24-06-2025
The Poetry That Does Not Bleed An Exploration of the Book The Image of Blood in the Poetry of Amal Dunqul by Munir Fawzy
Yemenat
O Last of the Tolls
Tell us, who has perished
So we may drink his blood
And end our revelries
Feasting upon his flesh!
I begin my article with these poignant lines from the poet Amal Dunqul, which express profound suffering, as I delve into the book The Image of Blood in the Poetry of Amal Dunqul by the Egyptian writer and professor Dr. Munir Fawzy.
Published by Dar Al-Ma'arif in Cairo in 1995, the book spans three hundred and thirty-six pages in a large format. This reading coincides with the eighty-fifth anniversary of the birth of the Egyptian poet Amal Dunqul, who was born on June 23, 1940—a fitting occasion to rediscover his timeless poetic legacy.
The opening verses encapsulate a harsh tableau that reveals the suffering of humanity under the yoke of tyrannical authority. Here, Dunqul transforms hunger from a physical need into a symbol of collective loss. The act of drinking blood and feasting on flesh are not merely shocking images; they express the violation of body and soul in societies uprooted by injustice. Within this context, blood becomes a silent language that narrates tales of inherited pain.
The depiction of reality in most Arab countries today mirrors this bleak poetic vision. Political and economic crises ravage the Arab body, exacerbated by the escalating poverty, deprivation, and hunger, as seen amidst the bloody events in Gaza, where occupation perpetrates horrifying acts of genocide, revealing the indifference of Arab rulers towards supporting Palestine and its people as part of this tragedy.
This book stands out as one of the significant critical studies that examine The Image of Blood in the Poetry of Amal Dunqul. It deeply explores its sources, issues, and artistic features across three main sections, dividing its inquiry into two primary axes: the first addresses the clash between authority and the intellectual, while the second highlights the dimensions of the Arab-Israeli conflict.
In the first chapter, Munir Fawzy examines the sources of the image of blood, highlighting four main dimensions: mythology, religion, history, and folklore. The second chapter focuses specifically on the issues of blood in Dunqul's poetry, emphasizing his stance toward authority and its instruments through condemnation and alienation, in addition to analyzing the dimensions of the Arab-Israeli conflict and its representations.
In the third chapter, the author explores the artistic features of the image of blood, illustrating how it is employed to express these issues. This reveals the depth of Dunqul's artistic and poetic vision and his unique ability to blend artistic aesthetics with political and social themes.
Introduction
Amal Dunqul (Mohammd Amal Muharib Fahim Dunqul) was born in 1940 in Qena Governorate (in the village of Al-Qalah) in Upper Egypt, later becoming one of the most prominent Arab poetic voices in the second half of the twentieth century. His poetic experience is characterized by a rebellion against traditional forms, successfully blending myth with reality and harshly expressing the suffering of the nation. Among his most famous collections are The Murder of the Moon (1974), Weeping Before Blue Yamama (1969), Commentary on What Happened (1971), The Coming Covenant (1975), and New Sayings About the War of Basus (1987), culminating in his last collection, Papers from Room 8 (1983).
The First Source: Blood in Mythical Heritage
Mythology is a fundamental element of literature, reflecting the experiences and suffering of peoples and connecting the past with the present. In Amal Dunqul's poetry, mythology plays an important role in portraying the concept of blood, serving as a vessel for symbols and meanings that express conflict and identity. Dunqul is distinguished by his ability to evoke myths from diverse cultures, adding depth to his poetic experience and enhancing the understanding of the human issues he discusses.
Dunqul draws on various myths, invoking Pharaonic legends such as the story of Isis and Osiris and the Bride of the Nile, which represent redemption, resurrection, and renewal, to embody the ongoing suffering of peoples. He also references myths like the Story of the Brothers and the Birth of Ra, alongside Greek myths such as that of Adonis or Tammuz to highlight themes of love and the loss of fertility and growth. Additionally, he does not neglect Arab myths, making them an important part of his poetry, such as the myth of the Phoenix, which symbolizes renewal and immortality, and historical figures like Hussein ibn Ali, through whom he expresses resistance and endurance.
Through these myths, blood becomes a symbol of suffering and defeat, conveying the pain of separation and loss. In mythology, blood carries deep meanings; it is not merely a flowing liquid but embodies life and death, sacrifice and defiance. Dunqul's use of these symbols reflects his worldview, where blood emerges as a fundamental element in the struggle for identity, freedom, and survival.
Mythology enhances the value of blood, transforming it into a symbol of hope and redemption in different contexts, indicating continuity in the face of injustice. Through this symbolism, Dunqul succeeds in creating a rich poetic experience that articulates the shared pains of peoples, making his poetry a mirror reflecting the experiences of humanity as a whole.
The Second Source: Blood in Religious Discourse
Religion occupies a significant place in the poetry of Amal Dunqul, playing a fundamental role in shaping consciousness and emotion within his portrayal of blood and its meanings of sacrifice and struggle for the homeland. Dunqul highlights religious values in his texts, elucidating the deep connection between religion and human suffering, enriching his poetic experience and reflecting the concerns of society.
In Dunqul's poetry, religion emerges as a rich source of symbols and meanings, using the dimensions of the image of blood to embody the suffering of the Arab community. Here, blood transforms into a symbol of redemption and sacrifice, revealing the conflicts faced by humanity. Amal invokes religious texts related to martyrdom and sacrifice, enhancing the power of his poetic imagery and deepening its significance.
We observe the diversity of religious symbols Dunqul employs, drawn from Islam, Christianity, and Judaism. He references the stories of prophets and religious figures, such as Hussein ibn Ali, embodying redemption and courage in the face of injustice. He also invokes symbols like the 'Book of Exodus' to reflect the suffering of the Palestinian people, where blood becomes a symbol of lost freedom.
The religious symbols in Dunqul's poetry transcend the boundaries of faith to express profound human issues. These symbols reflect the suffering of the Arab community under occupation and oppression, with blood becoming a symbol of the ongoing struggle for freedom and dignity. Through these symbols, Dunqul demonstrates how religion can be a driving force for resistance, articulating the hopes of peoples yearning for liberation from constraints.
Additionally, Dunqul calls upon religious symbols to reveal the political use of blood in official discourse. The blood of Abel symbolizes the first murder, while the blood of martyrs represents the duality of the oppressor and the oppressed. Here, religion transforms into a tool for exposing the hypocrisy of power that exploits the sacred.
The Third Source: History… Blood That Does Not Dry
History represents one of the primary sources from which Amal Dunqul derives his poetic vision. He utilizes it as a backdrop to embody the image of blood in his poetry, invoking historical events and notable figures to express the suffering and pain experienced by the Arab community. This makes history a vital element in the construction of his poems.
Dunqul leans on history to enhance his poetic experience, framing it as a lens through which to understand contemporary reality. By recalling historical events and figures, he creates a bridge between the past and present, contributing to a comprehensive view of current human issues. In this context, blood becomes a symbol of the ongoing suffering endured by peoples throughout the ages, as well as a representation of unresolved conflicts.
Dunqul addresses a range of historical events that have significantly influenced his perception of reality, such as the War of Basus and the Battle of Hattin, along with the defeats suffered by Arabs in modern times. Through the invocation of these events, he illustrates how blood signifies loss and grief, shedding light on the sacrifices made for dignity and homeland. These events reveal the depth of the poet's pain and reinforce his belief that history is not merely a recounting of facts but a complex tapestry of suffering and hope.
The Arab-Israeli conflict stands out as one of the central themes that influenced Dunqul's poetry, demonstrating how this struggle manifests in the image of blood. He articulates the suffering of the Palestinian people, using blood as a symbol of loss, sacrifice, struggle, and martyrdom in the quest for land and homeland. In his poems, he addresses issues of occupation and injustice, making the image of blood embody the hope for liberation from constraints.
The Fourth Source: Blood in Folklore
Folklore is an essential part of Amal Dunqul's poetic experience, significantly contributing to the formation of the image of blood and expanding the horizons of his poetic vision. Through the invocation of popular elements, Dunqul demonstrates how mass culture serves as a means to express suffering and renewed hope in the face of injustice and aggression.
Since folklore embodies the identity and culture of peoples, reflecting their daily experiences and struggles, Dunqul's poetry reveals the influence of popular literature in shaping the image of blood. Here, blood becomes a symbol of pain and loss. By invoking folk tales and legends, Amal strives to present his humanitarian themes with depth and simplicity, making them resonate closely with the hearts of his audience and readers.
Dunqul draws on popular elements such as proverbs, stories from One Thousand and One Nights, and folk tales, integrating them into his poetry, which adds an authentic character that reflects his deep Arabic culture. He successfully employs figures from folk narratives, such as Antar and Al-Zir Salim, to embody values of courage and struggle, expressing the collective spirit striving for justice. Additionally, he recalls stories from the popular heritage, such as those found in One Thousand and One Nights, which provide his works with a historical and cultural dimension, enriching his understanding of contemporary societal issues.
The use of popular heritage has effectively conveyed Dunqul's messages to the public. By employing simple language and familiar imagery, he succeeded in creating a direct connection with his audience, allowing his poetry to express their concerns and hopes. This connection fostered a sense of belonging and participation, where readers feel that their voices are heard and their struggles are articulated in the poems.
Fawzy adds an essential observation regarding Dunqul's inspiration from the archetype of the sacrificial hero in folk narratives, showing that the blood of the hero does not signify an end but rather represents the seeds of a forthcoming awakening and a new birth that contributes to reshaping consciousness through the use of popular imagination.
Chapter Two: The Artistic Formation of Blood
Amal Dunqul's artistry draws from essential elements that enhance the stylistic impact of the diverse images of blood in his poetry. He adeptly employs various literary techniques that enable him to present profound and multi-dimensional insights into human suffering and social conflicts. This style is evident in the prominent features of the blood imagery, expressed in creative ways that add depth to his poetic texts.
The image of blood in Dunqul's poetry is characterized by complexity and richness, serving as a central symbol reflecting the suffering of the Arab individual. Through this imagery, the poet illustrates how blood signifies loss and sacrifice, intensifying the sense of pain in his verses. Blood becomes a medium to paint vivid depictions of various conflicts, embodying the harsh realities faced by societies.
This study highlights how Dunqul uses the image of blood as a means to express issues of identity, freedom, and social justice, enriching the literary and critical understanding of his poetry. Reading Dunqul's work requires a deep comprehension of its artistic structure and symbols, which enhances the interest of scholars in his contributions.
The Depth of Language and Organization of Ideas in Munir Fawzy's Analysis of Amal Dunqul's Poetry
Fawzy's style is marked by precise analysis, blending narrative and academic critique in a literary manner that combines intellectual depth with clarity. The language of the book is diverse, utilizing rich vocabulary that reflects the poet's culture, with sentence structures varying between long and short, adding depth to the analysis. The author organizes his ideas logically, addressing specific topics in each chapter, which aids the reader in following the presented concepts.
Fawzy encourages readers to think critically by posing questions that reflect the challenges facing societies. The book explores a range of key ideas, including how blood is embodied as a symbol of suffering and loss, supported by examples from Dunqul's poetry. The book reflects the author's personality and experience, highlighting Dr. Munir Fawzy's passion for Arabic poetry through his analytical approach.
A Distinguished Academic Journey
Dr. Munir Abdulmajid Fawzy Abu Al-Hamd is a professor of rhetoric and literary criticism at the Faculty of Dar Al-Uloom at Minya University and is considered one of the prominent literary and critical figures in Egypt. He earned his degrees from Minya University, where he received his master's degree with distinction and his doctorate with first-class honors, focusing on profound topics in rhetoric and criticism.
He progressed through academic ranks, achieving notable successes, serving as a professor and head of the Department of Rhetoric and Literary Criticism, in addition to his roles as the college's deputy and later its dean. His scholarly output is characterized by both richness and diversity, having authored fifteen books, including The Image of Blood in the Poetry of Amal Dunqul, The Image of the Child in Egyptian Novels, The Death of the Child in Contemporary Arabic Poetry, In Literary Theory, The Songs of the Marginalized, and studies in both novel criticism and classical Arabic criticism.
Moreover, he has published eight poetry collections, including There is No Woman Like Her and Women: The Butterflies, which reflect the depth of his poetic experience; numerous files and studies have been produced around his poetry, along with several academic theses.
He has received several awards, including the Dr. Suad Al-Sabah Prize, the Moderation Prize, and the Best Classical Poetry Collection Award, affirming his excellence in the field. Thanks to his cultural contributions, he is regarded as a symbol of creativity and dedication to the service of Arabic literature.
These awards highlight his esteemed position as one of the prominent names in Arabic literature. They reflect the significant recognition he enjoys in literary circles and confirm his ongoing influence in shaping the Arab cultural landscape and inspiring new generations of writers and poets.
