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Russian Literature in the Works of Mikhail Naimy Hine, Alyn Desmond (2011) Russian literature in the works of Mikhail Naimy. PhD Thesis. SOAS, University of London http://eprints.soas.ac.uk/14698 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. 1 Russian Literature in the Works of Mikhail Naimy Alyn Desmond Hine Thesis submitted for the degree of PhD in Arabic Literature 2011 Department of the Languages and Cultures of the Near and Middle East School of Oriental and African Studies University of London 2 Declaration for PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the School of Oriental and African Studies concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. Signed: ____________________________ Date: _________________ 3 Abstract: This thesis looks at the dialogue between the twentieth-century Lebanese writer, Mikhail Naimy, and Russian literature of the nineteenth and twentieth centuries. The term ‘dialogue’ is based on Bakhtin’s idea of a reciprocal and mutually interacting relationship between literary texts, which therefore rejects the notion of influence based on a perceived hierarchy of ‘national literatures.’ It examines the literary texts of a writer who was educated by the Russian organisation, the Imperial Orthodox Palestine Society, in schools in Baskinta, Nazareth and Poltava. At the Poltava Seminary, Naimy became so immersed in the Russian language and culture that his teachers believed him to be as versed in Russian literature as any of his Slavic contemporaries. The thesis examines how Naimy’s love and interpretation of Russian literature was central to the creative trajectory he explored in Arabic literature in both New York and Lebanon, becoming an accomplished exponent of the art of the short story and critical essay, before he began to explore the possibilities of the novel and the drama. We analyse four key areas of Naimy’s writing, spirituality, politics, modes of expression and criticism, in order to ascertain how the dialogue with Russian literature manifested itself. By adopting an area-based study to the varied literary texts, we can consider how Naimy’s reading of Russian literature worked in correspondence with his own investigations into the tenets of theosophy, his socialist principles based on childhood experiences, the embracing of the short story and literary journal by the Syro-American literary circle in New York, and his style of criticism that was centred on an emotional response to literature rather than a textual analysis. The thesis also studies how Naimy’s relationship with Russian literature in these areas changed over the course of his long literary career. 4 Contents 5....................Introduction: Naimy and Russian-Arab Literary Dialogue 19..................Chapter One: ‘Naimy’s Spirituality: A Dialogue with Russian literature’ 108................Chapter Two: ‘The Rising Arab East: A Geopolitical Dilemma at the Heart of Naimy’s Writings’ 188................Chapter Three: ‘Russian Modes of Expression in Naimy’s Fiction 257................Chapter Four: ‘A Sieve for Fireflies – Naimy’s Interaction with the Literary Criticism of Belinsky’ 332.................Conclusion: Analysis and Future Research 337.................Bibliography Note on transliteration: I have used the Hans Wehr method, as used in The Hans Wehr Dictionary of Modern Written Arabic, J.M. Cowan (ed.) (Urbana, IL: Otto Harrassowitz KG, 1994), of transliterating the names of both authors and texts throughout. 5 Introduction Naimy and Russian-Arab Literary Dialogue The introduction should be the place, I believe, to address the purpose of the thesis and the primary questions I intend to raise and will attempt to answer, as well as what makes the current thesis unique. I aim to examine the interaction between modern Arabic and Russian literatures 1 by concentrating on one Arab writer, Mikhail Naimy (1889-1988), and his dialogue with nineteenth-century Russian literature. Naimy was born in Baskinta, Mount Lebanon, and was introduced to Russian language, literature and culture at an early age. Educated by the Imperial Orthodox Palestine Society, which established a school in his home village when he was ten years old, Naimy began reading Russian literature in the original language at the Nazareth Seminary in 1902, and later became fully immersed in the language and culture when he won a scholarship to the Poltava Seminary in 1906. Naimy continued to read and work with the Russian language and literature for the rest of his life. I have taken the term dialogue from the ideas of the Russian literary critic, Mikhail Bakhtin (1895-1975), who rejects the theory of unidirectional influence, where, in an imagined hierarchy of world literatures, minor genres imitate dominant genres, in favour of a reciprocal relationship between texts ‘that mutually and ideologically interanimate each other.’2 Concerning the 1 Defining the terms ‘modern Arabic literature’ and ‘Russian literature’ shall be one of the objectives of this thesis and, as we shall see, both terms are prone to subjective viewpoints. Used in its broadest sense, ‘modern Arabic literature’ refers to works and authors associated with an-nahḍah, the Arabic literary renaissance of the second half of the nineteenth century and of the twentieth century, while ‘Russian literature’ shall refer to the authors with whom Naimy interacted most frequently. For the main part, these are authors from the nineteenth century, but some exceptions will be noted. 2 M. M. Bakhtin, The Dialogic Imagination, trans. Caryl Emerson and Michael Holquist; ed. Holquist (Austin, TX: University of Texas Press, 2004), p.47. 6 dialogue that takes place between Naimy and Russian literature, it is important to remind ourselves at each stage of the analysis of Naimy of two facets that are central to Bakhtin’s thinking: firstly, that the dialogue is creative and that as such Naimy’s literary works depend upon his own inventiveness as well as an active reading of Russian literature; and secondly, that the literary work, or the utterance, always exists in a chain of other interactive utterances rather than in isolation,3 meaning that each of Naimy’s texts bears a complexity that extends far beyond a simple reading of Russian literature. By using this methodology I will ensure that the thesis is a study of this complex pattern of creativity, rather than a comparative exercise or a study of basic influence. The methodology and details of the term ‘dialogue’ shall be revisited and explored throughout the text, especially chapter two, which requires examining the dialogue from a complicated political context. My primary reason for investigating the dialogue between Russian and Arabic literatures is the lack of attention paid to the subject in academic literature written in English. Traditional Western views of Arabic literary history, those published in the United States and Western Europe, have concentrated more on modern Arabic literature’s debt to European, particularly French and English, literatures. The main reason for this is that, although there is some evidence to suggest progress and development towards modernisation in Arabic literature before the nineteenth century,4 it is a perception widely held amongst academics that the Napoleonic invasion of Egypt in 1798 heralded 3 M. M. Bakhtin, Speech Genres and Other Late Essays, trans. Vern W. McGee; ed. Emerson and Holquist (Austin, TX: University of Texas Press, 2006), p.93. 4 See Sabry Hafez, The Genesis of Arabic Narrative Discourse (London: Saqi, 1993), pp.38-42: ‘Early Signs of Cultural Revival.’ See also Khalidi, Rashid, The Origins of Arab Nationalism (New York: Columbia University Press, 1991). 7 the introduction of modernisation to Arabic literature.5 Indeed, the intellectual historian, Albert Hourani6, denotes the encounter between Egypt and France as the catalyst for much modernisation in Egyptian society and culture, citing how the first interaction with Europe eventually led to a vast overhaul of administration, education, bureaucracy and culture in Egypt during the regime of Muḥammad ‛Alī (1770-1848). As academics have viewed Egypt as a pre- eminent centre of cultural significance in the Arab world, there has been a tendency to view the progress of Arabic literature towards modernity as ineluctably linked to European literary models whose respective governments had either colonial or trade interests in the Middle East during the period of an-nahḍah (namely the nineteenth and twentieth centuries): France, Great Britain, and to a lesser extent Germany and Italy.7 This
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