Arabian Romantic: Poems on Bedouin Life and Love 9781479866861

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Arabian Romantic

Library of Arabic Literature Editorial Board General Editor Philip F. Kennedy, New York University Executive Editors James E. Montgomery, University of Cambridge Shawkat M. Toorawa, Yale University Editors Sean Anthony, The Ohio State University Julia Bray, University of Oxford Michael Cooperson, University of California, Los Angeles Joseph E. Lowry, University of Pennsylvania Maurice Pomerantz, New York University Abu Dhabi Tahera Qutbuddin, University of Chicago Devin J. Stewart, Emory University Editorial Director Chip Rossetti Digital Production Manager Stuart Brown Assistant Editor Lucie Taylor Fellowship Program Coordinator Amani Al-Zoubi

Letter from the General Editor

The Library of Arabic Literature makes available Arabic editions and English translations of significant works of Arabic literature, with an emphasis on the seventh to nineteenth centuries. The Library of Arabic Literature thus includes texts from the pre-Islamic era to the cusp of the modern period, and encompasses a wide range of genres, including poetry, poetics, fiction, religion, philosophy, law, science, travel writing, history, and historiography. Books in the series are edited and translated by internationally recognized scholars. They are published as hardcovers in parallel-text format with Arabic and English on facing pages, as English-only paperbacks, and as downloadable Arabic editions. For some texts, the series also publishes separate scholarly editions with full critical apparatus. The Library encourages scholars to produce authoritative Arabic editions, accompanied by modern, lucid English translations, with the ultimate goal of introducing Arabic’s rich literary heritage to a general audience of readers as well as to scholars and students. The Library of Arabic Literature is supported by a grant from the New York University Abu Dhabi Institute and is published by NYU Press. Philip F. Kennedy General Editor, Library of Arabic Literature

‫د � �� ا ن‬ ‫يو �‬ ‫ّٰ‬ ‫ّ‬ ‫ن‬ ‫�� ن‬ ‫���د ا لله ن�� ��سن��ي��ي�ل‬

Arabian Romantic Poems on Bedouin Life and Love

ʿAbdallāh ibn Sbayyil Edited and translated by Marcel Kurpershoek Reviewed by Saad Sowayan Volume editors Clive Holes Philip F. Kennedy

NEW YORK UNIVERSITY PRESS New York

NEW YORK UNIVERSITY PRESS New York Copyright © 2018 by New York University All rights reserved Library of Congress Cataloging-in-Publication Data Names: Ibn Subayyil, ʿAbd Allāh, approximately 1853-1933, author. | Kurpershoek, P. M. editor translator. | Ibn Subayyil, ʿAbd Allāh, approximately 1853-d. 1933. Poems. Selections. English. | Ibn Subayyil, ʿAbd Allāh, approximately 1853-d. 1933. Poems. Selections. Title: Arabian romantic : poems on bedouin life and love / ʿAbdallah ibn Sbayyil ; edited and translated by Marcel Kurpershoek. Description: New York : New York University Press, 2018. | Includes bibliographical references and index. Identifiers: LCCN 2018012635| ISBN 9781479837663 (hardcover : alk. paper) | ISBN 9781479845415 (e-book) Classification: LCC PJ7836.S8 A2 2018 | DDC 892.7/16--dc23 LC record available at https:// lccn.loc.gov/2018012635 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. Series design by Titus Nemeth. Typeset in Tasmeem, using DecoType Naskh and Emiri. Typesetting and digitization by Stuart Brown. Manufactured in the United States of America c 10 9 8 7 6 5 4 3 2 1

Table of Contents

Letter from the General Editor

iii

Introduction

xi

Map: Northern Central Arabia

xxxiii

A Note on the Text

xxxiv

Notes to the Introduction

xxxvii

Arabian Romantic

1

1: God, You saved Job from his predicament

2

2: Why rejoice at their summering near our wells?

4

3: My eyes, where are the loved ones you hold so dear?

8

4: Zēd, first you smiled, now you turn away from me

12

5: Come, messenger, fetch your mount

14

6: Moralizers! Do not put my heart to the test!

22

7: Yesterday I was in throes of tears and sobs

24

8: Darling, if I come, mind the enemy

28

9: Lord, people bow in worship to win Your favor

32

10: I beseech You, God, and You alone

36

11: The things of this world can’t be gotten by mere tricks

40

12: I supplicate You to smooth my path, God

44

13: I can’t blame a soul who abstains from food

46

14.1: Rider who sets out with nine hundred mounts (Fayḥān ibn Zirībān)

52

14.2: Rider setting out on a Ṣayʿar camel mount

54

15: If you drink to lift your spirits, connoisseur

62

16.1: Rider of camels at breakneck speed (Fayḥān ibn Zirībān)

64

16.2: When clouds roll in, the rain starts with a drizzle

64

17.1: May God whiten the face of Ṭāmi ibn Gidrān (Masʿūd Āl Masʿūd)

68

17.2: Riders of smooth, fast camels

68

18: Almighty God! My heart is pulled from its roots

72

19: Separation tore us apart and left me wistful with desire

76

20: God help me with this flood of tears

80

21: Servant of God, weigh your thoughts with care

82

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22: My heart strains like a small herd of camels

86

23: First, the name of God in all of the world’s affairs

90

24: Dh ʿār, in the full year that has passed today

98

25: I sing these verses, warbling on a high dune

102

26: Poor heart abandoned by its wits

104

27.1: Pity eyelids that do not close at night (Ibn Zirībān)

108

27.2: Camel rider with ten mounts chosen for speed

112

28: A sudden shock upset me, slashed my insides

118

29: My heart is being bent like a bow by a craftsman

122

30: Hey Sinʿūs, what is this leisurely pace!

126

31: Leave off, you players of love’s game, leave off!

128

32: May it not rain on late-summer nights

130

33: My heart is wracked like the hearts of rustlers

134

34: My heart strains like camels driven hard by rustlers

138

35: Why, my eye, have you tortured me with love?

140

36: You are privy, God, to the deepest secrets

142

37: I climbed to the lookout, a peak marked by cairns

146

38: Blessed is the blasé heart―one that lacks for nothing

150

39: I groan like a warrior felled by a blade

154

40: As the camel train disappeared over the spur of Abānāt

158

41: Hey what’s-your-name, give me the stuff that revives me

162

42.1: I moan like a man whose leg is tied with Mishānīṭ straps (Muṭawwaʿ Nifī)

164

42.2: The Muṭawwaʿ is all fakery and tawdry nonsense

164

42.3: I compose my verses to rhyme in ṭāʾ (Muṭawwaʿ Nifī)

166

42.4: Muṭawwaʿ, may your deepest secret be exposed

166

42.5: What now, little fat-assed ʿAbdallah (Muṭawwaʿ Nifī)

166

42.6: Dghēlīb offered a price for Muṭawwaʿ’s mortar (Muṭawwaʿ Nifī)

168

42.7: Riders on camels, gray from grueling marches

168

42.8: When my mood is blue I call for Nūrah (Muṭawwaʿ Nifī)

168

42.9: Muṭawwaʿ! What’s all this sound and fury?

170

42.10: Hey crowing cock! You’re all bluff and bluster (Muṭawwaʿ Nifī)

170

42.11: I swear to God, we owe it to the door (Muṭawwaʿ Nifī)

170

42.12: Too late! Why did one of us not get up

170

42.13: What a wonderful rain cloud, at the Lord’s command (Muṭawwaʿ Nifī)

170

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42.14: Those flashes of lightning have set the sky ablaze

172

43.1: Hey, Ibn Sbayyil, things are out of kilter (Smēr of the ʿUtaybah 174

tribe) 43.2: Smēr, I will provide no comfort for your ranting

174

44: What joy, this message that quickened my eye (Minī ʿ al-Gi ʿūd al-Ṣāni ʿ)

176

45.1: May illness not touch you, full-bosomed beauty (Rbayyi ʿ al-ʿAbd)

178

45.2: Why does this dumb blacksmith, out of his depth

178

46.1: Pay the protection money, bleary-eyed villager (Ibn Thaʿlī)

180

46.2: I’ll chuck you a bone, you mangy mutt

180

Notes

183

Glossary

257

Bibliography

269

Index of Poems, Editions, and Manuscripts Used for this Edition

276

Index

285

About the NYU Abu Dhabi Institute

313

About the Typefaces

314

Titles Published by the Library of Arabic Literature

315

About the Editor–Translator

318

ix

To my daughters Danielle, Eline, and Sophie

Introduction

In Najd, the central part of Arabia, and adjacent areas, the name Ibn Sbayyil evokes images of Bedouin romance. As the headman of the small town of Nifī, he was enamored of the sight of Bedouin beauties who walked in the market street during the summer months, when their tribes were encamped at the wells just outside town. He marvels in verse at their stunning looks and casual demeanor as they chat with each other and with shopkeepers like himself. Unspoken, but implicit in his poetry, is the contrast with the village women who mostly stayed behind the walls of their adobe houses. They ventured out infrequently, wrapped head to toe in black and adhering strictly to a code that forbade them from speaking to men outside their group of relatives. This reflects the traditional difference in Najdī society between nomadic Bedouin (baduw) and sedentary parts of the population (ḥaḍar), or those who lived in “houses made of hair,” i.e., tents made of cloth woven from goat hair, and those living in “houses made of mud.” Though both types of housing have gone out of fashion in Saudi Arabia, the binary of Bedouin versus villager is a social archetype that even today remains firmly embedded in people’s minds. Ibn Sbayyil’s work is defined by his physical and artistic position at the intersection of these two worlds that for centuries intermingled and lived side by side in economic, cultural, and social symbiosis, each sphere nevertheless also developing into opposing civilizational identities.1 A villager himself, Ibn Sbayyil’s fame rests to a large extent on his lively, detailed, and beautiful images of Bedouin life, and its seasonal cycles, as he observed it at close quarters: the Bedouin’s arrival, mainly sections of the ʿUtaybah tribe on whose traditional dīrah (tribal ranges) the townlet of Nifī was situated;2 their stay of ninety days at Nifī’s wells during the hot summer season, where their herds watered and grazed nearby; and their departure in early September westward to higher grounds.3 The poet compares the dark herds and people on the horizon to the appearance of rain clouds, calling this the springtime of his heart. Their packing up at the end of the hot season he describes as heralding his season of inner drought― with them depart the sentiments and fantasies the Bedouin girls inspired in

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him. Images from Bedouin life are amalgamated into intricate patterns of love poetry (ghazals). Exciting scenes of raiding, hazardous desert crossings, and the struggle to hoist water from deep wells turn into extended similes that reflect the poet’s lovelorn state, all part of an interior monologue in which he relives the delights and torments of real or imagined affairs, and aspires to a mental balance that reconciles him with the impossibility of attaining his desire. Ibn Sbayyil pictures himself as a villager who cannot pretend to equal status with the “aristocratic” nomad lineages. For him, marrying a Bedouin belle is not in the cards.4 Ibn Sbayyil’s work is thus informed by the antonymy between nomadic and sedentary elements of Najdī society: the moving and the fixed, the adventurous and the all too predictable, romance and humdrum domestic life, fantasy and everyday reality. Exasperated by the constraints imposed on him by his social status, the poet inveighs against those who stand in his way, against the shackles imposed by his condition, and against the iniquities of fate that put up insurmountable hurdles for true lovers. But more often than not, his bouts of rebelliousness give way to a more resigned mood and even a graceful acceptance of the world as it is. Poetry expresses his romantic longing for escape. Through his dreams in meter and rhyme, he achieves his desire in sublimated form, a harmony born from the conflicting currents in his soul.

Ibn Sbayyil and the “Romantic School” of High Najd

ʿAbdallah ibn Sbayyil (full name ʿAbdallah ibn Ḥmūd ibn Saʿd ibn Sbayyil) was approximately eighty years old when he died in Nifī in 1933.5 Therefore, he may have been born around 1853. In the second half of the eighteenth century his ancestors, who belonged to the tribe of Bāhilah (pl. Bawāhil), left the town of al-Midhnab, in the southern part of al-Qaṣīm province, for the village of al-Athlah, together with their kinfolk of Āl ʿUwaywīd (hereafter al-ʿWēwīd) and a group of al-ʿAwāzim. From there a number of families, among them Ibn Sbayyil’s ancestors, moved to Nifī.6 We know little about his life. As the headman of Nifī, he dealt with issues of a tribal nature and sometimes of political significance, as shown by his long ode in praise of Muḥammad ibn Rashīd (Poem 23),7 the prince of Ḥāʾil, under whose rule (1869–97) the Rashīdī House became the dominant power in Najd; and his later poem in support of ʿAbd al-ʿAzīz ibn ʿAbd al-Raḥmān, who reestablished

xii

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the supremacy of the House of Saud (Poem 25).8 Generally, tests of his leadership do not seem to have gone beyond dealing with the occasional robbery of livestock by marauding Bedouin.9 There is no evidence in his poetry or elsewhere that he traveled anywhere outside Nifī. He may have visited friends with whom he was in poetic correspondence, but it is more likely that if he met them, he did so when they passed through Nifī. For a living, he probably tended date palms and perhaps sowed other crops. The crumbled walls of his shop in Nifī’s market street are still visible. As a commercial supplier of the Bedouin and as the town’s headman, whose duty it was to receive visitors to the town, he would have been known far and wide in that part of Najd. For many, his fame as a poet would have been an additional incentive to socialize and, for those with a taste for poetry, to engage in poetic correspondence with him. Through his “poetic correspondence” we know of his friendships with men in positions of social standing, such as the tribal chiefs of two major confederations in the area, ʿUtaybah and Muṭayr, and also with his neighbor, Muṭawwaʿ Nifī. An unpublished manuscript that includes anecdotes and poems about the period shows Ibn Sbayyil in playful but robust altercations.10 Even in his ghazals he is scarcely as Platonic as he is sometimes made out to be, and on occasion he shows himself as erotically aroused as any ardent lover. He was influential in a group of poets whose geographical space was shared between sedentary colonies and Bedouin, whose seasonal rhythms were determined by their agricultural and nomadic occupations. They did so often in competition, occasionally in conflict, but largely on terms of mutual respect, with friendly relations, and in accordance with well-established rules. Most of the poets belonged to kin groups that had been sedentary for centuries, but they lived in the proximity of the Bedouin and constantly interacted with them. Their view of the Bedouin was tinged with admiration for their energy, mobility, sociability, and prowess―an admiration that might have been rooted in a romantic longing for a more interesting life and that revolved around an image of young Bedouin women as the fulcrum of a powerful, yet unattainable, desire. None of the poets belonged to the more prominent Bedouin lineages or to the sedentary “aristocracy” of the principal Najdī towns. Some, like Ibn Sbayyil, were local notables and possessed the means to live a more or less stable life. Others, however, had to make a living as agricultural laborers who depended on seasonal, backbreaking work, and frequently suffered the hardship of poverty and pangs of hunger.11 Yet this did not stop them from composing poetry

xiii

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so remarkable for its beauty that some of it has been preserved through oral transmission and jotted down until publication in recent years. Admiration for Ibn Sbayyil’s poetry and his playful, often tongue-in-cheek exchanges with other poets helped preserve a substantial part of his work. In this respect, he was more fortunate than many of his fellow poets from the area. Because of his stature, it is said that some of their work has been ascribed to him. Whether true or not, the assertion points to a shared sensibility among poets in the area where Nifī is situated, High Najd (ʿĀliyat Najd).12 The style has been subsumed under the heading of “the romantic school” (al-madrasah al-wijdāniyyah). Saad Sowayan has drawn attention to this group of Najdī poets who developed the amatory prologue (nasīb) and description of the beloved’s departure and journey (raḥīl), as it is known in the early classical qasidas, into an independent subject. For him, they constitute a specific school in poetry that according to some might be called al-madrasah al-wijdāniyyah. The poetry of this school is notable for its “desert nostalgia” and its yearning for Bedouin life. The school acquired its characteristics through the creative brilliance of the poet ʿAbdallah ibn Sbayyil. Most of its poets are from High Najd, among whom Muṭawwaʿ Nifī, Fhēd ibn ʿWēwīd al-Mijmāj, and, among its later acolytes, Swēlim al-ʿAlī al-Suhalī acquired the greatest fame (al-Ṣaḥrāʾ al-ʿarabiyyah, 437).

I have translated it as “romantic school,” rather than “sentimental” or “nostalgic,” because the alternative descriptions carry connotations that might be misleading if applied to the cultural context in which Ibn Sbayyil and his fellows performed as poets. The mixed Bedouin and sedentary background of Ibn Sbayyil and his fellow poets is evident in the themes and images of their work. Many, perhaps most, of them knew each other personally, and some were kin. The names of places mentioned in their verse reflect their distribution across a geographical area with distinct boundaries. Situated between the lava fields and mountains of the Hijaz in the west and the sands of al-Sirr in the east, it extends to al-Qaṣīm in the north and in the south to al-Shaʿrāʾ and al-Dawādimī―towns that play a role similar to that of Nifī as centers of supply and repair for the Bedouin. This area, High Najd, coincides for the major part with the tribal ranges of al-Rūqah, the northern half of the ʿUtaybah confederation. Other tribes mentioned in the poetry are

xiv

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Barqā of ʿUtaybah to the south, Muṭayr to the east, Ḥarb to the northwest, and al-Buqūm and al-Shalāwā at the confines of the Hijaz.13 These thematic, geographical, and social features were reinforced by various degrees of kinship and personal relations among the poets. The ʿWēwīd family in al-Athlah, from where Ibn Sbayyil’s kin and others settled in Nifī, also belongs to the tribe of Bāhilah. The poet ʿAbdallah ibn ʿAbd al-Hādī ibn ʿWēwīd 14 married his uncle’s daughter, Ḥisnā, much to the chagrin of Fhēd al-Mijmāj, another young poet who was deeply in love with her. The mother of Fhēd was the sister of Ḥisnā’s father, but her efforts on behalf of her son were unsuccessful. The other poet prevailed, primarily because male descent is given priority in the selection of one’s daughter’s marriage partner in a patrilineal system, a condition that accounts for a good deal of touching Arabic love poetry. Fhēd, who is the more interesting poet of the two, is not of the Bāhilah tribe but from a branch of the Tamīm that left the town of al-Midhnab for al-Athlah, together with Ibn Sbayyil’s family. There his grandfather married the sister of Ḥmūd al-ʿWēwīd, the grandfather of his rival. It compounded his disadvantage in the pursuit of Ḥisnā that he had to make his living as a hired agricultural hand. Like ʿAbdallah ibn ʿWēwīd, he was a contemporary of Ibn Sbayyil, and their work showed such a close resemblance that some of Fhēd’s verse is said to have been attributed to the more famous Ibn Sbayyil. A third poet is known by the sobriquet Muṭawwaʿ Nifī because he served as the imam of Nifī’s mosque, taught elementary religion, and performed various religious functions. His real name was Saʿd ibn Nāṣir ibn Msāʿid, also called by the diminutive S ʿēdān or S ʿēdān al-Muṭawwaʿ.15 He was born in al-Midhnab, the town of Ibn Sbayyil’s forefathers, and after his religious education he settled in Nifī. He was the neighbor of Ibn Sbayyil, whose own house adjoined the mosque. Toward the end of his life he returned to al-Midhnab to live with his son and died in 1935, not long after Ibn Sbayyil. Though his literacy is not in doubt, the language of Muṭawwaʿ Nifī’s poetry does not differ markedly from compositions by illiterate poets in the same tradition.16 And the same holds true for Ibn Sbayyil.17 Muṭawwaʿ Nifī’s diwan consists mostly of short pieces. Among Najdī anthologists and cognoscenti he is especially appreciated for his poetic pranks and antics. With Ibn Sbayyil he engaged in brief, jocular exchanges―mostly to pull his leg, but occasionally their good-humored teasing degenerated into mudslinging.18 In popular lore, the Muṭawwaʿ is associated with the mortar in which he pounded his coffee beans and herbs. This became a running gag that shows

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him steadfast in his refusal to sell it to the grandees who sought to acquire this allegedly priceless utensil. This is the theme of many of his boastful verses.19 Another characteristic of the Muṭawwaʿ’s work, his penchant for composing amorous verse in the style of his neighbor, also attracted the curiosity of his contemporaries. For instance, his outbursts of passionate feeling for unnamed members of the other sex while carrying out his functions as the town’s imam are shown as provoking indignation and outrage among his community and visitors. At the same time, it is made clear that these scenes are part of tongue-in-cheek, jocular play in a social game that explores the boundaries of the acceptable. And even if the friends and neighbors occasionally crossed these boundaries in their zest, it was not seriously held against them, and was excused with a smile of secret amusement.20 There was a relatively wide margin for this kind of teasing, innocent fun. Only later, once the movement of the rigidly Wahhābī ikhwān took control of Najd and beyond, did this come to be seen as inappropriate and somewhat scandalous. And only then did the word muṭawwaʿ become a synonym for intolerance of any deviation from severely enforced, religiously sanctioned norms and behavior. It also explains the occasional discrepancy between some of the content in surviving manuscripts of Nabaṭī poetry and what appeared in print over the past decades, and the even greater self-censorship in later republications compared to earlier published collections. Though firm dates are lacking, it is clear that Ibn Sbayyil by and large ceased composing poetry when the “brothers” and their austere Wahhābī culture took hold of Najd, that is, from some time in the early twentieth century till the end of his life.21 And yet, the trend set by Ibn Sbayyil and the other poets from High Najd persisted even as the ikhwān movement became pervasive in the country, mostly through oral tradition and in jotted notes kept in private custody due to the constraints on publishing these materials. The language, themes, and imagery proved influential in the entire area of Najd and assumed a dominant role in the tradition, such that it produced Swēlim al-ʿAlī al-Suhalī (1916–1985), a brilliant representative of the “romantic school” in the twentieth century.22 Many of the poems by ʿAbdallah al-Dindān, a more recent Bedouin poet of the Dawāsir tribe in southern Najd (d. 2004), elaborated on elements introduced by Ibn Sbayyil and his fellow poets in the second half of the nineteenth century.23 Al-Dindān was still composing poetry when he reached old age in the 1990s, and then as before he relied exclusively on the oral tradition since he was

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illiterate. By that time his style of poetry had probably run its course, one reason being that the imagery was no longer applicable in an oil-based economy and rentier state. Though dates of origin and expiry of forms of artistic expression are rarely precise, for this lyrical style of Bedouin-inspired poetry one might posit an approximate period from the second half of the nineteenth century, when Ibn Sbayyil flourished, to sometime between 1980 and 1990. Geography, social and cultural patterns, kinship, and personal relations― these interconnected factors determined the environment these poets had in common and nurtured the emergence of the “romantic school.” The main argument in favor of considering them as poets who orbited in a loosely coherent, not formally organized way of expressing themselves, are the distinctive features of the poetry itself. Clearly these are colored by the poets’ environment, but the “literary” aspects represent an original development that drew on earlier examples and conventions to create something new and authentic. First, Ibn Sbayyil and his circle invented a new language―fluent, expressive, emotionally charged, evocative, and readily understood―that harnessed rich imagery drawn from the Bedouin and sedentary environment to the inner world of the poet, his audience, and correspondents. This new poetic idiom differed markedly from the one that prevailed in the preceding era: one that to some extent came to rely on the use of rhetorical devices, hidden clues, and riddles, with the aim of impressing the audience. Though composed in the language of Nabaṭī poetry, it reflected an essentially literate culture.24 In this sense, Ibn Sbayyil’s poetry also marked a return to an idiom more naturally suited to the oral culture of the area. Second, imagery and metaphors were developed into extended similes that at times grew into minitales with an autonomous existence within the overall structure of the poem.25 Invariably, these similes are employed to lend greater poignancy to the suffering of the poet’s lovestruck heart using graphic descriptions of scenes marked by as much stress and pain as the poet’s imagination is capable of: tales of robbery and hot pursuit; perilous desert crossings with disastrous consequences; scenes of utter exhaustion and chaos when water is raised from deep wells under harsh conditions; the distress of wounded and worn-out animals on the brink of death; once-proud warriors who are at the mercy of their enemy on the field of battle; and other images that vividly illustrate scenes encountered by Burckhardt, Wallin, Musil, and other travelers in Arabia.

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Also, this earlier poetry exhibits a palpable delight in vocabulary, phrasing, and imagery for their own sake. Sometimes this seems the overriding purpose of a poem, while the ultimate object—the vagaries of the loving heart in the throes of despair—seems to become an afterthought. In Ibn Sbayyil’s poetry this is never the case, however. It is a mark of his greatness that all facets of his compositions in this genre are integrated into an overarching structure: the frame for an inner dialogue in which the poet explores his soul’s movements in the face of temptation and other challenges. Through it, the poet seeks to reconcile pressing reality with sentiment―a fundamental opposition that he bridges by substituting his dreams and fantasies for reality.

The Poetry Ibn Sbayyil is unanimously praised as a master of the craft by Najdī critics.26 The lyrical flow of his verse, its flawless composition, and its deceptive simplicity are held up as an exemplary standard in its genre.27 With the exception of nine poems, and the short pieces (see Poems 42.1–46.2), his work is firmly devoted to the subject of love, or rather “the pursuit of amorous passion” (ṭard al-hawā).28 In some poems he explicitly mentions Bedouin girls as the object of his desire. In other poems, the same meaning is conveyed through scenes of the departing tribe that carries away his beloved and the sight of the deserted camp at Nifī’s wells; or it is implicit in the poet’s description of the seasonal cycle of a year in Bedouin life (see Poem 32). Ibn Sbayyil dwells on his position as a villager vis-à-vis the Bedouin to emphasize the impossibility of his love, and his consequent heartbreak. As he puts it antithetically: the drought that pushes the Bedouin to Nifī’s wells heralds the springtime of his heart, and their departure at the first reports of rain ushers in the season of the poet’s drought.29 For the Bedouin and the village folks these months of residence at Nifī’s wells were an occasion to catch up on friendships. In poetry, this is also the time for amorous glances and furtive contacts. Ibn Sbayyil describes how young Bedouin women, in their tight-fitting dresses and gaudy colors, could be counted on to create a sensation in Nifī’s market street. These ninety days of merriment and buzzing social life would come to an end in September when the star Canopus, Shēl (CA Suhayl), made its appearance on the horizon. For this reason the star has been cursed by all Nabaṭī poets,30

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the settled bards as well as those of Bedouin stock: clans would take off in different directions, each in search of its own pastures, interrupting—perhaps for good—budding acquaintances between lovers generally too shy to declare their love. Ibn Sbayyil watches the camels and their precious cargo disappear over the crests of hills in the distance while he is plunged into the depths of despair at being cut off, possibly forever, from the object of his desire―identical to the abandoned-camp scene in the nasīb, the elegiac prelude of classical poetry. It is certain that such scenes were part of his real life. And this experience is mined for material to enliven his ghazals. The suffering of the poet’s heart is compared to the strain on the rope of a heavy bucket that is hoisted from a well by a strong, untrained, vehement camel. This and other extended similes create similar impressions of vivid action.31 The simile may become the real purpose of the poem, but more often it is part of a prelude to the poet’s musings on his predicament.32 The beloved’s beauty is mostly a summing up, a “descriptive catalogue,” 33 of her physical features, but with some original touches. She is painted as an exotic bird that lands on the outskirts of town on its yearly migration. She stirs things up, rendering the men speechless as she strides onto the village stage in her tight red dress. With a gentle sway, she walks by the men at a maddeningly slow pace, not because of high heels, but because of a heavy behind that slows her gait. Moreover, she has the built-in handicap that her firm, protruding breasts stretch her dress tight in front while her buttocks do the same from behind, in a tug-ofwar, as she attempts to take a step (§34.10).34 She throws the poet into confusion by lowering her veil slightly and shooting glances at him; or by unfastening one button of her dress so as to release the pressure, and thereby opening a view on the creamy white of a bosom the size of a she-camel’s full udder. She strikes the poet as a mass of femininity that struggles mightily to maintain forward momentum lest she starts sliding backward. Or like the excruciatingly slow steps of the imam as he measures the length of the shade to determine the time of the afternoon prayer. And he can have had no other imam in mind than Ibn Sbayyil’s neighbor, S ʿēdān al-Muṭawwaʿ, the poet known as Muṭawwaʿ Nifī. In spite of some exchanges of vicious invective between the neighbors, they seem to have found common ground in the view that life would be immeasurably poorer without amorous activity outside of wedlock. They also seem to have agreed that putting some of this content in a religious context would add

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spice to their pursuit, but without undue emphasis and ingenuously, in the way that religion was part of the town’s unchanging routines and seasonal cycles. S ʿēdān, at least, did not shy away from extending his jocular ways to religious practice―for instance, when a shaykh from al-Qaṣīm passed through Nifī and performed Friday prayers in its mosque, and he admired the imam’s chanting of a Qurʾanic verse. Upon being informed that the imam’s voice was even sweeter when he chanted frivolous poetry―such as the imam’s assertion that the holy war waged by his heart and soul on account of a girl with luscious breasts was more savage than the onslaught of Shaddād ibn ʿĀd―he was shocked, and declared prayer behind this imam null and void. Sʿēdān replied in verse, saying that he had no intent to cause a scandal, but that a devotee of passion, even if he wished to repent, did not have the power to shed his habit. The only way to keep up appearances was to disguise it as jest.35 Ibn Sbayyil occasionally spices descriptions of lusty love with religious imagery (§§7.22–23): At night, the vision of her makes me start. At prayer time, her specter floats before me— It happened last in the evening, when the imam spoke the closing words. 36 He subtly plays with the concepts of love and religion in a way that suggests a reversal of the usual hierarchy of values. Instead of seeking salvation and admittance to paradise through religion, the poet affirms his belief that there lies “heavenly fruit between her breasts” (§7.20). In a bid to move his beloved to tend to his wrecked body, he beseeches her (§§6.6–7): A honeyed lick above the buttons on the breast, then the preacher’s recitations. If she fears God, if Islam is truly her faith, for her salvation on Judgment Day . . .37 The poet’s intent becomes clearer when he suggests recourse to legal arbitration. While he asks to submit the dispute with his beloved to a Shariah court, she insists on applying tribal customary law; that is, he must prove his innocence by licking a red-hot iron without burning his tongue (§36.10).38 His preference for Shariah law seems incongruous, but must be understood in the context of his advocacy of the lover’s pursuit as his true “religion.” That is, he is in the right,

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while his beloved follows cruel, heathen Bedouin rites. The relation between religion and the game of love, as the poet sees it, is (§§28.17–18): My refuge is with you; let bygones be bygones, if a shred of religion remains in your heart. You turned me from a student of the Qurʾan into a silly poet! Before, I was known as sedate and solid.39 These last verses epitomize the fundamental ambiguity in Ibn Sbayyil’s work. It is well-nigh impossible to tell where playful, teasing suggestion shades off into more deeply held views, if at all. Even the explanation given by Muṭawwaʿ Nifī― that he had to dress up his lover’s passion as jesting to protect his honor―does not answer the question, because this statement itself is made in jest. In Ibn Sbayyil’s poetry the role of love and religion does not stand alone, but is part and parcel of his creation of an alternative reality.40 Usual values are reversed and replaced by binary oppositions: poetry versus the religion of the Qurʾan; tribal mediation versus Shariah law; the world versus metaphysical truth; passion versus social convention; predilections of the heart versus risk-averse calculation; dream versus reality. In his poetic oeuvre as a whole, the thrust of Ibn Sbayyil’s message is in favor of the first and in opposition to the second of these mutually exclusive concepts. Yet there are also cases where the poet positions himself on the other side of the equation. Sometimes he does so only to revert to his default stance in favor of the contrary choice, with the excuse stated so clearly by Muṭawwaʿ Nifī―that his heart really leaves him no choice.

The Valley of Love’s Temptation Ibn Sbayyil’s love lyrics can be understood as the creation of a dreamlike alternative world: the valley of love’s temptation. As he put it (§18.10): She is a moon rising from the valley of seduction, resplendent, layers of light on radiant luminance . . . The Arabic word for “temptation, seduction,” ghayy, has the connotation of “sinful, frivolous.” Yet in Nabaṭī poetry it has a long pedigree as a conventional theme. 41

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In the early ghazals of the seventh-century Umayyad poet ʿUmar ibn Abī Rabī ʿah, the lover is a Don Juan for whom women are as prey to be seduced. However, Ibn Sbayyil’s poet-lover is in thrall to a beauty who plays cat and mouse with him―a conventional motif centuries before Ibn Sbayyil, but one that is at odds with Najdī social reality, as reflected in the work of the seventeenth- and eighteenth-century poet Ḥmēdān al-Shwēʿir.42 At times, the beloved appears as a coquettish ingenue, or even clever and adept at conspiring with the poet to keep their affair secret in the face of hostile enviers and society’s omnipresent moral police―Arabic poetry’s stock characters of the censurer (ʿādhil) and informer or slanderer (wāshī). But her gaiety and stunning looks are not the only attributes keeping the poet-lover in thrall. These traits would mean little to him were it not for her intellectual charms and ravishingly delightful way of conversing—her taʿājīb, “the wonders” she works in her sweet speech, accompanied by seductively refined gestures, such as the expression of her black eyes, lijlāj sūdih (§13.32 and §28.2).43 The sweet-tempered seductress reappears in a different guise when the lover is frustrated in his desires. Then she metamorphoses into a beautiful lady without mercy, who takes pleasure in subjecting her admirer to refined torments. The poet protests his innocence and pure devotion, but to no avail. At each turn she leaves him defenseless and cravenly beholden to her every caprice. Even his ultimate plea to accept him as her most docile and well-bred slave falls on deaf ears (§6.14). If the beloved often shows a sadistic edge, with even greater justification it can be said that her lover derives masochistic pleasures from her cruelty to him. The word “ordeal” (imtiḥān) occurs in eight poems.44 The poet prays to God to lighten his “burden of passion” (§12.8) and to cure him from his addiction to it.45 His suffering is not only his greatest pride, but also a source of sensual satisfaction, as when he describes in detail how his beloved puts her red-hot branding iron to his liver and other internal organs―and he even dreams of doing the same to her (§§6.11–12). Invariably, the riveting scenes of the extended similes are hitched to the pain inflicted on the poet. In this way cruelty, as a metaphor for frustrated desire, became a motif in which Najdī ghazal poets competed to outdo each other. But Ibn Sbayyil also shows that the poet-lover is not powerless, even if the odds are stacked against him.46 To mollify her and protect himself from the belle’s depredations, he points to the stigmata inflicted by her whims, coquetry, and cold indifference. But his

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first priority is to restore some order to his conflicted inner life. At first glance, he seems to adopt the censurer’s reproving stance toward his heart’s inclinations.47 But in the dispute between mind, soul, and heart, the latter is in the seat of power, with eyes and feet at his beck and call (§20.13): The heart is a sultan with despotic powers: it rules at the pleasure of its whims . . . Faced with criticism, the poet must confess: “I do my heart’s bidding, whether right or wrong” (§9.17). The heart is the beloved’s natural ally, united against the poet’s rational mind and society at large, and they are equally willful.48 If the poet’s mind tries to make it see reason, the heart only becomes more obstinate. But in fact, the heart’s ungovernable, independent nature provides the poet-lover with a handy excuse to plead his helplessness when censurers rebuke him for his irresponsible behavior.49 The object of the heart’s desire also does as she pleases (§18.12): She twists the rope, then unties the knot, at will: I can’t make head or tail of it. With her push and pull, she attracts the lover and ensnares him in her web. The poet tries to keep his composure, but is powerless against the heart’s dictates. The heart itself is at the tender mercies of the beautiful lady―it is she who holds the heart’s strings. When the heart’s pleas become too impertinent, she reminds it: “You’re no relative of mine nor one of my kin” (§28.12). And for good measure she adds (§28.14): “If you die,” she said, “that’s fine by me.” Should love be coercion, or reason and gentleness? Goaded on by the beloved, the heart is in constant rebellion and efforts of the poet’s rational self to gain control come to naught. Under pressure, the heart absconds, leaving behind an emaciated body and a mind that has been driven insane. But the poet does not just pine away: memories of happier times revive his flagging spirits. Carried away by a surge of rekindled passion, he boasts of his prowess as a lover and intimate knowledge of passion’s hidden tracks (§33.16). This experience convinces him that the valley of temptation is not a temporary abode for youthful dalliance: for true lovers it is permanent, regardless of age— even if it is essentially an addiction to a dream.

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The poet’s mental trajectory transitions from one motif to the next, until the poem reaches closure. In consequence, many of these ghazals follow an emotional arc. The arc’s shape depends on the sequencing―and the arc may also come full circle. For instance, the poet is left only with his memories and spleen, as the Bedouin carry away his love. Then, in one poem, he accepts the inevitable and pulls himself together (§40.6): Now I’ve gone gray and foresworn my old ways, drawn up my frayed ropes from all watering holes . . .50 But not for long. In the next line, he adds: “Except when haunted by memories of a buxom beauty.” Flush with earlier memories, he revels in his former affairs and boasts that his wounds are the proud mark of a life in the service of passion (āyat hawā)―and since āyah also has the meaning of “Qurʾan verse,” the double entendre is that he is as devoted to love’s pursuit as society expects one to be to religion (§§40.10–11).51 On a more subdued note, he then admits that had he not vented his grief, he would have gone raving mad like other legendary Arab lovers (§40.13).52 The poem closes with proverbial sayings about such lovers’ characteristics, and ends on a note of resignation: the popular saying that wishful thinking is of no more use than sowing on a clay roof and expecting a rich harvest (§40.19). The opening of yet another poem compares the heart to a piece of wood that is smoothed with a hand plane by a muscular carpenter and twisted into a bow (§§29.1–4). It is followed by a description of his paramour and the affirmation that he cannot detach himself from her: a glimpse of her teeth when she lifts her veil slightly makes him sit up and clench his fists, as a trained falcon clasps the leather cushion on his pole when he sees a morsel of meat being prepared for him. The poet then effects a transition by pointing out that hunters in the valley of temptation never tire of their quest: “for them, the hunt is treading on soft Persian carpets” (§29.19). Verses of gnomic wisdom are followed by an unexpected outburst: if it were not for fear of gossips, he would swoop down on her camp and elope with her. Having abducted her, he would indulge his craving “until belly ropes burst,” (§29.26) and he would expertly satisfy her desires as well. Then the happy pair would rest, their “thirsty camels” watered, serene and without bearing grudges (§29.28). As reality triumphs in the first example, so does fantasy in the second. Indeed, most of the ghazals oscillate between such

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resignation and lover’s bravura, even if it comes in the sublimated shape of a dream. The poem’s emotional arc may also come full circle in a humorous, ironic fashion. In one poem’s first line he asks his beloved to revive his sagging spirits before it is too late. But she blows to him the crust of foam on a pool of fouled water that even thirsty camels would find hard to drink. Cruel death is all he can expect from her, and in the closing line he envies those who are blithely ignorant of such entanglements (Poem 41). Another circular poem explains why regrets are not final. It opens with the observation that ends the previous poem. Here the irony works in the opposite direction. The first line expresses congratulations to a heart that is blasé and carefree (§38.1), but continues to compare it to a mule on its shady patch (§38.3)— His heart’s immune to stirrings of merriment and fun, not up to the challenge of her flirtatious game. This is a prelude to a proud account of the poet’s career in the school of love. Through a string of popular wise sayings, it arrives at the conclusion that a love affair must be based on mutual feeling. If the beloved coldly turns her back on the poet, he will kick the dust up into her face and return her the compliment. It ends with an affirmation of the opening verse (§38.17): Only dogs grovel before displays of contempt; only oxen graze on without a care. In his dream of love the poet transcends these paradoxes. Though he may groan like a she-camel that has lost her young (§8.18), and no matter how old he is, he will not abandon his pursuit of passion. The poet wishes that his heart “were placid with quiet joy,” and then compares it to a full bucket hoisted from the well by an impetuous camel, banging against the stone wall such that the rope and the wooden crosspieces are torn from the bucket (§§2.18–23). Love is his way of life, and without it he would be condemned to a torpid existence. More to be feared than passion’s agony is the mule’s fate: to be a dalūh, placid and mindless among the walking dead. At some point a heart that is alive with feeling must give vent to it or the lover will start raving. “Were I the only one, my beliefs would be in doubt” (§26.15). Then the poet reminds himself that before him mighty shaykhs were known to

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utter their despair and would give their all to attain their desire (§26.16). Vindicated by this thought, the poet regains the good spirits and slightly melancholy humor that characterize his work.

Correspondences with Early Classical Poetry Two of the collection’s longest poems do not fall in the category of ghazal. One is a poem in praise of Muḥammad ibn Rashīd (r. 1869–97), whose rule over most of Najd in the northern capital of Ḥāʾil was the apogee of his dynasty. In Ibn Sbayyil’s eulogy he is portrayed as fear-inspiring and marauding, and a lavish despot who punishes and rewards as he pleases, unrestrained by any checks on his power (Poem 23).53 The other poem deals with the theft of a herd of the town’s smaller cattle by Bedouin of the ʿUtaybah tribe, including some owned by the poet, and appeals to Nifī’s “brothers” (Bedouin chiefs who are paid protection money) among ʿUtaybah for their return (Poem 5).54 Unlike the scrupulously serious first poem, it evinces Ibn Sbayyil’s trademark amalgamation of heartfelt interest with a sense of gentle and playful humor. Apart from short exchanges of invective verse with other poets (see Poems 42.1–46.2), seven more poems are on different themes.55 Two provide wisdom on the subject of the “world” (al-dunyā) and its inequities.56 One celebrates the victory of ʿAbd al-ʿAzīz ibn Saʿūd over the Rashīd dynasty. One is about the pleasures of coffee and smoking, mixed with some gnomic wisdom. And one is a colorful description of the Bedouin’s seasonal migration patterns―usually this theme is part of a prelude to the subject of love, but here it has been developed into an independent poem. The great majority of Ibn Sbayyil’s poems falls in the category of ghazals, love poetry. Their tone, style, imagery, vocabulary, and phrasing are akin to classical Arabic ghazals―in particular as developed prior to the rise of the consciously urban (that is, non-Bedouin) and courtly poetry of the Abbasid period.57 The mostly oral tradition of poetry in Arabia was not part of the literary canon, which may have contributed to the misconception that the pre-Abbasid poetic idiom of the desert and the Bedouin ended then and there, at least in a literary sense. In fact, the tradition was still alive and well more than a thousand years later, and widely practiced by Najdī poets such as Ibn Sbayyil in the nineteenth century, in the centuries before, and even in the twentieth century. One reason for this perdurability is that for a millennium the essentials of life in the Arabian interior hardly changed, at least not in ways that made a profound difference.

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While it might be justified to call this idiom “antiquated” in the context of ninth-century urban and urbane Baghdad, this plainly was not the case in the vast Arabian interior, where Bedouin and sedentary oasis dwellers continued to eke out a living using time-honored means and abiding by unchanging codes of virtue.58 Some political developments, like the rise of the Wahhābī movement in the eighteenth century, had a deep impact. Yet, as the poetry of Ibn Sbayyil and many others shows, the substratum of nonreligious values kept its popular legitimacy, while the desert and oasis economy remained intact and provided an ever-present store of imagery akin to that used by early classical poets. Whether Ibn Sbayyil and his fellow poets of High Najd were influenced by early Arabic examples from written sources, directly or through oral transmission, is difficult to ascertain. But the poetry of his contemporaries and predecessors shows many traces of literate culture. And these influences undoubtedly percolated into his work as well.59 It must be assumed that the poetic idiom of early classical poetry continued to be passed down from one generation to the next, even during the centuries when it disappeared in a literary sense; and that during this long period the oral tradition continued to draw on the literary tradition.60 In any case, classical Arabic poetry up to the Abbasid period offers an indispensable perspective for the later Arabian tradition; and the study of premodern Arabian poetry and its milieu may offer insights that are useful for the interpretation of classical poetry.61 Ibn Sbayyil’s ghazals exhibit various possible influences from the classical era, much of it dating back to pre-Islamic poetry. More interesting from a literary perspective are parallels with the early Umayyad Hijazi poetry of ʿUmar ibn Abī Rabī ʿah―the straightforwardness and relative simplicity of expression; the lively impression created by the use of direct address; the gentle playfulness and deliberate ambiguity of intent as the poet draws his audience into his game of hide-and-seek; and the fair amount of common vocabulary, images, and phrasing that became part of ghazal poets’ stock-in-trade. But they are fundamentally different in their attitude toward the beloved. While it is the conceit of ʿUmar ibn Abī Rabī ʿah’s lover-poet to strut on the stage as a lady-killer who measures his success by the number of women of high social rank who are vying for his attentions, Ibn Sbayyil is on the opposite pole: he delights in graphic descriptions of his torments, and declares his eagerness to serve as his sweetheart’s slave.62 In eight of his poems, love is pictured as a trial that purifies the heart.63 In its predilection for heartburn, his poetry is closer in theme and tone to early

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Abbasid courtly ghazals, where the beloved is forever beyond the lover’s reach and her despotic and cruel disposition toward him is a given.64 But for Ibn Sbayyil this is one element in a broader spectrum of possible give and take in a complex relationship. She quasi-innocently manipulates the lover’s feelings, driving him beside himself with desire; and the imagery of his torments makes for gripping poetry. But the beloved is also praised for her sweet speech, social discernment, psychological acumen, and ingenuity in finding ways to communicate discreetly with the lover. The poet-lover insists that he will not pursue an affair unless it is based on some mutuality of amorous interest―a stark contrast with the courtly school represented by al-ʿAbbās ibn al-Aḥnaf and its “ideological” devotion to an unattainable ideal of love and unconditional submission to the beloved’s cold and whimsical dictates.65 Ibn Sbayyil, on the other hand, champions the proverbial saying that warns against groveling if one is given the cold shoulder. There is mention of trysts, erotic detail, the poet’s aspiration to satisfy his desires and those of the beloved, and the occasional culmination of his endeavors in a dreamlike lovers’ union.66

Proverbs and Sayings in the Poetry of Ibn Sbayyil Ibn Sbayyil’s oeuvre is frequently quoted in the Najdī proverbs and sayings collected by al-Juhaymān,67 who seems to have had a particular liking for his poetry.68 In about sixty-five instances his verses are adduced to illustrate a proverb or saying, some of which are clearly coined from his verse.69 As one might expect, the great majority of quoted verse has some relation with the theme of love. Some of these are particular to his time, such as “(her beauty is) unlike those who use makeup from Java” (§39.12); others are timeless: “even lovers cannot suffer beyond endurance” (§13.5). Perhaps one-quarter carries a more general meaning―and these are frequently cited. Sometimes it is not immediately obvious that a proverb is an expression of the poet’s all-consuming passion, as in: “I said, ‘Shariah!’ and she, ‘Fire of Ibn ʿAmmār’” (§36.10). In the proverb the opposition of religious law, Shariah, with Bedouin customary law (ʿurf)―here the practice of firelicking as a test of the accused’s veracity― is explained as: “Trying to convince someone to take the more acceptable course,” as symbolized by Shariah law.70 Ibn Sbayyil adds another layer of

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complexity with the conceit that the pursuit of passion is his true religion― hence “Shariah” in his discourse must be considered the lover’s code. In one sequence of verse, each of which comprises a proverb, the poet explains that a love affair must be two-sided: he will not keep pining for a belle who gives him the cold shoulder, but any kind of response will be reciprocated by “hoisting my ship’s sail.” Then he effects a subtle transition to imagery from Bedouin life: he is disdainful of drawing water from a crowded well, where visitors are indistinguishable from the encamped tribes, but looks for the exquisite and unique (§§33.12–16): My taste is a drink from a rock hole in the mountain, reserved for rugged hunters who know its hidden trail. The greatest density of proverbs is found in three poems, 13, 14, and 29. Two of these are relatively long, both addressed to a shaykh of the tribe of Muṭayr, Fayḥān ibn Zirībān, with whom Ibn Sbayyil maintained a “poetic correspondence.” In time-honored fashion, the friends commiserate about the trials of love and join efforts in tracing the whereabouts of a runaway young she-camel, i.e., the beauty who haunts their thoughts. Some of these sayings can be applied to multiple situations and are therefore often cited, such as: “My hand is fastidious: any old cane won’t do” (§13.34); “he has a disease of his own making” (§9.14), that is, “his problems are of his own making”; and “my wounds demand retaliation” (§6.12). The other, longer, poem in this correspondence is quoted eleven times for its proverbial expressions. Remarkably, all are of a general nature and not specific affairs of the heart―perhaps because this poem is about a shaykh’s pursuit, while the poet provides commonsensical advice, such as the admonishment not to mistake one’s fancies or excuses as a substitute for reality.71 Proverbial phrases, quoted in the collections together with their context of verses, are concentrated in a poem that through deft transitions transports the lover-poet from a state in which his heart flies like a shaving from the carpenter’s hand plane to a triumphal outcome of his dreams (Poem 29; see also p. xxiv above). Its twenty-eight verses are interlaced with twelve proverbial sayings of a mixed nature―some uniquely related to love and beauty, such as walking with a “pigeon-toed gait.” Others appeal to common sense, such as “sticks that do not bend cannot be changed,” which in this case is synonymous with the saying that “a torrent that races down does not change course”: it is no use trying to divert a

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love-stricken poet’s attention from his quest. And in any case, “the amorous do not flag in their pursuit of passion.”

Style and Language A distinguishing feature of the poetry of Ibn Sbayyil, and other members of the “romantic school” of High Najd, as noted earlier, is the extended simile. In this edition of his diwan about fifty verses would qualify as such, varying in length from two verses to eleven.72 Without exception, the similes are linked to the suffering of the lover-poet’s heart. The transition to the simile is marked by the preposition ʿalā, with the meaning of “because of, on account of,” and followed by the suffix –k, “because of you (the beloved),” or similar prepositional markers.73 In essence, these formulas correspond to the classical and modern formula wajdī, “(my ardent heart) is in agony because of (my unfulfilled love).” 74 The simile extends this formula and extrapolates it into dramatic scenes derived from the poet’s natural environment in desert and oasis.75 Obviously, among the poets of this group the extended simile was seen as a suitable arena for artistic rivalry. To the more common devices of the art, they added a touch of hyperbole―though one that generally did not cross the boundaries of probability.76 For instance, in one poem (22) a frequently used formula that opens such descriptions, ya-tall galbī, “the pull or strain on my hearts is like” (followed by the simile), is employed four times to build tension. To heighten the tension, a cumulative effect is also used within the simile. For instance, in a scene of the hardship to which robbed camels are subjected on a forced march, the poet makes them cross “waterless wastes, already thirsting,” until “dawn broke miserably, a terrible fate awaiting them” (§§18.3–4).77 Najdī critics have found Ibn Sbayyil’s language and style much to their taste.78 His verse’s lyrical tone and deceptive ease keep the audience spellbound as it is carried along from one transition to the other in a flawless, rolling movement of meter and rhyme.79 Wording and phrasing are mostly part of the well-known inventory of the ghazal genre. The inventory is used for descriptions of the beloved’s physique, bearing, subterfuges, and seemingly artless but beguiling speech; for the mental states of the poet-lover that range from tottering on the brink of insanity to reckless bravado, and often end in the tranquility of resignation or serene, dreamlike vision; the elaborate vocabulary of push and pull, hiding and revelation, secrecy and divulgence, self-restraint and involuntary

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release, ailing conditions and restored health; and the game of hide-and-seek with the obnoxious breed of spies, informers, censurers, and well-meaning advisers whose common sense makes no sense to a lover who adheres to the internal logic of passion’s code.80 At the level of imagery, vocabulary, and phrasing, Ibn Sbayyil employs his art to great effect in a subtle, almost imperceptible manner. In one poem, which ends with the poet’s acceptance of his doom, the final words are a prayer for closeness to his beloved, with a musical timbre of soothing self-suggestion: “let the smiling gazelle roam close to me” (§19.21). The confusion sown by the conquering woman’s wiles and whims has its parallel at the level of language: rapid successions of paronomasia, repetition of consonants, and other parallelisms, such as yiǵ fī w-yiǵ bil, harraj w-darraj, yāʿid w-yibʿid, and wilfin w-jaflī; parallel repetition of words, yʿassifni and inʿasaf lī, asmaʿih and lā samʿ, mā aʿrf and ʿirfuhum (§§41.5, 41.7, 41.10, 41.16). This leads the poet to the conclusion that the beloved plays with his feelings as with pieces on a chessboard. It also brings the poem full circle, in a mere sixteen lines, from its hopeful beginning, “Hey, what’s-your-name (yā-hann), give me the stuff that revives,” (§41.1) to the realization that on the contrary she will seal his fate, with an ironic repetition of the poem’s first word in the root of the last word, wā-haniyyih, “lucky the man who is spared the torment of such affairs” (§41.16). Ibn Sbayyil makes frequent use of direct speech, like ʿUmar ibn Abī Rabī ʿah, in combination with other stylistic devices, such as in one poem the singsong, quasi-plaintive effect achieved by parallel syntax (Poem 9). Ibn Sbayyil is also a master in his manipulation of tone to achieve his rhetorical objectives. For instance, a poem may open on the grave note of the ancient poly-thematic qasida (§§40.1): As the camel train disappeared over the spur of Abānāt, I recalled and pined for my days with the wasp-waisted. But already in the next line he brings a smile to the audience’s faces when he wishes that his love would ride behind him on a camel, holding on to him or, if that were too much, then behind a companion on the other camel―presumably that he might have a better view of her. Ibn Sbayyil marks these transitions with a variety of formulas, mostly to signal that what preceded or follows must be understood at a level different from ordinary reality, such as dreams and wishful thinking, and should not be taken literally―only to substitute the imaginary

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scene for reality as if it were reality.81 In the same poem, he explains two proverbial sayings in one line in their respective order in the next line; he then delves into the mystery of his heart’s hidden wounds in a line that opens with a word that repeats the last word of the preceding line, but with a different meaning. Unlike many of his predecessors, who reveled in rhetorical flourishes, Ibn Sbayyil’s work never leaves an impression of artifice pursued for its own sake.

xxxii

a

j d

i

y

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Region, mountains

0

40

60

80

100 km Design: Marcel Kurpershoek Cartography: Martin Grosch

20

See also both maps in Arabian Satire: Poetry from 18th-Century Najd, published by the Library of Arabic Literature.

Sudayr

Sandy desert

Wadi

Mountain

Well

Settlement

Northern Central Arabia

A Note on the Text

This edition’s text of Ibn Sbayyil’s poetry is mainly based on two manuscripts that comprise the works of many poets in the Nabaṭī tradition: one written by

ʿAbd al-Raḥmān Ibrāhīm al-Rabī ʿī from ʿUnayzah (d. 1981 at the age of ninetythree); the other by Muḥammad ibn ʿAbd al-Raḥmān ibn Yaḥyā from the Sudayr region (d. 1993 at the age of ninety). In addition, four other manuscripts were used.82 Poems by Muṭawwaʿ Nifī are found in a manuscript by al-ʿUmarī, entitled Dīwān Suʿaydān ibn Musāʿid, Muṭawwaʿ Nifī.83 On a visit to Nifī and al-Athlah in June 1989, I recorded four of the longer poems by Ibn Sbayyil from ʿAbdallah ibn Nāfiʿ ibn Nmēsh al-Ghbēwī al-ʿTēbī, a Bedouin transmitter of the ʿUtaybah tribe in the small Bedouin settlement (hijrah) of Msāwī.84 Remarkably, the recorded version hardly differed from the published poems.85 At the time of my visit Ibn Sbayyil’s daughter Sārah was still alive―she was the Sārah about whom the town’s imam, nicknamed Muṭawwaʿ Nifī, composed some flirtatious verse to tease his neighbor.86 I was told that as a little girl she used to listen from behind the door to Ibn Sbayyil’s poems, because he did not want to let her attend his sessions with other men. However, when he noticed her talent and her capacity to commit poems to memory, he started teaching her his poems himself. Thus, she became an authority on his work and was a decisive voice in the edition of the collection published by his grandson Muḥammad. In Riyadh, prior to my first visit to Nifī, several experts gave me their views and interpretations of words and passages in Ibn Sbayyil’s verses that I had not fully understood, among them ʿAbdallah ibn Raddās, the editor of the excellent collection of verse by Bedouin women poets, Shāʿirāt min al-bādiyah, with many explanatory notes; Saʿd ibn Junaydil, the author of many works on poetry and Najdi traditional culture, including other poets in the general area of Nifī; the grandsons of Ibn Sbayyil, Muḥammad and Saʿd ibn ʿAbd al-ʿAzīz ibn

ʿAbdallah al-Sbayyil (the latter is a Qurʾan teacher); and Ḥamūd ibn ʿAbd al-ʿAzīz ibn Ḥamūd ibn Sbayyil, a cousin of the poet (and at that time a retired judge living in Riyadh). Muḥammad ibn Sbayyil was again generous with his time for explanatory comments during research visits to Saudi Arabia in 2015–17.

xxxiv

A Note on the Text

Translation One long poem of Ibn Sbayyil (Poem 14) has appeared in English translation in Musil, The Manners and Customs of the Rwala Bedouins, 292−300, as described in Kurpershoek, “Praying Mantis in the Desert.” Another poem (Poem 32) has been translated in Sowayan, Nabaṭi Poetry, 24−27. A limited number of translated verses have appeared scattered in other works. Apart from these few poems and verses, this is the first translation of Ibn Sbayyil’s work. In transliteration from classical Arabic, Ibn Sbayyil’s name is written as ʿAbd Allāh ibn Subayyil. Because his work is in the idiom of Najdī vernacular poetry, called Nabaṭī poetry, his and other names are transliterated in a way that more closely reflects the pronunciation of this predominantly oral poetry (recited on social occasions), and that is accepted among specialists. In this introduction, names of towns and other geographical features mentioned in the poetry are transliterated according to their standard classical Arabic spelling to facilitate identification. Occasionally, as appropriate, names and words that occur in the vernacular text may be given in the introduction and the endnotes (e.g., if they occur in book titles or as official family names) according to the classical Arabic transliteration. For instance, the title and name of muṭawwaʿ, which is mṭawwaʿ according to the vernacular, is written throughout in accordance with the classical spelling―for the convenience of readers not familiar with the vernacular, and because the difference is minimal. Similarly, the classical spelling of a name is used where this is more convenient or recognizable for these readers. For instance, the tribal names ʿUtaybah and Muṭayr are ʿTēbah and Mṭēr in the vernacular, but will be written throughout according to the classical spelling, as chances are that in other English texts the spelling will resemble the first. The name of the poet Swēlim al-S’hali (CA Suwaylim al-Suhalī) will be written as Suhalī because otherwise readers might pronounce it as the initial consonant of the English “shall,” while it should be pronounced as two separate consonants: (i)s-ha-lī. Similarly, the Arabic word for the star Canopus, Suhayl, is Shēl in the vernacular, pronounced as: (i)s-hēl. The transliteration in these parts of the volume will also hew closer to the classical Arabic practice in other respects and details: the name of Ibn Sbayyil’s town will be written as Nifī, with macron on the final vowel, and not as Nifi, as is common in the transliteration of the vernacular where all final vowels are long by definition and there is therefore no need for a macron. In the notes, transliterated verses in the Najdī vernacular show affricated g (CA qāf) and k as, respectively, ǵ and ć. In the glossary

xxxv

A Note on the Text

both versions are given: first the vernacular, and then the classical in brackets. Poems and verses are referred to by the number given them in this edition. A full transliteration of the poems, according to the vernacular pronunciation and the system used for its rendering in transliteration, will appear as part of the webbased materials for this edition on the Library of Arabic Literature’s website at www.libraryofarabicliterature.org. This will allow the reader to get a more precise idea of how this vernacular poetry is pronounced. For instance, it is not possible in a script developed to represent classical Arabic to render features such as changes in diphthongs or the merging of the phonemes ẓ and ḍ.

xxxvi

Notes to the Introduction

1

In Najdī perception, “Bedouin” and “sedentary” are generally presented as antithetical concepts. In fact, they are more often symbiotic: two aspects of one social and physical reality, with many intermediate shades. In the poetry of High Najd, the theme of romantic love in poetry was conventionally accepted as part of socializing between different groups. An example of such a setting is a description of a farewell meeting in the tent of a shaykh of al-Daʿājīn of ʿUtaybah, Mnāḥī al-Hēḍal, a daring raider and poet, when his Bedouin were about to leave the wells at al-Athlah, a village near Nifī, at the end of the hot season. They invited their sedentary hosts for the evening and everyone was asked to recite a poem or tell a story. Among the guests was the poet Fhēd al-Mijmāj (see also introduction, p. xv, n. 20 below, and glossary), whose father-in-law asked him to take his turn, as he claimed to be ignorant in this field. Fhēd then recited a poem in which he addresses his father-in-law with the words: “By God, when the Bedouin made up their mind to depart, and loaded the victuals on their white-shouldered camels! / Only yesterday they sojourned at our wells, their fires blazing like fiery flashes of lightning. / Now all we see are kites scavenging on the campsite, a deserted abode, as if no human ever set foot on it.” The last verse is similar to this edition’s §3.2. Al-Mijmāj ends with warm praise for al-Athlah’s Bedouin guests. It was reported that all those present on that occasion were moved to tears. In a sequel to this poem al-Mijmāj sang the praises of his heartthrob among the Bedouin who carried her away. His opening line is: “By God, they have left their campground around the wells deserted, and now its emptiness stares me in the face.” (Ibn Junaydil, Min aʿlām al-adab al-shaʿbī, shuʿarāʾ al-ʿĀliyah, 50–55). One of the last true Bedouin poets, Riḍā ibn Ṭārif al-Shammarī, who passed away in 2015, and who also might be considered one of the last representatives of this school, could still identify with such scenes based on the experiences of his own life. Instead of the kite, he has the classical raven croaking on the deserted site: “On the resting places of their herds, ravens hopped like little lambs” (mirḥānihum gāmat ʿalēha tiḍūli, taḥājal al-ghirbān mithl al-garāfīsh) (Sowayan, al-Ṣaḥrāʾ, 601). Thus, in High Najd, Bedouin and villagers shared the same lore and imagery, with a history of more than a thousand years, based on common experience.

xxxvii

Notes to the Introduction 2

Al-Masridī mentions that traces of the ʿUtaybah tribe’s dialect are discernible in the poetry of Muṭawwaʿ Nifī. Suʿaydān ibn Musāʿid (S ʿēdān ibn Msāʿid), Muṭawwaʿ Nifī, ḥayātuh wa-shiʿruh, 83, n. 1.

3

See the article on Nifi in the geographical dictionary for the High Najd by Saʿd ibn

ʿAbd Allāh ibn Junaydil, Al-Muʿjam al-jughrāfi li-l-bilād al-ʿarabiyyah al-Saʿūdiyyah, ʿĀliyat Najd. A popular saying is “for free-ranging camels the best pasture is Nifī’s” (mā l-al-hāmil ʿan Nifī), used in reference to the tendency of people to be attracted to places where there is a relative abundance of what they need. Al-Juhaymān, Al-Amthāl al-shaʿbiyyah fī qalb al-jazīrah al-ʿarabiyyah, 7, 151. 4

See §27.2.40: “As for myself, I have no further knowledge about her: I am just a villager—they, redoubtable Bedouin.” In fact, marriages between sedentary and nomadic lineages were quite common, at least among the more prestigious “pure” lineages. Al-Fahad, “The ʿImama vs. the ʿIqal,” 39.

5

Khālid al-Faraj gives 1938 (1358) as the year of his death (Dīwān al-Nabaṭ, 165). The more likely 1933 date is the one given by Saʿd ibn Junaydil in his introduction to the edition of Ibn Sbayyil’s poetry by his grandson, Muḥammad ibn ʿAbd al-ʿAzīz ibn Sbayyil (Dīwān Ibn Sbayyil, 14).

6

Al-Masridī, Muṭawwaʿ Nifī, 25.

7

The ode must have been composed toward the end of his rule. The battle of Thirb, mentioned in the poem, took place in 1894/5 when the poet was probably in his early forties. Ibn Sbayyil is said to have composed the ode in praise of Ibn Rashīd under duress, after having received a crippling beating from the ruler, see translation, n. 249.

8

Ibn Sbayyil’s political views progress, and can be traced through his poems. Assuming that Poem 23 was composed around 1895, at the zenith of Muḥammad ibn Rashīd’s power, the next poem is his exchange of invective verse with a poet of the ʿUtaybah tribe on the occasion of Ibn Rashīd’s death in 1897 and the succession of ʿAbd-al-ʿAzīz ibn Mitʿib al-Rashīd (Poem 43.2). While in this exchange he speaks in flattering terms about the Rashīdī ascendancy in Najd, he does not respond to an insult in a poem by Minī ʿ al-Gi ʿūd in celebration of the Rashīdī raiding expedition near Nifī in 1902 (Poem 44). Perhaps his reply was lost, but it is possible that he was dismayed at the Rashīdī behavior at the gates of Nifī. Also, it had become clear in the intervening years that ʿAbd al-ʿAzīz ibn Miti ʿib could not hold a candle to his uncle Muḥammad and that Rashīdī influence was on the wane, as explained in the manuscript of al-ʿUbayyid, al-Najm al-lāmiʿ li-lnawādir jāmiʿ (see translation, n. 504). Moreover, ʿAbd al-ʿAzīz had reconquered Riyadh from Ibn Rashīd in January 1902. And toward the end of 1904, with the Rashīdī discomfiture to the south of al-Qaṣīm, he had switched his allegiance to Ibn Saʿūd’s rule,

xxxviii

Notes to the Introduction as expressed in his short poem on that occasion (Poem 25). As a literary achievement, this piece cannot bear comparison to his earlier great ode in praise of Muḥammad ibn Rashīd. It is likely, therefore, that the poetry on which Ibn Sbayyil’s renown is built dates from an earlier period, roughly between 1880 and 1900. Most of his ghazals were probably composed before 1895, when he was in his forties—though his assertion in the first verse of his ode to Ibn Rashīd that “I am done with the subject and pursuit of love” is a standard trope. In any case, it is unlikely that he continued composing on his earlier “frivolous” note into his fifties, given the rise of the movement of the ikhwān, the settled Bedouin who were instrumental in most of the Saudi conquests, who imposed an implacably strict adherence to Wahhābi tenets, and who frowned on such poetry. 9

The theme of Poem 5.

10

See al-ʿUbayyid, al-Najm al-lāmiʿ li-l-nawādir jāmiʿ.

11

Ibn Junaydil, Aʿlām, 17–23, and Khawāṭir wa-nawādir turāthiyyah, 161–63, where the author avers that this poetry, with its mixture of lightheartedness and amorous sentiment, made the relentless toil and hardship more bearable.

12

Verses by members of this group, among them Ibn Sbayyil, are presented in Kurpershoek, “Heartbeat: Conventionality and Originality in Najdi Poetry.”

13

Hereafter spelled al-Rūgah for al-Rūqah, Bargā for Barqā, and al-Bgūm for al-Buqūm.

14

He grew up in the village of al-Burūd in the al-Sirr region, where his father had married the sister of a poet of the al-Mrēkhāt branch of the Muṭayr tribe, ʿBēd ibn Dūghān al-Mrēkhī. After his father died, he moved in with the family of his uncle in al-Athlah. Ibn Junaydil, Aʿlām, 67–68.

15

Sowayan, Fihrist al-shiʿr al-nabaṭī, 234–35. His descendants have adopted the diminutive al-S ʿēdān as the family name (al-Masridī, Muṭawwaʿ Nifī, 20).

16

Among the books he read with his community in Nifī were Ibn al-Jawzī’s Dhamm al-hawā (Censure of Passion)—a book he honored in the breach if one goes by his ghazal poetry—and Laṭāʾif al-maʿārif by Ibn Rajab. Al-Masridī, Muṭawwaʿ Nifī, 15.

17

Ibn Sbayyil had achieved some level of literacy, according to information provided by members of his family, and according to letters addressed to Ibn Sbayyil that are included in his grandson’s diwan of his work.

18

This kind of friendly, and sometimes not so friendly, barb among poets is called ʿayārah (from the verb ʿayyar, “to insult, taunt, revile”), a word that denotes playful impudence, an unconventional demeanor, a trait that Ḥmēdān al-Shwēʿir mentions as his signature quality in the opening verse of one of his poems (Kurpershoek, Arabian Satire, 41, §14.1). Ibn Khamīs writes that S ʿēdān al-Muṭawwaʿ is a poet known for “his gaiety and delightful jesting” (Taʾrīkh al-Yamāmah, 5, 398).

xxxix

Notes to the Introduction 19

Hence the popular saying “more expensive than the mortar of Muṭawwaʿ” (aghlā min nijr al-Muṭawwaʿ ). Al-Masridī, Muṭawwaʿ Nifī, 16. See Poem 42.6.

20

In an anecdote that is adduced as evidence of the respect he enjoyed as a trustworthy person and skilled poet, Muṭawwaʿ Nifī is presented as the arbiter in a competition among four poets: Slēmān al-Ṭiwīl, Ibn Sbayyil, Slēmān ibn Shrēm, and Fhēd al-Mijmāj. Each was asked to compose two lines of ghazal (Ibn Sbayyil’s two lines are §§22.19–20), and al-Mijmāj was declared the winner. This story was first published in an article,“Muṭawwaʿ Nifī Organizes a Competition among the Champions [fuḥūl, lit. ‘studs’] of Poetry,” Al-Riyadh newspaper, 2008, by Ṣalāḥ al-Zāmil, who recorded it from Rḍēmān ibn Ḥsēn al-Shammarī (al-Masridī, Muṭawwaʿ Nifī, 30–33). It is an example of how some poets, even relatively recent ones, are turned into protagonists of stories that cast them as a certain type of character―in this case the jocular type and the maverick who offers a delightful contrast with what one would expect from a religious functionary and turns him into the hero of curious anecdotes, rāʿī ṭarāʾif―as studied by Sowayan in his chapter “Tadākhul al-ta’rīkh wa-l-usṭūrah” (“Enmeshment of History and Legend”) in al-Ṣaḥrāʾ, 320–73.

21

See n. 8 above.

22

On Swēlim, see n. 25 below. The first student to draw attention to these poets as a specific group is Saʿd ibn Junaydil (1925–2006), who in the 1980s kindly assisted me with additional glosses to his anthologies. He is considered the principal historian of High Najd, and authored one of the best Saudi geographical dictionaries, ʿĀliyat Najd (High Najd). His father, ʿAbd Allāh ibn Junaydil, was well acquainted with the poetry and person of Muṭawwaʿ Nifī, with whom the family was related through marriage (al-Masridī, Muṭawwaʿ Nifī, 45). He was a trader who moved from Shaqrāʾ to al-Shaʿrāʾ, at the heart of the Bedouin country sung about by the poets whose work he collected. He belonged to Najd’s sedentary classes, but it is evident that he fully shared the romantic vision of Bedouin life that transpires from the work of Ibn Sbayyil and other poets of this group, whether sedentary or Bedouin, in his well-annotated anthology, Min āʿlām al-adab al-shaʿbī (Highlights of Popular Literature). Though the title suggests otherwise, it exclusively deals with five poets of the “romantic school”: Fhēd ibn ʿAbdallah ibn Fhēd al-Mijmāj al-Tamīmī, Mash ʿān al-Htēmī, ʿBēd ibn Hwēdī al-Dōsirī (whose work was continued by his son, Ibrāhīm ibn ʿBēd ibn Hwēdī), Ḥwēd ibn Ṭihmāj al-Wāzi ʿī, and

ʿAbdallah ibn ʿWēwīd. 23

Kurpershoek, “Heartbeat,” 36, where parallels between the lyrical style of Ibn Sbayyil and other members of the “romantic school” and the poetry of al-Dindān are pointed out.

xl

Notes to the Introduction 24

For the term “Nabaṭī poetry,” see n. 82 below. A prominent representative of literate Nabaṭī poets who strove to embellish their verse with rhetorical flourishes (badī ʿ ) was Mḥammad ibn Li ʿbūn (1791–1831/2). Before him, the poet Miḥsin al-Hazzānī (1718– 1795/6) contributed to this trend. Its influence is still conspicuous in the poetry of Muḥammad al-ʿAbd Allāh al-Qāḍī, who died in 1869. These literate poets were firmly embedded in a sedentary culture and exhibited far less Bedouin influence than Ibn Sbayyil and his fellowpoets of High Najd, see Sowayan, Nabaṭi Poetry, the chapter “Nabaṭi Poetry and the Classical Literary Tradition,” 168–82. The poetry of Ibrāhīm ibn J ʿēthin (1844–1943) from al-Tuwaym in Sudayr uses some of the same stereotyped ghazal language as Ibn Sbayyil, though without the latter’s skills as an artist. Significantly, the extended simile is entirely lacking in his work.

25

See Sowayan, al-Ṣaḥrāʾ, the chapter “The Historical Dimension,” 94–96, on the stylistic use of the extended simile (al-uslūb al-istiṭrādī) in classical and Nabaṭī poetry. Sowayan points to an early and already developed example: the elegy in which Abū Dhuʾayb al-Hudhalī mourns the loss of his sons with three consecutive such similes. He considers Ibn Sbayyil and Swēlim al-ʿAlī al-Suhalī (on the spelling of his name, see introduction, p. xxxv) the masters of this device (ibid., 261). A late flourishing of the school is the oeuvre of Swēlim al-ʿAlī al-Nwēṣir al-Shalī (Suwaylim al-ʿAlī al-Nuwayṣir al-Suhalī, 1916–86), who outdid all the other poets with a double extended simile of great length― one with a description of a Bedouin who loses his possessions to a raiding party, and the other on a sudden hailstorm that wiped out many months of farmers’ toil (for detail and a translation, see Sowayan, Nabaṭi Poetry, 113–17). Swēlim preferred to live in the desert and his poetry is hardly influenced by the changes that occurred since the time of Ibn Sbayyil. Other poets who lived in High Najd or its periphery, like ʿAbdallah ibn Dwērij and Slēmān ibn Shrēm, do not qualify as members of the group on stylistic grounds, such as the absence of the extended simile in their work.

26

Saad al-Bazei wrote that Ibn Sbayyil composed “some of the most lyrical poetry in the colloquial Arabic of the Najd region. He is still widely remembered as an exceptionally talented poet [ . . . ] with thousands of people memorizing his lines and reciting them either to substantiate a wisdom, or simply to express a sentiment” (Riyadh Daily, 24 September 1994). Khālid al-Faraj, the first editor of his poetry, praises Ibn Sbayyil as “the seal of the great poets who became famous during his life and whose words were carried far and wide by travelers on camelback.” Another early editor, al-Ḥātam, concurs: “One of the great names in poetry, Ibn Sbayyil is among the foremost of the later Najdī poets” (Min al-shiʿr al-Najdī, 5). And Sowayan writes: “The settlers’ romantic and nostalgic view of nomadic life is reflected in the compositions of settled Nabaṭi

xli

Notes to the Introduction poets, some of whom dedicated the major share of their poetry to describing the ways of nomads and their patterns of migration. The best representative of this school is

ʿAbdallah al-Ḥamūd Ibn Subayyil” (Nabaṭi Poetry, 24–27). Sowayan notes that his grandfather knew five poems by Ibn Sbayyil by heart (ibid., 121), and avers that the genre of poetic correspondence reached its apogee in the exchange of poems between Ibn Sbayyil and Ibn Zirībān (ibid., 182). 27

Indeed, Ibn Sbayyil appears natural and easy at first, but this impression of polish results from a complex of artfully structured and integrated factors that becomes apparent only on closer engagement with it.

28

This is the central theme of Ibn Sbayyil’s work. Therefore, this pursuit is by and large presented in a positive light, in spite of the agonies it entails. The poet’s “heart,” “soul” (al-nafs), and “eye”—with the double meaning of “inner self,” or “eye/self-I” (Homerin, “Mystical Improvisations,” 112)—are united in their pursuit of love, as expressed in §2.13. The attempts of the poet’s “ratio” to temper their zeal remain futile. There is no hint of moral scruple as to what classical preachers condemned as “the passion of concupiscence” (al-hawā li-nafs), as detailed in Homerin, “Preaching Poetry.”

29

Similarly, in early Arabic ghazals drought and springtime are metaphors for the absence or presence of the beloved, e.g., in verses by the Hudhalī poet Abū Dhuʾayb: “A land where you are not dwelling seems barren to me, even if it is moistened by dew and flourishing” ( Jacobi, “Time and Reality in Nasīb and Ghazal,” 3). The ʿAbbāsid poet al-Buḥturī metaphorically located the “deserted campsite” in his heart. Ibn Sbayyil adds another layer by connecting the motif antithetically to the Bedouin’s seasonal migrations and their pedestrian concerns with pastures and wells.

30

For many examples, see Muḥammad ibn Nāṣir al-ʿUbūdī, Muʿjam al-anwā’ w-al-fuṣūl, 123–30, and his Muʿjam al-uṣūl al-faṣīḥah li-l-alfāẓ al-dārijah, 462–68. There is also evidence that villagers would expect the Bedouin to depart, see n. 373 to §32.12.

31

The well, its equipment, and ways to draw water from it are an inexhaustible source of inspiration, images, and similes for the Najdī poet. These are generally used as metaphors for the poet’s inner state of mind, and in particular the suffering of his soul. Sometimes the poet’s inner world is directly linked to the well and its accoutrements, as in a verse where al-Mijmāj speaks about “the pulley wheel of my gushing feelings” (maḥḥāl al-ḍimāyir), following his love’s departure. A famous early classical example is a section of seven verses on this motif by Zuhayr ibn Abī Sulmā, Sharḥ dīwān, 37–41, and verses by ʿAlqamah, Ahlwardt, The Divans of the Six Ancient Arabic Poets, 111 (see n. 61 below). The imagery of the well, the rope, and the bucket is also used as an appropriately ambiguous metaphor for sexual intercourse, see Kurpershoek, Arabian Satire,

xlii

Notes to the Introduction index, 194, under “sex” and “well, sexual symbolism of.” Thus ʿBēd ibn Hwēdī replies, when teased by girls on account of his stooped walk and cane, that he has not lost any of his interest in amorous escapades and keeps his “bucket, rope, and utensils for scooping up water from the well’s bottom” ready at hand for “passionate romance” (al-hawā) (Ibn Junaydil, Aʿlām, 163). 32

It is typical of Muṭawwaʿ Nifī’s buffoonery and jesting that his well features no less than four pulley wheels and four camels trained for the hard work of pulling up heavy buckets, driven by a wayward black slave, followed by advice to sell him off immediately (al-Masridī, Muṭawwaʿ Nifī, 80–82). See also n. 397 to §34.3. Scenes of mayhem at the well, generally introduced by a formula such as “How I cry for so-and-so,” in his hands turn into hilarious parody: “The laments of three yearling camels, three shrieking pulley wheels, the howling of seven wolves, the groans of three she-camels bereft of their young, the lovesick cooing of two doves accompanied by the squeals of a one-stringed Bedouin violin: all this on account of a sweetheart who [ . . . ],” (yā-wannitī wannat thalāthat mifārīd, w-thalāth maḥāḥīlin w-sabʿat dhyābih / w-thalāth khiljin kill ibūhin mawālīd, w-ḥamāmitēn w-thālithathin ribābih / ʿalā ʿashīrin [ . . . ]) (al-Masridī, ibid, 88).

33

In the words of R. Jacobi, “Die Anfänge der arabischen Ghazalpoesie,” 31. An early example involves the thirty-three verses devoted to a picture of the beloved in a poem by al-Marrār ibn Munqidh: its centerfold displays five verses that detail one element of this ideal of beauty, the beloved’s voluminous behind, in almost phantasmagorical detail (Dīwān al-Mufaḍḍaliyyāt, 1, 155–59; 2, 53–54).

34

The motif is succinctly expressed by ʿAbdallah ibn ʿWēwīd: “Her firm breasts protrude as round as apples; if she wants to unbutton her front, she is obstructed by the pressure from her bulging behind” (ibū nhūdin fī ṣadrih ṭalʿ tiffāḥ, yibī zarr thōbih w-ar-ridāyif yʿawwiginnih) (Ibn Junaydil, Aʿlām, 81). And ʿBēd ibn Hwēdī al-Dōsirī: “Her movements make her tight dress wrinkle in layers over her buttocks, may God help her to carry the weight of that behind” (Ibn Junaydil, Aʿlām, 144). Nöldeke, in his comments on the name of Dhū l-Rummah’s beloved, Kharqāʾ, explains that it was seen as desirable for a woman to be inactive “in order to allow her posterior to balloon so that she would walk with a wobbly gait and pant from exertion, and leave the domestic chores to slave girls” (“Dhurumma,” 183).

35

Al-Masridī, Muṭawwaʿ Nifī, 68–69. The author muses that his fame can probably be partly ascribed to the seeming incongruity of an imam who composes poetry, and love poetry at that, “since it is well known that those trained in Islamic law stay away from composing this kind of poetry” (al-Masridī, Muṭawwaʿ Nifī, 29). This is not entirely true. Other men of religion who were known as muṭawwaʿ were also famed for their

xliii

Notes to the Introduction love poetry: Khalīl ibn ʿĀyiḍ, dubbed “Muṭawwaʿ al-Maskūf ” (i.e., of a mosque in the old alleyways of ʿUnayzah) (Sowayan, al-Shiʿr al-nabaṭī, 493–94), and “Muṭawwaʿ Ushayqir,” who died while composing his last love poem when he was forced to divorce the wife he had married from love against the will of his family (Ibn ʿAqīl, Kayfa yamūt al-ʿushshāq (How Lovers Die), 394–457; see also n. 441 to §40.15) 36

Similarly, §§10.4–5. Ibrāhīm ibn J ʿēthin (see n. 24 above and Kurpershoek, Arabian Satire, 69, §19.34) adds the same touch, albeit in a more bashful way by making it conditional: “If not for my fear of God, I would say seeing her is as good as my Hajj and fasting during Ramadan”; and: “Have compassion with me, she was my partner in praying and fasting” (Dīwān, 136, 124). The motif was widespread, therefore.

37

Similarly, §12.13 (“Slayer who needs no weapon, give the Muslim fair warning before taking his life!”) implies that the poet follows the right religion―his devotion to the codes of love―and wishes that his belle would convert to it. The concepts of justice and the law of retaliation are employed by Ibn Sbayyil for similar purpose in §§6.10–12.

38

The procedure is explained in detail in Burckhardt, Notes on the Bedouins and Wahabys, 121–22.

39

The same sentiment is expressed by Muṭawwaʿ Nifī: “I wanted to be pious, recite with diligence from the scriptures, and stay away from silly acts, / but things beyond my power intervened and blocked my intentions. / A lover who reads scripture is just pretending: he only pines for a love who left.” (al-Masridī, Muṭawwaʿ Nifī, 105–6). In another line that follows the standard verse about his suffering heart, he unapologetically brackets religious duties and poetry together in a matter-of-fact way: “Like prayers and associated duties, I want to declaim my well-crafted, flawless verses” (Ibn ʿAqīl, Ḥadīth al-shahr, 140). These exchanges echo classical debates, such as the criticism by al-Ghazzālī and Ibn al-Jawzī, in his Kitāb al-Quṣṣāṣ wa-l-Mudhakkirīn, of “the frequent recitation of love poetry during sermons” from the pulpit in the mosque (Homerin, “Preaching Poetry”). In some verses Ibn Sbayyil’s method closely parallels the dalliance of the seventh century poet ʿUmar ibn Abī Rabī ʿah. Both use religion as a foil to reaffirm―partly tongue-in-cheek―the seriousness of their devotion, e.g., al-Aghānī, 1, 205; Diwān ʿUmar ibn Abī Rabī ʿah, 389–90.

40

Thomas Bauer’s remark that literary testimony, if taken seriously, demonstrates that it is possible to make a distinction between secular and religious spheres in “Islamic” societies, is seemingly applicable to nineteenth-century Najd too. Bauer, Liebe und Liebesdichtung in der arabischen Welt des 9. und 10. Jahrhunderts, 6.

41

See for instance n. 221 to §18.10 and Kurpershoek, Arabian Satire, 105, §26.6.

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Notes to the Introduction 42

In Ḥmēdān’s long poem on women and marriage, for instance, the wife is expected to be strict in her modesty, frugality, and exclusive devotion to her husband and family. To walk in the street, even wrapped in a black cloak and veiled, and chat at other people’s doors would expose her and, much worse, her husband, to shame and loss of status, “for a woman about town is like a fat sheep, eyed lecherously by hungry dogs, even by the puppies” (Kurpershoek, Arabian Satire, 71, §19.54).

43

Similarly, the seventeenth-century Najdī poet Jabr ibn Sayyār (see Kurpershoek, Arabian Satire, xiv) praises his beloved’s spiritual qualities: “She is vivacious, fun-loving, and playful” (ʿajjābitin mazzāḥitin laʿʿābih), Sowayan, al-Shiʿr al-nabaṭī, 462.

44

The poet’s example is Job, whose faithfulness is sorely tried by God, see Poem 1.

45

The only cure is in the hands of the beloved, see translation, n. 123. In §13.3 it is compared to the habit of smoking, something one wishes to give up, but willy-nilly keeps returning to.

46

Sowayan quotes from poems §§33.14–18, and §29.19, to argue that the energy the poet displays, as he braces himself for the hardships he will encounter on his amorous adventures, should be understood as a metaphor for the arduous task of composing poetry (al-Ṣaḥrāʾ, 209–10). Certainly in these examples a reading on one level does not exclude the others.

47

As in Poem 31’s opening verse: “Leave off, you players of love’s game, leave off! Abandon that worn-out charade; just stop!”

48

Societyʾs common sense is reflected in the popular saying “If you marry a woman from love, you will soon loathe her” (min khadh ʿishg khallā ʿyāf) (al-Juhaymān, Amthāl, 8, 157). The view of traditional society in the settled communities on this question is detailed in Ḥmēdān al-Shwēʿir’s long poem with marriage advice (Kurpershoek, Arabian Satire, 64–73).

49

That is, the poet deflects society’s criticism, similar to countries that justify their external behavior by pointing to the constraints imposed on them by situations of domestic strife.

50

Similarly, “I have packed up my equipment at the well: let someone else take my job, if he feels like it” (Kurpershoek, Arabian Satire, 15, §5.15).

51

In a further subtle twist, the word āyah is a repetition of the last word of the previous line, where āyah, for ayyih, means “which one?”

52

Here he argues that it is not a novelty, bidʿah, with the religious connotation of “heresy”; and in further explanation, §§26.15–18, that he would feel remorse at being remiss in his religion, were it not that many famous and mighty lovers preceded him on this path. The same point is made by ʿUmar ibn Abī Rabī ʿah, see translation, n. 439.

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Notes to the Introduction 53

According to transmitted lore, Ibn Sbayyil had good reason to be on his guard for Ibn Rashīd, see translation, n. 249 for more background on this poem.

54

The poem is in a different meter and rhyme than normally used by Ibn Sbayyil.

55

The poems on other themes than ghazal are 5, 11, 15, 17.2, 21, 23, 25, 30, and 32.

56

Curiously, these two poems are not much cited in the Najdī collections of proverbs. Many of these poems’ maxims correspond to the wisdom proffered by Ḥmēdān al-Shwēʿir, see Kurpershoek, Arabian Satire, xxviii.

57

Often referred to as the “modern school” (al-muḥdathūn). Sowayan, in al-Ṣaḥrā’ al-ʿarabiyyah, 93, 395–96, 414–15, 437–44, draws comparisons between Ibn Sbayyil’s poems and those of Dhū l-Rummah, al-Farazdaq, al-Aʿshā, Ṭarafah, ʿAlqamah ibn

ʿAbdah, and Qays ibn al-Ḥadādiyyah. 58

If at the time of Dhū l-Rummah there was “a nostalgia for a mode of life about to disappear,” as R. Jacobi avers in her EI article on the subject of Nasīb, then this applied only to centers of literary taste in Iraq and elsewhere. In the Arabian interior, Bedouin life and poetry must have continued very much unchanged for more than a thousand years.

59

In his verses Muṭawwaʿ Nifī mentions some earlier Nabaṭī poets―Nimr ibn ʿAdwān, Miḥsin al-Hazzānī, and Ibn Li ʿbūn―who were literate and influenced by classical Arabic poetry (al-Masridī, Muṭawwaʿ Nifī, 96). So does the school’s late representative, Swēlim al-Suhalī: “Before me, Nimr [ibn ʿAdwān] was not blamed for recounting his exploits, and Ibn Ribī ʿah when his feats were told; / and Mḥammad al-Gāḍī and Miḥsin [al-Hazzānī] and their ilk, or Majnūn Laylā when he turned insane.” (Majmūʿat ashʿār al-shaʿir al-shaʿbī Suwaylim al-ʿAlī al-Suhalī, 212).

60

The most thorough discussion of the early roots of the Nabaṭī poetry that originated in the early classical Arabian poetry is found in Sowayan, al-Shiʿr al-nabaṭī, based on comprehensive readings of manuscripts. It also provides many edited examples, a careful periodization, and detailed prosodic analysis.

61

For instance, both these interconnected traditions employ imagery derived from the use of animal traction for hoisting water from wells in a way that hardly changed until the introduction of engines in modern times. In her discussion of a poem by the pre-Islamic poet ʿAlqamah, R. Jacobi comments that in the prelude “the contrast between the nostalgic mood of farewell and the banal description of a scruffy camel pulling at the well has a jarring effect,” and that here the simile “has no longer any relation to the poem’s theme” (Studien zur Poetik der altarabischen Qaṣide, 20–21). In fact, for those acquainted with the environment, the simile might well serve to underpin the poet’s overall intent. When the camel used for irrigation (sāniyah) has reached the point of exhaustion and almost collapses, it is sent to recover in pastures. When the camel returns to the labor at

xlvi

Notes to the Introduction the well, it pulls the bucket with renewed strength, and sometimes vehemence when it is driven by a laborer without feeling for the animal (a trait condemned in this poetry). This may cause additional strain on the ropes and uneven motions of the bucket, with the result that it empties with a violent splash into the catchment basin, as in Ibn Sbayyil’s verse §13.20, which features an untrained, vehement camel that wreaks havoc at the well. Therefore, it is likely that ʿAlqamah’s verses on the camel at the well are meant to reinforce the image of the poet’s shedding of tears “pouring forth in streams.”

ʿAlqamah’s simile transits with a marker, min dhikri (Salmā), “as I think nostalgically of,” and so does Ibn Sbayyil with ʿalā llidhī, “on account of (a beloved).” 62

Ibn Sbayyil is always deferential and often submissive to his beloved in the style of the courtly poets who came after ʿUmar. ʿUmar’s favorite hunting ground was the precinct of the holy Kaaba in Mecca, where he would accost rich and beautiful women, who appeared to have had considerable freedoms. The women are pictured as eager to meet him, in spite of rebukes on all sides, and keen to be immortalized in his verse. He is reported as having said that women fell in love with him, and his poetry is said to have “bewitched” women (cf. §33.9). Ibn Sbayyil would never permit himself ʿUmar’s delight in impudence, such as his call on judges, “in fear of God,” to hand down favorable testimonies to women with bulging behinds and to send those with slender buttocks to a camp deep in the desert so that Muslim men would be spared their sight, Dīwān, 13. Nor would Ibn Sbayyil ever be greeted by ladies as “you fornicator” (fāsiq), as is a character in the anecdotes of al-Iṣfahānī’s Book of Songs (Kitāb al-Aghānī); or be called the “most disobedient to God” (al-Aghānī, 1, 108); nor would people pay him large sums to abstain from composing sinful verse (al-Aghānī, 1, 110). Ibn Sbayyil’s poet-lover does not engage in ʿUmar’s lively dialogue with his paramours, as for instance on his tryst with Nuʿm (Dīwān, 120–27); and his tone with the beloved is less intimate, and in that sense less “modern,” than when ʿUmar tells her (Dīwān, 94): “I said, ‘Don’t be angry, I’d give my poetry and tongue for you, and whatever besots my heart; / Don’t be mad at me, I’d give my soul for you, even my folks, my eyes, my children.’” Even though ʿUmar plays the role of lady-killer, his conquests often give as good as they get and make clear that they see him as the prize to be won―not that they are the poet’s prey. There is a fine human balance in their affairs of the heart, and it is quite unthinkable that Ibn Sbayyil’s beloved would beg him for mercy instead of him doing so (as in §6.13), in the way of Hind to ʿUmar: “May God help you, don’t you have mercy on me, or has your heart turned to stone?” (ʿamraka llāha amā tarḥamunī, am la-nā qalbuka aqsā min ḥajar), Dīwān, 172.

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Notes to the Introduction 63

The noun and verb for “trial, putting to the test,” (imtiḥān, imtaḥan) is used. Cf. “Do not put my patience to the test (lā tamtaḥin) by forsaking me, because I have reached the limit of my endurance.” Bauer, Liebe und Liebesdichtung, 395.

64

“The power of the beloved is however only the one pole of this play, the other being the lover’s willingness to submit to and accept every whim, every crudeness and cruelty from the beloved.” Bürgel, “The Mighty Beloved.”

65

Bürgel, “The Mighty Beloved,” 56 ff.

66

Ibn Sbayyil’s work lends itself to a comparative listing of ghazal elements. But even a cursory view shows that it falls within mainstream Arabic traditions of this genre. Virtually every theme and motif categorized by Bauer has its correlate in Ibn Sbayyil’s ghazals, down to the level of vocabulary and phrasing specific to the genre. Bauer, Liebe und Liebesdichtung, 208–527.

67

Al-Juhaymān, Amthāl. Some sayings are also found in al-ʿUbūdī, al-Amthāl al-ʿāmmiyyah fī Najd, but to a much lesser extent. Al-Juhaymān’s work cannot be used as a guide to Ibn Sbayyil’s work as such. Verses are quoted at random, according to the taste of the author; the same verse is sometimes quoted with somewhat different wording; and where readings differ from the version in al-Faraj, Dīwān al-Nabaṭ, it is usually inferior.

68

However, the Najdī collections quote more than twice as many sayings from the seventeenth- and eighteenth-century satirist Ḥmēdān al-Shwēʿir, whose work deals with social and political issues in a pithy and apodictic manner that closely parallels the expression of gnomic wisdom. Ibn Sbayyil is probably the second-most quoted poet in al-Juhaymān’s collection.

69

If one uses a general correlation of meaning in comparing the diwan and the two collections of Najdī proverbs, one may arrive at about 135 instances of more or less close correspondence. The total number of verses quoted by al-Juhaymān is about 320. There is considerable overlap, however, as many are quoted several times to illustrate different proverbs. In addition, many of the proverbs are similar in meaning and wording. Therefore, the real number of proverbs and sayings quoted from Ibn Sbayyil’s work is considerably smaller than the one these figures would indicate.

70

Cf. al-Juhaymān, Amthāl, 5:314–15.

71

E.g., “excuses do not fill the guest’s stomach”; “shaking the bucket by its rope does not quench the camels’ thirst”; “do not let cooler weather stop you from carrying a waterskin.”

72

Cf. Swēlim al-Suhalī, who extends two consecutive dramatic similes to no less than twenty-one verses. Sowayan, Nabaṭi Poetry, 114–16.

xlviii

Notes to the Introduction 73

One finds ʿalēk y-allī, “because of you, who (followed by a description of the beloved, as in the formulas that follow)”; ʿalēk yā-, “because of you, O so-and-so”; ʿalā allidhī, “because of one who”; ʿalā ʿashīrin, “because of a lady friend who,” in Poems 2, 7, 13, 18, 22, 29, 33, 34, and 38.

74

An example of the formula’s early classical usage is the line in the muʿallaqah poem of

ʿAmr ibn Kulthūm: “A moaning camel mother who lost her young does not feel as much grief as I do, / nor does a graying woman whose nine sons all lie buried in a grave” (fa-mā wajadat ka-wajdī ummu saqbin, aḍallathu fa-rajjaʿati l-ḥanīnā / wa-lā shamṭāʾu lam yatruk shaqāhā, la-hā min tisʿatin illā janīnā) (al-Zawzānī, Sharḥ al-muʿallaqāt al-sabʿ, 122); or the line of Abū Ṣakhr al-Hudhalī: “On account of Laylā, my agony was double as much as the pain felt by a gray woman who lost her children and grew frail” (la-qad wajadtu bi-Laylā ḍiʿfa mā wajadat, shamṭāʾu tathkalu baʿda l-shaybi wa-l-haramī) (Dmitriev, Das poetische Werk des Abū Ṣakhr al-Hudhalī, 259). The related formula in §37.12, wajdī ʿalēhum wajd, literally “on account of them I suffer the torments of someone who,” is followed by a long simile that features the dramatic and unexpected end of an intrepid desert knight, similar to one of al-Suhalī’s similes mentioned in n. 25 above. 75

Viewed in this context, three poems in which Bedouin life is ostensibly the main theme, or partly so, might be considered an amatory prologue, nasīb, that acquired independent status and where the poet’s lovesickness is externalized―though there are clues that hint at the poet’s stormy state of mind. In Poem 2, such clues are the exclamations, “Why rejoice at their summering near our wells?” and “Woe to a heart perplexed by the Bedouin’s departure!” and, at the end of the scene, “My eyes!” In Poem 24, the first three lines speak about the “drought” and “springtime” of the poet’s heart, tied to the movements of the Bedouin in a contrary sense. Poem 32 opens with the negative version of the classical prayer for rain, that is, not to let it rain on nights that passed too quickly―explained in the second line as the reason for the separation of amorous hearts. The remainder of the poem is a representation of the cycles of Bedouin life as dictated by the seasons, without further reference to the sentimental tone struck at the beginning.

76

One exception is a piece by Muṭawwaʿ Nifī, see n. 32 above.

77

Swēlim al-Suhalī, who might be considered a later acolyte of Ibn Sbayyil, employs the same image for a man traveling alone in the desert, who loses his way and dies of thirst, as a simile for his failing success in love (Majmūʿat ashʿār, 213). A similar simile on getting lost in the desert is given in Sowayan, al-Ṣaḥrāʾ, 261; and Ibn Junaydil, Aʿlām, 95, about a camel rider who is thrown off by his mount and left alone in the desert. In addition to the extended simile, short similes are scattered throughout Ibn Sbayyil’s verse.

xlix

Notes to the Introduction 78

See n. 26 above.

79

In contrast with poets like Ḥmēdān al-Shwēʿir and al-Dindān, Ibn Sbayyil’s work uses few meters. The great majority of his poetry is composed in a variant of the classical ṭawīl, “the long meter,” one of the best attested in Arabic poetry. A notable exception is a long poem with a strophic rhyme, called mrawbaʿ, with a meter that consists of only long syllables (Poem 5).

80

As Kuntze notes in a comment on Abū Dhuʾayb al-Hudhalī and the issue of common sense: “It is not even clear whether whoever is judging the lover’s actions is himself not in a state of folly (jahl).” Kuntze, “Love and God.”

81

As in Poem 29. In this example from Poem 40 the formula is lētih, literally “I wish that she (were with me).” Other markers used in the same poem are: lōlā . . . lā, “if not for, were it not that [ . . . ] I would become, do”; lō . . . mēr, “if . . . but,” to mark antithetical stages in the poem’s emotional arc; illa and mēr, to signal a reality in opposition to what preceded. The use of the particles lēt and yā-lēt (CA layta and yā-layta), “if only, I’d wish that,” as a rhetorical marker is made explicit in this line by ʿBēd ibn Hwēdī: “To sigh ‘If only’ is useless, even when I say ‘I’d wish that it was’” (w-al-lēt ma yanfaʿ w-law gilt lētih) (Ibn Junaydil, Aʿlām, 134). An early classical example is: “You should know that ‘if only,’ or ‘how I wish,’ and ‘I would like,’ will not catch anything” (wa-ʿlam bi-anna lawa nnanī aw laytanī, wa-wadidtu lā tughnī ḥibālata ḥābilī) (Dmitriev, Abū Ṣakhr, 181).

82

For a short introduction to the subject of Nabaṭī poetry and further information on the manuscripts of al-Rabī ʿī and Ibn Yaḥyā, see Kurpershoek, Arabian Satire, xxxviii. The best introduction to Nabaṭī poetry in English, and one that makes for delightful reading, is Sowayan, Nabaṭi Poetry. For further detail on prosody and language, see also Kurpershoek, Oral Poetry and Narratives from Central Arabia. For linguistic aspects, and also their relation to poetry and narrative, see Holes, “Language of Nabaṭi Poetry,” and also the chapter “Style in Spoken Discourse” in Holes, Dialect, Culture, and Society in Eastern Arabia, 3: 434–66, which is particularly relevant for these aspects in the poetry of Ibn Sbayyil.

83

The MSS by al-ʿUmarī (vernacular spelling: al-ʿMirī) are more in the nature of notebooks. They are kept in the library of the King Saud University in Riyadh. A copy of the manuscript was given to me by Masʿūd al-Masridī, an employee of the Saudi Ministry of Culture and the author of a study on the poet, Muṭawwaʿ Nifī.

84

His opening remark was: al-giṣīd bi-flūs, poems are given in exchange for money. Then I was told that it was a joke and that, because I was a guest, everything was free.

l

Notes to the Introduction 85

At the time, it did not occur to me to ask the transmitter about his sources. Perhaps he continued earlier oral transmission flawlessly, or he may have memorized the poems from written versions.

86

Al-Muṭawwaʿ S ʿēdān taught children reading and writing, and the Qurʾan, at the village school. At the time of the poem on her she was about six years old. It is said that he wrote the verses on her slate and told her to show them to her father, knowing that he would reply in verse. Sārah passed away a few years ago, about one hundred years old. Al-Masridī, Muṭawwaʿ Nifī, 50.

li

Arabian Romantic

‫~‪~١‬‬ ‫ٰ‬ ‫�ي�ا ّلله �ي�ا ك�‬ ‫���ا �����ش�ن� �ع ن� ا �يّ��و ن� ��ب�ا �ن�ب�ه‬ ‫َ‬ ‫ن ا َ َّ ُ‬ ‫ّ‬ ‫���د �ي� ن�‬ ‫�وا �ن�ب�ه‬ ‫�ي�ا ر ن� �ي ��و���َ�ش�� �ي� �م�‬ ‫�‬ ‫َ‬ ‫���ا �ن�ب�ه‬ ‫�ي�ا د ا �ع�ى �ن��نْ��د ا ه �م�و���سى � او ن�‬ ‫يٍ َ‬ ‫ْ‬ ‫ن �‬ ‫ا ��منْ‬ ‫�بفَرن� د ا ا �ل ن��و ن� �ي ��و� ا ك ي�را�ن�ب�ه‬ ‫�ي� َ‬ ‫َ‬ ‫م‬ ‫ج‬ ‫ََ ٍ‬ ‫�َ‬ ‫ْ يَ‬ ‫�و����ّ ن ����د ا �ود ا ل‬ ‫�‬ ‫�ب�د �ي��د ا كَ�����سى �ن�ب�ه‬ ‫ي�‬ ‫�‬ ‫َ‬ ‫ْ‬ ‫ْ‬ ‫ا‬ ‫ي‬ ‫�َي ن�ل�بفرن� َ�َ��ف�م��ص‬ ‫حْ ن ي�ن�سى �َ�� نْ�ي�ك ���ا �ن�ب�ه‬ ‫ٍ� ي‬ ‫َج‬ ‫�يْ‬ ‫َ‬ ‫�� َ َ � ّ‬ ‫��فره �ي��ف نر��ب�د ا ������ا �ن�ب�ه‬ ‫ا ل�ى �ن��فرد‬ ‫َ ي َ‬ ‫ّ َ‬ ‫�ْ َ‬ ‫�‬ ‫�ي ��و�م ا ن� ن�‬ ‫ح�يّب�ا ��ل ا � نر��ب�ا ن� ا �لي��و�ى �ن�ب�ه‬ ‫َ‬ ‫َ َّ ْ‬ ‫نَّ� نَ َ َ‬ ‫�ب�د ك �ي��و�م ا��يك �‬ ‫�و�‬ ‫�ن��ي�ر �ي�بفر�ى �ن�ب�ه‬ ‫ٍ‬ ‫���ا � ا �� �نب�ي ا ��ي� َ�عَ ن�� ��ل� َ‬ ‫�‬ ‫� ن��ا �ن�ب�ه‬ ‫ن َر ي �� ل�يى ر � يى ن‬ ‫� ا �يّلن�� �َ � ن ْ ي‬ ‫ي ��و�م �‬ ‫��ب�ا ر ي�‬ ‫� � او �ل�ى ا � نر��ب�ا � �مَ�� ����ب�ا �نَ�ب�ه �‬ ‫ج‬

‫�م ن ا ��لن ّ � ا �ي ا ��ي � ��� ا ��ل �َ��ْع�ي‬ ‫�‬ ‫�‬ ‫� َ�‬ ‫�‬ ‫�‬ ‫��ر ي� � ن �ل َم�ط� ي� ن� ي و ن‬ ‫ا � نْ ��‬ ‫� ن ا �ي ن ه �َ ْ‬ ‫��ي�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫�‬ ‫�‬ ‫ه‬ ‫�� م‬ ‫ل‬ ‫م‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫ش‬ ‫م‬ ‫�‬ ‫�‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫َ‬ ‫و‬ ‫عي‬ ‫ن‬ ‫ي َ َ ر � ٍَ‬ ‫ا� ا � ن ��‬ ‫�ن ْ ن َ ن �‬ ‫�‬ ‫�ي� ن‬ ‫�ب� �يل�ه �ي �ل ن� �وَبفر�ع�و� ��بش��يل� �و ن‬ ‫َْ‬ ‫�ُ ي َ ْ‬ ‫�م ن َن��نّ��هيٍ �يي�لن��ه �م ن ا �ل‬ ‫�‬ ‫�‬ ‫�‬ ‫ف‬ ‫�‬ ‫ب‬ ‫�‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ر‬ ‫َ � و‬ ‫�‬ ‫ون‬ ‫َ‬ ‫ّ‬ ‫�‬ ‫�ْ�م���صنَ اْ ن ه � ن ا �� � �َ ْ‬ ‫��‬ ‫�‬ ‫�‬ ‫�‬ ‫�َو �بفٍر �ل�ن�لَ�� م� ريج �بفر �و ن‬ ‫َّ‬ ‫�‬ ‫��ّ �‬ ‫�‬ ‫�‬ ‫ه‬ ‫�‬ ‫ا‬ ‫�‬ ‫ن� ا �ي ا � ن� ا �‬ ‫�‬ ‫د‬ ‫�‬ ‫�‬ ‫�‬ ‫ك‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫َ‬ ‫ل‬ ‫ون‬ ‫��ب� � ل ��و د ود نَ‬ ‫�‬ ‫ْ‬ ‫حْ� �َم ْ�‬ ‫��ب�ا ��ي�ْبفرده �نَ�ليع� �م ن ا �َل����ص‬ ‫�‬ ‫�‬ ‫���‬ ‫�‬ ‫و‬ ‫ع �‬ ‫ر ن‬ ‫ن‬ ‫َن َ ٍ‬ ‫ْ‬ ‫ا ن ّ � �َ‬ ‫ح� �و ��م‬ ‫��و�ى ��م‬ ‫��ب� �‬ ‫�‬ ‫�‬ ‫�بفر ا �ل‬ ‫�‬ ‫���‬ ‫�‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫ن‬ ‫ون‬ ‫نٍ‬ ‫ا ْي � ْن‬ ‫ل‬ ‫ح��د ا ك ��ا ن��ي�ر ��م����ي�‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫و‬ ‫��ب� �َي�بفرَن��يى َ� ي‬ ‫ن‬ ‫��ا ��ل����� � ا ن ���� نَ�ّ�ه �م ن ا ��ل����� �َمنْي‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ن ي ن� و َ‬ ‫� ي ن� � و ن‬

‫‪2‬‬

‫‪2‬‬

‫�َ ا �� �َ ا �� � ْ �ي‬ ‫�‬ ‫م‬ ‫�‬ ‫�‬ ‫�مو ي��ده �مو ي��د َعر و ن‬

‫‪1،1‬‬

‫‪5،1‬‬

‫‪10،1‬‬

~1~

God, You saved Job from his predicament 1

1.1

and his tribulations; You answered Jacob’s prayers.2 Lord of Joseph, You made good on Your promise: You rescued him from being caught in dire straits; 3 You called to Moses in a loud voice and answered him: 4 making him victorious, and handing Pharaoh defeat. You delivered Jonah from the clutches of terror when the whale swallowed him amid raging waves.5 You taught David to forge iron and make a coat of mail; 6

1.5

You taught his son to use the winds as vessels.7 I beseech You! Bring relief to a distressed man: his heart is oppressed and by sorrow beset. If it abates, it will only burst into fiercer flames— a rain-filled pool would not quench its fire. When he is waylaid by Fate’s wicked plots, a true lover does not recriminate and whine. You are the One and only to know his plight; to no one but You does he plead for succor. He fears a companion who showed me kindness,8 flowing, I thought, from his natural disposition. Truth is, Fate’s treachery came to light— The pledges were as vain as the promises of ʿUrqūb.9

3

3

1.10

‫~‪~2‬‬ ‫ّ‬ ‫ي �ْ � ن � ي‬ ‫�و���� ن��ا �ن�ه اَ�ام�ي� ����ا � ���و �ي�ي�ل �م�ا ا ��ل�� ه‬ ‫َ‬ ‫ْ‬ ‫�‬ ‫َ‬ ‫َ َ‬ ‫ا � ن �� �ي �‬ ‫� �م ن� �َ��س�د �ي��د ا ����بفر ن� �ن�ا ه‬ ‫�ي� َم� ل�يل ن ٍ‬ ‫َ‬ ‫� َ‬ ‫ّٰ �ّ ا‬ ‫����ا ر َ�ي� نل���د �و �ن�� �ون�ا ه‬ ‫لا � او لله ا �ل� �‬ ‫� ي َ َّ نّ ��نلَ �َ نَ ن َ ْ‬ ‫م�� ��ب�د � ا �‬ ‫�م�نس�ا ه‬ ‫� او � نل� ي‬ ‫ح�د �م ري�� � ن‬ ‫َ‬ ‫� �‬ ‫�‬ ‫�و������ا ��� او �ي�ل� ا �ي�ل� �ن�ا َ�ام ن���ا رك �م��� نّ��ا ه‬ ‫ى يى‬ ‫َْ�‬ ‫يَ ْ‬ ‫��نّ �� �‬ ‫� نم���ظ�ه�ور�ه�م َ��� ا �‬ ‫ل��َ�ف�م�ا �مي�� � �����ش���ا ه‬ ‫ع‬ ‫َْ‬ ‫ّ‬ ‫َ‬ ‫ْ‬ ‫� ا �ي ْ‬ ‫�‬ ‫َرن� �َم��� ار ��ه �و�م�ا ا ن�����د ���ش����س�ا ه‬ ‫ي�‬ ‫� َ ّ ي �َ ّ �‬ ‫يَ َ ْ‬ ‫��و� ا �ر ن�‬ ‫�ب�ا �ل �م�ا � ْ����ف�م� �ن�ب�داه‬ ‫���و � �‬ ‫ع‬ ‫� �يْ �� ا ن���ف ا �ْم َ ي ن�ْ‬ ‫�بي�ل� ٍّ رك�‬ ‫���ا �ي�ا ه‬ ‫َ��ش���ط� � �م ��س� َ يى َ‬ ‫َْ‬ ‫َْ‬ ‫�َو ْرد � او ��بي�ل ��ب�د �‬ ‫�بي�ل�ل��بف�م ن��م�ن��د ا ه‬ ‫�ى َ ٍ‬ ‫ْ‬ ‫َ‬ ‫�����ي نص �‬ ‫َ ْي َ ن‬ ‫�ي ��و�م ا �‬ ‫ح�ا ��� او �ن��و ن��� �ن�بفر�� ن���ب�� ���س�ا ه‬ ‫ٍ‬ ‫َ ّ‬ ‫� ن َ�‬ ‫�ا �‬ ‫ع�ب نس�ى ا �ي�ل� ل��يى �َن نل����فر��ب�ا �م �����ش�ي��ا ه‬ ‫ي� ي ي يى‬ ‫�َ ن َ ْ � َ ْ‬ ‫ْ‬ ‫� ْ‬ ‫� او ������‬ ‫ي� ��سن��ر ا � �لي�ي�ل ن� � او �َر ن�ي�ل �َ��ش�ن� ار ه‬ ‫ْ‬ ‫�ْ � َ‬ ‫�ْ‬ ‫�بي�ل� �ي�ل� َ�����بفر ا �ل�يبفرا د �ي��د �َم ����ش���ا ه‬ ‫َر ن يى ى‬ ‫ْ‬ ‫يَ� ي�ْل �ل � ه �َ ي �‬ ‫�بيَ��ه ا � نل�َب�د �و �و��ب ن��ا ه‬ ‫� سن�يى َنر ي��ب� ن‬ ‫َ‬

‫‪4‬‬

‫ََ‬ ‫َ ّ‬ ‫��بي ��ور �م�ا ن��ا �ن�ا ��ي� يل���ا ��ل�ى �ن�ب�د ْي� �ن�ب�ه‬ ‫�‬ ‫ي‬ ‫َ‬ ‫َ َ ي نَ‬ ‫ا ا� ن � ا �م َ يْ‬ ‫� �ن�ب�ه‬ ‫�‬ ‫م���� �يى َر�‬ ‫ف‬ ‫م‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ر‬ ‫ن� ��و��ب�ه �� يرٍ ن َ‬ ‫َ‬ ‫َ‬ ‫�َ ّ � ا ْ ن يْ‬ ‫�و����ّ ر َ�ع���ب�ا �م ا �نل‬ ‫� �ن�ب�ه‬ ‫�و ��ف�م� ���َش�‬ ‫�‬ ‫�‬ ‫و‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫َ � َّ ن ن‬ ‫َ� يْ‬ ‫ي ي �َ‬ ‫� �ن�ب�ه‬ ‫ا ه � �� نَ ه ا � ن ��بي‬ ‫�� �‬ ‫طو� د ر و يب�� ر �ل نح َ‬ ‫َََ‬ ‫ْ�‬ ‫� ا �ّ‬ ‫ح ���ط �ن�مو�ي� ن���ظ�ه�ور���ا نر�ّو�ع ي� �ن�ب�ه‬ ‫م� َ‬ ‫َ‬ ‫َْ َ َ‬ ‫� ّ ا �� � ن �يَ َّ َ يْ‬ ‫� �ن�ب�ه‬ ‫��ي�يبي�ل� ��سي�ل�ن� ن�ي�� ل م� بف �رن�‬ ‫َ‬ ‫يى‬ ‫ي‬ ‫ْ‬ ‫ّ‬ ‫�‬ ‫َ‬ ‫� ه �َ ي � ا ��نَ ن � ����ب�ي يْ‬ ‫� �ن�ب�ه‬ ‫� � ه اع �‬ ‫� ��ب�دٍ ر �ى �ب�ل�م َ ََ�م َ‬ ‫َ‬ ‫�َّ هي ا ا� َ ْ� �� ا �ْ ي نَ يْ‬ ‫�م ن �نل‬ ‫� �ن�ب�ه‬ ‫�ول �م� �ي�يل�َ�ش�‬ ‫��� ��بف‬ ‫�‬ ‫�‬ ‫ر‬ ‫�‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ا ه � � ن � َ ن يْ‬ ‫�يَ�لْي�ن‬ ‫� �ن�ب�ه‬ ‫�‬ ‫�سس� ��ب� � او ��د � او ر يى ن����‬ ‫�‬ ‫�‬ ‫ن‬ ‫َن‬ ‫ّ‬ ‫َ‬ ‫�� ن يْ‬ ‫���� ن ا ن ��‬ ‫� �ن�ب�ه‬ ‫���ل �م ن� �َ���د �ي���ده َ �ل�‬ ‫ي� � ٍ‬ ‫َْ‬ ‫نْ َ �‬ ‫�ي�ب�د ل�‬ ‫��ر �ل��بف�م �َ�ب�د را ن� � َ��بي�ي�ل ن�لن���ي ن�ب�ه‬ ‫َ‬ ‫ٍ َ‬ ‫ج‬ ‫َ‬ ‫ْ‬ ‫ن‬ ‫َ‬ ‫� �ن يْ‬ ‫يا‬ ‫�� � �‬ ‫� �ن�ب�ه‬ ‫�� ��ي�ل ا ل�ى �َم��� ار ل��بف�م � او ���َر‬ ‫�َ يْ‬ ‫� ا ��ل �ُ �َ يَ��ي�ْلس �� �ْ‬ ‫� �ن�ب�ه‬ ‫�بي�ل�ى �َم��س‬ ‫� � ن�‬ ‫و ى و ر يى َر ن ي‬ ‫�ّ‬ ‫َ ْ‬ ‫����ا �م�ورهي � او �ل�ا ا نّ�����ا �َم��ْ��ي���َ�عي�نس�ه‬ ‫ٍ‬ ‫َ‬ ‫َ‬ ‫� ا َ� َّ � ا ي �� َ‬ ‫��َّر�ن ي� �ن�ب�ه‬ ‫�و�ل� ح��س ن� ا �لن�ي���� � �َو�� �‬ ‫‪4‬‬

‫‪1،2‬‬

‫‪5،2‬‬

‫‪10،2‬‬

‫‪15،2‬‬

~2~

Why rejoice at their summering near our wells 10

2.1

if the nights only will snatch them away? Woe to a heart perplexed by the Bedouin’s departure,11 lost like a helpless child cast into waterless wastes. By God, once the Bedouin have made up their mind, they kneel their animals, stirring up clouds of dust,12 While servants fold down their well-built tents,13 slave girls roll up tent walls, fetch the pack camels,14 Lift the loads onto the kneeled and fettered beasts

2.5

that rush off with goods and chattel on their backs. The camel train, led by an intrepid knight,15 hurries at breakneck speed, as if urged on by bandits; It left in the morning, its evening halt worlds away, Leaving sheepherders seething with rancor.16 Before, if a man called out loudly, no one heard— the sound lost in the din of a mass on the move.17 Now the summer camp around the wells lies deserted, but for the wolves’ howls and the drifting sands. Their tents are pitched far off, at a well in lush pasture,

2.10

awaiting the arrival of the stragglers and their heavy loads. They were stirred from our wells by the flicker of lightning and by reports of torrents and sprouting shoots―18 My eyes, transfixed, knew misery and frantic despair, seeing them fade into the distance from the lookout.19 Eyes are the heart’s scouts; feet entice it away: but at the heart’s bidding, they will walk; 20 What my feet like best is to saunter, when ordered to, or to give satisfaction.21 My heart bursts into blossom at the Bedouin’s return, regardless of what we sell or how much they spend.22

5

5

2.15

‫~~ ‪~~ 2‬‬

‫ن �يَ‬ ‫�َ‬ ‫�َ ن‬ ‫��ر�م�ا �ل ي� ا �ي��ا ه‬ ‫ا ����َ�‬ ‫��بفر �ي ��و�م ا � ا � �ل�َ�‬ ‫ّ َ‬ ‫ن� َْ‬ ‫�َ ّ‬ ‫ي ن�‬ ‫م���َطف�م ن��ي� �ل او ه‬ ‫�َ�فر ����و ن� ا � نل��ف نر � او �َ�‬ ‫َ ْ‬ ‫ْ�‬ ‫�‬ ‫�َ�� نس ّ‬ ‫ى �م ن� ي��ي�ل ن���ه َد � ��وهٍ �و�َ���د �ل�ا ه‬ ‫َ�ي‬ ‫ْ‬ ‫َ ّ يَ‬ ‫َ ّي � َ ْ �‬ ‫�ي�ا �ي�بي�ل ��ي�لن�سى �ي�ي�ل�ه ا ���ن��فر ن� َ� ْر������ا ه‬ ‫ي‬ ‫َ‬ ‫َ‬ ‫�ْ‬ ‫ن‬ ‫�َ �ّ �ي ا َ ْ‬ ‫��بفرْ����ا َن��م‬ ‫���د ا ه‬ ‫�س او ل���� �ع ن�� ٍ�د � ن�‬ ‫ّ‬ ‫�ي� ��بي �َ�س ي�َب�ه ي���فَّ�م�ه � يَ�نْ�صن‬ ‫�‬ ‫���ا ه‬ ‫و‬ ‫َل ن�ن ك �ل�ى �و ََ�‬ ‫َْ‬ ‫�َ يْ‬ ‫�نّ �‬ ‫ا ���‬ ‫ن‬ ‫ل���َ�ف�م�ا �م�بش� ي�نص‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫���ا ه‬ ‫�‬ ‫ش‬ ‫ل�ى ا �ب��ى ن���ب َ �‬ ‫يع‬ ‫�َ ن َّ َ نَ ْ‬ ‫َّ ْ‬ ‫���‬ ‫ي� ا ��بف نر ��بفر�ن�ب�ه �ي�ل� ���د �َ�بفري�ب�ا ه‬ ‫ع َ ى‬

‫‪6‬‬

‫�‬ ‫�ن ُ ي � َ‬ ‫�ََ َ �َيّ نَ يْ‬ ‫�سو��نب�ا ا �ل���و ن� ا ل��بفر �و����‬ ‫ل�يى � �‬ ‫� نّ يَ �ْ ���ف�ْ‬ ‫َ �َّ�َ يْ‬ ‫ص‬ ‫�‬ ‫�‬ ‫ي‬ ‫�‬ ‫�‬ ‫� ��و ا � ��يلن�سيى َ َ��ل نر �‬ ‫ٍ‬ ‫� َْ‬ ‫َ‬ ‫��بن�شَّ �شي‬ ‫ي‬ ‫ي‬ ‫�‬ ‫�‬ ‫ه‬ ‫ه‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫�‬ ‫�م�ا � �ب � نب رنَ َ و ن �‬ ‫َ‬ ‫��بَّ�د َ ْ�ي‬ ‫�ي� نَ ����ا � ا‬ ‫�ب� �ي�بي�ٍل � ر‬ ‫ل�ى ر ٍع‬ ‫ّ‬ ‫� ا َ�‬ ‫ّ ْ َ ْ ْ‬ ‫ا �م�ا ا ��َر��س ي� نَ�ر����ب�ا ه � او �ل� �َو ��� ي�‬ ‫ي َ َّ نَ‬ ‫َ َ ّٰ‬ ‫عّود ا لله �����ا ��ب�هٍ ���فر� ي�‬ ‫لا � �‬ ‫�ّ � َ �ُ َ �‬ ‫��لَ �نَ نَّ َ يْ‬ ‫�‬ ‫َ��ن� ا ���د � ��و ���ي��فٍر ا �ى ��فر�ع�‬ ‫ا �ا� � ��ْ�َ َ يْ‬ ‫� �ن‬ ‫م��‬ ‫�و ن‬ ‫حي�ب�ل� � �ن�ي�بفره �ن� َم�� �سوج �� ن‬

‫‪6‬‬

‫�ن�ب�ه‬

‫�ن�ب�ه‬

‫�ن�ب�ه‬

‫�ن�ب�ه‬

‫�ن�ب�ه‬

‫�ن�ب�ه‬

‫�ن�ب�ه‬ ‫�ن�ب�ه‬

‫‪20،2‬‬

~2~

In the afternoon, when the shadows lengthen,23 their damsels come and linger at the shops, robed in red, Trailing the hem of silk dresses. Good heavens! They revive the parched heart like springtime! If only my heart were placid with quiet joy,24 not battered and buffeted by worry and anxiety! Ah, my heart is a well bucket dangling on a rope,25 pulled up by an unruly she-camel at full tilt,26 Beaten by a slave’s cudgel as it hurries on the walkway,27 till the rope slips off the roller, or the camel steps on it.28 He castigates her as if goaded by battle cries―29 may God not let the animal fall into his hands again! The camel hurtles down the path as if assailed by rustlers, yanking the well bucket like a fleeing bird. The wooden crosspieces on the bucket smash as it scrapes and bangs the well shaft’s stones.30

7

7

2.20

‫~‪~3‬‬ ‫� ا� � ي ّ ن‬ ‫ا َ ن َ ن‬ ‫�ي� �����ي� �وي�� ا � ن‬ ‫��� �ن�يك ا �ي�ل�يى � ��َود�ي�‬ ‫ْ‬ ‫�َ ّ َ ��‬ ‫ط �نَب�� ن‬ ‫ا��ي� ا �� نل�ب �� ي� ا ��ي�ل �ي�ل ا �نل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل ي و �يى �ى و و ي�‬ ‫ْ‬ ‫��بنْ�ن ا ��له� �ي�َب ن�د �ى ��بي�ل��ه ا�ا�َم��ب�ا ����ط�� ن‬ ‫َ ر� م‬ ‫ر‬ ‫ي ي‬ ‫ي�‬ ‫َ�عْ��د �ى �له� ��ا ل��ي �م ن ا ��ل�َ�سْ�� ����نْبيَ��� ن‬ ‫� ي ن � م ن يى � نع َ ي�‬ ‫ن �َ‬ ‫َي �َّ ي َ‬ ‫�ّ َ�ي ْ����فَ�م�� ن‬ ‫ا‬ ‫ي‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫�يل� ن ��ب� �‬ ‫�ه�م َم� ا ن �و‬ ‫ي�‬ ‫ا ْ‬ ‫�ب�د دَ َ �ى �ع ن �نَ��ّ�ه� �َ � ن �ن�ا � � ن‬ ‫�م� ا � ٍ ر � و م يو� يو�‬ ‫َْ ن ن‬ ‫� ن‬ ‫نا ن �ن‬ ‫��ي ن��ش� ��و� �َ�م����� ٍر �م� ا �ل�َب�ي�ر �َيو��ب��ي�‬ ‫� ن‬ ‫�ي�ا ���� او �م ن ا ����َو� ْ��بف��م �ن��ب�ا �ي�ه ا ��ل�ى ا �ل‬ ‫�‬ ‫�ب��ي�‬ ‫يى َ ن‬ ‫�‬ ‫�َ ّ ا � هي ��‬ ‫�‬ ‫���ا ��ب�د �ي� ا ���� ْ����ف � ا ��ي�ل�� ن‬ ‫�‬ ‫����ي�� �� ا‬ ‫ل‬ ‫و‬ ‫َ‬ ‫ر‬ ‫َي�‬ ‫ي �ى‬ ‫ن �‬ ‫��بَ��ن� �م��ه� ��ي�ل�ّب�ا �ُ�م ا ��ب�� ن‬ ‫را د ا �‬ ‫ل‬ ‫�‬ ‫م‬ ‫�‬ ‫ي‬ ‫َ‬ ‫ن ي و ي�‬ ‫َ‬ ‫َ نْ‬ ‫�ن‬ ‫� ا ��ل� �ي��فَ ��َّمن‬ ‫�َبف ا �نب�� ن‬ ‫� ن� ا �ل‬ ‫�‬ ‫�‬ ‫�د‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ن‬ ‫ى‬ ‫ر‬ ‫ر‬ ‫و َ ي �ي َو‬ ‫ي�‬ ‫�لا �َ�م���ط� ا ���ْ� ���ط� ن� ُ � �� ا ��ل َ���ب�ا � ن‬ ‫و‬ ‫و َي و رو � ن ير�‬ ‫ا � ْ ا ���نَ ن ا � ي‬ ‫��ب��� ن‬ ‫�‬ ‫�م� �ه�م ن��فر���‬ ‫ق‬ ‫�‬ ‫ع �ن� ��ب�� ي��ف�م َ َ ي ي�‬ ‫ن‬ ‫ٍ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫َ �ْ‬ ‫�‬ ‫����ش�َ�� ن ��ب�ا �� �نب�ا ن‬ ‫�ا �ن‬ ‫�عي�يس�ه ا ل‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫ر‬ ‫ي� و‬ ‫و ي�‬ ‫ٍ‬ ‫ْ َ� ّ ي � َ‬ ‫�ْ‬ ‫�ب ّ�د ��ا ��ب�� ن‬ ‫�م��طفر�� ا ل‬ ‫�و�ل‬ ‫�‬ ‫�ب�د �ود �ه�م ن� �‬ ‫ي�‬

‫‪8‬‬

‫َّ‬ ‫� � �َ َ‬ ‫� ا �م�ن�ف ن �‬ ‫�‬ ‫ل َر��� �� او �ن�ب�ه‬ ‫�‬ ‫ا �ييل‬ ‫ر‬ ‫� ا �ل�ى ن و‬ ‫َ ٍ‬ ‫ن‬ ‫نَ‬ ‫َ َّ َ‬ ‫�� ّ‬ ‫�وا �ن�ب�ه‬ ‫�َ�� ٍ�د �‬ ‫���ل�� ����ا ���نظ�ه� د �و ن��‬ ‫م‬ ‫َ نْ‬ ‫ُ‬ ‫�ي���د ر�يى �ي�لي��ه �م ن� ا ���� ند � او ر�يى �َ�بن �� �و�ب�ه‬ ‫ن‬ ‫يَ ْ � � ي ا ا �� �يَ ن � نَ �ّ �ْ�مَ‬ ‫ح��س� �و�ب�ه‬ ‫�بن�ي�ل ا �ل���ب�� �و ل��ي� ��ط ر�ل‬ ‫ن‬ ‫� نَ َ َ ّ‬ ‫ا �� نَ� َ� َ‬ ‫ل����ش��ع ن ���� نَ��د � او �ن�ب�ه‬ ‫�‬ ‫ا‬ ‫�‬ ‫�ود‬ ‫�‬ ‫رمي�ل �‬ ‫و‬ ‫ر‬ ‫�‬ ‫َ َّ �‬ ‫ْ�‬ ‫��َ�� ن‬ ‫ي� ا نّ����ف�م �ن نل���طش��� �ونل���ف� �ن��ف نر��� او �ن�ب�ه‬ ‫َ‬ ‫م‬ ‫�‬ ‫ّٰ � ا ْ ن � � َ َ‬ ‫ك او �ن�ب�ه‬ ‫ا لله �ل� ي ن�ر�يى �طر�و��� �‬ ‫ح �‬ ‫ٍ‬ ‫� � َ يَ َّ‬ ‫ي‬ ‫�و�م ن� �ي�ا �ل�ى ا ��كنّ��ه َ���بي�ل� د �ع� �و�ب�ه‬ ‫ي‬ ‫ن‬ ‫� ��لَ � � ا � �ُ � َ �ّ‬ ‫�بن �� او �ن�ب�ه‬ ‫�ر‬ ‫او �ى َو����� �بف�م �مو نح ن ٍ‬ ‫ن � ا �ن � نَ‬ ‫� َ� َ‬ ‫��ي��ن� ا�ام��ط َّر�ي� ��د � او �ن�ب�ه‬ ‫� او � ��س� �م او ا �ل�‬ ‫ٰ ْ َ َّ‬ ‫�و�م ن� نرا د ن��ي�� ي� ا ّلله �ي ن�ل�بفر���� �ع��� �و�ب�ه‬ ‫ن‬ ‫� او ن� �ن�ا ي� �َمن�سف�م �ن�ا ��ي ي� �م�ا ْ�‬ ‫�س �� او �ن�ب�ه‬ ‫ح‬ ‫�‬ ‫َن‬ ‫�‬ ‫ٍ‬ ‫يَ‬ ‫� �لَ‬ ‫����ي ���ب�ا �ن‬ ‫��� ا �‬ ‫�ب�ا ����بفر � او �ن�ب�ه‬ ‫ح� ي ل�‬ ‫ر‬ ‫و‬ ‫َ �ْ‬ ‫يَ � ن � �ُ َ � َ َ‬ ‫� او �ن�ب�ه‬ ‫ي���س�د �يى ��بف ار �����ي� ا ��د �و�ل �ي ��و�م ن��‬ ‫ي ٍّ َ َّ ن َ‬ ‫�‬ ‫� ��ي ن���د ا ل��ى �ن�بفرا ي�ر ك��س� �و�ب�ه‬ ‫�وَ ن‬ ‫ي‬ ‫ن‬ ‫‪8‬‬

‫‪1،3‬‬

‫‪5،3‬‬

‫‪10،3‬‬

‫‪15،3‬‬

~3~

My eyes, where are the loved ones you hold so dear,31

3.1

who set up camp and tarried,32 And camped in tents in two rows? Now the well lies deserted, as if never visited; 33 The resting places’ cattle droppings have crumbled to fine dust blown about the abandoned site.34 When last we met, two stars in Ursa Major were in hiding―35 not winter yet, but the dog days of summer long gone. The mass of camels left the flat in two groups:

3.5

pack animals eastward, to stock up; caravan westward, upcountry; 36 No one knows where they set their sights, till the camels are kneeled and the camp is made; They headed for the early fall pastures by al-Nīr— may God’s reward elude the bearers of such tidings,37 Proclaiming, “Herbage sprouted by winter rains; at the cusp of the hot season, the gullies ran full again!” 38 Stalwarts who do not flinch, either in hardship or ease, ever ready to prove their mettle in the hour of need. In late spring there is milk aplenty, straight from the udder:

3.10

if a wayfarer passes by, they rush to him with a bowlful; If he lingers, they slaughter a sheep and serve it roasted, entrails coiled around meat, upon a mound of rice.39 If they bestow gifts, then nothing less than camels: so they lose some property—no matter! If they harvest booty, they do not grab at the windfall: if all they get is a donkey, it is gladly shared. They drive herds of camels unhindered by calves, champion racers that grumble in meaningless prattle.40 They protect their borders with blades of steel, ride horses fed on choice milk from plundered camels.41

9

9

3.15

‫~~ ‪~~ 3‬‬

‫َْ �‬ ‫�َ يَ َ َّ نَ ي � � �َ‬ ‫���ب��ا ��ب�� ن‬ ‫ي� ���ا ر� او �ي�ل� ن���� ن�� ا � �ليَ�بن��ا �ي�بي�ل �ع�ي �� �و�ب�ه‬ ‫� او �ل�ى ����بي� �ل او ��مو�� �َم�بي�ل ا �ل ي‬ ‫ى �‬ ‫ن‬ ‫ّ‬ ‫َ‬ ‫َّ‬ ‫حَ�ْبي� ��ل نْ��َ � ن ��ب��ي� ا�ا���ش�َ� �َ��� ا ���ش��ا �� ن‬ ‫��� ن��د ا ا �ل‬ ‫�‬ ‫لا �ي�ي�ل��ب�ا ا ��ل ار ��‬ ‫���د ���� �و�ب�ه‬ ‫ر‬ ‫�‬ ‫َ‬ ‫و‬ ‫ن‬ ‫ل‬ ‫ل‬ ‫ر‬ ‫�‬ ‫ن‬ ‫ن‬ ‫ي‬ ‫ّ‬ ‫ا ي َ ْ َ يَ ن ا ن نْ‬ ‫�‬ ‫َ‬ ‫�‬ ‫ن‬ ‫�‬ ‫�‬ ‫��‬ ‫�ب�� ن‬ ‫��ا �ي�لن� �‬ ‫ي� �م� �ي�ي�ل ي����بش��ي�ل �عي�س��� � او �ل���َطفر� او �ن�ب�ه‬ ‫�� نّ ا �ل���بفرا �‬ ‫��بش�ي� ن� ا �لن� �‬ ‫�‬ ‫�‬ ‫ْ‬ ‫َّ َ‬ ‫َ‬ ‫�‬ ‫�‬ ‫�‬ ‫� ا ن ي��ي �� ن�د �يْ� �����ّي�بف � ا ��ي ا ��� � ن ن ا �ا� ف ْ � ا �م ن ي‬ ‫�‬ ‫ع او �ن�ب�ه‬ ‫�‬ ‫ا‬ ‫ل‬ ‫�د‬ ‫د‬ ‫�‬ ‫ب‬ ‫و � ي �ل � َ ي � �م ي� �ل دي � �ب� َبرَم��� �ي�ل�ى � َ ي�م �‬ ‫ي‬ ‫ْ ن ن �ن ا� ا َي ن � ا َ‬ ‫�ْ‬ ‫يَ ي ن � �� ُ ��‬ ‫ي‬ ‫ط او �ن�ي��فر �َ�بفرر�� ل�ى ا��ب� � ��� ا �ي�ل� �ن�ي��� �� او � او ���بَ��ر� او �ن�ب�ه‬ ‫�‬ ‫�و� �� او َ���ش �� او �م��ي�ل ا ل‬ ‫�‬ ‫ي‬ ‫يى‬ ‫ي‬ ‫ّ يْ‬ ‫� نَ ا ي ْ �ْ�مَ‬ ‫ح� ا ����َ�ب�� ن‬ ‫َردّ � او �ي� يل�ظ�ه�م َردَ هي َ��ن��‬ ‫َ��‬ ‫�‬ ‫�بن �� �و�ب�ه‬ ‫���ل ين� �سى ا �ل ��و��ب� ��� َ�ب�د م�‬ ‫ي�‬ ‫ٍ َ ن‬ ‫ن‬ ‫ٍ‬ ‫ّ‬ ‫ْ‬ ‫نان ا ن � َ‬ ‫ن‬ ‫�َب�� ن‬ ‫ا ��ل�ى ند ا ك �م����طفر�و� �و ند ا ن��ب�ه ر ��م‬ ‫�� �و�ب�ه‬ ‫ي� �و��ب�د �يى ��بفر ن� ��ب�� ���� ر�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ي َ‬ ‫ن‬ ‫ج‬ ‫َ يج‬ ‫ٍ‬ ‫َ‬ ‫ّ‬ ‫َ‬ ‫ن‬ ‫ْ‬ ‫�‬ ‫ْ‬ ‫�‬ ‫ن �‬ ‫َ‬ ‫ي‬ ‫�‬ ‫ن‬ ‫ي‬ ‫�‬ ‫�‬ ‫ا‬ ‫ن‬ ‫�بي�ل� او �ن�ب�ه‬ ‫هو�م ر ن�‬ ‫�و��ب�د ا ���َ�فري� �ود ا ���َشي��� الا ك�� �وي�� � او �ي�ل�ى ����ب�د ��ب�ه ا �ل��س� �‬ ‫ي‬ ‫ع‬ ‫ْ َ ج‬ ‫�‬ ‫ْ‬ ‫نَ ْ �لنَ � ا ن ن‬ ‫َ‬ ‫ن‬ ‫�‬ ‫ُ‬ ‫ن‬ ‫ن‬ ‫ن‬ ‫ن‬ ‫����را �ي��ل‬ ‫�َبف�م ��ي�ل�����ي�ر � او ���د ��ي� �و�‬ ‫��بن��� ا �‬ ‫�ب�ل� �ي� �‬ ‫��ب���ي� ي�ل �� �و�ب�ه‬ ‫َ ��‬ ‫�َب�د �‬ ‫��ب��ي� �‬ ‫ح‬ ‫�‬ ‫�‬ ‫و‬ ‫َ‬ ‫ن‬ ‫ٍ ن‬ ‫ع‬ ‫َّ‬ ‫َ‬ ‫�‬ ‫َ‬ ‫ْ َ‬ ‫َ� َ َّ � ن‬ ‫��م���ف نر� �� او َد �ي���د ا ن� �ن�َ��د �و ���ف ن �ر�بف نر� ن� ��ل�ى ا �و�َم�ى ��ه�م ����نّ��ا ر��بف�م ر���� �� او �ن�ب�ه‬ ‫ل�‬ ‫ٍ ي ي‬ ‫َ‬ ‫�َ‬ ‫يا � � ْ ا ن � ا ن ن ْ‬ ‫ن ا�‬ ‫�ْ‬ ‫�ْ �شي‬ ‫�‬ ‫ن‬ ‫ا‬ ‫�‬ ‫ع‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ب��د ا ن� ����َبفر� او �ن�ب�ه‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫ا‬ ‫ا‬ ‫�‬ ‫ي‬ ‫م‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�د‬ ‫ب‬ ‫�‬ ‫�ب‬ ‫�‬ ‫�‬ ‫ب�‬ ‫���‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫ج ن ي� و �و َر ي � �ل ي‬ ‫�و �و نَ ي ي � َ � ري‬ ‫�َ ْ‬ ‫�َ‬ ‫ا نَ ن يَ�ْ‬ ‫ّ‬ ‫��سو� ��� ا �����فَر ن� ��ا �ا���شن�َ��نَ��� ن � �و�ي���ا ����بفر� او ��ا �ا�ب�شي�بنَ��و�ى � او �نل‬ ‫�‬ ‫��ي� �ل �و�ب�ه‬ ‫�‬ ‫�‬ ‫ن‬ ‫ن‬ ‫ن‬ ‫ي�‬ ‫ي‬ ‫�ي� ير � � ي �‬ ‫ن‬

‫‪10‬‬

‫‪١0‬‬

‫‪20،3‬‬

‫‪25،3‬‬

~3~

When they vault onto their falcon steeds,42 they fall upon some tribes like a punishing scourge. A pull, the reins go slack, the animal rears its head, like a pregnant camel’s tail, touching the rider’s shirt.43 When the raiders return, the steeds trot like untiring wolves: no one says, “What a din from the loosened horseshoes!” When the shout rings out, “Onto their haunches, avengers!” grudges that lie buried are with vigor renewed.44 They are unyielding, like heavily laden camels,45

3.20

in battle when dear life itself is bought and sold.46 The cavalry charged at the enemy with swagger, each vying to be his sweetheart’s hero.47 One is struck down, another pierced by two lances; Reinless horses of fallen men run amok; Here, scattered bodies; there, the grievously wounded; the unscathed are unsaddled, robbed of their mounts: 48 An abundant feast for vultures, jackals, and foxes; enough food to last the desert hyena a long time. They have despoiled countless tribes of precious herds: with a sign from the scouts, they rush in and lay waste.49 They bring lightning succor to their distant camels; their herdsmen are told to expect new booty.50 Cheerful they ride out, taunting their enemy in song,51 vaunting the plunder they keep, or peddle.

١١

11

3.25

‫~‪~4‬‬ ‫يْ � ا ي � َ َّ‬ ‫� ا ن �َ�د ا �� ن‬ ‫�سو�َي�ك َ�ع�� ن� ا �ل� �ن��ا �ل �‬ ‫���د ��ي ي�‬ ‫ي� ري� �‬ ‫َ ّ‬ ‫�ن ن �‬ ‫�‬ ‫ل�ى �‬ ‫�ب�ا ���طفر�يى �ي�ك � او رٍد �م�ا ر ��ب�د��ي ي�‬ ‫ي‬ ‫يَ‬ ‫َ‬ ‫َ‬ ‫ّ‬ ‫�‬ ‫� او �ن�ا �ا���ا ر�ود ك �و���ي�ل�مي�ك �‬ ‫��ف �ر�ي ي�‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫� ا يَ�ْ‬ ‫ا �لنّ ن � � ا ن � ����ص ّ‬ ‫ي‬ ‫�ل� ح َ��س ن� �يى ��ب�يك ي� ري��د ن�مي��‬ ‫َ َ َّ‬ ‫�َ‬ ‫ا �ن�ا ���ي�ل� ����ا ك ا �ل‬ ‫حك�ا �ي�ا �ي�ي� �ل �و�ي ي�‬ ‫ى‬ ‫َ‬ ‫�‬ ‫ا نْ َ � ا ��لَ � نّ � � � ا �ل �ي �َ ّ‬ ‫ي‬ ‫�‬ ‫�‬ ‫�بفرج �ى �ب�يك م �� �سو� �بفري�‬ ‫ْ��َ �َ َ َّ ع نْ َ �َ‬ ‫ي‬ ‫���د ��ي ي� � او �بفر� ا �ل�ى نَ�‬ ‫� او ��ره ا �ل�ى �‬ ‫حي��‬ ‫ج‬ ‫ن َ ّ� نَ ْ‬ ‫ْ‬ ‫�‬ ‫�‬ ‫�م� ي��م ل��‬ ‫�م � �‬ ‫��ر� او ن �ل�يى ا �ل�نب�ا ��� �َو����بَن�ي�� ي�‬ ‫�ن ّ� ا ْي َ ن � � ن َّ‬ ‫ل�ى �‬ ‫�ن� ل��‬ ‫�م �ي� �َ�ب��ر�� ا �ر�و َ�‬ ‫��بف �ر�ي ي�‬ ‫ي‬ ‫ج‬ ‫َ‬ ‫ٰ‬ ‫ْ‬ ‫ّ‬ ‫� � ا ه �ي�ل� ف � ا ا ن� ن‬ ‫ا�‬ ‫�َ�نّ� ل��‬ ‫�م و لل يب�ٍم ن��ب�‬ ‫���ش�ي� ي�‬ ‫� نْ نَ � يَ نَ‬ ‫�َ َ َ ْ‬ ‫�� ي� �و�َ�م�� ي� ر�و�ي�ك ����ب�ا �ي� ي�‬ ‫ا �ل�ى ��ر ن�‬ ‫�� َ ي �َ ْ� � ّ �َ ن ن نْ َ‬ ‫ل���شي�� ن�بفر ا ���ود ���‬ ‫ي� ا �ل�يى ا ر �ر�ي ي�‬ ‫َ‬ ‫ّ نج َ ْ َ ي � ّ نَ �َّ‬ ‫��ب�ا ���فرهي ل��ى ���فر ن�‬ ‫���ه ا ���َود ر�لي� ي�‬ ‫ٍي‬ ‫ي� َ ْ‬ ‫ْ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫�‬ ‫ْ‬ ‫ي ّ‬ ‫ا‬ ‫حَ�ي�ل ي� �وي�بي�ل ي� ��ا نل‬ ‫�‬ ‫�ي��ي�ل �بف �ر�ي ي�‬ ‫�� � �� او ن� �‬ ‫ن‬ ‫َ‬ ‫ي َ َّ‬ ‫ن‬ ‫��‬ ‫ل��‬ ‫�م � يل��ي�ل�هيٍ ن�‬ ‫���ا �ل�يى �ي�ل�ى ��ب�ا َ���� ن�ي�� ي�‬ ‫� ن َ‬ ‫���صْ‬ ‫� ا �ل� �َل‬ ‫حن� �ن�ا ���‬ ‫� �� ن�ي�ك �م�ا ا �ْو َ�‬ ‫حي� ي�‬ ‫وى‬ ‫ى‬ ‫ٍ‬ ‫ي ج‬ ‫‪12‬‬

‫َ‬ ‫ن���ي��نسي�ك �و�يبي�لن�ي�ك �م�ا ا دْ ر�يى �َو� ��� ن�عي�نس�ه‬ ‫ي�‬ ‫لا �م ن �ي ��َودّ ا �������ال� �ولا �م ن ي ن�‬ ‫���ه‬ ‫حي� ن‬ ‫�‬ ‫�‬ ‫م‬ ‫� � نَ ّ‬ ‫�بن�َ�ر ���ا �‬ ‫���ه �و���� ��بف �ر� ن�ب�ه‬ ‫�و�م�ي�لك ي�‬ ‫ن‬ ‫ي‬ ‫ْ‬ ‫��ب�ا �ن���� �م ن �ي�َ ن�� َ���س نَ���ب�ا ��بي� َ���ص‬ ‫ب��ه‬ ‫ح‬ ‫�‬ ‫يل ين‬ ‫ي ن َ� ى‬ ‫� َ َّ‬ ‫�‬ ‫َ‬ ‫���و �ن����ير يْ� ��س�ود ا ��� �� او ر ن��� �َم ����َعي�نس�ه‬ ‫نْ‬ ‫َ َ‬ ‫�ن ن‬ ‫َل�‬ ‫����ب�ا �َي ن�ل��فّر�‬ ‫ع�نس�ه‬ ‫ل‬ ‫�‬ ‫�‬ ‫�د‬ ‫��‬ ‫�‬ ‫�‬ ‫د‬ ‫�‬ ‫َ‬ ‫� �يى َ ي‬ ‫َ‬ ‫نٍ‬ ‫ج‬ ‫يَ ْ� ي ن � � �‬ ‫ع�نس�ه‬ ‫ع�نس�هٍ �م� ر�وج ر�وج �َل ن� ي‬ ‫���فر� ي‬ ‫ٍ‬ ‫ْ‬ ‫ان����ب�د ن����ي��د ا ��ل�ن��ا ��� � او �يبفر ن� �َي�ف �ر� ن�ب�ه‬ ‫ي‬ ‫��‬ ‫ن‬ ‫���ّ ��َ ْ �َ ن� �ن‬ ‫ْ‬ ‫�‬ ‫�‬ ‫� �ي ��و�م ا‬ ‫ش�نس�ه‬ ‫ل‬ ‫ي‬ ‫��‬ ‫�‬ ‫ل‬ ‫�َل�‬ ‫�‬ ‫�‬ ‫�‬ ‫ي‬ ‫ل‬ ‫�� ي‬ ‫ن عَ ي‬ ‫ش� ن‬ ‫َ �‬ ‫ا َ� ّ‬ ‫��عي�نس�ه‬ ‫عود �لَ�‬ ‫ح ن� �م ن� �َ�ظ�هرا � �‬ ‫ع ٍ‬ ‫� ا� ن � ي � ا �ن �� ��‬ ‫ش�نس�ه‬ ‫�م�بي�ل ا�َ�بف �ريل��� ا �ي�ل�يى َ������ ل�ى َل�� ن� ي‬ ‫َْ‬ ‫� � ا �ْم�يص ن � ن‬ ‫�وا َ�ي ن�ي�� ن�ب�ه‬ ‫�و���و�ل� ا �‬ ‫ح�ا � ا ���د ��ي ن� �م�ا ا �و��‬ ‫َ�‬ ‫ْن‬ ‫�م ن� �َ��فر���سيى ر�و��ى ا ��ل�ى �ي�مو� �سيى �ن�ب�ه‬ ‫ي‬ ‫َي‬ ‫َ ي‬ ‫�‬ ‫ا �نل‬ ‫�ب�ا ��بي�ل ا ��ي�ل� ي�ب�ا �ل ��ل�ى �و���� ي�ن�سى �ن�ب�ه‬ ‫�‬ ‫ي َ‬ ‫يى‬ ‫ي‬ ‫ْ‬ ‫َ‬ ‫�‬ ‫�‬ ‫ا‬ ‫�ن‬ ‫�ولا َي�نن�ص‬ ‫�َ�ف نر�ى ��ا ل‬ ‫�ب�ي�ر �م ن� �ل� ��بن�سى �ن�ب�ه‬ ‫ي ن‬ ‫ي‬ ‫َ‬ ‫ن‬ ‫ّ‬ ‫� �َ‬ ‫�‬ ‫� ن � ّ‬ ‫��ن�ي��ن��ه‬ ‫��‬ ‫� �م�َو���‬ ‫ع ي‬ ‫ي�بفر�ي�ب�د َح ن‬ ‫ٍ‬ ‫‪١2‬‬

‫‪1،4‬‬

‫‪5،4‬‬

‫‪10،4‬‬

‫‪15،4‬‬

~4~

Zēd, first you smiled, now you turn away from me.52 Why avert your eyes: has your heart absconded? 53 I wanted to give you my news, but you avoided me: no way to let you know or get your news. I was waiting to learn from you what it’s all about: shouldn’t you tell a good friend what’s troubling you? You shouldn’t think, Zēd, that I lost interest: I am not one to forget my sweetheart’s favors. Deep inside, I treasure the story of our trysts, and will forever, even when my hair is flecked with gray. If I see you walking in the street, my heart jumps like a man’s who spots his missing camel.54 I wince when you ignore me; I perk up when you come, and welcome you from my heart of hearts. When people look askance at me, it is because of you: on your account, I was reviled by all and sundry. Tender love and devotion to you wasted me away: my inescapable fate is to suffer like all men. Only God knows how deeply I felt for you― more than a graybeard does for his grandson.55 When I am sick at heart, seeing you braces me, like a patient by a doctor cured. I hid my love’s open vein till it became unbearable: 56 when else does a wolf howl but when wracked with pain? No slip of the tongue betrayed my feelings, no word revealed what was on my mind. “You fool!” they said. “And fool I’ll stay!” said I: it takes a fool to wonder at my infatuation.57 More than one night we spent as in a dream: if I am blamed for it, let my faultfinders be damned. My ear is deaf to staid advice: my passion’s only stirred the more! 58

١3

13

4.1

4.5

4.10

4.15

‫~‪~5‬‬ ‫�ي�ف�م ��ا �ن���د � �س �يَ�فَّ ����ا‬ ‫َ‬ ‫ي ين يى ر ن�‬ ‫ْ‬ ‫َ‬ ‫� ا �ن ا ُ ي ن‬ ‫�������ا‬ ‫��� ب�‬ ‫ي��� ر�وٍد �ي�ل�َ� ن �‬ ‫َْ‬ ‫ْ‬ ‫ا �ن‬ ‫��‬ ‫�‬ ‫�‬ ‫�‬ ‫��ي�ك ��بفرا � او ه‬ ‫�‬ ‫�‬ ‫ب‬ ‫�‬ ‫ي‬ ‫ار ن‬ ‫َْ‬ ‫نن ْ‬ ‫����ا ه‬ ‫ا نر��� را ��س�ه � او َ���د �و�‬ ‫ع‬ ‫�‬ ‫ّ‬ ‫ن‬ ‫َ‬ ‫��ي���يب�ه‬ ‫� او �ي�ل�ى ��ب�ي�رك ��ب�ا �و�‬ ‫ي‬ ‫ْ‬ ‫�‬ ‫�‬ ‫ي‬ ‫� او نر��بف�م �ن�ا �ل���و� ا �ل�ى نَ�‬ ‫حي�يس�ه‬ ‫ا نْ�َ � ا �ي ْ َ ن‬ ‫�و ر �بف�م م� ر� �و�‬ ‫��نسي���يب�ا �‬ ‫ن � نلَ ْ‬ ‫�� ا � ن ا ن‬ ‫�‬ ‫ه‬ ‫�‬ ‫�و�م� ا ��م���ب� �ل ����� �‬ ‫َ نْ‬ ‫�ن َ‬ ‫ع�ي ��و�يى لا �ي��������ا ه‬ ‫� او ���� ن‬ ‫ْ‬ ‫ن‬ ‫ي���ف�م �ي�ي�ل�ي���ا ه‬ ‫نر��� ����ا ��‬ ‫ع‬ ‫�ٍ‬ ‫�‬ ‫َ‬ ‫ي‬ ‫� او�ا��فرا ������ده ا � �ل��فر�و�‬ ‫م‬ ‫� َ ّ يْ‬ ‫ل��‬ ‫��م ����ا �ٍل ن�‬ ‫��ي� �لوه ���س�و�‬ ‫م‬ ‫ْ نّ‬ ‫ا نَ ّ‬ ‫��بش�ي��وهي ا �ل�ى ���� �‬ ‫��ي�لي� ي�‬ ‫ي‬ ‫َ‬ ‫�‬ ‫� ْ‬ ‫نَ ْ� ن ا�ا�من‬ ‫��ي ��و�م ا �ل�ى ا ��طَ �ر� ي�‬ ‫�‬ ‫نر �‬ ‫ي‬ ‫َ‬ ‫��‬ ‫�ي�ي ���ه ن�ع�نَ�ف�م�نب�ا يَ�نْ�صن‬ ‫���ا ل��‬ ‫َ �ل َ‬ ‫م‬

‫‪14‬‬

‫ن �َ‬ ‫�َ فْ‬ ‫�ب�ا �ي����ا‬ ‫م‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫�‬ ‫ي‬ ‫ن‬ ‫�ب ر َي ٍ� َن �‬ ‫َ‬ ‫َْ‬ ‫��� ����ا �ل�ي�ك �يْ�����نَّ�����ا‬ ‫�‬ ‫ن‬ ‫ي�‬ ‫ي‬ ‫ا ر� ن‬ ‫ْ‬ ‫�‬ ‫����ا ه‬ ‫�ن�ا ٍد �ي�ك �َ���ال� ي�لن��‬ ‫ٍم‬ ‫ّ‬ ‫َ‬ ‫ي‬ ‫��� نسّ ��ي�ل ن‬ ‫َ‬ ‫���� ���ط � �� د ����ا‬ ‫�‬ ‫ي‬ ‫�يى َ‬ ‫و ي�‬ ‫َ َّ‬ ‫دَ ْر���ف�م �ن��و ن� ��بي�ل� ن��ي���ي��ه‬ ‫ج يى‬ ‫�‬ ‫ي ّ‬ ‫�ب�ه ي�ل��د ْ����ا‬ ‫�‬ ‫ا‬ ‫�‬ ‫ا‬ ‫ف‬ ‫ل‬ ‫�‬ ‫�د‬ ‫�‬ ‫ب‬ ‫�َب‬ ‫م‬ ‫�‬ ‫ن‬ ‫ر‬ ‫َ ن َ ي�‬ ‫ا نْ�َ � ا ���� ن ْ ن‬ ‫�و ر �بف�م نَ ��بي��� َ��‬ ‫��بي��ا �‬ ‫ع‬ ‫يْ‬ ‫َ‬ ‫ن‬ ‫ح� ���ف ا � ����ا‬ ‫َر�ْ�� َ� ن���‬ ‫�‬ ‫و‬ ‫ر‬ ‫ي�‬ ‫نع َ ن‬ ‫ٍ‬ ‫�‬ ‫�‬ ‫ن‬ ‫��ب� ها‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫� او �َد ��ب� �����ي� �م�‬ ‫�� �� ن�� ي� ��يَ�نْ�ش�َ� �ن���ا ������ا‬ ‫�‬ ‫ي�‬ ‫ل�م ن ٍ‬ ‫�ى‬ ‫َ‬ ‫�‬ ‫عو�ي� ا �������ا �ي��ي�ل �ن�ا � نر�‬ ‫�و�‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫ن � ا� ْ‬ ‫ا � ��ا ا���ي�‬ ‫� ��ْ�ي��ا ������ا‬ ‫ل‬ ‫ر َ‬ ‫ن‬ ‫ي�‬ ‫ج‬ ‫ن �لَ ْ‬ ‫�م ا �‬ ‫ح �����ف�م�ه را �ع�يى ن��ي�� ي�‬ ‫�‬ ‫َ‬ ‫ا ��ل �َ ْ � ي ي‬ ‫�س����ا‬ ‫�ى و�‬ ‫���يل� ��م او � ي�‬ ‫َ‬ ‫��‬ ‫�ولا �ن�� ْ�د ر�ى �و��� �َورا ل��‬ ‫ي َ �‬ ‫م‬ ‫‪١4‬‬

‫‪1،5‬‬

‫‪5،5‬‬

‫‪10،5‬‬

‫‪15،5‬‬

~5~

Come, messenger, fetch your mount:

5.1

a light-brown she-camel, flanks white.59 Not easy to rein in the spirited beast; let her run as she wills. Set off without second thought: your road is clear. But wait; carry this message―

5.5

words to convey to al-Ḍīṭ:60 To you alone I entrusted them! ride out, kneel your mount at his tent; Call out in a loud voice Before revealing your mission. Call for Mārig and Ṣnētān to join; call all tribesmen of al-ʿIḍyān to attend; Call young and old of the clan entire, men known for fearsome battle cries. Do not overlook al-Ghbēwī

5.10

and others from indomitable al-Dimāsīn: A kin group renowned for warlike feats, in whose wake grieving young widows wail. Call also for al-Marāshidah, fighters fierce who block and repel the enemy’s advance: Herd after herd have they divided as booty, seized amid drifting smoke of guns and shots. Methinks I have not overlooked any of the tent-dwelling worthies, Men with whom the oppressed seek refuge when, at wits’ end, they face imminent death. Tell him, “Our sheep call to you for help; we are at a loss how this came to pass.

١5

15

5.15

‫~~ ‪~~ 5‬‬

‫نَ �ْ‬ ‫��‬ ‫�َ�ف ار ل��‬ ‫����فَر ن� ا�ا����ا ل��نى �‬ ‫�‬ ‫ي‬ ‫م‬ ‫نَ‬ ‫ْ‬ ‫�نَ ّ‬ ‫�� ن�د ��ب�ا �و����د ا �ل‬ ‫ا�‬ ‫��فرا ���‬ ‫َ‬ ‫ا ن � نْ‬ ‫ْ‬ ‫ا ن�‬ ‫ح�� �س او ��ب� �ي� ل��‬ ‫�م �َ���ش� ار ���‬ ‫ْ َ ْ‬ ‫��َ� �� � �‬ ‫� ��بي��ه ���ش���د �وده‬ ‫ل‬ ‫َ‬ ‫ان‬ ‫َ نْ ن‬ ‫عوده‬ ‫�� ن� ��ب��ر �ولا � �‬ ‫��ب� �ي�‬ ‫َ ّي ن ا �ي ا � �يَ َّ‬ ‫���بف�ل ���ا‬ ‫�و� ��� �� � �ل��� يل�‬ ‫�‬ ‫ن ع‬ ‫َ‬ ‫ي�ن‬ ‫���ا �َ � �� �م � ��َ � َّ���ف�ل ���ا‬ ‫ور ي و ي و‬ ‫�‬ ‫نّ ّ‬ ‫ُ‬ ‫�ود الا ر�و�����ه‬ ‫�سودٍ َ ن��‬ ‫� �‬ ‫� ا � نْ‬ ‫ْ‬ ‫�ن��ا ي� �ولا �َم�د �� �سو��س�ه‬ ‫�م �‬ ‫�ل� َ‬ ‫� ا ْ �����َبْ ا ن َ �َ � ا‬ ‫��� ��ب��د � �و��د ���ط� �م�يى‬ ‫و ي ن�‬ ‫نْ‬ ‫�َ ي � َ ّ ا‬ ‫�ي ��و�م �‬ ‫�َم‬ ‫��ر� �ي�ل�و����� �م�يى‬ ‫ٍ‬ ‫�‬ ‫�‬ ‫��س�ى دَ ��ّ���ه ��س�ى �ن�ا ����ه‬ ‫يٍ‬ ‫يٍ‬ ‫ي‬ ‫�‬ ‫�‬ ‫�ي�ا ���سى �ي�ل��ي�لي� ��ط �ْم�ي��ا ����ه‬ ‫يٍ‬ ‫ا نَيّ‬ ‫ن ��ا ن َ ْ‬ ‫� او � ك�� � نر����ب�ه ��ب� � �ل ��وه‬ ‫ن ن يْ‬ ‫َ ّ‬ ‫ا�‬ ‫���د �َ���ش��فرا ه �و������شي ��وه‬ ‫َْ‬ ‫����ب�ا �� �� ا �� نْ َ���يه�م �َ�بي� �لي�ي����ا‬ ‫و َر ن �‬ ‫�‬ ‫َ ْ َْ‬ ‫��ي�لمي����ا‬ ‫� �و�ب�د ا �م�ه�م ا �ي�ل�� �‬ ‫ن�‬ ‫ي‬ ‫ْ‬ ‫�م��بي�ل ا ن� ��و ��� ن���يب�� ن �و ن�‬ ‫�َب نْ��ده‬ ‫َ ي�‬

‫‪16‬‬

‫� ْ ان ن َْ‬ ‫� ����ا‬ ‫� او �م ا � ��َور��ب� � ��بفرن��وي�‬ ‫ْ‬ ‫��ي��د ا �ن�ا ��ا �� � ا‬ ‫���� ���‬ ‫ن ر‬ ‫� او � َ‬ ‫�لَنْ��ي���ا ����ا � ّلا ��� ّ�د ����ا‬ ‫ي‬ ‫و َي ي�‬ ‫ْ نَ ن �� ْ ا�َن ْ‬ ‫��بش��ر��� َ��ن�بفر ا� �‬ ‫م�بفر�وده‬ ‫ا�‬ ‫َ‬ ‫َ �ْ‬ ‫���شَ���د ��بي�ل��ب�ا ا �ع����ا‬ ‫ي� �‬ ‫ي� ر ي�‬ ‫�َ‬ ‫ا ��ْ َ� ي‬ ‫ن ل‬ ‫��ل���ا‬ ‫�و ���ن��‬ ‫ع ��مو��ب�ه �م� �‬ ‫��� �َ ْ����ف َ�م� ��ي����ا �ن�ب����ا‬ ‫�‬ ‫ي�‬ ‫�لٍ ي ع َ‬ ‫َْ‬ ‫َ‬ ‫ن�ي� ن�ل���ا ي� � او ��‬ ‫��ن�ْبفر د �ي ��و���ب�ه‬ ‫ٍ‬ ‫َ‬ ‫ّ‬ ‫َ‬ ‫ن‬ ‫��َّ ����ا‬ ‫� ا‬ ‫َ َح‬ ‫ي�����فر ���� � �ويل� �وي�‬ ‫� نْ يَ ن � يَ ّ ا‬ ‫ا ن� ��و �َ�������ي� ا � �ل������ �م�يى‬ ‫َ ْ‬ ‫�ْ‬ ‫����ف � ن �ن�ا �ي����ا‬ ‫����ن���‬ ‫ع �وَ�ع ري ٍ� ي�‬ ‫�‬ ‫�و���سى د � �ون�ه �م�ا ي�م���ط �ن�ا ����ه‬ ‫يٍ‬ ‫ٰ‬ ‫ّ‬ ‫���ه ا لله ��ا ������ا ����ا‬ ‫�ي�ا �و ن�‬ ‫ري�‬ ‫ي‬ ‫ن‬ ‫َ ّي‬ ‫�و���ش����ا �ر�ي ن���ه ����فر��موه‬ ‫�‬ ‫�‬ ‫ن‬ ‫�������ا‬ ‫� او �ل�� �سود ا �يي�ل‬ ‫� را � ي�‬ ‫ْ‬ ‫ْ �‬ ‫�َبي����ا‬ ‫ط ن� ا ��ل����يّ��ه َ�مي��ل‬ ‫َ‬ ‫�نَ� ن�م�� �و‬ ‫�‬ ‫ن‬ ‫ا يَ‬ ‫���د �ى � ��� �ن����ا‬ ‫�ي� ���ي��ن��ه ي َو � ي�‬ ‫َ� ّ‬ ‫َ� �‬ ‫َْ‬ ‫�ّوا �ل �ن��ف نر�ن�ب�ده‬ ‫���طفرد ��بف�م �‬ ‫‪١6‬‬

‫‪20،5‬‬

‫‪25،5‬‬

‫‪30،5‬‬

~5~

Our only drink is water, and you are our last hope! What do we tell our desperate mothers? Someone from al-Kharrāṣ has rustled the animals: he snatched them from us at gunpoint― A despicable act! Isn’t there a hero among you to track them down and return our property? The flock is no less than three hundred; none are young lambs, none yet unweaned, None goats or rams grown old;

5.20

pilferers know this only too well: On the dusty plain he stood in their midst And shared them as meat with his gang. They bleated as he wielded the branding iron, their plaintive baas heard by all: Najdī sheep, black but for the head; in milk, their fat udders a marvel. It is no secret, no mystery about it: they are driven to pasture early; later they return. The pick of the herd is held by Ṭāmī’s son,

5.25

of Abū Thintēn al-Gassāmī. When they were lined up for branding, he picked the twenty-seven he liked best; Some sheep he penned up, others he sold, to some he holds on to as to dear life itself. These are the ones served for dinner— what behavior! May God serve him his desserts. Perhaps his clansmen had no hand in it, yet they relished their host’s stolen food. They sat at the tray and tore off the meat: shame on whoever condones such a deed! Swinging their food bags onto their mounts, six visitors departed, our salt in their bellies: Their butter was from our sheep’s last milk. Well, ʿUtaybah, how can that be? Abū Thintēn came with his mounted horde; armed rustlers drove them off at gunpoint.

١7

17

5.30

‫~~ ‪~~ 5‬‬

‫ْ‬ ‫َ‬ ‫�‬ ‫�ون ن�‬ ‫���ا د �عي�ّ��ا �ن�ا �ي�ل� َ�ع�نب�ده‬ ‫يى‬ ‫َ‬ ‫ّ‬ ‫ن�‬ ‫�‬ ‫���د �ي���د �يى �ر�و��ب�ه‬ ‫ا � �� او �‬ ‫َ نْ‬ ‫��و�ى ا ��ل‬ ‫�‬ ‫ح�ا �ي�لن� �ي�ل� �ي�مو��ب�ه‬ ‫�‬ ‫�‬ ‫يل� ي‬ ‫ى‬ ‫ن ّ‬ ‫ا نْ‬ ‫ع�ب�ه‬ ‫ا ����ا �� �‬ ‫كو��ب� َد ر� ي‬ ‫�ل َ‬ ‫ن ّ‬ ‫��هي را ا ن�‬ ‫ك�ا ���‬ ‫�� نْ�ن��ي�ب�ه‬ ‫��‬ ‫ع‬ ‫� ا ��ي� ���فنْ �ى � ا ��ي� ��ا ��ي‬ ‫و ل�يى َ رر ي و ل�يى ن ي��‬ ‫ْ�َ َّ ْ � � ي‬ ‫�ولا ي�ل ��وره ا�َا�ي���ط�ا ر��‬ ‫ي‬ ‫�َم�نْش�� ن ����ب�ا �ل�ى � او ���َب�شن��ا �ن�ب�ه‬ ‫َ�‬ ‫ي‬ ‫َ‬ ‫�ي�لي�ك�م ��بن���ا ن�‬ ‫�ب ن��ا �ن�ب�ه‬ ‫�‬ ‫ي َ� ّ‬ ‫�َم�ني�� ن ���س�ا �ل�يى را �‬ ‫ح� ���طي�ل�ه‬ ‫َ� ي‬ ‫ّ‬ ‫ن‬ ‫�ي�لي ��و�ل ا �ّم�ى ���ي���ا �َ��ي�ل�ه‬ ‫ي‬ ‫ا �ن َ‬ ‫ن ّ‬ ‫� ا ا د � �� � ل �ه ا ��بف‬ ‫و � و � �يى �و �م‬ ‫ن نَ ّ‬ ‫يَ ْ‬ ‫� او � �ي� �لو��ب�ا �م�ا ����سنس�ا ��بفم�‬ ‫��مْ‬ ‫ا �ي ْ َ ن‬ ‫��فرا د‬ ‫��ب� َ �‬ ‫��سو�ى َ�بش��ي�ل �وَن‬ ‫� ْ‬ ‫ن ن ّ‬ ‫� او � �‬ ‫��ي� �لو��ب�ا �ل�ا �ّم ن ن�‬ ‫�ب�ا د‬ ‫ا َ� يْ ا نّ‬ ‫ش�نس�ه‬ ‫��ب� نح�ظ��� �َ�ب�سيى �َو�� ي‬ ‫َ نْ � ْ‬ ‫�ب�ا د �م ن َ��‬ ‫����سي�� ن�ب�ه‬ ‫���فر�ل ن ن� ٍ �‬ ‫ا ن� ��س�ا �ي�م ا ��ل� نَ�ْ�م�� �عن����ا‬ ‫و يى ٍ� �‬ ‫‪18‬‬

‫�� �� �‬ ‫�‬ ‫�ي�لي ��و�ل ي �‬ ‫� ��ب�ا ��و�ٍل‬ ‫ْ نْ‬ ‫�ن �لي��ّوهي د را ����ه �و��ْ�ف نر�و��ب�ه‬ ‫�لَ���� ي�ّ�ي ا َ‬ ‫����ف ّ ����ا‬ ‫�وي ط ل�ظ��� �وي� ري�‬ ‫ْ‬ ‫ن‬ ‫��و ي� ��يَ�ي�� ن���ه �َمنْ� ن��ي���ه‬ ‫� ن� ي �‬ ‫ْ‬ ‫ح�نَّ�����ا‬ ‫ا ��ي�ل ��ا ����د �ّم ��م‬ ‫ي�‬ ‫� ن‬ ‫ي‬ ‫ن‬ ‫�‬ ‫ي‬ ‫�م� ا � �‬ ‫�ي�ل �ييل‬ ‫� �م����� �سور �ود ا ر��‬ ‫ْ نَ َّ‬ ‫ن ا ن�‬ ‫��ي�ل����ا‬ ‫ا‬ ‫��ي��� ���طفر��ب� �وي� ي�‬ ‫ّ ُ‬ ‫�� ن �ل ّ‬ ‫�َ���ل�� �ي�ب�هي ��ور ا �‬ ‫�َ��ل�� �ن���ه‬ ‫ا� ا ا ْ نَ نَّ‬ ‫م������شن� ا �ع����ا‬ ‫� او�م� �م� ��ي�‬ ‫ر ي�‬ ‫نَ ّ‬ ‫ٍ‬ ‫�بي� �لو����ا ��نلن�ص‬ ‫���ا د ْر ن��سى ���ه‬ ‫�‬ ‫يَ ْ ن �� ن‬ ‫���ه ���ْ�ف ����ا‬ ‫�ص ن‬ ‫�� ن��ش���يى َ حي� َي ن ري�‬ ‫�ع ن �� � ا �� ن �ا �� �ْ�لي �ن‬ ‫ع��ا ��بفم�‬ ‫� رنج ل�ب � ن َ‬ ‫ْ يْ َ �َّ‬ ‫�ّ‬ ‫��������ا‬ ‫�ن � � ن � �‬ ‫�‬ ‫َ�� ا ��د ��ي ن� ����� ي�‬ ‫َّ‬ ‫�َي���دي�����ا ��بن����ف�م ر�ّ او د‬ ‫ا ّٰلله ��ا ����دَ ّ �ْلَ��نَّ�����ا‬ ‫ن ر ي � ي�‬ ‫نَ‬ ‫نَ� �ْ‬ ‫� ن‬ ‫���بف��م �ع��ي�� ن�ب�ه‬ ‫م� �ورا ح يى‬ ‫ي�� ّ�د ا � ا �� �لي �� �م ��ظ��ا � ����ا‬ ‫َ م و‬ ‫� وي�‬ ‫�َ‬ ‫ّ‬ ‫�ْ‬ ‫��نْ����ا‬ ‫ن �‬ ‫�ولا َ�ع����فري� ٍ� َ� �‬ ‫ن�ب����ا‬ ‫ي�‬

‫‪١8‬‬

‫‪35،5‬‬

‫‪40،5‬‬

‫‪45،5‬‬

‫‪50،5‬‬

~5~

Bjād refused to surrender his share of the spoil, saying, ‘These are the sheep I will eat myself.’ Shouldn’t the dictates of honor prevail,

5.35

through resolute force if needed? Or by stealth—slink up to the culprit, unfetter the animals, and send them out! Why not openly twist his arms? The tents of ʿUtaybah are standing tall! If a poor kinsman armed with only a dagger bloodies it, they save him one way or another. Waste of time to deal with gutless traitors, useless as broken handles, as blobs of bird shit. You cannot goad them with a stick;

5.40

they just watch, not lifting a finger. One sheep is mine; how I pine for her! Pull her teats and milk fills the bowl. A prize animal that stains your honor: no amount of water can wash that shame. Yes, this lovely sheep was stolen from me,61 and gifted to Bjād to please him. ‘My mother is ill,’ he pleaded. ‘Boiled milk will make her better.’ They’d be wise to return them;

5.45

they’d forestall whispers of scandal. If nothing comes of it―too bad; we’ll say, ‘A wolf took the sheep for supper.’ I admit, she’s not worth an armed clash: strong, upright men should be enough. And if she stays with Bjād’s mother, may God let the milk go down well with her. But remember, the ewe was no gift, but grabbed from me by force: Bjād’s share from their brigandage.

5.50

He whined and they let him have her. Neither five sheep in compensation, nor even twenty, could defray my loss.

١9

19

‫~~ ‪~~ 5‬‬

‫ََّ‬ ‫�� ْ�ع ي‬ ‫� �ْ�ي�ل�َبن����ا‬ ‫ن ا‬ ‫نَ ن �‬ ‫ا � ��ب� ل�ر‬ ‫َّ‬ ‫َ‬ ‫ن��ا ن� نر��ل ا ����� �ْ��س� ا�ا�مْ�م�د �و�‬ ‫َ‬ ‫ن‬ ‫ج‬ ‫�‬ ‫َ‬ ‫ّ‬ ‫�‬ ‫� ْ‬ ‫���ن �� �‬ ‫� ��ولا ا �َن �رن���ده � او �ل�‬ ‫و‬ ‫ج‬ ‫َ‬ ‫ن‬ ‫���ا ن �‬ ‫�ْبف ن ا � �� ��� ن��ْ�يَ��� ن‬ ‫ع‬ ‫�‬ ‫� او � ك� � ن ر ن و َ ي�‬ ‫ح ن�َ� ا ��ل�ب�ا ��� � ا ��ل ن� ن‬ ‫�َوَ� ر ن يع و َ‬ ‫��بف�م��ي�‬ ‫�� ن َ‬ ‫�ن ن‬ ‫ب���ا نر�ْ ن� ا �ل‬ ‫�‬ ‫���ا �ي�ل�‬ ‫ر� ن� � ي� ن‬ ‫� ا �ع�يّ� � ا �ي َ� ن‬ ‫ح��س�ا �ي�ل�‬ ‫م� ن� م� ر�‬ ‫� ن � ن ََّ ن‬ ‫ّ ن‬ ‫َم� ����‬ ‫ي� ي�ل ن��وج� �َي���د �و�‬ ‫� يّ ا �� َ ْ َ‬ ‫ن‬ ‫ح�ى ل��بفر ن�‬ ‫�ب�ه �م�ا �َ�ي ن�ْب�د �و�‬ ‫َ ْي‬ ‫ن ن ا‬ ‫��ب�ش�ر�وره ����د ان�� ��� �ي�بي�ل‬ ‫� ا �������ا �ل�ن ��ب ّ�د ا ��ل�ا� ا‬ ‫و‬ ‫يى َي‬ ‫���� �ي�بي�ل‬ ‫� ا �ل َ ّ‬ ‫�م ن� �ي�ل� ����� � ن�‬ ‫���د �ي�ب�ه‬ ‫ى‬ ‫ج‬ ‫َ‬ ‫ْ‬ ‫���ا ن ا ����� ن‬ ‫��ْبي��ا ن� �‬ ‫�بف� �م �و�ّب�ه‬ ‫�‬ ‫ك� � َ‬ ‫َي‬

‫‪20‬‬

‫�م�ا ��بف ن ��ّل � �� �م �م�ا ا ْ����طف ����ا‬ ‫ري�‬ ‫ي َر ي وٍ‬ ‫�َم�س�ه ي�� ��بف�م � �وي�ْبفر�و�‬ ‫ن�‬ ‫ي ن ن يى‬ ‫َ ج‬ ‫� ��� ا دَ �َّ � �� �م ا �ْ��� ����ا‬ ‫َو � ور ي و‬ ‫ري�‬ ‫ن َ َّ �َ‬ ‫�َ‬ ‫�س �ن� ا ����َ�ب�� ن‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫�‬ ‫�و‬ ‫�بي�ل�ى � �و‬ ‫ي�‬ ‫� ا ا ����دَ ���نب�ه � ْ����ي��ا �ن����ا‬ ‫ورع ي َي‬ ‫ي�‬ ‫ا ْ يَ‬ ‫ن‬ ‫��نَ �َْ ن‬ ‫حن�ي ��� � �ون�ا �ي�ل�‬ ‫�م� ا ��سم�ل��ى نَ‬

‫ا َ �� ا �‬ ‫���ا � ����ا‬ ‫�ي� �ي�و�يلك �ي� �ي�ل�يى � وي�‬ ‫� � ا �� يَ ْ ا ا� ا � ن‬ ‫م��ي�ل ل��ف��ره �ن� ���� �‬ ‫عو�‬ ‫نّ‬ ‫������ا‬ ‫ا �� ن‬ ‫�‬ ‫�‬ ‫كي�ٍل �ن� ��َدي�� �ي��فري �‬ ‫َْ‬ ‫�ن َ ا‬ ‫ي�ن�صن ا ن ن ��ل‬ ‫��� � او �ب��ي� ا�م��� �ي��ي�ل‬

‫نا � ن‬ ‫�ْ�ي��ا ����ا ن�����ا‬ ‫� او �� َ�م ٍر‬ ‫ي�‬ ‫َ ن ْ �َ ي ��َ‬ ‫��يل�ه ا ل‬ ‫��ب�ا ���ى د �‬ ‫�و�� يل���ه‬ ‫��‬ ‫ي‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫َ� يْ‬ ‫ْ‬ ‫ح��ي�لْي���ا ��ي�يبي�ل����ا‬ ‫ن�‬ ‫ن‬ ‫ح� �ور ي � َي�‬

‫‪20‬‬

‫‪55،5‬‬

‫‪60،5‬‬

~5~

I miss the long drafts of sweet milk― every day memory stings: This is not herbage withering in the heat: that misfortune is no one’s fault. If not for butter and a morning draft of milk, why for heaven’s sake would I buy the ewe? If Abū Thintēn can’t muster the resolve,

5.55

his baseness will stain his honor. The seller and guarantor will come forward and let the lender redeem his loan. Out rode the protector of the weak: his escort not just common men.62 Mārig has always lived up to expectation: 63 he’ll make you suffer the consequences, thief! As soon his camel kneels, the ewe is brought, dumbfounded, more tranquil than dates in a jar, They obey, keeping quiet all the while: meek and diligent, they pay their due. Ibn Ṣāyil can be your witness if you wish: he answered the sheep’s appeal to his honor.64 A pillar of strength who gives only the best: I turn to the benefactor who answers the call. Their reputation has ancient roots in Shāliḥ,65 not some parvenu who showed up yesterday. If you appeal to al-ʿIḍyān for justice, they bring the ewe, the frisky lamb in tow.” 66

2١

21

5.60

‫~‪~6‬‬ ‫ْ‬ ‫َي ْ‬ ‫�َ� ن�� ن� ا �� �ليَ��ي�ل� ��ا ����ا ند ��ل� ن‬ ‫لا ��م‬ ‫�‬ ‫ب��ه‬ ‫ي‬ ‫و‬ ‫ن ي‬ ‫�‬ ‫ن‬ ‫�ب�ْ� �ع ن ��ا ���ب�ه �لا ����ا َ�ام� ن‬ ‫ب��ه‬ ‫و‬ ‫ي‬ ‫لا � ن ر � ن‬ ‫اَ ن‬ ‫���نّ��ه � �� �م ا �ن�ا �َم� ْ��بي��� ن‬ ‫���ه‬ ‫َ� ي‬ ‫���� ��ب��ي� اَ�� ي و‬ ‫نّ ي َ َّ‬ ‫�‬ ‫�‬ ‫ك ن�ي�� ن��ه‬ ‫���‬ ‫� َ‬ ‫� او �لي ��و�م �ي ��و�م ا ��ب�ه َ� ن� ي‬ ‫ج‬ ‫اي �‬ ‫�‬ ‫ي ا � ََ ن‬ ‫ط�ي�� ن� ا�اَم�د ��ي�نب�ه‬ ‫�ب� ��� او ��ر��� ��ب� � �� او ��� ن‬ ‫��َ�ْ �ي هي َ� َ‬ ‫���بي� �ن�� ن ا �� نررا ر �و ن�‬ ‫�َبن�ي���نب�ه‬ ‫��بش�ب� ع ل ي�‬ ‫ٰ �‬ ‫���ا �ن�ب�ه �ن‬ ‫�ب�ا �ن� ا ّلله � او �ل�ا���ب�ل�� � َد ��ي�نب�ه‬ ‫ك� ي‬ ‫م‬ ‫ّ َ ْ َ ْ َ‬ ‫�ي��فر���� ي��ي�لسن�ى ي��ن�ي�ل ند � �و�ب�ه ن�‬ ‫�َعي�نس�ه‬ ‫ن‬ ‫َ‬ ‫ي‬ ‫�‬ ‫َ‬ ‫ا �ْ‬ ‫��ب�ا �ه َ ْ�‬ ‫�بف� � او ����د ��ي�نب�ه‬ ‫�بف� �‬ ‫�و ن� ي�ر م �ل َر م‬ ‫َ‬ ‫نَ‬ ‫��ّ �� ن � ن ن � �‬ ‫ي� � نلَ��� ن�ي���نب�ه‬ ‫ل��َط���‬ ‫���ن� ل�ي�ى ا �‬ ‫��ب�ا �ه�و �َل�‬ ‫َ‬ ‫َ‬ ‫َ ْ �ي‬ ‫���ْب�د �ى �و���‬ ‫�‬ ‫��م�هي ��بف ن �ر��نب�ه‬ ‫�ف ل‬ ‫�‬ ‫ي‬ ‫ي‬ ‫�بر�ى �ي�ل�ى ن ي َ‬ ‫َ‬ ‫َ‬ ‫���ا ن ا �ل‬ ‫ك�‬ ‫�ر�و� �ي����ا ��� � او ���سي�� ن� �عي�نس�ه‬ ‫� ن ج‬ ‫ْ �ن‬ ‫��ب�ا ر �ن�ي�بن�سى � �و����نب�ه‬ ‫ا ا �‬ ‫��‬ ‫ي ني‬ ‫ل ��ب� د َ�بفر ٍ‬ ‫َ‬ ‫ن ا � �ْل ا ن َ‬ ‫� او �� ��ه ا ن�‬ ‫���د ا � او ����د ��ي�نب�ه‬ ‫��� �م� �‬

‫‪22‬‬

‫ٰ‬ ‫�َ‬ ‫حك �م�ا ����‬ ‫ا ��ل�ا��بفر ّلله � او �ل‬ ‫ع�‬ ‫�‬ ‫ي‬ ‫�‬ ‫َ يى َ ي نَ‬ ‫�َ��ْ���اَل� ��ب�ه ا ��ي�ل ��ي�ل��د ��ب�ا َي� ْ���‬ ‫��ني�ص‬ ‫�‬ ‫ش�‬ ‫َ‬ ‫�‬ ‫ي‬ ‫ن �يى‬ ‫ي نَ‬ ‫� ا مّ ْ � َ َ َ نَ‬ ‫�و�ل� �ود �يى ا �ن��د �يى �ي�ل��رن� �و� ��� �عيم‬ ‫�‬ ‫�‬ ‫َ‬ ‫ي� ني‬ ‫�ّ ي ن �َ‬ ‫ن َ‬ ‫�ب�ا �ن�ا ���ي�لي�ي�ل �و�َ��يل�سى �م� ��ن�ي��ن�س‬ ‫�‬ ‫ي‬ ‫ي‬ ‫ي � ي �� ن ا � ن �‬ ‫�َبيل� ا �ل��م��� ن�‬ ‫��م��ب�ا ���َطن�ي�� ن ٍ �يبف ��‬ ‫�‬ ‫� ري نَ‬ ‫َ‬ ‫�َ ��‬ ‫�بف ْ �ن ا �� �لي ا ن ا ��لَ �يَ� �� ه ا �لن‬ ‫�‬ ‫�‬ ‫ح‬ ‫ش�‬ ‫�و� ر� �ر � �ى ل‬ ‫�‬ ‫ي نَ‬ ‫� �� ه ل�ن �نَ ا ا ��لَ�ْ � َ� نّ �� � �ن‬ ‫ل‬ ‫�‬ ‫��‬ ‫�‬ ‫� �� ح�‬ ‫�‬ ‫�‬ ‫و �يى ل�� ر ن � ط وَ ي نَ‬ ‫�ع ن �َمي�ي���سي �م ن �َ�سّ��ي��ه �و���� ين� �س ن �‬ ‫ل‬ ‫�‬ ‫يى ي�‬ ‫� يى � ن َ‬ ‫َ‬ ‫ا ّ ن �َ‬ ‫���ّب�ه َ‬ ‫�ي�‬ ‫��بن��ر �ي� ر �ل�ى ا ��ي�ك ح��سين��‬ ‫س‬ ‫�‬ ‫�‬ ‫ي�‬ ‫ني‬ ‫ُ‬ ‫�‬ ‫ا�� � ��‬ ‫ا ا� ا �يَ �‬ ‫ا‬ ‫�‬ ‫�‬ ‫ا‬ ‫�ن� ���� �ش� ا �‬ ‫ل‬ ‫�‬ ‫ه‬ ‫�‬ ‫�‬ ‫ي‬ ‫�‬ ‫ع�‬ ‫�‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ع �يى‬ ‫و َ ن ي نَ‬ ‫� نَ‬ ‫َ‬ ‫�‬ ‫ي‬ ‫� او ْرل���ى ��بي�ل� ��ي�لسن�ى ���ل�� �� ا�ام��ي��‬ ‫س‬ ‫ن�‬ ‫ي�‬ ‫ى ي‬ ‫َ‬ ‫ََ‬ ‫�� َّ ي ا �ي ��‬ ‫��ّ�و� ي� �ي�ي�‬ ‫�‬ ‫�‬ ‫ه‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ط�‬ ‫ل�‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫ٍ‬ ‫ن ي‬ ‫�ي‬ ‫َ ي نَ‬ ‫ْ ن ا� �ن ن نْ َ ن‬ ‫�‬ ‫� ا� ه � ه‬ ‫��‬ ‫ب‬ ‫ان����يى ��ر�وب� م�� � او د �� ن� َد ي سن�ي�‬ ‫� ا ْ ��� َ �م ن ا ����َ ْ ا�ا� � � ا � ا‬ ‫�‬ ‫�‬ ‫�� �د يل‬ ‫د‬ ‫�‬ ‫و �‬ ‫�‬ ‫ي‬ ‫طوع � نب َ�ب ي�يك �ل َ نَ‬

‫‪22‬‬

‫‪1،6‬‬

‫‪5،6‬‬

‫‪10،6‬‬

~6~

Moralizers! Do not put my heart to the test! 67

6.1

The matter rests with God; talk is no use. I keep silent about its fortitude; others have no inkling. Only the One who answers supplicants is aware. Two years I had the strength to hide my feelings, conceal my inner life from people’s gaze.68 Now these secrets have spilled into view: 69 I am ill and my illness is the sickness of love.70 “He is diseased,” they said. “Get a doctor from town.”

6.5

“My cure lies with a doctor nearby,” I replied—71 A honeyed lick above the buttons on the breast,72 then the preacher’s recitations.73 If she fears God, if Islam is truly her faith, for her salvation on Judgment Day, She’ll sprinkle my heart before it wastes away.74 Or is it her plan to let me die because of her? She is merciless—may His mercy elude her kin: 75 Her red-hot iron, Lord, tortures me to death! How unjust—branded by one’s sweetheart76 on a secret spot no doctor can reach! On my liver, she burns the Mzēni’s cross-shaped brand, on my heart, her iron presses the three rings of al-Mghēbah.77 She should beware, lest my wounds demand retaliation—78 her heart would never recover from my branding iron. Is nothing left of the intimacy we once knew? 79 I beg for tenderness, and she chooses to drive me mad,80 Though I am closer than her parents,81 more servile than a docile, well-bred slave.82

23

23

6.10

‫~‪~7‬‬ ‫َ نّ ي نّ ي ي‬ ‫ا �� نل���ا ر�‬ ‫���ه � �و�ي��� � �و���ه �ي���ي��ف�َم‬ ‫ّ‬ ‫����ا ���ف � ن َ�� �‬ ‫ه‬ ‫ا ن� ��وه � او �‬ ‫�ل‬ ‫�‬ ‫�‬ ‫���‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ر‬ ‫ي َم‬ ‫ي ي ٍ�‬ ‫ا ّٰ ا ��م ْ‬ ‫�‬ ‫� ن�‬ ‫�س�يى ا ����م���ط�ا �م ا �َر� يم��ف�َم‬ ‫�ي� لله �ي� َ� ي‬ ‫َ‬ ‫� ا� � ي‬ ‫�ى � او �ن�ا ا ن� ل��‬ ‫ي�لن�ْ ل��‬ ‫�‬ ‫� �ل�يى َ��د �ي��ف�َم‬ ‫�ى ��� ح ن ٍ‬ ‫ي‬ ‫ي‬ ‫� َ ّ �ن ��‬ ‫���سنّ ��ا ا �ل‬ ‫� �‬ ‫ح‬ ‫�‬ ‫�‬ ‫�ل‬ ‫�‬ ‫م‬ ‫�‬ ‫ش‬ ‫ط‬ ‫�‬ ‫�‬ ‫�و���يلي�يك ��يى ي ن ي ن َ ي َم‬ ‫ْ‬ ‫�� ا �ي� � ن � ا ا �� �ي‬ ‫ع �ى َل�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫��‬ ‫�ل‬ ‫د‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫ى‬ ‫�‬ ‫َ‬ ‫ي َم‬ ‫وي ي ن‬ ‫ا وي‬ ‫� � �ن‬ ‫ن‬ ‫ن‬ ‫��بي�ل�ى ا �َيل�د �يى �ن�ي���سيى � �نو�ي�ب��ه �و���ي�ل�َم‬ ‫نَ‬ ‫ا � نْ ي نْ َ‬ ‫� ْ�م� ا �� �لي‬ ‫�‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫ل‬ ‫�د‬ ‫�د‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�م‬ ‫�‬ ‫��‬ ‫م‬ ‫س‬ ‫�‬ ‫�‬ ‫�‬ ‫ن‬ ‫ي َم‬ ‫َ‬ ‫� َ م َ‬ ‫َ �َّ ْ �ل َ ا يْ‬ ‫َ‬ ‫�ْ‬ ‫���بي��ه ��بش��يل�م�ه ا �‬ ‫�م‬ ‫�بف�م� �م ����بي� يل��ف�َم‬ ‫�و َ‬ ‫ا َي ن َ ْ َ ا ي ا ��ل���َ�صَ ��ي��لَ‬ ‫�‬ ‫��س� � �‬ ‫�بف�م ح����ي�ل�َم‬ ‫�و��س� ���ي� �ع� ن‬ ‫���ا �ل�ن � �ن�ا �ل�ن ��� �ي���سسي�ل�ه َ�� ن‬ ‫�ل‬ ‫��‬ ‫ب‬ ‫�‬ ‫�‬ ‫ي َم‬ ‫ي� و ي� ٍ� ي‬ ‫َ‬ ‫���ْي�ش�ن� � دْ �ن� ��� ن‬ ‫��� نّ ا �� نل��فر�‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫ور‬ ‫ن‬ ‫�‬ ‫�‬ ‫ٍ َ ٍ ي � َ َ ي يى‬ ‫نَ‬ ‫�نَ ّ َ ْ � ا نْ�َ‬ ‫ن‬ ‫� او �ل‬ ‫ه‬ ‫�‬ ‫�‬ ‫�ب�د �ن�ب�د ٍر �ل� ا ن�بي�ل�ى �ب�� عي�بف�َم‬ ‫�َ ْ‬ ‫ّ ْ َ‬ ‫� ا �لن‬ ‫ح �����ف� ��بن���ا �م��ي�ل �َ��بي�ل�هي �ي��د �‬ ‫�‬ ‫م‬ ‫و‬ ‫�‬ ‫م �‬ ‫ي يى‬ ‫� � ن ن�‬ ‫� ن‬ ‫ا ن� ��و َ�����ا ٍ� ك�ا �ي�ل� او ���و �َل ���ي��ف�َم‬

‫‪24‬‬

‫�‬ ‫� � َّ َ ّ ي‬ ‫�َب�د ا ��‬ ‫��ب�ا ���ه ن�‬ ‫��ود ا �لن� �‬ ‫��ا � او �ل�ي�ن���ب�ا ��‬ ‫ي � ا ن ي � اي‬ ‫ي‬ ‫�م�ا � �� او �و�ل� ل��يى �ن�ا �� ا �ل� �� ار ن� ��ب�ا � او ��‬ ‫�ي�ي�لّ��ب نس � ا ��ا ه �م ن ��بش�يْ�� ا ���ا���� ي ي‬ ‫َ �يى و ي � َ ن ل‬ ‫���ا ��‬ ‫َ‬ ‫َ‬ ‫َّ � ا‬ ‫ي‬ ‫�ع��س�ا �يى �م�ا ا�ه�و�ن�ي�ل � او ر�م�يى �ن�ا �ل���� او ��‬ ‫َ‬ ‫َْ‬ ‫يَْ ن ن ْ �َ‬ ‫�‬ ‫ْ‬ ‫ي‬ ‫�لن���ي�ب�سيى ا د ��ه �م�ا ر �م�ا �� ن�ي�ك د �ل��ب�ا ��‬ ‫ي‬ ‫��ل�ب�ا ا نْ� َ َ�� ّ�د ا ��ي�ل�ي� � او �ْم َ��س ن �ن�م‬ ‫�ي���ب�ا ��‬ ‫ي ر‬ ‫يل‬ ‫�َ‬ ‫ّ‬ ‫ٍ‬ ‫َ‬ ‫َ ٍّ‬ ‫ْ‬ ‫�‬ ‫ن�‬ ‫ن�‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫��ب�د ا � نل�َ�ي��د َد �ل �و��م����ف�م�ا ��‬ ‫و‬ ‫د � نَ ي‬ ‫ّ‬ ‫ي‬ ‫ّ ي‬ ‫ّ ا �‬ ‫كي��ا ��‬ ‫ا ���د ا �م �َورا �ٍم ن��ي� يل��� �َ�س َ‬ ‫ْ �لن ن� � ا َّ � ن ه ن�َ ْ‬ ‫م��� ي‬ ‫�َي��د �يى ح ���� ه � �وي��د رن �ي��‬ ‫ط او ��‬ ‫� �‬ ‫َ ج‬ ‫نَ نْ نَ‬ ‫َ‬ ‫ّ‬ ‫�د � ن �م ن ��ا �����ني� ن ند ا �ي ���� ند ا � ي‬ ‫�و ��‬ ‫�ب ي � � ن ن ي � � � �‬ ‫ن‬ ‫��ا ن � ن � �م �َ �يّ ا ي‬ ‫�‬ ‫ع�سيك ��م�� ه‬ ‫�و��� �ه�و �يل���ي�ر ا � ك�� � ي‬ ‫�ْ‬ ‫�َ ف نْ � ا �ا� ا � �ن �� َ �� َّا ي‬ ‫������ه �ل‬ ‫طو ه‬ ‫��ب� َ�� م� �‬ ‫��ر�ٍم ن� َم�‬ ‫َي� َن‬ ‫ْ �َ‬ ‫� َ ْ نَيْ‬ ‫ي‬ ‫�َم��بي�ل�ه �و� �� �ون�ه �م�ا ر �ن�ا � نل�ب�د ر � �ل� ������ا ��‬ ‫� َْ �‬ ‫ُ‬ ‫ن ا� ْ‬ ‫� �نَ� � ي‬ ‫�ل ن�‬ ‫�ب�ا ��‬ ‫� �م��ه اَ�م��سي�ك � او ���� �طر �و ن‬ ‫َي �ونج‬ ‫َ‬ ‫�� نَّ َ � َ‬ ‫��ّ �ي دَ ّ ن�ي�ْنل��ب�ا � ي‬ ‫�‬ ‫َ���ب�ه ���طش�ه�م �َ����ر �ل�ى ر‬ ‫‪24‬‬

‫‪1،7‬‬

‫‪5،7‬‬

‫‪10،7‬‬

‫‪15،7‬‬

~7~

Yesterday I was in throes of tears and sobs,

7.1

like an orphan child inconsolable,83 Whose father and mother were swept away.84 They are dead, and he is homeless and alone. Lord, You who resurrect bones, dusty and decayed, unite again those who were driven apart! She weeps, as I do, for an old love lost: let me not become deranged, go raving mad.85 It is as if I am a baby you weaned, my love; 86

7.5

you want me to relax, but how can I be impassive? My wails are like the howling wolves of al-Qaṣīm, overtaken by darkness, with nothing to eat— All that lies between her and me are fields of terror, waterless wastes of dread and thirst. I have never seen the like of her: feet finely chiseled, legs plump and with flesh of immaculate white. Like a pigeon she walks, with a bobbing gait,87 swaying as she struts with willing hips, On calves like fatty meat served to worthy guests,88

7.10

and on thighs brimful of succulent delights. Swelling curves roll from bulges to flat tummy: what to do when eyes are dazzled by such views? Shoulder and buttocks, a leather belt between, protrude like hills encased in rock; 89 Her cheek is a moon that bursts from the clouds, but without blemish—no craters, no spots. Her nose: implacable and straight as a dagger’s blade, but fragrant with musk and rose. Her teeth are like a string of pearls,

7.15

and taste of sugar mixed with camel’s milk.

25

25

‫~~ ‪~~ 7‬‬

‫ْ‬ ‫ن �ا ّ‬ ‫ا‬ ‫ب��ه � �وي�ا �َ�� ن��ي� �ري��فَم�‬ ‫�ي� �����ي� ا �ل�د �� ي‬ ‫�َ‬ ‫نْ � ي ي َ‬ ‫�‬ ‫��ه َي���دَ��هٍ َ���ْ��ف�مي�ل �ن��فري� ��ن��ي���ف‬ ‫َم‬ ‫جٍ‬ ‫ٍّ َ ن ��‬ ‫ا� ّ‬ ‫��ب�ا ل��نى ا ��ي�ل�و ن� َ�‬ ‫ح ن� �ع��ي��فَم�‬ ‫ح ن� �‬ ‫ي‬ ‫يْ نَ‬ ‫�َ َْ‬ ‫ّ �َ‬ ‫َ�‬ ‫له�م�ه �و�� يم��فَم�‬ ‫ح ن� ا �ل� �‬ ‫هو�ى � او �ل��سي� �‬ ‫� نّ ا � � ن ا ن َّ ن‬ ‫���فَم�‬ ‫�و� ��و ا � �ن� ��د ��ي��� �َي���د كفر َ��� ي‬ ‫ا يْ َ‬ ‫يَ � ن َ‬ ‫�ب ن�د ا �ر �لن� �نل��� �و�‬ ‫�و��يلن�سى �‬ ‫�بي� يل���ف‬ ‫يٍ‬ ‫ي‬ ‫َم‬ ‫ي نَ‬ ‫ُ ا ي يْ � ن �‬ ‫��بف ����ف‬ ‫� � �� ه � �لع��ب�د ل � �� �‬ ‫وروي َ َ �يى و �و َ ر� ي �َم‬ ‫ي �َ َ‬ ‫ي �لنَ َ‬ ‫ن‬ ‫ا ��ي�ل� ا �‬ ‫��ب�ل�� ه ا �����يبي��‬ ‫��ن��ر �ن�ب�ه ل��يى �‬ ‫ى‬ ‫� َم‬ ‫�ل‬ ‫�‬ ‫��ا ��ل�ا ���م ن�‬ ‫��ش��بي�ل�ك ن� �� ���ي ��ط انَ��‬ ‫حي��فَم�‬ ‫و‬ ‫ي ي يى‬

‫‪26‬‬

‫َي نَ‬ ‫��ا ا نْ� � ّ � يَ ّ‬ ‫ي‬ ‫�ل‬ ‫ح ����ا �� ن� ا � �ل� ن��ا ��� � او ����ع ن� ��ر�لن��ا ��‬ ‫َي‬ ‫َ‬ ‫��ل َ�عَ � ن ي � ا ن‬ ‫ن ي‬ ‫ل��ا ��مو�� ا �ل��م�يب�ا � ��س�ا �ب�ا ��‬ ‫� او �ى �مي �‬ ‫يَ‬ ‫� ن‬ ‫ي‬ ‫َ �رن�ي��ش� ��ي�لن�سيى �ي�ا ا�ا�ب�ل�� �ي�ب�ه ����ب�ا را ��‬ ‫ع‬ ‫َ ٍّ َ ّ‬ ‫ٍ‬ ‫�‬ ‫�ب�د ا ��بي �م��َبنّ��ا � ي‬ ‫ل‬ ‫�‬ ‫��م��� �ور��� � او ن�َ ي �ل‬ ‫���ا �يم �� ��� ن �نله د ��ب�ا َ �����ي�ل� َ� ّ ي‬ ‫��ن��ا ��‬ ‫ن‬ ‫ل �ول ن ي� � �و‬ ‫ع‬ ‫َ�ع��س�ا � �م�ا ا �نْل ��� ْ َ َ ْ � َ يْ ي‬ ‫طي� �ن�ا ���م���ا �و��م ��ط � �مل���ا ��‬ ‫يى َ �‬ ‫يّ � ن ن ن ن �‬ ‫ي‬ ‫عم�يى ل��يى �ر�و��� ا �ل���ل�� � او ��‬ ‫�وَ��د ا �م ي‬ ‫�‬ ‫ا� َ � َّ‬ ‫ي‬ ‫���ا ��ل�� �يَل�ي�ص‬ ‫�‬ ‫ط‬ ‫حي���ا ��‬ ‫�ي ��و�م ا��ي �� �‬ ‫ن‬ ‫و‬ ‫ٍ� َ‬ ‫ع‬ ‫� ا ن يْ َ نّ َ َّ‬ ‫�ن ي‬ ‫�و�ل� َد � ي� ��بفر �م����س�ل�� ي� ا �لَ��َ��ي���ا ��‬

‫‪26‬‬

‫‪20،7‬‬

~7~

She has the eyes of a mountain gazelle, the neck of a sand gazelle that darts in panic when the hunter shoots. Her locks wave softly on the breeze of a cloudy day, the loosened plaits streaming down her back. My love for the fair beauty knows no bounds: it made my heart burst into flowering spring.90 Driven insane by languid looks, I want to hold her tight,91 entangled by her tresses, to suck and press her flesh: Earth offers no greater luxury and delight, I daresay, than the heavenly fruit between her breasts.92 My heart whirls like a spinning top in my dreams: 93 let me not reveal her name in the coffee rooms! At night, the vision of her makes me start. At prayer time, her specter floats before me— It happened last in the evening, when the imam spoke the closing words. If you find fault, may God cast you into the pit of Hell, and may you never savor the taste of honeyed lips!

27

27

7.20

‫~‪~8‬‬ ‫َ ُّ َ‬ ‫ا ا�‬ ‫ح�ن�ى د � �ون�ي�ك ��ب�د �ٍو ا ��ل�ى نَ�‬ ‫حي� ي�‬ ‫�ي� ��� ي َ‬ ‫ْ َ َ َّ‬ ‫� ي ْ � ْي نَ‬ ‫ين � �‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫ا‬ ‫ا‬ ‫�‬ ‫ا‬ ‫ا �����ى ا �ل�ى ����ي�� و ن�َ��د �ى ��ي��‬ ‫ي‬ ‫� نَ‬ ‫َ‬ ‫�‬ ‫ن‬ ‫حن‬ ‫ي‬ ‫�‬ ‫ا‬ ‫ا �ْ����ا‬ ‫�و�م �ع ن ا ل‬ ‫�‬ ‫�‬ ‫د‬ ‫ح��د �� � اوَ�م��س�ا �ي��‬ ‫�‬ ‫ن‬ ‫� َ‬ ‫ّ‬ ‫� َ� ن‬ ‫َ ي َ َ‬ ‫���ود �ل�ه�و�ل�يى ���ب�ا ��ب�هٍ �م�ا ��ي�ن��ا ���شي� ي�‬ ‫ْ َ َ َّ‬ ‫��َ يََ ّ ن ا �‬ ‫ن‬ ‫ي‬ ‫ا ل�ى � ��و���بش� �‬ ‫��بي�لي��‬ ‫�ب� ��طر�يى � او ��م� �‬ ‫ع‬ ‫� ن ي �ّ ا يَ َ َّ‬ ‫ي‬ ‫ا�ّم�ا َ���َم�ْ� ي� ا �و َ��م��� �و�ل� �‬ ‫�بف �ر�ي�‬ ‫أ نْ نَ‬ ‫َْ � � � � ا َْ‬ ‫ا�‬ ‫���ي� ي� �م�ا �يل ��طر�يى �لن��ا �ل�يى �و�ل� ا�ن��د��ي ي�‬ ‫َ �ْ ي � ّ َ ْ ي‬ ‫ن �ل�يى �و�����ه ا �ل���ي��ا ر ��د �يى � �وَل���ا � �و�ي ي�‬ ‫�‬ ‫ْ‬ ‫ن� � ا � ّ‬ ‫ح ي� ا �م�ه �ع ن� ا �لن�ي�� ي�‬ ‫�َورع ����ي ٍر ر‬ ‫ا ٍن � َ ْ ه � ن �ن يَ‬ ‫ي‬ ‫ا‬ ‫ن‬ ‫�م� ��ي ر ��ر ن�‬ ‫�ب� م� �م او ده ���ب� َ��ي��‬ ‫ي ا � َ َ ْ ي ي ْ ي ا � َ يَ َّ‬ ‫�� ��� ا ن� �ي�ل� �و�ي�ل� �� نل‬ ‫�‬ ‫ح��ي�ل �بف �ر�ي ي�‬ ‫َ ن‬ ‫و �‬ ‫ي‬ ‫�� �� � هي � �‬ ‫� ا ��� نّ‬ ‫�ب�ا �ل�يى �ي�ل�ى م� َ‬ ‫��ي�� ي�‬ ‫ل��م يل��يل�ٍ ن‬ ‫يَ نَ‬ ‫�‬ ‫�ا‬ ‫�ي�ا �ل��ي�بف�ٍم را �ع�ى ا �ل�ه�و�ى �م�ا ����ب�ا �ي� ي�‬ ‫�َ‬ ‫َ‬ ‫يَ ُ‬ ‫ُ‬ ‫�ع��س�ا ه �م�ا �ي ��و��يى �َي�لع� �ي ��و��يى ا�ا�مي� ي�‬ ‫ع‬ ‫ن‬ ‫ي‬ ‫��ي�ل�و�م نس� َن�‬ ‫ح ن�ْبي�ل ��ر�و ن�‬ ‫�ب�ه َ��م��ب�ا �ر�ي�‬ ‫ي يى‬ ‫ٍ‬

‫‪28‬‬

‫َ �ْ َ َ َ ّ �ل ْ � ْ‬ ‫�ي�يلن���� �ي�ل� ا ن�‬ ‫�َبي�ل��د َ�ن�����َ��ه ��َ�ن��ا �ي�ب�ه‬ ‫َ‬ ‫� يى‬ ‫ْ‬ ‫ُ‬ ‫ْ ن ��َ َ ّ � ي‬ ‫��سّو َ����فَر� �و������ا �ي�ب�ه‬ ‫ا ن�����ى ����ي�ل ا �ل �‬ ‫َ‬ ‫ج‬ ‫ي‬ ‫�ّ‬ ‫ن‬ ‫ا‬ ‫ن‬ ‫ي‬ ‫�‬ ‫ي‬ ‫�‬ ‫�‬ ‫� او �ل� ��ل� �ي�ل ن� ���ب�ل� �ع ن� َ��م����ا ��ب�ه‬ ‫َ‬ ‫ٍ‬ ‫نْ� َ‬ ‫َ‬ ‫� ا �ل�ن ا �� � � �ْ ن‬ ‫�‬ ‫�‬ ‫ع‬ ‫�م�ل��ب�ا �ي�ب�ه‬ ‫ا د َل�ر ن�ب� ري� ل�ه�وى و‬ ‫� َ ْ‬ ‫َْ‬ ‫� �و�ي ن�بش�� ي� �ه�ْ �و�ا ي� ا � �ليَ�ب�د � �و�����َ�� او �ي�ب�ه‬ ‫َ‬ ‫مَ‬ ‫ي‬ ‫ْ‬ ‫ّ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫�‬ ‫�نبي��ي� �ن �لي��ي�لسن�ى �ن�ف نر�ي�ب�ه � او �ل�يَ�نش����ا �ي�ب�ه‬ ‫َ‬ ‫ي‬ ‫ٍ‬ ‫ّ‬ ‫َ‬ ‫ي‬ ‫ن‬ ‫� ا ا�‬ ‫ح�� �م�ا �ن��� �ود ه �و����ا ��ب�ه‬ ‫ن�ب� ��� نَ ٍ� ي‬ ‫نْ‬ ‫َ‬ ‫�ّ ا‬ ‫���ي��� ا ����د �ي�ب�د �يَ�ب�د َل�‬ ‫��ر �� نل���ا �ي�ب�ه‬ ‫� او �ل� َر ن�‬ ‫ع‬ ‫�‬ ‫ي‬ ‫�‬ ‫ي‬ ‫����ا ��ب�ه‬ ‫�ل���ط�و� ��بي�ل��ط�و� �ي�لي�ي�ل � �‬ ‫��م‬ ‫� م‬ ‫ٍم ٍ‬ ‫ْ‬ ‫��ي ن َّ ي ا� ن ��‬ ‫��و� �� ن��د ����بفر����ا �ي�ب�ه‬ ‫�‬ ‫َ�َي��� ا� �‬ ‫م‬ ‫�‬ ‫ي م‬ ‫اي ن ّ َ‬ ‫ا ن��ل‬ ‫�ب�ا ��بي�ل ا ��ي�ل� ��ب� ��ب�د ل�‬ ‫��ر ����طفرا �ي�ب�ه‬ ‫�‬ ‫َ‬ ‫يى‬ ‫� ا� �ْ َ‬ ‫ا ّٰ َ� ْ َ‬ ‫���بفرا �ي�ب�ه‬ ‫لله ي ن‬ ‫�ظ���فر �ل�ي��ميى نَ ن‬ ‫����ط�ا � �ه� اه ��من‬ ‫�ب�ا َ����ره ل��نى �‬ ‫ب��ا �ي�ب�ه‬ ‫�ي‬ ‫ريى و‬ ‫ي‬ ‫َ‬ ‫ي� ا َ ّ‬ ‫�‬ ‫��سَو�يى ��س� او �ي�ب�ه‬ ‫� او ن�ْ ل��‬ ‫�م �‬ ‫��ب�د �ي�ل�يك �م� َي� �‬ ‫ْ نَ‬ ‫ن َ�‬ ‫�‬ ‫�م�ل��ب�ا �ي�ب�ه‬ ‫�م�ا د ا �ي� ��طْ �ر�ا ي� ا �ل�ه�و�ى �و�‬ ‫ن‬ ‫‪28‬‬

‫‪1،8‬‬

‫‪5،8‬‬

‫‪10،8‬‬

‫‪15،8‬‬

~8~

Darling, if I come, mind the enemy,

8.1

who hides rancor under his cloak.94 If I have doubts, I’ll turn and go far as I retreat, to throw ill-wishers off my scent; Even if I soar beyond the reach of pelting stones,95 my heart will not stray an inch from its desires. It returns without fail after every distraction, driven by memories of the daring follies of love: 96 When I am calm, at ease and in repose,97

8.5

and make the rounds, sampling pleasures, And catch a glimpse . . . or hear a hint . . . it tears my heart! I start, grow tense. My thoughts are invisible, hidden deep, while “Shall I?” and “Shan’t I?” buzz in my head.98 I am like a falcon hunter who runs and shouts,99 or a newborn yearning for its first milk, Or a toddler left alone at home by its mother— slapped and spanked, the child cries endlessly. Sobs and screams pour from my heart,

8.10

from a breast heaving with unfulfilled desire. “You fool!” they chided. “May I stay a fool,” said I. The real fool has no memories of love.100 Night after night I spent with her like a dream: may God humiliate my critics in public view. Harassing love’s devotee will do you no good: thoughts of his love never leave his mind. Let the caviler go deaf until the dead can hear; 101 go deaf-mute! A friend does not behave like this. He aims to blame, but blathers silly nonsense: he is ignorant of love’s raptures and follies.

29

29

8.15

‫~~ ‪~~ 8‬‬

‫ن ا � � ن � ي ا � � ن ا �َ�� َّ‬ ‫ا �� ا ��د �ى � �� �ب� � �� ا ا �ل��� �� ن�ص‬ ‫�شي� ي�‬ ‫�‬ ‫ي و و‬ ‫�� � ن ا ْ َّ� �َم �ْ ن� ّ‬ ‫�َبف �ر�ي ي�‬ ‫���ل ا �ل �‬ ‫��� ر �م��بن� َره ���سيى‬ ‫�� نّ َن � يَ نَْ ن � ي يْ‬ ‫� �‬ ‫�� ي�‬ ‫��سيى �يل�ونج ���م���ا �ل� ��و� �َو�ل� ي‬ ‫ٍ‬ ‫ْ يَ ْ‬ ‫�َ َ ّ‬ ‫��ه ا���بي�ْ�ل ا �ي‬ ‫�ي ْ ن‬ ‫�‬ ‫ي‬ ‫�‬ ‫ي‬ ‫س‬ ‫�س‬ ‫ل‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫ح‬ ‫�‬ ‫�ل�ى �‬ ‫�‬ ‫�‬ ‫�‬ ‫ح‬ ‫�‬ ‫�� ن ي �‬ ‫�� َ � و‬ ‫� ْ‬ ‫نْ‬ ‫��نّه �لنَ��يَّ ف ن‬ ‫ي‬ ‫ا‬ ‫ن‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫ع‬ ‫�‬ ‫�‬ ‫ع‬ ‫�‬ ‫ش‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫��� ي �بر �ب � ل َر �يى َ ر�‬ ‫ي‬

‫‪30‬‬

‫ّ �َ � يَ ْ ي ْ َ‬ ‫��ن َ‬ ‫� ��� ن‬ ‫�م�ا اَ���ن�‬ ‫�‬ ‫�‬ ‫��ب�ا �ي�ب�ه‬ ‫ح‬ ‫ي� ا � �ل�ن��ر �َ�بفرلر �‬ ‫ج‬ ‫� �� نَ‬ ‫َ‬ ‫ْ‬ ‫ن‬ ‫ي‬ ‫ا‬ ‫ا‬ ‫� او �ي� يل��ي�ل ك�ي�ل�ه ����ش��بفره ��ب� �َ� ن��� ��ب�ه‬ ‫يَ َ َّ‬ ‫ْ‬ ‫�‬ ‫�‬ ‫�‬ ‫�س او �ي�ب�ه‬ ‫�‬ ‫س‬ ‫�وا ر��ب�ا ا �ل ار �ع�يى �������ى �‬ ‫�َو��‬ ‫�� � ن �ي ا َ‬ ‫يَنْ� �‬ ‫��بي�ل َ�م��ب�ا �ي�ب�ه‬ ‫�ه�م �ي� � �‬ ‫�ل� َ����� �يلي�‬ ‫َ‬ ‫�� نَّ ه ��يَ�نْ ي‬ ‫�� ْ‬ ‫��بفرا �ي�ب�ه‬ ‫��ش�ره �م ن� �‬ ‫� او �لَ���رن� َ���ب� َ‬

‫‪30‬‬

‫‪20،8‬‬

~8~

If people say, “You’ve lost the plot!” “Not so,” I’ll say. “Not till my grave is dug.” All day I pace up and down like a desert guide; my nights spent in bleary-eyed insomnia; I groan like a camel searching for her calf, while her owner grills its meat.102 If a herdsman’s sent to fetch her back, she returns to where the calf was killed.103 It’s as if a demon startles her from pasture and she recoils from drinking foul water.

3١

31

8.20

‫~‪~9‬‬ ‫ّٰ � �يَ ْ‬ ‫�‬ ‫�ن‬ ‫��ي�لي �� ْ�ن‬ ‫��ب� ها‬ ‫�‬ ‫�‬ ‫ل‬ ‫ص‬ ‫�‬ ‫ا‬ ‫�ي�ا لله �ي�ا ا �ي�ل�ى � ن�َ��د‬ ‫�� ر‬ ‫ي‬ ‫ي ن � ا� ن َ ّ‬ ‫�نا� ا ْ‬ ‫�َ�ل�رن �م� ��س�د ه �ي�ل� ا �ل�� �� �م� ا�ن��داه‬ ‫ى‬ ‫َج‬ ‫�‬ ‫ّ‬ ‫�ْ ْ‬ ‫�ب�ا ��ل � او ن�ل‬ ‫�م ن ���� ي�َ��سي� ا �ل‬ ‫�‬ ‫ح��سف�م �ي�ن�را ه‬ ‫� ٍَ ل‬ ‫َ‬ ‫َ‬ ‫ن َّ ي آ‬ ‫�ي � ي آ َ‬ ‫�ب�ا ه �م ن �‬ ‫�‬ ‫�‬ ‫�َبي�ل�سى ا ه‬ ‫بيل� ا ه � او ن ر‬ ‫�‬ ‫ي‬ ‫� نْ‬ ‫�ي ا � ن ا ا �ل �‬ ‫� ��� او َ��م��ب� �ن� �‬ ‫ع او ه‬ ‫�ب�ا �ل �وي� ���� ا �ي�ل�ى ا � �‬ ‫ي‬ ‫ن ْ‬ ‫يا � َ َ ْ‬ ‫�َ ْ‬ ‫�� ��� او ن�‬ ‫�ي��ي�ل ي� � �ون�ا � �َ�بي�ل�مي�ك �ام�نش���ا ه‬ ‫ّٰ‬ ‫�ي ا �� ا َ �� �َ ن �‬ ‫ب��ا �ي�ك �م ن� ا لله �م��ب�ا �نب�ا ه‬ ‫� ��و ��طيل ن�‬ ‫ن َ‬ ‫�ي�ا ���� ا َ��ي�‬ ‫ب��ا ن� �ع�نس�ه �َل���ص‬ ‫�‬ ‫ه‬ ‫ا‬ ‫�‬ ‫ح�نب�ا ه‬ ‫�‬ ‫�‬ ‫ل‬ ‫و‬ ‫ن‬ ‫و‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫�ي�ا ��� او �ن��د �ّور �ي�ك �م ن� ا � نل�بي�ن��� َ�ي� يل�ب�ا ه‬ ‫َ‬ ‫�ُ‬ ‫� ن‬ ‫�‬ ‫�ي�ا ��� او � ����ب�ا ���� ا ��� ��ود ��ب�ا �ي�ك �ن�ل�� ��ب�ا ه‬ ‫َ ْ �َ َ نْ‬ ‫َ‬ ‫�‬ ‫�ي�ا ��� او �َي��ف نر�ّون� ��‬ ‫��ود �ي���د ��ه � �وي��������ا ه‬ ‫ج‬ ‫�‬ ‫يْ َ �‬ ‫ّ‬ ‫�ي�ا ��� او �م ن� ا ���س�ى ا �ل ن��ا ��� �َيو� ن� ا�ن� ي� � او �ي�ا ه‬ ‫ن‬ ‫ن‬ ‫يا � ن�‬ ‫��س �نب�ه � ن‬ ‫�ب��د ����د ا �و����د اه‬ ‫�� ��� او � �و‬ ‫ْ‬ ‫�‬ ‫�ي�ا ��� او ���ي� يل�بي�ل �ن�ا �ي�ي�ل د ا ه �ن��فرد ا ه‬ ‫ٍ‬ ‫ٍ‬ ‫ََ‬ ‫َ‬ ‫�‬ ‫�‬ ‫ن‬ ‫ن‬ ‫ا‬ ‫�ي�ا ���� ا �ن ����ب�� � �ل� � �ل��ش� ا‬ ‫���� ن‬ ‫���ا ه‬ ‫ع ��ب� � ي‬ ‫و ير و َ‬

‫‪32‬‬

‫َ��ّ‬ ‫َ‬ ‫ا‬ ‫� ن��ي���يَ��ه‬ ‫�ي� � او �َ��فٍر ���ن��ده ���ي�ل�ىجن‬ ‫ْ‬ ‫� � �َ َ‬ ‫م ����ي�َيس�ه‬ ‫را ن��� �ي�ل� ��بش�ي���س�و�ميك ا �ي�ل� �‬ ‫يى‬ ‫ٍ ى‬ ‫ا ْ ن ن ن ا � نَ‬ ‫� ا ��ل�نب�ا �� �م� � ����بش��� ��ه ا � �م� ��م��� ي‬ ‫ب��ه‬ ‫َ ي‬ ‫و � َي و‬ ‫َ‬ ‫ْ ن ٍّ َ‬ ‫ن �َ َّ � � ن‬ ‫�َ�ف�مي� �‬ ‫�‬ ‫ى �ي�مَ�و��ي��ه‬ ‫ا �ف ل‬ ‫ع‬ ‫�‬ ‫ى‬ ‫�و � ��ميل�و�ي‬ ‫ل ي ي‬ ‫�ي �ْ ي آ � ا�ا��بن�ْ‬ ‫��َ ا ��ي�ل � َ ����� ي‬ ‫�‬ ‫ب��ه‬ ‫�‬ ‫و‬ ‫َبيل� ا ه �وي���� َ ر �يى َ ي‬ ‫�يبي�ل ي� اآه ��بي�ل�م ��ا ��ب�ل�� ��ب�ا َل��‬ ‫��م� ي‬ ‫ب��ه‬ ‫ي‬ ‫َ‬ ‫َ �يى ي‬ ‫آ‬ ‫ْ‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫�ي � ي َ �ّ‬ ‫�ب�د �ي�ب�ه �و��بنش� ��وه ر ن�‬ ‫م�يس�ه‬ ‫�ي‬ ‫َ َ‬ ‫بيل� ا ه �و َ‬ ‫�يبي�ل ي� اآه ��� ن�د ا � ا د ����ا �َ��ن‬ ‫ع�يس�ه‬ ‫�‬ ‫ن ي‬ ‫و رٍ‬ ‫َ نّ‬ ‫�يبي�ل ي اآه �� �ن‬ ‫�‬ ‫�م�يس�ه‬ ‫�‬ ‫�‬ ‫�‬ ‫ه‬ ‫�‬ ‫ش‬ ‫�‬ ‫ب‬ ‫ك‬ ‫�‬ ‫�‬ ‫ر‬ ‫ر‬ ‫�‬ ‫� ��و ي ن‬ ‫يى َ ي‬ ‫�َ‬ ‫ي ي آ‬ ‫ا�َ‬ ‫�‬ ‫مو نر �ن�ي���د �يى � �� �و��ي��ه‬ ‫�‬ ‫ا‬ ‫�‬ ‫ه‬ ‫د‬ ‫ع‬ ‫�‬ ‫�‬ ‫�بيل� ا و‬ ‫َ‬ ‫ي‬ ‫آ � َ نْ‬ ‫َ‬ ‫�يبي�ل ي� ا ه ���و ن�‬ ‫�ب�د ي� ا ْر�َ�� �م�ا َ�ن���مي�يس�ه‬ ‫ن‬ ‫ع‬ ‫ٍ‬ ‫آ‬ ‫نْ َ‬ ‫ن‬ ‫�يبي�ل ي� ا ه �م�ا ا ���س�ى �ي��و� ن��ا �ل�ى �و ن�‬ ‫حي�يس�ه‬ ‫م ي َ‬ ‫�يبي�ل ي اآه �عْ�� ه �م�ا َ�ع�يَ� �‬ ‫�بف �ن�� ي‬ ‫�‬ ‫�‬ ‫ب��ه‬ ‫ن� َ ن‬ ‫َ‬ ‫ر‬ ‫ي‬ ‫� َ ر‬ ‫آ ْ‬ ‫َ‬ ‫�يبي�ل ي� ا ه �ن�ا �يبفران �ل�ى �ور�و��ى �نَب�د ��ي�ي��ه‬ ‫ي‬ ‫ي‬ ‫َ‬ ‫�‬ ‫�ي � ي آ � ّ � ا � ن ا � َ‬ ‫��ي���يب�ه‬ ‫بيل� ا ه �بفرا ن َ���ب� �ي�بف�م ع�‬ ‫ج‬ ‫‪32‬‬

‫‪1،9‬‬

‫‪5،9‬‬

‫‪10،9‬‬

‫‪15،9‬‬

~9~

Lord, people bow in worship to win Your favor;

9.1

you told them to perform pilgrimage to Your House: Bring relief to a man who keeps his soul under lock― a man content with whatever fate You allot to him― From a thing that cripples him and wears him out; human remedy is of no avail, salvation lies with You. “Ah, how my sweetheart’s stabbing hurts, ah!” said I. “Though I don’t shrink from enticement’s burdens.” They said, “You’re a sorry sight, what made you go astray?”

9.5

“Ah, what’s the heinous sin I’ve committed?” said I.104 They said, “Your foolish acts are the talk of town.” “Ah, I made no secret of what’s ailing me,” said I. They said, “We asked God to restore your health.” “Ah, there is only one God—I ask His forgiveness,” said I. They said, “We’ve advised her near and dear.” “Ah, that’s the last thing I wished to hear,” said I. They said, “We’ll find you another beauty just as good.” 105 “Ah, if another was in my hand, I’d cast her away,” said I. They said, “Why get involved with that graceful limb?” 106

9.10

“Ah, with my hand I bent the banana stalk,” said I.107 They said, “You should marry, and forget her.” “Ah, if I took four wives I’d never forget her,” said I.108 They said, “She is not your class, what pretention!” 109 “Ah, I can’t forget the delights of our trysts,” said I. They said, “We saw her in the company of so-and-so.” “Ah, no, she sticks close to her house,” said I. They said, “He has a disease of his own making.” 110 “Ah, for her I’d give my family and my life,” said I. They said, “We are talking sense to you, but to no avail.” “Ah, I don’t deal with slanderers,” said I.

33

33

9.15

‫~~ ‪~~ 9‬‬

‫َ‬ ‫َ‬ ‫َ‬ ‫يا � � َ‬ ‫آ �‬ ‫���َ�بفر ����مي�نسي�ك �وي�بي�لن�ي�ك ن���ه ْ��بي��ا ه ي�بي�ل ي� ا ه � ��و ي��ي�لن�سى �ن��فر�ر �نل�َ�شي�يس�ه‬ ‫�� � �� او َ�‬ ‫ي‬ ‫يٍ‬ ‫َ‬ ‫َ‬ ‫�َ َ‬ ‫�ْ��شن��ا ه � ي�ْ��د ا ه � ا ��ل� �َ�م ���ط �من��ب� نا‬ ‫�‬ ‫��م������ا �و ي��ي�لن�س ن��ن��‬ ‫م ����ي�يس�ه‬ ‫�‬ ‫��‬ ‫د‬ ‫َو‬ ‫وى‬ ‫يى‬ ‫�ى َ � ج ر ن ٍ‬ ‫ع‬ ‫�َ‬ ‫ي ْ �� � يَ‬ ‫نٍ َ ّ‬ ‫ا �يَ‬ ‫�‬ ‫ْ‬ ‫�‬ ‫�‬ ‫ا نا‬ ‫ي‬ ‫ي‬ ‫��ي� �ل ا ���ل � او د �ى �و ن�م‬ ‫��فرا ه َ�بي�ل �� او َ���ب�ي�ر �و��مو��ك� �م� َ� �ل�شي�س�ه‬ ‫�ي� �� ��� � و‬ ‫ي‬ ‫م‬

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‫‪34‬‬

~9~

They said, “Flecked with gray, and a heart still blind.” “Ah, if my heart were erring, I’d chide it,” said I. “I do my heart’s bidding, whether right or wrong; If it is set on traveling a road, I give it free rein. Listen everyone: let each riverbed follow its course—111 You’re all talk, but none of it has any point.”

35

35

‫~ ‪~ ١0‬‬ ‫ٰ‬ ‫يَ َ َّ‬ ‫�َ‬ ‫�ي�ا ّلله �ي�ا ا ��ي�ل� �م�ا ��ن��ي��فرك ���فر ن�‬ ‫�شي� ي�‬ ‫َ‬ ‫يى‬ ‫ْ‬ ‫َ‬ ‫ْ‬ ‫���ل �م�ا ا � ن���ص‬ ‫َ�ي�د ��ل�ى ��لي��ا ��ل ��‬ ‫ح ي� �وا�م��سي�� ي�‬ ‫ي َ ٍ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ن �‬ ‫�‬ ‫ي ّ‬ ‫�‬ ‫ل��يى � يل�بي�ل ���ب�ان��� �ن�ا � �‬ ‫���ر�ى �م�ا �ل��� ن�ي�� ي�‬ ‫ع‬ ‫يَ َ َّ‬ ‫نَّ ن � ا � نَ َ ْ‬ ‫ي‬ ‫ي‬ ‫�ي��و� ا د � ا �لي�� �ل�ى �ع���بي�ل� �و�‬ ‫�بف �ر�ي�‬ ‫ي‬ ‫م‬ ‫َ َّ‬ ‫�‬ ‫ّ � ي‬ ‫ن ��‬ ‫�هر ي� ي�� ا �ل��س�و�� �م ن� �ي ��و�م �‬ ‫��ي�لي� ي�‬ ‫�‬ ‫م‬ ‫�نْ�ي نَ � � ن يَ َ َّ ن ي نْ‬ ‫ي‬ ‫��� �وا� �� �و�ي�‬ ‫�ي ��و�م ا لَ���سى ا ��ل� َر�م � �ريل�‬ ‫ن��ا �ل�نى �ن�ل�� ن� �و�ي�ا ��ل �و���� ن�ي�ي�ك �م�ا نَ�‬ ‫حي� ي�‬ ‫ي‬ ‫َ‬ ‫َ َ �ُ ّ ْ َ ْ �ُ ٍّ يَ َ َّ‬ ‫ن�ع‬ ‫�‬ ‫�بي�ل ي� �� ا ��بفر��س ي� �� ����ب�د ��ي ي�‬ ‫م‬ ‫م‬ ‫َ � يَّ‬ ‫�‬ ‫�‬ ‫�‬ ‫ي‬ ‫ي‬ ‫��ا �ٍل �و��ي�ل� ا �لن��ا ن� �ي�لن��ا ن� ��ط��ي��‬ ‫َ َّ‬ ‫ّ‬ ‫� َ�‬ ‫�ي�ا ��ل ا �لن� ���يمن�ى َد ���� د ا ن�‬ ‫�َبي�ل �ود ���سي�� ي�‬ ‫ي‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫َ �ّلْ ي َ � ن ن ا ا �ي َ‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫ا‬ ‫�‬ ‫�‬ ‫���بي �م� ���ن��َ��ي� و � م� ��و ���مي��‬ ‫ٍ‬ ‫ْ نَ‬ ‫�‬ ‫������ّ ّ � � � ن َ‬ ‫ْ‬ ‫ي‬ ‫ي‬ ‫ي� �من� ��ط�و�� � او �‬ ‫ل� �ي�ل�ى ن�َيل�‬ ‫����مي��‬ ‫م ي‬ ‫ْ‬ ‫ا ي�َ نَّ‬ ‫ن ا �� ا� ن َ‬ ‫ي‬ ‫��بش��� ل�يى ا�َم�د ر�ى �ي�ل�ى ��ب� َ����ي���‬ ‫َ�‬ ‫ْ‬ ‫َ َّ ْ ي َ ن �ْ َ‬ ‫ْ َ� َ َّ‬ ‫ح� ن�ي�� ي�‬ ‫�و رد � ��د ن� من�ي��َ���َ�ب�ه � او ر ن �‬ ‫َ‬ ‫�َ‬ ‫�نَ ّ ي ْ‬ ‫ا �ل‬ ‫���د �َ� ن��د �ي�بي�ل َي���� ن�ّ��ا �م ن� ا � ن �ر�ي ي�‬ ‫ٍ‬

‫‪36‬‬

‫ا ن‬ ‫ْ‬ ‫ح� ي‬ ‫�ب�د ر نَ�‬ ‫�ي�ا � او �‬ ‫���ه‬ ‫ي‬ ‫�ب ٍ�د ��ب� ����ي�ره ا � ٍ َ َ‬ ‫�َ ّ َ‬ ‫ْ �َ‬ ‫�� �ا‬ ‫حَ� ي‬ ‫�َبي�ل�ه ��م‬ ‫�ب�ا �م‬ ‫� �‬ ‫���ه‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫�‬ ‫ل‬ ‫ى‬ ‫ن‬ ‫ي َ‬ ‫�َبي �لو ا � �ر‬ ‫َ‬ ‫�‬ ‫ا �ل ن��و�م ��ب�ا دي� ن�سى �م��بي�ل ��ب�ا �َ�ب�د ��ي�يَ��ه‬ ‫ي‬ ‫ن َ نْ ي نْ �ن َ ّ َ َ‬ ‫� او �‬ ‫ى �و�يبف �ر��ي��ه‬ ‫�ب�د � نَ�ر�ٍو ل�يى �َي��د �ي‬ ‫ي‬ ‫ْ نَ َّ‬ ‫�� ��ل � ا ن‬ ‫ا �ي نَ‬ ‫��ي���ي��ه‬ ‫�َ��ي��د ل�ر �يى �ل� ر�ٍم ��ب� َي�‬ ‫ٍ‬ ‫ن َ نْ‬ ‫ْ‬ ‫َ‬ ‫�‬ ‫�‬ ‫ي‬ ‫ا‬ ‫َ‬ ‫� او �‬ ‫�ب�د � �م ن� َ�ي� �لو اَ�من��� �و��� �ر��يَ��ه‬ ‫ي‬ ‫يع‬ ‫�‬ ‫�نْ َ‬ ‫ا �ن َ‬ ‫ا � �� �َ�بي�ل ��ا َ�م‬ ‫��ي���ي��ه‬ ‫��َي���ر ��ب� َل�‬ ‫ن و �يى ن‬ ‫ا ا � نَ َ يْ ي نَ‬ ‫�يْ ن �ّ� ن‬ ‫�ب�� � ا ��ب�ش�� ي‬ ‫ل‬ ‫ب��ه‬ ‫�‬ ‫�‬ ‫�‬ ‫د‬ ‫�‬ ‫�‬ ‫�‬ ‫ى‬ ‫و‬ ‫ر‬ ‫ن‬ ‫ن ن‬ ‫َي‬ ‫� او بش���ى ا �� ي‬ ‫ْي نَ ي ن‬ ‫ن�ب�يَ ن‬ ‫� ي � ا‬ ‫ح� ي‬ ‫���ه‬ ‫َ�‬ ‫حي�� ا � نل�ب� ن� � او ����� ن� ي‬ ‫� نَ‬ ‫ج‬ ‫ّٰ ��ّ‬ ‫�َ‬ ‫ْ‬ ‫ْ‬ ‫َ‬ ‫ي‬ ‫نا �‬ ‫�‬ ‫� �َم��سي�����ه‬ ‫� او �� ا �بفَ�م�د ا لله َ��ل د ر ن ٍ‬ ‫�َ ن ْ ي ا َ ْ ْ ي ا َ‬ ‫�‬ ‫�َبف ن �ر��يَ��ه‬ ‫�و� ��و رد �ل��� ���بن��� �م ه‬ ‫َ‬ ‫ع َي��ٍ ��ب� ن ي‬ ‫� ا ��ي�ل ��َ�ي�ل ّ��ه �م ن ��ب�د � �م� �َم� ي‬ ‫���ه‬ ‫و يى َر ي‬ ‫و �يى ي �‬ ‫َ‬ ‫َ‬ ‫� ا ��ي�ل ��ب ن�د ْ �ي�ه �م ن �يب�د ���ف�م َ�� �لي�� ي‬ ‫���ه‬ ‫ر‬ ‫و �يى نَ َ � َ ي ٍ ي َ‬ ‫َ َ َ يَ ْ‬ ‫�� ّ �‬ ‫ع�ي� ن� �م�ا َن� نَ�ر��يَ��ه‬ ‫ل‬ ‫�و َر ن�‬ ‫�‬ ‫س‬ ‫ن�‬ ‫ع �ي�ل�يى �بي يى َ َ‬ ‫َ‬ ‫ي‬ ‫ي � َ � اّ‬ ‫ا َ َ‬ ‫ا‬ ‫�بي�ل� ي‬ ‫���ه‬ ‫��ب� َ�بي�ي�ل ���و�ل� ��ه �ورا ��ب� ن� ي َ‬ ‫‪36‬‬

‫‪1،10‬‬

‫‪5،10‬‬

‫‪10،10‬‬

‫‪15،10‬‬

~ 10 ~

I beseech You, God, and You alone,

10.1

the One and only, hear my entreaties. On many nights, from darkness till the light of dawn, sweet slumber eludes me, seemingly forever. In this seventh night without the slightest rest, again I could not find it: sleep passed me by. At the call to prayer I washed and waited, Qurʾan in hand, reciting a whole part. My prayers performed, I went into the street

10.5

for some forgotten business. My errand done, I tarried, then had a thought: my eyes fell on delicious wares, which I bought. So-and-so accosted me: “Where have you been? Why haven’t you visited Abū ʿAlī’s private room?” 112 I quickened, then rushed, was running; the messenger turned; I followed suit. I went straight to the door, knocked; Bkhīt opened and discreetly withdrew.113 A hidden voice said, “Enter!” I obeyed;

10.10

Thank God I honed my skills so long! I paid my respects seventy times, no less; seven hundred more wouldn’t be enough. Her gentle greetings were music to my ears; I took off my clothes, threw them down. Fortune smiled on me—the winnowing went fine: I harvested the fruits of what I’d sown.114 I put my mouth to her sweet lips and took a draft,115 and felt my heart come home from long absence. Cheeks as luminous as a burning oil lamp, with a gleaming light behind shining glass.

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37

10.15

‫~~ ‪~~ ١0‬‬

‫ْ‬ ‫َ َّ‬ ‫�‬ ‫�‬ ‫� ا ����َ��� ن َ��� ن‬ ‫ي� ا ��ي�ل� �ي�بفَر�نر�ن� �ي�ل� ا �لنَ�ي�� ي� �ي�ا �ل�يى َ�ام ن�ْ�ي��ا �ي���ه ن�‬ ‫��ف نرهي �َ��ن�ي���يَ��ه‬ ‫و ي�‬ ‫ي‬ ‫ى‬ ‫يى َ‬ ‫ّ‬ ‫ََ‬ ‫َ‬ ‫ا ن �ن‬ ‫ن‬ ‫حَ�ب�ا �ى �م ���س�ا ن� ي‬ ‫عن�ْي���ا � ��ب ن�د �ى �َ��ف�م� ي‬ ‫� ��ل ا �ل‬ ‫���ه‬ ‫� ن ري َ‬ ‫�ي� َ��د �ي�ل�ى ن��و‬ ‫حي�� ��ب�د �يى ��بش� � � و ي‬ ‫َي َ‬

‫‪38‬‬

‫‪38‬‬

~ 10 ~

Eyes like a falcon’s that flutters about a dwelling, and lands on its perch when dark sets in— A bird that plays havoc with a flock of bustards: One is struck down, the other already done for.116

39

39

‫~ ‪~ ١١‬‬ ‫َ َ‬ ‫َن‬ ‫�ب��ل�� ي‬ ‫�بي� �� نْ�ي�ك �م�ا ا ����د �ن��ب�ا ن�ليُ��و ن���د ن�‬ ‫�‬ ‫َ‬ ‫ي‬ ‫ا ن� ل‬ ‫َ‬ ‫َي‬ ‫��‬ ‫� ����د �� ا � ن ن � ا‬ ‫���‬ ‫� �ن� ���ط�سيىٍ �و���ط� ���فر‬ ‫م��� ٍي‬ ‫ي نٍ‬ ‫ج‬ ‫ا � ا �ْ ن ا � �‬ ‫ا ��� ّ ��‬ ‫�‬ ‫ا‬ ‫ن‬ ‫���د � او َ�‬ ‫�ن� �ل���م��ب� �ل � او �ل� ��ك� ر � او َ�‬ ‫���د ا‬ ‫� نْ ي ْ‬ ‫ُ‬ ‫ْ ن َ‬ ‫ح��د �ن��د �ور�ي�ه‬ ‫� او �عَر�� � ار �و�ى ا �َرر�� � او ن� َ�‬ ‫�� ْ َ ْ ن � ْ �‬ ‫�‬ ‫ح��د ي� ل��يى َ ���ي�ل ن� اَ�ام��ي�� ���س�ه �ي�ل� ا �َ�لي��د ا‬ ‫ل�ى ا ن� �‬ ‫ى‬ ‫ْ‬ ‫ََ‬ ‫�َ�يْ� ي �نَ�نلْ���س َ� ن‬ ‫�و��ل�ا ��س�ا �ع�ن� ي� �م�ا ا �ل‬ ‫�‬ ‫�‬ ‫ح��س�ا �يل��‬ ‫�‬ ‫يى‬ ‫َّ ن َ نَ‬ ‫�سو�ن� �َ�سك�ا ٍ� ن��ي�لي�ّ��ا د ����ا �ن�ب�ه‬ ‫ا �ن�ا ا �� �‬ ‫َ‬ ‫� ا ي ن� َّ �‬ ‫ح ��طر�ه�م �و���ب�اٍ �‬ ‫���د �ور��بفم�‬ ‫�� ير�ب� � َ‬ ‫ع‬ ‫�‬ ‫ن َ ّ‬ ‫�َم�ب�ا ري ن�‬ ‫�ي�ه�م ل��يى ��ب�د �ه�م را ��� ��ب�ا ����فم�‬ ‫�‬ ‫ا َ ْ ن ن ا�ُ‬ ‫ي�‬ ‫م او ن�‬ ‫م� ن� � او � �لَ�ب�د ا‬ ‫�و��بف�م ��ب� ي����بفر��مو� ا� �‬ ‫�ي‬ ‫ي ان‬ ‫ي ا‬ ‫نا‬ ‫� �و� �� ٍ� �َ��ش���� �ن�ي��ي�ٍل د � او �م �و�َ��ش���� ل��يى‬ ‫ْ‬ ‫�����نش� ��و� �ن��ُ�د �ورهي ر نر�يش���ف�م ��‬ ‫���ل َد �ي��فره‬ ‫َ‬ ‫َ‬ ‫ج‬ ‫ٍ‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫������ا ��لي�ي�ك ��ب�ا �ي�ي�ل�ي ��و ن� ��ب�ا ��َي�ن�ن�شَ��ش�ي �� �ون���ه‬ ‫�‬ ‫َ‬ ‫ْ� ي نَ‬ ‫� �ن�ا �� ا ��ل� � ا � ْ ي‬ ‫��بف�م � او �َ��‬ ‫��ي���يش�هم�‬ ‫�ب� �ل���ب �‬ ‫و ٍ� ى ن‬ ‫� ْ � ن �ن ْ �يَ � �‬ ‫��ب ْ�د �ي� � ا ��لن��ي�ب�ا‬ ‫ل‬ ‫َي���م ��ط�و� َل���‬ ‫�‬ ‫و‬ ‫� ا � �ل ��و�ل � او � َ‬ ‫َ‬ ‫ج‬

‫‪40‬‬

‫نا � ا � ا ْ‬ ‫� ا �� �نَ�نلْ���س � ��ا ���ا � ي‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫و‬ ‫� او �� ��س� َ ��طٍر �ن� و‬ ‫يى‬ ‫َ‬ ‫حْ ا ��ي�ل�ي �م�ا ا ��ا � ي‬ ‫��َ�ب�ا ن�� ا ��لنَ ا ��م‬ ‫�‬ ‫ني � �‬ ‫��� ر �وَ ي�يى ي �ل ن َ‬ ‫َ‬ ‫�ن‬ ‫ح���ب�ا ��ا � ي‬ ‫�‬ ‫ب� ل��نى َن��م�بش� ا �ل‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ف‬ ‫م�‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫َ‬ ‫ن َ‬ ‫ي ٍم � يٍم ي يع‬ ‫� ���ا ���ا ��ل� ن����ا ������ � ���ا ������ا � ي‬ ‫ر يى ي� نَ ي ٍر ول‬ ‫ول‬ ‫�‬ ‫َ‬ ‫َ � �ي‬ ‫� ان‬ ‫�� �� ن � �مي‬ ‫ل‬ ‫�‬ ‫�‬ ‫ا‬ ‫ا‬ ‫�‬ ‫�‬ ‫ي‬ ‫�‬ ‫��‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫ب�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ل‬ ‫�‬ ‫م‬ ‫ل‬ ‫و‬ ‫ر‬ ‫ر‬ ‫َ‬ ‫ي�‬ ‫�ل� َ م �ى‬ ‫يٍم‬ ‫ْ‬ ‫�َ َّ ا �ي‬ ‫�‬ ‫ن‬ ‫ا‬ ‫�‬ ‫�‬ ‫��‬ ‫ه‬ ‫ل‬ ‫�‬ ‫�‬ ‫��بن ��ور ن� لَ��ب� ي� ���يلي�� نَح�‬ ‫��� �ي�‬ ‫َ ٍ‬ ‫ٍم‬ ‫ي� ي‬ ‫��َّ �نشه �يبف ���ب�� ن �نَ� ��ب�ا � ي‬ ‫�‬ ‫�بيلي�ي�ٍل �َلَ� ر � �م َ ري ن ي� �و‬ ‫َ‬ ‫ن �ي ي ا �ي‬ ‫� ��ل�ا ا �ْ����د � ا �ن�بفْ ��ا ي‬ ‫ل‬ ‫ا‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫رر‬ ‫و‬ ‫�‬ ‫م ي�‬ ‫و ن و َ رن‬ ‫�يَ‬ ‫ا ا ي � ا� َ‬ ‫�� ْ �ن�ا � ي‬ ‫ه‬ ‫��‬ ‫�‬ ‫ا‬ ‫ا‬ ‫ا‬ ‫د‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ن‬ ‫ن‬ ‫و ر َ‬ ‫َل و ن �ى‬ ‫� ���ا �ل نْ�ي�ل�ي �ن سف� �م ن ا ��ل������ ���س�ا ا � ي‬ ‫�‬ ‫ول َي َ َ��يى �ي� م � َ ي ن‬ ‫ر َ‬ ‫���� ا ���ادْ ���ا � �َ �ن�ْ�ب�ا � ي‬ ‫��ا‬ ‫ْ�‬ ‫� ن �‬ ‫�‬ ‫�ورك� �نل�ه�م م� َ � ر ل لنج و ي َ‬ ‫�� ا � � ن ا �� ن ه ْ �ن ا � ي‬ ‫ا ن�‬ ‫�‬ ‫�و��ب� َد لَر �ن� ��َد ��ي�ب� ل�ه�م �ي�� َ�رب� َ‬ ‫� ْ َ‬ ‫� َ �ي ن‬ ‫���ْ���ا � ي‬ ‫ا ��‬ ‫�‬ ‫�‬ ‫�ود ا ي�بف�م � �م او َ����ه�م �ي�ل�ى �َ����ر ن َ‬ ‫َْ‬ ‫��من �ي د ْن�ي�ل�َّيه� ��ا ���ا���س�ا ا � ي‬ ‫��‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫ل‬ ‫ر‬ ‫�‬ ‫�ى َ َ ي‬ ‫�َ‬ ‫ن‬ ‫َ‬ ‫ّ‬ ‫� ْ‬ ‫��ا � ي‬ ‫�‬ ‫�و�ه�م ن��ل�� �ن� ا �ل�نَم��‬ ‫� �م�ا ن�ي��ه �َ��� �‬ ‫�‬ ‫�‬ ‫َ‬ ‫ج‬ ‫‪40‬‬

‫‪1،11‬‬

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‫‪15،11‬‬

~ 11 ~

The things of this world can’t be gotten by mere tricks,

11.1

so I’m smart at handling my affairs.117 I make ends meet by striving in body and spirit, when the sun is up, with little sleep at night. I work, think, labor, and sweat without respite; 118 diligent and shrewd, I calculate every step. I know what it takes to make a living, to toil, without owning so much as a camel or sheep. I do the right thing to bring home the bread,

11.5

stick to the rules when performing my prayers. And if things don’t work out, then no regrets: I submit to His decree, for He knows me well.119 I see people without a notion of what to do, Living a life of torpor, devoid of ambition. Their minds are at peace, they have ample leisure, they don’t venture out for gain—it comes to them. They have no interest beyond counting their wealth: it leaves them no time for noble acts. They don’t give a damn about doing what’s right; 120

11.10

they don’t care a whit to practice virtue. Others are always busy, running here and there; their mounts travel all night and sway with fatigue. They eagerly search for a living in faraway places; they try their hand at each and every trade, Yet remain vagabonds, forever penniless, hard-pressed to find a morsel for their guests.121 Others whose company you thought agreeable show their true face only on deeper probing: They proffer advice with candor,

11.15

but flagrantly disregard their own words.

4١

41

‫~~ ‪~~ ١١‬‬

‫ه ن �َ ْ ي ي ا �� يْ َ ْ ن ا � َ‬ ‫م ���طَّا � ي‬ ‫حمي���ف�م نَ ����فْ�م�ب�ا ن� ا ������ا ن��ي�ك ��ا‬ ‫��ل�ا نَ�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫ف‬ ‫�‬ ‫�‬ ‫�‬ ‫�د‬ ‫ب‬ ‫���‬ ‫�‬ ‫�‬ ‫�‬ ‫���‬ ‫ل‬ ‫�‬ ‫ه�‬ ‫�‬ ‫�‬ ‫ب‬ ‫ب‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫و‬ ‫�‬ ‫ر‬ ‫�‬ ‫ي‬ ‫و‬ ‫و‬ ‫ن‬ ‫ي‬ ‫ي‬ ‫ي‬ ‫ٍ‬ ‫َ‬ ‫ن‬ ‫ّ‬ ‫�‬ ‫�‬ ‫�‬ ‫ْ‬ ‫ٍ‬ ‫ن‬ ‫ْ‬ ‫�‬ ‫َ‬ ‫��ب�د ��بش��ي�ل ن ��ا ����ب�د ا � ا � ي‬ ‫��ب�د ا ي�ب�ه � �لي�ب�ا � �ل �ب�ا � د ا ن�بش��ي ن‬ ‫�ي ��ودّ �و ن� �َ�م �وي�ي�ك � او �‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫و‬ ‫و‬ ‫ي‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ل‬ ‫ن‬ ‫�‬ ‫ٍ�‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫�‬ ‫ا نَ � َ َّ نَ� ا �ي‬ ‫ن‬ ‫ّ‬ ‫ي ّ‬ ‫ي‬ ‫ن�ب�ل�� ا ��ا ك ��ا � ا �‬ ‫ي ي‬ ‫��ب� ل�يى ا �ل���بف �ري��فره � ��َود ��بف�م ��بفرا ��بف�م ر�ن� ر�وده ي�� ��ود ح���ب� را ل�ي�‬

‫‪42‬‬

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~ 11 ~

If you stagger in, your lips cracked from thirst, they bluntly say, “We’ve stowed away the waterskins.” They’d rather see you dead, and call it friendship— for enmity pure and simple, look no further. Beware, gentle friend, of befriending such men: they’re usurers, charging exorbitant rates.

43

43

‫~ ‪~ ١2‬‬ ‫ّٰ يَ‬ ‫�ْبش�َ�بي� كي� دَ ْر �ل�ى ����ف�م�ا �‬ ‫�‬ ‫�ي�ا لله‬ ‫ن ل َ ل ن ي َ َج‬ ‫ن َ ّ ي ن �َ نّ نَنْ نَ‬ ‫ح�ن��ا �‬ ‫��ب�هي نَ�‬ ‫�‬ ‫�بي�لي�� �م� ���بش��� ن�‬ ‫���‬ ‫�‬ ‫يى‬ ‫َج‬ ‫ا �َ ي َ�� ْم ا � ا ن �‬ ‫ا‬ ‫�‬ ‫�ي� �لي�� ي�‬ ‫�‬ ‫ل‬ ‫ش� ن� ��ب� �يى‬ ‫�ب� �ل��ن�ي�م��� ا � ��� ي‬ ‫� ي �َ‬ ‫ه �ى ��ي�ل ���ف �ر���ده �����ا �‬ ‫�� ا�‬ ‫ولي�� ل� �و �يى َي ي‬ ‫ن َج‬ ‫�‬ ‫ا ي ي ّ ا� � ا‬ ‫�و�ع ن� ا�ا�َبفرا ن�‬ ‫�بي�ل ��ب� �َ�لَ�بي�ل اَ�م����� ��يى‬ ‫ا ��ل� �يَ��َ� ّ���ش� ن‬ ‫���ا ����طفر�ى � او ������يرا �‬ ‫�‬ ‫ي‬ ‫َج‬ ‫ى و ع‬ ‫َ‬ ‫َْ �ا ْ َ ن‬ ‫ا ���رج� �و�ل� ا د ر�يى �وي�� �ه�و �نَ�ه ��بف ار ��يى‬ ‫َ �ْ‬ ‫����ش��� �ن� � او ند ا ر�ى �َ��ن �� � ا �� ��ا �‬ ‫�م‬ ‫و‬ ‫ي‬ ‫و ن ير َج‬ ‫� ا �ُ‬ ‫��لَ ا َ ا � ا � �‬ ‫ا‬ ‫�ى �م� د ��ب�‬ ‫�ب� �ل�يى َل���ب� ا ��� ��ود ��ب� ��يى‬ ‫�� ن َ ْ ي �‬ ‫�َ��د ��ي����ه ند ��ا �‬ ‫�‬ ‫ال‬ ‫ف ا�‬ ‫ي‬ ‫�‬ ‫ل‬ ‫�ى َد كر� �يى‬ ‫َ ن َج‬ ‫ن ا�‬ ‫� ّ � �‬ ‫� او �ي� نل���ه ا �ي�ل�يى �َم��ي�ل �ن�ي�ق��� ا�َ���د ا ��يى‬ ‫�َ‬ ‫� �ن� ���� �ي��ي� � ا‬ ‫نا َ �‬ ‫ل‬ ‫�‬ ‫���� َ��يى‬ ‫ا �� ��بي يل�بي�ل ا ن�و و ي ل‬ ‫��ا ند ا ن� ا�ا�م��ْ���ال� ��ي�ل�ّ��ا �����ل�� �‬ ‫ي ج َ م ني‬ ‫َج‬ ‫�‬ ‫ن‬ ‫ن� َ �ّه � �ن � َ‬ ‫����د رك ا �ل�ا � �����فرا �‬ ‫��سو� نل‬ ‫�‬ ‫��يل� َي� �‬ ‫َج‬ ‫َ‬ ‫َ‬ ‫ي�� ْ�ي� ا �� ن�ل�بفرا �ي� ا ��ي�ل �����فرا ��ب�ه �َ���ل�� �‬ ‫نل‬ ‫ن‬ ‫�يى‬ ‫َج‬

‫‪44‬‬

‫ن‬ ‫�‬ ‫ْ‬ ‫��ب�ل�� �‬ ‫�نَل��ب�د ا ك �ي�ا �� �ل� �ي ا �ي ��ه ا‬ ‫َ ريى �ل�ى �ل�يى ن � ج‬ ‫�م ن � �� � ���م�ن� ي� ا ��ل �َ��س��� ل��نى �ي� ر ن��س ��ل�ا �‬ ‫� ي وم َ‬ ‫ين ي‬ ‫يى ج‬ ‫ْ‬ ‫� �و�ْ�فردّ �َو�ي ي� �ن��ا ي� ��ا ����نَ�� ّ ��َ�� ّ��ا �‬ ‫ٍ‬ ‫ن يى‬ ‫َي َ‬ ‫نج‬ ‫ْ‬ ‫ْ‬ ‫�َ‬ ‫ن‬ ‫�‬ ‫��بفر ا �ل�ا �ّو��ل �ي�����َبن�س �ع�ي�� �م�ا را �‬ ‫� او ���‬ ‫�‬ ‫�‬ ‫َ يى َ ن‬ ‫ج‬ ‫� �ُ‬ ‫نَ‬ ‫�م��ٍّ ��ب�ه ا �ي�ل �ي�‬ ‫�ش�� �نَلّ����ط�ا �‬ ‫�‬ ‫ل‬ ‫ا‬ ‫�م‬ ‫�‬ ‫ن‬ ‫� � ن �يى و ي ن‬ ‫ج‬ ‫َ ��‬ ‫ا ن�َ نْ ي ��‬ ‫ط ر�ي� ا ����نَ�� ّ �َم ْ���بفرا �‬ ‫ل‬ ‫�‬ ‫�‬ ‫م �‬ ‫� �د‬ ‫يى‬ ‫ب � �يى ع �وَ‬ ‫ج‬ ‫� ا ن� ن �ي�لَ �ي ْ � �ن ّ�� � ا � ا‬ ‫�����ا �‬ ‫�‬ ‫و �َب�د ن� �ي�ل�ى َب�د ب�ل ن �ل�‬ ‫نج‬ ‫م ج‬ ‫يي‬ ‫ّ‬ ‫�‬ ‫ّ‬ ‫�ْ � َ‬ ‫ه �ى �م�ا �ني�ك �ع ن�س �و�ل�ا ������ا �‬ ‫�‬ ‫َ‬ ‫�وَ �مي�ل ا �ل� و‬ ‫يى‬ ‫ج‬ ‫�نَ ن ْ ي َ‬ ‫ي ْ‬ ‫��ْ�ش�ن��ا �‬ ‫��ي�ل�ه ���د �ي��د ���‬ ‫��‬ ‫���ا د َ�من��َرد �و�َم�‬ ‫ج‬ ‫ّ‬ ‫�و�ن��فٍر � �� ّر� ن�س َ�ع�� َ��ي�ل�ع ن �و�ه� ������ا �‬ ‫َ ي و ي يى‬ ‫�� و ج‬ ‫ّ‬ ‫�‬ ‫َْ‬ ‫��ن �ن��ن��ا ن�����فر ا ���َ���� ن ند ر�ن�ا �‬ ‫�‬ ‫ا ��س���فر �و ��‬ ‫ي� َ ج‬ ‫ْ‬ ‫�َع ن‬ ‫��لن�� ن�ي�ل �� �و����ب�ا �ن� ���ه ��ا ر�ي� ��ل�ا �‬ ‫�‬ ‫ي �َ‬ ‫ن ٍ ج‬ ‫ي‬ ‫َ‬ ‫َ‬ ‫ّ‬ ‫�‬ ‫عي�ن يه�‬ ‫��ب�ا َ� ْ���‬ ‫�ب�ه �ي�بي� �ن��فنرا ا �ل�ار� او �‬ ‫�‬ ‫�‬ ‫َ‬ ‫ج‬ ‫نل ع‬ ‫َْ‬ ‫ْ‬ ‫�و�يبي�ل��ه �ي�ل�ي�ك �م ن ا ��ل�ا �ن�ب�ا ��ل�بي� �ي� ن�������ا �‬ ‫ن ي‬ ‫�‬ ‫ي لَ ج‬ ‫َ‬ ‫َ‬ ‫� ��م ّ‬ ‫��ن����ب�ه �و���� �ن�ا �‬ ‫� ��ب�ا ي� ْ����ف َ�م� �‬ ‫ين‬ ‫وَح ن‬ ‫وج‬ ‫ع‬ ‫‪44‬‬

‫‪1،12‬‬

‫‪5،12‬‬

‫‪10،12‬‬

‫‪15،12‬‬

~ 12 ~

I supplicate You to smooth my path, God:

12.1

guide me to do what’s right and in my interest. I renounced love’s play and lowered my wing 122 when gray hair showed and flecked my temples. If only this white abomination would wash off and the halcyon days of carefree dalliance return! If only the pursuit of love were licit, allowing us to revive the good old times. Exertion is no obstacle to manly deeds

12.5

if you’re inclined to tackle noble challenges. When my mind is at ease and finds repose, I take a stroll down dalliance’s path: To sally forth in the morning into the unknown— white nights that last till break of dawn— To wander lovelorn, blown along by winds,123 no relief or escape from the burdens of passion; 124 They whittle me down to a sliver of wood, as with a carpenter’s rasp or plane.125 It kills me to think of her sweet conversation,

12.10

the rare honey that shows on snow-white teeth.126 Her neck is as white as the eggs of an ostrich: it keeps me awake like a sting in the eye.127 They say I’m fine, but inside I’m afflicted: infected by rabies, I see lightning flicker.128 Slayer who needs no weapon, give the Muslim fair warning before taking his life! 129 Why not show yourself in good cheer and bring relief that dissolves a heart’s rancor, Before he is forced to drink separation’s brine, and a lover’s sobs are lost in the empty distance?

45

45

12.15

‫~ ‪~ ١3‬‬ ‫�َ‬ ‫�‬ ‫�‬ ‫��ب�ا � ��و�م �ي�ا �ن �نل���� �ع ن� ا � نار د �َ�بش�ْ�م���ط�ا ه‬ ‫ٍ‬ ‫�‬ ‫� ْ يَ‬ ‫�َ ن نْ َ �َ يْ ا �‬ ‫�‬ ‫ْ‬ ‫�ب�ا �ل � او نل‬ ‫ل‬ ‫���ي� ا �‬ ‫�‬ ‫ح���بف� �� ن�بفر ها‬ ‫�بيل� �ن�‬ ‫َ م‬ ‫� َ ْ � َّ َ‬ ‫�� نَّ هي ا �� نَ ْ � ��منْ‬ ‫�بف نراه‬ ‫��ب�د ر اَ����نب�ه ���ب� ل�‬ ‫�ن�ا �ل�‬ ‫��بفرم َ‬ ‫ْ‬ ‫� ن َْ‬ ‫����ب� ها‬ ‫ْن‬ ‫���ا ن� ا ��ا ل�‬ ‫ك��ميى ك� ن‬ ‫���و ا � ن�ر��يى َي�ل� َ‬ ‫� َ ْ يْ‬ ‫ْ‬ ‫ْي‬ ‫��ن��ر � او ��م او ه‬ ‫��نَ��ر �م�ا د ا �م ا � َ�د ر�ي�ل�ى ا �ل�‬ ‫ا�‬ ‫َ � َ ن � ي نَ َّ‬ ‫َ‬ ‫كفْ ي� �ن ْ �يب� ها‬ ‫ه او � ا �ل�ى �َ��د‬ ‫�‬ ‫��ن��ر ا �ل� �‬ ‫ر ر‬ ‫� ْ َ ْ‬ ‫� يُ‬ ‫َ‬ ‫��بي�ل ا ���َ�بل��� ���ي�ل�ن��ا ه‬ ‫�وي� ن� ا �ن� ي� �ي�ا �ي�ل�ى ���و َ�‬ ‫م‬ ‫ي‬ ‫نْ‬ ‫ْ‬ ‫َ ي �لنَ‬ ‫نْ � ا�‬ ‫ي‬ ‫ي‬ ‫عو�� ا �‬ ‫�سي�� �و�َ�س��ر �م ن� �َ��د �َ�ي�ل �ع��� ه‬ ‫ح�‬ ‫��‬ ‫م‬ ‫َّ َ ْ‬ ‫�ّ ْ‬ ‫�‬ ‫�و�ل�ا ي�� ْ��بَن��د ا �ل�ا �َ�بفر�و�يى �‬ ‫�ب�د ����بي�ل�ن��ا ه‬ ‫َ‬ ‫ٍَ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫ي‬ ‫�‬ ‫� ن � ْ َ َ‬ ‫نرْ� ن ا �ل‬ ‫ح���ا � ا �ل�ى أا ر ن��ى ��س�ي�ر �َ�بي�لن��ا ه‬ ‫ن�‬ ‫ن � � ا ي �� � ا �ن ْ ا�‬ ‫�م� را ع�يى ا �ل��س� ن� ��� ا ل�ى ���ب� � َ�م�د �ل�ه‬ ‫��نّ ا ��ل������ا ��ا � �� �م �يُ�� �� � �‬ ‫����ا را ه‬ ‫َ��� َ ن ي ي و وَ يى‬ ‫ْ‬ ‫�ب�ا ه �م�ا ��ه �� ن‬ ‫َ�يي�ل �ي�ا ���َبش���د �م ن� ن�‬ ‫ب��ا ن��ا ه‬ ‫ن‬ ‫َ‬ ‫�ْ�ش�ن�� ها‬ ‫را ��ي��ه �م�ا ��ي�ْب�د �ى �ي�ل ا ��ل ن��ا ��� ن�ع‬ ‫�‬ ‫َ ن ي �ى‬ ‫َ‬ ‫ْ‬ ‫ي ّ َ‬ ‫�ّ‬ ‫ا �ل‬ ‫ح ن� �ي ��و�م ا �ن�ي�ك �َ���ش�بفره �و��بفر���ب�ا ه‬ ‫َ‬

‫‪46‬‬

‫َ� َ‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫� او�ا���ا �يى ��ب�ا ��َي ن�ْ�فَرد ��� نب���ب� ن��فروده‬ ‫�َ َّ‬ ‫َ‬ ‫ي‬ ‫� او �� �لي�بي�‬ ‫�‬ ‫ش� ي� �ن�ه ����ش���ا ي�ر �و��موده‬ ‫��‬ ‫ل‬ ‫�‬ ‫ن‬ ‫ن‬ ‫� � َْ‬ ‫ْ‬ ‫�����ا ��ب�ه �وي� �����فَر ن� ��ه �و� نر����ا َي�����وده‬ ‫َ‬ ‫�َ‬ ‫ّٰ‬ ‫ّ‬ ‫�‬ ‫�ل�ا ���سي�ك ن �ل�يى ���سيى �ي�ل� ا لله رك�وده‬ ‫ٍ ى‬ ‫َ ْ يَ َ َّ‬ ‫� ا ْي‬ ‫��بن��ر ����ب�د �ى �‬ ‫�ب�د �وده‬ ‫�و�ل� �َ�ي�نبش�َ ��و�يى �‬ ‫ٍ‬ ‫�‬ ‫� � ن�َ ي ا ي ن ْ َ‬ ‫�َبن��ر �يل�بفر�ب� �‬ ‫�و�ل�ا ن�‬ ‫�َب�َ�� �و��بش���د �وده‬ ‫َ‬ ‫نَ‬ ‫ن �َ ي � ي نَ يَّ‬ ‫ن‬ ‫ا‬ ‫�‬ ‫ب‬ ‫ص‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ش‬ ‫�‬ ‫� ي��� � �س�و� ا ي�ل� ��م��� ن���وده‬ ‫يى‬ ‫َ‬ ‫�ّ �‬ ‫� ا �َهّ‬ ‫ا � ا �ي‬ ‫�‬ ‫ع‬ ‫�‬ ‫�‬ ‫ا‬ ‫ل‬ ‫ش‬ ‫� �م ن� ن �� َ��ن�� ي� ���وده‬ ‫�ل� ن‬ ‫ج‬ ‫ج‬ ‫� ّ �ْ َ‬ ‫ي��ْ��ن�س ٍ ��بي�ل �ن�َ��ْ�ف ا ���دَ�م� �م‬ ‫��ف�م�وده‬ ‫َ ى �ى ر يى‬ ‫َ‬ ‫��َ��ْ� نس �َ‬ ‫حْ�ي‬ ‫�‬ ‫ا‬ ‫ه‬ ‫كي�ل �ع�وده‬ ‫ف‬ ‫�‬ ‫�‬ ‫�‬ ‫ي‬ ‫م‬ ‫ر‬ ‫و‬ ‫و‬ ‫�‬ ‫َ َ يى َ‬ ‫ي �يى‬ ‫نَ‬ ‫ا ��ي�ل� �َ���د ا �ي�ي�ل���ا �ن�م‬ ‫���ا ���ي��� د �وده‬ ‫�‬ ‫َ‬ ‫يى‬ ‫ع‬ ‫َ‬ ‫���ي��د �ع ن ا �� ار �م�ى �َي�لي���ا ل��نى ن�‬ ‫�ظ�ه�وده‬ ‫� ٍ � ي‬ ‫ْ َ � َ ّ ��‬ ‫ن‬ ‫�س�وده‬ ‫ا �ن��د ��ي ي� �ي�ك ��س�د �يى َل���ب�ا ا �ن�ي�ك � �‬ ‫َ ْ‬ ‫�َّ ُ‬ ‫َ‬ ‫ك�م�ا ه ��َ�� ن‬ ‫عوده‬ ‫�ي�‬ ‫ي� ا �ن�ه �ن�بفر�ى ا �ل�ه�م � �‬ ‫يَ‬ ‫ب�ي�ل�ه �و�َ��فْرل�‬ ‫��نر ن�ل ن��وده‬ ‫�و��ي�لن�ي�ك �َ�ب�د ا �� ي‬ ‫‪46‬‬

‫‪1،13‬‬

‫‪5،13‬‬

‫‪10،13‬‬

‫‪15،13‬‬

~ 13 ~

I can’t blame a soul who abstains from food: 130

13.1

no amount of water cools its flames. His health is undermined: body emaciated, heart consumed by raging fire within. Hidden deep in my chest lies a smoker’s secret: 131 if he stops, the craving nudges him back to habit. If I could, I’d hide my injuries from view,132 but only God has the key to calm my affliction. I endure as long as I can muster strength:

13.5

even lovers cannot suffer beyond endurance; 133 How to live with blighted hopes after separation if one is haunted by doubts about reunion? Where are you, courier, to take my message to Fayḥān, the heartthrob of a beauty who loosens her hair? He blocks the enemy when a lady’s veil slips off, and her mount panics in the turmoil and dust.134 If he thrusts his lance, the blade gulps down its drink: his hand is legendary for the blood it scatters. When the neck muscles of lesser horses sag,

13.10

he rushes to the rescue and fends off danger: A knight upon a steed that swoops and pounces, fed on the milk of its own camel herd.135 When his battle cry resounds, the enemy’s cavalry flees at breakneck speed, like hunted game.136 Tell him: “O joy of those who seek you out, I bare my soul to you, my pillar of strength. To others I will not reveal what ails me, but waste away until my ribs stick out. You are love’s shelter and haven; 137

13.15

your heart is its haunt and pole of attraction.

47

47

‫~~ ‪~~ ١3‬‬

‫� ا نْ ي َ َّ � � نَ‬ ‫�بن�َ�ر �ع ن َ���ن�ص‬ ‫�ل� َ���� رد د �ل�ى ا ل‬ ‫�‬ ‫�ب�ا �ي�ا ه‬ ‫�‬ ‫ي‬ ‫ا � َ �ْ ن ن يَ‬ ‫ْ‬ ‫�ع ن� �� �ل �م���بش� ��و�� �َ�ل�ي�ل د ا ه �نَ�بفرد ا ه‬ ‫ٍ‬ ‫يْ‬ ‫ا ي ّ ي � يَ �َّ يَ‬ ‫ن‬ ‫ن‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫م‬ ‫����ا ه‬ ‫�‬ ‫�‬ ‫�ي� ���ي�ل ��يلن�سيى ��يل��ي� � �‬ ‫ٍ‬ ‫َ � َّ‬ ‫َ ّ ا �� ّ �� � �‬ ‫ط او ه‬ ‫ط او �ل ا �ي�ل�ى ����د �وده ��ق �� �‬ ‫�ي�بف�م ل� �‬ ‫ي‬ ‫نَ‬ ‫َ ْ‬ ‫�ي�ل� ر����اٍ ��ب�ا ي������ا �ن�� ن����ف�م ������ا ه‬ ‫ى‬ ‫ع‬ ‫ع‬ ‫َ‬ ‫ّ‬ ‫َ‬ ‫�‬ ‫ْ‬ ‫�����ص ْ‬ ‫��ا � ه �� ن� ي‬ ‫�‬ ‫�‬ ‫ف‬ ‫ط ��و�� ن����ف�م ������ا ه‬ ‫�‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ك‬ ‫�‬ ‫م� ٍ� ن ر نب َ ٍ‬ ‫� َ ن ا �نْ �‬ ‫�ل‬ ‫�ا ي ا� ا‬ ‫�م�����ا ه‬ ‫�ل� �ب� �ل �ي� راع ا نَ ��بي�ل ر د نَ‬ ‫�ي�ل ا ���� ند �ى �ن���ن�س � ��� ن‬ ‫���ه �م�����ا د ا ه‬ ‫�ى ي ي يى وني‬ ‫َْ ن َ‬ ‫�م�ا �ن�ب�ي�ر �ي�بفر��ب�ا �ل�يى ن����شي�نس�ه � او �ن�ا ا ر��ب�ا ه‬ ‫َ‬ ‫َ نّ ي � ن َ ّ � َيْ‬ ‫��لي�يس�ه ا ��ل�ى كف �ر�� ��ه �‬ ‫�م ��ط �ي�ل�بفراه‬ ‫ي‬ ‫َ‬ ‫َ‬ ‫ّ‬ ‫َ‬ ‫ْ‬ ‫ي‬ ‫ْ‬ ‫���� ا ���ن ا � �َ ي � ي ن�ْ �‬ ‫�م���ط�ا ه‬ ‫��ره‬ ‫َ َ�� ر َ��ب� ي�بف�م �سن��ن�� ��‬ ‫اََ‬ ‫�‬ ‫ْ‬ ‫�ن‬ ‫�ل�ا ����� � �‬ ‫عن� ي� را ا �َ���ب�ا �ي�بف�م �ن� َ�د �ن�ي���ا ه‬ ‫ع‬ ‫َ َ‬ ‫��ا ا �ْ�ي� ا ���ن��ب�ا ��بف�م �م ن �ع�َمي� �ع�ْمي� ��ي�ْ�لي��� ها‬ ‫ي ل َ ي � ل ل يَ‬ ‫ّ‬ ‫ُ �‬ ‫�‬ ‫ْ‬ ‫�ل�ا ���سي�ك �ع�ن��ده �ن�� او ��‬ ‫���فر �و����د ا ه‬ ‫ي‬ ‫َ‬ ‫ا ي َ ّ � ي �ْ ن‬ ‫�� ��و �‬ ‫�َبي�ي�ل د � �وَن�ه ��ب� �َ� ن�ب�د �ل� نَ���د ا ه‬ ‫ُ‬ ‫�‬ ‫عود َري�‬ ‫�ب�ا نٍ� �ي�ل� ن�‬ ‫�ي�ا �‬ ‫�ب�ا �ل �َم ْ���ب�شي���ا ه‬ ‫�‬ ‫ى‬ ‫َ يَ ي نّ‬ ‫� � �‬ ‫ن‬ ‫� ��و ����ا �ل �ي�ا �َ�س�ه �م�ا ��ب�ش�ي�� ا �ل�يى ا������ا ه‬ ‫ّ �َ َْ‬ ‫َ‬ ‫�م ن� ند ا �ي� َ�‬ ‫له�م�ه �م�ا ي�ل ن��ا ���ب�ا ه‬ ‫ح ن� ا �ل��سي� �‬

‫‪48‬‬

‫ُ‬ ‫َ‬ ‫ُ‬ ‫�‬ ‫�مي� �� ا �ن�ي�ك ا �� نل�ب�ا ن�‬ ‫ه �ون�ه �و ��‬ ‫��وده‬ ‫ح��� �نل� �‬ ‫َ‬ ‫� � ّ نَ� �‬ ‫َ ْ ن ��‬ ‫���فٍر �ن��ف نر�وده‬ ‫��ي ن��ش���يى ا ��د � او � او ��د ا ح �� ي‬ ‫َ ّ‬ ‫�ي��ي�ل ا �� ��ورا د ا ��ي�ل� �‬ ‫�َ�ي��ا �ٍم �ور�وده‬ ‫َ يى‬ ‫ُ َ نّ‬ ‫��م ا ن‬ ‫�ي��فر�و ن�‬ ‫�ب�د ا �ن�ب�ه َن��� َد ن� ��ب�د �وده‬ ‫َ ع‬ ‫ْ‬ ‫َ‬ ‫َ‬ ‫ي‬ ‫�‬ ‫��ْ‬ ‫�م��ْ��َي‬ ‫�‬ ‫�‬ ‫ش‬ ‫� ��ب�ا �ي��� ن��ش� ا �ي�ل� �ي�لي ��وده‬ ‫�‬ ‫�‬ ‫�‬ ‫َ‬ ‫َ‬ ‫نٍ‬ ‫ع يى‬ ‫�َ‬ ‫َ ْ � ا نَ ْ‬ ‫� ن �‬ ‫ك�د � او�م‬ ‫�ب�ا ر�� ي����وده‬ ‫���ف�م���ب� ه ��‬ ‫ٍ‬ ‫ّ ا ن ي َ � �ّ ا ي َ َّ َ‬ ‫��بفر�م ���ف� �موده‬ ‫ا ��ب� ا �َ�لَ�ق����ش� �و�ل� �َل�‬ ‫ع‬ ‫�‬ ‫� ن ن ا نْ َ ي ُ‬ ‫�ل�ا �ه�و ن� را �ي�ب�د ل�يى � او �� ا ر �ر�ي� ا ر�وده‬ ‫َ ّ‬ ‫� ا ���كي �� نّ‬ ‫ب��ا ��ب�ا ��ي ن���ي� ن� ���ب�د �وده‬ ‫و‬ ‫�ل‬ ‫ن ا ���ْ�ق ����م ن �َ‬ ‫�بفرا �ي�من��� رد �وده‬ ‫ا �يل�‬ ‫��ب� �َوي ي�يى‬ ‫�‬ ‫� ن � �‬ ‫��بن�ش�ب�ا �ل�يى ل��يى �َلي���ا �ل�يى ����ش� ��وده‬ ‫� او �ي�ل�ى َ�‬ ‫ي‬ ‫�َ ّ‬ ‫ْ‬ ‫�‬ ‫ا ���ي‬ ‫ي‬ ‫ن‬ ‫ي‬ ‫ن‬ ‫ا‬ ‫�����ي�ل �‬ ‫��� ��ه �َ����شَ��فَر��� ��ب� ��وده‬ ‫�َ‬ ‫ل��نى ��ب�ا َي���شن� �ي �� �م ا نل‬ ‫هوده‬ ‫�وا رج� ����ظ� �‬ ‫��‬ ‫ٍ و‬ ‫ي‬ ‫يْ‬ ‫� نَ ْي �ّ‬ ‫�‬ ‫ا �ي�ل �م ن ا ����س ا ل‬ ‫�بي� �ل� � او �ي�ل� ن�‬ ‫�‬ ‫�ب ن��وده‬ ‫�يى � ى‬ ‫يى‬ ‫�‬ ‫� َ نْ ي‬ ‫ا � �لي��ي�ل ن� ��ب�ا ��ه ر���َن��هٍ �ع ن� �ود �وده‬ ‫ن ن ا َ ّ �َ � ان ُ‬ ‫عوده‬ ‫هو�ى �ل� � � �‬ ‫�م� اي�� ��ب� �� ن� ا �ل� �‬ ‫نْ‬ ‫يَ‬ ‫�ل � � ُ‬ ‫ا‬ ‫�‬ ‫�‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫ح‬ ‫ف‬ ‫�‬ ‫�‬ ‫�سوده‬ ‫�‬ ‫�‬ ‫�‬ ‫ك‬ ‫�‬ ‫ب�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا د َ ر ن ي ن وَ ن بلنج �‬ ‫ْ‬ ‫� �‬ ‫� ن �‬ ‫�كنَ��ر �ي�ب�دنَ� �و�ه�و ��ه ���َطفر�وَد ه‬ ‫م� ا � َ‬ ‫َ ج‬ ‫‪48‬‬

‫‪20،13‬‬

‫‪25،13‬‬

‫‪30،13‬‬

~ 13 ~

Instruct me, please, in the mysteries of passion: you are steeped in its pleasures and rigor; Of the malady man keeps within him,138 he yearns to be treated, but it only consumes him more.” Ah, the pull on my heart comes from deep down, like water drawn for camels frantic with thirst, From al-Ṭwāl, deep wells with stone casings: a daunting challenge for those heaving the ropes, Tied to a strong and impetuous she-camel:

13.20

an intractable beast for the man directing her, She shies with the rider, bolting right and left; steering her is hell, turning her worse. When they shout to stop, she picks up the pace, breaks the rope; or else the well beam cracks.139 I feel such pain for her—we are in touch; but she neither visits me, nor can I go to her.140 She just gives me the eye, and I look at her: the two of us keep our secret locked away. If only she’d read my scribble, if I sent one,

13.25

and promptly send me a note in response! But whispers and aspersions made her wary, my darling of many ecstatic nights. Let the rumormongers come to grief, or better yet, be rooted out for good. The backbiters will get their just deserts: on Judgment Day, wounds will bear witness.141 Though she is watched by enemy guards, distant kinsmen and clan members, Who keep her from me, I cannot change how I feel, and I cannot force my heart not to love her. Ah, my sweet stalk of basil by the stream, swaying on breezes that gently bend its stem: Even though my chances are bleak, I cannot forget her joie de vivre and sparkling black eyes.] A lover who’s tasted the love of the dreamy-eyed 143 remains obsessed even when bent by old age.

49

49

13.30

‫~~ ‪~~ ١3‬‬

‫� ُ‬ ‫َ َْ‬ ‫ع د �يَ��َ�� ّ‬ ‫����ا ه‬ ‫�����فر���ه �َي�ب�د �يى �م�ا ����ل � �‬ ‫و‬ ‫ٍ‬ ‫�يْ‬ ‫� ْ� َ ي � ْ‬ ‫ا�َا�م���طفر�� ا �ي�ل� �يَ�ن���يَ�ش�ن��ى �َوي� ن� ا �ن�ا ا � �ل�ب�ا ه‬ ‫يى‬ ‫ي‬ ‫ّٰ ا يَ ن ا � ي َ �ْ‬ ‫�‬ ‫ا �ل ����ب�ا ��ب�د ا لله �م� ������ �لي�� �م����فرا ه‬ ‫ْ‬ ‫نْ �‬ ‫َ‬ ‫ا ر� او �ل � او ن���د �م�ي�ر �م�ا �ي�� ن� �َم ��������ا ه‬ ‫ا‬ ‫����ا �م ن �ن���ن�س � ��� ن‬ ‫ب��ه �� ن‬ ‫���ا �ن�ا ه‬ ‫�م� � ر � ي يى وني‬ ‫َْ‬ ‫�‬ ‫�‬ ‫َ‬ ‫ا � ارن� ا �ي�ل� ��ب�ا د ر�ى �َوي� ���� ن��ي� �ل او ه‬ ‫ج يى‬ ‫ّ‬ ‫ُ‬ ‫�ْ‬ ‫َ‬ ‫َ ن اي‬ ‫نا‬ ‫ك او �ي�ا ه‬ ‫�‬ ‫�‬ ‫� او �� �و�َم��ي�ل�يى ن��ي����� ٍ‬ ‫�‬ ‫ن‬ ‫�ن ي‬ ‫���د ا �َ�من��س � او �ل‬ ‫�ب�ا ���ب�ه �ع�نب�د �َ�مو�ل�ا ه‬ ‫ى‬

‫‪50‬‬

‫ُ‬ ‫ّ �ْمَ‬ ‫�‬ ‫�‬ ‫عون� ا ���َ�مَ��سى �‬ ‫�و �ل�ا ���يى �ي�ل� �‬ ‫�ب�د �وده‬ ‫�‬ ‫ي‬ ‫ى ج‬ ‫� َ � نْ‬ ‫نَ نْ‬ ‫َ‬ ‫�عي��ن�س �ل�ب�ا ���ط�ش�‬ ‫�‬ ‫�ب�ه � �و �ل����سى ����َبفر�وده‬ ‫ى‬ ‫�‬ ‫ي‬ ‫ي‬ ‫َ‬ ‫ّ‬ ‫�‬ ‫� ا �� � � ا �ي��ن‬ ‫�وده‬ ‫��م� ن� �ع ن� �و ن��‬ ‫� ا �ل� َ ن‬ ‫�ل� �سيك و َ ٍ‬ ‫ن َ‬ ‫ا يَ �ن �َه � ا �ن‬ ‫�نن‬ ‫� �ي�ب�د �ود ه‬ ‫ا �ل�ب�ش���� �ي� ��ش� �� � ي‬ ‫��� ٍ‬ ‫َّ‬ ‫ا َ� َّ ن ��لن �‬ ‫�م� ح���ب�ش� ا �‬ ‫�ب�ا ��‬ ‫طر َ�ي��و�ي��ن� �ور�وده‬ ‫َ‬ ‫ْ‬ ‫َْ‬ ‫�‬ ‫����ي��ه �م ن َ�‬ ‫�‬ ‫�‬ ‫�‬ ‫َد �‬ ‫��‬ ‫�ب‬ ‫ح�� �سوده‬ ‫ه‬ ‫�‬ ‫�د‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ن‬ ‫و‬ ‫َ‬ ‫ن‬ ‫و‬ ‫�‬ ‫َ‬ ‫�‬ ‫ن � ي َ َّ �‬ ‫هوده‬ ‫�ن�ب�ي�ر ا �لَن�‬ ‫���ف�م�ا � ا �ي�ل�ى �َ� ن��ش�� �� �ل� �‬ ‫�ّ ي ْ‬ ‫� ي ُ‬ ‫�ا �‬ ‫����� ا �ل�ا ن َ�‬ ‫� ل�‬ ‫�وده‬ ‫�����ه �و ن��‬ ‫�و�ل� �� ٍ� �يل� ي ر‬

‫‪50‬‬

‫‪35،13‬‬

‫‪40،13‬‬

~ 13 ~

My hand is fastidious: any old cane won’t do; the choices are many, not just crooked sticks― But how to find one that is the perfect fit? 144

13.35

My eyes dart about and I am hard to please.145 As God is my witness, I’d pay any price for her, but penury keeps her beyond my reach. Stunning looks abound, but they leave me cold: my soul is repulsed, then turns away. Not a word passes between her and me: it breaks my heart not to have her news! Good fortune is never to know such misery: blissfully serene, unpestered by the envious.146 On me and those like me the brands are deep: ghastly yellow pus gushes from our sores.147 This is my tale. Closure is in the hands of the Lord— not a thing happens outside His will and benevolence.

5١

51

13.40

‫~ ‪~ ١4‬‬

‫ن ي‬ ‫��‬ ‫�ي�ا را ��‬ ‫� �م ن� ��‬ ‫���د �ن�ا َ� ْ����ش� ��ب�ا �ي�ا ي�‬ ‫ن‬ ‫ٍ‬ ‫ع‬ ‫َ َْ‬ ‫َ‬ ‫� ْ �ي َ ّ‬ ‫�ي�بفر�ع نّ� �م ن� �ع ْر ن�‬ ‫�ب�ا ا �ل�ى ا د �ن�ا ا � �ل�بف �ري�ا ي�‬ ‫�َ‬ ‫�ن ا يَ ن ��‬ ‫�ن�مو�ي� ا�م‬ ‫���ا �َم ْ����َ��ير�‬ ‫�ب� َر�م ي�‬ ‫�‬ ‫�‬ ‫م‬ ‫�ب�ا ي�‬ ‫�‬ ‫ي‬ ‫ن ن �‬ ‫َ‬ ‫ْن ّ‬ ‫ّ‬ ‫�يَ�ي�َل��ع ن� �م ن� �ع�نب�د �يى َرن� ��و� ا�ا��ش��� ن��ا ي�‬ ‫�َ نّ � ��ا ن َ‬ ‫َّ‬ ‫ن���يك َرك�� ��ي ن�‬ ‫���ا ���فرا �و�يى ��بش�� ار ي�‬ ‫َ‬ ‫ن ْ آ� ا‬ ‫�َ�� ن ن�‬ ‫حَ���سي�� ن� �و���و�� �َو ن�ي�ل�ود � او �ل� ي�‬ ‫يَن�‬ ‫ْ‬ ‫�‬ ‫ّ‬ ‫ّ‬ ‫ي ا �� �ي َ �‬ ‫�ي‬ ‫ع�بي�ل �و�ا�ب�ا ي�‬ ‫�َ�ب�د ا � �ل �� او �ي��ف�م ��ب�د ه �َ‬ ‫َ�عَّ‬ ‫���� � ��ل�ا���م�ن�ب�ا ��له� ���ا �ي‬ ‫�‬ ‫ن�‬ ‫ا‬ ‫�‬ ‫� م‬ ‫�بي�ل ر و �ي ن ٍ و‬ ‫ن�َ نَ نّ ن‬ ‫� � ي‬ ‫���د � ل��يى د ا رك �َل�ي��ا �ٍل �م��ي�بف�م�ا ي�‬ ‫ْ َ َ ي � ْ َ� ّ � ن‬ ‫� او �ن��يب�ه ���ش��ي��د ا � َن�ر�� �ي�ا ���عي� ن� ا ���د ا ي�‬ ‫ع‬ ‫ن نَ ي ا َ ْ َنْ‬ ‫َ‬ ‫�م����ف�م�ا �ي‬ ‫�ي�بفرا �يى �م �‬ ‫�‬ ‫ك َن� �‬ ‫ف‬ ‫ه‬ ‫د‬ ‫ب‬ ‫�‬ ‫ب‬ ‫ر‬ ‫ر‬ ‫�‬ ‫ٍ‬ ‫ْ‬ ‫َ‬ ‫�‬ ‫َ َّ ن � ن ن �‬ ‫َن‬ ‫�ن ّ‬ ‫د �ور َ������‬ ‫ي� ا �ر�و� ��د ن� ا �لَ��م��بي��ا ي�‬ ‫ج‬ ‫�َ نَ‬ ‫���صَ � � ن � ن‬ ‫حي�ك �ل�يى �ن�ا �ل��َبف�م�ا � ا �َر��ي�����ا ي�‬ ‫ا �ل�ى‬ ‫�َ َّ‬ ‫�� ا �‬ ‫�‬ ‫ا‬ ‫ه‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫د‬ ‫�‬ ‫�‬ ‫��ب�د ا ي�‬ ‫ك‬ ‫ر �و��‬ ‫�وا �ام‬ ‫ن‬ ‫ر‬ ‫و‬ ‫َي َ ي‬

‫‪52‬‬

‫يْ‬ ‫ن‬ ‫��م� � ن � ا ��ْل�ن‬ ‫�ي ْ����ش���� ن‬ ‫ي� �م�‬ ‫� �ي��فرا َد‬ ‫�‬ ‫�‬ ‫ب‬ ‫و‬ ‫َ‬ ‫ع َ� ي�‬ ‫ٍ‬ ‫َ‬ ‫ّ‬ ‫َ‬ ‫ن َ َ ن � ْ‬ ‫ن‬ ‫� او � ��سنس�د � �ي�لَ���م�� ن� � او ر��� ���ب�ا َد‬ ‫ٍ‬ ‫ْ ي �َ ن ْ َ‬ ‫�ن‬ ‫�َ�بفر� او � ���‬ ‫ي� �����ي��ي�ل َ��م���نب�ا ه �ن�ا د �يى‬ ‫�ْ‬ ‫ان� ن ��س���ّ�ي� �ر نل�� ن��‬ ‫ح ن� رد ا َد‬ ‫� ني ل ي‬ ‫ٍَ‬ ‫�‬ ‫ا ن‬ ‫�َّ �‬ ‫�َو �ل�م َ� َل�� ن� �م ن� ا �ل� � او �ل�يى �َ���د ا َد‬

‫� � �د ��د � �� ا �� نَ� ن‬ ‫���ب�ا �ن� ا ��ل�ي ن‬ ‫ب��ا د �يى‬ ‫َو�ب ي� و ي�� ٍل‬ ‫�ن ن �‬ ‫�َ� ش�يَّ�ي �َ ف ا �ي‬ ‫��ب�ا َد‬ ‫م� ن� ا �ل�م�‬ ‫���ا � او ���� ن�‬ ‫ب �ل �بر ي‬ ‫ْ نَ‬ ‫�ْ �‬ ‫�‬ ‫� او �‬ ‫�ب�د ر �ع ن� ا �ل ������ا ��ي ن� �و �َو���د ا �رد ا َد‬ ‫َ‬ ‫َ‬ ‫�ْ ي ن ي �‬ ‫� او ْرك� �ي�ل ن��‬ ‫ح ن� � �ل ��و� ا � �ري�ا د �يى‬ ‫ن �ى َ ٍ‬ ‫َ‬ ‫�‬ ‫َ َّ َ‬ ‫ُ َّ‬ ‫د �ور �ع ����ب�ي�ر�يى �ي�ا ��بفر�و�يى ا ����ن��ا د �يى‬ ‫ن‬ ‫ا �ْ� َ � ا ْ �‬ ‫��ر ���و ��ي ��و�ل�ى �‬ ‫�ب�د ا َد‬ ‫�م� ا �م� �و�ل� ا �نلَ�‬ ‫ي‬ ‫ع‬ ‫ن� َ ّ � َ‬ ‫�‬ ‫ْ‬ ‫َ‬ ‫�‬ ‫ل‬ ‫��ب�ا ل��نى ا ل‬ ‫�‬ ‫ح ����ب�ا �������ه ���‬ ‫طس�ى ا ���ب�ا َد‬ ‫ي‬ ‫َي َن ن ي‬ ‫�‬ ‫ن ن‬ ‫� نْ � ن َ ّ ا‬ ‫َي����� َ���‬ ‫ي� ���ف�ٍم �ل� ن��يى ل��يى ��م او د �يى‬ ‫ٍ‬ ‫ي � � نْ �‬ ‫�م ن� د�يره ا �لَ��س�� ن�َبي�ل ���د ا ر ان� ن� ��ب�ا د �يى‬ ‫‪52‬‬

‫‪1،1،14‬‬

‫‪5،1،14‬‬

‫‪10،1،14‬‬

~ 14 ~

Poem by Fayḥān ibn Zirībān148 Rider who sets out with nine hundred mounts,

14.1.1

ninety, ninety more, and another thousand! They pastured from ʿArjā to near al-Grayyāt, in the uplands of al-Shi ʿb and the gravel plains.149 They roamed on pristine grounds in the hot season, grazing until Canopus winked low on the horizon.150 Take these camels to a host who cares for tired mounts, Ibn Sbayyil, where exhausted camels will regain their strength.151 My riders came to you on animals bare of trappings: 152

14.1.5

now it falls to you to outfit them: Wooden saddle frames, wool, leather, gear, metalware, and brisk lads eager to help.153 Make sure you have enough rope to tie them! Hobble the hamstrings and limbs of the hardy ones; Lose no time! Hurry the camel drivers on, and beware of graybeards and good-for-nothings! They took their time getting ready at your place: ride the speedy racers into the endless wastes. You, my fine fellow, are chief of a close-knit band: drench your blade in blood, seek out my love! 154 I perish from thirst in waterless deserts since her loss: hearing and vision are gone, yet my eyes stay sharp.155 Go, find my sweetheart, with her sweet lips and wasp-like waist, graceful as a plains gazelle. When she laughs and shows her finely chiseled teeth, any sorrow lodged in my heart is swept away. Have them run toward Mecca, to far-flung lands, from al-Shunbul’s home to where Ibn Hādī holds sway,156

53

53

14.1.10

‫~~ ‪~~ ١4‬‬

‫�ان‬ ‫ح َ��س�� ن‬ ‫�و�م ن د �ي�بفرهي �‬ ‫ي� �ود ا ر ا �ل���ب�ا � او ي�‬ ‫� َ‬ ‫ٍ‬ ‫� َ�ْ َ �‬ ‫َيّ ن‬ ‫�و� ��� �ي�ل�ى ا �ي�ل�ى ي���م�ن�بي�ل ا�ا�ب�ا �ر�يي�ّب�ا ي�‬ ‫ي‬ ‫ن �ن نَ ْ‬ ‫ح��د ��َ�ْب ن�� ن ا ��ل�ا���ب�ا �ي‬ ‫�ونَ���بي���‬ ‫ع �َم� ل�يى ن� ي ن و� ن ي‬ ‫ْ‬ ‫�َ � يَ‬ ‫�� نصَ‬ ‫�َّ��ن� ا �� � � ��ل� ���ا �ي‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫روج يى‬ ‫�و �ل�ى َ� �لي � ي‬ ‫� ا � َ نْ � ن‬ ‫ََ ن‬ ‫حي� ي� �م ��� ن��و�ل�يى �و�ه�و �م�ا ن�����د ���ا ي�‬ ‫�ل� نَ‬ ‫ن �يَ‬ ‫َ ّ ي ْي ي‬ ‫ا � �م�ا َ� �ل�مي�َيس�ه ��يى ��ي� �ل�ب�ا ه َ�ب�د ��ب�ا ي�‬ ‫ا � ا �ي ا �لن �َ ّ ي � ن‬ ‫�ك‬ ‫���ا � �ه�و ��ب�ا ي�‬ ‫�و �ل� ��فر �يى �شي� ٍ‬ ‫�ي ف ا � � ا ي� ي�لْي ه � َ ّ � � ا‬ ‫حي�ب�ا �ل� ي�‬ ‫�بر يى �ب� َ� �� �ب�د �ور‬ ‫� ْ َ َّ � ا‬ ‫�َ�ب�ي�ر ا �ْ����د ا �ل‬ ‫�َبفر�وه � او ر�م�يى �ن�ا �ل�� �� او ي�‬ ‫نَ‬

‫يْ‬ ‫� ن �� �‬ ‫ا �َ� �‬ ‫� ا ن� ن‬ ‫�ش������ي� ا �‬ ‫ل���فرا َد‬ ‫�ل� �‬ ‫�وا � ����� ره َ‬ ‫�و�ّي��ن� �ي�ل ا ��ل��سي�ْل�����ا ن� � او ��ي� ا �نل‬ ‫���ب�ا َد‬ ‫�ى َ‬ ‫ل‬ ‫�َ ْ‬ ‫�‬ ‫ن �ن �‬ ‫ي� ا � نل�ب�ل�� َد‬ ‫ا � نل�ب�د �و � او �ي�ل�ى �����ا ك��‬ ‫ي‬ ‫ن نَ ي ا َيْ‬ ‫�‬ ‫َ‬ ‫�‬ ‫ا‬ ‫�م� ��مو�� ��ب� �ي�ل�����ش�‬ ‫����د ا � �ري� د �يى‬ ‫ع نَ��� ي‬ ‫� ا يْ َ‬ ‫�ُ‬ ‫َْ‬ ‫��س او َد‬ ‫ا �ن�ي�من��� �و�ل� �َي�ل���د ر ���ي�لي�ي�ك ا �ل �‬ ‫� يَ‬ ‫ْ �‬ ‫نَ� ن�َّ ن‬ ‫��ب�ش� �ي�لي��ه ا � �ل�ن��ر � او ر�م ا �ل� �‬ ‫ه او د �يى‬ ‫ّ‬ ‫�ْمنَ ن ّ ن � َ‬ ‫���سن ����َطفري� �‬ ‫��‬ ‫���ن���‬ ‫ي� ا �ل���ن��ا َد‬ ‫�ق�‬ ‫ى‬ ‫َي‬ ‫ج‬ ‫�ا �ا �‬ ‫�ي‬ ‫ا �ل� �و�ل� ���ط�ا ر�يى ا � �لَ����ا �ن�ي�ك ��بفرا د �يى‬ ‫َْ‬ ‫�‬ ‫� ��� ن‬ ‫ن‬ ‫� ل��‬ ‫ا ن� �ا � �م ن �‬ ‫�ى ا َ�‬ ‫���د �و ن� ا � �نر�ا د �يى‬ ‫�ب � � ي‬

‫ن نْ َ‬ ‫��‬ ‫ا �‬ ‫� �م� ��‬ ‫���د �ن�ا �‬ ‫���ي�����فر�ي�ا ي�‬ ‫�ي� را � ن ٍ‬ ‫� �َ‬ ‫ٍّ َ�ن َّ‬ ‫����ف ا ا �ي‬ ‫�‬ ‫�ن�َ�ن��ا ي� �‬ ‫�َ�فر �‬ ‫�‬ ‫ا‬ ‫ل‬ ‫ه‬ ‫ل‬ ‫ي‬ ‫رر‬ ‫�� �و‬ ‫�َ‬ ‫� نَ‬ ‫� ي‬ ‫ْ‬ ‫ن�ل�ن�� ا�م‬ ‫�ب�ا َ� ن� � او ��� �� او َر ن� �مَ���سي�� ن�ب�ا ي�‬ ‫َي �‬ ‫نّ �ن‬ ‫ْ ي ّ‬ ‫�‬ ‫�ور �ور�و��ل�� ن� �َم����يَ �����ل�� ي�‬ ‫َن �� ا �ل�ص�‬ ‫ج‬ ‫ا � �َ ّ َ نْ ا ي ا ا�َ �ْ َ � نْ‬ ‫عي�ب�ا �ي‬ ‫� � �و� �م���سى �� �‬ ‫ط�‬ ‫�� �ل��� �د � ��� �‬ ‫ن � و ي� ٍ ن ي‬ ‫� َ ن َ ْ ن �ن َ ا نَ ْ‬ ‫ح��د �َم �ْ��س��ا �ي‬ ‫�ي �م��ي� ي�ر�ع� ل�ى �‬ ‫�ي�� ن�‬ ‫�‬ ‫ي‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫�‬ ‫ن‬ ‫�‬ ‫�ن� ��ن��� ن‬ ‫ح��ي� ��� ن ا ل‬ ‫� او ��ل�ى �‬ ‫ي� ��ي ن����ط�ا ي�‬ ‫� �ي‬ ‫ل ن ي�‬

‫�م ن �����ا �� َ�ع��ف ا ي‬ ‫� �ي�ل�� َد‬ ‫� ��بفرا ٍن‬ ‫�‬ ‫� ي ر ٍ‬ ‫�ُ‬ ‫�َ‬ ‫���� ��� �ي��ْ��ن�س ���ه ن�‬ ‫��ا �نل‬ ‫�َبف�مي�� ا �لن �� او د �يى‬ ‫ي‬ ‫ن‬ ‫ى‬ ‫� ي‬ ‫ع‬ ‫� ُ‬ ‫�ُ‬ ‫ّ �‬ ‫�ي�ل�يَ�ي� �لو ��ب�ا �� �سو� او �ل�� ن� ا �لي�� او د �يى‬ ‫�ْ‬ ‫ن� نْ � ي ْ نَ ّ‬ ‫��ب�ا َد‬ ‫�َم�‬ ‫��� ا �ر��ا ن� � �م��يب�ل�� ي� ا ���� ن�‬ ‫ع‬ ‫�ن نّ ا�ا�م ا � � ا ��ل ن ا ن �� �ْ‬ ‫���د ا َد‬ ‫َ��فر َ ����� َ�بش‬ ‫ع �و ��و ���فر‬ ‫ّ � نْ َ � ْ‬ ‫�َ ��ا � ْ‬ ‫��ي� �يل�ن��ص‬ ‫�م ن � ا ا �‬ ‫عي�نس�ا َد‬ ‫��‬ ‫ج ن َ‬ ‫� ���د �ل� ن ل َن ن‬ ‫� ا ي ن ��ّ‬ ‫َ ْ َ نَ َ‬ ‫�ي��فر�ع ن� ر��بفر �م�ا �ل� �� ل��يى َ���ل � او د �يى‬

‫‪54‬‬

‫‪54‬‬

‫‪15،1،14‬‬

‫‪20،1،14‬‬

‫‪1،2،14‬‬

‫‪5،2،14‬‬

~ 14 ~

From the quarters of Ḥusayn and Turkish lords,

14.1.15

to the brothers of Sārah, indomitable horsemen.157 Stop off at your friend’s known for his rifles; stay awhile with al-Sulṭān and his tireless warriors,158 And all those who have dwellings in Najd: the Bedouin as well as the sedentary folk.159 If you find my heart’s delight, bring her at once on your camels across the vast expanses. If you find my sweetheart alive and well, I’ll plant a white flag for your noble deeds.160 If you find that she is no more and has passed on,

14.1.20

lighten her grave, strew sand over the cooking stones.161 I declare, if she has died, count me dead as well, like a warrior struck down by Indian swords.162 Mark my words, I am not playing games, nor do I want to come down hard on you: 163 I am blabbering on to keep them off scent,164 lest some rumormonger ferret out my secret.

Ibn Sbayyil’s reply to Fayḥān ibn Zirībān Rider setting out on a Ṣayʿar camel mount,

14.2.1

fast and hardy, offspring of the purest breed―165 Noble she-camels, sired by studs of al-Sharārāt,166 racers coveted by all Bedouin for desert treks.167 White below the belts, gray on their shoulder blades―168 never a calf suckling at their udders: 169 With broad chests and freely moving haunches, they run with necks low and muscles twisted. Calm when being loaded, sprightly on the run, alert, with ears pricked and eyes sharp.170 Two years they pastured in Najd to their heart’s delight, from al-Anjal’s edge toward the highlands of al-Nijaj; No matter if enemy tribes clash and fight with fury: they graze undisturbed, bellies full.

55

55

14.2.5

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‫�َ��فر��ا �ع�� ن �م�ا �ن�� ن� ��َ�فْر ن�‬ ‫���ا � او �ن�ا �ن�ا ي�‬ ‫ن َ� ي‬ ‫ْ‬ ‫ْ‬ ‫�‬ ‫� ْ ا �ن َ�ْ ن‬ ‫�َم � ا ي‬ ‫�� ن� ن���� ����ب�ا � �ي� نل�ب�د �و ���ش��� ه‬ ‫َم�‬ ‫��بي�� �‬ ‫ْ َ نَّ ا ي َ‬ ‫���ا �ي‬ ‫� ي��ي ن�����ظ�� ن �َم� ْ��ب��يري�‬ ‫�م��ب�ش�ي�ب� ٍ‬ ‫َ�‬ ‫ََ‬ ‫� ا َ� �يّ ن ا ن� ن �� ن َ� �يّ ن‬ ‫�� ن� �ب�ا ي�‬ ‫��� �وَ � � َ�‬ ‫ي�‬ ‫ن�ب� ���ب� َ‬ ‫� ْ ��‬ ‫ا �� ْ‬ ‫�ب�ا �ن ن�ل �م ْ����ي ��ي�� ّل�� �ي‬ ‫� �م ن نل‬ ‫�‬ ‫ط‬ ‫�‬ ‫�و لَ�‬ ‫��يى َ َ َ‬ ‫�� نب�� �‬ ‫ج‬ ‫�� ْ ن‬ ‫َ ْ �َ ْ‬ ‫� او ����‬ ‫��ر ل��يى د ا ر ان� ن� �ع������ر � �مَ �وي�لي��ا ي�‬ ‫ْ‬ ‫ُ� ّ �‬ ‫� � �‬ ‫��� ا ي‬ ‫ط او �ي�ل� ا �ي�ل� �ي�ل��بفرا �ي��� ن� �َم � ظ��� ه‬ ‫ح ��‬ ‫�‬ ‫ى يى‬ ‫ْ‬ ‫ّ‬ ‫َ‬ ‫�‬ ‫ح��س ن ا �ع� ���طف � �ي ��من‬ ‫���ل�� ي�‬ ‫ان� ن� � � ر يى رو ٍ�‬ ‫ْ‬ ‫�‬ ‫� ه َ ّ هي ن‬ ‫����ا د �ل�ا ��ل ���فرا ك�‬ ‫�‬ ‫���ا ي�‬ ‫ي�‬ ‫�� د ك�ٍ‬ ‫ٍ‬ ‫�ْ‬ ‫ي‬ ‫� ن ا َ��مْ ا ي‬ ‫�وَ�م��ب�ا ��س�هٍ د ا �ي��ف�م �ي�ل� ا �ل�ب� ر ���� ه‬ ‫ى‬ ‫َ‬ ‫ْ‬ ‫�‬ ‫ْ‬ ‫���نّب�ه نْ� ن‬ ‫����ا � ا نل‬ ‫�و�ْم ن�َش�ّهر َ��‬ ‫� �ون��د ا ي�‬ ‫��‬ ‫ح� ن‬ ‫ٍ‬ ‫ّ‬ ‫ن‬ ‫� ن َ‬ ‫� �َ� ن ا �� �ن‬ ‫�و�ٍ ��بف�م�ل�� ي�‬ ‫� �ي�ظ���ا ��ص�‬ ‫و ��� م ٍ‬ ‫ْ ن‬ ‫ا ��ل��ب� ْ َ نّ ّ ي ي‬ ‫�و َ� ن �‬ ‫� د � ��وَ�� ن� � �لَ�ي�ل �َم���بَي��د �ي�بفرا ي�‬ ‫ج‬ ‫ْ َ نَّ � ا ي نَ‬ ‫ن ّ �‬ ‫��بفْ�� ا �ي‬ ‫� اَ�ام���ب�ي�ر �م�‬ ‫ف‬ ‫�‬ ‫ب‬ ‫�‬ ‫�‬ ‫ل‬ ‫ر‬ ‫� �و� ر‬ ‫َ�ع ن‬ ‫ٍ‬ ‫َّ‬ ‫ن‬ ‫��س�ي�ر� او �و ن�ي� �لو�� نّ �م� ا �نل‬ ‫�‬ ‫�ب�ا �م� ا ��م او ي�‬ ‫�‬ ‫َ‬ ‫ع‬ ‫َ ع‬ ‫ْ‬ ‫ي�ب ْ�د � ا�ا��بش�َ� ���ّ�س ����شي��ي�ل�� ن‬ ‫ي� �ي�ل�ى ا �ن�ي�ب�ا ي�‬ ‫َ م‬ ‫ن‬ ‫ىَ َ ٍ‬ ‫ْ‬ ‫�لَ‬ ‫َ‬ ‫َ�ي�ل�و�ى �م���ا � �وي� ٍ�د �ي�ل�ى ا‬ ‫� ْرن� �و�ع���ا ي�‬ ‫نَ ُّ‬ ‫� نْ ن �‬ ‫ن‬ ‫��وَ�� ن� ا �َر���ب�ا � � او ����ب�ال� �م�ا �ب�ا ي�‬ ‫�ل� �‬ ‫م‬ ‫‪56‬‬

‫� �َ‬ ‫ن �َ َّ َ ن ا� ْ َ� ْ ��‬ ‫ا‬ ‫ن‬ ‫ه‬ ‫�‬ ‫�‬ ‫ا‬ ‫ل�‬ ‫�‬ ‫�‬ ‫د‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫يى‬ ‫� او � �ب�د ر� َ��بفريل نب و‬ ‫�نّ نْ ن ا �� َ �ن � �ْي ا ن‬ ‫��لَ ���‬ ‫ا‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫ل‬ ‫�‬ ‫د‬ ‫��‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�ى َ � َ ر� � ي � نَ ر � ب يى‬ ‫�� ا � ا � َ ا نَ� ْ � ْ‬ ‫�بف�م ا �ل�� �س �و�ي ن�َبش� �َوك�ا َد‬ ‫لي�� م� نَ�ب�د ن‬ ‫ع‬ ‫يَ ْ � � نَ ا �ن �ل ن �‬ ‫�م����ش� ا � �ل���� ل�ى � او �‬ ‫�بفر�و�م ا �لن�����ا َد‬ ‫ع ي ي‬ ‫َ‬ ‫َ �ْ ن �ن� ا � ن‬ ‫�ب�ا ��ي�ل �م� ���ب�ا َد‬ ‫ي����� َ�د � ��ب� �ٍم ن‬ ‫ٍ ع‬ ‫ن ن ا ن َ َّ‬ ‫�‬ ‫���� �� ي ن�‬ ‫��‬ ‫���شن�ي�ل��ع ن� َ�����ب�ا ر ا � نل�ب�ل�� َد‬ ‫ٍ‬ ‫نَ‬ ‫ن‬ ‫ن‬ ‫َ‬ ‫د �ولا ���فرا �وي� �ود �ولا � �‬ ‫ع او د �يى‬ ‫ج‬ ‫ٍ‬ ‫�ع���د ا ّٰلله ا ��ي� ��ي�ل���ش����ا �ل�ن �ن ن�ل��� دا‬ ‫يى‬ ‫َ‬ ‫ن‬ ‫ل�يى‬ ‫نا َ ن ا ا � � �‬ ‫� �و� ٍر ������ ��ب� �� �‬ ‫طو�ل � يل��ي�ل�ه ��ي�ن��ا د �يى‬ ‫ن‬ ‫�ْ ف � �ليَ�ي�ْ�لي بي ا ��� ا ي ا ����َ �ي‬ ‫ع���ا َد‬ ‫��� �‬ ‫�َو ن��ٍر ي َ� �ل ر ي‬ ‫��َ��ف ا ه ��من‬ ‫� ي‬ ‫���ا ره �َ�ل���ا ��ل ا �نل‬ ‫�‬ ‫�َ��د ا َد‬ ‫ين ر َ‬ ‫ي‬ ‫َ‬ ‫ن‬ ‫�ي��فْر�م�ى �ل�� نّ ا ند �ن�ا ن� �‬ ‫�َ�ي�ي�ل �ورا َد‬ ‫ن‬ ‫َ�‬ ‫َ‬ ‫ٍ‬ ‫�‬ ‫�‬ ‫�‬ ‫� ن � ا � � � � � نّ �ْ‬ ‫�بي��ل�� َد‬ ‫م� �ب� ي�م�ط ا ��د ي�بفره َل��� ا ن‬ ‫�َ ن ا ا �َ‬ ‫�ب ن��ا ��ب�ا �� ي‬ ‫�َ�ب�ْ�ي� ا �ل‬ ‫ح�ب� �ي� لا‬ ‫����ا َد‬ ‫ل‬ ‫ن َ‬ ‫ي‬ ‫�م ْ ا � � �‬ ‫� �����ا ر�و�� � او ر��� �����ا َد‬ ‫��‬ ‫َ ���بف ل�‬ ‫ٍ‬ ‫ر م‬ ‫ا �� ل��‬ ‫�����ا ا �ل‬ ‫�َ�فّره �و�ي� ن�‬ ‫�‬ ‫���ا َد‬ ‫���� ٍل َ‬ ‫�ي‬ ‫َ نٍ‬ ‫ا ��لنَص ا ا يْ َ ن �‬ ‫�و���ب� ا �‬ ‫��� �ي� ���َب�شه�م ���‬ ‫ي� ا�ا��ش���ا َد‬ ‫ع‬ ‫ا � ��لي‬ ‫�‬ ‫ْ‬ ‫ن‬ ‫ن‬ ‫�‬ ‫ي‬ ‫��� دا‬ ‫ا‬ ‫ن��م� �ل ا �ص�‬ ‫�و� ا � ��س� �ل َ���بي�ٍل �َوك� َ‬ ‫‪56‬‬

‫‪10،2،14‬‬

‫‪15،2،14‬‬

‫‪20،2،14‬‬

‫‪25،2،14‬‬

~ 14 ~

Their spring pastures are between ʿArjā and Abānāt, and downcountry toward Mrēṭbah and al-Thanādī; In early summer they roam at Kabshān, a Bedouin’s dream,171 as if fed by rains―not of summer, but of the winter star.172 Unburdened, they spent hot summer in relaxation

14.2.10

until Ursa Major’s seventh little star twinkled bright.173 Their right to idle at an end; it was our turn―174 we drove them across wastes and desolate rocky hills. In the morning they set forth from Nifī’s sandy watercourse, running like ostriches fleeing across an empty plain. At afternoon they looked sideways at Ibn ʿAskar’s place: frisky and light, shying from the oasis’s dark shapes.175 Head for the travelers’ favorite entertainment spot! Mounted parties arrive, pass others departing: No wonder! It’s ʿAbdallah ibn Ḥasan, unrivaled nobleman,176

14.2.15

who probed every virtue to its core. In the open welcome area, decked out with coffeepots, a fire burns all night, its flames a beacon for guests: A roasting pan for coffee beans always on the fire, The house’s sturdy domes shaken by the mortar’s pounding.177 Coffee mixed with spices, the color of henna-dyed beauties, served with freshly harvested dates; Then platters chock full, heaped with roasted meat, topped off with sheep’s fat tails high on the rice. In the morning, mounts are brought, nervous and edgy,178

14.2.20

ready to run at pace through the town gate. Skin and bones from the journey’s rigors, like litter poles bent by an artisan into a bow. Go on! Steer them single file past the mosque, on well-trodden tracks through the plain. Before supper you reach an encampment, herds numerous as lava stones, and noble steeds.

ʿIlwā! Battle-hardened and indomitable tribesmen, they wander far and wide, ever their enemy’s plague. Turn to al-Rikhmān of high repute,

14.2.25

like stud camels that carry litters into battle.179

57

57

‫~~ ‪~~ ١4‬‬

‫َْ‬ ‫ُ ْ‬ ‫�‬ ‫���بف�م ا �نل� �� او ا ��ي�ل� �ن�ا �َ�لي���س�ا �ي�ب ن�د ن�‬ ‫يى‬ ‫جيَّ‬ ‫َ‬ ‫�‬ ‫ْ‬ ‫�َ ُ �� َ ّ � ا ي‬ ‫� ّ‬ ‫�لص‬ ‫���ا ي�‬ ‫�ي� �‬ ‫طوه رد ا ���َ���ل�م ��ن�ي�ل ا � ي‬ ‫نَ‬ ‫�َ‬ ‫� ّ‬ ‫�ي�ا نر� ن� �ن�ا � َرد ه ���ي�ل ا ���د � ن�و�ي�لي���ا ي�‬ ‫َ‬ ‫ََ‬ ‫ّ‬ ‫َ‬ ‫��ن�ّ� ي ��ل �َ‬ ‫�ب�� ��� �َ�بف ا � � ���ش�� ا �ي‬ ‫��ري� �يى ن ي � ر و يى‬ ‫ر‬ ‫ٍ‬ ‫ا ن ن‬ ‫�بف � � �� �ن� � ْ�ي�ل� د � اآ ��ل�ا�ي‬ ‫�م� �ن�ي�� َ ن� ر و و َو ن و و‬ ‫َ �يَ�ْ‬ ‫��ف نْ �ل�ن �ي� كيّ �َم ���ْ �ب�ا �ي‬ ‫ي�س �‬ ‫�‬ ‫�‬ ‫�ل ��‬ ‫ن�يى ن َ ر يى ل�ى‬ ‫نَ ا َ� نّ‬ ‫ا ا �� َ ْ نَ ْ‬ ‫�و�ل��� ر ن‬ ‫ح�يى ��� ر �ن� ل�‬ ‫���د ر �بفر��ا ي�‬ ‫َ‬ ‫َ‬ ‫�َ‬ ‫ن‬ ‫�� ن�سّ � او ��لنن�ص‬ ‫��سّ او ي�‬ ‫���ا �ي�بفر �م �‬ ‫�م� �ي ��و�م ن يى‬ ‫� ََ‬ ‫ْي ّ‬ ‫� ْ �‬ ‫َ��من��ي�ل ا �لَن����ا ر�ى � او � نر�� ن� �َم��سَ�َ���د ا ي�‬ ‫��ي�ّل� ن ن�َ ن‬ ‫� ��ْم�س ّ‬ ‫ى ا ��ي�‬ ‫ل� ن َك�‬ ‫�ب�ي�ررا �ن�ا ي�‬ ‫�‬ ‫�‬ ‫� َ�‬ ‫َو َ �ي‬ ‫َ‬ ‫ْ يّ‬ ‫ْ يََ ّ‬ ‫�ي ��و�م ا ���������د ��ي�نب�ا �وَ�� ن� �َم����َ��َ���د ا ي�‬ ‫ّٰ نّ ي �‬ ‫�‬ ‫ا لله �ي ��و���ش� ن��ا ا �ل��م��ب�د � او �ل�����ل�� ��ب�ا ي�‬ ‫َّْ‬ ‫�ا‬ ‫ن‬ ‫ح� ي� �ن�ا �ل��م���ا ر � او ر��� نَ����ي��د ا ي�‬ ‫�و ن� �‬ ‫ٍ‬ ‫� يَ‬ ‫َ َ�‬ ‫ّي �ا‬ ‫��م���ي� ي� را ا �ل��ي�ي�ل �َ�ب�د ه ر�ي�ا �ل� ي�‬ ‫ع‬ ‫ن �َ‬ ‫ا ��لصْ‬ ‫� َ� ن � ا ��ي ا ��ل��ن‬ ‫���ا �ي� �ي‬ ‫�وَ���س�د ��ي�ل ن ري� و �ل ن‬ ‫نْ َ‬ ‫َن �ّ ي ن ْ ن �لَ‬ ‫�نْ���ا �ي‬ ‫حي�� ��� َرد �ي�ا �و� ي�‬ ‫�يلي�� �َل� � �‬ ‫��� ا ن �‬ ‫��ُ ا �نْ�يَ � ْ ي ��لنَ�ص ْ ���ه��صن ن‬ ‫اي‬ ‫�ب�ا � �ور��ب� ه‬ ‫�بف�م ل�يلن�� ن�ب�د َ ي‬ ‫ن ّ‬ ‫�َ�ي�ل�ي�� نس ��� ن ا �� �لي�ب��ا ��بي �����ا د ا �ي‬ ‫�‬ ‫ي �يى ن ي� َ ن ي �ل َ ي‬ ‫ا �� � ا ي‬ ‫ل���ب� ه‬

‫‪58‬‬

‫�َ‬ ‫ن���َ�ص ن‬ ‫�ي‬ ‫ح�ا � ان� ن� ي�ب�ا ��ب�د‬ ‫�بف �ر�ي ن� ا �َر���ا َد‬ ‫ي‬ ‫�ُ‬ ‫َْ‬ ‫ا‬ ‫�ا‬ ‫م� ن� ن����من��� ا ���د � او د �يى‬ ‫�َم�ب� �ي�بي�ٍل �م� �� ي‬ ‫ُ‬ ‫� ََ‬ ‫�ّ‬ ‫�وا َد‬ ‫ح��� را �ع�يى ن��‬ ‫ا �ل�ى ر�� نب����ف�م َ‬ ‫ن َ َ �َ�مْ‬ ‫�َ‬ ‫�َ�� نْ��د ك �‬ ‫ح�� �سو�ن َل�� ن� �و ا ����ب�د ا َد‬ ‫��ن��ر‬ ‫ا� ن ن ن �َ‬ ‫�‬ ‫�ب�� �ل � �‬ ‫��ب�ا �� ا �ل�يب ن��ا َد‬ ‫�و�ب�د �ي�ب�د �و� ي ٍ‬ ‫ي� َّ‬ ‫ا � � ن ي ا �ن‬ ‫ق����ط ن‬ ‫�‬ ‫�‬ ‫�‬ ‫س‬ ‫����ا َد‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫� و�‬ ‫َ َ �يى ب ن ي� � ٍ‬ ‫ْ �‬ ‫�َ‬ ‫��ل��ي� ��بي�ل� ن‬ ‫���ا �َ����ي�ل � يل��ي�ل ا �����ي��ا َد‬ ‫ي ٍل ي‬ ‫�‬ ‫� نلَ َ ْ‬ ‫� ْرنر �ي�بفر نر �ورا �ع�ى ا �ل� ��و�ن� ��س�ا د �‬ ‫ا‬ ‫ى‬ ‫ي‬ ‫ي‬ ‫َ‬ ‫َ ْ‬ ‫َ‬ ‫�ْ‬ ‫�بي�ل�� ن‬ ‫ي� ��ب�ا �م ن� �ي���ب�ا َد‬ ‫ل� ن� �ي�ل�ى َر ن‬ ‫��بي� َ�‬ ‫يْ ا ن َ ْ‬ ‫�‬ ‫ل� ن ��‬ ‫�‬ ‫���ل ا ن� ��و�� ن� ن�‬ ‫�ب�د ا َد‬ ‫�‬ ‫�وَ�يل��� � ا ��ي �‬ ‫نَ َ ن ْ � نّ‬ ‫�ا‬ ‫���ه �ن�ا �ل��ي�ا َد‬ ‫��ي�ك َ����سيى �ي��ا ن�‬ ‫���فر�‬ ‫�� َن‬ ‫َ َّ‬ ‫ّ �‬ ‫ا� �‬ ‫���ا َد‬ ‫�و�ي���ي���ي�ل ا��م���طي�ل�و ن� ر ن� ا ���� ن‬ ‫ن ن‬ ‫� او ر���ا ��� �ود �ي�ا ر �َورا ���ف�م ن������ا َد‬ ‫ٍ‬ ‫َ � يّ ��� ا � �َ ي ْ َ‬ ‫ط��ه َ �م� �ل �و���ر�� � او ن�‬ ‫�و �� �‬ ‫حن� ن� � او ��ب�ا َد‬ ‫�� �َ َ � ْ‬ ‫�بي� �لن� �ل�يى �� ن��ه َدي� ن� �َوك�ا َد‬ ‫�و ���ٍل‬ ‫ٍ‬ ‫�ن ْ‬ ‫�َف � � ّ ْي‬ ‫� �ن � اآ ن‬ ‫� او �لَ�‬ ‫�ب�ا � َل�� ن� ا ر����ب�ا َد‬ ‫��� ا �ل��بر ن‬ ‫� نن ي � ن َ ن ن‬ ‫�م ن� ��س�ا ��يى ��ا �ل ا�� ي� �يو� ن� ا�� ي� �ي� د �يى‬ ‫َ نّ ���يْ� ن ْ نَ ���ي� ن ا �ْ‬ ‫�‬ ‫�ي�����ا َد‬ ‫����د ن �سيى � او رد ي �سيى �ن� ن َ‬ ‫‪58‬‬

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~ 14 ~

Head for the butcher of sheep in times of dearth: Fayḥān ibn Ǵāʿid, who fights off sleep like a fiend.180 Give him my response before greeting him, my instructive verse, untarnished by claptrap, To the protector of horsemen, swept up like flotsam, who cower at the cries of the charging knight: 181 You dispatched a troop of barebacked camels― their exact numbers and details you know best― In need of wooden parts, wool, leather, gear,

14.2.30

Metalware, and brisk lads eager to help. No, fool, I know you are out to confound me, to show that I am not up to your challenge.182 At their approach, my heart leapt with joy; that night my mood was merry and festive. As soon as they arrived wooden saddles were made; leather bags were stitched, sack wool was spun; 183 Firearms crafted by Christians, ammunition readied 184 by men who rushed about without a moment’s respite. The riders’ sticks are cut from thick reed,

14.2.35

the bucket-shaped leather bags brand new. Once we were all set and the camels fitted out, I felt the chase’s purpose in our grasp.185 May God make our enterprise fortunate and safe: the Lord’s might paves the road for His servants. I turned my attention to distant towns and lands― to the followers of the Shiite rites and far beyond: 186 I paid some riyals to the telegraph operator, and he tapped away, north and east and back again; 187 He inquired of folk in Bahrain, of merchants― all swore ignorance by Almighty God. I drove half the camels to shreds, soles bleeding; the other half trembled with exhaustion. When I returned to Najd’s commoners and chiefs, they stared and asked, “What’s wrong with you?” You made me a laughingstock among the tribes, haggard from exacting demands and incessant toil.

59

59

14.2.40

‫~~ ‪~~ ١4‬‬

‫��نْ‬ ‫َْ‬ ‫َّ َ‬ ‫�م�د � �مو� َ��د �ن�ي�ك �ي�ا �م��نر�يى ���ب�ل�� �م�ا ي�‬ ‫ج‬ ‫� َ َ��نّ‬ ‫ْ‬ ‫هو�ى ��د ا ن� �ونا��ي�لي����� �م�ا �م�ا ي�‬ ‫را �ع�ى ا �ل� �‬ ‫ا �ل َ‬ ‫ا ��ل َ���شيْ� هي ا �نّ� ��يَ�نْ ن‬ ‫م����َطفره �� �‬ ‫��ن�ي��ن��ا ي�‬ ‫� �و �يك‬ ‫ن‬ ‫�‬ ‫ا �ّ ا � � ا � � ا ل‬ ‫�‬ ‫�َبف �م�ْ�سيسك نّ��ا �ي‬ ‫�‬ ‫�‬ ‫�و �ل� م‬ ‫ع �ي�ل�يى ن� ن ر َ َ َ‬ ‫ن ي‬ ‫ن َ‬ ‫ن�‬ ‫��ي�ك ��م��س�ه ا ن�لي��ا ي�‬ ‫ن��ي���يك � �ون��ي� � ��وي� ن‬ ‫َ‬ ‫� ّ � ا �ل �م ن �َ �� � � ��م ا ن ا ي‬ ‫�يى �و�ل� ن�يى � ���ل �يك ن��� ر ه‬ ‫�‬ ‫ن‬ ‫�َ ّ نَ ّ‬ ‫ا � ��ب�ا �َ�ق���َطي� ي� ا �ي�ا ه � او�ام ن� ��م او ي�‬ ‫�ْ‬ ‫َ‬ ‫ح ����م�ا �ي‬ ‫ح�ا ��ي‬ ‫���ا ن� �م�ا �� ن��د ك ��ل‬ ‫ن��ا ن� ك�‬ ‫�‬ ‫�‬ ‫�‬ ‫و‬ ‫ي‬ ‫� َ‬ ‫ن �ّ ْ‬ ‫ُ ن ْن‬ ‫�س�ول��ه� ����ل َن��ل���ا ي�‬ ‫د �و���س�ا � َ�ي� �ل� � ي �‬ ‫م‬ ‫ْ‬ ‫ّ‬ ‫َ‬ ‫�‬ ‫�ولا �ي�ل�ى ا �ي�ل�ى ��بف�م �وَ�ي� �لو�ى � ار �ن�ا ي�‬ ‫ي‬ ‫ا ��لَ �َ ف نَ�ْ ي �ن� ّ �� � � � � ْ ي ا ي‬ ‫�و �ى �بر م� َح�ط �يلَر ن�بي�ل َ�ر�ب� ه‬ ‫َ يْ‬ ‫ي ا ن� ن ْ‬ ‫�َب�د ا ����َد �ن�ي�ب�ا ن� ار ��� �و� �‬ ‫�ولا ��‬ ‫ع �� او ي�‬ ‫ٍ‬ ‫�� � ��َ ن هي َ ْ �ده �� � ن ا �� ��َ ن‬ ‫�سو�ب�ا ي�‬ ‫�سو��ٍ �و�� �ويل�ب� � �‬ ‫يك �‬ ‫ْ �َ‬ ‫ّ ن‬ ‫�ّ‬ ‫ا �ل‬ ‫ح ن� كي�ل د ا �ي��ي� �َ�� ن��ه �لي�����ا ي�‬ ‫َ‬ ‫ٍ‬ ‫ْ‬ ‫َ‬ ‫َ �ْ ن يَ � ي َي‬ ‫���ا ي�‬ ‫�م��م� ��و�� �بيلن�سيى َ��د �م �ي�لن�ي�ك �و��ي�‬ ‫َ ْ ن �َ‬ ‫�ْ‬ ‫����بف ا ��ل�يبنَ�ّ��ا �ي‬ ‫�لا ���نب�ش�بش� ا�‬ ‫م‬ ‫�‬ ‫�‬ ‫ف‬ ‫�‬ ‫�‬ ‫ب‬ ‫و ي‬ ‫ع رور َ ر َ �‬

‫‪60‬‬

‫��نْ‬ ‫نَ � َّ ي نُ‬ ‫َ ْ‬ ‫����د � �موج� َ��د �ن�ي�ك �ي�ا �َ�ق���طن��ه ��م او د �يى‬ ‫َّ َ‬ ‫ن‬ ‫ن ي‬ ‫د �ور �ع ���س�ي�َرك �م ن� َ�بف �ري�ل�ي�ك �و��ب�ا د �يى‬ ‫َ‬ ‫� � نَ‬ ‫�ْ‬ ‫�َ‬ ‫�م ن� ا�ا��فراج� ا �ل�ى ا ���د را � او �ل� �‬ ‫ه او د �يى‬ ‫� َ يْ ي ّ َ ْ َ‬ ‫� ي‬ ‫� او �ل����ش ��وه ا �ن�ب�ه ي����بف�مَ��ي�ك � ��و ���ن��ا د �يى‬ ‫ْ ن� �‬ ‫ن ن �ي‬ ‫�َور� ا � �لَ�بي�لي� ن� �و�َم�ن�فَرَ��ه �ن�ا �رك�ا َد‬ ‫ا �ّ ا � َ ا ي � �� َ‬ ‫�‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫ف‬ ‫�‬ ‫د‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫�ل� ��ي�� ��يك � او ل���بل ب ر يى‬ ‫ن �ْن ا ن ي يَ ْ ن َ ن ا ا �� ْ‬ ‫ا‬ ‫�‬ ‫�‬ ‫د‬ ‫�‬ ‫�‬ ‫َ��د ��� ا��� �ن�ي�ٍل�م� ��سس� لَ�ن��� ن يى‬ ‫ج‬ ‫ا نْ � ن ي ا �ي � ا �م �َ ا � ي‬ ‫���� دا‬ ‫رنَ � ��ل�ى ��ل�ى �ب� َ �‬ ‫��س او �ن� � �لَ�� َ‬ ‫ي‬ ‫�ّ‬ ‫نَ‬ ‫ا‬ ‫�ي‬ ‫ي‬ ‫ا‬ ‫�ي�ل�ى ا � �لَ���د �ى �و�ل� �ي�ل�ى ���ي�ر ��� د �يى‬ ‫ْ � ن ي �َ‬ ‫ا �� ن ن‬ ‫�م� �‬ ‫ب�ه� ��بي�ر ا � �‬ ‫�ل��طش���ا �� ا ��� �� او د �يى‬ ‫ني � م‬ ‫نَ‬ ‫ْ‬ ‫� نَ � ي �‬ ‫�و�ن� �ي�َ�د ر�يى �ن�يك �‬ ‫�م ن� ��‬ ‫ح ����ا ه ا � �نر�ا د �يى‬ ‫ْ‬ ‫ْ �‬ ‫�‬ ‫ن نَ ي ا �ل�‬ ‫َي َ� ْ �‬ ‫م�بي�ل ا � نل�َبفرا َد‬ ‫�ي�ل�م���طش��يك �م� � �ل�ي�ل َ � ي‬ ‫َ‬ ‫نَ َّ‬ ‫�ولا � او د �يىٍ ����ي�ي�ل�ه �ي�ل��ي�ن��� ن� �� او د �يى‬ ‫� ن َ ْ ُ‬ ‫��ر �ن��و� �و ن��ا �يى �م�ا ���ه �‬ ‫�ب�د ا َد‬ ‫م� �ع�‬ ‫ج‬ ‫ْ‬ ‫�َ‬ ‫��ب�ا �ن�ي��� �َ����ي�ل�ك ��ا رد �يى ا �نل‬ ‫���ل�� َد‬ ‫ي‬ ‫ن‬ ‫َ‬ ‫ْ ي � ن � ا � نَ‬ ‫�ن ن �‬ ‫��يل��� ا � ��ورا َد‬ ‫�ولا َي���م���ى ا �ل���� م�يى ح�‬ ‫ي‬

‫‪60‬‬

‫‪45،2،14‬‬

‫‪50،2،14‬‬

‫‪55،2،14‬‬

~ 14 ~

Your lies are forgiven, my dear, salutations to you; 188 your lies are forgiven. I treasure you in my heart: A lover must dissemble, for the devil’s still around: 189

14.2.45

look for your darling with your relatives and kin! 190 Likely you’ll spot her among lovely friends, moving from resting herds to tent flap and cooking stones.191 If she stays hidden from view in the women’s quarters, chances are she’ll hear you if you call her name.192 Your love is but five tents away: hers stands firmly pitched by the wells. She is alive! No need to reward the messenger: 193 Enough to wish you long life and good health. If you’re not given her hand―for a promise is a debt―

14.2.50

then grab her and elope before the break of dawn! If middlemen and worthies fail to plead your case, turn to those who can arrange things: To Dūshān, whose swords are drenched in enemy blood, winners, peaceably or through force.194 If all else fails, seek out their implacable foes: between them nothing but clash of men and steel.195 Once resolved, ready yourself with care and stealth,196 lest some waffling fool gets in your way.197 Do not act from surmises and guesswork: 198 a cool spell is no reason to travel without a waterskin.199 Don’t forget: if you hold a view, others have theirs: 200 like floods racing down valleys, each follows its own course. As for love, no one has been spared its pangs: since Noah’s time, it has heeded no bounds; My heart endured passion’s torment long before you; in such trials as these, you’re no match for my grit. A man ill with fever will not be cured by his groans,201 nor does dangling the rope in a well slake one’s thirst.202

6١

61

14.2.55

‫~ ‪~ ١5‬‬ ‫�َ‬ ‫�ي�َبف � َ��ل�� ي‬ ‫���ن� ��ا �م ْ�‬ ‫�‬ ‫�‬ ‫� َ���ه‬ ‫ا‬ ‫��‬ ‫���‬ ‫�‬ ‫رى‬ ‫ي‬ ‫َ‬ ‫ي َرن ٍ‬ ‫نَ �َّ‬ ‫َ‬ ‫�ا‬ ‫����ا ر ���م�نّ���ا ���ه ن����َ�ف �رل�ن� �ن��فر��ه‬ ‫�ل�‬ ‫�‬ ‫ي ٍ َ‬ ‫يَ‬ ‫َ َ‬ ‫� او ��ل�ى َ�� ن��سى َ�‬ ‫ح ن�َّب�ه �ي�ل� �م�ا ����بشن��ي�ل َ���ه‬ ‫ى‬ ‫ْ‬ ‫ّ‬ ‫� نَ‬ ‫�ي�لي نع����ا ه �م�ا ��ي ن�ْبفر�يى ا �‬ ‫��َر�م �َ�بف نرهي َ���ه‬ ‫ل‬ ‫�‬ ‫َ‬ ‫َ‬ ‫ٍ‬ ‫�َ‬ ‫َ ّ ي � َن � ي ّ‬ ‫� او �ل�ى �َ��سك�ا ����بفرا �ن�ه ا �������طف�م �َبي�ل�ه‬ ‫َ‬ ‫ن� َ ْ � � َ َ َّ‬ ‫طو ا ���َو����د �ي��وه ��بي�ل� �����نَّ��هيٍ ���ه‬ ‫�ي �� �‬ ‫ى‬ ‫َّ‬ ‫َّ‬ ‫�‬ ‫�ي�لي ��و�م �ن�ا �ا��ش���فر�و�ن� َد �ي��ه �و ن�‬ ‫�َ�ي�ل�ه‬ ‫ّ‬ ‫نَ‬ ‫َ‬ ‫ْ‬ ‫� ْ‬ ‫م���ط�و ا ����َو����د ر ن��م �ي�ل� �ن�ب�ي�ر �‬ ‫�َ�ي�ل�ه‬ ‫�‬ ‫�و‬ ‫َ ٍ ى‬ ‫�َ‬ ‫ن نْ ْ َ‬ ‫ُ‬ ‫�‬ ‫�سو�ن�هيٍ َ���ه‬ ‫��َرهي �ع ����ر �م�ا �ه�و �ي�ل� �‬ ‫�َم�‬ ‫�‬ ‫ى َ‬ ‫ن � � َّ‬ ‫َْ‬ ‫ْ‬ ‫�‬ ‫��ه�ن�ص‬ ‫ل���َ�ي�ل�ه‬ ‫�َ��ه ا �ل�ى ����َ�ش�ن�َي��ه ��ي�نب�ا َ ��‬ ‫طر � ن�‬ ‫� ْ‬ ‫� نَ ْ‬ ‫�بي� ��بش� ا ل‬ ‫�بنش�� ا ي� ��ا ���َ��ل��� َك�‬ ‫�‬ ‫�ي�ب�د ن�‬ ‫��ي�ل�ه‬ ‫ل‬ ‫ن‬ ‫ر‬ ‫م‬ ‫ع‬ ‫َ � �نْل���ص ه ا َ َّ ا ��� اْ �ي ه�‬ ‫�م�ي ر أا َ �َب� �ي� �م�و��ي�ل �َ��ل� َي�ل َ��‬ ‫م‬

‫‪62‬‬

‫��ل�ا �ن�ا ر�ي�م ك ا ��ي� ا �ل‬ ‫�‬ ‫حَ َ��س�د � او �َ�لننص‬ ‫�ب�ا ���ب�ه‬ ‫�‬ ‫َو‬ ‫ل‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫نَ ْ �� ي �ي � �� ه �ي ف هي ي‬ ‫���ا ���ب�ه‬ ‫�‬ ‫�ود ر ن ٍ‬ ‫� ن�بش�ي يل�م��� �و ي�ب�م� ي َ‬ ‫�َ‬ ‫�ن ْ‬ ‫َْ‬ ‫�ي�ي�ل�ي�� �ي�ل� ا �َ�ل��نن�ص‬ ‫�ب�ا ��ل ردْ ��ب�هي ������ا ���ب�ه‬ ‫َ‬ ‫َ‬ ‫ى ى‬ ‫َ‬ ‫َ‬ ‫ْ �‬ ‫��� ا �� �لي�ي�ل� �‬ ‫�بفّرهي �َ �ون�ا ���ب�ه‬ ‫ل‬ ‫�‬ ‫ن‬ ‫�َ�ي ن�بفَرد َ� ي ن‬ ‫َ‬ ‫ْ‬ ‫ْ‬ ‫�ي�ي�ل�ي�ب�ا ه �م� �م ن� ��يَ�نْبَش�ي�ي�ل�ه �َ�بش�ي� ن� �ي�ا ���ب�ه‬ ‫َ‬ ‫ع‬ ‫َ ا ي ا�َ‬ ‫َن�� يم�بش� �ه�و��ب� � ا��� ار ن�‬ ‫�بي�ل �ن�بف ار ���ب�ه‬ ‫ع‬ ‫ُ‬ ‫ٰ‬ ‫ّ‬ ‫َ‬ ‫�‬ ‫َ‬ ‫ي‬ ‫ّ‬ ‫ن‬ ‫� او ّلله ��ش����ي�� ��ه ��بي�ل� ��مو �ن�ا ���ب�ه‬ ‫ى‬ ‫ّ‬ ‫�‬ ‫���و ن��ا نر َ��ي�ك �َم ن�ْب ن��ا ه �ن�َبفَر�ي� ن����ب�ا ���ب�ه‬ ‫�ي�بف نر�و�م ُر�و��ه � او َ�‬ ‫ح��س�ا �يل�ن� �َ�ل ن�ب�ا ���ب�ه‬ ‫َ‬ ‫َ‬ ‫يي � ن ن � ا � ن �‬ ‫ي� ا � �ر�ا ���ب�ه‬ ‫� �ل ��و�ل د ا �م� ���ط� � نل����‬ ‫ي‬ ‫َّ ْ‬ ‫�‬ ‫�و�ْم�َ���ال� �نَ�نل������ه د ر�و� ا �‬ ‫���ا ���ب�ه‬ ‫ل‬ ‫�‬ ‫�‬ ‫ن‬ ‫ٍم َ‬ ‫ي َ‬ ‫ن َ��ْ� ي � �َ‬ ‫��سو�ن�ا ي� را �َ�س�ه َ�‬ ‫ح��س�ا ���ب�ه‬ ‫�ع� ���ره ا �ل �‬ ‫َ‬

‫‪62‬‬

‫‪1،15‬‬

‫‪5،15‬‬

‫‪10،15‬‬

~ 15 ~

If you drink to lift your spirits, connoisseur,203

15.1

do it after mean-spirited grousers have left. Have it prepared and served by a skillful lad, deft at pouring and serving just right.204 The roasted beans, treated with care, leave their dark imprint on the porcelain cup. Satisfy your craving by lighting up, and draw: 205 its intimate glow cools a burning heart. If the pipe-puffing crowd complains they’re out,

15.5

despair turns to joy with the arrival of more. One boy, just old enough to light a fire, Is already alive with manly ambitions: He performs noble deeds, big and small; aided by God his strength keeps growing. Another’s a cairn that’s not properly secured; before building him up, inspect his foundations: Like giant milkweed, he is not as he seems― he towers in the air, but fails to deliver.206 He and his shadow stride with such pomp: you’d say he’s running for president. He and women are from the same mold; his ways are tortuous―none runs straight. You must warn him, carrier of my words, that his ostentation brings its own risks.

63

63

15.10

‫~ ‪~ ١6‬‬

‫� َ ْ‬ ‫��� نّ ا �ْ ي �‬ ‫�ي�ا را ك ن� ا �ي�ل�ى �م � ب�‬ ‫ي��� ن‬ ‫�بَ �� او ��َ�‬ ‫ي‬ ‫�� َ ��‬ ‫َّ َ‬ ‫طن ا ن� ا ��لنُ ا ���‬ ‫ل‬ ‫ا‬ ‫ح ن �����ي� �‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ج و َ�‬ ‫ل‬ ‫لا ر�و �‬ ‫�ي�ْنل� ا �م ن ���نْ�س �� نّ � ا ���ن� ا ���‬ ‫َ‬ ‫�� ��� ك � َي ن�يى ل��� ن� � ن��� َ�‬ ‫ا�‬ ‫ن‬ ‫��َب َّ���ْ� ي� ��ل� ��� ن ا�ا�� ن‬ ‫م����ط�ا ��ب�ي�ر �‬ ‫��� ���سيى‬ ‫� ي‬ ‫يى ن ي� َ‬ ‫َ ْ ن �َ � � ي ا ن‬ ‫ا �‬ ‫�و�‬ ‫��بش��ب�ه ��ل� � ر�م�و�م �م� �عي�بفر��ب� ���سيى‬

‫� ا� ن ��س��� ي � ا �ن� ا ي �م ن ا �� �� ا ���‬ ‫� � �‬ ‫ل�ط� �‬ ‫�ل�ن � ن ي��ل ��� ي�ب� ٍ‬ ‫ي‬ ‫� ْ ا ���‬ ‫� ��ْل� ن �م� ا ���� ا د �ى ا ��ل�َ�سنس�ا‬ ‫�‬ ‫�‬ ‫�‬ ‫ي‬ ‫ه‬ ‫�‬ ‫ى‬ ‫ن‬ ‫َ‬ ‫و‬ ‫َ�‬ ‫و �‬ ‫َو � � ع و‬ ‫ي‬ ‫� ن�ل ف نّ � ا �� �� ل�ن �� ا � ا ه ����َف ّا ���‬ ‫َي َ��ر ن� �ل �يى يل��� ن��� طر �‬ ‫� ن نَ ْ ي �‬ ‫� ا ���س � ا �ن ا � ا ا �ْي َ�د ا ��ي ا ���‬ ‫ل‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫ح‬ ‫�‬ ‫ر‬ ‫و‬ ‫ى‬ ‫�‬ ‫�و م� ��د �ي� ا ي‬ ‫ن � ا �� �� � ا ��ل َّ ن ه � ا �ي�ل� ا ���‬ ‫����ي ر ��و س�و م ن�ي����� �ب� يظ��� �‬

‫يَ‬ ‫ا�ا� َ ��‬ ‫� � ا �ّ �� �َ���ص ا � ه �� ا ���‬ ‫�‬ ‫�‬ ‫م‬ ‫ف‬ ‫��‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫�‬ ‫ب‬ ‫ب‬ ‫�‬ ‫ط‬ ‫ل‬ ‫ى‬ ‫َ‬ ‫ر‬ ‫و‬ ‫ر‬ ‫ن َ َ�‬ ‫رن‬ ‫ّا ا �‬ ‫ا ن � ي ن ا ا ن�ْ‬ ‫��ن�� ْرك ��بف�م� نَ ن�‬ ‫�ب� ���سيى‬ ‫� نَ‬ ‫�مي�� ا �� �ن� َ‬ ‫يَ‬ ‫ا َ نْ نَ ْ � ُ‬ ‫ح ّ ا ��ل نُ ا ���‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫ف‬ ‫ه‬ ‫ش‬ ‫��‬ ‫�‬ ‫�‬ ‫ش‬ ‫�‬ ‫�‬ ‫�‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫ك‬ ‫ي‬ ‫ر‬ ‫و َ�‬ ‫ن‬ ‫� يَ ي َ ّ ا ا� َ َ نّ َ � �‬ ‫َ� �ل�عي�� �ن�ي���ع ا���ش���فره �ن�ل� ���سيى‬ ‫ا�‬ ‫ا َ نَّ ي َ نّ ي ن � نَ �‬ ‫�ي� �و�س�يى � �و���ه �م� ا �����و��� ���� ���سيى‬ ‫�‬ ‫ا�‬ ‫ن‬ ‫ا ن� ��وه ��ب�ا ي� �و�ل�ا �ور �� �عي��فر �‬ ‫��� ���سيى‬ ‫ََ‬ ‫ّ‬ ‫نَ‬ ‫َ‬ ‫�‬ ‫� ف ا ���‬ ‫�ب�ا ����س � َ ���ط�ي��ه ن‬ ‫�بفْ �نَ �‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫ب‬ ‫ي‬ ‫�‬ ‫��‬ ‫�‬ ‫ل‬ ‫و‬ ‫ى‬ ‫ر‬ ‫ر‬ ‫َ�‬ ‫ي‬ ‫� �ى‬

‫� �ي ا �� ه � ْ � ا ن � ���� �ل نّ ا � ا � ا ���‬ ‫و� يل��� َودي� ٍ� َي َي‬ ‫��ي � �ل�د ن� �‬ ‫َ ْ ا ��ل��م� ه نَ َّ��ْ�يب نس َ ْ ا � ا� �� ���‬ ‫د ر ن� َ َ�ب� ��رن َ �يى د ر ن� �ل�ن�ل �‬ ‫ا �يْ ش��د �ن ا ن�� � ن�َبيّ َ�� نْ � ا ��لي �ّ ا ���‬ ‫بَ� َرب� � و� �ل �يك َ ��َو�ب� �‬ ‫َ‬ ‫ا � ن َ نْ‬ ‫� ا ���‬ ‫� ْ���بفر�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ي‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫��‬ ‫�‬ ‫�‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ى‬ ‫�‬ ‫ل‬ ‫ل‬ ‫و‬ ‫ي ج �ى و ي و ي �ى �‬ ‫ا � ه � ا ي � � ا � � � �يْ ه ا � ا ���‬ ‫ن ��و ��� � و�ل� َو َر� َ��ش� ن�ب� د ن� �‬ ‫�‬ ‫� ا ���س � �م ن �� نْ�ده ا ن� ا ���‬ ‫� َ�ْ �َ �‬ ‫ل‬ ‫ا‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ح‬ ‫ح‬ ‫��‬ ‫�‬ ‫ل‬ ‫و‬ ‫ى‬ ‫َ‬ ‫�‬ ‫ي �‬ ‫و نر � �ى‬ ‫َ ن ّ َ َ َ نْ َ َّ‬ ‫يْ �� َ َ‬ ‫�ا ���‬ ‫�‬ ‫�‬ ‫�‬ ‫ه‬ ‫�‬ ‫�‬ ‫� ا� ا �‬ ‫�‬ ‫�‬ ‫�‬ ‫ع‬ ‫�‬ ‫ف‬ ‫�‬ ‫�‬ ‫�د‬ ‫م‬ ‫ب‬ ‫�‬ ‫ع‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫ر‬ ‫�‬ ‫و �ي�ل�ى ��� نَ‬ ‫ع‬

‫‪64‬‬

‫‪64‬‬

‫‪1،1،16‬‬

‫‪5،1،16‬‬

‫‪1،2،16‬‬

‫‪5،2،16‬‬

~ 16 ~

Poem by Fayḥān ibn Zirībān Rider of camels at breakneck speed 207

16.1.1

running to Ibn Sbayyil from the world’s far end, Like small clouds scudding over the plain and desiccated wadis, hell-bent to arrive At your coffee mortar, which sings all night— for travelers, you jump up with open arms. I lost a young she-camel among the caravans: after she went missing, life lost its meaning. She is branded with three little rings, that’s all:

16.1.5

other than these, there’s not a mark on her.

Ibn Sbayyil’s reply When clouds roll in, the rain starts with a drizzle;

16.2.1

but it ends up sweeping herds of cattle away.208 Come, I’ll tell you why I am seething: I long for calm but you plunged me in troubles. You don’t want to make do with bits and pieces: steel yourself for the long haul, don’t panic! A man who’ll sell his honor cheap starts out with nothing and ends up with less. My sobs and tears are those of a forlorn little boy whose father died and left him without a herd; His father died and bequeathed just one camel; young and maltreated, the animal ran away― After a smacking, the poor thing went berserk: it was last seen hurtling down ʿAkkāsh’s slopes.

65

65

16.2.5

‫~~ ‪~~ ١6‬‬

‫َ�ع�� نس � يَ��ي�لس ��� ن نّ ْ ي �‬ ‫ي �يى و ن�يى ن ي َ�‬ ‫���� ا ���َ �� او ��َ�‬ ‫يَ � ي � ��ْ �شيَ ن‬ ‫�ن � ا �‬ ‫��يلن�سيى �ي�ل ��و�ل ا ���ه‬ ‫� �و� ي‬ ‫���ه ا �َ������� ��َ�‬ ‫ج‬ ‫ْ‬ ‫ا�‬ ‫� ا �لن ن‬ ‫ن ��ا ن‬ ‫���ا �ن�بفرد ن�‬ ‫�‬ ‫��� ���سيى‬ ‫ا � ك�� � �ه�و ن��� �يى‬ ‫ي‬ ‫َ‬ ‫ا نَ ن َ ْ‬ ‫ي����ط نس � َّ ي � نُ �‬ ‫�ي� ر �� ��‬ ‫�َ�ن��هٍ � ��و � �� او ��َ�‬ ‫�يى‬ ‫ي‬

‫‪66‬‬

‫� ا نْ َ �� ي ا �ن ا ا نْ �ي ����ن ن نَ � ْ � ا ا �‬ ‫و رري� � �َر� ن ي �‬ ‫��� ��ن��سيى ا �ل� �و�� ���‬ ‫َ‬ ‫�� ا �ي�ْ ���ل ي � � ا �‬ ‫ن يي � ْ ن �‬ ‫�و�عيم�يى � �ل ��و�ل ا ن�لي���� َل��ب� َ‬ ‫����ه ا �ل���ب� ���‬ ‫ن‬ ‫��ا ن � ا � ا �لن ن �� � ا � ا �‬ ‫� او � ك�� � �ب� ن�ب� �يى �ب�ل ن� رٍد ن‬ ‫��� ���‬ ‫�ْ‬ ‫ْ � ا�‬ ‫�ب�س َ��ب�ا ي�َ�ي�ل� ��م‬ ‫حي��ف�ٍم �و�َم�����ط� ���‬ ‫نٍ َ‬ ‫ا َي يى ن�‬

‫‪66‬‬

‫‪10،2،16‬‬

~ 16 ~

The warfare between eye and heart wears me down― in the dust of battle, I lost sight of the shy gazelle. My heart says, “She is a shade of white, with a touch of rose”; my eye says, “She is pure white as a cotton sheet.” Her arrival cools the smoldering inside me: without her I can never have sangfroid. My beauty, let me steal a kiss, just a little one,209 to revive a delirious heart overcome by thirst.

67

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16.2.10

‫~ ‪~ ١7‬‬

‫ّٰ َ َّ َ ْ �‬ ‫ي ْ ن‬ ‫ا لله ��َي ن�بي�ن��� �و ن��ه ���ط�ا �م�يى ن� ن� �َب�د را �‬ ‫ن َ َّ �َ ي َ ْ‬ ‫�ا ن‬ ‫��م�يسي�ل � �‬ ‫� ا �ل���ي��ا �‬ ‫�سو�� �م�د �ع�وجن‬ ‫� اون�� � ن‬ ‫ا �َ ي ��ل � � � ن َ ّ ا ن� ن‬ ‫�ي� �لي�� �يى �بشع�سف�م نَس�يى ��بف�م �و �‬ ‫�وا �‬ ‫َ‬ ‫نْ � ن‬ ‫� ي‬ ‫���ب�ل�� �م � او �‬ ‫���د �ه�م �َل ن�ب�ا ��ه �و َ�‬ ‫�������ط�ا �‬

‫َ‬ ‫َ�ع ���ّ�س ند ���� ��ل� ��بش� ��م������هي �يَ�ف ا ����‬ ‫ى َ ويى ع َ َ ي‬ ‫ر ري �‬ ‫ن ا � �� َ‬ ‫ل���طف ا � �‬ ‫�‬ ‫ا ��ي�ل� ن��‬ ‫�ب�ا ن�‬ ‫��ب� �ي ٍك �ي‬ ‫�‬ ‫��‬ ‫�َب�ه �‬ ‫ر‬ ‫ر‬ ‫ي�‬ ‫يى‬ ‫�‬ ‫َ‬ ‫�ن��ْه ن ن‬ ‫ح����ط�ل�� ن� ا ��ل��د � ن ا �ل َ� ������ا ���� �‬ ‫�‬ ‫��‬ ‫ي‬ ‫َي � �‬ ‫َ �ٍم َ َ‬ ‫ي �‬ ‫�م�ا �ه� � �م�ْ�ي ا ��ي� �َ�س�ل�� �م�ه ��يَ�نب�ا � � �‬ ‫��‬ ‫وي �‬ ‫و ن َ �ل ل�يى‬

‫ن ي َ ْ ي � اي ن‬ ‫��‬ ‫ا �‬ ‫� �م ن� ��مو�� ��سي�ل��س�ا � ا �ل� � ار �‬ ‫�ي� را � ن ٍ‬ ‫ن نَ‬ ‫�نَ�يْ َ ي �َ‬ ‫�َ ن‬ ‫���ص‬ ‫ل ��وه‬ ‫��ف ار ٍر �م� �‬ ‫ح���ب�ا �‬ ‫���فرا��ي ن� ي‬ ‫ا َ َّ َ‬ ‫ح ن � ي ا ��ل ا �� َ �� ْ ��� � ن‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ف‬ ‫�‬ ‫ل‬ ‫م‬ ‫�‬ ‫ط‬ ‫�‬ ‫�َب�ي�را �‬ ‫ى‬ ‫ر‬ ‫�‬ ‫�م� د ر ن � ع ي‬ ‫ْ ن‬ ‫�َ�بفْر��ا �ع�� ن �م�ا �ن�� ن� �َ�بف ْر ن�‬ ‫�ب�ا �ونَ���بفرا �‬ ‫ن � ي‬ ‫� ُ نَ‬ ‫َ‬ ‫َ‬ ‫�َ �يْ ا ن �� ن ا ن �ي ّ ا �� ���ص ن‬ ‫��� �و � ��‬ ‫�ب�ا �‬ ‫�� ن� � ��ود ي‬ ‫�و م�ي�� � َ�‬ ‫�ْ ن‬ ‫� �َم ا ��ي نْ ن �ع ن ا �� �ْ‬ ‫�بي�ل �َو�لي�ب�ا �‬ ‫ك َ�ي�َ���� � َر ن‬ ‫و ي�� ر ٍ‬ ‫َّ‬ ‫� ّ ن � ن نْ � ن ن � ن‬ ‫رك���ا �نل�� ن� ���ل� � �َو���ل� � �و���ل� �‬ ‫ا َ� ْ � ن ن �‬ ‫ّ � �ا �ا ن‬ ‫�ه�ورَ�� ن� ���و�ل� ا �ل�ر��س�ا �‬ ‫�م� ي�ميَ�ل���و� �� �‬

‫��ب�ا �يَ�فَّ � �� �� ن ��ي�ل���بف ا � ا�ا��َبش�ن���ا ���� �‬ ‫��‬ ‫رو‬ ‫رن وَ �‬ ‫ني �‬ ‫ا ����ه ���ْ���� �ا �ن �� � �ا �ي�ا �� َ ن‬ ‫حْ ����ب�� �‬ ‫�‬ ‫��‬ ‫ر ي َي �ط �بي ر م ل ن ي �‬ ‫�ْمي ا ��ل� ���ا � ا �نل‬ ‫�َ��بي د � �نل� ن ���� �‬ ‫��‬ ‫�‬ ‫و‬ ‫�‬ ‫َر �ٍل ى نج َ ل‬ ‫� َي �‬ ‫� �م�ا َ� ْ �ن�� ا ��ل َ��� ْ�� � �م�ا َ ����فَّ�م ن ا ��ل �ب�� �‬ ‫��‬ ‫و ير‬ ‫رى و‬ ‫� �َ ي �‬ ‫ع‬ ‫نن َ ّ‬ ‫��ب�د � �ي� ا�ا���َ ا��ب�� �‬ ‫�‬ ‫ه‬ ‫�‬ ‫ل‬ ‫��‬ ‫�‬ ‫و‬ ‫� او د �يى �َ�ل��يى �ي َ‬ ‫ر ي �‬ ‫نْ � نَ ْ‬ ‫��س�ا ي� َ��َ�د �ْل� ن �م ���س�ا � � �‬ ‫��‬ ‫و‬ ‫�‬ ‫�َو�ر�ونج �ل� ن ٍ‬ ‫نَ � َ ي �‬ ‫َ‬ ‫�م�ا �ُ�ْ�م� ا��بي �َ�ْ��بف ن � �ا��ْبف ن � �يَ�� � �‬ ‫��‬ ‫ر‬ ‫و‬ ‫ر‬ ‫ن‬ ‫�ل ٍر و ٍ و ي �‬ ‫ّ‬ ‫ْ‬ ‫َ‬ ‫�‬ ‫��نَّ َ َ‬ ‫ح �ْ ن �م ن ا � �لي� � � �ي‬ ‫�ب�� �‬ ‫�‬ ‫�‬ ‫�ه �‬ ‫�‬ ‫��م‬ ‫�‬ ‫��س‬ ‫��‬ ‫�‬ ‫�‬ ‫َ �� ي ��و َ � � َ ع و ي �‬

‫‪68‬‬

‫‪68‬‬

‫‪1،1،17‬‬

‫‪1،2،17‬‬

‫‪5،2،17‬‬

~ 17 ~

Poem by Masʿūd Āl Masʿūd from al-Shaʿrā’ May God whiten the face of Ṭāmi ibn Gidrān,

17.1.1

who fed my mount and those of the grass cutters,210 And Ibn Sbayyil, admired by black-eyed beauties: his eyebrows jump with joy when travelers arrive.211 I wish they were my relatives and brothers: accolades to those big-spending and warm hosts. My greetings to each of them, spoken with sincerity; not one of those tepid handshakes and a murmur.

Ibn Sbayyil’s reply to Masʿūd Āl Masʿūd from al-Shaʿrā’ Riders of smooth, fast camels,

17.2.1

not the kind that toil all night at the well,212 The pick of pedigrees sired by Sḥēmān: 213 the stud’s owner was paid more than just a tip. They weren’t trailed by calves at the herd’s tail; rutting bulls never came close.214 Their spring pastures are from ʿArjā to Jimrān, up from al-Sarḥā and down from al-Hīsh; 215 When heat snaps the stalks, they seek the oasis, the wadi of Nifī, may it be drenched by rains. Cushions protect their fur from the riders’ feet; 216 the balanced saddlebags have fluttering fringes. The riders aren’t just anyone, but men of high repute and upright character, leery of winks and whispers. Their mounts are unladen except for the reins, as if they are in mortal fear of baggage and clutter.

69

69

17.2.5

‫~~ ‪~~ ١7‬‬

‫ْ � ي �َ ن‬ ‫ن‬ ‫��ل�ا َر�َّو َ�‬ ‫ح ن� ��بش� �َ��ن�َيل�هٍ � �‬ ‫�سو�ل����ا �ن�ا �‬ ‫ع‬ ‫�ي �ْن� � ن ا َ �ْ � ن�لَ ّ ه � َ ّ ا ن‬ ‫َ�يل��ى �ل��� نر�� نَ ��ي�� م����ي�� �‬ ‫ي‬ ‫ع‬ ‫�ٍّ‬ ‫ْ‬ ‫ْ‬ ‫�‬ ‫َ‬ ‫ن‬ ‫�‬ ‫� ا � � ن ا ا � � ي ا� ن‬ ‫�و� �ل� َ� �‬ ‫م� ي���دنَ �‬ ‫ط �وي�ل� � ا �ل� �����ا �‬ ‫� ا ي �ْ ي ن � � �ن نَ�� ْ �ي ه ا � ا � ن‬ ‫�ب��ا �‬ ‫م� َ�بيل� ��ي ر ا �ي�ل�يى َل��طفر� �ن� �ل� ي‬ ‫ن‬ ‫ن َ ّ � ان ن‬ ‫���د ا � ن َ ْ‬ ‫�َبفرا �م����ش� ��ود ل��يى رد ا �ل���نب�ا �‬ ‫ن‬

‫‪70‬‬

‫َ �ْ‬ ‫�ب�ا ن�ي �م� �ن ����ب�ا �ن��� �‬ ‫���ب�د ن� �نَ����ا‬ ‫�‬ ‫ي�‬ ‫�‬ ‫��‬ ‫م‬ ‫�‬ ‫ن‬ ‫ي‬ ‫ل‬ ‫َ‬ ‫ٍ عَ‬ ‫�‬ ‫ٍ‬ ‫ا �َ�بي ي�م� �� َ ن�َ�ش� �� ��ب�ا ���يَ� نْ������ �‬ ‫��‬ ‫�ل‬ ‫وٍر ر و ن ي �‬ ‫�م�ا دَ �َّ � ا ��نْ�� ن د �ى ا �� �ليَ�بف ا ن���� �‬ ‫��‬ ‫ورو َ� � َرَ ي‬ ‫ر ي �‬ ‫َ‬ ‫����ا �ن���� �َ �نّ��ا د � �ليَ�� ��ل� �لا ا �������‬ ‫ي ن و ٍ ن ويى و ن ي �‬ ‫�َ‬ ‫� �‬ ‫�َ‬ ‫�‬ ‫��ا � �‬ ‫�سو�ي� ا �لَ���ف� �مو� ا ��ي�ل� �َي�لي� ن��ّ ا ���� �‬ ‫�‬ ‫��‬ ‫�‬ ‫ر‬ ‫ي�‬ ‫ج يى َ �‬

‫‪70‬‬

‫‪10،2،17‬‬

~ 17 ~

When they cross featureless plains at full stride, they are like ostriches fleeing over flat wastes. You’ll reach friends of ours as evening shadows fall,217 in lofty mansions built by expert hands. For guests, they slaughter the pick of the herd; it is beneath them to fob off little lambs. I wished to say what I have seen with my own eyes― no other motive have I, nor reward do I solicit. This is a grateful reply to artful verses by Masʿūd, the dream of sulking wives with loosened tresses.

7١

71

17.2.10

‫~ ‪~ ١8‬‬ ‫َ ّ يَ ْ‬ ‫ٰ َ‬ ‫يْ‬ ‫�َ‬ ‫ا ّلله �ل‬ ‫����ا ه‬ ‫���د �ي�ا �ي�بي�ل ��ي�لسن�يى �م ن� ا ���‬ ‫ن َ‬ ‫ن َ نْ � �َ ّ ي َ ّ‬ ‫��فنره �م�� ������ا ه‬ ‫عوه �م� ��بش��ب�ل� ه‬ ‫را � �‬ ‫ْ َْ�‬ ‫َّ �‬ ‫�ْ‬ ‫�َو ��ط� او �ن�ب�ه اَ�ام�يبي��ا ه �م ن� �َ�بش�ي� ن� � نم���طف�م�ا ه‬ ‫� � �‬ ‫ن� ّ‬ ‫� ا�ا��َبف ا � � ا َ‬ ‫�َي��ه ����ا �ل �َم ْ���بفرا ه‬ ‫رج ور‬ ‫َع ن‬ ‫�َ‬ ‫َ ّ نْ ي �‬ ‫ا �و �ي�بي�ل َر���ي�ل�و�� ا �ل ����َ�نش��ب�ا �ي ��و�م � ��ّ او ه‬ ‫َ‬ ‫َ‬ ‫َ ّي‬ ‫��بي�ل� �ع �����ي�ر �‬ ‫عو��ي�ن�سى �ه� او �ي�ا ه‬ ‫�‬ ‫ى‬ ‫ي‬ ‫ٍ‬ ‫ن‬ ‫ُ‬ ‫ْ يَ‬ ‫�ي � ن‬ ‫ن‬ ‫�سو �‬ ‫�ب�ا �ل�ى �م�ن��ا ن�‬ ‫ل� ��بش���� ن�� �‬ ‫�ب�ا ه‬ ‫� َن ي‬ ‫�يى َ ر � � ٍ‬ ‫�ْي ن َ�َ ْ‬ ‫ن� �� ا َ ��� ْ �َ ْ‬ ‫� �ام�م ���س�ا ه‬ ‫ه‬ ‫�‬ ‫�‬ ‫ط‬ ‫ح‬ ‫��س‬ ‫�‬ ‫�‬ ‫رن ٍ‬ ‫� او ����ى يح ن‬ ‫� ْ � ن� �‬ ‫ح���ط�ا ه‬ ‫��ب�د ��بف �ع�نس�ه �ل� � �ه� ��د ن‬ ‫َي ي ر ي ن يى و و َي َرج‬ ‫� نَ ّ َ نْ‬ ‫َْ‬ ‫ى ��ب�� ����ب�ا ه‬ ‫�ن�ب�د ٍر �ن�ب�د ا �م ن� � او د �يى ا ����ي�‬ ‫َّ َ ْ‬ ‫�نَ ّ َ ْ ي‬ ‫ا �ل‬ ‫���د �ن��فر�� �ن�ا ن��� �ن��وه َن���ع��نس�ا ه‬ ‫ٍ‬ ‫� ْي َ ن � � نْ نَ‬ ‫ْ‬ ‫ن‬ ‫ي‬ ‫ا�ا���� �� ا �ي�ل َ�م‬ ‫��يَ� �ل����سى َ���ن�ص‬ ‫���ا �ي�ا ه‬ ‫َ ر �يى‬ ‫ي‬ ‫�ن �ي � ا ي ن َ ْ ن‬ ‫ا ن� ��و �َ��ي� يل��ي�ل �مو� ا �ل��‬ ‫����ا � ي���ن���د ا ه‬ ‫ٍ‬ ‫ْ‬ ‫َْ‬ ‫ْ‬ ‫�‬ ‫�‬ ‫ن‬ ‫َ‬ ‫�‬ ‫�����ه �وَ�ي�لي��ا ه‬ ‫ي� ���س�د �يى �َ�سن��ي� ن� ��ر�و��� �و�‬ ‫َ َي ن‬ ‫� �ا ن‬ ‫� ا ����َ�بف َ� � او�ا�� ن‬ ‫�‬ ‫�‬ ‫����ف�م�‬ ‫ب��ا د ا ه‬ ‫�‬ ‫ب‬ ‫ن‬ ‫ر‬ ‫ن‬ ‫�� َ يجن‬

‫‪72‬‬

‫� �َ َ �� �‬ ‫يَ ّ �� �ي ��‬ ‫ل��َ�ف�م�ا � يم�بش�‬ ‫��بش� ا �ي�ل� ���بش� ��وه ا �‬ ‫�‬ ‫�بي ا ل�‬ ‫� �ل َ يع يى‬ ‫ع‬ ‫�َ‬ ‫نَ‬ ‫�‬ ‫���ف ّر� ��وه ا�ا�ظ���ا ��يي�بش�‬ ‫� �وي�ا �ل�يى ن�����ا ره �‬ ‫ن‬ ‫ع‬ ‫ْ َ‬ ‫�َ ْ َْ‬ ‫� او �ي�نش� �� او �ي�ي�ل�و�ع� �ون���ه ��بش� ا ���د ر ن� �ي�ي� �لو���‬ ‫َ‬ ‫يع‬ ‫ع‬ ‫ْ‬ ‫ْ َ‬ ‫ُ‬ ‫�‬ ‫�ن ا � ه �نُ‬ ‫����‬ ‫ش� �� ا �لي�� او �يي�بش�‬ ‫�ا�‬ ‫�‬ ‫�‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ب‬ ‫ن‬ ‫�‬ ‫�‬ ‫ل‬ ‫ن‬ ‫و نج �ى‬ ‫ع‬ ‫َ‬ ‫� نَ ن‬ ‫�ا‬ ‫��ي��ن� �و��ا �مي��ا ي� ا ���د ��ب�ا دي���‬ ‫�‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫�ل� و ن‬ ‫ٍ‬ ‫ع‬ ‫َّ � َ ْ َي ْ‬ ‫ن� ْ‬ ‫�بَي�ل�ه �َ�بف نر ا � �لي�بي�ل ن� ���بف نر���‬ ‫ن����ي�ه�و�م َ ن‬ ‫ع‬ ‫يع‬ ‫ْ‬ ‫َ ْ‬ ‫ْ‬ ‫�َ َ‬ ‫� او �ل‬ ‫�ي� ���ي�ل� ّ �ن�ا ���َي� ار ن��ٍ� � �وي��ف �ر���ش�‬ ‫�‬ ‫يى‬ ‫يي ع‬ ‫�يُ‬ ‫ن ا �من‬ ‫�َبي�لّ�بسن‬ ‫�م�ن‬ ‫�‬ ‫���ي��� ا �ل �� او ن�‬ ‫��ي���‬ ‫� او �� � ي �يى ن َ‬ ‫ع‬ ‫ع‬ ‫ْ‬ ‫�‬ ‫�ن نّ‬ ‫ا‬ ‫� او ����ب�ا ر ��ل�ى َن��م‬ ‫��ب�ا �ن�ي�بش�‬ ‫��نس�ا ي� ا �ل��‬ ‫�م�‬ ‫ي‬ ‫ع‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫� ْ�بف ن�َع ����ب�ا ن‬ ‫�� ��ه ��ل ن�� ه ���م���ا ��‬ ‫�س��‬ ‫�‬ ‫�‬ ‫ر‬ ‫ر‬ ‫و و‬ ‫ن� ٍ‬ ‫يع‬ ‫نْ � ا �ن �ن �عْ ي ا �� َ � � َ‬ ‫ل��ظ���ا َ��ه �ي�ل�� � يم��ش�‬ ‫�ي������ب� � ل�يى َ �م�� �‬ ‫َ‬ ‫ع‬ ‫ْ‬ ‫ْ‬ ‫�‬ ‫َ‬ ‫َ‬ ‫ي‬ ‫�ي�نل��يَبي�ل � �و��نْبش�َي� ن��� �م�ا َ�ل��بفر ن��ه َ����ب�ا �ن�ي��ش�‬ ‫َي‬ ‫ع‬ ‫ّ‬ ‫َ‬ ‫َ‬ ‫�‬ ‫� � َ‬ ‫�ن�ا َ�ام ْ��سي�ك � �و��ن��شي��ش� ��ه ا ���َورد ��ي�نْ�ش�ي�ي��ش�‬ ‫ي‬ ‫ع‬ ‫ع‬ ‫� ا ��� ف ْ � ي �� َ ّ ا � َ �يْ ي ا� ن ا �ن‬ ‫��يس� �و � ا��بش��� ر��‬ ‫�ل� ��م� ا ل‬ ‫� � ج‬ ‫َ يع‬ ‫�‬ ‫يَ � َ نّ � ْ ي‬ ‫����ا ر�ي��‬ ‫��بش� ��مو�ل د � ا�َا��ش��بفَر�ب�ه � او�اَم�‬ ‫ع‬ ‫ع‬ ‫‪72‬‬

‫‪1،18‬‬

‫‪5،18‬‬

‫‪10،18‬‬

‫‪15،18‬‬

~ 18 ~

Almighty God! My heart is pulled from its roots,

18.1

like a herd of camels driven off by rustlers.218 They snatched them from evening pasture; next day they filed through mountain spurs Toward waterless wastes, already thirsting; after a restful life, they were beaten furiously,219 Galloped down the track and ran all night long; dawn broke miserably, a terrible fate awaiting them.220 Or is it distress felt by a desert stalk that withers,

18.5

lashed by gusts of fiendishly hot summer winds? These are my feelings for a love that crippled me: the arrows from her large eyes ripped my heart. In the middle of the market, she took me by surprise; catching up to intercept, hesitating a moment. Then she walked on merrily, counting her steps; leaving me poleaxed, as if smitten in battle. She dawdles, then turns her eyes on me, subtly gesturing with hennaed hands. She is a moon rising from the valley of seduction,221

18.10

resplendent, layers of light on radiant luminance; Cheeks like gleams from the depths of a cloud, lightning that flashes in the misty fringe. She twists the rope, then unties the knot, at will:222 I can’t make head or tail of it. Her plaited tresses tumble down her back, musk-scented and sprinkled with a whiff of rose, A cascade of hair like the tail of an Arabian horse when cries of alarm resound and chase is given― Shouting, din of arms, and loud voices of men giving orders: “Hurry, bring saddle and reins!”

73

73

18.15

‫~~ ‪~~ ١8‬‬

‫َ‬ ‫��عيْ� َل��َّ ف �لّ �نَ ْي‬ ‫�سّ او ه‬ ‫َ ن � �ٍر رن�يى ن‬ ‫��ي� �ل���ه �و� �‬ ‫ّٰ‬ ‫ْ‬ ‫َ نّ ي‬ ‫ن‬ ‫����ا ه‬ ‫ا لله ��بي�ل�ى ���فره ����َ��ش��ا �ي�ا ه �نَ��فر ن�‬ ‫ْ‬ ‫نْ ي ن ا َ ن‬ ‫��ْبف� �م ن� َي�ي�ل��ه � �َي�� ْ‬ ‫��بي��ا ه‬ ‫�و�َ�بفَر�� ا �� �م� و َن و‬ ‫ن ن �َ ْن �‬ ‫ْ‬ ‫� او �ن�ا َرن� ��و� ا �ل�ي�فر�� � ��و �نَ�بي�ل� �َم �����فراه‬ ‫َ يى‬ ‫�ي ّ ّ نَ ْ‬ ‫َ‬ ‫ْ‬ ‫�‬ ‫��ب�ل� ه ر �ل�ى �َ�ب�د �‬ ‫��ي�َ�لي��ه �و����فر��ا ه‬ ‫�و�‬ ‫ني‬ ‫ي‬

‫‪74‬‬

‫�� َ � نَ �ْم�ي�ص ن َ �‬ ‫�ا‬ ‫�ب�ا ٍ� �و�ي��و� يل�بش�‬ ‫�ل���بي�ل ا ل� �‬ ‫هوى ر�ود ا َ‬ ‫ع‬ ‫َ‬ ‫َْ � �‬ ‫حم� � ن ي ن‬ ‫�ي�ى َ�‬ ‫��بش�‬ ‫�م� ��و�� �و�ي��ه �م�ا ا ���م� �و�ل�ا ا ��‬ ‫ي‬ ‫ي‬ ‫ع‬ ‫ع‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫ْ ��‬ ‫�‬ ‫ّ‬ ‫���ش�‬ ‫ه او ه ����ف�م�ا �و��ق�‬ ‫� او �ن�ا �ا���ا �يل� �‬ ‫ي‬ ‫َ‬ ‫ع‬ ‫ع‬ ‫ن ا �َ ْ �� �‬ ‫ي‬ ‫���فر ا ل�ى ا � �ر��‬ ‫ا �� �سو�� �ن�ب�ه �م� �ن� ن� م�‬ ‫ي‬ ‫ٍ‬ ‫ع‬ ‫�‬ ‫َ‬ ‫�‬ ‫��بي�ل ا �نلم�ن� ا ��ل���ا ����بف��م ن�‬ ‫��بش�‬ ‫حي�بفر �َم ن� ��‬ ‫ى‬ ‫َ‬ ‫ي‬ ‫يى‬ ‫�ى ي‬ ‫ع‬

‫‪74‬‬

‫‪20،18‬‬

~ 18 ~

My Lord keeps a close eye on His creation, with special trials and heartache allotted to lovers. By God, if I could only taste her lips, freely offered, besotted and defiant, I'd refuse to obey reason. I know what she harbors in her heart of hearts: for her every desire, I am at her beck and call.223 I make my bids for the maiden: no price too high: for her I scour markets from Cairo’s gates to Mecca.224 I close with prayers―as many as there are people saying His name― for the Hāshimī Prophet, who is man’s best example.

75

75

18.20

‫~ ‪~ ١9‬‬ ‫َ‬ ‫�َ ْ‬ ‫�بي�ّ ا �� ن�ل�بفرا �ي� �و َ�‬ ‫ح نّ� را �ي�بف�م �ا�بفر� ��و�‬ ‫� ل‬ ‫ي م‬ ‫� �‬ ‫ْ َ ي نا � ن َ‬ ‫عم‬ ‫�‬ ‫�‬ ‫� �ل���ا ا �ل ن��و�‬ ‫�‬ ‫�‬ ‫ا م���شي�� ا �� ي �يى ري ن ٍ‬ ‫م‬ ‫�َ‬ ‫ْ� � ْ‬ ‫�‬ ‫ا ن� ل�� � �‬ ‫��ا �ور �ع ن� ا ���د �ي�ب�د ���نش�� ��ط�و�‬ ‫�ى ن َ‬ ‫ي‬ ‫م‬ ‫ع‬ ‫ٍ‬ ‫�َ نْ‬ ‫َ‬ ‫َ‬ ‫�ن�ب�د ��ي ي� ��ب��ي� ا ��ي�ل ن�َ�م ْ���بفرا ه ���ن�ص‬ ‫�و�‬ ‫�‬ ‫ل �يى‬ ‫م‬ ‫نَ نْ‬ ‫ََ �‬ ‫َ نٍّ � ا َ‬ ‫� �و �ل���س�ى ن��د ي� �ل�ا َ��ي� ن� �م� �و�ل� ��س�و�‬ ‫ي‬ ‫م‬ ‫ْ‬ ‫ُ‬ ‫ا �� �ي � � �‬ ‫�س او ��يب�‬ ‫� �و�ه�م�و�‬ ‫�ب�ا ر ��ه �‬ ‫� ل� يل‬ ‫�‬ ‫�‬ ‫جَ م‬ ‫و � ن� ن ٍ‬ ‫ْ‬ ‫� ي ا ���� ند � � �ا �لن �� ن‬ ‫ب��ه دّ � �ي�ل �‬ ‫�ب�ل�ى يى ن�ب �يى َ ر َو �وم‬ ‫� � َ� َ �‬ ‫ْ‬ ‫���ا ن� �م�ا‬ ‫�‬ ‫�‬ ‫م� ي� �َم��بي�ل�و�‬ ‫�‬ ‫ك‬ ‫�‬ ‫�‬ ‫ن‬ ‫� َ�و�ه ا �ل���ره � و‬ ‫ي‬ ‫م‬ ‫� َّن �لَ نْ ن ا ن ا نْ ا �ُ‬ ‫���و �ن��� ا ن�‬ ‫�سو�‬ ‫��ش� �� او �ب� �� ��ب��ه ��ب� ا �‬ ‫�‬ ‫ي‬ ‫م‬ ‫َّ‬ ‫ْ‬ ‫�يٍ� ��بي�ل� ّ را د ����َبنش����ا �ي�ا ه �ن��فر�ي�مو�‬ ‫��‬ ‫م‬ ‫ى ع‬ ‫َ يّ َ َ �َ َ َ ْ ي ْ � َ‬ ‫ّ‬ ‫ح� ا ن�����د ا ل‬ ‫�‬ ‫�و�‬ ‫�و�‬ ‫�‬ ‫�بش���ه �ي�ل�يى ا �ل�ى ��ر ن� َ‬ ‫م‬ ‫َ‬ ‫ا �ن�ا ا ���� ند � ��ا � �ا ا ي�� نّ‬ ‫����ا ه �م ن �� �‬ ‫يى ي �ب‬ ‫� ي �وم‬ ‫ن يّ َ‬ ‫� ي�بنْ�ي�ل�ه �ي�ا ��ل ��ل�ى ن �ر�ب�د ��بفر�‬ ‫�و�‬ ‫ا � �َم‬ ‫�‬ ‫ي ي‬ ‫م‬ ‫��نّ � � � ن � ا �ن َ ْ �‬ ‫طو�‬ ‫ب��ه ���ن ن� ��‬ ‫�‬ ‫َ��� ا �يل� او ���و �ن�ي�� ا ����� ي‬ ‫م‬ ‫ْ‬ ‫�‬ ‫� ا �لن‬ ‫�َب ّ�د �يبفر������ا �� �ع ن ا ��َي�لْ�م�� �َم ل��‬ ‫�م�و�‬ ‫و‬ ‫� َ‬ ‫ٍ� �‬ ‫� م‬

‫‪76‬‬

‫ََ �‬ ‫�و�ي�مو�ى ا � ن�ل��فرا �ي� ا ��ي�ل� ��‬ ‫��ن���ا ر د �ن�مو�نب�ه‬ ‫يى‬ ‫ٍ َ‬ ‫ْ‬ ‫َ‬ ‫�ّ �‬ ‫ا � ن ن � � �م ن‬ ‫��ن� ا �ل�اد ا �و�يى �ن� �ل�َم���ط�ي ر �‬ ‫���د �و�نب�ه‬ ‫َ�‬ ‫َ‬ ‫نَ ّ َ�ْ� َ‬ ‫ي‬ ‫�� ا‬ ‫� � ه ���‬ ‫���د �و�نب�ه‬ ‫�ي ن�ب� ه ��ب�ي ر ا م� �و � ر� � َ‬ ‫�ْ نَ‬ ‫�َ�ب نس�ّ �َ�بش��ب�ا ��ل��ي ا �� َلن�������ر �م‬ ‫�ق ���ط�و�نب�ه‬ ‫ي‬ ‫يى‬ ‫ي�‬ ‫َ‬ ‫َ‬ ‫ن‬ ‫ّ‬ ‫َ‬ ‫َ‬ ‫� �‬ ‫��‬ ‫��ن ا �ل َ��م� �ا � �‬ ‫�و�نب�ه‬ ‫ح ْ��� ف � �‬ ‫ونَ ب��ميى حي�ل َ � �ب ير ن ن � َ‬ ‫ن �يَ‬ ‫ّ‬ ‫كي�ل ����ط�ا ر �ي�ي�ل�و�نب�ه‬ ‫�و�م� ا � �ل‬ ‫ا‬ ‫ف‬ ‫ده‬ ‫�‬ ‫ب‬ ‫ر‬ ‫َ‬ ‫ٍ‬ ‫َ‬ ‫��َ���فْره �َ�بي�ل ّ ا ��ي�ل ن�‬ ‫�َبف� يم�بي�ل �و���و�نب�ه‬ ‫ٍ �يى �يى‬ ‫ٍ‬ ‫َ‬ ‫�‬ ‫َ‬ ‫�ْن� ا ه ا�ْ‬ ‫�‬ ‫ا�ْ‬ ‫ع‬ ‫�بي�ل �ْم��ر�و�نب�ه‬ ‫��بنَ��ر �ي�ل�ى ن��ب� �ل� ن‬ ‫ّ‬ ‫��َ� ن ا �يَ�� نَ�د � ن ه � ا �ْ‬ ‫�بي�ل ا �ل‬ ‫�‬ ‫ح��س�و�نب�ه‬ ‫�ي� �ب ر م�ب� و ن َ�يى‬ ‫�‬ ‫���ا ��ل ا�َا��فر�و�نب�ه‬ ‫�ي��فر�و�ن� ن �ل�ى � او �ن�ا ن�‬ ‫ي‬ ‫َ‬ ‫ْ‬ ‫ّ‬ ‫ن‬ ‫�‬ ‫�‬ ‫ا �� ن‬ ‫ن‬ ‫�سو�نب�ه‬ ‫ا �عَ��سيى �و�ل� َ���سيى �م� ا �ل ن��ا ��� ا �� �‬ ‫ع‬ ‫َْ‬ ‫� نَ‬ ‫َ‬ ‫ن‬ ‫�و�ه�و اَ���� ند �يى �ن �نل����ب�ه ������ي�ر�يى ��بي��و�ب�ه‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫ا �‬ ‫���ا هي ��من‬ ‫� ا ن� �م�ا ي� �يَ�ْ‬ ‫ل‬ ‫�‬ ‫�بي�ل�و�نب�ه‬ ‫�‬ ‫ا‬ ‫ي‬ ‫�‬ ‫م‬ ‫ب‬ ‫�‬ ‫ل‬ ‫و‬ ‫ي‬ ‫ن �يى‬ ‫ن ي َ ْ �ْ�م ْ ن‬ ‫�بي�ل�َيبف� ل��ى �يب ن��و�نب�ه‬ ‫ا �و َ�‬ ‫���ي ��� � �ون�بي�ٍل‬ ‫ٍم ي‬ ‫َ‬ ‫�‬ ‫� او ���َ�� نْ��ي �َ�� نْ��ي ا ��ي�ل �يَ�ي�ل�نَّ��ه ن�‬ ‫��سو�نب�ه‬ ‫ح� �‬ ‫� � �يى‬ ‫‪76‬‬

‫‪1،19‬‬

‫‪5،19‬‬

‫‪10،19‬‬

‫‪15،19‬‬

~ 19 ~

Separation tore us apart and left me wistful with desire,225

19.1

but strong enough to endure, though advanced in years.226 When I lie down for the night, my eyes fight sleep, as if the pupils are peppered with hot medicine.227 I cry like an infant just weaned from the breast―228 a foster mother’s, not his own―leaving him in agony. Like a traveler at night, lost among stars, I straggle,229 deranged as if my heart’s arteries were plucked out. My soul went missing―not as a present or bargain―

19.5

and my body is emaciated, as if flames lick its insides. The heart is buffeted by misfortunes and anxiety, beset on all sides by premonitions of disaster, Because of her reply and bits and pieces of news that leave no doubt about the damsel’s displeasure. She may feel vexed, but I did her no wrong: for the sake of her kindnesses, I bear with her faults. When given the cold shoulder, I do not forsake but offer apologies to clear misunderstanding. The damsel with blue tattooed lips owes it to me

19.10

to treat me gently since I need her tender care; I owe it to her not to raise the slightest suspicion: I speak and look as if she is unknown to me, When in truth she’s never out of my thoughts, and she feels distaste for all but me. If I die first, she says, “So-and-so passed away”; 230 If she dies first, my life loses meaning. Her lips hide teeth strung like pearls, or like hail from clouds in a pitch-black sky. Her cheeks are as translucent as untouched paper; her neck that of a gazelle trailed by fawns;

77

77

19.15

‫~~ ‪~~ ١9‬‬

‫َ ْ‬ ‫ن �‬ ‫� ا ����َ��� ن‬ ‫ي� ا �ي�ل� �ي�ل� را ��� ��بي�ل� �مو�‬ ‫ي� ��ب��‬ ‫و‬ ‫يى ى‬ ‫م‬ ‫�َ‬ ‫�� � ا �ْ َ �ي ا � � َ‬ ‫َ�ْر���� ا�ام ن��ا ��‬ ‫���ي�ر�و�‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫ن‬ ‫ر‬ ‫ر‬ ‫ن‬ ‫ي�‬ ‫م‬ ‫�َ ّ ي � َ ْ َ نْ‬ ‫َ‬ ‫����د ر ��بفر� �مو�‬ ‫ا ن� ��و ن����ي��د ن��يل ن���ه ا �ل‬ ‫�‬ ‫َ‬ ‫م‬ ‫َ‬ ‫ان ََ‬ ‫ّ‬ ‫ن‬ ‫�‬ ‫��ب� ل�� �‬ ‫����ه �ع ن ا �لن ا د ��م‬ ‫ح ����سى َ�‬ ‫�ْبفر�و�‬ ‫يى‬ ‫ر‬ ‫�‬ ‫م‬ ‫ن َْ‬ ‫�‬ ‫���ه �َ�بفْ ��‬ ‫�‬ ‫�ب�ا ن�‬ ‫� او � نَر� ن� ل��ى ��ب�شي� َرن� ن��‬ ‫�سو�‬ ‫�‬ ‫ر‬ ‫ي‬ ‫ي ي‬ ‫م‬ ‫َ‬ ‫َ‬ ‫�‬ ‫�‬ ‫�ن‬ ‫ا‬ ‫���ا �ل ��ي ��م‬ ‫�ب�ا ��بي� � �م ي� ا�م‬ ‫�ْ�ي� �‬ ‫�ي� ن� ٍل و‬ ‫ي�‬ ‫�وم‬

‫‪78‬‬

‫ّ نَ‬ ‫ا‬ ‫�َم�� َ���ه �م ن َ��‬ ‫���ل � ْ���بفر �َ�بي�ل�ون�ب�ه‬ ‫�‬ ‫�م� ن� ي ن‬ ‫ٍ‬ ‫ّ َ‬ ‫ن‬ ‫�َ‬ ‫�َبفٍر �َ�بي�ل�ك �َ�م ي� ا �ل‬ ‫�‬ ‫�� ��ون�ب�ه‬ ‫ح ن���ا ر�يى ��ل‬ ‫و‬ ‫�‬ ‫َ‬ ‫�َ ا � ن ا ي‬ ‫��ون�ب�ه‬ ‫�‬ ‫�ن�ي�من��� ا ل���� �م ا �ي�ل�ى ر���ٍ ي �‬ ‫ع‬ ‫ي‬ ‫�َ َ ْ‬ ‫ن‬ ‫ن‬ ‫ا‬ ‫ن‬ ‫�ى ��ب�ا �َ� ن��� �م� رد �و�ب�ه‬ ‫� او �ل���و ن� ي� ���� ل��‬ ‫�‬ ‫ي‬ ‫َ‬ ‫ن‬ ‫َ ْ ي ََ �‬ ‫� ��‬ ‫��ون�ب�ه‬ ‫ر�����ف�م�ه �م�هر ��يس� ن�‬ ‫�سَ�� ل��يى �َم ن� �‬ ‫ن‬ ‫َ‬ ‫ٍج ع‬ ‫َ َّ‬ ‫�َ ن �‬ ‫َ‬ ‫ن‬ ‫ن‬ ‫ي�بفر ن� َ�م�د ا ��بي�ي�ل ا ����ب ��ود ا �ل��� ��و�ب�ه‬

‫‪78‬‬

‫‪20،19‬‬

~ 19 ~

Her eyes those of a falcon high on its rocky perch, not a captive bird fed pieces of meat, Shoulders rough, and claws fatal to bustards: angel of death for its brown- and white-spotted prey. Firm breasts protrude below a gracious line of neck, like pigeon eggs in nests high on sheer cliffs; Her waist is slim as if she is deprived of food, while her behind stretches her gown to bursting; 231 Between her eyebrows, beauty has left its mark, like the stamp of a sated shaykh among his guests. You made death a certainty for Your creatures; I pray, let the smiling gazelle roam close to me.

79

79

19.20

‫~ ‪~ 20‬‬ ‫ن ي ّ َ ا‬ ‫ّٰ ن‬ ‫ا لله �م� �����ي�ٍ � َل���ي�ل�ه �ع ن��� َر‬ ‫�ن َ ن‬ ‫�ي�ل�ى ا ���د �يى �ن�ي��س�يى � ن�و�ي���نب�ه �َ���د ا ر�يى‬ ‫� ن‬ ‫� ا ��‬ ‫ْ �ن ه ل��‬ ‫��ْ��� �ي�ل� ن�‬ ‫�‬ ‫ل‬ ‫�ب�ا �ل د ا ر�يى‬ ‫َرد ب� َ��ب� َ ٍ� ى‬ ‫نْ‬ ‫�َ‬ ‫َ ن‬ ‫�ي�ا ��سي�� ن� �عيم�يى �ي ��و�م ����َبش���يَب�ه �ي��د ا ر�يى‬ ‫�َ ْ‬ ‫َ ْ نَ � ا‬ ‫ي‬ ‫� �م�ا ��ي�نبش�ع� �و�ل� �ه�و ن� �ب�ا ر�يى‬ ‫� او �ل�هرجن‬ ‫ع‬ ‫�‬ ‫ُ‬ ‫ي‬ ‫ح ل�ن �َ �ْ‬ ‫�ي�‬ ‫ا‬ ‫�ب�ه ا�م����ا �نَ��ي�ل �م� او ر�يى‬ ‫�َ�ل ن� �يى و ن‬ ‫نَ‬ ‫ن َ ّ َ �َ ّ‬ ‫ْ‬ ‫���ا‬ ‫�‬ ‫�‬ ‫�م��ٍ ا ��ل�ى � �لي�ب�ا ك �َو ن�����ه‬ ‫َر‬ ‫�‬ ‫ّ‬ ‫ا‬ ‫� ا ��ل�ا �م ن ا�ا�مْ�ن�� ن�� �ي� � ن � ن‬ ‫��سو�� ا �لَ�ك� َر‬ ‫َ‬ ‫ن‬ ‫و � َ �‬ ‫�‬ ‫� او �ل�َ��فْرن� ��ا �ل�يى ���ه د ر�و ن� �و �ن�م‬ ‫�ب�ا ر�يى‬ ‫جيي‬ ‫َ‬ ‫َ‬ ‫نَ� ْ � �‬ ‫� ن َّ‬ ‫ل�‬ ‫ح �� �‬ ‫��ب�د �وج� ا �ي�ل�ى نَ����بي��ه ي���ب�ا ر�يى‬ ‫طو ا � َ‬ ‫ي‬ ‫ّ‬ ‫� ا ��ل�ا �ي��ف ا ا ��������د �ى ي���نَ� ن ّ � ا� ا‬ ‫��سيى ا �ل� �� َر‬ ‫و‬ ‫ر‬ ‫َ‬ ‫ي ي‬ ‫نَ ّ ا �ن �َ َ ّ �‬ ‫��ا‬ ‫�‬ ‫�‬ ‫ه‬ ‫��‬ ‫�‬ ‫�‬ ‫� ا �ل�ى �ي�ل ���ط�ا ر�يى‬ ‫ر‬ ‫و�ل� و ن‬ ‫ٍ‬ ‫� ن �ْ‬ ‫�يَ ْ‬ ‫���ب�ه ن� ا‬ ‫ل��ط�ا‬ ‫� ل�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ي‬ ‫�‬ ‫�س‬ ‫�‬ ‫�‬ ‫ح ن��� َر‬ ‫و‬ ‫ٍ َ َ َ‬ ‫ا � �ل�بيل ن َ‬ ‫��ّ �‬ ‫� ا ����َ��� ن َ ْ � ي‬ ‫ي� ���بن��ر ا � �ل�ي�ل ن� �م� َ���ل ���ط�ا ر�يى‬ ‫و‬ ‫ع‬ ‫ُ‬ ‫� ّ ََْ‬ ‫�ي‬ ‫� او �ل‬ ‫����ا �ي�ا ن��‬ ‫ح ن� ن��ي� �لو�ى � او � �لَ�م ن�‬ ‫�وا ر�يى‬ ‫َ‬

‫‪80‬‬

‫َ‬ ‫�َ‬ ‫�ْ‬ ‫����ن��ه �ه��ب�ا ��لي�ي� ا �ل����ص‬ ‫�‬ ‫�ب�ا ن� ا �ن� َ�د �نب�ا �َيب�ه‬ ‫ل‬ ‫َي َ‬ ‫��َ �ن ه ا ��لَ ��ب نّ �َ��نَ ي ه �� ن‬ ‫�م����ا �َيب�ه‬ ‫�سوب� �ى َ �سى ن �شي�َس�‬ ‫ي‬ ‫�َ‬ ‫� � ان � َ ْ ي َ‬ ‫كَّو�م د �يب�ا �َيب�ه‬ ‫�ل�ى �ل� �ب�ه ا ���ن�بف نر �ل�يى َ�� �‬ ‫� َ �َ ْ‬ ‫ْ‬ ‫�م ن� �َ��لي�ي�ل ردْ �ن� �ل�ا ن���ن�� ا�ام ����سى ��ب�ا �َيب�ه‬ ‫َ ٍ ى ي‬ ‫ْ ي� �‬ ‫ح ن� ن��ي� يل�ّ��ا �� نل���ا �َيب�ه‬ ‫�ولا َي�����َ ��و يى َ ٍ‬ ‫�‬ ‫� ا� َْ َ‬ ‫ن��صْ‬ ‫�‬ ‫ورن�بش��ي��ه � او �نل �����ل�� �يب�ه‬ ‫حي�ك ا �نل�‬ ‫َ�‬ ‫�ب� ن �‬ ‫ج‬ ‫َ‬ ‫ْ َ‬ ‫� او ����بفر�ن� �ي�ل� �ن�ب�ا �ي�هي ن��ل�� ه � �ون ن�ل�ب�ا �يب�ه‬ ‫َ‬ ‫ى‬ ‫َ‬ ‫َ‬ ‫�ي�ا ���ه �ن�فرا َ�يي�ك � او �ن� ي� �ي�ا ���ه �ن�فرا �َيب�ه‬ ‫�َ‬ ‫َْ َ‬ ‫���ا ن� �م�ا �ي ن�لع�ي��ه ن�‬ ‫لا ك�‬ ‫ح����ط�ا هي ا �ل�ع�ي�ب�ا �يب�ه‬ ‫ّ َ َ‬ ‫�ي�لي��و��ل ��ل�ى ��بش� َ��‬ ‫���ل نر�و��ل �ع ������ا �يب�ه‬ ‫ٍ‬ ‫ي ع‬ ‫َ َ‬ ‫ن‬ ‫ا ��ل�ى ن���ن�� ���ه َر�ْم�����هيٍ �ن�ا �����فرا �يب�ه‬ ‫َ‬ ‫ى‬ ‫ْ‬ ‫َ‬ ‫َْ‬ ‫َ‬ ‫ن‬ ‫�ين�ل��فر�ي� ��بي�ل� �عي�بفره ن����بش�ي�ي�ل �و� �و��ا �يب�ه‬ ‫َ‬ ‫َ‬ ‫ى‬ ‫َ‬ ‫ا ��ل�ى ا ��ْ��بيَ� �� ��ي�ل��دَ ْر ن� �ي� ن�����ب�ا �ي� ��س�ا �ي�ه‬ ‫�ى‬ ‫َ‬ ‫�ي�ا َ د � �يَل� ْ‬ ‫��� َ�د ر �ن�� ن� �ي�مو�م �ور�ن��ا �يب�ه‬ ‫ر و‬ ‫َ‬ ‫ي‬ ‫ْ‬ ‫َنْن�َ ا�َ ْ ���� �لَ ن‬ ‫��بي ��ود َ �� ر ا �‬ ‫�ب�د ا �يب�ه‬ ‫�ولا ي�ل���ش� ا�م�‬ ‫ع‬ ‫‪80‬‬

‫‪1،20‬‬

‫‪5،20‬‬

‫‪10،20‬‬

‫‪15،20‬‬

~ 20 ~

God help me with this flood of tears,

20.1

like sheets of rain pouring from the clouds, Because of a love so shy it makes us hide; When I try to speak she scares and freezes. Her behind is like a knoll rising on a windy slope: gales from the west collect its fine sand in heaps; My hair stood on end as I saw her studied steps: the weight of her rump made walking hard.232 Words are just words, what’s the use of it all:

20.5

I don’t crave a love without gentle touch.233 Love speaks the face’s expressions: 234 a laugh makes eyebrows jump with merriment; It happens when you meet her face to face and behold your very dearest treasure. Faultfinders who begrudge you are bad news: they like to see your back−you wish them away.235 Words choose a path, flow through channels, even though an obtuse fellow doesn’t understand: An idler in the shade who brags and blusters,

20.10

saying, “I have an affair with all lovely girls.” A true aficionado would cover up his traces 236 if he is on the prowl to catch a rendezvous. He is no hothead, rushing at a rumor, but stands out for his savoir faire and prudence. The heart is a sultan with despotic powers: it rules at the pleasure of its whims; The eye is the heart’s scout sent to check, to-ing and fro-ing at the well from enemy to friend. Love is an affliction in perpetual motion that offers no escape to the smartest game.

8١

81

20.15

‫~ ‪~ 2١‬‬ ‫� �‬ ‫� ا ا ���َ ْ �يَ َّ � ا َ �� �‬ ‫ي� �� ن�ب�د بي����� م� �‬ ‫ط ار َ�ي�ك �ي�ل�ى ا � نل�ب�ا �ل‬ ‫ْ �ن يَ‬ ‫ا ي �� ا ه � � �‬ ‫�‬ ‫س �يك �م� �ن� ا ��� �‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫�‬ ‫م‬ ‫�َ او �عر�‬ ‫��ا �ل‬ ‫ى‬ ‫�‬ ‫ر‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫َم‬ ‫َ‬ ‫ْ‬ ‫�‬ ‫ّ نْ ن �‬ ‫�‬ ‫ن‬ ‫� ا�ا����ا �ل �����ي� ا � �ل� ّ‬ ‫ى لا �نَ���د �َ�ي��فرا �ل‬ ‫و‬ ‫َ ل �ي‬ ‫�‬ ‫َّ � ا‬ ‫� نَ ْ ي ن يَ ْ‬ ‫� او � �ل��فر�� ل��يى �� ن��فر�ي��ي� ر�ن�ي�ك �ن�ا �ل����ف�م�ا �ل‬ ‫ْ ن يَ � ْ � َ‬ ‫�� ن�َ ّ �‬ ‫�ن ا‬ ‫�‬ ‫ل‬ ‫��ي��ا �ل‬ ‫�‬ ‫�َ او ���فَر�� ���فرا ا ��َد ��ي��� �ل��با م‬ ‫يَ ْ َ‬ ‫� ا� ن �‬ ‫�ن �‬ ‫�‬ ‫����بف�مي�ل �نل���ا ا ��م���ا �ٍل �و���يى َ�ي�ك �ن�ا �ل���م���ا �ل‬ ‫ا َ نَ يْ نْ ا ا �ل � � �‬ ‫�نب�ا ن� ���ب� �ع��� َد �لي�� ك �ن� �‬ ‫�ب�ا �ل � او�ا�ب�ا �ل‬ ‫َّ �‬ ‫ن‬ ‫ن‬ ‫َْ � ا ي � ا‬ ‫� او � ك�ا � �ن�ي�ك ��د �ل�� ا �ل��ي�ا �م �َمي��ا �ل‬ ‫� ا يَ�ْ‬ ‫� �‬ ‫�‬ ‫� ا ��ي�ك �و���� َ����طش�يّ�ي�ك ا �ل‬ ‫�‬ ‫�‬ ‫ا‬ ‫ل‬ ‫�‬ ‫���‬ ‫�‬ ‫���ا �ل‬ ‫�‬ ‫و‬ ‫�ل� � يى و‬ ‫� �َ نَّ َ َ‬ ‫َ نّ ْ �‬ ‫ا �ي�ل ا �ل�ى �َم���ه �‬ ‫ح �����ف�م ���فر �و ن�‬ ‫�ب�ل�� �ل‬ ‫َ‬ ‫�يى‬ ‫��‬ ‫�‬ ‫�ّ ا �ن‬ ‫����ا ��يى ��ب�ا ��ه ا �‬ ‫��ٍي� �‬ ‫����ا �ل‬ ‫�‬ ‫� او �ل� َر ي‬ ‫ٍ‬ ‫�‬ ‫ْ �‬ ‫ل��ن �َ نّ ي � َ ْ ي‬ ‫�بفره ا �ي�ل ن �نر�ا � �م�ا ����َبي�ل ي� ��ه ������ا �ل‬ ‫يى‬ ‫ْ ن �‬ ‫� ��ا �ي� ا �����بف � � نْم ������ا ��ا‬ ‫� �و�م�د �‬ ‫�ب�ا �ل‬ ‫ون‬ ‫رن َ � ر ن نٍ َ‬ ‫� يْ ن‬ ‫�‬ ‫� ان‬ ‫ي‬ ‫� او ��فرا �نَ�ي�ك ا �ي�ل�ى َ����َي���ي�ش�ه�م �ن�ا �ل� ��ش��ب�ا �ل‬ ‫ي‬ ‫ّا�‬ ‫� ا�‬ ‫ا � ا ���َ‬ ‫ْ‬ ‫�م��ي�ه�م َن ��ب� �ل �و��ب� �ل �و �� ن�ب�د ��بف�م� �ل‬

‫‪82‬‬

‫َ‬ ‫د �ن�ْ� �ا � ا �ي‬ ‫�‬ ‫ي‬ ‫�‬ ‫ل‬ ‫��ي�ك �ع ن� ��ي ن�ْبش� َدي�لَن�ي�ك‬ ‫�‬ ‫َ ي� ك �ل� َ ي‬ ‫ع‬ ‫� ّ‬ ‫��� ا ����َ� َ� ��ا‬ ‫ي� �‬ ‫�‬ ‫�د�لَن�ي�ك‬ ‫ل‬ ‫��ب ي‬ ‫َن‬ ‫�ي�يك ���و َ�� رن‬ ‫َ‬ ‫َ ٍّ‬ ‫ّي ن‬ ‫��بفر ���ي�لي�ي�ك �و��بفرهٍ ل��يى َي�َ��عي�نَسي�ك‬ ‫ا َ ي يَ نْ َ‬ ‫ا � �َ‬ ‫ن‬ ‫ن‬ ‫�‬ ‫�‬ ‫�‬ ‫ل��يى ����� ��ب�هٍ ��ب�د ��ي�ل ن���ب� اوَ�دي�لَ�يك‬ ‫�َيَّ ا ن ي � ا َ ّ‬ ‫ا‬ ‫ن‬ ‫�‬ ‫�‬ ‫�‬ ‫ف‬ ‫�و� �ل��� �َب�هٍ �ل� �ن�ب�د �ب�م �‬ ‫�د�لَ�يك‬ ‫��ب� ي�ب ي‬ ‫َ‬ ‫يْ �َ َ نّ يَ ّ ن‬ ‫�و�َ��ش�� ن� ا�ام��بفره �بي�ل ���ي���ا � �‬ ‫عيو�ل ن�ي�ك‬ ‫يَ‬ ‫نْ � ن �ي‬ ‫�َ فّ ا �� ��‬ ‫ن‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫ا‬ ‫�‬ ‫��م�د ��و �يى و َ���د م� َ�فري�ل�يك‬ ‫ْ‬ ‫َي�ْ�م��س� �ْ �مي�بي�ّ � �ن�بي�ل�م�هي ن� ا‬ ‫���د�ل ن�ي�ك‬ ‫��ب� ي‬ ‫يى َ ل و َ َ ٍ‬ ‫��‬ ‫�ا �ي �� ا ��‬ ‫ا �ّ ا‬ ‫�‬ ‫�‬ ‫ل‬ ‫ا‬ ‫�‬ ‫��‬ ‫�‬ ‫ح‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ش�نسي�ك‬ ‫ن‬ ‫ل‬ ‫ى‬ ‫ن‬ ‫ن‬ ‫ي َ ن ي‬ ‫�ل� �ى‬ ‫َ� �ْ‬ ‫َنْنَ‬ ‫�ا ْ‬ ‫ي�ل��ع��ي�ك ح�����ب�ا �ي�ه �و�ل� ا ���ٍد �َيل�َ�ي�نسي�ك‬ ‫ا نْ��َ ْ ي ه � ا ن ي� ن َ‬ ‫�م� ا ��بفر� �نَ� �ل�رٍ�م َ� �‬ ‫��سو��ه ن����ي�نسي�ك‬ ‫َ‬ ‫��َ ْن � نَ يْ ْ نَ‬ ‫� او ل�ى ا �يَل��� �يل� � �‬ ‫نر�ل ن�ي�ك �و���سي�� ن�ي�ك‬ ‫��نَ� ر ي‬ ‫َ نْ‬ ‫� ا نا �‬ ‫� ا نا �‬ ‫�د�ل ن�ي�ك‬ ‫�ل� �� ���� ٍ�د �ع�ي�ه�م �و�ل� �� ���َب ي‬ ‫َ نّ ي � َ‬ ‫�َ � ْ ي‬ ‫�و��بف�م ن�‬ ‫�بفرا � ا � �‬ ‫���رن� َم�م�َ� ن�ي��َن�ي�ك‬ ‫ن� َ‬ ‫ح�يب�� ن �ن�ل�� ن� � ا �ل ن��ه َ� ي‬ ‫م�نسي�ك‬ ‫ون‬ ‫ا ن�ل�يك � ي�‬ ‫ح� ي‬ ‫‪82‬‬

‫‪1،21‬‬

‫‪5،21‬‬

‫‪10،21‬‬

‫‪15،21‬‬

~ 21 ~

Servant of God, weigh your thoughts with care:

21.1

beware a world that distracts you from religion. Have no illusion: your allotted fate, that’s it― it will be yours, even if envied by all. Wealth is ephemeral and passes like a shade: 237 one day you’re down and out, the next fortune smiles. What counts is how the Lord views your work, on Judgment Day when people forsake their own parents. The world is a pit full of snares;

21.5

it is trappers on a relentless hunt. While you’re at work, the world is busy with you; in vain the despondent seek help.238 If the world smiles on you with health and goods, praise the Lord and take refuge from the devil. If you’re breezing along and things go awry, if you’re down and out, treated with contempt, Though you’re hard hit―do not complain, except to Him who writes fate on your brow; The Almighty kindness, if He esteems you,

21.10

brings benefits and will endear you to others. You may trust a smart friend, the most faithful, whose fine deeds live up to your expectations: When push comes to shove, you and he share the load; a partner in adversity, not a fair-weather friend. Others come and go as they please: you don’t care and they don’t give a damn. You expect a helping hand from relatives, and in dire straits they would look to you: They own camels, property, and strong slaves; your sons hold their own against their fellows;

83

83

21.15

‫~~ ‪~~ 2١‬‬

‫ْ‬ ‫�‬ ‫�ي�‬ ‫�ي�لن�ي� ّك �َم ���� �‬ ‫ل�بف�م �و��� ن�‬ ‫�ب�ا �ن�بفري�ل ن�ي�ك‬ ‫�‬ ‫ََ‬ ‫م‬ ‫نْ ن ن َ ْ ��نّ‬ ‫�� �� ن�ي� � �‬ ‫�ه� ن�‬ ‫� ����� �‬ ‫�ب�ا َ��ي�لي�نسي�ك‬ ‫�‬ ‫َوي و� ك َو م‬ ‫� ّ � � � ا �نّ � ي‬ ‫َي�َ���د �ي �� � له‬ ‫�ب�ا َ�بفري�ل ن�ي�ك‬ ‫ك ي و م � �م‬ ‫� ن‬ ‫ن �‬ ‫�وي� لي�ن‬ ‫���ل � او ل��يى �‬ ‫��ب�ا �ع��بف�م ل��يى َ��َ�مي�نَسي�ك‬ ‫َ‬ ‫�‬ ‫َ‬ ‫�‬ ‫ْ‬ ‫� ن ا �� � � ا �� ي � � ي‬ ‫م� � ار � حي�� � ا �� �‬ ‫َر�ل ن�ي�ك‬ ‫ر � َنَرج ي‬ ‫ن َ َّ ي ّ � َ ْ‬ ‫� �َ‬ ‫ن‬ ‫ن‬ ‫�‬ ‫�‬ ‫��ي�ل�ه �ي�ل�بي�ل ا ل‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫�‬ ‫� ل�يى ن ي ون يب�يك‬ ‫َ‬ ‫َْ‬ ‫حَ �‬ ‫���ن‬ ‫�ب�د ��ا ��ل�َه ْرن� ين��ص‬ ‫ل�‬ ‫�‬ ‫�� � ا �‬ ‫�‬ ‫�‬ ‫م�نسي�ك‬ ‫َ‬ ‫ي‬ ‫�م و ٍ ن ج‬ ‫� ُ‬ ‫�ا ن ن‬ ‫�ل�ا ��بفْ�م ن� را ن�‬ ‫حي�نَسي�ك �و�ل� ��ا �ي�ل�ي�نَسي�ك‬

‫��ن َ ّ �‬ ‫�‬ ‫َ� ي‬ ‫ا �و ��� ي� د ن� ��و��� �ل���ف�م �‬ ‫عو�� �م ن� ����ا �ل‬ ‫ٍ‬ ‫يَ نْ ي � � نْ ا �ي‬ ‫�ا نَ ن ْ ي ا �‬ ‫� �ل��َ�ي�ل َ�ي�ك ا ���َد ��ي��� ل�ن� ����ي� �و� �‬ ‫ع��� �ل‬ ‫َ‬ ‫ْ ن� ْ‬ ‫ن ا �ْ نَ‬ ‫ّ‬ ‫� ا�‬ ‫��ف ار �ل �و ن�ع‬ ‫� َ�ا�م ن �َ�ب�د ا�ي�ب�ه ن�‬ ‫��� �‬ ‫�‬ ‫��� �ل‬ ‫�ب� بج َ �‬ ‫َ‬ ‫ْ‬ ‫نَ ْ ن‬ ‫� � ا يْ ن �‬ ‫�ى �َي�ب�د � َ�د َ��ي�ك �ي�ل� ر�و�� ا �ل��ب�د ا ل�‬ ‫ن�َ�ي�ل ل��‬ ‫�‬ ‫ى‬ ‫ي‬ ‫ع‬ ‫ا� ْ ا � ْ يَ َّ‬ ‫ا�‬ ‫ّا‬ ‫� ����� �ل‬ ‫� او �ي� ك � او�َ��فر����� �ل �َو��ب�ش�بفر ٍن‬ ‫ي �‬ ‫�ي� ْ��بي �ن َ ْ نَ يّ �‬ ‫�لا �م� ل� ��بف‬ ‫� � �ل�ب�ا �ل �م ن� ���ا �ل‬ ‫و َ َ َع يى رنج‬ ‫َ ّ ن � �ي�ْ �� ه َ ٍّ � ا ن� �‬ ‫���� ��بف�م �و�ل�‬ ‫���ا �ل‬ ‫�و�����د ك ��ل� َ��� ي‬ ‫َ يْ‬ ‫ْن�‬ ‫ن � َْ‬ ‫�و��ب�شع���د ك �م� ��ا �� ٍ� �ل�ه�م �� ن�ي�ك �َم�نبفرا �ل‬ ‫ع‬ ‫ْ‬ ‫َ‬ ‫�‬ ‫�‬ ‫َ‬ ‫�‬ ‫ْ‬ ‫ن‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫ا‬ ‫ا‬ ‫ا‬ ‫��ي�ك ن��م����� �ل �ي�ل ا �������بف � او�������� ه ��ب� ر�� ن‬ ‫ح�َ�ف ك �وك�� ��ي�ل� ن‬ ‫��بف� ن�‬ ‫��بش�‬ ‫ب�ي�ك‬ ‫�ى َ َ ر‬ ‫ر‬ ‫ن‬ ‫ي‬ ‫ي‬ ‫ي‬ ‫يَ ر‬ ‫َ َ ي‬ ‫� م‬ ‫َْ‬ ‫َ‬ ‫� ن ا � ا � � � ه � �مي ا �ي ن‬ ‫ح� ن‬ ‫��ّ��ا ��ل ا ن��ي�ر �م�ا �ي ن�ل�بش�َ�ي�ل �َ �مي�ب�ا �مي�ك نََ�‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫ب�ي�ك‬ ‫ي‬ ‫َ‬ ‫�ب�د ك �ب� َ�يك نَ� َ ��� �م �وَ َ‬

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‫‪84‬‬

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‫‪25،21‬‬

~ 21 ~

You’re a stalwart who keeps the enemy at bay; you solve problems and enjoy great renown― If the world is plotting to chain and hobble you, people look the other way, as if you’re a stranger. Turn to One whose aid is ample and prompt, who provides for you when you’re scorned: Perchance winds of fortune will stir about the hills to reward you with a pound for your every ounce.239 Avoid messengers; do not seek go-betweens:

21.20

meeting face to face rids you of the devil.240 Never listen to rumormongers and backbiters: be sparing with words when you deal with them. Don’t share inner thoughts even with an uncle: many scheme to ferret out your secrets. If you’re among people who are not your sort, who have no need of you, nor any fear, Though they know you and your worth full well, your generosity, in dearth or plenitude― If they do not treat you with regard and distinction, get up at once, leave without another word! 241

85

85

21.25

‫~ ‪~ 22‬‬ ‫َّ َ ْ َّ ْ‬ ‫�� ��ل � ْ � �‬ ‫�ي�ا �ي�بي�ل ي��ي�لسن�ى �ي�بي�ل َر��‬ ‫� ���َ�ف�م �‬ ‫��سو�ل‬ ‫نٍ‬ ‫ي‬ ‫َ‬ ‫ْ‬ ‫�‬ ‫ْ‬ ‫�‬ ‫�� ا �ن ا �َ ا �ه �م � �َ ا �ل���س� ن َ‬ ‫�س� �مو ور �م َ ��م�ي�ل ي �‬ ‫� �م ����بش���و�ل‬ ‫ج‬ ‫ي � َ �� نَ � َي نَ‬ ‫�‬ ‫�‬ ‫�َ �‬ ‫�‬ ‫���ا ��� او �ورا ل��م ر�و�ل � او ����ع ن� َل���ب�ا ا نل�‬ ‫�و�ل‬ ‫نْ� � ن ن َ َّ َ� ن �� �شنَّ �ْ ن �‬ ‫�ي ��و�م ح���َ�ش� ��وَ��� ر�وح� ��َ�ه‬ ‫� ن�بش� ��و�ل‬ ‫ج‬ ‫يَ ّ يَ ْ‬ ‫َ ْ �‬ ‫َ‬ ‫ا‬ ‫� �‬ ‫� �م ن� ��ب�ل�� � �وي�ب�ه ��بي�ي�ل�و�ل‬ ‫�ي� ��بي�ل �يل ن ٍ‬ ‫ا يَ ّ يَ �ْ يَ �َّ يَ ن َ نُ �‬ ‫� �و� ��بي�ل ��يلسن�ى ��يل����‬ ‫ي� ��بي�ل�ى � ��و�ل‬ ‫ي‬ ‫ي‬ ‫ٍ‬ ‫َ‬ ‫ّ‬ ‫�‬ ‫يَ � ن َ َّ � ي ن � ْ �‬ ‫ا �و ��بي�ل َح���� �م���رن� ا �ل�ي� ��ط نَ�‬ ‫حي�ل�و�ل‬ ‫ي �‬ ‫ن َّ � َ ي ْ‬ ‫��س��ا ي ي‬ ‫� �ب�ا ��بي�ل �و��بش��ي��و�ل‬ ‫ل��يى �َم���طفر�� �َم � جن‬ ‫نَ‬ ‫يْ ُ � ا � �َ َ نَ �‬ ‫� ْ‬ ‫�بف�م��� �َم��س�ي�َر�ل�ه�م �و�ل� ����ا ����ع ن� ر�و�ل‬ ‫ٍ‬ ‫ا ن ا ن � �َ ْ ن �‬ ‫ي‬ ‫َ� ������ا �ور� او �م� �ن�ي�� ��ب� د �ل �و م��ب�د �و�ل‬ ‫�َ ن ْ‬ ‫��‬ ‫يَ�نَ ّ�َ � ا � ن �� َّ‬ ‫ن‬ ‫�‬ ‫ع‬ ‫�‬ ‫�‬ ‫�ول�‬ ‫ا‬ ‫�ع� ن� ل ��ود َر ن �‬ ‫���ي رو َم� � ي‬ ‫ّ‬ ‫ْ �‬ ‫�بف ا ����َ�ب�� ن‬ ‫��نّ ن� ا‬ ‫ا ��ل�ا �و ��‬ ‫ي� ���َ�ف�مي�ل�و�ل‬ ‫��� ن� ر‬ ‫َ�‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ّ‬ ‫ّ‬ ‫ا �� �ي ا � � � � �‬ ‫�م ن� ����ب�ا �ن� �‬ ‫�و�ل ي �‬ ‫�ب� ل�يى ب� �ل ي �‬ ‫�و�ل‬ ‫� � ا � �ن ي� ْ ه �َ�م ْ �‬ ‫��ف�م�و�ل‬ ‫��بيلي�يك �ي� �ي�ل�ى ل�يى ََ����د ر�ي�ب� ن‬ ‫ي‬ ‫ْ‬ ‫� ه ي � � � َ ْ ه َ �يْ �‬ ‫�نَ��فر �و ��بيلي�� ��يل�و�ل � او ���و ن�‬ ‫�ب� ���ش ن� ��و�ل‬ ‫ٍ‬

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‫نَّ‬ ‫َْ‬ ‫��‬ ‫��‬ ‫�‬ ‫�‬ ‫نر��� �َم ������ا ��ي��ي�ٍل ��بي�ل�ى َ������ َ�ي�يل�‬ ‫ع‬ ‫ٍ‬ ‫ٍ‬ ‫�َ‬ ‫ن‬ ‫ْ‬ ‫َ‬ ‫ن‬ ‫ْ‬ ‫ي‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫ل‬ ‫�‬ ‫ا‬ ‫ا‬ ‫�‬ ‫�‬ ‫ي‬ ‫�‬ ‫�و�م ي�ي�ل و و �‬ ‫�و�ي ن�� ن �‬ ‫�و َر ن�� ن ي�ي�ل‬ ‫َ � � نَ‬ ‫� ي ي نَ ن � �‬ ‫ن��‬ ‫�و�ل ا �ل���ب�ا �م ا �ي�ل�ى �َ�ل�ب�ا �ع ن� �َم���ط�ا � يل�بيل�‬ ‫ي‬ ‫�� نّ َ �َّ ن ي ْي َ‬ ‫���ب�ه �ي�بفرم�ى �م� �‬ ‫��� ن� ���د ا ��بي�يل�‬ ‫� �‬ ‫َ‬ ‫�َ‬ ‫َ‬ ‫ُ‬ ‫َّ �‬ ‫�ب�ا �‬ ‫عون� ا�م‬ ‫�‬ ‫�ي�بي�ل ا �ر���س�ا �َم ن� �ن�مو�ي� �‬ ‫�‬ ‫�بي�يل�‬ ‫ج‬ ‫نَ ْ � ي يَ ٍّ يَ ن يْ‬ ‫� � �‬ ‫ي‬ ‫� �نَ���ي�ل ن�ل�����ي�ي�ل‬ ‫� �و�ل� �� �����ل� ٍ‬ ‫ن ا نَ‬ ‫َ �ْ � ن‬ ‫� �ن‬ ‫�و�م �و�ب�‬ ‫ك��‬ ‫� ا �لن�ص�‬ ‫�ي��وه ا �َر��ب�ا � يم�بيل�‬ ‫ج‬ ‫� ا َ يْ �ن ن ا�َ‬ ‫���ط� �‬ ‫ح� �‬ ‫��د ا ��� � او� �‬ ‫م او رد َ�م�د ا � ي‬ ‫��بي�ل‬ ‫� نَ‬ ‫َ نّ يْ‬ ‫� ن�َن � ْ ن‬ ‫�و���ا د � َ�ع�� ن� �م�ل�� ا ��َ��ر�� � او ���د �ي�بيل�‬ ‫ج‬ ‫� ّ � نَ‬ ‫َ‬ ‫�‬ ‫ن‬ ‫�ب�ا ��ل د � �و�ه �م‬ ‫� او ���َ�ب�د ا �ل�ادْ �ل�ى �‬ ‫�ب�ا � �وي��يل�‬ ‫َ‬ ‫ْ � نَ‬ ‫ا� نْ ي � ن َ ّ‬ ‫��ي� �لوه �َ�ب��ي� ا�م‬ ‫� او�م���شَ�م���َطش� �‬ ‫�‬ ‫�ب�ا ��يي�بيل�‬ ‫ل‬ ‫َ‬ ‫ع‬ ‫َ‬ ‫ّ‬ ‫َ‬ ‫ا �� ا �‬ ‫َ��ن �ن ن ن �‬ ‫�� نّ‬ ‫َ�����ه �ي�بفرل�ر ل�يى �َل����فر��ب� َ ���ب� � يل�بي�ل‬ ‫� نّ‬ ‫�‬ ‫َ ْ‬ ‫َ����سيى َن�‬ ‫��بف �ري�بفٍر ���ط�اي� ��ب ن��ه �م�ا ����ي�يل�‬ ‫ج‬ ‫ٍ‬ ‫� ْ ا � ن � ن ا ���َ �ي ي يَ ن ا ن‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫نَل�‬ ‫���ن�� ه ع� نَ�ي�م��� ��وَ ��� ��ب� ي�بي�ل‬ ‫� ْي ن � ْ‬ ‫���ص ا � ا � َ‬ ‫���و َي����َ��َر��� َ�ل �ب�ج ر �‬ ‫�وا �م��ب�ا �ن�ي�بيل�‬ ‫‪86‬‬

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‫‪10،22‬‬

‫‪15،22‬‬

~ 22 ~

My heart strains like a small herd of camels

22.1

flogged on by brawny men on hardy mounts, Behind them the torch of a shaykh in hot pursuit,242 on a starless night, abuzz with men’s voices. Alarmed―“Shapes, behind!”―they rushed like a flock of ostriches running in each other’s shadows.243 The panicked animals skimmed across the plain, as if scraps of cloth were thrown at their feet.244 Or is it the strain of a heart pulled out,

22.5

like a well rope running over pulley wheels? 245 Woe to a heart wound tightly as threads on a spindle: twisted thrice, another pull, and twice again. Or strain on horses that missed the baggage train: in the quivering heat of midsummer’s sparking stars, Where any encounter is a matter of life or death; their horseshoes lost, the wells in enemy hands, They walked five days without seeing a soul; eerily quiet, mane and tail no longer shook. The men stopped for counsel, recriminations flew:

22.10

waterless desert lay between them and the nearest well. From the stolen herd, they picked the strongest camels and left the rest, like scarecrows, in the emptiness.246 I feel as if a long thorn was stuck in my eye― No, as if pierced by sharp wooden spines. Whoever sees my condition says, “Woe, woe!” as for a wounded warrior lying unattended. Such ravages are wrought by a hip-swaying beauty― in her prime, she outshines all white-shouldered damsels. She’s a curvy young thing with a lovely face: even decent men who glimpse her go berserk.

87

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22.15

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‫ْ �َ‬ ‫�ص � ا �يَ � ا َ ْ ن� � ا � �‬ ‫ن‬ ‫�‬ ‫ا�‬ ‫��ر �ل� �عر�� �ل� ��‬ ‫طول�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ح َ��س ن���َح�� �ل �‬ ‫�ْ ا �َ�م ْ �‬ ‫يَ َّ َ ّ‬ ‫ن‬ ‫� ��وه نَ���ن�من��� �‬ ‫��ْ�ن��ا ه نَح ن��� ه ن�ظ� �‬ ‫هو�ل‬ ‫َ َ‬ ‫ْ � � ا ّ � ن نَ �‬ ‫ا ��ل�ى �َم ����سى �ن���د � ��و�ل �ي� ��ى م� ر�ول�‬ ‫ي‬ ‫َ‬ ‫�ْ � � � �َ�م ْ �‬ ‫� �َ �‬ ‫�‬ ‫ا �ل�ى �َم���سى َن ن��‬ ‫�و�ل � او �ل ار �� ن���د �و�ل‬ ‫نَ‬ ‫ْ �‬ ‫��صَ � ��‬ ‫� او ��ل�ى �‬ ‫حي�ك �ن�ا �ي�ل�ى َل���ب�ا َن�‬ ‫��ي ��ي� َ�ه��بي�ل�و�ل‬ ‫ي‬ ‫نْ ن ا � � ه ا � ن �� َ ْ َ يْ ن �‬ ‫���د ر ��ب�ش �‬ ‫� م� ا ل�‬ ‫ع ��و�ل‬ ‫َي�ل ���ب�نج َ�� �ن� ن ٍ‬ ‫يْ‬ ‫ن َ �ْ ي َ �‬ ‫�ا‬ ‫�ل� ���ا ر َ��د �م�يى ���ا ر ل��يى �م��سَي���سيى �ه�و�ل‬ ‫َ نَ �ْ ي يَ � َ � ا َ ْ َ �ي �‬ ‫��ب�د �ل� �بيلن�سيى ��ب�ي ر �م� ي����بف�م� ا � �ل ��و�ل‬ ‫ع‬ ‫��‬ ‫� � َ� �‬ ‫�و�ل �ورا �‬ ‫���د ا ��د ا �‬ ‫�و�ل‬ ‫ا �و �ه�و نَ���� ي‬ ‫ر ٍ‬ ‫ْ‬ ‫َ‬ ‫� �‬ ‫�َ ْ‬ ‫��ل�ا ��َ�سي� ّك د � �ون�ه �م ْ�د �ن�� ا �ل‬ ‫�بفر ن� �َم��ي ��ول�‬ ‫َ َ ع‬ ‫َ ْ َ نْ � �‬ ‫� ن � ن �‬ ‫�ن�ي� ن� ا �ل�نبفر�و�ل �و��ا ���طفر�يى �� ن��ه �م�د � ��و�ل‬ ‫� َ ْ �‬ ‫� ه � ا ��ل ���‬ ‫��نّش���ا �‬ ‫�ب�ا �ل �م����ي�ل�و�ل‬ ‫�ي يل�ب� �ب� �يى َ‬ ‫ي ا � َ�َّ �‬ ‫ن ن ْ‬ ‫�َم ن� ������ا ���سيى �م�� �سو�َ�بي�ل ��� �ل ي �‬ ‫�و�ل‬ ‫ٍ‬ ‫ا ���َ ْ َ ْ �‬ ‫ّٰ � ي‬ ‫�ي�ا لله �ي�ا ك���ا �� ن� ��بي�ل�ى �� ن���د ��بفر�� �سو�ل‬ ‫� �َ �‬ ‫ُ‬ ‫�� ا �ل �م�نْب�ه ��ا �م�ْ‬ ‫ا نْ�‬ ‫ح‬ ‫ف‬ ‫�‬ ‫ب‬ ‫�‬ ‫�‬ ‫ي��ي�ل ا �ل �‬ ‫�‬ ‫��سو�ل‬ ‫َ‬ ‫ى‬ ‫ن‬ ‫ر‬ ‫َ‬ ‫ن‬ ‫و‬ ‫ي‬ ‫ني‬ ‫َ‬ ‫َ‬

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‫نَ ن � يَ ا ن‬ ‫�ُ � ن ا � ن‬ ‫عوٍد ر��ب� � يل����ه �ن��فري�� ا �ل�بش���� ر�ي�بي�ل‬ ‫ا �يّ �ن َ ْ ن ْ ن � ا ي‬ ‫��ي ��و� َ�عر�‬ ‫�م� َد � ل�يى �م�‬ ‫���ه �و�ل� �ي��ي�ل‬ ‫��نّه � ن ْ َ ا �� نَ ْ ي �ن �َ نْيَ �� َ‬ ‫َ��� م� ا �ي�ل� ل�ن��� ل�يى م ��ع�‬ ‫ي‬ ‫س‬ ‫�س‬ ‫ع ا ل� ي �ل‬ ‫ى‬ ‫ْ‬ ‫ْ‬ ‫نَ ي � ن‬ ‫ن � ي َ �ا��‬ ‫��مو�� ا �رد �و�� ا رد ا �� ���َب�ش�ٍر��ب�� ��ي�بي�ل‬ ‫� نَ‬ ‫ي‬ ‫�ْ ا ن �ن‬ ‫ا �و َ � �‬ ‫�َ �وي� ٍ� ل�يى �َ���د ا �َم� ��بفرا � يم��ي�ل‬ ‫ْ َْ‬ ‫ْ �َ‬ ‫نْ ا �‬ ‫�وا���سيسي�ل ي� َ��مي�ل �ن�ا �ل� �‬ ‫هو�ى �َم��ه �م� ��سيسي�ل‬ ‫ٍ‬ ‫َ‬ ‫ْ‬ ‫ح ي� �م�ا ن �ل�ى �ي����ا ن�‬ ‫� او ن� ن��ا ن��ل�� ل��نى ر�‬ ‫�ي�ي�ل‬ ‫ي َ‬ ‫ي‬ ‫َ‬ ‫ن ن َّ ي َ ْ‬ ‫َ‬ ‫ن‬ ‫ا‬ ‫�ع� �َ�ي���َ��ه ��ب�د �ٍي‬ ‫ى �و�ه�و �م� ن�����د ��ي��ي�ل‬ ‫ْ‬ ‫� ي ا ��ي ن ن � ن ي ا‬ ‫ا ر ن� ي‬ ‫ب��ه �� َي���سيى ����ش� �� �وَ�ب�ه �َ �م�ب� �ن�ي��ي�ل‬ ‫� ا �ي ا ��ي� ه �ْ‬ ‫�ا ن َ‬ ‫�ل� � َ� َل� َر ن‬ ‫�بي�ل�يى �و�ل� �َم� �� ار ����ي�ي�ل‬ ‫ُ‬ ‫��ل�ا ل��نى �ي���د �يى �ي�مّوه �و��ل�ا ��ل�ى �َ�ب�د ا ن�‬ ‫حي�بي�ل‬ ‫ي‬ ‫ي َ‬ ‫ْ‬ ‫ْ‬ ‫�‬ ‫َ‬ ‫َ‬ ‫�نل ن� � َ ا � ي ن ي � �‬ ‫َ‬ ‫��ٍو �ن�بفرك �م� �يَ�يل�َ�َ�ش�� �يل��بفرا حي��ي�ل‬ ‫�ّ َ‬ ‫َ نْ ا‬ ‫���سنى �ي� يل�بي�ل را ن�‬ ‫�‬ ‫�م��ٍ� ����ه �م� ���َ�ي�ي�ل‬ ‫َي‬ ‫ٍ‬ ‫ْ‬ ‫حي��ي�ل � �و�ا �ن�ا �ع �� ن�‬ ‫�ي�ا �َ�بن�ش�َب ن�سى ن�‬ ‫حي��ي�ل‬ ‫ٍ‬ ‫ٍ ي‬ ‫يٍ‬ ‫��ا ن �� ََ َ ن َ ن�‬ ‫ا ا‬ ‫ل‬ ‫�ي� �� ر��� ا رك�� � ا �ر�م �ع� ��ي�ل ا �َ�ل�ي�ي�ل‬

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‫‪25،22‬‬

‫‪30،22‬‬

~ 22 ~

Her shape is perfect: not short, not broad, not tall; a supple, juicy shoot of gorgeous chiseled outline. She bursts into flower in her secret hiding place That kept her immaculate and beyond reproach. God Almighty, the coy coquetry of her gait! No flower in the green torrent bed is so fragrant. She strides with thick anklets, her hair in plaits: the curly tresses tumble to her buttocks.247 Her laugh bares teeth white as hailstones

22.20

or chamomile blossoms in dips of soft sand. In my breast’s vault, a locked door swung open and out I carried the heaviest load of passion. If I see her walking ahead, I am terrified; if she comes from behind, my step slows. I berated my heart, but it paid no heed: it made a run for it and could not be caught. When they trek to distant places, year after year, I am left to pray for the camel train’s return.248 Loaded guns, ready to fire, block my way:

22.25

she’s beyond my reach, even through a messenger. She’s among those tents, but I must concede: I am barred access, without means and powerless. She has struck me with paralysis: a couched camel that can’t be made to rise. “O dear!” stammered those who saw me thus beguiled, like a sick man who is left to his own devices. You sent a messenger to Your servants, God; You root out a generation and bring forth the next: Heal my wounds! You make camels flow with milk; You protected Mecca’s sanctuary from the war elephant.

89

89

22.30

‫~ ‪~ 23‬‬ ‫ّ‬ ‫َ ي نْ ٰ‬ ‫�َ‬ ‫�� ا ّلله ��بي�ل َ��‬ ‫���ل ��ب�ا ���طفرا‬ ‫�نَ�ب�د ��ي� �ن�ب َ�د ل�ر‬ ‫�ى‬ ‫َ َْ�� � َ‬ ‫�‬ ‫�‬ ‫ي�ر�� ي� ا �ل� �‬ ‫هو�ى �م�ا �ي� د ان �ل�يى ����ا ر�يى ا �ل�ه�و�ى‬ ‫� � ا � ا د ��ل ل�ن � ا ل�ي ا � ا�� ا َ� ن‬ ‫و�ل� �ب� �يى �يى ن� �ى �ل� �سيس�‬ ‫ح��س�ا �يل��‬ ‫� نَ َ‬ ‫�م ّ‬ ‫� ن �َ ُ‬ ‫���ب�د ��سي�ل����ا � ا ���� َرن� � �موَ�� ن� ا ���د �� ن�‬ ‫يْ �َ‬ ‫َنٍّ ي‬ ‫���� ّ�د ا ��لن� ن‬ ‫����ا �م ن‬ ‫كي�ل ن �� َ ن�� َ���ه‬ ‫�‬ ‫�‬ ‫َ‬ ‫� َ ج يى‬ ‫ْ‬ ‫ْ‬ ‫���ا ه �يَ�ي�ل�ي�� َر�ن��ن��هيٍ ل��نى نَ�‬ ‫ح�ن��ا �ن�ب�ه‬ ‫�م ن� ن�‬ ‫َ ي‬ ‫ى‬ ‫�ْ‬ ‫�� ن ن َ ْ‬ ‫َْ‬ ‫ا � ا � � �� ش�‬ ‫� �ي�ل� ا �����د ا‬ ‫��س ي‬ ‫����ٍل �ي�ل�ى �د �ي� � ب� ن ٍ ى‬ ‫�َ‬ ‫�ن‬ ‫َ‬ ‫�ب�د �ل�م �ي��فْر�� ن� ا � �لي�ي�ل ن� ��ب�ا ر�نب�ه‬ ‫َ‬ ‫َ���بي�ل�ٍم � ي ٍ َ َ‬ ‫� ا ��َ ّ نَ � نَ‬ ‫�‬ ‫�و�ل� ��سى ��ي�ر ا ل‬ ‫�‬ ‫�بفْ�م�� �م�ا �ه�و ن� �ي�َ�ام�ه‬ ‫�‬ ‫ي‬ ‫ّ‬ ‫�‬ ‫��ب�د � َ ���ا‬ ‫� �ُ � ن ْ ا ن ا‬ ‫ا ْ‬ ‫��سو�� ��بي�� ٍر �م� �نَ�ب�د ا ا �ل� � ور‬ ‫َي‬ ‫َ ْ � َ��نّ‬ ‫ّ‬ ‫�‬ ‫��ن ا ا �‬ ‫�‬ ‫��ن َك�‬ ‫��ي�ل����ا �و���ي ��ط ��ل���ه‬ ‫َ�� ا �ل�����َ��‬ ‫ي‬ ‫ا ��لَ ن� يَ ن�َ�يْ � ا � ا‬ ‫���ه‬ ‫��‬ ‫����ا ن� �ن�ا �م ن�‬ ‫�ى َ��ي�ل �ي�ٍل ن� �ل� ن‬ ‫� ا �� � َ‬ ‫ي‬ ‫�� �ي َ‬ ‫�‬ ‫��بفر د �و ن� َ�ي�بف�مَي��ه‬ ‫�‬ ‫�و�ل� َ��ي�بي�ل ��ه ي�بي�ل َ��‬ ‫ٍ‬ ‫َ‬ ‫�‬ ‫َ‬ ‫ن‬ ‫ن‬ ‫ح�نب�ا‬ ‫�ن�� �� �ي� ا �����بي�لْ��ا‬ ‫�� ر �م ن ا ل‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫�‬ ‫�‬ ‫ن‬ ‫ل‬ ‫َ‬ ‫ر‬ ‫ي وٍ �ى َ ي‬ ‫وٍ �‬ ‫َ‬ ‫�‬ ‫ي ا‬ ‫ن َ �ْ ي‬ ‫�م� ر�����َ��ه �ي ��و�م ا �ل����ش���ود َ����� �ي�ي�ل� او‬

‫‪90‬‬

‫� ن‬ ‫��م‬ ‫ح�� ا ����دّ �ي� �َم�ْ� ���ط� ا ����َ�����ط�ا ��ا ا �نل‬ ‫�َبفرا �ي�بيل�‬ ‫ي‬ ‫ني ن‬ ‫ى‬ ‫�ْ‬ ‫ي‬ ‫� ��ا �ي �ا �� ي ن‬ ‫و�ل � ي��ل ن‬ ‫حي���ا ر ��مو�مٍ �َ�����ا �ي�بيل�‬ ‫ٍ‬ ‫ْ‬ ‫�ّ ا � ا َ‬ ‫�‬ ‫�‬ ‫� ن�‬ ‫�‬ ‫��‬ ‫�‬ ‫ا �ل� �م����� �‬ ‫ا‬ ‫�د‬ ‫�‬ ‫�� ن�‬ ‫�‬ ‫���ا �ي�بيل�‬ ‫ر‬ ‫� ي‬ ‫ٍج‬ ‫نَ‬ ‫ي نَ �‬ ‫�ي‬ ‫�ه�و �‬ ‫���ي�ر �م ن� ��ا ���د ا � يل���ه ا � �لَ��ن��ا �ي�بيل�‬ ‫�‬ ‫� ي‬ ‫�‬ ‫َل����ب�ا �ي�ا �ل�ى ا �� نل�َمي� ي� ا �ل ���� �رل�ن� ا � َر�‬ ‫�ب�ا �ي�بيل�‬ ‫ي‬ ‫ي‬ ‫َ‬ ‫ن � َ نْ � �‬ ‫ن‬ ‫ن �‬ ‫�و�م� راج ��بش��بيل�و�ل �َي��ف �ري�ب�ده ��ب�ل� �ي�بي�ل‬ ‫�َ‬ ‫َ‬ ‫� �َ‬ ‫ن َ‬ ‫�ْ‬ ‫�‬ ‫ا‬ ‫ن‬ ‫�‬ ‫�‬ ‫�‬ ‫ه‬ ‫ا‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫� َ�‬ ‫�� �بي ��و�ب� �‬ ‫��بيل�و ن ���فر ��م��� ي�بي�ل‬ ‫� َ‬ ‫�َ‬ ‫�ن �لنَ‬ ‫�نْ �ي�لي��فرا ا ���ن�عي�� � او ل�ى ا �‬ ‫� َ��‬ ‫ح�‬ ‫��ب�ا �ي�بيل�‬ ‫ن‬ ‫���‬ ‫َ‬ ‫ا ا ي نْ‬ ‫َ� ا‬ ‫�َمن��سى �م ن� ��سيس� ��س� ��ه �ون�‬ ‫ح�‬ ‫��ب�ه د �ل��ي�بيل�‬ ‫َ‬ ‫َ‬ ‫نْ‬ ‫ْ‬ ‫ا�‬ ‫�ُ ن‬ ‫� ي ن‬ ‫��سو�� �م ن� ا�َا��ش���ش���ى ��‬ ‫�وي� �‬ ‫�ور ا �ل� � او �ي�بيل�‬ ‫َ‬ ‫ي‬ ‫َ‬ ‫َ‬ ‫ن‬ ‫�‬ ‫ّ‬ ‫ن‬ ‫�‬ ‫ي‬ ‫ْ‬ ‫ن‬ ‫ا‬ ‫�َو�����ه �ي�ل� ��م�‬ ‫��بف�م�و� ��ي��ي�ٍل ي����ب� �ي�بي�ل‬ ‫ى‬ ‫َ‬ ‫ّ‬ ‫�‬ ‫�‬ ‫�ي�ل َ��‬ ‫�ب�ا ��ل �و�ل�ا َ� �لن��يْ�ي�ل�ه ��م‬ ‫���ل �‬ ‫���ا �ي�بيل�‬ ‫�ى‬ ‫ّ‬ ‫ي ن‬ ‫�� ��ا‬ ‫ا �‬ ‫�‬ ‫� �وَ��فَر�ي�ب�د َ��ك� ��يي�بيل�ه ��بي�ل�ى َ��ل ك�� �ي�بي�ل‬ ‫َ‬ ‫�� ّ‬ ‫�َبف نر�و ر����و ��ل�ى ا �ْو نَ�‬ ‫�‬ ‫ح��� ا �ل��س�د �م�ا �ي�بيل�‬ ‫ن عَ‬ ‫ع‬ ‫ْ ٍ� ٍ‬ ‫ا ن َ ْ� ��‬ ‫ي‬ ‫ا‬ ‫ل‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫� او ��ي�ل ا � �لَ��‬ ‫���ي�ل�م ون� � �رنج َ ��ب� ي�بي�ل‬ ‫‪90‬‬

‫‪1،23‬‬

‫‪5،23‬‬

‫‪10،23‬‬

‫‪15،23‬‬

~ 23 ~

First, the name of God in all of the world’s affairs:

23.1

He answers our prayers and bestows gifts liberally.249 I am done with the subject and pursuit of love,250 nor do I sing verses in praise of the chosen few. For other matters in life I have not the slightest care, except standing in awe before a shaykh in Ḥāʾil: Muḥammad, sultan of the Arabs who pours out gold; he is bounty hunters’ most rewarding destination. From wide desert tracks lean camels come racing to him

23.5

as do caravans to Mecca’s holy shrine. On arrival at his lordship’s their desires are fulfilled, but he leaves the spiteful stewing in their juices. Amiable with subjects, indomitable toward foes, his eyes are ablaze like red-hot embers. Shrewd and intrepid, he strikes fear into hearts, as if knowing the unknown is one of his skills. Nothing but God’s select five are beyond his reach; 251 witness his masterly policies and penetrating wisdom. From afar, he sees the haunches of those approaching,

23.10

and he sees the front of groups retreating, As if he holds all things in the palm of his hand, or all news is read to him from a telegram.252 If the enemy lays a plan, he wrecks it at the root; when he plots, there is no way around his scheming.253 Never is he given less than his proper due, though his measure dwarfs others’. Zealous in noble pursuit, impatient with the contemptible, anxious and intractable when loads slide.254 The Saʿūds wavered, like the men of al-Qaṣīm, when his onslaught heralded the moment of truth.255

9١

91

23.15

‫~~ ‪~~ 23‬‬

‫نَ‬ ‫َ ْ‬ ‫��َ ّ �َ�بن��سف�م ن�‬ ‫��ن�� َ��س�ه‬ ‫َد ن� ر�و��س��بف�م �وا �ل‬ ‫يى‬ ‫ج‬ ‫َ َ‬ ‫�‬ ‫�‬ ‫���يلك د ا ر�ه�م �و��ب�د ا ر�ه�م �ي ��و�م د ا ر�ه�م‬ ‫نّ َ نْ ي � � َ‬ ‫�و��� �‬ ‫ب��د � �‬ ‫�بن��ا �ي�ي�ل�ه‬ ‫�َيل�‬ ‫�ب�د را � ا � ��و��‬ ‫�� ي‬ ‫َْ‬ ‫نَ‬ ‫�َم��بي� ر����َ�بي��ه َن�ْ��م�َ���ط�ي�ر �م�ا ���ى �‬ ‫�بن�شَ�بي��ه‬ ‫َل َ‬ ‫ي‬ ‫نَ‬ ‫ّٰ نََ‬ ‫� ْ‬ ‫�ي�ل�ى �َ��فر ن� �ي ��و�م ا لله � ��و�ى ن�لي��د ��ب�ا �نل�ه�م‬ ‫��‬ ‫�َ �شيَّ� �م �ا ن‬ ‫ن‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫ه�‬ ‫ه�‬ ‫��‬ ‫�ب ن� َ ن� ي� م و� ب و يى بل � م‬ ‫ْ‬ ‫ي �‬ ‫��ب ن�د ا ن�‬ ‫�َبف نرا�ه�م �ي ��و� �ي�َ�د ن�‬ ‫�َبي�ل ����ش �� �ول�ه�م‬ ‫م‬ ‫نَ ّ‬ ‫ا� ن � ا َ ّ‬ ‫�‬ ‫ع او �َم� �ل� ���بفر�ه�م �ي ��و� �‬ ‫ا �����ا � �‬ ‫��بفر�ه�م‬ ‫م‬ ‫ْ‬ ‫�‬ ‫����� ا ي� َ �������ا �ي�ب�ه ي��ي�ل��ي� ����ي�ل��م��ا‬ ‫َ�� ي ر ر‬ ‫َ ي ٍل َ ي �‬ ‫َ‬ ‫��َ َ‬ ‫ن‬ ‫ا‬ ‫ع او َي��ن��ه‬ ‫�‬ ‫�‬ ‫ل �‬ ‫�‬ ‫�‬ ‫ا‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫ف‬ ‫�د‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ٍر ب َي� ريى �‬ ‫� او �ى ن ��ى‬ ‫� � ا � نَ ن � ْ ن �لنَ‬ ‫�‬ ‫���ا‬ ‫ا �ل�ى ��س� �ل ��ي� ����ه �ي�بفرد �يى ا �‬ ‫�ي�ي�ل � او �لَن� ن�‬ ‫َ‬ ‫ن ن � � نَ ن � � اّ‬ ‫�‬ ‫ن‬ ‫�ي�بف�م�ا َي���َ��ي� ��ط ا �����ي� ��ط ا �ل� �ي�ل� ا ������د ا‬ ‫ى‬ ‫�َ‬ ‫�ي نَ ْ ْ ن‬ ‫� ا� ْ ن نْ َ �َ يْ‬ ‫��� �َم ن��ه د ا ي� ا َعحل�ي�ل � او�َ��رَ�‬ ‫ل�‬ ‫��� ا د ��يل�‬ ‫ع‬ ‫َ ع‬ ‫� ن ا ا نَ َّ ي � َ ن �َ ْ‬ ‫له�م‬ ‫�ي�ل�ى ���َ��ش�� �ي� ��فر�� ا � نل�ب��ي� ����ف�مي� �‬ ‫� ن َ ّ ّٰ َ�� ن � ّ ن َ‬ ‫�ه�م ���ف�م �‬ ‫ا �ل�ى �‬ ‫��فّر��ب�ه‬ ‫�بفر ن� ا لله ��ي��ش� �‬ ‫َن‬ ‫ن �ن ا � ا َ� ّ ا َ نْ‬ ‫��نل ���ط �‬ ‫ح��س�ا �ن�ب�ه‬ ‫�‬ ‫�‬ ‫ا ��د �م� ل �م� ح��س� ن� يل� َ‬ ‫َّ‬ ‫� ا� ن‬ ‫ا‬ ‫م� ن� �نَ�بفٍر �ن���ب�ا �ي�ي�ل�ه‬ ‫�مَ�ي�ل �م� َ�م��سى �م� �� ي‬ ‫َ‬ ‫� � ْ‬ ‫�� ْ�ص َ ي � �ْ‬ ‫����ي��ا‬ ‫�يل���ا �و�يى �لي��ا �ل ���سنس�ا ���ط �م� ���‬ ‫�ب�ه ا �ل‬ ‫ع‬ ‫‪92‬‬

‫نَ ن‬ ‫ن�‬ ‫ا� َ‬ ‫�ن � ا‬ ‫�‬ ‫�ب�د �ي�بي�ٍل َد � يل��ي�ٍل �ن� �َرد �ى � او �َ�ل������ �ي�بي�ل‬ ‫� ا ��ي� ��َ��بفَ د �من���ف�م �َم� ���ه َ� ا‬ ‫َر ى َ‬ ‫و ل�يى ر �‬ ‫ح ن��� �ي�بي�ل‬ ‫ّ‬ ‫�َ �‬ ‫�و� �� ا ��ب�ده ��ب�ا �ي�ب ْ�د رك ا ��ل�ا ا �نل‬ ‫وي‬ ‫���ل� �ي�بي�ل‬ ‫َ َ‬ ‫�نَل���ا ر ي� ���سي��� ا ���ط�ن��ا ��ل ���بفْ�� ا �نل‬ ‫�‬ ‫�َب�د ا �ي�بي�ل‬ ‫َ ر‬ ‫ن‬ ‫ٍ‬ ‫ْ‬ ‫�‬ ‫َ‬ ‫َ‬ ‫�‬ ‫ناي ن ن ن‬ ‫ي� ا �‬ ‫َ���� رج ا �����فر�ن� � �ن�ي�� ا �ل�َ�فرا �ي�بي�ل‬ ‫ا ي � �َ‬ ‫ْ� � ن ن ا‬ ‫�‬ ‫� �ون� ل�ى ا �ل���بفرا �ي�ب�د �َيل���طَيلن �� �و�ب�ه َر���� �ي�بي�ل‬ ‫َْ‬ ‫ن� ا‬ ‫ا‬ ‫�ْ �ع �‬ ‫�ي�ل�ى �َم�ي�ل �مي�ل ا ن��يلي����� �م� �ه�و ن� ���ط� �ي�بي�ل‬ ‫نَ‬ ‫�ُ‬ ‫�ي‬ ‫��سو�م �ع ن� ا � �ل��ف �ر�ي ن� ا�ا �‬ ‫��سو�ٍم ي� � �‬ ‫�ع � �‬ ‫م او �ي�بي�ل‬ ‫� َ�‬ ‫ا ���ْ��ي � � َ ن‬ ‫ا �ل�ى ���طن�سى ��ب� َي َ����ش�‬ ‫ع �يل����د ا �ي�بي�ل‬ ‫� ���ه دَ �ْ ن ن � نَ ن � � ا‬ ‫ن‬ ‫�بفرا ٍ� �م� ا ����بي� ��ط ���ب� �ي�بي�ل‬ ‫َي ن �يى‬ ‫�َ‬ ‫�ي ٌ �� � ُ‬ ‫�ن ا‬ ‫���د ا�م‬ ‫َل� �‬ ‫طو�ل ن� �� او ر�ي���ده نَ���� ي‬ ‫��� �ي�بي�ل‬ ‫َ‬ ‫نَ ّ � � �َ ْ ي ْ � � ا‬ ‫ن�لي ��وٍ�م ي����ق ��ط ا �ل����ف�م��� ��ن ��و ا ��َد �ن� �ي�بي�ل‬ ‫�َ‬ ‫ْ‬ ‫نّ ن ي‬ ‫نّ ا� َ �‬ ‫�� َ‬ ‫كع� ��مو�� كن ��ود َ��� ا����ل� �ي�بي�ل‬ ‫ن �ا‬ ‫ن‬ ‫ا‬ ‫�ي�ل�ى را �يى �م� �ل� �ه�و ن� �ع��سف�م ن���س� �ي�بي�ل‬ ‫� ا � � نَ ن � ن‬ ‫��ْب�‬ ‫�ل�‬ ‫� �و����ي���‬ ‫ع ا � نل�ب� �ل � او ����بي� ��ط را �ي�بي�ل‬ ‫َي نَج� َ‬ ‫َ‬ ‫�ّ ن ���ف نْ��ا ن � َ����طي�ّ�لي � َ �‬ ‫�و ن��ور َ رن ٍ� و �‬ ‫���ل� �ي�بي�ل‬ ‫ا � ا � ن � َن ا‬ ‫� ا ن�‬ ‫�و�ل� حي�بفر �ن� �ي�ل�يى �م� َ�م��سى ��ه ������ �ي�بي�ل‬ ‫َْ‬ ‫�يُ‬ ‫���ص َ ي �‬ ‫�َ ن‬ ‫ن ��‬ ‫ا‬ ‫ل‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫ا‬ ‫ا‬ ‫ا‬ ‫ي‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ب‬ ‫�و�م� �� ن �ور ي���� وى �و ي �ل‬ ‫‪92‬‬

‫‪20،23‬‬

‫‪25،23‬‬

‫‪30،23‬‬

~ 23 ~

He cut their throats and jailed the survivors: humiliated by failure, they cowered miserably. He conquered homesteads, ravaged the refuges,256 entrapped the scattered survivors. Even cautious game is ensnared in his traps; he hunts for mighty trophies. The gruesome havoc he wrought on Muṭayr257 turned the hair of their fair ladies gray; At Thirb, when God ordained their rout,258

23.20

though the flocks were safely couched at the tents, He overran the encampments, looted their cattle, and the survivors begged for pack animals.259 This is retribution for their cunning intent: the mischief of devils will not stand. They became meek when he meted out punishment; 260 none but loyal followers are spared his violence. His bursts of truculence leave few unscathed: swollen with fury, he is deaf to council.261 Once decided, he is heedless of consequence

23.25

and lets himself be carried by fits of rage. His wrath wears out cavalry and cameleers; no target is too distant for his rifles. His savagery targets none but the enemy; it shrouds the sun in battle’s swirling dust, Pregnant women miscarry, breastfeeding mothers are dazed, their guts grilled as if by glowing embers,262 From sorrow of separation from loved ones− but he doesn’t care about their fate. Their snug life is ruined by God, then by him, before his anger tapers and his mood brightens. He drives off spoils too rich to be counted; singles are married, couples divorced.263 No surprise―his deeds match earlier exploits: Without armed feats there can be no claim to fame. In midwinter nights he goes raiding in icy winds; in summer he prowls, heedless of blistering heat.

93

93

23.30

‫~~ ‪~~ 23‬‬

‫ا ��لَ َ�ع �َ � ا ��ل �َ ْ �ي‬ ‫�ى �سى ن� ����فر�‬ ‫ي ا ي َ� نْ‬ ‫َ ن�‬ ‫��َره‬ ‫�ب� �ر� ح�‬ ‫َ ّ‬ ‫َ ُْ‬ ‫�ب ن�د �ه� � ���ا‬ ‫��ّب�د �وا‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫د‬ ‫�َو��بفر�ه�م �و� ر م و و و ي‬ ‫نَ ّ ْ‬ ‫يَ ّ‬ ‫��د � �َ �ي‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫�‬ ‫ش‬ ‫ه�‬ ‫ع�ب�ا �و�يل�ه�م �و�‬ ‫��� ى‬ ‫���ي��� ن �و � م‬ ‫ع‬ ‫�َ‬ ‫نّ ه ُ َ � ه � ن ّٰ ��َ َ‬ ‫ك�� �ي ��و��ى َ�� َم� ا لله ا ل�ى ����د ا‬ ‫�‬ ‫� َ‬ ‫ّ‬ ‫ن ّ‬ ‫�ن�ا �� ��ي�نَ�ن�شَ��ش�ْ�ظه� � �ن‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ه‬ ‫ل‬ ‫ف‬ ‫��‬ ‫�‬ ‫�‬ ‫�‬ ‫� م و ٍ� ي َ ر �م‬ ‫ٍ�‬ ‫� ْ �َ‬ ‫نَ ّ‬ ‫�‬ ‫مو ي� �م�ا �ع�نب�ه ��فره‬ ‫ا �ل�ى ����ا �ل �َم��بي�ل ا�ا �‬ ‫ّ َ � ْ‬ ‫ْ‬ ‫َ�� ن�ص� ٍ �م�ن��ا ��ه َك�‬ ‫��ي�لَ�م�يَ��ه �م ن� ��ل�����ا �ن�ب�ه‬ ‫يى‬ ‫َ ْ ي َ َ�ّ‬ ‫َ� ن ْ �� ُ يَ� ْ‬ ‫ح�‬ ‫��بفٍر َل�ه�م ن��فره � �ون�ب�د �ٍو �َ���د ن� �‬ ‫��س او‬ ‫� ا يَ ّ َ يّ‬ ‫��بفر ن� �‬ ‫�ع���ب�ا �يى �م ن� ا �ي�ل�ى �م� �ي�ل��‬ ‫��ي�ه�م‬ ‫ي � ي يَ‬ ‫َّ‬ ‫ّ‬ ‫َ‬ ‫�� ن‬ ‫ي‬ ‫�‬ ‫َ‬ ‫�م��ب�ا �ل�ى ا �ل�ى نَ�‬ ‫حي� ي� ا �‬ ‫�ب�د � ن�����د ��ب�ه‬ ‫َ‬ ‫َ‬ ‫ي‬ ‫� اّ‬ ‫�‬ ‫�و�ل�ا را ي� �م ن� �ع�ن��ده ا �ل� ن� �� او ن�‬ ‫���ه‬ ‫� ن‬ ‫ج‬ ‫ن ن ا ٍا� ا � �ْ‬ ‫ا �ي ا � ��‬ ‫�َ�ل��� ٍد ���� ��ه �َ�ب�ي�ل ��ب� �� �ل � او ��ده‬ ‫� او ����نَ�بف ْر� � او �� يل��فَ�م ن‬ ‫ن‬ ‫َ �‬ ‫َ ْ يَ‬ ‫� ��ب�د �َ ه �ن ا‬ ‫�ب� ��بفر� او‬ ‫ون و‬

‫ن �‬ ‫ن‬ ‫� ن ا د ا�ا�م ن ن‬ ‫ور َ�‬ ‫���ا �ي�ل� �م�ا َ�عر�� َ��ه �َو���ا �ي�ل�‬ ‫َ‬ ‫� ن َ ْ ن �َ ا � يَ َ َّ‬ ‫� او �����ل� �� ��ب�د �و �م �م‬ ‫��� �ل � ��و ن�‬ ‫�ي� �‬ ‫ه او‬ ‫ن ٍ �‬ ‫ٍ‬ ‫� ا ن َ ْ � � يَ �َّ �� ا � ن ا �ي ا ن‬ ‫ف‬ ‫�‬ ‫�‬ ‫�و�ل� ��فرد ي ��وٍم ��يل�ط �ر د �� ر‬ ‫نُ � ن �ن �ي ا�ا� ي ْ ي‬ ‫���ه‬ ‫��و ���ي���ب�ا ن�‬ ‫�� اوي� �مو� � �‬ ‫�و� �‬ ‫�� ن‬ ‫ع‬ ‫ٍ‬ ‫�َ‬ ‫� ا ي‬ ‫�ب�ا ن�س �م������ا �ن‬ ‫�ب�ه‬ ‫كع ن� ���َطن�� ن�ي ن�‬ ‫� � �يى َ ن‬ ‫�� َ‬ ‫ج‬ ‫ٍ‬ ‫‪94‬‬

‫ي نَ ْ �َ‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫ص‬ ‫�‬ ‫�‬ ‫ي‬ ‫�‬ ‫�‬ ‫ب‬ ‫ع او �َ�‬ ‫�‬ ‫ع او �ورا � �‬ ‫�و ����ا � �‬ ‫ب�ش� ن� د ن‬ ‫َ‬ ‫� �و ب ي �ل‬ ‫ج‬ ‫�� ٍّ �َ َّ َ � �‬ ‫ا‬ ‫ن‬ ‫�‬ ‫�‬ ‫�‬ ‫ه‬ ‫�‬ ‫ف‬ ‫م‬ ‫�‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ب‬ ‫م‬ ‫َ��ل يح��س ن� �وي���� َ� � ن َ ي �ل‬ ‫ن � نَ ّ‬ ‫�� ا ���ه ��ي�ل�ّ��ا ن�م ن� ا‬ ‫�و َ�‬ ‫����ش �� او ��ه �ور ��و نَ ي َ‬ ‫��ب� �ي�بي�ل‬ ‫َ‬ ‫ن‬ ‫ا ي‬ ‫� ا � � �َ ن ا‬ ‫ين� �سيى ��ب� د �َ�ب�ه �ي�ل�ى � ن‬ ‫��� � ا ��د ���� �ي�بي�ل‬ ‫نا‬ ‫ا‬ ‫�ْ��َ�بف �ن� �م� ا‬ ‫ي َر َ‬ ‫��ب� َر�ع�ه�م �و�م� �ه�و ن� �� �ي�بي�ل‬ ‫�ب�ا ��ل � ��ا ��ل َ�ع ْ� �‬ ‫ا‬ ‫�َ�ي�‬ ‫�‬ ‫�‬ ‫�ل‬ ‫ل‬ ‫ن‬ ‫�‬ ‫و‬ ‫م‬ ‫ن‬ ‫� �و���� �ي�بي�ل‬ ‫ٍ‬ ‫يٍ‬ ‫� ا ��ل� �َ�م ���ط ���ْ� ���ط ا�ا��ش��ا ا ��ل�ا� ا‬ ‫وى‬ ‫�ى َي �ى � ر َ‬ ‫��ب� �ي�بي�ل‬ ‫�‬ ‫َ َّ‬ ‫يّ ا � نْ ن ي ا‬ ‫��بفرد ه �ي�ل�ى ا � َ‬ ‫�ك�� ن� َي��َ��سيى َ��ن�� �ي�بي�ل‬ ‫��س��َ ْ �ه ا�ا��ظ�بف � �ّ�ا ��َف دٍّ �� �لي‬ ‫ا‬ ‫�‬ ‫ي‬ ‫�‬ ‫�‬ ‫ب‬ ‫َ ن ن�� َ َ� ر و�ل �ر َ �� ي �ل‬ ‫�َ�ب نَ��� ي� �� ن�لَ� ن� ْ � ا� � ا يَ �‬ ‫ي‬ ‫��بيل�ه � اوَ�م����� ��يى ���ل� �ي�بي�ل‬ ‫�َ‬ ‫� ن‬ ‫ي�� ّ�د ا � ا � ا‬ ‫َ م ن‬ ‫��� � �وي�ب�د ا ����بفر ن� � او �َرد ا �ي�بي�ل‬ ‫ا � ن �� ن�َ ن ْ � � � َ‬ ‫�و��ب� ل�يى ل��‬ ‫���يل�ه �َم�ي�ل را ع�يى ��ب�د ا �ي�بي�ل‬ ‫ن نَ‬ ‫ا نا ا ن ْ يا‬ ‫�‬ ‫ع‬ ‫�‬ ‫ا‬ ‫�‬ ‫ف‬ ‫ه‬ ‫ي‬ ‫�د‬ ‫�‬ ‫�‬ ‫ب‬ ‫�‬ ‫�ع����� �� �م� َ������� ��� � ي ر نَب ي �ل‬ ‫�نَ�نْن � ُ ن ْ َ‬ ‫َْ‬ ‫ا �ي�� �ي ��و� له‬ ‫� ا �ل� �‬ ‫��ور َد كفره �ه� او �ي�بي�ل‬ ‫ع مج‬ ‫َ‬ ‫�‬ ‫��‬ ‫نْ ي ن َ ْ‬ ‫� ا‬ ‫ا ل�ى � او د �يىٍ �� ن��َ��ه �م� ا � ��و���بف�م ����� �ي�بي�ل‬ ‫� نُ‬ ‫� ا ن�‬ ‫ا‬ ‫�َ ن‬ ‫هر ا ل‬ ‫��‬ ‫��� �� �‬ ‫�يلي�‬ ‫� �و‬ ‫�ور � او �ل���بف�م� ���ب� �ي�بي�ل‬ ‫َ � ن �� ا‬ ‫���نّب�ه �م� � � ا‬ ‫َ��‬ ‫ع ا �ل���ب� �و�يى �ع���ط��ي� ا �ل�َ�ف�م� �ي�بي�ل‬ ‫ا ��صن ن � ُ‬ ‫نُ �‬ ‫����� �‬ ‫���ا �� ا �ل � �‬ ‫�ور�ودٍ �� �‬ ‫ط او � ي�‬ ‫��س او �ي�بي�ل‬ ‫‪94‬‬

‫‪35،23‬‬

‫‪40،23‬‬

‫‪45،23‬‬

‫‪50،23‬‬

~ 23 ~

His trail of destruction runs east, west, south, Awing his enemies through slaughter and massacres, Until villagers hole up and Bedouin cringe

23.35

as they grasp for what will work in their favor.264 At his commands and warnings they turned quiet, paid their taxes in obedience without demur. Thus he confounded them and upset their calculations, to inflict his customary punishment for ugly treachery. On the attack he seems guided by revelations from God, hitting vulnerable spots, tracking down booty. Some benefit at his hands, others get hurt; at times he is indulgent, then wanton and violent.265 His charges, like death itself, offer no escape;

23.40

he bestows pedigree fillies as gifts. A word from his mouth unlocks the gates of largesse: an instruction to a clerk enriches entire tribes: Trade for townsmen and cattle for the Bedouin― his call, not at a hint from his advisers.266 May I be among those not disappointed by him; a man of little means, I traveled to his kindness.267 My wish is to tell people wherever I go, noblemen and the lower ranks, of his liberality. From his court no one departs empty-handed;

23.45

his bounty flows like the milk of large-uddered camels. Like his father, he burns through his wealth: we pray that his rule last forever. No sight more wondrous than his lavish kitchen till the horn blows at Resurrection; And so the Bedouin throngs flee the desert, toward the lush green of his rain-drenched valley.268 No one leaves his tray without tasting meat: roasted camel backs washed by molten fat, Heaped with full-grown sheep, legs interlocked, like a shepherd’s flock couched around the well; In the kitchen, cooks jostle about like thirsty camels pressed around a waterhole

95

95

23.50

‫~~ ‪~~ 23‬‬

‫َ‬ ‫ا �م ن‬ ‫ع ��ب�ا ي‬ ‫�ب�ا د �ن�ه‬ ‫� �ع��س� ر َن�‬ ‫�ي�ل� ا�ن�ي���ا ر �‬ ‫�‬ ‫و‬ ‫ٍ‬ ‫ى‬ ‫ٍ‬ ‫ْ‬ ‫ّ‬ ‫ُ‬ ‫ّ‬ ‫�‬ ‫�‬ ‫َ‬ ‫ن‬ ‫� د � ا �� ي� ا ��د ���ا‬ ‫ا َ�َ�د د ن� ا ل‬ ‫ح��� �ل ا ن��و و رري َ‬ ‫َ‬ ‫�‬ ‫���ا �ي��َ َّ ن� ��ا ��ل�ا�م�ا‬ ‫َ���ن�ص‬ ‫كع ن ن�بش����ا �ي�ي�ل�ه‬ ‫ر‬ ‫و‬ ‫َ‬ ‫ن‬ ‫�‬ ‫ٍع ج‬ ‫َ‬ ‫َ‬ ‫�‬ ‫�‬ ‫� ن ا �يَ ا ��ل��ه��صن ن ا‬ ‫� ن���ْ�ب َ�د ه‬ ‫�ب�ا � �ل� ���� يب� ن�‬ ‫�و ه�و �� �بف�م َ ي‬ ‫ج‬ ‫نَ� ْ ي ُ‬ ‫�‬ ‫�ي‬ ‫��ن‬ ‫ح�يبف�م�ه ن��‬ ‫�وان �ل�يى �ن�ا �ل�‬ ‫�و‬ ‫����ل� ه �ي�ل�ى ا َلم�ن�يى‬

‫‪96‬‬

‫ن �ّ ا � ْ � �َ‬ ‫� ا َ �ْ‬ ‫ا‬ ‫ن‬ ‫م‬ ‫�‬ ‫�‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫ب‬ ‫�و�ل� ي����بفَر�ن ��و� ا �ل� ن����َم���� �و � ي �ل‬ ‫� ْ ا َ َّ ُ‬ ‫�ّ ا ا �� َ‬ ‫ا‬ ‫ا ��بفر �م� ي�‬ ‫�‬ ‫�‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫ب‬ ‫�‬ ‫ح��س ن� ن��‬ ‫�وده ا �ل� ل� ن ي �ل‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫َ‬ ‫ّ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل� ا �َ َ ن� � � ن‬ ‫اّ ن ا‬ ‫َ��ب� ور �‬ ‫� او �يل���بي �ل� ا �ل��و�ل ����ب� �ي�بي�ل‬ ‫ّ ن نَّ �َ ي ا �‬ ‫� ا ي‬ ‫ا‬ ‫�‬ ‫�‬ ‫ي‬ ‫�‬ ‫�‬ ‫��‬ ‫�‬ ‫ب‬ ‫ا ���ب� ره ���َ�فَ�مي��ه �َ��فر�ل� �ن� َر � ي �ل‬ ‫ّ َ ْ �َ‬ ‫ن‬ ‫ّ �ن ا ي‬ ‫ا‬ ‫ا�‬ ‫م‬ ‫�‬ ‫�‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫ب‬ ‫�َ�ب�د ا �ل�َ�ن�� � �و�َ�ب�د � �ون��ي�ل � ي �ل‬

‫‪96‬‬

‫‪55،23‬‬

~ 23 ~

With deep shafts and a bottom hard to reach by strong-roped buckets drawn over pulley wheels. I fail to do justice to his generous traits, but I’d be foolish to think I could succeed. The exploits of this hero are chronicled far and wide, like the chivalrous acts of the ancients. He is the seal of the great leaders, no shaykh after him, like his namesake who brought the heavenly message. In conclusion, prayers for the Prophet, as many as there are leaves of grass and rain-carrying clouds.

97

97

23.55

‫~ ‪~ 24‬‬ ‫يَ ْ‬ ‫ن � ا َ‬ ‫ن‬ ‫�‬ ‫�‬ ‫�و���ه‬ ‫�‬ ‫ل‬ ‫�‬ ‫ا‬ ‫�‬ ‫�ي�ا د ����ا ر ا �ن�ا ��ي�س م � �‬ ‫ن�يى � �ب م � َ‬ ‫� ي ي نَ � ُ‬ ‫ْ ��‬ ‫�و���ه‬ ‫�َم��بي�ل ا �لَ��م�َ�شي� ن� ا �ي�ل�ى �َ�ل�ب�ا � ي� �م َ�‬ ‫ي‬ ‫يَ �ْل �َ ّ هي � َ ْ َ� ه�‬ ‫َ �رن��ي�ش� ��يس ���� ا � �د �‬ ‫�و��‬ ‫ع ن�يى ن ي نل�� و � َ‬ ‫� ُ ي ��ْ‬ ‫ح ْ ن � ا � نْ ي نَ ��‬ ‫�‬ ‫�‬ ‫�‬ ‫طو���ه‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫��سو�� َيَن ن �سيى يل��� ��َ�ش�� � �‬ ‫ا �ل �‬ ‫�‬ ‫ن‬ ‫ن‬ ‫�ب�ا ن��ه �ود �ولا �ن�ب�د � او َ���ه‬ ‫د �ولا �ل�ه�م �‬ ‫َ‬ ‫� ن ي � يْ � ن ن �ّ َ‬ ‫�و���ه‬ ‫�و��� �‬ ‫�ب�ا �ن�ه اَ�ام��م�����ا � ل��يى َ����ل ن��‬ ‫ْ َ‬ ‫َ� �‬ ‫�بي�ل�و ���ه‬ ‫ر�لي���ي���ف�م �ي�مو�ل ا ��َ����س�و��� ا ر�‬ ‫َن‬ ‫َ‬ ‫َ‬ ‫�‬ ‫ْ‬ ‫ْ‬ ‫ْ‬ ‫ح�� ن‬ ‫� ���بف�ص‬ ‫ي� ا ����و ن�‬ ‫�ي��ه �‬ ‫��ي�بي�ل� او ���ه‬ ‫�‬ ‫� او �لَ�‬ ‫�� نب��‬ ‫ج‬ ‫ٍّ �‬ ‫َ ن�‬ ‫�وكي�ل �ل�ا���ي�ل ن��ي���ي��ه ي�ل ن��َّو ن� َد ���و���ه‬ ‫ج‬ ‫َ‬ ‫� او ��ل�ع� ي� ��ي ن�ْب ن�سَ �ن��ا ْر�يب�ه َ��‬ ‫��ن��فر نر�و���ه‬ ‫ن ي َ ى‬ ‫َ‬ ‫ّ‬ ‫ْ‬ ‫َ‬ ‫�‬ ‫� �‬ ‫��و�يى ���ه ا �ل�ا نر�م�و���ه‬ ‫� او�ا���ا �ل ��ب�ا �يل ن� �‬ ‫ن َ ن ي َ ّ‬ ‫����‬ ‫� ي� �ي� يل�ش���ا �ن��ف نر�و���ه‬ ‫����هٍ �‬ ‫ل��يى ر�و َ�‬ ‫ّ‬ ‫َّ‬ ‫�يَ�ي�ْ�لَ هي نَ��ب�ا‬ ‫كي�ل��بف�م � َ����ي�ر� او ���ه‬ ‫�‬ ‫و‬ ‫ر‬ ‫َ‬ ‫و �‬ ‫ْ‬ ‫�م�ا ي��ي� ��ا را �ع�ى ا �ل‬ ‫�‬ ‫��ب�ا ن� ا �ي��َهر� او َ���ه‬ ‫ح�‬ ‫يل ي‬ ‫َ‬ ‫ْ‬ ‫ّ‬ ‫�‬ ‫�ن�ا ن �� يل���ا ��ب�ا �َو�ي�ش�ن� ا ���َ���ال� ���ط�و���ه‬ ‫ٍع‬ ‫م‬

‫‪98‬‬

‫ا ي �ّ ا ي‬ ‫� � َ نْ ي‬ ‫بي�ل�ه‬ ‫�يلي ��و�م ��ي�ب�شَ�م��� ��ب� �نَ �ل��ى ا �ل� �َ�ي� يل� َ‬ ‫َ� نْ ن �‬ ‫�َ� ن��ا ��ب�ه ��ا‬ ‫�َم ْ��س ن ن�‬ ‫بي�ل�ه‬ ‫�‬ ‫��‬ ‫ح�ي���َ�ي� يل� َ‬ ‫ٍ�‬ ‫ن ي ن ٍ�‬ ‫ْ‬ ‫ُ‬ ‫� �وي�لي���ف � ا�ا���ش�ي�����ط�ا ن� � او �‬ ‫ح ن�َّ�ن�سى َ���ه‬ ‫َ َ ي َر ن َ‬ ‫ي‬ ‫َ‬ ‫�ْ‬ ‫�م�ْ�ي ا ��لن ن� ��� ف ا�� ن‬ ‫م‬ ‫ح�يَ�يَ�ل�ن� �ع ن� �َ�م��يسي�ل�ه‬ ‫َ �ل َ َ�ي�ب�م َ‬ ‫ن ي‬ ‫�‬ ‫� �ْ َ ن‬ ‫��ي�ل�ه‬ ‫ل�‬ ‫هو� را �ع�ى ا ��� او رده �ع� َ� ن� ي‬ ‫يَ�ي �‬ ‫َ‬ ‫َ ّ �‬ ‫�‬ ‫��ف نر ا � �ر���ش� ا ��ل�ى �َي��ف نرا �ي���د �نَ��ف ن �ر�ي�ل�ه‬ ‫يَ‬ ‫َ ني ع‬ ‫� ا ََ َ ّ‬ ‫ْ‬ ‫�ن� �َ�سيسَي�ل�ه‬ ‫َ�ع ���س ن� َن���د �ي��د �و�ل� ن�����د ن� �‬ ‫ٍ‬ ‫ْ يَ ْ ��ّ‬ ‫َ‬ ‫حن‬ ‫�َعّ ���ط ا ��ل َ��سي�ل�ن� � ا ��ه�‬ ‫ص‬ ‫�‬ ‫�‬ ‫��سَي�ل�ه‬ ‫ا‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ن‬ ‫َ‬ ‫ل‬ ‫ي‬ ‫و َن و‬ ‫نَ ّ ن� ن َ ن ن � نَ ْ‬ ‫ي َ �ي‬ ‫�و� ��و �‬ ‫بي�ل�ه‬ ‫�ب�ش�ي��� ا �ر��بي�ل � او �ن�ي�ل �َ�ل�ي� َ‬ ‫ج‬ ‫َ‬ ‫ّ‬ ‫�‬ ‫�َ‬ ‫��ل�ا ��َ��د ����بف ّرا � ا ل‬ ‫ح ����ب�ا ي� ��� َي ن�� َ���ه‬ ‫ن‬ ‫ن‬ ‫� َ يى‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫ّ‬ ‫ي‬ ‫ي‬ ‫ي��ن�ش�بف �����نَ��د ����ه �وي��ن�ش�بف َ�‬ ‫م��َي�ل�ه‬ ‫�‬ ‫ر‬ ‫ر‬ ‫ٍ ي‬ ‫ن‬ ‫ٍ‬ ‫ْ‬ ‫َ‬ ‫ْ‬ ‫�‬ ‫� ا ��ل�نَ ش�يْ � �ي‬ ‫ش� ي� �م�ا ��َي�نبش��ن�سى ���ه‬ ‫�‬ ‫ا‬ ‫ل�‬ ‫�‬ ‫�د‬ ‫و �ع‬ ‫ب‬ ‫م‬ ‫عَ‬ ‫ن ي‬ ‫ي‬ ‫َ َ� ي ْ َ‬ ‫�َ‬ ‫� ا �لن‬ ‫عو�يى ���ه‬ ‫حي��ي�ل �م ن� �ي�ا �ع�ى ���ب�ا �َ��فر� َ�‬ ‫و‬ ‫� ْ � ْ‬ ‫��َي�ل�ه‬ ‫�ن�ا ���َطفر�ي�ب�ه ا �ل�نَبش�هَ�م�ه ��ب�د �ي�بف�م َ�‬ ‫��ش� ي‬ ‫ٍ‬ ‫َ‬ ‫َ‬ ‫يَ ن ا ن ن ي ن �‬ ‫َ‬ ‫�� �‬ ‫��� �ن��� ا �����ف�مي�ي�ل �و�ع� يم�بي�ل�ه‬ ‫و���� َق� ي‬ ‫‪98‬‬

‫‪1،24‬‬

‫‪5،24‬‬

‫‪10،24‬‬

‫‪15،24‬‬

~ 24 ~

Dh ʿār, in the full year that has passed today

24.1

my heart pined away and shriveled miserably,269 Like a watercourse after a long period of drought: bone dry―even the bitter apples are desiccated.270 My heart’s springtime is when the Bedouin arrive: 271 how I love the approach of their summer camp! I delight in watching crowds in the market, colorful, like myriad threads woven into woolen cloth.272 Some are on errands, others draw close to me: 273

24.5

how to restrain a roving eye when in conversation? Alas, my joy from their time at the wells is short-lived: 274 at spring’s arrival, their camps break up and disperse.275 Their spring starts with a scout’s cry: “Pack up and leave: there is grass aplenty and pools haven’t yet dried up!” 276 At first light, the noble visitors have left; armed men on camels first, leading mares by the rope.277 Once there, riding camels kneel at the camp; light pack camels are unloaded first, heavy ones last. They put up a large, conspicuous black tent,

24.10

which attracts flocks of addicts craving a smoke.278 Only pack animals spend the night in camp: The other camels roam on pastures low and high.279 They alighted at a meadow crammed with camps; water nearby―the pool in front of the tent. At the end of day, visitors arrive in droves; if a man calls the horses, they come at a trot. No one is told to rein in his stud: 280 it bristles with energy and neighs with delight. The steed is ready if things come to a head―281 when friends loosen ties and turn into foes.282

99

99

24.15

‫~~ ‪~~ 24‬‬

‫َْ‬ ‫َّ‬ ‫ْ�‬ ‫�َ‬ ‫�نَ�ن�� ن� �ي�ل� ا ��ط ار �ن� ا ����َرن� �و ن��م� �� او ���ه‬ ‫َ‬ ‫ى‬ ‫� َ � � َ ّ ا ل�ن � � ه�‬ ‫� او �ل����نَ� ر را �ورد ��ب� �يى ��يل�و��‬ ‫ج‬ ‫ا � ه � يَ َّ � ه�‬ ‫� ان‬ ‫���� �� ي ��و�م ��فرن �� او ��‬ ‫�و����� ��م او � ي‬ ‫� ا � ي ا � � اآ ن َ‬ ‫ي���ا �� �� او ��م���ط� َ��� �ب� �ل ا �ل��‬ ‫��فر �ي�لي ��و���ه‬ ‫َ‬ ‫ع‬ ‫َ� ْ‬ ‫ا ن� � ه�‬ ‫ن‬ ‫�‬ ‫�� او �ي�ل�ى ���طفر��� �و���ب�ٍ �بيل�و��‬ ‫�و��ا ن� �‬ ‫ٍ‬ ‫ع‬ ‫َ � يْ َ‬ ‫َ‬ ‫ه�‬ ‫َّ‬ ‫�ّو� او �ورد � او �ن�ا �ّو��ه �َو�ظ���فر� او ��‬ ‫��‬ ‫َ َ � ْي � َ � َ َ ْ َ�َ‬ ‫ل‬ ‫�‬ ‫� ا �ل���ي�ل ن� � او رن�‬ ‫� او ���ه‬ ‫��‬ ‫�ي ��و�م ا �و��م� �� او َ ��‬ ‫َ َّ‬ ‫�� ا ي ْ ا‬ ‫ح�بف�م ����ن ��ي �� او ���ه‬ ‫ل��م ��ب� �ي��� �نَ�بفر��ب� � �‬ ‫ٍ‬ ‫َ َّ َ َّ‬ ‫ن ه�‬ ‫�‬ ‫ي‬ ‫ا‬ ‫� ����د �و��‬ ‫�ه�ود �و� �‬ ‫عود ك� ���فرا ٍ‬ ‫�َ‬ ‫�‬ ‫����� ن ُ ي ن‬ ‫��بف�م �ي�لي ��و��ل ا ��ْ�فَ نر� �� او ���ه‬ ‫ا �ل � ي �‬ ‫� � �موَ���ش �‬ ‫ج‬ ‫َ�ْ � ن �َم ���ْ � ���ي ا �� � ف ه�‬ ‫��سو� �سى ا �ي�ل�ى ل��� ٍل ��� �مو��‬ ‫ي�م �‬ ‫ي ي‬ ‫��َ�يْ ي�ل ن ��َ���� ن ا ن‬ ‫�� ا ي‬ ‫� ن��ش� ��و���ه‬ ‫ي � �و� ي�‬ ‫� ��ب� � ي‬ ‫��� ٍ‬ ‫ج‬ ‫ٍ‬

‫‪100‬‬

‫نَ�ْ �ي َ ْ َ‬ ‫�ْ نَ ّ � ن‬ ‫��ي�ل�ه‬ ‫���فرا َل�‬ ‫��ش��بفرجن‬ ‫� �َ�ب�ي�ل � ��و ا �َر� ي‬ ‫َ‬ ‫َ ْ َ � ا ��ل �َ ن ْ‬ ‫� � او ����بي��ا ��ل ����بي�ي�ل�ه‬ ‫�ود ر�ه�م �يلي��ه ��� يب��‬ ‫ج‬ ‫��ّ‬ ‫َ‬ ‫َ نْ ي� ن ّ �لنَ‬ ‫ن‬ ‫��ب�ش� ا ����ل� ا �‬ ‫بي�ل�ه‬ ‫�بي�ي�ل �ع� َ���ل �عي� َ‬ ‫� ر ََ‬ ‫َ‬ ‫ّ‬ ‫�ي�����ا �ي�َي�ل ي� َي���د ا �م �يُ��و�م�ى ����َ�ي� يل��ي�ل�ه‬ ‫ي‬ ‫ن‬ ‫�م ن دَ �ن�ّب�هي ا ����ن���ا ره �َي�بف نرا ����د نَ� �‬ ‫��ي�ل�ه‬ ‫�� ي‬ ‫ي‬ ‫�‬ ‫ّ‬ ‫ََ ْ‬ ‫ا ن �‬ ‫�ب��ده ا �ل�ا �م ن� ي�‬ ‫��بف�مي�ي�ل�ه‬ ‫�بي�ل ن� �نلَ�‬ ‫�م� �‬ ‫ّ �َ �َ ا ن ن‬ ‫� �ي� �‬ ‫�َب�د �ي�ل�ي���ف�م َد �ن�ي��ي�ل�ه‬ ‫كي�ل ا ن�نيل‬ ‫َ‬ ‫ج‬ ‫ٍ‬ ‫� ْ �� �ن ْ ي ه � � نْ ا َ�َ ْ َ �‬ ‫ط �و�ي�ل�ه‬ ‫َ�م��طشَ�مي�َس� ا ��َد ��ي��� ي‬ ‫ح����ن��ه َ�� ي�‬ ‫ّ َ ْ‬ ‫َ‬ ‫كي�ٍ �ن �لي�بي�ل���ه � او ن�ه‬ ‫� �م ن� �ن�بي� يل��ي�ل�ه‬ ‫لَ ن‬ ‫ج‬ ‫ٍ‬ ‫َ‬ ‫نَّ ن َ ْ ا�‬ ‫�‬ ‫��ا ��س� �‬ ‫��سَي�ل�ه‬ ‫�‬ ‫�ي�بف �ر�ه �م� ���رن� ا�‬ ‫م‬ ‫َ‬ ‫ح� ي‬ ‫ن‬ ‫َ ي‬ ‫ْ‬ ‫ّ‬ ‫نَ ْ‬ ‫�‬ ‫ن‬ ‫ن َ‬ ‫نٍ‬ ‫ك�ي�ل�ه‬ ‫ر��بي�ٍل �م� ا � ��ور��ب�ه َرَ��يى َ�� ي‬ ‫�َ ْ � ن� ّ‬ ‫� � ْ��بفراه �م�ا ��ي�نْب َ�د ر�يى َ���ه‬ ‫ي���بفر يى �وَع ن‬ ‫َ‬

‫‪١00‬‬

‫‪20،24‬‬

‫‪25،24‬‬

~ 24 ~

At the call to arms, kinsmen near and far amass, troops thick and dark like thunderous clouds. A scout reconnoitered and reported promptly: the chief hurried to meet him and hear the gist. His men watched as they brought the shaykh’s horse, a white mare that brings enemy cavalry to heel; “I see it!” they cried. “Right you are!” said another, and sped off before the chief had waved his shirt,283 Storming to herds spread out on their pasture:

24.20

the camels ran, panicked and startled by the din, Were encircled, rounded up, and halted; 284 their shepherds carried only milk skins.285 The owners rushed in; the raiders faced them down: they rubbed the noses of so many braves in the dirt, Cut legions of swaggering braggarts down to size― deluded praters who live in a fool’s paradise. Crestfallen and angry, the pursuers scuttled away, nursing a smoldering fire of resentment. The shaykh told his men to divide the booty, taking a fair share of the haul for himself.286 They march at leisure, like heavily laden camels with plentiful loads on the way back from markets.287 They pay fealty to a shaykh renowned for warlike feats; After trekking all night, at dawn no one asks “Where to?” 288

١0١

101

24.25

‫~ ‪~ 25‬‬ ‫َن ّ نَ َ‬ ‫�‬ ‫�‬ ‫ُ‬ ‫�يب�ا �ل �َم ن� �ع ن�سى �و�ع ْر���د �ي�ل� ر �و��� ا �����د ا �‬ ‫ى‬ ‫م‬ ‫�ي‬ ‫� ا � � � �َ �ْ‬ ‫��ب�ا �م �ن�ا �ي�ا �م ا َ����ب�ا �‬ ‫ي� و ن �‬ ‫�ب�د �َم ن� �‬ ‫�ود يى و ن‬ ‫م‬ ‫ا � � ن � � ْ‬ ‫�َ‬ ‫��س�َهر �‬ ‫���� ا ل‬ ‫�‬ ‫عمن�ى ي�لَ ن��ا �‬ ‫ح�ا �ل َ�ع�ي� ن� ا �ل‬ ‫ي‬ ‫�ي� َ�ل�� ي‬ ‫ي م‬ ‫َ‬ ‫َ� ْ � ن� ن �َ ّ��س�ا �م �َ�س��ّ� �ي�ل ا �� َ�ْ�� ا �ل‬ ‫�‬ ‫ح ���س�ا �‬ ‫ر ن َ� ن‬ ‫م‬ ‫ن ن �ى نرع‬ ‫� � ا� ْ �َ ْ َ ْ ْ ي � َ‬ ‫� ��س�ا ��ه ا�م����د ا ��� ن‬ ‫��ي�ل�ه ��بف � ا ل‬ ‫� �ا �‬ ‫ي� ا �و�‬ ‫و‬ ‫َنَ‬ ‫َ ر� ��ب م‬ ‫ن � يْ نَ نَ ْ �‬ ‫�َ�‬ ‫�ي ��و�م انَ�� َم�َ�� ن� � ��و�ى ن�‬ ‫�ن���ا �‬ ‫�ب�د �ن�ا �ر�ُو�م ا �ل��ل‬ ‫م‬ ‫َ‬ ‫ا ْ� َ ن ْ‬ ‫��ن��ي��ا ن� ا��ي�ل ��اي��ي�ل �َن نل �����ا �‬ ‫�ي ��و�م ن�� ن� ح��س��ي� َ�‬ ‫م‬ ‫� َ نَ ْ َ‬ ‫ا �ا � � ا‬ ‫� َ��ه َ�ي�د � ���بفر �را�‬ ‫ن�� ك ���� ي���� ��س� ر ن ٍ‬ ‫ٍ م‬ ‫ج‬ ‫ٍّ َ نَّ � َ نْ � � َ‬ ‫ل���ط�ي�ر �‬ ‫�ب�ا �‬ ‫�ي ��و�م كي�ل �ن�بفر��ه ��ب��َنر��ه � او � �‬ ‫م‬

‫‪102‬‬

‫َ‬ ‫ي ��َ�نْ �‬ ‫�ْ‬ ‫� ا �ْ �نَ�� ا ��ل��ا‬ ‫�‬ ‫� ا �ل���بف�م�و�‬ ‫�‬ ‫�‬ ‫�‬ ‫�ده‬ ‫د‬ ‫�‬ ‫ع�� ن� له‬ ‫ر‬ ‫ن‬ ‫َ‬ ‫ن‬ ‫وو � ن‬ ‫َ‬ ‫م‬ ‫ج‬ ‫يْ َ‬ ‫�‬ ‫�ْ ن �‬ ‫��م��� �ن�ا �لَ���� ْرن� � او �لَ����ْرن� �م ن� �ن�ي�ل �ْم���د �و�‬ ‫�َم‬ ‫م‬ ‫َ يىٍ‬ ‫� ْ‬ ‫ن‬ ‫�ن�ا َر َ�‬ ‫ي���ا ن����ب�ا ر �و�ل�ا ��بف نر �و�‬ ‫ح ي� ��ب�ا ��ب�ا د ��‬ ‫م‬ ‫ن نَ‬ ‫ا � ُ � � ََ ْ‬ ‫��ن�ل�م �و��َن��د �وه �ورا د ر�و�‬ ‫� �م ي ا �ل‬ ‫ن�� ل�ه�م ��ل � َ‬ ‫م‬ ‫َ‬ ‫ا ْ نَ َ‬ ‫نَ ن‬ ‫�سو�‬ ‫�وك�ا �� ا �ي�ا �ٍم �يب�ل�� �ي�بي�ل � �نو� ن����ب�ي�ر �‬ ‫�‬ ‫م‬ ‫ج‬ ‫ع‬ ‫�َ َّ � �َ �َّ يْ هي �‬ ‫ا �ي ي ا�َنْ��‬ ‫�ه�ور ���بف��ر م�يل��� ا �ل��سه �‬ ‫�و����� � ا�م� �‬ ‫� �وم‬ ‫ْ ي‬ ‫�‬ ‫َ َ‬ ‫َ‬ ‫�َم��ي�ل َ ن�‬ ‫�ّ��ا ر �ي��ن���ا �ن�بف�م ي�سن�ى ن��ي��ش� ا � �ليَ�ب�د �و�‬ ‫ٍ‬ ‫م‬ ‫ي ع‬ ‫َ‬ ‫ُ َ َّ‬ ‫�‬ ‫�‬ ‫����ف�ّم �ن�ن�� ن� �ي��ا �ل �ي�ا �ي�مو�م لا �ي�ا ��ط�و ن� �ي�مو�‬ ‫م‬ ‫� ا � � َ� ّ‬ ‫ح ����ه� ��ا �ْ��� ا �� �لنَ�� ن‬ ‫���ه رن�‬ ‫�و�‬ ‫ه ا�‬ ‫�‬ ‫�‬ ‫م‬ ‫ي‬ ‫�‬ ‫ني ر‬ ‫ن�ب� �م ي�ل�يى‬ ‫م‬

‫‪١02‬‬

‫‪1،25‬‬

‫‪5،25‬‬

~ 25 ~

I sing these verses, warbling on a high dune,289

25.1

refreshed after a hot wind’s poisonous blasts. I suffered, as one who fasts in the hot season yearns for a drink when there isn’t a drop. What relief! My insomnia has been cured by healthy sleep―boils and inflammation gone. Ibn Bassām imposed his war on venerable men: 290 idol-like, he basked in adulation and grew arrogant; Carried by the devil, he landed on top of a mud house,291 sat flapping his wings, then beat a hasty retreat. Ibn Mitʿib and his Turkish filth assaulted Najd, while sharpshooting Shammar brought up the rear. And Ḥsēn marauded with a troop of Ḥāʾil youngsters,292 greedy like traders who want the first shot at bidding: The madcap rushed in, drunk on sinful wine, advising his men: “Don’t trample each other in the charge!” When the armies clashed and the vultures circled, their nemesis slaughtered them to al-Fēḍah’s right.

١03

103

25.5

‫~ ‪~ 26‬‬ ‫��ا �م ن �� �ليَ��ي�لْ� ������ا �ع�ن��ه ا ��ل��ي���� ن‬ ‫ر‬ ‫ي َ�‬ ‫ي�‬ ‫نٍ‬ ‫َي َ‬ ‫َ‬ ‫�َ��ش�نّ�ع نّ اأ � ا ��ي�ل� ن ���ش� ا �� �لي�عّنَ�يَس�� ن‬ ‫و‬ ‫�‬ ‫يَ َ � ع َ‬ ‫ي�‬ ‫�‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫ن‬ ‫ف ْ ي �َ ن� ن �� � � ن ا �ي �� � ن‬ ‫�‬ ‫ي�‬ ‫ود كر� م�َرل�ه�م �بيلي�س� َ���ط� َ‬ ‫َ‬ ‫��َّ��هي ��َ�ن��ا ي� ا ��ل�َب�د � �ي��ْ����ا �يَ�� ن‬ ‫ر‬ ‫و‬ ‫ن‬ ‫�و ن� ي‬ ‫ن‬ ‫ي�‬ ‫َ ي َ َ‬ ‫� �َ ن �� نّ ي ن َّ‬ ‫�� ن��� ن‬ ‫ي ���ط� ا �نل‬ ‫� ه �‬ ‫�‬ ‫�ل‬ ‫َ‬ ‫ي�‬ ‫ا �ى �َم��س� َ���� َ�َ ى‬ ‫َ‬ ‫َ �ْ‬ ‫���بف ا �لن‬ ‫ح����ط�ا َ�ْ�م ���س ن �َل��ا ���ب�ا ��َ�يَ��� ن‬ ‫�‬ ‫�ع‬ ‫ي‬ ‫�‬ ‫ر‬ ‫َ�ن‬ ‫ي�‬ ‫َ‬ ‫�َ‬ ‫ْ �‬ ‫ل���ط� َّل��‬ ‫ه �ى ������ا �يَ�� ن‬ ‫�‬ ‫ا‬ ‫�و�ن َل�� ن� � �‬ ‫ل‬ ‫�‬ ‫�‬ ‫ر‬ ‫�‬ ‫ن‬ ‫و‬ ‫ي�‬ ‫َ َ‬ ‫�� نْ َ ي � يَ ن ْ‬ ‫��ي�ل�ه َ����طفْ �ي�يَ��� ن‬ ‫� ن‬ ‫� او نلص‬ ‫�‬ ‫ي‬ ‫�‬ ‫ر‬ ‫�� ��� ا �ي�ل�يى � �ل َ‬ ‫ي�‬ ‫َ‬ ‫َ َ‬ ‫ّ‬ ‫َ‬ ‫� ا ��ل �ي ن� ا �� ن � ه ��� ا �ن َ يَ � ن‬ ‫ي�‬ ‫و �ى َل��� � ن��� ���� َ�ي����� َ‬ ‫ْ �َ‬ ‫�يَ�ْ �َ �ن �ي‬ ‫ح�ا ن‬ ‫�� � ن‬ ‫�‬ ‫هو�ى ا �ل‬ ‫�‬ ‫�‬ ‫ا‬ ‫ا�‬ ‫ي‬ ‫�‬ ‫ل‬ ‫ي‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫و‬ ‫��مع� ن ل‬ ‫ير َ�‬ ‫آ ن� � نَ ّ �ْ‬ ‫�� �� �ل� ن �نبفْ �ي�يَ��� ن‬ ‫� ا� ف � ف‬ ‫�‬ ‫ر‬ ‫ي�‬ ‫و َ�ر َ �رر ن ي ون َ � َ َ َ‬ ‫ْ ن ا� �ْ َ‬ ‫ح��ف هي ��ب�ا ��ي���� ن‬ ‫�‬ ‫�و���ش� � �‬ ‫ر‬ ‫ي�‬ ‫��� َ���ي�ل�يى ي ٍ َ ن َ َ‬ ‫ا ي � ���َ ٍّ ا ن نَ‬ ‫ل���� فْ �ي� �ه ���َ���سن‬ ‫��ب� ا ��مو�ل �سيى ��ب� �َ طرَ� نَ ي �يى‬ ‫� ّ َ َّ‬ ‫� كيّ �يَ�ي�لْ� �نق����ط�� ن‬ ‫ال‬ ‫�‬ ‫ح ن� ني�‬ ‫�‬ ‫�‬ ‫نٍ َ‬ ‫َ ل‬ ‫َ‬ ‫ي�‬ ‫َ‬ ‫ج‬ ‫ّ‬ ‫ْ‬ ‫َ‬ ‫َ‬ ‫ن‬ ‫�ا‬ ‫���� �ل�نى �ل‬ ‫�‬ ‫���ا ��ل�ى �َيبي�ل ي� ا ���� �‬ ‫��ك �ن�ب َ�دي� �سيى‬ ‫ي‬ ‫وي‬

‫‪104‬‬

‫َ َّ � َ �‬ ‫نَ ن‬ ‫�م ن� �ي ��و�م �ي�ش�ن�ع نّ� ا � نل��ل‬ ‫�����اي� ن� ر��ب�ا �ري��فم�‬ ‫� � ن �� ّ � نَ‬ ‫� او �ي�ل�� َ�� ن� ا �ي�ل�ى �ن�ا �ل ����َ�ش��ب�ا َ���نب�ه ا ����ي��فم�‬ ‫ي‬ ‫ْ‬ ‫ن �َ ّ‬ ‫ي‬ ‫ا �ي�ا �م �ع�نب�د � ��� ��� �د ا د � ���ش����ف‬ ‫يى ن ي� � َو ي �م‬ ‫َ‬ ‫َ‬ ‫َ ّ يَ ْ‬ ‫�و�ي�� او ن�‬ ‫�َ�ن�� ن� ��ب�ا �ن�ي� ن� رد ه �و�����ي� يل��فم�‬ ‫� ا ا� َ � َّ َ ي ْ � َ ْ يَ يْ‬ ‫��ر � �ل��د �ي��فم�‬ ‫طو �ي�لَ�ب�د �م ا �����‬ ‫� او �ل� ا��م�� �‬ ‫ع‬ ‫��نّ ا ا� � ن�ْ ن � � ا � َ ن‬ ‫�ب�ل�� �� ���و�ل� ا �لي����ا �ري��فم�‬ ‫َ��� َ�م���ب�ي ر‬ ‫� َ َْ‬ ‫نْ �‬ ‫ّ �ي‬ ‫ا �ل��سي�ل���ف�م�ه �َ او ���ظ���ا َرَ�� ن� اَ�ام����ا د �ي��فم�‬ ‫� ن �َ �‬ ‫ن �‬ ‫د �و� ا �ل ����َبنش��ب�ا �ي�ا � او �ل��َبف�م�ا � ا�ا�ب ن��ا ن �����ف‬ ‫ي �م‬ ‫ي �َ ن‬ ‫� ا نْ َ � َي َ ْي َ ن‬ ‫� او �ل� ا �ل ���ي� �ل� �م��ر� ���سنس�ا �� ا �لي��ل�� �ري��فم�‬ ‫َْ‬ ‫يَ ْ � يَ �ْ يَ ْ‬ ‫�و�م�‬ ‫�� �ر��فم�‬ ‫��ر�م ا � �ل�يل ن� �ل�‬ ‫�� ن� ��س�ه�و�م �ل�‬ ‫�‬ ‫ي‬ ‫ٍ َ‬ ‫�َ ن‬ ‫َ ّ ْ َ َّ � ن‬ ‫�ع ن� �َم��ي�ل د ر �م��ق ��ط���ا ي� ا�ا��فرا �ري��فم�‬ ‫نَ ّ ْ � ي َ‬ ‫�ا‬ ‫�ي‬ ‫��‬ ‫�و�ل� �َم ن� �َم��ر �ع ن� ا �َ�ل��د ر � اوَ�ام��ب�ا ��� ي�‬ ‫م‬ ‫� يْ َ‬ ‫َ ن‬ ‫�ي‬ ‫� او �ل�ى ا �ن�ي�ل ن� �م�ا �ع ن� � �ل�ب�ا َ�� ن� �م��ب�ا �ري��فم�‬ ‫��ي َ � ّ � ا �‬ ‫��‬ ‫���د �يَ�ْ‬ ‫�‬ ‫ي‬ ‫��‬ ‫� �و�ل� � يل��فم�‬ ‫�‬ ‫�‬ ‫ل‬ ‫َ‬ ‫ن‬ ‫ل��م � او � ٍ ن �يى ي‬ ‫ج‬ ‫ْن نَ يَ‬ ‫ا �� َ �� �ن‬ ‫َ‬ ‫�م�ي�ر ا �يَ�ل�� ي� � ن�ْبي�ل�ى ر ن�� ٍل ��ب�ل ري��فم�‬ ‫ي‬ ‫‪١04‬‬

‫‪1،26‬‬

‫‪5،26‬‬

‫‪10،26‬‬

‫‪15،26‬‬

~ 26 ~

Poor heart abandoned by its wits,

26.1

as camel trains moved away at a brisk pace: The camels in front swooped down the crest,293 the caravan’s tail like a cloud on the hill.294 I remained, lost in memories of their summer camp, and how they used to come and go at our wells; How their young Bedouin women would visit, walking over to greet and chat, each in turn, Gently and slowly, step by step, like a toddler,

26.5

or an imam who measures shade to set the prayer time, As if taking ten steps would take hours,295 and they’d slide back but for their mighty struggle. In love’s game one should watch out for two signs: sideway glances and a show of dangling forelocks. Their veil has two layers, shielding lips and rows of teeth from view. Moments of inattention are for double purpose: either the hook of the veil slips from its knot, Playing havoc with amorous admirers,

26.10

whose hearts are pierced by glances’ arrows; Or loosened buttons on the sides of both breasts, showing flesh white as the milk of groaning camels.296 Lovers like me might conceal their confusion, but one does not outrun his allotted fate. I tell nothing I did not see with my own eyes: at their approach, you’re trapped with no escape. Love lays bare the secrets of prescient hearts: disclosure was never a reason to blame its victims; Were I the only one, my beliefs would be in doubt, but it afflicted men beyond reproach well before me.297

١05

105

26.15

‫~~ ‪~~ 26‬‬

‫� يْ‬ ‫ا � � � ن� �ْم�َب�َّص ن ��‬ ‫ي ا �َ � �ْ‬ ‫�‬ ‫���‬ ‫ن‬ ‫ن‬ ‫�ب�ا‬ ‫�‬ ‫م‬ ‫�‬ ‫�‬ ‫��‬ ‫ش‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫� � ا‬ ‫�‬ ‫�‬ ‫ل‬ ‫ا‬ ‫ا‬ ‫��‬ ‫�‬ ‫�‬ ‫�� ي � ا �ل���‬ ‫����ف‬ ‫ف‬ ‫ه‬ ‫�‬ ‫�‬ ‫���‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ه‬ ‫�‬ ‫��� ل َ�ي ��وج ن ي�ب�ي� َ � َ‬ ‫ي� وَ ن� ي �و َ ر َج وَن ي م‬ ‫�ُ‬ ‫ْ‬ ‫أ‬ ‫�َ‬ ‫َ‬ ‫َ �‬ ‫ا ��ي�ل �ل ُ��ف�م َر� ْ���ف�م ��بي�ل ا ��ل�ا �َّو���� ن �و��ل�ه�م �ي�ل �‬ ‫��ْبفر ا � �لي�بفرا �ي�ا �م��ب�ا � يل���ف‬ ‫ح ن�‬ ‫�يى �‬ ‫ي َ� َ‬ ‫�ى‬ ‫ٍ �ى‬ ‫م‬ ‫ّ‬ ‫َ‬ ‫َ‬ ‫�َ ي ن �َ‬ ‫�‬ ‫ُ‬ ‫� َ‬ ‫ْ ن َ ّ ن�‬ ‫َ‬ ‫�َ�بفر�و �� �‬ ‫���د �ْ�ب�د � �لي���ا ي� ا ����بفر� ن�سى � او ���هَ��بفر يَ� ْر ن�‬ ‫���‬ ‫ح��� �ن�ا �ا �‬ ‫م او � ��� ا �ل�ى �� ي�‬ ‫ي‬ ‫يي َ‬ ‫م‬

‫‪106‬‬

‫‪١06‬‬

~ 26 ~

Great chiefs betrayed their spleen,298 sold white and black camels to pursue their fancy; Scions of a noble race from ancient tribal stock, They levy tribute from settled village folk; 299 Their sharp-pointed spears are dipped in blood; 300 they make light of their lives when they join battle.

١07

107

‫~ ‪~ 27‬‬

‫ا ن �َ‬ ‫��ش�نْ�ع ن �����ا ��بف ��ب�ا �����ا ي‬ ‫� ل‬ ‫�‬ ‫ي‬ ‫ر‬ ‫ٍ َن َ‬ ‫�ي� م� ن� ٍ�‬ ‫ن ا ن� ن ن � ا ي‬ ‫ا َ نّ ي‬ ‫����� ��� �‬ ‫��� �ل�يى‬ ‫�ي� � �و���هٍ � �‬ ‫ط�و�ٍ � ي‬ ‫�ب�ا �ن�ب�ا ي‬ ‫حَ ���س�ا ن‬ ‫�بفر �و� ��ا �ل‬ ‫�‬ ‫� ا � َ�‬ ‫ح �‬ ‫�‬ ‫�‬ ‫ج ن‬ ‫ي َ‬ ‫و و ن ��� ن ٍ‬ ‫�����سَّ � �َ �لي � ن�د دَ �ْم � ا ��ل � ن‬ ‫��م��ب�ا ي‬ ‫�‬ ‫ن �يى و �مو�يى �ب� � َ‬ ‫َ‬ ‫�اَ‬ ‫ن َ‬ ‫�ب ّ�د ا ��ل �������ا ي‬ ‫�ي ����ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ف‬ ‫�‬ ‫ب‬ ‫�‬ ‫�‬ ‫و‬ ‫ر‬ ‫َ ن َ‬ ‫�ل� � ن� َ َ ي�‬ ‫ْ َ‬ ‫� ا يْ‬ ‫�َ‬ ‫يا ي‬ ‫ا �ي�نش� �� او ��بش�‬ ‫ع ا � �ري���د ا � او �ل� ���د ا ر �� �ل�يى‬ ‫ن� ا يَ نّ � نَ‬ ‫ل���طش�َ�ع ن � �ميْ��ن�ش�ب��ا ي‬ ‫�‬ ‫�‬ ‫َ‬ ‫َي َ‬ ‫���� ر �ش��� او � او � � �‬ ‫ن ن ي َ �ْ‬ ‫�نْ ن ��‬ ‫��‬ ‫طا ي‬ ‫ا �‬ ‫� �م� ��مو�� �ع‬ ‫ف‬ ‫�‬ ‫ل‬ ‫���‬ ‫�‬ ‫�‬ ‫�‬ ‫ر‬ ‫َو َ‬ ‫�ي� را � ن ٍ‬ ‫����ْ�ي ا�ا�مَ���ا � ا ن دَ ��َّ�فَ ن ند ا ���ف ا ي‬ ‫�‬ ‫َ �ل � و � ن ر� ي ر َ‬ ‫ّ‬ ‫���ا �ن��ل�� ي‬ ‫حن‬ ‫� او ��ل�ا �ن�فر��ْ��د َر�ّو�‬ ‫�‬ ‫�‬ ‫ن‬ ‫َن ٍ‬ ‫َ‬ ‫�‬ ‫َ‬ ‫ْ‬ ‫� �ْ َ �َّ ا ي ن�ْ‬ ‫��نش� �� �ن� � ��بش�ي �� �ا����ا ي‬ ‫�‬ ‫َو �ب�د ور �‬ ‫و‬ ‫َ‬ ‫و َ وَ‬ ‫���دا د ا ��ل�ا ند ا ن ا ن ��َ��ْ� َ�بف َ ن ����ب�ا � �لن��ا ي‬ ‫�‬ ‫�‬ ‫� � ن � ر� ي َ‬ ‫�ن�ّ �� ن ن‬ ‫ع ن �ْ � ك� ن �ن�ا �����ا ي‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫و‬ ‫ر‬ ‫و‬ ‫�وَ ن‬ ‫�‬ ‫ن‬ ‫ج ار و‬ ‫� ي َ‬ ‫ي‬ ‫� �ْ ��س� ����ظ� نّ �م ن ا ����َ �ن�ا ن� ا‬ ‫�‬ ‫َوو و َ� � � و‬ ‫���� ���فرا َ‬

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‫َ َ ْ ي �َ� ن ا �لنّ �ي ن ا َ� ي َ�ن� ْ ا ن‬ ‫��س�هر� ��ي� �يى َل�‬ ‫��ب� حي�� ن�بفر �‬ ‫� � � ن ا�ا� َ � ا ��ل ي �َ ْ � ن‬ ‫�م ن� � او ٍن�ه ن�ي� ��ش��� ي ��� يل�‬ ‫����ل� �‬ ‫ج‬ ‫� ا �ن ا ْ‬ ‫� � ا �� َ � �� ّ �يْ ا ن‬ ‫�و�ل� � د نَ ن ر�وج ل� �‬ ‫هوى َ�� ن� �وبفر �‬ ‫َ ْ � ��لَ نّ ه �م ���َ �يَ�ي َ � ن‬ ‫� ا �ى �َم�ب� َ �سى ل�بي�ل ��� �‬ ‫�� ار �‬ ‫�ن‬ ‫�م� ٍ‬ ‫نَ ن ي � ا ن ن‬ ‫ا �ْ�ي ا�ا�ُ ي ن‬ ‫�ل �‬ ‫م او َ���� �ي ��و�م ر�و�ي� � ا �ل� د ���ا �‬ ‫ي َ ن‬ ‫�و��ل�ا ��ب�ا د ��ل�ى َ�‬ ‫�ي�ي�ل�ه � او �ن�ا َ�‬ ‫��ر� ��ي� ار �‬ ‫ي‬ ‫�َ‬ ‫�‬ ‫�نّ َ نْ‬ ‫ن ا � �� ْ �� َ �ي ا �� نا ن‬ ‫�‬ ‫�‬ ‫م‬ ‫��‬ ‫� ل�‬ ‫��رن� �‬ ‫��� ��ر يى َ طر� ر �‬ ‫َ� ي َ‬ ‫ي نْيَ‬ ‫َ‬ ‫ا �� نَ �� ْ ن‬ ‫� ف ا � ف ����‬ ‫�‬ ‫�‬ ‫�‬ ‫ي‬ ‫�‬ ‫�‬ ‫��‬ ‫ب‬ ‫�‬ ‫�‬ ‫ش�يس�ا �‬ ‫ل‬ ‫� ن‬ ‫�بر ي�بٍر َ � ن �ى‬ ‫َْ‬ ‫�ن ّ ه�� َ ْ ن ن ن � ا ن‬ ‫��ل�ا ا �ي��ن�ع ن �َم� ا �ل‬ ‫�ن�� َ ع�كي �و�‬ ‫���� �َ�بفر�ل� �‬ ‫�ع َ‬ ‫َ‬ ‫�‬ ‫َ َّ ن‬ ‫ي ن‬ ‫نَ ّ ي ّ‬ ‫������ا �ع ن� ��ن��ا ��ٍ� َ� �ل�ب�ش�ي�� ن� �م����ي��ا �‬ ‫ُ‬ ‫َ‬ ‫�� �ْ ن ن‬ ‫ّ �ا‬ ‫��ب�ا ��ي ن�ْبف‬ ‫كع ن� ا �ل� �ي�ل�ى ��و � او � �ل�ب�ا �‬ ‫ر‬ ‫َ‬ ‫َ‬ ‫ع‬ ‫ن‬ ‫ْ‬ ‫�� ا �يَ ْ � ن ّ ا ن‬ ‫�َو��بي ��و�نل�� ن� �ي�ي�� ن� َل���ب� ب�د َ�‬ ‫��بي�� �‬ ‫ج‬ ‫ْ�نن ن نّ � ا ْ َ َ ن ي ي‬ ‫ان‬ ‫�ود ��� � يل��� ا د ن�‬ ‫�‬ ‫�َو��‬ ‫ح� �َ�ل��ي�ل نَ�ي�� ن��� �‬ ‫ن‬ ‫� ا �� ا ��ل ي ا �� ن�ل� فْ ه � ّ‬ ‫�َ��ي��ع ن� د �ي�ب�د ا �‬ ‫�ل� ��ط� � َبر ن�� َي ن‬ ‫‪١08‬‬

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Poem by Ibn Zirībān301 Pity eyelids that do not close at night

27.1.1

and remain sleepless well into morning. I groan as if my life hangs by a thread, seared by flames that consume my insides. I suffer the pains of wounds deep within― from love, incurable by medicine or Qurʾan recitation.302 My cure, or my death, lies with a soft-lipped belle, a whimsical creature with a drunk-like gait,303 Held by men who dip their spears in blood

27.1.5

when horrors of battle drive warriors insane. Her caravan vanished into the desert, as fate decreed, leaving me powerless and prey to confusion; As the camel train shrank into the distance, I felt as if a lance had pierced my soul. Rider of ten purebred and hardy camels, of noble race, sired by Ḍabyān pedigree,304 That hurtle along like wild cows when startled, as gazelles that bound down a tract of soft sand, Or ostriches streaking away at a panicked pace on seeing a hunter close in at the onset of dusk.305 Their hooves perfectly round and well-clipped, they kneel on their bodies’ well-made calluses,306 Ears sharp and their gaze intense― you’d say a fire sparkles in their eyes; 307 Armpits widely spaced and haunches bulging; on the move, the thighs are like massive doors; The middle is gaunt from grueling desert treks: the longer the crossing, the more spirited the pace.308

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‫� ا � �� َ‬ ‫�‬ ‫�َبف ��س�ا � ا ي‬ ‫ا �لَ���� ن‬ ‫�‬ ‫� �م� ���� ��� ا نل�ص ر ر‬ ‫ن‬ ‫�ب� َ‬ ‫ج‬ ‫َ �َ‬ ‫�َ‬ ‫ّ‬ ‫�‬ ‫ْ‬ ‫ا‬ ‫�ب�ا �����ف ا �ي‬ ‫�ْبف َ�م�َ��ه �ن‬ ‫م‬ ‫���فر ��بف�م ن�‬ ‫� او �����‬ ‫ي‬ ‫ر َ‬ ‫َ‬ ‫�َ�لنْ�بفَ � ا ��ل� ����ب�ا �ن� ا ��لن ن�����ط�ا � �ميْ�ب��ل�� �ي‬ ‫ي رج ى‬ ‫َ َ َن َ‬ ‫ح ن �م ن �ع�نب�د ��بف� ��ب�شيْ �ن ا ي‬ ‫َ َّ �‬ ‫�‬ ‫مَ‬ ‫ع�ي�ب� َ‬ ‫� �وي�بفر�وَ � �‬ ‫ّٰ � ��َ نْ َ �� �ُ‬ ‫م� ا ي‬ ‫�‬ ‫ع���د ا لله ا �ي�ل�ى ي�ي��‬ ‫ط ا�ا �وَن‬ ‫�ن‬ ‫ح ن��� َ‬ ‫ي‬ ‫ج‬ ‫ْ‬ ‫ْ�َ ا ي‬ ‫�َ �� ن�َ ّ‬ ‫ق ���ط� � او ن�‬ ‫ح ن�َبفر�وه ن‬ ‫�م� �‬ ‫��ي�� �ل�يى‬ ‫طوه � يى‬ ‫َ‬ ‫�بنَّ�ي�ك ك�ا �ل� ن� َّ ا ن ا ي‬ ‫ن�‬ ‫�‬ ‫ر‬ ‫ن يى‬ ‫��بف�� ٍر��ب� ��ي��� َ‬ ‫َ اي‬ ‫َ� � نّ � ا ْ � ّ ن‬ ‫�‬ ‫حي�� ا � �ل���ي�ل ا � ��َود ����د ك د ��ب� َ‬ ‫َ ّ � �َ‬ ‫َ‬ ‫َ � ا�‬ ‫�ْ�ف� �م �� ي�� ْ�ي ا �� �� �ن��ا �ي‬ ‫م‬ ‫�‬ ‫د �ور ل�يى ن ول ن �ل َو َ‬ ‫نَ َّ ي‬ ‫ا �ل � ا �َ� ��� ا �� ا ي‬ ‫هو َه‬ ‫�� ن� ل� �‬ ‫�و�بفر�� رك� ن�يى ي� م ي‬ ‫نْ نّ ن َ ْ َ َّ َ ن �ْ‬ ‫�ي‬ ‫�‬ ‫�َم�ي�� �‬ ‫�‬ ‫��ف�م��ٍ� ر�وح� �َم����فَ�م�ل� َ‬ ‫�‬ ‫آ‬ ‫ْ‬ ‫َ‬ ‫ْ‬ ‫�‬ ‫َ‬ ‫َ‬ ‫�نَ ْ‬ ‫ان‬ ‫ّ � ن ��م ن ا ي‬ ‫� او �ل‬ ‫�‬ ‫�بف�م��� ا �ل��ر�ى ر�وح� َنح�َ�ن�� َ‬ ‫ن ��ا ن َ� نّ ْ‬ ‫ا ن ا نْ � ا ي‬ ‫�‬ ‫� او � ك�� � نح� رك� ن�ل�� �َ�ب�ش�َيل���ب� َ‬ ‫يَ َّ‬ ‫� َ نا ي‬ ‫�� ا َ �‬ ‫�‬ ‫�‬ ‫� �و��فر��ف� �م او ل�يى �ي� �ع�����ي�ر ا � نل���� َ‬ ‫نّ‬ ‫�ي‬ ‫� ي‬ ‫�و ن�‬ ‫���ا �م���ا ��ب�سيى �����ل�� �م �و�‬ ‫��ب�ل� �ل�يى‬

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‫ا �� نُ �� ْ َ َّ � َ � ن ْ �� ا ن‬ ‫�هر ��د ى ��س�ي ر��� َر ن��م��طي����س� �‬ ‫�و ل� �‬ ‫� ن � � ن َ �نَّ ن � نّ �ع��ْ ا ن‬ ‫ب��� َ ���� �‬ ‫�و م� �ب�ي� د ��و��� ي ن� ي�‬ ‫َْ‬ ‫�لَ � ا �� � ��َ ن�ْ �ي ن‬ ‫�� ���ف� ��ي� ن‬ ‫�ب�هي ��‬ ‫ن�بفر�‬ ‫ح����� ��ط�ي ر �م‬ ‫ع�ب�ا �‬ ‫َري ٍم‬ ‫�‬ ‫ْ‬ ‫�ْ‬ ‫� ن‬ ‫� �و�ي� �لن�ع نّ �ر �لن� ا �ل� نه‬ ‫ح ن� �َ�ْر�َو�يى ��َ�سنس�ا ا � نار �‬ ‫َ‬ ‫َ‬ ‫يَ � َ ي‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫�‬ ‫ْ‬ ‫ن ن‬ ‫ي‬ ‫ي ن‬ ‫�ع ���س�ي�ر �م ن� �بف �رَ�ه �ي�ل�ى ا�ام�� ن� ���َ�ي ���ب�ا �‬ ‫َي�ي�لْ نَ ا ا ن ا � � � ا � ا � ا ن‬ ‫ن�سيى ��د �ن� ��سس� م�د �‬ ‫�ب�� �‬ ‫عونج �ل� ي‬ ‫ع‬ ‫�ْنَ �َّ نَّ� � ن ن ��َ �َ ن � ْم ��� َ �ي � ا ن‬ ‫�َوي������� َ�د ��يك ع� ��طش ع�� َ طر� ا � نل�ب� �‬ ‫َ‬ ‫ْ‬ ‫� � َ �ن يَ ْ‬ ‫�ن‬ ‫��رك �َ�ب�شي� ٍّر �و�م��� �‬ ‫��يس�د ل�يى �م�‬ ‫�و�يل�‬ ‫��ا �‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫�َّ �يَ ا �لن � ن َ � � �َي ْ �ن �َ ّ ا ن‬ ‫�‬ ‫ع‬ ‫�‬ ‫م‬ ‫�‬ ‫�‬ ‫ف‬ ‫ا‬ ‫�‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫ه‬ ‫�‬ ‫ي‬ ‫نح�ل ر �يى � �وى ر� ي �‬ ‫��ّ َن��ٍّ َ َّ ا َ نْ ا � ا� ن ا ن‬ ‫َ‬ ‫��بش� َ���ل ن د �ور�و ��ب�د ن� �ل� ����� �‬ ‫َ عَ نّ ج َ َّ‬ ‫��ه � ا �يَ ْ �َ ْ ن ا ن‬ ‫��ي ن�ْ�فر� �َم ن� �م��� � يل�ب� ��‬ ‫��بفر ن��فرر �‬ ‫��َ ْ َ ن � ن ا ��ل � نْ �� ا �ي نَ� ْ ا ن‬ ‫ي ن�بفر� م� َ��س�� نَ�بي�ل لي�� �� �سو� ن�بفر �‬ ‫ُ‬ ‫� ّ�‬ ‫ن‬ ‫ط او �ي�ل� �يبن��ر�يى َ� ن�‬ ‫ح ��‬ ‫�‬ ‫���ب�اي� �و�َ�بي��د ا �‬ ‫ى‬ ‫ج‬ ‫َ‬ ‫�ا ي ن‬ ‫�‬ ‫�‬ ‫ن‬ ‫�‬ ‫�‬ ‫�و�ل� �ن�ا ل��يىٍ �عي�بفر ا � ��َو�ل�يى ��ب�ا �ل�يى ا �ل ������ا �‬ ‫�نَ ّ َ ّ ن‬ ‫�ي�ل ا ��ل�نَ�ن�س ��ب�ا �َ��ي�ّ ��ا �ل‬ ‫���د �ود ا �‬ ‫لن‬ ‫يى‬ ‫�ى‬

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In the morning, they set out from the rim of the sea;

27.1.15

by noon their speed had carried them beyond Ṭēsān.309 Late afternoon, they called on al-Majmaʿah’s folks: at their approach, ʿUthmān rushed to welcome them: He rejoices at the sight of emaciated desert cruisers, as a generous host thirsting for guests to entertain. They depart, well-prepared to reach their destination: the lance-thrusting knight, haven of worn-out camels,310

ʿAbdallah, without flinching, tackles his noble duty; friend of a beauty whose tresses cascade down her back. Give him my letter and tell him the news, by my life!

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My heart has forsaken me for the black-eyed damsel.311 I sent you my lean-bellied camel mounts for help, to ask about the caravan of the slender ben tree twig,312 Since lovers are in league to seek your guidance at your home, the haunt of passion’s devotees. Go in search of the fabled belle before I die. Make haste: I am sick with love for the tender lass! You, my marksman of love, let groups of riders scour every nook and cranny for those luscious lips. Let five of the mounts hurry toward the north, vying for speed from Mecca to Ḥāʾil’s palace of Barzān; 313 And set the other five on a southward course: from al-Shunbul to the market of Najrān.314 If our camel riders return empty-handed, raise slabs of stone and sticks on my grave. Have mercy on me, confidant of lovelies, for besides you, I only have the Magnificent Lord. I conclude with greetings and prayers for the Prophet, as many as rains on the plains.

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27.1.25

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‫��ا ا ك� َ�ع �ْ����ف �م ن ا ��ل ���ا ��ا ي‬ ‫�‬ ‫ير‬ ‫ٍر � � رن َ‬ ‫نٍ‬ ‫�ب�ا �م�� ن ��ب�ا ن �� �ليُ�� ا ي‬ ‫نان ن ن‬ ‫�‬ ‫ا ��سس� � �م� � َ � َر � و َ‬ ‫َ‬ ‫��ف�م�ا �� �����ف�م�ا �� � �ْ��ش�َع�نّ����ا �ي‬ ‫�ع ن ا �نل‬ ‫�‬ ‫ل‬ ‫ل‬ ‫و‬ ‫ي َ‬ ‫�‬ ‫َ‬ ‫َ‬ ‫� � َْ �ي‬ ‫��ب�ا �َ�ب�� ن �ي�َبف ْر�ع ن ��ا �ل‬ ‫�‬ ‫�ن‬ ‫�بف��مى َ�ي��بف�م�ل� َ‬ ‫ي�‬ ‫ْ‬ ‫� ا �� ف ا ��ي �ْ‬ ‫ن ��ا � ي‬ ‫�‬ ‫ر يبر �ل ن‬ ‫�ب�د �ود ��� ك�� ��ب�ل� َ‬ ‫�َ �ْ ن ��َ ف ا ا ي � � ن �َ ن ا ي‬ ‫� ��يل�ي��ع� ن���� َه‬ ‫��ي َل��� ��بر ر ٍ‬ ‫َ‬ ‫ا َ ن ي‬ ‫����ا � �� �م َ �ل�ّ � ا‬ ‫��� �ن َل�� ن� �ي� ���فرا �ل�يى‬ ‫ي و رن يى ن‬ ‫َْ �‬ ‫�‬ ‫ْ‬ ‫�ب�ا �ي‬ ‫�ب�ا �ن ن�ل� �����ا‬ ‫� �م ن �نل ��‬ ‫ا�‬ ‫ط‬ ‫ل‬ ‫��‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫َ‬ ‫ر‬ ‫�‬ ‫ن‬ ‫َ‬ ‫�‬ ‫َ يى‬ ‫ج‬ ‫�� ن�����ه �لا � ا �ن����ا ي‬ ‫��ل�ا �ع�ن‬ ‫��م ن�‬ ‫�‬ ‫ل‬ ‫�د‬ ‫�‬ ‫�‬ ‫�‬ ‫َ‬ ‫و‬ ‫و‬ ‫ي‬ ‫ي َ‬ ‫� ا ����َ� ْ ف � ا ��لُ�� ّ ا ن َ ْ �� ا�ا�م � ا ي‬ ‫��بر ن� ���� � ��ب�د ل ����� َه‬ ‫و �‬ ‫َ‬ ‫�‬ ‫ن‬ ‫طْ‬ ‫���د ��ي�ل�م���ا ي‬ ‫� ا ��ل� �َل ��‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫ك�‬ ‫ح‬ ‫�‬ ‫م‬ ‫و‬ ‫وى‬ ‫ٍ َن َ‬ ‫ّ‬ ‫ْ‬ ‫ا نَ �م ن � ا ي‬ ‫َرد � او �����ل�� �م ن��ك� ��ب ٍ�د � د و َه‬ ‫ا �َ��ي �ل �� ي ا � ي ا َ ّ ن ا ي‬ ‫�‬ ‫� �ن� �َ�ل������ �ن�ي���� َ‬ ‫�ل ني و ٍ‬ ‫ْ‬ ‫�َ ْ �َي �َبي ا�ا�ُ � ن‬ ‫�����ا ي‬ ‫�‬ ‫ر�ن�ا �ع�ه�م �ب�د ��ل � �ل �‬ ‫مو ن‬ ‫َ‬ ‫ُ ي‬ ‫� ن� ��ي� نل�� ن� ا‬ ‫ا �َ��ي� ��ص‬ ‫�‬ ‫�‬ ‫���� �ي��ي�ل � �م او �ل�يى‬ ‫ل وٍ َ‬ ‫َ‬ ‫ُ‬ ‫ْ‬ ‫�ن�َ ْ�د �َ ه ��ا ���َ�ف �ن�َ ْ�د �َ‬ ‫�ب�ا ي‬ ‫� ن� ���‬ ‫���ص‬ ‫�‬ ‫ه‬ ‫ب و نَ ر ب‬ ‫�‬ ‫�‬ ‫ي‬ ‫ن‬ ‫و‬ ‫ن‬ ‫َ‬ ‫و‬ ‫َ‬ ‫ا �� ا � ����ه �ي�� ْ�د �� ن �م ن ا �� ن�ل���ا �ن���ا ي‬ ‫�‬ ‫ر َ‬ ‫� �‬ ‫ر وي َ‬

‫‪112‬‬

‫�‬ ‫� � ن‬ ‫َ يّ ن‬ ‫��ب�ا �و��ش� ��وَ�� ن� �ن�ا �َا��ن��اي��� ��ل�� �����ا �‬ ‫ع‬ ‫ا �� � ا � ا �ن ا �� ن َ �� �ْ �ن� ا ن‬ ‫ا ���ب�د � م� ���ب� �مو ل��� ��يل�‬ ‫ب�� �‬ ‫ع ي� ن‬ ‫َ‬ ‫ن‬ ‫ُر�ْ��ي� ا ��ليُ�� او ن��� ��ب�ا �يَ�ل�� َ�� نّ َ�‬ ‫حي��فرا �‬ ‫�‬ ‫ل ع‬ ‫َ‬ ‫�َ ْ َ‬ ‫�‬ ‫َ‬ ‫َ‬ ‫�‬ ‫�‬ ‫� �لنَّ ا �ل����ص �ن �ي ا ا� ي ن‬ ‫��� ن‬ ‫ي� ا رَي��� ن� �يى �بف� �مو� �ل� �‬ ‫ب��ا �‬ ‫م‬ ‫�ن ن‬ ‫ْ‬ ‫� ن‬ ‫�ن‬ ‫�م��ب�ا ن�‬ ‫�ب�د �َم��� �‬ ‫�ل�� نّ� ل��يى �ن�بفر �ل�يى َ�‬ ‫��ا �‬ ‫َ‬ ‫ن‬ ‫ْ‬ ‫ن‬ ‫�� � َ� ّ‬ ‫َ����طي�لنْ��� ن ا �ل‬ ‫�‬ ‫ح�نب�ه ن��كفر���ا �‬ ‫�ب�ا ل��م و ن‬ ‫َ�‬ ‫ْ‬ ‫َ‬ ‫� ْ‬ ‫ن‬ ‫��َ�سيسي�ل� او �ي�ل َ�‬ ‫ي�� ن� ن�‬ ‫���ا ر ن� ا ���د ر ن� �َم���سيس�ا �‬ ‫نَ‬ ‫َ‬ ‫ن ي َي ْ‬ ‫ن‬ ‫ر���ا ن� ا ��ي�ل�َ�ع ن� ��مو�ي�� ن� ���بفر �ود ��ب�ا �‬ ‫� ّ �� ا َ � � � ن � ن نَ � � �يْ ن‬ ‫ح� �‬ ‫��بفرا �‬ ‫طو ��س�دير َي�م�ي� م� ��ي ر َ‬ ‫�ي �ْ�يَ ��� �ْ َ � ه ُ �� ن‬ ‫ن‬ ‫�يل��ى �َ�بي �لوى �نَ�ب� � �‬ ‫ط او َر�� �و�َ��فر�ن�ا �‬ ‫� َ َّ �‬ ‫ن‬ ‫�ي �� ن ن‬ ‫ن‬ ‫�ق ��طرَ�� ن� ��بي�ل�ى انَ� ن� ر �ر�ي ن���ا �‬ ‫�مو�� او‬ ‫َ‬ ‫نُ‬ ‫ن�ُ ّ �ن��ص ا ن‬ ‫�ي�ل�ى د �و�يى �ن�ا �‬ ‫��بفر �و�م� �‬ ‫��وه ي��� �‬ ‫�َ ن�ْ َ� ن � � ن ا ��ل �ْ َ ْن ن‬ ‫يل�ر �ن َل��� ا �ي�ل�ى م� نَ��ب�د �‬ ‫��بي�ل��ب�ا �‬ ‫ج‬ ‫ي‬ ‫ّ‬ ‫َ‬ ‫ّ‬ ‫�‬ ‫ن ا ْ يّ ي ْ ن‬ ‫�ا‬ ‫�و�ل� ����ب�د � ا �ل� �َم����َ��َرد ا � �َ �ون�ب�د ا �‬ ‫نّ ا نْ ن ا � � ن ا �� ن ن‬ ‫َْ‬ ‫َي�ر�م�ى �ن َل��� د �� ن� َ�ي�ي�ل م� ل�‬ ‫��ب�ا �‬ ‫ٍ‬ ‫� ا � ن�ْ َ ي ا �ّ ا ��م ْ �ي � ا �� ُ ��َ ْ � ا ن‬ ‫ه� �ل� َ�بَ� ريى ل �‬ ‫�س��� �‬ ‫�و�ل� َيل�� �‬ ‫��سور ن‬ ‫� َ �� ن يْ‬ ‫َ �ْ � ا ن‬ ‫� او �لن�ي�� ي� �ي�ا َ�ل�� �َم�� َ�د َ�م�ه د ��بفر ا �ل�ي���ب�ا �‬ ‫‪١١2‬‬

‫‪1،2،27‬‬

‫‪5،2،27‬‬

‫‪10،2،27‬‬

‫‪15،2،27‬‬

~ 27 ~

Ibn Sbayyil’s reply to Ibn Zirībān Camel rider with ten mounts chosen for speed,

27.2.1

priceless racers, not the sort that are bought and sold; 315 Some of them in their sixth year, fertile animals; others in their seventh, before eyeteeth break through; 316 Nets on the behinds keep studs away: desert racers are spared the chores of pregnancy and suckling. Two years they roamed at will on protected pastures till the humps towered high above their shoulders, Purebreds, blessed with flawless pedigrees,

27.2.5

from deserts high on Najd’s western edge, Bred and raised by Sharārāt who fell afoul of the ruler, parted with the animals at his command.317 They became ours by the grace of the Lord, what joy! Ride out on them; take firmly to the road! 318 At dawn, they set out from Nifī’s dry watercourse, loaded with provisions of dates and fat; Have no fear and don’t let your spirits flag! pass by Sudayr on your right, no harm no foul,319 Traveling straight ahead, by noon, at al-Ṣummān,

27.2.10

you will arrive at the first tents of the ʿIlwā tribe. Expect to be assailed with offers of hospitality; tell them, “We are entertained at Ibn Zirībān’s.” Give them my greetings, read from ink on paper, To the clan of Dhuwī Nāṣir and especially Fayḥān! Their tents beckon to worn-out travelers in times of want: 320 visible from afar―a signal that bolsters flagging spirits. Riders of swift mounts flock to their coffee rooms, rest and depart, well-fed, with renewed vigor. The hosts carry in heavy platters, piled high with food: tails of fattened sheep thrown on top.321 Group upon group squats to be served in turn; the leftovers easily sate the lesser guests. Enough fat remains to coat large waterskins and drips from the tent flaps where hands wiped; 322

١١3

113

27.2.15

‫~~ ‪~~ 27‬‬

‫َ‬ ‫�� نَّ ه �ن�����ي� هي �َ ا ي‬ ‫ي‬ ‫�و��� ن��ا َرهٍ َ����� َ ي ل� ��ن�� َه‬ ‫� � ا� ن‬ ‫�َ� فْ َل��‬ ‫�ْ�ف �� ن ��ب�ا �����ا �ي‬ ‫�‬ ‫�‬ ‫د‬ ‫�‬ ‫�ر�ى �ل ٍل َ ن رَ � َي ن َ‬ ‫�م ن ا ���� نّ �ل� ْ نَ ي �َ � � نْ ن ي‬ ‫�‬ ‫� نَ � َي‬ ‫��ب�ش ��� �ن�ه ��ل� � ���فَررا َ‬ ‫ن نَ َّ ن � َ‬ ‫� ا ن يا ي‬ ‫ل���ط�ْ�صن‬ ‫�‬ ‫� او � ��فر ا � ن‬ ‫�ب�ه � او �ل� د �ي�ي�ك �� �ل�يى‬ ‫ُ نْ ع نَ‬ ‫�‬ ‫�ب�ا ن ���ب��ْي ا ��ل�َ� ن��ا �ي‬ ‫�‬ ‫�‬ ‫�ص‬ ‫��بف�م ا ����ب�د � او ي� � َ ر ن َ‬ ‫�َ ي �‬ ‫ل���طف� � ا � ي� ا �� ن�ش ا ي‬ ‫�سو�� ا � �َ �مو �ي�ل� � يل�ش��� ��َب��� َه‬ ‫� �‬ ‫ج يى‬ ‫ا �ن ن َ َ‬ ‫�َ ا ن ا ي‬ ‫�ب�ا �م�ى ا �نل‬ ‫�ب� ل�ى �‬ ‫��ن��ر �ي�ا �‬ ‫�‬ ‫�‬ ‫��� د �ي� َ‬ ‫ي‬ ‫ن ي‬ ‫�َ‬ ‫�َ ْ ي � َ‬ ‫��� ن ا � ا �� ن�ل� ي ا ي‬ ‫ا �لن�كفره ا ����بن�ش� ار ا �ل � ��� َ��� َه‬ ‫ج‬ ‫ْ َ‬ ‫ن �‬ ‫َ‬ ‫َ‬ ‫�� ي‬ ‫د �ّور ي� ��ي�ك َن�����شي ��َّو�����‬ ‫����ل َه‬ ‫ي� ا �ل�‬ ‫َ‬ ‫� ي�ب�ا �� �� ا �ي�َبف ا ���ا ��بش� ن��ف ��ي ��ْم��� � ي‬ ‫�‬ ‫ط او َ‬ ‫و و ر ع َ ري�� َ‬ ‫ُ‬ ‫ن‬ ‫ن‬ ‫اي‬ ‫��ب�ا ���بف�ّم ن�‬ ‫���� َه‬ ‫�ب�ا �ل�يى �م ن� َر�بي ��ي� �و�‬ ‫ٍ‬ ‫َ�����فّ ��ْ�س ي� ا ��ا ا �����ب�شي�ب�ل�� ن يَ� ْ�ي ا �� ن�لَ�� ا �ي‬ ‫ر‬ ‫ن َ‬ ‫� ن �ل و َ‬ ‫ا ���ْ ف ا �� � � �‬ ‫ا اي‬ ‫�‬ ‫�‬ ‫بر‬ ‫ل���فر�َو��� ��بي �لو�م�ه�م �ن� ي����� َ‬ ‫ا ��ُ ّ � ا � ن َ ّ‬ ‫اْ � ا ي‬ ‫�‬ ‫��ب� �بف�م ن‬ ‫��� ل�يى رد �َ���ٍل�م �َ� ن��� َ‬ ‫ي�ب�ا �� ا ���� ���س�ا ��بف ي�بي�لْ ي� ���ه � ا � ي‬ ‫�‬ ‫ل نَ ي ر َ‬ ‫�ب� ���ل� َ‬ ‫َ َّ ن � � َ ْ‬ ‫� ه �ع ن ا �� �� ا �� ا ي‬ ‫�و�‬ ‫����ش� �ل�يى ا �لن� �‬ ‫�‬ ‫��ر � و ي‬ ‫��� َ‬ ‫ي ي َّ ن يَ ْ َ َ ا � ن ا ي‬ ‫َ�بي�ل� ا �يى �م� ��بفر�ع�ى �م���ه �ي� َ��م��ب� �ل�يى‬ ‫َ َْ‬ ‫ع ن��ب�ا ��بي�ْ�لَ � �َ�بي ا �� � � ا � ي‬ ‫�‬ ‫�ي�بفر� �و � َ وى �ل‬ ‫ل��ط� �ي�ل� َ‬

‫‪114‬‬

‫ْ‬ ‫َ‬ ‫����ْ ��لَ ا ن‬ ‫� �ون�ا ٍر ���� ن��ا ��ب�ا �َ�ب��ي�ل َ� ن �‬ ‫� ا �ى �ن� �‬ ‫ٍ‬ ‫�ْ‬ ‫� اج َ‬ ‫�ْ ا ن‬ ‫َ�م����ا ��سَ�� ن� د ا �ي�بف�م �ي�ل�ى ا �ل ن�� ر ��بي�� �‬ ‫�ْ‬ ‫�� َ ْ ن‬ ‫ي نْ َ ن‬ ‫�َ������ب�ش� �ي�ل�ى ا�اَمن��را د � او � َ���ي����� �مي�لي�ب�ا �‬ ‫�َ‬ ‫�‬ ‫�َ نْ ي ن‬ ‫�ْ‬ ‫�و�ل�ا �ن�ا نر� ا�نم‬ ‫�بَي�ل��� �ي�ل�ي��ب�ا ن���م����ش���ا �‬ ‫َج‬ ‫�‬ ‫� ا نَ َّ ّ �‬ ‫اي ن‬ ‫ن‬ ‫�ل� ��فر�ع ن� �و���ط�ا ر �����َ�ع ن� ا �ل��ي�ل���ا �‬ ‫ن ََ‬ ‫ْ ن‬ ‫ي‬ ‫��ب�ا � ي� ن����ي�ل��ب�ا �م�ا �ن�سيى �م�نب�ه �َور����ا �‬ ‫� ّ ا �َ � � � ا ا� َ ّ‬ ‫ن‬ ‫�بف�م� ن�بفرى �يك �ن� �َ �‬ ‫مود ه �و�َم ن� ������ا �‬ ‫َ‬ ‫يَ ّ � ن‬ ‫ا ��ي�ل� �ن�ب�د ي� ��ي�ك �ن�� ن� را �‬ ‫�بي�ل �و�� �����ا �‬ ‫ي‬ ‫يى‬ ‫َ‬ ‫ْ‬ ‫َْ‬ ‫ْ‬ ‫ي‬ ‫َ‬ ‫ن‬ ‫ح ن� ْ‬ ‫ا �ي����ن���ن�س �َم ن ��� ن �‬ ‫���فٍر � �وَن�ب�د � او �‬ ‫َ يى � ن ي�‬ ‫�ّ ا يَ‬ ‫� ني َ َ ْ‬ ‫��ْ ن ا ن‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫�‬ ‫�‬ ‫�‬ ‫د‬ ‫�‬ ‫ش‬ ‫ش‬ ‫�‬ ‫�‬ ‫�و�ل� �َي�ل�� َ ي � ب َور َرر �‬ ‫ع‬ ‫ع‬ ‫ي � �‬ ‫�نَ نْ � هي ا ��لَ�ب ن ا �� ا ن‬ ‫�ب�ا � �� او �ل���ا ��بش� �بفر�� � ي���ي�ل ��و �‬ ‫ع‬ ‫ا �ّ ا ن ا ن ا � ا ��ل � ا �� َ ْ �ن ْ ن ا ن‬ ‫�و �ل� �ب� �� م� �يى م� لن��د �و َ��فر�‬ ‫��ب� �‬ ‫ع‬ ‫ّٰ � ا َ ْ ن َ َ‬ ‫ا � ا� ا ن‬ ‫ن‬ ‫ا لله �ل� ي ن�‬ ‫�بفر�يى ن�����‬ ‫�ل��بف�م �ن� �ل�ح���ب� �‬ ‫ن � ْ ْ‬ ‫ْ‬ ‫َ‬ ‫�� ا ن‬ ‫�‬ ‫�وردّ ��ي ي� �َ���ال� �و ن�‬ ‫�ب�ا �ل�يى ا ���َ�ب�ال� �َو� د �‬ ‫م‬ ‫� ا َ ّ ٍم �َ‬ ‫نَ � � ْ ا ن‬ ‫ّ‬ ‫�ل� ���سي�ك ��ب�ا ���سيى �ي�ل�ى ��ب�ي ر نَ��فر��� �‬ ‫ي ا � ْ �ي �ن ا � ي ْ‬ ‫ن�ْ ن‬ ‫���ا �‬ ‫حي�� نَ����ي� �لو�م َ��م �‬ ‫�� �ل ا �َ�َر� �م� نَ‬ ‫ي ا � ْ ي يَ ّ � اْ ا ن‬ ‫�ْ ن‬ ‫ب��ه نَ��‬ ‫���د ا �‬ ‫�� �ل ا ����َ ���ر ا ���َ�ب�ل�م �م� � ي‬ ‫َ ْ � َْ‬ ‫�َ ن ْ ا ن‬ ‫�� ا � ا �لن‬ ‫�‬ ‫ح‬ ‫�‬ ‫ف‬ ‫ي‬ ‫�‬ ‫�‬ ‫ب‬ ‫ي‬ ‫��‬ ‫�‬ ‫ب‬ ‫�‬ ‫نر��� � يل�ب�ا ر ن �و �ب�ل�ى ي �ل َ ر � �‬ ‫ع‬ ‫ٍ‬ ‫‪١١4‬‬

‫‪20،2،27‬‬

‫‪25،2،27‬‬

‫‪30،2،27‬‬

‫‪35،2،27‬‬

~ 27 ~

The heap of ashes is like a mound of dug-up earth, because his fire’s flames turn night into break of day. The roasting pan is always held over the fire’s embers; At the coffeepots’ side, the mortar never sleeps; 323 Three handfuls of coffee beans are scattered in the pan;

27.2.20

freshly ground coffee bubbles in the pot, and still the sack is full. As soon as one brew is finished, the next is made: men at the circle’s far end don’t hanker in vain.324 Now, address Fayḥān, the protector of his womenfolk when they loosen their hair, distraught and terrified; 325 He’s the dream of attractive married women who loathe their husbands, refuse to bear them children: 326 “News reached me, O defender of crippled warhorses,327 about the adversity you suffered on love’s account: That creamy, shapely young she-camel of yours 328

27.2.25

went astray among the Bedouin’s comings and goings. I sought among upright Muslims everywhere; 329 for your sake, I tired myself among villagers and Bedouin.330 I was told, ‘She is encamped with Dhuwī ʿAṭiyyah, or perhaps with the camels of Kirzān at the well.’ 331 Then I was given a tip on good authority from a friend: they said, ‘Her likeness was seen at al-Hēḍal’s camp.’ 332 I sent for her, hoping to hobble her before escape, though I have no business mingling with the Bedouin. Alas! These wayfarers’ tales were untrue:

27.2.30

may God withhold His rewards from those miscreants! Finally, a piece of irrefutable news came; I returned a query, and lo and behold, it was confirmed. ‘The messenger’s reward!’ he insisted. ‘It’s a deal,’ I said. ‘But something for something, nothing without proof: 333 Describe the svelte she-camel beyond any doubt!’ ‘Pay close attention,’ he replied. ‘This is no empty talk.’ I said: ‘In what Bedouin company is she?’ ‘The reports are firm, and admit no doubt,’ he said. ‘She’s been put to pasture by ʿIlwā, men of great feats, who mount steeds to perform chivalrous deeds.

١١5

115

27.2.35

‫~~ ‪~~ 27‬‬

‫يَ �ْ‬ ‫� ا� ا ي‬ ‫����َ��� ��ب�ه ا ��ل‬ ‫�َ�بفْرك�‬ ‫���ا ن�‬ ‫�‬ ‫�ب� ي��ب� َ‬ ‫�ل��بف�م � نع ن‬ ‫ن نا ي‬ ‫��ا �ن� ي� � ا � ا ْ ن ي ا‬ ‫ع�ش��� ن�� ��� ����د ر�� �ل�يى‬ ‫ور ي‬ ‫ن‬ ‫ّ َ �‬ ‫ّ ا �ْ � ا � ا ي‬ ‫�‬ ‫ا ��ب�ا ��ي �� �‬ ‫طوك ا �ي� ه ن�م����� ي��ب� َ‬ ‫ّ‬ ‫َ يّ‬ ‫اي‬ ‫ان ن‬ ‫�ي� �‬ ‫�َب�د �ورا � �‬ ‫كي�ل ���� �ل�يى‬ ‫���ه �ي�ل�ى َ‬ ‫ا �� ن ا ن �‬ ‫�ا‬ ‫ي‬ ‫�‬ ‫�و�ل� ���� د ل�يى ���ي��� �م� ا � �� او َرد ا َ‬

‫‪116‬‬

‫ّٰ‬ ‫�‬ ‫نَ ن ي � ا ن ن‬ ‫ا �ل ���س�ا ���د ا لله �ي ��و�م ر�و�ي� � ا �ل� د ��ب�ا �‬ ‫َن َ‬ ‫ْن ن‬ ‫�و�� ن��د ك �ن��ر َ�ي�ل�و�ى �نَ��د ا �ي��د �و�َ�سي� �ل�ب�ا �‬ ‫�نَ ي َّ� ْ َ �لنَ ّ َ‬ ‫ن‬ ‫ن��ا �ل‬ ‫�بي�ي�ل َ�بفر � او ن�رد ا �‬ ‫�ب�د ��بي��د ا �‬ ‫ج‬ ‫ْ‬ ‫�ْ‬ ‫ا ن� ن‬ ‫��ب�ا �ه� نَ��م‬ ‫� �َ�ب���ا � �وي��فر �و �‬ ‫�وا �‬ ‫ح�ي��اجن‬ ‫و‬ ‫ٍ‬ ‫�َ‬ ‫ُ ُ َْ‬ ‫�ّ‬ ‫َ� نَ‬ ‫ن‬ ‫ح�‬ ‫�ي� َ�عي�ّب�ا �‬ ‫���ي�ر�يى �و�ه�م �ن��د �ٍو �ي�ل�ى ا ل�‬

‫‪١١6‬‬

‫‪40،2،27‬‬

~ 27 ~

In the wake of their charge, vultures eat their fill, may God be my witness, when minds go berserk.334 She is clearly with Ibn Ǵāʿid of legendary fame; 335 you know ʿIlwā well, their lineages and ancestors: They might offer her to you in an agreeable manner, or else warhorses will thunder on flat, hard terrain.336 They claim rights by force, crushing lions in their path, without appeals for help from friends and kinsmen.’ As for myself, I have no further knowledge about her: I am just a villager―they, redoubtable Bedouin.” 337

١١7

117

27.2.40

‫~ ‪~ 28‬‬ ‫َ‬ ‫�َ � ا ْ ي � ن‬ ‫ا ��سس�ا � �م�ا �نب�ا ن��ى ا �ل‬ ‫ح���ب� � او �ن��َب�ل� �ل�يى‬ ‫ن ن‬ ‫َ‬ ‫ّ‬ ‫َ �� �ْي � ا ن ه � �َن �� ْ � ن‬ ‫���ا َ�‬ ‫��طي �لٍ� �ل����� ��ب� ��ي ٍ� َ ش���فَر ن‬ ‫َ ْ � َ� َّ‬ ‫ن ْ �‬ ‫� نا ن‬ ‫ا‬ ‫ل‬ ‫ع‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫ا‬ ‫� م� �بي�ل ن�ب�� َ�‬ ‫�� ن‬ ‫� �و ن��� ن ٍ‬ ‫ش� ٍ‬ ‫ان‬ ‫ي‬ ‫َن‬ ‫�َي���د �ي��فر��عي�س�ه ن �ل�يى �و�ه�و �َب�د َر��ب� �ل�يى‬ ‫ن ْ‬ ‫ا ن � �ّٰ َ‬ ‫نْ ي ن � ن‬ ‫�‬ ‫�‬ ‫ل‬ ‫ا‬ ‫ا‬ ‫�‬ ‫�َ��فر�ٍو ي����� �يل�� �يل� �‬ ‫هوى و ع�َ�فر �يى‬ ‫� نَ‬ ‫���صَ � ّ ْ يَ ّ � � ن‬ ‫حي�ك ���ف�م ا �ن��فَر�ع ن� ا �ل�َ�ف�م�ا َ�‬ ‫ا �ل�ى‬ ‫�َ ْ �‬ ‫ا ل�ن ا�ا� ا � � ي ن‬ ‫ا ���و���م ��ط ��ب� �يى �وَ��ن�� د يى‬ ‫����ا َ�‬ ‫ن‬ ‫ا‬ ‫َ َّ ن � ا يَ ي‬ ‫���فر��� �و�ل� �عي�س�ه �و�ه�و ��ب� �ي���د ا �ل�يى‬ ‫ا ن ان‬ ‫ي ْي � � َّ �‬ ‫�َبي�ل� ا �ل���ب�ل� �م �ورد �ل�يى ��ب� َ������ �ل�يى‬ ‫ّ‬ ‫َ ّ‬ ‫ان‬ ‫�ه�و َر��َمن�� ��� ن�سى � او �ن�ا ا�ا�م�و ي� ن�‬ ‫��� �ل�يى‬ ‫ي ٍ� ي‬ ‫ن‬ ‫ن � ي ن يا �‬ ‫ني‬ ‫وره �� �ل �ي ��و�م ا ��� �ي� �ل�يى‬ ‫� او � نَحي�� ا ر� َ‬ ‫�� � ا ن ن� ن‬ ‫ا ا �ن ي �ْ�لي‬ ‫�‬ ‫ف‬ ‫�‬ ‫�‬ ‫ب‬ ‫� ل�يى �و�ل� �م� �‬ ‫�وا �ل�يى‬ ‫ر‬ ‫ل �� ن ي ن ٍ‬ ‫ي ْ �َ � � ا َ � �‬ ‫ن‬ ‫�َبي�ل ي� ا � نل���ل� �و�يى �ل� �ن�ل� ك ا �َنر����ا َ�‬ ‫ي ا � ي ي� ي َ ي � � �َ� ا ن‬ ‫�ب� �ل� َ�م�و� �و� �م �و�يك ا �ي�ل� ن�‬ ‫��� �ل�يى‬ ‫يى‬ ‫ان‬ ‫�‬ ‫��ا ن نْي �َ َ َّ‬ ‫ك�� � ا ��َ����فر د �م�يى َي ن��يى ��ه َ�عي��� �ل�يى‬

‫‪118‬‬

‫َ‬ ‫� َ ْ �‬ ‫�نَ��فْر�و �����ش�نَ�� �ن�ا ���نَ�� ّ ����طي� �لي� �ل�����ا �ن�ب�ه‬ ‫َ‬ ‫ى‬ ‫ى‬ ‫ٍ‬ ‫ي‬ ‫ٍ‬ ‫نَ َ ْ نَ‬ ‫ن‬ ‫ن‬ ‫�َم�يْب�د ا َ�ي�ل ��بش� ر� ن� ��بفر ن��ه د ��ب�ا ��ب�ه‬ ‫َ‬ ‫ٍ ع ي‬ ‫َ‬ ‫ْ ن ْ‬ ‫�‬ ‫�م ن � ن‬ ‫�َبي�ل�ي��ه �م�ا ي���َ�ْ �ن� ا نل‬ ‫�‬ ‫�َبن��ا �ن�ب�ه‬ ‫ح��س� � َ‬ ‫�‬ ‫ر‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ْ �ي ُ‬ ‫��� او �ن�ه �ي ن�ْبي�ل �َي�بفْر�م ��� ���ي��ا �ن�ب�ه‬ ‫ا ��بيل�� �‬ ‫َ‬ ‫َ �‬ ‫�� � ا � � نَ ّ‬ ‫ه�‬ ‫�‬ ‫����ا �ن�ب�ه‬ ‫ل�م ����� رٍد �يل���يى د ا ��َ��� ح� َ‬ ‫��نّ ��َ‬ ‫� ا ��بف �ي� ن��ْ�ي���� �م ن‬ ‫� ل‬ ‫���ا �ن�ب�ه‬ ‫�‬ ‫�‬ ‫�‬ ‫و‬ ‫ر‬ ‫ن‬ ‫َ‬ ‫ر‬ ‫َ�� ا ن�و َ َ َ َ �‬ ‫َ‬ ‫ا �ن � �‬ ‫ن‬ ‫ب��ه ���و�ل�ا ك�ا �مي�ل ل��ى نر����ا �ن�ب�ه‬ ‫��ب� ي‬ ‫ٍ ي َ َ‬ ‫� � َ َ � َ ْ ن � ا نْ َ‬ ‫�‬ ‫��َ�ي� �لي�� ا���‬ ‫�م�ي�ل ا ���و�‬ ‫��ا �ن�ب�ه‬ ‫��ر �َم �‬ ‫ح��� ي ن� ل‬ ‫َ‬ ‫ّ‬ ‫�‬ ‫�ل�ا ���سي�ك �م ن� ي���مّ �و����ي��� �نل����ط�ا �ن�ب�ه‬ ‫يى َ‬ ‫ع‬ ‫ٍ‬ ‫ّ‬ ‫ْ َ‬ ‫��ْ�ش�َ�� �يَ��َ ه ��ل�� �و�ى � ن‬ ‫����ا �ن�ب�ه‬ ‫�َم����ي��‬ ‫نٍ و ي ي‬ ‫ن‬ ‫ا ن � ه َ�يٍّ �ن‬ ‫ب��ا ن���د �ن�َي���ا �ن�ب�ه‬ ‫�م ن� ك� � �� �‬ ‫�� ي‬ ‫� ا �� ا � َ � �‬ ‫���ف�م�ا �ن�ب�ه‬ ‫� دي� ن� �و�ل�ا �ي�ك َن�‬ ‫�و�ل� ��ط� �ل‬ ‫نٍ ٍ‬ ‫ن يْ �َ‬ ‫ْ‬ ‫�َ‬ ‫هو�ى � او �َم�ي�ص‬ ‫���ا �ن�ب�ه‬ ‫�م�ا َد � ي� �لي���ب�ا ي� ا �ل� �‬ ‫�ّ �‬ ‫نَ ْ‬ ‫�� ن� � او �ل�ا �ن�ا �ل��ب�د ا � او ��ي� يل���ا �ن�ب�ه‬ ‫�ه�و ��م�‬ ‫ن ْ‬ ‫� ّ�� هي � ا ن‬ ‫�‬ ‫�‬ ‫���ا �ن�ب�ه‬ ‫�‬ ‫�‬ ‫�‬ ‫���ط�ل �ن���ٍ �ل�‬ ‫ن‬ ‫�‬ ‫ي‬ ‫�‬ ‫م‬ ‫ر‬ ‫ن‬ ‫ي‬ ‫و‬ ‫‪١١8‬‬

‫‪1،28‬‬

‫‪5،28‬‬

‫‪10،28‬‬

‫‪15،28‬‬

~ 28 ~

A sudden shock upset me, slashed my insides:

28.1

the seductive tyranny of a honey-lipped girl,338 A well-spoken, supple, and soft tattletale: with her looks come intelligence and eloquence; 339 Capricious, amazing, a companion from Paradise, She is well bred and stands her ground. Her eye has taken aim at me and shot its arrow, wounding me grievously even before she blinked. Given to dalliance, she forayed into my heart:

28.5

many philanderers end up trampled by her assaults. When she laughs, and lets her white teeth flash, scintillating jewelry scatters from her cheeks. Her svelte waist is set between firm curves; she is simply this age’s paragon of beauty. I faced her when she paraded, but she shied as an antelope startles at the sight of danger. “Greetings!” I said; she knew me and replied: a sure sign that she harbored some affection. She lingered along the path; I was ready to die:

28.10

she’s an untamed filly that bolts from the rein. On my visit, she said, “You came for a reason: if you have a rightful claim, it will be honored. You’re no relative of mine nor one of my kin; nor are we bound by any loan or obligation.” 340 “Bad news,” I said. “May misfortune pass you by; may you not suffer the lashes and trials of love.” “If you die,” she said, “that’s fine by me.” Should love be coercion, or reason and gentleness? If my blood is shed, my supporters will come: avengers who rush in to pay you back.341

١١9

119

28.15

‫~~ ‪~~ 28‬‬

‫َْ‬ ‫َ‬ ‫�َ ا ن‬ ‫��ا نر� ن ��ل�ا �ي�لي�م�َ���طش� ��س����ي� ا �ل‬ ‫ح���ب� �ل�يى‬ ‫ع َ ني ل‬ ‫ي ي�‬ ‫ن � ��ن ا ن‬ ‫ن‬ ‫� � � ��‬ ‫َد � ي‬ ‫ب�ي�لك ا �ي�ل�يى َ��د �َ�م��سى �ل�يى َ��ل�ب� �ل�يى‬ ‫َ‬ ‫� َ��بش�نّ�يْ��يب ن ا ��ل � �ْ �يْ ا �� �لي ا ن‬ ‫�‬ ‫���‬ ‫�‬ ‫ش‬ ‫ف‬ ‫�‬ ‫س‬ ‫�‬ ‫�‬ ‫�‬ ‫ش‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫� َ �يى ن َ ر َ ن�‬ ‫ر َ�‬ ‫�يَ ا � � �ْ �� � ا � َ ن ا ���� ن ن‬ ‫��فر يى َ��ش�َ��ي�يك �َر��س� �و �‬ ‫���ا َ�‬ ‫� ا � ْ يَ ْي َ ن َ‬ ‫� َ ن‬ ‫�‬ ‫���ط� َ�لن�ي�ك � �ل� ن�بيل�سيى �ع���سى ا �ي�ل�يى ��ب�د ا �ل�يى‬ ‫ا � نْ ي ن � � ا َ نَ ي َ ن ا ن‬ ‫��ب� َ��م��� �م� ا �ي�ل�يى �ل� ن����ي�ب��ه ن������ �ل�يى‬ ‫ن َ � �َ ْ ي َ � ا � ن‬ ‫ا ّٰ ا �‬ ‫�ي� ا لله �ي� ا �ي�ل�يى � او � ���طيل ن�بَ��ه ��ق���ط� ل�يى‬ ‫ن � ّ َ�ن‬ ‫يَ ْ � � ّ‬ ‫��سيى �َم� ن‬ ‫�� ن���ل� ن�َ ن‬ ‫�َ�ن��ه �ن�ل� �ل�يى‬ ‫� ان‬ ‫��ل�ا ����ا د �َ ّن � ا ي �‬ ‫�م ��ط�يى �م� ��ل� �ي�بف�م �و����� �ل�يى‬ ‫َ ّ‬ ‫َي َّ‬ ‫ّ َ ٍّ ن ا ن‬ ‫��م ي� �و�‬ ‫���ي� �ل او �َ���د ��يى �و��� �ل�يى‬

‫‪120‬‬

‫ن‬ ‫�ب�شن� �ل� �م ن ا ّٰلله ��ا نْ ��� َ ّ‬ ‫ي ن‬ ‫��سيى‬ ‫�َ ن يى �‬ ‫َْ‬ ‫ا نَ‬ ‫ا ن� ك�‬ ‫�ب�ل�� �م ن� َد �ي�ا �ن�ب�ه‬ ‫���ا ن� ي�بي�لن�ي�ك ��ب� �‬ ‫�ّ‬ ‫َ‬ ‫� او �ل�ا �ن��ا �ن�ا �ي ن�ْ�َي�ل�ك �و��ل ��ي� َ�ي�ك�ا �ن�ب�ه‬ ‫َيٍ‬ ‫�‬ ‫َ‬ ‫�َم� � ي�َ ي�لْ�ي� ا ك�د �ي��لن‬ ‫ا‬ ‫�بف نرا �ن�ب�ه‬ ‫�ي� � ي � ب ن ك ر‬ ‫ٍ‬ ‫ْ �‬ ‫�يل�ْ�ب�د�ي�ي�ك ��ل�ى �َ�ب�شي� ن� ا �َ�لي����ب�ا �ن�ا ��َي�لي�ب�ا �ن�ب�ه‬ ‫ي‬ ‫َ‬ ‫ّ‬ ‫َ‬ ‫�‬ ‫َ‬ ‫َ‬ ‫� او �ل�ا ن�بشن���ي�ره ��ب�ا �‬ ‫�م��ي�ل ��ل�ى �َمي���ا �ن�ب�ه‬ ‫ي‬ ‫�َ‬ ‫َ‬ ‫َْ‬ ‫ع ��و �م ن� َ�‬ ‫ح��س�ا �ن�ب�ه‬ ‫�ي�ا ن��ي�ر �َم ن� �ن�بفر ن��ى ا ��� ن�‬ ‫ي‬ ‫ّ‬ ‫َ‬ ‫ّ‬ ‫ّ‬ ‫�‬ ‫� او ��ل�ا �ي�ك�شن� ا ل‬ ‫�‬ ‫ح ن� �ع ن�سى �و������ا �ن�ب�ه‬ ‫َ‬ ‫َ َ‬ ‫ي‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫ي‬ ‫َ‬ ‫ْ‬ ‫�‬ ‫�‬ ‫ا ُ� ن‬ ‫هو�ى � او �م��ص‬ ‫���ا �ن�ب�ه‬ ‫�ور �م ن� ����فرد ا �ل� �‬ ‫�ن� ن �‬ ‫ي‬ ‫�� او ي��فرا �ن�ب�ه‬ ‫��بي�ل�ى َنَ�ن�سيى َ���د ���َ�فَ�م�� ي�‬ ‫ٍ‬ ‫�‬ ‫ا ����َب�د ا �ن�ب�ه‬

‫‪١20‬‬

‫‪20،28‬‬

‫‪25،28‬‬

~ 28 ~

Please, my love, don’t close the open door; fear God for my sake, my antelope of heaven! My refuge is with you; let bygones be bygones, if a shred of religion remains in your heart. You turned me from a student of the Qurʾan into a silly poet! Before, I was known as sedate and solid. I give you free rein and all my trust, since your heart is a strongbox for secrets. I beg you, accept me! I beg the Lord who guided me

28.20

to turn your severity into silkiness. The one I love doesn’t requite my feelings; 342 still, I do not care a whit about any other. O God, when I plead with You, You give; beneficent Lord, be kind and forgive us: Afflict her with the feelings I have for her, or lift love’s sorrow from my shoulders. This life, beset with ill fortune, has lost its savor: I should abandon love’s pursuit and its trials. Lastly, prayers―as many as there are living and dead― for the Prophet whose Qurʾan is recited.

١2١

121

28.25

‫~ ‪~ 29‬‬ ‫ا ّ يَ �ْ َ ّ � َ‬ ‫�بفر �بيلسن�ى ن�‬ ‫�ي� ن�‬ ‫�ب�ا �ن�ي�ب�ه‬ ‫�بفرهي ا � �لي ��و��� �‬ ‫َ‬ ‫ي‬ ‫ّ‬ ‫�َ�بفر ��ي ن���ا �َ�ب�د �ن�ب�ه �و�َ�بفٍر �ي�ب�د ا �ن�ي���ه‬ ‫َ‬ ‫ٍ‬ ‫َ‬ ‫�‬ ‫َ‬ ‫ُ‬ ‫َْ‬ ‫���ا ��ل�ى �ن��فْ �ر�هي ا ��� ��ود �ن�ا ر��ه‬ ‫� �و�ا �ن�بفر�يى �‬ ‫ي‬ ‫ي‬ ‫ي‬ ‫ي‬ ‫َ‬ ‫ْ‬ ‫ّ‬ ‫َ‬ ‫�‬ ‫�‬ ‫�ل�ا �َو ّرد ا � �لي��د �و� �يَ�كفَر ن� �َ�ب�ل�� �ن�ي�ب�ه‬ ‫م‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫َ‬ ‫�� � او ن�ن��ر ��ي�ل� �ع ن� �َم ���س�ا �‬ ‫��ي��ه‬ ‫� ا � ��‬ ‫م� ه�و َو نع َ يى‬ ‫ْ‬ ‫ن‬ ‫َ‬ ‫��ي�لي�ي�ك �ي�ا ا ��ي�ل� �ي�ا �ي���هٍ ل��ى َي��َ���د ر��ب�ه‬ ‫�‬ ‫ي‬ ‫ي‬ ‫يى‬ ‫�‬ ‫�� � ن َ َّ‬ ‫�� �و� ن� �ي���د ا � �و�ب�ه‬ ‫�‬ ‫�‬ ‫�‬ ‫���و ���ل َم� � �‬ ‫��و ن َ ي ٍ‬ ‫ي‬ ‫� َ‬ ‫���ل ي�����فْر�نب�ه �َم�ي�ر �م�ا �ودّ �يى ا ْ�����فر��ب�ه‬ ‫�‬ ‫ي‬ ‫َ‬ ‫ٍ‬ ‫َ‬ ‫َ‬ ‫ي ن َّ‬ ‫���نّب�ه �ن��ف �ر��فر َ�‬ ‫ا ��ل�ى �َم ����سى َ��‬ ‫م �����ي��ه‬ ‫�َ‬ ‫ي ٍ‬ ‫َ ْ‬ ‫�‬ ‫�َبنَّ��ه �ن �لي�بي�لسن�ى �َ��فْر���سى �َمي��فر ك�‬ ‫���ا �ن�ي���ه‬ ‫ي‬ ‫يٍ‬ ‫ن �ْ‬ ‫�ي�ا ��ب�ا د ��ل اَ�ام ���سيس�ا �ي� �م ن� د �و ن� �ن�ب�ا �� يل���ه‬ ‫�ْ‬ ‫َ‬ ‫�ب�ا �ني���ه‬ ‫� او ��ي�ل� ي����ْر�ن� ا ��َ���ال� �م�ا �ه�و ن� ن�‬ ‫يى‬ ‫م‬ ‫َ‬ ‫�ن �ن‬ ‫ا ي � ن ي‬ ‫ع���ه‬ ‫ل���س�يى ��ي��� �َ �و�ي�َب�ه �وعي��س�يى ��بفرا � ي‬ ‫� َ �َّ � ن َ‬ ‫ْ‬ ‫ن‬ ‫ن‬ ‫ا‬ ‫ا‬ ‫ن‬ ‫����ه‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫���و د �ل�ه�ول�يى ع��� ��ب� �ي�� ن� � �� ي‬ ‫ََ‬ ‫�ولا ن���ن�ش� ي� ا �ي�ْبفرك �ن�م‬ ‫�ب�ا ���ه �و����ط�ا ر��ب�ه‬ ‫ي‬ ‫َ َ‬ ‫ي‬

‫‪122‬‬

‫ْ‬ ‫َ ْ‬ ‫ن�����فر�ن� �َم������ا �و�ْ�بَي��ه �ي�ب َ�د ه ن�َ�ي�ل�َ��ن��ا �ن�ب�ه‬ ‫َ‬ ‫ٍ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫�‬ ‫اآ ن‬ ‫�ب��ل�� ي� ���� ن‬ ‫�َ� ن�د ه ��ا ل‬ ‫�‬ ‫�‬ ‫ي� ا ��ْ��ي����ا �ن�ب�ه‬ ‫َ‬ ‫ي‬ ‫ن‬ ‫َ َ‬ ‫َ‬ ‫ْ‬ ‫ي‬ ‫�َ ٍّ �َ‬ ‫�ب�د ا ه ��� ي‬ ‫���ا د �ن��فنر�عي�ب�����ا �ن�ب�ه‬ ‫�ب�د‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫�ل ْ ن‬ ‫ْن ن‬ ‫���‬ ‫�ب�ه ��َ�� ن‬ ‫�‬ ‫�‬ ‫ي� ��ب�ا �ن�ب�ه‬ ‫�‬ ‫� �وَي�بفرَ��يى د را �َ�ب�ه ي َ َ‬ ‫َ‬ ‫ن َ‬ ‫ن‬ ‫��َّو ن� َ����ب�ي�ر�يى �وك�‬ ‫���ا �ن�ب�ه‬ ‫�سس�ا ن� �َم� �‬ ‫�‬ ‫ا� ن‬ ‫َ‬ ‫َ‬ ‫ندَ �ْ�ب ن�د �َه� ا ه � ن‬ ‫��ب�ا َ�ي�ك َ���ه نر��ب�ا �ن�ب�ه‬ ‫�‬ ‫و‬ ‫ع و‬ ‫ٍ َ َ‬ ‫ْ‬ ‫�ب�ا ��ه �يبي�ل ي� ا �ْ � � � ن �‬ ‫��ا �ن�ب�ه‬ ‫�وي ن� َرَ َ‬ ‫وَ‬ ‫��بيل�ول�يى �َم � َ‬ ‫ّ‬ ‫� ن‬ ‫� ا ��ل�ا ����ا‬ ‫���د ا ���َ���د ا ر�ى �ن�َي���ا �ن�ب�ه‬ ‫�‬ ‫��‬ ‫ي‬ ‫و ن�‬ ‫ّ‬ ‫�ّ ا َ �َ ْ �لَ‬ ‫� او �ل� ���ش��يل��ب�ه ا �‬ ‫���ا �ن�ب�ه‬ ‫��ف�م�ا �م دْ َر ن�‬ ‫َ‬ ‫نْ �‬ ‫ع �و�ي�ل�ه ��ل�����ا �ن�ب�ه‬ ‫�م�ا �ن�ي�� ن� �َم ن� �َيل���ظَ���فر� ي�‬ ‫ْ‬ ‫�ا ي ْ‬ ‫ك���ر ا ���� او رد �ي�بف نر��ب�د ا �َم�ي�ص‬ ‫���ا �ن�ب�ه‬ ‫�ل� َ�� َ‬ ‫َ ي‬ ‫َ‬ ‫َ � ُ‬ ‫عود ن��ي�لي�ّ��ا �َ�لي���ا �ن�ب�ه‬ ‫�م�ا ��َي�نْ�ش��� َ�د �ل �‬ ‫�‬ ‫ٍ َ‬ ‫نَ‬ ‫َ ْ ن‬ ‫�و���ي� يل�ب�ه ي��ي�لسن�ى د ا �� ن� د �يل���ن��ا �ن�ب�ه‬ ‫ٍ َ‬ ‫ي‬ ‫َ‬ ‫ّ‬ ‫َ‬ ‫َ‬ ‫�‬ ‫ْ‬ ‫�م�ا �ن�ي�� ن� �و ْر دَ �ل��ب�ه �ي�فر�ي�ش����ا �ن�ب�ه‬ ‫َع َ‬ ‫ٍ‬ ‫�َ ّ ا �ي �لن � نْ ��‬ ‫��ي�َ �لي� �َم ن� �ي�فرا �ن�ب�ه‬ ‫�‬ ‫��ي�� �فرا �يى َي�م�َ‬ ‫‪١22‬‬

‫‪1،29‬‬

‫‪5،29‬‬

‫‪10،29‬‬

‫‪15،29‬‬

~ 29 ~

My heart is being bent like a bow by a craftsman;

29.1

adroit, he shapes it with his deft, playful hand; He holds it up, then hunches over it, using all his skill to shape it to his taste. My frame’s been pared down like wood that’s planed by a carpenter who cuts and shaves with all his might: 343 When he pushes the blade, neck muscles swell; 344 his arm slackens as he gives it a smooth finish. This is not a pain I’d want to tell my family about,

29.5

one that struck and wounded me deep inside― It is you, bobbing along with your swaying gait: caressed by lucky breezes, smiled upon by fortune.345 If she could treat grievous injuries and wounds, and nurse the sufferer, I’d say, “Bring me to her!” She is known to all, but I won’t drop her name: she is simply the princess of all pristine beauty. She walks like a child when it takes its first steps, or as if a pigeon had taught her to point her toes in. Her love is lodged in my heart’s secret moorings,346

29.10

and I’m not inclined to blurt it out in an anguished wail. Why chide a lover in thrall to his treasure? Faultfinder, your harping adds to his ordeal. It’s a fact well-known, no mystery about it: a stick that’s not supple cannot be straightened.347 Head over heels in love, I keep watching her, while my heart absconds like a runaway camel.348 If I was distracted, still I would not forget: I’m not a boy kept happy with a clattering rattle.349 Even if I wished to drop the subject, stop talking about her, my cord cannot be detached from hers.350

١23

123

29.15

‫~~ ‪~~ 29‬‬

‫ْ ٰ‬ ‫ْ‬ ‫ن���ل�� �و�َ��فره ا ّلله �ي��فَردّ ه � �و�َ��عن�يس�ه‬ ‫ي‬ ‫َ‬ ‫َ‬ ‫ََْ‬ ‫َ‬ ‫�‬ ‫َ‬ ‫�‬ ‫�‬ ‫ور�ّ��� ي� َ��ه �ي��ف ْ����ش� �����ف َ���‬ ‫���ه‬ ‫�‬ ‫ا‬ ‫�‬ ‫د‬ ‫ري يع ي ٍر‬ ‫ي‬ ‫� ي‬ ‫َْ‬ ‫�َ َ� َ�َّ‬ ‫�و�م ن ا �ل‬ ‫�س�وي��ه �ن�بفَر ن�ي�لي�ب�ه‬ ‫�بفر�‬ ‫�‬ ‫د‬ ‫�‬ ‫�‬ ‫�‬ ‫ن‬ ‫�‬ ‫و‬ ‫ن‬ ‫�‬ ‫َ َ‬ ‫َ َّ‬ ‫َ� ْ � َ‬ ‫� ْ‬ ‫هو�ى ��ب�ا ي����شن�يس�ه‬ ‫ا�َا�ش��َي��و�يى ���طفرد ا �ل� �‬ ‫َ‬ ‫ْ‬ ‫���َ�ي�ي� ا ��لن�ص‬ ‫���ا �م�ا ي�لن��َ��د ��ل �ع ن �ن�م‬ ‫�ب�ا ر��ب�ه‬ ‫ل‬ ‫�‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ي‬ ‫يَ‬ ‫�َ‬ ‫ْ‬ ‫�ن‬ ‫َ���� ن�سّى ا�م‬ ‫�ْ�ي�ل�و�ي� ��ب�ا �ه�و ن� ي���ن�عن�يس�ه‬ ‫َ َ‬ ‫ي‬ ‫ْ‬ ‫َ ْ � َ ن �لنَ‬ ‫�‬ ‫� � �� �ه� �يل���طش��ع ا �‬ ‫� او ��ر�م‬ ‫���ه‬ ‫�بي�ي�ل را �� ي‬ ‫و‬ ‫و‬ ‫�‬ ‫َج‬ ‫ْ‬ ‫ا َ �َّ‬ ‫ّ‬ ‫� نَ‬ ‫َ‬ ‫ن‬ ‫��ي ��ن� �َ�ب�د ر ��بش�� نَ�ر�ب�ه �م� ي�������بي��ه‬ ‫� او �ل�‬ ‫َن‬ ‫ُ‬ ‫ٰ � � �َ‬ ‫� او ّلله � ��و �ل�ا ا �ل���فْرن� � او دْ َر�ى �ي�م او ن�ي�ب�ه‬ ‫ج‬ ‫ّ‬ ‫��ل�ا ن‬ ‫���ا �ي�لن� َر�َ�ه �و��ل�ا �ه�و ن� را ن�‬ ‫���ه‬ ‫�‬ ‫�ي‬ ‫ٍ ن‬ ‫��ْ‬ ‫�‬ ‫ّ‬ ‫�‬ ‫َره � او � يل���ه‬ ‫�ل�ا ا د �و��� �نَ��فرا �َي�ب�ه ��بي�ل� ��‬ ‫ى‬ ‫�‬ ‫ن �‬ ‫�‬ ‫ك�‬ ‫��يس�ه‬ ‫���ا �ه�و �َ�سيس�د ا �ل�ا� �‬ ‫���ا � ا �ر ن�‬ ‫���ا �م را ن�‬ ‫�‬ ‫ي نُ �‬ ‫نّ ا‬ ‫����ه‬ ‫� �� �‬ ‫ط او � ي‬ ‫ا ��كي�ل �َ���� � او رد ا ٍ‬

‫‪124‬‬

‫َ‬ ‫�َ ن َ‬ ‫ي� ��ي ن�ْ��د �يى َ������ا �ن�ب�ه‬ ‫ا ْر ن��ى ��ل����ا ��ب�ه‬ ‫�‬ ‫�‬ ‫�‬ ‫َ‬ ‫َ‬ ‫َْ‬ ‫�‬ ‫�ل�ا ������ا �ن� �ن ْ���ره � او ن����فره �ن��نْب َ�د �ن�ا �ن�ب�ه‬ ‫َ‬ ‫ْ نَ‬ ‫ْ َْ‬ ‫َ َ‬ ‫ك�ن‬ ‫�‬ ‫�ب�ا �ن�ب�ه‬ ‫�و��بن��ري�بش�َ�ب�ه �ع ن� �ن��و نر�ي�ب�ه‬ ‫�‬ ‫و‬ ‫َ‬ ‫َ َ‬ ‫ََ َ‬ ‫َ‬ ‫ّ‬ ‫َ‬ ‫�‬ ‫�‬ ‫َ‬ ‫ن‬ ‫���نّ��ه ��بي�ل ر�ل ا ��ن��‬ ‫َ��‬ ‫�‬ ‫��ف�م ن���ْ�� َ�د �ي�ا �ن�ب�ه‬ ‫َ‬ ‫َ‬ ‫�ى‬ ‫� َ‬ ‫َ‬ ‫�‬ ‫���ود �ْ�بي�َ �ل او �ن�ب�ه‬ ‫� يل�ب�ا ��ب�ا ر ن��� ا �ل���� نْ��د ا َ�ي�‬ ‫ا ن ا ���َ ٍّ ي ُ‬ ‫ان‬ ‫� س �‬ ‫�و���س�ه �ن�َ�ن��ا �ن�ب�ه‬ ‫� ك� � م� �يى َ � َ‬ ‫ْ‬ ‫ْ‬ ‫ح �����ا ��� ن‬ ‫�م�ا ���ا ن� َي�ن� �����ا ره ا ��ل�ى ا ن�‬ ‫ب��ا �ن�ب�ه‬ ‫َ‬ ‫ا�َ‬ ‫�� ل‬ ‫�‬ ‫�يّ� ي�لَنْ�����َط�شن� ����ب�ا ر�ن�ب�ه �م ن� دَ ��ب�ا �ن�ب�ه‬ ‫�‬ ‫ن‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫��� َ�ي�لي�نس�ا �‬ ‫�م ن� �َ�بنْ��ن�� ن�� �ي�بفْر��‬ ‫��ب�ا �ن�ب�ه‬ ‫ح�‬ ‫ن‬ ‫َ ٍ�‬ ‫ْ نَ‬ ‫َ‬ ‫َ ْ‬ ‫ن‬ ‫�ر�ي��ش� �ي�ي�ل ن�ب�ه ���ي�ن���يَ��ه �و����د �ي�ا �ن�ب�ه‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫َن ع‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫َ‬ ‫�‬ ‫� ا ��ْ��بن�ش� �ن�م ا د �ى ��� ن‬ ‫ي� �ي�لي�م�����ش� �نل����ط�ا �ن�ب�ه‬ ‫و �يى و ي‬ ‫ع‬ ‫ن��ا �ن�ا �َ�بفَ ن� ي� ْ ن‬ ‫����ا ه ���َبفّر �َو�ْ�ب�ل�� �ن�ب�ه‬ ‫�‬ ‫ر ر‬ ‫َ‬ ‫َ‬ ‫نّ‬ ‫��ب�ا ��ب�ه �م ن ا ���ن�َ�� ن‬ ‫م����ط�ه �َو نر ن� د َر�ي�ا �ن�ب�ه‬ ‫نَ � ي‬ ‫َ‬ ‫َ‬

‫‪١24‬‬

‫‪20،29‬‬

‫‪25،29‬‬

~ 29 ~

If, God forbid, it comes untied and swings back, she allows the veil to slip and reveals her teeth: I look up, like a falcon that turns to its master and screeches loudly on seeing its piece of meat; Clasps the leather loops on its feet from desire, jumps, and flaps its wings, until it is hooded. The amorous do not flag in their pursuit of passion: 351 for them, the hunt is treading on soft Persian carpets.352 A torrent that races, that does not change course: 353

29.20

it cannot climb elevations that block its path. Wishful thinking does not bring you riches, unless it’s something you can grab with your hands. A lance thrust with the butt first, not the tip, scores no hit against charging horsemen.354 A host’s excuses do not serve a guest as supper: 355 he has a right to a mustache dripping with fat. By God, but for my fear of rumormongers, and ill-wishers lying in wait, ready to pounce― Men who do not fear or beseech the Lord, gleeful at her absence and his delirious sobbing― I’d surprise her warden and snatch her up, sate my heart with her until belly ropes burst. Amicable arrangements are best, I agree: 356 I know her stated wishes and secret desires.357 If the two of us water our thirsty camels, Neither of us harbors the tiniest speck of anger.358

١25

125

29.25

‫~ ‪~ 30‬‬ ‫َ َ َّ‬ ‫نْ‬ ‫َْ‬ ‫�‬ ‫�َ�س����و��� �َو��� َ�ي�لَ�مي�ك َن��م ���سيسي�ك ي�رد ��ي ي�‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫�ن �‬ ‫� ّ� � ي‬ ‫ّ‬ ‫ا � �ل�ب�ا ���طفر ا �ي�ل�ى �ن�ا �و�ل ا ���و� ي� ����ن�ي�� ي�‬ ‫ي‬ ‫ا �ْ ن‬ ‫��ي�ّل� ا ا �يْبَ�ي�ل ي � ا �يْ ش��ن‬ ‫ي‬ ‫��يَ�ل�� �ي�ل�‬ ‫ي���ا َك� م� ن � و ب ي��‬ ‫َ‬ ‫َ َّ‬ ‫�َ � يْ‬ ‫� َْ‬ ‫� او �ل�ى َل‬ ‫�‬ ‫�َ�ش�� ي� ا�ا�ب�ا ن��م �����َي�ي�ك �ي�ب�د �ر�ي ي�‬ ‫َ ْ‬ ‫�َ‬ ‫� ا � ّ � ا �يَ فْ �ي‬ ‫�ل�����ا ��ى ا ��ل�ى ا ��ص‬ ‫�د‬ ‫حي� ي�‬ ‫�‬ ‫ي‬ ‫�ل� نَ��د م� �برَ‬ ‫َّ‬ ‫ّ ا ��َ َ� ي � َ �‬ ‫�َبفْر�نب�هي ا � نَر ْر ن�‬ ‫�َبي�لي� ي�‬ ‫ا �م� ا ل�ى نح�‬ ‫ع‬

‫‪126‬‬

‫ا ن ا ��� نْ � ا ن ا ا �ي �� ا �� ُ ن‬ ‫��ب� د ن َ��� َ�د ك ي ��و�م �� �مول �ن� ل� �‬ ‫هو�‬ ‫�‬ ‫يي‬ ‫ن‬ ‫ا �لي ��و�م َ�� ن��د ك ن�‬ ‫�َبي�ل��د���ا �َ�لَ�ي�ل ��ب�د �ه�و�‬ ‫ن‬ ‫ا �� نَ ْ ��َ��ش�ن� ا�ا��ب�ا‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫���ه ����د �ي ��و�‬ ‫ور‬ ‫ي‬ ‫ررع ي ن �يى‬ ‫َ‬ ‫ْ‬ ‫ا �� ُ ن‬ ‫���ا �ل‬ ‫� �و�ْ�د �ي�ي�ك ك�‬ ‫�‬ ‫ح�ا �ي�ي�ك �و�َم���سيسي�ك �ي�ل�ى ل� �‬ ‫هو�‬ ‫َي‬ ‫َ‬ ‫َ‬ ‫ُ‬ ‫� فْ � ا ا �� �ي � َ ْ� ن‬ ‫�و��بف�م َن����م��س� ك َل��دي��مى ي����فرن �‬ ‫�و�‬ ‫ي‬ ‫�ّ ا َ نَ‬ ‫ل�ن � �ي ا � � ن � ن‬ ‫�و�ل� ن�‬ ‫�ب�د �وك �و�يى َم�ب� �ميك َي�بفري��د �و�‬ ‫َ‬

‫‪١26‬‬

‫‪1،30‬‬

‫‪5،30‬‬

~ 30 ~

Hey Sinʿūs, what is this leisurely pace!

30.1

I didn’t mean it when I said, “Go easy!” 359 The old camel that you cursed at first is now sturdy, as if greased with fat. Set a strong pace, up and down. The crop needs water; I must pay my debt! Watch your step on your way to the well: handle the ropes deftly, and slow down! 360 Work done, sleep like a log, wake rested, and people will mention you with respect. Next season, either you won’t be hired, or, if you do well, you might get a raise.

١27

127

30.5

‫~ ‪~ 3١‬‬ ‫ا � ا � ن � نَ ّ ن َ ّ ن َ ّ‬ ‫��ي� �لوه �‬ ‫�ي� ���ط� � نل����ي� ا ����� �‬ ‫��ي� �لوه‬ ‫يى‬ ‫� َ ْ َ ُّ‬ ‫نَ ّ‬ ‫��ي� �ل او َ�‬ ‫�‬ ‫ح����ا �ي�و�ي�ل�ه َ� ن�ر�� �َ�ي ن��ي� �لوه‬ ‫ع‬ ‫�ٍَ َ َّ‬ ‫يَ َ �َّ ْ نَ‬ ‫ْ‬ ‫ن‬ ‫� �� نل‬ ‫�‬ ‫�وه �ن��‬ ‫�‬ ‫��‬ ‫�‬ ‫�‬ ‫ي‬ ‫�‬ ‫�‬ ‫���ف�م �ي� ن��ي �لوه‬ ‫��‬ ‫نَ �‬ ‫و‬ ‫� ّٰ يَ َ َّ‬ ‫َ َّ‬ ‫����بن �� او �و������ا ن� �� او �م�ا َ�ي�ك ا لله �‬ ‫��ي� �لوه‬ ‫ّ‬ ‫ْ‬ ‫�‬ ‫�َ يّ�‬ ‫َ�ع ���س ن� ا � �ر�ا ن��� ا � �لي نع��ر�م�ا �� ��ط �ن�ي� �لوه‬ ‫ي‬ ‫�َّ‬ ‫َيْ‬ ‫َ‬ ‫َ‬ ‫��بفر �ع ن ا�ا�م�ا �‬ ‫�‬ ‫ح ن�ْ�ي�ل�ه� �ي ��و�م د ���وه‬ ‫�‬ ‫�ي�ل َ‬ ‫�‬ ‫م‬

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‫ُ‬ ‫ن�َ �ّل ه � � ا �نّ �ه ����ف�َ‬ ‫�لا َي�لن �� �ون�ب�ه‬ ‫�‬ ‫��ي �و ي ��و م �ب َ ن‬ ‫َ‬ ‫ج‬ ‫َ ْ‬ ‫ُ َ‬ ‫�ه�و �ن�ا �ي��فر �ع�ني�ُه� �و��بف� �يلْ�����فَرد � �ون�ب�ه‬ ‫َ‬ ‫م‬ ‫ٍ‬ ‫م‬ ‫َْ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫َ� نْ‬ ‫حه� ي�ن�ي� ا �ْم�� �م�ا �ي�ي��ل‬ ‫�‬ ‫�‬ ‫��ي �� �ون�ب�ه‬ ‫�‬ ‫ف‬ ‫�‬ ‫ب‬ ‫�‬ ‫�‬ ‫ن‬ ‫�‬ ‫م ل �‬ ‫َ‬ ‫م‬ ‫َ‬ ‫�‬ ‫�َ‬ ‫ح َّ‬ ‫�ولا �‬ ‫��بي�ل� او ��‬ ‫��ود ا ����بن��ا � او�ا�ش�ه� �ون�ب�ه‬ ‫�‬ ‫َ َ‬ ‫َْ‬ ‫� َ َ نْ‬ ‫� �م�ا ي�نن�ص‬ ‫� �� �م ا ل‬ ‫�‬ ‫�َ�ش��� �ون�ب�ه‬ ‫حي���ا ����ن�صو�‬ ‫يو‬ ‫ع‬ ‫ْ‬ ‫�ْ‬ ‫� َ‬ ‫��َّ�ي�ل� او ا�َا��ر�يب�ا ن� �م�ا ي� ����بفَر�ن�م �ون�ب�ه‬ ‫���و �و�‬ ‫َ‬

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Leave off, you players of love’s game, leave off! 361

31.1

Abandon that worn-out charade; just stop! 362 Leave its dregs to sully other boneheads: love is on the run; they are giving chase. They plunged in with their wiles but, the night before last, love left them behind and they can’t catch up. Youngsters turn gray, God help you, without seeing it: 363 all they are left with is sorrow and shame. For them flowering desert meadows are just hearsay: when others trek to the spring pasture, they stay put. Their rope’s too short when they lower it into the well; at the base of a lookout, they’re too sluggish to climb.

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129

31.5

‫~ ‪~ 32‬‬ ‫ا ّٰ ه ا � ْ �ي �� ا �� ����بنش� ا ���� ن‬ ‫����‬ ‫لل ل َي����ش��يى َلي�ب� ٍل َ ��� ي‬ ‫�نَبفّ ا �ي ��َ���ف�ْ ا�ْ�ي ا �� �ي �ل ا�ا�ُ � ن‬ ‫مي�ل �ل ل�ي �و ن� �‬ ‫م او �لي���‬ ‫ر�‬ ‫َ ْ‬ ‫���د ي��ي � ا ���� ن‬ ‫� ن�‬ ‫ن‬ ‫ب���‬ ‫� او �ل�ى ����َ��د �ع� � او � ٍ ي �ل م� ي‬ ‫ا ��ل ������ ن �� ّ‬ ‫َيْ َ � ن‬ ‫ي�‬ ‫� َ���نب�ه �‬ ‫����ا �ي�بي�ل �ي��� ن��ش� ا � �ريل��‬ ‫ٍ ع‬ ‫ج‬ ‫َ يْ ُ ن َ �ْ ا ي �‬ ‫�ا ا�ا�م � ا ��ب��ن‬ ‫ْ‬ ‫�‬ ‫��ي��ي� �لو� �م���ي��� ه ا �لن� �� ر َ ����� ي �‬ ‫َ يْ �� َ� يْ نَيْ نَ ي �‬ ‫� نُ �ْ � ا ��ل َ ن‬ ‫��م� ��و�ى ا ل�ى نح� � �ل��‬ ‫���ه ا َنلرو ن� �‬ ‫��ي���‬ ‫ا ��� �ْ يَ �ْ � ه �� � �ن‬ ‫�َ ن‬ ‫�‬ ‫��‬ ‫�‬ ‫� �م ن� ا �ل��ي���‬ ‫و َ���س ن� ي �لو يى ن� �م��و ٍ‬ ‫َ� يْ ن ا َ‬ ‫يّ �‬ ‫ن‬ ‫�و نح�ب�� ن�‬ ‫�بفرا�ي�بفر�ه�م �َي�ب َ�د �� اَ�ام ����ب�ا �ريل��‬ ‫ْ‬ ‫�ْ � َ‬ ‫� ي ن‬ ‫� �وي�لي�ب�ا َ�����فر � او �َم�ي� ا ل‬ ‫�‬ ‫�بفرا ر ا�َا�بش���ا ��يي�بش��‬ ‫ل‬ ‫َ‬ ‫ّ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫ٍ‬ ‫ي َ‬ ‫ي ي ن‬ ‫�َو� �� او َرد � او �َ���د �����فرا �ن�ب�ه ��فرا �ي��ش��‬ ‫ّ‬ ‫��ٍ �نل ا ا �� �لَي ْ � ه � ُ�د � ا ��لي� ا �ل�ن‬ ‫��ب� �ر� ي�ب ور َ �‬ ‫�و ���ل َ �‬ ‫��ب� ري�‬ ‫ي‬ ‫� ّ‬ ‫يْ ن �‬ ‫ن‬ ‫ي� �لي�ي�ل�ه ن�‬ ‫َ���م��ب��‬ ‫�ب�ا �ن� ن� ا ��َ���د �م�ا �َ�بي���‬ ‫� �َ ّ ي ندَ � ا ند �� ا �� �� � ا�ا��َ ا �ل�ن‬ ‫م�� �ب� ي� ��و س�و م ي��� ري�‬ ‫و� ن‬ ‫ع‬ ‫َ‬ ‫�� �ُ ا � ن‬ ‫�ب�ا �ه� �م ن ا �� �لي��ْبي�‬ ‫�‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫حي�بش��‬ ‫� م�و ن‬ ‫ر‬ ‫�و ن� م � َ ن‬ ‫ي نٍ‬ ‫�َ‬ ‫�َ‬ ‫� ْ � � ن � يُ ي ن‬ ‫��ر �ن�ا �نم‬ ‫� او ����َ�‬ ‫�بيل��� م�‬ ‫��ب�ا �ل �و� �� او �ي�بش��‬

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‫� �َ‬ ‫����ف�م ن �ن‬ ‫�ْ�يَ�ل�� د �ي �� �ون�ب�ه‬ ‫ا �ي�ا �م را ع�ى ا �ل‬ ‫ي‬ ‫َ‬ ‫َ�‬ ‫� َ‬ ‫ٍّ‬ ‫�‬ ‫�وكي�ل �ي�ل� را �َ�س�ه ��ي ن�ب�ا ر�يى ن���طش��� �ون�ب�ه‬ ‫ى‬ ‫َ‬ ‫ْ‬ ‫�‬ ‫َ‬ ‫ن‬ ‫��ر� �ون�ب�ه‬ ‫ا نرر� او ��بي�ل ا � �لَيع�ْ���د ا ن� لا �ي���د ��‬ ‫َ‬ ‫ْ‬ ‫ان ن‬ ‫�‬ ‫�ي� �‬ ‫ش� ي� �م�ا �ي�ن���يَ� ن�� �ون�ب�ه‬ ‫�َب�د ��� ن �‬ ‫��وع ا � نل� ي‬ ‫َ‬ ‫َ‬ ‫َي ن ْ ي ْ َ ْ َ‬ ‫ٍّ‬ ‫ه‬ ‫�‬ ‫�وكي�ل ين� �سى ����بفره �َب�د�م ي����‬ ‫� �ون�ب�ه‬ ‫�‬ ‫�‬ ‫ن‬ ‫ي‬ ‫َ‬ ‫ّ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫ن‬ ‫َ‬ ‫ْ‬ ‫�� يْ‬ ‫� او ن���َ�ب�د ����فر�ى �ن �ليع��ب�ه �و��‬ ‫� ���ف نر� �ون�ب�ه‬ ‫�‬ ‫َ‬ ‫َْ‬ ‫� او ��ل ���س�ا �و�يى ا ن�ي�ل�ن� َ����ْر�لي��ه �َم ن� ��م��� �ون�ب�ه‬ ‫نََ‬ ‫ْ‬ ‫َ‬ ‫َ‬ ‫� َ ي � ْ نَ � نَ‬ ‫��‬ ‫ل���طش��ع ن �ي�لي����فر� �ون�ب�ه‬ ‫�‬ ‫ا � نل�شي�� َي ن�س�ى � او � �‬ ‫َ نْ َ‬ ‫�ََ‬ ‫�ورا �ع�ى ا ��ن��ن�ل�م �ع ن� �َ� ْر�‬ ‫���ش�ي �� �ون�ب�ه‬ ‫ح�ه�م �ي�ل �‬ ‫� ن ن �َ �ْ َ‬ ‫� ّ �‬ ‫����ا ي����ص‬ ‫�� ن�� �ون�ب�ه‬ ‫ا ���َ���د ���و �ه�و �ن�ا � �لَ�ق�‬ ‫ُ‬ ‫� �‬ ‫� ا‬ ‫� �� نل���ا ن ٍ �‬ ‫� �ون�ب�ه‬ ‫�‬ ‫� او �ي�ل�يى َ��ه ا � ن‬ ‫��� ن ٍ‬ ‫� ين َ‬ ‫َ ّ َ ن‬ ‫�لا ��ي� �‬ ‫��ر� �ون�ب�ه‬ ‫ل���َ��د �ي�ب�د �ْم����طفر�يى �ي���د ��‬ ‫و‬ ‫ٍ‬ ‫ا ا �� ْ‬ ‫ْ‬ ‫َ‬ ‫� د � �ون�ب�ه‬ ‫�و��س�َ�ي�ي�ل ��ي ن�ْب�د �يى �م� �ن��د ا لَ�‬ ‫�� نب��‬ ‫َ‬ ‫َ‬ ‫ج‬ ‫َ‬ ‫ّ‬ ‫ْ‬ ‫َ‬ ‫َ‬ ‫�‬ ‫ْ‬ ‫ن‬ ‫�ن‬ ‫حن‬ ‫�� ر �ي �� � ا ن� ا �لص‬ ‫��‬ ‫��بفر�م� �ون�ب�ه‬ ‫�بي�ل �يلَ�‬ ‫َو � �و وم‬ ‫َْ �‬ ‫� او �ْم��س� او � �وي�ا ��ل�ى را �يل���ف�م �ي�لي�ي���َطش��� �ون�ب�ه‬ ‫ي‬ ‫‪١30‬‬

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~ 32 ~

May it not rain on late-summer nights―the mad rush364

32.1

when Bedouin demand payment for their butter; 365 When hearts, bound by affection, are torn apart, all hasten to join their group’s camel train. If you search for someone, they say, “I have no idea!” Too busy, even mounted herdsmen cannot tell.366 Like a rutting stud, the shaykh speeds to desert green, not troubling to pitch his tent all week long, While chasing his young she-camels’ pastoral dream:

32.5

virgin track of desert herbs, as yet untrodden.367 Blessings when summer’s scorch dries up the sap,368 the ground’s moisture dissipates and clouds evaporate, Grasses wither in the gusts of hot southerly winds, milk skins no longer slake the shepherds’ thirst.369 And nomads’ caravans dot the crests and slopes: 370 pack camels are brought to a halt, tents rise on their poles. They come in droves, a black mass like hills of lava rock, shoving aside the pens set up for small cattle: 371 They make the well and its cool water their own,

32.10

filling the surrounding terrain.372 Next, all head to the village to trade and shop; if they have friends, they call on them first. Ninety nights the wells’ sides are bustling; 373 there is no mention of breaking camp and moving, Until the first breezes redolent of autumn rains, and Canopus twinkles before the light of dawn.374 From the southwest come mounted men, riding hard,375 while people gather for the date harvest.376 Afternoon, they throng the village square; at night, after long discussion, the die is cast.377

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131

32.15

‫~~ ‪~~ 32‬‬

‫ا ��ل�� ْ َ � َّ نّ �‬ ‫�َ � ن‬ ‫���‬ ‫� �� �‬ ‫طو� ا � نل�بي ��و ي� ا ���ن�م���ط�ا �ري�ل�‬ ‫َ� ن‬ ‫ج‬ ‫�ا � ن‬ ‫�َ‬ ‫را ��‬ ‫�وا �م� ا � �ري�ب�د ا �و���ب�ا ا �ل����ط�ا �ري�ل�‬ ‫ع‬ ‫ع‬ ‫يْ ا ن �‬ ‫ن� يّ � � ّ ا �يُ ا � �ن‬ ‫�ب��‬ ‫�َ���ش�ي�ب� ���ش�ه�م �َب �ل�يى ن�ي يل�ب� ��و ي‬ ‫يَ‬ ‫ن َ‬ ‫َ ّ‬ ‫��ن‬ ‫ا‬ ‫ى ن�‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫�‬ ‫�‬ ‫حي��فرا ٍ� ��بي�ل�ي��بف�م � ي �‬ ‫ا �و�ي‬ ‫�ْ‬ ‫َ‬ ‫� ّ ا�‬ ‫ن‬ ‫م ا ����ف�م ��م‬ ‫�و�‬ ‫ي‬ ‫�‬ ‫ل‬ ‫ه�‬ ‫�‬ ‫���ا �ري�ل�‬ ‫م‬ ‫ل‬ ‫�‬ ‫�‬ ‫�َبي�ل ا� �و َ‬ ‫َ‬ ‫ى‬ ‫ّ‬ ‫َ‬ ‫ُ‬ ‫ْ‬ ‫َ‬ ‫�‬ ‫�‬ ‫ني‬ ‫� ا ��� �ن‬ ‫� ي‬ ‫ن‬ ‫� او �ل�ى �����ي� �ل او ��مو�� �َم���ي�ل ا �ل�‬ ‫ط��‬ ‫�و ي‬ ‫ن َ �‬ ‫� ن‬ ‫ن َن‬ ‫��ب�د �يى �م���ا � �وي�بفٍر �و��ب�د �يى ��ب ن��ا ��ي���ش�‬ ‫يَ‬ ‫� ي يَ نّ‬ ‫��ن‬ ‫ا‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ا‬ ‫��‬ ‫ي‬ ‫�‬ ‫ف‬ ‫�‬ ‫�‬ ‫�‬ ‫ب‬ ‫م‬ ‫��‬ ‫�‬ ‫�‬ ‫�ي� م ب ي �‬ ‫� او �ل�ى �َ�ل�م� �و‬

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‫َ ْ‬ ‫� � ي ْ ْ� ي‬ ‫�‬ ‫��‬ ‫ب‬ ‫ص‬ ‫�‬ ‫� �ون�ب�ه‬ ‫� او�ا�ب�ا �ل َ���د �م �����ل�� َ��َي��ه �يل� َن �‬ ‫نْ َ �‬ ‫َ نْ ٍ‬ ‫�ي�ب�د ل�‬ ‫ى �َ��سن��ي��ش� ي�لنَ �� �ون�ب�ه‬ ‫��ر �ل��بف�م �م���د �‬ ‫َ‬ ‫ع‬ ‫َ َْ ٍ‬ ‫َ‬ ‫ْ‬ ‫�‬ ‫ن‬ ‫ي‬ ‫�‬ ‫��ن�ش�بفر ��بي�ل�ب�ه ا ���د ��ي� ���فرن��ش� ل‬ ‫� �ون�ب�ه‬ ‫��‬ ‫ٍ ي‬ ‫ن ي ع‬ ‫يَ �ْ � نَ َ ْ َ‬ ‫�� �� �و�ل�ا ا �نّل��بف�م �بيل� ا ل‬ ‫�‬ ‫ع �� �ون�ب�ه‬ ‫ح����ط�ا ي� �����ش� ن�‬ ‫ن‬ ‫َ‬ ‫َ‬ ‫نَ ْ‬ ‫َ‬ ‫ْ‬ ‫� او ��ل�ى ن�‬ ‫�َ��د �نل��بف�م �ي��ا �ي�� ٍ�د ��ي�ي�ن��� �� �ون�ب�ه‬ ‫َ َْ‬ ‫ن‬ ‫�‬ ‫ك�م ��ب�ا � ��ي ا ا‬ ‫ع‬ ‫�‬ ‫� �ون�ب�ه‬ ‫حه�م �ي��فر ن �‬ ‫� �ن� ر�م� � �‬ ‫يٍ‬ ‫ن‬ ‫ن‬ ‫�و����د ا �ي�ن��ي��ش� �� �ون�ب�ه �ود ا �ي�ا ����ف� �م �ون�ب�ه‬ ‫ََ‬ ‫ْ‬ ‫َ‬ ‫َ‬ ‫ن‬ ‫�‬ ‫َ‬ ‫ح���ا ي�ن�ص‬ ‫ن ن ا � ا� ل‬ ‫�َ�ش� �� �ون�ب�ه‬ ‫�و�م� اي�� �م� �����ج ا � ي‬

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Morning, the imposing tents are folded up, the animals watered and untethered; Then off they go, into far-flung desert plains, driven by glowing reports of wholesome pastures. Their summer camp lies empty, featureless: a wasteland silent but for the wolf ’s howls. One is sad at seeing such neighbors leave,378 no matter how they pained the amorous heart. They have a habit of turning with the seasons: a leader with resolve makes them come along.379 When they jump on their raptor-like steeds, many haughty fellows are felled by their blades. If one party sets out on a raid, the other returns, with booty to sell or animals to brand as their own. Once they are done, they pack up, light of heart, and wander in the tracks of life-bringing rains.380

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133

32.20

‫~ ‪~ 33‬‬ ‫َ ّ يَ ْ َ ّ َْ‬ ‫��� ��ل �����ف ْ��‬ ‫�س �‬ ‫�‬ ‫�‬ ‫��ا �ي�بي ��ي�لس �ي�بي‬ ‫�‬ ‫َ‬ ‫ر‬ ‫ي �ل ن�يى �ل ر ن ٍ َ وج‬ ‫يْ � َ ي �َ ْ �َ � َ ْ � نَ‬ ‫�� �‬ ‫َ�ع�� ن� ا �����ي�ل�م�م��م����م� ا �ل��د ��ه �‬ ‫�‬ ‫ع ن ر َ وج‬ ‫�ْ َ � �َ ن � نَ‬ ‫ن َ‬ ‫�� �‬ ‫���س�ا ��م او �ورا �ه�م �َم��م��ي�ل ا �ل��يس�� ��ه �‬ ‫�‬ ‫� َ وج‬ ‫ج‬ ‫�َ ّ ن َ‬ ‫َ‬ ‫�‬ ‫�‬ ‫ّ‬ ‫�‬ ‫�بنش��ب�ا �نب�ه � او دَّ رن� َ���نب�ه ا ���د �و�‬ ‫��سي� �ل او �‬ ‫ج‬ ‫َ َج‬ ‫ْ‬ ‫ن ن ا نَ يْ �لَ‬ ‫ح�� ��� �َم ن�د � �� �‬ ‫� �ي�ا ��� ا يَ� � �م �� �‬ ‫ح ا�‬ ‫و �و رى َ � � ن ي � ن وج‬ ‫ن‬ ‫�ب�ا ��ل ��س�ا �م� �‬ ‫�ي�ل� ا ����د �يى �م ن� د �و�نل���ا �‬ ‫ى‬ ‫وج‬ ‫�يْ� نس � َ ْ‬ ‫�ب�ه � �َم�نْم ن‬ ‫� دَّ ه � �� ا ن�‬ ‫�� �‬ ‫�‬ ‫ه‬ ‫ل‬ ‫�‬ ‫�‬ ‫َ�‬ ‫�‬ ‫و‬ ‫ن‬ ‫�‬ ‫يى نَ ر َ‬ ‫َو ي و‬ ‫وج‬ ‫ْ‬ ‫���ه ��بشن�ْ�ي�َلي ل��ن د ا ن‬ ‫�بي� ا �� �و� �َ ن�م�بي�� �‬ ‫�‬ ‫�‬ ‫� يى‬ ‫وج‬ ‫ل رج‬ ‫َ ٍ‬ ‫�� َ ن َ‬ ‫���ا �مي� ا �� نَ � ن �َ�مْ�بي�ل�و�‬ ‫�‬ ‫�‬ ‫���َ�ي��د ا ���ب�د ا‬ ‫ك‬ ‫ى‬ ‫ر‬ ‫ل ير� ج‬ ‫َ‬ ‫� او �نل‬ ‫���د �ن��فنَر�ّ�ي� ������ا ���� ��ْ�س �� �‬ ‫�‬ ‫�‬ ‫�‬ ‫ب‬ ‫�د‬ ‫�‬ ‫ن‬ ‫َ‬ ‫ي ي‬ ‫يلٍ ع ن وج‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫��ب�ا �ل�نى َ�ي�‬ ‫ي���ا �م�ْب�د �ى ك���رهي ا ��ل ن�� �‬ ‫ل‬ ‫�‬ ‫َ ن يٍ َ‬ ‫ي‬ ‫وج‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫� ��ل�ا �ن���� �م ن ��ي���� �ي�ل ن��� �َم� ْ‬ ‫��بي�ل�و�‬ ‫و ي ن � ي ن �ى ي ر‬ ‫ج‬ ‫ع‬ ‫ْ ْ‬ ‫َ‬ ‫�‬ ‫ْ‬ ‫ن‬ ‫�‬ ‫ا�ا��بش�ي نع��� ا �ي ن���� �� ن��ه ��� ك�ا � �م�بي�ل�و�‬ ‫و‬ ‫َ يى َ يى‬ ‫ج‬ ‫ّ‬ ‫َ‬ ‫ٍ‬ ‫�‬ ‫��ب�ا ��ل�ى ������د ���ط� ��ل ا �ل�ا��ا �م ���فْ�م �� �‬ ‫ي نَ‬ ‫و ي‬ ‫ي وج‬ ‫ي �‬ ‫���ا � �� �‬ ‫��نس�ه �م�ا ��ل� كي �‬ ‫��ب ٍ�د َ�م ��ي‬ ‫يىٍ َ �ل ن ن وج‬

‫‪134‬‬

‫نَ � �َ �ي ا ��ل ا �� � َ � ن� ا ���� ن‬ ‫�‬ ‫م�نَس�ه‬ ‫ش‬ ‫�‬ ‫د وٍد �بي�ل�ى � �ى �َد ن���� �ب� ط ي‬ ‫�ْ َ‬ ‫ن‬ ‫���بش��ي�ل َ ����ب�ا �َ�بي�لي�نَس�ه‬ ‫�و����ب�ا ��م او �َورا �ه�م �َم‬ ‫ٍ‬ ‫ن‬ ‫� يَ�نَ�ص َّ � ا ن �ْ� ن �َ‬ ‫ن‬ ‫ع�نَس�ه‬ ‫م‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫و��ف و �‬ ‫�‬ ‫ر‬ ‫���يل َر‬ ‫ن‬ ‫ى‬ ‫َ ي‬ ‫ر َ ٍع‬ ‫ا � ن ا � ا ��� �ْم�َ نَْ �ي ْ �ن‬ ‫ع�نَس�ه‬ ‫يل�‬ ‫���� و��ب� � ن���د ٍ� �َ�رَد ي‬ ‫َ ْ �ي �‬ ‫ا ن‬ ‫َْ‬ ‫ع�نَس�ه‬ ‫نر���‬ ‫ع ق ��ط�وع �و�و���بفَ�م��بف�م ���� ر� ي‬ ‫ٍَ ن َ‬ ‫� يْ � يَ �ْ َ َّ‬ ‫���ن‬ ‫�‬ ‫� َ��‬ ‫�‬ ‫�‬ ‫�‬ ‫ش�نَس�ه‬ ‫�‬ ‫ا‬ ‫�‬ ‫�وعي��س�يى َن��� و ل�بيل ن� ن ي� ي‬ ‫ج‬ ‫� َ َ � نْ‬ ‫�‬ ‫حي� ن‬ ‫ي ا‬ ‫�م‬ ‫�‬ ‫ع�نس�ه‬ ‫ل‬ ‫�‬ ‫َ‬ ‫���ولا �َ�بش���� ر�ي�ب�د ا ����بفر ن� َ ي‬ ‫ا �ن‬ ‫ح ّ �ن�َ �� ه �من�ْ�ي�َلي‬ ‫ع�نَس�ه‬ ‫�‬ ‫��‬ ‫ب‬ ‫� �ع ن �� ب‬ ‫�‬ ‫�‬ ‫ر‬ ‫�‬ ‫ي‬ ‫و � َ ن ير َ ٍ‬ ‫ا ��ل����ص ن ْ َ‬ ‫�‬ ‫�ب�ا ن��ه �و�َ�شي�نس�ه‬ ‫�ْبفر ل��ى �َ �مي�بفر ن� ن��‬ ‫�و َ‬ ‫ي‬ ‫َ‬ ‫����ب�ا �ن� ا �� �لي� ن‬ ‫�ب�ا ه ��مْ � د �ن�َ� ن‬ ‫�‬ ‫���ه‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫و‬ ‫و‬ ‫ن‬ ‫ن‬ ‫و�‬ ‫ر ي‬ ‫َ‬ ‫َ ْ �‬ ‫�‬ ‫ْ‬ ‫���و ك�ا ن� ي��ي�لسن�ى �ن�ا ���َو���� �َ�بفر�َ��ش�ن�ي�نس�ه‬ ‫ي‬ ‫ع‬ ‫ن‬ ‫َ ْن ا �‬ ‫ن‬ ‫�ن‬ ‫ن‬ ‫��� ّل�� ن� � �ُ��ف�م ��ا‬ ‫ل‬ ‫�‬ ‫ع�نَس�ه‬ ‫د‬ ‫و‬ ‫ي‬ ‫�ي��فر��� َ ٍ‬ ‫ْ‬ ‫� ا�ا�م�ي��بي� ا �نْلَ� ن�� ���ه ����بف ا ا ��ل��م�ن�� ن‬ ‫ب��ه‬ ‫َ‬ ‫ر‬ ‫�‬ ‫َ‬ ‫ي‬ ‫وَ ن َ ل‬ ‫�‬ ‫ع‬ ‫َ‬ ‫ا نْ َ ن َ‬ ‫��ب ّ�د ا �ي�ه �م ن �ع ����� ن‬ ‫ب��ه‬ ‫��ب� َي�ل����فَر�� �‬ ‫ر‬ ‫َ‬ ‫َ � ي‬ ‫ْ‬ ‫يَ ْ ن‬ ‫�ن‬ ‫��ب�ا‬ ‫�‬ ‫ع�نس�ه‬ ‫�‬ ‫�‬ ‫َ�‬ ‫�‬ ‫ف‬ ‫ه‬ ‫�‬ ‫�د‬ ‫د‬ ‫د‬ ‫ب‬ ‫م‬ ‫�‬ ‫�‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫و‬ ‫ن‬ ‫ر‬ ‫ي‬ ‫�� نب� َ‬ ‫َن َ ي‬ ‫ج‬ ‫ٍ‬ ‫‪١34‬‬

‫‪1،33‬‬

‫‪5،33‬‬

‫‪10،33‬‬

‫‪15،33‬‬

~ 33 ~

My heart is wracked like the hearts of rustlers

33.1

who snatched camels from the herd’s fringe,381 Early in the night, in the moon’s eerie shine, they saw that a torch had been lit.382 Seeing the shaykh’s torch burn so bright, they made for a line of hills, seeking safety. Riding the sprightliest camels, they tore off, without cover from their comrades’ guns.383 They said, “If you stray from the pack, you’re dead:

33.5

They’re ruthless; their camel brands tell it all.” 384 It’s like the twist of fate that blocked my path to her: I cry hot tears; my heart has spilled its secrets. She yearns for a tryst―banter and serious talk― but odious meddlers thwart our scheme. Her secrets are under lock and key, except for me: she keeps other pretenders at bay or fobs them off: She is the queen of young ladies, she has no peer: enchantment is enthroned in her brows and eyes.385 She has the neck of a gazelle spying shapes: 386

33.10

hunters who wield the spear of her death. I moan and wail, but not in her view, though flames of passion lick at my frame. To persevere in a lost cause is the height of folly: 387 being nice to one’s paramours, only to be rebuffed. I don’t want a face that’s pretty yet cold; 388 for a pleasant manner I will hoist my sails.389 What use have I for wells crowded with Bedouin and herds, where you can’t tell visitors from regulars? 390 A well encircled with rows of tents; 391

33.15

after the herds have been watered, all you draw is sand.392

١35

135

‫~~ ‪~~ 33‬‬

‫�َ نّ �َ ْ ي يَ ْ ي ي نَ ا َ‬ ‫�� �‬ ‫�����ش��ى ن����بفر�ن�ب�ه �بي�ل�ب�ه د � �ل�� �‬ ‫�‬ ‫و‬ ‫َ ٍ و� ج‬ ‫َ‬ ‫ي‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫�‬ ‫َ‬ ‫�‬ ‫ي‬ ‫�� ��ل�ي�ل�ه �ن�ب�د ا ن‬ ‫ح���طفر���ا �ي�ل ا � �و�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ر‬ ‫�م ي ٍ‬ ‫�ى رج‬ ‫ْ‬ ‫َ‬ ‫� او ������ا ره ا ��ي�ل �ن�ا ���ف�م�ا ي� ��ل�� �ن�م �‬ ‫َ �يى َ‬ ‫ٍ ن وج‬ ‫ْ‬ ‫ن‬ ‫َ�ْ�م���س �ولا َ��مي� �َم ن ا ��ل�َه�ّم �َ ْم����طفر�و�‬ ‫ل‬ ‫�‬ ‫ى‬ ‫ي‬ ‫ج‬ ‫ٍ‬ ‫ّ‬ ‫ٰ‬ ‫ٍ‬ ‫�‬ ‫ن‬ ‫َ‬ ‫�َ�ي� ��م����ط�ا �ل�ى �م ن ا � �و�‬ ‫� او ّلله �ي�ا ن�‬ ‫ر‬ ‫ل‬ ‫�‬ ‫ي‬ ‫ج‬

‫‪136‬‬

‫َْ �‬ ‫َْ‬ ‫�� ن‬ ‫�ب�ا �ن�بف �ر��نَ��ه‬ ‫��و �ودَ ر�نل���ا ن�‬ ‫��بف�مي��ا ا �ل‬ ‫�‬ ‫�‬ ‫َ ي‬ ‫ع‬ ‫ا َ ْ يَ‬ ‫�ْ‬ ‫ن‬ ‫ن‬ ‫نَ ْ �‬ ‫ش�َس�ه‬ ‫��بفرع�ى ���ب� ه �و��بفر�بَن��ه �َم����فَر� ي‬ ‫� َ‬ ‫َ � نَ‬ ‫� ن� ا ن‬ ‫�� َد ر �‬ ‫ش�نَس�ه‬ ‫�بفرا �مي����� ا ���َد ن �ى‬ ‫�ب� ر� ي‬ ‫ن ْ‬ ‫� ��سي�ل� �م � � ْ�مي�له�م � ا‬ ‫�م�نَس�ه‬ ‫� �َول�نَ��� و وَ َ � ن‬ ‫�ب� د � ي‬ ‫ج‬ ‫��ل�ا��ْق �����ب�ه �م ن � � � �� ������هن‬ ‫ي � روج رو يى َر ي َ‬

‫‪١36‬‬

‫‪20،33‬‬

~ 33 ~

My taste is a drink from a rock hole in the mountain,393 reserved for rugged hunters who know its hidden trail. Many moonless nights we braved the danger; as we looked over the beloved’s tribal pastures,394 I enjoyed her fruits, silky soft and uncooked, picking them under cover of pitch darkness. We spent the whole night weighed down with our woes, but awoke in the morning, our cares cast aside.395 If my sweet love gives me straight from her soul, then by God I vow to requite her from my soul of souls.

١37

137

33.20

‫~ ‪~ 34‬‬ ‫ا يَ ّ يَ �ْ يَ ّ َ ْ‬ ‫�َ ّ ي‬ ‫ك‬ ‫� �ل���بفرا ��‬ ‫�ي� ��بي�ل �بيلسن�يى ��بي�ل ر‬ ‫نٍ‬ ‫يْ � ا � ي‬ ‫� � ن‬ ‫ا � �ي�َبيّ َ‬ ‫�ن�ي�ل ا �ل��س�ا �لي��ه َ�ع�� ن� ا �ل���ل� ��‬ ‫و �ل‬ ‫َ‬ ‫ي نْ ي‬ ‫� ّ اه � ا �ا�مَ ْ��� نَ � � ا‬ ‫�‬ ‫س‬ ‫�د‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ب‬ ‫�‬ ‫ل‬ ‫�‬ ‫م� ن� �َ��������ا ��‬ ‫و‬ ‫ي‬ ‫ن ى‬ ‫ّ‬ ‫َ‬ ‫َ‬ ‫ّ‬ ‫َ‬ ‫ي‬ ‫ن ��‬ ‫��بي�لي�ي�ك �ي�ا �����ان �ل�يى ���ف ار َ���ل �ع ������ا ��‬ ‫� ا � �ن � ن َ ا �� َ ْ �َ ي‬ ‫ي� ن ��و ل�ه�ود َم� �ي�ل�ى ل�‬ ‫����د ر �ل ن�ّ��ا ��‬ ‫ٍ‬ ‫ن ي يْ‬ ‫�‬ ‫ّ‬ ‫�َ ّ ا �ي‬ ‫�‬ ‫ن‬ ‫�‬ ‫� �وَ�� ن� ا �ل�ا َ ن�‬ ‫���ا ��ا ��� �ي�ا �َ�ل��ي�ل ن��فر �‬ ‫ني‬ ‫ُ �َ‬ ‫َ‬ ‫َ‬ ‫�‬ ‫ْ‬ ‫ي َّ‬ ‫ي‬ ‫��ي� ا‬ ‫����ف�م ����ف�ّم نل‬ ‫�ولا �َ�ن��‬ ‫� نل‬ ‫� �ن�ا �ل�ر����ا ��‬ ‫ج‬ ‫�َ �ْ َ ّ ي‬ ‫َ�ْ َ �ْ ي‬ ‫� ا �لن‬ ‫ح��سف�م ���بي�ل�ه �� ن��د �يىٍ ي���م� ��ي� ��م��ب�ا ��‬ ‫و‬ ‫َ ّ ي � ا يْ َ َ ْ‬ ‫� ي ْ ي‬ ‫� �م او �� �ل� ا �بن�ي�ل �م ���سَي���يَ��ه َ��ه �َ�ب َ�د ر�ي�ا ��‬ ‫�َ �َ‬ ‫ْ ن ْ� ي‬ ‫�ولا �َم��س�ى � �� �ون�ب�ه �ي�ل�ى َرد �َب�ه ا ����فرا ��‬ ‫َ‬ ‫� � ا َ نّ � ا �يَ ْ �� ن� َ َ �ي � � � ي ا �ي‬ ‫وي� ��� م� ل�ط��يى د رك يل ن� م��سس� �‬

‫‪138‬‬

‫� � َ ا � �ن � َ � ا � ا ن‬ ‫ش�نَس�ه‬ ‫م د ���� ���‬ ‫ي� ���فرو‬ ‫��� �ي�ل� ي‬ ‫ن ٍ‬ ‫ع‬ ‫َ‬ ‫َ‬ ‫ي‬ ‫َ‬ ‫ن‬ ‫ّ‬ ‫ي‬ ‫ْ‬ ‫�س ا �ل���ا‬ ‫ش�نَس�ه‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫ده‬ ‫�‬ ‫�‬ ‫�د‬ ‫ع‬ ‫�‬ ‫��‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫َ‬ ‫و‬ ‫ن ٍ‬ ‫ي‬ ‫� و�‬ ‫نَ ّٰ‬ ‫��ل�ا ��َ�سي� ّ ��َ�ْ�ش�ن‬ ‫ع�نَس�ه‬ ‫�‬ ‫ه‬ ‫ا‬ ‫ه‬ ‫��‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫لل‬ ‫�‬ ‫�‬ ‫ي‬ ‫�‬ ‫ك ي ن يى َي� ي‬ ‫ي‬ ‫ا ن ا ن � نَ‬ ‫ّ َ‬ ‫�بنش�ْ� ا ي� �م ن‬ ‫ل‬ ‫كي�ل ن �ر��نَ��ه‬ ‫َ‬ ‫�ي� �� �ي�ل ا � ر � َ‬ ‫ي‬ ‫َ َّ‬ ‫َ‬ ‫َ �ْ‬ ‫�����د ن� �ن�نب�ا ن�‬ ‫�بي�ي�ل �ي�كش�ن��ا �نل��ي�� ن��ه‬ ‫ي� َ‬ ‫َ‬ ‫ٍ‬ ‫َ‬ ‫�ُ�� ن�س� � َ��ب ن��ا ه � ��ب�ا ه �َ�بف�ْمي� ن�ع �‬ ‫م�نس�ه‬ ‫���‬ ‫و‬ ‫ي‬ ‫ي و يى‬ ‫لٍ‬ ‫ْ‬ ‫ّ‬ ‫َ‬ ‫�‬ ‫��ب�ا ا �ْودَ �ن��ي��ا ��ل�ى ي��ي�لسن�ى ا �ل�ا َ��َ��عي�نَس�ه‬ ‫ي‬ ‫ي‬ ‫ع‬ ‫َ‬ ‫َ‬ ‫ن‬ ‫�‬ ‫���ا ن�‬ ‫� او�ا�م�و ي� ي���ْ� ن���ا ل��ى �م‬ ‫حي��فر ��عي�نس�ه‬ ‫ي‬ ‫َ‬ ‫�‬ ‫َ‬ ‫� �ْ���� ه �ن�م َ � ن ا�ا� ن � ْل��� ن‬ ‫ط��ب�ه � ��ل� ن‬ ‫ب��ه‬ ‫َي َن�� �‬ ‫���ي� �‬ ‫مور َ‬ ‫و‬ ‫َي‬ ‫ٰ‬ ‫�‬ ‫ن‬ ‫ا ّلله ��بي�ل� د �ي�ي�ك ا �رد ا �يل�ن� ي���َ�عي�نس�ه‬ ‫َ‬ ‫َ‬ ‫ى‬ ‫� ن � �ْ ن �� َْ‬ ‫َ‬ ‫ح�ن‬ ‫ا �نْ��� �‬ ‫ل��ط�ا �و�ل�� ي ن�‬ ‫�‬ ‫��فر �‬ ‫ع�نس�ه‬ ‫�‬ ‫�‬ ‫��‬ ‫َ‬ ‫ي‬ ‫َ �‬ ‫َ ٍ‬ ‫َع‬

‫‪١38‬‬

‫‪1،34‬‬

‫‪5،34‬‬

‫‪10،34‬‬

~ 34 ~

My heart strains like camels driven hard by rustlers

34.1

from the al-Daʿājīn tribe, who rode by night to steal them.396 It’s pulled like a rope tied to a camel drawing water, flogged on by a black slave with bulging muscles, Who cruelly chases her along the sloping path: he beats her to spite her, may God lay him low.397 Your fault: captivator of hearts, the bane of lovers; in beauty’s pageant, you outclass all contenders. Pert breasts protrude from the neckline,

34.5

like earless porcelain cups upside down on a tray. Between the eyebrows, her eyes flash like lightning that sets the world ablaze and releases torrential rain. If she smiles and winks by batting her eyelashes, she ravages my heart, sparing only a whit.398 Her nose is straight like a sparkling Indian sword; her eye sockets harbor Death itself. She advances with a proud elegant gait, gracious and supple, like a smooth banana stalk. When she ambles, her rotund butt stretches the robe, pushing up the cloth: God help her with that behind! Hey, don’t cut the lifespan of a lovesick heart; 399 rather, rekindle an intimacy that groans and yearns.400

١39

139

34.10

‫~ ‪~ 35‬‬ ‫ّ‬ ‫��ا �ع�� نس ا ��ي ��ا �� َ � �َ نَ�د ��َ�يْ�سن‬ ‫ي ي �يى �ل�ى ن ل� �‬ ‫هوى �� ن �يى‬ ‫ي‬ ‫َ نَ �ْ ي َ ن ا � َ َ ْ َ‬ ‫���بفَ ي�ْسن‬ ‫��ب�د �ل� �عي�ب�سيى �ن� �ل� �‬ ‫هو�ى �و�ع ر �يى‬ ‫َ‬ ‫�نَ�نلْ���س ��ل �ا �َهْ ��ا ي � �ا ���� �ا �َ �َع�يْ�سن‬ ‫�يى ��ب �وي � �ب ط و �يى‬ ‫َ�� نْ�َ�د �� �ل ����ا � �ي ا ��لَه � � �ا �َ�ب�شنَ�يْم ن‬ ‫ل ن � رو� � �وى ��ب‬ ‫�‬ ‫يى‬ ‫ح�يْ� ن‬ ‫ا �ْ�بف َ �م ن ا�ا��� ْ ن‬ ‫��� ا ��ل� �َ�بفَّ نَ�‬ ‫س‬ ‫�‬ ‫�‬ ‫ى‬ ‫ر‬ ‫يى‬ ‫رع � َ رَع‬ ‫يَ ْ � ي ْ � � َ ن ن َ َ‬ ‫ح�ْيم ن‬ ‫�‬ ‫�‬ ‫�‬ ‫�ل ��طَر�� �ن�بفَر�م��� ا ������ي� � او � � او ن يى‬ ‫َ َّ‬ ‫ي نْ ن �� � َ ْ َ‬ ‫��ي�لَ�م�يْ�سن‬ ‫�ب�ه ا ��ل� ك�‬ ‫��ش��� ل�ى ا �ل�هر ن�‬ ‫�‬ ‫�‬ ‫ى‬ ‫يى‬ ‫َ يى ي‬ ‫ا � ْ ي ا َ ْ َ ��نْ ن يَ نّ‬ ‫�ن� �لَ�‬ ‫��ب�د �� �م� ي����بش���ى �وَ��د �ن�ب�ه َ����سيى‬ ‫�َ‬ ‫� ا ن � �َ َ�ديْ� ن‬ ‫� ا َ ْ َي ا‬ ‫ل‬ ‫س‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫و‬ ‫ر‬ ‫����� �ور���ب� �ي�ل�ى ا ن�و‬ ‫يى‬ ‫�َ َ‬ ‫م������يْ� �ا �� �اْ � �� ن� �ا ���فَ ي�ْ ن‬ ‫�‬ ‫س‬ ‫�‬ ‫�‬ ‫ل‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫و‬ ‫ى‬ ‫ي‬ ‫ر‬ ‫ن‬ ‫يى‬ ‫� َ ٍم ي‬ ‫ا� َ‬ ‫َْ‬ ‫كيْم ن‬ ‫ن��م َ��س�هي َ�ع �َ��� �ي� � �و���ى �م� �‬ ‫�‬ ‫َ‬ ‫�‬ ‫يى‬ ‫ر ٍم ي‬ ‫ا ن ا َ َ ي نْ‬ ‫ن � ن ا‬ ‫��ب�د ا ن�َ�فرا ��� �ي ��و�م �م� �� كفر� �سيى‬ ‫َّ َ‬ ‫ا�ُ‬ ‫ا �ن�ّ �ه ��ا �� َ � �َ ������يْ�سن‬ ‫�‬ ‫ح‬ ‫م‬ ‫ل‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ى‬ ‫�‬ ‫ن‬ ‫و‬ ‫�‬ ‫ن و‬ ‫يى‬ ‫ا � وَ ن‬

‫‪140‬‬

‫يَ ْ� �ُ �ن � �َ ْ َ َّ �ي َ‬ ‫حن��ب�ا‬ ‫�‬ ‫�لن� ل��‬ ‫�سو� ا ��د ��بش�‬ ‫�ى � او � �‬ ‫ع �ر� �و ن �‬ ‫ي‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫َ‬ ‫ّ‬ ‫�َ ن� ي ن ي �ن‬ ‫ح ّ �ٍ‬ ‫��ن��ب�ا‬ ‫ى ��م‬ ‫�‬ ‫�ش‬ ‫ه ل‬ ‫�‬ ‫�‬ ‫ى‬ ‫�‬ ‫��� �� �و�ب�ٍ �ي َ ن ي‬ ‫�َ نْ َ َ ْ � � ْ‬ ‫��� ن‬ ‫��َد ْي� ��َ�د ن��ب�ا‬ ‫�بي�ل ي� ��ا ل‬ ‫�‬ ‫ي� ا �‬ ‫�‬ ‫�ب�ا �ل � او �‬ ‫ن‬ ‫نَ �‬ ‫ي�لنْ��ي���ا د ��ل� �يَ�م د ا ����َ����ب��ن� ��ْبف �َ��ن��ب�ا‬ ‫َ‬ ‫يى و‬ ‫ي ن َر �‬ ‫نَ‬ ‫ّ � نَ‬ ‫�‬ ‫��بش� �م ن �َ�ل�َ�ن��ب�ا‬ ‫�‬ ‫ا‬ ‫ف‬ ‫�‬ ‫ي‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ر‬ ‫ر‬ ‫ن‬ ‫ا �م ا ��� ير �ى َ ع � �‬ ‫َ‬ ‫�ي��ْ� �����ب ن ا �� َ ْ‬ ‫�ب�ه � �ي�ا ن‬ ‫�ب ن�د َ����بن��ب�ا‬ ‫�‬ ‫�‬ ‫و‬ ‫ن‬ ‫َ‬ ‫َ ي �سيى ل�هر‬ ‫�‬ ‫ْ‬ ‫نَ� �ن � ن �‬ ‫كل��مي��ه ��ب�ا � نَ ن��ب�ا‬ ‫�و م ا �‬ ‫ي‬ ‫�‬ ‫َ‬ ‫ل‬ ‫ر‬ ‫و‬ ‫َ‬ ‫َ‬ ‫َ �‬ ‫� ٍ‬ ‫� � �يى‬ ‫� َ ْ‬ ‫�ب�هي �م�ا د �نَبن��ب�ا‬ ‫ن�‬ ‫�ولا َح ن�َ�فر َ��ه ��بفر ن�َ ٍ َ �‬ ‫�َ َ َّ‬ ‫�َ‬ ‫يَ ْ ن‬ ‫ْ‬ ‫� �م ���ن��ب�ا‬ ‫�‬ ‫ل‬ ‫�‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫�� ن��ش���يى �����يل� َي ن�بشَ�ب�د ا �و‬ ‫�‬ ‫��ف نْ ي� ��بن��ب�ا‬ ‫����و ا ْر�َ�� ��ا �� نل�َشي� ي� �م�ا ن�‬ ‫َ‬ ‫ر‬ ‫نع ن‬ ‫�‬ ‫� ٍ‬ ‫َ‬ ‫َ‬ ‫�‬ ‫�ن‬ ‫���ا د �م ا�ا��فْ�مي�ل� ك �ُ�� ��بف � �نْ��ب�ا‬ ‫� او ل‬ ‫و ي و ر َيو �‬ ‫ّ‬ ‫� ا ��ل�ا �ن��ل�� �م�نش��ا �لا �م ن �َ��َ�د ن��ب�ا‬ ‫و‬ ‫و‬ ‫�‬ ‫�‬ ‫�‬ ‫َْ‬ ‫�ن� ي� � ْ�� �َ���طن��ب�ا‬ ‫���� ��ل�ا �ن�َب�ل�� ���ا �م�ا‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫َ‬ ‫و‬ ‫ن َو �‬

‫‪١40‬‬

‫‪1،35‬‬

‫‪5،35‬‬

‫‪10،35‬‬

~ 35 ~

Why, my eye, have you tortured me with love?

35.1

Now you weep hot tears that burn your cheeks. I upbraided my eye for its rapture, but it mutinied: it’s in thrall to a person’s seductions and torments.401 My soul follows its fancies, scorns obedience, leaving me gaunt, my frame emaciated. Gentle, she paved for me the road of passion: she runs in lockstep, a tamed filly at the rein. She speaks to me, as eager as a suckling mother

35.5

who picks up the baby to nurse it. Seeing me, she flutters her eyelashes, then chatters away, and peppers me with questions. She’s careful not to divulge what she’s been told, lest it be misunderstood. Truth isn’t her concern―I’m dazzled by her deceit― but when told a story, she doesn’t conceal it from me. I asked her about marriage; she played it cool, thinking that perhaps I’d change the subject. She spoke with candor when I confessed to her; even if I were married to four wives, I couldn’t do without her.402 For fifteen years I have been beholden to her: a servant slave who’s told what to do, what not.403 This is how I requited her for ill-treating me, though, truth is, I am not of her kin or league. She inflamed my passion, that’s the reason: if not, my darling, I wouldn’t live in your land.404

١4١

141

35.10

‫~ ‪~ 36‬‬ ‫ا �� نَ� ن ا ي � ا‬ ‫��ا ا ّٰلله ��ا‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫���ي��� � ا �ل�����فرا ر‬ ‫َم َ‬ ‫ي‬ ‫ي‬ ‫َ‬ ‫ّ‬ ‫�ي�لن�ي�ك � ْ‬ ‫� ن � ا ْ ا‬ ‫ح ن��ي�ل ا �ي�ل�يى �َم� ا ����ب� �م نَ� ��و����� ر‬ ‫ََ‬ ‫ي‬ ‫َ‬ ‫َ‬ ‫ن ْ ي ّ � َ‬ ‫�ب��ْ�� � � ْ ا‬ ‫��ي�� ر‬ ‫ش� ن� �ل�يى نَ� ن � َو‬ ‫�َ�بفر �ٍو َ���� ن‬ ‫ٍ‬ ‫َ ْ ن �ّ ا َ ْ � َ � ا نْ‬ ‫���ا‬ ‫ا‬ ‫ا‬ ‫�‬ ‫��ب� ا ��بفر�َ�ه ا �ل� �ي ��و�م �َيل����فر�ى �ن� �ل�د ك ر‬ ‫ّ‬ ‫�ا‬ ‫ا � نْ ي نْ � ا � َ ن‬ ‫��ب� َ��م��� �َم��ه ا �ل� ا ����را�ي�بفر � او �ل���بف ار ر‬ ‫َ‬ ‫� َ يْ �َ‬ ‫�ّ��ا � ��ي�ل �َ � ن ي ّ ا‬ ‫��سو�� ��ف�م� ر‬ ‫�ي�ل���ش���ي�ل ���ص ٍر و‬ ‫َ‬ ‫َ ّ‬ ‫نَ � � �‬ ‫�ّ ا‬ ‫ك�ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫� او �ل� ��بش� دَ�يك ن ي ن�‬ ‫� و��‬ ‫ر‬ ‫ع‬ ‫ٍج‬ ‫ن ّ‬ ‫ّ‬ ‫َ‬ ‫�‬ ‫ن‬ ‫�‬ ‫َ‬ ‫�‬ ‫ي‬ ‫ْ‬ ‫َ‬ ‫ي‬ ‫�بي� � ����ف �ل� � ����ف ه ا � �ل��د �ي� � ا‬ ‫�‬ ‫ل��ط� ر‬ ‫و‬ ‫و‬ ‫ى‬ ‫ر‬ ‫ر‬ ‫َ‬ ‫ي‬ ‫َ ل�يى َ‬ ‫نَ‬ ‫�بي�ّ �نم� ا د �ى ����ا َ د ���ه � ��م� ْ‬ ‫ل‬ ‫����د ا ر‬ ‫و‬ ‫ر‬ ‫� �ى و ي‬ ‫ٍ َ‬ ‫يا � ن ا ن َ ّ ا‬ ‫ي ْي ��‬ ‫�َ�ي�ل� ا �ل���َبفَر�ي����ه �� �ل �� ر ان�� ���ف�م� ر‬ ‫� َ نّ‬ ‫ا �‬ ‫ا�َيْن � � ا‬ ‫��ب� ا �ي�ل�يى �ي�ل�ى ا�م��� ا �ل���َ�ف�م� �ل�يى ن����ب�د ا ر‬ ‫ن يْ‬ ‫ن ��ا ن ا نْي‬ ‫ا ا‬ ‫ا � ك�� � �م� ا��َ�� ن� �ي� د ٍر َ�ع�� ن� �م� ��� ر‬ ‫ا يَ َ َّ َ‬ ‫ا �ن � َ‬ ‫� ّا‬ ‫���ن��ر ����ي�ر ���� ل�يى نَل‬ ‫ا �ن� ا �ل�‬ ‫���ن�� ر‬ ‫ي � َ ن ��َ�� ْ َ ي � ن �‬ ‫���ا‬ ‫ل‬ ‫�‬ ‫�َي�ل ��و�ل ���د �يى م����ه ا � نل�َبي���� � او ن ر‬ ‫ْ‬ ‫��نّ ا �� �ي َ � ا �� ا �ي‬ ‫��� �لن‬ ‫� ّ� ا‬ ‫�‬ ‫�‬ ‫ع‬ ‫�‬ ‫�‬ ‫ح���ط� ر‬ ‫�� َل��د �م ن� ل���ب� َ ن ٍ َ‬

‫‪142‬‬

‫َ ْ � ي �ُ‬ ‫�‬ ‫ن‬ ‫�ي�ا ����اَ�ل�م ��ب�ا �يل���طفَر�� ا�ا �‬ ‫موَد ����ا َ�‬ ‫ٍ‬ ‫َي�� ْ َ‬ ‫َ �ن‬ ‫ّ‬ ‫ي‬ ‫َ‬ ‫َ‬ ‫ا‬ ‫�‬ ‫�وم‬ ‫�‬ ‫ل‬ ‫�‬ ‫ا‬ ‫��ى �مود ه �‬ ‫ك�د ن�بفر �يى‬ ‫� َ‬ ‫��ب� َح ن ٍ‬ ‫يَ َ َّ‬ ‫ان‬ ‫�َ�بي� ّ � ا ن ا‬ ‫����ٍع ��ب� ا ����ب�د �ى َ��ك� �ل�يى‬ ‫ل�يى‬ ‫َ َّ ّٰ َ َّ‬ ‫ان‬ ‫عود ا لله ن�‬ ‫�عي�َيس�ه �ي ��و�م ن�‬ ‫لا � �‬ ‫��� �ل�يى‬

‫ن‬ ‫� � َّ ا �ي ف ا �ن ه �� نْ �� ي ن ي‬ ‫��ي�َ �ل� �م� ��فرا �ل�يى‬ ‫و ي‬ ‫���� �ر � َي�م�َ‬ ‫نْ ن َ ْ �‬ ‫� ْ ن‬ ‫�ولا �َ�ي�بش�َ�بفَر�� ر ����نَ��ه �م ن� ا�َا��ش�� �نر�ا َ�‬ ‫َ‬ ‫َ َّ‬ ‫ي ي �َّ ا � ن‬ ‫نْ َ‬ ‫� او ر �ر�ي ي� ا ���� ن���‬ ‫ع ��َ���ي�ر��ب�ه �َ�يل ن��� ل�يى‬ ‫ا �ن َ يْ َيْ َ‬ ‫ْ� ن‬ ‫ب��ه ����ش�بي�ل �ي�ل�بفر�َ�ب�ه �َ�م����فَ �رن�ا َ�‬ ‫��ب� ي‬ ‫ٍ‬ ‫ّٰ ا� ْ ي ن‬ ‫ا ن ْ َ� ي � �‬ ‫�و �‬ ‫���فر�ي�‬ ‫�ب�ا �ل�يى � او لله اَ�م���بَ������ا َ�‬ ‫�ْ‬ ‫�َ ْ ا ي� َ َّ �ي � ا � ن‬ ‫ن‬ ‫ل‬ ‫ل‬ ‫ح‬ ‫�‬ ‫�ي�َن��ي���سيى ا ���ظ��� ��فر� ل����� �يى‬ ‫�َ ن‬ ‫�َو� ��� ا�ن�ْ ي� ������ا �يل�ن� ��ا ر�ي�� ا �ل‬ ‫ح��س�ا َ�‬ ‫ي َي ن‬ ‫ي�‬ ‫ْ‬ ‫يَ‬ ‫ن‬ ‫ا ّٰ َ � �‬ ‫�ن� لله �وي���� ا �ي�ل�يى ���ي�لي��ه �ل����د ا �ل�يى‬ ‫َ‬ ‫يَ ْ َ َ‬ ‫نَ َ‬ ‫ان‬ ‫�ل��عي� ي� �بي�لسن�يى �ع ن� �ه� او ه �و�ع�‬ ‫���� �ل�يى‬ ‫َ �نَْ ��‬ ‫ْ‬ ‫ا �ن‬ ‫� ل‬ ‫حَ�يْ� ن �ي��ْ��ي ف ن‬ ‫�‬ ‫ط‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫ي ��و�م‬ ‫�سيى َ َ�َر � نَ���د َر ن��� �يى‬ ‫ْ‬ ‫يَ ْ نَ ْ‬ ‫� ن‬ ‫�َ��ش�ي�� ا �َ�لنن�ص‬ ‫�ب�اج� �و�ن�ي�ل �بفر��� ا � يل�َبف�م�ا َ�‬ ‫ن‬ ‫‪١42‬‬

‫‪1،36‬‬

‫‪5،36‬‬

‫‪10،36‬‬

‫‪15،36‬‬

~ 36 ~

You are privy, God, to the deepest secrets:

36.1

You are no stranger to people’s predicament.405 Loosen the rope that has fettered me for a year; efface my affection for a love that’s worn me out! A pretty little thing threw me into perplexity: her shackles forced me into confinement. I didn’t know her before, had only heard her name. I wish to God we had not met face to face: All I got from her was chastisement and bitter woe,

36.5

and yet her hook refused to leave my ring. She bewitches the mind, gambles with one’s eyes; her gabble means nothing to any Arab.406 Yet she’s cunning and adept at winning an argument: I can’t make head or tail of her baffling caprice. This girl pinned me down like a skin on a drum, and in mindless rapture drummed away. Her comings and goings to my heart’s well made me ill: to God I turn for help. I said, “Shariah!” and she, “Fire of Ibn ʿAmmār!” 407

36.10

She wants me to lick red-hot iron, sear my tongue.408 If the angel on my left shoulder does not forgive, what is your counsel, angel on my right? If you cannot excuse me after all that passed, then, good heaven, what would you advise? 409 I chose to suffer in silence but had no patience: telling the heart to calm down, I made it rebel.410 It said, “Among the fair she’s the tribe’s candle: she loomed before me with a swaying gait.” Her calves are plump like roulade served to guests, as yet untouched by hands, cooked to perfection

١43

143

36.15

‫~~ ‪~~ 36‬‬

‫َ نّ‬ ‫ي ا َ نّ ي �‬ ‫ا��ا‬ ‫��ب�ش�ب�ه ������ ٍد �‬ ‫�‬ ‫��ب�ش�ب�هٍ ��ه ن����� ك�� ر‬ ‫َ‬ ‫��َ� ْ�د ��ل � ������ي� ا ��ل�َ�� � دْ ن�ب�ه ا ��ل� ���ا‬ ‫ٍ َي ي ل و ن َر َ ى ر‬ ‫ان َ َ‬ ‫�� نّ ه �ع ن ا �� نا � ن‬ ‫�مْ ي ا‬ ‫��ب� ل��ى �‬ ‫ح ������ا َ����� � ر د َ‬ ‫ح��� ر‬ ‫ي‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫ْ‬ ‫ْ‬ ‫�‬ ‫ْ‬ ‫ي‬ ‫� ني ني ْ ّ ي‬ ‫اين ا‬ ‫� او ���َ�ب ��� �َ�ب ��� ا د �َمي��هٍ ��بفر�ع�ى ا �ل� ����ب� ر‬ ‫�َ‬ ‫� نَ‬ ‫�َ ا ْ � ا‬ ‫�ب ّ�د َي�بفْر �����ا ��� ا ��ن��‬ ‫� او ل‬ ‫�‬ ‫�بف�م �م� �ن�ه ا ��م���ط� ر‬ ‫� � ان‬ ‫��نّ�� ن ن� ي � ا ْ � ا‬ ‫��بي ��� ا �ل���م���ط� ر‬ ‫را ع�يى َ���ب� ٍ� َ� � � َ‬ ‫ن�َ ْ �َ � ه ��ي��ل َ ن ا ن ن ا ّ‬ ‫��ف��ر�ب�د ��ي�ب� َنح���ب�د �� �ٍبش� �‬ ‫���� ر‬ ‫ٍ‬ ‫ع‬ ‫� نَ ْ َ ّ‬ ‫َ‬ ‫ي‬ ‫ْ‬ ‫��ب نْ��� ��َ�م����ط�ا‬ ‫��‬ ‫ن‬ ‫� او ل‬ ‫ح���بف�م ��سي�ل�ه َ����د �يىٍ � ن ي ر‬ ‫ع‬ ‫� نْ �َم َّ ف �نَ �ي ا�ا�� َ‬ ‫ا‬ ‫� ْن‬ ‫ب�ي�� َ��سف�م نَ����َ��ك� ر‬ ‫َور ي�ب�ٍم �مو� ن‬ ‫� َ ن َ ن � يَ نَ َّ ن‬ ‫�ا‬ ‫� او ����ب��ي� ��ب��ي� ا �ي�ل�يى ���ظ����� �ولا ���ط� ر‬ ‫َ‬ ‫َ‬ ‫� ا �� ا �� ند ��بي� ا ��ي� � �َ��م�ْ� ����بش� ا ��ل� �ن�ب�ا‬ ‫و ر � ي ل ل�يى ي َ ى ر‬ ‫ع‬ ‫ا ن � � ن� � ن � ّ �ْ‬ ‫�‬ ‫��ا‬ ‫�‬ ‫ح��� � ا �ل��سي ��وج ا �ي�ل�يى �َم� ا �نَ��ر �َم��� � ر‬ ‫َْ‬ ‫ْ�‬ ‫ن � ا‬ ‫طن� نَ�‬ ‫َن��مي�ل�هي �و� ��ون��ه �َن نل �� �‬ ‫حي�نس�ه �م� ا ����� ر‬ ‫َ‬ ‫�‬ ‫ْ‬ ‫ن‬ ‫ن‬ ‫َن‬ ‫�ل � ا ا ا ن‬ ‫ن‬ ‫� ا‬ ‫���د �يى �و� ��و��ه � او � َ�د ر�و�يى ي� �ل�‬ ‫�ي�� ر‬ ‫َ‬

‫‪144‬‬

‫ا ن ي ن �ا �ن‬ ‫�يَ���ْ ه ي‬ ‫�‬ ‫ه‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ي‬ ‫�‬ ‫ي‬ ‫�‬ ‫ل�‬ ‫�‬ ‫�‬ ‫ش‬ ‫�‬ ‫ب‬ ‫ه‬ ‫م�‬ ‫�‬ ‫� �ن�� َ ي �ل و ب َ َ� �� ب �يى‬ ‫ن � �� ْ َ ا ا ا� � ا ن‬ ‫ا‬ ‫��ب� ���ى �َم� ا �ي�ل�يى َ��ن��فر��ب� �ن� �َ���� �ل�يى‬ ‫�نْ � �ْ ْ َ �نَّ ا ي ا ��ل ا ن‬ ‫هود َم�بي�ل ��كش�ي�ب� � َ�‬ ‫�َول� �‬ ‫���ي�� َ�‬ ‫ْ َ يْ َ‬ ‫ح ا �� َ نّ ي ه � ْ ن � ن‬ ‫ا �و�‬ ‫���ش��ل� َ�‬ ‫ح� ������ � �ورر�َ�ب� نَ ن‬ ‫ل�ن َ نَ� �‬ ‫ن ا �� � ه نَ ْ� ن�َ ن‬ ‫�يى �ي�ب�د‬ ‫ع��فرا َ�‬ ‫�ع� ن� � �و� �مَ�ب� ر‬ ‫ح �� ي‬ ‫ا يَ � ن‬ ‫��َ َ � ا � ن‬ ‫ل‬ ‫�‬ ‫ا‬ ‫�‬ ‫ف‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫� او ل�ى ��ق���ط� ل�ى ر ��ل�‬ ‫ر �يى‬ ‫ي َ نع َ ٍم‬ ‫ََ‬ ‫نَ نْ‬ ‫�َ ن نَ َّ‬ ‫ن‬ ‫ن���ن�عي� ي� � �لع�َ���ه ���ي� �‬ ‫��بفره ��َ���د ا �ل�يى‬ ‫ن‬ ‫� ْ ن �َ ْ َ‬ ‫�����هي ن�نْ نَ ي‬ ‫ا‬ ‫َي��َ�ش�ي�ب�ه �ن��‬ ‫َ‬ ‫�� َ����ه ��ب� �ي���د ا �ل�يى‬ ‫َ َ � � ن ْ� ن‬ ‫َ نّ‬ ‫����سيى �َم ن� �ورد ا �ل�َ�ف�م�ا � �ن��َ�ف�م�ا َ�‬ ‫ن اَ‬ ‫ّ‬ ‫ان‬ ‫�� َ ْ َ‬ ‫�‬ ‫كي�ل ن�‬ ‫��� �ل�يى‬ ‫ل�يى �م� ل�ٍر �ع���بفٍر ��بي�ل�ى َ‬ ‫يْ‬ ‫ن‬ ‫�ْ َي‬ ‫ا‬ ‫ا �����ش�ر�ي� يل�ب�ه ��فر�وج� ��ب� �ه�و ن� � او �ل�يى‬ ‫نْ ي‬ ‫�� � ا ا � َ ن ا ���� ن ن‬ ‫��ب�ا �َ�ي���شَ�يَ��بفر ��و�ل� �َر��س� �و �‬ ‫���ا َ�‬ ‫� �ْ ي �ن ْ � ه ا��م�� ْه�ن�ص ن‬ ‫���ا َ�‬ ‫�ولا َي����َ���يى َن���بفر�و ن�ب� َ َ‬ ‫َ نَ‬ ‫ن ي ْ �‬ ‫�نان‬ ‫ل‬ ‫�‬ ‫�‬ ‫ا‬ ‫ا‬ ‫�‬ ‫ا‬ ‫ف‬ ‫�د‬ ‫ح‬ ‫د‬ ‫د‬ ‫�‬ ‫�‬ ‫�‬ ‫�و�َم ن� لا ��ب رل � نَ ر ن ب َ�‬

‫‪١44‬‬

‫‪20،36‬‬

‫‪25،36‬‬

~ 36 ~

By a chef deploying his mastery, with almost no bones, unmarred by any blemish. When she gets up, ballooning buttocks stretch the skirt; her mass is not packed around a flabby middle: Her waist is slim as if she eats but little; her bust porcelain cups upside down on a tray; The neck of a gazelle that forages on a desert plain, she hears the faintest sound and starts in alarm; Her cheeks are made of unlined Persian paper,

36.20

saffron-sprinkled, in the hands of a preacher; Her teeth are white, like freshly fallen hail: I would exult at just a quarter of a word from her. Her chatter is wine for the body, healthily noxious: looking for its benefit, I was drowned by its harm. Her nose is like an Indian sword, well-crafted: its delicate skin chafes at the touch of a veil; Her nose ring is fastened to a golden chain: heavenly bliss to suck her spittle mouth on mouth! 411 Her eyes are those of a falcon raising itself with a start, in a high nest, inaccessible to any thief. Her mane waves like a charging steed’s tail, a fiery, gold-colored, five-year-old bay: A shaykh’s warhorse, a hand-fed ball of fire, bristling with energy and straining at bridle and rein. The quintessence of her nature is stainless honor; she wouldn’t deign to speak to a devious idler.412 Such are her traits, so you must pardon me, my good people: whoever does not, may he not taste the coolness of Paradise.

١45

145

36.25

‫~ ‪~ 37‬‬ ‫َ‬ ‫�َ�� ّ�د ��ْ ي� ��بفْ �ي��ا‬ ‫� �ن��فرا ���ب�ه رن��‬ ‫�و�َم‬ ‫ي‬ ‫ر‬ ‫َ‬ ‫نٍ‬ ‫ْ يَ ْ‬ ‫ْي‬ ‫�َ�بفر���ا ن� �م ن� �َ�ب��ي�ل�ى �نَ �ل��ي�لن��ه �� � �‬ ‫��سو�َم‬ ‫ي‬ ‫� � ا � َ � ا ْ يَ‬ ‫�‬ ‫�‬ ‫��� �ل� ا ل‬ ‫�‬ ‫ط �وي��ي�ل ا �رن��‬ ‫حي���ا �ل� ر ل��ى َ�� �‬ ‫�و�َم‬ ‫و‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫�‬ ‫َ‬ ‫ْ‬ ‫�‬ ‫��ل�َ ن� ي ن ن ن ي‬ ‫ح�ب�سيى ا � �ل��فر��ب�ه ��بفر�ي�ب�د ا ����بي�ل�و�َم‬ ‫ى‬ ‫� ه يَ �ْل َ ن � ا ن � ُ‬ ‫��بي يل�ب� ��يسن�يى �ن�ي�� ا �ل��‬ ‫����ل�ع �ي ��و�م�يى‬ ‫ي‬ ‫�َ�‬ ‫نَ � �‬ ‫ط�ور َ��‬ ‫ا �ل���ي��فر����ا � ��ي� ��ه ��� ي �‬ ‫�و�َم‬ ‫ٍ‬ ‫�‬ ‫َْ ْ َ ّ‬ ‫����ا �‬ ‫� او �‬ ‫�بسن�يى �ع�نب�ه ا ر�َم��س ن� ا ����بي�ل�و�َم‬ ‫َ ْ � ا يَ‬ ‫�ن‬ ‫ن‬ ‫���ا �ل� ���َب�ش��يش���ا ا ���� ي �‬ ‫��و�َم‬ ‫د ا ٍر �َ�سك �‬ ‫ْ‬ ‫�‬ ‫�يَ ن �‬ ‫�َ�بي�ل��ميى �نل�ه�م �ن�ا � �ل�بي� ��ط ��ا �م�ى ا �ل���َبف�م�و�َم‬ ‫� َ َيْ‬ ‫َ يْ‬ ‫ن �‬ ‫����ش� ��و�ى ا �ل�ى ن��‬ ‫�و �ي��� ن�َ�ش���و� ا �لر��س�و�َم‬ ‫َّ‬ ‫� ن �‬ ‫َّ ْ‬ ‫�م ن� ي���ي���ف�م د �ن� ي� ���ي يل�‬ ‫ب��ا ا �ل����ي�ل�و�َم‬ ‫ي‬ ‫�َ �ْ‬ ‫�َ �ْ‬ ‫�ب�د را �ع�يى َ ���‬ ‫�و�َم‬ ‫�ب�د �يى �ي� يل�ش�ه�م و ن‬ ‫ون‬ ‫يَ نَّ‬ ‫ّ ا � � َ َ ي ي نَ‬ ‫�‬ ‫�‬ ‫ا‬ ‫ل‬ ‫ا‬ ‫�‬ ‫ف‬ ‫��ف‬ ‫ه‬ ‫��‬ ‫���‬ ‫�‬ ‫ب‬ ‫�‬ ‫�‬ ‫ب�‬ ‫�‬ ‫�ش�� ن� � ��و�َم‬ ‫ر‬ ‫ر‬ ‫ََ‬ ‫يج‬ ‫�ْي ا �� �� �َ �نَ�يْ هي � � ي‬ ‫�و�ل‬ ‫ل‬ ‫ل‬ ‫�‬ ‫ي‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫��‬ ‫�‬ ‫ع���ا �ٍل ��فر�و�َم‬ ‫�‬ ‫ن و ي‬ ‫َ�‬ ‫ّ‬ ‫�‬ ‫� �ي�لي�ب�ا ���س� ا ��ا ��� �‬ ‫وَ َي و ن َ‬ ‫����َ�فر � او ��كي�ل د �وَ�م�يى‬

‫‪146‬‬

‫َ َ ّ‬ ‫َ� ّ‬ ‫�َ‬ ‫ْي‬ ‫هو�ى �ي ��و�م ��ب�د ا ه‬ ‫�َ�بفر�ب�ا ن� ����ل�� ن� ا �ل� �‬ ‫ْ‬ ‫َْ‬ ‫َ‬ ‫� ن‬ ‫�و��شي�نس�ه �ي�ل� ن���� ن��� ا �ل�ارا � �وي�بي�ل �َ��شن�� ار ه‬ ‫ى‬ ‫ّ َ ي ّ‬ ‫َ‬ ‫��و� ��‬ ‫���ل �م ن� �‬ ‫�و��ل�ى ا �ْو�‬ ‫�ب�ا ه‬ ‫� او َ�‬ ‫�‬ ‫�� ن� � � ٍ‬ ‫ي‬ ‫نَ‬ ‫ي �ْ ي آ ن ّ �ل َ ّ‬ ‫ح� ا �‬ ‫ح ن�مي� ن� �و�بفر�ي��ا ه‬ ‫�َبيل� ا ه د ا َ� ن‬ ‫ا َ ّ �َ�‬ ‫�‬ ‫���ي���ا ر �ل���ي��فره �و�ل�ا ن�‬ ‫���ا ه‬ ‫ا �و��ب� �يى �‬ ‫ٍ‬ ‫� ّ ي نَ َ ّ �لن نَ‬ ‫نَ ّ‬ ‫���ف�م ا �ر �ل�بش� �ي��ف�م ا �‬ ‫��ب�ي�را �و�‬ ‫���ل�� ه‬ ‫ح�‬ ‫َع‬ ‫َ‬ ‫ٰ‬ ‫ْ‬ ‫�� ّ �ي ا �‬ ‫�ا ْ‬ ‫ن‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫ه‬ ‫ع�ي� ن� �ر�ي�ا ه‬ ‫�‬ ‫�‬ ‫لل‬ ‫ل‬ ‫ى‬ ‫و‬ ‫ر‬ ‫�و�ل� ا د ي َ �‬ ‫ن ََ‬ ‫� �ليْ� � �مَ �ّ ا ��َم َ �َ ن يَ ْ‬ ‫�بنش���� ها‬ ‫�َق ��ط �‬ ‫��يل�ه �ن� �‬ ‫َي�‬ ‫��ي�ل ���ي� ن�‬ ‫ْ‬ ‫�َ‬ ‫�‬ ‫يَ ْ َ َ‬ ‫� او �لي ��و�م َ�ع ���س ن� ا ���َو���َبف�م � ����بن��� ر��ب�ا �ي�ا ه‬ ‫ع‬ ‫ي � ا �‬ ‫� ا �� � ه �َ�م ْ‬ ‫��بي�����ب� �و ن��فرا ه‬ ‫� �ول����� �َو��� او � او د ى ل� َي‬ ‫َ‬ ‫ْ َ يْ‬ ‫�و�م ن� ���ه �ع� يم�بي�ل ن�‬ ‫���ا ه‬ ‫�ب�ا ين� �سيى �م ن��ه ��بش�� ن�‬ ‫يٍْ َ‬ ‫يَ ْ َ‬ ‫�‬ ‫َ‬ ‫ي‬ ‫� ن����ا ر ا�ا �‬ ‫�ي �ولا �َ�ي���ل‬ ‫��ي��ل‬ ‫����ا ر ها‬ ‫� �‬ ‫��‬ ‫ي � َ � ن ْ َ � �َ نَيْ‬ ‫ا‬ ‫ا � ا �ل‬ ‫� � �ل�بنش��ب�ا ه‬ ‫�� ن�‬ ‫�ب� ��� او ��م��ط� �و� �َم���بش��ي�ل ��� ي‬ ‫ج‬ ‫َْ‬ ‫َْ‬ ‫ْ َ �لَ‬ ‫�و���س�ا �ن�م او َ���ر�ي��ه� � او د �ه�م ا ن�‬ ‫حي�� ���� ي� ���م���ا ه‬ ‫م‬ ‫��ٍّ يَ َ نّ‬ ‫�‬ ‫َ‬ ‫ي‬ ‫ْ‬ ‫ي‬ ‫ن‬ ‫�‬ ‫���� � �ي�ل����ل� ��� ها‬ ‫�و ���ل �‬ ‫�‬ ‫ا‬ ‫�‬ ‫��فر�م و َ ر ن‬ ‫‪١46‬‬

‫‪1،37‬‬

‫‪5،37‬‬

‫‪10،37‬‬

‫‪15،37‬‬

~ 37 ~

I climbed to the lookout, a peak marked by cairns―

37.1

a refuge for love’s devotee who mounts its slopes; 413 A lonely height for one whose heart was shattered, his gaze fixed on silhouettes fading in the distance. But for the shame, I would scale a precipitous high crag, to scream so loud it would raise alarm far and wide. If rescuers rushed up and asked me what was wrong, I’d say, “I am pining for a sweetheart who decamped.” On her account, my heart flutters in its cage,

37.5

like a falconer waving to his bird to return, in vain: It saw other falcons circling and flew to join them, then all soared up to the blue zenith, leaving him forlorn. Soulmate, signs of life from you were effaced. I am ignorant of the fate that God bestowed on her. May the clouds not release any rains on their camp― punish it with severe drought and force her out! The last time we met, scalding midsummer winds blew; now herds feed on pastures of early winter rains. What bliss when they return by roundabout tracks,

37.10

until they rejoin al-Hyiyshah’s dry watercourse! 414 Once encamped, the Bedouin hasten to the settlement, renew friendships with villagers, and go shopping. Ah, I suffer the woes of the owner of a fiery steed― a racer that can’t be outstripped in bitter fight.415 Woken up by shouts raising a robbery’s alarm, they asked for the chief ’s torch and rushed off in chase. The pursuing party, the finest pick of valiant youths, caught sight of their animals driven by a strong force. They took the others’ measure, looking to settle scores in blood,416 each girded with arms and munition, ready for battle.

١47

147

37.15

‫~~ ‪~~ 37‬‬

‫َ ن‬ ‫ي‬ ‫����طف ي�‬ ‫�ي���ف�م �م ن� ن��ي���ظ���ف�م ��ب�ا �َي�ل ��و�َم‬ ‫َ ر‬ ‫يّ ��َ يْ � � ن‬ ‫ا ن يْ نَ ا‬ ‫� �نو� ��� ����ب� �ي�بي�ل ك�ل ن�بش ن‬ ‫�َبفر�و�م�يى‬ ‫ع‬ ‫َ‬ ‫�ْ���َنصَّ ي ٍ ا �‬ ‫�ّو��ل ��بي� يل�ب�ه ن�‬ ‫�و�‬ ‫ح‬ ‫� �ن� �ل���ظ� �‬ ‫�‬ ‫هو�َم‬ ‫ٍ‬ ‫�‬ ‫ن‬ ‫ي َ َْ َ ي �ْ ن‬ ‫ي‬ ‫�َ�و�كفر��م��� ����بي ��و� را ���ى ا �ر��مو�َم‬ ‫�‬ ‫َ نّ‬ ‫�و ن� ا � �‬ ‫��‬ ‫هو�َم‬ ‫��ب� � �� او �يلي��ه �و��م��� ر�و��� ا �لن �‬

‫‪148‬‬

‫ن َ َّ ��‬ ‫� نُ‬ ‫ََ ّ‬ ‫ل�‬ ‫�‬ ‫�‬ ‫ص‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�� او ر�يى �ي��� ������ا ه‬ ‫ف‬ ‫ل‬ ‫�‬ ‫�‬ ‫��ي� �لوه َ � م � �‬ ‫َ‬ ‫ْ‬ ‫� ن َ نْ ا��منَ‬ ‫� �وي� ن����َّ��ي�ل� او َد ���ف�م ا � �ل��فر ن� �‬ ‫��نّ��ا ه‬ ‫ج‬ ‫� ا �َي � َ ّ‬ ‫ب��َ���طنْ��ب�ا �ي� �����ا �ي� ��ْ�� ن�� ها‬ ‫ل‬ ‫َي‬ ‫�و����� ن ��� � ن‬ ‫�‬ ‫�‬ ‫ى‬ ‫َ‬ ‫�� ن ّ َي ْ � � ُ‬ ‫�ك يَ�نْ�صن‬ ‫ن‬ ‫�‬ ‫�‬ ‫ع‬ ‫ا‬ ‫�‬ ‫ا‬ ‫���ا ه‬ ‫ل‬ ‫�‬ ‫�‬ ‫�ور‬ ‫�م� � رٍم ر �يى‬ ‫َ‬ ‫� ي‬ ‫ي� ا َ ن ا َ‬ ‫���ن�ْ�ره �و�نل‬ ‫�ّ��ه ��َي�ي��ا ����ا ه‬ ‫�وَ������ي�ل ��و �‬

‫‪١48‬‬

‫‪20،37‬‬

~ 37 ~

A fighter falls to the ground; he does not rise again: he is evening supper for sinister beasts of prey. Resolute and intrepid, they launched their attack, unsheathed dark barrels of rifles kept hidden. Fortune smiled on a marksman who took aim and shot, piercing the breast girth and into the right foreleg. The horse was sent crashing, for tattooed ladies’ sake, by a warrior cheered on by camel-mounted friends.417 They surrounded the fallen rider who bit his thumbs in surrender,418 then, for the orphans’ sake, thought better of killing him.

١49

149

37.20

‫~ ‪~ 38‬‬ ‫َ ْ‬ ‫���ن�س ّ �م ن �ي�ي�ل���ه د ���� ه �و�َ��فْ�م ن�� �‬ ‫يى �‬ ‫ن َ َ وٍ‬ ‫وج‬ ‫َ‬ ‫َ‬ ‫ُ‬ ‫ن � ا ن � �ّ � �‬ ‫� ْ‬ ‫م����طفر�و�‬ ‫���نّب�ه ا �ل�����د �و �‬ ‫�ن�ي�� ا �ل����َ�يل�ه َ�‬ ‫ج‬ ‫ْ‬ ‫� ��ل�ا ��َ��بش�َ�� �يَبي�ل��ه �يَ���ب�ا‬ ‫ح�� �و�ْ�بف نر�و�‬ ‫�‬ ‫ن‬ ‫و‬ ‫ن‬ ‫ين‬ ‫ن‬ ‫ج‬ ‫َ ْ‬ ‫ّ‬ ‫َ‬ ‫� او ��ل�ا �ن��ا �ن�ا ي��ي�لسن� �م ن ا ���� دّ �ن�م‬ ‫�ْ�فر�و�‬ ‫يى � َو‬ ‫ج‬ ‫َ ْ‬ ‫َ‬ ‫ي��ي�لسن� َل�‬ ‫����ب�ا � او د �م ن ا �نل‬ ‫�َب نْ��د ���فْ�� �و�‬ ‫�‬ ‫ٍ �‬ ‫يى‬ ‫رج‬ ‫�� �َ‬ ‫َ‬ ‫�‬ ‫نّ‬ ‫�َ�فر را ��� � �� �‬ ‫�� ن���نَ��َّ��ا ي� ا ن�ل�ص‬ ‫كي�‬ ‫ن‬ ‫َ‬ ‫ن ٍ وج‬ ‫َ‬ ‫� ي ن ا �ي ن ن � ن ا�‬ ‫م ن� �ن��نْق ���ط� �‬ ‫�����ش��ب� ��بف ا م ا�‬ ‫نََ ي � َري ر ٍ� � �وج َ وج‬ ‫��بي�ل ا ���� ند �ى ن���ْ�ب �� �ن�ب�ه ا ��ل�ن��ا �� ند ْر�ن�� �‬ ‫�ى ي َ ي وَ‬ ‫� َ وج‬ ‫ْ‬ ‫�‬ ‫ن ا ��َ � ي نَ � َ َ �ْ‬ ‫���بفر�و�‬ ‫���د ر �م‬ ‫� او �� ا ل�ى نَحي�س�ه ��ب�د ا ا ل�‬ ‫ج‬ ‫�� ا َ َ � ��ل � �ن‬ ‫���ّ �َ�بنْ� ن‬ ‫�� �‬ ‫�‬ ‫� � �‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫َ‬ ‫ل‬ ‫و��و م� �رنج �يى �ي َر ٍ‬ ‫وج‬ ‫َ‬ ‫� ا ّٰلله ��ا ن‬ ‫��بن�ش�م ���ط ��ل�ى �َم ن ا �� �و�‬ ‫�‬ ‫بي‬ ‫�‬ ‫�‬ ‫�‬ ‫َ‬ ‫َ‬ ‫ٍل‬ ‫و ي‬ ‫ي � رج‬ ‫َ‬ ‫�ن‬ ‫ْ�� ن‬ ‫�� �‬ ‫��ب�ا ا �ن�ا ا ���د � ��بف ل�� �ب��ي��ه �ي �‬ ‫�‬ ‫يى َي رَيى َر ي �ل�ى وج‬ ‫� ا ا َ � ْ يَ ّ‬ ‫���ل �َ�بفْ�م�د �و�‬ ‫�و�ل� �� ��ي� ا ل‬ ‫�َبفر�وه ا �بش� َ��‬ ‫�‬ ‫ي ل‬ ‫ج‬ ‫ع‬ ‫� ن ن �‬ ‫َ‬ ‫���ل ���ب�ا �م� �‬ ‫���ه َ��‬ ‫َم� �‬ ‫�ب�ا ���طفر �م�ا ��ب�ا ر نَ�‬ ‫وج‬ ‫ٍ‬ ‫َ َْ‬ ‫� ن�لْ�بسي ��بف ا � ي ن�‬ ‫��م� ا �����بف نْر� �و� ْ��بفر�و�‬ ‫َي �يى نَ ر يىٍ ع َ ن َ ج‬

‫‪150‬‬

‫� ا � ه ل��‬ ‫�ب�ا ��ل ا ��لَ�ن�َ�ي� �م ن �ن�ْب ن�د ا ��ب�ا‬ ‫���ب�ا‬ ‫�‬ ‫�ب� �� َ‬ ‫ن‬ ‫ل �‬ ‫�َ��فَّ�م�ه �ي��ا ده � ا �� ُ � ا ��� �ن�����ا ��ب�ا‬ ‫ر‬ ‫و رو نع َ‬ ‫َ‬ ‫�م ن ����ط�ا ��ل�َب�هي ن�ع�ٍّ ��بي� �م��ْ��ي�� ا ��ب�ا‬ ‫ل‬ ‫َ‬ ‫ى‬ ‫َو‬ ‫َ�‬ ‫ن ي �ى‬ ‫� َ�ع�بن�س �ي�بف ن ا ��ب�د دَ �ْ�بش�ع ��ا �م ن َ�ع�ن��ا ��ب�ا‬ ‫و ي يى َ ر ي‬ ‫� َ�‬ ‫يَ �ْ‬ ‫����ش�َ�ب�هي �م�ا َ ����ا ��ب�ا‬ ‫�َ�لي���ا ��ل �م�ا �ن�ب�ه �‬ ‫ٍ ر‬ ‫َ‬ ‫َ‬ ‫�يُ�� �م� ��ب�ه ا ��ا � ن�ع� ن� �ه� ا ��ب�ا‬ ‫ريج َر وج و‬ ‫و يى ن‬ ‫ٍ‬ ‫ٍ‬ ‫يا � �‬ ‫��ف ����ا ��ب�ا‬ ‫� ان ا‬ ‫� �و� ه ا ���َد � يل��ي�ل�ه � او �ل��� ن�َ ر َر‬ ‫�م�ا ���ْ��د �ى ا ����ن�ب�ا ��ب�ه �ي� �م ن �َ��ن���ا ��ب�ا‬ ‫ي ل�ى َ � ن‬ ‫َي ن ي‬ ‫َّ ه ل��‬ ‫�‬ ‫ْ‬ ‫�����ا ��ب�ا‬ ‫��َي ن���د �يى �ل�يى ا ��� ار ٍر �ي�ل�ى ا ��ب� َ‬ ‫ُ� ي � َ‬ ‫ه �ى � �ْم�َ�ب ن��ا ��ب�ا‬ ‫�ع�نب�د �يى �� �‬ ‫ط او ر�ي��� ا �ل� �و َو‬ ‫�اا ْن‬ ‫���� ���ط �����ا �م ن � � � �� � نا��ب�ا‬ ‫ن‬ ‫و‬ ‫ر‬ ‫و‬ ‫ر‬ ‫ى‬ ‫ي َر‬ ‫�ل� � َ‬ ‫� ج‬ ‫� �ْ ��‬ ‫�� ا � ا ��بَ�د ��ه ��َ�بش�ن� �َ�ب�ل�� ��ب�ا‬ ‫�‬ ‫ل‬ ‫ط‬ ‫ي‬ ‫�‬ ‫�‬ ‫َ��ش��يى ر ن ي ي ن َ يى‬ ‫ّٰ �َ ا َ‬ ‫��َّ�د �ى �َ ا ��ب�ا‬ ‫نا‬ ‫� او �� �نَ��فرا �يى ا لله �ل� � ي ور‬ ‫�َ‬ ‫�َ��نَ� ���ه �ن��َّ��هي � ا ن�لْيَ�� ا ��ب�ا‬ ‫�ل‬ ‫و‬ ‫َ‬ ‫ٍ‬ ‫�‬ ‫و‬ ‫َي‬ ‫ا �� ن ى‬ ‫ي‬ ‫ي�ْ‬ ‫حْ�يب ن�د �م ن �َ�ب�د ا ��ب�ا‬ ‫�‬ ‫�‬ ‫�م‬ ‫��‬ ‫�‬ ‫�‬ ‫س‬ ‫��‬ ‫��‬ ‫ن‬ ‫�‬ ‫�‬ ‫َ‬ ‫ر‬ ‫و‬ ‫يع َ َ َ �‬ ‫�َو يى‬ ‫‪١50‬‬

‫‪1،38‬‬

‫‪5،38‬‬

‫‪10،38‬‬

‫‪15،38‬‬

~ 38 ~

Blessed is the blasé heart―one that lacks for nothing,

38.1

like the mule when his nose bag’s on.419 He lazes in the shade, like wool laid out for spinning, with no ambition but to sleep. His mind’s a blank, no worries; His heart’s immune to stirrings of merriment and fun, not up to the challenge of her flirtatious game. My gashed heart shows love’s stigmata− sorrow’s tears stream from my eyes. My heart is a valley that’s crawling with locusts; 420

38.5

at night, they strip every shrub bare of its leaves. It’s as if I’m in a wooden ship tossed by a raging sea,421 swollen by the storm winds that drive the surging waves: When the gale-driven rollers launched their attack, the pilot got lost and dropped the anchor. All this for a girl who avoids people like a sting in the eye422 and who leaves admirers in the throes of despair. On my visits, she disclosed her feelings, telling me secrets she kept hidden from her mother. Without words, intuitively, I know what she means:

38.10

I boast a long history of treading passion’s roads! By God, she’s my soulmate! She’s opened her heart to me: in return I’ll open mine, my heart of hearts, to her. I’m not one to push a love so her back’s to the wall,423 or hold out cupped hands, begging her to fill them. Only men of accomplishment reach their aims; if God permits, I will surpass them at their game, Spurred on by an idea fit to clear any hurdle, if one is determined to act on his intentions: Formulate a view that rallies all and sundry,424 spend the night on guard against the enemy.

١5١

151

38.15

‫~~ ‪~~ 38‬‬

‫ْ‬ ‫� ْ َْ‬ ‫�َ�‬ ‫ْ‬ ‫ْ‬ ‫َ‬ ‫ح���ا ��ب�ا‬ ‫����و� �َ���نْ��� ����ص‬ ‫�ب�ا ي� �ي�لي��يبن���� �َم ن �‬ ‫�و ن�‬ ‫�َبف نراه �َ�ب نْ��د ا �ي ن���ب�ا ه �ن�ا �ر ن�‬ ‫�‬ ‫�‬ ‫�بي�ل �م‬ ‫ٍ َ ََ � �‬ ‫َ‬ ‫ج‬ ‫ع‬ ‫َ‬ ‫َْ َ � ْ‬ ‫ن‬ ‫���ّ ��َ�نْ� �� � ا � ��َ�� �َه� ��ب�ا �����فَّ�م ن ي��ن�ش���ا ��ب�ا‬ ‫�م�ا �ي���ي ن��ش� ا�َا�ب�شي��ن�ش�� �‬ ‫�ب�د ا َ��ل ي ن وج و ور وٍر‬ ‫ي �َ‬ ‫يى‬ ‫ع‬

‫‪152‬‬

‫‪١52‬‬

~ 38 ~

If she rebuffs me, she’ll get kicked for her pains, seven times, sparks flying from the hot pebbles. Only dogs grovel before displays of contempt; 425 only oxen graze on without a care.

١53

153

‫~ ‪~ 39‬‬ ‫� ا َنَ�ّ ي َ �نَّ هي �� � � ن � �‬ ‫ي� ا �ل ����َم���ط�ي�ره‬ ‫ي� �و �سى �و��� ��َطش���‬ ‫َ‬ ‫ي‬ ‫َ‬ ‫ن َّ نَ ا ��‬ ‫� ن َ ْ � ��‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫�‬ ‫��‬ ‫ا‬ ‫�����ب�ي ره‬ ‫�َبي�ل�يى �ل��� ر ا �و� و م�ط َ‬ ‫ّ َ‬ ‫�َ�ْ �ن � � �‬ ‫ل��ط�ا ��� �َم ن� ا �ي�ا �ع ����َ��ي�ره‬ ‫�ولا ي��ر� ا � �‬ ‫َ‬ ‫ع‬ ‫َ‬ ‫�‬ ‫�‬ ‫ي‬ ‫ن‬ ‫ن‬ ‫�‬ ‫�َ�بي�ل َ�ع����� ��ب�ا َ� �ل�� ن‬ ‫���ا �َل���ط�ي�ره‬ ‫ي‬ ‫ي ٍر‬ ‫�ى‬ ‫ٍّ‬ ‫َ‬ ‫َ‬ ‫�‬ ‫�ب�ا ��ل�ى ��س� او هي ا َ�لنن�ص‬ ‫ن�‬ ‫�َبي�ل �ن�بفر�ى �‬ ‫���ي�ره‬ ‫ي‬ ‫َ‬ ‫�َ َ َ‬ ‫َ‬ ‫�‬ ‫ْ‬ ‫ا �ل�ى ن���ن�شي� ي� ا�ن�ب�د �يى �ي� يل�ب�ه ا �لَ��� �ر��فَره‬ ‫ي‬ ‫َ َ ْ‬ ‫َ ن‬ ‫��ب�ا �ن�ي� ن� �ي��ف �ر�ي��ش�َ�ب�ه �و��ب�ا �ن�ي� ن� َد �ي��فره‬ ‫َي‬ ‫ّ‬ ‫َ‬ ‫�ي ن � ا �‬ ‫يَ�ْ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ح َ��س ن� َ َ��ي ي�ش��� رو �يى نَ��فر��فَره‬ ‫ي‬ ‫ّ �‬ ‫َ�ي��نَ��ي�ل� ا ���ن���ا ��ل�ى ���ل�� �ي��د ا �م �‬ ‫�َ��ي�ره‬ ‫ي‬ ‫َ‬ ‫يى‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫ن َ‬ ‫ا �� نل�بي�ن�� ��لي��ي�ل � ن �‬ ‫ور�ي�نظ���ا ر��ي�ه �ر��فره‬ ‫َ �‬ ‫ي‬ ‫ْ‬ ‫َ‬ ‫ْ‬ ‫ْ‬ ‫َ‬ ‫�ي��ي�ب�ا د �يى ن�‬ ‫�َ�ب ن�د را �نَ �لي�بي�لسن�ى � او َ�‬ ‫ح ����ب�ي�ره‬ ‫َ‬ ‫ي‬ ‫َ‬ ‫ْ‬ ‫ن نَ ن ا � ن � ن� ي ْ‬ ‫��بشن���ي�ره‬ ‫�َبي�ل�� ي� َ�‬ ‫د ا ري����ب� م� ي ��و�م‬ ‫ّ ْ َ �َّ �ن َ‬ ‫ن‬ ‫�‬ ‫�‬ ‫�‬ ‫كي�ل � �مو��� ل�يى ع���ب�ي ره‬ ‫�ع�ب�د �يى �و‬ ‫َ‬ ‫ع‬ ‫َ ٍ‬ ‫َ‬ ‫�ْ‬ ‫�ي�ي�ل ّ‬ ‫�‬ ‫ن‬ ‫�‬ ‫ََ�‬ ‫�َ� نس�ى �ل‬ ‫�‬ ‫�‬ ‫�ّ��هي ن�‬ ‫�‬ ‫�‬ ‫ل�َط�ي ره‬ ‫��ي�ل�ون �‬ ‫ي‬ ‫ج‬ ‫ٍ‬ ‫ن �َ ْ‬ ‫�‬ ‫ْ َ � َ ��‬ ‫�‬ ‫�‬ ‫ا �ي�ل� �ي���ب�ا �� ا �لن��ن���� َ��د �وى و��ط�ي ره‬ ‫يى‬

‫‪154‬‬

‫�ن ا ي ُ ن َ ن � َ ْ‬ ‫ل�ى ��س� ��ب�هٍ �ي ��و�‬ ‫�ب�د َ���ف�م�����ا �ع ����ب�ا �وه‬ ‫ي‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ّ‬ ‫� �‬ ‫� َ‬ ‫��ب�ا َ��ه �َو���د ���ف�ٍم �ولا ��ه د �ن�ا �وه‬ ‫َ‬ ‫ّ َ ْ َّ ُ‬ ‫�َ‬ ‫ن‬ ‫كي�ل �ن�ب�د �و �ن��و��بف�م �ن�ا ����بي��ا �وه‬ ‫�َم� َ‬ ‫َ‬ ‫ٍ‬ ‫�َ نَ‬ ‫� �م�ْ ي ن ن �‬ ‫��ا �ل‬ ‫��بفر � او �ي�ل� َ ��َ����‬ ‫ح‬ ‫ي� ا � نل�َ��د ا �وه‬ ‫�‬ ‫ن‬ ‫َ‬ ‫يى‬ ‫�‬ ‫�� نْ��د ا ��ل ي‬ ‫��سس�ا د �و���ا َ�‬ ‫�َن��ه �ي�ا �ل ���ب�ا �وه‬ ‫َ‬ ‫َ‬ ‫َ َّ ْ �َ َّ ْ ن َ � ْ �َ‬ ‫��ب�د ي� �و���د ي� ل��يى �َن نل���طفر���ا �ل����ا �وه‬ ‫�‬ ‫َ‬ ‫َ َّ َ‬ ‫�ولا �َم ن� �َم�ي�ب�ا د �ولا ��ي ن���ي� ن� ��ب�د ا �وه‬ ‫َ‬ ‫ََ ّ ْ َ ْ �‬ ‫�ه�و �م�ا د ر�ى ا �ن�ه �َم��ي�ل �ن����� ا �ل�ا �ن�ب�ا �وه‬ ‫َ‬ ‫َي َّ ي َّ‬ ‫ا� َ‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫����ف�م َ���نَ�بي�لي�ظ��� َن ���� ل و�ب�ل وه‬ ‫�َ‬ ‫ْ‬ ‫َي َّ ْ �‬ ‫ا �ل�ى ا ��ْ��َي���ر ي� �ن�ا �ل���َبف�م�ا �َ�بش�ي� ن� �ن�ا �وه‬ ‫َ‬ ‫� نْ � �نَ ه نَ � ا َ ْ ن‬ ‫��ر�� ��ب�ا �وه‬ ‫َ���د يى نح�يس� �و��ي ر��� �‬ ‫َ‬ ‫َ‬ ‫�م�ا ��� �م ن ا ��ي�ل ن �لن‬ ‫�� ن‬ ‫��ْ�ن� ن�‬ ‫�ب�ا �وه‬ ‫�‬ ‫ر‬ ‫�‬ ‫َ‬ ‫يى � �يى ي � َ نع‬ ‫ي ي‬ ‫� َ�‬ ‫�ورا �ع�ى ا ���و ��� ن� َ�� نْ��د �يى ����را��ه �نَ�ل�ب�ا �وه‬ ‫َ‬ ‫َ‬ ‫ي‬ ‫َْ َ‬ ‫ي َ �‬ ‫�ي�ن��ي���ه ��ي�ي�ن��� �����ا َ��ي��ه �ن�ا �ل�ي��ل�� �وه‬ ‫َ‬ ‫َ‬ ‫َ ع‬ ‫َ‬ ‫َ‬ ‫�‬ ‫�‬ ‫ْ� � َ‬ ‫�ولا �ي�بفر��� ن� ا �ل��سيسي�ل ا ���َو�عر � او �ل�نَبن��ا �وه‬ ‫َ‬ ‫‪١54‬‬

‫‪1،39‬‬

‫‪5،39‬‬

‫‪10،39‬‬

‫‪15،39‬‬

~ 39 ~

I groan like a warrior felled by a blade―426

39.1

prostrate while plunderers prowl, Abandoned on a battlefield littered with corpses, with no kin or relatives in sight, no help; Without an inkling about that figure in the distance, from the throngs of lawless Bedouin.427 This is how I feel about a love without peer, either among settled folk or a nomadic crowd; A lady who pared down my body like a piece of wood,

39.5

as does a carpenter who is told “Shave it!” 428 When I am about to reveal to her my secret, she bucks and bolts, gazes at me with a reckless glint; In coquettish pause, or because thrown into a fright, she’s not amenable to reason, though not unfriendly. Haughty, the dame thinks her flirting is alms for me; doesn’t she know it’s like suffering in a Turkish dungeon? Her arrogance throws me into confusion: 429 it’s conceit married to charm and loveliness. The creamy girls are night; their beauty is the sun

39.10

when its blinding light breaks through a deck of clouds. With all my heart, and firm conviction, I declare: she is a gold pound―others are mere pennies― Born as the natural beauty she is now, unlike those who use makeup from Java.430 Like any lover who is in thrall to his amour, I’d part with my wealth for my princess’s sake. She nudges me, as a camel that has lost her young431 presses another calf to closely toe her steps. A soul’s disgust is like consumption and paralysis: insurmountable, like stony heights in a torrent’s path.432

١55

155

39.15

‫~~ ‪~~ 39‬‬

‫� ن � َ نّ‬ ‫ا ����ب�ا ر�� ا ����ب�د ا ر ��ب�ا �َ�بنْ��ه �نَ���ي�ره‬ ‫َ َّ‬ ‫�ب�ه َ��‬ ‫���فّ�م�ا نر �ا����ا نر ���فر�و ن�‬ ‫������ي�ره‬ ‫ٍ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫�‬ ‫ا �ع� ا ���نم�بف�م�ه ��ل�ا ���بش�� ي� ��ه �ن‬ ‫�َ��ي�ره‬ ‫َ ن‬ ‫ر ى َي‬ ‫َ‬ ‫ن � ا �� � ن �‬ ‫�� �ر�بفره‬ ‫��س او �ع�يى ا �لَن�‬ ‫�ع���سى �ع����� �م�ه �يل �‬ ‫ي‬

‫‪156‬‬

‫�َ‬ ‫ن ا �ن ن نَ� ْ � � َ ن‬ ‫طوا ���ب�د �ور ا �ي�ل��ب�ا �وه‬ ‫ا �� � �َم� ح �� �‬ ‫َ‬ ‫ّ‬ ‫ي نَ‬ ‫�‬ ‫�َ�بنْ��د ا ���َ�َرن� َ�‬ ‫��ن��ه‬ ‫���فرا �وه‬ ‫�‬ ‫��بي�ل�ول��يى �‬ ‫َ‬ ‫�َ �ْي �َ َ �َّ ��ي�ل����صَ‬ ‫��‬ ‫�بي �لَ���ه �����يل�ه َ ن�‬ ‫��فر � او ��د را �وه‬ ‫َ‬ ‫�َ نَ‬ ‫ن‬ ‫ي‬ ‫� او �ي�‬ ‫���فر �يُ��ودَ �‬ ‫�� �ون�ب�ه �بفرا �وه‬ ‫�‬ ‫�‬ ‫�‬ ‫ي‬ ‫َ‬ ‫ٍ ع‬

‫‪١56‬‬

~ 39 ~

One needs friends who understand and forgive; one must be on guard against idle prattlers Who whisper and wink and waffle: everywhere on people’s heels like a hunter’s salukis. Let these muckrakers come to a nasty end, I pray: may their throats be eaten by syphilis and scrofula; Let them be racked by severe pain in the bones, or an eye disease that leaves the sockets empty.433

١57

157

‫~ ‪~ 40‬‬ ‫ن َ��ْ ي َ ْ‬ ‫َ‬ ‫�َ‬ ‫له� �ن� ا �ل‬ ‫ح ����ب�ا �م ن� ��� ن��ا �يَ�ب�ه‬ ‫�‬ ‫َد ��ر� ��بي� و‬ ‫�ّ‬ ‫ْ‬ ‫ا �ّ�ب�ا �َ��ش��� � او �ل�ا رد �يل�ن� ن�‬ ‫�َ �و�ا �يَ�ب�ه‬ ‫�‬ ‫َ‬ ‫يى‬ ‫ي‬ ‫َ‬ ‫�‬ ‫ْ‬ ‫�ي ��و�م ا �ل َ��م�َ�ب�د �يب�ا �ي�بف�م � او �ن�ا ا ��ي ن�َبش� �ه� او �يَ�ب�ه‬ ‫ع‬ ‫ْ‬ ‫َ ن‬ ‫�‬ ‫َ‬ ‫ا �ن�ي��ش� � او �����فر�يى �ن�ي����َ� ن �ن�ا �ل َ��م����ا �ي�ب�ه‬ ‫�‬ ‫َ ع‬ ‫َ‬ ‫َ‬ ‫�‬ ‫� � ا ن� � � ّ‬ ‫�� او �يَ�ب�ه‬ ‫و�ل�‬ ‫�ب�ا ���ر ا ���َو��ب�ا د را �ع�ى ا �لن� �‬ ‫ّ �َ‬ ‫�َ ي ن‬ ‫م او رد ر����ب�ا �يَ�ب�ه‬ ‫كي�ل ا�ا �‬ ‫�و ��ط� �و�ي� �ع� َ‬ ‫َ َ‬ ‫ا ��ي�ل ��بش�ي�ب�ا دي��َ�ب�ه �يَ���� ّ�د �ى ا �ل‬ ‫�‬ ‫���ا �يَ�ب�ه‬ ‫�م ن�‬ ‫�يى َ‬ ‫ّ‬ ‫َ‬ ‫�‬ ‫�و�ل�ا ��ي ن���يَ� ن� َ���ه ���َ�ف �ر��فره �و�ن���ا �يَ�ب�ه‬ ‫ي‬ ‫ْ َ‬ ‫�ي ْ � نَ‬ ‫�‬ ‫�‬ ‫�د �َم��ي�ل ����بفْ�م�� ا�َا�بفرا �ي�ب�ه‬ ‫�‬ ‫ب‬ ‫�َو���م�� ي‬ ‫���ه ٍ‬ ‫�‬ ‫آ‬ ‫ن ا نَ‬ ‫َ‬ ‫ح��فر ��ب�ا ن �‬ ‫�‬ ‫ع�نس���ا �َم ن� ا �يَ�ب�ه‬ ‫ل‬ ‫� ا� ا‬ ‫�‬ ‫��‬ ‫�‬ ‫ى‬ ‫ي َ ن‬ ‫و � نَ‬ ‫نا �‬ ‫�� � ا � ن‬ ‫ع او �يَ�ب�ه‬ ‫�� � �‬ ‫ع� ن� ا ر�وج ��ب� ن ي‬ ‫ا �� َ ��� ن� ي‬ ‫ّ‬ ‫َ َ ن �� ا ا� ْ َ‬ ‫كي�ل را �يَ�ب�ه‬ ‫ي‬ ‫�‬ ‫�‬ ‫ل‬ ‫�و��بفر��� ل�يى �َمن�َ���د �ى َ‬ ‫َ‬ ‫ْ‬ ‫�ن�ا ��� �ن���د � او �َي��د �م�ى � �ون�ا ��� �َورا �يَ�ب�ه‬ ‫ي‬ ‫ٍ‬ ‫ٍ‬ ‫ْ‬ ‫ْ‬ ‫َ‬ ‫َ‬ ‫�‬ ‫َ‬ ‫ن‬ ‫ن‬ ‫�‬ ‫�‬ ‫�ب�ا �ل�ى �َم ن� ��ل� �يى ن�‬ ‫�ب�ل� �ي�ب�ه‬ ‫��بفر ن�‬ ‫ل‬ ‫�‬ ‫� او �ن َ‬ ‫ي‬

‫َ يَّ َ ن نَ� ْ‬ ‫َ ���ا‬ ‫ح �����ف�م ا �ن�ا �ن�ا ي�‬ ‫�ي ��و�م ا �َرك�� ��ي ن� ���ش��ن���‬ ‫َ‬ ‫�‬ ‫َ‬ ‫��ل� ي‬ ‫���ه رد �يل�ن� ��ل�ى َ�ي�ل ا �ل� نه‬ ‫�‬ ‫ح ن� ��ي�ي���ا ي�‬ ‫ي‬ ‫َ َ ٍ ي �ى َ َ‬ ‫َ‬ ‫ا ن�َ نْ ي ��ل � � �� �ي ا ���نَ ّ ����ص ّ‬ ‫���ا ي�‬ ‫�ب�د � �يى م �ط�وَر� ���يى ن‬ ‫ع‬ ‫� � ا ن ��ل �َم� �ي�ي�ْ� ا � ا ْ � اي‬ ‫��ْ �نب�ا �ي‬ ‫ي��و � �يى َ ل‬ ‫ع �ل�ر � ن� َ� ر‬ ‫م َ ع‬ ‫ْ‬ ‫�‬ ‫ن� ْ َ � ه �َ‬ ‫�‬ ‫ا‬ ‫م‬ ‫�� او ي�‬ ‫�ب��د �و ن� �‬ ‫�‬ ‫ا �ي� يل�بي�ل ن�ب�دع نَ�ب� و ي‬ ‫�َ‬ ‫ْ‬ ‫ْ‬ ‫�ّ ن‬ ‫� او �لي ��و�م �َ��سن�� ي� � �ويَ�ن�� ي� �ع ن� َ����ل �م�ا �ب�ا ي�‬ ‫�ّ ن َ نْ‬ ‫ا‬ ‫�� ن� ���� �ا ي ا � ن‬ ‫� �ن�ْب�د ا �ي‬ ‫ل‬ ‫�‬ ‫�‬ ‫ا �ل� �بي ��و�م ا د َلر ح� � �َو‬ ‫ي‬ ‫ْ‬ ‫�‬ ‫�ب�ا ن � ا ��ل َ�بفَّا � ��ن�ْ� ن‬ ‫�‬ ‫��ب�ا �يى �و��� �‬ ‫��ا ي�‬ ‫�‬ ‫ى‬ ‫ن‬ ‫ر‬ ‫ن‬ ‫ر‬ ‫ي � ج نَ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫�يل ّ�د �َ�بفّ ا �ي ا �� �م ن �ن � ��م ْ ن‬ ‫�بش��ب�ا ي�‬ ‫َ َ�‬ ‫��ب �م� ب� ل َ � �ب�ي ر ن‬ ‫َ ْ‬ ‫آ‬ ‫�بف � � ن�َ ن‬ ‫�َم ن� ا ن� ل��نى ي��ي�لسن�ى ن�‬ ‫�بَش��ي�ب�ا ي�‬ ‫و‬ ‫ر‬ ‫ي‬ ‫ي‬ ‫ج‬ ‫ٍ‬ ‫آَ ي َ‬ ‫� ّ �‬ ‫ا �ي�ب�ه �ه�و�ى ��ب�ا ���يى �نَلَ ��� ن� ا�ا�ب�د ا � او ي�‬ ‫َْ � � �‬ ‫� ان‬ ‫�و��� ا �ل� ��ا ي�‬ ‫�و��� ���ا ن��‬ ‫�يل ��طر�يى �ل�يى ا �ل���ا ن��‬ ‫ْ َ يَ ْ َ‬ ‫�ي ا ��لنَ��نْ��� �َ��� ْ��ب�ا �ي‬ ‫ا‬ ‫��ي�ل‬ ‫��ب� �ي�� ن� �نَ��د ��ب�ه ��� � ر‬ ‫ا � ي نَ ّ‬ ‫�� � ا � َ َّ ن� �‬ ‫��و�ل� يى ا �و���بش�‬ ‫���ا ���َ�فر�يى �ن� � َل�‬ ‫�����ا ي�‬ ‫ع‬ ‫� نْ‬ ‫� ا نْ‬ ‫ا �ي ا �‬ ‫َ �َّم ا � ا ْ ي ن� ْ‬ ‫�‬ ‫�‬ ‫ع‬ ‫ا‬ ‫ا‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�كي� ا�اَم�د َ�� ن� و ر�يى ن� �ل��‬ ‫���و �‬ ‫�ل�� َ�د �يى َ ع�‬ ‫َ�ن�ي�ٍل ��بي�ل�ى ��ب� ب� ل ر �ى‬

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‫�‬ ‫ا �ر� او �يَ�ب�ه‬

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~ 40 ~

As the camel train disappeared over the spur of Abānāt,434

40.1

I recalled and pined for my days with the wasp-waisted. In my dreams, she rides with me on speedy mounts, clasping my middle, or seated behind my companion.435 Traveling love’s road became second nature; Fortune’s star rose and guided my steps. Those days, I did brisk business with the slender-necked: buying and selling, I used to hurry from one to the other.436 At night, we’d rendezvous and take walks in the dark,

40.5

alone, unobserved, away from the beaten track.437 Now I’ve gone gray and foresworn my old ways, drawn up my frayed ropes from all watering holes― Except when haunted by memories of a buxom beauty whose tresses tumble down to her lap. She meets a gossip with averted eyes and stony silence; she will not betray her secrets and designs. Not rude, she keeps his advances at arm’s length and turns a cheek like a shining mirror to him. In my heart, my long-festering wounds lay hidden;

40.10

no one but me knows how they were inflicted. Passion’s symptoms can’t be treated with medicine; 438 I am loath to go and ask for a doctor’s prescription. Haunted by baleful thoughts, plagued by obsessions: the target of the devil’s whisperings at every turn. That a soul is visited by desire is no novelty: others were swept off their feet−I won’t be the last.439 But for relief brought by sighing and sobbing,440 and times spent alone pondering deeply on my fate, I’d go mad and start rambling in delirium; a brainless dolt, as in all the old stories.441

١59

159

40.15

‫~~ ‪~~ 40‬‬

‫� نَل ْ‬ ‫ا ْ �َ‬ ‫هو�ى �َم ن� ���س�ا ر ن� ا‬ ‫���ر���س�ا را ي�‬ ‫�‬ ‫�ن� ��ي�ل ا �ل�‬ ‫َ‬ ‫� نلَ ْ ن َي َ ْ‬ ‫�‬ ‫����ب�ا را ي� را �ع�ى ا‬ ‫���ر �ب�ا ��ه �و��� �‬ ‫�� ار ي�‬ ‫َ‬ ‫� �� �� ا ي�� َ�� نسَّ ��ل� �م ن ا�ا����ا �� �ن�َ�� ّل�� �ي‬ ‫ل‬ ‫وو‬ ‫�ى يى َ �‬ ‫ن نَ‬ ‫�َ�ب ا�ا�م�يبيّ ن� ن‬ ‫����ي ��� �م�ا �ي��ه � ��و��ب�ا ي�‬ ‫ي�ر َ� �ل َ‬

‫‪160‬‬

‫� َْ � � َ‬ ‫ُْ‬ ‫��بي��د ����ب�ا �يَ�ب�ه‬ ‫�َو�نل�ه�م �َم ن� ا �ي�ل�ى �يل ��طرد ا �ل�‬ ‫َ‬ ‫ي‬ ‫�ْ‬ ‫ٰ‬ ‫�‬ ‫ا �� َ‬ ‫�‬ ‫ّ‬ ‫َ‬ ‫ا‬ ‫ا‬ ‫�‬ ‫��بي��د �و���َ�ب�ه ��ب� �ي�ل� ا لله ل���� �ي�ب�ه‬ ‫�و ل‬ ‫�‬ ‫َ‬ ‫ى‬ ‫َ َّ‬ ‫�َ ّ‬ ‫�َقَّ��ي� � ن‬ ‫� او �ن �لن���د ا ���ن��ي�ل�ه � او �‬ ‫����ا �يَ�ب�ه‬ ‫ل‬ ‫� َّ ْ َ‬ ‫�ورا �ع�ى ا �ل�يَ�فَ�� ن�سى �َم��بي�ل نر ّرا ����ط�ا �يَ�ب�ه‬ ‫ي‬ ‫ع‬

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~ 40 ~

Passion’s devotees share traits with wine bibbers, resemble hunters in their dogged pursuit of game: Wine drinkers get drunk and then they get sober; as for the hunters―well, God only knows! If I had my wish, I would ask for a fortune and pay any price just to fulfill my desire. But every poor soul must adjust his ambitions; 442 mere wishful thinking is like sowing seeds on a bare rooftop.443

١6١

161

‫~ ‪~ 4١‬‬ ‫� نْ‬ ‫��‬ ‫َ ّ ْ‬ ‫�‬ ‫��‬ ‫�ي�ا �� نّ� َ��مم�ا َي�لن�َ�� ��� ا �ر�و� َ� �‬ ‫�م� ي‬ ‫� ج‬ ‫�َ ْ‬ ‫��‬ ‫َ‬ ‫ْ‬ ‫ا �ن�ا �و ن�‬ ‫�بي��� ا � �لي�بي�ل ن� �م�ا ��َي�نبش��ر�ن� ي �‬ ‫�‬ ‫َ‬ ‫َ ع‬ ‫ْ‬ ‫��‬ ‫َّ ّ‬ ‫ن‬ ‫��ن� ي �‬ ‫�ي�ا رن �ل�ى ا �ن�َي�ك ي�ب�ا د ر �يَ����يَمَ� �‬ ‫�‬ ‫ي‬ ‫ٍ‬ ‫َ‬ ‫� يَ نَ‬ ‫��‬ ‫ْ يَ ّ‬ ‫�نَ�بفر�و َ���سن�� ن� ��ل�ى َي� �ر��د ا �ل�ي� �ل� ي �‬ ‫�‬ ‫ي ي‬ ‫ٍ‬ ‫َ �ْ‬ ‫يْ ن يْ‬ ‫َ نْ‬ ‫ن‬ ‫ن‬ ‫�ي�ل��ش��� � �و �ل� ن��ي�ل �ن�� �و�ل�� �و ن�‬ ‫���بيي�ل‬ ‫�‬ ‫ي� َ ٍ‬ ‫َ يى َي َ‬ ‫ْ‬ ‫َ‬ ‫��‬ ‫َ ََ‬ ‫�‬ ‫�‬ ‫عن� ي �‬ ‫� او ��ل�ى ن��ن��ي� ي� ا �ع ���ط� َ ��طر� ��ي� َ� �لي �‬ ‫�‬ ‫يى ي ٍ‬ ‫َ‬ ‫��‬ ‫� َ � �نْ�ََ � ن�‬ ‫َ��َّ ن� �ودَ ّرن� ��ا ��نل‬ ‫ط� ي �‬ ‫ح ��ط� � او ��� �‬ ‫�‬ ‫ن‬ ‫ىَ‬ ‫رج ج‬ ‫َ‬ ‫��‬ ‫َ ََ‬ ‫َ‬ ‫� او ��ل�ى ن��ن��ي� ي� ا�ي�ْبفرك �ن�م‬ ‫ح�ا ���ه ��ن ��ن� ي �‬ ‫�‬ ‫َ َ‬ ‫��‬ ‫�‬ ‫َ� نّ ا ّٰ ه ا�نّه � ا �م ���َس � ا �لن� َ ن‬ ‫��‬ ‫عر لل �َ م� َ �ى نَ� َ �‬ ‫���� ي‬ ‫َْ‬ ‫َ ْ ن � َ َّ نْ‬ ‫�‬ ‫�ل�� ���‬ ‫��من� ي ��‬ ‫��م�� ن�ى �و�ه�و�م�ا ا �ن��� َ �‬ ‫�‬ ‫ي ن ��يى ي ي‬ ‫َ‬ ‫�نْ‬ ‫َْ ن ن ْ � � �‬ ‫��‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ي‬ ‫�‬ ‫�‬ ‫��ي ن��شَ��ي���سيى ا �م���سيى َ��ه ���َطَي�ل�ى َن� يل‬ ‫ي‬ ‫َ‬ ‫َ‬ ‫��‬ ‫� ي � ا � � ا �� نٍَ‬ ‫ن‬ ‫ا ��ل�ى �َ�����ي�� ا ل‬ ‫�‬ ‫�� ي �‬ ‫ح� �ل َ��ه �م� َ �ص �‬ ‫�‬ ‫ْ َ �َ�� َّ نَ نْ‬ ‫�م�ا �ه �م��ي �� � ا �ص‬ ‫�بف� �و� �‬ ‫ع��يي�ل‬ ‫�‬ ‫�و ن� َ �ل�يى ي �وم ن م‬ ‫ّ � َ نَ‬ ‫ْ‬ ‫�‬ ‫َ ََ‬ ‫ا ��ل�ى ن��ن��ي� ي� ا ����رن� ي�لن ��ن� ا �����د �ن� ي ��‬ ‫�‬ ‫َ ََ‬ ‫��‬ ‫َ ْ ن نَ ْ ن ْ ي ا �‬ ‫�‬ ‫َ‬ ‫ن‬ ‫َ‬ ‫�ر�� �ود ر�� �َم��ي�َ �ل� �ن� �ل��طر�� ي �‬ ‫�‬ ‫ٍ‬ ‫ٍ‬ ‫ٍ‬ ‫� ا �َ‬ ‫��‬ ‫َ‬ ‫�َ ي‬ ‫ن‬ ‫ن‬ ‫ن‬ ‫�ي�ا �لي����سى �م�ا ا �ع ْر�� �َم ن� �ل� � �و �ل� ي �‬ ‫�‬ ‫َ‬ ‫ي‬ ‫‪162‬‬

‫َْ‬ ‫�ود � او �� نل�بش�ن��� َ�‬ ‫حي�َّب�ه‬ ‫�م�ا َد �ْم ي� ا �ن�ا ��ب�ا ن��‬ ‫�‬ ‫� َّ �‬ ‫�م�ا �ن�ي�� ن� را �ع�ى ا ���َ��ي�ل�هي ا �ل�ا�ن�ْ�فَر َ�‬ ‫حي�َّب�ه‬ ‫َ نْ‬ ‫َ‬ ‫ن‬ ‫���د �م�ا ن�ع��فر نر�و���ه �‬ ‫حي�َّب�ه‬ ‫ي‬ ‫�َم� � او � ٍ‬ ‫َ‬ ‫ن‬ ‫َ‬ ‫َ‬ ‫حي���د ه �و �ن�م‬ ‫�‬ ‫�ْب�د �و���ه �و ن�‬ ‫�ْ�َي�ل�ه �و ن�عي�َّب�ه‬ ‫نَن َ‬ ‫َ َ‬ ‫ّ‬ ‫ْ‬ ‫َ ْ ّ‬ ‫�ي�ا �َ���د �و�لن��َ���د �ن�ي��َ�يَ��ه �����د �ور��َب�ه‬ ‫َ‬ ‫َ ي‬ ‫َي‬ ‫َ‬ ‫َ‬ ‫ْ نَ‬ ‫َ‬ ‫�‬ ‫�� ا�ا�مي�ل�ب�ل� ��� ن‬ ‫ي� ��ي ن�ْ��د �يى ����بَش�ن�ي�َّب�ه‬ ‫� او ر ى ي َ�م‬ ‫�َ ن ْ َ � ا َ ْ �َ�� َ‬ ‫��� ا ���بف�مَ���ه �ل� ���بف�م� ي�ص‬ ‫�ب�هي �ن�ن��ي�َّب�ه‬ ‫ي�‬ ‫ََ‬ ‫ع‬ ‫ْ‬ ‫ْ‬ ‫َ‬ ‫َ‬ ‫عَّودْ ي� َ���ه � او �� �لي�ي�ل� ر��‬ ‫�� ن� ا ْردَ َ�عي�َّب�ه‬ ‫�و� �‬ ‫ن َ‬ ‫َ ّ َ‬ ‫ّ‬ ‫ك�ا ر ���ص‬ ‫�ّ��ا ر ���ش�ي ��ود ه رد �ي�َب�ه‬ ‫�‬ ‫��‬ ‫َ ََ‬ ‫ٍ‬ ‫نَ‬ ‫�ْ َ ا ن ن َ‬ ‫�‬ ‫�م����َطيَّ��هيٍ ��ا َ���ن��فر��ب� �َم �‬ ‫م ����ي�َّب�ه‬ ‫�َ‬ ‫ي‬ ‫�‬ ‫َ ْ‬ ‫َ‬ ‫�‬ ‫�‬ ‫ّ‬ ‫�ل�ا ��ل�ى ��‬ ‫��ل�� � �و�ل�ا �َ��ش��� ����شي�ب َ�د ر��َب�ه‬ ‫َي‬ ‫ي‬ ‫يى‬ ‫م‬ ‫� ْ � َ نْ‬ ‫َْ‬ ‫�‬ ‫ْ‬ ‫َ‬ ‫ا‬ ‫ّ‬ ‫�ي�ي�ل�َ� ن� ن �ل�ى ا �ل �َ���ق ��طرن� �ل� ر��م�‬ ‫حي�َب�ه‬ ‫ج َ‬ ‫ي‬ ‫ْ‬ ‫ّ َ‬ ‫َ‬ ‫�َين�لَ��ف نر ي�بي�لسن�ى �يَ��و�م �يلْ�����فر�ى ���َبفَ�مي�َّب�ه‬ ‫َ‬ ‫ي‬ ‫ن‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫ي‬ ‫�ي�ن��ي�بن�س ا ��ْ��بفر ن� �َم نْ��ه ����بف �ر�ه َ���ص‬ ‫حي�ّب�ه‬ ‫ن َ‬ ‫َ َ يى َ‬ ‫َ‬ ‫�ّ ا ن َ نّ ْ ا �ن ن ْ َ ي نَ� ّ‬ ‫� �و�َب�ه‬ ‫ع � � � د � �ه‬ ‫� ا � � ش� �‬ ‫و �ل � � و�ب � ن�ب �َ ي‬ ‫َ َ‬ ‫َ ّ‬ ‫ْن‬ ‫ا ��ي�ل� �����ال� �َم ن� �َ�بفر�ي���ف� � او ��عن�يَس�ه‬ ‫َ‬ ‫م‬ ‫يى م‬ ‫‪١62‬‬

‫‪1،41‬‬

‫‪5،41‬‬

‫‪10،41‬‬

‫‪15،41‬‬

~ 41 ~

Hey what’s-your-name, give me the stuff that revives me; 444 for as long as I breathe and my heart still beats.445 I nurse my heart’s grievous wound in silence; it is not a disease that is plain for all to see.446 My Lord, it is in Your power to do me justice: I yearn to catch a glimpse of her shape―447 A frisky girl who spells ruin to the infatuated, with her neck, locks, wide eyes, and dalliance. She wavers between affection and apprehension, between promise and distance―adrift on whims. If, at my wit’s end, I go my way, she cuts in front of me, lifts a tip of her veil, revealing her lips to me. She chatters as she trips along, sidling up to me, until I listen―may she miss the Prophet’s shout! 448 If I try to escape her spell and she smiles at me, I retrace my steps with wildly pounding heart. God Almighty, she did not treat me fairly: she schemes and bewitches with empty promises. She wants to break me in, but won’t be tamed herself: 449 how wrong and unfair; what a flagrant injustice! She wants me to submit like a lamb led by the neck,450 without having a say and in abject submission. If I utter a complaint, she shows no sympathy: she plays chess with me―may her kin be damned! She’s unlike me: if I am distracted and wander a bit, my heart jumps at the very mention of her name. When I want to drink, she blows foam at me across the pool: the drink of a sheep before it is slaughtered.451 She is a deadly shot when she has lit her matchlock’s fuse: Or she may relent and be loath to take her companion’s life.452 She who harbors no affection for me, how I wish I’d never met her; lucky the man who is spared the torment of such affairs!

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163

41.1

41.5

41.10

41.15

‫~ ‪~ 42‬‬

‫�‬ ‫ن �‬ ‫َ َّ ي َ ّ ي ��‬ ‫�ي�ا �ون� �سيى � �ون�ب�ه َ������ي�ر اَ�ام ������ا ��ي�ي ��ط‬ ‫�ي ا �� ي� �� �ي �ْ ي ّٰ ا � �‬ ‫حي�ق ��ط‬ ‫ب� �� او �َبي��ط �وَيل� � او لله �م� ا َ‬ ‫َ ْ‬ ‫� �‬ ‫� ْن‬ ‫��‬ ‫�ي�ا ��ي��ا ��ل ا ��ي�ل َر��‬ ‫� �م ن� ا �َرد �� ا �م�ا �لي� ��ط‬ ‫نٍ‬ ‫�‬ ‫َ‬ ‫� �‬ ‫� ا لن‬ ‫ا ���ُ � ا ��ل�ب�ا �م�نّب�ه د �َم�� �� ن‬ ‫ب� ل��‬ ‫حي�ق ��ط‬ ‫�م‬ ‫رو ي َ َ �‬ ‫ا ��ل��ب� ْ � ن �ْ �يَ �َّ �� � نّ �َي�يْ � ��‬ ‫�و َ� ن �‬ ‫� ���د �بش�بيل�ط ا �ن�َ�� ل�بي يل�م�ط‬ ‫ْج‬ ‫� َ يْ ن ا َ‬ ‫��ا �يُ � ��‬ ‫���َ�ش�ي ��و�ى ا �ل�ى ن�‬ ‫� �م او � يل�ق�ط‬ ‫�ع�س� رك�� ن ٍ‬ ‫ن �‬ ‫ن �مَ‬ ‫�‬ ‫�‬ ‫� او�ن� �‬ ‫��يّ��ا � او �َ �ر�ا �����‬ ‫ي� � او �لَن�‬ ‫���ي� ��ط‬ ‫ن‬ ‫� �� � ��ن ا ن ا ن ا �� �� ن� �‬ ‫حي�م��ط‬ ‫ن�رج ا ل�ه�وى ي ��ب� ر �ي� �� � ��و َ‬

‫� ا‬ ‫�ّ ا ��ل�����ا �ي� ��� ن ا �نل‬ ‫��سو�ن� َ� نم‬ ‫ي� � �‬ ‫�َ�ن�� �ي�بفر‬ ‫ن ي�‬ ‫ج‬ ‫ي � � ْ يْ‬ ‫�‬ ‫ي‬ ‫ي‬ ‫�‬ ‫� ا‬ ‫ا‬ ‫�ب� ��� او �ل�يى ا ن�َ���ر َ�ي�ل� ا ��س�و�� ا �نَ�����ب� �ي�بفر‬ ‫نَ َّ‬ ‫ا � نَّ ه �َ‬ ‫��م�‬ ‫���ف�� ار ي� �و����� َ���َ����‬ ‫�بفرا �ي�بفر‬ ‫�ن ن � ّ‬ ‫� ن ا‬ ‫��ب�ا ���َ��ي�ل���ا أا �� ل��‬ ‫�ي�ا ��بي�ل ا �لَ��‬ ‫��م َ��م��ب� �ي�بفر‬ ‫َ َّ‬ ‫ن� �َ‬ ‫ا �� َ‬ ‫ن‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫ا‬ ‫ل‬ ‫�‬ ‫ل‬ ‫ح����ي�ل�م � ن�و�ي ��و ن� ����فر ي�بفر‬ ‫ا ن� ��و‬ ‫ن ان‬ ‫َ� �ن ا �ي �ل ��� ي‬ ‫ا‬ ‫ن�‬ ‫ط �َب�د �م ��ب� ر�يى �و����� �ي�بفر‬ ‫�و� �ي �و ٍ‬ ‫� ا � ��ل�ا د َ � �ي� �م�يَ�َّ ن � َ � ا‬ ‫و و رو‬ ‫ي�‬ ‫�����ي� ا ��������� �ي�بفر‬ ‫يُ ّ ا� َ‬ ‫�‬ ‫��ا ن �َ َّ �‬ ‫�ي �� �‬ ‫���و ك�� �‬ ‫ط او �ن�ب�ه ��مَو�يى ا���فرا �ي�بفر‬

‫نَ‬ ‫ي نّ‬ ‫ح ي� ��بي�ل�و�م�ه �‬ ‫�� ���ط َ�‬ ‫��م ���ط�ّو را �‬ ‫�بفرا ��‬ ‫ي‬ ‫ج‬ ‫ع‬ ‫ٍ‬ ‫ْي � ا ن َ‬ ‫�‬ ‫�‬ ‫ن� ي‬ ‫ا‬ ‫ا‬ ‫��� ��ط �م ن‬ ‫حي�نس�ه ر ن�� �ل� �ه�و ن� َر��َ���ه �و�ل� � ي‬ ‫�‬

‫‪164‬‬

‫َ‬ ‫��‬ ‫ا �����ع�س�د ا ��ي� َ����بن‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫ف‬ ‫ف‬ ‫�‬ ‫ف‬ ‫�‬ ‫�‬ ‫ب‬ ‫�‬ ‫ط‬ ‫�‬ ‫ن ي ل�يى � م ر ي ر‬ ‫ا َ� ي نَ نْ �‬ ‫�‬ ‫��ا ك ا ���� ندَ ن‬ ‫�ْ‬ ‫���ا‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫��ب� ر��ه ��بفر�و ا‬ ‫ف‬ ‫�‬ ‫ب‬ ‫ير‬

‫‪١64‬‬

‫‪1،1،42‬‬

‫‪5،1،42‬‬

‫‪1،2،42‬‬

~ 42~

Muṭawwaʿ Nifi I moan like a man whose leg is tied with Mishānīṭ straps,453

42.1.1

the bone marrow visible through the splints. “Can you hang on?” they said, “By God, I can’t!” said I.454 “Chin up, we’ll help!” they said; “I’ll pay you!” was my reply.455 Listen, dashing riders of fleet bare-backed camels, sleek, well-muscled, well-sired, pedigreed: “Set off at night, in fading light, as soon as darkness falls; 456 God speed, hardy cameleers, to your journey’s end: In the morning you’ll meet Abū Khshēm, a man whose coffee’s always

42.1.5

fresh; Tell him our news, what is secret and what isn’t. If all is well, mounted men will meet and guide you, before raiding parties and other guests arrive. Greet Ibn Mḥayya, and the Ribāʿīn, and al-Ḍīṭ, all men from al-Rūgah who scatter tribes like chaff. Too wide gape the gashes made by love’s passion457 to be stitched by even the strongest threads.”

Ibn Sbayyil The Muṭawwaʿ is all fakery and tawdry nonsense: 458 He’s the pup of slaves bought and sold for pennies.459 He’s no use, not even for patching or sewing, a scrap from a slaves’ raid scouring a pot.460

١65

165

42.2.1

‫~~ ‪~~ 42‬‬

‫ّ � َ�‬ ‫�‬ ‫ي � ي‬ ‫�ن �� ا ن ا �نْ �� نْ � ه ��َن�ْ َ ي‬ ‫ا‬ ‫� نم���د �ٍل �� �‬ ‫��� ��ط �ول���� ر �َو ل��َ�فر ن� َن‬ ‫م�بفر�� �و���� �ي�بفر‬ ‫طو����ه ن��َ��ي�م ��ٍط �وَ��فر� ي‬ ‫�َ‬ ‫ْ‬ ‫�‬ ‫��ا ���َبف ��َ���ف ْ �����بف� ��ب�ا �ن‬ ‫�‬ ‫� ا ا �‬ ‫���ا‬ ‫ه د � �يل ن� ا‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫ف‬ ‫�‬ ‫ب‬ ‫َي���بَي�ل�ك �و� ��و �م� ن�� ���ي� �و َو‬ ‫��� �ن�ي�ق ��ط � او �ل�ى َ ر ر � م ي ي ر‬ ‫�‬ ‫� َ � ي ��ل ي ا �ن ََ‬ ‫ل���ط�ا‬ ‫�‬ ‫� ن�ل ن�ي���يب�ه ��بي�ل�ى ا � �‬ ‫نَ���د ي� �يى ��� ٍ‬ ‫� ا �م ن �� �يَ � �َ َّ �� ه ا �� ّ َ ّ‬ ‫ي����ط�ا‬ ‫� �م��ط� ��َود ��‬ ‫ي� � ل��يل ن ٍ‬ ‫ّ ْ�َ � �� ا �يَ��نَ ّ ��‬ ‫َ���َّين‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�د‬ ‫�‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫ق‬ ‫�‬ ‫�‬ ‫�ب‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ط‬ ‫ل‬ ‫ن‬ ‫�‬ ‫و‬ ‫�‬ ‫َ‬ ‫ي � يى ي ٍ‬ ‫ى‬ ‫ا � ْ ن ْن ي َ َ َ‬ ‫� ��ل �َلّ����ط�ا‬ ‫�ي� � َ���ن��ه �َ��فر� ��و�� ��بش�‬ ‫ع ن��و ن‬ ‫ٍ‬ ‫�َ‬ ‫�� نَّ‬ ‫�‬ ‫َ‬ ‫َ‬ ‫�س ك ا �ل��ف ا �� �لي��َ ّ����ط�ا‬ ‫َ�����ه ��بي�ل�ى � �و � ر � ي و‬ ‫�َ‬ ‫ا �يَ��نَ ّ ��‬ ‫�ظ�� ن‬ ‫�‬ ‫ي‬ ‫ه‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫س‬ ‫�‬ ‫��‬ ‫�‬ ‫ه‬ ‫ن‬ ‫�‬ ‫ق‬ ‫�‬ ‫ي �و َ � �يى و �و ب‬ ‫�لي‬ ‫ط�ى‬

‫� � �‬ ‫ح� �� ا نّ� َ�ْ �ن� ا ��ل�����ا‬ ‫َ�‬ ‫�‬ ‫��‬ ‫�‬ ‫�‬ ‫�‬ ‫� َ��مَ���ي� ��َط‬ ‫َ‬ ‫َ‬ ‫ر‬ ‫ي‬ ‫ي‬ ‫نٍ‬ ‫ْ ّ‬ ‫�‬ ‫�ْ ن�َ � �‬ ‫طو ��َط‬ ‫�َ�عي�نس�ي� ن� ��ب�ا ����ا د �ه�و ن���ش�ي� �‬ ‫ٍ‬ ‫ْ‬ ‫َ‬ ‫ن‬ ‫�‬ ‫���ه ��ا د � ��م ْ��سي�ك ��من‬ ‫��ي�ل�و ��َط‬ ‫َري� رن يٍى نَ‬ ‫َ‬ ‫�َ‬ ‫�َ ّ �� ا ��ل � �� �‬ ‫�نَلّ ���ط ا ��نلص‬ ‫طو ��َط‬ ‫�بفر ��ب�ا �ه�و ن� نل�ط ���م� �‬ ‫�ُ ��‬ ‫ا �ّ ا ا�ا� ا �� ف � � ا � �ْ‬ ‫�‬ ‫ي‬ ‫�‬ ‫�‬ ‫�و �ل� ي‬ ‫���� نَ�ر ي ��و�م ن� �َر ن ��ل ي �وَط�يى‬ ‫�� نَ َ ي ه ا�ا� � �‬ ‫�سو�ن� �ن�م‬ ‫��سو ��َط‬ ‫���د �ولٍ ر����� م �‬ ‫ا �� �‬

‫ا ن� ن‬ ‫يْ � َ‬ ‫�‬ ‫�‬ ‫� ْ ن � َ َّ �‬ ‫� �‬ ‫طّو �ي�ا ����ا �ل ��������ش� ا�ا��شن��م ��ط�ى �ي�‬ ‫�َ��د �ي�ل�ى َر ل��يى ا�ا�� ن��ا �ن�بفر �����فر�و ��َط‬ ‫��ق �� �‬ ‫ع‬ ‫ٍ‬ ‫َْ‬ ‫ا يَ نَ َّ‬ ‫�‬ ‫�‬ ‫َ ْ‬ ‫َ‬ ‫ْ‬ ‫�ن �� ��‬ ‫ن‬ ‫�‬ ‫ّ‬ ‫ا‬ ‫ا‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫ي‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫ه‬ ‫ق‬ ‫ط‬ ‫�‬ ‫�‬ ‫�����فره �ب�ل�ى َور و �و ب يط�ى ي ن�‬ ‫�و َط‬ ‫�َور�� � ن م‬ ‫ٍ‬ ‫ع‬ ‫ع‬ ‫ٍ‬ ‫�َ‬ ‫ن ا� � ا َ‬ ‫ا َ� ا َ‬ ‫م�م���ط� �عي��فٍر ا �ل�ى‬ ‫لا �ي� �� ن‬ ‫ع�يسيل�ه �ي� ���ف �ري�ق��� ا� ن‬

‫‪166‬‬

‫‪١66‬‬

‫نّ‬ ‫����سيى‬

‫ََ ْ‬ ‫�ن��ن��فنر�ي�ب�ه‬ ‫َ‬

‫�‬ ‫َن�‬ ‫���فر�و ��َط‬

‫‪1،3،42‬‬

‫‪5،3،42‬‬

‫‪1،4،42‬‬

‫‪1،5،42‬‬

~ 42~

His piety is baloney and empty prattle,461 and hopping and dancing in every part of town.462 He marries without witness or document: whatever the bride-price, it’s never too much for him.463

Muṭawwaʿ Nifī I compose my verses to rhyme in ṭāʾ

42.3.1

since ṭāʾ makes for a difficult rhyme.464 Poor heart, fallen prey to love’s vagaries: clear and simple, no two ways about it. A lovely young thing stirred my blood, her uncovered plaits smelling of civet and musk. She struts like a long-legged crane among ducks: the ducks on the water, not those on shore. She treads with care, as if on thorns,

42.3.5

or afraid to step on needles. If only she would meet me unveiled, my eyes would see her well-combed tresses.

Ibn Sbayyil Muṭawwaʿ, may your deepest secret be exposed: 465

42.4.1

you take money for ascending the pulpit.466 Shame on you for lusting after an unveiled girl playing hopscotch with boys in the sand.467

Muṭawwaʿ Nifī What now, little fat-assed ʿAbdallah,

42.5.1

donkey that farts when my stick pokes its hole.468

١67

167

‫~~ ‪~~ 42‬‬

‫نَ‬ ‫ن� ْ � َ �‬ ‫طّو �ي ��و�م ���ب�ا �م�ه د ��بي�َي�لي� ن�‬ ‫��فر ا�ا�م�� �‬ ‫َن‬ ‫ع‬ ‫َ ّ‬ ‫�‬ ‫�‬ ‫� ن��ا ن� ��� � او �ل�ا���ا �‬ ‫����‬ ‫�� او ن �ل�ى ا �ل�ا ن�‬ ‫�‬ ‫حي� ن�‬ ‫ي‬ ‫م‬ ‫ن �َ َ‬ ‫� ن َّ � �‬ ‫� �ون�ا ��بي�ل ا � �لَ�م����فر ا �ل �َ���عي� ن�‬ ‫�ن�ا ا �ل�ى ن��‬ ‫ع‬ ‫ٍ‬ ‫َ �ّ ي ن يَ‬ ‫ّ�‬ ‫ْ‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫ف‬ ‫ا �ول �فر ��� د �ل���‬ ‫ع� ن�‬ ‫ي� و��فر� ي‬ ‫م‬ ‫ٍ‬ ‫َ� َ‬ ‫ا �َ َ ْ ن ا�ُ‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫�‬ ‫��ب‬ ‫�‬ ‫ا‬ ‫�‬ ‫ا‬ ‫�‬ ‫ف‬ ‫�‬ ‫س‬ ‫س‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫م‬ ‫ع� ن�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ن‬ ‫ن‬ ‫َ‬ ‫ي‬ ‫ر‬ ‫و ي‬ ‫ع ى َ يٍى‬ ‫ي �َ‬ ‫� ن �َ ّ � ن نْ �‬ ‫َم� ��س ن� م� َ�‬ ‫����ره ا �ل�ى َ� ْر�وه ا �ل ���سي�� ن�‬ ‫ّ � َ� ْ‬ ‫َ ن‬ ‫�م�ا �ن�ي�� ن� ا َ�‬ ‫ح ن� ا �ي�ل�ى �نل ���ن��َ�ب�ه ��ب�د ا �ر�ي ن�‬ ‫ي‬ ‫َ‬ ‫���صنَ ْ ي َ ْ ا �� �ي نَ ْ‬ ‫� ��‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ف‬ ‫ي‬ ‫ع‬ ‫ع‬ ‫�‬ ‫�‬ ‫ب‬ ‫���‬ ‫��‬ ‫�‬ ‫� �ن�ل� َ��ي� ن�‬ ‫�‬ ‫�‬ ‫َ‬ ‫ر‬ ‫ر يل‬ ‫نٍ‬

‫َ‬ ‫حْ��س� ا �ل�نّ � ا � � �‬ ‫��م�ي��َ���ه‬ ‫��� � نَل�ب�ه �يلَ ن‬ ‫�ه�و ي� َ ن يى ن‬ ‫ْ‬ ‫ٰ‬ ‫�‬ ‫�يب�ا ��� او ��ي ن�بي������ه �َيبي�ل ي� � او ّلله �م�ا ا �نَ�ي�بش�َ���ه‬ ‫ْن ْ‬ ‫َ ُ �‬ ‫�وا د �َ�بفر���شي�ي�ه� ����د �ّو ا �ل �����فر���َ���ه‬ ‫ا ن��‬ ‫َ‬ ‫ي‬ ‫م‬ ‫َْ‬ ‫َ‬ ‫يَ ْ‬ ‫�‬ ‫ش�نس�هيٍ ���ي�ْ�بي�ل�ه � �ون �نل��� ر�ن�ي������ه‬ ‫�‬ ‫ر‬ ‫���ف ي‬ ‫ٍ�‬ ‫�َ‬ ‫ي‬ ‫�‬ ‫���ه �لي�����ا ي� ا ��َي�لي���ا ��ل�ى ���َ�ف �ر�����ه‬ ‫�‬ ‫ن‬ ‫َ ي‬ ‫ي‬ ‫ي‬ ‫ا ا � ن َ ْ ا�َ‬ ‫ع�ي���ب�ه‬ ‫�م� �� ��� �م� د ر ن� ا��� ار ن�ي�ل ���َ َن‬ ‫َْ ن‬ ‫�ع ن� ا ��رد �يى �نَ�ي�ل�ي�� ن��‬ ‫�ون� �و����ي������ه‬ ‫�‬ ‫ج َ‬ ‫ََ‬ ‫ى ُ ٍ‬ ‫َ‬ ‫ي� ن ْ ي �ي ن‬ ‫�‬ ‫��ي������ه‬ ‫َن‬ ‫�َ���ي� �ع���بفرا � ا � �ل �� او ل��يى ��م ��َ‬

‫� ن َّ‬ ‫�َ ْ ي � ْ‬ ‫�‬ ‫َ� ّ‬ ‫�‬ ‫������فر ا ��ل ����شي�� ���بفر�� ا �‬ ‫��ي�� َ���س�ه �م ن� ي����ب�ا ر ا �ر�نبي����ب�ه‬ ‫ه‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫ل‬ ‫ي‬ ‫ل‬ ‫�‬ ‫ا �ي�ل�ى ي ن��ى ي�‬ ‫�‬ ‫ب‬ ‫�ب‬ ‫�‬ ‫�‬ ‫ي‬ ‫ل َ‬ ‫َ ن‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ي ي‬ ‫�َ‬ ‫ّ‬ ‫َ‬ ‫َ‬ ‫�ّ ا ا�‬ ‫يَ ْ نَ �ي ��‬ ‫ْ‬ ‫ن‬ ‫�‬ ‫َ‬ ‫�‬ ‫ي‬ ‫�‬ ‫ن‬ ‫ّ‬ ‫ط ��� ��بف ��ه ��ك�ا د ��� � ا �ل� ���� ��ب�ا‬ ‫ش� ن� ���فر�ب�ه َلَ��ي���ب�ه‬ ‫�‬ ‫�‬ ‫� او �ل� ا�‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫�‬ ‫و‬ ‫ن‬ ‫َ‬ ‫ى‬ ‫ل‬ ‫ي‬ ‫ر‬ ‫�‬ ‫ي‬ ‫ن‬ ‫َ َ‬ ‫نى‬ ‫وع‬ ‫ْ‬ ‫اي ََ‬ ‫� ا ن ا �ي َ‬ ‫ح ��� � ا ْ �م ه ��ي��ل ا � ا ��ل ن�َ ن‬ ‫�� ْ�د �ى َل�ي�م ي� ا �َ �ّ ي � ن‬ ‫�ل� �‬ ‫��بي���‬ ‫��و� �ل ��وره ��� �ل�يى � � ن� و رَ ي�� نح� ر و‬ ‫ر‬ ‫��� � � ي‬ ‫ّ � َ ن ي �َ‬ ‫يَ‬ ‫َ‬ ‫ََ ْ‬ ‫�ْ � �‬ ‫� ن‬ ‫�م ن� � ن�ْ�ي�ل �َو���د ا ��ل�� ��� ��َي ن�ْ��د �يى ن� � �‬ ‫��سوره ��م��س ي� �م ن� نَ� ن� ا �َيل�بف�م ن� �ي� �ي�ه ا ����ي�بش��‬

‫‪168‬‬

‫‪١68‬‬

‫‪1،6،42‬‬

‫‪5،6،42‬‬

‫‪1،7،42‬‬

‫‪1،8،42‬‬

~ 42~

Muṭawwaʿ Nifī Dghēlīb offered a price for Muṭawwaʿ’s mortar,469

42.6.1

because he fancies I put it up for sale. Strangers and my own kin all pressed me: “Sell it!” and I said, “By God, I won’t!” 470 I need it for travelers on travel-worn mounts,471 honorable men, accompanied by Shariah’s defiers.472 They are welcomed with two pots of coffee and warm greetings; simple words, spoken with unaffected ease and sincerity. A young man who does not honor hospitality’s demands,

42.6.5

may quickly fall on evil days; Men who spend a life from cradle to grave without the most trivial manly deeds― I feel revulsion at misfits of feeble character: I give lowlifes like these the widest berth. I subdue refractory verse one way or another, until the hardest rhymes meekly obey my scheme.

Ibn Sbayyil Riders on camels, gray from grueling marches,473

42.7.1

East of al-Hyiyshah, left of al-Rifī ʿah: Know that al-Muṭawwaʿ speaks nothing but lies! When he wants it, his wife Tarfah doesn’t put out.474

Muṭawwaʿ Nifī When my mood is blue I call for Nūrah: 475 “Quick, get firewood for neighbor and guest!” Before the good-for-nothing has uttered a sound, I’ve roasted a delicious brew from Yemeni beans.476

١69

169

42.8.1

‫~~ ‪~~ 42‬‬

‫َ‬ ‫َ � َ ن ّ نَ‬ ‫َ‬ ‫َ �‬ ‫�‬ ‫��ب��ن‬ ‫�‬ ‫�ّ ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫ه‬ ‫ه‬ ‫ل‬ ‫ل‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫���‬ ‫كنَ��ر �ه�و��ه �و ن��‬ ‫�وره ينيل� �ي�ل�ى د ور ��� َم�د و � ي �‬ ‫��ي ��ط�وع �ي� َ‬ ‫� � ٍ‬ ‫ا نَ‬ ‫� ا � �ْ َ ُ‬ ‫نَ �ْ‬ ‫ن� ّ ��‬ ‫ا‬ ‫� نَ��ن‬ ‫ّ‬ ‫ا‬ ‫ه‬ ‫�‬ ‫م‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫ه‬ ‫� ا �َيلي��� ل � ن �‬ ‫�وره وَح��ط� ر �م م� ��ب�ي ر ن ��و ري��د و م�ي �‬ ‫�ود �ل� �ل���ف�م َد ن‬ ‫�ّ‬ ‫نْ ْ‬ ‫ن‬ ‫��ا �����ْ��ه د ��ي�ك �ي��ا � ي‬ ‫ح��س�ه َ�‬ ‫� ���� ن �‬ ‫��ي�لي� ن� �وَ����ي�ل َي��م ن��ا ه �م�ا ����َبي���‬ ‫��وره َ‬ ‫��بفرا ٍ‬ ‫ي َ ن يٍ‬ ‫ّ‬ ‫ّ‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫�‬ ‫َ‬ ‫��ي� ��� ��� ه � � ا � ن�ل�م ن �� �َ ي ن � � ن‬ ‫�َ � ن ا �ن� ي �� نّ‬ ‫���ا �ي�ا �� ن � قط ن ��ور ي ��و م � �‬ ‫�مي� ��و� ا �ل�يَم�����ا �ريل��‬ ‫يو� �‬ ‫��ول ي‬ ‫َ‬ ‫ْ‬ ‫ن ي � ْ َن‬ ‫َ ن‬ ‫ي�َ َّ َ‬ ‫�َ� ن‬ ‫� �َ ن ن‬ ‫���� ا �ن� ي‬ ‫� ��ب�د را ك�‬ ‫���ا � ا ��مو�ل �م���د �وره‬ ‫�ب�د ر ي� �ن�ا �ل���ي��فر ��ب�ا �ل ا � نر����ا ��ي�بش��‬ ‫و‬ ‫ْ‬ ‫َ‬ ‫َ‬ ‫�‬ ‫�‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫� ا�‬ ‫� ن‬ ‫�����ي � � ا ��� ن �َ ْم ���� ن ا � � ا لن‬ ‫ي ن‬ ‫���ا ن �ر��يَ�ن�س ���ش�ي�� ا نل‬ ‫حي�بش��‬ ‫��ف�م� ��ه ن�لن ��وره ��بفر �ي َ�يك م� ن ي� �� يى و‬ ‫ن� ي يى َ ن‬

‫‪1،10،42‬‬

‫ّ‬ ‫َّ‬ ‫�‬ ‫�بش�ي���ه ���ي�ل�نس�ا � او ��ل�ا ا �� �لي���ل�� �ي�ي�ل � او�نم‬ ‫ا ��ل�ب�ا ن� �‬ ‫���ا ر�يى �ي�م �و���ه‬ ‫�‬ ‫ي‬ ‫ن‬ ‫َ‬ ‫َي‬

‫‪1،11،42‬‬

‫َ �‬ ‫�َبَ�د ��ي�ن��ا ���ُ�ف�م ا �ن�ْ�ي� �لي اَ�نم‬ ‫�‬ ‫�‬ ‫�ْبفر�ى ن� ��َو� ْ��م���ط ا �� نل�شن�يّس�ه‬ ‫�‬ ‫ََ‬

‫‪1،12،42‬‬

‫ن نَ ّ‬ ‫ا � ّ نُ ي ا َ‬ ‫��ا ����ا �م� ��ب�ا ا � �‬ ‫���ل� ك �م� � ��و ��بي�ل�ى د �ي� ر ا �ل���َ�فر � ��وره ������ �و��‬ ‫ور‬ ‫ي‬

‫‪1،13،42‬‬

‫نّ‬ ‫ن‬ ‫ا ��ا ا ����ظ���د ا �‬

‫َ َّ‬ ‫�ن ا يَ يْ‬ ‫� �َور�ى �م�ا �يب�ا �م ي���ب�ه‬ ‫�� ��‬

‫ا نّ‬ ‫�ي� � ��و‬

‫‪1،9،42‬‬

‫‪170‬‬

‫‪١70‬‬

~ 42~

Ibn Sbayyil Muṭawwaʿ! What’s all this sound and fury? 477

42.9.1

Over a year, you spend a paltry seven pounds and some. All night long, your coffeepots stand abandoned; Your only customers are Abu Zēd and Ḥnēf.478

Muṭawwaʿ Nifī Hey crowing cock! You’re all bluff and bluster: 479

42.10.1

loud bombast, but no deeds anywhere found. Where were you? Busy shuffling your turds, when we fought the fast-shooting al-Fuḍūl! 480 If you were a girl, I’d forgive you, you saggy-assed lowlife! 481 You rewarded my favors with treachery: I lost you between my tent and al-Khayf mosque.482

Muṭawwaʿ Nifī I swear to God, we owe it to the door,483

42.11.1

the key and the lock’s wooden teeth.484

Ibn Sbayyil Too late! Why did one of us not get up

42.12.1

to close it? Lock and key are strong.

Muṭawwaʿ Nifī What a wonderful rain cloud, at the Lord’s command, its lightning resplendent over the lands of al-Sirr.485

١7١

171

42.13.1

‫~~ ‪~~ 42‬‬

‫ْ‬ ‫ي ي ْ ي �� ّ َ‬ ‫ن‬ ‫��ّو �َم ن� َ�ع�ي�ن��ه‬ ‫����د �يى �ن�بفر�و�ب�ه َ� �����َ��َ��ي�ل َ���نش���ا ن� �‬

‫‪172‬‬

‫‪١72‬‬

‫� ْ ا ن ا ي يَ ا َ‬ ‫ا ���َود �ي� � ��� ر� ����� �و��‬

‫‪1،14،42‬‬

~ 42~

Ibn Sbayyil Those flashes of lightning have set the sky ablaze: valleys will roar with thunderous torrents.

١73

173

42.14.1

‫~ ‪~ 43‬‬

‫َ ن‬ ‫ْ َّ‬ ‫�‬ ‫�ي�ا انَ� ن� ��سن��ي�َ�ي�ل ��ب�ا ��� د ا �ي�بف�م � �‬ ‫ع او ل��يى‬ ‫ان‬ ‫� � �َْي‬ ‫ك‬ ‫���ا �نَ�ه �َو��ي��د ا �ل ����ر�� �م�ا �ه�و ن� �‬ ‫��ب� ل��يى‬ ‫�َ نَ‬ ‫�نَ ن� ا �ن‬ ‫� او �ل‬ ‫�� ���ا ��بف�م ا ��لنَ��ل�� � او �ل‬ ‫ش‬ ‫ح‬ ‫�‬ ‫ب‬ ‫�‬ ‫�‬ ‫ب‬ ‫�‬ ‫�‬ ‫�‬ ‫ر‬ ‫َ‬ ‫ن‬ ‫َ َ‬ ‫�‬ ‫�َ نَ � ا �� ن � ا �ن‬ ‫� ��ا ا ل‬ ‫��ي��ل�� �ي�لي� ل��‬ ‫ل‬ ‫��‬ ‫�‬ ‫ح‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫�‬ ‫ب‬ ‫ب‬ ‫�‬ ‫�‬ ‫ر‬ ‫ي‬ ‫م‬ ‫ي‬ ‫َ‬ ‫���ا ا� � ن‬ ‫ّ ني ا‬ ‫�ولا ا ��� �ي� َ�عي�ب�د ا �رك�� ن� ا����ل� ل��يى‬

‫ْ ي � ْ َ � ن ْ َ َّ‬ ‫��ي�ل� �‬ ‫�ب�د ه‬ ‫���َبفَ�م��� �ل�يى َ��ال� �ورا ا �ل�‬ ‫َع‬ ‫َ ٍم‬ ‫ن�َّ‬ ‫َ‬ ‫ك� ند �ود �‬ ‫�َ�فر �ل�ى ي ن�‬ ‫��د ه‬ ‫�َشي�نس�ه َ� َ�‬ ‫َ‬ ‫م‬ ‫ن يٍ‬ ‫َ ْ ُ ُ ْ ي َّ‬ ‫�‬ ‫�ب�ا ��� ��بي�ل�و�م � �ون�ب�د �و�ه�م �َم�����َ�رد ه‬ ‫َ‬ ‫ن م‬ ‫ْ َ ٍّ � � � ْ َ ن َّ‬ ‫ك� ان� ن ��بف�م َ�ي�ك َنَ�ي�ل‬ ‫حي�ب�ه َ� ����َب�د ه‬ ‫م �‬ ‫ن نْ ا � َ ا ي َّ‬ ‫ان‬ ‫ب�ي�ك َ�ب�ن�ص‬ ‫�ب� �ٍل ��بي�لي�نس� �َ����د ه‬ ‫ك� � ي‬

‫َ �ن‬ ‫�َ ْ‬ ‫ا�َ‬ ‫ا ن‬ ‫�ي� ���ب�ي�ر �م� ����د �يى �ل�هرنَ�ي�ك �م�ل� ل��يى‬ ‫�َن� ا �ن‬ ‫� ا �� َل��� ا ل�ي � ا ا ��� �ي �� � نل‬ ‫�‬ ‫��بيل�و�م طر �يى ي� �ع ��ول ا ��ب� َ‬ ‫ا �ن‬ ‫�� ا ���� اْ �� َّ‬ ‫ك�‬ ‫ه‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫���ا �نَ�ه �َو��ي���د َ���ل� َلي�‬ ‫ب‬ ‫�‬ ‫�‬ ‫ك‬ ‫يى‬ ‫م‬ ‫ا �َ َّ ن � يُ ن‬ ‫�ل نْ ا ن‬ ‫نَ �‬ ‫���ي�� �َ��ف�ٍم ��ب� ���� �� او َ�ي�ل� �� او ل��يى‬ ‫َ‬ ‫�� �� ا � ل�ن َ ا ي� ن � ن ن ا �ن‬ ‫�‬ ‫م‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫�م ���ج �يى رو ن � َ َ�� َ � �سس� َ‬ ‫َ�� ن ا َ ن يْ نَ� ا �‬ ‫�َن� ا �ن‬ ‫ن‬ ‫ل‬ ‫��‬ ‫�‬ ‫�‬ ‫ل��م�‬ ‫�‬ ‫����ع ن�ي� �بي ��و��ب� � او �ب َ‬ ‫� َ ن � ا � َ ا �ن‬ ‫� او �ي�ل�� �نَ�لي���ا �يل� ل��‬ ‫���م ����د يى �ر�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫َ‬ ‫ن� ّ �� � ا �ا�َ � ا َ ن� �� �ن‬ ‫�‬ ‫�‬ ‫�َبي�ل�يى ��َطفريج ن� �بش��� ره ���ل َ‬ ‫ٍ‬

‫َّ‬ ‫ُ‬ ‫د � او د �يى ��ب�ا ���يى ���ي�ل�و�م �م�� َ���د ه‬ ‫ٍ‬ ‫ا � َ يَ يْ َ ْ َ َّ‬ ‫َْ‬ ‫لا ��ي�يبنَ��َ���ه �ي� ���مي�بفر � �ل�ي�ل��ي�ك ������د ه‬ ‫� نَ نَ ا َ َّ‬ ‫� �‬ ‫���د ا �ي�ل� ���د �و��� ن�‬ ‫� ي ا � ا � ����‬ ‫�ب�د ه‬ ‫�ب�� ل َر ي يى‬ ‫َ ْ � َ َّ‬ ‫ُْ‬ ‫ْ‬ ‫ي�لَي�ي� �لو ن� نا� ��و �َمي�َ�� ن� �ي�ل� �ور� ن�‬ ‫�ب�د ه‬ ‫ىَ‬ ‫� َ � ا ي ْ ن َ َّ‬ ‫ْ‬ ‫�َّ ّ‬ ‫�َ�بش�ي� ن� ا �ليَ��د نَ�ر � او �ل��� ن�� �َر ن� �‬ ‫�ب�د ه‬ ‫َّ‬ ‫ن نَ �َي ن ��م ْ َ‬ ‫�ش��بف�ٍم �َم ن� ي���َ���د ه‬ ‫�م� ���ي�� را � �وَن‬ ‫َّ‬ ‫ا� َ � �‬ ‫�م� ��ه �‬ ‫���ل�� �ل �و �ل�ا نَ�����ي�ر َي� ����َ��د ه‬ ‫ٍ‬ ‫َّ‬ ‫� ي �ن �ي َ يْ ن‬ ‫ك�د ه‬ ‫ا ن� ��و دَ�لي ��ٍ� �مو� ��ع�َس�ه َ�ي� َ‬

‫‪174‬‬

‫‪١74‬‬

‫‪1،1،43‬‬

‫‪5،1،43‬‬

‫‪1،2،43‬‬

‫‪5،2،43‬‬

~ 43 ~

Smēr of the ʿUtaybah tribe Hey, Ibn Sbayyil, things are out of kilter: unsettling news from the mountain’s edge.486 If true, the East is heading for a rough time of it.487 Toiling at our wells were the enemy’s camels; 488 Villagers, hit hard, trembled in fear when told to pay, but most Bedouin did well.489 Watch out, feckless sedentary weaklings: we’ve pulled many of you by the beard! 490 Since you provide comfort to tired camel riders, pass me a cup of coffee−that’ll do! 491

43.1.1

43.1.5

Ibn Sbayyil Smēr, I will provide no comfort for your ranting,492 empty chatter that serves no purpose; Gossip carried by mindless travelers: don’t believe a word―the devil take you! And if it’s true, the loss will be made good by al-Rashīd’s men, victorious warriors From al-Ḍayāghim, who attack without giving heed, led by Abū Mitʿib, true scion of a noble house.493 When they charge, the field is littered with corpses: fine men who paid for their bluster and swagger. Countless animals, hooved or on pads, lost: 494 magnificent herds of white and black camels. One of the plundered is an exquisite woman: 495 with nothing left, not even a riding camel, Bewildered and cast out in the open, her lovely hair draping her back.

١75

175

43.2.1

43.2.5

‫~ ‪~ 44‬‬

‫ا ي نّ � اْ � ا ن ا ن‬ ‫أ� ا ا ْ َ ن‬ ‫ا �ل� �ي� َ��م��ب�د �عيم�يى ���ب� ��ب�ه ا � ا ���َ�ب�ل� �ل� ��� �ل�يى‬ ‫م‬ ‫يَ ن َ �‬ ‫َ َ‬ ‫َ� ا ن‬ ‫َ�‬ ‫����ظ�هر �َم ن� ��ب�ا ���ره �ولا � �� او �ل�ى ���ي��فر �‬ ‫�ور َ�‬ ‫� نَ َ ْ‬ ‫نَ‬ ‫� ن‬ ‫ع����ط�ا َ‬ ‫���د ا �� د ا �َم�ى �َم ن َ�ع��س�ا �م ا ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�ي�ي�ل�ع���نب�ا َ�‬ ‫ي‬ ‫ر‬ ‫�‬ ‫َ‬ ‫�َ‬ ‫َ‬ ‫�ع�ب ن � � ا ��ي�ل���ي�ْ ّ ن‬ ‫� او �ل�ى � او ����شي� ن� ي �سيى ي ��و�م ن�ب� َ ل‬ ‫� ر�ن�ا َ�‬ ‫ج‬ ‫َ‬ ‫�ي�ليَ نَّ� ي ا ��ل ا ا ا �� َ �� ن ا ا �ي ْ �ن��ص ا ن‬ ‫َ ������ �� َ��ن�� �ي� �ن� ل����� �ي� ��‬ ‫��بفر ي��� َ�‬ ‫� َ ْ‬ ‫ْ� ن‬ ‫�يلَهنّ ا ��ا �� َل�����ن��ا ��ا ��اَ���م ّ‬ ‫ى ا ��كي�ل ن� �َ�س�د‬ ‫�ب�ا َ�‬ ‫َ� ر ن‬ ‫ي ي َ�ي‬ ‫يَ �� ا يَ � ا ْ يْ‬ ‫ْ� � ّ ن‬ ‫�َب�د ا َ�‬ ‫��بفرا ل��م �ي� ��ب�ي��ن��ه �ل�ن� ��و �َ�ب��َ�� ن� �َور� ن‬ ‫� ن� ْ � ا ْ ن‬ ‫�يَ��َ ��َّن � ا � َ ن ن ا �� ن‬ ‫�بي�ل ا �ل����ي��ا َ�‬ ‫�م�يسي�ل�ه ل��يى �َم��ب� َج� ن‬ ‫�بي � ي� ن‬

‫‪176‬‬

‫� َ ا �ْم�يَ ّ‬ ‫� او �ن�ا ل��نى �َ��� ي� ان� ن ���نْب�د �ى �ي�ل ا �ل���ب�ل� �ص‬ ‫�َبفٍر َ���ه‬ ‫ي ن ي َ� َ ي �ى م‬ ‫ْ‬ ‫َ‬ ‫��ب�َ�ص ن‬ ‫َ َ‬ ‫�ب�ا ��ا � او �‬ ‫�ي�ل� ن���ْ��د ا ��لنص‬ ‫حَ ن َد ْر� او ي� ��ي ن�ْ�فر ن� ���ه‬ ‫�‬ ‫ن‬ ‫ي‬ ‫�‬ ‫ىَ‬ ‫ي � َ � ��ّ‬ ‫ن َْ‬ ‫َ ْ َ� َ‬ ‫�ن� ���� ��ا ا ���و ��ط� َك�ي�ل�ه‬ ‫� �و�هي �و ن� ا � � �‬ ‫� ا��ي‬ ‫���ج ا ر ن ن م ع َ ى‬ ‫و �ل ن � ن‬ ‫َ َّ‬ ‫يَ ن ا ن ا � َ � ن ا ا �ل َ‬ ‫�وا �ن� �ل������ �ي� � او ن�‬ ‫�بفرد �ن�ا ي���ب�ا �نل�ه�م ����ي�ل�ه‬ ‫����� ��‬ ‫� َّ‬ ‫� او َن���ند َ ���ط ْ���� ا ��ل����ي�ل�و� �و�َو َّرد ا ��لَ���َر�ي� �ي�ل ا ل‬ ‫�‬ ‫حي�ل�ه‬ ‫ني‬ ‫ر‬ ‫�ى َ‬ ‫ج‬ ‫َّ‬ ‫�َ ُ‬ ‫�‬ ‫َ ّ �‬ ‫�َيل���فنرا �ن�ا � َل�����ن��ا �ي�ا � او � َل�����ن��ا �ي�ا �ي�ل����د �و �َ��ي�ل�ه‬ ‫َ َ ّ‬ ‫�ْ �‬ ‫يَ�َ‬ ‫ْ‬ ‫� ي� ه � ا ن‬ ‫�م ا �� نل�َب�ي�ر�ي� ا ��ل�ى �ن�ي�ل�ه‬ ‫�� ل��‬ ‫�‬ ‫ح ي� َر ن�ب ل� ول َي‬ ‫ح ��ي‬ ‫ّ‬ ‫َْ‬ ‫��َ �َ نَّ � �ن�� ن َ ّ �يَ ْ‬ ‫��رك �و نر�َ�ن� ن� ن����َ�ي�ل�ه‬ ‫ا ل�ى ن�ب�يك َ ي���‬ ‫� �ي�بف�م م� َ َ ن‬ ‫ج‬ ‫ٍ‬

‫‪١76‬‬

‫‪1،44‬‬

‫‪5،44‬‬

~ 44 ~

Minīʿ al-Giʿūd al-Ṣāniʿ 496 What joy, this message that quickened my eye:

44.1

the news I awaited in Ibn Hindī’s land! 497 The Ḥawrān falcon soared from its nest, resolute,498 eyes trained on distant lands, camel troops in its wake. Dust thrown up by horses enveloped al-Ridāmā’s rocks; at Jōbat Wḍākh the earth trembled under people’s feet; 499 Woe to the enemy when clouds of gunpowder drift; Shammar with short swords shout battle cries with fury.500 Horsemen covered Fayḥān’s homestead in swirling dust, swept up Ṭalḥah’s herds, and planted a banner in their camp.501 Lazy dog, you belittle the warriors of Shammar! mocking those “swollen with fury,” bane of the enemy.502 Listen, ʿUtaybah, you are Abū Mitʿib’s subjects of yore: 503 his foot on your neck, his banner fluttering in your face. Little ʿAbdallah! 504 Look to the doe-eyed beauties fleeing,505 bereft of their robes, and to the safety of your town.

١77

177

44.5

‫~ ‪~ 45‬‬

‫�ع�� ا ��� �ّ هي‬ ‫س�ى �َ�يل�‬

‫يَ َ َّ َ‬ ‫ْ‬ ‫�ا‬ ‫�‬ ‫ح��د ر �� نْ�ي�ك �ي�ا �َ� نر�م�و�م ا �ل� ن���ب�ا َد‬

‫ّن ي �‬ ‫� ن �‬ ‫��ب�ل�� �م ا �ل���ا ��� ا �ي�ل�ى �م�ا ي��م�ي�ر َ�ي�ي�ل�ه ا ���ن�ب�ا د �يى‬ ‫ع ي‬ ‫َ�� ّ � ا ْ‬ ‫يَ َ َ ن‬ ‫� او َد‬ ‫��بي�ل�و ا �ن�ه �ه�و ��� ��ّود �م ن� ا ن��ي�لي����� �و�� ن� ا �ل� ن��‬ ‫� � نْ ي ن َ�ْ ن نَ ا � َ ن �‬ ‫�و���و ��ى ن����� �َم� �ي����سى �ل��� ر ا ����‬ ‫��و� �و ��‬ ‫ط ار َد‬ ‫ي َ‬ ‫ي‬ ‫َ‬ ‫�‬ ‫����بفر �م�ا �ي�ا َ��‬ ‫���ب�ي�ر �نلْ �����نش���ا �م ن َ��‬ ‫��‬ ‫���ل �م ن� ا � ن ار َد‬ ‫� َ‬ ‫ن ٍ‬ ‫يَ‬ ‫�َ َّ � ي َ �ْ َ‬ ‫ْ‬ ‫ي‬ ‫ن‬ ‫� ن‬ ‫ي‬ ‫ا‬ ‫ا‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫� او �ل�ى �م����ا ح��� م��سيس��� م� ه�و ن� َم��� د يى‬ ‫ََ‬ ‫�َ ن يَنَ َّ ي ْ � َ‬ ‫��ّي ي �‬ ‫�‬ ‫�‬ ‫ا‬ ‫ا‬ ‫� او �ل�ى �َم����ا �����د � � او ����ي�ل���و���ا ���� ��و د يى‬

‫‪178‬‬

‫�����بي�ّل�ه ل��ن �ن ن‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫يى َ يى‬

‫� َْ‬ ‫�َ‬ ‫� او �ل‬ ‫حي���د � او �ل�ا ���ي�ل�ه‬

‫��بف�م�ا �������ا‬ ‫ي�‬ ‫َ‬

‫��َ َّ ن ن ا َ‬ ‫�� نَ����ط�� ���ه ا ��ي� ��ْ �م�� �نب���ا‬ ‫ي��بفر�‬ ‫��س� �َو ن�ع ي ٍر َ ل�يى َ رَ ٍ� ي�‬ ‫َّ‬ ‫�ا ن ْ‬ ‫كفَ ي� ��ل ن��ا ا �����ي�ل�ه � ��ل�ا �نَ�مَّه ��ل�نب�ا �نب���ا‬ ‫�و�ل� َد‬ ‫ر‬ ‫ي�‬ ‫َ و و‬ ‫َ نا َ ن ي � � � ا ن ْ ن‬ ‫�ب�ا ن �ل��ا‬ ‫��ن��ر�� �م�ي�ر ن�َ���� ا ��ل� ��� �م� �َل�‬ ‫َ�‬ ‫��نَ��ر ن� ري �‬ ‫�� نَ ْ � ا�‬ ‫�� ن� ا ��ي� �� ���د ا ��لَ�لن�� ��ا ���سس��ا‬ ‫َ ع�كي �‬ ‫�‬ ‫طو ا�‬ ‫�‬ ‫م‬ ‫ح �� �‬ ‫ل‬ ‫َر‬ ‫َ‬ ‫ي�‬ ‫و‬ ‫�يى ي ن ي �‬ ‫�كي� َ��� هي �نبف ���ي �َ�من�ّ� ������ا �ل���ا �َ�ب�ل�� ���ي��ا‬ ‫ع� ر‬ ‫ني �‬ ‫ني�‬ ‫�‬ ‫�‬ ‫َ ي َ ري ٍ‬ ‫� � َ‬ ‫��سّ �ل��ا‬ ‫��م ا � ا ي � ّ �ي ا‬ ‫ن‬ ‫��� َد �ل��ب� �َلَ ��� ن� ا � �ل���ع � او � ار م�يى ي� �وي�‬

‫‪١78‬‬

‫‪1،1،45‬‬

‫‪1،2،45‬‬

‫‪5،2،45‬‬

~ 45 ~

Rbayyiʿ al-ʿAbd 506 May illness not touch you, full-bosomed beauty:

45.1.1

let it strike Nifī, al-Ḥēd, and al-Athlah and remain!

Ibn Sbayyil Why does this dumb blacksmith, out of his depth,507

45.2.1

want to send his rotten old she-camel our way? Seek refuge from Satan! Why insult honorable men? We were not told about the illness and its causes. If she were born to a knight who wards off the enemy, we’d suffer it, but not the daughter of an oaf: A paunchy bitch, busy stuffing herself with food: dabb lizard, potbellied from porridge and eggs.508 If she gets to her feet, she staggers from side to side, a neighborhood she-ass bitten in the neck by a horny male; 509 After lunch, let loose, she runs free in the wadi: her hair rubs the earth where she’s thrown down and mounted.

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179

45.2.5

‫~ ‪~ 46‬‬

‫نْ‬ ‫�ّ‬ ‫ح ���ط ا ��ل�ا ن‬ ‫�ب�ا � ه ��ا �عَ�م����ا �ل�ن ��ا �ي��ا ��ب�د ا ��لَ��يْ��فَ ه ��ا ند ا �ن��ش��ا‬ ‫�‬ ‫و‬ ‫ي‬ ‫ى‬ ‫ن ر ن ي�‬ ‫َ‬ ‫ي ي ي‬ ‫ي‬ ‫ْ � � � ْ‬ ‫��يك �َ�سي� �لٍو‬ ‫ا �ع �� ي‬

‫�ْ ���صْ ا ن يَ نْ َ‬ ‫� �َ َ �ى ا �� �ليَ�بفْ ��ه � ا ���ا ��ل�ش��ا‬ ‫�َم�ي�ل َ ���ب� �ل�يى �� نه�� ور‬ ‫ري و ي �‬ ‫ج‬

‫‪180‬‬

‫‪١80‬‬

‫‪1،1،46‬‬

‫‪1،2،46‬‬

~ 46 ~

Ibn Thaʿlī 510 Pay the protection money, bleary-eyed villager511

46.1.1

pulling along a cow, holding it by the ears! 512

Ibn Sbayyil I’ll chuck you a bone, you mangy mutt:513 go bark outside the village to protect its people.

١8١

181

46.2.1

Notes

1

Q Anbiyāʾ 21:83–84, and Ṣād 38:41. The phrase, yā-ṣabr Ayyūb, is identical to the English expression, “to have the patience of Job.” It is listed as an Arabic saying in al-Juhaymān, Amthāl, 9, 159. In this and other poems Ibn Sbayyil addresses himself directly to God with a request to lighten his burden, with reference to the Lord’s servants who are named in the Qurʾan as beneficiaries of His acts of mercy.

2

Similarly, the poet Muṭawwaʿ Nifī prays: “By the life of Him who dressed date palms in

3

Q Yūsuf 12. Patience of a different kind is advised by Mḥammad ibn Li ʿbūn: “Riders, you

green and restored vision to blind Jacob.” Al-Masridī, Muṭawwaʿ Nifī, 107. are not on your way to bring Joseph to Jacob” (yā-rakb ma sirtū bi-Yūsif li-Yaʿgūb), i.e., “tarry for a moment until I have prepared my message for you to carry.” Al-Faraj, Dīwān al-Nabaṭ, 109. 4

Cf. Q Ṭā Hā 20:11, Shuʿarāʾ 26:10, Naml 27:8, Qaṣaṣ 28:30, Nāzi ʿāt 79:16, where Moses observes a fire in the sacred valley of Ṭuwā and where God calls to him and instructs him to teach Pharaoh a lesson. In each case the verb “to call, cry” (nādā) is used, as in this verse. In the Qurʾan it denotes the commencement of direct communication between God and one of the prophets, as when Job loudly calls God (Q Anbiyāʾ 21:83) or Jonah (Q Anbiyāʾ 21:87 and Qalam 68:48).

5

Q Anbiyāʾ 21:87, Dhū l-Nūn, lit. “the man of the whale,” i.e., the prophet Jonah (Ar. Yūnus). The poet Muḥammad al-ʿAbd Allāh al-Qāḍī from ʿUnayzah makes a similar appeal with reference to the prophets: “I suffer the misery of Job and the tribulations of Jonah” (w-bī ʿillat Ayyūbin w-ghirbāl Dhā n-Nūn). Al-ʿUbayyid, al-Najm al-lāmiʿ, 78.

6

Q Nabaʾ 78:80, “We taught him [David; Ar. Dāwūd] the making of coats of mail (labūs) for you to fortify you against your violence.” In heroic Nabaṭī poetry the same root (l-b-s, labisa “to wear, dress”) is used for a Bedouin knight dressed in a coat of mail: malbūs, pl. malābīs. Q Sabāʾ 34:10: “‘We taught him [David] to forge iron’” (lit., as in this verse, “‘to make it soft’”). It is already a common topos in pre-Islamic poetry, e.g., the line of Bashāmah ibn ʿAmr, “‘And double mail coats of David’s weaving−see how the sharp swords ring as they smite them!’” (wa-min nasji Dāʾuda mawḍūnatan / tarā li-lqawāḍibi fihā ṣalīlā). Lyall notes that the story “was widely spread in pre-Islamic Arabia, and ‘mail-coats of David’s weaving’ is a stock phrase.” Al-Mufaḍḍaliyyāt, 1, 89; 2, 27, 29.

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Notes 7

David and his son Solomon (Ar. Sulaymān) are paired in the Qurʾan, as here. God subjected (sakhkhar, in this Nabaṭī verse, ṣakhkhar) powerful winds to Solomon’s command (Q Anbiyāʾ 21:81, Sabaʾ 34:12, Ṣād 38:36).

8

This change to third person might be part of deliberate ambiguity about who is the subject of this poem, see next note.

9

ʿUrqūb was a man of the ʿAmālīq (the Amalekites of the Bible, named as one of the early tribes to speak Arabic) in Yathrib, later Medina, who promised his brother a share of his date harvest, but kept postponing until the dates had reached the last stage of ripeness, ruṭab. He then cut off the date bunches and kept them for himself. Hence the saying mawāʿīd ʿUrqūb, “ʿUrqūb’s promises,” i.e., insincere promises made with the intention to string someone along; also, akdhab min ʿUrqūb, “more mendacious than ʿUrqūb” (al-Maydānī, Majmaʿ al-amthāl, 1, 367–68); al-Juhaymān, Amthāl, 8, 260. The proverb occurs in a verse by ʿAlqamah al-Faḥl ( Jacobi, Poetik, 41); and in Kaʿb ibn Zuhayr’s “mantle” poem in praise of the Prophet Muḥammad: “She took the promises of ʿUrqūb as a model: vaporous pledges without substance” (kānat mawāʿīdu ʿUrqūbin lahā mathalan, wa-mā mawāʿīduhā illā l-abāṭīlū). One interpretation is that in these verses Ibn Sbayyil expresses his fear of Muḥammad ibn Rashīd (see n. 249). The poet’s prayers and dread of an unnamed companion (§1.10) conform to similar passages on the theme of the beloved’s whims and vain promises that compound his anguish, as in the identical simile by Kaʿb ibn Zuhayr (in Nabaṭī ghazals the male pronoun is used to denote the beloved). But these verses are atypical in Ibn Sbayyil’s ghazals. Perhaps then, there is indeed a deliberate ambiguity that hints at the poet’s apprehension about Ibn Rashīd’s opinion of him. Muḥammad ibn Sbayyil comments that the poet was promised a loan for his work in agriculture but did not receive it (Diwān, 152).

10

In poetry the exclamation “what is the use of ” (wish khānat al-), translated here as “why rejoice,” accompanies grief at the beloved’s departure with her tribe, or is an expression of general regret, as in Riḍā ibn Ṭārif al-Shammarī’s verse, “Oh, so uncertain is fate (wā khānt ad-dinyā); many a camp has become deserted” (Sowayan, “A Poem and Its Narrative by Riḍa ibn Ṭārif al-Shammarī,” 69). In poetry the words “nights” or “days” are often employed as synonyms for “inscrutable fate.”

11

This verse resembles one by Fhēd al-Mijmāj: “My heart is perplexed by the Bedouin’s departure; it squirms like a sick person when the hot branding iron touches his skin” (yā-min li-galbin min shidīd al-ʿarab jāḍ / ćimā yijūḍ ilā awnas al-kayy mamrūḍ)―referring to a common treatment in Arabia before the introduction of modern medicine (Ibn Junaydil, Aʿlām, 60). Also, this primeval scene of Arabic poetry could have been copied from ʿAlqamah al-Faḥl’s lines: “I was not aware of the coming separation until

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Notes they readied the camel train and the pack animals were strapped at dawn; / the tribe’s slave girls piled the loads onto the couched animals, and the burden was fastened with red-striped cloth” (lam adri bi-l-bayni ḥattā azmaʿū ẓaʿanan, kullu l-jimāli qubayla l-ṣubḥi mazmūmū / radda l-imāʾu jimāla l-ḥayyi fa-ḥtamalū, fa-kulluhā bi-l-tazīdiyyāti maʿkūmū) ( Jacobi, Poetik, 18–19). 12

Again, a noteworthy resemblance to the next verse in al-Mijmāj’s poem: “By God, when the Bedouin made up their mind, and you see the small tent of the beloved struck down” (lā w-allah illā ṣār li-l-badw niḍnāḍ, dūnik ḥajīr mghēzil al-ʿēn magḍūḍ). And in another, well-known, poem by al-Mijmāj: “By God, when the Bedouin depart on their migrations, all strike tent and load up their pack camels” (lā w-allh ilā shaddaw al-badw nijjāʿ, killin hadam mabnāh w-irtadd zamlih) (Ibn Junaydil, Aʿlām, 60, 56). Muṭawwaʿ Nifī uses the same opening line: “By God, when the Bedouin depart and rush off, heading upcountry toward al-Difīnah” (lā w-allah illa shaddaw al-badw ʿajlīn, ṭārīhum al-misnād yamm al-Difīnah) (al-Masridī, Muṭawwaʿ Nifī, 98). But al-Mijmāj’s appealing verses with scenes of Bedouin life, followed by verses extolling his beloved, do not reach the complexity, diversity, and finesse of layered construction of Ibn Sbayyil’s work. In these examples, the introductory particles and asseverations―for emphasis, but also as a metrical expedient―are similar to CA alā. “Kneel their animals,” lit. “to force the animal down and fetter its legs” (ʿafat, here in passive form, ʿfit, noun ʿaft; CA ʿafata “to bend”). When camels are thrown down (yaʿaftūnah) and fettered, they try to roll and kick wildly, stirring up clouds of dust on their resting place at the camp.

13

In these scenes, poets of the school of Ibn Sbayyil often use verbs with doubled roots in a way that reinforces the impression of urgency and speed, as in this verse the feminine plural haddann (the last consonant is doubled for metrical reason), “to strike down (the tent),” and ṭawwan, “to fold up (the tent).” Similarly, al-Mijmāj: “They folded up the tents and watered the animals and rushed off after their stay at the wells during the hot season” (ṭawwaw w-rawwaw w-intawaw ʿigb migyāẓ); “they ascended, plunged over the crest, and disappeared from view” (shaffaw w-haffaw w-ittigaw ʿigb al-iʿrāḍ) (Ibn Junaydil, Aʿlām, 61–62). Also, Burckhardt, Notes, 36: shaddaw w-maddaw, “they have broken up and are gone.”

14

The same image in a line by the pre-Islamic poet Zuhayr ibn Abī Sulmā: “Slave girls fetch the tribe’s camels and load them: it takes to midday amid the confusion” (radda l-qiyānu jimāla l-ḥayyi fa-ḥtamalū / ilā l-ẓahīrati amrun baynahum labikū) (Sharḥ dīwān, 164: the first hemistich is almost identical to a hemistich in ʿAlqamah’s lines quoted in n. 11). Burckhardt notes the widespread presence of slaves among the Bedouin of the Syrian desert: “There are but few sheikhs or wealthy individuals who do not possess a

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Notes couple of them” (Notes, 356–57). And: “To every tent, or to every two or three tents, there is a shepherd, or person to attend the cattle, either a younger son, or a servant” (ibid., 181–83). 15

“Intrepid knight”: khayyāl min garribat bih, lit. “a knight [who is lethal] to those who come close [in the attack],” a standard expression in Nabaṭī poetry.

16

A reference to the well-attested contrast between camel-raising Bedouin and (semi-) nomads who specialize in herding sheep (shāwī). The latter are considered less mobile and warlike than the camel nomads, and therefore inferior to them. This distinction has become a literary motif, as in the poems of ʿIdwān al-Hirbīd and their associated narratives, in a nineteenth-century setting in the Nafūd desert of northern Arabia among the tribes of the Shammar confederation. The inability of sheepherders to keep pace with their camel-raising colleagues on their migrations is a stock element of these tales, e.g., Sowayan, Ayyām al-ʿarab al-awākhir, 197, about al-Hirbīd’s vain attempts to keep up with the camel nomads, a venture into which he is forced by his wife: “‘Listen, my dear cousin, it is not that I do not want, but we cannot keep up with them; they are camel owners who go where fancy takes them, and they leave us far behind.’ But she said: ‘By God, I will no longer stay with you if you part ways with them.’” This was also the reason for his quarrel with other Bedouin poets that prompted the composition of his famous poem “al-Shēkhah.” (Ayyām al-ʿarab, 215–20).

17

As in the saying “they are like Bedouin who break up camp” (ćinnihum badwin shāddīn), explained as “the hustle and bustle of the Bedouin’s preparations for departure when their shouts mix with the noise made by the animals, creating a din that unsettles those not used to it”; it also has the general meaning of “pandemonium.” The same meaning is conveyed by the expression “they are like Bedouin who water their herds at the well” (ćinnihum badwin wārdīn) (al-Juhaymān, Amthāl, 6, 175–76). Like much in this poetry, the motif ’s antecedents are old, e.g., it echoes the muʿallaqah poem of al-Ḥārith ibn Ḥillizah: “They collected their belongings in the evening, and next morning they awoke with a terrible din: people shouting and others calling back, horses neighing, and camels roaring” (ajmaʿū amrahum ʿishāʾan fa-lammā, aṣbaḥū aṣbaḥat lahum ḍawḍāʾū / min munādin wa-min mujībun wa-min taṣ, hāli khaylin khilāla dhāka rughāʾū) (al-Zawzanī, Sharḥ al-muʿallaqāt, 158).

18

“Reports,” lit. “it is mentioned, reported to them [by scouts or travelers] . . . with a precise description” (yidhkar luhum . . . b-natbih; the Najdī verb nitab, nattab means “to inquire about the origins, the conditions of someone or something”; mnattabah is said about a pedigreed horse or camel (CA bannata; the Najdī usage is a case of transposition of consonants). Al-ʿUbūdī, Muʿjam al-uṣūl.

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Notes 19

Lit. “It [the eye] arrives at their lookout and surveys the scene.” The plural pronoun refers to the departed tribe and may refer to the elevation’s nearness to their camp, now abandoned, or it may be a synecdoche for the entire scene of separation from the beloved and her kin: the departure of the tribe, the deserted camp, the camel train disappearing over the horizon, the disconsolate poet watching from a lookout.

20

As in the saying: “One’s feet walk according to the heart’s inclinations” (ʿalā naḥāyā algalb yamshin al-agdām), to express the driving force of inner motivation (al-Juhaymān, Amthāl, 4, 392). Al-ʿUbūdī, Amthāl, 852–53 points to a similar verse by al-ʿAbbās ibn al-Aḥnaf: “Your feet will try to run with you to the beloved, but only because it is ordered to do so by the heart” (tarā al-rijlu qad tasʿā ilā man tuḥibbuhu, wa-mā l-rijlu illā ḥaythu yasʿā bi-hā al-qalbu). And in the muʿallaqah poem of Imruʾ al-Qays: “You were emboldened by seeing me killed by love for you, and your belief that the heart will do whatever you order” (agharraki minnī anna ḥubbaki qātilī / wa-annaki mahmā taʾmurī al-qalba yaf ʿalī) (al-Zawzanī, Sharḥ al-muʿallaqāt, 15). Here the heart is merely an instrument for the beloved to exercise power over the poet-lover.

21

“Ordered [ . . . ] to give satisfaction (mistaʿatbih),” i.e., by the heart (CA istaʿtabtuhu

22

Ibn Sbayyil ran a shop in the market street near his house that catered to the needs of

fa-aʿtabanī “I asked him for satisfaction and he satisfied me”). the Bedouin. 23

This would be around four o’clock in the afternoon, when the social life resumes after a noon pause and the afternoon prayers.

24

See introduction, p. xxv, on the placid mind, dilūh. It has the general meaning of “mindless” in early classical poetry, e.g., in the muʿallaqah poem of al-Ḥārith ibn Ḥillizah: “Seeing the site empty of its former inhabitants, I cry all day with mindless abandon (dalhan), though crying does not bring her back” (lā arā man ʿahidtu fa-abkī al-/yawma dalhan wa-mā yuḥīru l-bukāʾū). Al-Zawzanī, Sharḥ al-muʿallaqāt, 155.

25

As in the Najdī saying: “He pulled him with all his power as a bucket is hoisted from a well” (tallih tallat al-gharb li-rshāh). Al-Juhaymān, Amthāl, 133–34.

26

Lit. “A she-camel that remained without young and therefore has a surplus of strength compared to camels with calves.” In addition, it is unruly because it has not been trained for the grinding work as an animal used for traction at the well.

27

“They reckon it a hard lot to be a well-driver, and break the night’s rest [ . . . ]. They are the poorest young men of the village, without inheritance, and often of the servile condition, that handle the well-ropes, and who have hired themselves to this painful trade.” Doughty, Travels in Arabia Deserta, 1, 594; for similar citations, see Bräunlich, “The Well in Ancient Arabia,” 515.

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Notes 28

The verb amras, “to slip off,” is used when the rope that holds the heavy bucket slips off the pulley sheave and the bucket plunges back into the well (CA amrasa). Al-ʿUbūdī, Muʿjam al-uṣūl.

29

In this verse the Arabic suddenly changes into second person address, lit. “it is as if you are urging him [the slave] and shouting to him to drive the camel as hard as possible.” The poet has adopted this feature from “Bedouin” oral narrative style: this use of the second person suffix pronoun, “the –k of courtesy . . . projects the oral nature of the narrative performance” (Sowayan, The Arabian Oral Historical Narrative, 52). In the translation this idiosyncrasy has been omitted.

30

As in the early classical line: “The sides of the buckets knock against the sides of the shaft” (taḍribu aqṭāru l-dilā jirābahā). Bräunlich, “The Well in Ancient Arabia,” 304, 505–6.

31

This line has become proverbial as an exclamation of regret and yearning for loved ones that have gone, perhaps forever (al-Juhaymān, Amthāl, 10, 371). Its repetitive phrasing in the Arabic―which translates literally as “loving loved ones”―reinforces the plaintive yet soothing harmony of long vowels and soft consonants that in English would sound: yaa-ʿeen ween (“ee” pronounced as a lengthened “ay-” in “lay”) aḥbābć illi tiwiddiin (“ii” pronounced “ee” as in “see”). Remarkably, the lyrical note struck in the initial line is not further developed in the poem. Rather, it continues to elaborate on the second hemistich with images from the cycle of the Bedouin’s seasonal migrations.

32

In al-Bulayhid, Ṣaḥīḥ al-akhbār ʿammā fī bilād al-ʿArab min al-āthār, 2, 203, the second hemistich reads: “Who wander to lush herbage on rain-fed pastures” (illī ilā zāf al-ḥaya rabbaʿaw bih).

33

A verse similar to one by Fhēd al-Mjimāj, see introduction, n. 1.

34

The space where the herds rest is covered with their droppings, which turn into dust that is scattered by the wind.

35

That is, early autumn before the last two of the seven stars of Ursa Major make their appearance.

36

The second hemistich is particularly dense in meaning. The pack camels (zaml) set out from Nifī to travel to lower country (ḥaddar), i.e., east or northeast toward al-Yamāmah and beyond toward al-Aḥsāʾ province and the Gulf, in order to stock up on dates and other staples, and possibly ropes and utensils. The caravan that carries the goods and chattels, women and children (ẓaʿn, similar in meaning to al-ẓaʿīnah of early classical poetry) is preceded by the armed men who lead their horses alongside their riding camels (salaf). This caravan heads west toward the higher ground (sannad) of their new camping ground on the pastures of High Najd, which usually receive a relatively greater

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Notes share of rainfall. The ẓaʿn is of special concern to the poet because it carries away his beloved on one of the camel chairs. He would stop her if he could, as ʿAmr ibn Kulthūm says in his muʿallaqah poem: “Stop the camel train before we separate, and give us a chance to speak our minds and know for sure; / stop and let me ask you if it was forced by your tribe’s departure, or have you betrayed a trusting friend?” (qifī qabla l-tafarruqi yā ẓaʿīnā / nukhabbirki l-yaqīna wa-tukhbirīnā; qifī nasʾalki hal aḥdathti ṣarman / li-washki l-bayni am khunti l-amīnā). Al-Zawzanī, Sharḥ al-muʿallaqāt, 119. 37

Because the Bedouin, and with them the poet’s beloved, migrated to the pastures as soon as they received these reports, leaving the bereaved village poet behind. Also, the shaykh does not tell anyone where they are headed for, see §24.27 and n. 288.

38

In this and the preceding three verses, the poet achieves the feat of squeezing in various types of rains, associated stars and seasons, and pastures. The stars mark the end of the hot season, spent at Nifī’s wells, when the Bedouin set out for the pastures of early fall, miṣfār. They had been told that there was plenty of herbage left from the previous year’s late-fall and winter rains; in that high country the moisture had been replenished by floods that occurred in late spring, close to the beginning of the hot season (al-gēẓ). Literally, the Arabic says “toward the end of the eclipse” (al-kannah), that is, the disappearance of the Pleiades from 28 April to 6 June, which traditionally signals the onset of the great summer heat (al-ʿUbūdī, Muʿjam al-anwāʾ, 248–50). In other words, the area had hardly been dry that year: the rains of winter were followed by the rains of late spring. The hyperbole is Ibn Sbayyil’s, but the topos is also found in the work of other poets of his group. Al-Mijmāj, the poet stylistically closest to him, depicts Bedouin who at the end of summer set out in the direction where they espied distant lightning. He adds that the green in that area is mixed with plants that have held out since the rains of late spring, ṣēf (Ibn Junaydil, Aʿlām, 61).

39

Lit. “food from God’s house,” i.e., Mecca, for the rice is imported through the Red Sea harbors.

40

Either their calves are slaughtered for food, in which case the mother moans incessantly, or because they are not impregnated and are kept as riding camels. The incomprehensible grumblings refer to the language spoken by soldiers of a regular army, as in the line of Riḍā ibn Ṭārif, “Their grumblings resemble the speech of men wearing a red fez” (yashdin riṭīn illī ʿalēhum ṭarābīsh), i.e., Ottoman Turks. Sowayan, al-Ṣaḥrāʾ, 601, and “A Poem and Its Narrative.”

41

Bedouin know the precise borders of their tribal homeland (dīrah), even without the use of maps. The borders of these ranges are specified in poems, together with various landmarks, often in conjunction with descriptions of thunderstorms and lands

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Notes showered with rains (as in the final verses of Imruʾ al-Qays’s muʿallaqah poem), see the chapter “The Borders of the Tribal Land” in Kurpershoek, Oral Poetry, 4, 464–83. A horse, usually a mare, is a Bedouin warrior’s most prized possession and fed with dainties (mabrūrah) and the best available food (see also §13.11). It is given precedence over the other members of the owner’s household so that it is always in excellent shape for the hour of need, for example to overtake rustlers who drive away the camp’s camels. Bedouin raiders would always try to capture the best animals on their raids, and therefore the milk of a stolen she-camel can be expected to be even more nutritious and tasty than that of other camels. Doughty notes: “They milk first for the mare and then (often in the same vessel) for the nomad household” (Travels, 1, 304). In early poetry the same point is made, e.g., the line of Jarīr (d. 110/729): “That is why we come well prepared: for such occasion we feed our horses milk and cover their backs” (innā ka-dhāka limithli dhāka nuʿidduhā / tusqā l-ḥalība wa-tushʿaru l-ajlālā) (Abū Tammām, Naqāʾiḍ Jarīr wa-l-Akhṭal, 96; Bakhouch, La rivalité d’honneur, 96). And the pre-Islamic poet Mutammim ibn Nuwayrah says: “He [the horse] gets the collected milk of many shecamels [ . . . ]” (al-Mufaḍḍaliyyāt, 2, 22). 42

The comparison of warhorses to birds of prey is a common one and derives from its movements, as explained in the verse by al-Dindān: “They [the horses] are like kites― pouncing, flying up, and pouncing again” (mithil al-ḥadāyā b-mirkāḍin wa-misnādī) (Kurpershoek, Oral Poetry, 1, 105); also in ancient poetry, e.g., al-Muzarrid, “When the horse is seen with the rider mounted, men say, ‘A hunter’s falcon!’” (matā yura markūban yuqal bāzu qāniṣin) (al-Mufaḍḍaliyyāt, 1, 165; 2, 58).

43

The horse’s response to the pull of the reins is so eager that the reins seem to fold in two as its head rears and almost reaches the rider’s shirt. In this position it resembles a pregnant camel’s tail, which she raises to signal her unavailability to studs. The line is also a saying: “He holds his head high, like the raised tail of a pregnant she-camel” (rāfiʿin rāsih mithl al-muʿashshir), i.e., “he is arrogant, conceited” (al-Juhaymān, Amthāl, 3, 160). The same image is used for a spirited riding camel in the muʿallaqah poem of Ṭarafah: “And if you wish you can raise her head to the height of the saddle’s pole” (wa-in shiʾta sāmā wāsiṭa al-kūri raʾsuhā), i.e., if he pulls the reins he makes her raise her head to the same height as the spot where the rider puts his feet on the saddle’s cushion (al-Zawzanī, Sharḥ al-muʿallaqāt, 56; al-Tibrīzī, Kitāb sharḥ al-qaṣāʾid al-ʿashr, 39).

44

Cf. Ḥmēdān al-Shwēʿir’s similar boast: “We dug up the well of revenge when it had over time become filled with the drifting sands of neglect. / We blew on its fire, wellnigh extinguished, until the tongues of flame shot up in a roaring blaze” (Kurpershoek, Arabian Satire, 117).

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Notes 45

See n. 287. The image is akin to the one in which camels are shackled in battle, as in al-Dindān’s line: “The camels are hobbled with iron chains and driven steadily” (ṣikk al-jimal b-al-ḥadīd w-ʿajjalaw sōgih), as a sign of the tribe’s commitment not to yield. Kurpershoek, Oral Poetry, 1, 105; 4, 477n.

46

Battles are likened to markets where goods are bought and sold. In this case, brave warriors do not hesitate to risk their lives, i.e., offer them for sale, and take the life of others, i.e., buy them.

47

See nn. 179 and 417. In pitched battle, warriors would be whipped into a fighting frenzy by shouts of young women riding in an ornamental litter chair, occasionally baring their shoulders (Musil, Rwala, 214–15, 540–41; Hess, Von den Beduinen des Innern Arabiens, 53, 101). “If a girl or a woman wants to encourage her kinsmen to the greatest bravery in a dangerous fight, she does so not by words alone but also by significant deeds. So, for instance, she opens her dress on the breast as a sign of how she means to reward the bravest. Her lover then forgets everything else, only wishing not to perish in the fight, in order that he may enjoy the promised reward, Musil,” Rwala, 223. The presence of women at the battle also encourages the tribe’s warriors to do their utmost for fear the women will fall into enemy hands, as in early classical poetry, e.g., the muʿallaqah of ʿAmr ibn Kulthūm: “We prevent at all cost the humiliation of seeing the beautiful women at our side parceled out as booty” (ʿalā āthārinā bīḍun ḥisānun / nuḥādhiru an tuqassama aw tahūnā) (al-Zawzanī, Sharḥ al-muʿallaqāt, 132). Similarly, before Islam women would accompany warriors to battles to ensure they would fight to death rather than flee in ignominy. For the same reason some Bedouin tribes would drive their most prized herds into battle, see Kurpershoek, Oral Poetry, 1 n. 16.

48

In al-Faraj’s edition, Dīwān al-Nabaṭ, 190, the next verse corresponds to this edition’s §3.15.

49

The raiders would send scouts out to reconnoiter the terrain and presence of the enemy’s herds. The scout would be entitled to an additional she-camel when the raid leader divided the plundered herd. Sowayan, Ayyām al-ʿarab, 610, about the poet Abū Zwayyid’s role as a scout.

50

If their herds graze on a distant pasture, accompanied only by a few men (ʿazīb), the animals are under threat of being raided by enemies. In that case, they lose no time in rallying to their assistance, chasing away the raiders, and ensuring the safety of the herd. On the other hand, they invariably return with captured animals from their own marauding expeditions, and on the raid’s eve tell their herdsmen to expect good tidings, i.e., captured animals, as additions to their herds.

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Notes 51

In raiding lore, singing is usually reserved for the moment when the raiders and their booty have returned to the safety of their own tribal territory. For instance, Passage of Singers (Rī ʿ al-Mghannī) in the northern area of the Nafūd desert, is so named because when raiders of the ʿAnizah or Shammar tribes would cross it into their own territory, they would feel safe and start singing. Sowayan, The Arabian Oral Historical Narrative, 163. Perhaps here it is meant to glorify this tribe’s undisputable superiority.

52

Among Ibn Sbayyil’s love lyrics, this is one of the simplest, more in the nature of a song. It is a convention to hide the identity of the beloved and to address her as “Miss X.” In poetry, the most common name used for this purpose is Zēd (CA Zayd). It is another convention to use the masculine pronoun and suffix for the beloved.

53

When the beloved is not open to amatory advances by the lover-poet the verb ṣadd, “to rebuff,” is used (as in classical poetry ṣudūd or hajr, Bauer, Liebe und Liebesdichtung, 354), frequently, as here, after she has shown herself receptive to being courted. In classical poetry, this coldness of the beloved came to substitute for the physical separation in earlier poetry, firāq or bayn, due to the different migratory paths of Bedouin groups― terms that are also used by Ibn Sbayyil and other Najdī poets in a context of scenes from Bedouin life. Instead of ṣadd, the poet also uses the verb ag fā (CA qafā), “to turn one’s back,” here with the meaning “to give the cold shoulder.” In the latter case, in the absence of any sign of reciprocity, Ibn Sbayyil’s lover-poet desists from further attempts. See introduction, pp. xxv, xxviii.

54

See n. 80 to §6.13 on the runaway camel as a metaphor for the heart that absconds to escape the dictates of reason.

55

Lit. “an old man (ʿōd, CA ʿawd) who dotes (mihrāʿ, CA muhraʿ ‘anxious, eager because of anger, fear, desire’) on his grandson (ṣīb).”

56

See n. 68 to §6.3 on the topos of hiding one’s feelings and n. 67 to §6.1 on the lover’s ordeal and patience in suffering.

57

§8.11 is the same verse. The lover’s foolishness versus good sense frequently occurs as a theme in early Arabic poetry, as in Abū Dhuʾayb’s similar line: “If you call me foolish toward you, you made me buy good sense with my foolishness. / My friends said, ‘You lost in the bargain,’ while I thought the opposite; who is right?” (fa-in tazʿumīnī kuntu ajhalu fīkumū, fa-innī sharaytu l-ḥilma baʿdaki bi-l-jahlī / wa-qāla ṣiḥābī qad ghubinta fa-khiltunī, ghabantu fa-mā adrī a-shakluhumū shaklī). Dīwān Abī Dhuʾayb, 185, and Jacobi, “Die Anfänge,” 240–41.

58

In early Arabic ghazal poetry this topos is already part of the inventory, as in this line by

ʿUmar ibn Abī Rabī ʿah: “When I tell my heart that she is not worth dying for from love,

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Notes it mutinies; censure only makes it worse” (idhā qultu lā tahlik asan wa-ṣabābatan, ʿaṣānī wa-in ʿātabtuhū zidtuhū jiddā). Dīwān, 104. 59

“White in the flanks,” a camel epithet to denote a hardy mount whose flanks have gone white because of the constant rubbing of the rider’s feet on long journeys. Muṭawwaʿ Nifī composed a poem on a similar occasion when tribesmen of al-Fuḍūl―according to another version, al-Bgūm―stole small cattle from the people of Nifī (al-ʿUmarī, Dīwān Suʿaydān ibn Musāʿid Muṭawwaʿ Nifī, 19, and Poem 42.10). It is Ibn Sbayyil’s only poem composed in a meter of exclusively long syllables (see Kurpershoek, Arabian Satire, xxxiv); and with a strophic rhyme, AAAX, BBBX, and so on, called mrawbaʿ. See Sowayan, Nabaṭi Poetry, 174, and Kurpershoek, Oral Poetry, 1, 65–66.

60

The poet ʿAbd Allāh al-Luwayḥān, born in Nifī, dates this poem to 1899/1900, when a number of sheep owned by people of Nifī were stolen by Bjād al-Kharrāṣ of the ʿUtaybah tribe. At that time the town had an agreement with Ṣnētān al-Ḍīṭ, a chief of al-ʿIḍyān of ʿUtaybah, to provide protection against other ʿUtaybah tribesmen (see introduction, p. xxvi, and the section with invective poetry, Poems 42.1–46.2). By coincidence, four days before the event, six men of al-Ghanānīm of ʿUtaybah had stayed at the house of Ibn Sbayyil, who had entertained them as the town’s headman. He had given them provisions for the road and they had drunk milk of his sheep and goats, which according to tribal custom would oblige them to intervene in his favor in case of any misdemeanor against him by their fellow tribesmen (§§5.31–32). Indeed, al-Ḍīṭ took action and succeeded in recovering most of the animals for the owners, but a few, including one held dear by Ibn Sbayyil (§5.41), were not among them. On that occasion, Ibn Sbayyil composed this poem and sent it to al-Ḍīṭ (al-Luwayḥān, Rawāʾiʿ min al-shiʿr al-nabaṭī, 152–55). The story and some of the verses are also found in the manuscript of al-ʿUbayyid, al-Najm al-lāmiʿ, 79, as an example of the payment of protection money (khafārah) and its connection with the honor of the protecting tribe. According to this version, the animals were returned and the perpetrator of this violation of custom, Bjād, was killed by tribesmen of al-Ghbayyāt of ʿUtaybah.

61

Lit. “it disappeared, was lost without compensation” (CA ṭall “blood spilled without compensation”).

62

Lit. Ḥnēf and Nāyif, i.e., the common sort; men without distinction.

63

Mārig, one of al-ʿIḍyān to whom the poet’s appeal was addressed in §5.7.

64

Humorously, the poet lets the sheep make the appeal, in §5.15, and here confirms that it is answered. The verb nakhā means “to invoke someone’s honor in an appeal for assistance by shouting the person’s battle cry, nakhwah.” “Whoever hears his own war cry

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Notes uttered by an oppressed man feels ashamed and has to give help or else lose his reputation.” Musil, Rwala, 503. 65

Shāliḥ al-Ḍīṭ, the shaykh of al-ʿIḍyān.

66

Possibly, the feat described in §§5.57–63 is the imagined result of the poet’s appeal, which his messenger conveyed to al-ʿIḍyān. It is hard to determine whether the poet is entirely serious in his appeal. As often with Ibn Sbayyil, the poem has a certain tonguein-cheek quality.

67

On the lover’s ordeal as a test (imtiḥān) of his devotion and stamina in the pursuit of passion, see introduction, pp. xxii, xxviii and its n. 63. The topos is identical in classical poetry, as in the verse of Khālid ibn Yazīd, “Do not put my endurance to the test by turning away from me, because my capacity for enduring has reached its limit” (lā tamtaḥin ṣabriya bi-l-hajri fa-innanī ṣifrun mina l-ṣabrī). Bauer, Liebe und Liebesdichtung, 395. See also §13.5.

68

The lover-poet’s struggle to hide his feelings is found in similar words in early poetry, as in this verse by al-Nābighah al-Dhubyānī: “I kept it a secret for you that I spent my night at Jamūmayn sleepless, that my grief is twofold, one hidden, the other known” (katamtuka laylan bi-l-Jamūmayni sāhirā, wa-hammayni hamman mustakinnan wa-ẓāhirā) ( Jacobi, Poetik, 88; al-Nābighah al-Dhubyānī, Dīwān, 63). In early poetry it is also used for any secrets of a person who dissembles his true sentiments, as in the muʿallaqah poem of Zuhayr ibn Abī Sulmā: “He kept it a secret hidden inside, never showing his real intentions before he embarked on his plans” (wa-kāna ṭawā kashḥan ʿalā mustakinnatin / fa-lā huwa abdāhā wa-lam yataqaddamī) (al-Zawzanī, Sharḥ al-muʿallaqāt, 83). In §14.2.47, the same word, mistikinnah, is used for the poet’s beloved, “well-hidden inside her tent.”

69

See introduction, p. xxv, §§26.14 and 33.6, and nn. 133 and 346 on the poet’s compulsive need to divulge his secret.

70

The metaphor of love as a disease of the heart is ubiquitous in early poetry, e.g., the line by ʿUmar ibn Abī Rabī ʿah: “My love for you makes me sick at heart, and wildly roused at the dove’s mournful cooing” (wa-ḥubbuki dāʾun li-l-fuʾādi muhayyijun, safāhan idhā nāḥa l-ḥamāmu l-hawātifū). Dīwān, 256.

71

That is, only reunion with his beloved can cure his illness, as in the saying: “My heart has a bleeding wound and can only be cured by the one whose arrow hit it” (galbī ṣiwīb w-ad-dwā ʿind rāmīh) (al-Juhaymān, Amthāl, 10, 259–60) and as in the poetry of the eighteenth-century Najdī poet Rumayzān ibn Ghashshām (see Kurpershoek, Arabian Satire, xiv): “She is my ailment, misery and disease, and she is the cure that revives the dead,” Sowayan, al-Shiʿr al-nabaṭī, 458. See also n. 123 and §27.1.3 on the heart in

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Notes agony. An early example of this trope occurs in a poem by al-Marrār ibn Munqidh: “She is my malady and my healing rests with her; if she withholds the cure, it will be hard to overcome” (wa-hya dāʾ ī wa-shifāʾ ī ʿindahā / manaʿathu fa-hwa malwiyyun

ʿasir) (al-Mufaḍḍaliyyāt 1, 159; 2, 54). Majnūn Laylā expresses it in a more direct way: “As remedy for my love of Laylā, I treat myself with Laylā, as the drinker of wine treats himself with wine” (tadāwaytu min Laylā bi-Laylā ʿani l-hawā, kamā yatadāwā shāribu l-khamri bi-l-khamrī) (al-Farrāj, Dīwān Majnūn Laylā, 160). 72

The beloved is referred to conventionally in the masculine form, but in the translation the feminine form is used.

73

Reading from the Qurʾan was commonly recommended as a treatment for the sick. The contrast with the preceding risqué line is amplified in the next verse. According to al-Faraj, Dīwān al-Nabaṭ, 204, the words ḥarf al-Grān, “letter of the Qurʾan,” is a reference to the letter nūn and its likeness to the line of the beloved’s eyebrows. The poet’s choice of image may stem from a visual experience, i.e., an illiterate’s fascination with a beautiful script, hence his comparison of the beloved’s eyebrows to a line of elegant writing (communication from Saad Sowayan).

74

Lit. “Before it melts and meets its fate at the appointed time.” Bauer, Liebe und Liebesdichtung, 373, mentions the topos of the lover’s “melting away,” dhāba, and his “rotting away,” baliya.

75

A standard epithet of the beautiful lady without mercy: she is pitiless in letting the poetlover yearn for more, as in the phrase of Abū Tammām: “You have no compassion for me” (lasta tarḥamunī). Bauer, Liebe und Liebesdichtung, 451.

76

On the parallels between §§6.10–12 and lines by ʿUmar ibn Abī Rabī ʿah, see introduction, p. xxii, and nn. 82 and 129 below. See also his lines: “If you kill me for no reason, wrongly, as a desperate lover I tell you: / ‘Enjoy murdering my pure affection, my fondness of you received a whipping with my own flesh and blood!’” (fa-in taqtulī fī ghayri dhanbin aqul lakum, maqālata maẓlūmin mashūqin mutayyamī / hanīʾan lakum qatlī wa-ṣafwu mawaddatī, fa-qad sīṭa min laḥmī hawāki wa-min damī) (Dīwān, 345). Or al-Walīd ibn Yazīd, “It is not fair to treat a lover cruelly” (wa-laysa ḥaqqan jafāʾu man waṣalā) ( Jacobi, “Al-Walīd ibn Yazīd,” 148). The line of Ibn Sbayyil is also a popular saying to describe the torments lovers inflict and suffer (al-Juhaymān, Amthāl, 7, 179–80).

77

The shape of a cross is used as a brand by the Mzēnah tribe of the Ḥarb confederation; the three vertical rings by al-Maghāybah tribe of the Ṭalḥah division of al-Rūgah of

ʿUtaybah. This original simile is quoted as indicative of Ibn Sbayyil’s deep and sympathetic knowledge of Bedouin life.

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Notes 78

A well-known saying: “Wounds call for revenge” (al-jrūḥ gṣāṣ), i.e., “one should respond in kind” (al-Juhaymān, Amthāl, 2, 195). ʿUmar ibn Abī Rabī ʿah lays down the same rule: “[Kill him without ado or torture] Or seek compensation by killing the killer, as detailed in the scripture, ‘a life for a life’” (aw aqīdī fa-innamā l-nafsu bi-l-nafsi qaḍāʾan mufaṣṣalan fī l-kitābī) (Dīwān, 45); and: “Whoever slays a soul as you do is an oppressor and must pay for his injustice with his own life. / As revenge and redress, I only wish for you, so why not bestow that kindness on me?” (man yaqtuli l-nafsa kadhā ẓāliman, wa-lam yuqidhā nafsahū yaẓlimī / w-anti thaʾrī fā-talāfay damī, thumm ijʿalīhi niʿmatan tunʿimī) (Dīwān, 389).

79

Such condescending kindness shown by the beloved is the minimum ʿUmar ibn Abī Rabī ʿah hoped for: “My darling, please be kind, don’t you see how sadness floods my eyes with tears?” (yā-khalīlu rbaʿan ʿalayya wa-ʿaynāya, min al-ḥuzni tahmulāni btidārā). Dīwān, 161. Also in §19.10.

80

Lit. “she made my camel run away,” also §4.6; i.e., instead of bestowing kindness on him, she keeps him in suspense. In ghazals the heart, or soul, is frequently compared to a runaway camel that escapes from the unpalatable commands of reason (ʿagl) and will only be retrieved by its owner if he shows understanding for its feelings and if the beloved has some compassion for the heart’s predicament. See also §13.35 and §29.13. An early equivalent for it is the line by Ṭarafah: “Salmā ran away with all of your sound judgment, a prey that she ensnared in her nets” (wa-qad dhahabat Salmā bi-ʿaqlika kullihī, fa-hal ghayru ṣaydin aḥrazathu ḥabāʾiluh) ( Jacobi, Poetik, 128). The idea of the heart as runaway camel is expressed in this verse of Abū Dhuʾayb, with ʿāzib in lieu of dhihīb: “The yearning cooing of the dove stirs my heart, and reawakens in me a distant love that lay dormant” (tadʿū l-ḥamāmatu shajwahā fa-tahījunī, wa-yarūḥu ʿāzibu shawqiya l-mutaʾawwibū) (Dīwān Abī Dhuʾayb, 23, and Jacobi, “Die Anfänge,” 241–42). Here the meaning of ʿāzib is “distant, alone, and lonely.” Also, “camels that pasture far away,” as in al-Nābighah’s similar verse, “the night brought back to me the distant herd of my sorrow, and from all sides increased its size twice” (wa-ṣadrin arāḥa l-laylu ʿāziba hammihī / taḍāʿafa fīhi l-ḥuznu min kulli jānibī) (Dīwān al-Nābighah al-Dhubyānī, 9). In contemporary Bedouin vocabulary an ʿazīb is a herd of camels that spends the night or several nights at pasture at a considerable distance from the camp before rejoining the main body of the group (see n. 50). In all cases the same notion is expressed: the poet-lover’s heart, or memory of his beloved, disappears into the desert and he goes in search of it, or it is brought back to him (ʿazaba ʿanhu ḥilmuhu, “his common sense left him”; kalaʾ ʿāzib, “untrodden pasture”; aʿzabu ʿan al-māʾ, “far from water”; ʿazabat al-ibl, “the camels were far away in the pastures and did not return to camp at night,”

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Notes Ibn Manẓūr, Lisān al-ʿArab, 2923–24). The verb in Abū Dhuʾayb’s line, “it stirred me,” tahījunī, is common in nasīb-style opening lines. In Nabaṭī poetry the equivalent is the verb hāḍ or hayyaḍ (CA hāḍa, “to renew the pain,” as in hāḍa al-ḥuzn qalbah, “his heart was afflicted by grief time and again; to be stirred; to bring someone in the mood for composing poetry,” Hess, Von den Beduinen, 143); it refers to the cause of the poet’s mental agony and indicates the onset of emotions that transport him into a mood conducive to the composition of poetry. See Kurpershoek, “Heartbeat,” 42. 81

A variation on the saying “One’s own life is of more immediate concern than even one’s parents” (al-rūḥ abdā min al-wālidēn), used as an excuse for people’s tendency to give priority to their personal interests. Al-Juhaymān, Amthāl, 3, 207.

82

The same image occurs in §35.11: the poet-lover as servant slave who likes to be ordered around. It is a common motif in the seventh-century ghazal poetry of ʿUmar ibn Abī Rabī ʿah, e.g., in the verses: “Don’t slay me; seeing me so devoted in my love for you, should convince you that killing me is wrong. / I said to her, ‘By God, I am at your beck and call, obedient in word and deed’” (fa-lā taqtulīnī in ra’ayti ṣabābatī, ilayki fa-innī lā yaḥillu lakum qatlī / wa-qultu la-hā wa-llāhi mā ziltu ṭāʾiʿan, lakum sāmiʿan fī rajʿi qawlin wa-fī fiʿlī) (Dīwān, 304). This is a measure of the poet-lover’s ṣabr, “patience,” but in ghazals it more often denotes his willingness, or even eagerness, to submit to his ordeal (imtiḥān), defined by Ibn Qayyim al-Jawziyyah as ṣabr ʿalā ṭāʿatih, “obedient and uncomplaining subservience to the beloved” (Kuntze, “Love and God,” 164; Bauer, Liebe und Liebesdichtung, 397). Endurance and the condition of a slave are merged into absolute obedience in the literal sense, al-samʿu w-al-ṭāʿatu, as mentioned by Bauer, Liebe, 413, and in §§18.17–18 in the double sense of not obeying the censurers, mā asmaʿ wlā aṭī ʿ, and complete obedience to the beloved, li-mā yahwāh sammāʿ wi-mṭī ʿ. The same topos is found in two verses that end a poem by another member of Ibn Sbayyil’s “school,”

ʿBēd ibn Hwēdī: “How I wish to be her slave, servant, and captive; a slave called Frēḥān, always at her beck and call. / My desire is to slave away for them, from ‘good morning’ to my last gracious bow, ‘a pleasant evening.’” (yā-lētinī b-al-milk lih khādimin w-asīr, w-abā ajhad luhum b-al-nōb w-ismī Frēḥān / abā ajhad luhum b-al-nōb w-aṣabbiḥih b-alkhēr, w-amassīh ʿafw rḍāh ilā jā massayān) (Ibn Junaydil, Aʿlām, 153). In a related simile, the slave is the one who unjustly treats the camel used to draw water, while for the poetlover this camel’s plight symbolizes the pain inflicted on his heart, see §34.3 and n. 397. 83

This poem does not appear in any published collection.

84

In poetry the Arabic hashīm is used with the meaning of “dead wood, debris” that is carried by a torrent and swept on the sides of the torrent bed. Often, as in this verse, it is a metaphor for persons who meet a deadly fate, and not necessarily because of a flood.

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Notes 85

“Go raving mad,” lit. “to throw voices,” i.e., “to speak in a loud voice and incoherently to oneself,” also §§14.1.23 and 40.15.

86

A common image in ghazals, see also §§8.8 and 19.3.

87

In Najdī poetry the pigeon-toed walk is considered very becoming to a girl. Hence the saying “The person wanted to walk like a pigeon and then forgot how to walk” (baghā mashy al-ḥamāmah w-ḍayyaʿ mashyitih), i.e., unable to attain the best, he became also incapable of what he knew until then. Al-Juhaymān, Amthāl, 2, 43.

88

An ancient stereotype followed by these poets, as in this line on the delights of fatty calves by ʿBēd ibn Hwēdī: “If she lifts the hem of her robe you behold calves, like boiled white fat, cooked to perfection” (w-al-sāg ćinnih yōm yarfaʿ l-al-aslāb, ʿaṣbin ghashāh al-fōḥ w-ag fat niyātih). Ibn Junaydil, Aʿlām, 168. See n. 89 below.

89

The same image in §§19.19, 20.4, 34.10, 36.17, and introduction, nn. 33 and 34; see also n. 295 to §26.6. As in classical poetry, the posterior and breasts are not considered taboo parts of the human body and are eulogized without inhibition. Ideally, the buttocks should slope and bulge like a sand hill and their soft, cushiony flesh should quiver when in motion. This imagery even occurs in relatively recent recorded oral narrative that accompanies late-nineteenth- and early-twentieth-century Bedouin poetry, as when the poet Abū Zwayyid flirts with Mikīdah, the daughter of Jamʿān al-Ghēthī of the Shammar tribe: she wades into a pool of water and pulls her dress up to the knees, and he follows her while she lowers her veil, as described by Ibn Sbayyil in §§26.8–9, and “watches her behind quiver like this [the narrator makes a hand gesture],” w-yishūf rdūfahā tihtazz hā-l-lōn (Sowayan, Ayyām al-ʿarab, 614); the same vocabulary is used in classical poetry for “to quiver” and “to sway gently,” irtajj and ihtazz (Bauer, Liebe und Liebesdichtung, 311). Because of its size, a heavy behind is a source of female pride, but it comes at the price of discomfort while walking, because it weighs down on the beauty’s gait and shifts the body’s center of gravity toward the rear (in classical poetry radāḥ, “heavily laden, endowed with heavy behind and hips,” ibid., 310). This somewhat impedes her forward motion, as graphically pictured in §26.6, and explained by the classical poet al-Mutanabbī: “They marched away with a delicious damsel, with a posterior so heavy that she had trouble getting to her feet” (bānū bi-khurʿūbatin lahā kafalun, yakādu ʿinda l-qiyāmi yuqʿiduhā) (Dīwān Abī l-Ṭayyib al-Mutanabbī bi-sharḥ Abī l-Baqāʾ al-ʿUkbarī, 1, 297). The bosom is not quite as voluminous and cannot serve as a counterweight. But buttocks and breasts do engage in a tug-of-war when the lady’s movement stretches her skirt on both sides, with each part fighting for the scarce space left by their mass of flesh, see introduction, p. xix. In general, early classical ghazals, like Nabaṭī poetry, show a pronounced preference

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Notes for accumulation of fleshy tissue at the hind parts and the calves (§7.8) , as in the verse of ʿUmar ibn Abī Rabī ʿah: “The brass rings that clasp her calves sink into the flesh, if she goes easy, and almost snap; / and if she gets up, with a lot of effort, her behind almost bursts through” (wa-yakādu l-ḥijlu min ghaṣaṣin, ḥīna tastaʾnīhi yankasirū / wa-yakādu l-ʿajzu in nahaḍat, baʿda ṭūli l-buhri yanbatirū) (Dīwān, 184); a similar verse, ibid. 254. Such a woman is called a khadallajah (ibid., 279, and al-Aghānī, 104) (khaḍalat al-sāq is “(a woman) with round, fleshy calves,” Dīwān, 155). An extreme case is found in the muʿallaqah poem of ʿAmr ibn Kulthūm, where the beloved’s hips are too broad for her to move through the doorposts, and whose voluminous haunches drive the poet crazy with desire (wa-maʾkamatan yaḍīqu l-bābu ʿanhā / wa-kashḥan qad junintu bihī junūnā) (al-Zawzanī, Sharḥ al-muʿallaqāt, 121). See also al-Marrār ibn Munqidh, “the flesh of her inner thighs on one side knocks against that on the other,” “she has to keep her legs apart when she comes toward you, large in body, heavy in the hips, swaying hither and thither as she moves,” a plumpness of her leg that bursts “seventy mithqāls of silver molten for her anklets,” (al-Mufaḍḍaliyyāt, 2, 53). It is clear from imagery and vocabulary that this physical ideal is derived from the Bedouin’s delight in camels that fatten on lush spring pastures, which are a symbol of fertility as much as rain-laden clouds, which are also compared to fat and pregnant she-camels— in this muʿallaqah poem and in the verse of latter-day Bedouin poets like al-Dindān and Ibn Batlā, see Kurpershoek, Oral Poetry, vols. 1 and 3. 90

Elsewhere, Ibn Sbayyil contrasts the arrival of the Bedouin at the start of the hot season, when herbage has dried up, with the springtime of his heart when the sight of Bedouin belles makes the shoots of his heart burst into flower. See §§2.15, 24.3, and introduction, n. 29.

91

The word for “seductress” is al-salhamah (from CA aslahamma, n. muslahimm, which means “sickly and pallid, either from unknown disease or as if paralyzed because of a troubled mental condition”). It corresponds to classical poetry’s beauty with sickly eyes, as in Ibn Khafājah’s line, “because of sick-eyed gazelles sleeping at the Euphrates” (li-marḍā jufūnin bi-l-Furāti niyāmī), Schippers, “Nasīb and Ghazal in 11th and 12th Century Arabic and Hebrew Andalusian Poetry.” The lowering of the eyelids gives the beloved a deceptive, languid look while she takes aim with the arrows of her glances. See details in Bauer, Liebe und Liebesdichtung, 283–96, and n. 143.

92

It is not clear in the Ibn Yaḥyā MS what the exact word is: ṭalʿ “fruit” is one guess.

93

A khidhrūf (CA khudhrūf) is a spinning top made of a piece of wood that produces a humming sound. Al-ʿUbūdī, Muʿjam al-uṣūl.

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Notes 94

Lit. “Against me, he dresses in hide as if he dons his cloak.” The image also occurs in other poetry, e.g. Ibn Shuraym, Diwān Sulaymān ibn Shuraym, 48. Here the enemy faces the poet-lover dressed in a skin or hide (jild), presumably of a wolf or other wild animal, i.e., he harbors evil intentions. The poet speaks about the backbiter and informer (wāshī) who seeks to expose the lovers’ feelings and rouse public opinion against them with the aim of ruining their affair.

95

Lit. “circling (in the air) at a distance,” as in the popular saying “I owe it to the beloved to keep her identity and whereabouts secret [to be seen circling at a different, distant place] when speaking to others” (ḥaggih ʿalayy ilya harajt abʿid al-ḥōm), in order not to provide ammunition to those who are lying in wait to expose them and create a scandal that will destroy their affair and reputation. In general, it refers to one’s discretion and concern to protect the secrets of friends and loved ones (al-Juhaymān, Amthāl, 299–300). The topos is an ancient one, as in the line of ʿUmar ibn Abī Rabī ʿah: “When I enter a quarter I look the other way, on purpose, so as not to give away my amatory purpose” (lammā dakhaltu manaḥtu ṭarfī ghayrahā, ʿamdan makhāfata an yurā rayʿu l-hawā) (Dīwān, 17); and “In love I cling to roundabout ways, wary of people’s watchful eyes, staying far from her dwelling” (wa-innī la-ahwāhā wa-uṣrafu jāhidan, ḥidhāra ʿuyūni l-nāsi ʿan baytihā ʿamdan) (ibid., 104).

96

“Follies of love,” whereas in CA ʿajrafah means “rudeness in speech.” In this poetry the plural ʿajārīf also means “words exchanged among lovers” and “the incomprehensible but delightful babbling of a toddler”; and as in the saying “a little boy, but the time of his spontaneous, charming behavior has ended,” i.e., “little boys grow up” (ṣibayy w-zālat

ʿajārīfih). Al-Suwaydāʾ, Faṣīḥ al-ʿāmmī fī shamāl Najd, 2, 616; al-Juhaymān, Amthāl, 4, 128. 97

“When my mind is at rest (lit. broadens).”

98

Similar to a saying, “away with it, get it” (riddih w-hātih), in reference to someone who cannot make up his mind and gives contradictory signals. Al-Juhaymān, Amthāl, 3, 188.

99

The falcon has flown away and the desperate owner tries to lure it back by running in its direction, waving a cloth, and shouting. See §§37.5–6.

100 See §4.14, the same verse on the lover’s foolishness. 101 It is a common topos in ghazals to curse the informer who spies on the lovers and the censurer. Often this miscreant earns no more than perfunctory mention, but occasionally poets compete to outdo others in the invention of a horrible fate for him, similar to the agonies suffered by the amorous heart in the similes employed in the nasīb, see introduction, p. xxii. For example, ʿBēd ibn Hwēdī’s verses: “Let my censurer be struck by a lance with a long shaft and hooked blade, / the Najdī type, smooth and without blemish,

200

200

Notes that plunges into the body and comes out at the other end” (w-min lāminī fī ḥibbihum jiʿl yihdaj, bi-mshalshilin ʿūdih ṭiwīlin rahāwī / bi-mshalshilin mā fīh takʿīb w-ʿūj, samḥ al-ǵna maʿ sāgat al-jibb hāwī) (Ibn Junaydil, Aʿlām, 104; and as explained to me by Ibn Junaydil in our meetings). And Muṭawwaʿ Nifī: “May the children of one who blames me die from typhoid fever, or if they live, as poverty-stricken deniers of Muḥammad’s prophethood” (min lāminī bātū ʿyālih maʿāwā, ḥayyin figīr w-jāḥidin li-l-nubuwwah) (al-ʿUmarī, Dīwān Muṭawwaʿ Nifī, 4 and al-Masridī, Muṭawwaʿ Nifī, 78). 102 In poetry, a person in the throes of utter despair and grief is often likened to a khalūj, a mother camel that has been bereft of her young, and that in consequence refuses to eat, groans day and night, and behaves erratically (it has the same meaning in CA). In this verse, the poignancy is enhanced by the fact that the animal is not aware that within her sight the men are enjoying the calf ’s grilled entrails and liver, as a prelude to eating its roasted meat. In the muʿallaqah of ʿAmr ibn Kulthūm the image occurs introduced by the formula of grief, wajdī, also common in this poetry, and the kindred agony felt by an older woman who lost her children: “My suffering is more cruel than the agony felt by a she-camel that lost her calf and keeps moaning day and night, / or the grief of a graying mother whose nine children lie buried in their graves” (fa-mā wajadat ka-wajdī ummu saqbin, aḍallathu fa-rajjaʿati l-ḥanīnā / wa-lā shamṭāʾu lam yatruk shaqāhā, lahā min tisʿatin illā janīnā). Al-Zawzanī, Sharḥ al-muʿallaqāt, 122. 103 §§8.18–19 occur in somewhat different wording in al-Bulayhid, Ṣaḥīḥ al-akhbār, 2, 206. 104 This form of poetic dialogue occurs frequently in the work of the seventh-century ghazal poet ʿUmar ibn Abī Rabī ʿah, mostly between the poet-lover and his beloved, but also in other situations, as between the principal lady and her ladies-in-waiting (atrāb), with alternate lines starting with “she said,” fa-qālat, “they said,” fa-qulna (Dīwān, 265). The rhyme of this poem enhances its plaintive tone, with enough melodrama to give it a playful twist. In these verses of question and answer, the first hemistich rhyme, ending on a drawn-out, moaning –āh, is repeated in the poet’s reply. The lengthening of vowels in such exclamations is common, as in al-Mijmāj’s line, “Ah, my wound” (wa-wā-jarḥī), and “Ah, lovely young she-camel” (wā-bakritāh) (Ibn Junaydil, Aʿlām, 43, 57). Also, gilt āh wā-waylāh min ʿillati āh and, in another verse, āh wā-ʿazāh min wagtin shirīr (al-Haṭlānī, Dīwān ashʿār nabaṭiyyah min al-jazīrah al-ʿarabiyyah, 114, 126; see next note). 105 “One like her,” ḥiliyyih has become ḥilyāh. The poem echoes the hāʾiyyah of Muḥammad ibn ʿAbd al-Raḥīm al-Tamīmī, known by the sobriquet Muṭawwaʿ Ushayqir, a semi-legendary poet who is said to have died from lovesickness in 1601. For instance, the lines

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Notes “I bit the tops of my thumbs in despair [cf. §37.20] and said, ‘Ah’ from burning pain, ‘Ah’; If by moaning ‘Ah’ my ailment were cured, I would intone ‘Ah’ in my mind forever” (fa-ʿaḍḍēt min ḥirr ash-shikiyyih anāmilī / w-gilt āh min ḥirr al-mṣībah āh; w-law gōlat āh tibri mawājiʿī /ćaththart anā fī ḍāmirī gōl āh) (Sowayan, al-Shiʿr al-nabaṭī, 387); and in somewhat different wording, Ibn ʿAqīl, Kayfa yamūt al-ʿushshāq, 394, 399, 446. The rhyme of this poem’s first hemistich, -āh, corresponds to the classical ḥarf al-nudbah, the particle of lamentation, with wā- preceding the noun, generally with the termination –ā or in pause –āh, as here. This may correspond to the normal inflection of a verb, as tansāh, “you forget him/her,” in line 11, or it might be slightly adapted for the purpose, as wā-yāh, for wi-yyāh, “with (regard) to him/her,” in line 12, and wa-hādhāh for wa-hādhā, “and this person,” in line 13. The plaintive –āh is amplified by the interjection āh, “oh!” in the second hemistich, where the poet-lover rebuts the critical observations of his self-appointed counselors. In line after line, the direct speech maintains the syntactic parallelism of gālaw, “they said,” and gilt, “I said,” to separate and contrast the voices of reason without discernment from the sentiment-driven logic of the poet, see introduction, n. 80 and §§4.14 and 8.11. The word for “beautiful women,” bīḍ, lit. “whitecolored, white of skin,” is very common in ghazals. In this poetry it is clearly derived from bīḍ, the plural of abyaḍ, “white.” But in early poetry the same meaning attaches to bayḍah, “egg,” as a metaphor for a beautiful woman. In his commentary on Imruʾ al-Qays’s muʿallaqah line, “the creamy beauty who is kept unassailable in her little tent’s hiding place” (wa-bayḍati khidrin lā yurām khibāʾuhā), al-Zawzanī gives three reasons for the comparison: it is kept safe and pure by the brooding birds; it is kept hidden from view under the parents’ feathers; and its color is immaculate because it is not exposed to the elements, while its attractiveness is enhanced with a touch of a more creamy color (Sharḥ al-muʿallaqāt, 16–17); and a modern Bedouin poet, al-Dindān: “The white of her skin shades into olive” (dāmlin ṣāfī ʿafārih bi-ṣ-ṣifārah) (Kurpershoek, Oral Poetry, 1, 148–49). 106 “Close, amatory union with her,” lāmāh. A proverbial saying is: “Forget her embrace with that of another” (ins lāmah bi-lāmā, CA al-lāʾm, “meeting in agreement”). Al-Juhaymān, Amthāl, 1, 389. 107 “His beloved must resemble a banana branch, which grows from a strong stalk, is thin in the middle, but spreads out toward the top, where it bears the ripe or ripening fruit.” Musil, Rwala, 323. 108 A much-cited popular saying about the fascination one’s true love exercises on the imagination, even if one has married the maximum of four wives allowed by Islamic law (al-Juhaymān, Amthāl, 6, 301). The same notion is found in a poem by Nimr ibn ʿAdwān,

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Notes a poet from al-Balqāʾ, now in Jordan, who became legendary for mourning his beloved wife, Waḍḥā, who died at a young age: “Even if the Bedouin girls were led to me in two long rows, O ʿIqāb [his son], my dear friend, I would take none but Waḍḥā alone” (lō jann banāt al-baduw yā-ʿGāb ṣaffēn, yā-khayy mā ākhidh ghēr Waḍḥā waḥadhā); and in another poem, he swears that he would not exchange her for all girls between Najd, Tunis, and Sinjār: the girls of al-Ṣalab, the Bedouin, the settled people, the Turks, the infidels, and the Christians (Musil, Rwala, 193–96; see Sowayan, al-Ṣaḥrāʾ, 302–20, on the legendary nature of Nimr’s poetry and narratives, discrepancies in transmission, and the literature about it). 109 It must be assumed that the poet speaks about a Bedouin beauty. Ibn Sbayyil and his neighbor Muṭawwaʿ Nifī frequently make the point that their love is doomed, if only because they are of a lower class than their beloved’s Bedouin lineage, see introduction, pp. xii, xviii. 110 A frequently quoted saying, lit. “he carries his disease in the sleeve of his robe” (nāǵlin dāh bi-rdāh), used when speaking about someone whose pursuits or lifestyle impair his health and well-being, possibly resulting in death, but who persists in his self-destructive ways (al-Juhaymān, Amthāl, 2, 239, and 8, 301); also dāhā fī rdāhā (ibid., 3, 76), “she carries her illness in her sleeve,” explained as: “she is threatened by a danger that comes from her closest relatives;” and “ this district’s problems are of its own making” (dīrtin ṣār dāhā al-yōm b-rdāhā) (ibid., 3, 114). 111

Both the words “dry riverbed, valley” (wādī), and “torrent(-bed)” (sēl), occur in versions of the poem. The hemistich is a well-known saying on the wisdom of abstaining from undue interference and allowing things to follow their natural course, especially if doing otherwise would be a vain effort (al-Juhaymān, Aʿlām, 9, 188). Al-ʿUbūdī, gives the variant “each dry riverbed has its own torrent” (mā yijīk min wādin illā sēlih), and its CA equivalent “each twig has its own juice” (li-kull ʿūdin ʿuṣāraratuh), i.e., “every bird sings its own song” (Amthāl, 1276).

112 A fictional name for the poet’s beloved. 113

Here Bkhīt is a fictional name for the woman’s servant girl.

114 The poet implies that he reaped the fruits of his carefully laid amatory designs. 115

The verb at the end of the first hemistich, wi-rjahannēt, is derived from the classical arjahanna, which among other things means “to be heavy, copious, abundant, multitudinous” (Ibn Manẓūr, Lisān, 1587). Here it means, “I quaffed from it to my heart’s desire.” See also §36.24. Her saliva is a potion with magical qualities, a point that is forcefully made in the line of ʿUmar ibn Abī Rabī ʿah: “If the dead were given a swig of her

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Notes spittle, after emptying the goblet of death, they would rise and walk” (law suqī l-amwātu rīqatahā, baʿda kaʾsi l-mawti la-ntasharū) (Dīwān, 184). 116 The comparison of the beloved’s eyes to those of a falcon is standard in ghazal poetry. The falcon pictured here rampages with lethal effect among a flock of bustards, striking down more than one bird in his swoop: one is fatally hit (ʿafat “to twist, bend;” CA ʿafata) and another is already killed. Remarkably, the poet uses the same language to describe the beloved’s onslaught as for the havoc wrought in battle by Ibn Rashīd, §23.19 ff. 117

This is one of two poems in the collection devoted to the subject of popular wisdom (the other is Poem 21). It is not typical for Ibn Sbayyil. It has only a single rhyme at the end of the line, and not a separate rhyme for both hemistichs (Poem 23, the ode to Ibn Rashīd, is the other exception), and the metrical pattern at the end of the first hemistich varies. This might point to a poem of an earlier date by another poet, but there is no evidence for it and the manuscripts ascribe it to Ibn Sbayyil.

118 “Labor and sweat” (al-kidd w-al-kidā), lit. “(a peasant’s) toil and hardship (CA alkudyah, al-kudāh ‘hardship, a hard spot;’ akdā ‘to press, urge; to be hard up’).” 119 As in al-Dindān’s poem on drought and poverty suffered by the Bedouin: “When struck by misfortune, he endures, accepting God’s decree and submitting himself to his fate” (w-yiṣbir ʿalā mā jā min Allāh lyā ṣīb, w-yagnaʿ b-ḥukm Allāh wa-yarḍā al-migasīm). Kurpershoek, Oral Poetry, 1, 141. 120 “Right, virtue” here means the duties imposed by the desert code of honor, including “meticulous adherence to the lizūm [lit. ‘the necessary’], the obligations of hospitality and formal manners in the presence of guests and strangers.” Webster, “Notes on the Dialect and the Way of Life of the Āl Wahība Bedouin of Oman,” 482. 121 On the theme of the world’s inequities, see Kurpershoek, Arabian Satire, 11, 111, 144 n. 82. 122 A bird’s wing is a symbol for ambition and able resolve, as in Ḥmēdān al-Shwēʿir’s verse: “He sat with folded wings, like a lice-ridden raptor” (Kurpershoek, Arabian Satire, 31, §11:13); and the opposite: “whoever had a wing to fly, took off ” (Sowayan, al-Ṣaḥrāʾ, 350, 601, and “A Poem and Its Narrative,” 69). 123 Sowayan interprets this verse as a metaphor for composing poetry. In this reading, “I am blown along with the winds” would mean that his words come like gusts of wind, as handfuls of seed sown by a farmer are carried by the wind (al-Ṣaḥrāʾ, 209). Indeed, one might see a parallel with the line of the pre-Islamic poet al-Musayyab ibn ʿAlas: “I shall send to him an ode carried by the winds” (fa-la-uhdiyanna maʿa l-riyāḥi qaṣīdatan) (Lyall, al-Mufaḍḍaliyyāt, i, 96–97). The “distressed heart” (al-galb al-mashʿūf) was already part of ghazal terminology in early classical poetry, as in the

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Notes line of Abū Ṣakhr al-Hudhalī: “She who made your heart suffer the agonies of passion has the power to free you from your load of troubles” (bi-yadi lladhī shaʿafa l-fuʾāda bi-kum, faraju lladhī alqā mina l-hammī) (Dmitriev, Abū Ṣakhr, 64). As a topos, it is akin to the lover’s illness that can only be cured by the beloved who caused it in the first place, see §6.5. 124 “The burden of passion,” is already mentioned in early ghazals, as in ʿUmar ibn Abī Rabī ʿah’s verse: “Good Lord, you saddled me with a heavy load of love; good Lord, I don’t have the patience and resolve to bear it!” (rabba ḥammaltanī min al-ḥubbi thiqlan, rabba lā ṣabra lī wa-lā ʿazma ʿindī). Dīwān, 111. 125 See §§29.1–4 for a more elaborate version of this simile. 126 “Her sweet conversation,” as in the line of al-Muzarrid: “When I sported with Salmā, ah! sweet was her speech to him” (wa-alhū bi-Salmā wa-hya ladhdhun ḥadīthuhā) (al-Mufaḍḍaliyyāt, 1, 161; 2, 58). Here and in §36.22, Ibn Sbayyil gives a creative twist to the stereotyped comparison of the beloved’s conversation (ḥadīth) to pearls or honey (Bauer, Liebe und Liebesdichtung, 330). The beloved is shāḥḥ, jealous of allowing anyone to partake of her honey. 127 The sting is the result of a poison called dhirnāḥ, a toxic blistering agent produced by the Spanish fly or Cantharides of the blister beetle family. See also n. 422. 128 This hemistich became a popular saying. It refers to the belief that the only chance of survival for a person bitten by an animal with rabies lies in keeping him awake all night. According to another version, this person was kept locked up in a dark room for forty days, the reason being that according to popular belief seeing the flicker of a distant lightning would cause him to die instantly. Given the small chance of recovering from rabies, especially after seeing lightning, the saying means that the person is virtually doomed. Al-Juhaymān, Amthāl, 4, 359–60. The Arabic shāf lih, lit. “he saw for himself,” is another feature of the “Bedouin” oral narrative style, known as the “pseudo-dative,” like the “-k of courtesy.” (see n. 29, Sowayan, The Arabian Oral Historical Narrative, 55–57). 129 See introduction, n. 37 and nn. 76 and 78 above. ʿUmar ibn Abī Rabī ʿah uses the same expression: “She pierced my heart, slaying me without the use of weapon” (aqṣadat qalbī wa-mā in aqṣadathu bi-silāḥi) (Dīwān, 86). “You have killed me. How could you! I’ve committed no crime or sin. / Has not God, in the revelation he sent down, made very clear in a verse that leaves no doubt: / Whoever slays a soul as you do is an oppressor and must pay for his injustice with his own life. / As revenge and redress, I only wish for you, so why not bestow that kindness on me? / Appoint an honest person as an arbitrator between us, or make your own decision as to what to do. / Let’s have

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Notes just one session together, in all probity, with no forbidden play. / Let me know how you feel about, by God, killing a good Muslim man.” (Qataltinā yā-ḥabbadhā antumū, fī ghayri mā jurmin wa-lā maʾthamī / w-allāhu qad anzala fī waḥyihī, mubayyinan fī āyihī l-muḥkamī / man yaqtuli l-nafsa kadhā ẓāliman, wa-lam yuqidhā nafsahū yaẓlimī / w-anti thaʾrī fā-talāfay damī, thumm ijʿalīhi niʿmatan tunʿimī / wa-ḥakkimī ʿadlan yakun baynanā, aw anti fīmā baynanā fa-ḥkumī / wa-jālisīnī majlisan wāḥidan, min ghayri mā

ʿārin wa-lā maḥramī / wa-khabbirīnī mā lladhī ʿindakum, bi-llāhi fī qatli mriʾin muslimī) (al-Aghānī, 1, 205; Dīwān, 389–90. See also §§6.12, 28.15, and 36.10). 130 A similar line by ʿUmar ibn Abī Rabī ʿah: “I can’t blame a soul after what happened” (fa-lam ara lawma l-nafsi baʿda lladhī maḍā). Dīwān, 356. 131

See §6.3 on the topos of hiding one’s feelings, and §§15.1–5 on the subject of smoking. Here it alludes to the love hidden deeply in his chest—as deeply as a smoker desperately inhales after a long period of abstention.

132 The line has become a popular saying, meaning that it is impossible to hide one’s infatuation, no matter how hard one tries (al-Juhaymān, Amthāl, 6, 296). “The wish to disclose is the distinguishing mark of the lover; but to protect his love he is sworn to secrecy;” he follows “an inner compulsion to reveal his secret” (Kuntz, “Love and God,” 167). 133 This saying expresses the notion that there is a limit to one’s endurance or patience with suffering (al-Juhaymān, Amthāl, 7, 254). In ghazals, the word ṣabr does not merely denote patience, but rather the poet-lover’s resolution, stamina, discipline, and endurance in the face of pain and suffering (Bauer, Liebe und Liebesdichtung, 395) as part of the self-imposed ordeal caused by devotion to an unattainable ideal of passionate love, ṭard al-hawā. As here, the psychological anatomy of love in ʿUmar ibn Abī Rabī ʿah’s poetry describes attempts to keep a passion secret as a cause of intolerable suffering: “I kept my passion hidden until I became worn out and ill: pity a heart that cannot endure and stand firm” (katamtu l-hawā ḥattā barānī wa-shaffanī, wa-ʿazzaytu qalban lā ṣabūran wa-lā jaldā) (Dīwān, 104). 134 These verses draw on the repertoire of stereotypical images that is routinely used as an introduction of polite flattering in the poet’s address to an esteemed person, as here “love of (a woman) who loosens her hair.” See also nn. 300 and 334 on such stereotyped noun combinations. It may refer to his wife or beautiful women in general who dream of being his wife. It simply means that he is a fine and attractive man, see also n. 154. It is a common form of address in poetic correspondence, see §§17.1.2, 17.2.13, 27.1.19, 27.2.22. This verse praises the addressee’s courage and power in halting the enemy’s onslaught and thereby providing gallant reassurance to the tribe’s women, who shout

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Notes to the warriors and are so distraught by the fray that they forget about their veils and inadvertently let them slip. In this case, however, the addressee, Ibn Zirībān, was exactly such a tribal knight who died while fighting on horseback: see glossary. 135 See n. 41 on the custom of feeding one’s horse the milk of one’s best she-camels. 136 These two verses picture the terrifying onslaught of the enemy’s champion knight who routs the horsemen of the opposite side―until an even greater hero, namely, the poem’s addressee, bursts onto the stage to snatch victory from the jaws of defeat. See the similar verse in his next poem, §14.2.28. 137 “Shelter,” lit. “center, fixed abode.” 138 See §6.5, §9.14, and n. 123. 139 This extended simile is built on the way travelers in the desert would draw water from wells―not oasis wells for irrigation that are operated on a larger and more organized scale: large and heavy buckets, fixed wooden and stone structures over the well for hoisting the buckets up, teams of specially trained camels that pull the ropes as they walk up and down a path of a fixed length, and with clear markings where the animals had to turn. Travelers carried their own well equipment―principally a bucket and a beam with a wooden sheave over which to run the rope. They would use one of their own mounts to assist in pulling up the bucket, an animal not trained for this purpose. When the bucket had been hoisted up, they would shout to the man leading the camel to halt and return. In this case, the camel took the shouts and pulls as a sign to pick up the pace, wreaking havoc with equipment on which the men’s life depended. 140 A popular saying in almost the same wording is lā hūb rāyidni wlā aḥrazt arūdih, here in reference to unrequited love. Al-Juhaymān, Amthāl, 6, 254. 141 See n. 78 above. 142 See introduction, p. xxii. 143 This line is quoted as a popular saying. The literal meaning is “whoever had a taste of love with a sultry, sleepy-eyed look (al-salhamah) will not forget,” i.e., the seductive magic of the deceptive, sleepy look with lowered eyelids that has the lover spellbound (al-Juhaymān, Amthāl, 8, 167; see also n. 91). Obviously, never forgetting one’s sweetheart is a lover’s standard assertion, put succinctly by the early poet al-Marrār ibn Munqidh: “Never in all time will I forget her (mā anā l-dahra bi-nāsin dhikrahā), so long as a turtledove calls upon her mate!” (al-Mufaḍḍaliyyāt, 1, 159; 2, 54). 144 A popular saying: “Not every piece of wood lends itself to being carved into the kind of walking cane that I am looking for” (sharhah yidī mā kill ʿūdin taʿaṣṣāh). It denotes pickiness and a refusal to content oneself with less than the very best (al-Juhaymān, Amthāl, 4, 53). Its opposite is: “Any piece of wood from him will do for me as a stick” (kill ʿaṣan

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Notes minh tʿaṣṣī), said of an influential person whose every action or word in one’s favor will be welcomed (ibid., 6, 106). 145 Lit. “my soul is hard to catch,” i.e., “hard to please” (nafsī shirūdih). 146 See introduction, p. xxv and §38.1. 147 In a note, al-Faraj explains that ḍimān here means “ripe ulcers that are about to burst open” (the CA meaning of ḍamān, ḍamānah is “chronic disease, ailment”) (Dīwān al-Nabaṭ, 170). The lhūd are ulcers caused by friction of the wooden pack saddle on the animal’s skin. 148 The poem is found in the al-Rabī ʿī manuscript on unnumbered pages, wedged between verses of Ibn Sbayyil’s reply to this poem, pp. 106–7 of the MS. 149 Possibly, the Arabic ḥamād, “gravel plain,” refers to al-Ḥamādah, a location in the western uplands around ʿAfīf in the tribal area of ʿUtaybah. 150 The same meaning is expressed in Ibn Sbayyil’s §14.2.10: the she-camels are fully rested and have been pampered, therefore the moment has come to draw on their reserves for grueling desert marches. On the significance of the appearance of the star Canopus, see introduction pp. xviii–xix, and nn. 173 and 374. 151

Ibn Sbayyil is praised for being a rīf, which in Nabaṭī poetry does not mean “rural area,” but “lush pasture, a pleasant place of repose and recovery” (as in §32.4); it occurs with the same meaning in Ḥmēdān al-Shwēʿir (Kurpershoek, Arabian Satire, 93, §22.36).

152 In his reply, Ibn Sbayyil echoes this line by using the same expression, “barebacked camels,” §14.2.29. 153 Again, Ibn Sbayyil repeats this verse when he affirms that he has fitted out the camels according to these precise instructions, §14.2.30. 154 The description of Ibn Sbayyil, a peaceable villager, as a bloodthirsty desert knight shows that these chivalrous epithets are routinely used as flattering and somewhat bantering forms of address, without any relation to their original meaning. It simply means: “You are a fine and respectable fellow,” see also n. 134. 155 That is, he is not interested in any other subject and is only looking for her. 156 The camels set out from Ibn Zirībān’s, who set up camp in the eastern sands of the peninsula, toward the west, in the direction of Mecca, on their way to Ibn Sbayyil in Nifī. Ibn Hādi may refer to the famous chief of the Qaḥṭān (Gḥaṭān) tribe. Al-Shunbul is a place in northern Syria. Like the description of Ibn Sbayyil as a redoubtable knight, the places named are routine exaggeration (mubālaghah). The message is: look for her in every nook and corner within the confines of the far-flung tribal world, from Yemen and Oman in the south (see §27.1.26, where Ibn Zirībān lists Najrān) to the northern fringes

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Notes of the Syrian desert, where the Arab tribal world shades off into Kurdish, Turkish, or Iranian lands. 157 Lit. “the district of Ḥusayn (Ḥsēn) and the land of the Agas,” a reference to the Ottoman Turks in the Hijaz. Ḥusayn may refer to one of the Sharifs who ruled Mecca under Ottoman sovereignty. Their relatively civilized circumstances are implictily contrasted with the ways of the tribal interior. 158 The Arabic mārtiyyāt probably refers to a rifle of the Martini type, as in one version of the corresponding verse in Ibn Sbayyil’s poem in reply, §14.2.34. In al-Luwayḥān’s edition the word is māṭliyyāt, which was explained to me as “an Italian rifle that fires just one big bullet.” It is not known who is meant by al-Ṣulṭān. 159 Bedouin and townfolk in Najd, i.e., all its inhabitants. See n. 330: its general sense is: “everywhere and with everyone in the world as we know it.” 160 One raises a white flag for his benefactor. Its opposite is sawwid allah wajhik “may God blacken your face,” said to a person who has refused to render assistance. 161 Musil, Rwala, 182, explains that with many tribes “it is customary to pick up a pebble from the grave of a friend and to throw it aside so as to lighten the burden. On the grave of a girl or woman they also lay the three stones, that held the kettle in which the deceased cooked in her last days.” Here these stones, huwādi, may also simply denote gravestones. 162 mkhaḍḍibīn al-hanādi “Indian blades dyed, smeared with red,” i.e., those whose swords drip with the enemy’s blood. 163 This line is echoed by Ibn Sbayyil in his reply at §14.2.31, where he asserts that the addressee did indeed put him in a tight spot, contrary to what Ibn Zirībān claimed in this verse. 164 Lit. “to make distant the ḥirwah: what is expected; place where a person or animal is expected to be found” (CA taḥarrā “to pause in expectation, try to decide the most suitable course”); and “to throw voices,” i.e., to talk as if one speaks to himself, is confused, and not in his right mind. See also §8.8. 165 An Arabic text and translation of this poem was published by me in Arabian Humanities, see bibliography. A pure breed for a long time, as in: “For generations (tilādan) they had been shot at and preyed upon at that place” (tilādan ʿalayhā ramyuhā wa-ḥtibāluhā) (Dīwān Dhī l-Rummah, 1, 538–39). The word tilād also occurs in the muʿallaqah poem of Zuhayr ibn Abī Sulmā in relation to camels given as blood money, with the meaning of “old, inherited wealth” (tilād, talīd) (al-Zawzanī, Sharḥ al-muʿallaqāt, 80). The commentary of al-Tibrīzī clarifies that the original meaning is “original, from the place where it was born” (Kitāb al-sharḥ, 58). Here the original meaning is intended.

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Notes 166 In these two opening verses, the poet traces the swift mounts’ pedigrees to famous camel breeds of two tribes at opposite ends of the Arabian interior: Ṣayʿar, a tribe at the southern extremity of the Empty Quarter on the confines of Yemen, and al-Sharārāt to the north of al-Jawf in Wādī Sirḥān, a depression that leads toward Syria. 167 Tribes from far and wide take their mounts to be sired by this thoroughbred stud. 168 They are gray because of the continuous rubbing on long trips. “The shoulder blades rub against the cushion on which the rider rests one foot while the other foot touches the spot covered by the breast girth, which holds the saddle behind the forelegs on the breastbone.” Musil, Rwala, 298. 169 Lit. “they were never impregnated and their teats were never closed with sharp clamps to prevent their young from suckling at will.” These riding camels have more strength because they have never given birth and never produced milk for calves. The teats of camels with calves are closed with sharp clamps in order to prevent their calves from suckling at will. 170 Musil, Rwala, 298, comments: “A good camel will utter no sound when being saddled; this is very important at night or in a dangerous territory. On forced marches, a camel is expected to listen well and to observe the country in all directions so that she can, by quick breathing, arching her spine, or by a motion of the neck, call the rider’s attention to any possible danger.” The same observation is made in the muʿallaqah poem by Ṭarafah ibn al-ʿAbd. Geiger, “Die Muʾallaqa des Ṭarafa,” 367–69. 171 In the traditional division of seasons, ṣēf (CA ṣayf, “summer”) and its pastures, miṣyāf, follow winter, and therefore coincide with what is now considered the season of spring, while ribī ʿ (CA rabī ʿ ), “springtime,” comes before the miṣyāf. In early June, it is followed by the onset of the hot season, al-gēẓ (CA al-qayẓ). Al-ʿUbūdī, Muʿjam al-anwāʾ, 166. 172 The popular saying is: “When it interlocks on the eleventh, the cold season begins” (grān ḥādī bardin bādī), i.e., when the Pleiades come close to the moon on the eleventh day of the Arabic month. Al-ʿUbūdī, Amthāl, 974. 173 The appearance of the seventh and last star of Ursa Major in early October is considered the beginning of the wasmī season when Najdī people pin their hopes on plentiful autumnal rains of the stars Canopus, the Pleiades, and Gemini (CA wasmī, “the rains of early spring,” so-called because in its traces, wasm, the annuals shoot up later in the season). See n. 374. 174 The camel description of pre-Islamic poet Bashāmah ibn ʿAmr makes the same point: “I brought up to the saddle a camel hard as a wild ass [ . . . ]. She has been wandering at large in a year of good pasturage, and no slave has ever called a youngling to suck her teats” (fa-qarrabtu li-l-raḥli ʿayrānatan [ . . . ] taṭarradu aṭrāfa ʿāmin khaṣībin / wa-lam

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Notes yushli ʿabdun ilayhā faṣīlā) (al-Mufaḍḍaliyyāt 1, 82–83; 2, 26). And al-Marrār ibn Munqidh combines Ibn Sbayyil’s verse 3−11 in two lines, for his camel “is ready to face anything” after being “trained, then allowed a period of idleness and grazing in preparation for the hour of need; nine years old or a bit more, never impregnated—not a drop was milked from her” (rāḍahā al-rāʾiḍu thumma stuʿfiyat, li-qirā l-hammi idhā mā yaḥtadhir / bāzilun aw akhlafat bāzilahā, ʿāqirun lam yuḥtalab minhā fuṭur), (al-Mufaḍḍaliyyāt 1, 149; 2, 51). 175 ʿAbdallah ibn Ḥasan ibn ʿAskar, the headman of al-Majmaʿah, well known for his hospitality. As Musil, Rwala, 299, explains: “Bedouin she-camels are easily scared by the shade and the rustling of palm groves, as well as by the high walls enclosing them.” 176 The expression mkhallātin luh ṭurguh means: “he is peerless, unique in a certain pursuit.” A popular saying is: “The roads traveled by so-and-so are left alone,” i.e., he is so redoubtable that no one dares to waylay him. Al-Juhaymān, Amthāl, 5, 162. 177 Lit. “well-constructed,” as in the verse of Mbārak ibn ʿAbīćih (ʿAbīkah), the headman of Gnā, a village at the southern edge of the Nafūd sands: “I built a fine house for you, strong like a fortress (ḥaliyy al-ʿǵādi, sg. ʿigdah, ‘an impregnable construction’) for you.” Sowayan, al-Ṣaḥrāʾ, 430. 178 See n. 175. 179 Lit. “thrones” (CA takht pl. tukhūt), i.e., the strongest camels that carry the tribe’s most precious possessions into pitched battle: the litter chairs of its nobles, maidens, and other tribal emblems. See nn. 47 and 417. Al-Rikhmān is the addressee’s section of ʿIlwā. 180 He does not sleep but stays awake most of the night at the fire, ready to serve any guest who may show up. 181 §§13.11–12. 182 Lit. “You put me between the letters qāf and ṣād,” for the noun al-giṣā, “difficult, embarrassing position” (CA qaṣā “distance, remoteness”). Al-Faraj, Dīwān al-Nabaṭ, 176. 183 The second hemistich is a proverbial saying, lit. “The leather is well-stitched and the strands of wool are stretched out and ready to be spun” (kharzin bi-tarzin w-rāʿī al-ṣūf sādī), i.e., everything is in tip-top shape and ready to go. Al-Juhaymān, Amthāl, 3, 28; al-ʿUbūdī, Amthāl, 461–62. 184 Lit. “products crafted by the Christians” (shughl al-niṣārā), i.e., firearms. In the edition of Ibn Sbayyil’s grandson, this has been replaced by mārtiyyāt, “Martini rifles.” 185 The saying is “at hand, within reach of hand” (gaḍbin b-al-yad), i.e., the matter is almost settled, no further difficulties are expected. Al-Juhaymān, Amthāl, 5, 295–96.

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Notes 186 The common Najdī term for adherents of the Twelver Shi ʿah Islam, al-arfāḍ, “the refusers,” usually in a pejorative sense, as in al-Mijmāj’s line, “I felt as if I had been jailed in a prison of the arfāḍ.” Ibn Junaydil, Aʿlām, 62. 187 The Ottoman telegraph line reached Basra from Baghdad in 1865. 188 An expression mʿazzī salāmāt, used to congratulate someone, not so much for a gain but for emerging unscathed from a hazardous undertaking (al-Juhaymān, Amthāl, 8, 82–83). It seems the reference is to Ibn Zirībān’s promise not to burden Ibn Sbayyil unduly, cf. verse 22 of Ibn Zirībān’s poem. The expression “lies” should not be taken literally: the intended meaning is “your teasing,” a friendly, playful reproach. “You made me haggard,” in the preceding verse, is an expression already encountered in seventeenthand eighteenth-century Najdī poetic correspondence, e.g., Khalīl ibn ʿĀyiḍ, dubbed “Muṭawwaʿ al-Maskūf ” (see Kurpershoek, Arabian Satire, xiv): “You tired me and you have worn me out with excuses” (atʿabtinī w-ardhētinī b-al-maʿādhīr), Sowayan, al-Shiʿr al-Nabaṭī, 494. 189 Lit. a lover lies (when he says that he has repented from love) and the devil has not died (i.e., he must be on his guard against ill-intentioned meddlers). 190 Here “kin” denotes the Bedouin’s “household complex” (Webster, “Notes,” 478), the small group of kinsmen that migrates and camps together, called firīǵ (CA farīq). 191 Bedouin women take care of the sheep and goats and milk them. They cook behind a partition that protects the hearth from the wind, with three stones to hold the kettle over the fire. 192 At this stage of the search for the beloved, often compared to the search for a runaway young she-camel (see n. 80), more or less educated guesses are made as to her whereabouts, expressed by the word hagwah, “I think that, probably, most likely,” as in al-Mijmāj’s line about this she-camel, “My guess would be that she is at [ . . . ], al-hagwat innih [ . . . ].” Ibn Junaydil, Aʿlām, 57. 193 See Ibn Zirībān’s verses §14.1.19–20, where he asks Ibn Sbayyil to report whether she is still alive. The “reward” seems to refer to the bshārah (CA bishārah pl. bashāʾir), “a reward given to him who announces a joyful event.” An alternative reading is that the one still alive is the poet, in which case the translation is: “I am doing well and am not in need of reward from you.” 194 Dūshān, singular, Duwīsh, are the shaykhs of ʿIlwā−a name that inspires fear because of their fierce, warlike reputation. One of them, Fayṣal al-Duwīsh, the indomitable chief of the religious settlement of Bedouin of the Muṭayr tribe, al-Arṭawiyyah, was the leader of the fanatical ikhwān when they rebelled against the later king ʿAbd al-Azīz. The second

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Notes hemistich is a popular saying. It means that one will attain his objective by any means, if possible by peaceful means, if not by force. Al-Juhaymān, Amthāl, 4, 389. 195 “Between them, nothing but cavalry clashes” (mā bēnhum ġēr iṣṭfāg al-ʿawādī), an expression used in reference to neighboring groups or nations that are in a perpetual state of enmity and warfare (al-Juhaymān, Amthāl, 10, 286). In a comment on this verse, al-ʿUbayyid explains that the poet advises his friend to seek refuge with al-Jiblān, another tribe of Muṭayr, who were originally a branch of the Tamīm tribe and whose battle cry was “O rider of Ṣabḥā Mountain” (khayyāl Ṣabḥā jbilī), hence their tribal name, which refers to a mountain (jibal) (al-Najm al-lāmiʿ, 309). There are also British reports on armed encounters between Fayṣal al-Duwīsh and Ṣāhūd ibn Lāmī, the chief of al-Jiblān, of Muṭayr in 1926, under the heading “internal Muṭayr feuds” (Trench (ed.), Gazetteer of Arabian Tribes, vol. 10 (Muṭayr-Qumarah), 93). 196 Lit. “Hew out a step for your feet,” a popular proverbial expression (ḥaffir li-rijlēk marāǵī) (al-Juhaymān, Amthāl, 2, 294–95). Climbing down and up again in the shaft of a deep well―in order to clean the bottom, fetch things that fell into it, or scoop up water if there was only a little―was a dangerous task. The stone casing was laid in such a way as to leave protrusions on which the climber could put his feet. Nevertheless, falling into a well was a frequent cause of death. 197 This second hemistich of al-Bulayhid’s version of the verse reads: “Before an envious, waffling fool gets in your way.” Ṣaḥīḥ al-akhbār, 2, 202. 198 A well-known popular saying: “Do not act on basis of surmise and guess.” Al-Juhaymān, Amthāl, 6, 225. 199 This saying is advice to take precautions in case one encounters unforeseen circumstances, such as carrying a waterskin even if cool weather prevails. Al-Juhaymān, Amthāl, 9, 301. 200 A popular saying, with a different noun but the same meaning, lik hagwitin waḥdah w-lal-nās hagwāt, i.e., one should take the possibility of other people having different opinions, and plans that may thwart yours, into account. Al-Juhaymān, Amthāl, 6, 291–92. 201 An alternative reading: “A man in distress will find no relief in groans.” 202 This line is a popular saying, similar in meaning to “a host’s excuses do not serve a guest as supper” (§29.23), with the added twist that the thirsty beings at the rim of the well can actually hear the water as it is stirred by the movement of the bucket at the end of the rope (al-Juhaymān, Amthāl, 7, 213). Also: “A thirsty person easily imagines that he hears water sloshing in a large skin” (ywarrā l-aẓ-ẓamyān khaḍḍ al-rāwyah) (al-Juhaymān, Amthāl, 9, 308).

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Notes 203 Here “to drink” may refer to drinking coffee and smoking a pipe. Both are conducive to reaching the state of kēf, here translated as “to lift the spirits,” which Richard Burton describes as “the passive enjoyment of mere sense; the pleasant languor, the dreamy tranquility.” Personal Narrative of a Pilgrimage to al-Madinah and Mecca, 1, 9. 204 In Nabaṭī poetry, poetry about coffee constitutes a genre in its own right. As in this piece, the description of the coffee ceremony is often followed by a set of moral prescriptions, an exposé on chivalrous virtue or the lack of it, and other conventional wisdom. 205 The craving: lit. “burning sensation,” as in §13.3, and in a verse by Rmēḥ al-Khamshī: “When you arrive at his place, he will lift your spirits, knowing that you crave wellspiced coffee” (lazman ilā jītūh yiṭrib lukum kēf / w-antum ʿalā l-binn al-mubahhar miḍārīm). Sowayan, al-Ṣaḥrāʾ, 414. 206 The ʿushar shrub, “giant milkweed” also known as “sodom apple,” can reach a height of five meters, but its milky sap is considered poisonous. 207 Her pace is agitated because of her strength and energy, as in the camel description of Ṭarafah ibn al-ʿAbd’s muʿallaqah poem, “veering from side to side she rushes forth” (janūḥun difāqun). Al-Zawzanī, Sharḥ al-muʿallaqāt, 53. 208 That is, torrents that rush down narrow wadis to devastating effect. This and other lines parody images and turns of phrase that are commonplace in poetry on themes of popular wisdom and ghazals―in fact, as much of Ibn Sbayyil’s own work―but here it is done purely in a spirit of fun and jest, following the lead given by his poetical correspondent, Ibn Zirībān. Language and sound play a big part in it, and meaning is secondary. For example, the rhyme is almost identical for both hemistichs: -āshī and -āsh. The fourth line’s hemistichs end with the words that have the same meaning, balā shī and ʿalā māsh, “for nothing,” which could be taken as the motto of the piece. Some words are slightly transformed for the sake of rhyme, for instance the final -ī of the last word, māsh, “nothing”; the rhyme word of the next line’s first hemistich, however, is correct: māshī, which means “walking.” In the sixth line, the first rhyme word is ḥāshī, which means “young camel,” while the rhyme word at the end of the line is inḥāshī, where again the final -ī is added to inḥāsh, which means “to scram, run away.” The comic effect of the melodramatic lines 6 and 7 is reinforced by an alliterative repetition of the rhyme’s consonant, shīn: ḥāshī, ḥarbash, ḥāshī, inḥāshī, kharfash, ḥāshī, khrāshī, ʿakkāshī. 209 Lit. “beauty” (zēn), as in the expression, “I swear that everyone loves a thing of beauty” (anā ashhad in al-zēn killin yiḥibbih). Al-Juhaymān, Amthāl, 10, 52–53. 210 Grass cutters were among the poorest in Najdī society, see Kurpershoek, Arabian Satire, xv, 61, §18.2.

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Notes 211

The etiquette of hospitality requires the host to let his eyebrows jump from joy at the unexpected arrival of guests.

212 In a poem’s initial lines, the camel rider, generally the poet’s messenger, is often accompanied by a troop of riding animals, see §14.1.1 for a humorous exaggeration of the number. The swift mount is contrasted with a camel that toils all night drawing water from a well for the irrigation of date palms or other crops, driven up and down the walkway by a slave―an image of degrading humiliation in the view of the Bedouin, see §2.20 and §34.2. In this piece the “message” is no more than an appendix to the camel description. In fact, the verses as such are the message: an acknowledgment of lines sent to Ibn Sbayyil by the addressee. 213 The names of male camels often end on -ān, e.g., Ḍabyān. Hess, “Beduinennamen aus Zentralarabien,” 6. 214 They were sired by a famous stallion whose owner demanded a stiff price. They were spared from being impregnated and bearing young: their strength was reserved for arduous desert travel. 215 Al-Hīsh, possibly Wādī al-Hīshah is meant, a torrent bed that runs into Wādī al-Sirdāḥ in the province of al-Quwayʿiyyah in the tribal land of Bargā of ʿUtaybah. 216 See n. 168. 217 It was explained to me that the shadow is cast by Thahlān Mountain, which towers over the town; see further al-Shaʿrāʾ in the glossary of names and places. 218 The topos of a camel herd driven away by raiders riding their hardest, as a simile for the lover’s stress and spleen, is developed into an extended simile in Poem 33. It is also the opening line of Poem 34. The same image is found in three verses by ʿBēd ibn Hwēdī, followed by the marker ʿalēk, “because of you,” and a description of the beloved: “My heart is being torn as plundered camels are driven away, a herd of fine animals divided among the rustlers, / The pride of tribesmen who came in pursuit with flying banners, and when they caught them all hell broke loose: / Amid war cries the raiders threw down all they carried, and blindly fled into the wilderness” (yā-tall galbī tall khaṭw al-wisāyiǵ, shimlūl dhōd w-shaʿtharōh al-mishāfīǵ / fīhum shifāḥah w-igtifōhum biyāriǵ, w-laḥǵ aṭ-ṭalab wi-ḥẓūẓihum b-at-tuwāfīǵ / ṣāḥaw ʿalēhum naṭṭalaw b-al-ʿalāyiǵ, w-min ghēr biṣrin jannibōh aṭ-ṭuwārīǵ) (Ibn Junaydil, Aʿlām, 164–65). His son Ibrāhīm ibn ʿBēd ibn Hwēdī no longer bothered with the details of the extended simile and abbreviated the image by turning the beloved herself into a raider, that is, the raider of the poet’s heart: “A pristine maiden who surprised my unsuspecting heart with a raid” (ghirwin dahaj ghirrāt galbī bi-ghārih) (ibid., 180).

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Notes 219 In the second hemistich the Arabic yilūʿūnih... talwī ʿ is an example of the use of the absolute accusative (maf ʿūl muṭlaq) that is a manifestation of narrative techniques, in this case the use of “morphological echo and rhyme” (Clive Holes, Dialect, Culture, & Society in Eastern Arabia, 3:453–54). The frequent use of such devices is in itself testimony to Ibn Sbayyil’s easy-flowing, narrative style of poetry. 220 “Miserably,” lit. ʿalā fālihum, means “as destiny would lead them” (CA fa’l, “a good omen,” but here it obviously has the sense of “they are on their own without any help in sight”). 221 “The valley of seduction,” wādī al-ghayy, see introduction, p. xxi. In Nabaṭī poetry ghayy is related to hawā, “love,” mostly as an imaginary affair and a game pursued through poetry. In a playful manner, ghayy has the connotation of “seduction, rapture,” but the connotation of “sinful” is added to spice up the game, not in the condemnatory fashion of the pre-Islamic poet al-Ḥādirah’s line: “You are the sons of a woman given to sinful lust (ghayy), as people maintain” (antum banū l-marʾati llatī zaʿama l-nāsu ʿalayhā fī l-ghayyi mā zaʿamū). Al-Mufaḍḍaliyyāt, 1, 48. 222 A well-known expression: “He twists the rope and loosens the knot” (yaftil w-yingiḍ), here used in reference to one’s unpredictable, arbitrary behavior; or to someone who twists his own plans while untwisting the plans of others, shrewd and resourceful (al-Juhaymān, Amthāl, 9, 283). It is also a quality of a mighty shaykh or despot, as in §23.12. 223 On the subject of complete subservience to the beloved and “religious” expressions of obedience, see §6.14 and n. 82. 224 Markets and prices are common metaphors for the poet to elaborate on the store he sets by his beloved, as in ʿBēd ibn Hwēdī’s verse, “They said, ‘Sell your love!’ but I cling to it: if love were for sale at the market, I’d buy it,” (gālaw tibī ʿ al-ḥibb w-anā ghalāwī, al-ḥibb law yijlab bi-sūgin sharētih) (Ibn Junaydil, Aʿlām, 133). “From Cairo’s gates to Mecca (al-rī ʿ )”: the poet’s grandson who published this poem in the dīwān explained to me that the rhyme word al-rī ʿ, “narrow passage, defile,” refers to Mecca. “The plural of rī ʿ is rī ʿān, and ‘the people of the defiles’ (ahl al-rī ʿān) from the Bedouin tribes were feared by pilgrims. When the pilgrims reached the narrow mountain passes (al-fijāj) after al-Ṭāʾif they would rob and plunder the pilgrims on their way to Mecca” (al-ʿUbūdī, Muʿjam al-uṣūl, 399). 225 The Arabic root r-w-m emphasizes the strength of feeling. The verb rām, yirūm, “to be strongly attached,” refers to the emotional attachment to a child or young that comes with suckling it. If the calf is not taken away from the cow immediately after birth, the cow will withhold its milk unless approached by the calf. A she-camel that is separated from her young after she has smelled it will become unmanageable. Therefore, it also

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Notes denotes a desperate feeling of bereavement, and, as in this verse, an unbearable longing after separation from a beloved being. Al-ʿUbūdī, Muʿjam al-azwāj fī al-turāth, 140. 226 Lit. “someone who is broad-bellied (kbārin dfūfih, in reference to a big, older camel).” “Strong enough to endure,” lit. “to have the strength” (gawā). 227 The rhyme makes use of a feature proper to the Najdī vernacular: the “ghawa syndrome,” that is, the rearrangement of syllables when the second consonant is a guttural (ḥ, ʿ, kh, gh, h), so that gahwah, “coffee,” is pronounced ghawah (Clive Holes, “The Language of Nabaṭi Poetry,” 3.3.1; see also Sowayan, Nabaṭi Poetry, 150, for its effect on scansion). In this poem it is used for the end rhyme of §§19.2 (mḥadhūfih), 19.4 (mkhaṭūfih), 19.8 (mʿarūfih), and 19.13 (mkhalūfih). The feature is also used for metrical purposes in Poems 3, 7, 13, 25, 42.3, 42.9, and 42.10. 228 A proverbial saying: “I cry like a toddler who has just been weaned (abćī bćā wirʿin ʿan al-dēd mafṭūm)” (al-Juhaymān, Amthāl, 1, 33 and 9, 198). The infant’s mother has died and it has been given to a foster mother (the verb ʿājā, noun mʿājāh, the infant is an ʿajī; CA ʿājā). 229 A saying: “He behaves like someone who lost his way during night travel because he cannot find the right star; someone who has lost his bearings, is confused, goes about things in a haphazard, inconsistent way” (sarā sary manjūm). Al-Juhaymān, Amthāl, 3, 260; al-ʿUbūdī, Muʿjam al-anwāʾ, 272–73. 230 ʿUmar ibn Abī Rabī ʿah presents a similar image of indifference: “She said, ‘Die from your disease or spend your life seeking remedy; we have nothing to offer to you’” (qālat bi-dāʾika mut aw ʿish tuʿālijuhū, fa-mā narā laka fīmā ʿindanā farajā). Al-Aghānī, 1, 202; Dīwān, 81. 231 See §7.12; introduction, p. xix and nn. 33, 34, 62; translation, nn. 89, 295, 413. 232 See §7.12; introduction, p. xix and nn. 33, 34, 62; translation, nn. 89, 295, 413. 233 “Gentleness is needed to make love work” (mā yistuwī ḥibbin b-layyā libāgah) is a Najdī saying (al-Juhaymān, Amthāl, 7, 214) (CA labaq, labāqah, “elegant apparel; gentle, refined, friendly conduct”). 234 This hemistich is a version of the saying: “Love reveals itself in telltale signs” (al-ḥibb bayyinātin muwārīh) (al-Juhaymān, Amthāl, 2, 242). The hemistich is also listed as a proverbial expression (ibid., 245–46). 235 The Arabic yālih, tālih, are conjugations of the verb walah, “to yearn, desire” (CA walaha “to hanker, long for”). 236 “Aficionado,” ʿīdī, “used to doing something repeatedly, experienced.” 237 These verses are adduced as illustration for the proverb “if a camel sheds wool [if it is in bad condition], it grows anew” (al-ḥalāl wubrah, tiḥitt w-tiṭlaʿ [or tinbit min jidīd]), used

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Notes to console someone who lost his possessions, i.e., one day you may be down on your luck and some other time things will go your way. Al-Juhaymān, Amthāl, 2, 307. 238 This is a standard topic in “wisdom poems,” and therefore more common in the work of a poet primarily concerned with society and morality, like Ḥmēdān al-Shwēʿir, e.g., in his verse “I swear to God, it was Mnīf who said to me: You are only appreciated in your prime” (Kurpershoek, Arabian Satire, 15, §5.1). 239 A ṣāʿ is a measure variously given as nine liters or three kilos, or three midd of wheat. A thimīn is a small measure: one-eighth of a midd. As such it is used metaphorically in ghazals, e.g., “compared to my misery, the suffering of Job is no more than a quarter of a thīmīn,” i.e., practically nothing. Al-ʿUbūdī, Muʿjam al-tijārah wa-l-māl wa-l-faqr wa-lghinā, 60. See also §34.7. 240 A similar meaning is conveyed in the saying: “From the head [i.e., by meeting face to face] and not in writing on paper” (min al-rās walā l-girṭās), on the time-honored wisdom of meeting in person as the most reliable way to bring clarity in a matter. Al-Juhaymān, Amthāl, 8, 169. 241 A generally accepted notion, e.g., the poet and chief of al-ʿIjmān tribe, Rākān ibn Ḥithlēn (1814–92), “after such treatment one cannot stay” (min ʿigb dhōlā ma bhā lī gaʿādī). Ibn

ʿĀqīl, al-ʿIjmān wa-zaʿīmuhum Rākān ibn Ḥithlēn, 135. 242 The Bedouin used a torch to follow the traces of rustlers at night. It consisted of a kettle filled with firewood carried by two men holding the chains fastened to the kettle’s handles, while the fire was kept burning by a third man who picked up dead wood on the way (Hess, Von den Beduinen, 102). In his explanation of the verse, al-Faraj comments: “If camels were stolen at night, the pursuing party would light a torch and carry it in a big pot attached with ropes to two camels in order to follow the traces of the raiders; this was called ‘the torch of the shaykh.’” (al-Faraj, Dīwān al-Nabaṭ, 198). 243 Hunters would approach game in the late afternoon, with the sun at their backs, and the ostriches would flee in the other direction, casting shadows so long that one ostrich would seem to run in the shadow of the ostrich behind it. The same motif is common in ancient poetry, e.g., in the muʿallaqah poem of Ḥārith ibn Hillizah: “[the ostrich] heard a faint sound and ran from fear of a hunter approaching in late afternoon, not long before sunset” (ānasat nabʾatan wa-afzaʿahā al-qun / nāṣu ʿaṣran wa-qad danā l-imsāʾu). Al-Zawzanī, Sharḥ al-muʿallaqāt, 156. 244 Camels easily shy at dark objects that unexpectedly come close to them, such as trees, walls, and shadows, see n. 175. In this case, rags are thrown at them to scare them. 245 For scenes at the well, see also introduction, nn. 31, 32, and translation nn. 27, 139, 212. This image is very popular with poets of High Najd. For instance, Fhēd al-Mijmāj opens a

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Notes poem: “My heart is tugged at like a heavy bucket from a well, when some men pull it up and others catch it” (ya-jarr galbī jarr dalw ilā mīl, dhōlā yijirrūnih wa-hādhāk yalgāh). Ibn Junaydil, Aʿlām, 47. 246 On a major expedition, raiders would make their final attack on horses, drive away the camels stolen from the enemy, and then count on a train of pack camels (zaml, led by camel drivers, zimāmīl, sg. zammāl) to meet at an appointed time and place in the desert to supply them with water and other needs. In this case, one or both of the groups went astray and the appointment was missed. The raiders knew that the enemy was at the nearest well and that if they wanted to avoid falling into their hands they had to make a long march with hardly any water left in their skins―an ordeal that the exhausted horses and the weaker camels would not survive; and losing water on them would cause the entire group to perish. Therefore, their only chance of survival was the one depicted here: leaving behind anything that would encumber their all-or-nothing dash through the waterless desert, in the blistering heat of midsummer, symbolized by the stars that “spark summer’s fire” (see n. 38), to the faraway well. Only the strongest of the stolen camels would serve their purpose―the other animals were left to their cruel fate, standing motionless in the quivering heat, like “scarecrows.” 247 The Arabic word for “curly tresses” (ʿathākīl, “tangled”) originally denotes the date bunches of a palm tree: their profusion and density are likened to the wild tumble of a girl’s hair, as in the muʿallaqah poem of Imruʾ al-Qays: “Her pitch-black tresses stream down her back, in a profusion as dense as the tangled growth of a date palm’s bunches” (wa-farʿin yazīnu l-matna aswada fāḥimin / athīthin ka-qinwi l-nakhlati l-mutaʿathkilī). Al-Zawzani, Sharḥ al-muʿallaqāt, 22; al-Tibrīzī, Kitāb al-sharḥ, 17. 248 In the version of al-Bulayhid, Ṣaḥīḥ al-akhbār, 2, 204, the verse reads: “Either I wait for them in vain, year after year, or I go in search of them, or their camels suddenly appear.” 249 Though it is beyond dispute that this poem in praise of Muḥammad ibn Rashīd, the emir of Ḥāʾil and the most powerful ruler in Najd in the second half of the nineteenth century, was composed by Ibn Sbayyil, the circumstances are not clear. It represents a major effort in a style and on a theme that are rather uncharacteristic in his oeuvre. What prompted him to do so―desire or fear―is hard to tell. Admiration pure and simple is the least likely explanation. The poem itself is perhaps the most reliable source, and in §23.43 the poet makes a pitch for being rewarded generously by the prince. On the other hand, Ibn Sbayyil was not known for soliciting financial rewards and may have included the verse because the prince would expect it and not doing so might be considered arrogant (a similar question arises with regard to the poet Ḥmēdān al-Shwēʿir: see Kurpershoek, Arabian Satire, xix, 138 n. 10). According to one story, one of the lieutenants of Ibn

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Notes Rashīd had threatened him and beaten him so severely that one of his hands remained paralyzed for the rest of his life, forcing him to compose this ode, as Ibn Junaydil maintains in his introduction to Muḥammad ibn Sbayyil, Dīwān, 15. In a later piece, not included in a published collection, Ibn Sbayyil speaks well of Muḥammad ibn Rashīd’s successor (Poem 43.2 and n. 493). It is also said that when a delegation from Nifī visited the court in Ḥāʾil, the prince sarcastically asked about the whereabouts of Ibn Sbayyil and why he had not joined the group to pay his respects. The prince’s choice of words was derogatory: “How are things with your poet, the ladies’ man” (wish lōn shāʿirkum, abā l-ḥrayyim)? When his words were reported to Ibn Sbayyil, he realized that the ruler was not well disposed toward him and that it would be advisable to humor him with a poem in praise of his achievements. Another insulting nickname given to Ibn Sbayyil was ʿBēlah, “Little ʿAbdallah,” see §§42.5.1 and 44.8. 250 See introduction, n. 8. 251 These five are enumerated in the closing verse of Q Luqman 31: knowledge of the time of resurrection, the arrival of rains and sustenance, what is in the wombs, what a soul will acquire tomorrow, and where a person will die. The seventeenth-century Najdī poet Jabr ibn Sayyār (see Kurpershoek, Arabian Satire, xiv), employs the same language and image as Ibn Sbayyil in his next line: “A man whose intelligence penetrates what remains invisible” (lit. “the haunches of affairs”; w-min lih bi-aʿyāz al-maʿānī biṣīrih), Sowayan, al-Shiʿr al-nabaṭī, 489. 252 Cf. §14.2.39 by Ibn Sbayyil on the use of the telegraph in his time. 253 For the Najdi saying yaftil wa-yingidh, see also n. 222. “He twists a rope and then unknots it again,” i.e., someone who keeps changing tack, undoing his own earlier work (al-Juhaymān, Amthāl, 9, 283). Here it does not denote arbitrary and capricious behavior, as in §18.12, but the cunning and power that enable the ruler to carry out his own schemes while undoing plans laid by the enemy. 254 Lit. he gallops like an intractable camel that runs away with the loads on its back (rithūʿ ) if it senses that the load is sliding and is getting out of balance―a common metaphor for a situation that becomes unsettled and deteriorates. 255 Al-Qaṣīm is an important province of Najd, a few hundred kilometers to the north of Riyadh, with major towns like ʿUnayzah and Buraydah. 256 In Arabic there is a play of words: he conquered their homeland (dārhum) and the place where they sought refuge (midārhum), when he routed them (dārhum, CA adār). 257 A powerful tribe in the eastern part of Central Najd and a frequent target of Ibn Rashīd’s raiding expeditions, as described in travel diaries, e.g., those of Charles Huber, Journal

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Notes d’un voyage en Arabie, 1883–1884 (Journal of a Voyage in Arabia) and Julius Euting, Tagebuch einer Reise in Inner-Arabien (Diaries of a Journey inside Arabia). 258 Thirb is a well where Ibn Rashīd surprised Muṭayr and took three hundred of their camels in 1894/95. The Ottoman governor of the Hijaz province suggested launching a military expedition against Ibn Rashīd, who refused to return his booty to Muṭayr, but Sultan Abdalhamid was on cordial terms with Ibn Rashīd and merely advised him to abstain from such depredations in the future (al-Haftāʾ and al-Shāṭirī, Taʾrīkh qabīlat Muṭayr, 183–87, which quotes these verses by Ibn Sbayyil). The episode is also told in the manuscript of al-ʿUbayyid, al-Najm al-lāmiʿ, 1, 130–31, who writes that the delegation of Muṭayr was fobbed off by the Ottoman governor of Medina, with the argument that the attack took place close to the borders of Ibn Rashīd and therefore outside his jurisdiction. 259 The despoiled Bedouin asked him for some of their camels to transport their women, children, and other dependents. 260 Here Ibn Sbayyil echoes the sentiment of another sedentary poet, Ḥmēdān al-Shwēʿir, when he says about the Bedouin: “A dog that scampers when you throw a stone at it, but if you throw a bone it will follow you forever” (Kurpershoek, Arabian Satire, 125, §30.19). 261 “Swollen with fury” (ṭanā): there might be an allusion here to a nom de guerre of the Shammar tribe, to which Ibn Rashīd belonged, “those swollen with fury” (al-ṭanāyā); see also n. 500 and §44.6. 262 This boasting of the horrors inflicted on the enemy’s womenfolk echoes the line of the seventh- and eighth-century poet Jarīr in his duels with al-Akhṭal: “The war waged against you by our Qays tribe made your women lose their fetus, either because they were disemboweled or they miscarried from terror” (wa-qad qadhafat min ḥarbi Qaysin nisāʾukum / bi-awlādihā minhā baqīrun wa-muʿjalū). Abū Tammām, Naqāʾiḍ, 67; Bakhouch, La rivalité d’honneur, 74. 263 In early Arabic poetry the same image is used to express the absolute power of the victor, as in al-Nābighah al-Dhubyānī’s line: “So many wives lost their husbands, and so many children became orphans” (yā-rubba dhāti ḥalīlin qad fajaʿna bihī, wa-muʾtamīna wa-kānū ghayra aytāmī). Jacobi, Poetik, 78; al-Nābighah al-Dhubyānī, Dīwān, 106. 264 For the eventuality that they have to plead with him for their lives and possessions, they try to think of anything they did or said that might incline him to relent. 265 This time-honored method of inspiring fear and obedience through wanton and unpredictable violence (the baṭsh of modern Arab dictators) is succinctly expressed in the muʿallaqah poem of Zuhayr ibn Abī Sulmā: “Defiant when wronged, he promptly retaliates with his own violence; and he will wrong others even if he is not oppressed

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Notes by anyone” (jarīʾin matā yuẓlam yuʿāqib bi-ẓulmihi / sarī ʿan wa-illa yubda bi-l-ẓulmi yaẓlimī). Al-Zawzanī, Sharḥ al-muʿallaqāt, 84. 266 Lit. “through his stamp” (mihir, CA muhr). He decides on reward and punishment himself, not on basis of what he is told by courtiers; that is, he is a true ruler, not one who exercises power through the manipulation of confidants and is manipulated by them. 267 See the comment in n. 249 on the reasons that might have impelled the poet to include this heavy hint at a reward for his poem. 268 It is a common topos to compare a ruler’s generosity to rich pastures, e.g., Ḥmēdān al-Shwēʿir in his poem of apology to Ibn Muʿammar: “For pasture I would migrate to Muḥammad ibn Muʿammar and not bother to go in search of grassy plains” (Kurpershoek, Arabian Satire, 93, §22.36). See also §27.1.18 and n. 151. 269 Lit. “only a little remained of it,” similar to the phrase in Abū Nuwās: “Passion of love wasted him away and left almost nothing” (lam yubqi l-hawā illā aqallī), Bauer, Liebe und Liebesdichtung, 375; and Bashāmah ibn ʿAmr: “whom death has all but overtaken” (qad adrakahu l-mawtu illā qalīlan), al-Mufaḍḍaliyyāt, 1, 87; 2, 27. Dh ʿār ibn Mishārī ibn Rbēʿān (Rubayʿān) was a member of the family of shaykhs of al-Rūgah division of the

ʿUtaybah confederation in whose tribal land Nifī is situated. As a poet he was principally known for his verses on the coffee ceremony and its related social values, as was his father Mishārī. 270 Cf. the verse by ʿBēd ibn Hwēdī al-Dōsirī, “My heart is like a wadi struck by drought, because of them―dead wood without any green” (galbī ʿalēhum lōn wādin sanāwī, hamīd ma talgā al-khaḍar fī nbētih) (Ibn Junaydil, Aʿlām, 133). The bitter apple, or colocynth, is one of the plants with the greatest resistance to drought. 271 See also §§2.15–17, 7.18, 32.6. In early classical poetry the same metaphor of the heart’s drought is used, as in Abū Dhuʾayb al-Hudhalī’s verse: “After you went to live elsewhere, the land where you left me is ravaged by drought, its moisture and fertility gone.” Dīwān Abī Dhuʾayb, 23. 272 One might think of the strands of wool in different colors that are woven into the tent’s inner sides. 273 A common phrasing in poetry, as in §14.2.14, “Some . . . and others” (dhōla . . . w-dhōla); “This one . . . that one . . .” (Kurpershoek, Arabian Satire, 105, §26:10–11). And Muṭawwaʿ Nifī, when asked to compose a poem by five women huddling around a fire, three girls and two older women: “Let it be this one here, together with that one; the one there give her respite [from the fire of Hell], and that one, as well as that one,” (laʿall hādhī hī w-hādhī bi-hādhī, w-hādhā timahhal hī w-hādhī w-hādhīk) (Ibn ʿAqīl, Ḥadīth al-shahr, 199).

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Notes 274 See §2.1 and n. 10 for the expression “what is the use of ” (wish khānat al-), rendered here as “Alas.” 275 In the Bedouin division of the seasons, springtime (ribī ʿ ) refers to the first rains after the hot season, also called wasmī, see n. 173. 276 Similar scenes are described in relatively recent Bedouin poetry, such as the conversation between a wayfarer who reports on the places irrigated by rains and the poet Ibn Batlā, followed by the poet’s instructions: “First thing in the morning, dear fellows, water your animals! As we are going to migrate, ready your pack camels!”; and in another poem: “I have seen it for myself: If you want to migrate to Najd, now is the time! Najd has wrapped itself in a cloak of flowering herbage.” Kurpershoek, Oral Poetry, 3, 143–61. 277 The tribe’s men ride ahead on their camel mounts, while their mares trot alongside. The mares are only ridden on short stretches, as when they charge or chase the enemy, so as to keep them fresh and not to wear them down. 278 Lit. “the drinker of the grasses.” In Arabic, the same verb is used for drinking and smoking. This detail is a sure sign that the poem predates the Wahhābī rule of the ikhwān (see introduction, n. 8), who prohibited smoking, as happened in earlier phases of the Wahhābī movement: “The atrocities which the Ikhwan committed against innocent people who were merely ‘guilty’ of smoking tobacco [ . . . ]” (Habib, Ibn Sa’ud’s Warriors of Islam, 37). The Wahhābīs called tobacco (the Turkish word titin) “the urine of Satan” (Hess, Von den Beduinen, 112). Doughty says: “The Bedouins love well to ‘drink’ the fume of a strong leaf till the world turn round, yet will they say, after the Wahaby doctrine, ‘Tobacco is bawl iblīs, the devil’s water.’” And, “they all dote, men and women, upon tittun, tobacco. [ . . . ] Bedouins will abjectly beg tobacco even of their poor tribeswomen. [ . . . ] Tobacco is this world’s bliss of many in the idle desert [ . . . ]” (Travels, 1, 289, 356). 279 When there is sufficient herbage and the heat is not too severe, the camels stay at their pastures (ʿazīb), returning every five days or so to the camp and the wells to be watered. Guarded only by a few shepherds, these herds are at a far remove from the camp and therefore vulnerable to raids, see n. 50. 280 I was given different interpretations of this line by Saudi informants, but the general notion is that of freedom amid plenty: the horses are left to trot around without any inhibition. 281 Lit. “the news report reached its full length,” i.e., “ a crisis, when friend becomes enemy, things threaten to get out of hand” (Sowayan, al-Ṣaḥrāʾ, 439). It is also a proverbial saying (waggaf al-ʿilm ṭūlih) “when push comes to shove, a crisis point is reached, the true state of affairs comes out under pressure, and no aspect remains hidden” (al-Juhaymān, Amthāl, 9, 51).

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Notes 282 Similar in meaning to the saying “When all cut off their business relationships” (yōm inn killin min ʿamīlih tibarrā), i.e., when the relations between two or more groups have reached such a state of tension that even old and trusted partners can no longer deal with each other to service the needs of customers in their respective groups as before (al-Juhaymān, Amthāl, 9, 314). In the hemistich, the translation “old friends” refers to “men who belong to different tribes or groups and have a customary relationship of trust that enables them to do business in a friendly way.” Usually, this is a relationship (called ʿimlah) between a Bedouin and a farmer or sedentary trader, as between Ibn Sbayyil and his Bedouin customers, who were each other’s ʿamīl. For instance, the Bedouin and the farmer would exchange their produce, such as dates and wheat for butter (as in §32.1), or camels used for traction at the well for irrigation (Sowayan, al-Ṣaḥrāʾ, 363). A popular saying is: “Everyone transfers money through his agent” (killin ynāgil b-ad-darāhim ʿamīlih), in reference to the practice of paying someone to write to his counterpart in another town to pay a certain amount of money to someone there, because of the insecurity of the desert roads and the risk of the money being stolen if transferred in cash (al-Juhaymān, Amthāl, 6, 145–46). In a more general sense ʿamīl means a trader who provides credit to a farmer until harvest time―a period of anxiety for the peasant, whose labor may be in vain for many reasons beyond his control, as graphically illustrated in poetry (Ibn Junaydil, al-Sānī wa-l-sāniyah, 19; and Kurpershoek, Arabian Satire, 133). 283 It was explained to me that the chief, mounted on his horse, moves the hem of his shirt as a sign to attack. Normally, mounted warriors would attack the enemy in a coordinated manner: the function of al-middib (from CA muʾaddib) was to keep them in line and not allow anyone to rush off before all were ready. But if some wavered, an impatient and daring warrior might give his animals the spurs, and thereby force the others to follow (Sowayan, al-Ṣaḥrāʾ, 344 and 422). Waving the hem of one’s shirt is also an urgent distress call in the desert and a request for assistance to people seen in the distance, if one is alone and cannot count on his tribe’s rescue team (al-fazʿah, as in the expression “there is no one for him to wave to as a sign to come to his rescue,” mā lih min al-fazʿāt mūmī shilīlih) (al-Juhaymān, Amthāl, 7, 156). Related sayings are: “Just waving your shirt’s hem at him will see him off ” (yakfīh nafḍ al-shilīl); and al-ʿUbūdī adds that in a general sense it may mean: “there is no one who waves his shirt’s hem,” mā fihā mūmī shilīlih, i.e., “there is no one at all” (Amthāl, 1230, 1775). 284 The language conveys the sense of action and excitement: ḥawwaw w-raddaw b-awwalih wi-gharō lih, see n. 13. 285 I.e., the herds were not accompanied by armed men who could offer resistance, but were only guarded by defenseless shepherds.

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Notes 286 The shaykh or leader of the raid is entitled to a share of the booty taken by each of the participating groups in the raid, ʿazil al-shēkh (Hess, Von den Beduinen, 101). 287 When the Bedouin trek to the markets in fall to stock up and the wares are cheap, they buy as much as their pack camels can carry and more. The implied meaning is that they have no fear of any enemy and march at a leisurely pace. See also n. 45. 288 The chief is so powerful and self-assured that no one is bold enough to ask him about the destination or what he is up to: he expects unconditional obedience. This poem’s adulation of unquestioned authority is akin to the characteristics ascribed to Ibn Rashīd in Poem 23. The combination of ferocious fighting and pastoral idyll in this poem is caught in a single verse in the muʿallaqah poem of Zuhayr ibn Abī Sulmā: “They met in fateful deadly encounter, then trekked again / toward the herbage of unsavory pasture grounds” (i.e., in preparation for the next round of warfare, fa-qaḍḍaw manāyā baynahum thumma aṣdarū, ilā kalaʾin mustawbalin mutawakhkhamī) (Sharḥ al-muʿallaqāt, 84). 289 The only source for these verses is the edition published by Muḥammad ibn ʿAbd al-ʿAzīz ibn Sbayyil, the poet’s grandson, where this poem opens the collection. Remarkably, the long ode to Ibn Rashīd is not included in that collection. 290 In that period the Ibn Bassām merchant family in ʿUnayzah, an important town in the al-Qaṣīm region, was on the side of Ibn Rashīd, also because they depended on him for their trade routes. 291 Lit. “the highest mud layer of a house where the pigeons are kept” (ʿirǵ al-ḥamām; ʿirǵ is a layer of clay that is left to dry before the next layer is laid on it when an adobe house is built). 292 See introduction, n. 8. Toward the end of 1904, when ʿAbd al-ʿAzīz ibn Rashīd returned to Ḥāʾil, and from there continued to Iraq, he left a garrison of about three hundred men from the Shammar tribe in the al-Sirr region, south of al-Qaṣīm, under the command of Ḥsēn (Ḥusayn) ibn Jarād al-Nāṣirī. ʿAbd al-ʿAzīz ibn Saʿūd surprised twelve of them, including Ḥsēn, in the town of al-Fēḍah, also called Fēḍat al-Sirr. They were killed, and their bodies were left lying outside the walls of the town, as described in §25.9, before being buried. Ibn Junaydil, ʿĀliyat Najd, 3, 1044–49; Ibn Hadhlūl, Taʾrīkh mulūk Āl Saʿūd, 1, 61; al-Ziriklī, Shibh al-jazīrat fī ʿahd al-malik ʿAbd al-ʿAzīz, 1, 145. 293 The image of the beloved’s camel train ascending the incline of an elevation, and thus for an instant clearly visible to the lovesick poet who has stayed behind, or speeding downward from the crest of a line of low desert hills, is a standard topos, e.g., Swēlim al-Suhalī: “The loaded camel train sped away, ascending an incline, then it plunged

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Notes down and disappeared among the stony hills” (shālaw w-gaffann aẓ-ẓaʿāyin zaʿājīl, shaffaw w-haffaw w-ittigaw b-al-ḥzūmi). Sowayan, al-Ṣaḥrāʾ, 447. 294 It is a common simile to liken camel trains in the distance to clouds, e.g., al-Mijmāj: “They sped away as a cloud sails away after it rained, its cumulus flashing with lightning” (ag faw ćimā nawwin nithar māh w-inzāʿ, bargih yrafrif w-as-sidā yirtidim lih). Ibn Junaydil, Aʿlām, 57; Sowayan, al-Ṣaḥrāʾ, 443. 295 The beloved’s ponderous gait is part of her coquetry, but it is primarily caused by the weight of her voluminous behind, as explained in n. 89. This is clear from ʿUmar ibn Abī Rabī ʿah’s line on the same topos: “[with her heavy behind] she walks at a calm pace, excruciatingly slow, keeping her thighs apart” (wa-tamshī fī taʾawuddihā, huwaynā l-mashyi fī badadī); and: “She walks slowly, in her one-piece robe, unsteady like a drunk struggling uphill” (tamshī l-huwaynā idhā mashat fuḍulan, mashya l-nazīfi l-makhmūri fī l-ṣaʿadī) (Dīwān, 110, 118). The same comparison, and combination of heavy behind and “drunken” walk, is made in the muʿallaqah poem of ʿAmr ibn Kulthūm: “They amble with a very slow gait, quivering at the back like the walk of a drunk” (idhā mā ruḥna yamshīna al-huwaynā / ka-mā ḍṭarabat mutūnu al-shāribīnā) (al-Zawzanī, Sharḥ al-muʿallaqāt, 133). 296 “Groaning” (mirzimāt), i.e., the grumbling sound made by a she-camel that groans yearningly toward her calf (CA arzamat al-nāqah). Such a she-camel in milk would have a big and full udder. 297 The same excuse was adduced by the seventh-century ghazal poet ʿUmar ibn Abī Rabī ʿah: “First I felt sorry for myself, then love’s passion took hold of me: it’s not just me; before me other men were afflicted by love’s disease” (fa-ʿazzaytu nafsī thumma māla biya l-hawā, wa-qabliya qāda l-ḥubbu man kāna dhā tablī). Dīwān, 304. 298 See introduction, n. 52 and n. 439 below. It is a common excuse in poetry to hide behind predecessors with more social status than oneself, e.g., Saʿd ibn ʿAbdallah al-ʿAtānī from al-Shaʿrāʾ: “They haunted scores of wonderful lads; / Before me the creamy beauties harrowed the heart of the Sudayrī chiefs [the principal family of al-Ghāṭ in Sudayr who are parented to the Saʿūd dynasty]” (ćam min w-ćam snāfiyyin wahhagannih / w-al-bīḍ galbī

ʿadhdhabann as-Sidārā). Ibn Junaydil, Khawāṭir, 162. 299 See nn. 472 and 510. 300 “Sharp-pointed spears,” mdhalligāt al-ʿrēnī: from CA mudhallaq, “sharp-pointed,” and

ʿrēnī from ʿirn, “tan wood” (CA ʿirn, “a species of thorn tree”). The ʿrēnī, or ʿrēniyyāt, “the narrow blade of a spear, which is manufactured chiefly in the town of ad-Dēr on the right bank of the Euphrates” (Musil, Rwala, 133). Here it is a stereotyped noun combination in the construct state, like in §27.1.5, and Ibn Sbayyil’s reply to it, §27.2.36,

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Notes zōghāt al-adhhān, “(days when) men’s minds run wild with fear,” i.e., “bloody battle.” See Kurpershoek, Oral Poetry, 2, 128–29. 301 The poem is found in the al-Rabī ʿī manuscript on unnumbered pages, between a section of Ibn Sbayyil’s Poem 14.2 and the poem numbered 14.1 in this edition, pp. 106–7 of the MS; and the Ibn Yaḥyā MS, 668–69. 302 See nn. 71 and 123. 303 See n. 295 on the beloved’s “drunk” gait. 304 The name of a stud camel; see n. 213. 305 See n. 243. 306 “The callosities of the joints of the fore and hind legs and the breast of the camel are called her thafināt [or athfān, as here]: when they make but small hollows in the sand when she is couched, it is a sign of her being of good breed.” Al-Mufaḍḍaliyyāt, 2, 20. 307 In its essentials, this camel description does not differ from the pre-Islamic muʿallaqah poem of Ṭarafah ibn al-ʿAbd. In the first hemistich the verb shabhar means “to look sharply, with an intense gaze.” 308 Lit. “as if they were irritated by worms (dīdān).” As explained to me, the Bedouin believed that such camels were plagued by worms on the insides of their ribs, which made them run at a maniacal pace. Early classical poetry also mentions the apparent paradox of increasingly fast pace the longer the distance covered (because it shed fat), as in the muʿallaqah poem of ʿAntarah: “Will I be brought home by a pedigree she-camel that was denied the pleasures of suckling a calf; / that raises her tail as she picks up the pace after running all night and hammers the stony hills with her hoofs” (hal tublighannī dārahā shadaniyyatun / luʿinat bi-maḥrūmi l-sharābi muṣarramī / khaṭṭāratun ghibba l-surā zayyāfatun / taṭisu l-ikāma bi-wakhdi khuffin mīthamī) (al-Zawzanī, Sharḥ al-muʿallaqāt, 142). And Jarīr: “Each of the camels ran even faster at the time of the midday heat, as if their spirits and endurance increased with the distances crossed” (min kulli ʿayhamati l-hawājiri zādahā / ṭūl al-mafāwizi jur’atan wa-ḍarīrā) (Abū Tammām, Naqāʾiḍ, 120; Bakhouch, La rivalité d’honneur, 140). These and many other instances show that the classical images and topoi were still common in the composition of Najdī poetry until well into the twentieth century. 309 I have not been able to locate this place. 310 See n. 154 on this somewhat laughable hyperbole. 311

See n. 80 on the runaway heart.

312 On account of its straight growth, tenderness, and the fragrance of its oil, poets since antiquity have likened beautiful girls to the ben tree (Arabic: bān). To compare a man

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Notes to such a tree is to belittle him: “a lad, like the branch of a ben tree, soft and pliable” (ghulāman ka-ghuṣni l-bānati l-mutaghāyidī) (al-Mufaḍḍaliyyāt, 1, 135; 2, 45). 313 Qaṣr Barzān was the palace of the Ibn Rashīd dynasty in Ḥāʾil. 314 See n. 156. 315 See §14.1.1. The messenger is often said to ride at the head of a group of fast camels. 316 At this age, when it has grown its teeth called sidāsiyyāt, a riding camel is at the peak of its strength. 317 The Sharārāt tribe is famous for breeding the best camels in northern Arabia. These camels are frequently mentioned in poetry. There is a further twist because it is suggested that the Sharārāt had been remiss in paying their tithe to the “ruler,” who can be none other than Ibn Rashīd, the emir of Ḥāʾil. In this case they were intimidated into grudgingly paying up and Ibn Rashīd would have accepted no less than their best camels. In the poet’s fantasy, these animals found their way into the messenger’s escort. Though the rulers of the Ibn Rashīd lineage were tribal princes of Shammar, not formally independent sovereigns, and paid nominal allegiance to the Ottoman Sultan or, as circumstances demanded, to the Wahhābī rulers of the Ibn Saʿūd dynasty in the south, they were more than mere tribal chiefs in the view of the Bedouin. After the battle of Thirb (see n. 258), Muḥammad ibn Rashīd taunted visitors of Muṭayr with the words: “You have sworn that no one would ever wrest your horses from you, but we did!” The Muṭayr tribesmen answered: “Our oath was meant for tribes like ours. But you are a ruler (ḥākim; the same term is used in this verse).” Al-Haftāʾ and al-Shāṭirī, Taʾrīkh qabīlat Muṭayr, 187. 318 The rhyme word mishtān was explained to me as “preoccupied, mentally agitated” (from CA sha’n “affair”), i.e., “ his mind is busy with many affairs, plans.” 319 I.e., not stopping off for refreshments and conversation. 320 A stereotyped description, in the nature of an epithet. While stingy people hide their tents in a dip in the terrain, generous men who care about their reputation put them up on high ground where they are conspicuous: they aim to attract guests, even in times of want, and spend without heed. 321 The Najdī sheep’s tail is considered a delicacy and is eaten as unadulterated fat in Bedouin meals. 322 This verse is often cited as a hyperbolic description of the virtue of hospitality. The big leather bags in which water is carried on camelback from the well to the camp are smeared with fat on the inside for protection. When guests get up from their places around the tray and leave, they wipe the fat off their hands on the tent’s front flap. As a result the woolen tent cloth becomes shiny with grease. This is taken as a sign of their

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Notes owners’ hospitality. Al-ʿUbayyid, al-Najm al-lāmiʿ, gives this description of the tent of Hadhdhāl ibn Fhēd al-Shībānī: “I saw the front flap of his tent dripping with fat, as it is customary for guests after they finished eating to wipe their hands on it until a ropelike trail of fat runs under it” (quoted in Sowayan, al-Ṣaḥrāʾ, 414). Similarly, guests used to daub their riding camels’ necks with the blood of animals slaughtered in their honor― a telltale signal when on their onward journey they would be asked about the identity of the hosts who had entertained them so generously. 323 Day and night, the hospitable owner of the tents pounds coffee beans and spices in the mortar and therefore “fights off sleep like a fiend” (§14.2.26). The loud rings of the pestle against the mortar’s rim are heard far into the desert and are an open invitation to all and sundry to join the coffee maker for a cup. 324 Men of the highest social rank and those more advanced in age sit closest to the tent owner. But even men at the far end of the circle are served as much coffee as they wish. 325 In the heat of battle, women loosen their hair, bare their breasts, and cry out to embolden their tribe’s fighters. See nn. 47, 179, and 417. 326 Another stock character: a woman who has not yet been divorced, but lives separated from her husband; or a married woman who is dissatisfied with her husband and longs for a better and braver man. 327 Upon reaching his destination, the messenger begins his direct address in which he repeats the words entrusted to him by the poet. In the course of his delivery, he quotes directly from the poet’s discussions with other men. The end of direct speech is not clearly marked. 328 The mise-en-scène of a purported search for a beloved often involves a runaway young she-camel. It pictures the poet making the rounds to question people as to the whereabouts of an animal of his description (see also nn. 80 and 192). The owner of a real camel would, of course, mention the shape of its brand, but in this metaphorical sense it is expressly omitted, as al-Mijmāj makes clear in his more precise description of the animal: “She is not a young calf, nor an animal used for traction at the well, but a young white she-camel, not branded with a mark by its owner” (lā hīb lā ḥāshī walā hīb mirjāʿ /

ʿafran fitāt w-rāʿiyah mā wisam lah) (Ibn Junaydil, Aʿlām, 57). Burckhardt describes how young Bedouin men would address dancing girls as they would “order camels to halt, to walk, and trot, to drink, and eat, to stop, and to lie down.” Since addressing them by name would be a breach of custom, they would style her “camel”: “This fiction is continued during the whole dance. ‘Get up, O camel [the word used would be for a young she-camel, ḥāshī]’” (Notes, 253–56).

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Notes 329 I.e., the settled inhabitants of the villages, the ḥaḍar, who are more punctual about religious obligations than the Bedouin. 330 See n. 159. “Villagers and Bedouin” is a time-honored way of saying “everyone,” as in the verse, “She is superior to the women of settled folks and the Bedouin” (rāqat ʿalā ḥāḍiri l-niswāni wa-l-bādī) (Dmitriev, Abū Ṣakhr, 195). And ʿUmar ibn Abī Rabī ʿah: “Then say, ‘Bastard, you are the biggest liar of all people, the settled folks and the Bedouin’” (thumma qūlī kafarta yā-akdhabi l-nāsi jamī ʿan min ḥāḍirīna wa-bādī) (Dīwān, 95); and “stories from Bedouin and villagers” (aḥādītha man yabdū wa-man huwa ḥāḍirū) (Dīwān, 133; al-Aghānī, 123). 331 Dhuwī ʿAṭiyyah and Kirzān are sections of the ʿUtaybah confederation. 332 The chief of al-Daʿājīn of ʿUtaybah. 333 The popular saying differs in a few details of wording (mā sharṭin ʿalā ghēr burhān), i.e., the customary reward (sharṭ has the general meaning of financial compensation for services, as in the exchange of barbs between Ibn Sbayyil and Muṭawwaʿ Nifī, see n. 463; and Kurpershoek, Arabian Satire, 27, §10:12, 140 n. 30) for the bringer of good tidings or other important news is only given if the report is underpinned by credible evidence (al-Juhaymān, Amthāl, 7, 76). 334 The poet seems to echo, playfully or ironically, Ibn Zirībān’s zōghāt al-adhhān, “(battles, horrors) that drive men beside themselves with fear.” See nn. 134 and 300 on noun combinations such as these, a characteristic feature of this poetry’s style. 335 Lit. Zanātī, i.e., the courageous hero of the Banū Hilāl epic. Fayḥān ibn Gāʿid is the poem’s addressee. The poet’s search leads back to his friend who commissioned it, that is, the most beautiful woman is in his household or close to him. 336 The proverb is: “The flat, hard desert tract is the arena and the horses are ready for battle [lit. have reached their sixth year, are at their best age]” (al-khadd mēdānin w-al-khēl girraḥ, as in this verse, al-khēl girraḥ w-ajrad al-khadd mēdān). Al-Juhaymān, Amthāl, 3, 12–13, 65; Musil, Rwala, 375. 337 The poet uses the demeaning diminutive ḥḍērī for ḥaḍarī, “a person from the sedentary classes, a villager.” 338 See §§35.11, 36.10, and introduction, n. 64 on the beloved’s tyranny. 339 See introduction, p. xxii. Insofar as the poet’s desire remains unfulfilled and he suffers excruciating pain on account of unrequited love, the beloved appears as a beautiful lady without mercy. The characteristics that attracted him to her in the first place are quite different, however. Apart from stunning looks, a woman’s intelligence and charming conversation are indispensable parts of the poet’s ideal of beauty. In the same vein,

ʿAbdallah ibn ʿWēwīd says of his beloved: “My beloved is intelligent and not a teasing

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Notes flirt; she is not everyone’s friend, and not easy with her favors” (anā ṣāḥibī ʿāǵil wlā hūb mazzāḥ, wlā hū min illī kill zōlin yʿashginnih). Ibn Junaydil, Aʿlām, 80. 340 Lit. “we owe you no debt, nor do you have a guarantee (ḍimān) from a guarantor of the loan.” 341 This trope goes back to the early days of Arabic poetry, as in the line of al-Marrār ibn Munqidh: “If my brothers were to slay her in retaliation, they would have avenged my death at her hands” (wa-hya law yaqtuluhā bī ikhwatī, adraka l-ṭālibu minhum wa-ẓafir). Al-Mufaḍḍaliyyāt, 1, 159. 342 A common topic in ghazals or other poems on partnering, such as Ḥmēdān al-Shwēʿir’s observation: “I myself, son, am perplexed by maidens; I ended up going from one to the other: This one doesn’t want me, that one I don’t want— Either we can’t agree or she is not right for me” (Kurpershoek, Arabian Satire, 105, §§26:10–11). The topic also occurs as a popular saying: “Fortune would not bring me the one I had chosen” (illī nibī ʿayyā al-bakhat la yijībih) (al-Juhaymān, Amthāl, 1, 339). 343 “Manly vigor” is a translation of the Arabic word zʿētmānih, which is the name of an aromatic plant to which various health benefits are ascribed (the Arabic name is used for desert thyme or white-leaved savory). Here it can be considered synonymous with the expression “in the flower of youth, in the prime of his life” (fī ʿunfuwān shabābih). The notion conveyed is that the heart suffers to an extreme degree, like wood that is being worked with the utmost force. In early Arabic the same image and terminology was used: “I will plane you down like a piece of wood,” e.g., in threats uttered by al-Ḥajjāj against the people of Iraq, as explained in a comment to a poem of al-Ḥādirah, Al-Mufaḍḍaliyyāt, 1, 50. 344 The tool mentioned in the first hemistich is a ǵaddūm, an adze, a small one-headed ax used for the finer woodwork. 345 A saying: “lucky breezes blow in its direction” (dhaʿdhaʿ hawāh); “a person born under a lucky star who is generally liked and respected.” Al-Juhaymān, Amthāl, 3, 129. 346 As Nöldeke notes, even in ancient times it was not regarded as contradictory “that the poet let it be known that passion of love was a deep secret.” “Dhurumma,” 189. 347 The line is similar to the proverb “a stick that is not flexible will break,” or “better bend than break” (al-ʿūd illī mā yilīn yinkisir), meaning that it is advisable to go with the flow to a certain degree. Al-Juhaymān, Amthāl, 4, 434. 348 See §6.13 and n. 80. 349 The toy is a small tin, painted in bright colors, filled with pebbles, that produces a rattling sound when a child shakes it. In the popular saying, it refers to a man of no substance who can be easily swayed and whose words are without substance (al-Juhaymān,

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Notes Amthāl, 5, 135, and 8, 108). “In the Gulf, it is also, by transfer, the name of custom in the middle of Ramadan when children go round to neighbors’ houses rattling pots, pans, and drums−anything that makes a rattling sound, gargaʿān−and begging for treats, as in Halloween’s ‘trick or treating’” (communication from Prof. Clive Holes). 350 The hemistich has acquired the status of popular saying: “My cord cannot be detached from hers.” Al-Juhaymān, Amthāl, 4, 460. 351 This line has become a popular saying. It asserts that infatuated lovers never tire of pursuits for which others would have no taste (al-Juhaymān, Amthāl, 8, 272); al-ʿUbūdī gives the variant: “Hunting is his passion and the only thing he cares about” (mā lih hamm illā aṭ-ṭrād) (Amthāl, 1252). 352 That is, they do not feel the pain of walking barefoot on stony ground. 353 The first hemistich has achieved proverbial status in these exact words. It means that things tend to follow their natural course. For instance, if someone has fallen in love, he will follow his heart and will not be dissuaded by censurers. Al-Juhaymān, Amthāl, 3, 291–92. 354 This proverb teaches that a successful outcome depends on a number of interrelated factors; if one of them does not hit the target, neither will the other. Al-Juhaymān, Amthāl, 7, 79. 355 A popular saying in exactly these words, also used in the general sense that deeds count for more than words (al-Juhaymān, Amthāl, 4, 205–6). Evasiveness and attempts to wriggle out from the demands of hospitality were seen as indelible stains on one’s honor from the earliest times, as in the deadly line of Jarīr (d. 110/729): “If the Taghlibite is faced with the demand to provide for a guest, he scratches his ass and utters a litany of excuses” (wa-l-Taghlibiyyu idhā tanaḥnaḥa li-l-qirā / ḥakka stahū wa-tamaththala l-amthālā) (Abū Tammām, Naqāʾiḍ, 89; Bakhouch, La rivalité d’honneur, 92). 356 A well-known proverbial saying, “consent is the best rule” (ar-rḍā sīd al-aḥkām), meaning that the best way to rule or solve disputes is to do so with the consent of all concerned (al-Juhaymān, Amthāl, 3, 195). Al-ʿUbūdī quotes the expression “peace is the best thing to agree upon” (aṣ-ṣulḥ sīd al-aḥkām) in a letter from Saʿūd ibn ʿAbd al-ʿAzīz ibn Muḥammad to an Ottoman governor; and in a poem by the sixteenth-century Nabaṭī poet Rāshid al-Khalāwī: “A dispute’s best outcome is what both parties can accept; whoever declares himself sincerely satisfied will gain” (tarā sīd al-aḥkām mā kān mirtiḍā, w-min yirtiḍī shayyin w-yahwāh fāz bih) (Amthāl, 594–95). 357 In similar words, ʿUmar ibn Abī Rabī ʿah’s verse: “I do whatever I can to please you, and I upbraid those who censure you” (wa-abdhulu nafsī li-marḍātikum, wa-uʿtibu man jāʾakum ʿātibā). Al-Aghānī, 162; Dīwān, 66.

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Notes 358 The same meaning, without the metaphors, is expressed by ʿUmar ibn Abī Rabī ʿah: “We talked to our hearts’ content, and we enjoyed as much as we desired [ . . . ] ten nights in that place, settled our debts, and were done” (wa-ḍarabnā l-ḥadītha ẓahran li-baṭnin, wa-ataynā min amrinā mā shtahaynā [ . . . ] fa-labathnā bi-dhāka ʿashran tibāʿan, fa-qaḍaynā duyūnanā wa-qtaḍaynā). Al-Aghānī, 1, 143; Dīwān, 430. 359 This piece is only found in a book by Ibn Junaydil, al-Sānī wa-l-sāniyah, on the subject of oasis agriculture. Sinʿūs is a generic name for a member of Shammar, a tribe called Sanāʿīs in one of its battle cries. This Bedouin was hired by Ibn Sbayyil to do the hard work of guiding camels used for well traction up and down the walkway during the greater part of the night and parts of the day in the hot season, when the palm trees are in the greatest need of water. See nn. 212 and 397. Earlier, the hired hand had blamed the weak condition of the camel, but this time the animal had recovered and was in good shape. Therefore, Ibn Sbayyil says, he no longer has an excuse for his sluggishness. In the final line, he admonishes him to go about his work with fresh energy because otherwise no one will hire him next season; and if he makes a good impression he may even get hired with a pay raise. The poet is all the more anxious to see the harvest succeed because he is in debt to a trader―an element that reminds us of one of the poems by Ḥmēdān al-Shwēʿir (Kurpershoek, Arabian Satire, 133). 360 When the bucket has been hoisted up and emptied into the basin, the driver leads the camel back to the well up the walkway. After the effort of pulling up the heavy bucket on the way down the path, the animal should be allowed to recover—chasing the animal on the way up is condemned, see §§34.2–3. Also, when back at the well, the camel must be calm to allow the workers to shake the ropes so as to move the buckets in the well to fill with water for the next haul. 361 One is reminded of ʿUmar ibn Abī Rabī ʿah’s line that starts with a similar threefold repetition of an exclamation: “How nice, how nice, how nice! A sweetheart whose every whim I braved!” (alā ḥabbadhā ḥabbadhā ḥabbadhā, ḥabībun taḥammaltu minhi l-adhā). Dīwān, 119. 362 In the diwan compiled by Muḥammad ibn Sbayyil, this piece is attributed to Muṭawwaʿ Nifī (and he is followed in this by al-Masridī, Muṭawwaʿ Nifī, 86–87), but the manuscript versions include it in the work of Ibn Sbayyil. It is true, though, that the jesting tone is more characteristic of Muṭawwaʿ Nifī, who might be expected to pull his neighbor’s leg on a theme so dear to his heart. 363 A variation on the motif of the silly graybeard, as in the muʿallaqah poem of Zuhayr ibn Abī Sulmā: “If an old man is a fool he will never see reason, while rash youngsters may still hope to attain wisdom” (wa-inna safāha l-shaykhi lā ḥilma baʿdahū / wa-inna

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Notes l-fatā baʿda l-safāhati yaḥlumī) (al-Zawzanī, Sharḥ al-muʿallaqāt, 89). And Hmēdān al-Shwēʿir’s line: “I ask you, Māni ʿ, what kind of folk are these, whose elders are as foolish as their youngsters?” (Kurpershoek, Arabian Satire, 13, §4.19). 364 Lit. “Nights that are short, that pass quickly,” as in ʿUmar ibn Abī Rabī ʿah’s verse: “When you are distant the nights are long, but they feel short when you are around” (fa-l-layālī idhā naʾayti ṭiwālun, wa-arāhā idhā qarubti qiṣārā) (Dīwān, 156; al-Aghānī, 1, 136). In the chapter “Settlers and Nomads,” Sowayan translated this poem as a particularly apt illustration of the subject (Nabaṭi Poetry, 24–27). At the end of the hot season the Bedouin are in a rush to leave the wells of the village where they spent the hot season, settle debts and get paid what is owed to them, and prepare for their migration into the desert, each of them bent on getting ahead of the others in a race for the best pastures (Sowayan, al-Ṣaḥrāʾ, 440). The rhyme word of the first hemistich, shifāshīf, is explained by al-ʿUbūdī as “little, paltry, less than what is needed.” Many times he heard migrating Bedouin say: “There is little water in the wells at the moment” (al-ma ha-l-ḥīn shifāshīf), that is, insufficient for them and their herds (Muʿjam al-uṣūl, 7, 206). Among others, he quotes Ibn Sbayyil with this verse to illustrate his point. 365 Burckhardt observes that the Bedouin kept a certain amount of butter for themselves and that “the rest is sold to peasants and townspeople.” “From one hundred ewes or goats (the milk of which is always mixed together) the Arabs expect, in common years, about eight pounds of butter per day.” Notes, 201–2. 366 Normally, the herdsmen would have little to do and plenty of time. Now, even they are busy. 367 Also, al-Mijmāj: “Each of them follows his own track, veering away from the others” (w-illi nawā darbin ʿazal w-ingisam lih). Ibn Junaydil, Aʿlām, 56; Sowayan, al-Ṣaḥrāʾ, 443. 368 Lit. “The sudden end of al-jizuw (CA al-jazw),” the period in which camels and animals like gazelle can do without water because they absorb enough moisture from the grasses and plants that shoot up in the wake of plentiful rains. The Bedouin dig in the sand to see at what depth the earth has retained moisture and thereby measure what remains of this season. In al-Zawzanī’s commentary to Labīd’s muʿallaqah poem, the wild cow’s abstention of water, jazaʾa al-waḥsh, is explained as “the oryx found sufficient moisture in its grazing to be able to do without water”: “During the long period of the cold and cool seasons, six months, they did not go in search of water” (ḥattā idhā salakhā jumādā sittatan / jazaʾā fa-ṭāla ṣiyāmuhū wa-ṣiyāmuhā) (al-Zawzanī, Sharḥ al-muʿallaqāt, 100); the verse is discussed more in depth in al-Tibrīzī’s commentary, Kitāb al-sharḥ, 73.

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Notes 369 In his note on §§32.6–7, Sowayan comments that herders of small livestock such as goats and sheep can no longer replenish their skin (the word saʿn denotes a small version of the bigger milk skin, ṣimīl) with milk because the animals’ production of milk dries up in the heat. Al-Ṣaḥrāʾ, 93. 370 It seems the word for “elevations” (mishārīf) is also the name of some low ridges within view of al-Athlah (Ibn Junaydil, Aʿlām, 61). The hemistich is listed as a proverbial saying, with a verb that indicates departure instead of arrival, in reference to the spleen and uncertainties felt by lovers on their separation (al-Juhaymān, Amthāl, 10, 141). This verse explains the poet’s exhilaration at the onset of the dry and hot season, which for the Bedouin means the end of their celebration of the spring season that gave new strength to face the hardships ahead: what counts for the poet-lover is the chance to be in the proximity of Bedouin beauties. 371 They show little consideration for herders of sheep and goats (shāwī) who are seen as less prestigious than camel nomads. See n. 16. 372 This hemistich has entered the collection of proverbial sayings. It refers to the notion that there is power in numbers and that a multitude of tribesmen and their animals makes an impression on others. Al-Juhaymān, Amthāl, 4, 311–12. 373 Ibn Junaydil, who is from High Najd and is considered one of the foremost experts on the area, writes that the villagers benefited from the fertilizing effect of the dung produced by the Bedouin herds. One year, tribes of the Ḥarb confederation spent the ninety days of the hot season at Nifī’s wells and for some reason prolonged their stay beyond the customary period. Then one of the farmers composed some lines of verse in which he asked their shaykh to evacuate the land since it was time for the farmers to prepare it for sowing a new harvest―a request that was immediately followed by the Bedouin’s departure. Those who tarried were admonished by the others: “Ibn aṭ-Ṭrēs [the shaykh] has already struck tent” (gaddahā ibn aṭ-Ṭrēs), which gained proverbial status, meaning that the matter is decided and that it is no use second-guessing him. Khawāṭir, 59–61. 374 On Canopus (Shel, CA Suhayl), and its significance in the cycle of seasons in the Arabian desert, see introduction, pp. xviii–xix, §14.1.3, and n. 173. It signals that it is time for the Bedouin to break up their encampment at the wells after the ninety days of the hot season. Before leaving, they stock up on dates, because it is also the time of the date harvest, as expressed in the verse of Zēd al-Khshēm from the village of Gfār, in the area of Ḥāʾil near the Nifūd desert: “When Canopus makes its appearance, the Bedouin arrive in droves (to buy dates)” (Sowayan, al-Ṣaḥrāʾ, 425). Its proverbial status speaks from this saying: “Suhayl gives the lie to the prognosticators” (shēl mćadhdhib al-ʿaddād), i.e., the appearance of the star Canopus itself will put an end to the surmises of those who

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Notes pretend that they can predict the day. In other words, what counts is reality, not guesses and speculation (al-Juhaymān, Amthāl, 3, 287). Similarly, in a comment on a poem by Salamah ibn al-Khurshub, it is explained that people used to swear that a certain star that appears immediately before Canopus was indeed Canopus, though they were wrong, al-Mufaḍḍaliyyāt, 1, 43. 375 Though not made explicit, it is understood that these men brought reports about the state of the pastures. Their approach is from the southwest, that is, the higher grounds of High Najd and the direction of their customary migration. See n. 36. 376 This season is reflected in the Najdī saying: “At the time of the date harvest, everyone is generous” (yōm al-ṣarām killin ćrām); and in a poem by Mḥammad ibn Li ʿbūn, “like a poor man’s belly that is full at the time of the date harvest” (shabʿat al-miskīn b-ayyām al-ṣarām). Al-ʿUbūdī, Amthāl, 1797. 377 “The mejlis forecast the next journeys of the tribe, whereof a kind of running advice remains in all their minds, which they call es-shor; this is often made known to their allies, and is very necessary to any of themselves that are about to take a journey” (Doughty, Travels, 1, 290). Burckhardt avers that “the opinion of every distinguished individual in the tribe must be ascertained, and his consent obtained, when matters of general interest, or of public importance, are to be discussed” (Notes, 284–85). 378 Al-Mijmāj writes: “Neighbors like these are a pleasure to have [lit. pleasing to one’s liver/spleen]” (awayy jīrānin ʿalā l-ćabd ḥilwīn), Ibn Junaydil, Aʿlām, 53. 379 Similarly, al-Mijmāj says: “They follow Abū Khālid, who protects the laggards on the field of battle” (yatlūn ibū Khālid zibūn al-mitallīn) (Ibn Junaydil, Aʿlām, 53). In one of his humorous poems, Muṭawwaʿ Nifī says that the shaykh listens to the advice of fellow tribesmen and then makes his own decision, but only after consulting his wife (al-Masridī, Muṭawwaʿ Nifī, 99). 380 As a popular saying, this line about the Bedouin’s seasonal migrations acquired the more general meaning of people’s search for means of subsistence or a better life, no matter how much exertion it takes (al-Juhaymān, Amthāl, 8, 118). It is found in almost the same words in common speech, as in this recording from Bedouin in Oman: “Wherever the rain has fallen they go to seek pasture” (minēn yam ṭāḥ al-ḥayā ham yinayʿō lah) (Webster, “Notes,” 481). 381 See n. 218. The raiders collected a small group of camels (shirshūḥ) from a big herd that was spread out in pasture. They drove away the camels that grazed on the herd’s far side so as to lose as little time as possible and not get bogged down by moving into the center of the herd and out again. 382 See n. 242 on the use of a torch to chase after rustlers at night.

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Notes 383 See n. 417. Raiders, or men riding to war, would often be accompanied by a gunbearer seated behind them on the camel, a ridīf. If pursued by the enemy, the ridīf would slide off the camel and take aim at the pursuers with his rifle. The big camels of the small, fastmoving band of mounted rustlers are compared to dōḥ (CA dawḥ), “any kind of trees with spreading branches.” “They tore off,” the verb shall, yishill, “to go at great speed, to snatch something and rapidly take it far away” (CA shalla “to urge on, drive”). 384 A camel brand identifies the tribal affiliation of its owner: in this case a tribe known for its ferocious fighters. 385 Also §41.9 and n. 401. The beloved’s eyes are invested with the power to put the poetlover under a spell by hitting his heart with the arrows of her glances, as in Abū Nuwās, “Your kohl-lined eyes have smitten my heart through sorcery and there became your hostages” (wa-ramā ṭarfuka l-mukaḥḥalu bi-l-siḥri fuʾādī fa-ṣāra rahnan ladaykā) (Bauer, Liebe und Liebesdichtung, 215 and 283 ff ). An anecdote in al-Aghānī, 1, 76–78, tells about the reverse: ʿUmar ibn Abī Rabī ʿah’s poetry is said to bewitch women and he is reported as saying that women fell in love with him rather than the other way around. 386 This is a recurrent image in ghazals old and new: the enchanting grace of the way a startled gazelle holds its neck. 387 A saying to express one’s unwillingness to continue a one-sided relationship without give and take. Al-Juhaymān, Amthāl, 8, 106. 388 Lit. “I turn away if the other does so, no matter how pretty she is,” a saying in al-Juhaymān, Amthāl, 8, 96; also in §38.17. Similarly, Swēlim al-Suhalī: “I let go of the rope when I am rebuffed―when a sneak secretly poisons the drink” (Majmūʿat ashʿār, 213). An early classical example is Imruʾ al-Qays: “I cut off relations with those who cut me off, and I draw closer to those who seek my friendship” (innī la-aṣrimu man yuṣārimunī, wa-ujiddu waṣla mani btaghā waṣlī) ( Jacobi, Poetik, 192). And the pre-Islamic poet Taʾabbaṭa Sharran says: “Nay, I say not, when a friend cuts short the bond and departs, ‘Alas, my soul!’ out of longing and soft self-pitying tears” (wa-lā aqūlu idhā mā khullatun ṣaramat / yā-wayḥa nafsiya min shawqin wa-ishfāqī); and if a mistress does not accede to his desire, “I fly from her straight” (najawtu minhā najāʾ ī) (al-Mufaḍḍaliyyāt, vol. 1, pp. 6–11; vol. 2, p. 3). Lyall comments in a note that “the ideal lover of old Arabian poetry is always ready to fling off a love that begins to grow cold” (al-Mufaḍḍaliyyāt, vol. 2, p. 5). A similar sentiment is expressed by ʿUmar ibn Abī Rabī ʿah in the line “I will cut loose from your rope if you cut it, since I was told that you fell in love with someone else” (wa-ṣaramtu ḥablaka idh ṣaramta li-annanī, ukhbirtu innaka qad hawīta siwānā) (Dīwān, 401).

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Notes 389 The line is a popular saying, meaning that one should reciprocate if the other person is forthcoming. Al-Juhaymān, Amthāl, 8, 92. 390 It is a saying that expresses distaste for the crowds around easily accessible, popular destinations or persons: if it becomes impossible to distinguish visitors from those who are on a prolonged stay, one’s presence or absence will also be little noted (al-Juhaymān, Amthāl, 7, 251). It is a prelude to the poet’s preference for more exquisite, discreet excursions into his “valley of temptation.” 391 Sowayan reads: “A well of which the dregs fill a wide circle around it” (replacing giṭīnih with nithīlih). Al-Ṣaḥrāʾ, 209. 392 Lit. “In the morning, when herds have been watered and driven to pasture (miṣādīr).” The well is dry because the herds are so big and have consumed all water. Those who wait until the herds are gone find nothing but the dregs. 393 In more straightforward manner, the same metaphor is used in the muʿallaqah poem of

ʿAmr ibn Kulthūm: “We drink water from a well with pure water, while the others must do with foul water and dirt” (wa-nashrabu in waradnā al-māʾa ṣafwan / wa-yashrabu ghayrunā kadaran wa-ṭīnā) (al-Zawzanī, Sharḥ al-muʿallaqāt, 134). Ibn Sbayyil uses the same metaphor, not for tribal boasting, but for his ghazal purposes. See n. 437. 394 This explains the meaning of the less explicit second hemistich of §2.12. 395 Lit. “A load of worries is discarded,” i.e., the poet-lover is happy that he has achieved his wiṣāl, “union with the beloved.” 396 See n. 218. The al-Daʿājīn of ʿUtaybah were notorious for their extensive raiding, see glossary of names and places. This poem is attributed to ʿBēd ibn Hwēdī al-Dōsirī in Ibn Junaydil, Aʿlām, 143–44, and Sowayan, al-Ṣaḥrāʾ, 347. Ibn Junaydil dates the poem to 1907, a year of plentiful rains and therefore called “the fair year,” al-Msāwī, because it allowed all people to share in its blessings (Ibn Junaydil, Aʿlām, 117). In the manuscripts of al-Rabī ʿī and Ibn Yaḥyā it is included in the work of Ibn Sbayyil (see index of poems). The latter view might find support in the fact that ʿBēd ibn Hwēdī composed a poem that employs the same rhyme in its end rhyme as in this poem’s first hemistich, and with a first-hemistich rhyme that is closely related to this poem’s end rhyme (-ānih instead of this poem’s -īnih). Even the word of the end rhyme of Ibn Hwēdī’s second line is identical to the rhyme word of the first hemistich of this poem’s first line: “The yearlings and young calves of my soul are groaning: at the end of night their mothers were taken by a thief ” (tirazzam mifārīd aḍ-ḍimāyir w-ḥīrānih, khadh immātihin min tālī al-lēl sarrāg) (ibid., 157). 397 The hard-driven camel used for traction at the well is a popular and ancient topos in the similes of nasīb-style poetry. Poets of the “romantic school” (see introduction) often

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Notes add to the drama by picturing the camel’s driver as a slave who is pitiless and indifferent to the animal’s suffering. Since the poet identifies with the camel that hoists the heavy buckets from the well, the sānyah, and likens his agony of love to its ordeal, he defends its rights and blames the slave for violating religious injunctions that call for a lenient treatment of animals. In the dispute between a father, Mubārak ibn ʿAbīćih, the owner of palm groves and the head of the village of Gnā on the southern edge of the Nafūd desert, and his son who wanted to switch to a Bedouin life, the son accuses the “key-bearing villagers” (nāǵlīn al-mifātīḥ) of cruelty and pities camels on the well’s walkway after a desert life of freedom and dignity, while his father objects that camels are there to be driven without consideration or sympathy in the interest of the date harvest and their visitors (Sowayan, al-Ṣaḥrāʾ, 429–30). Typically, the villager Ibn Sbayyil and his fellow poets take the side of the Bedouin voice in this dispute−admittedly of a literary nature, but also illustrative for perceptions of a cultural and economical dichotomy. In a similar vein, a famous poem by Mash ʿān al-Htēmī opens with this scene: “In these eloquent verses Mash ʿān al-Htēmī made rhyme and meter dance inside his chest. / I cry and moan like three worn-out camels that hoist the greenish water from a gushing well, / driven by a slave who beats them all night and lacerates their tender parts with the tips of his rods” (yigūl Mashʿān al-Htēmī tifalham, gāfin rijas bēn aḍ-ḍlūʿ al-maghālīǵ / yā-wannitī wannat thalāthin halāyim, min nisafhin khiḍr al-jmām al-daghārīǵ / sawwāgihin ʿabdin maʿ al-lēl yajham, w-anjaḥ miṣākhifhin bi-rūs al-misāwīǵ) (Ibn Junaydil, Aʿlām, 105). And by the same poet: “My heart whines like a pulley wheel running over a well, the ropes pulled by three bulky camels going back and forth, / chased down the slope by a slave without feeling for his master’s animals.” (lajjat maḥāl al-bīr yōm ytidāraj, tiǵbil w-tiǵfī bih thalāthin ʿadāwī / sawwāgahā ʿabdin lyā gām yanhaj, ʿabdin ḥalāl al-gōm mā hūb yāwī) (ibid., 100). In his seven verses on the motif, the ancient poet Zuhayr ibn Abī Sulmā’s pictures it in a touching image: “(A camel) fearful of the man who drives her down the path, stretching its back and neck in terror at his stick” (wa-khalfahā sāʾiqun yaḥdū idhā khashiyat, minhu l-ʿadhāba tamuddu l-ṣulba wa-l-ʿunuqā) (Sharḥ dīwān, 39). Because the lowest of the low toil on the walkway, the path itself is used as a metaphor for utter degradation in the invective of the early poet Jarīr (d. 110/729): “Little al-Akhṭal left his mother downtrodden like a walkway where a camel hurries up and down drawing water” (taraka al-Ukhayṭilu ummahū wa-kaʾannahā / manḥātu sāniyatin tudīru maḥālā) (Abū Tammām, Naqāʾiḍ, 90; Bakhouch, La rivalité d’honneur, 94). For the same reason, the walkway (manḥāh) is called “the world’s graveyard” (magbarat ad-dinyā) (Sowayan, al-Ṣaḥrāʾ, 392). 398 Lit. “one-eighth of a midd” (thimīn), a very small amount, see §21.19.

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Notes 399 Similar to ʿAbdallah ibn ʿWēwīd’s verse: “I will testify, my heart’s love, that you are the one who slays it, but whoever faces his destiny because of his sweetheart [here the generic name for an unidentified love, ‘Zēd,’ is used] is sure to be granted Paradise” (anā b-ashhad innik yā-hawā al-galb dhabbāḥ, w-min adrak niṣībih Zēd tiḍman lih aljannah). Ibn Junaydil, Aʿlām, 82. 400 The same expression occurs in a verse by a poet known as Ibn al-Muṭawwaʿ of the al-ʿIjmān tribe: “I have a she-camel that always groans with yearning” (lī fāṭirin ḥanīnahā lih tihijrāʿ ). Ibn Junaydil, Khawāṭir, 111. 401 The heart is “seduced,” maftūn, and the poet knows that the beloved’s guileless appearance conceals deceit, aimed at ensnaring him (§35.8), but he willingly plays the game. He is spellbound by her glances, which paralyze his normal faculties and blind him to the danger of his losing control (see §33.9). This is the fitnah brought about by the beloved’s beauty, a personalized version of actions that risk loss of control over the social, political, and religious order. Bauer, Liebe und Liebesdichtung, 214. 402 See §9.11. Her answer is not mentioned, but presumably it is along the lines of §§28.11–12. 403 See n. 82 on the topos of the poet-lover’s subservience and obedience. 404 This line is a proverbial saying. If someone settles in the beloved’s land, far from his own kin, for the sole reason that she lives there, it demonstrates how infatuation has the power to bring about changes in one’s life (al-Juhaymān, Amthāl, 6, 311–12). In modern standard Arabic, waṭan means “fatherland, one’s home country,” but among the Bedouin it refers to the area where they usually roam: “A vacated site is termed dār, pl. dīrān, and the general locality containing a number of such semi-permanent habitations is a waṭan” (Webster, “Notes,” 479). Here it is used as a synonym of dīrah: the district where one lives or the land a Bedouin tribe considers its own; also, bilād, “country, land,” as in the verse of Abū Dhuʾayb al-Hudhalī cited in n. 271. The verse is discussed in detail in Jacobi, “Time and Reality,” 8, especially the poet’s subjective point of view as contrasted with the “objectivity” of the pre-Islamic and other earlier poetry. Of course, in this respect Ibn Sbayyil follows in Abū Dhuʾayb’s steps rather than in those of the poets who preceded him. 405 Here the Arabic word used for “man” is derived from Adam, ādam, and adapted for the rhyme, mūdimānī. It occurs in the same rhyming position in a verse by another poet from High Najd, Mḥammad ibn ʿAbdallah ibn Manṣūr, who worked in camel transport and agriculture: “By your life, my palm trees, I would not part with you, but lack of help may force a man’s hand” (ḥalaft yā-gharsin lanā mā nkhallīh, w-ithr al-waḥādah tikhlif al-mūdimānī) (Ibn Junaydil, Khawāṭir, 70). The opening line is a common one in Nabaṭī poetry, as in this anonymous poem, yā-llāh ya-llī ʿālim mā nikhfī (al-Haṭlānī,

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Notes Dīwān ashʿār, 95); an identical first hemistich and a very similar second hemistich occur in a poem by Khalaf Abū Zwayyid (Sowayan, Ayyām al-ʿarab, 596). 406 As in the first verse, the final word in Arabic is made to fit the rhyme: al-miʿribānī is derived from ʿarab and ʿirbān, “Bedouin tribesmen,” also used as general term for “men, people.” Similarly, ʿBēd ibn Hwēdī: “O Lord who kindly looks after the needs of common people and the nomads” (liṭīfin bi-khaṣṣāt al-malā w-al-ʿrēbānī). Ibn Junaydil, Aʿlām, 151. 407 The court of love is already present in the ghazal of ʿUmar ibn Abī Rabī ʿah: see n. 129. 408 See introduction, pp. xxviii–xxix. Ironically, the poet, in pursuit of his sinful dalliance, positions himself on the side of law and order, represented by Islamic law, and accuses his beloved of literally playing with fire: in Najdī tradition, Ibn ʿAmmār is associated with al-ṭāghūt (a tribal judge as opposed to a Shariah judge). The ordeal itself, of course, is part of the cruel treatment (repeatedly expressed by the noun imtiḥān, “test, ordeal,” and its verb) the lover-poet receives at the hands of his beloved. The first hemistich is listed as a proverbial saying. Ibn ʿAmmār, a Bedouin of the Ḥarb tribe between al-Qaṣīm and Medina, was known for adjudicating according to Bedouin customary law (ʿurf) in disputes submitted to him by litigants. The opposition in this verse is between someone who wishes to arrive at a correct and civilized solution, in accordance with the law of Islam, and a person who insists on using uncivilized Bedouin means (al-Juhaymān, Amthāl, 5, 314). Implicit is also the claim to a higher level of “civilization,” based on Islamic precepts, boasted by townspeople, while the “uneducated” Bedouin of the beloved’s group often had recourse to customary law. Until recent times, these methods were used as a kind of lie detector: if the accused denied guilt, he was asked to lick a red-hot iron. If his tongue survived the test unscathed, this was assumed to be proof of his innocence. Layish has recorded this ordeal of fire-licking (laḥs al-nār) in 1976, Legal Documents from the Judean Desert, 118. If the evidence is contradictory, the judge may decide to send the litigating parties to a mubashshiʿ, the person who administers the firelicking ordeal, as described in historical detail by Burckhardt, Notes, 121–23. 409 One’s guardian angel on the left shoulder keeps a record of a person’s sins and missteps; the one on the right records the good deeds. As the angel on the left shows no sign of relenting, the lover turns to the one on the right in the hope of finding a more willing ear. 410 This hemistich is quoted in explanation of the irrational behavior of a lover who remains obstinately devoted to his attachment, even in the absence of any chance of fulfillment (al-Juhaymān, Amthāl, 10, 340–41). It is a stereotype of ghazals, as in Abū Dhuʾayb al-Hudhalī: “My heart revolted and I surrendered, no stranger myself to the pains it suffered” (ʿaṣānī l-fuʾādu fa-aslamtuhū, wa-lam aku mimmā ʿanāhu ḍārīḥā); and “My heart disobeyed and sided with her; and I complied, though unsure about the wisdom

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Notes of pursuing her” (ʿaṣānī ilayhā l-qalbu innī li-amrihī, samī ʿun fa-mā adrī a-rushdun ṭilābuhā) (Dīwān Abī Dhuʾayb, 57, 30); and ʿUmar ibn Abī Rabī ʿah, “I told my heart to stop its pursuit, but it tricked me and found ways to follow its desire” (la-qad nahaytu fuʾādī ʿan taṭallubihā, fa-ghtashshanī wa-atā mā shāʾa muʿtamidā) (Dīwān, 109). 411 See also §10.14. The pre-Islamic poet al-Ḥādirah introduces an extended metaphor on this topos with the verse: “And when she bandies speech with you, you see that she has a lovely smile and lips most sweet to kiss, as though one drank of fresh-fallen rain [ . . . ] ” (wa-idhā tunāziʿuka l-ḥadītha raʾaytahā, ḥasanan tabassumuhā ladhīdha l-makraʿī / bi-gharīḍi sāriyatin [ . . . ]). Al-Mufaḍḍaliyyāt, 1, 53–54; 2, 17. 412 The word for “devious idler,” misniḥānī, occurs in this line of Muṭawwaʿ Nifī: “Hordes of lethargic idlers are afraid to perform noble deeds” (kam misniḥāniyyin ʿan al-marjilah dhall). Al-Masridī, Muṭawwaʿ Nifī, 94. 413 The poet-lover watches from a rocky outcrop or other elevation as the beloved’s camel train departs, or he climbs a lonely mountain where he vents his spleen and composes poetry. These images are ubiquitous in love poetry or any amatory prologue, e.g., Swēlim al-Suhalī: “As I stood watching on my peak of suffering, my eyes trained on a distant scene from the high ledge where I stood” (Sowayan, al-Ṣaḥrāʾ, 447). Therefore, the peak itself became a symbol of grief that might better be avoided, as in these verses by Zāmil ibn ʿIḍyān from al-Rass: “O heart, stay away from the lookout, do not go for it; O heart, avoid the agonies of its slopes; / her bulging behind is the cheerful sight of the neighborhood, how fortunate the man who kneads her luscious curves” (yā-lgalb ṣāfiḥ margibin mā tnūlih, jannib ʿanih yā-l-galb ʿasrih marāǵīh / nāb ar-ridāyif gablat al-ḥayy zōlih, haniyy min farrak maḥānīṭ nāmīh) (al-ʿUbayyid, al-Najm al-lāmiʿ, 77–78). For its broader context, see Kurpershoek, Oral Poetry, 1, the chapter “Parts of the Nasīb: The Lonely Mountain Scene; The Inspirational Process; The Suffering of the Heart,” and the article “Heartbeat: Conventionality and Originality in Najdi Poetry.” 414 That is, the wadi where Nifī is situated. 415 Lit. “It overtakes but no one can catch up with it” (talḥag wa-lā tilḥag); it is a set expression for “a fast horse,” as in “give me my sword and ʿUbayyah, because it is a champion racer” (faras talḥaq wa-lā tulḥaq). Al-Bulayhid, Ṣaḥīḥ al-akhbār, 2, 123. 416 Lit. “all were involved in blood feuds” with the other party. Therefore, it is not just a matter of being robbed and retrieving one’s possessions−there are scores to settle and lives to be paid, and they are ready for a bitter and bloody fight. 417 Bedouin warriors would be driven to displays of bravery by shouts and gestures of the tribe’s young women who followed the skirmishes from their camel seats, see nn. 47 and 179. In this case, their presence is imaginary―the camels bearing the women’s heavy

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Notes litter chairs could not possibly have caught up with the raiders―and part of this poetry’s formulaic phrasing. The second hemistich refers to the gunman’s camel-mounted kinsmen, who encourage him by shouting battle cries. 418 Biting one’s thumbs in such a situation is a sign of utter helplessness, distress, and perplexity, as in “I bite the top of my fingers (in regret and despair)” (aʿiḍḍ aṭrāf al-banān b-nājidhī), Sowayan, al-Shiʿr al-nabaṭī, 457. The crestfallen warrior is at his enemy’s mercy, and verse 15 mentions that there was blood between pursuers and pursued. Never theless, his enemies thought better of killing him (ṣabr, here with the meaning of finishing off an incapacitated enemy, as CA ṣabara, “to bind, hold someone, and then to kill him deliberately”). The reason given is that they did not want to be responsible for the misery awaiting his children if they became orphans. The fact that the pursuing tribesman had already lost his camels, and now in addition his reputed horse, may have been an additional consideration. 419 See introduction, p. xxv. The poet’s contempt for thoughtless consumerism is reflected in the popular saying “happy is an idle mind” (al-mistirīḥ illī min al-ʿagl khālī), which al-ʿUbūdī (Amthāl, 1348–49) traces to similar words of ʿAmr ibn al-ʿĀṣ, and the old saying “No intelligent person can be happy and contented” (mā surra ʿāqilun qaṭṭ); and on the same note al-Mutanabbī’s verse: “If all is well, an intelligent person suffers nevertheless, and if things are bad a dimwit is still at ease” (dhū l-ʿaqli yashqā fī al-naʿīmi bi-ʿaqlihī, wa-akhū al-jahālati bi-l-shaqāwati yanʿamū). 420 The hemistich has been adopted as a popular saying, meaning that one’s heart is devastated by love, as swarms of locusts devour all green where they descend (al-Juhaymān, Amthāl, 5, 312–13). In a poem’s prologue (nasīb), the heart is compared to a shrub that sprouts branches. In healthy condition, these are juicy and green. But if the heart sinks into melancholy, these sprouts wither―a situation compared to the damage wrought by locusts, as in the verse by the poet al-Dindān: “Woe unto a heart swarmed over by creeping young locusts, wave after wave alighting on the heart’s branches at dusk” (fa-yā mill galbin ḥall fīh al-dibā l-ḥannān, jithīlih ʿalā galbī taʿāgab maʿāshiyyah) (Kurpershoek, Oral Poetry, 1, 127). In this example, the swarms of locusts metaphorically express the poet’s feeling of being assailed by the onslaught of inspiration: bits and pieces of verse swarm over him and the poet frantically tries to gather as many of them as possible and to mold them to fit his prosodic and thematic scheme. A similar image occurs in early Arabic poetry, as in the line of Imruʾ al-Qays: “I drive the verses in swarms, as a strong youngster drives swarms of locusts” (adhūdu l-qawāfiya ʿannī dhiyādā, dhiyāda ghulāmin jarīʾin jarādā) ( Jacobi, Poetik, 127). In Ibn Sbayyil’s verse the word for locusts is jind, lit. “soldiers,” a synonym for jarād, “locusts,” (al-ʿUbūdī, Muʿjam al-ḥayawān ʿind

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Notes al-ʿāmmah, 1, 196–97), whereas al-dibā means “young locusts,” but is also used to mean simply “locusts.” 421 This line is listed as a popular saying about someone who is tossed about by conflicting thoughts and at a loss as to how to deal with his predicament. Al-Juhaymān, Amthāl, 6, 163. 422 Lit. “in whose eyes people are like dhurnūḥ, the venom of the blister beetle”; see also n. 127. It is a hyperbole for the girl’s shyness and chastity: she stays out of people’s view as much as possible, well aware of her attractions. 423 “I push him to the wall” (arkāh ʿalā aṣ-ṣōḥ). Al-Juhaymān, Amthāl, 1, 131; al-ʿUbūdī, Amthāl, 86–87; and 776 (ṭaggih ṣōḥ). 424 Lit. “Herds that stay far away from the camp on pasture and (sheep and goats) that are driven from the camp in the morning to graze in the surroundings.” 425 “I warn you not to run after someone who turns his back to you” (al-Juhaymān, Amthāl, 1, 65) and, with the same meaning in different words, lā taṭrid al-miǵfī (ibid., 6, 208). 426 A frequent opening marker of the nasīb, as Muṭawwaʿ Nifī in §42.1.1. Al-Masridī, Muṭawwaʿ Nifī, 85 (ya-wanniti wannat kisīr al-mishānīṭ). In his comment al-Faraj notes that the raiders are robbed of their booty by a stronger party of plunderers. Dīwān al-Nabaṭ, 182. 427 Left alone on the battlefield, grievously wounded, and unable to get up and walk, he is at the mercy of anyone coming. Bedouin loyalties are determined by tribal affiliation, and if a figure appears in the distance, he must fear the worst if the man approaching him belongs to an enemy tribe. 428 Similarly, on the carpenter’s metaphor, §§29.1–3. 429 As in the saying “if someone acts arrogantly, don’t bother with him; let him stew in his own juice” (lā taghallā f-takhallā). Al-Juhaymān, Amthāl, 6, 205. 430 This used to be a popular saying: “She made herself attractive with makeup imported from Java” (zēnhā ṣibgh jāwah), which means that it is not a natural beauty. The saying is also used as a warning against deceptive appearances in general (al-Juhaymān, Amthāl, 3, 238, and 7, 183). According to al-ʿUbūdī, it refers to a cheap red dye for clothes that fades after washing, but that interpretation sounds less convincing in this context. 431 According to another reading: “She nudges another she-camel, ḍīr, that shares her calf with the she-camel whose young was killed (khalūj) for the purpose of suckling it.” 432 See §29.20 for the same proverb. It is used to affirm that a person who is in love cannot be made to go against his inclinations and will remain deaf to advice given by his well-wishers.

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Notes 433 In these verses the poet gives a catalogue of gruesome diseases that, he prays, will befall his ill-wishers: ulcers in the throat caused by veneral disease, shijar; swellings, scrofula, in the glands of joints, ears, and throat, drāwih (CA duruw); severe pains in the bones, shawāghi; a particularly virulent ophthalmia, akhēḍir. The vocabulary of these diseases is explained in al-ʿUbūdī, Muʿjam alfāẓ al-maraḍ wa-l-ṣiḥḥah, 113−14, 134−35, 22−23, 235. 434 A famous landmark already mentioned in ancient poetry, e.g., Bloch, “Qaṣīda,” 126; and in almost the same words by Zuhayr ibn Abī Sulmā: “Look, my friend, do you see the tails of camel trains where the wadi curves, a little beyond Abān?” (tabayyan khalīlī hal tarā min ẓaʿāʾinin, bi-munʿaraji l-wādī fuwayqa Abānī) (Sharḥ dīwān, 358); and Muzarrid ibn Ḍirār: “And Khālid, though he lives with you at the two Abāns, is not remote from us or far away” (wa-mā Khālidun minnā wa-in ḥalla fīkumū, Abānayni bi-l-nāʾ ī wa-lā l-mutabāʿidī) (al-Mufaḍḍaliyyāt, 1, 135; 2, 45). 435 The second option is less attractive, but it has the advantage of giving the lover-poet a good view of her. In this verse, the poet indulges unabashedly in a Bedouin dream, not unlike the firmly sedentary poet, Ibrāhīm, the son of the famous poet of ʿUnayzah, Muḥammad al-Qāḍī, in a poem to Muṭawwaʿ Nifī: “I wish to God that I may quaff from her lips, to cool my heart’s flames and recover. / And I wish that I and my sweetheart would become Bedouin, so that we’d ride together through the wilderness, / and spend spring and the hot season in the land of the ʿIlwā tribe, then in winter go upcountry to the highlands of al-Shalāwā tribe” (yā-lēt w-allah min thanāyāh arwī, abrid lahab galbī

ʿasāy ātishāwa / w-yā-lēt ana w-iyyā al-wilīf ntibadwa, anā wu-hū fī kill daww ntakhāwa / miṣyāfinā w-al-gēẓ fī dyār ʿIlwā, w-misnādnā b-al-shibṭ ʿind ash-Shalāwā). Al-Masridī, Muṭawwaʿ Nifī, 35–36. 436 References to an imaginary marriage market are a common topos: see n. 224. 437 This explains the intended meaning of §33.16. “Far from the track,” lit. “a person who is on the move after dark (rāʿ aḍ-ḍwāyah, from the root ḍ-w-y ‘to walk, ride at night, in the dark’) does not have a share (khāshar) in our rendezvous;” i.e., the lovers make sure not to have their rendezvous close to a track such as the one to a well that might be used by people who after dark leave the camp to fetch water. 438 Passion’s symptom (āyat hawā) has the double meaning of “sign, mark of passion” and the beauty queen herself, as in the verse of ʿAbbās ibn al-Aḥnaf, “you have come to mankind as a miracle (āyah) and a reminder” (fa-jiʾti l-nāsi li-l-āyāti wa-l-ʿibarī). Bürgel, “The Mighty Beloved,” 289. 439 See introduction, n. 52 and translation, n. 298. More than a thousand years before Ibn Sbayyil, the ghazal poet ʿUmar ibn Abī Rabī ʿah excused himself in similar manner by pointing to his ancestors in forgivable sin and, like Ibn Sbayyil, maintained that he had

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Notes not committed heresy, bidʿah: “My infatuation with her is nothing new: men before me pursued affairs and after me men will do the same” (laysa bi-bidʿati amrin, qad aḥabba l-rijālu qablī wa-baʿdī). Dīwān, 111. 440 On the topos of poetry as a release valve for pent-up emotion, see introduction, n. 11. Similarly, ʿBēd ibn Hwēdī expresses this need to broaden the mind and air one’s feelings: “If things get hard I compose my lines of verse, as relief for what I kept in my breast and to comfort the mind” (ilā ćithir hū ǵāsī timaththalt b-al-ǵīfān, awassiʿ baha ṣadrī ʿasā al-bāl yinsāḥ), Ibn Junaydil, Aʿlām, 162. 441 In his comment on the first hemistich, al-Faraj traces the origin of the expression to a hunter whose falcon flew away (al-midhhib, see n. 80), and who tries to coax it back by calling (lit. “throwing voices,” see nn. 85 and 164) (Dīwān al-Nabaṭ, 187). The reference is to the well-known stories of “martyrs of passion,” such as Majnūn Laylā, who went insane. There are many similar stories and poems that circulated in Najdī lore at the time of Ibn Sbayyil. In two single verses attributed to him he refers to one of these, the tale of Ibn Dujaymā: “If green twigs of a tree suffered my grief, they would turn white like the rising sun. / But I fear dying a useless death, like al-Dujaymā, without revenge or paid settlement” (law inn mā bī b-al-ghṣūn al-wirīgah / ghadann bīḍin ćannihinn al-mishārīǵ; akhāf min mōtin blayyā ḥagīgah / mithl ad-Dujaymā la ṭirid bih walā sīǵ) (Muḥammad ibn Sbayyil, Dīwān, 176). Because Ibn Dujaymā died as a “martyr of love,” and not in defense of his kin or in another honorable fashion, his death had no value according to the criteria of tribal society, and therefore there was no price put on it, either by exacting a life for a life or a settlement in goods or money. His name was Dikhīlallah ibn Nāshī, nicknamed al-Dujaymā, of the al-ʿIḍyān tribe of ʿUtaybah. He fell in love with a girl of Binī ʿAṭiyyah of ʿUtaybah−a tribe known for the beauty of its females. He collected the exorbitant bride-price they demanded, but was refused because he sang her praises in verse, which was regarded as dishonorable. He kept singing “his Laylā,” and described how he watched the departure of the beloved’s caravan (aẓʿān) from the top of an elevation, and is said to have died of grief (Ibn ʿAqīl, Kayfa yamūt al-ʿushshāq, 471–96). He was probably a contemporary of Ibn Sbayyil; and his tribe, al-ʿIḍyān, at one time inhabited Nifī and maintained close relations with the town, see nn. 60 and 510. Another cycle of stories and verse of that period and on this theme is connected with Khalaf ibn Dʿējā of al-Sharārāt and Mhēsin al-Ribshāni of al-Rwalah (Sowayan, al-Ṣaḥrāʾ, 434–37). This verse of Ibn Sbayyil is also part of the poet-lover’s argument with the voices of reason― friends, members of his family, his own good sense―as in early Arabic poetry. ʿUmar ibn Abī Rabī ʿah boasts how he refused such counsel: “At last they said, in one of our sessions, ‘Have you turned insane or are you under a spell of sorcery?’” (ḥattā maqāluhumū

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Notes idh ijtamaʿū, a-juninta am dhā dākhilu l-siḥri) (Dīwān, 180); and “I followed them with my gaze, lovesick, as if a jinni had snatched up my mind” (fa-atbaʿtuhunna l-ṭarfa muttabila l-hawā, kaʾannī yuʿānīnī mina l-jinni khāṭifī) (ibid. 255). See also §33.9. 442 As in the Najdī saying: “If your means are limited, you must adjust your level of ambition” (tarā ḍiʿīf al-ḥāl mā fīh nōhāt). Al-Juhaymān, Amthāl, 2, 100–1. 443 This line is cited as a popular saying that derides wishful thinking and warns that unrealistic expectations come to haunt those who entertain them. Al-Juhaymān, Amthāl, 6, 24. 444 In address to a person whose name one does not know, or does not wish to identify, the word hann is used, as in the saying, “so-and-so the son of so-and-so,” hann ibn hann, i.e., one does not know anything about a certain person or thing, as in the CA saying, ghāṭ ibn bāṭ. Al-Juhaymān, Amthāl, 9, 108. 445 ʿBēd ibn Hwēdī accords these powers to his beloved in similar terms: “Her words revive the lovesick heart” (harjitih tinʿish al-galb al-mshaggā al-ʿalīl). Ibn Junaydil, Aʿlām, 160. 446 The contrast is between a wound that is inflicted on the heart, and therefore invisible, and diseases that are plain to see. The rhyme word abraḥiyyih is related to barāḥ: “a flat and bare stretch of land without elevations or dips where people or animals could hide from view”; abraḥiyy means “clear, in the open, in good faith” (communication from Dr. Sowayan). Metaphorically, it means “plain speech, straightforward,” as in the line ṭawārīgī maʿ an-nās abraḥiyyih, “I deal with people in a straightforward manner.” 447 Lit. “her shape is distant” (zōlih nḥiyyih). 448 The Prophet’s call on the Day of Judgment: “This goes together with the firm belief in the Prophet’s intercession (shafāʿah), a privilege granted to him during his heavenly journey when he was promised in the Divine Presence that he would be allowed to intercede for his community. Therefore it is often told that Muḥammad will appear on Doomsday with his green flag (the liwāʾ al-ḥamd, ‘flag of praise’) and call out ummatī ummatī ‘My community!’ while all other humans ask only help for themselves. Descriptions of this scene are frequent in popular ballads from early times.” Annemarie Schimmel, “The Prophet in Popular Muslim Piety,” in the article “Muḥammad,” EI 2nd ed. 449 The hemistich is a proverbial saying about a relationship without any reciprocity in sentiment, expression, or otherwise (al-Juhaymān, Amthāl, 9, 197–98). Lit. “She wants to tame and train me, but she does not act according to my wishes.” 450 Lit. “She thinks I’m a lamb that follows the ewe’s tail.” The saying “he is like a child with tail fat” or “like a fat-tailed lamb” is explained by al-Juhaymān, Amthāl, 5, 120–21, as someone who leaves it to others to do the heavy lifting in life. 451 Al-Juhaymān, Amthāl, 1, 146, “I administer the drink given to a sacrificial sheep” (asgāh sharbat ḍiḥiyyah), meaning the last draft of water given to a sheep before it is slaughtered.

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Notes 452 In this alliterative willa f-ʿaff w-ʿāf the verbs are ʿaff “to forgive” and ʿāf “to loathe.” The beloved takes the shape of a marksman−professional and sharp (ḥarf), and dexterous (dharf)−who has lit the tip (ṭaraf) of her matchlock’s fuse (fitīl) and is sure to hit the target with lethal effect. Or (willa), she may show leniency and be loath to kill her devoted admirer (the word “companion,” khawiy, fits the rhyme but the intended meaning is “lover”). 453 Al-ʿUmarī, Dīwān Suʿaydān ibn Musāʿid Muṭawwaʿ Nifī, 14 (hereafter: Dīwān). Al-Mishānīṭ is a section of the al-ʿIḍyān tribe of ʿUtaybah who have a reputation for inflicting incurable wounds in battle (in poetic lore, at least). Al-Masridī, Muṭawwaʿ Nifī, 85. 454 His companions ask the wounded man if he is still conscious and can hang on, tiḥīṭ (CA aḥāṭa, “to grasp, fully understand”). 455 An ironic pun is intended: the wounded man knows these words of encouragement (ibshir, “chin up”) will not help him, and therefore offers bishāyir “the customary reward for someone who brings good news.” 456 Lit. when it has become hard to distinguish a thread in the dark. 457 The wound is too wide (yinmāz “it gapes, opens up, cannot be stitched,” CA inmāza “to be separate, apart”) to be held together by stitches, as explained in the next hemistich: even strong, tightly twisted thread (mirīrah), such as the one used to fasten leather loops on a falcon’s foot (sbūg), will not do. 458 Dīwān, 15. The Arabic for “tawdry nonsense,” kharāmīṭ, is a synonym of kharābīṭ (CA kharbaṭa “to throw into disorder, confuse”). In the tribal poetry war between Shammar and ʿAnizah from 1978 to 1985, the Shammar poet ʿĀyid Fahad al-Ribūḍ shot back to the ʿAnizah poet ʿAbdallah ibn Msayyib al-Ḥirwān al-Jaʿfarī a long poem with the line: “Ibn Msayyib, we easily solve your riddle; leave it, it is just a joke everywhere [ . . . ] We heard your tawdry nonsense so many times before, this kind of balderdash has become tedious” (yā-bin Msayyib ghaṭuwkum ʿārifīnih, khallih yā-ʿallih ṣār b-ad-dār malhā [ . . . ] khīṭī w-bīṭī gablikum ʿārifīnih / khurbuṭ w-burbuṭ gablikum min ʿamalhā). See also n. 461. 459 The word for “offspring” is tikhkh, explained to me by an informant as “lineage” (nasab). Al-ʿUbūdī quotes this verse and gives the meaning “essence, gist” (Muʿjam al-kalimāt al-dakhīlah fī lughatinā al-dārijah, 1, 146–47). “Bought and sold,” lit. “who are given away for alms, a paltry sum” (ṭarāyir, “pennies given to a mendicant”). 460 That is, he is of no use for anything at all: a worthless thing bequeathed by worthless people. Lit. “stemming, inherited from a raid, mārthat ghazuw (CA mīrāth) of the scrapings (ḥkāk, CA ḥakk ‘scraping, scratching’) from the remainders of food at the bottom

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Notes of the cooking pot (adh-dhakhāyir, CA dhakhīrah ‘provisions, food, what is stored’).” The story is that a group of slaves went raiding but had forgotten to bring a cooking pot. To make their gruel, they scattered their wheat in a well. One of them went looking for the result and drowned, but the other slaves suspected him of diving to the bottom to eat the last scrapings. They went looking for him and suffered the same fate. Similarly, a Najdī saying is: “Three slaves went raiding and the three returned,” said about a futile or imaginary enterprise. Al-Juhaymān, Amthāl, 5, 26–27. 461 The Arabic is an alliterative expression of the itbāʿ type. Lit. “He has turned his devotion to religion (mbaddilin ṭōʿih) into empty prattle (bi-tīṭin w-girmīṭ).” This type of nonsensical itbāʿ is popular in jocular poetry, e.g., the poet of the Shammar tribe who styles himself Skrūb ʿAkif (“Bent Screw”) in the line: “If you are love-drunk with me, darling, then I am blotto because of you, my sweetheart” (kān ant ʿaliyy ya-shōg tinbiṭ nibīṭī / tara anā ʿalēk yā-shōg khāqā bāqā; and in a repetition: w-kān ant ʿaliyy yā-shōg khīṭī bīṭī / anā

ʿalēk yā-shōg ṭāgā ṭāgā). 462 “His hopping, dancing on one foot,” explained as the meaning of nṭāz. 463 See n. 466. As the town’s religious man, he marries people but he does so without any scruple as long as they pay him his fee. For instance, if the bride-price is exorbitant he makes no effort to convince them to moderate their demands, as would be expected from a conscientious practitioner of Islamic law. In fact, therefore, he is accused of being corrupt. A Najdī saying is: “He is a man of religion (muṭawwaʿ ), but when given a chance he filches whatever he fancies and tucks it away” (mṭawwaʿ w-b-al-khafā in shāf shin lashshih). Al-Juhaymān, Amthāl, 8, 76. 464 Dīwān, 16. 465 Dīwān, 16–17. For the story behind this exchange, introduction, n. 86. 466 A saying used to taunt those who pretend to have high morals but whose actual conduct suggests otherwise. Al-Juhaymān, Amthāl, 8, 73–74; and n. 463. 467 The game “mother of the lines” (umm al-khuṭūṭ), also known as al-ʿatbah and by other names, is played by boys and girls, though it is more commonly associated with girls. A long rectangle is drawn in the sand, which is then divided into squares; one of the players throws a bone or some other object into one of the marked spaces and, hopping on one leg, tries to move it forward with his or her foot to the next square, and so on, without stepping on one of the lines (khuṭūṭ) drawn in the sand. Sowayan, al-Thaqāfah al-taqlīdiyyah fī al-mamlakah al-ʿarabiyyah al-suʿūdiyyah, 12 (al-alʿāb), 98–101. 468 Dīwān, 17. He crows that he successfully provoked Ibn Sbayyil into launching his tirade and making a fool of himself. 469 Dīwān, 10.

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Notes 470 See introduction, pp. xv–xvi and n. 19. The poet addresses himself to Dghaylīb ibn Khnēṣir al-Asʿadī of ʿUtaybah, who joined the game of tempting the poet to sell his mortar (Ibn Junaydil, Khawāṭir, 135). 471 Lit. “men riding mature she-camels” (CA fāṭir, camel whose eyetooth breaks through) with gray sides from incessant rubbing of the rider’s feet on the fur. It is a stereotyped noun-adjective combination that simply means “excellent riding camels,” see Kurpershoek, Oral Poetry, 2, 125–31. 472 There is some debate on the meaning of the expression “enemy of the Islamic law (Shariah)” in this verse; see Sowayan, al-Ṣaḥrāʾ, 419, where “enemy of the Shariah” is explained as “starvation, as it forces people to rob and steal or in other ways to contravene Shariah law” (Ibn Khamīs, al-Adab al-shaʿbī fī al-jazīrat al-ʿarabiyyah, 466). Ibn Junaydil comments that it refers to the Bedouin, who waylay and rob travelers and demand a tribute in exchange for “protection” (“token of brotherhood,” khuwwah, CA akhāwah, see nn. 60 and 510) (Khawāṭir, 136–37). As the verses are clearly jocular― the mortar of the Muṭawwaʿ is a running gag in a number of poems and narratives― it seems that the reference might be to Bedouin “companions” who would accompany travelers for safety through their tribe’s territory. This custom was in violation of the Shariah, which would not allow travelers to be plundered or molested on any account. Therefore, such a Bedouin escort could be called “enemy of the Shariah.” The word used for the escort, mirfig, occurs in a similar context in a poem by ʿBēd ibn Hwēdī, where he compares his love to the camel carrying the embroidered palanquin from Damascus to Mecca, accompanied by Turkish soldiers who are not in need of a Bedouin escort (maʿ adwāl Tirkin mā khadhaw maʿhum arfāg) (Ibn Junaydil, Aʿlām, 158). See also Kurpershoek, Oral Poetry, 4, 453, where the narrator tells how he had to accompany a friend from another tribe through his tribe’s territory even after the establishment of Saudi rule because of a blood feud. 473 Al-Masridī, Muṭawwaʿ Nifī, 54–55. 474 Tarfah was the second wife of Muṭawwaʿ Nifī. His first wife was Nūrah, about whom Ibn Sbayyil said: “How delightful, the lightning over Nūrah’s land, but her light shines many times brighter [the name Nūrah is related to the word for ‘light,’ nūr]. / More luminous than the sun, the full moon, or a gracious holder scented with delicious perfume” (yā-zēn barrāgin ʿalā dār Nūrah, nūrāt wājid mēr fi nūraha zōd / lā shams lā niṣf ashshahar min bdūrih, lā ḥiggitin fīhā min al-wizn ʿangūd). Al-Masridī, Muṭawwaʿ Nifī, 79. 475 Dīwān, 18. It is said that here Nūrah is his daughter, not his wife, also called Nūrah, see n. 474, al-Masridī, Muṭawwaʿ Nifī, 53.

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Notes 476 Al-Masridī, Muṭawwaʿ Nifī, 55–56. Yemeni beans used to stand in the highest regard; they were transported overland, and therefore called barriyyah (from CA barr, “land, open country”). 477 Dīwān, 18. A saying, hōlih w-jōrih, that mocks a self-important attitude, in this case the pretensions of a muṭawwaʿ, a semi-educated man of religion (al-Juhaymān, Amthāl, 8, 75). 478 It is said that Abū Zēd was a man from ʿUtaybah tribe. Ḥnēf ibn S ʿēdān was a poet of the Muṭayr tribe with whom Ibn Sbayyil was in jocular correspondence (of which I found no trace) and who was a regular visitor to Nifī. It seems the poetry of Ḥnēf and Muṭawwaʿ Nifī, S ʿēdān ibn Msāʿid, was often confused, also because the similarity of their name, al-Masridī (Muṭawwaʿ Nifī, 54). In addition, Abu Zēd and Ḥnēf is an expression meaning “anyone, men without special distinction.” 479 Dīwān, 19. Al-Masridī mentions that he preferred not to include this piece for reasons of discretion (Muṭawwaʿ Nifī, 54). 480 “Fast-shooting” tiṭārīf are “burnished copper tubes in which gunpowder is carried” (Musil, Rwala, 131). Hence, milḥiǵt at-tiṭārīf “men who continuously reach for these tubes,” i.e., “fast shooters” (CA alḥaqa). Here the fighters yḥattitūn “pepper (the enemy with bullets).” 481 The word zaʿānīf (CA zaʿnafah pl. zaʿānif) means “pieces of leather; anything base and useless.” Here the expression ya-māl al-zaʿānīf, lit. “may it, or you, go the way of useless rubbish,” is a derisive expletive. The first part of the hemistich is not clear, but probably has some sexual connotation. According to Ibn ʿAqīl it is a reference to menstruation (Ḥadīth al-shahr, 177). 482 It is not known to which incident this piece refers. The tribe of al-Fuḍūl may have robbed some families in Nifī, like the raid on the town’s sheep that inspired Poem 5, and Ibn Sbayyil could have done more to help the victims, in the opinion of al-Muṭawwaʿ. The last line seems to refer to a pilgrimage to Mecca, where the mosque of al-Khayf is situated in Mina. The translation of some of this piece’s wording represents a best guess. 483 This exchange is found in al-Masridī, Muṭawwaʿ Nifī, 56. 484 A Bedouin made an unannounced visit to Ibn Sbayyil, while he was in the company of Muṭawwaʿ Nifī. They had never seen him before. When he had left, they joked that they should have locked the door before he came (al-Masridī, Muṭawwaʿ Nifī, 56). The doors were made from the wood of palm trees and tamarisks. The huge wooden locks were opened with a big wooden key made to fit in notches inside the lock. 485 During a prolonged absence of his wife, Nūrah, on a visit to her family in the region of alSirr, Muṭawwaʿ Nifī led his congregation in evening prayers. When he said, “Now make

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Notes a straight line!” (iʿtidilū), he noticed that the sky had clouded over and he saw a flicker of lightning in the direction of al-Sirr (there is a double meaning: the light, nūrih, of the lightning, is similar to his wife’s name). Then he raised his hands and said this verse. Ibn Sbayyil responded at once with his verse and then called: “Pray!” and the prayer was performed as if nothing had happened. Al-Masridī, Muṭawwaʿ Nifī, 55–56. 486 The MS of al-Rabī ʿī, 149–50. The mountain is Jabal Ajā, the granite formations that dominate the city of Ḥāʾil. The only source for this piece, the manuscript of al-Rabī ʿī, attributes these verses to a poet by the name of Smēr, without further detail except that he belongs to the tribal confederation of ʿUtaybah. The occasion is said to be the death of Muḥammad ibn Rashīd, the ruler of Ḥāʾil, in 1897. 487 “The East” is a rather grandiose designation for the princely fiefdom of Ḥāʾil. Perhaps the poet considers that Ibn Rashīd formally paid allegiance to the Ottoman sultan. 488 A piece of tribal boasting: the riding camels of enemy tribes, usually their best animals, were taken as booty by Ibn Rashīd and distributed among allied tribesmen, who used them for themselves or may have sold them to oasis farmers for the most demeaning labor imaginable for a pedigree racer: as a beast used for well traction. See nn. 26, 359, and 397. 489 The sedentary population was kept on a short leash, but the Bedouin had more affinity with the tribal-based Ibn Rashīd dynasty. 490 In Arabic, the diminutive ḥaḍēr is used for ḥaḍar, “villagers, settled persons.” Traditionally, a man’s honor resides in his facial hair, so to be pulled along by the beard, or to have his mustache shaved, is utterly humiliating. 491 In the final line, the Bedouin versifier jokingly makes an exception for Ibn Sbayyil because of his reputation for hospitality. This is a backhanded, condescending version of the compliments traditionally paid to the addressee. In his reply, Ibn Sbayyil does not take this lying down and pays back in kind and then some. 492 The MS of al-Rabī ʿī, 150. 493 Al-Ḍayāghim is an honorific designation of the ʿAbdah division of Shammar. They are said to have descended from the ʿAbīdah division of Qaḥṭān in Wādī Tathlīth, beyond the southern borders of Najd. Abū Mitʿib is ʿAbd al-ʿAzīz ibn Mutʿib (r. 1897–1906), the successor of Muḥammad ibn Rashīd. Obviously, this piece of fulsome praise for the House of Rashīd is a later composition than Ibn Sbayyil’s ode in praise of Muḥammad ibn Rashīd, see n. 249 and introduction, n. 8. 494 That is, horses and camels.

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Notes 495 Lit. “salubrious with regard to her finely chiseled teeth” (ʿadhiy ar-rahāfi). It refers to the tribe’s women who were left defenseless out in the open when their men were defeated by Ibn Rashīd. 496 Minī ʿ al-Gi ʿūd of al-Dawādimī (Ibn ʿAqīl, al-Shiʿr al-nabaṭī, adds: al-ṣāniʿ, “the blacksmith, ” p. 223–24; the lines are also found in Ibn Khamīs, Man al-qāʾil, 2, 378–79). 497 This piece is in the hazaj meter. Ibn Hindī: Muḥammad ibn Hindī ibn Ḥmēd, the shaykh of the al-Mgiṭah tribe and the entire Bargā division of ʿUtaybah. The poet’s town of al-Dawādimī lies in the general area of this tribal group. His taunts are aimed at tribes that belong to the al-Rūgah division, the other half of ʿUtaybah. 498 The Ḥawrān region in southern Syria is often mentioned for its excellent falcons. 499 A jōbah is a wide, open, featureless, waterless expanse of land through which people travel without making a halt (mjawwib). Wḍākh is the classical Uḍākh, mentioned by the pre-Islamic poet Imruʾ al-Qays, situated in the land of Banū Numayr. Now it is a village twenty-eight kilometers northwest of Nifī and seven kilometers south of al-Athlah, and about hundred kilometers north of al-Dawādimī. It is situated in a flat expanse of land, which is probably the reason it is called Jōbat Wḍākh. 500 A war cry of Shammar is “[tribesmen] swollen with fury” (aṭ-ṭanāyā). 501 Ṭalḥah is a divison of al-Rūgah of ʿUtaybah. 502 “Swollen with fury,” see n. 261. 503 Abū Mitʿib, see n. 493. Ibn ʿAqīl’s substitution of ḥukm, rule, for “under his foot” in §44.6, is an example of the Saudi editors’ tendency to upgrade the political and cultural correctness of earlier Najdī poetry or even purposely omit words or verses. 504 Ibn Sbayyil is mentioned derisively, as Little ʿAbdallah, ʿBēlah, at the end of the piece. There is no known reply by Ibn Sbayyil. The piece gives a rare insight into the town’s situation a few years after the previous poem, with tribal and dynastic conflicts washing up to its gates. The story of this poem is told in the manuscript of al-ʿUbayyid: “ʿAbd al-ʿAziz ibn Mitʿib al-Rashīd raided incessantly but men no longer stood in awe of him, though he killed and was merciless with those he subjugated. In 1902, he set out with a small army from Buraydah with the intention of raiding the camels of Ibn Mḥayya [shaykh of al-Ḥanātīsh and all of the Ṭalḥah division of ʿUtaybah] that were pasturing far from the camp at al-Ridāmā, a place between al-Athlah and Dakhnah. Their tents were pitched at Nifī, where they stayed at the town’s wells. As soon as he had rounded up their camels, he decided to head for their camp at Nifī. But Sarrāy ibn Zwēmil, one of the chiefs of Shammar, said, ‘May God grant you a long life, at Nifī’s wells we will find only pieces of tent and other cloth. We have captured their camels and despoiled them of all their property. Let’s turn back to Buraydah.’ ʿAbd al-ʿAzīz said, ‘I am the brother

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Notes of Nūrah! Do you think I am the leader of the Ṣilīlāt tribesmen [one of the second-class tribes, called “crooked smoke,” ʿawaj dikhkhān, because in the same camp the aristocratic tribes would not allow them the prestige of their own reception area, and they had to do their cooking stealthily]? I will not change my course. By God, I will drive these camels toward their tents.’ When the herds overran the tents, a fierce battle ensued until he broke their resistance and took their tents, together with the camels. These events inspired the poet Minī ʿ al-Gi ʿūd from the town of al-Dawādimī, who received regular gifts from Ibn Rashīd and spent time with him for the ruler’s entertainment. Each year he went to pay his respects and receive his reward from the prince.” Al-Najm al-lāmiʿ, 3, 225; Ibn ʿAqīl, al-Shiʿr al-nabaṭī, 223–24. 505 The women have been robbed of their outer garments, mifāṣikh and fiṣīkh (CA fasakha, infasakha “to be knocked out of place, torn”). 506 This line, and Ibn Sbayyil’s reply, are in the hazaj meter; the lines are found in the Ibn Yahyā MS, 672. Rbayyi ʿ al-ʿAbd is from the town of Ḍiriyyah, not far from Riyadh. In his manuscript, Ibn Yaḥyā writes that the girl is also from Ḍiriyyah and that the poem was well-known, but I have not found further information on the poet. 507 The blacksmith and his class are traditionally assigned a low rank in Arab tribal society, e.g., the mocking verse of Jarīr: “You, son of a slave girl, O Farazdaq, amuse yourself at your smithy’s fire, the bellows befit a slave” (wa-anta bnu qaynin yā-Farazdaqu fazdahir / bi-kīrika inna l-kīra li-l-qayni nāfiʿū) (Sharḥ dīwān Jarīr, 370). “O Tamīm, is it possible that the honor of Qays is impaired by a slave, a blacksmith whose beard is burnt by sparks?” (a-qaynun yā-Tamīmu yaʿību Qaysan / yaṭīru ʿalā lahāzimihi al-sharāru) (Bakhouch, La rivalité de l’honneur, 508). An associated species is al-ṣalab, the pariah tribe, famous for the beauty of its white-skinned women, who used to accompany the Bedouin and do menial work for them, see Kurpershoek, Oral Poetry, 2, 45–46; 3, 259. As explained by an informant, the girl whose beauty is vaunted by the poet Rbayyi ʿ al-ʿAbd is compared not to a young and sprightly she-camel, a ḥāshī, but to an old shecamel whose calf was slaughtered at birth and that was then made to suckle another camel’s calf; such a camel is called a ḍīr. She is then compared to a promiscuous she-ass. Therefore, according to this informant, she is a qaḥbāʾ mafḍūḥah, “a whore, and known as such to all and sundry.” 508 For the ḍabb, the Arabian spiny-tailed lizard, also called dabb lizard, see Kurpershoek, Arabian Satire, xxiv. The mikūn is a female lizard (CA al-ḍabbah al-makūn “egg-bearing female dabb lizard”).

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Notes 509 This is reminiscent of the many descriptions in ancient Arabic poetry about the male wild ass biting the female, e.g., the male wild ass who severely bites the female in her rump in a poem of Kaʿb ibn Zuhayr. Bauer, Altarabische Dichtkunst, 2, 132–35. 510 Nāmī ibn Thaʿlī of al-ʿIḍyān, an ʿUtaybah tribe led by the al-Ḍīṭ family (see n. 60), took protection money, akhāwah or khuwwah (lit. “brotherhood”), or khafārah, “money paid to a watchman,” from Ibn Sbayyil, with the promise to return any possessions from inhabitants of Nifī robbed by members of the ʿUtaybah confederation of tribes. At some point members of al-ʿIḍyān had settled in Nifī, and later left again. Because of these old relations, they were the most obvious choice for Nifī’s people to turn to in case property was stolen from them by ʿUtaybah Bedouin in the area surrounding Nifī. Therefore, the verses are probably part of a jocular exchange. Nevertheless, they point to a practice that was condemned and suppressed wherever the Wahhābī movement and the House of Saud imposed their rule. During the first decades of Ibn Sbayyil’s life, however, Saudi political power was at its lowest ebb. Poem 5 exemplifies the circumstances in which this “brotherhood” is invoked and how difficult it often was for villagers to make the Bedouin party comply with its obligations. These verses are also quoted by al-ʿUbayyid, who explains Ibn Sbayyil’s words as follows: “You have no reason to boast. My payment is in exchange for your barking on the town’s outskirts to protect us from any of your kinsmen who violate our property” (al-Najm al-lāmiʿ, 273). They are also quoted in al-Fahad, “The ʿImama vs. the ʿIqal,” 63, as an example of the practice of paying protection money to the Bedouin. In another version, these lines are exchanged between two anonymous poets, one a Bedouin who says, “I have no fear and it is not out of kindness when you pay us protection money,” i.e., it is your own best interest to do so (mā adrī dhill w-lā tṣafṭūn, antum yōm tiʿṭūn al-akhāwah), to which the sedentary poet replies: “We give it to you as food for the dog, so that he will protect us, / like cheap makeup women smear on their faces, and let you bark behind our houses” (niʿṭīhā nabīhā lik ḍarāwah, ḥattākum warānā tanbaḥūni / ṣābightin bi-wajhik ṣibgh jāwah, tanbaḥ min warā al-dīrah w-dūnī) (al-ʿUbūdī, Muʿjam al-kalimāt al-dakhīlah, 1, 198; Muʿjam al-malābis, 87). See also n. 430. 511

“Bleary-eyed,” ghmēṣān, an epithet for “lazy, sleepy,” because ghamaṣ (from CA ghamṣ, “a foam-like effusion from the eye that congeals in a corner of the eye”; ghamāṣah, “a little clot in the corner of the eye,” Ibn Manẓūr, Lisān, 3298) collects in the eye when sleeping. It also denotes the contracted skin under the eyes of someone who just woke up and is still drowsy.

512 Cows are only kept by people of the settled areas and are despised by the Bedouin, and even by a sedentary poet like Ḥmēdān al-Shwēʿir (see Kurpershoek, Arabian Satire, 45,

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Notes §42–43). When the Bedouin poet al-Dindān asked me about camels in the Netherlands, and I told him that Dutch animal husbandry was mainly about cows, he groaned and said, yā-gōm, lit. “the enemy,” (CA qawm, “people, armed men”), meaning “that’s too bad,” and the less said about it the better. In this line, it is a slur addressed to sedentary folks with the innuendo that they lack the lofty ambition, far vision, daring, and taste for adventure that characterize the Bedouin and for which the camel is the irreplaceable vehicle. 513 “Gnawed-off bone,” shiluw, from CA shilw pl. ashlāʾ, “remains of skin and tissue of meat that has been skinned and eaten; last remains,” as in Zuhayr ibn Abī Sulmā’s line: “Shreds of meat where birds of prey hop around” (daman ʿinda shilwin taḥjulu l-ṭayru ḥawlahū). Sharḥ dīwān, 227.

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Glossary

The principal source for the names of places in this volume is the geographical dictionary by Saʿd al-Junaydil (1924–2006) that covers the area of High Najd (ʿĀliyat Najd).

Abānāt

a famous landmark, visible from a great distance, at the confines of the

region of al-Qaṣīm, described by Doughty as two mountains, one behind the other.

ʿAbdallah ibn ʿWēwīd a poet and contemporary of Ibn Sbayyil. One of the members of the “romantic school” of poets in High Najd that counts Ibn Sbayyil as its most prominent representative. His ancestors, who belonged to Ibn Sbayyil’s tribe of Bāhilah (pl. Bawāhil), left the town of al-Midhnab for the village of al-Athlah, together with their kinfolk of al-ʿWēwīd (Āl ʿUwaywīd), and built a fortress in the settlement. ʿAbdallah married his uncle’s daughter, Ḥisnā, much to the chagrin of Fhēd al-Mijmāj, another poet of this group, whose mother was the sister of Ḥisnā’s father. Only a few of his poems have survived−delicate and melodious ghazals that lend themselves to being sung. Abū Thintēn, al-Gassāmī

a family of shaykhs of the al-Gsāsimah tribe of the

Dhuwī ʿAṭiyyah section of al-Rūgah of the ʿUtaybah confederation.

ʿAkkāsh an old well, mentioned by the classical geographers as a well of Banū Numayr in Baṭn al-Sirr. There is also a mountain by this name, next to Mt. Ṭimiyyah and near ʿUqlat al-Ṣuqūr, to the west of al-Qaṣīm and northwest of Nifī.

ʿĀliyat Najd (High Najd) the western part of Najd, locally called al-dīrah al-ʿluwwah, “the higher district,” because of its greater altitude. To go upcountry to the High Najd in a westerly direction is sannad, “to go up the elevation”; the eastern districts are called al-dīrah al-ḥadriyyah, “the lower regions,” and to go in an easterly direction is ḥaddar, “to go down to lower country.” Lower Najd is the area of Nafūd al-Sirr and Nafūd

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al-Khabrā, and the lands to their south and west; the High Najd stretches from there westward to the borders of the Hijaz. al-Anjal

a well with brackish water, but fit for camels to drink, in the south-

ern part of the dunes of al-Sirr, about halfway between Tibrāk and al-Quwayʿiyyah. ʿArjā also called ʿArjah, a well and village thirty kilometers north of al-Dawādimī in Wādī al-Rishāʾ. It is frequently mentioned in poetry. Yāqūt, writing in the thirteenth century, mentions that the al-ʿArijah well belonged to Banū Numayr. In the nineteenth century it was the location of a famous tribal battle between Ḥarb, Muṭayr, and Qaḥṭān on one side, and on the other

ʿUtaybah led by Muḥammad ibn Hindī, who triumphed after a long fight. al-Athlah

a village about eighteen kilometers northeast of Nifī, where the clan

of Ibn Sbayyil first settled. It was closely connected with Nifī through family ties. Together with Nifī, it was the center of “the romantic school” (al-madrasah al-wijdāniyyah), of which Ibn Sbayyil is considered the foremost representative. Among its poets are Fhēd ibn ʿAbdallah al-Mijmāj, whose work shows many similarities with that of Ibn Sbayyil, and ʿAbdallah ibn ʿAbd al-Hādī ibn ʿWēwīd. Bargā (Barqā)

a major division of the ʿUtaybah tribe, the other half being

al-Rūgah. The tribal ranges of Bargā are to the south of al-Rūgah. The two divisions were often on different sides of political and other conflicts. For instance, the chief of Bargā, Ibn Ḥmēd, was one of the leaders of the ikhwān who rose in rebellion against ʿAbd al-ʿAzīz ibn Saʿūd, whereas the chief of al-Rūgah played an important part in supporting the later king. Earlier, Bargā was blamed by al-Rūgah for not coming to their aid when they were attacked by the ruler of Ḥāʾil, Muḥammad ibn Rashīd.

ʿBēd ibn Hwēdī al-Dōsirī a poet who belonged to the class of mawālī, emancipated black slaves, and lived in the small oasis town of al-Shaʿrāʾ. His imagery is derived from both Bedouin and sedentary life. He is one of the poets of the “romantic school” of High Najd, together with his son Ibrāhīm ibn

ʿBēd ibn Hwēdī. Bjād one of the robbers mentioned in Poem 5. He is known as Bjād al-Kharrāṣ, a member of the al-Kharārīṣ tribe of ʿUtaybah. blacksmith (ṣāniʿ)

the blacksmith and craftsman was held in particular con-

tempt by the Bedouin. The term is often used of the social class associated with the profession. This prejudice has a long history and is shared

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Glossary

by Najdī sedentary classes with tribal roots, and is based on the view that, unlike the tribal population, members of this class are from “unknown roots” and therefore of suspect “purity.” Brēh

one of the three divisions of the tribe of Mṭēr (Muṭayr). Unlike the ʿIlwā and their shaykhs of al-Duwīsh, there are many shaykhs of Brēh. One of their famous shaykhs and knights was Nāyif ibn Bṣayyiṣ of the al-Ṣi ʿrān tribe, who took a prominent role in the nineteenth-century tribal wars against ʿUtaybah.

al-Daʿājīn

one of the tribes of the Bargā division of ʿUtaybah. Its members

achieved notoriety throughout Najd as raiders. The Bedouin would acknowledge their skill as camel rustlers with grudging respect. Its chief, Nāṣir ibn ʿGayyil, refused to join the movement of the ikhwān under the leadership of Ibn Ḥmēd, at that time the paramount shaykh of ʿUtaybah. David (Dāwūd) the David of the Bible, mentioned several times in the Qurʾan, sometimes together with his son and successor Sulaymān, as in Ibn Sbayyil’s poem. In Najdī poetry he is often associated with metalwork and coats of chain mail. Dhuwī ʿAṭiyyah al-Dimāsīn

a major section of the al-Rūgah division of ʿUtaybah.

a subtribe of the al-ʿIḍyān, a tribe of the al-Mzāḥmah section of the

al-Rūgah of the ʿUtaybah confederation. al-Ḍīṭ

the family of shaykhs of the al-ʿIḍyān tribe of the al-Rūgah division of ʿUtaybah. Members of the al-ʿIḍyān had settled in Nifī for some time, before leaving again, and the town maintained friendly relations with these shaykhs in the hope that they would protect them against marauding Bedouin of ʿUtaybah.

al-Duwīsh

the name of the family of shaykhs of ʿIlwā and of all Mṭēr tribesmen

in general (plural al-Dūshān). Ḥsēn al-Duwīsh became a follower of Wahhabism before 1790, but the tribe always kept its Bedouin character. al-Gāḍī (al-Qāḍī), Muḥammad al-ʿAbd Allāh

(1809–68) a learned and wealthy

Nabaṭī poet from the town of ʿUnayzah who was famous for his hospitality. He engaged in poetic correspondence with Muḥammad al-ʿAlī al-ʿArfaj, the poet-prince of the neighboring town of Buraydah, and Aḥmad ibn Muḥammad al-Sudayrī, a prominent figure in the Saudi regime of that time. His poem on the subject of coffee making as a prelude to his musings on the woman with whom he was in love, but whose faithfulness he doubted, was translated by Alois Musil.

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al-Grayyāt (al-Qurayyāt) a location in northern Arabia, north of al-Jawf oasis, on the way to Jordan. al-Hazzānī, Miḥsin

(d. 1796 or 1805) an important poet from al-Ḥarīq in

southern Najd, whose style has been said to resemble that of ʿUmar ibn Abī Rabī ʿah. He introduced the ramal meter into Nabaṭī poetry. He was also the first of the Nabaṭī poets to introduce strophic rhyme. He was on friendly terms with the family of shaykhs of the Muṭayr tribe, al-Duwīsh. al-Ḥēd (al-Ḥayd) an agricultural village southwest of Nifī, where a group of Āl Mḥayyā of the al-Ḥanātīsh of ʿUtaybah settled with the sedentary population. There is also Ḥēd al-Ridāmā, a big rocky protrusion in the higher part of Wādī al-Arṭāwī, north of Nifī, about a hundred kilometers north of al-Dawādimī. Both places occur in Najdī poetry. al-Hēḍal family of chiefs of al-Daʿājīn of the Bargā division of ʿUtaybah. al-Htēmī, Mashʿān

a poet associated in particular with a love poem that opens

with the poet’s name. Practically nothing is known about his life. His tribe, Htēm, was regarded as being of lower status than the “true Bedouin.” From his poetry, one can deduce that as a nomad he wandered from Ḥaḍn, the district of the Bgūm tribe, at Najd’s western gate to Mecca, to the area of the Muṭayr tribe in the east. Like other poets in High Najd at that time, he may also have worked as a seasonal laborer in oasis villages. Ḥwēd ibn Ṭihmāj al-Wāziʿī a poet of the al-ʿIḍyān tribe of the ʿUtaybah confederation who settled with other groups of al-ʿIḍyān, led by shaykhs of the family of al-Ḍīṭ, in Nifī. After ten years they left Nifī for the new settlement (hijrah) of Kabshān. But twelve years later he and his kinsmen resumed their nomadic life until he died at the age of sixty-seven in the Rumḥah sands in 1941. One of his sons, Marzūg, became a famous transmitter of his father’s and his tribe’s poetry and lore, and Marzūg’s sons were also transmitters. al-Hyiyshah

see Wādī al-Hyiyshah.

Ibn Liʿbūn, Mḥammad

(1790−1831) left Najd for al-Zubayr in southern Iraq,

where he engaged in poetic duels with the poet ʿAbdallah ibn Rabī ʿah (d. 1856). Following al-Hazzānī, he used the ramal meter in love lyrics. His tunes, called al-alḥān al-liʿbūniyyah, or al-sāmirī, became widely popular and are sung in the Gulf area. Ibn Rashīd, ʿAbd al-ʿAzīz ibn Mitʿib

(r. 1897–1906) the successor of Muḥammad

ibn Rashīd. He was an active and warlike emir, but did not command the

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respect his famous predecessor did. During his rule, the influence of the Ibn Rashīd waned, while the fortunes of the House of Saud were on the rise again. He died in a battle against ʿAbd al-ʿAzīz al-Saʿūd in 1906. Ibn Rashīd, Muḥammad

(r. 1869–97) the ruthless and powerful emir of Ḥāʾil

and the surrounding area, called the Mountain of Shammar ( Jabal Shammar), after the dominant tribe to which the House of Rashīd also belonged. He came to power by killing most of the family members who could have disputed his position, but then showed himself to be a shrewd and competent ruler. He figures in countless stories of European travelers who visited his court and in those of the Bedouin and sedentary people of Najd. His rule is probably the apogee of Arabian Bedouin culture, also because it coincided with a low tide in Wahhābī power connected with the House of Saud. His court was frequented by many poets, especially those from the northern areas and the northern part of Central Arabia. Unlike other members of the Ibn Rashīd family, he was not known for being a poet himself.

Ibn Zirībān, Fayḥān ibn Ǵāʿid (Qāʿid)

a knight in the desert tradition of chiv-

alry (muruwwah), whose battle cry (nakhwah) was “brother of Nūrah” (akhū Nūrah), and a shaykh of al-Rikhmān tribe of the ʿIlwā division of Mṭēr (Muṭayr). He was also a well-known poet who celebrated his exploits in verse and exchanged poems with Ibn Sbayyil as part of a poetic correspondence (murāsalah shiʿriyyah) in a bantering tone, featuring the conceit of assistance in the shaykh’s search for a certain Bedouin beauty. He became one of the legendary figures of the nineteenth-century “Battle Days of the Arabs” (ayyām al-ʿarab), so called after the lore connected with the preIslamic tribal wars, when the tribes in Central Arabia were very much a law unto themselves. He distinguished himself in famous episodes, such as the string of skirmishes that preceded the battle of al-Ḥarmaliyyah (1891/2), in which ʿUtaybah suffered a rare defeat against Muṭayr. Later he joined the campaigns of the future king ʿAbd al-ʿAzīz and took part in the conquest of Buraydah. He was killed in the campaign for the eastern province of al-Aḥsāʾ in 1905 by a warrior of the al-ʿIjmān tribe. Ibrāhīm ibn ʿBēd ibn Hwēdī

son of ʿBēd ibn Hwēdī al-Dōsirī, who continued

his father’s work as a poet and prodigious transmitter (rāwī). He was born in al-Gwēʿ, near al-Gwēʿiyyah (al-Quwayʿiyyah), and later moved to al-Ḥāyir, south of Riyadh. As an agricultural laborer, he lived a life of

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penury, like the poets with whom he was in “poetic correspondence” (murāsalah shiʿriyyah), Hwēshil ibn ʿAbdallah and ʿAlī al-ʿWēshnī. Later in life, he became part of the circle of companions at the court of Prince ʿAbd Allāh ibn Fayṣal in al-Ṭāʾif. al-ʿIḍyān (al-ʿUḍyān)

see al-Ḍīṭ.

ʿIlwā a section of Mṭēr (Muṭayr) to which belonged the redoubtable chiefs of the tribe as a whole, al-Duwīsh (pl. al-Dūshān), see above. Jacob (Yaʿqūb) the Jacob of the Bible; son of Isaac, son of Abraham. He is mentioned in the Qurʾan sixteen times in ten surahs. Ibn Sbayyil presents him as an example of patience and trust in God in the face of suffering, following the Qur’an and the Hadith literature that expands on it. Jarīr (d. 728−29) a poet especially famous for his exchanges of invective poetry (hijāʾ ) with his rival al-Farazdaq. Their clashes in meter and rhyme (naqāʾiḍ), over a period of forty years, are considered a literary monument of classical Arabic poetry. He died in his eighties in the little town of Uthayfiyah in al-Yamāmah province of Najd, where in the eighteenth century another feared hijāʾ poet, Ḥmēdān al-Shwēʿir, had found refuge from his enemies in his hometown of al-Qaṣab. Jimrān an old well, and a sharp-pointed black mountain (madhrūb Jimrān) of the same name, north of al-Dawādimī and ʿArjah village, in the tribal territory of al-Rūgah of ʿUtaybah, frequently mentioned in poetry on account of its good pastures. Job (Ayyūb)

the Job of the Bible, mentioned only twice in the Qurʾan, but

whose story was greatly amplified in later literature. His piety and generosity made him the target of the devil (Iblīs) who challenged God to test him. Obviously, this is Ibn Sbayyil’s model for the trials he must undergo as an adherent of the cult of love (ahl al-hawā) and explains his use of the word imtiḥān, “test, trial,” in several poems. Jonah (Yūnus)

the prophet Jonah of the Bible, mentioned four times in the

Qurʾan as Yūnus, once as Dhū l-Nūn (“He of the Nūn”), and once as “the whale man” (ṣāḥib al-ḥūṭ), i.e., a prophet who is swallowed by a whale. If he had not praised God, he would have remained in the whale’s belly until the resurrection. Joseph (Yūsuf )

the Joseph of the Hebrew Bible. The Surah of Yūsuf in the

Qurʾan is completely devoted to the telling of the Joseph story.

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Kabshān

an old well in the province of al-Dawādimī that is often praised

in poetry for its sweet water. Its village is inhabited by members of the al-Marāshdah tribe and the al-ʿIḍyān tribe of ʿUtaybah, but after some time the latter tribe left again. It is mentioned by Doughty as a landmark in the High Najd on his way from al-Qaṣīm to Jeddah, as a basalt mountain and water source. al-Kharrāṣ

the singular of al-Kharārīṣ, a tribe of the Dhuwī ʿAṭiyyah section of

al-Rūgah of the ʿUtaybah confederation. al-Kirzān

a subdivision (with the nisbah Krēzī) of the al-Mgiṭah tribe―itself

one of the eight divisions of Bargā, the division that together with al-Rūgah constitutes the ʿUtaybah confederation. Its importance resides in the fact that al-Ḥmidah, the sons of Ḥmēd, Ibn Ḥmēd, who are the house of paramount chiefs of Bargā, constitute one of the sections of al-Kirzān. al-Majmaʿah a regional center founded in 1427 by ʿAbd Allāh al-Shammarī with permission from Ibn Mudlij al-Wāʾilī from nearby al-Ḥarmah, a town that was subsequently eclipsed by the new settlement. The ʿUthmān family, whose ancestor is mentioned by the poet Ḥmēdān al-Shwēʿir, are his descendants. al-Marāshdah

a tribe of the al-Mzāḥmah section of al-Rūgah of the ʿUtaybah

confederation. al-Midhnab

a town on the southern edge of the al-Qaṣīm region on the way to

the al-Sirr region. al-Mijmāj al-Tamīmī, Fhēd ibn ʿAbdallah ibn Fhēd

a poet whose grandfather,

like Ibn Sbayyil’s forefathers, moved from al-Midhnab to al-Athlah, where he married the sister of Ḥmūd and ʿAlī al-ʿWēwīd. A contemporary of ʿAbdallah ibn Sbayyil, he eked out a living in agricultural labor. Like Ibn Sbayyil, al-Mijmāj excels at painting stirring scenes about the Bedouin who spent the hot season at the wells of al-Athlah. Moses (Mūsā)

the Moses of the Bible, in the Qurʾan a prophet who is a precur-

sor of Muḥammad and the nemesis of Pharaoh, his unbelieving enemy. He baffles Pharaoh’s magicians when his rod devours their rods, and performs other miracles. Najdī poetry also refers to al-Sāmirī who fashions the lowing golden calf. Mrēṭbah (Murayṭibah) a wide plain from which the water runs into Wādī al-Rishā, at a distance of between fifty and one hundred kilometers to the northeast of al-Dawādimī, in the tribal land of al-Rūgah of ʿUtaybah. It is

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Glossary

frequently mentioned in poetry because of its good pasture, especially the salty plants (ḥamḍ) on which the camels thrive. Mṭēr (Muṭayr)

one of the major tribal confederations of Central Arabia. When

Ibn Sbayyil flourished as a poet, it was in warlike competition with many of its peers: the confederations of Shammar, Qaḥṭān, ʿUtaybah, ʿNizah (ʿAnizah), Ḥarb, al-ʿIjmān, and others. Its territories are on the eastern side of al-Yamāmah and al-Qaṣīm, adjoining the al-Dahnāʾ sands. Its legendary leader Fayṣal al-Duwīsh played a prominent role in the Saudi conquests. In 1912 he and his tribe founded al-Arṭawiyyah, the first settled colony (hijrah) of Bedouin, who joined the fiercely Wahhābī cohorts of the ikhwān. They did not consider themselves “subjects.” Fayṣal became the ringleader of the ikhwān who rebelled against the later king ʿAbd al-ʿAzīz, who defeated them in the battle of al-Sbilah, not far from al-Arṭawiyyah. The confederation consists of three major tribal groups: Binī ʿAbdillah, Brēh, and ʿIlwā. Fayṣal al-Duwīsh, and his family of al-Dūshān, belong to the ʿIlwā, as does Ibn Sbayyil’s poetic correspondent, Fayḥān ibn Zirībān, who is the shaykh of another group of the ʿIlwā. al-Muʿallaqāt

“the suspended poems,” a pre-Islamic collection of poems which

in the early centuries of Islam were among the most admired long poems of the qasida type. They are apparently so called because the poems, written on cloth in letters of gold, were said to have been hung on the walls of the Meccan Kaaba, but other explanations are also given. Najd

generally understood as the central part of the Arabian peninsula―the plateau area roughly situated to the east of the mountain ranges of the Hijāz, south of the Nafūd desert, west of the al-Dahnāʾ sands, and including Wādī al-Dawāsir in the south but not beyond it. This large region is subdivided into areas that differ greatly in character. Historically and environmentally, its society has been characterized by contrast between sedentary and Bedouin groups. Nabaṭī poetry is essentially a Najdī phenomenon with roots in classical Arabian culture, a pedigree shared by many of the sedentary and Bedouin tribes in Najd.

Nifī

a town known in ancient Arabia as Nafy, and a well mentioned by the preIslamic poet Imruʾ al-Qays. The small town is situated ninety kilometers to the north of al-Dawādimī. The Ibn Sbayyil family moved to Nifī from al-Midhnab, together with families of the Htēm tribe. They dug wells and started to work in agriculture. It was settled for some time by the al-Ḍīṭ

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family of shaykhs of the al-ʿIḍyān tribe of ʿUtaybah, who later left again. In the first half of the twentieth century it was settled by ʿUmar ibn Rbēʿān (Rubayʿān) of Dhuwī Thbēt (Thubayt), the shaykhs of al-Rūgah division of ʿUtaybah, who had fought as close allies of King ʿAbd al-ʿAzīz. In the town, the Ibn Sbayyil family kept the mayoralty of the original sedentary population. The current mayor is Muḥammad ibn ʿAbd al-ʿAzīz ibn ʿAbdallah, a grandson of the poet, who has published a diwan of his grandfather’s poetry and makes television programs about poetry. a big black mountain and a famous landmark between the lower end

al-Nijaj

of Wādī al-Shubrum and Wādī al-Jarīr, opposite the Ashmāṭ Mountains. Wādī al-Jarīr runs between it and the Gāʿān and ʿAblān mountains. It lies in an area inhabited by Ḥarb and the Binī ʿAbdillah division of the Mṭēr. Nimr ibn ʿAdwān

(1745−1823) a poet of the ʿAdwān tribe in the al-Balqāʾ district

of Jordan, who became famous for the poetry in which he mourned the loss of his wife Waḍhā, a member of the Binī Ṣakhr tribe who died at a young age from cholera. a big black mountain, intersected by many wadis and rich in waterholes,

al-Nīr

on the road between al-Dawādimī and ʿAfif. It is one of Najd’s most famous landmarks and is mentioned in numerous poems. Its northwestern part is in the territory of al-Rūgah of ʿUtaybah and its southeastern part in that of al-Nfaʿah of the Bargā division of ʿUtaybah. Noah (Nūḥ) the Noah of the Bible, a figure frequently mentioned in the Qurʾan and popular in legend. He appears as prophet and admonisher, is laughed at by his people, and saves two of every kind of living creature by taking them into the ark. Qaḥṭān

traditionally tribes of South Arabian descent, as opposed to ʿAdnān,

the northern Arabian tribes. For centuries it has denoted a large tribal group in areas southwest of Najd, like Wādī Tathlīth and Bīshah, and the desert lands known as Ḥaṣāt Qaḥṭān, “Qaḥṭān Rocks,” where they frequently clashed with the Bargā divison of ʿUtaybah. They also migrated farther north and settled in many towns. They are mentioned in chronicles for the first time in the second half of the sixteenth century, as an ally of the Dawāsir tribe. al-Qaṣīm

a prosperous agricultural region approximately four hundred kilo-

meters northwest of Riyadh. al-Ridāmā

see al-Ḥēd.

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Glossary

al-Rifī ʿah

a small village about fifty kilometers north of al-Dawādimī, inhab-

ited by members of the al-Maghāyrah tribe of the al-Rūgah of ʿUtaybah. al-Rikhmān one of the tribes of the ʿIlwā division of the Mṭēr (Muṭayr). Von Oppenheim mentions that Fayḥān ibn Zirībān (miswritten as “Djreibān”) is named as the shaykh of this tribe. al-Rūgah (al-Rūqah) the northern division of the ʿUtaybah confederation (see also Bargā), whose tribal lands straddle the road from Riyadh to Mecca. The division’s paramount shaykh is Ibn Rbēʿān (Ibn Rubayʿān), whose headquarters are now in Nifī, the town of the poet Ibn Sbayyil. singular ṣlubī, a member of the pariah tribe of handicraftsmen who

Ṣalab

used to accompany the Bedouin tribes on their migrations. Renowned as skilled hunters, they dressed in the hide of the game they killed and rode donkeys, not camels. They shod the Bedouin’s horses, repaired their metalwork, and performed other manual jobs, but otherwise lived a life completely separate from them. When a Bedouin camp was raided and plundered, the ṣalab would go on with whatever they were doing, knowing that they would not be touched. If one of their possessions was accidentally included in the booty, it would be returned as soon as the mistake was discovered. As a species of the ṣāniʿ, the blacksmith, a social class which was held in particular contempt by the Bedouin, no ṣlubī would be allowed to marry a Bedouin’s daughter. The daughters of the ṣalab were reputed for their white skin, beauty, and supposedly looser morals, and for that reason feature in many young Bedouin’s erotic daydreams. al-Sarḥā

there are many torrent beds with this name, which is derived from

sarḥ, a great tree with spreading branches of the Cotoneaster nummularia. There is one likely candidate at Damkh mountain in the land of Bargā of ʿUtaybah; one west of the town of ʿAfīf, with a good well, in the land of Dhuwī ʿAṭiyyah of ʿUtaybah; one about fifty kilometers west of ʿAfīf, also in the land of ʿUtaybah; and one north of al-Khāl mountain, west of al-Difīnah in Mecca province, in the land of ʿUtaybah. Ṣayʿar

a tribe of Qaḥṭān origin whose area extends from the northern Hadra-

mawt in Yemen to the southern part of the Empty Quarter desert in Saudi Arabia. Like the al-Sharārāt tribe in the north, it is famous for its breed of fast and hardy camel mounts. The tribe is frequently mentioned in Wilfred Thesiger’s Arabian Sands, where its name is rendered Saar.

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Glossary

Shaddād ibn ʿĀd

a legendary figure, the king of the people of ʿĀd and the lost

city of Iram of the Pillars, mentioned in the Qurʾan, destroyed for its defiance of the warnings given by the prophet Hūd. Shaddād is said to have conquered Arabia and Iraq and is mentioned in narratives as a ferocious fighter. He is the subject of the 277th to 279th nights of The Thousand and One Nights, where he is presented as the mightiest king of the earth and the owner of untold riches, and is eventually destroyed, together with his armies of unbelievers. Shaqrāʾ a town in al-Washm region that served as a trading post for the Bedouin of the High Najd. Its inhabitants belong to Banū Zayd (Binī Zēd), a group that traces its descent from Qaḥṭān. al-Shaʿrāʾ an old town at the foot of the Thahlān mountain, thirty-five kilometers east of al-Dawādimī, on the pilgrim and caravan road to Mecca and the Hijaz, surrounded by good pasturelands and with plentiful water sources. It was an important market and commercial center for the Bedouin. al-Sharārāt

a tribe in northern Arabia that in Bedouin opinion belonged to the

lower-status tribal group of Htēm (Hutaym) because they paid protection money to other tribes and to the Ibn Rashīd princes in Ḥāʾil. They enjoyed renown as hunters and were skilled breeders of excellent riding camels. After the establishment of Saudi rule, their status improved and many of them attained positions of privilege. al-Shiʿb

many places are called after a shiʿb, “a minor dry watercourse.” Per-

haps it refers to what is known as Shi ʿb al-ʿAsībiyyāt between Wādī al-Jarīr and Wādī al-Shubrum to the west of ʿAfīf in the tribal area of al-ʿIḍyān of

ʿUtaybah. al-Sirr

a famous wadi, long known by this name, east of al-Dawādimī, that on

its eastern side runs into the sands of Nafūd al-Sirr. It is an agricultural area, rich in water, that supplies the markets of Riyadh and is intersected by the old road from Riyadh to al-Qaṣīm in a south–north direction. Sudayr

a populous agricultural region about 180 kilometers north of Riyadh.

It encompasses most of Wādī al-Faqī. Among its many towns are Julājil, al-Majmaʿah, al-Ghāṭ, al-Rawḍah, al-Tuwaym, al-Ḥawṭah, and al-Ḥuṣūn. al-Ṣummān

a large tract of rugged, stony uplands in eastern Arabia, east of the

sands of al-Dahnāʾ. It is excellent pastureland after rains, and mentioned already by early poets, notably Dhū l-Rummah. In more recent times it was

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Glossary

a grazing area for the Bedouin of the Mṭēr (Muṭayr), al-ʿIjmān (al-ʿUjmān), Gḥaṭān (Qaḥṭān), Sbēʿ (Subayʿ), and Binī Khālid. Ṭāmi

the name of a member of the Abū Thintēn family of the al-Gsāsimah tribe of ʿUtaybah.

al-Thanādī

also in the singular, al-Thanduwah, a hilly and rocky desert where

the camels walk with difficulty. It runs in a north–south direction to the northeast of al-Dawādimī. Thirb (Tharib)

the first of four wells on the way from Najd to Medina, in the

tribal area of Binī ʿAbdillah of Mṭēr. According to Yāqūt’s thirteenth-century geographical dictionary, Tharib is a well in the tribal land of Muḥārib. al-Ṭwāl

deep wells on the caravan road from Najd to Kuwait, among them

al-Lahābah and al-Laṣāfah.

ʿUmar ibn Abī Rabī ʿah (644−712 or 721) the most prominent representative of the Hijazi school of the ghazal (love poetry); he was a member of the Meccan aristocracy.

ʿUtaybah a confederation in Central Arabia whose tribal ranges stretch over a vast expanse of high desert between the Saudi capital, Riyadh, and the Hijaz province and Mecca. Ibn Sbayyil’s town, Nifī, is situated in this territory. Wādi al-Hyiyshah

a torrent bed north of Nifī that runs east, parallel to Wādī

Nifī, toward Wadī al-Rishā. It is known as one of the best pasturelands and after rains the Bedouin jockey for space on its meadows. It is situated about one hundred kilometers north of al-Dawādimī in the tribal lands of al-Rūgah of ʿUtaybah. Zēd

a generic name given to the beloved whose identity should not be revealed. In Najdī poetry, the beloved is generally referred to by the male pronoun.

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Bibliography Montgomery, J. E., “ʿUmar (b. ʿAbd Allāh) b. Abī Rabī ʿa,” in Encyclopaedia of Islam, Edited by P. Bearman, Th. Bianquis, C. E. Bosworth, E. van Donzel, and W. P. Heinrichs. 2nd ed. 2012. Online edition. Al-Mufaḍḍal, Abū ʿAbbās ibn Muḥammad aḍ-Ḍabbī. Dīwān al-Mufaḍḍaliyyāt. Edited by Charles James Lyall: vol. 1, Arabic text (1921); vol. 2, Translation and notes. Oxford: Clarendon Press, 1918–21. Al-Mutanabbī, Abū l-Ṭayyib. Dīwān Abī l-Ṭayyib al-Mutanabbī bi-sharḥ Abī l-Baqāʾ al-ʿUkbarī. 4 vols. 2nd ed. Cairo: Maṭbaʿat Muṣṭafā al-Bābī al-Ḥalabī, 1956. Musil, Alois. The Manners and Customs of the Rwala Bedouins. Oriental Explorations and Studies 6. New York: American Geographical Society, 1928. Al-Nābighah al-Dhubyānī. Dīwān. Edited by Karam al-Bustānī. Beirut: Dār Bayrūt, 1986. Nöldeke, Th. “Dhurumma.” Zeitschrift für Assyriologie und verwandte Gebiete 33 (1921): 169–97. Schippers, Arie. “Nasīb and Ghazal in 11th and 12th Century Arabic and Hebrew Andalusian Poetry.” In Ghazal as World Literature I: Transformations of a Literary Genre. Edited by Thomas Bauer and Angelika Neuwirth, 311–24. Beiruter Texte und Studien 89. BeirutWürzburg: Orient Institut Beirut and Ergon Verlag, 2005. Sowayan, Saad Abdullah. The Arabian Oral Historical Narrative. An Ethnographic and Linguistic Analysis. Wiesbaden: Otto Harrassowitz, 1992. . Ayyām al-ʿarab al-awākhir: asāṭīr wa-marwiyyāt shafahiyyah fī l-taʾrīkh wa-l-adab min shamāl al-jazīrah al-ʿarabiyyah maʿa shadharāt mukhtārah min qabīlat Āl Murrah wa-Subayʿ. Beirut: Arab Network for Research and Publishing, 2010. . Fihrist al-shiʿr al-nabaṭī. Riyadh: self-published, 2001. . Nabaṭī Poetry. The Oral Poetry of Arabia. Berkeley, CA: University of California Press, 1985. . “A Poem and Its Narrative by Riḍa ibn Ṭārif al-Shammarī,” Zeitschrift für arabische Linguistik 7 (1982): 48–73. . Al-Ṣaḥrāʾ al-ʿarabiyyah, thaqāfatuhā wa-shiʿruhā ʿabra al-ʿuṣūr, qirāʾah anthrūbūlūjiyyah. Beirut: Arab Network for Research and Publishing, 2010. . Al-Shiʿr al-nabaṭī: dhāʾiqat al-shaʿb wa-sulṭat al-naṣṣ. Beirut: Dār al-Sāqī, 2000. Sowayan, Saad Abdullah, ed. Al-Thaqāfah al-taqlīdiyyah fī al-mamlakah al-ʿarabiyyah al-suʿūdiyyah. Riyadh: The Circle for Publishing and Documentation, 1999. Al-Suhalī, Suwaylim al-ʿAlī. Dīwān Suwaylim al-ʿAlī al-Suhalī. Edited by Saʿūd ibn Saʿd ibn Muḥammad al-Quraynī. Riyadh: n.p., 1980. Al-Suwaydāʾ, ʿAbd al-Raḥmān ibn Zayd. Faṣīḥ al-ʿāmmī fī shamāl Najd. 2 vols. Riyadh: Dār al-Suwaydāʾ, 1987.

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Bibliography Al-Tibrīzī, Abū Zakariyā Yaḥyā ibn ʿAlī. Kitāb sharḥ al-qaṣāʾid al-ʿashr. Edited by Charles J. Lyall. Calcutta: Asiatic Society of Bengal, 1894. Reprint, Farnborough: Gregg Press, 1965. Commentary on ten ancient Arabic poems. Trench, Richard, ed. Gazetteer of Arabian Tribes. Farnham Common, UK: Archive Editions, 1996. Al-ʿUbayyid, Muḥammad al-ʿAlī. Al-Najm al-lāmiʿ li-l-nawādir jāmiʿ. MS on the website of Dr. Saad Sowayan. Al-ʿUbūdī, Muḥammad ibn Nāṣir. Al-Amthāl al-ʿāmmiyyah fī Najd. 5 vols. Riyadh: n.p., 1979. . Muʿjam alfāẓ al-maraḍ wa-l-ṣiḥḥah fī al-mawrūth al-shaʿbī. Riyadh: Dār al-Thalūthiyyah, 2015. . Muʿjam al-anwāʾ wa-l-fuṣūl. Riyadh: n.p., 2011. . Muʿjam al-azwāj fī al-turāth. Riyadh: Dār al-Thalūthiyyah, 2017. . Muʿjam al-ḥayawān ʿind al-ʿāmmah. 2 vols. Riyadh: Maktabat al-Malik Fahd al-Waṭaniyyah, 2011. . Muʿjam al-kalimāt al-dakhīlah fī lughatinā al-dārijah, 2 vols. Riyadh: Maktabat al-Malik ʿAbd Al-ʿAzīz al-ʿĀmmah, 2005. . Muʿjam al-malābis fī al-maʾthūr al-shaʿbī fī al-manṭiqat al-wusṭāʾ min al-Mamlakah al-ʿArabiyyah al-Suʿūdiyyah. Riyadh: Dār al-Thalūthiyyah, 2013. . Muʿjam al-tijārah wa-l-māl wa-l-faqr wa-l-ghinā. Riyadh: Dār al-Thalūthiyyah, 2012. . Muʿjam al-uṣūl al-faṣīḥah li-l-alfāẓ al-dārijah. 13 vols. Riyadh: n.p. 2008. Al-ʿUmarī, Muḥammad al-Ḥamad. Dīwān Suʿaydān ibn Musāʿid Muṭawwaʿ Nifī. MS owned by King Saud University in Riyadh. Its index lists twenty-six poems, mostly short pieces, and the longest of which counts thirteen verses. Wallin, Georg August. Travels in Arabia. Cambridge, New York: The Oleander Press, 1979. Webster, Roger. “Notes on the Dialect and the Way of Life of the Āl Wahība Bedouin of Oman.” Bulletin of the School of Oriental and African Studies 54, no. 3,(1991): 473–85. Yāqūt al-Ḥamawī, Shihāb al-Dīn Abī ʿAbd Allāh. Muʿjam al-buldān. 5 vols. Beirut: Dār Ṣādir, 1984. Al-Zawzanī, Abū ʿAbd Allāh al-Ḥusayn ibn Aḥmad ibn al-Ḥusayn. Sharḥ al-muʿallaqāt al-sabʿ. Beirut: Dār Bayrūt, 1982. Al-Ziriklī, Khayr al-Dīn. Shibh al-jazīrat fī ʿahd al-malik ʿAbd al-ʿAzīz. 2 vols. 3rd ed. Beirut: Dār al-ʿIlm li-l-Malāyin, 1985. Zuhayr ibn Abī Sulmā. Sharḥ dīwān Zuhayr ibn Abī Sulmā. Edited by al-ʿAbbās Aḥmad ibn Yaḥyā ibn Zayd al-Shaybānī Thaʿlab. Cairo: Dār al-Qawmiyyah, 1964.

275

275

Index of Poems, Editions, and Manuscripts Used for this Edition

This edition is based on published collections and manuscripts, specifically the ones listed below. The poems have been ordered by rhyme according to the position of the rhyming consonant in the Arabic alphabet, as is customary in editions of classical Arabic poetry. Unless otherwise indicated, the meter of the poems is a variant of the classical Arabic ṭawīl meter called masḥūb in Nabaṭī poetry. The shorthand references in bold at the start of each source listed below indicate where a particular poem can be found. These references are followed by page numbers and the relevant number of verses of the poem in that edition or manuscript. The versions in a published edition are listed first, followed by the manuscript versions on a separate line. As for Ibn Sbayyil’s poetic exchanges with other poets, these have been divided into three separate categories: his jocular exchanges with his neighbor, Muṭawwaʿ Nifī; invective verse exchanged with other poets; and verses in which he is addressed. When Ibn Sbayyil’s poem is a response to another poet as part of a poetic correspondence, the verses of the other poet come first, followed by Ibn Sbayyil’s reply in which he elaborates on points made by the poet who addressed his verses to him. Putting Ibn Sbayyil’s poem first would have made some of these points less easy to understand. Sources of the exchanges with Muṭawwaʿ Nifī and the invective pieces are given in notes to these pieces and not in this Index.

Printed Editions FK

refers to Khālid al-Faraj’s Dīwān al-Nabaṭ, majmūʿah min al-shiʿr al-ʿāmmī fī Najd, vol. 1, published in Damascus in 1952.

IS

refers to the second edition of the dīwān collected by the poet’s grandson, a poet and expert in Nabaṭī poetry in his own right, Muḥammad ibn

ʿAbd al-ʿAzīz ibn Sbayyil, Dīwān Ibn Sbayyil, shiʿr al-shāʿir al-mashhūr

276

276

Index of Poems, Editions, and Manuscripts Used for this Edition

ʿAbd Allāh ibn Ḥmūd ibn Sbayyil, published in Riyadh in 2004. The first edition was published in 1988.

Manuscripts The best available description of manuscripts containing Nabaṭī poetry, and the challenges they pose to researchers, is the chapter on this subject in Sowayan, al-Shiʿr al-nabaṭī, 196–206. The Manṣūr al-Ḥusayn al-ʿAssāf [Assaf] manuscript can be found on the website www.saadsowayan.com. The al-Dāwud [Dawud] manuscript is also on the Sowayan website. The ʿAbd al-Raḥmān Ibrāhīm al-Rābī ʿī manuscript [Rabii] is on the Sowayan website. I also received a printed copy from Muḥammad al-Ḥamdān, who published an annotated edition of Ḥmēdān al-Shwēʿir’s diwan and is the learned proprietor of the Qays Library in Riyadh. In ʿUnayzah I copied some of al-Rābī ʿī’s collection of notebooks in the Ibn Ṣāliḥ Library. The Sulaymān al-Sikkīt manuscript [Sikkit] is also on the Sowayan website. On the first page it states that he was a man of religion, shaykh, and muṭawwaʿ from the town of al-Bukayriyyah in al-Qaṣīm province. The voluminous Muḥammad ibn ʿAbd al-Raḥmān ibn Yaḥyā manuscript [Yahya] is on the Sowayan website; a copy, including the section on Ibn Sbayyil, was given to me by the writer and book collector Muḥammad al-Ḥamdān.

َْ � ‫� ا‬ ‫عي‬ ‫���ا �����ش�ن �ع ن ا � ّ� � ��ب�ا ��ب�ه �م ن ا ��لن‬ ‫�� ّ ��ا �ي�ا‬ ‫��ا ّٰلله ��ا‬ � � � � � � � � � � ‫ل‬ ‫ي‬ � � � � � � ‫ك‬ ‫م‬ � ‫ط‬ � � � � � � ‫� يون‬ ‫ي ي‬ ‫� َ ر ي نل َ ي ن ي و ن‬ َ‫ن‬ Poem 1, p. 2

KF 208, 10 vv.; IS, 152, 10 vv. Rabii 132, 11 vv.; Yahya 661, 9 vv.

ََ ‫�ن�ب�د ْي� �ن�ب�ه‬ َ

�‫��ّ ن ا ن هي ا‬ �� ‫َ ّ � ا ا ا � � ا‬ ��‫ميْ� �����ا ن ���� �ي�ي �م�ا ا ��ل‬ ‫ل‬ � � �َ‫�و�� �� �� ا‬ ‫ه‬ ‫��ب‬ ‫ي‬ �‫ل‬ � � � � � � ‫م‬ � � � � � � � ‫ي ور ن ن ي يى‬ ‫و يل‬ َ

Poem 2, p. 4

KF 205, 22 vv; IS 157, 22 vv. Dawud 176, 11 vv.; Rabii 127, 22 vv.; Yahya 639, 24 vv.

277

277

‫‪Index of Poems, Editions, and Manuscripts Used for this Edition‬‬

‫ا َ ن َ ن‬ ‫�ي� �����ي� �وي��‬

‫َّ‬ ‫� � �َ َ‬ ‫� ا �م�ن�ف ن �‬ ‫����ا ��ي�ك ا ��ي�ل �ي�� دّ � ن‬ ‫�‬ ‫ل َر��� �� او �ن�ب�ه‬ ‫� ا �ل‬ ‫ا‬ ‫ي‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ن‬ ‫ى‬ ‫ر‬ ‫و‬ ‫ا � ن ن �يى َو‬ ‫ٍ‬ ‫ي�‬ ‫ن‬ ‫َ‬ ‫ي‬ ‫‪Poem 3, p. 8‬‬

‫‪KF 188, 23 vv.; IS 60, 23 vv.‬‬ ‫‪Dawud 170, 23 vv.; Rabii 115, 26 vv.; Yahya 666, 29 vv.‬‬

‫يْ � ا ي � َ َّ‬ ‫َ‬ ‫��ا ن �َ��د ا ��‬ ‫���د ��ي ي� ن���ي��نسي�ك �وي�بي�لن�ي�ك �م�ا ا دْ ر�يى �َو� ��� ن�عي�نس�ه‬ ‫ع� ن� ا �ل� �ن��ا �‬ ‫�سو�ني�ك َ� �‬ ‫�‬ ‫�‬ ‫ل‬ ‫ي�‬ ‫ي ري‬ ‫َ‬ ‫‪Poem 4, p. 12‬‬

‫‪IS p. 163, 16 vv.‬‬ ‫‪Rabii 150, 16 vv.‬‬

‫ن �َ‬ ‫� ا �ن � يَ َّ ا �َ ْ‬ ‫ي‬ ‫�ب�ا �ي����ا‬ ‫َ��ف�م ي� ���دين �سى ��فر�����‬ ‫�بف�� ار �نَ�ي�ي�� ٍ� �م َن �‬ ‫ن‬ ‫ي‬

‫‪Poem 5, p. 14‬‬

‫‪Meter: long syllables.‬‬ ‫‪IS 178, 54 vv.‬‬ ‫‪Rabii 147, 62 vv.; Yahya 661, 62 vv.‬‬

‫َي�� ْ‬ ‫ّٰ �‬ ‫�‬ ‫�َ‬ ‫� َ ن ن ا �� �يَ �ْ ا ا ن �‬ ‫ا‬ ‫�‬ ‫ا‬ ‫ن‬ ‫ل‬ ‫م‬ ‫ه‬ ‫�‬ ‫ك�يى �م� ��َي� ي‬ ‫لا �� ��و� ل��يل ن� �ي� ���� د � يل�ب�� ا �ل���بفر لله � او ح َ‬ ‫ع� نَ‬ ‫‪Poem 6, p. 22‬‬

‫‪KF 204, 14 vv.; IS 74, 14 vv.‬‬ ‫‪Rabii 126, 14 vv.; Yahya 649, 14 vv.‬‬

‫�� ا � ه �َ �نّ��� ي � �نّ هي ����ي ف � ا �� ه � �‬ ‫�َب�د ا ���ود‬ ‫ا نل��� ر��� وي� و��� ي ي���َم �ب� � ن‬

‫�‬ ‫� � َّ َ ّ ي‬ ‫ا �لن� �‬ ‫��ا � او �ل�ي�ن���ب�ا ��‬ ‫‪Poem 7, p. 24‬‬

‫‪Rabii 131, 22 vv.; Sikkit 156, 22 vv.; Yahya 646, 24 vv.‬‬

‫َ ُ ٍّ �َ‬ ‫ن‬ ‫ا ا�‬ ‫�ي� ��� ح�ن�يى د � �وَ�ي�ك ��ب�د �و ا �ل�ى‬

‫َ‬ ‫َْ‬ ‫ح� ي� �َ�ي�ل���� َ�ي�ل ّ‬ ‫نَ�ي‬ ‫ي ن � �يى‬

‫�ل ْ � ْ‬ ‫ا ن�‬ ‫�َبي�ل��د َ�ن�����َ��ه ��َ�ن��ا �ي�ب�ه‬ ‫َ‬

‫‪Poem 8, p. 28‬‬

‫‪KF 190, 18 vv.; IS 137, 18 vv.‬‬ ‫‪Rabii 117, 18 vv.; Yahya 664, 20 vv.‬‬

‫‪278‬‬

‫‪278‬‬

‫ن��ي���يَ��ه‬

َ ْ َ‫ّٰ � �ي‬ � ّ� ‫�ن‬ ‫��ي�لي �� ْ�ن‬ � � ‫ل‬ ‫ص‬ � ��‫��ب�ا ه �ي�ا � او �َ��فر ��َ�ن��ده ���ي�ل� ن‬ ‫ا‬ ‫�د‬ � �َ ‫�ي�ا لله �ي�ا ا �ي�ل�ى � ن‬ � ‫ر‬ � ‫ى‬ ٍ ‫ج‬ ‫ي‬ Index of Poems, Editions, and Manuscripts Used for this Edition

Poem 9, p. 32

KF 181, 18 vv.; IS 86, 18 vv. Dawud 178, 10 vv.; Rabii 111, 19 vv.; Yahya, 656, 19 vv.

َّ َ َ‫ي‬ َ‫ا ّٰ ا � ا � ن‬ ْ� ‫� ي � ا � ا � �د � ا �ن � ه ا‬ ‫ح� ي‬ �َ ‫���ه‬ ‫�ي� لله �ي� ا �ي�ل�يى �م� ����ي��فَرك ���فر ن�شي�� ي� و �ب ٍ �ب� ���ي ر‬ َ ‫�ب ٍ�د َر ن ي‬ Poem 10, p. 36 IS 161, 13 vv. Dawud ms p. 173 14 vv.; Rabii ms p. 142 17 vv.; Yahya 657, 14 vv.

ْ ‫� ا �� �نَ�نلْ���س � ��ا ���ا � ي‬ � ‫�ن�ا‬ ‫ل‬ � � ‫ل‬ � ‫و‬ ‫و‬ ‫ى‬ َ ‫ي‬ Poem 11, p. 40

�� ‫ن ا � ا‬ ‫ا �َ َ نْ � ا � � ن ا يُ َن �ن � � ي‬ ‫ن‬ َ �‫�بي�ل ���يك �م� ا ��َد ��ي�ب� ن�ل ��و��د ن�َبي��ل‬ ‫� � او �� ��س� َ�طٍر‬

IS 35, 13 vv. Rabii ms p. 144 18 vv.; Yahya 644, 13 vv.

َ ْ �َ‫ا ّٰ ي‬ ‫يا �ن‬ � ْ � � ‫َ ْ �ل � ا‬ � ��‫��ب�ل‬ ‫ه‬ ‫ل‬ � �� ‫ا‬ ‫ا‬ ‫ف‬ � ‫ا‬ � � ‫ي‬ ‫بي‬ � ‫�د‬ ‫د‬ ‫ي‬ ‫ي‬ ‫ل‬ � � � � � � ‫م‬ � � ‫ك‬ ‫ب‬ � ‫�ي� لله ن�بش� �ل َ �ل رن�يى َ َ نَ � ك‬ ‫َ ريى �ل�ى �ل�يى ن � ج‬ ‫ج‬ Poem 12, p. 44

KF 197, 15 vv.; IS 111, 15 vv. Dawud 171, 15 vv.; Rabii 121, 16 vv.; Yahya 654, 15 vv.

َ� َ �َ � � � ‫��ب�ا � ��و�م �ي�ا �ن �نل���� �ع ن� ا � ن ار د �َ�بش�ْ�م���ط�ا ه � او�ا���ا �يى ��ب�ا ��َي ن�ْ�فَرد ��� نب���ب�ا �ن��فر�وده‬ ٍ Poem 13, p. 46

KF 167, 37 vv.; IS 144, 37 vv. Assaf 168, 32 vv.; Dawud 169, 33 vv.; Rabii 102, 40 vv.; Yahya 665, 41 vv.

َ ‫ن نْ ن ا‬ ‫��������ف ��ا ي� �م ن �����ا �� َ�ع��ف ا ي‬ � ‫� �ي�ل�� َد‬ �� ‫�م� �����د‬ ‫ي‬ ‫ر‬ ‫ر‬ ‫ي‬ � � ٍ ‫� ��بفرا ن‬ ٍ ‫ي‬ Poem 14, p. 54, in reply to a poem by Ibn Zirībān.

�� � ‫ا‬ � ٍ ‫�ي� را � ن‬

KF 173, 55 vv.; IS 117, 56 vv. Assaf ms p. 166 54 vv.; Dawud 167, 43 vv.; Rabii 106, 59 vv.; Yahya 670, 60 vv.

279

279

‫‪Index of Poems, Editions, and Manuscripts Used for this Edition‬‬

‫�َ‬ ‫يَ‬ ‫�� ه � ا‬ ‫َ �ي‬ ‫� ��ن� ��ا �م ْ�‬ ‫�‬ ‫��‬ ‫���‬ ‫� َ� �ل�‬ ‫��بفر�ى ��ل� � ا � ي ي َ َرن ٍ‬

‫ن��ا ر�ي�م ك ا ��ي� ا �ل‬ ‫�‬ ‫حَ َ��س�د � او ��َلنن�ص‬ ‫�ب�ا ���ب�ه‬ ‫َو‬ ‫ل‬ ‫َ‬

‫‪Poem 15, p. 62‬‬ ‫‪IS p. 33 9 vv.‬‬

‫‪Rabii 143, 12 vv.; Yahya 667, 11 vv.‬‬

‫يَ‬ ‫ا� َ �‬ ‫� � ا �ّ �� �َ���ص ا � ه �� ا ��� � �ي ا �� ه � ْ � ا ن � ���� � نّ � ا ا �‬ ‫���فر�ى ا�َ�م �طر ن� ول �ب� ن��� َر ��ب� َ� و� يل��� َودي� ٍ� َي َي‬ ‫��يل� ا �ل�د �ن� ���‬ ‫‪Poem 16, p. 64, in reply to verses by Ibn Zirībān.‬‬ ‫‪IS 31, 11 vv.‬‬ ‫‪Yahya 673, 4 vv.‬‬

‫��� �م ن �ن�م �ي� �َ�سي�لْ��س�ا ي� ا ��ل�ا �ي ا ن� ��ب�ا ي�َ�فَّ � �� �� ن ��ي�ل���بف ا � ا�ا��َبش�ن���ا ���� �‬ ‫ا‬ ‫��‬ ‫رو‬ ‫�ي� را �� ن ٍ � و‬ ‫رن وَ �‬ ‫ر‬ ‫ني �‬ ‫‪Poem 17, p. 68, in reply to verses by Masʿūd Āl Masʿūd from al-Shaʿrāʾ.‬‬

‫َ ّ يَ ْ‬ ‫ٰ َ‬ ‫يْ‬ ‫�َ‬ ‫ا ّلله �ل‬ ‫����ا ه‬ ‫���د �ي�ا �ي�بي�ل ��ي�لسن�يى �م ن� ا ���‬

‫‪IS p. 53, 13 vv.‬‬

‫� �َ َ �� �‬ ‫َّ � �‬ ‫ل��َ�ف�م�ا � يم�بش�‬ ‫��بش� ا �ي�ل� ���بش� ��وه ا �‬ ‫�ي�بي�ل ا � �لَي� ��‬ ‫ي‬ ‫ى‬ ‫ع ي‬ ‫ع‬ ‫‪Poem 18, p. 72‬‬ ‫‪IS 90, 19 vv.‬‬

‫�َ ّ � ن ي َ� نّ‬ ‫�بي�ل ا � �ل�بفرا �� �وح�‬

‫‪Rabii 130, 19 vv.; Yahya 654, 20 vv.‬‬

‫يَ َ‬ ‫�َ ْ‬ ‫را �ي�بف�م �ا�بفر�ي��و�م �و��مو�ى‬

‫�ن‬ ‫ي � �� ا‬ ‫ا � �ل��فرا �� ا �ي�ل�يى ��ن��� ٍر‬

‫د �ن�مو�نب�ه‬ ‫َ‬

‫‪Poem 19, p. 76‬‬

‫‪KF 194, 20 vv.; IS 107, 20 vv.‬‬ ‫‪Dawud 178, 9 vv.; Rabii 119, 21 vv.; Yahya 640, 20 vv.‬‬

‫َ‬ ‫�َ‬ ‫�ْ‬ ‫ا ّٰلله �م ن ����� ن �يل��ي�ّل�ه َ�ع���ا‬ ‫����ن��ه �ه��ب�ا ��لي�ي� ا �ل����ص‬ ‫�‬ ‫�ب�ا ن� ا �ن� َ�د �نب�ا �َيب�ه‬ ‫ي� َ�‬ ‫ل‬ ‫�‬ ‫ن َر َي َ‬ ‫ٍ‬

‫‪Poem 20, p. 80‬‬

‫‪KF 212, 10 vv.; IS 150, 10 vv.‬‬ ‫‪Dawud ms p. 174 8 vv.; Rabii 138, 15 vv.; Yahya 656, 12 vv.‬‬

‫‪280‬‬

‫‪280‬‬

Index of Poems, Editions, and Manuscripts Used for this Edition

َّ َ َ � �َ َ �‫ط ا َ��ي�ك �ي�ل ا ��ل�ب�ا ��ل د �ن�ْ���ا ك ��ل�ا �ي�ي‬ �� ‫�ي�ا ا ���� ن�ْب�د �يبي����� �م�ا‬ ‫ل‬ ‫��ي�ك �ع ن� ��ي ن�ْبش� َدي�لَن�ي�ك‬ � ‫ي‬ � ‫ي‬ ‫ر‬ َ ‫ن‬ َ ‫ى‬ ‫ع‬ Poem 21, p. 82

KF 214, 24 vv.; IS 166, 24 vv. Rabii 145, 24 vv.; Yahya 645, 25 vv.

َّ‫ن‬ ��‫� ا‬ �� � � ‫ي‬ � � ‫�َم����� ��ي��ي�ٍل ��بي�ل�ى َ����� ٍ� َ ي �ل‬ Poem 22, p. 86

KF 198, 24 vv.; IS 132, 24 vv.

َْ � � ْ � � � ���َْ ّ‫�ي�َبي‬ � ‫ل‬ ‫ف‬ ��� ���‫��سو�ل نر‬ ‫�م‬ � � َ � ٍ ‫�ل ر ن‬ ‫ع‬ ٍ

ْ َ‫يَ ّ ي‬ ‫ا‬ � ‫ل‬ ‫س‬ ‫�ي� ��بي�ل ��ين�يى‬

Dawud 172, 13 vv.; Rabii 122, 29 vv.; Yahya 641, 24 vv.

‫� ن‬ ‫ا ����َ�����ط�ا ��ا ا �نل‬ ‫�َبفرا �ي�بي�ل‬ ‫ي‬ Poem 23, p. 90

ّ ٰ ْ‫َ ي ن‬ �� ْ� � � ّ � � ‫���ل ��ب�ا ����طَفرا ن��م‬ ��َ ‫�� ا ّلله ��بي�ل‬ � ‫م‬ ‫ا‬ ‫ح‬ � � � ‫د‬ ‫ي‬ � � � ‫ط‬ َ � � ‫ي‬ ‫�نَ�ب�د ��ي� �ن�ب َ�د ل�ر‬ ‫ن‬ ‫ى‬ ‫ى‬

KF 215, 51 vv. Assaf 180, 53 vv.; Rabii, 133, 55 vv.; Yahya 637, 54 vv.

‫ا � �ي ا �ّ ا ي‬ ‫� ا ن � ا ا �ن ا ي�َ�ي�ْلس �م ن ا ���� ا � َ� �� ه �ي�ل � ��َ�نْب�شي‬ � ‫بي�ل�ه‬ � � ‫ي‬ �‫ل‬ � � � � � ‫ل‬ � � ‫ي� د ��� ر � ن�يى � �ب� م‬ َ ‫�وَ� � ي ��و م ي َم�� ب نَ ��ى �ل َ ي‬ Poem 24, p. 98

KF 178, 25 vv.; IS 80, 25 vv. Assaf 167, 24 vv.; Dawud 175, 8 vv.; Rabii 110, 25 vv.; Yahya 647, 27 vv.

� �‫ا �ل���بف� �مو‬ ‫م‬

َ ْ‫ي �َ ن‬ َ َ َ � ���‫�و ن�ع ْر���د �ي�ل� ُر �و��� ا �����د ا � � او �ْو�ن�� ا ��لن��ا رد ن‬ �َ�َ ‫�نْ��ده‬ ‫ع� ن� � �ل�ه‬ � ‫ى‬ ‫م‬ ‫ج‬

Poem 25, p. 102

ّ‫ن َ�ن ن‬ ‫�َم� ع�سى‬

� ‫ي‬ ‫�ب�ا �ل‬

Meter: madīd. In Najd the tune is called ʿarḍah, which is used for sword dances and warlike chants, Sowayan, al-Shiʿr al-nabaṭī, 167, 175. IS 27, 9 vv.

� َ � َّ َ ‫نَ ن‬ ‫��ا �م ن �� �ليَ��ي�لْ� ������ا �ع�ن��ه ا ��ل ��ي���� ن‬ ‫ي� �م ن� �ي ��و�م �ي��شن�ع نّ� ا � نل��ل‬ �‫�����اي� ن� ر��ب�ا �ري��فم‬ ‫ر‬ �َ ‫ي‬ ٍ‫ن‬ َ ‫َي‬ Poem 26, p. 104

KF 202, 17 vv.; IS 154, 16 vv. Rabii ms 125, 17 vv.; Yahya 655, 18 vv.

28١

281

‫‪Index of Poems, Editions, and Manuscripts Used for this Edition‬‬

‫َ �ْ‬ ‫�‬ ‫� � ن‬ ‫َ يّ ن‬ ‫����ف �م ن ا ��ل ���ا ��ا ي‬ ‫�ي�ا را ك‬ ‫� ��ب�ا �و���ش ��وَ�� ن� �ن�ا �َا��ن��اي��� ��ل�� �����ا �‬ ‫� �ع ٍر � � نر‬ ‫َ‬ ‫ن‬ ‫ٍ‬ ‫ع‬ ‫‪Poem 27, p. 112, in reply to a poem by Ibn Zirībān.‬‬ ‫‪KF 170, 39 vv.; IS 42, 39 vv.‬‬ ‫‪Rabii 104, 40 vv.; Yahya 651, 41 vv.‬‬

‫َ‬ ‫ن‬ ‫�َ‬ ‫ن ْ َ � نَ‬ ‫ا ��سس�ا � �م�ا ن�ب�ا ن��ى ا �ل‬ ‫ح ����ب�ا � او �ن�ْ�يَب�ل�� �ل�يى �‬ ‫�‬ ‫�‬ ‫�‬ ‫ف‬ ‫�‬ ‫�‬ ‫ش‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫و‬ ‫ر‬ ‫�‬ ‫َ‬ ‫ن ن‬ ‫ٍ ى‬

‫��ا ����نَ� ّ‬ ‫ن �يى‬

‫َ � �ْ ي‬ ‫���طي �لٍ�‬

‫�‬ ‫�ل�����ا �ن�ب�ه‬ ‫َ‬

‫‪Poem 28, p. 118‬‬ ‫‪IS 65, 21 vv.‬‬

‫ّ يَ ْ‬ ‫�‬ ‫�ي�ا ن�‬ ‫ل‬ ‫س‬ ‫�بفر �بين�يى‬

‫‪Dawud 172, 26 vv.; Rabii ms p. 140 16 vv.; Yahya 659, 25 vv.‬‬

‫�َ ّ ي ا �� �يَ �� � ا ن ه نَ �� ْ �ن‬ ‫�‬ ‫�‬ ‫ن�بفره ل ��و � �ب� َ�ي�ب� ���فر ٍ‬

‫ْ‬ ‫�َم������ا �و�ْ�بَي��ه �ي�ب َ�د ه ن�َ�ي�ل�َ��ن��ا �ن�ب�ه‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫‪Poem 29, p. 122‬‬

‫‪KF 192, 27 vv.; IS 69, 27 vv.‬‬ ‫‪Dawud 175, 16 vv.; Rabii 118, 28 vv.; Yahya 649, 29 vv.‬‬

‫َ َ َّ‬ ‫نْ‬ ‫َْ‬ ‫ا ن ا ��� نْ � ا ن ا ا �ي �� ا �� ُ ن‬ ‫�‬ ‫�َ�س�� ��و��� �َو��� َ�ي�لَ�مي�ك َن��م ���سيَسي�ك ي�رد ��ي ي� ��ب� د ن َ��� َ�د ك ي ��و�م �� �مول �ن� ل� �‬ ‫هو�‬ ‫نَ ّ‬ ‫ا � ا � ن � نَ ّ ن َ ّ ن َ ّ‬ ‫ّ‬ ‫��ي� �لوه �‬ ‫�ي� ���ط� � نل����ي� ا ����� �‬ ‫��ي� �لوه �ي ��و�م ا �ن�ب�ه‬ ‫��ي� �لوه �‬ ‫يى‬

‫‪Poem 30, p. 126‬‬

‫ُ‬ ‫َ‬ ‫�لا َي�لن �� �ون�ب�ه‬ ‫���َ�ف�ن�‬ ‫َ‬ ‫ج‬

‫‪Poem 31, p. 128‬‬ ‫‪IS 193, 6 vv.‬‬

‫ا ّٰللهلا � ْ�����شي‬ ‫�‬ ‫�‬ ‫َي يى‬

‫‪Dawud 174, 6 vv.; Rabii 143, 6 vv.‬‬

‫� �‬ ‫�َلي�ب�ا �ٍل‬

‫� �َ‬ ‫����ف�م ن �ن‬ ‫�ْ�يَ�ل�� د �ي �� �ون�ب�ه‬ ‫��ن� ا �ي�ا �م را ع�ى ا �ل‬ ‫����َبن�ش���ا ���� ي �‬ ‫ي‬ ‫َ‬ ‫َ‬ ‫�‬ ‫� َ‬ ‫‪Poem 32, p. 130‬‬

‫‪KF 184, 23 vv.; IS 102, 23 vv.‬‬ ‫‪Rabii 113, 23 vv.; Yahya 660, 23 vv.‬‬

‫‪282‬‬

‫‪282‬‬

‫‪Index of Poems, Editions, and Manuscripts Used for this Edition‬‬

‫َ ّ يَ ْ َ ّ َْ‬ ‫��‬ ‫اي‬ ‫ي�ل ي‬ ‫�‬ ‫�‬ ‫�‬ ‫�ي� ��بي�ل �� ن�سيى ��بي�ل ر ن ٍ‬

‫��ل ���� ف ْ�� � نَ �َ �ي ا ��ل ا �� � َ � ن� ا ���� ن‬ ‫�‬ ‫م�نَس�ه‬ ‫ش‬ ‫�‬ ‫َ َ�ر �‬ ‫�سوج د �وٍد �بي�ل�ى � �ى �َد ن���� �ب� ط ي‬ ‫‪Poem 33, p. 134‬‬

‫‪KF 213, 16 vv.; IS 99, 16 vv.‬‬ ‫‪Dawud 171, 12 vv.; Rabii 139, 18 vv.; Yahya 648, 17 vv.‬‬

‫ا يَ ّ يَ �ْ يَ ّ َ ْ‬ ‫�َ‬ ‫���� ن‬ ‫���بفّ ا �ي� �م� دَ ����ا‬ ‫�‬ ‫�‬ ‫ل‬ ‫ك‬ ‫�ي� ��بي�ل �بيلن�سيى ��بي�ل ر‬ ‫� ر‬ ‫ي�‬ ‫نٍ‬ ‫ن ٍ‬ ‫ع‬

‫�َ ا� ا ن‬ ‫ش�نَس�ه‬ ‫���فر�و‬ ‫��� �ي�ل� ي‬ ‫‪Poem 34, p. 138‬‬

‫‪Rabii 141, 11 vv.; Yahya 658, 8 vv.‬‬

‫��ا � ن‬ ‫ي ي‬ ‫ع���سيى‬

‫َ نَّ َ ْ‬ ‫� �َ‬ ‫َ‬ ‫� ا ��ُ ن � َ ْ َ َّ ي‬ ‫ا �ي�ل� �ن�ا �ل�ه�و�ى ����د �ن��ي�ن�سى ي�لن�ْ ل��‬ ‫�ى �و �‬ ‫�سو�� ا ���د ��بش� �ر��‬ ‫يى‬ ‫ي‬ ‫ي‬ ‫ع‬

‫َ‬ ‫حن��ب�ا‬ ‫�و ن� �‬

‫‪Poem 35, p. 140‬‬

‫‪KF 196, 11 vv.; IS 50, 11 vv.‬‬ ‫‪Dawud 174 8 vv.; Rabii 120, 13 vv.; Sikkit 154, 13 vv.; Yahya 659, 12 vv.‬‬

‫َ ْ � ي �ُ‬ ‫�‬ ‫ن‬ ‫�ا‬ ‫��ا ا ّٰلله ��ا � �ا ��ل نَ� �ن‬ ‫��ي���ا ي� ا �ل�����فرا ر �ي�ا ����اَ�ل�م ��ب�ا �يل���طفَر�� ا�ا �‬ ‫موَد ����ا َ�‬ ‫ي �� َ�م َ‬ ‫ي‬ ‫ٍ‬ ‫‪Poem 36, p. 142‬‬

‫‪KF 200, 29 vv.; IS 93, 29 vv.‬‬ ‫‪Assaf 168, 19 vv.; 187 29 vv.; Dawud 176, 14 vv.; Rabii 124, 29 vv.; Sikkit 155, 29‬‬ ‫‪vv.; Yahya 640, 27 vv.‬‬

‫َ‬ ‫َ َ ّ‬ ‫َ� ّ‬ ‫�َ‬ ‫ْي‬ ‫�َ�� ّ�د ��ْ ي� ��بفْ �ي��ا‬ ‫هو�ى �ي ��و�م ��ب�د ا ه‬ ‫�و�َم �َ�بفر�ب�ا ن� ����ل�� ن� ا �ل� �‬ ‫� �ن��فرا ���ب�ه رن��‬ ‫ي‬ ‫ر‬ ‫َ‬ ‫نٍ‬ ‫‪Poem 37, p. 146‬‬

‫‪KF 210, 19 vv.; IS 128, 19 vv.‬‬ ‫‪Dawud 176, 14 vv.; Rabii 137, 19 vv.; Yahya 658, 17 vv.‬‬

‫� ن ّ � ن �يَ �ْ ه �� �َ� فْ ن � � ا � ه ل��‬ ‫�ب�ا ��ل ا ��لَ�ن�َ�ي� �م ن �ن�ْب ن�د ا ��ب�ا‬ ‫���ب�ا‬ ‫�‬ ‫���سيى م� �يل ن�َ�� َد ��وهٍ �و ��م��وج �ب� �� َ‬ ‫ن‬ ‫ل �‬ ‫‪Poem 38, p. 150‬‬

‫‪KF 209, 16 vv.; IS 77, 16 vv.‬‬ ‫‪Rabii 136, 17 vv.; Yahya 653, 17 vv.‬‬

‫‪283‬‬

‫‪283‬‬

Index of Poems, Editions, and Manuscripts Used for this Edition

ْ َ � ‫�ن ا ي ُ ن َ ن‬ � َّ � ‫ن‬ �‫ي� ا �ل ����َم����ط�ي�ره ل�ى ��س� ��ب�هٍ �ي ��و‬ �‫�َ �ون���هي ���َطش‬ � �‫�ب�د َ���ف�م‬ ‫���ا �ع ����ب�ا �وه‬ � � � � ‫َ ي‬ َ

Poem 39, p. 154

‫ا َنَّ ي‬ ‫�ي� �و� �سيى‬

KF 182, 18 vv.; IS 56, 18 vv. Rabii 112, 18 vv.; Yahya 643, 19 vv.

ْ َ ‫ا ن ا ي ن َ��ْ ي‬ َ َ� ْ� �َ‫َ يَّ َ ن ن‬ ‫َ ���ا‬ ‫ه �ن� ا �ل‬ ‫ح ����ب�ا �م ن� ��� ن��ا �يَ�ب�ه‬ ‫ل‬ ‫ح����ف�م ا �ن� �� � َد ��ر� ��بي� � �و‬ ���‫�ي ��و�م ا �َرك�� ��ي ن� ����ش�ن‬ Poem 40, p. 158

KF 186, 19 vv.; IS 171, 19 vv. Dawud 177, 11 vv.; Rabii 114, 19 vv.; Yahya 642, 17 vv.

ْ‫� ن‬ َْ �� ْ ّ � �‫�� �م�ا َد �ْم ي� ا �ن�ا ��ب�ا ن‬ �َ ���‫�ود � او �� نل�ب�شن‬ ‫حي�َّب�ه‬ � �َ �‫َ��مم�ا َي�لن�َ�� ��� ا �ر�و‬ ‫�م‬ � � ‫ي‬ � ‫� ج‬

Poem 41, p. 162

KF 207, 16 vv.; IS 141, 16 vv. Dawud 178, 12 vv.; Rabii 128, 16 vv.; Yahya 651, 17 vv.

284

284

ّ‫ا َ ن‬ ��� �‫�ي‬

Index

al-ʿAbbās ibn al-Aḥnaf, xxviii, 187n20 Abbasid, xxvi–xxviii, xlii n29

ʿAlqamah al-Faḥl, xlii n31, xlvi n57, xlvi n61, 184n9, 184n11, 185n14

ʿAbd-al-ʿAzīz ibn Saʿūd, xxvi, 225n292

amatory prologue. See nasīb

Abū Dhuʾayb al-Hudhalī, xli n25, xlii n29,

ambition, §11.5, §15.5, §38.1, §40.15,

l n80, 192n57, 196n80, 222n271,

204n122, 247n442, 256n512; aspiration,

240n404, 241n410

xii, xxviii

Abū Mitʿib. See Ibn Rashīd, ʿAbd al-ʿAzīz ibn Mitʿib

ʿAmr ibn Kulthūm, xlix n74, 189n36, 191n47, 199n89, 201n102, 226n295, 238n393

Abū Nuwās, 222n269, 237n385

ancestors, xii, §27.2.35, 245n439

Abū Ṣakhr al-Hudhalī, xlix n74, l n81,

angel, §19.15, §36.10, 241n409; guardian

204n123, 229n330

angel, §36.10, 241n409

Abū Tammām, 190n41, 195n75, 221n262, 227n308, 232n355, 239n397

animals, xvii, xxvii, xlvi n61, §2.1, §2.20, §3.5, §3.15, §§5.15–60, §14.1.5, §16.2.5,

Abū Zēd, §42.9.1, 251n478

§22.1, §23.20, §24.10, §§27.2.1–5,

Abū Zwayyid, Khalaf, 191n49, 198n89,

§§32.15–20, §37.10, §43.2.5, 185n11,

240n405

185n12, 185n13, 186n17, 187n26, 190n41,

advice, xxix, xxxi, xliii n32, xlv n48, §4.15,

191n50, 193n60, 200n94, 201n102,

§§9.5–15, §§11.1–15, §§14.2.45–55,

205n128, 207n139, 208n147, 209n164,

§§21.1–15, §22.10, §23.40, §36.10, 183n3,

215n212, 215n218, 219n246, 223n276,

202n105, 213n195, 213n199, 221n258,

224n283, 228n317, 229n322, 229n328,

236n377, 236n379, 244n432, 246n441.

233n359, 233n360, 234n368, 234n369,

See also proverbs

235n372, 238n397, 247n446, 252n488,

agriculture, xiii, xv, 184n9, 233n359,

256n512; bull, §17.2.1; cat, xxii; cow,

240n405; crops, xiii, §30.1, 215n212;

§27.1.5, §46.1.1, 216n225, 234n368,

farmer/peasant, xli, 204n118, 204n123,

255n512; dabb lizard, §45.2.1, 254n508;

224n282, 234n365, 235n373, 252n488.

dog, xxv, xlv n42, §38.15, §39.15, §44.5,

See also irrigation

§46.2.1, 221n260, 255n510; donkey,

al-Aḥsāʾ, 188n36

§3.10, §42.5.1; fox, §3.20; goat, xi, §5.20,

al-Akhṭal, 190n41, 221n262, 239n397

193n60, 212n191, 234n365, 234n369,

Āl ʿUwaywīd (al-ʿWēwīd). See Ibn ʿWēwīd

235n371, 244n424; hyena, §3.20; jackal,

alms, §39.5, 248n459

§3.20; lion, §27.2.35; oryx, 234n368;

285

285

Index animals (cont.), ostrich, §12.10, §14.2.10,

Bashāmah ibn ʿAmr, 183n6, 210n174,

§17.2.5, §22.1, §27.1.10, 218n243; ox, xxv,

222n269

§38.15; wolf, xliii n32, §2.5, §3.15, §4.10,

Basra, 212n187

§5.45, §7.5, §32.15, 200n94. See also

battle, xvii, xxxviii n7, §§3.20–25, §13.10,

birds, camel, gazelle, horse, lamb, sheep

§14.2.20–25, §16.2.5, §18.5, §23.25,

ʿAntarah, 227n308

§26.15, §27.1.5, §37.15, §39.1, §44.1,

apology, §19.5, 222n268

191n45, 191n46, 191n47, 204n116,

arms, armed, §§5.30–35, §5.45, §18.15,

211n179, 226n300, 228n317, 229n325,

§23.30, §24.5, §24.15, §37.15, 188n36,

230n334, 230n336, 236n379, 244n427,

213n195, 224n285, 256n512; ammunition,

248n453, 254n504; battle cry, §2.20,

§14.2.30, §37.15, 200n95; coat of mail,

§5.5, §13.10, §44.1, 194n64, 213n195,

§1.5, 183n6; firearm, §14.2.30, 211n184;

215n218, 229n325, 233n359, 243n417,

gun, §§5.10–15, §5.30, §22.25, §33.1,

253n500. See also arms, horsemen, war,

236n383, 243n417, 251n480; Indian

warrior

blade, 209n162; lance, §3.20, §13.5,

Bauer, Thomas, xliv n40, xlviii n63,

§27.1.5, §27.1.15, §29.20, §44.1, 201n101;

xlviii n66, 192n53, 194n67, 195n74,

rifle, §14.1.15, §23.25, §37.15, 209n158,

195n75, 197n82, 198n89, 199nn91,

211n184, 236n383; sword, §14.1.20,

205n126, 206n133, 222n269, 237n385,

§14.2.50, §34.5, §36.20, §44.1, 183n6, 209n162, 242n415, 282

240n401, 255n509 beauty, xi, xiv, xix, xxii–xxiv, xxviii, xxix,

arrogance, §15.10, §25.1, §39.5, 190n43,

xliii n33, xlvii n62, §§7.5–20, §9.5, §13.5,

219n249, 244n429. See also pride

§14.1.10, §14.2.15, §16.2.10, §17.1.1, §18.10,

al-Aʿshā, lxvi n57

§§19.10–20, §22.10–20, §27.1.15, §28.5,

asylum. See refuge

§29.5, §§33.5–10, §34.1–10, §§36.15–25,

al-Athlah, xii, xv, xxxiii, xxxiv, xxxvii n1,

§44.5, §39.10, §40.5, §44.5, §45.1.1,

xxxix n14, §45.1.1, 235n370, 253n499,

191n47, 195n73, 195n75, 198n89, 199n91,

253n504

202n105, 203n109, 206n134, 214n209,

autumn, §32.10, 188n35, 210n173

226n298, 227n312, 230n335, 230n339, 235n370, 240n401, 244n430, 245n438,

baby, §7.5, §35.5; infant, §19.1, 217n228; toddler, §8.5, §26.5, 200n96, 217n228. See also child, weaning

246n441, 254n507. See also beloved Bedouin, xi–xxix passim, xxxiv–xxxv, xxxvii n1, xxxviii n4, xxxix n8, xl n22,

Baghdad, xxvii, 212n187

xli n24, xli n25, xli n26, xlii n29, xlii n30,

Bāhilah (pl. Bawāhil) tribe, xii, xv

xliii n32, xliv n38, xlvi n58, xlix n75,

Bahrain, §14.2.40

§§2.1–20, §14.1.15, §§14.2.1–5, §§23.35–

banner. See flag

45, §§24.1–10, §§26.1–15, §§27.2.25–40,

Banu Hilāl, 230n335

§§32.1–20, §33.10, §37.10, §39.1,

286

286

Index Bedouin (cont.), §§43.1.1–5, 183n6, 184n11, 185n12, 185n14, 186n16, 186n17, 187n22, 188n29, 188n31, 189n37, 189n38, 189n41,

beloved (cont.), 240n404, 241n408, 242n413, 245n438, 246n441, 247n445, 248n452. See also beauty

191n47, 192n53, 196n77, 196n80, 198n89,

bestiary. See animals, birds

199n90, 202n105, 203n108, 203n109,

bewitch, xlvii n62, §36.5, §41.5, 237n385. See

204n119, 204n120, 205n128, 209n159, 211n175, 212n190, 212n191, 212n194,

also spell birds, xix, §2.20, §5.35, §10.15, §19.15,

215n212, 216n224, 218n242, 221n259,

202n105, 203n111, 204n116, 204n122;

221n260, 223n275, 223n276, 223n278,

birds of prey, 190n42, 256n513; bustard,

224n282, 225n287, 227n308, 228n317,

§10.15, §19.15, §204n116; crane, §42.3.1;

228n321, 229n328, 229n329, 229n330,

dove, xliii n32, 194n70, 196n80, 207n143;

233n359, 234n364, 234n365, 234n368,

duck, §42.3.1; falcon, xxiv, §3.15, §8.5,

235n370, 235n371, 235n373, 235n374,

§10.15, §19.15, §29.15, §36.25, §37.5,

236n380, 239n397, 240n404, 241n406,

§44.1, 190n42, 200n99, 204n116,

241n408, 242n417, 244n427, 245n435,

246n441, 248n457, 253n498; kite, xxxvii,

250n472, 251n484, 252n489, 252n491,

190n42; pigeon, xxx, §7.5, §19.15, §29.5,

254n507, 255n510, 255n512

198n87, 291n225; raven, xxxvii; vulture,

beetle, 205n127, 244n422

§3.20, §25.5, §27.2.35. See also animals

beloved, xiv, xviii–xxviii passim, xxx–xxxi,

black, xi, xxii, xliii n32, xlv n42, §5.20,

xlii n29, xliii n33, xliii n34, xlv n43,

§13.30, §17.1.1, §19.10, §24.10, §26.15,

xlv n45, xlvii n61, xlviii n64, xlviii n65,

§27.1.20, §32.5, §34.1, §43.2.5, 219n247;

xlix n73, §§6.5–10, §§14.1.10–20,

to blacken face, 209n160

§§14.2.45–50, §§16.1.1–5, §§16.2.5–10, §§18.1–20, §§19.1–20, §§22.10–25, §§28.1–20, §§29.1–25, §§33.5–20,

blacksmith (ṣāniʿ ), §45.2.1, 253n496, 254n507 blame, xlvi n59, §4.15, §8.15, §13.1, §26.10,

§§34.1–10, §§35.1–10, §§36.1–25, §§38.5–

201n102, 206n130, 233n359, 238n397;

10, §§39.1–10, §§40.1–5, §§41.1–15,

censure, xxii, xxiii, xxxi, xxxix n16,

§§42.3.1–5, §45.1.1, 184n9, 184n10,

192n58, 197n82, 200n101, 232n353,

185n12, 187n19, 187n20, 189n36, 189n37,

232n357

192n52, 192n53, 194n68, 194n71, 195n72,

boast, xvi, xxiii, xxiv, §20.10, §24.20, §38.10,

195n73, 196n79, 196n80, 197n82, 199n89,

190n44, 221n262, 238n393, 241n408,

199n91, 200n95, 201n104, 202n107,

246n441, 252n488, 255n510

203n108, 203n109, 203n112, 204n116,

body, xx, xxxii, §§7.5–20, §11.1, §13.1, §19.5,

205n123, 205n126, 212n192, 215n218,

§36.20, §39.5, 198n89, 201n101. See also

216n223, 216n224, 217n225, 225n293,

beauty, bones, breasts, buttocks, liver

226n295, 227n303, 229n328, 230n338, 230n339, 237n385, 238n395, 240n401,

287

287

Index bones, §7.1, §14.2.20, §36.15, §39.15, §42.1.1,

camel (cont.), §29.10, §29.25, §30.1,

§46.2.1, 210n168, 221n260, 245n433,

§§32.1–5, §§33.1–5, §34.1, §37.15, §39.10,

249n467, 256n513

§40.1, §42.1.1, §42.7.1, §§43.1.1–5,

book, xxxix n16, xlvii n62, l n83, 233n359

§43.2.5, §44.1, §§45.2.1–5, 185n11,

branding, xxii, §§5.20–25, §6.10, §13.40,

185n12, 185n14, 185n16, 186n17, 186n18,

§16.1.5, §32.20, §33.5, 184n11, 195n77,

187n19, 188n29, 188n36, 189n40, 190n41,

229n328, 237n384

191n45, 192n54, 193n59, 196n80, 197n82,

breasts, xix, xx, xliii n34, §6.5, §7.20, §19.15, §26.10, §34.5, 191n47, 198n89, 229n325

207n139, 208n152, 208n153, 208n156, 209n165, 210n166, 210n169, 210n170,

breeze. See wind

210n174, 211n179, 214n207, 214n208,

bucket, xix, xxv, xlii n31, xliii n32, xlvii n61,

215n212, 215n213, 215n218, 217n237,

xlviii n71, §§2.15–20, §14.2.35, §23.50,

218n242, 218n244, 219n246, 219n248,

187n25, 188n28, 188n30, 207n139,

220n254, 221n258, 221n259, 223n276,

213n202, 219n245, 233n360, 238n397

223n277, 223n279, 224n282, 225n287,

building, §2.1, §15.5, §17.2.10, 211n177, 225n291

225n293, 226n294, 227n304, 227n306, 227n307, 227n308, 228n315, 228n316,

al-Buḥturī, xlii n29

228n317, 228n322, 229n328, 233n359,

Burckhardt, John Lewis, xvii, xliv n38,

233n360, 234n368, 235n371, 236n381,

185n13, 185n14, 229n328, 234n365,

236n383, 237n384, 238n397, 240n405,

236n377, 241n408

242n413, 242n417, 243n418, 245n434,

butter, §5.30, §5.50, §32.1, 224n282,

250n471, 250n472, 252n488, 252n494,

234n365

253n504, 254n507, 256n512; camel train,

buttocks, xix, xliii n33, xliii n34, xlvii n62,

xxxi, §2.5, §22.25, §26.1, §27.1.5, §32.1,

§7.10, §19.15, §20.1, §22.15, §34.10,

§40.1, 185n11, 187n19, 189n36, 225n293,

§36.15, 198n89, 226n295, 242n413

226n294, 242n413, 245n434; she-camel, xix, xxv, xxix, xliii n32, §2.15, §5.1, §5.1,

Cairo, §18.15, 216n224

§13.20, §14.2.1, §§16.1.1–5, §27.2.25,

camel, xix, xxiv–xxv, xxix–xxxi, xxxvii n1,

§27.2.30, §32.5, §45.2.1, 187n26, 190n41,

xxxviii n3, xli n26, xliii n32, xlvi n61,

190n43, 191n49, 199n89, 201n102,

xlviii n71, xlix n74, xlix n77, §§2.1–5,

201n104, 207n135, 208n150, 211n175,

§§2.15–20, §§3.5–25, §4.5, §5.55, §7.15,

212n192, 216n225, 226n296, 227n308,

§8.15, §11.1, §§13.10–20, §§14.1.1–5,

229n328, 240n400, 244n431, 250n471

§14.1.15, §§14.2.1–40 passim, §16.2.5,

camp, xi, xviii, xix, xxiv, xxix, xlvii n62, §2.5,

§§17.2.1–5, §18.1, §21.15, §§22.1–30

§§3.1–5, §14.2.20, §23.20, §§24.1–10,

passim, §23.5, §§23.20–25, §§23.45–50,

§26.1, §27.2.5, §§32.10–15, §§37.1–10,

§§24.5–10, §§24.20–25, §26.1, §26.10–

§44.5, 184n10, 185n12, 186n17, 187n19,

15, §§27.1.5–25, §§27.2.1–5, §§27.2.25–35,

196n80, 208n156, 212n190, 223n279

288

288

Index camp (cont.), 228n322, 235n374, 244n424, 245n437, 253n504

communication, xxviii, 183n4; message, xxi, §5.5, §13.5, §13.25, §23.55, §44.1, 183n3,

Canopus (Shēl, CA Suhayl). See star

208n156, 215n212; messenger, §5.1,

caravan, §3.5, §16.1.1, §23.5, §26.1, §27.1.5,

§10.5, §14.2.45, §21.20, §22.25, §27.2.30,

§27.1.20, §32.5, 188n36, 246n441

194n66, 215n212, 228n315, 228n317,

carpenter, xxiv, xxix, §12.5, §29.1, §39.5, 244n428

229n327; news, §4.1, §13.35, §19.5, §20.5, §23.10, §27.1.20, §27.2.20, §27.2.30,

castle. See fortress

§28.10, §42.1.5, §43.1.1, §44.1, 223n281,

cavalry. See horsemen

230n333, 248n455; telegraph, §14.2.35,

censure. See blame

§23.10, 212n187, 220n252; tidings, §3.5,

character, xlvii n62, §17.2.5, §42.6.5; stock

192n50, 230n333. See also letter

character, xxii, xl n20, 229n326. See also

community, xvi, xxxix n16, 247n448

good sense, kindness, morality

company, §9.10, §11.10, §27.2.30, 191n47,

child, xlvii n62, xlix n74, li n86, §2.1, §7.1,

250n472, 251n484, 254n507

§8.5, §27.2.20, §29.5, 188n36, 201n101,

conceit, xxvii, xxix, §39.5, 190n43

201n102, 216n225, 221n259, 221n263,

contentment, §9.1, 207n144, 243n419

231n349, 243n418, 247n450; offspring,

conversation, xxii, §12.10, §24.5, 205n106,

248n459. See also baby

223n276, 228n319, 230n339; chat, xi,

Christian, §14.2.30, 203n108, 211n184

xlv n42, §26.1; chatter, §35.5, §36.20,

clothes, §10.10, 244n430

§41.5, §43.2.1. See also speech

clouds: dust clouds, §2.1, 185n12; rain

cooking, §14.1.20, §14.2.45, §23.50, §33.15,

clouds, xi, §§7.10–15, §16.1.1, §16.2.1,

§36.15, 198n88, 209n161, 212n191,

§18.10, §19.10, §20.1, §23.55, §24.15,

248n460, 254n504; cooking stones,

§26.1, §32.5, §37.5, §39.10, §42.13.1,

§14.1.20, §14.2.45

199n89, 226n294, 252n485. See also

counsel. See advice

lightning, rain, storm, thunder

courage. See virtue

coffee, xv, xxvi, §7.20, §14.2.15, §15.1, §16.1.1,

craftsman, §29.1. See also blacksmith

§§27.2.10–20, §42.1.5, §42.6.1, §42.8.1,

creed. See religion

§42.9.1, §43.1.5, 214n203, 214n204,

crying, xxxvii, xliii n32, xlvii n61, §7.1, §8.10,

214n205, 217n227, 222n269, 229n323,

§12.15, §16.2.5, §19.1, §20.1, §29.25, §33.5,

229n324, 251n476; coffee ceremony,

§35.1, §38.1, §40.10, 187n24, 196n79,

§15.1, 214n204, 222n269; coffee rooms,

217n228, 237n388, 239n397

§7.20, §27.2.10; pleasure of, xxvi, §15.1, 214n203; preparation of, xv, §14.2.15, §15.1, §§27.2.15–20, §42.8.1, 229n323 colocynth. See plants

culture, xi, xiv, xvi, xvii, xxvii, xxxiv, xli n24, l n82, 216n219, 239n397, 253n503 cure, xxii, xlv n45, §4.10, §6.5, §14.2.55, §15.5, §25.1, §27.1.1, 194n71, 202n105, 205n123; doctor, §4.10, §§6.5–10, §40.10;

289

289

Index cure (cont.), medicine, §19.1, §27.1.1,

desert, xii, xiv, xvii, xxvi–xxvii, xxx, xxxiii,

§40.10, 184n11; remedy, §9.1, 195n71,

xxxv, xli n25, xlvii n62, xlix n74, xlix n77,

217n230; treatment, 184n11, 195n73. See

§3.20, §8.15, §14.1.10, §14.2.1, §18.5,

also disease

§22.10, §23.5, §23.45, §§27.1.5–15,

curse, xviii, §30.1, 200n101

§§27.2.1–5, §31.5, §32.15, §36.15, 185n14, 186n16, 187n19, 187n27, 192n51, 196n80,

al-Dahnāʾ, xxxiii

204n120, 207n139, 208n150, 208n154,

dance, §42.2.1, 229n328, 239n397, 249n462

209n156, 215n214, 219n246, 223n278,

dates, xiii, §5.55, §14.2.15, §27.2.5, §32.10,

224n282, 224n283, 225n293, 229n323,

183n2, 184n9, 188n36, 215n212, 219n247,

230n336, 231n343, 234n364, 235n374,

224n282, 235n374, 236n376, 239n397;

239n397, 240n408; (waterless) wastes,

date harvest, §14.2.15, §32.10, 184n9,

xxx, §2.1, §7.5, §14.1.5, §14.2.10, §17.2.5,

235n374, 236n376, 239n397; date palms, xiii, 183n2, 215n212, 219n247

§18.1 despot. See rule

David, 1.5, 183n6, 184n7

devil, §14.2.45, §21.5, §21.20, §23.20,

al-Dawādimī, xiv, xxxiii, 253n496, 253n497, 253n499, 254n504

§25.5, §40.10, §43.2.1, §45.2.1, 212n189, 223n278. See also demon

death, xvii, xxiii, xxv, xxxviii, xliv n35,

Dh ʿār ibn Mishārī. See Ibn Rbēʿān

xlix n77, §5.10, §6.5, §12.10, §14.1.20,

Dhū l-Rummah, xliii n34, xlvi n58

§16.2.5, §§19.10–20, §22.5, §23.40,

al-Dindān, ʿAbdallah, xvi–xvii, xl n23,

§27.1.1, §27.1.20, §28.10, §33.10, §34.5,

l n79, 190n42, 191n45, 198n89, 202n105,

191n47, 192n58, 201n101, 202n105,

204n119, 243n420, 256n512

203n108, 203n110, 204n115, 205n128,

disaster, §19.5. See also ruin

207n134, 212n189, 213n196, 217n228,

disease, xxix, 199n91, 203n110, 208n147,

217n230, 220n251, 222n269, 231n341,

245n433, 247n446; bone disease,

246n441, 252n486. See also grave

§39.15, 245n433; consumption, §39.15;

debt, §14.2.50, §30.1, 230n340, 232n358,

eye disease, §39.15; illness, §45.1.1,

233n359, 234n364; credit, 224n282;

§45.2.1, 203n110; love as illness,

usurer, §11.15

xliii n32, xlix n75, §4.10, §§6.1–5, §9.10,

deceit, §§11.10–15, §35.5, §42.2.1, 240n401;

§27.1.20, §34.10, §40.10, §41.1, 194n70,

lies, §14.2.40, §42.7.1, 212n188, 212n189,

194n71, 202n105, 205n123, 217n230,

230n330; sneak, 237n388; treachery,

225n293, 226n297, 247n442, 247n445,

§1.10, §§5.15–60, §23.35, §42.10.1; tricks,

247n446; paralysis, §39.15; sickness,

§11.1, 242n410

§22.25, 184n11, 195n73; scrofula, §39.15,

delirium, §40.15. See also drunk

245n433; syphilis, §39.15; typhoid,

delusion, §24.20

201n101; ulcer, 208n147, 245n433. See

demon, 8.20. See also devil

also cure

290

290

Index dishonor. See honor

enemy (cont.), 251n480, 252n488, 256n512.

disobedience, xlvii n62, 241n410

See also friend

dispute, xx, xxiii, 232n356, 238n397,

erotic, xiii, xxviii, xlii n31, §7.20, §§10.10–15,

241n408. See also judge, law

§33.15, 251n481. See also tryst

divorce, xliv n35, §23.30, 229n326

Euphrates, 199n91, 226n300

doctor. See cure

Euting, Julius, 220n257

Doomsday. See Judgment Day

evil, §42.6.5, 200n94

al-Dōsirī, ʿBēd ibn Hwēdī, xl n22, xliii n34,

ewe. See sheep

222n270, 238n396

eye, eyes, xlix n75, §4.1, §14.2.5, §18.15,

Doughty, Charles Montague, 187n27, 190n41, 223n278, 236n377

§23.5, §24.5, §27.1.10, §38.5, §39.15, §40.5, 200n95; the beloved’s eyes, xxii,

drought, xi, xviii, xlii n29, xlix n75, §24.1,

§7.15, §10.15, §13.20, §13.30, §17.1.1,

§37.5, 204n119, 222n270, 222n271. See

§18.5, §19.15, §27.1.20, §28.1, §33.5, §34.5,

also thirst, water

§36.25, §41.1, §44.5, 199n91, 204n116,

drunk, §25.5, §27.1.1, §40.15, 226n295, 227n303, 249n461

207n143, 237n385, 244n422; blearyeyed, §8.15, §46.1.1, 255n511; the poet-

dust, xxv, §2.1, §3.1, §5.20, §7.1, §13.5, §16.2.5, §23.25, §§44.1–5, 185n12, 188n34

lover’s eye(s), xxiii, xlii n28, xlvii n62, §2.10, §3.1, §7.10, §12.10, §13.35, §14.1.10, §16.2.10, §17.2.10, §19.1, §20.10, §22.10,

al-Duwīsh (pl. al-Dūshān), §14.2.50,

§26.10, §35.1, §36.5, §38.1, §42.3.5, §44.1,

212n194, 213n195

187n19, 196n79, 242n413

earth, §7.20, §27.2.15, §44.1, §45.2.5,

eyebrows, §17.1.1, §19.20, §20.5, §33.5,

234n368; dirt, §24.20, 238n393. See also

§34.5, 195n73, 215n211

mud eat, §5.30, §7.5, §27.2.35, §36.15, 201n102, 229n328, 249n460. See also food,

face, xxv, §11.10, §17.1.1, §20.5, §22.15, §33.10, 209n160, 255n510; face to face,

cooking

§20.5, §21.20, §36.1, 218n240

endurance. See patience

falcon. See birds

enemy, xvii, §§3.20–5, §5.10, §8.1, §11.15,

falsehood. See deceit, truth

§§13.5–10, §13.25, §14.2.5, §14.2.20,

family, xv, xxxv, xxxix n14, xxxix n15,

§14.2.50, §§20.10–15, §22.5, §§23.5–10,

xxxix n17, xl n22, xliv n35, xlv n42,

§23.25, §23.35, §24.15, §38.15, §43.1.1,

§7.1, §9.10, §29.5, 222n269, 225n290,

§§44.1–5, §45.2.1, 191n47, 191n49,

226n298, 246n441, 251n485, 255n510;

191n50, 200n94, 206n134, 207n136,

brother, xxvi, §14.1.15, §17.1.1, 184n9,

209n102, 219n246, 220n253, 221n262,

231n341, 250n472, 253n504, 255n510;

223n277, 223n281, 224n283, 225n287,

children. See baby, child, orphan;

236n383, 243n418, 244n427, 250n472,

father, xv, xxxix n14, xl n22, li n86, §7.1,

29١

291

Index family (cont.), father, §16.2.5, §23.45,

fire, xxxvii n1, §1.5, §13.1, §14.2.15, §15.5,

222n265, 239n397; father-in-law,

§24.20, §27.1.10, §27.2.15, §36.25, 183n4,

xxxvii n1; forefathers, xv; grandfather,

190n44, 211n180, 212n191, 218n242,

xv, xlii n26; husband. See marriage;

219n246, 222n273, 241n408, 254n507;

mother, xv, xlix n74, §5.15, §§5.40–45,

firelicking, xxviii–xxix, §36.10, 241n408;

§7.1, §8.5, §19.1, §23.25, §35.5, §38.5,

firewood, §42.8.1, 218n242

189n40, 201n102, 217n228, 238n396,

flag, banner, §44.5, 215n218; green flag (‘flag

239n397, 249n467; relative, xi, xxiii,

of praise’), 247n448; white flag, §14.1.15,

§14.2.45, §17.1.1, §21.10, §28.10, §39.1,

209n160

203n110; sister, xv, xxxix n14; uncle, xv,

flattery, xxxviii n8, 206n134, 208n154

xxxviii n8, xxxix n14, §21.20; wife. See

floods, §14.2.55, §20.1, 189n38, 196n79,

marriage

197n84

al-Faraj, Khālid, xxxviii n5, xlviii n67, 183n3, 191n48, 195n73, 208n147, 211n182, 218n242, 244n426, 246n441

flowers, §7.15, §22.15, §31.5, 199n90, 223n276, 231n343 flying, 190n42, 204n122

al-Farazdaq, xlvi n57, 254n507

food, §3.20, §§5.25–35, §13.1, §19.15,

farmer. See agriculture

§27.2.15, §45.2.1, 189n39, 189n40,

fasting, xliv n36, §25.1

190n41, 248n460, 255n510; butter,

fat. See food

§5.30, §5.50, §32.1, 224n282, 234n365;

fate, xii, xxv, xxx, xxxi, §1.5, §1.10, §4.5, §9.1,

dinner, §5.25; eating, §5.30, §7.5,

§18.1, §§21.1–5, §23.25, §26.10, §27.1.5,

§27.2.35, §36.15, 201n102, 228n322,

§33.5, §37.5, §40.10, 184n10, 195n74,

229n328, 249n460; fat, xlv n42, §5.20,

197n84, 200n101, 204n119, 219n246,

§7.10, §14.2.15, §23.45, §27.2.5, §27.2.15,

225n288, 249n460

§29.20, §30.1, §42.5.1, 198n88, 199n89,

fear, xxiv, xxv, xxvi, §1.10, §5.5, §17.2.5,

227n308, 228n321, 228n322, 247n450;

§21.20, §23.5, §27.2.5, §29.20, §39.5,

meat, xxiv, §3.10, §5.20, §5.30, §7.10,

§42.3.5, §43.1.1, 189n9, 191n47, 192n55,

§8.15, §14.2.15, §19.15, §23.45, §29.15,

212n194, 216n224, 218n243, 219n249,

201n102, 256n513; supper, §5.45,

221n265, 225n287, 226n300, 230n334,

§14.2.20, §29.20, §37.15, 213n202. See

238n397, 242n412, 244n427, 246n441,

also cooking, dates

255n510; of God, xx, xliv n36, xlvii n62,

fool, §4.10, §8.10, §9.5, §14.2.30, §14.2.50,

§6.5, §28.15, §29.25; terror, §1.1, §7.5,

§23.50, §24.20, 192n57, 200n100,

§22.20, §27.2.20, 207n136, 221n262,

213n197, 233n363, 249n468. See also

239n297

good sense, madness

292

292

Index forgetting, §9.10, §10.1, 191n47, 198n87,

God, xx, xxii, xxxvii n1, xliii n34, xliv n36,

202n105, 202n106, 206n134, 249n460;

xlv n44, xlvii n62, l n80, §§1.1–10, §2.1,

not/never forgetting, §4.1, §9.10, §13.30,

§2.20, §3.5, §4.10, §5.25, §5.45, §6.1,

§14.2.55, §29.10, 207n143. See also

§6.5, §7.1, §7.20, §8.10, §9.1, §9.5, §10.1,

memory

§10.10, §12.1, §13.1, §§13.35–40, §14.2.35,

fortress, 211n177

§14.2.40, §15.5, §17.1.1, §18.1, §18.15,

fortune, §10.10, §13.35, §21.1, §21.15, §29.5,

§20.1, §20.15, §§21.1–15, §22.25, §23.1,

§37.15, §40.1, 231n342; luck, xxxi, §29.5,

§23.5, §23.20, §23.30, §23.35, §§21.1–10,

§41.15, 218n237, 231n245; misfortune,

§27.1.25, §27.2.5, §27.2.30, §27.2.35,

§5.50, §19.5, §28.10, §28.20, 204n119

§28.15, §28.20, §§29.15–25, §31.1, §33.20,

fragrance, fragrant, §18.10, §22.15, 227n312;

§34.1, §34.10, §36.1, §36.5, §37.5, §38.10,

musk, §7.10, §18.10, §42.3.1; perfume,

§40.15, §41.1, §41.5, §42.1.1, §42.6.1,

250n474

§42.11.1, §42.13.1, 183n1, 183n4, 184n7,

friend, xiii, xvi, xviii, xxix, xxxix n18,

185n12, 186n16, 189n39, 197n82, 204n119,

xlix n73, §4.1, §8.10, §11.15, §14.1.15,

205n124, 205n129, 206n132, 209n160,

§14.2.45, §17.2.10, §20.10, §21.20, §24.15,

218n238, 241n406, 245n435, 253n504

§27.1.15, §27.2.25, §27.2.30, §32.10, §37.10, §37.15, §39.5, §39.15, 189n36,

gold, §23.1, §36.20, §36.25, §39.10. See also money, wealth

192n57, 200n95, 203n108, 209n161,

good sense, 192n57, 246n441. See also fool

212n188, 213n195, 217n233, 223n281,

gossip. See slander

224n282, 230n335, 230n339, 237n388,

grass cutter, §17.1.1, 214n210

245n434, 246n441, 250n472

grave, xlix n74, §8.15, §14.1.20, §27.1.25,

frivolous. See sin

§42.6.5, 201n102, 209n161, 239n397 gray (hair). See old

game. See hunt

green. See plants

games, xvi, xxi, xxv, xxvii, xxxi, xlv n47,

guard, xlvi n53, §13.25, §38.15, §39.15,

§14.1.20, §26.5, §31.1, §38.1, §38.10,

212n189, 223n279, 224n285; watchman,

216n221, 240n401, 249n467, 250n470

255n510

gazelle, xxxi, §7.15, §14.1.10, §16.2.5,

guest, xxxvii n1, xlviii n71, l n84, §7.10,

§§19.15–20, §27.1.5, §33.10, §36.15. See

§11.10, §14.2.15, §17.2.10, §19.20, §27.1.15,

also animals

§27.2.15, §29.20, §36.15, §42.1.5, §42.8.1,

genealogy. See lineage

204n120, 211n180, 213n202, 215n211,

generosity. See hospitality

228n320, 228n322, 232n355; visitor,

al-Ghāṭ, 226n298

xiii, xvi, xxix, §5.30, §§24.5–10, §33.10,

ghazal. See love poetry

228n317, 237n390, 239n397, 251n478

gift, §3.10, §§5.40–5, §23.1, §23.40, 254n504 girls. See women

guide, xlviii n67, §12.1, §23.35, §28.20, §40.1, §42.1.5; desert guide, §8.15

293

293

Index al-Ḥādirah, 216n221, 231n343, 242n411 Ḥāʾil, xii, xxvi, §23.1, §25.5, §27.1.25,

heart (cont), 240n401, 241n410, 242n413, 243n420, 245n435, 247n445, 247n446

219n249, 225n292, 227n313, 228n317,

heaven. See paradise

235n374, 252n486, 252n487

hell, §7.20, §13.20, 222n273

hand, xxix, §9.10, §10.1, §13.5, §13.30, §14.2.50, §17.1.1, §17.2.10, §18.5, §23.10,

Hess, J. J., 191n47, 197n80, 215n213, 218n242, 223n278, 224n286

§23.45, §27.1.25, §27.2.15, §27.2.20, §29.1,

High Najd. See Najd

§29.20, §36.15, §36.20, §36.25, §38.10,

hijāʾ. See invective

198n89, 204n123, 211n185, 219n249,

al-Hirbīd, ʿIdwān, 186n16

228n322, 240n405, 252n485

Ḥmēdān al-Shwēʿir. See al-Shwēʿir,

al-Ḥārith ibn Ḥillizah, 186n17, 187n24 harvest, xxiv, §3.10, §10.10, §14.2.15, §32.10, 184n9, 224n282, 233n359, 235n373, 235n374, 236n376, 239n397

Ḥmēdān Holes, Clive, l n82, 216n219, 217n227, 231n349 homeland. See land

al-Hazzānī, Miḥsin, xli n24, xlvi n59

honey, xx, §6.5, §7.20, §12.10, §28.1,

health, xxxi, §9.5, §13.1, §14.2.45, §21.5, §25.1, §36.20, 203n110, 231n343,

205n126 honor, xxi, §§5.35–40, §§5.55–60, §16.2.1,

243n420. See also disease

§28.10, §36.25, §§42.6.1–5, §45.2.1,

heart, xi, xvii–xxxii passim, xlii n28, xlii n29,

193n60, 193n64, 204n120, 229n322,

xliv n39, xlvii n62, xlix n75, §1.5, §2.1,

232n355, 246n441, 252n490, 254n507;

§§2.10–15, §§4.1–10, §§6.1–15, §§7.15–20,

decency, §22.15; dishonor, 246n441;

§§8.1–10, §9.15, §10.10, §12.10, §13.1,

esteem, §21.10, 206n134; prestige,

§§13.15–20, §§13.30–35, §§14.1.10–15,

254n504; (high) repute, §14.2.25,

§14.2.5, §14.2.30, §14.2.40, §14.2.55, §15.1,

§17.2.5; respect, xl n20, §30.5, 208n154,

§§16.2.5–10, §§18.1–5, §18.15, §§19.1–5, §20.10, §§22.1–5, §22.20, §23.5, §24.1,

231n245. See also reputation horse, §§3.15–20, §13.10, §18.10, §22.5,

§26.1, §26.10, §27.1.20, §28.5, §28.15,

§§24.10–15, §27.2.20, §27.2.35, §36.25,

§29.1, §29.10, §29.25, §32.1, §§32.15–20,

§37.20, §44.1, 186n17, 186n18, 188n36,

§§33.1–5, §§34.1–10, §§36.5–10, §§37.1–5,

190n41, 190n42, 190n43, 207n134,

§§38.1–10, §39.10, §40.10, §41.1–10,

207n135, 219n246, 223n280, 224n283,

§42.3.1, 184n11, 187n20, 187n21, 192n54,

228n317, 230n336, 242n415, 243n418,

192n58, 194n70, 194n71, 196n80, 197n82,

252n494; filly, §28.10, §35.1; mare, §24.5,

199n90, 200n101, 203n115, 204n123,

§24.15, 190n41, 223n277; racer, §3.10,

205n129, 206n133, 215n218, 218n245,

§14.1.5, §14.2.1, §27.2.1, §37.10, 242n415,

222n270, 222n271, 226n298, 227n311,

252n488; stallion, 215n214; steed, §3.15,

231n343, 232n353, 232n358, 233n362,

§13.10, §14.2.20, §24.15, §27.2.35, §32.20,

237n385, 239n397,239n399,

§36.25, §37.10

294

294

Index horsemen, §14.1.15, §14.2.25, §29.20, §44.5, 207n136; cavalry, §3.20, §13.10, §23.25,

Ibn J ʿēthin ( Juʿaythin), Ibrāhīm, xli n24, xliv n36 Ibn Juʿaythin, Ibrāhīm. See Ibn J ʿēthin

§24.15, 213n195 hospitality, §§3.5–15, §14.2.15, §16.1.1,

Ibn Junaydil, Saʿd, xxxiv, xxxvii n1,

§17.1.1, §21.20, §27.1.15, §§27.2.10–20,

xxxviii n3, xxxviii n5, xxxix n11, xxxix n14,

§29.20, §42.6.5, 204n120, 211n175,

xl n22, xliii n31, xliii n34, xlix n77, l n81,

213n202, 215n211, 222n268, 228n320,

184n11, 185n12, 185n13, 189n38, 197n82,

228n322, 229n323, 232n355, 236n376,

198n88, 201n101, 201n104, 212n186,

252n491

212n192, 215n218, 216n224, 219n245,

house, xi, xv, §9.1, §9.10, §14.2.15, §25.5,

220n249, 222n270, 224n282, 225n292,

§43.2.1, 187n22, 189n39, 193n60, 211n177,

226n294, 226n298, 229n328, 230n339,

225n291, 231n349, 255n510; household,

233n259, 234n367, 235n370, 235n373,

190n41, 212n190, 230n335

236n378, 236n379, 238n396, 239n397,

al-Htēmī, Mash ʿān, xl n22, 239n397

240n399, 240n400, 240n405, 241n406,

Huber, Charles, 220n257

246n440, 247n445, 250n470, 250n472

hunt, xxiv, xxix, xlvii n62, §7.15, §8.5, §13.10, §21.5, §23.1, §23.15, §27.1.10, §29.15, §§33.10–15, §39.15, §40.15, 190n42,

Ibn Khafājah, 199n91 Ibn Li ʿ būn, Mḥammad, xli n24, xlvi n59, 183n3, 236n376

218n243, 232n351, 246n441; ensnare,

Ibn al-Muṭawwaʿ, 240n400

xxiii, §21.5, §23.20, 196n80; game,

Ibn Qayyim al-Jawziyyah, 197n82

§13.10, §20.15, §23.15, §40.15, 218n243;

Ibn Ribī ʿah, ʿAbdallah, xlvi n59

prey, xxii, xlvii n62, §19.15, §27.1.5,

Ibn Rashīd, ʿAbd al-ʿAzīz ibn Mitʿib,

§37.15, §42.3.1, 190n42, 256n513, 196n80,

xxxviii n8, §43.2.1, §44.5, 225n292,

209n165; trap, §21.5, §23.15, §26.10

252n493, 253n504 Ibn Rashīd (dynasty), 227n313, 252n489

Ibn ʿAdwān, Nimr, xlvi n59, 203n108

Ibn Rashīd, Muḥammad, xii, xxvi,

Ibn ʿĀyiḍ, Khalīl (“Muṭawwaʿ al-Maskūf ”), xliv n35, 212n188

xxxviii n7, xxxviii n8, xlvi n53, §§23.1–55, 184n9, 204n116,204n117, 219n249,

Ibn Bassām, §25.1, 225n290

220n257, 221n258, 221n261, 225n288,

Ibn Dujaymā, 246n441

225n289, 225n290, 228n317, 252n486,

Ibn Ḥithlēn, Rākān, 218n241

252n487, 252n488, 252n493, 253n495,

Ibn Hwēdī, ʿBēd, xl n22, xliii n31, xliii n34,

254n504

197n82, 198n88, 201n101, 215n218, 216n224, 222n270, 238n396, 241n406,

Ibn Rbēʿān (Rubayʿān), Dh ʿār ibn Mishārī, 222n269 Ibn Rubayʿān. See Ibn Rbēʿān

247n445 Ibn Hwēdī, Ibrāhīm ibn ʿBēd, xl n22,

Ibn Sayyār, Jabr, xlv n43, 220n251

215n218

295

295

Index Ibn Sbayyil, ʿAbdallah, xi–xxxii, xxxiv–xxxv,

Ibn Zuhayr, Kaʿ b, 184n9, 255n509

xxxviii n5, xxxviii n7, xxxviii n8, xxxix n12,

ikhwān, xvi, xxxix, 212n194, 223n278

xxxix n17, xl n20, xl n22, xl n23, xli n24,

imam, xv–xvi, xix–xx, xxxiv, xliii n35, §7.20,

xli n25, xli n26, xlii n27, xlii n28, xlii n29, xliv n37, xliv n39, xlvi n53, xlvi n54, xlvi n57, xlvii n61, xlvii n62, xlviii n66, xlviii n67, xlviii n68, xlviii n69, xlix n77,

§26.5. See also Islam, mosque, prayers, religion Imruʾ al-Qays, 187n20, 190n41, 202n105, 219n247, 237n388, 243n420, 253n499

l n79, l n82, §14.1.1, §16.1.1, §17.1.1, §43.1.1,

inheritance, 187n27

183n1, 184n9, 185n12, 185n13, 187n22,

injustice, §6.10, §41.10, 197n82, 205n129.

189n38, 192n52, 192n53, 193n59, 193n60,

See also justice

194n66, 195n76, 196n77, 197n82, 198n89,

insanity. See madness

199n90, 203n109, 204n117, 205n126,

insomnia. See sleep

208n148, 208n150, 208n151, 208n152,

intelligence, §28.1, 220n251, 230n339,

208n153, 208n154, 208n156, 209n158,

243n419

209n163, 211n174, 211n184, 212n188,

intoxication. See drunk

212n193, 214n208, 215n212, 216n219,

invective poetry (hijāʾ ), xix, xxvi, xxxviii n8,

219n249, 220n251, 220n252, 221n258,

§§42.1.1–46.2.1, 193n60, 239n397,

221n260, 224n282, 225n289, 226n300,

254n507

227n301, 230n333, 233n359, 233n362,

Iraq, xlvi n58, 225n292, 231n343

234n364, 238n393, 238n396, 239n397,

iron, xx, xxii, §1.5, §5.20, §§6.5–10, §36.10,

240n404, 243n420, 245n439, 246n441,

183n6, 184n11, 191n45, 241n408. See also

249n468, 250n474, 251n478, 251n482,

branding

251n484, 252n485, 252n491, 252n493, 253n504, 254n506, 255n510

irrigation, xlvi n61, §30.1, 207n139, 215n212, 223n276, 224n282. See also agriculture

Ibn Shrēm, Slēmān, xl n20, xli n25

Islam, Islamic, xx, xliii n35, xliv n40, §6.5,

Ibn ʿUwaywīd. See Ibn ʿWēwīd

202n108, 212n186, 223n278, 241n408,

Ibn ʿWēwīd (ʿUwaywīd), ʿAbdallah ibn ʿAbd

249n463, 250n472. See also ikhwān,

al-Hādī ibn, xv, xl n22, xliii n34, 230n339,

imam, religion, sin

239n399 Ibn Yaḥyā, Muḥammad ibn ʿAbd

Jacobi, Renate, xlii n29, xliii n33, xlvi n58,

al-Raḥmān, xxxiv, l n82, 199n92,

xlvi n61, 184n9, 185n11, 192n57, 194n68,

227n301, 238n396, 254n506

195n76, 196n80, 221n263, 237n388,

Ibn Zirībān, Fayḥān, xxix, xlii n26,

240n404, 243n420

§§14.1.1–20, §§14.2.1–55, §§16.1.1–5, §§16.2.1–10, §§27.1.1–25, §§27.21–40, §27.2.10, 207n134, 208n156, 209n163,

Jarīr, 190n41, 221n262, 227n308, 232n355, 239n397, 254n507 Java, xxviii, §39.10, 244n430

212n188, 212n193, 214n208, 230n334

296

296

Index Job, xlv n44, §1.1, 183n1, 183n4, 183n5, 218n239

leader, leadership, xiii, §23.55, §32.20, 191n49, 212n194, 224n286, 254n504. See

judge, xxxiv, xlvii n62, 241n408; court, xx. See also dispute

also shaykh leather, xxiv, §7.10, §14.1.5, §§14.2.30–35,

Judgment Day, xx, §6.5, §13.25, §21.1, 247n448

§29.15, 211n183, 228n322, 248n457, 251n481

justice, xliv n37, §5.60, §13.25, §23.55, §41.1. See also injustice

letter (alphabet), 195n73, 211n182 letter (correspondence), xxxix n17, §27.1.20, 232n356. See also communication,

Kaaba, xlvii n62

writing

kindness, §1.10, §19.5, §21.10, §23.40, §28.20, 196n79, 196n80, 205n129, 255n510

lies. See deceit life, xii–xiii, xv–xvi, xviii, xix, xxiv, xxv, xxvi, xxxvii n1, xliv n37, xlvi n58, §3.20,

kinsmen. See tribe

§5.25, §9.10, §11.5, §12.10, §14.2.45, §16.1.1, §18.1, §19.10, §22.5, §23.1, §23.30,

Labīd ibn Rabī ʿah, 234n368

§27.1.1, §27.1.20, §28.20, §32.20, §34.10,

labor. See work

§37.5, §41.15, §42.6.5, 183n2, 187n23,

lamb, xxxvii n1, §5.15, §5.60, §17.2.10,

191n46, 196n78, 197n81, 203n110,

§41.10, 247n450. See also sheep

205n129, 207n139, 217n230, 220n249,

lamentation, 202n105

231n343, 236n380, 240n404, 240n405,

lamp, §10.15

246n441, 247n450, 253n504; Bedouin

land(s), xlii n29, §14.1.1, §14.2.5, §14.2.35,

life, xi–xiii, xiv, xviii, xxix, xl n22, xli n26,

§35.10, §42.13.1, §44.1, 190n41, 208n149,

xlvi n58, xlix n75, 185n12, 192n53, 196n77,

209n156, 209n157, 215n215, 222n269,

204n120, 236n380, 238n397; inner life,

222n271, 235n373, 240n404, 245n435, 247n446, 250n474, 251n476, 253n499;

xxiii, §6.1 lightning, xxxvii, §2.10, §3.25, §12.10,

distant, §14.1.10, §44.1; fatherland,

§18.10, §34.5, §42.13.1, §42.14.1, 189n38,

homeland, 189n41, 220n256, 240n404;

205n128, 226n294, 250n474, 252n485.

tribal land, 190n41, 215n215, 222n269, 245n435; wasteland, §32.15

See also rain lineage, xii–xiii, xxxviii n4, §27.2.35,

law, xx–xxi, xxix, xliii n35, xliv n37, 202n108, 241n408, 249n463, 250n472; Bedouin customary law (ʿurf), xx–xxi, xxviii– xxix, §36.10, 241n408; Islamic law (Shariah), xx, xxviii–xxix, xliii n35, §36.10, §42.6.1, 202n108, 241n408,

203n109, 228n317, 248n459 liver, xxii, §6.10, 201n102, 236n378. See also body lock, §9.1, §13.20, §22.20, §23.40, §33.5, §42.12.1, 205n128, 251n484 locust, §38.5, 243n420

249n463, 250n472; lawless, §39.1

297

297

Index lookout, §2.10, §31.5, §37.1, 187n19, 242n413. See also mountain

love poetry (cont.), 192n58, 196n80, 197n82, 198n86, 199n89, 199n91,

love, xv–xxxii passim, xxxvii n1, xxxix n8,

200n101, 201n104, 202n105, 204n116,

xlii n28, xliv n35, xliv n37, xliv n39,

204n123, 205n124, 206n133, 214n208,

xlv n48, xlvii n62, xlix n77, 1n80,

218n239, 226n297, 231n342, 237n386,

§§4.1–15, §§6.1–10, §§7.1–20, §§8.1–20,

238n393, 241n407, 241n410, 242n413,

§§12.1–15, §13.30, §§14.1.10–20, §14.2.45, §14.2.55, §§18.1–20, §§19.1–19.20,

245n439 lover, xii, xiiim xix–xxxii, xliv n35, xliv n39,

§§20.1–15, §23.1, §24.1, §§26.10–15,

xlv n52, xlvii n62, xlviii n64, l n80, §1.5,

§27.1.1, §27.1.20, §§28.1–25, §§29.1–25,

§§7.1–20, §§9.1–15, §§12.1–15, §§13.1–40,

§§31.1–5, §32.15, §§33.1–20, §§35.1–10,

§§14.1.10–20, §§14.2.45–55, §§18.1–20,

§§36.1–25, §§38.1–15, §§39.1–15, §§40.1–

§§19.1–20, §§20.1–15, §§22.1–30,

15, §§41.1–15, §§42.3.1–5, 187n20,

§§26.1–15, §§27.1.1–25, §§28.1–25,

192n52, 192n58, 194n70, 195n71, 196n80,

§§29.1–25, §§33.1–20, §§34.1–10,

197n82, 200n95, 200n96, 202n108,

§§37.1–10, §§38.1–15, §§39.1–15,

203n109, 205n124, 206n131, 206n132,

§§40.1–15, §§41.1–15, 187n20, 191n47,

206n133, 206n134, 207n140, 207n143,

192n53, 192n56, 192n57, 194n67, 194n68,

212n189, 216n221, 216n224, 217n233,

195n74, 195n75, 195n76, 196n80, 197n82,

217n234, 222n269, 230n339, 231n346,

200n94, 200n96, 200n100, 200n101,

232n353, 237n385, 237n388, 238n397,

201n104, 202n105, 205n123, 206n132,

239n399, 241n407, 242n413, 243n420,

206n133, 207n143, 212n189, 215n218,

244n432, 246n441, 249n461, 250n472.

232n351, 235n370, 237n385, 237n388,

See also beloved, disease, lover, pain,

238n395, 240n403, 241n408, 241n409,

poet, poet-lover

241n410, 242n413, 245n435, 245n437,

love poetry (ghazal), xii, xiii, xv, xix–xxx

246n441, 248n452. See also beloved,

passim, xxxix n8, xxxix n16, xl n20,

disease, love, pain, poet, poet-lover,

xli n24, xlii n29, xliii n33, xliii n35,

servant, slave

xliv n39, xlvi n55, xlviii n66, §§1.1–10,

lover-poet. See poet-lover

§§2.1–20, §§3.1–5, §§4.1–15, §§6.1–10,

lovesickness. See disease

§§7.1–20, §§8.1–20, §§9.1–15, §§10.1–15,

luck. See fortune

§§12.1–15, §§13.1–40, §§14.1.10–20,

lyrics, lyrical, xvii, xviii, xxi, xxx, xl n23,

§§14.2.45–55, §§16.1.1–16.2.10, §§18.1–

xli n26, 188n31, 192n52

20, §§19.1–20, §§20.1–15, §§22.1–30, §§26.1–15, §§27.1.1–25, §§28.1–25,

madness, xxiii–xxiv, xxxi, xlvi n59, xlvii n62,

§§29.1–25, §§33.1–20, §§34.1–10, §§35.1–

§6.10, §7.1, §7.15, §27.1.5, §40.15, 198n85,

10, §§36.1–25, §§37.1–20, §§38.1–15,

246n441. See also fool

§§39.1–15, §§40.1–15, §§41.1–15, 184n9,

298

al-Majmaʿah, §27.1.15, 211n175

298

Index Majnūn Laylā, xlvi n59, 195n71, 246n441

§27.2.20, §27.2.35, §29.25, §32.10, §38.10,

market, xi, xiii, xviii, §18.5, §24.1, §24.25,

§§42.1.1–5, §§42.6.1–5, §42.6.5, §43.2.1,

§27.1.25, 187n22, 191n46, 216n224, 225n287; marriage market, 245n436

men(cont.), §43.2.5, §45.2.1, 194n64, 206n134, 213n201, 220n249, 220n251,

al-Marrār ibn Munqidh, xliii n33, 195n71,

227n312, 229n326, 231n249, 240n405,

199n89, 207n143, 211n174, 231n341

252n490; male, masculine, xv, §45.2.5,

marriage, xii, xv, xxxviii n4, xxxix n14, xl n22, xliv n35, xlv n42, xlv n48, §9.10,

184n9, 192n52, 195n72, 215n213, 255n509 mercy, xvii, xxii–xxiii, xlvii n62, §6.5,

§23.30, §27.2.20, §§35.5–10, §39.5,

§27.1.25, 183n1, 195n75, 230n339,

§42.2.1, 202n108, 229n326, 245n436,

243n418, 244n427; merciless, §6.5,

249n463; divorce, xliv n35, §23.30,

253n504

229n326; husband, xlv n42, §27.2.20,

message. See communication

221n263, 229n326; wife, xliv n35, xlv n42,

messenger. See communication

§42.7.1, 186n16, 203n108, 206n134,

meter, xii, xxx, xlvi n54, l n79, 193n59,

236n379, 250n474, 250n475, 251n485.

239n397, 253n497, 254n506, 276; hazaj,

See also family

253n497, 254n506; long meter (ṭawīl),

maxims. See proverbs

l n79, 276

measure, xix, xxvii, §23.10, §26.5, §37.15,

al-Midhnab, xii, xv, xxxiii al-Mijmāj, Fhēd ibn ʿWēwīd, xiv–xv,

197n82, 218n239, 234n368 meat, xxiv, §3.10, §5.20, §5.30, §7.10, §8.15,

xxxvii n1, xl n20, xl n22, xlii n31, 184n11,

§14.2.15, §19.15, §23.45, §29.15, 201n102,

185n12, 185n13, 189n38, 201n104,

256n513

212n186, 212n192, 218n245, 226n294,

Mecca, xlvii n62, §14.1.10, §18.15, §22.30, §23.5, §27.1.25, 189n39, 208n156,

229n328, 234n367, 236n378, 236n379 milk, §§3.10–15, §5.20, §5.30, §§5.40–50,

209n157, 214n203, 216n224, 250n472,

§7.15, §8.5, §13.10, §22.30, §23.45,

251n482

§24.20, §26.10, §32.5, 190n41, 193n60,

medicine. See cure

207n135, 210n169, 211n174, 212n191,

memorize, xli n26, li n85

216n225, 226n296, 234n365, 234n369;

memory, xxiii–xxiv, xxxiv, §5.50, §8.1, §8.10,

camel milk, §3.15, §7.15, §22.30, §23.45,

§26.1, §40.5, 196n80. See also forgetting men, xi, xiii, xix, xxxi, xxxiv, xliii n35,

§26.10, 190n41, 207n135, 210n169, 211n174, 212n191, 226n296; cow milk,

xlvii n62, §3.20, §4.5, §5.5, §5.10, §5.45,

216n225; goat and sheep milk, §5.20,

§5.55, §11.15, §§13.15–20, §14.2.30,

§5.30, §§5.40–50, §13.10, 193n60,

§14.2.50, §16.2.1, §17.2.5, §18.15, §22.1,

234n365; milk skins, §24.20, §32.5,

§22.10, §22.15, §23.15, §24.5, §24.15, §24.25, §23.1, §25.5, §26.15, §27.1.5,

234n369 miser, §§11.10–15, §29.20. See also hospitality

299

299

Index money, l n84, §42.4.1, 224n282; blood

Muṭawwaʿ Nifī (cont.), 248n453, 249n463,

money, 209n165; financial reward,

250n472, 250n473, 250n474, 250n475,

219n249, 230n333. See also gold,

251n476, 251n477, 251n478, 251n479,

protection money, wealth

251n482, 251n483, 251n484, 251n485

morality, moralizer, xxii, xlii n28, §6.1, 214n204, 218n238, 249n466

Muṭawwaʿ Ushayqir. See al-Tamīmī Muṭayr tribe, xiii, xv, xxix, xxxv, xxxix n14,

mosque, xv, xx, xliv n35, xliv n39, §14.2.20, §42.10.1, 251n482. See also imam, Islam, prayers, religion

§23.15, 212n194, 213n195, 221n258, 228n317, 251n478 Muzarrid, 190n42, 205n126, 245n434

motif, xxii, xxiv, xlii n29, xlii n31, xliii n34, xliv n36, xlviii n66, 186n16, 186n17,

Nabaṭī. See poetry, Nabaṭī

197n82, 218n243, 233n363, 239n397

al-Nābighah al-Dhubyānī, 194n68, 196n80,

mountain, xiv, xxix, xxxiii, §7.15, §18.1, §33.15, §43.1.1, 213n195, 215n217, 216n224, 242n413, 252n486. See also lookout mud, xi, §25.5, 225n291. See also earth

221n263 Nafūd desert, xxxiii, 186n16, 192n51, 211n177, 238n397 Najd, Najdī, xi–xvi, xviii, xxvi–xxviii, xxx,

al-Musayyab ibn ʿAlas, 204n123

xxxiii, xxxiv–xxxvi, xxxvii n1, xxxviii n3,

musk. See fragrance

xxxviii n8, xxxix n12, xl n22, xli n24,

music, xxxi, §10.10; drum, §36.5, 231n349.

xli n25, xli n26, xlii n31, xliv n40, xlv n43,

See also song

xlvi n56, xlviii n67, xlviii n68, xlviii n69,

Musil, Alois, xvii, xxxv, 191n47, 194n64,

§5.20, §14.1.15, §14.2.5, §14.2.40, §25.5,

202n107, 203n108, 209n161, 210n168,

§27.2.5, 186n18, 187n25, 189n36, 192n53,

210n170, 211n175, 226n300, 230n336,

194n71, 198n87, 200n96, 201n101,

251n480

203n108, 209n159, 210n173, 212n186,

Muslim, xliv n37, xlvii n62, §12.10, §27.2.25, 206n129, 247n448

212n188, 214n210, 217n227, 217n233, 218n245, 219n249, 220n251, 220n253,

Mutammim ibn Nuwayrah, 190n41

220n255, 220n257, 223n276, 225n292,

al-Mutanabbī, 198n89, 243n419

227n308, 228n321, 235n373, 236n375,

Muṭawwaʿ al-Maskūf. See Ibn ʿĀyiḍ

236n376, 240n405, 241n408, 242n413,

Muṭawwaʿ Nifī, xiii–xvi, xix –xxi, xxxiv–

246n441, 247n442, 249n460, 249n463,

xxxv, xxxviii n2, xxxviii n6, xxxix n10, xxxix n15, xxxix n16, xxxix n18, xl n19,

252n493, 253n503 nasīb (amatory prologue), xiv, xix, xlii n29,

xl n20, xl n22, xliii n32, xliii n35, xliv n39,

xlvi n58, xlix n75, 197n80, 199n91,

xlvi n59, xlix n76, l n83, li n86, §§42.1.1–

200n101, 238n397, 242n413, 243n420,

42.14.1, 183n2, 185n12, 193n59, 201n101,

244n426. See also poetry

203n109, 222n273, 230n333, 233n362, 236n379, 242n412, 244n426, 245n435,

300

300

Index neighbor, xiii, xv–xvi, xix, xxxiv, §32.15, §42.8.1, §42.2.5, 203n109, 213n195, 231n349, 233n362, 236n378, 242n413 Nifī, xi–xv, xx, xxxiv, xxxv, xxxvii n1,

oral culture. See poetry, Nabaṭī ordeal (imtiḥān), xxii, §29.10, 192n56, 194n67, 197n82, 206n133, 219n246, 238n397, 241n408; test, xxix, xlviii n63,

xxxviii n3, xxxviii n8, xxxix n16, §17.2.5,

§6.1, 194n67, 241n408; trial, xxviii, xxix,

§45.1.1, 188n36, 193n59, 193n60,

xlviii n63, §14.2.55, §18.15, §28.10, §28.20

208n156, 220n249, 222n269, 242n414, 246n441, 251n478, 251n482, 253n499, 253n504, 255n510

orphan, §7.1, §16.2.5, §37.20, 221n263, 243n418 Ottoman Turkish. See Turk

night, xx, xlix n75, §2.1, §4.15, §7.20,

ox. See animals

§§8.10–15, §10.1, §11.1, §11.10, §12.5, §13.25, §14.2.15, §14.2.30, §16.1.1, §17.2.1,

pain, xvii, xxii, xlix n74, §4.10, §13.20,

§18.1, §19.1, §22.1, §23.30, §24.10, §24.25,

§§19.1–5, §27.1.1, §§29.1–5, §32.15,

§27.1.1, §27.2.15, §31.1, §32.1, §§32.10–15,

§39.15, 187n27, 197n80, 197n82,

§33.1, §33.15, §34.1, §38.5, §38.15, §39.10,

202n105, 206n133, 230n339, 232n352,

§40.5, §42.1.1, §42.9.1, 184n10, 187n27,

241n410, 245n433; agony, xxv, xxx,

194n68, 196n80, 201n102, 205n128,

xlii n28, xlix n74, §§19.1, 194n71,

210n170, 211n180, 212n215, 217n229,

197n80, 200n101, 201n102, 205n123,

218n242, 227n308, 229n323, 232n358,

238n397, 242n413; anguish, §29.10,

233n359, 234n364, 236n382, 238n396,

184n9; suffering, xvii, xix, xxii, xxviii,

239n397, 245n437

xxx, xlii n31, xliv n39, xlix n74, §4.5,

Noah, §14.2.55

§5.55, §13.5, §25.1, §27.1.1, §27.2.20,

nomad. See Bedouin

§28.10, §29.5, §36.10, §37.10, §39.5,

nonsense, §8.15, §42.2.1, 248n458;

§45.2.1, 183n5, 192n56, 195n76, 200n101,

nonsensical itbāʿ, 249n461

201n102, 204n119, 205n123, 206n133, 218n239, 230n339, 231n343, 238n397,

oasis, xxvii, xxx, §14.2.10, §17.2.5, 207n139, 233n559, 252n488

241n410, 242n413, 243n419, 246n441; torment, xii, xxii, xxviii, xxxi, xlix n74,

oath, 228n317; vow, §33.20

§14.2.55, §35.1, §41.15, 195n76; torture,

oil boom, xvii

§§6.5–10, §35.1, 196n78. See also lover,

old (age), xvi, xxiv, xxv, xlix n74, li n86, §4.5, §5.5, §5.20, §9.15, §12.1, §13.30, §30.1,

ordeal, poet-lover, wound palm tree, xiii, 183n2, 211n175, 215n212,

§40.5, §45.2.1, 192n55, 201n102, 233n363,

219n247, 233n359, 239n397, 240n405,

254n507; gray (hair), xxiv, xlix n74, §4.5,

251n484. See also dates

§9.15, §12.1, §23.15, §31.1, §40.5, 201n102

paper, §19.15, §27.2.10, §36.20, 218n240

Oman, 204n120, 208n156, 236n380 oppression. See rule

30١

301

Index paradise, xx, §24.20, §28.1, §36.25, 239n399;

plants (cont.), green, §22.15, §23.45, §32.1,

heaven, xx, §7.20, §23.55, §28.15, §36.20,

183n2, 189n38, 222n270, 243n420,

247n448. See also hell

246n441. See also agriculture, flowers,

parents, §6.10, §21.1, 197n81, 202n105 pariah tribe. See Ṣalab

palm tree poet, xi–xxxii, xxxiv–xxxv, xxxvii n1,

passion, xvi, xviii, xx–xxi, xxiii–xxv,

xxxviii n7, xxxviii n8, xxxix n14,

xxviii–xxx, xxxix n16, xlii n28, xliii n31,

xxxix n18, xl n20, xl n22, xli n24, xli n25,

§12.5, §13.15, §22.20, §29.15, §33.10,

xli n26, xlii n29, xlii n31, xliv n37,

§35.1, §35.10, 194n67, 205n123, 205n124,

xliv n39, xlv n43, xlv n46, xlv n49,

206n133, 222n269, 226n297, 231n346,

xlvi n58, xlvi n61, xlvii n62, xlviii n68,

232n351, 245n438, 246n441

1n79, l n83, §28.15, 183n2, 183n5, 184n9,

pasture, xix, xxxviii n3, xlii n29, xlvi n61,

185n13, 185n14, 186n16, 187n19, 188n29,

§2.10, §3.5, §5.20, §8.20, §14.1.1, §14.2.5,

189n36, 189n37, 189n38, 190n41, 191n49,

§17.2.1, §18.1, §24.10, §24.20, §27.2.1,

192n53, 193n60, 193n64, 194n66, 194n71,

§27.2.35, §31.5, §32.15, §33.15, §37.5,

198n88, 198n89, 200n101, 200n94,

188n32, 189n36, 189n37, 189n38, 191n50,

201n104, 202n105, 202n108, 203n109,

196n80, 199n89, 208n151, 210n171,

203n114, 204n116, 204n117, 204n123,

222n268, 223n279, 225n288, 234n364,

204n143, 210n166, 210n174, 212n193,

236n375, 236n380, 236n381, 238n392,

213n195, 216n221, 216n224, 218n238,

244n424

218n241, 218n245, 219n249, 220n251,

patience, xlviii n63, §23.10, §36.10, 183n1,

221n260, 221n262, 222n267, 222n269,

183n3, 192n56, 197n82, 205n124,

223n276, 225n293, 226n297, 227n312,

206n133, 224n283; endurance, xxviii,

229n327, 229n328, 230n334, 230n337,

xlviii n63, §13.5, §14.2.55, §19.1, 194n67,

231n346, 232n356, 233n359, 237n388,

197n82, 204n119, 206n133, 217n226,

238n397, 240n400, 240n401, 240n404,

227n308

240n405, 241n408, 242n411, 243n420,

peace, §11.5, §14.2.50, 208n154, 213n194, 232n356

245n433, 245n435, 245n439, 248n458, 249n461, 250n470, 251n478, 252n486,

peasant. See agriculture

252n487, 253n499, 253n504, 254n506,

perfume. See fragrance

254n507, 255n510, 255n512; Bedouin,

Pharaoh, §1.1, 183n4

xvi, xxxvii n1, 186n16, 199n89, 202n105,

plane (carpentry), xxiv, xxix, §12.5, §29.1,

255n510, 256n512; Nabaṭī, xli n24,

231n343

xlvi n58, 232n356; Najdī, xiv, xxvi,

plants, 189n38, 222n270, 231n343, 234n368;

xli n26, xlii n31, xlv n43, 192n53, 194n71,

bitter apple (colocynth), §24.1, 222n270;

212n188, 218n245, 220n251, 240n405;

grasses, §17.1.1, §23.55, §24.5, §32.5,

pre-Islamic, xlvi n61, 185n14, 190n41,

214n210, 222n268, 223n278, 234n368;

204n123, 210n174, 216n221, 237n388,

302

302

Index poet (cont.), 242n411, 253n499; sedentary, 221n260, 245n435, 255n510, 255n512 poet-lover, xxii–iii, xxvii–xxx, xlvii n62,

poetry, Nabaṭī, xvi–xviii, xxi, xxxiv–xxxv, xxxix n15, xli n24, xli n25, xli n26, xliv n35, xlv n43, xlvi n59, xlvi n60, xlviii n72,

§28.15, 187n20, 192n53, 194n68, 196n80,

l n82, 183n6, 184n7, 184n9, 186n15,

197n82, 200n94, 201n104, 202n105,

193n59, 193n60, 194n71, 197n80, 199n89,

206n133, 235n370, 238n395, 240n403,

201n104, 202n105, 208n151, 212n188,

241n408, 242n413, 245n435, 246n441.

214n204, 216n221, 217n227, 220n251,

See also lover, servant, slave

232n356, 234n364, 240n405, 243n418,

poetry, xi–xxxi, xxxiv–xxxvi, xxxvii n1, xxxviii n2, xxxviii n5, xxxix n8, xxxix n11,

253n496, 254n504 poison, §25.1, 205n127, 214n206, 237n388;

xxxix n16, xl n20, xl n22, xl n23, xli n24,

blister beetle, 205n127, 244n422;

xli n25, xli n26, xlii n28, xliii n35, xliv n39,

venom, 244n422

xlv n46, xlvi n58, xlvi n60, xlvii n61,

politics. See power

xlvii n62, l n79, 183n6, 184n10, 184n11,

poverty, xiii, §5.35, §13.35, 187n27, 201n101,

186n17, 187n24, 188n36, 190n41, 190n42, 192n52, 192n57, 192n58, 193n60, 194n68,

204n119, 214n210, 223n278, 236n376 power, xii, xiii, xx, xxii–xxiii, xxvi,

194n70, 197n81, 197n82, 197n84,

xxxviii n8, xliv n39, xlviii n64, §20.10,

198n89, 199n91, 200n94, 200n96,

§41.1, 184n7, 187n20, 187n25, 205n123,

201n102, 202n105, 203n108, 204n116,

206n134, 219n249, 220n253, 220n257,

202n123, 206n133, 214n208, 216n219,

221n263, 222n266, 225n288, 235n372,

218n243, 221n263, 222n273, 223n276,

237n385, 240n404, 247n445, 255n510;

224n282, 226n298, 228n317, 231n341,

politics, xii, xxvii, xxxviii n8, xlviii n68,

237n385, 237n388, 238n397, 240n404,

240n401, 253n503, 255n510; powerless,

242n413, 243n420, 246n440, 246n441,

xxii–xxiii, §22.25, §27.1.5. See also Ibn

248n458, 249n461, 251n478; ancient, 190n42, 218n243, 245n434, 255n509;

Rashīd, leader, rule, shaykh praise, xii, xviii, xxvi, xxviii, xxxvii n1,

classical, xix, xxvii, 187n24, 188n36,

xxxviii n7, xxxix n8, xli n26, xlv n43,

191n47, 192n53, 194n67, 198n89, 199n91,

§21.5, §§23.1–55, 184n9, 206n134,

204n123, 222n271, 227n308; ghazal. See

208n151, 219n249, 220n249, 246n441,

love poetry; Nabaṭī. See poetry, Nabaṭī;

247n448, 252n493

Najdī, xxxvii n1, xxxix n12, 198n87,

prayers, xix–xx, xxii, xxxi, xliv n36, xliv n39,

227n308, 242n413, 253n503; oral, xxxv,

xlix n75, §1.1, §7.20, §§10.1–5, §11.5,

l n82, 190n42, 190n42, 191n45, 191n47,

§18.20, §19.20, §22.20, §23.1, §23.45,

193n59, 199n89, 202n105, 204n119,

§23.55, §26.5, §27.1.25, §28.25, §39.15,

223n276, 226n300, 242n413, 243n420,

183n2, 184n9, 187n23, 240n405, 245n433,

250n471, 250n472, 254n507

251n485. See also imam, mosque

303

303

Index pre-Islamic, xxvii, xlvi n61, 183n6, 185n14,

proverbs and sayings (cont.), 231n347,

190n41, 191n47, 204n123, 210n174,

231n349, 232n350, 232n351, 232n353,

216n221, 227n307, 237n388, 240n404,

232n354, 232n355, 232n356, 235n370,

242n411, 253n499. See also Islam

235n372, 235n373, 235n374, 236n376,

pride, xvii, xxii, xxiv, xxv, §34.5, 198n89,

236n389, 237n385, 237n387, 237n388,

215n218

237n389, 237n390, 240n404, 241n408,

prophet: Muḥammad, §18.20, §23.55,

243n419, 243n420, 244n421, 244n429,

§27.1.25, §28.25, §41.5, 184n9, 201n101,

244n430, 244n432, 247n442, 247n443,

247n448; other prophets, 183n4, 183n5

247n444, 247n449, 247n450, 249n460,

protection, xxi, xxii, §3.15, §5.55, §14.2.25, §17.2.5, §22.30, §27.2.1, §27.2.20, §46.2.1, 193n60, 200n95, 206n132, 212n191,

249n463, 249n466, 251n477. See also wisdom pulley wheel. See well

228n322, 236n379. See also protection money

qasida, xiv, xxxi, 204n123, 245n434

protection money, xxvi, §46.1.1, 193n60, 250n472, 255n510; tithe, 228n317; tribute, §26.15, 250n472

al-Qāḍī (al-Gāḍī), Muḥammad al-ʿAbdallah, xli n24, xlvi n59, 183n5, 245n435 al-Qaṣīm, xii, xiv, xx, xxxviii n8, §7.5, §23.15,

proverbs and sayings, xxiv–xxv, xxviii–xxx, xxxii, xxxviii n3, xlvi n56, xl n19, xlv n48,

220n255, 225n290, 225n292, 241n408 Qurʾan, xx–xxi, xxiv, xxxiv, li n86, §10.1,

xlviii n67, xlviii n68, xlviii n69, §6.10,

§27.1.1, §28.15, §28.25, 183n1, 183n4,

§8.1, §9.15, §12.10, §13.5, §13.30, §13.35,

184n7, 195n73

§14.2.30, §14.2.55, §19.1, §20.5, §24.15, §27.2.30, §29.10, §29.15, §29.20, §32.20,

rabies, §12.10, 205n128

§33.10, §36.10, §38.1, §38.5, §§39.10–15,

al-Rabī ʿī, ʿAbd al-Raḥmān Ibrāhīm, xxxiv,

§40.15, 183n1, 184n9, 186n17, 187n20,

l n82, 208n148, 227n301, 238n396,

187n25, 188n31, 190n43, 194n71, 195n76,

252n486, 252n492, 277

196n78, 197n81, 198n87, 200n95,

raid, xii, xxxvii n1, xxxviii n8, xli n25, §3.15,

200n96, 200n98, 202n106, 202n108,

§§5.15–30, §23.30, §24.20, §32.20,

203n110, 203n111, 205n128, 206n132,

§42.1.5, §42.2.1, 190n41, 191n49, 191n50,

206n133, 207n140, 207n143, 207n144,

192n51, 215n218, 218n242, 219n246,

210n172, 211n176, 211n183, 211n185,

220n257, 223n279, 224n286, 232n357,

213n194, 213n196, 213n198, 213n199,

236n381, 236n383, 238n396, 242n417,

213n200, 213n202, 217n228, 217n229,

244n426, 248n460, 251n482, 253n504.

217n233, 217n234, 217n237, 218n240,

See also battle, war

220n253, 223n281, 223n282, 224n283,

rain, xi, xviii, xlix n75, §1.5, §3.5, §14.2.5,

230n333, 230n336, 231n342, 231n345,

§16.2.1, §17.2.5, §20.1, §23.45, §23.55, §27.1.25, §32.1, §32.10, §32.20, §34.5,

304

304

Index rain (cont.), §37.5, §42.13.1, 188n32, 189n38, 190n41, 199n89, 210n173, 220n251, 223n275, 223n276, 234n368, 236n380, 238n396, 242n411; torrent, xxx, §2.10, §22.15, §29.20, §34.5, §39.15, §42.14.1,

Riyadh, xxxiii, xxxiv, xxxviii n8, xl n20, xli n26, l n83, 220n255, 254n506 romantic school, xii–xvii, xxx, xl n22, xl n23, 238n397 rope, xix, xxiii, xxiv, xxv, xlii n31, xlvii n61,

197n84, 203n111, 214n208, 215n215. See

xlviii n71, §§2.15–20, §§13.15–20, §14.1.5,

also clouds, lightning, storm, thunder

§14.2.55, §18.10, §22.5, §24.5, §29.25,

realism, §40.15, 247n443. See also wishful thinking

§30.1, §34.1, §36.1, §40.5, 187n27, 188n28, 188n36, 207n139, 213n202,

refuge, xxi, §5.10, §21.5, §23.15, §28.15, §37.1, §45.2.1, 213n195, 220n256

216n222, 218n242, 220n253, 233n360, 237n388, 239n397

religion, xv–xvi, xix–xxi, xxiv, xxvii, xxix, xl n20, xliii n35, xliv n37, xliv n39,

ruin, §23.30, §41.1. See also disaster rule, ruler, xii, xxiii, xxvi, xxxviii n7,

xliv n40, xlv n52, xlvii n62, §21.1, §28.15,

xxxviii n8, §20.10, §23.45, §27.2.5,

212n194, 216n223, 229n329, 238n397,

209n157, 219n249, 220n253, 222n266,

240n401, 245n439, 249n461, 249n463,

222n268, 223n278, 228n317, 232n356,

251n477. See also ikhwān, Islam, sin

250n472, 252n486, 253n503, 254n504,

reputation, §5.60, 194n64, 200n95,

255n510; despotism, xxiii, xxvi, xxviii,

212n194, 228n320, 248n453, 252n491.

§20.10, 216n222; oppression, §1.5, §5.10,

See also honor

194n64, 205n129, 221n265; tyranny,

respect. See honor

§28.1, 196n78, 230n338. See also Ibn

retaliation. See revenge

Rashīd, leader, shaykh

revenge, 190n44, 196n78, 205n129,

rumormonger. See slander

246n441; retaliation, xxix, xliv n37, §6.10, 221n265, 231n341; settle score,

ṣalab (sing. ṣlubī), 203n108, 254n507

§37.15

sand, xiv, xxxiii, §2.5, §7.15, §14.1.20,

Riḍā ibn Ṭārif al-Shammarī, xxxvii n1, 184n10

§14.2.10, §20.1, §22.20, §27.1.5, §33.15, §42.4.1, 190n44, 198n89, 208n156,

rich. See wealth

211n177, 227n306, 234n368, 249n467

rider, xlix n77, §3.15, §13.20, §§14.1.1–5, §14.2.1, §14.2.35, §16.1.1, §§17.2.1–5, §27.1.5, §§27.1.20–25, §27.2.1, §27.2.10, §37.20, §42.1.1, §42.7.1, §43.1.5, 183n3,

Satan. See devil Saudi, Saudi Arabia, xi, xxxiv, xxxix n8, xl n22, l n83, 223n280, 250n472, 253n503, 255n510

190n42, 190n43, 193n59, 210n168,

sayings. See proverbs

210n170, 213n195, 215n212, 250n471

scandal, xvi, xx, §5.45, 200n95. See also

rights, §27.2.35, §28.10, §29.20, 238n397

305

shame

305

Index scout, §2.10, §3.25, §20.10, §24.5, §24.15, 186n18, 191n49

Shammar tribe, §25.3, §§44.1–5, 186n16, 192n51, 198n89, 221n261, 225n292,

sea, §1.1, §27.1.15, §38.5, 189n39

248n458, 249n461, 252n493, 253n500,

season, seasonal, xi, xiii, xviii, xx, xxvi,

253n504, 317n228, 359n233

xxxvii n1, xlii n29, xlix n75, §3.5, §14.1.1, §25.1, §30.5, §32.20, 185n13, 188n31,

al-Shammarī, Riḍā ibn Ṭārif, xxxvii n1, 184n10

189n38, 199n90, 210n171, 210n172,

Shaqrāʾ, xl n22

223n275, 233n359, 234n364, 234n368,

al-Shaʿrāʾ, xiv, xl n22, 215n217, 226n298

235n370, 235n373, 235n374, 236n376,

Shariah. See law

236n380, 245n435

shaykh, xx, xxv, xxix, xxxvii n1, §19.20,

secret, xvi, xxii, §4.10, §5.20, §6.1, §6.10,

§22.1, §23.1, §23.55, §§24.15–25, §32.1,

§9.5, §13.1, §13.20, §14.1.20, §21.20,

§33.1, §36.25, 189n37, 194n65, 212n194,

§22.15, §26.10, §28.15, §29.10, §29.25,

216n222, 218n242, 222n269, 224n286,

§33.5, §36.1, §38.5, §39.5, §40.5, §42.1.5,

233n363, 235n373, 236n379, 253n497,

§42.4.1, 194n68, 194n69, 200n95,

253n504

206n132, 206n133, 231n346, 237n388 sedentary, xi–xiv, xvii, xxvii, xxxvii n1,

sheep, xlv n42, §3.10, §§5.15–60, §11.1, §14.2.15, §14.2.25, §23.50, §27.2.15,

xxxviii n4, xl n22, xli n24, §14.1.15,

§14.10, 193n60, 193n64, 212n191,

§43.1.1, 221n260, 224n282, 230n337,

228n321, 234n369, 244n424, 247n451,

245n435, 252n489, 255n510, 255n512;

251n482; ewe, §§5.45–60, 234n365. See

settled, xix, xxxix n8, xli n26, xlv n48, §26.15, §39.1, 203n108, 229n329,

also lamb sheepherder (shāwī), §2.5, 186n16, 235n371

229n330, 232n358, 252n490, 255n512. See

Shi ʿah, 212n186

also Bedouin, village

ship, §38.5

separation, xlix n75, §§2.1–10, §§3.1–5,

shirt, §3.15, §24.15, 190n43, 224n283

§12.15, §13.5, §§19.1–20, §23.25, §§37.1–5,

shit, §5.35; fart, §42.5.1

184n11, 187n19, 189n36, 192n53, 216n225,

al-Shwēʿir, Ḥmēdān, xxii, xxxix n18, xlv n48,

229n326, 235n370

xlvi n56, xlviii n68, l n79, 190n44,

servant, §2.1, §14.2.35, §21.1, §22.25, §35.10, 183n1, 186n14, 197n82, 203n113; the poetlover as servant slave, §6.10, §35.10, 197n82

204n122, 218n238, 219n249, 221n260, 222n268, 231n342, 233n259, 233n363, 255n512 signs, §3.25, §26.5, §28.5, §37.5, 191n45,

settled. See sedentary

191n47, 192n53, 207n139, 217n234,

Shaddād ibn ʿĀd, xx

223n278, 224n283, 227n306, 228n322,

shame, xlv n42, §5.30–40, §31.1, §37.1, §42.4.1, 194n64; ignominy, 191n47. See

241n409, 243n418, 245n438 silence, §36.10, §40.5, §41.1

also honor, scandal

306

306

Index simile, xii, xvii, xix, xxii, xxx, xli n24,

soul (cont.), 196n80, 205n129, 206n130,

xli n25, xlii n31, xlvi n61, xlviii n72,

208n145, 220n251, 237n388, 238n397

xlix n74, xlix n77, 184n9, 196n77, 197n82,

soulmate, §37.5, §38.10

200n101, 205n125, 207n139, 215n218,

Sowayan, Saad, xiv, xxxv, xxxvii n1,

226n294, 238n397

xxxix n15, xl n20, xli n24, xli n25, xli n26,

sin, xxi, xlvii n62, §9.5, §25.5, 205n129,

xliv n35, xlv n43, xlv n46, xlvi n57,

216n221, 241n408, 241n409, 245n439;

xlvi n60, xlviii n72, xlix n77, l n82,

frivolousness (ghayy), xx, xxi, xxxix n8.

184n10, 186n16, 188n29, 189n40, 191n49,

See also religion

192n51, 193n59, 194n71, 195n73, 198n88,

sincerity, §17.1.1, §42.6.1, 184n9, 232n356

202n105, 203n108, 204n122, 204n123,

al-Sirr, xiv, xxxiii, xxxix n14, §42.13.1,

205n128, 211n177, 212n188, 214n205,

292n225, 251n485

217n227, 220n251, 223n281, 224n282,

slander, xxii, §§9.10–15; backbiter, §13.25,

224n283, 225n293, 226n294, 229n322,

§21.20, 200n94; faultfinder, §4.15, §7.20,

234n364, 234n367, 234n369, 235n374,

§20.5, §29.10; gossip, xxiv, §13.25, §40.5,

238n391, 238n396, 239n397, 240n405,

§43.2.1; rumormonger, §13.25, §14.1.20,

242n413, 243n418, 246n441, 247n446,

§21.20, §29.20

249n467, 250n472

slave, xxii, xxviii, xliii n32, xliii n34, §2.1,

speech, xxii, xxviii, xxx, xxxi, 189n40,

§2.20, §6.10, §21.15, §34.1, §35.10,

200n96, 202n105, 205n126, 229n327,

§42.2.1, 185n11, 185n14, 188n29, 197n82,

236n380, 242n411, 247n446; blabber,

210n174, 215n212, 238n397, 249n460,

§14.1.20; eloquence, §28.1, 239n397;

254n507. See also lover, poet-lover,

talk, §6.1, §9.5, §9.15, §27.2.30, §29.15,

servant

§33.5, 209n164, 232n358. See also

sleep, §25.1, §30.1, §38.1, 199n91, 207n143, 255n511; sleepless, §8.15, §10.1, §11.1, §12.10, §14.2.25, §19.1, §25.1, §27.1.1, §27.2.15, 194n68, 211n180, 229n323

conversation spell, §41.5, 237n385, 246n441; spellbound, xxx, 207n143, 240n401. See also bewitch spring, §3.10, §14.2.5, §17.2.1, §24.5, §31.5,

smoke (fire), §5.10, §254n504

189n38, 199n89, 210n171, 210n173,

smoking, xxvi, xlv n45, §13.1, §§15.1–5,

223n275, 235n370, 245n435; springtime

§24.10, 206n131, 214n203, 223n278 sobbing. See crying

of the heart, xi, xviii, xlii n29, xlix n75, §2.15, §7.15, §24.1, 199n90

song, singing, xxxi, xxxvii n1, xl n22,

stamp, §19.20, 222n266

xlvii n62, §3.25, §16.1.1, §23.1, §25.1, 192n51, 192n52, 203n111, 246n441

star, xviii, xxxv, §3.1, §§14.2.5–10, §19.1, §22.5, §40.1, 188n35, 189n38, 208n150,

soul, xii, xviii, xx, xxiii, xlii n28, xlii n31,

210n173, 217n229, 219n246, 231n345,

xlvii n62, §9.1, §13.1, §13.10, §13.35, §19.5,

235n374; Canopus (Shēl, CA Suhayl),

§27.1.5, §33.20, §35.1, §39.15, §40.10,

xviii, xxxv, §14.1.1, §32.10, 208n150,

307

307

Index star (cont.), 210n173, 235n374; Gemini,

temptation, xviii, xxi–xxv, 238n390

210n173; Pleiades, 189n38, 210n172,

terror. See fear

210n173; Ursa Major, §3.1, §14.2.10,

test. See ordeal

188n35, 210n173

thirst, xxiv–xxv, xxx, xlviii n71, xlix n77,

stick, xxx, §5.40, §13.30, §14.2.35, §27.1.25, §29.10, §42.5.1, 207n144, 231n327, 239n397; cane, xxix, xliii n31, §13.30, 207n144

§7.5, §11.5, §13.5, §14.1.10, §14.2.55, §16.2.10, §18.1, §23.50, §27.1.15, §29.25, §32.5, 213n202 thunder, §24.15, §42.14.1, 190n41. See also

storm, xli n25, xlix n75, §38.5, 190n41. See also clouds, lightning, rain, thunder story, xvii, xxxvii n1, xl n20, §4.5, §13.40,

clouds, lightning, rain, storm time, xlii n29, xlvi n58, §3.20, §5.35, §7.20, §11.5, §14.1.5, §14.2.55, §24.5, §26.5,

§27.2.30, §35.5, §40.15, 183n6, 186n16,

190n44, 195n74, 200n96, 207n143,

193n60, 219n249, 230n330, 246n441,

209n165, 219n246, 220n251, 220n252,

249n460, 249n465, 253n504

223n276, 224n282, 227n308, 234n366,

strife. See battle, war

235n373, 235n374, 236n376, 236n381,

Sudayr, Sudayrī, xxxiii, xxxiv, xli n24,

240n404, 246n441, 254n504; time-

§27.2.5, 226n298

honored, 218n240, 221n265, 229n330

suffering. See pain

torch, §22.1, §33.1, §37.10, 218n242, 236n382

al-Suhalī [S’hali], Swēlim al-ʿAlī, xiv, xvi,

torment. See pain

xxxv, xli n25, xlvi n59, xlviii n72, xlix n74,

torrent. See rain

xlix n77, 225n293, 237n388, 242n413

toy, §29.10, 231n349

summer, xi, xlix n75, §§2.1–5, §3.1,

trade, trader, xl n22, §11.10, §23.40, §25.5,

§§14.2.5–10, §18.5, §22.5, §23.30, §24.1,

§32.10, 187n27, 224n282, 225n290,

§26.1, §§32.1–5, §32.15, §37.5, 189n38,

233n359

210n171, 219n246

travel, xiii, xvii, xli n26, xlix n77, §9.15,

Syria, 185n14, 208n156, 210n166, 253n498

§11.10, §14.2.10, §14.2.55, §16.1.1, §17.1.1, §19.1, §23.40, §27.2.10, §40.1, §42.6.1,

tale. See story

§43.2.1, 186n18, 187n27, 188n36, 190n41,

talk. See conversation, speech

207n139, 211n176, 215n214, 217n229,

Tamīm (Timīm), xv, 213n195, 254n507

220n257, 223n278, 236n377, 250n472,

al-Tamīmī, Muḥammad ibn ʿAbd al-Raḥīm (“Muṭawwaʿ Ushayqir”), 201n105

253n499 treachery. See deceit

Ṭarafah ibn al-ʿAbd, xlvi n57, 190n43, 196n80, 210n170, 214n207, 227n307

trial. See ordeal tribe, xi–xvi, xviii, xxvi, xxix, xxiv,

tattoo, §19.10, §37.15

xxxviii n2, xxxviii n8, xxxix n14, §3.15,

tears. See crying

§3.25, §5.5, §14.2.5, §14.2.20, §14.2.40,

telegraph. See communication

§23.40, §27.2.10, §34.1, §36.10, §42.1.5,

308

308

Index tribe (cont.), 184n9, 184n10, 185n11, 185n14,

ʿUmar ibn Abī Rabī ʿah, xxii, xxvii, xxi,

186n16, 187n17, 189n36, 191n45, 191n47,

xxxiv, xliv n39, xlv n52, xlvii n62, 192n58,

192n51, 193n59, 193n60, 195n77, 198n88,

194n70, 195n76, 196n78, 196n79, 197n82,

206n134, 208n156, 209n161, 210n166,

199n89, 200n95, 201n104, 203n115,

210n167, 211n179, 212n194, 213n195,

205n124, 205n129, 206n130, 206n133,

215n218, 216n224, 218n241, 220n257,

217n230, 226n295, 230n330, 232n357,

221n261, 221n262, 223n277, 223n278,

232n358, 233n361, 234n364, 237n385,

224n282, 224n283, 225n292, 228n317,

237n388, 241n407, 241n410, 245n439,

229n325, 233n359, 235n372, 235n373,

246n441

236n377, 236n379, 237n384, 240n400,

Umayyad, xxii, xxvii

240n404, 241n406, 241n408, 242n417,

union, xxviii, §7.1, §10.10, 202n106,

243n418, 244n427, 245n435, 246n441, 248n453, 249n461, 250n472, 251n478,

238n395; reunion, §7.1, §10.10, §13.5, 194n71. See also separation

251n482, 252n488, 253n495, 253n497,

urine, 223n278

253n500, 254n504, 254n507, 255n510;

ʿUrqūb, §1.10, 184n9

tribal, xi–xiv, xx–xxi, xxxv, §26.15,

ʿUtaybah tribe, xi, xiii–xv, xxvi, xxxiv–xxxv,

§33.15, 189n41, 192n51, 193n60, 207n134,

xxxvii n1, xxxviii n2, xxxviii n8, §§5.30–

208n149, 208n156, 209n156, 209n157,

35, §§43.1.1–5, §44.5, §§46.1.1–46.2.1,

211n179, 213n195, 215n215, 222n269,

193n60, 196n77, 208n149, 215n215,

228n317, 237n384, 238n393, 241n408,

222n269, 230n331, 230n332, 238n396,

244n427, 246n441, 248n458, 252n486,

246n441, 248n453, 250n470, 251n478,

252n488, 252n489, 253n497, 253n504,

252n486, 253n497, 253n501, 253n504,

254n507. See also Bāhilah, Muṭayr,

255n510

Ṣalab, Shammar, ʿUtaybah tribute. See protection money

veil, xix, xxiv, xlv n42, §13.5, §26.5, §29.15,

truth, xxi, §1.10, §19.10, §23.15, §§35.5–10; true, xiv, xliii n35, §11.10, §20.10, §43.1.1,

§36.20, §41.5, 198n89, 206n134; unveiled, §§42.3.5–42.4.1

§43.2.1, 194n68, 222n266, 223n281,

venom. See poison

233n362; true love/lover, xii, xxiii, §1.5,

vernacular, xxxv–xxxvi, 217n227

202n108; true religion, xx, xxix; untrue,

vice, §11.5–15, §42.2.1, §42.6.5. See

§27.2.30. See also deceit

arrogance, deceit, miser, sin

tryst, xxviii, xlvii n62, §4.5, §9.10, §33.5. See also erotic

village, villagers, xi–xii, xviii–xix, xxxvii n1, xxxviii n4, xxxix n14, xlii n30, li n86,

Turkish, Turks, §14.1.15, §25.5, §39.5,

§23.35, §26.15, §27.2.25, §27.2.40,

189n40, 203n108, 209n156, 209n157,

§§32.10–15, §37.10, §43.1.1, §46.1.1,

223n278, 250n472

§46.2.1, 187n27, 189n37, 208n154, 211n177, 229n329, 229n330, 230n337,

309

309

Index village, villagers (cont.), 234n364, 235n373,

water (cont.), waterskin, xlviii n71, §11.15,

235n374, 239n397, 252n490, 253n499,

§14.2.55, §27.2.15, 213n199. See also

255n510. See also Bedouin, sedentary violence, §23.20, §23.35, 183n6, 221n265 virtue, xxvii, §§3.5–15, §§11.1–5, §14.2.15, 204n120, 214n204, 228n322; chivalry, §23.50, §27.2.35, 208n154, 214n204;

irrigation, thirst, well weakness, §5.55, §43.1.1, 219n246, 233n359; docility, §6.10; meekness, §5.60, §23.20, §42.6.5 wealth, xlvii n62, §11.5, §21.1, §23.30,

courage, §24.20, §33.15, 191n46, 191n47,

§23.45, §29.20, §39.10, 185n14, 209n165,

206n134, 229n326, 230n335, 233n361,

222n268; luxury, §7.20. See also gold,

242n417; faithfulness, xlv n44, §21.10.

money

See also hospitality

weaning, §5.15, §7.5, §19.1, 217n228

vow. See oath

weight, xliii n34, §20.1, §21.1, §33.15, 198n89,

Wahhābī, Wahhabism, xvi, xxvii, xxxix n8,

well, xi–xii, xvii–xix, xxi, xxv, xxvii, xxix,

226n295 223n278, 228n317, 255n510

xxxiii, xxxvii n1, xlii n29, xlii n31, xliii n32,

al-Walīd ibn Yazīd, 195n76

xlv n50, xlvi n61, xlix n75, §§2.1–20, §3.1,

war, xx, §22.30, §25.1, 194n64, 215n218,

§§3.15–20, §14.2.45, §14.2.55, §17.2.1,

221n262, 236n383, 248n458, 253n500.

§20.10, §§22.5–10, §23.50, §24.5, §26.1,

See also arms, battle, raid, warrior

§27.2.25, §30.1, §31.5, §32.10, §§33.10–15,

warrior, xvii, §§14.1.15–20, §22.10, §27.1.5,

§36.5, §43.1.1, 185n13, 186n17, 187n25,

§27.15, §39.1, §43.2.1, §44.5, 190n41,

187n26, 187n27, 188n28, 188n30, 189n39,

191n46, 191n47, 206n134, 223n278,

190n44, 207n139, 213n196, 213n202,

224n283, 242n417, 243n418. See also

215n212, 218n245, 219n246, 221n258,

arms, battle, horsemen, war

223n279, 224n282, 228n322, 229n328,

water, xi, xii, xvii, xxiv–xxv, xxvii, xxix, xxx,

233n359, 233n360, 234n364, 235n373,

xlii n31, xlvi n61, §5.15, §5.40, §8.20, §13.1,

235n374, 238n391, 238n392, 238n393,

§13.15, §23.50, §24.10, §29.25, §30.1,

238n397, 245n437, 249n460, 252n488,

§32.5, §32.15, §33.15, §34.1, §40.5, §42.3.1,

253n504

185n13, 186n17, 197n80, 197n82, 198n89,

wind, §1.5, §12.5, §18.5, §20.1, §21.15, §23.30,

207n139, 213n196, 213n202, 215n212,

§25.1, §32.5, §37.5, §38.5, 184n7, 188n34,

219n246, 223n276, 223n278, 223n279,

204n123, 212n191; breeze, §7.15, §13.30,

228n322, 233n359, 233n360, 234n364,

§29.5, §32.10, 231n345; gale, §20.1, §38.5.

234n368, 238n392, 238n393, 239n397,

See also lightning, rain, storm, thunder

245n437, 247n451; watercourse, §14.2.10,

wine, §25.5, §36.20, §40.15, 195n71

§24.1, §27.2.5, §37.10; waterless desert,

winter, §§3.1–5, §14.2.5, §23.30, §37.5,

xxx, §2.1, §7.5, §14.1.10, §18.1, §22.10,

189n38, 210n171, 245n435

219n246, 253n499;

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Index wisdom, xxiv, xxv, xxvi, xli n26, xlvi n56, xlviii n68, §5.45, §§11.1–15, §§21.1–25, §23.5, §203n111, 204n117, 214n204, 214n208, 218n238, 218n240, 233n363, 241n410. See also advice, proverbs wishful thinking, xxiv, xxxii, §29.20, §40.15, 247n443

world, xii, xxi, xxvi, §11.1, §§21.1–15, §23.1, 204n121, 209n159, 223n278, 239n397; inner world, xvii, xlii n31 wound, xvii, xxiv, xxix, xxxii, §3.20, §6.10, §13.25, §22.10, §22.30, §27.1.1, §28.1, §29.5, §40.10, §41.1, 194n71, 196n78, 201n104, 244n427, 247n446, 248n453,

women, xxii, xxvii, xxxi, xlv n42, §14.2.45, §15.10, §23.25, §27.2.20, 188n36, 191n212,

248n454, 248n455, 248n457 work, xiii, xliii n32, §11.1, §§21.1–5,

199n89, 206n134, 209n161, 216n221,

§§30.1–5, 184n9, 187n26, 231n343,

221n262,222n273, 223n278, 237n385,

231n344, 233n359, 233n360, 240n405,

253n495, 254n505, 255n510; in battle,

254n507; labor, xiii, xlvi n61, §11.1,

191n47, 229n325, 242n417; Bedouin,

204n118, 224n283, 252n488; toil,

xi–xiii, xviii, §2.15, §§26.1–15, 212n191,

xli n25, §11.1, §14.2.40, §17.2.1, 204n118,

221n259; damsels, §2.15, §§19.5–10,

215n212, 239n397. See also agriculture,

§22.10, §27.1.20, 198n89; girls, xi,

blacksmith, craftsman, grass cutter

xviii, xx, xxxiv, xliii n31, xliii n34, §2.1,

writing, xxvii, xxxiv, xxxv, li n85, li n86,

§20.10, §28.1, §36.5, §38.5, §39.10, §41.1,

§21.5, 195n73, 218n240, 221n258,

§42.4.1, §42.10.1, 185n11, 191n47, 198n87,

224n282; ink, §27.2.10. See also paper,

203n108, 203n113, 209n161, 219n247,

letter

222n273, 227n312, 229n328, 244n422, 246n441, 249n467, 254n506, 254n507;

al-Yamāmah, xxxix n18, 188n36

women and marriage, xlv n48, 229n326,

youth, xxiii, §37.10, 231n343

§27.2.20; old women, xlix n74, 201n102; women poets, xxxiv. See also beloved wood, xxiv, xxv, §2.20, §12.5, §14.1.5,

Zanātī, 230n335 Zēd (Zayd), §4.1, 192n52, 239n399

§14.2.30, §22.10, §29.1, §38.5, §39.5,

Zuhayr ibn Abī Sulmā, xlii n31, 185n14,

42.11.1, 197n84, 199n93, 207n139,

194n68, 209n165, 221n265, 225n288,

207n144, 208n147, 222n270, 226n300,

233n363, 239n397, 245n434, 256n513

231n343, 231n344, 251n484; firewood, §42.8.1, 218n242

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About the NYU Abu Dhabi Institute

The Library of Arabic Literature is supported by a grant from the NYU Abu Dhabi Institute, a major hub of intellectual and creative activity and advanced research. The Institute hosts academic conferences, workshops, lectures, film series, performances, and other public programs directed both to audiences within the UAE and to the worldwide academic and research community. It is a center of the scholarly community for Abu Dhabi, bringing together faculty and researchers from institutions of higher learning throughout the region. NYU Abu Dhabi, through the NYU Abu Dhabi Institute, is a world-class center of cutting-edge research, scholarship, and cultural activity. The Institute creates singular opportunities for leading researchers from across the arts, humanities, social sciences, sciences, engineering, and the professions to carry out creative scholarship and conduct research on issues of major disciplinary, multidisciplinary, and global significance.

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About the Typefaces

The Arabic body text is set in DecoType Naskh, designed by Thomas Milo and Mirjam Somers, based on an analysis of five centuries of Ottoman manuscript practice. The exceptionally legible result is the first and only typeface in a style that fully implements the principles of script grammar (qawāʿid al-khaṭṭ). The Arabic footnote text is set in DecoType Emiri, drawn by Mirjam Somers, based on the metal typeface in the naskh style that was cut for the 1924 Cairo edition of the Qurʾan. Both Arabic typefaces in this series are controlled by a dedicated font layout engine. ACE, the Arabic Calligraphic Engine, invented by Peter Somers, Thomas Milo, and Mirjam Somers of DecoType, first operational in 1985, pioneered the principle followed by later smart font layout technologies such as OpenType, which is used for all other typefaces in this series. The Arabic text was set with WinSoft Tasmeem, a sophisticated user interface for DecoType ACE inside Adobe InDesign. Tasmeem was conceived and created by Thomas Milo (DecoType) and Pascal Rubini (WinSoft) in 2005. The English text is set in Adobe Text, a new and versatile text typeface family designed by Robert Slimbach for Western (Latin, Greek, Cyrillic) typesetting. Its workhorse qualities make it perfect for a wide variety of applications, especially for longer passages of text where legibility and economy are important. Adobe Text bridges the gap between calligraphic Renaissance types of the 15th and 16th centuries and high-contrast Modern styles of the 18th century, taking many of its design cues from early post-Renaissance Baroque transitional types cut by designers such as Christoffel van Dijck, Nicolaus Kis, and William Caslon. While grounded in classical form, Adobe Text is also a statement of contemporary utilitarian design, well suited to a wide variety of print and on-screen applications.

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Titles Published by the Library of Arabic Literature

For more details on individual titles, visit www.libraryofarabicliterature.org Classical Arabic Literature: A Library of Arabic Literature Anthology Selected and translated by Geert Jan van Gelder (2012) A Treasury of Virtues: Sayings, Sermons, and Teachings of ʿAlī, by al-Qāḍī al-Quḍāʿī, with the One Hundred Proverbs attributed to al-Jāḥiẓ Edited and translated by Tahera Qutbuddin (2013) The Epistle on Legal Theory, by al-Shāfiʿī Edited and translated by Joseph E. Lowry (2013) Leg over Leg, by Aḥmad Fāris al-Shidyāq Edited and translated by Humphrey Davies (4 volumes; 2013–14) Virtues of the Imām Aḥmad ibn Ḥanbal, by Ibn al-Jawzī Edited and translated by Michael Cooperson (2 volumes; 2013–15) The Epistle of Forgiveness, by Abū l-ʿAlāʾ al-Maʿarrī Edited and translated by Geert Jan van Gelder and Gregor Schoeler (2 volumes; 2013–14) The Principles of Sufism, by ʿĀʾishah al-Bāʿūniyyah Edited and translated by Th. Emil Homerin (2014) The Expeditions: An Early Biography of Muḥammad, by Maʿmar ibn Rāshid Edited and translated by Sean W. Anthony (2014) Two Arabic Travel Books Accounts of China and India, by Abū Zayd al-Sīrāfī Edited and translated by Tim Mackintosh-Smith (2014) Mission to the Volga, by Aḥmad ibn Faḍlān Edited and translated by James Montgomery (2014)

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Titles Published by the Library of Arabic Literature

Disagreements of the Jurists: A Manual of Islamic Legal Theory, by al-Qāḍī al-Nuʿmān Edited and translated by Devin J. Stewart (2015) Consorts of the Caliphs: Women and the Court of Baghdad, by Ibn al-Sāʿī Edited by Shawkat M. Toorawa and translated by the Editors of the Library of Arabic Literature (2015) What ʿĪsā ibn Hishām Told Us, by Muḥammad al-Muwayliḥī Edited and translated by Roger Allen (2 volumes; 2015) The Life and Times of Abū Tammām, by Abū Bakr Muḥammad ibn Yaḥyā al-Ṣūlī Edited and translated by Beatrice Gruendler (2015) The Sword of Ambition: Bureaucratic Rivalry in Medieval Egypt, by ʿUthmān ibn Ibrāhīm al-Nābulusī Edited and translated by Luke Yarbrough (2016) Brains Confounded by the Ode of Abū Shādūf Expounded, by Yūsuf al-Shirbīnī Edited and translated by Humphrey Davies (2 volumes; 2016) Light in the Heavens: Sayings of the Prophet Muḥammad, by al-Qāḍī al-Quḍāʿī Edited and translated by Tahera Qutbuddin (2016) Risible Rhymes, by Muḥammad ibn Maḥfūẓ al-Sanhūrī Edited and translated by Humphrey Davies (2016) A Hundred and One Nights Edited and translated by Bruce Fudge (2016) The Excellence of the Arabs, by Ibn Qutaybah Edited by James E. Montgomery and Peter Webb Translated by Sarah Bowen Savant and Peter Webb (2017) Scents and Flavors: A Syrian Cookbook Edited and translated by Charles Perry (2017) Arabian Satire: Poetry from 18th-Century Najd, by Ḥmēdān al-Shwēʿir Edited and translated by Marcel Kurpershoek (2017)

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Titles Published by the Library of Arabic Literature

In Darfur: An Account of the Sultanate and Its People, by Muḥammad ibn

ʿUmar al-Tūnisī Edited and translated by Humphrey Davies (2 volumes; 2018) War Songs, by ʿAntarah ibn Shaddād Edited by James E. Montgomery Translated by James E. Montgomery with Richard Sieburth (2018) Arabian Romantic: Poems on Bedouin Life and Love, by ʿAbdallah ibn Sbayyil Edited and translated by Marcel Kurpershoek (2018) Dīwān ʿAntarah ibn Shaddād: A Literary-Historical Study By James E. Montgomery (2018)

English-only Paperbacks Leg over Leg, by Aḥmad Fāris al-Shidyāq (2 volumes; 2015) The Expeditions: An Early Biography of Muḥammad, by Maʿmar ibn Rāshid (2015) The Epistle on Legal Theory: A Translation of al-Shāfiʿī’s Risālah, by al-Shāfiʿī (2015) The Epistle of Forgiveness, by Abū l-ʿAlāʾ al-Maʿarrī (2016) The Principles of Sufism, by ʿĀʾishah al-Bāʿūniyyah (2016) A Treasury of Virtues: Sayings, Sermons, and Teachings of ʿAlī, by al-Qāḍī al-Quḍāʿī with the One Hundred Proverbs, attributed to al-Jāḥiẓ (2016) The Life of Ibn Ḥanbal, by Ibn al-Jawzī (2016) Mission to the Volga, by Ibn Faḍlān (2017) Accounts of China and India, by Abū Zayd al-Sīrāfī (2017) A Hundred and One Nights (2017) Disagreements of the Jurists: A Manual of Islamic Legal Theory, by al-Qāḍī al-Nuʿmān (2017) What ʿĪsā ibn Hishām Told Us, by Muḥammad al-Muwayliḥī (2018) War Songs, by ʿAntarah ibn Shaddād (2018) The Life and Times of Abū Tammām, by Abū Bakr Muḥammad ibn Yaḥyā al-Ṣūlī (2018)

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About the Editor–Translator

Marcel Kurpershoek is a senior research fellow at New York University Abu Dhabi and a specialist in the oral traditions and poetry of Arabia. He obtained his PhD in modern Arabic literature at the University of Leiden. He has written a number of books on historical, cultural, and contemporary topics in the Middle East, including the five-volume Oral Poetry and Narratives from Central Arabia (1994–2005), which draws on his recordings of Bedouin tribes. In 2016, Al Arabiya television broadcast an eight-part documentary series based on the travelogue of fieldwork he had undertaken in the Nafūd desert of northern Arabia for his book Arabia of the Bedouins (in Arabic translation The Last Bedouin). In 2018, Al Arabiya broadcast his five-part documentary on Najdī poetry, including one episode on Ḥmēdān al-Shwēʿir, based on the Library of Arabic Literature’s edition of his work in Arabian Satire. He spent his career as a diplomat for the Netherlands, having served as ambassador to Pakistan, Afghanistan, Turkey, Poland, and special envoy for Syria until 2015. From 1996 to 2002, he held a chair as professor of literature and politics in the Arab world at the University of Leiden.

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