On Literature and Philosophy: The Non-Fiction Writing of Naguib Mahfouz

Volume 1

Naguib Mahfouz, Aran Byrne

• Editorial: Gingko
• Año: 2015
• ISBN:
  9781909942783
• Categoría: Literatura
• Categoría: Colecciones literarias

Naguib Mahfouz is one of the most important writers in contemporary Arabic literature. Winner of the Nobel Prize in 1988 (the only Arab writer to win the prize thus far), his novels helped bring Arabic literature onto the international stage. Far fewer people know his nonfiction works, however—a gap that this book fills. Bringing together Mahfouz's early nonfiction writings (most penned during the 1930s) which have not previously been available in English, this volume offers a rare glimpse into the early development of the renowned author.
As these pieces show, Mahfouz was deeply interested in literature and philosophy, and his early writings engage with the origins of philosophy, its development and place in the history of thought, as well its meaning writ large. In his literary essays, he discusses a wide range of authors, from Anton Chekov to his own Arab contemporaries like Taha Hussein. He also ventures into a host of important contemporary issues, including science and modernity, the growing movement for women's rights in the Arab world, and emerging ideologies like socialism—all of which outline the growing challenges to traditional modes of living that we saw all around him.
Together, these essays offer a fascinating window not just into the mind of Mahfouz himself but the changing landscape of Egypt during that time, from the development of Islam to the struggles between tradition, modernity, and the influences of the West.

I Have Read (Part 1)¹

 

Najib al-Hilali

Democracy consists of manifestations and essence. Its manifestations are elections and a parliament, and its essence is the capability of the people as demonstrated through their education in politics, the soundness of their knowledge concerning their rights and duties, and their general understanding of their role within society. All of these things qualify the people to elect representatives in a manner that is sound, and ensure that the direction they take will be informed by reason. In this way they will be able to see things with a keen and critical eye, to the extent that they will able to newly evaluate what it before them. True democracy, in its nature, aims to educate and train the people – unlike other political doctrines in which governments work to benefit an elite class, or in which they work for the common good according to the viewpoint of an elite class. These latter types of government withhold the light of learning from the people, or only provide it in a narrow and limited way, sometimes under the pretext that treasury funds have dried up, and sometimes under the pretext of the fear of increasing unemployment. The truth which is being concealed is that they are afraid that the people will awaken, and they are anxious about the people becoming enlightened by knowledge and realising that the ruling class is privileged while they are left to occupy a position of inferiority in the darkness of ignorance.

Let’s be clear, the real difference between a popular government and an aristocratic government is that the former works for the good of the people and dedicates itself to educating them, engendering confidence, trust and hope. As for the latter, if it does work for the good of the people this is done in a narrow and limited way in order to safeguard its own continuing luxury – above all, this necessitates the exploitation of the people.

In light of all of this we should consider Najib al-Hilali the greatest builder of true democracy in Egypt. He thoroughly understands his role and he completely grasps the importance of his mission. Furthermore, he is endowed with a brilliance in his ability, which reveals to him the right way through the thorns, the difficulties, and the darkness. It is no surprise, therefore, that he yearns for the advancement of a people who are near exhaustion after thousands of years of living under oppression. How often their backs have felt the scourges of violent despots!

I read the minister’s report concerning the education of the people and it caused a sense of relief and peace to enter my heart. It lifted me up to the firmament of its most exalted ideals, and it kindled the fire of zeal and virtue in my heart.² Through its light I saw the people awakening, as is the desire of this notable minster – a desire so different from that of the oppressors and the despots.

I Have Read (Part 2)¹

The Freedom of Genius

Genius is a sublime force. It is characterised by creativity and originality, but can only exist within an atmosphere of absolute freedom. This doesn’t mean that it disapproves of rules; rather, it is a law unto itself.

I recently read something by a young journalist addressed to Mr el-Akkad. He was of the opinion that the latter should abandon writing on his work A Compilation of Islam’s Geniuses and instead turn his attention to something more worthwhile.² Mr el-Akkad responded to him by saying that the correct and sensible view in this matter is that the writer is only answerable with regard to the proficiency he has in the subject, not with regard to his choice of subject. The fact of the matter is that it is reprehensible and tyrannical that someone would demand of a writer that he take up those subjects that accord with their taste – the writer is free to write what he likes and readers is free to read it or not. The freedom of the writer, as has been mentioned, makes its own rules. Through his senses the writer is informed of the currents within the society in which he lives – those which are apparent, but also those under the surface. He is guided by a sense of freedom in the choice of his subjects which appear as an expression of the reality of his environment, as hopes, or as distant dreams put on hold, to be realised in the remote future.

Many a reader will ask: is a history about the genius of Muhammad, Abu Bakr, Umar, and Ali of any real value to us these days? Well I say this: this subject is by no means alien, it is something which stirs the breast of our society. I am not talking here about its religious value or its human significance; rather, I am referring, in particular, to that which connects it with the consciousness of the Arab nation. A universal wakefulness has spread through it which watches over the nation’s ancient roots and illuminates its hopes on the horizon. I am calling attention here to the association between its spirit and some of the aspects of our modern Nahda. Those possessing genius are the rightly guided caliphs. They were the rulers who found Islam to be the best expression of the spirit of their era. By this ‘spirit’ here I mean that noble inclination toward simplicity and equality, or what we refer to as ‘the socialism of Islam’.

Socialism is a doctrine of the modern era in Egypt. No party has yet been inclined to stand up for its principles but there is a burning enthusiasm for it in the hearts of many young people. To summarise all this we can say that the freedom of genius is indispensible; it seeks the right way according to its own particular rules and it does not stray from its path.

The Fears of a Writer

In the publication al-Thaqafa, one writer wrote a piece warning about embracing the principles of socialism, because, in his view, socialism could only be realised through the shedding of blood. Secondly, he saw it as a threat to intellectual freedom! The reality is that these two charges against socialism couldn’t be further from the truth. The foundation of socialism is development, not revolution, as is the case with communism. Many socialist leaders are intellectuals who are famed for their service to the cause of peace – thoughts about shedding blood couldn’t be further from the mind of a socialist.

Socialism’s advocacy of development is sufficient to refute the erroneous beliefs of those who see it as a threat to human thought. Advancing the cause of development requires publicity and persuasion within the parameters of the parliamentary system. If socialism attains power through the parliamentary system then it will not consider abolishing it, nor will its esteem for thought and freedom change.

We ask those who are frightened of it: are intellectual freedom and social justice incompatible? Can science and art only originate in a society crippled by poverty, ignorance, and sickness?

Writers should make a distinction between communist dictatorship and democratic socialism. Communism – which calls for revolution – protects itself by means of dictatorship. It permits the existence of only one political party and one point of view, and it eradicates any political parties or views which oppose it. Thought is shackled in a communist state. As for socialism, however, it approves of neither revolution nor dictatorship.

Of Art and History¹

Umm Kulthum

Umm Kulthum is an incomparable singer – the like of which rarely comes along. Her larynx is of the highest degree; her voice is sweet, melodious, supple and powerful. Her priceless voice is distinguished by its excellent qualities; it combines strength, tenderness, resonance, sweetness, length of breath, and a penetrating impact. Surrounding all of these things is a luminous halo of artistic brilliance whose creative power goes from strength to strength as it continues to charm and enchant. When it astonishes people to the point where they think that there is no further level of astonishment, it then mocks them through its infinite creativity, showing them that there is no limit, nor end, with regard to its power to astonish.

It is undeniable that, among contemporary, Egyptian voices, there is no voice that can compare with the sublime voice of Umm Kulthum. You can praise the singing of Asmahan, of Leila Mourad, and Nur al-Huda, as much as you like, but if you compare their voices to that of Umm Kulthum you do them more harm than good. You abase them though your intention was to exalt them, and you reduce them to the dust thought you sought to raise them to the heavens.

The celebration of life and strength in the songs of Umm Kulthum is such that the songs of other singers, both male and female, fall short of it. Perhaps the artists who compose songs for her are affected by the vitality of her spirit and the grace of her voice, such that not a song of hers has ever deviated from the path of true art, be it a song of sorrow or of joy. She remains seated upon her throne. Through her the bright hope of the future is opened to us, while the radiant joys of the past are rolled up.

Zakariyya Ahmad

Zakariyya Ahmad is the indisputable leader of the traditional style. He has a unique station not enjoyed by any other; the musicians of all styles are unanimous in their reverence for him and in their acknowledgment that he produces true art.

There may be a difference of opinion when it comes to the old style of singing and the modern; however, the distinguishing marks of true talent cannot be concealed, regardless of subject or period. It is for this reason that Zakariyya Ahmad is unanimously regarded as a gifted artist. I will not stop here though; instead, I will say this, that among the distinguished contemporary musicians he is the only one who deserves to be called an artist, according to the true meaning of the word. Art is creative ability and originality. These days the notable artists put most of their efforts into borrowing from the music of the West. This is commendable, and it represents a transitional phase, but it is less than art, according to the true sense of the word.

The two outstanding leaders of this movement which leans toward the music of the West are Mohamed El Qasabgi and his brilliant pupil, Mohammed Abdel Wahab. Zakariyya Ahmad, however, is not of their kind; he is truly an artist. His music comes from the bottom of his heart and from the essence of his soul. In some of his songs one might hear the echoes of old songs, but such echoes are natural and arise from his assimilation of the music he studied and benefitted from – in no way do they blot out his own individuality.

As with his great teacher, Sayed Darwish, before him, the art of Zakariyya Ahmad is distinguished by a simplicity which lures emulators, but also an unrelenting impeccability which they cannot hope to attain. Furthermore, it is also distinguished by a realism that is underpinned by genuine expression, to the extent that you can always perceive in his music a perfect harmony between expression and its meaning on the one hand, and their musical interpretation on the other. On top of all this, his songs possess an authentic Egyptian sweetness which causes mutual affection and understanding to burst forth from the depths of our souls; it is almost as if it frankly relates our psychological history with all its shades of joy, passion, contemplation and hope.

It cannot be demanded that artists belong to one particular school or another. All that we can hope from them is that they are proficient and creative. Art is not judged by whether it is old or modern, but by the perfection which flies above the gauges of time.

Concerning the Book Artistic Imagery in the Qur’an¹

I read your book Artistic Imagery in the Qur’an with interest and zeal,² and I found two great benefits in it. The first benefit is for the reader, especially the reader who has not had the good fortune of studying the Islamic sciences nor of plunging into the mysteries of its eloquence. But there is no doubt that even the erudite reader will find new illumination and exceptional enjoyment in your book. An eternal book like the Qur’an does not reveal all of its aesthetic secrets to one generation, no matter how refined its taste or keen its understanding. The present generation has its own task in this matter, just as future generations will have theirs. The important point is that you have succeeded in becoming a voice for our current generation, with regards to carrying out of this beautiful and sublime duty. Our generation seeks the aid of such highly artistic works which are being composed by its contemporaries who enter into the valley of art guided by their light.

From an aesthetic point of view, our era is truly the era of music, of image making, and the story. It is you who, with vigour and inspiration, show us that our beloved Qur’an is the music, the imagery, and the story, at their most sublime forms in terms of in...