﺘﻬﺎ.‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺃﺨﺸﻰ ﺃﻥ ﻤﺎ ﺘﻘﻭﻟﻴﻨﻪ ﻫﻭ ﻋﻴﻥ ﺍﻟﺼﻭﺍﺏ.‬ ‫ﺒﺘﺭﺍ: ﻟﻭ ﺃﻨﻨﻲ ﻓﻘﻁ ﺃﻤﺘﻠﻙ ﺍﻟﻤﺎل ﺍﻟﻜﺎﻓﻲ، ﻷﻨﺸﺄﺕ ﻤﺩﺭﺴﺔ ﺨﺎﺼﺔ‬ ‫ﺒﻲ. ﻭﻋﻨﺩﻫﺎ ﺴﺘﺨﺘﻠﻑ ﺍﻷﻤﻭﺭ.‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺁﻩ! ﺘﺭﻴﺩﻴﻥ ﺍﻟﻤﺎل!‬ ‫ﺒﺘﺭﺍ: ﺃﺤﻘ ﹰ ﻤﺎ ﺘﻘﻭﻟﻴﻥ ﻴﺎ ﺃﻤﻲ! ﻟﻜﻨﻨﻲ ﺃﺭﻯ ﺃﻥ ﻫﺫﺍ ﺨﻁﺄ.‬ ‫ﺎ‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻫل ﺘﻅﻨﻴﻥ ﺤﻘ ﹰ ﺃﻥ ﺴﻤﺎﻉ ﻫﺫﺍ ﺍﻟﻨﻭﻉ ﻤﻥ ﺍﻷﺤﺎﺩﻴﺙ‬ ‫ﺎ‬ ‫ﻴﺴﻲﺀ ﺇﻟﻰ ﺍﻟﺼﻐﻴﺭﻴﻥ؟‬

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‫ﻫﻭﺭﺴﺘﺭ: ﻟﻭ ﻜﻨﺕ ﺠﺎﺩﺓ ﻓﻴﻤﺎ ﺘﻘﻭﻟﻴﻥ، ﻴﺎ ﺁﻨﺴﺔ ﺴﺘﻭﻜﻤﺎﻥ، ﻓﻴﻤﻜﻨﻨﻲ‬ ‫ﺒﻜل ﺴﺭﻭﺭ ﺃﻥ ﺃﻋﻁﻴﻙ ﻏﺭﻓﺔ ﻓﻲ ﻤﻨﺯﻟﻲ. ﻓﻤﻨﺯل ﻭﺍﻟﺩﻱ ﺍﻟﻘﺩﻴﻡ ﺨﺎل‬ ‫ﺘﻘﺭﻴﺒ ﹰ؛ ﻭﻓﻴﻪ ﻏﺭﻓﺔ ﻁﻌﺎﻡ ﻜﺒﻴﺭﺓ ﺠﺩﹰ ﻓﻲ ﺍﻟﻁﺎﺒﻕ ﺍﻷﺭﻀﻲ -‬ ‫ﺍ‬ ‫ﺎ‬ ‫ﺒﺘﺭﺍ )ﺘﻀﺤﻙ(: ﺸﻜﺭﹰ ﻟﻙ. ﻟﻜﻨﻨﻲ ﻻ ﺃﻅﻥ ﺃﻨﻨﺎ ﺴﻨﺤﺼل ﻋﻠﻰ ﻨﺘﻴﺠﺔ‬ ‫ﺍ‬ ‫ﻤﻥ ﻫﺫﺍ ﻜﻠﻪ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻻ، ﺃﻅﻥ ﺃﻥ ﺍﻵﻨﺴﺔ ﺒﺘﺭﺍ ﺴﺘﺘﺠﻪ ﺇﻟﻰ ﺍﻟﺼﺤﺎﻓﺔ.‬ ‫ﺒﺎﻟﻤﻨﺎﺴﺒﺔ، ﻫل ﺘﺴﻨﻰ ﻟﻙ ﺍﻟﻭﻗﺕ ﻟﺘﻠﻘﻲ ﻨﻅﺭﺓ ﻋﻠ ﻰ ﺘﻠﻙ ﺍﻟﺭﻭﺍﻴﺔ‬ ‫ﺍﻹﻨﻜﻠﻴﺯﻴﺔ ﺍﻟﺘﻲ ﻭﻋﺩﺕ ﺒﺘﺭﺠﻤﺘﻬﺎ ﻟﻨﺎ؟‬ ‫ﺒﺘﺭﺍ: ﻟﻴﺱ ﺒﻌﺩ. ﻟﻜﻨﻨﻲ ﺴﺄﺤﺭﺹ ﻋﻠﻰ ﺃﻥ ﺘﺴﺘﻠﻤﻬﺎ ﻓﻲ ﺍﻟﻭﻗﺕ‬ ‫ﺍﻟﻤﻨﺎﺴﺏ.‬

‫ﻴﺩﺨل ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻗﺎﺩﻤ ﹰ ﻤﻥ ﻏﺭﻓﺘﻪ ﻭﺍﻟﺭﺴﺎﻟﺔ‬ ‫ﺎ‬ ‫ﻤﻔﺘﻭﺤﺔ ﻓﻲ ﻴﺩﻩ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻠﻭﺡ ﺒﺎﻟﺭﺴﺎﻟﺔ(: ﻫﻨﺎ ﺍﻷﺨﺒﺎﺭ ﺍﻟﺘﻲ ﺴﺘﻘﻴﻡ ﺍﻟﺩﻨﻴﺎ‬ ‫ﻭﺘﻘﻌﺩﻫﺎ، ﺃﺘﺼﺩﻗﻭﻥ!‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺃﺨﺒﺎﺭ؟‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻤﺎﺫﺍ، ﻤﺎ ﺍﻟﺫﻱ ﺤﺩﺙ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺩﺙ ﺍﻜﺘﺸﺎﻑ ﻋﻅﻴﻡ، ﻴﺎ ﻜﺎﺜﺭﻴﻥ!‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺤﻘ ﹰ؟‬ ‫ﺎ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻨﺕ ﺍﻜﺘﺸﻔﺘﻪ؟‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺒﺎﻟﻀﺒﻁ! ﺃﻨﺎ! ) ﻴﻤﺸﻲ ﺠﻴﺌﺔ ﻭﺫﻫﺎﺒ ﹰ( ﻭﺍﻵﻥ‬ ‫ﺎ‬ ‫ﻓﻠﻴﺄﺘﻭﺍ ﻭﻟﻴﻘﻭﻟﻭﺍ ﻜﺎﻟﻌﺎﺩﺓ ﺇﻨﻬﺎ ﻫﺫﺭ ﺭﺠل ﻤﺠﻨﻭﻥ، ﻭﺇﻨﻬﺎ ﺘﻬﻴﺅﺍﺕ.‬ ‫ﻟﻜﻥ ﻋﻠﻴﻬﻡ ﺃﻥ ﻴﺤﺫﺭﻭﺍ ﻫﺫﻩ ﺍﻟﻤﺭﺓ! )ﻴﻀﺤﻙ( ﺃﺠل، ﺃﻅﻥ ﺃﻥ‬ ‫ﻋﻠﻴﻬﻡ ﺃﻥ ﻴﺤﺫﺭﻭﺍ!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﺃﺠل، ﻓﻘﻁ ﺍﻤﻨﺤﻭﻨﻲ ﺒﻌﺽ ﺍﻟﻭﻗﺕ،‬ ‫ﻭﺴﺘﻌﺭﻓﻭﻥ ﻜل ﺸﻲﺀ. ﺁﻩ، ﻟﻭ ﺃﻥ ﺒﻴﺘﺭ ﻜﺎﻥ ﻫﻨﺎ ﺍﻵﻥ! ﺠﻴﺩ، ﻜل‬ ‫ﻤﺎ ﻴﺠﺭﻱ ﻴﺒﺭﻫﻥ ﻜﻴﻑ ﻨﺼﺩﺭ ﻨﺤﻥ ﺍﻟﺒﺸﺭ ﺃﺤﻜﺎﻤﻨﺎ ﺒﺘﻬﻭﺭ -‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻘﻑ ﺇﻟﻰ ﺠﺎﻨﺏ ﺍﻟﻁﺎﻭﻟﺔ(: ﺃﻟﻴﺱ ﻤﻥ ﺍﻟﻤﻔﺘﺭﺽ‬ ‫ﻋﻤﻭﻤ ﹰ ﺃﻥ ﺒﻠﺩﺘﻨﺎ ﻤﻨﺘﺠﻊ ﺼﺤﻲ؟‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﺇﻨﻬﺎ ﻤﻨﺘﺠﻊ ﺼﺤﻲ ﻓﺭﻴﺩ ﺘﻤﺎﻤ ﹰ! ﻤﻜﺎﻥ ﻴﺴﺘﺤﻕ‬ ‫ﺎ‬ ‫ﺍﻟﺘﺯﻜﻴﺔ ﺒﺄﺤﺭ ﺍﻟﺘﻌﺎﺒﻴﺭ ﺍﻟﻤﻤﻜﻨﺔ ﻟﻠﻤﺭﻀﻰ ﻭﻹﺨﻭﺍﻨﻬﻡ ﺍﻷﻭﻓﺭ‬ ‫ﺤﻅ ﹰ؟‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﺤﺘﻰ ﻨﺤﻥ ﻤﺩﺤﻨﺎﻫﺎ ﻭﺯﻜﻴﻨﺎﻫﺎ، ﺃﻟﻡ ﻨﻔﻌل؟ ﻟﻘﺩ‬ ‫ﻜﺘﺒﺕ ﺁﻻﻓ ﹰ ﻤﻥ ﻤﻘﺎﻻﺕ ﺍﻟﻤﺩﻴﺢ ﻓﻲ ﺠﺭﻴﺩﺓ "ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ"، ﻭﻓﻲ‬ ‫ﺎ‬ ‫ﻜﺘﻴﺒﺎﺕ ﺃﺨﺭﻯ -‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺤﺴﻨ ﹰ، ﻭﻤﺎﺫﺍ ﺒﻌﺩ؟‬ ‫ﺎ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﻟﻜﻥ ﻴﺎ ﻋﺯﻴﺯﻱ ﺘﻭﻤﺎﺱ -!‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﺠل، ﺒﺎﻟﻁﺒﻊ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻤﺎﺫﺍ ﺘﻘﺼﺩ ﺒﻜﻼﻤﻙ ﻫﺫﺍ، ﺩﻜﺘﻭﺭ؟‬ ‫ﺒﺘﺭﺍ: ﻜﺭﻤﻰ ﷲ ﻴﺎ ﺃﺒﻲ، ﺃﺨﺒﺭﻨﺎ ﻤﺎ ﺍﻷﻤﺭ!‬

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‫ﺒﻴﻠﻴﻨﻎ: »ﻗﻠﺏ ﻤﺩﻴﻨﺘﻨﺎ ﺍﻟﺨﺎﻓﻕ« ﻫﺫﻩ ﻫﻲ ﺍﻟﺘﺴﻤﻴﺔ ﺍﻟﺘﻲ ﺠﺎﺯﻓﺕ ﻤﺭﺓ‬ ‫ﺒﺈﻁﻼﻗﻬﺎ ﻋﻠﻰ ﺍﻟﺤﻤﺎﻤﺎﺕ ﻓﻲ ﺴﺎﻋﺔ ﻓﺭﺡ -‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺫﻩ ﺍﻟﺤﻤﺎﻤﺎﺕ ﺍﻟﺘﻲ ﺘﻌﺩ ﺸﺭﻴﺎﻥ ﺍﻟﺒﻠﺩﺓ،‬ ‫ﻭﻋﺼﺒﻬﺎ ﺍﻷﺴﺎﺴﻲ - ﻭﻴﻌﻠﻡ ﺍﷲ ﻤﺎﺫﺍ ﺃﻴﻀ ﹰ -‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺸﻙ ﺃﻨﻬﺎ ﻜﺫﻟﻙ. ﻟﻜﻥ ﻫل ﺘﻌﻠﻤﻭﻥ ﻤﺎﺫﺍ ﺘﻤﺜل‬ ‫ﺤﻘ ﹰ ﺤﻤﺎﻤﺎﺘﻨﺎ ﺍﻟﺤﺒﻴﺒﺔ ﻫﺫﻩ، ﺍﻟﺘﻲ ﺘﺘﻠﻘﻰ ﺍﻹﻁﺭﺍﺀ، ﻭﺍﻟﺘﻲ ﻜﻠﻔﺕ‬ ‫ﺎ‬ ‫ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﺍﻟﻤﺎل؟ ﻫل ﺘﻌﻠﻤﻭﻥ ﻤﺎ ﻫﻲ ﺤﻘﻴﻘﺔ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺸﻲﺀ ﺴﻭﻯ ﻤﺠﺎﺭﻴﺭ ﻟﻌﻴﻨﺔ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﻓﻲ ﺍﻟﻭﻗﺕ ﻨﻔﺴﻪ(: ﺤﻤﺎﻤﺎﺘﻨﺎ!‬ ‫ﺒﻴﻠﻴﻨﻎ: ﻫﺫﺍ ﻻ ﻴﺼﺩﻕ ﺃﺒﺩﹰ!‬ ‫ﺍ‬ ‫ﺒﺘﺭﺍ: ﺍﻟﺤﻤﺎﻤﺎﺕ ﻴﺎ ﺃﺒﻲ؟‬ ‫ﻫﻭﭬﺴﺘﺎﺩ: ﻻ، ﻤﺎﺫﺍ ﻫﻲ؟‬

‫ﻫﻭﭭﺴﺘﺎﺩ )ﻓﻲ ﺍﻟﻭﻗﺕ ﻨﻔﺴﻪ ﺃﻴﻀ ﹰ(: ﻟﻜﻥ، ﻴﺎ ﺩﻜﺘﻭﺭ -!‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺫﻩ ﺍﻟﺤﻤﺎﻤﺎﺕ ﻫﻲ ﻤﻘﺒﺭﺓ ﺒﻴﻀﺎﺀ ﻤﺅﺫﻴﺔ. ﺇﻨﻬﺎ‬ ‫ﺨﻁﺭﺓ ﻋﻠﻰ ﺍﻟﺼﺤﺔ ﺇﻟﻰ ﺃﺒﻌﺩ ﺤﺩ. ﻜل ﺘﻠﻙ ﺍﻟﻘﺎﺫﻭﺭﺍﺕ ﻓﻲ‬ ‫ﻤﻭﻴﻠﺩﺍل - ﺘﻠﻙ ﺍﻟﻨﻔﺎﻴﺎﺕ ﺍﻟﻨﺘﻨﺔ ﺍﻟﺼﺎﺩﺭﺓ ﻋﻥ ﺍﻟﻤﺩﺍﺒﻎ - ﻟﻭﺜﺕ‬ ‫ﺍﻟﻤﺎﺀ ﻓﻲ ﺍﻷﻨﺎﺒﻴﺏ ﺍﻟﺘﻲ ﺘﻐﺫﻱ ﻏﺭﻓﺔ ﺍﻟﻀﺦ. ﻟﻴﺱ ﻫﺫﺍ ﻓﺤﺴﺏ.‬ ‫ﺒل ﺘﻠﻙ ﺍﻟﻘﺎﺫﻭﺭﺍﺕ ﺍﻟﻠﻌﻴﻨﺔ ﺘﺘﺴﺭﺏ ﺇﻟﻰ ﺍﻟﺸﺎﻁﺊ.‬ ‫ﻫﻭﺭﺴﺘﺭ: ﺇﻟﻰ ﻤﻜﺎﻥ ﺤﻤﺎﻤﺎﺕ ﺍﻟﺒﺤﺭ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺘﻤﺎﻤ ﹰ.‬ ‫ﺎ‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻘﺩ ﺩﺭﺴﺕ ﺍﻷﻤﺭ ﺒﺩﻗﺔ ﺘﺎﻤﺔ. ﻭﻟﻁﺎﻟﻤﺎ ﺸﻜﻜﺕ‬ ‫ﺒﺄﻥ ﻫﻨﺎﻙ ﺸﻴﺌ ﹰ ﻤﻥ ﻫﺫﺍ ﺍﻟﻨﻭﻉ. ﻓﻔﻲ ﺍﻟﺴﻨﺔ ﺍﻟﻤﺎﻀﻴﺔ، ﻜﺎﻥ ﻫﻨﺎﻙ‬ ‫ﺎ‬ ‫ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﺍﻟﺸﻜﺎﻭﻯ ﺍﻟﻐﺭﻴﺒﺔ ﺒﻴﻥ ﺍﻟﺯﻭﺍﺭ ﺤﻭل ﺍﻟﺤﻤﺎﻤﺎﺕ -‬ ‫ﻤﺸﻜﻼﺕ ﻤﻌﺩﻴﺔ، ﻭﺤﻤﻰ ﺘﻴﻔﻴﺔ -‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻜﻥ ﻟﻤﺎﺫﺍ ﺃﻨﺕ ﻭﺍﺜﻕ ﻤﻥ ﺫﻟﻙ ﻜﻠﻪ ﻟﻬﺫﻩ ﺍﻟﺩﺭﺠﺔ ﻴﺎ‬ ‫ﺩﻜﺘﻭﺭ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻓﻲ ﺘﻠﻙ ﺍﻷﺜﻨﺎﺀ، ﻅﻨﻨﺎ ﺃﻥ ﺃﻭﻟﺌﻙ ﺍﻟﺯﻭﺍﺭ ﻫﻡ ﻤﻥ‬ ‫ﺠﻠﺒﻭﺍ ﺍﻟﻌﺩﻭﻯ ﻤﻌﻬﻡ. ﻟﻜﻥ ﻓﻴﻤﺎ ﺒﻌﺩ، ﺨﻼل ﻓﺼل ﺍﻟﺸﺘﺎﺀ،‬ ‫ﻁﺭﺃﺕ ﻟﻲ ﺃﻓﻜﺎﺭ ﻤﺨﺘﻠﻔﺔ. ﻟﺫﺍ ﻋﻤﻠﺕ ﻋﻠﻰ ﺘﺤﻠﻴل ﺍﻟﻤﺎﺀ ﺒﺩﻗﺔ ﻗﺩﺭ‬ ‫ﺍﺴﺘﻁﺎﻋﺘﻲ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻌﻡ ﻴﺎ ﻜﺎﺜﺭﻴﻥ، ﺒﺈﻤﻜﺎﻨﻙ ﺍﻟﻘﻭل ﺇﻨﻨﻲ ﻋﻤﻠﺕ‬ ‫ﻁﻭﻴ ﹰ. ﻟﻜﻥ ﺒﺎﻟﻁﺒﻊ ﻜﺎﻨﺕ ﺘﻨﻘﺼﻨﻲ ﺍﻟﻤﻌﺩﺍﺕ ﺍﻟﻌﻠﻤﻴﺔ ﺍﻟﻤﻨﺎﺴﺒﺔ.‬ ‫ﻼ‬ ‫ﻟﺫﺍ ﺃﺭﺴﻠﺕ ﻋﻴﻨﺎﺕ ﻤﻥ ﻤﻴﺎﻩ ﺍﻟﺸﺭﺏ ﻭﻤﻴﺎﻩ ﺍﻟﺒﺤﺭ ﺇﻟﻰ ﺍﻟﺠﺎﻤﻌﺔ‬ ‫ﻟﻴﺘﻡ ﺘﺤﻠﻴﻠﻬﺎ ﻤﻥ ﻗﺒل ﻤﺨﺘﺼﻴﻥ ﻜﻴﻤﻴﺎﺌﻴﻴﻥ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺭﻴﻬﻡ ﺍﻟﺭﺴﺎﻟﺔ(: ﻫﺎ ﻫﻲ! ﺇﻨﻬﺎ ﺘﻨﺹ ﺒﺎﻟﺩﻟﻴل‬ ‫ﺍﻟﻘﺎﻁﻊ ﻋﻠﻰ ﺃﻥ ﺍﻟﻤﺎﺀ ﻴﺤﻭﻱ ﻤﺎﺩﺓ ﻋﻔﻥ ﻋﻀﻭﻱ- ﺍﻟﻤﻼﻴﻴﻥ ﻤﻥ‬ ‫ﺍﻟﺒﻜﺘﻴﺭﻴﺎ. ﻭﻫﻲ ﺒﺎﻟﺘﺄﻜﻴﺩ ﻤﻀﺭﺓ ﺒﺎﻟﺼﺤﺔ ﺤﺘﻰ ﻟﻼﺴﺘﺨﺩﺍﻡ‬ ‫ﺍﻟﺨﺎﺭﺠﻲ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻭﺍﻵﻥ ﺤﺼﻠﺕ ﻋﻠﻰ ﻨﺘﺎﺌﺞ ﺍﻟﺘﺤﻠﻴل؟‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺇﺫﺍ ﻫﺫﺍ ﻤﺎ ﻜﻨﺕ ﻤﻨﺸﻐ ﹰ ﺒﻪ ﺍﻟﻭﻗﺕ ﻜﻠﻪ.‬ ‫ﻼ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﻫﺫﺍ ﺼﺤﻴﺢ.‬

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‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺇﻨﻬﺎ ﻤﻌﺠﺯﺓ ﺃﻨﻙ ﺍﻜﺘﺸﻔﺕ ﻫﺫﺍ ﻓﻲ ﺍﻟﻭﻗﺕ‬ ‫ﺍﻟﻤﻨﺎﺴﺏ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻭﻤﺎﺫﺍ ﺘﻨﻭﻱ ﺃﻥ ﺘﻔﻌل ﺍﻵﻥ ﻴﺎ ﺩﻜﺘﻭﺭ؟‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻫل ﻴﻤﻜﻥ ﺍﻟﻘﻴﺎﻡ ﺒﺫﻟﻙ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺤﺴﻨﺕ ﺍﻟﻘﻭل ﻴﺎ ﻜﺎﺜﺭﻴﻥ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺴﺄﻗﻭﻡ ﺒﺘﺴﻭﻴﺔ ﺍﻷﻤﻭﺭ ﻁﺒﻌ ﹰ.‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺫﺍ ﻻ ﺒﺩ ﻤﻨﻪ! ﻭﺇﻻ ﻓﺴﺘﻜﻭﻥ ﺍﻟﺤﻤﺎﻤﺎﺕ ﻏﻴﺭ‬ ‫ﻗﺎﺒﻠﺔ ﻟﻼﺴﺘﺨﺩﺍﻡ، ﻭﺴﻴﺫﻫﺏ ﻋﻤﻠﻨﺎ ﻜﻠﻪ ﺴﺩﻯ. ﻟﻜﻥ ﻻ ﺘﻘﻠﻘﻭﺍ. ﺃﻨﺎ‬ ‫ﻤﺘﺄﻜﺩ ﺘﻤﺎﻤ ﹰ ﻤﻤﺎ ﻴﺠﺏ ﻋﻠﻴﻨﺎ ﻓﻌﻠﻪ.‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﻫل ﺘﺘﻭﻗﻌﻴﻥ ﻤﻨﻲ ﺃﻥ ﺃﺩﻭﺭ ﻓﻲ ﺍﻟﺒﻠﺩﺓ،‬ ‫ﻭﺃﺘﺤﺩﺙ ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﻭﻀﻭﻉ ﻗﺒل ﺃﻥ ﺃﺘﻴﻘﻥ ﻤﻨﻪ؟ ﻻ، ﺸﻜﺭﹰ، ﻟﺴﺕ‬ ‫ﺍ‬ ‫ﻤﺠﻨﻭﻨ ﹰ ﻟﺘﻠﻙ ﺍﻟﺩﺭﺠﺔ.‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻡ ﺃﻜﻥ ﻷﺨﺒﺭ ﺃﺤﺩﹰ. ﻟﻜﻥ ﻏﺩﹰ ﻴﻤﻜﻨﻜﻡ ﺍﻟﺫﻫﺎﺏ‬ ‫ﺍ‬ ‫ﺍ‬ ‫ﺇﻟﻰ ﺍﻟ ﹸ ‪ ‬ﻴ‪‬ﺭ)*( ﻭ-‬ ‫ﻐﺭ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﻘ ﹰ ﻴﺎ ﺘﻭﻤﺎﺱ؟‬ ‫ﺎ‬
‫ﺃﻭﺠﺭﺓ ﻴﺴﻜﻥ ﻓﻴﻬﺎ.‬ ‫)*( ‪ – Badger‬ﺍﻟ ﹸﺭﻴﺭ: ﺤﻴﻭﺍﻥ ﺜﺩﻴﻲ ﻗﺼﻴﺭ ﺍﻟﻘﻭﺍﺌﻡ ﻴﺤﺘﻔﺭ ﻓﻲ ﺍﻷﺭﺽ‬ ‫ﻐ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ، ﻴﺎ ﻋﺯﻴﺯﻱ ﺘﻭﻤﺎﺱ، ِ ‪ ‬ﻜﺘﻤﺕ ﻫﺫﺍ ﺍﻷﻤﺭ‬ ‫ﻟﻡ‬ ‫ﻋﻨﺎ؟‬

‫ﺒﺘﺭﺍ: ﻜﻨﺕ ﺃﺨﺒﺭﻨﺎ ﻋﻠﻰ ﺍﻷﻗل -‬

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‫ﺴﺘﻘﻭﻡ ﺍﻟﺩﻨﻴﺎ ﻭﺘﻘﻌﺩ ﻓﻲ ﺍﻟﺒﻠﺩﺓ ﻴﺎ ﻜﺎﺜﺭﻴﻥ! ﻟﻴﺱ ﻟﺩﻴﻙ ﺃﺩﻨﻰ ﻓﻜﺭﺓ‬ ‫ﻋﻤﺎ ﺴﻴﺤﺩﺙ! ﻻ ﺒﺩ ﻤﻥ ﺇﻋﺎﺩﺓ ﺘﺭﻜﻴﺏ ﺸﺒﻜﺔ ﺍﻟﻤﻴﺎﻩ ﻜﻠﻬﺎ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ )ﻴﻨﻬﺽ(: ﺸﺒﻜﺔ ﺍﻟﻤﻴﺎﻩ ﻜﻠﻬﺎ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻁﺒﻌ ﹰ. ﻤﺄﺨﺫ ﺍﻟﻤﻴﺎﻩ ﺠﻤﻴﻌ ﹰ ﺘﺤﺕ ﺍﻟﻤﺴﺘﻭﻯ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺍﻟﻤﻁﻠﻭﺏ، ﻭﻴﺠﺏ ﺭﻓﻌﻬﺎ ﻜﺜﻴﺭﹰ ﺇﻟﻰ ﺍﻷﻋﻠﻰ.‬ ‫ﺍ‬ ‫ﺒﺘﺭﺍ: ﺇﺫﹰ، ﻜﻨ ﺕﹶ ﻤﺼﻴﺒ ﹰ ﻓﻲ ﺍﻟﻨﻬﺎﻴﺔ!‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻌﻡ ﻴﺎ ﺒﺘﺭﺍ، ﻫل ﺘﺫﻜﺭﻴﻥ؟ ﻟﻘﺩ ﻜﺘﺒﺕ ﻤﺤﺘﺠ ﹰ‬ ‫ﻀﺩ ﺍﻟﻤﺨﻁﻁ ﺍﻟﺫﻱ ﻭﻀﻌﻭﻩ ﺤﻴﻥ ﻜﺎﻨﻭﺍ ﺴﻴﺒﺩﺅﻭﻥ ﺒﺎﻟﺘﻨﻔﻴﺫ. ﻟﻜﻥ‬ ‫ﺁﻨﺫﺍﻙ ﻟﻡ ﻴﻜﻥ ﻟﻴﺼﻐﻲ ﺇﻟﻲ ﺃﺤﺩ. ﺍﻵﻥ ﺴﺄﺨﻭﺽ ﻤﻌﻬﻡ ﻤﻌﺭﻜﺔ‬ ‫ﺤﻘﻴﻘﻴﺔ. ﻁﺒﻌ ﹰ ﻟﻘﺩ ﻜﺘﺒﺕ ﺘﻘﺭﻴﺭ ﹰ ﻤﻔﺼ ﹰ ﻟﻠﹼﺠﻨﺔ ﺍﻟﻤﺴﺅﻭﻟﺔ ﻋﻥ‬ ‫ﻼ ﻠ‬ ‫ﺍ‬ ‫ﺎ‬ ‫ﺍﻟﺤﻤﺎﻤﺎﺕ، ﻭﻫﻭ ﺠﺎﻫﺯ ﻤﻥ ﺃﺴﺒﻭﻉ، ﻷﻨﻨﻲ ﻜﻨﺕ ﺃﻨﺘﻅﺭ ﺍﺴﺘﻼﻡ‬

‫ﺍﻟﻁﻴﺒﻴﻥ! ﺍﻵﻥ ﺴﻴﺭﻭﻥ! )ﻴﻤﺸﻲ ﺠﻴﺌﺔ ﻭﺫﻫﺎﺒ ﹰ ﻭﻫﻭ ﻴﻔﺭﻙ ﻴﺩﻴﻪ(.‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻋﻔﻭﹰ، ﺃﻗﺼﺩ ﺠﺩﻙ. ﺴ ‪‬ﺩﻫﺵ ﺍﻟﺭﺠل ﺍﻟﻌﺠﻭﺯ‬ ‫ﻴ‬ ‫ﺍ‬ ‫ﻟﻠﻐﺎﻴﺔ. ﻓﻬﻭ ﻴﻅﻥ ﺃﻥ ﻫﻨﺎﻙ ﻤﺴ ﹰ ﻓﻲ ﻋﻘﻠﻲ. ﺃﻭﻩ، ﻭﺜﻤﺔ ﻜﺜﻴﺭﻭﻥ‬ ‫ﺎ‬ ‫ﻤﻤﻥ ﻴﻅﻨﻭﻥ ﺍﻟﺸﻲﺀ ﻨﻔﺴﻪ. ﺃﻋﻠﻡ! ﻟﻜﻥ ﺍﻵﻥ ﺴﺄﺭﻱ ﻫﺅﻻﺀ‬

‫)ﻴﺩﺨل ﻏﺭﻓﺘﻪ ﻭﻴﻌﻭﺩ ﻭﻤﻌﻪ ﺤﺯﻤﺔ ﻤﻥ ﺍﻷﻭﺭﺍﻕ.( ﺍﻨﻅﺭﻭﺍ ﺇﻟﻰ‬

‫ﻫﺫﻩ ﺍﻟﺭﺴﺎﻟﺔ. )ﻴﺭﻴﻬﻡ ﺍﻟﺭﺴﺎﻟﺔ( ﻟﻜﻥ ﺍﻵﻥ ﻋﻠﻲ ﺇﺭﺴﺎﻟﻪ ﻟﻬﻡ ﺤﺎ ﹰ!‬ ‫ﻻ‬

‫ﻫﺫﻩ! ﻋﺸﺭ ﺃﻭﺭﺍﻕ ﻜﺒﻴﺭﺓ - ﹸﺘﺒﺕ ﺒﺈﺤﻜﺎﻡ! ﻭﺴﺄﺭﺴل ﺍﻟﺘﺤﻠﻴل‬ ‫ﻜ‬ ‫ﻤﻌﻬﺎ. ﺇﻟﻲ ﺒﻭﺭﻕ ﺼﺤﻴﻔﺔ ﻴﺎ ﻜﺎﺜﺭﻴﻥ، ﺇﻟﻲ ﺒﺄﻱ ﺸﻲﺀ ﺃﻟﻑ ﺒﻪ‬ ‫ﻫﺫﻩ ﺍﻷﻭﺭﺍﻕ. ﺠﻴﺩ! ﺇﻨﻬﺎ ﺠﺎﻫﺯﺓ ﺍﻵﻥ! ﺃﻋﻁﻬﺎ ﻟـ - ﻟـ -!‬

‫-٤٨-‬

‫)ﻴﻀﺭﺏ ﺍﻷﺭﺽ ﺒﻘﺩﻤﻪ.( ﻴﺎ ﺇﻟﻬﻲ ﻤﺎ ﺍﺴﻤﻬﺎ؟ ﺃﺠل، ﺍﻟﺨﺎﺩﻤﺔ!‬ ‫ﺘﺨﺭﺝ ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ ﻋﺒﺭ ﻏﺭﻓﺔ ﺍﻟﻁﻌﺎﻡ ﻭﻤﻌﻬﺎ ﺍﻟﺭﺯﻤﺔ.‬ ‫ﻭﻗﻭﻟﻲ ﻟﻬﺎ ﺃﻥ ﺘﺴﻠﻤﻬﺎ ﻤﺒﺎﺸﺭﺓ ﻟﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ.‬

‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﺎﺫﺍ ﻴﻤﻜﻥ ﺃﻥ ﻴﻘﻭل؟ ﻴﺠﺏ ﺃﻥ ﻴﻜﻭﻥ ﻤﻤﺘﻨ ﹰ‬ ‫ﻻﻜﺘﺸﺎﻑ ﺤﻘﻴﻘﺔ ﻤﻬﻤﺔ ﻜﻬﺫﻩ.‬ ‫ﻫﻭﭬﺴﺘﺎﺩ: ﻫل ﺘﺴﻤﺢ ﺒﺄﻥ ﺘﻌﻁﻴﻨﻲ ﺘﺼﺭﻴﺤ ﹰ ﻟﻁﺒﺎﻋﺔ ﻤﻘﺎل ﺼﻐﻴﺭ‬ ‫ﺎ‬ ‫ﻋﻥ ﺍﻜﺘﺸﺎﻓﻙ ﻓﻲ »ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ«؟‬ ‫ﻫﻭﭬﺴﺘﺎﺩ: ﺃﻋﺘﻘﺩ ﺃﻥ ﻤﻥ ﺍﻟﻤﺴﺘﺤﺴﻥ ﺇﻁﻼﻉ ﺍﻟﻨﺎﺱ ﻋﻠﻰ ﻫﺫﺍ ﺍﻷﻤﺭ‬ ‫ﺒﺄﺴﺭﻉ ﻤﺎ ﻴﻤﻜﻥ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﺃﺠل، ﺒﺎﻟﻁﺒﻊ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﻌﻭﺩ(: ﺇﻨﻬﺎ ﻤﻊ ﺍﻟﺨﺎﺩﻤﺔ ﺍﻵﻥ.‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺴﺘﻜﻭﻥ ﺍﻟﻤﻭﺍﻁﻥ ﺍﻷﻭل ﻓﻲ ﺍﻟﺒﻠﺩﺓ ﻴﺎ ﺩﻜﺘﻭﺭ، ﺃﻗﺴﻡ ﻋﻠﻰ ﺫﻟﻙ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ) ﻴﻤﺸﻲ ﺒﺭﻀﻰ ﺠﻴﺌ ﹰ ﻭﺫﻫﺎﺒ ﹰ(: ﻫﺭﺍﺀ، ﺃﻨﺎ ﻟﻡ ﺃﻗﻡ‬ ‫ﺎ‬ ‫ﺔ‬ ‫ﺒﺸﻲﺀ ﺴﻭﻯ ﻭﺍﺠﺒﻲ. ﻜل ﻤﺎ ﻫﻨﺎﻟﻙ ﺃﻨﻨﻲ ﺤﻔﺭﺕ ﻤﻥ ﺃﺠل ﺍﻟﻜﻨﺯ،‬ ‫ﻭﻗﺩ ﺤﺎﻟﻔﻨﻲ ﺍﻟﺤﻅ. ﻤﻊ ﺫﻟﻙ ﻻ ﻴﻬﻡ -!‬

‫ﺒﺘﺭﺍ: ﺃﺒﻲ، ﻤﺎﺫﺍ ﺴﻴﻘﻭل ﺍﻟﻌﻡ ﺒﻴﺘﺭ ﺒﺭﺃﻴﻙ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺴﺄﻜﻭﻥ ﻤﻤﺘﻨ ﹰ ﻟﻙ ﺇﻥ ﻓﻌﻠﺕ.‬ ‫ﺎ‬

‫ﺒﻴﻠﻴﻨﻎ: ﺃﻻ ﺘﺭﻯ ﻴﺎ ﻫﻭﭭﺴﺘﺎﺩ ﺃﻥ ﻋﻠﻰ ﺍﻟﺒﻠﺩﺓ ﺃﻥ ﺘﻨﻅﻡ ﻤﻭﻜﺏ‬ ‫ﻤﺸﺎﻋل ﺘﻜﺭﻴﻤ ﹰ ﻟﻠﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ؟‬ ‫ﺎ‬

‫-٥٨-‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ، ﻴﺎ ﺃﺼﺩﻗﺎﺌﻲ ﺍﻷﻋﺯﺍﺀ، ﺃﺭﺠﻭﻜﻡ ﻻ ﺘﺸﻐﻠﻭﺍ‬ ‫ﺃﻨﻔﺴﻜﻡ ﺒﻬﺫﻩ ﺍﻟﻤﻅﺎﻫﺭ ﺍﻟﺴﻁﺤﻴﺔ. ﻓﺄﻨﺎ ﻻ ﺃﺭﻴﺩ ﺇﺤﺩﺍﺙ ‪‬ﻠﹶ ‪‬ﺔ.‬ ‫ﺠﺒ‬ ‫ﻭﺤﺘﻰ ﻟﻭ ﻗﺭﺭﺕ ﻟﺠﻨﺔ ﺍﻟﺤﻤﺎﻤﺎﺕ ﺯﻴﺎﺩﺓ ﺭﺍﺘﺒﻲ ﻓﻠﻥ ﺃﻗﺒل ﺒﺫﻟﻙ.‬ ‫ﻫﺫﺍ ﻟﻴﺱ ﺠﻴﺩﹰ ﻴﺎ ﻜﺎﺜﺭﻴﻥ، ﻟﻥ ﺃﻗﺒل ﺒﺫﻟﻙ!‬ ‫ﺍ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻨﺕ ﻋﻠﻰ ﺤﻕ ﻴﺎ ﺘﻭﻤﺎﺱ.‬ ‫ﺒﺘﺭﺍ )ﺘﺭﻓﻊ ﻜﺄﺴﻬﺎ(: ﻓﻲ ﺼﺤﺘﻙ ﻴﺎ ﺃﺒﻲ!‬

‫ﺒﻴﻠﻴﻨﻎ: ﻭﺴﻴﻜﻭﻥ ﻟﻲ ﺤﺩﻴﺙ ﻤﻊ ﺃﺴﻼﻜﺴﻥ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺴﺄﻗﺘﺭﺡ ﺫﻟﻙ ﺒﻜل ﺘﺄﻜﻴﺩ.‬

‫ﻴﻀﻊ ﻜﻠﺘﺎ ﻴﺩﻴﻪ ﺤﻭل ﺭﻗﺒﺘﻬﺎ ﻭﻴﺩﻭﺭﺍﻥ ﻓﻲ ﺃﻨﺤﺎﺀ ﺍﻟﻐﺭﻓﺔ.‬ ‫ﺘﺼﺭﺥ ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ ﻭﺘﺩﻓﻌﻪ ﻋﻨﻬﺎ. ﻴﻀﺤﻙ ﺍﻟﺠﻤﻴﻊ،‬ ‫ﻭﻴﺼﻔﻘﻭﻥ ﺍﺴﺘﺤﺴﺎﻨ ﹰ، ﻭﻴﻬﺘﻔﻭﻥ ﻟﻠﺩﻜﺘﻭﺭ. ﻴﻁل ﺍﻟﺼﻐﻴﺭﺍﻥ‬ ‫ﺎ‬ ‫ﺒﺭﺃﺴﻴﻬﻤﺎ ﻤﻥ ﺍﻟﺒﺎﺏ ﻤﺴﺘﻐﺭﺒﻴﻥ.‬ ‫²‬ ‫²‬ ‫²‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺸﻜﺭﹰ ﻟﻜﻡ ﻴﺎ ﺃﺼﺩﻗﺎﺌﻲ ﺍﻷﻋﺯﺍﺀ، ﺸﻜﺭ ﹰ ﻟﻜﻡ. ﺃﻨﺎ‬ ‫ﺍ‬ ‫ﺍ‬ ‫ﻓﻲ ﻏﺎﻴﺔ ﺍﻟﺴﻌﺎﺩﺓ. ﻤﻥ ﺍﻟﻁﻴﺏ ﺃﻥ ﺘﺸﻌﺭ ﺒﺄﻨﻙ ﺘﺤﻅﻰ ﺒﺎﺤﺘﺭﺍﻡ‬ ‫ﺃﻓﺭﺍﺩ ﻤﺩﻴﻨﺘﻙ. ﺘﻬﺎﻨﻴﻨﺎ ﻴﺎ ﻜﺎﺜﺭﻴﻥ.‬

‫ﻫﻭﺭﺴﺘﺭ ) ﻴﻘﺭﻉ ﻜﺄﺴﻪ ﺒﻜﺄﺱ ﺍﻟﺩﻜﺘﻭﺭ(: ﺁﻤل ﺃﻻ ﺘﻼﻗﻲ ﻤﻥ‬ ‫ﺍﻜﺘﺸﺎﻓﻙ ﺇﻻ ﺍﻟﺴﺭﻭﺭ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ ﻭﺒﻴﻠﻴﻨﻎ: ﻓﻲ ﺼﺤﺘﻙ ﻴﺎ ﺩﻜﺘﻭﺭ! ﻓﻲ ﺼﺤﺘﻙ!‬

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‫ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﻧﻲ‬
‫ﻴﻐﺎﺩﺭ ﺍﻟﺩﻜﺘﻭﺭ ﻏﺭﻓﺔ ﺍﻟﺠﻠﻭﺱ. ﺒﺎﺏ ﻏﺭﻓﺔ ﺍﻟﻁﻌﺎﻡ ﻤﻐﻠﻕ.‬ ‫ﺍﻟﻭﻗﺕ: ﺼﺒﺎﺤﺎً‬ ‫ﺍﻟﻤﻜﺎﻥ: ﻏﺭﻓﺔ ﺠﻠﻭﺱ ﺍﻟﺩﻜﺘﻭﺭ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﺩﺨل ﻤﻥ ﻏﺭﻓﺔ ﺍﻟﻁﻌﺎﻡ ﻭﻓﻲ ﻴﺩﻫﺎ ﺭﺴﺎﻟﺔ‬ ‫ﻤﺨﺘﻭﻤﺔ، ﻭﺘﺘﺠﻪ ﻨﺤﻭ ﺍﻟﺒﺎﺏ ﺇﻟﻰ ﺍﻟﻴﻤﻴﻥ ﻤﻥ ﻤﻘﺩﻤﺔ ﺍﻟﻤﺴﺭﺡ‬ ‫ﻭﺘﻁل ﺒﺭﺃﺴﻬﺎ(: ﻫل ﺃﻨﺕ ﻓﻲ ﺍﻟﻤﻨﺯل ﻴﺎ ﺘﻭﻤﺎﺱ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻤﻥ ﻭﺭﺍﺀ ﺍﻟﻜﻭﺍﻟﻴﺱ(: ﺃﺠل، ﻟﻘﺩ ﺃﺘﻴﺕ ﺘﻭﹰ.‬ ‫ﺍ‬ ‫)ﻴﺩﺨل( ﻤﺎ ﺍﻷﻤﺭ؟‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﺩﻴﻙ ﺭﺴﺎﻟﺔ ﻤﻥ ﺃﺨﻴﻙ. ) ﺘﺴﻠﻤﻪ ﺇﻴﺎﻫﺎ(‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺎ ﻫﻲ، ﻟﻨ ‪ ‬ﻤﺎﺫﺍ ﻴﻘﻭل ﻓﻴﻬﺎ. )ﻴﻔﺘﺢ ﺍﻟﻅﺭﻑ‬ ‫ﺭ‬ ‫ﻭﻴﻘﺭﺃ(: "ُﻋﻴﺩ ﺇﻟﻴﻙ ﻓﻲ ﻫﺫﻩ ﺍﻟﺭﺴﺎﻟﺔ ﺍﻟﻤﺨﻁﻭﻁ ﺍﻟﺫﻱ ﺃﺭﺴﻠﺘﻪ‬ ‫ﺃ‬ ‫ﻟﻲ-" ) ﻴﺘﺎﺒﻊ ﺍﻟﻘﺭﺍﺀﺓ ﻤﺘﻤﺘﻤ ﹰ( ﻫﻤﻡ -!‬ ‫ﺎ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻨ ﹰ، ﻤﺎﺫﺍ ﻴﻘﻭل؟‬ ‫ﺎ‬

‫-٧٨-‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻀﻊ ﺍﻟﻭﺭﻗﺔ ﻓﻲ ﺠﻴﺒﻪ(: ﻻ ﺸﻲﺀ، ﺇﻨﻪ ﻓﻘﻁ‬ ‫ﻴﻌﻠﻤﻨﻲ ﺃﻨﻪ ﺴﻴﺄﺘﻲ ﻟﺯﻴﺎﺭﺘﻲ ﺍﻟﻴﻭﻡ ﻅﻬﺭﹰ.‬ ‫ﺍ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻨ ﹰ، ﻻ ﺒﺄﺱ ﻓﻲ ﺫﻟﻙ. ﻟﻘﺩ ﺃﻨﻬﻴﺕ ﺠﻭﻟﺘﻲ‬ ‫ﺎ‬ ‫ﺍﻟﻴﻭﻡ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺇﺫﺍ ﻋﻠﻴﻙ ﺃﻥ ﺘﻀﻊ ﻓﻲ ﺒﺎﻟﻙ ﺍﻟﺒﻘﺎﺀ ﻓﻲ ﺍﻟﻤﻨﺯل.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺴﺘﺭﻴﻥ. ﻟﻥ ﺘﺭﻭﻗﻪ ﺤﻘﻴﻘﺔ ﺃﻨﻨﻲ ﺃﻨﺎ ﻤﻥ ﻗﺎﻡ ﺒﻬﺫﺍ‬ ‫ﺍﻻﻜﺘﺸﺎﻑ، ﻭﻟﻴﺱ ﻫﻭ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻨ ﹰ، ﻤﻥ ﺍﻟﻤﺅﻜﺩ ﺃﻨﻪ ﺴﻴﻜﻭﻥ ﺴﻌﻴﺩﹰ ﻗﻠﺒﻴ ﹰ. ﻟﻜﻥ‬ ‫ﺍ ﺎ‬ ‫ﺎ‬ ‫ﺍﻟﻤﺸﻜﻠﺔ ﺃﻥ ﺒﻴﺘﺭ ﻴﺴﺘﺸﻴﻅ ﻏﻀﺒ ﹰ ﻟﻤﺠﺭﺩ ﻓﻜﺭﺓ ﺃﻥ ﺃﺤﺩﹰ ﻏﻴﺭﻩ‬ ‫ﺍ‬ ‫ﺎ‬ ‫ﻴﻘﺩﻡ ﺸﻴﺌ ﹰ ﻟﻤﺼﻠﺤﺔ ﺍﻟﺒﻠﺩﺓ.‬ ‫ﺎ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺘﻌﻠﻡ ﻴﺎ ﺘﻭﻤﺎﺱ، ﺃﻨﺎ ﺤﻘ ﹰ ﺃﻅﻥ ﺃﻥ ﻋﻠﻴﻙ ﺃﻥ‬ ‫ﺎ‬ ‫ﺘﺸﺎﻁﺭﻩ ﻫﺫﺍ ﺍﻟﺸﺭﻑ. ﺃﻻ ﻴﻤﻜﻨﻙ ﺃﻥ ﺘﻘﻭل ﺇﻨﻪ ﻫﻭ ﺍﻟﺫﻱ ﺃﻭﺤﻰ‬ ‫ﺇﻟﻴﻙ ﺒﻬﺫﻩ ﺍﻟﻔﻜﺭﺓ -؟‬ ‫ﺴﺄﻋﻴﺩ ﺍﻷﻤﻭﺭ ﺇﻟﻰ ﻨﺼﺎﺒﻬﺎ، ﺴﻭﻑ -‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻻ ﻴﻘﻠﻘﻙ ﺫﻟﻙ؟ ﺇﻨﻨﻲ ﻗﻠﻘﺔ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺇﻨﻨﻲ ﻤﺘﺸﻭﻗﺔ ﻟﻤﻌﺭﻓﺔ ﺍﻨﻁﺒﺎﻋﻪ ﻋﻥ ﺍﻟﻤﻭﻀﻭﻉ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﻥ ﻁﺭﻓﻲ، ﺴﺄﻜﻭﻥ ﻤﺴﺭﻭﺭﹰ ﻟﺫﻟﻙ. ﻁﺎﻟﻤﺎ ﺃﻨﻲ‬ ‫ﺍ‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل ﺍﻟﻌﺠﻭﺯ ) ﻴﻁل ﺒﺭﺃﺴﻪ ﻤﻥ ﺍﻟﺒﺎﺏ ﺍﻟﻤﺅﺩﻱ ﺇﻟﻰ ﺍﻟﺭﺩﻫﺔ،‬ ‫ﻨﺎﻅﺭﹰ ﺤﻭﻟﻪ ﺒﺘﺴﺎﺅل، ﻴﻀﺤﻙ ﻀﺤﻜﺔ ﺨﺎﻓﺘﺔ ﻭﻴﺴﺄل ﺒﻤﻜﺭ(:‬ ‫ﺍ‬ ‫ﻫل - ﻫل ﺼﺤﻴﺢ ﻤﺎ ﻴﻘﺎل!‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﺭﺤﺒ ﹰ ﺒﻙ ﻴﺎ ﻋﻤﻲ! ﺼﺒﺎﺡ ﺍﻟﺨﻴﺭ، ﺼﺒﺎﺡ‬ ‫ﺎ‬ ‫ﺍﻟﺨﻴﺭ!‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﺴﺄﺩﺨل ﺇﻥ ﻜﺎﻨﺕ ﺍﻷﺨﺒﺎﺭ ﺼﺤﻴﺤﺔ. ﻭﺇﻻ ﻓﺴﺄﻤﺸﻲ -‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﺫﻟﻙ ﺍﻟﻬﺭﺍﺀ ﺤﻭل ﺸﺒﻜﺔ ﺍﻟﻤﻴﺎﻩ. ﺃﺼﺤﻴﺢ ﻤﺎ ﻴﻘﺎل؟‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل )ﻴﺩﺨل(: ﻤﺭﺕ ﺒﺘﺭﺍ ﻋﻨﺩﻱ ﻭﻫﻲ ﻓﻲ ﻁﺭﻴﻘﻬﺎ ﺇﻟﻰ‬ ‫ﺍﻟﻤﺩﺭﺴﺔ -‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﺃﺠل. ﻭﺒﺎﺤﺕ ﻟﻲ ﺒﺎﻟﺨﺒﺭ. ﻅﻨﻨﺕ ﻓﻲ ﺍﻟﺒﺩﺍﻴﺔ ﺃﻨﻬﺎ‬ ‫ﺘﻤﺎﺯﺤﻨﻲ. ﻟﻜﻥ ﻫﺫﺍ ﻟﻴﺱ ﻤﻥ ﻋﺎﺩﺓ ﺒﺘﺭﺍ.‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻷﻨﻨﻲ ﻻ ﺃﺜﻕ ﺒﺄﺤﺩ. ﻫﺫﺍ ﺸﻌﺎﺭﻱ. ﻓﺄﻨﺕ ﻗﺩ ﺘﺒﺩﻭ‬ ‫ﻜﺎﻷﺒﻠﻪ ﻗﺒل ﺃﻥ ﺘﺩﺭﻱ ﻤﺎ ﺍﻟﺫﻱ ﻴﺠﺭﻱ ﺤﻭﻟﻙ. ﺇﺫﹰ، ﺍﻷﺨﺒﺎﺭ‬ ‫ﺍ‬ ‫ﺼﺤﻴﺤﺔ؟‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻟﻥ ﺘﺩﺨل؟‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻫﺫﺍ ﺃﻨﺕ ﻴﺎ ﺃﺒﻲ!‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻴﺔ ﺃﺨﺒﺎﺭ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻁﺒﻌ ﹰ ﺼﺤﻴﺢ. ﻟﻜﻥ ﻜﻴﻑ ﺴﻤﻌﺕ ﺒﺎﻟﺨﺒﺭ؟‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﻘ ﹰ؟‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻤﺎﺫﺍ ﻅﻨﻨﺕ ﺃﻨﻬﺎ ﺘﻤﺎﺯﺤﻙ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻗﻁﻌ ﹰ ﺼﺤﻴﺤﺔ. ﻭﺍﻵﻥ ﺍﺠﻠﺱ ﻴﺎ ﻋﻤﻲ.‬ ‫ﺎ‬ ‫)ﻴﻼﻁﻔﻪ ﻟﻠﺠﻠﻭﺱ ﻋﻠﻰ ﺍﻷﺭﻴﻜﺔ( ﺃﻟﻴﺱ ﻫﺫﺍ ﺍﻻﻜﺘﺸﺎﻑ ﻨﻌﻤﺔ‬ ‫ﻜﺒﻴﺭﺓ ﻟﻠﺒﻠﺩﺓ؟‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻋﻨﻲ ﺃﻨﻨﻲ ﺍﻜﺘﺸﻔﺕ ﺫﻟﻙ ﻓﻲ ﺍﻟﻭﻗﺕ ﺍﻟﻤﻨﺎﺴﺏ -‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل )ﻤﺜل ﺍﻟﺴﺎﺒﻕ(: ﺁﻩ، ﺃﺠل، ﺃﺠل، ﺃﺠل! ﻟﻜﻨﻨﻲ ﻟﻡ ﺃﺘﺼﻭﺭ‬ ‫ﻴﻭﻤ ﹰ ﺃﻨﻙ ﺴﺘﻠﻌﺏ ﺤﻴل ﺍﻟﻘﺭﻭﺩ ﻤﻊ ﺃﺨﻴﻙ ﻤﻥ ﻟﺤﻤﻙ ﻭﺩﻤﻙ!‬ ‫ﺎ‬

‫ﻤﻭﺭﺘﻥ ﻜﻴل ) ﻴﺨﻨﻕ ﻀﺤﻜﺔ(: ﻨﻌﻤﺔ ﻟﻠﺒﻠﺩﺓ؟‬

‫ﻤﻭﺭﺘﻥ ﻜﻴل ) ﻴﻀﻊ ﻴﺩﻴﻪ ﻭﺫﻗﻨﻪ ﻋﻠﻰ ﻤﻘﺒﺽ ﻋﺼﺎﻩ، ﻭﻴﻐﻤﺯ ﻋﻠﻰ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺒﻤﻜﺭ(: ﻤﺎﺫﺍ ﺍﻜﺘﺸﻔﺕ ﺍﻵﻥ؟ ﺃﻟﻡ ﺘﻘل ﺇﻥ ﺒﻌﺽ‬ ‫ﺍﻟﺤﻴﻭﺍﻨﺎﺕ ﺩﺨﻠﺕ ﻓﻲ ﺃﻨﺎﺒﻴﺏ ﺍﻟﻤﻴﺎﻩ؟‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻭﺃﺨﺒﺭﺘﻨﻲ ﺒﺘﺭﺍ ﺃﻥ ﻫﻨﺎﻙ ﻋﺩﺩﹰ ﻜﺒﻴﺭﹰ ﻤﻨﻬﻡ. ﺠﻴﺵ‬ ‫ﺍ‬ ‫ﺍ‬ ‫ﻤﻨﻅﻡ!‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻟﻜﻥ ﻻ ﻴﺴﺘﻁﻴﻊ ﺃﺤﺩ ﺭﺅﻴﺘﻬﻡ، ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل )ﻴﻀﺤﻙ ﻀﺤﻜﺔ ﺨﺎﻓﺘﺔ ﺒﻴﻨﻪ ﻭﺒﻴﻥ ﻨﻔﺴﻪ(: ﻋﻠﻲ ﺍﻟﻠﻌﻨﺔ‬ ‫ﺇﻥ ﻟﻡ ﻴﻜﻥ ﻫﺫﺍ ﺃﻓﻀل ﺸﻲﺀ ﺴﻤﻌﺘﻪ ﻤﻨﻙ ﺤﺘﻰ ﺍﻵﻥ!‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻟﻜﻨﻙ ﻟﻥ ﺘﺴﺘﻁﻴﻊ ﺇﻗﻨﺎﻉ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ ﺒﻘﺼﺔ ﻜﻬﺫﻩ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺒﻲ ﺍﻟﻌﺯﻴﺯ -؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﻴل ﺍﻟﻘﺭﻭﺩ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻌﻡ، ﺠﺭﺍﺜﻴﻡ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺭﺒﻤﺎ ﻤﻼﻴﻴﻥ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺒﺎﻟﻁﺒﻊ، ﻻ ﻴﻤﻜﻨﻨﺎ ﺭﺅﻴﺘﻬﻡ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﺎ ﻗﺼﺩﻙ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺴﻨﺭﻯ.‬

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‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻫل ﺘﻅﻥ ﺃﻨﻪ ﻏﺒﻲ ﺇﻟﻰ ﻫﺫﻩ ﺍﻟﺩﺭﺠﺔ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺘﻤﻨﻰ ﺃﻥ ﻴﻜﻭﻥ ﺠﻤﻴﻊ ﻤﻥ ﻓﻲ ﺍﻟﺒﻠﺩﺓ ﺃﻏﺒﻴﺎﺀ.‬ ‫ﺍﻟﺤﺎﺩﺜﺔ ﺴﺘﻌﻠﻤﻬﻡ ﺩﺭﺴ ﹰ ﻟﻥ ﻴﻨﺴﻭﻩ! ﻟﻘﺩ ﻁﺭﺩﻭﻨﻲ ﻤﻥ ﺍﻟﻤﺠﻠﺱ -‬ ‫ﺎ‬ ‫ﻓﻌﻠﻭﻫﺎ. ﻟﻜﻨﻬﻡ ﺍﻵﻥ ﺴﻴﺩﻓﻌﻭﻥ ﺜﻤﻥ ﻓﻌﻠﺘﻬﻡ! ﺃﻨﺕ ﺍﻵﻥ ﺘﺴﺘﻬﺯﺉ‬ ‫ﺃﺠل، ﺃﺴﻤﻴﻪ ﻁﺭﺩﹰ، ﻷﻨﻬﻡ ﺃﺨﺭﺠﻭﻨﻲ ﻤﺜل ﺍﻟﻜﻠﺏ، ﺃﺠل ﻟﻘﺩ‬ ‫ﺍ‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﺍﻟﺒﻠﺩﺓ ﻜﻠﻬﺎ؟ ﻫﺫﺍ ﻤﻤﻜﻥ ﺘﻤﺎﻤ ﹰ. ﻋﻠﻴﻙ ﺒﻬﻡ، ﻓﻬﺫﻩ‬ ‫ﺎ‬

‫ﺒﻬﻡ ﻴﺎ ﺴﺘﻭﻜﻤﺎﻥ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ ﻴﺎ ﻋﻤﻲ -‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﺍﺠﻌﻠﻬﻡ ﻴﺒﺩﻭﻥ ﻜﺎﻟﺤﻤﻘﻰ ﻴﺎ ﻭﻟﺩﻱ! )ﻴﻨﻬﺽ.( ﺇﻥ‬ ‫ﺍﺴﺘﻁﻌﺕ ﺃﻥ ﺘﺨﺭﺝ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ ﻭﺃﺼﺩﻗﺎﺀﻩ ﻋﻥ ﻁﻭﺭﻫﻡ،‬ ‫ﻓﺴﺄﺘﺒﺭﻉ ﺒﻤﺌﺔ ﻜﺭﺍﻭﻥ ﻤﺒﺎﺸﺭﺓ ﻟﻠﻔﻘﺭﺍﺀ!‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺫﺍ ﻜﺭﻡ ﻜﺒﻴﺭ ﻤﻨﻙ.‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻟﻴﻜﻥ ﻓﻲ ﻋﻠﻤﻙ ﺃﻨﻨﻲ ﻟﺴﺕ ﺭﺠ ﹰ ﺜﺭﻴ ﹰ. ﻟﻜﻥ ﻟﻭ ﻓﻌﻠﺕ‬ ‫ﻼ ﺎ‬ ‫ﻤﺎ ﻗﻠﺘﻪ ﻟﻙ، ﻓﺴﺄﺭﻀﻲ ﺨﺎﻁﺭ ﺍﻟﻔﻘﺭﺍﺀ ﺒﺨﻤﺴﻴﻥ ﻜﺭﺍﻭﻥ ﻓﻲ ﻋﻴﺩ‬ ‫ﺍﻟﻤﻴﻼﺩ.‬ ‫ﻴﺩﺨل ﻫﻭﻓﺴﺘﺎﺩ ﻤﻥ ﺍﻟﺭﺩﻫﺔ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺼﺒﺎﺡ ﺍﻟﺨﻴﺭ! )ﻴﺘﻭﻗﻑ( ﻋﻔﻭﹰ، ﻫل ﺃﺘﻴﺕ ﻓﻲ ﻭﻗﺕ ﻏﻴﺭ‬ ‫ﺍ‬ ‫ﻤﻨﺎﺴﺏ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ، ﺘﻌﺎل، ﺘﻔﻀل ﺒﺎﻟﺩﺨﻭل.‬

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‫ﺎ ل‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل )ﻴﻀﺤﻙ ﻓﻲ ﺨﻔﻭﺕ ﻤﺭﺓ ﺃﺨﺭﻯ(: ﻫل ﻟﻪ ﺃﻴﻀ ﹰ ﺩﺨ ٌ‬ ‫ﺒﺎﻟﻤﻭﻀﻭﻉ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻓﻲ ﺍﻟﻭﺍﻗﻊ ﻨﻌﻡ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻤﺎﺫﺍ ﺘﻌﻨﻲ؟‬

‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻟﻘﺩ ﺘﻭﻗﻌﺕ ﺫﻟﻙ. ﺇﺫ ﹰ ﺴﻴﻨﺸﺭ ﺍﻟﻤﻭﻀﻭﻉ ﻓﻲ ﺍﻟﺼﺤﻑ!‬ ‫ﺍ‬ ‫ﻨﻌﻡ، ﺴﺘﻨﺠﺢ ﻓﻲ ﻤﺴﻌﺎﻙ ﻴﺎ ﺴﺘﻭﻜﻤﺎﻥ. ﺴﺄﻏﺎﺩﺭ ﺍﻵﻥ، ﻭﺃﺩﻋﻜﻤﺎ‬ ‫ﻤﻌ ﹰ ﻋﻠﻰ ﺍﻨﻔﺭﺍﺩ.‬ ‫ﺎ‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻻ ﺴﺄﻏﺎﺩﺭ. ﺃﺨﺭﺝ ﻜل ﺍﻟﺤﻴل ﺍﻟﺘﻲ ﻓﻲ ﺠﻌﺒﺘﻙ. ﻭﺍﷲ،‬ ‫ﺴﺘﻌﻴﻨﻙ ﻫﺫﻩ ﺍﻟﺤﻴل ﻭﻟﻥ ﺘﺨﺴﺭ. )ﻴﺫﻫﺏ، ﺘﺼﺤﺒﻪ ﺍﻟﺴﻴﺩﺓ‬ ‫ﺴﺘﻭﻜﻤﺎﻥ ﺇﻟﻰ ﺍﻟﺨﺎﺭﺝ(‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻭﻩ، ﺍﺒﻕ ﻗﻠﻴ ﹰ ﻴﺎ ﻋﻤﺎﻩ.‬ ‫ﻼ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻀﺤﻙ(: ﺘﺼﻭﺭ ﻴﺎ ﻫﻭﭭﺴﺘﺎﺩ، ﺫﻟﻙ ﺍﻟﺭﺠل‬ ‫ﺍﻟﻌﺠﻭﺯ ﻻ ﻴﺼﺩﻕ ﻜﻠﻤﺔ ﻤﻤﺎ ﺃﻗﻭﻟﻪ ﻋﻥ ﺸﺒﻜﺔ ﺍﻟﻤﻴﺎﻩ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺇﺫﹰ ﻫﺫﺍ ﻤﺎ ﻜﺎﻥ -‬ ‫ﺍ‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﺠل. ﻫل ﻴﻤﻜﻨﻨﻲ ﺃﻥ ﺁﺨﺫ ﺩﻗﻴﻘﺔ ﺃﻭ ﺍﺜﻨﺘﻴﻥ ﻤﻥ ﻭﻗﺘﻙ ﻴﺎ‬ ‫ﺩﻜﺘﻭﺭ؟‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻫل ﻭﺼﻠﺘﻙ ﺃﻴﺔ ﺃﺨﺒﺎﺭ ﻤﻥ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﻫﺫﺍ ﻤﺎ ﻜﻨﺎ ﻨﺘﺤﺩﺙ ﻋﻨﻪ. ﻭﺃﻅﻥ ﺃﻨﻙ‬ ‫ﺃﺘﻴﺕ ﻟﻠﺴﺒﺏ ﺫﺍﺘﻪ ﺃﻴﻀ ﹰ.‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺍﻟﻭﻗﺕ ﺍﻟﺫﻱ ﺘﺸﺎﺀ ﻴﺎ ﺼﺩﻴﻘﻲ ﺍﻟﻌﺯﻴﺯ.‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻴﺱ ﺒﻌﺩ. ﻟﻜﻨﻪ ﺴﻴﺼل ﻫﻨﺎ ﻋﻤﺎ ﻗﺭﻴﺏ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻤﻨﺫ ﺍﻟﻠﻴﻠﺔ ﺍﻟﻤﺎﻀﻴﺔ ﻭﺃﻨﺎ ﺃﻓﻜﺭ ﻓﻲ ﺍﻷﻤﺭ ﻤﻠﻴ ﹰ.‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﺇﻟﻰ ﺃﻱ ﺸﻲﺀ ﺘﻭﺼﻠﺕ؟‬

‫ﺍ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻨﺕ ﻁﺒﻴﺏ ﻭﺭﺠل ﻋﻠﻡ، ﻭﺃﻨﺕ ﺘﹶ ‪  ‬ﻤﺴﺄﻟﺔ ﺍﻟﻤﻴﺎﻩ ﺃﻤﺭﹰ‬ ‫ﻌﺩ‬ ‫ﻤﺴﺘﻘ ﹰ ﻓﻲ ﺫﺍﺘﻪ. ﻭﺃﻨﺎ ﺃﺭﻯ ﺃﻨﻪ ﺭﺒﻤﺎ ﻟﻡ ﻴﺨﻁﺭ ﺒﺒﺎﻟﻙ ﺃﻥ ﻟﻬﺎ‬ ‫ﻼ‬ ‫ﻋﻼﻗﺔ ﻭﻁﻴﺩﺓ ﺒﺄﻤﻭﺭ ﺃﺨﺭﻯ ﻜﺜﻴﺭﺓ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺃﻓﻬﻡ ﻤﺎ ﺘﻘﺼﺩﻩ ﺒﺎﻟﻀﺒﻁ. ]ﺩﻋﻨﺎ ﻨﺠﻠﺱ ﻴﺎ‬ ‫ﺭﻓﻴﻘﻲ ﺍﻟﻌﺯﻴﺯ. ﻻ، ﻫﻨﺎﻙ ﻋﻠﻰ ﺍﻷﺭﻴﻜﺔ.[‬ ‫ﻴﺠﻠﺱ ﻫﻭﻓﺴﺘﺎﺩ ﻋﻠﻰ ﺍﻷﺭﻴﻜﺔ، ﻭﻴﺠﻠﺱ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ‬ ‫ﻋﻠﻰ ﻜﺭﺴﻲ ﺫﻱ ﺫﺭﺍﻋﻴﻥ ﻤﻘﺎﺒﻠﻪ ﺇﻟﻰ ﺍﻟﻁﺭﻑ ﺍﻵﺨﺭ ﻤﻥ‬ ‫ﺍﻟﻁﺎﻭﻟﺔ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﻤﺎﺫﺍ ﺒﻌﺩ؟‬ ‫ﻗﺫﺭﺓ ﻤﻭﺠﻭﺩﺓ ﻓﻲ ﺍﻟﺘﺭﺒﺔ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻘﺩ ﻗﻠﺕﹶ ﺍﻟﺒﺎﺭﺤﺔ ﺇﻥ ﺘﻠﻭﺙ ﺍﻟﻤﻴﺎﻩ ﻜﺎﻥ ﻨﺎﺠﻤ ﹰ ﻋﻥ ﻤﻭﺍﺩ‬ ‫ﺎ‬ ‫ﺃﺠل، ﻨﺤﻥ ﻤﺘﺄﻜﺩﻭﻥ ﺃﻥ ﺘﻠﻙ ﺍﻟﻘﺎﺫﻭﺭﺍﺕ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ:‬

‫ﺍﻟﻨﺎﺒﻌﺔ ﻤﻥ ﻤﻭﻴﻠﺩﺍل ﻫﻲ ﺴﺒﺏ ﺍﻟﻤﺸﻜﻠﺔ.‬ ‫ﺍﻟﻤﺸﻜﻼﺕ ﻤﻭﺠﻭﺩ ﻓﻲ ﻤﺴﺘﻨﻘﻊ ﺁﺨﺭ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺴﺎﻤﺤﻨﻲ ﻴﺎ ﺩﻜﺘﻭﺭ، ﻟﻜﻨﻨﻲ ﺃﻅﻥ ﺃﻥ ﺍﻟﺴﺒﺏ ﺍﻟﺤﻘﻴﻘﻲ ﻟﺘﻠﻙ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻱ ﻤﺴﺘﻨﻘﻊ؟‬

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‫ﻫﻭﭭﺴﺘﺎﺩ: ﺍﻟﻤﺴﺘﻨﻘﻊ ﺍﻟﺫﻱ ﺘﺘﻌﻔﻥ ﻓﻴﻪ ﺘﺩﺭﻴﺠﻴ ﹰﺤﻴﺎﺘﻨﺎ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ‬ ‫ﺎ‬ ‫ﺒﺭﻤﺘﻬﺎ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺘﺒ ﹰ، ﺴﻴﺩ ﻫﻭﭬﺴﺘﺎﺩ، ﻋ ‪ ‬ﺘﺘﺤﺩﺙ؟‬ ‫ﻡ‬ ‫ﺎ‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻘﺩ ﻭﻗﻌﺕ ﺸﺅﻭﻥ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ ﺸﻴﺌ ﹰ ﻓﺸﻴﺌ ﹰ ﻓﻲ ﺃﻴﺩﻱ ﻋﺼﺒﺔ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻤﻥ ﺍﻟﺒﻴﺭﻭﻗﺭﺍﻁﻴﻴﻥ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻻ، ﻭﻟﻜﻥ ﺍﻟﺫﻴﻥ ﻻ ﻴﻨﺘﻤﻭﻥ ﺇﻟﻰ ﻫﺫﻩ ﺍﻟﻔﺌﺔ ﻤﺎ ﻫﻡ ﺇﻻ‬ ‫ﺃﺼﺩﻗﺎﺀ ﺃﻭ ﺃﺘﺒﺎﻉ ﻟﻤﻥ ﻴﻨﺘﻤﻭﻥ ﺇﻟﻴﻬﺎ. ﻓﺎﻷﻏﻨﻴﺎﺀ ﻭﺃﺼﺤﺎﺏ‬ ‫ﺍﻟﻤﻨﺎﺼﺏ ﻫﻡ ﺍﻟﺫﻴﻥ ﻴﺘﺤﻜﻤﻭﻥ ﺒﺤﻴﺎﺘﻨﺎ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﻬ ﹰ، ﻻ ﻴﻤﻜﻨﻙ ﺃﻥ ﺘﺸﻤل ﺍﻟﺠﻤﻴﻊ ﺒﻬﺫﺍ ﺍﻟﻠﻔﻅ.‬ ‫ﻼ‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻭﺃﻴﻥ ﻜﺎﻥ ﺫﻜﺎﺅﻫﻡ ﻭﻋﻘﻼﻨﻴﺘﻬﻡ ﺤﻴﻥ ﻭﻀﻌﻭﺍ ﺃﻨﺎﺒﻴﺏ‬ ‫ﺍﻟﻤﻴﺎﻩ ﺤﻴﺙ ﻫﻲ ﺍﻵﻥ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﻟﻜﻨﻬﻡ ﺭﺠﺎل ﺃﺫﻜﻴﺎﺀ ﻭﻋﻘﻼﺀ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ، ﺫﻟﻙ ﺒﺎﻟﻁﺒﻊ ﻜﺎﻥ ﻋﻤ ﹰ ﺃﺤﻤ ﻕﹶ. ﻟﻜﻥ ﺍﻷﻤﻭﺭ‬ ‫ﻼ‬ ‫ﺴﺘﻌﻭﺩ ﺇﻟﻰ ﻨﺼﺎﺒﻬﺎ ﺍﻵﻥ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻭﻫل ﺘﻌﺘﻘﺩ ﺃﻨﻬﻡ ﺴﻴﻘﻭﻤﻭﻥ ﺒﺫﻟﻙ ﻋﻥ ﻁﻴﺏ ﺨﺎﻁﺭ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺴﻭﺍﺀ ﺃﺃﻋﺠﺒﻬﻡ ﺫﻟﻙ ﺃﻡ ﻻ، ﻓﻬﻡ ﻤﺠﺒﺭﻭﻥ ﻋﻠﻰ‬ ‫ﺘﻨﻔﻴﺫﻩ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻥ ﻴﻜﻭﻥ ﺫﻟﻙ ﻀﺭﻭﺭﻴ ﹰ ﻴﺎ ﺼﺎﺤﺒﻲ. ﺃﻨﺎ ﻤﺘﺄﻜﺩ‬ ‫ﺎ‬ ‫ﺃﻥ ﺃﺨﻲ ﺴﻭﻑ -‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻫﺫﺍ ﺇﺫﺍ ‪  ِ ‬ﻟﻠﺼﺤﺎﻓﺔ ﺃﻥ ﺘﻘﻭﻡ ﺒﺩﻭﺭﻫﺎ.‬ ‫ﺴﻤﺢ‬

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‫ﻫﻭﭭﺴﺘﺎﺩ: ﺁﺴﻑ ﺩﻜﺘﻭﺭ، ﻟﻜﻥ ﺃﻨﻭﻱ ﺃﻥ ﺃﺘﺼﺩﻯ ﻟﻠﻤﻭﻀﻭﻉ ﺒﻨﻔﺴﻲ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻘﺩ ﻗﻁﻌﺕ ﻋﻬﺩﹰ ﻋﻠﻰ ﻨﻔﺴﻲ ﺤﻴﻥ ﺃﺼﺒﺤﺕ ﻤﺴﺅﻭ ﹰ ﻋﻥ‬ ‫ﻻ‬ ‫ﺍ‬ ‫»ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ« ﺒﻜﺴﺭ ﺤﻠﻘﺔ ﺃﻭﻟﺌﻙ ﺍﻟﻤﺘﻌﻨﺘﻴﻥ ﻤﻥ ﺃﺼﺤﺎﺏ‬ ‫ﺍﻟﺭﺅﻭﺱ ﺍﻟﻤﺘﺤﺠﺭﺓ ﺍﻟﺫﻴﻥ ﻴﻤﺴﻜﻭﻥ ﺒﺯﻤﺎﻡ ﺍﻷﻤﻭﺭ.‬ ‫ﺍﻟﺼﺤﻴﻔﺔ ﻋﻠﻰ ﻭﺸﻙ ﺍﻹﻏﻼﻕ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻓﻲ ﺍﻟﺼﺤﻴﻔﺔ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻨﻙ ﺃﺨﺒﺭﺘﻨﻲ ﺒﻨﻔﺴﻙ ﻨﺘﻴﺠﺔ ﺫﻟﻙ. ﻜﺎﻨﺕ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻫﺫﺍ ﺼﺤﻴﺢ، ﻟﻘﺩ ﻜﺎﻥ ﻋﻠﻴﻨﺎ ﺇﺒﺩﺍﺀ ﺍﻟﻤﺭﻭﻨﺔ ﻓﻲ ﺘﻠﻙ‬

‫ﺍﻷﺜﻨﺎﺀ ﺇﺫﺍ ﻜﺎﻥ ﻫﻨﺎﻙ ﺨﻁﺭ. ﻟﻭ ﺴﻘﻁ ﺃﻭﻟﺌﻙ ﺍﻟﺭﺠﺎل ﻟﻤﺎ ﻜﺎﻨﺕ‬ ‫ﺍﻟﺤﻤﺎﻤﺎﺕ ﻟﺘﺒﻨﻰ. ﻟﻜﻨﻬﺎ ﺍﻵﻥ ﻤﻭﺠﻭﺩﺓ ﻓﻌ ﹰ، ﻭﻟﻡ ﻨﻌﺩ ﺒﺤﺎﺠﺔ‬ ‫ﻼ‬

‫ﻟﻬﺅﻻﺀ ﺍﻟﺸﺭﺫﻤﺔ ﻤﻥ ﺍﻟﺴﺎﺩﺓ.‬ ‫ﻋﻠﻰ ﺃﻴﺔ ﺤﺎل.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺭﺒﻤﺎ ﻟﻡ ﻨﻌﺩ ﺒﺤﺎﺠﺔ ﺇﻟﻴﻬﻡ. ﻟﻜﻨﻨﺎ ﻤﺩﻴﻨﻭﻥ ﻟﻬﻡ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻥ ﻨﻨﻜﺭ ﻓﻀﻠﻬﻡ ﺃﺒﺩﹰ. ﻟﻜﻥ ﺼﺤﻔﻴ ﹰ ﻤﺘﻁﺭﻓ ﹰ ﻤﺜﻠﻲ ﻻ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺍ‬

‫ﻴﻤﻜﻨﻪ ﺃﻥ ﻴﻔﻭﺕ ﻤﻥ ﻴﺩﻩ ﻓﺭﺼﺔ ﻜﻬﺫﻩ. ﻋﻠﻴﻨﺎ ﺃﻥ ﻨﺩﻤﺭ ﺃﺴﻁﻭﺭﺓ‬ ‫ﺃﻥ ﺃﻭﻟﺌﻙ ﺍﻟﺭﺠﺎل ﻻ ﻴﺨﻁﺌﻭﻥ. ﻴﺠﺏ ﺃﻥ ﻨﻘﺘﻠﻌﻬﺎ ﻤﻥ ﺠﺫﻭﺭﻫﺎ‬

‫ﻤﺜل ﺃﻱ ﺨﺭﺍﻓﺔ ﺃﺨﺭﻯ.‬ ‫ﺒﻬﺎ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻌﻡ، ﺃﻨﺎ ﻤﻌﻙ ﻓﻲ ﺫﻟﻙ. ﻟﻭ ﻜﺎﻨﺕ ﺨﺭﺍﻓﺔ ﻋﻠﻴﻙ‬

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‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻓﻀل ﺃﻻ ﺃﻫﺎﺠﻡ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ، ﻷﻨﻪ ﺃﺨﻭﻙ. ﻟﻜﻨﻨﻲ ﺃﻋﻠﻡ‬ ‫ﺃﻨﻙ ﻤﺜﻠﻲ ﺘﺭﻯ ﺃﻥ ﺍﻟﺤﻘﻴﻘﺔ ﻴﺠﺏ ﺃﻥ ﺘﻜﻭﻥ ﻓﻭﻕ ﻜل ﺍﻋﺘﺒﺎﺭ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻁﺒﻌ ﹰ. )ﻴﺤﺘﺩ( ﻟﻜﻥ -! ﻟﻜﻥ ﻻﻴﺯﺍل -!‬ ‫ﺎ‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﺭﺠﻭ ﺃﻥ ﻻ ﺘﺄﺨﺫ ﻓﻜﺭﺓ ﺴﻴﺌﺔ ﻋﻨﻲ. ﻓﺄﻨﺎ ﻟﺴﺕ ﺃﻜﺜﺭ‬ ‫ﺃﻨﺎﻨﻴﺔ ﻭﻻ ﺃﻜﺜﺭ ﻁﻤﻭﺤ ﹰ ﻤﻥ ﺍﻵﺨﺭﻴﻥ.‬ ‫ﺎ‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻨﺎ ﻤﻥ ﺒﻴﺌﺔ ﻓﻘﻴﺭﺓ ﻜﻤﺎ ﺘﻌﻠﻡ، ﻭﻗﺩ ﺴﻨﺤﺕ ﻟﻲ ﺍﻟﻔﺭﺼﺔ‬ ‫ﻷﺭﻯ ﻤﺎ ﺍﻟﺫﻱ ﺘﺤﺘﺎﺝ ﺇﻟﻴﻪ ﻜﺜﻴﺭﹰ ﺍﻟﻁﺒﻘﺎﺕ ﺍﻟﺩﻨﻴﺎ ﻤﻥ ﺍﻟﻤﺠﺘﻤﻊ.‬ ‫ﺍ‬ ‫ﺇﻨﻬﻡ ﺒﺤﺎﺠﺔ ﻷﻥ ﻴﺸﺎﺭﻜﻭﺍ ﻓﻲ ﺇﺩﺍﺭﺓ ﺍﻟﺸﺅﻭﻥ ﺍﻟﻌﺎﻤﺔ. ﻭﻫﺫﺍ ﻤﺎ‬ ‫ﻴﻁﻭﺭ ﺍﻟﻘﺩﺭﺍﺕ ﻭﺍﻟﻤﻌﺭﻓﺔ ﻭﺍﻟﻜﺭﺍﻤﺔ ﺍﻹﻨﺴﺎﻨﻴﺔ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻜﻤﺎ ﺃﻋﺘﻘﺩ ﺃﻨﻪ ﺴﺘﻜﻭﻥ ﻋﻠﻰ ﺍﻟﺼﺤﻔﻲ ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﻋﻼﻤﺎﺕ‬ ‫ﺍﻻﺴﺘﻔﻬﺎﻡ ﻟﻭ ﻓﻭﺕ ﻓﺭﺼﺔ ﻟﺘﺤﺭﻴﺭ ﺍﻟﻌﺎﻤﺔ- ]-ﺍﻟﻘﻠﺔ ﺍﻟﻤﻀﻁﻬﺩﺓ[.‬ ‫ﺃﻋﻠﻡ ﺃﻥ ﺍﻟﻤﺴﺅﻭﻟﻴﻥ ﺍﻟﻜﺒﺎﺭ ﺴﻴﻠﻘﺒﻭﻨﻨﻲ ﺒﺯﻋﻴﻡ ﺍﻟ ‪‬ﻫﻤﺎﺀ ﻭﻤﺎ ﺇﻟﻰ‬ ‫ﺩ‬ ‫ﺫﻟﻙ، ﻟﻜﻨﻨﻲ ﻻ ﺁﺒﻪ. ﻁﺎﻟﻤﺎ ﺃﻥ ﻀﻤﻴﺭﻱ ﻨﻘﻲ، ﻓﺄﻨﺎ -‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﻥ ﻗﺎل ﺇﻨﻙ ﻜﺫﻟﻙ ﻴﺎ ﺼﺎﺤﺒﻲ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻗﺩﺭ ﺫﻟﻙ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺫﺍ ﻫﻭ ﺍﻟﻤﻭﻀﻭﻉ! ﻟﻘﺩ ﻀﺭﺒﺕ ﻋﻠﻰ ﺍﻟﻭﺘﺭ‬ ‫ﺍﻟﺤﺴﺎﺱ، ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ! ﻟﻜﻥ ﻤﻊ ﺫﻟﻙ - ﺘﺒ ﹰ- )ﻗﺭ ‪ ‬ﻋﻠﻰ‬ ‫ﻉ‬ ‫ﺎ‬ ‫ﺍﻟﺒﺎﺏ( ﺍﺩﺨل!‬ ‫ﻴﻅﻬﺭ ﺃﺴﻼﻜﺴﻥ، ﻋﺎﻤل ﺍﻟﻤﻁﺒﻌﺔ، ﻋﻨﺩ ﻤﺩﺨل ﺍﻟﺒﺎﺏ‬ ‫ﺍﻟﻤﺅﺩﻱ ﺇﻟﻰ ﺍﻟﺭﺩﻫﺔ. ﻴﺭﺘﺩﻱ ﺜﻴﺎﺒ ﹰ ﺴﻭﺩﺍﺀ ﻤﺘﻭﺍﻀﻌﺔ ﻟﻜﻨﻬﺎ‬ ‫ﺎ‬

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‫ﻤﺭﺘﺒﺔ، ﻭﻴﻀﻊ ﺭﺒﻁﺔ ﻋﻨﻕ ﺒﻴﻀﺎﺀ ﻭﺠﻌﺩﺓ ﻨﻭﻋ ﹰ ﻤﺎ، ﻭ‬ ‫ﺎ‬ ‫ﻴﺭﺘﺩﻱ ﻗﻔﺎﺯﺍﺕ، ﻭﻴﻤﺴﻙ ﺒﻴﺩﻩ ﻗﺒﻌﺔ ﺤﺭﻴﺭﻴﺔ.‬

‫ﺃﺴﻼﻜﺴﻥ )ﻴﻨﺤﻨﻲ(: ﺃﻨﺎ ﻭﺍﺜﻕ ﺃﻨﻙ ﺴﺘﺴﺎﻤﺤﻨﻲ ﻋﻠﻰ ﺠﺭﺃﺘﻲ ﻴﺎ‬ ‫ﺩﻜﺘﻭﺭ -‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻨﻬﺽ(: ﻤﺭﺤﺒ ﹰ! ﺃﻟﺴﺕ ﺃﻨﺕ ﺃﺴﻼﻜﺴﻥ ﻋﺎﻤل‬ ‫ﺎ‬ ‫ﺍﻟﻤﻁﺒﻌﺔ؟‬ ‫ﻫﻭﭭﺴﺘﺎﺩ )ﻴﻨﻬﺽ(: ﻫل ﺘﺒﺤﺙ ﻋﻨﻲ ﻴﺎ ﺃﺴﻼﻜﺴﻥ؟‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺃﻨﺎ ﺒﻌﻴﻨﻪ ﻴﺎ ﺩﻜﺘﻭﺭ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﻻ، ﻟﻡ ﻴﻜﻥ ﻟﺩﻱ ﻓﻜﺭﺓ ﺃﻨﻨﻲ ﺴﺄﺭﺍﻙ ﻫﻨﺎ. ﻟﻜﻨﻨﻲ ﻜﻨﺕ‬ ‫ﺃﺭﻴﺩ ﺭﺅﻴﺔ ﺍﻟﺩﻜﺘﻭﺭ ﻨﻔﺴﻪ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﻫل ﺼﺤﻴﺢ ﻤﺎ ﺃﺨﺒﺭﻨﻲ ﺒﻪ ﺍﻟﺴﻴﺩ ﺒﻴﻠﻴﻨﻎ، ﺃﻨﻙ ﺘﻔﻜﺭ ﻓﻲ‬ ‫ﺃﻥ ﺘﻀﻊ ﻟﻨﺎ ﺸﺒﻜﺔ ﻤﺎﺌﻴﺔ ﺃﻓﻀل؟‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺁﻩ، ﻨﻌﻡ، ﻟﻘﺩ ﻓﻬﻤﺕ. ﺤﺴﻨ ﹰ، ﻟﻘﺩ ﺃﺘﻴﺕ ﻷﺨﺒﺭﻜﻡ ﺃﻨﻨﻲ‬ ‫ﺎ‬ ‫ﻤﺘﻀﺎﻤﻥ ﻤﻌﻜﻡ ﻓﺤﺴﺏ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ )ﻟﻠﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ(: ﺃﺭﺃﻴﺕ!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻌﻡ، ﻤﻥ ﺃﺠل ﺍﻟﺤﻤﺎﻤﺎﺕ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻨ ﹰ، ﺒﻤﺎﺫﺍ ﺃﺴﺘﻁﻴﻊ ﺃﻥ ﺃﺨﺩﻤﻙ؟‬ ‫ﺎ‬

‫ﺍ‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺴﺘﺠﺩ ﻭﻗﻭﻓﻨﺎ ﺇﻟﻰ ﺠﺎﻨﺒﻙ ﻨﺤﻥ ﺃﺼﺤﺎﺏ ﺍﻟﻤﻬﻥ ﺃﻤﺭﹰ‬ ‫ﻤﻔﻴﺩﹰ، ﻓﻨﺤﻥ ﻨﺸﻜل ﺍﻷﻏﻠﺒﻴﺔ ﺍﻟﻘﻭﻴﺔ ﺍﻟﻤﺘﻤﺎﺴﻜﺔ ﻓﻲ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ -‬ ‫ﺍ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻨﺎ ﻤﻤﺘﻥ ﺠﺩﹰ، ﻟﻜﻥ -‬ ‫ﺍ‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺫﺍ ﺼﺤﻴﺢ. ﻟﻜﻨﻨﻲ ﻻ ﺃﺭﻯ ﻤﻥ ﺍﻟﻀﺭﻭﺭﻱ ﺃﻥ‬ ‫ﻨﺘﺨﺫ ﺇﺠﺭﺍ ‪ ‬ﻤﻌﻴﻨ ﹰ ﺍﻵﻥ. ﻤﻥ ﺍﻟﻤﺅﻜﺩ ﺃﻨﻬﺎ ﻤﺴﺄﻟﺔ ﺴﺘﺘﺤﻘﻕ ﻤﺒﺎﺸﺭﺓ -‬ ‫ﺎ‬ ‫ﺀ‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻨﻌﻡ، ﻟﻜﻥ ﻤﻊ ﺫﻟﻙ ﻴﺠﺏ ﺃﻥ ﺘﻜﻭﻥ ﺴﻌﻴﺩﺃ ﺒﻭﺠﻭﺩﻨﺎ ﻤﻌﻙ.‬ ‫ﺃﻨﺎ ﺃﻋﺭﻑ ﻜﻴﻑ ﺘﻔﻜﺭ ﺍﻟﺴﻠﻁﺎﺕ ﺍﻟﻤﺤﻠﻴﺔ ﻫﻨﺎ. ﻓﺄﺼﺤﺎﺏ ﺍﻟﻨﻔﻭﺫ‬

‫ﺤﻴﻥ ﻨﻘﺭﺭ ﺫﻟﻙ، ﻜﻤﺎ ﺘﻌﻠﻡ! ﻭ ‪‬ﺴﺘﺤﺴﻥ ﺃﻥ ﺘﻜﻭﻥ ﺍﻷﻏﻠﺒﻴﺔ ﻤﻌﻙ‬ ‫ﻴ‬ ‫ﻴﺎ ﺩﻜﺘﻭﺭ.‬

‫ﻫﻨﺎ ﻻ ﻴﺘﻘﺒﻠﻭﻥ ﺃﻴﺔ ﺍﻗﺘﺭﺍﺤﺎﺕ ﻤﻥ ﺍﻟﺨﺎﺭﺝ. ﻭﺒﻨﺎﺀ ﻋﻠﻰ ﺫﻟﻙ‬ ‫ﺍﺭﺘﺄﻴﺕ ﺃﻥ ﻤﻥ ﺍﻟﻤﻨﺎﺴﺏ ﺘﻨﻅﻴﻡ ﻤﻅﺎﻫﺭﺓ ﺒﺴﻴﻁﺔ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻫﺫﺍ ﻤﺎ ﺃﻋﺘﻘﺩﻩ ﺃﻨﺎ ﺘﻤﺎﻤ ﹰ.‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﻅﺎﻫﺭﺓ؟ ﻭﺒﺄﻱ ﺼﻔﺔ ﺴﺘﻘﻭﻤﻭﻥ ﺒﺎﻟﺘﻅﺎﻫﺭ؟‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻁﺒﻌ ﹰ ﺒﻜل ﺍﻨﻀﺒﺎﻁ ﻴﺎ ﺩﻜﺘﻭﺭ. ﺃﻨﺎ ﺩﺍﺌﻤ ﹰ ﺃﺼﺭ ﻋﻠﻰ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺍﻻﻨﻀﺒﺎﻁ، ﻓﻬﻭ ﺃﻭﻟﻰ ﻓﻀﺎﺌل ﺍﻟﻤﻭﺍﻁﻥ. ﻫﺫﺍ ﺭﺃﻴﻲ ﻋﻠﻰ ﺃﻱ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻌﻡ، ﻨﻌﻡ، ﺴﻴﺩ ﺃﺴﻼﻜﺴﻥ. ﺁﺭﺍﺅﻙ ﻤﻌﺭﻭﻓﺔ.‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻨﻌﻡ ﺃﺘﺼﻭﺭ ﺫﻟﻙ، ﻭﺍﻵﻥ ﻫﺫﺍ ﺍﻟﻤﻭﻀﻭﻉ ﺍﻟﻤﺘﻌﻠﻕ ﺒﺸﺒﻜﺔ‬ ‫ﺍﻟﻤﻴﺎﻩ ﻤﻬﻡ ﺠﺩﹰ ﻟﻨﺎ ﻨﺤﻥ ﺃﺼﺤﺎﺏ ﺍﻟﻤﻬﻥ. ﻴﺒﺩﻭ ﺃﻥ ﺍﻟﺤﻤﺎﻤﺎﺕ‬ ‫ﺍ‬ ‫ﺴﺘﻜﻭﻥ ﻜﻤﺎ ﺘﻘﻭل ﻤﻨﺠﻡ ﺫﻫﺏ ﺼﻐﻴﺭ ﻟﻠﺒﻠﺩﺓ. ﻓﻨﺤﻥ ﺴﻨﻌﺘﻤﺩ ﻋﻠﻰ‬ ‫ﺍﻟﺤﻤﺎﻤﺎﺕ ﻓﻲ ﺤﻴﺎﺘﻨﺎ ﺍﻟﻤﻌﻴﺸﻴﺔ، ﻭﺨﺎﺼﺔ ﻨﺤﻥ ﺃﺼﺤﺎﺏ‬ ‫ﺍﻟﻌﻘﺎﺭﺍﺕ. ﻟﻬﺫﺍ ﺍﻟﺴﺒﺏ ﻨﺭﻴﺩ ﺃﻥ ﻨﺩﻋﻡ ﺍﻟﻤﺸﺭﻭﻉ ﺒﻘﺩﺭ ﻤﺎ‬ ‫ﻨﺴﺘﻁﻴﻊ. ﻭﺒﻭﺼﻔﻲ ﺭﺌﻴﺴ ﹰ ﻟﻨﻘﺎﺒﺔ ﺃﺼﺤﺎﺏ ﺍﻟﻌﻘﺎﺭﺍﺕ -‬ ‫ﺎ‬ ‫ﺤﺎل.‬

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‫ﺃﺴﻼﻜﺴﻥ: ﻭﺒﻭﺼﻔﻲ ﺃﻴﻀ ﹰ ﻋﻀﻭﹰ ﻓﻲ ﻤﺠﻠﺱ ﺠﻤﻌﻴﺔ ﺍﻟﻤﻌﺘﺩﻟﻴﻥ -‬ ‫ﺍ‬ ‫ﺎ‬ ‫ﻁﺒﻌ ﹰ ﺃﻨﺕ ﺘﻌﻠﻡ ﺃﻨﻨﻲ ﻋﺎﻤل ﻤﻌﺘﺩل-؟‬ ‫ﺎ‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺇﺫﺍ ﻤﻥ ﺍﻟﻤﻨﻁﻘﻲ ﺃﻥ ﻴﻜﻭﻥ ﻟﻲ ﺍﺤﺘﻜﺎﻙ ﻜﺒﻴﺭ ﺒﺎﻟﻨﺎﺱ،‬ ‫ﻭﻷﻨﻲ ﻤﻭﺍﻁ ‪ ‬ﻤﻌﺭﻭ ﹲ ﺒﺎﺘﺯﺍﻨﻲ ﻭﺨﻀﻭﻋﻲ ﻟﻠﻘﻭﺍﻨﻴﻥ، ﻜﻤﺎ‬ ‫ﻑ‬ ‫ﻥ‬ ‫ﺘﻘﻭل، ﻓﻬﺫﺍ ﻴﻌﻨﻲ ﺃﻥ ﻟﻲ ﺒﻌﺽ ﺍﻟﻨﻔﻭﺫ ﻓﻲ ﺍﻟﺒﻠﺩﺓ - ﻓﺄﻨﺎ ﺃﻤﻠﻙ‬ ‫ﺒﻌﺽ ﺍﻟﺼﻼﺤﻴﺎﺕ – ﻋﻠﻰ ﺍﻟ ‪‬ﻏﻡ ﻤﻥ ﺃﻨﻨﻲ ﺃﻨﺎ ﻤﻥ ﻴﻘﻭل ﺫﻟﻙ.‬ ‫ﺭ‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻟﺫﺍ ﺴﻴﻜﻭﻥ ﻤﻥ ﺍﻟﺴﻬل ﻋﻠﻲ ﺃﻥ ﺃﻨﻅﻡ ﺨﻁﺒﺔ، ﺇﺫﺍ ﺍﻗﺘﻀﻰ‬ ‫ﺍﻷﻤﺭ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺨﻁﺒﺔ؟‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻨﻌﻡ، ﻜﻠﻤﺔ ﺘﻌﺒﺭ ﻋﻥ ﺍﻤﺘﻨﺎﻥ ﻤﻭﺍﻁﻨﻲ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ ﻟﻙ ﻷﻨﻙ‬ ‫ﻨﻔﺫﺕ ﻫﺫﺍ ﺍﻟﻤﺸﺭﻭﻉ ﻭﻗﺩﺘﻪ ﺇﻟﻰ ﺍﻟﻨﺠﺎﺡ. ﻭﺒﺎﻟﻁﺒﻊ، ﻤﻥ ﺍﻟﻤﻨﻁﻘﻲ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻋﻲ ﺫﻟﻙ ﺘﻤﺎﻤ ﹰ ﺴﻴﺩ ﺃﺴﻼﻜﺴﻥ.‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻁﺒﻌ ﹰ، ﻁﺒﻌ ﹰ.‬ ‫ﺎ‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل؟‬

‫ﺍﻟﻨﻔﻭﺫ. ﻭﺒﻤﺎ ﺃﻨﻨﺎ ﺤﺭﻴﺼﻭﻥ ﺠﺩ ﹰ ﻓﻲ ﻫﺫﺍ ﺍﻷﻤﺭ، ﻓﻼ ﺃﻅﻥ ﺃﻥ‬ ‫ﺍ‬ ‫ﺃﺤﺩﹰ ﺴﻴﺴﺘﺎﺀ، ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟‬ ‫ﺍ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺤﺘﻰ ﻭﻟﻭ ﻟﻡ ﻴﻌﺠﺒﻬﻡ ﻀﻤﻨﻴ ﹰ، ﻓﻬﻡ -‬ ‫ﺎ‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻻ،ﻻ،ﻻ! ﻴﺠﺏ ﺃﻻ ﻨﺯﻋﺞ ﺍﻟﺴﻠﻁﺎﺕ، ﻴﺎ ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ!‬ ‫ﻓﻨﺤﻥ ﻻ ﻨﻤﻠﻙ ﺃﻥ ﻨﺘﺤﺩﻯ ﺍﻷﺸﺨﺎﺹ ﺍﻟﺫﻴﻥ ﺘﻘﻭﻡ ﻋﻠﻴﻬﻡ ﺤﻴﺎﺘﻨﺎ.‬

‫ﺃﻥ ﻴﻜﻭﻥ ﺨﻁﺎﺒ ﹰ ﻤﻨﻀﺒﻁ ﹰ، ﺤﺘﻰ ﻻ ﻴﺯﻋﺞ ﺍﻟﺴﻠﻁﺎﺕ ﻭﺃﺼﺤﺎﺏ‬ ‫ﺎ‬ ‫ﺎ‬

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‫ﻟﻘﺩ ﺸﻬﺩﺕ ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﻫﺫﻩ ﺍﻷﻤﻭﺭ ﻓﻲ ﺤﻴﺎﺘﻲ، ﻭﻟﻡ ﻴﺄﺕ ﻤﻨﻬﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺼﺎﻓﺤﻪ(: ﻋﺯﻴﺯﻱ ﺃﺴﻼﻜﺴﻥ، ﻻ ﻴﻤﻜﻨﻨﻲ ﺃﻥ‬ ‫ﻲ‬ ‫ﺃﻋﺒﺭ ﻟﻙ ﻋﻥ ﺴﻌﺎﺩﺘﻲ ﺍﻟﻐﺎﻤﺭﺓ ﻟﻤﺎ ﺃﺘﻠﻘﺎﻩ ﻤﻥ ﺩﻋﻡ ﻤﻥ ﻤﻭﺍﻁﻨ ‪‬‬ ‫ﺍﻟﻜﺭﺍﻡ. ﺃﻨﺎ ﻤﺘﺄﺜﺭ ﺠﺩﹰ. ﺤﺴﻨ ﹰ، ﺍﻵﻥ! ﻤﺎ ﺭﺃﻴﻜﻡ ﺒﻜﺄﺱ ﻤﻥ‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﺍﻟﺸﻴﺭﻱ؟‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻻ، ﺃﺸﻜﺭﻙ. ﻻ ﺃﻗﺭﺏ ﺍﻟﻤﺸﺭﻭﺒﺎﺕ ﺍﻟﺭﻭﺤﻴﺔ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺇﺫﹰ، ﻤﺎ ﺭﺃﻴﻙ ﺒﻜﺄﺱ ﻤﻥ ﺍﻟﺒﻴﺭﺓ؟‬ ‫ﺍ‬

‫ﺨﻴﺭ ﺃﺒﺩﹰ. ﻟﻜﻥ ﺍﻟﺘﻌﺒﻴﺭ ﺍﻟﺭﺸﻴﺩ ﻋﻥ ﺍﻷﻓﻜﺎﺭ ﺍﻟﺤﺭﺓ ﻻ ﻴﺴﺒﺏ ﺃﻴﺔ‬ ‫ﺍ‬ ‫ﺇﺴﺎﺀﺓ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﺸﻜﺭﹰ، ﻭﻻ ﺘﻠﻙ ﺃﻴﻀ ﹰ ﻴﺎ ﺩﻜﺘﻭﺭ. ﻻ ﺃﺤﺘﺴﻲ ﺍﻟﺸﺭﺍﺏ‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﺼﺒﺎﺤ ﹰ. ﻭﺍﻵﻥ ﻋﻠﻲ ﺍﻟﻌﻭﺩﺓ ﺇﻟﻰ ﺍﻟﺒﻠﺩﺓ ﻷﺘﺤﺩﺙ ﻤﻊ ﺃﺼﺤﺎﺏ‬ ‫ﺎ‬ ‫ﺍﻟﻌﻘﺎﺭﺍﺕ ﺍﻵﺨﺭﻴﻥ ﻭﺃﻫﻴﺊ ﺍﻷﺠﻭﺍﺀ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺫﺍ ﻟﻁﻑ ﻤﻨﻙ ﺤﻘ ﹰ، ﻴﺎ ﺴﻴﺩ ﺃﺴﻼﻜﺴﻥ. ﻟﻜﻨﻨﻲ‬ ‫ﺎ‬ ‫ﺒﺒﺴﺎﻁﺔ ﻟﺴﺕ ﻤﻘﺘﻨﻌ ﹰ ﺃﻥ ﻜل ﻫﺫﻩ ﺍﻟﺠﻠﺒﺔ ﻀﺭﻭﺭﻴﺔ ﺤﻘ ﹰ. ﺃﺭﻯ ﺃﻥ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺍﻷﻤﻭﺭ ﺴ ﹸ ‪ ‬ﱡ ﻤﻥ ﺘﻠﻘﺎﺀ ﻨﻔﺴﻬﺎ.‬ ‫ﺘﺤل‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺘﺄﺨﺫ ﺍﻟﺴﻠﻁﺎﺕ ﻭﻗﺘ ﹰ ﻁﻭﻴ ﹰ ﻓﻲ ﺍﺘﺨﺎﺫ ﺍﻟﻘﺭﺍﺭﺍﺕ ﻴﺎ‬ ‫ﻼ‬ ‫ﺎ‬ ‫ﺩﻜﺘﻭﺭ. ﻭﻴﻌﻠﻡ ﺍﷲ ﺃﻨﻨﻲ ﻻ ﺃﻟﻭﻤﻬﻡ -!‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺴﻨﻭﺠﻪ ﻟﻬﻡ ﻀﺭﺒﺔ ﺒﺎﻟﺼﺤﻑ ﻏﺩ ﹰ ﻴﺎ ﺃﺴﻼﻜﺴﻥ.‬ ‫ﺍ‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻟﻴﺱ ﺒﺎﻟﻌﻨﻑ ﻴﺎ ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ! ﺒل ﺒﺎﻟﺼﺒﺭ ﻭﺍﻷﻨﺎﺓ. ﻭﺇﻻ‬ ‫ﻓﺴﺘﺼل ﻤﻌﻬﻡ ﺇﻟﻰ ﻁﺭﻴﻕ ﻤﺴﺩﻭﺩ. ﻟﻥ ﺘﻨﺩﻡ ﺇﺫﺍ ﺃﺨﺫﺕ‬

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‫ﻋﻠﻲ ﺍﻟﻤﻐﺎﺩﺭﺓ. ﻓﺎﻵﻥ ﺃﻨﺕ ﺘﻌﺭﻑ ﻴﺎ ﺩﻜﺘﻭﺭ ﺃ ﻨﻨﺎ ﻨﺤﻥ ﺃﺼﺤﺎﺏ‬ ‫ﺍﻟﻤﻬﻥ ﻨﻘﻑ ﻭﺭﺍﺀﻙ ﻜﺎﻟﺠﺩﺍﺭ. ﺍﻷﻏﻠﺒﻴﺔ ﺍﻟﻤﺘﻤﺎﺴﻜﺔ ﺘﻘﻑ ﺇﻟﻰ‬

‫ﺒﻨﺼﻴﺤﺘﻲ، ﻓﻘﺩ ﺼﻘﻠﺕ ﻤﻌﺎﺭﻓﻲ ﻓﻲ ﻤﺩﺭﺴﺔ ﺍﻟﺤﻴﺎﺓ. ﺤﺴﻨ ﹰ ﺇﺫﹰ،‬ ‫ﺎ ﺍ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺸﻜﺭﻙ ﻴﺎ ﻋﺯﻴﺯﻱ ﺃﺴﻼﻜﺴﻥ. )ﻴﺼﺎﻓﺤﻪ( ﻤﻊ‬ ‫ﺍﻟﺴﻼﻤﺔ، ﻤﻊ ﺍﻟﺴﻼﻤﺔ!‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺴﺄﻟﺤﻕ ﺒﻙ ﻓﻴﻤﺎ ﺒﻌﺩ. ﻟﺩﻱ ﺒﻌﺽ ﺍﻟﺘﺭﺘﻴﺒﺎﺕ ﺃﻗﻭﻡ ﺒﻬﺎ‬ ‫ﺃﻭ ﹰ.‬ ‫ﻻ‬ ‫ﻴﻨﺤﻨﻲ ﻭﻴﺨﺭﺝ. ﻴﺼﺤﺒﻪ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﺇﻟﻰ ﺍﻟﺭﺩﻫﺔ.‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻫل ﺴﺘﻤﺭ ﺒﺎﻟﺼﺤﻴﻔﺔ ﺃﻴﻀ ﹰ ﻴﺎ ﺴﻴﺩ ﻫﻭﭬﺴﺘﺎﺩ؟‬ ‫ﺎ‬

‫ﺠﺎﻨﺒﻙ، ﻤﻬﻤﺎ ﻜﺎﻨﺕ ﺍﻟﻌﻭﺍﻗﺏ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﺃﺠل، ﺃﺠل.‬

‫ﻫﻭﭭﺴﺘﺎﺩ )ﺤﻴﻥ ﻴﻌﻭﺩ ﺍﻟﺩﻜﺘﻭﺭ(: ﺇﺫﹰ، ﻤﺎ ﺭﺃﻴﻙ ﺒﺫﻟﻙ ﻴﺎ ﺩﻜﺘﻭﺭ؟ ﺃﻻ‬ ‫ﺍ‬ ‫ﺘﻅﻥ ﺃﻥ ﺍﻟﻭﻗﺕ ﻗﺩ ﺤﺎﻥ ﻟﺘﺼﺤﻭ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ ﻤﻥ ﻜﺒﻭﺘﻬﺎ ﻭﻀﻌﻔﻬﺎ‬ ‫ﻭﺤﻴﺭﺘﻬﺎ؟‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﺠل. ﺇﻨﻪ ﺼﺎﺩﻕ ﻜﻔﺎﻴﺔ ﻤﻥ ﻨﺎﺤﻴﺔ، ﻟﻜﻨﻪ ﻭﺍﺤﺩ ﻤﻥ‬ ‫ﺃﻭﻟﺌﻙ ﺍﻟﻐﺎﺭﻗﻴﻥ ﻓﻲ ﺍﻟﻤﺴﺘﻨﻘﻊ. ﻭﻤﻌﻅﻡ ﺍﻟﻨﺎﺱ ﻤﺜﻠﻪ، ﻓﻬﻡ‬ ‫ﻴﺘﺄﺭﺠﺤﻭﻥ ﺒﻴﻥ ﺠﻬﺔ ﻭﺃﺨﺭﻯ، ﻭﻴﻘﻀﻭﻥ ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﺍﻟﻭﻗﺕ ﻓﻲ‬ ‫ﺍﻟﺘﻔﻜﻴﺭ ﺒﻜل ﻤﺴﺄﻟﺔ، ﻭﻻ ﻴﻘﻭﻤﻭﻥ ﺒﺄﻱ ﺤﺭﻜﺔ، ﻓﻲ ﺃﻱ ﺍﺘﺠﺎﻩ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫل ﺘﻘﺼﺩ ﺃﺴﻼﻜﺴﻥ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻨﻨﻲ ﺃﺭﻯ ﺃﻥ ﺃﺴﻼﻜﺴﻥ ﻴﺒﺩﻭ ﻁﻴﺏ ﺍﻟﺴﺭﻴﺭﺓ.‬

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‫ﻫﻭﭭﺴﺘﺎﺩ: ﻫﻨﺎﻙ ﺸﻲﺀ ﻭﺍﺤﺩ ﺃﻗﺩﺭﻩ ﺃﻜﺜﺭ ﻤﻥ ﺍﻟﻨﻴﺔ ﺍﻟﻁﻴﺒﺔ. ﺃﻻ ﻭﻫﻭ‬ ‫ﺃﻥ ﺘﻌﺭﻑ ﻤﺎﺫﺍ ﺘﺭﻴﺩ ﻭﺘﻤﺘﻠﻙ ﺍﻟﺸﺠﺎﻋﺔ ﻟﻠﺩﻓﺎﻉ ﻋﻥ ﺁﺭﺍﺌﻙ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﺫﻟﻙ ﺃﻨﺎ ﻤﺼﺭ ﻋﻠﻰ ﺍﻟﺘﻤﺴﻙ ﺒﻬﺫﻩ ﺍﻟﻔﺭﺼﺔ، ﻷﺭﻯ ﺇﻥ‬ ‫ﻜﻨﺕ ﺃﺴﺘﻁﻴﻊ ﺃﻥ ﺃﺤﻤل ﻫﺅﻻﺀ ﺍﻟﺤﻤﻘﻰ ﺃﺼﺤﺎﺏ ﺍﻟﻨﻭﺍﻴﺎ ﺍﻟﻁﻴﺒﺔ‬ ‫ﻋﻠﻰ ﺍﻟﺘﺼﺭﻑ ﻤﺜل ﺍﻟﺭﺠﺎل. ﻴﺠﺏ ﺇﻴﻘﺎﻑ ﻫﺫﺍ ﺍﻻﻨﺒﻁﺎﺡ‬ ‫ﻟﻠﺴﻠﻁﺔ. ﻫﺫﺍ ﺍﻟﺘﺨﺒﻁ ﺍﻟﺫﻱ ﻗﺎﻤﻭﺍ ﺒﻪ ﺒﺸﺄﻥ ﺸﺒﻜﺔ ﺍﻟﻤﻴﺎﻩ ﻫﻭ ﺨﻁﺄ‬ ‫ﻴﺘﻌﺫﺭ ﺘﺴﻭﻴﻔﻪ، ﻭﻫﺫﻩ ﺍﻟﺤﻘﻴﻘﺔ ﻴﺠﺏ ﺃﻥ ﺘﺼل ﺇﻟﻰ ﻤﺴﻤﻊ ﻜل‬ ‫ﻤﻭﺍﻁﻥ ﻴﺤﻕ ﻟﻪ ﺍﻟﺘﺼﻭﻴﺕ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻨﺕ ﻤﺤﻕ ﻓﻲ ﺫﻟﻙ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻨ ﹰ ﺘﻔﻌل ﺇﻥ ﻜﻨﺕ ﺘﺭﻯ ﻓﻲ ﺫﻟﻙ ﻤﺼﻠﺤﺔ‬ ‫ﺎ‬ ‫ﺍﻟﻤﺠﺘﻤﻊ. ﻟﻜﻥ ﻟﻴﺱ ﻗﺒل ﺃﻥ ﺃﺘﺤﺩﺙ ﻤﻊ ﺃﺨﻲ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻋﻠﻰ ﻜل ﺴﺄﻜﺘﺏ ﺍﻓﺘﺘﺎﺤﻴﺘﻲ. ﻭﺇﺫﺍ ﺭﻓﺽ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ‬ ‫ﺍﺘﺨﺎﺫ ﺃﻱ ﺇﺠﺭﺍﺀ، ﻋﻨﺩﻫﺎ -‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺇﻨﻪ ﺃﻤﺭ ﻤﺤﺘﻤل. ﻭﻤﺎﺫﺍ ﻟﻭ ﺤﺼل؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ ﻫﺫﺍ ﻏﻴﺭ ﻭﺍﺭﺩ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺇﻥ ﺤﺼل ﺃﻋﺩﻙ ﺤﻴﻨﺌ ٍ ﺃﻨﻨﻲ -، ﺃﺠل، ﻴﻤﻜﻨﻙ‬ ‫ﺫ‬ ‫ﻨﺸﺭ ﺘﻘﺭﻴﺭﻱ. ﺍﻨﺸﺭ ﺍﻟﻤﻭﻀﻭﻉ ﺍﻟﻠﻌﻴﻥ ﻜﻠﻪ!‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻫل ﻫﺫﺍ ﻭﻋﺩ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺴﻠﻤﻪ ﺍﻟﻤﺨﻁﻭﻁﺔ(: ﺘﻔﻀل، ﺨﺫﻫﺎ ﻤﻌﻙ. ﺍﻗﺭﺃﻫﺎ‬ ‫ﻓﻠﻥ ﻴﻀﺭﻙ ﺫﻟﻙ ﻓﻲ ﺸﻲﺀ؛ ﻭﻴﻤﻜﻨﻙ ﺇﻋﺎﺩﺘﻬﺎ ﻟﻲ ﻓﻴﻤﺎ ﺒﻌﺩ.‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺭﺍﻓﻘﺘﻙ ﺍﻟﺴﻼﻤﺔ، ﺭﺍﻓﻘﺘﻙ ﺍﻟﺴﻼﻤﺔ! ﻻ ﺘﻘﻠﻕ ﺴﻴﺩ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ - ﻜل ﺸﻲﺀ ﺴﻴﺴﻴﺭ ﻋﻠﻰ ﻤﺎ ﻴﺭﺍﻡ ﻭﺒﺴﻼﺴﺔ. ﺒﺴﻼﺴﺔ‬ ‫ﺘﺎﻤﺔ.‬ ‫ﻴﻭﻤﺊ ﺒﺭﺃﺴﻪ ﻭﻴﺫﻫﺏ ﻋﺒﺭ ﺍﻟﺭﺩﻫﺔ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻨﻌﻡ، ﺴﻨﺭﻯ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺤﺴﻨ ﹰ، ﺴﺄﻗﻭﻡ ﺒﺫﻟﻙ. ﻭﺍﻵﻥ، ﺇﻟﻰ ﺍﻟﻠﻘﺎﺀ ﻴﺎ ﺩﻜﺘﻭﺭ.‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺫﻫﺏ ﺇﻟﻰ ﻏﺭﻓﺔ ﺍﻟﻁﻌﺎﻡ ﻭﻴﻠﻘﻲ ﻨﻅﺭﺓ(:‬ ‫ﻜﺎﺜﺭﻴﻥ-! ﺃﻭﻩ، ﻤﺭﺤﺒ ﹰ ﺒﺘﺭﺍ، ﻫل ﺃﻨﺕ ﻫﻨﺎ؟‬ ‫ﺎ‬ ‫ﺒﺘﺭﺍ )ﺘﺩﺨل(: ﺃﻟﻡ ﻴﺄﺕ ﺒﻌﺩ؟‬ ‫ﻫﻭﭭﺴﺘﺎﺩ. ﺇﻨﻪ ﻤﺘﺤﻤﺱ ﺠﺩﹰ ﻻﻜﺘﺸﺎﻓﻲ. ﻴﺒﺩﻭ ﺃﻨﻪ ﺫﻭ ﺃﻫﻤﻴﺔ ﺃﻜﺒﺭ‬ ‫ﺍ‬ ‫ﺃﺤﺘﺎﺝ ﺇﻟﻴﻬﺎ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺒﻴﺘﺭ؟ ﻻ. ﻟﻜﻥ ﻜﺎﻥ ﻟﻲ ﺤﺩﻴﺙ ﻤﻁﻭل ﻤﻊ‬

‫ﻤﻤﺎ ﺘﻭﻗﻌﺕ. ﻟﺫﺍ ﻭﻀﻊ ﺼﺤﻴﻔﺘﻪ ﺘﺤﺕ ﺘﺼﺭﻓﻲ ﻷﺴﺘﺨﺩﻤﻬﺎ ﺤﻴﻥ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺘﻅﻥ ﺃﻨﻙ ﺴﺘﺤﺘﺎﺠﻬﺎ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻭﻩ، ﻻ ﺃﻅﻥ ﺫﻟﻙ. ﻟﻜﻥ ﻤﻥ ﺍﻟﺠﻤﻴل ﺃﻥ ﻴﻌﻠﻡ‬ ‫ﺍﻟﻤﺭﺀ ﺃﻥ ﺍﻟﺼﺤﺎﻓﺔ ﺍﻟﺤﺭﺓ ﺘﻘﻑ ﺇﻟﻰ ﺠﺎﻨﺒﻪ. ﻓﻬﻲ ﻟﺴﺎﻥ ﺤﺎل‬ ‫ﺃﺼﺤﺎﺏ ﺍﻟﻌﻘﺎﺭﺍﺕ!‬ ‫ﺍﻟﻔﻜﺭ ﺍﻟﺤﺭ. ﻤﺎﺫﺍ ﺘﻅﻨﻴﻥ ﺃﻴﻀ ﹰ؟ ﻟﻘﺩ ﺯﺍﺭﻨﻲ ﺭﺌﻴﺱ ﺠﻤﻌﻴﺔ‬ ‫ﺎ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﻘ ﹰ؟ ﻭﻤﺎﺫﺍ ﻴﺭﻴﺩ؟‬ ‫ﺎ‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺴﻴﺩﻋﻤﻨﻲ ﺃﻴﻀ ﹰ. ﺴﻴﺩﻋﻤﻨﻲ ﺍﻟﺠﻤﻴﻊ ﺤﻴﻥ ﻭﻗﻭﻉ‬ ‫ﺎ‬ ‫ﺃﻱ ﻤﺸﻜﻠﺔ. ﺃﺘﻌﻠﻤﻴﻥ ﻤﻥ ﺴﻴﻘﻑ ﻭﺭﺍﺌﻲ ﻴﺎ ﻜﺎﺜﺭﻴﻥ؟‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﺭﺍﺀﻙ؟ ﻻ، ﻻ ﺃﻋﻠﻡ. ﻤﻥ ﻴﻘﻑ ﻭﺭﺍﺀﻙ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺍﻷﻏﻠﺒﻴﺔ ﺍﻟﻌﻅﻤﻰ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻁﺒﻌ ﹰ ﺸﻲﺀ ﺠﻴﺩ! )ﻴﻔﺭﻙ ﻴﺩﻴﻪ، ﻭﻴﺫﺭﻉ ﺍﻟﻐﺭﻓﺔ‬ ‫ﺎ‬ ‫ﺠﻴﺌ ﹰ ﻭﺫﻫﺎﺒ ﹰ( ﻜﻡ ﻫﻭ ﺭﺍﺌﻊ ﺃﻥ ﻴﺸﻌﺭ ﺍﻟﻤﺭﺀ ﺃﻥ ﻫﻨﺎﻙ ﻤﻥ ﻴﻘﻑ‬ ‫ﺎ‬ ‫ﺔ‬ ‫ﻤﻌﻪ ﺠﻨﺒ ﹰ ﺇﻟﻰ ﺠﻨﺏ ﻤﻥ ﺃﺒﻨﺎﺀ ﻤﺩﻴﻨﺘﻪ ﺒﺄﺨﻭﺓ ﻭﻤﺤﺒﺔ.‬ ‫ﺎ‬ ‫ﺒﺘﺭﺍ: ﻭﺫﻟﻙ ﺍﻟﺸﺨﺹ ﻴﻘﻭﻡ ﺒﺄﺸﻴﺎﺀ ﺠﻴﺩﺓ ﻭﻤﻔﻴﺩﺓ، ﻴﺎ ﺃﺒﻲ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻌﻡ، ﻭﻟﻤﺩﻴﻨﺘﻪ ﺃﻴﻀ ﹰ!‬ ‫ﺎ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻓﻬﻤﺕ. ﻭﻫﺫﺍ ﺸﻲﺀ ﺠﻴﺩ ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺒﺩ ﺃﻨﻪ ﻫﻭ! ) ﻁﺭﻕ ﻋﻠﻰ ﺍﻟﺒﺎﺏ ﺍﻟﺩﺍﺨﻠﻲ(‬ ‫ﺍﺩﺨل!‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﻴﺩﺨل ﻤﻥ ﺍﻟﺭﺩﻫﺔ(: ﺼﺒﺎﺡ ﺍﻟﺨﻴﺭ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﺒﺤﺭﺍﺭﺓ(: ﻤﺭﺤﺒ ﹰ ﺒﻴﺘﺭ!‬ ‫ﺎ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺠﺭﺱ ﺍﻟﺒﺎﺏ ‪‬ﻘﺭﻉ.‬ ‫ﻴ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺸﻜﺭﹰ ﻋﻠﻰ ﺴﺅﺍﻟﻙ، ﺤﺎﻟﻲ ﻤﺎ ﺒﻴﻥ ﺒﻴﻥ. )ﻟﻠﺩﻜﺘﻭﺭ(‬ ‫ﺍ‬ ‫ﺒﻌﺩ ﺨﺭﻭﺠﻲ ﻤﻥ ﺍﻟﻤﻜﺘﺏ ﺍﻟﻠﻴﻠﺔ ﺍﻟﻤﺎﻀﻴﺔ، ﺍﺴﺘﻠﻤﺕ ﺭﺴﺎﻟﺘﻙ ﺍﻟﺘﻲ‬ ‫ﺘﺘﻌﻠﻕ ﺒﻭﻀﻊ ﺍﻟﻤﻴﺎﻩ ﻓﻲ ﺍﻟﺤﻤﺎﻤﺎﺕ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺼﺒﺎﺡ ﺍﻟﺨﻴﺭ ﻴﺎ ﺴﻠﻔﻲ. ﻜﻴﻑ ﺤﺎﻟﻙ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل. ﻭﻫل ﻗﺭﺃﺘﻬﺎ؟‬

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‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﻴﻨﻅﺭ ﺇﻟﻰ ﺍﻵﺨﺭﻴﻥ(: ﻫﻤﻤﻡ -‬ ‫ﺘﺩﺨل ﻫﻲ ﻭﺒﺘﺭﺍ ﺍﻟﻐﺭﻓﺔ ﺍﻟﺘﻲ ﺇﻟﻰ ﺍﻟﻴﺴﺎﺭ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻨ ﹰ! ﻤﺎ ﺭﺃﻴﻙ؟‬ ‫ﺎ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﻴﺎ ﺒﻨﺎ ﻴﺎ ﺒﺘﺭﺍ.‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻨﻌﻡ.‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﺒﻌﺩ ﻭﻗﻔﺔ ﻗﺼﻴﺭﺓ(: ﺃﻜﺎﻥ ﻤﻥ ﺍﻟﻀﺭﻭﺭﻱ ﺃﻥ ﺘﻘﻭﻡ‬ ‫ﺒﻜل ﺘﻠﻙ ﺍﻟﺘﺤﺭﻴﺎﺕ ﻤﻥ ﻭﺭﺍﺀ ﻅﻬﺭﻱ؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻭﻫل ﺘﻴﻘﻨﺕ ﺍﻵﻥ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻨ ﹰ، ﻓﻌﻠﺕ ﺫﻟﻙ ﺤﺘﻰ ﺃﺘﻴﻘﻥ، ﺃﻨﺎ -‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل. ﻻ ﺒﺩ ﺃﻨﻙ ﻤﻘﺘﻨﻊ ﺒﺭﺃﻴﻲ ﺍﻵﻥ -؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻫل ﺘﻨﻭﻱ ﺇﺒﺭﺍﺯ ﻫﺫﻩ ﺍﻟﻭﺜﻴﻘﺔ ﺃﻤﺎﻡ ﻤﺠﻠﺱ ﺍﻟﺤﻤﺎﻤﺎﺕ‬ ‫ﺒﺼﻭﺭﺓ ﺭﺴﻤﻴﺔ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺒﺎﻟﻁﺒﻊ! ﻻ ﺒﺩ ﻤﻥ ﺍﺘﺨﺎﺫ ﺨﻁﻭﺓ ﻤﺎ ﻭﺒﺴﺭﻋﺔ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻻﺤﻅﺕ ﺃﻥ ﻋﺒﺎﺭﺍﺘﻙ ﻓﻲ ﻫﺫﻩ ﺍﻟﻭﺜﻴﻘﺔ ﻤﺒﺎﻟﻎ ﻓﻴﻬﺎ‬ ‫ﻨﻭﻋ ﹰ ﻤﺎ، ﻜﻌﺎﺩﺘﻙ. ﻓﻘﺩ ﺃﻭﺭﺩﺕ ﻓﻲ ﺘﻘﺭﻴﺭﻙ، ﻤﻥ ﻤﺠﻤل ﻤﺎ‬ ‫ﺎ‬ ‫ﺫﻜﺭﺕ، ﺃﻨﻨﺎ ﺴﻨﻘﺩﻡ ﻟﺯﻭﺍﺭﻨﺎ ﺴﻤ ﹰ ﺒﻁﻴﺌ ﹰ ﻓﻲ ﻜل ﻋﺎﻡ.‬ ‫ﺎ‬ ‫ﺎ‬

‫ﺘﺴﺘﺨﺩﻤﻪ ﻟﻠﺸﺭﺏ. ﻭﻨﺤﻥ ﻨﻘﺩﻤﻪ ﻷﻭﻟﺌﻙ ﺍﻟﻤﺭﻀﻰ ﺍﻟﺘﻌﺴﺎﺀ،‬

‫ﺍﻷﻤﺭ! ﺫﻟﻙ ﺍﻟﻤﺎﺀ ﺴﺎﻡ ﺤﺘﻰ ﻭﻟﻭ ﺍﻏﺘﺴﻠﺕ ﺒﻪ، ﻓﻜﻴﻑ ﺤﻴﻥ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﻫل ﻴﻤﻜﻨﻙ ﻭﺼﻔﻪ ﺒﻐﻴﺭ ﺫﻟﻙ ﻴﺎ ﺒﻴﺘﺭ؟ ﺘﺼﻭﺭ‬

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‫ﺍﻟﺫﻴﻥ ﺃﺘﻭﺍ ﻋﻨﺩﻨﺎ ﻟﺜﻘﺘﻬﻡ ﺒﻨﺎ، ﻜﻤﺎ ﺃﻨﻬﻡ ﻴﺩﻓﻌﻭﻥ ﻤﺎ ﻴﻤﻠﻜﻭﻥ‬ ‫ﻟﻴﺴﺘﻌﻴﺩﻭﺍ ﻋﺎﻓﻴﺘﻬﻡ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻭﺍﻗﺘﺭﺍﺤﻙ ﺃﻥ ﻋﻠﻴﻨﺎ ﺒﻨﺎﺀ ﻤﺠﺭﻭﺭ ﻟﻜﻲ ﻴﺴﺤﺏ ﺍﻟﻤﻴﺎﻩ‬ ‫ﺍﻟﻤﻠﻭﺜﺔ ﺍﻟﻤﺯﻋﻭﻤﺔ ﺍﻟﻘﺎﺩﻤﺔ ﻤﻥ ﻤﺩﺒﻐﺔ ﻤﻭﻴﻠﺩﺍل ﺒﻌﻴﺩﹰ، ﻭﺃﻨﻪ ﻋﻠﻴﻨﺎ‬ ‫ﺍ‬ ‫ﺘﺒﺩﻴل ﺸﺒﻜﺔ ﺃﻨﺎﺒﻴﺏ ﺍﻟﻤﻴﺎﻩ ﻜﺎﻤﻠﺔ.‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻟﻘﺩ ﺍﺴﺘﺩﻋﻴﺕ ﻫﺫﺍ ﺍﻟﺼﺒﺎﺡ ﻤﻬﻨﺩﺱ ﻤﺠﻠﺱ ﺍﻟﺒﻠﺩﺓ.‬ ‫ﻭﻓﻲ ﻤﻌﺭﺽ ﺤﺩﻴﺜﻨﺎ، ﺫﻜﺭﺕ ﻟﻪ ﻤﻥ ﺒﺎﺏ ﺍﻟﻤﺯﺍﺡ ﻫﺫﻩ‬ ‫ﺍﻻﻗﺘﺭﺍﺤﺎﺕ ﻜﺸﻲﺀ ﻴﺤﺘﻤل ﺍﻟﻘﻴﺎﻡ ﺒﻪ ﻓﻲ ﻭﻗﺕ ﻤﺎ ﻓﻲ ﺍﻟﻤﺴﺘﻘﺒل.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫل ﻟﺩﻴﻙ ﺤل ﺁﺨﺭ؟ ﻓﺄﻨﺎ ﻟﻴﺱ ﻟﺩﻱ ﺭﺃﻱ ﻏﻴﺭ‬ ‫ﻫﺫﺍ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻓﻲ ﻭﻗﺕ ﻤﺎ ﻓﻲ ﺍﻟﻤﺴﺘﻘﺒل؟‬

‫ﺘﻭﻗﻌﺕ. ﻫل ﻜﻠﻔﺕ ﻨﻔﺴﻙ ﻭﻓﻜﺭﺕ ﺒﺘﻜﺎﻟﻴﻑ ﺍﻟﺘﻐﻴﻴﺭﺍﺕ ﺍﻟﺘﻲ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻓﺎﺒﺘﺴ ‪ ‬ﻟﻤﺎ ﻅﻨﻪ ﺒﺎﻟﺘﺄﻜﻴﺩ ﻤﺒﺎﻟﻐﺔ ﻤﻥ ﻁﺭﻓﻲ، ﻜﻤﺎ‬ ‫ﻡ‬

‫ﺘﻘﺘﺭﺤﻬﺎ؟ ﻁﺒﻘ ﹰ ﻟﻤﺎ ﻭﺼﻠﻨﻲ ﻤﻥ ﻤﻌﻠﻭﻤﺎﺕ، ﻗﺩ ﺘﺘﺠﺎﻭﺯ ﺍﻟﻨﻔﻘﺎﺕ‬ ‫ﺎ‬

‫ﻤﺌﺎﺕ ﺍﻷﻟﻭﻑ ﻤﻥ ﺍﻟﻜﺭﺍﻭﻨﺎﺕ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻟﻬﺫﻩ ﺍﻟﺩﺭﺠﺔ؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﺠل، ﻟﻜﻥ ﻟﻴﺱ ﻫﺫﺍ ﺃﺴﻭﺃ ﻤﺎ ﻓﻲ ﺍﻷﻤﺭ. ﻓﺎﻟﻌﻤل ﻗﺩ‬ ‫ﻴﺴﺘﻐﺭﻕ ﺴﻨﺘﻴﻥ ﻋﻠﻰ ﺍﻷﻗل.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻗﻠﺕ ﺴﻨﺘﻴﻥ؟ ﺴﻨﺘﻴﻥ ﻜﺎﻤﻠﺘﻴﻥ؟‬

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‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻋﻠﻰ ﺍﻷﻗل. ﻭﻤﺎﺫﺍ ﻨﻔﻌل ﺒﺎﻟﺤﻤﺎﻤﺎﺕ ﺨﻼل ﺘﻠﻙ‬ ‫ﺍ‬ ‫ﺍﻟﻤﺩﺓ؟ ﻫل ﻨﻐﻠﻘﻬﺎ؟ ﻨﻌﻡ ﺴ ﹸﺠ ‪‬ﺭ ﻋﻠﻰ ﺫﻟﻙ. ﻫل ﺘﻌﺘﻘﺩ ﺃﻥ ﺃﺤﺩﹰ‬ ‫ﻨ ﺒ‬ ‫ﺴﻴﺠﺎﺯﻑ ﺒﺎﻟﻘﺩﻭﻡ ﺇﻟﻰ ﻤﺩﻴﻨﺘﻨﺎ ﺤﻴﻥ ﻴﻌﻠﻡ ﺃﻥ ﺍﻟﻤﺎﺀ ﻤﻭﺒﻭﺀ؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ]ﻜل ﻫﺫﺍ ﻴﺤﺩﺙ ﺍﻵﻥ ﺤﻴﻥ ﻴﺒﺩﺃ ﺍﻟﻤﺸﺭﻭﻉ ﺒﺩﺭ‬ ‫ﺍﻷﺭﺒﺎﺡ![ ﻫﻨﺎﻙ ﻤﺩﻥ ﺃﺨﺭﻯ ﺤﻭﻟﻨﺎ ﻟﺩﻴﻬﺎ ﻤﺅﻫﻼﺕ ﻟﺘﻜﻭﻥ‬ ‫ﻤﺭﺍﻜﺯ ﺍﺴﺘﺸﻔﺎﺀ. ﺃﺘﻅﻥ ﺃﻨﻬﻡ ﻟﻥ ﻴﺤﺎﻭﻟﻭﺍ ﺇﺜﺎﺭﺓ ﺍﻫﺘﻤﺎﻡ ﺍﻟﺯﺍﺌﺭﻴﻥ؟‬ ‫ﺒﺎﻟﻁﺒﻊ ﺴﻴﻔﻌﻠﻭﻥ. ﻭﺴﻨﻔﺸل ﻨﺤﻥ. ﻭﻟﺭﺒﻤﺎ ﻨﻀﻁﺭ ﺇﻟﻰ ﺍﻻﺴﺘﻐﻨﺎﺀ‬ ‫ﻋﻥ ﻜل ﻤﺎ ﺃﻨﻔﻘﻨﺎﻩ، ﻭﺤﻴ ﻨﻬﺎ ﺘﻜﻭﻥ ﺃﻨﺕ ﺩﻤﺭﺕ ﺍﻟﺒﻠﺩﺓ ]ﺍﻟﺘﻲ‬ ‫ﺃﻨﺠﺒﺘﻙ[.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ ﻫﺫﺍ ﻭﺍﻗﻊ ﻴﺎ ﺒﻴﺘﺭ!‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ ﻫﻲ ﻤﺠﺭﺩ ﻤﺭﻜﺯ ﺍﺴﺘﺸﻔﺎﺀ، ﻴﻨﺒﻭﻉ ﻤﻴﺎﻩ‬ ‫ﻤﻌﺩﻨﻴﺔ، ﻭﺍﻟﺤﻤﺎﻤﺎﺕ ﻫﻲ ﻤﺴﺘﻘﺒﻠﻨﺎ. ﻻ ﺒﺩ ﺃﻨﻙ ﺘﺩﺭﻙ ﺫﻟﻙ ﻤﺜﻠﻲ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺘﻘﺭﻴﺭﻙ ﻟﻡ ﻴﻘﻨﻌﻨﻲ ﺘﻤﺎﻤ ﹰ ﻤﻥ ﺠﻬﺔ ﺃﻥ ﺍﻟﻭﻀﻊ ﺒﺘﻠﻙ‬ ‫ﺎ‬ ‫ﺍﻟﺨﻁﻭﺭﺓ ﺍﻟﺘﻲ ﻋﺒﺭﺕ ﻋﻨﻬﺎ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻨﺎ - ﺩﻤﺭﺕ -!‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ ﻤﺎﺫﺍ ﺘﻘﺘﺭﺡ ﺃﻥ ﻨﻔﻌل؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ ﻴﺎ ﺒﻴﺘﺭ ﺍﻟﻭﻀﻊ ﺴﻲﺀ ﺤﻘ ﹰ. ﺃﻭ ﻋﻠﻰ ﺍﻷﻗل‬ ‫ﺎ‬ ‫ﺴﻴﻜﻭﻥ ﻜﺫﻟﻙ ﻓﻲ ﺍﻟﺼﻴﻑ، ﺤﻴﻥ ﻴﺸﺘﺩ ﺍﻟﺤﺭ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻜﻤﺎ ﻗﻠﺕ ﻤﻥ ﻗﺒل، ﺃﻋﺘﻘﺩ ﺃﻨﻙ ﺘﺒ ﹰﻟﻎ ﻓﻲ ﺨﻁﻭﺭﺓ‬ ‫ﺎ‬ ‫ﺍﻟﻤﻭﻗﻑ. ]ﻓﻌﻠﻰ ﺍﻟﻁﺒﻴﺏ ﺍﻟﻜﻑﺀ ﺃﻥ ﻴﻌﺭﻑ ﻜﻴﻑ ﻴﻘ ‪‬ﺭ ﺍﻷﻤﻭﺭ.‬ ‫ﺩ‬

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‫ﻴﺠﺏ ﺃﻥ ﻴﻀﻊ ﻓﻲ ﺤﺴﺒﺎﻨﻪ ﻭﻗﻭﻉ ﺃﻀﺭﺍﺭ ﻜﻬﺫﻩ، ﻭﻜﻴﻑ ﻴﻤﻜﻨﻪ‬

‫ﻤﻌﺎﻟﺠﺘﻬﺎ ﻓﻲ ﺤﺎل ﻅﻬﻭﺭﻫﺎ ﻭﺘﻔﺎﻗﻤﻬﺎ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺘﺎﺒﻊ ﻜﻼﻤﻙ.[‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺇﻥ ﻤﺠﺎﺭﻱ ﺍﻟﻤﻴﺎﻩ ﺍﻟﺤﺎﻟﻴﺔ ﺤﻘﻴﻘﺔ ﻭﺍﻗﻌﺔ، ﻭﻋﻠﻴﻨﺎ‬ ‫ﻴﻌﺘﺭﺽ ﺒﺸﺩﺓ ﻋﻠﻰ ﻤﺭﺍﻋﺎﺓ ﺇﻤﻜﺎﻨﻴﺔ ﺘﻘﺩﻴﻡ ﺒﻌﺽ ﺍﻹﺼﻼﺤﺎﺕ‬ ‫ﺒﻨﻔﻘﺎﺕ ﻤﻌﻘﻭﻟﺔ ﺤﻴﻥ ﻴﺤﻴﻥ ﺍﻟﻭﻗﺕ ﺍﻟﻤﻨﺎﺴﺏ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﺘﻅﻥ ﺃﻨﻨﻲ ﺴﺄﺸﺘﺭﻙ ﻓﻲ ﺍﺤﺘﻴﺎل ﻜﻬﺫﺍ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺍﺤﺘﻴﺎل!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﻜﺫﺍ ﻴﺴﻤﻰ. ﺇﻨﻪ ﻗﻠﺔ ﺃﻤﺎﻨﺔ، ﻜﺫﺏ، ﺠﺭﻴﻤﺔ ﺒﺤﻕ‬ ‫ﺃﻫﺎﻟﻲ ﺍﻟﺒﻠﺩﺓ ﻭﺒﺤﻕ ﺍﻟﻤﺠﺘﻤﻊ ﻜﻜل.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻜﻤﺎ ﻨﻭﻫﺕ ﻤﻨﺫ ﻗﻠﻴل، ﻟﻡ ﺃﺴﺘﻁﻊ ﺇﻗﻨﺎﻉ ﻨﻔﺴﻲ ﺤﺘﻰ‬ ‫ﺍﻵﻥ ﺒﻭﺠﻭﺩ ﺨﻁﺭ ﻤﺤﺩﻕ ﻋﻠﻰ ﻭﺸﻙ ﺍﻟﻭﻗﻭﻉ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺒل ﺍﻗﺘﻨﻌﺕ! ] ﺒل ﻴﺠﺏ ﺃﻥ ﺘﻘﺘﻨﻊ! ﺒﺭﺍﻫﻴﻨﻲ ﻻ‬ ‫ﺍﻟﻘﺒﻭل ﺒﻬﺎ ﻜﻤﺎ ﻫﻲ. ﻟﻜﻥ ﻴﻤﻜﻨﻨﻲ ﺍﻟﻘﻭل ﺇ ‪ ‬ﺍﻟﻤﺠﻠﺱ ﻗﺩ ﻻ‬ ‫ﻥ‬

‫ﺍﻻﻋﺘﺭﺍﻑ ﺒﺎﺭﺘﻜﺎﺒﻙ ﺨﻁ ً ﻓﺎﺩﺤ ﹰ. ﻻ ﺘﺘﻐﺎﺒﻰ، ﺃﺘﻅﻥ ﺃﻨﻨﻲ ﻻ ﺃﻋﻠﻡ‬ ‫ﺎ‬ ‫ﺄ‬

‫ﺍﻟﺤﻤﺎﻤﺎﺕ ﻭﻤﺠﺎﺭﻱ ﺍﻟﻤﻴﺎﻩ ﺤﻴﺙ ﻫﻲ ﺍﻵﻥ، ﻭﺍﻵﻥ ﺃﻨﺕ ﺘﺭﻓﺽ‬

‫ﺒﻴﺘﺭ![ ﻟﻜﻨﻙ ﻟﻥ ﺘﻘﺭ ﺒﺫﻟﻙ، ﻷﻨﻙ ﺃﻨﺕ ﻤﻥ ﺃﺼﺭ ﻋﻠﻰ ﺒﻨﺎﺀ‬

‫ﻴﻤﻜﻥ ﺩﺤﻀﻬﺎ - ﻭﺃﻨﺎ ﻤﺘﺄﻜﺩ ﻤﻥ ﺫﻟﻙ! ﻭﺃﻨﺕ ﺘﻭﻗﻥ ﺒﺫﻟﻙ ﻤﺜﻠﻲ ﻴﺎ‬

‫ﻤﺎ ﻴﺠﻭل ﺒﺨﺎﻁﺭﻙ؟‬

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‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻟﻨﻔﺭﺽ ﺃﻨﻙ ﻤﺤﻕ. ﻓﺈﻥ ﻤﺎ ﺃﻓﻌﻠﻪ، ﻴﺄﺘﻲ ﻤﻥ ﻗﻠﻕ‬ ‫ﻟﺤﻤﺎﻴﺔ ﺴﻤﻌﺘﻲ، ﻷﻨﻨﻲ ﺤﺭﻴﺹ ﻓﻲ ﺩﺍﺨﻠﻲ ﻋﻠﻰ ﻤﺼﻠﺤﺔ ﺍﻟﺒﻠﺩﺓ.‬ ‫ﻓﻤﻥ ﺩﻭﻥ ﺍﻟﺴﻠﻁﺔ ﺍﻷﺨﻼﻗﻴﺔ ﻻ ﻴﻤﻜﻨﻨﻲ ﻗﻴﺎﺩﺓ ﺍﻷﻤﻭﺭ ﻭﺘﺴﻴﻴﺭﻫﺎ‬ ‫ﺤﺴﺒﻤﺎ ﺃﺭﺍﻩ ﺍﻷﻨﺴﺏ ﻟﻠﺼﺎﻟﺢ ﺍﻟﻌﺎﻡ. ﻷﺠل ﻫﺫﺍ، ﻭﻷﺴﺒﺎﺏ ﺃﺨﺭﻯ‬ ‫ﻤﺘﻨﻭﻋﺔ، ﺃﺭﻯ ﺃﻨﻪ ﻤﻥ ﺍﻷﻓﻀل ﺃﻻ ﺃﻗﺩﻡ ﺘﻘﺭﻴﺭﻙ ﻟﻤﺠﻠﺱ‬ ‫ﺍﻟﺤﻤﺎﻤﺎﺕ. ﺒل ﻴﺠﺏ ﻜﺘﻤﺎﻥ ﺃﻤﺭﻩ ﻤﻥ ﺃﺠل ﺍﻟﺼﺎﻟﺢ ﺍﻟﻌﺎﻡ.‬ ‫ﻭﺴﺄﻗﻭﻡ ﻓﻴﻤﺎ ﺒﻌﺩ ﺒﺈﺜﺎﺭﺓ ﺍﻟﻤﻭﻀﻭﻉ ﻟﻠﻨﻘﺎﺵ، ﻭﺴﻨﻔﻌل ﺒﺘﻌﻘل ﻤﺎ‬ ‫ﻓﻲ ﻭﺴﻌﻨﺎ ﺤﻴﺎل ﺫﻟﻙ. ﻟﻜﻥ ﻴﺠﺏ ﺃﻻ ﻴﺼل ﺸﻲﺀ ﻤﻥ ﻫﺫﺍ ﺍﻷﻤﺭ‬ ‫ﺍﻟﻤﺸﺅﻭﻡ ﺇﻟﻰ ﻤﺴﺎﻤﻊ ﺍﻟﻌﺎﻤﺔ، ﻭﻻ ﻜﻠﻤﺔ ﻭﺍﺤﺩﺓ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺒل ﻴﺠﺏ ﻜﺘﻤﺎﻨﻬﺎ ﻭﻟﺴﻭﻑ ﻴﺘﻡ ﺫﻟﻙ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻨ ﹰ، ﻻ ﻴﻤﻜﻨﻙ ﻜﺘﻤﺎﻨﻬﺎ ﺍﻵﻥ ﻴﺎ ﺒﻴﺘﺭ.‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﻴﻤﻜﻥ، ﻜﻤﺎ ﺃﻗﻭل ﻟﻙ. ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﺍﻟﻨﺎﺱ‬ ‫ﻋﻠﻤﻭﺍ ﺒﺎﻷﻤﺭ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻋﻠﻤﻭﺍ؟ ﻤﻥ ﻋﻠﻡ ﺒﺎﻷﻤﺭ؟ ﻻ ﺘﻘل ﻟﻲ ﺇﻨﻙ ﺘﻘﺼﺩ‬ ‫ﺃﻭﻟﺌﻙ ﻤﻥ ﺼﺤﻴﻔﺔ ،ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ»؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ]ﺃﺠل، ﻫﻡ ﻋﻠﻤﻭﺍ ﺃﻴﻀ ﹰ.[ ﻭﺴﺘﻨﻅﺭ ﺍﻟﺼﺤﺎﻓﺔ‬ ‫ﺎ‬ ‫ﺍﻟﺤﺭﺓ ﻓﻲ ﺒﻠﺩﺘﻨﺎ ﺇﻟﻰ ﺍﻷﻤﺭ ﻭﻜﻴﻑ ﺴﺘﺅﺩﻱ ﻭﺍﺠﺒﻙ ﺤﻴﺎﻟﻪ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﺒﻌﺩ ﻭﻗﻔﺔ ﻗﺼﻴﺭﺓ(: ﺃﻨﺕ ﺭﺠل ﺃﺤﻤﻕ ﻟﻠﻐﺎﻴﺔ ﻴﺎ‬ ‫ﺘﻭﻤﺎﺱ. ﺃﻟﻡ ﺘﻀﻊ ﻓﻲ ﺤﺴﺒﺎﻨﻙ ﻋﻭﺍﻗﺏ ﻫﺫﺍ ﺍﻟﻌﻤل ﻋﻠﻴﻙ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻋﻭﺍﻗﺏ؟ ﻋﻠﻲ ﺃﻨﺎ؟‬

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‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻅﻥ ﺃﻨﻨﻲ ﻜﻨﺕ ﻤﺜﺎل ﺍﻷﺥ ﺍﻟﺠﻴﺩ ﻤﻌﻙ ﺩﺍﺌﻤ ﹰ، ﺃﻴﺎ ﻤﺎ‬ ‫ﺎ‬ ‫ﻜﺎﻨﺕ ﺍﻟﻤﺴﺎﻋﺩﺓ ﺍﻟﺘﻲ ﺘﺤﺘﺎﺠﻬﺎ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻨﺎ ﻻ ﺃﺴﺄﻟﻙ ﺍﻟﺸﻜﺭ. ﻓﻘﺩ ﻜﻨ ﹸ ﻤﺠﺒﺭﹰ ﻋﻠﻰ ﺍﻟﻘﻴﺎﻡ‬ ‫ﺍ‬ ‫ﺕ‬ ‫ﺒﺫﻟﻙ ﺇﻟﻰ ﺤﺩ ﻤﺎ - ﻟﻤﺼﻠﺤﺘﻲ ﺍﻟﺸﺨﺼﻴﺔ. ]ﻟﻁﺎﻟﻤﺎ ﺘﻤﻨﻴﺕ ﺃﻥ‬ ‫ﺃﻜﺒﺢ ﺠﻤﺎﺤﻙ ﻗﻠﻴ ﹰ ﻷﺤﺴﻥ ﻭﻀﻌﻙ ﺍﻟﻤﺎﻟﻲ.‬ ‫ﻼ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺘﺒ ﹰ، ﻤﺎ ﺍﻟﺫﻱ ﺘﻘﻭﻟﻪ ﺒﺤﻕ ﺍﻟﺸﻴﻁﺎﻥ؟‬ ‫ﺎ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﺠل، ﻋﻠﻴﻙ ﻭﻋﻠﻰ ﻋﺎﺌﻠﺘﻙ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻘﺩ ﻜﻨﺕ ﻓﻌ ﹰ، ﻭﺃﺸﻜﺭﻙ ﻋﻠﻰ ﺫﻟﻙ.‬ ‫ﻼ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻗﻠﺕ ﻟﻙ ﺇﻟﻰ ﺤﺩ ﻤﺎ.[ ﻤﻥ ﺍﻟﺼﻌﺏ ﻋﻠﻰ ﻤﻭﻅﻑ‬ ‫ﺤﻜﻭﻤﻲ ﺒﺎﺭﺯ ﺃﻥ ﻴﺭﻯ ﺃﻗﺭﺏ ﺍﻟﻨﺎﺱ ﺇﻟﻴﻪ ﻴﻘﻀﻲ ﺤﻴﺎﺘﻪ ﻤﻌﺭﻀﺎ‬ ‫ﻨﻔﺴﻪ ﻟﻠﺸﺒﻬﺎﺕ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﺎﺫﺍ! ﻟﻘﺩ ﻜﺎﻥ ﻟﻤﺼﻠﺤﺘﻙ ﺍﻟﺸﺨﺼﻴﺔ ﺃﻨﻙ -‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺘﻅﻥ ﺃﻨﻨﻲ ﻜﺫﻟﻙ؟‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻫﺫﺍ ﻤﺎ ﺘﻔﻌﻠﻪ ﻟﻸﺴﻑ، ﺩﻭﻥ ﺃﻥ ﺘﺩﺭﻱ. ﻓﺄﻨﺕ ﺫﻭ‬ ‫ﻁﺒﻴﻌﺔ ﺜﺎﺌﺭﺓ، ﻭﻗﻠﻘﺔ، ﻭﻤﻭﻟﻌﺔ ﺒﺎﻟﺨﺼﺎﻡ. ﻨﻀﻴﻑ ﺇﻟﻰ ﺫﻟﻙ ﺸﻐﻔﻙ‬ ‫ﺍﻟﻤﺸﺅﻭﻡ ﺒﺎﻻﻨﺩﻓﺎﻉ ﻟﻨﺸﺭ ﻤﺎ ﻴﺘﻴﺴﺭ ﻟﻙ ﻤﻥ ﻤﻭﺍﻀﻴﻊ. ﻓﻜﻠﻤﺎ‬ ‫ﺨﻁﺭ ﻟﻙ ﺨﺎﻁﺭ، ﻋﻠﻴﻙ ﺃﻥ ﺘﺠﻠﺱ، ﻭﺘﻜﺘﺏ ﻤﻘﺎ ﹰ ﺼﺤﻔﻴ ﹰ، ﺃﻭ‬ ‫ﺎ‬ ‫ﻻ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺒﺎﻟﻁﺒﻊ، ﺃﻟﻴﺱ ﻤﻥ ﻭﺍﺠﺏ ﺍﻟﻤﻭﺍﻁﻥ ﺃﻥ ﻴﻨﻘل‬ ‫ﻓﻜﺭﺓ ﺠﺩﻴﺩﺓ ﺨﻁﺭﺕ ﻟﻪ ﺇﻟﻰ ﺍﻟﻨﺎﺱ؟‬ ‫ﻨﺸﺭﺓ ﻜﺎﻤﻠﺔ ﺤﻭل ﺘﻠﻙ ﺍﻟﺨﺎﻁﺭﺓ.‬

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‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻻ ﻴﺭﻴﺩ ﺍﻟﻨﺎﺱ ﺃﻓﻜﺎﺭ ﹰ ﺠﺩﻴﺩﺓ. ﻓﻬﻡ ﻴﻌﻴﺸﻭﻥ ﺒﺄﻓﻀل‬ ‫ﺍ‬ ‫ﺤﺎل ﻤﻊ ﺍﻷﻓﻜﺎﺭ ﺍﻟﻘﺩﻴﻤﺔ ﺍﻟﺘﻲ ﻗﺒﻠﻭﺍ ﺒﻬﺎ ﻓﻲ ﺍﻟﻤﺎﻀﻲ.‬

‫]ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﺠل ﻴﺎ ﺘﻭﻤﺎﺱ. ﻓﻌﻠﻲ ﺃﻥ ﺃﻜﻠﻤﻙ ﺒﻭﻀﻭﺡ‬ ‫ﻭﺒﺼﻭﺭﺓ ﺤﺎﺴﻤﺔ ﻫﺫﻩ ﺍﻟﻤﺭﺓ. ﺤﺘﻰ ﻫﺫﻩ ﺍﻟﻠﺤﻅﺔ ﻜﻨﺕ ﺃﺤﺎﻭل‬ ‫ﺘﺠﻨﺏ ﺫﻟﻙ، ﻷﻨﻨﻲ ﺃﻋﻠﻡ ﻜﻡ ﺃﻨﺕ ﻤﺘﺴﺭﻉ. ﻟﻜﻥ ﺍﻵﻥ ﻋﻠﻲ‬ ‫ﺇﺨﺒﺎﺭﻙ ﺍﻟﺤﻘﻴﻘﺔ. ﺃﻨﺕ ﻻ ﺘﺩﺭﻱ ﻜﻡ ﺘﺴﻲﺀ ﻟﻨﻔﺴﻙ ﺒﺘﻬﻭﺭﻙ ﻫﺫﺍ.‬ ‫ﻓﺄﻨﺕ ﺘﺯﻋﺞ ﺍﻟﺴﻠﻁﺎﺕ، ﻭﺤﺘﻰ ﺍﻟﺤﻜﻭﻤﺔ ﺃﻴﻀ ﹰ. ﺃﻨﺕ ﺘﺸﻬﺭ ﺒﻬﻡ،‬ ‫ﺎ‬ ‫ﻭﺘﺩﻋﻲ ﺃﻨﻙ ‪‬ﻬﺎﻥ ﻭ ‪‬ﻀﻁﻬﺩ. ﻟﻜﻥ ﻤﺎﺫﺍ ﺘﺘﻭﻗﻊ ﻏﻴﺭ ﺫﻟﻙ ﻭﺃﻨﺕ‬ ‫ﻤ‬ ‫ﻤ‬ ‫ﺸﺨﺹ ﻤﺜﻴﺭ ﻟﻠﻤﺘﺎﻋﺏ؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻭﻩ ﺘﻭﻤﺎﺱ، ﺃﻨﺕ ﻴﺴﺘﺤﻴل ﺍﻟﻌﻤل ﻤﻌﻙ. ]ﻟﻘﺩ ﻟﻤﺴﺕ‬ ‫ﻫﺫﺍ ﺒﻨﻔﺴﻲ.[ ﺃﻨﺕ ﻻ ﺘﺭﺍﻋﻲ ﻤﺸﺎﻋﺭ ﺍﻵﺨﺭﻴﻥ ﺃﺒﺩ ﹰ. ﺤﺘﻰ ﻴﺒﺩﻭ‬ ‫ﺍ‬ ‫ﺃﻨﻙ ﻨﺴﻴﺕ ﺃﻨﻨﻲ ﺃﻨﺎ ﻤﻥ ﻴﺠﺏ ﺃﻥ ﺘﺸﻜﺭﻩ ﻟﻤﻨﺤﻙ ﻋﻤل ﻁﺒﻴﺏ‬ ‫ﻤﺸﺭﻑ ﻋﻠﻰ ﺍﻟﺤﻤﺎﻤﺎﺕ-‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﺘﺠﺭﺅ ﻋﻠﻰ ﻗﻭل ﻫﺫﺍ ﻓﻲ ﻭﺠﻬﻲ!‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺇﺫﹰ، ﺃﻨﺎ ﻤﺜﻴﺭ ﻟﻠﻤﺘﺎﻋﺏ، ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟[‬ ‫ﺍ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻜﺎﻥ ﺫﻟﻙ ﻤﻥ ﺤﻘﻲ! ﻓﺄﻨﺎ ﺃﻭل ﻤﻥ ﺭﺃﻯ ﺃﻥ ﻫﺫﻩ‬ ‫ﺍﻟﺒﻠﺩﺓ ﻴﻤﻜﻥ ﺃﻥ ﺘﻜﻭﻥ ﻤﺭﻜﺯ ﹰ ﻤﺯﺩﻫﺭﹰ ﻟﻼﺴﺘﺸﻔﺎﺀ ﺒﺎﻟﻤﻴﺎﻩ. ]ﻜﻤﺎ‬ ‫ﺍ‬ ‫ﺍ‬ ‫ﺃﻨﻨﻲ ﻜﻨﺕ ﺍﻟﺸﺨﺹ ﺍﻟﻭﺤﻴﺩ ﺍﻟﺫﻱ ﻻﺤﻅ ﺫﻟﻙ ﻓﻲ ﺘﻠﻙ ﺍﻷﺜﻨﺎﺀ.[‬ ‫ﻟﻘﺩ ﻜﺎﻓﺤﺕ ﻭﺤﺩﻱ ﺴﻨﻭﺍﺕ ﻁﻭﺍل ﻤﻥ ﺃﺠل ﻫﺫﻩ ﺍﻟﻔﻜﺭﺓ. ﻟﻘﺩ‬ ‫ﻜﺘﺒﺕ، ﻭﻜﺘﺒﺕ -‬

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‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻻ ﺃﺤﺩ ﻴﻨﻜﺭ ﺫﻟﻙ. ﻟﻜﻥ ﺍﻟﻭﻗﺕ ﻟﻡ ﻴﻜﻥ ﻤﻨﺎﺴﺒ ﹰ ﺤﻴﻨﺌ ٍ.‬ ‫ﺫ‬ ‫ﺎ‬ ‫]ﻭﺒﺎﻟﻁﺒﻊ ﻤﺎ ﻜﻨﺕ ﻟﺘﻌﻠﻡ ﺒﺫﻟﻙ ﻁﺎﻟﻤﺎ ﺃﻨﻙ ﻋﺎﻟﻕ ﻓﻲ ﺘﻠﻙ ﺍﻟﻤﻨﻁﻘﺔ‬ ‫ﺍﻟﺸﻤﺎﻟﻴﺔ ﺍﻟﻤﻨﺴﻴﺔ.[ ﻟﻜﻥ ﺤﻴﻥ ﺤﺎﻨﺕ ﺍﻟﻠﺤﻅﺔ ﺍﻟﻤﻨﺎﺴﺒﺔ، ﺘﻭﻟﻴﺕ ﺃﻨﺎ‬ ‫ﻭﺁﺨﺭﻭﻥ ﺍﻟﻤﻭﻀﻭﻉ-‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻤﺎ ﺃﺭﺍﻩ ﺍﻵﻥ ﻫﻭ ﺃﻨﻙ ﺘﺒﺤﺙ ﻋﻥ ﺴﺒﺏ ﺁﺨﺭ‬ ‫ﻟﻠﻤﺸﺎﻜﺴﺔ. ﻓﻤﻥ ﻋﺎﺩﺍﺘﻙ ﺍﻓﺘﻌﺎل ﺍﻟﻤﺸﺎﺠﺭﺍﺕ ﻤﻊ ﺭﺅﺴﺎﺌﻙ، ﺇﻨﻪ‬ ‫ﻋﻴﺏ ﻗﺩﻴﻡ ﻓﻴﻙ. ﻓﺄﻨﺕ ﻻ ﺘﺤﺘﻤل ﺃﻥ ﻴﻜﻭﻥ ﻷﺤﺩ ﺴﻠﻁﺔ ﻋﻠﻴﻙ.‬ ‫]ﻓﺄﻨﺕ ﺘﻨﻅﺭ ﺒﺎﺯﺩﺭﺍﺀ ﻟﻤﻥ ﻴﺤﺘل ﻤﻨﺼﺒ ﹰ ﺃﻋﻠﻰ ﻤﻥ ﻤﻨﺼﺒﻙ.‬ ‫ﺎ‬ ‫ﻭﺘﺤﺴﺒﻪ ﻋﺩﻭﻙ ﺍﻟﺸﺨﺼﻲ، ﻋﻨﺩﻫﺎ ﻻ ﻴﻬﻤﻙ ﺍﻟﺴﻼﺡ ﺍﻟﺫﻱ‬ ‫ﺘﺴﺘﻌﻤﻠﻪ ﻀﺩﻩ.[ ﻟﻜﻨﻨﻲ ﺍﻵﻥ ﺃﻭﻀﺢ ﻟﻙ ﺨﻁﻭﺭﺓ ﺍﻷﻤﺭ ﻋﻠﻰ‬ ‫ﺍﻟﺒﻠﺩﺓ، ﻭﻋﻠﻲ ﺃﻴﻀ ﹰ. ﻭﺃﻨﺎ ﻟﺴ ﹸ ﻤﺴﺘﻌﺩﹰ ﻟﻠﻤﺴﺎﻭﻤﺔ.‬ ‫ﺍ‬ ‫ﺕ‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻌﻡ، ﻭﻀﺭﺒﺘﻡ ﺒﺨﻁﺘﻲ ﺍﻟﺭﺍﺌﻌﺔ ﻋﺭﺽ ﺍﻟﺤﺎﺌﻁ!‬ ‫ﻁﺒﻌ ﹰ، ﻭﺍﻵﻥ ﻴﺘﻀﺢ ﻤﻥ ﺍﻟﻨﺘﺎﺌﺞ ﻜﻡ ﻜﻨﺘﻡ ﻋﺒﺎﻗﺭﺓ!‬ ‫ﺎ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻁﺎﻟﻤﺎ ﺃﻨﻙ ﺃﺼﺒﺤﺕ ﻁﺎﺌﺸ ﹰ ﺇﻟﻰ ﻫﺫﺍ ﺍﻟﺤﺩ ﻻ ﺘﻘﺩﺭ‬ ‫ﺎ‬ ‫ﻋﻠﻰ ﻤﻨﺎﻗﺸﺔ ﻫﺫﻩ ﺍﻟﻤﺴﺄﻟﺔ ﺍﻟﺤﺴﺎﺴﺔ، ﻭﺍﻟﺘﻲ ﻜﺎﻥ ﻴﻔﺘﺭﺽ ﺒﻙ‬ ‫ﺇﺒﻘﺎﺅﻫﺎ ﺴﺭﹰ ﻤﻬﻨﻴ ﹰ، ﻓﻤﻥ ﺍﻟﻭﺍﻀﺢ ﺃﻥ ﺍﻟﺴﻜﻭﺕ ﻏﺩﺍ ﻻ ﻴﻨﻔﻊ‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﺍﻵﻥ. ﺴﺘﻨﺘﺸﺭ ﺇﺸﺎﻋﺎﺕ ﻤﻥ ﻜل ﻨﻭﻉ، ﻭﺴﻴﻠﻔﻕ ﺍﻟﺤﺎﻗﺩﻭﻥ ﺒﻴﻨﻨﺎ‬ ‫ﻭﺴﻴﻀﻴﻔﻭﻥ ﺘﻔﺎﺼﻴل ﻤﻥ ﻋﻨﺩﻫﻡ ﻋﻠﻴﻬﺎ. ﻭﺒﻬﺫﺍ ﻴﺘﺤﺘﻡ ﻋﻠﻴﻙ‬ ‫ﺇﻨﻜﺎﺭ ﻫﺫﻩ ﺍﻹﺸﺎﻋﺎﺕ ﻋﻠﻨ ﹰ.‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﺎﺫﺍ ﺘﻌﻨﻲ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺃﻓﻬﻤﻙ.‬

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‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻨﺎ ﻭﺍﺜﻕ ﺃﻨﻙ ﻟﻭ ﺃﺠﺭﻴﺕ ﺘﺤﺭﻴﺎﺕ ﺃﻜﺜﺭ، ﺴﺘﻘﺘﻨﻊ ﺃﻥ‬ ‫ﺍﻷﻤﺭ ﻟﻴﺱ ﺒﻬﺫﻩ ﺍﻟﺨﻁﻭﺭﺓ ﺍﻟﺘﻲ ﺘﺼﻭﺭﺘﻬﺎ ﺒﺎﺩﺉ ﺍﻷﻤﺭ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻭﺃﻨﺎ ﻤﺘﺄﻜﺩ ﺃﻴﻀ ﹰ ﺃﻨﻙ ﺴﺘﻌﺒﺭ ﻋﻠﻨ ﹰ ﻋﻥ ﺜﻘﺘﻙ ﺒﺄﻥ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺍﻟﻤﺠﻠﺱ ﺴﻴﻌﺎﻟﺞ ﺃﻱ ﺨﻠل ﻗﺩ ﻴﺤﺩﺙ ]ﻭﺃﻨﻬﻡ ﺒﺎﺠﺘﻬﺎﺩ ﻭﻀﻤﻴﺭ‬ ‫ﺤﻲ ﺴﻴﺘﺨﺫﻭﻥ ﺍﻹﺠﺭﺍﺀﺍﺕ ﺍﻟﻀﺭﻭﺭﻴﺔ ﺒﺨﺼﻭﺹ ﺫﻟﻙ.[‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺁﻫﺎ، ﺃﻨﺕ ﻭﺍﺜﻕ، ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻟﻴﺱ ﻟﻙ ﺍﻟﺤﻕ ﺒﺄﻥ ﻴﻜﻭﻥ ﻟﻙ ﻗﻨﺎﻋﺎﺘﻙ ﺍﻟﻤﺴﺘﻘﻠﺔ‬ ‫ﺒﺼﻔﺘﻙ ﻤﻭﻅﻔ ﹰ.‬ ‫ﺎ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻻ ﻴﺤﻕ ﻟﻙ ﺒﻭﺼﻔﻙ ﻤﻭﻅﻔ ﹰ. ﺃﻤﺎ ﺒﺼﻔﺘﻙ ﺍﻟﻔﺭﺩﻴﺔ‬ ‫ﺎ‬ ‫ﻴﻌﻠﻡ ﺍﷲ ﻓﻬﺫﺍ ﺃﻤﺭ ﺁﺨﺭ. ﻟﻜﻥ ﻜﻭﻨﻙ ﻤﻭﻅﻔ ﹰ ﺘﺎﺒﻌ ﹰ ﻟﻠﺤﻤﺎﻤﺎﺕ،‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻓﺄﻨﺕ ﻻ ﺘﻤﻠﻙ ﺍﻟﺤﻕ ﻓﻲ ﺍﻟﺘﻌﺒﻴﺭ ﻋﻥ ﺃﻱ ﺭﺃﻱ ﻴﺘﻌﺎﺭﺽ ﻤﻊ ﺭﺃﻱ‬ ‫ﺭﺅﺴﺎﺌﻙ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻨﻜﻡ ﻟﻥ ﺘﺴﺘﻁﻴﻌﻭﺍ ﺇﺼﻼﺡ ﺍﻟﺨﻠل ﺒﻤﺠﺭﺩ‬ ‫ﻋﻤﻠﻴﺔ ﺘﺭﻗﻴﻊ! ﻭﺃﻨﺎ ﺃﻗﻭل ﻟﻙ ﻴﺎ ﺒﻴﺘﺭ، ﻤﺎ ﻟﻡ ﺘﺒﺩﺅﻭﺍ ﺍﻟﻌﻤﻠﻴﺔ ﻤﻥ‬ ‫ﺍﻟﺼﻔﺭ، ﻓﻠﺩﻱ ﻗﻨﺎﻋﺔ ﻤﻁﻠﻘﺔ ﺃﻥ -‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻤﺘﻔﺎﺠﺌ ﹰ(: ﻻ ﻴﺤﻕ ﻟﻲ؟‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺫﺍ ﻜﺜﻴﺭ ﺠﺩﹰ. ﺃﻨﺎ ﺍﻟﻁﺒﻴﺏ، ﺭﺠل ﺍﻟﻌﻠﻡ، ﻻ‬ ‫ﺍ‬ ‫ﻴﺤﻕ ﻟﻲ -!‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺍﻟﻤﺴﺄﻟﺔ ﻟﻴﺴﺕ ﻤﺴﺄﻟﺔ ﻋﻠﻡ ﻭﺤﺴﺏ. ]ﺇﻨﻬﺎ ﻤﺴﺄﻟﺔ‬ ‫ﻤﻌﻘﺩﺓ.[ ﻭﻴﺠﺏ ﺘﻨﺎﻭﻟﻬﺎ ﻤﻥ ﺍﻟﻨﺎﺤﻴﺘﻴﻥ ﺍﻟﺘﻘﻨﻴﺔ ﻭﺍﻻﻗﺘﺼﺎﺩﻴﺔ.‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﻴﻬﻤﻨﻲ ﺘﻌﺭﻴﻔﻙ ﺫﻟﻙ ﺍﻷﻤﺭ ﺍﻟﻠﻌﻴﻥ! ﻓﺄﻨﺎ ﺃﺘﻤﺘﻊ‬ ‫ﺒﻜﺎﻤل ﺍﻟﺤﺭﻴﺔ ﻓﻲ ﺍﻟﺘﻌﺒﻴﺭ ﻋﻥ ﺭﺃﻴﻲ ﻓﻲ ﺍﻟﻤﻭﺍﻀﻴﻊ ﻜﻠﻬﺎ!‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻗل ﻤﺎ ﺘﺸﺎﺀ ﻁﺎﻟﻤﺎ ﺃﻥ ﺍﻟﻤﻭﻀﻭﻉ ﻻ ﻴﺘﻌﻠﻕ‬ ‫ﺒﺎﻟﺤﻤﺎﻤﺎﺕ، ﻷﻨﻨﺎ ﻨﻤﻨﻌﻙ ﻤﻥ ﺍﻟﺘﺩﺨل ﻓﻲ ﺸﺄﻨﻬﺎ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻀﺒﻁ ﺃﻋﺼﺎﺒﻪ(: ﺒﻴﺘﺭ، ﺃﻗﺴﻡ ﺃﻨﻙ ﻟﻭ ﻟﻡ ﺘﻜﻥ‬ ‫ﺃﺨﻲ -‬ ‫ﺒﺘﺭﺍ )ﺘﻔﺘﺢ ﺍﻟﺒﺎﺏ ﻓﺠﺄﺓ(: ﻻ ﺘﺨﻀﻊ ﻟﻬﺫﺍ ﺍﻷﻤﺭ ﻴﺎ ﺃﺒﻲ!‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺇﺫﹰ ﻜﻨﺘﻤﺎ ﺘﺴﺘﺭﻗﺎﻥ ﺍﻟﺴﻤﻊ.‬ ‫ﺍ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﺘﺒﻌﻬﺎ(: ﺒﺘﺭﺍ، ﺒﺘﺭﺍ!‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻨﻌﻡ، ﺃﻨﺎ ﺃﻤﻨﻌﻙ، ﻓﺄﻨﺎ ﺭﺌﻴﺴﻙ! ﻭﺤﻴﻥ ﺃﻤﻨﻌﻙ ﻤﻥ ﻓﻌل‬ ‫ﺸﻲﺀ ﻤﺎ، ﻋﻠﻴﻙ ﺍﻻﻨﺼﻴﺎﻉ ﻟﻸﻤﺭ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺼﺭﺥ(: ﺃﻨﺕ ﺘﻤﻨﻌﻨﻲ-! ﺃﻨﺕ-! ﺃﻨﺕ ﻟﺴﺕ‬ ‫ﺇﻻ -‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻜﺎﻨﺕ ﺃﺼﻭﺍﺘﻜﻤﺎ ﻋﺎﻟﻴﺔ، ﻭﻟﻡ ﻨﺴﺘﻁﻊ ﺇﻻ ﺃﻥ‬ ‫ﻨﺴﻤﻊ-‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺤﺴﻨ ﹰ، ﺃﻨﺎ ﻟﺴﺕ ﺁﺴﻔ ﹰ ﻋﻠﻰ ﺸﻲﺀ -‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺒﺘﺭﺍ: ﺃﻨﺎ ﻜﻨﺕ ﺃﻨﺼﺕ ﻟﺤﺩﻴﺜﻜﻤﺎ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻘﺘﺭﺏ ﻤﻨﻪ ﺃﻜﺜﺭ(: ﻜﻨﺕ ﺘﺤﺩﺜﻨﻲ ﻋﻥ ﺃﺸﻴﺎﺀ‬ ‫ﻜﺎﻟﻤﻨﻊ ﻭﺍﻟﻁﺎﻋﺔ؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻨﺕ ﺃﺠﺒﺭﺘﻨﻲ ﻋﻠﻰ ﺍﺴﺘﺨﺩﺍﻡ ﺘﻠﻙ ﺍﻟﻠﻬﺠﺔ.‬

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‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺴﻨﻌ ‪ ‬ﺇﺼﺩﺍﺭﻙ ﺒﻴﺎﻨ ﹰ ﺒﻤﺎ ﺃﺸﺭ ﹸ ﻋﻠﻴﻙ ﻭﻀﺭﻭﺭﺓ‬ ‫ﺕ‬ ‫ﺎ‬ ‫ﺩ‬ ‫ﺤﺘﻤﻴﺔ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺤﻴﻨﻬﺎ ﺴﻨﻀﻁﺭ ﻨﺤﻥ ﻹﺼﺩﺍﺭ ﻤﺫﻜﺭﺓ ﺸﺭﺡ ﻟﺘﻬﺩﺌﺔ‬ ‫ﺍﻟﺠﻤﻬﻭﺭ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﺘﺘﻭﻗﻊ ﻤﻨﻲ ﺃﻥ ﺃﺘﺭﺍﺠﻊ ﻋﻥ ﻜﻼﻤﻲ ﻋﻠﻨ ﹰ؟‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﺇﺫﺍ ﺭﻓﻀﺕ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻓﻠﻴﻜﻥ! ﻟﻜﻨﻨﻲ ﺴﺄﻜﺘﺏ ﻭﺃﺩﺤﺽ ﺃﻗﻭﺍﻟﻙ.‬ ‫ﻭﺴﺄﺼﺭ ﻋﻠﻰ ﺭﺃﻴﻲ، ﻭﺴﺄﺜﺒﺕ ﺃﻨﻨﻲ ﻋﻠﻰ ﺼﻭﺍﺏ، ﻭﺃﻨﻙ‬ ‫ﻤﺨﻁﺊ. ﻤﺎﺫﺍ ﺴﺘﻔﻌل ﺤﻴﻨﻬﺎ؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺤﻴﻨﻬﺎ ﺴﺄﻜﻭﻥ ﻤﺠﺒﺭﹰ ﻋﻠﻰ ﻓﺼﻠﻙ ﻤﻥ ﺍﻟﻌﻤل.‬ ‫ﺍ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﺎﺫﺍ -!‬ ‫ﺒﺘﺭﺍ: ﺃﺒﻲ! ﻴﻔﺼل!‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻓﺼل ﻤﻥ ﻤﻨﺼﺒﻙ ﺒﻭﺼﻔﻙ ﻤﻭﻅﻑ ﺼﺤﺔ ﺤﻜﻭﻤﻴ ﹰ.‬ ‫ﺎ‬ ‫ﻭﺴﺄﻀﻁﺭ ﻟﺘﻭﺠﻴﻪ ﺇﻨﺫﺍﺭ ﻤﺒﺎﺸﺭ ﻟﻙ، ﻭﺃﺠﺭﺩﻙ ﻤﻥ ﺃﻱ ﺼﻠﺔ ﻟﻙ‬ ‫ﺒﺸﺅﻭﻥ ﺍﻟﺤﻤﺎﻤﺎﺕ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻨﺕ ﺍﻟﺫﻱ ﺒﻠﻐﺕ ﺍﻟﻭﻗﺎﺤﺔ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻓﺼل ﻋﻥ ﺍﻟﻌﻤل!‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﺼﻠﺕ ﺒﻙ ﺍﻟﻭﻗﺎﺤﺔ ﺃﻥ ﺘﻔﻌل ﻫﺫﺍ؟‬ ‫ﺒﺘﺭﺍ: ﻋﻤﻲ، ﻫﺫﻩ ﻁﺭﻴﻘﺔ ﻤﺸﻴﻨﺔ ﺘﺘﻌﺎﻤل ﻓﻴﻬﺎ ﻤﻊ ﺃﺒﻲ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺍﻫﺩﺌﻲ ﻴﺎ ﺒﺘﺭﺍ.‬

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‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﻴﻨﻅﺭ ﺇﻟﻰ ﺒﺘﺭﺍ(: ﺃﺭﻯ ﺃﻨﻪ ﻗﺩ ﺃﺼﺒﺢ ﻟﺩﻴﻨﺎ ﻫﻨﺎ‬ ‫ﺁﺭﺍﺅﻨﺎ ﺍﻟﺨﺎﺼﺔ، ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟ ﻟﻜﻥ ﺒﺎﻟﻁﺒﻊ! )ﻟﻠﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ(‬ ‫ﻴﺎ ﺯﻭﺠﺔ ﺃﺨﻲ، ﻴﺒﺩﻭ ﺃﻨﻙ ﺍﻷﻜﺜﺭ ﻭﻋﻴ ﹰ ﻓﻲ ﻫﺫﺍ ﺍﻟﺒﻴﺕ. ﺍﺴﺘﺨﺩﻤﻲ‬ ‫ﺎ‬ ‫ﺘﺄﺜﻴﺭﻙ ﻓﻲ ﺯﻭﺠﻙ، ﻭﺍﺠﻌﻠﻴﻪ ﻴﺩﺭﻙ ﻋﻭﺍﻗﺏ ﻫﺫﺍ ﺍﻷﻤﺭ ﻤﻌ ﹰ ﻋﻠﻰ‬ ‫ﺎ‬ ‫ﻋﺎﺌﻠﺘﻪ ﻭ-‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: - ﻋﻠﻰ ﻋﺎﺌﻠﺘﻪ، ﻭﻋﻠﻰ ﺍﻟﺒﻠﺩﺓ ﺍﻟﺘﻲ ﻴﻌﻴﺵ ﻓﻴﻬﺎ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺸﺄﻥ ﻋﺎﺌﻠﺘﻲ ﺸﻲﺀ ﻴﺨﺼﻨﻲ ﺃﻨﺎ ﻭﺤﺩﻱ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻨﺎ ﺍﻟﺫﻱ ﺃﺤﻤل ﻓﻲ ﺩﺍﺨﻠﻲ ﺍﻟﻤﺼﺎﻟﺢ ﺍﻟﺤﻘﻴﻘﻴﺔ‬ ‫ﻟﻠﺒﻠﺩﺓ! ﺃﻨﺎ ﺃﺭﻴﺩ ﻓﻀﺢ ﻜل ﺍﻟﺸﺭﻭﺭ ﺍﻟﺘﻲ ﺴﺘﻅﻬﺭ ﻟﻠﻤﻸ ﻋﺎﺠ ﹰ ﺃﻭ‬ ‫ﻼ‬ ‫ﺁﺠ ﹰ. ﻭﺴﺄﺜﺒﺕ ﻟﻠﻨﺎﺱ ﺃﻨﻨﻲ ﺃﺤﺏ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ ﺍﻟﺘﻲ ﻭﻟﺩﺕ ﻓﻴﻬﺎ.‬ ‫ﻼ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻴﺎ ﺇﻟﻬﻲ، ﻫﻨﺎﻙ ﻏﺸﺎﻭﺓ ﻋﻠﻰ ﻋﻴﻨﻴﻙ! ﻜل ﻤﺎ ﺘﺤﺎﻭل‬ ‫ﻓﻌﻠﻪ ﻫﻭ ﺇﻴﻘﺎﻑ ﻤﺼﺩﺭ ﺍﺯﺩﻫﺎﺭ ﺍﻟﺒﻠﺩﺓ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺫﻟﻙ ﺍﻟﻤﺼﺩﺭ ﻤﺴﻤﻭﻡ ﻴﺎ ﺭﺠل! ﻫل ﺠﻨﻨﺕ؟‬ ‫ﻨﺤﻥ ﻨﻌﻴﺵ ﻤﻥ ﺘﺴﻭﻴﻕ ﺍﻟﻘﺫﺍﺭﺓ ﻭﺍﻟﻤﺭﺽ. ﻭﻜل ﻫﺫﻩ ﺍﻟﺤﻴﺎﺓ‬ ‫ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﺍﻟﺘﻲ ﺘﺘﺒﺎﻫﻰ ﺒﻬﺎ ﻤﺒﻨﻴﺔ ﻋﻠﻰ ﻜﺫﺒﺔ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻫﺫﻩ ﻤﺠﺭﺩ ﺘﺼﻭﺭﺍﺕ - ﺇﻥ ﻟﻡ ﺘﻜﻥ ﺸﻴﺌ ﹰ ﺃﺴﻭﺃ.‬ ‫ﺎ‬ ‫ﻓﺎﻟﺭﺠل ﺍﻟﺫﻱ ﻴﺸ ‪‬ﺭ ﺒﺒﻠﺩﺘﻪ ﺍﻟﺘﻲ ﻴﻌﻴﺵ ﻓﻴﻬﺎ ﺇﻨﻤﺎ ﻫﻭ ﻋﺩﻭ‬ ‫ﻬ‬ ‫ﺍﻟﻤﺠﺘﻤﻊ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ)ﻴﻘﺘﺭﺏ ﻨﺤﻭﻩ(: ﻜﻴﻑ ﺘﺠﺭﺅ ﻋﻠﻰ -!‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﻘﻑ ﺒﻴﻨﻬﻤﺎ(: ﺘﻭﻤﺎﺱ!‬

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‫ﺒﺘﺭﺍ )ﺘﻤﺴﻙ ﻭﺍﻟﺩﻫﺎ ﻤﻥ ﺫﺭﺍﻋﻪ(: ﺤﺎﻓﻅ ﻋﻠﻰ ﻫﺩﻭﺌﻙ ﻴﺎ ﺃﺒﻲ َ!‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻟﻥ ﺃﻋﺭﺽ ﻨﻔﺴﻲ ﻟﻠﻌﻨﻑ. ﻟﻘﺩ ﺤﺫﺭﺘﻙ. ﻀﻊ ﻓﻲ‬ ‫ﺤﺴﺒﺎﻨﻙ ﻭﺍﺠﺒﻙ ﺘﺠﺎﻩ ﻨﻔﺴﻙ ﻭﺘﺠﺎﻩ ﻋﺎﺌﻠﺘﻙ. ﺇﻟﻰ ﺍﻟﻠﻘﺎﺀ. )ﻴﺫﻫﺏ(‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻤﺸﻲ ﺠﻴﺌﺔ ﻭﺫﻫﺎﺒ ﹰ(: ﺃﺭﺃﻴﺕ ﻴﺎ ﻜﺎﺜﺭﻴﻥ، ﻜﻴﻑ‬ ‫ﺎ‬ ‫ﻴﻌﺎﻤﻠﻨﻲ، ﻭﻓﻲ ﻤﻨﺯﻟﻲ ﺃﻴﻀ ﹰ!‬ ‫ﺎ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻌﻡ ﻴﺎ ﺘﻭﻤﺎﺱ. ﺇﻨﻪ ﻋﻴﺏ ﻭﻓﻀﻴﺤﺔ -‬ ‫ﺒﺘﺭﺍ: ﻜﻨﺕ ﺃﻭﺩ ﺍﻻﻨﻘﻀﺎﺽ ﻋﻠﻴﻪ ﺒﻴﺩﻱ ﻫﺎﺘﻴﻥ-!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺇﻨﻪ ﺨﻁﺄﻱ ﺃﻨﺎ. ﻜﺎﻥ ﻋﻠﻲ ﺃﻥ ﺃﻓﻀﺤﻬﻡ ﻤﻨﺫ ﺯﻤﻥ‬ ‫ﻁﻭﻴل. ﻜﺎﻥ ﻋﻠﻲ ﺃﻥ ﺃﻜﺸﺭ ﻟﻬﻡ ﻋﻥ ﺃﻨﻴﺎﺒﻲ ﻭﺃﻥ ﺃﺴﺘﺨﺩﻤﻬﺎ!‬ ‫ﺃﻴﺩﻋﻭﻨﻲ ﻋﺩﻭ ﺍﻟﻤﺠﺘﻤﻊ!ﻴﺎ ﺇﻟﻬﻲ، ﺴﺄﺤﺎﺴﺒﻪ ﻋﻠﻴﻬﺎ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ، ﻴﺎ ﻋﺯﻴﺯﻱ ﺘﻭﻤﺎﺱ، ﺍﻟﺤﻕ ﻤﻊ ﺍﻟﻘﻭﺓ -‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻨﺎ ﺍﻟﺫﻱ ﻋﻠﻰ ﺤﻕ!‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﺎ ﺍﻟﻔﺎﺌﺩﺓ ﻓﻲ ﺃﻥ ﺘﻜﻭﻥ ﻋﻠﻰ ﺤﻕ ﺇﻥ ﻟﻡ ﺘﻤﺘﻠﻙ‬ ‫ﺍﻟﻘﻭﺓ؟‬ ‫ﺒﺘﺭﺍ: ﺃﻤﻲ، ﻜﻴﻑ ﻴﻤﻜﻨﻙ ﻗﻭل ﺫﻟﻙ؟‬ ‫]ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺇﺫﹰ ﺃﻨﺕ ﺘﺭﻴﻥ ﺃﻨﻪ ﻻ ﻓﺎﺌﺩﺓ ﻤﻥ ﺃﻥ ﻴﻜﻭﻥ ﺍﻟﺤﻕ‬ ‫ﺍ‬ ‫ﺇﻟﻰ ﺠﺎﻨﺏ ﺍﻟﻤﺭﺀ ﻓﻲ ﻤﺠﺘﻤﻊ ﺤﺭ؟ ﻫﺫﻩ ﻓﻜﺭﺓ ﺴﺨﻴﻔﺔ ﻴﺎ ﻜﺎﺜﺭﻴﻥ.‬ ‫ﺇﻀﺎﻓﺔ ﺇﻟﻰ ﺃﻥ ﺍﻟﺼﺤﺎﻓﺔ ﺍﻟﺤﺭﺓ ﺇﻟﻰ ﺠﺎﻨﺒﻲ، ﻭﺍﻷﻏﻠﺒﻴﺔ ﺍﻟﻌﻅﻤﻰ‬ ‫ﺘﺴﺎﻨﺩﻨﻲ، ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟ ﺒﺎﻋﺘﻘﺎﺩﻱ ﺃﻥ ﻫﺫﺍ ﻗﺩ ﻴﻜﻭﻥ ﻜﺎﻓﻴ ﹰ.‬ ‫ﺎ‬

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‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻜﺭﻤﻰ ﷲ ﻴﺎ ﺘﻭﻤﺎﺱ، ﻻ ﺘﻘل ﻟﻲ ﺇﻨﻙ ﺘﻔﻜﺭ ﻓﻲ‬ ‫ﺍﻟﻭﻗﻭﻑ ﻓﻲ ﻭﺠﻪ ﺃﺨﻴﻙ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﻤﺎﺫﺍ ﺘﺘﻭﻗﻌﻴﻥ ﻤﻨﻲ ﺃﻥ ﺃﻓﻌل؟ ﺃﻻ ﺘﺭﻴﺩﻴﻨﻨﻲ ﺃﻥ‬ ‫ﺃﺩﺍﻓﻊ ﻋﻤﺎ ﺃﺭﺍﻩ ﺼﻭﺍﺒ ﹰ؟‬ ‫ﺎ‬ ‫ﺒﺘﺭﺍ: ﺃﺠل ﻴﺎ ﺃﺒﻲ، ﻴﺠﺏ ﺃﻥ ﺘﻔﻌل ﺫﻟﻙ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻥ ﺘﺴﺘﻔﻴﺩ ﺸﻴﺌ ﹰ. ﺤﻴﻥ ﻴﻘﺭﺭﻭﻥ ﺃﻻ ﻴﻔﻌﻠﻭﺍ ﺸﻴﺌ ﹰ،‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻓﻠﻥ ﻴﻔﻌﻠﻭﻩ.[‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻀﺤﻙ(: ﺃﻭﻩ، ﻜﺎﺜﺭﻴﻥ، ﻓﻘﻁ ﺍﻤﻨﺤﻴﻨﻲ ﺒﻌﺽ‬ ‫ﺍﻟﻭﻗﺕ. ﺴﺘﺭﻴﻥ! ﺴﺄﻗﺎﺘل ﻓﻲ ﻫﺫﻩ ﺍﻟﻤﻌﺭﻜﺔ ﺤﺘﻰ ﺍﻟﻨﻬﺎﻴﺔ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﻭﺴﺘﻜﻭﻥ ﺍﻟﻨﻬﺎﻴﺔ ﺃﻨﻙ ﺴﺘﺨﺴﺭ ﻭﻅﻴﻔﺘﻙ.‬ ‫]ﺴﺘﺭﻯ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻋﻠﻲ ﻋﻠﻰ ﺍﻷﻗل ﺃﻥ ﺃﺅﺩﻱ ﻭﺍﺠﺒﻲ ﺘﺠﺎﻩ ﺍﻟﻨﺎﺱ،‬ ‫ﻭﻤﺠﺘﻤﻌﻲ. ﻭﻴﺴﻤﻭﻨﻨﻲ ﺃﻴﻀ ﹰ ﻋﺩﻭ ﺍﻟﻤﺠﺘﻤﻊ-![‬ ‫ﺎ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﻤﺎﺫﺍ ﺒﺸﺄﻥ ﻋﺎﺌﻠﺘﻙ ﻴﺎ ﺘﻭﻤﺎﺱ؟ ]ﻭﺒﻴﺘﻙ؟ ﺃﺘﻅﻥ‬ ‫ﺃﻨﻙ ﺴﺘﻘﻭﻡ ﺒﻭﺍﺠﺒﻙ ﺘﺠﺎﻩ ﻤﻥ ﻴﻌﺘﻤﺩ ﻋﻠﻴﻙ؟[‬ ‫ﺒﺘﺭﺍ: ﻻ ﺘﻔﻜﺭﻱ ﺩﺍﺌﻤ ﹰ ﺒﻨﺎ ﻓﻘﻁ ﻴﺎ ﺃﻤﺎﻩ.‬ ‫ﺎ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺍﻟﻜﻼﻡ ﺴﻬل ﻋﻠﻴﻙ. ﺒﺈﻤﻜﺎﻨﻙ ﺘﺤﻤل ﺫﻟﻙ، ﺇﻥ‬ ‫ﺍﻗﺘﻀﻰ ﺍﻷﻤﺭ. ﻟﻜﻥ ﻓﻜﺭ ﻓﻲ ﺍﻟﻭﻟﺩﻴﻥ ﻴﺎ ﺘﻭﻤﺎﺱ! ]ﻭﻓﻜﺭ ﻓﻲ‬ ‫ﻨﻔﺴﻙ ﺃﻴﻀ ﹰ - ﻭﻓ ‪- ‬‬ ‫ﻲ‬ ‫ﺎ‬

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‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺃﺩﺭﻱ. ﻟﻜﻨﻲ ﺃﺩﻋﻭ ﺍﷲ ﺃﻥ ﻴﻘﻴﻨﺎ ﻤﻥ ﺍﻟﺴﻌﺎﺩﺓ‬ ‫ﺍﻟﺘﻲ ﺴﻨﺘﻤﺘﻊ ﺒﻬﺎ ﻟﻭ ﺍﺴﺘﻤﺭﻴﺕ ﻓﻲ ﺤﻔﺭ ﻗﺒﺭﻙ ﺒﻴﺩﻙ. ﺤﻴﻨﻬﺎ ﻟﻥ‬ ‫ﻴﻜﻭﻥ ﻟﻙ ﻤﻭﺭﺩ ﻟﻠﻌﻴﺵ، ﻭﻻ ﺭﺍﺘﺏ ﻤﻨﺘﻅﻡ. ﺃﻻ ﻴﻜﻔﻴﻨﺎ ﻤﺎ ﻋﺎﻨﻴﻨﺎﻩ‬ ‫ﺎ‬ ‫ﻤﻥ ﻫﺫﺍ ﺍﻷﺸﻴﺎﺀ ﻓﻲ ﺍﻟﻤﺎﻀﻲ؟ ﺘﺫﻜﺭ ﺫﻟﻙ ﻴﺎ ﺘﻭﻤﺎﺱ، ﻭﻓﻜﺭ ﻤﻠﻴ ﹰ‬ ‫ﻓﻲ ﻤﻌﻨﻰ ﺫﻟﻙ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺘﻠﻭﻯ، ﻴﻘﺎﺘل ﻨﻔﺴﻪ، ﻭﻴﻁﺒﻕ ﻗﺒﻀﺘﻴﻪ(: ﺃﻫﺫﺍ ﻤﺎ‬ ‫ﺘﻔﻌﻠﻪ ﻁﻐﻤﺔ ﻤﻥ ﻤﺘﺯﻟﻔﻲ ﺍﻟﻤﻜﺎﺘﺏ ﺒﺭﺠل ﺤﺭ ﺸﺭﻴﻑ! ﺃﻟﻴﺱ ﻫﺫﺍ‬ ‫ﺃﻤﺭﹰ ﻤﺸﻴﻨ ﹰ ﻴﺎ ﻜﺎﺜﺭﻴﻥ؟‬ ‫ﺎ‬ ‫ﺍ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺒﺩ ﺃﻨﻙ ﺠﻨﻨﺕ ﻴﺎ ﻜﺎﺜﺭﻴﻥ! ﻟﻭ ﺨﻀﻌﺕ ﻜﺠﺒﺎﻥ‬ ‫ﻟﺒﻴﺘﺭ ﻭﻋﺼﺎﺒﺘﻪ ﺍﻟﺘﻌﺴﺔ، ﻓﻬل ﺘﻌﺘﻘﺩﻴﻥ ﺃﻨﻨﻲ ﺴﺄﻨﻌﻡ ﺒﻠﺤﻅﺔ ﺴﻌﺎﺩﺓ‬ ‫ﻓﻲ ﻋﺩﺍﺌﻙ ﻟﻬﻡ؟‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﺼﺤﻴﺢ ﺃﻨﻬﻡ ﻋﺎﻤﻠﻭﻙ ﺒﺨﺒﺙ. ﻟﻜﻥ ﻴﻌﻠﻡ ﺍﷲ‬ ‫ﻜﻡ ﻤﻥ ﺍﻟﻅﻠﻡ ﻋﻠﻰ ﺍﻹﻨﺴﺎﻥ ﺃﻥ ﻴﺘﺤﻤل ﻓﻲ ﻫﺫﻩ ﺍﻟﺩﻨﻴﺎ. ﻟﺩﻴﻨﺎ‬ ‫ﻭﻟﺩﺍﻥ ﻴﺎ ﺘﻭﻤﺎﺱ.[ ﺍﻨﻅﺭ ﺇﻟﻴﻬﻤﺎ. ﻤﺎﺫﺍ ﺴﻴﺤل ﺒﻬﻤﺎ؟ ] ﻻ، ﻻ، ﻟﻥ‬ ‫ﻴﻁﺎﻭﻋﻙ ﻗﻠﺒﻙ.[‬ ‫ﻓﻲ ﺘﻠﻙ ﺍﻷﺜﻨﺎﺀ ﻴﺩﺨل ﺇﻴﻠﻴﻑ ﻭﻤﻭﺭﺘﻥ ﺤﺎﻤﻠﻴﻥ ﻜﺘﺒﻬﻤﺎ ﺍﻟﻤﺩﺭﺴﻴﺔ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺼﻐﻴﺭﺍﻱ! )ﻴﻘﻑ ﻓﺠﺄﺓ، ﻴﺤﺯﻡ ﺃﻤﺭﻩ(. ﺤﺘﻰ ﻟﻭ‬ ‫‪‬ﻤﺭ ﺍﻟﻌﺎﻟﻡ ﻜﻠﻪ ﻤﻥ ﺤﻭﻟﻲ، ﻟﻥ ﺃﻁﺄﻁﺊ ﺭﺃﺴﻲ. )ﻴﺫﻫﺏ ﺇﻟﻰ‬ ‫ﺩ‬ ‫ﻏﺭﻓﺘﻪ.(‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﺎﺫﺍ ﺴﺘﻔﻌل ﻴﺎ ﺘﻭﻤﺎﺱ؟‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻋﻨﺩ ﻤﺩﺨل ﺍﻟﺒﺎﺏ(: ﺃﺭﻴﺩ ﺃﻥ ﺃﻤﻠﻙ ﺍﻟﺤﻕ ﺒﺎﻟﻨﻅﺭ‬ ‫ﺇﻟﻰ ﻋﻴﻭﻥ ﺃﺒﻨﺎﺌﻲ ﺤﻴﻥ ﻴﻜﺒﺭﻭﻥ ﻭﻴﺼﺒﺤﻭﻥ ﺭﺠﺎ ﹰ ﺃﺤﺭﺍﺭﹰ.‬ ‫ﺍ‬ ‫ﻻ‬ ‫)ﻴﺩﺨل ﻏﺭﻓﺘﻪ(.‬ ‫ﺒﺘﺭﺍ: ﺃﺒﻲ ﻤﺤﻕ ﻴﺎ ﺃﻤﻲ. ﺇﻨﻪ ﻟﻥ ﻴﺴﺘﺴﻠﻡ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﻨﻔﺠﺭ ﺒﺎﻟﺒﻜﺎﺀ(: ﺃﻭﻩ، ﻜﺎﻥ ﺍﷲ ﻓﻲ ﻋﻭﻨﻨﺎ.‬

‫ﻴﺴﺄل ﺍﻟﻁﻔﻼﻥ ﺒﺎﺭﺘﺒﺎﻙ ﻋﻤﺎ ﻴﺠﺭﻱ. ﺘﺸﻴﺭ ﺇﻟﻴﻬﻤﺎ ﺒﺘﺭﺍ‬ ‫ﺒﺎﻟﺫﻫﺎﺏ.‬

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‫ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﻟﺚ‬
‫ﻤﻜﺘﺏ ﺍﻟﺘﺤﺭﻴﺭ ﻓﻲ ﺼﺤﻴﻔﺔ »ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ«. ﻓﻲ ﺍﻟﺼﺩﺭ ﺇﻟﻰ‬ ‫ﺍﻟﻴﺴﺎﺭ، ﻴﻭﺠﺩ ﻤﺩﺨل ﺍﻟﺒﺎﺏ. ﻭﺇﻟﻰ ﺍﻟﻴﻤﻴﻥ ﻤﻥ ﺍﻟﺠﺩﺍﺭ ﻨﻔﺴﻪ، ﻫﻨﺎﻙ‬ ‫ﺒﺎﺏ ﺁﺨﺭ ﺒﺄﻟﻭﺍﺡ ﺯﺠﺎﺠﻴﺔ ﻴﻤﻜﻥ ﻤﻥ ﺨﻼﻟﻬﺎ ﺭﺅﻴﺔ ﺤﺠﺭﺓ ﺍﻟﺘﻨﻔﻴﺫ.‬ ‫ﻭﺜﻤﺔ ﺒﺎﺏ ﺁﺨﺭ ﻋﻠﻰ ﺍﻟﺠﺩﺍﺭ ﺇﻟﻰ ﺍﻟﻴﻤﻴﻥ. ﺘﺘﻭﺴﻁ ﺍﻟﻐﺭﻓﺔ ﻁﺎﻭﻟﺔ‬ ‫ﻜﺒﻴﺭﺓ ﺘﻐﻁﻴﻬﺎ ﺍﻷﻭﺭﺍﻕ ﻭﺍﻟﺼﺤﻑ ﻭﺍﻟﻜﺘﺏ.ﻭ ﻋﻠﻰ ﻴﺴﺎﺭ ﻤﻘﺩﻤﺔ‬ ‫ﺍﻟﻤﺴﺭﺡ، ﻫﻨﺎﻙ ﻨﺎﻓﺫﺓ ﻴﺤﺎﺫﻴﻬﺎ ﻤﻜﺘﺏ ﺒﻜﺭﺴﻲ ﻋﺎل.ﻭ ﺇﻟﻰ ﺠﺎﻨﺏ‬ ‫ﺍﻟﻁﺎﻭﻟﺔ ﺯﻭﺝ ﻤﻥ ﺍﻟﻜﺭﺍﺴﻲ ﺫﺍﺕ ﺍﻟﺫﺭﺍﻋﻴﻥ. ﻭﻫﻨﺎﻙ ﺍﻟﻤﺯﻴﺩ ﻤﻥ‬ ‫ﺍﻟﻜﺭﺍﺴﻲ ﻋﻠﻰ ﻤﺩﺍﺭ ﺍﻟﺠﺩﺭﺍﻥ. ﺍﻟﻐﺭﻓﺔ ﻜﺌﻴﺒﺔ ﻭﻏﻴﺭ ﻤﺭﻴﺤﺔ،‬ ‫ﻓﺎﻷﺜﺎﺙ ﻗﺩﻴﻡ، ﻭﺍﻟﻜﺭﺍﺴﻲ ﻤﺘﺴﺨﺔ ﻭﻤﻤﺯﻗﺔ. ﻭﻫﻨﺎﻙ ﻜﺎﺘﺏ ﺃﻭ‬ ‫ﻜﺎﺘﺒﺎﻥ ﻴﻌﻤﻼﻥ ﻓﻲ ﺤﺠﺭﺓ ﺍﻟﺘﻨﻔﻴﺫ. ﺨﻠﻔﻬﻤﺎ ﻁﺎﺒﻌﺔ ﻴﺩﻭﻴﺔ ﺘﻌﻤل.‬

‫ﻫﻭﻓﺴﺘﺎﺩ ﺠﺎﻟﺱ ﻋﻠﻰ ﺍﻟﻤﻜﺘﺏ ﻴﻜﺘﺏ. ﺒﻌﺩ ﺒﻀﻊ ﻟﺤﻅﺎﺕ، ﻴﺩﺨل‬ ‫ﺒﻴﻠﻴﻨﻎ ﻤﻥ ﺍﻟﻴﻤﻴﻥ ﺤﺎﻤ ﹰ ﺒﻴﺩﻩ ﻤﺨﻁﻭﻁﺔ ﺍﻟﺩﻜﺘﻭﺭ.‬ ‫ﻼ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ )ﻭﻫﻭ ﻴﻜﺘﺏ(: ﻫل ﻗﺭﺃﺘﻬﺎ؟‬

‫ﺒﻴﻠﻴﻨﻎ: ﺃﻨﺎ ﺃﻗﻭل، ﺃﻨﺎ ﺃﻗﻭل، ﺃﻨﺎ ﺃﻗﻭل!‬

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‫ﺒﻴﻠﻴﻨﻎ )ﻴﻀﻊ ﺍﻟﻤﺨﻁﻭﻁﺔ ﻋﻠﻰ ﺍﻟﻤﻜﺘﺏ(: ﻴﺠﺏ ﺃﻥ ﺃﻗﻭل ﺇﻨﻨﻲ‬ ‫ﻓﻌﻠﺕ.‬ ‫ﺒﻴﻠﻴﻨﻎ: ﻗﻭﻴﺔ؟ ﺃﻗﺴﻡ ﺃﻨﻪ ﺴﻴﺸ ‪‬ﺤﻬﻡ. ﻓﻜل ﻤﻘﻁﻊ ﻓﻲ ﺍﻟﻤﺨﻁﻭﻁﺔ‬ ‫ﺭ‬ ‫ﻴﺸﻜل ﻀﺭﺒﺔ ﻗﺎﺼﻤﺔ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻜﻥ ﻤﻊ ﺫﻟﻙ ﻟﻥ ﻴﺴﺘﺴﻠﻡ ﻫﺅﻻﺀ ﺍﻷﺸﺨﺎﺹ ﻤﻥ ﺃﻭل‬ ‫ﻀﺭﺒﺔ ﺘﻭﺠﻪ ﺇﻟﻴﻬﻡ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺇﻨﻬﺎ ﻗﻭﻴﺔ ﺠﺩﹰ، ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟‬ ‫ﺍ‬

‫ﺒﻴﻠﻴﻨﻎ: ﻫﺫﺍ ﺼﺤﻴﺢ. ﻟﻜﻨﻨﺎ ﺴﻨﺴﺘﻤﺭ ﻓﻲ ﺘﻭﺠﻴﻪ ﺍﻟﻀﺭﺒﺎﺕ ﺇﻟﻴﻬﻡ،‬ ‫ﻀﺭﺒﺔ ﺇﺜﺭ ﺃﺨﺭﻯ، ﺤﺘﻰ ﺘﻨﻬﺎﺭ ﺠﻤﺎﻋﺘﻬﻡ ﺍﻟﻤﻠﻌﻭﻨﺔ ﺒﺄﻜﻤﻠﻬﺎ. ﻟﻘﺩ‬ ‫ﺨﻴل ﺇﻟﻲ، ﻭﺃﻨﺎ ﺠﺎﻟﺱ ﻫﻨﺎﻙ ﻓﻲ ﺍﻟﺩﺍﺨل ﺃﻗﺭﺃ ﻫﺫﻩ ﺍﻟﻤﺨﻁﻭﻁﺔ،‬ ‫ﺃﻨﻨﻲ ﺃﺭﻯ ﺍﻟﺜﻭﺭﺓ ﺘﻠﻭﺡ ﻤﻥ ﺒﻌﻴﺩ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ )ﻴﺴﺘﺩﻴﺭ(: ﺸﺵ، ﻻ ﺘﺩﻉ ﺃﺴﻼﻜﺴﻥ ﻴﺴﻤﻊ.‬

‫ﺒﻴﻠﻴﻨﻎ )ﻴﺨﻔﺽ ﺼﻭﺘﻪ(: ﺃﺴﻼﻜﺴﻥ ﺠﺒﺎﻥ، ﻤﺜل ﻗﻨﺩﻴل ﺍﻟﺒﺤﺭ! ﺇﻨﻪ ﻻ‬ ‫ﻴﻤﻠﻙ ﺸﺠﺎﻋﺔ ﺍﻟﺭﺠﺎل؟ ﻟﻜﻨﻙ ﺘﻤﻠﻙ ﺴﺘﺜﺒﺕ ﻋﻠﻰ ﺭﺃﻴﻙ، ﻭﺴﺘﻨﺸﺭ‬ ‫ﻤﻘﺎﻟﺔ ﺍﻟﺩﻜﺘﻭﺭ، ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﺠل، ﺇﻻ ﺇﺫﺍ ﺘﺩﺨل ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ -‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻤﻬﻤﺎ ﺤﺩﺙ، ﺒﺈﻤﻜﺎﻨﻨﺎ ﺍﺴﺘﻐﻼل ﺍﻟﻤﻭﻗﻑ ﻟﺼﺎﻟﺤﻨﺎ. ﺇﻥ ﻟﻡ‬ ‫ﻴﻭﺍﻓﻕ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ ﻋﻠﻰ ﺍﻗﺘﺭﺍﺡ ﺍﻟﺩﻜﺘﻭﺭ، ﻓﺴﻴﻨﻘﻠﺏ ﻀﺩﻩ‬ ‫ﺃﺼﺤﺎﺏ ﺍﻟﻤﻬﻥ ﺠﻤﻴﻌ ﹰ، ﺃﻗﺼﺩ ﺠﻤﻌﻴﺔ ﺃﺼﺤﺎﺏ ﺍﻟﻌﻘﺎﺭﺍﺕ‬ ‫ﺎ‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺴﻴﻜﻭﻥ ﺘﺩﺨﻠﻪ ﻤﺯﻋﺠ ﹰ ﻟﻠﻐﺎﻴﺔ.‬ ‫ﺎ‬

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‫ﻭﺍﻵﺨﺭﻴﻥ. ﻭﺇﻥ ﻭﺍﻓﻕ، ﻓﺴﻴﻌﺎﺩﻱ ﻜل ﺍﻟﻤﺴﻬﻤﻴﻥ ﺍﻟﻜﺒﺎﺭ ﻓﻲ‬ ‫ﺍﻟﺤﻤﺎﻤﺎﺕ، ﻭﺍﻟﺫﻴﻥ ﻴﺸﻜﻠﻭﻥ ﺤﺘﻰ ﺍﻵﻥ ﺩﻋﻤ ﹰ ﺃﺴﺎﺴﻴ ﹰ ﻟﻪ -‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺒﻴﻠﻴﻨﻎ: ﻁﺒﻌ ﹰ! ﻭﺴﻴﺘﻭﺠﺏ ﻋﻠﻴﻬﻡ ﺩﻓﻊ ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﺍﻷﻤﻭﺍل -‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﺭﺍﻫﻥ ﻋﻠﻰ ﺫﻟﻙ. ﻭﺒﻌﺩﻫﺎ ﺴﻨﺭﻯ ﺍﻟﻌﺼﺎﺒﺔ ﺘﺘﻔﻜﻙ، ﻭﻴﻭﻤ ﹰ‬ ‫ﻤﺅﻫل ﻟﺘﺴﻴﻴﺭ ﺍﻷﻤﻭﺭ، ﻭﺃﻥ ]ﻜل ﺍﻟﻤﻜﺎﺘﺏ ﺍﻟﻤﺴﺅﻭﻟﺔ ﻓﻲ ﺍﻟﺒﻠﺩﺓ،‬ ‫ﻭ[ ﻜل ﺍﻟﺴﻠﻁﺎﺕ ﺍﻟﻤﺤﻠﻴﺔ ﻴﺠﺏ ﺃﻥ ﻴﺘﺴﻠﻤﻬﺎ ﺃﺼﺤﺎﺏ ﺍﻟﻔﻜﺭ‬ ‫ﺍﻟﺤﺭ.‬ ‫ﺒﻌﺩ ﻴﻭﻡ ﺴﻨﻠﻘﻲ ﻓﻲ ﻤﺴﺎﻤﻊ ﺍﻟﻨﺎﺱ ﺃﺨﺒﺎﺭﹰ ﺒﺄﻥ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ ﻏﻴﺭ‬ ‫ﺍ‬

‫ﺒﻴﻠﻴﻨﻎ: ﺃﻗﺴﻡ ﺇﻨﻙ ﻤﺤﻕ! ﺇﻨﻨﻲ ﺃﺭﺍﻫﺎ!ﺇﻨﻨﻲ ﺃﺭﺍﻫﺎ! ﺇﻨﻨﺎ ﻭﺍﻗﻔﻭﻥ ﻋﻠﻰ‬ ‫ﻤﺸﺎﺭﻑ ﺜﻭﺭﺓ ﻭﺸﻴﻜﺔ!‬ ‫ﻨﻘﺭ ﻋﻠﻰ ﺍﻟﺒﺎﺏ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺍﺼﻤﺕ! )ﻴﺼﺭﺥ( ﺍﺩﺨل.‬ ‫ﻴﺩﺨل ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻤﻥ ﺍﻟﺒﺎﺏ ﺇﻟﻰ ﺍﻟﻴﺴﺎﺭ ﻓﻲ ﻤﺅﺨﺭﺓ‬ ‫ﺍﻟﻤﺴﺭﺡ.‬

‫ﻼ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ )ﻴﺫﻫﺏ ﻟﺘﺤﻴﺘﻪ(: ﺁﻩ، ﻟﻘﺩ ﺠﺎﺀ ﺍﻟﺩﻜﺘﻭﺭ؟ ﺃﻫ ﹰ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺫﻩ ﻟﻠﻨﺸﺭ ﻤﺒﺎﺸﺭﺓ ﻴﺎ ﺴﻴﺩ ﻫﻭﭬﺴﺘﺎﺩ!‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺇﺫﹰ ﻫﺫﺍ ﻤﺎ ﻭﺼﻠﺘﻡ ﺇﻟﻴﻪ؟‬ ‫ﺍ‬ ‫ﺒﻴﻠﻴﻨﻎ: ﻴﺎ ﺴﻼﻡ!‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻗﻠﺕ ﻟﻙ ﺍﻨﺸﺭ ﻤﺒﺎﺸﺭﺓ! ﻨﻌﻡ، ﻫﺫﺍ ﻤﺎ ﻭﺼﻠﻨﺎ‬ ‫ﺇﻟﻴﻪ، ﺤﺴﻨ ﹰ، ﺴﺄﺘﻌﺎﻤل ﻤﻌﻬﻡ ﺍﻵﻥ ﺒﺎﻟﻁﺭﻴﻘﺔ ﺍﻟﺘﻲ ﻴﺭﻴﺩﻭﻨﻬﺎ. ﺇﻨﻬﺎ‬ ‫ﺎ‬ ‫ﺍﻟﺤﺭﺏ ﺍﻵﻥ ﻴﺎ ﺴﻴﺩ ﺒﻴﻠﻴﻨﻎ.‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺁﻤل ﺃﻥ ﺘﻜﻭﻥ ﺤﺭﺒ ﹰ ﺤﺘﻰ ﺍﻟﻨﻬﺎﻴﺔ. ﻋﻠﻴﻙ ﺒﻬﻡ ﻴﺎ ﺩﻜﺘﻭﺭ!‬ ‫ﺎ‬ ‫ﺒﺎﻷﻓﻜﺎﺭ ﻤﻥ ﺃﺠل ﺃﺭﺒﻊ ﺃﻭ ﺨﻤﺱ ﻤﻘﺎﻻﺕ. ﺃﻴﻥ ﺃﺴﻼﻜﺴﻥ؟‬ ‫ﻫﻨﺎ ﻟﺤﻅﺔ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺫﺍ ﺍﻟﺘﻘﺭﻴﺭ ﻤﺎ ﻫﻭ ﺇﻻ ﺍﻟﺒﺩﺍﻴﺔ. ﻓﺭﺃﺴﻲ ﻤﻠﻲﺀ‬ ‫ﺒﻴﻠﻴﻨﻎ )ﻴﻨﺎﺩﻱ ﻋﻠﻰ ‪‬ﻥ ﻓﻲ ﺤﺠﺭﺓ ﺍﻟﺘﻨﻔﻴﺫ(: ﺃﺴﻼﻜﺴﻥ، ﺘﻌﺎل ﺇﻟﻰ‬ ‫ﻤ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻗﻠﺕ ﺃﺭﺒﻊ ﺃﻭ ﺨﻤﺱ ﻤﻘﺎﻻﺕ ﺃﺨﺭﻯ؟ ﻓﻲ ﺍﻟﻤﻭﻀﻭﻉ‬ ‫ﻨﻔﺴﻪ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ، ﺃﻭﻩ، ﻁﺒﻌ ﹰ ﻻ ﻴﺎ ﺼﺎﺤﺒﻲ! ﻻ، ﺴﺘﻜﻭﻥ‬ ‫ﺎ‬ ‫ﺍﻟﺸﺄﻥ ﺫﺍﺘﻪ ﺍﻟﻤﺘﻌﻠﻕ ﺒﺸﺒﻜﺔ ﺍﻟﻤﻴﺎﻩ ﻭﺍﻟﻤﺠﺎﺭﻱ. ﻤﻭﻀﻭﻉ ﻴﻘﻭﺩ ﺇﻟﻰ‬ ‫ﺍﻵﺨﺭ. ﺍﻷﻤﺭ ﻜﻠﻪ ﺃﺸﺒﻪ ﺒﻬﺩﻡ ﺒﻨﺎﺀ ﻗﺩﻴﻡ. ﺇﻨﻪ ﻜﺫﻟﻙ ﺘﻤﺎﻤ ﹰ.‬ ‫ﺎ‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺃﻗﺴﻡ ﺇﻥ ﻫﺫﺍ ﺼﺤﻴﺢ! ﻟﻘﺩ ﺃﺩﺭﻜﺕﹶ ﻓﺠﺄﺓ ﺃﻨﻙ ﻟﻥ ﺘﺘﺨﻠﻰ ﻋﻥ‬ ‫ﻤﻨﺼﺒﻙ ﺃﺒﺩ ﹰ ﺤﺘﻰ ﺘﻬﺩﻡ ﺫﻟﻙ ﺍﻟﺒﻨﺎﺀ ﺍﻟﻌﻔﻥ.‬ ‫ﺍ‬ ‫ﺍﻟﺤﻤﺎﻤﺎﺕ ﻴﺎ ﺩﻜﺘﻭﺭ، ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟‬ ‫ﺃﺴﻼﻜﺴﻥ )ﻤﻥ ﺤﺠﺭﺓ ﺍﻟﺘﻨﻔﻴﺫ(: ﻫﺩﻡ! ﺃﻨﺕ ﺒﺎﻟﺘﺄﻜﻴﺩ ﻻ ﺘﻔﻜﺭ ﻓﻲ ﻫﺩﻡ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻻ، ﻻ، ﻻ ﺘﺠﺯﻉ.‬ ‫ﺍﻟﻤﻘﺎﻻﺕ ﺤﻭل ﻤﻭﻀﻭﻋﺎﺕ ﻤﺨﺘﻠﻔﺔ ﺘﻤﺎﻤ ﹰ. ﻟﻜﻨﻬﺎ ﺘﻨﺒﺜﻕ ﻤﻥ‬ ‫ﺎ‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ، ﻨﺤﻥ ﻨﺘﺤﺩﺙ ﻓﻲ ﻤﻭﻀﻭﻉ ﺁﺨﺭ. ﺤﺴﻨ ﹰ ﺴﻴﺩ‬ ‫ﺎ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ، ﻤﺎ ﺭﺃﻴﻙ ﺒﺘﻘﺭﻴﺭﻱ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺘﻌﺘﻘﺩ ﺫﻟﻙ؟ ﺃﺴﻌﺩﻨﻲ ﺫﻟﻙ، ﺃﺴﻌﺩﻨﻲ ﻜﺜﻴﺭﹰ.‬ ‫ﺍ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻋﺘﻘﺩ ﺃﻨﻪ ﺘﺤﻔﺔ ﻓﻨﻴﺔ ﻻ ﻤﺜﻴل ﻟﻬﺎ -‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺇﻨﻪ ﻭﺍﻀﺢ ﺠﺩﹰ، ﻭﻴﻤﺱ ﺍﻟﻔﻜﺭﺓ ﻤﺒﺎﺸﺭﺓ؛ ﺇﺫ ﺇﻨﻙ ﻻ‬ ‫ﺍ‬ ‫ﺘﺤﺘﺎﺝ ﺃﻥ ﺘﻜﻭﻥ ﻤﺘﺨﺼﺼ ﹰ ﺤﺘﻰ ﺘﻔﻬﻡ ﻓﺤﻭﺍﻩ. ﺃﻨﺎ ﻭﺍﺜﻕ ﺃﻥ ﻜل‬ ‫ﺎ‬ ‫ﺸﺨﺹ ﻤﺴﺘﻨﻴﺭ ﺴﻴﻘﻑ ﺇﻟﻰ ﺠﺎﻨﺒﻙ.‬

‫ﺒﻴﻠﻴﻨﻎ: ﺴﻭﺍﺀ ﺃﻜﺎﻨﻭﺍ ﺤﻜﻤﺎﺀ ﺃﻡ ﻻ، ﺴﺘﺴﺎﻨﺩﻙ ﺍﻟﺒﻠﺩﺓ ﺒﺄﺴﺭﻫﺎ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﻭﻜل ﺸﺨﺹ ﺤﻜﻴﻡ ﺃﻴﻀ ﹰ، ﺼﺩﻗﻭﻨﻲ.‬ ‫ﺎ‬

‫ﺃﺴﻼﻜﺴﻥ: ﺇﺫﹰ، ﻻ ﺃﻅﻥ ﺃﻥ ﻋﻠﻴﻨﺎ ﺍﻟﺨﺸﻴﺔ ﻤﻥ ﻨﺸﺭ ﺍﻟﻤﻘﺎﻟﺔ.‬ ‫ﺍ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺴﺘﻅﻬﺭ ﻓﻲ ﻋﺩﺩ ﺼﺒﺎﺡ ﺍﻟﻐﺩ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺁﻤل ﺠﺩﹰ ﺫﻟﻙ.‬ ‫ﺍ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺍﻟﺤﻤﺩ ﷲ، ﺭﺍﺌﻊ، ﻓﻠﻴﺱ ﺃﻤﺎﻤﻨﺎ ﻭﻗﺕ ﻨﻀﻴﻌﻪ،‬ ‫ﻭﻻ ﺤﺘﻰ ﻴﻭﻡ ﻭﺍﺤﺩ. ﺃﻭﻩ، ﺴﻴﺩ ﺃﺴﻼﻜﺴﻥ، ﻟﻲ ﻋﻨﺩﻙ ﻁﻠﺏ.‬ ‫ﺃﺭﻴﺩﻙ ﺃﻥ ﺘﺄﺨﺫ ﻫﺫﻩ ﺍﻟﻤﺨﻁﻭﻁﺔ ﻋﻠﻰ ﻋﺎﺘﻘﻙ ﺸﺨﺼﻴ ﹰ.‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺎﻓﻅ ﻋﻠﻴﻬﺎ ﻭﻜﺄﻨﻬﺎ ﻗﻁﻌﺔ ﻤﻥ ﺍﻟﺫﻫﺏ. ﻻ ﺃﺭﻴﺩ‬ ‫ﺃﺨﻁﺎﺀ ﻤﻁﺒﻌﻴﺔ! ﻓﻠﻜل ﻜﻠﻤﺔ ﺃﻫﻤﻴﺘﻬﺎ. ﺴﺄﻭﺍﻓﻴﻜﻡ ﻓﻴﻤﺎ ﺒﻌﺩ، ﻟﺭﺒﻤﺎ‬ ‫ﺘﺩﻋﻭﻨﻲ ﺃﻁﻠﻊ ﻋﻠﻰ ﻨﺴﺨﺔ ﺘﺠﺭﻴﺒﻴﺔ. ﻻ ﺃﺴﺘﻁﻴﻊ ﺃﻥ ﺃﺼﻑ ﻟﻜﻡ‬ ‫ﺸﻭﻗﻲ ﻟﺭﺅﻴﺔ ﺍﻟﻤﻘﺎﻟﺔ ﻤﻁﺒﻭﻋﺔ، ﻭﻤﻭﺯﻋﺔ ﺒﻴﻥ ﺃﻴﺩﻱ ﺍﻟﻨﺎﺱ -!‬

‫ﺃﺴﻼﻜﺴﻥ: ﻜﻤﺎ ﺘﺭﻏﺏ.‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: - ﻭﺨﺎﻀﻌﺔ ﻟﺤﻜﻡ ﻜل ﻤﻭﺍﻁﻥ ﻓﻁﻥ. ﻟﻥ ﻴﺨﻁﺭ‬ ‫ﻋﻠﻰ ﺒﺎﻟﻜﻡ ﻤﺎ ﺘﻌﺭﻀﺕ ﻟﻪ ﺍﻟﻴﻭﻡ. ﻴﻌﻠﻡ ﺍﷲ ﺒﺄﻱ ﺸﻲﺀ ﺘﻡ ﺘﻬﺩﻴﺩﻱ‬ ‫ﺍﻟﻴﻭﻡ. ﻴﺭﻴﺩﻭﻥ ﺤﺘﻰ ﺘﺠﺭﻴﺩﻱ ﻤﻥ ﺃﺒﺴﻁ ﺤﻘﻭﻗﻲ ﺍﻹﻨﺴﺎﻨﻴﺔ -‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ]ﻴﺭﻴﺩﻭﻥ ﺘﺤﻘﻴﺭﻱ، ﻭﺍﻟﺘﻘﻠﻴل ﻤﻥ ﺸﺄﻨﻲ ﻷﺼﺒﺢ‬ ‫ﺒﻤﺴﺘﻭﻯ ﺍﻟﻤﺘﺴﻭﻟﻴﻥ ﺍﻟﻤﻌﺩﻤﻴﻥ.[ ﻭﻴﻁﺎﻟﺒﻭﻨﻨﻲ ﺒﻭﻀﻊ ﻤﺼﻠﺤﺘﻲ‬ ‫ﺍﻟﺸﺨﺼﻴﺔ ﻓﻭﻕ ﺃﻗﺩﺱ ﻤﻌﺘﻘﺩﺍﺘﻲ ﻭﺃﺸﺭﻓﻬﺎ -‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻴﻤﻜﻨﻙ ﺘﻭﻗﻊ ﺃﻱ ﺸﻲﺀ ﻤﻥ ﺘﻠﻙ ﺍﻟﻌﺼﺒﺔ.‬ ‫ﻀﺭﺒﺘﻲ ﺇﻟﻴﻬﻡ ﺒﺎﻷﺒﻴﺽ ﻭﺍﻷﺴﻭﺩ! ﻜل ﻴﻭﻡ ﺴﺄﻫﺎﺠﻤﻬﻡ ﻓﻲ ﺠﺭﻴﺩﺓ‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺃﻗﺴﻡ ﺃﻥ ﺍﻷﻤﻭﺭ ﺯﺍﺩﺕ ﻋﻥ ﺤﺩﻫﺎ!‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺤﻘﻭﻗﻙ ﺍﻹﻨﺴﺎﻨﻴﺔ!‬

‫ﺒﻴﻠﻴﻨﻎ: ﺃﺠل، ﻤﻨﺘﺸﺭﺓ ﺒﻴﻥ ﺍﻟﻨﺎﺱ! ﻜﺎﻟﺼﺎﻋﻘﺔ!‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ]ﻟﻜﻨﻬﻡ ﻟﻥ ﻴﺘﻤﻜﻨﻭﺍ ﻤﻥ ﺍﻟﻨﻴل ﻤﻨﻲ![ ﻭﺴﺄﻭﺠﻪ‬ ‫»ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ«. ﺴﺄﻜﺘﺴﺤﻬﻡ ﺒﻬﺠﻤﺎﺘﻲ ﻭﺍﺤﺩﺓ ﺘﻠﻭ ﺍﻷﺨﺭﻯ -!‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻨﻌﻡ، ﻟﻜﻥ ﺘﺫﻜﺭ -‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺭﺍﺌﻊ! ﺇﻨﻬﺎ ﺍﻟﺤﺭﺏ! ﺇﻨﻬﺎ ﺍﻟﺤﺭﺏ!‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺴﺄﺠﻌﻠﻬﻡ ﻓﻲ ﺍﻟﺤﻀﻴﺽ، ]ﺴﺄﺴﺤﻘﻬﻡ،[ ﺴﺄﺩﻤﺭ‬ ‫ﺩﻓﺎﻋﺎﺘﻬﻡ ﺃﻤﺎﻡ ﻜل ﺭﺠل ﺸﺭﻴﻑ! ] ﻭﺍﷲ ﻷﻓﻌﻠﻥ ﺫﻟﻙ![‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻟﻜﻥ ﺍﻓﻌل ﺫﻟﻙ ﺒﺘﺄﻥ ﻴﺎ ﺩﻜﺘﻭﺭ. ﺘﺼﺭﻑ ﺒﺎﻋﺘﺩﺍل -‬ ‫ﺒﻴﻠﻴﻨﻎ: ﻻ،ﻻ! ﻻ ﺘﺩﺨﺭ ﻤﺎ ﻟﺩﻴﻙ ﻤﻥ ﺒﺎﺭﻭﺩ.‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺘﺎﺒﻊ ﺒﻬﺩﻭﺀ(: ﻜﻤﺎ ﺘﺭﻭﻥ، ﺇﻨﻬﺎ ﻟﻴﺴﺕ ﻤﺴﺄﻟﺔ‬ ‫ﻤﺘﻌﻠﻘﺔ ﺒﺸﺒﻜﺔ ﺍﻟﻤﻴﺎﻩ ﻭﺍﻟﻤﺠﺎﺭﻱ ﻓﺤﺴﺏ. ﺒل ﻴﺠﺏ ﺘﻨﻅﻴﻑ‬ ‫ﺍﻟﻤﺠﺘﻤﻊ ﻭﺘﻁﻬﻴﺭﻩ ﺒﺄﻜﻤﻠﻪ -‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻴﺠﺏ ﺍﻹﻁﺎﺤﺔ ﺒﻜل ﻫﺅﻻﺀ ﺍﻟﻤﺭﺘﺯﻗﺔ‬ ‫ﻭﺍﻟﻤﺭﺍﻭﻏﻴﻥ ﻤﻥ ﺍﻹﺩﺍﺭﺍﺕ ﺍﻟﻌﺎﻤﺔ! ﻻ ﺒﺩ ﻤﻥ ﺍﻟﺘﺨﻠﺹ ﻤﻨﻬﻡ ﻤﺭﺓ‬ ‫ﻭﺍﺤﺩﺓ! ]ﺍﻟﻴﻭﻡ ﺘﺭﺍﺀﺕ ﺃﻤﺎﻤﻲ ﻫﺫﻩ ﺍﻟﺼﻭﺭﺓ ﻭﺍﻀﺤﺔ ﻜل‬ ‫ﺍﻟﻭﻀﻭﺡ. ﻟﺴﺕ ﻤﺘﺄﻜﺩﹰ ﻤﻥ ﺍﻟﻁﺭﻴﻘﺔ ﺍﻟﺘﻲ ﺴﺄﺘﺒﻌﻬﺎ. ﻟﻜﻨﻨﻲ ﺴﺄﺒﺩﺃ‬ ‫ﺍ‬ ‫ﻤﻨﺫ ﺍﻵﻥ.[ ﺇﻨﻨﺎ ﺒﺤﺎﺠﺔ ﺇﻟﻰ ﺩﻤﺎﺀ ﺠﺩﻴﺩﺓ ﺘﺤﻤل ﺭﺍﻴﺘﻨﺎ ﻴﺎ ﺃﺼﺩﻗﺎﺀ!‬ ‫ﺸﺒﺎﺏ! ﻓﺨﻁﻭﺍﺘﻨﺎ ﺍﻟﻘﺎﺩﻤﺔ ﻴﺠﺏ ﺃﻥ ﺘﻜﻭﻥ ﺭﺍﻴﺔ ﻗﺎﺩﺓ ﺠﺩﺩ.‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺃﺘﺴﻤﻌﻭﻥ ﻫﺫﺍ ﺍﻟﻜﻼﻡ، ﺃﺘﺴﻤﻌﻭﻥ!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻁﺎﻟﻤﺎ ﺃﻨﻨﺎ ﻴﺩ ﻭﺍﺤﺩﺓ، ]ﺴﺘﺠﺭﻱ ﺍﻷﻤﻭﺭ ﺒﺴﻬﻭﻟﺔ‬ ‫ﻭﻴﺴﺭ!-[ ﺴﺘﻨﻁﻠﻕ ﺍﻟﺜﻭﺭﺓ ﺒﺎﻨﺴﻴﺎﺏ ﻤﺜل ﺍﻟﺴﻔﻴﻨﺔ ﺤﻴﻥ ﺘﻨﺯﻟﻕ ﻓﻲ‬ ‫ﺍﻟﺒﺤﺭ! ﺃﻻ ﺘﻭﺍﻓﻘﻭﻨﻨﻲ ﺍﻟﺭﺃﻱ؟‬ ‫ﻓﻲ ﺃﻴﺩ ﺃﻤﻴﻨﺔ.‬ ‫ﺒﻴﻠﻴﻨﻎ: ﻫﺫﺍ ﻫﻭ ﺍﻟﻜﻼﻡ ﺍﻟﺼﺤﻴﺢ!‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻋﺘﻘﺩ ﺃﻥ ﻟﺩﻴﻨﺎ ﺍﻹﻤﻜﺎﻨﻴﺎﺕ ﺍﻟﻜﺎﻓﻴﺔ ﻟﻭﻀﻊ ﻤﻘﺎﻟﻴﺩ ﺍﻷﻤﻭﺭ‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻓﻲ ﻅﻨﻲ ﺃﻨﻪ ﻟﻥ ﻴﻜﻭﻥ ﻫﻨﺎﻙ ﺃﻱ ﺨﻁﺭ ﻅﺎﻟﻤﺎ ﺃﻨﻨﺎ‬ ‫ﻨﺘﺼﺭﻑ ﺒﺎﻋﺘﺩﺍل.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﻥ ﻴﻬﺘﻡ ﺒﺎﻷﺨﻁﺎﺭ ﺒﺤﻕ ﺍﻟﺠﺤﻴﻡ؟ ﺃﻨﺎ ﺃﻗﻭﻡ ﺒﺫﻟﻙ‬

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‫ﺒﺎﺴﻡ ﺍﻟﺤﻕ، ﻭﺒﺩﺍﻓﻊ ﻤﻥ ﻀﻤﻴﺭﻱ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﺃﺠل، ﺍﻟﺩﻜﺘﻭﺭ ﺼﺩﻴﻕ ﻤﺨﻠﺹ ﻟﻠﺒﻠﺩﺓ، ﻫﺫﺍ ﻤﺅﻜﺩ.‬ ‫ﻭﺍﻷﻜﺜﺭ ﻤﻥ ﺫﻟﻙ ﺃﻨﻪ ﺼﺩﻴﻕ ﻟﻠﻤﺠﺘﻤﻊ.‬ ‫]ﺃﺴﻼﻜﺴﻥ: ﺃﻅﻥ ﺃﻥ ﺠﻤﻌﻴﺔ ﺃﺼﺤﺎﺏ ﺍﻟﻌﻘﺎﺭﺍﺕ ﺴﺘﺴﺘﺨﺩﻡ ﺘﻠﻙ‬ ‫ﺍﻟﺠﻤﻠﺔ.[‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ) ﻴﺸﺩ ﻋﻠﻰ ﺃﻴﺩﻴﻬﻡ ﻤﺘﺄﺜﺭ ﹰ(: ﺃﺸﻜﺭﻜﻡ ﻴﺎ ﺃﺼﺩﻗﺎﺌﻲ‬ ‫ﺍ‬ ‫ﺍﻷﻋﺯﺍﺀ ﺍﻟﻁﻴﺒﻴﻥ، ﺃﺸﻜﺭﻜﻡ. ﺇﻥ ﻤﺎ ﺘﻘﻭﻟﻭﻨﻪ ﻟﻴﻔﺭﺡ ﻗﻠﺒﻲ. ﺃﻤﺎ‬ ‫ﺃﺨﻲ ﻓﻘﺩ ﻨﻌﺘﻨﻲ ﺒﺄﻟﻔﺎﻅ ﻤﺨﺘﻠﻔﺔ ﻋﺩﺓ. ﻟﻜﻥ ﺃﻗﺴﻡ ﺒﺎﷲ ﺇﻨﻨﻲ ﺴﺄﺭﺩ‬ ‫ﻟﻪ ﺍﻟﺼﺎﻉ ﺼﺎﻋﻴﻥ. ﻭﺍﻵﻥ، ﻋﻠﻲ ﺍﻟﺫﻫﺎﺏ ﻟﺭﺅﻴﺔ ﻤﺭﻴﺽ‬ ‫ﻤﺴﻜﻴﻥ. ﻟﻜﻨﻨﻲ ﺴﺄﻋﻭﺩ! ﺍﻋﺘ ِ ﺒﺘﻠﻙ ﺍﻟﻤﺨﻁﻭﻁﺔ ﻴﺎ ﺴﻴﺩ‬ ‫ﻥ‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺃﻗﺴﻡ ﻴﺎ ﺴﻴﺩ ﺃﺴﻼﻜﺴﻥ ﺃﻥ ﺍﻟﺩﻜﺘﻭﺭ ﺼﺩﻴﻕ ﺍﻟﺸﻌﺏ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻨﺕ ﺸﺨﺹ ﻴﺴﺘﺤﻕ ﺍﻟﺩﻋﻡ ﻴﺎ ﺩﻜﺘﻭﺭ.‬

‫ﺃﺴﻼﻜﺴﻥ. ﻭﺃﺭﺠﻭ ﻤﻨﻙ ﺃﻻ ﺘﺤﺫﻑ ﺃﻴ ﹰ ﻤﻥ ﻋﻼﻤﺎﺕ ﺍﻟﺘﻌﺠﺏ. ﺒل‬ ‫ﺎ‬ ‫ﺯﺩ ﻋﻠﻴﻬﺎ ﺇﻥ ﺍﺴﺘﻁﻌﺕ. ﺠﻴﺩ، ﺠﻴﺩ! ﺤﺴﻨ ﹰ، ﺇﻟﻰ ﺍﻟﻠﻘﺎﺀ! ﺇﻟﻰ‬ ‫ﺎ‬ ‫ﺍﻟﻠﻘﺎﺀ، ﺇﻟﻰ ﺍﻟﻠﻘﺎﺀ!‬ ‫ﻴﺼﺎﻓﺤﻬﻡ، ﻭﻴﺼﻁﺤﺒﻭﻨﻪ ﺇﻟﻰ ﺍﻟﺒﺎﺏ، ﺜﻡ ﻴﺨﺭﺝ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺴﻴﻜﻭﻥ ﻤﻔﻴﺩﹰ ﺠﺩﹰ ﻟﻨﺎ.‬ ‫ﺍ ﺍ‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻁﺎﻟﻤﺎ ﺒﻘﻲ ﻴﻬﺘﻡ ﺒﺎﻟﺤﻤﺎﻤﺎﺕ ﻓﻘﻁ. ﻟﻜﻥ ﺇﻥ ﺤﺎﻭل ﺘﺠﺎﻭﺯ‬ ‫ﺫﻟﻙ، ﻓﻠﻴﺱ ﻤﻥ ﺍﻟﺤﻜﻤﺔ ﺃﻥ ﻨﺒﻘﻰ ﻤﻌﻪ.‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺤﻘ ﹰ ﺇﻨﻙ ﺠﺒﺎﻥ ﻟﻌﻴﻥ ﻴﺎ ﺃﺴﻼﻜﺴﻥ!‬ ‫ﺎ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻫﻤﻡ، ﻫﺫﺍ ﻜﻠﻪ ﻴﻌﺘﻤﺩ ﻋﻠﻰ -‬

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‫ﺃﺴﻼﻜﺴﻥ: ﺠﺒﺎﻥ؟ ﻭﻟﻡ ﻻ، ﺨﺼﻭﺼ ﹰ ﺤﻴﻥ ﻴﺘﻌﻠﻕ ﺍﻷﻤﺭ ﺒﻤﻭﺍﺠﻬﺔ‬ ‫ﺎ‬ ‫ﺍﻟﺴﻠﻁﺎﺕ ﺍﻟﻤﺤﻠﻴﺔ، ﺃﻨﺎ ﺠﺒﺎﻥ ﺴﻴﺩ ﺒﻴﻠﻴﻨﻎ. ﻫﺫﺍ ﺩﺭﺱ ﺘﻌﻠﻤﺘﻪ ﻓﻲ‬ ‫ﻤﺩﺭﺴﺔ ﺍﻟﺤﻴﺎﺓ. ﻟﻜﻨﻙ ﺇﻥ ﺭﻓﻌﺕ ﻤﻥ ﻤﺭﺘﺒﺘﻲ ﻟﻠﻌﻤل ﻓﻲ ﻤﺠﺎل‬ ‫ﺍﻟﺴﻴﺎﺴﺎﺕ ﺍﻟﻌﻠﻴﺎ، ﺜﻡ ﻭﻀﻌﺘﻨﻲ ﺒﻌﺩﻫﺎ ﻓﻲ ﻤﻭﺍﺠﻬﺔ ﺍﻟﺤﻜﻭﻤﺔ،‬ ‫ﻓﺴﺘﺭﻯ ﻋﻨﺩﻫﺎ ﺇﻥ ﻜﻨﺕ ﺠﺒﺎﻨ ﹰ ﺃﻭ ﻻ!‬ ‫ﺎ‬

‫ﺒﻴﻠﻴﻨﻎ: ﻻ، ﻻ، ﺃﻨﺎ ﻤﺘﺄﻜﺩ ﺃﻨﻙ ﻟﺴﺕ ﺠﺒﺎﻨ ﹰ، ﻟﻜﻨﻙ ﺘﻜﻭﻥ ﻜﺫﻟﻙ ﻓﻘﻁ‬ ‫ﺎ‬ ‫ﺤﻴﻥ ﺘﻜﻭﻥ ﺸﺩﻴﺩ ﺍﻟﺘﻘﻠﺏ.‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺫﻟﻙ ﻷﻨﻨﻲ ﺃﻋﺭﻑ ﻤﺴﺅﻭﻟﻴﺎﺘﻲ ﺒﻭﺼﻔﻲ ﻤﻭﺍﻁﻨ ﹰ! ﺭﻤﻲ‬ ‫ﺎ‬ ‫ﺍﻟﺤﻜﻭﻤﺔ ﺒﺎﻟﺤﺠﺎﺭﺓ ﻟﻥ ﻴﻀﺭ ﺍﻟﻤﺠﺘﻤﻊ. ﻓﺄﻭﻟﺌﻙ ﺍﻷﺸﺨﺎﺹ ﻻ‬ ‫ﺍﻟﺴﻠﻁﺎﺕ ﺍﻟﻤﺤﻠﻴﺔ، ﻭﺤﻴﻨﻬﺎ ﻗﺩ ﺘﺤﺼل ﻋﻠﻰ ﻗﻠﺔ ﺘﺠﺭﺒﺔ ﻓﻲ‬ ‫ﻭﻏﻴﺭﻫﻡ.[‬ ‫ﻴﻬﺘﻤﻭﻥ – ﻓﻬﻡ ﻟﻥ ﻴﺘﺯﺤﺯﺤﻭﺍ ﻗﻴﺩ ﺃﻨﻤﻠﺔ. ﻟﻜﻥ ﻤﻥ ﺍﻟﻤﻤﻜﻥ ﺇﺴﻘﺎﻁ‬ ‫ﺍﻟﻘﻴﺎﺩﺓ.] ﻭﺴﺘﺤﺼل ﻋﻠﻰ ﻨﺘﺎﺌﺞ ﻤﺄﺴﻭﻴﺔ ﻷﺼﺤﺎﺏ ﺍﻟﻌﻘﺎﺭﺍﺕ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻜﻥ ﻤﺎﺫﺍ ﻋﻥ ﺘﺜﻘﻴﻑ ﺍﻟﻨﺎﺱ ﻋﻥ ﻁﺭﻴﻕ ﺤﻜﻤﻬﻡ ﺃﻨﻔﺴﻬﻡ؟‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺤﻴﻥ ﻴﻜﻭﻥ ﻟﺩﻯ ﺸﺨﺹ ﻤﺼﺎﻟﺢ ﻴﺩﺍﻓﻊ ﻋﻨﻬﺎ، ﻓﻠﻥ‬ ‫ﻴﺴﺘﻁﻴﻊ ﺍﻟﺘﻔﻜﻴﺭ ﻓﻲ ﻜل ﺸﻲﺀ ﻴﺎ ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺇﺫﹰ ﺃﺭﺠﻭ ﻤﻥ ﺍﷲ ﺃﻻ ﻴﻜﻭﻥ ﻟﻲ ﻤﺼﺎﻟﺢ ﺃﺤﻤﻴﻬﺎ.‬ ‫ﺍ‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺃﺘﺴﻤﻊ، ﺃﺘﺴﻤﻊ!‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﺴﺕ ﻤﻨﺎﻓﻘ ﹰ، ﻭﻟﻥ ﺃﻜﻭﻥ ﻜﺫﻟﻙ.‬ ‫ﺎ‬

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‫ﺃﺴﻼﻜﺴﻥ: ﻟﻴﺱ ﻋﻠﻰ ﺭﺠل ﺍﻟﺴﻴﺎﺴﺔ ﺃﻥ ﻴﻘﻁﻊ ﻋﻬﻭﺩﹰ ﻋﻠﻰ ﻨﻔﺴﻪ‬ ‫ﺍ‬ ‫ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ. ﻭﺃﻨﺕ، ﺴﻴﺩ ﺒﻴﻠﻴﻨﻎ، ﻋﻠﻴﻙ ﻭﻀﻊ ﺩﻋﺎﻤﺔ ﺃﻭ ﺍﺜﻨﺘﻴﻥ‬ ‫ﻟﺸﺭﺍﻋﻙ ﺇﻥ ﺃﺭﺩﺕ ﻭﻅﻴﻔﺔ ﻜﺎﺘﺏ ﻓﻲ ﻤﺠﻠﺱ ﺍﻟﺒﻠﺩﺓ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻫﺫﺍ ﺼﺤﻴﺢ ﻴﺎ ﺒﻴﻠﻴﻨﻎ؟‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺃﻨﺎ -!‬

‫ﺃﺴﻼﻜﺴﻥ: ﺤﺴﻨ ﹰ، ﻫﺫﺍ ﻟﻴﺱ ﻤﻥ ﺸﺄﻨﻲ. ﻟﻜﻥ ﺤﻴﺙ ﺇﻨﻨﻲ ﺍﺘﻬﻤﺕ‬ ‫ﺎ‬ ‫ﺒﺎﻟﺠﺒﻥ ﻭﺍﻟﺘﻘﻠﺏ، ﺃﺤﺒﺒﺕ ﺘﻭﻀﻴﺢ ﺍﻷﻤﺭ. ﺴﺠﹼﻲ ﺍﻟﺴﻴﺎﺴﻲ ﻤﻔﺘﻭﺡ‬ ‫ﻠ‬ ‫ﺃﻤﺎﻡ ﺃﻱ ﺸﺨﺹ ﻟﻠﺘﻘﺼﻲ. ﻓﺄﻨﺎ ﻟﻡ ﺃﻏﻴﺭ ﻤﻭﺍﻗﻔﻲ ﺃﺒﺩﹰ. ﻻﻴﺯﺍل‬ ‫ﺍ‬ ‫ﻗﻠﺒﻲ ﻤﻊ ﺍﻟﺸﻌﺏ، ﻟﻜﻨﻨﻲ ﻻ ﺃﻨﻜﺭ ﺃﻥ ﺇﺤﺩﻯ ﺃﺫﻨﻲ ﺘﻨﺼﺕ‬ ‫ﻟﻠﺴﻠﻁﺎﺕ. ﺃﻱ ﺍﻟﺴﻠﻁﺎﺕ ﺍﻟﻤﺤﻠﻴﺔ، ﻋﻠﻰ ﻜل ﺤﺎل. )ﻴﺫﻫﺏ ﺇﻟﻰ‬ ‫ﺤﺠﺭﺓ ﺍﻟﺘﻨﻔﻴﺫ(.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﺘﻌﺭﻑ ﺸﺨﺼﺎ ﺁﺨﺭ ﻴﺩﻓﻊ ﻟﻨﺎ ﺍﻟﻨﻔﻘﺎﺕ ]ﻟﻠﻁﺒﺎﻋﺔ‬ ‫ﻭﺍﻟﻭﺭﻕ[؟‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺃﻻ ﻴﻤﻜﻨﻨﺎ ﺘﻐﻴﻴﺭ ﻋﺎﻤل ﺍﻟﻤﻁﺒﻌﺔ ﺫﺍﻙ ﻴﺎ ﻫﻭﭬﺴﺘﺎﺩ؟‬

‫ﺒﻴﻠﻴﻨﻎ: ﻁﺒﻌ ﹰ ﻟﻘﺩ ﻗﺩﻤﺕ ﻁﻠﺒ ﹰ ﻟﻠﺭﺩ ﻋﻠﻴﻬﻡ ﻓﺤﺴﺏ، ﺃﺘﻔﻬﻤﻨﻲ.‬ ‫ﺎ‬ ‫ﺎ‬

‫ﻫﻭﭭﺴﺘﺎﺩ )ﻴﺠﻠﺱ ﺇﻟﻰ ﺍﻟﻤﻜﺘﺏ(: ﺼﺤﻴﺢ، ﻟﻭ ﺃﻨﻨﺎ ﻓﻘﻁ ﻨﻤﻠﻙ ﺫﻟﻙ -‬ ‫ﺎ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ )ﻴﺘﺼﻔﺢ ﺃﻭﺭﺍﻗﻪ(: ﻭﻤﺎ ﻓﺎﺌﺩﺓ ﺫﻟﻙ؟ ﺇﻨﻪ ﻻ ﻴﻤﻠﻙ ﻓﻠﺴ ﹰ‬ ‫ﻭﺍﺤﺩﹰ.‬ ‫ﺍ‬

‫ﺒﻴﻠﻴﻨﻎ: ﻤﻥ ﺍﻟﻤﺯﻋﺞ ﺃﻻ ﻴﻜﻭﻥ ﻟﺩﻴﻨﺎ ﺭﺃﺱ ﻤﺎل.‬

‫ﺒﻴﻠﻴﻨﻎ: ﻭﻫل ﺠﺭﺒﺕ ﺃﻥ ﺘﻁﻠﺏ ﻤﻥ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ؟‬

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‫ﺒﻴﻠﻴﻨﻎ: ﻻ، ﻟﻜﻥ ﻭﺭﺍﺀﻩ ﺭﺠ ﹰ ﻁﻴﺒ ﹰ. ﺇﻨﻪ ﻤﻭﺭﺘﻥ ﻜﻴل ﺍﻟﻌﺠﻭﺯ، ﺫﻟﻙ‬ ‫ﻼ ﺎ‬ ‫ﺍﻟﺫﻱ ﻴﺴﻤﻭﻨﻪ ،ﺍﻟﻐﺭﻴﺭ».‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺃﻗﺴﻡ ﺇﻨﻪ ﻴﻤﻠﻙ ﺍﻟﻜﺜﻴﺭ ﻁﺒﻌ ﹰ! ﻭﺠﺯﺀ ﻤﻥ ﺜﺭﻭﺘﻪ ﺴﻴﺅﻭل‬ ‫ﺎ‬ ‫ﻟﻌﺎﺌﻠﺔ ﺴﺘﻭﻜﻤﺎﻥ. ﻓﻬﻭ ﻤﻀﻁﺭ ﻟﻠﻌﻨﺎﻴﺔ ﺒﻬﻡ، ﻭﻟﻭ ﻤﻥ ﺃﺠل‬ ‫ﺍﻷﻁﻔﺎل ﻋﻠﻰ ﺃﻱ ﺤﺎل.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ )ﻴﺴﺘﺩﻴﺭ ﻨﺼﻑ ﺩﻭﺭﺓ(: ﻭﻫل ﺘﻌ ‪‬ل ﻋﻠﻰ ﺫﻟﻙ؟‬ ‫ﻭ‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺃﻋﻭل؟ ﺃﻨﺎ ﻻ ﺃﻋﻭل ﻋﻠﻰ ﺸﻲﺀ ﺃﺒﺩ ﹰ.‬ ‫ﺍ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ )ﻭﻫﻭ ﻴﻜﺘﺏ(: ﻫل ﺘﻅﻥ ﺃﻨﻪ ﻴﻤﻠﻙ ﺍﻟﻜﺜﻴﺭ؟‬

‫ﺒﻴﻠﻴﻨﻎ: ﺃﺘﻅﻥ ﺃﻨﻨﻲ ﻻ ﺃﻋﻠﻡ ﺫﻟﻙ؟ ﺇﻥ ﺭﻓﻀﻲ ﻓﻲ ﺘﻠﻙ ﺍﻟﻭﻅﻴﻔﺔ ﻫﻭ‬ ‫ﻤﺎ ﺃﺭﻴﺩﻩ ﺒﺎﻟﻀﺒﻁ. ﻓﺫﺍﻙ ﺍﻟﺭﻓﺽ ﺴﻴﺸﺤﺫ ﻤﻥ ﻫﻤﺘﻲ. ﺴﻴﻤﻨﺤﻨﻲ‬ ‫ﺫﻟﻙ ﺠﺭﻋﺔ ﺠﺩﻴﺩﺓ ﻤﻥ ﺍﻟﺴﺨﻁ، ﻭﺃﻨﺕ ﺒﺤﺎﺠﺔ ﺇﻟﻰ ﺫﻟﻙ ﻓﻲ ﺤﺎل‬ ‫ﺍﻟﺭﻜﻭﺩ ﻫﺫﻩ، ﺤﻴﺙ ﺒﺎﻟﻜﺎﺩ ﻴﺤﺩﺙ ﺸﻲﺀ ﻴﺜﻴﺭ ﺍﻟﻬﻤﺔ ﻓﻌ ﹰ.‬ ‫ﻼ‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺤﺴﻨ ﹰ، ﺴﻴﺴﻤﻌﻭﻥ ﻤﻨﻲ ﻗﺭﻴﺒ ﹰ ﺃﺸﻴﺎﺀ ﻻ ﺘﺴﺭﻫﻡ! ﺴﺄﺫﻫﺏ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻟﻜﺘﺎﺒﺔ ﻁﻠﺏ ﻟﺩﻋﻡ ﻤﺎﻟﻲ ﻤﻥ ﺠﻤﻌﻴﺔ ﺃﺼﺤﺎﺏ ﺍﻟﻌﻘﺎﺭﺍﺕ. )ﻴﺫﻫﺏ‬ ‫ﺇﻟﻰ ﺍﻟﻐﺭﻓﺔ ﺍﻟﺘﻲ ﺇﻟﻰ ﺍﻟﻴﻤﻴﻥ(.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ )ﻭﻫﻭ ﺠﺎﻟﺱ ﺇﻟﻰ ﺍﻟﻤﻜﺘﺏ، ﻴﻌﺽ ﻋﻠﻰ ﻗﻠﻤﻪ ﻭﻴﻘﻭل‬ ‫ﺒﺒﻁﺀ(: ﻫﻤﻡ! ﺇﺫﹰ ﻫﻜﺫﺍ ﺘﺠﺭﻱ ﺍﻟﺭﻴﺎﺡ! )ﻨﻘﺭ ﻋﻠﻰ ﺍﻟﺒﺎﺏ( ﺍﺩﺨل!‬ ‫ﺍ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ )ﻭﻫﻭ ﻴﻜﺘﺏ(: ﺃﺠل، ﺃﺠل.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻴﻔﻀل ﺃﻻ ﺘﻔﻌل. ﻭﻻ ﺘﺒﻨﻲ ﺁﻤﺎﻟﻙ ﺃﻴﻀ ﹰ ﻋﻠﻰ ﺘﻌﻴﻴﻨﻙ‬ ‫ﺎ‬ ‫ﻜﺎﺘﺒ ﹰ ﻓﻲ ﺍﻟﻤﺠﻠﺱ، ﻷﻨﻲ ﻭﺍﺜﻕ ﺃﻨﻙ ﻟﻥ ﺘﺘﻌﻴﻥ.‬ ‫ﺎ‬

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‫ﺘﺩﺨل ﺒﺘﺭﺍ ﻤﻥ ﺍﻟﺒﺎﺏ ﺍﻟﺫﻱ ﺇﻟﻰ ﺍﻟﻴﺴﺎﺭ ﻤﻥ ﻨﻬﺎﻴﺔ ﺍﻟﻤﺴﺭﺡ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ )ﻴﻨﻬﺽ(: ﺁﻩ، ﻤﺭﺤﺒ ﹰ! ﺴﻌﻴﺩ ﺒﺭﺅﻴﺘﻙ ﻫﻨﺎ.‬ ‫ﺎ‬

‫ﻫﻭﭭﺴﺘﺎﺩ )ﻴﻘﺩﻡ ﻟﻬﺎ ﻜﺭﺴﻴ ﹰ ﺒﺫﺭﺍﻋﻴﻥ(: ﺃﻟﻥ ﺘﺠﻠﺴﻲ؟‬ ‫ﺎ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻫﻨﺎﻙ ﺸﻲﺀ ﻤﻥ ﻭﺍﻟﺩﻙ -؟‬

‫ﺒﺘﺭﺍ: ﺍﻋﺫﺭﻨﻲ ﺃﺭﺠﻭﻙ -‬

‫ﺒﺘﺭﺍ: ﻻ، ﺸﻜﺭﹰ. ﺴﺄﺫﻫﺏ ﺒﻌﺩ ﻟﺤﻅﺔ.‬ ‫ﺍ‬

‫ﺒﺘﺭﺍ: ﻻ، ﺸﻲﺀ ﻤﻨﻲ. ) ﺘﺨﺭﺝ ﻜﺘﺎﺒ ﹰ ﻤﻥ ﺠﻴﺏ ﻤﻌﻁﻔﻬﺎ.( ﻫﺎ ﻫﻲ ﺫﻱ‬ ‫ﺎ‬ ‫ﺭﻭﺍﻴﺘﻙ ﺍﻹﻨﻜﻠﻴﺯﻴﺔ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻭﻟﻤﺎﺫﺍ ﺘﻌﻴﺩﻴﻨﻬﺎ ﺇﻟﻲ؟‬ ‫ﺒﺘﺭﺍ: ﻻ ﺃﺭﻴﺩ ﺃﻥ ﺃﺘﺭﺠﻤﻬﺎ.‬

‫ﺒﺘﺭﺍ: ﻟﻡ ﺃﻜﻥ ﻗﺩ ﻗﺭﺃﺘﻬﺎ ﺤﻴﻨﺌ ٍ. ﻭﺃﻨﺕ ﻟﻡ ﺘﻜﻥ ﻗﺩ ﻗﺭﺃﺘﻬﺎ ﺃﻴﻀ ﹰ!‬ ‫ﺎ‬ ‫ﺫ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻻ، ﻓﺄﻨﺕ ﺘﻌﻠﻤﻴﻥ ﺃﻨﻨﻲ ﻻ ﺃﻋﺭﻑ ﺍﻹﻨﻜﻠﻴﺯﻴﺔ. ﻟﻜﻥ -‬ ‫ﺒﺘﺭﺍ: ﺘﻤﺎﻤ ﹰ. ﻟﺫﻟﻙ ﺃﺭﺩﺕ ﺇﺨﺒﺎﺭﻙ - ﻋﻠﻴﻙ ﺃﻥ ﺘﺠﺩ ﻜﺘﺎﺒ ﹰ ﺁﺨﺭ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺘﻨﺸﺭﻩ ﻋﻠﻰ ﻨﺤﻭ ﻤﺘﺴﻠﺴل. )ﺘﻀﻊ ﺍﻟﻜﺘﺎﺏ ﻋﻠﻰ ﺍﻟﻁﺎﻭﻟﺔ.( ﻻ‬ ‫ﻴﻤﻜﻨﻙ ﺃﻥ ﺘﻨﺸﺭ ﻫﺫﺍ ﻓﻲ ،ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ».‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻡ ﻻ؟‬ ‫ﺒﺘﺭﺍ: ﻷﻨﻪ ﻤﺨﺎﻟﻑ ﻟﻤﻌﺘﻘﺩﺍﺘﻙ ﺘﻤﺎﻤ ﹰ.‬ ‫ﺎ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺇﺫﹰ، ﻫﺫﺍ ﻫﻭ ﺍﻟﺴﺒﺏ؟‬ ‫ﺍ‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻜﻨﻙ ﻭﻋﺩﺕ ﺒﺫﻟﻙ -‬

‫-٢٣١-‬

‫ﺒﺘﺭﺍ: ﻻ ﺃﻅﻥ ﺃﻨﻙ ﺘﻔﻬﻤﻨﻲ. ﻓﻔﻜﺭﺓ ﺍﻟﺭﻭﺍﻴﺔ ﺍﻷﺴﺎﺴﻴﺔ ﺘﺩﻭﺭ ﺤﻭل‬ ‫ﻗﻭﺓ ﺨﺎﺭﻗﺔ ﻟﻠﻁﺒﻴﻌﺔ ﺘﻌﺘﻨﻲ ﺒﻤﻥ ﻴﻠﻘﺒﻭﻥ ﺒﺎﻟﻨﺎﺱ ﺍﻷﺨﻴﺎﺭ ﻓﻲ ﻫﺫﺍ‬ ‫ﺍﻟﻌﺎﻟﻡ، ﻭﺘﻘﻭﻡ ﺒﺄﺸﻴﺎﺀ ﺘﺠﻌل ﻜل ﺍﻷﻤﻭﺭ ﺘﺴﻴﺭ ﻓﻲ ﺍﻟﻨﻬﺎﻴﺔ‬ ‫ﻟﺼﺎﻟﺤﻬﻡ، ﻭﻓﻲ ﺍﻟﻨﻬﺎﻴﺔ ﺘﺘﻡ ﻤﻌﺎﻗﺒﺔ ﺍﻷﺸﺭﺍﺭ.‬ ‫ﺒﺘﺭﺍ: ﻟﻜﻥ ﺃﺘﺭﻴﺩ ﺃﻥ ﺘﻜﻭﻥ ﺃﻨﺕ ﻤﻥ ﻴﻘﺩﻡ ﺫﻟﻙ ﻟﻬﻡ؟ ﻓﺄﻨﺕ ﻻ ﺘﺅﻤﻥ‬ ‫ﺒﻜﻠﻤﺔ ﻤﻤﺎ ﻜﺘﺏ. ﻭﺃﻨﺕ ﺘﺩﺭﻙ ﺘﻤﺎﻤ ﹰ ﺃﻥ ﻫﺫﺍ ﻻ ﻴﺤﺩﺙ ﻓﻲ ﺍﻟﺤﻴﺎﺓ‬ ‫ﺎ‬ ‫ﺍﻟﻭﺍﻗﻌﻴﺔ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻁﺒﻌ ﹰ ﻻ. ﻟﻜﻥ ﻟﻴﺱ ﻋﻠﻰ ﺍﻟﻤﺤﺭﺭ ﺃﻥ ﻴﻔﻌل ﺩﺍﺌﻤ ﹰ ﻤﺎ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻴﺭﻴﺩ. ﻋﻠﻴﻪ ﺃﻥ ﻴﺴﺎﻴﺭ ﻤﺸﺎﻋﺭ ﺍﻟﻨﺎﺱ ﻓﻲ ﺍﻷﻤﻭﺭ ﺍﻟﺜﺎﻨﻭﻴﺔ. ﻭﻓﻲ‬ ‫ﺍﻟﻨﻬﺎﻴﺔ، ﺍﻟﺴﻴﺎﺴﺔ ﺃﻫﻡ ﺸﻲﺀ ﻓﻲ ﺍﻟﺤﻴﺎﺓ، ﺃﻭ ﻓﻲ ﺍﻟﺼﺤﺎﻓﺔ ﻋﻠﻰ‬ ‫ﻓﻠﻴﺱ ﻋﻠﻲ ﺃﻥ ﺃﺭﻭﻋﻬﻡ. ﻓﺤﻴﻥ ﻴﺠﺩﻭﻥ ﻗﺼﺔ ﺃﺨﻼﻗﻴﺔ ﻜﻬﺫﻩ ﻓﻲ‬ ‫ﺍﻷﻗل. ﻭﻟﻭ ﺃﺭﺩﺕ ﺠﺫﺏ ﺍﻟﻨﺎﺱ ﻷﻓﻜﺎﺭﻱ ﻋﻥ ﺍﻟﺤﺭﻴﺔ ﻭﺍﻟﺘﻘﺩﻡ،‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺤﺴﻨ ﹰ ﻫﺫﺍ ﺠﻴﺩ. ﻫﺫﺍ ﺒﺎﻟﻀﺒﻁ ﻤﺎ ﻴﺤﺏ ﺍﻟﻨﺎﺱ ﻗﺭﺍﺀﺘﻪ.‬ ‫ﺎ‬

‫ﺍﻟﺼﻔﺤﺎﺕ ﺍﻷﺨﻴﺭﺓ ﻤﻥ ﺍﻟﺠﺭﻴﺩﺓ، ﺴﻴﺭﻏﺒﻭﻥ ﺒﺎﻻﻁﻼﻉ ﻤﺎ‬ ‫ﻨﺸﺭﻨﺎﻩ ﻓﻲ ﺍﻟﺼﻔﺤﺎﺕ ﺍﻷﻭﻟﻰ. ﺇﻨﻬﺎ ﺘﻌﻴﺩ ﺍﻟﻁﻤﺄﻨﻴﻨﺔ ﺇﻟﻴﻬﻡ.‬ ‫ﺒﺘﺭﺍ: ﺃﻭﻩ، ﺤﻘ ﹰ! ﻻ ﺃﻋﺘﻘﺩ ﺃﻨﻙ ﻤﺨﺎﺩﻉ ﺇﻟﻰ ﺫﻟﻙ ﺍﻟﺤﺩ. ﻓﺄﻨﺎ ﻻ ﺃﺭﺍﻙ‬ ‫ﺎ‬ ‫ﻋﻨﻜﺒﻭﺘ ﹰ ﻴﻨﺴﺞ ﺨﻴﻭﻁﻪ ﻟﻴﺼﻁﺎﺩ ﺍﻟﻘ ‪‬ﺍﺀ.‬ ‫ﺭ‬ ‫ﺎ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ )ﻴﺒ ﺘﺴﻡ(: ﺃﺸﻜﺭﻙ ﻷﻨﻙ ﺘﺄﺨﺫﻴﻥ ﻋﻨﻲ ﻓﻜﺭﺓ ﺴﺎﻤﻴﺔ ﻜﻬﺫﻩ.‬ ‫ﺃﻨﺎ ﻟﺴﺕ ﻜﺫﻟﻙ، ﻓﻲ ﺍﻟﻭﺍﻗﻊ ﺇﻨﻬﺎ ﻟﻴﺴﺕ ﻓﻜﺭﺘﻲ ﺒل ﻓﻜﺭﺓ ﺒﻴﻠﻴﻨﻎ.‬ ‫ﺒﺘﺭﺍ: ﻓﻜﺭﺓ ﺒﻴﻠﻴﻨﻎ!‬

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‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﺠل. ﻟﻘﺩ ﻜﺎﻥ ﻫﻨﺎ ﺫﻟﻙ ﺍﻟﻴﻭﻡ ﻴﺘﺤﺩﺙ ﻋﻥ ﻫﺫﺍ‬ ‫ﺍﻟﻤﻭﻀﻭﻉ. ﺇﻨﻪ ﺍﻟﺸﺨﺹ ﺍﻟﻤﺘﺤﻤﺱ ﻜﺜﻴﺭ ﹰ ﻟﻨﻨﺸﺭ ﻫﺫﻩ ﺍﻟﺭﻭﺍﻴﺔ.‬ ‫ﺍ‬ ‫ﻓﺄﻨﺎ ﻟﻡ ﺃﺴﻤﻊ ﺃﺒﺩﹰ ﺒﻬﺫﺍ ﺍﻟﻜﺘﺎﺏ.‬ ‫ﺍ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺇﻥ ﻤﻥ ﻻ ﻴﻌﺭﻓﻪ ﻴﺠﻬﻠﻪ. ﻓﻘﺩ ﺴﻤﻌﺕ ﻤﻨﺫ ﻗﻠﻴل ﺃﻨﻪ ﺘﻘﺩﻡ‬ ‫ﺒﻁﻠﺏ ﻟﻴﺘﻌﻴﻥ ﻜﺎﺘﺒ ﹰ ﻓﻲ ﻤﺠﻠﺱ ﺍﻟﺒﻠﺩﺓ.‬ ‫ﺎ‬

‫ﺒﺘﺭﺍ: ﻭﻫل ﻴﺤﻤل ﺒﻴﻠﻴﻨﻎ ﺃﻓﻜﺎﺭﹰ ﺘﻘﺩﻤﻴﺔ ﻜﻬﺫﻩ -‬ ‫ﺍ‬

‫ﺎ‬ ‫ﺒﺘﺭﺍ: ﻻ ﺃﺼﺩﻕ ﺫﻟﻙ ﻴﺎ ﺴﻴﺩ ﻫﻭﭬﺴﺘﺎﺩ. ﻜﻴﻑ ﻴﻘﺒل ﺃﻥ ﻴﻔﻌل ﺸﻴﺌ ﹰ‬ ‫ﻜﻬﺫﺍ؟‬ ‫ﺒﺘﺭﺍ: ﻟﻡ ﺃﻜﻥ ﺃﺘﻭﻗﻊ ﺫﻟﻙ ﺃﺒﺩ ﹰ ﻤﻥ ﺒﻴﻠﻴﻨﻎ.‬ ‫ﺍ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ‪‬ﻔ ‪‬ل ﺃﻥ ﺘﺴﺄﻟﻴﻪ ﻫﻭ.‬ ‫ﻴﻀ‬

‫ﻫﻭﭭﺴﺘﺎﺩ: )ﻴﻨﻅﺭ ﺇﻟﻴﻬﺎ ﻋﻥ ﻗﺭﺏ(: ﻟﻡ ﺘﺘﻭﻗﻌﻲ ﺫﻟﻙ؟ ﻫل ﻴﻔﺎﺠﺌﻙ‬ ‫ﺍﻷﻤﺭ ﻟﻬﺫﻩ ﺍﻟﺩﺭﺠﺔ؟‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻨﺤﻥ ﻤﻌﺸﺭ ﺍﻟﺼﺤﻔﻴﻴﻥ ﻻ ﻨﺴﺎﻭﻱ ﻜﺜﻴﺭﹰ، ﻴﺎ ﺁﻨﺴﺔ‬ ‫ﺍ‬ ‫ﺴﺘﻭﻜﻤﺎﻥ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻫﺫﺍ ﻤﺎ ﻴﺨﻁﺭ ﻟﻲ ﺃﺤﻴﺎﻨ ﹰ.‬ ‫ﺎ‬

‫ﺒﺘﺭﺍ: ﺃﺠل. ﺃﻭ ﻟﺴﺕ ﻤﺘﺄﻜﺩﺓ. ﻓﻲ ﺍﻟﺤﻘﻴﻘﺔ ﻻ ﺃﻋﻠﻡ –‬

‫ﺒﺘﺭﺍ: ﻜﻴﻑ ﻴﻤﻜﻨﻙ ﻗﻭل ﺫﻟﻙ؟‬

‫ﺒﺘﺭﺍ: ﺃﻨﺕ ﺘﻘﺼﺩ ﻓﻲ ﺃﻤﻭﺭ ﺍﻟﺤﻴﺎﺓ ﺍﻟﻌﺎﺩﻴﺔ ﻻ ﻴﺴﺎﻭﻭﻥ ﺸﻴﺌ ﹰ -‬ ‫ﺎ‬ ‫ﻴﻤﻜﻨﻨﻲ ﻓﻬﻡ ﺫﻟﻙ. ﻟﻜﻥ ﺍﻵﻥ، ﺒﻌﺩ ﺃﻥ ﺘﺒﻨﻴﺕ ﻗﻀﻴﺔ ﻤﻬﻤﺔ –‬

‫]ﻫﻭﭭﺴﺘﺎﺩ: ﺃﺘﻌﻨﻴﻥ ﺫﻟﻙ ﺍﻟﺸﺄﻥ ﻤﻊ ﺃﺒﻴﻙ؟‬

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‫ﺒﺘﺭﺍ: ﺃﺠل،ﺫﺍﻙ ﻤﺎ ﻋﻨﻴﺘﻪ.[ ﺃﻨﺕ ﺍﻵﻥ ﺘﺸﻌﺭ ﺒﺎﻟﺘﺄﻜﻴﺩ ﺃﻨﻙ ﺫﻭ ﻗﻴﻤﺔ‬ ‫ﺃﻜﺒﺭ ﻤﻥ ﻤﻌﻅﻡ ﺍﻟﺭﺠﺎل.‬ ‫ﺒﺘﺭﺍ: ﺃﺭﺃﻴﺕ، ﻫﺫﺍ ﺼﺤﻴﺢ. ﺃﻨﺕ ﺘﺸﻌﺭ ﺒﺫﻟﻙ. ﺃﻭﻩ، ﺇﻨﻬﺎ ﻤﻬﻨﺔ ﺭﺍﺌﻌﺔ‬ ‫ﺘﻠﻙ ﺍﻟﺘﻲ ﺍﺨﺘﺭﺘﻬﺎ. ﺃﻥ ﺘﻜﻭﻥ ﻗﺎﺩﺭﺍ ﻋﻠﻰ ﺍﻜﺘﺸﺎﻑ ﺍﻟﺤﻘﺎﺌﻕ‬ ‫ﺍﻟﻤﻁﻤﻭﺴﺔ ﻭﺭﻴﺎﺩﺓ ﻤﺒﺎﺩﺉ ﺠﺩﻴﺩﺓ ﻭﺠﺭﻴﺌﺔ - ﻤﺠﺭﺩ ﺤﻘﻴﻘﺔ‬ ‫ﺍﻟﻭﻗﻭﻑ ﺩﻭﻥ ﺨﻭﻑ ﻟﻠﺩﻓﺎﻉ ﻋﻥ ﺭﺠل ﻤﻅﻠﻭﻡ -‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﺠل، ﻓﻌ ﹰ ﺃﺸﻌﺭ ﺍﻟﻴﻭﻡ ﺒﺸﻌﻭﺭ ﻜﻬﺫﺍ ﺘﻘﺭﻴﺒ ﹰ.‬ ‫ﺎ‬ ‫ﻼ‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺨﺼﻭﺼ ﹰ ﺤﻴﻥ ﻴﻜﻭﻥ ﺫﻟﻙ ﺍﻟﺭﺠل ﺍﻟﻤﻅﻠﻭﻡ ﻫﻭ - ﻫﻤﻡ-‬ ‫ﺎ‬ ‫ﻜﻴﻑ ﺃﻗﻭﻟﻬﺎ؟‬ ‫ﻫﻭﭭﺴﺘﺎﺩ )ﺒﻬﺩﻭﺀ ﺃﻜﺒﺭ(: ﻜﻨﺕ ﻋﻠﻰ ﻭﺸﻙ ﺍﻟﻘﻭل: ﺤﻴﻥ ﻴﻜﻭﻥ ﺫﻟﻙ‬ ‫ﺍﻟﺭﺠل ﻫﻭ ﻭﺍﻟﺩﻙ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﺠل ﺒﺘﺭﺍ – ﻴﺎ ﺁﻨﺴﺔ ﺒﺘﺭﺍ -‬

‫ﺒﺘﺭﺍ: ﻋﻨﺩﻤﺎ ﻴﻜﻭﻥ ﺫﻟﻙ ﺍﻟﺭﺠل ﺸﺭﻴﻔ ﹰ ﻭﻤﺴﺘﻘﻴﻤ ﹰ؟‬ ‫ﺎ‬ ‫ﺎ‬

‫ﺒﺘﺭﺍ )ﻤﺫﻫﻭﻟﺔ(: ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ؟‬

‫ﺒﺘﺭﺍ: ﺃﻫﺫﺍ ﻤﺎ ﻴﺒﺩﻭ ﻤﻬﻤ ﹰ ﺒﺎﻟﻨﺴﺒﺔ ﺇﻟﻴﻙ؟ ﺃﻻ ﺘﻬﻤﻙ ﺍﻟﻘﻀﻴﺔ ﻨﻔﺴﻬﺎ، ﺃﻭ‬ ‫ﺎ‬ ‫ﺍﻟﺤﻘﻴﻘﺔ، ﺃﻭ ﺤﻘﻴﻘﺔ ﺃﻥ ﻫﺫﺍ ﺍﻟﻤﻭﻀﻭﻉ ﻴﻌﻨﻲ ﻜل ﺸﻲﺀ ﺒﺎﻟﻨﺴﺒﺔ‬ ‫ﻷﺒﻲ -‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻨﻌﻡ، ﻨﻌﻡ، ﻁﺒﻌ ﹰ، ﻭﻫﺫﻩ ﺍﻷﺸﻴﺎﺀ ﺘﻬﻤﻨﻲ-‬ ‫ﺎ‬ ‫ﺒﺘﺭﺍ: ﻻ، ﺸﻜﺭﹰ. ﻟﻘﺩ ﺃﻁﻠﻘﺕ ﺍﻟﻘﻁﺔ ﻤﻥ ﻤﺨﺒﺌﻬﺎ ﻴﺎ ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ. ﻟﻥ‬ ‫ﺍ‬ ‫ﺃﺼﺩﻗﻙ ﺃﺒﺩﹰ ﺒﻌﺩ ﺍﻵﻥ. ﻭﻻ ﻓﻲ ﺃﻱ ﺸﻲﺀ.‬ ‫ﺍ‬

‫-٥٣١-‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻴﺱ ﻋﻠﻴﻙ ﺃﻥ ﺘﺘﺤﺩﺜﻲ ﻤﻌﻲ ﺒﻬﺫﻩ ﺍﻟﺤﺩﺓ ﻴﺎ ﺁﻨﺴﺔ ﺒﺘﺭﺍ.‬ ‫ﺍﻵﻥ ﻋﻠﻰ ﺍﻷﻗل.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻷﻥ ﻭﺍﻟﺩﻙ ﻴﺤﺘﺎﺝ ﻤﺴﺎﻋﺩﺘﻲ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻻ، ﻻ، ﻟﻡ ﺃﻜﻥ ﺃﻗﺼﺩ ﺫﻟﻙ. ﺃﺭﺠﻭﻙ ﺼﺩﻗﻴﻨﻲ -!‬

‫ﺒﺘﺭﺍ: ﺃﻨﺎ ﻏﺎﻀﺒﺔ ﻷﻨﻙ ﻟﻡ ﺘﻜﻥ ﺼﺎﺩﻗ ﹰ ﻤﻊ ﺃﺒﻲ. ﻜﻨﺕ ﺘﺘﺤﺩﺙ ﻤﻌﻪ‬ ‫ﺎ‬ ‫ﻭﻜﺄﻥ ﺍﻟﺤﻘﻴﻘﺔ ﻭﻤﺼﻠﺤﺔ ﺍﻟﻨﺎﺱ ﻫﻤﺎ ﺠل ﻤﺎ ﻴﻬﻤﻙ. ﻟﻘﺩ ﻜﻨﺕ‬ ‫ﺘﺴﺘﻐﺒﻴﻨﺎ. ﺃﻨﺕ ﻟﺴﺕ ﺍﻟﺭﺠل ﺍﻟﺫﻱ ﺘﺘﻅﺎﻫﺭ ﺃﻨﻙ ﻫﻭ. ﻭﻫﺫﺍ ﻟﻥ‬ ‫ﺃﺴﺎﻤﺤﻙ ﻋﻠﻴﻪ ﺃﺒﺩﹰ - ﺃﺒﺩﹰ!‬ ‫ﺍ‬ ‫ﺍ‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻴﻐﻀﺒﻙ ﺫﻟﻙ ﻤﻊ ﺃﻨﻨﻲ ﻓﻌﻠﺘﻪ ﻤﻥ ﺃﺠﻠﻙ؟‬

‫ﺒﺘﺭﺍ: ﻭﻟﻡ ﻟﻴﺱ ﺍﻵﻥ؟‬

‫ﺒﺘﺭﺍ: ﺇﺫﹰ ﻫﺫﻩ ﻫﻲ ﺤﻘﻴﻘﺘﻙ!‬ ‫ﺍ‬

‫ﺃﺴﻼﻜﺴﻥ )ﻴﺨﺭﺝ ﺨﻠﺴﺔ ﻤﺴﺭﻋ ﹰ ﻤﻥ ﺤﺠﺭﺓ ﺍﻟﺘﻨﻔﻴﺫ(: ﻴﺎ ﺇﻟﻬﻲ، ﺴﻴﺩ‬ ‫ﺎ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ! )ﻴﺭﻯ ﺒﺘﺭ ﺍ( ﺃﻭﻩ ﻫﺫﺍ ﻓﺄل ﺴﻲﺀ!‬ ‫ﺒﺘﺭﺍ: ﻫﺎﻙ ﺍﻟﻜﺘﺎﺏ. ﺒﺈﻤﻜﺎﻨﻙ ﺇﻋﻁﺎﺅﻩ ﻟﺸﺨﺹ ﺁﺨﺭ. )ﺘﺫﻫﺏ ﺒﺎﺘﺠﺎﻩ‬ ‫ﺍﻟﺒﺎﺏ(.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ )ﻴﺘﺒﻌﻬﺎ(: ﻟﻜﻥ، ﻴﺎ ﺁﻨﺴﺔ ﺒﺘﺭﺍ -!‬

‫ﺒﺘﺭﺍ: ﺃﻋﺭﻑ ﻤﺎ ﻋﻠﻲ ﺘﺼﺩﻴﻘﻪ. ﺇﻟﻰ ﺍﻟﻠﻘﺎﺀ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ، ﺃﺼﻎ ﺇﻟﻲ ﻤﻥ ﻓﻀﻠﻙ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺤﺴﻥ، ﺤﺴﻥ، ﻤﺎ ﺍﻷﻤﺭ؟‬

‫ﺒﺘﺭﺍ: ﺇﻟﻰ ﺍﻟﻠﻘﺎﺀ )ﺘﺫﻫﺏ(.‬

‫-٦٣١-‬

‫ﺃﺴﻼﻜﺴﻥ: ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ ﻭﺍﻗﻑ ﻓﻲ ﺍﻟﺩﺍﺨل، ﻫﻨﺎﻙ ﻓﻲ ﺤﺠﺭﺓ‬ ‫ﺍﻟﺘﻨﻔﻴﺫ!‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺃﺠل. ﻴﺭﻏﺏ ﻓﻲ ﺍﻟﺘﺤﺩﺙ ﺇﻟﻴﻙ. ﻟﻘﺩ ﺠﺎﺀ ﻤﻥ ﺍﻟﺒﺎﺏ‬ ‫ﺍﻟﺨﻠﻔﻲ، ﻓﻬﻭ ﻻ ﻴﺭﻴﺩ ﺃﻥ ﻴﺭﺍﻩ ﺃﺤﺩ ﻋﻠﻰ ﻤﺎ ﺃﻅﻥ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ؟‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻟﻕ ﻨﻅﺭﺓ ﺇﻟﻰ ﺍﻟﺨﺎﺭﺝ ﻴﺎ ﺃﺴﻼﻜﺴﻥ، ﻭﺘﺄﻜﺩ ﺃﻥ ﻻ ﺃﺤﺩ -‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻟﻡ ﺘﻜﻥ ﺘﺘﻭﻗﻊ ﺭﺅﻴﺘﻲ ﻫﻨﺎ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻤﺎﺫﺍ ﻴﺭﻴﺩ ﻴﺎ ﺘﺭﻯ؟ ﻻ، ﺍﻨﺘﻅﺭ، ﻤﻥ ﺍﻷﻓﻀل ﺃﻥ -‬ ‫)ﻴﺫﻫﺏ ﻨﺤﻭ ﺒﺎﺏ ﺤﺠﺭﺓ ﺍﻟﺘﻨﻔﻴﺫ، ﻴﻔﺘﺤﻪ، ﻴﻨﺤﻨﻲ ﻭﻴﺩﻋﻭ ﺭﺌﻴﺱ‬ ‫ﺍﻟﺒﻠﺩﻴﺔ ﻟﻠﺩﺨﻭل.(‬

‫ﺃﺴﻼﻜﺴﻥ: ﻁﺒﻌ ﹰ. )ﻴﺩﺨل ﺇﻟﻰ ﺤﺠﺭﺓ ﺍﻟﺘﻨﻔﻴﺫ(‬ ‫ﺎ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺒﺼﺭﺍﺤﺔ، ﻻ.‬

‫ﻟﻘﺩ ﺭﺘﺒﺕ ﻤﻜﺘﺒﻙ ﺒﺸﻜل ﺠﻤﻴل.‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﻴﻨﻅﺭ ﺤﻭﻟﻪ(:‬ ‫ﻫﺫﺍ ﻟﻁﻴﻑ ﺠﺩﹰ.‬ ‫ﺍ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻭﻫﺎ ﺃﻨﺎ ﺍﻵﻥ ﻫﻨﺎ، ﺠﺌﺕ ﺇﻟﻴﻙ ﻵﺨﺫ ﺒﻌﻀ ﹰ ﻤﻥ‬ ‫ﺎ‬ ‫ﻭﻗﺘﻙ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻭﻩ-‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻻ، ﺃﺒﺩﹰ ﻴﺎ ﺴﻴﺩﻱ. ﺒﻤﺎﺫﺍ ﻴﻤﻜﻨﻨﻲ ﺃﻥ ﺃﺨﺩﻤﻙ؟ ﺃﺭﺠﻭﻙ‬ ‫ﺍ‬ ‫ﺍﺴﻤﺢ ﻟﻲ - )ﻴﺄﺨﺫ ﻗﺒﻌﺔ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ ﻭﻋﺼﺎﻩ ﻭﻴﻀﻌﻬﻤﺎ ﻋﻠﻰ‬ ‫ﺃﺤﺩ ﺍﻟﻜﺭﺍﺴﻲ.( ﺃﻟﻥ ﺘﺠﻠﺱ؟‬

‫-٧٣١-‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﻴﺠﻠﺱ ﺇﻟﻰ ﺍﻟﻁﺎﻭﻟﺔ(: ﺃﺸﻜﺭﻙ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺜﻤﺔ ﺸﻲﺀ - ﺸﻲﺀ ﺤﺩﺙ ﻟﻲ ﺍﻟﻴﻭﻡ ﻭﺃﺯﻋﺠﻨﻲ‬ ‫ﻜﺜﻴﺭﹰ، ﻴﺎ ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ.‬ ‫ﺍ‬ ‫ﻴﺠﻠﺱ ﻫﻭﻓﺴﺘﺎﺩ ﺃﻴﻀ ﹰ ﺇﻟﻰ ﺍﻟﻁﺎﻭﻟﺔ.‬ ‫ﺎ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺘﺘﻌﻠﻕ ﻫﺫﻩ ﺍﻟﻤﺴﺄﻟﺔ ﺒﺎﻟﺘﺤﺩﻴﺩ ﺒﺎﻟﻤﻭﻅﻑ ﺍﻟﺼﺤﻲ‬ ‫ﻟﻠﺤﻤﺎﻤﺎﺕ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻟﻘﺩ ﻜﺘﺏ ﺘﻘﺭﻴﺭﹰ ﻤﺎ ﺇﻟﻰ ﻤﺠﻠﺱ ﺍﻟﺤﻤﺎﻤﺎﺕ ﻴﺘﻌﻠﻕ‬ ‫ﺍ‬ ‫ﺒﺒﻌﺽ ﺍﻟﻌﻴﻭﺏ ﺍﻟﻤﺯﻋﻭﻤﺔ ﻓﻴﻬﺎ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻟﻡ ﻴﺨﺒﺭﻙ؟ ﺃﻅﻥ ﺃﻨﻪ ﻗﺎل -‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺤﻘ ﹰ؟ ﺒﺎﻟﻁﺒﻊ ﻟﺩﻯ ﻨﻴﺎﻓﺘﻙ ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﺍﻟﻤﺴﺅﻭﻟﻴﺎﺕ -‬ ‫ﺎ‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻭﻩ، ﺍﻟﺩﻜﺘﻭﺭ-؟‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻨﺕ ﺘﺫﻫﻠﻨﻲ.‬

‫ﺃﺴﻼﻜﺴﻥ )ﻤﻥ ﺤﺠﺭﺓ ﺍﻟﺘﻨﻔﻴﺫ(: ‪‬ﻔﻀل ﺃﻥ ﺁﺨﺫ ﺘﻠﻙ ﺍﻟﻤﺨﻁﻭﻁﺔ -‬ ‫ﻴ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: )ﻓﻲ ﺤﺎل ﺇﺜﺎﺭﺓ(: ﻫﻤﻡ- ﺇﻨﻬﺎ ﻫﻨﺎﻙ ﻋﻠﻰ ﺍﻟﻤﻜﺘﺏ -‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻤﻥ ﺍﻟﻤﺅﻜﺩ ﺃﻨﻬﺎ ﻫﻲ.‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺃﺠل، ﺇﻨﻬﺎ ﻤﻘﺎﻟﺔ ﺍﻟﺩﻜﺘﻭﺭ ﻴﺎ ﺴﻴﺩﻱ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻭﻩ، ﻫل ﻫﺫﺍ ﻤﺎ ﻜﻨﺕ ﺘﺘﺤﺩﺙ ﻋﻨﻪ؟‬ ‫ﺃﺴﻼﻜﺴﻥ )ﻴﺠﺩﻫﺎ(: ﺠﻴﺩ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺁﻩ ﺃﺠل، ﻫﺫﺍ ﺼﺤﻴﺢ، ﻟﻘﺩ ﻗﺎل ﻟﻲ ﺸﻴﺌ ﹰ -‬ ‫ﺎ‬

‫-٨٣١-‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻨﺎ ﺒﺎﻟﻁﺒﻊ ﻟﺴﺕ ﻤﺨﺘﺼ ﹰ، ﻜﻤﺎ ﺃﻨﻨﻲ ﺘﺼﻔﺤﺘﻬﺎ ﻓﺤﺴﺏ -‬ ‫ﺎ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻻ ﻴﻤﻜﻨﻨﻲ ﺃﻥ ﺃﺭﻓﺽ ﻤﻘﺎﻟﺔ ﻤﻭﻗﻌﺔ ﻤﻥ ﺼﺎﺤﺒﻬﺎ-‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻁﺒﻌ ﹰ ﻻ.‬ ‫ﺎ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻟﻜﻨﻙ ﺴﺘﻨﺸﺭﻫﺎ؟‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺒﺎﻟﻀﺒﻁ. ﻤﺎ ﺭﺃﻴﻙ ﺒﻬﺫﻩ ﺍﻟﻤﻘﺎﻟﺔ؟‬

‫ﺃﺴﻼﻜﺴﻥ: ﻟﻴﺱ ﻟﻲ ﻋﻼﻗﺔ ﺒﻤﺤﺘﻭﻴﺎﺕ ﺍﻟﻤﻘﺎﻟﺔ ﻴﺎ ﺴﻴﺩﻱ.‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺃﻨﺎ ﻓﻘﻁ ﺃﻁﺒﻊ ﻤﺎ ﺃﺘﺴﻠﻤﻪ ﺸﺨﺼﻴ ﹰ.‬ ‫ﺎ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻻ ﺸﻙ ﻓﻲ ﺫﻟﻙ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﺇﺫﹰ ﺒﻌﺩ ﺇﺫﻨﻙ - )ﻴﺫﻫﺏ ﺒﺎﺘﺠﺎﻩ ﺤﺠﺭﺓ ﺍﻟﺘﻨﻔﻴﺫ(.‬ ‫ﺍ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻻ، ﺍﻨﺘﻅﺭ ﻟﺤﻅﺔ ﺴﻴﺩ ﺃﺴﻼﻜﺴﻥ. ﺒﻌﺩ ﺇﺫﻨﻙ ﺴﻴﺩ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺒﻜل ﺴﺭﻭﺭ ﺴﻴﺩﻱ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻨﺕ ﺭﺠل ﺫﻜﻲ ﻭﺤﺼﻴﻑ ﻴﺎ ﺴﻴﺩ ﺃﺴﻼﻜﺴﻥ.‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻴﺴﺭﻨﻲ ﺃﻨﻙ ﺘﺭﺍﻨﻲ ﻫﻜﺫﺍ ﻴﺎ ﺴﻴﺩﻱ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻜﻤﺎ ﺃﻨﻙ ﺭﺠل ﻟﻙ ﻜﻠﻤﺘﻙ ﻓﻲ ﺃﻜﺜﺭ ﻤﻥ ﻤﺠﺎل.‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺃﻭﻩ، ﺒﺎﻷﺤﺭﻯ ﺒﻴﻥ ﺍﻟﻤﺘﻭﺍﻀﻌﻴﻥ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺇﻥ ﺩﺍﻓﻌﻲ ﺍﻟﻀﺭﺍﺌﺏ ﺍﻟﺼﻐﺎﺭ ﻫﻡ ﺍﻷﻜﺜﺭﻴﺔ، ﻫﻨﺎ ﻜﻤﺎ‬ ‫ﻓﻲ ﺃﻱ ﻤﻜﺎﻥ ﺁﺨﺭ.‬

‫-٩٣١-‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻭﻟﻴﺱ ﻟﺩﻱ ﺃﺩﻨﻰ ﺸﻙ ﺃﻨﻙ ﺘﻌﺭﻑ ﺸﻌﻭﺭ ﻤﻌﻅﻤﻬﻡ.‬ ‫ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟‬

‫ﺃﺴﻼﻜﺴﻥ: ﺃﺠل، ﻫﺫﺍ ﺼﺤﻴﺢ.‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺤﺴﻥ ﺇﺫﻥ، ﺒﻤﺎ ﺃﻥ ﺍﻟﻤﻭﺍﻁﻨﻴﻥ ﺍﻷﻗل ﻏﻨﻰ ﻓﻲ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ‬ ‫ﻤﻴﺎﻟﻭﻥ ﻋﻠﻰ ﻨﺤﻭ ﻴﺴﺘﺤﻕ ﺍﻟﺜﻨﺎﺀ ﻟﻠﻘﻴﺎﻡ ﺒﻬﺫﻩ ﺍﻟﺘﻀﺤﻴﺔ، ﺃﻨﺎ -‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺘﻀﺤﻴﺔ -؟‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻤﺎﺫﺍ!‬

‫ﺃﺴﻼﻜﺴﻥ: ﻨﻌﻡ، ﺃﻅﻥ ﺃﻨﻪ ﻴﻤﻜﻨﻨﻲ ﻗﻭل ﺫﻟﻙ ﻟﺴﻴﺎﺩﺘﻙ.‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺇﻨﻪ ﺘﻌﺒﻴﺭ ﺠﻴﺩ ﻋﻥ ﺭﻭﺡ ﺍﻟﺸﻌﺏ. ﺘﻌﺒﻴﺭ ﺭﺍﺌﻊ.‬ ‫ﻜﻨﺕ ﻋﻠﻰ ﻭﺸﻙ ﺍﻻﻋﺘﺭﺍﻑ ﺃﻨﻨﻲ ﻟﻡ ﺃﻜﻥ ﺃﺘﻭﻗﻌﻪ. ﻟﻜﻨﻜﻡ ﺘﻌﺭﻓﻭﻥ‬ ‫ﺭﺃﻱ ﺍﻟﺸﻌﺏ ﺃﻜﺜﺭ ﻤﻨﻲ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﻟﻜﻥ، ﺴﻴﺎﺩﺘﻙ -‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻭﻴﺤﺘﻤل ﺃﻻ ﺘﻜﻭﻥ ﺘﻀﺤﻴﺔ ﺘﺴﺘﺩﻋﻲ ﺩﺍﻓﻌﻲ‬ ‫ﺍﻟﻀﺭﺍﺌﺏ ﻟﻠﻘﻴﺎﻡ ﺒﻬﺎ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺩﺍﻓﻌﻭ ﺍﻟﻀﺭﺍﺌﺏ؟‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻟﻜﻨﻨﻲ ﻻ ﺃﻓﻬﻡ – ﻤﺎﻟﻜﻭ ﺍﻷﺴﻬﻡ ﻤﻥ ﺩﻭﻥ ﺭﻴﺏ -؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺒﻨﺎﺀ ﻋﻠﻰ ﺍﻟﺘﻘﺩﻴﺭﺍﺕ ﺍﻟﺤﺎﻟﻴﺔ ﻓﺈﻥ ﺍﻟﺘﻐﻴﻴﺭﺍﺕ ﺍﻟﺘﻲ‬ ‫ﻴﺭﻴﺩ ﺍﻟﻤﺩﻴﺭ ﺍﻟﺼﺤﻲ ﺇﺠﺭﺍﺀﻫﺎ ﻋﻠﻰ ﺍ ﻟﺤﻤﺎﻤﺎﺕ ﺴﺘﻜﻠﻑ ﺤﻭﺍﻟﻲ‬ ‫ﺃﻟﻔﻴﻥ ﺃﻭ ﺜﻼﺙ ﻤﺌﺔ ﺃﻟﻑ ﻜﺭﺍﻭﻥ.‬

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‫ﺃﺴﻼﻜﺴﻥ: ﻫﺫﺍ ﻤﺒﻠﻎ ﻜﺒﻴﺭ، ﻭﻟﻜﻥ -‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺴﻨﻜﻭﻥ ﻤﺠﺒﺭﻴﻥ ﻁﺒﻌ ﹰ ﻋﻠﻰ ﺘﺤﺼﻴل ﻫﺫﺍ ﺍﻟﻤﺒﻠﻎ‬ ‫ﺎ‬ ‫ﻋﻥ ﻁﺭﻴﻕ ﺍﻟﺒﻠﺩﻴﺔ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ ) ﻴﻨﻬﺽ(: ﻤﻥ ﺍﻟﻤﺅﻜﺩ ﺃﻨﻙ ﻻ ﺘﻌﻨﻲ ﺃﻥ ﺍﻟﻤﻭﺍﻁﻨﻴﻥ‬ ‫ﺍﻟﻌﺎﺩﻴﻴﻥ -؟‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺃﺘﻘﺼﺩ ﺃﻨﻙ ﺴﺘﻀﻴﻔﻬﺎ ﺇﻟﻰ ﺍﻟﻀﺭﺍﺌﺏ! ﺃﺘﻭﺩﻭﻥ ﺃﻥ‬ ‫ﺘﻘﻀﻭﺍ ﻤﺎﻟﻴ ﹰ ﻋﻠﻰ ﺃﺼﺤﺎﺏ ﺍﻟﻤﻬﻥ؟‬ ‫ﺎ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻭﻤﻥ ﺃﻴﻥ ﺇﺫﹰ ﻴﻤﻜﻨﻨﺎ ﺘﺄﻤﻴﻥ ﺍﻟﻤﺒﻠﻎ ﺍﻟﻼﺯﻡ ﻴﺎ ﻋﺯﻴﺯﻱ‬ ‫ﺍ‬ ‫ﺃﺴﻼﻜﺴﻥ؟‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻫﺫﺍ ﺸﺄﻥ ﺍﻟﺴﺎﺩﺓ ﺃﺼﺤﺎﺏ ﺍﻟﺤﻤﺎﻤﺎﺕ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻻ ﻴﺴﺘﻁﻴﻊ ﺃﻋﻀﺎﺀ ﺍﻟﻤﺠﻠﺱ ﺇﻴﺠﺎﺩ ﻁﺭﻴﻘﺔ ﻟﻠﻤﻭﺍﻓﻘﺔ‬ ‫ﻋﻠﻰ ﺃﻴﺔ ﻨﻔﻘﺎﺕ ﺃﺨﺭﻯ.‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻫل ﻫﺫﺍ ﺸﻲﺀ ﻗﻁﻌﻲ ﻴﺎ ﺴﻴﺩﻱ؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻟﻘﺩ ﻨﻅﺭﺕ ﻓﻲ ﻫﺫﻩ ﺍﻟﻘﻀﻴﺔ ﻤﻠﻴ ﹰ. ﻓﻠﻭ ﺃﺭﺍﺩ ﺍﻟﻨﺎﺱ‬ ‫ﺎ‬ ‫ﺇﺤﺩﺍﺙ ﻜل ﻫﺫﻩ ﺍﻟﺘﻐﻴﻴﺭﺍﺕ ﺍﻟﺸﺎﻤﻠﺔ، ﻋﻠﻴﻬﻡ ﺇﺫﹰ ﻫﻡ ﺃﻨﻔﺴﻬﻡ ﺃﻥ‬ ‫ﺍ‬ ‫ﻴﺩﻓﻌﻭﺍ ﺍﻟﺘﻜﺎﻟﻴﻑ.‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻟﻜﻥ ﻴﺎ ﺇﻟﻬﻲ، ﺃﻭﻩ، ﺃﺭﺠﻭ ﻋﻔﻭﻙ ﺴﻴﺩﻱ! ﻟﻜﻥ ﻫﺫﺍ ﻴﻐﻴﺭ‬ ‫ﺍﻟﻤﻭﻗﻑ ﻜﻠﻴ ﹰ ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ.‬ ‫ﺎ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺒﺎﻟﻔﻌل ﻴﻐﻴﺭ ﺍﻟﻤﻭﻗﻑ.‬

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‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﺴﻭﺃ ﻤﺎ ﻓﻲ ﺍﻷﻤﺭ ﺃﻨﻨﺎ ﺴﻨﻜﻭﻥ ﻤﺠﺒﺭﻴﻥ ﻋﻠﻰ‬ ‫ﺇﻏﻼﻕ ﺍﻟﺤﻤﺎﻤﺎﺕ ﻟﺴﻨﺘﻴﻥ ﺃﻭ ﺜﻼﺙ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻨﻐﻠﻘﻬﺎ؟ ﺃﺘﻌﻨﻲ ﺃﻥ ﻨﻐﻠﻘﻬﺎ ﻜﻠﻴ ﹰ؟‬ ‫ﺎ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻨﻌﻡ ﻷﻥ ﺍﻟﻌﻤل ﺴﻴﺴﺘﻐﺭﻕ ﻫﺫﻩ ﺍﻟﻤﺩﺓ ﻋﻠﻰ ﺃﻗل‬ ‫ﺘﻘﺩﻴﺭ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﻟﺴﻨﺘﻴﻥ؟‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﺨﺸﻰ ﺃﻥ ﻫﺫﺍ ﺴﺅﺍل ﻴﺼﻌﺏ ﺍﻹﺠﺎﺒﺔ ﻋﻨﻪ ﻴﺎ ﺴﻴﺩ‬ ‫ﺃﺴﻼﻜﺴﻥ. ﻟﻜﻥ ﻤﺎﺫﺍ ﺘﺘﻭﻗﻊ ﻤﻨﺎ ﺃﻥ ﻨﻔﻌل؟ ﻫل ﺘﻅﻥ ﺃﻥ ﺒﺈﻤﻜﺎﻨﻨﺎ‬ ‫ﺍﺴﺘﻘﺒﺎل ﺯﺍﺌﺭ ﻭﺍﺤﺩ ﻫﻨﺎ ﺇﺫﺍ ﻨﺸﺭﻨﺎ ﻓﻜﺭﺓ ﺃﻥ ﺍﻟﻤﺎﺀ ﻤﻠﻭﺙ، ﻭﺃﻥ‬ ‫ﺍﻟﺒﻠﺩﺓ ﻜﻠﻬﺎ ﺘﻌﻴﺵ ﻋﻠﻰ ﺍﻟﻤﺼﺎﺭﻑ؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻻ ﺘﻭﺠﺩ ﻗﻭﺓ ﺇﺭﺍﺩﺓ ﻓﻲ ﺍﻟﻭﺠﻭﺩ ﺘﺴﺘﻁﻴﻊ ﺇﻗﻨﺎﻋﻲ‬ ‫ﺒﻐﻴﺭ ﺫﻟﻙ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﻟﻜﻥ، ﻴﺎ ﺭﺏ ﺍﻟﺴﻤﺎﺀ، ﻟﻥ ﻨﺘﺤﻤل ﺫﻟﻙ ﺴﻴﺩﻱ! ﻜﻴﻑ‬ ‫ﺴﻨﻌﻴﺵ ﻨﺤﻥ ﺃﺼﺤﺎﺏ ﺍﻟﻌﻘﺎﺭﺍﺕ ﺨﻼل ﺘﻠﻙ ﺍﻟﻤ ‪‬ﺓ؟‬ ‫ﺩ‬

‫ﺃﺴﻼﻜﺴﻥ: ﻭﻫﺫﺍ ﻜﻠﻪ ﻤﺤﺽ ﺘﺨﻤﻴﻥ؟‬

‫ﺃﺴﻼﻜﺴﻥ: ﻟﻜﻥ ﺇﻥ ﻜﺎﻥ ﺍﻟﻭﻀﻊ ﻜﺫﻟﻙ. ﻓﻼ ﻴﺠﺩﺭ ﺒﺎﻟﺩﻜﺘﻭﺭ‬ ‫ﺴﺘﻭﻜﻤﺎﻥ ﺃﻥ - ﺃﺭﺠﻭ ﻋﻔﻭﻙ ﺴﻴﺩﻱ، ﻟﻜﻥ -‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻋﺘﺭﺽ ﻋﻠﻰ ﻤﻼﺤﻅﺘﻙ ﻴﺎ ﺴﻴﺩ ﺃﺴﻼﻜﺴﻥ، ﻟﻜﻥ‬ ‫ﺃﺨﺸﻰ ﺃﻨﻬﺎ ﺍﻟﺤﻘﻴﻘﺔ. ﻟﻁﺎﻟﻤﺎ ﻜﺎﻥ ﺃﺨﻲ ﺭﺠ ﹰ ﻤﺘﻬﻭﺭﹰ ﻟﺴﻭﺀ‬ ‫ﺍ‬ ‫ﻼ‬ ‫ﺍﻟﺤﻅ.‬

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‫ﺃﺴﻼﻜﺴﻥ: ﺃﻻ ﺘﺯﺍل ﺘﺭﻴﺩ ﺩﻋﻤﻪ ﻓﻴﻤﺎ ﻴﻘﻭﻡ ﺒﻪ ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻟﻘﺩ ﻜﺘﺒﺕ ﻤﻭﺠﺯ ﹰ ﻋﻥ ﺍﻟﻤﻭﻗﻑ ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ‬ ‫ﺍ‬ ‫ﺸﺨﺹ ﻤﺤﺎﻴﺩ، ﺍﻗﺘﺭﺤﺕ ﻓﻴﻪ ﻜﻴﻔﻴﺔ ﻤﻌﺎﻟﺠﺔ ﺃﻱ ﺃﺨﻁﺎﺀ ﻗﺩ ﺘﻨﺠﻡ‬ ‫ﻋﻥ ﺍﻟﺘﺭﺘﻴﺒﺎﺕ ﺍﻟﺤﺎﻟﻴﺔ ﻓﻲ ﺤﺩﻭﺩ ﺍﻟﻤﻴﺯﺍﻨﻴﺔ ﺍﻟﻤﺎﻟﻴﺔ ﺍﻟﻤﺨﺼﺼﺔ‬ ‫ﻟﻠﺤﻤﺎﻤﺎﺕ ﺤﺎﻟﻴ ﹰ.‬ ‫ﺎ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﻴﺘﺤﺴﺱ ﺠﻴﺒﻪ(: ﺃﺠل، ﻟﻘﺩ ﺃﺤﻀﺭﺘﻬﺎ ﻤﻌﻲ ﻓﻲ ﺤﺎل‬ ‫ﻁﻠﺒﺘﹶﻬﺎ -‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻤﻥ؟ ﺃﺨﻲ؟‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻜﻥ ﻤﻥ ﻜﺎﻥ ﻴﺘﺼﻭﺭ ﺃﻥ -؟‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻫل ﺘﻠﻙ ﺍﻟﻭﺜﻴﻘﺔ ﺒﺤﻭﺯﺘﻙ ﻴﺎ ﺴﻴﺩﻱ؟‬

‫ﺃﺴﻼﻜﺴﻥ )ﺒﺴﺭﻋﺔ(: ﺃﻭﻩ، ﻴﺎ ﺇﻟﻬﻲ، ﻫﺎ ﻫﻭ ﻗﺎﺩﻡ!‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻴﻥ- ﺃﻴﻥ؟‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻴﺎ ﻟﻠﺤﻅ ﺍﻟﺴﻲﺀ! ﻻ ﺃﺭﻴﺩ ﻤﻘﺎﺒﻠﺘﻪ ﻫﻨﺎ، ﻭﻻ ﻴﺯﺍل‬ ‫ﻟﺩﻱ ﺸﻲﺀ ﺁﺨﺭ ﺃﺭﻴﺩ ﺍﻟﺘﺤﺩﺙ ﻓﻴﻪ ﻤﻌﻙ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﺇﻨﻪ ﺍﻵﻥ ﻴﺠﺘﺎﺯ ﺤﺠﺭﺓ ﺍﻟﺘﻨﻔﻴﺫ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ )ﻴﺸﻴﺭ ﺒﺎﺘﺠﺎﻩ ﺍﻟﺒﺎﺏ ﺇﻟﻰ ﺍﻟﻴﻤﻴﻥ(: ﺘﻔﻀل ﺇﻟﻰ ﺍﻟﺩﺍﺨل‬ ‫ﺭﻴﺜﻤﺎ ﻴﻐﺎﺩﺭ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻻ ﻴﻭﺠﺩ ﺴﻭﻯ ﺒﻴﻠﻴﻨﻎ ﻫﻨﺎﻙ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻭﻟﻜﻥ -؟‬

‫ﺃﺴﻼﻜﺴﻥ: ﺃﺴﺭﻉ، ﺃﺴﺭﻉ ﻴﺎ ﺴﻴﺩﻱ! ﻟﻘﺩ ﻭﺼل!‬

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‫ﻴﺨﺭﺝ ﻤﻥ ﺍﻟﺒﺎﺏ ﺍﻷﻴﻤﻥ ﺍﻟﺫﻱ ﻴﻔﺘﺤﻪ ﻟﻪ ﺃﺴﻼﻜﺴﻥ ﻭﻴﻐﻠﻘﻪ ﻭﺭﺍﺀﻩ.‬ ‫ﻴﺠﻠﺱ ﻭﻴﻜﺘﺏ. ﻴﺒﺩﺃ ﺃﺴﻼﻜﺴﻥ ﺒﺘﺼﻔﺢ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻟﺼﺤﻑ‬ ‫ﺍﻟﻤﻭﺠﻭﺩﺓ ﻋﻠﻰ ﻜﺭﺴﻲ ﺇﻟﻰ ﺍﻟﻴﻤﻴﻥ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺍﺸﻐل ﻨﻔﺴﻙ ﺒﺸﻲﺀ ﻴﺎ ﺃﺴﻼﻜﺴﻥ.‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺤﺴﻥ. ﻟﻜﻥ ﺘﺨﻠﺼﻭﺍ ﻤﻨﻪ ﺒﺄﺴﺭﻉ ﻤﺎ ﻴﻤﻜﻥ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺩﺨل ﻤﻥ ﺤﺠﺭﺓ ﺍﻟﺘﻨﻔﻴﺫ(: ﻫﺎ ﻗﺩ ﻋﺩﺕ ﺇﻟﻴﻜﻡ‬ ‫ﻤﻥ ﺠﺩﻴﺩ! )ﻴﻀﻊ ﻗﺒﻌﺘﻪ ﻭﻋﺼﺎﻩ ﺠﺎﻨﺒ ﹰ(‬ ‫ﺎ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ )ﻭﻫﻭ ﻴﻜﺘﺏ(: ﺃﺒﻬﺫﻩ ﺍﻟﺴﺭﻋﺔ ﻴﺎ ﺩﻜﺘﻭﺭ؟ ﺃﺴﺭﻉ ﻴﺎ‬ ‫ﺃﺴﻼﻜﺴﻥ ﺒﺸﺄﻥ ﻤﺎ ﻜﻨﺎ ﻨﺘﺤﺩﺙ ﻋﻨﻪ. ﻟﻘﺩ ﺘﺄﺨﺭﻨﺎ ﺍﻟﻴﻭﻡ ﻜﺜﻴﺭﹰ.‬ ‫ﺍ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺒﺄﺱ. ﻟﻜﻨﻨﻲ ﺃﻨﺘﻅﺭ ﺒﻔﺎﺭﻍ ﺍﻟﺼﺒﺭ، ﻭﺃﻨﺎ ﺃﻋﻠﻡ‬ ‫ﺃﻨﻜﻡ ﺘﻘﺩﺭﻭﻥ ﺫﻟﻙ. ﻟﻥ ﺃﻋﺭﻑ ﻁﻌﻡ ﺍﻟﺭﺍﺤﺔ ﺤﺘﻰ ﺃﺭﻯ ﺫﻟﻙ‬ ‫ﺍﻟﺸﻲﺀ ﻤﻁﺒﻭﻋ ﹰ.‬ ‫ﺎ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻫﻤﻡ- ﺴﻴﺘﻁﻠﺏ ﻁﺒﺎﻋﺘﻬﺎ ﺒﻌﺽ ﺍﻟﻭﻗﺕ. ﺃﻟﻴﺱ ﻜﺫﻟﻙ ﻴﺎ‬ ‫ﺃﺴﻼﻜﺴﻥ؟‬

‫ﺃﺴﻼﻜﺴﻥ )ﺩﻭﻥ ﺃﻥ ﻴﻠﺘﻔﺕ(: ﻻ، ﻻ ﺃﺭﻯ ﺃﻨﻙ ﺘﻅﻥ ﺃﻨﻬﺎ ﺴ ﺘﺠﻬﺯ‬ ‫ﺒﻬﺫﻩ ﺍﻟﺴﺭﻋﺔ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ) ﻷﺴﻼﻜﺴﻥ(: ﺃﻟﻡ ﺘﺠﻬﺯ ﺍﻟﻨﺴﺨﺔ ﺍﻟﺘﺠﺭﻴﺒﻴﺔ ﺒﻌﺩ؟‬

‫ﺃﺴﻼﻜﺴﻥ: ﻨﻌﻡ، ﺃﺨﺸﻰ ﺫﻟﻙ.‬

‫ﻴﻬﻤﻨﻲ ﺇﻥ ﻗﻁﻌﺕ ﺍﻟﻤﺴﺎﻓﺔ ﻤﺭﺘﻴﻥ ﺇﻥ ﻟﺯﻡ ﺍﻷﻤﺭ. ]ﻓﻔﻲ ﻤﺴﺎﻟﺔ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻥ ﻴﺎ ﺃﺼﺩﻗﺎﺌﻲ ﺍﻷﻋﺯﺍﺀ. ﺴﺄﻋﻭﺩ ﻻﺤﻘ ﹰ. ﻻ‬ ‫ﺎ‬

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‫ﺤﺴﺎﺴﺔ ﻜﻬﺫﻩ، ﻓﻴﻬﺎ ﻤﺼﻠﺤﺔ ﺍﻟﺒﻠﺩﺓ ﻋﻠﻰ ﺍﻟﻤﺤﻙ، ﻋﻠﻰ ﺍﻟﻤﺭﺀ ﺃﻻ‬ ‫ﻴﺸﻜﻭ ﻤﻥ ﺒﺫل ﻤﺠﻬﻭﺩ ﺇﻀﺎﻓﻲ![ )ﻴﻬﻡ ﺒﺎﻟﺫﻫﺎﺏ، ﻟﻜﻨﻪ ﻴﺘﻭﻗﻑ‬ ‫ﻭﻴﻌﻭﺩ.( ﺃﻭﻩ ﺒﺎﻟﻤﻨﺎﺴﺒﺔ، ﻫﻨﺎﻙ ﺸﻲﺀ ﺁﺨﺭ ﻴﺠﺏ ﺃﻥ ﺃﺤﺩﺜﻙ ﻋﻨﻪ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺁﺴﻑ، ﻟﻜﻥ ﺃﻻ ﻴﻤﻜﻨﻙ ﺘﺄﺠﻴﻠﻪ ﺤﺘﻰ ﻭﻗﺕ ﺁﺨﺭ -؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻴﻤﻜﻨﻨﻲ ﺃﻥ ﺃﻭﺠﺯﻩ ﻟﻙ ﺒﻜﻠﻤﺘﻴﻥ. ﻜل ﻤﺎ ﻓﻲ‬ ‫ﺍﻷﻤﺭ ﺃﻥ ]ﺍﻟﻨﺎﺱ ﺤﻴﻥ ﺴﻴﻘﺭﺅﻭﻥ ﻤﻘﺎﻟﺘﻲ ﻓﻲ ﺼﺤﻑ ﺍﻟﻐﺩ‬ ‫ﻭﻴﻜﺘﺸﻔﻭﻥ ﺃﻨﻨﻲ ﻜﻨﺕ ﺃﺠﻬﺩ ﺘﻔﻜﻴﺭﻱ ﻁﻭﺍل ﺍﻟﺸﺘﺎﺀ، ﺃﻋﻤل‬

‫ﺒﺼﻤﺕ ﻟﻤﺼﻠﺤﺔ ﺍﻟﺒﻠﺩﺓ -‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻜﻥ ﻴﺎ ﺩﻜﺘﻭﺭ -‬

‫ﺒﺎﻟﻁﺒﻊ، ﺃﻋﻠﻡ ﺫﻟﻙ ﻜﻤﺎ ﺘﻌﻠﻤﻪ ﺃﻨﺕ. ﻭﻟﻜﻥ[ ﺃﺘﻌﻠﻡ، ﺇﻥ ﺃﺒﻨﺎﺀ‬

‫ﻟﻴﺱ ﺴﻭﻯ ﻭﺍﺠﺒﻲ ﺍﻟﻠﻌﻴﻥ - ﻋﻤﻠﻲ ﺒﻭﺼﻔﻲ ﻤﻭﺍﻁﻨ ﹰ. ﺃﺠل،‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻋﻠﻡ ﻤﺎ ﺴﺘﻘﻭل. ﻓﺄﻨﺕ ﺘﺭﻯ ﺃﻥ ﻤﺎ ﻗﻤﺕ ﺒﻪ‬

‫ﻤﺩﻴﻨﺘﻲ، ﻴﺎ ﻋﺯﻴﺯﻱ، ﺃﻭﻟﺌﻙ ﺍﻟﻨﺎﺱ ﺍﻟﻁﻴﺒﻭﻥ، ﻴﺜﻘﻭﻥ ﺒﻲ ﻜﺜﻴﺭﹰ -‬ ‫ﺍ‬ ‫ﻜﺫﻟﻙ ﺤﺘﻰ ﺍﻵﻥ، ﻴﺎ ﺩﻜﺘﻭﺭ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﺃﺠل، ﺇﻥ ﺃﺒﻨﺎﺀ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ ﻜﺎﻨﻭﺍ ﻴﺜﻘﻭﻥ ﺒﻙ ﻭﻻ ﻴﺯﺍﻟﻭﻥ‬ ‫]ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﻭﻫﺫﺍ ﺒﺎﻟﻀﺒﻁ ﻤﺎ ﻴﺨﻴﻔﻨﻲ - ﺃﻗﺼﺩ ﺃﻨﻬﻡ‬ ‫ﺩﻋﻭﺓ ﺼﺭﻴﺤﺔ ﻟﻬﻡ ﻷﻥ ﻴﺘﺴﻠﻤﻭﺍ ﺍﻹﺩﺍﺭﺓ ﺍﻟﺤﻜﻭﻤﻴﺔ ﻟﻤﺩﻴﻨﺘﻬﻡ‬ ‫ﻋﻨﺩﻤﺎ ﺴﻴﻘﺭﺅﻭﻥ ﺍﻟﻤﻘﺎﻟﺔ، ﻭﺒﺨﺎﺼﺔ ﺍﻟﻔﻘﺭﺍﺀ ﻤﻨﻬﻡ، ﺴﺘﺒﺩﻭ ﻜﺄﻨﻬﺎ‬

‫ﻤﺴﺘﻘﺒ ﹰ.‬ ‫ﻼ‬

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‫ﺎ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ )ﻴﻨﻬﺽ(: ﺃﺼﻎ ﺇﻟﻲ ﻴﺎ ﺩﻜﺘﻭﺭ، ﻻ ﺃﺭﻴﺩ ﺃﻥ ﺃﻜﺘﻡ ﺸﻴﺌ ﹰ‬ ‫ﻋﻨﻙ -‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺁﻩ، ﻫل ﺤﺩﺙ ﺸﻲﺀ ﻗﺒل ﻗﻠﻴل! ﻜﺎﻥ ﻋﻠﻲ ﺃﻥ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻤﺜل ﻤﺎﺫﺍ؟[‬ ‫ﺃﻭ ﻤﺄﺩﺒﺔ ﻁﻌﺎﻡ ﺃﻭ - ﺘﺒﺭﻋﺎﺕ ﺘﻌﺒﻴﺭ ﹰ ﻋﻥ ﺍﻻﻤﺘﻨﺎﻥ، ﻓﻌﻠﻴﻙ ﺃﻥ‬ ‫ﺍ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻥ، ﺇﺫﺍ ﺘﻡ ﺘﺭﺘﻴﺏ ﺃﻱ ﺸﻲﺀ ﻜﻤﻭﻜﺏ ﻤﺸﺎﻋل‬

‫ﺃﺨﻤﻥ! ﻟﻜﻨﻨﻲ ﻻ ﺃﺭﻴﺩ ﺤﺩﻭﺜﻪ! ﺇﺫﺍ ﻜﺎﻨﻭﺍ ﻴﺭﺘﺒﻭﻥ ﺃﻤﺭ ﹰ ﻤﺎ، ﻓﺄﻨﺎ -‬ ‫ﺍ‬

‫ﺘﻘﻁﻊ ﻟﻲ ﻋﻬﺩﹰ ﺒﺄﻨﻙ ﺴﺘﻌﺎﺭﺽ ﻜل ﺫﻟﻙ. ﻭﺃﻨﺕ ﺃﻴﻀ ﹰ ﻴﺎ ﺴﻴﺩ‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﺃﺴﻼﻜﺴﻥ! ﺃﺘﺴﻤﻌﻨﻲ؟‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺁﺴﻑ ﻴﺎ ﺩﻜﺘﻭﺭ، ﻟﻜﻥ ﻴﺠﺩﺭ ﺒﻨﺎ ﺃﻴﻀ ﹰ ﺃﻥ ﻨﺨﺒﺭﻙ‬ ‫ﺎ‬ ‫ﺒﺎﻟﺤﻘﻴﻘﺔ ﻋﺎﺠ ﹰ ﺃﻡ ﺁﺠ ﹰ -‬ ‫ﻼ‬ ‫ﻼ‬ ‫ﺘﺩﺨل ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ ﻤﻥ ﺍﻟﺒﺎﺏ ﺍﻟﻴﺴﺎﺭﻱ ﺍﻟﻤﻭﺠﻭﺩ ﻓﻲ ﻨﻬﺎﻴﺔ‬ ‫ﺍﻟﻤﺴﺭﺡ، ﻤﺭﺘﺩﻴﺔ ﻗﺒﻌﺔ ﻭﻤﻌﻁﻔ ﹰ.‬ ‫ﺎ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﺭﻯ ﺍﻟﺩﻜﺘﻭﺭ(: ﺘﻭﻗﻌﺕ ﺫﻟﻙ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ )ﻴﺘﺠﻪ ﻨﺤﻭﻫﺎ(: ﺃﻨﺕ ﻫﻨﺎ ﺃﻴﻀ ﹰ ﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ؟‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﺎﺫﺍ ﺃﺘﻴﺕ ﺘﻔﻌﻠﻴﻥ ﻫﻨﺎ ﺒﺤﻕ ﺍﻟﺠﺤﻴﻡ ﻴﺎ ﻜﺎﺜﺭﻴﻥ؟‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺒﺩ ﺃﻨﻙ ﺘﻌﻠﻡ ﻟﻤﺎﺫ ﺃﺘﻴﺕ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻟﻥ ﺘﺠﻠﺴﻲ؟ ]ﺃﻭ ﺭﺒﻤﺎ -؟[‬

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‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺸﻜﺭﻙ، ﻻ ﺩﺍﻋﻲ ﺃﻥ ﺘﺯﻋﺞ ﻨﻔﺴﻙ. ﻭﻋﻠﻴﻙ ﺃﻻ‬ ‫ﺘﻐﻀﺏ ﻷﻨﻨﻲ ﺃﺘﻴﺕ ﺇﻟﻰ ﻫﻨﺎ ﻷﺤﻀﺭ ﺯﻭﺠﻲ، ﻓﺄﻨﺎ ﺃﻡ ﻟﺜﻼﺜﺔ‬ ‫ﺃﻁﻔﺎل، ﺁﻤل ﺃﻨﻙ ﺘﺩﺭﻙ ﺫﻟﻙ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫل ﺠﻨﻨﺕ ﻴﺎ ﻜﺎﺜﺭﻴﻥ؟ ﻫل ﻋﻠﻰ ﺍﻟﻤﺭﺀ ﺃﻥ ‪‬ﻤﻨﻊ‬ ‫ﻴ‬ ‫ﻤﻥ ﻗﻭل ﺍﻟﺤﻘﻴﻘﺔ ﻷﻥ ﻟﺩﻴﻪ ﺯﻭﺠﺔ ﻭﺃﻁﻔﺎ ﹰ، ﻭﺃﻥ ‪‬ﻤﻨﻊ ﻤﻥ ﺃﻥ‬ ‫ﻴ‬ ‫ﻻ‬ ‫ﻴﻜﻭﻥ ﻤﻭﺍﻁﻨ ﹰ ﻨﺸﻴﻁ ﹰ ﻓﻌﺎ ﹰ ﻜﻲ ﻴﺨﺩﻡ ﺍﻟﺒﻠﺩﺓ ﺍﻟﺘﻲ ﻴﻌﻴﺵ ﻓﻴﻬﺎ،‬ ‫ﺎ ﻻ‬ ‫ﺎ‬ ‫ﻫﻜﺫﺍ ﺒﺒﺴﺎﻁﺔ؟‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻥ، ﻻ ﻴﺒﺩﻭ ﻟﻲ ﺃﻨﻙ ﺘﻔﻜﺭ ﻜﺜﻴﺭ ﹰ ﺒﺯﻭﺠﻙ‬ ‫ﺍ‬ ‫ﻭﺃﻁﻔﺎﻟﻙ ﻫﺫﻩ ﺍﻷﻴﺎﻡ، ﻭﺇﻻ ﻓﻤﺎ ﻜﻨﺕ ﻟﺘﺄﺘﻲ ﺇﻟﻰ ﻫﻨﺎ ﻭﺘﺴﺒﺏ ﻟﻨﺎ‬ ‫ﺍﻟﺘﻌﺎﺴﺔ ﺠﻤﻴﻌ ﹰ.‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻭﻩ ﺤﻘ ﹰ، ﻨﺤﻥ ﻨﻌﻠﻡ ﺫﻟﻙ ﻴﺎ ﻜﺎﺜﺭﻴﻥ.‬ ‫ﺎ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺁﻩ ﻴﺎ ﺘﻭﻤﺎﺱ، ﻟﻴﺘﻙ ﻓﻘﻁ ﺘﻜﻭﻥ ﻤﻨﻀﺒﻁ ﹰ ﺒﻌﺽ‬ ‫ﺎ‬ ‫ﺍﻟﺸﻲﺀ.‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻫﺫﺍ ﺒﺎﻟﻀﺒﻁ ﻤﺎ ﺃﻗﻭﻟﻪ. ﻻ ﺒﺩ ﻤﻥ ﻭﺠﻭﺩ ﺍﻟﻀﺎﺒﻁ ﻓﻲ ﻜل‬ ‫ﺸﻲﺀ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻤﺎ ﺒﺎﻟﻨﺴﺒﺔ ﺇﻟﻴﻙ ﻴﺎ ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ، ﻓﻠﻴﺱ ﻤﻥ‬ ‫ﺤﻘﻙ ﺃﻥ ﺘﻘﻨﻊ ﺯﻭﺠﻲ ﺒﺘﺭﻙ ﻤﻨﺯﻟﻪ ﻭﻋﻴﺎﻟﻪ، ﻭﺘﺨﺩﻋﻪ ﻟﻴﻭﺭﻁ‬ ‫ﻨﻔﺴﻪ ﻓﻲ ﻜل ﻫﺫﺍ -‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻡ ﺃﺨﺩﻉ ﺃﺤﺩ ﹰ -‬ ‫ﺍ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﹸﺩﻋﺕ! ﺃﺘﻅﻨﻴﻥ ﺃﻨﻲ ﺃﺴﻤﺢ ﻟﻨﻔﺴﻲ ﺃﻥ ُﺨﺩﻉ؟‬ ‫ﺃ‬ ‫ﺨ‬

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‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﻟﻘﺩ ﹸﺩﻋﺕ. ﺃﻋﻠﻡ ﺃﻨﻙ ﺃﺫﻜﻰ ﺭﺠل ﻓﻲ‬ ‫ﺨ‬ ‫ﺍﻟﺒﻠﺩﺓ، ﻟﻜﻥ ﻤﻥ ﺍﻟﺴﻬل ﺠﺩﹰ ﺨﺩﺍﻋﻙ ﻴﺎ ﺘﻭﻤﺎﺱ. )ﻟﻬﻭﭭﺴﺘﺎﺩ( ﻻ‬ ‫ﺍ‬ ‫ﺘﻨ ‪ ‬ﺃﻨﻪ ﺴﻴﺨﺴﺭ ﻭﻅﻴﻔﺘﻪ ﻓﻲ ﺍﻟﺤﻤﺎﻤﺎﺕ ﻟﻭ ﻨﺸﺭﺕ ﻤﺎ ﻜﺘﺒﻪ -‬ ‫ﺱ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻜﻥ ﻴﺎ ﺩﻜﺘﻭﺭ - ﺃﻨﺎ -‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻤﺎﺫﺍ!‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺫﺍ ﻫﺭﺍﺀ ﻴﺎ ﻜﺎﺜﺭﻴﻥ! ﻋﻭﺩﻱ ﺍﻵﻥ ﺇﻟﻰ ﺍﻟﺒﻴﺕ‬ ‫ﻭﺍﻋﺘﻨﻲ ﺒﺸﺅﻭﻨﻪ، ﻭﺩﻋﻴﻨﻲ ﺃﻨﺎ ﺃﻫﺘﻡ ﺒﺸﺅﻭﻥ ﺍﻟﻤﺠﺘﻤﻊ. ﻜﻴﻑ‬ ‫ﻴﻤﻜﻥ ﻟﻙ ﺃﻥ ﺘﺨﺎﻓﻲ ﺒﻴﻨﻤﺎ ﻴﻐﻤﺭﻨﻲ ﺍﻟﻬﺩﻭﺀ ﻭﺍﻟﺴﻌﺎﺩﺓ؟ )ﻴﻔﺭﻙ‬ ‫ﻴﺩﻴﻪ ﻤﻌ ﹰ ﻭﻴﻤﺸﻲ ﺠﻴﺌﺔ ﻭﺫﻫﺎﺒ ﹰ.( ﺍﻟﺤﻘﻴﻘﺔ ﻭﺍﻟﺸﻌﺏ ﺴﻴﻜﺴﺒﺎﻥ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺍﻟﻤﻌﺭﻜﺔ، ﻻ ﺘﻘﻠﻘﻲ ﺃﺒﺩﹰ! ﻴﻤﻜﻨﻨﻲ ﺃﻥ ﺃﺭﻯ ﻜل ﻤﻭﺍﻁﻥ ﺫﻱ ﻓﻜﺭ‬ ‫ﺍ‬ ‫ﺤﺭ ﻓﻲ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ ﻴﺴﻴﺭ ﹸﺩﻤ ﹰ ﻓﻲ ﺠﻴﺵ ﻻ ﻴﻘﻬﺭ -! )ﻴﻘﻑ ﺇﻟﻰ‬ ‫ﻗ ﺎ‬ ‫ﺠﺎﻨﺏ ﻜﺭﺴﻲ( ﺘﺒ ﹰ - ﻤﺎ ﻫﺫﺍ؟‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺇﻨﻬﺎ ﻗﺒﻌﺔ ﺭﺴﻤﻴﺔ! )ﻴﺄﺨﺫ ﻗﺒﻌﺔ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ‬ ‫ﻭﻴﻤﺴﻜﻬﺎ ﺒﺄﺼﺎﺒﻌﻪ ﺒﺤﺭﺹ ﻭﻴﺭﻓﻌﻬﺎ ﻓﻲ ﺍﻟﻬﻭﺍﺀ(.‬ ‫ﺃﺴﻼﻜﺴﻥ )ﻴﻨﻅﺭ ﺇﻟﻴﻬﺎ(: ﻴﺎ ﺇﻟﻬﻲ!‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﻭﻫﻨﺎ ﺘﻜﻤﻥ ﺍﻟﻤﺸﻜﻠﺔ. ﺇﻨﻬﺎ ﺜﻠﺔ ﻤﺯﻋﺠﺔ‬ ‫ﺘﻠﻙ ﺍﻟﺘﻲ ﺘﻘﻑ ﺇﻟﻰ ﺠﺎﻨﺒﻙ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻀﺤﻙ(: ﻓﻠﻴﺠﺭﺒﻭﺍ ﻁﺭﺩﻱ! ﺃﻭﻩ، ﻻ ﻴﺎ ﻜﺎﺜﺭﻴﻥ‬ ‫ ﻋﻠﻴﻬﻡ ﺃﻥ ﻴﺄﺨﺫﻭﺍ ﺤﺫﺭﻫﻡ! ﻓﺄﻨﺎ ﻜﻤﺎ ﺘﻌﻠﻤﻴﻥ ﺇﻟﻰ ﺠﺎﻨﺒﻲ ﺘﻘﻑ‬‫ﺍﻷﻏﻠﺒﻴﺔ.‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﻋﺼﺎﻩ ﺍﻟﺭﺴﻤﻴﺔ ﺃﻴﻀﹰ. ﻤﺎﺫﺍ ﺘﺴﻤﻲ ﻫﺫﺍ ﺒﺤﻕ ﺍﻟﺠﺤﻴﻡ؟‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺁﻩ، ﻟﻘﺩ ﻓﻬﻤﺕ. ﻟﻘﺩ ﻜﺎﻥ ﻫﻨﺎ ﻟﻴﺘﺤﺩﺙ ﺇﻟﻴﻙ!‬ ‫)ﻴﻀﺤﻙ.( ﻟﻘﺩ ﺃﺘﻰ ﺇﻟﻰ ﺍﻷﺸﺨﺎﺹ ﺍﻟﺨﻁﺄ! ﺜﻡ ﺭﺁﻨﻲ ﻓﻲ ﺤﺠﺭﺓ‬ ‫ﺍﻟﺘﻨﻔﻴﺫ - )ﻴﻀﺤﻙ ﻤﻘﻬﻘﻬ ﹰ.( ﻫل ﻫﺭﺏ ﻴﺎ ﺴﻴﺩ ﺃﺴﻼﻜﺴﻥ؟‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺭﺏ ﻭﺘﺭﻙ ﻋﺼﺎﻩ ﻭ -؟ ﻫﺭﺍﺀ! ﺒﻴﺘﺭ ﻟﻡ‬ ‫ﻴﺘﺭﻙ ﺸﻴﺌ ﹰ ﻭﺭﺍﺀﻩ ﻓﻲ ﺤﻴﺎﺘﻪ! ﺁﻩ، ﺃﺠل، ﺒﺎﻟﻁﺒﻊ - ﺇﻨﻪ ﻫﻨﺎﻙ ﻓﻲ‬ ‫ﺎ‬ ‫ﺍﻟﺩﺍﺨل! ﺴﺘﺭﻴﻥ ﺍﻵﻥ ﻴﺎ ﻜﺎﺜﺭﻴﻥ!‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻻ ﺘﻘﻡ ﺒﺘﺼﺭﻑ ﻤﺘﻬﻭﺭ ﻴﺎ ﺩﻜﺘﻭﺭ!‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺘﻭﻤﺎﺱ، ﺃﺘﻭﺴل ﺇﻟﻴﻙ -!‬ ‫ﺃﺴﻼﻜﺴﻥ )ﺒﺴﺭﻋﺔ(: ﺃﺠل ﻴﺎ ﺩﻜﺘﻭﺭ، ﻟﻘﺩ ﻫﺭﺏ ﻤﻥ ﻫﻨﺎ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺤﺴﻨ ﹰ -‬ ‫ﺎ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻗﺒﻌﺔ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ!‬

‫ﻴﻀﻊ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻗﺒﻌﺔ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ ﻋﻠﻰ ﺭﺃﺴﻪ‬ ‫ﻭﻴﺄﺨﺫ ﻋﺼﺎﻩ. ﺜﻡ ﻴﺘﻭﺠﻪ ﻨﺤﻭ ﺍﻟﺒﺎﺏ ﻭﻴﺩﻓﻌﻪ، ﻴﺭﻓﻊ ﻴﺩﻩ‬ ‫ﺍ‬ ‫ﺇﻟﻰ ﺍﻟﻘﺒﻌﺔ ﻓﻲ ﻭﻀﻌﻴﺔ ﺘﺤﻴﺔ. ﻴﺩﺨل ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ ﻤﺤﻤﺭ ﹰ‬ ‫ﻤﻥ ﺍﻟﻐﻀﺏ. ﻴﺘﺒﻌﻪ ﺒﻴﻠﻴﻨﻎ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺘﺼﺭﻑ ﺘﺠﺎﻫﻲ ﺒﺸﻲﺀ ﻤﻥ ﺍﻻﺤﺘﺭﺍﻡ ﺭﺠﺎ ‪،‬‬ ‫ﺀ‬ ‫ﻋﺯﻴﺯﻱ ﺒﻴﺘﺭ. ﻓﺄﻨﺎ ﺍﻵﻥ ﺃﻤﺜل ﺍﻟﺴﻠﻁﺔ ﺍﻟﻌﻠﻴﺎ ﻓﻲ ﺍﻟﺒﻠﺩﺓ. )ﻴﻤﺸﻲ‬ ‫ﺠﻴﺌﺔ ﻭﺫﻫﺎﺒ ﹰ.(‬ ‫ﺎ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻤﺎ ﻤﻌﻨﻰ ﻫﺫﺍ ﺍﻟﺘﺼﺭﻑ ﺍﻟﻤﻨﺎﻓﻲ ﻟﻸﺨﻼﻕ؟‬

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‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﺠﻬﺵ ﺒﺎﻟﺒﻜﺎﺀ(: ﺘﻭﻤﺎﺱ، ﺃﺭﺠﻭﻙ!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻻ ﻴﺯﺍل ﻋﻠﻰ ﻤﻭﻗﻔﻪ(: ﻗﺩ ﺘﻜﻭﻥ ﻤﺴﺅﻭ ﹰ ﻋﻥ‬ ‫ﻻ‬ ‫ﺍﻟﺸﺭﻁﺔ، ﻟﻜﻨﻨﻲ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ! ﺃﻨﺎ ﺴﻴﺩ ﺍﻟﺒﻠﺩﺓ ﺒﺄﺴﺭﻫﺎ، ﺃﺠل ﺃﻨﺎ!‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﻴﺘﺒﻌﻪ(: ﺃﻋﺩ ﺇﻟﻲ ﻗﺒﻌﺘﻲ ﻭﻋﺼﺎﻱ!‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺭﺍﺀ! ﺃﺘﻅﻥ ﺃﻥ ﺍﻷﺴﺩ ﺍﻟﻴﻘﻅ ﻓﻲ ﻓﻜﺭ ﺍﻟﺸﻌﺏ‬ ‫ﺴﻴﺴﻤﺢ ﻟﻨﻔﺴﻪ ﺃﻥ ﻴﺨﺎﻑ ﻤﻥ ﻗﺒﻌﺔ؟ ﺃﺭﻏﺏ ﻓﻲ ﺇﻋﻼﻤﻙ ﺃﻨﻨﺎ‬ ‫ﺴﻨﺒﺩﺃ ﺜﻭﺭﺓ ﻏﺩﹰ. ﻟﻘﺩ ﻫﺩﺩﺕ ﺒﻁﺭﺩﻱ ﻤﻥ ﺍﻟﻌﻤل، ﻭﺍﻵﻥ ﺃﻨﺎ ﺃﻫﺩﺩ‬ ‫ﺍ‬ ‫ﺒﻁﺭﺩﻙ - ﺒﺘﺠﺭﻴﺩﻙ ﻤﻥ ﻜل ﻤﻨﺎﺼﺒﻙ. ﺃﺘﻌﺘﻘﺩ ﺃﻨﻨﻲ ﻻ ﺃﺴﺘﻁﻴﻊ؟‬ ‫ﺃﻨﺕ ﻤﺨﻁﺊ ﻴﺎ ﺒﻴﺘﺭ! ﻓﻔﻲ ﺤﻠﻔﻲ ﺩﺨﻠﺕ ﻗﻭﻯ ﺍﻟﺜﻭﺭﺓ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ‬ ‫ﺍﻟﺘﻲ ﻻ ﺘﻘﻬﺭ. ﻓﻬﻭﭭﺴﺘﺎﺩ ﻭﺒﻴﻠﻴﻨﻎ ﺴﻴﺠﻌﻼﻥ ﺠﺭﻴﺩﺓ ،ﻤﻨﺒﺭ‬ ‫ﺍﻟﺸﻌﺏ» ﺘﺩﻭﻱ ﻜﺎﻟﺭﻋﺩ، ﻭﺍﻟﺴﻴﺩ ﺃﺴﻼﻜﺴﻥ ﺴﻴﺴﻴﺭ ﻋﻠﻰ ﺭﺃﺱ‬ ‫ﺤﻤﻠﺔ ﻟﺠﻤﻌﻴﺔ ﺃﺼﺤﺎﺏ ﺍﻟﻌﻘﺎﺭﺍﺕ -‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺍﺨﻠﻊ ﻋﻨﻙ ﺘﻠﻙ ﺍﻟﻘﺒﻌﺔ ﻗﻠﺕ ﻟﻙ! ﺘﺫﻜﺭ ﺃﻥ ﺘﻠﻙ ﺍﻟﻘﺒﻌﺔ‬ ‫ﺸﻌﺎﺭ ﺭﺴﻤﻲ-‬

‫ﺃﺴﻼﻜﺴﻥ: ﻻ، ﻟﻥ ﺃﻓﻌل ﻴﺎ ﺩﻜﺘﻭﺭ.‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺁﻫﺎ! ﻟﻜﻥ ﺭﺒﻤﺎ ﻴﺭﻴﺩ ﺍﻟﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ ﺃﻥ ﻴﺩﻋﻡ ﻫﺫﻩ ﺍﻟﺜﻭﺭﺓ!‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺍﻟﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ ﻟﻴﺱ ﺒﻬﺫﺍ ﺍﻟﺠﻨﻭﻥ ﻟﻴﺩﻤﺭ ﻨﻔﺴﻪ ﻭﺼﺤﻴﻔﺘﻪ‬ ‫ﻤﻥ ﺃﺠل ﻫﻠﻭﺴﺎﺕ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻻ ﺴﻴﺩﻱ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺤﻘ ﹰ ﻤﺎ ﺘﻘﻭل!‬ ‫ﺎ‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻜﺎﺫﻴﺏ! ﺃﻨﺎ ﺴﺄﺩﺍﻓﻊ ﻋﻥ ﺼﺤﺔ ﻤﺎ ﺠﺎﺀ ﻓﻲ‬ ‫ﺘﻘﺭﻴﺭﻱ. ﻤﺎ ﻋﻠﻴﻙ ﺴﻭﻯ ﻁﺒﺎﻋﺘﻪ. ﻴﺠﺏ ﺃﻻ ﺃﺨﺎﻑ ﻟﺩﻓﺎﻋﻲ‬ ‫ﻋﻨﻪ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻥ ﺃﻁﺒﻌﻪ. ﻓﺄﻨﺎ ﻻ ﺃﺴﺘﻁﻴﻊ ﻭﻻ ﺃﺭﻴﺩ ﻭﻻ ﺃﺠﺭﺅ ﻋﻠﻰ‬ ‫ﻁﺒﺎﻋﺘﻪ.‬

‫ﺒﻴﻠﻴﻨﻎ: ﻻ، ﻓﺒﻌﺩ ﺃﻥ ﺘﻜﺭﻡ ﻨﻴﺎﻓﺘﻪ ﻭﺘﺸﺭﺡ ﻟﻲ ﺍﻟﻤﻭﻗﻑ ﻓﻲ ﺍﻟﺩﺍﺨل،‬ ‫ﻻ ﻴﻔﺘﺭﺽ ﺒﻲ ﺃﻥ ﺃﺩﻋﻤﻙ -‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻘﺩ ﺃﺜﺭﺕ ﻗﻀﻴﺘﻙ ﺒﺄﺴﻠﻭﺏ ﺨﺎﻁﺊ ﻴﺎ ﺩﻜﺘﻭﺭ، ﻟﺫﺍ ﻻ‬ ‫ﻴﻤﻜﻨﻨﻲ ﺍﻟﻭﻗﻭﻑ ﺇﻟﻰ ﺠﺎﻨﺒﻙ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ) ﻴﺘﻠﻔﺕ ﺤﻭﻟﻪ(: ﻤﺎ ﺍﻟﺫﻱ ﻴﺠﺭﻱ ﻫﻨﺎ ﺒﺤﻕ -؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺘﺠﺭﺅ؟ ﺃﻱ ﻫﺭﺍﺀ ﻫﺫﺍ؟ ﺃﻨﺕ ﺍﻟﻤﺤﺭﺭ،‬ ‫ﻭﺍﻟﻤﺤﺭﺭﻭﻥ ﻫﻡ ﺍﻟﺫﻴﻥ ﻴﺤﻜﻤﻭﻥ ﺍﻟﺼﺤﻴﻔﺔ.‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻻ، ﺒل ﺍﻟﻤﺸﺘﺭﻜﻭﻥ ﺒﺎﻟﺼﺤﻴﻔﺔ ﻴﺎ ﺩﻜﺘﻭﺭ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻟﺤﺴﻥ ﺍﻟﺤﻅ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﺇﻨﻪ ﺍﻟﺭﺃﻱ ﺍﻟﻌﺎﻡ، ﻭﺍﻟﻘﺎﺭﺉ ﺍﻟﻤﺜﻘﻑ، ﻭﺃﺼﺤﺎﺏ‬ ‫ﺍﻟﻌﻘﺎﺭﺍﺕ، ﻭﻫﻠﻡ ﺠﺭ ﹰ - ﻫﻡ ﻤﻥ ﻴﺤﻜﻡ ﺍﻟﺼﺤﻴﻔﺔ.‬ ‫ﺍ‬

‫ﺃﺴﻼﻜﺴﻥ: ﺃﺠل. ﻟﻭ ﺘﻡ ﻨﺸﺭ ﺘﻘﺭﻴﺭﻙ، ﻓﻬﺫﺍ ﻴﻌﻨﻲ ﺩﻤﺎﺭ ﺍﻟﻤﺠﺘﻤﻊ‬ ‫ﺒﺄﻜﻤﻠﻪ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ) ﺒﻬﺩﻭﺀ(: ﻭﻜل ﻫﺫﻩ ﺍﻟﻘﻭﻯ ﺘﻘﻑ ﻀﺩﻱ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻓﻬﻤﺕ.‬

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‫ﻴﺨﻠﻊ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﺍﻟﻘﺒﻌﺔ ﻭﻴﻀﻌﻬﺎ ﻭﺍﻟﻌﺼﺎ ﻋﻠﻰ ﺍﻟﻁﺎﻭﻟﺔ.‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻋﻁﻨﻲ ﻗﺒﻌﺘﻲ ﻭﻋﺼﺎﻱ!‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺒﺎﻟﺘﺄﻜﻴﺩ. ﻭﺫﻟﻙ ﻤﺭﺍﻋﺎﺓ ﻟﻌﺎﺌﻠﺘﻙ، ﺇﻥ ﻟﻡ ﻴﻜﻥ ﻷﺴﺒﺎﺏ‬ ‫ﺃﺨﺭﻯ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ ) ﻴﺄﺨﺫ ﻭﺭﻗﺔ ﻤﻥ ﺠﻴﺒﻪ(: ﻫﺫﺍ ﺴﻴﻤﻨﺢ ﺍﻟﻌﺎﻤﺔ ﻤﻌﺭﻓﺔ‬ ‫ﻜﺎﻤﻠﺔ ﺒﺎﻟﺤﻘﺎﺌﻕ. ﺇﻨﻪ ﺒﻤﻨﺯﻟﺔ ﺒﻴﺎﻥ ﺭﺴﻤﻲ، ﻴﺎ ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ -‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻡ ﻴﻨﺘﻪ ﺍﻷﻤﺭ ﺒﻌﺩ. ) ﻟﻬﻭﭭﺴﺘﺎﺩ( ﺇﺫﹰ ﺃﻨﺕ ﺘﺭﻓﺽ‬ ‫ﺍ‬ ‫ﻗﻁﻌ ﹰ ﻨﺸﺭ ﺘﻘﺭﻴﺭﻱ ﻓﻲ »ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ«؟‬ ‫ﺎ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﻴﺄﺨﺫﻫﻤﺎ(: ﻓﺭﺤﺘﻙ ﺍﻟﺼﻐﻴﺭﺓ ﻫﺫﻩ ﻟﻥ ﺘﺩﻭﻡ ﻁﻭﻴ ﹰ.‬ ‫ﻼ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺭﺠﻭ ﺃﻥ ﺘﺩ ‪ ‬ﻋﺎﺌﻠﺘﻪ ﺠﺎﻨﺒ ﹰ ﻴﺎ ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ.‬ ‫ﺎ‬ ‫ﻉ‬

‫ﻫﻭﭭﺴﺘﺎﺩ )ﻴﺄﺨﺫ ﺍﻟﻭﺭﻗﺔ(: ﺤﺴﻥ. ﺴﺄﻋﻤل ﻋﻠﻰ ﺘﺠﻬﻴﺯﻩ ﺤﺎ ﹰ.‬ ‫ﻻ‬

‫ﺍ‬ ‫ﺍﻟﺘﻲ ﺘﺘﻭﻗﻌﻭﻨﻬﺎ. ﺴﻴﺩ ﺃﺴﻼﻜﺴﻥ، ﺨﺫ ﻤﺨﻁﻭﻁﺘﻲ ﻭﺍﻁﺒﻌﻬﺎ ﻓﻭﺭﹰ‬ ‫ﻜﻜﺘﻴﺏ، ﻭﻋﻠﻰ ﺤﺴﺎﺒﻲ ﺍﻟﺨﺎﺹ. ﺴﺄﻨﺸﺭﻫﺎ ﺒﻨﻔﺴﻲ. ﺃﺭﻴﺩ‬ ‫ﺃﺭﺒﻌﻤﺌﺔ ﻨﺴﺨﺔ - ﺨﻤﺱ - ﻻ، ﺍﺠﻌﻠﻬﺎ ﺴﺘﻤﺌﺔ ﻨﺴﺨﺔ!‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻤﺎ ﻤﻘﺎﻟﺘﻲ ﻓﻼ ﹸﻨﺸﺭ! ﺃﻨﺘﻡ ﺘﻌﺘﻘﺩﻭﻥ ﺃﻥ‬ ‫ﺘ‬ ‫ﺒﺈﻤﻜﺎﻨﻜﻡ ﺨﺩﺍﻋﻲ ﻭﺩﻓﻥ ﺍﻟﺤﻘﻴﻘﺔ! ﻟﻜﻥ ﺍﻷﻤﺭ ﻟﻥ ﻴﻜﻭﻥ ﺒﺎﻟﺴﻬﻭﻟﺔ‬

‫ﺃﺴﻼﻜﺴﻥ: ﻟﻥ ﺃﻁﺒﻌﻬﺎ ﻟﻙ ﻭﻟﻭ ﻗﺩﻤﺕ ﻟﻲ ﻭﺯﻨﻬﺎ ﺫﻫﺒ ﹰ ﻴﺎ ﺩﻜﺘﻭﺭ. ﻻ‬ ‫ﺎ‬ ‫ﺃﺠﺭﺅ ﻋﻠﻰ ﺫﻟﻙ. ﻟﻥ ﻴﺴﻤﺢ ﻟﻲ ﺍﻟﺭﺃﻱ ﺍﻟﻌﺎﻡ. ﻭﻟﻥ ﺘﺠﺩ ﺃﺤﺩﺍ‬ ‫ﻴﻘﺒل ﻁﺒﺎﻋﺘﻬﺎ ﻓﻲ ﺃﻱ ﻤﻜﺎﻥ ﻓﻲ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻋﺩﻫﺎ ﺇﻟﻲ ﺇﺫﹰ.‬ ‫ﺍ‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺄﺨﺫ ﻗﺒﻌﺘﻪ ﻭﻋﺼﺎﻩ(: ﻤﻊ ﺫﻟﻙ، ﺴﺄﻋﻤل ﻋﻠﻰ‬ ‫ﺃﻥ ﻴﻌﺭﻑ ﺍﻟﺠﻤﻴﻊ ﻤﺤﺘﻭﻴﺎﺘﻬﺎ. ﺴﺄﺩﻋﻭ ﺇﻟﻰ ﺍﺠﺘﻤﺎﻉ ﻋﺎﻡ‬ ‫ﻭﺃﻗﺭﺅﻫﺎ. ﻋﻠﻰ ﻜل ﺃﺒﻨﺎﺀ ﺍﻟﺒﻠﺩﺓ ﺃﻥ ﻴﻌﺭﻓﻭﺍ ﺍﻟﺤﻘﻴﻘﺔ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻟﻥ ﺘﺠﺩ ﺃﺤﺩﹰ ﻓﻲ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ ﻴﺅﺠﺭﻙ ﻗﺎﻋﺔ ﻟﻬﺫﺍ‬ ‫ﺍ‬ ‫ﺍﻟﻐﺭﺽ.‬

‫ﻴﺴﻠﻤﻪ ﻫﻭﻓﺴﺘﺎﺩ ﺍﻟﻤﺨﻁﻭﻁﺔ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﻭﻻ ﻭﺍﺤﺩ. ﺃﻨﺎ ﻤﺘﺄﻜﺩ ﻤﻥ ﺫﻟﻙ.‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺃﻗﺴﻡ ﺇﻨﻙ ﻟﻥ ﺘﺠﺩ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﻤﺴﻙ ﺒﺫﺭﺍﻋﻪ(: ﺇﺫﹰ ﺴﺄﺭﻴﻬﻡ ﺃﻥ - ﺃﻥ ﺍﻤﺭﺃﺓ‬ ‫ﺍ‬ ‫ﻋﺠﻭﺯﹰ ﺘﻘﻭﻡ ﻤﻘﺎﻡ ﺍﻟﺭﺠﺎل – ﻤﻥ ﺍﻵﻥ ﻓﺼﺎﻋﺩﹰ، ﺃﻨﺎ ﺇﻟﻰ ﺠﺎﻨﺒﻙ‬ ‫ﺍ‬ ‫ﺍ‬ ‫ﻴﺎ ﺘﻭﻤﺎﺱ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﺒﺎﻨﺩﻓﺎﻉ(: ﺴﺄﻗﻭل ﻟﻙ ﺍﻟﺴﺒﺏ. ﻫﺫﺍ ﻷﻥ ﺭﺠﺎل‬ ‫ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ ﺠﻤﻴﻌ ﹰ ﻫﻡ ﻨﺴﺎﺀ ﻋﺠﺎﺌﺯ! ﻓﻬﻡ ﻤﺜﻠﻙ ﻻ ﻴﻔﻜﺭﻭﻥ ﺇﻻ‬ ‫ﺎ‬ ‫ﺒﻌﺎﺌﻼﺘﻬﻡ، ﻭﻻ ﻗﻴﻤﺔ ﻟﻠﺸﺄﻥ ﺍﻟﻌﺎﻡ ﻋﻨﺩﻫﻡ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺫﺍ ﻤﺨ ٍ ﺠﺩﹰ. ِ ‪ ‬ﻴﻘﻑ ﺍﻟﺠﻤﻴﻊ ﻀﺩﻙ؟‬ ‫ﺯ ﺍ ﻟﻡ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺤﺴﻨﺕ ﺍﻟﻘﻭل ﻴﺎ ﻜﺎﺜﺭﻴﻥ. ﻴﺠﺏ ﺇﻋﻼﻥ‬ ‫ﺍﻟﺤﻘﻴﻘﺔ. ﻭﺍﷲ ﻷﻓﻌﻠﻥ ﺫﻟﻙ. ﺇﻥ ﻟﻡ ﺃﺘﻤﻜﻥ ﻤﻥ ﺍﺴﺘﺌﺠﺎﺭ ﻗﺎﻋﺔ،‬ ‫ﻓﺴﺄﺴﺘﺄﺠﺭ ﻁﺒﺎ ﹰ ﻴﺠﻭل ﻤﻌﻲ ﻓﻲ ﺍﻟﺒﻠﺩﺓ، ﻭﺴﺄﻗﺭﺃ ﻤﻘﺎﻟﺘﻲ ﻋﻠﻰ‬ ‫ﻻ‬ ‫ﺍﻟﻤﻸ ﻓﻲ ﻜل ﺯﺍﻭﻴﺔ ﺸﺎﺭﻉ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻻ ﺃﻅﻥ ﺃﻨﻙ ﺠﻨﻨﺕ ﺇﻟﻰ ﺫﻟﻙ ﺍﻟﺤﺩ.‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺒل ﺠﻨﻨﺕ.‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻟﻥ ﺘﺠﺩ ﺭﺠ ﹰ ﻭﺍﺤﺩ ﹰ ﻓﻲ ﺍﻟﺒﻠﺩﺓ ﻜﻠﻬﺎ ﻴﺫﻫﺏ ﻤﻌﻙ.‬ ‫ﺍ‬ ‫ﻼ‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺃﻗﺴﻡ ﺇﻨﻙ ﻟﻥ ﺘﺠﺩ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺘﺴﺘﺴﻠﻡ ﻴﺎ ﺘﻭﻤﺎﺱ. ﺴﺄﻁﻠﺏ ﻤﻥ ﺍﻟﻭﻟﺩﻴﻥ ﺃﻥ‬ ‫ﻴﺫﻫﺒﺎ ﻤﻌﻙ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺇﻨﻬﺎ ﻓﻜﺭﺓ ﺭﺍﺌﻌﺔ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺴ ‪‬ﺴﺭ ﻤﻭﺭﺘﻥ ﻟﻠﻘﻴﺎﻡ ﺒﺫﻟﻙ. ﻭﻜﺫﻟﻙ ﺇﻴﻠﻴﻑ، ﺃﻨﺎ‬ ‫ﻴ‬ ‫ﻤﺘﺄﻜﺩﺓ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﻭﻜﺫﻟﻙ ﺒﺘﺭﺍ. ﻭﺃﻨﺕ ﻴﺎ ﻜﺎﺜﺭﻴﻥ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ، ﻻ، ﻟﻴﺱ ﺃﻨﺎ. ﻟﻜﻨﻨﻲ ﺴﺄﻗﻑ ﻋﻠﻰ ﺍﻟﻨﺎﻓﺫﺓ‬ ‫ﻭﺃﺭﺍﻗﺒﻜﻡ. ﻨﻌﻡ ﺴﺄﻓﻌل.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺄﺨﺫﻫﺎ ﺒﻴﻥ ﺫﺭﺍﻋﻴﻪ ﻭﻴﻘﺒﻠﻬﺎ(: ﺃﺸﻜﺭﻙ. ﺤﺴﻨﹰ ﺃﻴﻬﺎ‬ ‫ﺎ‬ ‫ﺍﻟﺴﺎﺩﺓ ﺍﻟﻜﺭﺍﻡ، ﻓﻠﺘﻘﺭﻉ ﻁﺒﻭل ﺍﻟﺤﺭﺏ، ﻭﻟﻨ ‪ ‬ﺇﻥ ﻜﺎﻥ ﺒﺎﺴﺘﻁﺎﻋﺔ‬ ‫ﺭ‬ ‫ﺍﻟﺨﺴﺔ ﻭﺍﻟﺩﻨﺎﺀﺓ ﻭﺍﻟﻀﻌﻑ ﺇﺴﻜﺎﺕ ﺭﺠل ﻴﺭﻴﺩ ﺘﻁﻬﻴﺭ ﺍﻟﻤﺠﺘﻤﻊ.‬

‫ﻴﺨﺭﺝ ﺍﻟﺩﻜﺘﻭﺭ ﻭﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ ﻤﻥ ﺍﻟﺒﺎﺏ ﺍﻟﻴﺴﺎﺭﻱ ﻓﻲ‬ ‫ﻨﻬﺎﻴﺔ ﺍﻟﻤﺴﺭﺡ.‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﻴﻬﺯ ﺭﺃﺴﻪ ﻤﻔﻜﺭﹰ(: ﺍﻵﻥ ﻟﻘﺩ ﻗﺎﺩﻫﺎ ﺇﻟﻰ ﺍﻟﺠﻨﻭﻥ ﻫﻲ‬ ‫ﺍ‬ ‫ﺃﻴﻀ ﹰ.‬ ‫ﺎ‬ ‫²‬ ‫²‬ ‫²‬

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‫ﺍﻟﻔﺼﻞ ﺍﻟﺮﺍﺑﻊ‬
‫ﻏﺭﻓﺔ ﻜﺒﻴﺭﺓ، ﺫﺍﺕ ﺃﺜﺎﺙ ﻗﺩﻴﻡ ﻓﻲ ﻤﻨﺯل ﺍﻟﻘﺒﻁﺎﻥ ﻫﻭﺭﺴﺘﺭ. ﻓﻲ‬ ‫ﺍﻟﺨﻠﻑ ﻴﻭﺠﺩ ﺒﺎﺏ ﻤﻔﺘﻭﺡ ﺒﺩﺭﻓﺘﻴﻥ ﻴﻘﻭﺩ ﺇﻟﻰ ﺍﻟﺭﺩﻫﺔ. ﻭﻫﻨﺎﻙ ﺜﻼﺙ‬ ‫ﻨﻭﺍﻓﺫ ﻓﻲ ﺍﻟﺠﺩﺍﺭ ﺍﻟﺫﻱ ﺇﻟﻰ ﺠﻬﺔ ﺍﻟﻴﺴﺎﺭ. ﺘﻭﺠﺩ ﺃﻤﺎﻡ ﻤﻨﺘﺼﻑ‬ ‫ﺎ‬ ‫ﺸﻤﻌﺘﺎﻥ، ﻭﺯﺠﺎﺠﺔ ﻤﺎﺀ، ﻭﻜﺄﺱ ﻭﺠﺭﺱ. ﺍﻟﻐﺭﻓﺔ ﻤﻀﺎﺀﺓ ﺃﻴﻀ ﹰ‬

‫ﺍﻟﺠﺩﺍﺭ ﺍﻟﻤﻘﺎﺒل ﻤﻨﺼﺔ ﻭﻀﻊ ﻋﻠﻴﻬﺎ ﻁﺎﻭﻟﺔ ﺼﻐﻴﺭﺓ ﻓﻭﻗﻬﺎ‬ ‫ﺒﻤﺼﺎﺒﻴﺢ ﻫﻼﻟﻴﺔ ﺒﻴﻥ ﺍﻟﻨﻭﺍﻓﺫ. ﺇﻟﻰ ﺍﻟﻴﺴﺎﺭ ﻤﻥ ﻤﻘﺩﻤﺔ ﺍﻟﻤﺴﺭﺡ،‬ ‫‪‬ﻀﻌﺕ ﻁﺎﻭﻟﺔ ﻋﻠﻴﻬﺎ ﺸﻤﻌﺔ ﻭﺭﺍﺀﻫﺎ ﻜﺭﺴﻲ. ﺇﻟﻰ ﺍﻷﻤﺎﻡ ﻤﻥ‬ ‫ﻭ‬ ‫ﺤﺸﺩ ﻜﺒﻴﺭ ﻤﻥ ﺍﻟﻤﻭﺍﻁﻨﻴﻥ، ﻤﻥ ﻜل ﺍﻟﻁﺒﻘﺎﺕ. ﻀﻤﻥ ﺍﻟﺤﺸﺩ‬

‫ﻤﻘﺩﻤﺔ ﺍﻟﻤﺴﺭﺡ ﻫﻨﺎﻙ ﺒﺎﺏ، ﺒﺠﺎﻨﺒﻪ ﻋﺩﺓ ﻜﺭﺍﺴﻲ.‬

‫ﻴﻤﻜﻥ ﺭﺅﻴﺔ ﺒﻌﺽ ﺍﻟﻨﺴﻭﺓ ﻫﻨﺎ ﻭﻫﻨﺎﻙ، ﻜﻤﺎ ﺃﻥ ﻫﻨﺎﻙ ﺒﻌﺽ ﻁﻼﺏ‬

‫ﺍﻟﻤﺩﺍﺭﺱ. ﻴﺘﺩﻓﻕ ﺍﻟﻨﺎﺱ ﺃﻜﺜﺭ ﻓﺄﻜﺜﺭ ﺘﺩﺭﻴﺠﻴ ﹰ ﻤﻥ ﺍﻟﺒﺎﺏ ﺍﻟﺨﻠﻔﻲ،‬ ‫ﺎ‬ ‫ﻭﻴﻤﻠﺅﻭﻥ ﺍﻟﻐﺭﻓﺔ.‬

‫ﺃﺤﺩ ﺍﻟﻤﻭﺍﻁﻨﻴﻥ )ﻵﺨﺭ، ﺤﻴﻥ ﻴﺼﻁﺩﻡ ﺒﻪ(: ﻤﺭﺤﺒ ﹰ ﻻﻤﺴﺘﺎﺩ! ﺃﻨﺕ‬ ‫ﺎ‬ ‫ﻫﻨﺎ ﺃﻴﻀ ﹰ ﻫﺫﺍ ﺍﻟﻤﺴﺎﺀ؟‬ ‫ﺎ‬

‫-٥٥١-‬

‫ﻤﻭﺍﻁﻥ ﺜﺎﻟﺙ )ﻴﻘﻑ ﺒﺠﺎﻨﺒﻬﻤﺎ(: ﺁﻤل ﺃﻨﻙ ﺃﺤﻀﺭﺕ ﺼﻔﺎﺭﺘﻙ؟‬

‫ﺍﻟﻤﻭﺍﻁﻥ ﺍﻟﺜﺎﻨﻲ: ﺃﻨﺎ ﻻ ﺃﻓﻭﺕ ﺃﻴ ﹰ ﻤﻥ ﺍﻻﺠﺘﻤﺎﻋﺎﺕ ﺍﻟﻌﺎﻤﺔ.‬ ‫ﺎ‬ ‫ﺍﻟﻤﻭﺍﻁﻥ ﺍﻟﺜﺎﻨﻲ: ﺒﺎﻟﻁﺒﻊ. ﻭﺃﻨﺕ؟‬

‫ﺎ‬ ‫ﺍﻟﻤﻭﺍﻁﻥ ﺍﻟﺜﺎﻟﺙ: ﺃﺘﺭﺍﻫﻥ! ﻗﺎل ﺴﻜﻴﺒﺭ ﺇﻴـﭭﻴﻨﺴﻥ ﺇﻨﻪ ﺴﻴﺤﻀﺭ ﺒﻭﻗ ﹰ‬ ‫ﻜﺒﻴﺭﹰ ﺠﺩﹰ.‬ ‫ﺍ ﺍ‬ ‫ﻀﺤﻙ ﻭﺴﻁ ﺍﻟﺤﺸﺩ.‬

‫ﺍﻟﻤﻭﺍﻁﻥ ﺍﻟﺜﺎﻨﻲ: ﺇﻨﻪ ﺸﺨﺹ ﻤﻀﺤﻙ، ﺫﻟﻙ ﺍﻟﻌﺠﻭﺯ ﺇﻴـﭭﻴﻨﺴﻥ.‬

‫ﺍﻟﻤﻭﺍﻁﻥ ﺍﻟﺜﺎﻨﻲ: ﺴﻴﻠﻘﻲ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻤﺤﺎﻀﺭﺓ ﻴﻬﺎﺠﻡ ﺒﻬﺎ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ.‬ ‫ﺍﻟﻤﻭﺍﻁﻥ ﺍﻷﻭل: ﻫﺫﺍ ﻻ ﻴﻬﻡ. ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻟﻴﺱ ﺨﺎﺌﻔ ﹰ ﻤﻥ‬ ‫ﺎ‬ ‫ﺃﺤﺩ.‬ ‫ﺍﻟﻤﻭﺍﻁﻥ ﺍﻟﺭﺍﺒﻊ: ﻟﻜﻥ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ ﺃﺨﻭﻩ.‬

‫ﻤﻭﺍﻁﻥ ﺭﺍﺒﻊ )ﻴﻨﻀﻡ ﺇﻟﻴﻬﻡ(: ﺃﺘﺴﺎﺀل ﻤﺎ ﻤﻭﻀﻭﻉ ﺍﻻﺠﺘﻤﺎﻉ ﺍﻟﻴﻭﻡ؟‬

‫ﺍﻟﻤﻭﺍﻁﻥ ﺍﻟﺜﺎﻟﺙ: ﻟﻜﻨﻪ ﻤﺨﻁﺊ. ﻫﺫﺍ ﻤﺎ ﻗﺎﻟﺘﻪ ﺼﺤﻴﻔﺔ »ﻤﻨﺒﺭ‬ ‫ﺍﻟﺸﻌﺏ«.‬ ‫ﺍﻟﻤﻭﺍﻁﻥ ﺍﻟﺜﺎﻨﻲ: ﺃﺠل، ﻻ ﺒﺩ ﺇﻨﻪ ﻤﺨﻁﺊ ﻫﺫﻩ ﺍﻟﻤﺭﺓ. ﺠﻤﻌﻴﺔ‬ ‫ﺃﺼﺤﺎﺏ ﺍﻟﻌﻘﺎﺭﺍﺕ ﻟﻥ ﺘﺴﻤﺢ ﻟﻪ ﺒﺎﺴﺘﺨﺩﺍﻡ ﻗﺎﻋﺘﻬﺎ، ﻭﻜﺫﻟﻙ ﺍﻷﻤﺭ‬ ‫ﻨﺎﺩﻱ ﺍﻟﺸﻌﺏ.‬

‫ﺍﻟﻤﻭﺍﻁﻥ ﺍﻷﻭل: ﺤﺘﻰ ﺃﻨﻪ ﻟﻥ ﻴﺤﺼل ﻋﻠﻰ ﻗﺎﻋﺔ ﺍﻻﺠﺘﻤﺎﻋﺎﺕ‬ ‫ﺍﻟﺨﺎﺼﺔ ﺒﺎﻟﺤﻤﺎﻤﺎﺕ.‬

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‫ﺒﻴﻠﻴﻨﻎ )ﻴﺸﻕ ﻁﺭﻴﻘﻪ ﺒﻴﻥ ﺍﻟﺠﻤﺎﻫﻴﺭ ﺍﻟﻤﺤﺘﺸﺩﺓ، ﻭﺍﻀﻌ ﹰ ﺤﻘﻴﺒﺔ‬ ‫ﺎ‬ ‫ﺍﻟﻭﺜﺎﺌﻕ ﺘﺤﺕ ﺇﺒﻁﻪ(: ﺍﻋﺫﺭﻭﻨﻲ ﻤﻥ ﻓﻀﻠﻜﻡ ﻴﺎ ﺴﺎﺩﺓ. ﻫل‬ ‫ﺃﺴﺘﻁﻴﻊ ﺍﻟﻤﺭﻭﺭ، ﻟﻭ ﺴﻤﺤﺘﻡ؟ ﺃﻨﺎ ﺃﻋﺩ ﺘﻘﺭﻴﺭﹰ ﻋﻥ ﻫﺫﺍ ﺍﻻﺠﺘﻤﺎﻉ‬ ‫ﺍ‬ ‫ﻟﺼﺤﻴﻔﺔ ،ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ». ﺸﻜﺭ ﹰ ﻟﻜﻡ. )ﻴﺠﻠﺱ ﺇﻟﻰ ﺍﻟﻁﺎﻭﻟﺔ ﺍﻟﺘﻲ‬ ‫ﺍ‬ ‫ﺇﻟﻰ ﺍﻟﻴﺴﺎﺭ(.‬ ‫ﻋﺎﻤل ﺁﺨﺭ: ﺃﻻ ﺘﻌﺭﻓﻪ؟ ﺇﻨﻪ ﺫﻟﻙ ﺍﻟﺸﺎﺏ ﺒﻴﻠﻴﻨﻎ، ﺍﻟﺫﻱ ﻴﻌﻤل ﻓﻲ‬ ‫ﺼﺤﻴﻔﺔ ﺃﺴﻼﻜﺴﻥ. [‬ ‫ﻴﺩﺨل ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ ﻤﻥ ﺍﻟﺒﺎﺏ ﺍﻟﻴﻤﻴﻨﻲ ﻋﻨﺩ ﻤﻘﺩﻤﺔ‬ ‫ﺍﻟﻤﺴﺭﺡ ﺒﺭﻓﻘﺔ ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ ﻭﺒﺘﺭﺍ، ﻤﻌﻬﻡ ﻤﻭﺭﺘﻥ‬ ‫ﻭﺇﻴﻠﻴﻑ.‬

‫ﺍﻟﻤﻭﺍﻁﻥ ﺍﻟﺭﺍﺒﻊ: ﺃﺒﻘﻭﺍ ﺃﻋﻴﻨﻜﻡ ﻓﻘﻁ ﻋﻠﻰ ﺃﺴﻼﻜﺴﻥ ﺍﻟﻌﺠﻭﺯ،‬ ‫ﻭﺍﻓﻌﻠﻭﺍ ﻜﻤﺎ ﻴﻔﻌل.‬

‫ﺍﻟﻤﻭﺍﻁﻥ ﺍﻷﻭل: ﻤﻊ ﻤﻥ ﺒﺭﺃﻴﻜﻡ ﻋﻠﻴﻨﺎ ﺃﻥ ﻨﻘﻑ؟‬

‫ﺍﻟﻤﻭﺍﻁﻥ ﺍﻟﺜﺎﻨﻲ: ﺤﺴﻥ، ﻤﺎﺫﺍ ﺘﺘﻭﻗﻌﻭﻥ؟‬

‫]ﻋﺎﻤل: ﻤﻥ ﻜﺎﻥ ﺫﺍﻙ؟‬

‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﺃﺭﻯ ﺃﻥ ﺘﺠﻠﺴﻭﺍ ﻫﻨﺎ. ﺇﻥ ﺤﺩﺙ ﺸﻲﺀ ﻤﺎ ﻴﻤﻜﻨﻜﻡ‬ ‫ﺍﻻﻨﺴﺤﺎﺏ ﺒﺴﻬﻭﻟﺔ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺘﺘﻭﻗﻊ ﺤﺩﻭﺙ ﻤﺸﻜﻼﺕ؟‬ ‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﻻ ﻴﻤﻜﻥ ﻷﺤﺩ ﺃﻥ ﻴﻌﻠﻡ ﻤﺎ ﺴﻴﺤﺩﺙ ﻤﻊ ﺤﺸﺩ‬ ‫ﻜﻬﺫﺍ. ﻟﻜﻥ ﺍﺠﻠﺴﻲ ﻭﻻ ﺘﻘﻠﻘﻲ.‬

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‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﺠﻠﺱ(: ﻜﻡ ﻫﻭ ﻟﻁﻴﻑ ﻤﻨﻙ ﺃﻥ ﺘﻘﺩﻡ ﻟﺯﻭﺠﻲ‬ ‫ﻫﺫﻩ ﺍﻟﻘﺎﻋﺔ.‬ ‫ﺒﺘﺭﺍ )ﺍﻟﺘﻲ ﺠﻠﺴﺕ ﺃﻴﻀ ﹰ(: ﻟﻘﺩ ﻜﺎﻨﺕ ﺸﺠﺎﻋﺔ ﻤﻨﻙ ﺃﻴﻀ ﹰ ﻴﺎ ﻜﺎﺒﺘﻥ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻫﻭﺭﺴﺘﺭ.‬ ‫ﻴﺄﺘﻲ ﻫﻭﻓﺴﺘﺎﺩ ﻭﺃﺴﻼﻜﺴﻥ ﻤﻥ ﺒﻴﻥ ﺍﻟﺠﻤﺎﻫﻴﺭ، ﻓﻲ ﺍﻟﻭﻗﺕ ﻨﻔﺴﻪ‬ ‫ﻟﻜﻥ ﻜل ﻋﻠﻰ ﺤﺩﺓ.‬

‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﺤﺴﻨ ﹰ، ﻟﻡ ﻴﻘﺒل ﺃﺤﺩ ﺫﻟﻙ، ﻟﺫﺍ ﻗﻤﺕ ﺃﻨﺎ.‬ ‫ﺎ‬

‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﺃﻭﻩ، ﺇﻥ ﺫﻟﻙ ﻻ ﻴﺘﻁﻠﺏ ﺸﺠﺎﻋﺔ ﻜﺒﻴﺭﺓ.‬

‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﺇﻨﻪ ﻴﻨﺘﻅﺭ ﻓﻲ ﺍﻟﺩﺍﺨل.‬ ‫ﻴﺤﺩﺙ ﺍﻀﻁﺭﺍﺏ ﺒﻴﻥ ﺍﻟﺤﺸﺩ ﻤﻥ ﻨﺎﺤﻴﺔ ﺍﻟﺒﺎﺏ ﺍﻟﻤﻭﺠﻭﺩ ﻓﻲ‬ ‫ﻨﻬﺎﻴﺔ ﺍﻟﻤﺴﺭﺡ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ )ﻟﺒﻴﻠﻴﻨﻎ(: ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ ﻫﻨﺎﻙ، ﺃﺘﺭﺍﻩ؟‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺃﺠل، ﺃﻗﺴﻡ! ﺇﺫ ﹰ ﻟﻘﺩ ﺃﺘﻰ ﻓﻲ ﺍﻟﻨﻬﺎﻴﺔ.‬ ‫ﺍ‬ ‫ﻴﺸﻕ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ ﻁﺭﻴﻘﻪ ﺒﻴﻥ ﺍﻟﺠﻤﺎﻫﻴﺭ ﺒﻠﻁﻑ، ﻭﻫﻭ‬ ‫ﻴﺤﻴﻲ ﺍﻟﻨﺎﺱ ﺒﺄﺩﺏ، ﻭﻴﺠﻠﺱ ﻤﻘﺎﺒل ﺍﻟﺠﺩﺍﺭ ﺍﻟﺫﻱ ﺇﻟﻰ‬ ‫ﺍﻟﻴﺴﺎﺭ. ﺒﻌﺩ ﺒﻀﻊ ﺩﻗﺎﺌﻕ، ﻴﺩﺨل ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻤﻥ‬ ‫ﺩ‬ ‫ﺍﻟﺒﺎﺏ ﺇﻟﻰ ﺍﻟﻴﻤﻴﻥ ﻤﻥ ﻤﻘﺩﻤﺔ ﺍﻟﻤﺴﺭﺡ. ﻴﺭﺘﺩﻱ ﻟﺒﺎﺴ ﹰ ﺃﺴﻭ ‪‬‬ ‫ﺎ‬ ‫ﻤﺅﻟﻔ ﹰ ﻤﻥ ﻤﻌﻁﻑ ﻭﺭﺒﻁﺔ ﻋﻨﻕ ﺒﻴﻀﺎﺀ. ﻴﺼﻔﻕ ﺒﻌﺽ‬ ‫ﺎ‬ ‫ﺍﻟﻨﺎﺱ ﻏﻴﺭ ﻤﺘﺄﻜﺩﻴﻥ، ﻴﻘﺎﺒل ﺫﻟﻙ ﺒﻬﻤﺱ ﺨﻔﻴﻑ. ﺜﻡ ﻴﺴﻭﺩ‬ ‫ﺍﻟﺼﻤﺕ.‬

‫ﺃﺴﻼﻜﺴﻥ ) ﻴﺘﻭﺠﻪ ﻨﺤﻭ ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ(: ﺃﻟﻡ ﻴﺄﺕ ﺍﻟﺩﻜﺘﻭﺭ ﺒﻌﺩ؟‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺴﺄﻀﺒﻁ ﻨﻔﺴﻲ، ﻻ ﺘﻘﻠﻘﻲ. )ﻴﻨﻅﺭ ﺇﻟﻰ ﺴﺎﻋﺘﻪ،‬ ‫ﻴﻘﻑ ﻋﻠﻰ ﺍﻟﻤﻨﺼﺔ ﻭﻴﻨﺤﻨﻲ.( ﻟﻘﺩ ﻤﻀﻰ ﺭﺒﻊ ﺴﺎﻋﺔ ﻋﻥ ﺍﻟﻭﻗﺕ‬ ‫ﺍﻟﻤﺤﺩﺩ، ﺴﺄﺒﺩﺃ ﺇﺫﹰ - )ﻴﺨﺭﺝ ﻤﺨﻁﻭﻁﺘﻪ(.‬ ‫ﺍ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ، ﻻ، ﻻ ﺩﺍﻋﻲ ﻟﺫﻟﻙ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻨﺎ ﺒﺨﻴﺭ. )ﺒﻬﺩﻭﺀ ﺃﻜﺒﺭ(. ﻻ ﺘﻔﻘﺩ ﺃﻋﺼﺎﺒﻙ‬ ‫ﺍﻵﻥ، ﻴﺎ ﺘﻭﻤﺎﺱ!‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﺒﺼﻭﺕ ﺨﻔﻴﺽ(: ﻜﻴﻑ ﺤﺎﻟﻙ ﻴﺎ ﻜﺎﺜﺭﻴﻥ؟‬

‫ﺃﺴﻼﻜﺴﻥ: ﺒﺎﻟﺘﺄﻜﻴﺩ ﻴﺠﺏ ﺍﻨﺘﺨﺎﺏ ﺭﺌﻴﺱ ﻟﻠﺠﻠﺴﺔ ﺃﻭ ﹰ.‬ ‫ﻻ‬ ‫ﻋﺩﺓ ﺭﺠﺎل )ﻴﺼﺭﺨﻭﻥ(: ﺃﺠل، ﺃﺠل.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ ﻴﺎ ﺒﻴﺘﺭ، ﻟﻘﺩ ﺩﻋﻭﺕ ﻟﻬﺫﺍ ﺍﻻﺠﺘﻤﺎﻉ ﻷﻟﻘﻲ‬ ‫ﻤﺤﺎﻀﺭﺓ!‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻗﺩ ﺘﺅﺩﻱ ﻤﺤﺎﻀﺭﺓ ﺍﻟﺩﻜﺘﻭﺭ ﻟﻅﻬﻭﺭ ﺁﺭﺍﺀ ﻤﺨﺘﻠﻔﺔ.‬ ‫ﻋﺩﺓ ﺃﺼﻭﺍﺕ ﻤﻥ ﺍﻟﺤﺸﺩ: ﺭﺌﻴﺱ! ﺭﺌﻴﺱ!‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻴﺒﺩﻭ ﺃﻥ ﺍﻟﺭﺃﻱ ﺍﻟﻌﺎﻡ ﻴﻁﺎﻟﺏ ﺒﺭﺌﻴﺱ ﻟﻼﺠﺘﻤﺎﻉ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ) ﻴﻀﺒﻁ ﻨﻔﺴﻪ(: ﺤﺴﻥ ﺠﺩﹰ. ﻓﻠﺘﻨﻔﺫ ﺭﻏﺒﺔ ﺍﻟﺭﺃﻱ‬ ‫ﺍ‬ ‫ﺍﻟﻌﺎﻡ.‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻤﺎ ﺭﺃﻴﻜﻡ ﺒﺄﻥ ﻴﺘﻭﻟﻰ ﺴﻴﺎﺩﺓ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ ﺘﻠﻙ ﺍﻟﻤﻬﻤﺔ؟‬ ‫ﺜﻼﺜﺔ ﺭﺠﺎل )ﻴﺼﻔﻘﻭﻥ(: ﺒﺭﺍﭭﻭ! ﺃﺴﻤﻌﺘﻡ! ﺃﺴﻤﻌﺘﻡ!‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻅﻥ ﺤﻘ ﹰ ﺃﻨﻨﺎ ﻴﺠﺏ ﺃﻥ ﻨﺨﺘﺎﺭ ﺭﺌﻴﺴ ﹰ ﻟﻠﺠﻠﺴﺔ.‬ ‫ﺎ‬ ‫ﺎ‬

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‫ﻋﺩﺓ ﺃﺼﻭﺍﺕ: ﻨﻌﻡ، ﻨﻌﻡ، ﺍﻟﻌﺠﻭﺯ ﺃﺴﻼﻜﺴﻥ ﺍﻟﻁﻴﺏ. ﻤﺭﺤﻰ‬ ‫ﻷﺴﻼﻜﺴﻥ.‬ ‫ﻴﺄﺨﺫ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻤﺨﻁﻭﻁﺘﻪ ﻭﻴﻨﺯل ﻤﻥ ﺍﻟﻤﻨﺼﺔ.‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺒﻤﺎ ﺃﻥ ﺃﺨﻭﺘﻲ ﺍﻟﻤﻭﺍﻁﻨﻴﻥ ﻴﻀﻌﻭﻥ ﺜﻘﺘﻬﻡ ﺒﻲ، ﻓﻼ‬ ‫ﻴﻤﻜﻨﻨﻲ ﺭﻓﺽ ﺩﻋﻭﺘﻬﻡ.‬ ‫ﺘﺼﻔﻴﻕ ﻭﻫﺘﺎﻑ. ﻴﺼﻌﺩ ﺃﺴﻼﻜﺴﻥ ﺇﻟﻰ ﺍﻟﻤﻨﺼﺔ.‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﺭﻯ ﺃﻨﻪ ﻴﺘﻭﺠﺏ ﻋﻠﻲ ﺭﻓﺽ ﻫﺫﺍ ﺍﻟﺸﺭﻑ ﻷﺴﺒﺎﺏ‬ ‫ﺃﺜﻕ ﺃﻨﻜﻡ ﺴﺘﻘﺩﺭﻭﻨﻬﺎ. ﻟﻜﻥ ﻟﺤﺴﻥ ﺍﻟﺤﻅ، ﺒﻴﻨﻨﺎ ﺍﻵﻥ ﺭﺠل ﺃﻅﻥ‬ ‫ﺃﻨﻨﺎ ﺠﻤﻴﻌ ﹰ ﺴﻨﻭﺍﻓﻕ ﻋﻠﻴﻪ. ﺃﺭﺸﺢ ﻟﺫﻟﻙ ﺭﺌﻴﺱ ﺠﻤﻌﻴﺔ ﺃﺼﺤﺎﺏ‬ ‫ﺎ‬ ‫ﺍﻟﻌﻘﺎﺭﺍﺕ، ﺍﻟﺴﻴﺩ ﺃﺴﻼﻜﺴﻥ.‬

‫ﺒﻴﻠﻴﻨﻎ )ﻴﻜﺘﺏ(: ،ﺘﻡ ﺍﺨﺘﻴﺎﺭ ﺍﻟﺴﻴﺩ ﺃﺴﻼﻜﺴﻥ ﻭﺴﻁ ﻫﺘﺎﻑ... »‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺍﻵﻥ ﺒﻤﺎ ﺃﻨﻨﻲ ‪‬ﻋﻴ ﹸ ﻷﻗﻑ ﻫﻨﺎ، ﺃﺭﺠﻭ ﺃﻥ ﺘﺴﻤﺤﻭﺍ ﻟﻲ‬ ‫ﺩ ﺕ‬ ‫ﺃﻥ ﺃﻗﻭل ﺒﻀﻊ ﻜﻠﻤﺎﺕ ﻤﺨﺘﺼﺭﺓ. ﺃﻨﺎ ﺭﺠل ﻤﻌﺘﺩل ﻭﻤﺤﺏ‬ ‫ﻟﻠﺴﻼﻡ، ﻭﻤﻤﻥ ﻴﺅﻤﻨﻭﻥ ﺒﺎﻟﺘﻌﻘل ﻓﻲ ﺘﻘﺩﻴﺭ ﺍﻷﻤﻭﺭ، ﻭﺒﺎﻟﺭﺃﻱ‬

‫ﺍﻟﺴﻠﻴﻡ. ﻭﻤﻥ ﻴﻌﺭﻓﻨﻲ ﻴﻌﺭﻑ ﺫﻟﻙ ﻋﻨﻲ.‬ ‫ﻋﺩﺓ ﺃﺼﻭﺍﺕ: ﻨﻌﻡ! ﻫﺫﺍ ﺼﺤﻴﺢ ﺃﺴﻼﻜﺴﻥ!‬

‫ﺃﺴﻼﻜﺴﻥ: ﻟﻘﺩ ﻋﻠﻤﺘﻨﻲ ﺘﺠﺭﺒﺘﻲ ﻓﻲ ﻤﺩﺭﺴﺔ ﺍﻟﺤﻴﺎﺓ ﺃﻥ ﺃﻜﺜﺭ‬ ‫ﺍﻟﻔﻀﺎﺌل ﻗﻴﻤﺔ ﻟﺩﻯ ﺍﻟﻤﻭﺍﻁﻥ ﻫﻲ ﺍﻻﻋﺘﺩﺍل -‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﺘﺴﻤﻌﻭﻥ! ﺃﺘﺴﻤﻌﻭﻥ!‬

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‫ﺃﺴﻼﻜﺴﻥ: ]ﻭﺇﻥ ﺍﻟﺘﻌﻘل، ﻭﺍﻻﻋﺘﺩﺍل ﻫﻤﺎ ﺃﻓﻀل ﻤﻥ ﻴﺨﺩﻡ‬ ‫ﺍﻟﻤﺠﺘﻤﻊ.[ ﻟﺫﺍ، ﺃﻗﺘﺭﺡ ﻋﻠﻰ ﺃﺨﻴﻨﺎ ﺍﻟﻤﻭﺍﻁﻥ ﺍﻟﻤﺤﺘﺭﻡ ﺍﻟﺫﻱ ﺩﻋﺎ‬ ‫ﺇﻟﻰ ﻫﺫﺍ ﺍﻻﺠﺘﻤﺎﻉ ﺃﻥ ﻴﺴﻌﻰ ﺠﺎﻫﺩﹰ ﻟﻴﻜﻭﻥ ﻀﻤﻥ ﺤﺩﻭﺩ‬ ‫ﺍ‬ ‫ﺍﻻﻋﺘﺩﺍل ﻭﻀﺒﻁ ﺍﻟﻨﻔﺱ.‬ ‫ﺭﺠل ﻤﺨﻤﻭﺭ )ﻋﻨﺩ ﻤﺩﺨل ﺍﻟﺒﺎﺏ(: ﺃﺤﻠﻰ ﺜﻼﺙ ﻫﺘﺎﻓﺎﺕ ﻟﺠﻤﻌﻴﺔ‬ ‫ﺍﻻﻋﺘﺩﺍل! ﻓﻲ ﺼﺤﺘﻬﺎ!‬

‫ﺃﺴﻼﻜﺴﻥ: ﺃﺭﺠﻭﻜﻡ، ﻤﻥ ﺩﻭﻥ ﻤﻘﺎﻁﻌﺔ ﻴﺎ ﺴﺎﺩﺓ. ﻫل ﻴﺭﻏﺏ ﺃﺤﺩ ﺃﻥ‬ ‫ﻴﻘﻭل ﺸﻴﺌ ﹰ ﻗﺒل ﺃﻥ -‬ ‫ﺎ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻴﻬﺎ ﺍﻟﺴﻴﺩ ﺍﻟﺭﺌﻴﺱ!‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺘﻔﻀل ﺴﻴﺩﻱ!‬

‫ﻋﺩﺓ ﺃﺼﻭﺍﺕ: ﺴﻜﻭﺘ ﹰ، ﺴﻜﻭﺘ ﹰ!‬ ‫ﺎ‬ ‫ﺎ‬

‫ﺼﻭﺕ: ﺃﻁﺒﻕ ﻓﻤﻙ ﺍﻟﻠﻌﻴﻥ.‬

‫ﻋﻼﻗﺔ ﻭﻁﻴﺩﺓ ﺘﺭﺒﻁﻨﻲ ﺒﺎﻟﻤﺩﻴﺭ ﺍﻟﺤﺎﻟﻲ ﻟﻠﺤﻤﺎﻤﺎﺕ، ﻭﺒﻨﺎ ‪ ‬ﻋﻠﻴﻪ‬ ‫ﺀ‬ ‫ﻓﻘﺩ ﻓﻀﻠﺕ ﺃﻻ ﺃﺘﺤﺩﺙ ﻫﺫﺍ ﺍﻟﻤﺴﺎﺀ. ﺒﻴ ‪ ‬ﺃﻥ ﻤﺭﻜﺯﻱ ﺍﻟﺭﺴﻤﻲ‬ ‫ﺩ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺍﻷﻤﺭ ﺍﻟﺫﻱ ﻻ ﺸﻙ ﻓﻴﻪ، ﻭﻴﻌﻴﻪ ﺍﻟﺠﻤﻴﻊ ﻫﻨﺎ، ﺃﻥ ﺜﻤﺔ‬

‫ﻋﻠﻰ ﺭﺃﺱ ﺘﻠﻙ ﺍﻟﻤﺅﺴﺴﺔ، ﻭﺤﺭﺼﻲ ﻋﻠﻰ ﺘﺤﺼﻴل ﺃﻓﻀل‬ ‫ﻤﻥ ﺍﻟﻤﻭﺍﻁﻨﻴﻥ ﺍﻟﺤﺎﻀﺭﻴﻥ ﻫﻨﺎ ﻴﺭﻯ ﻤﻥ ﺍﻟﻤﺴﺘﺤﺴﻥ ﻨﺸﺭ‬ ‫ﺍﻟﺼﺤﻴﺔ ﻟﻠﺤﻤﺎﻤﺎﺕ.‬ ‫ﺍ‬ ‫ﺍﻟﻔﻭﺍﺌﺩ ﻟﻠﻤﺩﻴﻨﺔ، ﺃﺠﺒﺭﺍﻨﻲ ﻋﻠﻰ ﺍﺘﺨﺎﺫ ﻗﺭﺍﺭ. ﻭﻻ ﺃﻅﻥ ﺃﻥ ﺃﺤﺩﹰ‬

‫ﺍﺩﻋﺎﺀﺍﺕ ﻤﺭﻴﺒﺔ ﻭﻤﺒﺎﻟﻎ ﻓﻴﻬﺎ ﺨﺎﺭﺝ ﺍﻟﺒﻠﺩﺓ، ﺤﻭل ﺍﻟﻅﺭﻭﻑ‬

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‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻟﺫﺍ ﺃﻗﺘﺭﺡ ﻋﻠﻰ ﻫﺫﺍ ﺍﻻﺠﺘﻤﺎﻉ ﺃﻥ ﻴﺭﻓﺽ ﺍﻟﺴﻤﺎﺡ‬ ‫ﻟﻠﻤﺩﻴﺭ ﺍﻟﺼﺤﻲ ﺍﻟﻤﺫﻜﻭﺭ ﺁﻨﻔ ﹰ ﺃﻥ ﻴﻘﺭﺃ ﺃﻭ ﻴﺴﻬﺏ ﻓﻲ ﺸﺭﺡ‬ ‫ﺎ‬ ‫ﻨﻅﺭﻴﺎﺘﻪ ﺍﻟﻤﺘﻌﻠﻘﺔ ﺒﺎﻟﻤﺴﺄﻟﺔ ﺍﻟﻤﺜﺎﺭﺓ.‬

‫ﻋﺩﺓ ﺃﺼﻭﺍﺕ: ﻻ، ﻻ، ﻻ! ﻁﺒﻌ ﹰ ﻻ! ﻨﺤﻥ ﻨﻌﺘﺭﺽ!‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻤﻨﻔﻌ ﹰ(: ﻴﺭﻓﺽ ﺍﻟﺴﻤﺎﺡ؟ ﻤﺎ ﻫﺫﺍ ﺒﺤﻕ‬ ‫ﻼ‬ ‫ﺍﻟﺸﻴﻁﺎﻥ -؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺘﻤﺎﻟﻙ ﺃﻋﺼﺎﺒﻪ(: ﺤﺴﻥ ﺠﺩﹰ. ﺃﻨﺕ ﺘﺭﻓﺽ‬ ‫ﺍ‬ ‫ﺍﻟﺴﻤﺎﺡ ﻟﻲ ﺒﺫﻟﻙ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻓﻲ ﺒﻴﺎﻥ ﻟﻲ ﻟﺼﺤﻴﻔﺔ »ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ« ﺤﺎﻭﻟﺕ‬ ‫ﺇﻁﻼﻉ ﺍﻟﻨﺎﺱ ﻋﻠﻰ ﺍﻟﺤﻘﺎﺌﻕ ﺍﻷﺴﺎﺴﻴﺔ، ﻟﻴﺘﻤﻜﻥ ﻜل ﻤﻭﺍﻁﻥ ﻓﻁﻥ‬ ‫ﻤﻥ ﺘﻜﻭﻴﻥ ﺭﺃﻴﻪ ﺍﻟﺸﺨﺼﻲ. ﻭﻗﺩ ﺃﺸﺭﺕ، ﻤﻥ ﺒﻴﻥ ﻋﺩﺓ ﺃﺸﻴﺎﺀ،‬ ‫ﺒﻤﻌﺯل ﻋﻥ ﺤﻘﻴﻘﺔ ﺃﻨﻬﻡ ﺴﻴﺘﻭﺼﻠﻭﻥ ﺇﻟﻰ ﺍﻟﺘﺼﻭﻴﺕ ﺒﺴﺤﺏ ﺍﻟﺜﻘﺔ‬ ‫ﻋﻥ ﻤﻭﺍﻁﻨﻴﻥ ﻜﺒﺎﺭ ﻓﻲ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ - ﻟﻜ ‪ ‬ﺍﻗﺘﺭﺍﺤﺎﺕ ﺍﻟﻤﺩﻴﺭ‬ ‫ﻥ‬ ‫ﺍﻟﺼﺤﻲ ﻟﻠﺤﻤﺎﻤﺎﺕ ﺴﻭﻑ ﺘﺜﻘل ﻜﺎﻫل ﺩﺍﻓﻌﻲ ﺍﻟﻀﺭﺍﺌﺏ ﺒﻨﻔﻘﺎﺕ‬ ‫ﻏﻴﺭ ﻀﺭﻭﺭﻴﺔ ﺘﺒﻠﻎ ﻋﻠﻰ ﺍﻷﻗل ﺤﻭﺍﻟﻲ ﻤﺌﺔ ﺃﻟﻑ ﻜﺭﺍﻭﻥ.‬ ‫ﺃﺼﻭﺍﺕ ﺍﺴﺘﻨﻜﺎﺭ ﻭﺒﻌﺽ ﺍﻟﺼﻔﻴﺭ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﺭﻜﻤﺎﻥ )ﺘﺴﻌل(: ﺇﺤﻡ، ﺇﺤﻡ.‬

‫ﺃﺴﻼﻜﺴﻥ )ﻴﻘﺭﻉ ﺠﺭﺴﻪ(: ﺤﺎﻓﻅﻭﺍ ﻋﻠﻰ ﺍﻟﻨﻅﺎﻡ، ﺭﺠﺎﺀ ﺃﻴﻬﺎ ﺍﻟﺴﺎﺩﺓ.‬ ‫ﺃﺴﺘﺄﺫﻨﻜﻡ ﺃﻥ ﻨﺘﺭﻙ ﺭﺃﻱ ﺴﻴﺎﺩﺘﻪ ﻟﺒﺭﻫﺔ ﻗﺼﻴﺭﺓ ﺠﺩﹰ. ﻭﺴﺄﻀﻴﻑ‬ ‫ﺍ‬ ‫ﺃﻨﻨﻲ ﺃﺭﻯ ﺃﻨﻪ ﻟﺩﻯ ﺍﻟﺩﻜﺘﻭﺭ ﺤﺎﻓﺯ ﺃﺒﻌﺩ، ﻭﻻ ﺸﻙ ﺃﻨﻪ ﻻ‬ ‫ﺸﻌﻭﺭﻱ، ﻹﺜﺎﺭﺓ ﻫﺫﻩ ﺍﻻﻀﻁﺭﺍﺒﺎﺕ. ]ﺇﻨﻪ ﻴﺘﺤﺩﺙ ﻋﻥ‬

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‫ﺍﻟﺤﻤﺎﻤﺎﺕ، ﻟﻜﻥ[ ﻤﺎ ﻴﻬﺩﻑ ﺇﻟﻴﻪ ﻓﻌ ﹰ ﻫﻭ ﺍﻟﺜﻭﺭﺓ. ﺇﻨﻪ ﻴﺭﻴﺩ ﺘﺴﻠﻴﻡ‬ ‫ﻼ‬ ‫ﺍﻟﺴﻠﻁﺔ ﻷﻨﺎﺱ ﺁﺨﺭﻴﻥ. ﻻ ﺃﺤﺩ ﻴﺸﻙ ﻓﻲ ﺼﺩﻕ ﻨﻭﺍﻴﺎ ﺍﻟﺩﻜﺘﻭﺭ.‬ ‫]ﻭﺘﻌﻠﻡ ﺍﻟﺴﻤﺎﺀ، ﺃﻨﻪ ﻻ ﻴﺨﺘﻠﻑ ﺍﺜﻨﺎﻥ ﻓﻲ ﺫﻟﻙ![ ﻓﺄﻨﺎ ﺃﻴﻀ ﹰ ﺃﺅﻤﻥ‬ ‫ﺎ‬ ‫ﺒﺎﻟﺤﻜﻡ ﺍﻟﺫﺍﺘﻲ ﻟﻠﺸﻌﺏ، ﻁﺎﻟﻤﺎ ﺃﻥ ﺫﻟﻙ ﻻ ﻴﻔﺭﺽ ﻨﻔﻘﺎﺕ ﺜﻘﻴﻠﺔ‬ ‫ﻋﻠﻰ ﺩﺍﻓﻊ ﺍﻟﻀﺭﺍﺌﺏ. ﻟﻜﻥ ﻫﺫﺍ ﻤﺎ ﻗﺩ ﻴﺤﺩﺙ ﻫﻨﺎ. ﻟﺫﺍ ﺍﻋﺫﺭﻭﻨﻲ‬ ‫ﺇﻥ ﻟﻡ ﺃﺅﻴﺩ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻫﺫﻩ ﺍﻟﻤﺭﺓ. ﻓﺒﺭﺃﻴﻲ ﺃﻥ ﺍﻟﻤﺭﺀ‬ ‫ﻴﺴﺘﻁﻴﻊ ﺸﺭﺍﺀ ﺍﻟﺫﻫﺏ ﺒﺜﻤﻥ ﺒﺎﻫﻅ ﺃﻴﻀ ﹰ.‬ ‫ﺎ‬ ‫ﺘﻌﺒﻴﺭ ﺤﻲ ﻋﻠﻰ ﺍﻟﻤﻭﺍﻓﻘﺔ ﻤﻥ ﻜل ﺍﻟﺠﻬﺎﺕ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﺭﻯ ﻨﻔﺴﻲ ﻤﺠﺒﺭﹰ ﺃﻴﻀ ﹰ ﻷﺸﺭﺡ ﻤﻭﻗﻔﻲ. ﺤﺎﺯﺕ ﺜﻭﺭﺓ‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻓﻲ ﺍﻟﺒﺩﺍﻴﺔ ﻨﺠﺎﺤ ﹰ ﻤﻠﺤﻭﻅ ﹰ، ﻭﺃﻨﺎ ﺒﻨﻔﺴﻲ ﺃﻴﺩﺘﻪ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺩﻭﻥ ﺘﺤﻴﺯ ﺒﻘﺩﺭ ﻤﺎ ﺍﺴﺘﻁﻌﺕ. ﻟﻜﻨﻨﺎ ﺍﻜﺘﺸﻔﻨﺎ ﻓﻴﻤﺎ ﺒﻌﺩ ﺃﻨﻨﺎ ﺴﻤﺤﻨﺎ‬ ‫ﻷﻨﻔﺴﻨﺎ ﺃﻥ ﹸﻀﱠل ﺒﺼﻭﺭﺓ ﻤﺯﻴﻔﺔ ﺍﻟﺤﻘﺎﺌﻕ -‬ ‫ﻨ ﻠ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺫﺍ ﻜﺫﺏ!‬ ‫ﺃﺜﺒﺕ ﺒﻴﺎﻥ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ ﺫﻟﻙ. ﻭﺃﻅﻥ ﺃﻥ ﻻ ﺃﺤﺩ ﻫﻨﺎ ﻴﺸﻙ ﻓﻲ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻨﻘل ﺇﺫﹰ ﺼﻭﺭﺓ ﻻ ﻴﻤﻜﻥ ﺍﻟﻭﺜﻭﻕ ﺒﻬﺎ ﺒﺸﻜل ﻜﺎﻤل. ﻭﻗﺩ‬ ‫ﺍ‬

‫ﻤﺘﻌﻘﻠﻴﻥ ﻭﺃﺼﺤﺎﺏ ﺨﺒﺭﺓ ﺃﻥ ﻤﻥ ﻭﺍﺠﺏ ﺍﻟﺼﺤﻴﻔﺔ ﺃﻥ ﺘﺒﺩﻱ‬ ‫ﺒﻌﺽ ﺍﻟﺤﺫﺭ ﻓﻲ ﺍﻷﻤﻭﺭ ﺍﻟﻤﺤﻠﻴﺔ.‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻫﺫﺍ ﻤﺎ ﺃﺸﻌﺭ ﺒﻪ ﺘﻤﺎﻤ ﹰ.‬ ‫ﺎ‬

‫ﺍﻷﺴﺎﺴﻴﺔ ﻤﻌﺭﻭﻑ ﻟﺩﻯ ﺍﻟﺠﻤﻴﻊ. ﻟﻜﻨﻨﻲ ﺘﻌﻠﻤﺕ ﻤﻥ ﺃﺸﺨﺎﺹ‬

‫ﺃﻥ ﺁﺭﺍﺌﻲ ﺤﺭﺓ. ﻭﺭﺃﻱ »ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ« ﻓﻲ ﺍﻟﻤﺴﺎﺌل ﺍﻟﺴﻴﺎﺴﻴﺔ‬

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‫ﻫﻭﭭﺴﺘﺎﺩ: ﺒﺎﻟﻨﺴﺒﺔ ﺇﻟﻰ ﺍﻷﻤﺭ ﺍﻟﺫﻱ ﻨﻨﺎﻗﺸﻪ ﺍﻵﻥ، ﻤﻥ ﺍﻟﻭﺍﻀﺢ ﺃﻥ‬ ‫ﺍﻟﺭﺃﻱ ﺍﻟﻌﺎﻡ ﻴﻘﻑ ﻀﺩ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ. ﺤﺴﻨ ﹰ، ﺃﻨﺎ ﺃﺴﺄﻟﻜﻡ ﻴﺎ‬ ‫ﺎ‬ ‫ﺴﺎﺩﺓ، ﻤﺎ ﺍﻟﻭﺍﺠﺏ ﺍﻷﺴﺎﺴﻲ ﻟﻠﻤﺤﺭﺭ؟ ﺃﻟﻴﺱ ﺃﻥ ﻴﻌﺒﺭ ﻋﻥ ﺁﺭﺍﺀ‬ ‫ﻗﺭﺍﺌﻪ؟ ﺃﻟﻴﺱ ﻤﺅﺘﻤﻨ ﹰ ﻋﻠﻰ ﻤﺎ ﻴﻭﺼﻑ ﺒﺄﻨﻪ ﺘﻔﻭﻴﺽ ﻏﻴﺭ ﻤﻌﻠﻥ‬ ‫ﺎ‬ ‫ﻋﻨﻪ، ﻟﻴﺩﺍﻓﻊ ﻋﻥ ﻗﻀﻴﺔ ﺃﻭﻟﺌﻙ ﺍﻟﺫﻴﻥ ﻴﺤﻤﻠﻭﻥ ﺁﺭﺍ ‪‬ﻩ ﻨﻔﺴﻬﺎ، ﺒﻜل‬ ‫ﺀ‬ ‫ﻤﺎ ﻴﻤﻠﻜﻪ ﻤﻥ ﻓﺼﺎﺤﺔ؟ ﺃﻭ ﺃﻨﻨﻲ ﻤﺨﻁﺊ ﻓﻲ ﻫﺫﺍ؟‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻘﺩ ﻋﺎﻨﻴﺕ ﺍﻟﺼﺭﺍ ‪ ‬ﺒﻴﻨﻲ ﻭﺒﻴﻥ ﻨﻔﺴﻲ ﺒﺴﺒﺏ ﺍﻻﻨﻔﺼﺎل‬ ‫ﻉ‬ ‫ﻋﻥ ﺭﺠل ﺘﺭﺩﺩﺕ ﻜﺜﻴﺭﹰ ﻟﺯﻴﺎﺭﺘﻪ ﻤﺅﺨﺭﹰ، ﻓﻬﻭ ﺭﺠل ﻻ ﻴﺯﺍل‬ ‫ﺍ‬ ‫ﺍ‬ ‫ﺤﺘﻰ ﺍﻟﻴﻭﻡ ﻴﺘﻤﺘﻊ ﺒﺎﺤﺘﺭﺍﻡ ﻜﺒﻴﺭ ﻤﻥ ﻗﺒل ﺇﺨﻭﺘﻪ ﺍﻟﻤﻭﺍﻁﻨﻴﻥ،‬ ‫ﺭﺠل ﺨﻁﺅﻩ ﺍﻟﻭﺤﻴﺩ، ﺒل ﻭﺍﻷﺴﺎﺴﻲ ﻋﻠﻰ ﻜل ﺤﺎل، ﻫﻭ ﺃﻨﻪ ﺍﺘﺒﻊ‬ ‫ﻗﻠﺒﻪ ﻻ ﻋﻘﻠﻪ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻜﻥ ﻭﺍﺠﺒﻲ ﺘﺠﺎﻩ ﺍﻟﻤﺠﺘﻤﻊ ﻟﻡ ﻴﺘﺭﻙ ﻟﻲ ﺨﻴﺎﺭﹰ. ﻭﻫﻨﺎﻙ‬ ‫ﺍ‬ ‫ﺍﻋﺘﺒﺎﺭ ﺁﺨﺭ ﻴﺠﺒﺭﻨﻲ ﻋﻠﻰ ﺍﻟﻭﻗﻭﻑ ﻓﻲ ﻭﺠﻬﻪ، ﻭﺫﻟﻙ ﻋﻠﻰ ﺃﻤل‬ ‫ﺜﻨﻴﻪ ﻋﻥ ﺍﻟﻁﺭﻴﻕ ﺍﻟﻤﺸﺅﻭﻡ ﺍﻟﺫﻱ ﺒﺩﺃ ﻴﺨﻁﻭ ﻓﻴﻪ ﺍﻵﻥ - ﻤﺭﺍﻋﺎﺓ‬ ‫ﻟﻌﺎﺌﻠﺘﻪ -‬

‫ﻋﺩﺓ ﺃﺼﻭﺍﺕ: ﻻ، ﻻ، ﻻ! ﺍﻟﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ ﻋﻠﻰ ﺤﻕ!‬

‫ﺃﺼﻭﺍﺕ ﻤﺠﺘﻤﻌﺔ: ﻫﺫﺍ ﺼﺤﻴﺢ. ﻴﺤﻴﺎ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ!‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺩﻉ ﻜﻼﻤﻙ ﻓﻲ ﻤﻭﻀﻭﻉ ﺸﺒﻜﺔ ﺍﻟﻤﻴﺎﻩ‬ ‫ﻭﺍﻟﻤﺠﺎﺭﻱ ﻓﺤﺴﺏ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: - ﻤﺭﺍﻋﺎﺓ ﻟﺯﻭﺠﻪ ﻭﺃﻁﻔﺎﻟﻪ ﺍﻟﺫﻴﻥ ﺘﺨﻠﻰ ﻋﻨﻬﻡ.‬ ‫ﻤﻭﺭﺘﻥ: ﻫل ﻴﻌﻨﻴﻨﺎ ﻨﺤﻥ ﻴﺎ ﺃﻤﻲ؟‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺘﺯﻋﺞ ﻨﻔﺴﻙ! ﻟﻥ ﺃﻨﻁﻕ ﺒﻜﻠﻤﺔ ﻋﻥ ﺘﻠﻙ‬ ‫ﺍﻟﺤﻤﺎﻤﺎﺕ ﺍﻟﻠﻌﻴﻨﺔ. ﻻ. ﻫﻨﺎﻙ ﺸﻲﺀ ﺁﺨﺭ ﺃﺨﺒﺭﻜﻡ ﺒﻪ ﺍﻟﻠﻴﻠﺔ.‬ ‫ﺭﺠل ﻤﺨﻤﻭﺭ )ﻗﺭﺏ ﻤﺩﺨل ﺍﻟﺒﺎﺏ(: ﺃﻨﺎ ﺃﺩﻓﻊ ﺍﻟﻀﺭﺍﺌﺏ ﺍﻟﻤﺘﺭﺘﺒﺔ‬ ‫ﻋﻠﻲ! ﻟﺫﺍ ﻴﺤﻕ ﻟﻲ ﺍﻟﺘﻌﺒﻴﺭ ﻋﻥ ﺭﺃﻴﻲ. ﻭﻫﻭ ﺭﺃﻴﻲ ﺍﻟﻤﻁﻠﻕ‬ ‫ﻭﺍﻟﻭﺍﻀﺢ ﺃﻥ -‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﺒﺼﻭﺕ ﻤﻨﺨﻔﺽ(: ﺘﺒ ﹰ، ﻤﺎ ﺫﺍﻙ ﺍﻟﺸﻲﺀ؟‬ ‫ﺎ‬

‫ﺃﺴﻼﻜﺴﻥ: ﺴﺄﻓﺘﺢ ﺍﻵﻥ ﺍﻟﻤﺠﺎل ﻟﻠﺘﺼﻭﻴﺕ ﻋﻠﻰ ﺭﺃﻱ ﺍﻟﺴﻴﺩ ﺭﺌﻴﺱ‬ ‫ﺍﻟﺒﻠﺩﻴﺔ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺸﺵ!‬

‫ﻋﺩﺓ ﺃﺼﻭﺍﺕ: ﺃﻨﺕ ﻫﻨﺎﻙ، ﺇﻟﺯﻡ ﺍﻟﺼﻤﺕ!‬ ‫ﺁﺨﺭﻭﻥ: ﺇﻨﻪ ﻤﺨﻤﻭﺭ! ﺍﺭﻤﻭﻩ ﺨﺎﺭﺠ ﹰ!‬ ‫ﺎ‬

‫‪‬ﺼﺭﻑ ﺍﻟﺭﺠل ﺍﻟﻤﺨﻤﻭﺭ ﺇﻟﻰ ﺍﻟﺨﺎﺭﺝ‬ ‫ﻴ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻭ ﺤﺎﻭل ﺃﺤﺩ ﻤﻨﻌﻲ ﻤﻥ ﺍﻟﻜﻼﻡ ﺒﻬﺫﻩ ﺍﻟﻁﺭﻴﻘﺔ‬ ‫ﻤﻨﺫ ﺃﻴﺎﻡ، ﻟﻘﺎﺘﻠﺕ ﻤﺜل ﺃﺴﺩ ﻟﻠﺩﻓﺎﻉ ﻋﻥ ﺤﻘﻭﻗﻲ ﺍﻹﻨﺴﺎﻨﻴﺔ‬ ‫ﺍﻟﻤﻘﺩﺴﺔ! ﻟﻜﻥ ﺫﻟﻙ ﻟﻡ ﻴﻌﺩ ﻴﻬﻡ ﺍﻵﻥ. ﻟﺩﻱ ﺍﻵﻥ ﺃﺸﻴﺎﺀ ﺃﻜﺜﺭ‬ ‫ﺃﻫﻤﻴﺔ ﺃﻭﺩ ﺍﻟﺘﺤﺩﺙ ﻋﻨﻬﺎ.‬ ‫ﻴﻘﺘﺭﺏ ﺍﻟﻨﺎﺱ ﻭﻴﺘﺠﻤﻌﻭﻥ ﻤﻥ ﺤﻭﻟﻪ. ﻴﻅﻬﺭ ﻤﻭﺭﺘﻥ ﻜﻴل‬ ‫ﺒﻴﻨﻬﻡ.‬

‫ﺃﺴﻼﻜﺴﻥ )ﻴﻘﺭﻉ ﺠﺭﺴﻪ(: ﺍﻟﻜﻼﻡ ﻟﻠﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫل ﻴﻤﻜﻨﻨﻲ ﺍﻟﺘﺤﺩﺙ؟‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺘﺎﺒﻊ(: ﻜﻨﺕ ﺃﻓﻜﺭ ﻤﻠﻴ ﹰ ﻓﻲ ﺃﺸﻴﺎﺀ ﻜﺜﻴﺭﺓ ﺨﻼل‬ ‫ﺎ‬ ‫ﺍﻷﻴﺎﻡ ﺍﻟﻘﻠﻴﻠﺔ ﺍﻟﻤﺎﻀﻴﺔ. ﻟﻘﺩ ﺃﻁﻠﺕ ﺍﻟﺘﻔﻜﻴﺭ ﺒﻌﻤﻕ ﻟﺩﺭﺠﺔ ﺃﻥ‬ ‫ﺭﺃﺴﻲ ﻓﻲ ﺍﻟﻨﻬﺎﻴﺔ ﺃﺨﺫ ﻴﺩﻭﺭ -‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ ﻓﻴﻤﺎ ﺒﻌﺩ ﺒﺩﺃ ﻜل ﺸﻲﺀ ﻴﻌﻭﺩ ﺇﻟﻰ‬ ‫ﻨﺼﺎﺒﻪ.]ﻟﻘﺩ ﺘﺭﺍﺀﺕ ﺍﻟﺼﻭﺭﺓ ﻟﻲ ﻭﺍﻀﺤﺔ ﺘﻤﺎﻤ ﹰ. ﻟﻬﺫﺍ ﺘﺭﻭﻨﻨﻲ‬ ‫ﺎ‬ ‫ﺃﻗﻑ ﺃﻤﺎﻤﻜﻡ ﻫﺫﺍ ﺍﻟﻤﺴﺎﺀ.[ ﺃﺼﺩﻗﺎﺌﻲ، ﺴﺄﻗﺩﻡ ﻋﻠﻰ ﺇﻋﻼﻥ ﻤﻔﺎﺠﺄﺓ‬ ‫ﻗﻭﻴﺔ ﻟﻜﻡ. ﺴﺄﺨﺒﺭﻜﻡ ﺤﻭل ﺍﻻﻜﺘﺸﺎﻑ ﺍﻟﺫﻱ ﻻ ﺤﺩﻭﺩ ﻷﻫﻤﻴﺘﻪ‬ ‫ﺘﺘﻀﺎﺀل ﺇﻟﻰ ﺠﺎﻨﺒﻪ ﺤﻘﻴﻘﺔ ﺃﻥ ﺸﺒﻜﺔ ﺍﻟﻤﻴﺎﻩ ﻟﺩﻴﻨﺎ ﻤﺴﻤﻭﻤﺔ ﻭﺃﻥ‬ ‫ﺤﻤﺎﻤﺎﺘﻨﺎ ﺍﻟﺼﺤﻴﺔ ﻤﻘﺎﻤﺔ ﻋﻠﻰ ﺍﻟﻤﺠﺎﺭﻱ!‬ ‫ﻋﺩﺓ ﺃﺼﻭﺍﺕ: ﺩﻉ ﺍﻟﺤﻤﺎﻤﺎﺕ ﻭﺸﺄﻨﻬﺎ! ﻻ ﺘﺘﺤﺩﺙ ﻋﻨﻬﺎ! ﻟﻥ ﻨﺼﻐﻲ‬ ‫ﺇﻟﻴﻙ!‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﻴﺴﻌل(: ﺇﺤﻡ -!‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺫﺍ ﺍﻻﻜﺘﺸﺎﻑ ﺍﻟﻌﻅﻴﻡ ﺍﻟﺫﻱ ﺘﻭﺼﻠﺕ ﺇﻟﻴﻪ‬ ‫ﺨﻼل ﺘﻠﻙ ﺍﻷﻴﺎﻡ ﺍﻟﻘﻠﻴﻠﺔ ﺍﻟﻤﺎﻀﻴﺔ، ﻫﻭ ﺃﻥ ﻤﻨﺎﺒﻌﻨﺎ ﺍﻟﺭﻭﺤﻴﺔ ﻜﻠﻬﺎ‬ ‫ﻤﺴﻤﻭﻤﺔ، ﻭﺃﻥ ﻨﻅﺎﻤﻨﺎ ﺍﻻﺠﺘﻤﺎﻋﻲ ﺒﺭﻤﺘﻪ ﺍﻟﺫﻱ ﻨﺘﺒﺠﺢ ﺒﻪ ﻤﺸﻴﺩ‬ ‫ﻋﻠﻰ ﻤﺠﺎﺭﻴﺭ ﻤﻥ ﺍﻷﻜﺎﺫﻴﺏ.‬ ‫ﺃﺼﻭﺍﺕ ﻤﺫﻫﻭﻟﺔ )ﺘﺫﻤﺭ ﺒﺄﺼﻭﺍﺕ ﻤﻨﺨﻔﻀﺔ(: ﻤﺎ ﻫﺫﺍ؟ ﻤﺎﺫﺍ ﻗﺎل؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻫﺫﻩ ﺘﻠﻤﻴﺤﺎﺕ ﺴﺨﻴﻔﺔ -‬ ‫ﺃﺴﻼﻜﺴﻥ )ﻴﻀﻊ ﻴﺩﻩ ﻋﻠﻰ ﺍﻟﺠﺭﺱ(: ﻴﺠﺏ ﺃﻥ ﺃﻁﻠﺏ ﻤﻥ ﺍﻟﻤﺘﺤﺩﺙ‬ ‫ﺃﻥ ﻴﻌﺘﺩل ﻓﻲ ﻟﻐﺘﻪ.‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ]ﻟﻁﺎﻟﻤﺎ ﺃﺤﺒﺒﺕ ﻤﺴﻘﻁ ﺭﺃﺴﻲ ﻫﺫﺍ، ﻭﻜﺎﻥ‬ ‫ﻟﻘﺩ ﻜﻨﺕ ﺸﺎﺒ ﹰ ﺤﻴﻥ ﺘﺭﻜﺕ ﻤﻭﻁﻨﻲ، ﻭﻗﺩ ﺃﻟﻘﻰ ﺍﻟﻨﺄﻱ ﻭﺍﻟﺠﻭﻉ‬ ‫ﺎ‬ ‫ﻭﺍﻟﺫﻜﺭﻴﺎﺕ، ﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤﻥ ﻜل ﺸﻲﺀ، ﺒﺭﻴﻘ ﹰ ﺒﻬﻴ ﹰ ﻋﻠﻰ ﻫﺫﻩ‬ ‫ﺎ ﺎ‬ ‫ﹸﺴﻤﻊ ﺃﺼﻭﺍﺕ ﻫﺘﺎﻑ ﻭﺘﺼﻔﻴﻕ.‬ ‫ﺘ‬ ‫ﻤﻭﺤﺸﺔ ﻫﻨﺎﻙ ﻓﻲ ﺍﻟﺸﻤﺎل. ]ﻭﻜﻤﺎ ﻜﻨﺕ ﺃﺘﺠﻭل ﺒﻴﻥ ﺃﻭﻟﺌﻙ ﺍﻟﻨﺎﺱ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻘﺩ ﻋﺸﺕ ﺴﻨﻭﺍﺕ ﻋﺩﻴﺩﺓ ﻓﻲ ﺃﺭﺽ ﺒﻌﻴﺩﺓ‬ ‫ﻋﺯﻴﺯﹰ ﻋﻠﻲ ﻜﻤﺎ ﻴﺤﺏ ﺃﻱ ﺭﺠل ﺍﻟﻤﻜﺎﻥ ﺍﻟﺫﻱ ﻗﻀﻰ ﻓﻴﻪ ﺸﺒﺎﺒﻪ.‬ ‫ﺍ‬

‫ﺍﻟﺒﻠﺩﺓ ﻭﺃﻫﻠﻬﺎ.‬

‫ﺎ‬ ‫ﺍﻟﺫﻴﻥ ﻴﻌﻴﺸﻭﻥ ﻋﻠﻰ ﺸﻜل ﺠﻤﺎﻋﺎﺕ ﻓﻭﻕ ﺍﻟﺠﺒﺎل، ﻭﻜﻨﺕ ﻏﺎﻟﺒ ﹰ‬ ‫ﺃﻥ ﻴﻜﻭﻥ ﻟﻬﺎ ﻁﺒﻴﺏ ﺒﻴﻁﺭﻱ، ﻻ ﺭﺠل ﻤﺜﻠﻲ!‬ ‫ﺘﻤﺘﻤﺎﺕ‬

‫ﻤﺎ ﺃﻓﻜﺭ ﺃﻨﻪ ﻤﻥ ﺍﻷﻓﻀل ﻟﺘﻠﻙ ﺍﻟﻤﺨﻠﻭﻗﺎﺕ ﺍﻟﻤﺘﻭﺤﺸﺔ ﺍﻟﻤﺴﻜﻴﻨﺔ‬

‫ﺒﻴﻠﻴﻨﻎ )ﻴﻀﻊ ﻗﻠﻤﻪ(: ﺃﻗﺴﻡ ﺇﻨﻲ ﻟﻡ ﺃﺴﻤﻊ ﻓﻲ ﺤﻴﺎﺘﻲ ﻗﻁ ﻤﺜﻴ ﹰ ﻟﺫﻟﻙ -!‬ ‫ﻼ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻫﺫﺍ ﺘﺸﻭﻴﻪ ﻗﺫﺭ ﻟﻠﻤﺠﺘﻤﻊ ﺍﻟﺭﻴﻔﻲ ﺍﻟﻔﺎﻀل!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺍﻨﺘﻅﺭﻭﺍ ﻟﺤﻅﺔ! ﻻ ﺃﻅﻥ ﺃﻥ ﺃﺤﺩﹰ ﻴﺴﺘﻁﻴﻊ‬ ‫ﺍ‬ ‫ﻜﻤﺎ ﺍﻟﺒﻁﺔ ﻋﻠﻰ ﺍﻟﺒﻴﺽ، ﻭﺍﻟﻔﺭﺥ ﺍﻟﺫﻱ ﻓﻘﺴﺘﻪ ﻜﺎﻥ ﺍﻟﺨﻁﺔ ﺍﻟﺘﻲ‬ ‫ﺘﺼﻔﻴﻕ، ﻭﺘﻤﺘﻤﺎﺕ ﺘﻌﺒﺭ ﻋﻥ ﻋﺩﻡ ﺍﻟﻤﻭﺍﻓﻘﺔ.‬ ‫ﻭﻀﻌﺘﻬﺎ ﻟﻬﺫﻩ ﺍﻟﺤﻤﺎﻤﺎﺕ.‬ ‫ﺍﻟﻘﻭل ﺇﻨﻲ ﻨﺴﻴﺕ ﻤﺴﻘﻁ ﺭﺃﺴﻲ ﻭﺃﻨﺎ ﻫﻨﺎﻙ. ﻜﻨﺕ ﺃﺠﻠﺱ ﻫﻨﺎﻙ‬

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‫ﺍ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ:[ ﺜﻡ ﺒﻌﺩ ﻤﺩﺓ ﻁﻭﻴﻠﺔ، ﺍﺒﺘﺴﻡ ﻟﻲ ﺍﻟﻘﺩﺭ ﺃﺨﻴﺭﹰ‬ ‫ﻭﺴﻤﺢ ﻟﻲ ﺒﺎﻟﻌﻭﺩﺓ. ]ﺜﻡ، ﻴﺎ ﺃﺨﻭﺘﻲ ﺍﻟﻤﻭﺍﻁﻨﻴﻥ، ﺜﻡ ﻓﻜﺭﺕ ﺃﻨﻪ ﻟﻡ‬ ‫ﻴﻌﺩ ﻟﻲ ﻤﺎ ﺃﺘﻤﻨﺎﻩ ﻓﻲ ﻫﺫﺍ ﺍﻟﻌﺎﻟﻡ. ﻻ -[ ﺒﻘﻲ ﻟﻲ ﻁﻤﻭﺡ ﻭﺍﺤﺩ -‬ ‫ﺭﻏﺒﺔ ﻋﺎﺭﻤﺔ ﻟﻠﻌﻤل ﻤﻥ ﻜل ﻗﻠﺒﻲ ﻭﺭﻭﺤﻲ ﻟﻤﺼﻠﺤﺔ ﻭﻁﻨﻲ‬ ‫ﻭﻤﺠﺘﻤﻌﻲ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﻤﺤﺩﻗ ﹰ ﻓﻲ ﺍﻟﻔﻀﺎﺀ(: ﻟﺩﻴﻙ ﻁﺭﻴﻘﺔ ﻏﺭﻴﺒﺔ ﻓﻲ‬ ‫ﺎ‬ ‫ﻋﺭﺽ ﺍﻟﻤﻭﻀﻭﻉ.‬

‫ﻀﺠﺔ، ﻭﺼﺭﺍﺥ، ﻭﻀﺤﻙ. ﺘﺴﻌل ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ‬ ‫ﺒﺼﻭﺕ ﻋﺎل.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﺫﺍ ﺃﺘﻴﺕ ﺇﻟﻰ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ ﻓﺭﺤ ﹰ، ﻭﻗﺩ ﺃﻋﻤﺘﻨﻲ‬ ‫ﺎ‬ ‫ﺴﻌﺎﺩﺘﻲ ﺒﺎﻜﺘﺸﺎﻓﻲ ﺍﻟﺠﺩﻴﺩ. ﻟﻜﻥ ﺼﺒﺎﺡ ﺍﻟﺒﺎﺭﺤﺔ - ﻻ، ﺒل ﻓﻲ‬ ‫ﺍﻟﻭﺍﻗﻊ ﻤﺴﺎﺀ ﺃﻭل ﺃﻤﺱ- ﺘﻔﺘﺤﺕﹾ ﻋﻴﻨﺎﻱ، ﻭﺃﻭل ﺸﻲﺀ ﺘﺒﺩﻯ ﻟﻬﻤﺎ‬ ‫ﻜﺎﻥ ﺸﺩﺓ ﺤﻤﺎﻗﺔ ﺍﻟﺴﻠﻁﺎﺕ ﺍﻟﻤﺤﻠﻴﺔ-‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻭﻩ، ﺩﻋﻨﺎ ﻻ ﻨﺒﺩﺃ ﺍﻟﻤﺭﺍﻭﻏﺔ ﺤﻭل ﺍﻟﻜﻠﻤﺎﺕ ﻴﺎ‬ ‫ﺴﻴﺩ ﺃﺴﻼﻜﺴﻥ. ﻤﺎ ﻗﺼﺩﺘﻪ ﻓﻘﻁ ﻫﻭ ﺃﻨﻨﻲ ﺃﺩﺭﻜﺕ ﻓﺠﺄﺓ ﻜﻴﻑ‬ ‫ﺘﺼﺭﻑ ﺭﺠﺎل ﺍﻟﺴﻴﺎﺴﺔ ﻋﻨﺩﻨﺎ ﺒﺎﻫﺘﻴﺎﺝ ﺤﻘﻴﻘﻲ ﺒﺸﺄﻥ ﺍﻟﺤﻤﺎﻤﺎﺕ.‬ ‫ﻻ ﻴﻤﻜﻨﻨﻲ ﺘﺤﻤل ﺍﻟﺴﻴﺎﺴﻴﻴﻥ! ﻟﻘﺩ ﺭﺃﻴﺕ ﻤﻨﻬﻡ ﺍﻟﻜﺜﻴﺭ ﻓﻲ ﺍﻷﻴﺎﻡ‬ ‫ﺍﻟﻤﺎﻀﻴﺔ. ﺇﻨﻬﻡ ﻜﺎﻟﻤﺎﻋﺯ ﻓﻲ ﻤﺯﺭﻋﺔ ﺤﺎﻓﻠﺔ ﺒﺎﻷﺸﺠﺎﺭ ﺍﻟﻔﺘﻴﺔ!‬ ‫ﺇﻨﻬﻡ ﻴﺩﻤﺭﻭﻥ ﻜل ﺸﻲﺀ، ﻭﻴﻀﻌﻭﻥ ﺍﻟﻌﻘﺒﺎﺕ ﻓﻲ ﻁﺭﻴﻕ ﻜل‬

‫ﺃﺴﻼﻜﺴﻥ )ﻴﻘﺭﻉ ﺠﺭﺴﻪ(: ﺒﻭﺼﻔﻲ ﺭﺌﻴﺴ ﹰ ﻟﻬﺫﺍ ﺍﻻﺠﺘﻤﺎﻉ، ﻓﺈﻨﻨﻲ -‬ ‫ﺎ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻴﻬﺎ ﺍﻟﺴﻴﺩ ﺍﻟﺭﺌﻴﺱ!‬

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‫ﺭﺠل ﺤﺭ، ﻜﻴﻔﻤﺎ ﺍﻟﺘﻑ ﻭﺍﺘﺠﻪ، ﻭﺃﻨﺎ ﺃﺭﻏﺏ ﻓﻲ ﺭﺅﻴﺘﻬﻡ ‪‬ﻘﺘﻠﻌﻭﻥ‬ ‫ﻴ‬ ‫ﻤﻥ ﺠﺫﻭﺭﻫﻡ، ﻭ ‪‬ﺒﺎﺩﻭﻥ ﻤﺜﻠﻤﺎ ﹸﺒﺎﺩ ﺍﻟﻬﻭﺍﻡ ﺍﻷﺨﺭﻯ -‬ ‫ﺘ‬ ‫ﻴ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺴﻴﺩﻱ ﺍﻟﺭﺌﻴﺱ، ﻫل ‪‬ﺴﻤﺢ ﺒﺎﻓﺘﺭﺍﺀﺍﺕ ﻜﻬﺫﻩ.‬ ‫ﻴ‬ ‫ﺍﻫﺘﻴﺎﺝ ﻓﻲ ﺍﻟﻐﺭﻓﺔ.‬

‫ﻫل ﺘﺘﻜﻠﻡ ﻋﻠ ‪‬؟ ﺍﺴﻤﻲ‬ ‫ﻲ‬

‫ﻀﺤﻙ، ﻭﻓﻭﻀﻰ ﻭﺼﻔﻴﺭ. ﺘﺠﻠﺱ ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ‬ ‫ﻭﺘﺴﻌل. ﻴﻘﺭﻉ ﺃﺴﻼﻜﺴﻥ ﺠﺭﺴﻪ ﺒﺼﻭﺕ ﻋﺎل.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺃﻓﻬﻡ ﻟ ‪ ‬ﻟﻡ‪ ‬ﺃﺴﺘﻁﻊ ﺃﺒﺩ ﹰ ﺭﺅﻴﺔ ﻫﺅﻻﺀ ﺍﻟﺴﺎﺩﺓ‬ ‫ﺍ‬ ‫ﻡ‬ ‫ﻋﻠﻰ ﺤﻘﻴﻘﺘﻬﻡ ﻤﻥ ﻗﺒل. ﻁﻭﺍل ﺍﻟﻭﻗﺕ ﻜﺎﻥ ﺃﻤﺎﻡ ﻋﻴﻨﻲ ﺘﻤﺎﻤ ﹰ ﻤﺜﺎل‬ ‫ﺎ‬ ‫ﺤﻲ، ﺃﺨﻲ ﺒﻴﺘﺭ، ﻤﺘﺫﺒﺫﺏ ﻭﻤﺘﺒﻠﺩ ﺍﻟﺫﻫﻥ -!‬

‫ﺃﺴﻼﻜﺴﻥ )ﻴﺩﻩ ﻋﻠﻰ ﺍﻟﺠﺭﺱ(: ﻴﺎ ﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ -!‬

‫ﺃﺼﻭﺍﺕ ﻏﺎﻀﺒﺔ: ﺍﺭﻤﻭﺍ ﺫﻟﻙ ﺍﻟﻤﺨﻤﻭﺭ ﺨﺎﺭﺠ ﹰ! ﺘﺨﻠﺼﻭﺍ ﻤﻨﻪ!‬ ‫ﺎ‬ ‫‪‬ﻠﻘﻰ ﺍﻟﺭﺠل ﺍﻟﻤﺨﻤﻭﺭ ﺨﺎﺭﺠ ﹰ ﻤﻥ ﺠﺩﻴﺩ.‬ ‫ﺎ‬ ‫ﻴ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻤﻥ ﻜﺎﻥ ﺫﺍﻙ ﺍﻟﺭﺠل؟‬

‫ﺍﻟﺭﺠل ﺍﻟﻤﺨﻤﻭﺭ )ﺍﻟﺫﻱ ﻋﺎﺩ ﻤﺠﺩﺩﹰ(:‬ ‫ﺍ‬ ‫ﺒﻴﺘﺭﺴﻥ، ﻟﻜﻥ ﺃﻟﺴﺕﹶ ﻟﻌﻴﻨ ﹰ ﺘﻤﺎﻤ ﹰ -‬ ‫ﺎ‬ ‫ﺎ‬

‫ﺃﺴﻼﻜﺴﻥ: ﻟﻘﺩ ﻜﺎﻥ ﺍﻟﺭﺠل ﺜﻤ ﹰ ﺘﻤﺎﻤ ﹰ ﺒﺎﻟﺒﻴﺭﺓ ﺍﻷﻟﻤﺎﻨﻴﺔ. ﺘﺎﺒﻊ ﻴﺎ‬ ‫ﺎ‬ ‫ﻼ‬ ‫ﺩﻜﺘﻭﺭ؛ ﻟﻜﻥ ﺃﺭﺠﻭﻙ ﺤﺎﻭل ﺃﻥ ﺘﻜﻭﻥ ﻤﻌﺘﺩ ﹰ!‬ ‫ﻻ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻨ ﹰ، ﻴﺎ ﺃﺨﻭﺘﻲ ﺍﻟﻤﻭﺍﻁﻨﻴﻥ، ﻟﻥ ﺃﺘﻜﻠﻡ ﺃﻜﺜﺭ‬ ‫ﺎ‬ ‫ﻋﻠﻰ ﺭﺠﺎل ﺍﻟﺴﻴﺎﺴﺔ ﻓﻲ ﻤﺩﻴﻨﺘﻨﺎ. ﻟﻭ ﻅﻥ ﺃﺤﺩ ﻤﻤﺎ ﻗﻠﺘﻪ ﺃﻨﻨﻲ‬

‫ﺭﺠل ﻴﻘﻑ ﺇﻟﻰ ﺠﺎﻨﺒﻪ: ﻻ ﺃﺩﺭﻱ ﻴﺎ ﺴﻴﺩﻱ.‬

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‫ﺃﺘﻴﺕ ﺇﻟﻰ ﻫﻨﺎ ﻫﺫﺍ ﺍﻟﻤﺴﺎﺀ ﻜﻲ ﺃﺴﻲﺀ ﻟﻬﺅﻻﺀ ﺍﻟﺴﺎﺩﺓ، ﻓﻬﻭ‬

‫ﻤﺨﻁﺊ، ﻤﺨﻁﺊ ﺘﻤﺎﻤ ﹰ. ]ﻷﻨﻨﻲ ﺃﻤﺘﻠﻙ ﻗﻨﺎﻋﺔ ﺜﺎﺒﺘﺔ ﺃﻥ ﻫﺅﻻﺀ‬ ‫ﺎ‬ ‫ﺍﻟﻤﺘﻘﺎﻋﺴﻴﻥ، ﻫﺅﻻﺀ ﺍﻟﻤﺘﺒﻘﻴﻥ ﻤﻥ ﻋﺎﻟﻡ ﻤﻴﺕ، ﺇﻨﻤﺎ ﻴﻘﻁﻌﻭﻥ‬ ‫ﺤﻨﺎﺠﺭﻫﻡ ﺒﺄﻴﺩﻴﻬﻡ ﻭﺒﺼﻭﺭﺓ ﻤﺜﺎﺒﺭﺓ. ﻭﻫﻡ ﻟﻴﺴﻭﺍ ﺒﺤﺎﺠﺔ ﺇﻟﻰ‬ ‫ﻁﺒﻴﺏ ﻴﺴﺎﻋﺩﻫﻡ ﻓﻲ ﺘﺴﺭﻴﻊ ﻤﻭﺘﻬﻡ. ﻭﻋﻠﻰ ﻜل، ﻟﻴﺴﻭﺍ ﻫﻡ‬

‫ﺍﻟﺨﻁﺭ ﺍﻟﺭﺌﻴﺱ ﺍﻟﻤﺤﺩﻕ ﺒﺎﻟﻤﺠﺘﻤﻊ![ ﻓﻬﻡ ﻟﻴﺴﻭﺍ ﺍﻷﺸﺨﺎﺹ‬ ‫ﺍﻷﻜﺜﺭ ﻓﻌﺎﻟﻴﺔ ﻓﻲ ﺘﺴﻤﻴﻡ ﻤﻨﺎﺒﻊ ﺤﻴﺎﺘﻨﺎ ﺍﻟﺭﻭﺤﻴﺔ ] ﻭﺘﻠﻭﻴﺙ‬ ‫ﺍﻷﺭﺽ ﺍﻟﺘﻲ ﻨﻁﺅﻫﺎ[! ﻟﻴﺴﻭﺍ ﻫﻡ ﺃﺨﻁﺭ ﺃﻋﺩﺍﺀ ﺍﻟﺤﻘﻴﻘﺔ ﻭﺍﻟﺤﺭﻴﺔ‬ ‫ﻓﻲ ﻤﺠﺘﻤﻌﻨﺎ!‬

‫ﺼﺭﺍﺥ ﻤﻥ ﻜل ﺍﻟﻨﻭﺍﺤﻲ: ‪‬ﻥ‪ ‬ﺇﺫﺍ؟ ‪‬ﻥ‪ ‬ﻫﻭ؟ ﺴﻤﻬﻡ!‬ ‫ﻤ‬ ‫ﻤ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺘﻘﻠﻘﻭﺍ، ﺴﺄﺴﻤﻴﻬﻡ! ﻷﻨﻪ ﻫﺫﺍ ﻫﻭ ﺍﻻﻜﺘﺸﺎﻑ‬ ‫ﺍﻟﻌﻅﻴﻡ ﺍﻟﺫﻱ ﺍﻜﺘﺸﻔﺘﻪ ﺍﻟﻴﻭﻡ! )ﻴﺭﻓﻊ ﺼﻭﺘﻪ( ﺃﺨﻁﺭ ﺃﻋﺩﺍﺀ‬ ‫ﺍﻟﺤﻘﻴﻘﺔ ﻭﺍﻟﺤﺭﻴﺔ ﻫﻡ ﺍﻷﻏﻠﺒﻴﺔ! ﺃﺠل، ﺍﻷﻏﻠﺒﻴﺔ ﺍﻟﺤﺭﺓ ﺍﻟﻤﺘﻤﺎﺴﻜﺔ‬ ‫ﻫﻡ ﻤﻥ ﻴﺠﺏ ﺃﻥ ﻨﺨﺸﺎﻫﻡ! ﺍﻵﻥ ﺃﻨﺘﻡ ﺘﻌﺭﻓﻭﻥ ‪‬ﻥ‪ ‬ﻫﻡ!‬ ‫ﻤ‬ ‫ﺍﻀﻁﺭﺍﺏ ﻜﻠﻲ. ﺍﻟﻜل ﻴﺼﺭﺨﻭﻥ ﺘﻘﺭﻴﺒ ﹰ، ﻴﻀﺭﺒﻭﻥ ﺍﻷﺭﺽ‬ ‫ﺎ‬

‫ﺘﻨﻬﺽ ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ ﺒﻘﻠﻕ. ﻭﻴﻨﻁﻠﻕ ﺇﻴﻠﻴﻑ ﻭﻤﻭﺭﺘﻥ‬ ‫ﻴﺘﻭﻋﺩﺍﻥ ﺍﻟﻁﻼﺏ ﺍﻟﺫﻴﻥ ﻴﺜﻴﺭﻭﻥ ﺍﻟﻔﻭﻀﻰ. ﻴﻘﺭﻉ ﺃﺴﻼﻜﺴﻥ‬

‫ﺍﻟﻨﻅﺭﺍﺕ ﺨﻠﺴﺔ ﻭﻴﺒﺩﻭ ﻋﻠﻴﻬﻡ ﺃﻨﻬﻡ ﻤﺴﺘﻤﺘﻌﻭﻥ ﺒﻤﺎ ﻴﺠﺭﻱ.‬

‫ﺒﺄﻗﺩﺍﻤﻬﻡ ﻭﻴﺼﻔﺭﻭﻥ. ﺒﻌﺽ ﺍﻟﺭﺠﺎل ﻜﺒﺎﺭ ﺍﻟﺴﻥ ﻴﺘﺒ ﹰﺩﻟﻭﻥ‬ ‫ﺎ‬

‫ﺠﺭﺴﻪ ﻭﻴﻁﺎﻟﺏ ﺍﻟﺠﻤﻴﻊ ﺒﺎﻟﺘﺯﺍﻡ ﺍﻟﺼﻤﺕ. ﻫﻭﻓﺴﺘﺎﺩ ﻭﺒﻴﻠﻴﻨﻎ‬

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‫ﻴﺘﺤﺩﺜﺎﻥ، ﻟﻜﻥ ﺃﺤﺩ ﹰ ﻻ ﻴﺴﺘﻁﻴﻊ ﺴﻤﺎﻉ ﻤﺎ ﻴﻘﻭﻻﻥ.ﻭ ﻓﻲ‬ ‫ﺍ‬

‫ﺍﻟﻨﻬﺎﻴﺔ ﻴﺴﻭﺩ ﺍﻟﺼﻤﺕ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻥ ﺃﻓﻌل ﻴﺎ ﺴﻴﺩ ﺃﺴﻼﻜﺴﻥ! ﻓﺎﻷﻏﻠﺒﻴﺔ ﻓﻲ ﻫﺫﺍ‬ ‫ﺍﻟﻤﺠﺘﻤﻊ ﻫﻡ ﺍﻟﺫﻴﻥ ﻴﺤﺭﻤﻭﻨﻨﻲ ﻤﻥ ﺤﺭﻴﺘﻲ ﻭﻴﺤﺎﻭﻟﻭﻥ ﻤﻨﻌﻲ ﻤﻥ‬ ‫ﻗﻭل ﺍﻟﺤﻘﻴﻘﺔ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺍﻷﻏﻠﺒﻴﺔ ﺩﺍﺌﻤ ﹰ ﻋﻠﻰ ﺼﻭﺍﺏ.‬ ‫ﺎ‬ ‫ﺒﻴﻠﻴﻨﻎ: ﻭﺃﻗﺴﻡ ﺇﻨﻬﻡ ﻴﻘﻭﻟﻭﻥ ﺍﻟﺤﻘﻴﻘﺔ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﺒﺼﻔﺘﻲ ﺭﺌﻴﺴ ﹰ ﻟﻼﺠﺘﻤﺎﻉ ﺃﻁﻠﺏ ﻤﻥ ﺍﻟﻤﺘﺤﺩﺙ ﺃﻥ ﻴﺴﺤﺏ‬ ‫ﺎ‬ ‫ﻫﺫﻩ ﺍﻟﺘﻌﻠﻴﻘﺎﺕ ﺍﻟﻤﺴﻴﺌﺔ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺍﻷﻏﻠﺒﻴﺔ ﻟﻴﺴﺕ ﺃﺒﺩﹰ ﻋﻠﻰ ﺼﻭﺍﺏ. ﺃﻗﻭل ﻟﻜﻡ‬ ‫ﺍ‬ ‫ﺃﺒﺩﹰ. ﺇﻨﻬﺎ ﺇﺤﺩﻯ ﻜﺫﺒﺎﺕ ﺍﻟﻤﺠﺘﻤﻊ ﺍﻟﺘﻲ ﻴﺠﺏ ﻋﻠﻰ ﺃﺼﺤﺎﺏ‬ ‫ﺍ‬ ‫ﺍﻟﻌﻘﻭل ﺍﻟﺤﺭﺓ ﺍﻟﻤﻔﻜﺭﺓ ﺃﻥ ﺘﺜﻭﺭ ﻀﺩﻫﺎ. ﻤﻥ ﺍﻟﺫﻱ ﻴﺸﻜل‬ ‫ﺍﻷﻏﻠﺒﻴﺔ - ﻓﻲ ﺃﻱ ﺒﻠﺩ ﻤﻥ ﺍﻟﺒﻠﺩﺍﻥ؟ ﺍﻟﺤﻜﻤﺎﺀ ﺃﻭ ﺍﻟﺤﻤﻘﻰ؟ ﺃﻅﻥ‬ ‫ﺃﻨﻪ ﻋﻠﻴﻨﺎ ﺠﻤﻴﻌ ﹰ ﺃﻥ ﻨﺘﻔﻕ ﻋﻠﻰ ﺃﻥ ﺍﻟﺤﻤﻘﻰ ﻫﻡ ﺍﻟﺫﻴﻥ ﻴﺸﻜﻠﻭﻥ‬ ‫ﺎ‬ ‫ﺃﻏﻠﺒﻴﺔ ﺴﺎﺤﻘﺔ ﻤﺭﻋﺒﺔ ﻓﻲ ﻜل ﺃﻨﺤﺎﺀ ﺍﻟﻌﺎﻟﻡ! ﻟﻜﻥ ﺃﻗﺴﻡ ﺒﺎﷲ ﻋﻠﻰ‬ ‫ﺍﺴﺘﺤﺎﻟﺔ ﺼﺤﺔ ﻤﻘﻭﻟﺔ ﺃﻥ ﺍﻟﺤﻤﻘﻰ ﻴﺠﺏ ﺃﻥ ﻴﺤﻜﻤﻭﺍ ﺍﻟﻌﻘﻼﺀ!‬ ‫)ﺍﻀﻁﺭﺍﺏ ﻭﺼﺭﺍﺥ(.ﺃﺠل، ﺃﺠل، ﻴﻤﻜﻨﻜﻡ ﺃﻥ ﺘﺼﺭﺨﻭﺍ ﻀﺩﻱ،‬ ‫ﻟﻜﻥ ﻻ ﻴﻤﻜﻨﻜﻡ ﺍﻟﻘﻭل ﺇﻨﻨﻲ ﻋﻠﻰ ﺨﻁﺄ! ﻟﺴﻭﺀ ﺍﻟﺤﻅ، ﺍﻷﻏﻠﺒﻴﺔ‬ ‫ﺘﻤﻠﻙ ﺍﻟﻘﻭﺓ، ﻟﻜﻨﻬﺎ ﻟﻴﺴﺕ ﻋﻠﻰ ﺼﻭﺍﺏ. ﻤﻥ ﻫﻡ ﻋﻠﻰ ﺼﻭﺍﺏ ﻫﻡ‬ ‫ﺒﻀﻌﺔ ﺃﻓﺭﺍﺩ ﻤﻌﺯﻭﻟﻭﻥ ﻤﺜﻠﻲ! ﺍﻷﻗﻠﻴﺔ ﺩﺍﺌﻤ ﹰ ﻋﻠﻰ ﺼﻭﺍﺏ!‬ ‫ﺎ‬ ‫)ﺍﻫﺘﻴﺎﺝ ﻤﻥ ﺠﺩﻴﺩ(.‬

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‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻘﺩ ﻗﻠﺕ ﻤﺴﺒﻘ ﹰ ﺇﻨﻨﻲ ﻻ ﺃﺭﻴﺩ ﺃﻥ ﺃﺘﻜﻠﻡ ﺠﺯﺍﻓ ﹰ‬ ‫ﺎ‬ ‫ﻋﻠﻰ ﻗﻁﻴﻊ ﺼﻐﻴﺭ ﻤﻥ ﺍﻟﺨﺭﺍﻑ ﻤﻘﻁﻭﻋﺔ ﺍﻟﻨﻔﺱ ﻭﺍﻟﺘﻲ ﺘﻠﻬﺙ‬ ‫ﻓﻲ ﻤﺅﺨﺭﺓ ﺍﻟﻘﻁﻴﻊ. ﻓﻠﻡ ﺘﺘﺭﻙ ﺍﻟﺤﻴﺎﺓ ﺸﻴﺌ ﹰ ﻤﺜﻴﺭﹰ ﺘﻘﺩﻤﻪ ﻟﻬﻡ.‬ ‫ﺍ‬ ‫ﺎ‬ ‫ﻟﻜﻨﻨﻲ ﺃﻓﻜﺭ ﻓﻲ ﺍﻟﻘﻠﺔ، ﺍﻷﻓﺭﺍﺩ ﺍﻟﻤﻭﺠﻭﺩﻴﻥ ﺒﻴﻨﻨﺎ، ﺍﻟﺫﻴﻥ ﺘﺒﻨﻭﺍ‬ ‫ﺒﺭﺍﻋﻡ ﺍﻟﺤﻘﺎﺌﻕ ﺍﻟﺠﺩﻴﺩﺓ ﺍﻟﻭﺍﻋﺩﺓ ﻋﻠﻰ ﺃﻨﻬﺎ ﺸﻌﺎﺭﻫﻡ! ﻫﺅﻻﺀ‬ ‫ﺍﻟﺭﺠﺎل ﻴﻘﻔﻭﻥ ﻋﻨﺩ ﺍﻟﻤﻘﺩﻤﺔ، ﻓﻲ ﻤﻜﺎﻥ ﻤﺘﻘﺩﻡ ﺠﺩ ﹰ ﻟﻡ ﺘﺼل ﺇﻟﻴﻪ‬ ‫ﺍ‬ ‫ﺒﻌﺩ ﺍﻷﻏﻠﺒﻴﺔ ﺍﻟﻤﺘﻀﺎﻤﻨﺔ، ﻭﻫﻨﺎﻙ ﺘﺭﺍﻫﻡ ﻴﻨﺎﻀﻠﻭﻥ ﻤﻥ ﺃﺠل ﺘﻠﻙ‬ ‫ﺍﻟﺤﻘﺎﺌﻕ ﺍﻟﺘﻲ ﻻ ﺘﺯﺍل ﺠﺩﻴﺩﺓ ﻟﻠﻐﺎﻴﺔ ﻋﻠﻰ ﻭﻋﻲ ﺍﻹﻨﺴﺎﻥ، ﻟﺫﺍ‬ ‫ﻟﻴﺱ ﻫﻨﺎﻙ ﺃﻏﻠﺒﻴﺔ ﺘﺩﻋﻤﻬﺎ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل ﻴﺎ ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ، ﻭﺍﷲ ﻟﻘﺩ ﻓﻌﻠﺕ. ﻓﺄﻨﺎ‬ ‫ﺃﻨﻭﻱ ﺍﻟﺒﺩﺀ ﺒﺜﻭﺭﺓ ﻀﺩ ﺃﻜﺫﻭﺒﺔ ﺃﻥ ﺍﻟﺤﻘﻴﻘﺔ ﻫﻲ ﺤﻜﺭ ﻋﻠﻰ‬ ‫ﺍﻷﻏﻠﺒﻴﺔ. ﻤﺎ ﻫﺫﻩ ﺍﻟﺤﻘﺎﺌﻕ ﺍﻟﺘﻲ ﺘﺘﺸﺒﺙ ﺒﻬﺎ ﺍﻷﻏﻠﺒﻴﺔ؟ ﺇﻨﻬﺎ‬ ‫ﺍﻟﺤﻘﺎﺌﻕ ﺍﻟﻐﺎﺭﻗﺔ ﻓﻲ ﺍﻟﻘﺩﻡ ﻟﺩﺭﺠﺔ ﺃﻨﻬﺎ ﺃﺼﺒﺤﺕ ﻓﻲ ﻁﺭﻴﻘﻬﺎ‬ ‫ﻟﻠﺯﻭﺍل. ﻟﻜﻥ ﺤﻴﻥ ﺘﺼﺒﺢ ﺍﻟﺤﻘﻴﻘﺔ ﻗﺩﻴﻤﺔ ﻜل ﻫﺫﺍ ﺍﻟﻘﺩﻡ ﻴﺎ ﺴﺎﺩﺓ،‬ ‫ﻓﺈﻨﻬﺎ ﺘﺼﻠﺢ ﻜﻲ ﺘﺼﺒﺢ ﺃﻜﺫﻭﺒﺔ!‬ ‫ﻀﺤﻙ ﻭﺴﺨﺭﻴﺔ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﺃﺠل، ﺼﺩﻗﻭﻨﻲ ﺇﻥ ﺸﺌﺘﻡ ﺃﻭ ﻻ ﺘﺼﺩﻗﻭﺍ،‬ ‫ﻜﻤﺎ ﻴﺤﻠﻭ ﻟﻜﻡ؛ ﺃﻥ ﺍﻟﺤﻘﺎﺌﻕ ﻟﻴﺴﺕ ﺯﺠﺎﺠﺔ ﺨﻤﺭ ﻜﺒﻴﺭﺓ ﺘﻌﻤﺭ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻫﻜﺫﺍ ﺇﺫﻥ، ﻟﻘﺩ ﺃﺼﺒﺤﺕ ﺜﻭﺭﻴ ﹰ!‬ ‫ﺎ‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺇﺫﹰ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﺃﺼﺒﺢ ﺃﺭﺴﺘﻘﺭﺍﻁﻴ ﹰ ﻤﻨﺫ ﺃﻭل‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﺍﻟﺒﺎﺭﺤﺔ!‬

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‫ﻋﻅﻴﻤﺔ ﻓﻲ ﺫﻟﻙ ﺍﻟﻨﻭﻉ ﻤﻥ ﺍﻟﻁﻌﺎﻡ، ﺃﺅﻜﺩ ﻟﻜﻡ ﺫﻟﻙ؛] ﻭﺒﻤﺎ ﺃﻨﻨﻲ‬ ‫ﻫﻲ ﺃﺸﺒﻪ ﺒﻠﺤﻡ ﺨﻨﺯﻴﺭ ﻤﻤﻠﺢ ﻤﺨﺘﺯﻥ ﻤﻥ ﺍﻟﺴﻨﺔ ﺍﻟﻤﺎﻀﻴﺔ؛ ﺇﻨﻬﺎ‬ ‫ﺍﻷﺨﻼﻗﻴﺔ ﺍﻟﺘﻲ ﺘﺩﻨﺱ ﻤﺠﺘﻤﻌﻨﺎ.‬ ‫ﺍﻟﻤﻭﻀﻭﻉ.‬ ‫ﻁﺒﻴﺏ، ﻓﺄﻨﺎ ﻤﻀﻁﻠﻊ ﺒﻬﺫﻩ ﺍﻷﻤﻭﺭ.[ ﻜل ﺤﻘﺎﺌﻕ ﺍﻷﻏﻠﺒﻴﺔ ﻫﺫﻩ‬

‫ﻟﻠﻤﺠﺘﻤﻊ ﻋﻠﻰ ﺃﻨﻬﺎ ﻋﻠﻑ ﺭﻭﺤﻲ. ﻭﻟﻜﻥ[ ﻻ ﺘﻭﺠﺩ ﻓﺎﺌﺩﺓ ﻏﺫﺍﺌﻴﺔ‬

‫ﺸﺩﻴﺩﺓ ﺍﻟﻭﻫﻥ. ] ﻭﻤﻊ ﺫﻟﻙ، ﻤﺎ ﺘﻠﺒﺙ ﺍﻷﻏﻠﺒﻴﺔ ﺘﺩﺭﻜﻬﺎ، ﻭﺘﻘﺩﻤﻬﺎ‬

‫ﺎ‬ ‫ﺃﻜﺜﺭ ﻤﻥ ﺫﻟﻙ. ﻟﻜﻥ ﺍﻟﺤﻘﺎﺌﻕ ﺍﻟﺘﻲ ﺘﺒﻠﻎ ﻫﺫﺍ ﺍﻟﻌﻤﺭ ﺘﻜﻭﻥ ﺩﺍﺌﻤ ﹰ‬

‫ﻋﺸﺭﺓ ﺴﻨﺔ - ﻋﺸﺭﻴﻥ ﺴﻨﺔ ﻜﺤﺩ ﺃﻗﺼﻰ - ﻭﻨﺎﺩﺭﹰ ﻤﺎ ﺘﻌﻴﺵ‬ ‫ﺍ‬

‫- ﻤﺎﺫﺍ ﻋﺴﺎﻱ ﺃﻥ ﺃﻗﻭل؟ - ﺒﻤﻌﺩل ﺴﺒﻊ ﻋﺸﺭﺓ ﺇﻟﻰ ﺜﻤﺎﻨﻲ‬

‫ﺎ‬ ‫ﻁﻭﻴ ﹰ ﻜﻤﺎ ﻴﻌﺘﻘﺩ ﺍﻟﻨﺎﺱ. ﻓﺎﻟﺤﻘﺎﺌـﻕ ﺍﻟﻁﺒﻴﻌﻴـﺔ ﺘﻌﻴـﺵ ﺘﻘﺭﻴﺒﹰ‬ ‫ﻼ‬

‫ﻟﺤﻭﻡ ﻓﺎﺴﺩﺓ ﻭﻤﺨﻀﺭﺓ ﻭﻤﺘﻌﻔﻨﺔ. ﻭﻫﻲ ﺴﺒﺏ ﻜل ﺍﻟﻭﻀﺎﻋﺔ‬

‫ﺃﺴﻼﻜﺴﻥ: ﻴﺒﺩﻭ ﻟﻲ ﺃﻥ ﺍﻟﻤﺘﺤﺩﺙ ﺍﻟﻤﻭﻗﺭ ﺨﺭﺝ ﺇﻟﻰ ﺤﺩ ﻤﺎ ﻋﻥ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﺼﺎﺩﻕ ﺒﺤﺭﺍﺭﺓ ﻋﻠﻰ ﻤﻼﺤﻅﺔ ﺭﺌﻴﺱ ﺍﻻﺠﺘﻤﺎﻉ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻭﻩ، ﺤﻘ ﹰ ﻴﺎ ﺒﻴﺘﺭ، ﻻ ﺒﺩ ﺃﻨﻙ ﻗﺩ ﺠﻨﻨﺕ ﺘﻤﺎﻤ ﹰ!‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻓﺄﻨﺎ ﻤﻠﺘﺯﻡ ﺒﻤﻭﻀﻭﻋﻲ ﻗﺩﺭ ﺇﻤﻜﺎﻥ ﺃﻱ ﺭﺠل ﺃﻥ ﻴﻔﻌل. ﺇﻥ‬ ‫ﻓﻜﺭﺘﻲ ﺒﺭﻤﺘﻬﺎ ﻫﻲ ﺒﺎﻟﺘﺤﺩﻴﺩ ﺍﻵﺘﻲ، ﺃﻥ ﺍﻟﺠﻤﺎﻫﻴﺭ، ﺍﻟﻐﻭﻏﺎﺀ،‬ ‫ﻭﺘﻠﻭﺙ ﺍﻷﺭﺽ ﺍﻟﺘﻲ ﻨﻤﺸﻲ ﻋﻠﻴﻬﺎ!‬

‫ﻫﺫﻩ ﺍﻷﻏﻠﺒﻴﺔ ﺍﻟﻠﻌﻴﻨﺔ، ﻫﻲ ﺍﻟﺘﻲ ﺘﺴﻤﻡ ﻤﻨﺒﻊ ﺤﻴﺎﺘﻨﺎ ﺍﻟﺭﻭﺤﻴﺔ‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻭﻩ، ﻋﺯﻴﺯﻱ ﺍﻟﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ، ﻻ ﺘﺤﺩﺜﻨﻲ ﻋﻥ‬ ‫ﺍﻟﺤﻘﺎﺌﻕ ﺍﻟﺘﻲ ﻻ ﺘﻘﺒل ﺍﻟﺠﺩل. ﺇﻥ ﺍﻟﺤﻘﺎﺌﻕ ﺍﻟﺘﻲ ﺘﻌﺘﺭﻑ ﺒﻬﺎ‬ ‫ﺍﻟﺠﻤﺎﻫﻴﺭ ﻭﺍﻟﻐﻭﻏﺎﺀ ﻫﻲ ﺘﻠﻙ ﺍﻟﺘﻲ ﺍﻋﺘﻨﻘﻬﺎ ﺍﻟﻤﻔﻜﺭﻭﻥ ﺍﻟﺘﻘﺩﻤﻴﻭﻥ‬ ‫ﻓﻲ ﺃﻴﺎﻡ ﺃﺠﺩﺍﺩﻨﺎ. ﺃﻤﺎ ﻨﺤﻥ ﺃﺒﻨﺎﺀ ﺍﻟﻴﻭﻡ ﻓﻠﻡ ﻨﻌﺩ ﻨﻌﺘﺭﻑ ﺒﻬﺎ. ﻭﺃﻨﺎ‬ ‫ﻓﻌ ﹰ ﺃﺅﻤﻥ ﺃﻥ ﻫﻨﺎﻙ ﺤﻘﻴﻘﺔ ﻭﺍﺤﺩﺓ ﻻ ﺘﻘﺒل ﺍﻟﺠﺩل. ﻭﻫﻲ ﺃﻨﻪ‬ ‫ﻼ‬ ‫ﻟﻴﺱ ﻫﻨﺎﻙ ﻤﻥ ﻤﺠﺘﻤﻊ ﻴﻤﻜﻥ ﺃﻥ ﻴﺤﻴﺎ ﺤﻴﺎﺓ ﺼﺤﻴﺔ ﺴﻠﻴﻤﺔ ﻟﻭ‬ ‫ﻜﺎﻥ ﻴﻘﺘﺎﺕ ﻋﻠﻰ ﺤﻘﺎﺌﻕ ﺒﺎﻟﻴﺔ ﺠﻭﻓﺎﺀ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺒﺩ ﹰ ﻤﻥ ﻫﺫﺍ ﺍﻟﺘﻌﻤﻴﻡ، ﻟﻡ ﻻ ﺘﻀﺭﺏ ﻟﻨﺎ ﺒﻀﻌﺔ ﺃﻤﺜﻠﺔ ﻋﻥ‬ ‫ﻻ‬ ‫ﻫﺫﻩ ﺍﻟﺤﻘﺎﺌﻕ ﺍﻟﺒﺎﻟﻴﺔ ﺍﻟﺠﻭﻓﺎﺀ ﺍﻟﺘﻲ ﻨﻌﻴﺵ ﻋﻠﻴﻬﺎ؟‬ ‫ﺘﻤﺘﻤﺎﺕ ﺘﻨﻡ ﻋﻠﻰ ﺍﻟﻤﻭﺍﻗﻔﺔ ﻤﻥ ﻋﺩﺓ ﺠﻬﺎﺕ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻭﺒﺭﺃﻴﻙ ﺃﻥ ﺍﻷﻏﻠﺒﻴﺔ ﺍﻟﺘﻘﺩﻤﻴﺔ ﺍﻟﻌﻅﻴﻤﺔ ﺘﻘﻭﻡ ﺒﺫﻟﻙ ﺒﺒﺴﺎﻁﺔ‬ ‫ﻤﻥ ﺨﻼل ﻜﻭﻨﻬﺎ ﻭﺍﻋﻴﺔ ﻜﻔﺎﻴﺔ ﻭﺘﺼﺩﻕ ﺘﻠﻙ ﺍﻟﺤﻘﺎﺌﻕ ﺍﻟﻤﻌﺭﻭﻓﺔ‬ ‫ﻋﻤﻭﻤ ﹰ ﻭﺍﻟﺘﻲ ﻻ ﺘﻘﺒل ﺍﻟﺠﺩل؟‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻭﻩ، ﻴﻤﻜﻨﻨﻲ ﺃﻥ ﺃﺴﺭﺩ ﻟﻙ ﻗﺎﺌﻤﺔ ﻤﻥ ﺘﻠﻙ‬ ‫ﺍﻷﺸﻴﺎﺀ ﺍﻟﺒﻐﻴﻀﺔ ﺍﻟﺘﻲ ﺘﺼﺩﻉ ﺍﻟﺭﺃﺱ، ﻟﻜﻥ ﺒﺩﺍﻴﺔ ﺴﺄﻗﺘﺼﺭ ﻋﻠﻰ‬ ‫ﺤﻘﻴﻘﺔ ﻭﺍﺤﺩﺓ ﻤﻌﺘﺭﻑ ﺒﻬﺎ ﻭﺍﻟﺘﻲ ﻫﻲ ﺤﻘ ﹰ ﻜﺫﺒﺔ ﺨﺎﺴﺌﺔ، ﻟﻜﻨﻬﺎ‬ ‫ﺎ‬ ‫ﺍﻟﺤﻘﻴﻘﺔ ﺍﻟﺘﻲ ﻴﻌﻴﺵ ﻋﻠﻴﻬﺎ ﺍﻟﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ ﻭﺠﺭﻴﺩﺓ »ﻤﻨﺒﺭ‬ ‫ﺍﻟﺸﻌﺏ« ﻭﻜل ﺃﺘﺒﺎﻉ »ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ« ﺃﻴﻀ ﹰ.‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺇﻨﻤﺎ ﻫﻲ ﺍﻟﻤﺒﺩﺃ ﺍﻟﺫﻱ ﻭﺭﺜﺘﹶﻪ ﻤﻥ ﺃﺠﺩﺍﺩﻙ،‬ ‫ﻭﺍﻟﺫﻱ ﺘﺎﺒﻌﺕ ﻨﺸﺭﻩ ﻫﻨﺎ ﻭﻫﻨﺎﻙ ﻤﻥ ﺩﻭﻥ ﺘﻔﻜﻴﺭ. ﺫﻟﻙ ﺍﻟﻤﺒﺩﺃ ﻫﻭ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻻ ﻭﻫﻲ -؟‬

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‫ﺃﻥ ﺍﻷﻜﺜﺭﻴﺔ، ﺃﻭ ﺍﻟﺠﻤﺎﻫﻴﺭ، ﺃﻭ ﺍﻟﻐﻭﻏﺎﺀ ﻫﻡ ﻗﻠﺏ ﺍﻟﺸﻌﺏ ﺍﻟﺤﻲ،‬ ‫ﺒل ﻫﻡ ﺍﻟﺸﻌﺏ، ﻭﺃﻥ ﺍﻟﺭﺠل ﺍﻟﻌﺎﺩﻱ، ﻜل ﺃﻭﻟﺌﻙ ﺍﻟﺠﻬﻠﺔ‬ ‫ﻭﺍﻟﻤﻼﻴﻴﻥ ﻤﻥ ﻏﻴﺭ ﺍﻟﻤﺅﻫﻠﻴﻥ، ﻟﻬﻡ ﺍﻟﺤﻕ ﻨﻔﺴﻪ ﺒﺄﻥ ﻴﺠﻴﺯﻭﺍ ﺃﻭ‬ ‫ﻴﺩﻴﻨﻭﺍ، ﺒﺄﻥ ﻴﻨﺼﺤﻭﺍ ﻭﻴﺤﻜﻤﻭﺍ، ﻤﺜﻠﻬﻡ ﻤﺜل ﺃﻓﺭﺍﺩ ﺍﻟﻘﻠﺔ ﺍﻟﻤﺜﻘﻔﺔ‬ ‫ﻓﻜﺭﻴ ﹰ ﻟﻸﺭﺴﺘﻘﺭﺍﻁﻴﺔ.‬ ‫ﺎ‬

‫ﺍ‬ ‫ﺃﺼﻭﺍﺕ ﻏﺎﻀﺒﺔ: ﺃﻭﻭﻩ، ﺇﺫﹰ ﻨﺤﻥ ﻟﺴﻨﺎ ﺍﻟﺸﻌﺏ ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟ ﺇﺫﹰ‬ ‫ﺍ‬ ‫ﺃﺒﻨﺎﺀ ﺍﻟﺫﻭﺍﺕ ﻭﺍﻷﻋﻴﺎﻥ ﻓﻘﻁ ﻫﻡ ﻤﻥ ﻴﻤﻠﻜﻭﻥ ﺍﻟﺤﻕ ﺒﺎﻟﺤﻜﻡ؟‬ ‫ﻋﺎﻤل: ﺍﺭﻤﻭﻩ ﺨﺎﺭﺠ ﹰ ﻷﻨﻪ ﻴﺘﺤﺩﺙ ﺒﻤﺜل ﻫﺫﺍ ﺍﻟﻜﻼﻡ!‬ ‫ﺎ‬ ‫ﺁﺨﺭﻭﻥ: ﺍﻗﺫﻓﻭﻩ ﻋﺒﺭ ﻫﺫﺍ ﺍﻟﺒﺎﺏ!‬

‫ﻫﻭﭭﺴﺘﺎﺩ )ﻓﻲ ﺍﻟﻭﻗﺕ ﻨﻔﺴﻪ ﻴﺼﺭﺥ(: ﺴﺠﻠﻭﺍ ﺫﻟﻙ ﻴﺎ ﺃﺨﻭﺘﻲ ﺍﻟﻤﻭﺍﻁﻨﻴﻥ!‬

‫ﺒﻴﻠﻴﻨﻎ: ﺍﻵﻥ، ﻓﻌ ﹰ، ﺃﻗﺴﻡ -!‬ ‫ﻼ‬

‫ﹸﺴﻤﻊ ﺃﺼﻭﺍﺕ ﻨﻔﺨﺎﺕ ﻋﺎﻟﻴﺔ. ﺼﻔﻴﺭ ﻭﻫﻴﺎﺝ ﻏﺎﻀﺏ ﻓﻲ‬ ‫ﺘ‬ ‫ﺍﻟﻘﺎﻋﺔ.‬

‫ﻤﻭﺍﻁﻥ )ﻴﺼﺭﺥ(: ﺍﻨﻔﺦ ﻓﻲ ﺫﻟﻙ ﺍﻟﺒﻭﻕ ﻴﺎ ﺇﻴـﭭﻨﺴﻥ!‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﺤﻴﻥ ﺘﻀﻌﻑ ﺍﻟﻀﺠﺔ ﻗﻠﻴ ﹰ(: ﺃﻻ ﻴﻤﻜﻨﻜﻡ ﺃﻥ‬ ‫ﻼ‬ ‫ﺘﻜﻭﻨﻭﺍ ﻋﻘﻼﻨﻴﻴﻥ؟ ﺃﻻ ﻴﻤﻜﻨﻜﻡ ﺃﻥ ﺘﺘﺤﻤﻠﻭﺍ ﺴﻤﺎﻉ ﺍﻟﺤﻘﻴﻘﺔ ﻭﻟﻭ‬ ‫ﻟﻤﺭﺓ ﻭﺍﺤﺩﺓ؟ ﺃﻨﺎ ﻻ ﺃﻁﻠﺏ ﻤﻨﻜﻡ ﺃﻥ ﺘﻭﺍﻓﻘﻭﻨﻲ ﻤﺒﺎﺸﺭﺓ، ﻟﻜﻨﻨﻲ‬ ‫ﻓﻜﺭ ﻗﻠﻴ ﹰ ﻓﻲ ﺍﻟﻤﺴﺄﻟﺔ. ﻓﻲ ﺍﻟﻨﻬﺎﻴﺔ، ﻴﺩﻋﻲ ﺍﻟﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ ﺃﻨﻪ‬ ‫ﻼ‬ ‫ﺘﻭﻗﻌﺕ ﻓﻌ ﹰ ﺃﻥ ﺍﻟﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ ﺴﻴﻘﺭ ﺃﻨﻨﻲ ﻜﻨﺕ ﻋﻠﻰ ﺤﻕ ﻟﻭ‬ ‫ﻼ‬ ‫ﻤﻥ ﺍﻟﻤﻔﻜﺭﻴﻥ ﺍﻷﺤﺭﺍﺭ-‬

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‫ﺃﺼﻭﺍﺕ ﻤﺘﻔﺎﺠﺌﺔ ) ﺘﺘﻤﺘﻡ(: ﻗﺎل ﺫﻭ ﻓﻜﺭ ﺤﺭ؟ ﻤﺎﺫﺍ؟ ﻫل ﺍﻟﺴﻴﺩ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ ﻤﻥ ﺍﻟﻤﻔﻜﺭﻴﻥ ﺍﻷﺤﺭﺍﺭ؟‬ ‫ﻫﻭﭭﺴﺘﺎﺩ )ﻴﺼﺭﺥ(: ﺃﺜﺒﺕ ﺫﻟﻙ ﻴﺎ ﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ! ﻤﺘﻰ ﻗﻠﺕ ﺫﻟﻙ‬ ‫ﻓﻲ ﻨﺸﺭﺍﺕ ﻤﻁﺒﻭﻋﺔ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻔﻜﺭ(: ﻻ، ﺃﻗﺴﻡ ﺇﻨﻙ ﻤﺤﻕ! ﻓﺄﻨﺕ ﻻ ﺘﻤﺘﻠﻙ‬ ‫ﻭﻟﻡ ﺘﻤﺘﻠﻙ ﺍﻟﺸﺠﺎﻋﺔ ﻗﻁ ﻟﺘﻌﺘﺭﻑ ﺒﻬﺫﺍ ﺃﻤﺎﻡ ﺍﻟﻤﻸ. ﺤﺴﻨ ﹰ، ﻟﻥ‬ ‫ﺎ‬ ‫ﺃﺤﺭﺠﻙ ﻴﺎ ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ. ﻓﻸﻜﻥ ﺃﻨﺎ ﺼﺎﺤﺏ ﻤﻔﻜﺭ ﺤﺭ ﺇﺫﹰ. ﻤﻥ‬ ‫ﺍ‬ ‫ﻤﻌﺭﻓﺘﻲ ﺒﺎﻟﻌﻠﻭﻡ ﺍﻟﻁﺒﻴﻌﻴﺔ، ﺴﺄﻅﻬﺭ ﻟﻜﻡ ﺠﻤﻴﻌﺎ ﺍﻵﻥ ﺃﻥ ﺼﺤﻴﻔﺔ‬ ‫»ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ« ﺘﺨﺩﻋﻜﻡ ﺒﺸﻜل ﻤﺨﺯ ﻟﻠﻐﺎﻴﺔ ﺤﻴﻥ ﺘﺨﺒﺭﻜﻡ ﺃﻨﺘﻡ‬ ‫ﻤﻼﻴﻴﻥ ﺍﻟﻌﺎﻤﺔ، ﺍﻟﺤﺸﻭﺩ، ﺍﻟﻐﻭﻏﺎﺀ ﺃﻨﻜﻡ ﻟﺏ ﺍﻟﺸﻌﺏ ﻭﻗﻠﺒﻪ‬ ‫ﺍﻟﻨﺎﺒﺽ. ﻫﺫﺍ ﻤﺠﺭﺩ ﻜﺫﺏ ﺠﺭﺍﺌﺩ. ﺍﻟﺠﻤﺎﻫﻴﺭ ﻟﻴﺴﺕ ﺴﻭﻯ ﻤﺎﺩﺓ‬ ‫ﺨﺎﻡ ﻗﺩ ﺘﺼﻘل ﻓﻲ ﻴﻭﻡ ﻤﻥ ﺍﻷﻴﺎﻡ ﻓﺘﺼﺒﺢ ﺃﻓﺭﺍﺩﹰ.‬ ‫ﺍ‬ ‫ﺩﻤﺩﻤﺔ، ﻭﻀﺤﻙ، ﻭﺍﻀﻁﺭﺍﺏ ﻓﻲ ﺍﻟﻘﺎﻋﺔ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻥ، ﺃﻟﻴﺴﺕ ﻫﺫﻩ ﻫﻲ ﺍﻟﻁﺭﻴﻘﺔ ﺍﻟﺘﻲ ﺘﻌﻴﺵ‬ ‫ﺒﻬﺎ ﺒﺎﻗﻲ ﺍﻟﻤﺨﻠﻭﻗﺎﺕ؟ ]ﺍﻨﻅﺭﻭﺍ ﺇﻟﻰ ﺍﻟﻔﺭﻕ ﺍﻟﺸﺎﺴﻊ ﺒﻴﻥ ﺴﻼﻟﺔ‬ ‫ﺤﻴﻭﺍﻨﻴﺔ ﺩﺍﺠﻨﺔ، ﻭﺃﺨﺭﻯ ﺒﺭﻴﺔ. ﺍﻨﻅﺭﻭﺍ ﻓﻘﻁ ﺇﻟﻰ ﺩﺠﺎﺠﺔ ﻤﺯﺍﺭﻉ‬ ‫ﻋﺎﺩﻴﺔ. ﻤﺎﺫﺍ ﻴﺼﻴﺒﻜﻡ ﻤﻥ ﻟﺤﻡ ﻫﺫﻩ ﺍﻟﻤﺨﻠﻭﻗﺔ ﺍﻟﻘﺯﻤﺔ؟ ﻟﻴﺱ‬ ‫ﺍﻟﻜﺜﻴﺭ. ﻭﻤﺎ ﻨﻭﻉ ﺍﻟﺒﻴﺽ ﺍﻟﺫﻱ ﺘﻀﻌﻪ؟ ﺃﻱ ﻁﺎﺌﺭ ﻋﺎﺩﻱ ﺃﻭ‬ ‫ﻏﺭﺍﺏ ﻴﻤﻜﻨﻪ ﻭﻀﻊ ﺒﻴﺽ ﺠﻴﺩ. ﺃﻤﺎ ﺇﻥ ﺃﺨﺫﺘﻡ ﺩﺠﺎﺠﺔ ﺇﺴﺒﺎﻨﻴﺔ‬ ‫ﺃﻭ ﻴﺎﺒﺎﻨﻴﺔ، ﺃﻭ ﻁﺎﺌﺭ ﺍﻟ ‪‬ﺭﺝ ﺍﻟﺨﺠل ﺍﻟﺭﺍﺌﻊ ﺃﻭ ﺩﻴﻙ ﺍﻟﺤﺒﺵ،‬ ‫ﺩ‬ ‫ﻓﺴﺘﺭﻭﻥ ﺍﻟﻔﺭﻕ. ﺃﻭ ﻓﻠﺘﺘﺄﻤﻠﻭﺍ ﺍﻟﻜﻼﺏ، ﺍﻟﺘﻲ ﻨﺸﺘﺭﻙ ﻨﺤﻥ ﺍﻟﺒﺸﺭ‬

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‫ﻤﻌﻬﺎ ﻓﻲ ﻜﺜﻴﺭ ﻤﻥ ﺍﻟﺼﻔﺎﺕ. ﻓﻜﺭﻭﺍ ﺃﻭﻻ ﺒﻜﻠﺏ ﻫﺠﻴﻥ ﺒﺴﻴﻁ -‬ ‫ﻭﺍﺤﺩ ﻤﻥ ﺘﻠﻙ ﺍﻟﻜﻼﺏ ﺍﻟﻬﺠﻴﻨﺔ ﺍﻟﻘﺫﺭﺓ ﺍﻟﺸﻌﺜﺎﺀ ﺍﻟﻌﺎﺩﻴﺔ ﺍﻟﺘﻲ‬ ‫ﺘﺸﺭﺩ ﻓﻲ ﺍﻟﻁﺭﻗﺎﺕ، ﻭﺘﻠﻭﺙ ﺠﺩﺭﺍﻥ ﻤﻨﺎﺯﻟﻨﺎ. ﺜﻡ ﻗﺎﺭﻨﻭﻩ ﻤﻊ‬ ‫ﻜﻠﺏ ﺼﻴﺩ ﺫﻱ ﻨﺴﺏ ﺃﺼﻴل، ﻭﺍﻟﺫﻱ ﻜﺎﻥ ﺃﺴﻼﻓﻪ ﻴﺘﻨﺎﻭﻟﻭﻥ‬ ‫ﻭﺠﺒﺎﺕ ﺸﻬﻴﺔ ﻤﺘﺭﻓﺔ ﻟﻌﺩﺓ ﺃﺠﻴﺎل، ﻭﺍﻟﺫﻴﻥ ﺴﻨﺤﺕ ﻟﻬﻡ ﺍﻟﻔﺭﺼﺔ‬ ‫ﻟﺴﻤﺎﻉ ﺃﺼﻭﺍﺕ ﻤﺘﻨﺎﻏﻤﺔ ﻭﻤﻭﺴﻴﻘﻰ. ﺃﻻ ﺘﻅﻨﻭﻥ ﺃﻥ ﺩﻤﺎﻍ ﺫﻟﻙ‬ ‫ﺍﻟﻜﻠﺏ ﻤﺘﻁﻭﺭ ﻋﻠﻰ ﻨﺤﻭ ﻴﺨﺘﻠﻑ ﻋﻥ ﺩﻤﺎﻍ ﺍﻟﻜﻠﺏ ﺍﻟﻬﺠﻴﻥ؟‬ ‫ﺃﺘﺭﺍﻫﻨﻭﻥ ﺒﺤﻴﺎﺘﻜﻡ ﻋﻠﻰ ﺫﻟﻙ؟ ﺇﻥ ﺠﺭﺍﺀ ﻫﺫﻩ ﺍﻟﺤﻴﻭﺍﻨﺎﺕ ﺍﻟﺩﺍﺠﻨﺔ‬ ‫ﻫﻲ ﺍﻟﺘﻲ ﻴﻌﻠﻤﻬﺎ ﺍﻟﻤﺩﺭﺒﻭﻥ ﺘﺄﺩﻴﺔ ﺃﺭﻭﻉ ﺍﻟﺤﻴل. ﺃﻤﺎ ﺍﻟﻜﻠﺏ‬ ‫ﺍﻟﻬﺠﻴﻥ ﺍﻟﻌﺎﺩﻱ ﻓﻼ ﻴﺘﻌﻠﻡ ﺃﺸﻴﺎﺀ ﻜﻬﺫﻩ ﻭﻟﻭ ﺤﺸﻭﺘﻡ ﺭﺃﺴﻪ ﺒﻬﺎ.‬

‫ﻤﻭﺍﻁﻥ )ﻴﺼﺭﺥ(: ﺇﺫﹰ ﻨﺤﻥ ﺍﻵﻥ ﻜﻼﺏ ﺃﻴﻀ ﹰ ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﺁﺨﺭ: ﻟﺴﻨﺎ ﺤﻴﻭﺍﻨﺎﺕ ﻴﺎ ﺩﻜﺘﻭﺭ!‬

‫ﻀﺠﺔ ﻭﻀﺤﻙ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺒﻠﻰ ﻴﺎ ﺃﺼﺩﻗﺎﺌﻲ، ﻨﺤﻥ ﺤﻴﻭﺍﻨﺎﺕ! ]ﻟﻜﻥ ﻟﻴﺱ‬ ‫ﺒﻴﻨﻨﺎ ﻜﺜﻴﺭ ﻤﻥ ﺍﻟﺤﻴﻭﺍﻨﺎﺕ ﺍﻷﺭﺴﺘﻘﺭﺍﻁﻴﺔ. ﻭﺜﻤﺔ ﻓﺭﻕ ﺸﺎﺴﻊ ﺒﻴﻥ‬ ‫ﺍﻟﺭﺠﺎل ﺍﻟﺫﻴﻥ ﻫﻡ ﻜﻼﺏ ﺼﻴﺩ ﻤﺩﺭﺒﺔ، ﻭﺍﻟﺭﺠﺎل ﺍﻟﺫﻴﻥ ﻫﻡ ﻜﻼﺏ‬

‫ﻤﻬﺠﻨﺔ. ﻭﺃﺴﺨﻑ ﺸﻲﺀ ﻓﻲ ﺍﻟﻤﻭﻀﻭﻉ، ﺃﻥ ﺍﻟﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ‬ ‫ﻴﻭﺍﻓﻘﻨﻲ ﺘﻤﺎﻤ ﹰ ﻁﺎﻟﻤﺎ ﺃﻨﻨﺎ ﻨﺘﺤﺩﺙ ﻋﻥ ﺍﻟﺤﻴﻭﺍﻨﺎﺕ ﺫﺍﺕ ﺍﻟﻘﻭﺍﺌﻡ‬ ‫ﺎ‬ ‫ﺍﻷﺭﺒﻊ -‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺤﺴﻨ ﹰ، ﺇﻨﻬﺎ ﻤﺠﺭﺩ ﺒﻬﺎﺌﻡ.‬ ‫ﺎ‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻥ! ﻟﻜﻥ ﺤﺎﻟﻤﺎ ﺃﺒﺩﺃ ﺒﺘﻁﺒﻴﻕ ﺍﻟﻘﺎﻨﻭﻥ ﻋﻠﻰ‬ ‫ﺫﻭﻱ ﺍﻟﻘﺎﺌﻤﺘﻴﻥ، ﻴﺘﻭﻗﻑ ﺍﻟﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ ﻓﺠﺄﺓ ﺘﺠﻨﺒﺎ ﻟﻠﻌﻭﺍﻗﺏ.‬ ‫ﻭﻴﻘﻠﺏ ﻓﻠﺴﻔﺘﻪ ﻜﻠﻬﺎ ﺭﺃﺴ ﹰ ﻋﻠﻰ ﻋﻘﺏ، ﻭﻴﺼﺭﺡ ﻓﻲ ،ﻤﻨﺒﺭ‬ ‫ﺎ‬ ‫ﺍﻟﺸﻌﺏ» ﺃﻥ ﻜﻼﺏ ﺍﻟﺸﻭﺍﺭﻉ ﻫﻲ ﺒﻁﻠﺔ ﻤﺠﻤﻭﻋﺔ ﺍﻟﺤﻴﻭﺍﻨﺎﺕ.‬ ‫ﻟﻜﻥ ﻫﺫﻩ ﻫﻲ ﺍﻟﺤﺎل ﺩﺍﺌﻤ ﹰ ﻤﻊ ﺭﺠل ﺘﺄﺴﺭﻩ ﻫﺫﻩ ﺍﻟﻁﺎﻋﺔ ﺍﻟﻌﻤﻴﺎﺀ‬ ‫ﺎ‬ ‫ﻟﻠﻐﻭﻏﺎﺀ، ﻭﻻ ﻴﺤﺎﻭل ﺇﻴﺠﺎﺩ ﻤﺨﺭﺝ ﻟﻪ ﻤﻥ ﺍﻟﻘﻴﺩ ﺍﻟﺭﻭﺤﻲ‬ ‫ﻭﺍﻟﻭﺼﻭل ﺇﻟﻰ ﺍﻷﺭﺴﺘﻘﺭﺍﻁﻴﺔ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻻ ﺃﺭﻴﺩ ﺃﻱ ﻨﻭﻉ ﻤﻥ ﺍﻷﺭﺴﺘﻘﺭﺍﻁﻴﺔ. ﻓﺄﻨﺎ ﺃﻨﺤﺩﺭ ﻤﻥ‬ ‫ﺠﻤﺎﻋﺔ ﻓﻼﺤﻴﻥ ﺒﺴﻁﺎﺀ، ﻭﺃﻨﺎ ﻓﺨﻭﺭ ﺒﺄﻥ ﺠﺫﻭﺭﻱ ﻀﺎﺭﺒﺔ ﻓﻲ‬ ‫ﺃﺼﻭﻟﻬﺎ ﺇﻟﻰ ﺍﻟﻐﻭﻏﺎﺀ ﺍﻟﺫﻴﻥ ﺴﺨﺭﺕ ﻤﻨﻬﻡ ﺃﻨﺕ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻭﻉ ﺍﻟﻐﻭﻏﺎﺀ ﺍﻟﺫﻱ ﺃﺘﺤﺩﺙ ﻋﻨﻪ ﻻ ﻴﻤﻜﻥ ﺃﻥ‬ ‫ﻨﺠﺩﻩ ﻓﻘﻁ ﻓﻲ ﻗﻌﺭ ﺍﻟﺒﺭﻤﻴل. ﺇﻨﻪ ﻴﺤﺘﺸﺩ ﻭﻴﻌﺞ ﻤﻥ ﺤﻭﻟﻨﺎ، ﺤﺘﻰ‬ ‫ﻓﻲ ﺍﻟﻁﺒﻘﺎﺕ ﺍﻟﻌﻠﻴﺎ ﻤﻥ ﺍﻟﻤﺠﺘﻤﻊ. ﺍﻨﻅﺭﻭﺍ ﻓﻘﻁ ﺇﻟﻰ ﺭﺌﻴﺱ ﺒﻠﺩﻴﺘﻜﻡ‬ ‫ﺍﻟﺩﻤﺙ ﺍﻷﻨﻴﻕ! ﺃﺨﻲ ﺒﻴﺘﺭ ﻋﻀﻭ ﺠﻴﺩ ﻓﻲ ﺠﻤﻭﻉ ﺍﻟﻌﺎﻤﺔ ﻁﺎﻟﻤﺎ‬ ‫ﺃﻨﻪ ﻴﻨﺘﻌل ﺤﺫﺍﺌﻴﻥ؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﺤﺘﺞ ﻋﻠﻰ ﻫﺫﻩ ﺍﻹﻫﺎﻨﺎﺕ ﺍﻟﺸﺨﺼﻴﺔ.‬ ‫ﻀﺤﻙ ﻭﻫﻤﺱ.‬

‫ﻋﺩﺓ ﻋﻤﺎل: ﻤﺭﺤﻰ ﻟﻬﻭﭭﺴﺘﺎﺩ! ﻤﺭﺤﻰ، ﻤﺭﺤﻰ!‬

‫]ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﺩﻭﻥ ﺍﺭﺘﺒ ﹰﻙ(: ﻭﻫﺫﺍ ﻟﻴﺱ ﻷﻨ ﻪ ﻨﺸﺄ ﻤﺜﻠﻲ ﻤﻥ‬ ‫ﺎ‬ ‫ﺃﺼل ﻗﺭﺍﺼﻨﺔ ﻗﺩﻤﺎﺀ ﺃﺸﺭﺍﺭ ﻤﻥ ﺒﻭﻤﻴﺭﺍﻨﻴﺎ ﺃﻭ ﺃﻱ ﻤﻜﺎﻥ ﺁﺨﺭ‬ ‫ﻗﺭﻴﺏ ﻫﻨﺎﻙ، ﻷﻨﻨﺎ ﺃﺤﻔﺎﺩﻫﻡ -‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻨﻪ ﻴﻅﻥ ﻤﺎ ﻴﻅﻨﻪ ﺭﺅﺴﺎﺅﻩ، ﻭﺁﺭﺍﺅﻩ ﻫﻲ‬ ‫ﺍﻵﺭﺍﺀ ﺍﻟﺘﻲ ﺴﻤﻌﻬﻡ ﻴﻌﺒﺭﻭﻥ ﻋﻨﻬﺎ. ﻭﺍﻟﺭﺠﺎل ﺍﻟﺫﻴﻥ ﻴﻔﻌﻠﻭﻥ ﺫﻟﻙ‬ ‫ﻴﻨﺘﻤﻭﻥ ﺭﻭﺤﻴ ﹰ ﺇﻟﻰ ﺍﻟﻐﻭﻏﺎﺀ. ﻟﺫﻟﻙ ﻓﺈﻥ ﺃﺨﻲ ﺍﻟﻨﺒﻴل ﺒﻴﺘﺭ ﻏﻴﺭ‬ ‫ﺎ‬ ‫ﻡ‬ ‫ﺃﺭﺴﺘﻘﺭﺍﻁﻲ ﻟﺩﺭﺠﺔ ﻤﺨﻴﻔﺔ ﻓﻲ ﻜل ﺍﻷﻤﻭﺭ ﺍﻷﺴﺎﺴﻴﺔ، ﻭﻤﻥ ﺜ ‪‬‬ ‫ﻤﺭﺘﻌﺏ ﻤﻥ ﻜل ﺸﻲﺀ ﺤﺭ.‬ ‫ﺎ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺇﺫﺍ ﺍﻷﺭﺴﺘﻘﺭﺍﻁﻴﻭﻥ ﻫﻡ ﺍﻷﺤﺭﺍﺭ ﻓﻲ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ؟ ﻫﺫﺍ ﺤﻘ ﹰ‬ ‫ﺍﻜﺘﺸﺎﻑ ﺠﺩﻴﺩ!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻌﻡ، ﻫﺫﺍ ﺠﺯﺀ ﻤﻥ ﺍﻜﺘﺸﺎﻓﻲ ﺃﻴﻀ ﹰ. ]ﻭﺍﻟﺴﺒﺏ‬ ‫ﺎ‬ ‫ﻫﻭ ﺃﻥ ﺍﻟﺘﺤﺭﺭﻴﺔ ﻫﻲ ﺘﻘﺭﻴﺒ ﹰ ﻋﻠﻰ ﺍﻷﻏﻠﺏ ﻨﻔﺴﻬﺎ ﺍﻷﺨﻼﻗﻴﺔ.[‬ ‫ﺎ‬ ‫ﻭﺃﻨﺎ ﺃﻗﻭل ﺇﻨﻪ ﻴﺘﻌﺫﺭ ﺘﻤﺎﻤ ﹰ ﻋﻠﻰ »ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ« ﻴﻭﻤ ﹰ ﺒﻌﺩ ﻴﻭﻡ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺘﺴﻭﻴﻎ ﺍﻟﺤﻘﻴﻘﺔ ﺍﻟﺨﺎﻁﺌﺔ ﺒﺄﻥ ﺍﻟﺠﻤﺎﻫﻴﺭ، ]ﺍﻟﻐﻭﻏﺎﺀ، ﺍﻷﻏﻠﺒﻴﺔ‬ ‫ﺍﻟﻤﺘﻤﺎﺴﻜﺔ،[ ﺘﺤﺘﻜﺭ ﺍﻟﺘﺤﺭﺭﻴﺔ ﻭﺍﻷﺨﻼﻗﻴﺔ، ﻭﺃﻥ ﺘﻠﻙ ﺍﻟﺭﺫﺍﺌل‬ ‫ﻭﺍﻟﻔﺴﺎﺩ، ﻭﻜل ﻨﻭﻉ ﻤﻥ ﺍﻟﻘﺫﺍﺭﺓ ﺍﻟﺭﻭﺤﻴﺔ ﻫﻲ ﻨﻭﻉ ﻤﻥ ﺍﻟﻘﻴﺢ‬ ‫ﺍﻟﺫﻱ ﻴﺭﺸﺢ ﻤﻥ ﺍﻟﺜﻘﺎﻓﺔ، ﻤﺜﻠﻪ ﻤﺜل ﺘﻠﻙ ﺍﻟﻘﺎﺫﻭﺭﺍﺕ ﺍﻟﺘﻲ ﺘﺼﺏ‬ ‫ﻓﻲ ﺍﻟﺤﻤﺎﻤﺎﺕ ﻤﻥ ﻤﺩﺍﺒﻎ ﻤﻭﻴﻠﺩﺍل!‬ ‫ﻓﻭﻀﻰ ﻭﻤﻘﺎﻁﻌﺎﺕ ﻟﺤﺩﻴﺜﻪ.‬ ‫ﻀﺤﻙ ﺒﻴﻥ ﺍﻟﺠﻤﺎﻫﻴﺭ ﺍﻟﻤﺤﺘﺸﺩﺓ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺴﻴﺩﻱ ﺍﻟﺭﺌﻴﺱ -!‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻫﺫﺍ ﺴﺨﻑ، ﻫﺫﻩ ﺨﺭﺍﻓﺔ! ﺃﻨﺎ ﺃﺭﻓﻀﻬﺎ![‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﺩﻭﻥ ﺃﻥ ﻴﺭﺘﺒﻙ، ﻴﻀﺤﻙ ﻤﻥ ﺍﻟﺤﻤﺎﺴﺔ(: ] ﻭﻤﻊ‬ ‫ﺫﻟﻙ ﻓﺈﻥ ﺼﺤﻴﻔﺔ »ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ« ﻫﺫﻩ ﻨﻔﺴﻬﺎ ﺘﺒﺸﺭ ﺘﻠﻙ‬

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‫ﺍﻟﺠﻤﺎﻫﻴﺭ ﻭﺍﻟﻐﻭﻏﺎﺀ ﺃﻨﻬﻡ ﻻ ﺒﺩ ﺃﻥ ﻴﺭﺘﻔﻌﻭﺍ ﺇﻟﻰ ﻤﺴﺘﻭﻯ ﻤﻌﻴﺸﻲ‬ ‫ﺍﻟﺸﻌﺏ« ﺼﺤﻴﺤ ﹰ، ﻓﺈﻥ ﺭﻓﻊ ﺍﻟﺠﻤﺎﻫﻴﺭ ﺴﻴﻜﻭﻥ ﺒﺒﺴﺎﻁﺔ ﺩﻓﻌﻬﻡ‬ ‫ﺎ‬

‫ﺃﻋﻠﻰ! ﻴﺎ ﺇﻟﻬﻲ ﺍﻟﻌﻅﻴﻡ، ﺇﻥ ﻜﺎﻥ ﻤﺎ ﺘﻌﻠﻤﻪ ﻟﻨﺎ ﺼﺤﻴﻔﺔ »ﻤﻨﺒﺭ‬

‫ﺍﻟﺜﻘﺎﻓﺔ ﻤﻔﺴﺩﺓ ﻟﻸﺨﻼﻕ ﻫﻲ ﺤﻜﺎﻴﺔ ﺨﺭﺍﻓﻴﺔ ﻗﺩﻴﻤﺔ ﻤﻭﺭﻭﺜﺔ. ﻻ،‬

‫ﺇﻟﻰ ﺒﺩﺍﻴﺔ ﻁﺭﻴﻕ ﺍﻟﺨﺭﺍﺏ![ ﻟﻜﻥ ﻟﺤﺴﻥ ﺍﻟﺤﻅ ﺇﻥ ﻓﻜﺭﺓ ﻜﻭﻥ‬

‫ﻋﻤل ﺍﻟﺸﻴﻁﺎﻥ! ﻓﻔﻲ ﻤﻨﺯل ﻻ ﻴﺩﺨل ﻏﺭﻓﻪ ﻫﻭﺍﺀ، ﻭﺘﻨﻅﻑ‬ ‫ﺍﻷﺭﻀﻴﺔ ﻴﻭﻤﻴ ﹰ، ﺘﻘﻭل ﺯﻭﺠﺘﻲ ﻜﺎﺜﺭﻴﻥ ﺇﻨﻪ ﻻ ﺒﺩ ﻤﻥ ﻤﺴﺤﻬﺎ‬ ‫ﺎ‬ ‫ﻭﻓﺭﻜﻬﺎ ﺃﻴﻀ ﹰ، ﻟﻜﻥ ﻗﺩ ﻴﻜﻭﻥ ﻫﻨﺎﻙ ﺭﺃﻴﺎﻥ ﺤﻭل ﺫﻟﻙ ﺍﻷﻤﺭ،‬ ‫ﺎ‬

‫ﺒل ﺍﻟﻐﺒﺎﺀ، ﻭﺍﻟﻔﻘﺭ ﻭﺸﻅﻑ ﺍﻟﻌﻴﺵ ﻫﻲ ﺍﻟﻅﺭﻭﻑ ﺍﻟﺘﻲ ﺘﺅﺩﻱ ﺇﻟﻰ‬

‫ﺍﻟﺘﻔﻜﻴﺭ ﺍﻷﺨﻼﻗﻲ ﻭﺍﻟﻌﻤل ﺍﻷﺨﻼﻗﻲ ﻓﻲ ﻏﻀﻭﻥ ﺴﻨﺘﻴﻥ ﺃﻭ ﺜﻼﺙ‬

‫ﻜﻨﺕ ﺃﻗﻭل ﺃﻨﻪ ﻓﻲ ﻤﻨﺯل ﻜﻬﺫﺍ ﺴﻴﻔﻘﺩ ﺍﻟﻨﺎﺱ ﻤﻘﺩﺭﺘﻬﻡ ﻋﻠﻰ‬

‫ﺴﻨﻭﺍﺕ. ﻓﻨﻘﺹ ﺍﻷﻭﻜﺴﺠﻴﻥ ﻴﻀﻌﻑ ﺍﻟﻀﻤﻴﺭ. ﻭﻜﻤﺎ ﺘﺨﺒﺭﻨﺎ‬ ‫ﺍﻟﻭﻗﺎﺌﻊ، ﻫﻨﺎﻙ ﻨﻘﺹ ﻓﻲ ﺍﻷﻭﻜﺴﺠﻴﻥ ﻓﻲ ﺍﻟﻜﺜﻴﺭ، ﺍﻟﻜﺜﻴﺭ ﻤﻥ‬ ‫ﻀﻤﻴﺭﻫﺎ ﻟﺘﻁﺎﻟﺏ ﺒﺒﻨﺎﺀ ﺍﺯﺩﻫﺎﺭ ﻤﺩﻴﻨﺘﻬﺎ ﻋﻠﻰ ﻤﺴﺘﻨﻘﻊ ﻤﻥ‬ ‫ﻤﻨﺎﺯل ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ، ﻤﺎﺩﺍﻤﺕ ﺍﻷﻏﻠﺒﻴﺔ ﺍﻟﻠﻌﻴﻨﺔ ﺒﺭﻤﺘﻬﺎ ﺘﺠﺭﺩﺕ ﻤﻥ‬ ‫ﺍﻟﺨﺩﺍﻉ ﻭﺍﻷﻜﺎﺫﻴﺏ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﻻ ﻴﻤﻜﻨﻙ ﺘﻭﺠﻴﻪ ﺍﺘﻬﺎﻡ ﻜﻬﺫﺍ ﻟﻠﻤﺠﺘﻤﻊ ﻜﻠﻪ!‬ ‫ﺭﺠل: ﺇﻨﻨﻲ ﺃﻁﻠﺏ ﻤﻥ ﺍﻟﺭﺌﻴﺱ ﺘﻭﺠﻴﻪ ﺃﻤﺭ ﻟﻠﻤﺘﺤﺩﺙ ﺒﺎﻻﻨﺴﺤﺎﺏ.‬ ‫ﺃﺼﻭﺍﺕ ﻤﺘﺤﻤﺴﺔ: ﺃﺠل، ﺃﺠل! ﻫﺫﺍ ﺼﺤﻴﺢ. ﺩﻋﻭﻩ ﻴﻨﺴﺤﺏ!‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻨﻔﺠﺭ(: ﺇﺫﺍ ﺴﺄﺫﻴﻊ ﺍﻟﺤﻘﻴﻘﺔ ﺼﺎﺭﺨ ﹰ ﻓﻲ ﻜل‬ ‫ﺎ‬ ‫ﺯﺍﻭﻴﺔ ﺸﺎﺭﻉ. ﺴﺄﻜﺘﺏ ﻓﻲ ﺼﺤﻑ ﺍﻟﻤﺩﻥ ﺍﻷﺨﺭﻯ. ﻴﺠﺏ ﺃﻥ‬ ‫ﺘﻌﻠﻡ ﺍﻟﺒﻼﺩ ﻜﻠﻬﺎ ﻤﺎ ﻴﺠﺭﻱ ﻫﻨﺎ!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﺃﺤﺏ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ ﺍﻟﺘﻲ ﻭﻟﺩﺕ ﻓﻴﻬﺎ، ﻭﻫﻲ‬ ‫ﻋﺯﻴﺯﺓ ﻋﻠﻲ ﻟﺩﺭﺠﺔ ﺃﻨﻨﻲ ﺃﻓﻀل ﺘﺩﻤﻴﺭﻫﺎ ﻋﻠﻰ ﺭﺅﻴﺘﻬﺎ ﺘﺯﺩﻫﺭ‬ ‫ﻋﻠﻰ ﺍﻟﻜﺫﺏ.‬ ‫ﺼﺭﺍﺥ ﻭﺼﻔﻴﺭ. ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ ﺘﺴﻌل ﻋﺒﺜ ﹰ ﻭﺍﻟﺩﻜﺘﻭﺭ ﻻ‬ ‫ﺎ‬ ‫ﻴﺴﻤﻌﻬﺎ ﺃﺒﺩﹰ.‬ ‫ﺍ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻴﺒﺩﻭ ﻭﻜﺄﻥ ﺍﻟﺩﻜﺘﻭﺭ ﻴﺭﻏﺏ ﻓﻲ ﺘﺩﻤﻴﺭ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﻫﺫﻩ ﻜﻠﻤﺎﺕ ﻗﻭﻴﺔ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﺒﺤﻤﺎﺴﺔ ﻤﺘﺯﺍﻴﺩﺓ(: ﺇﻥ ﻤﺠﺘﻤﻌ ﹰ ﻗﺎﺌﻤ ﹰ ﻋﻠﻰ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺍﻟﻜﺫﺏ ﻴﺴﺘﺤﻕ ﺍﻟﺘﺩﻤﻴﺭ! ﻭﺃﻨﺎ ﺃﻗﻭل ﺇﻥ ﻤﺩﻴﻨﺔ ﻜﻬﺫﻩ ﺘﺤﺘﻀﻥ‬ ‫ﻤﺠﺘﻤﻌ ﹰ ﻜﻬﺫﺍ ﻴﺠﺏ ﺃﻥ ﻨﺴﻭﻱ ﺒﻬﺎ ﺍﻷﺭﺽ. ﻭﻜل ﺃﻭﻟﺌﻙ ﺍﻟﺫﻴﻥ‬ ‫ﺎ‬ ‫ﻴﻌﻴﺸﻭﻥ ﻋﻠﻰ ﺍﻟﻜﺫﺏ ﻴﺠﺏ ﺇﺒﺎﺩﺘﻬﻡ ﻤﺜل ﺍﻟﺤﺸﺭﺍﺕ. ﺃﻨﺕ ﺴﺘﻨﺘﻬﻲ‬ ‫ﺒﺈﻓﺴﺎﺩ ﺍﻟﺒﻠﺩ ﺒﺄﻜﻤﻠﻪ. ﺴﺘﻭﺼﻠﻪ ﺇﻟﻰ ﻁﺭﻴﻕ ﺤﻴﺙ ﺘﺴﺘﺤﻕ ﺍﻷﺭﺽ‬ ‫ﻓﻴﻬﺎ ﺃﻥ ﺘﻤﺤﻰ ﻤﻥ ﺍﻟﻭﺠﻭﺩ. ﻭﺇﻥ ﻭﺼﻠﺕ ﺍﻷﻤﻭﺭ ﻟﻬﺫﻩ ﺍﻟﺩﺭﺠﺔ،‬ ‫ﻋﻨﺩﻫﺎ ﺴﺄﻗﻭل ﻤﻥ ﻜل ﻗﻠﺒﻲ »ﻓﻠﺘﺒﺎﺩ ﺍﻷﺭﺽ ﻋﻥ ﺒﻜﺭﺓ ﺃﺒﻴﻬﺎ!‬ ‫ﻭﻟﻴﻔﻨﻰ ﺍﻟﻨﺎﺱ ﺠﻤﻴﻌ ﹰ!«‬ ‫ﺎ‬

‫ﻫﻭﭭﺴﺘﺎﺩ )ﻴﺼﺭﺥ ﻤﻥ ﺒﻴﻥ ﺍﻟﻔﻭﻀﻰ(: ﺍﻟﺭﺠل ﺍﻟﺫﻱ ﻴﻤﻜﻨﻪ ﺘﻤﻨﻲ‬ ‫ﺍﻟﺩﻤﺎﺭ ﻟﻤﺠﺘﻤﻊ ﺒﺄﻜﻤﻠﻪ ﻻ ﺒﺩ ﺃﻥ ﻴﻜﻭﻥ ﻋﺩﻭﹰ ﻟﻠﺸﻌﺏ.‬ ‫ﺍ‬

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‫ﺭﺠل: ﺇﻨﻪ ﻴﺘﺤﺩﺙ ﻭﻜﺄﻨﻪ ﻋﺩﻭ ﻟﻠﺸﻌﺏ!‬

‫ﺍﻟﺤﺸﺩ ﻜﻠﻪ )ﻴﺼﺭﺥ(: ﺃﺠل، ﺃﺠل، ﺃﺠل! ﺇﻨﻪ ﻋﺩﻭ ﻟﻠﺸﻌﺏ! ﺇﻨﻪ‬ ‫ﻴﻜﺭﻩ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ! ﺇﻨﻪ ﻴﻜﺭﻩ ﺍﻟﺸﻌﺏ!‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺒﻭﺼﻔﻲ ﻤﻭﺍﻁﻨ ﹰ ﻭﺇﻨﺴﺎﻨ ﹰ ﻓﻲ ﺍﻟﻭﻗﺕ ﻨﻔﺴﻪ، ﺃﻨﺎ ﻤﺼﺩﻭﻡ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺒﺸﺩﺓ ﻟﻤﺎ ﺍﻀﻁﺭﺭﺕ ﻟﺴﻤﺎﻋﻪ. ﻟﻘﺩ ﺃﻅﻬﺭ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ‬

‫ﺒﻴﻠﻴﻨﻎ: ﺃﻗﺴﻡ ﺇﻥ ﻫﺫﺍ ﻫﻭ ﺼﻭﺕ ﺍﻟﺸﻌﺏ ﻴﺘﺤﺩﺙ.‬

‫ﺍﻻﻗﺘﺭﺍﺡ ﺒﺼﻔﺔ ﻗﺭﺍﺭ. ﻭﺃﻗﺘﺭﺡ ﻤﺎ ﻴﻠﻲ:[ »ﻴﻌﻠﻥ ﻫﺫﺍ ﺍﻻﺠﺘﻤﺎﻉ‬

‫ﻓﻌﻠﻬﺎ. ﻭﺃﺨﺸﻰ ﺃﻥ ﻋﻠﻲ ﺘﺄﻴﻴﺩ ﺍﻟﺭﺃﻱ ﺍﻟﺫﻱ ﻋﺒﺭ ﻋﻨﻪ ﻤﻭﺍﻁﻨﻭﻥ‬ ‫ﻤﺤﺘﺭﻤﻭﻥ ﻤﻨﺫ ﻗﻠﻴل؛ ﻭ[ ﺃﻨﺘﻘل ﻷﻗﻭل ]ﻋﻠﻴﻨﺎ ﺃﻥ ﻨﺼﻭﻍ ﻫﺫﺍ‬

‫ﺸﺨﺼﻴﺘﻪ ﻋﻠﻰ ﺤﻘﻴﻘﺘﻬﺎ - ]ﺒﻁﺭﻴﻘﺔ ﻟﻡ ﺃﺤﻠﻡ ﻗﻁ ﺃﻨﻪ ﻗﺎﺩﺭ ﻋﻠﻰ‬

‫]ﺃﻨﻪ ﻴﻨﻅﺭ ﺇﻟﻰ[ ﺍﻟﻤﺩﻴﺭ ﺍﻟﺼﺤﻲ ﻟﻠﺤﻤﺎﻤﺎﺕ، ﺍﻟﺩﻜﺘﻭﺭ ﺘﻭﻤﺎﺱ‬

‫ﺴﺘﻭﻜﻤﺎﻥ، ﺒﻭﺼﻔﻪ ﻋﺩﻭﹰ ﻟﻠﺸﻌﺏ«.‬ ‫ﺍ‬

‫ﺘﺼﻔﻴﻕ ﻭﻫﺘﺎﻑ ﻴﺼﻡ ﺍﻵﺫﺍﻥ. ﻴﺸﻜل ﻋﺩﺓ ﺃﻓﺭﺍﺩ ﻤﻥ ﺍﻟﺤﺸﺩ‬ ‫ﺩﺍﺌﺭﺓ ﺤﻭل ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻭﻴﺼﻔﺭﻭﻥ ﺍﺴﺘﻬﺯﺍ ‪ ‬ﺒﻪ.‬ ‫ﺀ‬ ‫ﻤﻊ ﺍﻟﻁﻼﺏ ﺍﻵﺨﺭﻴﻥ ﺍﻟﺫﻴﻥ ﻜﺎﻨﻭﺍ ﻴﺼﻔﺭﻭﻥ ﺃﻴﻀ ﹰ. ﻴﻔﺭﻕ‬ ‫ﺎ‬ ‫ﺒﻴﻨﻬﻡ ﺒﻌﺽ ﺍﻟﻜﺒﺎﺭ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻟﻠﻨﺎﺱ ﺍﻟﺫﻴﻥ ﻜﺎﻨﻭﺍ ﻴﺼﻔﺭﻭﻥ(: ﺃﻴﻬﺎ ﺍﻟﺤﻤﻘﻰ!‬ ‫ﺃﻨﺎ ﺃﻗﻭل ﻟﻜﻡ -‬ ‫ﺘﻘﻑ ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ ﻭﺒﺘﺭﺍ. ﻤﻭﺭﺘﻥ ﻭﺇﻴﻠﻴﻑ ﻴﺘﻌﺎﺭﻜﺎﻥ‬

‫ﺃﺴﻼﻜﺴﻥ )ﻴﻘﺭﻉ ﺠﺭﺴﻪ(: ﻻ ﻴﺴﻤﺢ ﻟﻠﺩﻜﺘﻭﺭ ﺍﻟﻜﻼﻡ ﺒﻌﺩ ﺍﻵﻥ.‬ ‫ﺴﻴﺠﺭﻱ ﺍﻗﺘﺭﺍﻉ ﺭﺴﻤﻲ؛ ] ﻟﻜﻥ ﺤﻤﺎﻴﺔ ﻟﻠﻤﺸﺎﻋﺭ ﺍﻟﺸﺨﺼﻴﺔ،‬

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‫ﺴﻴﺘﻡ ﺍﻻﻗﺘﺭﺍﻉ ﻜﺘﺎﺒﺔ ﻭﺩﻭﻥ ﺫﻜﺭ ﺃﺴﻤﺎﺀ.[ ﻫل ﺒﺤﻭﺯﺘﻙ ﺃﻭﺭﺍﻕ‬ ‫ﺒﻴﺽ ﻴﺎ ﺴﻴﺩ ﺒﻴﻠﻴﻨﻎ؟‬

‫ﺃﺴﻼﻜﺴﻥ )ﻴﻨﺯل ﻤﻥ ﺍﻟﻤﻨﺼﺔ(: ﺠﻴﺩ، ﻫﺫﺍ ﺴﻴﻭﻓﺭ ﺒﻌﺽ ﺍﻟﻭﻗﺕ.‬ ‫ﻗﻁﻌﻬﺎ ﻋﻠﻰ ﺸﻜل ﻤﺭﺒﻌﺎﺕ؛ ﺃﺠل ﺒﻬﺫﺍ ﺍﻟﺸﻜل. )ﻟﻠﺤﺸﺩ(‬ ‫ﺍﻷﻭﺭﺍﻕ ﺍﻟﺯﺭﻕ ﺘﻌﻨﻲ ﻻ، ﻭﺍﻟﺒﻴﺽ ﺘﻌﻨﻲ ﻨﻌﻡ. ﻭﺃﻨﺎ ﺴﺄﺠﻤﻊ‬ ‫ﺍﻷﻭﺭﺍﻕ ﺒﻨﻔﺴﻲ.‬ ‫ﺁﺨﺭﺍﻥ ﺒﺎﻟﺠﻤﺎﻫﻴﺭ ﺍﻟﻤﺤﺘﺸﺩﺓ ﻭﺍﻀﻌﻴﻥ ﻗﻁﻊ ﺍﻟﻭﺭﻕ ﻓﻲ‬ ‫ﻴﺘﺭﻙ ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ ﺍﻟﻘﺎﻋﺔ. ﻴﻁﻭﻑ ﺃﺴﻼﻜﺴﻥ ﻭﻤﻭﺍﻁﻨﺎﻥ‬ ‫ﻗﺒﻌﺎﺕ.‬

‫ﺒﻴﻠﻴﻨﻎ: ﻟﺩﻱ ﺃﻭﺭﺍﻕ ﺒﻴﺽ ﻭﺯﺭﻕ ﻫﻨﺎ -‬

‫ﺍﻟﻤﻭﺍﻁﻥ ﺍﻷﻭل )ﻟﻬﻭﭭﺴﺘﺎﺩ(: ﻤﺎﺫﺍ ﺠﺭﻯ ﻟﻠﺩﻜﺘﻭﺭ؟ ﺒﻤﺎﺫﺍ ﻴﻔﻜﺭ؟‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﻨﺕ ﺘﻌﻠﻡ ﻜﻡ ﻫﻭ ﻤﺘﻬﻭﺭ.‬ ‫ﺍﻟﻤﻭﺍﻁﻥ ﺍﻟﺜﺎﻨﻲ )ﻟﺒﻴﻠﻴﻨﻎ(: ﺃﻅﻥ ﺃﻨﻙ ﺯﺍﺌﺭ ﺘﺘﺭﺩﺩ ﺇﻟﻰ ﺫﻟﻙ ﺍﻟﻤﻨﺯل.‬ ‫ﻫل ﻻﺤﻅﺕ ﻤﺭﺓ - ﻫل ﺫﻟﻙ ﺍﻟﺭﺠل ﻴﺸﺭﺏ ﺍﻟﺨﻤﺭ؟‬ ‫ﺍﻟﱡﻭﺩﻱ ﺩﺍﺌﻤ ﹰ ﻋﻠﻰ ﺍﻟﻁﺎﻭﻟﺔ.‬ ‫ﺎ‬ ‫ﺘ‬ ‫ﺒﻴﻠﻴﻨﻎ: ﺃﻗﺴﻡ ﺇﻨﻨﻲ ﻻ ﺃﺩﺭﻱ ﺒﻡ ﺃﺠﻴﺏ. ﻜﻠﻤﺎ ﺯﺍﺭﻩ ﺃﺤﺩ، ﺘﺭﻯ ﺸﺭﺍﺏ‬ ‫ﺍﻟﻤﻭﺍﻁﻥ ﺍﻟﺜﺎﻟﺙ: ﺃﻅﻥ ﺃﻨﻪ ﻴﻔﻘﺩ ﺼﻭﺍﺒﻪ ﺒﻴﻥ ﺍﻟﺤﻴﻥ ﻭﺍﻵﺨﺭ.‬ ‫ﺍﻟﺭﺠل ﺍﻷﻭل: ﺃﺠل، ﺃﻻ ﻴﻘﻭﻟﻭﻥ ﺇﻥ ﻫﻨﺎﻙ ﺠﻨﻭﻨ ﹰ ﻓﻲ ﺍﻟﻌﺎﺌﻠﺔ؟‬ ‫ﺎ‬ ‫ﺒﻴﻠﻴﻨﻎ: ﻤﻤﻜﻥ.‬

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‫ﺭﺠل ﺭﺍﺒﻊ: ﻻ، ﺇﻨﻪ ﺤﻘﺩ ﺨﺎﻟﺹ. ﺇﻨﻪ ﻴﺭﻴﺩ ﺍﻻﻨﺘﻘﺎﻡ ﻟﺴﺒﺏ ﺃﻭ ﻵﺨﺭ.‬ ‫ﺒﻴﻠﻴﻨﻎ: ﻟﻘﺩ ﻜﺎﻥ ﻴﺘﻜﻠﻡ ﻴﻭﻡ ﺃﻤﺱ ﻋﻥ ﺯﻴﺎﺩﺓ ﻓﻲ ﺍﻟﺭﺍﺘﺏ. ﻟﻜﻨﻪ ﻟﻡ‬ ‫ﻴﺤﺼل ﻋﻠﻴﻬﺎ.‬ ‫ﻜل ﺍﻟﺭﺠﺎل )ﺒﺼﻭﺕ ﻭﺍﺤﺩ(: ﺁﻩ، ﻫﺫﺍ ﻴﻔﺴﺭ ﺍﻷﻤﺭ!‬ ‫ﺍﻟﺭﺠل ﺍﻟﻤﺨﻤﻭﺭ )ﻓﻲ ﺍﻟﺠﺯﺀ ﺍﻷﻜﺜﻑ ﻤﻥ ﺍﻟﺤﺸﺩ(: ﺃﺭﻴﺩ ﻭﺭﻗﺔ‬ ‫ﺯﺭﻗﺎﺀ! ﻭﺃﺭﻴﺩ ﻭﺭﻗﺔ ﺒﻴﻀﺎﺀ ﺃﻴﻀ ﹰ!‬ ‫ﺎ‬ ‫ﺼﻴﺤﺎﺕ: ﺇﻨﻪ ﺍﻟﺭﺠل ﺍﻟﻤﺨﻤﻭﺭ ﺜﺎﻨﻴﺔ. ﺍﺭﻤﻭﻩ ﺨﺎﺭﺠ ﹰ.‬ ‫ﺎ‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل )ﻴﺫﻫﺏ ﺇﻟﻰ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ(: ﺤﺴﻨ ﹰ ﻴﺎ ﺴﺘﻭﻜﻤﺎﻥ،‬ ‫ﺎ‬ ‫ﺃﺘﺭﻯ ﺍﻵﻥ ﻤﺎﺫﺍ ﺠﺭﻯ ﺤﻴﻥ ﺒﺩﺃﺕ ﺍﻟﻘﻴﺎﻡ ﺒﺤﻴل ﺍﻟﻘﺭﻭﺩ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻘﺩ ﺃﺩﻴﺕ ﻭﺍﺠﺒﻲ.‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻤﺎ ﺫﺍﻙ ﺍﻟﺫﻱ ﻜﻨﺕ ﺘﻘﻭﻟﻪ ﻋﻥ ﻤﺩﺍﺒﻎ ﻤﻭﻴﻠﺩﺍل؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻜﻤﺎ ﺴﻤﻌﺕ. ﻟﻘﺩ ﻗﻠﺕ ﺇﻥ ﻜل ﺍﻟﻘﺎﺫﻭﺭﺍﺕ ﺘﺄﺘﻲ‬ ‫ﻤﻥ ﻫﻨﺎﻙ.‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻭﻤﻥ ﻤﺩﺒﻐﺘﻲ ﺃﻴﻀ ﹰ؟‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺨﺸﻰ ﺃﻥ ﻤﺩﺒﻐﺘﻙ ﻫﻲ ﺍﻷﺴﻭﺃ.‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻫل ﺴﺘﻨﺸﺭ ﺫﻟﻙ ﻓﻲ ﺍﻟﺼﺤﻑ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻥ ﺃﺨﻔﻲ ﺸﻴﺌ ﹰ.‬ ‫ﺎ‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻟﺫﻟﻙ ﺴﺘﺩﻓﻊ ﺍﻟﺜﻤﻥ ﻏﺎﻟﻴ ﹰ ﻴﺎ ﺴﺘﻭﻜﻤﺎﻥ. )ﻴﺫﻫﺏ(.‬ ‫ﺎ‬

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‫ﺭﺠل ﺴﻤﻴﻥ )ﻴﻌﺒﺭ ﻤﻥ ﺒﻴﻥ ﺍﻟﺠﻤﺎﻫﻴﺭ ﺇﻟﻰ ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ، ﺩﻭﻥ‬ ‫ﺃﻥ ﻴﻠﻘﻲ ﺍﻟﺘﺤﻴﺔ ﻋﻠﻰ ﺍﻟﺴﻴﺩﺍﺕ.(: ﺤﺴﻥ ﻴﺎ ﻜﺎﺒﺘﻥ، ﻟﻘﺩ ﺃﻋﺭﺕ‬ ‫ﻤﻨﺯﻟﻙ ﻷﻋﺩﺍﺀ ﺍﻟﺸﻌﺏ؟‬

‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﺃﻅﻥ ﺃﻨﻪ ﺒﺈﻤﻜﺎﻨﻲ ﺃﻥ ﺃﻓﻌل ﻤﺎ ﺃﺸﺎﺀ ﺒﺄﻤﻼﻜﻲ‬ ‫ﺍﻟﺨﺎﺼﺔ.‬

‫ﺍﻟﺭﺠل ﺍﻟﺴﻤﻴﻥ: ﺇﺫﹰ ﻟﻥ ﺘﻌﺘﺭﺽ ﻟﻭ ﻓﻌﻠﺕ ﺍﻟﺸﻲﺀ ﻨﻔﺴﻪ ﺒﺄﻤﻼﻜﻲ؟‬ ‫ﺍ‬ ‫ﺍﻟﺭﺠل ﺍﻟﺴﻤﻴﻥ: ﺴﺘﺴﻤﻊ ﻤﻨﻲ ﺍﻟﺠﻭﺍﺏ ﻏﺩ ﹰ. ) ﻴﺴﺘﺩﻴﺭ ﻭﻴﺫﻫﺏ(‬ ‫ﺍ‬ ‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﺃﺠل.‬ ‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﻤﺎﺫﺍ ﺘﻘﺼﺩ؟‬

‫ﺒﺘﺭﺍ: ﺃﻟﻴﺱ ﺫﺍﻙ ﺍﻟﺭﺠل ﻫﻭ ﺍﻟﺫﻱ ﻴﻤﻠﻙ ﺴﻔﻴﻨﺘﻙ ﻴﺎ ﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ؟‬

‫ﺃﺴﻼﻜﺴﻥ )ﻤﻤﺴﻜ ﹰ ﺒﺄﻭﺭﺍﻕ ﺍﻻﻗﺘﺭﺍﻉ ﺒﻴﺩﻩ، ﻴﺼﻌﺩ ﺇﻟﻰ ﺍ ﻟﻤﻨﺼﺔ‬ ‫ﺎ‬ ‫ﻭﻴﺭﻥ ﺠﺭﺴﻪ(. ﻴﺎ ﺴﺎﺩﺓ، ﺍﺴﻤﺤﻭﺍ ﻟﻲ ﺃﻥ ﺃﻋﻠﻥ ﻟﻜﻡ ﺍﻟﻨﺘﺎﺌﺞ.‬ ‫ﺒﻭﺠﻭﺩ ﻭﺭﻗﺔ ﻭﺍﺤﺩﺓ ﻓﻘﻁ ﻤﻌﺎﺭﻀﺔ -‬ ‫ﺸﺎﺏ: ﺇﻨﻪ ﺍﻟﺭﺠل ﺍﻟﻤﺨﻤﻭﺭ!‬

‫ﺃﺴﻼﻜﺴﻥ: ﺒﻭﺠﻭﺩ ﻭﺭﻗﺔ ﻭﺍﺤﺩﺓ ﻓﻘﻁ ﻤﻌﺎﺭﻀﺔ، ﻭﻫﻲ ﻤﻥ ﺭﺠل‬ ‫ﺜﻤل، ﻴﺼﺭﺡ ﻫﺫﺍ ﺍﻟﺠﻤﻊ ﻤﻥ ﺍﻟﻤﻭﺍﻁﻨﻴﻥ ﺒﺎﻹﺠﻤﺎﻉ ﺃﻥ ﺍﻟﻤﺩﻴﺭ‬ ‫)ﺼﻴﺤﺎﺕ ﻭﺇﻴﻤﺎﺀﺍﺕ ﺘﺩل ﻋﻠﻰ ﺍﻟﻤﻭﺍﻓﻘﺔ.( ﻋﺎﺵ ﻤﺠﺘﻤﻌﻨﺎ ﺍﻟﻘﺩﻴﻡ‬ ‫ﺍﻟﻨﺒﻴل! )ﻫﺘﺎﻑ ﺃﻜﺜﺭ( ﻋﺎﺵ ﺭﺌﻴﺱ ﺒﻠﺩﻴﺘﻨﺎ ﺍﻟﻔﺎﻀل ﺍﻟﻨﺸﻴﻁ، ﺍﻟﺫﻱ‬ ‫ﺍﻟﺼﺤﻲ ﻟﻠﺤﻤﺎﻤﺎﺕ، ﺍﻟﺩﻜﺘﻭﺭ ﺘﻭﻤﺎﺱ ﺴﺘﻭﻜﻤﺎﻥ، ﻋﺩﻭ ﻟﻠﺸﻌﺏ!‬

‫ﺘﺭﻓﻊ ﺒﺈﺨﻼﺹ ﻓﻭﻕ ﺭﻭﺍﺒﻁ ﺍﻟﺩﻡ! )ﻫﺘﺎﻑ( ﺍﻨﺘﻬﻰ ﺍﻻﺠﺘﻤﺎﻉ. )ﻴﻨﺯل(.‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻋﻁﻨﻲ ﻗﺒﻌﺘﻲ ﻭﻤﻌﻁﻔﻲ ﻴﺎ ﺒﺘﺭﺍ. ﻜﺎﺒﺘﻥ، ﺃﻟﺩﻴﻙ‬ ‫ﻓﻲ ﺴﻔﻴﻨﺘﻙ ﻤﻜﺎﻥ ﻟﻤﺴﺎﻓﺭﻴﻥ ﺇﻟﻰ ﺍﻟﻌﺎﻟﻡ ﺍﻟﺠﺩﻴﺩ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﺒﻴﻨﻤﺎ ﺒﺘﺭﺍ ﺘﺴﺎﻋﺩﻩ ﻓﻲ ﺍﺭﺘﺩﺍﺀ ﻤﻌﻁﻔﻪ(: ﺠﻴﺩ.‬ ‫ﻫﻴﺎ ﺒﻨﺎ ﻴﺎ ﻜﺎﺜﺭﻴﻥ. ﻫﻴﺎ ﻴﺎ ﺃﻭﻻﺩ. )ﻴﺄﺨﺫ ﺒﺫﺭﺍﻉ ﺯﻭﺠﺘﻪ.(‬ ‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﻷﺠﻠﻙ ﻭﻟﻌﺎﺌﻠﺘﻙ ﻴﺎ ﺩﻜﺘﻭﺭ، ﺴﺄﺠﺩ ﻟﻜﻡ ﻤﻜﺎﻨ ﹰ.‬ ‫ﺎ‬

‫ﺍﻟﺤﺸﺩ ﻜﻠﻪ: ﻤﺭﺤﻰ ﻟﻠﺴﻴﺩ ﺃﺴﻼﻜﺴﻥ! ﻤﺭﺤﻰ! ﻤﺭﺤﻰ!‬

‫ﺒﻴﻠﻴﻨﻎ: ﺜﻼﺜﺔ ﻫﺘﺎﻓﺎﺕ ﻟﺭﺌﻴﺱ ﺍﻻﺠﺘﻤﺎﻉ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﻁﺭﻕ ﺨﻠﻔﻴﺔ ﻋﻨﺩﻱ ﻴﺎ ﻜﺎﺜﺭﻴﻥ! ) ﻴﺭﻓﻊ‬ ‫ﺼﻭﺘﻪ( ﺴﺘﺴﻤﻌﻭﻥ ﻤﻥ ﻋﺩﻭ ﺸﻌﺒﻜﻡ ﻤﺎ ﻻ ﻴﺴﺭﻜﻡ ﻗﺒل ﺃﻥ ﻴﻨﻔﺽ‬ ‫ﻏﺒﺎﺭ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ ﻋﻥ ﻗﺩﻤﻴﻪ! ﻓﺄﻨﺎ ﻟﺴﺕ ﺸﺩﻴﺩ ﺍﻟﺘﺴﺎﻤﺢ ﻤﺜل ﺫﻟﻙ‬ ‫ﺍﻟﺸﺨﺹ ﺍﻟﺫﻱ ﻜﺎﻥ ﻴﻘﻭل: »ﺃﻏﻔﺭ ﻟﻬﻡ ﻷﻨﻬﻡ ﻻ ﻴﻌﺭﻓﻭﻥ ﻤﺎﺫﺍ‬ ‫ﻴﻔﻌﻠﻭﻥ«)*(.‬ ‫ﺒﻴﻠﻴﻨﻎ: ﻫﺫﺍ ﻤﺎ ﺃﻗﻭﻟﻪ، ﺃﻗﺴﻡ ﺒﺎﻟﻠـ-! ﻴﺎ ﻟﻪ ﻤﻥ ﻜﻼﻡ ﺒﻐﻴﺽ ﻴﺅﺫﻱ‬ ‫ﺃﺴﻤﺎﻉ ﺍﻟﻨﺎﺱ ﺍﻟﻤﺤﺘﺭﻤﻴﻥ!‬ ‫ﺃﺴﻼﻜﺴﻥ )ﻴﺼﺭﺥ(: ﻫﺫﺍ ﺍﻟﺘﺸﺒﻴﻪ ﻓﻴﻪ ﺘﺠﺩﻴﻑ ﻴﺎ ﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ!‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺒﻬﺩﻭﺀ(: ﻋﺯﻴﺯﻱ ﺘﻭﻤﺎﺱ، ﺩﻋﻨﺎ ﻨﺨﺭﺝ ﻤﻥ‬ ‫ﺍﻟﻤﻤﺭ ﺍﻟﺨﻠﻔﻲ.‬

‫ﺼﻴﺤﺎﺕ ﻤﺘﺤﻤﺴﺔ: ﻓﻠﻨﻜﺴﺭ ﻨﻭﺍﻓﺫ ﺒﻴﺘﻪ! ﻭﻟﻨﺭﻤﻪ ﻓﻲ ﺍﻟﺒﺤﺭ.‬
‫)*( ﺍﻟﻘﻭل ﻟﻠﺴﻴﺩ ﺍﻟﻤﺴﻴﺢ .‬

‫ﺼﻭﺕ ﺨﺸﻥ: ﺇﻨﻪ ﻴﻬﺩﺩﻨﺎ ﺍﻵﻥ!‬

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‫ﺭﺠل )ﻤﻥ ﺒﻴﻥ ﺍﻟﺤﺸﺩ(: ﺍﻨﻔﺦ ﻓﻲ ﺒﻭﻗﻙ ﻴﺎ ﺇﻴـﭭﻨﺴﻥ. )ﻴﻘﻠﺩ ﺼﻭﺕ‬ ‫ﺍﻟﺒﻭﻕ ﻤﺭﺘﻴﻥ(‬ ‫ﻨﻔﺦ ﻓﻲ ﺍﻟﺒﻭﻕ، ﺼﻔﻴﺭ ﻭﺼﻴﺤﺎﺕ ﺍﻫﺘﻴﺎﺝ. ﻴﺘﺠﻪ ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻭﻋﺎﺌﻠﺘﻪ ﺇﻟﻰ ﺍﻟﺒﺎﺏ. ﻴﺸﻕ ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ ﺍﻟﻁﺭﻴﻕ ﻟﻬﻡ.‬

‫ﺘﺤﺘﺸﺩ ﺍﻟﺠﻤﺎﻫﻴﺭ ﻋﻨﺩ ﺍﻟﺒﺎﺏ. ﺘﺼل ﺍﻷﺼﻭﺍﺕ ﺇﻟﻰ ﺍﻟﺨﺎﺭﺝ.‬ ‫ﻴﻤﻜﻥ ﺴﻤﺎﻉ ﺼﻴﺤﺔ ﻤﻥ ﺍﻟﺸﺎﺭﻉ: »ﻋﺩﻭ ﺍﻟﺸﻌﺏ!ﻋﺩﻭ‬ ‫ﺍﻟﺸﻌﺏ! ﻋﺩﻭ ﺍﻟﺸﻌﺏ! «‬ ‫²‬ ‫²‬ ‫²‬

‫ﺒﻴﻠﻴﻨﻎ )ﻭﻫﻭ ﻴﺭﺘﺏ ﺃﻭﺭﺍﻗﻪ(: ﻋﻠﻲ ﺍﻟﻠﻌﻨﺔ ﺇﻥ ﺍﺤﺘﺴﻴﺕ ﺍﻟﺨﻤﺭ ﻋﻨﺩﻫﻡ‬ ‫ﺍﻟﻠﻴﻠﺔ، ﺃﻗﺴﻡ ﻋﻠﻰ ﺫﻟﻙ!‬

‫ﻜل ﺍﻟﺤﺸﺩ )ﻴﺼﺭﺨﻭﻥ ﻭﺭﺍﺀﻫﻡ ﻭﻫﻡ ﺫﺍﻫﺒﻭﻥ(: ﻋﺩﻭ ﺍﻟﺸﻌﺏ! ﻋﺩﻭ‬ ‫ﺍﻟﺸﻌﺏ! ﻋﺩﻭ ﺍﻟﺸﻌﺏ!‬

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‫ﺍﻟﻔﺼﻞ ﺍﳋﺎﻣﺲ‬
‫ﻤﻜﺘﺏ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ. ﺭﻓﻭﻑ ﻜﺘﺏ ﻭﺨﺯﺍﺌﻥ ﺘﺤﺘﻭﻱ‬ ‫ﺯﺠﺎﺠﺎﺕ ﺃﺩﻭﻴﺔ ﻋﻠﻰ ﻤﺩ ﺍﻟﺠﺩﺍﺭ. ﻓﻲ ﺍﻟﺨﻠﻑ، ﻫﻨﺎﻙ ﻤﺨﺭﺝ ﺇﻟﻰ‬ ‫ﺍﻟﺭﺩﻫﺔ. ﻭﻓﻲ ﻤﻘﺩﻤﺔ ﺍﻟﻤﺴﺭﺡ ﻤﻥ ﺠﻬﺔ ﺍﻟﻴﺴﺎﺭ، ﻴﻭﺠﺩ ﺒﺎﺏ ﻏﺭﻓﺔ‬ ‫ﺍﻟﺠﻠﻭﺱ. ﻭﻫﻨﺎﻙ ﻨﺎﻓﺫﺘﺎﻥ ﻋﻠﻰ ﺍﻟﺠﺩﺍﺭ ﺍﻟﻴﻤﻴﻨﻲ، ﻜل ﺃﻟﻭﺍﺡ ﺍﻟﺯﺠﺎﺝ‬ ‫ﻓﻴﻬﺎ ﻤﺤﻁﻤﺔ. ﻭﻓﻲ ﻭﺴﻁ ﺍﻟﻐﺭﻓﺔ ﻴﺒﺩﻭ ﻤﻜﺘﺏ ﺍﻟﺩﻜﺘﻭﺭ ﻤﻐﻁﻰ‬ ‫ﺒﺎﻟﻜﺘﺏ ﻭﺍﻷﻭﺭﺍﻕ. ﺍﻟﻔﻭﻀﻰ ﺘﻌﻡ ﺍﻟﻐﺭﻓﺔ. ﻭ ﺍﻟﻭﻗﺕ ﺼﺒﺎﺤ ﹰ.‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﻤﺭﺘﺩﻴ ﹰ ﺜﻴﺎﺒﻪ ﺍﻟﻤﻨﺯﻟﻴﺔ ﻭﺨﻔﻴﻪ ﻭﻭﺍﻀﻌ ﹰ ﻋﻠﻰ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺭﺃﺴﻪ ﻗﺒﻌﺔ، ﻴﻨﺤﻨﻲ ﻋﻠﻰ ﺍﻷﺭﺽ ﺘﺤﺕ ﺇﺤﺩﻯ ﺍﻟﺨﺯﺍﺌﻥ ﻤﻤﺴﻜ ﹰ‬ ‫ﺒﻤﻅﻠﺔ. ﻭﺒﻌﺩ ﺒﺭﻫﺔ ﻴﺴﺤﺏ ﺤﺠﺭﹰ.‬ ‫ﺍ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ) ﻴﺘﺤﺩﺙ ﻋﺒﺭ ﺍﻟﺒﺎﺏ ﺍ ﻟﻤﻔﺘﻭﺡ ﺍﻟﻤﺅﺩﻱ ﺇﻟﻰ ﻏﺭﻓﺔ‬ ‫ﺍﻟﺠﻠﻭﺱ(: ﻟﻘﺩ ﻭﺠﺩﺕ ﺤﺠﺭﹰ ﺁﺨﺭ ﻴﺎ ﻜﺎﺜﺭﻴﻥ!‬ ‫ﺍ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻀﻊ ﺍﻟﺤﺠﺭ ﻭﺴﻁ ﻜﻭﻤﺔ ﻤﻥ ﺍﻟﺤﺠﺎﺭﺓ ﻋﻠﻰ‬ ‫ﺍﻟﻁﺎﻭﻟﺔ(: ﺴﺄﺤﺘﻔﻅ ﺒﻬﺫﻩ ﺍﻟﺤﺠﺎﺭﺓ ﻜﺂﺜﺎﺭ ﻤﻘﺩﺴﺔ. ﺴﻴﺭﺍﻫﺎ ﺇﻴﻠﻴﻑ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﻤﻥ ﻏﺭﻓﺔ ﺍﻟﺠﻠﻭﺱ(: ﺃﻭﻩ، ﺴﺘﺠﺩ ﺍﻟﻜﺜﻴﺭ ﻤﻨﻬﺎ ﺒﻌﺩ.‬

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‫ﻭﻤﻭﺭﺘﻥ ﻜل ﻴﻭﻡ، ﻭﻋﻨﺩﻤﺎ ﻴﻜﺒﺭﺍﻥ ﺴﻴﺭﺜﺎﻨﻬﺎ ﻋﻨﻲ. )ﻴﺒﺤﺙ ﺘﺤﺕ‬ ‫ﺃﺤﺩ ﺭﻓﻭﻑ ﺍﻟﻜﺘﺏ(: ﺃﻟﻡ - ﺘﺒ ﹰ ﻤﺎ ﻜﺎﻥ ﺍﺴﻤﻬﺎ؟ - ﻜﻤﺎ ﺘﻌﻠﻤﻴﻥ،‬ ‫ﺎ‬ ‫ﺍﻟﺨﺎﺩﻤﺔ - ﺃﻟﻡ ﺘﺫﻫﺏ ﺇﻟﻰ ﻤﺭ ﹼﺏ ﺍﻟﺯﺠﺎﺝ ﺒﻌﺩ؟‬ ‫ﻜ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﺩﺨل(: ﻗﺎل ﺇﻨﻪ ﻻ ﻴﻌﻠﻡ ﺇﻥ ﻜﺎﻥ ﺒﺈﻤﻜﺎﻨﻪ‬ ‫ﺍﻟﻤﺠﻲﺀ ﺍﻟﻴﻭﻡ.‬ ‫]ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺍﻟﺤﻘﻴﻘﺔ ﻫﻲ ﺃﻨﻪ ﻻ ﻴﺠﺭﺅ ﻋﻠﻰ ﺍﻟﻤﺠﻲﺀ.‬

‫ﺒﺄﺱ. )ﺘﺫﻫﺏ ﺇﻟﻰ ﺍﻟﺩﺍﺨل ﺜﻡ ﺘﻌﻭﺩ ﻤﺒﺎﺸﺭﺓ.( ﻫﺫﻩ ﺭﺴﺎﻟﺔ ﻟﻙ ﻴﺎ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل.[ ﺘﻘﻭل ﺭﺍﻨﺩﺍﻴﻥ ﺇﻨﻪ ﻻ ﻴﺠﺭﺅ ﺒﺴﺒﺏ‬ ‫ﺍﻟﺠﻴﺭﺍﻥ. )ﺘﺘﻜﻠﻡ ﻭﻫﻲ ﻓﻲ ﻏﺭﻓﺔ ﺍﻟﺠﻠﻭﺱ( ﻤﺎﺫﺍ ﻴﺎ ﺭﺍﻨﺩﺍﻴﻥ؟ ﻻ‬ ‫ﺘﻭﻤﺎﺱ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻋﻁﻨﻲ ﺇﻴﺎﻫﺎ. )ﻴﻔﺘﺤﻬﺎ ﻭﻴﻘﺭﺅﻫﺎ.( ﻓﻬﻤﺕ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﻤﻥ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﻥ ﺼﺎﺤﺏ ﺍﻟﺒﻴﺕ. ﺇﻨﻪ ﻴﻨﺫﺭﻨﺎ ﺒﺈﺨﻼﺀ ﺍﻟﺒﻴﺕ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻫل ﻓﻌل ﺤﻘ ﹰ؟ ﻤﻊ ﺃﻨﻪ ﻴﺒﺩﻭ ﺭﺠ ﹰ ﻤﺤﺘﺭﻤ ﹰ -‬ ‫ﺎ‬ ‫ﻼ‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻨﻅﺭ ﺇﻟﻰ ﺍﻟﺭﺴﺎﻟﺔ(: ]ﻴﻘﻭل ﺃﻨﻪ ﻟﻡ ﻴﺠﺭﺅ ﻋﻠﻰ‬ ‫ﻓﻌل ﻏﻴﺭ ﺫﻟﻙ.[ ﺇﻨﻪ ﺁﺴﻑ ﺠﺩ ﹰ، ﻟﻜﻥ ]ﻟﻡ ﻴﺠﺭﺅ ﻋﻠﻰ ﻓﻌل ﻏﻴﺭ‬ ‫ﺍ‬ ‫ﺀ‬ ‫ﺫﻟﻙ[ - ﺒﺴﺒﺏ ﺇﺨﻭﺘﻪ ﺍﻟﻤﻭﺍﻁﻨﻴﻥ، ﻭﺍﺤﺘﺭﺍﻤ ﹰ ﻟﻠﺭﺃﻱ ﺍﻟﻌﺎﻡ، ﻭﻭﻓﺎ ‪‬‬ ‫ﺎ‬ ‫ﻟﺒﻌﺽ ﺍﻻﻟﺘﺯﺍﻤﺎﺕ، ﻟﻡ ﻴﺠﺭﺅ ﻋﻠﻰ ﺇﻏﻀﺎﺏ ﺒﻌﺽ ﺍﻟﻨﺎﺱ ﻤﻥ‬ ‫ﺫﻭﻱ ﺍﻟﻨﻔﻭﺫ -‬

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‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺭﺃﻴﺕ ﻴﺎ ﺘﻭﻤﺎﺱ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﺃﺠل، ﺭﺃﻴﺕ.ﻜﻠﻬﻡ ﺠﺒﻨﺎﺀ ﻓﻲ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ.‬ ‫ﻻ ﺃﺤﺩ ﻴﺠﺭﺅ ﻋﻠﻰ ﻓﻌل ﺃﻱ ﺸﻲﺀ ﺨﻭﻓ ﹰ ﻤﻥ ﺍﻵﺨﺭﻴﻥ. ) ﻴﺭﻤﻲ‬ ‫ﺎ‬ ‫ﺍﻟﺭﺴﺎﻟﺔ ﻋﻠﻰ ﺍﻟﻁﺎﻭﻟﺔ.( ﻟﻜﻥ ﻟﻴﺱ ﻋﻠﻴﻨﺎ ﺃﻥ ﻨﻘﻠﻕ ﻴﺎ ﻜﺎﺜﺭﻴﻥ.‬ ‫ﺴﻨﻐﺎﺩﺭ ﺍﻵﻥ ﺇﻟﻰ ﺍﻟﻌﺎﻟﻡ ﺍﻟﺠﺩﻴﺩ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﻫل ﻋﻠﻲ ﺍﻟﺒﻘﺎﺀ ﻫﻨﺎ ﺤﻴﺙ ﻴﺸ ‪‬ﺭﻭﻥ ﺒﻲ ﻋﻠﻰ‬ ‫ﻬ‬ ‫ﺃﻨﻨﻲ ﻋﺩﻭ ﻟﻠﺸﻌﺏ، ﻭﻴﺤﻘﺭﻭﻨﻨﻲ، ﻭﻴﻜﺴﺭﻭﻥ ﻨﻭﺍﻓﺫ ﺒﻴﺘﻲ؟ ﻓﻘﻁ‬ ‫ﺍﻨﻅﺭﻱ ﺇﻟﻰ ﻫﺫﺍ ﻴﺎ ﻜﺎﺜﺭﻴﻥ! ﻟﻘﺩ ﻤﺯﻗﻭﺍ ﺒﻨﻁﺎﻟﻲ ﺃﻴﻀ ﹰ!‬ ‫ﺎ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺘﻅﻥ ﺤﻘ ﹰ ﺃﻨﻬﺎ ﻓﻜﺭﺓ ﺠﻴﺩﺓ ﻴﺎ ﺘﻭﻤﺎﺱ، ﺃﻥ ﻨﻬﺭﺏ‬ ‫ﺎ‬ ‫ﺒﻌﻴﺩﹰ؟‬ ‫ﺍ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺘﻅﻨﻴﻥ ﺃﻥ ﺍﻟﻐﻭﻏﺎﺀ ﻓﻲ ﻤﺩﻥ ﺃﺨﺭﻯ ﻟﻴﺴﻭﺍ‬ ‫ﻋﻠﻰ ﺸﺎﻜﻠﺔ ﻭﺍﺤﺩﺓ ﻤﻥ ﺍﻟﻭﻗﺎﺤﺔ؟ ﺒﻠﻰ ﻴﺎ ﻜﺎﺜﺭﻴﻥ، ﻻ ﻓﺭﻕ ‪‬ﺫﻜﺭ‬ ‫ﻴ‬ ‫ﺒﻴﻥ ﻫﺅﻻﺀ ﻭﺃﻭﻟﺌﻙ. ﻓﻠﻴﺫﻫﺏ ﺍﻷﺨ ‪‬ﺎﺀ ﺠﻤﻴﻌ ﹰ ﺇﻟﻰ ﺍﻟﺠﺤﻴﻡ،‬ ‫ﺎ‬ ‫ﺴ‬ ‫ﺍﺘﺭﻜﻴﻬﻡ ﻴﻨﺒﺤﻭﻥ. ﻟﻴﺱ ﻫﺫﺍ ﺃﺴﻭﺃ ﻤﺎ ﻓﻲ ﺍﻷﻤﺭ. ﺍﻷﺴﻭﺃ ﻫﻭ ﺃﻥ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻌﻡ ﻴﺎ ﺘﻭﻤﺎﺱ، ﻟﻘﺩ ﺘﺼﺭﻓﻭﺍ ﺒﻔﻅﺎﻋﺔ ﻤﻌﻙ ﻓﻲ‬ ‫ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ. ﻟﻜﻥ ﺃﻴﻌﻨﻲ ﺫﻟﻙ ﺃﻥ ﻋﻠﻴﻨﺎ ﻤﻐﺎﺩﺭﺓ ﺍﻟﺒﻠﺩﺓ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻋﻠﻰ ﺍﻟﻤﺭﺀ ﺃﻻ ﻴﻠﺒﺱ ﺃﻓﻀل ﺒﻨﻁﺎل ﻋﻨﺩﻩ ﺤﻴﻥ‬ ‫ﺍ‬ ‫ﻴﺨﺭﺝ ﻟﻴﻘﺎﺘل ﻤﻥ ﺃﺠل ﺍﻟﺤﺭﻴﺔ ﻭﺍﻟﺤﻘﻴﻘﺔ. ]ﺃﻭﻩ، ﺃﻨﺎ ﻻ ﺃﻫﺘﻡ ﻜﺜﻴﺭ ﹰ‬ ‫ﺒﺎﻟﺒﻨﻁﻠﻭﻨﺎﺕ، ﻓﺄﻨﺕ ﺩﺍﺌﻤ ﹰ ﺒﺈﻤﻜﺎﻨﻙ ﺃﻥ ﺘﺭﻗﻌﻴﻬﺎ ﻟﻲ. ﻟﻜﻥ ﻤﺎ ﻻ‬ ‫ﺎ‬ ‫ﺃﻁﻴﻕ ﺘﻘﺒﻠﻪ ﻭﺘﺤﻤﻠﻪ ﻫﻭ ﺃﻥ ﻴﺠﺭﺅ ﺃﻭﻟﺌﻙ ﺍﻟﺭﻋﺎﻉ ﻋﻠﻰ ﺘﻬﺩﻴﺩﻱ‬ ‫ﻭﻜﺄﻨﻬﻡ ﻤﻥ ﻤﺴﺘﻭﺍﻱ!‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻭﻩ ﻻ! ﻟﻘﺩ ﻜﺎﻥ ﺃﻓﻀل ﺒﻨﻁﺎل ﻋﻨﺩﻙ!‬

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‫ﺍﻟﻨﺎﺱ ﻓﻲ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ ﺒﻁﻭﻟﻬﺎ ﻭﻋﺭﻀﻬﺎ ﻤﺠﺭﺩ ﻋﺒﻴﺩ ﻟﻸﺤﺯﺍﺏ.‬ ‫ﻭﻟﺘﻌﻠﻤﻲ ﺃﻨﻬﻡ ﻗﺩ ﻻ ﻴﻜﻭﻨﻭﻥ ﺃﻓﻀل ﺤﺎ ﹰ ﻓﻲ ﺃﻤﺭﻴﻜﺎ. ﻓﺎﻷﻏﻠﺒﻴﺔ‬ ‫ﻻ‬ ‫ﻤﺘﻔﺸﻴﺔ ﻫﻨﺎﻙ ﺃﻴﻀ ﹰ، ﻭﺍﻟﺭﺃﻱ ﺍﻟﻌﺎﻡ ﺍﻟﺤﺭ ﻭﻜل ﺒﺎﻗﻲ ﺫﻟﻙ ﺍﻟﻜﻼﻡ‬ ‫ﺎ‬ ‫ﺍﻟﻔﺎﺭﻍ. ﻟﻜﻥ ﺍﻟﻤﺠﺎل ﺃﻭﺴﻊ ﻫﻨﺎﻙ، ﺘﻔﻬﻤﻴﻥ ﻤﺎ ﺃﻗﺼﺩ. ﻓﻬﻡ ﻗﺩ‬ ‫ﻼ‬ ‫ﻴﻘﺘﻠﻭﻨﻙ، ﻟﻜﻨﻬﻡ ﻻ ﻴﻌﺫﺒﻭﻨﻙ ﺒﺒﻁﺀ. ﺇﻨﻬﻡ ﻻ ﻴﺤﺎﺼﺭﻭﻥ ﺭﺠ ﹰ‬ ‫ﺤﺭﹰ ﻭﻴﺘﻬﻤﻭﻨﻪ ﺒﺄﺸﻴﺎﺀ ﻤﻌﻴﺒﺔ ﻜﻤﺎ ﻴﻔﻌﻠﻭﻥ ﻫﻨﺎ. ﻭﻴﻤﻜﻨﻙ ﺃﻥ ﺘﺒﻘﻲ‬ ‫ﺍ‬ ‫ﺒﻌﻴﺩﺓ ﺨﺎﺭﺝ ﻫﺫﻩ ﺍﻷﻤﻭﺭ ﻜﻠﻬﺎ ﺇﻥ ﺃﺭﺩﺕ.[ )ﻴﻤﺸﻲ ﻋﺒﺭ‬ ‫ﺍﻟﻐﺭﻓﺔ.( ﻟﻭ ﻜﻨﺕ ﺃﻋﻠﻡ ﻓﻘﻁ ﺒﻭﺠﻭﺩ ﻏﺎﺒﺔ ﺒﺩﺍﺌﻴﺔ ﺃﻭ ﺠﺯﻴﺭﺓ ﻨﺎﺌﻴﺔ‬ ‫ﻓﻲ ﺍﻟﺒﺤﺎﺭ ﺍﻟﺠﻨﻭﺒﻴﺔ ﻤﻌﺭﻭﻀﺔ ﻟﻠﺒﻴﻊ ﺒﺜﻤﻥ ﺭﺨﻴﺹ -‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺘﻭﻗﻑ(: ﺃﻨﺕ ﻏﺭﻴﺒﺔ ﺤﻘ ﹰ ﻴﺎ ﻜﺎﺜﺭﻴﻥ! ﺃﺘﻔﻀﻠﻴﻥ‬ ‫ﺎ‬ ‫ﺃﻥ ﻴﺭﺒﻰ ﺃﻭﻻﺩﻙ ﻓﻲ ﻤﺠﺘﻤﻊ ﻜﻬﺫﺍ؟ ﻟﻘﺩ ﺭﺃﻴﺕ ﺒﺄﻡ ﻋﻴﻨﻙ ﻟﻴﻠﺔ‬ ‫ﺍﻟﺒﺎﺭﺤﺔ ﻜﻴﻑ ﻜﺎﻥ ﻨﺼﻑ ﺍﻟﻨﺎﺱ ﻫﺎﺌﺠﻴﻥ ﻜﺎﻟﻤﺠﺎﻨﻴﻥ، ﻭﺇﺫﺍ ﻜﺎﻥ‬ ‫ﺍﻟﻨﺼﻑ ﺍﻵﺨﺭ ﻤﻨﻬﻡ ﻟﻡ ﻴﻔﻘﺩ ﺼﻭﺍﺒﻪ، ﻓﻬﺫﺍ ﺇﻨﻤﺎ ﻷﻨﻬﻡ ﺒﻬﺎﺌﻡ ﻻ‬ ‫ﻋﻘﻭل ﻟﺩﻴﻬﻡ ﻜﻲ ﻴﻔﻘﺩﻭﻫﺎ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ ﻴﺎ ﻋﺯﻴﺯﻱ ﺘﻭﻤﺎﺱ، ﻟﻘﺩ ﻜﻨﺕ ﻏﻴﺭ ﻭﺍﻉ ﻟﻤﺎ‬ ‫ﻗﻠﺘﻪ، ﻭﻟﻌل ﺫﻟﻙ ﻫﻭ ﺍﻟﺴﺒﺏ.‬

‫]ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ ﻤﺎﺫﺍ ﺒﺸﺄﻥ ﺍﻷﻭﻻﺩ ﻴﺎ ﺘﻭﻤﺎﺱ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﺎﺫﺍ! ﺃﻟﻡ ﺃﻜﻥ ﺃﻗﻭل ﺍﻟﺤﻘﻴﻘﺔ؟ ﺃﻟﻡ ﻴﻘﻠﺒﻭﺍ ﻜل‬ ‫ﻓﻜﺭﺓ ﻗﻠﺘﻬﺎ ﺭﺃﺴ ﹰ ﻋﻠﻰ ﻋﻘﺏ؟ ﺃﻟﻡ ﻴﺨﻠﻁﻭﺍ ﺍﻟﺨﻁﺄ ﺒﺎﻟﺼﻭﺍﺏ ﻓﻠﻡ‬ ‫ﺎ‬ ‫ﻴﻌﻭﺩﻭﺍ ﻴﻌﺭﻓﻭﻥ ﺍﻟﻔﺭﻕ ﺒﻴﻨﻬﻤﺎ؟ ﺃﻟﻡ ﻴﺼﻔﻭﺍ ﻜل ﺸﻲﺀ ﺒﺎﻟﻜﺫﺏ‬ ‫ﻻ‬ ‫ﻭﺃﻨﺎ ﺃﻋﻠﻡ ﺃﻨﻪ ﺍﻟﺤﻕ؟ ﻟﻜﻥ ﻤﺎ ﺃﺜﺎﺭ ﺠﻨﻭﻨﻲ ﺃﻜﺜﺭ ﺃﻥ ﻫﻨﺎﻙ ﺭﺠﺎ ﹰ‬

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‫ﻨﺎﻀﺠﻴﻥ ﺫﻭﻱ ﻨﺯﻋﺔ ﺘﺤﺭﺭﻴﺔ ﺭﺍﺤﻭﺍ ﻴﺘﺠﻤﻌﻭﻥ ﻭﻴﻘﻨﻌﻭﻥ ﺃﻨﻔﺴﻬﻡ‬ ‫ﺎ‬ ‫ﻭﻏﻴﺭﻫﻡ ﺃﻨﻬﻡ ﺫﻭﻭ ﻓﻜﺭ ﺘﻘﺩﻤﻲ! ﻫل ﺴﻤﻌﺕ ﻓﻲ ﺤﻴﺎﺘﻙ ﺸﻴﺌ ﹰ‬ ‫ﻜﻬﺫﺍ ﻴﺤﺩﺙ ﻴﺎ ﻜﺎﺜﺭﻴﻥ؟‬ ‫ﺘﺩﺨل ﺒﺘﺭﺍ ﻤﻥ ﻏﺭﻓﺔ ﺍﻟﺠﻠﻭﺱ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﺃﺠل، ﻜل ﻤﺎ ﺠﺭﻯ ﻤﺤﺽ ﻏﺒﺎﺀ، ﻭﻟﻜﻥ-[‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻫل ﻋﺩﺕ ﻤﻥ ﺍﻟﻤﺩﺭﺴﺔ ﻟﺘﻭﻙ؟‬ ‫ﺒﺘﺭﺍ: ﻟﻘﺩ ‪‬ﺭﻓﺕ ﻤﻥ ﺍﻟﻌﻤل.‬ ‫ﺼ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ‪‬ﺭﻓ ِ؟‬ ‫ﺼ ﺕ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻨ ِ ﺃﻴﻀ ﹰ!‬ ‫ﺎ‬ ‫ﺕ‬ ‫ﺒﺘﺭﺍ: ﻭﺠﻬﺕﹾ ﺇﻟﻲ ﺍﻟﺴﻴﺩﺓ ‪‬ﺴﻙ ﺇﻨﺫﺍﺭﹰ. ﻟﺫﺍ ﺭﺃﻴﺕ ﺃﻨﻪ ﻤﻥ ﺍﻷﻓﻀل‬ ‫ﺍ‬ ‫ﺒ‬ ‫ﻟﻲ ﺃﻥ ﺃﺘﺭﻙ ﺍﻟﻌﻤل ﻓﻭﺭﹰ.‬ ‫ﺍ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺼﺒ ِ، ﺇﻱ ﻭﺭﺒﻲ!‬ ‫ﺕ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﻥ ﻜﺎﻥ ﻴﻌﺘﻘﺩ ﺃﻥ ﺍﻟﺴﻴﺩﺓ ‪‬ﺴﻙ ﺍﻤﺭﺃﺓ ﻟﺌﻴﻤﺔ ﺒﻬﺫﺍ‬ ‫ﺒ‬ ‫ﺍﻟﺸﻜل؟‬ ‫ﺒﺘﺭﺍ: ﻻ ﻴﺎ ﺃﻤﻲ، ﻟﻴﺴﺕ ﻟﺌﻴﻤﺔ. ﻟﻘﺩ ﻜﺎﻥ ﻤﻥ ﺍﻟﻭﺍﻀﺢ ﺃﻨﻬﺎ ﻟﻡ ﺘﻜﻥ‬ ‫ﺘﺭﻏﺏ ﻓﻲ ﺍﻟﻘﻴﺎﻡ ﺒﺫﻟﻙ. ﻟﻜﻨﻬﺎ ﻗﺎﻟﺕ ﺇﻨﻬﺎ ﻟﻡ ﺘﺠﺭﺅ ﻋﻠﻰ ﻓﻌل‬ ‫ﻏﻴﺭ ﺫﻟﻙ. ﻟﺫﻟﻙ ‪‬ﺭﻓ ﹸ ﻤﻥ ﺍﻟﻌﻤل.‬ ‫ﺼ ﺕ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻀﺤﻙ ﻭﻴﻔﺭﻙ ﻴﺩﻴﻪ(: ]ﻟﻡ ﺘﺠﺭﺅ ﻋﻠﻰ ﻓﻌل‬ ‫ﻏﻴﺭ ﺫﻟﻙ![ ﻫﻲ ﺃﻴﻀ ﹰ! ﺃﻭﻩ، ﻫﺫﺍ ﺭﺍﺌﻊ!‬ ‫ﺎ‬

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‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻥ، ﺒﻌﺩ ﺘﻠﻙ ﺍﻟﻤﺸﺎﻫﺩ ﺍﻟﻤﺨﻴﻔﺔ ﺍﻟﻠﻴﻠﺔ ﺍﻟﻔﺎﺌﺘﺔ ﻻ‬ ‫ﻴﻤﻜﻨﻙ -‬ ‫ﺒﺘﺭﺍ: ﻟﻴﺱ ﻫﺫﺍ ﻜل ﻤﺎ ﻓﻲ ﺍﻷﻤﺭ. ﺃﺼﻎ ﺇﻟﻰ ﻫﺫﺍ ﻴﺎ ﺃﺒﻲ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻥ؟‬

‫ﺒﺘﺭﺍ: ﻟﻘﺩ ﺃﺭﺘﻨﻲ ﺍﻟﺴﻴﺩﺓ ‪‬ﺴﻙ ﺭﺴﺎﺌل ﻻ ﺘﻘل ﻋﻥ ﺜﻼﺙ ﻜﺎﻨﺕ ﻗﺩ‬ ‫ﺒ‬ ‫ﺘﻠﻘﺘﻬﺎ ﻫﺫﺍ ﺍﻟﺼﺒﺎﺡ -‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺩﻭﻥ ﺃﻥ ‪‬ﺫﻜﺭ ﻋﻠﻴﻬﺎ ﺍﺴﻡ ﺍﻟﻤﺭﺴل ﻁﺒﻌ ﹰ؟‬ ‫ﺎ‬ ‫ﻴ‬ ‫ﺒﺘﺭﺍ: ﺃﺠل.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺘﺭﻴﻥ ﻴﺎ ﻜﺎﺜﺭﻴﻥ، ﻟﻡ ﻴﺠﺭﺅﻭﺍ ﺤﺘﻰ ﻋﻠﻰ‬ ‫ﺍﻟﺘﻭﻗﻴﻊ ﺒﺄﺴﻤﺎﺌﻬﻡ.‬ ‫ﺒﺘﺭﺍ: ﻓﺤﻭﻯ ﺍﺜﻨﺘﻴﻥ ﻤﻨﻬﻤﺎ ﺃﻥ ﺴﻴﺩﹰ ﻤﻤﻥ ﻜﺎﻨﻭﺍ ﻴﺘﺭﺩﺩﻭﻥ ﻋﻠﻰ ﻫﺫﺍ‬ ‫ﺍ‬ ‫ﺍ‬ ‫ﺍﻟﻤﻨﺯل ﺃﻋﻠﻥ ﻓﻲ ﺍﻟﻨﺎﺩﻱ ﻟﻴﻠﺔ ﺍﻟﺒﺎﺭﺤﺔ ﺃﻨﻨﻲ ﺃﻋﺘﻨﻕ ﺃﻓﻜﺎﺭﹰ‬ ‫ﻤﺘﺤﺭﺭﺓ ﺠﺩﹰ ﻓﻲ ﻤﻭﺍﻀﻴﻊ ﻋﺩﺓ -‬ ‫ﺍ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺁﻤل ﺃﻨﻙ ﻟﻡ ﺘﻨﻜﺭﻱ ﺫﻟﻙ.‬ ‫ﺒﺘﺭﺍ: ﻭﺤﻴﺎﺘﻙ ﻟﻡ ﺃﻓﻌل! ]ﻓﺎﻟﺴﻴﺩﺓ ‪‬ﺴﻙ ﻨﻔﺴﻬﺎ ﺘﻌﺒﺭ ﻋﻥ ﺃﻓﻜﺎﺭ‬ ‫ﺒ‬ ‫ﻤﺘﺤﺭﺭﺓ ﺠﺩﹰ ﺤﻴﻥ ﻨﻜﻭﻥ ﻤﻌ ﹰ ﻭﺤﺩﻨﺎ؛ ﻟﻜﻥ ﺍﻵﻥ ﺒﻌﺩ ﺃﻥ ﺸﺎﻉ ﻫﺫﺍ‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﺍﻟﺼﻴﺕ ﻋﻨﻲ، ﻟﻡ ﺘﻌﺩ ﺘﺠﺭﺅ ﻋﻠﻰ ﺇﺒﻘﺎﺌﻲ.[‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ]ﻋﻅﻴﻡ – ،ﺸﺨﺹ ﻴﺘﺭﺩﺩ ﻋﻠﻰ ﻫﺫﺍ ﺍﻟﻤﻨﺯل»![‬ ‫ﺃﺭﺃﻴﺕ ﺃﻱ ﻨﻭﻉ ﻤﻥ ﺍﻟﺸﻜﺭ ﺃﺘﺎﻨﺎ ﻤﻥ ﻜﺭﻡ ﻀﻴﺎﻓﺘﻙ ﻴﺎ ﺘﻭﻤﺎﺱ!‬

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‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺸﺵ! ﺃﻋﺘﻘﺩ ﺃﻥ ﻫﻨﺎﻙ ﺸﺨﺼ ﹰ ﻤﺎ ﻓﻲ ﺍﻟﺭﺩﻫﺔ.‬ ‫ﺎ‬ ‫ﺍﺫﻫﺒﻲ ﻭﺃﻟﻕ ﻨﻅﺭﺓ ﻴﺎ ﺒﺘﺭﺍ.‬ ‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ )ﻤﻥ ﺍﻟﺭﺩﻫﺔ(: ﺼﺒﺎﺡ ﺍﻟﺨﻴﺭ. ﺸﻌﺭﺕ ﺃﻥ ﻋﻠﻲ‬ ‫ﺍﻟﻤﺠﻲﺀ ﻷﻁﻤﺌﻥ ﻋﻥ ﺃﺤﻭﺍﻟﻜﻡ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﺸﻜﺭﹰ ﻻﻫﺘﻤﺎﻤﻙ ﻜﻲ ﻨﺨﺭﺝ ﺒﺄﻤﺎﻥ ﻟﻴﻠﺔ‬ ‫ﺍ‬ ‫ﺍﻟﺒﺎﺭﺤﺔ، ﻴﺎ ﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ.‬ ‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﺃﻭﻩ، ﻟﻘﺩ ﺘﻤﻜﻨﺕ ﻤﻥ ﺍﻟﻌﻭﺩﺓ؛ ]ﻓﺄﻨﺎ ﻗﻭﻱ ﺠﺩﹰ،‬ ‫ﺍ‬ ‫ﻭ... [ ﻨﺒﺎﺡ ﺃﻭﻟﺌﻙ ﺍﻟﺘﺎﻓﻬﻴﻥ ﺃﺴﻭﺃ ﻤﻥ ﻋﻀﻬﻡ.‬ ‫]ﺘﻌﺎل، ﺴﺄﺭﻴﻙ ﺸﻴﺌ ﹰ ﻤﺎ.[ ﺍﻨﻅﺭ، ﻫﻨﺎ ﻜﻭﻤﺔ ﺍﻟﺤﺠﺎﺭﺓ ﺍﻟﺘﻲ ﺭﻤﻭﻫﺎ‬ ‫ﺎ‬ ‫ﺍﻟﺼﻐﻴﺭ ﻭﻟﻴﺱ ﺒﻴﻨﻬﺎ ﺴﻭﻯ ﺍﺜﻨﻴﻥ ﻤﻥ ﺍﻟﺤﺠﻡ ﺍﻟﻜﺒﻴﺭ! ﻭﻤﻊ ﺫﻟﻙ‬ ‫ﻓﻠﻴﻔﻌﻠﻭﺍ، ﻓﻠﻴﻔﻌﻠﻭﺍ، ﻻ، ﻟﻥ ﺘﺭﻯ ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﺍﻟﻔﻌل ﻓﻲ ﺒﻠﺩﺘﻨﺎ ﻫﺫﻩ.‬ ‫ﺒﺘﺭﺍ: ﻜﻴﻑ ﺘﺩﺒﺭﺕ ﺃﻤﺭ ﻋﻭﺩﺘﻙ ﺇﻟﻰ ﺍﻟﻤﻨﺯل ﺜﺎﻨﻴﺔ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺼﺎﻓﺤﻪ(: ﺃﺸﻜﺭﻙ. ﻫﺫﺍ ﻟﻁﻑ ﻜﺒﻴﺭ ﻤﻨﻙ.‬ ‫ﺒﺘﺭﺍ )ﺘﻔﺘﺢ ﺍﻟﺒﺎﺏ(: ﺃﻭﻩ، ﻫﺫﺍ ﺃﻨﺕ ﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ؟ ﺘﻔﻀل ﺃﺭﺠﻭﻙ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻥ ﻨﻌﻴﺵ ﻓﻲ ﻫﺫﻩ ﺍﻟﻐﺎﺒﺔ ﺒﻌﺩ ﺍﻟﻴﻭﻡ. ﺍﺤﺯﻤﻲ‬ ‫ﺍﻟﺤﻘﺎﺌﺏ ﺒﺄﺴﺭﻉ ﻤﺎ ﻴﻤﻜﻥ ﻴﺎ ﻜﺎﺜﺭﻴﻥ. ﻜﻠﻤﺎ ﺃﺴﺭﻋﻨﺎ ﻓﻲ ﺍﻟﺭﺤﻴل‬ ‫ﻤﻥ ﻫﻨﺎ ﻜﺎﻥ ﺃﻓﻀل.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻟﻴﺱ ﻏﺭﻴﺒ ﹰ ﻜﻡ ﺒﻠﻎ ﺠﺒﻥ ﺃﻭﻟﺌﻙ ﺍﻟﺤﻘﺭﺍﺀ!‬ ‫ﺎ‬ ‫ﻜﻠﻬﺎ ﻋﻠﻰ ﻨﻭﺍﻓﺫﻨﺎ. ﻓﻘﻁ ﺍﻨﻅﺭ ﺇﻟﻴﻬﺎ! ﺼﺩﻗ ﹰ ﻜﻠﻬﺎ ﻤﻥ ﺍﻟﺤﺼﻰ‬ ‫ﺎ‬

‫ﻭﻗﻔﻭﺍ ﻫﻨﺎﻙ ﺠﻤﻴﻌ ﹰ ﻴﻨﺒﺤﻭﻥ، ﻭ ‪‬ﻘﺴﻤﻭﻥ ﺇﻨﻬﻡ ﺴﻴﻘﺘﻠﻭﻨﻨﻲ. ﻟﻜﻥ‬ ‫ﻴ‬ ‫ﺎ‬

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‫]ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻁﺒﻌ ﹰ! ﻟﻜﻥ ﺫﻟﻙ ﻴﺯﻋﺠﻨﻲ ﻋﻠﻰ ﻜل ﺤﺎل؛ ﻷﻨﻪ‬ ‫ﺎ‬ ‫ﻟﻭ ﻭﺼﻠﺕ ﺍﻷﻤﻭﺭ ﺇﻟﻰ ﻗﺘﺎل ﺤﻘﻴﻘﻲ ﺩﻓﺎﻋ ﹰ ﻋﻥ ﺍﻟﺒﻠﺩ، ﻓﺴﻭﻑ‬ ‫ﺎ‬ ‫ﺘﺭﻯ ﻴﺎ ﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ ﻜﻴﻑ ﺴﻴﺤﺎﻭل ﺍﻟﺭﺃﻱ ﺍﻟﻌﺎﻡ ﺍﻟﻤﺤﺎﻓﻅﺔ‬ ‫ﻋﻠﻰ ﺃﻤﻨﻪ ﻓﻲ ﺍﻟﻤﻘﺎﻡ ﺍﻷﻭل، ﻭﺴﻴﻬﺭﺏ ﺃﻓﺭﺍﺩ ﻫﺫﻩ ﺍﻷﻏﻠﺒﻴﺔ‬ ‫ﺍﻟﻤﻘﺩﺴﺔ ﺒﻐﻴﺔ ﺍﻟﺤﻔﺎﻅ ﻋﻠﻰ ﺤﻴﺎﺘﻬﻡ ﻤﺜل ﻗﻁﻌﺎﻥ ﺍﻟﻐﻨﻡ. ﻫﺫﺍ ﻫﻭ‬ ‫ﺍﻟﻤﺤﺯﻥ ﻓﻌ ﹰ، ﺇﻨﻪ ﻟﻤﻥ ﺍﻟﻤﺅﻟﻡ ﺍﻟﺘﻔﻜﻴﺭ ﻓﻴﻪ ﺒﺎﻟﻨﺴﺒﺔ ﺇﻟ ‪ - ‬ﻻ،‬ ‫ﻲ‬ ‫ﻼ‬ ‫ﺍﻟﻠﻌﻨﺔ ﻋﻠﻰ ﺫﻟﻙ، ﻫﺫﺍ ﻏﺒﺎﺀ ﻤﻨﻲ! ﻟﻘﺩ ﻗﺎﻟﻭﺍ ﺇﻨﻨﻲ ﻋﺩﻭ ﻟﻠﺸﻌﺏ،‬ ‫ﻟﺫﺍ ﺩﻋﻨﻲ ﺃﻜﻥ ﻋﺩﻭﹰ ﻟﻠﺸﻌﺏ!‬ ‫ﺍ‬

‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﺤﺴﺒﻙ ﺃﻨﻙ ﻨﺠﻭﺕ ﻫﺫﻩ ﺍﻟﻤﺭﺓ ﻴﺎ ﺩﻜﺘﻭﺭ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻥ ﺘﻜﻭﻥ ﻜﺫﻟﻙ ﺃﺒﺩﹰ ﻴﺎ ﺘﻭﻤﺎﺱ.‬ ‫ﺍ‬

‫ﺘﺨﺩﺵ ﻜﻤﺎ ﺘﺨﺩﺵ ﺍﻹﺒﺭﺓ ﺍﻟﺭﺌﺔ. ﻻ ﻴﻤﻜﻨﻨﻲ ﻨﺴﻴﺎﻥ ﺘﻠﻙ ﺍﻟﺠﻤﻠﺔ‬ ‫ﻓﻲ ﺠﻭﻓﻲ ﻭﺘﺄﻜﻠﻪ ﻜﻤﺎ ﻴﻔﻌل ﺍﻷﺴﻴﺩ ﺍﻟﺤﺎﺭﻕ. ﻭﻟﻴﺱ ﻫﻨﺎﻙ ﺩﻭﺍﺀ‬ ‫ﺍﻟﻠﻌﻴﻨﺔ، ﺴﺘﺒﻘﻰ ﻋﺎﻟﻘﺔ ﻫﻨﺎ ﻓﻲ ﺠﺩﺍﺭ ﻤﻌﺩﺘﻲ، ﺘﻘﺒﻊ ﻫﻨﺎﻙ ﺘﻔﺭﻙ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺘﻜﻭﻨﻲ ﻭﺍﺜﻘﺔ ﻴﺎ ﻜﺎﺜﺭﻴﻥ. ﻓﺎﻟﻜﻠﻤﺔ ﺍﻟﻘﺒﻴﺤﺔ‬

‫ﻤﻐﻨﻴﺴﻴﻭﻡ ﻴﺒﻁل ﻤﻔﻌﻭﻟﻬﺎ.‬

‫ﺒﺘﺭﺍ: ﻟﻴﺱ ﻋﻠﻴﻙ ﺴﻭﻯ ﺃﻥ ﺘﺴﺨﺭ ﻤﻨﻬﻡ ﻴﺎ ﺃﺒﻲ.‬ ‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﻤﻊ ﻤﺭﻭﺭ ﺍﻟﻭﻗﺕ ﺴﻴﻐﻴﺭ ﺍﻟﻨﺎﺱ ﺃﻓﻜﺎﺭﻫﻡ ﻋﻨﻙ ﻴﺎ‬ ‫ﺩﻜﺘﻭﺭ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل ﻴﺎ ﺘﻭﻤﺎﺱ، ﺇﻨﻨﻲ ﻤﺘﺄﻜﺩﺓ ﻤﻥ ﺫﻟﻙ ﻜﻤﺎ ﺃﺭﺍﻙ‬ ‫ﻭﺍﻗﻔ ﹰ ﺃﻤﺎﻤﻲ ﺍﻵﻥ.[‬ ‫ﺎ‬

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‫ﺤﻔﺭﻭﺍ ﻗﺒﻭﺭﻫﻡ ﺒﺄﻴﺩﻴﻬﻡ! ]ﻓﻠﻴﻌﻴﺸﻭﺍ ﻜﺎﻟﺒﻬﺎﺌﻡ؛ ﻟﻜﻨﻬﻡ ﺴﻴﻨﺩﻤﻭﻥ‬ ‫ﻹﺭﺴﺎﻟﻬﻡ ﺸﺨﺼ ﹰ ﻴﺤﺏ ﻭﻁﻨﻪ ﺇﻟﻰ ﺍﻟﻤﻨﻔﻰ.[ﻤﺘﻰ ﺴﺘﺒﺤﺭ ﻴﺎ ﻜﺎﺒﺘﻥ‬ ‫ﺎ‬ ‫ﻫﻭﺭﺴﺘﺭ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ]ﺭﺒﻤﺎ، ﻟﻜﻥ ﺤﻴﻥ ﻴﻔﻭﺕ ﺍﻷﻭﺍﻥ.[ ﺤﺴﻨ ﹰ، ﻟﻘﺩ‬ ‫ﺎ‬

‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﻫﻤﻡ- ﻫﺫﺍ ﻤﺎ ﺃﺘﻴﺕ ﻷﺘﺤﺩﺙ ﻤﻌﻜﻡ ﺒﺨﺼﻭﺼﻪ،‬ ‫ﻓﻲ ﺍﻟﻭﺍﻗﻊ -‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻤﺎﺫﺍ، ﺃﺤﺩﺙ ﺸﻲﺀ ﻟﺴﻔﻴﻨﺘﻙ؟‬ ‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﻻ. ﺠل ﻤﺎ ﻓﻲ ﺍﻷﻤﺭ ﺃﻨﻨﻲ ﻟﻥ ﺃﺒﺤﺭ ﻋﻠﻰ ﻤﺘﻨﻬﺎ.‬ ‫ﺒﺘﺭﺍ: ﻻ ﺘﻘل ﻟﻲ ﺃﻨﻬﻡ ﺼﺭﻓﻭﻙ ﻤﻥ ﺍﻟﻌﻤل؟‬ ‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ )ﻴﺒﺘﺴﻡ(: ﺒﺎﻟﻁﺒﻊ ﻟﻘﺩ ﻓﻌﻠﻭﺍ!‬ ‫ﺒﺘﺭﺍ: ﺃﻨﺕ ﺃﻴﻀ ﹰ!‬ ‫ﺎ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺭﺃﻴﺕ ﻴﺎ ﺘﻭﻤﺎﺱ!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻜل ﺫﻟﻙ ﻷﻨﻨﻲ ﻗﻠﺕ ﺍﻟﺤﻘﻴﻘﺔ! ﻭﺍﷲ ﻟﻡ ﺃﺘﺼﻭﺭ‬ ‫ﺃﻥ ﺸﻴﺌ ﹰ ﻜﻬﺫﺍ ﻗﺩ ﻴﺤﺩﺙ -‬ ‫ﺎ‬ ‫ﻓﻲ ﻤﻜﺎﻥ ﺁﺨﺭ.‬ ‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﻻ ﺘﻘﻠﻕ ﺒﺸﺄﻨﻲ. ﺴﺄﺠﺩ ﻋﻤ ﹰ ﻤﻊ ﺸﺭﻜﺔ ﺃﺨﺭﻯ‬ ‫ﻼ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ ﺭﺌﻴﺴﻙ ﺭﺠل ﺜﺭﻱ، ﻭﻟﻪ ﺭﺃﻴﻪ ﺍﻟﻤﺴﺘﻘل‬ ‫ﺘﻤﺎﻤ ﹰ. ﺃﻭﻩ، ﺍﻟﻠﻌﻨﺔ، ﺍﻟﻠﻌﻨﺔ!‬ ‫ﺎ‬

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‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﺇﻨﻪ ﺭﺠل ﻋﺎﻗل ﺒﻤﺎ ﻓﻴﻪ ﺍﻟﻜﻔﺎﻴﺔ ﻓﻲ ﺍﻷﺤﻭﺍل‬ ‫ﺍﻟﻌﺎﺩﻴﺔ. ﻟﻘﺩ ﺃﺨﺒﺭﻨﻲ ﺒﻨﻔﺴﻪ ﺃﻨﻪ ﻜﺎﻥ ﻴﻭﺩ ﺍﻻﺤﺘﻔﺎﻅ ﺒﻲ، ﻟﻜﻨﻪ ﻻ‬ ‫ﻴﺠﺭﺅ -‬ ‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﻟﻘﺩ ﻗﺎل ﺇﻨﻪ ﻟﻴﺱ ﺒﺎﻷﻤﺭ ﺍﻟﺴﻬل ﺠﺩﹰ ﻭﺒﺨﺎﺼﺔ‬ ‫ﺍ‬ ‫ﺤﻴﻥ ﺘﻜﻭﻥ ﻤﻨﻀﻤ ﹰ ﺇﻟﻰ ﺤﺯﺏ ﻤﺎ -‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻀﺤﻙ(: ] ﻟﻜﻨﻪ ﻻ ﻴﺠﺭﺅ! ﻻ، ﻁﺒﻌ ﹰ ﻻ.[‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺫﻩ ﺃﺼﺩﻕ ﻜﻠﻤﺔ ﻨﻁﻕ ﺒﻬﺎ. ﻓﺎﻟﺤﺯﺏ ﺃﺸﺒﻪ ﺒﺂﻟﺔ‬ ‫ﺍﻟﻔﺭﻡ. ﺇﻨﻬﺎ ﺘﻁﺤﻥ ﺃﺩﻤﻐﺔ ﺍﻟﺠﻤﻴﻊ ﻓﻲ ﻋﺠﻴﻨﺔ ﻭﺍﺤﺩﺓ، ﻓﺘﺼﺒﺢ‬ ‫ﻜﻠﻬﺎ ﻨﻘﺎﻨﻕ ﺒﺸﺭﻴﺔ، ﻭﻜﻠﻬﺎ ﻤﺘﺸﺎﺒﻬﺔ!‬ ‫ﺒﺘﺭﺍ )ﻟﻠﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ(: ﻟﻴﺘﻙ ﻟﻡ ﺘﺭﺍﻓﻘﻨﺎ ﺇﻟﻰ ﺍﻟﻤﻨﺯل ﺍﻟﺒﺎﺭﺤﺔ، ﻟﻤﺎ‬ ‫ﺤﺩﺙ ﻫﺫﺍ ﺃﺒﺩﹰ.‬ ‫ﺍ‬ ‫ﺒﺘﺭﺍ )ﺘﻌﻁﻴﻪ ﻴﺩﻫﺎ(: ﺸﻜﺭﹰ ﻟﻙ!‬ ‫ﺍ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻟﻬﺫﺍ ﺍﻟﺤﺩ ﻴﺎ ﺘﻭﻤﺎﺱ!‬

‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﻟﺴﺕ ﺁﺴﻔ ﹰ ﻋﻠﻰ ﺫﻟﻙ.‬ ‫ﺎ‬

‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ )ﻟﻠﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ(: ﻤﺎ ﺃﺭﺩﺕ ﻗﻭﻟﻪ، ﺇﻥ ﻜﻨﺘﻡ ﻤﺎ‬ ‫ﺯﻟﺘﻡ ﺘﻭﺩﻭﻥ ﺍﻟﻤﻐﺎﺩﺭﺓ، ﻓﻘﺩ ﻓﻜﺭﺕ ﻓﻲ ﻁﺭﻴﻘﺔ ﺃﺨﺭﻯ -‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺠﻴﺩ! ﻁﺎﻟﻤﺎ ﺃﻨﻪ ﻴﻤﻜﻨﻨﺎ ﺍﻟﺭﺤﻴل ﺒﺴﺭﻋﺔ -‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺸﺵ - ﺃﻟﻡ ﺘﺴﻤﻌﻭﺍ ﻨﻘﺭﹰ ﻋﻠﻰ ﺍﻟﺒﺎﺏ؟‬ ‫ﺍ‬ ‫ﺒﺘﺭﺍ: ﺃﻅﻥ ﺃﻨﻪ ﻋﻤﻲ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺁﻫﺎ! )ﻴﺼﻴﺢ( ﺍﺩﺨل!‬

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‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﺍﻵﻥ ﻋﺯﻴﺯﻱ ﺘﻭﻤﺎﺱ، ﻋﺩﻨﻲ -‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﻋﻨﺩ ﻤﺩﺨل ﺍﻟﺒﺎﺏ(: ﺃﻭﻩ، ﺃﻨﺕ ﻤﺸﻐﻭل. ﺴﺂﺘﻲ ﻓﻴﻤﺎ‬ ‫ﺒﻌﺩ -‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﺭﻴﺩ ﺃﻥ ﺃﺘﺤﺩﺙ ﻤﻌﻙ ﻋﻠﻰ ﺍﻨﻔﺭﺍﺩ.‬ ‫ﻴﺩﺨل ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ ﻤﻥ ﺍﻟﺭﺩﻫﺔ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ، ﻻ، ﺘﻔﻀل ﺃﺭﺠﻭﻙ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺴﻨﺫﻫﺏ ﺇﻟﻰ ﻏﺭﻓﺔ ﺍﻟﺠﻠﻭﺱ.‬ ‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﺴﺄﻭﺍﻓﻴﻙ ﻓﻴﻤﺎ ﺒﻌﺩ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ، ﻭﺃﻨﺕ ﺍﺩﺨل ﻫﻨﺎﻙ ﺃﻴﻀ ﹰ. ﺃﺭﻴﺩ ﺃﻥ ﺃﻋﺭﻑ‬ ‫ﺎ‬ ‫ﺍﻟﻤﺯﻴﺩ ﻋﻥ ﺫﻟﻙ -‬ ‫ﻴﺩﺨل ﻤﻊ ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ ﻭﺒﺘﺭﺍ ﻏﺭﻓﺔ ﺍﻟﺠﻠﻭﺱ. ﻻ‬ ‫ﻴﻘﻭل ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ ﺸﻴﺌ ﹰ، ﻓﻘﻁ ﻴﻨﻅﺭ ﺇﻟﻰ ﺍﻟﻨﻭﺍﻓﺫ.‬ ‫ﺎ‬ ‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﺤﺴﻥ، ﺴﺄﻨﺘﻅﺭ ﺇﺫﹰ.‬ ‫ﺍ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺸﻜﺭ ﹰ ﻟﻙ ﺇﻥ ﻟﻡ ﻴﻜﻥ ﻟﺩﻴﻙ ﻤﺎﻨﻊ. )ﻴﺭﺘﺩﻴﻬﺎ.( ﺃﻅﻥ‬ ‫ﺍ‬ ‫ﺃﻨﻨﻲ ﺃﺼﺒﺕ ﺒﺎﻟﺒﺭﺩ ﺍﻟﻠﻴﻠﺔ ﺍﻟﻤﺎﻀﻴﺔ. ]ﻜﻨﺕ ﺃﻗﻑ ﻫﻨﺎﻙ ﺃﺭﺘﺠﻑ -[‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻻ ﺘﺭﻯ ﺍﻟﺠﻭ ﺒﺎﺭﺩﹰ ﻫﻨﺎ ﺍﻟﻴﻭﻡ؟ ﺍﺭﺘ ِ ﻗﺒﻌﺘﻙ.‬ ‫ﺩ‬ ‫ﺍ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺁﺴﻑ ﻷﻨﻪ ﻟﻡ ﻴﻜﻥ ﺒﻤﻘﺩﻭﺭﻱ ﻤﻨﻊ ﺃﻋﻤﺎل ﺍﻟﻌﻨﻑ‬ ‫ﺍﻟﻠﻴﻠﺔ ﺍﻟﻤﺎﻀﻴﺔ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺃﺘﻴﺕ ﺇﻟﻰ ﻫﻨﺎ ﻟﺘﺨﺒﺭﻨﻲ ﺒﻬﺫﺍ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﻘ ﹰ؟ ﻟﻜﻨﻨﻲ ﻭﺠﺩﺕ ﺍﻟﻤﻜﺎﻥ ﺩﺍﻓﺌ ﹰ ﻜﻔﺎﻴﺔ.‬ ‫ﺎ‬ ‫ﺎ‬

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‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﻴﺨﺭﺝ ﺭﺴﺎﻟﺔ ﻜﺒﻴﺭﺓ(: ﻟﺩﻱ ﻫﺫﻩ ﺍﻟﻭﺜﻴﻘﺔ ﻟﻙ ﻤﻥ‬ ‫ﻤﺩﻴﺭﻱ ﺍﻟﺤﻤﺎﻤﺎﺕ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺒﺩ ً ﻤﻥ ﺍﻟﺘﺎﺭﻴﺦ ﺍﻟﻤﺩﻭﻥ. )ﻴﻀﻊ ﺍﻟﺭﺴﺎﻟﺔ ﻋﻠﻰ‬ ‫ﺃ‬ ‫ﺍ‬ ‫ﺍﻟﻁﺎﻭﻟﺔ.( ﻟﻘﺩ ﺃﺤﺯﻨﻨﺎ ﺫﻟﻙ. ﻟﻜﻥ، ﺒﺼﺭﺍﺤﺔ، ﻟﻡ ﻨﻜﻥ ﻨﻤﻠﻙ ﺨﻴﺎﺭ ﹰ‬ ‫ﺁﺨﺭ. ﻜﻭﻥ ﺍﻟﺭﺃﻱ ﺍﻟﻌﺎﻡ ﻋﻠﻰ ﻤﺎ ﻫﻭ ﻋﻠﻴﻪ، ﻟﻡ ﻨﺠﺭﺅ -‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫل ﺃﻨﺎ ﻤﻁﺭﻭﺩ؟‬

‫ﺍ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﺘﻭﺴل ﺇﻟﻴﻙ ﺃﻥ ﺘﺩﺭﻙ ﻤﻭﻗﻔﻙ. ﻤﻥ ﺍﻵﻥ ﻓﺼﺎﻋﺩﹰ‬ ‫ﻟﻥ ﺘﺴﺘﻁﻴﻊ ﺍﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﻤﺯﺍﻭﻟﺔ ﺃﻴﺔ ﻤﻬﻨﺔ، ﻤﻬﻤﺎ ﻜﺎﻨﺕ، ﻓﻲ‬ ‫ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ.‬ ‫ﻴﺠﻌﻠﻙ ﻤﺘﺄﻜﺩﹰ ﺇﻟﻰ ﻫﺫﻩ ﺍﻟﺩﺭﺠﺔ؟‬ ‫ﺍ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺒﺘﺴﻡ(: ]ﻟﻡ ﺘﺠﺭﺅﻭﺍ؟[ ﻟﻘﺩ ﺴﻤﻌﺕ ﻫﺫﻩ ﺍﻟﻜﻠﻤﺔ‬ ‫ﻜﺜﻴﺭﹰ ﺍﻟﻴﻭﻡ.‬ ‫ﺍ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻓﻠﻴﺫﻫﺏ ﺍﻟﻌﻤل ﺇﻟﻰ ﺍﻟﺠﺤﻴﻡ! ﻟﻜﻥ ﻤﺎ ﺍﻟﺫﻱ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻟﻘﺩ ﻜﺘﺒﺕ ﺠﻤﻌﻴﺔ ﺃﺼﺤﺎﺏ ﺍﻟﻌﻘﺎﺭﺍﺕ ﺘﻌﻤﻴﻤ ﹰ،‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﺍﻟﻤﻭﺍﻁﻨﻴﻥ ﺍﻟﻤﺤﺘﺭﻤﻴﻥ ﻋﻠﻰ ﻋﺩﻡ ﺘﻭﻅﻴﻔﻙ. ﻭﺃﻨﺎ ﻭﺍﺜﻕ ﺃﻥ ﺃﺤﺩﹰ‬ ‫ﻭﺭﺍﺤﺕ ﺘﺭﺴﻠﻪ ﻤﻥ ﻤﻨﺯل ﺇﻟﻰ ﺁﺨﺭ. ﻟﻘﺩ ﺘﻡ ﺘﺤﺭﻴﺽ ﻜل‬

‫ﻤﻥ ﺃﺼﺤﺎﺏ ﺍﻟﺒﻴﻭﺕ ﻟﻥ ﻴﺠﺭﺅ ﻋﻠﻰ ﺭﻓﺽ ﺍﻟﺘﻭﻗﻴﻊ ﻋﻠﻴﻪ. ﻟﻥ‬ ‫ﻴﺠﺭﺅﻭﺍ ﺃﺒﺩﹰ.‬ ‫ﺍ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﺃﺠل، ﻻ ﺃﺸﻙ ﻓﻲ ﺫﻟﻙ. ﻟﻜﻥ ﻤﺎﺫﺍ ﺒﻌﺩ؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻨﺼﺤﻙ ﺃﻥ ﺘﻐﺎﺩﺭ ﺍﻟﺒﻠﺩﺓ ﻟﺒﻌﺽ ﺍﻟﻭﻗﺕ -‬

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‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺠﻴﺩ. ﺜﻡ ﺒﻌﺩ ﺃﻥ ﺘﺄﺨﺫ ﺴﺘﺔ ﺃﺸﻬﺭ ﻟﺘﻔﻜﺭ ﻓﻲ ﺍﻷﻤﺭ ﻤﻠﻴ ﹰ،‬ ‫ﺎ‬ ‫ﻭﺒﻌﺩ ﺃﻥ ﺘﺘﺨﺫ ﺭﺃﻴ ﹰ ﺤﻜﻴﻤ ﹰ، ﻗﺩ ﺘﺘﻤﻜﻥ ﻤﻥ ﻤﺼﺎﻟﺤﺔ ﻨﻔﺴﻙ ﻭﻜﺘﺎﺒﺔ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺒﻴﺎﻥ ﺼﻐﻴﺭ ﺘﻌﺘﺭﻑ ﻓﻴﻪ ﺒﺨﻁﺌﻙ، ﻭﺘﻌﺒﺭ ﻓﻴﻪ ﻋﻥ ﻨﺩﻤﻙ -‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺘﻌﻨﻲ ﺃﻨﻨﻲ ﺒﻌﺩﻫﺎ ﻗﺩ ﺃﺴﺘﻌﻴﺩ ﻭﻅﻴﻔﺘﻲ؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻫﺫﺍ ﻟﻴﺱ ﻤﺴﺘﺒﻌﺩﹰ.‬ ‫ﺍ‬ ‫ﺇﻏﻀﺎﺒﻪ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﺃﻨﺎ ﺃﻓﻜﺭ ﻓﻲ ﺍﻟﻘﻴﺎﻡ ﺒﺫﻟﻙ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ ﻤﺎﺫﺍ ﻋﻥ ﺍﻟﺭﺃﻱ ﺍﻟﻌﺎﻡ؟ ﺃﻨﺕ ﻻ ﺘﺠﺭﺅ ﻋﻠﻰ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺍﻟﺭﺃﻱ ﺍﻟﻌﺎﻡ ﻤﺘﻘﻠﺏ ﺠﺩﹰ. ﻭﺒﺼﺭﺍﺤﺔ ﺃﻜﺒﺭ، ﻤﻥ‬ ‫ﺍ‬ ‫ﺍﻟﻤﻬﻡ ﺒﺎﻟﻨﺴﺒﺔ ﺇﻟﻴﻨﺎ ﺃﻥ ﺘﻨﺸﺭ ﺍﻋﺘﺭﺍﻓ ﹰ ﻜﻬﺫﺍ.‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻌﻡ، ﻭﻫﺫﺍ ﺴﻴﺠﻌﻠﻙ ﺘﻌﺽ ﺸﻔﺘﻴﻙ، ﺃﻟﻴﺱ‬ ‫ﻜﺫﻟﻙ؟ ﻟﻜﻥ ﺘﺒ ﹰ، ﺃﻟﻡ ﺃﺨﺒﺭﻙ ﺴﺎﺒﻘ ﹰ ﺭﺃﻴﻲ ﺒﺫﻟﻙ ﺍﻟﻨﻭﻉ ﻤﻥ ﺍﻟﺨﺩﺍﻉ؟‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻟﺩﻴﻙ ﺴﺒﺏ ﻴﺠﻌﻠﻙ ﺘﻅﻥ ﺃﻥ ﺍﻟﺒﻠﺩﺓ ﻜﻠﻬﺎ ﺘﻘﻑ ﺇﻟﻰ ﺠﺎﻨﺒﻙ -‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻓﻲ ﺫﻟﻙ ﺍﻟﻭﻗﺕ ﻜﺎﻥ ﻤﻭﻗﻔﻙ ﺃﻗﻭﻯ ﻨﻭﻋ ﹰ ﻤﺎ. ﺇﺫ ﻜﺎﻥ‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﺍﻵﻥ ﻫﻡ ﻴﻤﺭﻏﻭﻥ ﻭﺠﻬﻲ ﺒﺎﻟﻭﺤل! )ﻴﺜﻭﺭ.(‬ ‫ﺃﺒﺩﹰ، ﻗﻠﺕ ﻟﻙ، ﺃﺒﺩﹰ!‬ ‫ﺍ‬ ‫ﺍ‬

‫]ﻻ ﺃﻫﺘﻡ ﺇﻥ ﺭﻜﺏ ﻅﻬﺭﻱ ﺍﻟﺸﻴﻁﺎﻥ ﻨﻔﺴﻪ ﻭﺠﺩﺘﻪ ﺍﻟﻌﻅﻴﻤﺔ![‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻻ ﻴﺤﻕ ﻟﺭﺠل ﻋﻨﺩﻩ ﻋﺎﺌﻠﺔ ﻤﺜﻠﻙ ﺃﻥ ﻴﺘﺼﺭﻑ ﻋﻠﻰ‬ ‫ﻫﺫﺍ ﺍﻟﻨﺤﻭ. ﺃﻨﺕ ﻻ ﺘﻤﻠﻙ ﺍﻟﺤﻕ ﻴﺎ ﺘﻭﻤﺎﺱ!‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺃﻤﻠﻙ ﺍﻟﺤﻕ! ﺸﻲﺀ ﻭﺍﺤﺩ ﻓﻘﻁ ﻓﻲ ﻫﺫﺍ ﺍﻟﻌﺎﻟﻡ‬ ‫ﻻ ﻴﺤﻕ ﻟﻠﺭﺠل ﺍﻟﺤﺭ ﺍﻟﻘﻴﺎﻡ ﺒﻪ. ﺃﺘﻌﺭﻑ ﻤﺎ ﻫﻭ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ، ﻁﺒﻌ ﹰ ﺃﻨﺕ ﻻ ﺘﻌﺭﻑ. ﻟﻜﻨﻨﻲ ﺴﺄﺨﺒﺭﻙ. ﻻ‬ ‫ﺎ‬ ‫ﻴﻤﻠﻙ ﺍﻟﺭﺠل ﺍﻟﺤﺭ ﺍﻟﺤﻕ ﺃﻥ ﻴﻠﻭﺙ ﻨﻔﺴﻪ ﻜﺎﻟﺒﻬﺎﺌﻡ. ﻟﻴﺱ ﻤﻥ ﺤﻘﻪ‬ ‫ﺃﻥ ﻴﻀﻊ ﻨﻔﺴﻪ ﻓﻲ ﻤﻭﻗﻑ ﻴﺸﻌﺭ ﻓﻴﻪ ﺒﺎﻟﺤﺎﺠﺔ ﻷﻥ ﻴﺒﺼﻕ ﻋﻠﻰ‬ ‫ﻨﻔﺴﻪ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻻ.‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻴﺒﺩﻭ ﺫﻟﻙ ﻜﻠﻪ ﻤﻌﻘﻭ ﹰ ﺠﺩﹰ، ﻓﻘﻁ ﻟﻭ ﻟﻡ ﻴﻜﻥ ﻫﻨﺎﻙ‬ ‫ﻻ ﺍ‬ ‫ﺘﻔﺴﻴﺭ ﺁﺨﺭ ﻟﻌﻨﺎﺩﻙ. ]ﻟﻜﻥ ﺍﻟﺴﺒﺏ ﻤﻭﺠﻭﺩ.[‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺃﻨﺕ ﺘﻌﻠﻡ ﻗﺼﺩﻱ ﺘﻤﺎﻤ ﹰ. ﻟﻜﻥ ﺒﻭﺼﻔﻲ ﺃﺨﺎﻙ،‬ ‫ﺎ‬ ‫ﻭﺭﺠ ﹰ ﺨﹶ ِ ‪ ‬ﻫﺫﺍ ﺍﻟﻌﺎﻟﻡ، ﺃﻨﺼﺤﻙ ﺃﻻ ﺘﺭﺍﻫﻥ ﻋﻠﻰ ﺘﻭﻗﻌﺎﺕ‬ ‫ﻼ ﺒﺭ‬ ‫ﻭﻤﺼﺎﺩﻓﺎﺕ ﻋﻠﻰ ﺍﻷﺭﺠﺢ ﺃﻨﻬﺎ ﻟﻥ ﺘﺘﺤﻘﻕ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﺎﺫﺍ ﺘﻘﺼﺩ ﺒﺫﻟﻙ؟‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻫل ﺘﺘﻭﻗﻊ ﻤﻨﻲ ﺤﻘ ﹰ ﺃﻥ ﺃﺼﺩﻕ ﺃﻨﻙ ﻻ ﺘﻌﻠﻡ ﺒﺸﺄﻥ‬ ‫ﺎ‬ ‫ﺍﻟﺘﺭﺘﻴﺒﺎﺕ ﺍﻟﺘﻲ ﺃﺠﺭﺍﻫﺎ ﻤﻭﺭﺘﻥ ﻜﻴل ﻓﻲ ﻭﺼﻴﺘﻪ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ ﻋﻥ ﻤﺎﺫﺍ ﺘﺘﺤﺩﺙ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﺎ ﺃﻋﻠﻤﻪ ﺃﻥ ﺍﻟﻘﻠﻴل ﺍﻟﺫﻱ ﻴﻤﻠﻜﻪ ﺴﻴﺅﻭل ﺇﻟﻰ‬ ‫ﺩﺍﺭ ﺍﻟﺤﺭﻓﻴﻴﻥ ﺍﻟﻤﺘﻘﺎﻋﺩﻴﻥ. ﻟﻜﻥ ﻤﺎ ﻋﻼﻗﺘﻲ ﺃﻨﺎ ﺒﻬﺫﺍ ﺍﻟﻤﻭﻀﻭﻉ؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺒﺩﺍﻴﺔ ﻴﺠﺏ ﺃﻥ ﺘﻌﻠﻡ ﺃﻥ ﺜﺭﻭﺘﻪ ﻟﻴﺴﺕ ﻀﺌﻴﻠﺔ ﺃﺒﺩ ﹰ.‬ ‫ﺍ‬ ‫ﻓﻤﻭﺭﺘﻥ ﻜﻴل ﻫﻭ ﺭﺠل ﺜﺭﻱ ﺠﺩﹰ.‬ ‫ﺍ‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻡ ﻴﻜﻥ ﻟﺩﻱ ﻓﻜﺭﺓ -!‬ ‫ﺍ‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻫﻤﻡ - ﺤﻘ ﹰ؟ ﺇﺫﹰ ﺃﻅﻥ ﺃﻨﻪ ﻟﻴﺱ ﻟﺩﻴﻙ ﻓﻜﺭﺓ ﺃﻥ ﺠﺯﺀﹰ‬ ‫ﺎ ﺍ‬ ‫ﻜﺒﻴﺭ ﹰ ﻤﻥ ﺃﻤﻭﺍﻟﻪ ﻤﺨﺼﺼﺔ ﻷﻭﻻﺩﻙ، ﻭﺃﻨﻙ ﺃﻨﺕ ﻭﺯﻭﺠﺘﻙ‬ ‫ﺍ‬ ‫ﺴﺘﺘﻤﺘﻌﺎﻥ ﺒﺤﻕ ﺍﻻﻨﺘﻔﺎﻉ ﺒﻬﺎ ﻤﺩﻯ ﺍﻟﺤﻴﺎﺓ. ﺃﻟﻡ ﻴﺨﺒﺭﻙ ﺫﻟﻙ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻡ ﻴﺨﺒﺭﻨﻲ ﻓﻌ ﹰ! ﺒل ﺨﻼﻑ ﺫﻟﻙ ﻜﺎﻥ ﻻ ﻴﻔﻌل‬ ‫ﻼ‬ ‫ﺸﻴﺌ ﹰ ﺴﻭﻯ ﺍﻟﺘﺫﻤﺭ ﻤﻥ ﺃﻥ ﺍﻟﻀﺭﺍﺌﺏ ﺘﺭﻫﻘﻪ ﺒﺸﺩﺓ. ﻟﻜﻥ ﻫل ﺃﻨﺕ‬ ‫ﺎ‬ ‫ﻤﺘﺄﻜﺩ ﻤﻥ ﺫﻟﻙ ﻴﺎ ﺒﻴﺘﺭ؟‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺤﺼﻠﺕ ﻋﻠﻰ ﻫﺫﻩ ﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﻤﻥ ﻤﺼﺎﺩﺭ ﻤﻭﺜﻭﻗﺔ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ، ﻴﺎ ﺇﻟﻬﻲ، ﻫﺫﺍ ﻴﻌﻨﻲ ﻀﻤﺎﻥ ﻤﺴﺘﻘﺒل‬ ‫ﻜﺎﺜﺭﻴﻥ، ﻭﺍﻷﻭﻻﺩ ﺃﻴﻀ ﹰ! ﺃﻅﻥ ﺃﻥ ﻋﻠﻲ ﺇﺨﺒﺎﺭﻫﺎ! )ﻴﺼﻴﺢ(‬ ‫ﺎ‬ ‫ﻜﺎﺜﺭﻴﻥ، ﻜﺎﺜﺭﻴﻥ!‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﻴﻤﻨﻌﻪ(: ﺸﺵ، ﻻ ﺘﻨﻁﻕ ﺒﺒﻨﺕ ﺸﻔﺔ ﺒﻌﺩ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﻔﺘﺢ ﺍﻟﺒﺎﺏ(: ﻤﺎ ﺍﻷﻤﺭ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺸﻲﺀ ﻴﺎ ﻋﺯﻴﺯﺘﻲ. ﺍﺩﺨﻠﻲ ﺜﺎﻨﻴﺔ.‬ ‫ﺘﻐﻠﻕ ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ ﺍﻟﺒﺎﺏ.‬ ‫ﻤﺴﺘﻘﺒﻠﻬﻡ! ]ﻻ ﻴﻤﻜﻨﻨﻲ ﺃﻥ ﺃﺼﺩﻕ ﺫﻟﻙ! ﻜﻠﻬﻡ - ﻭﻤﺩﻯ ﺍﻟﺤﻴﺎﺓ!‬ ‫ﻭﻟﻸﺒﺩ!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺫﺭﻉ ﺍﻟﻐﺭﻓﺔ ﺠﻴﺌﺔ ﻭﺫﻫﺎﺒ ﹰ(: ﻟﻘﺩ ﺘﻡ ﺘﺄﻤﻴﻥ‬ ‫ﺎ‬

‫ﺃﻭﻩ ﻜﻡ ﻫﻭ ﺸﻌﻭﺭ ﺭﺍﺌﻊ ﺃﻥ ﻴﻌﺭﻑ ﺍﻟﻤﺭﺀ ﺃﻥ ﻤﺴﺘﻘﺒﻠﻪ ﻤﺅﻤﻥ.[‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻨﻪ ﻟﻥ ﻴﻔﻌل ﻴﺎ ﻋﺯﻴﺯﻱ ﺒﻴﺘﺭ. ﻓﺫﻟﻙ ﺍﻟﻐﺭﻴﺭ‬ ‫ﻤﺴﺭﻭﺭ ﻟﻠﻐﺎﻴﺔ ﻟﻤﺎ ﺴﺒﺒﺘﻪ ﻟﻙ ﻭﻷﺼﺩﻗﺎﺌﻙ ﺍﻟﻤﻬﻤﻴﻥ ﻤﻥ ﺇﺤﺭﺍﺝ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ )ﻴﺠﻔل ﻭﻴﻨﻅﺭ ﺇﻟﻴﻪ ﺒﺤﺩﺓ(: ﺁﻫﺎ! ﻫﺫﺍ ﻫﻭ ﺍﻟﺘﻔﺴﻴﺭ ﺇﺫﹰ!‬ ‫ﺍ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﺎﺫﺍ ﺘﻌﻨﻲ؟‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻭﻫﺫﺍ ﺒﺎﻟﻀﺒﻁ ﻤﺎ ﻟﻡ ﻴﺤﺩﺙ. ﻓﺒﻤﻘﺩﻭﺭ ﻤﻭﺭﺘﻥ ﻜﻴل‬ ‫ﺃﻥ ﻴﻠﻐﻲ ﺘﻠﻙ ﺍﻟﻭﺼﻴﺔ ﻓﻲ ﺃﻱ ﻴﻭﻡ ﺃﻭ ﺴﺎﻋﺔ ﻴﺨﺘﺎﺭﻫﻤﺎ.‬

‫ﺍﻟﺤﻘﻴﻘﺔ ﻜﺎﻨﺕ ﺒﺒﺴﺎﻁﺔ ﺜﻤﻨ ﹰ ﻜﻲ ﻴﺘﺫﻜﺭﻙ ﺫﻟﻙ ﺍﻟﻌﺠﻭﺯ ﺍﻟﻐﺒﻲ‬ ‫ﺎ‬ ‫ﺍﻟﺤﺎﻗﺩ ﻓﻲ ﻭﺼﻴﺘﻪ.‬

‫ﺍﻟﻌﻨﻴﻔﺔ ﻭﺍﻟﻤﺠﺭﺩﺓ ﻤﻥ ﺍﻟﻤﺒﺎﺩﺉ ﺍﻟﺘﻲ ﻭﺠﻬﺘﻬﺎ ﻟﻠﺴﻠﻁﺎﺕ ﺒﺎﺴﻡ‬

‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﻜل ﺫﻟﻙ ﻜﺎﻥ ﻤﺅﺍﻤﺭﺓ ﺇﺫﻥ. ﻜل ﻫﺫﻩ ﺍﻻﺘﻬﺎﻤﺎﺕ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻻ ﻴﻜﺎﺩ ﻴﺴﺘﻁﻴﻊ ﺍﻟﻜﻼﻡ(: ﺒﻴﺘﺭ - ﺃﻨﺕ ﺃﻜﺒﺭ‬ ‫ﻭﻏﺩ ﻤﻨﺤﻁ ﻗﺎﺒﻠﺘﻪ ﻓﻲ ﺤﻴﺎﺘﻲ.‬ ‫ﺭﺌﻴﺱ ﺍﻟﺒﻠﺩﻴﺔ: ﺍﻨﺘﻬﻰ ﻜل ﺸﻲﺀ ﺒﻴﻨﻨﺎ. ﻗﺭﺍﺭ ﻁﺭﺩﻙ ﻨﻬﺎﺌﻲ. ﺍﻵﻥ‬ ‫ﻟﺩﻴﻨﺎ ﺴﻼﺡ ﻀﺩﻙ. )ﻴﺫﻫﺏ(.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺫﻟﻙ ﺍﻟﻘﺫﺭ - ﺍﻟﻠﻌﻨﺔ، ﺍﻟﻠﻌﻨﺔ! )ﻴﺼﻴﺢ( ﻜﺎﺜﺭﻴﻥ!‬ ‫ﻨﻅﻔﻲ ﺍﻷﺭﺽ ﻤﻥ ﻭﺭﺍﺌﻪ! ﻗﻭﻟﻲ ﻟﺘﻠﻙ ﺍﻟﻔﺘﺎﺓ ﺃﻨﺕ ﺘﺤﻀﺭ ﻟﻲ‬ ‫ﺩﻟﻭﹰ ﻟﻠﻤﺴﺢ - ﻤﺎ ﻜﺎﻥ ﺍﺴﻤﻬﺎ؟ ﺘﻠﻙ ﺍﻟﺘﻲ ﻻ ﺘﻨﻅﻑ ﺃﻨﻔﻬﺎ ﺃﺒﺩﹰ -!‬ ‫ﺍ‬ ‫ﺍ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﻋﻨﺩ ﻤﺩﺨل ﻏﺭﻓﺔ ﺍﻟﺠﻠﻭﺱ(: ﺸﺵ، ﺸﺵ،‬ ‫ﺃﺭﺠﻭﻙ ﻴﺎ ﺘﻭﻤﺎﺱ!‬

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‫ﺒﺘﺭﺍ )ﺃﻴﻀ ﹰ ﻋﻨﺩ ﺍﻟﻤﺩﺨل(: ﺃﺒﻲ، ﺠﺩﻱ ﻫﻨﺎ ﻭﻴﺴﺄل، ﺇﻥ ﻜﺎﻥ ﺒﺈﻤﻜﺎﻨﻪ‬ ‫ﺎ‬ ‫ﺍﻟﺘﺤﺩﺙ ﺇﻟﻴﻙ ﻋﻠﻰ ﺍﻨﻔﺭﺍﺩ؟‬ ‫ﻴﺩﺨل ﻤﻭﺭﺘﻥ ﻜﻴل. ﻴﻐﻠﻕ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﺍﻟﺒﺎﺏ ﺨﻠﻔﻪ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﺒﺎﻟﻁﺒﻊ. )ﻋﻨﺩ ﺍﻟﺒﺎﺏ( ﺍﺩﺨل ﻴﺎ ﻋﻤﻲ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻨ ﹰ، ﻤﺎ ﺍﻷﻤﺭ؟ ﺘﻔﻀل ﺍﺠﻠﺱ.‬ ‫ﺎ‬

‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻻ، ﻻ ﺃﺭﻴﺩ ﺍﻟﺠﻠﻭﺱ. )ﻴﺘﻠﻔﺕ ﺤﻭﻟﻪ.( ﻴﺒﺩﻭ ﺍﻟﻤﻜﺎﻥ‬ ‫ﻫﻨﺎ ﺠﻤﻴ ﹰ ﻭﺩﺍﻓﺌ ﹰ ﺍﻟﻴﻭﻡ ﻴﺎ ﺴﺘﻭﻜﻤﺎﻥ.‬ ‫ﺎ‬ ‫ﻼ‬

‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﺠﻤﻴل ﺠﺩﹰ، ﻭﻫﻭﺍﺀ ﻋﻠﻴل ﺃﻴﻀ ﹰ! ﺒ ﹼ ﺘﺤﺼل ﺍﻵﻥ‬ ‫ﺎ ﺕ‬ ‫ﺍ‬ ‫ﻋﻠﻰ ﻤﺎ ﻴﻜﻔﻴﻙ ﻤﻥ ﺍﻷﻭﻜﺴﺠﻴﻥ ﺍﻟﺫﻱ ﻜﻨﺕ ﺘﺘﺤﺩﺙ ﻋﻨﻪ ﺍﻟﻠﻴﻠﺔ‬ ‫ﺍﻟﻤﺎﻀﻴﺔ! ﻭﺃﻅﻥ ﺃﻥ ﻀﻤﻴﺭﻙ ﻤﺭﺘﺎﺡ ﻜﺜﻴﺭﹰ ﺍﻟﻴﻭﻡ، ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟‬ ‫ﺍ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟‬

‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻫﺫﺍ ﻤﺎ ﻅﻨﻨﺘﻪ. )ﻴﺩﻕ ﻋﻠﻰ ﺼﺩﺭﻩ( ﻟﻜﻥ ﺃﺘﻌﺭﻑ ﻤﺎ‬ ‫ﺃﺤﻤل ﻫﻨﺎ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺁﻤل ﺃﻥ ﻴﻜﻭﻥ ﻀﻤﻴﺭﹰ ﻁﻴﺒ ﹰ ﺃﻴﻀ ﹰ.‬ ‫ﺎ‬ ‫ﺍ ﺎ‬ ‫‪‬ﺨﺭﺝ ﺩﻓﺘﺭ ﺠﻴﺏ ﺴﻤﻴﻜ ﹰ، ﻴﻔﺘﺤﻪ ﻭﻴﺭﻴﻪ ﻟﻔﻴﻔﺔ ﺃﻭﺭﺍﻕ.‬ ‫ﺎ‬ ‫ﻴ‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل ) ﻴﻌﺒﺭ ﻋﻥ ﺍﻻﺯ ﺩﺭﺍﺀ(: ﻻ، ﺸﻲﺀ ﺃﻓﻀل ﻤﻥ ﺫﻟﻙ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻨﻌﻡ، ﻤﺭﺘﺎﺡ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ) ﻴﻨﻅﺭ ﺇﻟﻴﻪ ﺒﺩﻫﺸﺔ(: ﺃﺴﻬﻡ ﻓﻲ ﺍﻟﺤﻤﺎﻤﺎﺕ؟‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻟﻡ ﻴﻜﻥ ﻤﻥ ﺍﻟﺼﻌﺏ ﺍﻟﺤﺼﻭل ﻋﻠﻴﻬﺎ ﺍﻟﻴﻭﻡ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺘﻌﻨﻲ ﺃﻨﻙ ﻜﻨﺕ ﻫﻨﺎﻙ ﻭﺍﺸﺘﺭﻴﺕ -؟‬

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‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻗﺩﺭ ﻤﺎ ﺍﺴﺘﻁﻌﺕ ﺃﻥ ﺃﺸﺘﺭﻱ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ ﻴﺎ ﻋﺯﻴﺯﻱ ﺍﻟﺴﻴﺩ ﻜﻴل، ﺇ ‪ ‬ﻭﻀﻊ ﺘﻠﻙ‬ ‫ﻥ‬ ‫ﺍﻟﺤﻤﺎﻤﺎﺕ ﺍﻵﻥ، ﻜﻤﺎ ﺘﻌﻠﻡ -!‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻟﻭ ﺘﺼﺭﻓﺕ ﺒﻌﻘل، ﻴﻤﻜﻨﻙ ﺃﻥ ﺘﻌﻴﺩ ﺍﻷﻤﻭﺭ ﺇﻟﻰ‬ ‫ﻨﺼﺎﺒﻬﺎ ﻤﻥ ﺠﺩﻴﺩ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻨﻙ ﺘﺭﻯ ﺒﻨﻔﺴﻙ ﺃﻨﻨﻲ ﺃﺒﺫل ﻗﺼﺎﺭﻯ ﺠﻬﺩﻱ،‬ ‫ﻭﻟﻜﻥ -! ]ﺃﻫﺎﻟﻲ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ ﻤﺠﺎﻨﻴﻥ ﺤﻘ ﹰ![‬ ‫ﺎ‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻗﻠﺕﹶ ﻟﻴﻠﺔ ﺍﻟﺒﺎﺭﺤﺔ ﺇﻥ ﺃﺴﻭﺃ ﺍﻟﻤﻠﻭﺜﺎﺕ ﺘﺄﺘﻲ ﻤﻥ‬ ‫ﻤﺩﺒﻐﺘﻲ. ﻟﻜﻥ ﻟﻭ ﻜﺎﻥ ﺫﻟﻙ ﺼﺤﻴﺤ ﹰ، ﻓﻬﻭ ﻴﻌﻨﻲ ﺃﻥ ﺠﺩﻱ ﻭﺃﺒﻲ‬ ‫ﺎ‬ ‫ﺜﻼﺜﺔ ﺸﻴﺎﻁﻴﻥ. ﺃﺘﻅﻥ ﺃﻨﻨﻲ ﺴﺄﺘﺭﻙ ﺍﺘﻬﺎﻤ ﹰ ﻜﻬﺫﺍ ﻴﻁﻭﻕ ﻋﻨﻘﻲ؟‬ ‫ﺎ‬

‫ﻤﻥ ﻗﺒﻠﻲ، ﻭﺃﻨﺎ ﺸﺨﺼﻴ ﹰ، ﻜﻨﺎ ﻨﻠﻭﺙ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ ﻷﺠﻴﺎل، ﻭﻜﺄﻨﻨﺎ‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺨﺸﻰ ﺃﻥ ﻫﺫﺍ ﻭﺍﻗﻊ ﻤﻔﺭﻭﺽ ﻋﻠﻴﻙ.‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻻ، ﺸﻜﺭﹰ! ﺇﻥ ﺍﺴﻤﻲ ﻭﺴﻤﻌﺘﻲ ﻏﺎﻟﻴﺎﻥ ﻋﻠﻲ. ﻟﻘﺩ‬ ‫ﺍ‬ ‫ﺒﻠﻐﻨﻲ ﺃﻨﻬﻡ ﻴﻠﻘﺒﻭﻨﻨﻲ »ﺍﻟ ﹸﺭﻴﺭ«. ﻭﺍﻟﻐﺭﻴﺭ ﺤﻴﻭﺍﻥ ﻗﺫﺭ ﺃﻟﻴﺱ‬ ‫ﻐ‬ ‫ﻭﺃﻤﻭﺕ ﻨﻅﻴﻔ ﹰ.‬ ‫ﺎ‬

‫ﻜﺫﻟﻙ؟ ﺤﺴﻥ، ﺴﺄﺜﺒﺕ ﻟﻬﻡ ﺃﻨﻬﻡ ﻤﺨﻁﺅﻭﻥ. ﻓﺄﻨﺎ ﺃﻨﻭﻱ ﺃﻥ ﺃﻋﻴﺵ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﻜﻴﻑ ﺴﺘﻘﻭﻡ ﺒﺫﻟﻙ؟‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﺃﻨﺕ ﻤﻥ ﺴﻴﺠﻌﻠﻨﻲ ﻨﻅﻴﻔ ﹰ ﻴﺎ ﺴﺘﻭﻜﻤﺎﻥ.‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻨﺎ!‬

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‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﺃﺠل، ﻭﺍﻵﻥ ﻜﻠﻬﺎ ‪‬ﺴ ﺘﹶﺜ ‪‬ﺭﺓ ﻓﻲ ﺍﻟﺤﻤﺎﻤﺎﺕ. ﻟﺫﺍ ﺴﻨﺭﻯ‬ ‫ﻤ ﻤ‬ ‫ﺍﻵﻥ ﺇﻥ ﻜﻨﺕﹶ ﻤﺠﻨﻭﻨ ﹰ ﺤﻘ ﹰ ﻜﻤﺎ ﺘﺩﻋﻲ ﻴﺎ ﺴﺘﻭﻜﻤﺎﻥ. ﻓﻲ ﻜل ﻤﺭﺓ‬ ‫ﺎ ﺎ‬ ‫ﺘﻘﻭل ﻓﻴﻬﺎ ﺇ ‪ ‬ﻫﻨﺎﻙ ﺠﺭﺍﺜﻴﻡ ﺘﺄﺘﻲ ﻤﻥ ﻤﺩﺒﻐﺘﻲ، ﺴﻴﻜﻭﻥ ﺍﻷﻤﺭ‬ ‫ﻥ‬ ‫ﻜﻤﺎ ﻟﻭ ﺃﻨﻙ ﺘﻘﻁﻊ ﻗﻁﻌﺔ ﻟﺤﻡ ﻤﻥ ﺠﺴﺩ ﺯﻭﺠﻙ، ﻭﺒﺘﺭﺍ ﻭﺍﻷﻭﻻﺩ.‬ ‫ﻟﻜﻥ ﻻ ﻴﻭﺠﺩ ﺯﻭﺝ ﻭﺃﺏ ﻴﺤﺘﺭﻡ ﻨﻔﺴﻪ ﻴﻔﻌل ﺫﻟﻙ، ﺇﻻ ﺇﺫﺍ ﻜﺎﻥ ﻗﺩ‬ ‫ﺠﻥ ﺤﻘ ﹰ.‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻬﺘﺎﺝ(: ﺃﺘﻌﻨﻲ ﺃﻨﻙ ﺃﻨﻔﻘﺕ ﺃﻤﻭﺍل ﻜﺎﺜﺭﻴﻥ ﻋﻠﻰ‬ ‫ﻫﺫﺍ؟‬

‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﺃﺘﻌﻠﻡ ﺒﺄﻤﻭﺍل ‪‬ﻥ‪ ‬ﺍﺸﺘﺭﻴﺕ ﻫﺫﻩ ﺍﻷﺴﻬﻡ؟ ﻁﺒﻌ ﹰ ﻻ ﺘﻌﻠﻡ؛‬ ‫ﺎ‬ ‫ﻤ‬ ‫ﻟﻜﻨﻨﻲ ﺴﺄﺨﺒﺭﻙ. ﺇﻨﻬﺎ ﺍﻷﻤﻭﺍل ﺍﻟﺘﻲ ﺴﻴﺭﺜﻬﺎ ﻤﻥ ﺒﻌﺩﻱ ﻜﺎﺜﺭﻴﻥ‬ ‫ﻭﺒﺘﺭﺍ ﻭﺍﻷﻭﻻﺩ. ﻭﻟﻘﺩ ﺘﺩﺒﺭﺕ ﺃﻤﺭﻱ ﻷﺩﺨﺭ ﺒﻌﺽ ﺍﻟﻤﺎل.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻤﺸﻲ ﺠﻴﺌﺔ ﻭﺫﻫﺎﺒ ﹰ(: ﺃﺠل، ﻟﻜﻨﻨﻲ ﻤﺠﻨﻭﻥ! ﺃﻨﺎ‬ ‫ﺎ‬ ‫ﻤﺠﻨﻭﻥ!‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻟﻜﻥ ﻻ ﻴﻤﻜﻨﻙ ﺃﻥ ﺘﺒﻠﻎ ﻫﺫﺍ ﺍﻟﺤﺩ ﻤﻥ ﺍﻟﺠﻨﻭﻥ ﺤﻴﻥ‬ ‫ﺘﻜﻭﻥ ﺤﻴﺎﺓ ﺯﻭﺠﻙ ﻭﺃﻭﻻﺩﻙ ﻋﻠﻰ ﺍﻟﻤﺤﻙ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻘﻑ ﺃﻤﺎﻤﻪ(: ﻟ ‪‬ﺎﺫﺍ ﻟﻡ‪ ‬ﺘﺄﺕ ﻭﺘﺘﺤﺩﺙ ﺇﻟﻲ ﻗﺒل‬ ‫ﻤ‬ ‫ﺃﻥ ﺘﺸﺘﺭﻱ ﺃﻭﺭﺍﻕ ﻨﻔﺎﻴﺎﺕ ﻜﻬﺫﻩ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺠﻭل ﻓﻲ ﺍﻟﻐﺭﻓﺔ ﺒﺎﻨﺯﻋﺎﺝ ﺒﺎﻟﻎ(: ﻟﻭ ﻟﻡ ﺃﻜﻥ‬ ‫ﻤﺘﺄﻜﺩﹰ ﻓﻘﻁ ﻤﻥ ﺃﻤﺭ ﺍﻟﺠﺭﺍﺜﻴﻡ -! ﻟﻜﻨﻨﻲ ﻭﺍﺜﻕ ﺃﻨﻨﻲ ﻋﻠﻰ‬ ‫ﺍ‬ ‫ﺼﻭﺍﺏ!‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻷﻥ ﻭﻗﻊ ﺍﻷﻓﻌﺎل ﺃﻜﺒﺭ ﻤﻥ ﻭﻗﻊ ﺍﻟﻜﻼﻡ.‬

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‫ﻤﻭﺭﺘﻥ ﻜﻴل )ﻴﺯﻥ ﺩﻓﺘﺭ ﺍﻟﺠﻴﺏ ﺒﻴﺩﻩ(: ﻟﻭ ﺃﺼﺭﺭﺕ ﻋﻠﻰ ﺠﻨﻭﻨﻙ،‬ ‫ﻓﻠﻥ ﺘﺴﺎﻭﻱ ﻫﺫﻩ ﺍﻷﺴﻬﻡ ﻜﺜﻴﺭﹰ، ﻜﻤﺎ ﺘﻌﻠﻡ.‬ ‫ﺍ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ، ﺘﺒ ﹰ، ﻴﺠﺏ ﺃﻥ ﻴﺠﺩ ﺍﻟﻌﻠﻡ ﻤﺨﺭﺠ ﹰ. ﺇﺠﺭﺍﺀ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﻭﻗﺎﺌﻴ ﹰ، ﺃﻭ ﻤﻁﻬﺭﹰ ﺃﻭ ﺸﻴﺌ ﹰ ﻤﻥ ﻫﺫﺍ ﺍﻟﻘﺒﻴل -‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﺃﻭ ﻴﺠﻌﻠﻬﺎ ﻏﻴﺭ ﻤﺅﺫﻴﺔ.‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﺃﻻ ﻴﻤﻜﻨﻙ ﺃﻥ ﺘﺠﺭﺏ ﺴﻡ ﺍﻟﻔﺌﺭﺍﻥ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻭﻩ، ﻻ، ﻻ. ﻟﻜﻥ ﺍﻟﺠﻤﻴﻊ ﻻ ﻴﻨﻔﻜﻭﻥ ﻴﺘﺤﺩﺜﻭﻥ‬ ‫ﺃﻥ ﻫﺫﺍ ﻤﺤﺽ ﺨﻴﺎل. ﺤﺴ ‪ ،‬ﺇﺫﺍ ﺴﺄﺘﺭﻜﻬﻡ ﻋﻠﻰ ﺍﻋﺘﻘﺎﺩﻫﻡ.‬ ‫ﻥ‬ ‫ﺃﻭﻟﺌﻙ ﺍﻟﺠﻬﻠﺔ، ﺍﻷﻨﺫﺍل، ﻤﺤﺩﻭﺩﻭ ﺍﻟﻌﻘﻭل ﺍﺘﻬﻤﻭﻨﻲ ﺒﺄﻨﻲ ﻋﺩﻭ‬ ‫ﻟﻠﺸﻌﺏ، ﺃﻟﻡ ﻴﻔﻌﻠﻭﺍ؟ ﻜﻠﻪ ﻴﻬﻭﻥ ﺇﻻ ﺃﻥ ﻴﻤﺯﻗﻭﺍ ﻟﻲ ﺜﻴﺎﺒﻲ!‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﺘﻌﻨﻲ ﺸﻴﺌ ﹰ ﻴﻘﺘل ﻫﺫﻩ ﺍﻟﺠﺭﺍﺜﻴﻡ؟‬ ‫ﺎ‬ ‫‪‬ﻌﻴﺩ ﺍﻟﺩﻓﺘﺭ ﺇﻟﻰ ﺠﻴﺒﻪ.‬ ‫ﻴ‬

‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻭﺤﻁﻤﻭﺍ ﻨﻭﺍﻓﺫﻙ ﺃﻴﻀ ﹰ.‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺒﻠﻰ. ﻭﺍﻵﻥ ﻫﻨﺎﻙ ﻤﺴﺄﻟﺔ ﻭﺍﺠﺒﻲ ﺘﺠﺎﻩ ﻋﺎﺌﻠﺘﻲ.‬ ‫ﻻ ﺒﺩ ﻤﻥ ﺍﻟﺘﺤﺩﺙ ﺇﻟﻰ ﻜﺎﺜﺭﻴﻥ. ﺇﻨﻬﺎ ﻀﻠﻴﻌﺔ ﺒﻬﺫﻩ ﺍﻷﻤﻭﺭ.‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻓﻜﺭﺓ ﺠﻴﺩﺓ. ﺇﻨﻬﺎ ﺍﻤﺭﺃﺓ ﻋﺎﻗﻠﺔ. ﺍﺘﺒﻊ ﻨﺼﻴﺤﺘﻬﺎ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ) ﻴﻬﺎﺠﻤﻪ(: ﻤﺎ ﺍﻟﺫﻱ ﺃﺠﺒﺭﻙ ﻋﻠﻰ ]ﺍﻟﻘﻴﺎﻡ‬ ‫ﺒﺘﺼﺭﻑ ﻏﺒﻲ ﻜﻬﺫﺍ؟ ﻜﻴﻑ ﺘﺠﺎﺯﻑ ﺒﺄﻤﻭﺍل ﻜﺎﺜﺭﻴﻥ ﻭ[ ﺘﻀﻌﻨﻲ‬ ‫ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﺄﺯﻕ ﺍﻟﺒﻐﻴﺽ! ﺤﻴﻥ ﺃﻨﻅﺭ ﺇﻟﻴﻙ، ﺃﺸﻌﺭ ﻭﻜﺄﻨﻨﻲ ﺃﻨﻅﺭ‬ ‫ﺇﻟﻰ ﺍﻟﺸﻴﻁﺎﻥ ﺫﺍﺘﻪ -‬

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‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﺇﺫﹰ ﻤﻥ ﺍﻷﻓﻀل ﻟﻲ ﺃﻥ ﺃﻨﺼﺭﻑ. ﻟﻜﻨﻨﻲ ﺃﺭﻴﺩ ﺠﻭﺍﺒﻙ‬ ‫ﺍ‬ ‫ﻨﺤﻭ ﺍﻟﺴﺎﻋﺔ ﺍﻟﺜﺎﻨﻴﺔ. ﺇﻥ ﺃﺠﺒﺕ ﺒﻼ، ﻓﺈﻨﻨﻲ ﺴﺄﻋﻁﻲ ﻫﺫﻩ ﺍﻷﺴﻬﻡ‬ ‫ﺇﻟﻰ ﺒﻴﺕ ﺍﻟﻌﺠﺯﺓ - ﻭﺴﺄﻓﻌل ﺫﻟﻙ ﺍﻟﻴﻭﻡ.‬ ‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﻭﻻ ﻗﺭﺵ ﻭﺍﺤﺩ!‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﻤﺎﺫﺍ ﺴﺘﻨﺎل ﻜﺎﺜﺭﻴﻥ ﺤﻴﻨﻬﺎ؟‬

‫‪‬ﻔﺘﺢ ﺍﻟﺒﺎﺏ ﺍﻟﻤﺅﺩﻱ ﺇﻟﻰ ﺍﻟﺭﺩﻫﺔ. ﻴﻅﻬﺭ ﻫﻨﺎﻙ ﻫﻭﻓﺴﺘﺎﺩ‬ ‫ﻴ‬ ‫ﻭﺃﺴﻼﻜﺴﻥ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ) ﻴﺤﺩﻕ ﻓﻴﻬﻤﺎ(: ‪‬ﻥ ﺒﺤﻕ ﺍﻟﺠﺤﻴﻡ؟ ﺃﻻ ﺘﺯﺍل‬ ‫ﻤ‬ ‫ﻟﺩﻴﻜﻤﺎ ﺍﻟﺠﺭﺃﺓ ﻟﺯﻴﺎﺭﺘﻲ؟‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻟﺩﻴﻨﺎ ﺸﻲﺀ ﻨﺭﻴﺩ ﺍﻟﺘﺤﺩﺙ ﺇﻟﻴﻙ ﺒﺸﺄﻨﻪ.‬ ‫ﺃﺴﻼﻜﺴﻥ )ﻴﻨﻅﺭ ﺇﻟﻰ ﻫﻭﭭﺴﺘﺎﺩ(: ﺁﻫﺎ!‬ ‫ﻴﺫﻫﺏ ﻤﻭﺭﺘﻥ ﻜﻴل.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻓﻲ ﺍﻟﺤﻘﻴﻘﺔ ﻨﻌﻡ.‬

‫ﻤﻭﺭﺘﻥ ﻜﻴل: ﺤﺴﻨ ﹰ! ﺍﻨﻅﺭﻭﺍ ﻤﻥ ‪ ‬ﱠ ﻋﻠﻴﻨﺎ!‬ ‫ﻫل‬ ‫ﺎ‬

‫ﻤﻭﺭﺘﻥ ﻜﻴل ) ﻴﻬﻤﺱ(: ﻨﻌﻡ ﺃﻭ ﻻ - ﺤﻭﺍﻟﻲ ﺍﻟﺴﺎﻋﺔ ﺍﻟﺜﺎﻨﻴﺔ!‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﺘﺴﻤﻴﻪ ﻤﻭﻗﻔ ﹰ! ﻤﻭﻗﻑ ﺠﻴﺩ ﺒﺎﻟﻔﻌل! ﻟﻘﺩ ﺨﻨﻌﺘﻤﺎ‬ ‫ﺎ‬ ‫ﻜﺎﻤﺭﺃﺘﻴﻥ ﻋﺠﻭﺯﻴﻥ. ﺍﻟﻠﻌﻨﺔ ﻋﻠﻴﻜﻤﺎ ﻤﻌ ﹰ.‬ ‫ﺎ‬

‫ﺍ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﺠﺭﺅ ﻋﻠﻰ ﺍﻟﻘﻭل ﺇﻨﻙ ﻻ ﺘﺸﻌﺭ ﺒﺎﻟﺭﺍﺤﺔ ﺘﺠﺎﻫﻨﺎ ﻨﻅﺭﹰ‬ ‫ﻟﻠﻤﻭﻗﻑ ﺍﻟﺫﻱ ﺍﺘﺨﺫﻨﺎﻩ ﻓﻲ ﺍﺠﺘﻤﺎﻉ ﺍﻟﻠﻴﻠﺔ ﺍﻟﻤﺎﻀﻴﺔ -‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻨ ﹰ، ﻤﺎﺫﺍ ﺘﺭﻴﺩﺍﻥ؟ ﺍﺨﺘﺼﺭﺍ.‬ ‫ﺎ‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺘﻘﺼﺩ ﻟﻡ ﺘﺠﺭﺅﺍ ﻋﻠﻰ ﻓﻌل ﻏﻴﺭ ﺫﻟﻙ. ﺃﻟﻴﺱ‬ ‫ﻫﺫﺍ ﻤﺎ ﺘﻌﻨﻴﻪ؟‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺇﻥ ﻜﺎﻥ ﺫﻟﻙ ﻴﺭﻴﺤﻙ.‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻟﻜﻥ ﻟ ‪ ‬ﻟﻡ‪ ‬ﺘﺨﺒﺭﻨﺎ؟ ﻤﺎ ﻜﺎﻥ ﻋﻠﻴﻙ ﺴﻭﻯ ﺃﻥ ﺘﻠﻤﺢ ﻟﻠﺴﻴﺩ‬ ‫ﻡ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ ﺃﻭ ﻟﻲ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻟ ‪‬ﺢ؟ ﻋﻥ ﻤﺎﺫﺍ؟‬ ‫ﻤ‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻋﻥ ﺴﺒﺏ ﻤﺎ ﻓﻌﻠﺘﻪ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻻ ﺃﻓﻬﻡ ﻤﺎ ﺘﺭﻤﻲ ﺇﻟﻴﻪ.‬ ‫ﺃﺴﻼﻜﺴﻥ )ﻴﻭﻤﺊ ﺒﺭﺃﺴﻪ ﻋﻠﻰ ﻨﺤﻭ ﺘﺂﻤﺭﻱ(: ﺒﻠﻰ ﺘﻔﻬﻤﻨﻲ ﻴﺎ ﺩﻜﺘﻭﺭ‬ ‫ﺴﺘﻭﻜﻤﺎﻥ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻡ ﻴﻌﺩ ﻫﻨﺎﻙ ﺩﺍﻉ ﻟﻜﺘﻤﺎﻥ ﺍﻷﻤﺭ ﺒﻌﺩ ﺍﻵﻥ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻨﻘل ﻨﻅﺭﻩ ﻤﻥ ﻭﺍﺤﺩ ﻵﺨﺭ(: ﻤﺎﺫﺍ ﺘﻘﺼﺩﺍﻥ‬ ‫ﺒﺤﻕ ﺍﻟﺠﺤﻴﻡ؟‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺴﺎﻤﺤﻨﻲ ﻋﻠﻰ ﺍﻟﺴﺅﺍل، ﻟﻜﻥ ﺃﻟﻴﺱ ﺤﻤﺎﻙ ﻤﻥ ﻴﺩﻭﺭ ﻓﻲ‬ ‫ﺍﻟﺒﻠﺩﺓ ﻭﻴﺤﺎﻭل ﺸﺭﺍﺀ ﺃﺴﻬﻡ ﺍﻟﺤﻤﺎﻤﺎﺕ ﺍﻟﻤﻌﺭﻭﻀﺔ ﻟﻠﺒﻴﻊ ﻜﻠﻬﺎ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻘﺩ ﺍﺸﺘﺭﻯ ﺒﻌﻀ ﹰ ﻤﻨﻬﺎ ﺍﻟﻴﻭﻡ. ﻟﻜﻥ -‬ ‫ﺎ‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻜﺎﻥ ﻤﻥ ﺍﻷﻓﻀل ﻟﻙ ﻟﻭ ﺃﺭﺴﻠﺕ ﺸﺨﺼ ﹰ ﻏﻴﺭﻩ ﻟﻬﺫﻩ‬ ‫ﺎ‬ ‫ﺍﻟﻤﻬﻤﺔ. ﺸﺨﺼ ﹰ ﻟﻴﺱ ﻗﺭﻴﺒ ﹰ ﺠﺩﹰ ﻤﻨﻙ.‬ ‫ﺎ ﺍ‬ ‫ﺎ‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﺴ ‪‬ﻪ ﻤﺎ ﺸﺌﺕ، ﻟﻡ ﻴﻜﻥ ﺒﻭﺴﻌﻨﺎ ﻓﻌل ﻏﻴﺭ ﺫﻟﻙ.‬ ‫ﻤ‬

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‫ﻫﻭﭭﺴﺘﺎﺩ: ﻭﻤﺎ ﻜﺎﻥ ﻴﺠﺩﺭ ﺒﻙ ﺃﻥ ﺘﻔﻌل ﻜل ﻫﺫﺍ ﺒﺎﺴﻤﻙ ﺸﺨﺼﻴ ﹰ. ﺇﺫ‬ ‫ﺎ‬ ‫ﻟﻡ ﻴﻜﻥ ﻫﻨﺎﻙ ﺩﺍﻉ ﺃﻥ ﻴﻌﻠﻡ ﺍﻟﺠﻤﻴﻊ ﺒﺄﻨﻙ ﺃﻨﺕ ﻤﻥ ﻴﻬﺎﺠﻡ‬ ‫ﺍﻟﺤﻤﺎﻤﺎﺕ. ﻜﺎﻥ ﻴﻔﺘﺭﺽ ﺒﻙ ﺃﻥ ﺘﺠﻌﻠﻨﻲ ﻤﻭﻀﻊ ﺜﻘﺘﻙ‬ ‫ﻭﺘﺸﺎﻭﺭﻨﻲ ﻴﺎ ﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ) ﻴﺤﺩﻕ ﺃﻤﺎﻤﻪ ﻤﺒﺎﺸﺭﺓ. ﻴﺒﺩﻭ ﻭﻜﺄﻥ ﻨﻭﺭﹰ ﻴﺸﺭﻕ‬ ‫ﺍ‬ ‫ﻋﻠﻴﻪ، ﻭﻴﺘﻜﻠﻡ ﻭﻜﺄﻥ ﺼﺎﻋﻘﺔ ﻨﺯﻟﺕ ﺒﻪ(: ﻫل ‪‬ﻌﻘل ﺫﻟﻙ؟ ﻫل‬ ‫ﻴ‬ ‫ﻴﻤﻜﻥ ﻷﻤﺭ ﻜﻬﺫﺍ ﺃﻥ ﻴﺤﺩﺙ ﻓﻌ ﹰ؟‬ ‫ﻼ‬ ‫ﺃﺴﻼﻜﺴﻥ )ﻴﺒﺘﺴﻡ(: ﺒﻜل ﻭﻀﻭﺡ. ﻟﻜﻥ ﻜﺎﻥ ﻴﺘﻭﺠﺏ ﺘﺩﺒﻴﺭ ﺍﻷﻤﺭ‬ ‫ﺒﻤﺴﺘﻭﻯ ﻤﻥ ﺍﻟﺫﻜﺎﺀ، ﻜﻤﺎ ﺘﻌﻠﻡ.‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻭﻜﺎﻥ ﻴﺠﺏ ﺃﻥ ﻴﺸﺘﺭﻙ ﺒﻪ ﺃﻜﺜﺭ ﻤﻥ ﺸﺨﺹ. ﻓﺠﺯﺀ ﻤﻥ‬ ‫ﺍﻟﻤﺴﺅﻭﻟﻴﺔ ﻴﺴﻘﻁ ﻋﻥ ﻜﺎﻫل ﺍﻟﻤﺭﺀ ﺤﻴﻥ ﻴﺸﺎﺭﻜﻪ ﻋﺩﺓ ﺃﺸﺨﺎﺹ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ) ﺒﻬﺩﻭﺀ(: ﺒﺎﺨﺘﺼﺎﺭ ﻴﺎ ﺴﺎﺩﺓ، ﻤﺎ ﺍﻟﻤﻁﻠﻭﺏ؟‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻻ، ﺃﻨﺕ ﺃﺨﺒﺭﻩ ﻴﺎ ﺃﺴﻼﻜﺴﻥ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﻴﺴﺘﻁﻴﻊ ﺍﻟﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ ﺃﻥ ﻴﺸﺭﺡ ﺍﻷﻤﺭ ﺒﺸﻜل ﺃﻓﻀل ﻤﻥ -‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺤﺴﻨ ﹰ، ﻓﻲ ﺍﻟﻭﺍﻗﻊ ﺠل ﻤﺎ ﻓﻲ ﺍﻷﻤﺭ، ﻫﻭ ﺃﻨﻨﺎ ﻨﻌﻠﻡ ﺍﻵﻥ‬ ‫ﺎ‬ ‫ﻜﻴﻑ ﺘﺠﺭﻱ ﺍﻷﻤﻭﺭ، ﻭﻓﻜﺭﻨﺎ ﻓﻲ ﺃﻥ ﺍﻟﻤﻐﺎﻤﺭﺓ ﺒﻭﻀﻊ »ﻤﻨﺒﺭ‬ ‫ﺍﻟﺸﻌﺏ« ﺘﺤﺕ ﺘﺼﺭﻓﻙ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﺘﻅﻨﺎﻥ ﺃﻨﻜﻤﺎ ﺘﻤﻠﻜﺎﻥ ﺍﻟﺠﺭﺃﺓ ﻋﻠﻰ ﺨﻭﺽ ﻫﺫﻩ‬ ‫ﺍﻟﻤﺨﺎﻁﺭﺓ؟ ﻟﻜﻥ ﻤﺎﺫﺍ ﺒﺨﺼﻭﺹ ﺍﻟﺭﺃﻱ ﺍﻟﻌﺎﻡ؟ ﺃﻟﺴﺘﻤﺎ ﺨﺎﺌﻔﻴﻥ‬ ‫ﻤﻥ ﺃﻥ ﻨﺘﺴﺒﺏ ﺒﻌﺎﺼﻔﺔ؟‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻁﺒﻌ ﹰ. ﻟﻘﺩ ﺠﻌﻠﺕ ﺫﻟﻙ ﺍﻟﻐﺭﻴﺭ ﺍﻟﻌﺠﻭﺯ ﻴﺴﻌﻰ‬ ‫ﺎ‬ ‫ﻤﻌﻲ ﻓﻲ ﻫﺫﺍ ﻤﻥ ﺃﺠل ﻗﻀﻴﺔ ﺍﻟﻌﻠﻡ. ﻭﺒﻌﺩﻫﺎ ﺴﻨﻘﻭﻡ ﺒﺒﻌﺽ‬ ‫ﺍﻹﺼﻼﺤﺎﺕ ﻓﻲ ﺸﺒﻜﺔ ﺍﻟﻤﻴﺎﻩ، ﻭﻨﻌﻤل ﻋﻠﻰ ﺍﻟﺤﻔﺭ ﻗﻠﻴ ﹰ ﺘﺠﺎﻩ‬ ‫ﻼ‬ ‫ﺍﻟﺸﺎﻁﺊ، ﻭﻫﺫﺍ ﻟﻥ ﻴﻜﻠﻑ ﺩﺍﻓﻌﻲ ﺍﻟﻀﺭﺍﺌﺏ ﺴﻭﻯ ﻨﺼﻑ ﻜﺭﺍﻭﻥ.‬ ‫ﻭﺃﺭﻯ ﺃﻨﻨﺎ ﺴﻨﺘﺠﻨﺏ ﺍﻟﺘﻠﻭﺙ ﺒﺫﻟﻙ، ﺃﻻ ﺘﺭﻭﻥ ﺫﻟﻙ ﻤﻌﻲ، ﻫﺎ!‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﺃﺭﻯ ﺫﻟﻙ- ﻟﻭ ﻗﺎﻤﺕ ﺒﻤﺴﺎﻨﺩﺘﻙ ﺼﺤﻴﻔﺔ »ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ«.‬ ‫ﺃﺴﻼﻜﺴﻥ: ﻓﻲ ﻤﺠﺘﻤﻊ ﺤﺭ، ﻟﻠﺼﺤﺎﻓﺔ ﻗﻭﺓ ﻤﺭﻫﻭﺒﺔ ﺍﻟﺠﺎﻨﺏ ﻴﺎ‬ ‫ﺩﻜﺘﻭﺭ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺒﺎﻟﻀﺒﻁ ﻫﻲ ﻜﺫﻟﻙ. ﻭﺍﻟﺭﺃﻱ ﺍﻟﻌﺎﻡ ﺃﻴﻀ ﹰ. ﻭﺃﻨﺕ‬ ‫ﺎ‬ ‫ﺴﺘﺘﻜﻔل ﺒﺠﻤﻌﻴﺔ ﺃﺼﺤﺎﺏ ﺍﻟﻌﻘﺎﺭﺍﺕ ﻴﺎ ﺴﻴﺩ ﺃﺴﻼﻜﺴﻥ، ﺃﻟﻴﺱ‬ ‫ﻜﺫﻟﻙ؟‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻻ ﺒﺩ ﺃﻨﻙ ﺘﺴﻌﻰ ﻟﻠﺴﻴﻁﺭﺓ ﻋﻠﻰ ﺍﻟﺤﻤﺎﻤﺎﺕ ﻤﻥ ﺃﺠل‬ ‫ﻗﻀﻴﺔ ﺍﻟﻌﻠﻡ ﻓﻲ ﺍﻟﻤﻘﺎﻡ ﺍﻷﻭل.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺘﻘﺼﺩ ﺒﻌﺩ ﺃﻥ ﺤﺼﻠﺕ ﺃﻨﺎ ﻭﺤﻤﺎﻱ ﻋﻠﻰ ﺍﻷﺴﻬﻡ‬ ‫ﻜﻠﻬﺎ ﺒﺴﻌﺭ ﺯﻫﻴﺩ؟‬

‫ﺃﺴﻼﻜﺴﻥ: ﻭﻋﻠﻴﻙ ﺃﻥ ﺘﺘﻌﺠل ﻓﻲ ﺇﻁﻼﻕ ﺍﻟﺤﺩﺙ ﻴﺎ ﺩﻜﺘﻭﺭ. ﺒﻌﺩﻤﺎ‬ ‫ﻜﺎﻥ ﻟﺤﻤﻠﺘﻙ ﺃﺜﺭﻫﺎ -‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻋﻠﻴﻨﺎ ﺍﺠﺘﻴﺎﺯ ﺘﻠﻙ ﺍﻟﻌﺎﺼﻔﺔ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﺒﺠﻤﻌﻴﺔ ﺃﺼﺤﺎﺏ ﺍﻟﻌﻘﺎﺭﺍﺕ ﻭﺠﻤﻌﻴﺔ ﺍﻻﻋﺘﺩﺍل. ﻻ ﺘﻘﻠﻕ‬ ‫ﺒﻬﺫﺍ ﺍﻟﺸﺄﻥ.‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺒﺎﻟﻁﺒﻊ. ﻫﺫﺍ ﺩﻭﺍﺀ ﻤﺭ ﻴﺘﺠﺭﻋﻪ ﻭﺍﺤﺩ ﻤﻥ‬ ‫ﺃﺼﺩﻗﺎﺀ ﺍﻟﺸﻌﺏ ﻤﺜﻠﻙ. )ﻴﺜﻭﺭ( ﻟﻜﻥ ﺃﻨﺎ - ﺃﻨﺎ ﻋﺩﻭ ﺍﻟﺸﻌﺏ!‬ ‫)ﻴﺫﺭﻉ ﺍﻟﻐﺭﻓﺔ ﺠﻴﺌﺔ ﻭﺫﻫﺎﺒ ﹰ( ﺃﻴﻥ ﻋﺼﺎﻱ؟ ﺃﻴﻥ ﻭﻀﻌ ﹸﻬﺎ ﺒﺤﻕ‬ ‫ﺘ‬ ‫ﺎ‬ ‫ﺍﻟﺠﺤﻴﻡ؟‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺃﻨﺕ ﺒﺎﻟﺘﺄﻜﻴﺩ ﻻ ﺘﻔﻜﺭ ﻓﻲ -؟‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻤﺎﺫﺍ ﺘﻘﺼﺩ؟‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻴﺴﺭﻨﺎ ﺃﻥ ﻨﺴﺎﻋﺩﻙ ﻤﺠﺎﻨ ﹰ ﺒﺎﻟﻁﺒﻊ. ﻟﻜﻥ ﺼﺤﻴﻔﺔ »ﻤﻨﺒﺭ‬ ‫ﺎ‬ ‫ﺍﻟﺸﻌﺏ« ﺘﻤﺭ ﺒﻤﺭﺤﻠﺔ ﺤﺭﺠﺔ؛ ﻓﻨﺤﻥ ﻨﺨﻭﺽ ﺼﺭﺍﻋ ﹰ ﻤﺭﻴﺭﹰ،‬ ‫ﺍ‬ ‫ﺎ‬ ‫ﻭﺃﻜﺭﻩ ﺃﻥ ﺃﻏﻠﻘﻬﺎ ﺍﻵﻥ، ﻭﺤﻴﻥ ﻻﺤﺕ ﺃﺴﺒﺎﺏ ﻋﻅﻴﻤﺔ ﺘﺤﺘﺎﺝ‬ ‫ﺩﻋﻤﻨﺎ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ ﻴﺎ ﺴﺎﺩﺓ، ﺃﻨﺎ ﺨﺠل ﻤﻥ ﺫﻜﺭ ﺫﻟﻙ، ﻟﻜﻥ،‬ ‫ﻤﺎﺫﺍ ﺘﺭﻴﺩﺍﻥ ﻤﻜﺎﻓﺄﺓ - ﻗﺒل -‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل، ﻫﺫﺍ ﻫﻭ ﺃﺴﻠﻭﺒﻜﻤﺎ، ﺃﻟﻴﺱ ﻜﺫﻟﻙ؟ ﺇﻥ ﻟﻡ‬ ‫ﺃﺴﺎﻋﺩ »ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ« ﻓﺴﺘﺤﺭﻓﺎﻥ ﺩﻭﺍﻓﻌﻲ، ﻭﺴﺘﺒﺩﺁﻥ ﺒﺎﻟﺼﻴﺩ‬ ‫ﻓﻲ ﺍﻟﻤﺎﺀ ﺍﻟﻌﻜﺭ، ﻭﺘﺠﻌﻼﻨﻨﻲ ﻓﻲ ﺍﻟﺤﻀﻴﺽ، ﻭﺘﻀﻴﻘﺎﻥ ﺍﻟﺨﻨﺎﻕ‬ ‫ﻋﻠﻲ ﻜﻤﺎ ﻴﺨﻨﻕ ﺍﻟﻜﻠﺏ ﺃﺭﻨﺒ ﹰ.‬ ‫ﺎ‬

‫ﻫﻭﭭﺴﺘﺎﺩ: ﻭﻋﻠﻴﻙ ﺃﻥ ﺘﺘﺫﻜﺭ ﺃﻥ ﻤﻭﻀﻭﻉ ﺍﻷﺴﻬﻡ ﺍﻟﺼﻐﻴﺭ ﻫﺫﺍ‬ ‫ﻴﻤﻜﻥ ﺃﻥ ﻴﺤﻤل ﺃﻜﺜﺭ ﻤﻥ ﺘﻔﺴﻴﺭ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺘﻭﻗﻑ(: ﻭﻟﻨﻔﺭﺽ ﺃﻨﻨﻲ ﻟﻡ ﺃﻋﻁﻜﻤ ﺎ ﺸﻴﺌ ﹰ ﻭﻟﻭ‬ ‫ﺎ‬ ‫ﺒﺴﻴﻁ ﹰ ﻤﻥ ﺃﺴﻬﻤﻲ؟ ﻓﺄﻤﻭﺍﻟﻨﺎ ﻨﺤﻥ ﺍﻷﻏﻨﻴﺎﺀ ﻋﺯﻴﺯﺓ ﻋﻠﻴﻨﺎ ﺠﺩﹰ،‬ ‫ﺍ‬ ‫ﺎ‬ ‫ﻴﺠﺏ ﺃﻥ ﺘﺩﻉ ﺫﻟﻙ ﻓﻲ ﺫﻫﻨﻙ.‬

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‫ﻫﻭﭭﺴﺘﺎﺩ: ﻫﺫﺍ ﻫﻭ ﻗﺎﻨﻭﻥ ﺍﻟﻁﺒﻴﻌﺔ. ﻜل ﺤﻴﻭﺍﻥ ﻴﺼﺎﺭﻉ ﻤﻥ ﺃﺠل‬ ‫ﺍﻟﺒﻘﺎﺀ ﻜﻤﺎ ﺘﻌﻠﻡ.‬

‫ﺃﺴﻼﻜﺴﻥ: ﻓﺎﻟﺨﺒﺯ ﻻ ﻴﻨﻤﻭ ﻋﻠﻰ ﺍﻷﺸﺠﺎﺭ. ﻋﻠﻴﻙ ﺃﻥ ﺘﺄﺨﺫﻩ ﺃﻴﻨﻤﺎ‬ ‫ﺘﺠﺩﻩ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺇﺫﹰ ﺍﻨﻅﺭﺍ ﺇﻥ ﻜﺎﻥ ﺒﺈﻤﻜﺎﻨﻜﻤﺎ ﺇﻴﺠﺎﺩ ﺒﻌﺽ ﻤﻨﻪ‬ ‫ﺍ‬ ‫ﻓﻲ ﺍﻟﻤﺠﺎﺭﻴﺭ. )ﻴﻤﺸﻲ ﺤﻭل ﺍﻟﻐﺭﻓﺔ.( ﺒﺤﻕ ﺍﻟﺴﻤﺎﺀ، ﺴﻨﺭﻯ‬ ‫ﺍﻵﻥ ﻤﻥ ﺃﻗﻭﻯ ﺤﻴﻭﺍﻥ ﺒﻴﻨﻨﺎ ﻨﺤﻥ ﺍﻟﺜﻼﺜﺔ. )ﻴﺠﺩ ﻤﻅﻠﺘﻪ.( ﺁﻫﺎ!‬ ‫)ﻴﻬ ‪‬ﻫﺎ.( ﺍﻵﻥ -‬ ‫ﺯ‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻟﻥ ﺘﺠﺭﺅ ﻋﻠﻰ ﺍﻟﺘﻬﺠﻡ ﻋﻠﻴﻨﺎ!‬ ‫ﺃﺴﻼﻜﺴﻥ: ﺍﻨﺘﺒﻪ ﺃﻨﺕ ﺒﻴﺩﻙ ﺍﻟﻤﻅﻠﺔ.‬

‫ﺃﺴﻼﻜﺴﻥ )ﻴﺭﻜﺽ ﺤﻭل ﺍﻟﻤﻜﺘﺏ(: ﺩﻜﺘﻭﺭ، ﺩﻜﺘﻭﺭ، ﺘﻤﺎﻟﻙ ﻨﻔﺴﻙ!‬ ‫ﺃﻨﺎ ﺭﺠل ﻀﻌﻴﻑ، ﻻ ﺃﺘﺤﻤل ﺍﻹﺜﺎﺭﺓ -! )ﻴﺼﺭﺥ( ﺍﻟﻨﺠﺩﺓ،‬ ‫ﺍﻟﻨﺠﺩﺓ!‬ ‫ﻴﺩﺨل ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ ﻭﺒﺘﺭﺍ ﻭﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ ﻤﻥ‬ ‫ﻏﺭﻓﺔ ﺍﻟﺠﻠﻭﺱ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺍﺨﺭﺝ ﻤﻥ ﺘﻠﻙ ﺍﻟﻨﺎﻓﺫﺓ ﻴﺎ ﺴﻴﺩ ﺃﺴﻼﻜﺴﻥ! ﻗﻠﺕ‬ ‫ﻟﻙ ﺍﻗﻔﺯ! ﻻ ﺘﺘﻭﺍ ‪!‬‬ ‫ﻥ‬

‫ﻫﻭﭭﺴﺘﺎﺩ )ﻋﻨﺩ ﻤﺩﺨل ﺍﻟﺒﺎﺏ ﺍﻟﻤﺅﺩﻱ ﺇﻟﻰ ﺍﻟﺭﺩﻫﺔ(: ﻫل ﺠﻨﻨﺕ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺴﺄﺭﻤﻴﻙ ﻤﻥ ﺍﻟﻨﺎﻓﺫﺓ ﻴﺎ ﺴﻴﺩ ﻫﻭﭭﺴﺘﺎﺩ!‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺘﻭﻤﺎﺱ، ﻤﺎ ﺍﻟﺫﻱ ﻴﺠﺭﻱ ﻫﻨﺎ ﺒﺤﻕ ﺍﻟﺴﻤﺎﺀ؟‬

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‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﻠﻭﺡ ﺒﺎﻟﻤﻅﻠﺔ ﻤﻬﺩﺩﹰ(: ﻗﻠﺕ ﻟﻙ ﺍﻗﻔﺯ ﺨﺎﺭﺠ ﹰ‬ ‫ﺍ‬ ‫ﺇﻟﻰ ﺍﻟﻤﺠﺭﻭﺭ.‬ ‫ﻫﻭﭭﺴﺘﺎﺩ: ﻫﺫﺍ ﻴﺘﻬﺠﻡ ﻤﻥ ﺩﻭﻥ ﺴﺒﺏ. ﺃﺸﻬﺩﻙ ﻴﺎ ﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ -‬ ‫! )ﻴﺭﻜﺽ ﺨﺎﺭﺝ ﺍﻟﺭﺩﻫﺔ.(‬ ‫ﺘﻭﻤﺎﺱ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﻤﺴﻙ ﺒﺎﻟﺩﻜﺘﻭﺭ(: ﻜﺭﻤﻰ ﷲ، ﺘﻤﺎﻟﻙ ﺃﻋﺼﺎﺒﻙ ﻴﺎ‬ ‫ﺃﺴﻼﻜﺴﻥ )ﻴﺎﺌﺴ ﹰ(: ﺍﻀﺒﻁ ﻨﻔﺴﻙ ﻴﺎ ﺩﻜﺘﻭﺭ، ﺍﻀﺒﻁ- ﺃﻭﻩ، ﻴﺎ ﺇﻟﻬﻲ!‬ ‫ﺎ‬ ‫)ﻴﻔﺭ ﻋﺒﺭ ﻏﺭﻓﺔ ﺍﻟﺠﻠﻭﺱ.(‬ ‫ﺃﺨﻴﺭﹰ.‬ ‫ﺍ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺭﻤﻲ ﺍﻟﻤﻅﻠﺔ(: ﺘﺒ ﹰ ﻟﻬﻤﺎ، ﻟﻘﺩ ﻫﺭﺒﺎ ﻤﻥ ﻫﻨﺎ‬ ‫ﺎ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻥ ﻤﺎﺫﺍ ﻜﺎﻨﺎ ﻴﺭﻴﺩﺍﻥ؟‬ ‫ﺍﻵﻥ. )ﻴﺫﻫﺏ ﺇﻟﻰ ﺍﻟﻁﺎﻭﻟﺔ ﻭﻴﻜﺘﺏ ﻋﻠﻰ ﺒﻁﺎﻗﺔ ﺯﻴﺎﺭﺓ.( ﺍﻨﻅﺭﻱ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺴﺄﺨﺒﺭﻙ ﻻﺤﻘ ﹰ. ﻟﺩﻱ ﺃﺸﻴﺎﺀ ﺃﺨﺭﻯ ﺃﻓﻜﺭ ﻓﻴﻬﺎ‬ ‫ﺎ‬ ‫ﺇﻟﻰ ﻫﺫﻩ ﻴﺎ ﻜﺎﺜﺭﻴﻥ. ﻤﺎﺫﺍ ﺘﺭﻴﻥ ﻫﻨﺎ؟‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: »ﻻ، ﻻ، ﻻ« - ﻤﺎ ﻤﻌﻨﻰ ﻫﺫﺍ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺴﺄﺸﺭﺡ ﺫﻟﻙ ﻻﺤﻘ ﹰ ﺃﻴﻀ ﹰ. )ﻴﻤﺴﻙ ﺍﻟﺒﻁﺎﻗﺔ.(‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺨﺫﻱ ﻴﺎ ﺒﺘﺭﺍ، ﻭﺃﺨﺒﺭﻱ ﺘﻠﻙ ﺍﻟﻔﺘﺎﺓ ﺫﺍﺕ ﺍﻷﻨﻑ ﺍﻟﻘﺫﺭ ﺃﻥ ﺘﺤﻤﻠﻬﺎ‬ ‫ﺘﺫﻫﺏ ﺒﺘﺭﺍ ﻋﺒﺭ ﺍﻟﺭﺩﻫﺔ ﻭﻤﻌﻬﺎ ﺍﻟﺒﻁﺎﻗﺔ.‬ ‫ﻤﺒﺎﺸﺭﺓ ﺇﻟﻰ ﺍﻟﻐﺭﻴﺭ ﺒﺄﻗﺼﻰ ﺴﺭﻋﺘﻬﺎ. ﺃﺴﺭﻋﻲ!‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻘﺩ ﺃﺘﻰ ﻓﻲ ﻁﻠﺒﻲ ﺭﺴل ﺍﻟﺸﻴﻁﺎﻥ ﻜﻠﻬﻡ ﺍﻟﻴﻭﻡ،‬ ‫ﻭﻻ ﺃﺩﺭﻱ ﺤﻘ ﹰ ﻤﻥ ﺒﻘﻲ ﻤﻨﻬﻡ. ﻟﻜﻥ ﻋﻠﻲ ﺍﻵﻥ ﺃﻥ ﺃﺸﺤﺫ ﻗﻠﻤﻲ‬ ‫ﺎ‬ ‫ﻀﺩﻫﻡ ﺤﺘﻰ ﻴﺼﺒﺢ ﻜﺨﻨﺠﺭ.ﻭﺴﺄﻏﻤﺴﻪ ﺒﺎﻟﻐﻀﺏ ﻭﺍﻟﺴﻡ.‬ ‫ﻭﺴﺄﻭﺠﻪ ﻀﺭﺒﺎﺘﻲ ﻨﺤﻭ ﺭﺅﻭﺴﻬﻡ ﺍﻟﻐﺒﻴﺔ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻨﻨﺎ ﺴﻨﺭﺤل ﻴﺎ ﺘﻭﻤﺎﺱ!‬ ‫ﺘﻌﻭﺩ ﺒﺘﺭﺍ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻥ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺠﻴﺩ. ﻗﻠﺕ ﺴﻨﺭﺤل؟ ﻻ ﻭﺍﷲ ﻟﻥ ﻨﺭﺤل. ﻨﺤﻥ‬ ‫ﺒﺎﻗﻭﻥ ﻫﻨﺎ ﻴﺎ ﻜﺎﺜﺭﻴﻥ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻓﻲ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل! ﻫﺫﺍ ﻫﻭ ﻤﻴﺩﺍﻥ ﺍﻟﻤﻌﺭﻜﺔ ﺍﻟﺫﻱ ﺍﺨﺘﺭﺘﻪ،‬ ‫ﻭﻫﻨﺎ ﻴﺠﺏ ﺃﻥ ﺘﺩﻭﺭ ﺍﻟﻤﻌﺭﻜﺔ. ﻭﻫﻨﺎ ﻋﻠ ‪ ‬ﺃﻥ ﺃﻨﺘﺼﺭ. ﺤﺎﻟﻤﺎ‬ ‫ﻲ‬ ‫ﺘﻨﺘﻬﻴﻥ ﻤﻥ ﺭﺘﻕ ﺒﻨﻁﻠﻭﻨﺎﺘﻲ ﻫﺫﻩ، ﺴﺄﺨﺭﺝ ﺇﻟﻰ ﺍﻟﺒﻠﺩﺓ ﻭﺃﺒﺤﺙ ﻋﻥ‬ ‫ﻤﻨﺯل. ﻓﻌﻠﻴﻨﺎ ﺃﻥ ﻨﺠﺩ ﺴﻘﻔ ﹰ ﻴﻘﻲ ﺭﺅﻭﺴﻨﺎ ]ﺤﻴﻥ ﻴﺤل ﺍﻟﺸﺘﺎﺀ[.‬ ‫ﺎ‬ ‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﻴﻤﻜﻨﻜﻡ ﺃﻥ ﺘﺄﺨﺫﻭﺍ ﻤﻨﺯﻟﻲ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺘﺴﻤﺢ ﻟﻨﺎ؟‬ ‫ﺒﺘﺭﺍ: ﺒﺎﻗﻭﻥ؟‬ ‫ﺒﺘﺭﺍ: ﻟﻘﺩ ﺃﺨﺫﺘﻬﺎ.‬

‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﻁﺒﻌ ﹰ. ﻟﺩﻱ ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﺍﻟﻐﺭﻑ، ﻭﺃﻨﺎ ﻗﻠﻤﺎ ﺃﻜﻭﻥ‬ ‫ﺎ‬ ‫ﻫﻨﺎﻙ.‬

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‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻭﻩ، ﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ، ﻜﻡ ﺃﻨﺕ ﻟﻁﻴﻑ!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺸﺩ ﻋﻠﻰ ﻴﺩﻩ(: ﺃﺸﻜﺭﻙ، ﺃﺸﻜﺭﻙ. ]ﺤﺴﻨ ﹰ، ﻟﻘﺩ‬ ‫ﺎ‬ ‫ﺘﺠﺎﻭﺯﻨﺎ ﺘﻠﻙ ﺍﻟﻤﺸﻜﻠﺔ! ﺴﺄﺒﺩﺃ ﺤﻤﻠﺘﻲ ﻤﻨﺫ ﺍﻟﻴﻭﻡ![ ﺃﻭﻩ ]ﻜﺎﺜﺭﻴﻥ[‬ ‫ﺃﻤﺎﻤﻲ ﻜﺜﻴﺭ ﻤﻥ ﺍﻟﻌﻤل ﺃﻗﻭﻡ ﺒﻪ. ﻟﻜﻥ ﻟﺤﺴﻥ ﺍﻟﺤﻅ ﺴﺄﺘﻤﻜﻥ ﻤﻥ‬ ‫ﺘﺴﺨﻴﺭ ﻜﺎﻤل ﻭﻗﺘﻲ ﻟﻪ. ﺍﻨﻅﺭﻱ ﺇﻟﻰ ﻫﺫﺍ. ﻟﻘﺩ ﻁﺭﺩﺕ ﻤﻥ‬ ‫ﻭﻅﻴﻔﺘﻲ ﻓﻲ ﺍﻟﺤﻤﺎﻤﺎﺕ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﻴﺭﻴﺩﻭﻥ ﺃﻥ ﻴﻤﻨﻌﻭﻨﻲ ﻤﻥ ﻤﻤﺎﺭﺴﺔ ﺍﻟﻤﻬﻨﺔ‬ ‫ﺃﻴﻀ ﹰ. ﺤﺴﻨ ﹰ ﻓﻠﻴﻔﻌﻠﻭﺍ. ﻋﻠﻰ ﺍﻷﻗل ﺴﺄﺤﺘﻔﻅ ﺒﻤﺭﻀﺎﻱ ﺍﻟﻔﻘﺭﺍﺀ،‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺃﻭﻟﺌﻙ ﺍﻟﺫﻴﻥ ﻻ ﻴﺴﺘﻁﻴﻌﻭﻥ ﺃﻥ ﻴﺩﻓﻌﻭﺍ. ﺤﺴﻨ ﹰ، ﺘﻌﻠﻡ ﺍﻟﺴﻤﺎﺀ ﺃﻨﻬﻡ‬ ‫ﺎ‬ ‫ﻓﻲ ﺃﻤ ‪ ‬ﺍﻟﺤﺎﺠﺔ ﺇﻟﻲ. ﻟﻜﻥ ﻭﺍﷲ ﻋﻠﻴﻬﻡ ﺃﻥ ﻴﺼﻐﻭﺍ ﺇﻟﻲ.‬ ‫ﺱ‬ ‫ﺴﺄﻨﺼﺤﻬﻡ ﺼﺒﺎﺤ ﹰ ﻭﻤﺴﺎ ‪ ‬ﻭﻟﻴ ﹰ.‬ ‫ﺀ ﻼ‬ ‫ﺎ‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻭﻩ، ﺘﻭﻤﺎﺱ، ﺘﻭﻤﺎﺱ! ﻻ ﺒﺩ ﺃﻨﻙ ﺭﺃﻴﺕ ﻤﺎﺫﺍ‬ ‫ﻓﻌﻠﺕ ﺍﻟﻨﺼﻴﺤﺔ ﺍﻟﺠﻴﺩﺓ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﺘﻨﻬﺩ(: ﺁﻩ، ﺤﺴﻥ، ﻜﻨﺕ ﺃﺘﻭﻗﻊ ﺫﻟﻙ.‬ ‫ﺒﺘﺭﺍ: ﺸﻜﺭ ﹰ ﻟﻙ.‬ ‫ﺍ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻨﺕ ﺴﺨﻴﻔﺔ ﺤﻘ ﹰ ﻴﺎ ﻜﺎﺜﺭﻴﻥ. ﺃﺘﻅﻨﻴﻥ ﺃﻨﻲ‬ ‫ﺎ‬ ‫ﺴﺄﺴﻤﺢ ﻟﻨﻔﺴﻲ ﺃﻥ ﻴﻁﺭﺩﻨﻲ ﺍﻟﺭﺃﻱ ﺍﻟﻌﺎﻡ ﻭﺍﻷﻏﻠﺒﻴﺔ، ﻭﺃﻭﻟﺌﻙ‬ ‫ﺍﻟﻐﻭﻏﺎﺀ ﻤﻥ ﺍﻟﻤﻴﺩﺍﻥ. ﻻ، ﺸﻜﺭﹰ. ]ﻤﺒﺘﻐﺎﻱ ﺒﺴﻴﻁ ﻟﻠﻐﺎﻴﺔ ﻭﺴﻬل‬ ‫ﺍ‬ ‫ﻭﻤﺒﺎﺸﺭ. ﺃﺭﻴﺩ ﺃﻥ ﺃﻏﺭﺱ ﻓﻲ ﺭﺅﻭﺱ ﺃﻭﻟﺌﻙ ﺍﻷﻨﺫﺍل ﺃﻥ‬ ‫ﺍﻷﺤﺭﺍﺭ ﻫﻡ ﺃﻟﺩ ﺃﻋﺩﺍﺀ ﺍﻟﺤﺭﻴﺔ، ﻓﺫﻟﻙ ﺍﻟﺤﺯﺏ ﻴﺨﻁﻁ ﻟﺨﻨﻕ ﻜل‬ ‫ﺤﻘﻴﻘﺔ ﺠﺩﻴﺩﺓ ﺘﺴﺘﺤﻕ ﺍﻟﺤﻴﺎﺓ، ﻭﺘﻠﻙ ﺍﻟﻭﺴﻴﻠﺔ ﻭﺍﻟﻤﻨﻔﻌﺔ ﺍﻟﺫﺍﺘﻴﺔ‬

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‫ﺘﻘﻠﺏ ﺍﻟﻔﻀﻴﻠﺔ ﻭﺍﻟﻌﺩﺍﻟﺔ ﺭﺃﺴ ﹰ ﻋﻠﻰ ﻋﻘﺏ ﻓﺘﺼﺒﺢ ﺍﻟﺤﻴﺎﺓ ﻫﻨﺎ ﻓﻲ‬ ‫ﺎ‬ ‫ﺍﻟﻨﻬﺎﻴﺔ ﻻ ﺘﻁﺎﻕ. ﺤﺴﻨ ﹰ ﻴﺎ ﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ، ﺃﻻ ﺘﻌﺘﻘﺩ ﺃﻨﻨﻲ ﻴﺠﺏ‬ ‫ﺎ‬ ‫ﺃﻥ ﺃﻜﻭﻥ ﻗﺎﺩﺭﹰ ﻋﻠﻰ ﺇﻴﺼﺎل ﺘﻠﻙ ﺍﻟﻔﻜﺭﺓ ﻟﻠﻨﺎﺱ؟‬ ‫ﺍ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﺴﻨ ﹰ، ﺃﺭﺃﻴﺕ، ﻫﺫﺍ ﻫﻭ ﻤﺭﺒﻁ ﺍﻟﻔﺭﺱ! ﺍﻷﻤﺭ‬ ‫ﺎ‬ ‫ﻴﺘﻌﻠﻕ ﺒﺭﺅﺴﺎﺀ ﺍﻟﺤﺯﺏ، ﺇﻨﻬﻡ ﻫﻡ ﻤﻥ ﻴﺠﺏ ﺍﺠﺘﺜﺎﺜﻬﻡ ﻤﻥ‬ ‫ﺍﻟﺠﺫﻭﺭ.ﺇﺫ ﺇﻥ ﺭﺌﻴﺱ ﺍﻟﺤﺯﺏ ﺃﺸﺒﻪ ﺒﺫﺌﺏ ﺠﺎﺌﻊ، ﺘﺭﺍﻩ ﻴﺤﺘﺎﺝ‬ ‫ﻋﺩﺩﹰ ﻤﻌﻴﻨ ﹰ ﻤﻥ ﺍﻟﺤﻤﻼﻥ ﺍﻟﺼﻐﻴﺭﺓ ﻟﻴﻠﺘﻬﻤﻬﺎ ﻜل ﺴﻨﺔ ﻟﻴﺤﺎﻓﻅ‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﻋﻠﻰ ﺒﻘﺎﺌﻪ. ﺍﻨﻅﺭ ﺇﻟﻰ ﻫﻭﭭﺴﺘﺎﺩ ﻭﺃﺴﻼﻜﺴﻥ! ﻜﻡ ﻗﻀﻭﺍ ﻋﻠﻰ‬ ‫ﺸﺒﺎ ٍ ﻤﺜﺎﻟﻴﻴﻥ ﺤﻴﻭﻴﻴﻥ ﻭﺒﺭﻴﺌﻴﻥ! ﺃﻭ ﻏﻴﺭﻫﻡ ﻤﻤﻥ ﺘﻡ ﺘﺸﻭﻴﻬﻬﻡ‬ ‫ﻥ‬ ‫ﻭﻤﻌﺎﻤﻠﺘﻬﻡ ﺒﺨﺸﻭﻨﺔ ﺤﺘﻰ ﺃﺼﺒﺤﻭﺍ ﻻ ﻴﺼﻠﺤﻭﻥ ﻟﺸﻲﺀ ﺴﻭﻯ ﺃﻥ‬ ‫ﻴﻜﻭﻨﻭﺍ ﺃﺼﺤﺎﺏ ﻤﻨﺎﺯل ﺃﻭ ﻤﺸﺘﺭﻜﻴﻥ ﻓﻲ »ﻤﻨﺒﺭ ﺍﻟﺸﻌﺏ«[‬ ‫)ﻴﺠﻠﺱ ﻨﺼﻑ ﺠﻠﺴﺔ ﻋﻠﻰ ﺍﻟﻁﺎﻭﻟﺔ.( ﺘﻌﺎﻟﻲ ﻴﺎ ﻜﺎﺜﺭﻴﻥ. ﺍﻨﻅﺭﻱ‬ ‫ﺠﻤﺎل ﺃﺸﻌﺔ ﺍﻟﺸﻤﺱ ﻋﺒﺭ ﺍﻟﻨﻭﺍﻓﺫ ﺍﻟﻴﻭﻡ! ﻭﺸﻤﻲ ﻫﻭﺍﺀ ﺍﻟﺭﺒﻴﻊ‬ ‫ﺍﻟﻌﻠﻴل ﺍﻟﺭﺍﺌﻊ ﺍﻟﺫﻱ ‪‬ﻨﹶ ‪‬ﻡ ﻋﻠﻴﻨﺎ.‬ ‫ﻴﺴ‬

‫ﺍﻟﻜﺎﺒﺘﻥ ﻫﻭﺭﺴﺘﺭ: ﻫﺫﺍ ﻤﻤﻜﻥ، ﻟﻜﻨﻨﻲ ﻻ ﺃﻓﻬﻡ ﻓﻲ ﻫﺫﻩ ﺍﻷﺸﻴﺎﺀ‬ ‫ﻜﺜﻴﺭﹰ.‬ ‫ﺍ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺭﺒﻤﺎ ﻋﻠﻴﻙ ﺃﻥ ﺘﻌﻤﺩﻱ ﺇﻟﻰ ﺍﻟﺘﻭﻓﻴﺭ ﻗﻠﻴ ﹰ، ﻟﻜﻨﻨﺎ‬ ‫ﻼ‬ ‫ﺴﻨﺘﺩﺒﺭ ﺍﻷﻤﺭ. ﻫﺫ ﺍ ﺁﺨﺭ ﻤﺎ ﻴﻘﻠﻘﻨﻲ. ﻻ، ﺒل ﺍﻷﺴﻭﺃ ﺃﻨﻨﻲ ﻻ‬ ‫ﺃﻋﺭﻑ ﺸﺨﺼ ﹰ ﺤﺭ ﹰ ﻜﻔﺎﻴ ﹰ ﻴﺘﻭﻟﻰ ﻋﻤﻠﻲ ﻤﻥ ﺒﻌﺩﻱ.‬ ‫ﺎ ﺍ ﺔ‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﻭﻩ ﻴﺎ ﻋﺯﻴﺯﻱ ﺘﻭﻤﺎﺱ ﻟﻴﺘﻨﺎ ﻨﺴﺘﻁﻴﻊ ﺍﻟﻌﻴﺵ ﻓﻘﻁ‬ ‫ﻋﻠﻰ ﺃﺸﻌﺔ ﺍﻟﺸﻤﺱ ﻭﻫﻭﺍﺀ ﺍﻟﺭﺒﻴﻊ‬

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‫ﺒﺘﺭﺍ: ﻻﺘﻬﺘﻡ ﻟﺫﻟﻙ ﻴﺎ ﺃﺒﻲ. ﺴﺘﺠﺩ ﺸﺨﺼ ﹰ ﻓﻲ ﺍﻟﻭﻗﺕ ﺍﻟﻤﻨﺎﺴﺏ.‬ ‫ﺎ‬ ‫ﺍﻨﻅﺭ، ﻟﻘﺩ ﺠﺎﺀ ﺍﻟ ‪‬ﻐﻴﺭﺍﻥ!‬ ‫ﺼ‬ ‫ﻴﺩﺨل ﺇﻴﻠﻴﻑ ﻭﻤﻭﺭﺘﻥ ﻤﻥ ﻏﺭﻓﺔ ﺍﻟﺠﻠﻭﺱ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻫل ﻋﻨﺩﻜﻤﺎ ﻋﻁﻠﺔ ﺍﻟﻴﻭﻡ؟‬

‫ﻤﻭﺭﺘﻥ: ﻻ، ﻟﻜﻨﻨﺎ ﺘﻌﺎﺭﻜﻨﺎ ﻤﻊ ﺍﻷﻭﻻﺩ ﺍﻵﺨﺭﻴﻥ ﻓﻲ ﻭﻗﺕ‬ ‫ﺍﻻﺴﺘﺭﺍﺤﺔ، ﻟﺫﺍ -‬

‫ﻤﻭﺭﺘﻥ: ﺃﺠل. ﻟﺫﻟﻙ ﺃﺨﺒﺭﺕ ﺍﻟﺩﻜﺘﻭﺭ ﺭﻭﺭﻟﻭﻨﺩ ﺃﻨﻨﻲ ﺃﺭﻯ ﺃﻨﻪ ﻤﻥ‬ ‫ﺍﻷﻓﻀل ﺒﻘﺎﺅﻨﺎ ﻓﻲ ﺍﻟﻤﻨﺯل ﺒﻀﻌﺔ ﺃﻴﺎﻡ.‬

‫ﺇﻴﻠﻴﻑ: ﻟﻴﺱ ﺼﺤﻴﺤ ﹰ. ﺍﻷﻭﻻﺩ ﺍﻵﺨﺭﻭﻥ ﻫﻡ ﺍﻟﻠﺫﻴﻥ ﺒﺩﺅﻭﺍ ﺍﻟﻌﺭﺍﻙ‬ ‫ﺎ‬ ‫ﻤﻌﻨﺎ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ) ‪‬ﻁﹶﻘ ِﻕ ﺃﺼﺎﺒﻌﻪ ﻭﻴﻘﻔﺯ ﻋﻥ ﺍﻟﻁﺎﻭﻟﺔ (:‬ ‫ﻴ ﻁ‬ ‫ﻓﻬﻤﺕ! ﻟﻘﺩ ﻓﻬﻤﺕ ﺒﺤﻕ ﺍﻟﺴﻤﺎﺀ، ﻻ ﻴﻁﺄ ﺃﺤ ‪ ‬ﻤﻨﻜﻤﺎ ﺃﺭﺽ ﺘﻠﻙ‬ ‫ﺩ‬ ‫ﺍﻟﻤﺩﺭﺴﺔ ﻤﺭﺓ ﺜﺎﻨﻴﺔ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻭﻟﻜﻥ ﻴﺎ ﺘﻭﻤﺎﺱ -!‬ ‫ﺍﻟﻭﻟﺩﺍﻥ: ﻻ ﻨﺫﻫﺏ ﺇﻟﻰ ﺍﻟﻤﺩﺭﺴﺔ؟‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻗﻠﺕ ﺃﺒﺩﹰ، ﺃﻨﺎ ﺴﺄﻋﻠﻤﻜﻤﺎ ﺒﻨﻔﺴﻲ. ﻟﻥ ﺘﺘﻌﻠﻤﺎ ﺃﻱ‬ ‫ﺍ‬ ‫ﺸﻲﺀ ﻟﻌﻴﻥ -‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻜﻨﻨﻲ ﺴﺄﺠﻌل ﻤﻨﻜﻤﺎ ﺭﺠﺎ ﹰ ﺃﺤﺭﺍﺭ ﹰ!‬ ‫ﺍ‬ ‫ﻻ‬ ‫ﺃﺭﺴﺘﻘﺭﺍﻁﻴﻴﻥ! ﻭﻋﻠﻴﻙ ﻤﺴﺎﻋﺩﺘﻲ ﻴﺎ ﺒﺘﺭﺍ.‬ ‫ﻤﻭﺭﺘﻥ: ﻤﺭﺤﻰ!‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺴﻨﻘﻴﻡ ﺍﻟﻤﺩﺭﺴﺔ ﻓﻲ ﺍﻟﻐﺭﻓﺔ ﺍﻟﺘﻲ ﻭﺼﻤﻭﻨﻲ ﺒﻬﺎ‬ ‫ﺃﻨﻲ ﻋﺩﻭ ﺍﻟﺸﻌﺏ. ﻟﻜﻨﻨﺎ ﻨﺤﺘﺎﺝ ﻤﺯﻴﺩ ﹰ ﻤﻥ ﺍﻟﻁﻼﺏ. ﻴﺠﺏ ﺃﻥ‬ ‫ﺍ‬ ‫ﻴﻜﻭﻥ ﻟﺩﻱ ﻋﻠﻰ ﺍﻷﻗل ﺍﺜﻨﺎ ﻋﺸﺭ ﺘﻠﻤﻴﺫﹰ ﻜﺒﺩﺍﻴﺔ.‬ ‫ﺍ‬

‫ﺒﺘﺭﺍ: ﺃﺠل ﻴﺎ ﺃﺒﻲ، ﺒﺎﻟﻁﺒﻊ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺴﻨﺭﻯ. ) ﻤﺨﺎﻁﺒ ﹰ ﺍﻷﻭﻻﺩ ( ﺃﺘﻌﺭﻓﻭﻥ ﺃﻴ ﹰ ﻤﻥ‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺃﻭﻻﺩ ﺍﻟﺸﻭﺍﺭﻉ، ﻤﻥ ﺍﻟﻤﺘﺸﺭﺩﻴﻥ ﺤﻘﻴﻘ ﹰ -؟‬ ‫ﺔ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫﺫﺍ ﺠﻴﺩ. ﺃﺤﻀﺭ ﻟﻲ ﺒﻌﻀ ﹰ ﻤﻨﻬﻡ. ﺴﺄﻗﻭﻡ‬ ‫ﺎ‬ ‫ﺒﺘﺠﺭﺒﺔ ﺤﻅﻲ ﻤﻊ ﺼﻌﺎﻟﻴﻙ ﺍﻟﺸﻭﺍﺭﻉ ﻫﺫﻩ ﺍﻟﻤﺭﺓ. ﻓﻬﻡ ﻴﺤﻤﻠﻭﻥ‬ ‫ﺃﺤﻴﺎﻨ ﹰ ﻋﻘﻭ ﹰ ﻁﻴﺒﺔ.‬ ‫ﻻ‬ ‫ﺎ‬ ‫ﺇﻴﻠﻴﻑ: ﻟﻜﻥ ﻤﺎﺫﺍ ﺴﻨﻔﻌل ﺤﻴﻥ ﻨﺼﺒﺢ ]ﺭﺠﺎ ﹰ ﺃﺤﺭﺍﺭ ﹰ ﻭ[‬ ‫ﺍ‬ ‫ﻻ‬ ‫ﺃﺭﺴﺘﻘﺭﺍﻁﻴﻴﻥ؟‬ ‫ﺇﻴﻠﻴﻑ: ﺃﺠل ﻴﺎ ﺃﺒﻲ، ﺃﻋﺭﻑ ﺍﻟﻜﺜﻴﺭﻴﻥ.‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻟﻥ ﺘﺠﺩﻫﻡ ﻓﻲ ﻫﺫﻩ ﺍﻟﺒﻠﺩﺓ.‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺤﻴﻨﻬﺎ ﻴﺎ ﺃﻭﻻﺩﻱ ﺴﺘﻁﺎﺭﺩﻭﻥ ﺭﺠﺎل ﺍﻟﺴﻴﺎﺴﺔ‬ ‫ﺍﻟﻠﻌﻴﻨﻴﻥ ﻜﻠﻬﻡ ﻭﺘﻘﺫﻓﻭﻥ ﺒﻬﻡ ﻓﻲ ﺍﻟﻤﺤﻴﻁ ﺍﻷﻁﻠﺴﻲ.‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺩﻋﻨﺎ ﻨﺄﻤل ﺃﻻ ﻴﻜﻭﻥ ﺭﺠﺎل ﺍﻟﺴﻴﺎﺴﺔ ﻫﻡ ﻤﻥ‬ ‫ﺴﻴﻁﺎﺭﺩﻙ ﻴﺎ ﺘﻭﻤﺎﺱ.‬ ‫ﺘﺒﺩﻭ ﻋﻠﻰ ﺇﻴﻠﻴﻑ ﺍﻟﺭﻴﺒﺔ ﻨﻭﻋ ﹰ ﻤﺎ. ﻴﻘﻔﺯ ﻤﻭﺭﺘﻥ ﻭﻴﻬﺘﻑ.‬ ‫ﺎ‬

‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﻫل ﺠﻨﻨﺕ ﺘﻤﺎﻤ ﹰ ﻴﺎ ﻜﺎﺜﺭﻴﻥ؟ ﻴﻁﺎﺭﺩﻭﻨﻨﻲ؟ ﺍﻵﻥ‬ ‫ﺎ‬ ‫ﺤﻴﻥ ﺃﺼﺒﺤﺕ ﺃﻗﻭﻯ ﺭﺠل ﻓﻲ ﺍﻟﺒﻠﺩﺓ؟‬

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‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺃﺠل! ﻭﺴﺄﺫﻫﺏ ﺇﻟﻰ ﻤﺎ ﻫﻭ ﺃﺒﻌﺩ ﻤﻥ ﻫﺫﺍ. ﺃﻨﺎ‬ ‫ﺍﻵﻥ ﻭﺍﺤﺩ ﻤﻥ ﺃﻗﻭﻯ ﺍﻟﺭﺠﺎل ﻓﻲ ﺍﻟﻌﺎﻟﻡ ﻜﻠﻪ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ )ﻴﺨﻔﺽ ﺼﻭﺘﻪ(: ﺸﺵ! ﻻ ﺘﺘﻜﻠﻤﻭﺍ ﺒﻬﺫﺍ‬ ‫ﺍﻟﻤﻭﻀﻭﻉ ﺍﻵﻥ! ﻟﻜﻨﻨﻲ ﺍﻜﺘﺸﻔﺕ ﺍﻜﺘﺸﺎﻓ ﹰ ﻋﻅﻴﻤ ﹰ!‬ ‫ﺎ‬ ‫ﺎ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ: ﺒﻠﻰ، ﺒﻠﻰ! ) ﻴﺠﻤﻌﻬﻡ ﺤﻭﻟﻪ ﻭﻴﻬﻤﺱ ﻓﻲ‬ ‫ﺁﺫﺍﻨﻬﻡ.( ﺃﺘﻌﻠﻤﻭﻥ، ﺍﻟﺤﻘﻴﻘﺔ ﻫﻲ ﺃﻥ ﺃﻗﻭﻯ ﺭﺠل ﻓﻲ ﺍﻟﻌﺎﻟﻡ ﻫﻭ‬ ‫ﺫﻟﻙ ﺍﻟﺫﻱ ﻴﻘﻑ ﻭﺤﻴﺩﹰ ﺩﺍﺌﻤ ﹰ.‬ ‫ﺎ‬ ‫ﺍ‬ ‫ﺒﺘﺭﺍ )ﺘﻀﻊ ﻴﺩﻴﻬﺎ ﺒﻴﺩﻴﻪ ﺒﺤﺭﺍﺭﺓ(: ﺃﺒﻲ!‬ ‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﻤﺎﺫﺍ؟ ﺍﻜﺘﺸﺎﻑ ﺁﺨﺭ؟‬ ‫ﻤﻭﺭﺘﻥ: ﻤﺭﺤﻰ!‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ: ﺍﻷﻗﻭﻯ - ﺍﻵﻥ؟‬

‫ﺍﻟﺴﻴﺩﺓ ﺴﺘﻭﻜﻤﺎﻥ )ﺘﺒﺘﺴﻡ ﻭﺘﻬﺯ ﺭﺃﺴﻬﺎ(: ﺁﻩ، ﻴﺎ ﺘﻭﻤﺎﺱ -!‬

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‫)* (‬

‫ﻟﻘﺩ ﺴﻤﺤﺕ ﻟﻨﻔﺴﻲ ﺒﺘﺭﺠﻤﺔ ﺠﻤﻠﺔ ﺃﻭ ﺠﻤﻠﺘﻴﻥ ﺒﺘﺼﺭﻑ ﺒﻌﺽ ﺍﻟﺸﻲﺀ.‬ ‫ﺤﻴﻥ ﺸﺒﻪ ﺍﻟﺩﻜﺘﻭﺭ ﺴﺘﻭﻜﻤﺎﻥ ﺍﻷﺭﺴﺘﻘﺭﺍﻁﻴﻴﻥ ﻤﻥ ﺍﻟﻤﺜﻘﻔﻴﻥ ﺒﺎﻟﻜﻼﺏ‬ ‫ﺍﻷﺼﻴﻠﺔ، ﺠﻌﻠﻪ ﺇﺒﺴﻥ ﻴﺫﻜﺭ ﻜﻠﺏ ﺍﻟﺒﻭﺩل ﺍﻟﺫﻜﻲ ﻜﻤﺜﺎل ﻋﻠﻰ ﺍﻟﺘﻔﻜﻴﺭ‬ ‫ﺍﻟﺩﻗﻴﻕ ﻭﺍﻟﺫﻜﺎﺀ. ﻟﻜﻥ ﻜﻼﺏ ﺍﻟﺒﻭﺩل، ﻤﻥ ﺃﻱ ﻓﺌﺔ ﻜﺎﻨﺕ ﻓﻲ ﺇﻨﻜﻠﺘﺭﺍ ﺍﻟﻴﻭﻡ،‬ ‫ﺕ‬ ‫ﻴﻭﺠﺩ ﻋﻨﻬﺎ ﺃﻓﻜﺎﺭ ﺨﺎﻁﺌﺔ، ﻟﺫﺍ ﻏﻴﺭﺕ ﻫﺫﺍ ﺍﻟﻨﻭﻉ ﻤﻥ ﺍﻟﻜﻼﺏ ﻭﺍﺴﺘﺒﺩﻟ ﹸ‬ ‫ﺎ‬ ‫ﺒﻪ ﻜﻠﺏ ﺍﻟﺼﻴﺩ. ﻭﺤﻴﻥ ﺘﺤﺩﺙ ﻋﻥ ﻜﺭﻫﻪ ﻟـ »‪) «ledende mœnd‬ﺤﺭﻓﻴﹰ‬ ‫»ﺍﻟﻘﻴﺎﺩﻴﻭﻥ« - ﺒﺎﻟﻤﻌﻨﻰ ﺍﻟﺴﻴﺎﺴﻲ ﻻ ﺍﻟﻤﺴﺭﺤﻲ، ﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤﻥ ﺃﻥ ﺇﺒﺴﻥ‬ ‫ﻴﻌﺭﻑ ﺸﻴﺌﺎ ﺃﻭ ﺍﺜﻨﻴﻥ ﻋﻥ ﺫﻟﻙ ﺍﻟﻨﻭﻉ ﺍﻷﺨﻴﺭ ﺃﻴﻀﹰ(، ﺘﺭﺠﻤﺕ ﺍﻟﻌﺒﺎﺭﺓ‬ ‫ﺎ‬ ‫ﺒـ »ﺭﺠﺎل ﺍﻟﺴﻴﺎﺴﺔ«. ﻭﻗﺩ ﻗﺼﺩ ﺇﺒﺴﻥ ﺒـ »‪ «ledende mœnd‬ﺃﻱ ﺸﺨﺹ‬ ‫ﻴﻘﻭﺩ ﺍﻵﺨﺭﻴﻥ ﺒﺄﻨﻔﻪ)**(، ﻭﻫﻭ ﺘﻌﺭﻴﻑ ﺩﻗﻴﻕ ﺇﻟﻰ ﺤﺩ ﻤﺎ ﻟﺭﺠل ﺍﻟﺴﻴﺎﺴﺔ.‬ ‫ﺒﺎﺴﺘﻌﻤﺎﻟﻲ ﺍﻷﻗﻭﺍﺱ ﺍﻟﻤﺭﺒﻌﺔ ﻓﻲ ﺍﻟﻨﺹ ﺃﺭﺩﺕ ﺍﻹﺸﺎﺭﺓ ﺇﻟﻰ ﺇﻤﻜﺎﻨﻴﺔ‬ ‫ﺤﺫﻑ ﻤﺎ ﺒﻴﻥ ﺍﻟﻘﻭﺴﻴﻥ ﻓﻲ ﺃﺜﻨﺎﺀ ﺍﻟﻌﺭﺽ. ﺇﻥ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ«‬ ‫ ﺒﺎﺴﺘﺜﻨﺎﺀ ﻤﺴﺭﺤﻴﺔ »ﺍﻟﺒﻁﺔ ﺍﻟﺒﺭﻴﺔ« - ﻫﻲ ﺃﻁﻭل ﻤﺴﺭﺤﻴﺎﺕ ﺇﺒﺴﻥ‬‫ﺍﻟﻨﺜﺭﻴﺔ، ﻭﺍﻟﺘﻲ ﻻ ﻴﺯﺍل ﻴﺴﺘﻐﺭﻕ ﻋﺭﻀﻬﺎ ﻗﺭﺍﺒﺔ ﺜﻼﺙ ﺍﻟﺴﺎﻋﺎﺕ، ﻋﻠﻰ‬ ‫ﺍﻟﺭﻏﻡ ﻤﻥ ﺒﻌﺽ ﺍﻟﺤﺫﻑ ﻜﻤﺎ ﻓﻌﻠﻨﺎ ﻫﻨﺎ. ﻴﺘﻀﻤﻥ ﺨﻁﺎﺏ ﺴﺘﻭﻜﻤﺎﻥ ﻓﻲ‬ ‫ﻴﺩ‬ ‫ﺍﻟﻔﺼل ﺍﻟﺭﺍﺒﻊ ﻜﻤﻴﺔ ﻤﻌﻴﻨﺔ ﻤﻥ ﺴﻤﻙ ﺍﻟﺭﻨﺠﺔ ﺍﻷﺤﻤﺭ ﺍﻟﺫﻱ ﻻ ‪‬ﻌ ‪‬‬ ‫ﺇﺴﻘﺎﻁﻪ ﻤﻥ ﺍﻟﻨﺹ ﺨﺴﺎﺭﺓ ﻜﺒﻴﺭﺓ، ﻭﺒﺩﺍﻴﺔ ﺍﻟﻔﺼل ﺍﻷﺨﻴﺭ، ﺒﺈﺼﺭﺍﺭﻩ‬ ‫ﻋﻠﻰ ﺘﻜﺭﺍﺭ »ﻋﺩﻡ ﺍﻟﺠﺭﺃﺓ«، ﻭﺍﻟﺩﻗﺎﺌﻕ ﺍﻷﺨﻴﺭﺓ، ﻜﻠﻬﺎ ﻤﺠﺘﻤﻌﺔ ﺘﻔﻴﺩ ﻓﻲ‬ ‫ﺭﺃﻴﻲ ﺍﻟﺘﺭﻓﻕ ﺍﻟﺤﻜﻴﻡ. ﻟﻜﻥ ﻷﻱ ﻤﺨﺭﺝ ﻴﺴﺘﺨﺩﻡ ﻫﺫﻩ ﺍﻟﺘﺭﺠﻤﺔ ﺍﻟﺤﺭﻴﺔ‬ ‫ﺒﺎﺘﺒﺎﻉ ﺭﺃﻴﻪ ﺍﻟﺸﺨﺼﻲ ﻓﻲ ﻫﺫﻩ ﺍﻟﻤﺴﺄﻟﺔ.‬
‫)*( ﺍﻟﻤﻘﺼﻭﺩ ﻫﻨﺎ ﺘﺭﺠﻤﺔ ﻤﺎﻴﻜل ﻤﻴﻴﺭ ﻤﺴﺭﺤﻴﺔ »ﻋﺩﻭ ﺍﻟﺸﻌﺏ« ﻤﻥ ﺍﻟﻨﺭﻭﺠﻴﺔ‬ ‫ﺇﻟﻰ ﺍﻹﻨﻜﻠﻴﺯﻴﺔ.‬ ‫)**( ﺍﺼﻁﻼﺡ ﺒﻤﻌﻨﻰ ﻴﺠﻌﻠﻬﻡ ﻁﻭﻉ ﺃﻤﺭﻩ ﻓﻲ ﻜل ﺸﻲﺀ.‬

‫ﻤﻼﺤﻅﺔ ﻋﻠﻰ ﺍﻟﺘﺭﺠﻤﺔ‬

‫-٣٢٢-‬

‫ﺍﻟﻔﻬﺮﺱ‬
‫ﺍﻟﺼﻔﺤﺔ‬

‫ﻤﻘﺩﻤﺔ ﻤﺎﻴﻜل ﻤﻴﻴﺭ ﻟﻠﺘﺭﺠﻤﺔ ﺍﻹﻨﻜﻠﻴﺯﻴﺔ ........................ ٧٢‬ ‫ﺍﻟﻔﺼل ﺍﻷﻭل .............................................. ٧٥‬ ‫ﺍﻟﻔﺼل ﺍﻟﺜﺎﻨﻲ ............................................. ٧٨‬ ‫ﺍﻟﻔﺼل ﺍﻟﺜﺎﻟﺙ ............................................. ١٢١‬ ‫ﺍﻟﻔﺼل ﺍﻟﺭﺍﺒﻊ ............................................. ٥٥١‬ ‫ﺍﻟﻔﺼل ﺍﻟﺨﺎﻤﺱ ........................................... ٩٨١‬ ‫ﻤﻼﺤﻅﺔ ﻋﻠﻰ ﺍﻟﺘﺭﺠﻤﺔ ..................................... ٣٢٢‬

‫ﻤﻘﺩﻤﺔ ﺍﻟﺘﺭﺠﻤﺔ ﺍﻟﻌﺭﺒﻴﺔ ..................................... ٥‬

‫ﺍﻟﻄﺒﻌﺔ ﺍﻷﻭﱃ / ٢١٠٢ ﻡ‬ ‫ﻋﺪﺩ ﺍﻟﻄﺒﻊ ٠٠٠١ ﻧﺴﺨﺔ‬

‫-٤٢٢-‬…...

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