A Critical Introduction to Modern Arabic Poetry

ABU SHABAKA 151

Two relevant points emerge from this introduction. The first is the high
value Abu Shabaka sets upon inspiration in poetry — a thoroughly romantic
principle, leading to minimizing the role of conscious control. The second
point, which is a concomitant of the first, is the complete reversal of the
traditional Arab image of the poet. As we have seen in the case of Taha,
here too the poet is no longer conceived of as a conscious craftsman: rather
he is believed to be an inspired, prophet-like creature,who is in communion
with a higher and mystical power.
But if the poet feels he is endowed with the power of prophecy it is only
natural to expect him to feel, too, that he is meeting with the fate of most
prophets, namely, that he is little understood or honoured by his own people.
In his poetry Abu Shabaka assumes the attitude of an 'outsider', and laments
the fact that he does not get the recognition he deserves. He turns his back
on humanity, and has to maintain the position of a rebel because he feels
he must be true to himself and to his own feelings: sincerity must always
come first. In one poem Abu Shabaka wrote that truthful poetry is the best,^91
contrary to the old Arabic saying that the best poetry is that which feigns
most. Like Shukri before him, he claims that the purest art evolves from
emotion.^92 With a group of Lebanese writers known as the Group of Ten,
although only four of them were active, he waged an unflagging war on the
literary and even political establishment on the pages of the review al-Ma'rid
until the review was forced to close down by the government three years
later. In one article (published in 1930) we read: There is not one among
the leading writers of the Lebanon who deserves to be called a writer, as the
west understands the word.' In another article: 'Our main objective in this
criticism is to liberate poetry from those heavy chains which still impede
its free movement. We want poets to listen only to the voice of inspiration
and to look only within the depths of their souls when they compose their
poetry.'^93 In the same year Abu Shabaka wrote in al-Ma'rid:

We want a new literature of our own which carries the imprint of our souls

and which stands on the basis of a revolution in our thinking and in our

institutions and traditions. We want a literature which departs from the

rules set down by our forefathers, however violently we may be attacked.^94

In a poem entitled 'Day of Judgment' in Serpents ofParadise9ihe makes Satan

announce that all those who compose verse without feeling belong to him

and hell shall be their lot.

In order that he may be true to his feeling a poet does not hesitate to write

frankly about his personal experiences, even those which are generally