Analysis on Fate of a Cockroach

3961 Words May 31st, 2013 16 Pages
Tawfiq al-Hakim or Tawfik el-Hakim, (October 9, 1898 – July 26, 1987) was a prominent Egyptian writer. He is one of the pioneers of the Arabic novel and drama. He was born in Alexandria, Egypt, the son of an Egyptian wealthy judge and a Turkish mother The triumphs and failures that are represented by the reception of his enormous output of plays are emblematic of the issues that have confronted the Egyptian drama genre as it has endeavored to adapt its complex modes of communication to Egyptian society.
Early life
Tawfiq Ismail al-Hakim was born October 9, 1898, in Alexandria to an Egyptian father and Turkish mother. His father, a wealthy peasant, worked as a judge in the judiciary in the village of al-Delnegat, in central Beheira
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However, in spite of such critical controversies, he continued to write plays with philosophical themes culled from a variety of cultural sources: Pygmalion (1942), an interesting blend of the legends of Pygmalion and Narcissus; Sulayman el-Hakim (Solomon the Wise, 1943), and El-Malik Udib (King Oedipus, 1949).
Some of el-Hakim's frustrations with the performance aspect were diverted by an invitation in 1945 to write a series of short plays for publication in newspaper article form. These works were gathered together into two collections, Masrah el-Mugtama (Theatre of Society, 1950) and el-Masrah el-Munawwa (Theatre Miscellany, 1956). The most memorable of these plays is Ughneyyet el-Mawt (Death Song), a one-act play that with masterly economy depicts the fraught atmosphere in Upper Egypt as a family awaits the return of the eldest son, a student in Cairo, in order that he may carry out a murder in response to the expectations of a blood feud.
El-Hakim's response to the social transformations brought about by the 1952 revolution, which he later criticized, was the play El Aydi El Na'mah (Soft Hands, 1954). The 'soft hands' of the title refer to those of a prince of the former royal family who finds himself without a meaningful role in the new society, a position in which he is joined by a young academic who has just finished writing a doctoral thesis on the uses of the Arabic preposition hatta. The play explores in an
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