Joseph Conrad (born Józef Teodor Konrad Korzeniowski;3 December 1857 – 3 August 1924) was a Polish-born English novelist.
روائي انجليزي ولد في بولندا عام 1857
Conrad is regarded as one of the great novelists in English, although he did not speak the language fluently until he was in his twenties (and then always with a marked Polish accent).
يعتبر من اعظم الكتاب الانجليز رغم انه لم يتحدث الانجليزية الا بعد ان اصبح في العشرينيات من عمره وظل يحكيها بلكنة بولندية
He wrote stories and novels, predominantly with a nautical setting, that depicts trials of the human spirit by the demands of duty and honour. Conrad was a master prose stylist who brought a distinctly non-English tragic sensibility into English literature. While some of his works have a strain of romanticism, he is viewed as a precursor of modernist literature. His narrative style and anti-heroic characters have influenced many authors.
اسلوبه الذي يعتمد على نقيض البطل اثر في الكثير من الروائيين
Polish-born English novelist and short-story writer, a dreamer, adventurer, and gentleman.
كان حالما ومغامرا
In his famous preface to THE NIGGER OF THE 'NARCISSUS' (1897) Conrad crystallized his often quoted goal as a writer: "My task which I am trying to achieve is, by the power of the written word, to make you hear, to make you feel-it is, above all, to make you see. That-and no more, and it is everything." Among Conrad's best-known works are LORD JIM (1900) and HEART OF DARKNESS (1902). Conrad discouraged interpretation of his sea novels through evidence from his life, but several of his stories drew the material, events, and personalities from his own experiences in different parts of the world.
الكثير من اعماله اعتمدت على تجاربه الشخصية رغم انه كان يدعو الى عدم الربط بين الاثنتين
While making his first voyages to the West Indies, Conrad met the Corsican Dominic Cervoni, who was later model for his characters filled with a thirst for adventure.
"We live, as we dream-alone." (from Heart of Darkness)
Joseph Conrad was born in Berdichev, in the Ukraine, in a region that had once been a part of Poland, but was then under Russian rule. His father Apollo Korzeniowski was an aristocrat without lands, a poet and translator of Shakespeare and Dickens and French literature. The family estates had been sequestrated in 1839 following an anti-Russian rebellion.
تم مصادرة املاك العائلة عام 1839 بسبب ثورة ضد الروس
As a boy the young Joseph read Polish and French versions of English novels with his father. English was Conrad's third language; he learned to read and write in French before he knew English.
كانت الانجليزية لغة الثالثة حيث تعلم الفرنسية قبلها
Apollo Korzeniowski became embroiled in political activities. After being imprisoned for six months, he was sent to exile with his family to Volgoda, northern Russia, in 1861. Two years later the family was allowed to move to Kiev.
اعتقل والده عام 1861 ( عندما كان عمر جوزف اربع سنوات ).
By 1869 Conrad's both parents had died of tuberculosis, and he was sent to Switzerland to his maternal uncle Tadeusz Bobrowski, who was to be a continuing influence on his life.
مع العام 1869 كان والداه ( الام والاب ماتا قبل ان يصل جوزف سن الـ الـ 12 سنة ) و قد ماتا بمرض السل وارسل جوزف الى سويسرا للعيش عند عمه والذي كان له تأثير كبير عليه
On his death in 1894 Tadeusz left about £1,600 to his nephew-a sizable sum of money, well over £100,000 now.
مات عمه عام 1894 وترك له ورثه ضخمة بمقايس اليوم
Conrad attended schools in Kraków and persuaded his uncle to let him go to the sea.
درس جوزف في مدرسة في كراكو واقنع عمه بأن يتركه يسافر في البحر
In the mid-1870s he joined the French merchant marine as an apprentice, and made between 1875 and 1878 three voyages to the West Indies. During his youth Conrad also was involved in arms smuggling for the Carlist cause in Spain.
في عام 1875 بدأ يعمل لدى بحار فرنسي وشارك في تهريب الاسلحة الى الاسبان
After being wounded in a duel or of a self-inflicted gunshot in the chest, Conrad continued his career at the seas in the British merchant navy for 16 years.
عمل مع بحار انجلزي بعد ان اصابه طلق ناري في مبارزة او محاولة انتحار ولمدة 16 عاما
He had been deeply in debt, but his uncle helped him out.
عانا من الديون لكن عمه ساعده في نهاية الامر
This was a turning point in his life. Conrad rose through the ranks from common seaman to first mate, and by 1886 he obtained his master mariner's certificate, commanding his own ship, Otago.
اصبح ربان سفينته الخاصة عام 1886
In the same year he was given British citizenship and he changed officially his name to Joseph Conrad.
في عام 1886 ايضا حصل على الحنسية البريطانية وغير اسمه الى جوزف كونراد
Witnessing the forces of the sea, Conrad developed a deterministic view of the world, which he expressed in a letter in 1897: "What makes mankind tragic is not that they are the victims of nature, it is that they are conscious of it. To be part of the animal kingdom under the conditions of this earth is very well-but soon as you know of your slavery, the pain, the anger, the strife, the tragedy begins."
قال في عام 1897 ما يجعل حياة الانسان مأساوية هو ان الناس هو ليس انهم ضحايا الطبيعة ولكن هو وعيهم بتلك الحقيقة . وان يكون الانسان جزء من مملكة الحيوان امر جيد ولكن عاجلا ما تبدأ تتعرف على العبودية والالم والغضب والكفاح وعندها تبدأ المأساة
Conrad sailed to many parts of the world, including Australia, various ports of the Indian Ocean, Borneo, the Malay states, South America, and the South Pacific Island. In 1890 he sailed in Africa up the Congo River. The journey provided much material for his novel Heart of Darkness.
ابحر كونراد الى معظم مناطق العالم كما انه ابحر عبر نهر الكنغو وقد وفرت له الرحلة مادة لروايته الرائعة "قلب الظلام"
However, the fabled East Indies particularly attracted Conrad and it became the setting of many of his stories. By 1894 Conrad's sea life was over.
انتهى عمله في البحر عام 1894
During the long journeys he had started to write and Conrad decided to devote himself entirely to literature. At the age of 36 Conrad settled down in England.
استقر كونراد عندما بلغ السادسة والثلاثني في بريطانيا
Conrad married in 1896 Jessie George, an Englishwoman, by whom he had two sons.
تزوج عام 1896 من بريطانية وانجب منها طفلان
He moved to Ashford, Kent. Except trips to France, Italy, Poland, and to the United States in 1923, Conrad lived in his new home country.
سافر مرات عديدة الى فرنسا وايطاليا وامريكيا
Last years of his life were shadowed by rheumatism. He refused an offer of knighthood in 1924 as he had earlier declined honorary degrees from five universities.
عانا في اخر حياتة من الروماتزم ورفض استلام شهادات تقدير من خمس جامعات
Conrad died of a heart attack on August 3, 1924 and was buried in Canterbury.
مات كونراد عام 1924 بسبب جلطة قلبية
Conrad's influence upon 20th-century literature was wide.
كان تأثيره على الادب في القرن العشرين عظيما

His wife, Ewelina[6] Korzeniowska (née Bobrowska), and four-year-old son followed him into exile. Because of Ewelina's poor health, Apollo was allowed in 1865 to move to Chernigov, Chernigov Governorate, where within a few weeks Ewelina died of tuberculosis.
عانت الام من المرض وماتت عام 1865 عندما كان كونراد في سن الثامنة
Apollo died four years later in Kraków, leaving Conrad orphaned at the age of eleven.
مات الاب عندما كان كونراد في الحادية عشره
In 1878, Conrad was wounded in the chest. Some biographers say he fought a duel in Marseille, others that he attempted suicide.

- روائي انجليزي ولد في بولندا عام 1857
- يعتبر من اعظم الكتاب الانجليز رغم انه لم يتحدث الانجليزية الا بعد ان اصبح في العشرينيات من عمره وظل يحكيها بلكنة بولندية
- اسلوبه الذي يعتمد على نقيض البطل اثر في الكثير من الروائيين
- كان حالما ومغامرا
- الكثير من اعماله اعتمدت على تجاربه الشخصية رغم انه كان يدعو الى عدم الربط بين الاثنتين
- تم مصادرة املاك العائلة عام 1839 بسبب ثورة ضد الروس
- كانت الانجليزية لغة الثالثة حيث تعلم الفرنسية قبلها
- اعتقل والده عام 1861 ( عندما كان عمر جوزف اربع سنوات ).
- مع العام 1869 كان والداه ( الام والاب ماتا قبل ان يصل جوزف سن الـ الـ 12 سنة ) و قد ماتا بمرض السل وارسل جوزف الى سويسرا للعيش عند عمه والذي كان له تأثير كبير عليه
- مات عمه عام 1894 وترك له ورثه ضخمة بمقايس اليوم
- درس جوزف في مدرسة في كراكو واقنع عمه بأن يتركه يسافر في البحر
- في عام 1875 بدأ يعمل لدى بحار فرنسي وشارك في تهريب الاسلحة الى الاسبان
- عمل مع بحار انجلزي بعد ان اصابه طلق ناري في مبارزة او محاولة انتحار ولمدة 16 عاما
- عانا من الديون لكن عمه ساعده في نهاية الامر
- اصبح ربان سفينته الخاصة عام 1886
- في عام 1886 ايضا حصل على الحنسية البريطانية وغير اسمه الى جوزف كونراد
- قال في عام 1897 ما يجعل حياة الانسان مأساوية هو ان الناس هو ليس انهم ضحايا الطبيعة ولكن هو وعيهم بتلك الحقيقة . وان يكون الانسان جزء من مملكة الحيوان امر جيد ولكن عاجلا ما تبدأ تتعرف على العبودية والالم والغضب والكفاح وعندها تبدأ المأساة
- ابحر كونراد الى معظم مناطق العالم كما انه ابحر عبر نهر الكنغو وقد وفرت له الرحلة مادة لروايته الرائعة "قلب الظلام"
- انتهى عمله في البحر عام 1894
- استقر كونراد عندما بلغ السادسة والثلاثني في بريطانيا
- تزوج عام 1896 من بريطانية وانجب منها طفلان
- سافر مرات عديدة الى فرنسا وايطاليا وامريكيا
- عانا في اخر حياتة من الروماتزم ورفض استلام شهادات تقدير من خمس جامعات
- مات كونراد عام 1924 بسبب جلطة قلبية
- كان تأثيره على الادب في القرن العشرين عظيما

- عانت الام من المرض وماتت عام 1865 عندما كان كونراد في سن الثامنة
- مات الاب عندما كان كونراد في الحادية عشره

والان مع سر الروعة في رواية :

40 - الريح في الصفصاف، للمؤلف كينيث جراهام.

The Wind in the Willows is a classic of children's literature by Kenneth Grahame, first published in 1908. Alternately slow moving and fast paced, it focuses on four anthropomorphised animal characters in a pastoral version of England. The novel is notable for its mixture of mysticism, adventure, morality, and camaraderie and celebrated for its evocation of the nature of the Thames valley.
In 1908 Grahame retired from his position as secretary of the Bank of England. He moved back to Cookham, Berkshire, where he had been brought up and spent his time by the River Thames doing much as the animal characters in his book do—namely, as one of the most famous phrases from the book says, "simply messing about in boats"—and wrote down the bed-time stories he had been telling his son Alistair.
The Wind in the Willows was in its thirty-first printing when then-famous playwright, A. A. Milne, who loved it, adapted a part of it for stage as Toad of Toad Hall in 1929.

At the start of the book, it is spring time, the weather is fine, and good-natured Mole loses patience with his spring cleaning and dares to leave his underground home, heading up to take in the air. He ends up at the river, which he has never seen before. Here he meets Ratty (a water rat), who spends all his days in and around the river. Rat takes Mole for a ride in his rowing boat. They get along well and the two of them spend many more days on the river, with Rat teaching Mole the ways of the river.
Some time later, one summer day, Rat and Mole find themselves near Toad Hall and pay a visit to Toad. Toad is rich, jovial and friendly, but conceited, and tends to become obsessed about things, only to dismiss them later. Having given up boating, Toad's current craze is his horse-drawn caravan. In fact, he is about to go on a trip, and persuades the reluctant Rat and willing Mole to join him. A few days later, a passing motor car scares their horse, causing the caravan to crash. This marks the end of Toad's craze for caravan travel, to be replaced with an obsession for motor cars.
Mole wants to meet Badger, who lives in the Wild Wood, but Rat knows that Badger does not appreciate visits, and so refuses to take him, suggesting that if Mole will wait, Badger himself will pay a visit. Nevertheless, on a winter's day, Mole goes to the Wild Wood to explore, hoping to meet Badger. He gets lost in the woods, succumbs to fright and panic and hides among the roots of a sheltering tree. Rat goes looking for Mole, and finds him, but it starts to snow and even Rat no longer knows the way home. By chance they arrive at Badger's home. Badger welcomes Rat and Mole to his large and very cosy home, and gives them food and dry clothes. Badger learns from Rat and Mole that Toad has crashed six cars and has been hospitalised three times, and has had to spend a fortune on fines. Though nothing can be done at the moment (it being winter), they decide that once spring arrives they should do something to protect Toad from himself, since they are, after all, his friends.
With the arrival of spring, Badger visits Mole and Rat to do something about Toad's self-destructive obsession. The three of them go to visit Toad, and Badger tries talking him out of his behaviour, to no avail. They decide to put Toad under house arrest, with themselves as the guards, until Toad changes his mind. Feigning illness, Toad manages to escape and steals a car. He is caught and sent to prison on a twenty-year sentence. No longer needing to guard the now-absent Toad, Rat visits his old friend Otter and finds out that Otter's son is missing. Rat and Mole set out to find him. They receive help from the god Pan who leads them to the location of the missing child. Pan removes their memories of this meeting "lest the awful remembrance should remain and grow, and overshadow mirth and pleasure".
In prison, Toad gains the sympathy of the jailer's daughter, who helps him to escape. This involves disguising Toad as a washerwoman. Having escaped, Toad is without possessions and pursued by the police, but he shakes off his pursuers with the help of the driver of a steam train. Still disguised as a washerwoman, Toad comes across a horse-drawn boat. Toad lies about being a capable washerwoman to the owner of the boat, who offers him a lift in exchange for his laundry services. Toad, however, proves to be incapable at washing clothes, and he gets into a fight with the boat owner, steals her horse, and sells it to a Gypsy. Hoping for a ride home, he flags down a passing car, which happens to be one he stole earlier. However, the owners don't recognise him in his disguise, and give him a lift. Toad asks if he can drive, and is allowed to. He hijacks the car and kidnaps the passengers, which of course quickly leads to an accident. He flees, and by chance arrives at Rat's house.
Toad hears from Rat that Toad Hall has been taken over by weasels, stoats and ferrets from the Wild Wood, despite attempts to protect and recover it by Mole and Badger. Although upset at the loss of his house, Toad realises what good friends he has, and how badly he has behaved. Badger, Rat, Mole and Toad enter Toad Hall via a secret entrance and drive away the intruders. Toad makes up for his earlier wrongdoings by seeking out those he wronged and compensating them. The four friends live out their lives happily ever after.

The Wind in the Willows is a hymn to Old England. But for its author, it meant much more than that. A hundred years after its publication, John Preston explores the private torments that inspired Kenneth Grahame to write his classic
At around 11 o'clock on the morning of 24 November, 1903, a man called George Robinson, who in newspaper accounts of what followed would be referred to simply as 'a Socialist Lunatic', arrived at the Bank of England. There, Robinson asked to speak to the governor, Sir Augustus Prevost. Since Prevost had retired several years earlier, he was asked if he would like to see the bank secretary, Kenneth Grahame, instead.
When Grahame appeared, Robinson walked towards him, holding out a rolled up manuscript. It was tied at one end with a white ribbon and at the other, with a black one. He asked Grahame to choose which end to take. After some understandable hesitation, Grahame chose the end with the black ribbon, whereupon Robinson pulled out a gun and shot at him. He fired three shots; all of them missed.
Several bank employees managed to wrestle Robinson to the ground, aided by the Fire Brigade who turned a hose on him. Strapped into a straitjacket, he was bundled away and subsequently committed to Broadmoor.
A year afterwards, Grahame began to write The Wind in the Willows - 2008 marks the centenary of its publication. While it would be an over-simplification to draw too close a connection between the two events, there's no doubt that the shooting incident affected Grahame deeply. It confirmed something that he had always suspected; namely, that the outside world was an unsafe and unstable place, full of brutish people doing horrid things to one another. In short, somewhere to escape from.
When Grahame retreated from the world, it was natural that he should choose the one place where he'd always felt at home - close to the Thames at Cookham Dean. In Grahame's early childhood, Cookham Dean was his only haven of tranquillity. Everywhere else was awash with turbulence and trauma.
He'd first come to Cookham when he was five, soon after the death of his mother: she contracted scarlet fever after giving birth to her fourth child. Grahame's father, Cunningham, a Scottish lawyer, reacted to his wife's death by drinking himself into a stupor from which he never really emerged: he died penniless in a Le Havre boarding-house in 1887, just before Kenneth's 28th birthday.
On the surface at least, the fastidious, emotionally repressed Kenneth bore little resemblance to his bluff, booze-sodden father. But, as Humphrey Carpenter pointed out in his book Secret Gardens, Cunningham, too, was an escapist - he just went about it in a different way: first, through hitting the bottle and then, by running away to France.
As an adult, Kenneth Grahame was constantly pulled between two extremes: part of him wanted to escape the ties of domesticity and wander the highways and byways as a free spirit, while the other part longed for nothing more than the cosiness of the hearth. This tension lies at the heart of all his work, but it's at its most apparent - and most engaging - in The Wind in the Willows.
With no mother and a perpetually befuddled father, the four children were sent away from their home in Scotland to stay with their maternal grandmother, 'Granny Ingles', who had a large house called the Mount, in Cookham Dean, on the edge of the Berkshire downs. There, they were allowed to do what they wanted, virtually free of adult supervision.
When Grahame returned to the Mount in 1906 - by now a married man and with a son of the same age as he would have been then - he found that, 'I can remember everything I felt then. Coming back here wakens every recollection.'
This idyll, however, lasted for only two years. In 1865, one of the chimneys collapsed in a gale and the family moved to a cottage in the nearby village of Cranbourne. Thrown out of his Eden, Grahame spent the rest of his life trying to get back there. 'Somehow the sun does not seem to shine as brightly as it used to,' he wrote later. 'The trackless meadows of old time have shrunk and dwindled away to a few poor acres.'
Although Grahame was plainly a sensitive child, he was hardly the quivering milksop of popular myth. He did well at his public school in Oxford, winning his First XV rugby colours and becoming head boy. He hoped to go on to Oxford, but what family he had by this stage reckoned that a university education was a waste of time. Instead, they found him a job as a gentleman-clerk in the Bank of England.
Here again, one might assume that the bank represented everything Grahame hated most, being cheerless, monotonous and claustrophobic. But in the late 1880s, it was an extremely odd place. Staff worked short - very short - hours and took expansively long lunches. Several of them kept fighting dogs in the basement: there would be regular after-work dog-fights in the lavatories.
On one level the shy, cloistered Grahame was appalled by this. Yet on another he was fascinated by the mayhem and eccentricity he saw around him, and in a bank ledger he began jotting down ideas for stories and poems.
But at 19 years old, he was still teetering uneasily between childhood and adulthood, terrified of cutting himself off from what he held most dear. With any spare money, Grahame began to buy what turned into a vast collection of toys. Visitors to his London flat were astonished to find it full of fluffy animals and wooden figures.
His first book, Pagan Papers, was published in 1893. A collection of stories and essays on the general theme of escape, the book did well. For one so unworldly, Grahame proved to be a surprisingly tough negotiator with his publishers, winning himself a much larger than average percentage of the gross.
Despite its title, Pagan Days had nothing to do with paganism and still less to do with sex. Instead, it offered a fashionably horrified reaction to the Machine Age, extolling the virtues of long country walks and pints of beer in remote inns. It also established Grahame's fascination with rivers - places where one could relax and be at ease with oneself.
As far as sex was concerned, it wasn't so much that Grahame was a late starter: rather, he showed no inclination to get going at all. There are hints that he had an unhappy love affair in his early thirties.
Peter Green, in his 1959 biography, believes he may have had some sort of flirtation with his cousin, Annie. By way of evidence, he cites a poem Grahame wrote in 1892 which includes the couplet: 'Routed ere the touch of lance/ By her terrible advance.' It's not immediately clear whose lance Grahame is referring to here, but 'her terrible advance' seems to tell its own story of panic and dismay.
Another two books followed: The Golden Age and Dream Days, both of them also very successful. By 1897, Grahame was a 38-year-old bachelor with a bushy moustache and a perpetually startled expression. He was also a virgin.
At this point he met Elspeth Thomson, the 35-year-old daughter of the inventor of the pneumatic tyre. Elspeth appears to have been the living incarnation of Dolly Daydream, as scatty as she was whimsical. But, like a lot of waftily ethereal women, she was a lot more determined than her manner suggested.
Almost instantly, she decided that Kenneth was the man for her. Not only was he a famous author, he had also just been made secretary of the Bank of England.
Stunned and flattered by her attentions, Grahame was a pushover. They started to exchange letters, the like of which had never been written before, and nor, one may well hope, since.
These letters were couched in baby language with Grahame signing himself Dino, and Elspeth, Minkie. 'Darlin Minkie,' he wrote in 1899, 'ope youre makin steddy progress & beginnin ter think of oppin outer your nest & avin a short fly round. I ad nuther good nite & avnt ardly corfd torl terday - but it aint so nice a day & doesn't tempt one out.'
There was more - a lot more - in the same vein. At times, as Alison Prince writes in her 1994 Grahame biography, An Innocent in the Wild Wood, it was as if the two of them were locked in a competition to see who could be the more childlike. This was hardly the basis for a promising marriage.
None the less, notice of their engagement appeared in the Morning Post of 1 July, 1899. By now, Grahame was clearly having misgivings about the whole thing. He wasn't the only one; most of his friends were appalled by Elspeth, finding her intensely irritating and quite possibly unhinged. One of them asked him if he really intended going through with the wedding. 'I suppose so,' Grahame muttered glumly. 'I suppose so.'
Just three weeks later, on 22 July, they were married in Fowey in Cornwall, with Elspeth wearing a chain of withered daisies round her neck: an aptly symbolic touch, as it turned out. Sure enough, the marriage was a disaster. It was, however, consummated and Elspeth became pregnant almost immediately.
Their son, Alastair, was born on 12 May, 1900. But it was soon clear that something was very wrong. Alastair was born blind in one eye and with a pronounced squint in the other. The couple's response to this was typical - and catastrophic in its consequences. They retreated into fantasy, convincing themselves that Alastair, or 'Mouse' as they called him, was a genius.
While Kenneth took an obsessive interest in his son, forever banging on about how talented he was, Elspeth increasingly took to her bed where she drank hot water and wrote soppy poetry.
In 1906, three years after the Socialist Lunatic turned a gun on him, Grahame moved his family back to Cookham Dean, plainly hoping the place would once more work its soothing magic on him. By now, it had been almost 10 years since he had written anything. Within a matter of weeks, though, he was working on The Wind in the Willows.
The book had actually had its genesis two years earlier. It started in the shape of bedtime stories Grahame used to tell Mouse. According to Elspeth's (wildly fanciful) account of its composition, she and Kenneth were due to go out to dinner one night. Elspeth was waiting impatiently in the hall wondering where Kenneth had got to. When she asked the maid, she was told, 'He's with Master Mouse, Madam. He's telling him some ditty about a Toad.'
The stories continued as Mouse grew older, becoming steadily more refined. Whenever Grahame went away, he wrote Mouse letters continuing the adventures of Toad, Ratty, Mole and other inhabitants of the river bank.
There has been speculation that the mercurial, manic and appallingly behaved Toad was a veiled portrait of Alastair himself. Certainly the boy was already exhibiting signs of peculiar behaviour.
One of his favourite games involved him lying down in the road in front of approaching cars and forcing them to stop. Stranger still, he had taken to calling himself Robinson, the name of the man who had shot at his father. (Several of the Toad letters are addressed to 'Darling Robinson'.) But it seems just as likely that Toad's exuberance was Grahame's own; he just didn't have an outlet for it anywhere else.
The inspiration for other characters is easier to pinpoint. While dressing for dinner one night in Cookham Dean, Grahame looked out of the window and saw a robin and a mole fighting over a worm in the garden. He rushed downstairs and put the mole in a box for safe keeping. But in the morning the mole had escaped - only to be beaten to death with a broom by the housekeeper, who thought it was a rat.
As for the Wild Wood, where poor Mole is terrified by the faces he sees in the trees, 'all fixing on him glances of malice and hatred: all hard-eyed and evil and sharp', this is often held to represent everything that Grahame regarded as dark and frightening in his own nature, his sexuality in particular. The Wild Wood is also a place where the old social order has crumbled away and been replaced by anarchy - somewhere Socialist Lunatics could run about with impunity.
It wasn't until the intervention of a neighbour in Bray, an American woman called Constance Smedley, that Grahame was persuaded that these letters and bedtime stories might make a book. His original title was The Wind in the Reeds. However, W.B. Yeats had published a collection of poetry with almost the same title, and so Grahame changed it to The Wind in the Willows. When he sent the manuscript off to his agent, he told him proudly that it was 'clean of the clash of sex'.
The book was turned down by every publisher it was sent to. Eventually Methuen agreed to take it, but only on the understanding that it wouldn't pay Grahame any advance.
Published in the autumn of 1908, The Wind in the Willows received almost universally stinking reviews. 'Grown-up readers will find it monstrous and elusive,' wrote the Times critic. 'Children will hope, in vain, for more fun.' Arthur Ransome judged it to be an out-and-out failure - 'like a speech to Hottentots made in Chinese'. The only reviewer who saw its merits was the novelist Arnold Bennett, who pronounced it 'entirely successful'.
Salvation, though, came from an unlikely quarter: the then President of the United States, Theodore Roosevelt. Grahame sent Roosevelt a copy of The Wind in the Willows after he had expressed his admiration for his earlier books. Roosevelt loved it and wrote to the American publishers Scribners, effectively telling them they had to publish it. Scribners obliged and from then on public appreciation - and sales - kept on rising.
But the success of The Wind in the Willows did little for Grahame's morale: he was still stuck in a loveless marriage with a hysterical hypochondriac. Meanwhile Alastair/Mouse had become as ill-disciplined as the weasels and stoats who take over Toad Hall. Petulant and grotesquely indulged, he was a long way from being a genius.
At school, Alastair found it increasingly hard to keep up. Removed from Rugby after six weeks, he was sent to Eton, where he promptly had a nervous breakdown. In January 1918, Alastair went up to Christ Church College, Oxford - Kenneth had managed to wangle him a place through his contacts. However, he didn't fare any better there, changing subjects several times in a desperate attempt to find something he was good at.
On 7 May, 1920, Alastair, by now almost 20, dined in hall as usual. At the end of the meal he asked for a glass of port - 'I had not known him do that before,' said a fellow student afterwards. The next morning his body was found on the railway line that ran through Port Meadow in north Oxford. He had been decapitated.
The inquest tactfully recorded a verdict of accidental death, although there seems little doubt that Alastair meant to kill himself: the position of his body suggested he had lain face-down across the rails. As a child, he had done something similar with approaching cars - but then, of course, they had always stopped.
If Alastair did intend to commit suicide, it seems especially poignant that he should have chosen this method to do so. In Grahame's work, railways stand for everything he most disliked about modern life: 'The iron tetter that scurfs the face of our island and has killed out the pleasant life of the road.' Years later, Alastair's tutor at Christ Church remembered him once saying, 'This life is like a prison.'
Without Alastair to indulge, Kenneth and Elspeth continued their bloodless, reclusive life together. In her watery way, Elspeth grew ever-more tyrannical, insisting her husband wear special underwear which, she claimed, only needed changing once a year. Under the circumstances it was hardly surprising that he took to going on increasingly long, solitary walks.
Occasionally children who had adored The Wind in the Willows would come to visit Grahame, but they usually went away disappointed. Like A.A. Milne, whose dramatisation of the book, Toad of Toad Hall, had its first production in 1930, Grahame wasn't very good with real children, tending to ignore them in favour of adults. Two years after the opening of the play, which brought the book to an even wider audience, Grahame died of a cerebral haemorrhage.
The funeral was held in nearby Pangbourne on 9 July, 1932. 'Perhaps the most touching thing of all,' recalled one of the mourners, 'were the flowers sent by children from all over the country, with cards attached in a childish scrawl, saying how much they loved him.'
These days 4x4s throng the narrow lanes of Cookham Dean and the village pub is a boutique hotel. The pebble-dashed, Dutch-gabled house in which Grahame wrote The Wind in the Willows has become a prep school. There's no view of the Thames from the house. However, next to it is a tangle of ill-kempt trees, their trunks leaning over and covered with ivy. For Kenneth Grahame, the Wild Wood was always closer than he liked to think.

Kenneth Grahame (8 March 1859 – 6 July 1932) was a Scottishwriter, most famous for The Wind in the Willows (1908), one of the classics of children's literature. He also wrote The Reluctant Dragon; both books were later adapted into Disney films.
ولد جراهام عام 1859 وكان من اصل اسكتلندي واشهر رواياته هذه الرواية الريح في الصفصاف وهو من ادب الاطفال ثم كتب كتاب آخر والاثنان تم تحويلهما الى افلام من قبل دزني لاند
English bank official, the author of The Wind in the Willows (1908).
كان موظف بنك واصدر كتابه عام 1908
This Edwardian classic, set in the idyllic English countryside, established Grahame's international reputation as a writer of children's books and has deeply influenced fantasy literature.
Its central characters are the shy little Mole, clever Ratty, Badger, and crazy, energetic Toad.

They all converse and behave like humans, but have at the same time typical animal habits.
تتجتمع هذه الحيوانت وتتصرف وكأنها بشر لكن تظل لديها بعض العادات الحيوانية الاساسية
Some animals are eaten for breakfast.
مثلا يتم تناول بعض الحيوانات على الفطور
Grahame also published essays, stories, and collections of sketches.
Grahame's personal life was not as happy as the fictional world he created. It has been questioned whether this novel is a children's book at all.
لم تكن حياة جراهام سعيدة كما هي الحياة المتخيلة لشخوصة في روايته
"Beyond the Wild Wood comes the Wild World," said the Rat. "And that's something that doesn't matter, either to you or me. I've never been there, and I'm never going, nor you either, if you've got any sense at all..." (in The Wind in the Willows)
وهو يتحدث في روايته هذه قائلا على لسان الفأر " خلف عالم الغابة يأتي العالم المتوحش وذلك الامر لا يعني كلانا. انا لم اذهب هناك ابدا ولن اذهب الى ذلك العالم وانت لن تذهب هناك ايضا ان كان لديك أي ادراك".
Kenneth Grahame was born in Edinburgh, the third of four children. His father, James Cunningham Grahame, was a lawyer from an old Scottish family, and mother Bessie (Ingles) Grahame, the daughter of of John Ingles of Hilton, Lasswade. In the early years, he lived with his family in the Western Highlands, near Loch Fyne.
كان جراهام ابنا لجيمس جراهام وهو الثالث في الترتيب
Grahame's mother died of scarlet fever when he was five.
ماتت ام جراهام عندما كان عمره خمس سنوات بسبب الحمى القرمزية
Due to the alcoholism of his father, who resigned his post as Sheriff-Substitute of Argyllshire and died of drink in Le Havre, Grahame was brought up by elderly relatives.
بسبب ادمانه على الكحول استقال والده من سلك الشرطة ومات وجراهام صغير وعليه عمل بعض الاقارب الكبار في السن على تربية جراهام
He was sent with his sister to live with their maternal grandmother in the village of Cookham Dene, Berkshire. Her house and its large garden by the River Thames provided the background of The Wind in the Willows.
"As a rule, indeed, grown-up people are fairly correct on matters of fact; it is in the higher gift of imagination that they are so sadly to seek." (in The Golden Age, 1985)
ارسل مع اخته الى بيت جدته لامه للعيش معها
Grahame was educated at St. Edward's School, Oxford. His desire for further education at Oxford University were thwarted by his stingy uncle, John Grahame, who was acting as his guardian.
درس في مدرسة اكسفورد لكن عمه الذي كان يرعاه منعه من اكمال دراسته الجامعية في اكفورد
Between 1875 and 1879 he worked as a clerk for his uncle in a parliamentary agent's office and in 1879 he entered the Bank Of England.
عمل ما بين عامي 1875 و 1879 موظفا لدى عمه وبدأ عمله مع بنك انجلترا عام 1879
While pursuing his career, Grahame began composing light nonfiction pieces as a pastime. He contributed articles to such journals as the St. James Gazette, W.E. Henley's National Observer, and The Yellow Book. In 1898 he was appointed to the post of Secretary to the Bank.
Grahame's early essays and stories, collected in Pagan Papers (1893), was praised by Swinburne. The Golden Age (1895), a collection of sketches, was said to be the favorite bedtime reading of Kaiser Wilhelm II. Its sequel Dream Days (1898) included Grahame's most famous short story, 'The Reluctant Dragon'. The Dragon, a lazy, poetry-loving Bohemian, wants to be left alone, but the villagers want it dead. Thanks to a wise young boy, the peaceful monster manages to keep its life. St. George, supposed to be thirsting for its blood, doesn't want to hurt it. The Saint and the Dragon give a good performance, "a jolly fight", and the Dragon collapses as they had agreed beforehand. After refreshment St. George makes a speech and warns "them against the sin of romancing, and making up stories and fancying other people would believe them just because they were plausible and highly-coloured."
In 1899 Grahame married Elspeth Thomson, a 36-year-old spinster, but did not give up his bachelor ways.
عام 1899 تزوج جراهام من اليزابث ثومسون وكان عمرها 36 سنة لكنه لم يتخل عن اساليبه العزوبيه
Soon after her wedding Elspeth Grahame wrote to Emma Hardy, asking her for any advice on being married to a writer. The reply was that "I can scarcely think that love proper and enduring is in the nature of men . . . There is ever a desire to give but little in return for our devotion and affection - theirs being akin to children's . . ." Grahame wrote parts of The Wind in the Willows in a letter form to his young son Alistair, nicknamed Mouse, who was born blind in one eye and with severe squint in the other.
ولد ابنه اليستر اعمى وكتب جراهام جزء من روايته على شكل رسالة له
Originally Grahame did not intend to publish the stories; they were partly educational for his son, whose behavior had similarities with the reckless and selfish Toad, who nevertheless wins the sympathy of the reader. When Alastair was away from home, he continued the Toad stories in letters to his son.
عندما غادر ابنه المنزل كتب له مزيد من القصص عن تود على شكل رسائل
Grahame's manuscript was rejected by The Bodley Head, the publisher of his earlier books, and an American periodical, but eventually the book was published by Methuen in 1908 in England.
لقد تم رفض الكتاب ( الرواية ) من قبل الناشر الاول لكن الرواية نشرت اخيرا في عام 1809
First it was received with mild enthusiasm, but E.H. Shephard's illustration and Grahame's animal characterizations started soon gain fame. A copy of the Methuen edition was sent to President Theodore Roosevelt, who said that Wind was "such a beautiful thing that Scribner must publish it." In 1929 A.A. Milne dramatized the story as Toad of Toad Hall. Milne focused on the animals, cutting out most of Grahame's romantic fantasy.
The Wind in the Willows reflected the author's unhappiness with the real world - his idyllic riverbank woods and fields were ''clean of the clash of sex,'' as he said to Theodore Roosevelt.
روايته هذه تعكس عدم رضاه عن العالم الحقيقي وينظر الى ان المشهد التي وقعت فيه احداث الرواية يمثل عالم خالى من الصراع الجنسي
The main tale tells about Mr. Toad's obsession with motorcars. "'Glorious, stirring sight!' murmured Toad, never offering to move. 'The poetry of motion! The REAL way to travel! The ONLY way to travel! Here to-day--in next week to-morrow! Villages skipped, towns and cities jumped--always somebody else's horizon! O bliss! O poop-poop! O my! O my!'" Mr. Toad's motoring leads him into imprisonment. Meanwhile Toad Hall is invaded by stoats and weasels. Toad escapes dressed as a washerwoman. He sells a horse to a gypsy and returns into the Wild Wood. With the help of his companions, Toad recaptures his ancestral home. "The superficial scheme of the story is so childishly naive, or so daringly naive, that only a genius could have preserved it from the ridiculous," said Arnold Bennett in his review of the book in 1908. "The book is an urbane exercise in irony at the expense of the English character and of mankind. It is entirely successful."
Grahame retired from his work in 1908, officially because of health reasons, but perhaps also under pressure from his employees. His son Alastair, who appears to have been psychologically disturbed, committed suicide while an undergraduate at Oxford, by laying on train tracks at Oxford, two days before his 20th birthday. Grahame stopped writing after WW I. He died in Pangborne, Berkshire, on July 6, 1932. William Horwood's sequel The Willows in the Winter (1993), which followed Grahame's lyrical prose and phraseology, received mixed reviews. Toad Triumphant, the second sequel, came out in 1996. The trilogy was finished with The Willows and Beyond (1998). Horwood has also written the internationally acclaimed Duncton trilogies.

Kenneth Grahame was born on 8 March 1859 in Edinburgh, Scotland. When he was a little more than a year old his father, an advocate, received an appointment as sheriff-substitute in Argyllshire at Inveraray on Loch Fyne. Kenneth loved the sea and was happy there, but when he was 5, his mother died from complications of childbirth, and his father, who had a drinking problem, gave over care of Kenneth, his brother Willie, his sister Helen and the new baby Roland to Granny Ingles, the children's grandmother, in Cookham Dean in the village of Cookham in Berkshire.
توفيت امه عندما كان في الخامسة وعندها قام اباه الذي كان يعاني من مشاكل مع الخمرة بتسليم الاولاد الى جدتهم لتعمل على تربيتهم
There the children lived in a spacious, if dilapidated, home, "The Mount", on spacious grounds in idyllic surroundings, and were introduced to the riverside and boating by their uncle, David Ingles, curate at Cookham Dean church. This delightful ambiance, particularly Quarry Wood and the River Thames, is believed, by Peter Green, his biographer, to have inspired the setting for The Wind in the Willows. He was an outstanding pupil at St Edward's School in Oxford. During his early years at St. Edwards a sports regimen had not been established and the boys had freedom to explore the old city with its quaint shops, historic buildings, and cobblestone streets, St Giles' Fair, the idyllic upper reaches of the River Thames, and the nearby countryside.
due to ill health, which may have been precipitated by a strange, possibly political, shooting incident at the bank in 1903. Grahame was shot at three times, all of them missed.
اطلق على جراهام النار 3 مرات ولم تصبه الرصاصات
An alternative explanation, given in a letter on display in the Bank museum, is that he had quarrelled with Walter Cunliffe, one of the bank's directors, who would later become Governor of the Bank of England, in the course of which he was heard to say that Cunliffe was "no gentleman", and that his retirement was enforced ostensibly on health grounds.
Grahame married Elspeth Thomson in 1899, but the marriage was not a happy one. They had only one child, a boy named Alastair (whose nickname was "Mouse") born blind in one eye and plagued by health problems throughout his short life.
لزوج عام 1899 لكن زواجه كان غير سعيد وانجب طفل واحد اعمى في احدى عينيه وكان يعاني من مشاكل صحية طوال حياتة القصيرة
On Grahame's retirement, they returned to Cookham where he had lived as a child, and lived at "Mayfield", now Herries Preparatory School, where he turned the bedtime stories he told Alastair into his masterpiece. Alastair eventually committed suicide on a railway track while an undergraduate at Oxford University, two days before his 20th birthday on 7 May 1920
انتحر ابنه عام 1920 وهو في سن الـ 20 وقبل يومين من ميلاده العشرين
Out of respect for Kenneth Grahame, Alastair's demise was recorded as an accidental death.
تم تسجيل الانتحار على انه حادث كنوع من الاحترام لوالده جراهام
Grahame died in Pangbourne, Berkshire in 1932.
مات جراهام عام 1932

كينيث جراهام
- ولد جراهام عام 1859 وكان من اصل اسكتلندي واشهر رواياته هذه الرواية الريح في الصفصاف وهو من ادب الاطفال ثم كتب كتاب آخر والاثنان تم تحويلهما الى افلام من قبل دزني لاند
- كان موظف بنك واصدر كتابه عام 1908
- كانت الشخصيات الرئيسية في الفلم تضم حيوان الخلد (Mole) والفأر النشيط وغرير وهو حيوان تديي وتود وهو ضفدع الطين المشاغب والنشيط
- تتجتمع هذه الحيوانت وتتصرف وكأنها بشر لكن تظل لديها بعض العادات الحيوانية الاساسية
- مثلا يتم تناول بعض الحيوانات على الفطور
- لم تكن حياة جراهام سعيدة كما هي الحياة المتخيلة لشخوصة في روايته

- كان جراهام ابنا لجيمس جراهام وهو الثالث في الترتيب
- ماتت ام جراهام عندما كان عمره خمس سنوات بسبب الحمى القرمزية
- بسبب ادمانه على الكحول استقال والده من سلك الشرطة ومات وجراهام صغير وعليه عمل بعض الاقارب الكبار في السن على تربية جراهام

- درس في مدرسة اكسفورد لكن عمه الذي كان يرعاه منعه من اكمال دراسته الجامعية في اكفورد
- عمل ما بين عامي 1875 و 1879 موظفا لدى عمه وبدأ عمله مع بنك انجلترا عام 1879
- عام 1899 تزوج جراهام من اليزابث ثومسون وكان عمرها 36 سنة لكنه لم يتخل عن اساليبه العزوبيه
- ولد ابنه اليستر اعمى وكتب جراهام جزء من روايته على شكل رسالة له
- عندما غادر ابنه المنزل كتب له مزيد من القصص عن تود على شكل رسائل
- لقد تم رفض الكتاب ( الرواية ) من قبل الناشر الاول لكن الرواية نشرت اخيرا في عام 1809
- روايته هذه تعكس عدم رضاه عن العالم الحقيقي وينظر الى ان المشهد التي وقعت فيه احداث الرواية يمثل عالم خالى من الصراع الجنسي
- توفيت امه عندما كان في الخامسة وعندها قام اباه الذي كان يعاني من مشاكل مع الخمرة بتسليم الاولاد الى جدتهم لتعمل على تربيتهم
- اطلق على جراهام النار 3 مرات ولم تصبه الرصاصات
- لزوج عام 1899 لكن زواجه كان غير سعيد وانجب طفل واحد اعمى في احدى عينيه وكان يعاني من مشاكل صحية طوال حياتة القصيرة
- انتحر ابنه عام 1920 وهو في سن الـ 20 وقبل يومين من ميلاده العشرين
- تم تسجيل الانتحار على انه حادث كنوع من الاحترام لوالده جراهام
- مات جراهام عام 1932

استنتاجات اولية :
اولا : بعد دراسة العشر روايات من 31 الى 40 تبين ان عامل اليتم يشكل العامل المشترك الاعظم لدى هذه المجموعة ايضا وكما يلي :

31 ـ هاكلبيري فين، للمؤلف مارك توين................ وهو يتيم الاب في سن الـ 11 .
32ـالدكتور جيكل وهايد، للمؤلف روبرت لويس ستيفنسن-انسان مأزوم وسبب ازمته المرض المزمن.
33- ثلاثة رجال في قارب، للمؤلف جيروم كي. جيروم. يتم الاب في سن الـ 13 + يتيم الام في سن الـ 15
34 ـ صورة دوريان جري، للمؤلف أوسكار وايلد..... انسان مأزوم وهو ايضا يتيم الاب في سن الـ 21
35 ـ مذكرات لاأحد،للمؤلف جورج كرو سميث..... انسان مأزوم
36 ـ جود المغمور، للمؤلف توماس هاردي..... ليس يتيم لكنه مأزوم.
37 ـ لغز الرمال، للمؤلف إيرسكين شيلدرس.... يتيم الاب في سن الـ 6 والام في سن الـ 12
38 ـ نداءالطبيعة، للمؤلف جاك لندن..... .الاب هجر العائلة فهو يتيم الاب من الطفولة المبكرة في العام 1
39 ـ نوسترومو، للمؤلف جوزيف كونراد......... يتم الام في سن الـ 8 ويتم الاب في سن الـ 11
40- الريح في الصفصاف، للمؤلف كينيث جراهام... يتيم الاب والام في سن الـ 5.

إذا تصنيفات الايتام الفعليين من بين هذه المجموعة كما يلي:
- مجموع الايتام الفعلين من بين افراد المجموعة هو 7
- نسبة الايتام الفعلين بالنسبة الى عدد افراد المجموعة هو 70% .
o لطيم ( يتيم الاب والام ) عدد 3 .
o يتيم ( الاب او الام ) عدد 4
- عدد الكتاب المأزومين من بين افراد المجموعة سواء بسبب المرض او النشأة او ظروف الحياة 3
- نسبة عدد الافراد المأزومين من بين افراد المجموعة هذه هو 30%.

وعليه ....
- نسبة عدد الكتاب الذين كان الالم والحزن والمعاناة سر الروعة في اعمالهم بغض النظر عن السبب المباشر وسواء كان ذلك الازمات، او المرض او الفقر وظروف النشأة مثل المدارس الداخلية او اليتم الفعلي-هو100%

- إليس ذلك مدهش حقا؟؟؟؟
- وهل يا ترى ستظل النسبة كما هي؟

استنتاجات اولية :
اولا : بعد دراسة العشر روايات من 31 الى 40 تبين ان عامل اليتم يشكل العامل المشترك الاعظم لدى هذه المجموعة ايضا وكما يلي :

-يغلب على روائيي هذه المجموعة الأسلوب الساخر.
-الموت والسفر والانتقال من سكن إلى آخر من المؤثرات على نبوغ هذه المجموعة.
-عملوا مبكرا في أعمال يدوية متعددة.
-تكرار المآسي من موت الأشقاء أو الأبناء والأقارب عامل بالغ التأثير في زيادة حدة العبقرية.
-البعض منهم تعرض للكآبة.
-هناك علاقة واضحة بين نسبة الروعة وحجم المآسي التي يمر بها الكاتب وكلما زاد حجم المآسي كلما زادت روعة ما يكتب.
-البيئة المحيطة عامل مؤثر .
-الفقر والمشاكل المالية عامل مؤثر إضافي.
-البعض منهم تربى عند مربية ويبدو أن ذلك عامل مؤثر في الإبداع وسر الروعة.
-المرض عامل مؤثر في سر الروعة.
-العزلة عامل مؤثر عند أفراد هذه المجموعة.
-الميل إلى الزواج من نساء اكبر سنا أو متزوجات من قبل احد سمات بعض أفراد هذه المجموعة.
-أمراض الرئة سمة بارزة عند أفراد هذه المجموعة.
-الأزمات والمربيات والعزلة والمرض والخلاف مع الأبوين لها نفس اثر اليتم الجسدي.
-بعضهم درس في مدارس داخلية.
-الفقر والاستثمار الفاشل عوامل مؤثرة.
-الشذوذ الجنسي سمة واضحة عند البعض.
-وزن الفجيعة وتوقيتها عامل مؤثر.
-الشعور بالدونية احد مؤشرات العبقرية.
-الإدمان على المخدرات بسبب المرض سمه بارزة ويبدو أن لها اثر على الدماغ.
-تعدد المواهب والافتنان بالقوى الخارقة سمة بارزة.
-الاصطفاف ضد الظلم الاجتماعي سمة بارزة لدى أفراد هذه الفئة.
-اليتم المزدوج ( لطيم ) أعظم أثرا وقد يؤدي إلى امتلاك ذاكرة فتوغرافية وإتقان اللغات الأجنبية ولو في .
-التجارب الشخصية للروائية عنصر في اكتساب العمل سمة الروعة خاصة إذا ما كانت مثل تلك التجارب غنية بالصراع ضد قوى الطبيعة مثل البحر، والغابات.
-العمل في البحر تضاعف الشعور بالألم والوحدة وبالتالي تزيد من مستوى الروعة في العمل الإبداعي.
-خصوبة المخيلة انعكاس لازمة حادة في ذهن الروائي.
-موت الأم وزواج الأب وانتقال الأولاد للعيش لدى عائلات بديله له اثر عظيم.
-الابن المعاق عنصر الم رهيب يؤدي إلى زيادة عمل الدماغ وبالتالي الحصول على مخرجات عبقرية وروعة.
-رفض الأعمال العبقرية والروعة من قبل الناشرين شبه حتمي ومؤكد.
-معاناة الأب من الإدمان على الكحول له اثر مدوي.
-محاولة الانتحار ربما يكون احد أوجه التعبير عن أزمة ذهنية ناتجة عن الم مطبق وهو مؤشر إلى وجود العبقرية، ويمكن أن يؤدي إلى روايات في قمة الروعة.

والان دعونا ننتقل الى مجموعة جديدة من 41- 50 ونتعرف على سر الروعة لدى هذه الروايات:

41 ـ البحث عن الزمن الضائع،للمؤلف مارسيل بروست.

"البحث عن الزمن المفقود" رواية مطولة ضخمة من سبعة كتب ألفها الكاتب الفنرسي "مارسيل بروست"، يبتعث فيها السارد ماضيه بدقة تعطي للذكرى من الواقعية أكثر مما كان للأحداث نفسها. ألفه ما بين 1905 و1910.

أبصر "مارسيل بروست" النور في 10 يونيو 1871، وأعطته روايته الطويلة الموسومة بعنوان "بحثا عن الزمن الضائع" شهرة عالمية واسعة كونه أبدع فيها في تصوير الأحاسيس والمشاعر الإنسانية بدقة متناهية بحيث خلدت هذه الرواية مؤلفها بروست وجعلته في مصاف الأدباء الكبار في العالم. وتعد اليوم من أمهات الرواية الحديثة في أوربا لأنها ليست (رواية) بالمعنى الأكاديمي للاصطلاح الكلاسيكي لهذه الكلمة، وهي كذلك لا تدخل في أبجدية الاعترافات والمذكرات لأن راويها يسرد أحداثاً موضوعية تاريخية تكاد تكون معيشة وهي أيضاً لا تريد أن تكون معرضاً لكشف أسرار حياة مؤلفها، عبر قصّة لسيرته الشخصية ولذكرياته وفكره وذوقه، بل كانت معرضاً للعالم الخارجي الذي عاشه وعرفه بعمق ورسمه بقلم موغل في التحليل والتركيب. وهي ليست رواية التصوير الصادق لمجتمع من المجتمعات الباريسية قبيل الحرب العالمية الأولى وخلالها، بل على العكس هي أول رواية لم تصور (الواقع) بل صورت ضرباً من الحلم الواعي الدقيق في توصيفه، وانطوت على فترات من الزمن ينزلق بعضها في بعض ليختلط ويمتزج وينصهر في عالم الذكريات، لتقدم الرواية للقارئ نظرة جديدة للكون والوجود وتصوراً جديداً للحياة والإنسان بعد إتمام قراءتها.‏

ولقد جازف (مارسيل بروست) بحياته في سبيل تحرير هذه الرواية وأنفق على نشرها من أمواله الخاصة بعد أن رفضت دار (غاليمار) طبعها لما فيها من خروج على المألوف الروائي السائد في حينه، وكان (اندريه جيد) يومئذٍ على رأس إدارتها وهو من هو كاتباً روائياً كلاسيكياً. ويبدو أن ذلك الحدس الذي هجس بأن الرواية ستكون فناً (عالمياً) يهدف إلى أن يسيطر على الفنون الأدبية ويحسر ظلها باستعارته ميزاتها الأساسية وأدواتها التعبيرية في طريقه الآن إلى التصديق تأسيساً على القفزات الهائلة التي تطالعنا بها الرواية بشكل مستمر على خريطة الأدب العالمي بلغاته الحيَّة المنتشرة.‏

بدأ المترجم السوري إلياس بديوي، رحمه الله، ترجمة هذا العمل الروائي الكبير منذ ثمانينيات القرن الماضي، وأصدر منه ثلاثة مجلدات (الثاني والثالث والرابع)، وتوفاه الله قبل أن يتمها، وقد بدأ المشروع بدافع منه، وبدون دعم مالي من أحد، إلا الدعم المعنوي الذي قدمته الدكتورة نجاح العطار وزيرة الثقافة السورية السابقة، وبعض ممن تولوا مسئولية النشر فيها وفي مقدمتهم مثقفان كبيران، انطون مقدسي وأديب اللجمي رحمهما الله. ، والشذوذ الجنسي (بروست نفسه كان شا
البحث عن الزمن الضائع
سيكولوجية الذاكرة / ذاكرة الزمن ــ المكان

" البحث عن الزمن الضائع"
رائعة الكاتب الفرنسي مارسيل برووست كانت من العمقِ والادهاش ماجعلها سيرةَ الزمن والشعور، حالة من حالات التأمل والاستبطان و تجسيداً للأنا والعالم الخارجي..
يقول برووست:" ليس العالم ذاك الذي ينتظمُ ويتناسقُ حولنا بل هو في دواخلنا ـ إنه نحن ـ
فنحن الذين نعطي أنفسنا ذاك الحجم والبعد حين نهتم بما يثيرنا من حبٍّ وغيرةٍ وغضبٍ ووو... ونحن الذين نُلغي ذواتنا حين باللامبالاة نتعامل مع الحدث...
إن الحدث وما يولِّده فينا من مشاعر لابدَّ وأن يخلقَ لدينا مفاهيمَ معينة تهيمن على حياتنا الخاصة"...
فتصوير المجتمع السطحي والهش عملٌ معقَّدٌ وعميق...
وكما الانطباعيين ، كان برووست يدركُ عمق الموضوع منذ تبلورِ الفكرة، فقد لاحظ أن الشعور بالعدم ليس إلا إعادة خلقٍ لهذا العدم، وبذلك تنتفي فكرة العدم ليصبحَ الحياة بأسرها والغِنى بمطلقه...
إن سيكولوجية برووست لم تكن سكونيَّة بل تطورية وتحركية؛ فهو يدركُ أن ( الأنا) هبة تتطور وتتغير على الدوام وأن كلٌّ من الاستمرارية والدوام لم يكن عبثاً أو من أجل الألم...
وحده الماضي ملكٌ لنا أما الجنة الحقيقية برأيه فهي تلك التي ضيَّعناها لكن مؤقَّتاً وليس للأبد...
فالذاكرة ستعملُ من جديد على بعث هذه الجنة التي نفتقد في الزمن الحاضر...
تلك الذاكرة اللاإرادية حاضرةٌ دوماً لاستقبال الحاضر المجرَّد لأنها تبني صرحَ الذكريات الشاهقِ العمق..
وقد اخترتُ مقطعاً من روايته ، فيه يتحدثُ عن أثر العطر في الذاكرة ـ الزمن/المكان...

ثمة عطر سرمدي!...
" لقد بقي كلٌّ من Meseglise و Guermantes ـ منطقتيْن في الريف الفرنسي ـ مرتبِطٌ بأحداثَ صغيرة تتشابكُ وحياتي الفكرية الأكثر غنىً بالأسطورة والمفاجآت..
هذه الأحداث نمتْ داخلي لكنها فتحت أمامي سُبُلاً لم أكن لأدركها فيما مضى(الشكل والمعنى)_الحقيقة.
فمنذ أمدٍ بعيد ونحن نسعى لتحقيق ثمة اكتشاف ، لكنه ( الاكتشاف) قائمٌ منذ اللحظة التي أصبحنا فيها إما زهوراً على العشبِ تميسُ أو جداولَ عذبة تجري حيث الشمس...
والذي يحيطُ بهذا المشهد حتماً سيواصلً مسلسلَ الذكريات بحثاً عن الحقيقة ـ ذاك الوجه التائه ـ.
أما الذي عابراً يتأمَّلُ المشهد المتواضع رغم غناه فهو كالطفل الذي يحلمُ بأن يُصبحَ ملكاً في وثائقَ مفقودة بين الناس...
هذا الركن من الطبيعة أو ذاك الطرف من الغابة، من المحال أن ينعمَ كلٌّ منهما بالحياة وبخصوصيةٍ مؤقتة لولا المؤلِّف.. إن عطر الزعرور الممتد على طول سياج زهر النسرين سيتبدَّلُ عما قريب..
ها صوت خطوةٍ على الحصى المبعثرة فوق الأرض لكن لا صدى..
وهاهي فقاعات الماء تجتمعُ على حواف النهر التي تتصل بالحقول لتجتازَ بعد قليل سنوات وسنوات..
بينما اندثرَ كل الذي يحيط بالدروب وكل الذين عبروها...
هذا المقطع من المشهد الراسخ في ذاكرتي حتى الآن منعزلٌ عن كل شيء، إنه وبغموضٍ يتردد عى ذهني مثلما * ديلوس _جزيرة دائمة النضارة ، لكن لا أعرف من أي زمان أومكان أو ربما من أي حلم !...
كلٌّ من المنطقتين يمثل بالنسبة لي طبقة معدنية عميقة في الأرض، بل أرضاً صلبة ثابتةً أعتمدُ عليها حتى الآن...إنني ورغم تجاوزي للأشياء والكائنات التي تمنحني السعادة والسرور، فما أزالُ أؤمنُ بالذكريات إما لأنها تخلقُ داخلي زمن الصبا أو لأن الحقيقة لا تتشكَّلُ إلاَّ في الذاكرة..
هذه الذكريات جعلتْتني أدركُ أنَّ الأزهار التي رأيتها اليوم وللمرة الأولى تختلف عن تلك الحقيقيةفي الماضي
وأن منطقة الــ Meseglise حيث الزنابق ، شجيرات الزعرور، المنثور والتفاحيات قد شكَّلتْ و منطقة
الــ Guermantes بنهرها وأزهار النيلوفر صورة البلدة التي أحببتُ العيشَ فيها حيث كنتُ أذهبُ للصيد
والتنزه بالزورق لرؤية الآثار الغوطية ككنيسة ( آندريه ــ قديس الحقول) والتي كانت وسط حقول القمح
كطاحونةٍ ذهبيةٍ قد نسيها الزمن... وكذلك للاستمتاع بمنظر ورائحة الزعرور والتفاحيات في الذهاب والاياب..
هاتين المنطقتيْن لهما صلةٌ وثيقةٌ بقلبي لأنهما من حيث العمق هما بمستوى الأمس الذي مضى..
وهناك خصوصية المكان؛ فحين أرغبُ زيارة الـ Guermantes ليست الرغبة وحدها هي التي تأخذني
إلى ضفاف النهر حيث النيلوفر الأكثر جمالاً من الذي في منطقة Vivonne التي أنا فيها حالياً،
وليس أيضاً حلول المساء حين يصحو الألمُ بداخلي ليسافرَ في الحب فيصبح جزءاً لا يتجزَّأُ منه،
بل الخصوصية، خصوصية المكان...
ففي مُدخَلِ درب البلوط، هناك السهول الممتدة كمستنقعٍ يعكسُ أشعة الشمس على التفاحيات فتبدو
في غاية الجمال .. وفرادةُ هذا المشهد تغيِّبُني فلا أصحو مطلقاً من ليل الأحلام التي لم تكن لتختبرَ مشاعري فيما تعرضه هاتين المنطقتين من ذلاتٍ وخيبات أملٍ مستقبلية بل لتوحِّدَني بها وبشكلٍ سرمدي... إن الرغبة برؤية أي شخصٍ يذكِّرُني بسياج الزعرور تحرِّضُ فيَّ الخيال...
تلك الشجيرات ماتزال حتى اليوم حاضرة في وجداني، تحاصرُ نفسها لتأخذَ من العمقِ بعداً رابعاً ( الزمن)
تنفردُ به دون غيرها ما أضفى عليها سحراً مميزاً أشعر به وحدي ...
ففي ليالي الصيف، وحين تعلن السماءُ قدوم العاصفة ، يبدي الجميع استياءه بينما وحيداً أبقى لأتنفَّسَ
ذهول الطبيعة ونشوة الأرضِ حين المطرُ يهمي...
ها هو المكان بل الكون ، يتأرَّجُ بعبيرِ الزنابق الراسخ بالذاكرة حتى اللحظة
ذاً جنسياً)، وفكرة الحب التي اعتبرها بروست نوعاً من المرض أو الوهم، ثم موضوع الزمن الذي اعتبره بروست السيد النهائي للإنسان والكون. فالحياة في مجراها ليست إلا زمناً مفقوداً وأوهاماً زائلة، والذاكرة والفن هما السبيل الوحيد لاستعادة هذا الزمن المفقود وتحويل الأوهام إلى أشكال ملموسة من الجمال الأبدي
.
ويتميَّز أسلوب بروست الأدبي بانتمائه إلى التراث الأدبي الفرنسي الكلاسيكي، فقد تأثر بفلوبير وسان سيمون ورغم أن بروست كان كاثوليكي النشأة فرنسي الثقافة لا يرتبط عقائدياً أو وجدانياً باليهودية، فإن كثيراً من الأدبيات والمراجع اليهودية تُصنِّفه باعتباره يهودياً، بل حاول البعض التلميح بوجود مسحة من اليهودية التلمودية في أسلوبه الروائي الغريب الذي هو في الواقع أسلوب ينتمي إلى التراث الأدبي الفرنسي. بل ويشيرون إلى تأثره البالغ بقضية دريفوس والتي تناولها في بعض رواياته، وأنه كان أول من أقنع أناتول فرانس بالتدخل في هذه القضية. ومن ناحية أخرى، فإن تناول بروست للشخصية اليهودية في روايته البحث عن الزمن المفقود دفعت البعض لوصفه بمعاداة اليهود. فروايته تضم ثلاث شخصيات يهودية رئيسية، إحداها شخصية عدوانية متفردة تُجسِّد أسوأ الصفات الاجتماعية، أما الشخصية الثانية، فقد تناولها بروست بشكل أفضل وهي ليهودي مندمج يعيش في الأوساط الراقية ويكتشف هويته عقب حادثة دريفوس وينفصل عن حياة البرجوازية. وقد اعتبر البعض أن هذه الشخصية تجسيد لبروست نفسه. وتتميَّز شخصياته اليهودية بالتَكبُّر الشديد ولكنه تكبُّر يخفي وراءه شعوراً عميقاً بعدم الأمان، فاليهود في نظر بروست أقلية مضطهدة يتملكها جنون الإحساس بالاضطهاد والارتياب الشديد في الآخرين، وهم « جنس ملعون » أشبه بالشواذ جنسياً، على حد قوله. وهذا الربط بين اليهود واللبيدو أو الطاقة الجنسية أو الانحراف أو قوى الظلام هو موقف متجذِّر في الحضارة الغربية يعود إلى الرؤية المسيحية للكون، حيث يلعب اليهودي دور قاتل الرب وحيث لا يمكن خلاص العالم بدون تنصيره.

ولد مارسي بورست في عام 1871
Marcel Proust was born in Auteuil, near Paris, the son of an eminent doctor, Adrien Proust, and his wife, Jeanne Weil, who was from a well-to-do Alsatian Jewish family.
The village of Auteuil, where Proust spent his holidays as a child, was described in an 1855 guidebook as "out of a comic opera." Later Auteuil and Illiers became the Combray of Remembrance of Things Past.
Proust was baptized as Catholic, but he never practiced the religion.
ولد بروست من عائلة يهودية لكنه تم تعميده كايوليكي ولم يمارس الدين ابدا
From 1882 to 1889 Proust attended the Lycée Condorcet, where he felt isolated and misunderstood. "We were rough with him," recalled one of his classmates.
انضم بروست عام 1882 الى مدرسة ليسيه كوندورست ( مدرسة داخلية ) حيث شعر الوحدة هناك والعزلة وعانا من سوء الفهم وكان زملاؤه يسيئون معاملته وقد انقطع لبعض الوقت عن الدراسة بسبب المرض
In spite of his severe asthma, from which he had suffered since childhood, Proust did his one year military service at Orléans.
على الرغم انه عانى من الازمة لكمه خدم في الجيش لمدة سنة
Proust studied law at the famous Sorbonne at the École des Sciences Politiques.
درس القانون
He contributed to Symbolist magazines and frequented the salons of the Faubourg Saint-Germain, the wealthy and aristocratic area of Paris. During the late summer of 1895 he started to write JEAN SANTEUIL, which he later abandoned. In 1896 his first books appeared: PORTRAITS DE PEINTRES and LES PLAISIRS ET LES JOURS, with drawings by Madeleine Lemaire. Proust's unpublished texts from this period, Jean Santeuil and CONTRE-SAINTE BEUVE, an attack on the biographical criticism of Sainte-Beuve, were discovered in the 1950s.
"It seems that the taste for books grows with intelligence, a little below it but on the same stem, as every passion is accomplished by a predilection for that which surrounds its object, which has an affinity for it, which in its absence still speaks of it. So, the great writers, during those hours when they are not in direct communication with their thought, delight in the society of books. Besides, is it not chiefly for them that they have been written; do they not disclose to them a thousand beauties, which remain hidden to the masses?" (Proust in Reading in Bed, selected and edited by Steven Gilbar, 1995)
From 1895 to 1899 Proust worked on an autobiographical novel that remained unfinished. In 1899 he started to translate the English art critic John Ruskin, without knowing much English.
His earliest love affairs, which had been heterosexual, changed later into homosexual affairs.
تحول الى الشذوذ الجنسي رغم انه كان قد اسس علاقات نسائية
Among them was Alfred Agostelli, who was married and was killed in an air accident. According to some sources, Proust frequented Le Cuziat's male brothel, but although these details have fascinated his biographers, they have shed little light on his on his literary accomplishments. To the age of 35 Proust lived the life of a snob and social climber in the salons. For a short time he worked as a lawyer and was active in the Dreyfuss affair, like Émile Zola and other artists and intellectuals.
"A great part – perhaps the greatest – of Proust's writing is intended to show the havoc wrought in and round us by Time; and he succeeded amazingly not only in suggesting to the reader, but in making him actually feel, the universal decay invincibly creeping over everything and everybody with a kind of epic and horrible power." (Georges Lemaitre in Four French Novelists, 1938)
Throughout his life Proust suffered from asthma.
عانة طوال حياتة من مرض الازمة
He was looked after by his Jewish mother, to whom the writer was – neurotically – attached.
كانت مرتبط بأمة بعلاقة حميمة
After the death of his father in 1903 and mother in 1905, Proust withdrew gradually from high-society circles.

The Rainbow is a 1915 novel by British author D. H. Lawrence. It follows three generations of the Brangwen family living in Nottinghamshire,[2] particularly focusing on the sexual dynamics of, and relations between, the characters.
Lawrence's frank treatment of sexual desire and the power it plays within relationships as a natural and even spiritual force of life, though perhaps tame by modern standards, caused The Rainbow to be prosecuted in an obscenity trial in late 1915, as a result of which all copies were seized and burnt. After this ban it was unavailable in Britain for 11 years, although editions were available in the USA.
The Rainbow was followed by a sequel in 1920, Women in Love. Although Lawrence conceived of the two novels as one, considering the titles The Sisters and The Wedding Ring for the work, they were published as two separate novels at the urging of his publisher. However, after the negative public reception of The Rainbow, Lawrence's publisher opted out of publishing the sequel. This is the cause of the five-year gap between the two novels.
In 1989, the novel was adapted into the UK film The Rainbow, directed by Ken Russell who also directed the 1969 adaptation Women in Love. In 1988, the BBC produced a television adaptation directed by Stuart Burge with Imogen Stubbs in the role of Ursula Brangwen.
In 1998, the Modern Library ranked The Rainbow 48th on its list of the 100 best English-language novels of the 20th century