Poems Found in Translation: Arabic
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ˁAbīd bin Al-Abraṣ: Lament for his People in Rawḥān (From Arabic)

Lament for His People in Rawḥān
ˁAbīd ibn Al-Abraṣ
Translated by A.Z. Foreman
Click to hear me recite the original Arabic

Were those my people's dwellings 
  that in the stoneland lie?
 They are now a dwindled vestige
   changed by the hands of Time. 

There did I halt my camel 
  to question what remained,
 But turned away with tears 
   gushing from my eyes 

In streams as though my lids 
  that moment had burst forth
  The downpour of a cloud  
   from winter-laden skies.

Oh mine was once the kindest 
  of ordinary peoples 
 To all who had fallen captive
   or ill, or on hard times,

Good when they drew lots  
  for camel-meat when winds
 Blew winter-hard, and neighbors
   united as a tribe. 

And when the moment called for spear-thrusts 
  they always did
 Color their spears from tip
   to hilt in the grim dye.

And when the moment called for blades  
  they always did 
 Beat back the foe as lions
   protective of their pride.

And when they heard the call "Dismount!" 
  they always rushed
 In coats of mail on foot
    headlong into the fight.

They are gone. I am still here

  but I am not forever.
 Change is the fate of things,
   the many shades of life. 

God knows what I know not
  about the end they met.
 What I have is remembrance
   of things lost in their time.  





The Original:



قال عبيد ابن الابرص في رثاء قومه

لِمَنِ الدِيارُ بِبُرقَةِ الرَوحانِ  دَرَسَت وَغَيَّرَها صُروفُ زَمانِ
فَوَقَفتُ فيها ناقَتي لِسُؤالِها  فَصَرَفتُ وَالعَينانِ تَبتَدِرانِ
سَجماً كَأَنَّ شُنانَةً رَجَبِيَّةً  سَبَقَت إِلَيَّ بِمائِها العَينانِ
أَيّامَ قَومي خَيرُ قَومٍ سوقَةٍ  لِمُعَصِّبٍ وَلِبائِسٍ وَلِعاني
وَلَنِعمَ أَيسارُ الجَزورِ إِذا زَهَت ريحُ الشِتاءِ وَمَألَفُ الجِيرانِ
أَمّا إِذا كانَ الطِعانُ فَإِنَّهُم  قَد يَخضِبونَ عَوالِيَ المُرّانِ
أَمّا إِذا كانَ الضِرابُ فَإِنَّهُم  أُسدٌ لَدى أَشبالِهِنَّ حَواني
أَمّا إِذا دُعِيَت نَزالِ فَإِنَّهُم  يَحبونَ لِلرُكَباتِ في الأَبدانِ
فَخَلَدتُ بَعدَهُمُ وَلَستُ بِخالِدٍ  فَالدَهرُ ذو غِيَرٍ وَذو أَلوانِ
اللَهُ يَعلَمُ ما جَهِلتُ بِعَقبِهِم  وَتَذَكُّري ما فاتَ أَيَّ أَوانِ 

ˁAbīd bin Al-Abraṣ: "The Cycle of Death: A Muˁallaqa" (From Arabic)

The Cycle of Death: A Muˁallaqa 
By ˁAbīd bin Al-Abraṣ
Translated by A.Z. Foreman

The people are all gone out of Malḥūb, 
 and Al-Quṭabiyyāt, and Al-Dhanūb. 

The people are all gone, too, out of Rākis 
 and out of Al-Qalīb and Dhāt Firqayn
And ˁArda and Qafā Ḥibirr and Thuˁaylibāt. 
 There's nowhere in the land where we remain.

The land has taken in the wild and beastly 
 instead of its own people. Things have changed.
It is a land inherited by death. 
 All who once lived there have been raided, razed,
Slain by the blade, or left to die alone. 
 Grey hair marks only a survivor's shame.

The tears gush from your eyes, as if their ducts 
 were waterskins too hole-filled to retain
A single drop, or as cascades of water 
 down hillside gullies newly washed in rain,
Or as a torrent through a wādī bed 
 flooding the valley to a waterway,
Or a slight stream slow under bending palms 
 wending with a wet murmur in their shade.

How can you yearn for youth's fling, when your hair 
 warns of a date with death in going gray?
Oh if this land is changed, its people scattered, 
 don't wonder. Theirs is not the first such fate,
Though all of that expanse be now deserted 
 though it now havens drouth and dearth and plague.
What hope is so firm life will not belie it? 
 What happiness can life not wrest away?
What camel is not given to heirs in death? 
 What plunderer can't be plundered for his take?
All who are gone on journeys may return 
 but all those gone in death have passed away.

Is a barren womb a peer to fertile women? 
 Is a failed raider peer to men who gain?
Go prosper how you will. Sometimes the weak 
 achieve, and skilled men are tricked anyway.
Men won't warn him who will not heed the warnings 
 of Fate. To teach of wisdom is to fail
Without the heart-born gift of disposition. 
 Too often has a friend become a hater.

Give aid in any land you find yourself in,
 and do not tell yourself "I am a stranger."
You can grow close with people from afar 
 and be cut off from closest of relations.
Man founders in deceit his whole life long. 
 Torture for him is life into old age.

Many a stretch of slime-aged standing water 
 I've reached through deathly, terrifying wastes,
The plumes of pigeon carcasses strewn about. 
 The frenzied heart heaves fearful of the place.
I passed it on my weary way in worry, 
 I and my brawny mount in morning haze,
     
My mount: a camel, onager-swift, strong-spined 
 her withers smooth as dunes on windless days,
A nine-year tush replaced her seven-year tooth, 
 not too young or too old, in her prime age   
Like a wild ass gone rushing through the reeds, 
 dark-furred with fight-scars round the neck and face.
Or like an oryx at his peak that feeds 
 on bindweed1 as the northwinds round him rage.

But that's an age ago. I see myself 
 born by a swift, big-bodied mare again
Her frame firm to perfection, and her forelocks 
 cleaving wide in the clearing of her face,
Oil-fluid her every movement, veins asleep, 
 with a lithely gliding supple healthy shape. 
She seems an eagle ready for the hunt, 
 to fill her nest with hearts plucked from her prey,
Who spends the night perched high upon a rock 
 like an old woman looking for her babies. 

Then there she is in piercing cold at dawn, 
 hoarfrost adrip from plumes agleam with day.
She sights a meaty fox out in the distance, 
 nothing between them but one barren waste. 
She shakes frost off her feathers, shakes herself 
 alert, prepared to launch out for the take,
Then launches aloft, swift as a hungry spear,
 
 aiming in one sharp swipe to fell her prey. 
He hears her wings, and lifts his tail in terror 
 as creatures will do only when afraid.
He spots her swoop, and crouches to a crawl  
 looks up at her and bears his eyes agape.
She takes him, flings him onto the brute rock. 
 Now prey beneath her lies in crippling pain.
She lifts him up, then dashes him back down. 
 His face is scraped with stones. His body breaks.  
The talons tear into his flank. He squeals. 
 His breast is pierced. His heart, food. No escape.



Notes:

1 - The term bindweed is my translation of Arabic ruḵāmā. The word is obscure to the commentators who merely describe it as some sort of white bulbous plant. However, ruḵāmā (or ruḵēmā) in the usage of modern Arabian Bedouins refers to the convolvulus cephalopodus (c.f. James T. Mandaville, Bedouin Ethnobotany: Plant Concepts and Uses in a Desert Pastoral World), a type of bindweed, also known as the desert morning glory.


 
The Original:


أَقفَرَ مِن أَهلِهِ مَلحوبُ فَالقُطَبِيّاتُ فَالذُّنوبُ
فَراكِسٌ فَثُعَيلِباتٌ فَذاتُ فِرقَينِ فَالقَليبُ
فَعَردَةٌ فَقَفا حِبِرٍّ لَيسَ بِها مِنهُمُ عَريبُ
وَبُدِّلَت أَهلُها وُحوشاً وَغَيَّرَت حالَها الخُطوبُ
أَرضٌ تَوارَثَها شَعوبُ وَكُلُّ مَن حَلَّها مَحروبُ
إِمّا قَتيلاً وَإِمّا هالِكاً وَالشَيبُ شَينٌ لِمَن يَشيبُ
عَيناكَ دَمعُهُما سَروبُ كَأَنَّ شَأنَيهِما شَعيبُ
واهِيَةٌ أَو مَعينٌ مُمعِنٌ أَو هَضبَةٌ دونَها لُهوبُ
أَو فَلَجٌ ما بِبَطنِ وادٍ لِلماءِ مِن بَينِهِ سُكوبُ
أَو جَدوَلٌ في ظِلالِ نَخلٍ لِلماءِ مِن تَحتِهِ قَسيبُ
تَصبو وَأَنَّى لَكَ التَّصابِي أَنّى وَقَد راعَكَ المَشيبُ
إِن تَكُ حالَت وَحُوِّلَ أَهلُها فَلا بَديءٌ وَلا عَجيبُ
أَو يَكُ أَقفَرَ مِنها جَوُّها وَعادَها المَحلُ وَالجُدوبُ
فَكُلُّ ذي نِعمَةٍ مَخلوسٌ وَكُلُّ ذي أَمَلٍ مَكذوبُ
وَكُلُّ ذي إِبِلٍ مَوروثٌ وَكُلُّ ذي سَلَبٍ مَسلوبُ
وَكُلُّ ذي غَيبَةٍ يَؤوبُ وَغائِبُ المَوتِ لا يَؤوبُ
أَعاقِرٌ مِثلُ ذاتِ رِحمٍ أَم غَانِمٌ مِثلُ مَن يَخيبُ
أَفلِحْ بِمَا شِئتَ قَد يُبلَغُ بالضَّعفِ وَقَد يُخدَعُ الأَرِيبُ
لاَ يَعِظُ النَّاسُ مَن لاَ يَعِظِ الدَّهرُ وَلا يَنفَعُ التَلبيبُ
إِلّا سَجِيّاتِ ما القُلوبِ وَكَم يَصيرَنَّ شانِئاً حَبيبُ
سَاعِد بِأَرضٍ تَكُونُ فِيهَا وَلا تَقُل إِنَّنِي غَريبُ
قَد يوصَلُ النازِحُ النائي وَقَد يُقطَعُ ذو السُهمَةِ القَريبُ
وَالمَرءُ مَا عَاشَ فِي تَكذِيبٍ طولُ الحَياةِ لَهُ تَعذيبُ
بَل رُبَّ ماءٍ وَرَدتُ آجِنٍ سَبيلُهُ خائِفٌ جَديبُ
ريشُ الحَمامِ عَلى أَرجائِهِ لِلقَلبِ مِن خَوفِهِ وَجيبُ
قَطَعتُهُ غُدوَةً مُشيحاً وَصاحِبي بادِنٌ خَبوبُ
عَيرانَةٌ مُؤجَدٌ فَقارُها كَأَنَّ حارِكَها كَثيبُ
أَخلَفَ ما بازِلاً سَديسُها لا حِقَّةٌ هِي وَلا نَيوبُ
كَأَنَّها مِن حَميرِ غابٍ جَونٌ بِصَفحَتِهِ نُدوبُ
أَو شَبَبٌ يَحفِرُ الرُخامى تَلُفُّهُ شَمأَلٌ هُبوبُ
فَذاكَ عَصرٌ وَقَد أَراني تَحمِلُني نَهدَةٌ سُرحوبُ
مُضَبَّرٌ خَلقُها تَضبيراً يَنشَقُّ عَن وَجهِها السَبيبُ
زَيتِيَّةٌ ناعِمٌ عُروقُها وَلَيِّنٌ أَسرُها رَطيبُ
كَأَنَّها لِقوَةٌ طَلوبُ تُخزَنُ في وَكرِها القُلوبُ
باتَت عَلى إِرَمٍ عَذوباً كَأَنَّها شَيخَةٌ رَقوبُ
فَأَصبَحَت في غَداةِ قِرَّةٍ يَسقُطُ عَن ريشِها الضَريبُ
فَأَبصَرَت ثَعلَباً مِن ساعَةٍ وَدونَهُ سَبسَبٌ جَديبُ
فَنَفَضَت ريشَها وَاِنتَفَضَت وَهيَ مِن نَهضَةٍ قَريبُ
يَدِبُّ مِن حِسِّها دَبيباً وَالعَينُ حِملاقُها مَقلوبُ
فَنَهَضَت نَحوَهُ حَثيثَةً وَحَرَدَت حَردَةً تَسيبُ
فَاِشتالَ وَاِرتاعَ مِن حَسيسِها وَفِعلَهُ يَفعَلُ المَذؤوبُ
فَأَدرَكَتهُ فَطَرَّحَتهُ وَالصَيدُ مِن تَحتِها مَكروبُ
فَجَدَّلَتهُ فَطَرَّحَتهُ فَكَدَّحَت وَجهَهُ الجَبوبُ
يَضغو وَمِخلَبُها في دَفِّهِ لا بُدَّ حَيزومُهُ مَنقوبُ


Al-Muhalhil: Vengeance at Dawn (From Arabic)

This post's guest of honor is ˁAdī bin Rabīˁa of Taghlib, commonly known as Al-Muhalhil "The Verse-weaver." Born presumably at the very end of the 5th century, he is among the earliest Pre-Islamic Arabian poets to whom any surviving verse of substantive length is attributed. He is chiefly known for poems dealing with the Basūs War, in which a 40-year feud between the tribes of Taghlib and Bakr was supposedly ignited when his brother Kulayb was killed for slaughtering another tribe's stray camel.

Vengeance at Dawn
By Al-Muhalhil of Taghlib
Translated by A.Z. Foreman

Long was my night of wake at Anˁamayn  
 While sleepless at the ceaseless stars I gazed.
How can I age in life while a slain man  
 Of Taghlib still calls for a man to slay?
Oh chide the eyes for tears shed over ruins. 
 In the breast a wound is torn over Kulayb.
In the breast there is a need unsatisfied   
 So long as doves among the branches wail.
How can he ever weep over ruined things 
 Who is pledged to war with men in every age?
How can I forget you Kulayb when I've not quelled 
 The sorrow whelming me, the bloodparched rage?
My heart today make good your bloodwit vow 
 When they ride out at dawn retaliate.
They fetch their bows and we flash lightning bolts 
  As stallions threatening their stallion prey.
We steel ourselves beneath their flashing steel 
 Till they fall pounded by our long hard blades
And can keep up no more. We keep attacking  
 For the man who keeps the field is war's true mate.

Audio of me reading this poem in Arabic


The Original:


باتَ لَيلي بالأَنْعَمَين طَويلا  أَرْقُبُ النَجْمَ ساهِراً لَنْ يَزولا
كَيف أٌمدي ولَا يزالُ قتيلٌ مِن بَني وائلٍ يُنادي قتيلا
أُزْجُرِ الْعَينَ أَنْ تُبَكِّي الطُلولا إِنَّ في الصَدْرِ مِنْ كُلَيبٍ فَليلا
إِنَّ في الصَدْرِ حاجةً لَنْ تُقَضَّى ما دَعا في الغُصونِ داعٍ هَديلا
كَيفَ يَبْكي الطُلولَ مَن هو رَهْنٌ بِطِعانِ الأنامِ جيلا فَجِيلا
كَيف أَنساكَ يا كلَيبُ  ولمّا أقضِ حُزناً ينوبُني وغَليلا
أيُّها القَلبُ أَنْجِزِ اليومَ نَحْباً مِن بني الحِصْنِ إذ غَدوا وذُحولا
انتَضَوا مَعْجِسَ القِسي وأَبْرَقْـنا كَما تُوعِد الفُحولُ الفُحولا
وصَبَرْنا تَحتَ البوارِقِ حتَّى دَكْدَكَتْ فيهِمِ السُيوفُ طَويلا
لم يُطيقوا أنْ يَنْزِلوا ونَزَلْنا وَأَخو الحَربِ مَن أَطاقَ النُزولا 


Romanization:

Bāta laylī bi-l-'Anˁamayni ṭawīlā arqubu l-najma sāhiran lan yazūlā
Kayfa umdī wa-lā yazālu qatīlun min Banī Wā'ilin yunādī qatīlā
Uzjuri l-ˁayna an tubakkī l-ṭulūlā inna fī l-ṣadri min Kulaybin falīlā
Inna fī l-ṣadri ḥājatan lan tuqaḍḍā mā daˁā fī l-ġuṣūni dāˁin hadīlā
Kayfa yabkī l-ṭulūla man huwa rahnun bi-ṭiˁāni l-'anāmi jīlan fa-jīlā
Kayfa ansāka yā Kulaybu wa-lammā aqḍi ḥuznan yanūbunī wa-ġalīlā
Ayyuhā l-qalbu anjizi l-yawma naḥban min Banī l-Ḥiṣni iḏ ġadaw wa-ḏuḥūlā
Intaḍaw maˁjisa l-qisiyyi wa-'abraqnā kamā tūˁidu l-fuḥūlu l-fuḥūlā
Wa-ṣabarnā taḥta l-bawāriqi ḥattā dakdakat fīhimi l-suyūfu ṭawīlā
Lam yuṭīqū an yanzilū wa-nazalnā wa-'aḫū l-ḥarbi man aṭāqa l-nuzūlā

Imru' al-Qays: From the Muˁallaqa: The Thunderstorm (From Arabic)

My translation of the finale of the famous Mu'allaqa attributed to Imru'l Qays. A terrific thunderstorm rages over the mountains on the northern edge of the Najd. The scene is imagined over so vast an area that it must be poetic fiction. (As the medieval commentators note:  Sitār, Yaḏbul and Qaṭan cannot possibly all be seen from the same place.) I include a recording in a reconstruction of how literary Arabic may have been prounced in the late Umayyad period (largely based on phonetic descriptions from early grammarians). For more on that see my discussion after.

From the Muˁallaqa: A Mountain Storm
Attributed to Imru' al-Qays
Translated by A.Z. Foreman

Do you see lightning, friend? Look there: its flash
forks through the cumulus like fingers, quick
to shed its distant light; there: like the lit
lamp of a monk who tilts oil on the wick.
I sat to watch it with my friends, between
Ḍārij and Al-ˁUdhayb. Oh I gazed far
enough to see the storm raise its right arm
on Mount Qaṭan, its left on Al-Sitār,
and dump its rainload round Kutayfa, slamming
trees' faces to the ground as it went wide.
Its shower bucked on over Mount Qanān
sluicing the mountain goats off every side.
It left no palm-trunk standing at Taymā
nor building built of anything but rock. 
Tall Mount Thabīr stood in its water-onslaught
like a tribe's chieftain in a stripelined cloak.
At dawn, debris on Al-Mujaymir's peaks
lay strewn like spun wool on a spindle-tip.
The storm had left its load upon the desert
like goods a merchant loosens from his hip.
That morning, finches noised about the dales
as if blind drunk on pepper-fiery wine.
That evening, raptors lay drowned at its edge
like ripped-out squills that freakishly entwine.

The Original:


أصَاحِ تَرَِى بَرْقاً أُرِيْكَ وَمِيضَـهُ    كَلَمْـعِ اليَدَيْنِ فِي حَبِيٍّ مُكَلَّـلِ

يُضِيءُ سَنَاهُ أَوْ مَصَابِيْحُ رَاهِـبٍ    أهَانَ السَّلِيْـطَ بِالذُّبَالِ المُفَتَّـلِ

قَعَدْتُ لَهُ وصُحْبَتِي بَيْنَ ضَـارِجٍ    وبَيْنَ العـُذَيْبِ بُعْدَمَا مُتَأَمَّـلِ

عَلَا قَطَنا بِالشَّيْمِ أَيْمَنُ صَوْبِـهِ       وَأَيْسَـرُهُ عَلَى السِّتَارِ فَيَذْبُـلِ

فَأَضْحَى يَسُحُّ المَاءَ حَوْلَ كُتَيْفَةٍ     يَكُبُّ عَلَى الأذْقَانِ دَوْحَ الكَنَهْبَلِ

ومَـرَّ عَلَى القَنَـانِ مِنْ نَفَيَانِـهِ        فَأَنْزَلَ مِنْهُ العُصْمَ مِنْ كُلِّ مَنْـزِلِ

وتَيْمَاءَ لَمْ يَتْرُكْ بِهَا جِذْعَ نَخْلَـةٍ     وَلاَ أٌجُماً إِلاَّ مَشِيْداً بِجِنْـدَلِ

كَأَنَّ ثَبِيْـراً فِي عَرَانِيْـنِ وَبْلِـهِ       كَبِيْـرُ أُنَاسٍ فِي بِجَـادٍ مُزَمَّـلِ

كَأَنَّ ذُرَى رَأْسِ المُجَيْمِرِ غُـدْوَةً    مِنَ السَّيْلِ وَالأَغثَاءِ فَلْكَةُ مِغْـزَلِ

وأَلْقَى بِصَحْـرَاءِ الغَبيْطِ بَعَاعَـهُ    نُزُوْلَ اليَمَانِي ذِي العِيَابِ المُحَمَّلِ

كَأَنَّ مَكَـاكِيَّ الجِـوَاءِ غُدَّبَـةً         صُبِحْنَ سُلافاً مِنْ رَحيقٍ مُفَلْفَـلِ

كَأَنَّ السِّبَـاعَ فِيْهِ غَرْقَى عَشِيَّـةً     بِأَرْجَائِهِ القُصْوَى أَنَابِيْشُ عُنْصُـلِ
Note:

The Arabic of my audio recording is in what I choose to call "Early Classical Arabic" pronunciation. To put it grandiosely, it is a kind of Arabic that hasn't been heard for over a thousand years. To put it plainly, it is a speculative reconstruction of the kind of Arabic pronunciation the grammarian Sibawayh might have used, based on his description of Arabic speech-sounds, and augmented with some inference based on typology. The main differences from textbook Classical Arabic as it is taught and learned today are as follows:

The ج was /ɟ/ (not /dʒ/)
The ش was /ɕ/ (not /ʃ/) 
The ص was (for an indeterminate number of speakers including Sibawayh) an affricate /t͡sˤ/ rather than the fricative /sˁ/.  (For reasoning behind this reconstruction see this article by Ahmad Al-Jallad).
The ض was a pharyngealized lateral, probably /ɮˤ/ or /d͡ɮˤ/ (the modern /dˁ/ pronunciation is much more recent)
The ت and ك appear to have been quite strongly aspirated /kʰ tʰ/. 
In addition to the familiar three vowels /a: i: u:/ there existed /e:/ for many speakers (and, more marginally, /o:/ for some.) 
The vowel /a:/ was optionally raised to [e:] due to i-mutation under a complex of different circumstances, partially neutralizing the contrast between /a:/ and phonemic /e:/ and giving the realizations of /a:/ a range and distribution not commonly heard in modern elevated poetic recitations. 

Although I render ش as alveolo-palatal /ɕ/, full disclosure requires noting that another possibility would be a true palatal non-sibilant /ç/, which is what many (perhaps most) posit based on a strict interpretation of Sibawayhi's statement. Now, Sibawayhi, who doesn't get enough credit as a phonetician, could probably have distinguished palatal from alveolo-palatal articulation. But whether he would have cared to is a different question. Although he groups ي ش ج at the same place of articulation, it is only ش which causes assimilation of the definite article. Thus there was something about šīn that made it pattern, for assimilation purposes, with the coronals rather than the dorsals. The most straightforward interpretation would be that this is because šīn was indeed a sibilant. Sibilants as an articulatory class involve a centerline grooved tongue focusing the airstream such that it strikes the teeth. Whereas non-sibilant fricatives do not involve the teeth as a secondary articulator. Sibilants, probably because of the need to involve the teeth, are always coronal. Alveolo-palatal articulation sits uneasily in a no-man's land between the dorsal and coronals, and is as far back as you can go and still produce a sound that behaves acoustically and structurally like a sibilant. For /ç/ to function as a sibilant, it must thus have front articulation [ç̟], which (notational and theoretical games aside) makes it functionally /ɕ/. 

One phonologically interesting way in which Sibawayhi's Arabic was likely counterintuitive from the standpoint of many modern accents of the standard language, and doubly so for non-native Arabic speakers given how they tend to be taught, is that what we normally think of as voiced plain stops /b d ɟ/ and voiceless plain stops /t k/ did not — strictly speaking — have presence or absence of voicing per se as their distinguishing feature. In this, Sibawayh's Arabic would align with certain modern dialects like San'ani Arabic. (See Phonation and glottal states in Modern South Arabian and San’ani Arabic by Janet Watson and Barry Heselwood for this and more, including a good explanation of a crucial articulatory category in Sibawayh's description.) The chief featural distinction between the two sets was probably aspiration in the latter and non-aspiration (with adductive glottal tension) in the former. In a dialect like this, although /b d ɟ/ probably did not have fully specified voicing, much of the time this would be of little phonetic consequence since in most positions voicing would be triggered positionally. In post-pausal position, however, although /b d ɟ/ would trigger a glottal prephonation state, their actual voice-onset time would not necessarily be different from that of a voiceless non-aspirated stop. 

Al-Mutanabbi: On the Recapture of Al-Ḥadath (From Arabic)

The year is 954 A.D. Al-Ḥadath Al-Ḥamrā is a strategically important town on the Arab-Byzantine border, between Marˁaš and Malaṭiya, which depended for protection on a fortress built on nearby Mount Uḥaydib. After being captured and demilitarized in 950 by the Byzantines, it was retaken in October of 954 by Sayfu l-Dawla Abū Ḥasan Bin Ḥamdān, the Emir of Aleppo (whom I have seen fit to anglicize as Lord Ali the Realmsword) who set about refortifying it, only to be interrupted by the appearance of Byzantine forces under the command of Bardas Phocas. Before the end of the month, a decisive battle was fought around Mount Uhaydib. After a day of heavy fighting, Lord Realmsword with a small company of hardened men broke through the Byzantine line. Bardas' forces retreated, leaving members of his own family as prisoners. Lord Realmsword was then able to finish up the fortification of Al-Hadath, whereupon he had the pleasure of hearing his court poet Abū Ṭayyib Al-Mutanabbī recite the poem translated here in celebration of the occasion.

Oh and here's a recording of me reciting the Arabic text:

In Praise of Lord Realmsword on the Recapture of Al-Hadath
By Al-Mutanabbī
Translated by A.Z. Foreman
This translation is dedicated to Tahera Qutbuddin, in whose wonderful seminar I had the pleasure of reading this and other poems by Al-Mutanabbī and got some idea of how to translate him. 

Resolutions measure a man's resolve
 and noble deeds a noble name.
Small deeds loom large to little eyes
 and great deeds shrink in a great man's gaze.
Behold Lord Ali of the house of Hamdan,
 See how Realmsword is rightly his name.
He wills his forces
 to show the force of his will
 which hardened brigades can hardly attain
He expects of his men
 no more than himself
 but more than the lordliest of lions can claim.
Agelong vultures
 of the vast drylands
 would pledge their lives to protect his blades.
They'd meet no harm though made talonless
 since his sturdy arms of steel were made.
Does that Red City
 still realize her color,(2)
 whether cloudbursts brought the blood or the rain?
Where first she drank of flashing clouds
 she drank of skulls the day he came.
While blade beat blade he built and braced her
 where she shook from the force of the Fates' brute waves.
She lay mad in the hold
 of an unholy spell
 that dead bodies broke at break of day.

Displaced by Fate
 to a foreign creed,
 the strike of your swords restored her Faith.
What nights yield to you
 is yours forever.
 What they steal from you they soon must repay.
Plans you pass are verbs
 in the present now 
 having moved to past before men can negate.
No Roman or Viking
(3)  could raze that stronghold
 raised with pikethrusts  for pillars and base.
No wronged man died and no wrongdoer lived
 when they called her to justice. The Judge was Fate.

So clad in steel they came at you
 their coursers seemed legless crossing the plain.
When they flashed, their blades  all blended in
 with steel garments aglint with day,
An army on the crawl from east and west
 clamoring till the ears of Orion(4) ached,
A horde of tangled tongues and peoples
 with translators for each order relayed. 

Then that molten time melted fake mettle 
 till only war's metal and men remained
Every sword shattered that failed to shatter
 the bulwark of bloodwood and bucklers and mail
Every fool turned gutless in fear of gutting
 fled from the ranks of fighters that day. 
Where standing meant death you stood your ground
 as if on the sleeping eyelids of bane.
While wounded, fright-fouled fighters ran past you
 you fought with a smile and a shining face
and went beyond bounds of bravery and reason
 till they said you knew the Numen's ways.

I know how hawks  will hold birds down
 in a grip to gut  their grounded game.(5)
You squeezed the foe's wings on a squirming heart
 and dealt hard death to downstruck prey.
You skivered their skulls when you still hadn't won
 then their vitals and throats as victory came. 
You detested lances  and tossed them aside,
 your sword spitting on spears at close range. 

Let any who look for the light of conquest
 see it in the luster of lightweight blades.
You strewed them hard over Uháydib like coins
 strewn over a woman on her wedding day.  
Your horses trampled the hilltop nests
 where fodder galore before them lay.
Eaglets imagined  it was their mothers you brought,
 not the sturdy wingfoot  steeds that raced
till they slipped and you had them slide on their bellies 
 across the earth like crawling snakes. 

Will the Domesticus(6) dare every day against you
 with his neck fighting  his advancing face? 
Does he not sense lions'  scent till he tastes it?
 Even wildbeasts can sense a lion on the way. 
Our leader's sorties struck him hard 
 when his son, his wife's brother  and his son were slain.
Troops helped him scamp to escape the swords
 that were busy hacking  their heads away. 
He got the message  of Mashrafi(7) steel
 to his men, though told  in the tongue of strangers. 
He was glad to surrender not in stupidity,
 but after his loss even life was a gain. 
You are no mere king who conquers his peer(8)
     but the one God's triumph over triune pagans,
You have ennobled  all of Adnan(9),
  Pride of the Outlands(10) and all creation. 
The praise is yours for my pearls of verse:
 I just string them.  You set their shape.   
Your gifts(111) gallop with me through the grind of war
 so you bear no regrets and I no blame
On a steed whose feet  fly to battle
 as soon as it hears the howling fray.

Oh Realmsword unsheathed  and ready forever,
 held in no doubt nor held at bay.
Joy to skull-strikers, to stout men's deeds,
 to them that love you and Islam: you are safe. 
And why wouldn't God still guard your edge
 to behead his foes with you for a blade?

Notes:


2 — Hali l-ḥadaṯu l-ḥamrā'u taˁrifu lawnahā? (Literally: "Does Red Al-Hadath know her color?")

"Red" was a term that could be used for non-Arabs, especially Persians, Greeks or "Franks" (Western Europeans) who were seen as being of lighter complexion. E.g. Atānī kullu aswada minhum wa'aḥmar "Every one of them, Arab and not, came to me". A saying attributed to Muhammad has it that buˁiṯtu ilā l-'aḥmari wa-l-aswad "I was sent to the red and the black" of which the most straightforward interpretation is "to all mankind, Arab and not." The term Al-Ḥamrā' as a collective adjective may also be used to refer generically to foreigners, or to emancipated slaves.

Al-Hadaṯ Al-Ḥamrā' "Red Hadath" is the traditional appellation of the city. The color is — I think — being played on at multiple levels. She (the city is morphosyntactically feminine) is in the most obvious sense "red" after being soaked with blood. But she was also a "red" (foreign, Greek) city when under Byzantine rule, which she no longer is. She is now "red" (emancipated from bondage) now that Lord Realmsword has relieved her of foreign control. Despite her traditional appellation, she may not even know that she is now red in one sense, and was red in the other, so completely has she now been redeemed to her proper place under Islamdom.

3 — "Vikings". The original text uses the word Rūs which in Modern Arabic simply means "Russians." Anglophone commenters on this poem have usually translated it thus, and Arabic commentaries often leave the word unglossed as though its meaning were transparent. But the Arabic word Rūs, at this time, actually referred to Norsemen (specifically the Byzantine Varangian guard is probably what is meant.) Since English "Rus" is far too scholarly, and "Norsemen" would be a bit too specific, I have used the most readily intelligible term Vikings. (I considered calquing off of Old Norse Garðmaðr and rendering the phrase as "Greeks and Garthmen" or the like. But somehow it felt a bit silly to go to such an extreme.)

4 — The original actually refers to Gemini, a different constellation. But makes for a more transparent image of an anthropomorphized stellar figure.

5 — This verse, like some others in my translation, does not have an exact counterpart in the original. But it served in English to make the image clearer. Al-Mutanabbī's description evokes the way a hawk pounces on larger types of prey. The predator holds its prey to the ground, delivering blows to the skull to dispatch it fully before slashing into the throat.

6 — Domesticus (or, rather δομέστικος) was Bardas' Byzantine military title, loaned into Arabic as dumustuq, which is the word Al-Mutanabbī uses.

7 — In poetry, good swords are often said to be "Mashrafi" after an obscure place called Mashraf. Nobody quite knows why, though everybody likes to guess.

8 — Literally "You are monotheism defeating polytheism (širk)". That Christians have in some sense diluted the principle of monotheism by worshipping a trinity was — as it still is — a commonplace of anti-Christian Muslim polemic.

9 — Adnan: the Northern Arabs are supposedly descendants of ˁAdnān.

10 — "Outlands" is my rendering of ˁawāṣim. The word has often been misread as meaning "capitals" which is its sense in Modern Arabic. The term ˁawāṣim here refers to a part of the frontier zone between the Byzantine Empire and the Empire of the Caliphs. The forward strongholds of this zone were called ṯuġūr "mouths", while those further rearward were called the ˁawāṣim "guardianesses". 

11 — Lord Realmsword had gifted the poet with some horses.

The Original:

عَلى قَدْرِ أهْلِ العَزْم تأتي العَزائِمُ   وَتأتي علَى قَدْرِ الكِرامِ المَكارمُ
وَتَعْظُمُ في عَينِ الصّغيرِ صغارُها وَتَصْغُرُ في عَين العَظيمِ العَظائِمُ
يُكَلّفُ سيفُ الدّوْلَةِ الجيشَ هَمّهُ وَقد عَجِزَتْ عنهُ الجيوشُ الخضارمُ
وَيَطلُبُ عندَ النّاسِ ما عندَ نفسِه وَذلكَ ما لا تَدّعيهِ الضّرَاغِمُ
يُفَدّي أتَمُّ الطّيرِ عُمْراً سِلاحَهُ نُسُورُ الفَلا أحداثُها وَالقَشاعِمُ
وَما ضَرّها خَلْقٌ بغَيرِ مَخالِبٍ وَقَدْ خُلِقَتْ أسيافُهُ وَالقَوائِمُ
هَلِ الحَدَثُ الحَمراءُ تَعرِفُ لوْنَها وَتَعْلَمُ أيُّ السّاقِيَيْنِ الغَمَائِمُ
سَقَتْها الغَمَامُ الغُرُّ قَبْلَ نُزُولِهِ فَلَمّا دَنَا مِنها سَقَتها الجَماجِمُ
بَنَاهَا فأعْلى وَالقَنَا يَقْرَعُ القَنَا وَمَوْجُ المَنَايَا حَوْلَها مُتَلاطِمُ
وَكانَ بهَا مثْلُ الجُنُونِ فأصْبَحَتْ وَمِنْ جُثَثِ القَتْلى عَلَيْها تَمائِمُ
طَريدَةُ دَهْرٍ ساقَها فَرَدَدْتَهَا على  الدّينِ بالخَطّيّ وَالدّهْرُ رَاغِمُ
تُفيتُ کللّيالي كُلَّ شيءٍ أخَذْتَهُ وَهُنّ لِمَا يأخُذْنَ منكَ غَوَارِمُ
إذا كانَ ما تَنْوِيهِ فِعْلاً مُضارِعاً مَضَى قبلَ أنْ تُلقى علَيهِ الجَوازِمُ
وكيفَ تُرَجّي الرّومُ والرّوسُ هدمَها وَذا الطّعْنُ آساسٌ لهَا وَدَعائِمُ
وَقَد حاكَمُوهَا وَالمَنَايَا حَوَاكِمٌ فَما ماتَ مَظلُومٌ وَلا عاشَ ظالِمُ
أتَوْكَ يَجُرّونَ الحَديدَ كَأنّمَا سَرَوْا إليك بِجِيَادٍ ما لَهُنّ قَوَائِمُ
إذا بَرَقُوا لم تُعْرَفِ البِيضُ منهُمُ ثِيابُهُمُ من مِثْلِها وَالعَمَائِمُ
خميسٌ بشرْقِ الأرْضِ وَالغرْبِ زَحْفُهُ وَفي أُذُنِ الجَوْزَاءِ منهُ زَمَازِمُ
تَجَمّعَ فيهِ كلُّ لِسْنٍ وَأُمّةٍ فَمَا يُفْهِمُ الحُدّاثَ إلاّ الترَاجِمُ
فَلِلّهِ وَقْتٌ ذَوّبَ الغِشَّ نَارُهُ فَلَمْ يَبْقَ إلاّ صَارِمٌ أوْ ضُبارِمُ
تَقَطّعَ ما لا يَقْطَعُ الدّرْعَ وَالقَنَا وَفَرّ منَ الفُرْسانِ مَنْ لا يُصادِمُ
وَقَفْتَ وَما في المَوْتِ شكٌّ لوَاقِفٍ كأنّكَ في جَفنِ الرّدَى وهْوَ نائِمُ
تَمُرّ بكَ الأبطالُ كَلْمَى هَزيمَةً وَوَجْهُكَ وَضّاحٌ وَثَغْرُكَ باسِمُ
تجاوَزْتَ مِقدارَ الشّجاعَةِ والنُّهَى إلى قَوْلِ قَوْمٍ أنتَ بالغَيْبِ عالِمُ
ضَمَمْتَ جَناحَيهِمْ على القلبِ ضَمّةً تَمُوتُ الخَوَافي تحتَها وَالقَوَادِمُ
بضَرْبٍ أتَى الهاماتِ وَالنّصرُ غَائِبٌ وَصَارَ إلى اللّبّاتِ وَالنّصرُ قَادِمُ
حَقَرْتَ الرُّدَيْنِيّاتِ حتى طَرَحتَها وَحتى كأنّ السّيفَ للرّمحِ شاتِمُ
وَمَنْ طَلَبَ الفَتْحَ الجَليلَ فإنّمَا مَفاتِيحُهُ البِيضُ الخِفافُ الصّوَارِمُ
نَثَرْتَهُمُ فَوْقَ الأُحَيْدِبِ كُلّهِ كمَا نُثِرَتْ فَوْقَ العَرُوسِ الدّراهمُ
تدوسُ بكَ الخيلُ الوكورَ على الذُّرَى وَقد كثرَتْ حَوْلَ الوُكورِ المَطاعِمُ
تَظُنّ فِراخُ الفُتْخِ أنّكَ زُرْتَهَا بأُمّاتِها وَهْيَ العِتاقُ الصّلادِمُ
إذا زَلِقَتْ مَشّيْتَها ببُطونِهَا كمَا تَتَمَشّى في الصّعيدِ الأراقِمُ
أفي كُلّ يَوْمٍ ذا الدُّمُسْتُقُ مُقدِمٌ قَفَاهُ على الإقْدامِ للوَجْهِ لائِمُ
أيُنكِرُ رِيحَ اللّيثِ حتى يَذُوقَهُ وَقد عَرَفتْ ريحَ اللّيوثِ البَهَائِمُ
وَقد فَجَعَتْهُ بابْنِهِ وَابنِ صِهْرِهِ وَبالصّهْرِ حَمْلاتُ الأميرِ الغَوَاشِمُ
مضَى يَشكُرُ الأصْحَابَ في فوْته الظُّبَى لِمَا شَغَلَتْهَا هامُهُمْ وَالمَعاصِمُ
وَيَفْهَمُ صَوْتَ المَشرَفِيّةِ فيهِمِ على أنّ أصْواتَ السّيوفِ أعَاجِمُ
يُسَرّ بمَا أعْطاكَ لا عَنْ جَهَالَةٍ وَلكِنّ مَغْنُوماً نَجَا منكَ غانِمُ
وَلَسْتَ مَليكاً هازِماً لِنَظِيرِهِ وَلَكِنّكَ التّوْحيدُ للشّرْكِ هَازِمُ
تَشَرّفُ عَدْنانٌ بهِ لا رَبيعَةٌ وَتَفْتَخِرُ الدّنْيا بهِ لا العَوَاصِمُ
لَكَ الحَمدُ في الدُّرّ الذي ليَ لَفظُهُ فإنّكَ مُعْطيهِ وَإنّيَ نَاظِمُ
وَإنّي لَتَعْدو بي عَطَايَاكَ في الوَغَى فَلا أنَا مَذْمُومٌ وَلا أنْتَ نَادِمُ
عَلى كُلّ طَيّارٍ إلَيْهَا برِجْلِهِ إذا وَقَعَتْ في مِسْمَعَيْهِ الغَمَاغِمُ
ألا أيّها السّيفُ الذي لَيسَ مُغمَداً وَلا فيهِ مُرْتابٌ وَلا منْهُ عَاصِمُ
هَنيئاً لضَرْبِ الهَامِ وَالمَجْدِ وَالعُلَى وَرَاجِيكَ وَالإسْلامِ أنّكَ سالِمُ
وَلِمْ لا يَقي الرّحم?نُ حدّيك ما وَقى وَتَفْليقُهُ هَامَ العِدَى بكَ دائِمُ

Ghayyar-El ben Ghawth: A Safaitic War Chant (from Old Arabic)

Today we have an ancient Safaitic war chant, a poem discovered and deciphered by Ahmad Al-Jallad at Marabb al-Shurafā', a mudflat in the Ḥarrah of north-eastern Jordan. The inscription is hard to date but probably comes from around the turn of the first centuries BC and AD. 

It seems to me that a Safaitic inscriptional text, especially one this which is thus far unique in its length and register, would have been chanted, given the highly ritualized nature. (Certainly in more recent centuries that seems to have been — and to a degree still is — the traditional Bedouin practice.) So I did that here in reading the original text. I offer my own translation, composed for readability.

Safaitic War Chant
By Ghayyar-El(?)
Translated by A.Z. Foreman

By Ghayyar-El son of Ghawth of the line of Hathay, from when he left his folk

      Now let him camp for war
            So be his final campment here today
      Fame for him is first
  
          So be his final campment here today
      He suffers who returns
   
         So be his final campment here today

He made for the marchlands, and alighted in the heath. There he kept watch for his uncle Sakran, exalting him with "Fortune be his". 
So keep him safe, Allāt.

The Original:
(Tracing done by Al-Jallad)


𐩡𐩶𐩺𐩧𐩱𐩡𐩨𐩬𐩶𐩻𐩹𐩱𐩡𐩢𐩼𐩺𐩥𐩧𐩢𐩡 𐩣𐩱𐩠𐩡𐩠
𐩰𐩢𐩡𐩡𐩠𐩣𐩢𐩧𐩨
𐩰𐩠𐩺𐩣𐩠𐩬𐩱𐩭𐩧𐩢𐩡𐩡
𐩧𐩱𐩪𐩹𐩫𐩧𐩩
𐩰𐩠𐩺𐩣𐩠𐩬𐩱𐩭𐩧𐩢𐩡𐩡
𐩲𐩬𐩺𐩣𐩬𐩢𐩮𐩰
𐩰𐩠𐩺𐩣𐩠𐩬𐩱𐩭𐩧𐩢𐩡𐩡
𐩢𐩵𐩵𐩥𐩻𐩥𐩺𐩨𐩠𐩧𐩳𐩩𐩥𐩭𐩧𐩮𐩭𐩡𐩠𐩪𐩫𐩧𐩬𐩺𐩧𐩨𐩰𐩠𐩨𐩤𐩡𐩰𐩸𐩠
𐩰𐩠𐩡𐩩𐩪𐩡𐩣

Sargon Boulus: Du Fu in Exile (From Arabic)

In Arabic, this poet's use of the words manfā "exile" and nakabāt "catastrophes, ordeals" has a very contemporary political undertone to my ear, evoking (but not exactly invoking) the catastrophic upheavals and displacements that have taken place in the Arab world over the past century.

Du Fu in Exile
By Sargon Boulus
Translated by A.Z. Foreman

"The smoke of war is blue
White the bones of men" 

The village Du Fu came to
Was a borough where the fire was almost out
He came knowing that Words
Like his hungry horse, without some feed,
Might not have much left in them 
After so many ordeals
 

So many battlefields 
He came across, where bleak winds bleach
The bones of a horseman jumbled up
With horse bones. Soon enough, grass would hide the rest.


A fire to warm the hands by
As his head hung low, the heart all firewood...


He

Had to start wandering on his own at twenty
And never once found a place to stay
Wherever he was, a war was on. And on.


His daughter died in a famine
In China, they say he wrote like the gods


Another village Du Fu came to
Poured smoke up from its kitchens
As hungry people waited in front of the baker's

The bakers' sweat-soaked faces: mirrors
Bearing witness to the heat of their fires


Du Fu. You, sir, are Lord of Exile. 

The Original:

تو فو في المنفى
سِركُون بولص

"دخانُ الحرب أزرق
بيضاء عظامُ البشر."


قريةٌ يَصلُ إليها تو فو
دَسْكرةٌ فيها نارٌ تكادُ تنطفئْ
يَصلُ اليها عارفاً أنّ الكلمة
مثلَ حصانه النافق، دون حَفنة من البَرسيم
قد لا تبقى مزهرةً بعدَ كلّ هذه النـَكبات!

كم ساحة معركة
مرّ بها تصفُرُ فيها الريح
عظامُ الفارس فيها اختلطتْ
بعظام حصَانه، والعشبُ سرعان ما أخفى البقيّة!

نارٌ تتدفّأ عليها يَدان
بينما الرأسُ يتدلّى والقلبُ حَطب

هو الذي بدأ بالتِّيه في العشرين
لم يجد مكاناً يستقرّ فيه حتى النهاية.
حيثما كان، كانت الحربُ وأوزارُها.

ابنتهُ ماتت في مجاعة. . .
ويُقالُ في الصين أنه كان يكتبُ كالآلهة!

قريةٌ أخرى يصلُ اليها تو فو
يتصاعدُ منها دخانُ المطابخ
وينتظر الجياعُ على أبواب مَخبَز.
وجوهُ الخبّازين المتصبّبة عرَقاً، مرايا
تشهدُ على ضَراوة النيران.

تو فو، أنت، أيّها السيّد، يا سيّد المنفى.