لوعة البعد

ترجمة إنجليزية
شارك:
وَيْحَ قَلْبِ الْمُحِبِّ حِينَ يُعَانِيلَوْعَةَ الْبُعْدِ بَعْدَ عَهْدِ التَّدَانِي
فِي دُرُوبِ الْأَسَى أَسِيرُ وَأَرْسُوأَتَلَظَّى بِجَذْوَةِ الْحِرْمَانِ
أُطْلِقُ الْآهَ فِي اللَّيَالِي وَجُرْحُ الْــبُعْدِ يُدْمِي لِي أَضْلُعِي وَكَيَانِي
ذِكْرَيَاتُ الْهَوَى تُثِيرُ شُجُوناًفِي فُؤَادِي مَا بَيْنَ آنٍ وَآنِ
يَوْمَ كُنَّا وَلَا تَسَلْ كَيْفَ كُنَّانَقْطِفُ السَّعْدَ فِي ضِفَافِ الْأَمَانِ
يَوْمَ كُنَّا نَرَى الْوُجُودَ رَبِيعاًوَعَبِيراً يَسِيحُ بَيْنَ الْجِنَانِ
وَكِلَانَا تَحْتَ الْخَمِيلَةِ يَشْدُولِجَمَالِ الطَّبِيعَةِ الْمُزْدَانِ
وَيُغَنِّي الْهَزَارُ لَحْناً نَدِيّاًيَسْحَرُ اللُّبَّ مِنْ ذُرَى الْأَفْنَانِ
نَتَسَاقَى الْهَوَى الْعَفِيفَ وَنَحْسُوخَمْرَةَ الْوَصْلِ دُونَ أَيِّ دِنَانِ
وَالصَّبَابَاتُ بَيْنَنَا تَتَنَاجَىمُتْرَعَاتٍ تَمُوجُ فِي الْوِجْدَانِ
نَسْكُبُ الْهَمْسَ فِي فَمِ الْوَرْدِ حُلْماًرَاقِصَ اللَّحْنِ يَنْتَشِي بِالْمَعَانِي
ثُمَّ نَغْفُو هُنَيْهَةً ثُمَّ نَصْحُوفِي فِرَاشِ الْأَحْلَامِ مَهْدِ الْأَمَانِي
ثُمَّ نَلْهُو بَيْنَ الْمُرُوجِ طَلِيقَيْــنِ نُنَاجِي مَبَاسِمَ الْأُقْحُوَانِ
تَتَخَفَّى حَبِيبَتِي خَلْفَ دَغْلٍمِنْ كَثِيفِ الْأَشْجَارِ فِي الْبُسْتَانِ
أَسْرِقُ الْخَطْوَ خِلْسَةً دُونَ هَمْسٍحِينَ أَدْنُو لِبَاعِهَا الْفَتَّانِ
فَتُوَلِّي وَرَنَّةُ الضَّحْكِ تَسْرِيمِنْ شِفَاهٍ لَهَا نَدَى الْأُرْجُوَانِ
ضَحَكَاتٌ كَأَنَّهَا أُغْنِيَاتٌرَدَّدَتْهَا الْأَصْدَاءُ بِالْأَلْحَانِ
بَيْنَ خُضْرِ الرُّبَى أَرَاهَا كَظَبْيٍيَتَهَادَى فِي رَوْعَةٍ وَافْتِنَانِ
ثُمَّ بَعْدَ الْعَنَاءِ تُقْبِلُ نَحْوِيفِي دَلَالٍ تَمِيسُ كَالْغِزْلَانِ
فَتَضُمُّ الضُّلُوعَ نَحْوَ حِمَاهَاوَيَطِيبُ الْعِنَاقُ سَلْوَى لِعَانِي
يَا لَعِشْقِي وَيَا لَلَهْفِ فُؤَادِيلِشَذَاهَا الْمُعَطَّرِ الْوَسْنَانِ
أَتْرَعَتْنِي سُلَافَةً مِنْ جَنَاهَاخَلَّفَتْهَا ثُمَالَةُ الْأَحْزَانِ
أَسَرَتْنِي بِخَمْرَةِ الْوَصْلِ حِيناًثُمَّ وَلَّتْ وَلَمْ تَبِنْ لِلْعِيَانِ
لَسْتُ أَدْرِي وَلِلْحَبِيبِ دَلَالٌأَدَلَالُ الْحَبِيبِ هَذَا التَّوَانِي
عَاوَدَ الْقَلْبَ ذِكْرُهَا فَتَمَنَّىعَوْدَةَ الْعَهْدِ أَوْ رُجُوعَ الزَّمَانِ
وَتَعَالَتْ مِنِّي نِدَاءَاتُ قَلْبِيوَهُوَ الصَّبُّ مُتْرَعُ الْخَفَقَانِ
آهِ مِنِّي حَبِيبَتِي كَمْ أُقَاسِيمِنْ جِرَاحٍ يَغُوصُ فِيهَا جَنَانِي
ذُقْتُ حَقّاً مَرَارَةً وَعَذَاباًمِنْ حَرِيقِ النَّوَى مَعَ الْهِجْرَانِ
يَحْتَوِينِي فِي اللَّيْلِ سُهْدٌ وَفِكْرٌيَكْتَوِي مِنْ لَظَاهُمَا الْجَانِبَانِ
أَمْضَغُ الْوَهْمَ وَالْخَيَالَاتُ تَتْرَىتَتَوَالَى بِخَاطِرِي الْوَلْهَانِ
خَابَ مَنْ صَدَّقَ الْخَيَالَاتِ مِثْلِيهَائِماً فِي مَرَاتِعِ الْأَشْجَانِ
وَالصَّبَاحُ الْجَمِيلُ يَخْنُقُهُ اللَّيْــلُ فَيَغْدُو كَكُتْلَةٍ مِنْ دُخَانِ
وَابْتِسَامُ الْحَيَاةِ وَلَّى كَئِيباًفِي ظَلَامِ الْخُطُوبِ مِمَّا أُعَانِي
شَنَقَ الْهَمُّ بَسْمَةَ السَّعْدِ يَا لِيمِنْ كَئِيبِ الْفُؤَادِ بَعْدَ افْتِتَانِ
وَزَمَانِي الَّذِي صَفَا لِيَ أَمْسَىجَرَّدَ الْيَوْمَ سَيْفَهُ لِلطِّعَانِ
لَيْتَنِي الْآنَ أَسْتَطِيعُ رُجُوعاًلِلزَّمَانِ الْمُظَلِّلِ الْفَيْنَانِ
أَوْ تَمَكَّنْتُ مِنْ إِعَادَةِ دَهْرٍقَدْ تَوَلَّى مُخَلِّفاً لِي الْأَمَانِي
وَالْأَمَانِي مِنْهَا الْمُحَالُ وَمِنْهَامَا يُذِيقُ الْإِنْسَانَ طَعْمَ الْهَوَانِ

The Anguish of Distance

  1. Alas for the lover’s heart, when it must bear,
    after the days of nearness, distance and its pain!
  2. Along the roads of sorrow I walk, and drop anchor,
    and burn upon the embers of deprivation’s flame.
  3. I send my sighs out through the nights, and the wound of distance
    makes my ribs bleed, and all my being.
  4. The memories of love stir sorrows up
    within my heart, time and time again.
  5. Those days when we were (do not ask1 how we were!)
    gathering joy upon the banks where safety reigned;
  6. those days when we saw all existence as a spring,
    a fragrance roaming through the gardens, lane to lane;
  7. and both of us, beneath the bower, sang
    to nature’s beauty, in all its finery arrayed,
  8. and from the topmost branches the nightingale
    sang out a dewy, mind-enchanting strain.
  9. We poured each other chaste love to drink, and sipped
    the wine of union2, with no wine-jars to drain.
  10. And our ardours whispered to each other,
    brimming, surging through our souls like waves.
  11. We poured our whispers into the rose’s mouth:
    a dream, a dancing tune, drunk on the meanings it contained.
  12. Then we would doze a little, then wake up
    on the bed of dreams, the cradle where our hopes had lain;
  13. then play, both free, among the meadows,
    and whisper to the smiling mouths of camomile3.
  14. My love hides from me behind a thicket
    of dense trees in the garden.
  15. I steal my steps up, stealthily, without a whisper,
    as I draw near the reach of her bewitching arms,
  16. and she runs off, and the ring of laughter flows
    from lips where crimson dew has lain,
  17. peals of laughter, like so many songs
    the echoes gave back in a melodic refrain.
  18. Among the green hills I see her like a gazelle
    that sways along in splendour and allure.
  19. Then, after all the chase, she comes towards me,
    coquettish, swaying like the gazelles upon the plain,
  20. and draws me close, rib to rib, into her keeping;
    and sweet is the embrace, a solace to one who suffers.
  21. How great my passion! How my heart aches
    for her perfumed and languid4 fragrance!
  22. She filled me to the brim with the first, finest wine5 of her fruit,
    and after it, the dregs of sorrow were all that remained.
  23. She held me captive for a while with the wine of union,
    then turned away, and vanished, and was nowhere to be seen.
  24. I do not know, and the beloved has her coquetry6:
    is this delay of hers mere coquetry and feigned disdain?
  25. Her memory came back to my heart, and it wished
    the old days would return, or time turn back again.
  26. And the calls of my heart rose up from me,
    for it is a heart in love, brimming with its own beating.
  27. Ah, woe is me, my love! How many wounds I suffer,
    wounds in which my heart goes sinking deep!
  28. Truly I have tasted bitterness and torment
    from separation’s fire, and estrangement’s pain.
  29. At night I am held by sleeplessness and brooding,
    and both my sides are branded by their blaze.
  30. I chew on illusion, while fancies come in throngs,
    one after another, through my love-crazed brain.
  31. Thwarted is whoever trusts in fancies, as I do,
    roaming the pastures of sorrow, all in vain.
  32. And the lovely morning is strangled by the night,
    and turns into what seems a mass of smoke.
  33. And life’s smile has turned away in gloom
    into misfortune’s dark, from all that I sustain.
  34. Care has hanged the smile of happiness. Woe is me,
    so heavy of heart after such rapture!
  35. And my time7, which was once so kind to me,
    has drawn its sword today, to strike.
  36. If only I could now go back
    to that time, so shady and so thick with leaves,
  37. or could bring back an age
    that has passed away and left me hopes that still remain!
  38. And of hopes, some are impossible, and some
    make a man taste humiliation’s pain.

Notes

  1. Lā tasal kayfa kunnā, ‘do not ask how we were’, is an Arabic idiom meaning that the thing is beyond description. The interjection breaks into the sentence, as if memory itself were too full for words. ↩
  2. Wine is an old figure in Arabic love poetry, and in Sufi poetry, for the intoxication of love and union. Here no real wine is involved: the love is chaste (ʿafīf), and this wine needs no dinān, the large earthenware jars in which wine was stored. ↩
  3. Uqḥuwān is the camomile or ox-eye daisy, a white-petalled flower that classical Arabic poets constantly likened to the white teeth of a smiling beloved. Mabāsim are ‘smiles’, or the mouths that smile, so the flowers themselves smile back at the lovers. ↩
  4. Wasnān, ‘drowsy, heavy with sleep’, is the epithet of the beloved’s languid eyes in Arabic love poetry. Here it is given to her fragrance: a soft, lingering scent that seems to share her languor. ↩
  5. Sulāfa is the first and finest wine, the juice that runs from the grapes before they are pressed; thumāla is the last dregs left at the bottom of the cup. The verse sets the first of the cup against its last: union with her was the choicest wine, and what remains after it is the dregs of sorrow. ↩
  6. Dalāl is the playful, teasing disdain of the beloved, her way of holding back in order to be pursued; it is an accepted and even cherished part of love in Arabic poetry. The lover hopes that her lingering absence (tawānī, ‘slackness, delay’) is only this game, and not the end. ↩
  7. Time (zamān, and in the next verse but one dahr) is personified in the classical manner as a power that is kind for a while and then turns on a person. The verb amsā (‘it has become’) sounds like ams, ‘yesterday’, so the ear hears yesterday’s kindness set against al-yawm, ‘today’, when time has drawn its sword. ↩

English translation prepared by artificial intelligence and reviewed against the Arabic for accuracy of meaning and rhetoric.