عناصر الفكر في مسرحية بجماليون لتوفيق الحكيم
Abstract
Thought is a fundamental element of literary works, alongside style, emotion, and imagination. No literary work achieves immortality or withstands the test of time unless its creator endows it with a distinctive intellectual essence that addresses one of humanity’s pressing issues.
The essence of this research revolves around the ideas that Tawfiq Al-Hakim embodied in his dramatic work, presenting them as a stark contrast between art and life.
The central question posed in the play is as follows: Which is more important to humanity—art or life? The play decisively answers this question in favor of art over life.
Tawfiq Al-Hakim’s endeavor leans toward constructing a microcosm of the artist as a seeker of the wisdom of beauty and existence. His intellectual conflict unfolds in the manner of the Symbolists, and readers can clearly discern his skill in capturing psychological motives through the dialogues of each character, especially the thoughts of Pygmalion, to whom Al-Hakim devoted great attention. It might even be said that the two characters, Al-Hakim and Pygmalion, merged, as Al-Hakim seemed to speak through Pygmalion, expressing his own thoughts, emotions, and ideas.
To explain this phenomenon, the research concludes that the influence of Western cultural currents on Al-Hakim’s thought and taste was significant. This influence led him to experiment and resulted in his commitment to the principle of “art for art’s sake.”
Al-Hakim’s adherence to this principle is evident in his choice of subject matter for the play, which can be described as a celebration of art. It tackles an issue entirely detached from societal concerns, presenting a distinctly individualistic problem produced by a refined intellect that elevates the value of art for its own sake. This occurs despite Al-Hakim’s engagement with an Egyptian society grappling with numerous problems.
This principle suited Tawfiq Al-Hakim particularly well, aligning with his nature and cultural background. Readers can perceive this alignment by examining his works, with Pygmalion serving as a prime example.
