Resistance Literature: PALESTINIAN CONCEPT BETWEEN THE INVIOLABLE AND THE SYNONYMOUS

REMARK

When the homeland is hanged on the gallows of the butcher and when battle takes place in a gloomy development, when the soil is set by the occupier so that the glowing blood runs like rivers, the question is :-

 Has the poets departed the devastated land?

Has conversation ceased in time of reading?

Have the pens twitched with their resistive ink?

Or is the ordeal which is saturated with blood and veiled with despair dictate silence?

 If the logo (the word) is the sword of resistance, and the writer is the concept of the nation and the notion is the horizon of the Alpha and Omega, then the soul must resuscitate, and definitely in the corridors of silence the logo will explode and the concept will be exultant..

 In this introduction, I stop at the numerous interwoven politics which the Palestinian individual in general and the Palestinian writer in particular have labored under. Further, at a glance we look at the brightening qualitative angle of the Palestinian literature and the blazing fire of love when the letters that precede the actual resistance are lost because of the relaxed international politics. This type of politics that behaved as an observer and towards the cessation of the resistance and the resisting thought. They tried to pervert

the rooted notion of strife and let the curtain fall on reminiscence by creating theories to solutions that cannot be seen in the naked eye in order to monitor people who will not kowtow. Further, they try to give solutions which are like castles in the air.

 Consequently, we pass through the outbreak of innovative conscience undertaken by the Palestinian writer. The subsequent disasters and occupation gave momentum to the Palestinian pen and its outburst in the face of the evil power and resists all shapes of occupation. Poetry has then come to coin the message and the miracle or the military statement of special strain in the battle. Poet MAHMOUD DARWISH has said:-

Our poetry is colorless

With no taste

With no sound

If they do not carry the torch

 from one house to the other. (1)

 This is a confirmation that the logo is a preface to a cultural, human, political and strategic goal on which the innovator depends on the fact that the spirit will be instilled in it in the light of everlasting love.

 These enlightened thoughts are well embedded in the culture of resistance / the culture of the revolution(2) as was annotated by GHASSAN KANAFANI, RAJA NAQQASH,  IHSAN ABBAS , GHALI SHUKRI , HUSSEIN MUROWWAH, MUHAMMAD DAKROUB and others of the Palestinian and Arab writers and thinkers. The revolution came AVANT-GARDE through the history of the political events that have embodied the spirit of the Palestinian pens as light curtains to preserve the memory and keep it in momentum.

 Cultural freedom and national integrity are the main innovations that constitute to the miraculous concept/the inviolable thought. Further, if the strategy of founding the independent state within the possible, then the possible of the possible is at variance with the idea which will subsist absolute..

As the poet MAHMOUD DARWISH has said, ”How great is the idea and how small is the state (3) The writer is the bearer and defender of the idea and its initiator(4) The vision of the Palestinian writers has broadened  by virtue of their affiliation and innovation bearing up plethora of expression of allegiance to the soil. The special expressions about the infinite and artful existence can be seen in the writings of the previous generation Abu SALMA, IBRAHIM TOUQAN, ABDUL RAHIM MAHMOUD, HASAN AL BUHEIRI, HANNA ABU HANNA, SALIM ZANOUN

( ABU AL ADIB), HAROUN HASHEM RASHID, YOUSEF AL KHATIB and others. The sophistic relation has transpired in the delineation of Palestinian existence until it has become the symbol of expression to the soil and man accompanied by innovations in a spiritual trip summing up the integrable experiment.

 

The conscience and existence of the Palestinian writer has deepened and thus his artful development has reached the horizons of Palestine and the world. The obscurity and clarity of the poem whose pillar is the affection between the poet and the lady love. The more the vision has more perspective the more people speak about it and especially in the experiment.

 

The poem in its gradual development to the legend and its concision in alternating between a statement and insinuation nourishes the absolute concept of the soul and prepares the conscience for continuity and for hovering in the wings of the word.. It is a case of strife whose placards are embroidered with pain and hope which is embedded in the conscience in the single and in the group. It will be an anthem that will not die away nor will it cease at the walls of the dwindling security. (5)

 The abiding responsible poetry is a reflection of the outside on the inside because it provides a new image and is a breeding ground to the meaning of life. It is also a linchpin between the receiver and the vision of the poet and the basic elements that hold the bona fide to living creatures and inanimate objects. Thus the role of poetry is to re-word life through that turns over the ugliness of the status quo into a vision full of aspirations and hope for man. Daily strife that aims at change and finds a new soil in confrontation with the consecutive failures that we labor under. The radiant vision will then dominate.

 Poetry that aims at perfection has to pass through rough paths, but in the end it will reach the radiant point and clarity in the production of a good symbolic quality. The literary symbolic unified poetry is to be clad with the attractive sophistic curtain which positively reflects on the revolution. (6)   

 If the revolution in its essence is a belief in the possibility of realization of justice in this world as Raja Al- NAKKASH has said, the Palestinian revolution  has deepened the experiment of innovation in the comprehensive tragic act and unified it, depending on the (I) so that the presence of the poet becomes concordant with an artistic stance.

A plethora of good work has come to light. What the martyr GHASSAN KANAFANI(7) has written in his play UM SAAD, ABOUT MEN and GUNS, A WORLD NOT FOR US, RETURNING to HAIFA, and others giving full details of the Palestinian situation and its ramifications, and what has been written by the authors SAMIRA AZZAM, MAY ZIADEH, JABRA IBRAHIM JABRA, RASHAD ABU SHAWAR, YAHYA YAKHLOF, EMIL HABIBY, HAKAM BALAWY, AHMAD SHAHIN, IBRAHIM NASRALLAH, AHMAD HARB, AFNAN AL- QASEM, SALMAN AL- NATOUR, GHARIB ASQALANI, AHMAD RAFIQ AWAD, MUHAMMAD ALI TAHA,  HASAN HAMID, MAHMOUD RIMAWI, FAISAL HORANY, FAROUQ WADI, SAHAR KHALIFEH, MAHMOUD SHKEIR, KHALIL SAWAHRI and others are prominent in writing of novels and short story. All these have given a significant mark to the literary unsurpassed work in its subjectivity because of its cohesion with the Palestinian case springing out with faith in the ideological concept crowned by the heedful responsibility and commitment.

The Palestinian innovation was accompanied by many Palestinian and Arabs critics such criticism helped enrich our experiment in expanding over a wide area. It is deeply analytical shedding light on the features of the Palestinian innovation, philosophy of existence and the identity summoning the soul of the poet, the soul of the author and the soul of the female in the cohesive specialized attraction with the concept, the land and man. Arabic criticism has taken a new trend in its accompaniment with the literature of the resistance. It has also arranged for resistance theories and analytical programs dealing with the political events and the innovative and artistic work whether the contemporary or the international.

 In our endeavor to attain a further qualitative jump we have looked into the embodiment of the idea and the structure. Our work has been signified by many critics such as the writings of IHSAN ABBAS, EDWARD SAID, IBRAHIM ABU AL-LOGHUD, RAJA AL-NAKKASH, KAMEL AL-SAWAFIRI, GHALI SHUKRI, AHMAD SAID (ADONIS), NABIH AL-QASEM, AFNAN AL- QASEM, NASSER ALDIN AL-ASSAD and MUHAMMAD AL- ZAYED. This has resulted in having the literature of resistance an excelled innovative school emanating from the opposing spirit to the occupation and to all forces of tyranny. The criticism in most cases has enveloped the flash of love and affection with the Palestine cause. As a result, the poet MAHMOUD DARWISH had to address the critics, “Have mercy on us from this inexorable love”. In his opinion that was an encouragement to the many works that did not come to real expectation in expounding the holy cause-Palestine. 

 This Palestine case penetrates the heart and soul without formalities. We know that the writer is not a political figure nor is he an historian. He is an innovator transporting the real issue in an objective manner and elevates with this artful pinnacle to tally with this concept. The reaction of this work and its setback as explained by Angles is not a reflection of this or the other class, but it is complicated and has its quality which is deeply rooted in the human nature (8). If we shed light on the Palestinian resistance, we see that it covers with it the human sufferings in its human, social and political aspects, in addition to the writer’s spiritual and personal aspect in the awakening of the spirit that will restore resurrection to man after death. It carries the qualitative foundation and explore the facts of the Palestinian existence and hardship in detail. 

 Since the forties and the sad events have kept flowing culminated in the Catastrophe (the NAKBA) which has caused a great convulsion in the Arab World and covered the faces of the innovators with despondency, surprise and despair and changed the political and social Palestinian existing status. As RAJA AL-NAKKASH says, “the Palestinian catastrophe has created in our modern literary work a transitory period which has its own special characteristics. Most importantly, we can express our worries and perdition”. At present, a diversified literary work has come to light, ABD AL-RAHMAN YAGHI says, This stage is characterized by artful maturity in the story literature and work.(9). The features of the Catastrophe ( NAKBA), the refugee problem and vagrancy are distinctive in the story; as we have seen in the work of SAMIRA AZZAM and in poetry as well. Further, the defense for the national identity has become one of the hidden treasures safeguarded by the Palestinian writer. THIS IDENTITY THAT HAS BEEN MOULDED BY THE COMBATANT AND FIGHTER IN RELATION WITH THE LAND (SOIL), THE ROOTS OF THE OLIVE TREES AND THE PRIME ORANGES.

 

The pages have been written with awareness and depth between the symbol and reality story has had the depth and awareness focusing the vision on the woman and the glorious presence in the formation of this charming Palestinian beauty in a cohesive relationship between man and land. Also the comparison between the woman Palestine and the short verses to MAHMOUD DARWISH:-:

                                               She is Palestinian in her eyes and name

                                               She is Palestinian in her dreams and affliction

                                               She is Palestinian at birth and at death (10)

 

ABD AL- KARIM AL-KARMI (ABU SALMA) has also said:-

                                                     The more I fight for your sake

                                                      The more I love you (11)

 

The symbol as seen by ABDULRAHMAN BSEISO springs out from the worry which exists between what you see and indicate to, between the logo and the meaning, between the name and the identity, between oneself and the subject, between what you see and what you cannot see and between the palpable and the naked, The conflict between the indicative and the body remains within the structure of the symbol and merges the past with the present proceeding to the future. The symbol is not linked to a place or time, and because he is a means by itself is not subject to repair or cessation. It is not limited so it is outside time and place. It stays in an upshot and rotation. It travels to the unknown and points to it. Its meaning as seen by HAYGEL is the full unity between what you see and the bodily shape (12). In this symbol the Palestinian poet has tried to create another life equivalent to a life which has more veracity, more beautiful, revolutionary with full human right.

 You may ask how the Palestinian writer defended the national identity and concept during the defeat in battles.

Talking about the national identity the Palestinian Palestine is embodied not only in the birth identity but in the identity of affiliation, struggle and benevolence. When MAHMOUD DARWISH wrote in his poem IDENTITY CARD – Register that I am an Arab (13)- this poem was considered a strategic expanse, a distinctive symbol and a corner stone to the Palestinian culture in its strategic depth followed by a number of poems also written by MAHMOUD summarize struggle stages such as AHMAD AL ZAATAR and MADIH AL THIL AL ALI. Through the Palestinian Arab identity, MAHMOUD hopes that God may grant him the ability and life to enable him record the final struggle stage over the soil of Palestine and write the final anthem/the introductory-the final to a period and the elementary to the following stages. In his works in WHY DID YOU LEAVE THE HORSE ALONE?, he gives emphasis to the national identity and fighting identity. This has been realized to him when he returned to his homeland and embodied his logo in its meadows, and his innocent soul hovers over the meadows and pastures of Palestine. His words remain an immortal message to an immortal homeland. The notion of the identity and the search for it and foster it will remain the caving of the innovators.

 

The past resuscitates to the future

To mankind the kingdom of dust and its crown

Let my language overcome the enemy destyiny

On my offspring

On my father

On an extinction that will not extinct.

 There must be a heavenly blessing for the prophet to be triumphant.(14)

 

And as Angles has said, “The dream must undergo a change into a reality, and we must arrive to it “(15) and as portrayed in the following verses:-

              The land will all be a garden full of roses

              And each corner of it will have new buds

              And the palm trees of peace will cover the whole areas of the north

              And the roses will decorate the fields that were barren..

 

The notion is a glimmer of conscience to the reality which is the prophecy. Also, looking at the future and applying the political and social values for the implementation of justice,

NIZAR QABBQANY says:-

 

My friend, I am tired of my Arabism

Is Arabism a curse (imprecation) and punishment (infliction)? (16)

 

He also says: Every word that does not take at this stage the form of a rifle, will fall; and the poet has an obligation to fulfill at all times to perform his mission until the liberation of the last iota of Palestinian soil (17).

MU’IN BSSAISO has said,

What is left with you is minute

What has remained with you is the earthquake with umbrageous shade

What is left with you now is the land that has given you a name (18)

 

The identity has taken different shapes through the stages of the Palestinian struggle. After the June defeat, its consequences were felt by the lilac and jasmine fading away, A state of perdition prevailed, and the resolutions of the United Nations had emerged but were not implemented. ABU SALMA has said:-

 

                 Tomorrow we will return and the thousands will listen

                 To the tripping of our feet.(19)

 

He spells out the innovative and political right in the concept of return. This concept has also accompanied in the political concept and in the resolutions of the International legitimacy. We know the indication of the identity in the feeling of the poets. The glow of fire in the uprising has resulted in the elevation of the national identity in its struggle. The first uprising (INTIFADA)) in its strategy for return, liberation, political and popular outreach, its compact program in the hope which is eternal has defied  defeat The poets have chanted to the INTIFADA as a dream for salvation. As a result, bravery has been embodied and the spirit has come back with a glow and decision make us remember PROMETHEOS and the destruction of the ASPARTAGOS rock.

 

SALIM ZANOUN portrayed the INTIFADA in his work (Stars in the sky):-

 

My relatives and the generation of the INTIFADA have come

Responding to a call for war

They all have flocked to Jerusalem

Held the banners up high

Young men, young women, old men and women

They have lit the darkness of the night. (20)

 

In the ANGEL MIRRORS, IBRAHIM NASRALLAH turns to childhood, the martyr children and their dreams. He draws their pictures with distinctive innovation from the question of death to the explosions of life:-

To IMAN HIJJO- There is an intolerable question about existence

There are many

But they only want to go up the mountain (21) 

 And as MAHMOUD DARWISH has said”Out of a stone we will establish a state of lovers (22).

The homeland will be formed so as to remain the immortal picture that will never die:

The homeland is the knight/the commando. The interrelation between the (I) and the others culminate in the homeland in the poem which I addressed- I have chosen Hazard:-

 Either you or I in the birth of the magnanimous promise

 In the departing wedding to you and its gown embroidered in blood

 And adorned with sweet basil. The poem ends with:-

You were born in silence and dragged by death

You traveled to us and we traveled to you

And we upheld you forever

In every travel and on every road (23)

 

Shedding light on what the poet HASAN AL BUHAIRY says in the meaning of the homeland Palestine takes us to this endless love which we present to his work – TO   PALESTINE I SING :-

  The light that my eyes see is called Palestine

  The air that my lungs take in is called Palestine

  The blood that circulates in my veins is called Palestine

 

  What YUSUF AL KHATIB: – (The mad man) wrote about Palestine is an innovation tingles with life and easily passes to history (24)

 

MAHMOUD DARWISH has said:-

    I have learnt all the terminology and can analyze it simply to be able to compose one word which is MY HOMELAND (25)

 

Palestine has the variety in its structure in the cities, villages, hills,, plains, rivers, ever shining moon, its sun always shining, singing birds in the Galilee. The place has formed a lantern to the identity shining over it features and its minarets are the clarity of the spirit of the Palestinian poem. You see Haifa spreading its wings on the Mediterranean and JERUSALEM IS AN ETERNAL BRIDE TO PALESTINE where the drops of dew hasten to it in heavenly signals so that the crucified becomes victorious.

 

Jerusalem controls the veins of the time and place in order to tell us about its grandeur shown in an innovative picture and a political artistic vision woven in attractive silk. DARWISH says, “On this land there is something that deserves life, on this land, the mother of the land, the mother of the initiatives, the mother of everything that comes to an end-used to be called Palestine and now has become to be named Palestine. (26).

 

Palestine is quite adored in its open heartedness. It is the mother that embraces Jerusalem in every pulse of the angelic heart that provides life to this existence, and true vision in the spirit of the SUPREME I, raising the voice of defiance.

 

DARWISH says:-

I am the land, you passers-by

You will not pass

You will not pass

You will not pass (27)

 

He also says:-

You who are ascending to the JERUSALEM ROCK

Pass over my body (28)

 

Death takes part in order to raise the pulse of rejection, worry at the loss of the land and departure from the place. DARWISH says: – Oh land, I did not ask you. Has the place departed from the place? (29).

 

The vision is pregnant with its figurative meaning: – How small is the land, oh and how deep is the wound (30).

The land is the area that is tied up with the existence of the Palestinian people..

 

And when DARWISH says: – This is Jerusalem

                                           Oh woman from the milk of the nightingale

                                            How can I embrace my shadow and stay? (31)

 

We have to enrich the memory with the dream directed to Jerusalem with the towering comprehensive concept, elevation of Arab lad to the dream, needless to mention the memory of the place, invocation to the eternal concept in order to meet it, great Jerusalem is towering high as seen by DARWISH:-

 Its walls do not shake and do not fall, directing his criticism to the forsaken spirit, that failed to defend Jerusalem.

 

In this respect, he has said:-

The city does not fall, the people fall

And little by little the face of Jerusalem has been battered

We did not transform its pebbles into language

We did not erect a fence round its streets

We did not defend its gates

Death is not mature with us (32)

 

The presence of Jerusalem will always be a yearning in the heart of the poet to unite with it in an internal spiritual symbol. This results in having the cohesion of the poet with the memory and identity and in the clarity of the absolute beauty projecting at discovering the Palestinian concept in the inner meditation.

 

DARWISH says: – We will touch base in Jerusalem. I wish Jerusalem were far away from my coffins so as to charge the witnesses. (33).

 

When the return to Palestine became possible and we were in reminiscence of the past, innovations did come to light and the homeland manifested itself to be the redeemed master in its indicative romantic struggle.

 

The poet MUNZER AMER has said:-

 Oh land! That has become a spring of blood

Mother of martyrs

Your glory testifies

And your hair tresses testify too. (34)

 

The reality of the homeland in its hidden contents and ramifications has made the words employed and selected by the poet live with a special glow and realistic reaction as displayed in the works of the poets SAMIH AL-QASEM, HAROUN HASHEM RASHID, MU’IN BSSAISO, IZZEDINE AL-MANASRAH, IBRAHIM NASRALLAH, TAWFIC ZAYYAD, ABD AL-LATIF AQEL, ZACHARIA MUHAMMAD, YOUSEF  AL-KHATIB, HASAN BUHAIRI, NAJI ALLOUSH, HASAN HMEID, SHIHAB MUHAMMAD, SALEM JUBRAN, ALI AL-KHALILI, ABD AL-NASSER SALEH, MUTAWAKKEL TAHA, HUSSEIN BARGHOUTI, and others. Further, the modern and contemporary gown of youth poets has certain characteristics through which the returning spirit and with an impulsive motion heads to the dawn of integrity and the glory of dignity and allegiance.

 

In the clarity of the concept of return, MAHMOUD DARWISH has written Mural wall (AL JEDARIYA) and BED OF THE STRANGER (SARIR AL- GHARIBA).

 With delineations of the homeland, I have written these verses:-

In a warm gathering amongst friends

The homeland always comes as a morning discourse

And the singly smiles of the birds

The homeland, the eyes of the man whom I have loved,

The homeland, the homeland of the exceptional leader

The homeland of the freedom fighter

The lilac homeland (35)

 

With regard to the concept of return and relation with the land, the poet TAWFIC ZAYYAD has said:-

We have waited for you

A bevy of sea gulls has returned

And the convoy of returnees has come back

We have waited for you

 

 

In the same context, the poet MUREED AL- BARGHOUTI has written his novel I HAVE SEEN RAMALLAH where one can embody the experiment of return to the motherland. Also the poems of IZZEDIN AL-MANASRAH, AHMAD DAHBOUR with its special taste, MUHAMMAD AL-QAISY, WALID AL-KHAZINDAR, GHASSAN ZAQTAN and others represent in the incarnation of the spirit and conscience in a relentless homeland.

 

In the second Uprising (SECOND INTIFADA) and the return of the spirit and the recoiling of the beloved, the siege on the Palestinians was severely worsened and wreaths of blood crowned the soil of Palestine. The Palestinian innovator was captivated and utilized the event through defiance and rejection. That was expressed by MAHMOUD DARWISH in his book A STATE OF SIEGE. These are poems of political and human nature coined by the poet in reply to government organized terror which Israel wages against the Palestinians. Another collection of poems had ensued -DO NOT APOLOGISE FOR WHAT YOU HAVE DONE.

 With regard to the daily details about the siege and incursion, YAHYA YAKHKOF, has written in a human portray the field testimonies monitoring the experiment of the siege under fire in his book THE DAILY DIARY, detailing the incursion  and steadfastness and during the siege, I  present my experiment in – IN THE BEGINNING YOU ARE PALESTINE. (36) It is a bona fide message of allegiance to the martyr president, the symbol of the revolution and to the Palestinian people affirming the motif and cohesion between the Knight and the land/Palestine. 

In his introduction to the book IN THE BEGINNING YOU- PALESTINE episodes of the siege, HAKAM BALAWI has considered this achievement as something that has historic importance, as an appreciation and acknowledgement to the leader through whom the authoress could envisage in him in the normal days and the difficult ones; the father, the fighter and combatant at the time of the detested siege. How wonderful is the description of HANAN whose pen is always enshrined in righteousness, awareness and national conscience in portraying the paternal qualities as well as the fighting qualities.

 

Siege is a psychological objectivity where the Palestinian has coexisted between a

Lofty fence, a checkpoint that wastes away time and a terror that has formed a psychological siege in exile and in return. In this context MOUEN BSAISO has said:-

 How many of your ribs

And the siege is tightening

Have stood by you? (37).

 

Also MAHMOUD DARWISH says in this context:-

Our city was besieged at noon time

Our city has revealed its face in the siege (38).

 In another context, he defies the siege by the birth of the man by the invocation of the one free knight:-

 

The veil has fallen from the veil

Siege your siege and there is no escape

 

Your arm has fallen, pick it up

And hit your enemy, and there is no escape

I fell beside you, pick me up

And hit your enemy by me

You are now free and free

And free (39).

 

Other works written by the genius poets are still in the pipeline.

 Inter-related views of what the author and authoress write, we ought to look into what has been written and innovated. I appeared in more than one political and literary symposium about this subject which the media had also dealt with. I do not personally differentiate between the writings of the woman or the man and reject this discrimination where some of the critics called it THE LITERATURE OF THE WOMAN or THE WOMAN”S LITERATURE or THE LITERATURE OF THE FEMALE and several other attributions. This is because I believe that literature is an art through its elevated subjectivity and its innovative and artful level whether written by a woman or by a man. I have written about this in detail in the first chapter of my book ARAB CAUSES IN THE FICTION OF GHADA AL-SAMMAN,(40), where I present several snippets of the writings of the woman showing clarity and critical vision.

 I, therefore, say that the Palestinian authoress has left her fingerprint in all corners of the Palestinian struggle. As we have spoken about the author SAMIRA AZZAM who has dedicated all her works in defense of the national identity and the woman, we mention in this regard the great poetess FADWA TOUQAN who has enriched the heritage and Palestinian innovation.

The picture of the Palestinian woman in the Palestinian innovation has been risen to uphold its immortal symbol in relation with the land. Love grows and spreads from the inner circle to the outer circle in conscience so that the poet becomes triumphant to the land and blends with the cause.

 

I love the country that I will love

I love the women that I love

But a branch of the flaming Carmel

Is tantamount to all the waists of women

And all the capitals (41)

 

DARWISH uplifts the woman (human) and the woman (symbol) to the highest degrees:-

                                            I will not call you a woman

                                            I will call you everything

                                            To me you are a surprise

                                            And mirrors to the light

                                            You belong to me or the homeland

                                            Or am I the symbol in your both innate nature? (42).

 

 

Several important writings to Palestinian authoress such as what was written by SALMA AL-KHADRA AL:-JAYYOUSI, FADWA TOUQAN, SAHAR KHALIFEH, MAY SAYEGH, SULAFA HIJJAWI, LIANA BADER, ANISEH DARWISH and others. They have designated the role of the woman in the outreach struggle of the Palestinian people in defense of the identity.

 In the continuous defense over the identity and its safeguarding, I have spoken in several symposiums on the evolution of the case establishing the symbol that bears its indication and embraces its reverence, with the waves of the spirit that will lead to the qualitative attraction of the immortal concept. The continuity is reflected in the cultural identity, Palestinian features, Geography, Longing to the soil, Heritage and the Language.

 MAHMOUD DARWISH says:-

I long for the bread of my mother

And the coffee of my mother

And the gentle touch of my mother (43).

 

He also says when he was in exile:-

Oh, you my mother

My father and brothers

Relatives and companions

You may be alive

You may be dead

You may be like me without a fixed address

What value has a man got?

Without homeland

Without a flag

And without a fixed address (44).

 

With all this plethora of cumulative paternity and the shaping of the identity, literature has given a beautiful portray so that the position of the Palestinian woman be manifested (the other half). She is the symbol and example that represents the nature of the modern literary case. One can envisage her beautiful picture in all corners of this apparatus and in the distinctive countenance in the innovative performance. She is on equal footing with the innovative man.

 

Literature will remain the message of the free word, the message of the cause, message of blood and redemption and the message to the defiance of occupation and all forces of suppression. The woman bears the features of the genuine literature in a selective innovative formation to the movement of history and the upshot of struggle. Further, the literature of the woman is the literature of the Palestinian and her picture in the innovative corners a qualitative glow in the movement of awareness close to the artful facts that gain their immortality from the outreach of the works of art.

 

The psychologist ERIKSON says: – The study of identity in our time is equivalent in its strategy to mankind at the time of FREUD, and that the reaction with the identity has a linkage with the feeling of the individual towards his affiliation with the group having the same cultural and social qualities which makes it excel.

Therefore, we are engaged in defending our cultural identity, safeguarding it and creating the means towards its development. Our possession as people of the Arab identity that distinguishes us from others is the sole method for coexistence and understanding with others.

 

The psychologist VICTOR FRANKEL has said: – Man must develop his identity and develop as well his spiritual capabilities.

 

One of the ramifications of the national identity is formed by the fighting methods, the right that will never end and by the cultural political strife. It has also confirmed the declaration of independence: – The state of Palestine is for all Palestinians wherever they exist, and in this context, they will have the opportunity to evolve their culture and identity. The other stands in the face of our innovative identity and does his best to tear up its strings. That is the occupier who forcibly comes to us.

 Defense for the identity requires a defiance to the notion aiming at the ripping apart and defamation.  However, the incognito Occupation spreads his presence, daily funerals and the impact of rushing to different areas in the pretext of fear and danger.

 From this, the plethora of the Arab Palestinian innovation has come to light in order to be the response for the triumph of the notion and continuity of the identity. It is passed to the coming generations linking it with the features of the internal thought targeted to the compass of Palestine.

 A detailed study to the psychology of the literature by delving into the inner analysis to the works of literature and poetry, we see that GOLDMAN concludes that reality is beyond the language and that the language imposes its gains and the cultural context is definite.

 FLOBEUR sees that art is founded on exaggeration, the one reverts reality to confront the dreams with it as GHOTEH confirms in a letter to SCILLER that the theatrical poetry cannot cope with reality because this is a real and absolute representation (45).

The occupational and defeatist rejection is the core for the explosion of the resistance literature. It has implanted in history the idea of the intervening absolute with the political literary absolute in posting the impurities of relapse and defeat by removing it artistically and making an inroad on the barbed wire reality, and ensure bolstering the absolute idea of awareness in the blending relationship with man and land. The poetry of the resistance is the noblest Arab poetic phenomenon in the modern century as seen by NIZAR QABBANI .

 

If the resistance were to mean the lawful defense in support of the concept and elevation of the blood to immortality (martyrdom) and those who stick to the responsible word and those who write about Palestine, then struggle in literature is a consolidation of the high moral in justice, liberty and resistance. Also it aims at standing in the face of the Fascist policies that violate the dreams of the subdued people. It is an attempt towards the change to the better so that Plato will not deplore his IDEAL REPUBLIC and GILJAMSH will not stand back on the TEXT OF ETERNITY. It is to take a stance against the advanced and imported concepts including THE DEMOCRACY OF BLOOD that depends on the killing of the innocent.

 RESISTANCE IS THE COHESION AND NOT THE DISPERSION. Every group of people who is divided amongst themselves does not stand. Blasphemy on the disunity is a catastrophe, and those who stand at the threshold of division will not be tolerated by history. This is illustrated in a poem written by MAHMOUD DARWISH (YOU ARE BY NOW SOMEONE ELSE):-

Where we supposed to fall from a lofty place

And see our blood on our hands

To understand that we are not angels, as we thought!

 He continues:-

Had it not for bashfulness

I would visit Gaza

Without knowing the way to the new house of ABU SUFIAN

Nor do I know the name of the new prophet.

 

With a raging intonation he says:-

I am not ashamed of my identity. It is still in the composing state

But I am ashamed of what is written the introduction of IBN KHALDOUN

From now, you are someone else. (46).

 

The Resistance/Palestine stands on the shores of the Mediterranean Sea of Blood, clad in black mourning dress and the river of blood cries out her children and women. Who will receive the condolences on the yellow sand, extinguish sadness, and attend to the bell toll when the treachery fulfils the heart of the young people with sadness? It is a passage of light from behind the walls and the spirit with dignity inundates the expanse of the homeland which is garlanded with sacrifice and redemption.

 

Oh mother, do swathe me

You who are the descendant of the pious and immortal

With the fragrant soil of my homeland

What they have aimed at is far away from me

But its aroma is juxtapositional

And bandaged me from amongst the stand-by guns(47).

ANGLES sees that through resistance one will have the dream realized by laying the base of the theoretical struggle so as to achieve the political poetic dream. He also sees that the true art has the trajectory towards the revolution. (48).

 

MAHMOUD DARWISH says: – We are the poets of a cause and the children of the people. The poetic revolution is linked to the revolution of the people, and the poem asAHMAD ABDUL MUTY HIJAJI says: – It is a structure through which the poet sees the world; and as ADONIS says: – The revolution is the study of the change of the DE FACTO and the revolutionary poetry is tantamount to being revolutionary in the language. (49). The concept remains the umpire (arbitrator) which is deeply rooted and does not fade away, but glow like the sun. 

 

From here we feel the essence of art which has been perfected by the Palestinian writer in order to be an eternal human message. The immortality of the concept has always been the misgiving of the Palestinian innovator in his elevation with the idea and in defending it. The striving concept has met with a psychological vision linked with the international struggle culture through which literature could display the true picture of the struggle and drawing in the horizon of the noble art.

 

This exquisite spot of land where the Palestinian author belongs (The BEST MODERATE CLIMATE IN THE WORLD) through which he elevated in his inner sentiments and progressive knowledge in constant and absolute continuity : love, awareness, discovering and seeing and vision that upholds hope to victory and liberty. (50).

 

From here we can see the reaction of the author and on its reflection on the outside world by having in depth the philosophy of talking in interpreting the nature of the Palestinian struggle supported by the concept of international human continuity.  

 

If Alexander Pushkin had brought up the Russian literature to the pinnacle of the true artful literature and the national artful logo,(51). then MAHMOUD DARWISH has also formed a warm love to the Palestinian poem and to the international and national Palestinian concept. He has drawn its revolutionary features in his personal letters linked to the artful poetry and in his special and true language that has drawn his personal features and self-independence of the poet.

 The will of blood pleads that we struggle

We struggle

We struggle (52).

 How much darkness becomes intense to the innovator and the thorns of the fence and the siege cause him an injury, despondency and his pen shivers in moments of anxiety, it will lead to the ultimate fact that the injury ( the wound) will become a pulse to talking and a dawn to a bright vision. Darkness will no longer exist.

You fell but you are an elevated concept. (53).

 

The words of the authors and their stance will remain the qualitative explosive force that will make all fences tumble down with elevated spiritual concept ascending the noblest steps for defiance in the upshot of a homeland and a transparent glorious wedding.   

 

Oh Palestine

The name of the sand

The name of heaven

You will be victorious

You will be victorious (54).

 

I conclude by quoting the Egyptian poet AMAL DUNQUL:-

A woman in the city has said

Who can now dare steal the crimson flag

That stood over the hills of skulls

Or sell a sand loaf kneaded by blood

Or pass a lending hand… to the bones that are strewn in the wilderness

 AND WERE THE MEN   (55).

NOTES

 

• Mahmoud Darwish,al-Diwan:al-A’mal al-Ula,volume 1(Beirut:Dar al-Rayyis

lilkutub wa al-Nashr,June,2005),see also,Badr Shakir al-Sayyab,Diwan al-Sayyab(Beirut:dar al-A’wdah,1989).

• Muhammad Dakrub,al-Adab al-Jadid wa al-Thawrah:Kitabat Naqdiyah,second edition,(Beirut:Dar al-Farabi,1984),see also,Ghali Shukri,Adab al-Muqawamah,second edition,(Beirut:dar al-Afaq al-Jadidah,1979),Raja’ al-Naqqash,(Mahmoud Darwish Sha’ir al-Ard al- Muhtalah,(Cairo:Ma’had al-Buhuth wa al-Dirasat al-Arabiyah,1961),Hilmi Salim,al-Hadathah ‘ukht al-Tasamuh-al-Shi’r Arabi al- Mu’asir wa Huquq al- Insan,(Cairo:Markaz al-Qahirah li-Dirasat Huquq al-Isanan 2000),George Tarabishi,Sharq wa Gharb:Rujulah wa ‘Unuthah,Beirut:Dar al-Tali’ah,1977).’’
• Mahmoud Darwish:al-A’mal al’ula,volume 2,p.392.
• Mohammad al-Zayid,Ta’amulat Filistiniyah min al-‘Unf ila Yutubia al-Dawlah(Nicosia:Sharq Press.1990),p.32.
• Firas al-Sawwah,al-Usturah wa al-Ma’na: Dirasat fi al-Metheologia wa al-Diyanat al-Sharqiyah,(Damascus:Dar ‘al’ al-Din li al- nashr wa al-Tawzi’ wa al-Tarjamah,2001),p.30,see also,Adonis,al-Thabit wa al-Mutahawwel:Ta’sil al-‘usul,second edition(Beirut:dar al-Awdah,1997).
• Ibid,p.30,see also,Subhi Shahruri,Fi Ta’wil al –Shi’r al-Mahalli bayn Nuhudeh wa Istinsakh al-Waqi’,(Nablus:Dar al-Faruqi,July,1995).
• Ghassan Kanafani interview in Shu’un Filistiniyah,no.25(july,1974),Ihsan Abbas,Fadl al-Naqib,Ghassan Kanafani Insananan wa Adiban wa Munadilan,(Beirut:al-Muassasah al-Arabiyah li al-Dirasat wa al-Nashr,1981),Radwa ‘Ashur,al-Tariq ila al-Khaymah al-Ukhra(Akka,al-Aswar,1977),Ghassan Kanafani,’Alam laysa Lana,(Akka:al-Aswar,1986),Ummu Sa’d,(Akka:al-Aswar,1986),’An al-Rijal wa al-Banadiq,(Akka:al-Aswar,1977).
• Muhammad Dakrub,al-Adab al-Jadid wa al-Thawrah,p15.
• For more details see,Abd al-Rahman Yaghi,Dirasat fi shu’ara’ al-Ard al-Muhtallah,(Cairo:Ma’ahad al-Buhuth wa al-Dirasat al-Arabiyah,1969),Wasif abu al-Shabab,Surat al-Filistini fi al-Qissah al-Mu’asirah,(Beirut:1978),Raja’ al-Naqqash,Mahmoud Darwish sha’ir al-Ard al-Muhtalah,(Cairo:ma’ahad al-Buhuth wa al-Dirasat al-Arabiyah,1969),Nasir al-Din al-Asad,Muhadarat fi al-Shi’r al-Hadith fi filistin wa al-Urdun( cairo:Jami’at al-Duwal al-Arabiyah,1961).
• Mahmoud Darwish,al-Amal al-Ula,pp.92-93.
• Abu Salma,Min Filistina Rishati,second edition,(Akka:al-Aswar,1980).see also,Mahmoud darwish’s poem “Uhibbuki Akthar”from the collection Akher al-Layl,al-Diwan,vol.1,pp.254-253.
• Abd al-Rahman Bseiso,Qasidat al-Qina’ fi al-Shi’r al-Arabi al- muasir:Tahlil Dhahirah,first edition,(al-Mu’assasah al-Arabiyah li al-Dirasat wa al-Nashr.(Beirut:1999)..pp220-230.,See also Haygel,al-fan al-Ramzi al-Klasiki al-Romancy,translated by George Tarabishi,second edition(Beirut:dar al-Tali’ah,1986),p37.,Muhammad Ghnaimi hilal,al-Adab al-Muqaran,(Beirut:Dar al-Awdah,1986),p.398,Umar Ahmad al-Rbihat,al-Athar al-Tawrati fi Shi’r mahmoud Darwish,(Amman:Dar al-Yazuri,2009)pp.40-41-43-114.
• Mahmoud Darwish,al-Amal al-Ula,vol.1,pp.80-84,see also,Raja’ al-Naqqash,Mahmoud Darwis,p.181.
• Muhammad Dakrub,al-Adab al-Jadid wa al-thawrah,p.12,Mahmoud Darwish,Limatha Tarakta al-Hisana Wahidan,(Beirut:Riyad al-Rayyis,2001).
• Ibid,pp.12-64-95-125.
• Nabil Abu Ali,Nizar Qabbani Sha’ir al-Rumansiyah,(Cairo:Maktabat Madbuli,1999),p.181.
• Ibid,p.11
• Mu’in Bssaiso,al-Qasidah-,(Tunis:al-Matba’ah al-rasmiyah,1983),p.56,see also,al-Amal al-Kamelah,(Beirut:Dar al-Awdah,1987).
• Abu salma,Min Filiatin Rishati,p.38
• Salim al-Za’nun(Abu al-Adib),Nujum fi al-Sama’,(Amman:Dar al-Karmil),2001.
• Ibrahim NasrAllah,Maraya al-Mala’kah,(Beirut:al-Mu’assasah al-Arabiyah li al-Dirasat wa al-Nashr,2001).
• Mahmoud Darwish,al-Diwan,al-A’mal al-Ula,vol.2.p.511.
• Hanan Awwad,Ikhtartu al-Khatar,first edition,(al-Quds:Ittihad al-Kuttab al-Filistiniyeen,1988),p.102.
• Subhi Ubaid,Hasan al-Buhairi:al-Sha’ir althi intasarat fihi al-Abqariyah ala al-Hirman,(Ramallah:al-Markaz al-Filistini li al-Dirasat wa al-nashr,2006),p.131.See also,Yousif al-Khatib:Majnun Filistin,vol.1,(Damascus:Dar Filistin li al-Thaqafah,wa al-I’lam wa al-Funun),Ramallah:Ittihad al-Kuttab wa aludaba’ al-Filistiniyeen),p.2011.
• Mahmoud Darwish,al-Diwan,vol.3,p.113.
• Ibid,vol.3,pp.111-112.
• ,vol.2.p.299.
• ,299.
• Mahmoud Darwish,al-Diwan,vol.3,p.198.
• vol.2.193
• Ibid,p.104.
• Darwish,vol.2,151
• ,129.
• Munthir Amir,Aqal Min Bara’ah,Akthar min Ghiwayah,(Ramallah: Manshurat al-Zawiyah,2003),see also,Fawda al-Laylak,(Beirut:Dar Fikr li al-Abhath wa al- nashr,1994).
• Hanan Awwad,Watan al-Laylak,poetic prose,1998.
• Mahmoud Darwish,Halit Hisar,(London:Riyad al-Rayyis,2002),See also,Yahya yakhluf,Yawmiyyat al-Ijtiyah wa al-Sumud:Shahadat Maydaniyah,(Amman:Dar al-Shuruq,2004),Hanan Awwad,In the Beginning You –Palestine;Episodes of the Seige, (Ramallah:Dar al-Shuruq,first edition,2004),see also the introduction written by Hakam Balawi.
• Mu’in Bssaiso,al-Qasidah,( tunis:nov.1983).
• Mahmoud Darwish,al-Diwan,vol.1,p.280.
• ,al-Diwan,vol.2,p.348,see also,Halat Hisar,pp.17-19.
• Hanan Awwad,Qadaya Arabiyah fi Adab Ghadah al-Samman,(Beirut:Dar al-Tali’ah,October,1989),see also,al-A’mal al-Ghayr al-Kamilah,also,ghali Shukri,(Azmat al-Jins fi al-Qissah al-Arabiyah,(Beirut:Dar al-Afaq al-Jadidah,1977),Ghadah al-Samman bila Ajnihah,(Beirut:Dar al-Tali’ah,1977),Muhyi al-Din Subhi,Awalim min al-Takhyeel,(Damascus:Manshurat Wizarat al-Thaqafah,without date.),see also,Samira Azzam,Ashya’ Saghirah,(Beirut:Dar al-Awdah,1982),Fadwa Tuqan,al-Rihlah al-As’ab:sirah Thatiyah,(Nablus:Maktabat al-Najah,1994),Ghali Shukri,Adab al-Muqawamah,(Beirut:Dar al-Afaq al-Jadidah,1977).
• Mahmoud Darwish,Muhawalah Raqam 7,p.49,al-Diwan,vol.2p.125.
• Mahmoud Darwish,Yawmiyat Jurh Filistini,(Beirut:Dar al-Awdah,without date),p.114,
• Darwish,al-Diwan,vol.1,pp.106-107.
• ,p.47.

       45-Raja’ al-Naqqash,Mahmoud Darwish,p.138,Muhammad Dakrub,al-Adab al-

            Jadid,pp.24-131.,HilmiSalim,al-Hadathah,p.127,Darwish,al-A’mal al-Ula,pp.47-

            48.

46-Darwish,”Anta munthu al-Ana Ghayrak,al-Ayyam,no.4100,p.1.

47-Hanan Awwad”,Dathirini ya Sahat al-Aqsa,”in the occasion of the martyrdom of

     Palestinian Young man in Jerusalem during the Aqsa Intifadah in 2002,published

     in al-Quds daily news paper,nov.11,2007.

48-Muhammad Dakrub,al-Adab al-Jadid,pp.94-105,see also,Darwish,”Hayati wa 

     Qadiyati wa Shi’ri”,Majallat al-Tariq,no.10-11,1968.

49-Ibid,p.105.

50-Nasr Abu Zaid,Haktha Takallma Ibn Arabi,(al-Dar al-Bayda’:al-Markaz al-Thaqafi

      al-Arabi,2004).

51-Makarim al-Ghamri,Bushkin Inda Nafurat al-Dumu’ wa Mukhtarat     Ukhra,(Cairo:al-Majlis al-Ala li al-Thaqafah),1999.

52-Mahmoud Darwish,al-Diwan,al-A’mal al-Ula,vol.1(Beirut:Riad al-

     Rayyis),pp.229-230.

53-Mahmoud Darwish,al-Amal al-Ula,vol.2,p.340.

54-Raja Eid,Dirasah fi lughat al-Shi’r,(al-ISkandariya:Mansha’t al-Ma’arif,without

     date).

55-Amal Dunqul,al-Amal al-Shi’riyah,(Cairo:Maktabat Madbuli,with date),pp.479-

     480