‫ﻧﻘﺪ ﻭ ﺑﺮﺭﺳﻰ ﻛﺘﺎﺏ ﻣﺮگ ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴﭻ‬

‫ﻧﻘﺪ ﻭ ﺑﺮﺭﺳﻰ ﻛﺘﺎﺏ‬

‫ﺷﻤﺎﺭﺓ ‪) 69‬ﭘﻴﺎﭘﻰ ‪ (183‬ـ ﺩﻯﻣﺎﻩ ‪1391‬‬

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‫»ﻣﺮگ ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴﭻ«‬
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‫ﻟﻴﻼ ﺷﻌﺒﺎﻧﯽ‬

‫ﻛﺘـﺎﺏ‪ ،‬ﻣﺘﺮﺟﻢﻫـﺎی ﺯﻳـﺎﺩی ﺩﺭ ﺯﺑﺎﻥﻫـﺎی ﮔﻮﻧﺎﮔﻮﻥ ﺑـﻪ ﺧﻮﺩ ﺩﻳﺪﻩ ﺍﺳـﺖ‪ ،‬ﻛﻪ‬ ‫ﻛﺘـﺎﺏ ﻣـﺮگ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴـﭻ )‪ ،(Smert’ Ivana Ilycha 1886‬ﻧﻮﺷـﺘﮥ‬ ‫ِ‬
‫ﺣﺎﻛـﯽ ﺍﺯ ﺑـﺎﺍﺭﺯﺵ ﺑـﻮﺩﻥ ﺍﺛﺮ ﺍﺳـﺖ‪ .‬ﺩﺭ ﻣﻮﺭﺩ ﻣﺘﺮﺟﻢﻫﺎی ﻓﺎﺭﺳـﯽ ﺁﻥ‪ ،‬ﻣﯽﺗﻮﺍﻥ‬ ‫ﺷـﺎﻫﻜﺎﺭﻫﺎی‬
‫ِ‬ ‫ﺳﺮﺷـﻨﺎﺱ ﺍﺩﺑﻴﺎﺕ ﺭﻭﺳـﻴﻪ ‪ -‬ﻳﻜﯽ ﺍﺯ‬
‫ِ‬ ‫ﻧﻮﻳﺴـﻨﺪۀ‬ ‫‪-‬‬ ‫ﺗﻮﻟﺴـﺘﻮی‬ ‫ﻟﺌﻮ‬
‫ﺍﺯ ﺍﺣﻤـﺪ ﮔﻠﺸـﻴﺮی‪ ،‬ﻻﻟـﻪ ﺑﻬﻨـﺎﻡ‪ ،‬ﻛﺎﻇﻢ ﺍﻧﺼـﺎﺭی‪ ،‬ﺳـﺎﻟﻮﻣﻪ ﻣﻬﻮﺷـﺎﻥ‪ ،‬ﺻﺎﺩﻕ‬ ‫ﺍﺩﺑﻴـﺎﺕِ ﺟﻬـﺎﻥ ﻣﺤﺴـﻮﺏ ﻣﯽﺷـﻮﺩ‪ .‬ﺍﻳﻦ ﺍﺛﺮ‪ ،‬ﻳﻚ ﺩﺍﺳـﺘﺎﻥ ﺭﺋﺎﻟﻴﺴـﺘﯽ‪ ،‬ﺳـﺎﺩﻩ‪،‬‬
‫ﺳـﺮﺍﺑﯽ‪ ،‬ﻫﻮﺷـﻨﮓ ﺍﺳـﻤﺎﻋﻴﻠﻴﺎﻥ‪ ،‬ﺳـﺮﻭﺵ ﺣﺒﻴﺒﯽ‪ ،‬ﻣﺤﻤـﺪ ﺩﺍﺩﮔـﺮ‪ ،‬ﻋﻠﯽ ﺍﺻﻐﺮ‬ ‫ﻛﻮﺗﺎﻩ‪ ،‬ﺭﻭﺍﻥ ﻭ ﻳﻜﺪﺳـﺖ ﺍﺳـﺖ؛ ﻛﻪ ﺿﻤﻦ ﺍﺷـﺎﺭﺍﺗﯽ ﺑﻪ ﺁﺩﺍﺏ ﻃﺒﻘﮥ ﺳـﺮﻣﺎﻳﻪﺩﺍﺭ‬
‫ﺑﻬﺮﺍﻣـﯽ‪ ،‬ﺻﺎﻟﺢ ﺣﺴـﻴﻨﯽ ﻭ‪ . . .‬ﻧـﺎﻡ ﺑﺮﺩ‪.‬‬ ‫ﻗﻬﺮﻣﺎﻥ ﺩﺍﺳـﺘﺎﻥ ـ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴﭻ ـ ﺭﺍ ﻧﻴﺰ ﻣﺘﻌﻠﻖ ﺑـﻪ ﺍﻳﻦ ﻃﺒﻘﻪ ﻣﯽﺩﺍﻧﺪ‪.‬‬
‫ِ‬ ‫ﺭﻭﺳـﻴﻪ‪،‬‬
‫ﻛﺘـﺎﺏ ﺷـﺎﻣﻞ ﭼﻬﺎﺭ ﺑﺨـﺶ ﻭ ﺩﻭﺍﺯﺩﻩ ﻓﺼﻞ ﺍﺳـﺖ ﻛﻪ ﺗﺪﺍﻋﯽﮔـﺮ ﻓﺼﻮﻝ ﻭ‬ ‫ﺗﻮﻟﺴـﺘﻮی ﻫﻤﺎﻧﻨـﺪ ﺩﻳﮕﺮ ﻧﻮﺷـﺘﻪﻫﺎی ﺧﻮﺩ‪ ،‬ﺩﺭ ﺍﻳـﻦ ﺍﺛﺮ ﻗﺼـﺪ ﺩﺍﺭﺩ ﻣﺨﺎﻃﺐ ﺭﺍ‬
‫ﻣﺎﻩﻫﺎی ﺳـﺎﻝ ﺍﺳـﺖ‪ .‬ﻣـﺮگ ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴـﭻ ﺩﺭ ﺁﺧﺮﻳﻦ ﺭﻭﺯﻫﺎی ﺳـﺎﻝ‪ ،‬ﺍﺷـﺎﺭﻩﺍی‬ ‫ﺑـﻪ ﺑﺎﺯﻧﮕـﺮی ﻭ ﺗﺠﺪﻳـﺪ ﻧﻈﺮ ﺩﺭ ﻧﺤﻮۀ ﺯﻳﺴـﺘﻦ ﺧـﻮﺩ ﺗﺮﻏﻴﺐ ﻛﻨﺪ‪.‬‬
‫ﺯﻣﺴـﺘﺎﻥ ﻋﻤـﺮ ﺍﻳﻠﻴﭻ ﺍﺳـﺖ؛ ﺍﮔﺮﭼﻪ ﺍﻳﻦ ﺯﻣﺴـﺘﺎﻥ‪ ،‬ﺑﻬـﺎﺭی ﻧﻴﺰ ﺩﺭ ﭘـﯽ ﺩﺍﺭﺩ‬
‫ِ‬ ‫ﺑـﻪ‬ ‫ﺩﺭ ﺍﻳﻦ ﺷـﺎﻫﻜﺎﺭ ﻛﻮﺗﺎﻩ ﺍﺩﺑﯽ‪ ،‬ﺗﻮﻟﺴـﺘﻮی ﺑﺎ ﻗﺪﺭﺕ ﺗﻤﺎﻡ‪ ،‬ﻭﺣﺸـﺖ ﺍﺯ ﻣﺮگ ﺭﺍ‬
‫ﻛـﻪ ﺁﻏـﺎﺯ ﺯﻧﺪﮔﯽ ﺩﻭﺑﺎﺭۀ ﺍﻭﺳـﺖ‪ .‬ﺳـﻴﻜﻞ ﻭ ﭼﺮﺧﮥ ﻣـﺮگ ﻭ ﺯﻧﺪﮔـﯽ‪ ،‬ﻣﺮﺗﺐ ﺩﺭ‬ ‫ﺩﺭ ﺗﺎﺭﻳـﺦ ﺍﺩﺑﻴـﺎﺕ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸـﻴﺪﻩ ﺍﺳـﺖ‪ .‬ﻭی ﻣﺨﺎﻃﺐ ﺭﺍ ﺿﻤـﻦ ﺩﻋﻮﺕ ﺑﻪ‬
‫ﺩﺍﺳـﺘﺎﻥ ﺗﻜﺮﺍﺭ ﻣﯽﺷـﻮﺩ؛ ﻭ ﺣﻜﺎﻳﺖ ﺍﺯ ﺍﻳﻦ ﺩﺍﺭﺩ ﻛﻪ ﻣﯽﺗﻮﺍﻥ ﻫﺮ ﻳﻚ ﺭﺍ ﺷـﺮﻭﻉ‬ ‫ﺗﻘﺎﺑـﻞ ﻣﺮگ ﻭ ﺯﻧﺪﮔـﯽ ﻭﺍ ﻣـﯽﺩﺍﺭﺩ ﻛﻪ ﺩﺭ‬‫ِ‬ ‫ﻧﮕﺎﻩ ﻫﺴـﺘﯽ ﺷﻨﺎﺳـﯽ‪ ،‬ﺑـﻪ ﺗﺄﻣﻞ ﺩﺭ‬
‫ﻭ ﺁﻏـﺎﺯی ﺑـﺮﺍی ﺩﻳﮕـﺮی ﺩﺭ ﻧﻈـﺮ ﮔﺮﻓﺖ‪ .‬ﺯﻧﺪﮔـﯽ ﺍﻳﻮﺍﻥ‪ ،‬ﺧﺒـﺮ ﺍﺯ ﻣﺮگ ﻏﺮﻳﺒﯽ‬ ‫ﺁﻥ‪ ،‬ﻏﻔﻠﺖ ﺍﻧﺴـﺎﻥ ﺑﻪ ﭼﺎﻟﺶ ﻛﺸـﻴﺪﻩ ﻣﯽﺷـﻮﺩ‪.‬‬
‫ﺩﺍﺭﺩ؛ ﻭ ﻣـﺮگ ﺍﻭ ﺁﻏـﺎﺯ ﺯﻧﺪﮔﯽ ﺩﻭﺑﺎﺭﻩ ﺩﺭ ﺍﻭﺳـﺖ‪.‬‬ ‫ﻻﻳﻮﻧـﻞ ﺗﺮﻳﻠﻴﻨـﮓ ﺩﺭ ﻛﺘـﺎﺏ ﺧﻮﺩ ﺑﺎ ﻋﻨـﻮﺍﻥ ﺗﺠﺮﺑﮥ ﺍﺩﺑﻴـﺎﺕ ﺩﺭ ﻣﻮﺭﺩ ﻣﺮگ‬
‫ﻋﻨـﻮﺍﻥ ﺍﻳـﻦ ﺭﻣـﺎﻥ‪ ،‬ﻫﻢ ﺑﺴـﻴﺎﺭ ﻣﺘﻨﺎﺳـﺐ ﻭ ﻫﻢ ﺑﺴـﻴﺎﺭ ﻓﺮﻳﺒﻨﺪﻩ ﺍﺳـﺖ‪ .‬ﺍﻳﻦ‬ ‫ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴﭻ ﻣﯽﮔﻮﻳﺪ‪» :‬ﺗﻮﻟﺴـﺘﻮی ﻫﺸـﺖ ﺳـﺎﻟﯽ ﭘﻴﺶ ﺍﺯ ﻧﻮﺷـﺘﻦ ﺍﻳﻦ ﺩﺍﺳﺘﺎﻥ‪،‬‬
‫ﻋﻨـﻮﺍﻥ‪ ،‬ﺧﻮﺍﻧﻨـﺪﻩ ﺭﺍ ﻭﺍﺩﺍﺭ ﺑـﻪ ﺗﻔﻜﺮ ﻣﯽﻛﻨﺪ‪ ،‬ﻣﺜﻞ ﺧﻮﺩ ﺍﻳﻮﺍﻥ ﻛﻪ ﺑﺴـﻴﺎﺭ ﺑﻪ ﻣﺮگ‬ ‫ﺑﺤﺮﺍﻥ ﺭﻭﺣﯽ ﺑﺰﺭﮔﯽ ﺭﺍ ﺍﺯ ﺳـﺮ ﮔﺬﺭﺍﻧﺪ ﻛﻪ ﻣﻨﺠﺮ ﺑﻪ ﻧﻮﻣﺴـﻠﻜﯽ ﺍﻭ ﺷـﺪ ﻭ ﺭﺍﻩ ﻭ‬
‫ﺗﻮﺟـﻪ ﻣﯽﻛﻨـﺪ؛ ﺍﮔـﺮ ﭼﻪ ﺩﺭ ﭘﺎﻳـﺎﻥ‪ ،‬ﺧﻮﺍﻧﻨـﺪﻩ ﺑﺎﺯ ﻫـﻢ ﻫﻤﺎﻧﻨﺪ ﺍﻳـﻮﺍﻥ ﻣﯽﻓﻬﻤﺪ‬ ‫ﺭﺳـﻢ ﺯﻧﺪﮔﯽﺍﺵ ﺭﺍ ﻳﻜﺴـﺮﻩ ﺩﮔﺮﮔﻮﻥ ﺳـﺎﺧﺖ‪ .‬ﺭﺍﻩ ﻭ ﺭﺳـﻢ ﺍﺷـﺮﺍﻓﻴﺖ ﺭﺍ‪ ،‬ﻛﻪ ﺩﺭ‬

‫‪31‬‬ ‫ﻛـﻪ ﻣـﺮگ‪ ،‬ﺑـﯽ ﺍﺭﺗﺒﺎﻁ ﺍﺳـﺖ‪ .‬ﻣـﺮﺩﻥ‪ ،‬ﺁﮔﺎﻫﯽ ﺭﻭﺣـﯽ ﻭ ﺍﺣﻴﺎی ﻣﺠـﺪﺩ‪ ،‬ﻧﻜﺎﺕ‬
‫ﺍﺻﻠـﯽِ ﻣﻄـﺮﺡ ﺩﺭ ﺩﺍﺳـﺘﺎﻥ ﻣﺮگ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴﭻ ﻫﺴـﺘﻨﺪ‪ .‬ﻫﻤﺎﻥﻃﻮﺭ ﻛـﻪ ﺩﺭ ﺍﻳﻦ‬
‫ﺭﻣـﺎﻥ ﻣﺠﺴـﻢ ﻣﯽﺷـﻮﺩ‪ ،‬ﻣﺮگ‪ ،‬ﻧﻬﺎﻳـﺖ ﻭﺍﻗﻌﻴﺖ ﺍﺳـﺖ ﻛﻪ ﻫﺮ ﺍﻧﺴـﺎﻧﯽ ﺑﺎﻳﺪ ﺑﺎ‬
‫ﺩﺍﻣـﻦ ﺁﻥ ﭘـﺮﻭﺭﺩﻩ ﺷـﺪﻩ ﺑﻮﺩ‪ ،‬ﺭﻫﺎ ﻛﺮﺩ ﻭ ﺷـﻴﻮۀ ﻣﺴـﻴﺤﻴﺎﻥ ﺍﻭﻟﻴـﻪ ﺭﺍ ﺍﺧﺘﻴﺎﺭ ﻛﺮﺩ‬
‫ﻭ ﺑـﻪ ﺯﻧﺪﮔـﯽ ﺭﻫﺒﺎﻧـﯽ ﺭﻭی ﺁﻭﺭﺩ ﻭ ﺧـﻮﺩ ﺭﺍ ﻭﻗـﻒ ﺧﺪﻣﺖ ﺑﻪ ﻧﻮﻉ ﺑﺸـﺮ‪ ،‬ﺧﺎﺻﻪ‬
‫ﻣﺴـﻜﻴﻨﺎﻥ ﻭ ﻓﺮﻭﺗﻨﺎﻥ ﻛﺮﺩ« )ﻻﻳﻮﻧـﻞ ﺗﺮﻳﻠﻴﻨﮓ‪ ،‬ﺹ ‪.(16‬‬
‫ﺁﻥ ﻣﻮﺍﺟـﻪ ﺷـﻮﺩ ﻭ ﺁﻥ ﺭﺍ ﺑﭙﺬﻳـﺮﺩ‪ .‬ﺑـﺮﺍی ﺍﻳـﻮﺍﻥ‪ ،‬ﺍﺟﺘﻨﺎﺏﻧﺎﭘﺬﻳـﺮ ﺑـﻮﺩﻥ ﻣﺮﮔﺶ‪،‬‬ ‫ﺗﻮﻟﺴـﺘﻮی ﺍﻳـﻦ ُﺭﻣـﺎﻥ ﺭﺍ ﺩﺭ ﺳـﻦ ﺷـﺼﺖ ﺳـﺎﻟﮕﯽ ﻭ ﺩﺭ ﺍﻭﺝ ﭘﺨﺘﮕـﯽ ﺧﻮﺩ‬
‫ﻳـﻚ ﺑﺤـﺮﺍﻥ ﺭﻭﺣﯽ ﺍﺳـﺖ ﻭ ﺍﺣﻴﺎی ﻣﺠـﺪﺩ ﺯﻧﺪﮔﯽﺍﺵ ﺭﺍ ﺍﻟﻘـﺎ ﻣﯽﻛﻨﺪ‪ .‬ﻣﻄﺎﺑﻖ‬ ‫ﻧﻮﺷـﺘﻦ ﻣﺮگ ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴﭻ‪ ،‬ﺳـﻼﻣﺘﯽ ﺗﻮﻟﺴـﺘﻮی ﺯﺍﺋﻞ‬ ‫ِ‬ ‫ﻧﻮﺷـﺘﻪ ﺍﺳـﺖ‪ .‬ﺩﺭ ﺯﻣﺎﻥ‬
‫ﺑـﺎ ﻋﻘﺎﻳـﺪ ﺷـﺨﺼﯽ ﺗﻮﻟﺴـﺘﻮی‪ ،‬ﺍﻳﻮﺍﻥ ﺳـﻄﺤﯽﺑﻮﺩﻥ ﺯﻧﺪﮔـﯽ ﻗﺒﻠـﯽﺍﺵ ﺭﺍ ﺭﺩ‬ ‫ﻣﯽﺷـﻮﺩ ﻭ ﺁﺭﺯﻭی ﻣـﺮگ ﻣﯽﻛﻨـﺪ؛ ﺑﺪﻳـﻦ ﺗﺮﺗﻴﺐ ﺗﻮﻟﺴـﺘﻮی‪ ،‬ﺩﮔﺮﮔﻮﻧﯽ ﻓﻜﺮی‬
‫ﻣﯽﻛﻨـﺪ ﻭ ﺍﺭﺯﺵﻫـﺎی ﺑﻴﺸـﺘﺮی ﺩﺭ ﺯﻧﺪﮔـﯽ ﻣﯽﮔﻨﺠﺎﻧـﺪ‪ ،‬ﺧﺼﻮﺻـ ًﺎ ﺍﺣﺴـﺎﺱ‬ ‫ﺟﺪﻳـﺪی ﺭﺍ ﺗﺠﺮﺑـﻪ ﻣﯽﻛﻨـﺪ‪ .‬ﺍﮔﺮﭼـﻪ ﺍﺷـﺘﻐﺎﻝ ﺫﻫﻨـﯽ »ﻣـﺮگ«‪ ،‬ﻫﻤـﮥ ﻋﻤﺮ ﺑﺎ‬
‫ﻋﺸـﻖ ﻭ ﭘﺬﻳـﺮﺵ‪ .‬ﻣﻨﺘﻘـﺪﺍﻥ ﺑﻪ ﭘﻴﮕﻴـﺮی ﻣﺎﺩیﮔﺮﺍﻳـﯽ ﻭ ﺁﺭﺍﻣﺶ ﺍﻳـﻮﺍﻥ ﺗﺄﻛﻴﺪ‬ ‫ﺗﻮﻟﺴـﺘﻮی ﻫﻤـﺮﺍﻩ ﺑـﻮﺩﻩ ﺍﺳـﺖ ﺍﻣـﺎ ﺳـﺮﺍﻧﺠﺎﻡ ﻭی ﺭﺍ ﻭﺍﺩﺍﺭ ﺑﻪ ﻧﻮﺷـﺘﻦ ﻣﯽﻛﻨﺪ‪.‬‬
‫ﻣﯽﻛﻨﻨـﺪ‪ ،‬ﺯﻧﺪﮔﯽﻳـﯽ ﻛـﻪ ﻣﻮﻫـﻮﻡ ﺑﺎﺯﮔـﻮ ﻣﯽﺷـﻮﺩ ﻭ ﺧﺎﻟـﯽ ﺍﺯ ژﺭﻓـﺎی ﺭﻭﺣﯽ‬ ‫ﺗﻮﻟﺴـﺘﻮی ﺑﺎ ﺟـﺮﺃﺕ ﺗﻤﺎﻡ ﻗﺪﻡ ﺑﻪ ﻋﺮﺻﮥ ﻣﺮگ ﻭ ﻧﻴﺴـﺘﯽ ﻣﯽﮔﺬﺍﺭﺩ ﻭ ﻧﻮﺷـﺘﻦ‬
‫ﺍﺳـﺖ‪ .‬ﺑﺮﺧـﻮﺭﺩ ﺑـﺎ ﻃﻤـﻊ ﻭ ﺣـﻖ ﺍﻣﺘﻴـﺎﺯ )ﺗﺒﻌﻴـﺾ(‪ ،‬ﺩﺭ ﺍﻛﺜـﺮ ﺍﺩﺑﻴـﺎﺕ ﺭﻭﺳـﯽ‬ ‫ﺩﺍﺳـﺘﺎﻥ ﺧـﻮﺩ ﺭﺍ ﺑﺎ ﻣﺮگ ﺁﻏـﺎﺯ ﻣﯽﻛﻨﺪ ﻭ ﺑﺎ‬
‫ِ‬ ‫ﺍﺯ ﻣـﺮگ‪ ،‬ﺩﻏﺪﻏـﮥ ﺍﻭ ﻣﯽﺷـﻮﺩ‪ .‬ﻭی‬
‫ﻣﻮﺿـﻮﻉ ﺍﺻﻠـﯽ ﺍﺳـﺖ ﻭ ﻋﺎﻣـﻞ ﻣﻮﺿﻮﻋـﯽ ﺍﺻﻠـﯽ ﺩﺭ ﺁﺛـﺎﺭ ﺑﻌﺪی ﺗﻮﻟﺴـﺘﻮی‬ ‫ﺗﻢ ﺍﻳﻦ ﺩﺍﺳـﺘﺎﻥ »ﻣﺮگ« ﺍﺳـﺖ‪ .‬ﺍﻳﻦ‬ ‫ِ‬ ‫ﺗﺮﻳﻦ‬ ‫ﺑﻨﻴﺎﺩی‬ ‫ﻣـﺮگ ﺑﻪ ﺍﻧﺠـﺎﻡ ﻣﯽﺭﺳـﺎﻧﺪ‪.‬‬
 ‫ﻧﻘﺪ ﻭ ﺑﺮﺭﺳﻲ‬

‫*ﻣﺮگ ﺍﻳ‬ ‫*ﻟﺌﻮﻥ ﺗﺎﻟ‬

‫*ﭼﺎ ﺴﺘﻮی‪ ،‬ﺗﺮﺟﻤﮥ ﺻ ﻮﺍﻥ ﺍﻳﻠﻴﭻ‬

‫ﺷﻤﺎﺭﺓ ‪) 69‬ﭘﻴﺎﭘﻰ ‪ (183‬ـ ﺩﻯﻣﺎﻩ ‪1391‬‬

‫ﺎﻟﺢ‬ ‫پ‬
‫ﺳﻮﻡ‪ ،1390،‬ﺗﻬ ﺣﺴﻴﻨﯽ‬
‫ﻥ‪:‬‬ ‫ﺮﺍ‬
‫ﻧﻴﻠﻮﻓﺮ‬

‫ﻗﻬﺮﻣﺎﻥ ﺩﺍﺳﺘﺎﻥ‪ :‬ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴﭻ‬ ‫ﺍﺳـﺖ‪ .‬ﻣﻀﺎﻓـ ًﺎ‪ ،‬ﺭﻣـﺎﻥ ﻣﺮگ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴﭻ ﺍﺯ ﺩﻳـﺪﮔﺎﻩ ﺭﻭﺍﻥﺷـﻨﺎﺧﺘﯽ ﻣﻮﺭﺩ ﺑﺤﺚ‬
‫ﺭﻗﻴﺒـﺎﻥ )ﻣﺨﺎﻟﻔـﺎﻥ(‪ :‬ﺟﺎﻣﻌـﮥ ﺑـﻮﺭژﻭﺍ ﺑﻪﻃـﻮﺭ ﻛﻠـﯽ ﻛـﻪ ﻣﻤﻜـﻦ ﺍﺳـﺖ‬ ‫ﻗـﺮﺍﺭ ﻣﯽﮔﻴﺮﺩ‪.‬‬
‫ﺑﻪﺻـﻮﺭﺕ ﺷـﻮﺍﺭﺗﺰ‪ ،‬ﭘﺮﺍﺳـﻜﻮﻳﺎ‪ ،‬ﭘﻴﺘـﺮ ﻳـﺎ ﻳـﻚ ﻫﻤـﻜﺎﺭ ﺗﺨﺼﺼـﯽ ﺑﺎﺷـﺪ‪.‬‬ ‫ﻣﻨﺘﻘﺪﺍﻥ ﻫﻤﭽﻨﻴﻦ ﺑﻪ ﺑﺮﺭﺳـﯽ ﺭﻓﺘﺎﺭﻫﺎی ﭘﺎﺭﺍﺩﻭﻛﺴـﯽ ﻭ ﺩﻭﮔﺎﻧﻪ ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴﭻ‬
‫ﻣﻮﻗﻌﻴﺖ )ﺯﻣﺎﻥ(‪ :‬ﺍﻭﺍﺧﺮ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ‬ ‫ﻣـﯽ ﭘﺮﺩﺍﺯﻧـﺪ؛ ﻛـﻪ ﻣـﯽ ﺗـﻮﺍﻥ ﺍﺯ ﻳﻜﺴـﻮ ﺑﻪ ﺭﺍﺑﻄـﻪ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴﭻ ﺑﺎ ﻫﻤـﻜﺎﺭﺍﻥ ﻭ‬
‫ﻣﻮﻗﻌﻴﺖ )ﻣﻜﺎﻥ(‪ :‬ﭘﻴﺘﺮﺯ ﺑﻮﺭگ ﻭ ﺍﻳﺎﻻﺕ ﻭ ﺷﻬﺮﻫﺎی ﺍﻃﺮﺍﻑ ﺭﻭﺳﻴﻪ‬ ‫ﺧﺎﻧـﻮﺍﺩﻩﺍﺵ ﺩﺭ ﻃـﯽ ﺑﻴﻤـﺎﺭی ﻛـﻪ ﻣﻨﺠـﺮ ﺑـﻪ ﺍﻧـﺰﻭﺍ ﻭ ﺩﻭﺭی ﮔﺰﻳـﺪﻥ ﺍﺯ ﺭﻭﺍﺑﻂ‬
‫ﺩﻳـﺪﮔﺎﻩ )ﻧﻘﻄـﻪ ﻧﻈﺮ(‪ :‬ﺍﻳﻦ ﺭﻣﺎﻥ ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﺳـﻮﻡ ﺷـﺨﺺ )ﮔﻮﻳﻨـﺪۀ ﺁﮔﺎﻩ ﺑﻪ‬ ‫ﺍﻧﺴـﺎﻧﯽ ﮔﺮﺩﻳـﺪ ﻭ ﻧﻴﺰ ﺍﺯ ﺳـﻮﻳﯽ ﺩﻳﮕـﺮ ﺍﻋﺘﻤﺎﺩ ﻭی ﺑﻪ ﺧﺪﻣﺘﻜﺎﺭﺵ ﺟﺮﺍﺳـﻴﻢ ﻭ‬
‫ﻫﻤﻪ ﭼﻴﺰ( ﻧﮕﺮﻳﺴـﺘﻪ ﻣﯽﺷـﻮﺩ‪ ،‬ﻫﺮﭼﻨﺪ ﮔﺎﻫﯽ ﺑﻪﻃﻮﺭ ﻣﻮﻗﻌﻴﺘﯽ ﺍﺯ ﭼﺸـﻢ ﺍﻳﻮﺍﻥ‬ ‫ﺗﻼﺷـﺶ ﺩﺭ ﺑﺮﻗـﺮﺍﺭی ﺭﻭﺍﺑﻂ ﻣﻬﻢ ﺍﻧﺴـﺎﻧﯽ‪ ،‬ﺍﺷـﺎﺭﻩ ﻛﺮﺩ‪.‬‬
‫ﻫﻢ ﺑﻪ ﺩﺍﺳـﺘﺎﻥ ﻧﮕﺎﻩ ﻣﯽﺷـﻮﺩ‪.‬‬
‫ﻋﻤﻠﻜـﺮﺩ ﻧﺰﻭﻟـﯽ‪ :‬ﺍﻳﻦ ﺭﻣﺎﻥ ﺗـﺎ ﺁﻥ ﻣﻮﻗﻊ ﻛـﻪ ﺍﻳﻮﺍﻥ ﺩﺭ ﻳـﻚ ﻟﺤﻈﮥ ﺧﺎﺹ‪،‬‬ ‫ﻋﻮﺍﻣﻞ ﻛﻠﻴﺪی ﺩﺭ ﺩﺍﺳﺘﺎﻥ‬
‫ﺗﺠﻠـﯽ ﺑﻪﺍﻭﺝﺭﺳـﻴﺪﻩﺍی ﺭﺍ ﺗﺠﺮﺑـﻪ ﻣﯽﻛﻨـﺪ‪ ،‬ﻫﻴـﭻ ﻋﻤﻠﻜـﺮﺩ‬ ‫ِ‬ ‫ﻗﺒـﻞ ﺍﺯ ﻣﺮﮔـﺶ‪،‬‬ ‫ﻋﻨﻮﺍﻥ ﻛﺎﻣﻞ‪ :‬ﻣﺮگ ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴﭻ‬
‫ﻧﺰﻭﻟﯽﻳـﯽ ﻧـﺪﺍﺭﺩ‪ .‬ﻋﻤﻠﻜـﺮﺩ ﻧﺰﻭﻟـﯽ ﺑـﺮﺍی ﻛﺎﺭﺍﻛﺘﺮﻫـﺎی ﺩﻳﮕـﺮ ﺩﺭ ﻓﺼـﻞ ﺍﻭﻝ‪،‬‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ :‬ﻟﺌﻮ ﺗﻮﻟﺴﺘﻮی‬
‫ﺑﻪﻃـﻮﺭ ﻫﻤﺰﻣـﺎﻥ‪ ،‬ﺧـﺎﺭﺝ ﺍﺯ ﺳـﻜﺎﻧﺲ ﺭﻣـﺎﻥ ﺍﺗﻔـﺎﻕ ﻣﯽﺍﻓﺘﺪ‪.‬‬ ‫ﻧﻮﻉ ﺍﺛﺮ‪ :‬ﺭﻣﺎﻥ‬
‫ﺯﻣﺎﻥ ‪ :‬ﮔﺬﺷﺘﻪ‬ ‫ﻧـﻮﻉ‪ :‬ﺗﻤﺜﻴﻠـﯽ )ﺩﺍﺳـﺘﺎﻧﯽ ﻛـﻪ ﻣﻮﺿﻮﻉ ﺗﻨـﺰﻝ ﺍﺧﻼﻗـﯽ ﺭﺍ ﺗﺮﺳـﻴﻢ ﻣﯽﻛﻨﺪ‪،‬‬
‫ﺳﺨﻦ‪ :‬ﻏﺎﻟﺒ ًﺎ ﺍﻧﺘﻘﺎﺩی ﻭ ﺗﻤﺴﺨﺮ ﺁﻣﻴﺰ ﻭ ﺍﻏﻠﺐ ﺁﻣﻮﺯﻧﺪﻩ‬ ‫ﺍﻓـﺮﺍﺩ ﺩﺭ ﻃﺒﻘـﮥ ﺑـﺎﻻ‪ ،‬ﺭﻣﺎﻥ ﺭﻭﺍﻥﺷﻨﺎﺳـﯽ(‬
‫ﻣﻮﺿـﻮﻉ‪ :‬ﺯﻧﺪﮔـﯽ ﺻﺤﻴـﺢ‪ ،‬ﺍﺟﺘﻨﺎﺏﻧﺎﭘﺬﻳـﺮ ﺑـﻮﺩﻥ ﻣـﺮگ‪ ،‬ﺯﻧﺪﮔـﯽ ﺩﺭﻭﻧـﯽ‬ ‫ﺯﺑﺎﻥ‪ :‬ﺭﻭﺳﯽ‬
‫ﺑﺮﺧـﻼﻑ ﺯﻧﺪﮔـﯽ ﺑﻴﺮﻭﻧﯽ‬
‫ﻋﻮﺍﻣـﻞ ﺍﺻﻠـﯽ ﻣﻮﺿـﻮﻉ‪ :‬ﻭﺍژﮔﻮﻧـﯽ‪ ،‬ﺑﻴﮕﺎﻧﮕـﯽ‪ ،‬ﻣﻄﻠـﻮﺏ ﺑـﻮﺩﻥ ﺧـﺎﺹ‪،‬‬
‫ﺁﺭﺍﺳـﺘﮕﯽ‪ ،‬ﺍﺩﻏـﺎﻡ ﺯﻣـﺎﻥ ﻭ ﻣـﻜﺎﻥ‪ ،‬ﺟﺎﻣﻌـﮥ ﺑـﻮﺭژﻭﺍﺯی‪ ،‬ﻟﻐـﺎﺕ ﺯﺑـﺎﻥ ﺧﺎﺭﺟـﯽ‬
‫ﺯﻣـﺎﻥ ﻭ ﻣـﻜﺎﻥ ﻧـﮕﺎﺭﺵ‪ :‬ﺩﺭ ﺁﮔﻮﺳـﺖ ‪ 1885‬ﺁﻏـﺎﺯ ﺷـﺪ‪ .‬ﺗﻮﻟﺴـﺘﻮی ﻳـﻚ‬
‫ﭘﻴﺶﻧﻮﻳـﺲ ﻛﺎﻣـﻞ ﺍﺯ ﺍﻳـﻦ ﺩﺍﺳـﺘﺎﻥ ﺭﺍ ﺩﺭژﺍﻧﻮﻳـﻪ ‪ 1886‬ﻛﺎﻣـﻞ ﻛـﺮﺩ ﻭﻟـﯽ‬
‫ً‬
‫ﻛﺎﻣـﻼ ﺟﺪﻳﺪی ﺭﺍ ﺩﺭ ﺍﻭﺍﺳـﻂ ﻣـﺎﻩ ﻣﺎﺭﺱ‬ ‫ﺻﻔﺤﺎﺗـﯽ ﺭﺍ ﺗﺠﺪﻳـﺪ ﻛـﺮﺩ ﻭ ﻧﺴـﺨﮥ‬
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‫ﻧﻤﺎﺩ )ﺳﻨﺒﻞ (‪ :‬ﺳﺎک ﺳﻴﺎﻩ‬ ‫ﺟﺎﻳﮕﺰﻳـﻦ ﻛـﺮﺩ‪ .‬ﺗﺠﺪﻳـﺪ ﻧﻬﺎﻳﯽ ﺍﻳﻦ ﺭﻣﺎﻥ ﺩﺭ ‪ 25‬ﻣﺎﺭﺱ ﺑﻪ ﻧﺎﺷـﺮ ﺍﺭﺍﺋﻪ ﺷـﺪ ﻛﻪ‬
‫ﻣﻔﻬـﻮﻡ ﺳـﺎﺯی‪ :‬ﺑﻪﻭﺳـﻴﻠﮥ ﻟﻐـﺎﺕ ﺯﺑـﺎﻥ ﺧﺎﺭﺟـﯽ‪ ،‬ﺭﺅﻳﺎﻫـﺎی ﻧﻤﺎﺩﻳـﻦ‬ ‫ﺑـﻪ ﺯﺑﺎﻥ ﺭﻭﺳـﯽ ﻧﻮﺷـﺘﻪ ﺷـﺪﻩ ﺑﻮﺩ‪.‬‬
‫)ﺳﺎک ﺳﻴﺎﻩ( ﻭ ﺗﺤﻠﻴﻞ »ﻣﺮگ ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴﭻ« ﺗﻮﺳﻂ ﺗﻮﻟﺴﺘﻮی‬ ‫ﺗﺎﺭﻳﺦ ﺍﻭﻟﻴﻦ ﭼﺎپ‪1886 :‬‬
‫ﻋﻮﺍﻣﻞ ﺍﺻﻠﯽ ﻣﻮﺿﻮﻉ‪:‬‬ ‫ﺭﺍﻭی‪ :‬ﺳﻮﻡ ﺷﺨﺺ )ﺁﮔﺎﻩ ﺑﻪ ﻫﻤﻪ ﭼﻴﺰ(‬
‫ﻧﻘﺾ)ﺑﺮﮔﺸﺖ(‬ ‫ﺍﻭﺝ ﺩﺍﺳـﺘﺎﻥ‪ :‬ﻧﻘﻄـﮥ ﺍﻭﺝ ﺩﺍﺳـﺘﺎﻥ ﺩﺭ ﻓﺼﻞ ﺩﻭﺍﺯﺩﻫﻢ ﺍﺗﻔـﺎﻕ ﻣﯽﺍﻓﺘﺪ‪ ،‬ﻭﻗﺘﯽ‬
‫ﺗﻮﻟﺴـﺘﻮی‪ ،‬ﭼﻨﺪﻳـﻦ ﺍﻟﮕـﻮی ﻭﺍژﮔـﻮﻥ )ﻣﺘﻨﺎﻗـﺾ( ﺭﺍ ﺩﺭ ﺳـﺎﺧﺘﺎﺭ ﺍﻳﻦ ﺭﻣﺎﻥ‬ ‫ﻛـﻪ ﻧﺎﮔﻬـﺎﻥ ﭘﻬﻠـﻮ ﻭ ﮔﺮﺩﻥ ﺍﻳﻮﺍﻥ ﻣﯽﮔﻴﺮﺩ ﻭ ﺑﻪ ﺩﺭﻭﻥ ﺳـﺎک ﺳـﻴﺎﻩ‪ ،‬ﺑﻪ ﺳـﻮی‬
‫ﮔﻨﺠﺎﻧـﺪﻩ ﺍﺳـﺖ‪ .‬ﻣـﺮگ ﻭﺍﻗﻌﯽ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴـﭻ‪ ،‬ﺑﺎ ﭘﺎﻳـﺎﻥ ﻫﻤﺰﻣﺎﻥ ﺍﻳﻦ ﺩﺍﺳـﺘﺎﻥ‬ ‫ﻧـﻮﺭ ﺭﺍﻧـﺪﻩ ﻣﯽﺷـﻮﺩ‪ .‬ﺍﻳـﻮﺍﻥ ﺳـﺮﺍﻧﺠﺎﻡ ﺭﺍﻩ ﺩﺭﺳـﺖ ﺯﻧﺪﮔﯽﻛـﺮﺩﻥ ﺭﺍ ﻛﺸـﻒ‬
‫ﺩﺭ ﺍﻧﺘﻬـﺎی ﻓﺼـﻞ ﺍﺗﻔـﺎﻕ ﻣﯽﺍﻓﺘـﺪ‪ .‬ﻣﺎﺑﻘـﯽ ﺭﻣـﺎﻥ‪ ،‬ﻫﻤﺎﻥﻃـﻮﺭ ﻛـﻪ ﺍﺯ ﻋﻨﻮﺍﻥ‬ ‫ﻣﯽﻛﻨـﺪ ﻭ ﺧﻄـﺎی ﺯﻧﺪﮔﯽ ﮔﺬﺷـﺘﻪﺍﺵ ﺭﺍ ﻣﯽﺷﻨﺎﺳـﺪ‪.‬‬
 ‫ﻧﻘﺪ ﻭ ﺑﺮﺭﺳﻰ ﻛﺘﺎﺏ ﻣﺮگ ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴﭻ‬
‫ﺍﻫﻤﻴـﺖ ﻧﻤﯽﺩﻫـﺪ ﻭ ﻧﺎﺑﻐـﻪ ﺭﺍ ﻛﺴـﯽ ﻣﯽﺩﺍﻧﺪ ﻛﻪ ﺑﻪ ﺍﻳﻦ ﺷـﻴﻮۀ ﺩﺭﺳـﺖ ﺯﻧﺪﮔﯽ‬
‫ﻣﯽﻛﻨـﺪ‪.‬‬
‫ﺍﺩﻏﺎﻡ ﺯﻣﺎﻥ ﻭ ﻣﻜﺎﻥ‬
‫ﺩﺭ ﻳـﻚ ﺭﻣـﺎﻥ‪ ،‬ﺍﺩﻏـﺎﻡ ﺯﻣـﺎﻥ ﻭ ﻣـﻜﺎﻥ‪ ،‬ﺍﮔﺮ ﺑﻪﺗﺪﺭﻳﺞ ﻭﺍﺿﺢ ﻧﺸـﻮﺩ‪ ،‬ﺑﺴـﻴﺎﺭ‬
‫ﺟﺎﻟـﺐ ﺍﺳـﺖ‪ .‬ﺍﻳﻦ ﺍﺩﻏـﺎﻡ‪ ،‬ﻋﺎﻣﻞ ﻣﻬﻤﯽ ﺩﺭ ﻣﻮﺿـﻮﻉ ﺯﻧﺪﮔﯽ ﺩﺭﻭﻧـﯽ‪ ،‬ﺑﺮﺧﻼﻑ‬
‫ﺯﻧﺪﮔـﯽ ﺑﻴﺮﻭﻧـﯽ ﺍﺳـﺖ‪ ،‬ﭼـﻮﻥ ﺍﻫﻤﻴـﺖ ﻣﻌﻨﻮﻳﺖ ﺭﺍ ﻣﺸـﺨﺺ ﻣﯽﻛﻨـﺪ ﻭ ﺍﻳﻦ‬
‫ﻣﻔﻬـﻮﻡ ﺭﺍ ﺗﻘﻮﻳـﺖ ﻣﯽﻛﻨـﺪ ﻛـﻪ ﺯﻧﺪﮔـﯽ ﺑﻪ ﺯﻣـﺎﻥ ﺑﻴـﻦ ﺗﻮﻟﺪ ﻭ ﻣـﺮگ ﻣﺤﺪﻭﺩ‬
‫ﻧﻤﯽﺷـﻮﺩ‪ .‬ﺗﻮﻟﺴـﺘﻮی ﺍﻳـﻦ ﺍﺛﺮ ﺭﺍ ﺑـﻪ ﭼﻨﺪﻳﻦ ﺷـﻴﻮﻩ ﺍﺟﺮﺍ ﻣﯽﻛﻨـﺪ‪ .‬ﭼﻬﺎﺭ ﻓﺼﻞ‬
‫ﺍﻭﻝ ﺍﻳـﻦ ﺭﻣـﺎﻥ‪ ،‬ﺑﻴـﺶ ﺍﺯ ‪ 40‬ﺳـﺎﻝ ﺭﺍ ﺩﺭ ﺑﺮﻣﯽﮔﻴﺮﺩ‪ ،‬ﭼﻬﺎﺭ ﻓﺼـﻞ ﺩﻭﻡ‪ ،‬ﭼﻨﺪﻳﻦ‬
‫ﻣـﺎﻩ ﺭﺍ ﻧﺸـﺎﻥ ﻣﯽﺩﻫـﺪ ﻭ ﭼﻬـﺎﺭ ﻓﺼﻞ ﺁﺧﺮ‪ ،‬ﻓﻘـﻂ ﻛﻤﯽ ﺑﻴﺶ ﺍﺯ ﭼﻬـﺎﺭ ﻫﻔﺘﻪ ﺭﺍ‬
‫ﺩﺭ ﺑـﺮ ﻣﯽﮔﻴـﺮﺩ‪ .‬ﻋـﻼﻭﻩ ﺑﺮ ﺟﻤﻊﺑﻨﺪی ﭼﻬﺎﺭﭼﻮﺏ ﻣﻮﻗﺖ‪ ،‬ﺗﻮﻟﺴـﺘﻮی ﻫﻤﭽﻨﻴﻦ‬
‫ﺍﺯ ﺍﺩﻏﺎﻡﻛـﺮﺩﻥ ﺍﺑﻌـﺎﺩ ﻓﻀﺎﻳﯽ ﻧﻴﺰ ﺍﺳـﺘﻔﺎﺩﻩ ﻣﯽﻛﻨﺪ‪ .‬ﺍﻳـﻮﺍﻥ‪ ،‬ﺩﺭ ﺍﻭﺍﺧـﺮ ﺯﻧﺪﮔﯽ‪ ،‬ﺍﺯ‬
‫ﺷﻤﺎﺭﺓ ‪) 69‬ﭘﻴﺎﭘﻰ ‪ (183‬ـ ﺩﻯﻣﺎﻩ ‪1391‬‬
‫ﺷـﻬﺮی ﺑﻪ ﺷـﻬﺮ ﺩﻳﮕﺮ ﻣﯽﺭﻭﺩ‪ ،‬ﺍﻭ ﻣﻴﺎﻥ ﺳـﺎﻝ‪ ،‬ﺩﺭ ﺷـﻬﺮی ﻣﺴـﺘﻘﺮ ﻣﯽﺷـﻮﺩ‬
‫ﻭ ﺁﭘﺎﺭﺗﻤﺎﻧـﯽ ﻣﯽﮔﻴـﺮﺩ‪ .‬ﻛﻤـﯽ ﺑﻌـﺪ ﺍﺯ ﺷـﺮﻭﻉ ﺑﻴﻤـﺎﺭی‪ ،‬ﺍﻭ ﺑـﻪ ﻛﺎﻭﺵ ﺧـﻮﺩﺵ‬
‫ﻣﺸـﻐﻮﻝ ﻣﯽﺷـﻮﺩ ﻭ ﺩﺭ ﭘﺎﻳـﺎﻥ ﺍﻳـﻦ ﺭﻣـﺎﻥ‪ ،‬ﺍﻭ ﻧﻤﯽﺗﻮﺍﻧـﺪ ﺍﺯ ﺭﻭی ﻣﺒـﻞ ﺣﺮﻛﺖ‬
‫ﻛﻨـﺪ‪ .‬ﺑﻪﻋـﻼﻭﻩ‪ ،‬ﻫـﺮ ﻓﺼﻞ ﺩﺭ ﺍﻳـﻦ ﺭﻣـﺎﻥ‪ ،‬ﺩﺭ ﺍﻛﺜﺮ ﻣﻮﺍﻗـﻊ‪ ،‬ﺑﻪﻃـﻮﺭ ﻓﺰﺍﻳﻨﺪﻩﺍی‬
‫ﻛﺎﻣـﻼ ﻣﺎﺩی )ﻓﻴﺰﻳﻜـﯽ( ﺍﻳﻦ‬
‫ﻛﻮﺗﺎﻩﺗـﺮ ﺍﺯ ﻓﺼـﻞ ﻗﺒﻞ ﺍﺳـﺖ‪ .‬ﮔﺬﺷـﺘﻪ ﺍﺯ ﺍﻳﻦ‪ ،‬ﺯﻣـﺎﻥ ﻭ ﻣﻜﺎﻥ‪ ،‬ﺗـﺎ ﺯﻣﺎﻧﯽ ﺑﺎ ﻫﻢ‬
‫ﺍﺩﻏـﺎﻡ ﻣﯽﺷـﻮﻧﺪ ﻛـﻪ ﻫـﺮ ﺩﻭ ﺩﺭ ﺯﻣـﺎﻥ ﻣـﺮگ ﺍﻳﻮﺍﻥ ﺑـﻪ ﺻﻔﺮ ﺑﺮﺳـﻨﺪ‪ ،‬ﻳﻌﻨﯽ ﺗﺎ‬
‫ﻭﻗﺘـﯽ ﻛـﻪ ﺍﻳـﻮﺍﻥ‪ ،‬ﻣﻮﻗﻌﻴﺖ ﺑـﺪﻭﻥ ﺗﻐﻴﻴﺮ‪ ،‬ﻧﻬﺎﻳـﯽ ﻭ ﻣﻔـﺮﺩی ﺭﺍ ﺗﺠﺮﺑﻪ ﻣﯽﻛﻨﺪ‪.‬‬
‫ﺍﻳـﻦ ﻣﻮﻗﻌﻴـﺖ‪ ،‬ﻭﻗﺘﯽ ﺍﺳـﺖ ﻛﻪ ﺭﻭﺡ ﺍﻳـﻮﺍﻥ‪ ،‬ﻓﺮﺍﺗـﺮ ﺍﺯ ﻣﺮﺯﻫـﺎی ﻓﻴﺰﻳﻜﯽ ﺯﻣﺎﻥ‬
‫ﻭ ﻣـﻜﺎﻥ ﭘﻴـﺶ ﻣـﯽﺭﻭﺩ‪ .‬ﻟـﺬﺍ ﭘﺎﻳﺎﻥ ﻣﺮگ ﺭﺍ ﻣﺸـﺨﺺ ﻣﯽﻛﻨـﺪ ﻭ ﺍﻫﻤﻴﺖ ﻳﻚ‬
‫ﺯﻧﺪﮔـﯽ ﺭﻭﺣﯽ )ﻣﻌﻨـﻮی( ﺭﺍ ﺗﻘﻮﻳـﺖ ﻣﯽﻛﻨﺪ‪.‬‬
‫ﺟﺎﻣﻌﮥ ﺑﻮﺭژﻭﺍ‬
‫ﺗﻮﻟﺴـﺘﻮی ﺩﺭ ﺳﺮﺍﺳـﺮ ﺍﻳﻦ ﺭﻣﺎﻥ‪ ،‬ﺟﺎﻣﻌﮥ ﺍﺷﺮﺍﻓﯽ ﺭﺍ ﺑﻪﺻﻮﺭﺕ ﻣﺠﻤﻮﻋﻪﺍی ﺍﺯ‬
‫ﺍﻓﺮﺍﺩ ﺳـﻄﺤﯽ‪ ،‬ﻣﺎﺩیﮔﺮﺍ ﻭ ﺧﻮﺩﺧﻮﺍﻩ ﻧﺸـﺎﻥ ﻣﯽﺩﻫﺪ‪ .‬ﺍﻋﻀﺎی ﺟﺎﻣﻌﮥ ﺍﺷـﺮﺍﻓﯽ‪،‬‬
‫ﺍﻧﺴـﺎﻧﯽ ﺷﺎﻳﺴـﺘﻪ ﻣﯽﺩﻫﻨـﺪ‪ .‬ﺁﻧﻬﺎ ﻣﻮﻗﻌﻴـﺖ ﻭ ﺗﻔﺮﻳﺢ‬
‫ِ‬ ‫ﺍﻫﻤﻴـﺖ ﻛﻤـﯽ ﺑـﻪ ﺭﻭﺍﺑﻂ‬
‫ﺭﺍ ﻣﯽﭘﺴـﻨﺪﻧﺪ ﻭ ﺳـﻌﯽ ﻣﯽﻛﻨﻨـﺪ ﺑﻪﻭﺳـﻴﻠﮥ ﻛﺴـﺎﻧﯽ ﻛـﻪ ﺩﻭﺳـﺖ ﻣﯽﻧﺎﻣﻨﺪ ﺑﻪ‬
‫ﺍﻫﺪﺍﻓﺸـﺎﻥ ﺑﺮﺳـﻨﺪ‪ .‬ﺍﻳـﻦ ﺗﺼﻮﻳـﺮ‪ ،‬ﻧﻘـﺶ ﻣﻬﻤـﯽ ﺩﺭ ﻣﻮﺿﻮﻉ ﺯﻧﺪﮔـﯽ ﺣﻘﻴﻘﯽ‬
‫ﺍﻳﻔـﺎ ﻣﯽﻛﻨـﺪ‪ .‬ﻫـﺮ ﻓـﺮﺩ ﺍﺯ ﺟﺎﻣﻌﮥ ﺍﻳـﻮﺍﻥ‪ ،‬ﺑـﻪ ﻣﻮﺟﻮﺩﻳـﺖ ﻣﺼﻨﻮﻋﯽ ﻣﯽﺭﺳـﺪ‪.‬‬
‫ﺗﻮﻟﺴـﺘﻮی ﺍﺷـﺎﺭﻩ ﻣﯽﻛﻨﺪ ﻛـﻪ ﻣﺎﺩیﮔﺮﺍﻳﯽ ﻭ ﺗﺮﻓﻴـﻊ ﺍﺟﺘﻤﺎﻋﯽ‪ ،‬ﺩﺭ ﺭﺍﻩ ﺩﺭﺳـﺖ‬
‫ﺯﻧﺪﮔـﯽ ﻛـﺮﺩﻥ‪ ،‬ﻣﺎﻧﻊ ﺍﻳﺠـﺎﺩ ﻣﯽﻛﻨﺪ‪.‬‬
‫ﻟﻐﺎﺕ ﺯﺑﺎﻥ ﺧﺎﺭﺟﯽ‬
‫ﭼﻨﺪﻳـﻦ ﻟﻐـﺖ ﺧﺎﺭﺟـﯽ ﺩﺭ ﺳﺮﺍﺳـﺮ ﻣﺘـﻦ ﺍﻳﻦ‬
‫ﺭﻣـﺎﻥ ﻭﺟـﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻫـﺮ ﻟﻐـﺖ ﺑـﺎ ﺍﻧﺘﻘـﺎﻝ ﺩﺍﺩﻥ‬
‫ﻳـﻚ ﺣﻘﻴﻘﺖِ ﭘﻨﻬـﺎﻥ ﺩﺭ ﻣـﻮﺭﺩ ﺍﻳﻮﺍﻥ‪ ،‬ﺑـﻪ ﺁﮔﺎﻫﯽ‬
‫‪33‬‬ ‫ﺍﺯ ﻣﻮﺿـﻮﻉ ﺍﺻﻠـﯽ ﺍﻳـﻦ ﺍﺛـﺮ ﻛﻤـﻚ ﻣﯽﻛﻨـﺪ‪.‬‬
‫‪calling Ivan le phonix la famille‬‬
‫ﺑﻪﻃـﻮﺭ ﻣﻔﻬﻮﻣـﯽ ﺑـﻪ ﺍﻳﻦ ﻣﻌﻨﺎﺳـﺖ ﻛـﻪ ﺍﻭ ﻋﻀﻮ‬
‫ﺧﺎﻧـﻮﺍﺩﻩﺍی ﺍﺳـﺖ ﻛﻪ ﺑﻴﺸـﺘﺮ ﺩﻭﺳـﺖ ﺩﺍﺭﺩ ﻣﻮﻓﻖ‬
‫ﺑﺎﺷـﺪ‪ .‬ﻫﺮﭼﻨـﺪ ﺍﺯ ﻃﺮﻳـﻖ ﺩﺭک ﺍﺩﺑـﯽ‪ ،‬ﺍﻳـﻦ ﺗﻮﻟﺪ‬
‫ﻣﺠـﺪﺩ ﺭﻭﺣـﯽ ﺍﻳـﻮﺍﻥ‪ ،‬ﺑﺮﺧﺎﺳـﺘﻦ ﺍﻭ ﺍﺯ ﺧﺎﻛﺴـﺘﺮ‬
‫ﭘـﺲ ﺍﺯ ﻣﺮﮔـﯽ ﻛـﻪ ﺗﻮﺳـﻂ ﺯﻧﺪﮔـﯽ ﻣﺼﻨﻮﻋـﯽ‬
‫ﺍﻳﺠـﺎﺩ ﺷـﺪﻩ ﺑـﻮﺩ ﺭﺍ ﻧﺸـﺎﻥ ﻣﯽﺩﻫـﺪ‪ .‬ﺑـﺎ ﺑـﻪ ﻳـﺎﺩ‬
‫ﺁﻭﺭﺩﻥ ﺍﻳﻦ ﺟﻤﻠﮥ ﺍﻓﺴـﺎﻧﻪﺍی ﻛﻪ »ﺍﺯ ﺧﺎﻛﺴـﺘﺮﻫﺎی‬
‫ﺧﺮﺍﺑﻪﻫـﺎی ﺧـﻮﺩﺵ ﺩﻭﺑﺎﺭﻩ ﻣﺘﻮﻟﺪ ﺷـﺪ«‪ ،‬ﺍﻳﻦ ﻟﻐﺖ‬
‫ﺁﻥ ﭘﻴﺪﺍﺳـﺖ‪ ،‬ﻧـﻪ ﺗﻨﻬـﺎ ﺑـﻪ ﻣﺮگ ﺍﻳـﻮﺍﻥ‪ ،‬ﺑﻠﻜـﻪ ﺑﻪ ﺯﻧﺪﮔـﯽ ﺍﻭ ﻧﻴـﺰ ﺍﺧﺘﺼﺎﺹ‬
‫ﻣﯽﻳﺎﺑـﺪ‪ .‬ﺗﻮﻟﺴـﺘﻮی‪ ،‬ﻣﻔﺎﻫﻴﻢ ﺧـﺎﺹ ﻣﺮگ ﻭ ﺯﻧﺪﮔـﯽ ﺭﺍ ﻭﺍژﮔـﻮﻥ ﻣﯽﻛﻨﺪ‪ .‬ﺩﺭ‬
‫ﺍﻭﺍﺧـﺮ ﺯﻧﺪﮔـﯽ ﺍﻳﻮﺍﻥ‪ ،‬ﻭﻗﺘﯽ ﺑﻪ ﻧﻈﺮ ﻣﯽﺭﺳـﺪ ﻛـﻪ ﺍﻭ ﺍﺯ ﻟﺤﺎﻅ ﻗـﺪﺭﺕ‪ ،‬ﺁﺯﺍﺩی ﻭ‬
‫ﻣﻮﻗﻌﻴﺖ‪ ،‬ﺩﺭ ﺣﺎﻝ ﺭﺷـﺪ ﺍﺳـﺖ‪ ،‬ﺍﻭ ﻭﺍﻗﻌ ًﺎ ﺑﻪ ﺳـﻮی ﺿﻌﻒ‪ ،‬ﻭﺍﺑﺴـﺘﮕﯽ ﻭ ﺗﻨﻬﺎﻳﯽ‬
‫ﺳـﻘﻮﻁ ﻣﯽﻛﻨـﺪ‪ .‬ﺑﻌـﺪ ﺍﺯ ﻓﺼـﻞ ﻫﻔﺘـﻢ‪ ،‬ﻭﻗﺘـﯽ ﺍﻳـﻮﺍﻥ ﺑـﻪ ﺑﺮﺭﺳـﯽ ﺧـﻮﺩﺵ‬
‫ﻣﺤـﺪﻭﺩ ﻣﯽﺷـﻮﺩ ﻭ ﺍﺯ ﺑﻴﮕﺎﻧﮕـﯽ ﻭ ﺗﺤﻠﻴـﻞ ﺟﺴـﻤﯽ ﺧـﻮﺩﺵ ﺭﻧـﺞ ﻣﯽﺑـﺮﺩ‪.‬‬
‫ﺍﻭ ﺩﺭ ﺣﻘﻴﻘـﺖ ﺍﺯ ﻟﺤـﺎﻅ ﻣﻌﻨـﻮی )ﺭﻭﺣـﯽ( ﺩﻭﺑـﺎﺭﻩ ﻣﺘﻮﻟﺪ ﻣﯽﺷـﻮﺩ‪ .‬ﺗﻮﻟﺴـﺘﻮی‬
‫ﺍﻳـﻦ ﻧﻜﺘﻪ ﺭﺍ ﺑﻪﻭﺳـﻴﻠﮥ ﭼﻨﺪﻳﻦ ﺳـﺎﺧﺘﺎﺭ ﻓﻌﻠـﯽ ﺗﻘﻮﻳﺖ ﻣﯽﻛﻨﺪ‪ .‬ﺍﻳـﻮﺍﻥ‪ ،‬ﺑﻴﺪﺍﺭی‬
‫ﺭﻭﺣـﯽ ﺧﻮﺩ ﺭﺍ ﻃﻮﺭی ﺷـﺮﺡ ﻣﯽﺩﻫـﺪ ﻛﻪ ﺍﻧﮕﺎﺭ ﺍﻭ ﺩﺭ ﺳﺮﺍﺷـﻴﺒﯽ ﺭﻭ ﺑﻪ ﺣﺮﻛﺖ‬
‫ﺍﺳـﺖ‪ ،‬ﺩﺭ ﺣﺎﻟـﯽ ﻛـﻪ ﺩﺭ ﻫﻤﮥ ﺍﻭﻗﺎﺕ‪ ،‬ﻣﻌﺘﻘﺪ ﺍﺳـﺖ ﻛﻪ ﺑﻪ ﺳـﻮی ﺑـﺎﻻ ﻣﯽﺭﻭﺩ‬
‫)ﺗﻌﺎﻟـﯽ ﻣﯽﻳﺎﺑـﺪ(‪ .‬ﺍﻭ ﺑﻴﻨـﺶ ﻧﺎﮔﻬﺎﻧـﯽ ﺧـﻮﺩ ﺩﺭ ﻣـﻮﺭﺩ ﻣﺎﻫﻴﺖ ﺣﻘﻴﻘـﯽ ﺯﻧﺪﮔﯽ‬
‫ﺧـﻮﺩﺵ ﺭﺍ ﺑـﺎ ﺷـﺨﺼﯽ ﻣﻘﺎﻳﺴـﻪ ﻣﯽﻛﻨـﺪ ﻛـﻪ ﺭﻭی ﻭﺍﮔﻨﯽ ﺩﺭ ﺣـﺎﻝ ﺣﺮﻛﺖ‬
‫ﺍﺳـﺖ ﻭ ﻧﺎﮔﻬـﺎﻥ ﻣﺘﻮﺟـﻪ ﻣﯽﺷـﻮﺩ ﻛـﻪ ﺟﻬـﺖ ﺩﺭﺳـﺖ ﺍﻳـﻦ ﺳـﻔﺮ‪ ،‬ﺑﺮﺧﻼﻑ‬
‫ﺟﻬﺖ ﻓﻌﻠﻲ ﺍﺳـﺖ‪.‬‬
‫ﺑﻴﮕﺎﻧﮕﯽ‬
‫ً‬
‫ﻭﻳﮋﮔـﯽ ﺯﻧﺪﮔـﯽ ﻣﺼﻨﻮﻋـﯽ‪ ،‬ﻫﻤﺎﻧﻨـﺪ ﺯﻧﺪﮔﯽ‬
‫ﺍﺳـﺖ ﻛـﻪ ﺑﻪ ﺳـﻮی ﺑﻴﮕﺎﻧﮕـﯽ ﮔﺮﺍﻳﺶ ﺩﺍﺭﻧـﺪ‪ .‬ﻫـﺮﮔﺎﻩ ﺍﻳﻮﺍﻥ ﺑﺎ ﻳـﻚ ﻣﻮﻗﻌﻴﺖ‬
‫ﻣﻮﺟﻮﺩﻳـﺖ ﺩﻟﺨـﻮﺍﻩ ﺍﻭ ﺭﺍ ﺍﺭﺗﻘـﺎ ﻧﻤﯽﺩﻫـﺪ‪،‬‬
‫ِ‬ ‫ﻳـﺎ ﺭﺍﺑﻄـﻪﺍی ﻣﻮﺍﺟـﻪ ﻣﯽﺷـﻮﺩ ﻛـﻪ‬
‫ﺯﻧﺪﮔـﯽ ﺩﺭﻭﻧﯽ‪،‬‬
‫ِ‬ ‫ﺧـﻮﺩ ﺭﺍ ﺍﺯ ﺁﻥ ﺩﻭﺭ ﻣﯽﻛﻨـﺪ‪ .‬ﺍﻳـﻦ ﻭﺍﻛﻨـﺶ ﺑﺎ ﻣﻮﺿﻮﻉ ﻭﺳـﻴﻊﺗﺮ‬
‫ﺯﻧﺪﮔـﯽ ﺑﻴﺮﻭﻧـﯽ‪ ،‬ﮔـﺮﻩ ﺧﻮﺭﺩﻩ ﺍﺳـﺖ‪ .‬ﭼﻮﻥ ﺍﻳـﻮﺍﻥ ﻫﻴـﭻ ﻣﻮﺟﻮﺩﻳﺖ‬ ‫ِ‬ ‫ﺑﺮﺧـﻼﻑ‬
‫ﻣﻌﻨﻮیﻳﯽ ﻧﺪﺍﺷـﺖ‪ ،‬ﻧﻤﯽﺗﻮﺍﻧﺴـﺖ ﻣـﺮﺩﻡ ﺭﺍ ﺑﻪﺻـﻮﺭﺕ ﺍﻓﺮﺍﺩ ﺟﺪﺍﮔﺎﻧﻪ ﻣﺸـﺎﻫﺪﻩ‬
‫ﻛﻨـﺪ‪ .‬ﺍﻭ ﻃـﻮﺭی ﻋﻤـﻞ ﻣﯽﻛـﺮﺩ ﻛـﻪ ﻓﻘـﻂ ﺑـﻪ ﻧﻔﻊ ﺧـﻮﺩﺵ ﺑﺎﺷـﺪ ﻭ ﺍﺭﺯﺷـﯽ‬
‫ﺑﺮﺍی ﻛﺴـﺎﻧﯽ ﻛـﻪ ﺑﻪ ﺩﻟﺨﻮﺍﻫﺶ ﻋﻤـﻞ ﻧﻤﯽﻛﺮﺩﻧﺪ ﻗﺎﺋﻞ ﻧﺒﻮﺩ‪ .‬ﺑﻪﻋـﻼﻭﻩ ﺍﻳﻮﺍﻥ‬
‫ﺑـﺮﺍی ﺩﺳـﺘﻴﺎﺑﯽ ﺧﻮﺩﺧﻮﺍﻫﺎﻧﻪﺍﺵ ﺑﻪ ﺷـﺎﺩﻣﺎﻧﯽ‪ ،‬ﺳـﺮ ﺍﻓﺮﺍﺩ ﻓﺮﻳﺎﺩ ﻣﯽﻛﺸـﻴﺪ‪ ،‬ﺩﺭ‬
‫ﻛـﺮﺩﻥ ﺩﻳﮕـﺮﺍﻥ‪ ،‬ﺍﻭ ﺧﻮﺩﺵ ﺭﺍ ﻣﺤـﺪﻭﺩ ﻣﯽﻛﺮﺩ‪ .‬ﺗﻮﻟﺴـﺘﻮی‬ ‫ِ‬ ‫ﺣﺎﻟـﯽ ﻛـﻪ ﺑـﺎ ﺩﻭﺭ‬
‫ﺗﻠﻔﻴـﻖ ﭼﻨﺪﻳـﻦ ﺗﺼﻮﻳـ ِﺮ ﺟﺪﺍ ﺍﺳـﺘﻔﺎﺩﻩ ﻣﯽﻛﻨﺪ ﺗـﺎ ﺍﻳﻦ ﻧﻜﺘـﻪ ﺭﺍ ﺗﻘﻮﻳﺖ ﻛﻨﺪ‪.‬‬
‫ِ‬ ‫ﺍﺯ‬
‫ﺗﻮﻟﺴـﺘﻮی‪ ،‬ﺍﺯ ﺍﻋﻼﻣﻴﮥ ﺗﺮﺣﻴﻤﯽ ﻛﻪ ﺑﺎ ﺣﺎﺷـﻴﻪﺍی ﻣﺸـﻜﯽ ﺍﺣﺎﻃﻪ ﺷـﺪﻩ ﻭ ﺭﻭی‬
‫ﺩﻳـﻮﺍﺭ ﺁﻭﻳﺰﺍﻥ ﺷـﺪﻩ ﺍﺳـﺖ‪ ،‬ﺍﺷـﺎﺭﻩ ﻣﯽﻛﻨﺪ‪ ،‬ﺗـﺎ ﺟﺪﺍﻳﯽ ﺍﺧﺘﻴـﺎﺭی ﻛﻪ ﺍﻳـﻮﺍﻥ ﺁﻥ‬
‫ﺭﺍ ﺧﻠـﻖ ﻛﺮﺩﻩ ﺍﺳـﺖ‪.‬‬
‫ﻣﻄﻠﻮﺏ‪ ،‬ﺧﺎﺹ ﻭ ﺁﺭﺍﺳﺘﮕﯽ‬
‫ﺩﺭ ﺳﺮﺍﺳـﺮ ﺍﻳـﻦ ﺭﻣـﺎﻥ‪ ،‬ﺗﻮﻟﺴـﺘﻮی ﺍﺯ ﻛﻠﻤـﺎﺕ ﻣﻄﻠـﻮﺏ‪ ،‬ﺧـﺎﺹ ﻭ ﻣـﺆﺩﺏ‬
‫ﺍﺳـﺘﻔﺎﺩﻩ ﻣﯽﻛﻨـﺪ ﺗـﺎ ﺑـﻪ ﻫﻨﺠﺎﺭﻫﺎی ﻣـﻮﺭﺩ ﻗﺒﻮﻝ‬
‫ﺯﻧﺪﮔـﯽ ﺍﺟﺘﻤﺎﻋـﯽ ﺭﺟـﻮﻉ ﻛﻨـﺪ‪ .‬ﺍﻳـﻦ ﻫﻨﺠﺎﺭﻫـﺎ‬
‫ﺯﻧﺪﮔـﯽ ﺩﺭﺳـﺖ‬
‫ِ‬ ‫ﻋﻮﺍﻣـﻞ ﻣﻬﻤـﯽ ﺩﺭ ﺭﺍﺑﻄـﻪ ﺑـﺎ‬
‫ﻫﺴـﺘﻨﺪ‪ ،‬ﻫﻤﺎﻥﻃـﻮﺭ ﻛـﻪ ﺩﺭ ﺑـﺎﻻ ﺗﻮﺿﻴـﺢ ﺩﺍﺩﻩ‬
‫ﺷـﺪ‪ ،‬ﺗﻮﺟﻪ ﻏﻴﺮﻋﺎﺩی ﺍﻳﻮﺍﻥ ﺑﻪ ﺗﻨﺎﺳـﺐ‪ ،‬ﺁﺭﺍﺳﺘﮕﯽ‬
‫ﻭ ﺍﺳـﺘﺎﻧﺪﺍﺭﺩﻫﺎی ﻫﺪﺍﻳﺘـﯽ‪ ،‬ﺍﺷـﺎﺭۀ ﺧﻮﺑـﯽ ﺍﺳـﺖ‬
‫ﺑـﻪ ﺍﻳﻨﻜـﻪ ﺍﻭ ﺩﺭ ﺣـﺎﻝ ﺯﻳﺴـﺘﻦ ﺩﺭ ﻳـﻚ ﺯﻧﺪﮔـﯽ‬
‫ﻣﺼﻨﻮﻋـﯽ ﺍﺳـﺖ ﻧﻪ ﻳﻚ ﺯﻧﺪﮔﯽ ﺧﻮﺏ‪ .‬ﺍﻭ ﺑﻴﺸـﺘﺮ‬
‫ﺑـﻪ ﻇﻮﺍﻫـﺮ ﺧﺎﺭﺟﯽ ﺗﻮﺟـﻪ ﻣﯽﻛﻨﺪ ﺗﺎ ﺑـﻪ ﻣﺎﻫﻴﺖ‬
‫ﺩﺭﻭﻧـﯽ‪ ،‬ﺑـﻪ ﻇﺎﻫـﺮ ﺣﻘﻴﻘـﺖ ﻭ ﻧـﻪ ﺑـﻪ ﺣﻘﻴﻘـﺖ‬
‫ﻭﺍﻗﻌـﯽ؛ ﻣـﺮﺩی ﺍﺳـﺖ ﻛـﻪ ﺍﻳﻦﻃـﻮﺭ ﺍﻧﺘﺨـﺎﺏ‬
‫ﻣﯽﻛﻨـﺪ ﻛـﻪ ﺑـﻪ ﻋﻘﺎﻳـﺪ ﺟﺎﻣﻌـﮥ ﻭﺍﻻﻳـﺶ ﺗﻮﺟﻪ‬
‫ﻧﻜﻨـﺪ؛ ﻣﺮﺩی ﺍﺳـﺖ ﻛﻪ ﺑـﺮﺍی ﻭﺍﻗﻌﻴﺖ ﻭ ﺣﻘﻴﻘﺖ‪،‬‬
‫ﺑـﻪ ﻣﻄﻠـﻮﺏ ﺑـﻮﺩﻥ‪ ،‬ﺧـﺎﺹ ﺑـﻮﺩﻥ ﻭ ﺁﺭﺍﺳـﺘﮕﯽ‬

‫ﻋﻨﻮﺍﻥ ﭼﻪ ﻣﯽﺷﻮﺩ؟‬
‫ﻣـﺎ ﺍﺯ ﻋﻨـﻮﺍﻥ ﻣﯽﺁﻣﻮﺯﻳـﻢ ﻛﻪ ﻣـﺮﺩی ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﺑـﻪ ﻧﺎﻡ ﺍﻳﻠﻴﭻ‪ .‬ﺍﻳـﻦ ﺍﺣﺘﻤﺎ ًﻻ‬
‫ﺳـﺮﺩ ﻭ ﮔﺴـﺘﺎﺧﺎﻧﻪ ﺑﻪﻧﻈﺮ ﻣﯽﺭﺳـﺪ‪ ،‬ﻭﻟﯽ ﺍﻭ ﻣﺮﻳﺾ ﻣﯽﺷـﻮﺩ ﻭ ﻣﯽﻣﻴﺮﺩ ﻭ ﺍﻳﻦ‬
‫ﭼﻴﺰی ﺍﺳـﺖ ﻛﻪ ﺩﺍﺳـﺘﺎﻥ ﻛﺎﻣ ً‬
‫ﻼ ﺑـﻪ ﺁﻥ ﻣﯽﭘﺮﺩﺍﺯﺩ‪.‬‬
‫ﭘﺎﻳﺎﻥ ﺩﺍﺳﺘﺎﻥ ﭼﻪ ﻣﯽﺷﻮﺩ؟‬
‫ﻭﻗﺘـﯽ ﺍﻳـﻮﺍﻥ ﺑـﻪ ﻳـﻚ ﻭﺍﻗﻌﻴـﺖ ﻣﯽﺭﺳـﺪ ﻭ ﺟﺮﻗـﮥ ﻧـﻮﺭ ﺭﺍ ﻣﯽﺑﻴﻨـﺪ‪،‬‬
‫ﭘﺎﻳـﺎﻥ ﺩﺍﺳـﺘﺎﻥ ﭼـﻪ ﻣﯽﺷـﻮﺩ‪ .‬ﺍﻳـﻦ ﻳـﻚ ﻓﻀـﺎی ﻛﺎﻣـﻞ ﺍﺳـﺖ ﻭ ﺍﺭﺯﺵ‬
‫ﺩﺍﺭﺩ ﻛـﻪ ﺳـﺆﺍﻻﺗﯽ ﺩﺭ ﻣـﻮﺭﺩ ﺁﻥ ﻣﻄـﺮﺡ ﺷـﻮﺩ‪ .‬ﭼـﻪ ﭼﻴﺰی ﻧـﻮﺭ ﺭﺍ ﻣﻮﺟﺐ‬
‫ﻣﯽﺷـﻮﺩ‪ .‬ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴـﭻ ﺯﻧﺪﮔـﯽ ﻛﻮﺗﺎﻫـﯽ ﺩﺍﺭﺩ ) ﻳﻌﻨﯽ ﺭﻣﺎﻥ‪ ،‬ﻛﻮﺗﺎﻩ ﺍﺳـﺖ(‬
‫ﻭ ﭘﻴﮕﻴـﺮی ﻣﻮﺿـﻮﻉ ﺁﻥ ﻧﺴـﺒﺘ ًﺎ ﺁﺳـﺎﻥ ﺍﺳـﺖ ﻭ ﺷـﺒﺎﻫﺘﯽ ﺑـﻪ ﺭﻣﺎﻥﻫـﺎی‬
‫ﺑﻠﻨﺪﺗـﺮ ﺗﻮﻟﺴـﺘﻮی ﻧـﺪﺍﺭﺩ ﻭ ﺩﺭ ﺁﻥ‪ ،‬ﻣﻴﻠﻴﻮﻥﻫـﺎ ﻛﺎﺭﺍﻛﺘـﺮ ﻭﺟـﻮﺩ ﻧـﺪﺍﺭﺩ‪ .‬ﺯﺑﺎﻥ‬
‫ﺁﻥ ﺑﺴـﻴﺎﺭ ﺳـﺎﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﺗﺤﻠﻴﻞﻣﻮﺿﻮﻉ‬
‫ﺗﺸـﻴﻴﻊﺟﻨﺎﺯۀ ﺍﻳﻮﺍﻥ ﻭ ﺍﻛﻨﻮﻥ ﺩﺍﺳـﺘﺎﻥ ﺯﻧﺪﮔﯽ ﺍﻭ‪ .‬ﺩﺭﺍﻣﺎی ﺍﺻﻠﯽ ﺍﻳﻦ ﺩﺍﺳـﺘﺎﻥ‬
‫ﻛﺸـﻤﻜﺶ ﺍﻳـﻮﺍﻥ ﺑـﺎ ﺑﻴﻤـﺎﺭی ﻭ ﻣـﺮگ ﺍﺳـﺖ ﻭ ﺗﻮﻟﺴـﺘﻮی ﻣـﺮگ ﺭﺍ ﺩﺭ ﺁﻏـﺎﺯ‬
‫ﺩﺍﺳـﺘﺎﻥ ﺑﻪ ﻣـﺎ ﺍﺭﺍﺋـﻪ ﻣﯽﺩﻫﺪ‪.‬‬
‫ﺗﺤﻠﻴﻞ ﻣﻮﺿﻮﻋﯽ ﺳﻪ ﻋﻤﻠﻜﺮﺩ‬
‫ﻣـﺎ ﺍﺯ ﻣـﺮگ ﺍﻳـﻮﺍﻥ ﺍﺯ ﻃﺮﻳﻖ ﺳـﻪ ﺩﻭﺳـﺖ ﺍﻭ ﺩﺭ ﺩﺍﺩﮔﺎﻩ ﺩﺭﺱ ﻣﯽﮔﻴﺮﻳﻢ‪ :‬ﻣﺎ‬
‫ﺗﺄﺛﻴـﺮ ﻧﺎﻣﻄﻠﻮﺑـﯽ ﺍﺯ ﺍﻗﻮﺍﻡ ﻭ ﺩﻭﺳـﺘﺎﻥ ﺍﻭ ﺩﺭ ﺗﺸـﻴﻴﻊﺟﻨﺎﺯۀ ﺍﻭ ﺑﻪﺩﺳـﺖ ﻣﯽﺁﻭﺭﻳﻢ‪.‬‬
‫ﻋﻮﺍﻣﻞ ﻧﺎﭼﻴﺰ )ﺍﺑﺘﺪﺍﻳﯽ(‬
‫ﺁﻳـﺎ ﻣﯽﺩﺍﻧﻴـﺪ ﻛـﻪ ﻛﺎﺭﮔـﺮﺩﺍﻥ ﺑـﺰﺭگ ژﺍﭘﻨﯽ ﺁﻛﻴـﺮﺍ ﻛﻮﺭﻭﺳـﺎﻭﺍ )ﻛـﻪ ﺑﻪﺩﻟﻴﻞ‬
‫ﻓﻴﻠﻢ »ﻫﻔﺖ ﺳـﺎﻣﻮﺭﺍﻳﯽ« ﺑﺴـﻴﺎﺭ ﺷـﻨﺎﺧﺘﻪ ﺷـﺪﻩ ﺍﺳـﺖ( ﻓﻴﻠﻤﯽ ﺑﺮﺍﺳـﺎﺱ ﻣﺮگ‬
‫ﺍﻳـﻮﺍﻥ ﺳـﺎﺧﺘﻪ ﺍﺳـﺖ؟ ﺍﻳـﻦ ﻓﻴﻠـﻢ ﺁﻛﻴﺮﻭ ﻳـﺎ ﺯﻧﺪﮔﯽ ﻛـﺮﺩﻥ ﻧﺎﻡ ﮔﺮﻓﺘﻪ ﺍﺳـﺖ‪.‬‬
‫ﺑﻪﻧﻈـﺮ ﻣﯽﺭﺳـﺪ ﻧﻴﺴـﺘﻨﺪ ﻭ ﺍﻳـﻦ ﻋﻤﻠﻜـﺮﺩ ﺑﺎﻳـﺪ ﺑـﺎ ﺗﻮﺟﻪ ﺑـﻪ ﻣﻮﺿـﻮﻉ ِ‬
‫ﻣﻴﺰﺍﻥ ﺍﻧﮕﻴﺰﺵ‬
‫ﺍﺷـﺎﺭﺍﺗﻲ ﻣﺒﻬـﻢ ﻭ ﻣﻌﺪﻭﺩ ﺑـﻪ ﺑﺨﺶﻫﺎی ﺧﺎﺻـﯽ ﺍﺯ ﺭﻭﺯﻫﺎی ﺟﻮﺍﻧـﯽ ﺍﻳﻮﺍﻥ‬
‫ﺷـﺪﻩ ﺍﺳـﺖ‪ ،‬ﻭﻗﺘﯽ ﻛـﻪ ﺍﻭ ﺍﺯ ﻫﻴﭻ ﭼﻴﺰ ﻧﻤﯽﺗﺮﺳـﺪ‪.‬‬
‫ﺗﺄﺛﻴـﺮ ﺭﺋﺎﻟﻴﺴـﻢ )ﻭﺍﻗﻊﮔﺮﺍﻳـﯽ( ﺩﺭ ﺩﺍﺳـﺘﺎﻥ ﻣـﺮگ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴﭻ ﺑﺮ‬
‫ﺗﻮﻟﺴﺘﻮی‬
‫ﺭﻣـﺎﻥ ﻣـﺮگ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴـﭻ‪ ،‬ﺗﺄﺛﻴـﺮ ﻭﺍﻗﻊﮔﺮﺍﻳـﯽ ﺭﺍ ﺑـﺮ ﻧﻮﻳﺴـﻨﺪﻩﺍﺵ‪ ،‬ﻟﺌـﻮ‬
‫ﺗﻮﻟﺴـﺘﻮی ﻧﺸـﺎﻥ ﻣﯽﺩﻫـﺪ‪ .‬ﺗﺮﺳـﻴﻢ ﻭﺍﻗﻌﻴـﺖ ـ ﻣﻮﺿـﻮﻉ ﻣﻬـﻢ ﺍﻳـﻦ ﺭﻣـﺎﻥ ـ‬
‫ﺟﻨﺒﻪﺍی ﺍﺯ ﺭﺋﺎﻟﻴﺴـﻢ ﺍﺳـﺖ ﻛﻪ ﺗﻮﻟﺴـﺘﻮی ﺑﻪﻃﻮﺭ ﻣﺆﺛـﺮی ﺩﺭ ﺍﻳﻦ ﺭﻣـﺎﻥ ﺑﻪﻛﺎﺭ‬
‫ﮔﺮﻓﺘﻪ ﺍﺳـﺖ‪.‬‬
‫ﺗﻮﻟﺪ ﻣﺠﺪﺩ ﺗﻮﻟﺴﺘﻮی ﺑﺎ ﻣﺮگ ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴﭻ‬
‫ﻟﺌـﻮ ﺗﻮﻟﺴـﺘﻮی‪ ،‬ﻳـﻚ ﺍﻧﺴـﺎﻧﻴﺖﮔﺮﺍی ﺑـﺰﺭگ ﺑﻮﺩ‪.‬‬
‫ﺗﻜﺎﻣـﻞ ﺧﺼﻴﺼـﮥ ﺍﻧﺴـﺎﻧﯽ‪ ،‬ﻣﻮﺿـﻮﻉ ﺗﻮﺟـﻪ ﺩﻗﻴﻖ ﺍﻭ‬
‫ﺩﺍﺳـﺘﺎﻥ ﻣـﺮگ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴﭻ‪،‬‬
‫ِ‬ ‫ﺑـﻮﺩ‪ .‬ﺷـﺨﺼﻴﺖ ﺍﺻﻠﯽ‬
‫ﻳـﻚ ﻛﺎﺭﻣﻨـﺪ ﺍﺩﺍﺭی ﻋـﺎﺩی ﺍﺳـﺖ ﻛـﻪ ﺯﻧﺪﮔـﯽ ﺧﻮﺩ‬
‫ﺭﺍ ﻃﺒـﻖ ﺿﻮﺍﺑـﻂ ﺷـﺪﻳﺪ ﺍﺟﺘﻤﺎﻋـﯽ ﻫﺪﺍﻳـﺖ ﻣﯽﻛﺮﺩ‬
‫ﻭ ﻫﺮﮔـﺰ ﺍﺯ ﭼﻴـﺰی ﻛـﻪ ﺗﻮﺳـﻂ ﺟﺎﻣﻌـﻪ ﺗﻌﻴﻴـﻦ ﻳـﺎ‬
‫ﻗﺎﻧﻮﻥﮔـﺬﺍﺭی ﺷـﺪﻩ ﺑـﻮﺩ‪ ،‬ﺑـﻪ ﺩﻟﻴﻞ ﺗﻤﺎﻳﻞ ﺧـﻮﺩﺵ ﻳﺎ‬
‫ﺍﻧﮕﻴﺰﻩﻫـﺎی ﻣـﺎﺩی‪ ،‬ﺧـﺎﺭﺝ ﻧﻤﯽﺷـﺪ‪.‬‬
‫ﺗﺤﻠﻴﻞ ﺩﺍﺳﺘﺎﻥ ﻣﺮگ ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴﭻ ﻟﺌﻮﺗﻮﻟﺴﺘﻮی‬
‫ﻭ ﺍﻗﺘﺒﺎﺱ‬
‫ﺩﺭ ﺭﻣـﺎﻥ ﻟﺌـﻮ ﺗﻮﻟﺴـﺘﻮی‪ ،‬ﻣـﺮگ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴـﭻ‪،‬‬
‫ﺯﻧﺪﮔـﯽ ﺍﻳـﻮﺍﻥ ﺍﺯ ﻧـﻮﻉ ﻣﻤﺘﺎﺯ ﻧﺒـﻮﺩ‪ .‬ﺯﻧﺪﮔـﯽ ﺩﺭﻭﻏﻴﻦ‬
‫ﻧﻘﺪ ﻭ ﺑﺮﺭﺳﻲ‬
‫ﺧﺎﺭﺟﯽ ﺑﻪ ﺷـﻨﺎﺧﺖ ﻧﻬﺎﻳـﯽ ﺍﻳﻮﺍﻥ ﺍﺯ ﺍﻫﻤﻴﺖ ﻣﻌﻨﻮﻳﺖ ﺍﺷـﺎﺭﻩ ﻣﯽﻛﻨﺪ ﻭ ﻣﻮﺿﻮﻉ‬
‫ﺯﻧﺪﮔـﯽ ﺩﺭﻭﻧـﯽ ﺑﺮﺧـﻼﻑ ﺯﻧﺪﮔـﯽ ﺑﻴﺮﻭﻧﯽ ﺭﺍ ﻣﺸـﺨﺺ ﻣﯽﻛﻨـﺪ‪ .‬ﺩﺭ ﺍﻧﺘﻬﺎ‪ ،‬ﻫﻢ‬
‫ﻳـﻚ ﭘﻴﺸـﻨﻬﺎﺩ ﻣﺆﺛﺮ ﺑـﺮﺍی ﻗﺎﻧﻮﻥﮔﺬﺍﺭ ﺑﻌﺪی ﺍﺳـﺖ ﻛﻪ ﺑﻪ ﻧﺘﻴﺠـﻪ ﺗﻮﺟﻪ ﻛﻨﺪ ﻭ‬
‫ﻫـﻢ ﺍﺧﻄﺎﺭی ﺍﺳـﺖ ﺑـﺮﺍی ﻓﺮﺩی ﻛـﻪ ﺩﺭ ﻳﻚ ﺯﻧﺪﮔﯽ ﻣﺼﻨﻮﻋﯽ ﺍﺳـﺖ ﺗﺎ ﺧﻮﺩ‬
‫ﺭﺍ ﺑـﺮﺍی ﻣـﺮگ ﺁﻣﺎﺩﻩ ﺳـﺎﺯﺩ‪.‬‬
‫ﻧﻤﺎﺩﻫﺎ‪ :‬ﺳﺎک ﻣﺸﻜﯽ‬
‫ﺩﺭ ﻓﺼـﻞ ﭼﻬـﺎﺭﻡ‪ ،‬ﺩﺭ ﺍﺑﺘﺪﺍ ﺍﻳﻮﺍﻥ ﺳـﺎک ﻣﺸـﻜﯽ ﺭﺍ ﺩﺭ ﺭﺅﻳﺎ ﻣﯽﺑﻴﻨﺪ ﻭ ﺗﺼﻮﺭ‬
‫ﻣﯽﻛﻨـﺪ ﻛـﻪ ﺑـﺎ ﺑـﻮﺩﻥ ﺩﺭ ﺁﻥ‪ ،‬ﺧـﻮﺩ ﺭﺍ ﺑﻴﺸـﺘﺮ ﻭ ﺑﻴﺸـﺘﺮ ﺻـﺎﺩﻕ ﻣﯽﺑﻴﻨـﺪ‪ .‬ﺍﻭ‬
‫ﻣﯽﺧﻮﺍﻫـﺪ ﺩﺭ ﺁﻥ ﻛﻴﺴـﻪ ﺑﻴﻔﺘـﺪ ﻭﻟـﯽ ﺩﺭ ﺁﻥ ﺯﻣـﺎﻥ ﺍﺯ ﺍﻳـﻦ ﻛﺎﺭ ﻣﯽﺗﺮﺳـﺪ‪ .‬ﺍﻭ ﺍﺯ‬
‫ﺍﻓﺘـﺎﺩﻥ ﺩﺭ ﺁﻥ ﻣﻘﺎﻭﻣـﺖ ﻣﯽﻛﻨـﺪ‪ ،‬ﻭﻟﯽ ﻫﻤﭽﻨﻴـﻦ ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﻣﯽﻛﻮﺷـﺪ‪ .‬ﺍﮔﺮ‬
‫ﺍﻳـﻦ ﺳـﺎک ﺑﻪﺻـﻮﺭﺕ ﻧﻤـﺎﺩی ﺍﺯ ﻣـﺮگ ﺩﺭک ﺷـﻮﺩ‪ ،‬ﺍﺑﻬـﺎﻡ ﺍﻳﻮﺍﻥ ﺑـﻪ ﻭﺿﻮﺡ‬
‫ﻣﯽﺭﺳـﺪ‪ .‬ﺍﻭ ﻫـﻢ ﺯﻣـﺎﻥ ﺭﺳـﻴﺪﻥ ﺑـﻪ ﻣـﺮگ ﺭﺍ ﻃـﯽ ﻣﯽﻛﻨـﺪ ﻭ ﻫـﻢ ﺍﺯ ﭘﺎﻳـﺎﻥ‬
‫ﺷﻤﺎﺭﺓ ‪) 69‬ﭘﻴﺎﭘﻰ ‪ (183‬ـ ﺩﻯﻣﺎﻩ ‪1391‬‬
‫ﺯﻧﺪﮔـﯽ ﻣﯽﺗﺮﺳـﺪ‪ .‬ﺍﻳﻦ ﺣﻘﻴﻘـﺖ ﻛﻪ ﺍﻳـﻮﺍﻥ ﺩﺭ ﺩﺭﻭﻥ ﺳـﺎک‪ ،‬ﺗﺠﺰﻳﻪ ﻣﯽﺷـﻮﺩ‬
‫)ﺩﺭ ﻫـﻢ ﻣﯽﺷـﻜﻨﺪ(‪ ،‬ﻣﻮﺟﺐ ﻣﯽﺷـﻮﺩ ﻛﻪ ﺍﻳـﻮﺍﻥ ﺍﺯ ﻗﺪﺭﺕ ﻣﺮگ ﻓـﺮﺍﺭ ﻛﻨﺪ؛ ﺍﮔﺮ‬
‫ﭼـﻪ ﺍﻳﻨﻜـﻪ ﻧﻤﺎﺩ ﻳﻚ ﺳـﺎک‪ ،‬ﺑﻴﺸـﺘﺮ ﺍﺯ ﺧﻮﺩ ﺩﺍﺳـﺘﺎﻥ ﻣﻨﻄﻘﯽ ﺑﻪﻧﻈﺮ ﻣﯽﺭﺳـﺪ‪،‬‬
‫ﺑـﻪ ﺩﻭﮔﻮﻧـﻪ ﻋﻤـﻞ ﻣﯽﻛﻨﺪ‪ ،‬ﻫﻤﺎﻧﻨﺪ ﻫـﺪﻑ ﺁﻥ ﺑﻪﻋﻨـﻮﺍﻥ ﻧﻤﺎﺩی ﺍﺯ ﻣـﺮگ‪ ،‬ﺍﻳﻦ‬
‫ﺳـﺎک ﻫﻤﭽﻨﻴـﻦ ﻳﻚ ﺭﺣِـﻢ ﻧﻤﺎﺩﻳﻦ ﻣﯽﺳـﺎﺯﺩ )ﻣﻨﺸـﺄ ﺯﻧﺪﮔﯽ(‪ ،‬ﺭﻧـﺞ ﻭ ﺩﺭﺩی‬
‫ﻛـﻪ ﺍﻳـﻮﺍﻥ ﺗﺤﻤـﻞ ﻣﯽﻛﻨـﺪ‪ ،‬ﺩﺭ ﺣﺎﻟـﯽ ﻛﻪ ﺍﺯ ﺍﻳﻦ ﺳـﺎک ﺑﻪ ﺳـﻮی ﻧـﻮﺭ ﺧﺎﺭﺝ‬
‫ﻣﯽﺷـﻮﺩ‪ ،‬ﺑـﻪ ﻣﻮﺿﻮﻉ ﺗﻮﻟـﺪ ﺩﺭ ﻳـﻚ ﺯﻧﺪﮔﯽ ﺟﺪﻳـﺪ ﺭﺟﻮﻉ ﻣﯽﻛﻨـﺪ‪ .‬ﺩﻭﮔﺎﻧﮕﯽ‬
‫ﺍﻳـﻦ ﻧﻤـﺎﺩ‪ ،‬ﻛﻠﻴـﺪ ﺍﻳـﻦ ﺩﺍﺳـﺘﺎﻥ ﺍﺳـﺖ‪ .‬ﺩﺭ ﺯﻧﺪﮔﯽ ﺍﻳـﻮﺍﻥ‪ ،‬ﭼﻴﺰی ﻛـﻪ ﺑﻪﻋﻨﻮﺍﻥ‬
‫ﻣـﺮگ ﺟﺴـﻤﯽ ﻇﺎﻫـﺮ ﻣﯽﺷـﻮﺩ‪ ،‬ﺩﺭ ﻭﺍﻗـﻊ ﺗﻮﻟﺪ ﻣﺠـﺪﺩ ﺭﻭﺣﯽ ﺍﺳـﺖ‪ .‬ﺩﺭ ﺣﺎﻟﯽ‬
‫ﻛـﻪ ﺯﻧﺪﮔـﯽ ﻗﺪﻳﻤـﯽ ﺍﻭ‪ ،‬ﺩﻟﻴﻞ ﻣـﺮگ ﺭﻭﺣـﯽ ﺍﻭ ﺑﻮﺩ‪ .‬ﭼﻴﺰﻫـﺎ ﻭﺍﻗﻌـ ًﺎ ﺁﻥﻃﻮﺭ ﻛﻪ‬
‫ﺍﺻﻠﯽ‬
‫ﻭﺍژﮔﻮﻧـﯽ‪ ،‬ﺩﺭک ﺷـﻮﺩ‪ .‬ﺯﻧﺪﮔﯽ ﺍﻳـﻮﺍﻥ‪ ،‬ﻣﺮگ ﺍﻭ ﺑﻮﺩ ﻭ ﻣـﺮگ ﺍﻭ ﺯﻧﺪﮔﯽ ﺟﺪﻳﺪی‬
‫ﺭﺍ ﺣﺎﺩﺙ ﺷـﺪ‪.‬‬
‫ﻣﻮﻗﻌﻴﺖﺩﺍﺳﺘﺎﻥ‬
‫ﺗﺮﻓﻨـﺪ ﻛﻮﭼﻜـﯽ ﺑﺮﺍی ﺍﺟـﺮﺍی ﻣﻮﻗﻌﻴـﺖ ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴـﭻ ﺑﻪﻛﺎﺭ ﻣـﯽﺭﻭﺩ‪ ،‬ﭼﻮﻥ‬
‫ﮔﻮﻳﻨـﺪﻩ ﺑﺴـﻴﺎﺭ ﺩﻭﺳـﺖ ﺩﺍﺭﺩ ﺩﺭ ﺯﻣـﺎﻥ ﻭ ﻓﻀـﺎ ﻧﻘـﺶ ﺍﻳﻔـﺎ ﻛﻨـﺪ‪ ،‬ﺑﺨﺶﻫـﺎی‬
‫ﻣﺨﺘﻠـﻒ ﺍﻳـﻦ ﺩﺍﺳـﺘﺎﻥ ﺩﺭ ﺳـﻜﺎﻧﺲﻫﺎی ﺧﻴﻠـﯽ ﻣﺘﻔﺎﻭﺗـﯽ ﺍﺗﻔـﺎﻕ ﻣﯽﺍﻓﺘﺪ‪.‬‬
‫ﺩﻳﺪﮔﺎﻩ ﺭﺍﻭی‬
‫ﺭﺍﻭی ﺍﻳـﻦ ﺭﻣـﺎﻥ‪ ،‬ﻳـﻚ ﺭﺍﻭی ﺑﺴـﻴﺎﺭ ﻭﺍﻗـﻒ ﺍﺳـﺖ‪ .‬ﺍﻭ ﺑـﻪ ﺩﻳـﺪﮔﺎﻩ ﻳـﻚ‬
‫ﻛﺎﺭﺍﻛﺘـﺮ ﻣﺤـﺪﻭﺩ ﻧﻤﯽﺷـﻮﺩ ﻭ ﻣﯽﺗﻮﺍﻧﺪ ﺑـﻪ ﺫﻫﻦ ﻫﺮ‬
‫ﻛﺎﺭﺍﻛﺘﺮی ﻭﺍﺭﺩ ﺷـﻮﺩ‪.‬‬
‫ﻧﻮﻉ‬
‫ﻭﺍﻗـﻊ ﮔﺮﺍﻳـﯽ )‪ (Realism‬ﺑـﺎ ‪ R‬ﺑـﺰﺭگ‪ ،‬ﺩﺭ‬
‫ﻧﻮﻳﺴـﻨﺪﮔﺎﻥ ﻣﺘﻔـﺎﻭﺕ ﻣﯽﺗﻮﺍﻧـﺪ ﺑﻪ ﻣﻌﺎﻧـﯽ ﻣﺘﻔﺎﻭﺗﯽ‬
‫ﺑﺎﺷـﺪ‪ .‬ﺍﻳـﻦ ﻧﻮﻉ‪ ،‬ﺩﺭ ﻭﺿﻌﻴﺖ ﺑﺴـﻴﺎﺭ ﻛﻠـﯽ )ﻋﻤﻮﻣﯽ(‬
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‫ﺍﺳـﺖ ﻛـﻪ ﺩﺭ ﺭﺍﺳـﺘﺎی ﺑﻪﺗﺼﻮﻳـﺮ ﻛﺸـﻴﺪﻥ ﻳـﻚ‬
‫ﺯﻧﺪﮔـﯽ ﻣﻌﻤﻮﻟـﯽ ﻏﻴـﺮ ﺭﻣﺎﻧﺘﻴـﻚ ﺍﺳـﺖ‪ ،‬ﻳﻌﻨﯽ ﻳﻚ‬
‫ﺯﻧﺪﮔـﯽ ﺣﻘﻴﻘﯽ‪.‬‬
‫ﺗﻦ ﺻﺪﺍ‬
‫ﺭﺍﻭی ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴـﭻ‪ ،‬ﻓﺮﺍﺗـﺮ ﺍﺯ ﻫﻤـﮥ ﺁﻥ ﭼﻴﺰﻫﺎﻳﯽ‬
‫ِ‬
‫ﺍﺳـﺖ ﻛـﻪ ﺗﻮﺿﻴـﺢ ﻣﯽﺩﻫـﺪ‪ .‬ﺍﻭ ﺁﮔﺎﻫـﯽ ﻫﻤـﮥ‬
‫ﭼﻴﺰﻫﺎﻳـﯽ ﺭﺍ ﻛـﻪ ﺑﺎﻳـﺪ ﺩﺭ ﺩﺍﺳـﺘﺎﻥ ﺷـﻨﺎﺧﺘﻪ ﺷـﻮﺩ‪،‬‬
‫ﺍﻧﺘﻘـﺎﻝ ﻣﯽﺩﻫﺪ ﻭ ﻛﻨﺘﺮﻝ ﻛﺎﻣﻠﯽ ﺑﺮ ﺗﻌﺮﻳـﻒ ﺁﻥ ﺩﺍﺭﺩ‪.‬‬
 ‫ﻧﻘﺪ ﻭ ﺑﺮﺭﺳﻰ ﻛﺘﺎﺏ ﻣﺮگ ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴﭻ‬

‫ﺍﻳﻠﻴﭻ ﺑﻴﻤـﺎﺭ ﻭ ﻣﻨﺰﻭی‪،‬‬

‫ﻳﻜﺪﻳﮕـﺮ‪ ،‬ﭼﻨﺪﺍﻥ ﺑﺎ ﺣـﺎﻝ ﻭ ﺭﻭﺯ ِ‬ ‫ﺍﻳـﻮﺍﻥ‪ ،‬ﺣﺎﺻـﻞ ﺗﻤﺎﻳـﻞ ﺍﻭ ﺑـﺮﺍی ﺑﻪﺩﺳـﺖ ﺁﻭﺭﺩﻥ‬
‫ﻏﺮﻳـﺐ ﻭ ﺑﻴﮕﺎﻧـﻪ ﻧﻴﺴـﺖ‪ .‬ﺯﻧﺪﮔـﯽ ﺍﻳـﻮﺍﻥ ﻣﯽﺗﻮﺍﻧـﺪ‬ ‫ﺁﻛﻮﻻﺩﻫـﺎی ﺍﺟﺘﻤﺎﻋـﯽ ﺑـﻮﺩ‪.‬‬
‫ﺯﻧﺪﮔـﯽ ﻫـﺮ ﻳـﻚ ﺍﺯ ﺁﺩﻡﻫﺎ ﺑﺎﺷـﺪ‪ .‬ﺍﻳﻠﻴﭻ‪ ،‬ﺁﺩﻡﻫـﺎی ﺩﻭﺭ‬ ‫ﺟﺎﻳﯽ ﺑﺮﺍی ﻏﻴﺮ ﺍﻧﺴﺎﻥ‬
‫ﻭ ﺑَـﺮ ﺧـﻮﺩ ﺭﺍ ﺍﻓـﺮﺍﺩی ﺧﻮﺩﺧـﻮﺍﻩ ﻭ ﺭﻳـﺎﻛﺎﺭ ﻣﯽﺩﺍﻧـﺪ ﻛﻪ‬ ‫ﺩﺭ ﻛﺘـﺎﺏ‪ ،‬ﻳـﻚ ﺭﻭﺯ ﺯﻧﺪﮔـﯽ ﺍﻳـﻮﺍﻥ ﺩﻧﻴﺴـﻮﭘﻴﭻ‪ ،‬ﺑـﺎ‬
‫ﻓﻘـﻂ ﺑـﻪ ﻓﻜﺮ ﺧﻮﺩﺷـﺎﻥ ﻫﺴـﺘﻨﺪ ﻭ ﺩﺭ ﺍﻳﻦ ﻣﻴـﺎﻥ ﺗﻨﻬﺎ‬ ‫ﻛﺎﺭﻛﺘـﺮ ﺍﺻﻠﯽ‪ ،‬ﺍﻳـﻮﺍﻥ ﻭ ﺯﻧﺪﺍﻧﻴﺎﻥ ﺩﻳﮕـﺮ ﺩﺭ ﺍﺭﺩﻭﮔﺎﻩ‪ ،‬ﻛﻪ‬
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‫ﻛﺎﻣـﻼ ﻣﺘﻔﺎﻭﺕ‬ ‫»ﮔﺮﺍﺳـﻴﻢ« ـ ﺁﺑﺪﺍﺭﭼـﯽ ـ ﻛـﻪ ﺍﺯ ﻃﺒﻘﮥ‬ ‫ﺧﻴﻠـﯽ ﺑﺪ ﺑـﺎ ﺁﻧﻬﺎ ﺑﺮﺧـﻮﺭﺩ ﻣﯽﺷـﺪ‪ ،‬ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸـﻴﺪﻩ‬
‫ﺑـﺎ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴـﭻ ﺍﺳـﺖ‪ ،‬ﺑـﺪﻭﻥ ﻫﻴـﭻ ﭼﺸﻢﺩﺍﺷـﺘﯽ‪ ،‬ﺍﺯ‬ ‫ﺷـﺪﻩ ﺍﺳـﺖ‪ .‬ﺍﻳـﻮﺍﻥ‪ ،‬ﺳـﻌﯽ ﻣﯽﻛﺮﺩ ﺧـﻮﺩ ﺭﺍ ﮔـﺮﻡ ﻧﮕﻪ‬
‫ﺍﻭ ﭘﺮﺳـﺘﺎﺭی ﻣﯽﻛﻨـﺪ‪ ،‬ﺍﻭ ﺍﺯ ﻫﻴـﭻ ﺧﺪﻣﺘـﯽ ﺑـﻪ ﺍﺭﺑـﺎﺏ‬ ‫ﺩﺍﺭﺩ ﻭ ﻏـﺬﺍی ﻛﺎﻓـﯽ ﺑﺮﺍی ﺯﻧـﺪﻩ ﻣﺎﻧﺪﻥ ﺑﻪﺩﺳـﺖ ﺁﻭﺭﺩ‪.‬‬
‫ﺧـﻮﺩ ﺩﺭﻳـﻎ ﻧﻤـﯽﻭﺭﺯﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻴـﺎﻥ‪ ،‬ﺍﻳﻠﻴـﭻ ﺭﻓﺘﻪﺭﻓﺘﻪ‬ ‫ﻭ ﻧﻴـﺰ ﺗﻮﻟﺴـﺘﻮی‪ ،‬ﺭﻭﺣﻴـﮥ ﺑﻴﻤـﺎ ِﺭ ﺳـﺨﺖﺩﺭﻣﺎﻥ ﺭﺍ ﺗﺎ‬
‫ﺑـﻪ ﮔﺮﺍﺳـﻴﻢ ﻋﻼﻗﻪﻣﻨـﺪ ﻣﯽﺷـﻮﺩ ﻭ ﻧـﺎﺩﻡ ﺍﺯ ﺍﻳﻨﻜﻪ ﭼﺮﺍ‬ ‫ﻟﺤﻈـﮥ ﻣﺮﮔـﺶ ﺑـﻪ ﭘﻨﺞ ﻣﺮﺣﻠـﻪ ﺗﻘﺴـﻴﻢ ﻣﯽﻛﻨﺪ‪:‬‬
‫ﺯﻧﺪﮔـﯽ ﺭﺍ ﺩﺭک ﻧﻜـﺮﺩﻩ ﻭ ﺑـﻪ ﻣـﺎﻭﺭﺍی ﺁﻥ ﻧﻴﻨﺪﻳﺸـﺪﻩ‬ ‫‪ -1‬ﻣﺮﺣﻠﮥ ﻋﺪﻡ ﭘﺬﻳﺮﺵ ﻳﺎ ﺍﻧﻜﺎﺭ‬
‫ﺍﺳـﺖ؟ ﺍﻣﺎ ﺍﻛﻨﻮﻥ ﺩﻳﺮ ﺷـﺪﻩ ﻭ ﺩﺭ ﺁﺳـﺘﺎﻧﮥ ﻣﺮگ ﺍﺳـﺖ‪.‬‬ ‫‪ -2‬ﻣﺮﺣﻠﮥ ﺧﺸﻢ‬
‫ﺷﻤﺎﺭﺓ ‪) 69‬ﭘﻴﺎﭘﻰ ‪ (183‬ـ ﺩﻯﻣﺎﻩ ‪1391‬‬

‫ﺍﻳـﻮﺍﻥ‪ ،‬ﻳـﻚ ﺑـﺮﺍﺩﺭ ﺑﺰﺭگﺗـﺮ ﻭ ﻳـﻚ ﺑـﺮﺍﺩﺭ‬ ‫‪ -3‬ﻣﺮﺣﻠﮥ ﻣﻌﺎﻣﻠﻪ‬

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‫ﻛﺎﻣـﻼ ﺑﺎ ﺍﻭ‬ ‫ﻛﻮﭼﻚﺗـﺮ ﺍﺯ ﺧـﻮﺩ ﺩﺍﺷـﺖ‪ .‬ﺑـﺮﺍﺩﺭﺍﻥ ﺍﻭ‬ ‫‪ -4‬ﻣﺮﺣﻠﮥ ﺍﻓﺴﺮﺩﮔﯽ‬
‫ﻣﺨﺎﻟـﻒ ﺑﻮﺩﻧـﺪ‪ .‬ﺑﺰﺭگﺗﺮﻳﻦ ﺑـﺮﺍﺩﺭ‪ ،‬ﺟﺎﻳﮕﺎﻩ ﭘـﺪﺭ ﺭﺍ ﮔﺮﻓـﺖ ﻭ ﻛﻮﭼﻚﺗﺮﻳﻦ‬ ‫‪ -5‬ﻣﺮﺣﻠﮥ ﭘﺬﻳﺮﺵ‬
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‫ﻛﺎﻣـﻼ ﻣﻴﺎﻧﻪ ﺩﺍﺷـﺖ‪ .‬ﺍﻭ‬ ‫ﺑـﺮﺍﺩﺭ‪ ،‬ﻳـﻚ ﻓـﺮﺩ ﻧﺎﻣﻮﻓـﻖ ﺑـﻮﺩ‪ .‬ﺍﻳـﻮﺍﻥ ﺟﺎﻳﮕﺎﻫﯽ‬ ‫ﺩﺭ ﺍﻭﻟﻴـﻦ ﻗـﺪﻡ‪ ،‬ﺍﻳﻠﻴـﭻ ﺧـﻮﺩ ﺭﺍ ﺑﺎ ﻧﭙﺬﻳﺮﻓﺘـﻦ ﺑﻴﻤﺎﺭیﺍﺵ ﺗﺴـﻜﻴﻦ ﻣﯽﺩﻫﺪ‪.‬‬
‫ﻧـﻪ ﻫﻤﺎﻧﻨـﺪ ﺑـﺮﺍﺩﺭ ﺑﺰﺭگﺗـﺮ‪ ،‬ﻣﻘﺘـﺪﺭ ﻭ ﻗﺎﻧﻮﻥﻣﻨـﺪ ﺑﻮﺩ ﻭ ﻧـﻪ ﻫﻤﺎﻧﻨـﺪ ﺑﺮﺍﺩﺭ‬ ‫ﺳـﭙﺲ ﺑـﺎ ﻣﻘﺼﺮ ﺩﺍﻧﺴـﺘﻦ ﺩﻳﮕـﺮﺍﻥ‪ ،‬ﺍﺯ ﺁﻧﻬﺎ ﺧﺸـﻤﮕﻴﻦ ﺍﺳـﺖ‪ .‬ﺩﺭ ﻣﺮﺣﻠﮥ ﺑﻌﺪ‪،‬‬
‫ﻛﻮﭼﻚﺗـﺮ‪ ،‬ﺑﯽﻗﺎﻧـﻮﻥ ﺑـﻮﺩ‪ .‬ﺑﻪﻋﻨـﻮﺍﻥ ﻳـﻚ ﻣـﺮﺩ ﺟـﻮﺍﻥ‪ ،‬ﺍﻳـﻮﺍﻥ ﺗﺼﻤﻴـﻢ‬ ‫ﻗﺒـﺎﻝ ﻃـﻮﻝ ﻋﻤـﺮ ﺑﻴﺸـﺘﺮ ﻣﻌﺎﻣﻠﻪ ﻛﻨـﺪ‪ .‬ﺑﻌﺪ‪ ،‬ﺣﺴـﺮﺕ‬ ‫ﺳـﻌﯽ ﺩﺍﺭﺩ ﺑـﺎ ﺧـﺪﺍ ﺩﺭ ِ‬
‫ﺩﺍﺷـﺖ ﻳـﻚ ﻭﻛﻴـﻞ ﺷـﻮﺩ‪ .‬ﭼـﻮﻥ ﺍﻭ ﻣﯽﺩﻳـﺪ ﻛﻪ ﭼﮕﻮﻧـﻪ ﻭﻛﻴﻞ ﻣﯽﺷـﻮﻧﺪ‬ ‫ﺭﻭﺯﻫـﺎی ﮔﺬﺷـﺘﻪﺍﺵ ﺭﺍ ﻣﯽﺧﻮﺭﺩ‪ .‬ﻣﺮﺣﻠﮥ ﻧﻬﺎﻳﯽ‪ ،‬ﺑﻪ ﺳـﻜﻮﺕ ﻭ ﺗﺄﻣﻞ ﻣﯽﮔﺬﺭﺩ‪.‬‬
‫ﻭ ﺻﺒـﺮ ﻣﯽﻛﻨﻨـﺪ ﺗـﺎ ﺁﻧﭽﻪ ﻛـﻪ ﻣﯽﺧﻮﺍﻫﻨﺪ ﺑﻪﺩﺳـﺖ ﺁﻭﺭﻧـﺪ؛ ﺍﻭ ﺗﺮﺩﻳﺪﻫﺎﻳﯽ‬ ‫ﺑـﻪ ﺧـﻮﺩ ﮔﻔـﺖ ‪» :‬ﺁﭘﺎﻧﺪﻳـﺲ؟ ﻛﻠﻴـﻪ؟ ﻧـﻪ! ﻧـﻪ ﺁﭘﺎﻧﺪﻳﺲ ﺍﺳـﺖ ﻭ ﻧـﻪ ﻛﻠﻴﻪ‪.‬‬
‫ﺩﺭ ﻣـﻮﺭﺩ ﺟﺴـﺖﻭﺟﻮ ﻛـﺮﺩﻥ ﻛﺎﺭ ﺩﺭ ﺍﻳـﻦ ﺯﻣﻴﻨﻪ ﺩﺍﺷـﺖ‪ .‬ﻭﻟﯽ ﺑﻌـﺪ ﺍﺯ ﺩﻳﺪﻥ‬ ‫ﭘـﺎی ﺯﻧﺪﮔـﯽ ﻭ ﻣـﺮگ ﺩﺭ ﻣﻴﺎﻥ ﺍﺳـﺖ‪ .‬ﺑﻠـﻪ‪ ،‬ﻣﻮﺟﻮﺩ ﺯﻧـﺪﻩﺍی ﺑـﻮﺩﻡ‪ ،‬ﻭﻟﯽ ﺣﺎﻻ‬
‫ﺍﻳﻨﻜـﻪ ﺍﻳـﻦ ﺷـﻐﻞ‪ ،‬ﺩﺭ ﺩﻳـﺪﮔﺎﻩ ﺟﺎﻣﻌـﻪ ﻗﺎﺑﻞﻗﺒﻮﻝ ﺍﺳـﺖ‪ ،‬ﺍﻳـﻦ ﺗﺨﺼﺺ ﺭﺍ‬ ‫ﺍﻳـﻦ ﺯﻧﺪﮔـﯽ ﺩﺍﺭﺩ ﺧﺎﻣـﻮﺵ ﻣﯽﺷـﻮﺩ ﻭ ﻛﺎﺭی ﻫـﻢ ﺍﺯ ﺩﺳـﺘﻢ ﺑﺮﻧﻤﯽﺁﻳـﺪ‪ .‬ﺑﻠـﻪ‪.‬‬
‫ﭘﺬﻳﺮﻓـﺖ‪ .‬ﺑﻌﺪﻫـﺎ ﺩﺭ ﺯﻧﺪﮔـﯽ‪ ،‬ﺍﻳﻮﺍﻥ ﺍﺯﺩﻭﺍﺝ ﻛـﺮﺩ‪ ،‬ﻧﻪ ﺑﻪﺧﺎﻃﺮ ﻋﺸـﻖ‪ ،‬ﺑﻠﻜﻪ‬ ‫ﭼـﺮﺍ ﺧـﻮﺩﻡ ﺭﺍ ﮔـﻮﻝ ﺑﺰﻧـﻢ؟ ﻏﻴـﺮ ﺍﺯ ﺧـﻮﺩﻡ ﻫﻤـﻪ ﻣﯽﺩﺍﻧﻨـﺪ ﺩﺍﺭﻡ ﻣﯽﻣﻴـﺮﻡ ‪«...‬‬
‫ﺑـﺮﺍی ﺭﺿﺎﻳـﺖ ﺷـﺨﺼﯽ ﻭ ﺩﺭ ﻫﻤـﺎﻥ ﺯﻣـﺎﻥ‪ ،‬ﺍﻳﻦ ﻛﺎﺭ ﺗﻮﺳـﻂ ﺑﺴـﻴﺎﺭی ﺍﺯ‬ ‫)ﺣﺴـﻴﻨﯽ‪.(55 ،1390 ،‬‬
‫ﺍﻓﺮﺍﺩ‪ ،‬ﺩﺭﺳـﺖ ﺗﻠﻘﯽ ﺷـﺪ‪ .‬ﺧﻴﻠﯽ ﺯﻭﺩ ﺑﻌﺪ ﺍﺯ ﺍﺯﺩﻭﺍﺝ‪ ،‬ﺍﻭ ﺩﺍﺭﺍی ﻓﺮﺯﻧﺪﺍﻧﯽ ﺷـﺪ‪،‬‬ ‫ﺧﻼﺻﮥ ﺩﺍﺳﺘﺎﻥ ﺑﺪﻳﻦ ﻗﺮﺍﺭ ﺍﺳﺖ‪:‬‬
‫ﭼـﻮﻥ ﺍﻳـﻦ ﻛﺎﺭ ﻫـﻢ ﺩﺭ ﺑﻴـﻦ ﺟﺎﻣﻌﻪ‪ ،‬ﻳﻚ ﻛﺎﺭ ﺩﺭﺳـﺖ ﺗﻠﻘﯽ ﻣﯽﺷـﺪ‪ .‬ﺍﻭ ﺑﻪ‬ ‫ﺍﺯ ﺯﻧﺪﮔـﯽ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴـﭻ ﭼـﻪ ﺑﮕﻮﻳﻴـﻢ ﻛـﻪ ﺳـﺎﺩﻩﺗﺮ‪ ،‬ﻣﻌﻤﻮﻟﯽﺗـﺮ ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ‬
‫ﺯﻧﺪﮔـﯽ‪ ،‬ﺑـﻪ ﺷـﻴﻮﻩﻫﺎی ﻣﺘـﺪﺍﻭﻝ ﺍﺩﺍﻣـﻪ ﺩﺍﺩ‪ ،‬ﺍﻟﺒﺘـﻪ ﺍﺯ ﻧﻈـﺮ ﺧـﻮﺩﺵ‪ ،‬ﺍﻭ ﺩﺭ‬ ‫ﻭﺣﺸـﺘﻨﺎکﺗﺮ ﺍﺯ ﺁﻥ ﭘﻴـﺪﺍ ﻧﻤﻲﺷـﻮﺩ! ﺍﻭ ﻳﻜـﯽ ﺍﺯ ﺍﻋﻀـﺎی ﺩﺍﺩﮔﺎﻩ ﺑـﻮﺩ ﻭ ﺩﺭ‬
‫ﺳـﻄﺢ ﺑـﺎﻻی ﺟﺎﻣﻌـﻪ ﻗـﺮﺍﺭ ﺩﺍﺷـﺖ‪ .‬ﺩﺭ ﺣﺎﻟﯽ ﻛﻪ ﺳـﻌﯽ ﻣﯽﻛـﺮﺩ ﺧﺎﻧﻪﺍﺵ‬ ‫ﭼﻬﻞﻭﭘﻨـﺞ ﺳـﺎﻟﮕﯽ ﺩﺭﮔﺬﺷـﺖ‪ .‬ﻗﺎﺿﯽ ﺭﻭﺳـﯽ ـ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴﭻ ـ ﺑﺎ ﻧﺎﺋﻞ ﺷـﺪﻥ‬
‫ﺭﺍ ﺑـﺮﺍی ﺧﺎﻧـﻮﺍﺩﻩ ﺁﻣـﺎﺩﻩ ﻛﻨـﺪ‪ ،‬ﺍﻳـﻮﺍﻥ ﺍﻓﺘـﺎﺩ ﻭ ﭘﻬﻠﻮﻳـﺶ ﺿﺮﺑـﻪ ﺧـﻮﺭﺩ‪.‬‬ ‫ﺑﻪ ﻣﻮﻓﻘﻴﺖﻫﺎﻳﯽ ﺩﺭ ﻧﺨﺴـﺘﻴﻦ ﺳـﺎﻝﻫﺎی ﭘﺲ ﺍﺯ ﭼﻬﻞ ﺳﺎﻟﮕﯽ‪ ،‬ﺩﭼﺎﺭ ﺗﻮﻫــﻢ‪،‬‬
‫ﺑﻪﺟـﺎی ﺍﻳﻨﻜـﻪ ﺩﺭﺩی ﺍﺣﺴـﺎﺱ ﻛﻨـﺪ‪ ،‬ﺍﻭ ﻣﺎﻧﻨـﺪ ﻳﻚ ﺟﻮﺍﻥ ﺷـﺎﻧﺰﺩﻩ ﺳـﺎﻟﻪ‪،‬‬ ‫ﺑﻴﻤـﺎﺭی ﻭ ﻣـﺮگ ﻣﯽﺷـﻮﺩ‪ .‬ﺭﻭﺯﺑـﻪﺭﻭﺯ ﺣﺎﻟـﺶ ﺑﺪﺗـﺮ ﻣﯽﺷـﻮﺩ‪ .‬ﺍﻳﻨﺠﺎﺳـﺖ ﻛﻪ‬
‫ﻛﻤﺘـﺮ ﺍﺣﺴـﺎﺱ ﺩﺭﺩ ﻣﯽﻛـﺮﺩ‪ ،‬ﺩﺭ ﺣﺎﻟـﯽ ﻛﻪ ﻧﻤﯽﺩﺍﻧﺴـﺖ ﻛﻪ ﻧﻔـﺲ ﺁﺧﺮ ﺭﺍ‬ ‫ﺍﻳﻠﻴـﭻ ﻣﺘﻮﺟـﻪ ﻣﯽﺷـﻮﺩ ﺩﻳﮕـﺮﺍﻥ ﺗـﺎ ﭼﻪ ﺣﺪ ﻧﺴـﺒﺖ ﺑـﻪ ﺍﻭ ﺑﯽﺍﻋﺘﻨﺎ ﻫﺴـﺘﻨﺪ‪.‬‬
‫ﻣﯽﻛﺸـﺪ‪ .‬ﺑـﻪ ﺯﻭﺩی ﺍﻭ ﺑﯽﻗـﺮﺍﺭ ﺷـﺪ ﻭ ﺍﺯ ﻗﺒـﻞ ﺑﯽﺗﺤﻤﻞﺗـﺮ‪ ،‬ﭘﺰﺷـﻜﺎﻥ ﻭ‬ ‫ﻫﺮﻳـﻚ ﺍﺯ ﺁﻧﻬـﺎ ﺑـﻪ ﺩﻝ ﻣﯽﮔﻔـﺖ ﻳـﺎ ﭼﻨﻴـﻦ ﺍﺣﺴـﺎﺱ ﻣﯽﻛـﺮﺩ‪» :‬ﺍﻭ ُﻣﺮﺩﻩ‪،‬‬
‫ﻣﺘﺨﺼﺼﺎﻧـﯽ ﺭﺍ ﻛـﻪ ﻣﻼﻗﺎﺕ ﻣﯽﻛﺮﺩ‪ ،‬ﻫﺮﮔﺰ ﺑﻪ ﺍﻭ ﭘﺎﺳـﺦ ﺩﺭﺳـﺘﯽ ﺩﺭ ﻣﻮﺭﺩ‬ ‫ﻣـﻦ ﻛﻪ ﺯﻧـﺪﻩﺍﻡ!«‬
‫ﺍﻳﻨﻜـﻪ ﭼـﻪ ﻣﺸـﻜﻠﯽ ﺩﺍﺭﺩ‪ ،‬ﻧﻤﯽﺩﺍﺩﻧـﺪ ﻭ ﺍﻭ ﻫﺮﮔﺰ ﻧﻤﯽﺩﺍﻧﺴـﺖ ﻛـﻪ ﺁﻳﺎ ﺍﻳﻦ‬ ‫ﻣـﺮگ ﺍﻭ ﺑﻪﻇﺎﻫـﺮ‪ ،‬ﻏﺼـﻪﺩﺍﺭ ﻣﯽﺷـﻮﻧﺪ؛ ﺍﻣﺎ ﺩﺭ‬‫ﻫﻤـﻜﺎﺭﺍﻥ ﺑـﺎ ﺷـﻨﻴﺪﻥ ﺧﺒﺮ ِ‬
‫ﺑﻴﻤـﺎﺭی‪ ،‬ﺗﻬﺪﻳﺪﻛﻨﻨـﺪۀ ﺯﻧﺪﮔـﯽ ﺍﻭﺳـﺖ ﻳﺎ ﺧﻴﺮ؛ ﺗـﺎ ﺍﻳﻨﻜﻪ ﺑﻴﻤـﺎﺭی‪ ،‬ﺍﻭ ﺭﺍ ﺑﻪ‬ ‫ﺍﺻﻞ‪ ،‬ﺷـﺎﺩﻣﺎﻥ ﺍﺯ ﺍﻳﻦ ﻫﺴـﺘﻨﺪ ﻛﻪ ﺑﻴﻤﺎﺭی ﮔﺮﻳﺒﺎﻥ ﺧﻮﺩﺷـﺎﻥ ﺭﺍ ﻧﮕﺮﻓﺘﻪ ﺍﺳـﺖ؛‬
‫‪35‬‬ ‫ﺳـﻮی ﺑﺴـﺘﺮ ﻣﺮگ ﻛﺸـﺎﻧﺪ‪ .‬ﺍﻳـﻮﺍﻥ ﺩﺭ ﺣﺎﻟﯽ ﻛﻪ ﺩﺭ ﺟﺴـﻢ ﺧـﻮﺩﺵ ﺑﻪ ﺩﺍﻡ‬
‫ﺍﻓﺘـﺎﺩﻩ ﺑـﻮﺩ‪ ،‬ﻧﻤﯽﺗﻮﺍﻧﺴـﺖ ﺣﺮﻛـﺖ ﻛﻨﺪ ﻳﺎ ﺳـﺨﻦ ﺑﮕﻮﻳـﺪ‪ .‬ﺩﺭ ﻟﺤﻈﺎﺕ ﺁﺧﺮ‬
‫ﻭ ﺍﻟﺒﺘﻪ ﺣﻜﺎﻳﺖ ﺍﺯ ﺍﻳﻦ ﺩﺍﺭﺩ ﻛﻪ ﻫﺮ ﻛﺲ ﺧﻮﻳﺸـﺘﻦ ﺭﺍ ﺍﺯ ﺩﻳﮕﺮی ﺑﻴﺸـﺘﺮ ﺩﻭﺳـﺖ‬
‫ﻣـﯽﺩﺍﺭﺩ‪ .‬ﺩﺭ ﻭﺍﻗـﻊ‪ ،‬ﻭﻗﺘـﯽ ﺩﻭﺳـﺘﺎﻥ ﺍﻳﻮﺍﻥ ﺧﺒﺮ ﻣـﺮگ ﺍﻭ ﺭﺍ ﻣﯽﺷـﻨﻮﻧﺪ‪ ،‬ﺑﻪ ﺗﻨﻬﺎ‬
‫ﺯﻧﺪﮔـﯽﺍﺵ‪ ،‬ﺍﻭ ﺧﻄﺎﻫـﺎی ﺷـﻴﻮﻩﻫﺎی ﺧـﻮﺩﺵ ﺭﺍ ﻫـﻢ ﺍﺯ ﻟﺤـﺎﻅ ﺷـﺨﺼﯽ‬ ‫ﭼﻴـﺰی ﻛـﻪ ﻓﻜـﺮ ﻣﯽﻛﻨﻨـﺪ ﺍﻳﻦ ﺍﺳـﺖ ﻛـﻪ ﭼﻪ ﻛﺴـﯽ ﻗﺮﺍﺭ ﺍﺳـﺖ ﺑـﻪ ﺟﺎﻳﮕﺎﻩ‬
‫ﻭ ﻫـﻢ ﺍﺯ ﻟﺤـﺎﻅ ﻛﺎﺭی ﺷـﻨﺎﺧﺖ‪ .‬ﺍﻭ ﻣﯽﺑﻴﻨـﺪ ﻛـﻪ ﺩﺭ ﺯﻧﺪﮔـﯽ ﻛﺎﺭی ﻧﻜﺮﺩﻩ‬ ‫ﺍﻳـﻮﺍﻥ ﺩﺳـﺖ ﻳﺎﺑﺪ‪ .‬ﺣﺘـﯽ ﺑﻪﻧﻈﺮ ﻧﻤﯽﺁﻣﺪ ﻛﻪ ﻫﻤﺴـﺮ ﺍﻳﻮﺍﻥ ﺍﺯ ﻣﺮگ ﺷـﻮﻫﺮﺵ‬
‫ﻛـﻪ ﺍﻭ ﺭﺍ ﺧﻮﺷـﺤﺎﻝ ﻛﻨـﺪ‪ .‬ﺍﻭ ﻓﻘﻂ ﻛﺎﺭﻫﺎﻳـﯽ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﻛـﻪ ﻓﻜﺮ ﻣﯽﻛﺮﺩﻩ‬ ‫ﻧﺎﺭﺍﺣـﺖ ﺷـﺪﻩ ﺑﺎﺷـﺪ‪ ،‬ﺗﻨﻬﺎ ﭼﻴـﺰی ﻛﻪ ﺗﻮﺟـﻪ ﺍﻭ ﺭﺍ ﺟﻠﺐ ﻣﯽﻛﻨﺪ ﺍﻳﻦ ﺍﺳـﺖ ﻛﻪ‬
‫ﺟﺎﻣﻌـﻪ ﺭﺍ ﺧﻮﺷـﺤﺎﻝ ﻣﯽﺳـﺎﺯﺩ‪ .‬ﺁﮔﺎﻫﯽ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴﭻ ﺍﺯ ﺯﻧﺪﮔـﯽ ﺑﻴﻬﻮﺩﻩﺍﺵ‬ ‫ﭼﻄـﻮﺭ ﻣﯽﺗﻮﺍﻧـﺪ ﺍﺯ ﺩﻭﻟﺖ‪ ،‬ﺑﺎﺑﺖ ﻣﺮگ ﻫﻤﺴـﺮﺵ ﭘﻮﻟﯽ ﺑﻪﺩﺳـﺖ ﺁﻭﺭﺩ ﻭ ﺍﻳﻨﻜﻪ‬
‫ﺑﻴﺸـﺘﺮ ﻣﯽﺷـﻮﺩ »ﻧـﻪ ﺗﻨﻬـﺎ ﺍﻳـﻮﺍﻥ ﻣـﺮﺩ‪ ،‬ﺑﻠﻜـﻪ ﻫﻤﻴﺸـﻪ ﻣـﺮﺩﻩ ﺑـﻮﺩ ﻭ ﺑﻌﺪ‬ ‫ﻏﻴـﺮ ﺍﺯ ﺣﻖ ﺑﺎﺯﻧﺸﺴـﺘﮕﯽ‪ ،‬ﺩﻭﻟـﺖ ﭼﻘﺪﺭ ﺑﻪ ﺍﻭﻝ ﭘـﻮﻝ ﺧﻮﺍﻫﺪ ﺩﺍﺩ‪ .‬ﺑﻌـﺪ ﺍﺯ ﺍﻳﻨﻜﻪ‬
‫ﺍﺯ ﺍﻳﻨﻜـﻪ ﻣـﺮﺩ ﺍﻛﻨـﻮﻥ ﺯﻧﺪﮔـﯽ ﻣﯽﻛﻨـﺪ« )‪ .(simpson‬ﺩﺭ ﺑﺴـﺘﺮ ﻣـﺮگ‪،‬‬ ‫ﺗﺸـﻴﻴﻊﺟﻨﺎﺯﻩ ﺑﺎ ﺟﺰﺋﻴﺎﺕ ﺗﻮﺿﻴﺢ ﺩﺍﺩﻩ ﻣﯽﺷـﻮﺩ‪ ،‬ﺗﻮﻟﺴـﺘﻮی ﺑﻪ ﺗﺸـﺮﻳﺢ ﺯﻧﺪﮔﯽ‬
‫ﺍﻳـﻮﺍﻥ ﺍﺯ ﺧـﻮﺩﺵ ﻣﯽﭘﺮﺳـﺪ‪ :‬ﻛﺎﺭ ﺩﺭﺳـﺖ ﭼﻴﺴـﺖ؟ ﺍﺯ ﺧـﻮﺩ ﻣﯽﭘﺮﺳـﺪ ﺁﻳﺎ‬ ‫ﺍﻳـﻮﺍﻥ ﺍﺩﺍﻣـﻪ ﻣﯽﺩﻫﺪ‪.‬‬
‫ﺍﻳـﻦ ﺧـﻮﺩﺵ ﺑﻮﺩﻩ ﺍﺳـﺖ ﻛﻪ ﻣﯽﺗﻮﺍﻧﺴـﺘﻪ ﺯﻧﺪﮔﯽﺍﺵ ﺭﺍ ﺍﺭﺯﺷـﻤﻨﺪ ﺳـﺎﺯﺩ؟‬ ‫ﻓﺮﺩﻳـﺖ ﺭﻭ ﺑـﻪ ﺭﺷـﺪ ﺟﺎﻣﻌـﮥ ﺍﻣﺮﻭﺯ‪ ،‬ﺗﻮﺟﻴـﻪ ﺍﻓـﺮﺍﺩ ﺍﺯ ﻧﺤﻮۀ ﺑﺮﺧﻮﺭﺩﺷـﺎﻥ ﺑﺎ‬
 ‫ﻧﻘﺪ ﻭ ﺑﺮﺭﺳﻲ‬

‫ﺯﻣﺎﻧـﯽ ﻛﻪ ﺩﺭ ﺑﺴـﺘﺮ ﻣـﺮگ ﺍﺳـﺖ‪ ،‬ﻣﯽﻓﻬﻤﺪ ﻛﻪ ﭼﻴـﺰی ﺩﺭ ﺯﻧﺪﮔـﯽ ﻧﺪﺍﺭﺩ‬

‫ﻛـﻪ ﺧﻮﺷـﺤﺎﻟﺶ ﻛﻨـﺪ‪ .‬ﺍﻭ ﺑﻪﺧﻮﺑـﯽ ﺧﺎﻧـﻮﺍﺩﻩﺍﺵ ﺭﺍ ﻧﻤﯽﺷﻨﺎﺳـﺪ‪ ،‬ﺯﻳـﺮﺍ ﺍﻭ‬
‫ﺧـﻮﺩﺵ ﺭﺍ ﺩﺭ ﺷـﻐﻠﺶ ﻏﻮﻃﻪﻭﺭ ﺳـﺎﺧﺘﻪ ﺑﻮﺩ‪ .‬ﺍﻭ ﻃﻮﺭی ﺯﻧﺪﮔـﯽ ﻛﺮﺩﻩ ﺑﻮﺩﻩ‬
‫ﻛـﻪ ﻧﺒﺎﻳـﺪ ﺁﻥﻃـﻮﺭ ﻣﯽﺑـﻮﺩ‪ .‬ﻫﻤـﮥ ﺯﻧﺪﮔـﯽ ﺍﻭ‪ ،‬ﻫﻤـﮥ ﭼﻴﺰﻫﺎﻳﯽ ﻛـﻪ ﺑﻪﻧﻈﺮ‬
‫ﻣﯽﺁﻣـﺪ ﺍﻭ ﺑـﻪ ﺧﺎﻃـﺮ ﺁﻧﻬﺎ ﺯﻧﺪﮔـﯽ ﻣﯽﻛﺮﺩ‪ ،‬ﻣﻮﻗﻌﻴـﺖ ﺍﺟﺘﻤﺎﻋـﯽ ﻭ ﺗﻌﻠﻘﺎﺕ‬
‫ﻣـﺎﺩی ﺍﻭ ﺑﻮﺩﻧـﺪ‪ .‬ﺍﻭ ﻫﻤـﮥ ﻭﻗـﺖ ﺧﻮﺩ ﺭﺍ ﺻـﺮﻑ ﻣﯽﻛﺮﺩ ﺗﺎ ﺗـﻼﺵ ﻛﻨﺪ ﻛﻪ‬
‫ﺯﻧﺪﮔﯽ ﺷـﺨﺺ ﺩﻳﮕﺮی ﺭﺍ ﺗﺮﺳـﻴﻢ ﻛﻨـﺪ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ‪ ،‬ﺍﻭ ﻧﻤﯽﺩﺍﻧﺴـﺖ‬
‫ﺭﻧـﻪ ﻭﻟـﻚ )‪ ،(1903-1995‬ﻧﻈﺮﻳـﻪ ﭘـﺮﺩﺍﺯ‪ ،‬ﻣﻨﺘﻘـﺪ ﻭ ﻣـﻮﺭﺥ ﻧﻘـﺪ ﺍﺩﺑـﻲ‬ ‫ﻛـﻪ ﭼﻄـﻮﺭ ﻋﺸـﻖ ﺑـﻮﺭﺯﺩ ﻭ ﻣﻮﺭﺩ ﻋﺸـﻖ ﻗـﺮﺍﺭ ﮔﻴـﺮﺩ‪ .‬ﺍﻭ ﻫﻤﻴﺸـﻪ ﺑﻪﺧﺎﻃﺮ‬
‫ﻭ ﭘﮋﻭﻫﺸـﮕﺮ ﺍﺩﺑﻴـﺎﺕ ﺗﻄﺒﻴﻘـﻲ ﺁﻟﻤﺎﻧﻲ‪ -‬ﭼـﻚ ﺗﺒـﺎﺭ‪ ،‬ﺩﺭ ﻣﻘﺪﻣﮥ ﺷـﺎﻫﻜﺎﺭﻫﺎی‬ ‫ﺍﻳﻨﻜـﻪ ﻫﻤﺴـﺮﺵ ﺑـﺎ ﺍﻭ ﺧـﻮﺏ ﻧﺒـﻮﺩ‪ ،‬ﺍﻭ ﺭﺍ ﺳـﺮﺯﻧﺶ ﻣﯽﻛـﺮﺩ ﺩﺭ ﺣﺎﻟﯽ ﻛﻪ‬
‫ﺭﺋﺎﻟﻴﺴـﻢ ﻭ ﻧﺎﺗﻮﺭﺍﻟﻴﺴـﻢ ﺩﺭ ﻗـﺮﻥ ﻧﻮﺯﺩﻫﻢ‪ ،‬ﺩﺭ ﻣـﻮﺭﺩ ﺍﻳﻠﻴﭻ ﺍﻳﻦﮔﻮﻧﻪ ﻣﯽﻧﻮﻳﺴـﺪ‪:‬‬ ‫ﺧـﻮﺩ ﻧﻴـﺰ ﺣﻘﻴﻘﺘـ ًﺎ ﺑـﺎ ﺧﻮﺩﺵ ﺧـﻮﺏ ﻧﺒـﻮﺩ‪ .‬ﺑﻪﻧﻈـﺮ ﻣﯽﺁﻣﺪ ﻫﻤﻴﺸـﻪ ﻛﺎﺭی‬
‫»ﺍﻳـﻮﺍﻥ‪ ،‬ﺁﺩﻣـﯽ ﻣﻌﻤﻮﻟـﯽ ﺍﺳـﺖ‪ ،‬ﻣﺎﻧﻨﺪ ﻫـﺮ ﺁﺩﻡ ﺩﻳﮕـﺮی؛ ﻧـﻪ ﺻﺎﺣﺐ ﻓﻀﻴﻠﺖ‬ ‫ﻣﯽﻛﻨـﺪ ﻛـﻪ ﺟﺎﻣﻌـﻪ ﺭﺍ ﺗﺤـﺖ ﺗﺄﺛﻴـﺮ ﻗﺮﺍﺭ ﺩﻫـﺪ‪ ،‬ﻧـﻪ ﺍﻳﻨﻜـﻪ ﻛﺎﺭی ﻛﻨﺪ ﻛﻪ‬
‫ﺍﺳـﺖ ﻭ ﻧـﻪ ﻫﻢ ﺧﺒﺎﺛـﺖ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﺣﺮﻓﻪﺍﺵ ﻣﻮﻓـﻖ ﺍﺳـﺖ‪ .‬ﺯﻥ ﻭ ﺩﻭ ﻓﺮﺯﻧﺪ ﺩﺍﺭﺩ‪.‬‬ ‫ﺑـﻪ ﺧﻮﺷـﺒﺨﺘﯽ ﻃﻮﻻﻧـﯽ ﻭ ﺍﻣﻨﻴـﺖ ﻣﻨﺠـﺮ ﺷـﻮﺩ‪ .‬ﺍﮔـﺮ ﺍﻭ ﺍﺯ ﻫﻤـﺎﻥ ﺍﺑﺘﺪﺍ ﺑﺮ‬

‫ﺷﻤﺎﺭﺓ ‪) 69‬ﭘﻴﺎﭘﻰ ‪ (183‬ـ ﺩﻯﻣﺎﻩ ‪1391‬‬

‫ﺟﻤﻠﮕـﯽ ﺣـﻮﺍﺩﺙ ﻭ ﺳـﺮﺁﻣﺪﻩﻫﺎﻳﺶ ﺑـﺮ ﺍﻭ ﻋـﺎﺭﺽ ﻣﯽﺷـﻮﺩ‪ .‬ﺯﻥ ﮔﺮﻓﺘﻨـﺶ‬
‫ﻧﻴـﺰ ﺍﺯ ﺍﻳـﻦ ﻗﺎﻋـﺪﻩ ﻣﺴـﺘﺜﻨﯽ ﻧﻴﺴـﺖ‪ .‬ﺩﺭ ﺩﻭﺭﺍﻥ ﺯﻧﺪﮔـﯽ‪ ،‬ﺣﺎﺩﺛﮥ ﺑﺴـﻴﺎﺭ ﻣﻬﻤﯽ‬
‫ﺑﺮﺍﻳـﺶ ﭘﻴـﺶ ﻧﻤﯽﺁﻳـﺪ‪ :‬ﻧﻪ ﻋﺸـﻖ ﺟﺎﻧﺴـﻮﺯی‪ ،‬ﻧﻪ ﻏﻤﯽ ﺩﻟـﺪﻭﺯ‪ ،‬ﻧﻪ ﺳـﻴﻨﻪﺍی‬
‫ﺷﺮﺣﻪﺷـﺮﺣﻪ ﺍﺯ ﻓـﺮﺍﻕ‪ .‬ﻣﻘﺼﺪ ﻭ ﻣﻘﺼـﻮﺩ ﻭﺍﻻﻳﯽ ﺩﺭ ﺫﻫﻦ ﻧﻪ‪ ،‬ﻛـﻪ ﺑﻪ ﺧﺎﻃﺮ ﺁﻥ‬
‫ﺑـﺮ ﺁﻧﭽـﻪ ﻳﻜﺴـﺮﻩ ﻫﺴـﺖ‪ ،‬ﭼﺎﺭ ﺗﻜﺒﻴـﺮ ﺑﺰﻧﺪ‪ .‬ﻫـﺪﻑ ﻭﺍﻻﻳـﯽ ﻧﻪ‪ ،‬ﻛﻪ ﺑـﻪ ﺧﺎﻃﺮ‬
‫ﺁﻥ ﺑـﺮ ﺧـﺎﻥ ﻭ ﻣﺎﻧـﺶ ﭘﺸـﺖ ﻛﻨـﺪ‪ .‬ﻫﻤﻴﻦﻗـﺪﺭ ﺩﺭﺱ ﻣﯽﺧﻮﺍﻧـﺪ ﺗﺎ ﺍﺯ ﻣﺪﺭﺳـﮥ‬
‫ﺣﻘـﻮﻕ ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴـﻞ ﺷـﻮﺩ ﻭ ﺑـﺮ ﺍﺛﺮ ﺧﺪﻣـﺖ ﻭ ﻟﻴﺎﻗـﺖ‪ ،‬ﻛﻢﻛﻢ ﺗﺮﻓﻴـﻊ ﻣﻘﺎﻡ‬
‫ﻣﯽﻳﺎﺑـﺪ‪ .‬ﺑـﻪ ﺗﻨﺎﺳـﺐ ﺗﺮﻓﻴـﻊ ﻣﻘـﺎﻡ‪ ،‬ﺣﻘﻮﻗﺶ ﺑﻴﺸـﺘﺮ ﻣﯽﺷـﻮﺩ ﻭ ﺧﺎﻧـﻪ ﻋﻮﺽ‬
‫ﻣﯽﻛﻨﺪ‪ .‬ﺩﺭ ﺩﻛﻮﺭﺍﺳـﻴﻮﻥ ﻭ ﻣﺒﻠﻤﺎﻥ ﺧﺎﻧﻪ ﺧﻮﺵ ﺳـﻠﻴﻘﻪ ﺍﺳـﺖ‪ .‬ﺑﻴﻤﺎﺭیﺍﺵ ﻫﻢ‬
‫ﺑـﺮ ﺍﺛـﺮ ﺣﺎﺩﺛـﮥ ﭘﻴﺶﭘﺎﺍﻓﺘـﺎﺩﻩﺍی ﺩﺭ ﻛﺎﺭ ﭘﻴﺶﭘﺎﺍﻓﺘـﺎﺩۀ ﻧﺼﺐ ﭘﺮﺩﻩ ﺑـﺮ ﺍﻭ ﻋﺎﺭﺽ‬
‫ﻣﯽﺷـﻮﺩ«‪ ) .‬ﺭﻧـﻪ ﻭﻟـﻚ‪ ،‬ﺹ ‪(1622 - 1624‬‬
‫ﺗﻜﺎﻣﻞ ﻓﻜﺮی‬
‫ِ‬ ‫ﻭ‬ ‫ﮔﻴﺮی‬ ‫ﺷـﻜﻞ‬ ‫ﻣﺨﺎﻃﺒـﺎﻥ‪،‬‬ ‫ﺗﺄﺛﻴـﺮﺍﺕ ﺍﺧﻼﻗـﯽ ﻣ ّﻬـﻢ ﺑـﺮ‬
‫ﻭ ﺍﻧﺴـﺎﻥﻫﺎ ﺗـﺎ ﺁﻧﺠﺎﺳـﺖ ﻛـﻪ ﺧﻮﺍﻧﻨﺪﻩ ﺍﻳـﻦ ﻣﺠﺎﻝ ﺭﺍ ﭘﻴـﺪﺍ ﻣﯽﻛﻨﺪ ﻛـﻪ ﻫﻤﺮﺍﻩ‬
‫ﺍﻳﻠﻴـﭻ‪» ،‬ﻣـﺮگ« ﺭﺍ ﺑﭙﺬﻳـﺮﺩ ﻭ ﺑـﺎ ﭘَـﺲﺯﺩﻥ ﻇﻮﺍﻫـﺮ ﻭ ﺭﻭﺯﻣﺮﮔﯽﻫـﺎی ﺯﻧﺪﮔﯽ‪ ،‬ﺑﺎ‬
‫ﭘﺬﻳـﺮﺵ ﻣـﺮگ‪ ،‬ﺯﻧﺪﮔﯽ ﺭﺍ ﺑـﺎ ﻧﮕﺎﻩ ﺗـﺎﺯﻩﺍی ﺑﺒﻴﻨﺪ‪.‬‬
‫ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴـﭻ‪ ،‬ﺧـﻮﺩ ﺭﺍ ﺩﺭ ﺑﺮﺍﺑـﺮ ﻣﺤﻜﻤـﻪﺍی ﻣﯽﺑﻴﻨـﺪ‪ .‬ﺗﻤـﺎﻡ ﺩﻏﺪﻏﻪﻫﺎ‬
‫ﻭ ﺩﻝﻣﺸـﻐﻮﻟﯽﻫﺎی ﺍﻳﻠﻴـﭻ‪ ،‬ﺩﺭ ﭘﺎﻳـﺎﻥ ﺯﻧﺪﮔﯽﺍﺵ ﺭﻧـﮓ ﻣﯽﺑـﺎﺯﺩ ﻭ ﺍﻭ ﺑﻪﻳﻜﺒﺎﺭﻩ‬
‫ﺍﺯ ﻧﺮﺩﺑـﺎﻥ ﺑﻠﻨـﺪی ﻛـﻪ ﺳـﺎﺧﺘﻪ ﺑﻮﺩ‪ ،‬ﻣﯽﺍﻓﺘـﺪ! ﻫﺬﻳﺎﻥ ﻣـﺮگ‪ ،‬ﺍﻭ ﺭﺍ ﺑـﻪ ﻛﺎﻡ ﺧﻮﺩ‬
‫ﻣﯽﻛﺸـﺪ ﻭ ﺍﻭ ﻛـﻪ ﺑـﻪ ﺑﻴﻤﺎﺭیﺍﺵ ﺧـﻮ ﮔﺮﻓﺘﻪ‪ ،‬ﻣﯽﺩﺍﻧـﺪ ﺑـﻪ ﺯﻭﺩی ﺧﻮﺍﻫﺪ ُﻣﺮﺩ‬
‫ﻭ ﻫﻤـﻪ ﺭﺍ ﺍﺯ ﺧـﻮﺩ ﻣﯽﺭﺍﻧـﺪ‪ .‬ﻋﺬﺍﺏ ﻭﺟﺪﺍﻥ‪ ،‬ﺍﺣﺴـﺎﺱ ﮔﻨﺎﻩ‪ ،‬ﻭﺣﺸـﺖ ﺍﺯ ﺑﻴﻤﺎﺭی‬
‫ﻭ ﺍﺯ ﻫـﺮﺍﺱ ﺍﺯ ﻣـﺮگ ﺑـﺎ »ﻣـﺮگ« ﺍﻟﺘﻴـﺎﻡ ﻣﯽﻳﺎﺑـﺪ‪ .‬ﺍﻧﺪﻳﺸـﮥ ﻣﺮگ‪ُ ،‬ﻣﻬـﺮ ﺩﺭﻭﻍ‬
‫ﻭ ﻧﻴﺮﻧـﮓ ﺭﺍ ﺑـﻪ ﺗﻤـﺎﻡ ﻇﻮﺍﻫـﺮ ﺯﻧﺪﮔـﯽ ﺍﻳﻠﻴـﭻ ﺯﺩﻩ ﻭ ﺍﻭ ﺍﻳـﻦ ﺭﺍ ﺑﺎ ﻛﺸـﻒ ﻣﺮگ‬
‫ﺗﺪﺭﻳﺠﯽ ﺑﻪ ﻭﺍﻗﻌﻴﺖ ﭘﻴﻮﺳـﺘﻦ ﺩﻏﺪﻏﻪﻫﺎ‪ ،‬ﺗﺎ ﻟﺤﻈﮥ ﻣﺮگ‪،‬‬ ‫ﺩﺭﻳﺎﻓﺘﻪ ﺍﺳـﺖ‪ .‬ﺳـﻴﺮ‬
‫ﺍﺳـﺎﺱ ﺍﺣﺴﺎﺳـﺎﺗﺶ ﭘﻴـﺶ ﻣﯽﺭﻓـﺖ ﺍﺣﺘﻤـﺎ ًﻻ ﻧﻤﯽﺗﻮﺍﻧﺴـﺖ ﻭﻛﻴﻞ ﺷـﻮﺩ‬
‫ﻭ ﻧﻤﯽﺗﻮﺍﻧﺴـﺖ ﺑـﻪ ﺷـﻐﻞ ﭘـﺮ ﺍﺳـﺘﺮﺱ ﺧﻮﺩ ﺑﺮﺳـﺪ‪ .‬ﺷـﺎﻳﺪ ﺍﻳـﻦ ﺑﻪﺗﻨﻬﺎﻳﯽ‬
‫ﺯﻧﺪﮔـﯽﺍﺵ ﺭﺍ ﻧﺠـﺎﺕ ﻣﯽﺩﺍﺩ‪.‬‬
‫ﺟﻨﺒـﮥ ﺟﺎﻟـﺐ ﺩﻳﮕـﺮ ﺍﻳـﻦ ﺩﺍﺳـﺘﺎﻥ ﺍﻳﻦ ﺍﺳـﺖ ﻛﻪ ﺍﻳـﻮﺍﻥ ﺧـﻮﺩ ﺭﺍ ﺩﻭﮔﺎﻧﻪ‬
‫ﻛـﺮﺩﻩ ﺑـﻮﺩ ﻭ ﺳـﻌﯽ ﻣﯽﻛـﺮﺩ ﺩﺭ ﻳـﻚ ﺯﻣـﺎﻥ ﺑـﻪ ﻣﻮﺟﻮﺩﻳﺘﯽ ﺩﻭﮔﺎﻧﻪ ﺑﺮﺳـﺪ‪.‬‬
‫ﻫﻤـﮥ ﺍﻭﻗـﺎﺕ‪ ،‬ﺍﻳـﻮﺍﻥ ﺑﻪﺳـﺎﺩﮔﯽ‪ ،‬ﻫﻤﺎﻧﻨـﺪ ﺑﺴـﻴﺎﺭی ﺍﺯ ﺍﻓـﺮﺍﺩ ﻣﺘﻮﺳـﻂ‪ ،‬ﺩﺭ‬
‫ﺳـﻄﺢ ﻣﺘﻮﺳـﻂ ﺟﺎﻣﻌﻪ ﺑـﻮﺩ‪ .‬ﺍﻭ ﺩﺭﺁﻣﺪ ﻣﺸـﺎﺑﻪ‪ ،‬ﺧﺎﻧﮥ ﻣﺸـﺎﺑﻪ ﻭ ﺣﺘﯽ ﻣﺒﻠﻤﺎﻥ‬
‫ﻣﺸـﺎﺑﻬﯽ ﺩﺍﺷـﺖ‪ .‬ﺍﮔﺮﭼﻪ ﺍﻳـﻮﺍﻥ ﺧﻮﺩ ﺭﺍ ﻓﺮﻳـﺐ ﻣﯽﺩﺍﺩ ﻛﻪ ﺩﺭ ﺳـﻄﺢ ﺑﺎﻻی‬
‫ﺟﺎﻣﻌـﻪ ﻗـﺮﺍﺭ ﺩﺍﺭﺩ‪ .‬ﺗﺼﺪﻳـﻖ ﻛﻮﺭﻛﻮﺭﺍﻧـﮥ ﺍﻭ ﺍﺯ ﺗﻌﻠﻘـﺎﺕ ﻭ ﻛﺎﺭﺵ‪ ،‬ﺑﺎﻋـﺚ‬
‫ﺷـﺪﻩ ﺑـﻮﺩ ﻓﺮﺍﻣـﻮﺵ ﻛﻨﺪ ﻛـﻪ ﭼﻪ ﭼﻴـﺰی ﻭﺍﻗﻌـ ًﺎ ﺍﺭﺯﺷـﻤﻨﺪ ﻭ ﭘﺎﻳﻨﺪﻩ ﺍﺳـﺖ‪:‬‬
‫ﻫﻤﺴـﺮﺵ‪ ،‬ﺧﺎﻧـﻮﺍﺩﻩﺍﺵ‪ ،‬ﺭﻭﺍﺑﻄـﺶ ﻳـﺎ ﺍﺳـﻨﺎﺩﺵ‪ .‬ﺍﻭ ﻓﻘـﻂ ﻛﺎﺭ ﻣﯽﻛﻨـﺪ ﺗـﺎ‬
‫ﺑﺘﻮﺍﻧـﺪ ﺩﺭ ﺟﺎﻣﻌـﻪ ﭘﻴﺸـﺮﻓﺖ ﻛﻨـﺪ ﻭ ﺣﻘـﻮﻕ ﺑﺎﻻﺗـﺮی ﺑﮕﻴـﺮﺩ‪ ،‬ﻧـﻪ ﺑـﻪ ﺍﻳـﻦ‬
‫ﺧﺎﻃـﺮ ﻛـﻪ ﺑـﻮﺩﻥ ﺧﺎﻧـﻮﺍﺩﻩﺍﺵ ﺭﺍ ﺗﺄﻣﻴﻦ ﻛﻨﺪ‪ .‬ﺗـﺎ ﺟﺎﻳﯽ ﻛﻪ ﺍﻳـﻦ ﻣﻮﺟﻮﺩﻳﺖ‬
‫ﺩﻭﮔﺎﻧـﻪ ﺍﻳﺠـﺎﺩ ﻣﯽﺷـﻮﺩ‪ ،‬ﺍﻳـﻮﺍﻥ ﻣﯽﮔﻮﻳـﺪ ﻛﻪ ﺩﺭ ﻣﺤـﻞ ﻛﺎﺭ‪ ،‬ﻓـﺮﺩ ﻣﺘﻔﺎﻭﺗﯽ‬
‫ﻧﺴـﺒﺖ ﺑـﻪ ﺧﺎﻧـﻪ ﺍﺳـﺖ‪ .‬ﺍﻭ ﻣﯽﺗﻮﺍﻧﺴـﺖ ﺧـﻮﺩ ﺭﺍ ﺑـﻪ ﻳـﻚ ﻫﻤﺴـﺮ ﻳـﺎ ﭘﺪ ِﺭ‬
‫ﺩﻭﺳﺖﺩﺍﺷـﺘﻨﯽ ﺗﺒﺪﻳـﻞ ﻛﻨـﺪ‪ ،‬ﺩﻗﻴﻘـ ًﺎ ﺑﻌـﺪ ﺍﺯ ﺍﻳﻨﻜﻪ ﻳـﻚ ﻭﻛﻴﻞ ﻣﺎﻫﺮ ﺑﺎﺷـﺪ‪.‬‬
‫ﻛﻤﺒـﻮﺩ ﭘﺬﻳـﺮﺵ ﺍﻳﻮﺍﻥ‪ ،‬ﺍﺣﺘﻤـﺎ ًﻻ ﺍﻭ ﺭﺍ ﺑﻪ ﻳﻚ ﻣﺮﺩ ﺑﺪ ﺧﺎﻧـﻮﺍﺩﻩ ﻭ ﻳﻚ ﻭﻛﻴﻞ‬
‫ﺑﺪﺗـﺮ ﺑـﺪﻝ ﺳـﺎﺧﺘﻪ ﺑـﻮﺩ‪ .‬ﺍﮔـﺮ ﺍﻭ ﻓﻘـﻂ ﻣﯽﭘﺬﻳﺮﻓﺖ ﻛـﻪ ﺭﺍﻫﯽ ﻭﺟـﻮﺩ ﻧﺪﺍﺭﺩ‬
‫ﻛـﻪ ﻫـﺮ ﺩﻭ ﺭﺍ ﺍﺯ ﻫـﻢ ﺟﺪﺍ ﻛﻨﺪ‪ ،‬ﻣﯽﺗﻮﺍﻧﺴـﺖ ﺩﺭ ﻳﻚ ﻧﻈﺎﻡ ﺑﻬﺘـﺮی ﻛﺎﺭ ﻛﻨﺪ‪،‬‬
‫ﻧـﻪ ﺍﻳﻨﻜـﻪ ﺑﻴـﻦ ﺁﻥ ﺩﻭ‪ .‬ﺍﮔﺮﭼﻪ ﺗـﺎ ﺯﻣﺎﻧﯽ ﻛـﻪ ﺍﻭ ﻣﯽﺗﻮﺍﻧﺪ ﺑﻪﺳـﺎﺩﮔﯽ ﺧﻮﺩ ﺭﺍ‬
‫ﺍﺯ ﻣـﺮﺩی ﺑـﻪ ﻣـﺮﺩی ﺩﻳﮕـﺮ ﺗﺒﺪﻳﻞ ﻛﻨـﺪ‪ ،‬ﻣﯽﺗﻮﺍﻧـﺪ ﺍﺯ ﺗﻼﺵ ﻛـﺮﺩﻥ ﺑﺮﺍی‬
‫ﺭﺳـﻴﺪﻥ ﺑـﻪ ﻳـﻚ ﻫﺴـﺘﯽ ﺁﺭﺍﻣﺶﺑﺨـﺶ ﺩﺳـﺖ ﺑـﺮﺩﺍﺭﺩ‪ .‬ﺍﺻـﻮﻝ ﺍﺧﻼﻗـﯽ‬
‫ﻭ ﺍﺣﺴﺎﺳـﯽ ﺍﻳـﻮﺍﻥ‪ ،‬ﻫﻤﮕـﯽ ﺩﺭﻭﻍ ﺑـﻮﺩ‪ .‬ﻭﻗﺘـﯽ ﺑﻪﺗﺪﺭﻳـﺞ ﺑـﻪ ﺳـﻮی ﻣﺮگ‬

‫ﺫﻫـﻦ ﻣﺨﺎﻃـﺐ ﺭﺍ ﺩﺭ ﺩﻳﺎﻟﻴﻜﺘﻴﻜﯽ ﺍﺯ‬

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‫ﺍﻳﻠﻴـﭻ ﺭﺍ ﻟﺤﻈـﻪﺍی ﺁﺭﺍﻡ ﻧﻤﯽﮔﺬﺍﺭﺩ‪.‬‬
‫ﺗﻮﻟﺴـﺘﻮی ﺑـﻪ ﺷـﻴﻮﻩﺍی ﻣﺎﻫﺮﺍﻧـﻪ‪ِ ،‬‬
‫ﭘﻴـﺶ ﻣﯽﺭﻓـﺖ‪ ،‬ﻓﻬﻤﻴـﺪ ﻛـﻪ ﺗﻘﺮﻳﺒـ ًﺎ ﺯﻧﺪﮔـﯽﺍﺵ ﻫـﺪﺭ ﺭﻓﺘـﻪ ﺍﺳـﺖ ﻭ ﺍﺯ‬
‫ﻫﻤﺴـﺮﺵ ﺧﻮﺍﺳـﺖ ﺗـﺎ ﺍﻭ ﺭﺍ ﺑﺒﺨﺸـﺪ‪ .‬ﺍﮔﺮﭼـﻪ ﻧﺘﻴﺠـﮥ ﺁﻥ ﺑﺨﺸـﻴﺪﻥ ﻧﺒـﻮﺩ‬
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‫ﺍﻧﺴـﺎﻥ ﻭﺍﻛﻨـﺪﻩ ﺍﺯ ﻫﻤﻪﺟـﺎ‪ ،‬ﺑﻪ ﺩﺭک‬
‫ِ‬ ‫ﻫﺴـﺘﯽ ﻭ ﻧﻴﺴـﺘﯽ ﺑـﻪ ﭼﺎﻟﺶ ﻣﯽﻛﺸـﺪ ﻭ‬ ‫ﺑﻠﻜـﻪ »ﺑﺮﻭ« )ﺑﻤﻴﺮ( ﺑﻮﺩ ﻭ ﺍﻭ ﻧﺘﻮﺍﻧﺴـﺖ ﺍﺣﺴﺎﺳـﺎﺕ ﻭﺍﻗﻌﯽ ﺧﻮﺩﺵ ﺭﺍ ﻧﺴـﺒﺖ‬
‫ﺩﺍﺳـﺘﺎﻥ ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴﭻ‪ ،‬ﺷﻜﺴـﺖ‬
‫ِ‬ ‫ﻣﺘﻘﺎﺑـﻞ ﺁﻧﻬﺎ ﻣﯽﺍﻧﺪﻳﺸـﺪ‪ .‬ﺳـﻨﺘﺰ ﺗﻮﻟﺴـﺘﻮی ﺩﺭ‬ ‫ﺑﻪ ﻫﻤﺴـﺮﺵ ﺑﻴـﺎﻥ ﻛﻨﺪ‪.‬‬
‫ﺩﺍﺩﻥ ﻣﺮگ ﻭ ﻣﻔﻬﻮﻡ ﻭﺍﻗﻌﯽ ﺑﺨﺸـﻴﺪﻥ ﺑﻪ ﺯﻳﺴـﺘﻦ ﺍﺳـﺖ‪ .‬ﺑﻪ ﺯﻋﻢ ﺗﻮﻟﺴـﺘﻮی‪،‬‬ ‫ﻧﻜﺘـﻪﺍی ﻛـﻪ ﺗﻮﻟﺴـﺘﻮی ﺳـﻌﯽ ﻣﯽﻛﻨـﺪ ﺧﻠـﻖ ﻛﻨﺪ ﺍﻳﻦ ﺍﺳـﺖ ﻛـﻪ ﺧﻮﺏ‬
‫ﺍﻧﺴـﺎﻥ ﻣﺴـﺘﺄﺻﻞ ﺩﺭ ﺣﺎﻝ ﻣـﺮگ‪ ،‬ﺑﻪ ﭼﻴﺴـﺘﯽ ﻭ ﭼﺮﺍﻳﯽ ﺯﻧﺪﮔﯽ ﻣﯽﺍﻧﺪﻳﺸـﺪ ﻭ‬ ‫ﺯﻧﺪﮔـﯽ ﻛـﻦ‪ .‬ﻓﺮﺩ ﺑﺎﻳﺪ ﺑﺎ ﺧﻮﺩﺵ ﺻﺎﺩﻕ ﺑﺎﺷـﺪ ﻭ ﺑﺎ ﻏﺮﺍﻳﺰ ﻭ ﺍﺣﺴﺎﺳـﺎﺗﺶ ﭘﻴﺶ‬
‫ﺍﻧﺪﻳﺸـﻴﺪﻥ ﺑـﻪ ﻣـﺮگ‪ ،‬ﺁﻏﺎﺯﮔﺮ ﺗﻔﻜـﺮ ﺩﺭ ﺍﻳﻦ ﺣﻴﻄﻪ ﺍﺳـﺖ‪.‬‬ ‫ﺑـﺮﻭﺩ‪ .‬ﻫـﺮ ﺷـﺨﺼﯽ ﺑﺎﻳـﺪ ﺩﺭ ﻧﻬﺎﻳﺖ‪ ،‬ﺧـﻮﺏ ﺯﻧﺪﮔﯽ ﻛﻨـﺪ ﻭ ﻧﮕﺮﺍﻥ ﺍﻳﻦ ﻧﺒﺎﺷـﺪ‬
‫ﺍﻳﻠﻴـﭻ ﻣﻨـﺰﻭی‪ ،‬ﺩﺭ ﺗﻨﻬﺎﻳـﯽ ﺧـﻮﺩ ﻓﺮﺻﺖ ﻛﺎﻓﯽ ﺑـﺮﺍی ﺍﻧﺪﻳﺸـﻴﺪﻥ ﺩﺭ ﻣﻮﺭﺩ‬ ‫ﻛـﻪ ﭼـﻪ ﭼﻴـﺰی ﺩﺭ ﻧﻈـﺮ ﺟﺎﻣﻌـﻪ ﻗﺎﺑـﻞ ﭘﺬﻳـﺮﺵ ﺍﺳـﺖ ﻭ ﭼﻪ ﭼﻴﺰی ﻧﻴﺴـﺖ‪،‬‬
‫ﺍﻳـﻮﺍﻥ ﻗﺎﺿـﯽ‪ ،‬ﺑـﻪ ﻗﻀـﺎﻭﺕ ﺩﺭ ﻣـﻮﺭﺩ ﺧـﻮﺩ‬ ‫ِ‬ ‫ﺩﺭﻭﻏﻴـﻦ ﺑـﻮﺩﻥ ﺯﻧﺪﮔـﯽ ﺩﺍﺭﺩ‪.‬‬ ‫ﺑﻠﻜـﻪ ﺑﺎﻳـﺪ ﺑﻪ ﺍﻳﻦ ﺑﻴﻨﺪﻳﺸـﺪ ﻛﻪ ﭼﻪ ﭼﻴﺰی ﻭﺍﻗﻌـ ًﺎ ﺧﻮﺷـﺒﺨﺘﯽ ﻭ ﺭﺿﺎﻳﺖ ﺭﺍ ﺑﻪ‬
‫ﻣﯽﭘـﺮﺩﺍﺯﺩ‪ .‬ﺩﺭ ِﺩ ﺣﺎﺻـﻞ ﺍﺯ ﺍﻳﻦ ﺩﺍﻧﺴـﺘﻦ‪ ،‬ﻣﻨﺠـﺮ ﺑﻪ ﻣﻌﺮﻓﺖ ﻭ ﺷـﻨﺎﺧﺖ ﺗﺎﺯﻩﺍی‬ ‫ﺯﻧﺪﮔﯽ ﻣﺎ ﻣـﯽﺁﻭﺭﺩ‪.‬‬
 ‫ﻧﻘﺪ ﻭ ﺑﺮﺭﺳﻰ ﻛﺘﺎﺏ ﻣﺮگ ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴﭻ‬
‫ﺍﻭ ﺑﻪﻃـﻮﺭ ﺟـﺪی ﺗﻮﺻﻴﻪﻫـﺎی ﭘﺰﺷـﻜﺎﻥ ﺭﺍ ﺩﻧﺒـﺎﻝ ﻣﯽﻛﻨـﺪ‪ ،‬ﻭﻟـﯽ ﻭﻗﺘـﯽ ﺍﻳﻦ‬
‫ﺑﻴﻤـﺎﺭی ﺑﻬﺒـﻮﺩ ﻧﻤﯽﻳﺎﺑـﺪ‪ ،‬ﺍﻳـﻮﺍﻥ ﺍﻣﻴـﺪﺵ ﺭﺍ ﺍﺯ ﺩﺳـﺖ ﻣﯽﺩﻫـﺪ‪ .‬ﻫﻤﻴـﻦ ﻛـﻪ‬
‫ﻭﺿﻌﻴـﺖ ﺟﺴـﻤﯽ ﺍﻭ ﺑﻪﺳـﺮﻋﺖ ﺭﻭ ﺑـﻪ ﺗﺒﺎﻫﯽ ﻣـﯽﺭﻭﺩ‪ ،‬ﺍﻳـﻮﺍﻥ‪ ،‬ﺯﻧﺪﮔـﯽﺍﺵ ﺭﺍ‬
‫ﺍﻟﮕﻮﻳـﯽ ﺑـﺮﺍی ﺟﺴـﺖﻭﺟﻮی ﺍﺩﺍﺭک ﻗـﺮﺍﺭ ﻣﯽﺩﻫـﺪ‪ .‬ﺍﻭ ﺑـﻪ ﻭﺍﻛﻨـﺶ ﺍﻋﻀـﺎی‬
‫ﺧﺎﻧـﻮﺍﺩﻩﺍﺵ‪ ،‬ﺧﺼﻮﺻـ ًﺎ ﻫﻤﺴـﺮﺵ ﻛـﻪ ﺩﺭ ﺣﻀـﻮﺭ ﺍﻳـﻮﺍﻥ ﺑﯽﻗـﺮﺍﺭ ﺷـﺪﻩ ﺑﻮﺩ ﻭ‬
‫ﺍﺭﺗﺒﺎﻃـﺶ ﺭﺍ ﺑـﺎ ﺍﻳـﻮﺍﻥ ﻣﺤﺪﻭﺩ ﺳـﺎﺧﺘﻪ ﺑـﻮﺩ‪ ،‬ﻣﯽﻧﮕﺮﻳﺴـﺖ‪ .‬ﺩﺭ ﺣﻘﻴﻘـﺖ‪ ،‬ﺗﻨﻬﺎ‬
‫ﺷـﺨﺼﯽ ﻛـﻪ ﺩﺭ ﺣﻀـﻮﺭ ﺍﻭ ﺁﺭﺍﻡ ﺑـﻮﺩ‪ ،‬ﺧﺪﻣﺘـﻜﺎﺭﺵ ﺟﺮﺍﺳـﻴﻢ ﺑـﻮﺩ‪ ،‬ﻳـﻚ ﻣﺮﺩ‬
‫ﺟـﻮﺍﻥ ﻭ ﻫﻤـﺪﻝ ﻛـﻪ ﺍﺯ ﺍﻳـﻮﺍﻥ ﻣﺮﺍﻗﺒﺖ ﻣﯽﻛـﺮﺩ‪ .‬ﻣـﺮﺩی ﻛﻪ ﺩﺭ ﺣـﺎﻝ ﺍﺣﺘﻀﺎﺭ‬
‫ﺍﺳـﺖ‪ ،‬ﺗـﻼﺵ ﻣﯽﻛﻨـﺪ ﺗـﺎ ﺭﻭﺍﺑـﻂ ﺧﺎﻧـﻮﺍﺩﻩﺍﺵ ﺭﺍ ﺣﻔـﻆ ﻛﻨـﺪ ﻭ ﺭﻧـﺞ ﺭﻭﺣـﯽ‬
‫ﺍﻭ ﺑـﻪ ﺍﻭﺝ ﺧـﻮﺩ ﻣﯽﺭﺳـﺪ‪ .‬ﺍﻳـﻮﺍﻥ ﺑـﻪ ﺑﺮﺧـﯽ ﻋﻮﺍﻣـﻞ ﺁﺭﺍﻣﺶﺑﺨـﺶ ﻭ ﺍﺩﺭﺍک‬
‫ﺩﺳـﺖ ﻣﯽﻳﺎﺑـﺪ‪ .‬ﺍﻳـﻮﺍﻥ ﺩﺭ ﻫﻨـﮕﺎﻡ ﻣـﺮگ‪ ،‬ﺻﺪﺍﻳﯽ ﺍﺯ ﺑﺎﻻی ﺳـﺮ ﻣﯽﺷـﻨﻮﺩ ﻛﻪ‬
‫ﻣﯽﮔﻮﻳـﺪ »ﺗﻤﺎﻡ ﺷـﺪ« ﻛﻪ ﻧـﻮﺍی ﺭﻭﺡﺑﺨﺶ ﻣﺴـﻴﺢ ﺭﺍ ﺑﺎﺯﮔﻮ ﻣﯽﻛﻨـﺪ ﻭ ﺯﻧﺪﮔﯽ‬
‫ﺷﻤﺎﺭﺓ ‪) 69‬ﭘﻴﺎﭘﻰ ‪ (183‬ـ ﺩﻯﻣﺎﻩ ‪1391‬‬
‫ﺟﺪﻳـﺪ ﺍﻳـﻮﺍﻥ ﺭﺍ ﭘـﺲ ﺍﺯ ﻣـﺮگ ﻭ ﺩﺭ ﺩﻧﻴـﺎی ﺭﻭﺣـﯽ ﺍﻭ ﺗﻘﻮﻳـﺖ ﻣﯽﻛﻨﺪ‪.‬‬
‫ﺗﻢﻫﺎی ﺩﺍﺳﺘﺎﻥ‬
‫ﭼﻨﺪﻳـﻦ ﺗـﻢ ﺩﺭ ﺍﻳـﻦ ﺭﻣﺎﻥ ﺁﻣﺪﻩ ﺍﺳـﺖ‪ .‬ﺍﻭﻟﻴﻦ ﺗﻢ‪ ،‬ﺍﻫﻤﻴﺖ ﺯﻧﺪﮔـﯽ ﻛﺮﺩﻥ ﺩﺭ‬
‫ﻳـﻚ ﺯﻧﺪﮔـﯽ ﺧﻮﺏ ﺍﺳـﺖ ﻭ ﺍﻳﻨﻜﻪ ﻣﻤﻜﻦ ﺍﺳـﺖ ﺩﺭ ﺁﻥ ﺑﻪ ﭼﻪ ﭼﻴﺰی ﺍﺷـﺘﻐﺎﻝ‬
‫ﭘﻴـﺪﺍ ﺷـﻮﺩ‪ .‬ﺗﻮﻟﺴـﺘﻮی ﻣﻌﺘﻘـﺪ ﺍﺳـﺖ ﻛﻪ ﻫﺮ ﭼـﻪ ﻓﺮﺩ‬
‫ﺳـﺎﺩﻩﺗﺮ ﺯﻧﺪﮔﯽ ﻛﻨـﺪ‪ ،‬ﺯﻧﺪﮔﯽﺍﺵ ﺑﻬﺘـﺮ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺑﻪ‬
‫ﻫﻤﻴـﻦ ﺩﻟﻴﻞ ﺍﺳـﺖ ﻛـﻪ ﺍﻭ ﺍﻏﻠـﺐ ﺩﺭ ﺍﻳﻦ ﺭﻣـﺎﻥ‪ ،‬ﺍﻓﺮﺍﺩ‬
‫ﻋـﺎﺩی ﺭﺍ ﻣﯽﮔﻨﺠﺎﻧـﺪ‪ .‬ﺍﻭ ﭘﻴﺸـﻨﻬﺎﺩ ﻣﯽﻛﻨﺪ ﻛﻪ ﺷـﻴﻮۀ‬
‫ﻋـﺎﺩی ﺯﻧﺪﮔـﯽ‪ ،‬ﺍﻓـﺮﺍﺩ ﺭﺍ ﺑـﻪ ﺧﺪﺍ ﻧﺰﺩﻳﻚﺗـﺮ ﻣﯽﻛﻨﺪ‪.‬‬
‫ﺑـﺎ ﺭﻣﺎﻥ ﻣـﺮگ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴﭻ‪ ،‬ﺗﻮﻟﺴـﺘﻮی ﻫﻤﭽﻨﻴﻦ‬
‫ﻧﺎﺩﺭﺳـﺖ‬
‫ِ‬ ‫ﺍﺧﻼﻗـﯽ‬
‫ِ‬ ‫ﺯﻧﺪﮔﯽﻫـﺎی ﺑﯽﻫـﺪﻑ ﻭ ﺍﺻـﻮﻝ‬
‫ﺍﻓـﺮﺍ ِﺩ ﻃﺒﻘـﺎﺕِ ﻣﺘﻮﺳـﻂ ﻭ ﺑـﺎﻻی ﺟﺎﻣﻌـﻪ ﺭﺍ ﻣـﻮﺭﺩ‬
‫ﺳـﺮﺯﻧﺶ ﻗـﺮﺍﺭ ﻣﯽﺩﻫـﺪ‪ .‬ﻫﻤﻴﻦ ﻛـﻪ ﺍﻳـﻮﺍﻥ ﻣﯽﻣﻴﺮﺩ‪،‬‬
‫ﺧﺎﻧـﻮﺍﺩﻩ ﻭ ﺩﻭﺳـﺘﺎﻧﺶ ﺑـﺎ ﺣﺴـﺎﺩﺕ ﻭ ﺍﻓـﻜﺎﺭ ﻣﻨﻔﻌـﺖ‬
‫ﺷـﺨﺼﯽ ﺩﺭﮔﻴـﺮ ﻣﯽﺷـﻮﻧﺪ‪ ،‬ﻧـﻪ ﺑﻪﺧﺎﻃـﺮ ﺍﻳﻨﻜـﻪ ﺁﻧﻬﺎ‬
‫ﻃﺒﻴﻌﺘـ ًﺎ ﺷـﻴﻄﺎﻥﺻﻔﺖ ﻳـﺎ ﻧﺎﺩﺭﺳـﺖ ﻫﺴـﺘﻨﺪ‪ ،‬ﺑﻠﻜـﻪ‬
‫ﺑـﻪ ﺍﻳـﻦ ﺧﺎﻃـﺮ ﻛـﻪ ﺁﻧﻬـﺎ ﻧﻤﯽﺗﻮﺍﻧﻨـﺪ ﺩﺭک ﻛﻨﻨﺪ ﻛﻪ‬
‫ﺍﻳـﻮﺍﻥ ﺑﺎ ﭼﻪ ﭼﻴـﺰی ﻣﻮﺍﺟﻪ ﻣﯽﺷـﻮﺩ‪ .‬ﺁﻧﻬﺎ ﻧﻤﯽﻓﻬﻤﻨﺪ‬
‫ﻛـﻪ ﭘﻴﺸـﺮﻓﺖﻫﺎ ﻭ ﭘﺲﺭﻓﺖﻫـﺎ ﭼﻴﺰﻫﺎﻳـﯽ ﻧﻴﺴـﺘﻨﺪ ﻛﻪ ﺑـﺎ ﻗـﺪﺭﺕ ﺭﻭﺡ ﻭ ﺧﺪﺍ‬
‫ﻣﻘﺎﻳﺴـﻪ ﺷـﻮﻧﺪ‪ .‬ﻣﺮگ ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴﭻ‪ ،‬ﺑﺴـﻴﺎﺭ ﺍﻳﺪﻩﺁﻟﯽ ﻭ ﺍﻧﺴـﺎﻥﮔﺮﺍﻳﺎﻧﻪ ﺍﺳـﺖ‪ .‬ﺍﻳﻦ‬
‫ﺭﻣـﺎﻥ‪ ،‬ﻫﻤﺎﻧﻨـﺪ ﺩﻳﮕـﺮ ﺁﺛـﺎﺭ ﺣﻤﺎﺳـﯽ ﺗﻮﻟﺴـﺘﻮی‪ ،‬ﺟﺬﺍﺏ ﺍﺳـﺖ‪ .‬ﺍﻳﻦ ﻧﻮﻳﺴـﻨﺪۀ‬
‫ﺑـﺰﺭگ ﺭﻭﺳـﯽ‪ ،‬ﺍﺳـﺘﻌﺪﺍﺩ ﻗﺎﺑﻞﻣﻼﺣﻈﮥ ﺧـﻮﺩ ﺭﺍ ﺑﻪ ﻣﻬﻤﺘﺮﻳﻦ ﻟﺤﻈـﺎﺕ ﺯﻧﺪﮔﯽ‬
‫ﺍﻧﺴـﺎﻥ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺩﻩ ﺍﺳـﺖ‪.‬‬
‫‪37‬‬ ‫ﺍﺯ ﺩﻳﮕـﺮ ﺗﻢﻫـﺎی ﺍﺻﻠـﯽ ﺍﻳـﻦ ﺭﻣﺎﻥ‪ ،‬ﻣﻔﺎﻫﻴﻢ ﺳـﻼﻣﺘﯽ ﻭ ﺑﻴﻤﺎﺭی ﻫﺴـﺘﻨﺪ؛‬
‫ﺑﻴﻤـﺎﺭی ﺍﺻﻠﯽ ﺍﻳـﻮﺍﻥ‪ ،‬ﺍﻭ ﺭﺍ ﺍﺯ ﻧﻈﺮ ﺭﻭﺣﯽ ﻧﻴـﺰ ﺿﻌﻴﻒ ﻣﯽﻛﻨﺪ‪ .‬ﺗﺼﻮﻳﺮ ﺗﻜﺮﺍﺭی‬
‫ﺳـﺎﻝ ‪ 1859‬ﺍﻳـﻮﺍﻥ ﺷـﻐﻠﺶ ﺭﺍ ﺩﺭ ﺩﻭﻟـﺖ‪ ،‬ﺑﻪﻋﻨﻮﺍﻥ ﻳـﻚ ﻛﺎﺭﻣﻨﺪ ﺍﺩﺍﺭی ﺳـﺎﺩﻩ‬
‫ﺷـﺮﻭﻉ ﻛـﺮﺩ ﻭ ﻛﺎﺭ ﺍﻭ ﺑـﻪ ﺩﺍﺩﺳـﺘﺎﻧﯽ ﻭ ﺳـﺮﺍﻧﺠﺎﻡ ﺑﻪ ﻗﻀـﺎﻭﺕ ﺍﺭﺗﻘﺎ ﻳﺎﻓـﺖ‪ .‬ﺍﻭ ﺩﺭ‬
‫ﺳـﺎک ﺳـﻴﺎﻩ‪ ،‬ﭼﻨﺪﻳﻦ ﺗﻔﺴـﻴﺮ ﺭﺍ ﺍﻟﻘـﺎ ﻣﯽﻛﻨﺪ‪ ،‬ﻣﻨﺘﻘﺪﺍﻥ ﺑـﺮ ﺍﻳﻦ ﺑﺎﻭﺭﻧـﺪ ﻛﻪ ﺍﻳﻦ‬
‫ﺗﺼﻮﻳـﺮ ﺗﻜـﺮﺍﺭی‪ ،‬ﻣـﺮگ ﺟﺴـﻤﯽ ﺍﻳـﻮﺍﻥ ﻭ ﺗﻮﻟـﺪ ﻣﺠـﺪﺩ ﺭﻭﺣـﯽ ﺍﻭ ﺭﺍ ﻧﺸـﺎﻥ‬
‫ﻣﯽﺩﻫـﺪ‪ .‬ﺑﻪﻃﻮﺭ ﻧﻤﻮﻧـﻪ‪ ،‬ﻧﻈﺮﻳﻪﭘـﺮﺩﺍﺯﺍﻥ‪ ،‬ﻛﻠﻤﺎﺕ ﻭ ﻋﺒﺎﺭﺍﺕ ﺗﻜﺮﺍﺭی ﺗﻮﻟﺴـﺘﻮی‬
‫ﺭﺍ ﻣﺸـﺨﺺ ﻣﯽﻛﻨﻨﺪ ﻛﻪ ﻋﻮﺍﻣـﻞ ﺍﺻﻠﯽ ﺗﻚﻣﻮﺿﻮﻋـﯽ ﻭ ﺍﺟﺘﻨﺎﺏﻧﺎﭘﺬﻳﺮ ﺑﻮﺩﻥ‬
‫ﻣـﺮگ ﺭﺍ ﺗﻘﻮﻳـﺖ ﻣﯽﻛﻨﺪ‪.‬‬
‫ﺯﻧﺪﮔﯽﺣﻘﻴﻘﯽ‬
‫ﺍﺯ ﺷـﺮﻭﻉ ﺍﻳﻦ ُﺭﻣﺎﻥ‪ ،‬ﻣﺸـﺨﺺ ﺍﺳـﺖ ﻛﻪ ﺗﻮﻟﺴـﺘﻮی ﻣﻌﺘﻘﺪ ﺍﺳـﺖ ﺩﻭ ﻧﻮﻉ‬
‫ﺯﻧﺪﮔـﯽ ﻭﺟـﻮﺩ ﺩﺍﺭﺩ‪ :‬ﺯﻧﺪﮔـﯽ ﻣﺼﻨﻮﻋـﯽ ﻛﻪ ﺗﻮﺳـﻂ ﺍﻳـﻮﺍﻥ‪ ،‬ﭘﺮﺍﺳـﻜﻮﻳﻮ‪ ،‬ﭘﻴﺘﺮ ﻭ‬
‫ﺩﺭ ﻭی ﻣﯽﮔـﺮﺩﺩ‪ .‬ﺍﻧﺪﻳﺸـﻪﻫﺎی ﺍﻳﻠﻴـﭻ ﺩﺭﺑـﺎﺭۀ ﻣـﺮگ‪ ،‬ﺗﺪﺍﻋـﯽ ﻟﺤﻈﻪﻫـﺎی‬
‫ﺣﺠـﺎﺏ ﺩﻏﺪﻏﻪﻫﺎی ﻇﺎﻫـﺮی ﺯﻧﺪﮔﯽ ﺭﺍ‬ ‫ِ‬ ‫ﻣﻨﺤﺼﺮﺑﻪﻓـﺮﺩی ﺍﺳـﺖ ﻛﻪ ﺗﻮﺍﻧﺴـﺘﻪ‬
‫ﻛﻨـﺎﺭ ﺑﺰﻧـﺪ‪ ،‬ﻟﺤﻈﻪﻫﺎﻳـﯽ ﻛﻪ ﺍﻧﺴـﺎﻥ‪ ،‬ﻋﻤـﻖ ﺁﻧﻬـﺎ ﺭﺍ ﺩﺭ ﭘﺎﻳﺎﻥ ﺯﻧﺪﮔـﯽ ﻭ ﻣﻮﺍﺟﻪ‬
‫ﺗﻜﻨﻴﻚ‬
‫ِ‬ ‫ﺷـﺪﻥ ﺑـﺎ ﻣـﺮگ‪ ،‬ﺩﺭﻣﯽﻳﺎﺑﺪ ﻭ ﺣﺴـﺮﺕ ﻣﯽﻛﺸـﺪ‪ .‬ﺗﻮﻟﺴـﺘﻮی‪ ،‬ﺑﺎ ﺍﻳـﻦ‬
‫ﻗـﻮی ﻭ ﺯﻳﺮﻛﺎﻧـﮥ ﺧـﻮﺩ‪ ،‬ﻛﻨﺠـﻜﺎﻭی ﻣﺨﺎﻃـﺐ ﺭﺍ ﺑﺮﻣﯽﺍﻧﮕﻴـﺰﺩ؛ ﻭ ﻣﺨﺎﻃـﺐ‪ ،‬ﺗﺎ‬
‫ﻧﻬﺎﻳـﯽ ﻧﻮﻳﺴـﻨﺪﻩ ﭘﻴـﺶ ﻣـﯽﺭﻭﺩ‪ .‬ﻫﻤﺎﻧﺎ ﻣﻘﺼـﻮﺩ ﻧﻬﺎﻳﯽ‬ ‫ِ‬ ‫ﺭﺳـﻴﺪﻥ ﺑـﻪ ﻣﻘﺼـﻮﺩ‬
‫ﻧﻮﻳﺴـﻨﺪﻩ‪ ،‬ﺁﮔﺎﻩ ﻛـﺮﺩﻥ ﺍﻳﻠﻴـﭻ ﺍﺯ ﻓﺎﻧﯽ ﺑﻮﺩﻥ ﺯﻧﺪﮔﯽ ﺍﺳـﺖ‪ .‬ﻣﺨﺎﻃﺐ ﺑﺎ ﭘﻴﮕﻴﺮی‬
‫ﺟﺰﺋﻴـﺎﺕ ﺩﺍﺳـﺘﺎﻥ‪ ،‬ﺷـﺮﻭﻉ ﺑـﻪ ﻫﻤﺰﺍﺩﭘﻨـﺪﺍﺭی ﺑﺎ ﺍﻳﻠﻴـﭻ ﻣﯽﻛﻨﺪ ﻭ ﺧـﻮﺩ ﺭﺍ ﺟﺎی‬
‫ﻗﻬﺮﻣـﺎﻥ ﺩﺍﺳـﺘﺎﻥ ﻣﯽﮔـﺬﺍﺭﺩ‪ ،‬ﺑﻪﻃـﻮﺭی ﻛﻪ ﺗﻤﺎﻡ ﭘﻨﺪﻫـﺎ ﻭ ﻧﺼﺎﻳﺢ ﺗﻮﻟﺴـﺘﻮی‪،‬‬
‫ﺟـﺎﻥ ﻣﺨﺎﻃـﺐ ﺭﺳـﻮﺥ ﻣﯽﻛﻨـﺪ ﻭ ﻣﺨﺎﻃـﺐ ﻧﻴـﺰ ﺑـﻪ ﺍﻳﻦ‬ ‫ﺑﻪﻃـﻮﺭ ﺿﻤﻨـﯽ ﺩﺭ ِ‬
‫ﺣﻘﻴﻘـﺖ ﺩﺭﺩﻧـﺎک ﭘـﯽ ﻣﯽﺑـﺮﺩ ﻛـﻪ ﺁﺭی‪ ،‬ﺯﻧﺪﮔﺎﻧﯽ ﻓﺎﻧﯽ ﺍﺳـﺖ‪.‬‬ ‫ِ‬
‫ﺩﺭ ﻭﺍﻗـﻊ‪ ،‬ﺍﻧﺪﻳﺸـﻪﻫﺎی ﺳـﻤﺞ ﻭ ﻫﺬﻳﺎﻥﻫـﺎی ُﭘـﺮ ﺍﺯ ﺗﺄﻣـﻞ ﻭ ﻛﻨﺎﻳـﮥ ﺍﻳﻠﻴـﭻ‬
‫ﺩﺭ ﺁﺳـﺘﺎﻧﮥ ﻣـﺮگ‪ ،‬ﻛﻪ ﺗﻮﻟﺴـﺘﻮی ﺁﻧﻬﺎ ﺭﺍ ﺑﻪ ﺷـﻴﻮﻩﺍی ﺑﺴـﻴﺎﺭ ﻫﻨﺮﻣﻨﺪﺍﻧـﻪ ﺩﺭ ﺩﻝ‬
‫ﺩﺍﺳـﺘﺎﻥ ﮔﻨﺠﺎﻧﻴـﺪﻩ ﺍﺳـﺖ‪ ،‬ﺣﻜﺎﻳـﺖ ﺍﺯ ﺁﻥ ﺩﺍﺭﺩ ﻛﻪ ﭼـﺮﺍ ﺍﻳﻠﻴﭻ‪ ،‬ﺯﻧﺪﮔﺎﻧـﯽﺍﺵ ﺭﺍ‬
‫ﺁﻥﮔﻮﻧـﻪ ﻛﻪ ﺷﺎﻳﺴـﺘﻪ ﺑﻮﺩﻩ ﺯﻧﺪﮔﯽ ﻧﻜﺮﺩﻩ ﺍﺳـﺖ ﻭ ﺍﻛﻨﻮﻥ ﺩﺭ ﺣﺴـﺮﺕ ﺭﻭﺯﻫﺎی‬
‫ﺭﺳـﻴﺪﻥ ﻣﺮگ‪،‬‬
‫ِ‬ ‫ﻭﺣﺸـﺖ ﻓﺮﺍ‬
‫ِ‬ ‫ﺍﺯ ﺩﺳـﺖ ﺭﻓﺘﻪ‪ ،‬ﺩﺭ ﺑﺴـﺘﺮ ﺑﻴﻤﺎﺭی‪ ،‬ﺑﻪ ﻟﺤﻈﺎﺕ ﭘﺮ ﺍﺯ‬
‫ﭼﺸـﻢ ﺩﻭﺧﺘﻪ ﺍﺳـﺖ‪ .‬ﺍﻳﻨﺠﺎﺳـﺖ ﻛﻪ ﺑـﺎ ﺭﺟـﻮ ِﻉ ﺩﻭﺑﺎﺭﻩ‬
‫ﺑـﻪ ﻣـﺮگ‪ ،‬ﺷـﺎﻫﺪ ﮔﺮﻩﮔﺸـﺎﻳﯽ ﺩﺍﺳـﺘﺎﻥ ﻣﯽﺷـﻮﻳﻢ‪.‬‬
‫ﻣـﺮگ ﺍﻳﻠﻴـﭻ‪ ،‬ﺁﻏﺎﺯی ﺑـﺮﺍی ﺯﻧﺪﮔـﯽ ﺍﻭﺳـﺖ ﻭ ﺍﻳﻠﻴﭻ‪،‬‬
‫ﻛـﻪ ﺭﺍﻩﻫـﺎی ﺯﻧﺪﮔـﯽ ﺧـﻮﺩ ﺭﺍ ﺑـﻪ ﺑﻴﺮﺍﻫـﻪ ﺭﻓﺘـﻪ ﺑﻮﺩ‪،‬‬
‫ﺍﻛﻨـﻮﻥ ﺑـﺎ ﺗﺤﻤﻞ ﻋﺬﺍﺏﻫـﺎ ﻭ ﺩﺭﺩﻫـﺎ‪ ،‬ﻓﺮﺻﺖ ﺯﻧﺪﮔﯽ‬
‫ﺑـﻪ ﺍﻭ ﺩﺍﺩﻩ ﺷـﺪﻩ ﺍﺳـﺖ؛ ﺍﻣـﺎ ﺍﻳﻨـﻚ ﺑﺎ ﺷـﻨﺎﺧﺘﯽ ﻛﻪ ﺍﺯ‬
‫ﭘـﯽ ﺩﺭﺩﻫـﺎ ﻭ ﺭﻧﺞﻫﺎ ﺣﺎﺻـﻞ ﻛﺮﺩﻩ‪ ،‬ﺑـﻪ ﺍﺭﺯﺵ ﺯﻧﺪﮔﯽ‬ ‫ِ‬
‫ﭘـﯽ ﺑـﺮﺩﻩ ﺍﺳـﺖ‪ .‬ﺑﻪﻃـﻮﺭی ﻛـﻪ ﻧﺎﮔﻬـﺎﻥ ﻧـﻮﺭی ﺑـﻪ‬
‫ﻗﻠﺒـﺶ ﻣﯽﺗﺎﺑـﺪ ﻭ ﺍﻭ ﺑﺮﺍی ﻣـﺮگ ﻭ ﺭﻧـﺞ ﻭ ﺩﺭﺩ‪ ،‬ﻭﻗﻔﻪ‬
‫ﻗﺎﺋـﻞ ﻣﯽﺷـﻮﺩ‪ .‬ﺩﺭ ﭘﺎﻳـﺎﻥ‪ ،‬ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴﭻ‪ ،‬ﺍﻳـﻦ ﺟﻤﻠﻪ ﺭﺍ‬
‫ﺑـﺮ ﺯﺑﺎﻥ ﻣـﯽﺁﻭﺭﺩ‪» :‬ﻣﺮگ ﺗﻤﺎﻡ ﺷـﺪ‪ ،‬ﺩﻳﮕـﻪ ﺧﺒﺮی ﺍﺯ‬
‫ﺁﻥ ﻧﻴﺴـﺖ!« ﻭ ﻣﯽﻣﻴـﺮﺩ ﻭ ﺍﻳﻨـﻚ ﮔﺮﻩ ﺍﻳﻦ ﺩﺍﺳـﺘﺎﻥ ﺑﺎ‬
‫ﻫﺎی ﻣـﺮگ ﺑﺎﺯ ﻣﯽﺷـﻮﺩ‪.‬‬ ‫ﺩﺳـﺖ ِ‬
‫ﺷﺨﺼﻴﺖﻫﺎی ﺍﺻﻠﯽ ﻭ ﻃﺮﺡ ﺩﺍﺳﺘﺎﻥ‬
‫ﺑﺨـﺶ ﻣﻌﺎﺭﻓـﮥ ﺩﺍﺳـﺘﺎﻥ ﻣـﺮگ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴـﭻ‪ ،‬ﺑﺎ ﺍﻋـﻼﻡ ﻭ ﺗﻮﺻﻴـﻒ ﻣﺮگ‬
‫ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴـﭻ‪ ،‬ﻭﺍﻛﻨـﺶ ﻫﻤﻜﺎﺭﺍﻥ ﻭ ﺍﻗﻮﺍﻡ‪ ،‬ﺩﺭ ﻣﻮﺭﺩ ﺍﺯ ﺩﺳـﺖ ﺭﻓﺘـﻦ ﺍﻭ ﻭ ﺟﺰﺋﻴﺎﺕ‬
‫ﺍﻣـﻮﺭ ﺗﺸـﻴﻴﻊﺟﻨﺎﺯۀ ﺍﻭ ﺁﻏـﺎﺯ ﻣﯽﺷـﻮﺩ‪ .‬ﺳـﭙﺲ ﺩﺍﺳـﺘﺎﻥ‪ ،‬ﻣﻮﻗﻌﻴﺖﻫـﺎی ﺯﻧﺪﮔﯽ‬
‫ﺍﻳـﻮﺍﻥ‪ ،‬ﺍﺯ ﻫﻨـﮕﺎﻡ ﺗﻮﻟـﺪﺵ ﺩﺭ ﺧﻴﺎﺑـﺎﻥ ﭘﻴﺘﺮﺯﺑـﻮﺭگ ﺩﺭ ﺳـﺎﻝ ‪ 1837‬ﺗـﺎ ﺩﻭﺭﺍﻥ‬
‫ﻛﻮﺩﻛـﯽ ﺭﺍﺣﺘـﺶ ﻭ ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻠـﯽﺍﺵ ﺑـﺎ ﻧﻤـﺮۀ ﭘﺎﻳﻴـﻦ ﺭﺍ ﺑﺮﻣﯽﺷـﻤﺮﺩ‪ .‬ﺩﺭ‬
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‫ﺍﺯﺩﻭﺍﺝ ﺍﺯ ﻟﺤﺎﻅ‬
‫ﺳـﺎﻝ ‪ 1866‬ﺑـﺎ ﭘﺮﺍﺳـﻜﻮﻳﺎ ﻓﻴﻮﺩﺭﻭﻧﺎ ﻣﺎﻳﺨـﻞ ﺍﺯﺩﻭﺍﺝ ﻛﺮﺩ‪ ،‬ﻳـﻚ ِ‬
‫ﺍﺟﺘﻤﺎﻋـﯽ ﻗﺎﺑـﻞ ﭘﺬﻳﺮﺵ‪ ،‬ﻛﻪ ﻣﺎﺣﺼﻞ ﺁﻥ‪ ،‬ﻳﻚ ﺩﺧﺘﺮ ﻭ ﻳﻚ ﭘﺴـﺮ ﺑـﻮﺩ‪ .‬ﺍﻳﻮﺍﻥ‪،‬‬
‫ﺩﺭ ﻣﺤـﻞ ﻛﺎﺭﺵ ﺑـﺎ ﻣﺸـﻜﻼﺗﯽ ﻣﻮﺍﺟـﻪ ﻣﯽﺷـﻮﺩ‪ ،‬ﺳـﺮﺍﻧﺠﺎﻡ ﺍﺭﺗﻘـﺎ ﻣﯽﻳﺎﺑـﺪ ﻭ‬
‫ﺩﺭ ﺷـﻬﺮ ﺍﺻﻠـﯽ ﺭﻭﺳـﻴﻪ‪ ،‬ﺑـﻪ ﻳـﻚ ﭘﺴـﺖ ﺟﺪﻳـﺪ ﻣﻨﺘﻘﻞ ﻣﯽﺷـﻮﺩ‪ .‬ﺯﻧﺪﮔـﯽ ﺍﻭ‬
‫ﺛﺎﺑـﺖ‪ ،‬ﻗﺎﺑـﻞ ﭘﻴﺶﺑﻴﻨـﯽ ﻭ ﻣﻨﻈـﻢ ﺑﻪﻧﻈـﺮ ﻣﯽﺁﻳـﺪ‪ ،‬ﻭﻟـﯽ ﺩﺭ ﺳـﺎﻝ ‪ 1880‬ﺩﺭ‬
‫ﺣﺎﻟـﯽ ﻛـﻪ ﺧﺎﻧـﮥ ﺟﺪﻳـﺪﺵ ﺭﺍ ﺗﺰﻳﻴﻦ ﻣﯽﻛﻨـﺪ‪ ،‬ﺍﺯ ﻧﺮﺩﺑـﺎﻥ ﻣﯽﺍﻓﺘـﺪ ﻭ ﭘﻬﻠﻮﻳﺶ‬
‫ﺿﺮﺑـﻪ ﻣﯽﺧـﻮﺭﺩ‪ .‬ﻧﺎﺭﺍﺣﺘـﯽ ﻭ ﺩﺭﺩ ﻧﺎﺷـﯽ ﺍﺯ ﺍﻳﻦ ﺣﺎﺩﺛﻪ‪ ،‬ﻣﻨﺠﺮ ﺑـﻪ ﻳﻚ ﺑﻴﻤﺎﺭی‬
‫ﺟـﺪی ﻣﯽﺷـﻮﺩ‪ .‬ﺩﺭ ژﺍﻧﻮﻳـﮥ ‪ 1882‬ﻭﺿﻌﻴـﺖ ﺍﻭ ﺷـﺪﻳﺪﺍً ﺑﺪﺗﺮ ﻣﯽﺷـﻮﺩ‪ .‬ﺩﺭ ﺍﺑﺘﺪﺍ‪،‬‬

‫ﺧـﺎﺭﺝ ﺷـﻮﺩ‪ .‬ﺍﻭ ﺩﺭﺩ ﺁﺯﺍﺭﺩﻫﻨـﺪﻩﺍی ﺭﺍ ﺗﺠﺮﺑﻪ ﻣﯽﻛﻨﺪ ﻛﻪ ﺍﻭ ﺭﺍ ﺩﺭ ﻭﺣﺸـﺖ ﺯﻳﺎﺩ ﻭ‬
‫ﻧﺎﺭﺍﺣﺘـﯽ ﻏﻮﻃـﻪﻭﺭ ﻣﯽﺳـﺎﺯﺩ‪ .‬ﻭﻗﺘﯽ ﺗﺼﻮﺭ ﻣـﺮگ‪ ،‬ﺍﻳﻮﺍﻥ ﺭﺍ ﺑـﻪ ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﺗﻨﻬﺎﻳﯽ‬
‫ﻣﯽﻛﺸـﺎﻧﺪ‪ ،‬ﺍﻭ ﺑﻪﺗﺪﺭﻳـﺞ ﺍﻫﻤﻴـﺖ ﺯﻧﺪﮔـﯽ ﻣﻌﻨـﻮی ﺭﺍ ﻣﯽﺑﻴﻨﺪ‪ .‬ﻫﻤﻴﻦ ﻛـﻪ ﺍﻭ ﺑﻪ‬
‫ﺳـﻮی ﺍﺩﺭﺍک ﭘﻴـﺶ ﻣﯽﺭﻭﺩ‪ ،‬ﻫﻤﻴﻦ ﻛﻪ ﺍﻭ ﻣﺴـﺎﺋﻞ ﻣﺎﺩی ﺭﺍ ﺑﺎ ﻣﻌﻨﻮﻳﺎﺕ ﭘﺎﺳـﺦ‬
‫ﻣﯽﺩﻫـﺪ‪ ،‬ﺑﺎﻋـﺚ ﻣﯽﺷـﻮﺩ ﺍﻭ ﻓﺮﺍﺗـﺮ ﺍﺯ ﺭﻧـﺞ ﺑﺮﺩﻥ ﺑـﺮﻭﺩ ﻭ ﺑﺎ ﻣـﺮگ ﻣﻘﺎﺑﻠﻪ ﻛﻨﺪ‬
‫ﻭ ﻟـﺬﺕ ﻧﻬﺎﻳـﯽ ﺭﺍ ﺗﺠﺮﺑـﻪ ﻛﻨﺪ‪ .‬ﭘﻴـﺎﻡ ﺗﻮﻟﺴـﺘﻮی ﻭﺍﺿﺢ ﺍﺳـﺖ‪ :‬ﻭﻇﻴﻔﮥ ﻫﺮﻛﺲ‬
‫ﺍﻳـﻦ ﺍﺳـﺖ ﻛﻪ ﺩﻭﮔﺎﻧﮕﯽ ﺧﻮﺩﺵ ﺭﺍ ﺗﺸـﺨﻴﺺ ﺩﻫﺪ ﻭ ﻃـﻮﺭی ﺯﻧﺪﮔﯽ ﻛﻨﺪ ﻛﻪ‬
‫ﺯﻧﺪﮔـﯽ ﺑﯽﺍﻫﻤﻴـﺖ ﻣـﺎﺩی ﺑﻪ ﺯﻧﺪﮔـﯽ ﻣﻬﻢﺗﺮ ﻣﻌﻨﻮی ﺗﻐﻴﻴـﺮ ﻳﺎﺑﺪ‪.‬‬
‫ﻓﻬﺮﺳﺖﺷﺨﺼﻴﺖ‬
‫ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴـﭻ ﮔﻠﻮﻳـﻦ‪ :‬ﺷـﺨﺼﻴﺖ ﻣﺨﺎﻟـﻒ ﺩﺭ ﺭﻣـﺎﻥ‪ ،‬ﻳﻚ ﻣﺮﺩ ﺍﺳـﺘﺜﻨﺎﺋﯽ‬
‫ﻭ ﻏﻴﺮﻗﺎﺑـﻞ ﺗﻮﺻﻴـﻒ ﺍﺳـﺖ‪ .‬ﺍﻭ ﺁﻧﻬﺎﻳـﯽ ﻛـﻪ ﺩﺍﺭﺍی ﺟﺎﻳـﮕﺎﻩ ﺍﺟﺘﻤﺎﻋـﯽ ﺑﺎﻻﻳﯽ‬
‫ﻫﺴـﺘﻨﺪ ﺭﺍ ﺗﺤﺴـﻴﻦ ﻣﯽﻛﻨﺪ ﻭ ﺭﻓﺘـﺎﺭ ﻭ ﺍﺭﺯﺵﻫﺎی ﺧـﻮﺩ ﺭﺍ ﺑﻪ ﻗﻮﺍﻧﻴﻦ ﺁﻧﻬﺎ ﺗﻐﻴﻴﺮ‬
‫ﻣﯽﺩﻫـﺪ‪ .‬ﺍﻳـﻮﺍﻥ ﺑـﺮﺍی ﺍﻳﺠﺎﺩ ﻫﺮ ﺭﺍﺑﻄﮥ ﺍﻧﺴـﺎﻧﯽ ﺩﻟﻴـﻞ ﺧﺎﺻﯽ ﺩﺍﺷـﺖ‪ .‬ﺩﺭ ﻛﺎﺭ‬
‫ﺍﺩﺍﺭی‪ ،‬ﺍﻭ ﻣﺮﺍﻗـﺐ ﺑﻮﺩﻛـﻪ ﻫﻤـﮥ ﺗﻮﺟﻬـﺎﺕ ﺷـﺨﺼﯽ ﺭﺍ ﺍﺯ ﻧﻈـﺮﺵ ﺩﻭﺭ ﻛﻨﺪ‪ .‬ﺩﺭ‬
‫ﺯﻧﺪﮔـﯽ ﺧﺼﻮﺻـﯽ ﻫـﻢ‪ ،‬ﺧﺼﺎﻳﻞ ﺛﺎﺑﺘـﯽ ﺩﺭ ﺧﺎﻧﻮﺍﺩﻩ ﺩﺍﺷـﺖ‪.‬‬
‫ﺟﺮﺍﺳـﻴﻢ‪ :‬ﭘﺮﺳـﺘﺎﺭ ﺍﻳـﻮﺍﻥ ﻭ ﺩﺳـﺘﻴﺎﺭ ﻭ ﺧﺪﻣﺘـﻜﺎﺭ‪ .‬ﺩﺭ ﺍﻳﻦ ﺭﻣﺎﻥ‪ ،‬ﺟﺮﺍﺳـﻴﻢ ﺍﺯ‬
‫ﺻﻤﻴـﻢ ﻗﻠـﺐ ﺑﺮﺍی ﺍﻳﻮﺍﻥ ﺧﺪﻣﺖ ﻣﯽﻛﻨﺪ‪ :‬ﺳـﺎﻟﻢ‪ ،‬ﺟﺴـﻮﺭ‪ ،‬ﺩﺭﺳـﺖ‪ .‬ﺍﻭ ﻫﻤﮥ ﺁﻥ‬
‫ﭼﻴﺰی ﺑـﻮﺩ ﻛﻪ ﺍﻳـﻮﺍﻥ ﻧﺒﻮﺩ‪.‬‬
‫ﭘﻴﺘـﺮ ﺍﻳﻮﺍﻧﻮﻳﭻ‪ :‬ﺻﻤﻴﻤﯽﺗﺮﻳﻦ ﺩﻭﺳـﺖ ﺍﻳﻮﺍﻥ ﻭ ﻳﻚ ﻗﺎﺿـﯽ ﻫﻤﻜﺎﺭ‪ .‬ﺍﻭ ﻓﻘﻂ‬
‫ﻓﺼـﻞ ﺍﻭﻝ ﻇﺎﻫﺮ ﻣﯽﺷـﻮﺩ‪ .‬ﭘﻴﺘﺮ ﺑﻪﻋﻨﻮﺍﻥ ﻧﻤﺎﻳﻨﺪۀ ﺍﻳـﻮﺍﻥ ﺩﺭ ﻣﻮﻗﻌﻴﺖ ﺍﺟﺘﻤﺎﻋﯽ‬
‫ﻋﻤـﻞ ﻣﯽﻛﻨـﺪ‪ .‬ﺍﻭ ﺗﻤﺎﻳـﻞ ﺩﺍﺭﺩ ﺑـﻪ ﺭﻭﺍﺑﻂ ﺧـﻮﺩﺵ ﺑﺎ ﻣـﺮﺩﻡ‪ ،‬ﺑﻪﻋﻨـﻮﺍﻥ ﺍﺑﺰﺍﺭی‬
‫ﺑﺮﺍی ﺭﺳـﻴﺪﻥ ﺑﻪ ﺍﻫﺪﺍﻓﺶ ﺑﻨﮕﺮﺩ ﻭ ﺑﻴﺸـﺘﺮ ﺑﻪ ﺳـﻮﻳﯽ ﭘﻴﺶ ﺑﺮﻭﺩ ﻛﻪ ﺍﺯ ﻋﻮﺍﻣﻞ‬
‫ﻧﺎﺭﺍﺣﺖﻛﻨﻨﺪﻩ ﺩﻭﺭ ﺑﺎﺷـﺪ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﺍﻳﻦ‪ ،‬ﭘﻴﺘﺮ ﻧﺴـﺒﺖ ﺑﻪ ﺷـﺨﺼﻴﺖﻫﺎی ﺩﻳﮕﺮ‪،‬‬
‫ﺑﻴﺸـﺘﺮ ﺑﻪ ﺳـﻮی ﺣﻘﻴﻘﺖ ﺁﻏﻮﺵ ﺑـﺎﺯ ﻣﯽﻛﻨﺪ‪.‬‬
‫ﭘﺮﺍﺳـﻜﻮﻭﻳﺎﻓﺪﻭﺭﻭﻧﺎ ﮔﻠﻮﻳﻨـﺎ‪ :‬ﻫﻤﺴـﺮ ﺍﻳـﻮﺍﻥ ﻭ ﻣـﺎﺩﺭ ﻓﺮﺯﻧـﺪﺍﻥ ﺍﻭ‪ .‬ﺭﻓﺘـﺎﺭ‬
‫ﭘﺮﺍﺳـﻜﻮﻭﻳﺎ ﺩﺭ ﺑﺮﺍﺑـﺮ ﺩﻳﮕـﺮﺍﻥ ﻣﺼﻨﻮﻋـﯽ ﻭ ﺧﻮﺩﺧﻮﺍﻫﺎﻧـﻪ ﺍﺳـﺖ‪ .‬ﺩﺭ ﺣﺎﻟـﯽ ﻛﻪ‬
‫ﺩﺭ ﭘـﯽ ﺑﻴﻤـﺎﺭی ﺍﻳـﻮﺍﻥ‪ ،‬ﻫﻤـﺪﺭﺩی ﻭ ﺗﻮﺟﻬﯽ ﺍﺯ ﺧﻮﺩ ﻧﺸـﺎﻥ ﻣﯽﺩﻫـﺪ‪ ،‬ﺍﻣﺎ ﺭﻓﺘﺎﺭ‬
‫ﻭﺍﻗﻌـﯽ ﺍﻭ ﺩﺭ ﻣـﺮگ ﻫﻤﺴـﺮﺵ‪ ،‬ﺑـﯽ ﻗـﺮﺍﺭی ﻭ ﺑﻪﻫﻢﺭﻳﺨﺘﮕـﯽ ﺑـﻮﺩ‪.‬‬
‫ﻛﺎﻣـﻼ ﺧﺎﺹ‪،‬‬ ‫ً‬ ‫ﺷـﻮﺍﺭﺗﺲ‪ :‬ﺩﻭﺳـﺖ ﻭ ﻫﻤـﻜﺎﺭ ﺍﻳـﻮﺍﻥ‪ .‬ﺷـﻮﺍﺭﺗﺲ ﻳـﻚ ﻣﺮﺩ‬
‫ﺷـﻮﺥﻃﺒﻊ ﻭ ﺷـﻴﻚﭘﻮﺵ ﺍﺳـﺖ‪ .‬ﺍﻭ ﻧﺎﻣﻼﻳﻤﺎﺕ ﺯﻧﺪﮔـﯽ ﺭﺍ ﻧﺎﺩﻳـﺪﻩ ﻣﯽﮔﻴﺮﺩ‪ .‬ﺩﺭ‬
‫ﻣﺮﺍﺳـﻢ ﺗﺸـﻴﻊﺟﻨﺎﺯۀ ﺍﻳـﻮﺍﻥ‪ ،‬ﺍﻭ ﺍﺯ ﻫﻤـﮥ ﺗﺄﺛﻴـﺮﺍﺕ ﻧﺎﺭﺍﺣﺖﻛﻨﻨـﺪﻩ ﻣﺼـﻮﻥ ﺑﻮﺩ ﻭ‬
‫ﺣﺎﻟـﺖ ﺷـﻮﺥﻃﺒﻌﯽ ﻭ ﺧﻮﺵﻗﻠﺒـﯽ ﺧـﻮﺩ ﺭﺍ ﺣﻔﻆ ﻣﯽﻛـﺮﺩ‪ .‬ﺍﻳـﻮﺍﻥ ﻣﯽﮔﻮﻳﺪ ﻛﻪ‬
‫ﺷـﻮﺍﺭﺗﺲ ﻣـﺮﺍ ﺑﺴـﻴﺎﺭ ﺑﻪ ﻳﺎﺩ ﺧـﻮ ِﺩ ﻗﺒﻠـﯽﺍﻡ ﻣﯽﺍﻧـﺪﺍﺯﺩ ﻭ ﺑﻪﻋﻼﻭﻩ ﻭﺍﺿﺢ ﺍﺳـﺖ‬
‫ﻛـﻪ ﺷـﻮﺍﺭﺗﺲ‪ ،‬ﺑـﺮﺍی ﺍﻳﻮﺍﻥ ﻳـﻚ ﻓﺮﺩ ﺩﻭﮔﺎﻧﻪ ﺍﺳـﺖ‪.‬‬
‫ﻭﻻﺩﻳﻤﻴـﺮ ﺍﻳﻮﺍﻧﻴﭻ‪ :‬ﭘﺴـﺮ ﺍﻳـﻮﺍﻥ‪ .‬ﻭﺍﺳـﻴﺎ ﻛﻮﭼﻚﺗﺮﻳﻦ ﻋﻀﻮ ﺧﺎﻧـﻮﺩۀ ﮔﻠﻮﻳﻦ‬
‫ﺍﺳـﺖ‪ .‬ﺍﻭ ﺁﺭﺍﻡ ﻭ ﺣﺴـﺎﺱ ﺍﺳـﺖ‪ .‬ﻭﺍﺳـﻴﺎ ﻫﻨـﻮﺯ ﺑـﺎ ﻋﻘﺎﻳـﺪ ﻭ ﺍﺭﺯﺵﻫـﺎی ﺩﻧﻴﺎی‬
‫ﺍﺟﺘﻤﺎﻋـﯽ ﻭﺍﻟﺪﻳﻨﺶ ﺑﻪ ﺗﺒﺎﻫﯽ ﻛﺸـﻴﺪﻩ ﻧﺸـﺪﻩ ﺍﺳـﺖ‪ ،‬ﺍﻭ ﻣﯽﺗﻮﺍﻧـﺪ ﺭﻭﺍﺑﻄﯽ ﺭﺍ ﺑﺎ‬
‫ﺑﺴـﻴﺎﺭ ﺷـﺒﻴﻪ ﺑﻪ ﺩﻭﮔﺎﻧﮕﯽ ﻣﺼﻨﻮﻋﯽ ـ ﺣﻘﻴﻘﯽ‪ ،‬ﺗﻮﻟﺴﺘﻮی ﻣﻮﺟﻮﺩﻳﺖ ﺍﻧﺴﺎﻥ‬
‫ﺩﻳﮕـﺮ ﻣﺮﺩﻡ ﺷـﻜﻞ ﺩﻫـﺪ‪ .‬ﺍﻭ‪ ،‬ﺩﺭ ﻛﻨﺎﺭ ﺟﺮﺍﺳـﻴﻢ‪ ،‬ﺗﻨﻬﺎ ﻛﺴـﯽ ﺍﺳـﺖ ﻛﻪ ﺣﻘﻴﻘﺘ ًﺎ‬
‫ﺍﻳـﻮﺍﻥ ﻭ ﺷـﺮﺍﻳﻄﺶ ﺭﺍ ﺩﺭک ﻣﯽﻛﻨـﺪ‪.‬‬
‫ﻛﺎﻣـﻼ ﻣﺎﺩی‬
‫ﻟﻴﺴـﺎ‪ :‬ﺩﺧﺘـﺮ ﺍﻳﻮﺍﻥ‪ .‬ﻟﻴﺴـﺎ ﺧﻴﻠﯽ ﺷـﺒﻴﻪ ﻣـﺎﺩﺭﺵ ﺍﺳـﺖ‪ ،‬ﺧﻮﺩﺧﻮﺍﻩ ﺍﺳـﺖ ﻭ‬
‫ﺑﻪﺳـﺎﺩﮔﯽ ﻋﺼﺒﺎﻧﯽ ﻣﯽﺷـﻮﺩ‪ .‬ﻟﻴﺴـﺎ ﻫﺮ ﭼﻴﺰی ﻛـﻪ ﺭﺿﺎﻳـﺖ ﺍﻭ ﺭﺍ ﺟﻠﺐ ﻧﻜﻨﺪ‪،‬‬
‫ﭘـﺲ ﻣﯽﺯﻧـﺪ‪ .‬ﺭﻧـﺞ ﺑـﺮﺩﻥ ﭘـﺪﺭﺵ ﺍﻭ ﺭﺍ ﺑﻴـﺶ ﺍﺯ ﻫـﺮ ﭼﻴـﺰ ﺩﻳﮕـﺮی ﻧﺎﺭﺍﺣـﺖ‬
‫ﻣﯽﻛﻨـﺪ‪.‬‬
‫ﻓﺪﻭﺭﺗﻴﺮﻭﭘﻴـﭻ‪ :‬ﻧﺎﻣـﺰﺩ ﻟﻴﺴـﺎ‪ .‬ﻓﺪﻭﺭ‪ ،‬ﻳﻚ ﺷـﺨﺺ ﻋـﺎﺩی ﺩﺭ ﺟﺎﻣﻌﻪ ﺍﺳـﺖ‪.‬‬
‫ﭼﻴـﺰ ﻗﺎﺑـﻞ ﻣﻼﺣﻈﻪ ﻳـﺎ ﺍﺭﺯﺷـﻤﻨﺪی ﺩﺭ ﻣﻮﺭﺩ ﺷـﺨﺼﻴﺖ ﺍﻭ ﻭﺟﻮﺩ ﻧـﺪﺍﺭﺩ‪.‬‬
‫ﻧﻘﺪ ﻭ ﺑﺮﺭﺳﻲ‬
‫ﺍﻛﺜـﺮ ﺍﻓـﺮﺍﺩی ﻛـﻪ ﺩﺭ ﺟﺎﻣﻌﻪ ﻭ ﺷـﺮﻛﺖ ﺍﻳﻮﺍﻥ ﺣﻀـﻮﺭ ﺩﺍﺭﻧﺪ‪ ،‬ﺑﺎﺯ ﻧﻤﻮﺩ ﻣﯽﺷـﻮﺩ‬
‫ﻭ ﺯﻧﺪﮔﯽ ﻣﻤﺘﺎﺯ ﻛﻪ ﺗﻮﺳـﻂ ﺟﺮﺍﺳـﻴﻢ ﻧﺸـﺎﻥ ﺩﺍﺩﻩ ﻣﯽﺷـﻮﺩ‪ .‬ﺯﻧﺪﮔﯽ ﻣﺼﻨﻮﻋﯽ ﺑﺎ‬
‫ﺭﻭﺍﺑﻂ ﺳـﻄﺤﯽ‪ ،‬ﻋﻼﻗﻪﻣﻨﺪی ﺑﻪ ﺧـﻮﺩ )ﺧﻮﺩﺧﻮﺍﻫﯽ( ﻭ ﻣﺎﺩیﮔﺮﺍﻳﯽ ﻣﺸـﺨﺺ‬
‫ﻣﯽﺷـﻮﺩ‪ .‬ﺍﻳـﻦ ﺯﻧﺪﮔﯽ ﻣﻨـﺰﻭی ﻭ ﺭﺍﻛﺪ ﺍﺳـﺖ ﻭ ﻧﻬﺎﻳﺘ ًﺎ ﻧﻤﯽﺗﻮﺍﻧﺪ ﭘﺎﺳـﺦﻫﺎﻳﯽ ﺑﻪ‬
‫ﺯﻧﺪﮔـﯽ ﻣﺼﻨﻮﻋﯽ‪ ،‬ﻓﺮﻳﺒﯽ ﺍﺳـﺖ ﻛﻪ ﻣﻌﺎﻧﯽ‬‫ِ‬ ‫ﺳـﺆﺍﻻﺕ ﻣﻬـﻢ ﺩﺭ ﺯﻧﺪﮔﯽ ﺑﺪﻫـﺪ‪.‬‬
‫ﺣﻘﻴﻘـﯽ ﺯﻧﺪﮔـﯽ ﺭﺍ ﭘﻨﻬـﺎﻥ ﻣﯽﻛﻨـﺪ ﻭ ﺩﺭ ﻟﺤﻈـﮥ ﻣﺮگ‪ ،‬ﻓـﺮﺩ ﺭﺍ ﺗﻨﻬﺎ ﻭ ﺗﺮﺳـﺎﻥ‬
‫ﺭﻫـﺎ ﻣﯽﻛﻨـﺪ‪ .‬ﺯﻧﺪﮔﯽ ﺣﻘﻴﻘﯽ )ﻣﻤﺘـﺎﺯ(‪ ،‬ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ‪ ،‬ﺑﺎ ﻫﻤـﺪﺭﺩی ﻭ ﻣﻬﺮﺑﺎﻧﯽ‬
‫ﻣﺸـﺨﺺ ﻣﯽﺷـﻮﺩ‪ .‬ﺑﻪ ﺩﻳﮕﺮﺍﻥ ﺑﻪﻋﻨﻮﺍﻥ ﻭﺳـﻴﻠﻪﺍی ﺑﺮﺍی ﺭﺳـﻴﺪﻥ ﺑـﻪ ﺍﻫﺪﺍﻑ‬
‫ﻧﻤﯽﻧﮕـﺮﺩ‪ ،‬ﺑﻠﻜـﻪ ﻓـﺮﺩ ﺑﺎ ﺍﻓـﻜﺎﺭ ﺑﯽﻧﻈﻴﺮ‪ ،‬ﺍﺣﺴﺎﺳـﺎﺕ ﻭ ﺭﻏﺒﺖﻫﺎ ﺁﻏـﺎﺯ ﻣﯽﻛﻨﺪ‪.‬‬
‫ﺯﻧﺪﮔـﯽ ﺣﻘﻴﻘـﯽ‪ ،‬ﺍﻳﺠﺎﺩ ﺩﻭﻃﺮﻓﮥ ﺭﻭﺍﺑﻂ ﺍﻧﺴـﺎﻧﯽ ﺭﺍ ﻣﻤﻜﻦ ﻣﯽﺳـﺎﺯﺩ ﻛﻪ ﺗﻨﻬﺎﻳﯽ‬
‫ﺭﺍ ﺩﺭ ﻫـﻢ ﻣﯽﺷـﻜﻨﺪ ﻭ ﺍﺭﺗﺒـﺎﻁ ﺑﻴﻦ ﺍﻓﺮﺍﺩ ﺣﻘﻴﻘﯽ ﺭﺍ ﻣﺠﺎﺯ ﻣﯽﺳـﺎﺯﺩ‪ .‬ﺩﺭ ﺻﻮﺭﺗﯽ‬
‫ﻛـﻪ ﺯﻧﺪﮔﯽ ﻣﺼﻨﻮﻋﯽ‪ ،‬ﻓـﺮﺩ ﺭﺍ ﺧﺎﻟﯽ ﻭ ﺗﻨﻬﺎ ﺑﺎﻗﯽ ﻣﯽﮔـﺬﺍﺭﺩ‪ .‬ﺯﻧﺪﮔﯽ ﻣﺼﻨﻮﻋﯽ‪،‬‬
‫ﺷﻤﺎﺭﺓ ‪) 69‬ﭘﻴﺎﭘﻰ ‪ (183‬ـ ﺩﻯﻣﺎﻩ ‪1391‬‬
‫ﻗـﺪﺭﺕ ﺗﻨﻬﺎﻳـﯽ )ﺟﻤـﻮﺩ( ﺭﺍ ﺗﺸـﺪﻳﺪ ﻣﯽﻛﻨﺪ ﻭ ﻓـﺮﺩ ﺍﺯ ﻃﺮﻳﻖ ﺗﻠﻘﻴﻦ ﺑـﻪ ﺁﺭﺍﻣﺶ‬
‫ﻣﯽﺭﺳـﺪ‪ ،‬ﻛـﻪ ﺑـﻪ ﻧﻮﻋـﯽ ﻓـﺮﺩ ﺭﺍ ﺑـﺮﺍی ﻣﻮﺍﺟـﻪ ﺑـﺎ ﻣـﺮگ ﺁﻣـﺎﺩﻩ ﻣﯽﺳـﺎﺯﺩ‪.‬‬
‫ﺗﻨﻬﺎﺟﺮﺍﺳـﻴﻢ ﺍﺯ ﻣـﺮگ ﻧﻤﯽﻫﺮﺍﺳـﺪ‪ ،‬ﺑـﺎ ﺍﻃﻤﻴﻨـﺎﻥ ﺑﻪ ﺩﺭﺳـﺖ ﺑـﻮﺩﻥ ﺯﻧﺪﮔﯽ ﻭ‬
‫ﻧﮕـﺮﺍﻥ ﻧﺒـﻮﺩﻥ ﺍﺯ ﺍﺷـﺘﻐﺎﻻﺕ ﻓﺮﺩی‪ .‬ﺟﺮﺍﺳـﻴﻢ ﻋﺸـﻖ ﺭﺍ ﺑﻪﺷـﻜﻠﯽ ﺍﻳﺜﺎﺭﮔﺮﺍﻳﺎﻧﻪ‬
‫ﺑـﻪ ﻛﺴـﺎﻧﯽ ﺩﺍﺭﺩ ﻛـﻪ ﺯﻧﺪﮔـﯽ ﺍﻭ ﺭﺍ ﺑـﺎ ﻣﻌﻨـﯽ ﺗﻠﻔﻴـﻖ ﻣﯽﻛﻨﻨـﺪ‪ .‬ﺣﻤﺎﻳﺖﻫـﺎی‬
‫ﻣﻌﻨﻮی ﺟﺮﺍﺳـﻴﻢ ﺩﺭ ﺑﺎﺯﮔﻮﻳﯽ ﺗﻌﻬﺪﺍﺕ ﻭ ﻣﺴـﺌﻮﻟﻴﺖﻫﺎﻳﺶ ﻭ ﻧﻴﺰ ﺗﺴـﻜﻴﻦ ﺩﺭﺩ‬
‫ﺗﻨﻬﺎﻳـﯽ ﺍﻳﻠﻴـﭻ ﺍﺯ ﻣﺮﺍﻗﺐﻫـﺎی ﻓﻴﺰﻳﻜـﯽﺍﺵ ﻣﻬﻢﺗﺮ ﺍﺳـﺖ‪ .‬ﺟﺮﺍﺳـﻴﻢ ﻣﯽﺗﻮﺍﻧﺪ‬
‫ﺑـﺎ ﻫﻤـﺪﺭﺩی ﻛـﺮﺩﻥ‪ ،‬ﺩﺭﺩ ﺍﻳـﻮﺍﻥ ﺭﺍ ﻛﺎﻫـﺶ ﺩﻫـﺪ‪ .‬ﺍﻭ ﻫﻤﭽﻨﻴـﻦ ﺍﺯ ﺍﻳـﻦ ﺭﺍﺑﻄﻪ‬
‫ﻣﻨﻔﻌـﺖ ﻣﯽﺑـﺮﺩ‪ .‬ﻣﻬﺮﺑﺎﻧـﯽ ﻭ ﻋﺸـﻖ‪ ،‬ﻫـﺮ ﺩﻭ ﺭﺍﻩ ﺭﺍ ﻃـﯽ ﻣﯽﻛﻨﻨـﺪ ﻭ ﺯﻧﺪﮔـﯽ‬
‫ﻣﻤﺘـﺎﺯ‪ ،‬ﺯﻧﺪﮔﯽ ﺻﺤﻴﺢ )ﺣﻘﻴﻘﯽ( ﺍﺳـﺖ‪.‬‬
‫ﺍﺟﺘﻨﺎﺏ ﻧﺎﭘﺬﻳﺮ ﺑﻮﺩﻥ ﻣﺮگ‬
‫ﺩﺍﺳـﺘﺎﻥ ﺍﻳـﻮﺍﻥ ﻛـﻪ ﺑﻪﺗﺪﺭﻳـﺞ ﺑﻪﺳـﻮی ﻣـﺮگ ﭘﻴـﺶ ﻣـﯽﺭﻭﺩ‪ ،‬ﺩﺍﺳـﺘﺎﻥ‬
‫ﺷـﻨﺎﺧﺖ ﺍﻭ ﺍﺯ ﻣـﺮگ ﻭ ﺟﺴـﺖﻭﺟﻮی ﺍﻭ ﺑـﺮﺍی ﻣﺼﺎﻟﺤﻪ ﺑﺎ ﻗـﺪﺭﺕِ ﺧﻨﺜﯽﻛﻨﻨﺪﻩ‬
‫ﻭ ﻫﺮﺍﺳـﻨﺎک ﺁﻥ ﺍﺳـﺖ‪ .‬ﭼﮕﻮﻧﻪ ﻛﺴـﯽ ﻣﯽﺗﻮﺍﻧـﺪ ﭘﺎﻳﺎﻥ ﺯﻧﺪﮔﯽ ﻛـﺲ ﺩﻳﮕﺮی‪،‬‬
‫ﺭﻭﺍﺑـﻂ ﻭی‪ ،‬ﻃﺮﺡﻫـﺎ ﻭ ﺭﺅﻳﺎﻫـﺎ ﻭ ﻣﻮﺟﻮﺩﻳـﺖ ﺍﻭ ﺭﺍ ﺩﺭک ﻛﻨﺪ؟ ﺩﺭ ﺳﺮﺍﺳـﺮ ﺭﻣﺎﻥ‪،‬‬
‫ﺗﻮﻟﺴـﺘﻮی ﻣﺸـﺨﺺ ﻣﯽﻛﻨـﺪ ﻛـﻪ ﺁﻣﺎﺩﻩﺷـﺪﻥ ﺑـﺮﺍی ﻣـﺮگ‪ ،‬ﺑﺎ ﻳـﻚ ﺩﻳﺪﮔﺎﻩ‬
‫ﺧـﺎﺹ ﺩﺭ ﺯﻧﺪﮔـﯽ ﺁﻏـﺎﺯ ﻣﯽﺷـﻮﺩ‪ .‬ﻫﻤﻴـﻦ ﻛـﻪ ﻧـﮕﺎﻩ ﺍﻳـﻮﺍﻥ ﺑﻪ ﺯﻧﺪﮔـﯽ ﺗﻐﻴﻴﺮ‬
‫ﻣﯽﻛﻨـﺪ‪ ،‬ﻛـﻪ ﺑـﺎ ﺩﺭﺩ ﻭ ﺩﺭک ﻛـﺮﺩﻥ ﻣـﺮگ ﺗﺴـﺮﻳﻊ ﻣﯽﺷـﻮﺩ‪ ،‬ﺍﺣﺴﺎﺳـﺎﺕ ﺍﻭ‬
‫ﺍﺯ ﻭﺣﺸـﺖ ﺯﻳـﺎﺩ ﺑـﻪ ﻟـﺬﺕ ﻓـﺮﺍﻭﺍﻥ ﺗﻐﻴﻴﺮ ﻣﯽﻛﻨـﺪ‪ .‬ﭘﺮﻫﻴـﺰ ﺍﺯ ﻣﺮگ ﻳـﻚ ﭘﻨﺪﺍﺭ‬
‫ﺣﻘﻴﻘﯽ ﺯﻧﺪﮔﯽ‪،‬‬
‫ِ‬ ‫ﻣﺎﻫﻴﺖ ﻏﻴﺮﻗﺎﺑﻞ ﭘﻴﺶﺑﻴﻨـﯽ ﻭ‬
‫ِ‬ ‫ﺑﻴﻬﻮﺩﻩ ﺍﺳـﺖ‪ ،‬ﺍﮔﺮﭼﻪ ﺷـﻨﺎﺧﺖ‬
‫ﺍﻋﺘﻤـﺎﺩ‪ ،‬ﺁﺭﺍﻣـﺶ ﻭ ﺣﺘـﯽ ﻟـﺬﺕ ﺩﺭ ﻟﺤﻈـﮥ ﻣـﺮگ ﺭﺍ ﺑﻪ ﻫﻤـﺮﺍﻩ ﻣـﯽ ﺁﻭﺭﺩ‪ .‬ﺍﻳﻦ‬
‫ﺭﻣـﺎﻥ‪ ،‬ﺑﻴـﺶ ﺍﺯ ﻫـﺮ ﭼﻴـﺰ ﺩﻳﮕـﺮی ﻣﯽﺗﻮﺍﻧـﺪ ﺑﻪﻣﺜﺎﺑﻪ ﻳـﻚ ﻋﺎﻣﻞ ﻛﺎﻫﻨـﺪﻩ ﺩﺭ‬
‫ﻣـﻮﺭﺩ ﺍﺩﺭﺍک ﻧﺎﺁﮔﺎﻫﺎﻧـﻪ ﺍﺯ ﻣـﺮگ ﺩﺭ ﻃﯽ ﺯﻧﺪﮔﯽ ﻧﮕﺮﻳﺴـﺘﻪ ﺷـﻮﺩ‪.‬‬
‫ﺯﻧﺪﮔﯽ ﺩﺭﻭﻧﯽ ﺑﺮﺧﻼﻑ ﺯﻧﺪﮔﯽ ﺑﻴﺮﻭﻧﯽ‬
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‫ﺭﺍ ﺑﻪﺻـﻮﺭﺕ ﺗﻀـﺎﺩی ﺑﻴـﻦ ﺯﻧﺪﮔﯽ ﻓﻴﺰﻳﻜﯽ ﻭ ﺯﻧﺪﮔﯽ ﻣﻌﻨـﻮی ﻭ ﺯﻧﺪﮔﯽ ﺩﺍﺧﻠﯽ‬
‫ً‬
‫ﻭ ﺧﺎﺭﺟـﯽ ﻣﺠﺴـﻢ ﻣﯽﻛﻨـﺪ‪ .‬ﺗـﺎ ﻓﺼﻞ ﺷﺸـﻢ‪ ،‬ﺍﻳـﻮﺍﻥ ﻳﻚ ﻓـﺮﺩ‬
‫ﺍﺳـﺖ‪ .‬ﺍﻭ ﻫﻴـﭻ ﻧﺸـﺎﻧﻪﺍی ﺍﺯ ﺯﻧﺪﮔﯽ ﻣﻌﻨﻮی ﺭﺍ ﺗـﺎ ﺁﻥ ﺯﻣﺎﻥ ﻧﺸـﺎﻥ ﻧﻤﯽﺩﻫﺪ‪ .‬ﺍﻭ‬
‫ﺑـﺮﺍی ﻣﺰﺍﻳـﺎی ﺧـﻮﺩﺵ ﺯﻧﺪﮔﯽ ﻣﯽﻛﻨﺪ ﻭ ﺗـﺎ ﺯﻣﺎﻧﯽ ﺑـﺎ ﺩﻳﮕﺮﺍﻥ ﺍﺭﺗﺒـﺎﻁ ﺑﺮﻗﺮﺍﺭ‬
‫ﻣﯽﻛﻨـﺪ ﻛـﻪ ﺍﻭ ﺭﺍ ﺑـﻪ ﺗﻤﺎﻳﻼﺗﺶ ﺑﺮﺳـﺎﻧﻨﺪ‪ .‬ﺑﺪﺗﺮ ﺍﺯ ﻫﻤـﻪ‪ ،‬ﺍﻳـﻮﺍﻥ ﺯﻧﺪﮔﯽ ﻣﺎﺩی‬
‫ﺧـﻮﺩﺵ ﺭﺍ ﺑـﺎ ﺯﻧﺪﮔﯽ ﺣﻘﻴﻘﯽ ﻣﻌﻨﻮی ﺍﺷـﺘﺒﺎﻩ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ .‬ﺍﻭ ﻣﻌﺘﻘﺪ ﺑﻮﺩ ﻫﺴـﺘﯽ‬
‫ﺍﻭ ﻣﻮﺟﻮﺩﻳﺘـﯽ ﺻﺤﻴـﺢ ﺍﺳـﺖ ﻭ ﻧﻤﯽﺧﻮﺍﺳـﺖ ﺍﺷـﺘﺒﺎﻩ ﺑـﻮﺩﻥ ﺯﻧﺪﮔـﯽ ﺧﻮﺩﺵ‬
‫ﺭﺍ ﺑﭙﺬﻳـﺮﺩ‪ .‬ﺩﺭ ﻧﺘﻴـﺞ‪ ،‬ﺍﻳـﻦ ﻧﭙﺬﻳﺮﻓﺘـﻦ‪ ،‬ﺍﻳـﻮﺍﻥ ﻧﻤﯽﺗﻮﺍﻧـﺪ ﺍﺯ ﺣﻴﻄﮥ ﺟﻬـﺎﻥ ﻣﺎﺩی‬
 ‫ﻧﻘﺪ ﻭ ﺑﺮﺭﺳﻰ ﻛﺘﺎﺏ ﻣﺮگ ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴﭻ‬

‫ﺍﺯ ﻳـﻚ ﺑﺤـﺮﺍﻥ ﺭﻭﺣﯽ ﺷـﺪﻳﺪ‪ ،‬ﻛﻪ ﺩﺭ ﺍﻭﺍﺳـﻂ ﺩﻫـﮥ ‪ 1870‬ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩ‪ ،‬ﻧﻮﺷـﺘﻪ‬ ‫ﻣﺮﻭﺭ‬
‫ﻣﺬﻫﺒـﯽ ﺗﻮﻟﺴـﺘﻮی ﺩﺭ ﺭﻣـﺎﻥ ﻣﺮگ‬
‫ِ‬ ‫ﺷـﺪ‪ .‬ﺟﺴـﺖﻭﺟﻮی ﻣﻘﻮﻟﻪﻫـﺎی ﺩﻳﻨـﯽ ﻭ‬ ‫ﺩﺭ ﻣـﺮگ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴـﭻ‪ ،‬ﺗﻮﻟﺴـﺘﻮی ﺑﻪ ﻣـﺎ ﺍﻳﻦ ﺍﻣـﻜﺎﻥ ﺭﺍ ﻣﯽﺩﻫﺪ ﺗـﺎ ﻣﺮﺩی‬
‫ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴﭻ ﺑﺴـﻴﺎﺭ ﻣﺸـﻬﻮﺩ ﺍﺳـﺖ‪ .‬ﺩﺍﺳـﺘﺎﻥ ﻣﺮﺩی ﻛﻪ ﻣﺮگ ﺧـﻮﺩﺵ ﺭﺍ ﺑﺮﺍی‬ ‫ﺭﺍ ﺑﺒﻴﻨﻴـﻢ ﻛـﻪ ﺯﻧﺪﮔـﯽﺍﺵ ﺭﺍ ﻫـﺪﺭ ﺩﺍﺩﻩ ﺍﺳـﺖ ﻭ ﻧﻤﯽﺗﻮﺍﻧﺪ ﻣﺮگ ﺧـﻮﺩ ﺭﺍ ﺗﺼﻮﺭ‬
‫ﻓﻬﻤﻴـﺪﻥ ﻟﺤﻈـﺎﺕ ﺁﺧـﺮ ﺯﻧﺪﮔـﯽﺍﺵ ﺩﺭک ﻣﯽﻛﻨـﺪ‪ .‬ﺍﻳﻦ ﻣﻮﺿﻮﻋـﺎﺕ ﺧﺎﺹ‪،‬‬ ‫ﻛﻨـﺪ‪ .‬ﺍﻳـﻦ ﺍﺛـﺮ ﺍﻳـﻦ ﻧﻜﺘـﻪ ﺭﺍ ﻣﺸـﺨﺺ ﻣﯽﻛﻨﺪ ﻛـﻪ ﺷـﻴﻮۀ ﺯﻧﺪﮔﯽ ﻣـﺎ ﻭ ﺍﻣﻴﺪ‬
‫ﺑﻪﻋﻨـﻮﺍﻥ ﻋﻮﺍﻣـﻞ ﺿـﺮﻭﺭی ﺗﺪﺍﻭ ِﻡ ﺧﺎﺳـﺘﮕﺎﻩ ﺟﻬﺎﻧﯽ ﺍﻳﻦ ﺭﻣـﺎﻥ‪ ،‬ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ‬ ‫ﺑـﻪ ﺯﻧﺪﮔـﯽ ﭘـﺲ ﺍﺯ ﻣـﺮگ‪ ،‬ﺩﺭ ﺷـﻴﻮﻩ ﺯﻧﺪﮔـﯽ ﻣـﺎ ﺗﺎﺛﻴـﺮ ﺩﺍﺭﺩ‪ .‬ﻣـﺮگ ﺍﻳـﻮﺍﻥ‬
‫ﻣﯽﺷـﻮﺩ‪ .‬ﺩﻳﺪﮔﺎﻩ ﺗﻮﻟﺴـﺘﻮی ﺑﻪ ﺩﻭ ﺩﺳـﺘﻪ ﻣﻜﺎﺗﺐ ﻣﻮﺿﻮﻋﯽ ﻭ ﻧﻤﻮﻧﻪﺍی ﺗﻘﺴﻴﻢ‬ ‫ﺍﻳﻠﻴـﭻ ﻫﻤﭽﻨﻴـﻦ ﺑﻪ ﺭﺿﺎﻳﺖﻣﻨـﺪی ﻧﺎﻣﻔﻬﻮﻡ ﺟﻤﻌﻴﺖ ﻣﺘﻮﺳـﻂ ﺟﺎﻣﻌـﻪ‪ ،‬ﻛﻪ ﺩﺭ‬
‫ﻣﯽﺷـﻮﺩ‪ :‬ﻳﻜـﯽ ﻭﺍﻗﻊﮔﺮﺍﻳـﯽ ﺍﺳـﺖ‪ ،‬ﻣﺎﻧﻨـﺪ ﺍﻳﻦ ﺁﺛﺎﺭ‪ :‬ﺟﻨـﮓ ﻭ ﺻﻠـﺢ )‪ (1869‬ﻭ‬ ‫ﺯﻧﺪﮔﯽﻫـﺎی ﻣﺼﻨﻮﻋـﯽ ﺯﻳﺴـﺖ ﻣﯽﻛﻨﻨـﺪ ﺗﻌـﺪی ﻣﯽﻛﻨﺪ‪.‬‬
‫ﺁﻧﺎﻛﺎﺭﻧﻴﻨـﺎ )‪ (1877‬ﻭ ﺩﻳﮕـﺮی ﺩﺍﺳـﺘﺎﻥﻫﺎی ﻛﻮﺗـﺎﻩ ﻭ ﺍﻓﺴـﺎﻧﻪﺍی ﺍﻭ‪ .‬ﺑﺴـﻴﺎﺭی ﺍﺯ‬ ‫ﻣﺮگ ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴﭻ ‪ ،‬ﻣﺮﻭﺭ‬
‫ﻣﺤﻘﻘـﺎﻥ‪ ،‬ﺑـﻪ ﺭﻣـﺎﻥ ﻣﺮگ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴﭻ ﺑﻪﻋﻨﻮﺍﻥ ﺑـﺎﻭﺭ ﻧﻬﺎﻳﯽ ﺗﻮﻟﺴـﺘﻮی ﺩﺭ ﺩﻭ‬ ‫ﺍﻳـﻦ ﺭﻣـﺎﻥ ﺑﺎ ﭼﻨﺪ ﺩﻗﻴﻘـﻪ ﺑﻌﺪ ﺍﺯ ﺍﻳﻨﻜﻪ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴﭻ ﻣﯽﻣﻴﺮﺩ ﺁﻏﺎﺯ ﻣﯽﺷـﻮﺩ‪.‬‬
‫ﻣﺮﺣﻠـﻪ ﺍﺯ ﺯﻧﺪﮔـﯽ ﻫﻨـﺮی ﻭی ﻣﯽﻧﮕﺮﻧـﺪ ﻛـﻪ ﺩﻭ ﺷـﻜﻞ ﺭﺍ ﺗﺮﻛﻴـﺐ ﻣﯽﻛﻨﺪ ﻭ‬ ‫ﺗﻌﺪﺍﺩی ﺍﺯ ﻣﺮﺩﻡ ﺟﻤﻊ ﺷـﺪﻧﺪ ﺗﺎ ﺍﻭ ﺭﺍ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﺭﺩ ﺷـﺪﻥ ﺍﺳـﺖ‪ ،‬ﻧﺸـﺎﻥ ﺩﻫﻨﺪ‪.‬‬
‫ﻳﻜـﯽ ﺍﺯ ﺧﺎﻃﺮﻩﺍﻧﮕﻴﺰﺗﺮﻳـﻦ ﺁﺛـﺎﺭ ﺗﻮﻟﺴـﺘﻮی ﺭﺍ ﺍﻳﺠـﺎﺩ ﻣﯽﻛﻨﺪ‪.‬‬ ‫ﻗﺎﺿﯽﻫﺎ ‪ ،‬ﺍﻋﻀﺎی ﺧﺎﻧﻮﺍﺩﻩ ﻭ ﺁﺷﻨﺎﻳﺎﻥ‬
‫ﭘﺬﻳﺮﺵ ﺍﻧﺘﻘﺎﺩ‬ ‫ﻣـﺮﺩﻡ ﻧﻤﯽﺗﻮﺍﻧﻨـﺪ ﻣـﺮگ ﺭﺍ ﺑﻔﻬﻤﻨﺪ‪ ،‬ﺯﻳـﺮﺍ ﺁﻧﻬـﺎ ﻧﻤﯽﺗﻮﺍﻧﻨﺪ ﻭﺍﻗﻌ ًﺎ ﺑـﺎﻭﺭ ﻛﻨﻨﺪ‬
‫ﺷﻤﺎﺭﺓ ‪) 69‬ﭘﻴﺎﭘﻰ ‪ (183‬ـ ﺩﻯﻣﺎﻩ ‪1391‬‬

‫ﺩﺭ ﻫﻨـﮕﺎﻡ ﭼـﺎپ ﺍﻳﻦ ﺍﺛـﺮ‪ ،‬ﺧﻮﺍﻧﻨـﺪﮔﺎﻥ ﺑـﻪ ﺍﺭﺯﺵ ﺍﺩﺑـﯽ ﺁﻥ ﺗﻮﺟﻪ ﻣﯽﻛﻨﻨﺪ‬ ‫ﻛـﻪ ﺧﻮﺩﺷـﺎﻥ ﻫـﻢ ﺧﻮﺍﻫﻨـﺪ ﻣﺮﺩ‪ .‬ﺁﻧﻬـﺎ ﻓﻘﻂ ﺧـﺪﺍ ﺭﺍ ﺷـﻜﺮ ﻣﯽﻛﻨﻨﺪ ﻛـﻪ ﺍﻓﺮﺍﺩ‬
‫ﻭ ﺩﺍﺳـﺘﺎﻥ ﺭﺍ ﺩﺭ ﻣـﻮﺭﺩ ﻓﺮﻫﻨـﮓ ﻃﺒﻘﮥ ﺑﺎﻻی ﺟﺎﻣﻌﮥ ﺭﻭﺳـﯽ‪ ،‬ﻛﻤـﯽ ﻃﻨﺰﺁﻣﻴﺰ ﻭ‬ ‫ﻣـﺮﺩﻩ ﻣﺘﻌﻠﻖ ﺑﻪ ﺁﻧﻬﺎ ﻧﻴﺴـﺖ ﻭ ﺳـﭙﺲ ﻧﮕﺎﻩ ﻣﯽﻛﻨﻨﺪ ﻛﻪ ﭼﻄـﻮﺭ ﻣﺮگ ﺩﻳﮕﺮﺍﻥ‬
‫ﺍﻧﺘﻘـﺎﺩی ﻣﯽﻧﮕﺮﻧـﺪ‪ .‬ﻣﻄﺎﺑﻖ ﺑـﺎ ﺍﻳﻦ ﺩﻳـﺪﮔﺎﻩ‪ ،‬ﺑﻴﻤﺎﺭی ﺍﻳـﻮﺍﻥ‪ ،‬ﭼﻮﻧﺎﻥ ﺍﺷـﺎﺭﻩﺍی‬ ‫ﻣﯽﺗﻮﺍﻧـﺪ ﺍﺯ ﻟﺤـﺎﻅ ﻣﺎﻟـﯽ ﻭ ﻣﻮﻗﻌﻴﺘﯽ ﺑﻪ ﻧﻔﻊ ﺁﻧﻬﺎ ﺑﺎﺷـﺪ‪.‬‬
‫ﺑـﻪ ﺑﻴﻤـﺎﺭی ﻣﺨﺘـﺺ ﺑـﻮﺭژﻭﺍی ﺟﺎﻣﻌـﮥ ﻗـﺮﻥ ﻧﻮﺯﺩﻫـﻢ ﺗﻠﻘـﯽ ﻣﯽﺷـﻮﺩ‪ .‬ﺑﻌﺪﺍً‬ ‫ﺳـﭙﺲ ﺍﻳـﻦ ﺭﻣﺎﻥ ﻣـﺎ ﺭﺍ ﺑﻪ ‪ 30‬ﺳـﺎﻝ ﻗﺒﻞ ﻣﯽﺑﺮﺩ ﻭ ﻣـﺎ ﺍﻳـﻮﺍﻥ ﺭﺍ ﺩﺭ ﺍﺑﺘﺪﺍی‬
‫ﻣﻨﺘﻘـﺪﺍﻥ‪ ،‬ﺑـﻪ ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﻣﺮگ ﺩﺭ ﺩﺍﺳـﺘﺎﻥ ﻣـﺮگ ﺍﻳﻮﺍﻥ ﺍﻳﻠﻴـﭻ ﺗﻮﺟﻪ ﻣﯽﻛﻨﻨﺪ‪،‬‬ ‫ﺯﻧﺪﮔـﯽﺍﺵ ﻣﯽﺑﻴﻨﻴـﻢ‪ .‬ﺍﻳـﻮﺍﻥ ﻓﺮﺯﻧـﺪ ﻭﺳـﻄﯽ ﺍﺳـﺖ ﻭ ﺩﺭ ﺧﺎﻧـﻮﺍﺩۀ ﺑﺎﺳـﻮﺍﺩی‬
‫ﺩﺭ ﺣﺎﻟـﯽ ﻛـﻪ ﺩﺍﺳـﺘﺎﻥ ﺭﺍ ﻓﻠﺴـﻔﮥ ﻓـﺮﺍ ﺗﺤﻮﻟـﯽ ﺗﻮﻟﺴـﺘﻮی ﺩﺭ ﻧﻈـﺮ ﻣﯽﮔﻴﺮﻧﺪ‪،‬‬ ‫ﺯﻧﺪﮔـﯽ ﻣﯽﻛﻨـﺪ‪ .‬ﺍﻭ ﺩﺭﺱ ﻗﺎﻧـﻮﻥ ﻣﯽﺧﻮﺍﻧـﺪ ﻭ ﻗﺎﺿﯽ ﻣﯽﺷـﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺭﺍﺳـﺘﺎ‬
‫ﺧﺼﻮﺻـ ًﺎ ﺟﺴـﺖﻭﺟﻮی ﺍﻭ ﺑـﺮﺍی ﻣﻌﻨـﯽ ﻭ ﺍﻓـﻜﺎﺭ ﺍﻭ ﺩﺭ ﻣـﻮﺭﺩ ﺑﺸـﺮﻳﺖ‪ .‬ﺑﺮﺧﯽ‬ ‫ﻛﺎﻣـﻼ ﻫﻤﮥ ﺍﺣﺴﺎﺳـﺎﺕ ﺷـﺨﺼﯽ ﺭﺍ ﺍﺯ ﺯﻧﺪﮔﯽﺍﺵ ﺩﻭﺭ ﻣﯽﻛﻨـﺪ‪ .‬ﺍﻭ ﻛﺎﺭﺵ ﺭﺍ‬ ‫ً‬ ‫ﺍﻭ‬
‫ﻧﺎﻗﺺ ﻭﺍﻗﻌﻴﺖﻧﻤﺎﻳﯽ ﺗﻮﻟﺴـﺘﻮی‬‫ﻣﺤﻘﻘﺎﻥ‪ ،‬ﺍﻳﻦ ﺩﺍﺳـﺘﺎﻥ ﺭﺍ ﻧﻤﻮﻧﻪﺍی ﺍﺯ ﻣﺎﺣﺼﻞ ِ‬ ‫ﺑﻪﻃـﻮﺭ ﻋﻴﻨـﯽ ﻭ ﺧﻴﻠـﯽ ﺳـﺮﺩ ﺍﻧﺠـﺎﻡ ﻣﯽﺩﻫـﺪ ﺍﻭ ﻳﻚ ﻣـﺮﺩ ﭘﺪﺭﮔﻮﻧﻪ ﻭ ﺑﺴـﻴﺎﺭ‬
‫ﻣﯽﺩﺍﻧﻨـﺪ‪ .‬ﭼـﻮﻥ ﺍﻳـﻦ ﺩﺍﺳـﺘﺎﻥ‪ ،‬ﻟﺤﻈـﻪﺍی ﺭﺍ ﻛـﻪ ﻫﺮ ﺍﻧﺴـﺎﻧﯽ ﺳـﺮﺍﻧﺠﺎﻡ ﺑﺎ ﺁﻥ‬ ‫ﺧﺸـﻚ ﻭ ﻣﻨﻀﺒـﻂ ﻣﯽﺷـﻮﺩ‪) .‬ﻛـﻪ ﻳﻚ ﺭﺋﻴـﺲ ﺧﺎﻧﻮﺍﺩۀ ﺭﻭﺳـﯽ ﺑﺎﻳﺪ ﺑﺎﺷـﺪ(‪.‬‬
‫ﻣﻮﺍﺟـﻪ ﺧﻮﺍﻫﺪ ﺷـﺪ‪ ،‬ﺑﻪ ﺗﺼﻮﻳﺮ ﻣﯽﻛﺸـﺪ‪ .‬ﺑﻪﻋﻼﻭﻩ‪ ،‬ﺗﺤﻠﻴﻞﻫـﺎی ﺍﺗﻮﺑﻴﻮﮔﺮﺍﻓﯽ‪،‬‬ ‫ﺍﻭ ﻫﻤﭽﻨﻴـﻦ ﻳـﻚ ﻣـﺮﺩ ﺣﺴـﻮﺩ ﻭ ﺍﺭﺗﻘـﺎ ﻃﻠﺐ ﺍﺳـﺖ‪ .‬ﺍﻭ ﺑﺴـﻴﺎﺭ ﺧﻮﺷـﺤﺎﻝ‬
‫ﺑﺮﺍﺑﺮیﻫـﺎی ﺑﻴـﻦ ﺁﺛـﺎﺭ ﺍﺧﻼﻗـﯽ ﻭ ﺍﻳﺪﺋﻮﻟﻮژی ﺗﻮﻟﺴـﺘﻮی ﻭ ﻣﺮگ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴﭻ‬ ‫ﻣﯽﺷـﻮﺩ ﻭﻗﺘﯽ ﻛﻪ ﺷـﻐﻠﯽ ﺩﺭ ﺷـﻬﺮی ﭘﻴـﺪﺍ ﻣﯽﻛﻨﺪ ﻛﻪ ﺩﺭ ﺁﻧﺠـﺎ ﻣﯽﺗﻮﺍﻧﺪ ﺧﺎﻧﮥ‬
‫ﺭﺍ ﺑﺮﺭﺳـﯽ ﻣﯽﻛﻨﻨـﺪ‪ .‬ﺍﺯ ﻟﺤﺎﻅ ﺳـﺎﺧﺘﺎﺭی‪ ،‬ﻣﻨﺘﻘﺪﺍﻥ‪ ،‬ﺟﺎﻳﮕﺰﻳﻦ ﺑﺨـﺶ ﺍﻭﻝ ﺍﻳﻦ‬ ‫ﺑﺰﺭﮔـﯽ ﺑﺨـﺮﺩ ﻭ ﺁﻧﺮﺍ ﺗﺰﻳﻴﻦ ﻛﻨـﺪ‪ .‬ﺩﺭ ﺣﺎﻟﯽ ﻛﻪ ﺧﺎﻧﻪﺍﺵ ﺭﺍ ﺁﺭﺍﺳـﺘﻪ ﻣﯽﻛﺮﺩ ﺍﻓﺘﺎﺩ‬
‫ﺭﻣﺎﻥ ﺭﺍ ﺑﺮﺭﺳـﯽ ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺧﻮﺍﻧﻨﺪﮔﺎﻥ‪ ،‬ﺗﺸـﺎﺑﻬﺎﺗﯽ ﺑﻴﻦ ﺭﻣﺎﻥ ﺗﻮﻟﺴـﺘﻮی ﻭ ﺭﻣﺎﻥ‬ ‫ﻭ ﭘﻬﻠﻮﻳـﺶ ﺿﺮﺑـﻪ ﺧـﻮﺭﺩ‪ .‬ﺍﮔﺮﭼـﻪ ﺩﺭ ﺁﻥ ﻣﻮﻗﻊ ﺍﻳﻦ ﺭﺍ ﻧﻤﯽﺩﺍﻧﺴـﺖ‪ ،‬ﺍﻳﻦ ﺿﺮﺑﻪ‬
‫ﭼﺎﺭﻟـﺰ ﺩﻳﻜﻨـﺰ ﺑـﺎ ﻋﻨـﻮﺍﻥ )‪ (The Christmas Carel‬ﻳﺎﻓﺘﻪﺍﻧـﺪ‪ .‬ﺑﺮﺧﯽﻫـﺎ‬ ‫ﺑﻴﻤﺎﺭیﻳـﯽ ﺭﺍ ﺍﻳﺠـﺎﺩ ﺧﻮﺍﻫـﺪ ﻛـﺮﺩ ﻛـﻪ ﺳـﺮﺍﻧﺠﺎﻡ ﺍﻭ ﺭﺍ ﻣﯽﻛﺸـﺪ‪ .‬ﺍﻭ ﺑﺪﺍﺧﻼﻕ‬
‫ﻫﻢ ﺷـﺒﺎﻫﺖﻫﺎﻳﯽ ﺑﻴـﻦ ﺍﻳﻦ ﺍﺛﺮ ﺑﺎ ﻛﻠﻴﻤﺎﻧﺠﺎﺭﻭی ﺍﺭﻧﺴـﺖ ﻫﻤﻴﻨﮕـﻮی ﻭ ﺩﺍﺩﮔﺎﻩ‬ ‫ﻭ ﺗﻠـﺦ ﺯﺑـﺎﻥ ﻣﯽﺷـﻮﺩ‪ .‬ﺍﻭ ﺍﺯ ﺭﺳـﻴﺪﻥ ﺑـﻪ ﻣـﺮگ ﺧﻮﺩﺵ ﺳـﺮ ﺑﺎﺯ ﻣﯽﺯﻧـﺪ ﻭ ﺩﺭ‬
‫ﻓﺮﺍﻧـﺲ ﻛﺎﻓﻜﺎ ﻭ ﺁﺛـﺎﺭ ﺧﻮﺩ ﺗﻮﻟﺴـﺘﻮی ﺧﺼﻮﺻـ ًﺎ )‪(The Essay I Spoved‬‬ ‫ﻣﺮﺍﺣـﻞ ﻧﻬﺎﻳﯽ ﺑﻴﻤﺎﺭیﺍﺵ‪ ،‬ﺟﺮﺍﺳـﻴﻢ )ﻳـﻚ ﻓﺮﺩ ﻋﺎﺩی( ﻛﻨﺎﺭ ﺑﺴـﺘﺮ ﺍﻭ ﻣﯽﻣﺎﻧﺪ‬
‫)ﻳـﻚ ﺍﻗـﺮﺍﺭ ‪ (1882:‬ﻳﺎﻓﺘﻪﺍﻧـﺪ‪ .‬ﻣﻨﺘﻘـﺪﺍﻥ ﻣﺨﺘﻠـﻒ ﺍﺩﺑﯽ‪ ،‬ﻧﺘﻴﺠـﻪ ﻣﯽﮔﻴﺮﻧﺪ ﻛﻪ‬ ‫ﻭ ﺩﻭﺳـﺖ ﻭ ﻣﻌﺘﻤـﺪ ﺍﻭ ﻣﯽﺷـﻮﺩ‪ .‬ﻓﻘـﻂ ﺟﺮﺍﺳـﻴﻢ ﻣﯽﺗﻮﺍﻧﺪ ﻣﺸـﻜﻼﺕ ﺍﻳـﻮﺍﻥ ﺭﺍ‬
‫ﺍﮔﺮﭼـﻪ ﺭﻣـﺎﻥ ﻣـﺮگ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴﭻ ﺩﺭ ﻧـﮕﺎﻩ ﺍﻭﻝ ﻳـﻚ ﺩﺍﺳـﺘﺎﻥ ﻣﺤﺪﻭﺩﻛﻨﻨﺪﻩ ﻭ‬ ‫ﺩﺭک ﻛﻨـﺪ‪ .‬ﺑﻘﻴـﮥ ﺍﻋﻀـﺎی ﺧﺎﻧـﻮﺩﻩ ﻓﻜﺮ ﻣﯽﻛﻨﻨﺪ ﻛـﻪ ﺍﻭ ﻳﻚ ﻣﺮﺩ ﮔﻮﺷـﺖﺗﻠﺦ‬
‫ً‬
‫ﻛﺎﻣـﻼ ﺧﻮﺵﺑﻴﻨﺎﻧﻪ ﺍﺳـﺖ‪.‬‬ ‫ﮔـﺬﺭﺍ ﺍﺳـﺖ‪ ،‬ﺍﻳـﻦ ﺭﻣﺎﻥ‬ ‫ﻭ ﺑﺪﺍﺧﻼﻕ ﺍﺳـﺖ‪ ،‬ﻭﻟﯽ ﺟﺮﺍﺳـﻴﻢ ﺑـﻪ ﺍﻭ ﻣﻬﺮﺑﺎﻧﯽ ﻭ ﺻﺪﺍﻗﺖ ﺭﺍ ﻋﺮﺿـﻪ ﻣﯽﺩﺍﺭﺩ‪.‬‬
‫ﺗﺤﻠﻴﻞﺍﺳﺘﻌﺎﺭﻩﺍی‬ ‫ﺍﻳـﻮﺍﻥ ﺷـﺮﻭﻉ ﻣﯽﻛﻨـﺪ ﺑـﻪ ﺍﻳﻨﻜﻪ ﺑـﻪ ﺯﻧﺪﮔـﯽﺍﺵ ﺑﺎ ﭼﺸـﻤﺎﻥ ﺑﺎﺯ ﻧﮕﺎﻩ ﻛﻨـﺪ؛ ﺍﻭ‬
‫ﺩﺭ ﻓﺼـﻞ ﻧﻬـﻢ‪ ،‬ﺗﻮﻟﺴـﺘﻮی ﺍﺳـﺘﻌﺎﺭۀ ﺍﺻﻠـﯽ ﺍﺛـﺮﺵ ﺭﺍ ﺧﻠﻖ ﻣﯽﻛﻨـﺪ ﻭ ﺁﻥ‬ ‫ﻣﯽﻓﻬﻤـﺪ ﻛـﻪ ﻫﺮﭼـﻪ ﻣﻮﻓﻖﺗﺮ ﻣﯽﺷـﻮﺩ ﺧﻮﺷـﺒﺨﺘﯽﺍﺵ ﻛﻤﺘـﺮ ﻣﯽﺷـﻮﺩ‪ .‬ﺍﻭ‬
‫»ﺳـﺎک ﺳـﻴﺎﻩ« ﺍﺳـﺖ ﻛـﻪ ﻭﺍﻗﻌﻴـﺖ ﻣـﺮگ ﺭﺍ ﺩﺭ ﻏﻠـﻂ ﺑـﻮﺩﻥ ﺯﻧﺪﮔـﯽ ﻧﺸـﺎﻥ‬ ‫ﻫﻤﭽﻨﻴـﻦ ﺍﺯ ﺧﻮﺩ ﻣﯽﭘﺮﺳـﺪ ﻛـﻪ ﺁﻳﺎ ﻛﺎﺭﻫﺎ ﺭﺍ ﺩﺭﺳـﺖ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺍﺳـﺖ ﻳﺎ ﺧﻴﺮ‪.‬‬
‫ﻣﯽﺩﻫـﺪ‪ .‬ﺍﻭ ﺷـﺮﺡ ﻣﯽﺩﻫـﺪ ﻛﻪ ﺍﻳﻠﻴـﭻ‪ ،‬ﺩﺭ ﺍﻓﻜﺎﺭ ﺍﺣﻤﻘﺎﻧﻪﺍﺵ ﺍﺣﺴـﺎﺱ ﻣﯽﻛﺮﺩ‬ ‫ﺍﻭ ﺩﺭ ﺯﻧﺪﮔـﯽﺵ ﺑﺴـﻴﺎﺭ ﺍﺗﻮﻣﺎﺗﻴﻚ ﺯﻳﺴـﺘﻪ ﺍﺳـﺖ‪ .‬ﻫﺮ ﭼـﻪ ﺍﺯ ﺍﻭ ﺍﻧﺘﻈﺎﺭ ﻣﯽﺭﻓﺘﻪ‬
‫‪39‬‬ ‫ﻛـﻪ ﺑﻪﺳـﻮی ﻳﻚ ﺳـﺎک ﺳـﻴﺎﻩ‪ ،‬ﻋﻤﻴـﻖ ﻭ ﺑﺎﺭﻳﻚ ﺭﺍﻧـﺪﻩ ﻣﯽﺷـﻮﺩ‪ .‬ﻭ ﺩﺭ ﺁﻥ ﺟﺎ‬
‫ﺑـﻪ ﻃﻮﺭ ﻣﺴـﺘﻘﻴﻢ ﺷـﺮﻭﻉ ﺑﻪ ﺻﺤﺒﺖ ﻛﺮﺩﻥ ﺑﺎ ﺧـﺪﺍ ﻣﯽﻛﺮﺩ‪ .‬ﺩﺭ ﻭﺍﻗﻊ »ﺳـﺎک«‬
‫ﺍﻧﺠـﺎﻡ ﺩﺍﺩﻩ ﻳـﺎ ﮔﻔﺘـﻪ ﺍﺳـﺖ‪ .‬ﺍﻭ ﻣﯽﻓﻬﻤﺪ ﻛـﻪ ﻧﻤﯽﺗﻮﺍﻧﺪ ﻛﻪ ﺍﻳﻦ ﺑﺎﻭﺭ ﺭﺍ ﺑﺸـﻜﻨﺪ‬
‫ﻛـﻪ ﺍﻭ ﻣـﺮﺩی ﺑـﻮﺩﻩ ﺍﺳـﺖ ﻛﻪ ﺑﺎﻳﺪ ﺑﺎﺷـﺪ‪ .‬ﺳـﭙﺲ ﺍﻭ ﺭﻭﺷـﻨﺎﻳﯽ ﺭﺍ ﻣﯽﺑﻴﻨـﺪ‪ .‬ﺍﻭ‬
‫ﺍﺳـﺘﻌﺎﺭﻩﺍی ﺑﺮ ﺍﺳـﺎﺱ ﺳـﻴﺮ ﺭﻭﺣﯽ ﻭ ﺷـﺨﺼﯽ ﺍﻳﻠﻴـﭻ ﺩﺭ ﻃﯽ ﺯﻧﺪﮔﻴـﺶ ﺑﻮﺩﻩ‬ ‫ﺍﺣﺴـﺎﺱ ﻣﯽﻛﻨـﺪ ﻫﻤﮥ ﻛﺴـﺎﻧﯽ ﻛـﻪ ﺍﻃﺮﺍﻓـﺶ ﻫﺴـﺘﻨﺪ ﻧﺎﺩﺍﻧﻨـﺪ‪ ،‬ﺩﺭ ﺣﺎﻟﯽ ﻛﻪ‬
‫ﺍﺳـﺖ‪ .‬ﺍﻳـﻦ ﺳـﺎک ﺍﺯ ﻟﺤﺎﻅ ﺭﻭﺣـﯽ‪ ،‬ﺍﺳـﺘﻌﺎﺭﻩﺍی ﺑـﺮﺍی ﻣﺠﺮﺍی ﺗﻮﻟـﺪ ﺩﺭ ﻳﻚ‬ ‫ﻣﯽﻓﻬﻤـﺪ ﻛـﻪ ﺁﻧﻬـﺎ ﻫﻨـﻮﺯ ﺑـﻪ ﺯﻧﺪﮔﯽﻳﯽ ﻣﺸـﻐﻮﻝ ﻫﺴـﺘﻨﺪ ﻛـﻪ ﺍﻭ ﺁﻥ ﺭﺍ ﺗﺮک‬
‫ﺯﻥ )ﺭﺣـﻢ( ﺍﺳـﺖ‪ .‬ﺍﻳـﻦ ﻧﻤـﺎﺩ ﻛﻠﻤﺎﺕ ﻣﺴـﻴﺢ ﺍﺳـﺖ ﻛﻪ ﺷـﺨﺺ ﺑﺎﻳـﺪ ﺩﻭﺑﺎﺭﻩ‬ ‫ﻛـﺮﺩﻩ ﺗـﺎ ﺑﻔﻬﻤﺪ ﻛـﻪ ﺁﻥ ﺯﻧﺪﮔﯽ‪ ،‬ﻣﺼﻨﻮﻋـﯽ ﻭ ﻏﻴﺮ ﺣﻘﻴﻘﯽ ﺍﺳـﺖ‪ .‬ﺍﻭ ﺩﺭ ﻟﺤﻈﮥ‬
‫ﻣﺘﻮﻟﺪ ﺷـﻮﺩ‪.‬‬ ‫ﺧﻮﺷـﺒﺨﺘﯽ ﻣﯽﻣﻴﺮﺩ‪.‬‬
‫ﻣﻌﺮﻓﯽ‬
‫ﭘﯽﻧﻮﺷﺖ‪:‬‬ ‫ﺭﻣـﺎﻥ ﻣـﺮگ ﺍﻳـﻮﺍﻥ ﺍﻳﻠﻴـ ِﭻ ﺗﻮﻟﺴـﺘﻮی‪ ،‬ﺑﻪﻋﻨـﻮﺍﻥ ﻳﻜـﯽ ﺍﺯ ﻗﺪﺭﺗﻤﻨﺪﺗﺮﻳﻦ ﻭ‬
‫‪*Criticism and Analysis of “ The Death of Ivan Ilych ” by Tolstoy‬‬ ‫ﺗﺄﺛﻴﺮﮔﺬﺍﺭﺗﺮﻳـﻦ ﺩﺍﺳـﺘﺎﻥﻫﺎﻳﯽ ﺷـﻨﺎﺧﺘﻪ ﻣﯽﺷـﻮﺩ ﻛـﻪ ﺩﺭ ﻣـﻮﺭﺩ ﻣـﺮگ ﻧﻮﺷـﺘﻪ‬
‫‪** L_shaabani@yahoo.com‬‬ ‫ﺷـﺪﻩﺍﻧﺪ‪ .‬ﺍﻳـﻦ ﺭﻣـﺎﻥ ﻳﻜـﯽ ﺍﺯ ﺍﻭﻟﻴـﻦ ﺁﺛـﺎﺭ ﺍﻓﺴـﺎﻧﻪﺍی ﺗﻮﻟﺴـﺘﻮی ﺑـﻮﺩ ﻛـﻪ ﺑﻌﺪ‬