His early life and education:
Al Hakim was born, according to his mother, in 1903, while various researchers note that he was born in 1898. Al hakim, which was born in a wealthy family, was born to an Egyptian father and a Turkish mother. Al hakim’s relation with his mother was unstable, where he notes “she had a violent temper, she was like a volcano of anger”. This unstable relation with his mother gave Al Hakim a shy personality, where he was surrounded by an emotional shell that kept him away from the society, that along with the fact that his family was an aristocratic family and rarely socialized with the public. Nonetheless, Al Hakim’s mother stories that she used to narrate in her illness bed were the seed in Al Hakim’s fertile imagination. He got his Bachelor degree in Law in 1925. After the dean of dramatic literature finished his early education in Damanhur and Cairo, he traveled to Paris, forced by his family, to get his PhD in law [1].
In Paris, Al Hakim came in contact with the European culture and was influenced by it in his early work, especially in theater. Even so, he was influenced by the events in his era, which “witnessed a comprehensive literary revival in all genres of Arabic literature” [2]. After a while, Al Hakim traveled back to Egypt without his law PhD, but he came with something more important, literature wise, which was his vision of modern Arabic Drama.
After his returning home, Al Hakim worked in many different jobs in law, where he worked as a deputy prosecutor in Alexandria, combining his legal work with writing. In 1929, he transferred to the civil courts and worked in other cities, including Tanta, Damanhour and Dessouk, but he resigned governmental work and started his journalism career in “Akbar Al-Yum” newspaper, where he published some of his plays [3].
His magnificent literature
Al Hakim is truly the founder of modern Arabic Drama literature, as Taha Hussein declared. He struggled on behalf of the Arabic drama as a new genre and shaped its techniques and its language. Nonetheless, he had his hands in other genres in Arabic literature as well, where he was known for writing novels, poems and essays for journalistic purposes that deals with the socio-political matters.
Here is some of his none theatric work:
His theatrics work
Tawfiq Al Hakim and theatrical work came to life in three main phases throughout his life which were the following:
1. Biographical Theatre:
This phase was in his early life where he was exposed to several issues in life and wrote more than 400 plays such as “the Groom” and “Before the Ticket Office”. Al Hakims work in this phase was more artistic because it was based on his personal opinion in social life.
2. Intellectual Theatre:
In this phase he produced plays that were not to be played rather than being read, and he even refused to call these plays “plays” and preferred to publish them in there own books.
3. Objective Theatre:
In his last phase, Al Hakim stands looks at the society with the father eyes trying to fix some value and wanting to portray the real Egyptian life. Although his work in this phase was to assist the society, it was quite symbolic with a lot of reality and imagination.
Al Hakim never was committed to one source for his creativity, where he explored the classic Islamic heritage in particular and the eastern heritage in general. For example he used the story of the people of the cave mentioned in the Holy Quran in his play “the people of the cave “that was published in 1933. In this play he discussed the matter of humanity and time and the clash among love and time in a symphonic form representing a sociological focus. He wanted to discuss the disability of facing the present with old fashioned ideas. He also used the theme of Arabian nights in his play “Shahrazad”.
In 1934 he published his play “wise Solomon” which also was based on an Islamic heritage. All of these plays, that influenced by Islamic heritage, was due to Al Hakim’s vision in linking the Islamic-Arabic element with the western intellectual element.
In general, Al Hakim tried in his early work to remodel the early Arabic heritage to meet the modernity of literature that is influenced by the western civilization. However, he then reaches to the Greek methodology and uses it as his later works’ canvas. For Example in his play “Odieb the King” he sheds the light on the conflict between man and fate. This play is entirely emerged in deep Greek thematic water, and uses exclusively Greek myths.
As an Egyptian play writer, it was natural to find ancient Egyptian myths in Al Hakims work. It’s a fact that Al hakim used ancient Egyptian themes in his early novels, but it was later that he used it in his plays. Some researches say that this instability in themes in his work is due to Al Hakims personality, where he was easily influenced by different ideas. For example, his attempts to used Islamic themes in this early work in the 30’s was due to the general atmosphere in Egypt in that time were there where many attempts to revive the Islamic heritage and that was until the end of World War II.


