An idea and a smile
| Author | Yahya Haqi |
|---|---|
| Illustrator | |
| Country | Egypt |
| Language | Arabic |
Publication date | 2007 |
| Pages | 196 |
"An idea and a smile" (Arabic: فكرة فابتسامة) it is one of the writings of the writer Yahya Haqi, or as some call him a lyricist, The writer who does not resemble anyone and is not similar to anyone in his style and writings derived from the spirit of the people and the marginalized strata of Egyptian society. The book includes a collection of essays or, as the writer calls them, successive "paintings". These paintings are not related to each other, but most of them provide a satirical critique of the attitudes of social life at that time, not all of them are of the same degree of calm and serenity, It is also not a kind of meek smile, but hides behind the smile bitterness, irritation and other emotions. The writer presented them with verbal and paper elegance in meaning, narrating these situations so brilliantly that the writer of ideas and the Smiler became a close friendship.
Book sections[edit]
The book of the great writer Yahya Haqi "An idea and a smile"(fikrat faibtisama) is divided into 3 sections, the first section has 13 stories, the second section has 7 stories, and the third section has only two stories. The first section begins with a story entitled ladies and then 3 other stories, this part begins by saying: "I will present you without exaggeration the paintings that I witnessed with my own eyes, I was disgusted with myself the most, the texture of each painting is a woman, and that's the reason of my problems.»[1]. It also deals in this part with problems such as smoking and others. The second section begins with" the hatchet and the tree"(albaltat walshajara), then" the tale and what's in it"(alhikayat wama fiha), which is a play of 3 chapters, and then come articles such as:" virtues in the refrigerator"(fadayil fi althalaaja)," between me and a friend"(bayni wabayn sadiq)," he went out and did not return"(kharaj walam yaeud), and "seven in a boat"(sabeat fi qarib). The third and final section is "this audience"(hadha aljumhur), about the Rose Casino in Rome in front of a small theater. Finally, "confessions that can only be said to a friend"(aietirafat la tuqal ala lisadiyq), in which the writer Yahya Haqi confesses at the beginning of writing and concludes by saying, "I did not read these works in the making of the story, preferring to learn as they are said from their homes with suffering and experience and pondering the effects of the great writers, who are my teachers, my mother and my loved ones".[2]
First section[edit]
The first part[edit]
Ladies.[edit]
Yahya Haqi says in the preface of his book "The idea of a smile": "the temple of poetry is closed to me with a bang and a key, I do not have access to its niche, even from the servants' ladder, I see it too high to address it in prose”.[3] He affirms that his regret over his inability to write poetry is one of the greatest proofs of the high destiny of women in him, and it is her right to draft a beautiful poem for her derived from her beauty, and gentle inspired by her tenderness, thus he denies himself the charge of prejudice against women, because the texture of each of his paintings in this part is a woman.
First panel: Faten[edit]
In the first article, Yahya haqi highlights a major social problem, which is the mistreatment of maids by ladies, and also depicts the gap between the social classes at that time. Here is a rich lady setting a wage for a maid who " spend like it or more than it in one night and then refuses to budge from it (if you like it) The maid kissed it smugly and prayed for sustenance and longevity»[4]. As for Faten, she is the daughter of the maid, who "the madam" strongly refuses to keep this baby girl with her mother, the maid, during working time, saying: "We want you alone, do something with her».[5] The maid tries to sympathize with her mistress, but all her attempts fail, and the situation ends with the maid wishing that this child of hers had died, saying: "If you have died». [5]
The second panel: stings are tougher than slapping![edit]
For the second panel in Yahya haqi's article, entitled "stings are tougher than slapping! “It is an extension in one form or another of his previous painting "Faten." In it, Haqi focuses on the same problem, but this time the hero of the situation is an orphaned peasant boy, whom the "The madam" pledged to discipline and teach to work in her service after she repented of using women, because in her heart there is a vague feeling that an unknown enemy has stolen something from her, she does not know what it is,[6] and she insisted on her husband until he gets her this boy from the countryside.[6] A time passed when the peasant turned into a city boy, and he thought that God had compensated him for being orphaned by a family, but one day he committed some kind of folly, so he was called and got insulted by the "Sir" and then he accepted the boy's apology, His wife was angry at his leniency, so she intervened by taking out the old film and hurling insults at the boy, saying: "What happened boy, you got stronger and ruder. Wearing a suit and seems like a sir, Did you forget your first day here, your clothes were torn out, we taught you and made you a city boy and a human, after the only penny you have now you got much more money that you can eat and sleep well. The boy hoped that you would slap him and not humiliate him and destroy his dignity with a scorpion sting.[7] All he had to do was apologize to her.
The third panel: five coined[edit]
This article tells us about the suffering of Um Mohammed, the washer and the emaciated lady who bears the responsibility of a family of six orphans and endures troubles for them, so she sits in front of the bucket and keeps her hands constantly rubbing from early morning to late afternoon,[8] She is known for her mastery, so umm Muhammad's laundry is as clean as wax, no colored dress on a white dress has matured from her, no handkerchief has been lost from her, and no shirt has fallen on the way, but umm Muhammad has a strange flaw because of which the “madams” could not bound with her,[8] they see her as a crazy, as soon as she sits in front of the bucket, she "multiplies" as if at a funeral, with a sad melody[8]. Once a lady agreed with Um Mohammed to wash for her every Monday for one pound a month, and their agreement remained valid for two years, Um Mohammed never missed her appointment, her wage is not linked to the prices of eating and drinking, the pound is the pound has not changed![9] The madam had a little girl serving her, the madam saw her one-day sitting resting, so she asked her to do something,[9] So the maid collected handkerchiefs and socks and washed them beautifully, and the next Monday the madam waited until Umm Muhammad completed the laundry, and said to her “ see Umm Muhammad from now on you will not wash the socks and handkerchiefs, so we will deduct five cents from your salary”.[9]
Fourth plate: ten kilos carry ten kilos[edit]
This article was published in the newspaper" Al masaa’ " on May 29, 1961, in which the writer Yahya Haqi deals with the same topic as his previous three paintings, the mistreatment of maids, The events of the scene take place in one of the public transports, and there are many similar ones in the metro and bus, wrestling with the rest of the passengers during their ascent and descent. She is a lady like a cotton bag,[9] and the writer comments on this: "God. How can the face of a woman with such hardness and immobility be inspired, sit in front of her and look at the whole creation-not at me alone with great anger, then I hope that I will be the Mufti and submit to her case to write a third on the file “she deserves the execution”.[3] For this huge lady, a son weighing ten kilos, as much movement as Mercury, wades through the bodies of passengers with his shoes to reach the net, his mother leaves him for a small child who also weighs no more than ten kilos, her right to be pampered too,[3] She tries to carry the boy, and he does not see the slightest trace of them in her eyes, but she surrounds him with her arms. The writer marvels at the harshness of this lady, who stretches out her hand more than once to adjust her son's dress and did not stretch out even once to pat the little girl on the shoulder of her maid and tell her that the journey is short. And if the pear comes and she says to him with a full mouth, "a ticket and a half,[3]" Yahya Haqi hopes that he will sarcastically say to her: "the half is for you because, despite your size, you are not a complete person, and the ticket is for this girl because she is doing a job that some adults are unable to do."[3]
Second part[edit]
I am Kharman[edit]
This article was published in" evening " on May 1, 1961, in which the writer Yahya Haqi discusses the effect of feasting on the continuation of smoking. Yahya Haqi describes the maliciously stuffed cigarette... It becomes a putrid impurity that pollutes everything it touches if the soul is poured into it, and its soul is from the fire of hell, this cigarette is what it did to people who, unfortunately, are decent and shameless people, so the impregnable fortress of their life is not destroyed except in front of its magic.[3] That cigarette sometimes represents for them a temporary solution to their difficult problems, and certainly is an escape from the problem through it. One of the most important reasons why smokers stick to that damn is to encourage others and resolve, pretending to abstain from it when a friend intends them with it, and some of them are hypocritical or lie in order to get it, and some of them move away by twisting and turning and explicitly ask for it from his friend. Yahya Haqi says: May he take pity on all these victims, on many houses where there is a distaste for the wife blaming her man that he spends a third of his salary drinking smoke, so he tells her that he is doing this out of distress blaming her. From which side this vicious knot unravels.[10] The writer wonders at those who left themselves slaves to this damned cigarette, as he wonders at those who endured poverty and hunger and could not bear to part with the cigarette for some time, he says: all this is for something that entered our lives and controlled us, enough to indicate his authority that his name has become a symbol of the pimp's wage, and analysis of bribery: the right to smoke.[11]
The third part[edit]
Where to eat today?[edit]
Yahya Haqi explains in this article his dislike of eating at the market and his preference for eating at home. He says that one of the biggest blessings he praises God for is the food his wife prepares for him, but sometimes he decides to eat in the country alone,[12] So he gets confused about the place where he will eat, he is not one of the Big Rich to go to one of the revered restaurants where you find a servant in the costume of a hero of the Thousand and One Nights who greets you with respect and is full of servants,[12] there is only a sandwich shop left in front of him, and the sandwich is supposed to be a loaf, but you will find it for a bite, And this delicacy, from which it comes in a small wet dish, is a small test of the sense of taste,[12] in which there is no difference between the taste of carrots from a turnip from a cucumber, two such sandwiches or even four do not make a sufficient meal. The other choice is to eat at a bean and Falafel restaurant, and such restaurants are widespread in Cairo, so you can hardly walk two steps until you find a restaurant that seems simple and is silent, you are supposed to enter, eat and go out, and everything in you says that you are one of the tormentors on Earth, Madams beans [13]are a delicious, creamy, cheap food, and if you need half a kilo of the used shta just to feel its bite, as well as oddly shaped salt and poor hygiene. Your feet may take you to restaurants that sell head meat or cooking, and you will not find any of the items written in the restaurant's menu and many others. When our writer's perplexity reaches its limit, he stands in the way and prays to Allah that a rich friend passes by and intends to eat with him at his expense, even in a Bean restaurant or even in a mosque, paying the price will forget every hateful regret that does not strengthen the weak soul that hesitates about his victory. This article was published in the newspaper "Al Masaa’" on April 17, 1961.
The Ten Advice of the vegetable market[edit]
These are important pieces of advice that must be followed in the vegetable market when selling and separating and when buying fruit. this article was published in Al-Ahram newspaper on October 18, 1960. Once the writer Yahya haqi was invited to a banquet by one of his friends to celebrate the success of his daughter with an excellence in housekeeping certificate. As soon as Yahya Haqi arrived at his friend's house just before noon, the friend told him that his daughter would take care of preparing the entire food from the first purchase of meat, vegetables, and fruits to the preparation of it, and also informed him that his daughter had gone out to the market two hours ago and had not returned yet. A little later, the daughter came in panting, loaded with bags and rolls, and her face shone with great happiness,[14] but soon her happiness turned into anger and anger until she wanted to reveal her purchase, proud of her achievements. Yahya Haqi describes to us the purchases in which the daughter was deceived: "so she first told us about a dusty quilt, similar to the fabric of this paper, from which shoe soles are made these days, with a shrunken gelatinous drop inside ... Then she presented us with stationery packed with four puffy fruits for her to the figs of a nearby pedigree ... From under it are dribbles of stone-hard greens, and others are belly-pecked... It smells sour. »[14] The girl knocked on her chest, tears almost came down from her eyes, and swore that she made sure that the selection of purchases was in her hand, and she does not know what happened. Yahya Haqi realized that he was not the only victim and told his friend that what happened from the fraud of sellers to his daughter happens to him day after day, so he wished that he had written a booklet called "Ten brotherly tips in buying ripe fruit"[15] and wrote in it:
The first piece of advice: if you do not believe that the hidden good is in buying and selling, do not buy fruit while sitting over coffee from a lost in this thought’s seller.[15]
The second tip: Do not buy fruit from a bad cart at night under the Lux lamp, the owners have a wonderful industry in lining the walls of their goods with beautiful fruits that entice walkers, and in the heavenly beasts damaged fruits that cover up with shadows.[16]
The third tip: If you bought from a shop, do not lose sight of the bag for a moment, as it achieves in one way or another a reincarnation of the bags in its yard.[16]
The fourth tip: If you agreed with the seller to give him a higher price in order to let him choose as you like, he will welcome you immediately, but trust that the bag you will return home with will not differ in the amount of one fruit from the bag whose owner did not pay this premium, which is more like a bribe.[17]
The fifth tip: Do not believe that the title of "old customer" gives you more rights at the seller than the rights of pilot customers. [18]
The sixth tip: never use the weapon of threat to say to the seller "if you don't satisfy me, I won't come back to you", as he, like all sane people, understands that this is the most ridiculous threat.[18]
The seventh tip: Never buy from a shop before you study its geography and the topography of its coasts, most shops have two types of fruit, one is a "stale" for stupid, and another is good fresh hidden under the shelves or in the corners.[19]
Eighth tip: in the early seasons of watermelon, do not buy from him before you read the record of negotiations between Egypt and England, because you will need to negotiate the shopkeeper a long negotiation between the scenes, and then pretend to exchange supply and demand in a public meeting, and if you also kindly read the reports of the anti-drug office, you will do well, and if you still get one sweet red watermelon out of every three dirty pumpkins, consider yourself lucky.[20]
The ninth tip: Do not buy fruit from the wholesale market, the price and expense of transporting it is equal to the price of the fruit seller under the House, not to mention the time lost and trouble due to the crowd, screaming, sweat, dust, flies, and clothes ends.[20]
The tenth advice: finally, do not be ashamed and follow my friends when I invite them to eat with me and offer them a basket with various fruits in it, so that they are not convinced of one variety or a polite amount, but rather eat them like the bereaved, not to exploit me or spite me, but to take revenge in my generous person from all fruit sellers.[21]
A veil for the permanence of love[edit]
Yahya Haqi wrote several positions in it, the first position: "if you had told me”( law kunt qult li) The second "I left, complain to him, I returned with his complains,"( ruht aishtakaa lah humaa rajaeat shayil humumah) the third position is "Cucumber and Snake melon" (khiar wafaqus) and the fourth is " the leaning Wall."( alhayit almayil), and "O halal children"(ya awlad alhalal) and the story of "insulation and insulators"(aleazul waleawazil), then there is the story of "chasing beggars"(mutaradat almutasawilin), in which some sarcastic criticism is directed at the images transmitted about our country and society.
A history of a new kind[edit]
It is divided into only two chapters, in which some calamities are mentioned, such as the chapter "the first calamity, a combination of intelligence and lying"(alnakbat alawalaa aqtiran bayn aldhaka' walkadhib). The second chapter is "a divorce between magic and medicine"(talaq bayn alsihr waltibi), and "I, oblivion and his medicine"(ana walnisyan wadawah), in which he tells of his problems with poor memory and difficulty remembering names and dates.
Verticality and lack of blessing[edit]
This article is about the relationship between man and the problems, worries and troubles he faces in his life.
Tales that comfort the heart[edit]
It is about friends who change and differ according to time.
To my tourists friends[edit]
In it, Yahya haqi talks about classifying tourists into types such as chair counter tourist, balloon tourist, caravan tourist and discoverer tourist.
The second section[edit]
This section began with an article containing a dialogue between the "hatchet and the tree" (albaltat walshajara), then "the tale and what’s about"(alhikayat wama fiha), a play of 3 chapters, And then an article entitled "virtues in the refrigerator"(fadayil fi althalaaja) about situations that are further complicated by our forgetting some virtues, They are followed by articles such as "between me and a friend"(bayni wabayn sadiq), "he went out and did not return"(kharaj walam yaeud) and "seven in a boat"(sabeat fi qarib), in which he talks about his Nile voyage.
The Third section[edit]
It begins with an article entitled "This audience"(hadha aljumhur) about the Rose Casino in Rome in front of a small theater, and about the program paragraphs: The first paragraph is "time steals it"(alzaman yasriquh), the second paragraph is entitled " I am an artist"(annaa fanaan)and the third paragraph is "what happened to you?"( madha jaraa lak) The fourth paragraph is "the artist and the audience"(alfanaan waljumhur) and finally " why art has lagged behind us"(limadha takhalaf alfanu eindana) And finally, " confessions that can only be said to a friend,"( aietirafat la tuqal ala lisadiyq) in which Confessions of a great writer at the beginning of writing.
Other works of the writer Yahya haqi
Books: first: short story collections: 1. um Hashem’s jellyfish, ( qandil 'am hashm) 1945. 2. Blood and mud, ( dima' watayn) 1955. 3. Mother of olds,( umu aleawajiz) 1955. 4. Antar and Joe Leite,( eantar wajw liyit) 1960 5. The eyeliner thief, ( sariq alkahl) 1985.
Second: novels: Good morning, ( sahu alnawm) 1959.
Third: the diary: leave it to God, ( khaliyha ealaa allah) 1956.
Fourth: studies and Articles: 1. Steps in criticism, ( khutuat fi alnaqd) 1960. 2. The dawn of the Egyptian story, ( fajr alqisat almisria) 1960. 3. Come with me to the conservatory, ( taeal maeaa 'iilaa alkunsir) 1969. 4. A suitcase in the hand of a traveler, ( haqibat fi yad musafir) 1971. 5. The fragrance of lovers, ( eutar al'ahbab) 1971. 6. Yay night, ( yalil yaeyn) in 1972. 7. The simplicity song, ( 'unshudat albasata) 1973. 8.People in the shadows, ( nas fi alzal) 1984.
Fifth: translation:
- The plays: 1. Dr. Knok,( duktur knwk) by Jules Roman, the masterpieces of the World Theater Series, in 1960. 2. The Bluebird, ( altaayir al'azraq) by Maurice Metternich, in 1966.
- Novels: 1. The good father (al'ab alealayl). 2. “Chess player” (laeib alshatranj) of Stefan zhaqing, in 1973. 3. The hatchet (albalta)- by Mikhail Sade and Viano, 1972. 4. Tonio Kruger, ( tuniu krujar) for Thomas ruppmann
- Descriptive literature: - Cairo, ( alqahira) Ledz Mond Stewart, in 1969.
- Writings about Yahya haqi: - Yahya haqi, creative and critic (yahyaa huqaa mubdiean wanaqidan), Mustafa Ibrahim Hassan, in 1970. - Seventy candles in the life of Yahya haqi,( sabewun shameat fi hayat yahyaa huqaa) Youssef al-sharouni in 1975.
Awards and decorations: - the state award of appreciation in literature from the Supreme Council for the welfare of Arts, Letters and Social Sciences, in 1967.
References[edit]
- ↑ نظرة فابتسامة. الهيئة المصرية العامة للكتاب. 1076. p. 7. Search this book on
- ↑ نظرة فابتسامة. مصر: الهيئة المصرية العامة للكتاب. p. 192. Search this book on
- ↑ 3.0 3.1 3.2 3.3 3.4 3.5 نظرة فابتسامة. الهيئة المصرية العامة للكتاب. 1976. p. 16. Search this book on
- ↑ نظرة فابتسامة. الهيئة المصرية العامة للكتاب. 1976. p. 8. Search this book on
- ↑ 5.0 5.1 نظرة فابتسامة. الهيئة المصرية العامة للكتاب. 1976. p. 9. Search this book on
- ↑ 6.0 6.1 نظرة فابتسامة. الهيئة المصرية العامة للكتاب. 1976. p. 10. Search this book on
- ↑ نظرة فابتسامة. الهيئة المصرية العامة للكتاب. 1976. p. 12. Search this book on
- ↑ 8.0 8.1 8.2 نظرة فابتسامة. الهيئة المصرية العامة للكتاب. 1976. p. 14. Search this book on
- ↑ 9.0 9.1 9.2 9.3 نظرة فابتسامة. الهيئة المصرية العامة للكتاب. 1976. p. 15. Search this book on
- ↑ نظرة فابتسامة. الهيئة المصرية العامة للكتاب. 1976. p. 21. Search this book on
- ↑ حقي, يحيى (1976). نظرة فابتسامة. مصر: الهيئة المصرية العامة للكتاب. p. 23. Search this book on
- ↑ 12.0 12.1 12.2 حقي, يحيى (1976). نظرة فابتسامة. مصر: الهيئة المصرية العامة للكتاب. p. 23. Search this book on
- ↑ حقي, يحيى (1976). نظرة فابتسامة. مصر: الهيئة المصرية العامة للكتاب. p. 26. Search this book on
- ↑ 14.0 14.1 حقي, يحيى (1976). مظرة فابتسامة. مصر: الهيئة المصرية العامة للكتاب. p. 31. Search this book on
- ↑ 15.0 15.1 حقي, يحيى (1976). نظرة فابتسامة. مصر: الهيئة المصرية العامة للكتاب. p. 32. Search this book on
- ↑ 16.0 16.1 حقي, يحيى (1976). نظرة فابتسامة. مصر: الهيئة المصرية العامة للكتاب. p. 33. Search this book on
- ↑ حقي, يحيى (1976). نظرة فابتسامة. مصر: الهيئة المصرية العامة للكتاب. pp. 33/34. Search this book on
- ↑ 18.0 18.1 حقي, يحيى (1976). نظرة فابتسامة. مصر: الهيئة المصرية العامة للكتاب. p. 34. Search this book on
- ↑ حقي, يحيى (1976). نظرة فابتسامة. مصر: الهيئة المصرية العامة للكتاب. pp. 34/35. Search this book on
- ↑ 20.0 20.1 حقي, يحيى (1976). نظرة فابتسامة. مصر: الهيئة المصرية العامة للكتاب. p. 35. Search this book on
- ↑ حقي, يحيى (1976). نظرة فابتسامة. مصر: الهيئة المصرية العامة للكتاب. p. 36. Search this book on
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