commentary of the Qasidat al-Burdah, highlights the lofty status and "Ulema should read the Qasidat al-Burdah and the Shiyamul-Habeeb with respect and. QASEEDAH BURDAH. Shareef. English Translation. By. Shahid Hamid Gill. مَوْلايَ صَلِّ وَسَلِّـمْ دَائِمـاً أَبـَـدًا عَلى حَبِيْبِـكَ خَيْــرِ الْخَلْقِ كُلِّهِـمِ مُحَمَّدٌ سَـيِّدُ. commentary of the Qasida Burdah, highlights the lofty status and perfections of "Ulema should read the Qasida Burdah and the Shiyamul-Habeeb with respect.

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App provides you to read and listen Qasidah Burdah with friendly interface. The Qasidah Burdah Application includes following features: • Simple and. TEKS BURDAH 4. Enviado por Hamdi Abdillah. Direitos autorais: Attribution Non -Commercial (BY-NC). Baixe no formato PDF, TXT ou leia online no Scribd. hadrah basaudan - Download as PDF File .pdf), Text File .txt) or read Download as PDF, TXT or read online from Scribd Qasidah Burdah transliterated.

Prior to Ibn Jabir al-Andalusi's d. See also my forthcoming paper: Salim al-Bishri, intro. Muhammad Bek al- Muwaylihi Cairo: Maktabat al-Adab, First published in with this commentary and introduction, Nahj al-Burdah has since been reprinted many times.

It does not appear in the Shawqiyyat, but has remained popular until today primarily through the recordings of its musical rendition by Umm Kulthfim. Another well-known neo-classical mu'dradah of al- Busiri's Burdah is that of Mahmfid Sami al-Baridi d. Mataba'at al-Sha'b, Swahili translation [Jan Knappert, ed.

The Two Burdas Leiden: Brill, , pp. Eulogy's Bounty, Meaning's Abundance: An Anthology Leiden: Brill, ; 2: Index, al-Busiri.

The same is true of the numerousprint editions, beginningfrom the midth c. The liturgical uses of al-Bfsiri's Burdah are also extensive and varied. They range from personalacts of piety and devotion to the Prophet, to Sufi particular the Shadhiliyyah order in chantedor sung form with decidedly mystical intent especially to see the Prophetin one's dreams ,to its widespreadpublic recitation,especially, in many areas, on the Prophet's birthday mawlid al-nabi , at funerals, or weekly recitationsassociated with the Friday prayer-the uses vary from location to location and no doubt have varied over time.

The propertiesor benefitsof par- ticular Burdah lines or groups of lines are termed in the Arabic sources khdssiyyah, pl. The aim of this paperwill be to explore why al-Bfisiri'sBurdahcame to be the locus of so much literary,religious, and talismanicactivity. The Miracle and the Poem Althougha fair amountof al-Biusiri'sbiographyhas been reconstructed,pri- marily on the basis of his poetic diwdn and several literary-biographical compendia,10throughoutthe rich manuscriptand print traditionthat sur- 9 See, for example, Mubarak, Al-Mada'ih al-Nabawiyyah, ; Hajji Khalifah, Kashf al- Zunun, 2: Muhammad Sayyid Kilani, 2d ed.

Mustafa al-Babi al-Halabi, , pp. Haydtuh wa-Shi'ruh Cairo: Dar al-Ma'arif, , pp. University of North Carolina Press, , ch.

Qaseedah Burdah Shareef with English Translation

See also, Sperl, "Al-Bfsiri's Burdah," 2: In its simplest form we read, for example in al-Bajufrias he introduces al-Busiri's Burdah and explains the reason for its epithet: Because when he composed it, seeking a cure from the disease of hemiple- gia which afflictedhim leaving him semi-paralyzedand baffling his physi- cians, he saw the Prophet,may Allah bless him and give him peace, in his sleep.

Then [the Prophet]strokedhim with his hand and wrappedhim in his mantle, so he was cured immediately,as the poet mentions in his comment [on the poem]. Some say that it is more appropriateto call it "Qasidatal- Bur'ah" "Poemof the Cure" because its composerwas curedby it, and that the poem that is rightfullycalled "al-Burdah"is "BanatSu'ad" "Su'adHas Departed" ,the poem by Ka'b ibn Zuhayr,because the Prophet,may Allah bless him and give him peace, rewardedhim ajdzahu for it with a mantle when he recited it before him.

I had composedpoems of praise to the Messenger God bless him and give him peace , among them those that al-Sahib Zayn al-Din Ya'qib ibn al-Zubayrhad suggestedto me.

Then it happenedafter that that I was strickenwith hemiplegia that left me half paralyzed,so I thoughtof composingthis Burdahpoem, and I did so. And with it I asked for interces- sion with Allih the Exaltedfor Him to forgive me, and I recited it over and over again, and wept and prayed and entreated. Then, when I had fallen asleep, I saw the Prophet God bless him and give him peace. He stroked my face with his blessed hand, then threw a mantleover me.

When I awoke, I found my health restored[wajadtufiyya nahdah], so I arose and went out of my house, and I had not told a soul aboutthis. Then a Sufi mendicantmet Qabbani,Al-Busiri. For the primarysources for al-Busiri'sbiography,see the notes in Kilani Diwan al-Busiri, passim; the bibliographyin al-Qabbani,Al-Busiri,pp. TarajimMusannifial-Kutubal-'Arabiyyah Damascus: QdmusTarajim li-Ashharal-Rijdlwa-al-Nisa'[. And he continued,"By Allah, I heard it yesterdaynight when it was recited before the Messengerof Allah God bless him and give him peace , and I saw the Messengerof Allh God bless him and give him peace sway with delight at it, and throwa mantleover the one who recitedit.

As a first step in our investigation then, we can understand the massive literary engagement of this poem-the manuscripts, expansions, commentaries,imitations, etc. Its talis- manic uses, too, can be understood as a further extension and application of the same principal.

This story is virtually inseparable from the poem throughout its literary and religious-liturgical history. Nevertheless, in order to understand the lit- erary and religious phenomenon of al-Bfusiri's Burdah, we must investigate, on a level far deeper than the ultimately irrelevant and unanswerable issue of its historicity, the relation of the story to the poem. To do this we have to examine the two texts and their contexts.

Let us first note, in examining the poem itself, that there is no indication in the text that the poet suffers from a physical affliction or is praying for a physical cure.

Kilani's attempt to determine on the basis of al-Busiri's ref- erences to ailments elsewhere in his Diwdn that he may indeed have suf- fered from hemiplegia is, therefore, both inconclusive and, ultimately, irrel- evant. Althoughthe poem makes no mentionof a physical illness on the partof the poet it certainlycontainsevidence of a spiritualcrisis: Throughdepicting and eulogizing the great example of the Prophet,he regains a sense of confidence,and, at the end of the poem, sees grounds for hope that his sins will be forgiven.

Ihsan 'Abbas,4 vols. Dar Sadir, , 3: See, e. It follows that only through analyzing the supplicatory-panegyric struc- ture of the poem itself within the context of the overarching classical Arabic-Islamic panegyric tradition can we understand the Burdah's power to generate, or perpetuate, the myth of the miracle-the healing of the poet's physical malady, in other words, the metaphorical leap from spiritual to physical cure.

Once we have demonstrated the Burdah's supplicatory-pane- gyric structure, we will examine further the nature of the poet's petition. Let us turn to the text of the Burdah itself: Technically, as has been generally recognized and widely pointed out, al-Buisiri's Burdah is a mu'dradah contrafaction, imi- tating the rhyme and meter of an 18 line Sufi lyric by the Egyptian mysti- cal poet 'Umar Ibn al-Farid d. Was that Layla's fire blazing in the night at Dhu Salam Or was it a lightning-bolt flashing at al-Zawra', then at al-'Alam?

O water of Wajrah, is there for the [thirsting] mouth no drink? Turn aside at the protected compound, may God guide you, Heading for the Lote-Thicket with its sweet bay and lavender.

Sperl seems unawareof this, mentioning instead its common rhyme and meter with al-Mutanabbi's mimiyyah "wdharraqalbdhumimmanqalbuhushibamu"[[Abfi al-Tayyibal-Mutanabbi,]Diwdn Abi al- Tayyibal-Mutanabbibi-sharhAbu al-Baqd' al-'Ukbari,4 vols. Mustaff al-Saqa et al.

Mustafaal-Babial-Halabi, , 3: Sperl,"Al-Biusiri'sBurdah," 2: See also the translationand notes, esp. Emery WalkerLtd. In my heartthere is a flame that could light a fire, In my eyes are tears that flood with ceaseless rains.

What those who mention this relationship fail to point out, however, is that despite this technical fact and al-Busiri's elegant evocation of the base text in the nasib elegiac prelude , vv. That is to say, they belong to two different poetic genres. Ibn al-Farid's is a Sufi ghazal of rhapsodic love, essentially, as Jaroslav Stetkevych has demonstrated in his discussion of one of its sister-poems in the Diwdn of Ibn al-Farid, a mysti- cal distillation of the motifs and structure of the classical nasib the open- ing section of the bipartite or tripartiteclassical qasidah: In the qasidah form, the poet concludes the nasib by repenting of and abjuring the passions indulged therein and moving on, often by means of the rahil, or desert journey section, to a world of new affections and allegiances, of a more mature and stable nature, in the madih, or praise, section.

In some of the manuscript and print traditions, the Burdah is divided into ten sections. This division is neither original nor essential to the poem and has the effect of breaking up the poetic sequence or flow of the lines and the transitional passages. However, for the purposes of a thematic and structural overview, it proves useful.

The titles or labels of the sections vary somewhat, but the divisions themselves are consistent. Badr al-Din Muhammad al-Ghazzi d. Al-nasib al-nabawi Prophetic nasib: Madh al-Rasul al-karim Praise of the noble Messenger: Al-tahadduth 'an mawlidih What is said about his birth: The University of Chicago Press, , pp.

Al-Sharikah al-Wataniyyah lil-Nashr wa al-Tawzi' , , p. I have corrected the editor's misnumbering of the lines.

Al-tahadduth 'an mu'jizdtih What is said about his miracles: Al-tahadduth 'an al-Qur'dn al-karim What is said about the noble Qur'an: Al-tahadduth 'an jihdd al-Rasul wa-ghazawdtih What is said about the holy war and expeditions of the Messenger: Al-tawassul wa al-tashaffu' Supplication and Plea for Intercession: Al-mundjdh wa al-tadarru' Fervent Prayer and Petition: The sequence is: The thematic structure of the two-part qasidat al- madh, which came to dominate the Arabic panegyric traditionfrom the 'Abbasid period onwards, consisting of nasib lyric-elegiac prelude and madih praise section , has long been recognized.

The formative structural role that sup- plication including self-abasement and plea plays in the Arabic panegyric tradition had, however, been largely overlooked prior to my recent studies of what I have termed "the supplicatory ode. In other words, with the poet's recitation of the poem before the patron, a mutual contractual obligation comes into effect, and, further, the poem constitutes the documentation of that contract.

Above all, what is involved is a ritual exchange, in the terms formulated by Marcel Mauss, in which the poet's gift the poem of praise obligates the patron to make a counter-gift termed in Arabic jd'izah or prize and the gift and counter-gift 19 On the "supplicatory ode," i. Indiana University Press, , esp. The present argument is basically that the success of al-Bfisiri's Burdah lies in large part in its ritual structure, which is that of the supplicatory- panegyric ode of the classical tradition and which is also, potentially, a litur- gical structure-the distinction lying solely in the identity of the mamduh, i.

The additional sec- tions, Parts , comprise major thematic elements in the life of the Prophet and are incorporated, structurally speaking, as a series of extensions to the praise section, Part 3. It should be mentioned here, however, that they are not mere versified narratives of episodes from the life of the Prophet, in fact they are not narratively or chronologically structured.

Rather, elements from the life of the Prophet are poetically rendered to produce a polemic in defense of an ideology of Islamic manifest destiny.

The Supplicatory Panegyric Ode In order to fully understand how the supplicatory panegyric model functions in al-Bfisiri's Mamluk period madih nabawi, we first need to observe some examples from the classical tradition.

After that, we will turn to al-Biusiri's Burdah once again and explore the precise natureof the Mamluikpoet's entreaty. Although not every qasidat al-madh is a supplicatory ode, this subgenre is thoroughly grounded in the Arabic poetic tradition from before the coming of Islam. A renowned example from the Jdhiliyyah is the celebrated i'tidhiriyyah 20On the supplicatory panegyric qasidah as a ritual exchange along the lines formulated by Mauss, see S.

Stetkevych, The Poetics of Islamic Legitimacy, pp. Form and Functions of Exchange in Archaic Societies, trans. Ian Cunnison New York: See also, Suzanne P. Stetkevych, ed. Indiana University Press, , pp. The contemporary polemic and political aspect of elements such as the Prophet's bat- tles in madih nabawi of the Mamluk period, is discussed in Fawzi Muhammad Amin, Adab al-'Asr al-Mamluki al-Awwal: Malamih al-Mujtama' al-Misri Alexandria, Egypt: Dar al-Ma'rifah al-Jami'iyyah, , pp.

Parts of the Burdah from the subject of my forthcoming study, "From Sirah to Qasidah: Difficult as it is to believe, the tradition tells us that al-Nabighah, who had been the king's favorite poet and boon compan- ion, composed his poem of apology for having had an affair with the king's wife and then describing her with great erotic detail in a poem, his notori- ous "Description of al-Mutajarridah.

Hence the poem. Forgiveness and rein- statement in the king's inner circle. In terms of the general thematic structure, al-Nabighah's poem is a clas- sically structured tripartite qasidah: The key elements of the supplicatory structure, which are what concern us in the present context, are: It should be noted from the outset that the last three elements do not always occur in the same order in every supplicatory panegyric and are often not entirely dis- tinct from one another, but these elements otherwise are fairly predictably found in what is normally termed the madih section.

In addition, elements of what could be termed self-abasement can often be identified in the nasib, and, in the tripartite ode, in the central rahil journey section.

In general, it soon becomes evident that an essential element of the self-abasement is the poet's expression of fear and hope, that is, his throwing himself upon the mercy of the mamduih. Al-Nabighah al-Dhubyani: For the Arabic text of the poems, see al-Nabighahal-Dhubyani,Diwan, 3rd ed. MuhammadAbu Fadi Ibrahim Cairo: Dar al- pp. Ibrahimal-Abyari, Cairo: Dar al-Sha'b, , Lyric-Elegiac Prelude nasib: It lies abandoned And so long a time has passed it by.

I stopped there in the evening, to question it; It could not answer for in the vernal camp there was no one. By evening the abode was empty, by evening its people had packed up and left; It was destroyed by the same fate by which Lubad was destroyed. I never said those evil things that were reported to you, If I did, then let my hand be palsied till I cannot hold a whip. I've been told that Abfi Qabfis has threatened me, And no one can withstand the lion when it roars.

The description of Rawi Qasidah Burdah Mp3

Go easy! May the tribes, all of them, be your ransom, And all my [herd's] increase, and all my progeny! Don't fling at me more than I can withstand, Even though my foes should rally to support you. Praise of the One Supplicated: Such a she-camel conveys me to Nu'man, Whose beneficence to mankind, both kin and foreigner, is unsurpassed. I see no one more generous in bestowing a gift, Followed by more gifts and sweeter, ungrudgingly given.

The giver of a hundred bulky she-camels, Fattened on the Sa'dan plants of Tfidih, with thick and matted fur, And white camels, already broken in, wide-kneed, On which fine new Hiran saddles have been strapped, And slave girls kicking up the trains of long white veils, Pampered by cool shade in midday heat, lovely as gazelles, And steeds that gallop briskly in their reins Like a flock of birds fleeing a cloudburst of hail.

Not even the Euphrates when the winds blow over it, Its waves casting up foam on its two banks, When every wadi rushes into it, overflowing and tumultuous, Sweeping down heaps of thorny carob bush and sticks and boughs, Out of fear the sailor clings fast to the rudder After fatigue and sweat, Is ever more generous than he is in bestowing gifts, Nor does a gift today preclude a gift tomorrow.

This is my praise: This is an apology: Al-Nabighah's poem succeeded and, as the literary tradition tells us, King Nu'man forgave him, reinstated him as poet-laureate and boon companion in his court, and bestowed upon him as well the gift of one hundred of the Lakhmid's coveted royal pure-bred camels.

The most renowned supplicatory panegyric ode of the classical Arabic tradition, and the one most intimately and curiously related to al-al-Biusiri's Burdah, is the first poem to be given the sobriquet "Qasidat al-Burdah," that is, Ka'b ibn Zuhayr's ode of submission to the Prophet Muhammad and conversion to Islam, "Banat Su'ad" "Su'ad Has Departed".

In terms of traditional structural-thematic classification, Ka'b's poem exem- plifies the tripartite ode: In terms of the supplicatory pattern that concerns us here, the ritual elements are: Stetkevych, ch.

Al-Dar al-Qawmiyyah, , pp. Like al-Bfsiri's Burdah, Ka'b's, too, in the medieval period was the base text for many a mu'dradahand expansion mostly tashtirand takhmis. See the latter,vol. Su'ad Has Departed25 [3] 1.

Lyric-ElegiacPrelude nasib: Su'ad has departed,and today my heartis sick A slave to her traces, unransomed,enchained. On the morningof departurewhen her tribe set out, Su'adwas but a bleatingantelopewith languidgaze and kohl-linedeyes.

What a mistress,had she been true to what she promised, Had true advice not gone unheeded, 7.

But she is a mistressin whose blood are mixed: Calamity,mendacity,inconstancyand perfidy, The last three elements are too intertwined in Ka'b's poem to be sorted out line by line, but in the main madih passage all three are discernible: Self-abasement stands out in vv.

I was told God's messengerhad threatenedme, But from God's Messengerpardonis hoped! Go easy, and let Him be your guide who gave to you The gift of the Qur'anin which are warningsand discernment. Don't hold me to accountfor what my slanderershave said, For, however great the lies against me, I have not sinned! I stood where I saw and heardwhat would have made The mighty pachyderm,had it stood in my stead, Quake with fear unless the Messengerof God, By God's leave grantedit protection.

Until I placed my right hand, withoutcontending, In the hand of an avenger,his word the word. He is more dreadedby me when I speak to him And am told, "You will be questionedand must answer" Than a lion, snappingand rapacious, Its lair in 'Aththar'shollow, thicketwithin thicket, Who in the morningfeeds flesh to two lion whelps That live on humanflesh flung in the dust in chunks, Who when it assaults its match is not permitted To leave its match['s blade] unnotched, 25 Al-Sukkari, Sharh Diwdn Ka'b ibn Zuhayr, pp.

For whom the brayingonager falls silent, In whose wadi no huntersstalk their prey, In whose wadi lies an honest man, his weapons and torn clothes Flung in the dust, his flesh devoured. The Messengeris surely a sword from whose flash light is sought, One of the swords of God, an Indian blade unsheathed. What is further notable in the context of the present discussion is that this poem, too, owes its sobriquet, "Qasidat al-Burdah," to an anecdote that is exterior, and even extraneous, to the poem.

Tradition tells us that when Ka'b recited this ode to the Prophet Muhammad, he conferred upon the poet his mantle, which, it is said, was later downloaddby the Umayyad Caliph Mu'awiyah from Ka'b's heirs for 20, dirhams and worn by the Caliphs on feast days. Despite its popularity, the "authenticity" of this anecdote has been subject to suspicion.

For, although cited in the literary compendia of such venerable scholars as Ibn Sallam al-Jumahi d. Furthermore, the myth then gen- erated an actual relic. Although some claim that the references of the man- tle in Caliphal times as in al-Buhturi's [d.

In other words, like Pirandello's Six Characters in Search of an Author, once the story circulated, it was only a matter of time before an actual mantle became identified with the mythical 26 Versions of this anecdote are found in: Brill, , p. Matba'atal-Madani, , 1: The most extensive studyof the sources,variantsand politico- historicalsignificanceof the burdahanecdoteis that of Zwettler,which serves as an update and correctiveof Paret.

Michael Zwettler,"The Poet and the Prophet: Of particularinterestis his tracingits developmentinto a "Prophetichadith"in the early thirdcenturyH. Hasan al-Sayrafi Cairo: Dar al-Ma'arif,n. For our purposes,we should understandthe ritualgift exchange that is at the core of the presentationof the panegyricode and the "prize" ja'izah or "gift" that the mamdiuhis requiredor expected to bestow upon the poet in return.

Clearly in Ka'b's conversionpoem, the real "prize"is "the gift of life"-the revocationof his death sentence-, which functionsabove all as a synecdochefor the gift of salvationand life immortalin the heavenlygar- den, which, in turn, is what his forgiveness and incorporationamong the communityof believers entails. The effect of the myth of the mantle is to provide a tangible "gift" whose symbolic value is that of the forgiveness, blessing, and protectionof the Prophet.

In other words, the donationof the mantle confirms literally and symbolically the full enactmentof the ritual exchange and the ProphetMuhammad'sfulfillmentof the contractualoblig- ation incurredby the presentationof the panegyricode.

In both of these cases, the ritualexchangeof poem and prize,how- ever much it may symbolize otherworldlymatters,is set in real time and space. What happens to the idea of the ritual exchange of poem and prize when the mamduhis no longer of this world?

Ka'b's poem alreadyconveys the idea of a spiritualas well as worldly reward,but the presentationof the qasidah and the conferralof the prize take place on terrafirma. A brief look at the marthiyah elegy for the Prophetby his poet laure- ate, Hassanibn Thabit d.

Qaseedah Burdah Shareef with English Translation

Walid 'Arafat Beirut: Dar Sadir, , 1: Dar al-Fikr[] 4: On Hassan's Islamization of the Bedouin nasib and the elegiac passages of this poem, see J.

Stetkevych, Zephyrs of Najd, I hope to turnto a fuller study of this elegy on anotheroccasion. The original sense of rithd' in the Jdhiliyyah was that the poet gave of himself, his poetry, selflessly, to perpetuateor immortalizethe name of a kinsmanwho had sacrificedhis life on the field of battle. The ritual exchange of poetry for blood, intimatelylinked to that of blood-vengeance blood for blood , was a confirmationof bonds of kinship, and the obligations incurred,like blood-vengeance,had a self-perpetuatingconcatenatingeffect: With the adventof Islam much of this changed, especially since the promise of immortalityin the afterlife made, or should have made, immortalizationthrough poetry redundant.

Blood vengeance, likewise, was to have become obsolete. In the case of Hassan's ritha' for the Prophet,the situationis quite dif- ferentfrom the jdhili rituallyobligatoryelegy. The Prophetwas not slain on the battlefield,but died of naturalcauses, and the poet is not his kinsman. What Hassan has achieved, however, is an original and brilliantpoetic for- mulation: The poem opens with a nasib in the form of the lyric-elegiac preludetheme of the ruined abode vv.

Hassan Ibn Thabit: At Tayba' Lies a Trace30 [4] 1. At Tayba' lies a trace of the Messenger and a place throngedand luminous, While other traces lie barrenand effaced. The signs are not erased from that inviolate abode In which stands the minbarthat the Guide would mount. Its signs yet clear, it waymarksstandingstill, And his quarterwhere his mosque and prayer-placestood. For those critics, classical and modem, who fault this poem on the grounds that in rithd'there shouldbe no nasib, our contentionthat the poem is actu- ally a hybridinformedby the genre requirementsof the supplicatorypane- gyric, among them the nasib, serves as refutation.

The nasib is followed by 30 Hassan ibn Thabit, Diwin, ed. What concerns us most, however, is the two-line conclusion: I will never cease desiringto praise him, for perhapsthereby I will dwell in the immortalgardenforever. With al-Mustafa,[God's] chosen, I desire by this [praise] to dwell in his protection, And for the rewardof that day, I strive and strain.

Thus, even though it is generally, and correctly, termed an elegy, the ritual- thematic intent of the poem is clearly that of the praise for prize exchange of the panegyric ode, and the "prize" that the poet wants is to be brought into the company of the Prophet-now in the immortal garden. Notice his use of the precise diction of the supplicatory panegyric: For if, as I have argued above and extensively elsewhere, the qasidat al-madh serves to establish a bond of allegiance, especially between subject and ruler, then by incorporating it into his "elegy" Hassan has not merely offered comfort to the bereft believers, but has solved the crisis of the Islamic community: In sum, what all these poems have in common is their supplicatory-pan- egyric structure and function: The exchange pattern of gift and counter-gift is ritually and morally binding on both the poet and the patron, and the performance of this ritual establishes a contractual bond of obligation and allegiance between the two.

Al-Buisiri's "Burdah" as a Supplicatory Panegyric Ode Let us at last turn back to al-Bfisiri's poem with a view to identifying the four elements of the supplicatory panegyric: Lyric-Elegiac Prelude nasib ; This content downloaded from Self-Abasement; 3.

Praise of the One Supplicated; 4. Supplication; and to examining more closely the object of the poet's supplication. We will see in our discussion, as we saw as well in the classical ex- amples, that although the nasib stands out as the recognizable opening structural element of the classical qasidah, the elements of praise, self abasement, and supplication are not so distinct, but are conceptually and poetically interdependent.

Again, we need to keep an eye out for the key elements associated with self-abasement: Part I: PropheticNasib3' [5] 1. Was it the memoryof those you loved at Dhii Salam That made you weep so hard your tears were mixed with blood? Or was it the wind that stirredfrom the directionof Kazimah And the lightningthat flashedin the darknessof Idam?

Al Qasidah Burdah Sharif Maal Qasidah Muhammadiyya

What ails your eyes? If you say "cease,"they flow with tears; What ails your heart? If you say "be still," its passion flares once more. Does the lover think that his passion can be concealed When his tears are flowing with it and his heart inflamed? But for passion you would not shed tears over a ruinedabode, Nor spend nights sleepless from rememberingthe ben-tree['sfragrance] and the [supple]banner-spear.

How can you deny your love when two upstandingwitnesses [Tearsand lovesickness]have testifiedto it? And passion has borne witness to it With two streaksof tears upon your cheeks, as red as 'anam-boughs, and a sickly face, as yellow as the blossoms of bihdr? Oh yes, the phantomof the one I love did come by night And leave me sleepless; love does indeed impede delight with pain. For were you fair, you would not censureme. For vocalizationand translation,I have relied on al-Ghazzi'stext and commentary and also, al-Bajfiuri,Hdshiyah [.

As these exist in numerousothermss. Of the several English translationsavailable,the most accurateis proba- bly that of R.

I have consultedit as it appearsin ArthurJeffery,ed. Mouton, , pp. Please note that some differencesin translationare due to the varietyof interpretations offeredby variouscommentators. The translationin this study is my own. May you be strickenwith the same affliction! My secret is never hiddenfrom my enemies; my sickness never ends!

You gave me sound counsel, but I didn't listen; For lovers are deaf to those that reproachthem.

Even the advice of grey hair I held suspect, Thoughgrey hair is the furthestof all reproachersfrom suspicion. The nasib, as discussed above in the context of Ibn al-Farid's Sufi ghazal, is a model of the intriguing ambiguity of poetic language. Al-Ghazzi tells us in his commentary to v. Yet, at the same time, we should note that the evoca- tion of Hijazi place-names in the nasib, a convention traceable to the later 'Abbasid poet Mihyar al-Daylami d. Stetkevych has shown, the place-names evocative of the pilgrimage route serve to create a spiritual itinerary.

In the reading of v. Following Nicholson's choice of the other meaning of 'alam that the com- mentarists proffer, "mountain tip," the result is, as al-Ghazzi tells us, that both elements now serve as synecdoches for the places of vv.

According to Prof. It seems it may actually go back to Mihyar's teacher, al-Sharif al-Radi d.

Although she does not mention these earlier precedents, Schimmel provides a brief overview of the theme of the poet's longing for Medina in Arabic and other Islamic poetries Schimmel, And Muhammad is His Messenger, pp. See J. Stetkevych, Zephyrs of Najd, pp. Technically, within the nasib itself vv.

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