THE RECOIL FROM ROMANTICISM 234associated with Shi'r magazine (p. 8) — can be seen in the text of a most
interesting lecture he gave at a conference on Modem Arabic literature held
in Rome in 1961, entitled 'Arabic Poetry and the Problems of Innovation'
(pp. 3Off.). After a brief historical introduction in which he sketches out
previous attempts at innovation in Arabic poetry, Adunis sets out the three
principles on which the New movement is based, namely a radical rebellion
against traditional mentality, a rejection of the old Arab conception of poetry
which regards poetry as something static and as no more than emotion and
craftsmanship, and a rejection of the view that ancient Arabic poetry is a
model to be imitated by all subsequent poetry, or that it is an autonomous
and self-sufficient world independent of all the poetic heritage in other lan-
guages. He then discusses the novelty of New Poetry on three levels: artistic
form, language and civilization. On the last point he says: 'In order that the
New Arab poet may liberate himself from these static values in poetry and
language it is necessary for him to free himself also from these values in the
whole of Arab culture.' Adunis believes that this lack of change in poetry and
language is probably due to the religious nature of Arab culture, which
stresses 'obedience not freedom, learning not discovery'. He laments the fact
that it is still difficult for an individual to question the fundamentals of reli-
gion or to deny the existence of God in the way Nietzsche has done in the West.
Yet:
It is essential for the modern Arab poet... to reject the static values in his
ancient poetic heritage and in His cultural heritage generally in order that
he may be able to create poetry that reaches the standard of the civiliza-
tional movement in which he lives. Just as he should not see any ultimate
value in his own poetic heritage, he should likewise learn to view his cul-
tural heritage. In this way, the Arab heritage, poetry and culture alike, be-
comes part of human civilization Thus the contemporary Arab poet
will not seek his sustenance in the sources of his Arab heritage alone, but in
the totality of human civilization.On the need for radical cultural change Adunis is emphatic: 'It is impossible
for the poet to write New Poetry unless he himself has changed inwardly and
has lived a new experience', (pp. 47—51). Adunis has remained committed
to the cause of reviving Arab culture, as is clearly shown in the last document
published in his collection of essays, his letter to Yusuf al-Khal dated 20
December 1971: 'Arab existence and Arab destiny', he writes, 'constitute my
reality, not only as a poet, but as a man ... We have no identity outside the
Arab identity' (p. 286). His feeling of responsibility towards Arab culture is
enhanced by his conviction that Arab life at present has sunk to its lowest ebb
since the fall of Baghdad at the hands of Hulagu.