There is a lot of commonality in the portrayal of Jerusalem by each poet as a rape girl in the poems Awlad al-Kahba by Mudhafar al-Nawab and Face Lost in the Wilderness (Sons of a Bitch), Both poems, from the viewpoint of one poet, examine the devastation of Jerusalem caused by an egregious occupation. This was just like the rape of a woman. To show the impact of Israeli occupation and neglect of international community on Jerusalem, both poems depict Jerusalem as a girl being raped. It is interesting to note that both poems describe Jerusalem as a woman. However, while the intent of each poem depicts Jerusalem as a raped child, the meanings and purpose of each poem are different.
Tuqan uses rape as a means to enhance her elegy. Jerusalem is likened to a “raped boy” in her description of its vulnerability and helplessness. Al-Nawab’s poetry, on the other hand, invokes a sense revolution and demands justice. He compares Israeli occupationists and Arab rulers to the “raped girls” and rapists who have neglected Palestinians and Jerusalemis. Tuqan, al-Nawab and their poetry are based on personal experiences of the disasters caused by the 1948 war among the Arab states. As is the case with regional discourses, the connection between people and land is described using metaphors that relate to individual experiences. Sons of a Bitch and Face Lost in the Wilderness are two examples that best illustrate this. Tuqan uses Tuqan’s raped young girl analogy as a way to convey that the pain a woman feels for her home country is the same as the pain she experiences for her homeland. Al Nawwab makes use of the raped little girl analogy for expressing his disapproval of the terrorist narratives. Al-Nawwab suffered from the tragic consequences of the Palestinian tragedy. The poet’s poem “Son’s of a Bitch”, slams the Arab rulers who are unable to stop the destruction of Palestine. “…why did your Arab rulers send all night adulterers into her bedroom? …” This symbolises the sexual incompetence and lack of manhood of Arab rulers. “…She screamed for help as her virginity was being violated. All of you tried to withdraw their swords. The poem effectively depicts the scene of Jerusalem being raped by enemies. Instead of killing the rapists, they shouted at Jerusalem . Al-Nawab portrays the Arab rulers as cowards who are ruled by imperialist forces. “Sonsofabitch/I have the dirty truth ” He metaphorically describes the Arab rulers as cowards who are dominated by imperialist forces. Al-Nawab emerges as a revolutionary poet who revolutionizes Arab thought. Al-Nawab rants about his frustrations with Arab governments using an angry, vulgar language that attacks the Israeli occupiers. Al-Nawab expresses frustration and anger by using obscene language. Al-Nawab argues that they were all pawns in imperialistic forces. This, he claims, has paved the path for Palestinian tragedy, and the rape, of Jerusalem. Al-Nawab depicts Jerusalem being raped and killed by Arab invaders. This is to create a sense of disgust towards the perpetrators.
Tuqan’s context shows that her elegy “Face Lost in the Wilderness” reflects strong sentiments about her love and devotion to the holy city. It also expresses her sadness over the city’s occupation and her unwavering hope for its freedom. Jerusalem, the City of Religions, is here depicted as a gorgeous girl with burnt hands. This is a very disturbing image that shows us what Jerusalem, the city of religions, looks like through Tuqan. She goes on to describe “…the heart of Jerusalem is not beaten by their bloodied heels …” It may feel like Jerusalem is being terrorized and raped. She uses this rape analogy to paint a distressing picture that makes Jerusalem look like a raped girl. In the Old Testament, Jerusalem’s city is depicted as a woman. The term “the daughter” refers to Jerusalem. These words are used in contexts where one or both of the opposing ideas of destruction or deliverance of Jerusalem is being discussed. The city is part the homeland that the Palestinian poets have held on to for many decades. It is also associated with the land. The Palestinian city is therefore part of a long-standing homeland that has been resisting the invaders for many decades. In Palestinian poetry, the longing for a particular place, or a city, is a constant and cannot be denied. It has taken on the status of an absolute. For poets, the dream is all about the city, land, village and homeland. Because it was subject to violence, cruelty, and state terror by the invaders, the Palestinian city held a prominent place in modern Arabic poetry. Although it has been the target of colonizers’ hate and malice for centuries, it has managed to resist every attempt to erase its Arab identity. The poetry of Palestine, which takes many forms, represents the anger and resistance that a nation has displayed in times of crisis, in a world of internal treachery and hypocrisy. In this context, the Palestinian image as a victim is formed. Many anticolonial and/or postcolonial thinkers have drawn a link between colonization, rape, and the strategy of suppressing the “native” population. However, they also consider rape a metaphor for colonial land exploitation. The real concern about rape is felt by Palestinians. Rape is also used to represent Zionism’s desire and determination to rape Palestine and exploit its people. Jerusalem is seen, just like Arabic poetry, as a girl or woman.
It is common to feminize Jerusalem in this context and compare it to a woman who’s experienced many misfortunes and changes. The Arab rulers are accused of causing Jerusalem’s loss in “Sons of a Bitch / Awlad Al-Kahba,” which the speaker slams. His poetry is filled with obscenity, which reveals a terrible reality. Face Lost in the Wilderness was also a victim of Tuqan’s feminization and exploitation of Jerusalem. This is similar to being raped. Because of its brutality, violence, and terrorism, the Palestinian city was prominent in modern Arabic poetry. Palestine is presented as a vulnerable girl; Jerusalem is the image of a woman who has been raped and needs to be rescued. Jerusalem is more than just a victim. Although both poets portray Jerusalem as a victimized and defeated city, each one evokes a deep nostalgia for the roots and a longing to return.
