On the stage of the theater of the Creativity Festival held by the Ministry of Culture, and before the famous Sadat visit to Jerusalem and the signing of the Camp David agreement, Bardouni was the last stallion heritage poet, to recite his poem. After that, a black cloak, which he refused to support, stood up and walked preoccupied until he reached the microphone. He looked inside his loose, emaciated body, yellow face, and very pale (1).
Amal remained standing, standing, and crossed, as if he derived from his poetry the power of the soul that tightens the body, and began to recite his poem for the umpteenth time in the city that he previously came to liberate - Cairo - and his cry was:
No reconciliation
And if they give you gold ...
You see when your eyes woke up,
Then I proved two things in their place.
do you see?
They are not bought ... "(2)
His voice, despite his sharp tone, was weak. As for his fiery poem, which blew up the past in the present and the present in the past, it dealt with the killing of the Arab tribal leader in the Jahiliya Kulaib in 494 AD, and recalled the incident that sparked the war of Bassous, which lasted 40 years. Hamas inflamed the audience and burdened them with scenes of sorrow, and felt helpless, and the audience exploded with applause.
It was and still is the poem Amal Dongel considered one of the most powerful poems written against peace efforts (3). Amal Dongel's hair gradually diminished, then he disappeared, after his departure and did not exceed forty-three spring in 1983 at the Institute of Oncology in Cairo, after his struggle with cancer, and his eagerness to avoid the lights and represent the role of the martyr and the hero or the patient awaiting pity, as it was the pride of Dongle, the pride of Arab Al-Saidi Strongly rejects it (4).
But during the last short period, especially after the outbreak of the Arab Spring wave, the poetry of Amal Dunqul will be rediscovered, and the verses of his immortal poems will turn into graffiti in the streets of Cairo and Alexandria, during the military rule in Egypt 2012 and then after the events of the military coup in 2013, and the words of Dongul will be used a lot, and will be gained Phrases such as "do not reconcile" and "behind every Caesar will die .. a new Caesar" is an overwhelming fame (5).
People will re-speak the words of Dunkel, and academics and critics will study his poetry and poems provoking feelings and minds as they were provocative to the authorities in the past, which are difficult to preserve because of the complexity of their composition despite the simplicity of their words and the sweetness of their melody. Why did the tragic poems of Amal Dongul come back and why did it become famous and who is the hope of Donggul, whom the critics of the world viewed with respect? (5)
A complex and profound revolutionary poem .. The southern is rewriting the history of the world
For a long time he knew the works of Dongle and was valued by a few leftists and intellectuals (5). His poems were avant-garde and revolutionary, radically rejecting reality and difficult to memorize and recite compared to the same ease of consuming the most widely accepted forms of poetry. “They are strongly opposition and revolutionary in their content, and they are also a thorn in the throat of the Egyptian authority. His poems were not prohibited, but they are rarely written about or mentioned in government media except on a small scale as it was during the second Palestinian intifada.” (5)
Suddenly the scene changed with the outbreak of the "January 25 Revolution" that was linked to the revival of left-wing political poetry from the 1960s and 1970s. Poems and songs of Ahmad Fouad Najm (1929 - 2013) The poignant slang gained immense popularity, but portions of Amal Dunqul's poems also entered the revolutionary quotes (5). But while Ahmed Fouad Negm's poetry, associated with colloquialness, was more appropriate to songs and slogans, Amal Dongel's poetry was best suited to find his way into graffiti, discussion circles, and quotes on social media.
In the fall of 2010, a graffiti artist sprayed a clip of "Spartacus' last words" on the Alexandria Corniche in protest of Mubarak's attempt to pass judgment on to his son Gamal:
Do not dream of a happy world
Behind every Caesar will die: a new Caesar!
As sections of Dongul's poetry spread, it also gained independence from its original political context (5). In 2011 and 2012, the section "No Reconciliation" - originally written before the peace agreement with Israel - gained great popularity in expressing the struggle during the first military government, represented by the Supreme Council of the Armed Forces, and this clip was sprayed on many walls in protest against the status quo And they refused to compromise .. So why did Amal Dinkal's hair return so strongly?
The first and direct reason may have been the revolutionary poetry of Amal Dongel, which was very appropriate to the revolutionary and militant context of that period; Where Dongle says about the relationship of his poetry to the revolution: “He who proposes the revolution is not the poets, but the revolution is presented by the reality. As long as the reality exists, the revolution will continue and will give birth to its poets, writers and fighters” (6).
Also, seeing the revolutionary hope of Dongkal, which radically rejects reality and demands its rebuilding on ideal grounds, and this is clearly shown in his poems, adding transparency, honesty and depth to it, which were closely related to the vision of the Arab Spring revolutionaries to a large extent; As he says, "Poetry is essentially to rediscover the world around you and then rebuild it as it should be." (6) He adds "The poet is a revolution in itself. The poet dreams of an unfulfilled reality and when this reality is achieved he dreams of a more beautiful reality ... Poetry is a permanent revolution And following people to poetry creates a revolution within them "(7).
But literary critic Paul Shaul holds that the reason behind the immortality of Dongul's poetry is his combined poem (8), where Dongkul presented poetic verses inhabited by his anxious spirit, "as if he wrote in his works about defeats that he would inculcate, but as if he had also written about defeats we will draw them." His personal tragedy, and our present and future tragedies, presented the tragedy of life in his poetry.
Which prompted Saul to say, "During my reading of Amal Dangal's poetry, I first felt deep affection and deep feelings for this poet," the sincere and slaughtered, alive. "I suspect that I did not suffer when reading any poet as I was suffering while I was reading the long journey of torment in his poetry, and secondly I was very surprised that this poet The fiery and blatant wrote a poem that does not belong at all, not to the usual simplicity, to the ease, or to the occasional; rather, he formulated from the political and humanistic material in the form of a complex poem, whether in the depth of the realistic approach or in the depth of the intuitive sense, or in this ability to write a cosmic poem that has harnessed an expanding culture: From history to heritage to history Kaya to legend, to religion, to the theater, to the cinema, to a complex rhythmic and linguistic stock, complex and complex poetic culture, and ancient, modern, foreign, eastern, and western Arab poetic references, which made his poem as a shorthand for the entire poetic modernity culture (8).
This appears in several poetic passages in which the historical and heritage depth with the emotional and provocative revolutionary situation appears through the use of the historical figure and re-inhabiting it within our reality by overthrowing the meaning of the legend and then drawing the historical symbol, and re-pumping blood in whole poetic worlds from Zarqa al-Yamamah to Mutanabi and Kafur to Oedipus, Spartacus and the Mongols And Caesar, Sisyphus, Hannibal, Baramkeh, Hassan Al-Aasam, Al-Ansar, Quraysh, Salome, and Al-Thaqafi, so the transitions smoothly move poetic between existing fictional worlds and merges and separates them in a smooth and complex structure at the same time:
I represent the hour of the sacrifice in the hands of Camphor
to reassure his heart. His captive bird still
does not leave prison and does not fly. I
see that pierced lip,
his black face and the stolen manhood
weep for Arabism.
My maid from Aleppo is asking me when we will return?
I said: The soldiers fill the border points
between us and Saif al-Dawla. She
said: I am sick of Egypt, and of the slackness of the recession.
I said: I am fed up, like you, standing
(in the hands of its
goofy prince) cursed an infidels
and slept.
(From Al-Mutanabbi’s poem)
Holy Divination ...
I came to you .. thickened with stabs and blood
I crawl into the dead coats, over the stacked corpses
Refracted sword, dusty forehead and organs.
I ask, blue ..
From the mouth of the sapphire from the virgin prophecy
(From the poem crying in the hands of Zarqa Al Yamama)
But how was a poet from the south, the Upper Egypt region, able to organize poems of that depth and composition, and with that vast cultural background, and fresh poetic poetry?
What is behind the poet .. the southern invades the capital
Three of the companions came to Cairo from Diyar Ahmus, which the Romans inhabited after the Pharaohs, and then they were replaced by the Arab tribes that came with the Islamic conquest of Egypt, they went out individually and proceeded towards the north, and they promised to meet in Cairo to invade it from the inside (9), they are Yahya Al-Taher Abdullah And Abd al-Rahman al-Abnudi, who had preceded them both: "Asmar Sa`di boy, dry oud, has two broad eyes that appear in his face, the crooked, cheeks, like two eyes in the form of two eyes that you like to see, and turn a blind eye to them quickly."
He is the poet Muhammed Amal Fahim Abu Al-Qassam, a fighter from Dongkal. He was born in 1940 AD in the village of Qalaa, the center of Qaft, close to the city of Qena in Upper Egypt. His father was a scholar of Al-Azhar scholars, which clearly influenced the personality of Amal Dongul and his poems (10). "My father was a religious man and he was strict, and from here my first upbringing gained some solidity and perhaps some roughness and drought. I was not allowed any leniency in performing my duties or in demanding my rights at the same time, my father was a perfect man in his public and private life."
But how did that young, well-beed, young man, Amal Dangel, write this complex poem, whose verses will remain engraved in the minds of this day, expressing revolution, rejection, and rebellion? And before that, how Dangel will recite poems with violent brutal images full of revenge and blood, in smooth and fresh poetry such as:
On the forearm of the lump .. He is still holding the reflected flag
On pictures of children in helmets, lying on the desert
For my neighbor who is interested in sipping water ..
The bullet pierced his head ... in the moment of contact!
From the mouth stuffed with sand and blood!
I ask, blue ..
(From the poem crying in the hands of Zarqa Al Yamama)
Look ..
Do not be dismayed by the dose of shame,
Look ..
Until you vomit with your guts ..
From the warmth of motherhood.
(From a poem awaiting the sword)
Death has fallen; The heart slowed down like a pool.
And blood flowed over the mantle!
The houses are shrines.
The dungeons are shrines.
The extent ... shrines
So take up the weapons
Follow me!
I regret tomorrow and yesterday
Riti: two bones ... and skulls,
My motto: Morning!
(From the Exodus Poem: The Stone Cake)
Before Amal wrote these poems, and in 1950, in a small village in Upper Egypt: the child enters Amal of his father’s room, Sheikh Al-Azhari, and it is important to approach his body that is lying on his deathbed, opening his eyes closed with death, then he closes them and exits from the house room without tears floating on the cheeks To tell those outside the house, "My father is dead." (10)
This was not the first interview between the Southerner and death, and before that he saw the hope of the death of his younger sister, who had two springs. It was a painful accident that the priests did not understand and the priests realized the imagination of the brown bee child, but he will remain engraved in his memory until his last rest in the hospital before his death (10). Amal shed light on that dark area from his childhood memory in his southern poem, and he said:
My little sister with two spring
I don't even remember the way to her grave
The Blemish
The death of Amal's sister was his first experience with death and for the first time he knew the deep sense of the loss that deepened after his father's death, and he printed his life through the tragedy and pain related to standing in front of death, the extent of mixing in it and declaring life:
I was a kid
Or that who was a child except me
This family photo
My father was sitting, and I was standing .. My hands were hanging
A kick of a mare
I left a brow in my forehead, and taught the heart to watch out
I remember
My blood asked
I remember
My father died bleeding
I remember
The death of the father was a turning point in the life of the child, Amal (10). After he was a wild rebellious boy (10), his heart learned to be cautious, and Amal began to persevere in attending school and the mosque as if he was carrying out what his father had hoped for, remembering his lessons and memorizing the Qur’an, and gradually the child rose He hoped for his father's place in the house, so he got involved in responsibility with his mother, and the youth of the Upper Egypt Desert were carved in the face of pride and pride (10), until he finished high school and had poetic attempts at that period.
Dongle tells, "The first time I showed my first poetry to my teacher and he was a poet. He answered me, meaning it is good for me to leave poetry because I will never be a poet, I felt challenged and that my dignity was insulted ... I asked some of my friends who are interested in language and poetry, so they told me that Arabs say The one who memorized a thousand houses became a poet. I decided to memorize a thousand verses of poetry. Indeed, I borrowed the books. The books of al-Mutanabi and al-Bahtari, Abu Nawas, Ameer al-Qais, the poems of Shawqi, Hafiz Ibrahim Mutran, Ali Mahmoud Taha, Ibrahim Naji, and Mahmoud Hassan Ismail, are still handwritten. The following year I presented one of the new poems of the same professor, I. He was very surprised at my progress and felt that I had achieved a victory "(11).
Likewise, poetry in the life of hope has always been persistence and intent, in the face of disasters, tribulations and intense personal concerns. Here, Dongle is known for the tragedy not by succession of disasters and the shortness of life and surrender to adversity, but by the human resistance to that world and its calamities.
The revolt of Amal was deeply rooted in his community. He began writing poetry that satirized his entire Sa’id world, and it exploded with intensity and aggression that he gained from the desert environment and from his Arab-Sa’idiyyah origins, where he says “before I came to Cairo I used to write poetry in the“ country ”against the preachers of mosques. I joined the Sufi Brahimi method, Ibrahim Al-Desouki's method .. A day came a new sermon, which wrote a long sermon on the prohibition of wearing silk and adorning the gold rings and denouncing the conduct of women naked cassettes, so I wrote a poem in criticism of what I called a day of schizophrenia about people's real life .. Then I took this trend I wrote poems about the birthplace The shrine and the customs of circumcision, and when I came to Cairo, I followed this series with poems attacking the arts, cinema and crowds in Fouad Street, but I did not publish any of these poems. "
After finishing high school, Dongle convinced him of his companions to study literature and poetry, so he presented in the Faculty of Arts, Cairo University, the Department of Arabic Language and was accepted into it. But that young As-Sa`id al-Asmar, instead of invading the capital as agreed with his companion, had drowned in it, and swallowed the crowds of its streets, and was intoxicated by the poetic polemics that were burning between the new and the old (12), and he engaged in the world of culture and poetry, and he failed in two consecutive years at the university and left it Then he came to the College of Science and he only had one day left in it (12), and he and his companion Al-Abnudi found himself in the Qena Court, Al-Abnudi, the clerk of the court.
But based on the testimonies of what Amal’s friends wrote about his childhood and boyhood, the family of Danqul is a well-off family (12). His father was a teacher with a steady income, unlike the wealth that the family possesses .. From where did his sense of social injustice come, and when did he begin to side with the poor classes and groups? In society as it appears in his poetry? And why formed his political and class consciousness in this way?
The birth of the poet ... the southern expatriate and a fighter
The new Dongle worked as a court report, making him travel and seeing the court’s decisions to seize the homes of the poor and the peasants in favor of the state’s money (13). And the transfer of that very dear Seidi was pursued by people's calls for cursing and God’s revenge, so these scenes affected himself until he deserted his work in the court.
He joined the customs authority in Suez and there he met with a group of his acquaintances from Upper Egypt, so he felt that he did not come out of his Sa`di community, which he had rebelled against before, and he could not bear “the contradictions of the industrial city as a reality imposed by industry on people who are all of rural origin.” He traveled to Alexandria, and it exploded with the Dongle of Fountains of Emotion, in which he wrote his first romantic poems, “The Killing of the Moon”, foremost among which was “Dedication to Alexandria .. Years of Boyhood”:
Malaki: I am in the north of the north
I live like a glass without an addict
Strange luck, the remains of the stories
From night to night you relax
She is Alexandrian after the evening
Winter hugs and incubator
Its streets are empty
Only: my guard does not take care
(From the message poem from the North )
It rains
The rain is gone
It rains
The rain is gone
The heart, my love, is still waiting
(From the rain poem)
After that alienation that carried the south from the warmth of Upper Egypt to the frosts of Alexandria, and from the comfort of the family's home to Cairo cafes that bustle with heated debates and the sound of radio, and from the night of the desert to the night of Alexandria, which leaves in the soul the scar of alienation, unity and pain, Cairo night and lounging in its streets.
Amal was cut off from writing in the years 63-64-65, during which he wanted to become familiar with the intellectual, political and literary currents that were fueling cultural life in Egypt and the Arab world, and Dongle says about the reasons for his failure to write. "I found myself trapped by questions, I discovered that it was not enough for a person To be a poet and able to write poetry, there were questions surrounding me, and so I stopped saying poetry from 1962 until 1966 and devoted that period to reading only "(13).
Dongle returned to Cairo, and then decided to settle there permanently in 1966, and he found himself once again within the cultural and political whirlpools of the capital, saying, "When I returned to writing poetry, most Egyptian left intellectuals were in detention, and from this time my poems at that time were considered a bold cry in the forums." And literary forums "(14).
At that time, he was able to hope for the opportunity of daily and direct contact with the poets and writers of his generation and the poets of the generation that preceded him. He got close to his community, touched his wounds, and began to emerge from the circle of the self to the large circle of society, and from the private to the general (15).
And when the defeat occurred, Amal was the first person to predict it through his deep vision of the defects in his society “The poem of the earth and the wound that does not open - (May) 1966 ″, then the year erupted and took all its scope in the poem“ crying in the hands of Zarqa Al Yamama ”that he wrote On the eve of the defeat of the fifth of (June), it was the first contemporary Arab poem that reflects the dimensions of the tragedy with this level of artistic maturity (15).
The earth is folded in the rug of "oil",
The ships carried them toward "Caesar" so that they were opened
Scrolls:
A dance ... as a gift of fire in the land of sinners.
Dinars tin molten on her cheeks.
Her solution squirrel asks about her fornicators,
And the swordfish lashes her! and what? After she lost her virginity ..
She became pregnant in her millennial year from two thousand of her lovers!
Neither the Nile washes its harsh disgrace ... nor the Euphrates water!
(From the poem Earth and the wound that does not open )
O Holy Prophet ...
Do not be silent .. I have been silent for a year.
In order to gain the safety scoop
I was told: shut up ..
I became silent, blinded, and entreated in eunuchs!
I was kept in slave (abs) guarding the flocks
And here I am at the time of rapture
The hour for the truffles ...
She was invited to the field!
I, who was excluded from the councils of boys,
I call to death .. I did not call to sit!
(From the poem crying in the hands of Zarqa Al Yamama )
In 1971, Dongle publishes his second collection "Commentary on What Happened" since 1967, listing the end of the era of Nasser and the beginning of a new era, and recorded by poetry how he saw these successive events exploding in depth, the events of September and what happened in the Palestinian units camp (15), There was hope here, and it was broken by the defeat of (June), and it exploded within it a torrent of anger, sadness, and a sweet, poetic cry, combined with inflammatory and revolutionary terms expressing the tired generation and the broken dignity, and the captive Arab man from Iraq to the Maghreb, "and his sarcasm from reality increased from its contradictions. The tooth as heads of bayonets contradict and recline with one another (15).
Student demonstrations continue under Sadat, calling for the liberation war, and Cairo is boiling, and the demonstrations extend to workers and unions. In the meantime, Dinkel decided out of curiosity (16) to go to Tahrir Square, which was occupied by the students at that time. He said, "What saddened me that day was that the students kept shivering all night, and still remained in the field until the security forces and their squad attended. The generation that was brought up and brought up in the shadow of the 52nd Revolution for the sake of Egypt ”(16).
Dongle then writes the poem "The Stone Cake" as if it is flooding with it, without drawing letters, the poem that will cause the closure of the "Al-Sanabel" magazine, which was supervised by the poet Muhammad Afifi Matar (17), and Dongle is prevented from any appearance or dealing with him or his poems with Radio, television, or any other official media institution for ten years, and he was isolated and denied membership in the Socialist Union, so Dungle comments, "I consider a decision to deprive me of membership in the Socialist Union in honor of my poetry. If one poem deprives me of my political rights, I think that my poetry has reached maturity, strength and influence." So that it somehow annoyed my enemies. ”(18)
It is five o'clock
The soldiers appeared as a circle of armor and war helmets
Here they are slowly getting closer ... slowly ..
They come from every direction
And the singers - in the stone cake - are shrinking
And they watch
As a heartbeat!
They light the daggers,
They warm by the cold and the bitter darkness
They raise chants at the faces of the approaching guard
They clap their miserable young hands
To become a fence, repels the bullets!
Lead..
Lead..
And uh ...
They sing, "We are your redemption, Egypt."
"We are redemption ..."
Mute throat falls
With it your name, Egypt, will fall into the ground
Only the shattered body and screams remain
On the pitch
It is five o'clock
The fifth rang
The fifth rang
Your waters were separated - oh river - when you reached the mouth!
(From the stone cake poem)
Room No. 8. departure of the south
After writing Amal for the poem “No Reconciliation” within the “New Sayings in the Bassous War” and starting from September 1979, the poet’s destiny will be different, and if the disease does not die from his pride, stubbornness, and hardness, then he remained loyal to his rebellion, says Dr. Jaber Asfour. It is strange that his poetry in the four years of his illness did not involve any form of supplication, but multiple and strange images of defiance and extraordinary strength, and the transformation of the death he was actually living into a subject of contemplation. (19). Dongel wrote poems with a lot of reflection and a new type of depth such as "flowers - birds - horses" and wrote other poems in which the ambiance is challenging "a special interview with Ibn Noah and an unhistorical speech on the grave of Salah al-Din" and another that includes the question "against who and December and a woman in the city And a third group involves a measure of self-pity and for Mahmoud Hassan Ismail, the poet Amal liked throughout his life, and a sense of the end, “the game of the end and the cry of Saqr Quraish, to Mahmoud Ismail in his memory.”
The poet's wife, Abla Al-Ruwaini, says: The poem is always a constant moments of tension, but rather as it used to repeat: The alternative to suicide, his journey every morning and his going to the street and mixing with people was like a hunting trip and emotional, it is a hunting trip for a poem, its subject, its symbols , Its language, its general climate (19).
"When I regulate my hair, I am imprisoned in it, and when I release it without a mask, I get lost in it. The poem has a real crisis in which nerves and visuals are tense, and then the words feel that the amount of air entering my lungs is not enough, suffocating and I may appear hostile, and when the poem comes back to my previous condition" (20) .
The poem was the life of Amal Denqul and his private world, and outside that world he was a proud and dignified human being, so he refused from above his bed in Room No. 8 of the Cancer Institute in Cairo many offers for his travel and treatment in America or at the expense of Arab, Palestinian, Kuwaiti and Iraqi friends, because he was very sensitive And shy in the matter of materialism (21).
Between two colors: I receive friends.
Those who see my bed as graves
And my life ... forever
And I see in the deep eyes
The color of truth
The color of the soil of the homeland!
(From a poem against whom)
The poet Amal Dunqul, after his struggle with cancer, leaves his bed in Room No. 8 of the Oncology Institute in Cairo on May 21, 1983, and was buried in his hometown in Qaft in his family’s cemetery, and a simple funeral was held for him according to his will that was the shortest and most famous testament in history. Contemporary literary:
"There is neither sorrow nor crying. I am sad and cried enough in my life ... I command you to write on my grave this grave of so-and-so and so-and-so-so.
Between the day of his birth and the day of his death, a distance of sharp pain filled with the bee body with light, provided him with the volcano and afflicted it with hair, just like those who lived long and shortened their lives in years. And this is precisely what makes the poetry of Amal Dinkal present in the heart of the revolution and in the conscience of the Arab world.