Sells, Michael Anthony

English

Haverford College: Haverford Scholarship

Haverford College Haverford Scholarship Faculty Publications Religion 1986 Mu'allaqa of Tarafa Michael Anthony Sells Haverford College Follow this and additional works at: https://scholarship.haverford.edu/religion_facpubs Repository Citation Sells, Michael. "The Mu'allaqa of Tarafa." Journal of Arabic Literature 17 (1986): 21-33. This Journal Article is brought to you for free and open access by the Religion at Haverford Scholarship. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Haverford Scholarship. For more information, please contact nmedeiro@haverford.edu. THE MUALLAQA OF TARAFA Introduction Tarafa occupies an honored place within the Arabic tradition. Jarir placed him first among the early poets while Labid and al-Akhtal put him second. But his Mucallaqa, especially prized by Arab poets and critics, has been less of a favorite in the West. Camel imagery dominates not only the famous naqa scene but the rest of the ode as well, imagery that epitomizes the difficulty of translating bedouin culture into a modern language. My goal is a translation that is natural, idiomatic, and poetic. Translation presupposes interpretation. It involves continual compen- satory moves dependent upon interpretation. The translation that follows seeks to present a Mucallaqa of Tarafa which, despite the cultural distance between its world and ours, is commensurate with our poetic concerns and poetic values. The poem opens with the appearance of the atlal, the ruins of the beloved's campsite. The ruins "appear" (läbat) in the sense of the word still retained in the nominal form "apparition. " They flicker and fade, hovering between reality and illusion. The second verse pictures the hero beneath the riding camels. From the direction of their looming shapes comes the command of the poet's companions to be hard, to endure. The image and the command are interconnected. Endurance will be ex- pressed and ramified throughout the poem in a complex camel sym- bolism. This ode might be called the camel ode par excellence. From the initial image in verse two through the great naqa section, from the dispute over the lost pack camels to the final dispute over the slaughter of a näqa, symbolic presentations of the camel are the vehicle through which the poetic voice achieves its power and edge. Between the apparition of the atlal and the command spoken out over the form of the camel, the poetic persona of Tarafa is formed. If the camel sections are thought of as primarily descriptive, the modern reader is justified in asking how commensurate an extended camel description, however rich, might be to our poetic idiom. I have attempted to "bring across" two elements that lie beneath the descrip- tive surface of the poem: symbolic resonance and semantic overflow.2 2 1 A. J. Arberry, The Seven Odes (London and New York, 1957), p. 74. 2 I discuss these principles here only insofar as they guide the translation of this ode. A more complete exposition appears in a recently completed essay, "Symbolic Resonance and Semantic Overflow in the Early Qasida: Poetic Values and Poetic Claims," presented at the workshop on Middle Eastern Literature, University of Pennsylvania, March, 1985. 22 An example of resonance can be seen in the term asamm. In his boast Tarafa responds to his critics with his celebrated song of the pre-Islamic ethos (But for three things...) in which he compares the grave of the miser to the grave of the spendthrift. Both graves are covered by stone slabs that are summ: deaf, hard, silent. The same term is used in Imr'u al-Qays ' Mu allaqa in connection with the granite stones that the sleepless poet imagines anchor the stars, stopping their movement and the movement of time. In Labid's MuCallaqa the term is used in connection with the atlal which the poet interrogates about the beloved. In the Mucallaqa of cantara, it is used in connection with the warrior's spear.3 3 What these various contexts reveal is a common symbolic resonance: in each case the term refers beyond its immediate, descriptive context to the hard, deaf silence of fate. The genius of early Arabic poetry lies in the tension between the immediate descriptive function and the unlimited symbolic resonance that it generates. Resonance occurs when an image taps into a network of symbolic associations. These associations are set off in each ode in a different manner through the non-reversable movement from the atlal to a final self-assertion, a movement that contains a continuous series of semantic "overflows." In Tarafa's brief and intense nasib, the poetic voice overflows the initial beloved-gazelle metaphor. The particular descrip- tive point is superceded by an extended, independent tableau including the gazelle, lush vegetation, jewel imagery, camomile, dew, and dune. The antecedent (are we talking about the beloved or the gazelle?) loses itself in the continual extension of the metaphor. The beloved-gazelle metaphor is transformed into the deeper, beloved-as-lost-garden arche- type. In the extended metaphor or simile the poetic voice overruns the original descriptive logic to reveal the deeper symbol. In the tension between the imaging power of the initial metaphor or simile, and the resonance of archetypal associations underlying it, meaning overflows. The naqa section is composed of a dense series of similes or imagistic flashes that are never merely descriptive. The naqa's eyes, for example, are compared to the eyes of a "frightened doe oryx with fawn." As an inverse simile (like Homer's comparison of war clamor to falling snow) it is exquisite. The effect is due to the interrelation of its descriptive surface to the deeper symbolic polarity between the endurance and elemental immutability associated with the camel, and the grace and vulnerability associated with the oryx. In Tarafa's ode the first side of the polarity is developed through similes (to the bridge, anvil, fortress, rock), while the second side is alluded to through the symbolic resonance. By contrast, 3 Verses 48 of Imru al-Qays, 50 of Antara, and 10 of Labid in Anb�r�'s recension of the Muallaq�t. 23 Labid's MuCallaqa develops the oryx-vulnerability side in an extended tableau, bringing in the opposite side through allusion. The same sym- bolic correspondences underlie each ode, but the poetic voice can overflow into different channels. The powerful symbolic resonance generated by the näqa scene supplies a highly charged context to Tarafa's dispute with his brother and cousin (Ma?bad and Mdlik) over lost pack camels and the later dispute with an old man, perhaps his father, over the illicitly slaughtered naqa. The later incident also draws on the naqa's symbolic association with the self of the poet-hero, an association reflected in the pre-Islamic custom of tying the naqa to the grave of the dead hero. The energy this association adds to the ode can be seen by comparing the naqa-slaughter scenes in the MuCallaqät of Labid and Tarafa. Labid slaughters his own naqa and distributes it to the clan and its dependents, a symbolic, never explicit, self-sacrifice. At this moment the hero's individual boast is subsumed into a collective, tribal boast. Tarafa sacrifices another's ndqa. This sacrifice-gone-wrong leads to the opposite result, the splitting of both psyche and community into mutually hostile voices, an enraged "old stick of a man" taking over the function of the previous blamers (the cädhilät or "scolds", Macbad, and Mdlik), and a raging poet. In each case the slaughter of the naqa brings the emotional and symbolic force of the ode to a crescendo. But that crescendo yields contrasting conclusions. Tarafa's ode ends not with the integration of the poet into the communi- ty, but with a vague, repeated threat, the poet just short of the ir- revocable break with the tribe we find in the Su?luk poetry of Shanfara. In the process of translating, in the weighing and shifting of compen- sations, I have focused upon preserving resonance and overflow, and their modulation through the rhythm and flow of the verse. A modern, natural English cannot duplicate the intricate meter and rhyme of the original. Through unrhymed quatrains and the play of syntactical cadence against the line breaks I attempt to recreate the original's inner rhythmic texture. Early Arabic poetry, in particular the Mucallaqa of Tarafa, is distinc- tive in its time and place. That time and place may seem removed from modern life. Yet within or beneath the apparent descriptions is a sym- bolic world of concerns common to all poetry. From the perspective of that world, I find Tarafa's MuCallaqa to be an incomparable poetic work.4 4, 4 The translation is based upon the texts in Max Seligsohn, Diw�n de Tarafa Ibn al-Abd Al-Bakr�, accompagné du commentaire de Yousouf Al-Alam de Santa-Maria (Paris: Librairie Emile Bouillon, 1901); Al-Anb�r�, Sharh al-Qas�id al-Sab al-Tiw�l al-J�hiliyy�t; Al- Tibr�z�, Sharh al-Qas�id al-Ashr; and Al-Zawzan�, Sharh al-Mu'allaqat al-Sab'. For a recent article with important implications for the reading of Tarafa's ode, see Jaroslav Stetkevych, "Name and Epithet: The Philology and Semiotics of Animal Nomenclature in Early Arabic "Poetry, JNES, vol. 45, no. 2 (April, 1986), pp. 89-125. 24 The Nasab The ruins Khawla left on the mottled flatlands of Thimhad appear and fade, like the trace of a tattoo on the back of a hand. There my friends halted tall camels over me, saying: don't lose yourself in grief, man: endure! As if, yesterday, the howdas of a Milikite were a ship, free-floating, in the wide wadi beds of Didi, The ship of an 'Adawliyyan or the Yemenite, the mate tacking at times then bringing her around, She cleaves the rippled waves, bow breast submerged, like the hand of a child at play, scooping through the soft soil. Among the tribe is a gazelle, a wine-dark yearling, shaking down the Arak berries and draped, string on string, with chrysolite and pearl. She lags. From a dune thicket she watches the herd. She pulls at the Arak branches until they clothe her. From a deep red mouth she smiles, a camomile blossom , dew-moistened breaking through a crest of pure sand, As if the sun had loosed its robe upon her face, glowing, washed in light, smooth. The Naqa And I, I ride off care when it assails me, on a travel-honed mare, moving by evening, and by dawn, 25 Solid as a coffin's planks, as I drive her on down a track pared out like the stripe on a B6rjad cloak. She vies with thoroughbred camels, fleet-footed, thigh-to-thigh down the beaten track. On the twin heights she pastures among the dry-of-udders, grazing meadow hollows, lush after a second rain. She starts at the driver's cry, warding off fears of a muck-matted bay stallion with her bristly tail, As if it were barbed with white falcon feathers drilled into the tailbone with an awl, Lashing up at times over the haunches, then down upon a dried out udder milkless as a withered waterbag, With hard, meaty thighs, like the double doors of a towering fortress with mortared walls, Ribs like the casing of a vault, upper spine stuck with vertebrae packed in on one another close, As if her flanks were wrapped in a Dala-shrub thicket, and a curved bow underpinned her solid, buttressed spine, Forearms that at the elbow twist out wide, like those of a water carrier lugging two full pails, A build like a Byzantine's bridge- its builder swore to raise up brick and mortar sides until intact- 26 With a red-bristled underchin, a back well strengthened, long stride, and lashing forearms That splay out wide from the body, she leans to the side, forearms like wedged-in roof beams. She barrels forth, veering, huge-headed, collarbones raised high on a towering frame, The saddle strap marks along her rib cage like watercourses on the high roughland's smooth rock slabs, Intersecting at times, then distinct, like the white inlay of a tattered shirt, With a long neck and withers, when she lifts them, like a ship's bow rising out of the Tigris, A skull like an anvil, two sides welded to a jutting point like the edge of a file, A cheek like a Syrian's parchment, a lip like a Yemeni's s untanned leather, Eyes like two mirrors sheltered in the rock browbone's caves, two carved-out pools, Eyes shielded from dust like the two dark ones of a frightened doe oryx with fawn, Two keen ears that sense out sounds of the night-journey, soft, muffled, secret sounds, or piercing, 27 Sound-sharpened ears: you see in them good breeding, like those of a stray wild cow in Hiwmal, A high-strung, pulsing heart, quickened, compact, - like a stone hammer against a hardened slab, A split upper lip, and a nose, pierced, smooth, well formed. , When she sweeps it along the ground her pace quickens. If you wish she paces. If you wish she slows, fearing the leather strap's s twisting coil. If you wish, her head rises beyond the saddle frame, and she swims with her forearms like a speeding ostrich. Journey and Boast On one like that I set out when a friend says: that you and I could be each other's ransom! ' When a man's soul flies to his throat in fear, and he imagines impending ruin, though no one stalks his evening journey, waiting. When the tribe seeks a young man . that's fearless, I think it's me they mean. I don't hang back and I don't stand stupid, gaping. When I snap the rough-fringed whip she bursts forward, vapours smoldering over the kindled rock terrain. She struts in elegant ease like a slave-born courtesan before her lord, parading her white, single-spun, pleated train. I don't skulk the high-backed wadi slopes in fear. When men ask for help I give it. 28 Seek me in the tribe's council ring, you'll find me. Track me among the vintner's shacks you'll find me there, Where the faces of drinking fellows blaze like stars, and evening brings among us a singing girl in a bodice and saffron scented gown, Her neckline opening wide, fine to the drinker's touch, her naked skin tender. When we say let us hear a song she breaks into one at ease- with a delicate glance and without strain, playing. When she sings I seem to hear . the oryx doe's echoing refrain for a lost, spring-born stray. So I go on drinking, chasing pleasure, selling off acquisitions, selling inheritance, squandering, Until shunned by all my father's tribe and set apart like a mange stricken camel smeared with tar. Yet I see the sons of dust will not deny me, not the tent people under their widespreading flaps of hide. Nay! You who blame me for joining the clamorous roar of battle, and attending pleasures, will you make me immortal? If you can't ward off my fate then leave me run it down by spending all that I have. But for three things in a bravo's life, by god! I would not care when I saw my death bed visitors rising to leave: 29 Beating the scolds to a drink of deep red wine that mixed with water bubbles over, Wheeling about, when called by one in need, a horse like a water-bound tree wolf when startled, And shortening a cloudy day, a cloudy day that gladdens, under the high-poled tent flaps with a paramour, Her anklet rings and bracelets like blossom cascades strung over the red callotrope or an unbroken, soft-stemmed castor. A generous man quenches his soul while he is still alive: You'll know when we are dead which of us still thirsts! I see the tomb of the hoarder, the panter-for-his-wealth- like the tomb of the prodigal, profligate do-wrong: the same. You see two heaps of earth with silent slabs of hard, deaf stone piled up upon them. I see death choose the generous and the noble, while picking over the best part of the hardened miser's spoil. I see life, a treasure, shrinking every night, shrunken by days and time, then gone. By your life! Death does not miss the bravo, its slackened rope's around him, hand around the twisted coils. Quarrel: Lost Pack Camels What is wrong with me? I see myself. I see my cousin Malik. I come near. He draws away, 30 Blaming me. I don't know why. As Qart bin A'bad blamed me in the tribe. Every good I asked for he turned to disappointment, as if we'd laid it in the niche of a dug-out grave. There was no wrong in what I said, crying out a claim- not letting it lie- for the lost pack troop of Mi'bad. I claim kinship, and by your fortune! at the last limits of endurance I am a witness. Called on in trouble, I defend. If enemies come straining against you I strain back. If they abuse your honor I give them a draught from death's pool. I don't start off with threatening. I brought on no misfortune, as if I were the cause of my being abused, disparaged, put aside! Were my lord another man than the man he is he would assuage my sorrow or grant me a day's respite. But my lord is a man who strangles me though I thank him, and beg him, and pay his ransom. The oppression of a kinsman is more painful to a man than the blow of a sharpened sword of Indian iron. Leave me and leave my doings be You'll have my thanks! though I am far away pitching camp on Darghad mountain. 31 Had my lord wished I'd have been a Qays bin Khalid. Had my lord wished I'd have been an 'Amr bin Marthad. I'd have been a man of great, wide-grazing herds, paid visit by sons of nobles, lords, and by the sons of lords. I am the thin one. ' You know him, quick as the head of a darting serpent. I am the one who swore to make his thigh always the soft backing of a fine, double-edged Indian sword. When I stand with it, avenging, it cuts. The first blow makes a second unneeded. No pruning axe, Steady, not deflected from its target: When someone says "easy!" its wielder says "done. " When men of the tribe rush for weapons, you'll find me, hand around the hilt, unassailed. Quarrel: The Slaughtered Ndqa Many a troop of kneeling, sleeping camels ... I startled the leaders passing in front with a sharp, bare blade. Before me meandered an old mare with thick-skinned udders, rugged, huge, the pride of a quarrelsome old stick of a man. He said, and already the leg and shank had been slit, can't you see what calamity you've brought us! ' No, by your life! he said, what do you make of this hardened drunkard heaping his wilful excesses upon us? 32 Let him go, they said, let him take what he's taken, but keep the kneeling troop away or he'll go on killing. Serving maids roasted in embers the unborn calf, and carved choice cuts of hump, and rushed to set them before us. O daughter of MA'bad! When I die, proclaim my death and tear your collar open, as I deserved. Don't make me a man whose resolve wasn't my own, who could never replace me or cast my shadow, Slow to the great deed, quick with foul palaver, docile before the fist, slapped away. Were I unwanted, a hanger-on, the emnity of one of the crowd or some loner might hurt, But bold and daring against them, true to my word, well-born, I drive men way. By your life I swear it! My day is not murky or muddled, nor my night neverending. How may a day have I steeled myself in battle, guarding gaps in the midst of threatening, On a field where the bravo tastes fear of death: when horses' shoulder blades entangle, quivering. How many a gambling arrow, yellow, fire-blackened- I listened to it crackling- have I trusted to the shuffler's hand. 33 There will come to you news of one you didn't provide for, for whom you never fixed a date for meeting. The days will reveal to you what you didn't know before. The one you refused provision will bring you word. Haverford College translated by MICHAEL SELLS 

Mu\u27allaqa of Tarafa

https://scholarship.haverford.edu/cgi/viewcontent.cgi?article=1140&amp;context=religion_facpubs

Mu\u27allaqa of Tarafa

Abstract

Similar works

Full text

Available Versions

Haverford College: Haverford Scholarship