نگاهى به آثار حضرت بهاءالله

12/16/2016

Pazhuheshnameh ﷲ ﻧﮕﺎﻫﻰ ﺑﻪ ﺁﺛﺎﺭ ﺣﺿﺭﺕ ﺑﻬﺎء

http://www.pazhuheshnameh.org/index2.php?option=com_content&task=view&id=203&pop=1&page=0&Itemid=139 ﺩﺭ ﺍﻳﻨﺠﺎﺳﺖ ﮐﻪ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﻪ ﻣﺎﻫﻴّﺖ ﺭﻭﺣﺎﻧﻰ ﻫﺴﺘﻰ ﻭ ﺧﺼﻠﺖ ﺭﻭﺣﺎﻧﻰ ﺍﻧﺴﺎﻥ ﺗﺄﮐﻴﺪ ﮐﺮﺩﻩ ﻭ ﺩﺭ ﺁﻥ ﻭﺍﺣﺪ٬ ﺗﻌﺒﻴﺮ ﻣﺎﺩﻯ ﻫﺴﺘﻰ ﻭ ﺑﻨﻴﺎﺩﮔﺮﺍﺋﻰ ﻭ ﻗﺸﺮﭘﺮﺳﺘﻰ ﻣﺬﻫﺒﻰ ﺭﺍ ﻣﺮﺩﻭﺩ ﻣﻰﺷﻤﺎﺭﺩ. ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺗﻤﺎﻣﻴّﺖ ﻫﺴﺘﻰ ﺭﺍ ﺑﻌﻨﻮﺍﻥ ﺁﻳﻨﻪ ﺍﻯ ﺍﺯ ﺍﺳﻤﺎء ﻭﺻﻔﺎﺕ ﺍﻟﻬﻰ ﻣﺘﻌﺎﻟﯽ ﻣﻰﺑﺨﺸﺪ ﻭ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ ﻣﻈﺎﻫﺮ ﺗﻘﺪّﺱ ﻭ ﺗﻘﺪﻳﺲ ﻣﻰﺷﻤﺎﺭﺩ. ﻧﻪ ﺗﻨﻬﺎ ﺍﻧﺴﺎﻥ ﺑﻠﮑﻪ ﻁﺒﻴﻌﺖ ﻧﻴﺰ ﺍﺯ ﺟﻼﻝ ﻭﺟﻤﺎﻝ ﺣﻖ ﺣﮑﺎﻳﺖ ﻣﻰﮐﻨﺪ ﻭ ﺩﺭ ﻫﻤﻪ ﭼﻴﺰ ﻣﻰﺗﻮﺍﻥ ﭼﻬﺮﻩٴ ﻣﺤﺒﻮﺏ ﺣﻘﻴﻘﻰ ﺭﺍ ﺗﻤﺎﺷﺎ ﮐﺮﺩ. ﺩﺭ ﻭﺍﻗﻊ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺗﻤﺎﻣﻴّﺖ ﻫﺴﺘﻰ ﻭ ﻭﺟﻮﺩ ﺭﺍ ﺑﻪ ﺷﮑﻞ ﮔﻔﺘﮕﻮﺋﻰ ﻣﻴﺎﻥ ﻋﺎﺷﻖ ﻭ ﻣﻌﺸﻮﻕ ﺗﺮﺳﻴﻢ ﻣﻰ ﻧﻤﺎﻳﺪ. ﺍﻳﻦ ﮔﻔﺘﮕﻮ ﻣﻴﺜﺎﻕ ﻭ ﻋﻬﺪﻯ ﺍﺳﺖ ﮐﻪ ﻣﺎﺑﻴﻦ ﺧﺪﺍ ﻭ ﺧﻠﻖ ﺑﺴﺘﻪ ﻣﻰﺷﻮﺩ ﻭ ﺍﻳﻦ ﻣﻴﺜﺎﻕ ﺍﺯﻟﯽ ﺩﺭ ﻫﺮﻟﺤﻈﻪ ﺗﮑﺮﺍﺭ ﻭ ﺗﺠﺪﻳﺪ ﻣﻰﮔﺮﺩﺩ. ﺍﻳﻦ ﻣﻴﺜﺎﻕ ﻫﻤﻪ ﺟﺎﻧﺒﻪ ﺑﺸﮑﻞ ﺩﻭﻗﻮﺱ ﻧﺰﻭﻝ ﻭ ﺻﻌﻮﺩ ﺩﺭﻣﻰﺁﻳﺪ ﮐﻪ ﺍﻭّﻟﯽ ﺑﻪ ﺻﺪﻭﺭ ﺧﻠﻖ ﺍﺯ ﺣﻖ ﻭ ﺩﻭّﻣﻰ ﺑﻪ ﻋﺮﻭﻕ ﺧﻠﻖ ﺑﻪ ﻁﺮﻑ ﻣﺤﺒﻮﺏ ﺍﺷﺎﺭﻩ ﻣﻰ ﻧﻤﺎﻳﺪ. ﺁﺩﻣﻰ ﻣﻴﺘﻮﺍﻧﺪ ﺗﺠﻠّﻰ ﺣﻖ ﺭﺍ ﺩﺭ ﻫﻤﻪ ﭼﻴﺰ ﻭ ﺍﺯ ﺟﻤﻠﻪ ﺩﺭ ﻭﺟﻮﺩ ﺧﻮﺩ ﻣﺸﺎﻫﺪﻩ ﮐﻨﺪ ﻭ ﺍﻳﻦ ﻧﻈﺮ ﻭﺣﺪﺕ ﺍﺳﺖ ﮐﻪ ﺑﻪ ﺍﻭ ﺍﻣﮑﺎﻥ ﻣﻰﺩﻫﺪ ﮐﻪ ﺗﺠﺮﺑﻪٴ ﻫﺴﺘﻰ ﺭﺍ ﺑﻪ ﺗﺠﺮﺑﻪٴ ﺑﻬﺸﺖ ﻣﺒﺪّﻝ ﺳﺎﺯﺩ ﻭ ﻟﺬّﺕ ﺭﺍﺳﺘﻴﻦ ﺭﺍ ﮐﻪ ﻣﻘﺎﻡ ﻣﻌﺮﻓﺖ ﺣﻖ ﻭ ﺩﻳﺪﻥ ﺻﻮﺭﺕ ﺯﻳﺒﺎﻯ ﻣﺤﺒﻮﺑﺴﺖ ﺩﺭ ﺍﻳﻦ ﺯﻧﺪﮔﻰ ﺯﻭﺩﮔﺬﺭ ﻣﻴﺴﺮ ﺳﺎﺯﺩ. ﻧﻴﺎﺯ ﺑﻪ ﺗﺬﮐﺮ  ﺭﺍ ﺩﺭ ﺑﺮ ۱۸۹۲  ﺗﺎ ۱۸٦۷   ﺳﺎﻝ ﺁﺧﺮ ﺯﻧﺪﮔﻰ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻣﺮﺗﺒﻂ ﺷﺪﻩ ﻭ ﺩﻭﺭﺍﻥ ۲٥  ﺑﺎﻻﺧﺮﻩ ﺁﺛﺎﺭﺳﻮّﻣﻴﻦ ﻣﺮﺣﻠﻪٴ ﻧﺰﻭﻝ ﻭﺣﻰ ﺑﻪ ﻣﻰﮔﻴﺮﺩ. ﺩﺭ ﺍﻳﻦ ﺁﺛﺎﺭ ﻣﺨﺎﻁﺐ ﺍﺻﻠﯽ ﻫﻤﻪٴ ﻣﺮﺩﻡ ﺟﻬﺎﻥ ﻭ ﺯﻣﺎﻣﺪﺍﺭﺍﻥ ﺳﻴﺎﺳﻰ ﺁﻧﻬﺎﺳﺖ. ﺍﮐﻨﻮﻥ ﺍﻳﻦ ﺳﺆﺍﻝ ﭘﻴﺶ ﻣﻰﺁﻳﺪ ﮐﻪ ﺁﻳﺎﺁﺛﺎﺭﻯ ﮐﻪ ﺩﺭ ﺍﻳﻦ ﺳﻪ ﻣﺮﺣﻠﻪ ﻧﺎﺯﻝ ﺷﺪﻩ ﺍﺳﺖ ﺑﺎ ﻳﮑﺪﻳﮕﺮ ﭼﻪ ﺍﺭﺗﺒﺎﻁﻰ ﺩﺍﺭﻧﺪ ﻭ ﺁﻳﺎﺭﺍﺑﻄﻪ ﺍﻳﻦ ﺳﻪ ﻣﺮﺣﻠﻪ ﺑﺎ ﺍﺻﻮﻝ ﺟﻬﺎﻥﺑﻴﻨﻰ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﭼﻴﺴﺖ؟ ﺩﺭﭘﺎﺳﺦ ﺑﻪ ﺍﻳﻦ ﺳﺆﺍﻝ ﺑﺎﻳﺪ ﺑﻴﺎﻥ ﻧﻤﻮﺩ ﮐﻪ ﺍﻧﺘﺨﺎﺏ ﺍﻳﻦ ﺳﻪ ﻣﺮﺣﻠﻪ ﺑﻬﻴﭽﻮﺟﻪ ﺍﻣﺮﻯ ﺗﺼﺎﺩﻓﻰ ﻧﺒﻮﺩﻩ ﺍﺳﺖ.  ﺑﺎﻟﻌﮑﺲ ﻫﺮ ﻳﮏ ﺍﺯﺍﻳﻦ ﺳﻪ ﻣﺮﺣﻠﻪ ﺑﻴﺎﻧﮕﺮ ﻳﮑﻰ ﺍﺯﺍﺻﻮﻝ ﺑﻨﻴﺎﺩﻯ ﻭ ﺿﺮﻭﺭﻯ ﺟﻬﺎﻥﺑﻴﻨﻰ ﺑﻬﺎﺋﻰ ﺍﺳﺖ ﺩﺭ ﻭﺍﻗﻊ ﺟﻬﺎﻥﺑﻴﻨﻰ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺭﺍ ﻧﻤﻰﺗﻮﺍﻥ ﺑﺪﻭﻥ ﺗﺄﮐﻴﺪ ﺑﻪ ﺍﻳﻦ ﺳﻪ ﺍﺻﻞ ﻣﺨﺘﻠﻒ ﻭ ﺩﺭﮎ ﻭﺣﺪﺕ ﻭ ﻫﻤﺎﻫﻨﮕﻰ ﻧﺎﮔﺴﺴﺘﻨﻰ ﻣﻴﺎﻥ ﺍﻳﻦ ﺍﺻﻮﻝ ﺷﻨﺎﺳﺎﺋﻰ ﻧﻤﻮﺩ. ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﺳﻪ ﻣﺮﺣﻠﻪ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻧﻤﺎﻳﺸﮕﺮﺳﻪ ﺣﻠﻘﻪٴ ﺿﺮﻭﺭﻯ ﻭ ﺍﻧﻔﮑﺎﮎ ﻧﺎﭘﺬﻳﺮ ﻣﺠﻤﻮﻋﻪٴ ﺯﻳﺒﺎ ﻭﭘﻴﻮﺳﺘﻪﺍﻯ ﺍﺳﺖ ﮐﻪ ﺍﺭﻣﻐﺎﻥ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﻪ ﻋﺎﻟﻢ ﺍﻧﺴﺎﻧﻰ ﺑﻮﺩﻩ ﻭ ﺁﻳﻨﻪ ﺍﻯ ﺍﺯﻣﺪﻧﻴﺖ ﻧﻮﻳﻦ ﺟﻬﺎﻧﻰ ﺁﻳﻨﺪﻩٴ ﺑﺸﺮ ﺑﺪﺳﺖ ﻣﻰﺩﻫﺪ. ﺍﺯ ﺁﻥ ﮔﺬﺷﺘﻪ ﺗﺮﺗﻴﺐ ﻅﻬﻮﺭ ﺍﻳﻦ ﺳﻪ ﻣﺮﺣﻠﻪ ﻧﻴﺰ ﺍﻣﺮﻯ ﺗﺼﺎﺩﻓﻰ ﻭ ﺍﺗّﻔﺎﻗﻰ ﻧﻴﺴﺖ ﺑﻠﮑﻪ ﺑﺎﻟﻌﮑﺲ ﻫﺮ ﻣﺮﺣﻠﻪ ﻣﺒﺘﻨﻰ ﺑﺮ ﻣﺮﺣﻠﻪٴ ﺩﻳﮕﺮ ﺑﻮﺩﻩ ﻭ ﻫﺮ ﻣﺮﺣﻠﻪٴ ﭘﻴﺸﻴﻨﻰ ﭘﻴﺶ ﻓﺮﺽ ﻣﺮﺣﻠﻪٴ ﺑﻌﺪﻯ ﺑﺎﺷﺪ.  ﺍﺻﻞ ﺍﺳﺖ ﮐﻪ ﻫﺮﻳﮏ ﺍﺯ ﺍﻳﻦ ﺍﺻﻮﻝ ﻣﻮﺿﻮﻉ ﻓﺎﺋﻖ ﻳﮑﻰ ﺍﺯ ۳ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺟﻬﺎﻥﺑﻴﻨﻰ ﻧﻬﻔﺘﻪ ﺩﺭ ﺁﺛﺎﺭ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﻣﺒﺘﻨﻰ ﺑﺮ ﻭﺣﺪﺕ ﺳﻪ ﺩﻭﺭﺍﻥ ﻧﺰﻭﻝ ﻭﺣﻰ ﺑﺮﺍﻳﺸﺎﻥ ﻣﻰﺑﺎﺷﺪ. ﺍﻳﻦ ﺟﻬﺎﻥ ﺑﻴﻨﻰ ﮐﻪ ﺩﺭ ﻁﻮﻝ ﺗﺎﺭﻳﺦ ﺷﺮﻕ ﻭ ﻏﺮﺏ ﺳﺎﺑﻘﻪ ﻧﺪﺍﺷﺘﻪ ﻭ ﻓﺨﻴﻢﺗﺮﻳﻦ ﺗﺸﻌﺸﻊ ﻓﺮﻫﻨﮓ ﺭﻭﺣﺎﻧﻰ٬ ﻓﻠﺴﻔﻰ٬ ﻭﺍﺟﺘﻤﺎﻋﻰ ﺍﺳﺖ ﻋﺒﺎﺭﺗﺴﺖ ﺍﺯﻭﺣﺪﺕ ﻧﺎﮔﺴﺴﺘﻨﻰ ﺳﻪ ﺍﺻﻞ: ﺧﺼﻠﺖ ﺭﻭﺣﺎﻧﻰ ﻫﺴﺘﻰ٬ ﻫﺸﻴﺎﺭﻯ ﺗﺎﺭﻳﺨﻰ ﻭ ﻧﻈﺮﮔﺎﻩ ﺟﻬﺎﻥ ﺷﻤﻮﻝ. _ ﺧﺼﻠﺖ ﺭﻭﺣﺎﻧﻰ ﻫﺴﺘﻰ: ۱ ﭼﻨﺎﻧﮑﻪ ﺩﻳﺪﻳﻢ ﺁﺛﺎﺭ ﺍﻭّﻟﻴﻪٴ ﺣﻀﺮﺕ ﺑﻬﺎءﷲ ﺑﻴﺸﺘﺮ ﺍﺯﺯﺑﺎﻥ ﻭ ﻟﺤﻦ ﻋﺮﻓﺎﻥ ﺑﺮﺍﻯ ﺍﺭﺍﺋﻪٴ ﻓﺮﻫﻨﮓ ﺑﺪﻳﻊ ﺭﻭﺣﺎﻧﻰ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﮐﻨﺪ. ﺑﻪ ﻫﻤﻴﻦ ﺍﺛﺮ ﺍﻳﻦ ﺩﻭﺭﺍﻥ ﻳﻌﻨﻰ ﭼﻬﺎﺭﻭﺍﺭﻯ٬ ٤  ﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﺁﺛﺎﺭ ﺍﻳﻦ ﺩﻭﺭﺍﻥ ﺩﺭ ﺩﻭﺭﺍ ﺩﻭﺭ ﻣﻘﻮﻻﺕ ﻋﺮﻓﺎﻧﻰ ﺣﺮﮐﺖ ﻣﻰﻧﻤﺎﻳﺪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ ﻫﻔﺖ ﻭﺍﺩﻯ٬ ﮐﻠﻤﺎﺕ ﻣﮑﻨﻮﻧﻪ ﻭ ﻗﺼﻴﺪﻩٴ ﻋﺰّ ﻭﺭﻗﺎﺋﻴﻪ ﻫﻤﮕﻰ ﺯﺑﺎﻥ ﻋﺮﻓﺎﻥ ﺭﺍ ﺑﮑﺎﺭ ﻣﻰﮔﻴﺮﺩ. ﺍﻣّﺎ ﺍﻳﻦ ﺍﻣﺮ ﭼﻨﺎﻧﮑﻪ ﺫﮐﺮ ﺷﺪ ﺍﻣﺮﻯ ﺗﺼﺎﺩﻓﻰ ﻧﺒﻮﺩ. ﻋﻠّﺖ ﺍﻳﻦ ﺍﻣﺮ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪﺷﺎﻟﻮﺩﻩٴ ﺟﻬﺎﻥﺑﻴﻨﻰ ﺑﻬﺎﺋﻰ ﺑﺮ ﺗﻌﺒﻴﺮﻯ ﺭﻭﺣﺎﻧﻰ ﺍﺯﻫﺴﺘﻰ ﺍﺳﺘﻮﺍﺭﺳﺖ ﻭﺍﻳﻦ ﺗﻌﺒﻴﺮ ﺭﻭﺣﺎﻧﻰ ﻭﺟﻮﺩ ﭘﻴﺶ ﺫﻫﻦ ﺗﻤﺎﻣﻰ ﺩﻳﮕﺮ ﺍﺻﻮﻝ ﻭ ﺗﻌﺎﻟﻴﻢ ﺍﻳﻦ ﺩﻳﺎﻧﺖ ﻣﻰﺑﺎﺷﺪ. ﺑﺪﻳﻦ ﺟﻬﺖ ﺍﺳﺖ ﮐﻪ ﻓﻰﺍﻟﻤﺜﻞ ﺍﺻﻞ ﺩﻭّﻡ ﮐﻪ ﺍﺻﻞ ﻫﺸﻴﺎﺭﻯ ﺗﺎﺭﻳﺦ ﺍﺳﺖ ﻧﻤﻰﺗﻮﺍﻥ ﺍﺯﺍﻳﻦ ﺍﺻﻞ ﺟﺪﺍ ﺳﺎﺧﺖ ﻭ ﺍﮔﺮ ﮐﻪ ﭼﻨﻴﻦ ﺍﻧﻔﺼﺎﻟﯽ ﺻﻮﺭﺕ ﮔﻴﺮﺩ ﺩﻳﮕﺮ ﺁﻥ ﺍﺻﻞ ﻣﺤﺘﻮﻯ ﻭ ﻣﻔﻬﻮﻣﻰ ﮐﺎﻣﻼً ﻣﺘﻔﺎﻭﺕ ﺧﻮﺍﻫﺪ ﻳﺎﻓﺖ. ﺍﺻﻞ ﺗﺎﺭﻳﺦ ﺩﺭ ﻭﺍﻗﻊ ﻣﺒﺘﻨﻰ ﺑﺮ ﺍﺻﻞ ﺭﻭﺣﺎﻧﻴّﺖ ﺍﺳﺖ ﮐﻤﺎﺁﻧﮑﻪ ﻋﺮﻓﺎﻥ ﺑﻬﺎﺋﻰ ﺍﺯﺍﺻﻞ ﺗﺎﺭﻳﺦ ﺍﻧﻔﮑﺎﮎ ﻧﺎﭘﺬﻳﺮ ﻣﻰﺑﺎﺷﺪ. ﺩﻧﻴﺎﺋﻰ ﮐﻪ ﺩﺭ ﺁﻥ ﺧﻮﺩ ﺭﺍ ﻣﻰﻳﺎﺑﻴﻢ ﺩﻧﻴﺎﺋﻰ ﺍﺳﺖ ﮐﻪ ﻳﺎ ﺍﺯ ﻁﺮﻳﻖ ﺟﻬﺎﻥﺑﻴﻨﻰ ﻣﺎﺩّﻯ ﻭ ﺿﺪ ﺭﻭﺣﺎﻧﻰ ﻣﻤﺴﻮﺥ ﮔﺮﺩﻳﺪﻩ ﻭ ﻳﺎ ﺁﻧﮑﻪ ﺍﺯ ﺑﻴﻤﺎﺭﻯ ﺳﻨﺖ ﭘﺮﺳﺘﻰ ﻣﺬﻫﺒﻰ ﻣﺴﻤﻮﻡ ﺷﺪﻩﺍﺳﺖ. ﺍﻳﻦ ﺩﻭ ﺟﻬﺎﻥﺑﻴﻨﻰ ﺍﮔﺮﭼﻪ ﺩﺭ ﺗﻀﺎﺩّ ﺑﺎ ﻳﮑﺪﻳﮕﺮ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ ﺍﻣّﺎ ﺍﺯ ﺑﺴﻴﺎﺭﻯ ﺟﻬﺎﺕ ﺑﺎ ﻳﮑﺪﻳﮕﺮ ﺷﺒﺎﻫﺖ ﺩﺍﺭﻧﺪ. ﺳﻨّﺖ ﭘﺮﺳﺘﻰ ﻣﺬﻫﺒﻰ ﺍﺯ ﺭﻭﺡ ﺧﻼّﻕ ﻭ ﻧﻮﺁﻓﺮﻳﻦ ﺩﻳﺎﻧﺖ ﻳﻌﻨﻰ ﺍﺯ ﺟﻨﺒﻪٴ ﻋﺮﻓﺎﻥ ﻭ ﺍﻟﻬﺎﻡ ﻏﻔﻠﺖ ﮐﺮﺩﻩ ﻭﺩﻳﺎﻧﺖ ﺭﺍ ﺑﻪ ﺍﻣﺮﻯ ﺍﻳﺴﺘﺎ ﻭ ﺧﺸﮏ ﻭ ﺭﺍﮐﺪ ﻭ ﻗﺸﺮﻯ ﻣﺒﺪّﻝ ﻣﻰﺳﺎﺯﺩ. ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺩﻳﺎﻧﺖ ﺑﺠﺎﻯ ﺗﮑﺎﻣﻞ ﻭ ﻭﺩﺍﺩ ﺑﻪ ﺗﺸﻮﻳﻖ ﺭﻳﺎ ﻭ ﻗﻬﺮ ﻭ ﺧﺸﻮﻧﺖ ﻭ ﻧﻔﺮﺕ ﻭﻧﺎﺷﮑﻴﺒﺎﺋﻰ ﻣﻰﺍﻧﺠﺎﻣﺪ. ﻓﺮﻫﻨﮓ ﻣﺎﺩﻯ ﻧﻴﺰ ﺑﺎ ﻁﺮﺩ ﺣﻘﺎﺋﻖ ﺭﻭﺣﺎﻧﻰ ﻭ ﺟﻨﺒﻪٴ ﺭﻭﺣﺎﻧﻰ ﻫﺴﺘﻰ٬ ﺍﻧﺴﺎﻥ ﻭﺟﺎﻣﻌﻪ ﺭﺍ ﻫﺮﭼﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﺍﺭﺯﺵ ﻭ ﻣﻘﺎﻡ ﻭ ﺷﺮﻑ ﺭﺍﺳﺘﻴﻦ ﻋﺎﺭﻯ ﮐﺮﺩﻩ ﻭ ﻧﺴﺒﻴﺖ ﮔﺮﺍﻧﻰ ﻣﻄﻠﻖ ﻭﻓﺮﻫﻨﮕﻰ ﻭ ﺍﺧﻼﻗﻰ ﺭﺍ ﺗﺸﻮﻳﻖ ﻣﻰﻧﻤﺎﻳﺪ. ﺍﻳﻦ ﻓﺮﻫﻨﮓ ﻧﻴﺰ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻪ ﺳﺘﺎﻳﺶ ﻭ ﭘﺮﺳﺘﺶ ﻗﺪﺭﺕ ﭘﺮﺩﺍﺧﺘﻪ ﻭ ﻓﺮﻫﻨﮓ ﻋﺸﻖ ﻭ ﻧﺜﺎﺭ ﻭ ﺍﻳﺜﺎﺭ ﺭﺍ ﻣﻨﺘﻔﻰ ﻣﻰﻧﻤﺎﻳﺪ. ﺍﻧﺪﻳﺸﻪٴ ﻣﺎﺩﻯ ﺁﺩﻣﻬﺎ ﺭﺍ ﺻﺮﻓﺎً ﺑﻪ ﻣﺠﻤﻮﻋﻪ ﺍﻯ ﺍﺯ ﺳﺎﺋﻘﻪﻫﺎﻯ ﻣﺎﺷﻴﻨﻰ ﺍﻗﺘﺼﺎﺩﻯ ﻭ ﻳﺎ ﻣﺠﺴﻤﻪﺍﻯ ﺍﺯﺍﻧﮕﻴﺰﺵ ﺟﻨﺴﻰ ﺗﻘﻠﻴﻞ ﻣﻰﺩﻫﺪ ﻭ ﻣﻔﻬﻮﻡ ﺷﮑﻮﻫﻤﻨﺪ ﻭ ﻓﺨﻴﻢ ﺁﺩﻣﻰ ﺑﻌﻨﻮﺍﻥ ﺻﻮﺭﺕ ﻭ ﻣﺜﺎﻝ ﺧﺪﺍ ﺭﺍ ﺑﻪ ﺑﺎﺩ ﺗﻤﺴﺨﺮ ﻣﻰﮔﻴﺮﺩ. ﺗﻌﺠﺒﻰ ﻧﺪﺍﺭﺩ ﮐﻪ ﺩﺭ ﭼﻨﻴﻦ ﻓﺮﻫﻨﮕﻰ ﻫﺰﺍﺭﺍﻥ ﺩﺷﻮﺍﺭﻯ ﻓﺮﻫﻨﮕﻰ ﻭ ﺍﺧﻼﻗﻰ ﺑﻮﺟﻮﺩ ﺁﻳﺪ ﻭ ﺁﺩﻣﻴﺎﻥ ﺍﺯ ﻳﮑﺪﻳﮕﺮ ﻭ ﺍﺯﻁﺒﻴﻌﺖ ﺑﻴﮕﺎﻧﻪ ﻭ ﺑﻴﮕﺎﻧﻪﺗﺮ ﮔﺮﺩﻧﺪ. ﺍﻣّﺎ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﻭﺍﮐﻨﺶ ﺑﻨﻴﺎﺩﮔﺮﺍﺋﻰ ﻣﺬﻫﺒﻰ ﺑﻪ ﺍﻳﻦ ﻣﺪﻧﻴّﺖ ﻣﺎﺩﻯ ﻧﻴﺰ ﺧﻮﺩ ﺑﻪ ﺍﻳﻦ ﺍﻧﺤﻄﺎﻁ ﺩﺍﻣﻦ ﻣﻰﺯﻧﺪ ﻭ ﺑﺎ ﺗﮑﻴﻪ ﺑﺮ ﺍﻋﺘﻘﺎﺩﺍﺕ ﺟﺰﺋﻰ٬ ﻗﺸﺮﻯ ﻭ ﭘﻮﺳﻴﺪﻩ ﺑﻪ ﻧﻔﺮﺕ ﺁﺩﻣﻰ ﺍﺯ ﺁﺩﻣﻰ٬ ﺗﺸﻮﻳﻖ ﻗﻬﺮ ﻭ ﺧﺸﻮﻧﺖ ﻭ ﺗﺮﻭﻳﺞ ﻣﺮﺩﺳﺎﻻﺭﻯ ﻭ ﺗﻌﺼّﺐ ﻣﺬﻫﺒﻰ ﻭ ﻧﺎﺷﮑﻴﺒﺎﺋﻰ ﻋﻘﻴﺪﺗﻰ ﻣﻰﺍﻧﺠﺎﻣﺪ.

5/12