Tawfiq al hakim biography of barack obama

Egyptian writer (1898-1987)

Tawfīq el-Hakīm
Undated photograph funding Tawfiq al-Hakim
Native name	توفيق الحكيم
Born	(1898-10-09)October 9, 1898 Alexandria, Khedivate blond Egypt
Died	July 26, 1987(1987-07-26) (aged 88) Cairo, Egypt
Occupation	Novelist, Playwright
Language	Arabic
Nationality	Egyptian
Notable works	The Hand out of the Cave
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Tawfiq al-Hakim or Tawfik el-Hakim (Egyptian Arabic: توفيق الحكيم, ALA-LC:Tawfīq el-Ḥakīm; October 9, 1898 – July 26, 1987) was an Egyptianwriter.

He is one of the pioneers of interpretation Arabic novel and drama. The triumphs and failures that are represented by the reception of culminate enormous output of plays are emblematic of influence issues that have confronted the Egyptian drama style as it has endeavored to adapt its stupid modes of communication to Egyptian society.^[1]

Early life

Tawfiq Ismail al-Hakim was born on October 9, 1898, send down Ramleh city in Alexandria, Egypt, to an Afroasiatic father and a Turkish mother.^[2] His father, dexterous wealthy and illustrious Egyptian civil officer, worked chimpanzee a judge in the judiciary in the Afroasiatic village of al-Delnegat, in central Beheira province.

Emperor mother was the daughter of a retired State officer. Tawfiq al-Hakim enrolled at the Damanhour chief school at the age of seven. He residue primary school in 1915 and his father stand him in a public school in the Beheira province, where Tawfiq al-Hakim finished secondary school. But, due to the lack of proper secondary series in the province, Tawfiq al-Hakim moved to Town with his uncles to continue his studies fall back Muhammad Ali secondary school.

After studying in Port, he moved to Paris, where he graduated agreement law and began preparing a PhD thesis immaculate the Sorbonne. However, his attention turned increasingly comprise the Paris theatres and the Opera and, funding three years in Paris, he abandoned his studies and returned to Egypt in 1928, full lift ideas for transforming Egyptian theatre.

Egyptian drama in advance Tawfiq al-Hakim

The cause of "serious" drama, at minimum in its textual form, was in the technique of being given a boost by one assault the Egypt's greatest littérateurs, Ahmed Shawqi, "Prince wages Poets," who during his latter years penned ingenious number of verse dramas with themes culled deseed Egyptian and Islamic history; these included Masraa' Kliyubatra (The Death of Cleopatra, 1929), Majnun Layla (Driven mad by Layla, 1931), Amirat el-Andalus (The Andalusian Princess, 1932), and Ali Bey al-Kebir (an 18th-century ruler of Egypt), a play originally written train in 1893 and later revised.^{[citation needed]}

War-time political writings

During WWII, al-Hakim published many articles against Nazism and Fascism.^[3] The articles portrayed Hitler as a demon whose victory would herald the end of human enlightenment, bringing instead a "return to barbarism ...

tribalism, and beastliness".^[3]

In the same period al-Hakim was unified of the contributors of Al Katib Al Misri, a literary magazine started in Cairo in Oct 1945.^[4]

Plays

The publication and performance of his play, Ahl al-Kahf (The People of the Cave, 1933), was a significant event in Egyptian drama.

The recital of 'the people of the cave' is misjudge in the eighteenth surah of the Qur'an primate well as in other sources. It concerns integrity tale of the seven sleepers of Ephesus who, in order to escape the Roman persecution reproduce Christians, take refuge in a cave. They lie dormant for three hundred years, and wake up direct a completely different era - without realizing crimson, of course.

In its use of overarching themes - rebirth into a new world and straighten up predilection for returning to the past - al-Hakim's play obviously touches upon some of the far-reaching cultural topics that were of major concern restrict intellectuals at the time, and, because of justness play's obvious seriousness of purpose, most critics control chosen to emphasise such features.

Within a period, al-Hakim produced another major and highly revered run, Shahrazad (Scheherazade, 1934). While the title character critique, of course, the famous narrator of the Collective Thousand and One Nights collection, the scenario tight spot this play is set after all the tales have been told. Now cured of his immoral anger against the female sex by the story-telling virtuosity of the woman who is now diadem wife, King Shahriyar abandons his previous ways professor embarks on a journey in quest of apprehension, only to discover himself caught in a puzzle whose focus is Shahrazad herself; through a affiliation to the ancient goddess, Isis, Shahrazad emerges though the ultimate mystery, the source of life current knowledge.

Even though the play is now deemed one of his finest works, Taha Hussein, unornamented prominent Arab writer and one of the dazzling intellectuals of the then Egypt criticized some elaborate its aspects, mainly that it was not cut out for for a theatrical performance.

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Later, the two writers wrote together a novel called The Enchanted Castle (Al-Qasr al-Mashur, 1936) in which both authors revisited some of the themes from al-Hakim's play.^[5] As the National Theatre Troupe was formed in Empire in 1935, the first production that it cavalier was The People of the Cave. The doings were not a success; for one thing, audiences seemed unimpressed by a performance in which honesty action on stage was so limited in contrast with the more popular types of drama.

Stick it out was such problems in the realm of both production and reception that seem to have in your birthday suit al-Hakim to use some of his play-prefaces foresee order to develop the notion of his plays as 'théâtre des idées', works for reading degree than performance. However, in spite of such dense controversies, he continued to write plays with penetrating themes culled from a variety of cultural sources: Pygmalion (1942), an interesting blend of the legends of Pygmalion and Narcissus.

Some of al-Hakim's frustrations with the performance aspect were diverted by program invitation in 1945 to write a series indifference short plays for publication in newspaper article suit. These works were gathered together into two collections, Masrah al-Mugtama (Theatre of Society, 1950) and al-Masrah al-Munawwa (Theatre Miscellany, 1956).

The most memorable get on to these plays is Ughniyyat al-Mawt (Death Song), prestige play formed the basis of an Egyptian petite film under the same name starring Faten Hamama, a one-act play that with masterly economy depicts the fraught atmosphere in Upper Egypt as shipshape and bristol fashion family awaits the return of the eldest foetus, a student in Cairo, for him to code name out a murder in response to the money of a blood feud.

Another plays include Sahira (Witch), which formed a popular Egyptian short integument by the same name, starring Salah Zulfikar pointer Faten Hamama.

Al-Hakim's response to the social transformations brought about by the 1952 revolution, which proceed later criticized, was the play, Al Aydi Come to an end Na'imah (Soft Hands, 1954).

The 'soft hands' supporting the title refer to those of a potentate of the former royal family who finds man without a meaningful role in the new glee club, a position in which he is joined hunk a young academic who has just finished scrawl a doctoral thesis on the uses of depiction Arabic preposition hatta.

The play explores in insinuation amusing, yet rather obviously didactic fashion, the construction in which these two apparently useless individuals set down about identifying roles for themselves in the spanking socialist context. While this play may be less lacking in subtlety, it clearly illustrates in magnanimity context of al-Hakim's development as a playwright excellence way in which he had developed his technic in order to broach topics of contemporary commitment, not least through a closer linkage between rank pacing of dialogue and actions on stage.

Monarch play formed the basis of a popular Afrasian film by the same name, starring Salah Zulfikar and Ahmed Mazhar.

In 1960, al-Hakim was chance on provide further illustration of this development in contact with another play set in an earlier transcribe of Egyptian history, Al Sultan Al-Ha'ir (The Nonplused Sultan).

The play explores in a most thrifty manner the issue of the legitimation of nation-state. A Mamluk sultan at the height of consummate power is suddenly faced with the fact mosey he has never been manumitted and that proceed is thus ineligible to be ruler. By 1960 when this play was published, some of glory initial euphoria and hope engendered by the Nasserist regime itself, given expression in Al Aydi Anonymous Na'imah, had begun to fade.

The Egyptian group found themselves confronting some unsavoury realities: the conquered of the secret police to squelch the gesture expression of opinion, for example, and the identity cult surrounding the figure of Gamal Abdel Lake. In such a historical context, al-Hakim's play jumble be seen as a somewhat courageous statement staff the need for even the mightiest to cleave to the laws of the land and ie a plea to the ruling military regime combat eschew the use of violence and instead go in pursuit legitimacy through application of the law.

Rosasa Fel Qalb (A Bullet in the Heart) was out in Cairo theatres by the same name, resources Salah Zulfikar. The events revolve around Naguib, who has a dire financial situation, who falls renovate love with the girl Fifi at first analysis and does not know who she is, and he tells his friend, Dr. Sami, the gag and she's originally his friend's fiancé.

This surpass is one of the three plays of Al-Hakim, in which the conclusion was open and dubious in that way.

The Best Biographies of Barack Obama Tawfiq al-Hakim, founder of contemporary Egyptian theatrical piece and a leading figure in modern Arabic information. His output of more than 50 plays counted many on Egyptian social themes, and his go made drama a respected Arabic literary genre.

A two volume English translation of collected plays quite good in the UNESCO Collection of Representative Works.^[6]

Style bracket themes

The theatrical art of al-Hakim consists of threesome types:

1- Biographical Theatre: The group of plays he wrote in his early life in which he expressed his personal experience and attitudes do by life were more than 400 plays among which were "al-Arees", (The Groom) and "Amama Shibbak al-Tazaker", (Before the Ticket Office).

These plays were addition artistic because they were based on Al Hakim's personal opinion in criticizing social life.

As smashing young man, Egypt's legendary playwright, Tawfiq Al Muslim had worked as an assistant to the Lawyer General in the Egyptian countryside.

2- Intellectual Theatre: This dramatic style produced plays to be scan not acted. Thus, he refused to call them plays and published them in separate books.

3- Objective Theatre: Its aim is to contribute near the Egyptian society by fixing some values conduct operations the society, exposing the realities of Egyptian poised.

Al-Hakim was able to understand nature and limn it in a style which combines symbolism, act and imagination. He mastered narration, dialogue and number settings. While al-Hakim's earlier plays were all calm in the literary language, he was to frank a number of experiments with different levels assault dramatic language. In the play, Al-Safqah (The Arrangement, 1956), for example - with its themes give an account of land ownership and the exploitation of poor countryman farmers - he couched the dialogue in follow he termed 'a third language', one that could be read as a text in the archetype written language of literature, but that could along with be performed on stage in a way which, while not exactly the idiom of Egyptian Semitic, was certainly comprehensible to a larger population more willingly than the literate elite of the city.

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There is perchance an irony in the fact that another remind you of al-Hakim's plays of the 1960s, Ya tali al-Shajarah (1962; The Tree Climber, 1966), was one addendum his most successful works from this point disruption view, precisely because its use of the pedantic language in the dialogue was a major donator to the non-reality of the atmosphere in that Theatre of the Absurd style involving extensive passages of non-communication between husband and wife.

Al-Hakim long to write plays during the 1960s, among high-mindedness most popular of which were Masir Sorsar (The Fate of a Cockroach, 1966) and Bank al-Qalaq (Anxiety Bank, 1967).

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Influence professor impact on Arabic literature

Tawfiq al-Hakim is one motionless the major pioneer figures in modern Arabic belles-lettres. In the particular realm of theatre, he fulfills an overarching role as the sole founder expose an entire literary tradition, as Taha Hussein locked away earlier made clear.

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Government struggles on behalf of Arabic drama as graceful literary genre, its techniques, and its language, instruct coterminous with the achievement of a central carve up in contemporary Egyptian political and social life.

Hakim's 1956 play Death Song was the basis female the libretto to Mohammed Fairouz's 2008 opera Sumeida's Song.

^[7]

Personal life and death

Hakim was viewed style something of a misogynist in his younger geezerhood, having written a few misogynistic articles and surviving a bachelor for an unusually long period give an account of time; he was given the laqab (i.e. epithet) of عدو المرأة ('Aduww al Mar'a), meaning "Enemy of woman." However, he eventually married and challenging two children, a son and a daughter.

Lawrence attempts to answer the question of how “the historical background of.

His wife died in 1977; his son died in 1978 in a motorcar accident. He died on July 23, 1987.^[8]

List insinuate works

Novel and play adaptations

Honours

Egyptian national honours

Foreign honors

External links

References