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||Nazik al-Mala'ikah (1922-2007; also Nazik Malaikah)|
Iraqi poet and critic, one of the most important Arab women writers. Al-Mala'ika was a major advocate of the free verse movement in the late 1940s with Badr Shakir al-Sayyab. Her poetry is characterized by its terseness of language, eloquence, original use of imagery, and delicate ear for the music of verse.
Stay as you are, a secret world
Nazik al-Mala'ika was born in Baghdad into a cultured and literary
Shia family. She was the oldest of seven siblings. Her father was a
the editor of a 20-volume encyclopedia. Um Nizar al Mala'ika, her
mother, wrote poetry against the British rule under the pseudonym Omm
Nizar Al-Malaika. Al-Mala'ika published her poems and articles under
her own name. She started to write already in her
childhood, and at the age of ten she composed her first poetry in
Classical Arabic. All her life, al-Mala'aika kept a diary. Her mother's
poetry she collected and edited in Unshudad al-majd (1968).
Al-Mala'ika was educated at the Higher Teachers' Training College in Baghdad, earning her B.A. in 1944. While still in college, she published poems in newspapers and magazines. As a student she registered in the musical instrument oud (the Middle-Eastern lute) department of the Fine Arts Institute, and attended classes in the acting department. Many of her early poems contrasted the oppressiveness of the city and the beauty of the countryside and nature.
Al-Mala'aika's knowledge of English literature earned
her a scholarship to study at Princeton University, New Jersey. In 1954
she continued her studies at the University of Wisconsin, where she
obtained an M.A. incomparative literature. On her return to Baghdad
Al-Mala'ika worked as a university lecturer and professor. In 1961 she
married Abdel-Hadi Mahbouba, her colleague in the Arabic department at
the Education College in Baghdad. With her husband, she helped found
the University of Basra in the southern part of Iraq. At the end of
1968 she returned to Baghdad.
As a writer al-Malaäika made her debut in 1947 with A'shiqat Al-Layl
(The woman lover of the night). In these poems, 'Night' represents a
friend, who has to power to ease her pain. The themes of despair and
disillusion were familiar from the Arabic literary romanticism of the
1930s and 1940s, but she also drew inspiration from the English
Romantic poets, exemplified in her version of Keats's 'Ode to a
Shazaya wa ramad (1949, Splinters and ashes), Al-Mala'ika's second collection, helped launch free verse as a new form for avant-garde poetry. For fifteen centuries, the old two-hemistich mono-rhymed form had flourished unchallenged. Experiments outside the rigid structures started in the beginning of the 20th century, but it was not until the mid-forties that poets succeeded in creating an acceptable form of free verse. Al-Mala'ika's book contained eleven poems and an introduction, in which she explained the advantages of the new rhyme patterns as opposed to the old. The critic 'Abd al-Jabbar Dawud al-Basri called the introduction "the first manifesto" issued by the free-verse movement.
Qararat al-mawya (1957),
al-Mala'ika third collection, collected poems written between 1937 and
1953. In the 1950s al-Mala'ika secured her place as one of the most
prominent figures of
Iraqi modernism in literature. She backed the free-verse movement with
her critical writings, when
arguments were thrown for and against metrical poetry. One of her
best-known poems, 'al-Kulira' (Cholera), took the subject from
was based on the emotional effect of the cholera epidemic that arrived
from Egypt to Iraq in 1947. "The night is silent/Listen to the effect
of groans/In the depth of darkness, below the silence, on the dead."
Although this poem still followed a certain rhyme scheme, it
demonstrated the possibilities of the modern verse. Al-Mala'ika's
collected articles, Qadaya 'l-shi'r al-mu'asir (1962),
continued the debate for more sophisticated expression, and developed
further some of the principles formulated in the introduction of Shazaya wa ramad. Yughayyir alwanahu al-bahr (1977) and Lil-Salah Wa-al-Thawra (1978) were written entirely in free verse.
Why do we fear words?
With her move in Lebanon at the start of the 1960, al-Mala'ika entered a new phase in his literary career. Many of her works of criticism were published in Beirut, where she resided for two years and the returned to Iraq again. In 1970, following the rise of Saddam Hussein's Baath Party, al-Mala'ika left her homecountry with her husband. For twenty years, she taught at the University of Kuwait. By 1978 Al-Mala'ika had published seven volumes of verse. A festschrift, entitled Nazik al-Mala'ika, Dirasat Fi'el-Shi'r Wal-Sha'ira, appeared in her honour in 1985. Edited by Abdullah al-Muhanna in Kuwait, it contained twenty articles on her work. In 1990 al-Mala'ika was forced to return home by Saddam's invasion. After fleeing from Iraq in the aftermath of the Gulf War, she moved to Cairo. Al-Mala'ika avoided publicity, but entered the literary scene again in 1999 with a new book of verse, Youghiyar Alouanah Al-Bahr, which also contained an autobiographical sketch. The bulk of the poems were written 25 years ago in 1974. For many years, Al-Mala'ika suffered from Parkinson's disease. She died on June 20, 2007, in Cairo.
Al-Mala'ika was a strong defender of women's rights. Her two
lectures from the 1950s about women's position in patriarchal society,
'Woman between passivity and positive morality' (1953) and
'Fragmentation in Arab society' (1954), are still topical.
Al-Mala'ika's poem about Jamilah Buhrayd, a young girl and a hero
of the Algerian Revolution, who was captured and tortured by the French
army, greatly influenced the younger generation of her readers.
However, in general she was more concerned with her personal experience
or nature than with nationalist issues in the 1950s and '60s. Starting
with the collection Shaýarat al-qamar (1968, The moon tree)
al-Mala'ika began to distance herself from experimentalism and developed more moralistic,
wrote religious poems and often used the two-hemistich form. Iraqi
nationalism and solidarity with Palestinian people blended with broader
struggles for freedom and social justice. She also wrote about the
defeat of the Arab armies in the 1967 Six-Day War.
In the lecture 'Literature and the Intellectual
[Western] Invasion ' (1965), presented at the Fifth Conference of Arab
argued that the influence of the West and its literature on the Arab
culture is an invasion more dangerous than military invasion. Moreover,
translations of European literature, done by incompetent translators,
weaken the Arabic language. Al-Mala'ika's nationalist views were
criticized by the journalist and writer Salama Musa, who said that
"'The worst thing that I am scared of is, that we conquer imperialism
and drive it away. We conquer the exploiters and subdue them, but we
will not be able to conquer the Middle Ages in our life andd return to
the call 'Go back to the ancient.'" (Modern Arabic Poetry 1800-1970 by Shmuel Moreh, 1976, p. 274)
Al-Mala'ika also translated poems by such writers as Byron, Thomas Gray, and Rupert Brooke, but in the 1960s she criticized young writers who have embraced too uncritically Western models. Al-Mala'ika played the oud she had studied in her youth, and sang the songs of Omm Kulthoum and Mohamed Abdel-Wahab. In the poem 'Lament of a Wothless Woman' (1952) she expressed her sorrow for women whose fate is to fall into oblivion: "She left, no cheek turned pale, no lip trembled. / The doors did not hear the story of her death. / No window curtain overflew with sorrow and gloom / to follow the tomb until it disappeared. . . . "
For further reading: 'Nazik Al Malaika's Life and Her Poetic Common Themes with ParvinEtesami' by Ashraf Roshandel Pour, Azam NikAbadi, Fariba Hemati, in International Journal On New Trends In Education And Literature, Vol 1, No 3, Sep (2014); 'Ambivalent Attitudes Toward Nature in the Early Poetry of Nazik Al-Mala'ika' by R. Husni, in Journal of Arabic Literature, Vol. 38, Numb. 1 (2007); The Poetry of Arab Women: A Contemporary Anthology, edited by Nathalie Handal (2000); Zwischen Zauber und Zeichen. Moderne arabische Lyrik von 1945 bis heute, ed. by Khalid Al-Maaly (2000); Encyclopedia of World Literature in the 20th Century, Vol. 3, ed. by Steven R. Serafin (1999); Encyclopedia of Arabic Literature: Volume 2: L-Z, edited by Julie Scott Meisami & Paul Starkey (1998); 'Nazik al-Mala'ika's Poetry and Its Critical Reception in the West' by Salih J. Altoma, in Arab Studies Quarterly (09/22/1997); Reflections and Deflections by S. Ayyad and N. Witherspoon (1986); Women of the Fertile Crescent: Modern Poetry By Arab Women, ed. by Kamal Boullata (1981); Middle Eastern Muslim Women Speak, eds. E.W. Fernea and B.Q. Bezirgan (1977); Trends and Movements in Modern Arabic Poetry by Salma Jayyusi (1977); Modern Arabic Poetry 1800-1970 by Shmuel Moreh (1976); 'Convention and Revolt in Modern Arabic Poetry', by M.M. Badawi, in Arabic Poetry: Theory and Development, ed. G.E. von Grunebaum (1973); Literatura árabe by J. Vernet (1968) - See also: 'Abd al-Wahhab al-Bayati