KEATS,
SHELLEY AND BYRON IN NAZIK AL-MALA'IKAH'S POETRY
Hana' Al-Bayyati
Ph. D. submitted to:
Glasgow University, Glasgow,
1989
Scotland, Britain
TRANSLITERATION
ء '
ب b
ت t
ث th
ج j
ح h
خ kh
د d
ذ dh
ر r
ز z
س s
ش sh
ص s
ض d
ط t
ظ z
ع C
غ gh
ف f
ق q
ك k
ل l
م m
ن n
ه h
و w
ي y
ة t
SHORT VOWELS
_َ =a
ِ= i
_ُ= u
LONG VOWELS
ا َ = ā
ي ِ = ī
و ُ = ū
DIPHTHONGS
أو َ = aw
أي َ = ay
AKNOWLEDGEMENTS
I am profoundly indebted to my two supervisors, (the
late John Mattock, head of the Department of Arabic and Islamic Studies (died
a few years ago) and Richard Cronin, a
professor in the English Literature Department, without whose support, patience
and wise guidance this thesis would never have reached its final version. I
would also like to thank my additional supervisor assistant Mr. James
Montgomery, teacher in the Department of Arabic, for his great help for a year.
I must express my sincere thankfulness to Maureen Johnston who has typed the
draft twice, because of a computer failure. I owe (the late) Nāzik al-Malā'ikah
(died a few years ago), her husband CAbdul Hādī Mahbūbah and her son
al-Barrāq my profound gratitude for their hospitality and the helpful
information they provided me with. I also owe (the late) CAbd
al-Wahhāb al-Bayyātī my great thankfulness for his generosity and his great
help. I paid a visit
.to both in their dwelling places, the first in Kuwait, the second in Spain
.to both in their dwelling places, the first in Kuwait, the second in Spain
My gratitude is
further due to many Iraqi writers at Baghdad University: Jalāl Khayyāt, CInād
al-Kubaysī, Razzūq Faraj Razzūq, Ahmad Matlūb, Muhsīn Utemish and Muhsin Jamāl
al-Dīn, and in addition, to Jabrā Ibrāhīm Jabrā for his hospitality and wise
guidance. My profound gratitude is also due to the Arab writers at Kuwait University :
CAbdah Badawī (from Egypt )
and CAbd Allāh al-Muhannā (from Kuwait Oxford University
My sincere thanks
go to the staff of the Central Library of Basrab University and College of arts
Library for their kindness and special help. They also go to: al-Mustansiriyyah
and Baghdad University Libraries, Kuwait University Library, School of Oriental
and African Studies Library (London ), Middle
East Center Library (Oxford ) and Cambridge
ABSTRACT
The main purpose of
this thesis is to trace the impact of the English Romantic poets, especially
Keats, Shelley and Byron, on Arab/Iraqi Romantic poetry and in particular that
of Nāzik al-Malā'ikah.
The thesis is
divided into two volumes. The first volume consists of three chapters, each
into short sections. The first chapter is a detailed introduction to the three
other chapters. It discusses the problem of defining the term 'Romanticism'. It
studies comparatively the four fundamentals of the English and Arabic Romantic
theories. It traces the origin and the development of Arabic/Iraqi Romanticism;
It also traces the sources of Nāzik’s knowledge of World literature: Arabic,
English, American, French, German, Greek, Latin and Scandinavian. Nāzik’s poems
and those of other Arabic Romantic poets, such as Iliyyā Abū Mādī, CAlī
Mahmūd Tāhā, and Abū 'l-Qāsim 'l-Shābbī are compared. The importance of the poems
that appear in The Golden Treasury to Arabic poetry in general and to
Nāzik's poetry in particular is highlighted. A list of English poets, such as
Shakespeare, Milton, Gray, Coleridge, Wordsworth, Keats, Shelley and Byron,
whose poems and thoughts are influential on Nāzik's poetry and critical works,
is arranged chronologically with a short introduction to each poet and his
position in Arabic/Iraqi poetry in general and in Nāzik’s literary works in
particular. CAbdul-Hai's bibliography of the Arabic versions of
English poetry and jīhān Ra'uf’s bibliography of the Arabic versions of
Shelley’s poetry are given, in order to indicate the earliest possible date of
Arabic translation from English poetry.
The second chapter is divided into two parts. These parts are preceded by a short introduction on Arabic translation of English poetry, followed by a section on Nāzik's motives in translating English poetry. In the first part, Arabic versions of Gray’s Elegy by Andraus, Mahmūd, al-Muttalibī and Nāzik are analysed comparatively to establish whether Nāzik's version is original or dependent on the other earlier Arabic versions. In the final section, the Influence of Gray’s Elegy on Nāzik’s themes and imagery is traced. In the second part of this chapter, Nāzik’s version of Byron’s address to the ocean in the fourth canto of Childe Harold's Pilgrimage is fully analyzed, preceded by a list of Arabic versions of Byron’s poems. Nāzik's version is studied independently from other Arabic versions, because most of the versions found are of different parts of Byron’s poem. A section is devoted to Nāzik’s and Byron’s relationship with the sea. In the last section, the impact of this passage on Nāzik’s poetry is traced and compared to that of Gray's Elegy.
The third chapter traces
the presence of Keats’s odes in Nāzik’s poetry. This chapter is introduced by a
definition of the term 'Ode'. The second section traces the impact of the
themes and imagery of Keats’s odes on Nāzik’s poetry. Four sections are devoted
to establishing the common contrasting themes in Keats’s and Nāzik’s poetry.
The following sections are devoted to the natural elements common to the poetry
of Nāzik and Keats: the birds, the wind, the river, the sun and the moon. The
final sections study comparatively Nāzik’s and Keats’s common literary,
devices: Personification, Synaesthesia and Compound adjectives.
The second volume
consists of the fourth chapter, the tables and the bibliography. This chapter
studies the allusions in Nāzik's poetry, and traces their sources in Keats,
Shelley, Byron and Anatole France. A section is devoted to names alluded to in
Nāzik’s poetry. The significance of The Golden Bough in Arabic is
highlighted in a separate section, followed by a section on Nāzik’s
mythological themes and symbols. Two sections are devoted to the relations of
the Jinniyyah to poetry and to god. The appearance and functions of Nāzik's
Jinniyyah are compared to those of similar figures in Anatole France and
Shelley. Nāzik’s Jinniyyah is seen as the synthesis of a complex mythological
tradition. Many examples are given to discuss her relations to:
(1) male and female mythological, religious and cultural characters, such as: Adam, Cain, Abel, Prometheus, Christ, Muhammad, Paphnutius, Midas, Plutus, Eve, Thais, Adonis, Cupid, Narcissus, Nessus, Ares, Magdalen, Venus, Diana, RābiCah al-CAdawiyyah, the Sleeping Beauty, Demeter, Rapunzel and Shahrazād.
(2) supernatural
creatures, such as: the serpent, the demon, the spider, the sirens, the giant
fish, the ghosts and the ghoul.
(3) mythological
things, such as: the Labyrinth, Lethe, Eldorado, Pactolus and al-Kawthar.
A section is devoted to the symbol of Gold in
Nāzik’s and in English poetry. Nine tables are supplied, setting out the common
mythological names that occur in Nāzik’s, Keats’s, Shelley’s and Byron’s
poetry.
A bibliography of primary and secondary Arabic and English sources is given. This bibliography contains the works cited throughout and other relevant secondary sources. The former are marked with an asterisk.
KEATS, SHELLEY AND BYRON
IN NAZIK AL-MALA'IKAH'S POETRY
TABLE OF CONTENTS
VOLUME (1)
CHAPTER ONE: ENGLISH
AND ARABIC/IRAQI ROMANTICISM:
-The Problem of
Definition …………………………………………..
(A) A Human
Tendency………………………………………………
(B) A Historical Movement……………………………………………
-Fundamentals
of Arabic/Iraqi and English Romanticism…………..
(1)
Individualism………………………………………………………
-The Poet as
a Prophet ………………………………………………..
(2)
Nature……………………………………………………………….
-Nature as a
Refuge…………………………………………………….
The Night and
Poetry………………………………………………….
(3)
Imagination ………………...………………………………………
(4)
Emotion……………………………………………………………..
-The Origin
and Development of Arabic/Iraqi Romanticism……….
-Romantic
Groups and Journals ………………………………………
(1) al-Dīwān…………………………………………………………….
(2) Abūlū………………………………………………………..………
(3) al-Mahjar……………………………………………………………
Iraqi Romantic
Groups and Journals………………………….……….
Nāzik's Knowledge
of World Literature:……………………….…….
(1)
Knowledge of Arabic Literature …………………………….…….
(2)
Knowledge of English Literature …………………………………..
(A) The
Significance of Palgrave's "The Golden Treasury" in
Arabic
………………………………………………………………..
(B) The
Influence of the poems of "The
Golden Treasury" on Nāzik's poetry …………………………………………………………………..
(a)
Pre-Romantic Poets………………………………………………….
(1) William
Shakespeare………………………………………………….
(2) John
Milton …………………………………………………………..
(3) Thomas
Gray …………………………………………………………
(b) The
Romantic Poets………………………………………………….
(1) Samuel
Taylor Coleridge……………………………………………..
(2) William
Wordsworth ………………………………………………..
(3) John
Keats ……………………………………………………………
(4) Percy
Bysshe Shelley…………………………………………………
(5) George
Gordon Lord Byron………………………………………….
(3)
Knowledge of American Literature………………………………….
(4)
Knowledge of French Literature…………………………………….
(5) Knowledge
of German Literature………………………………….
(6)
Knowledge of Greek and Latin Literature…………………………
(7)
Knowledge of Scandinavian Literature…………………………….
Notes
CHAPTER TWO: TRANSLATION
AS A FIRST STEP TO INFLUENCE:
-Arabic Translation
of English Poetry ………………………………….
-Motives for
Translating English Poetry ………………………………..
-Nāzik's and
other Arabic Versions of Gray's Elegy:……………………
-Imagery:…………………………………………………………………
(1)
Visual…………………………………………………………………
(2)
Auditory………………………………………………………………
-Vocabulary:……………………………………………………………..
(1) Words
and Phrases…………………………………………………..
(2) Proper
Names ……………………………………………………….
(3) The
Pronoun 'Thee'…………………………………………………
-Adjectives
and Adverbs …………………………………………………
-The
Address…………………………………………………………….
-The
Epitaph…………………………………………………………….
-Additions………………………………………………………………
-Omissions……………………………………………………………..
-Inversion……………………………………………………………….
-Compression
and Expansion…………………………………………..
-The Impact of Gray's Elegy on Nazik's
Poetry:……..………….
(1)
Contrasting Themes ……………..…………………………………
(2)
Imagery………………………….………………………………….
(3) The
Poet…………………………………………………………….
(B) Nāzik's Version
of Byron's address to the Ocean in Childe Harold's Pilgrimage:
………………………………………………………………
-Themes and
Imagery…………………………………………………..
-Byron's and
Nāzik's Relationships with the Sea……………………..
-Adaptation:…………………………………………………………….
(1) Omission……………………………………………………………
(2)Compression and
Expansion………………………………………..
-The Impact
of Byron's address to the Ocean on Nāzik's Poetry:
(1) The
Device of Addressing Natural Elements……………………..
(2) Weakness and
Strenghth……………………………………………
Notes: ………………………………………………………………..
CHAPTER THREE: THE
PRESENCE_OF KEATS'S ODES IN NAZIK'S POETRY:
-The
Definition of the Term 'Ode'………………………………………
-The Impact
of Keats's Odes on Nāzik's Odes…………………………..
-Common
Themes and Imagery in Nāzik's and Keats's Poetry:
-Contrasting
Themes:……………………………………………………
(1) Life and
Death…………………………………………………………
(2) Death
and Poetry ……………………………………………………
(3) Pain a
Pleasure ……………………………………………………….
(4) Vision
and Reality ……………………………………………………
-Imagery:………………………………………………………………….
(A) The Birds and
the Wind:……………………………………………
(1) The
Birds in Arabic Poetry……………………………………………
(2) The
Significance of the Birds in Nāzik's Poetry ……………………
(3)
al-Qumriyyah (the Turtle Dove) and the Nightingale as……………
-Symbols of
poetry………………………………………………………..
(4)
Disembodied Voice…………………………………………………..
(5) The Wind
as a Symbol of Poetry……………………………………..
-Keats's
"Ode to a Nightthgale", and Shelley's "Ode to the West
Wind" in Nāzik's poetry………………………………………………………….
-Nāzik's
"Ilā 'l-shāCir kīts" and al-Sayyāb's "Ri'ah
tatamazzaq"
-The Sun and
the Moon as Symbols of Poetry:………………………….
(1)
The Sun (=
Apollo)………...………………………………………
(2) The Moon ………………………………………………………...
-The River
as a Lover and a God:………………………………………..
(1) As a
Lover…………………………………………………………….
(2) As a
God………………………………………………………………..
-Common
Literary Devices in Nāzik's and Keats's Poetry:
(1)
Personification………………………………………………………...
-Pain as a
God …………………………………………………………….
(2)
Synaesthesia ………………………………………………………….
(3) Compound
Adjectives ………………………………………………..
Notes: …………………………………………………………………….
VOLUME (2)
CHAPT ER FOUR: GREEK, ROMAN AND OTHER CULTURAL ALLUSIONS
IN NAZIK AL-MALA'KAH: THE HERITAGE OF
KEATS, SHELLEY, BYRON AND AN
ANATOLE FRANCE:
Introduction:
……………………………………………………………..
Sources of Nazik’s
Mythological Poetry ………………………………..
The Significance of
to Nazik…………………………………………….
Mythological Themes
and Symbols…………………………………….
The Relation of the
JinniyyaJ to Poetry…………………………………
The Relation of the
Jinnlyyah to God ( Poetry) ………………………..
The Jlnnlyyah’s
Dwelling Places and their Relations with Poetry…….
The Jinniyyah’s
Appearance in N Poetry ………………………………
(1) Her Complexion and Hair ………………………………………..
(2) Her Hands and Hair………………………………………………
(3) Her Clothes………………………………………………………..
The Jlnniyyah as a
Syndretic of Mythological Characters …………….
Thais and
Paphnutius and the Theme of Sin and Repentance…………
Thais arid Rabfah
al_CAdawiyyah……………………………………….
The Story of the
Fall of Adam and Eve in Nazik’s Poetry and France
Novel Thais
……………………………………………………………..
Eve, Prometheus and
Christ……………………………………………
The Jinniyyah and
the Supernatural Creatures:………………………..
The Serpent and
Adam and Eve………………………………………..
Cain and
Abel……………………………………………………………
Medusa and
Cain…………………………………………………………
Medusa and Nessus
……………………………………………………..
The Jinniyyah as a
Demon ………………………………………………
The Serpent and
Ares …………………………………………………….
The Serpent and the
Labyrinth…………………………………………..
The Jinniyyah and
the Sirens …………………………………………...
The Spider and
Thais …………………………………………………….
The Giant Fish
…………………...……………………………………….
The Ghosts and the
Ghouls………………………………………………
Venus and
Adonis………………………………………………………..
The Jinniyyah,
Derneter and Persephone ………………………………
The Jiriniyyah and
Cupid…………………………………………………
The Theme of
Gold………………………………………………………
Midas……………………………………………………………………..
Plutus……………………………………………………………………..
ILdorado and
Pactolus……………………………………………………
Ildorado and
Utopia…………………………………………………….
Pactolus and
Lethe………………………………………………………
Lethe and
al-Kawthar …………………………………………………..
The Combination of
Different Religions and Cultural Characters:
(Indian: Buddha and Brahma
)………………………………………….
(B) Jewish and Is1a Abraham, Hagar and Ishmael
…………………..
(C) Islamic and Christian —— Muhammad and Mary
Magdalen…...
(D) Eastern and Western:……………….…………………………….
(1) Shahrazad,Diana and
Narcissus …………………………………...
(2) Nah and Rapunzel ………………………………………………...
(E) Greek and Roman………………………………………………….
Conclusion:………………………………………………………………..
Tables:…………………………………………………………………….
Notes:………………………………………………………………………
General Bibliography:………………………………………………...
(1) Primary Sources:…………………………………………………...
(A) Arabic:………………………………………………………………
(B) English:…………………………………………………………….
(2) Secondary Sources:………………………………………………..
(A) For Arabic Literature :……………………………………………..
(B) For English Literature :…………………………………………….
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