Taha Hussein (1889-1973) was an Egyptian writer, literary critic, historian, and philosopher. At the age of three, he lost his sight. He graduated from Al-Azhar Muslim University and Cairo University. He is the author of the novella "Days", collections of short stories "Lost Love" and "Martyrs of the Earth", the novel "The Call of the Turtledove", etc. He translated a number of works by ancient and French writers. An important area of his work was literary journalism.

Keywords: Taha Hussein, literary journalism, translation activity, world culture, French literature.

TAHA HUSSEIN AND WORLD CULTURE

Elmira ALIZADE

Taha Hussein (1889-1973) is a famous Egyptian writer, literary critic, historian and philosopher. At the age of three he lost his sight. He graduated from the Islamic University "Al-Azhar" and Cairo University. He is author of the novel "The Days", collections of short stories "The dead love" and "Martyrs of the earth", the novel "The Call of the turtledove" and others. He translated a number of works of ancient and French writers. An important area of creativity of Taha Hussein was the literary publicism.

Keywords: Taha Hussein, literary publicism, translation work, world culture, French literature.

In 1914. Taha Hussein, a graduate of Cairo University, was sent to continue his education at one of the oldest universities in France, in the picturesque city of Montpellier in the south of the country. France, with its achievements in politics, science, economics, with its rich social life and freedom of thought, opened up a new world for Taha Hussein. It showed the young Egyptian how backward and retrograde the way of life in his own country is, how necessary changes are in all areas here, and, first of all, cultural and legal education of fellow citizens. From now on, Western culture shaped the mindset of Taha Hussein and sets the direction of his activities. It is not surprising that the West for him is, first of all, France, and Western literature is primarily French. However, everything that this European capital of Enlightenment gave Taha Hussein is inseparable in his mind from thoughts about the fate of his native Egypt.

The beginning of the German army's offensive against France during the First World War forced Taha Hussein to return to his homeland on September 2, 1915. Since December 1915, he is back in France, now in Paris. In various educational institutions of the French capital - the Sorbonne, the College de France, the School of Oriental Languages - he attends lectures on a range of subjects that interest him; among them ancient history, philosophy, psychology, sociology, orientalism. He studied Latin and ancient Greek, and studied French literature in depth. In Paris, there was a significant event in the personal life of Taha Hussein - on September 9, 1917, he married a Frenchwoman, Suzanne Bressot, who was his personal secretary, and through life

ALI-ZADE Elmira Abdulkerimovna-Candidate of Philological Sciences, Senior Researcher at the Institute of Oriental Studies of the Russian Academy of Sciences.

Elmira ALIZADE - Phd Senior Researcher, Institute of Oriental Studies of the Russian Academy of Sciences.

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he carried a trembling feeling for the one who, in his words, "revived his heart, shook his mind, sweetened his soul, brought joy after suffering." To her, his beloved wife and devoted friend, Taha Hussein dedicated the heartfelt lyric "Zaujati" ("My Wife"). in the magazine "al-Hilal "(1934, N 1). In 1919. Taha Hussein returned to Egypt with his wife and became a professor of history at Cairo University. (His further career: in 1943-1946 - Rector of the University of Alexandria; in 1950-1952-Minister of Education of Egypt; since 1965-President of the Academy of the Arabic Language in Cairo.)

Taha Hussein's educational aspirations prompted him not only to reveal their rich spiritual heritage to the greatest possible number of Egyptians, but also to convey to his fellow citizens the greatness of ancient and European (in particular French) cultures, to acquaint his compatriots with the works of their outstanding representatives.

Many works of Taha Hussein, such as "Kadat al-fikr" ("Leaders of Thought", 1925)," Fi-s-sayf "("In the Summer", 1933)," Mustaqbal al-saqafa fi Mysr "("The future of culture in Egypt", 1938)," Lakhazat" ("Moments", 1942), "South Baris" ("The Voice of Paris", 1943), "Fusul fi-l-adab wa-n-naqd" ("Chapters on Literature and Criticism", 1945), "Alvan" ("Multicolour", 1952), " Rihlat ar-rabi 'wa-s-sayf" ("Journey in spring and summer", Beirut, 1957), "Muzakkarat Taha Hussein" ("Memoirs of Taha Hussein", Beirut, 1967), etc., imbued with the author's admiration for the works of the greatest ancient thinkers-Plato, Aristotle, Cicero, reveal to readers the depth of thought and versatility French philosophers and writers-Descartes, Voltaire, Diderot, who, according to Taha Hussein's own admission, had a significant influence on the formation of his worldview.

Taha Hussein paid special attention to the artistic work of Voltaire. In his essay "Women's Portraits in Voltaire's prose" ("Suwar al-mar'a fi kysas Fultir"), the Egyptian intellectual explores female images embodied in the philosophical novels "Zadig, or Fate", "Candide, or Optimism", "The Simple-minded", "The World as It Is", " The Tale of the princess of Babylon." When Taha Hussein narrates the story "Zadig, or Fate", he draws the attention of his compatriots to the Eastern basis of this philosophical story. Voltaire stylized it in the Eastern spirit, likening its structure, which is completely independent novels and anecdotes strung together, to the fairy tales "1001 nights" and the famous Arabic collection of short stories "Kalila and Dimna", "full of miracles and unusual phenomena" (Hussein Taha, 1952, p.82).

Taha Hussein was interested in the biographies of Voltaire's contemporaries, and he dedicated the article "as-Sahira al-Maskhura "("The Enchanted Witch") to the French writer, a clever, beautiful socialite Mademoiselle de Lespinas (1732-1776), who, as is known, opened a literary salon and had a great influence on many prominent people of her time. Her passionate love for Count Gibert ended abruptly - he married someone else, which for Mademoiselle de Lespinas was a heavy blow, and she soon died of consumption. In the same article, Taha Hussein talks about the blind Marquise du Deffan (1697-1780), the owner of the popular French salon, known for her correspondence with Voltaire and other encyclopedists, as well as the brilliant Madame du Chatelet, Voltaire's lover.

Taha Hussein emphasized the role that European (especially French) literary and critical schools played in the emergence of New Arab critical thought and influenced his own method of text analysis. Taha Hussein's model in this respect was Saint-Beuve (1804-1869), the founder of the biographical school of literary studies. It is no accident, apparently, that the title of his collection "Hadith al-arba'a'" ("Conversations on Wednesdays", parts 1-2, 1925-1926), whose articles were first published on Wednesdays in the newspaper "al-Siyasa", is an allusion to the multi-volume series of literary critical articles by Saint-Beuve "Conversations on

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Mondays " ("Causeries de lundi", 1851-1862), which were also first published on Mondays in Parisian magazines.

From January 1923 to May 1924, Mohammed Hussein Haykal's Cairo newspaper al-Siyasa, whose literary editor was Taha Hussein, published his publications about plays by French authors of the XIX-XX centuries, which left a bright mark on the history of European drama. He wrote about Alexandre Dumas-son (1824-1895), Victor Hugo (1802-1885), Henri Bataille (1872-1922), Alfred Savoir (1883-1934), Paul Geraldi (1885-1983), as well as about the dramatic talent of the French-speaking Belgian Maurice Maeterlinck (1862-1949), who lived most of his life in France, mainly in Paris. Later, these essays by Taha Hussein formed the collection "Lakhazat". In the article "Kissatani" ("Two works") (collection "Fusul fi-l-adab wa-n-naqd") Taha Hussein presented his original interpretation of Moliere's one-act play The Impromptu Versailles and compared it with Jean Girodu's contemporary play The Impromptu Paris (1882-1944). Despite the fact that these works are separated by almost three centuries, he draws parallels between them. The origins of Jean Girodu's play should be sought in Moliere, Taha Hussein argued, pointing out the similarity of themes, plot moves and even the titles of these works: "The modern writer Girodu, imitating the great Moliere, modernizes and renews his work... revives old heroes and events that occur with them, revives the dialogues that the characters lead. In a word, it brings the play of the XVII century to the modern soil, embodying modern life, modern thinking and modern consciousness with new artistic means" [Huseyn Taha, 1945, p.143].

Taha Hussein's attention was also attracted by other famous works of French writers, in particular the journalistic collection "Fullness of Power" by the same Jean Girodu, the book" Betrayal of Intellectuals "by Julien Bend (1867-1956), the essay "Defense of Literature" by Georges Duhamel (1884-1966), the pamphlet "We, the French" by Georges Bernanos (1888-1948) , a book of poems about love "You and I" by Paul Geraldi. With popular articles about them, he appeared in the Cairo magazines " al-Saqafa "(published since 1939) and "al-Katib al-mysri". Taha Hussein himself became the editor - in-chief of the latter, a literary monthly founded in October 1945. In the article "As-Sa'a..." ("Hour..."), included in the collection "Fusul fi-l-adab wa-n-naqd", dedicated to the works of J. Bend, J. Duhamel and J. Bernanos, Taha Hussein, together with the mentioned authors, analyzed various aspects of the deep crisis experienced by the intelligentsia after the First Revolution. World War II [Hussein Taha, 1945, pp. 185-186].

The theme of unrequited love always occupied the happily married Taha Hussein. He also examined it, finding parallels in Arabic-language and European literature. In one of his essays, he compares two famous works separated by both time and space - the treatise "The Necklace of the Dove" by the Arab-Andalusian author Ibn Hazm (994-1064) and "On Love" by Stendhal (1783-1842) - and traces their plot similarities. The author of" The Dove's Necklace " reveals the emotional trauma he received in his youth and for a long time kept secret-love for the adopted daughter of his parents; Stendhal's book, as we know, was based on the unrequited love of the writer.

Another study on this topic is "Kissa faylasuf 'ashyk" ("The Story of a Philosopher in Love"), in which Taha Hussein told the story of the touching, passionate, but hopeless love of the revered French sociologist and founder of positivism Auguste Comte (1798-1857) for Clotilde de Vaux. Twenty-four-year-old beauty Clotilde de Vaux completely captured the heart of a seemingly nondescript philosopher. Comte worshiped his "goddess", writes Taha Hussein, just as Christians worshiped Christ, and the ancient pagan Greeks worshiped Athena and Artamis [Hussein Taha, 1952, p. 149].

From June to December 1924, Taha Hussein published a series of articles about individual plays by famous French playwrights, including Maurice Donnet (1860-1945), Charles

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Marie (1868-1955), Alfred Capu (1858-1922), Robert Dieudonnet and Henry Duvernois, Henry Beck (1837-1899) and others, later included in the collection "South Baris".

Taha Hussein was close to the personality and work of the French symbolist Paul Valerie (1871-1945), to whom he devoted an extensive article ("Paul Valerie") in the collection "Alwan", beginning with the words: "The French call him sha'ir al-'akl ("poet of the mind"), and we will call him akl ash-sh'ir ("the mind of poetry"), both definitions correspond equally to this poet " [Huseyn Taha, 1952, p. 51]. Taha Hussein's field of vision includes essays, dialogues, speeches, articles and, of course, the poetry of Paul Valery. And in his biography, the Egyptian author focuses on those moments that are most close to him: dissatisfaction with the school system, ignorance of teachers, making fun of their statements, fascination with the works of ancient and modern philosophers, etc. Taha Hussein calls the philosophical novel-essay written in dialogic form by Paul Valery" Monsieur Test "("Monsieur Test").An evening with Mr. Test"), where a portrait of an imaginary character is drawn, closed in his own world. Taha Hussein concluded that this image refers to Valeri himself, who is completely focused on his inner life. He notes the constant mental and mental torments that overcame Valerie, enthusiastically talks about the period of the poet's life when his fame was at its zenith. According to Taha Hussein, for less than a decade after the first collection of Valerie was published in 1917, literary magazines and newspapers showed more interest in his work than any other writer. "His star shone in the literary sky and filled it with its light... Paul Valery carried the banner of prose and poetry throughout France and became one of the luminaries of world culture" (Hussein Taha, 1952, p.55). "I do not know anyone," Taha Hussein continues, " who would bring such celebrities as Descartes, Leonardo de Vinci, Stendhal, Montesquieu, La Fontaine as close to the readers as Paul Valery did. I know of no one who has analyzed the fine arts as expertly as Paul Valerie. No writer or philosopher can compare with him in the depth of analysis of the activity of the human mind; Paul Valery reflects, observes, contemplates, listens and persistently engages in himself like no other" [ibid., p. 59].

Taha Hussein recalls his first encounter with Paul Valerie. It happened at the end of the First World War, when, according to him, the French were literally stunned by the high poetic art of Valerie. "I, too, was delighted," writes Taha Hussein, " although I did not yet have full knowledge of the subject. And I took up his works. I read them once, then again, and read them repeatedly. I loved Valerie because I understood him. But this understanding did not come immediately, not quickly, not by the shortest route, but as a result of great efforts, repeated reading and prolonged reflection on what was read" [ibid., p. 58].

Taha Hussein did his best to popularize Valerie's work among his fellow Egyptians. He advises them: to feel the true taste of Paul Valery's poetry, to get pleasure for the mind and soul, you need to read it more than once, plunge into the depths of the works of this great poet, reach the "bottom", and then the hidden thoughts of the poet will be revealed, hidden meanings that shine through the figurative and linguistic fabric of his poems and "not subject to simple solving" [ibid.]. True to himself, as far as the juxtaposition of "Western" and "Eastern" is concerned, the enthusiastic Taha Hussein likens Valerie's poetry to that of one of the greatest Arabic - speaking poets of the tenth century, al-Mutanabbi.

Taha Hussein is captivated by Paul Valery's famous 1920 poem "Cemetery by the Sea", recognized as one of the top works of world literature of the XX century.The title" cemetery " is located in the poet's hometown - in Set, on the very shore of the Mediterranean Sea.

Philosophy and poetry, Taha Hussein reflects, are basically a" one kingdom " (Mamlaka Wahid) that elevates a person above reality in another world.,

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a better world. A philosopher is a poet who puts his poetry into prose, and a poet is a philosopher who expresses his philosophy poetically. Paul Valerie fully answers both of these questions [ibid., p. 61]. There was even a time, Taha Hussein admits, when he spent all his free time with books and collections of poems by Paul Valery. "I enjoyed his work immensely," writes Taha Hussein. My desire was to introduce them to Arab readers, and I translated for them and published in the ar-Rizala magazine excerpts from Valerie's treatise "Soul and Dance", which made a great impression on me." However, Taha Hussein in the same work sadly admits that they "only barely touched the souls of our Eastern intellectuals" [ibid., p. 62].

Another meeting between Taha Hussein and Paul Valery took place in 1937, and the next and last one was in Geneva in July 1939, on the eve of the Second World War. Taha Hussein recalls that the atmosphere in the city was anxious and tense. Paul Valery, overcome by gloomy forebodings, experienced fear [ibid., p. 63]. He died in May 1945, the day after the Victory. "I flatter myself," writes Taha Hussein, lamenting, " that if I go to France, I will rush to the grave of Paul Valery - to the very cemetery by the sea, which he saw as a young man, sang in adulthood, and where he found his last refuge and found eternal rest "[ibid., p. 64].

Taha Hussein's book "Alwan" also includes his essays on the masters of European existentialism. In the article "Mulahazat" ("Observations") he refers to the work of J.-P. Sartre, or rather, to his work " What is literature?", which expresses ideas close to Taha Hussein himself, and speaks, among other things, about the writer's engagement (iltizam al-adib). Taha Hussein states that while he does not accept some of Sartre's philosophical propositions, he agrees with him that " every artist is engaged (multazam), is responsible, first, to art itself, and secondly, to society (according to Sartre, literature is an expression of the writer's involvement in public life) and finally, before groups (collectives)" [ibid., p. 285].

Taha Hussein also came to view the works of A. Camus - the novel "The Plague" and the plays "Caligula" and "Misunderstanding". He characterizes Camus as an absurdist pessimist who tries to solve the problem of good and evil from these positions, the fate of a person in the world around him, where evil fatally wins. Taha Hussein paid attention to the German-language existentialist writer Franz Kafka, whose works are also imbued with fear of the outside world. The writer's anxiety, the sense of hopelessness in which he was held, had a real basis, " writes Taha Hussein. They were dictated by the living conditions of that Europe on the eve of the First World War, " when everything around was gripped by a sense of catastrophe, despair... And there is nothing surprising in the fact that his works are " black literature "(al-adab al-aswad) in the literal sense of the word, which reflects the "darkness" of that reality " [ibid., p. 256]. To this type of literature, Taha Hussein refers the novels of the writer "The Process", "The Castle", "America". About the latter, however, he noted that it is perhaps less "dead-end" and "scary" than the first two. But it also contains a sense of hopelessness of human existence in the surrounding "nightmare" world.

Looking for a parallel to the European "black literature" Taha Hussein appeals to Abu'l-Ala al-Maarri, whose work, in his words, ten centuries ago took place in the same conditions of "decomposition, turmoil, confusion." Taha Hussein highly appreciates Kafka's works, "whose trace in world literature cannot be erased" [ibid., p. 270], and calls them prophetic: the writer "predicted the terrible disasters that the world was plunged into with the declaration of World War II" [ibid.].

Taha Hussein also turned to American literature. He introduced his compatriots to the work of the African-American writer Richard Wright (1908, Mississippi, 1960, Paris), who also paid tribute to existentialism. In the essay

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"About American literature. Richard Wright (Fi'l-adab al-amriki. Ritshard Wright") [ibid., pp. 300-322] Taha Hussein analyzes the works of this writer, who, according to him, is "popular both in Europe and in America": the autobiographical novel "Black Boy", the book of short stories "Uncle Tom's Children", the novel " Son America "("Native son").

Taha Hussein had friendly relations with Andre Gide (1869-1951), one of the most respected French writers of the modernist period, whose works, as Taha Hussein correctly noted, are recognized as "a hymn to freedom and the love of truth." Taha Hussein is impressed by the" rebellious character"," rebellious spirit "of Andre Gide, his sincerity and sincerity, which are particularly clearly manifested in the" Diaries " of the writer. In the article " The Diaries of Andre the Jew "("Yaumiyyat Andre the Jew") Taha Hussein emphasizes the fact that A. Zhid stayed in North Africa, in particular in Egypt, which, in his words, "left a noticeable imprint on his literary life and inspired the creation of his most excellent books."

According to Taha Hussein, not with any people (not counting the French) Andre Gide did not establish such a connection as with the "naive, careless Arab people" [Hussein Taha, 1945, p. 162]. Taha Hussein wrote the foreword to the Arabic translation of Andre Gide's novel " The Narrow Door "(another name is "The Narrow Gate") (al-Bab addayyika, translated by Nazih al-Hakim). In April 1947, Andre Gide published an article in a French newspaper entitled "Meeting with the Arab writer Taha Hussein". The article was published as an introduction to the French translation of Taha Hussein's autobiographical novel "Al-Ayyam" ("Days"). The translation was published in the same year in the Paris publishing house "Gallimard".

Back in the 1920s. Taha Hussein wrote a number of prefaces to the works of European classics translated into Arabic, in particular to the translation of Goethe's "The Sufferings of Young Werther" (under the Arabic title "Alam Werther"). This translation was published in Cairo in 1924 and translated from French by Ahmad Hassan al-Zayyat. Taha Hussein is also the author of the preface to the translation of Goethe's Faust, published in Cairo in 1929 and translated (from German) by Mohammed Oud Mohammed. According to I. Y. Krachkovsky, "although these translations do not always go back directly to the original, they are still very important for young Arabic literature, and the prefaces of Taha Hussein often have the character of completely independent studies, covering the plot for the first time for Arabs" (Krachkovsky, 1956, p.623). This is also the preface of Taha Hussein to his own work " Suhuf mukhtara min ash-shi'r at-tamsili inda-l-yunan "("Selected pages from ancient Greek Drama"), published in 1920.

Taha Hussein also worked as a translator himself. This area of its activity is also very significant. In 1921, in Cairo, in his commented translation, Aristotle's work "Athenian Polity" was published with the Arabic title "Nizam al-asiniyyin". This treatise on the state structure of Athens seemed to Taha Hussein to be the most important source for studying the history of Ancient Greece.

In November 1938, Taha Hussein was awarded an honorary doctorate by the University of Lyon in France.

It should be noted that Taha Hussein, being a propagandist of France in Egypt, saw not only the charming beauty of the French capital, its brilliant front side. In an essay in Rihla fi-r-rabi' wa-s-saif, dated September 1928, he wrote:: "There is joy and exultation in Paris. There is distress and sorrow in it. There is expectation and hope, despair and hopelessness, in short, the concentration of what a person needs and what he does not need. This mixture is the personification of human civilization in the age in which we live" [Hussein Taha, 1957, p. 155].

Taha Hussein also showed an interest in Russian classics. He has repeatedly admitted that he is familiar with the works of French, Italian, American writers, and others.

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and the Russians. In November 1924, he published an article about Leo Tolstoy's most scandalous work, The Kreutzer Sonata, which he later included in the collection South Baris. The impulse to write it was the presence of Taha Hussein in the Paris theater for the production, according to his definition, of" the famous book of the great Russian philosopher Tolstoy " staged by two French playwrights - Fernand Nozier and Alfred Savoir [Hussein Taha, 1943, p.115]. According to Taha Hussein, the first performance of the "Kreutzer Sonata" on the Paris stage took place 14 years ago, 1 then neither critics nor the audience accepted the piece. In contrast to that, the current production caused the delight of both those and others, in which Taha Hussein saw "tangible progress in the consciousness and psychology of various strata of the French people in such a short time" [ibid., p. 116]. Taha Hussein admits that after reading the story itself, he cannot say that the production made a favorable impression on him; he found it boring, did not like either the speech of the characters or the manner of performance. "It seemed to me that I was hearing something unusual, something for which I was not prepared, seeing completely different, unfamiliar people, a different life, embodied in strange words and actions for me" [ibid.]. This is not surprising, explains Taha Hussein. After all, the action of this work takes place not in France, not in another Western country that has experienced the influence of Greek-Latin culture and reflects its features that are familiar to us. The action takes place not in the country of the Arab East, but in Russia, and the characters are Russians, "whose feelings, feelings and actions differ from ours, and therefore they are alien to us, and there is no connection between us" [ibid.]. However, French writers, writes Taha Hussein, made every effort to eliminate these differences or mitigate them, to present the characters in such a way that they were understandable to the public, who would see themselves in them. But, despite this, a noticeable difference still remained. Apparently, this was the reason for the failure of the production in 1910. [ibid.]. The years that have passed since then, the First World War, "Taha Hussein continues," have shortened the distance between people, the Frenchman could already understand the Russian, identify with him." That's why, says Taha Hussein, the second production of the "Kreutzer Sonata" was a success. Taha Hussein considers Leo Tolstoy's work "worthy of immortality". And it owes this to both the Russian author and two French playwrights, who "decorated" their production in order to make it easily accessible, to bring it closer to the tastes of the broad masses, - Taha Hussein evaluates the performance [ibid.].

Taha Hussein conveys the content of the story and tries to formulate its idea. It can be said that this work embodies the idea of jealousy, or the theme of a failed marriage, or the motif of heartache experienced by a sensitive woman who is not understood by her husband, or all of this taken together [ibid., 118]. In general, the story made a depressing impression on Taha Hussein. "When you finish reading, you feel very tight, the only desire is to remove the pain that the pitch-black curtain has lowered before you in life, leaving no gap for hope, or even for a smile" [ibid., p. 119].

In 1956, the Beirut magazine al-Adab (No. 10, October) published an article by Taha Hussein entitled "Makana al-adab al -' Arabi Beina al-adab al - 'alamiyya" ("The place of Arabic literature among world literatures"). Taha Hussein explains that he considers world-wide " the literature that is read and translated into other languages." Such literatures include French, American, English, German, Italian, and Russian. "All these literatures," he writes, " are undoubtedly world - class, because their texts are read in many countries and translated into many languages... World literature is literature that many generations have grown up on in many countries around the world." Such is classical Arabic literature, " says Taha Hussein. This is the second, after the ancient Greek, world literature, which had a huge impact on the world of literature.

1 In 1910 at the Femina Theatre on the Champs-Elysees in an adaptation by Fernand Nozier and Alfred Savoir.

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the civilized world. And modern Arabic literature is also world-wide, "Taha Hussein believes," because it is created in different Arab countries, read and revered throughout the Arab world [Al-Adab. 1956, No. 10, October, p. 2].

In 1966, from the pages of the Cairo magazine "al-Hilal", the words of the classic Egyptian literature Mahmoud Teymour were heard: "In Taha Hussein, all the trends of the Arab renaissance (Ennahda) are concentrated, represented by such luminaries as Mustafa Kamil, Mohammed Abdo, Saad Zaghlul, Lutfi al-Sayyid; it was they who lit the fire of revolution, became a beacon that illuminated the path to freedom, and took up the banner of progress. Taha Hussein is on the crest of our modern era as well." 1966, N 2, p. 31]. At the same time, the French critic Raymond Francis rightly said:: "Taha Hussein plays the role of a connecting link (hamzatu'l-wasl) between the West and Egypt" [ibid., p. 95], paying tribute to such a significant mission of the patriarch of Arabic literature.

list of literature

Al-Adab. 1956, No. 10, October.

Al-Hilal. 1966, N 2.

Krachkovsky I. Y. Izbrannye sochineniya [Selected Works], Vol. III, Moscow-Leningrad, 1956.

Hussein Taha. Lakhazat. Cairo, 1942.

Hussein Taha. South Baris. Cairo, 1943.

Hussein Taha. Fusul fi-l-adab wa-n-naqd. Cairo, 1945.

Hussein Taha. Alvan. Cairo, 1952.

Hussein Taha. Rihlat ar-rabi ' wa-s-sayf. Beirut, 1957.

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