Analysis of Polyphonic Components in the Novel Showq Al-Darwish Based on the Theory of Mikhail Bakhtin

The novel is a vast realm that allows for more diverse analyses than other literary genres. In recent years, Mikhail Bakhtin's theory of polyphony has opened a new chapter in this field. The novel Showq al-Darwish by the contemporary Sudanese writer Hamour Ziyadeh, who has received the Najib Mahfooz literary award, is one of a dialogic novel featuring polyphonic elements. This research reexamines the novel using a descriptive-analytical approach grounded in Bakhtin's theory of polyphony. The findings reveal that, although the novel's primary theme appears to be a depiction of the unfortunate socio-political events in 19th-century Sudan during the "Mahdi Sudani" uprising against British colonialism, the author mitigates the harshness of these events by intertwining themes of love and politics. In the novel, the three main characters each embody an aspect of Showq al-Darvish and serve as guardians of either heavenly or earthly love. Al-Jarfawi is a revered fighter in the Sudanese Mahdist religious uprising. These three characters are the central focus of the novel. Within each of them lies a passion that gives life meaning, despite all its hardships. The author of the novel, by employing polyphonic elements—such as a variety of viewpoints, frequent reminiscences, internal conflicts, intertextuality with religious and historical texts, confrontations between literary schools and different cultures, and the use of similes, dervishes, anecdotes, and sayings—has successfully created a vivid portrayal of the cultural, social, and political tensions within Sudanese society during that historical period.
Introduction:
The novel Showq Al-Darwish by contemporary Sudanese author Hammour Ziada won the Najib Mahfouz Literary Prize in 2014 and was shortlisted for the Booker Prize. This novel, with its political-romantic themes (earthly and heavenly love), addresses the events in Sudan during the 19th century, focusing on the Mahdist uprising against British colonialism. Due to its diverse elements—such as intertextuality, multiple narrative perspectives, multilingualism, and the interplay of Islamic, Sufi, and Christian cultures—this novel can be regarded as a successful example of polyphonic literature. Although the dominant narration in Showq Al-Darwish is presented by an omniscient narrator, various characters express differing viewpoints throughout the story. Unlike many polyphonic novels, each chapter is not narrated by a single voice; instead, it blends inner monologues, dramatic dialogues (also known as representational viewpoints), third-person perspectives, letters, and memoirs. Within the words of the omniscient narrator, the reader frequently encounters shifts between first-person perspective, representational viewpoints, and inner monologues. These changes occur intermittently throughout the chapters, and in some instances, the shifts are sudden and without prior warning.
Methodology:
This study employs a descriptive-analytical method based on Bakhtin's polyphonic theory to examine the polyphonic elements present in this novel and seeks to answer the following questions:

How is Bakhtin's polyphony manifested in Showq Al-Darwish?
What is the author’s purpose in creating a dialogue among various characters and contrasting their voices?
How does the author intertwine politics and love through polyphonic techniques?

Results and Discussion:
Showq al-Darwish qualifies as a successful polyphonic novel due to its diverse characters, viewpoints, and ideologies. The frequent and abrupt shifts in perspective, along with numerous inner monologues and self-reflections, are notable elements of Bakhtin's polyphonic theory clearly evident in this work. One of the most frequently employed polyphonic techniques in this novel is intertextuality, where much of the text consists of religious, mystical, and historical poetry and documents. At times, these texts have minimal connection to the narrative flow and appear independently, serving as bridges between preceding and following sections. Additionally, the intertextual influences and the absence of a dominant monologic narrative further highlight the novel's polyphonic nature. The predominant style of character depiction in this narrative is indirect or dramatized representation. Ziada allows various characters to express their thoughts and opinions, even when their views differ significantly. The presence of centrifugal characters—who shift focus from analyzing the Mahdist uprising and the conditions in Sudan to expressing diverse viewpoints on the clash of cultures and the discourse between Christian and Sufi-Islamic groups—contributes to the novel's multilingualism. Moreover, one of the most striking aspects of this narrative is its prevailing atmosphere of openness.
The author creates a platform for each character's voice to emerge without favoritism, ensuring that no single voice dominates the others. The diversity of perspectives further enriches the novel's polyphony, featuring sudden and frequent shifts that occasionally challenge the reader's ability to follow. Another significant factor reinforcing the polyphony in this novel is the inner dialogues and mental conversations of the characters, who transcend the boundaries of time and space in their thoughts, engaging in dialogues with absent or distant characters as if they were present. The blending of various literary schools, including Romanticism and Realism, plays a crucial role in enhancing the polyphonic nature of this work. Traces of different literary movements are evident in Showq al-Darwish, significantly contributing to its polyphony. The amalgamation of diverse narrative styles challenges readers to explore deeper layers and interpretations of the characters’ journeys, fostering a collaborative process of interpretation that enhances the story's polyphony. This novel, rich in political and historical context, draws its material from real events, highlighting the anti-colonial struggles in Sudan. The author addresses significant historical moments and incorporates authentic documents that serve as historical references. Additionally, alongside the political and historical narrative, a contemporary love story unfolds, infusing the text with romantic elements. The emotionally charged and romantic phrases enrich the narrative, aligning the work close to the Romantic school of literature.
Conclusion:
Cultural diversity, religious conflicts, and the expression of various political and religious perspectives in contemporary Sudan are central themes explored in "Showq al-Darwish." Thus, this novel can be regarded as a successful example of polyphonic literature in modern Sudanese writing. Elements such as diverse perspectives, intertextuality, the presence of various literary schools, influences from different authors, inner dialogues, and multilingualism are among the many polyphonic components present in this work. The findings indicate that although the main theme of the novel ostensibly recounts the tragic political and social events in 19th-century Sudan during the Mahdist uprising against British colonialism, the author mitigates the narrative's bleakness by intertwining love and politics. In this narrative, the three main characters—Bakhit, a slave devoted to earthly love; Theodora, a Christian convert committed to her faith; and Hassan al-Jarfi, a warrior dedicated to the Mahdist religious uprising—embody different expressions of "the passion of the dervish" and the attachment to either transcendent or earthly love. Each character, amid life's struggles, harbors a desire that gives meaning to their existence. Through the use of polyphonic elements—such as varied perspectives, frequent reflections, inner conflicts, intertextuality with religious and historical texts, the interplay between cultural schools, and the incorporation of proverbs, tales, and the sayings of dervishes—the author effectively reimagines the cultural, social, and political tensions of Sudanese society during that historical period.