Hussein's "Nightingale's Prayer" between Text and Image

Remembering the timeless "The Nightingale's Prayer" (Doaa' El Karawan) on the 48th death anniversary of the Dean of Arabic Literature, Taha Hussein.

Hussein enriched the Arabic library of ageless writings in literature, culture, and criticism. The 14 times Nobel- Prize nominee touched upon highly sensitive critical issues such as the originality of ancient Arabic poetry, the origins of the Arabic tribes, and the origin of Al Mutanabi.

The unforgettable magnificent Doaa' El Karawan comes on the top list of Hussein's writings.

Published in 1949, Hussein harshly criticized the position of women in the Egyptian countryside by discussing various thematic concerns such as love, revenge, death, betrayal, and education. While the film adaptation directed by Henry Barakat came out in 1959.

In the intro of the novel, Hussein admitted that he was inspired by Al Akkad when he mentioned the name of "Nightingale" (El Karawan) in one of his poetry collections called "Nightingale's Gift" (Hedeyet El Karawan).

Hussein's literary techniques through the novel carried a sense of persity, he was one of the earliest Arabic authors who employed the stream of consciousness and the internal monologue.

The film adapted the same technique by employing narration scripted and voiced by the main protagonist of the novel Aa'mna who is performed by The Lady of the Arabic Screen Fatin Hamamah. Furthermore, Hussein shared in voicing the narrative parts of the film.

Hussein's narration was full of detailed descriptions of characters and settings, his language also was based on a vivid quantity of visual images which is one of his definitive style characteristics.

Distinguishing the difference between the well-educated woman and the un-educated one was highlighted in the character of Aa'mna whose character, self-expression, and physical appearance changed after having some educational skills.

Both Barakat and Hussein succeeded in portraying the differences between the life of Bedouins and the life of the civilized people in nearby towns.

The end of the film was completely changed! The novel ended with a happy life between Aa'mna and the nameless protagonist El Mohandes. In the film, the story ended with the death of El Mohandes.

Although Hussein didn't accept any editing roles in his work, he accepted Barakat's suggestion of changing the end which is praised by critics and the audience.

The film was selected as one of the best 150 Egyptian film productions. It received an award of recognition from the Academy of Motion Picture Arts and Sciences and was selected as the Egyptian entry for the Best Foreign Language Film at the 32nd Academy Awards, but was not accepted as a nominee. It was also entered into the 10th Berlin International Film Festival.