Advances in Language and Literary Studies
ISSN: 2203-4714
www.alls.aiac.org.au
Mua’llaqah of A’mru ibn Kolthoum: A Representative of the Greatness of Arabic
Yahya Saleh Hasan Dahami*
English Department, Faculty of Science and Arts, Al Baha University, Al Baha, KSA
Corresponding Author: Yahya Saleh Hasan Dahami, E-mail: ydahami@bu.edu.sa
ARTICLE INFO
ABSTRACT
Article history
Received: October 13, 2018
Accepted: December 03, 2018
Published: February 28, 2019
Volume: 10 Issue: 1
Advance access: January 2019
The impetus for studying this topic is self-obligation to reveal the Arabic language and
Arab cultural heritage as well as the old sense of worth. A’mru ibn Kolthoum is one of the
greatest poets who expounded graceful portraits of gifted Arabs in the pre-Islamic period by
intellectuality of using the classical language. The researcher in this article undertakes to probe
the depth of the poetry of A’mru ibn Kolthoum as an illustration of the immensity of the Arabic
language as well as being a symbol of pride. A’mru ibn Kolthoum deserves literary analysis,
paying attention mainly to his Mua’llagah as an inheritance of the standard Arabic language. The
poetry of A’mru ibn Kolthoum, as one of the Mua’llaqat inventor, has been barely studied. His
poetry of superiority is paid less investigation. This study aims to shed light on the way A’mru
ibn Kolthoum thrived in writing an impressive piece of poetry called Al-Mua’llagah. The study
is an attempt to reveal, to what extent; ibn Kolthoum has done to contribute to the enrichment of
classical Arabic language via his Mua’llagah. The study, using the critical-analytical approach,
opens with an introduction on Arabic as a medium poetic language, making clear the significance
and prominence of the Arabic language and its influence and contribution to the heritage of
Arabs. Then the paper moves to sort out the creator of this literary piece under-study, focusing
on the personality of the poet-knight A’mru ibn Kolthoum, his poetry, and his tribe. Thenceforth,
the researcher shifts to the central part which is an analytical examination of his Mua’llagah
revolving about pride and dignity and tyranny. The paper concludes with an afterword viewing
the findings and recommendations if any.
Conflicts of interest: None
Funding: None
Key words:
Arabic Language,
Arabia,
Diwan Al-Arab,
Influence,
Pre-Islam Mua’llagah,
Poetry
INTRODUCTION
Arabic: The Medium of Everlasting Poetic Language
The language in which the ornate, intense, rich, productive
and varied culture is enshrined is the Arabic language. “In
Arabia, the Arabic language has retained its originality without very much dialectical alteration” (Arbuthnot, 1890, p. 23).
It is deep and profound. It is not only like a sea, but also it is
like a deep ocean, the more you dive, you find it challenging
to reach the bottom. Some critics describe the Arabic language
as the sea. It is a living language all over the ages.
(Al-Jahheth, 1423 H., p. 165) أن رمى فيه غال ٌم بحجر
ً البحر أمسى زاخرا
يضير
ما
ُّ
َ
When the night comes, the sea is harmed not, but active it
is when a careless young has thrown a stone in it.
Another makes the Arabic language speaks:
(Ismael, 2017) الغواص عن صدفاتي؟
فهل سألوا
َ
ٌ
كامن
الدر
أنا
ُّ البحر في أحشائه
ُ
I am the sea in which pearls are potential inside, if not
sure ask the diver.
In the verse mentioned above line by Hafith Ibrahim, the
language speaks and compares itself to the sea in which deep
inside it jewelry and ornaments are kept. The classical language interrogates those doubtful of its greatness and impor-
tance confirming that if they are not sure of that, they might
ask the diver who knows from experience. Hafith Ibrahim
makes the Arabic language his mouthpiece and says that this
language is the sea itself which has no end in its wideness,
strength, and profundity. The one who realizes its precious
value and knows its rank and position is the diver who masterfully swims and dives in its depth.
Its endless literature of minimum seventeen centuries
touches effectively on every theme of human inspiration
and undertaking; there is scarcely a subject within the whole
range of human attention to which a part of such literature
has made no influence. Considering the discipline of history,
critics and historians witness that classical Arabic language
is the most significant of all languages of the world for comprehensive history. Furthermore, several others list Arabic as
the third among those which have had overwhelming importance as transporters of culture. Arabic language has had the
most exceptional growth and broadened of all the languages of the earth and that merely within the last two centuries
has the English language come to competing Arabic. In an
article Archer (1939), declares that it is a more productive
and more flexible language than Latin or Greek; no Western
language can equal Arabic in the diversity of its forms and
verbal nouns. “Islam and the Arabic language are the two
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Copyright (c) the author(s). This is an open access article under CC BY license (https://creativecommons.org/licenses/by/4.0/)
http://dx.doi.org/10.7575/aiac.alls.v.10n.1p.77
78
ostensible factors in the creation of that gigantic melting-pot
in the center of whose orbit rise the scientific leaders of the
Arabic-speaking world” (Faris, 1963, p. 221).
The Arabic expression Qasayd, a plural of Qasiydah,
means odes sometimes translated as poems. Al Mua’llaqat, a
plural of Mua’llaqah, means ‘the hanging poems of Arabs.’
It took that name for evidently being hung up on Holy
Ka’aba in Mecca. Nearly critics and scholars refer to Al
Mua’llaqat as the ‘seven renowned ones.’ The oldest poems
or Qasayd date back to the age of pre-Islam or what is called
Al-Jahilliyah, a critical expression meaning ‘ignorance’ invented by the early Muslims to designate the state of
religious and moral corruption and venality of pre-Islamic
people. The social role of the pre-Islamic Arabic versifier is
to generate poetry, frequently regarding strict prosodic rules
and integrating linguistic archaisms and grammatical embellishments, and speaks it out at the annual souk (an open-air
marketplace in the Arabian city) of Souk Okath (( )عُكاظthe
proper Arabic articulation is Okath; however, there are some
who articulate is as Okaz or Ukaz) near Mecca, a regular
poetry carnival in which the craft of the memorable poets
would be presented and was held dearest to Arabs in their
tribal and ethnic lifestyles. The Arabs “and their pre-Islamic
poetry depict a society that knew about the settled civilizations of their neighbours but did not aspire to join them: rugged manliness was celebrated by the Arabs; silk robes and
signet rings were for wimps” (Silverstein, 2010, p. 7). The
poet of Arabs was likewise used to praise and admire his
tribe in a scholarly evening exchange and tutor their
offspring. The odes that were collected in that epoch are typically short and “conform to strict prosodic rules of meter
and rhyme” (Holes, 2004, p. 11).
Ash-Shir Diwan Al-Arab ()الشعر ديوانُ العرب,
as stated by
ُ
Cantrino, (2004, p. 24), is a famous Arabic idiom very wellknown for all and every Arab that means the forum of poetry
for Arabs; it also means ‘the repository of Arabs.’ It is likely
that there are people who do not recognize its deep meaning
but definitely, all of them are familiar with this phrase. “The
Arabs are disintegrated into tribes in which the young are
taught and trained to be warriors and poets” (Dahami, 2018).
The Arabic in which such oral poetry was initially collected
is referred to by several linguists as fus-ha or Classical Arabic. It is maintained that fus-ha of pre-Islamic poetry exhibits a high degree of amplification in its inflectional system (a
linguistic technique where the loudness, pitch or tone of the
voice is adjusted), an abundance in its derivational morphology and a noticeably ‘synthetic’ appeal. It is said that the
repeated patterns of the thematic edifice, traditional imagery
and reiterated linguistic oddities and archaisms indicate an
oral-formulaic derivation of the type proposed for the poetic
tradition of the ancient language. The Arabic, with its astounding elasticity, turned out to be a vehicle for accurate
and direct expression. It is the “language that ranks so high
for purposes of eloquence and poetic flight now readily lends
itself to the demands of exact and positive expression”
(Faris,1963, p. 222).
Placed in a rural and nomadic setting, the edifice of
pre-Islamic odes differs significantly from that of modern
ALLS 10(1):77-85
verse. One of the traditional constituents of the pre-Islamic Qasiydah, which are also conspicuous in Al Mua’llaqat,
is that style the performative drive of the Qasiydah is being told. The second constituent is concerned with Fakhr
(self-praise, pride or exaltation) in one’s tribe, genealogy, or
immediate descents, conquest in raiding, and so forth. The
third constituent involves Wasf, which means a description
exclusive to three crucial things such as the poet’s steed or
she-camel (naggah), and the desert fauna (for instance ostrich, wolf, and eagle); the third thing is nature, especially
rain gales which would wipe off the traces of Al-hayi. The
fourth constituent is allied with weeping at the deserted encampment or zone – typically known as Al-hayi an Arabic
expression means a tribal concentration of about 10 – 20
families setting up a site during trans-humans), and atahaf
that means the caldron stones. They were one of the most
apparent ruins or remnants suggestive of the encampment.
The fifth conventional element of Qasiydah (which follows after weeping the deserted area) is Nasib. It is known
as the lyric introduction of the poem or the amorous verses
pronouncing the beloved and belonging to Al-hayi in which
his beloved lives. The last component is Rahiyl, the theme of
survival by traveling within the desert. This section of Qasiydah depicts the prolong wanderings and expeditions in the
wilderness to show resilience, stamina, fortitude, sturdiness,
courage, and patience.
On the other hand, Cachia (2002), comments on the ideas
of the critic ibn-Qutayba about the conventional arrangement of the verse saying:
The poet began with some amatory verse to establish
a rapport with his audience since the subject is one in
which almost everyone has some interest, ‘lawful or
unlawful.’ He then expatiated on the hardships he had
endured on his way to his patron, and having thus implied a claim for recompense; he finally launched into
his eulogy (p. 8).
Such magnificence of Arabic poetic classical language
appears in the poetry of A’mru ibn Kolthoum.
A’mru Ibn Kolthoum At-Taghlibi: Voice of Dignity and
Pride
A’mru ibn Kolthoum is a pioneer Arabic poet of the pre-Islamic period. Ibn Kolthoum would have lived approximately 450 and 600 A.D. according to Az-Zawzani, A’mru ibn
Kolthoum ( )عمرو بن كلثومis related to the tribe of Taghlib. He
would come down from the poet Al-Mohalhil by his mother,
Layla. It appears from his poetry that A’mru ibn Kolthoum
was a brave knight, a lord in his tribe and a distinguished
poet. It is said about him “to have been one of the most celebrated warriors of his tribe, as well as a famous poet”
(Al-Mufaddal, 1918, p.78). He was so proud of himself to
the degree of being arrogant. He praised his tribe displaying
great dignity and nobility. In addition to that, he was generous and bounteous. A’mru ibn Kolthoum spent many years
of his life-fighting at wars, for instance during the war of
Al-Bassos. He opposed the poet Al Harith ibn Hilizah
during a different plea in front of the king of Al Hirah,
A’mru ibn Hind. However, the king gives reason to his rival,
Mua’llaqah of A’mru ibn Kolthoum: A Representative of the Greatness of Arabic
who states himself in a more gratifying way. Ibn Kolthoum
is again dealing with the king, later: the monarch, very arrogant, tries to demean the mother of the poet; A’mru ibn
Kolthoum then kills A’mru ibn Hind, and at that time begins
a life of straying.
Ibn Kolthoum is a warrior a poet and the author of one
of the great Mua’llaqat; he descends from the famous tribe
of Taghlib. His grandfather is Malik ibn A’ttab ibn Sad ibn
Zuhier ibn Jusham [ibn Bakr] ibn Habib … ibn Ma’d ibn
Adnan. His mother is Layla, the daughter of Al-Mohalhil,
Kolayb’s brother; and Layla’s mother is Hind, the daughter
of Ba’j ibn Otba ibn Sad ibn Zohair. See Kitab Al-Aghani,
Vol. 11; for Al-Asfahani (p. 35). See also (At-Tbrizi, 1352
H., p. 215).
The minute Hind gave birth to Layla, her husband Salim
Al-Mohalhil told her to bury the newborn child. Hind, instead of executing this forbidding command, put the daughter in the hands of a slave and said to him secretly to hide
and protect the infant. During the night, Al-Mohalhil heard
a voice says:
(Al-Andalusi, p. 636) وسي ٍد شمردل
كم من فتى مؤمل
وعد ٍد ال يجهل
في بطن بنت مهلهل
How many princely men, how many great chiefs?
What eminent heroes are in the bosom of Al-Mohalhil’s
daughter.
Stirred by such expressions, which seem to him a prophecy, he exclaims: ‘Hind, where is the daughter? She replied ‘I
killed her’; screaming ‘No, by the God of Rabi, it is impossible. Tell me the truth’. His wife Layla confessed to him that
the daughter is safe and alive. Al-Mohalhil happily says that
is good; feed her and raise her carefully’.
Layla is married to Kolthoum, a prominent warrior. In a
night of her pregnancies, she envisaged in a dream a heavenly being, who chanted to her:
(Al-Baghdadi, 2009, p. 139) يا لك ليلى من ولد يقدم إقدام األسد
أقول قيال ال نفد
من جشم فيه العدد
Blissful Layla! You shall have a brave son; attacks like
a lion.
He will be the strength and honor of Josham. Trust in
this promise; it is not deception.
The family of Josham ibn Bakr was a branch of Taghlib
to which A’mru ibn Kolthoum belongs. King A’mru ibn Hind
had shocked by the pride of the language of A’mru ibn
Kolthoum who maintained hatred against him. This King,
excited by some words by his courtiers, forming the scheme
of humiliating ibn Kolthoum. Under the pretense of doing
him honor, King A’mru ibn Hind urged him to go near
him. A’mru ibn Kolthoum traveled with his mother Layla,
who was invited to visit Hind, King A’mru’s mother. Arrived
near Al Hirah, A’mru ibn Kolthoum and his companions
were received by the king and his mother Hind under two
adjoining tents; a long one for males and another for females.
They were served with a meal. Hind, on the expression of
her son, having wished humiliatingly to compel Layla to
serve her, loudly the indignant Layla uttered a cry which was
caught in the tent where King A’mru ibn Hind was with
A’mru ibn Kolthoum. The chief of Taghlib, understanding in
that instant that an offense was made against his mother, he
79
directly attacks the king with a blade was hanging on the
wall and overthrows him dead. All at once his mates throw
themselves on the folks around the king’s suite, scattering
them, looting the tents, and hasten to return home with their
loot. From this came the familiar maxim that says (أفتك من
“ )عمرو بن كلثومMore quick to kill than A’mru ibn Kolthoum”
(Ali, 2001, p. 256). See also (Al-Bustani, p. 137).
As indicated by Al-Asfahani (2008), the killing of A’mru
ibn Hind by A’mru ibn Kolthoum is historically confirmed of
the first century of the Hegira. Furthermore, it is mentioned
by several poets remarkably by this line of Al-Farazdak that
says:
ً ع ْنوة
(p. 37) سطوا على النُّ ْعمان
َ قو ٌم ُه ُم قتلوا ابنَ هن ٍد
َ َعمرا ً وهم ق
It was they – the tribe of Taghlib – who killed ibn Hind,
A’mru; it was they who made their strength felt on Noman.
As numerous passages from Al-Mua’llaqah of A’mru ibn
Kolthoum contain references to the humiliation that the king
of Al Hirah had wanted to submit to the poet and his tribe
of Taghlib in the person of Layla, the mother of the leader,
the opinion of Ibn Al-Kalbi and Abu A’mru Ash-Shaybani is
incontestably more possible than that of Asmai on the time
of the structure of this poem. A’mru recited it at the great
carnival of Souk Okath, as well as in the holy town of Mecca, during the pilgrimage rituals. The poem gained general
appreciation. Banou Taghlib (Banou means sons of) made it
so great a case in which all the individuals of this tribe memorized it by heart even long after the death of the poet-knight.
This excessive fondness for the achievement of one of their
brothers appealed them with some rhyme like:
(Ali, 2001, p. 127) الهى بني تغلب عن قصيدة قالها عمرو بن كلثوم
كل مكرمة
The children of Taghlib are alarmed with the verses of
A’mru ibn Kolthoum, and forget to do noble deeds.
In his Al-Mua’llaqah, which is an explicit homage of
Taghlib tribe in general, and of the family of Josham expressly, A’mru says:
(Ash-Shaiybani, 2001, p. 332) تجد الحبل أو تقص القرينا
متى تعقد قرينتنا بحبل
When we tie the untamed camel that, when attached to a
camel to train it, breaks the rope or breaks the collar of
his companion.
This verse thought it was deadly to him. No less illuminating of the dominant ethics of the period is A’mru ibn
Kolthoum’s boasting of the power of his tribe.
Having become an opponent of the Lakhmite leaders,
the Taghlib tribe battled with all the other tribes who were
subjected to the Lakhmite. The peace concluded between
Taghlib, and the tribe of Bakr was broken. A’mru ibn
Kolthoum on an expedition of loot, had crossed the land of
the Banu Tamim, advanced as far as Bahrain, and invaded
a camp of Banu Gaiys ibn Thalaba (sons of Gaiys son of
Thalaba), a branch of Bakr ibn Wail. A’mru returned with
considerable booty and captives, among whom was Ahmad ibn Jandl of the clan of Sa’d ibn Malik ibn Dhobaya.
The name of Ahmad or Ahmed was scarce among Arab
people before Islam. From this name, Prophet Mohammed
is derived.
80
“In the Mu’allaqa, ‘Amr ibn Kulthum lauds his tribe
for displaying many of the virtues” such as “toughness, courage, generosity, independence” (Farrin, 2006,
p.49). In an appreciation of this generosity, as stated in
his Diwan (p. 42) and declared by A’tawi (1993), (p. 32),
A’mru composed a piece of verse as an admiration that
says:
ولقاهُ المسرة والجماال
جزى هللا األج ُّل (االعز( يزيد خيرا
يزيد الخير نازله نزاال
بماخذة ابن كلثوم بن عمرو
May Allah pay His blessings on the eminent Yazid. May
Allah meet him with joy and prettiness.
Yazid the virtuous has taken ibn Kolthoum ibn A’mur
prisoner, loyally fighting him.
Al-Monthir IV, ibn Al-Monthir III, ibn Mâ-essémâ,
seems to have sought revenge for the killing of his brother
King A’mru. It was when A’mru ibn Kolthoum and his sturdy tribe of Taghlib, being at war with Al-Monthir, departed
to Syria to put themselves out of the reach of Al-Monthir.
They stayed there for approximately ten years. Then the
Prince of Al-Ghasasinah A’mru ibn An-Noman Abo Hujr
having passed by the residence where they were encamped,
had a kind of tough argument with their leader A’mru ibn
Kolthoum. This may have been the cause for the return of
people of Taghlib to Mesopotamia. Mesopotamia is a significant historical area in Western Asia. It is “situated within
the Tigris–Euphrates river system, in modern days, roughly
corresponding to most of Iraq, Kuwait, parts of Northern Saudi Arabia, the eastern parts of Syria, Southeastern Turkey, and regions along the Turkish–Syrian and Iraq
borders” (Wikipedia).
It is probable that the tribe of Taghlib effectively defended another war against the successor Noman Abo Kabos, ibn
Al-Monthir IV. At least that appears to indicate Al-Farazdak’s verse, quoted above. It is stated that a brother of A’mru
ibn Kolthoum, called Murrah, killed a son of Noman Abo
Kabos named Al-Monthir, who seemingly had been sent to
fight against Taghlib. It is to this achievement of Mourra and
to the similar achievement of A’mru ibn Kolthoum that the
poet of Taghlib Al-Akhtal. An extended notice on Al-Akhtal,
Farazdak, and Jarir, referred to in this verse that he addresses
his rival Jarir:
(Al-Maliki, 2008, 421) قتال الملوك وفككا االغالل
ابنى كليب إن عمي اللذا
O sons of Kolayb, I am one of the nephews of these
two men who have killed kings and crushed the captive
chains.
The grief and anger of Noman are exhaled in threats
against Taghlib because of the news of the death of his son.
Consequently, A’mru ibn Kolthoum, wrote him an insulting
letter to present himself a brave and composed a great number of satirical verses. This is one wherein he said to King
Noman:
(Al-Bustani, p. 190) واألمنا خاال واعجزنا أبا
لحا هللا
ادنانا الى اللوم زلفة
يصوغ القروط والشنوف بيثربا
واجدرنا ان ينفخ الكير خاله
May God cover with the confusion that of a name whose
birth has a blemish, of which the mother is of the least
noble origin, whose father was most void;
ALLS 10(1):77-85
The one of us who deserves the best to have a maternal
uncle who blows the stove and makes women’s jewelry
in Yathrib
In other satirical lines, he attacks Selma, mother of Noman who is the daughter of the silversmith:
(Al-Asfahani, 2008, p. 39) وقد تكون قديما في بني ناج
حلّت سليمى بخبت بعد فرتاج
من بالخورنق من قيس ونسّاج
اذ ال ترجي سليمى ان يكون لها
كما تلفف قبطيا بديباج
وال يكون على أبوابها حرس
مشى المقيد في الينبوت والحاج
تمشي بعدلين من لوم ومنقصة
Little Selma passed from a narrow shop to a vast
house, which formerly vegetated among the children
of Nadji.
Then she did not expect to have one of the locksmiths or
upholsterers working in the palace at Khawarnak;
Then she had no guards at her doors; she did not dress
with beautiful white linen and silk kinds of stuff.
Loaded with the double weight of her baseness and
foolishness, Selma trudges along like a beast of burden
walking on thorns with shackles on her feet.
Some Arab historians and writers claim that A’mru ibn
Kolthoum, exceeded the age of one hundred, some say that
he might reach a hundred and fifty years opposite to the
great poet Tarafah ibn Al-A’bd who met his doom before
reaching thirty years. What is confirmed is that his death
is around the period of the Hegira of Prophet Mohammad. When he felt his end approaches, he summoned his
children to be near him; he spoke to them saying: I lived
longer than any of my ancestors; It is time to go to join
them. You might receive advice from my long experience. Every time, rightly or wrongly, I have censured or
scorned others, I have been the body of similar censures
and blames, or ill-founded. The invader is invaded. Consequently, avoid offending anyone; it is the wisest option. Be
gentle, benevolent, kind, generous, and charitable to your
neighbors and friends! It is the means to gain esteem. Prevent a foreigner from being ill-treated there is such a fellow
who is worth a thousand. It is safer to reject a request than
to promise and not to preserve. When someone speaks to
you, listen responsively; when you talk, be brief; long discourses are never free of foolishness. The bravest fighter is
the one who never exhausts of returning to the charge, and
the most dignified death is to perish at the time of fighting.
There are null people, of whom there is nothing to anticipate or panic; do not bother to resolve and settle them. To
end with, do not marry women of your clan; these kinds of
matrimonies often give rise to discords between families.
See (Ibn Kolthoum, 1992, p. 184). A’mru ibn Kolthoum
died approximately in 600 AD.
A’mru ibn Kolthoum, left a large number of sons who
continued his race. One of his sons is Abbad who killed
Bishr ibn A’mru ibn Odas; among his descendants the
poet Al-A’ttabi. He was a writer of numerous epistles. He
flourished under the reign of the Caliph Haroun ArRasheed and Malik ibn Tauk, who was the governor of Mesopotamia and died under the caliph Al Mo’tamed around
873 AD.
Mua’llaqah of A’mru ibn Kolthoum: A Representative of the Greatness of Arabic
Al-Mua’llaqah: Pride and Dignity in the Use of Arabic
Language
Analysis
The poem as it is general in Al Mua’llagat starts with what
critics call Nasib. It is the introduction of the ode or the amorous verses relating to the beloved and belonging to Al-hayi,
where his beloved dwells or passes from.
In this Mua’llaqah, A’mru ibn Kolthoum chants the glory
and dignity if his tribe Banou Taghlib.
مور األَندَ ِرينا
صبَحينا
.1
ْ صحْ نِكِ فَا
َ أَال ُه ِبّي ب
َ َوال ت ُ ْبقِي ُخ
Come, awaken, take your big cup, and pour us out at the
emergence of the day, the delicious wines that Andar’s
territory gives.
The poet tells the maid to wake up hurriedly and to make
them have their breakfast but only drinking using a big cup.
She should bring them all the available drink and should not
leave or save any drink in this village. It is an astonishing
picture the poet illustrates his profound knowledge of the
usage of language. A’mru uses the Arabic expression ( ) ُه ِبّيto
indicate the hint of a brave knight who does not require but
commands. The expression also expresses a process of attack in which this expression is most suitable for battle and
attack. Another Arabic expression shows that the powerfulness of our knight-poet is ( ِصحْ نِك
َ )ب. This expression is a hint
to a cup however its real meaning is not a cup but a large
plate indicating that the warrior estimates the cup not sufficient to the knight; he deserves a large dish full of a drink.
َ َص فيها ِإذا ما الما ُء خال
َّ ًشعَة
سخِ ينا
.2
َ ش ْع
َ ُم
َّ كان ال ُح
َ طها
Pour us that liquor, which looks to be colored with saffron, when it is mixed with lukewarm water that adjusts
the freshness.
In this verse, A’mru ibn Kolthoum describes his drink; he
orders the maid to pour them a particular sort of drink that is
mixed with water and with a red planet. This mixed drink
seems to be sparky and shining. The poet says that after
drinking, he and his tribe become more generous and beneficent. He uses two important expressions; (ًشعَة
َ ش ْع
َ ) ُمand (ص
َّ )ال ُح
are two expressions that the poet uses to portrait his particular sort of drink expressing his ample experience and knowledge of life and how to enjoy it with dignity and pride.
.3
ِإذا َما ذاقَها َحتَّى يَلِينا
ُع ْن ه ََواه
ُ ت َ ُج
َ ور بذي اللُّبَانَ ِة
Tasted by the man haunted with painful plights, she distracts him from his plights and makes his attitude soft
and calm.
This verse line and the previous one both are related to
the first. The poet continues describing the sort of drink he
refers.
ّ ت ََرى الّلحِ زَ ال
ْ شحي َح ِإذا أُمِ َّر
.4
علَ ْي ِه لمِ ا ِل ِه فيها ُمهينا
ت
َ
See the ravenous miser of riches abruptly become prodigal of his belongings, when he has evacuated the cup to
the round, and the brew acts upon his mind.
In this line, the poet says that even the depressed miser
man spoils his money in drinking because after drinking, he
loses his consciousness. He is in a situation that can humiliate money or properties.
ع ْم ٍرو
.5
ِ صبَ ْن
ُ ْ وكانَ ْالكَأ
َ عنّا أ ُ َّم
َ س
َ س َمجْ راها ْاليَمِ ينا
َ ْ ت ْالكَأ
What are you doing, Umm- A’mru? You took the mug
away from us, while it had better move to the right.
81
The poet addresses his mother, umm A’mru, in which
she took the cup away from him. It was in her right hand,
but she put it on the left one. The indication here is that do
not worry about me because of drinking a lot. I can control
things well. The poet in his speech here, as the same as in
the whole piece, uses the first plural person we to point out
being proud.
صبَحِ ينا
.6
ع ْمر ٍو
ْ بِصاحِ بِكِ الّذِي ال ت
َ َو َما ش َُّر الثّالث َ ِة أ ُ َّم
umm A’mru, know that in this trio of drinkers, your acquaintance, whom you are depriving of his turn, does
not surrender in any way to his companions.
In this verse, the knight protests against umm A’mru, telling here I am not the best of these three whom you bring
them a drink as breakfast. In his speech, he means that she
should be fair with them all. There are two connotative pictures here, and readers might conceive that the mother does
not want her loved son to swallow wine knowing that it is
not appreciated for rationality. The second picture might
show the speaker-poet telling that his mother should not be
anxious about him; he is now a knight and warrior.
اص ِرينا
.7
ٍ َوك
ِ ََأس قَ ْد ش َِربْتُ بِبَ ْعلَبَ ِّك َوأ ُ ْخ َرى في ِد َم ْشقَ َوق
Several times we drank, in Baalbek, others in Damascus
and Cacerin.
Confirming himself being a rational man and brave, the
poet says that he is accustomed to the drink because he has
drunk several times in different cities and places such as
Baalbek and Damascus.
ُمقَد ََّرة ً لَنا َو ُمقَدّ ِِرينا
ف تُد ِْر ُكنا الَمنَايَا
.8
َ َوإِنَّا
َ س ْو
In a little, while the death will reach us; the hour when it
must hit us is marked, and we are victims once and for
all devoted to its blows.
In this line, the poet with great wisdom, says that we are
controlled and taken in this life by heavenly power. Death is
destined to us, and it is our destiny, we can never evade it.
Consequently, we should not be afraid of anything in life.
Connotatively ibn Kolthoum presents conventional Arabic
customs or habits symbolized by courage daring bravery.
َ ق يَا
نُ َخ ِبّ ْركِ ْاليَقِينَ َوت ُ ْخبِ ِرينا
ظعِينا
.9
ِ قِفِي قَ ْب َل التَّف َُّر
Halt a while your mount, beautiful lady-traveler before
parting. Let us inform the truth and listen to you as well.
The poet in this line informs the traveler lady on the camel to stop and listen to his story of he faced and also to listen
to her telling her own story.
.10
ت اْألَمِ ينَا
ِ ص ْرما ً ل َِو ْشكِ ْالبَي ِْن أ َ ْم ُخ ْن
ِ ْقِفِي نَسْأ َ ْلكِ ه َْل أَحْ دَث
ِ ت
Halt to ask you, quickly forgetting the too short instants
we spent together; you have since shattered the bonds
that unified us, and grassed my truthful love.
This line is a continuous process of the first. The poet
asks the lady-traveler on the mount to stop and answer his
question about her hastily departing.
ً ط ْعنا
َ ض ْربا ً َو
.11
أَقَ َّر ِب ِه َمواليكِ ْالعُيُونا
َ ِبيَ ْو ِم ك َِري َه ٍة
In an undesirable day of combat, while he scuffles amid
wounds and blows, may the potentate of the world refresh thy sight with nippiness, and gratify it with every
wanted object.
The poet, in this verse, says that it is our turn to tell you
and from you to others about a day of a battle full of hitting
and stabbing by a blade and a spear. In that day the eyes of
82
your nephews to be satisfied. It is a day of achieving victory
and defeating their enemies.
َ ََوبَ ْعد
َوإِ َّن غَدا ً وإِ َّن ْاليَ ْو َم َر ْه ٌن
غ ٍد بِما ال ت َ ْعلَمِ ينا
.12
Tomorrow, as it is today that must follow to the end of
it, enclose an upcoming wrapped in an impenetrable
shroud that you ignore.
The poet starts in this line to tell about his pride of himself and his clan saying that today, tomorrow and even after
tomorrow you will know more which you do not know now.
ْ على خَالء َوقَ ْد أَمِ ن
ٍ
عيُونَ ْالكَاشِحِ ينَا
.13
ُ َت
َ َت ُ ِريكَ إِذا دَخ َْلت
O A’mru, when you visit your fair one in secret, and
when the eyes of lurking foes are closed in rest,
My mistress, when you find her alone, and she does not
have to fear the jealous ones, discover in the eyes two chubby
and steady arms like the members of a young camel whose
color is pure white, whose breast has never conceived. Here,
the poet says that the woman shall come to you free of troubles when both are secured from the eyes of their enemies.
َ ع ْي
ط ٍل أ َ ْد َما َء بَ ْك ٍر
.14
ان اللَّ ْو ِن لَ ْم ت َ ْق َرأ َجنِينَا
َ عي
َ ذ َِرا
ِ ِه َج
My beloved shows two charming arms, fair and bursting as the limbs of a long-necked snow-white fledgling
camel, that frolics in the vernal period over the sandbanks and green mounds.
In this verse, our poet describes her arms as those of
the she-camel who has not given birth yet or it well grazed
during the best season of spring. The arms are long and fully fledged. It gives a glimpse of a gorge with soft contours,
which seems to be formed of two ivory boxes artistically
rounded, and on which no one wears a reckless hand. As it is
the nature of Arabs in the Arabian Peninsula, they used to be
well connected with the camels as helpful animals. Arabian
camels are of great significance for several reasons; they are
used as mounts in wars as well as in commerce; they are the
fleet of the desert. In addition to providing food especially
milk meat. Lastly, Arabs are fond of camel race. The best
camels who are distinguished by their strength and beauty as
A’mru ibn Kolthoum describes it in this line. The poet compares the arms of the lady in an exaggerated way to those of
a strong she-camel.
ً ق ْالعَاجِ َر ْخصا
.15
ف الّالمِ سِينا
ِ ّ صانا ً مِ ْن أ َ ُك
َ َح
ِ ّ َوثَدْيا ً مِ ثْ َل ُح
Besides two fragrant breasts; white as vessels of ivory
diffidently defended from the touch of those who imagine to feel them.
In this verse line, the poet brings us a stunning portrait of
the breasts that they are like ivory white and round vessels.
They are protected from the hands that try to touch them.
َ ت َو
ْ َطال
ْ َس َمق
َر َوا ِدفُها تَنُو ُء بِما َولِينا
.16
ت
َ َو َمتْنَ ْي لَ ْدنَ ٍة
My beloved ascertains her slender figure, tall and well
balanced, and her sides elegantly standing with all their
attendant allures;
Moving ahead in describing the body of the lady in a flirting way and presenting her beauty.
َو َك ْشحا ً قَ ْد ُجنِ ْنتُ بِ ِه ُجنُونا
ع ْنها
.17
َ ُضيقُ ْالبَاب
ِ ََو َمأْكَمةً ي
Her hips are gracefully inflating that the entrance of the
shelter is scarcely hefty enough to admit, the waist, the
splendor of which drives us mad.
This line is still related to the previous lines. Her hips are
flexible; her stature is high and noble; her hips, laden with
the weight which surrounds them, have difficulty in raising
ALLS 10(1):77-85
themselves. They have such a volume that the doors are too
narrow for them. Her elegant size made me lose my mind.
َاش َح ْليِ ِهما َرنِينا
.18
ٍ اريَت َ ْي بِلَ ْنطٍ أ َ ْو ُر
ُ خام يَ ِر ُّن َخش
َ َو
ِ س
With two appealing columns of pure jasperrefined
marble, on which dangled rings and trinkets creating a
creaking sound.
The poet here moves to describe the legs of the lady presenting their elegance. Her legs, like two marble columns,
are adorned with intertwined rings, which, when she walks,
make a pleasant clatter sound.
ْ فَما َو َجد
ت الَحنِينا
.19
ب
ِ َضلَّتْهُ فَ َر َّجع
ٍ ْت ك ََوجْ دِي أ ُ ُّم سْق
َ َأ
My boyish thirst is revived, and my ardent craving revives when I grasp her traveling camels of my fair one
driven along in the twilight.
Our poet in this line shows a sign of sorrow or sadness
because of his departing from his beloved. Separated from
this beauty, I feel more regretful than the camel deprived of
her tender infant, whom she calls from her plaintive cries.
The poet, again and again, uses the camel in his description.
He reminds the readers with the poem of Tarafah ibn Al-A’bd
who fantastically praised his camel. Tarafah says:
اصفِ مِ ْن دَ ِد
(Ibn Al-Ward, 2003, p. 26)
ِ سفِين بِالنَّ َو
َ خَال يا
ً غد َْوة
ُ كأن ُحدُو َج الَ ْما ِل ِكيَّ ِة
َّ
On the dawn of departure, Al-Malikiah sailed like desert
ships, in the valley of Dadid.
The poet uses a metaphorical vision, well known in Arabic communities old or current when he pronounces the
camel as a desert ship. Tarafah compares the howdahs on the
camel of the tribeswomen to the traveling fleet of ships in
terms of their enormous litters and luggage transport. Hudj
means the camel howdah which is used for the carriage of
women. Its plural is Haduj. Khalaya signifies large ships,
and nawasif is a sizeable broad place close to the sides of
the valley. Dadid is the name of a valley known by the poet.
In line (19) above, A’mru ibn Kolthoum because of leaving his beloved compares his feelings to the she-camel who
is frustrated by the stray of her young.
َ َوال ش َْم
لَها مِ ْن تِ ْسعَ ٍة إِال َجنِينا
طا ُء لَ ْم يَتْ ُر ْك شَقاها
.20
Not that of a widow, with snowy curls, whose grief never stops for her nine boys, of whom nothing stays, only
what the tomb has hidden.
The poet in this line adds that even the old woman whose
hair becomes white and is grieving the loss of nine young is
not too suffering than him owing to departing his beloved.
The unfortunate mother, whose head begins to whiten, and to
whom fate has left her nine children only their sad remains,
shut up in the grave. The sorrow of such old woman is less
than his.
صالً ُحدِينا
صبَا َوا ْشت َ ْقتُ لَ َّما
.21
ّ ِ تَذَ َّك ْرتُ ال
ُ ُ َرأَيْتُ ُح ُمولَ َها أ
All ferocity of my love has roused, my heart occupied
with ardent wishes when at the end of the day I saw my
paramour’s camel’s departure.
The poet expressing his feelings says that when he remembers the passion, sentiment, and vagary he is eager to
his mistress when seeing camels are loaded at night to leave.
ْ ت ْاليَما َمةُ َوأ ْش َمخ ََّر
صلَتِينَا
.22
ت
ِ ض
ْ كأ َ ْسيَافٍ بِأ َ ْيدِي ُم
َ فَأَع َْر
When the towns of Yemamah appear in sight, high
above the plains, and outstanding like lightsabers in the
hands of those who have pulled them.
Mua’llaqah of A’mru ibn Kolthoum: A Representative of the Greatness of Arabic
In this verse line, the poet says that the villages of Yamamah appeared rising in our eyes as if they are swords lifting
in the hands of men. He compares the semi-appearance of
such villages to the sword when they are taken off from their
scabbard. The land of Yemma looked from afar with its high
mountains, whose whitening summits resembled the swords
which the warriors’ hands shine out of the sheath.
َوأ َ ْنظِ ْرنا نُ َخ ِبّ ْركَ ْاليَقِينا
علَيْنا
.23
َ أَبَا ِه ْن ٍد فَال ت َ ْع َج ْل
O father of Hinda, be not hurried in giving judgment
against us: hear us with patience, and we will give you
convinced information;
Our poet, here, addresses ibn Hind with the surname ‘Father’ of Hind, do not hasten to provoke our anger; wait until
we tell you what we are indeed. You shall realize our dignity and honor. In this line, the poet shifts dramatically from
self-pride, from love and passion, from sorrow and grief to
threateningness against the enemy.
.24
صد ُِره َُّن ُح ْمرا ً قَ ْد َر ِوينا
ِ الرايَا
ْ ُت بِيضا ً َون
َّ ُورد
ِ ُبأَنَّا ن
Learn that we sport white banners in battle and that we
take them out red, soaked with blood.
This line is the second core verse line in the poet’s praise
of his tribe especially in the war with enemies. From here,
A’mru ibn Kolthoum, in a proud way, presents a glorious
picture of courage and daring. He says to his enemy King
A’mru ibn Hind we will honestly inform you who we are.
We, when launching a war, come with white flags but after
the battle, these flags return as red-colored due to the significant blood of killing. This line is co-related to the previous
one.
ْ َصيْنا ال
ُ َوأَي ٍَّام لَنَا
.25
ملكَ في َها أ َ ْن نَدِينا
غ ِ ّر طِ َوا ٍل
َ
َ ع
Our days of opulence, in which we have negated to follow the directions of kings, have been long and vivid.
The poet continues his illustration on dignity and courage
addressing his enemies that we are unbending, unyielding,
rigid and obdurate especially in battle on our famous horses.
If our enemy wants to humiliate us, let him come, and he
will see in expression and deed which we are. The poet adds
that they have experienced many long and famous struggles.
They have sustained against kings like you, rather than humiliating ourselves before them.
ْ ُس ِيّ ِد َم ْعشَر قَ ْد ت ََّو ُجوهُ بِت َاج ال
ملكِ يَحْ مِ ي الُ ُمح َج ِرينَا
.26
َ َو
ِ
Many a leading of his people, on whom the regal crown
has been positioned, the refuge of those who beseeched
his security,
Those who estimate themselves as lords in their tribes
and kings on their nations are humiliated by our severe and
unyielding power. Any illustrious chief, who valiantly defended his clientele and obtained the insignia of royalty, fell
under our blows.
علَ ْي ِه
صفُونا
.27
ُ ُمقَلَّدَة ً أ َ ِعنَّت َها
َ ًعا ِكفَة
َ ت ََر ْكنا الَخ ْي َل
We have left the enemy prostrate on the ground, while
our mounts waited by his side, the hoofs bent, and with
halters opulently adorned.
The line here tells that when we attack our enemy, we
kill him and making our horses busied and stoop on him.
Immediately (dismounting to take away his weapons) we let
the reins float on the neck of our steeds, who, pressing one of
their hind feet on the clamp and landing on the other three,
83
remained fixed, in this attitude, near the body of our fallen
enemy.
ُ َوأ َ ْنزَ ْلنا ْالبُيُوتَ بِذِي
َّ إِلَى ال
.28
ت ت َ ْنفِي الُم ِوعدِينا
ِ شا َما
ٍطلُوح
We have fixed our houses in Dhu Thaluh, towards the
regions of Syria, and have kept at a space the one who
menaced us.
In this verse, the poet says that we have organized our
houses in places known as ThiTuluh to Ash-Shamat, in reference areas within Syria. From these places, we expel our
enemies. We pitched our tents from Dhou-Tolouh to Châmat
and drove out all those whose hatred threatened us.
ْ َوقَ ْد ه ََّر
شذَّ ْبنا قَتادَة َ َمنَ يَلِينا
ي ِ مِ نَّا
.29
َ َو
ّ ت كِالبُ الَح
We were so camouflaged in our armor that the hounds of
the clan scrambled at us, yet we stripped the brushwood
of all thorny trees that are contrasting us.
In this line, there is a metaphor in which the brushwood
of trees refers to the armed warrior. The poet says that we
are ready to fight after wearing the weapons to the degree
that the dogs denied us by keeping silent. We break the thorn
of any enemy who thinks of approaching to us. We went to
surprise our rivals at home; the dogs of their camp barked
at the approach of unknown warriors. Soon our dangerous
neighbors have been put out of harm’s way.
َ َمت َى نَ ْنقُ ْل إِلى قَ ْو ٍم َر َحانا يَ ُكونُوا فِي الِّلقَاءِ لَها
.30
طحِ ينا
When we move the millstone of combat over a little
tribe, they are made flour in the first fight;
To come to the end of this part, the poet-knight confirms
that in a battle we face our enemies and kill them to be like
the ground pressed and rolled by the millstone. This expression shows to what degree A’mru ibn Kolthoum and his tribe
are severe and merciless in a battle. When we turn our efforts
against a tribe, we crush it as the stone crushes the wheat.
Discussion
It can be said that the language of this poet, Amru ibn
Kolthoum in this Mua’llagah is characterized by the affluence of pronunciation and clarity of meanings began commenting on the description of the wine and did not start the
Mua’llagah to talk about the ruins of the tradition of the
pre-Islamic period. It is probably said that he composed his
Mua’llagah at different times. Amru ibn Kolthoum is a poet
who overly talks about alcohol in a poetic language inspired
by his own experience.
Amru ibn Kolthoum was not renowned except by his
Mua’llagah which critics stated that it is famous for its striking expressions and harmony of the phrases as well as clarity
of the meaning. It bears an agility style and elevated expressions of pride and purpose. Critics narrated sections about
him in which he did not come out of the purposes of his
Mua’llagah, and perhaps his fame in oratory is not less than
his fame poetry. Mua’llagah Amru ibn Kolthoum is characterized by smoothness, ease, and reiteration in some of its
meanings, expressions, and clear excessive exaggeration in
pride in a way no counterpart-poet had ever composed in the
period of before Islam.
Pride is the central perception of this poem the majority
of his Mua’llagah deals with pride in his people and their
glory on the one hand, on the other hand, the poet threatens
ALLS 10(1):77-85
84
his and his tribe’s enemies notably King of Al-Hirah, Amru
ibn Hind. Amru ibn Kolthoum warns him and beautifully
threatens him with intense expressions.
The poetry of Amru ibn Kolthoum, for the most part, is
nothing more than a tool to express his dignity and honor, in
which blood-stained images proliferate, the remains of the
dead pile up, and the dust of war rises to the degree that
his poetry is estimated as an example of poetry of war in
which the Arabic virtues of knighting is amazingly represented. The colors of optimism are pervasive in him, and he
is overwhelmed by the sense of power and human dignity.
Life seems to him to be an arena for his heroism. In his most
flowing poetry, Amru ibn Kolthoum was a proud knight,
imaginative until he realized the myth and the impossibility.
His first artistic virtue, as critics have said, is the rebellious
image that depicts objects as an ideal representation, at a dimension that transforms the idea into an image within the
senses. The Mua’llagah is a pride about the tribe and community not of the individual at all; it includes a large number
of rhetorical images concerning the musical and rhythmical
meaning that it refers to.
CONCLUSION
Arabic tongue is indeed the language of profound connotation. It is rich, productive and of various culture. It has held
its innovation even with very much dialectical variation.
Irrespective of being ancient, it is a very lively language
with dynamic expressions and verbalisms in which it can
touch meritoriously on every theme of human motivation
and activity. As critics have said, the classical Arabic language is as creative and productive as the sea that produces
precious pearls. Such productivity is conspicuously seen
and touched through the profound connotative expressions
of A’mru ibn Kolthoum’ Mua’llagah. Indeed, the contribution of the classical Arabic language to humanity is conspicuous.
As the evaluative analysis illustrates, the paper pursued
a reasonable method aligned on the most important sources.
This Mua’llagah as a piece of Arabic poetry depicts original
Arab standards, ideals, and ethics against the tyranny of rulers and monarchs in pre-Islamic age not by swords only but
with the word as well. The paper might show that it reached
certain matters the most substantial of which is the influence
of classical Arabic language among its people as well as universally.
For the most part, the ode of A’mru ibn Kolthoum might
be a gallant example Arabic poetic tradition and folklore, for
it embraces Arabic legacy. A’mru ibn Kolthoum by versifying Mua’llagah like this prospered to bring us a concordant
Arabic essence in this piece of literature through using great
dominant terminology. Besides, this Mua’llagah might be a
significant illustration of the classical Arabic language.
This paper is brief since to deal with a small part of the
poem; consequently, it is recommended and encouraged by
the researcher for further examinations to continue dealing with different poetic involvements and artistic potentials, values and rhetorical meditations. A further study of
the issue might add significant results to adequately fulfill
the intention of searching the complication of an issue like
Al-Mua’llaqah of A’mru ibn Kolthoum.
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ENDNOTE
1. Az-Zawzani, Abo Abdullah Al Husien ibn Ahmad. (2011).
Al-Mua’llaqat As-Saba’, (the Seven Hanging Poems of
Arabs) Beirut: Dar El-Ma’refah. p. 116. [All Arabic verses about Mua’llaqat A’mru ibn Kolthoum in this study
are from this edition of the book, pages 116-121].