در جستجوی سفر یک بیت: از شیراز تا قاهره

Abstract

Introduction

The migration of a form, theme, or literary genre from its origin (source literature) to another nation's literature (target literature) is an inevitable and age-old phenomenon. In this journey or migration, the way such a form, theme, or genre is received differs across regions. At times, it is accepted without alteration or with only minimal modifications—for instance, the influence of Quranic and narrative themes on Persian culture and literature.
In other cases, the transferred theme, form, or genre undergoes such profound transformation that it appears to have long existed inherently within the target literature itself, eventually becoming an integral part of that culture’s structural and identity framework. The tales of Alf Laylah wa Laylah (The Thousand and One Nights) are a prominent example of such migration. Although there are diverse opinions regarding their original source—whether Iranian, Indian, or Greek—their adaptation and literary rejuvenation within the Arabic cultural and literary context have been so complete that the Arabic culture is regarded as the fourth pillar of their formation.
In this study, we aim to investigate the presence and migration of the opening verse (from Ghazal No. 134) by Hafez of Shiraz, the eminent 14th-century Persian mystic poet, within the story collection Hekayat Harretna (Tales of Our Quarter) by Naguib Mahfouz, the distinguished Egyptian novelist and Nobel Prize laureate.
The influence of classical Persian poetry, particularly the mystical and romantic ghazals of Hafez, on modern Arabic literature is a nuanced area of study. Hafez’s work, characterized by its ambiguity between carnal and spiritual love, provides rich material for authors navigating complex social and philosophical
landscapes.
 

Methodology

In this descriptive-analytical research, after first presenting the hypotheses, the subject is analyzed, reasoned, and interpreted using reliable critical sources.
 

Discussion

“As is evident, the beginning and end of this collection are framed by the same opening line of the ghazal (“A nightingale with a bleeding heart…”). It appears necessary to assert that this collection constitutes a form of biography preserved within the format of short narratives. The individual is characterized as being full of questions, doubts, and ambiguities regarding religion and the nature of existence, much like Khayyam and certain other Sufis and mystics. However, it should not be overlooked that Mahfouz, in this questioning and doubting approach (given his academic background in philosophy), may also have been influenced by Descartes’ philosophy and his skeptical tenets. In any case, Mahfouz in this collection must be viewed as an inquisitive and active individual who, contrary to the superficial and outward perceptions of some people concerning religion and life, is diligently and earnestly seeking to comprehend the secrets and enigmas of existence—in other words, searching for “the meaning of the meaning of life.” In summary, this work is superficially simple and brief, yet profoundly deep and contemplative, representing a segment of the author’s philosophical-ideological foundation and serving as the material and inception point for the writing of the religion-centered novel, Children of Gebelawi [or Children of Our Alley].”
 
 
 

Conclusion


The poetry and thought of Hafez possess the capacity for modernization, enabling them to serve as the foundation for contemporary narrative fiction, as the language and subject matter of Hafez’s poetry transcend the time and place of its originator, seemingly unconfined by spatial and temporal boundaries.
The means and method through which Mahfouz became acquainted with Hafez’s poetry was via the translation by Ibrahim Amin Al-Shawarbi. In reality, translation, much like a travelogue, can be considered one of the most significant factors in literary and cultural transmission, influence, and interaction.
Although the aforementioned opening line (‘A nightingale with a bleeding heart…’) as well as the socio-cultural and political contexts of Hafez’s mystical poetry possess their own deep language, intricate layers, and complex structures, Mahfouz, with his particular artistry, has successfully employed those same components at a more accessible level, yet within the same symbolic and metaphorical approach.
The central character, or the child in this collection, is Mahfouz himself, or interpreted more broadly, a human being appearing under the guise of a child. This is a personality replete with questions, doubts, and bewilderment concerning the truth of religion and its related discourses, as well as concerning life and the enigma of existence and creation.