Читать книгу Leg over Leg - Ahmad Faris al-Shidyaq - Страница 8

الفصل الرابع

ڡي شروط الرواية

Chapter Four

The Rules for Retelling

4.4.1

لم يمض على الفارياق فى مدى عمره مدة هى انحس واشقى من المدة التى قضاها فى تلك القرية * لان قرى بلاد الانكليز ليس فيها من محل لهو واجتماع وانس وحظّ البتة * وانما اللهو والحظ فى المدن الكبيرة * وفضلا عن ذلك فليس فى القرى شى يباع للماكول والمشروب سوى ما لا احتفال به * ومن كان عنده دجاجة او طرفة بعث بها الى احدى المدن القريبة * فمن شآ ان ينقطع عن الدنيا او يترهّب فعليه بها * اما النسآ هناك ففيهن من تشفى من القمه بل تمنى بالقرم * الا ان الغريب محروم منهن * اذ كل ذات ظلف ملازمة لفحلها فليس من سائب مبهَل الا العجائز *

In all his life, the Fāriyāq never spent a more unpleasant and arduous time than he did in that village,⁵⁵ for the villages of England are altogether without places in which to be entertained, to meet, to enjoy oneself, or to have fun; enjoyment and fun are to be had only in the large cities. In addition, such food and drink as are sold in them are no cause for celebration, for anyone who has a chicken or anything special sends it to one of the nearby towns. Anyone who wishes to cut himself off from the world or feels a calling to be a monk should hie himself to them. As for their women, some of them will cure a loss of appetite or even bestow a raging lust, but the outsider is denied access to them. Every cloven hoof stays close to her bull and the only loose, free-ranging beasts are the old ones.

4.4.2

ثم بعد مضى شهرين عليه وهو على هذه الحالة المشؤمة انتقل الى مدينة كمبريج مصدر القسوسة وعلم الكلام * فان جل قسيسى الانكليز يمضون اليها او الى اكسفورد ليتعلموا فيها الالهيات والمناظرة * وفى هاتين المدينتين ايضا سائر طلاب العلم على اختلاف طبقاتهم ودرجاتهم * ومن احدى مدارس كمبريج نبغ نيوطون الفيلسوف المشهور * فاكترى الفارياق فيها مسكنين فى دار كما هى العادة ومكث يترجم بقية الكتاب الذى مرّت الاشارة اليه سابقا * وكان فى تلك الدار جارية دعجآ كاعب وكذا سائر الوصائف غالبا * فكان الفارياق يراها كل ليلة تطلع الى غرفة احد السكّان ثم بعد هنيهة ليست باطول من قولك عمت مسآء يسمع لها نغمة ايغافية * وكانت صاحبة المنزل تراها نازلة من عند الرجل فى الساعة العاشرة ونحوها من الليل ولا تكترث بطلوعها ولا بنزولها * فاذا جآت فى الصباح لتصلح فراش الفارياق حملق فيها وحدّق فلم يرَ فيها علامة تدل على انها كانت هى صاحبة النغمة * فيظن ان ذلك كان وهمًا منه نشا عن اللهج بالايغاف * فاذا جآ الليل عادت النغمة وعاد اليقين * فاذا كان الصباح عادت الحملقة وعاد التصاون وعاد الشك والحيرة وهلم جرا * حتى كاد ذلك يشوش عقل الفارياق ويفسد عليه الترجمة التى طالما كان يخشى عليها الخلل والفساد من قضية ما نسائية *

After two months in these calamitous conditions, he moved to the city of Cambridge, wellspring of the clergy and of the science of theology, since most English clergymen go there or to Oxford to learn divinity and apologetics. These two cities are also home to all other students, in all their diversity of class and standing. The celebrated philosopher Newton was the brilliant son of one of the Cambridge colleges. There the Fāriyāq rented, as is the custom, two sets of rooms in a house, where he stayed, translating the rest of the book referred to earlier.⁵⁶ In the same house there was a full-breasted girl with wide black eyes, which is how most of the maids there are. Every night the Fāriyāq would see her going up to the room of one of the lodgers. Then, after a time not longer than it takes to say “Good evening!” he would hear her produce a kineto-penetrative gasp. The mistress of the house used to see her coming down from the man’s room at ten or so at night but had no interest in her ascents and descents. In the morning, when the girl came to make the Fāriyāq’s bed, he would stare at her and observe her closely but could see no sign to indicate that she was the gasper. He therefore assumed that it was a delusion born of his fervent desire for penetration. Then night would come and the gasp would be there again, and so would his certainty. With morning the staring would be repeated as would the pretence of virtue, and the doubt would be there and so would the confusion, and so on and so forth. Things got so bad that the Fāriyāq’s mind almost became unhinged and started to spoil the translation, which he had long feared might fall victim to shortcomings and mistakes due to some issue related to women.

4.4.3

وهنا ينبغى ان اقرفص واقول * ان هذه المزيّة السنّورية اى الاكل خفوة وان يكن وجودها ملحوظا فى النسآ على الاعمّ الا انها فى نسآ الانكليز على الاخصّ * فان المتّصفة منهن بما اتصفت به السيدة المدقم فى فصل حدنبدى تتظاهر فى النهار بصفات الورع والتقوى والنفورية والقذورية وتنظر الى تبعها نظر المتجاهل * وتوهم الناقد انها متبتلة معتزلة للرجال * وربما حفظت احاديث دينية وروايات نسكية تلقيها على الناس فيعظمونها ويعتقدون فيها الصلاح * واذا دخلتَ بيتها وجدت على مائدتها التوراة والانجيل وكتبا اخرى فى العبادة والزهد * وربما وسّخت الظاهر من ورقها لتوهم انها كثير الدراسة لها * ولا يمكن للرجل ان يذكر بين يديها اسم عضو من اعضائه * فتكون لذة هولآء على مقتضى قاعدة الفارياقية غير تامة وذلك لخلوها عن ركن الذكر *

Here I have to squat down on my haunches and declare: “This feline characteristic (i.e., the ability to take one’s food without being noticed), though its presence may be observed in women in general, is especially pronounced among English women. Such a woman, if distinguished by those features ascribed to the sexually voracious woman in the ḥadanbadā chapter,⁵⁷ will put on a show during the day of God-fearingness, piety, reticence, and distaste and look at her devotee as though she had no idea who he was, deluding any who are watching her into thinking she is virtuous and has nothing to do with men. She may have memorized religious sayings and devout narrations to fling at people, making them venerate her and believe her to be righteous, and when you enter her home you may find on the table copies of the Old Testament and the Gospels and other books on worship and self-abnegation (the visible edges of whose pages she will sometimes dirty to give the false impression that she studies them frequently) and a man may not be allowed to utter in her presence the name of any of his members. As a result, the pleasure of such women, according to the rule pronounced by the Fāriyāqiyyah, will be incomplete, because it will lack the element of discussion.⁵⁸

4.4.4

وعنها ايضا ان ذكر اللذة لا بد من ان يكون مطابقا للواقع * فان كان الوقوع مثلا من ذى مقام ليلًا ذُكرت فيه لِذات مقام * وان يكن من دونٍ صباحًا ذكرت فيه لدون من النسآ * وقس على ذلك سائر التباين فى الاوقات والاشخاص * اللهمّ الا ان خشى فوات الفرصة * اى اذا حصلت مثلًا ليلًا ولم يمكن ذكرها فى الليل فيصح الذكر فى الفجر او الصباح * او ان حصلت من ذى مقام ولم يتهيّا وجود نظيره فيصح ذكرها لدون ولا تفسد لذة الذكر بذلك * فاما على فرض كونها لم تجد احدا من هذه الاصناف فيصح ذكرها لنفسها * وذلك بان تدخل راسها فى زير فارغ او فى بئر او جبّ او قبوة ونحو ذلك مما له صدى وتنطق بلسان فصيح مبين بما مرّ لها * حتى اذا رجع الصدى قام لها مقام النديم الكليم * فاما اذا بقى الذكر فى صدرها فيخشى عليها من الصِدارة والذُباح *

“And we have it on her authority too that any talk of pleasure must be congruent with the reality. If it involves a man of high status at night, it must be discussed with a woman of high status at night, if someone of low status in the morning, it must be discussed with a woman of low status in the morning, and so on and so forth for all the various other times and persons—unless there is reason to fear that the opportunity will be lost: in other words, if it happened at night, for example, but cannot be discussed that same night, it is permissible to discuss it at dawn or in the morning, or if it involves a man of high status but none of his kind is available, it is permissible to discuss it with a man of low status; the pleasure derived from talking about it will not be spoiled thereby. If by any chance she cannot find anyone from any of these categories, she can discuss it with herself. She may do this by inserting her head into an empty water jar, well, pit, vault, or anything of the sort that produces an echo, and speaking with clear and eloquent tongue of everything that happened to her; the responding echo can take the place of an intimate interlocutor. If, on the other hand, the memory is kept in her breast, chestiness and diphtheria are to be feared.

4.4.5

ويشترط ايضا عندها ان تكون الرواية مطابقة للفعل * فللنبرة نبرة * وللهمز همزة * وللحركة حركة * وللسكون سكون * وللمد مدّ * وللهذّ هذ * وللترخيم ترخيم * وللترسّل ترسل * وان يبلَّغ التشديد على الذال اذا كانت الرواية بلغتنا هذه الشريفة * وان يكون فى العينين مغازلة * وفى اللعم فيضان * وفى اللسان بلّة * وفى اليدين تلقح * وبما تقرّر علمتَ من ان هذه الخلة المذكورة الموجودة فى نسآء الانكليز اخلال بشروط اللذة * ويمكن ان يقال ان لذة التصور عندهن قوية جدا بحيث تقوم مقام لذتين * او انهن يضعن رؤسهن فى خابية ونحوها *

“It is also a rule in her view that the retelling be congruent with the act. Thus, for the pressings, an accentuation of the voice,⁵⁹ for the jabs, a catch in the airflow, for the movements, a vocalic motion, for the moments of inertia, an inert letter, for the prolongations, a prolongation of the a, for the rushed bits, a gabbling of the recitation, for the softenings of the voice, an apocopation, and for the languorous moments, a slowing of pace. Also, that special attention be given to the doubling of the letter dhāl,⁶⁰ if the retelling is done in this noble language of ours, and that there be a flirtatious flash to the eyes, floods of saliva, and a moistness to the tongue, and that the hands sketch what the words describe. This being established, you will have gathered that the trait mentioned as present in Englishwomen is an infraction of the rules of pleasure, and it may be said that the pleasure they take in visualization is so strong because it takes the place of two other pleasures, or that they put their heads inside a cask or the like.

4.4.6

وعن الفارياق ان الجمال فى النسآ على اختلاف انواعه له نطق ونِدآ ودعآ واشارة ورمز * فمنه ما يقول لناظره لست ابالى بالمراود * ومنه ما يقول الا اغتنم الآن الفرصة – للتاخير آفات – لن ترانى من الكثير ملولا- لا يغرنّك الشفون – هيتَ لك – مَن لى به الساعة – ما ارى كفايتى عند احد – ان دوآء الشقّ ان تحوصه – اين اين المشبع – اين ابن اَلْغز – اين ابن بنى اذلغ – لدىّ يذل الصعب – بعد جهدك لا تلام – لكل مجتهد نصيب – من اطعم اشبع – من ذاق عرف – من مسّ هرف – من سبق فقد ربح – العود احمد – من عدّ عاد – من وصل وُصل * ومنه ما يشير انِ استعمل الحيلة – تلطف فى الزيارة – كن من الجار على حذر – من تانّى نال ما تمنى – بكِّر بكور الغراب وغير ذلك *

“And on the authority of the Fāriyāq, we have it that the beauty that is in women, in all its disparate forms, has ways of speaking, calling out, inviting, pointing, and signaling. For example, there is the type that says to the one who gazes upon it, ‘I’m not interested in little sticks’ and the type that says, ‘Seize your opportunity now!’ or ‘Tarrying has its disadvantages’ or ‘You won’t find me wearied by large numbers’ or ‘Let not the shy-eyed one deceive you!’ or ‘Come hither!’ or ‘O who will bring him to me right now?’ or ‘I see none who can satisfy me’ or ‘The best way to mend a slit is to sew it up’⁶¹ or ‘Where oh where is the one who can satisfy me?’ or ‘Where is Ibn Alghaz?’⁶² or ‘Where is a member of the Banū Adhlagh?’⁶³ or ‘Before me the hard man is humbled’ or ‘After all that effort, who can find fault with you?’ or ‘No conscious effort is entirely wasted’ or ‘Feed and thou shalt be satisfied’ or ‘To taste is to know’ or ‘To touch is to praise’ or ‘The early bird catches the worm’ or ‘If at first you don’t succeed . . .’⁶⁴ or ‘Always count twice’⁶⁵ or ‘Keep in touch with others and others will keep in touch with you.’ There is also the type that looks at you as though to say, ‘Use cunning’ or ‘Make your visits discreet’ or ‘Watch out for the neighbors’ or ‘Slow and steady wins the race’ or ‘Come early as the crow.’”⁶⁶

4.4.7

فجمال نسآ الانكليز هو مما عنوانه اين ابن الغز* اين اين المشبع * لدىّ يذل الصعب * فانك ترى المراة منهن تمشى وهى صَفُوح منزّة سامدة مساندة شاردة معبّدة شامرة نافرة جافلة جامزة آبزة نافزة ناقزة معتزة ساربة عاسجة طامحة جامحة شامخة خانفة مشمّة شافنة مُهْطعة مُرْشقة متتالعة هابعة متعاطفة متطلقة مخرنطمة مسحنفرة مجلوّذة مجلوّظة مذلعبّة مجرهدّة مرمئدة مثمعدّة مصمعدّة مبسئرّة مسكبرّة مسمهرّة مشفترّة مسجئرّة مسجهرّة متمهلّة متمئلّة مشمعلة مصمئلّة مقلهفّة مزلئمّة * ومع انِ القدرة الخالقية قد خصتهن بالآء الايا سابغة ضافية على ما روت الرواة * فانهن يتخذن لها المرافد ويعظّمنها بها تعظيما يوقف المستوفز بحيث يقف كالجابه الحيران * فلا يتماسك عن ان تصطك ساقاه تعجبا واعظاما لهذا التعظيم * وان تحترق اسنانه ويندلع لسانه * وتنضنض لهاته * وتلتوى عنقه *وتنتفخ اوداجه * ويحمرّ حملاقه * ويُغان على قلبه ويَطْنَى * وتاخذه القشعريرة والرعدة والاَفْكل والهزّة والاضطراب والرجفان والنغشان والغشيان والغميان والفَشْيان والنُحَوآ والدُوار والمَيَدان واللَبَم والاختلاج والترنّح والارتعاج والارتعاش والارتهاش والرَعْس والارتعاس والترأّد والترجيد والاَصيص والبَصيص والكصيص والاَرْض والعُسوم والنِفّيضَى والقِلّ والاِرْزيز والزَمَع والزقزقة^١ والشفشفة والصَعْفة والقرقفة والقفقفة * وتهيج به الاخلاط الاربعة فيطلب كلّ خلط عظّامة * وتنهال عليه الخواطر والوساوس * وتتجاذبه عوامل الامانى * وتجرضه مجرضات النِزّة* وتطفره خوالج الشهوة * ويميل به مميل التشوق والتلهف على حد قول الشاعر.

علمتك الباذل المعروف فانبعثت

اليك بى واجفات الشوق والامل

فيبقى حائرا بائرا مبهوتا مهفوتا سادرا داهلا مدهوشا ذاهلا * بحيث اذا رجع سالما الى منزله يحسب كل شاخص فيه عظّامة او ما عُظّم بها *

١ ١٨٥٥: والزقرفة.

The beauty of Englishwomen is of the sort that falls under the heading of “Where is Ibn Alghaz?” “Where oh where is the one who can satisfy me?” and “Before me the hard man is humbled.” You see them turning disdainfully to one side,⁶⁷ shying, flying, starting, bolting, flinching, fleeing, proudly turning, racing, baulking, jibbing, bounding, leaping, escaping, like a mirage dissipating, while running full tilt, head high, nose in air, chest out, back straight, and even though the divine creative power has uniquely blessed them with buttocks ample and copious (or so it is reported), yet they apply bustles to these, using the latter to make the former large enough to stop any who lies in wait in his tracks, as though dumbfounded by a head-on encounter, after which he cannot stop his knees from knocking together in wonder and awe at such aggrandizement, his teeth from smoking, his tongue from lolling, his uvula from wagging, his neck from twisting, his jugulars from swelling, and his eyelids from reddening, or himself from being overcome by lust and assaulting her, and the said person is taken by an agitation,⁶⁸ a trepidation, a commotion, a flutteration, a trembling, a shaking, a quaking, a shuddering, a shivering, a quavering, a rocking, a jolting, a jarring, a jerking, a bobbling, a wobbling, a fainting, a giddiness, a dizziness, a light-headedness, a twitching, a tottering, a teetering, a staggering, a faltering, a languorous folding, a stiffening of the joints, a chattering of the teeth, and a rattling of the jaw, and the four humors set him ablaze, each mix⁶⁹ demanding its own bustle. Ideas and misgivings bombard him, hopes and fears pull him this way and that, choking passions make him splutter, he trembles with lustful emotions, and he doubles over with yearning and desire, in accordance with the words of the poet

I knew you as one celebrated for your generosity,

And the throbbings of longing and hope swept me to you

and he remains so confused and at a loss, speechless and flabbergasted, perplexed and bewildered, astonished and amazed that, when he returns safely to his house, he believes everything that pops up before him there is a bustle, or that thing that lends the bustle its bulk.

4.4.8

وكان الفارياق اذا خرج وابصر هذه الروابى الخصيبة عاد الى ما ماواه وفى راسه الف معنى يشغله * فمما انشده فى بعض هذه الفتن

ياللعجاب وكلّ عُجْب فليقل ياللعجاب
ما ان يرى فى ذا المكان سوى المرافد من روابى
كلا ولا من غوطة	من دون ذياك الجناب
كلا ولا قرموطة	تشرى سوى كُعب الكعاب
من كل ذات تبهكن	تدعو الحصور الى الدعاب
الشوق يقدم بى وخوف العجز من غَلَم ناى بى
ماذا يقول الناس عمّن خار عن مَلْء الوطاب
ام كيف تضعف معدة العربى عن قحف القعاب
مَن لى بصُنبور فاُترعَه بمِنْزفة الحُباب
من لى بقبّة مرفد	فى ليلتى من ذى القباب
من لى بجتّ اُليَّة	من ذى الالايا فى مآبى
هذا لعمرك شان ذى	قَطَم وهذا الداب دابى

Whenever the Fāriyāq left the house and beheld these well-endowed mounds, he would return to his refuge with a thousand poetical images crowding his head. A poem he recited in honor of one such enchantress went as follows:

Wonder of wonders! Let every man, “Wonder of wonders!”

Exclaim, of those who love with women to tussle,

“Not a mound’s to be seen

In this place that isn’t a bustle!

No indeed! And not a dip

That isn’t accompanied by its own little hump—

No indeed again!—and not a euphorbia fruit⁷⁰ to be bought

That isn’t a high-breasted woman’s pink bump.

Longing makes me boldly approach each big-bottomed waddler

Who invites the celibate to play,

Yet fear of impotence induced by too much lust

Keeps me away.

What must people say of him who

Roars from a bursting milk skin that absence of opportunity plugs,

Or how can the stomach of an Arab

Be too weak to drink deep from those great jugs?

O for a spigot that I might fill the cup

From my counter-levered love pail!

O for a bustle like one of those domes

Of which I might myself at night avail!

O for a palpation of one of those

Bummikins in my home!

This, I swear, is the way of those starved

Of sex and this same practice is my own.”