أَلَا رَعْشَةً خَضْرَاءَ تَنْبِضُ فِي الحِمَىفَتُوقِظُ نَبْضَ القَلْبِ مِنْ غَفْوَةِ العَمَى
أَلَا قَدَرًا يَجْرِي بِأَجْنِحَةِ المُنَىوَيُشْعِلُ فِي الأُفْقِ البَعِيدِ تَبَسُّمَا
أَلَا وَطَنًا يَسْرِي عَلَى جُرْحِ غُرْبَتِيوَيَرْسُمُ فِي عَيْنَيَّ فَجْرًا مُبَلْسِمَا
فَأَنْسُجُ مِنْ أَشْوَاقِنَا البِكْرِ قِصَّةًوَأَسْكُبُ فِي كُرَّاسَتِي الوَجْدَ مُلْهَمَا
يُفَجِّرُ فِي صَدْرِي السُّؤَالَ تَوَجُّعِيوَيَزْرَعُ فِي عَيْنَيَّ سِرًّا مُطَلْسَمَا
تَنَاثَرَ فِي المِرْآةِ طَيْفُ حَبِيبَةٍفَصَارَ ضَيَاعِي فِي المَنَافِي مُحَتَّمَا
أُفَتِّشُ بَيْنَ الرُّوحِ وَالقَلْبِ عَنْ هَوًىوَأَرْسُمُ فِي الكُرَّاسِ قَلْبًا مُحَطَّمَا
أَلَا أَيُّهَا المَحْمُولُ فَوْقَ ضُلُوعِنَاسَكَبْتَ عَلَى الأَيَّامِ حُزْنًا مُخَيِّمَا
سَكَبْتَ الأَسَى فِي العُمْرِ وَاسْتَلَّ خَافِقِيمِنَ الصَّمْتِ لَحْنًا فِي المَدَى مُتَرَنِّمَا
أَنَا وَالمَدَى جُرْحَانِ نَنْزِفُ غُرْبَةًوَتَسْكُنُ فِي أَحْشَائِنَا لُغَةُ الدِّمَا
أُقَطِّرُ مِنْ دَمْعِي نَبِيذَ حِكَايَةٍوَأُمْطِرُ مِنْ قَلْبِي رَحِيقًا وَعَلْقَمَا
تَخَثَّرَ فِي جَفْنِي نَزِيفُ قَصِيدَةٍتَسَرَّبَ مِنْ رُوحِي نَشِيدًا مُهَيْنِمَا
يُعَرِّشُ فِي صَدْرِي حَنِينٌ كَأَنَّهُعَنَاقِيدُ نَارٍ أَيْنَعَتْ فِي دَمِي ظَمَا
فَيَا رَاكِبًا فِي مَوْجَةِ الحُلْمِ هَائِمًاأَرَى الأُفْقَ فِي عَيْنَيْكَ بَحْرًا مُتَيَّمَا
وَأَقْرَأُ فِي كَفَّيْكَ سِفْرَ رِوَايَةٍتُعَلِّمُنِي كَيْفَ الهَوَى قَدْ تَعَلَّمَا
كَأَنَّ فُؤَادِي طَائِرٌ مُتَشَرِّدٌجَنَاحَاهُ قَدْ مَلَّا فَضَاءً مُشَرْذَمَا
سَأَحْمِلُ فِي عَيْنَيَّ بَدْرًا وَغُرْبَةًوَأَمْضِي إِلَى دَرْبِ الحَنِينِ مُيَمِّمَا
وَأَنْثُرُ فِي صَحْرَاءِ عُمْرِيَ أَدْمُعًالَعَلَّ رَبِيعَ القَلْبِ يَرْجِعُ عِنْدَمَا
سَقَتْنِي كُؤُوسَ البُعْدِ كَفٌّ غَرِيبَةٌفَصِرْتُ غَرِيبًا فِي الدُّنَى وَمُيَتَّمَا
أُعَانِقُ طَيْفَ الذِّكْرَيَاتِ لَعَلَّهَاتُعِيدُ إِلَى رُوحِي شَبَابًا تَصَرَّمَا
سَكَبْتُ عَلَى مِرْآةِ رُوحِي قَصَائِدِيلِتَعْصِرَ مِنْ أَحْشَائِهَا السِّرَّ مُلْهَمَا
تَشَظَّتْ عَلَى مِرْآةِ عَيْنِي حَقِيقَةٌفَأَصْبَحْتُ وَالأَيَّامُ جُرْحًا مُهَشَّمَا
وَأَغْرِسُ فِي صَمْتِ المَسَافَاتِ صَرْخَةًلَعَلَّ صَدَى الأَوْطَانِ يَرْجِعُ مُفْعَمَا
فَيَا رَاحِلًا فِي مَوْكِبِ اللَّيْلِ صَامِتًاأَرَاكَ عَلَى دَرْكِ المُرَادِ مُصَمِّمَا
وَيَا وَطَنًا فِي القَلْبِ يَخْفِقُ دَائِمًاوَيَسْكُبُ فِي رُوحِي شَذَاهُ مُفَغَّمَا
تَفَجَّرَ فِي أَعْمَاقِنَا سِرُّ غُرْبَةٍوَأَضْحَى بِنَا دَرْبُ السُّؤَالِ مُلَغَّمَا
سَأَنْحَتُ فِي صَخْرِ الدُّهُورِ قَصِيدَتِيوَأَتْرُكُهَا تَرْوِي الحَدِيثَ المُرَجَّمَا
وَأَمْضِي إِلَى أَقْصَى المَدَى مُتَوَحِّدًاأُعَانِقُ فِي صَمْتِي بَيَانًا مُنَغَّمَا
فَيَا أَيُّهَا السَّارِي عَلَى دَرْبِ غُرْبَتِيتَمَهَّلْ فَإِنَّ البَدْرَ نَادَاكَ فِي السَّمَا:
صَحِبْتُكَ فِي مَنْفَاكَ بَلْ كُنْتُ شَاهِدًاعَلَى مَا تُعَانِي مِنْ حَنِينٍ وَمِنْ ظَمَا
وَكُنْتُ رَفِيقَ اللَّيْلِ أَرْقُبُ صَمْتَهُوَأَشْهَدُ دَمْعًا قَدْ كَفَفْتَ لِيَسْجُمَا
أَرَاكَ تُنَاجِي الذِّكْرَيَاتِ وَعَهْدَهَاوَتَحْمِلُ فِي الأَحْشَاءِ جُرْحًا مُضَرَّمَا
وَجَدْتُكَ تَرْعَى النَّجْمَ فِي كُلِّ لَيْلَةٍوَتَسْكُبُ عَيْنَاكَ الدُّمُوعَ مَعَ الدِّمَا
وَأُبْصِرُ فِي عَيْنَيْكَ بَحْرًا مِنَ الأَسَىوَلَيْلًا طَوِيلًا بِالأَنِينِ تَحَزَّمَا
وَلَمْ أَدْرِ أَنَّ اللَّيْلَ يَحْمِلُ غُرْبَةًوَأَنَّ سَوَادَ اللَّيْلِ يَصْنَعُ مَأْتَمَا
وَتَرْسُمُ لِلأَوْطَانِ خَارِطَةَ الرُّؤَىوَتَسْتَوْدِعُ الأَفْلَاكَ مَا ظَلَّ مُبْهَمَا
تُؤَرِّخُ لِلْمَنْفَى بِأَجْفَانِ شَاعِرٍيُقَطِّرُ مِنْ جَنْبَيْهِ وَجْدًا مُتَرْجِمَا
وَتَقْرَأُ فِي صَمْتِ المَسَافَاتِ رِحْلَةًيُشَرِّدُهَا المَنْفَى وَتَنْأَى عَنِ الحِمَى
وَأَبْصَرَتِ “الزَّرْقَاءُ” مِنْ خَلْفِ مُقْلَتِيلِتُطْلِقَ لِي الرُّؤْيَا لِأَسْتَبْصِرَ السَّمَا
أَرَى كَيْفَ يَنْزَاحُ الزَّمَانُ بِغُرْبَةٍوَكَيْفَ يَصِيرُ الأُفْقُ بَحْرًا عَرَمْرَمَا
أَرَى وَطَنًا يَشْتَاقُ خَلْفَ ضَبَابِهِيُكَوِّمُ أَشْلَاءَ الحَنِينِ مُلَمْلَمَا
وَيَا حَامِلًا فِي القَلْبِ بَرْقَ قَصِيدَةٍتُحِيلُ مَنَافِي التِّيهِ دَرْبًا وَمَعْلَمَا
وَقَدْ شَاقَهُ ظِلٌّ يَفِيءُ لِحِضْنِهِوَيَلْقَى بِجَنْبِ الشَّطِّ مَعْسُولَةَ اللَّمَى
وَعَدْتُكَ لَنْ آلُو مِنَ الجَهْدِ طَاقَةًوَلَيْسَ بَعِيدًا أَنْ تَرَى البَذْرَ بُرْعُمَا
سَأَمْضِي وَيَبْقَى اللَّيْلُ يَذْكُرُ قِصَّةًوَيَحْفَظُ لِلآتِينَ سِرًّا مُكَتَّمَا
أُسَطِّرُ فِي سِفْرِ الزَّمَانِ قَصِيدَةًتُخَلِّدُ فِي التَّارِيخِ جُرْحًا وَمَلْحَمَا
سَتَسْرُدُ مِنْ دَرْبِ المَنَافِي حِكَايَةًوَتَتْرُكُ لِلأجْيَالِ سِفْرًا مُرَقَّمَا
وَتَبْقَى عَلَى مَرِّ الجَدِيدَيْنِ شَاهِدًاعَلَى زَمَنٍ فِي القَلْبِ يَبْقَى مُيَتَّمَا
26 أكتوبر 2024م
Hymns of Exile
- Oh for a tremor, green1, that pulses in the land we guard,
to wake the heart’s pulse from the doze of blindness where it lay! - Oh for a destiny that runs upon the wings of hope,
and kindles on the far horizon’s edge a smile ablaze! - Oh for a homeland journeying by night2 upon my exile’s wound,
to paint a dawn inside my eyes, a balm to ease the pain! - Then I would weave a story out of our first, virgin longings,
and pour into my notebook passion, as the inspiration came. - My pain sets the question bursting open in my breast,
and plants within my eyes a secret, talisman-sealed3 and strange. - A beloved’s phantom4 scattered in the mirror’s glass,
and so my being lost in lands of exile was ordained. - I search between the soul and heart for love,
and draw a shattered heart across the notebook’s page. - O you whom we bear upon our ribs5,
you’ve poured across the days a grief that pitched its tent to stay. - You poured grief through my life; and my throbbing heart unsheathed
from silence, as a sword is drawn, a song that rang out far away. - The far expanse and I are two wounds bleeding exile,
and in our entrails the language of the blood has made its dwelling-place. - I distil out of my tears the wine of a tale,
and from my heart rain nectar down, and bitter gall. - A poem’s bleeding clotted on my eyelid,
a poem that seeped out of my soul, a softly murmured strain. - A longing climbs my chest as vines climb up a trellis6, as though
it were clusters of fire that ripened into thirst within my veins. - O you who ride the wave of dream, adrift and wandering,
I see the horizon in your eyes, a sea that love has made its slave, - and in your palms I read the scripture7 of a tale
that teaches me how love itself was schooled and trained. - It is as though my heart were a homeless bird
whose two wings have grown weary of a sky all torn and frayed. - I’ll carry in my eyes a full moon and an exile,
and set my face toward the road of longing, on my way, - and scatter tears across the desert of my life,
in hope the heart’s spring may return when…8 - A stranger’s hand poured out for me the cups of distance,
and I became a stranger9 in the world, and orphaned too. - I clasp the phantom of my memories, in hope
they may bring back into my soul a youth that’s slipped away. - I poured my poems out upon my soul’s mirror,
that they might wring the secret, inspired, its entrails had contained. - A truth splintered upon the mirror of my eye,
and I, together with the days, became one shattered wound. - I plant a cry in the silence of the distances,
in hope the homelands’ echo may return in full refrain. - O you who journey silent in the procession of the night,
I see you firmly set upon the goal you seek to gain; - and O homeland, beating ever in the heart,
that pours into my soul its heady fragrance! - The secret of an exile has burst open deep within us,
and the road of questioning beneath us is a mined terrain. - I’ll carve my poem in the rock of all the ages,
and leave it there to tell the tale that others guess in vain10. - And I’ll go on to the farthest reach, alone,
embracing in my silence eloquence that melody has framed. - O you who journey by night along the road of my exile,
go slowly, for the full moon from the sky has called your name11: - I kept you company in your exile; no, I was a witness
to all the longing and the thirst you suffer and sustain. - I was the night’s companion, watching its silence,
and witnessed a tear you held back, that streamed down all the same12. - I see you whisper to the memories and to their days,
and in your entrails bear a wound that has been set aflame. - I found you shepherding the stars13 night after night,
your eyes pouring out their tears, and blood along with them. - And in your eyes I see a sea of grief,
and a long night that has girded itself with moaning. - I did not know the night could carry exile in it,
or that the blackness of the night could hold a wake. - And you draw for the homelands a map of visions,
and give in trust to the turning spheres what stayed unexplained. - You chronicle the exile with the eyelids of a poet
who distils from his own sides a passion that interprets and makes plain. - And in the silence of the distances you read a journey
that exile drives off course, and ever farther from the homeland strays. - Al-Zarqāʾ14 gazed out from behind my eye,
to set the vision free for me, that I might see deep into the sky. - I see how time drifts off in exile,
and how the horizon turns into a vast and teeming sea. - I see a homeland yearning behind its mist,
heaping the torn remains of longing, gathered up again. - And O you who carry in your heart a poem’s lightning
that turns the exiles of wandering into a road and a waymark, - stirred by longing for a shade that would return to his embrace,
to meet, beside the shore, the one whose dark lips are honey-sweet15: - I promised you I would spare no effort,
and it is not far off that you will see the seed become a bud. - I shall pass on, and the night will stay, recalling a tale,
and keep for those to come a secret, hidden and unnamed. - I set down in the book of time a poem
that will make a wound and an epic16 deathless in history. - It will recount a tale from the road of exile,
and leave the generations an inscribed17 book, page after page. - And it will remain, as the two ever-new ones18 pass, a witness
to a time that, orphaned in the heart, will still remain.
26 October 2024
Notes
- Alā followed by a noun in the accusative (alā raʿshatan, alā qadaran, alā waṭanan) is a formula of wishing and urging: ‘Oh for…!’, ‘If only there were…!’. Repeated at the head of three verses, it gives the opening its tone of pleading. The tremor is ‘green’ because green is the colour of life, spring and renewal. ‘The land we guard’ is al-ḥimā, literally ‘the protected ground’, a classical word for one’s homeland, the land one defends. ↩
- Yasrī is to travel by night (the root of isrāʾ, the Prophet’s Night Journey). The homeland is imagined as a night traveller who comes softly to the exile in the dark and leaves a healing dawn in his eyes; mubalsim, ‘balm-giving’, is formed from balsam. ↩
- Muṭalsam is formed from ṭilasm, ‘talisman’: something written in a cipher that only the initiated can read, a riddle locked by a spell. ↩
- Ṭayf is the phantom of the beloved, a central motif of classical Arabic love poetry: her image that visits the lover by night, in sleep or waking reverie. Here even the phantom breaks apart, scattered in a mirror, and the loss of the beloved seals the poet’s fate in exile. ↩
- The one ‘carried on our ribs’ is not named. The phrase describes one held within the breast, borne close to the heart, as the homeland is borne by the exile. Mukhayyim, ‘pitching its tent’, pictures the sorrow as a tent spread over the days, settling in to stay. ↩
- Yuʿarrish is used of a vine that climbs and spreads over an ʿarīsh, a trellis or arbour. The longing grows over the chest like a vine, and its grapes are clusters of fire; what they ripen into is not juice but thirst. ↩
- Sifr is a large book, the word used of the books of scripture. The verse plays on two forms of one verb: tuʿallimunī, ‘it teaches me’, and taʿallamā, ‘it learned’. Love, which is usually the teacher, is here itself a pupil, and the tale in the palms shows how it learned. ↩
- The verse ends on ʿindamā, ‘when’, and breaks off there: the heart’s spring may return when…, and the condition is left unspoken. ↩
- The verse plays on gharība, ‘strange, foreign’ (the hand), and gharīb, ‘a stranger, an exile’ (the poet): the foreign hand that pours the cup makes the drinker a foreigner. ↩
- Al-ḥadīth al-murajjam, ‘the tale told by guesswork’, is a phrase from the Muʿallaqa of Zuhayr ibn Abī Sulmā, who says of war that what he tells of it is no guesswork tale. Rajm bi-l-ghayb is to hurl guesses at the unseen. The poem, carved in rock, will tell as known truth the story others can only conjecture. ↩
- The colon closes this verse, and what follows is the full moon’s address to the night traveller on ‘the road of my exile’, most naturally the exiled poet himself, addressed as though he were another. The Arabic does not mark where the moon stops speaking; from the verse on al-Zarqāʾ (‘from behind my eye… that I might see into the sky’) the first-person voice reads naturally as the poet’s own again. ↩
- The particle li- in li-yasjumā (‘so that it might stream’) is read as lām al-ʿāqiba, the ‘lām of outcome’: the tear was held back, and the result was that it streamed down all the same. ↩
- Raʿā al-nujūm, ‘to tend the stars’ as a shepherd tends a flock, is a classical figure for sleeplessness: the lover who cannot sleep watches the stars all night, as if keeping them. ↩
- Zarqāʾ al-Yamāma, ‘the blue-eyed woman of Yamāma’, is a legendary woman of pre-Islamic Arabia said to see a rider three days’ journey away. When she warned her people that an enemy army was advancing, camouflaged behind cut branches, they did not believe her and were destroyed. She stands for far-sighted vision that sees what others cannot, and for the seer who is not heeded. ↩
- Lamā is a dark, reddish-brown tint of the lips that classical Arabic poetry counts among the marks of beauty; maʿsūlat al-lamā, ‘she of the honeyed dark lips’, names a beloved woman. The ‘shade that would return’ (yafīʾu) plays on fayʾ, the shade that comes back as the sun moves: a longing for home, rest and love on the shore of his own country. ↩
- Malḥama means ‘epic’, but its first sense is a great battle with heavy slaughter; the word shares its root with laḥm, ‘flesh’. Set beside ‘a wound’, it carries both meanings: the poem will be an epic, and it will record a bloodbath. ↩
- Muraqqam, ‘written, marked, numbered’, recalls the Qurʾānic kitāb marqūm, ‘an inscribed record’ (Qurʾān 83:9 and 83:20), the ledger in which deeds are written down. The poem is to be such a record of exile for generations to come. The verbs of this verse and the next (sa-tasrudu, tatruku, tabqā) have the poem as their subject. ↩
- Al-jadīdān, ‘the two new ones’, is a classical Arabic name for night and day, which are always renewed and never grow old. ‘As the two ever-new ones pass’ means ‘through all the passing of time’. ↩
English translation prepared by artificial intelligence and reviewed against the Arabic for accuracy of meaning and rhetoric.