update
submission date for final papers posponed to
Monday 21st of January
---------------------------------------------------------------
أحق اذن أن الحب لم يخلق للفقراء، وأن الفقراء لم يخلقوا ليحبوا، وانما خلقوا ليكدوا ويجدوا ويعملوا ويكسبوا القوت، فان بلغوا من ذلك ما يريدون فهو خير لهم، وان لم يبلغوه فان في الشقاء لهم سعة، وفي الموت لهم راحة وروحاً؟
من قصة
------------------------------------------------
now what did you think of
71 comments:
I always liked this book because I remember seeing the movie starring Fatan Hamama. Only there's a different ending to the story. Fatan Hamama changed the ending of the novel (in the movie) to make it more dramatic, i.e. the engineer is killed by Amna's
Uncle. However, in the novel the protagonist leaves her lover (the engineer).
Sadly I haven't read the book but I had a main idea on what it is about, before reading this chapter by Nijland. Nevertheless, Nijland brings important points that I never thought of.
Such as the fact that the prose is written in a poetic style. The use of repetition of words and coinage of verbs, adjectives to make a sense of rhythm in the text. This is supported by claiming that a singer was able to sing a portion on Du'a' al Karawan.
It is interesting to note how the famous novelist was influenced by G. Lanson who suggested that "there is a so called prose art and that the author has to treat words in prose the same way as one treats words in poetry."(page 166 1st Para)
Nijland brought up three theses which the novel holds and one of them reminded me of Tamima. I will later explain but first I will mention these theses:
Warning against killing of the girls who were seduced.
struggle between love and hatred
The victory of love over vengeance.
Education of the girl (most important of the entire four thesis) because Amna was educated (in the household that she was working in) and developed her mind and scheme in gaining revenge.
The reason why I was reminded of Tamima is because if she was educated then she would be able to decide for herself what she is supposed to do and how to backfire or reject the intentions of the seducers. Amna was able to do that but her elder sister didn't because she was naive and illiterate. Then again education is not only the main factor of how we can play our roles in our society it is also our personality that gives us this strong ability to say no.
Anyways I would like to end my comment with a quote made by Nijland and to provide you a link to a review of the movie. Please read it because there some interesting facts about the production and how the movie reached the recognition from the Oscars. http://egyfilm.com/Forums/viewtopic.php?p=358385
"The second girl [Amna], armed with enlightening knowledge, succeeds."
Interesting post, Zainab:-) Unlike you, I'd never heard of either the book or the movie before reading this chapter. But I do share your thoughts about the parallelisims and contrasts between Tamima and the two girls in Du'a' al-Karawan, Khadija and Amina and Hanadi.
My first observation was in the first part, 'The Story.' Nasir's killing Hanadi reminded me of the pre-Islamic age, when men used to bury new-born girls for the shame they brought:-(
When reading this chapter it kind of reminded me of the movie "Memoirs of a Geisha". Even though the two cultures were completely diffrent but they do have a couple of things in common, including the sisters going to work separately and facing difficulties in doing so. One thing I didn't get why did Amina change her name to Suad? :p
Yamama, I think she changed her name to Saud so that her Uncle would not be able to find her, and presumably kill her. Yes Zainab now that you mention it I can see how it is related to the pre-islamic buryal of girls. You should see it Zainab it is very moving.
While i was reading the plot, i kept thinking that it was way too westernized, and my idea is supported by critics.. although im not too familiar with French literature, i found the novel a bit too "dramatic" .. and it reminded me of Moll flanders .. the Amina is no prostitute, but she is constantly moving, and sort of carries a new identity along with her ,, what makes me appreciate Taha husayn is that he gives a feminist perspective .. encouraging education and independancy (if theres such a word:P) and while some criticized his colloqual style, i say embrace it .. it creates a bond between the book and the reader .. however, as a fairly modern novel, i thought that the traditional poetic aspect to it was inappropriate for a younger audience ..
This story definitely reminds of me of the phrase:
النار.. ولا العار
So in other words, "we'd rather go into war (even hell) then have our reputations at stake.." at least that's what I understood form the quote..
The killing of Hanadi was just as 'awkward' as her 'awkward' problem with the irrigation engineer. She was killed by her own uncle, in the middle of night (and in the middle of nowhere) and was buried that same night; they (her family) CLAIMED that she had the plague.. so this theme of protecting the family's reputation, is very evident, it's a life OR death situation -in this case..!
Taha Husayn's novel'Instead of the Song of the Nightingale', discusses many women issues. Such issues that are disccussed include women and education, rape , and honor killing.
Themain topic which Husayn discusses is women's education and it is highly criticized in the novel. In the narrative, the plot revolves around two sisters who seek liberation; unfortuantely, Hanadi, the older sister was not successful and is killed as a result. This chapter, emphasizes that to liberate yourself as the younger sister Amina did, is to be educated."Education enables Amina to stand on her own." (169)Even though, Husayn does imply that education for women will liberate them, yet he does focus on the opposing side of women and their education, by showing the mothers point of view when she says "a woman cannot live in security without a father, a brother, or a husband protecting her."(169)
not only was this chapter interesting because it discusses taha husayn, but because it discusses one of my favourite movies with Faten Hamaama and Ahmad Mazhar. i advise you all to have a sneak peak at the film!
the most interesting aspect of the chapter was the critique of the language discrepency between the characters and thier intellectual level. and husayn's belief that the language of the people wil be elevated to "fusha" so that the lanuage of "fusha" would not eventually become a languge linked with theology alone, like latin. however, we can see today that this plan of his didnt really succeed, since we still use the colliqual language rather than the fusha. however, did you think his plan had a chance?
The most interesting thing in the novel "The Call of the Curlew" by the great Taha Husayn is how the two sisters Amina and Hanadi are both seduced by the same man around the same circumstances-While working as servents for the engineer-but then they have two different endings; Hanadi, the simple and uneducated sister, falls for his seduction, while Amina, the educated sister, resists and wins his love in the end. It is obvious that the message carried by Amina's narration of the story is that women should be allowed to educate them selves because it allows them to stand on their own and to be aware of and conscious about the real world around them.
"The song of the nightingale" is one of my FAVOURITE old arabic movies. Not only did i like it because of the actors in the movie, but also because of the issues it brings forth. The whole idea of revenge here is presented through a woman's eyes. Amna goes through the trouble of finding the man who caused her sister's death, making him fall in love with her, and harming him the same way he harmed her. I liked how a woman's character was presented in a non-stereotypical way. It just shows how Taha Hussein was somewhat a feminist, which we girls just adore! :)
Hello all,
It is quite sad Zainab N, that you bring up the point of pre-islamic burial of girls.. because it just reminds us all how women have been degraded since the beginning of time, buried for no reason at all, and then buried like Hanadi for bringing "shame."
I don't know about everyone else, but I found it a bit hard to understand or believe how Amina could fall for the same guy that seduced her sister, and basically part of the reason her sister was killed. Maybe that's what Nour meant by dramatic, lol.
Ofcourse yeah, during those times this might've been believable, touching, and controversial..
Another point to mention is the idea of education. Perhaps that's the best thing about the novel, the way it supports education for women specifically. An idea never over-used. Education as a weapon against the harships of life.
"Do you allow me to tell some ends of my story so that people may find in it a warning protecting pure souls form beig destroyed and innocent blood from being shed?"
This is what Amina asks the Karawan before narrating her story. It's fascinating how Husayn a male, Arab writer could be such a feminist. Not only does this deconstruct the faulty image society tends to have towards female rape victims, but he also challenges the Western stereotype of men; Arab men are usually seen as facists who exploit women. Although the novel portrays this type of man under the mask of the engineer and the uncle, Taha Husayn critiques such men.
He reminds me of Thomas HArdy and Nathaniel hawthorne since all three writers label their victimized women as "pure". It's so refreshing to see such themes explored in Arabic literature.
To answer your question Mushira, I think if more writers had taken the same risk Husayn took, perhaps Fusha Arabic may have stood a chance. Unfortunately, not every writer is willing to plunge into the unknown just like that. It seems to be that he wrote not just for the love of literature, but in the hope of preserving the language that unifies all Arabs.
As we said in class education plays a role in this story, with out it Amina wouldnt have succeeded and would end up like her sister Hanadi. "The first girl, he writes, seeks this liberation unconsciously, without a plan and without proper equipment, and she fails. The second girl, armed with enlightening knowledge, succeeds." (pg 169). But becuase Amina had some knowledge she was able to manage the obsticles that she faced. "Instead of corrupting the girls, the novel seems to say that education prepares them to face the dangers of life on thier own." (pg 170). :)
I liked it how Yasmine related Husayn to Hawthorne and Hardy. That did not come to mind but now I can see some similarities;in terms of making the victim a pure individual. I agree with you Shahad that it is sad to see how the protagonist falls in love with the 'seducer'. I just remembered a movie which was produced. I can't remember the title of the movie but it revolves around a victim who is kidnapped by her rapist. She later falls in love with him.It is based on a true story.
yah i guess so Yasmine, it is a shame that the fusha didnt stand a chance, but he had a lot of belief in the Egyptian public, its a shame that this aim of his was demolished. but if i look at it from an elitist point of view (Dr. Ebtehal is going to shoot me now! :) ) maybe because the aim couldnt reach the masses who were of the lower classes; eventhough the novel handles the lower class community and traditions. Perhaps the social class who were able to afford the novel, and read, were the upper classes, thus his aim was exapnded on a very limited social class.
Zainab you bring around the idea of repition, and we also discussed it in class that it adds to the petic uality of Husayn's writing, and as much as it can have a relationship with his blindness but also with feeling and emotion. as Nijland emphasizes that "the most frequent enumnerations i notices was the repition of "fiha" ten times, followed by words like "hubb, bughd, amal, ya's and so on (love hate hope, despair)"
so the choice of repition adds to the tenderness of the text, and i do agree with yamsine that the novel portrays Husayn as a feminist, who emphasizes the idea of the education of women and and challenging the primitive ideals of tradition is far away places in Egypt. Until today, these ideals still prevail, despite modernity and all that jazz..
Professor, i hope we do get a chance to see "du3aa2 Al Karawaan" that would be amaaaazing; to fall in love with Ahmad Mazhar all over again..sigh :)
Thanks!
From what is mentioned in the chapter, the call of the curlew is considered to be “un-Arabic” (164) Nijland explains that this is mainly because of the curlew as a motif throughout the novel where Amina speaks to it to and confides in it, however he mentions another point that I found really striking and interesting is that another un-Arabic element is the fleeing of ones own town due to circumstances they cant ignore. From my knowledge I would think that the element of ‘reputation’ in an Arabic novel would be apparent and used frequently, it is very much a part of our society today that has been carried from our upbringing and previous traditions so the idea that Nijland mentions of it being Un-Arabic baffles me :S The theme of disgrace (from what we see in this chapter) to me structures the whole plot, not only is it the cause for Amina and Hanadi to move with their mother because of what their father had done but also when Handai is killed by her uncle.
Zainab N and Shahad, about the Amina falling in love with her sister's seducer, doesn't that tell us that one can not help who s/he falls in love with ? "love conquers all" .. i think falling in love with him was the last thing she wanted, but unfortunately she became a victim of his crime twice, the first time him being the reason for her sister's death, and the second for falling in love with the very pain who caused such agony ..
so we must not forget the theme of luuurve and the string of emotions that come along with it in the novel :P
And what did you guys think of the ending? would you change it if you could? and which ending do you like better, the original one or the movie version? and if you were in her place, would you allow yourself to marry him? i mean he didn't intentionally "kill" her .. or would that be considered a stab on hanadi's dead back?
Nice questions that you posed here Nour. I personally preferred the book novel, even though the movie ending seemed extremely dramatic and "lurrrve"-filled :P I just thought that the book shows a stronger stand for Amna, it shows that she actually won the battle she was fighting. After all he is a selfish and evil person because he did make false promises and caused the death of Hanadi.
Him sacraficing himself to Amna in the movie gives him more credit than he deserves.
Also i liked the book ending because it sounds ALOT stronger, and open to interpertation, which is ALWAYS fun for us Literature students ;P
Assuming that "The Call of the Curlew" is a French-like novel- as Amina addresses the Curlew when telling her story, a social trasition from poverty to riches takes place, and the whole idea of a journey of a mother and her two daughters in search for a better life is emphasized-and is influenced by the writing style of Al-Azhar as remarked by Salah Abdl al-Sabur, then these two elements work pretty well together in the novel, and Taha Hussayn has done a pretty good job in combining both elements while still maintaining the image of an Egyption Arabic culture in a mere Arabic Egyption environment, and dealing with a theme that reflects some of the most common social problems in Egypt: Since the Curlew is the most seen and heard bird in Egypt from spring till autumn, meaning that he makes a good witness, then it is more reasonable to use it in the story instead of the nightingale (the most favoured bird in poetry), and since the Curlew twitters then it makes more sense or it seems more appropriate for Amina to add rhythm to her communication and Sing her story to the bird by repeating words(influenced by Al-azhar and Lanson's writing style in France "L'Art de la prose" where words in prose are treated like poetry) therefore, this poetry-like prose is the best choice of genre for writing "The Call of the Curlew".
Hello:-)
About preserving the classical Arabic language, there is no doubt as to the importance of doing so because, as Yasmine said, it “unifies all Arabs.” I always worry about the language becoming so out of touch that it is in danger of extinction. Because it is the language of the Koran, and because we use it in our prayers, etc., that could seem far-fetched...but there is always the possibility of people reading things that they don’t really understand.
Just as it is important to preserve the classical language, however, it is also important to celebrate the various individual dialects of Arabic. Also, like Mushira said, so that literature becomes accessible to the lower classes and not just the elites. This goes back to an argument we had in the Contemporary Theory class: Can we live without extremes? Can we have grey, or are we only satisfied with either black or white (in this case Classical Arabic and colloquial Arabic)? Why is it so hard to have both? Hmmm...
I would like to know, what is so French about speaking to a bird? Big deal so he used a Frech example. Futhermore, aren't we all a mixture of races and weren't we all colonized? I mean look at our colloqiual language, it has some words found in Turkey, French, English and Persian. It is very difficult to see how our colloqial language is not influenced by these different countries. Yes I agree with you Aisha I prefer the ending of the novel. That engineer does need to appear to be the hero. It is too mushy.
Note I intended to say doesn't need to appear as the hero. I mean you could guess that I was trying to say French rather than Frech (its the keyboard, not my fault) :P
Zainab, I think that what is French about Husayn's novel is the way it is written. Read the examples the book gives us again, you'll see that they're extremely polemical. His writing is very fierce, rhetorical, repetitive and argumentative, but at the same time, very beautiful, rhythmic and poetic. For example: “Ma kuntu ahfilu bi-l-huquli l-munbaththa, wa-la ajidu shawqan..., wa-la ajidu kalafan..., wa-la ajidu raghbatan…, wa-la ajidu haninan...” (167). Another example: “Ufakkiru fi hadhihi l-fatati l-ya’isa wa-fi hadhihi l-mar’ati l-ba’isa.” (168) It really is so beautiful that I had a hard time deciding which examples to give you!:-P
This is a French style of writing which he probably used despite himself (having been educated in France). Do I sense an angry tone in your comment?:-P
Regarding Nour's question on which ending is preferred, I would have to agree with practically everyone in class and say the novel's ending. The ending in the movie makes every thing seem too romantic and over dramatized. It also forces the viewer to sympathize with the engineer, which in my opinion is like (with a lack of a better term) "sleeping with the enemy" :P
As for the issue of Amina falling for the engineer, and other stories of women falling for their rapist, or kidnapper. This issue is actually one of the biggest problems that many investigaters have, since the victim would choose not to cooperate with the police in order to save those who have abducted and/or raped. There isn't a solid reason why this happens, but we should not forget that it does. So to the question of Amina and falling in love with the engineer, as horrible as it sounds it is highly possible.
I feel like Taha Hussein really suffered in his life due to his blindness.. I can only imagine how hard it must have been to live a life of complete blindness.. Thriving to be a writer and a great one too, is so difficult with all five senses working properly! So it must be 2 times harder when one has a disability (or what is referred to nowadays a ‘special problem’)..
But Hussein worked hard to achieve his goal, even if his works are tedious to read by the ignorant-critics-who-take-things-granted because-they-are-blessed-with-the-5senses!! SOME of those 'critics' spend half their lives making useless remarks on an author bringing some of the GREATEST writers down, AND for the sake of it; THEY truly don't know how it feels to be IN a difficult position (they have empathy issues basically!) so they say that Hussein is redundant, HOW IGNORANT!
Lol, Zainab I was not angry on the contrary I was just surprised how some of the critics called his book unarabic. I am just mocking the way in which they are never satisfied to what some great writers have achieved. I know that he was influenced by the French but the point I am making is so what is the problem with that? We as human beings are greatly influenced almost everyday, sometimes we do not see it. This can be related to what we discussed in class about the colonizers and the colonized. We are colonized because we imitate or are influenced by the Westerners. I am just trying to make a point but apparently I could not express it the way I wanted.
Hi guys, check out this video I recorded AND posted on YouTube! Basically, it is a part of interview where Adonis (the renowned poet) was being asked some interesting questions on the 'Future' Channel..
http://www.youtube.com/watch?v=IyViWOV7Ug0
Tell me what you think.. I only opened an account on YT so that I can make this vid available to everyone, (so that you can also see it in your free time!)
Zainab S I totally agree, critics have to find fault with Arabic novels and excellent examples Zainab N about how the language is polemical but also sweet *very French: mean people but act all soft and daloo3a when they speak* lol *it’s the British blood in me, we don’t like them very much* :P
Even so, it’s still a great Arabic novel using the classical Arabic language, a language fierce but also sweet don’t you think? Although I should be the last one speaking on this subject of the Arabic language :P , from what I do read and understand, the rhyming of it is beautiful! The greatest example being the holy Quran, listen to how professional readers recite it, with a soothing ring to the ear, yet the words can be fierce and polemical so again asking the question why is Taha Hussain’s novel , a very Arabic novel, being critiqued on its influence of a bird and the similarities with the French language? :S I personally don’t see the point and back to my last post about the theme of disgrace I also
found that very Arabic,
'au contraire' :P to what is mentioned in the chapter. :S
Hello everyone :)
About the novel or the movie's ending, obviously the novel's ending is more realistic and isn't exaggerated. The movie had to have a dramatic ending, make the audience weep, you sell more that way.
It is really interesting to think about how Taha Hussain uses repitition and is criticized for it. What Dr Ebtehal mentioned in class actually requires deeper analysis, the fact that him being blind means he's used to having to repeat what he has to say, or emphasize his other methods of communication. What strikes me the most, is how a disabled or physically challenged person,if you will, can be so much of a genius and produce works that forever remain considered as part of the canon of literature. Having suffered so much, he manages to display the sufferings of others. I truly salute him, as well as everyone who manages to rise over physical or mental or even emotional obstacles and CREATE..create art, create love, create LIFE.
I found the chapter very interesting. I didn't know that even in Drama, the arabs were influenced by the Westerners. I kind of saw some similarities before the exposure or influence of the westerners, the fact that drama was mostly farce to entertain the lower class people.This can be related to Shakespeare's time. Having to approach a wider audience, rather than specific, rich spectators. It interesting to note that how these farce plays "al-Muhabbizun" were performed in "festivals prior to weddings."
I kind of find it a hard task to approach or combine two different "Worlds" and adapt it to the modern or new world. This was achieved by Naqqash who was widely praised by critics. It is suggested that through him, came the shadow play in Beirut.
The new chapter "Modern Arab Theater: The Journey Back", was very interesting it had information that I never knew before. This shows how one type of Literature can influence another type of literature thats completley diffrent from it, not just in drama but also in poetry and novel. But there is one thing I didnt understand whats mentioned in the chapter on page 175 "In the addition to the shadow play, I would like to point out the existence of other dramatic activities performed by human actors in the Arab world before the importation of a ready-made theater from Europe". What does that mean when he says "human actors"? I thought plays were acted by humans, werent they? :S
Is Classical Arabic less valuable now, or is it more valuable now that it's in danger of extinction??
I have to admit, I am unable to answer that. However, with this issue in mind I am suddenly reminded of postcolonial critic, Ngugi, who elaborates on the link between lanugage and identity. Classical Arabic symbolizes the Arab identity on the whole (perhaps even Muslim identity?), rather than just a national identity (depending on a nation). Personally, I cannot think of a community as large as a continent, other than the Arab community that shares the exact same language. In the past it was Latin (educated through Christianity). Sadly however, Latin has lost its' place in our post-modern world.
The tragedy is, once a language is lost, a massive chunk of our identity is lost with it. Language, national culture, and identity are inextricably linked. Thus, it is crucial for writers who master Fusha to write with it, even if it does not reach the popular culture staright away. The national, or ethnic writers could write to all the classes to avoid alienation.
I believe, our generation and the future one should be aware of the importance of Fusha in our culture. The loss of it may not only divide Arabs, but could also be politically dangerous.
What do you ladies think? :)
Should we try strengthen our Fusha? After all a bunch of us in this class have really REaLLY poor Fusha skills :P
I like how the chapter begins describing the Arab theatre in the past and how it changed over time.
It is always noted that Arabs tended to borrow and transform general ideas, works and even architectural entities of the West, reforming them to fit into their own conservative societies. Theatre was one of them.
Unlike Western theatre, the Eastern began as means of entertainment per se, whilst the early Western theatre's aim (early B.C even) was to educate (religiously too) the people of their time. This does not mean to say that the Arabs did not have any plays with moral and religious themes, but it did not really START OFF with that purpose.
Did anyone see the vid? :P
Zainab, it’s interesting that you mention Shakespeare. While reading the chapter, I also made a connection with one of Shakespeare’s plays, The Merry Wives of Windsor. ‘Ali al – Ra’i’s descriptions of Ya’qub Sannu’’s characters on page 176 apply to some of the characters in Merry Wives. For example, the “foreigner who speaks Arabic in a funny way” is Sir Hugh Evans, a Welsh parson whose English is extremely funny. The “wife who complains of her husband’s injustice despite her loyalty” is a husband in Shakespeare’s play:-P Master Ford goes to extremes to make sure that Mistress Ford is not making a cuckold out of him! This is proof of the universality of human nature:-D And also of the accuracy of literature in portraying it, of course:-)
Maryam, I did see the video. I found Adonis’s views on fatherhood very interesting:-)
Hello everyone,
our new chapter is really enlightening to be able to understand the forms of theatre that manifested in the Arab world.
it seems that the literary theatre really didnt stand a chance during the earleir periods of the emegerence of arab theatre. obviously, since the arabs were had no awareness of the sort of theatre that al-naqqash was originially offering.
as far as i am reading, i have a feeling that farce is as strong today as it was when it first began with the al-muhabbazunn.
not only that, as we are also discussing the influence of the west; from my studies i have notices several similarities with restoration plays of the 17th century. such as the stock characters represented in al "fasl al mudhik". we can see thier characters reporesented in plays such as "the countrywïfe" of 1175 by william wycherly. the stock characters and the discussion of culture, its focus on "vulgar jests and indecent actions that they amuse, and pbtain applause" is a definate parallel (175).
another issue i noticed with regards to the theatre was the improvisation that Sannu innovatively came up with to be able to suit the arab audience. so we can see that the actor audience relationship is a key element in arab theatre. and this still prevails strongly today, espicially with the popualr "masreheyaat" that we see today. the actor audience relationship is key, the arab audience loves to react with the actors on the stage and the actor has to project his performance to them too.
as a performer, i keep this aspect in mind, that the arab audience has speicific interests in the theatre. for example the emphasis on action and emotion to send through the message of the play. the arb audience always responds differently to a european audience.
Fatima Rajab.
It is interesting to know after all these times of watching the film 'Du'a' al Karawan' that it is written by Taha Husayn. The movie is great and has many powerful messages about the lack of education and the killing of girls in the Arab society. This message is brought to the audience by Hanadi, the uneducated, innocent girl that is seduced by both the irrigation engineer and her own mother and uncle. This shows us how women are seduced and treated worse than animals because of their weak nature of being females. It is a call of enlightenment and rights of women. I think that Taha Husayn used the Curlew as the message singer and carrier to represent the weakness of women, and their incapability of spreading this message to the society. I also see that we can compare the Curlew to Hanadi that is weak and innocent but carried a great message that will help save the women all around the world.
The Curlew could also stand for the symbol of a mouth that speaks without a voice, in other words the bird sings but his voice is unheard and his messgae does not reach the world.
I also find it interesting to notice that the movie is written in a poetic way that can be sung. This makes the movie more powerful because of the repetition of words and rhyme which helps in delivering the message to the audience in a simple and easy way.
Fatima Rajab.
The difference between the Curlew and the Nightingale:
The Curlew is a large bird that is characterised by a long slender downcurved bill and mainly brown plumage with little seasonal change.lives near the shore and feeds on worms in mud and soft ground.
The Nightingale is a small brownish bird that is a member of the thrush family. Nightingales are named so because they frequently sing at night as well as during the day. The male nightingale is known for his singing and his song is loud, with an impressive range of whistles, trills and gurgles.
I think that Taha Husayn used the curlew instead of the nightingale because as mentioned in the chapter the 'karawan' is heard in Egypt from spring until autumn while the nightingale is rare. I also think that the curlew has a pure and strong voice that attracts people because 'Al Karawan' is always mentioned in Arabic poetry and novels and I usually hear that the curlew has a very nice voice that impresses because of its variation of tones and softness.
Zainab N, I am glad that you saw some similarities with that of Shakespeare. I couldn't have said it better myself, you elaboreated and gave good examples on how these two plays are related. :) Thanks
Is there such thing as a "pure" idea? this chapter definately made me think that there's no such thing as pure English literature, or pure arabic poetry .. everything seems to be influenced by something else, and i don't know if that's something good or bad .. Just like the previous chapter we studied, i would like to think that tje arabic theatre is purely arabic .. something we could claim ours .. but on the other hand, it being influenced by the European model adds a universal appeal to it .. Not only is the structure of the theatre itself is universal but the ideas behind it are too .. farce is introduced to mock the lower class, and the play also discuss everything from politics to class structure .. therefore, unlike the novel or poetry, we get (to be precise, MEN got :() a front row seat to the life around them ..
I wanted to add to Nour's point, yes it is a bit dissapointing to see that there is no such thing as "pure" arabic theater, however, what fascinated me is the fact that the playwrights chose to include positive things imported from the west into their plays rather than negative ones. Idris's play Al Farafir to me was executed in a smart way.
Idris made sure that he had his own style of plays, where he was the one who dictated the stage directions, and how the stage was set. He also called for including the audiences, which sadly he wasn't able to excercise due to the political situation of the time.
I actually do like the idea of merging east and west together. I beleive it is a way to simplify things to eachother and create a greater common ground between both culture so that they can experience at least a hint of the taste of the literature, culture, theater, etc.
So Nour, turn that frown upside down, and think of the non existence of "pure literature" as an advantage that literature exists, which is creating links between cultures ;)
Nour, I think you’re right; there is no art in the world that is free from outside influences. But I agree with Aysha:-D This doesn’t mean that we can’t call Arabic theatre our own, because there will always be Arabic elements that prevail over its European origin. It’s so hard to think about the "idea of merging east with west" (to quote Aysha), though, especially since we’re doing Post-colonialism in our theory class:-P Remember Kipling’s poem? “Oh, East is East, and West is West, and never the twain shall meet...”
Just a quote by Matthew Arnold that is related to our discussion:
"Everywhere there is connection, everywhere there is illustration. No single event, no single literature is adequately comprehended except in relation to other events, to other literatures."
This reminded me of the Ancient Greeks, and Aristotle's concept of the three unities.
To support the idea that there is no such thing as a "pure" example of drama is by refering to the Romans; how they influenced the later generations in Europe. And how the Romans copied the Greeks in writing Drama.
I agree with Aisha, it is useful to bring both east and west together.
Regarding what Aisha said about East and West mixing and creating a common ground, an example of that would be male actors wearing make up and playing the part of women. Just an idea that came to mind when reading this chapter, as it talks about the Danish traveller Carsten visiting the playhouse in Egypt, what would be his reaction if he saw women acting as themselves on stage??! not being accustomed to it himself in the West?! A common ground therefore, and universality in Literature, as Zainab mentioned using Mathew Arnolds quote, is the key to understanding one another as though language, culture and religion may be different… literature to me is the key to bridging the gap between East and West. ;)
Reading this chapter, i could only think of how much the west has influenced this part of the world. Arab poetry, novels, and now drama has been slightly mirroring those of the west. This can be seen as an advantage and a disadvantage. The pros of such influences is the mixing of the two cultures which sheds new light on the different ways of life. However, the disadvantge of such inflences, is that the new form of either poetry, drama , or novel, may to a certain extent take over of the previous and more "traditional" for that culture.
In this chapter Yusuf Idris emphasizes on the fact that the western drama took over of the arabic drama, which leads him to question if in fact arabic drama actually existed.
Regarding marayam's point on that Eastern drama started off to entertain and the Western drama was designed to educate.
I wouldn't completely agree with that point, i think that both Western and Eastern drama both were there to educate, and they just happen to use entertainment as a means to attract audience.
Yes indeed the Arab theatre was very strong during that time and had its value especially the arabic literature in a more wider sense. Theatre and drama has only been a visible part of Arabic literature in the modern era. There may have been a much longer theatrical tradition but it was probably not regarded as legitimate literature and mostly went unrecorded. Modern Arabic drama began to be written in the 19th century mostly Egypt and mainly influenced and in imitation of French works. It was not until the 20th century that it began to develop a distinctly Arab flavour and be seen elsewhere.
To us, I feel that the Arab theatre is something that is hardly taken into consideration when someone speaks of Arab Literature as whole. We think of famous poets (Gibran, Mutanabbi, Adonis etc) famous novelists (Najeeb Mahfouz etc) but hardly of Arab dramatists... perhaps because theatre doesn’t have as much of a history as the latter, it is a fairly recent genre, hence making it quite modern. I believe it started to gain popularity in the 19th century? By then the film industry was already expanding (and still is) playing a huge in presenting and spreading Arab literature.. But nevertheless the chapter revives this slightly ignored genre of theatre bringing it into light.. What do you guys think?
I agree with Maryam on some parts, "the Arab theatre is something that is hardly taken into consideration when someone speaks of Arab Literature as whole. We think of famous poets (Gibran, Mutanabbi, Adonis etc) famous novelists (Najeeb Mahfouz etc) but hardly of Arab dramatists..." but i think youre sort of stuck in time, i dont think that the Arabic theatre is in need of a revival today because afterall, isnt that our sole source of entertainment today? call me ignorant, but the majority hardly read poems or novels now.. they just go to the theatre and enjoy the show :)
and i think we mentioned last class that drama was infact an old mode of literature but it was ignored for the mere fact of it not being classified as "art" and just popular fiction, we only started canonizing arabic drama recently
In response to what Nour said about farce having been introduced to mock the lower class. I think you have a point, but I also think that comedy sells so much because it connects with the lower class. It is up until today seen as the most popular kind of genre whether it is in Arabic theater or film, particularly Egyptian. For example, it is so common to see a completely ridiculous movie’s sales rocket rather an intellectually challenging one. Why is that? It’s probably partly due to the comedic actor’s ability and/or the script’s tendency to connect with the psyche the popular culture (proletariat). Sadly, however, as Nour said, although the crowd may be able to relate they ignorantly do not notice the mockery entailed.
I also don’t think influence and connections between Arabic and Western theater is ultimately negative since we only progress through influence. Postcolonial critic, Edward Said’s theory of “Discrepant Experiences” sheds light on the inevitability of our “interconnected experiences”. So as long as influence does not delete national culture and identity then I think it’s useful After all, essentialism could be dangerous, right?
Hello everyone.
I have always been fascinated with arabic theatre, but by that I dont mean the kind of theatre we have today, as it is horrible. its all about mocking people, being sexist, racist, and completely ignorant.
I grew up watching 3abdul7sain 3abulritha, and 7ayat al fahad, sa3ad il faraj, and these great names, who can truly be labelled intellectuals, and performers, who added to the definition of arabic theatre. Just like the great 3adil Imam. Their theatre had meaning, there was always meaning, a moral, anything. Now, there's nothing intellectual about theatre. And perhaps thats one of the reasons we don't even have a proper stage or theatre.
As Mushira said, it's always best to keep in mind what the audience wants to see. A huge part of theatre depends on the kind of audience you're getting. For example, when I wrote The Duke of Ferrara last year for English Day, I kept in mind that I would have a KU audience, some intellectuals, but mainly people who wouldn't be able to follow along with the dialogue. So even if the dialogue wass complicated, I made sure that the plot, and action, were clear and easy to follow. And so the play won best play award :D
On the point of ignorance :P… to follow what Maryam wrote about in her post, when I think if Arabic Drama and theatre I think of those plays that are presented mostly during Eid. Here in Kuwait we don’t have a grand theatre where educational *meaning not aimed at an audience of children* are played, I’m not sure whether that’s because I haven’t heard about it or if there isn’t actually a proper theatre such as in the west where productions are deep, educational, stunning and absolutely breathtaking! Is theatre ‘that’ devalued in the Arab world now? Drama as a form of entertainment is now seen in ‘musalsils’ and theatre isn’t regarded as highly as it is in the West. It’s a shame as while reading this chapter, the description of the play houses in Egypt seemed almost magical, a great pity to those in this part of the world that want to enjoy such forms of entertainment.
I think that what distinguishes the theater as a medium of art is the presence of its audience. Therefore, developing a direct interactive link or communication between the stage and the audience is crucial; using a dramatic content from a culture with which the audience can identify, and the use of a language that this audience speaks and relates to would be a highly successful techniques that create the active participation of the audience with the stage. In criticizing the use of "Fusha" in theaters like the commercial ones, where the the audience could be alienated from their environment, Sannu always used a main character of the religious man who insists on speaking fusha whether he understood it or not.
Tasneem...i think there is the festival "mahrajan al-grain al-thagafi" where plays are performed for educational purposes..I THINK AM NOT SURE...but anyways, u won't find anyone there coz our people just like to go to Marina mall or The Avenues.
By the way, where did all of you go today girls???
i went to class but no one was there!!!
We aren't done with this class, are we???
Batool we were supposed to meet in Pizza Express in Dahia. I agree with Tasneem, the theatres here in Kuwait are very dull and does not contain any message or thesis. It is all an imitation of blockbuster movies or cartoons, remember when they imitated Toy Story and made it into an arabic play, starring Dawood Ehsain? How about Lion King? I rlly think that it is a shame to see how drama degraded in such a way. I think that in Syria, Dubai and Egypt, they do show some appreciation towards art and drama. Correct me if I am wrong, but here in Kuwait, the majority of people disregard Literature as being too easy and pointless.
Oh! I see! so are we meeting in class next time?? and are we moving to a new chapter???
batool, were done for the course :)
zain s, LOL .. i dont think they regard literature as being too easy, they dont regard it at all ! its a joke :P youre totally right, i doubt they even have a script, they just improvise, BADLY
I have always wondered why our people just enjoy plays where actors and actresses just keep cussing, calling names, and beating the hell out of each other: the audience always finds it hilarious!!! It has affected the society we live in and the culture we share; people, children and grown ups, believe that comedy equals profanity, and as comedy is a genre of art, then, unfortunately, they also consider profanity as a form of art. Besides, if you scrutinize how children interact with each other, you will find out that they verbally and physically abuse each other all the time, and it can be their way of spending a pleasant, funny and entertaining time together. This chapter gives me a brief answer to my question as it informs of how Arabs have always preferred the comic acts or farces as a traditional form of entertainment and amusement to modern and sophisticated plays performed in professional theaters; Arabs have always preferred directly responding to and interacting with, as an audience, to the low acts of indecent actions and vulgar colloquial language in the popular comic acts whose actors earned their living by performing such acts in public places. Despite the emergence of the Arab theater, as influenced by the importation of the European model of theaters, whose westernized plays made the theater gain its status and win the acceptance of the public, playwrites and directors have always struggled to adjust these plays in a way that would allow them to properly insert these farces so that the play can still maintain its sophistication. It is kind of degrading to learn that our people can only relate or identify themselves with such silliness, and that there are still no authentic plays, in form and content, because the west is what gave birth to, and influenced the Arab's perception of the modern Arab theater in the first place.
Anyways, I would conclude by saying that I'm astonished, regardless of my negative comment regarding Arabs and theater, to learn that there was a time when efforts were made to create a modern and sophisticated Arab theater, whether westernized or not, and a list of professional Arab playwrights and directors was made in history. I was completely ignorant.
I agree with you Batool. As the chapter tells us, Arab theater initiated with what al-Naqqash labeeled as a "literary theater". however, due to his pompous atitude and desire to disassociate himslef with the lower classes (mass), such plays did not succeed. This style of performance was mainly imported, and the audience knew it. By not adding instances of comic relief, which were part of the Egyptian theater and culture, al-Naqqash alienated his audience.
Perhaps, comedy is so popular now amongst the Arab culture and perhaps even Western culture as a consequence of the pessimism attached to our post-modern era.
Hello all,
Yasmine, about the pessimism of our postmodern era.. You'd think that they'd write depressing stuff, or cynical plays, but instead you find alot of comedy and sometimes ridicolous plays, and their point is to "Entertain." The irony is that they barely entertain your mind, and they aren't meant for intellectuals. It's sad really. Batool, Mahrajan Al-Qurain used to be good the past couple of years, with plays performed in fu97a too. I went a couple of times, but I haven't been there in awhile. I hope the standards are still good.
Hello. This post is likeable, and your blog is very interesting, congratulations :-). I will add in my blogroll =). If possible gives a last there on my blog, it is about the Impressora e Multifuncional, I hope you enjoy. The address is http://impressora-multifuncional.blogspot.com. A hug.
I grew up watching the movie. Basically this society where women are left to clean up the messes men leave behind, and face a society that respect them not alone. Ironically, these wanton men in their traditions that grant them superiority over women (some educated) demand.. honor.. above all.. in its loosely definition!!!
Basically whether the woman was married, widowed, innocent, or educated, makes no difference for the traditional society, the at the bottom of the food chain.. and men are granted he right to stomp on their and even take their lives away.
The engineer who came from the city where individual identity as well as sexual liberty revered and protected isn't guilty for the uncle's actions.
If anything at all, these city people, if utterly selfish, lack no compassion. In the movie at least the engineer was womanizing indeed but feeling remorse for the dead girl. Amna probably came to this realization before she could open up her heart.
By Chance
Amna
Hi, guantanamera121212
my web site: buy facebook likes how does it work
Post a Comment