Al-Quds University Journal for Research and Studies - No.5 - March 2005 21- Diwan Ibrahim Tuqan (Edit), Beirut: Dar al- Quds, 1975. 22- El-Asmar, Fouzi. The Wind Driven Reed. Washington: The three Continents press, 1974. 23- Fahmi, Mahir Hasan. Al-Ghurba wa-al-Hanan fi al-Shicr al-cArab?. Cairo: D?r al-Mac?rif, 1961. 24- Farrukh, cUmar, Shaciran Mucasiran, Beirut: al-Maktabah al-Ahliyyah, 1954. 25- Frazer, James, Adonis Aw Tammuz. Trans. Jabra. I. Jabra. 3rd. ed., Beir?t: al-Mussasa al- cArabiyyah, 1982. 26- Hilal, Muhammad Ghunaimi. Al-Romantikiyyah. Cairo: Dar al-Macarif, 1970. 27- Ismacil, cIzz al-Din. Al-Shicr al-cArabi al-Mucasir. Cairo: Dar al-Katib, 1967. 28- Jarrar, Walid Sadiq Sacid. Shaciran Min Jabal al-Nar, Amman: al- Sharq al-Awsat, 1985. 29- Kanafani, Ghassan. Adab al-Muqawamah Fi Falastin al-Muhtallah, Beirut: Dar al- Adab, 1968. 30- Khadir, Abbas. Adab al-Muqawamah, Cairo: Dar al-Kitab al- Arabi, 1968. 31- Majallat al-Sharq, “Fadwa Tuqan wal-Judran al-Thalathahò, Jerusalem, June & July, 1972. 32- Moreh, S. Modern Arabic Poetry. Leiden, E. J. Brill, 1976. 33- Mudarakat Fadwa Tuqan, Majalat al-Jadid, Haifa, 1978. 34- Sayigh, Anis & others. Falastiniyyat, Beirut: Markaz al-Abhath. 1st. group, 1968, 2nd gr. 1969. 35- Sayigh, Fayiz. Falastin wa-Israel wa al-Salim, Markaz al-Abhath (PLO), No. 17, Beirut, 1970. 36- Shukri, Ghali. Adab al-Muqawamah, Misr: Dar al-Macarif. 1st. ed. 1970. 37- Subhi, Muhyi al-Din, al-Adin, al-Adaa al-Fanni Fi Shir, Fadwa Tuqan in al-Mucallim al- Arabi, No. 7, the year 25, demascus, 1972. 38- Subhi, Muhyi al-Din. Dirasat Tahliliyyah Fi al-Shicr al-cArabi al-Mucasir, Damascus: 1972. 39- Taha, al-Mutawakkil, Qiraat al-Mahthuf: Qasaid lam Tanshuruha, Fadwa Tuqan, Dar al- Shuruq, Ramallah, 2004. 40- Tuqan, Fadwa. “Akhi Ibrahimò, The Introduction of Diwan Ibrahim Tuqan. Beirut: Dar al-Quds, 1975. 41- Tuqan, Fadwa. Diwan Fadwa Tuqan, 1st Ed. Beirut: Dar al-cAwadah, 1978. 33 Love And War In The Poetry of Fadwa Tuqan Bibliography 1- Abbas, Ihsan. Fannu al-Shicr, Beirut: Dar Sadir, 1959. 2- Abu Ghodaib, Hani, Fadwa Tuqan: al-Mawaqif wa-alQadiyyah, 1st. ed. Dar wail Li al- Nashr, Amman, 2003. 3- Abu Isbac, Salih. al-Harakah al-Shicriyyah Fi Falastin al-Muhtallah, Beirut: al-Mucassasah al-Arabiyyah, 1979. 4- Abu Mazin, Mahmud cAbbas, al- Sahyuniyyah Bidayah Wa-Nihayah, Beirut, 1976. 5- Al-‘Asad, Nasir al-Din. Muhadarat Fi al-‘Ittijahat al-‘Adabiyyah Fi Falastin Wal-‘Urdun. Cairo: Machad al-Dirasat al-cArabiyyah, 1978. 6- Al-Aclam, Ibrahim, Fadwa Tuqan: Aghrad Shicrih, Wa-Khasaisuhu al-Faniyyah, P. W. U., Jerusalem, 1992. 7- Al-Aqqad, Ahmad Khalil. Tarikh al-Sahafah al-Arabiyyah Fi Falastin. 4 vol. Damascus: Matbacat al- Wafac, 1966. 8- Al-Dasuqi, cAbd al-cAziz. Jamacat Appllo wa-‘Atharaha Fi al-shicr al-hadith. Ciro: al-Hay’ah al-Masriyyah Li al-Ta’lif, 1971. 9- Ali, Fadil, cAbd al-Wahid, cAshtar wa-Macsat Tammuz, Baghdad: Dar ash-Shucun, 1986. 10- Al-Kayyali, cAbd al-Rahman. Al-Shicr al-Falastin? Fi Nakbat Falastin, Beirut: al- Mussasah al- Arabiyyah, 1975. 11- Al-Nabulsi, Shaker. Fadwa Tuqan wa al-‘Adab al-‘Urduni al-Mucasir. Cairo: al-Dar al- Qawmiyyah, 1970. 12- Al-Nimir, Ihsan. Tarikh Jabal Nablus Wal- Balqac, 4 vol. Nablus, 1975. 13- Al-Sawafiri, Kamil. Al-Adab al-Arabi al-Mucasir F? Falastin Khilal Mi’at cAm. Misr: Dar al-Macarif, 1980. 14- Al-Tayyusi, Salma al-Khadra. Trends and Mvements In Modern Arabic Poitry. Vol. 2, Leiden Brill, 1977. 15- Al-Toma, Salih. “Abcad al-Tahaddi Fi Shicr Mahmud Darwishò. Mawaqif, No. 2, January 7th, 1970. 16- As-Samra, M. naqd, Ktab al-Shah, “Actina Hubanò in Majallat al-Arabi, No. 38, March. 1961. 17- Bakkar, Yusuf, ar-Rihlah al-Mansiyyah: Fadwa Tuqan wa-Tufulatuha al-Ibdaciyyah. 18- Boullate, Issa, J. Critical Perspectives On Modern Arabic Litrature, Washington, D. C., 1980. 19- cAllush, Naji. Al-Muqawamah al- cArabiyyah Fi Falastin Min 1917-1947. Al-‘Abhath (PLO), Beirut, 1967. 20- Darwish, Mahmud, Diwan Mahmoud Darwish, Beirut: Dar al-cAwdah, 1978. 32 Al-Quds University Journal for Research and Studies - No.5 - March 2005 1970), P. 244. (27) Issa Boullate, J. Critical Perspectives on Modern Arabic Literature, (Washington, D.C., 1980) (See the Lecture of Jabra I. Jabra, PP. 7-21). (28) Abu Ghudayb, Fadwa Tuqan, P. 250. (29) Fadwa Tuqan, Diwan Fadwa Tuqan, (Dar al-Awadah, Beirut, 1969), P. 79. (30) Salma al-Khadra Al-Jayyusi, Trends and movements in Modern Arabic Poetry, Vol. 2, (Leiden Brill, 1977), P. 557. (31) Ibid., P. 563. (32) For more details see: Shakir Al-Nabulsi, Fadwa Tuqan Wa-‘al-shicr al-‘Urduni al-Mucasir, PP. 91-92. (33) Diwan Fadwa Tuqan, PP. 114-115. (34) Ibid., P. 122. (35) Ibid., P. 91. (36) See Moreh, Modern Arabic Poetry, P. 254. For more details see: James Frazer, Adonis or Tammuz, pp. 170-174. You can also consult Fadil A. Ali, Astrate and the Tragedy of Tammuz, pp. 25-30. 31 Love And War In The Poetry of Fadwa Tuqan FOOTNOTES (1) See Moreh, S., Modern Arabic Poetry, (Leiden, E.J. Brill, 1976), PP. 198-199. The frag- ments of poems which have been quoted from Fadwa’s collections are translated into English next to the original text. (2) Fadwa Tuqan, Wahdi Maca Al-Ayyam, 3rd ed. (Dar al-Adab, Beirut, 1965), P. 27. You may consult her unknown poems wich recently edited by al-Mutawakkil taha. (3) Fadwa Tuqan, Actina Huban, (Dar al-Adab, Beirut, 1965). See also al-Mutawakkil taha. Qiracat al-Mahduf, p. 11. (4) Ibid., PP. 48-49. (5) Ibid,. P. 54. (6) Ibid., p. 75. (7) Ibid., PP. 50-53. (8) Fadwa Tuqan, Wajadtuha, (Dar al-Adab, Beirut, 1962), P. 59. (9) Ibid., PP. 72-73. (10) Fadwa Tuqan, Amam al-Bab al-Mughlaq, (Dar al-Jalil, Acre, 1968), P. 90. (11) Shakir Al-Nabulsi, Fadwa Tuqan and the contemporary Jordanian Literature, (Al-Dar al- Qawmiyyah, Cairo, 1966), P. 33. (12) Ibid., PP. 35-36. (13) al-Mutawakkil Taha. Qiracat al-Mahduf, p. 7. (14) Fadwa Tuqan, Wahdi Maca al-Ayyam, P. 39. (15) Muhammad Ghunaimi Hilal, Romanticism, (Dar al-Macarif, Cairo, 1970), P. 36. (16) Mahir Hasan Fahmi. Al-Ghurba wa-al-Hanin fi al-shicr al-Arabi, (Dar al-Macarif, Cairo, 1961), PP. 52-55. (17) For more details see: Iz-al-Din Ismacil. Al-Shir al-Arabi al-Mucasir, (Dar al-katib, Cairo, 1067), PP. 350-370. (18) Ihsan Abbas. Fannu al-Shicr, (Dar Sadir, Beirut, 1956), PP. 51-52. For more details see also Yusuf Bakkar. Al-Rihla al-Mansiyyah. (19) Fadwa Tuqan, Wahdi Maca al-Ayyam, P. 72. (20) Ibid., PP. 51-52 (21) Tuqan, Fadwa. Diwan Fadwa Tuqan, (Dar al-Awdah, Beirut, 1968), PP. 19-20. This poem was dedicated to the Italian poet Salvatore Qasimodo whom the poetess met in Stockhaulm, P. 238, al-Mutawakkil Taha, Qiracat al-Mahduf, P. 8-9. (22) Mahmoud Darwish, Diwan M. Darwish, (Dar al-Awdah, Beirut, 1978), P. 62. (23) Tuqan, Diwan Fadwa Tuqan. P. 144. (24) Muhyi al-Din Subhi. Dirasat Tahliliyyah Fi al-Shicr al-Arabi al-Mucasir, (Damascus, 1972), P. 240. (25) Fadwa Tuqan. Diwan Fadwa Tuqan, P. 85. (26) Salih Al-Toma, Abcad Al-Tahaddi Fi Shicr, Mahmud Darwish, Mawaqif 2, (January 7th, 30 Al-Quds University Journal for Research and Studies - No.5 - March 2005 The poetess is still eulogizing and lamenting in the same traditional way without offering her hand to help although the rain symbolizes the new life for fertility and liberation. Al-Sayyab, for instance, did the same in his poem, “Marha Ghaylanò where the voice of his child, Ghaylan, resembles the fertil- ity of the valleys of Iraq brought about by Astarte, or the return of Tammuz with corn ears. The poet himself is Bacl streaming with the water of the river, not baring his chest waiting for the mystical solution to come into the earth.(35) Astrate is there without Bacl qFÐ ÊËœ UNO, —U²AŽ And death creeps in its streets, shouting ÂUO½ U¹ n²N¹Ë UNŽ—«uý w, i+d¹  u*«Ë O °Sleepers: wake up. Darkness is born ÂöE(cid:12)« b(cid:12)Ë bI, ì «u³Ò¼ And I am the Messiah. I am the peace ÂöKÒ (cid:12)« U½√ `OK*« U½√Ë This is actually the task of the poet, to participate with his society not only in his own verse, but also in his efforts and hopes while we still hear Fadwa Tuqan saying: It is enough for me to die over its earth and to be buried in its sand. She is still riding the elephant, not the camel this time, waiting for some one from far away to come carrying the prediction to destroy the fabulous creeds, as she puts it in her poem, “The Year of Elephant,ò On the whole, although Fadwa Tuqan centered all her poetry on her per- sonal grief, she showed, sometimes, a deep human participation with the loss of both the Jewish and Arab children, as much as with the tragedy of her country. However In spite of the simplicity of her poetry in form and content, and despite her viewpoint not being universal enough (according to Salma al-Jayyusi), she is a talented poetess, true to herself, and could express her inner feelings truly and without prevarication in a very conservative society where the girl was always accused and suspicious even for her innocent smile. 29 Love And War In The Poetry of Fadwa Tuqan Would that Al-Barraq had an eye UÎMOŽ ‚«dÒ ³K(cid:12) XO(cid:12) Oh! My shameful capture, —UÝ_« ‰Ò – U¹ Á¬ More bitter than (colocynth) I am ¨ Ô d> öÎ EMŠ My taste is killing qÏ ðUZ wZ«c(cid:14) My malice is dreadful, VO¼— ÍbIŠ Penetrating through my soul —«dI(cid:12)« v²Š qžu(cid:14) To the very bottom My heart is a rock, sulphur, ¨w³KZ …Ô d;> Sulphur, and bubbling.(33) —U½ …—«uÒ ,Ë ì XÏ ¹d³+Ë Fadwa could not employ her natural sadness to create deep poetry, nor did she strengthen her images by using myths although she returns to the tradi- tional and classical Arabic poetic motifs to deal with them with more simplic- ity. The contemporary Arabic poetry in general, and metric poetry in particu- lar, gains depth and new dimensions through mythological and symbolic ma- terial. The use of the various symbols with the same significance, such as the identification of Christ with Muhammad, or with Eastern gods and the phoe- nix helps the poet to show the common factor in human civilization. Moreo- ver, he appears as a universal poet who uses the voice of history in order to revive the past and to compare it with the present and its problems. At the same time, a new music is produced, a music of ideas beside the music of metre mixed with (jinas) (tibaq) and parallelism. In addition to all that, the association with history and mythology evoked by these symbols, embody the images in a more vivid way and help the poet to act more comfortabl in controlling his feelings. In one of her poems entitled “The Plague,ò the poetess says: When the plague spread all over my town w²M¹b(cid:14) w, ÊuŽUD(cid:12)« UA, Âu¹ I got out boring my chest to sky ¡ULK(cid:12)« v(cid:12)≈ —bB(cid:12)« WŠu²H(cid:14) ¨¡«dFK(cid:12) Xłdš Shouting from the depth of my grief and pain ÕU¹dÒ (cid:12)UÐ Ê«eŠ_« …—«dZ s(cid:14) n²¼√ Calling the wind to blow and drive ÕU¹— U¹ ÂuOG(cid:12)« U½u×½ wZuÝË w³Ò¼ The clouds loaded with seed and rain.(34) ì ì —UD(cid:14)_« w(cid:12)e½√Ë 28 Al-Quds University Journal for Research and Studies - No.5 - March 2005 theme, and Fadwa Tuqan, whose basic life involvement until recently seemed to be centered mainly on her personal love relations, although she showed a spontaneous and deep involvement with the tragedy of war in Palestine as a result of the 1967 June War.(30) Shakir al-Nabulsi, in his book about Fadwa, criticized the lack of myth in Fadwa’s poetry except in the poem “The rockò where she transferred her po- etic experience from a narrow and subjective personality to a wide universal humanity. She could use the elements of her poetic picture in a different way where her pain, anxiety, despair, and sadness blended with the whole human anxiety:(31) Look here! UM¼Ô dE½√ The black rock has been bound ¡Ô «œuK(cid:12)« …Ô d;B(cid:12)« Over my chest with the chains Í—bÚ >Ó ‚Ó uÚ ,Ó  Ú b] ýÔ Of a blunt destiny wÚ ³GÓ (cid:12)« — bÓ IÓ (cid:12)« qÝ öKÓ Ð Look over there to see how it grinds ì UNO(cid:12)≈ dÔ E½√ My fruits and flowers.(32) Íd¼Ú “Ó Ë ÍdLŁÓ UN²Ó×ðÓ sÔ ×Ó DÚ ðÓ nÓ OÚ+Ó In her poem, Kabus al-Layl w-al-Nahar (Nightmare of Night and Day), (1974) Fadwa often preferred to deal with Islamic themes instead of myths. òAhs Before the Window of Israeli Permissions,ò is a realistic poem describ- ing the rush of the Palestinians through the bridge which separates the West Bank from Jordan. She then describes the painful situation which the Palestin- ians face in the borders, while the Israeli soldiers shout at them saying: “Dogs … Arabs ...ò facing this excited situation, Fadwa turns to Arab history, looking for the Avenger; for a heroic symbol who may return and help: Oh! My humanity bleeds. ·e‡Mð w²OÒ½UK½≈ ¨Á¬ My heart drips bitterness. dÒ *« dDI¹ w³KZ My blood is poison and fire. ì —U½Ë ry Ý w(cid:14)œ (Arabs … Chaos … Dogs …) © »ö+ ì v{u, ì »Ï dŽ ® Ah! Oh! Muctasim! ÁULB²F(cid:14) «Ë ì Á¬ Oh! Our tribe’s revenge!! …dOAF(cid:12)« —QŁ U¹ ì Á¬ 27 Love And War In The Poetry of Fadwa Tuqan Al-Dunya Wahidan (Alone on the Top of the World) 1973, particularly in her poem; Kabus Al-Layli Wan ≠ nahar (The Nightmare of Night and Day) 1974. The Night and the Knights is probably the first collection by Fadwa where in both the occupation and the reaction against the national enemy figure as major subjects are clearly mentioned in the first poem “Words from the West Bank,ò Fadwa reflects on the social and psychological effects of the Zionist occupation in the West Bank. In her description, the poetess continues wandering around the same ro- mantic under the influence of mahjarite school in both expression and theme. For instance, the sky closes its windows during the day of occupation, and the sea tide turns on that day while the barren valleys hold their faces to the light. These romantic images, still dominate her poetry. In her second poem, “The Plague,ò (Al-Tacun), the poetess equates the scourge of plagues to the Zionist occupation. Here we recall the critic Subhi’s words about Fadwa, that her poetic attitude always refers to invisible and ambiguous strengths, whereas other poets, such as al-Bayyati and others who took this disease to be a sym- bol, using it in many vital ways. Fadwa in her verse could not develop the symbol. She merely mentioned the disease, calling then on the clouds to rain, the wind to blow, and waiting for mercy to fall from the sky. This simplicity of expression in her poetry made her friend, Salma al-Khadra al-Jayyusi, say frankly: Later on in the fifties and sixties, many Palestinians were to play an active part in the creation of avant-garde poetry, and in poetic criticism (wher- ever they found themselves) but at the end of the forties their creative energy was curtailed. Only one voice of importance was to be heard on the West Bank of Jordan, that of Fadwa Tuqan, Ibrahim’s younger sister (b. 1917). However, her point of view was not universal enough and her education was insufficient to enable her to take a leading role in the general changes of outlook and technique which were seen to take place in Arabic poetry.(29) In another place of her critical book, al-Jayyusi says: “Love poetry soon adopts a new approach with the change of individual consciousness. This theme, more than any other, reflects people’s cultural attitudes, and changes of atti- tudes to love as shown by both men and women. Poets of this period deserve a detailed study. On the whole, avant-garde poets did not seem obsessed par- ticularly with problems of love, though there are several exceptions, such as Tawfik Sayegh who shows a complex attitude towards a problematic love 26 Al-Quds University Journal for Research and Studies - No.5 - March 2005 her personal identification. In her collection, Before the Closed Door, she found herself much excited and even lost when her friend, Gascoigne, asked her: “where are you from Where are you from? Spain? ø WÚ OÒ½U³Ý≈ °ø sÓ ¹√ sÚ (cid:14) No, I am from Jordan ° ÊœÔ —_« sÓ (cid:14) U½√ ÆÆ ö+ Excuse me! Jordan? ì ÊœÔ —_« sÓ (cid:14) ° «ÎuHŽ I don’t understand ì rN,√ ô I am from the hills of Jerusalem ”bIÔ (cid:12)« wЫ˗ s(cid:14) U½√ The land of the splendor and sun fLA] (cid:12)«Ë UMK] (cid:12)« s ÞË Ya! Ya! I know XÔ ,Ú dÓ ŽÓ °° U¹ ì U¹ You are a Jew.(28) W¹]œuN¹ ì Ê–≈ CRITICAL VIEWPOINTS After the fifth of June, 1967, our critics exaggerated in their evaluation of the poetry of resistance. Some of them pompously and extravagantly wel- comed this literary phenomenon. Indeed, they claimed that Fadwa Tuqan was reborn after the fifth of June; and that her collection, The Night and the Knights 1969 heralded a new poetess. On the other hand, some critics, perhaps led by Muhyi al-Din Subhi, criti- cized this viewpoint and claimed that those who considered Fadwa Tuqan to be changed were absolutely wrong, simply because they had failed to read between the lines to see whether or not the poetess had changed her poetic vision. They were deceived by the titles of her poem and failed to see that her vision of the surrounding world was still undeveloped. She still stands at the far shore from realistic poetry, and still refers to the Zionist occupation as a mystic strength with no mention of any real reason. Muhyi al-Din Subhi provokes an important question concerning the evalu- ation of Fadwa’s poetry after the fifth of June, 1967 asking: “Is it true that June, 1967, was a boundary line separating between two poetic stages of Fadwa Tuqan?ò To answer this question we may consult and review some poems just like Al Fidaßi wal-‘ard (The Commando and the Land) in her collection, Al-laylu Wal–Fursan (The Night and the Knights) 1969; and her collection Ala Qimmat 25 Love And War In The Poetry of Fadwa Tuqan understood its great role in the battle field. Mucin Bsaisu, one of the poets and resistance fighters, exactly as Abd al-Rahim Mahmud in the mid-forties, em- ployed both of the resisting poem as well as the machine gun. Fadwa Tuqan, in her poem, transmigrated through the note of the martyre Abu Ghazalah to recall Abu Tammam’s famous poem that starts historically to describe the dis- pute between the pen and the sowrd. V FK] (cid:23)«Ë b= '« 5Ð b^ (« ÁbÒ Š wL V²J(cid:23)« s(cid:25) ¡Î UMÐ√ ‚bw√ nÔ O2Ò (cid:23)« The poetess reached the top of her pains with the catastrophe of killing “the two Kamals, Kamal Nasir and Kamal Al-Najjarò and her poetry was converted to be a rhythm of painful sounds and words. Those, whom we love, went for away rN³×½ s¹c(cid:12)« V¼– Without any sound of their sadness dE½« ÆÆÆ Ê«eŠú(cid:12)  u> ô Look how my grief grew, silently UβL> XZ—Ë√ With its leaves on my lips. w½«eŠ√ w²Hý vKŽ How the letters grasp the U¼UHý ÆÆÆ ·Ëd(« XI³Þ√Ë Mouth while the words, deadly ... rNK¦(cid:14) vŽd>  ULKJ(cid:12)« jZUK²ð Fall like ... there disfigured crops WÎ ¼uÒ A(cid:14) UΦ¦Š What can I say to them? ÆÆÆ rN(cid:12) ‰uZ√ «–U(cid:14) Èdð While their blood is bleeding through my heart r¼ƒU(cid:14)œ qOKð w³KZ s(cid:14)Ë Those whom we love went away rN³×½ s¹c(cid:12)« V¼– And traveled, their ship ÆÆÆ «uKŠ— Didn’t throw its anchors on shores rN²MOHÝ UNOÝ«d(cid:14) XIKÞ√ U(cid:14)Ë Nor did the traveler’s eyes wzUM(cid:12)« Q,d*« œËbŠ X×K(cid:14) ôË Could whip the borders of the far coast.(27) Æ5KŠ«d(cid:12)« ÊuOŽ In addition to that, Fadwa Tuqan could not utilize this question of the com- mando and many other poetic questions and ideas to strengthen her poetic dimensions. She remained revolving in a vicious circle. Throughout her ear- lier poetic life and later on after the fifth of June, 1967, she could not rid herself of her romanticism. She had always been looking for her identity and 24