Читать книгу A Literary History of the Arabs - Reynold Alleyne Nicholson - Страница 14

Thus the first verse runs in Arabic:—

Inna bi’l-shi‘ | bi ’lladhi |‘inda Sal‘ⁱⁿ la-qatíl^an | damuhú | má yuṭallu.

Of course, Arabic prosody differs radically from English, but mutatis mutandis several couplets in the following version (e.g. the third, eighth, and ninth) will be found to correspond exactly with their model. As has been said, however, my object was merely to suggest the abrupt metre and the heavy, emphatic cadences, so that I have been able to give variety to the verse, and at the same time to retain that artistic freedom without which the translator of poetry cannot hope to satisfy either himself or any one else.

The poet tells how he was summoned to avenge his uncle, slain by the tribesmen of Hudhayl: he describes the dead man's heroic character, the foray in which he fell, his former triumphs over the same enemy, and finally the terrible vengeance taken for him.195

"In the glen there a murdered man is lying— Not in vain for vengeance his blood is crying. He hath left me the load to bear and departed; I take up the load and bear it true-hearted. I, his sister's son, the bloodshed inherit, I whose knot none looses, stubborn of spirit;196 Glowering darkly, shame's deadly out-wiper, Like the serpent spitting venom, the viper. POEM BY TA’ABBAṬA SHARRAN99 Hard the tidings that befell us, heart-breaking; Little seemed thereby the anguish most aching. Fate hath robbed me—still is Fate fierce and froward— Of a hero whose friend ne'er called him coward: As the warm sun was he in wintry weather, 'Neath the Dog-star shade and coolness together: Spare of flank—yet this in him showed not meanness; Open-handed, full of boldness and keenness: Firm of purpose, cavalier unaffrighted— Courage rode with him and with him alighted: In his bounty, a bursting cloud of rain-water; Lion grim when he leaped to the slaughter. Flowing hair, long robe his folk saw aforetime, But a lean-haunched wolf was he in war-time. Savours two he had, untasted by no men: Honey to his friends and gall to his foemen. Fear he rode nor recked what should betide him: Save his deep-notched Yemen blade, none beside him.

Oh, the warriors girt with swords good for slashing, Like the levin, when they drew them, outflashing! Through the noonday heat they fared: then, benighted, Farther fared, till at dawning they alighted.197 Breaths of sleep they sipped; and then, while they nodded, Thou didst scare them: lo, they scattered and scudded. Vengeance wreaked we upon them, unforgiving: Of the two clans scarce was left a soul living.198

Ay, if they bruised his glaive's edge 'twas in token That by him many a time their own was broken. Oft he made them kneel down by force and cunning— Kneel on jags where the foot is torn with running. Many a morn in shelter he took them napping; After killing was the rieving and rapine.

They have gotten of me a roasting—I tire not Of desiring them till me they desire not. First, of foemen's blood my spear deeply drinketh, Then a second time, deep in, it sinketh. PRE-ISLAMIC POETRY100 Lawful now to me is wine, long forbidden: Sore my struggle ere the ban was o'erridden.199 Pour me wine, O son of ‘Amr! I would taste it, Since with grief for mine uncle I am wasted. O'er the fallen of Hudhayl stands screaming The hyena; see the wolf's teeth gleaming! Dawn will hear the flap of wings, will discover Vultures treading corpses, too gorged to hover."

All the virtues which enter into the Arabian conception of Honour were regarded not as personal qualities inherent or acquired, but as hereditary possessions which a Honour conferred by noble ancestry. man derived from his ancestors, and held in trust that he might transmit them untarnished to his descendants. It is the desire to uphold and emulate the fame of his forbears, rather than the hope of winning immortality for himself, that causes the Arab "to say the say and do the deeds of the noble." Far from sharing the sentiment of the Scots peasant—"a man's a man for a' that"—he looks askance at merit and renown unconsecrated by tradition.

"The glories that have grown up with the grassCan match not those inherited of old."200

Ancestral renown (ḥasab) is sometimes likened to a strong castle built by sires for their sons, or to a lofty mountain which defies attack.201 The poets are full of boastings (mafákhir) and revilings (mathálib) in which they loudly proclaim the nobility of their own ancestors, and try to blacken those of their enemy without any regard to decorum.

It was my intention to add here some general remarks on Arabian poetry as compared with that of the Hebrews, the THE MU‘ALLAQÁT101 Persians, and our own, but since example is better than precept I will now turn directly to those celebrated odes which are well known by the title of Mu‘-allaqát, or 'Suspended Poems,' to all who take the slightest interest in Arabic literature.202

Mu‘allaqa (plural, Mu‘allaqát) "is most likely derived from the word ‘ilq, meaning 'a precious thing or a thing held in high estimation,' either because one 'hangs on' tenaciously to it, or because it is 'hung up' in a place of honour, or in a conspicuous place, in a treasury or storehouse."203 In course of time the exact signification of Mu‘allaqa was forgotten, and it became necessary to find a plausible explanation. The Mu‘allaqát, or 'Suspended Poems.' Hence arose the legend, which frequent repetition has made familiar, that the 'Suspended Poems' were so called from having been hung up in the Ka‘ba on account of their merit; that this distinction was awarded by the judges at the fair of ‘Ukáẓ, near Mecca, where poets met in rivalry and recited their choicest productions; and that the successful compositions, before being affixed to the door of the Ka‘ba, were transcribed in letters of gold upon pieces of fine Egyptian linen.204 Were these statements PRE-ISLAMIC POETRY102 true, we should expect them to be confirmed by some allusion in the early literature. But as a matter of fact nothing of the kind is mentioned in the Koran or in religious tradition, in the ancient histories of Mecca, or in such works as the Kitábu ’l-Aghání, which draw their information from old and trustworthy sources.205 Almost the first authority who refers to the legend is the grammarian Aḥmad al-Naḥḥás; († 949 a.d.), and by him it is stigmatised as entirely groundless. Moreover, although it was accepted by scholars like Reiske, Sir W. Jones, and even De Sacy, it is incredible in itself. Hengstenberg, in the Prolegomena to his edition of the Mu‘-allaqa of Imru’u ’l-Qays (Bonn, 1823) asked some pertinent questions: Who were the judges, and how were they appointed? Why were only these seven poems thus distinguished? His further objection, that the art of writing was at that time a rare accomplishment, does not carry so much weight as he attached to it, but the story is sufficiently refuted by what we know of the character and customs of the Arabs in the sixth century and afterwards. Is it conceivable that the proud sons of the desert could have submitted a matter so nearly touching their tribal honour, of which they were jealous above all things, to external arbitration, or meekly acquiesced in the partial verdict of a court sitting in the neighbourhood of Mecca, which would certainly have shown scant consideration for competitors belonging to distant clans?206

However Mu‘allaqa is to be explained, the name is not contemporary with the poems themselves. In all probability they were so entitled by the person who first chose them THE MU‘ALLAQÁT103 out of innumerable others and embodied them in a separate collection. This is generally allowed to have been Ḥammád al-Ráwiya, a famous rhapsodist who flourished in Origin of the collection. the latter days of the Umayyad dynasty, and died about 772 a.d., in the reign of the ‘Abbásid Caliph Mahdí. What principle guided Ḥammád in his choice we do not know. Nöldeke conjectures that he was influenced by the fact that all the Mu‘allaqát are long poems—they are sometimes called 'The Seven Long Poems' (al-Sab‘ al-Ṭiwál)—for in Ḥammád's time little of the ancient Arabian poetry survived in a state even of relative completeness.

It must be confessed that no rendering of the Mu‘allaqát can furnish European readers with a just idea of the originals, a literal version least of all. They contain much Difficulty of translating the Mu‘allaqát. that only a full commentary can make intelligible, much that to modern taste is absolutely incongruous with the poetic style. Their finest pictures of Bedouin life and manners often appear uncouth or grotesque, because without an intimate knowledge of the land and people it is impossible for us to see what the poet intended to convey, or to appreciate the truth and beauty of its expression; while the artificial framework, the narrow range of subject as well as treatment, and the frank realism of the whole strike us at once. In the following pages I shall give some account of the Mu‘allaqát and their authors, and endeavour to bring out the characteristic qualities of each poem by selecting suitable passages for translation.207

The oldest and most famous of the Mu‘allaqát is that of Imru’u ’l-Qays, who was descended from the ancient kings of Yemen. His grandfather was King Ḥárith of Kinda, the antagonist of Mundhir III, King of Ḥíra, by whom he was PRE-ISLAMIC POETRY104 defeated and slain.208 On Ḥárith's death, the confederacy which he had built up split asunder, and his sons divided among themselves the different tribes of which it was Imru’u ’l-Qays. composed. Ḥujr, the poet's father, ruled for some time over the Banú Asad in Central Arabia, but finally they revolted and put him to death. "The duty of avenging his murder fell upon Imru’u ’l-Qays, who is represented as the only capable prince of his family; and the few historical data which we have regarding him relate to his adventures while bent upon this vengeance."209 They are told at considerable length in the Kitábu ’l-Aghání, but need not detain us here. Suffice it to say that his efforts to punish the rebels, who were aided by Mundhir, the hereditary foe of his house, met with little success. He then set out for Constantinople, where he was favourably received by the Emperor Justinian, who desired to see the power of Kinda re-established as a thorn in the side of his Persian rivals. The emperor appointed him Phylarch of Palestine, but on his way thither he died at Angora (about 540 a.d.). He is said to have perished, like Nessus, from putting on a poisoned robe sent to him as a gift by Justinian, with whose daughter he had an intrigue. Hence he is sometimes called 'The Man of the Ulcers' (Dhu ’l-Qurúḥ).

Many fabulous traditions surround the romantic figure of Imru’u ’l-Qays.210 According to one story, he was banished by his father, who despised him for being a poet and was enraged by the scandals to which his love adventures gave rise. Imru’u ’l-Qays left his home and wandered from tribe to tribe with a company of outcasts like himself, leading a wild life, which caused him to be known as 'The Vagabond Prince' (al-Malik al-Ḍillíl). When the news of his father's death IMRU’U ’L-QAYS105 reached him he cried, "My father wasted my youth, and now that I am old he has laid upon me the burden of blood-revenge. Wine to-day, business to-morrow!" Seven nights he continued the carouse; then he swore not to eat flesh, nor drink wine, nor use ointment, nor touch woman, nor wash his head until his vengeance was accomplished. In the valley of Tabála, north of Najrán, there was an idol called Dhu ’l-Khalaṣa much reverenced by the heathen Arabs. Imru’u ’l-Qays visited this oracle and consulted it in the ordinary way, by drawing one of three arrows entitled 'the Commanding,' 'the Forbidding,' and 'the Waiting.' He drew the second, whereupon he broke the arrows and dashed them on the face of the idol, exclaiming with a gross imprecation, "If thy father had been slain, thou would'st not have hindered me!"

Imru’u ’l-Qays is almost universally reckoned the greatest of the Pre-islamic poets. Muḥammad described him as 'their leader to Hell-fire,' while the Caliphs ‘Umar and ‘Alí, odium theologicum notwithstanding, extolled his genius and originality.211 Coming to the Mu‘allaqa itself, European critics have vied with each other in praising its exquisite diction and splendid images, the sweet flow of the verse, the charm and variety of the painting, and, above all, the feeling by which it is inspired of the joy and glory of youth. The passage translated below is taken from the first half of the poem, in which love is the prevailing theme:—212

"Once, on the hill, she mocked at me and swore, 'This hour I leave thee to return no more,' PRE-ISLAMIC POETRY106 Soft! if farewell is planted in thy mind, Yet spare me, Fáṭima, disdain unkind. Because my passion slays me, wilt thou part? Because thy wish is law unto mine heart? Nay, if thou so mislikest aught in me, Shake loose my robe and let it fall down free. But ah, the deadly pair, thy streaming eyes! They pierce a heart that all in ruin lies.

How many a noble tent hath oped its treasure To me, and I have ta'en my fill of pleasure, Passing the warders who with eager speed Had slain me, if they might but hush the deed, What time in heaven the Pleiades unfold A belt of orient gems distinct with gold. I entered. By the curtain there stood she, Clad lightly as for sleep, and looked on me. 'By God,' she cried, 'what recks thee of the cost? I see thine ancient madness is not lost.' I led her forth—she trailing as we go Her broidered skirt, lest any footprint show— Until beyond the tents the valley sank With curving dunes and many a pilèd bank, Then with both hands I drew her head to mine, And lovingly the damsel did incline Her slender waist and legs more plump than fine;— A graceful figure, a complexion bright, A bosom like a mirror in the light; A white pale virgin pearl such lustre keeps, Fed with clear water in untrodden deeps. Now she bends half away: two cheeks appear, And such an eye as marks the frighted deer Beside her fawn; and lo, the shapely neck Not bare of ornament, else without a fleck; While from her shoulders in profusion fair, Like clusters on the palm, hangs down her coal-dark hair."

In strange contrast with this tender and delicate idyll are the wild, hard verses almost immediately following, in which the poet roaming through the barren waste hears the howl of a starved wolf and hails him as a comrade:—

IMRU’U ’L-QAYS107

"Each one of us what thing he finds devours: Lean is the wretch whose living is like ours."213

The noble qualities of his horse and its prowess in the chase are described, and the poem ends with a magnificent picture of a thunder-storm among the hills of Najd.

Ṭarafa b. al-‘Abd was a member of the great tribe of Bakr. The particular clan to which he belonged was settled in Baḥrayn on the Persian Gulf. He early developed Ṭarafa. a talent for satire, which he exercised upon friend and foe indifferently; and after he had squandered his patrimony in dissolute pleasures, his family chased him away as though he were 'a mangy camel.' At length a reconciliation was effected. He promised to mend his ways, returned to his people, and took part, it is said, in the War of Basús. In a little while his means were dissipated once more and he was reduced to tend his brother's herds. His Mu‘allaqa composed at this time won for him the favour of a rich kinsman and restored him to temporary independence. On the conclusion of peace between Bakr and Taghlib the youthful poet turned his eyes in the direction of Ḥíra, where ‘Amr b. Hind had lately succeeded to the throne (554 a.d.). He was well received by the king, who attached him, along with his uncle, the poet Mutalammis, to the service of the heir-apparent. But Ṭarafa's bitter tongue was destined to cost him dear. Fatigued and disgusted by the rigid ceremony of the court, he improvised a satire in which he said—

"Would that we had instead of ‘Amr A milch-ewe bleating round our tent!"

Shortly afterwards he happened to be seated at table opposite the king's sister. Struck with her beauty, he exclaimed—

PRE-ISLAMIC POETRY108

"Behold, she has come back to me, My fair gazelle whose ear-rings shine; Had not the king been sitting here, I would have pressed her lips to mine!"

‘Amr b. Hind was a man of violent and implacable temper. Ṭarafa's satire had already been reported to him, and this new impertinence added fuel to his wrath. Sending for Ṭarafa and Mutalammis, he granted them leave to visit their homes, and gave to each of them a sealed letter addressed to the governor of Baḥrayn. When they had passed outside the city the suspicions of Mutalammis were aroused. As neither he nor his companion could read, he handed his own letter to a boy of Ḥíra214 and learned that it contained orders to bury him alive. Thereupon he flung the treacherous missive into the stream and implored Ṭarafa to do likewise. Ṭarafa refused to break the royal seal. He continued his journey to Baḥrayn, where he was thrown into prison and executed.

Thus perished miserably in the flower of his youth—according to some accounts he was not yet twenty—the passionate and eloquent Ṭarafa. In his Mu‘allaqa he has drawn a spirited portrait of himself. The most striking feature of the poem, apart from a long and, to us who are not Bedouins, painfully tedious description of the camel, is its insistence on sensual enjoyment as the sole business of life:—

"Canst thou make me immortal, O thou that blamest me so For haunting the battle and loving the pleasures that fly? If thou hast not the power to ward me from Death, let me go To meet him and scatter the wealth in my hand, ere I die. Save only for three things in which noble youth take delight, I care not how soon rises o'er me the coronach loud: Wine that foams when the water is poured on it, ruddy, not bright. Dark wine that I quaff stol'n away from the cavilling crowd; "And second, my charge at the cry of distress on a steed Bow-legged like the wolf you have startled when thirsty he cowers; And third, the day-long with a lass in her tent of goat's hair To hear the wild rain and beguile of their slowness the hours."215

Keeping, as far as possible, the chronological order, we have now to mention two Mu‘allaqas which, though not directly related to each other,216 are of the same period—the reign of ‘Amr b. Hind, King of Ḥíra (554–568 a.d.). Moreover, their strong mutual resemblance and their difference from the other Mu‘allaqas, especially from typical qaṣídas like those of ‘Antara and Labíd, is a further reason for linking them together. Their distinguishing mark is the abnormal space devoted to the main subject, which leaves little room for the subsidiary motives.

‘Amr b. Kulthúm belonged to the tribe of Taghlib. His mother was Laylá, a daughter of the famous poet and warrior Muhalhil. That she was a woman of heroic ‘Amr b. Kulthúm. mould appears from the following anecdote, which records a deed of prompt vengeance on the part of ‘Amr that gave rise to the proverb, "Bolder in onset than ‘Amr b. Kulthúm"217:—

One day ‘Amr. b. Hind, the King of Ḥíra, said to his boon-companions, "Do ye know any Arab whose mother would disdain to serve mine?" They answered, "Yes, the mother of ‘Amr b. PRE-ISLAMIC POETRY110 Kulthúm." "Why so?" asked the king. "Because," said they, "her father is Muhalhil b. Rabí‘a and her uncle is Kulayb b. Wá’il, the most puissant of the Arabs, and her husband is How ’Amr avenged an insult to his mother. Kulthúm b. Málik, the knightliest, and her son is ‘Amr, the chieftain of his tribe." Then the king sent to ‘Amr b. Kulthúm, inviting him to pay a visit to himself, and asking him to bring his mother, Laylá, to visit his own mother, Hind. So ‘Amr came to Ḥíra with some men of Taghlib, and Laylá came attended by a number of their women; and while the king entertained ‘Amr and his friends in a pavilion which he had caused to be erected between Ḥíra and the Euphrates, Laylá found quarters with Hind in a tent adjoining. Now, the king had ordered his mother, as soon as he should call for dessert, to dismiss the servants, and cause Laylá to wait upon her. At the pre-arranged signal she desired to be left alone with her guest, and said, "O Laylá, hand me that dish." Laylá answered, "Let those who want anything rise up and serve themselves." Hind repeated her demand, and would take no denial. "O shame!" cried Laylá. "Help! Taghlib, help!" When ‘Amr heard his mother's cry the blood flew to his cheeks. He seized a sword hanging on the wall of the pavilion—the only weapon there—and with a single blow smote the king dead.218

‘Amr's Mu‘allaqa is the work of a man who united in himself the ideal qualities of manhood as these were understood by a race which has never failed to value, even too highly, the display of self-reliant action and decisive energy. And if in ‘Amr's poem these virtues are displayed with an exaggerated boastfulness which offends our sense of decency and proper reserve, it would be a grave error to conclude that all this sound and fury signifies nothing. The Bedouin poet deems it his bounden duty to glorify to the utmost himself, his family, and his tribe; the Bedouin warrior is never tired of proclaiming his unshakable valour and recounting his brilliant feats of arms: he hurls menaces and vaunts in the same breath, but it does not follow that he is a Miles Gloriosus. ‘Amr certainly was not: his Mu‘allaqa leaves a vivid impression of conscious and exultant strength. The first eight verses seem ‘AMR IBN KULTHÚM111 to have been added to the poem at a very early date, for out of them arose the legend that ‘Amr drank himself to death with unmixed wine. It is likely that they were included in the original collection of the Mu‘allaqát, and they are worth translating for their own sake:—

"Up, maiden! Fetch the morning-drink and spare not The wine of Andarín, Clear wine that takes a saffron hue when water Is mingled warm therein. The lover tasting it forgets his passion, His heart is eased of pain; The stingy miser, as he lifts the goblet, Regardeth not his gain. Pass round from left to right! Why let'st thou, maiden, Me and my comrades thirst? Yet am I, whom thou wilt not serve this morning, Of us three not the worst! Many a cup in Baalbec and Damascus And Qáṣirín I drained, Howbeit we, ordained to death, shall one day Meet death, to us ordained."219

In the next passage he describes his grief at the departure of his beloved, whom he sees in imagination arriving at her journey's end in distant Yamáma:—

"And oh, my love and yearning when at nightfall I saw her camels haste, Until sharp peaks uptowered like serried sword-blades, And me Yamáma faced! Such grief no mother-camel feels, bemoaning Her young one lost, nor she, The grey-haired woman whose hard fate hath left her Of nine sons graves thrice three."220

Now the poet turns abruptly to his main theme. He PRE-ISLAMIC POETRY112 addresses the King of Ḥíra, ‘Amr b. Hind, in terms of defiance, and warns the foes of Taghlib that they will meet more than their match:—

"Father of Hind,221 take heed and ere thou movest Rashly against us, learn That still our banners go down white to battle And home blood-red return. And many a chief bediademed, the champion Of the outlaws of the land, Have we o'erthrown and stripped him, while around him Fast-reined the horses stand. Our neighbours lopped like thorn-trees, snarls in terror Of us the demon-hound;222 Never we try our hand-mill on the foemen But surely they are ground. We are the heirs of glory, all Ma‘add knows,223 Our lances it defend, And when the tent-pole tumbles in the foray, Trust us to save our friend!224

O ‘Amr, what mean'st thou? Are we, we of Taghlib, Thy princeling's retinue? O ‘Amr, what mean'st thou, rating us and hearkening To tale-bearers untrue? O ‘Amr, ere thee full many a time our spear-shaft Has baffled foes to bow;225 Nipped in the vice it kicks like a wild camel That will no touch allow— Like a wild camel, so it creaks in bending And splits the bender's brow!"226

The Mu‘allaqa ends with a eulogy, superb in its extravagance, of the poet's tribe:—

‘AMR IBN KULTHÚM113

"Well wot, when our tents rise along their valleys, The men of every clan That we give death to them that durst attempt us, To friends what food we can; That staunchly we maintain a cause we cherish, Camp where we choose to ride, Nor will we aught of peace, when we are angered, Till we be satisfied. We keep our vassals safe and sound, but rebels We soon force to their knees; And if we reach a well, we drink pure water, Others the muddy lees. Ours is the earth and all thereon: when we strike, There needs no second blow; Kings lay before the new-weaned boy of Taghlib Their heads in homage low. We are called oppressors, being none, but shortly A true name shall it be!227 We have so filled the earth 'tis narrow for us, And with our ships the sea!228

Less interesting is the Mu‘allaqa of Ḥárith b. Ḥilliza of Bakr. Its inclusion among the Mu‘allaqát is probably due, as Nöldeke suggested, to the fact that Ḥammád, Ḥárith b. Ḥilliza. himself a client of Bakr, wished to flatter his patrons by selecting a counterpart to the Mu‘allaqa of ‘Amr b. Kulthúm, which immortalised their great rivals, the Banú Taghlib. Ḥárith's poem, however, has some historical importance, as it throws light on feuds in Northern Arabia connected with the antagonism of the Roman and Persian Empires. Its purpose is to complain of unjust accusations made against the Banú Bakr by a certain group of the Banú Taghlib known as the Aráqim:—

PRE-ISLAMIC POETRY114

"Our brothers the Aráqim let their tongues Against us rail unmeasuredly. The innocent with the guilty they confound: Of guilt what boots it to be free? They brand us patrons of the vilest deed, Our clients in each miscreant see."229

A person whom Ḥárith does not name was 'blackening' the Banú Bakr before the King of Ḥíra. The poet tells him not to imagine that his calumnies will have any lasting effect: often had Bakr been slandered by their foes, but (he finely adds):—

"Maugre their hate we stand, by firm-based might Exalted and by ancestry— Might which ere now hath dazzled men's eyes: thence scorn To yield and haughty spirit have we. On us the Days beat as on mountain dark That soars in cloudless majesty, Compact against the hard calamitous shocks And buffetings of Destiny."230

He appeals to the offenders not wantonly to break the peace which ended the War of Basús:—

"Leave folly and error! If ye blind yourselves, Just therein lies the malady. Recall the oaths of Dhu ’l-Majáz231 for which Hostages gave security, Lest force or guile should break them: can caprice Annul the parchments utterly?232

‘Antara b. Shaddád, whose father belonged to the tribe of ‘Abs, distinguished himself in the War of Dáḥis.233 In modern times it is not as a poet that he is chiefly remembered, but as a hero of romance—the Bedouin ‘Antara. Achilles. Goddess-born, however, he could not be called by ḤÁRITH AND ‘ANTARA115 any stretch of imagination. His mother was a black slave, and he must often have been taunted with his African blood, which showed itself in a fiery courage that gained the respect of the pure-bred but generally less valorous Arabs. ‘Antara loved his cousin ‘Abla, and following the Arabian custom by which cousins have the first right to a girl's hand, he asked her in marriage. His suit was vain—the son of a slave mother being regarded as a slave unless acknowledged by his father—until on one occasion, while the ‘Absites were hotly engaged with some raiders who had driven off their camels, ‘Antara refused to join in the mêlée, saying, "A slave does not understand how to fight; his work is to milk the camels and bind their udders." "Charge!" cried his father, "thou art free." Though ‘Antara uttered no idle boast when he sang—

"On one side nobly born and of the best Of ‘Abs am I: my sword makes good the rest!"

his contemptuous references to 'jabbering barbarians,' and to 'slaves with their ears cut off, clad in sheepskins,' are characteristic of the man who had risen to eminence in spite of the stain on his scutcheon. He died at a great age in a foray against the neighbouring tribe of Ṭayyi’. His Mu‘allaqa is famous for its stirring battle-scenes, one of which is translated here:—234

"Learn, Málik's daughter, how I rush into the fray, And how I draw back only At sharing of the prey.

I never quit the saddle, My strong steed nimbly bounds; Warrior after warrior Have covered him with wounds.

PRE-ISLAMIC POETRY116 Full-armed against me stood One feared of fighting men: He fled not oversoon Nor let himself be ta'en.

With straight hard-shafted spear I dealt him in his side A sudden thrust which opened Two streaming gashes wide,

Two gashes whence outgurgled His life-blood: at the sound Night-roaming ravenous wolves Flock eagerly around.

So with my doughty spear I trussed his coat of mail— For truly, when the spear strikes, The noblest man is frail—

And left him low to banquet The wild beasts gathering there; They have torn off his fingers, His wrist and fingers fair!"

While ‘Antara's poem belongs to the final stages of the War of Dáḥis, the Mu‘allaqa of his contemporary, Zuhayr b. Abí Sulmá, of the tribe of Muzayna, celebrates Zuhayr. an act of private munificence which brought about the conclusion of peace. By the self-sacrificing intervention of two chiefs of Dhubyán, Harim b. Sinán and Ḥárith b. ‘Awf, the whole sum of blood-money to which the ‘Absites were entitled on account of the greater number of those who had fallen on their side, was paid over to them. Such an example of generous and disinterested patriotism—for Harim and Ḥárith had shed no blood themselves—was a fit subject for one of whom it was said that he never praised men but as they deserved:—