Arabic Adab (Literature/Poetry)

[Abul-Fadl]

as-Salaamu 'Alaykum,

I started this thread on the RevivingIslam forums, but they are down now. I'm going to continue the discussion here, because a dear brother to me requested such. I will post everything I put up so far, with some slight editing, In Shaa' Allaah.

[Abul-Fadl]

I have this interest in Arabic literature and poetry in addition to my interest in Islaamic studies. Since this topic is studied by those studying Arabic (see al-Jaami' by Abul-Fadl 'Abdil-Qaadir Bin 'Abdil-'Azeez al-Misree for explanation), I wanted to post some poems (as well as beneficial pieces of information) that I came across, and I'll attempt to translate their meanings. These I found during different readings from books on Arabic literature, such as:

Rawdat al-Muhibbeen wa Nuzhat al-Mushtaaqeen by Ibnul-Qayyim
Compilation of poems by Abut-Tayyib al-Mutanabbee
Jawaahir al-Adab by Ahmad al-Haashimee
Deewaan al-Hamaasah - compiled by Aboo Tammaam at-Taa'ee

Some of these poems can be memorized as a charity (say them to your wife or concubine). But I'll leave those for last. Alot of them are proverbs and wise sayings. I'll update this list as often as I can.

Incase noone is interested in this subject, I want to mention some of the benefits of studying it:
1. Improving one's command over the Arabic language.
2. Strengthening one's eloquence.
3. Familiarity with some famous quotations used by scholars.
4. Familiarity with the history of the Arabs, both in pre-Islaamic times and Islaamic times.
5. Relief when tired or bored.
6. Etc.

Things to keep in mind:

In the books of literature when they say "Arabic scholar" it means one who is specialized in the sciences of the Arabic language, not necessarily a scholar of other Islaamic sciences (Fiqh, Hadeeth, etc).

Also, if it is said so and so is an Islaamic or Islamist poet, what they mean is he appeared in the era after the Jaahiliyyah, not necessarily that he is writing about Islaamic topics nor does it mean that he is Muslim. They call poets who wrote in pre-Islaamic times, Jaahilee poets, not necessarily because his poetry is about idol worship or alcohol.

I want to add, that my philosophy in translating Arabic texts is to give more emphasis to meaning rather than the literal translation or sticking to the original sentence construct. This is because it makes the translation impossible to read, when some translators emphasize the original text's structure, rather than the meaning.

[Abul-Fadl]

For today:

وإذا لم يكن منَ الموتِ بُدُّ * فمِنَ العَجزِ أنْ تَكُونَ جَبَانا



This is by the genius of Arabic poetry, Abut-Tayyib al-Mutanabbee. He is called al-Mutanabbee because some of the rulers at his time wanted him arrested for political reasons. To get him arrested they accused him of claiming Prophethood (which he never claimed), so when he was finally released everyone labelled him "al-Mutanabbee", meaning the claimer of Prophethood, although he hated the label.

He is considered the best of all Arab poets, due to his ability to manifest deep wisdoms with strong images. He is also famous for his descriptions of bravery, chivalry, war, and battles, as well as his praises of the ruler Sayf ad-Dawlah al-Hamadaanee (who I don't know much about, although I heard he was an extreme innovator).

Before I translate it, I want to mention, Arabic poetry is very "musical." It follows strict rules of rhyme and metre. Its not considered poetry (at least by classical Arabic scholars) if the poem doesn't rhyme, or even if it does rhyme but it doesn't follow a standard metre/weight. Obviously, since these are translations, the musical feeling of the poetry will disappear.

Another aspect of Arabic poetry is that it is not anarchic and chaotic like modern English poetry. Modern English poetry is filled with what they call "symbolism" and people try to guess what the author is trying to say. In my opinion, it is written just to confuse people. Arabic poetry, on the other hand, is very straight forward, conveying its message smoothly. If anything is hard about understanding it, at most, it would be usage of rare words. There is imagery and figurative language, but not like the psychosis found in modern English poetry.

Anyway, these lines, 'Abdullaah 'Azzam (Rahimahullaah) would quote alot in his speeches. They translate as:
"If death is something inescapable, then it is from weakness to be a coward."

It is claimed that Abut-Tayyib died due to these lines. He was travelling and some highway robbers trapped him. When they realized who he was, and saw him trying to escape with his money, they said to him, "Isn't it true that you said these lines?" So they recited the lines to him. So he admitted to such, and then decided to die by these lines, by fighting the robbers till he was killed.

[Abul-Fadl]

One of the literary forms of expression used by Arabic scholars is the debate. Its a form of art, where the author personifies two contrary things and has them debate over which is greater than the other. Examples: There has been debates between the moon and the sun, the land and the sky, the day and the night, etc.

Usually, from all the debates I've read, the author doesn't have one party win or clearly win. One debate of particular interest for us is the debate between the sword and pen by Zaynd ad-Deen 'Umar Bin al-Wardee who died 740 AH. He made a debate in which the sword and pen argued over which is more honorable and better.

The first time I read this debate was when the Mujaahid scholar Aboo Jandal al-Azdee (Fakk Allaahu Asrah) released it online with a few comments of his own at the end.

In the debate the sword mentions some of its values, such as it is the key to Paradise, Paradise is in its shade, the Prophet (Sall Allaahu 'Alayhi wa Sallam) never used a pen but used the sword, so his hand held a sword but not a pen. Etc.

The pen mentions things such as Allaah making an oath by the pen, teaching by the pen, it was the first thing created from this world then it was ordered to write all that would come to be, etc.

In the end, the author says that the debate ended with no conclusion and that Allaah would judge between them in the Hereafter. Aboo Jandal followed up by saying: "After this amazing emotional debate, I pondered over Islaamic history and realized that he who raises the pen without the sword is humiliated, and he who raises the sword without the pen is deviated. As for the one who raises them together, then he will be guided to his goal and reach it. Shaykh al-Islaam Ibn Taymiyyah (Rahimahullaah) said, 'The religion is not established except by a book (the Revelation) to guide and sword to support.'"

You can read the debate in Arabic at this link:
http://www.almaqdese.com/r?i=1815

Now here are the opinions of two poets on this issue (although they were not intended to be part of the debate).

Aboo Tammaam at-Taa'ee, is a famous poet, considered a reviver by some, and heavily criticized for his emphasis on the beautification of poetry by filling it with imagery and figurative speech (but not like that of the anarchic poetry found in modern English). He is considered one of the best three poets, al-Mutanabbee being the best of the three. Anyway, he said, in one line of poetry:

السَّيْفُ أَصْدَقُ إنْبَاءً مِنَ الكُتُبِ * فِي حَدهِ الحَدُّ بَيْنَ الجِد واللَّعِبِ

This translates as:
"The sword is more truthful than books in conveying its message, by its blade, it sets the lines between seriousness and play."

Of course, in Arabic it sounds much more beautiful. Alot of scholars have quoted this line of poetry, including Hamood Bin 'Uqlaa' ash-Shu'aybee in one of his lectures.

Here's a set of lines of poetry by al-Mutanabbee on the same subject:

حَتَّى رَجَعتُ وأقلامي قَوائلُ لي * المَجْدُ لِلسيفِ لَيسَ المَجْدُ لِلقَلَمِ


أُكتُبْ بِنا أبَداً بَعدَ الكِتابِ بهِ * فإنَّما نَحنُ لِلأسيافِ كالخَدَم

They translate as:
"I returned, and my pens said to me: 'Honor is for the sword, not for the pen.

Write with us eternally after (writing with) the sword, for indeed we are to swords like servants.'"

He means by "write with the sword", make history with the sword then write it down with us after its been made. I recall reading some other lines by him where he said the pen was loftier and was capable of attaining honor that the sword can't. I can't remember now where I read them.

Another set of lines indicate the opposite attitude, that the pen is loftier. These are by my current favorite poet, Ibn ar-Roomee, who has absolutely no relationship with the heretic Soofee named ar-Roomee (Rumi). They both have ancestors from Rome, so they got that nickname, but they are unrelated. One is Ibn ar-Roomee, the other just plain Roomee.

Ibn ar-Roomee said:

إن يخدمُ القلمَ السيفُ الذي خضعت * له الرقابُ ودانت خوفه الأممُ

فالموتُ والموتُ لا شيء يغالبه * ما زال يتبعُ ما يجري به القلمُ


كذا قضى الله للأقلام مذ ْ بريت * أن السيوف لها مذ أرْهفت خدمُ

It translates as:
"If the pen serves the sword as is claimed,
For which nations' throats submitted out of fear.

Then death - death is not defeated by a thing,
It continues to follow what the Pen has written.

Thus Allaah decreed for pens, since they were sharpened,
That the swords be their servants since their sharpening."

"To follow what the Pen has written" he is referring to the pen that Allaah created ordering it to write all that would occur, including the deaths of each and every individual. So he believes the pen is loftier than the sword, since the sword can bring death about only due to it being written by the Pen in the Preserved Tablet.

The first time he uses the word sharpen, it is referring to fining the pens' tips. The second time, he is referring to sharpening the swords' blades. The two words are different in Arabic.

Abul-Fadl (me): I pondered over this issue after reading the debate and these lines of poetry. I have my personal conclusion that the pen is greater than the sword, or loftier. These are some reasons:

The sword said that the Prophet held it, but Allaah wrote the tablets that were revealed to Moosaa with His own hand, as mentioned in a Hadeeth. Thats one point. Also, every single Prophet ever sent to mankind was sent with a pen (I mean knowledge in the form of revelation or a book) but no Prophet was sent with a sword independent of the pen. Lastly, a Muslim can be a Muslim with the knowledge preserved by the pen even if he is never given a sword, but without the pen he will likely deviate to the religion of Jaahiliyyah or be extremely misguided by the devils. Of course, this does not mean that the pen is complete without the sword or needless of it. Rather it needs the sword to perfect its ability to propagate and preserve its message. This is my opinion, and Allaah knows best.

In our time, the sword has been abandoned by the scholars and the masses, so a return to it is definitely needed.

Side story: During the weakening of the Umayyid Khilaafah, and the revolution of the 'Abbasids, one of the famous eloquent writers and representatives of the Umayyids sent a letter to the Abbasids. His name was 'Abdul-Hameed Bin Yahyaa. The letter was so eloquent, it was meant to cause chaos amongst the Abbasids. It was so long, that it was carried on a camel's back to them. When the letter reached one of their authorities, Aboo Muslim al-Khurasaanee, he ordered it burnt, without even reading it. He then wrote a line of poetry on a paper and sent it back to Marwaan, the head of the Umayyids. It said:

محا السّيف أسطارَ البلاغةِ وانتحى * عليك ليوثُ الغاب من كلّ جانب

Which translates as:
"The sword erased the lines of eloquence and, the lions of the jungle have surrounded you from all sides."

[Abul-Fadl]

One of the reasons that classical Arabic poetry is studied is to preserve the language and its meanings. This is why some of the Sahaabah, such as 'Umar, would recommend memorization of Jaahilee poetry. Old poetry is considered a proof in the language. So, for example, if a word is unclear in meaning, we can analyze its usage in old Arabic poetry to derive its meaning from its context in the poem. This is one of the tools used in Tafseer or getting meanings for rare words in Ahaadeeth.

Of course, one of the conditions is the poetry must be old. Most of the scholars set the limit to 150 years after the Hijrah (from what I recall). After that time, the speech of the Arabs started to become corrupted because of integration with new Muslim communities whose mother tongue was non-Arabic.

So far, all the poetry quoted is after the 150 AH period. It'll probably be the case for most of what I quote, since I chose it for the meaning rather than for the sake of learning rare words.

Beneficial Point: A brother in another thread mentioned his fascination with Ibn Khaldoon, the genius Muslim historian. I was reading his Muqaddimah a few months back and came across an interesting discussion. He said (paraphrazed) that I thought to myself, why is it the later Arabs, such as Ibn ar-Roomee (not the Soofee), Aboo Tammaam, al-Mutanabbee, etc., in their poetry or even prose, they have a tremendous level of eloquence, far outweighing that of the early Jaahilee Arabs? This is the case although the Jaahilee Arabs had a much much stronger command over the Arabic language.

He said, I thought about this and came to this conclusion. The Islaamic Arabs had the opportunity to benefit from the book that no other book can compare to in eloquence -- the Qur'aan. The Arabs could not come up with anything like it in beauty, although its Arabic is prose (not poetry). Secondly, they benefited from the eloquence of the Last Messenger (Sall Allaahu 'Alayhi wa Sallam) -- the most eloquent of the Arabs. This is why he said, "I have been given Jawaami' al-Kalim." This means speech that is brief but contains many meanings, one of the clearest signs of eloquence.

So with familiarity of this eloquent speech, they were themselves able to become more eloquent and surpass their forefathers.

Ibn Khaldoon then said, I went to one of my teachers and presented to him this question that I had raised and my own answer. I asked him what he thought of my conclusion. He said he agreed with me and was amazed by me, and thereafter he would sit me upfront in his classes and honor me the most from amongst all his students.

Anyway, I have to repeat, Ibn Khaldoon is a genius when it comes to history and the study of history's patterns and theory.

Ahmad al-Haashimee (an Egyptian scholar of Arabic who died in the 1900's) said that for one to improve his eloquence in Arabic, he should begin by memorizing as much Qur'aan as possible, and short Ahaadeeth. Then go onto reading and memorizing examples of eloquent Arabic in both poetry and prose. Of course, this is after one learns grammar and other basic sciences of the language. This of course was mentioned by Ibn Khaldoon prior to him.

Another Point of Benefit: (from Ibn Khaldoon's Muqaddimah)
He said, in the section on language and poetry, (paraphrazing) that complex imagery and figurative speech in poetry is like makeup on a woman or decorations in a house. Too much of it makes the women appear clownish or the house appear cluttery.

When I read that point, I thought over one of the problems in modern English poetry (and even in many older forms -- but there are always exceptions), is the obsession with filling the poem with tons and tons of symbolism, to the point that the poem is no longer a form of artistic expression, rather it becomes a psychotic, impossible to decipher, attempt at meditation or reflection. Then they have the nerve ontop of that to call it art! I think it reflects some of the problems found in so-called Western civilization. It really drives alot of people into insanity, but they continue to live as if they are normal human beings.

I think everyone here knows what I mean, if they've went through high school English classes in the West. Again, this is my opinion, and since it has nothing to do with the religion, you don't have to agree.

[Abul-Fadl]

Here are some very famous lines by al-Mutanabbee on having high aims and self esteem. They are very beautiful in Arabic, because of the repitition of similar sounding words but in different usages. They are a bit hard to translate, but I'll try.

He said:

عَلَى قَدْرِ أَهلِ العَزمِ تَأتِي العَزائِمُ * وتَأتِي عَلَى قَدْرِ الكِرامِ المَكارِمُ


وتَعظُمُ في عَينِ الصّغِيرِ صِغارُها * وتَصغُر في عَينِ العَظِيمِ العَظائِمُ


They translate as:
"Resolute matters come to the extent of the resolute's resolution,
And generosity, to the extent of the generous' generosity.

Small things appear great in the eyes of the small,
And great things appear small in the eyes of the great."

Of course, the first part may sound very redundant in English, but in Arabic, repitition in this form isn't redundance. There is an example of this in the Qur'aan, where Allaah Says that Fir'awn said to Moosaa (approximate translation), {"And you did your doing that you did."} It uses three different forms of the word Fa'ala (to do) as well as the pronoun "you".

Secondly, pay attention to the meaning he is trying to convey. What he is saying is that difficult goals can only be reached with great resolve, etc. Then he beautifully says that for those with weak minds, small things appear impossible to accomplish. Those with great resolve, large things appear easy to accomplish.

These are words of wisdom regarding self-esteem and will power.

I want to add a comment, from my own reflections regarding self-esteem/will-power. The Muslim should only rely upon Allaah, and his source of certainty must be Allaah. The correct understanding of self-esteem should be that due to the firm belief he has in Allaah and Allaah's wisdom, as well as his firm belief that Allaah only decrees what is best for him, and that Allaah will answer his supplications and aid him; the Muslim thus has unshakable certainty and confidence in what he can do. It shouldn't be reliance upon one's self in a false, arrogant, and possibly Shirkee manner. Allaahu A'lam, these were some thoughts that came to my mind when thinking about the issue of self esteem, which every Muslim should have. Allaah created our "selfs" and they are a means to accomplish our goals, so we should use the means in reaching our goals.

Also, not everyone can tackle everything. Allaah created us all with different abilities. So for some, taking up humongous tasks is not wise. But the poet's point is very strong and can be taken as a general rule.

[Abul-Fadl]

Today's poem:

This is also by al-Mutanabbee. I'm sorry that so far most of the poems quoted were by him, but as I said, he is considered the head of the Islaamic poets. He also packs his poetry with wisdom. These lines were also quoted alot by 'Abdullaah 'Azzaam in his lectures. You'll see why from their meanings.

He said:


إِذا غامَرْتَ في شَرَفٍ مَرُومِ * فَلا تَقْنَعْ بِما دُونَ النُّجومِ


فطَعْمُ المَوتِ في أَمرٍ حَقِيرٍ * كطَعْمِ المَوتِ في أَمرٍ عَظِيمِ






يَرَى الجُبَناءُ أَن العجز عَقلٌ * وتلكَ خديعةُ الطّبع اللئيمِ






وكُلُّ شَجاعةٍ في المَرء تُغنِي * ولا مِثلَ الشّجاعة في الحَكِيمِ






وكم من عائِبٍ قَولاً صَحيحًا * وآفَتهُ مِنَ الفَهمِ السّقِيمِ






ولكِنْ تَأخذُ الآذان منهُ * على قَدَرِ القَرائِحِ والعُلُومِ

They translate as:
"If you decide to adventure for sough-out honor,
Then do not settle for anything less than the stars.

For the taste of death in something futile,
Is the same taste of death in something great.

The cowardly see weakness as wisdom,
But this is the deception of the weak natured.

Every bravery in a man enrichens,
And nothing is like bravery in the wise.

How often is it that a true word is belittled?
And its cause is due to weak understanding.

But the ears takes from the true words,
To the extent of their nature and knowledge."

I think you see why Sh. 'Abdullaah 'Azzaam would quote these lines in his speeches alot, when encouraging the youth for Jihaad.

Briefly, although I don't think it needs much thought because of the simplicity and eloquence:
Anything less than the stars - Meaning if you decide to try to achieve something good or honorable, then don't set low standards and goals. Rather set higher goals.

He then explains that death is death whether you die in something honorable or in something else, so why not attempt to make it an honorable death? Like Sh. 'Abdullaah 'Azzaam used to say, "Its only one death, so let it be for Allaah's cause."

Then he mentions how the cowardly (Surooree/Sahawee guys of our time?) think weakness, or the failure to attempt brave acts, as wisdom. How often do we hear, "Its wise to lay arms...its the lesser evil... blah blah blah"?

Then he mentions how bravery is always praiseworthy, especially in the wise. Probably because they can differentiate between bravery and pure zeal.

Then he mentions how many times people reject the truth because of being simple minded and not being able to comprehend the truth's reality.

Again, words of wisdom.

Note: I think you've noticed by now that its not the habit of old classical Arab poets to title their poetry. This is the case in alot of classical English poetry.

[Abul-Fadl]

Note: This topic came up, because in the original thread I made a reference to Majnoon Laylaa. So a few brothers and sisters asked for some information on him.I'll mention the story of who this Majnoon Laylaa is, since its interesting and he appears alot in Arabic literature. Ibnul-Qayyim quotes alot from his poetry when discussing the topic of love.

First I want to begin by saying alot of cultures have taken his story and added their own twist to it. This includes the Turks, Persians, and Indians (subcontinent's inhabitants). The story is a real story though. It occurred in the Islaamic era amongst the Arabs. Of course, somethings may have been fabricated or introduced into the story to spicen it up.

Majnoon Laylaa isn't his name, rather that is what he was nicknamed. Sometimes he'd be nicknamed Majnoon Banee 'Aamir. Majnoon means insane or crazy. Laylaa was the woman he fell in obsessive love with. Banee 'Aamir is his tribe. His real name was Qays Bin al-Mulawwah al-'Aamiree. Laylaa was from the same tribe (I think she was his cousin too. I read that somewhere but can't verify it). Her name was Laylaa Bint Mahdee al-'Aamiriyyah. Qays one day ended up with her, and started speaking to her alot. He instantly fell in love with her. He kept on meeting her regularly, and his love for her would grow and grow. I believe these meetings were in the presence of other women, but can't recall. In any case, although the meetings were Haraam, there was no major sins committed. He became so much in love with her that he started writing poetry about her. Everyone in his locality soon knew that he was in love with her. She also loved him.

This is the sad part of the story. The Arabs in the early times of Islaam had this cultural thing where if someone became famous for his love of a woman, they wouldn't marry her to him. This was because they were afraid others would think that the couple had committed adultery and were only trying to save face before a child is born. So to avoid these suspicions they'd not marry the woman off to that man. This is although the Prophet (Sall Allaahu 'Alayhi wa Sallam) taught that the best thing for two who love each other is to get married. This isn't only to save them from sins, but realistically speaking, it saves many from depression or even insanity.

Anyway, her father refused to marry her to him. So Qays began trying to meet her without the family's alert. Eventually the father found out and ordered Laylaa to stop this. Then Qays would just wander around in her neighborhood hoping to get a glimpse of her or even just to see her street or house, because it reminded him of her. The father soon threatened Qays with death. He was capable of getting the local governor to agree to carrying it out, if Qays were to come close to their house.

Qays attempted many things to try to convince her father to change his mind, but he failed.

Another thing that would occur in these times is that if a man became famous for loving a specific woman, suddenly other men would rush to her guardians as suitors, proposing for her. This is because they assumed there was something very special in the woman causing that man to fall in love with her. So Laylaa ended up getting married. After marriage, she pretended as if Qays was non-existent and denied ever loving him.

Qays then basically became insane. He lived the life of a hermit, wandering the streets alone, by himself. Sometimes wandering the deserts or woods. He'd speak to himself, to animals, to plants, etc. Sometimes he'd be seen naked wandering the desert. He was insane. During his insanity he was still madly in love with Laylaa. He would write poetry about her. Someone once told me, how was an insane person capable of writing such poetry? I told him, how are all these rock and roll druggies capable of writing music? Alot of them have admitted to writing their music or lyrics on heavily hallucinating drugs.

Also, not everyone who is insane loses the ability to express himself.

His insanity grew to the point that he could no longer remember who he was, unless someone mentioned Laylaa's name or recited some of his (Qays') own poetry to him. He'd then come back to his senses and talk about Laylaa and how much he was in love with her.

In the end he died and was found alone and naked in the woods.

Thats his story. His poetry is from the pre-150 AH era, so as long as its accurately attibuted to him, it can be used as a proof in the Arabic language. The problem is that many poets have written about his Laylaa, using her name as a symbol. Then people attributed them to him thinking that he was the author. So that has to be kept in mind.

One of the early Hambalee scholars of ash-Shaam, Ibn al-Mubrid al-Hambalee (died 909 AH) wrote a biography on Qays, mentioning that the reason he gathered his poetry is due to the fact that it can be used as a proof in the language. The book is titled, Nuzhat al-Masaamir Fee Akhbaar Majnoon Banee 'Aamir. Its funny, because he mentioned that it was reported that al-Imaam Ibn Taymiyyah would sometimes wander alone in the desert, in his early days, reciting some of Qays' poetry. I don't know how accurate that is though because he didn't say it with certainty. He said:

روي عن شيخ الإسلام ابن تيمية أنه كان يخرج إلى الصحراء ويتمثل بهذا

Which translates as, "Its been reported that Shaykh al-Islaam Ibn Taymiyyah used to wander in the desert and quote this (one of al-Majnoon's poems)."

The story has a good benefit to it - the danger of having so-called "innocent" relationships with women, such as flirting. Also, the danger of looking at women who one is not permitted to look at. Ibnul-Qayyim in his book, Rawdat al-Muhibbeen, discussed the issue of passionate love ('Ishq). He said, if it is the result of sin (like flirting), then it is blameworthy and will hurt or collapse in the end. If it is in something Halaal, then it is praiseworthy, because it saves him from sins. So if someone loves his wife or concubine, then this will save him from having sinful relationships, so its praiseworthy.

Lastly, a side point. al-Ghazaalee (the Soofee) said in al-Ihyaa', that he saw Qays in a dream and Qays was asked, "What did Allaah do to you?" He said, "He forgave me my sins, and made me a proof against the lovers." I guess what he meant as a warning. But like I said, this is just a dream from a scholar heavily criticized for his dreams. Allaah knows best.

[yusuf]

These lines were also quoted alot by 'Abdullaah 'Azzaam in his lectures. You'll see why from their meanings.

He said:

إِذا غامَرْتَ في شَرَفٍ مَرُومِ * فَلا تَقْنَعْ بِما دُونَ النُّجومِ

فطَعْمُ المَوتِ في أَمرٍ حَقِيرٍ * كطَعْمِ المَوتِ في أَمرٍ عَظِيمِ

baarik allaahu feek ya akhee

i noticed an example of 'azzaam (rahimahullaah) using these lines of poetry in the biography he wrote on Yaseen al-Jazaa'iri (http://www.zavaj.com/azzam/storiesyaseenaljazairi.htm), one of shuhaadaa of afghanistaan.

(it's at the very end of the bio)

[Abul-Fadl]

I added a story to post #4 on the sword versus the pen.

[Sitt ad-Daar]

Can I post some parts of arabic poems that I like?

[Sitt ad-Daar]

I love Abu at-Tayyib al Mutanabee I have qouted him many times...





إن كــــان يجمعــنا حب لغرتــه ~~~~~ فليت أنا بقدر الحــــب نقتســـم

[Abul-Fadl]

On page 1, post #4 (the post on the debate between the sword and pen) I added a story and a poem contrary to the opinion of the other two quoted.

[Abul-Fadl]

These are cases of strong eloquence:

The first is a statement of pride by al-Mutanabbee.

Fakhr is a subject of poetry where the author tries to praise himself or something that implies self-praise, such as his own tribe or city. Usually it circles around discussing the sword, battle courage, or manners. Of course, sometimes the poets cross the bounds because self-praise is discouraged and prohibited in the religion.

Here is what al-Mutanabbee said:

أنا الذي نظر الأعمى إلى أدَبي * وأسمعتْ كلماتي من به صمَمُ


Which translates as:
"I am the one who the blind, see my manners,
And my words are hearable by the deaf."

He is trying to boast by saying that his elloquence and manners are so great, that the deaf and blind can both hear and see them. There is no way to overlook him. Of course, this is pride and wrong, but I am showing it as an example of eloquence. By the way, the word manners can translate as that or as "literature." But I think most likely he meant manners here.

Another example of eloquence is by the poet Jareer (died 114 AH). He had a long fued with the poet al-Firazdaq. They would constantly bash each other with poetry. Poetry meant for bashing is called Hijaa'. It is prohibited unless done for a permissible religious reason, such as responding to slandering done by the Kuffaar. Hassaan bin Thaabit used to do such, on behalf of the Prophet (Sall Allaahu 'Alayhi wa Sallam).

Anyway, this is supposed to be a very strong belittlement of al-Firazdaq by Jareer. Its given as an example by the Arabs for strong belittlement. Jareer said:

زعم الفرزدق أن سيقتل مرْبعاً * أبشِرْ بطول سلامةٍ يا مرْبع


It translates as:
"al-Firazdaq claims that he will kill Mirba',
So gladtidings of a long healthy life, O Mirba'."

I thought this was hillarious when I first read it. He is saying that al-Firazdaq threatened to kill Mirba' (some man, I don't know who he is historically), but since al-Firazdaq is such a weakling, that person has no cause to fear. Rather he gives him good news, that if this is the case, your life is going to be long.

Another couple of lines of poetry, also by Jareer, the Arabs give as an example of highly eloquent Ghazal. This is poetry where the speaker talks about his love and longing for a women (hopefully a wife or concubine). I'll try later to give examples of some scholars who wrote love poetry, since its very interesting when a scholar of Hadeeth or Fiqh does such. Off the top of my head, I know that Ibn 'Umar, Ibn al-Mubaarak, and Ibn Hazm wrote at least one each. Anyway, Jareer said:


إن العيون التي في طَرفها حَورٌ * قتلْننا ثم لم يُحيين قتلانا


يصْرَعْنَ ذا اللبِّ حتى لا حراك به * وهُنَّ أضعفُ خلق الله إنسانا


They translate as:
"Indeed those eyes in her face are Hoor,
They killed us, and thereafter did not resurruct our dead.

They possess the intelligent until he can't move,
Although they are the most gentle of Allaah's human creatures."

Hoor means eyes whose white part is very white, and black part is very black.

He is saying that her eyes are so beautiful they kill and destroy one's ability to think, although they are gentle. Actually, the word gentle could have been translated as weak, but it sounds like an insult in English, so I chose to translate it as gentle.

Anyway, those were examples of eloquent Arabic speech. The last one, maybe you can memorize if you want to please your Lord by pleasing your wife.

[Abul-Fadl]

Seriously, after strengthening one's Arabic, both in grammar and eloquence, you become more capable of hearing and feeling the miraculous nature of the Qur'aan (linguistically), and why the Arabs couldn't reproduce anything like it.

I myself, after reading alot of examples of what is considered from the most beautiful and amazing of Arabic poetry and prose, realize and understand even more the superiority and miracle of the Qur'aan. It is something very hard to explain, but can fully be appreciated by experience.

This is one of the reasons why the Arabs, who were experts of their language (unlike today) were able to fully understand the miracle of the Qur'aan, although many of them rejected Islaam out of pride, greed, or other reasons. They were so afraid of hearing it, that some would plug their ears.

But Allaah's light enters the hearts, even if all the devils of Earth wish to stop it.

[Abul-Fadl]

One of the topics of Arabic poetry, is a class called Madhammat an-Nisaa'. This can be translated as "Critique of Women" or belittlement of them. There is a whole chapter of poems on this topic, over twenty, in the famous poetic compiliation of Aboo Tammaam at-Taa'ee, titled Deewaan al-Hamaasah. It tends to consist of poets complaining about women in general, and their wives in specific.

Of course, this does not mean that I support the views portrayed in these poems, but rather I'm mentioning this to describe the culture of classical Arabic literature.

There are many poems on this topic, but I will limit myself to translating one, because the rest of what I considered beautiful - poetry-wise - were possibly harsh and could cause an online riot.

Please brothers, do not post anything else on this specific class of poetry.

Here are the lines of poetry, which I think even the sisters will find funny. These lines were said by a bedouin, after he ended up marrying two women. Note, this one is not from Deewaan al-Hamaasah:

تَزَوجْتُ اثنَتَينِ لفَرطِ جَهلِي * بما يَشقَى بِهِ زَوجُ اثنَتَينِ

فَقُلتُ أَصِيرُ بينهُمَا خَرُوفاً * أُنَعَّمُ بَينَ أَكرَمَ نَعْجَتَينِ

فَصِرْتُ كَنَعجَةٍ تُضْحِي وتُمْسِي * تُدَاوَلُ بَينَ أخْبَثَ ذِئبَتَينِ

رِضَا هَذِي يُهِيجُ سَخطَ هَذي * فَمَا أَعْرَى مِنْ إحْدَى السَّخطَتَينِ

وأَلْقَى في المَعِيشَةِ كُلَّ ضُرٍ * كَذَاكَ الضُّرُّ بَينَ الضُّرَّتَينِ

لِهَذِي لَيْلَةٍ وَلِتِلكَ أُخْرَى * عِتَابٌ دَائِمٌ في اللَيْلَتَينِ

فإن أحبَبْتَ أنْ تَبقَى كَرِيماً * مِنَ الخَيْرَاتِ مَمْلُؤَ اليَدَيْنِ

فَعِشْ عَزَبَاً فَإنْ لَمْ تَسْتَطِعْهُ * فَضَرْباً في عِرَاضِ الجَحْفَلَيْنِ

It translates as:
"I married two women, out of extreme ignorance,
By which the husband of two wives, finds misery.

I said, I'll be amongst them, like a ram,
Getting comforted by the noblest ewes.

Instead I became an ewe, day and night,
Passed around, amongst the filthiest two wolves.

The pleasure of one, lashes out the wrath of the other,
So I am never free from either of the two wraths.

Throughout life, I come upon every harm,
Thus is the husband between two co-wives.

For this one, a night; and for the other, another,
Constant rebuking on both of the nights.

So if you wish to remain rich,
With great good filling your hands.

Then live your life a bachelor, and if you can't,
Then be ready for constant war between the two legions."

I read an attempt by a contemporary poet to write a refutation of this poem, using the same rhyme scheme and metre. It was really weak though, I mean beauty wise.

There is also another poem on the same topic by a contemporary. I'll post the link:
http://www.almaqdese.com/r?i=402&a=p

[Abu MishMish]

You need to be fair - post and finish up the refutation.

[Abul-Fadl]

LOL, this is a thread on Arabic literature, its not a thread on debating social issues. You read that "refutation" when I emailed it to you, and you thought it was weak too, LOL. So why bother?

[Abu MishMish]

You still have to be fair. I have to admit, he has one or two good points.

[Abul-Fadl]

Another topic of Arabic poetry is the topic of Fakhr and Hamaasah, pride and zeal. I described in an earlier post what is meant by pride.

As for zeal - the poet tries to describe bravery, courage, strength, power, war cries, swords, blood, etc. It sometimes is accompanied with Fakhr, when the poet is describing himself or his tribe with attributes of courage, for example.

One of the most famous poets for his poetry on this subject is the Jaahilee Arab, 'Antarah Ibn ash-Shaddaad. He was the son of an Arab man and Ethiopian concubine. In those times, the son of a concubine would not be attributed to the father. One day when his father's tribe was attacked, his father said to him "March forward." He replied, "A slave doesn't march into battle." So his father promised him that if he did, he'd free him and attribute 'Antarah to him. So he did such, and from that day onwards he became from the most famous of the Jaahilee Arabs for his courage and bravery, as well as his skill as a cavalryman.

He had a love story too, where he fell in love with his cousin, 'Ablah, but her parents refused to marry her to him, because of his skin color (he was black) and his mother's status as a slave. He tried to prove himself through his bravery as a warrior to sway her parents, but they never swayed. He even killed a lion with his bare hands, but they wouldn't change their stance.

His first attempt at writing poetry was when some Arab said to him that you maybe brave, but you aren't strong in poetry. So to prove him wrong he wrote his Mu'allaqah. That is the most famous and authentic of his poetry. It is one of the ten known poems that were hung on the Ka'bah during Jaahiliyyah.

Many other poems are attributed to him, but their is alot of doubt regarding their authenticity. In his poetry, one of the amazing things he does is compare his zeal for blood, swords, etc., with the passion a man has for a woman. So he'll say things like (paraphrasing), "I passioniately long for sharp swords. I love spears to be waved over my head. I kiss the blades. Etc."

Here is an example of a poem that is attributed to him. It is not his famous Mu'allaqah:

سَكَتُّ فَغَرَّ أعْدَائي السُّكوتُ * وَظنُّني لأَهلي قَدْ نسِيتُ

وكَيفَ أنامُ عَنْ ساداتِ قَوْمٍ * أنا في فََضْلِ نِعْمتِهمْ رُبيتُ

وإنْ دارَتْ بِهِمْ خَيْلُ الأَعادي * ونَادَوني أجَبْتُ متى دُعِيتُ

بسَيفٍ حَدُّهُ مَوْجُ المَنايا * وَرُمحٍ صَدْرُهُ الحَتْفُ المُميتُ

خُلِقتُ من الحََديدِ أشَدَّ قَلْباً * وَقَدْ بَليَ الْحَديدُ وَما بَلِيتُ

وَإني قَدْ شَرِبْتُ دَمَ الأَعادي * بأقْحافِ الرُّؤُس وَما رَويتُ

وفي الحَرْبِ العَوانِ وُلِدْتُ طِفْلاً * ومِنْ لَبنِ المَعامِعِ قَدْ سُقِيتُ

فَما للرُّمْحِ في جسْمي نَصيبٌ * وَلا لِلسَّيفِ في أَعْضايَ قوتُ

وَلي بَيْتٌ علا فَلَكَ الثُّرَيَّا * تَخِرُّ لِعُظْمِ هَيْبَتِهِ البُيوتُ

It translates as:
"I was silent, so my enemies were deceived by my silence.
And they thought I had forgotten my people.

How could I ever sleep over great leaders,
Whose blessings I was raised from.

If the steeds of the enemies encircle them,
And I am called, I answer, whenever I am called.

With a sword, whose edge is the wave of death,
And a spear, whose breast is killer destruction.

I was created from steel, with the toughest heart,
And the steel was damaged, but I was not.

I indeed have drunk the enemies' blood,
From the skulls of heads, but my thirst wasn't quenched.

In the depths of war, I was born a child,
And from the milk of battles, I was breastfed.

So the spears have no share in my body,
Nor do the swords have provision in my limbs.

I have a house higher than the pinnacle of stars,
and the rest of the houses submit to its great awe."

When he says that the sword or spear has no share in him, it means that he is so powerful on the battlefield, that its like he's never wounded.

[Abul-Fadl]

Aboo MishMish or Sitt ad-Daar, does the Arabic text that I paste appear correctly, and each line occupies just one line? On my screen it does, but does it on yours? Jazaakumullaahu Khayraa.

[Stuck in Prison]

yah each line occupies one line....alhumdulilaah it appears fine but when i copy and paste it muddles it all up if i copy and paste it all together....i have to do that one line at a time.....that cant be helped tho of course...

jazakhAllaah khayr for this thread akhee.....I'm finding it very interesting.....never come across these poems before.... May Allaah ta3ala reward you for ure efforts ameen.

[Abu MishMish]

Yah its cool. JazakaAllaah khair alJazaa'

Maan, I remember all this. I even remember how I screwed up one my tests because of 'Antara's poetry.

[Kola]

Thats a beautiful poem subhaan Allah it has a graceful quality to it .

جزاك الله خيرا

[Abul-Fadl]

I forgot that sisters also can read this thread, so I deleted the last few translations. They can all be found in Ibnul-Qayyim's book on the subject.

[Labwatullaah]

There is a couplet said by al-Khalil ibn Ahmad al-Farahibi. He was sitting one day trying to devise the metres of Arabic prosody. If anyone knows anything about Arabic prosody, they will know that the metres are measured according to the pattern fa3ala, so one metre could sound something like, for example, fa3oolun fa3eelun fa3oolun fa3ool.

So he was sitting there doing this one day, when his son walked in on him. The son heard his dad muttering these words repeatedly to himself, so he thought his father had gone crazy. So he went out and told the men that his father had gone crazy. The men came to al-Khalil ibn Ahmad and told him what his son had said. So al-Khalil replied to his son with these lines of poetry:

لو كنت تعلم ما أقول عذرتني***أو كنت تعلم ما تقول عذلتك
لكن جهلت مقالتي فعذلتني***وعلمت أنك جاهل فعذرتك


If you knew what I was saying, you would have excused me
And if you knew what you were saying, I would have blamed you
But you were ignorant of what I was saying, so you blamed me
And I knew that you were ignorant, so I excused you

[ismiyy]

This deserves a BUMP!

[Abu MishMish]

I want the love poems back.

[Abu Muqatil]

.

[Stuck in Prison]

bump

[heartsofgreenbirds]

bump.

[Fajr]

From the poet, Abul Farraas:

سيذكرني قومي إذا جدَّ جدّاهم *** و في الليلة الظلماء يفتقد البدر

The story behind this, if I remember correctly is one of a ghaazi (warrior) who was captured in the middle of a ma'rakah (battle) and held as a prisoner. He was a very famous warrior known for his skill in fighting, bravery and strength. Whilst in prison, his cousin who was the king of his land refused to ransom him out. As a comeback to this apparent humiliation, he constructed the above lines of poetry saying:

سَيَذْكُرُنِي قََومِي إذا جَدَّ جَدَّاهُم *** و فِي اللَيلةِ الظُّلْمَاءِ يُفْتَقَدُ البَدرُ
My people will remember me when their condition becomes severe
And on the dark night when the moon is lost

He is saying that his people will remember him when battles soon break out and conditions worsen, and their need for him is like their need for the moon on a very dark night... he's praising himself in this comeback to his cousin, the king.

[Ghalib]

A very good discussion on Arabic poetry. I learnt a few things here. However I would request you to be a little more aware of non-Arab poets before belittling them as severely as you (Abul Fadl) did Rumi.:
... Ibn ar-Roomee, who has absolutely no relationship with the heretic Soofee named ar-Roomee (Rumi). They both have ancestors from Rome, so they got that nickname, but they are unrelated. One is Ibn ar-Roomee, the other just plain Roomee.

Maulana Mohammed Jelaluddin Balkhi Rumi was not a heretic by any definition. Of his two most famous poetic works, one called Masnavi (مثنوي) is a compilation of stories and the majority if it is a direct translation of Quran in Farsi.

His second work, Diwan-e Shams-e Tabriz is a collection of Ghazals (غزل) which are filled with his intense and passionate love for God. I do not see what you find heretical about it.

Maulana Rum also wrote extensively in Arabic and a lot of his poems are in both Arabic and Farsi (one line in Arabic, one in Farsi). He was greatly influenced by al-Mutanabbi and often recited Mutanabbi's poetry in moments of ecstatic joy. A lot of the Ghazals in his Diwan are inspired by Mutanabbi. This seems strange at first because if al-Mutanabbi was the most proud, headstrong man, Rumi was the most humble, kind and selfless person. Yet it is the mixture of the two that made Rumi's work so magical. Please refrain from labelling people heretical unless you hold stong fatawa to prove. Rumi was and is still one of the most beloved poets of the non-Arabic speaking Islamic world, the love, guidance (in the form of poetic translation of the Quran and other of his poetry) and revelation of divine secrets that his pen was capable of, few others are: his service to Islam is of immense importance.

Farsi (and Urdu and Turkish) poetry are based on the strict formal structure of Arabic poetry, so the rhyme, metre and prasody are strictly that of Arabic poetry (with some minor additions). Ghazal is the most common format in which intensity of love is expressed but the beloved is often obscure: girl, God, political ideal, religion, father, mother, land: sometimes they all combine. Farsi poetry is distinguished from Arabic poetry in the expression and feeling of love which are described so intricately that each verse, each expression can give numerous meanings. This then, is the biggest difference: whereas Arabic poetry, in strict patterns remains also strictly defined to meaning, the beauty coming from eloquence and form, in Farsi peotry the beauty comes from depth of expression and the ability to capture numerous, varied, and sometimes even conflicting meanings in one peom, or one verse in the case of a Ghazal.

Here's an ending (مقطع) of Rumi's ghazal to show you his mastey:

جانم چو ذره در هوا چون شد ز هر ثقلی جدا * بی​تو چرا باشد چرا ای اصلِ چار ارکانِ من
اَی شه صلاح الدینِ من ره دانِ من ره بینِ من * اَی فارغ از تمکین من اَی برتر از امکانِ من

I will try to translate both word-to-word as well as the meaning (that I understand): addressing God, his Beloved in this Ghazal, Rumi ends by saying:

"My soul is like a speck of dust, it feels as if it is detached from every weight/ without You, nothing means anything, You are the truth of my four corners"
Meaning: without You I am so lost that I feel like a weightless speck of dust floating in the wind. Without You nothing has its meaning. It is You who gives me the conception of space (four corners), without You, I will be so disoriented that I would not know where I am.

"Oh my King Salah-ud Din, oh my Guide هادي and my Leader مرشد,/ O my Lord who is فارغ التمكين and beyond conception (امكان)"
Meaning: he is saying that God is his King Salah-ud Din, the man who defended Islam from the Crusaders. Remember Rumi lived at the time of Geghis Khan's destruction, some 70 years after Salah-ud Din's death: it was a time when the Islamic world needed another Salah-ud Din. So he calls God "my King Salah-ud Din" meaning, my liberator ("my" king because it is he, Rumi, who is in love). As God is Rumi's Salah-ud Din, He is also راه دانِ من and راه بينِ من the words rah-dan and rah-bin are in Arabic, hadi and murshid. the "-e man" formula means "mine": -e is, in Farsi (also Urdu and Turkish) a sign of اِضافة to be followed by the مضاف اِليه therefore, the least bit translates as "O my فارغ التمكين" (I don't know how to say this in English properly). برتر losely means the same as the arabic word بعيد . And اَی is like "O" or similar to Arabic يا I cannot translate in English the last bit of this beautiful love poem but I have tried to give you an idea of the depth of meaning and immense love Rumi bears for God from these two verses. I hope you understand some of it and desist from calling him a heretic.

[Ghalib]

Here are two samples of Rumi's Arabic poetry where he uses the same expressions and style as in his Farsi poetry. (Rumi was greatly influenced by al-Mutanabbi and often quotes him so you may find some of these verses written by Mutanabbi).

لا قی*الفراش نارا کن هکذا حبیبی
فی النار قد تواری کن هکذا حبیبی

ذاق القراش ذوقا والشمع ذاب شوقا
والدمع منه سارا کن هکذا حبیبی

فی العشق مذرجعتا باللیل ما هجعنا
فی مجلس السکاری کن هکذا حبیبی

العاشقون قاموا، ذااللیل لاتناموا
لا تنفروا فرارا کن هکذا حبیبی

الوصل سال سیلا مجنون صار لیلی
لیل غدا نهارا کن هکذا حبیبی

الشمس فی ضحاها و القلب قد یراها
والعقل فیه حارا کن هکذا حبیبی

من الکلیم دلا و لرب قد تجلی
انی آنست نارا کن هکذا حبیبی

And

اخرج عن*المکان، یا صارم*الزمان
واسبح سباح حوت فی قلزم*المعانی

لا تبغ اتصالا نعت جسم
انی اری دنوا انی من*التدانی

العبد لیس یرضی فی رقه شریکا
فلرب کیف یرضی فی ملکه بثانی

هل عاشق تصدیم عشوقتین جمعا
اعشق فان فیه تخلیص کل غانی

العشق نور روحی صبح الهوی صبوحی
امنیة و فیه مجموعة الامانی

ماالعشق یا معنا یشرک انا و انا
تقنی عن*المدارک فی خالق*الحسان

هذاالصدود خانی و النار فی جنانی
یزداد کل یوم عشقی بلا توانی

قلبی علیک یحرص یا رب لا تخلص
یارب زد وقودا سبحان من یرانی

سبحان من یرانی سبحان من رعانی
سبحان من دعانی من غیر امتحان

اسکت فلون خدی اوج دمعتی تودی
عشقا به تعالی عن صفوةالمعانی


Read this and read more of his Arabic poetry from his book ديوانِ شمسِ تبريز (you can find it at Farsi Wikisource fr.wikisource.org (search for شمس then look for ديوان شمس (غزليات( in results. Click on this: you will see a list of 16 chapters--click on the last (16th) chapter. At the end of the 16th chapter, all ghazals are in Arabic.

Also look for his dicourses خطبات in Arabic and Farsi in his book called فيه ما فيه (for some translated in Engish see http://www.writespirit.net/spiritual_poets/rumi). Read these and then tell me if you consider this great man to be "heretic" or not. He was a Wali, not a heretic.