Antun Sa’adeh: The Feasibility of Literature and the Key to Creativity
Hussein Jama’
Antun Sa’adeh was a pioneering figure in the Arab intellectual movement of the early 20th century. He was one of the first thinkers to bridge the gap between scientific and artistic knowledge through practical application. Sa’adeh envisioned a comprehensive civilizational project, aiming to establish a solid foundation for understanding the challenges faced by Syrian society. He sought tangible and appropriate solutions to these problems, as well as to develop hypotheses that addressed pressing issues of the time.
Sa’adeh diligently worked on his civilizational project, devoting great effort to examining various topics that were central to his thinking. He couldn't help but feel disturbed by the calamities and hardships suffered by his people as a result of Western imperialist invasion and colonization. Determined to understand the root causes of these crises and find solutions to overcome their negative impacts, Sa’adeh focused on organizing his ideas and presenting them in a clear, concise, and logical manner, using available information and facts.
His national mission required him to develop visions for the advancement of his nation and people. However, literary and aesthetic critical studies were not among his priorities. Nonetheless, Sa’adeh attempted to contribute to this area, recognizing the importance of literature and art in society, their capacity to effect change, and their educational value. He aimed to depart from prevailing norms, customs, and natures that no longer align with new life and developments, while also acknowledging the confusion and lack of clarity surrounding the concept of literature. Sa’adeh believed in the need for research into literature and its mission, as well as identifying the specific literature that Syria requires and its defining characteristics.
From here, he endeavored to ignite the spirit of research on an important and enduring topic - the relationship of the poet (artist) with their reality, and how they convey their feelings and thoughts. With creative, courageous, and determined leadership, he forged ahead despite his numerous concerns, seeking to shape a clear vision for the concept of literature and its practical value. He tirelessly propagated his ideas and principles, vehemently defending them in this field, which he considered secondary to his own interests. This confirms the observation made by Majid Khadduri, who recognized Sa’adeh's unparalleled dedication to his mission. Unfazed by personal gain or privilege, he likened himself to the ancient prophets, carrying a divine message that he deemed it his duty to propagate, regardless of the cost. Never before in Syria's contemporary history has a leader demonstrated such unwavering faith, enthusiasm, strength of character, and charisma.
Sa’adeh constantly sought opportunities to reconcile his numerous concerns with writing on a subject that lacked a comprehensive critical framework and did not reach the level of a general theory of literature based on an integrated aesthetic system. This ongoing challenge left him with insufficient time to thoroughly consider the problems from all their aspects and delve into examining its intricate dimensions and diverse functions.
Sa’adeh did not let these circumstances deter him from discussing literature and proposing it for study and analysis. What truly ignited his passion and drove him to examine various literary phenomena and write several short stories was his perception of a significant intellectual shortfall in the work of contemporary Syrian poets. He believed there was a pressing need for an in-depth exploration of literature's foundations, uncovering hidden complexities that had been overlooked. He advocated for purposeful, committed literature that aligns with life's evolving nature and changing contexts.
He proceeds to express his frustration with the triviality dominating Syrian literature, attributing significant responsibility to the chaos among writers for the psychological instability, intellectual unrest, and spiritual decline rampant in the nation. He highlights the impoverished state of Syrian literature, its miserable condition, and its detrimental impact, urging writers to align their works with the grand aspirations of life and the Syrian spirit throughout history. He believes that literature, poets, and actors are deeply influenced by their environments and the prevailing social and economic conditions. He further elaborates, stating that a poet's role is to illuminate the highest and most sublime aspects of thought, emotion, and reality.
Perhaps this sentiment or approach can be observed in the works of Gibran Khalil Gibran, who, according to Sa’adeh himself, succeeded in creating a new form of literature and establishing a movement rich in psychological depth. This movement profoundly influenced the environment from which it emerged and extended its impact to all Arabic-speaking nations. Gibran’s words and meanings resonated with musical beauty, touching the hearts of his readers and captivating their souls. However, this doesn't align with the conclusion that Sa’adeh reached in his article "The Literature of Books and the Literature of Life," which states: The origins of literature must be rooted in life so that it can produce fruits that nourish the living. Sa’adeh reiterates this point in multiple places, yet he does not detail how he perceives the connection between literature and life. Art, in its dialectical relationship with humanity, manifests comprehensively through its diverse functions and numerous roles. It serves as a tool for understanding life and recognizing its expressions, facilitates self-discovery, fosters aesthetic engagement with others, provides pleasure and entertainment, and acts as a significant influence on reshaping and completing the present. The functions of art go beyond merely satisfying instincts with musical words and meanings absorbed by souls.
This ruling contradicts Sa’adeh's assertion in his cited article, which states: The absence of life and foundational elements in our literature is a remarkable yet unfortunate outcome, creating a thick barrier between us and the highest ideals. It leaves us with nothing but vulgar words, trivial meanings, and weak principles. It appears Sa’adeh was heavily influenced by Gibran's dominant work during that era, as well as his glorification of humanity, intellect, emotions, impulses, and an intense enthusiasm for all that is wonderful and transcendent. This led Sa’adeh to assess literature from different standpoints than those he typically adhered to regarding its necessary connection to the present and reality.
Realists are deeply critical of the inhumane aspects of contemporary society and are highly concerned with social and national injustices suffered by their compatriots. While these two trends—criticism and concern—often intersect, diverge, and occasionally converge, each possesses unique characteristics that are evident to both students and perceptive observers. I recognize the lack of a clear methodology for artistic analysis during that period, which prioritized superficial descriptions of individual aesthetic facts over thorough theoretical exploration. The role of these facts in the creative process and societal life highlights that aesthetic evaluation cannot be separated from the issues related to the practical applications of artistic work, which strive to balance beauty and utility.
That is, Sa’adeh was fully aware of his role and the amount of what he could offer, and that he was not able, based on his concerns and capabilities and what the theory of literature had reached during his time, to develop a comprehensive theory of literature that addresses its nature, its manifold functions, and its diverse purposes. This, in addition to talking about the manifold connections between literature and the laws of life, including the solution to the problem of the mental/emotional nature of the artist’s creativity, which he touched on hastily in his discourse about pulsating feelings, which suggests an impulse with the character more than it suggests contemplation of the psychological minutes and issues to which the soul is exposed. Sa’adeh was right when he pointed out that portraying souls through pulsating feeling is a distorted or incomplete depiction, but he did not go into a detailed treatment of how the poet perceives the world and portrays it. It has many links and interconnections.
Indeed, the artist’s mission transcends merely receiving the world emotionally and sensually; it involves creating an artistic image of this world as a response to emotional impact. This emotional shock is essential for reinterpreting reality and shaping it aesthetically from a specific perspective. However, achieving this requires profound and rational understanding of the world and the surrounding environment. The artist's sensitivity, which depends on influence, intuition, and imagination, must be paired with rational comprehension manifesting in understanding ideas and their significance. This duality conveys an intimate and honest artistic expression derived from the dynamic relationship between subject and object. Sa’adeh addressed this issue, stating: "I see poetry, or at least its highest ideal form, as closely connected to thought. Even if feeling is its fundamental element or objective, human feeling itself is intricately linked to thought within the marvellous entity we call the soul."
Sa’adeh was deeply aware that true art must arise from life and its experiences. He emphasized this repeatedly, stating: "Let us take a serious look at life, the universe, and art. With a new understanding of existence and its issues, we can find the truth of our psyche, aspirations, and ideals." He adds elsewhere: "I believe that the purpose of requesting new literature is to reach a new understanding of life that elevates souls to a higher level, enabling them to realize a new psychological outlook that includes fresh ideals, crystallized from life's original aspirations and longings."
He revisits this issue to underscore that true literature should ideally transmit new thoughts and feelings born from a fresh perspective, touching the emotions and perceptions of individuals globally. This transformative literature becomes both national and international, elevating a nation's outlook and illuminating its path forward. Moreover, it conveys a unique psychological richness of thought and emotion to the world. Sa’adeh understood that an artist's spiritual realm is intrinsically linked to human circumstances and socio-historical contexts, with the power to depict this existence in vivid, artistic imagery.
In his discussion of the pulsating feeling, Sa’adeh addresses a crucial aesthetic issue: the essence of creative work, its emergence, and its criteria from his perspective. He states that a poet's focus on capturing people's souls through "the pulsating feeling" indicates impulsiveness rather than a deep contemplation of psychological nuances. Addressing the soul's various issues is not necessarily a successful endeavor, nor is it obligatory for a poet to depict human souls to be considered a poet. A poet may describe nature, parts of it, natural phenomena, war events, or other subjects and still be recognized as a poet. However, a poet who delves into the complexities of human emotions and psychological themes possesses a distinct quality and unique status. Similarly, poets who explore existential philosophical questions or the metaphysical realm hold a special place in the literary world.
If Sa’adeh was correct in asserting that a poet can describe nature or parts of it and still be considered a poet, he was mistaken in claiming that poets must depict people's souls or engage with existential or metaphysical issues. This implies that the subject matter defines a poet's merit or an artist's skill, which contradicts the history of literary and artistic practices. An artist may tackle a profound and uplifting human theme yet fail to delve into its depths or use effective artistic tools to captivate the reader, offering sufficient cognitive and entertaining pleasure. Conversely, another artist might present the same theme from a different angle, employing engaging artistic techniques that attract and delight the reader, deepen their understanding, and awaken their artistic appreciation. Therefore, the secret of creativity and success does not lie in the subject matter alone but is much deeper. The theme cannot be the sole basis for evaluating the success or failure of an artistic work.
The artistry of creativity is evaluated by how all elements of an artistic work intersect and combine into a unified whole, different from the characteristics of its individual parts. A literary or artistic product forms an integrated system with countless relationships and connections, where the poet or artist shapes the expansive human and existential experience in its diverse manifestations. This framework reflects both the truth and current reality while also capturing the actual world alongside a personal world, regardless of any exaggeration or attempts to escape reality.