Source: http://kaffasharticles.blogspot.com.au/?view=magazine#! http://kaffasharticles.blogspot.com/2011/08/v-behaviorurldefaultvmlo.

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Take me into your hand* An essay about handling and handing

Prologue: The mystery of first encounters When Evald first talked to me about " Take me into your hands" we were heading towards a beautiful cozy restaurant in Ljubljana. I listened carefully as usual and it struck me immediately as a very playable play. When I first got the soft copy I was dumbfounded. Here , is a play about life and learning ... about love and sacrifice...It is not a comedy neither it is a tragedy. I immediately phoned Evald and asked if we can switch the roles making the male into a female and vise verse... He replied : absolutely not.When I first told Magda Mounir our friend and colleague about the play she just insisted that she must play the role of the owner of the bookshop. So I had a bit of a problem here...How can I resolve the paradox of the author insisting on not to change and the director of the theatre (for Magda is the director of the theatre that is going to produce the play in Egypt in November this year) wants to change?? What can the poor Translator/Dramaturge do in such situations? What follows is what should be done if any situation like that happens to another fellow Translator/Dramaturge and how can He or She convince the writer to accept drastic changes to his/her play!!! Not only did he accept but also

asked me to write this essay about the transformation or rather the transmutation of the play.

I- General remarks about Flisar s Theatre ...or The Master of word-craft strikes again!

Evald Flisar is one of the most prominent contemporary Slovenian playwrights and perhaps the most prolific dramatic author of the Nineties (1). Flisar achieved this status because of certain conceptual, thematic and structural features we can find in his theatre. These characteristics are considered by lots of critics to be revolutionary and have overwhelming impact on the Slovenian drama (2). In my opinion they are the following:

1- On the conceptual level Flisar opts in his drama for the classical acting (3). We can easily say that the role of actors in his theatre surpasses and trumps the other elements especially the visual elements. The concept of the Theatrical (4) in his theatre is very classical where actors are the pillars of the play and the text itself is the main subject with no resort to the extravagant and the spectacular. This does not mean that we can not make a spectacle out of his plays. In my opinion we can easily do that (5). This simply emphasizes the role of the author/playwright and separates it from the role of the director. In TMIYH, this is strikingly apparent. The play is a stream of dialogue, acting would be like a tug of war between 2 actors with no special visual effects. Scenography would be minimalistic and mise en scene

should be simple. The play is simply about the words and acting.

2- On the thematic level the most recurring theme in Flisarology is the study of the relationship between Male and Female or what may be termed also the basic human relationship. Evald Flisar is trying to explore this relation from every possible aspect (6). For example, in Nora Nora he tried to see the relationship of lovers and married couples from all directions playing sometimes on the theme of swinging!!! In the original version of TMIYH he tries to explore this theme from the point of view Father / Daughter as well as from Teacher / student or Master / apprentice. Needless to say that the lovers' side is also tackled. So in reversing the roles I faced a very big challenge. The question was: How to redefine the characters using Arabic without disrupting the main theme? And on another level can this reversal enhance the other themes (7) of the play? Here I found the answer in the concept of the importance of the word and classical acting. So I tried to emphasize the role of the Master even if he is a she!! Also I resorted to the platonic notion of the human being where a person is both male and female (8).

3- One of the main structures used by Evald Flisar in his theatre is the mirror image (9). This is so clear in his Nora Nora. In this play we have 2pairs representing the mirror image of each other and this is depicted on the stage. Although this structure is as old as drama itself as some historian might claim (10), yet the Flisarian use of it is innovative and unique in a sense. In TMIYH we can see that the 2 characters are somehow the mirror image of each other. Together they represent most of the

Straussian anthropological dualities (11). We have old/young, wise / nave, responsible / irresponsible in short CULTURE VS NATURE. This mirror image structure enabled me as translator/dramaturge to reverse the roles and rearrange the genders in the Arabic version. In the oriental mythology (12), the woman is seen as the womb of culture and the reservoir of traditions (13). This is an idea that has its effect on all the other cultures and is present in TMIYH (14).

II- Analyzing Take me into your hands This play is the 6th play of Evald s that I translated into Arabic (15). & I read all the others. For me the main prominent feature that is present in all of them is the strong dialogue.

1- Swift words or visual trickery?

In many of modern plays we find the author almost always opting for some kind of visual extravagances or overusing body movements. This kind of theatrical is not Evald s cup of tea. He believes as I explained before in the word as the main base for the Theatrical. His dialogue compels the translator to work hard in order to get into the heart of the meaning. As I noted earlier this feature distinguishes the notion of the Theatrical in Evald s world and in my opinion it emanates from Flisar s understanding of the theatre as a game of words manufactured by a crafty master and executed by well trained artisans. Sculpturing the words into a play is a craft that Evald Flisar has improved to almost perfection so that his dialogue resembles a game

of Table Tennis between 2 Chinese grandmasters. You can not see the ball but you certainly know it is there. Let us contemplate this Dialogue from TMIYH (16): IZTOK: I have three grown-up sons. They send me Christmas cards. I may have grandchildren, but I have not been informed. MAJA: Does that hurt? The first lines of Iztok establishes his sarcasm and his loneliness , the reply of Maja is 3 words but gives the mirror image of the character of Iztok. The dialogue is swift , informative , funny and revealing . That is what I call strong dialogue.

2- New/Old... Theme/ Model

One of the beloved themes of Evald Flisar that features in almost all of his work(17) is the theme of the journey. In his collections of short stories "Tales of wandering" (18), the journey was very evident. It was the model as well as the main theme of the stories. In his play the 11th planet(19) the journey was the theme rather than the model. We can see in his very famous work the sorcerer s apprentice that the journey is a model while the main theme was the relationship Master - apprentice which is a mystical and sofi theme that is strongly present in TMIYH. This theme is also the model upon which the play is structured. These themes / Models i.e. The Journey and Master / Apprentice are widely exploited in modern literature and one of the Masters that exploited and explored them to the brim is the looney Argentinian

grandmaster Jorge Luis Borges(20). This not only answers the question : Why the quotations from JLB? But also leads us to reconsider this textualizations as pointing the finger towards the Borgesian opinion about books and human knowledge in general (21)? In TMIYH the owner of the bookshop ( he in the Slovene version / she in the Arabic version) has an ambivalent attitude towards the books and knowlede in general and is also a Borges fan...They share the same opinion . An opinion that is expressed by Zaid. This ambivalence can be elucidated by looking through the mirror of Sofi tradition in Islam " we prey for you to protect us against the unbenificial knowledge" (22). This tradition also takes us also to the model /theme the Journey . There is uncountable number of stories about the journey of the scholar towards the truth . In TMIYH this is the journey of the main protagonist towards accepting the inevitable truth , Death. In TMIYH the theme/model are intertwined that creates lots of referential points and lots of points of articulations. Using Zaid s (23) as starting point of reference and also as the first point of of articulation in the play , we can easily assume that the theme here is knowledge is not neutral but it has useful as well as harmful effects . This is not only in the way of using knowledge but also in the way it is presented & perceived. Why we need knowledge? is a question that is usually avoided but bravely addressed in TMIYH. Another point of articulation between the play and sofi tradition is the view of Death. Actually our perception of death and our knowledge of death is the hidden hand behind the scene and the driving motor of the journey in TMIYH. We can see this through another story from the Islam sofi tradition(24). In this story a mystic was asked what does he hates the most? He answered I hate the truth!!! People were preblexed but then another scholar explained that the guy means he hates Death which is the

ultimate truth. In this story the relationship between knowledge / journey/ life / death is well illustrated and elucidated. The words of the wiseman contained concealed knowledge that could not be seen by the commons. His words represent in a way the essence of the knowledge of life as a journey towards the eternal truth ... death. TMIYH is like a modern version of this sofi fable. Both characters are exchanging knowledge and are learning from each other . By teaching each other they attend a higher level of knowledge... knowledge about life , love and above all their selves!!! All the modern psychology , psychoanalysis , psychotherapy, and all the other techniques concerned with human psyche are adamant in their assertion of the importance of self knowledge(25). In a way we can see TMIYH as a journey towards this aim & by doing so it is fulfilling another classical function of theatre ... Catharsis. Because of this level of interpretation of the play I relied upon a very rich heritage of mystical knowledge and sofism in Islam , a heritage that extends along more than 1400years up to our modern times.Actually my choice of the Arabic poet Mahmoud Hassan Ismail (26) depended mainly upon this tradition. I would say the choice was formal as well as thematic. Formal , in the sense that I was searching for a poet with the same inclinations as JLB and also thematic with poems that pertain to the poems chosen by Evald. The 2 quotations from JLB represent in my opinion 2 main points of articulations in the play (27). The first point is a poem about the nature of poetry , in translation I chose a poem by MHI called "poetry" (28) . Here , the concept of textualization has reached its perfection. A text within the original text where the former articulates with the later without touching it or dameging it, rather enhances the meaning. Juxtaposing the translated poem chosen by the master with the psudopoem written by the apprentice gives us the duality of true vs false( a mirror image) . The

theme of the play is enhanced here as well as the model. Nevertheless this is not all. The poem is full of emotions and feelings and as MHI is famous of being a romantic and mystical poet of the generation of early 20th century of Arab poets , this strengthen the duality Intuition vs Reason which is also a theme in the play.Also, I think the world of imagery used by MHI is very close to the mysticomagical world of JLB and this again is another reason for using MHI as an Arabic surogate. In summary I think this point of articulation in the play denotes the main theme "the mirror image of the characters" and connotes the main model "the journey of the sofi". The 2nd point of articulation in relation to JLB is the poem at the end of the play. Here we reach the end of the journey and see the eternal transformation through which the human being achieve another level of consiousness(29). In the drama of TMIYH this is attained by the magical solution of "acceptance" or in sofi terms (QOBUL). By accepting Death the shop owner accepts destiny and LIFE as well. HE/SHE accepts that life is eternal and death is the truth and hence achieve another level of knowledge and reach another level of consciousness. All these meanings are expressed by the poem of JLB, and we can find them in the poem of MHI which has the mystical title "prayer" or Salah in Arabic(30). The poet is calling for a mysterious love to come and approach him. Who is this one? Can this mysterious one be the angle of death? Can it be providence? The resemblance between the 2 poems is striking. More important on the structural level both JLB & MHI used images of mobility (31) and transformations that will lead us again to the model theme of the Journey. Here , the journey is not spatial but rather chronological. This journey is depicted in the play in the transformations of the characters but not in a spatial movement. The place

is always the same but the time changes. In fact Time is in a hurry to rescue space!!!! Here on the mythological level we have an inverted Greek cosmology. Where instead of Gaia (Earth) is preparing for the doom of Chronos (Time) (32), we have in the play Chronos saving Gaia. Here , we can mention 2 important features in the play that relate to the theme/ model of the journey and the theme / model of the Master/ apprentice. 1- Both characters suffered from some minor illness ( cold in case of apprentice and sprain in the case of the master). The illness here is not only purification for the soul but on a very formal level it is the traveler s illness. Sickness of a psychosomatic nature that accompany the journey. Both illnesses can also be seen as rituals of initiations and preparations for the transformation. As if by heating the body , the psyche is cooked and is prepared for another level of consiousness. 2- the ultimate solution for all the problems of the space was there all the time. The solution was a bond between Time and knowledge (33). It was collectors items of rare editions of old books. Here we can dwell upon the choice of the items in this magical wand of Flisar. They are 5 books. These books are: 1- en attendant Godot , 2-Ulysses 3- Les Fleures du Mal 4- leaves of grass 5- the bible . Actually there were 4 books and only one page of the 1st book ever printed : the bible of Gutenberg. The waiting for Godot by Samuel Beckett is clearly a play about the journey and the waiting for the traveller . It is also about hope & the unknown as well as despair and the status quo, as we can see very pertinent theme to TMIYH. Ulysses is a novel by the Irish author James Joyce. It is the ultimate journey novel. It is also a milestone in history of

littrature. Les Fleures du Mal by the French poet Charles Baudelaire is also a milestone in poetry. Its influence went beyond the European continent. Needless to say that MHI was so much affected by the book. One of his closest friends and a member of the same poetry circle in Egypt translated the book into Arabic (34). Leaves of Grass is the is a poetry collection by the American poet Walt Whittman (18191892). Though the first edition was published in 1855, Whitman spent his entire life writing Leaves of Grass(35) . As if the book is the life journey of the author. The connotation of the magical wand are infinite. Gutenber the inventor of printing deserved a mention in TMIYH. For what is more prominent in the journey of the human race through time than this revolutionary invention that made the preservation of Lore and Knowledge easier and available for everyone? But the symbolization of the items lies not only in the subject matter of each one but also in the genre. We have a play , a novel and 2 collections of poetry and one page of a book of faith. Aren t they the representation of knowledge and artistic ways of expression that use language as its carrier?? This meaning is augmented through the idea given by the apprentice to save the space. Selling CD s and music. If we juxtapose both ideas we shall have an old form of the preservation of knowledge (the book) and a new form of the preservation of knowledge (the CD) . Accepting both forms is the solution and through it we shall transform a bookshop into a cultural centre .. a higher level of consciousness. The space will die as a bookshop that serves a few people but like the mythical phoenix will rise again as a cultural centre to serve knowledge in different forms for a lot of people. Here we have the journey of the space into a different level. It is a journey of the space but in time. A journey that will bridge the gap between the old and the

new. The climax of the play comes from within the theme and the structure in a very elaborate way.

3- The old vs. the New an anthropological duality?

Evald Flisar dealt with the theme of the old vs. the new or the Old vs. Youth in lots of his works. In his novel "the monster of loneliness" or "My father s dream" he deals exclusively with this theme. In his "Hamlet & I" this theme is strongly present. Flisar s treatment of this duality is not the one we find in mythology (36). He is not praising the wisdom and foresight of the old nor is he debasing the foolishness of the youth. He is taking a more balanced and rather realistic position. For, first he is analyzing the duality then reconsiders it again. In other words he deconstructs the anthropological duality in an artistic way then reconstructs it in a dramatic way. This process has a certain similarity with what is called in Sufi terminology Takhlia Thoma Tahlia, or purification then sweetening. In TMIYH the old master is skeptical, sarcastic and in a way nihilistic. His fears have turned into follies. His old wisdom and lore is fading leaving bitterness and horror. He can not accept the truth and because of that he is doubting everything he had believed in. But this is one side of hisstory! For in him the flame of hope is still burning under the dust of doubts. He has the urge to teach or in another word to transfer his knowledge; and because of that he is searching for the worthy apprentice. But, this is not all. For his- story has lots of facets. In him there is still alive the longing for knowledge as a true master never stops learning, he has this eternal need and unquenchable thirst to know and search for the unknown. Sometimes, this unknown is called the truth, others may call it Nirvana.

Still others may name it enlightenment or we may simply say he wants to know himself. Deconstructing the myths (37) is a job that Flisar excelled in. in TMIYH the myth he deconstructed is that of the wisdom of the old. He reconstructs the golden cup on another level which is the level of self consciousness. This is achieved in a painful yet amicable way through deconstructing another myth that is the myth of the irresponsible youth or the prodigal son. They are twin myths or rather mirror image ones. For by entrusting himself to his disciple and by trusting her intuition , the protagonist/ father figure transcends his pains and sufferings & accepts life by accepting death in doing so he also accepts her wisdom. In the Arabic version with gender changes, the idea is still valid. The key action here is handling the situation through "the book" i.e. the knowledge transmitted through the book written by the owner of the bookshop to the son/apprentice and retaking it from him. Here I leaned upon a very old Egyptian myth (38) of the mother that gives her son the power/the knowledge & he in turn hands it over to her as a sin of acceptance. This myth represented a corner stone in the coronation ritual of the new pharaoh and some historians of theatre consider it a rudimentary form of the theatrical (39). By accepting the deconstruction of the 2 myths and integrating the old one in the process of reconstruction I was able to handle the transformation of the play with its richness of levels. I was also able to hand over the responsibility of translation/ transformation into Arabic to the actors in Egypt. But that is another part of the story.

III- Revisiting the problems of translations...The

Handling & The Handing over

1-The Handling

Translation into Arabic is a big problem (40). And translating a play into Arabic is a bigger problem (41). I discussed this topic in an article that was published several years ago in sodobnost (42). The main issue here is: a play is a play. That means it is meant to be performed not read, here we encounter the common problem of Arabic. There is 2 Arabic languages not one. The written Arabic which is sometimes called classical Arabic and the spoken or the dialect (43). In translating "Antigone Now!!!" I opted for the classical Arabic in a simple form called the 3rd language (44). This I thought was more appropriate and suits the subject & the tragedy we are trying to perform even if it is happening now (45). I also did the same in translating "Tomorrow"; I thought that the touch of grandeur given by the classical language is needed for the morale of the drama. But in "NORA NORA" & "11th planet"(46); I opted for the Egyptian dialect, knowing that they are going to be performed & that was my decision also for TMIYH. I think also what compels me to handle the play in this way is its genre. I would categorize it as a comedy albeit its strong tragic ending. The lines are comical, & funny. The atmosphere is almost slapstical. The dialogue is fast as we pointed before. Both characters are funny in their own way. For this kind of genre classical Arabic is not suitable as it is not perceived very comical. Another problem that I handled during translation was the reversal of gender of the characters. I did so by changing the line of Ex.'s of the young female(48) into an extended

family line that is more likely in Egypt and add to that it exploits certain elements of the political situation after the January Revolution(49). This will add spices to the play. I also watered a lot of the sexual innuendos of the young female because of cultural reasons as it is not appropriate in Arabic culture to have a sexually open young male addressing and older female. Also in reversing the sexes I thought it is more suitable to see the young protagonist as more attracted to the wisdom of his mentor rather than to her bodily charms. For the poetry written by the young apprentice I made it as silly as possible not only to enhance the juxtaposition but also to remind the audience of the silly son writers of today in Egypt thus enhancing the comedy. The rudeness of the old man was trimmed but not his sarcasm, I know that here I am accepting certain gender related stereotypes (50) but this enabled me to redefine the character as a cultural figure in the modern Arabic culture. I think this justifies my choice to a certain extent. The handling of the play and arabicizing it was a big challenge but handing the product to the publisher, theatre and above all to Evald was even bigger.

2- The Handing over... Occident vs. Orient

Trust is the key word in this process of finalizing the script, handing it over to the actors and the board of the theatre as well as to the author. Trust here has lots of meaning and many levels. On the personal level, trust is the base of the relationship that allowed the handover of the play first to me then back to Evald. I see this level also as the base of the relationship

between the characters in TMIYH whither in the Slovene or the Arabic version. In TMIYH we can interpret the relationship as trust building. Through acceptance, rejection, denial and then acceptance again the trust is established. The pulling and tugging happened all the way and ended by mutual acceptance and trust. This is the same process that happened between me and Evald. Through work and mutual projects we reached this kind of trust that enables the person to hand over whatever he/she thinks precious to the other without fears or doubts. That is because one knows that the other is worthy of trust. This feeling of trust combined with the feeling of knowing someone who is worthy of trust has its Sufi dimension in the relationship Master / apprentice as well as in a relationship between 2 Sufis. This can be illustrated by lots of tales of almost all the faiths (51). They all elucidate how some one can see the capabilities of another person, even if this other is not aware of that. Trust in the capabilities is another level of trust. It is trust in yourself as well as trusting the other. This level of trust merits some detailing in the story of the handing over. Music as an art form represents the pure form of artistic expression (52). Perception of music relies totally upon the feelings. In trying to translate the Arabic play into a performance I was advised by Magda Mounir (53) the actress who will play the shop owner in the Egyptian production of TMIYH to use life music played by a lute player. This idea transcended the whole concept of the performance and gave it a universal dimension. Not only because lute is a common instrument in both the oriental as well as the occidental music(54) but also because through music and songs we can observe the growth and development of the relationship between the characters. Needless to say it will add to the entertainment of the audience. The concept of the music as a narrative tool

gives the idea of trust in the capabilities a broader perspective. Here intuition replaces logic and trust becomes as pure as music itself. This transfers the idea of trust to trust in humanity itself. Trust that sees no borders and rejects the notion of conflicts of civilizations. I think we utterly need this kind of trust in this time of hatred and war and decline of all kind of values. I think also that this trust can be found in the making of TMIYH into an Arabic play to be performed in a theatre festival in La Paz capital of Bolivia. For isn't it beautiful to have an Arabic theatre company performing in a Latin American country a play written by a European author? Isn't that the essence of the good side of the concept of globalization? A side that we must see and encourage.

* The latest play by Evald Flisar. Translated into Arabic by Ossama Elkaffash

Ossama Elkaffash Zagreb 4th /8/2011

Footnotes: 1- Ravinjak , Vili Deconstructing the myth of romantic love, Tristan & Iseult, Goldhawk Press, London, 1994 page 91 2- ibid page 91 3- The late Dr Saleh Saad the Egyptian director & scholar described theatre of Evald Flisar as "a theatre that revives the role of the actor on stage" - Theatre Magazine, Cairo May 2005. Interview about his direction of Nora Nora. - - - 5002 . 4- The concept of the theatrical has been always an illusive concept. It is defined linguistically as: Of, relating to, or suitable for dramatic performance or the theater. (the free dictionary by farlax http://www.thefreedictionary.com/theatricality) . American professors of drama and performing arts Thomas Postlewait & Tracy Davis defined it as "a sign empty of meanings and a meaning of all signs" (in the book edited by them :Theatricallity. Cambridge University press 2003)

I defined it as the performance of the actors on a stage in my essay The 3 Ps Paradigm in Alarab weekly newspaper 21/11/2009 page 27 - 27 32-11- 9002 5- In my dramaturgical treatment of Flisar s play Antigone Now , I changed the scenry into a Nubian village on the shores of Lake Nasser and the play would have been produced as Musical. 6- Ravnjak, Vani op. cit. Page 92. 7- I tackled the problems of translation from Slovene to Arabic in my article http://kaffasharticles.blogspot.com/2006/03/translationfrom-slovene-to-arabic.html 8- The greek legend saw a complete creature or the Hermaphrodite with male and female and was the product of the intercourse of Herms and Aphrodite http://www.lilithgallery.com/library/hermaphroditus/ 9- The mirror image concept is a concept used in lots of sciences and various fields of knowledge. It was introduced and elucidated in psychoanalysis by the French Psychoanalyst Jacques Lacan in his famous article the mirror stage. http://en.wikipedia.org/wiki/Mirror_stage 10- The utilization of the mirror image scenry in what is termed the pharaonic theatre is suggested in lots of articles and essays. See for example Nermeen Khafagy The Pharaonic Theatre. http://www.ahewar.org/debat/show.art.asp?aid=167315

2009-3-31 - Also Shafiq , Sobhy "the history of the pharaonic theatre" http://egyptartsacademy.kenanaonline.com/topics/58246/ posts/218803 - . . 11- The main theory of cultural anthropology of C.L.Strauss is based upon the idea of duality of Culture / Nature . This is well expressed in his major work " mythologique". 12- see Joseph Campell , The Masks of God vol.1 primitive mythology page 139 and after. LONDON : SECKER & WARBURG : 1960 13- The myth of Isis the mother goddess in Pharaonic Mythology is a good example here. See http://en.wikipedia.org/wiki/Isis 14- see Joseph Campell , The Masks of God vol.4 creative mythology page 42 and after Penguin compass. 15- I translated into Arabic the following works of Evald Flisar 1- Tales of wandering 2004 2- Nora Nora 2005 3- The eleventh planet 2005 4- Tomorrow 2006 5- Anthology of slovene short stories ( 2 stories) 2007

6- My Father s dreams 2007 7- Antigone Now 2010 8- Take me into your hand 2011 16- Page 6 in the soft copy of Take me into your hand. The dialogue goes as follows: IZTOK: I have three grown-up sons. They send me Christmas cards. I may have grandchildren, but I have not been informed. MAJA: Does that hurt? IZTOK: Not as much as my back. Which hurts all the time? MAJA: What do you appreciate in a woman? IZTOK: Cleverness. Tolerance. Imagination. MAJA: Are you happy? 17- See S.S. Nash, introduction in collected plays of Evald Flisar, page 13. Texture press. New York 18- " " 2004 19- " " 2005 20- Jorge Luis Borges has used the theme of the journey almost in all his writtings whither prose or poetry. The Theme of the teaching and learnin or Master/ apprentice is also utilised by him as for example in his short story repentenance (el repentimiento in spanish) from his short story collection ElAlif.

21- In his introduction to his famous short story collection The gardin of forking paths ("El Jardn de senderos que se bifurcan" Spanish title 1941 ) Borges expressed utter dispise to books. See ficciones prologo pagina 6. 22- This is a prayer of the prophet Mohamed. See http://tabalkhater.barzan.ws/pages/p004.html 23- Gabriel Zaid wrote "The human race publishes a book every thirty seconds" and he further argued that most poeple are intersted in writing books not readin them. See So Many Books: Reading and Publishing in an Age of Abundance. 24- http://geeska.mountada.biz/t103-topic 25- Socrates guiding rule " Know Thyself" is probably one of the most used quotations and also can be seen as the mantra of all kinds of psychological therapies. http://en.wikipedia.org/wiki/Know_thyself#By_Plato 26- Mahmoud Hassan Ismail 1910-1977 a very important Arab poet from Egypt. Has 14 collections of poetry. He is considered to be one of the pillars of the romantic movements. http://www.adab.com/modules.php? name=Sh3er&doWhat=ssd&shid=520 http://www.marefa.org/index.php/%D9%85%D8%AD %D9%85%D9%88%D8%AF_%D8%AD%D8%B3%D9%86_ %D8%A5%D8%B3%D9%85%D8%A7%D8%B9%D9%8A %D9%84 http://medhatfoda.jeeran.com/m3th/adb %203th/3tha4.htm http://www.arabicnadwah.com/articles/ismael-shusha.htm

27- The point of articulation is a medical concept where 2 bones are joined together with a joint. http://books.google.hr/books?id=YyOCem151sC&pg=PA367&lpg=PA367&dq=point+of+articulation + +in+medicine&source=bl&ots=CcP8x2Gq4i&sig=Qpa3EE C_QtG3NE_XXBtpGVQOOQ&hl=hr&ei=10M8TuXkNo7BswbdlfEp &sa=X&oi=book_result&ct=result&resnum=1&sqi=2&ved =0CBgQ6AEwAA#v=onepage&q=point%20of %20articulation%20%20in%20medicine&f=false It is also used in phonetics the location at which two speech organs approach or come together in producing a speech sound, as in the contact of the tongue and the teeth to form a dental sound. Also called place of articulation. http://dictionary.reference.com/browse/point+of+articulati on I use the concept to denote the point in a text where another text is used or refered to. 28- The poem is in the complete works of MHI volume 1 page 294 General authority for book- Cairo 2004 294 4002

The first 2 verses can be translated as follows

Poetry if heard by the Jinn , they will pray with their souls If the its whisper enters in a pub the drunk will pray and the cups will say halliloja 29- The other level of consciousness is well documented whither in near death cases and their testimonies or in other experiences using drugs or even rituals. Carlos castaneda in his book The teachings of Don Juan and Carl Rogers in his book a way of being has spoken extensively about it. 30- The poem "prayer" is written 1938 from his collection of poetry " the king" http://www.adab.com/modules.php? name=Sh3er&doWhat=shqas&qid=77471&r=&rc=0

 It can be translated as follows Come as a prayer .. Come as a prayer soften by Asceticism of a monk in his cell Come as god s providence for us given to the being throuh revelations Come thirsty like wounds while the cup of love is mourning and poetry is a broken flute You are an ingenious tune in my mouth and I am in god s gardens a nightingale! 31- MHI has used the image of a moving spirit and he is adressing another one In his poem JLB has used the image of some that has already left and is now in the center of the labyrinth while he is also adressing another one The writings left behind by implore wont save you;You you see yourselfNow at the woven32- in the Theogony of those whomYour fears are not the others and center of the labyrinth Hesiod , lines 147- 206

http://www.sacred-texts.com/cla/hesiod/theogony.htm 33- One definition of book is the total available knowledge and experience that can be brought to bear on a task or problem. Here it is clearly the vector of knowledge in time. http://www.merriam-webster.com/dictionary/book 34- Les Fleurs du Mal was first translated into Arabic by a friend of MHI and a great romantic poet Dr. Ibrahim Nagui.

IN & MHI were member in the same poetry society . Apollo group. http://medhatfoda.jeeran.com/m3th/adb %203th/3tha4.htm 35- Miller, James E., Jr. Walt Whitman. New York: Twayne Publishers, Inc. 1962. 36- There is lots of legends about the wisdom of the old, like for example the legend of the golden cup on the mountain. See http://www.pitt.edu/~dash/type0981.html 37- Ravinjak , Vili op.cit. page92 38- The famous myth of Isis , Osiris and their son Horus http://www.egyptianmyths.net/mythisis.htm - - http://www.philae.nu/philae/IsisOsiris.html 39- For more about the history of performing art and theatre in Pharaonic Egypt see http://kenanaonline.com/users/Arabmedia/topics/64383/po sts/109617 also - - 71 81 2000 40- see Elkaffash , Ossama The art of translation and concept building in Concept building an epistomological study & practical

examples - 721 1998 - 41- see Elkaffash , Ossama lingustic arts in Concepts of beauty ' an Islamic episteme - - 75 1996 - 42see http://kaffasharticles.blogspot.com/2006/03/translationfrom-slovene-to-arabic.html Op. Cit. 43- see - - 2009 - http://el-kalema.com/AR/index.php? page=shop.product_details&flypage=shop.flypage&produ ct_id=299&category_id=38&manufacturer_id=0&option=c om_virtuemart&Itemid=48&vmcchk=1&Itemid=48 Also http://kaffasharticles.blogspot.com/2009/03/blog-post.html 44- The 3rd language is an idea proposed by the Egyptian writer Tawfiq Alhakim (1898-1987) as a solution for the duality of the Arabic lanuage. See also - - 2005

45- - _

2010 46- - - 2005 47- Nora Nora the arabic version was first performed in Cairo at Alhanager theatre.14/2/2005 48- Take me into your hand the latest play by Evald Flisar to be performed in Cairo in November 2011- the Arabic translation to be published in 2012 by Dar Elkalema 49- The youth from the poor neighborhoods who defeated te security forces of Mubarak s regime were called by the regimes media the mobs or Baltagia in Egyptian slang. Friends of the youn assistant were from these area of the marginalized poor people. 50- Here we can see some relations to the stereotype of the weaker sex or the gentle sex. 51see http://www.mkthabit.com/index.php? option=com_content&view=category&id=1014&Itemid=2 25 52- see - - 12 1996 - 53- Magda Mounir an Egyptian actress (1951- ) studied drama and acting at high institute of theatre , Acted in Lots of Movies and tv series but is famous for her theatrical roles.

54- Lute can refer generally to any plucked string instrument with neck and a deep round back, or more specifically to an instrument from the family of European lutes. The European lute and the modern Near-Eastern oudboth descend from a common ancestor via diverging evolutionary paths. The lute is used in a great variety of instrumental music from the medieval to the late baroque eras and was probably the most important instrument for secular music in the renaissance. http://www.cs.dartmouth.edu/~wbc/lute/lute.html