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The Ode of Al-Aʿshā

The Muʿallaqah of al-Aʿshā al-Qaysī — A Lesson in Insight معلقة الأعشى القيسي درس في الإبصار Al-Aʿshā is al-Maymūn b. Qays al-Bakrī known as al-Aʿshā al-Kabīr (the great or the first) to distinguish him from other poets with the same nickname. Aʿshā means dim-sighted, an affliction from which the poet suffered, causing him to eventually lose his sight entirely near the end of his life. He is also known by the epithet, Sannājat al-ʿArab. Sannāja is a reference to musical instruments, drum like or string instruments, which he often mentioned in his poetry. He is one of the greatest poets of the Arabic tradition. He lived to witness the advent of Islam but did not convert. Al-Aʿshā's Muʿallaqah is a poem about visions of the self: the self in solitude, the self in pleasure, the self in the company of others, the self in disappointment, the self at war in all of its forms, and the self in confrontation with time. As the Arabic commentator Adi Al-Herbish notes, it is profoundly apt that the poet struggled with his dimming sight when he is said to have composed the poem. He accounts for this loss of sight in the poem through vivid and extremely nuanced imagery. He also compensates for it with deep insights into the self and its changing seasons. Al-Aʿshā composed his poem upon a dispute over blood vengeance between his tribe and their kin. The poet is enraged by Yazīd of Banī Shaybān’s interference and accuses him of stoking the fires of war and egging others against the poet’s tribe. However, before arriving at the moment of confrontation with the adversaries, the poet journeys through phases of the self just as he journeys through the ritual landscape of the qaṣīdah from the opening elegiac stance (1-32), to the desert journey (33-44) and finally arriving at the moment of boast (45-64). However, these section divisions are not clear-cut, for al-Aʿshā delays and disrupts what we think of as the archetypal structure through beautiful personal and meditative sections. The Poem The poem opens with a nasīb (1-32) an amatory elegiac prelude, in which the poet laments his beloved Hurayrah’s departure. However, he soon adopts a sarcastic tone, which allows him to expand and vary on the amatory prelude, com ment on and undermine it as happens in comical scenes of not just a love triangle, but a big seven-way knot of misdirected affection in line 18: Each longing for another, delirious and stricken approaching and retreating, confounding and crazed. The prelude of al-Aʿshā’s poem is expanded and his tran sition to the journey is delayed with a meditation on his dimming sight (19-20 ), followed by compensation for the onset of old age with a recollection of youth and recklessness (22-32). In line 33, he dissociates from the beloved and recol lection of the past, setting off on a journey in “a barren land…where only the jinn hum in its desolate corners.” The journey section is also interrupted by an unconven tional scene (36-43) in which the poet and his drunk companions track a rain cloud in a place called Durna. They spot the rain cloud drift over the landscape and then overwhelm it with rain. And thus, the poem transi tions to the moment of confrontation in the last section, the boast (44-64). The poet leaves his old self, licks his wounds in love, and stands for the honor of his tribe. To Yazīd of Banī Shaybān, this word: Stop eating your heart out Abū Thūbayt! Stop taking jabs at our noble roots that nothing can mar as long as burdened mounts moan. Metre Basīt Reciter Abdullah al-Audhaly عبد الله العوذلي    • معلقة الأعشى | تقريب تراث العرب | جدي...   English translations Translation: Huda J. Fakhreddine (Added). I have only made slight changes to it. Page 386: https://www.ithra.com/en/news/muallaqat1 Translation: Michael A. Sells. (Added: United Kingdom). The translator did not translate some verses on purpose. Page 57: https://www.brown.edu/Departments/Jou... Explanations    • شرح معلقة الأعشى  (1) / حول الأعشى + ...   https://app.turath.io/book/21574