In Deadly Embrace: Arabic Hunting Poems 9781479802463

A collection of poems about nature and power To Ibn al-Muʿtazz and his Abbasid contemporaries, the hunt was more than a

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Table of contents :
Letter from the General Editor
Table of Contents Acknowledgments
Introduction
Map: Heartlands of the Abbasid Caliphate
Map: Early Baghdad
Note on the Text
Notes to the Introduction
In Deadly Embrace
Like White Teeth on Red Lips
What a Waste!
Like a Slice of Air
The Heavy Beat of Thunder
Like a River in Spate
In Youth’s Full Flush
Like a Desert Snake
She Rides the Wind
The Veil of the Unseen
God’s Scourge
A Squint-Eyed Grimace
A Gown of Jade and Gold
Like a Patterned Snake
A Glint of Sword
Meteor-Bright
A Babel of Language
A Love of Death
Hungry, Dawn to Dusk
In Battle Gear
To Seize the Souls
A Death Knell
Like a Bright Page
Tongues Like Daggers
In Rusty Hauberks
A Watchful Demon
Like an Arrow
An Inflamed Eye
Amorous Approaches
Astride the Glove
Scented with Ambergris
My Hair a Blaze of White
Black at Its Fringes
On the Crest of a Hill
Vainglorious
Kennel-Bred
Flash Floods
Trained in the Arena
In a Saffron Robe
At Night’s End
Impulsive on the Leash
Brutal and Hard
The Face of Fear
Fine Rhetoric
A Tender Lover
The Wind’s Soft Hands
In Night’s Tatters
Fluent in Human Speech
Doomed Fowl
Deft Hunters
A Puff of Wind
Her Thirsty Beak
Like Torrents
Held Low in an Ambush
Expert at Physiognomy
Sharp Knives
The Drowsy Pleiades Set
Blood’s Taste
Training or Instinct?
His Pickax Beak
Notes
Glossary
Bibliography
Further Reading
Index
About the NYUAD Research Institute
About the Typefaces
Titles Published by the Library of Arabic Literature
About the Editor–Translator
Recommend Papers

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In Deadly Embrace Arabic Hunting Poems

Library of Arabic Literature General Editor Philip F. Kennedy, New York University Executive Editors James E. Montgomery, University of Cambridge Shawkat M. Toorawa, Yale University Editorial Director Chip Rossetti Assistant Editor Leah Baxter Editors Sean Anthony, The Ohio State University Huda Fakhreddine, University of Pennsylvania Lara Harb, Princeton University Maya Kesrouany, New York University Abu Dhabi Enass Khansa, American University of Beirut Bilal Orfali, American University of Beirut Maurice Pomerantz, New York University Abu Dhabi Mohammed Rustom, Carleton University Consulting Editors Julia Bray  Michael Cooperson  Joseph E. Lowry Tahera Qutbuddin  Devin J. Stewart Digital Production Manager Stuart Brown Paperback Designer Nicole Hayward Fellowship Program Coordinator Amani Al-Zoubi

Letter from the General Editor

The Library of Arabic Literature makes available Arabic editions and English translations of significant works of Arabic literature, with an emphasis on the seventh to nineteenth centuries. The Library of Arabic Literature thus includes texts from the pre-Islamic era to the cusp of the modern period, and encompasses a wide range of genres, including poetry, poetics, fiction, religion, philosophy, law, science, travel writing, history, and historiography. Books in the series are edited and translated by internationally recognized scholars. They are published as hardcovers in parallel-text format with Arabic and English on facing pages, as English-only paperbacks, and as downloadable Arabic editions. For some texts, the series also publishes separate scholarly editions with full critical apparatus. The Library encourages scholars to produce authoritative Arabic editions, accompanied by modern, lucid English translations, with the ultimate goal of introducing Arabic’s rich literary heritage to a general audience of readers as well as to scholars and students. The publications of the Library of Arabic Literature are generously supported by Tamkeen under the NYU Abu Dhabi Research Institute Award G1003 and are published by NYU Press. Philip F. Kennedy General Editor, Library of Arabic Literature

‫�‬ ‫ل����ط د �ّ�ا � ت‬ ‫ا �� ر ي �‬

‫أ‬ ‫�ب �ي�‬

‫�م ن ��‬ ‫�‬ ‫��‬ ‫ش‬ ‫�‬ ‫ع‬ ‫ر‬ ‫�‬ ‫ّٰ ن � ّ � ت زّ ا ّٰ‬ ‫�‬ ‫ّ‬ ‫ا‬ ‫�‬ ‫م‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫ا �لعب�� س عب��د ا لله ب � �حم�د �لم�ع� � �ب� لله‬

In Deadly Embrace Arabic Hunting Poems Ibn al-Mu ʿ tazz

Edited and translated by James E. Montgomery Volume editor Richard Sieburth

NEW YORK UNIVERSITY PRESS New York

NEW YORK UNIVERSITY PRESS New York Copyright © 2023 by New York University All rights reserved Library of Congress Cataloging-in-Publication Data Names: Ibn al-Muʻtazz, ʻAbd Allāh, 861-908, author. | Montgomery, James E. ( James Edward), 1962- editor, translator. Title: In deadly embrace : Arabic hunting poems / Ibn al-Muʻtazz ; edited and translated by James E. Montgomery. Other titles: 880-01 al-Ṭardīyāt min shiʻr Abī al-ʻAbbās ʻAbd Allāh ibn Muḥammad al-Muʻtazz bi-Allāh Description: New York : New York University Press, [2023] | Includes bibliographical references and index. | Parallel text in Arabic and English. | Summary: “Arabic hunting poetry from the Abbasid era, by renowned poet Ibn al-Mutazz”-- Provided by publisher. Identifiers: LCCN 2023000792 | ISBN 9781479853182 (cloth) | ISBN 9781479802463 (ebook) | ISBN 9781479894475 (ebook) Subjects: LCSH: Ibn al-Muʻtazz, ʻAbd Allāh, 861-908--Translations into English. | LCGFT: Poetry. Classification: LCC PJ7745.I16 I5 2023 | DDC 892.7/134--dc23/eng/20230320 LC record available at https://lccn.loc.gov/2023000792 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. Series design by Titus Nemeth. Typeset in Tasmeem, using DecoType Naskh and Emiri. Typesetting and digitization by Stuart Brown. Manufactured in the United States of America c 10 9 8 7 6 5 4 3 2 1

Table of Contents

iii

Letter from the General Editor

xiii

Acknowledgments Introduction

xiv

Map: Heartlands of the Abbasid Caliphate

xiii

Map: Early Baghdad

xiv

Note on the Text

xxv

Notes to the Introduction

xxx

In Deadly Embrace

1

1 Like White Teeth on Red Lips

2

2 What a Waste!

8

3 Like a Slice of Air

10

4 The Heavy Beat of Thunder

12

5 Like a River in Spate

14

6 In Youth’s Full Flush

16

7 Like a Desert Snake

20

8 She Rides the Wind

22

9 The Veil of the Unseen

26

10 God’s Scourge

30

11 A Squint-Eyed Grimace

34

12 A Gown of Jade and Gold

36

13 Like a Patterned Snake

38

14 A Glint of Sword

40

15 Meteor-Bright

42

16 A Babel of Language

44

17 A Love of Death

48

18 Hungry, Dawn to Dusk

50

19 In Battle Gear

52

20 To Seize the Souls

56

21 A Death Knell

58

22 Like a Bright Page

60

23 Tongues Like Daggers

62

vii

Table of Contents

24 In Rusty Hauberks

64

25 A Watchful Demon

66

26 Like an Arrow

68

27 An Inflamed Eye

70

28 Amorous Approaches

72

29 Astride the Glove

74

30 Scented with Ambergris

78

31 My Hair a Blaze of White

84

32 Black at Its Fringes

88

33 On the Crest of a Hill

94

34 Vainglorious

96

35 Kennel-Bred

98

36 Flash Floods

100

37 Trained in the Arena

104

38 In a Saffron Robe

108

39 At Night’s End

110

40 Impulsive on the Leash

112

41 Brutal and Hard

114

42 The Face of Fear

116

43 Fine Rhetoric

120

44 A Tender Lover

122

45 The Wind’s Soft Hands

124

46 In Night’s Tatters

128

47 Fluent in Human Speech

132

48 Doomed Fowl

134

49 Deft Hunters

136

50 A Puff of Wind

138

51 Her Thirsty Beak

142

52 Like Torrents

144

53 Held Low in an Ambush

146

54 Expert at Physiognomy

148

55 Sharp Knives

152

56 The Drowsy Pleiades Set

156

57 Blood’s Taste

158

58 Training or Instinct?

160

59 His Pickax Beak

162

viii

Table of Contents

Notes

167

Glossary

168

Bibliography

172

Further Reading

174

Index

176

About the NYUAD Research Institute

186

About the Typefaces

187

Titles Published by the Library of Arabic Literature

188

About the Editor–Translator

194

ix

For Natasha and Mark—and Rufus, too.

Like as the fearfull Foule within the Fawcons foote Doth yeelde himselfe to die, and sees none other boote; Even so dread I (my deare) least ruth in thee will want, To me that am thy thrall, who, fearing death, doe pant . . . The hart within my breast with trembling feare doth quake; And save your love (my deare) nought can my torment slake. George Turberville, Epitaphes, Epigrams, Songs and Sonets (1567)

A man is not feminized because he is inverted but because he is in love. Roland Barthes, A Lover’s Discourse

xii

Acknowledgments

The Library of Arabic Literature (LAL) continues to inspire me with its vision, energy, commitment to quality and standards, and conviction that classical Arabic literary creativity has a rightful place in our chaotic world. I am grateful to all my friends and mentors on the project for their generosity, erudition, friendship, and support. I owe Phil Kennedy and Shawkat Toorawa, as well as the editorial board past and present, an immeasurable debt, personal as well as intellectual. It is always a thrill to open a new shipment of LAL books and admire the professionalism, care, and attention to detail that go into every volume. Chip Rossetti, Lucie Taylor, Stuart Brown, Keith Miller, and Wiam El-Tamami are an amazing team of professionals with whom it is an honor to work and learn from. Once again, it has been my distinct privilege and joy to have Richard Sieburth as my volume editor—his lightness of touch is evident in every translation in the book. I alone am responsible for the imponderables and infelicities. I have worked on this book during the last six months as I recovered from a serious illness. Yvonne, Natasha, Sam, and Josh willed me on every step of the way. And Reggie, our Jack Russell, reminded me of the skill and patience needed to train nonhumans: his madcap sprints in pursuit of squirrels are a highlight of the fall season.

xiii

Introduction

A poetically gifted aesthete with no taste for politics; an ambitionless, pleasureseeking son of a murdered caliph brought up by a doting and overprotective grandmother; a reluctant ruler who was forced to grasp the reins of power for just one day before he was discovered hiding in the home of a jeweler friend and executed on the spot, Abū l-ʿAbbās ʿAbd Allāh ibn al-Muʿtazz cuts a tragic, if somewhat ludicrous, figure in the annals of the Abbasid caliphate.1 Such, at least, was the image of Ibn al-Muʿtazz current in scholarship for much of the twentieth century. If history is written by the victor, then the vanquished Ibn al-Muʿtazz existed after his death simply as the author of several works on poetics and etiquette, and a diwan of poetry: preserved, like so many diwans, decontextualized, like a display in a cabinet of curiosities. However, this tragedy of Ibn al-Muʿtazz the reluctant caliph hinges on an impoverished notion of political activity and on an equally impoverished notion of the role of poetry in elite Abbasid circles of the third/ninth century. His image as the tragic aesthete is not a modern invention: it is the picture of him painted in a number of classical sources. But some sources do position him more solidly in a sociopolitical context. We must consider, therefore, how accurate the tragic image is, and how we approach, in a historically informed manner, a body of occasional poetry that has lost any connection with the occasions that caused it to be composed.

Life Ibn al-Muʿtazz, the direct descendant of six caliphs, was born on 23 Shaban 247/1 November 861 in Samarra, in the palace complex built to house the Turkish troops on which the caliphate relied so heavily—the very troops who in 247/861 had assassinated his grandfather, the caliph al-Mutawakkil. His father, Abū Muḥammad Aḥmad ibn Jaʿfar, ascended to the caliphate with the regnal title al-Muʿtazz (“He Whose Might Comes from God”) in 252/866. He had been imprisoned by his predecessor, his cousin al-Mustaʿīn (r. 248–52/862–66), but eventually the latter lost his power struggle with the praetorian Turks during the period often referred to as “the Samarran anarchy.” In 255/869 al-Muʿtazz, unable

xiv

Introduction

to pay the military, was deposed and imprisoned, where he was either killed or starved to death. Ibn al-Muʿtazz’s grandmother, the concubine Qabīḥah (whose name, “Ugly,” is clearly euphemistic and apotropaic), assumed care of the young prince and arranged for his education. He was put under the tutelage of Aḥmad ibn Ṣaʿīd al-Dimashqī (d. 307/919) and received instruction from the leading language experts al-Mubarrad (d. 286/900) and Thaʿlab (d. 291/904). The new caliph, al-Muhtadī (r. 255–56/869–70), the son of Caliph al-Wāthiq (r. 272–32/842–47), removed Ibn al-Muʿtazz and his grandmother Qabīḥah, together with several other senior Abbasids, from the center of power in Iraq to Mecca, in an attempt to consolidate power in his branch of the Abbasid family and to control potential rival claimants to the caliphate. When al-Muʿtaḍid came to power (r. 278–89/891–902), he invited Ibn al-Muʿtazz to move to Baghdad, once again the seat of the caliphate. Ibn al-Muʿtazz declared his fealty to the caliph by composing a long poem celebrating the caliph’s exploits and by writing a work on the courtly etiquette of wine drinking, a work that celebrated the justness of his reign. With al-Muʿtaḍid’s death, however, Ibn al-Muʿtazz was once again incarcerated until the oath of allegiance could be sworn to the new caliph, al-Muktafī (r. 289–95/902–8). Turmoil erupted upon al-Muktafī’s death as the various factions at the court schemed to put a replacement upon the throne. One of al-Muktafī’s brothers, Jaʿfar, was installed as caliph with the title al-Muqtadir (r. 295–320/908–32), but there was a powerful faction behind Ibn al-Muʿtazz, and on 20 Rabi al-Awwal 296/17 December 908 they declared Ibn al-Muʿtazz caliph. The palace guards were, however, partisans of al-Muqtadir, and Ibn al-Muʿtazz, abandoned by his supporters, was strangled later that day. Ibn al-Muʿtazz was obviously an attractive candidate for the caliphate by virtue of his birth alone, and some sources describe him as well acquainted with the intricacies of governance and the political life. Unlike many of his relatives in the Abbasid dynasty, however, he seems not to have resorted to bloodthirsty means in the scramble for power, but to have cultivated a sophisticated and urbane persona and to have based his fitness to rule on, among other things, his reputation for wisdom and learning. If Ibn al-Muʿtazz had not been such an accomplished and prolific poet, and if he had not composed works on literary theory and literary history, he would have joined the historical roster of Abbasid elite politicians and contenders for the caliphate who jockeyed for power and lost during the so-called Samarran anarchy.

xv

Introduction

Works Ibn al-Muʿtazz’s works are manifestly literary: they deal principally with poetics and literary history, and therefore at first blush seem (especially his poetry) to be devoid of political ambition or consequence. One of his earliest extant prose works is the seminal and hugely influential treatise on poetics, The New Style (Kitāb al-Badī ʿ ), partly composed before 273/886–87.2 It is a work devoted to a discussion of the stylistic characteristics and rhetorical techniques in the poetry composed in the Abbasid empire from the last quarter of the second/ eighth century onward by poets known generally as “Modernists” (muḥdathūn), a group to which Ibn al-Muʿtazz belonged. In the treatise, Ibn al-Muʿtazz’s aim is to demonstrate that in fact such techniques and tropes are already in use in the Qurʾan, Hadith, early Arabic poetry (especially that of the Jahiliya), and in the speech of the Bedouin. The treatise thus belongs to a plethora of texts of the late third/ninth century in which autochthonous Arabian origins were posited for phenomena prized in Abbasid culture. This was especially important as several non-Arab interest groups regarded things Arab as inferior to Sassanian learning or Greek philosophy and science. This challenge resulted in what is sometimes referred to as the shuʿūbiyyah controversy. Two features of Ibn al-Muʿtazz’s stance in The New Style are significant. Ibn al-Muʿtazz was a member of a neo-Ḥanbalī elite that eschewed the radical populism typical of the Ḥanbalī movement in Baghdad in favor of a sophisticated syncretism, which revered the Qurʾan and Prophetic Sunna as its religious and intellectual foundations, while remaining open to Sassanian-inspired courtly practices and ethos. The book thus seeks to anchor the “novel” (badī ʿ ) style in earlier textual bases, principal among which is the Qurʾan. Moreover, as poetry was the supreme artistic and aesthetic value system prevalent among the elite, Ibn al-Muʿtazz, as a prince of the dynasty, was seeking to establish his personal Abbasid authority over literary patrimony and poetic creativity, as he expanded the textual authorities recognized by his contemporaries to encompass “Modernist” poetry and not simply the genius of the ancients of the Jahiliya. A similar tendency is discernible in his survey Modernist Poets Who Have Praised Caliphs and Viziers, Arranged by Rank (Ṭabaqāt al-shuʿarāʾ al-muḥdathīn fī madḥ al-khulafāʾ wa-l-wuzarāʾ ), a treatise that opens with a declaration of Ibn al-Muʿtazz’s aristocratic pedigree and of the princely right to rule. The introduction to the book may reveal the presence of a hagiographer’s or forger’s hand, but the sentiment is clear enough—the author’s program is to single out for attention

xvi

Introduction

those poets who have celebrated the achievements of the ruling dynasty and its servants. The work is also resolutely anti-Shi ʿi in its bias. Another work combining Abbasid courtly culture, the elite ethos, and neoḤanbalī syncretism is Images to Bring Joy (Fuṣūl al-tamāthīl fī tabāshīr al-surūr), a study of bacchanalia and courtly etiquette. In the courtly rituals surrounding the consumption of alcohol, the Abbasid elite had followed in the footsteps of the Sassanians. Ibn al-Muʿtazz was himself al-Muʿtaḍid’s intimate table companion (nadīm), a position of high trust and esteem. Ibn al-Muʿtazz’s syncretism is evident in this work, as is his tendency to bemoan the degeneracy of the times (known in Arabic as dhamm al-zamān). The difference here is that he does not lambast the current age but the recent past that has been tarnished by the denigration of the nobility. For Ibn al-Muʿtazz, al-Muʿtaḍid’s reign heralds the restitution of the rightful social order. A similar stance with regard to the ills of society is discernible in Ibn al-Muʿtazz’s Apothegms (Kitāb al-Ādāb), possibly the same work as his Brief Statements (Fuṣūl qiṣār), which is no longer extant in its original form. Apothegms is a loosely articulated miscellany of wisdom lore drawn from Late Antique, Sassanian, and Arab traditions. Abbasid courtly society loved a witticism, a sententious well-turned phrase, and it was one of the mechanisms whereby men of authority established and upheld their worldly experience and fitness to hold the positions they occupied. These utterances also functioned as rallying points for followers and the like-minded: gnomic foci that contributed to an esprit de corps or forged a communal, even sectarian, identity. The prime example of this over the centuries is the reverence shown to the rhetorical genius of the fourth caliph, ʿAlī ibn Abī Ṭālib (r. 35–40/656–61), be it in collections of his wise sayings or in al-Sharīf al-Raḍī’s (d. 406/1015) Paragon of Eloquence (Nahj al-balāghah), a florilegium of the speeches of ʿAlī. Verse Poetry was one of the means whereby the learned members of third/ninth century society communicated with each other and maintained networks of patronage, friendship, and loyalty. When the poet happens to be a prince of the realm, and a candidate for the caliphate, such networks are bound to be closely imbricated in the dynamics of power. Much of Ibn al-Muʿtazz’s diwan, therefore, is devoted to vaunts, eulogies, reproaches, exhortations, worldly wisdom, and congratulations. Many of his poems describe the pleasures of the symposiac

xvii

Introduction

lifestyle, a lifestyle of crucial significance for the upper echelons of courtly society, occasions when allegiances and friendships were nurtured. Ibn al-Muʿtazz’s Ṭardiyyāt, his hunting poems, to which this volume is devoted, are no exception. These poems describe expeditions to course for game with saluki hounds, or to hunt quarry with raptors, or to shoot with the pellet bow. Invariably, the hunting expedition began in the dead of night, proceeded to an early-morning hunt before the sun was too high in the sky, and ended with a feast in which the game was cooked and shared and accompanied by a drinking session. Many of the poems included here would have been composed or declaimed during these festivities at the conclusion of the hunt. As al-Shabushtī’s (d. ca. 388/988) Book of Monasteries (Kitāb al-Diyārāt) amply demonstrates, most hunting expeditions took place in the grounds of Iraq’s Christian monasteries, where the hunting party could have easy access to wine and its associated pleasures.3 Poems 37 and 55 remind us that hunting was not a discrete pursuit but was an inflection of the apparatus of rulership. In the formal terms of Arabic poetry, Poem 55 is a tripartite qasida (composed in sarī ʿ meter). Its three parts are an amatory section with the abandoned campsite motif (nasīb with dhikr al-aṭlāl), the vaunt (fakhr), and the hunting scene (ṭardiyyah). This is not an unusual combination of themes and is not too dissimilar from the most famous poem in Arabic, the Suspended Ode (Muʿallaqah) of Imruʾ al-Qays, with its amatory boast, vaunt, hunt, and storm description. In Ibn al-Muʿtazz’s poem, however, the first two themes are, in keeping with much “Modernist” (muḥdath) poetry, inverted: the poet rejects the value of lamenting the deserted campsites and the poet’s infatuation with a love object (a gorgeous young man rather than a beautiful woman), and his boast is in fact a vituperation of the ancestral claims of a group whose identity is obscure but to whom he refers as “Nabataean farmers.” In terms of the internal logic of the first two themes of the poem, the shock, dismay, and outrage the poet feels on hearing the preposterous claims of the Nabataean farmers incite him to abandon any idea of indulging his emotions in weeping over love and time lost. What does this have to do with the goshawk hunt of the poem’s third section? Internally, there are indications that the hunting scene of Poem 55 is not simply tacked on as an afterthought to the preceding lines: not only are the goshawks able to kill any quarry they hunt, but they also attack their prey like the militia when they grab hold of men’s beards, and the goshawks are compared to “old men / who’ve seen how easily fortune can change.” The poet speaks not only as a seasoned and capable hunter in complete

xviii

Introduction

control of fantastically, preternaturally endowed beasts but also as a man of authority, one presumably accustomed to commanding militia. The poem’s final reference to the mutability of time is a thinly disguised warning, directed at the Nabataean farmers. In many cultures, including Abbasid culture, the royal hunt was a ceremonial celebration of the ruler’s military prowess and fitness to rule. This hunting scene enlists those values in support of the admonition directed by the poet at the Nabataean farmers. Poem 55 thus becomes, in poetic terms, an example of the vaunt, which is expressed as a threat of attack. The effectiveness of the threat is expressed through the successful hunt. Poem 37 is, in formal terms, a bipartite qasida (composed in khafīf meter). Its eighteen lines are divided into a hunting scene, in which the mounted poet chases down an onager jack, and several lines of apothegms (ḥikmah) with a distinctly ascetic (zuhd) stamp, in which the poet ponders “life’s contradictions” and expresses his reliance on God’s will. Unlike Poem 55, the two parts of the poem have little to do with each other in formal terms. It is almost as if a redactor had come across two distinct compositions that shared the same rhyme and meter and juxtaposed them. The poem as an entity only properly holds together if we consider it as an expression, a gesture, of Ibn al-Muʿtazz’s princely persona. The royal hunt, conducted unambiguously by the poet himself, and not via an intermediary such as a huntsman or a retainer, expresses both the prince’s fitness to rule, as provider for his people, and his military prowess. To hunt an onager on horseback requires a horseman of skill: the onager, a hard-running creature, can attain speeds approaching forty miles (sixty-five kilometers) per hour. The apothegmatic lines declare the prince’s sagacity and establish his worldly experience, qualities required of the just ruler. The poem in the form in which it has come down to us only makes sense if we consider it as voicing a political identity. Poems 37 and 55 demonstrate that in Ibn al-Muʿtazz’s world the hunt was not simply an elite pastime but a potent and resonant symbolic gesture of leadership. I think it plausible that both poems were declaimed at the conclusion of the hunting expeditions they describe—rallying cries around which the prince’s comrades could muster and declare their allegiance. Military prowess, wisdom, fitness to rule, and the comradeship of the hunt are inflections of a political demeanor that relies for its efficacy and appeal on a cult of heroic masculinity.

xix

Introduction

Heroic Masculinity and the Hunt Hunting scenes occur in a liminal zone: they take place at dawn and are set in a pleasance—a secluded enclosure or garden, often inviolate, or, as Ibn al-Muʿtazz says, “protected from man by the jinn” (Poem 59). The hunt, however, does not function as a rite of initiation, for the skilled hunter takes center stage, and he is already an initiate. The hunt is an arena in which the hunter’s heroic masculinity is put to the test. In this liminal space, the hunter must not only exercise all his skills of decision-making, coordinating the hunt team and controlling the nonhuman hunters, but in order to vanquish the quarry must penetrate the phenomenology of the nonhuman world, of both nonhuman hunter and prey. To do this, the hero must merge his consciousness with that of the nonhumans involved in the chase—in a sense, he must efface himself and be able at the end of the hunt to recover his self. Short of combat and warfare, this was the ultimate crucible for heroic masculinity. There is a paradox in the essence of hunting as an enterprise. As a means of providing sustenance, hunting is costly, unreliable, and dangerous. In the third/ ninth century there were easier means of providing food, be it from livestock or from the agricultural heartlands of Iraq. Despite the evidence of the poems, not all hunting expeditions would have been successful, and the expense of maintaining a hunting team of raptors, dogs, horses, and cheetahs must have been possible only for the wealthiest: presumably most elites would have participated in hunting expeditions without assuming the central role of the epic hunter. There would also at times have been considerable danger involved—for example, in a mounted horseman chasing an onager running at full speed. Despite its dangers and costly inefficiency, hunting was popular with the Abbasid elites because of its symbolism. It functioned as the theater in which culture heroes such as Ibn al-Muʿtazz could put themselves on display and embody the values society and its regnal dynasty prized in its rulers: capability, prowess, decision-making, bravery, skill, and fortitude. It is the task of the culture hero to protect, disseminate, and at times enforce these values. The communal feast of meat sharing that concluded a hunting expedition would, in terms of its symbolic capital, have been prized because the food was acquired after such an investment of labor and skill. It also was an occasion for the altruism and largesse of leadership. Hunting is thus a symbolic representation and enactment of fitness to rule, and its violence, inflicted on nonhumans, was thereby asserted over the enemies of the polity. The hunting poems of

xx

Introduction

Ibn al-Muʿtazz celebrate and immortalize his royal status and prestige, and communicate his status as an embodiment of heroic masculinity.

The Homosocial World of the Ghazal Of the Arabic poetic genres, the ṭardiyyah is semiotically closest in spirit to the love lyric (ghazal), and in particular those compositions in which the poet-lover is hunted and ensnared by the love object, male or female. In such pieces, the love object often features as a gazelle. The epic hunter, vanquisher of the nonhuman world, abjectly and voluntarily surrenders himself to the snares and charms of a young boy or girl. These deploy the traits typical of the quarry as it hunts down and destroys the hunter, who is then wounded by the very object of his heart’s desire. Unlike the ṭardiyyah, which culminates in a successful kill, the ghazal terminates in failure: the love object is always out of reach and unattainable—and should that object be attained, it is quickly replaced by another unattainable object. The epic hunter of the ṭardiyyah is always a victim in the ghazal, his masculinity ever undone. However, the true hunter in the ghazal is not the love object, but the poet’s own desire: his desire has no choice, invariably indulging in the chase and thus becoming a victim, enthusiastically embracing perpetual failure. Three of Ibn al-Muʿtazz’s ṭardiyyāt, Poems 30, 45, and 50, exemplify how the value system of masculinity, its prowess, mastery, and control, are subverted in the ghazal. Poem 45 is a reflection of days past, an evocation of a hare hunt with sakers and salukis that follows the customary ṭardiyyah pattern of early departure, the journey to the pleasance “through meadows awake with flowers,” the description of nonhuman hunters, and the kill, followed by a communal feast. In this poem, however, no mention is made of the roast meats; instead, a drinking scene ensues in which the sāqī, the wine server, is a gazelle of a boy whose eyes bewitch the poet. The poem ends with the hunter-poet unable “to recover from one of his looks.” The saker hunt of Poem 50 dispenses with the early departure and journey to the pleasance and concludes with a feasting scene in which the poet, “a lover beyond the pale of love,” basks in “an admirer’s devotion” as he quaffs his wine. In a further set of variations on these themes, Poem 30 features a love object who is a deadly hunter described in vivid terms as a goshawk. The poem opens with the early-morning departure and journey to the pleasance through fields “of white and red and yellow jewels,” and somewhat surprisingly jumps to the

xxi

Introduction

communal celebration without any mention of a nonhuman hunter or kill scene. In this radically recast ṭardiyyah, the poet includes the hunt scene with nonhuman hunter within the description of the symposium and its beguiling sāqī, “a languid-eyed gazelle,” a master of “secret debauchery.” This love object cum heroic hunter terrifies his prey with his splendid goshawk, which is a metaphor for his manhood, “poised on the red glove / her wings raised,” ready to kill. Poem 30 is one of the gems of this collection, a showcase of Ibn al-Muʿtazz at his most dazzling, and a reminder that the developed love poetry of the third/ ninth century was an expression of homosocial desire, composed by men for an audience of other men and in competition with other men, about love objects both male and female, in order to create, foster, and participate in the public intimate—that communal space in which what are ostensibly private feelings are publicly celebrated and shared—and to cultivate a comportment of voyeurism. In this respect, ṭardiyyah and ghazal are the Janus faces of elite masculinity in the Abbasid era.

xxii

HAYLĀNAH QUARTER

Kark hāy ā

Sar āt C anal

āṭiy ā Ca na l

1 Isḥāq al-Andalusiyyah’s Palace (?) 2 Ruṣāfah Cemetery 3 Durmālis Monastery, Samālū Monastery 4 Upper Bridge 5 Main Bridge 6 Lower Bridge 7 Monastery of the Foxes 8 Syrian Gate 9 Khurasan Gate 10 Basra Gate 11 Kufa Gate

BARĀTHĀ

MUḤAWWAL

Baṭ

C.

7

Tig r i s

LEASE OF RABĪʿ

8

re

11

4

10

l

9

ana ʿĪsā C

l

ā Daj

ana A b ū ʿ A tt ā b C

KA R K H

2

j

Ruṣāfah Mosque

ROUND CITY

TH E

T Ḥ A R BI YYA H

nch

o f Ṭā hi r

Kāẓimayn Shrines

ZUBAYDIYYAH LEASE

1

l na l a Ca

6



d an Roa Khuras

Ḥasanī Palace

is Tig r

Q U R AYYA H

ʿĪsā Palace

ʿa

Palace of al-Amīn

Palace of the Pleiades

l Cana Mūsā

Mu

Palace of al-Muʿtaṣim

MUKHARRIM

Khuld Palace

5

3

Jaʿf arī Ca nal

A L - S H A M M Ā S I YYA H

ALRUṢĀ FA H

C. l lā

F a ḍl Ca nal

Ca n

iq

āb

a Bīn C l na

Building/locality

Quarter

1000

2000

3000 m Concept: S. M. Toorawa and C. Rossetti Cartography: Martin Grosch

0

Main Source: Le Strange, Baghdad during the Abbasid Caliphate

Kufa Gate

KA R K H

Canal with lake

Bridge

Road with square

Wall with gate

Garden

Shrine/tomb

Church/monastery

Mosque

Palace

Major building

Built-up area

145-339/762-950

Early Baghdad

Note on the Text

The Edition This edition is based on a single manuscript, Laleli 1728, kept in the Süleymaniye Library in Istanbul. The manuscript is incomplete: it contains volumes three and four of the recension of Ibn al-Muʿtazz’s poetry made by the courtier, historian, litterateur, and chess master Abū Bakr Muḥammad ibn Yaḥyā al-Ṣūlī (d. 335/947), a court companion of the poet. Al-Ṣūlī arranged this recension into ten broad topics (funūn) (folio 202ba–202b): vaunts (fakhr), love (ghazal), panegyric (madḥ), invective (hijāʾ ), conviviality (sharāb), reproach (muʿātabāt), hunting (ṭardiyyāt), description (awṣāf), threnody (marāthī), and asceticism (zuhd).4 The last four topics constitute the contents of volume four of Laleli 1728 and the section on ṭarad containing our poet’s Ṭardiyyāt occupies folios 99b–118a. This, the oldest extant manuscript of Ibn al-Muʿtazz’s poetry, was copied by a certain ʿAbd al-Malik ibn ʿAbd al-ʿAzīz ibn Muḥammad ibn Yaʿqūb al-Ḥamdānī, who completed his task during Dhu’l-Qadah 372/April–May 983. On folio 202a, in the left-hand margin, a note informs us that the manuscript was copied from a manuscript dated 295/907–8—that is, prior to Ibn al-Muʿtazz’s death in 296/908. In the ṭardiyyāt section, on folio 118a, a hand (presumably al-Ḥamdānī’s) informs the reader that “I personally collated the work against al-Ṣūlī’s copy—six hundred and sixty-nine lines” (balaghtu l-muqābalah waḥdī bi-nuskhat al-Ṣūlī sittimiʾah wa-tisʿah wa-sittīn bayt). The manuscript consists of 202 folios, of dark paper measuring 23 by 18.5 centimeters, with thirteen lines to a folio. I have worked from an electronic copy of the manuscript. It is by and large in good condition, although the ends of many pages were trimmed when the work was bound and some of the ink has faded, so there are illegibilities. Occasionally a wafer has been pasted onto a page, thereby obscuring the words it covers. Generally, however, the principal hand is clear and legible. The manuscript is a fascinating artifact, a treasure trove of information, revealing three principal layers of scribal activity: copying, collation, and commentary. These activities do not all stem from the copyist al-Ḥamdānī, and a number of hands are discernible. The chronology of these hands is unknown.

xxv

Note on the Text

Many folios of the manuscript, such as folios 101b and 102a, are a veritable patchwork of insertions and notes, with poems from other manuscripts or recensions added in the margins. My edition establishes fifty-nine poems in the ṭardiyyāt section, of which ten poems are from the margins (Poems 3, 4, 7, 8, 11, 14, 15, 26, 27, and 50). According to the testimony of Laleli 1728, therefore, al-Sūlī’s recension consisted of forty-nine poems, written by the copyist in the matn, the body of the page of the manuscript. A comparison of Laleli 1728 with other manuscripts of Ibn al-Muʿtazz’s diwan reveals, however, that there is some discrepancy between its forty-nine poems and the number and sequence of poems contained in these other manuscripts of al-Ṣūlī’s recension. Furthermore, the total of fifty-nine poems is far from definitive, as many of the marginal poems in Laleli 1728 are probably alternative versions of the poems they are appended to, rather than being distinct poems in their own right: ṭardiyyāt was a fluid genre, apparently much given to extemporized or improvised compositions, so it is unlikely that Ibn al-Muʿtazz left behind a conclusive, definitive edition of his Ṭardiyyāt. My policy of editing the marginal poems as individual poems is to make available to the reader the fullest survey of the Ṭardiyyāt of Ibn al-Muʿtazz. The collator(s) had access to more collections of Ibn al-Muʿtazz’s poetry than we have available to us. One noteworthy feature of the collation is the considerable care taken to indicate the source relied on by copyist and collator: each main source is identified either by name or with one of two sigla: �  (ḥāʾ ) ‫ح‬ ‫ن‬ and � (nūn). Ḥāʾ: On folio 148a, in the upper right-hand margin, we read: “ḥāʾ is the siglum for the copy of Ḥamzah al-Iṣfahānī” (wa-mā ʿalāmatuhu ḥāʾ huwa nuskhat Ḥamzah al-Iṣfahānī); on folio 202a, we learn that Ḥamzah’s nuskhah (that is, his copy) was organized according to meter (ṣannafahā maʿmūlah ʿalā buḥūr al-ʿarūḍ). In the chapter of ṭardiyyāt, the siglum ḥāʾ alone is used, and Ḥamzah is never referred to by name. It is something of a surprise to come across Ḥamzah al-Iṣfahānī’s name associated with Ibn al-Muʿtazz. Ḥamzah al-Iṣfahānī (d. after 350/961) is famous for his world history and his redaction of the diwan of Abū Nuwās, a work arranged according to topics (funūn), the ṭardiyyāt section of which is divided into poems considered genuine by the redactor and poems attributed to the poet. A further level of organization is introduced in the ṭardiyyāt chapter of Abū Nuwās’s diwan, in which the poems are grouped according to nonhuman hunter. It is

xxvi

Note on the Text

therefore fascinating, though also puzzling, to read that al-Iṣfahānī organized a redaction of Ibn al-Muʿtazz by meter. No mention is made of this work in any bibliography of al-Iṣfahānī’s works, and we must conclude that this was a collection of Ibn al-Muʿtazz’s diwan made by al-Iṣfahānī for his private use. Nūn: On folio 148a, in the upper right-hand margin, we read: “nūn is the siglum for the copy of Ibn al-Marzubān, transmitted on the authority of al-Dimashqī from Ibn al-Muʿtazz” (mā kāna ʿalāmatuhu nūn fa-huwa nuskhat Ibn al-Marzubān ʿan al-Dimashqī ʿan Ibn al-Muʿtazz). In the ṭardiyyāt section, however, the siglum nūn is never used, and al-Marzubānī is always referred to by name. Abu ʿUbayd Allāh Muḥammad ibn ʿImrān al-Marzubānī (384/994) was a towering figure in literary scholarship in Baghdad during the fourth/tenth century. The bibliographers do not credit him with a redaction of the diwan of Ibn al-Muʿtazz, so perhaps this was a copy made for personal use. Its chain of transmission goes back to the poet himself, via the poet’s tutor Abū l-Ḥasan Aḥmad ibn Ṣaʿīd al-Dimashqī, named on folio 120a as the direct source of an additional poem recited to him by the poet (wajadtu fī nuskhah min shiʿr Ibn al-Muʿtazz qāla Abū l-Ḥasan Aḥmad ibn Saʿīd al-Dimashqī anshadanī Abū l-ʿAbbās ʿAbd Allāh ibn al-Muʿtazz li-nafsihi).

Uncertainty surrounds the presence of the siglum ‫( ��ص‬ṣād), which is frequently used in the ṭardiyyāt section. The most natural inference is to presume it refers to al-Ṣūlī, though some of the marginal corrections and insertions are attributed to source ṣād and so we are left wondering whether this was a different copy of al-Ṣūlī’s recension or indeed a further recension by al-Ṣūlī himself. Al-Ṣūlī did produce at least one further recension of the poetry of Ibn al-Muʿtazz,

in his long notice on the poet in his Book of Leaves (Kitāb al-Awrāq), in the section on The Offspring of Caliphs Who Were Poets (Ashʿār awlād al-khulafāʾ ). But, as far as Ibn al-Muʿtazz’s Ṭardiyyāt are concerned, there is no correspondence between the poems with the occurrences of the siglum ṣād in Laleli 1728 and the versions of the poems in Ashʿār awlād al-khulafāʾ: even allowing for the anthologist’s tendency to quote abbreviated versions of or excerpts from longer poems, the sequence of lines in many poems in Laleli 1728 does not correspond with the sequence of lines in Ashʿār awlād. It is perhaps unusual for a scholar like al-Ṣūlī, who promulgated his work in book form, to have produced two distinct recensions of the same diwan. The nature of al-Ṣūlī’s recension will form part of the literary-historical edition of the Ṭardiyyāt I am preparing.

xxvii

Note on the Text

Other sources are referred to in Laleli 1728. In the Ṭardiyyāt section, Ibn Abī

ʿAwn (d. 322/933) is mentioned as a source on a couple of occasions (folio 101a). According to Lewin, Ibn Abī Awn is also referred to in Laleli 1728 as simply ʿAwn (folio 105a, bottom right corner)5 or with the letter   (folio 140b). I have com‫ع‬ pared the poems in the Ṭardiyyāt section of Laleli 1728 with the versions contained in Ibn Abī ʿAwn’s Book of Similes (Kitāb al-Tashbīhāt) and it is clear that the marginal insertions of Laleli 1728 do not derive from this work as it exists today in the manuscript tradition as edited by Khan.6 On the bottom right-hand corner of folio 100a, we read that the collator found a marginal insertion “in a copy that was not organized alphabetically.” It is unclear whether this refers to the copy organized by meter compiled by al-Iṣfahānī or to another redaction, one organized by topic. And on folio 202a, we learn that some of the “insertions are from various other places” (ziyādāt ukhar min mawāḍiʿ shattā). On folio 202a the copyist adds a final poem to his manuscript, clearly one absent from the copy of al-Ṣūlī’s redaction on which he relied, and in a marginal note he explains: “I found (this piece) as dictated by Abū l-ʿAbbās ʿAbdallāh ibn al-Muʿtazz as one of his poems” (wajadtu min imlāʾ Abī l-ʿAbbās ʿAbd al-Lāh ibn al-Muʿtazz li-nafsihi). Laleli 1728 is a remarkable witness. It reveals that the poetry of Ibn al-Muʿtazz did not exist in a definitive collection at the time of his death, but rather was preserved in notebooks and jotters, to which presumably the poet had intended to add had he not been executed. And the final folios 202a–202b exhibit a plethora of notices indicating each occasion the manuscript was copied. Despite the damage to the folio and the fading of the ink, I can make out at least twenty notices, the earliest of which seems to date from 373/983–84. On one occasion, the text is beyond repair and I have athetized a word: Poem 40, line 13. The reading of the MS is ka-khāyadhāzi. The meaning of the line is clear, but I have not found a satisfactory explanation or alternative for the word. I have followed the copyist of Laleli 1728 when he identifies the meter of a poem as sarī ʿ rather than as rajaz. Some prosodists allowed for the existence of a three-foot version of sarī ʿ, while other theorists identified this as rajaz: see the discussion in Stoetzer, “Sarī ʿ.” In view of this disagreement in the authorities, I have deemed it prudent to follow the lead of the copyist.

xxviii

Note on the Text

The Translation Throughout this project, my aim as translator has been clarity, be it of diction, image, or episode. There is an immediacy to Ibn al-Muʿtazz’s Ṭardiyyāt that I have striven to highlight in English. I hope the result is that his miniatures are as striking in English as they are in Arabic. The style of the mature tradition of the ṭardiyyah that Ibn al-Muʿtazz’s poems represent is concise, often pointillist. There are few wasted words. His primary stylistic technique is parataxis. Episodes, descriptions, and similes follow one another, usually with only an implicit transition. The pattern of the hunt (earlymorning departure, description of nonhuman hunter, chase and kill, and feast) provides the narrative structure for many of the poems, a sequence that also often remains implicit in the poem. In my translations, I have decided to make that sequence visible, to bring it to the surface, with a view to making the dramatic structure of each poem recognizable to the reader new to the material. The art of falconry and hawking boasts a developed and sophisticated vocabulary in English. I have dipped into its lexical riches to capture features and behaviors of the raptors as described by Ibn al-Muʿtazz. I have included these terms in the Glossary. In two poems (51 and 52), I decided to render some nonhuman epithets as names. We rarely encounter nonhumans with names in the genre, an indication perhaps of their mythic presence (for it is unlikely that owners and trainers would not have named the nonhumans), but it seemed appropriate to render the adjectives like this on these occurrences. I have added titles to the poems and have tried to complete this book without any endnotes: my ideal is an English translation of an Arabic text that does not require the portentous and intrusive freight of the scholarly note. I have not quite succeeded, of course. I suppose I would be a character created by Borges for one of his Ficciones if I had.

xxix

Notes to the Introduction

1

This introduction relies heavily on Julia Bray, “Ibn al-Muʿtazz and Politics: The Question of the Fuṣūl Qiṣār,” and Wolfhart Heinrichs, “Ibn al-Muʿtazz (1 November 861–17 December 908).” I have learned much from Catherine Bates, Masculinity and the Hunt: Wyatt to Spenser. In Further Reading, I list other works that have informed my thinking on Ibn al-Muʿtazz, his poetry, and his world. For more information on the role of hunting in the pre-Islamic and Islamic imaginary, see my introduction to Fate the Hunter: Early Arabic Hunting Poems.

2

A new edition and translation by Huda Fakhreddine is in preparation for the Library of Arabic Literature.

3

Al-Shabushtī, The Book of Monasteries, edited and translated by Hilary Kilpatrick.

4

The last three funūn are further refined: al-awṣāf wa-l-dhamm wa-l-milaḥ, al-marāthī wa-l-taʿāzī, and al-zuhd wa-l-shayb wa-l-ādāb wa-l-ḥikmah.

5

See Der Diwan des ʿAbdallāh ibn al-Muʿtazz, 5. The edge of the page is obscured by the binding of the manuscript, so it is not certain that the rest of Ibn Abī ʿAwn’s name has in fact been occluded. Lewin’s other example regarding Poem 4/139 is incorrect: the poem is preceded on folio 140b by the siglum ḥāʾ.

6

Ibn Abī ʿAun [= ʿAwn], The Kitāb al-Tashbīhāt of Ibn Abī ʿAun.

xxx

� ‫ل����ط د �ّ�ا � ت‬ � ‫ا �� ر ي‬

In Deadly Embrace

‫~‪~١‬‬ ‫� ف �ً �‬ ‫�و��ق�ا �ل �ي �ص�� ك‬ ‫����لب��ا [ا �ل��س ��ير� ]‬ ‫ع‬

‫ُ‬ ‫�لَ� َّ�ا �تَ���عِ� ���عَّ � �أ �فُ�قُ �ٱ ��ل��‬ ‫��َّضيَ��ا ٰء‬ ‫�م‬ ‫رى ��‬ ‫ٱ � َّ �فِ ٱ � ّ َْ‬ ‫�م��ْ�ثَ �ٱ �ْ���ت���َ‬ ‫س�ا � � �ل ش����� ��ةِ � �ل��ل��ميَ��ا ٰء‬ ‫ِ �ل ب ِ ِم‬ ‫�شِ َ � ْ �ذَ ُ ٱ � ّ‬ ‫لِ���ظ��ْل� َ‬ ‫�م�ا ٰء‬ ‫�َو���� ِ�م ��ط ت� �َ او �ئِ� ب� � � ��‬ ‫َ‬ ‫َ � َّ نَ� ْ‬ ‫��ج�ُ �ٱ ��ل��لّ�ْ�ي ���ٱ خْ�� ��َ‬ ‫�ف�ا ٰء‬ ‫�و �هِ‬ ‫��م � م � �ِل بِ ��تِ‬ ‫�ُ ْ نَا � ن ٱ �ْ َ ْ� َٱ �� �َّ �‬ ‫ل��ظبَ��ا ٰء‬ ‫�ق�د �� ِ�ل�عِ� ��ي� � � �لوح��� � �و �‬ ‫ِ‬ ‫شِ‬ ‫�ذُ َ ةَ ٱ � َّ‬ ‫َ ا �يِ �ةً �َ�م ْ‬ ‫�ح� � � � �ل��ل��َ‬ ‫�ق�ا ٰء‬ ‫د ِ�ه� �‬ ‫�ح� ور‬ ‫ٱ‬ ‫ْ‬ ‫� َ ا �َ�ةً َ‬ ‫���ٱ ��� ��ْ َ � َّ ْ َ‬ ‫ل‬ ‫�‬ ‫�‬ ‫عِ‬ ‫�‬ ‫� � �ل��س���مر ٰاء‬ ‫ق‬ ‫�‬ ‫�‬ ‫���ش� ��ئِ�ل�‬ ‫�‬ ‫ك‬ ‫ر‬ ‫بِ‬ ‫ُ َ �فِ ً � َ�قِ َ ٱ �ْ أَ‬ ‫ح ����َ‬ ‫���مْر�ه�� ��ة �ُ ْم ��ط��ل�� ��ة � �ل�� ْ�‬ ‫ش�ا ٰء‬ ‫َ َ َّ � نْ ��قِ � �َ َ َ‬ ‫�سْود ٰاء‬ ‫�ق�ل� � �‬ ‫ك�م�د ةٍ� ِم�‬ ‫ٍم‬ ‫َ‬ ‫أ ْ �ُ ْ �بِ �ةً � نْ ِ �� َ � ٱ � ّ َ‬ ‫�‬ ‫�‬ ‫� � �ل َرد ٰاء‬ ‫�‬ ‫و �ه�د � � ِم� ���طر فِ‬ ‫تَ ْ ُ َ ا أَ�ْ‬ ‫��جن��حِ �ةُ �ٱ ��ْ َ‬ ‫�‬ ‫�‬ ‫هَو ٰاء‬ ‫�م� � ِ� � ل� �‬ ‫��حِ�م��ل���ه‬ ‫تَ ْ َ ُ ٱ ْ‬ ‫��ِ ْ �� َ ْ �َ‬ ‫� � �ل‬ ‫ت�‬ ‫طَو ��ل�ا �إِ ��ب ���ط�ا ٰء‬ ‫�‬ ‫�‬ ‫خ‬ ‫�‬ ‫����س�ِ�ل ب‬ ‫بِ‬ ‫َت َ شَّ َ ٱ �ْ �أَ ْ َ‬ ‫�� �� �ٱ ��ل َّ�ْ�م��‬ ‫��َ‬ ‫�‬ ‫ض�ا ٰء‬ ‫��م����� � �ل� ن� ك‬ ‫� بِ فِي� ر‬ ‫ي‬ ‫َ‬ ‫ْ‬ ‫ْ‬ ‫أَ ْ َ ُ نْ ��جِ‬ ‫� �ف�� ن ��ل� �غ���‬ ‫��َ‬ ‫ض�ا ٰء‬ ‫� ��سرع �ِم� � ٍ� �إِ ى �إِ‬

‫‪2‬‬

‫‪2‬‬

‫‪١،١‬‬

‫‪٥،١‬‬

‫‪١٠،١‬‬

Like White Teeth on Red Lips

A description of a dog:

Like white teeth on red lips

1.1

dawn shone naked on the horizon, and as the night star went into hiding, darkness grew old, its hair flecked. To the spring where oryx and gazelles live we brought death, this fearsome bitch, her tail raised like a brown scorpion’s, her loins arched, trained and lean, like a cloak’s fringe or a black maddah sketched by a reed pen. Carried on wings of air, quicker than the blink of an eye, our bitch steals her steps like a lame camel on hot sand.

3

3

1.5

‫� ا ا �� ز ة‬ ‫ب� ب� ل�ه�م��‬

‫َ �ُ �ْ �طِ � �فٍ ُ �ثَّ َ ٱ �ْ �أَ ْ‬ ‫��َ‬ ‫�و�م‬ ‫ض�ا ٰء‬ ‫�خ��� �� �ا � �مَو� �ق� � �ل��ع ��‬ ‫�َ ا ��َف�َ َ ا � ْ َ َ ْ‬ ‫��َ‬ ‫ض�ا ٰء‬ ‫�خ� ل��� �‬ ‫ه�م� بِ�‬ ‫�‬ ‫�جِ ��ل��د ةٍ� ب��ي� ��‬ ‫َ‬ ‫َأ ٱ ّ‬ ‫ٱ َ‬ ‫ك�� ����ثِ � ��ل ش��َ��َه�ا � �� � ��ل ّ���س َ‬ ‫�م�ا ٰء‬ ‫ِر � بِ فِي�‬ ‫ٱ‬ ‫ُ‬ ‫َ �َ�ْ �فُ �ٱ ��ل�زَّ�ْ‬ ‫��ج َ �م نَ � ��ل��دّ �َ‬ ‫�ع�ا ٰء‬ ‫�و�ي��عِر� � ر ِ �‬ ‫َ‬ ‫ُ‬ ‫���أ �ذُ ن ���َ�ا � �طِ��� �� � �ٱ �ْ��أ ْ �َ‬ ‫�ج�ا ٰء‬ ‫م �ةِ �ل ر�‬ ‫س‬ ‫بِ ٍ�‬ ‫�قِ‬ ‫َ‬ ‫ٱ‬ ‫ٱ‬ ‫َ‬ ‫َ ََْ � ّ َ َ � ّ َ‬ ‫��سْو��سن���ةِ � �ل ش���� ْ�ه�ل�ا ٰء‬ ‫كورد ةِ� � �ل �‬ ‫�‬ ‫َ� ْ �فُ َ ا � َ عِ ٱ � ّ َ‬ ‫س�ا �� ��ةِ � �ل َ��ن�د ٰاء‬ ‫ي��حِر ��ه� �ي� ���‬ ‫فِ‬ ‫َ ْ َ ٱ �ْ حِ �ذَّ‬ ‫َ‬ ‫�ذ ا ��ُ�بْ ث�ُ ن ك�م��‬ ‫�ث�ق � � ل‬ ‫�‬ ‫�‬ ‫� � ٰاء‬ ‫� ر ٍ�‬ ‫ِ بِ‬ ‫َ ٱ �ْ �أَ ْ �ذَ‬ ‫َ‬ ‫َُ ْ‬ ‫�قِ‬ ‫�و� �‬ ‫�ق��ل��ةٍ � ِ��ل��ي��ل��ةِ � �ل� ��ق� ٰاء‬ ‫��م�‬ ‫َ‬ ‫َ ا �يِ‬ ‫�كقَ�ْ�����طَ� �م نْ � َ‬ ‫�م�ا ٰء‬ ‫�‬ ‫��ص� �فِ�� ��ةٍ‬ ‫� رةٍ ِ �‬ ‫َ‬ ‫ْ أ َ ٱ � َّ‬ ‫��ص ْ َ‬ ‫�َ نْ َ‬ ‫���س�ا بُ� �بَ�� نَ� � ك�م� �ل��‬ ‫��حر ٰاء‬ ‫ي���‬ ‫ِ‬ ‫ي‬ ‫�ْ َ ٱ نْ َ ا َ� َ قْ �َ‬ ‫ح�ِّ�ي��ةٍ ر�����ط�ا ٰء‬ ‫�‬ ‫�ِم��ث�ل � ����سِ ي�� بِ‬ ‫آ نَ َ َ ْ نَ ٱ � ِّ �فْ َٱ �ْ �فِ‬ ‫��َ‬ ‫ض�ا ٰء‬ ‫� ���س �ب�ي�� � �ل����س�‬ ‫� � �و � �ل� ��‬ ‫ِح‬ ‫ْ َ � َ ا ُ تَّ ٱ �ْ �أَْ � اَ‬ ‫�ى� ٍء ر��� � �ل� ���ط�ل� ٰء‬ ‫����سِ ر ب� ظِ �����ب‬ ‫ِ‬ ‫ع‬ ‫ُ نََّ �خِ َ‬ ‫َا‬ ‫�‬ ‫� ��م ��ور �‬ ‫� �ل�ا ٰء‬ ‫فِ�ي� ��ع��ع� �زِ بٍ‬ ‫ٍ‬ ‫� َ ا َ نَ ٱ � ُّ َّ َٱ �ْلُ َ‬ ‫��ص� �ِم� � �لر� او ِد � �و �‬ ‫�ج نّ��ا ٰء‬ ‫�‬ ‫ض‬ ‫�� �‬ ‫�‬ ‫َع‬ ‫أَ ْ َ �� ِ ْ � ٱ �ْ َ ِ ٱ �ْ‬ ‫�َ ْ َ‬ ‫خ‬ ‫ل‬ ‫ح �ى ك��ب ��ط ن � ل‬ ‫�‬ ‫�‬ ‫��ضر ٰاء‬ ‫��‬ ‫ح�ّ�ي��ةِ � ��‬ ‫� �و � ِ�‬

‫‪4‬‬

‫‪4‬‬

‫‪١٥،١‬‬

‫‪٢٠،١‬‬

‫‪٢٥،١٢‬‬

‫‪٣٠،١‬‬

Like White Teeth on Red Lips

The bitch’s partner

1.15

is lean and sleek, vaunted for his bright white coat. With muscles taut, he’s like sky dust shed by a shooting star. He knows the calls—when to hold back, when to attack, his long ears like the petals of dark irises flopping on his flanks, his nails as sharp as a cobbler’s awl, his eyes clear, dust-free, raindrop-pure. Alert to the call, he glides

1.25

across the dunes like a spangled snake, spotting a herd grazing with their fawns, where plain and upland meet in a distant field aflame with wildflowers, hidden from foragers and scouts, green as a dark snake’s belly,

5

5

‫� ا ا �� ز ة‬ ‫ب� ب� ل�ه�م��‬

‫ٱْ‬ ‫ْ‬ ‫�تُ�� دَ ُ �� �ٱ ��ل��� ْ‬ ‫��صَ��ا � �َ � ��ل���ْم�� َ‬ ‫�س�ا ٰء‬ ‫وع فِي� إِ ب ِح و إِ‬ ‫َ‬ ‫ْ‬ ‫أ‬ ‫ْ َ ٱ � ِّ َ‬ ‫��نِ َ ٱ � ْ َ‬ ‫�رد � �ل��ن�د �ى �بِ�� ��ف �� � �ل�����ن�د ٰاء‬ ‫��� بِ‬ ‫سِ‬ ‫ُ ُ ُ ٱ �ْ‬ ‫ٱ ْ‬ ‫حَ�ِّ�ي� � ��ل َّ ��ق ����َ‬ ‫ل‬ ‫�‬ ‫ش�ا ٰء‬ ‫��سوك �‬ ‫�فِ���ي�ِه �م �‬ ‫�ةِ ر‬ ‫َ‬ ‫َ �أ نَّ َ ا َ � َ ا � ُ �ٱ ��ل �ِّ ْ ��‬ ‫َ� ءا‬ ‫ك� ���ه� �ض‬ ‫� ��ف� ��ئِ� ر ����ش�م��ط ٰ‬ ‫ٱ ْ أَ ٱ ْ‬ ‫َ‬ ‫��ص�ا دَ ��ق ْ���ب�َ � ��ل�� ْ� ن �َ � ��ل�َع َ‬ ‫��فِ � َ‬ ‫��ن�ا ٰء‬ ‫ل ي ِ� و‬ ‫خَ‬ ‫� ْ � نَ ��َ ْ َنْ�قُ ْ ص نَ � ٱ �ْ � ْ� َ‬ ‫�ص�ا ٰء‬ ‫�م� سِ� �ي� ل�م ي������ � فِ�ي� � �لإِ�ح�‬ ‫ٱ � �ُّ ٱ‬ ‫�م� ءا‬ ‫حُ �َ ��� ��ل��دَّ � َ‬ ‫�َ �َ�ا َ�ع��ن َ‬ ‫�ى�ا � �ل��ل‬ ‫�‬ ‫و‬ ‫ٰ‬ ‫وب‬ ‫م بِ‬

‫‪6‬‬

‫‪6‬‬

‫‪٣٥،١‬‬

Like White Teeth on Red Lips

fed gifts of cold dew at dusk and dawn as the breezes sigh, sloughed skins strewn about, like a hag’s flecked braids of hair. Before tiring, he hunted down fifty victims, drinking their blood, leaving their flesh untouched.

7

7

1.36

‫~‪~٢‬‬ ‫�ف ��مخ � ئ � ة � ق �‬ ‫ا�‬ ‫� ا �لر�م�ا � �ب�ا �لب�ن��د �� [ا �ل��س ��ير� ]‬ ‫�و��ق� ل �ي� � ��ط�‬ ‫ع‬

‫َا نَا َ ٱ �ْ َ�أْ َ َ ٱ � َّ َ‬ ‫� ر � �ل��ي� �� �ع��ل� � �لر�‬ ‫�ج�ا ٰء‬ ‫�ي� �� صِ‬ ‫�‬ ‫سِ ى‬ ‫َ‬ ‫َ ِ ْ َ ٱ �ْ أ ْ‬ ‫�َ ٱ � َّ َ‬ ‫ر��مي� ت� ��� �ل�� ر��ضِ� �إِ �ل�ى � �ل���س�م�ا ٰء‬ ‫بِ‬ ‫َ �َْ تُ ْ شَ ْ ئًا َ ٱ ل�ْ ََ‬ ‫�سو�ى � �ه�و ٰاء‬ ‫�و �ل� �� صِ‬ ‫� ب� ���ي���� �ِ �‬ ‫م‬ ‫ْ‬ ‫َ‬ ‫ٱ‬ ‫ْ‬ ‫َ‬ ‫َ‬ ‫َث � َ‬ ‫�ف�َ ْ ُ َ ْ‬ ‫ح��سب����ن�ا �ِم ن� ك��ر�ةِ � �ل�ع��ن�ا ٰء‬ ‫َ نَّا َ ٰ �ذَ �ٱ �� ِّ ُ ٰٱْ َ ٱْ� َ‬ ‫��صيْ��د �ي��ب� ن� � �ل�م�ا ٰء‬ ‫�ه�� ك �ه� ا ل�‬

‫‪8‬‬

‫‪8‬‬

‫‪1،٢‬‬

‫‪٥،٢‬‬

What a Waste!

About an incompetent archer:

Hope defeated by despair! You fired an earthen pellet into the sky and hit fresh air. What a waste! Good hunting, water carrier!

9

9

‫~‪~٣‬‬ ‫�‬ ‫�و��ق�ا �ل [ا �ل��س ��ير� ]‬ ‫ع‬

‫�لَ� َّا �ٱ نْ��جِ َ �ٱ �� ِّ�� َ�ا �ُ ��ٱ ��ل��َّ‬ ‫�ضيَ��ا ٰء‬ ‫�م� � � �‬ ‫ل��ظ�ل بِ�‬ ‫�ل�ى َ م‬ ‫ْ‬ ‫�َ َ ا َ َ ا َ تْ أ ن ُ ُ ٱ �ْ َ �زَ‬ ‫��ج�م � �جل‬ ‫�ل��ن� �و���غ� �ب�� � ��‬ ‫��ْو ٰاء‬ ‫َ �أَنّ�ََ ُ َّ ْ َ ٱ �َْ‬ ‫م�ا ��ق�د ت� �ِم ن� � ل�ه�َو ٰاء‬ ‫ك� ��‬ ‫َ‬ ‫أ ْ َ َ � نْ َ� �فْ ن ��لَ �غْ ضَ‬ ‫���ا ٰء‬ ‫� ��سر ِم� ج���� �إِ �ى �إِ ��‬ ‫ٍ‬ ‫َع‬ ‫ًْ َ ٱ‬ ‫ّ‬ ‫فَأ ْ‬ ‫َ‬ ‫�‬ ‫َ‬ ‫ْ‬ ‫�‬ ‫َ‬ ‫ت‬ ‫ل���ظب��ا ٰء‬ ‫�� ر� ����سِ ر�ب�ا �ِم ن� � � �‬ ‫��� ��ب � �صِ‬ ‫� َ ْ ضَ نَا َ خَ� ْ َ‬ ‫��ضر ٰاء‬ ‫��‬ ‫�� ر�ةٍ ��‬ ‫����ةٍ �� ��ضِ�‬ ‫فِ�ي� ر �و�‬ ‫َ‬ ‫���غِ َّ هُ َ أْ َ َ ُ ٱْ� َ‬ ‫�م�ا � �ن�ب�� ت� ِر��ي�ق� � �ل�م�ا ٰء‬ ‫� �م� �‬ ‫���فِ � َ َ َ ْ ُ َ َ ْ‬ ‫�ع�ا د ر�ت��ه نّ� �بِ�ل�ا �إِ ��عيَ��ا ٰء‬ ‫��‬ ‫�غ‬ ‫َ‬ ‫�ْ � َ َ َ َ‬ ‫�� شِ�� َّ�َ�ه�َ‬ ‫ه�ا �ل‬ ‫ح ���� �ع��ل� ��ت��ن�ا ٰء‬ ‫�‬ ‫ب ��‬ ‫�ظِ ي ى‬ ‫َّ � نْ ��قِ �َ َ َ‬ ‫مِ‬ ‫�سْود ٰاء‬ ‫َب��� ��م�د ةٍ� ِم� �ل� � �‬ ‫ُ ٍم‬ ‫��تِ ْ ضَ‬ ‫� � نَ �ٱ ��ل��ّ�لُ � �ٱ � � َّ اَ‬ ‫حو �� �ل�د ��م� ٰء‬ ‫م‬ ‫� ��ى‬ ‫�‬ ‫�‬ ‫�‬ ‫ِ‬ ‫� � ر ى � ِم بِ‬

‫‪10‬‬

‫‪10‬‬

‫‪١،٣‬‬

‫‪٥،٣‬‬

‫‪١٠،٣‬‬

Like a Slice of Air

Gemini set in the sky and dawn erased the night. Quicker than a blink, like a slice of air, she spotted a herd in a lush green field hidden by the dewfed foliage. Effortless in her slaughter, she seemed from afar like a black maddah drawn by a stylus, exchanging flesh for blood.

11

11

‫~‪~٤‬‬ ‫�‬ ‫�و��ق�ا �ل [ا �لر�ج�ز ]‬

‫َ َ ا � ُ ْ تَ� ��جِ َ �ؤُ ُ‬ ‫�و��ه� ����طِ �ل ���مر ���جِ�زٍ � �د ا � ه‬ ‫ٍ‬ ‫َ‬ ‫��قِ ْ � �شِ ��قَ تْ �َ ا ه أ ْ� � َ ا �ؤُ ُ‬ ‫�د ��� ِر � بِ�م� ��ئِ� �ِ � ح���ش� � ه‬ ‫َ‬ ‫َ َ تْ ه َ َ ٱ � �ثَّ َ أ نْ َ �ؤُ ُ‬ ‫�‬ ‫ا‬ ‫�‬ ‫�ص�د �ى � �ل� ر�ى � ��و ه‬ ‫ر �و� �بِ�ِ �‬ ‫َ َ ُ آنَا �ؤُ ُ‬ ‫ٱ َّ َ ْ‬ ‫�َ �و ��ت���بِ �ع ت� �إِ ��ْ�ب ��ى�د اء ه � �� � ه‬ ‫َ‬ ‫َ‬ ‫َ أ ْ ف�َ َ ْت َ� نْ ��بِ ْ � ه أ ْ َ ا �ؤُ ُ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ع‬ ‫�ج� ه‬ ‫� �و �س�ر� � � ر�قِ �ِ ر�‬ ‫ْ َ ��‬ ‫طخَْا �ؤُ ُ‬ ‫َٱ ْ �لَنْ َ� َ ْ‬ ‫�‬ ‫�‬ ‫�‬ ‫���س ت� ��ي� �َمت�ِن��ِه �ي�� ه‬ ‫�‬ ‫� �و �ع� � ك‬ ‫فِ‬ ‫�حِ تَّ �إِ�ذَ َ ا ��فَ � َ تْ �َ ا �ؤُ ُ‬ ‫� ��ى ا ��م� �ِني�� ِد �ل� � ه‬ ‫َ‬ ‫َ ���قِ َّ � نْ أ ْ �فَ ا ه ُ َ ا �ؤُ ُ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�و �ل ِم� � ج� � �نِ� �ِ �ب ك� ه‬ ‫َ‬ ‫أنَْ تَ نَ ْ ً �ُ�م ْ‬ ‫ًا ��فِ نَ ا �ؤُ ُ‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫�� ب�� �� ه‬ ‫� �ب��� ��ور �خ�صِ‬ ‫َ‬ ‫َ‬ ‫َْ‬ ‫ه أ ْ َ �ؤُ ُ‬ ‫�ُ نُ � أ ْ‬ ‫َ‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ت� ك�م� �ي� رو �حِ �ِ ��ن�د ه‬ ‫فِ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫ِ‬ ‫أ�تَ ْ تُ هُ َ �ث ْ ُ هُ � � �ل َ ا �ؤُ ُ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫� ��ي�� و �و��ب�ى� ��ظ� ��م� ه‬

‫‪12‬‬

‫‪12‬‬

‫‪١،٤‬‬

‫‪٥،٤‬‬

‫‪١٠،٤‬‬

The Heavy Beat of Thunder

The rain drummed the heavy beat of thunder from a cloud, insides brimming with light and water. The stars quenched the thirsty soil. Night fell after the first shower and lightning lit up the cloud, its face smeared in pitch as it released its load of rain, draining its eyes of tears, its death giving birth to blossoms in a fertile plain, where moisture lay hidden, ready to burst into life, and where I arrived in a shroud of darkness.

13

13

‫~‪~٥‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�‬ ‫�ف‬ ‫ا � �ل�ر��س [ا �ل��س ��ير� ]‬ ‫ع‬

‫ٱ � شَّ �عِ ٱ �ْ‬ ‫َْ َ‬ ‫ْ‬ ‫�‬ ‫�َم نْ � ش�����ت �� �َم شِ���ي����ي  ��� �ل����� ر � �‬ ‫�‬ ‫ل‬ ‫�‬ ‫غِ‬ ‫�‬ ‫�‬ ‫��‬ ‫�‬ ‫�‬ ‫ر‬ ‫� ي رِ ي‬ ‫ِ‬ ‫بِ � بِ‬ ‫بِ ي ب ٰ‬ ‫َ �َ ْ َ �ٱ ْ� ُ‬ ‫�َم نْ َ شْ �َت � �َ‬ ‫�ل‬ ‫م‬ ‫��‬ ‫�‬ ‫���‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫��‬ ‫�‬ ‫�‬ ‫ي ‬ ‫�‬ ‫�‬ ‫صِ‬ ‫��‬ ‫ل‬ ‫��‬ ‫�‬ ‫� ي����� رِ ي�‬ ‫�‬ ‫ي‬ ‫و‬ ‫شِ‬ ‫بِ � ي س بِ‬ ‫ي ب ٰ‬ ‫ّ‬ ‫ٱ‬ ‫ٱ‬ ‫َ � �ََ َ �ظُ � �ْ مِ �ةَ ٱ �ْ ُ ُ‬ ‫�نُ��وَر � ��ل ُّر��ؤُ �و�� � �و �ل�‬ ‫�ق��‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ل‬ ‫��‬ ‫�‬ ‫ى ‬ ‫�‬ ‫�‬ ‫�‬ ‫ح‬ ‫و‬ ‫�‬ ‫و‬ ‫سِ‬ ‫ب ٰ‬ ‫َ‬ ‫ٱ‬ ‫ُ‬ ‫ْ‬ ‫ّ‬ ‫ٱ‬ ‫ْ‬ ‫ٱ‬ ‫ّ‬ ‫�‬ ‫َ‬ ‫�‬ ‫أ ْ نَ ٱ ��ْ غَ َ ن َ � �ل َ َ � ُ �ذ ُ � � ��ذ نُ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�ص‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�ي � ��و ي� و ب��ى و ل�ع�‬ ‫� ل� �‬ ‫�‬ ‫ِ‬ ‫ر فِ�ي� �و ب ٰ‬ ‫ْ �ذَ َ ٱ � �ْ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫�هيْ��َه�ا َت� ��لي��ْ��َ �ش��ي����ي �ِم ن ا ك ��� � �‬ ‫ل‬ ‫�‬ ‫�‬ ‫قِ‬ ‫�‬ ‫�‬ ‫�‬ ‫ر‬ ‫س بِ � �‬ ‫بِ ِ ي ب ٰ‬ ‫َ‬ ‫َ‬ ‫��قِ ْ�د �أ �غْ� ��تِ �د � � ��قَ�ا �ٍ �ُم َ��سَّ � ��ْ�ع��ع�ُ‬ ‫�‬ ‫�‬ ‫�وٍم �ي‬ ‫ب �و ب ٰ‬ ‫ِ ي� �بِ ِرح‬ ‫ْ ٱ �ْ‬ ‫ْ‬ ‫�ٱ �ْ�قِ َ ٱ �َ ْ‬ ‫َ‬ ‫�ُ‬ ‫�َ َ َ‬ ‫�‬ ‫�‬ ‫ا‬ ‫ل‬ ‫َن‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ح‬ ‫�‬ ‫�‬ ‫�ل‬ ‫ك‬ ‫ٍ  ك� ل� �د م�‬ ‫�‬ ‫ي�� �فِ���ي� � �صى بِح� ��فِ ر‬ ‫ِح ب ��و ب ٰ‬ ‫َ ضَ َ‬ ‫� تْ ُ َّ ُ ُ � َ ْ ٱ ��تَّ�قْ ��‬ ‫�و�‬ ‫�‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫��حِ�� ك‬ ‫ل�‬ ‫��غ‬ ‫�‬ ‫�ضِ‬ ‫�‬ ‫�‬ ‫م‬ ‫ ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�ت‬ ‫�‬ ‫�‬ ‫ر‬ ‫فِي و ِ‬ ‫ع طِ ي ب ٰ‬ ‫َ‬ ‫َْ� ُ‬ ‫�إِ�ذَ �غِ َ ْت أ ْ �َ�ُ هُ �� ��قَ �نِ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا �� �د � � �بر �ع�  ِل � �� م�� � �ل‬ ‫�‬ ‫صٍ ط و ب ٰ‬ ‫�ل��َ ْ �َ ْ �قَ �� �ْ �ُ َ ا ُ � َ ا ��قَ ْ َ َ �َم ْ ُ‬ ‫�‬ ‫��ص‬ ‫�ي���ن����طِ ��غب�� ر �ه�   ���ب�ل د �ٍم �‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫بو ب ٰ‬ ‫ع‬

‫‪14‬‬

‫‪14‬‬

‫‪١،٥‬‬

‫‪٥،٥‬‬

‫‪١٠،٥‬‬

Like a River in Spate

A description of a horse:

Who will trade my gray hair

5.1

for locks black as grapes? Who will halt its attack on my lustrous head and beard, on my quick-beating heart? Where are the ravishing girls, where the folly of youth with its excesses so easily excused? Gone. Vanished. Now far away. I crossed the dark on a young

5.6

branded thoroughbred, moving like a river in spate, scattering the rocks on the road with hooves like goblets overturned, his blaze smiling where his brow

5.8

knit in a frown. He chased his quarry, legs kicking up a dust storm— before it settled, blood was shed.

15

15

‫~‪~٦‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫� ّق �‬ ‫ا �ل�ز ر�� [ا �لر�ج�ز ]‬

‫أَ‬ ‫ٱ َّ‬ ‫آ‬ ‫��قِ ْ�د � ��ْ�غتَ��د �� �َ � ��ل��ل�ْ�ي�ُ �� � َ‬ ‫�م�� �� �ه‬ ‫ِ ي و � ل فِي�‬ ‫�بِ ٰ‬ ‫َ �ٱ �ْلََ َّ � َّ ْ أَ ْ‬ ‫�َ‬ ‫�‬ ‫�ر �ِم ن � �‬ ‫��ص‬ ‫�ح�ا �� �ه‬ ‫ك� حب�� شِ����ي� � فِ �‬ ‫�بِ ٰ‬ ‫أَ‬ ‫َٱ � ُّ ْ ُ َق ْ َ���ِّ ف َ‬ ‫� �َع نْ � �ن�ْ�َ‬ ‫�ي�ا �� �ه‬ ‫� ��د ك�����ش�‬ ‫� �و �ل�� ب�ص�‬ ‫�‬ ‫�بِ ٰ‬ ‫َ أَ‬ ‫ح ُ َ ضْ َ ُ ْ �ذَ‬ ‫ك�� � ِّ��ن�ه �ي�‬ ‫ح��ك �م ن ��َ‬ ‫��‬ ‫�‬ ‫�‬ ‫ه�ا �� �ه‬ ‫�‬ ‫ِ�‬ ‫�بِ ٰ‬ ‫َُ َ َ‬ ‫شِ‬ ‫�� ���ى�ز ّر�� َر�ّ�ا ن� �ِم نْ� ���� بَ��ا �� �ه‬ ‫قٍ ي‬ ‫��بِ‬ ‫�بِ ٰ‬ ‫ُ‬ ‫ُ‬ ‫ّ‬ ‫َ َ ن �ُ�ْ نَ‬ ‫�ك�ل � مِ� ِ�د ي� �‬ ‫ح��س �ي �ع��ى �� �ه‬ ‫ٍ�‬ ‫�بِ ٰ‬ ‫ح‬ ‫ْ َ ٍُ ّ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫�‬ ‫ن‬ ‫ا‬ ‫��خ��ل� �م ك�ن � ن � َ‬ ‫�ذِ �ي� ِ��م‬ ‫��ص� �� �ه‬ ‫بٍ‬ ‫�� ِم� ِ�� �بِ ٰ‬ ‫�َ ا َ� �ف َّ �َ ْ�َ �ٱ �� َّ ْ � نْ � ضَ‬ ‫���ا �� �ه‬ ‫م� ج�� �ي �وم ل�‬ ‫�صي� ِ�د ِم� خِ�� �بِ ٰ‬ ‫أ َْ‬ ‫َ‬ ‫َ �أَ نَّ سِ �ْ ٱ �ْ أ‬ ‫َ‬ ‫ك� � ��� �‬ ‫�َ � �ل����ْ��ي� �ِم نْ� � ��ث� او �� �ه‬ ‫�خل‬ ‫�بِ ٰ‬ ‫ِم‬ ‫َ‬ ‫�م�ا �زَ ا دَ �نَ�ا �ٱ ��لْ�َ‬ ‫�ب�ا �� َ�ع��لَ ��� َ‬ ‫�س�ا �� �ه‬ ‫�‬ ‫حِ‬ ‫�بِ ٰ‬ ‫�زِ ي �ى‬ ‫َ‬ ‫َ‬ ‫ََ َ ْ نَا أ ِّ‬ ‫��ى�هُ ��ل َ‬ ‫��ن�ا �� �ه‬ ‫�ولا �وِد د �� � �‬ ‫��ن‬ ‫�بِ ٰ‬ ‫َ ْ خَ ْ � �فُ ُ أَ ْ َ ُ �إِ�ذْ ��نِ ْ َ‬ ‫ب���ل �‬ ‫�� ر ض���ى �� �ه‬ ‫�����ط� �ه � ����س‬ ‫�بِ ٰ‬ ‫رع‬ ‫َ ْ أَ خَ ُّ‬ ‫ُ �إِ�ذْ ُ َ‬ ‫�ف� �ِم�ْ�ن�ه �ي�� ْ��غ�د �ى �� �ه‬ ‫�و�ه�َو � � �‬ ‫�بِ ٰ‬ ‫َ أَنَّ َ ٱ �ْ َ شْ ٱ َّ ٱ ْ‬ ‫�َت َ‬ ‫� � ا � � ���ُ‬ ‫� � ��ل���ذِ �ي� � ك�������سى �� �ه‬ ‫ك� ��م� �لو �ي‬ ‫�بِ ٰ‬

‫‪16‬‬

‫‪16‬‬

‫‪١،٦‬‬

‫‪٥،٦‬‬

‫‪١٠،٦‬‬

In Youth’s Full Flush

A description of a tiercel:

Dawn showed her teeth,

6.1

laughing at the night like an African slave fleeing his owners. I crossed the dark with a tiercel in youth’s full flush, no higher praise— chest as if clad in a viper’s sloughed skin, talons tightly fitted to spear shafts dyed wet on the day of the hunt. Even our gos isn’t this good a hunter— we’re glad we brought him and not her. Our elation spurs him to fly ever faster— decorated with patterned letters

17

17

6.10

‫�‬ ‫�ب�ا ب� ا �لب��ا ء‬

‫شَ ْ‬ ‫�ٌ خَ‬ ‫�� َ�ا �ٱ ��ْ�ل�ْ َ ����ا ��ُ �م نْ ك��‬ ‫�‬ ‫�‬ ‫��َ�ت�ا �� �ه‬ ‫ك‬ ‫ط‬ ‫�‬ ‫ل‬ ‫��� ل‬ ‫قِ ر س ِ � ِ �بِ ٰ‬ ‫فَ‬ ‫َ ا � َ �َّ َ‬ ‫�م�ا َر �إِ �ل�ا ِ��ل��د �م �َو��ى �� �ه‬ ‫��م� ���ط �‬ ‫ٍ‬ ‫�بِ ٰ‬ ‫ٱ �ْ َ ا ن ُ �إِ�ذْ �غِ َ‬ ‫�غِ َ‬ ‫�� �د ا �� �ه‬ ‫�� �د ا �� �ِه � � �‬ ‫�ق� �‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ِ‬ ‫ص‬ ‫�بِ ٰ‬ ‫�بِ‬ ‫ٱ‬ ‫َ‬ ‫ُ َ �ً‬ ‫ْ‬ ‫ِ‬ ‫َ‬ ‫ت‬ ‫ا‬ ‫���م� �عَّو�ل� ��ع��ل�ْ�ي�ِه ��� � ك����س�ا �� �ه‬ ‫ِ‬ ‫ي‬ ‫�بِ ٰ‬ ‫فِ‬ ‫�َ ْ �َ ٱْ�َْ َ‬ ‫َ ا ٱتَّ�قَ‬ ‫� �ل � �ل َ‬ ‫مو َت� �ل��م ��م� � � ��� �� �ه‬ ‫� � �ل �‬ ‫ى �بِ ٰ‬ ‫و �قِ�ي‬ ‫َ‬ ‫َ � َ ًة تَ ْ‬ ‫�ك �إِ�ذ ا دَ �َ‬ ‫�ع�ا �� �ه‬ ‫�‬ ‫� او �حِ �د � ��‬ ‫�‬ ‫�فِ‬ ‫ي�‬ ‫�بِ ٰ‬

‫‪18‬‬

‫‪18‬‬

‫‪١٥،٦‬‬

‫‪٢٠،٦‬‬

In Youth’s Full Flush

you won’t find in any book,

6.15

he’s swifter than our gos, flying to exact a blood oath. On early forays he can be relied on, responding after only one call. If he met Death, he’d know no fear.

19

19

‫~‪~٧‬‬ ‫�‬ ‫�و��ق�ا �ل [ا �لر�ج�ز ]‬

‫ََ‬ ‫���ْ �بِ تَا َ تْ َ َ ٱ �ْ� َ‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫�ه‬ ‫�‬ ‫�‬ ‫ك‬ ‫�‬ ‫�‬ ‫ع‬ ‫ل‬ ‫�‬ ‫ك‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ل‬ ‫ِ‬ ‫�و‬ ‫�ةٍ‬ ‫�ى‬ ‫ب ٰ‬ ‫ْ َ َ ْ َ َ َٱ‬ ‫���� ��ل�زَّ ْ �َ�ا‬ ‫بِ�‬ ‫�‬ ‫�ص����فرا ء ك�‬ ‫�‬ ‫�جِ ��ل��د ةٍ� �‬ ‫�‬ ‫ر‬ ‫ي ب ٰ‬ ‫ٱْ‬ ‫ْ‬ ‫�َ ِّ �ٱ�لْ� ُنْ َ‬ ‫ا‬ ‫�ت�َ ن�� َ��س�ا ُ� �ِمثْ���َ � �ل‬ ‫�‬ ‫��‬ ‫ح‬ ‫م‬ ‫�‬ ‫�‬ ‫��س‬ ‫�‬ ‫�ي‬ ‫�‬ ‫�ةِ‬ ‫ب ل‬ ‫ب ٰ‬ ‫ََ‬ ‫���أ نَّ َ ا ��تَ ْ ُ �� ُ � نْ �� َ‬ ‫ا‬ ‫�‬ ‫ك�� ���ه� ��ن����ظ م ��شه�‬ ‫�‬ ‫ر ِ� ِ � ب ٰ‬

‫‪20‬‬

‫‪20‬‬

‫‪١،٧‬‬

Like a Desert Snake

With her coat of gold,

7.1

she scorns other dogs, gliding like a desert snake, her eyes meteor-bright.

21

21

‫~‪~٨‬‬ ‫�‬ ‫�و��ق�ا �ل [ا �لر�ج�ز ]‬

‫َا ُ َّ �َ ْ أَ ْ َ ٱ �ْ ْ‬ ‫ا‬ ‫َ‬ ‫�سود � ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�ل��ي � �‬ ‫�جِ ��ل��ب�‬ ‫�‬ ‫�‬ ‫ي� ر ب� � �ٍل � ِ‬ ‫ب ٰ‬ ‫ُ ْتَ‬ ‫َ ا � �قَ ْ ُ َ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫��� ���غ‬ ‫��م��ل��حِ فٍ� بِ��خ� فِ‬ ‫�‬ ‫ر‬ ‫ب‬ ‫ٰ‬ ‫ي‬ ‫�َ ُ ْ َ َ ْ ُ ُ َّ�ةُ ٱ‬ ‫ِ‬ ‫�‬ ‫ّ‬ ‫َ‬ ‫�ل� ْم ��ي����فر �ع��ن�ه �‬ ‫�ح��ل� � �ل ����شب��ا �‬ ‫�‬ ‫ب‬ ‫ٰ‬ ‫َ ْ �بِ �زَ ْ َ َٱ ّ‬ ‫ه�ا‬ ‫���� ��ل ش��َ��َ‬ ‫�‬ ‫� ك��ل� ��ةٍ ���هراءَ ك�‬ ‫�‬ ‫ب‬ ‫�‬ ‫�بِ‬ ‫ٰ‬ ‫َ‬ ‫ْ‬ ‫ٱ‬ ‫ت‬ ‫ْ‬ ‫ن‬ ‫� ُ‬ ‫ِ‬ ‫��س���َه�ا ��� ُ����سْر��ع��ةِ � ����سِ يَ��ا �‬ ‫�‬ ‫ب‬ ‫حِ ب‬ ‫ي‬ ‫فِ‬ ‫ٰ‬ ‫نَ ْ ًا ُ ً َ��َّ ٱ نْ‬ ‫�� ��َ‬ ‫ا‬ ‫��‬ ‫��ج�م� �م� �� ا ل‬ ‫�‬ ‫�‬ ‫� ��ي� � � �صِ‬ ‫�‬ ‫�نِ ير �ج فِ‬ ‫ب ب ٰ‬ ‫��خِ �فِ ٱ �ْ َ ْ � َ َ ٱ � ُّ َ‬ ‫�‬ ‫�‬ ‫ا‬ ‫� ��فِ�ي �� ��ةِ � � �لو ��طءِ �ع��ل� � �ل���ت‬ ‫�‬ ‫ر‬ ‫ى‬ ‫ب ٰ‬ ‫َ ْ ُ َ ٱ �ْ �أَظْ �� َ ا َٱ �ْ �أَنْ‬ ‫َ‬ ‫ا‬ ‫�‬ ‫�صور�ةِ � �ل������ف� ِر � �و �ل� ����ي�‬ ‫�‬ ‫�م��ن� �‬ ‫ب ٰ‬ ‫َ ْ قُ �فِ ٱ �� �َّ ْ � َ َ ٱ � َّ‬ ‫َ‬ ‫� �م ��� � ��ةِ � ل��ل‬ ‫�‬ ‫ا‬ ‫�ص‬ ‫�‬ ‫�ح ��� �ع�� � �ل� �‬ ‫وو‬ ‫ظِ ل�ى و ب ٰ‬ ‫ْ‬ ‫ٱ‬ ‫ُ‬ ‫َ‬ ‫�‬ ‫��صَ��ا � �م نْ �ن ���َ‬ ‫ح�� نَ ��َ�د ا � �ل��� ْ‬ ‫�ق�ا �‬ ‫�‬ ‫�‬ ‫ِ‬ ‫ب‬ ‫ِ‬ ‫�‬ ‫ب‬ ‫ِ ي� ب إِ‬ ‫ح‬ ‫ٰ‬ ‫َ‬ ‫�� َ ا �بِ َ ٱْ�ُنْ ُ ُ نْ �� َ‬ ‫�‬ ‫�‬ ‫ك‬ ‫�ل‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫ا‬ ‫ا‬ ‫���ص م قِ‬ ‫�‬ ‫��م� � �د ��‬ ‫�‬ ‫�ل َِ � ر ب ٰ‬ ‫َ أَ تْ � ا ً ُ تَّ َ ٱ �ْ �أ‬ ‫َ‬ ‫ْ‬ ‫� � ��� َ‬ ‫�‬ ‫ا‬ ‫����س‬ ‫��ب� ء ر��� � �ل�����س‬ ‫�‬ ‫ر ظِ‬ ‫ر ب ٰ‬ ‫ع‬ ‫َ‬ ‫ٱ‬ ‫ً ََ ْ‬ ‫��قِ ْ�د َ�ه ّ�َ��أ ْت� � ْ‬ ‫����ت َ��س�ا‬ ‫�ص�ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ك‬ ‫�‬ ‫ع‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ي حِ ر‬ ‫�ى ِ‬ ‫ب ٰ‬ ‫تَ ْ تَ ْ ُ ٱ � َّ َ �َ�َ ٱ �ْ ث اَ‬ ‫����س ����ق�� � �ل � �ل�د � � � �ل �� �‬ ‫�‬ ‫بِ �ل َ ريح ى ِو ب ٰ‬ ‫َ‬ ‫���ٱ � َّ ْ َ ْ أ ْ َ َ � ٱ � ��ذَّ َ‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫��س‬ ‫�‬ ‫ل‬ ‫�ه‬ ‫��س‬ ‫ك‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ب‬ ‫ِم ل رع فِي‬ ‫ب ٰ‬ ‫‪22‬‬

‫‪22‬‬

‫‪1،٨‬‬

‫‪5،٨‬‬

‫‪10،٨‬‬

‫‪15،٨‬‬

She Rides the Wind

Wrapped in a crow’s wings,

8.1

night, its youthful hair unflecked, was as black as a jilbab. A saluki bitch, meteor-bright.

8.4

Out of the blocks she explodes like a blazing star on its course, with a light tread, victory in her nails and teeth, eyes fixed on the prize. As dawn removes her niqab,

8.10

gleaming like a blade visible through its sheath, our bitch spots herds of gazelles grazing. Trained, eager for the chase, she rides the wind in her stride, faster than an arrow in flight.

23

23

‫�‬ ‫�ب�ا ب� ا �لب��ا ء‬

‫فَ�أَ �خِ �ذَ ْت َ �ْ ً َا تْ‬ ‫َ‬ ‫ا‬ ‫�� �‬ ‫� � � �ع����شرا ��ل� �إِ ����ع� �‬ ‫�‬ ‫بِ‬ ‫ب ٰ‬ ‫َْ‬ ‫��لَ ْ ��ُ ْ�د � �منْ َ�ا �َ‬ ‫� َ�د �ٱ ��ل��أ��نْ�َ‬ ‫�ي�ا‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�م �ت ِم ِ ���ه و حِ‬ ‫ب ٰ‬ ‫فْ ��ظٍا َ َ تَ�أَ ُّ ٱ �ْ �أَ ْ‬ ‫��صَ‬ ‫ا‬ ‫�‬ ‫�‬ ‫��خر � �ل� �‬ ‫�ح� �‬ ‫�‬ ‫�‬ ‫��حِ ����� � �ع��ل�ى �� � ِ‬ ‫ب ٰ‬

‫‪24‬‬

‫‪24‬‬

She Rides the Wind

She runs down ten deer

8.16

in a row, patiently waiting for us to catch up, no blood on her teeth.

25

25

‫~‪~٩‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫� �ز �‬ ‫ا �لب��ا �ي� [ا �لر�ج�ز ]‬

‫�غِ َ ْ ُت ��ل�� ِّ ْ � � ْ َ ا ن نُ�ُ ْ‬ ‫�� �د �و� ِ ل�‬ ‫�‬ ‫��صي� ِ�د �بِ �فِ��تي�� ٍ� ج ب‬ ‫َ سِ َ � � َّ�زْ � � نْ خَ ْ َ َ ْ‬ ‫�‬ ‫� ِ�ل�لر قِ� ِم� ����يِر ��سب�� ب‬ ‫�و��� ب� بٍ‬ ‫�غِ َ فَ َ قَ ٱ � َّ � ْ ْ ف ٌ ْ َ‬ ‫��َث ْ‬ ‫�� �د ا �� �ا�� � �ل��ط��َ َ‬ ‫�ت‬ ‫ن‬ ‫�‬ ‫ك‬ ‫�‬ ‫�‬ ‫لى ي ر‬ ‫ح��� �ِم� ب‬ ‫ٱ �ْ �خِ تَ‬ ‫َ‬ ‫�‬ ‫ْ‬ ‫ط ْ‬ ‫�َ �ْ�ه َ َ�ع��َ ��َ‬ ‫����‬ ‫� �لِ��‬ ‫م�ا ِء � ل‬ ‫�‬ ‫��ص ��خِ�‬ ‫�‬ ‫�‬ ‫ب‬ ‫و ي� ل�ى‬ ‫ي �جِ‬ ‫َ ْ � �ُ ُ َ ْنًا � ٱ ��نُّف�ُ �� ��قِ ْ َ َ� ْ‬ ‫�‬ ‫��ي ���ط�ل ب� دي���� فِ�ي� � ل���و سِ �د �و ج ب‬ ‫ٱْ‬ ‫َ‬ ‫�ذُ ُ‬ ‫حُُ ْ‬ ‫��مْ ��َ َت ْ ت � ُ �أ � ْ�� تَ ا َ � �ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�و �‬ ‫�‬ ‫�‬ ‫�‬ ‫�ق‬ ‫س‬ ‫�‬ ‫�‬ ‫ه‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫ك‬ ‫�‬ ‫ج‬ ‫ر‬ ‫�ةٍ‬ ‫ب‬ ‫� ِ‬ ‫َ‬ ‫ْ‬ ‫َ �أنَّ َ ا � ٱ �� َّأ �� �م ْ��س َ ا ُ �ذَ َ ْ‬ ‫�‬ ‫�‬ ‫�‬ ‫ك� ��ه� فِ�ي� لر سِ ِ ��م� ر �ه ب‬ ‫َ ا نَ تْ �َ َ ا َ � �َ�ةً ��فِ �َ ْ تَ خِ� ْ‬ ‫�‬ ‫ك� ��� �ل��ن� �و��سِ ي��ل� �ل�م ب‬ ‫َ ُ ٱ � َّ �َ َ َ‬ ‫���ٱ �ْ �أ � �ٱ�لْ� ُ نْتَ ْ‬ ‫�ش َ‬ ‫�‬ ‫�ي��ْ�ع�� �لو � �ل����م�ا �ل ك�� �ل� مِ� �يرِ �م�� صِ‬ ‫�‬ ‫� ب‬ ‫َ‬ ‫أَْ َ َ ُ ٱ �ْ‬ ‫�ُ ُ �فَ�أ ْ َ � َ َ َ ْ‬ ‫ن‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫� �مك��ه � �ج �ود � �ع�ط�ى وو�ه ب‬ ‫�ذُ ْ َ ْ ٱ � ّ َ ٱْ� ُ‬ ‫� ْ َت ْ‬ ‫َ ن‬ ‫ن‬ ‫م‬ ‫�‬ ‫�خ‬ ‫�و ِ�م����سر �ِمث���ِل � �ل��سن��ا ِ� �ل � ضِ�‬ ‫�‬ ‫�� ب‬ ‫ٍ‬ ‫َ �ذَ نَ‬ ‫َ �ٱ � ��ذَّ ْ َ َّا ن �ٱ ��ْ��قِ َ ْ‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�ص‬ ‫ل‬ ‫�‬ ‫�‬ ‫ك‬ ‫�‬ ‫�‬ ‫�‬ ‫ر‬ ‫ي‬ ‫ِ‬ ‫ب‬ ‫�و �� بٍ‬ ‫ِل ي‬ ‫ُ‬ ‫أ � ْ َ �فَْ �قَ �ُ ْ �� �بِ � نَ �ٱ ��ْل�ُ َ �� ْ‬ ‫��‬ ‫�‬ ‫� سبِ���ل ��و� ع�ط� ��ةٍ ِم� �ع�ط ب‬ ‫َ‬ ‫َ �أ نَّ �فَْ �قَ َ ا � ه �إِ�ذَ ٱ�ن�ْ �تِ َ ْ‬ ‫�‬ ‫ا‬ ‫��‬ ‫�‬ ‫ك� � ��و� ��س� �قِ �ِ‬ ‫�ص ب‬ ‫ْ ُ َ ٱ �ْ َ‬ ‫��ِّ�ت�ا ن َ ا �نً�ا �ذَ ا �ُ�هُ�د � ْ‬ ‫�ِم ن� �‬ ‫�‬ ‫�ح��ل�ِل � �ل ك‬ ‫�‬ ‫� ِ� ر‬ ‫ب‬ ‫‪26‬‬

‫‪26‬‬

‫‪١،٩‬‬

‫‪٥،٩‬‬

‫‪١٠،٩‬‬

‫‪١٥،٩‬‬

The Veil of the Unseen

A description of a gos:

I left early to hunt with noble comrades,

9.1

armed with a superb gos, sure to catch game. For the birds squawking in the canal, it’s a close encounter with Death and time to pay our hawk their soul debt. Like gold nails hammered into her head her eyes pierce the veil of the unseen. She did not disappoint. Sitting high

9.9

on the left hand, like a stiff-backed emir dispensing gifts, her beak was a blood-dyed spearhead, her plump train feathers draped over cotton tufts. She stood tall, arms wrapped in fringed linen breeches.

27

27

‫�‬ ‫�ب�ا ب� ا �لب��ا ء‬

‫�َ ْ‬ ‫�قِ ْ َ � قَ �ٱ ��ْ�قَ ْ ُ �َهُ � َ ا طِ ��‬ ‫ل‬ ‫�‬ ‫�‬ ‫� �د �و�ثِ �� ل ��و� �ل� بِ��م� �‬ ‫��ص‬ ‫�‬ ‫�‬ ‫ب‬ ‫م‬ ‫�ِ ْ �إِ�ذَ َ َّ‬ ‫ٱ‬ ‫�‬ ‫ِ‬ ‫ْ‬ ‫َ‬ ‫�‬ ‫صِ‬ ‫�� ْ��د �َ � ��ض ����ط � ْ‬ ‫�ف �َ‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫هو ا ج���ل�ى ِ ي ٍ و‬ ‫�‬ ‫رب‬ ‫ٱ‬ ‫ْ‬ ‫َّ ْ َ َ ا��نَ ُ ُ نَ � ُ‬ ‫��قُ� ْ‬ ‫�‬ ‫�‬ ‫��عِ‬ ‫�‬ ‫�ر�وا ��سك�ِكي����ه�م �ِم� � �ل� ر ب‬

‫‪28‬‬

‫‪28‬‬

The Veil of the Unseen

She spotted prey, blinked, then moved—and, trusting her quest, the troop unsheathed their knives.

29

29

‫~ ‪~ ١٠‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�‬ ‫�ة � ق � ف‬ ‫� �ص�ف � ا �ل�ص��ر � او � �ل�ر��س [ا �ل��س ��ير� ]‬ ‫ع‬

‫���ٱ ْ�َ‬ ‫َق ْ أَ ْ تَ َٱ �� ُّ ْ ُ َ‬ ‫�‬ ‫�ل‬ ‫� ك� م�����‬ ‫��د � ���غ� ِ�د �ي� � �و ل�ب�ص�‬ ‫�‬ ‫شِ ي ب ٰ‬ ‫ح‬ ‫َ ا � ُ َ َّ َ‬ ‫ُ‬ ‫ْ‬ ‫�ق ��ق� ر �م��س� � ���ع�� �‬ ‫��بَ ��‬ ‫�‬ ‫ِ‬ ‫ح وٍم �ي ب و ب ٰ‬ ‫ٍ‬ ‫ُ‬ ‫َ�خُ َ ٱ �ْ َ‬ ‫� �أ�ذُ ن‬ ‫ك‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ع‬ ‫�ص��ةِ � سِ� ��‬ ‫�و�‬ ‫�‬ ‫�ذِ ي� ٍ�‬ ‫ي ب ٰ‬ ‫َ‬ ‫أَ ْ آ سِ أ ْ �فَ تْ َ َ �قِ‬ ‫�‬ ‫��ض�‬ ‫� �و � ��� ��ةٍ � �و�� �ع�� � �‬ ‫�‬ ‫ل�ى ِ ي ب ٰ‬ ‫���ٱ �ْ هِ ْ َ ٱْ�َ ْ ُ‬ ‫َ �ذَ نَ َ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�ل‬ ‫�‬ ‫�‬ ‫م‬ ‫�‬ ‫��س‬ ‫ل‬ ‫�‬ ‫�د‬ ‫ك‬ ‫�‬ ‫�‬ ‫ك‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫و‬ ‫ي بِ‬ ‫�و �� بٍ‬ ‫ب ٰ‬ ‫َ‬ ‫أ ْ �سِ ْ َ �ذَ ت ��ثِ ً َ ��‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫� �� � � �‬ ‫�‬ ‫�‬ ‫و روةٍ ِ رى رطِ ي ب ٰ‬ ‫َ‬ ‫���قِ َ � �ٱ�لْ�مِ �ْ ُ‬ ‫�‬ ‫َ�ا �‬ ‫�‬ ‫�َو�‬ ‫�‬ ‫ك‬ ‫ل‬ ‫�‬ ‫�‬ ‫�د‬ ‫�‬ ‫��س‬ ‫�ح‬ ‫�‬ ‫�‬ ‫ر‬ ‫��فِ‬ ‫و‬ ‫ب‬ ‫ٍ‬ ‫ِ‬ ‫م‬ ‫ٰ‬ ‫أَ ْ‬ ‫��حِ َ ْ ٱ �ْ�قِ َ ٱْ�َ ْ‬ ‫�ُ‬ ‫���‬ ‫�‬ ‫�‬ ‫ك‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�ل‬ ‫�‬ ‫ك‬ ‫� � �ل ِم��ث�ل ل� �د م� ��‬ ‫�‬ ‫ِح ب و ب ٰ‬ ‫ِأْ‬ ‫ٱ‬ ‫ٱ‬ ‫��ظِ‬ ‫َ‬ ‫� َّ‬ ‫َ ْ قُ � َ � َ � نّ ��‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ي����سبِ��� ���ش� �و � �ل��‬ ‫ل‬ ‫�‬ ‫�‬ ‫ر‬ ‫ِ رحِ ي ب ٰ‬ ‫َ‬ ‫أ ْ َ َ � نْ َ ا ��لَ �تَ ْ‬ ‫�‬ ‫ء‬ ‫�ص �‬ ‫� ����س م ��م� � �� �‬ ‫�‬ ‫رع ِ � ٍ �إِ ى ِوي ب ٰ‬ ‫َ نْ نُ فُ ٱ �ْ ْ‬ ‫� ٱ �ْ ُ ُ‬ ‫�� ��‬ ‫�ق��‬ ‫�‬ ‫�‬ ‫� ��‬ ‫�‬ ‫�‬ ‫ل‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫و‬ ‫�وِم� ���و�ذِ � � فِ�ل� كِر فِي‬ ‫ب ٰ‬ ‫َ نْ ُ ُ �َ ْ �ظِ � ٱْ� ُ‬ ‫�و�م ر��و ل‬ ‫�‬ ‫�‬ ‫�ح��� � � �ل��م �‬ ‫�‬ ‫�ةِ ِري ب ٰ‬ ‫ِ � �ج ِع‬ ‫�ةُ ٱ � َّ‬ ‫ًَ‬ ‫�نَ�ا ُر ��ل�ظ ���� �ثَ�ا ���بِ ��ى� � �ل��‬ ‫ل‬ ‫�‬ ‫�‬ ‫هِ‬ ‫�‬ ‫�‬ ‫ى �قِ‬ ‫ْي ب ٰ‬ ‫َ أَ ْ َ � ُ َّ َ ٱ � َّأ‬ ‫�ج�د �ل �‬ ‫�‬ ‫حك� ��� �ل��ت�� د ��‬ ‫�‬ ‫� �و � ٍ‬ ‫م بِ ِ ي ب ٰ‬

‫‪30‬‬

‫‪30‬‬

‫‪1،١٠‬‬

‫‪5،١٠‬‬

‫‪10،١٠‬‬

God’s Scourge

A description of a saker and a horse:

Dawn was a shock of gray hair.

10.1

I crossed the dark on a branded horse in his prime, like a river in spate, ears like date-heavy palm leaves or myrtle bunched on a twig, with a tail like the fronds of a lazy cloud, or a cypress in lush soil, his hooves kohl-black like a foot swollen with venom, or a goblet turned upside down, faster than a blink of the eye, or water spilling from a jug,

10.10

or thoughts flashing in the mind, or a sly, furtive look—he’s a bright ball of fire-spitting flame.

31

31

‫�‬ ‫�ب�ا ب� ا �لب��ا ء‬

‫ُ ُّ َْ‬ ‫َ ًّ َ‬ ‫� ف َّ‬ ‫�ك�َ �م���ست�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�ص ب� بِ�‬ ‫ك‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل جِ ي ب ٰ‬ ‫َ ْ َ � عِ �ذَ َ �َ ْ ُ‬ ‫�ج��‬ ‫�سو ��ط �� � ا � � او قِ��� �م‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫وب ٰ‬ ‫بٍ ٍع‬ ‫أَ ْ َ َ نْ �َ ْ �ظِ � ُ ْ َ‬ ‫ت‬ ‫� ����سر �ِم ل‬ ‫�‬ ‫ح��� ��ةِ �م���س�� ��‬ ‫�‬ ‫ع �‬ ‫رِ ي ب ٰ‬ ‫��يِ َ َ َ ٱ � شَّ َٱ ��ْ‬ ‫�� ر�ى �ب��ِ�عي��د � �ل����ْ�ءِ ك�‬ ‫� ��‬ ‫���� � �ل�قِ‬ ‫�‬ ‫ي‬ ‫ِري ب ٰ‬ ‫ٱ �ْ�قِ‬ ‫َ ْ ُ َّ ٱَْ‬ ‫� � �ل�م�ا ِء ��� � � �ل� ِ��‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫ي�� �هِو ي� �ه�ِو ي‬ ‫فِي‬ ‫ي ب ٰ‬ ‫َ ا � �ُم�ْ ت‬ ‫�سَ��ْ‬ ‫َْ ُ‬ ‫ع‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫�‬ ‫��� � ���‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�ق‬ ‫�‬ ‫بِ �ن ��ظِ ٍر َ ��جِ ٍم‬ ‫وب ٰ‬ ‫� َ ا � � ٱ �ْ �أ��قْ َ � ٱ �� ّتَ�قْ ��‬ ‫َك��‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل�‬ ‫ظِ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫��ن‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫َ ِر ب �ِل �ذِ ي طِ ي ب ٰ‬ ‫َ أ � َ �زًّ � �� ً� َ ��‬ ‫�‬ ‫�‬ ‫� � ا � � ثِ‬ ‫�‬ ‫�‬ ‫ط‬ ‫�‬ ‫ر ى �إِ و فِي� رى ر ِ ي ب ٰ‬ ‫َ ََ َ‬ ‫���ٱ ْ� ُ ْ تَ ْ ٱْ��مِ ْ ُ‬ ‫�‬ ‫�ف� ����ط�ا ر ك�� �لم��س ��و��هِ �ل � �ل� ر�‬ ‫ع‬ ‫�‬ ‫�‬ ‫و‬ ‫ب‬ ‫ِ‬ ‫ٰ‬ ‫َ ��قِ‬ ‫ُ ِّ عٍا �� ِ �‬ ‫ل���ط‬ ‫���ص�م� � ِ �ر�‬ ‫�م��ت�بِ� �� � ِ �‬ ‫�‬ ‫�‬ ‫ب‬ ‫ٍ‬ ‫ي ٰ‬ ‫ع‬ ‫َ نْ نَ�أَ ْت َ َ ا ُ ٱْ� َ ْ� ُ‬ ‫م�� �� �ل �‬ ‫�و � �� � �م���س� � � �ل �‬ ‫�‬ ‫َ ِرح ط و ب ٰ‬ ‫�إِ‬ ‫َ �َ َ �ّ‬ ‫مِ‬ ‫َ‬ ‫ُ‬ ‫�‬ ‫ا‬ ‫�م�ا ���ط�ا �ل� �ل��د � �� � ْ‬ ‫��ص �� �‬ ‫�‬ ‫ر �إِ َ ِ ٍم‬ ‫بو ب ٰ‬ ‫ْ‬ ‫ُ ٱ ّ‬ ‫ٱ‬ ‫��جِ نُ‬ ‫��َ�ْ ���نُ��ف��ذ �� � ��ل �ش����َ‬ ‫م�ا ��ل �َ �و �ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ي‬ ‫فِي�‬ ‫ِ‬ ‫وب ٰ‬

‫‪32‬‬

‫‪32‬‬

‫‪١٥،١٠‬‬

‫‪٢٠،١٠‬‬

‫‪٢٥،١٠‬‬

God’s Scourge

On a skilled falconer’s glove

10.15

I brought a saker in yarak, trained to perfection. Quicker than a stolen glance, she rained down God’s scourge, like the crack of a whip.1 She squinted, grimaced, rolled her mute eye so keen it does away with distance— then stooped like water down a well. Spotting some geese in a pond,

10.22

she jumped, as if spooked, in pursuit of her desire. Let her quarry range far— when she flies, north or south, there will be blood.

33

33

‫~ ‪~ ١١‬‬ ‫�‬ ‫�و��ق�ا �ل [ا �لر�ج�ز ]‬

‫أْ‬ ‫َ‬ ‫َ أ �ْ َ � �َْ َ��ْ ُ � نْ تَ‬ ‫�‬ ‫�‬ ‫�ل‬ ‫�‬ ‫�‬ ‫�ج�د ٍل � ي��خ م � د �‬ ‫� �و �‬ ‫�‬ ‫م‬ ‫�ل ِ � ِ ي ب ٰ‬ ‫��يِ َ َ َ ٱ � شَّ ْ َ‬ ‫���ٱ ��ْ�ل�‬ ‫�‬ ‫�‬ ‫��‬ ‫�� ر�ى �ب��ِ�عي��د � �ل�����ءِ ك� �قِ‬ ‫�‬ ‫ي‬ ‫ِري ب ٰ‬ ‫َ ْ ُ َّ ٱ � َّ �ْ ٱ �ْ‬ ‫�قِ‬ ‫� �ه � �ه� � � �ل��د � �ل �� � � �ل� ��ل�‬ ‫�‬ ‫ي� ِو ي� ِو ي� ِو فِي� ِ ي ب ٰ‬ ‫َ ا � �ُم�ْ ت‬ ‫�سَ��ْ‬ ‫َْ ُ‬ ‫ع‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫�‬ ‫��� � ���‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�ق‬ ‫�‬ ‫��جِ‬ ‫و‬ ‫بِ �ن ��ظِ ٍر َ ٍم‬ ‫ب ٰ‬ ‫َ�� َ ا � � ٱ �ْ �أ��قْ َ‬ ‫ٱ �� ّتَ�قْ ��‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل�‬ ‫ك���ن� ��� ظِ‬ ‫�‬ ‫� � �ل� �‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫َ ِر ب ِل �ذِ ي طِ ي ب ٰ‬ ‫َ أ َ �زًّ � �� ً َ ��‬ ‫�‬ ‫�� �‬ ‫� � � ا � � ثِ‬ ‫�‬ ‫ط‬ ‫�‬ ‫ِ‬ ‫ر ى �إِ و فِي� رى ر ي ب ٰ‬ ‫فَ �َا َ َ‬ ‫���ٱ ْ� ُ ْ تَ ْ ٱْ��مِ ْ ُ‬ ‫�‬ ‫�‬ ‫�‬ ‫�ل‬ ‫�ل‬ ‫�‬ ‫�‬ ‫م‬ ‫�‬ ‫�‬ ‫ع‬ ‫ك‬ ‫�‬ ‫��س‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�� ���ط� ر‬ ‫ر‬ ‫و �هِ ِل‬ ‫وب ٰ‬ ‫َ ْ ُ �ذُ ٱ � �شَّ � َٱ �ْ‬ ‫��جِ نُ‬ ‫�����ن���ف� �� � �ل����َ‬ ‫ل‬ ‫�‬ ‫م�ا �ِل � �و � ��‬ ‫�‬ ‫ي‬ ‫فِي�‬ ‫و‬ ‫ب‬ ‫ٰ‬

‫‪34‬‬

‫‪34‬‬

‫‪1،١١‬‬

‫‪5،١١‬‬

A Squint-Eyed Grimace

A saker in yarak, well-trained, keen eyes that see for miles, stooping like a bucket falling down an old well. With a roll of her mute eye, like a squint-eyed grimace, she spots geese in a pond and shoots north and south as if scared out of her wits.

35

35

‫~ ‪~ ١٢‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�‬ ‫ف‬ ‫�ه�د�ة [ا �ل ت�‬ ‫م��ق�ا ر ب�]‬ ‫��‬

‫َ‬ ‫تَ � ُ َ َ أَ ْ َ َ‬ ‫ََ‬ ‫ْ َ �ّ ا � َثَّا �بِ‬ ‫����ٱ ��ْل�عِ� ��ذَ � ْ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫��‬ ‫�‬ ‫�د‬ ‫�‬ ‫��ص�‬ ‫صِ‬ ‫��ةٍ ‬ ‫�‬ ‫ع‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ك‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ر‬ ‫ير‬ ‫و‬ ‫ي �إِ �بِ و‬ ‫طِ‬ ‫ب‬ ‫�ى �ب‬ ‫ع‬ ‫َ‬ ‫�� � َّ �ٱلْ� ُ َّ ٍَ نْ �َ ا ُ ّْ‬ ‫�تَ ُ ُّ ٱ � ِّ � َ ��َ نَ� ْ َ‬ ‫ا‬ ‫م‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ك‬ ‫��ض� � � �‬ ‫��‬ ‫��ضِ‬ ‫��‬ ‫ل���طِر���ي�د �إِ ل�ى ��حِر�ه�  �‬ ‫�‬ ‫��م حِ ب���ةِ م� �ل� يحِ ب‬ ‫م‬ ‫َ‬ ‫�إِ�ذَ َ ا َ أ � َ ْ َ َ ا ��خِ �ْ��فِ هُ �تَ َ ا َ� تْ ��ضَ� َ ا �� ُ ُ �ٱ ��ْ�َ َ �� ْ‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا �م� ر� ى �ع�د و�ه� � ل� �   ��ن� ج � �م� �ئِ‬ ‫�‬ ‫�ره بِ� ع�ط ب‬ ‫َ‬ ‫َ َ‬ ‫َ َ‬ ‫�ا ن ٱ � َّ‬ ‫����ُ�تْ‬ ‫���َّ� �َق ْ�د �َ�سَ��تْ َه�ا �ٱ ��ْل� �عِ� َ� ْ‬ ‫��ل�َه�ا ��مْ��ل��ٌ ��‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ك‬ ‫�‬ ‫�‬ ‫ك‬ ‫�‬ ‫م‬ ‫ل‬ ‫د‬ ‫فِ ‬ ‫�‬ ‫ك‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ر‬ ‫ر‬ ‫�ةٍ‬ ‫�ي‬ ‫ِ‬ ‫ِي‬ ‫ب‬ ‫ب�‬ ‫ج ِ س فِي‬ ‫رِ‬ ‫ّ‬ ‫ُ‬ ‫َ‬ ‫َ‬ ‫ُ‬ ‫َ‬ ‫ً‬ ‫ُ‬ ‫َ‬ ‫َ‬ ‫ُ‬ ‫َ‬ ‫ْ‬ ‫ْ‬ ‫َ ُ ْ �َتَُ ا َ ا ٌ‬ ‫� � َ ا َ �ق � تْ ���س�� ا � �ذ ْ‬ ‫ك‬ ‫�و� �‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫ل‬ ‫ح‬ ‫�‬ ‫�د‬ ‫�ه‬ ‫ح‬ ‫�‬ ‫ ‬ ‫�‬ ‫��م�‬ ‫�‬ ‫�‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫ب‬ ‫و‬ ‫�‬ ‫ي‬ ‫�ق�ل��ه� ���س� ���ئِ� �ل‬ ‫�‬ ‫ب‬ ‫ج فِي‬ ‫�فِ �ظَ � َّ تْ �ُ ُ ُ � َ ٱ �ْ�فِ َ َ َ ٱ �ْ��جِ ْ �ُ �ْ‬ ‫��جِ �َ�ةً ��تُ ْ تَ َ ْ‬ ‫� ��م‬ ‫ا‬ ‫ع‬ ‫ل‬ ‫� ����ل� ل‬ ‫��‬ ‫�‬ ‫حو�م ظِ �����ب� ِء � � �ل� �ل�ا �ع��ل�ى � � �مِر � �ل� ��ن��ه ب‬

‫‪36‬‬

‫‪36‬‬

‫‪١،١٢‬‬

‫‪5،١٢‬‬

A Gown of Jade and Gold

A description of a female cheetah:

The best way to hunt is a cheetah

12.1

that flies on four legs thin as whip thongs, pouncing and clutching prey to her chest like a woman clasping a man in unrequited love. When the prey sees her chase, its soul whispers, “Death is here.” She sits in her pillion, like a Turkish beauty captured by Arabs, kohl from her eyes smeared on her cheeks, dressed in a dazzling gown of jade and gold. We spent the day roasting gazelle

12.6

meat on the coals, and greedily swallowing it barely cooked.

37

37

‫~ ‪~ ١٣‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�‬ ‫�‬ ‫ا �� ك�‬ ‫ل��ل�ا ب� [ا �ل��س ��ير� ]‬ ‫ع‬

‫�قِ ْ أَ�غْ تَ َٱ � �َّ ْ ُ َ‬ ‫���ٱ ��ْ ُ َ‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ا‬ ‫� �د � � � ِ�د �ي� � �و �ل�ل���ي�ل ك� ���غ‬ ‫�‬ ‫ر ب ٰ‬ ‫َ � ُ ٱ �ْ‬ ‫َ ُّ ٱ �ْ‬ ‫� ضَ‬ ‫َ‬ ‫ا‬ ‫ا‬ ‫ا‬ ‫ن‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫���‬ ‫د ا � � � � �� �ح� �ل� ��‬ ‫�‬ ‫�ج �قِ ِع ِ ك خِ َ ب ٰ‬ ‫ُ �ْ�قَ ٱ � ُّ ُ � ُ ْ �َقُ ٱ �ْ �أَْ‬ ‫�‬ ‫ا‬ ‫�‬ ‫�م�ل��ى � �ل��س�د �و�ِل �م���غ�ل � �ل�� �‬ ‫�� ٱ ْ �ب و ب ٰ‬ ‫َ تَّ �بِ َ ٱ �‬ ‫حَ‬ ‫��ُّ�صْ ُ �م نَ � �ل‬ ‫�‬ ‫ا‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫� ِ � ِ�‬ ‫�ج�‬ ‫ح�ى �� �د ا � � ب �‬ ‫�‬ ‫ب ٰ‬ ‫ح‬ ‫َ��شَ ْ �بِ حِ َّ تْ َ َ ٱ � �ِّ‬ ‫���ش��َ‬ ‫ا‬ ‫�‬ ‫ك����ي��� ��ةٍ �‬ ‫� ��ل� �ع��ل� � �ل‬ ‫�‬ ‫ى‬ ‫ب ب ٰ‬ ‫ٱْ‬ ‫َ‬ ‫ك��لْ��بِ � ����سِ ��عِ� � � �� �لَ�ثَ�ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�ةِ‬ ‫ر‬ ‫�ةٍ‬ ‫و‬ ‫ب‬ ‫ِ‬ ‫�بِ‬ ‫�ي‬ ‫ٰ‬ ‫ُ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ٱ‬ ‫أ‬ ‫ْ‬ ‫َ‬ ‫ْ‬ ‫ن‬ ‫�ك�� ْ �ف ��لّ ن‬ ‫�� بَ��ا �‬ ‫�‬ ‫��ج � �‬ ‫� ��ي� � ���صِ‬ ‫�‬ ‫ب‬ ‫�ِم �قٍ� �ج فِ‬ ‫ٰ‬ ‫َ‬ ‫تَ نْ َ ا ُ �ْ َ ٱ �ْ �أْ ��قِ ٱْ� ُ‬ ‫�م ن��ْ َ��س�ا‬ ‫�‬ ‫������س� ب� �ِم��ث�ل � �ل�ر� � � �ل‬ ‫�‬ ‫ِم‬ ‫ب ٰ‬ ‫َ‬ ‫َ �أ نّ�َ َ ا �تَ ْ ُ �� ُ � نْ � َ‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫ك� ��م� ��ن����ظ م ��شه�‬ ‫�‬ ‫ر ِ� ِ � ب ٰ‬ ‫ُ ْ َ َ �ْ‬ ‫َ َ ٱ � َّ‬ ‫�صَ‬ ‫�ق��ل� � �‬ ‫بِ� �‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫ل‬ ‫ق‬ ‫���م�‬ ‫�‬ ‫ع‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�ةٍ و فٍ �ى و ب ٰ‬ ‫فَ َ ْ ََ��ْ ْ ُ �زَ َثَّ‬ ‫��خ � ��ا‬ ‫��ك� �وك��م �ِم ن� �‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫�زٍ َ و ب ٰ‬ ‫ْ‬ ‫ٱ‬ ‫أ‬ ‫�‬ ‫شِ‬ ‫��قِ ْ �َق� َ ْ هُ � َ ا � نْ َ‬ ‫�ي�ا‬ ‫�‬ ‫��صِ‬ ‫�د �‬ ‫��م��ت� بِ���� ب�� � �ل����‬ ‫�‬ ‫ب ٰ‬ ‫َ‬ ‫�َ � مِ� نَ���عِ � تْ‬ ‫�ع��هُ َ��ْ ��لَ��ةَ �ٱ ��ل���ذّ ��َه�ا‬ ‫�‬ ‫و �‬ ‫�‬ ‫�ج‬ ‫و‬ ‫ب ٰ‬ ‫��َ ْ � ُ ْ � صِ ْ ً ���فِ ُ َ ا َ‬ ‫��ن�ا‬ ‫�‬ ‫�� ي��د ا �مه� ��‬ ‫ل�م ��ي�د �‬ ‫�‬ ‫ِم‬ ‫�َ بِ ب ٰ‬ ‫َ‬ ‫فْ ��ظٍا َ َ تَ�أ ُّ ٱ �ْ �أ ْ اَ‬ ‫��ص‬ ‫��حِ ����� � �ع��ل� �� �‬ ‫�ح� �‬ ‫��خِر � �ل� ��‬ ‫�‬ ‫�‬ ‫�‬ ‫ى‬ ‫ب ٰ‬ ‫‪38‬‬

‫‪38‬‬

‫‪١،١٣‬‬

‫‪٥،١٣‬‬

‫‪١٠،١٣‬‬

‫‪١٥،١٣‬‬

Like a Patterned Snake

A description of dogs:

Crow-black night was curtained off,

13.1

behind locked doors. Dawn removed her hijab, like a shock of gray on a young head. I crossed the dark with a swiftly pouncing bitch, like a star violently exploding on the horizon, gliding like a patterned snake, eyes meteor-bright, never wrong. Her jaws snapped the necks

13.11

of so many desert hares, pinning them in her grip— no blood was shed by her teeth, as she saved them for her handlers who lagged behind.

39

39

‫~ ‪~ ١٤‬‬ ‫ف � �ة �‬ ‫�و��ق�ا �ل ��ي �ص�� ك‬ ‫����لب�� [ا �لر�ج�ز ]‬

‫ٱ �ْ‬ ‫�َ‬ ‫َ� َّا �بِ َ �ٱ �� ُّ ْ ُ َ َ‬ ‫ل‬ ‫ا‬ ‫�‬ ‫ح‬ ‫�‬ ‫�‬ ‫�ل�م� �� �د ا ل�‬ ‫�ج�‬ ‫���ص�‬ ‫� �م� ِ�‬ ‫�‬ ‫ب ٰ‬ ‫ٱْ بح ع‬ ‫َ‬ ‫�َا �بِ َ �ُنْ ُ ُ نْ � َ‬ ‫ك��‬ ‫�‬ ‫�ل‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫ا‬ ‫ا‬ ‫���ص م‬ ‫��م� � �د ��‬ ‫�‬ ‫�ل ِ � َ��قِ ر ب ٰ‬ ‫�غِ َ ْ ُت � � ِّ ْ َ َ ٱ �ْ �أ ْ َ‬ ‫�‬ ‫ا‬ ‫��صي� ِ�د �م� � �ل� ����ت‬ ‫�� �د �و� ِ�ل�ل�‬ ‫�‬ ‫ر‬ ‫ب ٰ‬ ‫ع‬ ‫َ �ْ �بِ تَا َ تْ َ َ ٱ �ْ� َ‬ ‫ا‬ ‫�‬ ‫� ك�ل� ��ةٍ �� �ه� �ع�� � �ل ك�‬ ‫�‬ ‫��‬ ‫�‬ ‫�بِ‬ ‫ل�ى ِ ل ب ٰ‬ ‫تَفُ ُت ْ�قٍا �َ ْ �ِ� �ةَ ٱْ� ُ ْت اَ‬ ‫� �� ��و� ���سِ�ب �� � ل‬ ‫�‬ ‫ح���ظ� � �ل��م �� �‬ ‫�‬ ‫ر ب ٰ‬ ‫َ‬ ‫�تَ نْ َ ا ُ � �ْ َ ٱ �ْ �أْ ���قِ �ٱْ� ُ نْ َ‬ ‫ا‬ ‫�‬ ‫�ل‬ ‫�����س� ب� ِم��ث�ل � �ل�ر � �م����س�‬ ‫�‬ ‫ِم‬ ‫ب ٰ‬ ‫َ‬ ‫َ �أ نّ�َ َ ا �تَ ْ ُ �� ُ � نْ � َ‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫ك� ��م� ��ن����ظ م ��شه�‬ ‫�‬ ‫ر ِ� ِ � ب ٰ‬ ‫ُ ْ َ َ �ْ‬ ‫َ َ ٱ � َّ‬ ‫�صَ‬ ‫�ق��ل� � �‬ ‫بِ� �‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫ل‬ ‫ق‬ ‫���م�‬ ‫�‬ ‫ع‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�ةٍ و فٍ �ى و ب ٰ‬ ‫فَ َ ْ ََ��ْ ْ ُ �زَ َثَّ‬ ‫��خ � ��ا‬ ‫��ك� �وك��م �ِم ن� �‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫�زٍ َ و ب ٰ‬ ‫ْ‬ ‫ٱ‬ ‫أ‬ ‫�‬ ‫��قِ ْ �َق� َ ْ هُ � شِ َ ا � نْ َ‬ ‫�ي�ا‬ ‫�‬ ‫��صِ‬ ‫�د �‬ ‫��م��ت� بِ���� ب�� � �ل����‬ ‫�‬ ‫ب ٰ‬ ‫َ‬ ‫�َ � مِ� نَ���عِ � تْ‬ ‫�ع��هُ َ��ْ ��لَ��ةَ �ٱ ��ل���ذّ ��َه�ا‬ ‫�‬ ‫و �‬ ‫�‬ ‫�ج‬ ‫و‬ ‫ب ٰ‬ ‫َ‬ ‫فْ�ظ �ً َ َ ٱ �ْ �أ ْ‬ ‫َ‬ ‫�َح�ا‬ ‫��ل� ْم �ت�ُْ�د ِ�م�ِه � �� ���ا �ع��ل � �ل� �‬ ‫��ص‬ ‫�‬ ‫�‬ ‫�‬ ‫حِ‬ ‫�ى‬ ‫ب ٰ‬

‫‪40‬‬

‫‪40‬‬

‫‪١،١٤‬‬

‫‪٥،١٤‬‬

‫‪١٠،١٤‬‬

A Glint of Sword

A description of a dog:

Dawn appeared in her hijab

14.1

like a glint of sword in sheath. I left early with my comrades

14.3

to hunt with a haughty bitch, swifter than a furtive glance, gliding like a patterned snake, eyes meteor-bright, never wrong. Her teeth snapped the necks

14.10

of so many desert hares, pinning them in her grip, saving them for her handlers, but without a drop of blood.

41

41

‫~ ‪~ ١٥‬‬ ‫�ف � �ة �‬ ‫�و��ق�ا �ل �ي� ك‬ ‫����لب�� [ا �لر�ج�ز ]‬

‫���ٱ � �َّ‬ ‫��ْ �بِ �زَ ْ َ َ َ‬ ‫َ‬ ‫���شَه�ا‬ ‫�َوك���‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫اء‬ ‫�ه‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ك‬ ‫�‬ ‫�‬ ‫�‬ ‫ر‬ ‫�ةٍ‬ ‫ب ٰ‬ ‫تَ�ْ ُ َ ا َ ا ِ �ةَ ٱ � �ٱ نْ َ‬ ‫ا‬ ‫�‬ ‫ح���سِ ب��ه� ���س� ��ع� � �ل� ���س��‬ ‫�‬ ‫ِ ِي ب ٰ‬ ‫نَ ْ ًا ُ ن ً َ��َّ ٱ نْ‬ ‫�� ��َ‬ ‫ا‬ ‫��ج�م� �م��� ا ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫� ��ي� � � �صِ‬ ‫�‬ ‫ِ ير �ج فِ‬ ‫ب ب ٰ‬ ‫خَ� �فِ ٱ �ْ ْ � َ َ ٱ � ُّ َ‬ ‫�‬ ‫�‬ ‫ا‬ ‫��فِ�ي �� ��ةِ � � �لو ��طءِ �ع��ل� � �ل���ت‬ ‫�‬ ‫ر‬ ‫ى‬ ‫ب ٰ‬

‫‪42‬‬

‫‪42‬‬

‫‪١،١٥‬‬

Meteor-Bright

A description of a bitch:

A bitch, meteor-bright. Look—out of the blocks, her tread so light you’d think she was a star exploding in the night.

43

43

‫~ ‪~ ١٦‬‬ ‫�خ �‬ ‫�‬ ‫�ف � �ش � �ق‬ ‫�‬ ‫�ف‬ ‫ا�‬ ‫�ّ ا�لمن��ص�و ب� [ا �لر�ج�ز ]‬ ‫�ص� ا �ل��د �ب� �ق� � او � �ل�‬ ‫�و��ق� ل �ي� ا �ل�� ب��ك �و�� ب‬

‫َ ا َ ا َ ٌت �َ ْ نَ َا َ‬ ‫��ص� ��ئِ� �د ا � �ل��س �ب� ِر�‬ ‫�ح�ا ٰت�‬ ‫�م� �‬ ‫�‬ ‫َ ا ٌت �غَ ْ ُ َ ا � َ‬ ‫ََ‬ ‫كب�� � ��ي�ر ���س� ��ئِ‬ ‫�را ٰت�‬ ‫�ورا ِ‬ ‫َ �قِ ْ َ َ ْ نَ �غَ ْ ُ ْ َ َ‬ ‫�و� �د �ع��ل�و� ��ي�َر �مك�ر��م�ا ٰت�‬ ‫مِ نَا � ً َ �َ ْ نَ �َ � َ‬ ‫�� �� ��بِ‬ ‫�را �و�ل��س� �‬ ‫�خ�ا طِ �� ��ب�ا ٰت�‬ ‫�َ � َ ا �طِ�� �َ ا �ٌ ��ظِ�� َّ ��ٱ ��ْ��فِ َ�ا ة‬ ‫و �م� �� �ع� �� �ل بِ� ل� �ل �‬ ‫ٰ‬ ‫م‬ ‫ْ‬ ‫ٱ‬ ‫َ‬ ‫�‬ ‫�ُ���قِ � َّ ُ ٱْ�‬ ‫�حِ َ ا ة‬ ‫مْ َت� �ِم نَ � ل‬ ‫� ي�� �‬ ‫�‬ ‫�ي� ��قر ب� � �ل و �‬ ‫ٰ‬ ‫ْ أَ‬ ‫َ‬ ‫َ‬ ‫َ ُ‬ ‫��ص ُ ٱ �ْ �أ ْ‬ ‫خِ‬ ‫ْ‬ ‫�صَ ا �ت‬ ‫�‬ ‫�‬ ‫�‬ ‫�َب�و�ي�� ت� � ����س‬ ‫ٍر ب� �ل�� �و ٰ‬ ‫َ‬ ‫�ُ�م ْ تَ� �ف ُ ٱ �ْ �أ�ْ نَ ا �� َ�ٱ �� �ُّ� َ‬ ‫�غ�ا �ت‬ ‫�‬ ‫�‬ ‫ل‬ ‫ل‬ ‫��خ��ل � �‬ ‫�ج �‬ ‫ِ � �ل� � سِ و � ٰ‬ ‫َ‬ ‫�تَ ��ظِ�� ُّ أ ْ َ ُ �ُ َ ّتَ� َ‬ ‫�ف�ا �ت‬ ‫ا‬ ‫��� �ل � ����سر ه مك�‬ ‫� ٰ‬ ‫َ َ ا َ ا ٌ� �غَ ْ ُ َ ا َ‬ ‫�ج� ِر�‬ ‫�و��م� ِر��م� ��ي�ر �‬ ‫�‬ ‫�ح�ا ٰت�‬ ‫ح‬ ‫ّ‬ ‫َ‬ ‫َ �َ ْ نَ � ٱ � � َ َ � َ‬ ‫�و�ل��س� �ي� � �ل�د � �‬ ‫�م�ا ِء � اوِ�ل���غ�ا ٰت�‬ ‫�م‬ ‫فِ‬ ‫ٱ‬ ‫ْ‬ ‫ّ‬ ‫َ �َ ْ نَ � � َ � � َ َ � َ َ‬ ‫�و�ل��س� ِ�ل� �‬ ‫ل���ط����طرا ِد � �و �ل���غ�ا را ٰت�‬ ‫ُ ْ ِ ْ َ �َ ا ْ ِ َ ٱ �ْ ُ‬ ‫� َا ة‬ ‫خ‬ ‫�‬ ‫�‬ ‫�‬ ‫��ضب�� ن� �ل� �ِم ن� ��ع�� �لقِ� � �ل ك��م� �‬ ‫ي‬ ‫� ��‬ ‫ٰ‬ ‫َ� �ْ �ُ�منْ�� ٱ �ْ َ‬ ‫��جِ�زِ � �ل�ِ�ع�د ا ٰت�‬ ‫���بِ� ِر��ي�قِ� ح��ت�فٍ� �‬ ‫ْ َ‬ ‫ُ ْ تَ� �َْ َ‬ ‫�م���س��مْ كِ��ن� �لي����س ��بِ� ��ذِ �ي� �إِ ��ف�ل�ا ٰت�‬ ‫ٍ‬ ‫‪44‬‬

‫‪44‬‬

‫‪1،١٦‬‬

‫‪٥،١٦‬‬

‫‪١٠،١٦‬‬

‫‪١٥،١٦‬‬

A Babel of Language

A description of traps, bird-lime sticks, and nets:

What hunts but does not move?

16.1

What rides but does not budge? What is ignoble and stands on a minbar but does not preach? What food remains in the desert and brings life face to face with death? What is a prison where the captives are fettered and a babel of language by every nation can be heard? What spear inflicts no wounds,

16.10

draws no blood, is used for neither chase nor raid, and is dyed not with warriors’ blood but with Death’s saliva? What lets nothing escape,

45

45

‫�‬ ‫�ب�ا ب� ا �لت��ا ء‬

‫�َ نْ ُ � �ٱ �� ُّ ُ َٱ � َّ َ‬ ‫ي���� �شِ� ب� فِ�ي� ل�‬ ‫ور � �و �ل��ل�ّ�ب�ا ٰت�‬ ‫�ص�د � ِ‬ ‫ُ‬ ‫��قْ َ � َ ا �ِ �لقَ �ٱ ��ل �ِّ َ ا ة‬ ‫� ����ف�ل �إِ ��س� ر �ع�ِ �� ���شب�� �‬ ‫ٰ‬ ‫ٍ‬ ‫َ‬ ‫ّ‬ ‫َِ َ‬ ‫َ‬ ‫ُ‬ ‫َ‬ ‫عَ ا ����َ‬ ‫�‬ ‫ه�ا ���مركب��ا ٰت�‬ ‫�‬ ‫��ع��ل�ى و لِي�‬ ‫أَ‬ ‫ِ‬ ‫نَّ‬ ‫�س���ةٌ ��غِ� �ْ� ُ �ُ�مَ ّ���ق��َع�ا �ت‬ ‫� ���سِ ��‬ ‫ير و‬ ‫ٰ‬ ‫� نْ �قِ َ �ٱ �� َّ �ُ�م��جِ َّ َ‬ ‫� رد ا ٰت�‬ ‫ِم� � �‬ ‫�ص بِ‬ ‫� لري���شِ�‬ ‫ُ�ْ سِ ْ نَ � �ٱ ��ْ�ُ نَّ � َ َ‬ ‫يح��� ب��� �� ل�‬ ‫�ق��� ���‬ ‫ش�ا �ئِ�ل�ا ٰت�‬ ‫فِي‬ ‫يِ‬ ‫أَ�ذْ‬ ‫َ‬ ‫َ‬ ‫ْ �ذ ن ُ نَ ّ‬ ‫َ‬ ‫َ‬ ‫ك َ��س�ا �ت‬ ‫ن‬ ‫ا‬ ‫� �� ب� �‬ ‫�‬ ‫��جِ ر ا ٍ� �م�‬ ‫ٰ‬

‫‪46‬‬

‫‪46‬‬

‫‪٢٠،١٦‬‬

A Babel of Language

clinging to breast and chest,

16.16

a jail dangling from the thongs tied to the spearheads fitted to unburnished spears made from quills stripped of feathers? Mounted high on their hafts, you’d think they were rats’ tails turned upside down.

47

47

‫~ ‪~ ١٧‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�‬ ‫�‬ ‫ا �لب��ا �ش�� �ق� [ا �ل��س ��ير� ]‬ ‫ع‬

‫ْ‬ ‫َا َ�� ف ُّ َ ا خُ‬ ‫� َ�ّ��ْ ت� �إِ�ذ �غ�َ َ�د �ْ � ت‬ ‫�‬ ‫�‬ ‫�‬ ‫و‬ ‫ب‬ ‫�ي� ك�� �م� ب ِ‬ ‫ٰ‬ ‫���َ�ب�ا �شِ�� �ُ�ْع���� ���ك �َم�ا �ٱ��ْ���تِ �غ�َ ْ� ت‬ ‫�‬ ‫بِ �قٍ� �ي طِ ي ِ‬ ‫ب ي ٰ‬ ‫�َ ا َ ِّ‬ ‫���ت� ��ه ��َ�ا ٌ� � ف�َ�ْ � ت‬ ‫�‬ ‫�‬ ‫�‬ ‫ه‬ ‫ر‬ ‫ِ‬ ‫�ل� ��ي �قِ ي‬ ‫ِ ب �بِ و ٰ‬ ‫ٌ ُ‬ ‫���َّ َ ا َ َ ْ‬ ‫ٌَُْ‬ ‫ت‬ ‫�� ي� ب� ك��ل��م� ر�مي�‬ ‫��س���ه�م �م�صِ‬ ‫�‬ ‫ٰ‬ ‫�ُم�ؤَ دَّ ٌ �ُ ْ‬ ‫����س ُ نْ دَ َ�عْ � ت‬ ‫����س‬ ‫�‬ ‫�‬ ‫�‬ ‫ر‬ ‫� ب� ي‬ ‫ِع �إِ‬ ‫و ٰ‬ ‫ْ‬ ‫�َ ا �َ ْ َ‬ ‫� ���ه �غ�َ�ْ� ُ �ع �شْ�� �ٱ �ل�مَْ� ت‬ ‫�‬ ‫�‬ ‫�‬ ‫ر‬ ‫ِ‬ ‫ِ‬ ‫�ل� عي� ب �فِي ي‬ ‫قِ� و ٰ‬

‫‪48‬‬

‫‪48‬‬

‫‪١،١٧‬‬

‫‪٥،١٧‬‬

A Love of Death

A description of a sparrow hawk:

A sparrow hawk that satisfies

17.1

everything my hand desires. His hunt will never fail: no fleet quarry can outrun him. When cast, he flies like an arrow that never misses. Well-drilled,

17.5

responsive to the call, his only flaw a love of death!

49

49

‫~ ‪~ ١٨‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�‬ ‫�‬ ‫ا �� ك�‬ ‫ل��ل�ا ب� [ا �ل��س ��ير� ]‬ ‫ع‬

‫أَنَْ ُ َ ٱ ْ‬ ‫� ���ع ت‬ ‫��ب�ا �ثَ�ا‬ ‫�ُ�خ����طَ�ا �ن�َ َّ‬ ‫� �َ �وثّ�ا َ� � �ل‬ ‫�‬ ‫ب‬ ‫َ َ َ َ َ ْ ٱْ‬ ‫ح�� � �� �ل�فَ� َل�ا �َ َ�ع�ا �ثَ�ا‬ ‫ا‬ ‫�‬ ‫و‬ ‫ج�� ر �ع��ل�ى �و شِ�‬ ‫ً‬ ‫َْ‬ ‫�ق�ق ُ�د �ُ �زُ �ّ�ل�ا ��ُ‬ ‫��ضَّ�مًا �ثَ� َل�ا �ثَ�ا‬ ‫�‬ ‫��ي�‬ ‫�‬ ‫ر‬ ‫م‬ ‫َا تَ تْ‬ ‫� �� َا �ثً�ا �َ ���غِ َ�د ْت� �� َا �ثَ�ا‬ ‫�ب� �� ��غِ ر و‬ ‫��غِ ر‬ ‫أَ‬ ‫ُْ‬ ‫� ث�َ�ا �ثَ�ا‬ ‫� �ُ �ِ�عنْ َه�ا � ْ �َ��عٍ�ا‬ ‫��ي�ع‬ ‫�‬ ‫���جِ ل �� �بر‬ ‫حِ‬ ‫َ‬ ‫َ �أ ِّ هُ �ُم��لْ � � ٌ �� َ‬ ‫�ع�ا �ثَ�ا‬ ‫�‬ ‫تِ‬ ‫�‬ ‫ك� ��ن� ��قِ� �ط ِر�‬

‫‪50‬‬

‫‪50‬‬

‫‪١،١٨‬‬

‫‪٥،١٨‬‬

Hungry, Dawn to Dusk

A description of salukis:

I sing of a prancer, a ferocious, malicious tormenter of oryx, at the head of three lean-hipped salukis, hungry dawn to dusk. He lunges at four fleet cows, as if trying to catch pearls slipping from a necklace.

51

51

‫~ ‪~ ١٩‬‬ ‫�‬ ‫ف � �ز‬ ‫�ف‬ ‫�و��ق�ا �ل ��ي �ص�� ا �لب��ا �ي� � او � �ل�ر��س [ا �لر�ج�ز ]‬

‫َ� َّ َ َ ٱ � ُّ ْ َ أَ َ‬ ‫�ُ ���ل�ْ��ي� � دْ �ع‬ ‫�‬ ‫ح��د ا � �ل�‬ ‫�ل�م�ا �‬ ‫�ص�‬ ‫�� ب‬ ‫ح �بِ ٍْل ٰ�ج‬ ‫�ْ ٱ �ْ�قِ َ ا ٱ �ْ �أَ ْ ٱ �ُ‬ ‫م��فِ� َّر�‬ ‫�سَود � �ل �‬ ‫�م��ث � � �ل� ء � �‬ ‫ِ �ِل ب�� ِ �ل� � ِ‬ ‫ٰ�ج‬ ‫َ‬ ‫َ�ٱ ��لنّ�� ْ ُ � غُ� َّ �ف�َ ْ‬ ‫��جر �ُم ْ����سَر�‬ ‫�‬ ‫��ج‬ ‫و � �م فِ�ي� �ر�ةِ � ٍ‬ ‫ٰ�ج‬ ‫ٱ � َّ َ ٱْ� ُ َّ‬ ‫َ‬ ‫���ٱ ْ� ُ‬ ‫��ْص�طِ��� لِ�� ��� �ل��‬ ‫�‬ ‫م�ؤَ��‬ ‫�‬ ‫�ل‬ ‫�‬ ‫�ل‬ ‫م‬ ‫ه‬ ‫ل‬ ‫�‬ ‫ك‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�ي� بِ بِ‬ ‫جٰ�ج‬ ‫أُ فُُ ٱ �ْ َ �زَ �ٱ � ُّ ْ شَ‬ ‫�َ �و ���ق � �جل‬ ‫�ص     ب�‍� ����‬ ‫��ْو ا ِء �بِ� �ل�‬ ‫�‬ ‫� �جِ��ي�‬ ‫َ �قِ �ةً ْ َ ٱ � ََّ ٱِْ‬ ‫حُ �زْ �َ‬ ‫�‬ ‫�خ�ا فِ���� � �ِم���ث� � �ل�� �لو ِاء � �ل��م ع‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ٰ�ج‬ ‫ُ ْ نَ ا ٱ �ْ ُ ُ َ ٱ َ ّ َ‬ ‫حو��ش� ���بْ� ن �ش��ً�د �ُم ْ�د �م‬ ‫�‬ ‫ر�ع�� � � �لو�� بِ ِ�‬ ‫ٱْ ٰ�ج‬ ‫أَ شْ َ َ ْ ُ ٱ �ْقَ َ َ �َنْ‬ ‫�‬ ‫�‬ ‫�‬ ‫� �����عِ� ر �م��ل�ز �و�زِ � � �ل�ر�ى � �و �لم��ِ س‬ ‫�‬ ‫َ ٰ َ�ج‬ ‫تَ‬ ‫�ْ‬ ‫�َّ‬ ‫��قِ ْ �َ ا ض��َ �‬ ‫ح � ً�ا �َ ��ل ْ �ُ��‬ ‫�ل‬ ‫�‬ ‫�د �‬ ‫�خ� � جِ ��يل و�م �يج�‬ ‫ٰ�ج‬ ‫َ‬ ‫ْ َ َ ٱْ�ُ ��ضِ‬ ‫���ٱ �ْ�خلَْ‬ ‫�� َّر�‬ ‫ك��‬ ‫��وِد فِ��ي� جِ���ل��ب�ا ��ه�ا � �لم�‬ ‫بِ‬ ‫ٰ�ج‬ ‫َ ٱ � ُّ ْ ُ‬ ‫َ َ تْ َ ْ‬ ‫� �إِ ��ل�ى �مِ �ع� �صِ‬ ‫ر�م‬ ‫�� مِ� �ه�ا �بِ�� �ل��د ��م��ل‬ ‫�‬ ‫ٱ ْ أَ ٰ َ�ج‬ ‫� �ْ‬ ‫� غ�ُ َّ �مثْ �ٱ �� َّ َ‬ ‫�صب��ا ِ� � �ل� �ب���ل‬ ‫�‬ ‫�ذِ ي� �ر�ةٍ ِ ���ِل ل�‬ ‫حْ ٰ�ج‬ ‫ٱ‬ ‫َ أَ ْ ُ ثْ ��� َ‬ ‫�ج�ا ر � ��ل َ�هْ دَ �‬ ‫�ض��ل� �م�� ��‬ ‫� � ��‬ ‫�‬ ‫و ٍ‬ ‫ع ِ �ِل شِ ِ � و ٰ�ج‬ ‫تَ‬ ‫��ُ�زَّ ْت � ُ �ْ � ف�َ� َ‬ ‫�ق�ا ر �ُمْر�‬ ‫� �ذِ ي� ��‬ ‫ل � �بِ �‬ ‫�ص�ل بٍ‬ ‫ٍ ٰ�ج‬

‫‪52‬‬

‫‪52‬‬

‫‪١،١٩‬‬

‫‪٥،١٩‬‬

‫‪١٠،١٩‬‬

In Battle Gear

A description of a goshawk and a horse:

Morning drove off the night

19.1

wrapped in its cloak of gloom, as the Pleiades, sparked by a dawn burst, blazed like torch fires and Gemini died away in the sunrise, fluttering on the horizon like a flag in the wind. I startled the oryx, mounted on a well-drilled, speedy charger, tufts of hair at his hooves, his back and withers tightly welded, wading through water that reached no higher than his white pasterns, as if a girl in a red jilbab had fastened a bracelet on her wrist: his blaze was white as the early sun; his ribs like the frame of a camel’s litter,

53

53

19.7

‫��ا � ا ج��ل‬ ‫� ��‬ ‫ب ب يم‬

‫�ُ ْ َ ٱ �ْ‬ ‫� َ َّ �� َّ َ� ْ تُ �‬ ‫َك���‬ ‫� َّر�‬ ‫ل‬ ‫�‬ ‫�‬ ‫ع‬ ‫� �ل� � ���فِ‬ ‫�‬ ‫�‬ ‫�‬ ‫�د‬ ‫�‬ ‫�خ‬ ‫�ق‬ ‫ةِ َ ط�ي م‬ ‫ٰ�ج‬ ‫أ�زْ َ قَ َٱ ْ‬ ‫َ‬ ‫َ َ‬ ‫���� �� �ل�فِ� �ْ� ُر�و�ز �‬ ‫�ح�ا ��فِ� ٍر � ر�� ك�‬ ‫�و�‬ ‫ي‬ ‫ٰ�ج‬ ‫ُ �َ ْ �َ َ�قْ � ُ ْ َ ٱْ�مِ ْ َ‬ ‫�م�ل��م�ل� ��ي� ����شِ ر �‬ ‫�جِ ��ل��د � �ل� ن��ه‬ ‫�‬ ‫�‬ ‫ٍم أْ ٱ ْ ُ ّ ْ َ َ ْ ٰ�ج‬ ‫�ُ �� نُّ َ � ��َ � �� ��ق �ف َ ن �ل� ْ ��ش����ُ‬ ‫�‬ ‫�ي طِ� � ر س ل � �إِ � �م ي ج�‬ ‫ٰ�ج‬ ‫���ٱ � َّ‬ ‫َ‬ ‫�ص�ا �غ�َ�ْ�َ �ُمتَّ� �َ �َ�ا �َ‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ك�� �ل� ِع ي ر �قٍ� و و جِ ي�‬ ‫��يِ ْ ��فِ َ ْ ً َ‬ ‫�ُ َ ن ٱ �ْ �عِ ْ فَ‬ ‫�خ�ا ِ� � �ل�� ر �‬ ‫�‬ ‫�� ر� �ُ �ن ���ق �ع�ا ك��د �‬ ‫�‬ ‫ٱْ ٰ�ج‬ ‫ع‬ ‫�ُ ��نِ فَّ‬ ‫أَ ْ ثْ نَْ ٱ �ْ�ُ‬ ‫ْ‬ ‫ُ‬ ‫� �م � �‬ ‫��ر� �‬ ‫�سفِ� � �لم� ��‬ ‫� � �ل ك‬ ‫�‬ ‫�و ِ ���ِل ��د فِ‬ ‫َ ٰ�ج‬ ‫َّ‬ ‫ُ ْ‬ ‫َّ‬ ‫�‬ ‫��‬ ‫��ُ�ت�هُ �ُ�م�د ج��‬ ‫�َو�مك��مِ �ل �شِ�� ك‬ ‫ٍ‬ ‫ْ ٰ�ج‬ ‫ْ ٱْ‬ ‫ٱ‬ ‫أَ ْ‬ ‫مِ‬ ‫ُ‬ ‫�‬ ‫�‬ ‫َ‬ ‫َ‬ ‫� ���قَ�م َ �م���ث� � �ل� ��ل�ك � �ل�مت��ّ�‬ ‫ر ِ ِل ِ ِ‬ ‫ٱ �ْوٰ�ج‬ ‫م ََّ‬ ‫�ل�ُ‬ ‫ُ ْ َ‬ ‫�ق��ل��ةٍ �نَ�قِ�� �ِّ�ي�ى��ةِ ج�‬ ‫�ذِ �ي� � �‬ ‫��م�‬ ‫�‬ ‫ح�‬ ‫َ‬ ‫ٰ�ج‬ ‫ََ‬ ‫ُ َ َ�ٱ ��ل��ّلْ ظُ� َ� ْ‬ ‫��‬ ‫� � ��م�‬ ‫�قِم ���ي�م��ةٍ �وح�� ي ضِ ��ي� �يو�جِ��ي�‬ ‫ْ‬ ‫َ‬ ‫ٱ �ُ‬ ‫َ ��جِ ْ‬ ‫�ْحَ�د �‬ ‫� �ف�� ن َ�ع��ْ ن ك�‬ ‫�������ش�َع�ا ر �لم‬ ‫�‬ ‫��‬ ‫�‬ ‫ِ‬ ‫ي‬ ‫ِ‬ ‫�‬ ‫ٰ�ج‬ ‫و ِ ٍ‬ ‫ٱْ�ُ َ َّ‬ ‫َ� َ َ‬ ‫���ٱ �ْ َ‬ ‫�م‬ ‫�‬ ‫�ْ�خ��ل� ك�� ل‬ ‫�ح�ا جِ�� � �ل��م�ز ��‬ ‫�‬ ‫بِ‬ ‫�وِ بٍ‬ ‫جٰ�ج‬ ‫أَْ َ ُ ْ � َ ن ٱ �ْ‬ ‫ٱَ‬ ‫�َن�َ�ا � � ��ل��دّي�ْ�زَ �‬ ‫� � �� � ��ط ن��ا � ل‬ ‫�‬ ‫ٰ�ج‬ ‫ب رشِ� �ب ِ� ج ِح‬ ‫ٱْ ُ َ َّ‬ ‫َ‬ ‫��طِ� ْ َ َ ٱْ�مِ‬ ‫���س�ا ِن� � �ل� ِ��ل� ِك � �ل��م�د ب�‬ ‫�ك��� ي���ل‬ ‫ٰ�ج‬ ‫�َ ْ نَ خ�ْ ُ � نْ َ ْ ُ ُ �ُ ْ‬ ‫�م��ه‬ ‫�‬ ‫�ل�م ���ل ِم� ��ي �وِ�م ��سر�ور ب‬ ‫ٍ ِ ّ ٰ�ج‬ ‫َ‬ ‫َ‬ ‫�َ �ذ ا � �َ‬ ‫�َ‬ ‫�‬ ‫�ق�ا ِد � �ُ�م�ؤَ��‬ ‫�‬ ‫�ق‬ ‫و بٍِح و‬ ‫ح جٰ�ج‬ ‫ٍ‬ ‫ْ‬ ‫َ‬ ‫َ ُ ْ ضِ ُ‬ ‫��جِ � �ُ�م��ل ْه� �‬ ‫� �َو�م�ع‬ ‫�‬ ‫�و�م��ن�‬ ‫�‬ ‫���‬ ‫و‬ ‫�‬ ‫ل‬ ‫ِ ٰ�ج‬ ‫ٍ‬ ‫�جٍ‬ ‫‪54‬‬

‫‪54‬‬

‫‪١٥،١٩‬‬

‫‪٢٠،١٩‬‬

‫‪٢٥،١٩‬‬

‫‪٣٠،١٩‬‬

In Battle Gear

fused to his spine whose vertebrae

19.15

were like the dense knot of a khaṭṭī spear; his hooves, blue as turquoise and big as boulders, peeled back the surface of the ground; his feet, bold, lesion-free, pounded the high roads with loud thuds, like polo mallets, raising a dust storm like a cloud of ʿarfaj smoke or teased cotton tossed in the air. Accompanied by a fine gos in battle gear,

19.22

her head dusty white, like a king wearing a crown, her restless eyes, keen and true, under white brows, her eyelids like the cloth of a litter-bearing camel, her talons like thin, arched eyebrows, her dappled feathers under black wings patterned like a regal mantle. We enjoyed a day of pleasure.

19.30

Some slaughtered the birds, others kindled the fires, some cooked the meat till it was done, others, too impatient to wait, swallowed it raw.

55

55

‫~ ‪~ ٢٠‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫� �ز �‬ ‫ا �لب��ا �ي� [ا �لر�ج�ز ]‬

‫�أَ ِّ ُ َ� َّ �غِ َ َٱ � ُّ ْ �َْ َ نْ‬ ‫َ‬ ‫��‬ ‫�ُ �ل� �ي���� ل�‬ ‫ك���� ���ن�ه �ل�م�ا �� �دا  � �و �ل�� ب�ص‬ ‫�‬ ‫حَ م ٱْ �بُِِ ٰ�ج‬ ‫َق ا ُ َ ْ َ� ْ فَ‬ ‫َ َ � �ق ْ � َ‬ ‫�‬ ‫�� ��ئِ� �د ج�ي���� ج�‬ ‫ح����لٍ ���س�ا ر ِ� �ل ب���� � �لم�ه‬ ‫�‬ ‫شٍ�‬ ‫ضِ ٰ�ج‬ ‫َ‬ ‫َ‬ ‫َ ْ ُ ُ � نْ � �سِ َ‬ ‫�ف� ْ��سُ هُ � نْ فِ� ض ّ‬ ‫ه‬ ‫��‬ ‫�‬ ‫����ةٍ وِد ر�ع� ِم� ب �‬ ‫جِ �م� ِم� ��‬ ‫�‬ ‫ٰ�ج‬

‫‪56‬‬

‫‪56‬‬

‫‪١،٢٠‬‬

To Seize the Souls

A description of a gos:

In the dark, just before dawn, with her silver body and jet-black coat of mail, she was like the general of an invincible army on the march to seize the souls of the living.

57

57

‫~ ‪~ ٢١‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫� �ز �‬ ‫ا �لب��ا �ي� [ا �ل��س ��ير� ]‬ ‫ع‬

‫��قِ ْ أَ�غْ �تِ‬ ‫� نَ�فَ �ٱ �� ِّ‬ ‫��صَ��ا �‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�د � � � ِ�د ي� فِ�ي� � ��سِ � ب‬ ‫ح‬ ‫ٰ‬ ‫ٱ‬ ‫��قِ‬ ‫�� � ِّ‬ ‫��ص ْ��د �� � ْ ��ت�َ‬ ‫�ي�ا �‬ ‫��‬ ‫�‬ ‫ل‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫ِ‬ ‫ر‬ ‫ر‬ ‫�بِ ِ ٍ‬ ‫ي ِ �ذِ ي ِ‬ ‫ح‬ ‫ٰ‬ ‫ٱ ْ أَ‬ ‫�ُ �عِ �َّ ٱ �ْ �أَ ْ��‬ ‫�َ‬ ‫ح�ا ���� ��� ��ل����ْ��شَ��ا �‬ ‫ل‬ ‫ب‬ ‫��م� � �لقِ� � �ل�� ظِ‬ ‫بِ‬ ‫ح‬ ‫ٰ‬ ‫ٱ �ْ َ ٱ �ْ‬ ‫� ْ ُ ُ‬ ‫�جِ نَ��ا �‬ ‫ل‬ ‫�‬ ‫�� يِ‬ ‫�ر�كض��� ��ي� � �ل� �هَو ِاء �بِ�� �‬ ‫فِ‬ ‫ح‬ ‫ٱْ ٰ‬ ‫َ‬ ‫َ�� ْ‬ ‫ٱَ‬ ‫��ك�� ِ ���ط ْ �� � ��ل�ّ�سْ�� ��� � ��ل���بِ َرا �‬ ‫�‬ ‫�‬ ‫ب قِ� فِي‬ ‫كر ضِ� رفِ‬ ‫ح‬ ‫ٰ‬ ‫ٱْ‬ ‫��ُ َّ َ � شٍا َ‬ ‫ح َ��س نَ � �� �ل ����َ‬ ‫ش�ا �‬ ‫�‬ ‫�ق�م��ص ِري���� �‬ ‫� و‬ ‫ح‬ ‫ِ ٱَ ٰ‬ ‫َ‬ ‫َ‬ ‫�حِ َ��ا � � ��ل ّ ا �‬ ‫َ�ع��ل�ْ�ي�ِه �م ْ��ن�هُ ك‬ ‫�‬ ‫ب بِ ر‬ ‫ِ‬ ‫ح‬ ‫ٰ‬ ‫ٱ‬ ‫ٱ‬ ‫َ‬ ‫�‬ ‫�‬ ‫ُ���ْ�لُ ��� � ِّ ْ َ � � ِّ‬ ‫��ص ّ�َ�ا �‬ ‫�ذِ �ي� ج�‬ ‫��ج�ل ك�� ل�‬ ‫���صر�‬ ‫�صِر ل� ي‬ ‫ح‬ ‫ٍ‬ ‫ٰ‬ ‫ُ‬ ‫�� َ �� ْ �ٱ ��ل��ّل ِّ ٱ � ُّ‬ ‫َ� ْ‬ ‫���س ّ�َ�ا �‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ح���ت�فٍ� ِل�ط���يِر �‬ ‫�ج��ةِ‬ ‫ب‬ ‫ح‬ ‫ٰ‬ ‫ٱْ‬ ‫� �ٱ �� َّ �� ْ � � نْ‬ ‫�ُه نَّ �َو �� � �� �ل ����َش�ا �‬ ‫�ذِ ي� ل� �‬ ‫�‬ ‫طوقِ� ِم � �ذِ ي و‬ ‫ح‬ ‫ٱ � ضَّ ِ ْ ٰ‬ ‫�َ�� ْ�سَ��ْ نَ � �ٱ ��ْ�غ�ُ ْ َ ن �َ‬ ‫���� ضَ‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫���ا �‬ ‫ي بح� فِ�ي� ل �د را ِ� و ح�‬ ‫ح‬ ‫ٰ‬

‫‪58‬‬

‫‪58‬‬

‫‪١،٢١‬‬

‫‪٥،٢١‬‬

‫‪١٠،٢١‬‬

A Death Knell

A description of a gos:

In the breath of dawn, I crossed the dark with a twitchy gos greedy for the kill. Eyes fixed on distant shapes, she beat the air with wings loud as the thud of the hooves of a champion stallion. She was dressed in fine feather mail, dappled as if with bubbles of wine, her bell chirruping like a hopper— a death knell to the collared and girdled birds afloat in the lake’s eddies and pools.

59

59

‫~ ‪~ ٢٢‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫� �ز �‬ ‫ا �لب��ا �ي� [ا �لر�ج�ز ]‬

‫ََ‬ ‫تَ َ ا �ُهُ أُ ْ َ َ �جِ‬ ‫� ��ْ �أ �ْ���لَ‬ ‫�خ�ا‬ ‫�‬ ‫�‬ ‫�س او ر ي ��� �ب�‬ ‫��خ� �ل� � � �‬ ‫شٍ‬ ‫أَ ْ َ ِ ُ ْ ُ َ �يِ َ ْ ن َ ��َ‬ ‫�سَ‬ ‫�خ�ا‬ ‫�‬ ‫� �و��س��ع�ه�م �ج��ود �� �دي�ِ� �و�‬ ‫َ َ‬ ‫َت َّ ْ‬ ‫ح�ا ��ٌ ��ل ُهْ �م نَ �ٱ ��ل َّ�َ‬ ‫�خ�ا‬ ‫��م ت� �بِ�ِه � ل � � ِ � ر�‬ ‫َم‬ ‫َ‬ ‫َ‬ ‫أ َ ا �ف َ َ � ْ�َ أ ْ‬ ‫َ‬ ‫ّ‬ ‫َ‬ ‫َ‬ ‫�خ�ا‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫���ِ ود و�‬ ‫�خ� � �ط�ي ر ر ضِ�‬ ‫�ُ�ْ ُ َ ا َ ا َ ا أَ نْ ��تِ ْ ��َ‬ ‫�سَ‬ ‫�خ�ا‬ ‫�يع‬ ‫�‬ ‫�‬ ‫�‬ ‫له� فِ��ي� �م� �ئِ��ه� � � �� ر�‬ ‫�جِ �� �‬ ‫َّ‬ ‫�َ َ َ نْ ً �ُ ��ضِ َّ‬ ‫�َ‬ ‫�خ�ا‬ ‫ا‬ ‫م‬ ‫��‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫�‬ ‫��‬ ‫م‬ ‫ا‬ ‫َ�‬ ‫�م �فِ �ي�ه� ���سِ‬ ‫�‬ ‫ح ك�‬ ‫�ر‬ ‫ْ َ �بٍ َ َ ُ نَ ضَّ‬ ‫����َ‬ ‫�خ�ا‬ ‫�َو ��م‬ ‫��خ��ل� �ا ��بِ� �د مِ���ه�ا ��م���‬ ‫ِ‬ ‫َ‬ ‫ً‬ ‫�َ َ ا � �ذ ا � نْ خ� ْ �� َ ُ‬ ‫�صَّ�َ‬ ‫�خ�ا‬ ‫ط� �ِه �و� ر�‬ ‫�‬ ‫عو �ئِ� � ِم� �� �فِ‬ ‫َ‬ ‫���أ ِّ ُ َ� َّ ا �قِ َ � ْ َ ا � َ‬ ‫َ‬ ‫�سَ‬ ‫�خ�ا‬ ‫�ْر���‬ ‫ك�� ���ن�ه �ل�م� � ���ط�ع��ن� � فِ‬ ‫�‬ ‫َ�ٱ �� ُّ ْ ُ � َ ْ�ش َق ْ ��شَ��َ‬ ‫�َ‬ ‫�خ�ا‬ ‫م‬ ‫�و ل�� ب�ص�‬ ‫� فِ�ي� �م�� ر��ِه ��د �‬ ‫ِ قِ‬ ‫ٱ َّ ح‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫� ُ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫ق‬ ‫َ‬ ‫��خ�ا‬ ‫�س‬ ‫�َ �و �ل��ل�ْ��ي�ل ��� �م����غِ �ر�ِه ��د ر���‬ ‫فِي‬ ‫ُ ْ ُ َّ بِ أَ َّ نُ‬ ‫َ‬ ‫�سَ‬ ‫�خ�ا‬ ‫��ص‬ ‫�م��‬ ‫��ف� �َورا �قٍ� � دَ �ق� ����‬ ‫�حِ‬ ‫�‬

‫‪60‬‬

‫‪60‬‬

‫‪١،٢٢‬‬

‫‪٢٢،٥‬‬

‫‪١٠،٢٢‬‬

Like a Bright Page

A description of a gos:

Picture the gos as the proud general of a Persian army, a lavish leader— he’s the reason his people live at ease. Her surprise attack brought terror, subduing the abject birds, harrying them to the water, delivering her verdict from a perfumed beak and blooddrenched talons. The birds screeched, praying to be saved from her brutal clutches. After a farsakh, when the sun stood proud and grim night had fled, the gos glinted like a bright page flecked with tiny script.

61

61

‫~ ‪~ ٢٣‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�‬ ‫�‬ ‫ا �� ك�‬ ‫ل��ل�ا ب� [ا �ل ت�‬ ‫م��ق�ا ر ب�]‬

‫��جِ ْ َ ٱ َ‬ ‫َ َ� َّا �غَ َ َ ُ � ّ �‬ ‫ه�ا‬ ‫� �َع��لنَ��ا ��ل� � ��ل��دّ ��ْ��ي �م �َع�ا دَ ��َ‬ ‫�د ْت� خ��ْ�ي��لنَ��ا ِ�ل�� َل��ط َار دِ �‬ ‫�و �ل�م� �‬ ‫�إِ ى‬ ‫ِر ِ�ي‬ ‫َ َ ا َ ُ َ �َّ ُ نَ ا ُ َّ ً‬ ‫سِ �ُ � ِّ �ةً � َا �َ َ ا �َ‬ ‫ه�ا‬ ‫�ق�ا دَ ��َ‬ ‫�‬ ‫ا‬ ‫��‬ ‫�و��ق� د �مك�ل��ب�� �‬ ‫��ض�مر ��� � �لو�قِ��ي� ��ط� �ل�م�‬ ‫َ‬ ‫ُ َ �َّ مِ �ةً نْ َ َ ا ت ٱ � ََّ‬ ‫ِ �إِ�ذَ سِ �أ �َ تْ‬ ‫ه�ا‬ ‫ا‬ ‫� َ�ع ْ�د �َ َ�ه�ا �زَا دَ ��َ‬ ‫�‬ ‫ا‬ ‫�‬ ‫��� � ل‬ ‫� � �ل ي�ر�‬ ‫و‬ ‫�م�ع�ل�� � �ِم� �ب���ن� ِ‬ ‫ح‬ ‫أَ ْ‬ ‫َ تُ �ْ ُ أَ فْ َ ُ أَ �ْ ُ ً َ���فِ ْ ٱ �ْ‬ ‫��خ � � ��� ا �ه�َ‬ ‫�خ‬ ‫ه�ا‬ ‫�َن�َ�ا‬ ‫� � ��غ َ�م�ا دَ ��َ‬ ‫ل‬ ‫�‬ ‫ه�ا � �ل���س ن��ا   ��ك� ت��� �‬ ‫��جِ ِر‬ ‫�و� ِر�ج و �‬ ‫قِ‬ ‫أَ َ‬ ‫َ‬ ‫�� َ َّ ٱ �ْ َ‬ ‫َ أَ ْ َ ْ‬ ‫ْ ً َ �َْ تُْ‬ ‫�نَ‬ ‫ه�ا‬ ‫��كَا �ع� � �ْ ��ل�ا دَ ��َ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ه‬ ‫�ل‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫ل‬ ‫� �و �م��س ك‬ ‫��صِ ي��د و� ��د ِم�ِ  ك��ض‬ ‫�� �‬ ‫���م و ِ بِ و‬ ‫م‬

‫‪62‬‬

‫‪62‬‬

‫‪1،٢٣‬‬

‫‪٥،٢٣‬‬

Tongues Like Daggers

A description of dogs:

Our riders left early to meet at the cloister. The houndman brought thin salukis, prime, long under his care, well-trained, daughters of the wind, begging to run, urged on faster and faster, tongues hanging from mouths like daggers that slice through their sheaths. They held their prey in their paws without shedding a drop of blood— like young mothers suckling their babies.

63

63

‫~ ‪~ ٢٤‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫� �ز � ف‬ ‫ا �لب��ا �ي� [ا �ل� او �ر]‬

‫َ � ْ َ ا ن �غَ َ ْ َٱ � �َّ ْ ُ َ � َ ضَ ْ ُ �ٱ �� ّ‬ ‫�ُ�ص ْ �ُمّتَ َ ُ �ٱ ��ُْ ُ‬ ‫�‬ ‫�ه�م �لورو ٰد‬ ‫��وء ل ب �‬ ‫�و�فِ��تي�� ٍ� ��د � او � �و �ل�ل���ي�ل د ا �جٍ  �و� �‬ ‫� �‬ ‫ِ‬ ‫َ‬ ‫ح‬ ‫ََ أْ‬ ‫َ‬ ‫���أَ نَّ ُ �زَ َت ُ ْ أُ �مِ َ ُ َ‬ ‫� َ ا فِ� ْ َ َ أُ ٱ �ْلَ‬ ‫ْ‬ ‫�‬ ‫�‬ ‫�ص�د � � �‬ ‫� �‬ ‫ح� ِد �ي� ٰ�د‬ ‫�ِه�م �‬ ‫شٍ �ع��ل�ى � ك���ت� �‬ ‫ك� � ���ب ا ����ه�م � �� راء ج�ي�����‬

‫‪64‬‬

‫‪64‬‬

‫‪1،٢٤‬‬

In Rusty Hauberks

A description of a gos:

Night stretched across the land, dawn’s light uncertain. The bold comrades stole an early march, the hawks sitting tall on their arms like generals clad in rusty hauberks.

65

65

‫~ ‪~ ٢٥‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�‬ ‫�‬ ‫ا �� ك�‬ ‫ل��ل�ا ب� [ا �لر�ج�ز ]‬

‫َ‬ ‫ُْ‬ ‫�غَ َ ْ ُت �� � ِّ‬ ‫���ٱ ��ْ� َ ْ‬ ‫��صيْ� ِ�د �بِ� غ�� �ض‬ ‫� �فٍ� ك�� �قِل �د د‬ ‫��د �و� ِل�ل�‬ ‫َٱ � �َّ ْ ُ �َق ْ َ �قَّ َ َ َ ْ ه ٱ �ْ �بِ �َ � ْ‬ ‫� �و �ل�ل���ي�ل �د ر� �ع��ل� �و�‬ ‫�ج�ِ � �ل� �ل�د‬ ‫�‬ ‫ى‬ ‫َ‬ ‫ّ‬ ‫ٱ ْ ِ َّ ْ َ �ُ ٱ � ن‬ ‫َ �ِ َ ْ‬ ‫�َ �و �ب����ت�ل ����سِ ر�ب�ا �ل � �ل�����سِ ي���ِم �و���برد‬ ‫َ�ٱ ��ْ�ف�لَ ْ ُ � �َ ْ ٱ � ِّ � َا َ �ِّ ْ‬ ‫�و �‬ ‫�‬ ‫�ت� �د‬ ‫��جر فِ�ي� �ل���ي�ِل � � �‬ ‫ل���ظ�ل� �ِم ��ي� �قِ‬ ‫َ‬ ‫ُ ْ تَ َ ا ت � ْ �أَ ِ ْ‬ ‫عَ‬ ‫�‬ ‫م‬ ‫�‬ ‫��ن‬ ‫�‬ ‫ا‬ ‫�‬ ‫��‬ ‫� ِ�ل�ل� ��م�د‬ ‫صِ‬ ‫هِ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫و‬ ‫ي ٍ‬ ‫فٍ‬ ‫َ‬ ‫ٱ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫ّ‬ ‫َ ا ْ �ت ْ َ ا �� �ش ْ ُ �� � نْ َ تَ� ْ‬ ‫�م� ي���س� زِ�د �ه� � ل�� �و�ط ِم� �ع�د �ٍو �زِ د‬ ‫َ‬ ‫َ‬ ‫تَ ْ‬ ‫�َ �تَ���قْ �ِ�ت� �ٱ �ْ �أ ْ ُ ُ �َ�ٱ �ْ ��أ ْ‬ ‫�‬ ‫�‬ ‫�‬ ‫و ضِ ��� �ل�ر ج���ل و �ل���ي ِ�د ي� �عِ �د‬ ‫ي‬ ‫ٱ‬ ‫ِ‬ ‫َ‬ ‫ِ‬ ‫َ‬ ‫ُ‬ ‫�‬ ‫َ� َّ �غَ َ َ‬ ‫� ْ � � ّ �� َ ْ‬ ‫ْ خ‬ ‫�ل�م�ا ��د �ْ �ون�ا �َو���غ�د ت� �ي���ل �‬ ‫ل��طرد‬ ‫أَ ْ َ قَ �ٱ � َّ ْ‬ ‫�� ٱ �ْ ِ ضَ ا ُ َ َ ِ ْ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫ء‬ ‫��� ور�ع�د‬ ‫� ����بر�� �بِ� �لرك��� ��ف�‬ ‫ضِ‬ ‫َ َ َ َ ْ َ � نُ ٱ �ْ‬ ‫َ َق ِ ْ‬ ‫ِ‬ ‫�و��ق�ا � �ش�� ��ط�ا � � ل‬ ‫�‬ ‫��حِر��ي �� �و����ع�د‬ ‫م �ي‬ ‫صِ‬ ‫َ �َا َ نَ�قْ ٌ � �ٱ ��ل ّ��َ َ ا َ َ َ ْ‬ ‫�و ���ط� ر � �� � �ي� �س�م� ِء �ورك�د‬ ‫َ ع فِ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ُ‬ ‫���أ � ِّ هُ ُ �ا ُ �غ َّ ا �� �ُ ْ‬ ‫�ج�د د‬ ‫ك�� ��ن� ��م�ل ء � ���س� ٍل �‬ ‫َ نْ ُ ُ َ ٱ � َّ ْ ُ َ َ ْ � ٱ ْ‬ ‫�ِ َ ْ‬ ‫طو� �َه�ا � �ل‬ ‫�ي��� �����شر�ه�ا � �ل�� �ه � � ��‬ ‫�ج�د د‬ ‫�‬ ‫س� �ل و�ي �ِ �ي‬ ‫ثْ ُ ٱ �ْ ِ‬ ‫َ َ َ َق ْ َ ْ‬ ‫� � ��‬ ‫�‬ ‫��ق‬ ‫�‬ ‫� ِ�ع نْ��د �ه�ا �م�ا ��د �ب��ُ�ع�د‬ ‫�‬ ‫ر‬ ‫ِم���ل ل ِ ي بِ‬

‫‪66‬‬

‫‪66‬‬

‫‪١،٢٥‬‬

‫‪٥،٢٥‬‬

‫‪١٠،٢٥‬‬

A Watchful Demon

A description of dogs:

Night lay gentle on the face of the earth, the cloak of the breeze moist and cold while dawn sparked in the murk. I crossed the dark with my drop-eared dogs, thin as leather leashes, whirlwinds homing in on their target, runners giving their all to the race, legs and feet fulfilling their promise. Our horsemen charged to the hunt. With the thud of the hooves, the ground burst into a storm of thunder and lightning, a watchful demon popped up then hid, a dust cloud rose and hung suspended in the sky like striped sheets drying on a line. The dogs split up on the plain, then charged in a file on the stony ground, covering a vast distance as if it were a small step.

67

67

‫~ ‪~ ٢٦‬‬ ‫�‬ ‫�و��ق�ا �ل [ا �لر�ج�ز ]‬

‫ََ‬ ‫���ْ ِ ��َ ْ �ُ َ َ ��قْ تُ‬ ‫ه�ا‬ ‫� ��ِ��ش َّ�د ��َ‬ ‫�وك��ل��ب��ةٍ ل�م ���ير �و‬ ‫�قَ ُّ� �إِ�ذَ َ ا أُْ �� � �قَ تْ‬ ‫ه�ا‬ ‫� �م نْ َ�ع��قْ�د ��َ‬ ‫� ��ط ا �م� � �ط�ِل� ِ � ِ‬ ‫َ‬ ‫َ‬ ‫�‬ ‫���‬ ‫خُ� ضْ تُ‬ ‫ه�ا‬ ‫� ��ْل��د ��َ‬ ‫� � َه�ا ��ليْ�� ًل�ا ��ُ��يَر�ى �جِك‬ ‫��‬ ‫ِ‬ ‫�� بِ �‬ ‫َ‬ ‫َأَ ٱ‬ ‫ه�ا‬ ‫���� ��ِّ�ن�هُ � � ْ��ستَ����َع�ا َ �� �لْ نَ� ��ُ�ب ْد ��َ‬ ‫ك�‬ ‫ر و � رِ‬ ‫َ‬ ‫َ‬ ‫�فَ�أ �ْ َ َ ْت َ ْ�ش ً أتَ تْ‬ ‫ه�ا‬ ‫� �م نْ �َ�ْع�د ��َ‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫� �ب �‬ ‫�صر� ع�� ر � ِ � �ب ِ‬ ‫ُ‬ ‫َ أ ْ �� � �قَ تْ �فَ�ٱ �نْ ِ�� �َ�قَ تْ‬ ‫ه�ا‬ ‫� �م نْ � َّ�د ��َ‬ ‫�‬ ‫�‬ ‫�‬ ‫� �و ط�ِل � � ���ط�ل ِ � قِ‬ ‫َٱ � َّ ْ �َ ا تُ‬ ‫ه�ا‬ ‫حْ� سِ� نُ �غ�َ�ْ�َ ���َّد ��َ‬ ‫ك�‬ ‫�‬ ‫���� �ل��س���ه�ِم �ل�‬ ‫� ي ر جِ‬ ‫أَفْ �قَ َ ن ٱ � َّ ْ َ ا نُ َ ْ َ فَ ْ‬ ‫ه�ا‬ ‫�ق�د ��َ‬ ‫�‬ ‫�‬ ‫� ��� �د ِ�ي� � �لر��ح�م� � ��ي �و�م ��� ِ‬

‫‪68‬‬

‫‪68‬‬

‫‪١،٢٦‬‬

‫‪٥،٢٦‬‬

Like an Arrow

A bitch too fast to be seen sprinting

26.1

once sicced from the leash. I waded through a darkness as black as her hide: my eyes thought night had borrowed her coat. She spotted ten animals who showed up after I’d arrived. Unleashed, she flew like an arrow from a bow. Her greatest asset, how hard she worked— Merciful God made me feel the pain of her loss when she died.

69

69

26.5

‫~ ‪~ ٢٧‬‬ ‫� ً �‬ ‫� �ف خ‬ ‫�ي��ل�ا [ا �لر�ج�ز ]‬ ‫�و��ق�ا �ل �ي �ص�‬

‫فَ َ َ َ ْت �قَ ْ َ ٱ � �ظَّ � َا ٱْ�ُ�غْ‬ ‫َ‬ ‫ت‬ ‫�‬ ‫���ورد � �ب���ل � �ل���ل�ِ�م � �لم� � ِ�د ي�‬ ‫َٱ �ْ �أُ�فُقُ ٱ ��ْ ��غِ ْ ُّ �ذُ ٱ �تََّ ُّ‬ ‫� �و �ل� ��� � ل�����عر �ي� �و � �ل ��ور ٰد‬ ‫بِ‬ ‫ََ َ‬ ‫َ‬ ‫���أ� ِّ هُ �أ ْ� ��فَ ا نُ َ �ْ ن �ٱ �ْ �أ ْ � مِ‬ ‫ك�� ��ن� ج� � � �ع�ي ِ� �ل�ر � ٰ�د‬

‫‪70‬‬

‫‪70‬‬

‫‪١،٢٧‬‬

An Inflamed Eye

A description of horses:

The western horizon turned as red as the lid of an inflamed eye. The horses reached water in the dark.

71

71

‫~ ‪~ ٢٨‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�‬ ‫�ف‬ ‫�ه�ود [ا �ل��س ��ير� ]‬ ‫ا � �ل‬ ‫�‬ ‫ع‬

‫أَ ْ َ ُ أَ ْ َ �ً ُ �ذِ�ذْ َ �قِ �ذَّ‬ ‫� �ن��ع ت� � ��مث��ا �ل�ا ��ق� ن� � � ا‬ ‫َ شْ َ �ذُ َ ٱ � َّ ْ ُ � ٱ �َْ � ُ شَ ْ �ذَ‬ ‫ح�� �ه�ا � �ل �ش�� �و ��ط � �لب� ��ط�� ن ����‬ ‫ي������‬ ‫�‬ ‫ح�� ا‬ ‫ِ ي�‬ ‫حِ �ذَّ‬ ‫نََ ً �خِ ْ ف َ ٱ‬ ‫� � �� ظَّل�����َ‬ ‫� �� او ��ا �‬ ‫�ب�ا ِء �‬ ‫� ��ل�‬ ‫�� ا‬ ‫�زِ ي‬ ‫َ أََّ َ تَ ْ �ذُ ُ َّ �جِ ْ �ذَ‬ ‫�ج�� �ه ن �‬ ‫ك�� ن��ه�ا �‬ ‫� ب�� ا‬ ‫� بِ �‬ ‫�‬ ‫تَ �ذُّ َ َ ٱ �ْ�فِ َ �جِ �ذَّ‬ ‫�ُ‬ ‫�ج� �غِ�ي� ����ط�ا ن� � � �ل� �ل�ا ةِ� �‬ ‫��ا‬ ‫�‬ ‫َ ٱ � َّ ْ َ �ذَّ َ ٱ �ْ ُ َ �ذَّ‬ ‫ك�� �لن��� �ه� ْت�ه�ا � � �ل سِ�� ّ‬ ‫� �ه� ا‬ ‫ب �ِل � �قِ �ي‬ ‫َ‬ ‫�َ أَ ْ �ذَ أَ َ ُ شِ ًّ أ ْ �ذَ‬ ‫�ل� ْم � د ِر ا � � ْ���سر ���� �د ا � � ا‬ ‫م‬ ‫ع‬

‫‪72‬‬

‫‪72‬‬

‫‪١،٢٨‬‬

‫‪٥،٢٨‬‬

Amorous Approaches

A description of cheetahs:

I sing of identical cheetahs pared like fletched arrows, leanbellied, sharpened to a fine point by long-distance runs, chasing ẓabys who spurn their amorous approaches, as they cut across the dips and desert hollows like arrows sped by bows— I’m unable to tell which is quicker!

73

73

‫~ ‪~ ٢٩‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫� �ز �‬ ‫ا �لب��ا �ي� [ا �ل��س ��ير� ]‬ ‫ع‬

‫َ‬ ‫َ‬ ‫َ‬ ‫��ً �أ �ْ��سَ ا ْ‬ ‫��قِ ْ أ �غْ �تِ � أ ْ َ‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�د � � ِ�د ي� و ب� كِر بِ� �ح� ر‬ ‫ْ َ ا �َ ْ َ‬ ‫َ نَ�ْ‬ ‫���ٱ ��ْ َ ا ْ‬ ‫ُ‬ ‫ن‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫� ل���ي�ل ك� ل�‬ ‫�ق� ر‬ ‫�وح� فِ�ي� جِ��ل��ب� بِ‬ ‫ٍ‬ ‫َ‬ ‫�ُ َّ عِ �َ ْ نَ ا ��ُ ً َ أ�زْ َ ْ‬ ‫ا‬ ‫���ش�د �� �ل��ي�� �بِ ��عر�ى � �و ر ر‬ ‫َ‬ ‫َ �أ ِّ هُ � �ْ �َ ُة نُ ًّ َ ا ْ‬ ‫�‬ ‫�‬ ‫�‬ ‫ك� ��ن� �‬ ‫�جِ �ل�د � ��وي� �� �‬ ‫ع�ع� ر‬ ‫بِ‬ ‫َ‬ ‫حتَّ �إِ�ذَ َ ا َ َ �ف َ ٱ �� َّ ْ َ ٱ �� ض َّ ا ْ‬ ‫��ى ا �م� �عر� � ل�‬ ‫�صي��د � ل�‬ ‫��� ر‬ ‫َ أَ نَ �ٱ �� ُّ‬ ‫���صْ ُ �َ َ ا � ٱ �ْ � ْ َ ا ْ‬ ‫�‬ ‫�‬ ‫� �و �ذِ � ل� ب �‬ ‫� �ل��ن� فِ�ي� �لإِ��ب �‬ ‫��ص� ر‬ ‫ح‬ ‫��جِ َّ � ُ َّ ����شِ َ نَا ئِ ٱ � �َّ ْ‬ ‫�� �� �‬ ‫� � �ل�د ا ر‬ ‫� ��ل�ى �لِ�ك�ل ب‬ ‫� يِ‬ ‫ٍ‬ ‫ح‬ ‫َ ا ُ َ�� ف ًّ َ ا � ٌ َ‬ ‫���ٱ �ْ �أُ ْ َ ْ‬ ‫�‬ ‫ا‬ ‫�‬ ‫���ف� ِر��س �ك�� ��م� ��ثِ‬ ‫��ل ك� �ل� �‬ ‫�سو ر‬ ‫�ذُ ُ��ؤْ ُ� � ثْ ٱ � ُّ َ ا ٱْ��مِ ْ َ ا ْ‬ ‫�و �ج � � ِم���ل � �لر�‬ ‫�‬ ‫�خ� ِ�م � �ل� ر��م� ر‬ ‫�ج �ؤٍ ِ‬ ‫َ‬ ‫َ‬ ‫أَ ْ ُ ْ‬ ‫أ‬ ‫ُ‬ ‫ْ‬ ‫ن‬ ‫��ص�حِ �م� ��نِ‬ ‫ْ � َا ْ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫� �و م�� فٍ� �م� �ٍم �ذِ ي� ��س��ط� ر‬ ‫َ �ُ �ْ �َ َ �ْ َ َ ثْ ٱ � َّ َ ا ْ‬ ‫�و ��م�‬ ‫�ق�ل��ةٍ �‬ ‫�ص���فراء �ِم���ِل � �ل��د ��ي��ن� ر‬ ‫��تِ ْ ���فِ ُ َ� �فْ �نٍا � ثْ َ ��حِ ْ � ٱ �ل�زُّنّاَ ْ‬ ‫� � �‬ ‫م‬ ‫� � � �� ر‬ ‫� رع ج� � � ِ ���ل � ر فِ‬ ‫َ‬ ‫ْ‬ ‫َ ��م ْ �َ ك��‬ ‫�ٱل�م ْ�� َ ا ْ‬ ‫� �ْ َ ْ ��‬ ‫�‬ ‫س‬ ‫�‬ ‫� ِ�م��ث�ِل ع���طفِ� ِ ��م� ر‬ ‫�وِ��خ�ل بٍ‬ ‫�خِ‬ ‫آ نَ َ َ � ً‬ ‫� �� هِ َّ ْ‬ ‫� ���س ��ط�ْ��يرا فِ��ي� � �لِي �‬ ‫� �� �د ا ر‬ ‫ُ‬ ‫�جٍ َ‬ ‫�ُ ْ ِ��‬ ‫�ٱ ��ل��ّ�ل ِّ َ ا � ٱ �ْ �أ�قْ � َا ْ‬ ‫�‬ ‫�‬ ‫�‬ ‫ط‬ ‫�‬ ‫م�‬ ‫� �‬ ‫�ج��ةِ �‬ ‫�ص� فِ�ي� �ل� ���ط� ر‬ ‫ر‬ ‫��ض � ِ بِ‬ ‫‪74‬‬

‫‪74‬‬

‫‪١،٢٩‬‬

‫‪٥،٢٩‬‬

‫‪١٠،٢٩‬‬

‫‪١٥،٢٩‬‬

Astride the Glove

A description of a gos:

I left before dawn, just as day broke,

29.1

still wrapped in the jilbab night had buttoned over us, black as pitch like the skin of a naked Nubian. Night knew it was time for the hunt to shed blood, and morning restored our sight. Into the lists rode a knight astride the glove, standing tall like the lieutenant of a Persian squadron, alert to distant shapes; with mail like streaked marble or striated parchment, eyes as yellow as dinars, lids

29.11

like the fringes of a Christian’s belt, and talons like curved nails. She spotted birds in a creek with clear banks, where the water gurgled and the waves plashed

75

75

‫�‬ ‫�ب�ا ب� ا �لراء‬

‫َ َ �حٍا �تَ�ْ � �حِ َ ا َ ٱ � ِّ َّا ْ‬ ‫��‬ ‫�س او بِ� � ����فِر ي� � ب�� ب� � �ل��تي�� ر‬ ‫ُْ‬ ‫�فَّ ا ْ‬ ‫��َّ صِ َّ ا � �ٱ ��ْل�َع�� َّ‬ ‫ن‬ ‫�‬ ‫�‬ ‫ك‬ ‫�‬ ‫�د‬ ‫��‬ ‫��‬ ‫�‬ ‫صِ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ر‬ ‫�ِم� ل‬ ‫ح شِ �ي�‬ ‫ِ‬ ‫ََ‬ ‫���أ ِّ ُ ُ َ َّ‬ ‫مِ�زْ َ ا ْ‬ ‫ٌ‬ ‫�‬ ‫ك�� ���ن�ه ���م �‬ ‫�‬ ‫��ج� فِ�ي� ��� ��م� ر‬ ‫رَ ع‬ ‫َ �ذَ ت َ �� ْ � أ خْ� ��ضِ َ � نْ� َ ا ْ‬ ‫�و ا ِ �‬ ‫�� ٍر �و �مِ��‬ ‫طو� � ��‬ ‫�ق� ر‬ ‫� � قٍ‬ ‫�ن ْ‬ ‫ْ َ َ َ� � نْ هُ ٱ �َْ ا ْ‬ ‫َك��‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫م‬ ‫ل‬ ‫�‬ ‫م‬ ‫�ص‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�ض‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ِ فِ ِ ر بٍ ب رى ِ ب ر‬ ‫فَ َ َ �قَ ْ َ �فِ ْتَ َ ضْ‬ ‫���َ ا ْ‬ ‫��� ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�ج‬ ‫��ص� د ����ب�ل � ��ر�ةٍ � �إِو � ر‬ ‫َ‬ ‫خَ‬ ‫نَّ ��سَ ا ُت ٱ �ْ �أ ظْ �� � َ ا ْ‬ ‫� ْ � نَ‬ ‫�‬ ‫�‬ ‫�‬ ‫�م‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫���‬ ‫م‬ ‫�ف‬ ‫ِ‬ ‫�‬ ‫�‬ ‫ل‬ ‫ر‬ ‫سِ ي� �فِ �ي��هِ �‬ ‫َ� ْ ُ �� َ ا خَ ْ َ � َ � � ��جِ َّا ْ‬ ‫ي��خبِ���ط�ه� � ��ب��ط �مِ�لي�� ٍك � ب�� ر‬ ‫َ‬ ‫ُ ظَ � ِّ‬ ‫�َ ْ �� �ُُ َ ا �أ ْتَا ْ‬ ‫�‬ ‫��م �� �‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫���ف‬ ‫��ف‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ط‬ ‫ه‬ ‫ب‬ ‫� � بِ و ر‬ ‫ٍر �ي‬ ‫ّ‬ ‫َ‬ ‫�قِ ْ ُ َ‬ ‫�َ تْ ُ ُ ُ هُ � ٱ �ْ �أ ْ َ ا ْ‬ ‫�‬ ‫� �د �‬ ‫حك‬ ‫�‬ ‫�‬ ‫�‬ ‫�ع‬ ‫�‬ ‫�‬ ‫�م‬ ‫�‬ ‫�‬ ‫�‬ ‫�م‬ ‫�‬ ‫�‬ ‫�س‬ ‫�ف‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫ر‬ ‫ي و فِي�‬ ‫َ‬ ‫َ �أ ِّ هُ َ ا �شُ َ ظٌ � � نْ نَا ْ‬ ‫ك� ���ن� فِ��ي��ه� �� � او ��� ِم� �� ر‬

‫‪76‬‬

‫‪76‬‬

‫‪٢٠،٢٩‬‬

‫‪٢٥،٢٩‬‬

Astride the Glove

as they swam through the frothing swell,

29.16

chirping at nightfall, whistling like a fife band, with dark collars and beaks like half plectrums whittled by their maker. Before she grew vexed and wearied,

29.21

our gos killed fifty birds, snatching them with her talons like a brutal tyrant who in victory takes revenge on his victims, his sword decreeing life or death. Like a jet of fire, she felled her prey.

77

77

‫~ ‪~ ٣٠‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫� �ز �‬ ‫ا �لب��ا �ي� [ا �لر�ج�ز ]‬

‫َ َ ٱ �ْ َ ا ٱ �� ��ضُّ ِّ‬ ‫�َق ْ أَ�غْ �تِ‬ ‫ل‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�د � � � ِ�د ي� �ع��ل� �‬ ‫�جِ ي�� ِد ���م ٰر‬ ‫ى‬ ‫َ‬ ‫َٱ �‬ ‫َ‬ ‫��ُّ�صْ ُ � ُ �� طّ � �� ْ��ي �ُ‬ ‫ْ‬ ‫�‬ ‫ل‬ ‫م‬ ‫�‬ ‫����س‬ ‫� �و � ب �‬ ‫��فِ� ٰر‬ ‫� فِ�ي� ���رةِ ل� �ٍل‬ ‫ح‬ ‫َ �أَ ِّ ُ ُ َّ ةُ ُ ْ أَ شْ ��قِ‬ ‫ك� ���ن�ه ����غر� ��م���هٍر � ����� ٰر‬ ‫َ‬ ‫�َ�ٱ ��ْ َ ْ� شُ � �أ �ْ ��َا �ن َ ا �ل�َْ � ُ �ذْ ��عِ‬ ‫و �لوح��� فِ�ي� و��ط� ِ��ه� �م ��ت� � ٰر‬ ‫َ َا �َ َ ا َ ْ هُ ٱ � �ثَّ َ َ� نْ مِ نْ � ��‬ ‫ج��ل� �ل��ن� �و�‬ ‫�‬ ‫�ج� � �ل� ر�ى ع� �� ��ظِ‬ ‫�‬ ‫� ٰر‬ ‫���ٱ �ْ َ�شْ أَ ْ َ‬ ‫���ٱ �ْ َ ْ أَ ْ َ‬ ‫َ‬ ‫���ٱ �ْلَْ َ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ع‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�ص‬ ‫ك‬ ‫ك‬ ‫ك‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫و‬ ‫و‬ ‫�‬ ‫�ج‬ ‫و ٰر‬ ‫َ بِ َ و يِ‬ ‫أْ‬ ‫� �مِ َ أَ ْ ��فِ‬ ‫ْ أْ‬ ‫�ِم ن� � �ب���يِ ��� �َ �و ح�� ر � �و �‬ ‫����ص� ٰر‬ ‫ٍ‬ ‫ضٍ‬ ‫َ �َا � أَ ْ َ ا ُ ُ �َْ َ ْ �ُ‬ ‫�و ���ط� ر� � �‬ ‫�‬ ‫��ج���ف� ���ن�ه �ل�م ��ي��ن�����ظ ٰر‬ ‫ِ فٍ‬ ‫َ‬ ‫ٱ‬ ‫ْ‬ ‫ْ‬ ‫َ‬ ‫ْ‬ ‫ً‬ ‫�‬ ‫�‬ ‫تَ َ �ُ ُ � ْ ُ �‬ ‫�‬ ‫�خ�ا �ل�ه � �ل�عِ� �ي� ن� � فِ‬ ‫��م�ا �ل� ��ي���ف���غِ‬ ‫�‬ ‫� ٰر‬ ‫م‬ ‫َ ا َ َ �َْ ُنََّ‬ ‫َا ت‬ ‫َ‬ ‫�و���ف‬ ‫���ف�ِ� ��قٍ� ك� د �و �ل�م ي�� ��و ٰر‬ ‫َ‬ ‫���أَ ِّ ُ ُ ْ تَ ٌ �َْ َ ْ‬ ‫ك����‬ ‫ك�� ���ن�ه �م��ب������سِ �م �ل�م ��ي‬ ‫�شِ ٰر‬ ‫َ أَ ْ ُ ُ ٱ �ْ ُ ْ َ ن �َْ تَ َ َّ‬ ‫� �و د ���م� � �ل���غ�د را ِ� �ل�م ��ك�د ٰر‬ ‫ع‬ ‫َٱ �� َّ ْ ض��ُ � �مِ �غ�ْ ُ ��ٌ �َ ْ �ُ ْ ��‬ ‫� �و لر�و � � �‬ ‫��سول ��بِ�ل���ي�ٍل ��م�م��ِ�ط ٰر‬ ‫ََ‬ ‫ْثَ‬ ‫���أنَّ َ ا دَ َ ا � ٌ � ��مِ‬ ‫ن‬ ‫�‬ ‫�‬ ‫�م�� ٰر‬ ‫ك�� ���ه� ر �هِ� �م فِ�ي�‬ ‫أَ ْ َ��ُ ُ ٱ �ُْ ْ‬ ‫ٱْ� ُ نَ �ِّ‬ ‫��ص�حِ‬ ‫�ش �ل�‬ ‫�‬ ‫�‬ ‫�ل‬ ‫�‬ ‫�‬ ‫��‬ ‫� �و ك��ع�� �وِر م�� فِ� م ����ش ٰر‬ ‫‪78‬‬

‫‪78‬‬

‫‪١،٣٠‬‬

‫‪٥،٣٠‬‬

‫‪١٠،٣٠‬‬

‫‪١٥،٣٠‬‬

Scented with Ambergris

A description of a gos:

We crossed the dark on well-trained coursers

30.1

as dawn, like the blaze on a roan colt, flitted on the fringes of night and the beasts rested peacefully in their dens. The face of the earth looked like a striped Yemeni cloak, or embroidery, or white and red and yellow jewels, and to my mind’s eye its saplings, with their eyes shut, seemed like mouths closed, blossoms about to burst into flower, half-smiles, with no teeth flashing. The teardrop pools were clear of mud, the leas, washed by a rain-soaked night, resembled dirhams or tens of verses of a Qurʾan outspread.

79

79

30.12

‫�‬ ‫�ب�ا ب� ا �لراء‬

‫ٱ � َّ‬ ‫ضْ‬ ‫��� َ ا َ ًّ أَ خْ� ��ضِ‬ ‫�ش‬ ‫ُ‬ ‫ْ‬ ‫�‬ ‫�َ �و �ل���م�� �� �إِ ��‬ ‫�ح� ِء �ج��و � ��‬ ‫�� ٰر‬ ‫س فِي‬ ‫َ‬ ‫�َ�مْ‬ ‫َا � َ‬ ‫�َ �ْ� �عِ‬ ‫��جِ‬ ‫ك��‬ ‫�‬ ‫ح‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ئِ‬ ‫�‬ ‫م‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫د‬ ‫�‬ ‫ح‬ ‫�‬ ‫رةٍ فِي�‬ ‫ٰر‬ ‫�ةٍ‬ ‫َ‬ ‫ْ‬ ‫ٱ‬ ‫ٱ‬ ‫أ‬ ‫نُ ْ �قَ ُ َ ا ً َ‬ ‫��� � َّ َ � � ��زْ �هِ‬ ‫����س� � �‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�ق� را‬ ‫ل‬ ‫�‬ ‫��س‬ ‫�‬ ‫�‬ ‫ع�‬ ‫ك‬ ‫�‬ ‫ل‬ ‫ٰر‬ ‫ر �جِ‬ ‫� �ى‬ ‫ُ َ مِ �ةً تَ ْ � ُ نْ �َْ تُ ْ‬ ‫ع�‬ ‫�‬ ‫قِ‬ ‫��م�د ا �� � ������ع�قِ‬ ‫�‬ ‫�‬ ‫�ر �إِ � �ل�م ��� ٰر‬ ‫َ‬ ‫ُ ُ َ ا َ ف ُّ � غِ�زَ � أ�ْ‬ ‫حَ‬ ‫�‬ ‫���ت ِ�د ����ير�ه�‬ ‫�ك� ��� ا �ٍل � �و ٰر‬ ‫ُ � َّ َ ا � � َ َ‬ ‫���ٱ �ْ َ ْ َ‬ ‫�‬ ‫�ذِ �ي� ����طر� ��ق� ���ِ���‬ ‫�ط‬ ‫�طر�ةٍ ك�� �ل�ع��نب� ٰر‬ ‫ةٍ‬ ‫َ‬ ‫ْ‬ ‫ُ‬ ‫ُ‬ ‫َ‬ ‫ْ‬ ‫�َ �َم��لْ���ثِ � �َك ������ش�ف �ه �ع ن ��ْ‬ ‫�‬ ‫هِ‬ ‫�‬ ‫�‬ ‫� �ج و ٰر‬ ‫و ٍم �ي‬ ‫ِ‬ ‫ْ‬ ‫���فِ‬ ‫ٱ‬ ‫ْ‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫ش � ُ ف ْ َ � ئ زَ‬ ‫�َ َ��ك�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫���‬ ‫�ل‬ ‫��ض‬ ‫غِ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫مِ‬ ‫� ٰر‬ ‫و �ٍل ي‬ ‫�ل‬ ‫�ل‬ ‫ْ‬ ‫ُ‬ ‫تُ� ْ �ُ �َع ْ نَ ا ُ � � ْ ��م��ض� �مِ‬ ‫��خ�بِر � �‬ ‫�يى�� ه �بِ �فِ �‬ ‫�� ٰر‬ ‫��سقٍ�‬ ‫ٱ‬ ‫ُ عِ‬ ‫� �َّ ُ � ��ْ�ف�لُ�ُ َ �َ نْ �ل�َْ �َ�ف�ْ�ُ‬ ‫م‬ ‫�‬ ‫��ج‬ ‫�‬ ‫�ي���‬ ‫�ع�ل‬ ‫�‬ ‫�ي‬ ‫�‬ ‫ر‬ ‫�ج‬ ‫ٰر‬ ‫و‬ ‫�‬ ‫م‬ ‫م‬ ‫أَقْ‬ ‫َ �يِ �ذْ �عِ ُ ٱ �� ِّ ْ َ‬ ‫َ‬ ‫�‬ ‫ا‬ ‫��صي��د �بِ���ب� �زٍ � �� مِ‬ ‫� �و� � �� ر � ل�‬ ‫� ٰر‬ ‫َ �أَ ِّ‬ ‫َ ْ شَ ن ُ �م�زَ َّ‬ ‫ُ‬ ‫�‬ ‫ك� ���ن�ه �ي� �ج��و��� � ��‬ ‫��مٱْ ر ٰر‬ ‫فِ‬ ‫ٍ� َ � َْ‬ ‫ُ‬ ‫ُ ْ‬ ‫َ‬ ‫ل‬ ‫�‬ ‫ت‬ ‫ُ‬ ‫ح��جِ‬ ‫م‬ ‫ق‬ ‫ف‬ ‫�ق��لَ� � ْ����س � ��ْ � �‬ ‫�‬ ‫�ذِ �ي� � �‬ ‫�‬ ‫��م� �ةٍ ِر�ج �و�‬ ‫ٰر‬ ‫ٱَ َْ‬ ‫َ نْ َ َ ضْ‬ ‫���خِ نْ����جِ‬ ‫���ٱ �ل‬ ‫�‬ ‫�� � �شّ َ ا‬ ‫�‬ ‫�‬ ‫� � �ل�� ب�� ك�� � ٰر‬ ‫�وِم����سٍرع� بِ‬ ‫تَ ُ ُ‬ ‫��َّ �خٍا �ٱ �ْ ُ ْ ُ‬ ‫�َ‬ ‫��ضِ‬ ‫�خ�ا ��ل�هُ ��م ��‬ ‫�‬ ‫�‬ ‫م‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫���ص‬ ‫ع‬ ‫��ف‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ٰر‬ ‫ْ بِ‬ ‫حَ ٱْ�ُ َ َّ‬ ‫َ �ٱ �ل‬ ‫�‬ ‫َ َ ا مِ‬ ‫�‬ ‫�‬ ‫�‬ ‫�ل‬ ‫جِ‬ ‫�‬ ‫�د‬ ‫�‬ ‫�م‬ ‫و ٰر‬ ‫�و��ه� �� ��ةٍ ك� � ِر‬ ‫ُ‬ ‫َّ‬ ‫َُ‬ ‫���ؤْ ُ�� �ُم���نِ ْ�م���نِ �م ��م‬ ‫�حِ �‬ ‫�‬ ‫�حب�� ٰر‬ ‫ٍ‬ ‫و�ج �ج َ�ؤٍ‬ ‫ٱ �ْ أَ‬ ‫َ �أ ِّ هُ َ �قٌّ ��خِ ُّ � ْ ُ ��‬ ‫ك� ���ن� ر� �‬ ‫�‬ ‫ط‬ ‫�‬ ‫� �فِ��ي� � �ل����س� ٰر‬ ‫‪80‬‬

‫‪80‬‬

‫‪٢٠،٣٠‬‬

‫‪٢٥،٣٠‬‬

‫‪٣٠،٣٠‬‬

Scented with Ambergris

The sun illumined the dark sky like a tear welling in the corner of an eye. We quaffed a strong wine, a heady vintage

30.18

that blazes like a bright lamp, poured, cup by cup, from the hand of a languid-eyed gazelle, his fringe scented with ambergris. His lips parted to reveal toothsome jewels, his plump buttocks swelled his gown below the waist, his eyes spoke of secret debauchery. He could teach the innocent how to sin, terrifying his prey with a dusty-white gos, as if clad in a hasped coat of mail, her eyes burning in their sockets, a beak with a dagger-sharp tip you’d think was daubed with safflower, a crown like a round boulder, mail decorated in patterns like faint letters

81

81

30.30

‫�‬ ‫�ب�ا ب� ا �لراء‬

‫ٱْ� ُ �ذَ َّ‬ ‫َ �ذَ نَ َ‬ ‫���ٱ �لْ� ُ ْ‬ ‫ُ‬ ‫�‬ ‫�‬ ‫م‬ ‫�ل‬ ‫�‬ ‫�‬ ‫���ص‬ ‫�‬ ‫�ن‬ ‫�‬ ‫ك‬ ‫�‬ ‫ك‬ ‫م‬ ‫�‬ ‫�‬ ‫ٰر‬ ‫�ِل‬ ‫�و �� بٍ‬ ‫أَ َ‬ ‫��حِ ن َّ �ٱ �� ِّ�� �ْ عِ �ٱ�لْ�ُ ��قَ �ّ‬ ‫َ‬ ‫�‬ ‫ك‬ ‫�‬ ‫� �ْو � ِ��� �‬ ‫ل�ط�ل�� ��ةِ ��م ����ش ٰر‬ ‫ي‬ ‫َ �قَ �ضِ تَ فْ ُ نْ �َْ َ ْ‬ ‫�‬ ‫��ل �إِ � �ل� ت� ك‬ ‫�����سِ‬ ‫��صِ‬ ‫�� ��ةٍ � ����‬ ‫�و� ��ْب�‬ ‫� ٰر‬ ‫م‬ ‫ٱ ْ أَ‬ ‫َ َ ٱَ‬ ‫ح �مِ‬ ‫َق���ّل��َ �ف��ْ �قَ� � ��ل��دّ � ْ�س��تَ َ‬ ‫��ب�ا ن� � ��ل�� ْ�‬ ‫��‬ ‫ٰر‬ ‫ِ‬ ‫ص و‬ ‫ْ‬ ‫ٱ‬ ‫َ‬ ‫ُ‬ ‫�‬ ‫َ ُ ْ �نِ �لم �ش َّ‬ ‫َ َ ا حِ ُ‬ ‫��‬ ‫ج���ن� �‬ ‫� �ه ك�رد �� ��ةِ ���م ٰر‬

‫‪82‬‬

‫‪82‬‬

‫‪٣٥،٣٠‬‬

Scented with Ambergris

on a parchment, a tail like a whetted blade or like the curves of a peeled date-palm spathe, a grip that splits joints, with the power to break bones— she sat poised on the red glove,

30.37

her wings raised like the sleeves of a busy man.

83

83

‫~ ‪~ ٣١‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�‬ ‫�‬ ‫ا �� ك�‬ ‫ل��ل�ا ب� [ا �ل��س ��ير� ]‬ ‫ع‬

‫�َ ْ َ َ َ ْ ٱ � َّ َ ٱ �ْقَ‬ ‫�‬ ‫�صِ �‬ ‫�ص��ى � � �ل��‬ ‫�ل� �فِه��ي� �ع��ل�ى د �هر� �ل� ب‬ ‫ير‬ ‫ٰ‬ ‫ِ‬ ‫ُ‬ ‫ٱ �ْ َ َ ٱْ� َ ْ ثُ‬ ‫�َ �غ�� ْ ن‬ ‫��صِ��ِه �ذِ �ي� � � �لور�قِ� � �لم��ن ��و ٰر‬ ‫و‬ ‫ْ‬ ‫ْ َ �ذَ نْ ٱ ��مِ �ْ فُ‬ ‫َُ‬ ‫ِهِ �و ����بِ �ِه � �ل� ���غ� ��و ٰر‬ ‫�و��سك�ر‬ ‫َ �مِ َ� ٱ �ْ�قُ �ُ � ٱ � ُّ ُ‬ ‫��ص�د �‬ ‫� فِ�ي� � �ل�‬ ‫ور‬ ‫�و�� ر‬ ‫ح � � �ل � �لو بِ‬ ‫ٰ‬ ‫ِ‬ ‫ْ‬ ‫َ ُ � � َ ْ ٱ �ْ �أَ �ٱل�َم ْ ُ‬ ‫طو�ِل �‬ ‫�‬ ‫�‬ ‫��ج‬ ‫ح���ب�ل � �ل���مِ‬ ‫� �‬ ‫�و �� �‬ ‫ور‬ ‫ِ‬ ‫�ِل ر ٰ‬ ‫��غِ‬ ‫� � � َّ َ ْ‬ ‫َا‬ ‫�ي� ��� ظِ‬ ‫��ل �عي����شٍ� ���غ� ���فِ �ٍل �� ِ �ر���ي ٰر‬ ‫فِ‬ ‫َ‬ ‫ٱ‬ ‫َ‬ ‫ٱ‬ ‫ُ‬ ‫َ‬ ‫ْ‬ ‫ُ‬ ‫َ‬ ‫�‬ ‫ّ‬ ‫ْ‬ ‫�ُ ُ‬ ‫�‬ ‫�َ �و �ل��د ���هر �ل�ا ي� �����شرك ��� �ل ّ����سر�‬ ‫ور‬ ‫بِ‬ ‫ٰ‬ ‫شِ ْ ً َ ٱْ�َ ْ‬ ‫�ُ َٱ �َْ ْ �ذُ‬ ‫� ئا � ن‬ ‫�� �و � �ولم‬ ‫�‬ ‫�‬ ‫�ح�‬ ‫ك‬ ‫ور‬ ‫��� ي��� ِم� � �لم ر هِ‬ ‫ٰ‬ ‫َ‬ ‫أَ‬ ‫أ�غْ ُ‬ ‫� نَُّّ �ٱ ��ل َّ‬ ‫��صَ‬ ‫َ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ب ��ى �مِ� �يرِ ي�‬ ‫� ��د و و �جِ ��ي�‬ ‫ْ َ ُ ُ ن ٱ �ْ َ ا ن َ ا ت ٱ �ْلُ‬ ‫��‬ ‫��‬ ‫حو ٰر‬ ‫��مِ� �لء ��عي ��و ِ� � �ل���غ� �ِ���ي� ِ‬ ‫فَٱ �ْ �آ نَ �قِ ْ‬ ‫ْ ُ �َ َ‬ ‫�� ��‬ ‫��� �ل�� � �د ��صِ‬ ‫�� ر ت� �إِ �ل�ى �م�صِ‬ ‫ير‬ ‫ٰ‬ ‫َٱ �شْ تَ َ ٱْ��مِ � ْ قُ �ٱ �ْ�قَ‬ ‫�‬ ‫� �و �� ���عِ‬ ‫��ل � �ل� ���ف �� �� � �ل � �‬ ‫ير‬ ‫ِر بِ �تِ ٰ‬ ‫�َ �� َ َ تْ ن � � نَنُ ٱ �ْ �غِ ُ‬ ‫و�تِ‬ ‫�ركِ��ي� ���ِظ��� � �ل�� ي ��و ٰر‬ ‫َ‬ ‫َ ْ نَ ٱ � ُّ َ َٱ � ُّ‬ ‫َق ْ أ �غْ �تِ‬ ‫ن‬ ‫��د � � � ِ�د �ي� �ب�ي�� � �ل��د ج��ى � �و �ل ��و ٰر‬ ‫َٱ � ُّ ْ ُ �قِ ْ �َ َّ َ �ٱ �ْ َ‬ ‫�‬ ‫�‬ ‫�‬ ‫� � �د � �ل � �� �ل����� �‬ ‫���ص�‬ ‫ير‬ ‫� �و ل� ب‬ ‫وح بِ ب شِ ٰ‬ ‫ح‬ ‫‪84‬‬

‫‪84‬‬

‫‪١،٣١‬‬

‫‪٥،٣١‬‬

‫‪١٠،٣١‬‬

‫‪١٥،٣١‬‬

My Hair a Blaze of White

A description of dogs:

I yearn for the days of my youth

31.1

too soon gone—how I blossomed, like a bud on a twig—how I long for their intoxications and venial sins, when our hearts were sprightly and full of vim and all our hopes opened before us. We lived in the shade of an easy life when Time did not yet sully joy with anxiety or care. Commanded by youth’s deviltries, I’d sally forth, a delight to houri-eyed girls. Now, no longer worthy of envy,

31.11

my hair a blaze of white, a new fate is mine. Between the gloom of night and the light heralding dawn’s arrival, I’d cross the dark

85

85

‫�‬ ‫�ب�ا ب� ا �لراء‬

‫ٱ �ْ‬ ‫� ُ َّ ��َ ��‬ ‫��ُ ُ‬ ‫َ�ا‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�بِ ��‬ ‫�‬ ‫��ض�مر �‬ ‫خ‬ ‫�ص‬ ‫�‬ ‫�‬ ‫ط‬ ‫�‬ ‫و ٰر‬ ‫ل �ئِ فِ‬ ‫ٍ‬ ‫َ‬ ‫َت�ْ َ ُ� � ٱ �ْ �أْ �� َ � َٱ �� ُّ ُ‬ ‫�‬ ‫ل‬ ‫ا‬ ‫��‬ ‫�‬ ‫�‬ ‫�س‬ ‫�‬ ‫ط‬ ‫�‬ ‫�‬ ‫���مرح فِ�ي� � �ل� و قِ� و ي و ٰر‬ ‫أْ‬ ‫�َم ْ���سُ‬ ‫�‬ ‫َ‬ ‫�َ ْ����ط��ُل��ْ نَ ����َ‬ ‫ش��‬ ‫�‬ ‫�‬ ‫��‬ ‫ضِ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫و ِرٍم �ج و ٰر‬ ‫�ي ب �‬ ‫ْ‬ ‫ْ‬ ‫ٱ‬ ‫ْ‬ ‫ٱ‬ ‫�مِ �ذ ُ‬ ‫ُ ْ ن َ َ � �قَ َ‬ ‫���ت�د ِ��ي� �وراءَ � � �ل ن��� � �ل� � � �‬ ‫عو ٰر‬ ‫صِ‬ ‫تَ ْ �يِ �ةَ ٱ ّٰ نَ ٱ �تَّ ْ‬ ‫�����سِ�م� � � للِه �ِم� � �ل�ك���‬ ‫ير‬ ‫بِ ٰ‬ ‫َ ْت ف ٌ �لَ ْ �ٱ ��ْ َ ا َا ت ٱ �ْلُ‬ ‫�‬ ‫ح‬ ‫�‬ ‫� � �و ٰر‬ ‫ح ��� ِ ج�ي����شِ� ل��ه� ِد �ي� ِ‬ ‫َ‬ ‫ُ ٱ �ْ �بِ ُّ‬ ‫َ‬ ‫���أ نَّ َ ا َ َ‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫حِ‬ ‫�‬ ‫ل‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ك�� ���ه� �م‬ ‫ك‬ ‫و ٰر‬ ‫�ل‬ ‫ََ‬ ‫���أ نَّ َ ْ َ خَ ْ � َ ا ٱ � ��ذُّ ُ‬ ‫ك�� � �و���ق� ���يِ�ل��ن� � �ل�‬ ‫�‬ ‫كو ٰر‬ ‫ع‬ ‫َ‬ ‫�‬ ‫خ‬ ‫�شُ�� ��ؤْ �ُ� ُ� ��يَ�ْ� �‬ ‫��ل �َم���طِ ��‬ ‫��ضِ‬ ‫� ��‬ ‫ير‬ ‫�ب و ب وٍم‬ ‫ٍ‬ ‫ٰ‬ ‫َ‬ ‫َ‬ ‫�ْ �غَ ا َ َ ْت نْ ��ق ْ َ � َ نْ �شُ‬ ‫ك��‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫م‬ ‫م‬ ‫��‬ ‫��‬ ‫�‬ ‫د‬ ‫�‬ ‫�‬ ‫�ط‬ ‫س‬ ‫�‬ ‫�‬ ‫و ٰر‬ ‫�ٍل‬ ‫�م ر ِ �‬ ‫ُ‬ ‫ٱ‬ ‫ّ‬ ‫� ��ل �خُ‬ ‫ََ �ْ �َ َ ا ئِ�حِ‬ ‫�ح��ةِ ��‬ ‫��‬ ‫��ص�‬ ‫� �ب�و�ل�د ةٍ� �‬ ‫��ص�و ٰر‬ ‫َ‬ ‫َ َ ْ ه أ ْ� َخ �ْفَ َ ا �َ�م ْ ُ‬ ‫�و�و�‬ ‫�‬ ‫�د‬ ‫�ه� �‬ ‫�‬ ‫�ج‬ ‫ور‬ ‫�ج�ِ � ر�ضٍ� �� �ل �‬ ‫ٰ‬

‫‪86‬‬

‫‪86‬‬

‫‪٢٠،٣١‬‬

‫‪٢٥،٣١‬‬

My Hair a Blaze of White

with my thin, slim-hipped dogs, sprightly in collar and leash, racing my steed’s gallop on the heels of startled game, as I cried, “Bismillah!” and “Allahu akbar!,”

31.20

spelling death for the troop of dark-eyed, long-necked oryxes like crystal bowls of kohl, our stallions’ hooves pounding like torrents on a stormy day, kicking up cloud upon cloud

31.25

of battle murk, and shattering rock after rock, pitting the face of the earth with smallpox scars.

87

87

‫~ ‪~ ٣٢‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫� ق �‬ ‫�ق‬ ‫ا � �ل ��و��س � او �لب�ن��د �� [ا �لر�ج�ز ]‬

‫َ‬ ‫�َ ا صِ‬ ‫َْ �ّ ا � َ ���تِ ْ‬ ‫��‬ ‫�‬ ‫�ل� �‬ ‫��ص��د �إِ �ل� �بِ �و� ر‬ ‫ي‬ ‫أَ ْ � َ �َ ْ ُ � �ُ �مِ ّْ‬ ‫�ر �م‬ ‫��‬ ‫����ص�فِ‬ ‫�‬ ‫�ج�د �و�ٍل م�� ر‬ ‫نْ َ ِّ هُ ٱ �� َّ �م نَ���خِ ْ‬ ‫�إِ � �م���س� � ل ارِ�ي� � ر‬ ‫ُ �ْ �َ تَ ْ� َ َ ْ‬ ‫�ق�ل��ةٍ ��ب� كِ��‬ ‫�ذِ �ي� ���م�‬ ‫�� �م�د ر‬ ‫ي‬ ‫صِ نْ ِ �ةَ َا ُ �قْ �تِ ْ‬ ‫�‬ ‫�� ����ع� �ب� ٍر ���م� � ِ�د ر‬ ‫َ �َ عِ �َْ َ ا ��فِ َ �هِ ْ‬ ‫د ا م �� �لي�����‬ ‫هه� � �م�� ر‬ ‫�فَ ئْنَ أَ ْ �َ ا �َ ٱ �ْ �أُ َ ْ‬ ‫�‬ ‫�‬ ‫�جِ ��� � �م�ث� �ل � �ل�ك�ر‬ ‫�ْ �تِ � فْ نَ � ا �� ُّ َ ْ‬ ‫�َْ َ خ‬ ‫�ل�م ي � �ى�ِل���� فِ�ي� ل� �‬ ‫�صور‬ ‫� �� ���غِ���ع �َ �َ ا‬ ‫َْ‬ ‫كب��ر‬ ‫�بِ ��صِ � ٍر و�ل� ِ‬ ‫َ‬ ‫حَ��جِ ْ‬ ‫�أ ��ْ َ هَ �� �� � ن �‬ ‫�‬ ‫�‬ ‫��شب�� ��طِ ��ط�‬ ‫ي� بِ� ر‬ ‫ٍ‬ ‫َ‬ ‫ُ َ ْ� نَ أ ْ �َ ا �َ ٱ � ُّ َ ْ‬ ‫�‬ ‫�‬ ‫�‬ ‫��ي �ود ع� � �م�ث� ل ل����سرر‬ ‫�ُ َّ َ � ْ نَ َ‬ ‫���ٱ � �ِّ َ ْ‬ ‫���ث�م ��ي ���ِ�طر� ك�� �ل����شرر‬ ‫�َ ٱ �ْ ُ ُ َٱ � �ُّ ��غِ ْ‬ ‫�ل�ى � � �ل� �‬ ‫� � �و �ل��ث�� ر‬ ‫�ق� �لو بِ‬ ‫�إِ‬

‫‪88‬‬

‫‪88‬‬

‫‪١،٣٢‬‬

‫‪٥،٣٢‬‬

‫‪١٠،٣٢‬‬

Black at Its Fringes

A description of the pellet bow: 32.1

The best way to hunt is with a taut bowstring, yellow, tightly twisted, snorting when stroked by the archer, its eye weeping tears of clay fashioned by a master fletcher who with all his know-how crafted them into balls of identical shape, small pellets more like pebbles than clay, stored in navel-shaped pouches, flying like sparks at hearts

32.12

and breasts.

89

89

‫�‬ ‫�ب�ا ب� ا �لراء‬

‫َ� َّا �غِ‬ ‫َ ْ نَا � َ���س�حِ ْ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�د‬ ‫�‬ ‫�‬ ‫�ل�م� ��‬ ‫�ع‬ ‫و بِ‬ ‫ر‬ ‫َٱ � �َّ ْ ُ ُ ْ َ ُّ ٱ �� ُّ �� َ ْ‬ ‫��سود � �‬ ‫��ي‬ ‫� �و �ل�ل��‬ ‫�ى�ل �م �‬ ‫ل��طرر‬ ‫ْ‬ ‫َ‬ ‫نَ�أ �ُ �ذُ أ ْ � ٍا َ �نِ �ذَ ْ‬ ‫�� �‬ ‫�خ� � ر�‬ ‫��ض� � �و� � ر‬ ‫���ص ٌْ َٱ ��ْ تَ �هِ ْ‬ ‫�َ �َ�ا َ� � ُ‬ ‫��‬ ‫�‬ ‫ش‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ب و �� ر‬ ‫و�لح‬ ‫ح‬ ‫َ ا َ تْ ُ فُ �فٍا َ �زُ �مِ ْ‬ ‫�‬ ‫�ج� ء � � �‬ ‫�‬ ‫���ص ��و� � �و �� ر‬ ‫َ‬ ‫ضَ �ٱ ��ْ�ُ َ ْ‬ ‫�سَ ا �حٍا‬ ‫� � �بِ���ي��� ل���غرر‬ ‫� �و بِ‬ ‫َ ْ � �ُْ نَ َ ا � َ ا َ �ٱ ��ْ��قِ َ ْ‬ ‫��ي ���ط�لب��� �م� ���ش� ء ل� �د ر‬ ‫َ ْ �ضٍا ��جِ ً َ نَ �هِ ْ‬ ‫�� �‬ ‫ر�و�‬ ‫� ِ�د ���ي�د ا �و��� ر‬ ‫َ‬ ‫ْ‬ ‫َ ُ نَّ َ ْ �أ �� نَ ٱ � ِّ ��ظِ�� ْ‬ ‫�‬ ‫�‬ ‫ل�‬ ‫�‬ ‫�‬ ‫�ن‬ ‫ر‬ ‫�و�ه� ي����س� ل�‬ ‫ْ َ ُ َ ٱ �ْ‬ ‫��خِ َ� ْ‬ ‫َا‬ ‫ن‬ ‫ل‬ ‫�‬ ‫�‬ ‫��م� ِ�ع��ن�د ه �ِم� � ب ر‬ ‫�فِ �ٱْ �تِ َ ْ‬ ‫��فِ � َ ا َ‬ ‫� �‬ ‫�ق� �م راٍ�م � � �ب�� �د ر‬ ‫َ � ِّ � َ �قَْ سٍا َ َ� �سِ ْ‬ ‫�و� �‬ ‫��ت�ىر ��و��� � �و ج ��� ر‬ ‫�إِ�ذَ ا َ �َم �ٱ �� ِّ �ف َّ �ٱ�نْ �تِ �ثَ ْ‬ ‫ر �ى ل�‬ ‫���ص� �� � ر‬ ‫�هِ�زَّ �َ ُ ً �قِ نَ� ْ‬ ‫�� �ل � �‬ ‫عود ا � �د ���خِ ر‬ ‫��فَ�بِ ْ نَ َ ا ُ���منْ��حِ ْ‬ ‫� �ي�� ��ه� �ٍو � ِ�د ر‬ ‫َ َ ا � ِ َ ��ِ ِ�� ْ‬ ‫�و�‬ ‫ح ��ع��ل�ى �خ���طر‬ ‫��ص� ئٍِ‬ ‫ُ َْ‬ ‫� ْ‬ ‫َ‬ ‫ن‬ ‫َ َا‬ ‫�‬ ‫�‬ ‫���‬ ‫�و�ذِ �ي� ج���ن� ٍح� ��م� ك �سِ ر‬ ‫َٱ ْتَا َ� � نْ ُ� ْ ن �ٱ �� ظَّ ��� ���فِ ْ‬ ‫� �و ر��ح ِم� ح��سِ� ل�� ر‬ ‫‪90‬‬

‫‪90‬‬

‫‪١٥،٣٢‬‬

‫‪٢٠،٣٢‬‬

‫‪٢٥،٣٢‬‬

‫‪٣٠،٣٢‬‬

Black at Its Fringes

Night was still black

32.15

at its fringes as we crossed the dark to meet the dawn, patiently taking up our position. Light spread through the sky. They came in droves, swimming, on their way, with Fate’s leave, to a new meadow or river, anxious eyes alert to danger— an archer hurriedly fastened string to bow and acted

32.25

decisively. His shots scattered the flock. He wore out the lath, almost ruining it. Birds fell from the sky, some screaming in danger, others stranded on broken wing. Hubris took control of the archer,

32.31

91

91

‫�‬ ‫�ب�ا ب� ا �لراء‬

‫ُ � نُّ ٱ �ْ �أَ� �شِ ْ‬ ‫َ َ ِّ‬ ‫�و�م���س���س�ه جِ � � �ل���� ر‬ ‫َ ُ ْ َ �إِ�ذْ ُ َّ ٱ �ْ‬ ‫�حِ �ذَ ْ‬ ‫�ن‬ ‫ل‬ ‫حق� �‬ ‫�‬ ‫�‬ ‫��‬ ‫ر‬ ‫�و��ق�ل�‬ ‫َ �جِ َّ َ ْ ٌ �فِ �ٱ ْ تَ�مِ ّْ‬ ‫�‬ ‫�و�‬ ‫� �د رم�ي� � � ���س��� ر‬ ‫َ ا ٰ َ �ذَ َ �ْ ُ �ٱ ��ْ َ � ْ‬ ‫�م� �هك� ا رم�ي� لب�����شِ‬ ‫�ر‬ ‫َ َ َْ‬ ‫��ص �ٱ ��ل��أْ�� �َ َم ���ط ْ‬ ‫�َ ا َ �‬ ‫�ص� ر ح ى ر ضِ� ر‬

‫‪92‬‬

‫‪92‬‬

‫‪٣٥،٣٢‬‬

Black at Its Fringes

who exulted in his triumph though he needed to be prudent. The shooting continued in earnest and the birds cried, “Humans never fire pellets like this—it must be raining stones from the sky!”

93

93

‫~ ‪~ ٣٣‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫� ق � � �زّ‬ ‫ا �ل�ص��ر � او �لإ��و‬

‫�‬ ‫[ا �ل��س ��ير� ]‬ ‫ع‬

‫َ َ نَ ْ َ‬ ‫َ� َّ َآ َ‬ ‫�ل�م�ا ر� ��ه�ا �َو�ِ�ع�� �لْ �ون�ا � �����ش�ز ا‬ ‫َّ‬ ‫�َ ْ َ‬ ‫َ� �زَّ َ� َ ا �حِ‬ ‫� يْ��ِه �إِ �لي��ه�ا ���هِ�ز ا‬ ‫ه ج ��ن�‬ ‫ْ‬ ‫� َ َ�زْ َ ٱ � ِّ ْ َ َ ٱ �ُْ َّ‬ ‫ََ‬ ‫ل��ن�ي� ز�ك � �ل�م �ر���تِ�ز ا‬ ‫�مك��ا �ه�ز ت� � �‬ ‫َّ‬ ‫َ ُّ أَ َ ٱ َ‬ ‫ي�‬ ‫�ُ�ح�ز � �ْ�ع نَ��ا �ق� � ��ل َّ�ر�ا ِ� �‬ ‫��حِ�ز ا‬ ‫يح‬ ‫َ َ ا َ َ ا ��قَ ْ ض ًا َ نَ ْق ً َ ْ َ‬ ‫��� � �و ��� ار �و�‬ ‫��خ�ز ا‬ ‫�‬ ‫�و��س� �م�ه� ب��‬ ‫َ َ� ْ َ‬ ‫ُ‬ ‫�َ ْ �� �ُ ُ‬ ‫� ��ي� ُر ��ؤ �و�ِ�س�ه نّ� ك�����ن�ز ا‬ ‫��ل‬ ‫ِ‬ ‫�ي ط ب فِ‬

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‫‪١،٣٣‬‬

‫‪٥،٣٣‬‬

On the Crest of a Hill

A description of a saker and geese:

She saw them when we were on the crest of a hill and flapped her wings like the wrist flick of a spear. Through stringy dust clouds she flew at bolt. She mantled—gripped, pecked, sliced, scooped treasures from skulls.

95

95

‫~ ‪~ ٣٤‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�‬ ‫�ف‬ ‫�ه�د [ا �لر�ج�ز ]‬ ‫ا � �ل �‬

‫َ‬ ‫��قِ ْ أ �ْ تَ � ��قَ ْ َ ُ ُ ًّ � �غِ �َ ْ‬ ‫�‬ ‫�‬ ‫�‬ ‫�د � �غ��د ���ب � �د‬ ‫ل‬ ‫ِ ي� �ل ��غ و �بِ � � ��س‬ ‫ُ َ ٱ � َّ‬ ‫� َّ‬ ‫نَ�فَ ْ‬ ‫ْ‬ ‫�‬ ‫�‬ ‫��ي�ى�ل �‬ ‫�َوِ�ل��لَ �ر�ا ��ضِ� ��ي� د ج��ى � �ل��ل� �‬ ‫��‬ ‫ِ س‬ ‫فِ‬ ‫ي‬ ‫َ‬ ‫َ‬ ‫ٱ‬ ‫َ‬ ‫ْ‬ ‫ّ‬ ‫ٱ‬ ‫ّ‬ ‫َ‬ ‫َ‬ ‫�‬ ‫�قِ‬ ‫�حِ‬ ‫ن‬ ‫�تِ‬ ‫َ‬ ‫ّ‬ ‫�‬ ‫��� � � َ ْ‬ ‫�‬ ‫� ت �إِ�ذ ا � �ل�� ْ ُ‬ ‫�‬ ‫�‬ ‫��ج� �� �د �ل�ى ك�� ل� ب��‬ ‫��‬ ‫�‬ ‫ى‬ ‫س‬ ‫م‬ ‫ٱ‬ ‫ِ‬ ‫َ‬ ‫�ظِ‬ ‫َ‬ ‫�َ ا َ � �ّ َ ا ُ � � ا َ ��جِ � ْ‬ ‫� � � �ل� �‬ ‫� � �� � ل‬ ‫�ق م ن�ه ر فِ�ي� �� لٍم و� � ��س‬ ‫َا� ٱ ��ْ َ ثْ �بِ �ُ� ْ �تِ َّ ٱ � �ِّ �فَ ْ‬ ‫��‬ ‫ح� � �ل �و�� ��ةِ �م�م� �د � �ل� ن�‬ ‫بِ�ل ِ �قِ‬ ‫� ��س‬ ‫�ُ�م�حِ� ْ �َ أُ َّ ْ َ َ ٱْ��مِ َ ْ‬ ‫�‬ ‫���ح�م�ل‬ ‫� � ��مِ� ر �إِ ���مرا ر � �ل� ر�س‬ ‫�جٍ‬ ‫ن ْ َ ٱ � َّ ف ُ َ �يٍا فَْ قَ ٱ �ْ��فِ َ ْ‬ ‫� � � �� �‬ ‫�‬ ‫ِ����ع�م � �لرِد ��ي�� را �بِ�� � ��و� ل� ر�س‬ ‫َ ْ ٱ �ْ�قَ �ذَ َ نْ ُ �قْ �َ َ ا �شَ َ ْ‬ ‫�‬ ‫�‬ ‫��ي� �فِ��ن��ي� � � �ل � �ى �ع� �م� �ل��ةٍ فِ�ي�ه� �� �و�س‬ ‫َ‬ ‫���ٱ �ل�زُّ �َ ٱ �ْ �أَ ْ ��فِ‬ ‫ُ � َّ �فَ�ٱ نْ� مِ �َ ْ‬ ‫ك�� � �ل�م � �ل� � �‬ ‫�ص‬ ‫�‬ ‫�ص�ك � �� �ل‬ ‫��‬ ‫�‬ ‫ر‬ ‫ِ‬ ‫س‬ ‫ِ‬ ‫َا ََ ْ‬ ‫ْ‬ ‫َ�ع��لَ�ْ �ه �تَ�� �ل �َ‬ ‫ح�ا ُت� �َو��ْ���ش�م �م� د ر�‬ ‫�‬ ‫�ي ِ يو�‬ ‫س‬ ‫ٍ‬ ‫ِ‬ ‫َ� َّا ���خِ َ ْ �� نَ ا ُ �تِ َ نَ َٱ �نْ���غِ َ ْ‬ ‫�ل� � � �� � ه � �د ا � � � �� �م‬ ‫م رط� � ى و ��س‬ ‫َ ٱْ‬ ‫�َْ �ف َ ٱ ْ نَ َثَْا ت ُ �َ ْ‬ ‫�َو َخ��ا دَ � ��خل‬ ‫��‬ ‫�‬ ‫�‬ ‫�‬ ‫��‬ ‫�‬ ‫�خ�ل‬ ‫�‬ ‫��‬ ‫�‬ ‫�‬ ‫�‬ ‫ب‬ ‫و‬ ‫ع و � ب ٍ‬ ‫س‬ ‫�إِ�ذَ �غِ َ �َ ْ ُ َ حِ تَّ َ ْ َت ْ‬ ‫�‬ ‫��‬ ‫ا �� �د ا �ل�م ����ير � ��ى ��ي���ف� رِ �س‬

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‫‪١،٣٤‬‬

‫‪٥،٣٤‬‬

‫‪١٠،٣٤‬‬

Vainglorious

A description of a cheetah:

As the meadows breathed in the black of night, before things got early, before day stood up and sat down, before the Pleiades shone firebrandbright, I crossed the edge of the dark with a cheetah trained to pounce upon its prey, whose lungs are like a smith’s bellows, and who, taut as a twisted rope, sits motionless, like an excellent passenger, on the horse’s back, eyes free of dust. Haughty, vainglorious, clad in everlasting symbols, like a yellow divining arrow shaken, then cast. Set free and sicced on his prey, he crouched low and took cover, outwitting his cautious quarry, master of opportune strikes. In the hunt, he comes into sight only when cornering his prey.

97

97

‫~ ‪~ ٣٥‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�‬ ‫�‬ ‫ا �� ك�‬ ‫ل��ل�ا ب� [ا �ل��س ��ير� ]‬ ‫ع‬

‫َق ْ أَ�غْ‬ ‫ُ‬ ‫��ص ْ ��لَ ْ �َ‬ ‫َ‬ ‫ا‬ ‫ت‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫��د � � ِ�د ي� فِ�ي� ب �‬ ‫� ي���ٍل �ف� شِ �ي�‬ ‫ِح‬ ‫َ‬ ‫ن‬ ‫��نَ��ْ َ � َ ����� �َ���ْ ت‬ ‫� ��‍  �ا شِ��‬ ‫�‬ ‫�‬ ‫ي�‬ ‫بِ ور ربِي بِ ب ي ٍ‬ ‫�جٍ‬ ‫�ُ �عِ �َّ � � �مِ� نْ�� ��فَ َّا ��ش‬ ‫م� �ٍل�م �ذِ ي� ���خِ ٍر ��ت� ٰ�‬ ‫َ‬ ‫�ُ َ ا � ُ �ٱ �ْ �أ ْ ض��َ �َع ن �ٱ�لْ� َ�َ ا ��ش‬ ‫ي���س� ��ئِ� �ل �ل� ر � ِ� م�ع� ٰ�‬ ‫ٱْ‬ ‫�ُم��لْ���تِ � �� ��ل��ْ�لَ ا �� �ل��مُنْ��َا ��ش‬ ‫�قِ� �ٍط ِ�‬ ‫�ج� �ثِ� �ِم �ح� ٰ�‬ ‫َ‬ ‫���َ�قْ �� � َ �ٱ ��لْ شَّ ْ �بِ �ةَ ��ٱ �لْ�منْ� َ ا ��ش‬ ‫�‬ ‫ِ�‬ ‫��‬ ‫���‬ ‫�‬ ‫ك‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�ق‬ ‫ط‬ ‫ك‬ ‫ي‬ ‫ٰ�‬ ‫ِ‬ ‫بِ‬ ‫ّ‬ ‫ُ‬ ‫َ‬ ‫ُ‬ ‫آ �فِ‬ ‫�� ��‬ ‫َ�ا �� �َ ��َ‬ ‫م�ا شِ��‬ ‫� � ��ة ك�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ط‬ ‫و‬ ‫ل‬ ‫ر‬ ‫ي�‬ ‫��ئِ ٍ‬ ‫ْ‬ ‫ٱ‬ ‫��ُ َ � ْ نَ‬ ‫��فِ‬ ‫نْ أَ ْ‬ ‫َ‬ ‫�‬ ‫��� � �ل َا ��ش‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫� �ي ��ِ�طر� ك� � ر ٰ�‬ ‫ِم� � ك�ل بٍ‬ ‫�فَ ْ َ ��لَ ��ُ ْ َ � � ��َا ��ش‬ ‫��‬ ‫�‬ ‫ه� �إِ �ى ���شر بِ‬ ‫� دٍم عِ ��ط� ٰ�‬ ‫ُ ي ُ � ِ َ ٱ �ْ‬ ‫�ت َ ا ن �ل��ل ّ ْ ن � � َ �ش‬ ‫��ص� � ِ �‬ ‫��‬ ‫��صي� ِ�د �عِ� ل��هِ� را �ٰ�‬

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‫‪١،٣٥‬‬

‫‪٥،٣٥‬‬

‫‪١٠،٣٥‬‬

Kennel-Bred

A description of dogs:

At dawn I crossed the dense dark with a fleet scent hound, kennelbred and trained; its inquisitive nose sniffs the ground for signs of life; it plucks the timid hare from its set as you would a gray hair with your tweezers; the bane of bird and beast, this dog swarms like a locust, a hungry brute, thirsty only for the taste of blood in the hunt, never used in dogfights.

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99

‫~ ‪~ ٣٦‬‬ ‫ف‬ ‫�‬ ‫�‬ ‫�و��ق�ا �ل ��� ا ��لب�� ز�ا �ة � او �� ك�‬ ‫ل���ل ب� [ا �ل��س ��ير� ]‬ ‫ي‬ ‫ع‬

‫نَ�غْ ُ � َ ٱ ْ‬ ‫�ُ ْ َ‬ ‫حش‬ ‫�ص�ا‬ ‫�صيْ� ِ�د � �� �لَو ْ�‬ ‫��ق‬ ‫��� ����د �و ِ�ل‬ ‫��‬ ‫�‬ ‫حِ‬ ‫�م � بِ ي‬ ‫ٰ�‬ ‫� � َ ا �َا ت �م نْ � ُ �زَا � ُ ْ ��ش‬ ‫ض‬ ‫���‬ ‫�بِ �‬ ‫��ص� ِري� ٍ‬ ‫� ِ � ���ب ةٍ� ���بر ٰ�‬ ‫َ‬ ‫ِ‬ ‫شَّ‬ ‫َ �أ نَّ َ ا �نَ� ّ َ ��‬ ‫ط�َ‬ ‫ه�ا �ُ�مَو��‬ ‫�‬ ‫��‬ ‫�‬ ‫�‬ ‫�‬ ‫ي�‬ ‫ك� ��م��م� �ق �‬ ‫َ نَ ْ َ َ ت ��ضُ ِّ تَ ْ تَ نْ‬ ‫� ا‬ ‫� ����مر ����س���‬ ‫�و� ��ور�‬ ‫��‬ ‫�‬ ‫�ج‬ ‫�ح� ٍ‬ ‫شِ ��ي�‬ ‫ٍ‬ ‫�ذَ َ ت � �شِ‬ ‫ًّ َ �ذَ َ ت نَ ْ‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫� ��� ����س�م و و ِ ���‬ ‫� او ِ‬ ‫� ب ��شٍ�‬ ‫� ٱ �ْ عِ ْ �غِ ْ َ � شّ‬ ‫� �ل� �د � � �� ��‬ ‫�َ �َ ا ��‬ ‫وو ��بِ �ٍلْ فِ�ي� � ِو � ي رِ ط ٰ���‬ ‫�َ ا �ٱ ْ تَ �أ ���ثِ َ تْ �م نْ ُ � ن��نَ ا ��خِ ْ ��ش‬ ‫م� ��س�� � ر� ِ � د ِو�� بِ� �د ٰ�‬ ‫�� ْ َ ا َ �ْه َ � َ ُ ٱ ��ْ ِ ْ‬ ‫ب ���ط ش‬ ‫�� ي� ِ�د �ه� �و �ي� ���شِ �د ا د � ل�‬ ‫ِل�صِ‬ ‫��‬ ‫� ٰ�‬ ‫َ شّ‬ ‫�‬ ‫�� َ�ا �َ �َ َّ�ا ��مٍ�ا � َ �ْ‬ ‫�ج�هٍ ب�‬ ‫� فِ �‬ ‫��‬ ‫�‬ ‫�ق م ب ���س‬ ‫�بِ �و‬ ‫ٰ�‬ ‫َ‬ ‫� �ْ‬ ‫ك��‬ ‫َ‬ ‫�جِ �د ���ي�د �ٱ ��ل�ِّ��ن��قْ ��ش‬ ‫ا‬ ‫�‬ ‫�‬ ‫ِ�م��ث�ِل ِد �ي��ن� ٍر � ِ ِ‬ ‫ٰ�‬ ‫�َ�ٱ � ْ تَ ْ َ ��َ �ٱ ��ل َّ ْ َ� ��� � ن �ٱ ��ْ�ل��فِ ْ ��ش‬ ‫ي� � ر ٰ�‬ ‫و �س����ب�د ل ��سر�ج �بِ ِل� ِ‬ ‫َ� َّ أَ‬ ‫ٱ � َّ‬ ‫َ‬ ‫�ف ْ ً َ�ْ‬ ‫اَ‬ ‫ْ‬ ‫�‬ ‫�‬ ‫�‬ ‫�م‬ ‫�‬ ‫��‬ ‫�‬ ‫�‬ ‫ا‬ ‫�ل�م� ر� ى فِ�ي� ل�ل���ي�ِل ���جر ي شِ ��ي�‬

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‫‪١،٣٦‬‬

‫‪٥،٣٦‬‬

‫‪١٠،٣٦‬‬

Flash Floods

A description of goshawks and dogs:

Come, comrade, get up! It’s time to go

36.1

oryx hunting with our rapacious hawks, dappled with embroidered dots, and let’s take our lean and swift scent hounds, masters at sniffing out prey and flushing it from the ground, mighty warriors all, awaiting our permission to tear apart the game. Let’s bring a horse, strong as flash floods, galloping up a storm. He saw daybreak march off into night

36.12

and got up with a smile on his cheery face bright as a newly minted dinar, swapping his soft bed for the saddle.

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101

‫ا �ش ن‬ ‫�ب� ب� ا �ل�����ي�‬

‫� َ ا َق ْ �خِ َا َ ُ شّ‬ ‫َ َ‬ ‫�ف�ك�ْم ِك����ن� �� ��د �‬ ‫� �ل� �و�ع‬ ‫��‬ ‫سٍ‬ ‫ٰ�‬ ‫�غِ ْ شّ‬ ‫ْ‬ ‫َ ��ِ ْ‬ ‫هَ‬ ‫�� ر�� �����ع�ي� �غِ�‬ ‫�‬ ‫�صِ‬ ‫��‬ ‫�‬ ‫�‬ ‫�‬ ‫و‬ ‫�وق ةٍ‬ ‫فٍ �بِ‬ ‫رِ ٰ�‬ ‫َ‬ ‫تَ�فُ شُّ ُ ْ َ ٱْ� �هِ َّ أ � َّ �فَ شّ‬ ‫� �‬ ‫�� � �‬ ‫��ف��ف � �ل‬ ‫��ق �‬ ‫� ��� � �ل �� �م ي� ٰ���‬ ‫ْ ُ تَ ْ َ �نِ ً َ َ شّ‬ ‫� �شِ‬ ‫ت َا � ت‬ ‫� �‬ ‫�������سِ بر����ه� ح� �� �د ى �ور�ٰ�‬ ‫ُ‬ ‫َ‬ ‫�� ��ل�ْ�ي �ى��لَ� �ذَ ا ت� ن��ُ � ��ُ�عْ�م ش‬ ‫��‬ ‫�ةٍ ِ �ج وٍم‬ ‫فِي�‬ ‫ٰ�‬

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‫‪١٥،٣٦‬‬

Flash Floods

At first light, we emptied so many coverts and nests! Under a night of watery-eyed stars, in dew and misty rain, I drank a pure draft of wine, and banished all cares.

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103

‫~ ‪~ ٣٧‬‬ ‫� ف‬ ‫�و��ق�ا �ل ��ي �ص�ف� ا �� ف�ل� �� [ا ��خل‬ ‫���ف�ي ��]‬ ‫رس‬

‫ْ َ ُ �خِ ُ فٌ َٱ � َّ ُْ ُ ْ�قَ ٱ �ْ قَ‬ ‫َّ ٱ ْ تَ ْ‬ ‫��جِ �لَ تْ � َ ْ � َ‬ ‫ُر��َم�ا � ��س��ع‬ ‫� ��‬ ‫�رد ا ء �‬ ‫�‬ ‫�م‬ ‫� جِ‬ ‫� ن��و�� � �و �ل��لي���ل �م��ل��ى � � �ل ِ ي��‬ ‫�‬ ‫�‬ ‫��س‬ ‫�‬ ‫�‬ ‫�‬ ‫ب‬ ‫بِ ر جِ ي‬ ‫ٰص‬ ‫ُ‬ ‫َ‬ ‫ْ‬ ‫ّ‬ ‫�ٱ �ْ�قَ‬ ‫ٱ‬ ‫َ‬ ‫ٌ‬ ‫�فِ‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫شِ‬ ‫أ‬ ‫ٱ �ْ َ ْ � ا�‬ ‫�‬ ‫�ة ت ْ � � �يِ ْ‬ ‫ً َ‬ ‫ح� �بِ� � �ل ��نِ ي��‬ ‫���ِ�طر� � ���م�ل� � �ل� �دي�ِن� بِ� ���� �د   � او ����سِ ِ� � �لب�����س��ِط �ل� ِ��‬ ‫�ص‬ ‫قٍ‬ ‫ع‬ ‫ٰ‬ ‫َ‬ ‫�ٱ ل�ْ هِ ْ َ‬ ‫� ٱْ��مِ‬ ‫َ� تَّ �غَ َ َ تْ َ ا �َ‬ ‫ْ‬ ‫��قِ ْ َ �� َ تْ َ ا أ�ْ � �ٱْ�َ ضَ‬ ‫ُ‬ ‫�‬ ‫ا‬ ‫�‬ ‫ا‬ ‫�‬ ‫�صو�‬ ‫�‬ ‫�‬ ‫ح‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�ل‬ ‫�‬ ‫ك‬ ‫�ل‬ ‫طو���ه� � ي��دِ ي� م�‬ ‫�د � �‬ ‫��� �مِ� �يرِ �ى �� د ر��ه� ك� ي �ِل � ر� � ٰص‬ ‫�شَ قُّ َ ْ َ َ طِ ْ‬ ‫ُ‬ ‫َ لَ� َ ا ُ َّ ةٌ َ نَ‬ ‫�� َ‬ ‫ا‬ ‫ص���ةٌ ��تَ�نْـ �ـ�� � �عن‬ ‫�ه�ا �‬ ‫��ك���� ��ل�عِ� ��ةٍ �بَ��ْ نَ �خ��و�‬ ‫�‬ ‫��‬ ‫� �‬ ‫�و��ه� ����غر� � �و� �صِ � ي‬ ‫ي�‬ ‫ٰص‬ ‫ت آ‬ ‫�فَ �تِ َ َّ تْ � �أَ ْ ُ ن ��قِ‬ ‫َ ا ت نْ �َ ا قِ � َ نَ ُ‬ ‫ا‬ ‫َ‬ ‫�‬ ‫حو�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ٍ �‬ ‫�‬ ‫�‬ ‫� ب��د � ِ�ل���ع�ي�ٍ� � ِر��م� � �بِ��ي �ى� ٍ‬ ‫� ِم� �ل�ٍح و � ٰص‬ ‫َ‬ ‫َ‬ ‫ٱْ� َ ا أَ ْ َٱ ُ‬ ‫�ُ �ْ ��فِ َا ت َ َ أ � نَّ �ِ ْ‬ ‫��َ َ‬ ‫ا‬ ‫���� ��ل��دّ ُر �و�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ء‬ ‫�‬ ‫�‬ ‫��م�‬ ‫� �ع��ل� � �‬ ‫بٍ  ك د ��ع� ِمي��� �ل�م� ِ و ك‬ ‫�جِ ���ةِ �غي��‬ ‫��ق� �ل� ٍ‬ ‫ٰص‬ ‫ى‬ ‫صِ‬ ‫َٱ ْ ن َق ْ‬ ‫ُ ُ � ِّ ٱ � شُّ ُ‬ ‫�ْ ٱ �ْ َ َ ��شَ���َّ‬ ‫ا‬ ‫�‬ ‫�ر�و �‬ ‫�����فر ��� �ل����خ���و�‬ ‫� ���‬ ‫م‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫نِ‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫م‬ ‫مِ‬ ‫��ف‬ ‫�‬ ‫�ث‬ ‫�‬ ‫�‬ ‫ه‬ ‫�‬ ‫ ‬ ‫�‬ ‫ل‬ ‫ح‬ ‫�‬ ‫و‬ ‫�‬ ‫ر‬ ‫ِ‬ ‫ٰص‬ ‫ِل ِ ر ةِ‬ ‫�جٍ‬ ‫� �وب ِ� ٍ‬ ‫ٍ بِ‬ ‫ٍع‬ ‫�فِ َ فَ ْ نَ ا َ َ ْ حٍا عِ ُ �فٍ ا ُ ْ ُ ٱ � ُّ � َ نْ َ� ً فَ‬ ‫ح��س� � �لرم‬ ‫�صو� �  ي�‬ ‫� �د ����ع�� �ع��لي��ِه ر�‬ ‫ح ش����ى �َو � �ر �‬ ‫�‬ ‫� � �� � �‬ ‫� �ِم�‬ ‫ِي‬ ‫ِ �ي ٰص‬ ‫ِ ب ح‬ ‫ُ‬ ‫ّ‬ ‫ٱ‬ ‫�َْ ��يِ�زَ �ْ َ ْ َ ُ ٱ ��‬ ‫َ‬ ‫ُ‬ ‫� مِ نْ َ � �مِ� �ف�ْ ُ‬ ‫��تِ‬ ‫��� � َّ‬ ‫��ص َ َ ْ‬ ‫َ‬ ‫�خ‬ ‫ل‬ ‫�‬ ‫حو�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫�ل� �� �ل � ��‬ ‫ي  ك� لرو ِد ي� �ي� ��ه‬ ‫�‬ ‫��قر � �ور و� رِد �‬ ‫� ٰص‬ ‫فِ‬ ‫م‬ ‫�ي ع‬ ‫�جٍ‬ ‫�ٱ � َْ‬ ‫ٱ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ُ‬ ‫ٱْ� َقْ ُ‬ ‫َ‬ ‫َ َ �ف��ْ نَ ا � َ ا َ نَا �ت ْ ُ � ّ‬ ‫ح ش����ا ه ك���� جل‬ ‫�يـ ى�ا ُ� َ�‬ ‫��ا �‬ ‫�ص�و�‬ ‫��‬ ‫��ضِر ب� � �ل َ�ر �ى�‬ ‫�ور �ع�� خِ ��ب� ء �� ��‬ ‫� � �لم���‬ ‫�ذِ‬ ‫�ص‬ ‫فِ‬ ‫ٰ‬ ‫َ ح‬ ‫أَ َ‬ ‫�� َ ا َ �ِّ َ تْ َ � ً‬ ‫َ �فّ ْ َ ا َ �ُ ٌ ��خِ ْ َ ا ُ �ٱ � �ِّ ْ‬ ‫�‬ ‫�‬ ‫�‬ ‫ك‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫ء‬ ‫� �ْو ��م� ر�فع� و�ِل��ي�د �بِ�كي�‍  ‍�ه� و �لو � ر�ق� بِ� ل��تر�قِ ي��‬ ‫�ص‬ ‫ع‬ ‫ٰ‬ ‫َ ا َ �غُ ْ َ ن َ ْ ضَ َ‬ ‫َ نُ ُ ٱ � �شَّ َ َ غَ ٍّ ا َ نُ ْ �قَ‬ ‫���ٱ �ْفُ ُ‬ ‫�ص�و�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�ض� �و�����س�‬ ‫�‬ ‫ا‬ ‫�‬ ‫ء‬ ‫�‬ ‫ل‬ ‫�د‬ ‫�‬ ‫�‬ ‫��‬ ‫�‬ ‫�‬ ‫ى ‬ ‫م‬ ‫ك‬ ‫� �و��‬ ‫�صِ ي�� ب� � �ل�� �واء ����‬ ‫�‬ ‫�‬ ‫�‬ ‫و‬ ‫ر‬ ‫ر‬ ‫�ةٍ‬ ‫�‬ ‫ِ‬ ‫ٰص‬

‫‪104‬‬

‫‪104‬‬

‫‪١،٣٧‬‬

‫‪٥،٣٧‬‬

‫‪١٠،٣٧‬‬

Trained in the Arena

A description of a horse:

Night would be wrapped in a gown and I’d ride at pace, mounted on a short-haired, easy-running thoroughbred, her front legs gifted with speed, her strides long and wide as she overtook her quarry, built like a mighty stone temple, muscles trained in the arena, a blaze shining through her forelock like a spadix in the midst of palm leaves. She jumped a group of onagers, courageous jennies, fleet, fat, and in foal, their wombs hiding fetuses like water bugs or baby rats, the harem led by a jack as sturdy as a hefty staff, a desert dweller braying from his lookout, spooked by any shape that moved. We drove a whirlwind against him, rewarding his throat and belly with repeated thrusts of our lance. He pounded the rocks, but my mare kicked in hard, as if it were a race on the open road. We pitched our tent, the wind flapping its walls like a bird with clipped wings, or a devoted nurse dandling a child in her arms, and we ate our fill of fresh meat, drinking water from meadow pools shining bright as silver coins.

105

105

37.1

37.5

37.10

‫�‬ ‫�ب�ا ب� ا �ل�ص�ا د‬

‫َ � ًّ‬ ‫َ‬ ‫َ حِ ًّ � نَ‬ ‫�َ�ا �� �لقَ��ْ�م� ��ل َ‬ ‫��حِ �ر��ي��صٍ �و ل‬ ‫�‬ ‫�حِ ظ ���� �َ او �� �و�‬ ‫��ت�ا رك �َو�‬ ‫� ظ ��� � �قِ�� ��ي�‬ ‫�‬ ‫ي وِ ي� ِ ِ ٍ‬ ‫ِ‬ ‫ِ‬ ‫فٍ‬ ‫ٰص‬ ‫َ‬ ‫ْ‬ ‫ٱ‬ ‫ٱ‬ ‫َ‬ ‫ّ‬ ‫ٱ‬ ‫ت‬ ‫ْ ُ � � خَ ْ َ � �شِ ً َ � ّ �غَ � ِّ نْ‬ ‫َ � �ُ نْ َ َ ُ �قِ‬ ‫�ي�ا ��م ْ�م��ذ �و� ��ةٍ �‬ ‫��خ��ل��ط � ل‬ ‫�‬ ‫�ي�‍   �ـر بِ���� ر � �و �ل‬ ‫��سْو �بِ�� �ل��ت���غِ� ��ي�‬ ‫�وِ�ل�د ���‬ ‫�‬ ‫�‬ ‫ِ‬ ‫ٰص‬ ‫َ � � شِ ْ َ ا نَ �َ ا ُ �فِ َتّ ُُ ٱ � َّ�زْ قُ َ ��غِ ْ ثَا نَ �َ ا ُ َ ا ُت ��خِ‬ ‫�ق� � �‬ ‫� ِ�مي��‬ ‫�‬ ‫�و�ِل��� �ب� ��ع� � �ل� ��ي�����ف��ره � �لر   �� �و�� ر�� � �ل� ��ي��‬ ‫ٰص‬ ‫َ‬ ‫َ‬ ‫�َ َ‬ ‫َ ��غَ ًّ َ َ ُ ْ‬ ‫�َ ا ُت مِ ُّ ٱ �ْ �أ ْ‬ ‫ش�س ٍ�د �ب��عِ� ي��دٍ  �ل� ��� �د � �ل����ي ِ�د �ي� �إِ �ليْ��ِه ر خِ���ي�‬ ‫�غ�ا �ٍو �ور���� ��‬ ‫�‬ ‫�وِ�ل��� ��‬ ‫ٰص‬ ‫ي‬ ‫ْ‬ ‫َ‬ ‫َ‬ ‫ٱ‬ ‫َ‬ ‫َ‬ ‫�‬ ‫َ‬ ‫ُ‬ ‫�‬ ‫ْ‬ ‫�‬ ‫ُ‬ ‫ُ‬ ‫�‬ ‫ُ‬ ‫ا‬ ‫ْ‬ ‫َ‬ ‫ْ‬ ‫ْ َ‬ ‫َ‬ ‫ن‬ ‫كو�‬ ‫�َو��ل���ذِ �ي� �‬ ‫�‬ ‫مو   ت� �إِ �لي��ِه �و�ه�اِ�ل��ٍك �ذِ �ي� �� �‬ ‫��جرءَ �ةٍ �و �ل� ��ي �هت� ِ�د �ي� � �ل �‬ ‫�ص‬ ‫ِ‬ ‫ٰ‬ ‫ُ ُّ َ ْ �ََ َ � ٌ �َ ٱ � ّٰ‬ ‫َ َ نْ َ ْ ُ �َ َ ْ �َ‬ ‫�ك�ل �ن ��ف� �� ل�ه�ا ��ط ْر� �ق� �إِ �ل�ى � �ل��لـ  �ِه �و�م�ا �إِ � �ع��ن�ه �ل�ه�ا �ِم ن� حِ�م��ي�‬ ‫�ص‬ ‫�ي‬ ‫سٍ‬ ‫ٰ‬

‫‪106‬‬

‫‪106‬‬

‫‪15،٣٧‬‬

Trained in the Arena

My people, nothing can be done

37.13

about life’s contradictions, about fates too meager or too full, about those who shirk or take more than their due, about this corrupt world where good is mixed with bad, sweet with sour, where some eat their fill and are never sated while others go ever hungry, where we are all ensnared

37.16

by delusions and nobody aspires to the right path, a path difficult and remote, yet made easy by God, a path on which those who stay lazily at home perish, while the bold who venture forth cheat death. Every soul has its destined path to God.

107

107

‫~ ‪~ ٣٨‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�‬ ‫�‬ ‫ا �� ك�‬ ‫ل���ل ب� [ا �ل��س ��ير� ]‬ ‫ع‬

‫أَنْ عِ ُ ُ ُ �زَ ْ � َ ٱ �ْ قَ‬ ‫�‬ ‫�م‬ ‫� ���� ت��ه ���م ����ع�فِ‬ ‫�ر � � �ل ِ ي��‬ ‫�ص‬ ‫ٰ‬ ‫�ُ ف�ْ �فٍا ُ َ �ثَّقَ ٱ �ْ فُ ُ‬ ‫�صو�‬ ‫�‬ ‫م��هِ‬ ‫����هِ‬ ‫��� � � �مو� �� � � �ل�� � ٰص‬ ‫ٱْ‬ ‫َ َ ُ ْ ٱْ‬ ‫�َ‬ ‫ي��ْ�م�ل��أ �نَ��ف� ��َ � �� �ل�قَ�ا �ن��� � �ل‬ ‫ح �ر �‬ ‫�‬ ‫َس ِ صِ ِ �ي ٰص‬ ‫ْ‬ ‫َ أْ‬ ‫�ُم�ْ�نت��عِ�� ًل�ا ��� خ�َ�م�� �َ ��م��فُر �و�‬ ‫�‬ ‫ٰص‬ ‫بِ‬ ‫صٍ‬

‫‪108‬‬

‫‪108‬‬

‫‪١،٣٨‬‬

In a Saffron Robe

A description of a dog:

I sing of a lean hound with well-fitted joints, clad in a saffron robe, who fills with many a hope the hungry hunter too poor to mend his shoes.

109

109

‫~ ‪~ ٣٩‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫� ّق �‬ ‫ا �ل�ز ر�� [ا �ل��س ��ير� ]‬ ‫ع‬

‫�قِ ْ أَ ْ‬ ‫َٱ � �َّ ْ ُ �قِ ْ �تَ�قَ ضَّ‬ ‫َ‬ ‫ت‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫� �‬ ‫�‬ ‫�‬ ‫�‬ ‫�د � ��غ� ِ�د ي� و ل�ل���ي�ل �د ��ى‬ ‫َ‬ ‫�ى�زُ َّ أَ ْ ضَ‬ ‫ه َ �أ ْ ض�َ‬ ‫�‬ ‫� �‬ ‫�‬ ‫�‬ ‫�‬ ‫��بِ� � رقٍ� � ر ��ى �بِ� �ِ و ر ��ى‬ ‫َ ٱ‬ ‫َ�‬ ‫��ن�ا هُ �أ َ ا دَ � ��ل��ِّن ْ�ه��َ‬ ‫�ض�ا‬ ‫��حِ َ�م��لْ َ‬ ‫َّ�ا �‬ ‫�ل�م‬ ‫�‬ ‫ر‬ ‫أَ� َّ َ‬ ‫ْ‬ ‫��ن�ا �َ�ْ�ع��‬ ‫ض�ا‬ ‫��َ‬ ‫�ضٍ�ا �َ � مِ� نَ���ْع َ‬ ‫�‬ ‫� � قِ‬ ‫��ل �ب� �ع�‬ ‫�� و‬ ‫�ب‬ ‫��يِ ُْ‬ ‫َ َّ ٱ � ِّ َ َ ْ‬ ‫�� ُ‬ ‫ض�ا‬ ‫��َ‬ ‫�� ر�ك ض��� فِ��ي� �ج��و � �ل����س�م�اِء ر�ك��‬ ‫َ ا �قِ ْ ن َنْ ُ � َ ن نَ ْ‬ ‫ض�ا‬ ‫��َ‬ ‫بِ�‬ ‫��خ� فِ���� �ي�ِ� ي�� ���‬ ‫��‬ ‫ض�ا ِ� � ����ق ��‬ ‫�ق�‬ ‫َ�� َ َ أَْ َ ٱ �ْ َ َ ٱْ‬ ‫�� َ‬ ‫� � �ل�مُ�ْ ���ن�قِ� ��‬ ‫ض�ا‬ ‫��َّ‬ ‫ك���م�ا ر� ��ي ت� � �ل �ْ �‬ ‫كوك ب‬ ‫َ‬ ‫َ‬ ‫��فِ ��أ ْ ����ط��عِ� ���ع�َ �ٱ ��ْ�لق ��ْ �َ �شِ�� �َ اءً ���غِ ��‬ ‫ض�ا‬ ‫��َّ‬ ‫م وم و‬ ‫َ ٱ �ْ أَ‬ ‫َ�ٱ ��ل �ش��َّ ْ ُ �َْ َ ْ ُ‬ ‫�غ�ْ �َ�سنَ��ا �ه�ا � �ل�� ْ��‬ ‫ض�ا‬ ‫��َ‬ ‫�ص�‬ ‫ر‬ ‫�و �م��س �ل�م ��ي � ب‬

‫‪110‬‬

‫‪110‬‬

‫‪١،٣٩‬‬

‫‪٥،٣٩‬‬

At Night’s End

A description of a tiercel:

I crossed the dark at night’s end with my pride and joy, my tiercel. As I carried him on my wrist, he was keen to take off, now pulling, now relenting. Then, beating the air with his wings, he took to the sky, in a glimpse like a shooting star. For our troop he provided a feast of juicy meat before the sun had dyed the earth red.

111

111

‫~ ‪~ ٤٠‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�‬ ‫�‬ ‫ا �� ك�‬ ‫ل��ل�ا ب� [ا �ل��س ��ير� ]‬ ‫ع‬

‫َ َ‬ ‫َ� َّ ا �تََ ��لّ �ٱ ��لنّ�� ْ ُ � ٱ نْ� َ � ا ��‬ ‫�‬ ‫�‬ ‫��ج‬ ‫�ل�م� ��و�ى � �م فِ�ي� �حِ �ط� �ِط‬ ‫ْ‬ ‫َ �َ َّ َ أ ��ُ ٱ � �َّ ْ �ٱ � �شْ� َ � ا ��‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�و �ه ر� س ل�ل���ي�ِل بِ� مِ�� �ط� �ِط‬ ‫م‬ ‫�ُ ْ نَا ��ل���غِ�زْ�َ ا ن �ٱ �� نَّ� َ ا �ٱ ��ْ�َ َ ا ��‬ ‫�ق�د �� ِ � �ل� ِ� ل��‬ ‫�ق� ل �عو ِ�ط�ي�‬ ‫�ةً تَ�ُ ��ُ � �ٱ �� ََّا ��‬ ‫َ �يِ‬ ‫د ا ِ�ه� �ى� �ج �ول فِ�ي� ل �بر� �ِط‬ ‫ََ‬ ‫���أ نَّ َ ا َٱ � ِّ �ْ ُ َ �ٱ �� ََّا ��‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ك�� ��ه� �و ل���ن�‬ ‫��ق ك� لري� �ِط‬ ‫ع‬ ‫�تُ��ْ‬ ‫� ُ ُ ًّ ���خِ َّ �ٱ �ْ �قَ ا ��‬ ‫ع‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫��جِ �ل د ر � ر بِ� �ل���تِ � �ِط‬ ‫َ‬ ‫���تِ ُُّ ُ � �حِ َ ٱ �ْ �أ�ْ َ �‬ ‫� �� �لقِ� � �ل� ��قرا ��ِط‬ ‫� رد ه فِ�ي�‬ ‫نْ أَ ْ‬ ‫���ُ �تَ ْ �زُ � نَ ٱ � نَّ شَ ا ��‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫� ���ن و ِم� ل������ �ِط‬ ‫ِم� � ك�ل بٍ‬ ‫�شَ َ � َ ٱ �ْ �أَ�ذْنَا َ‬ ‫���ٱ �� َّ َ ا ��‬ ‫�‬ ‫�� � او ��ئِ‬ ‫� ك� ل���سي�� �ِط‬ ‫��ل � �ل� �� بِ‬ ‫َ‬ ‫آ�ذَ نُ َ ا َ �� ٱ �ْ �أْ شَ ا ��‬ ‫�‬ ‫� ا ���ه� �ك����طِ‬ ‫�� � �ل� م���� �ِط‬ ‫قِ ِ‬ ‫ع‬ ‫َ‬ ‫َ�تَ� ن��ْ��تِ � �� �ل ���قِ ٱ �ْ �أْ َ ا ��‬ ‫�‬ ‫�و ضِ ��ي� ِ ��فِ� � ِر � �ل�و��س� �ِط‬ ‫َ‬ ‫�ن َ ا ��َ أ �فْ َ ل�َ َ‬ ‫َ ا ��‬ ‫ا‬ ‫ا‬ ‫�‬ ‫�‬ ‫��ص� ل � ��و هٍ �ه� ��سِ ب�� �ِط‬ ‫ِ��‬ ‫َ‬ ‫َ‬ ‫��َ ا �يِ �ذَ ٱ � � ُّ َّ � ٱ �ْ �أ ْ �فَ ا ��‬ ‫�‬ ‫ك‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫��خ� � � �زِ � ل�د ر فِ�ي� �ل� �س � �ِط‬

‫‪112‬‬

‫‪112‬‬

‫‪١،٤٠‬‬

‫‪٥،٤٠‬‬

‫‪١٠،٤٠‬‬

Impulsive on the Leash

A description of dogs:

The Pleiades lay low in the sky, the hair of fretful night turned gray. We drove the death-dealing dogs, impulsive on the leash, toward the tendernecked desert gazelles. In the mirage-like dust cloud, it was as if they scooped up pearls fallen to the ground, and returned them to their earring hoops—salukis dancing with energy, raising their whiplike tails, ears thin as the teeth of a comb, their long arrowy muzzles fused to their spines; luminous as pearls locked away in a jewel box.

113

113

‫~ ‪~ ٤١‬‬ ‫ف‬ ‫ي ��‬ ‫�‬

‫� ق �‬ ‫ا �ل�ص��ر [ا �ل��س ��ير� ]‬ ‫ع‬

‫َق َ َ َ �فْ ٱ � َّ َ فَ ظُّ �‬ ‫��ا ��سٍ �ع��ل�ى ��س� �� ِك � �ل��د �م�ا ِء �� ���‬ ‫َ َ ْ �نِ ُ َ َ َ ُ َّ َ ْ ظُ �‬ ‫�م�ا ب��ي��� �ه � �وب��ْ�ين���ه ن� �و��ع ���‬ ‫َ ٱَ‬ ‫�ُ�ْ � �يِ َ ْه َ ا أ َ َ � ��ل��ّ�ل ْ ظُ ��‬ ‫ع ��ط�� �� �د �ي�ِ �م� � را د �ح��‬ ‫�ي ِ ي‬

‫‪114‬‬

‫‪114‬‬

‫‪١،٤١‬‬

Brutal and Hard

A description of a saker:

Brutal and hard. Blood shed without warning. What its eyes see its talons take.

115

115

‫~ ‪~ ٤٢‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�ش ا ن �‬ ‫�‬ ‫ا �ل���� �ه��‬ ‫ي� � او �لغ�� ار ب� [ا �لر�ج�ز ]‬

‫أَ�قْ ��بِ َ َ ْ‬ ‫َ �يِ َ ْ‬ ‫�‬ ‫�‬ ‫�‬ ‫� �� � � ����ف � � �د‬ ‫ل �يٱ َِّر ي و ع‬ ‫�ُمْ �تِ َ � ��ل���ل ْ � ���جِ�زَ ْ‬ ‫�م� ��� ئ‬ ‫� �ح��ظِ� �‬ ‫لِ‬ ‫ع‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫�‬ ‫ٍ‬ ‫ُ ْ �ت ْ ا َ � ُ َ ْ‬ ‫�م���س� � ��ع� � �ل� ��ي‬ ‫رِو و م � رع‬ ‫تُ‬ ‫�� ُ هُ �إِ�ذَ ا �َ ���قِ �ْ‬ ‫���ْ�ب��صِ‬ ‫و‬ ‫ر‬ ‫ع‬ ‫َ‬ ‫����فِ ْ خُ ف ًّ ُ ْ �َتزَ ْ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ك‬ ‫�‬ ‫� رِد �� م��ن�‬ ‫�ع‬ ‫َ‬ ‫أ َ ا َ �ُ‬ ‫�ج نْ��د �َ ���� �َ�ْ‬ ‫�‬ ‫�‬ ‫� �م� �م‬ ‫و‬ ‫َ ٍ ٱ ْ شِ �يع‬ ‫ُ َ‬ ‫���أ �ظْ � َا � � �� ���قِ�زَ ْ‬ ‫�سود ك�� ���ل� �ِل ل�‬ ‫��‬ ‫ٍ‬ ‫ع‬ ‫َ‬ ‫�إِ�ذَ ا َ �أ � �ٱ ��ل َّ �ْ ض��َ َ �تَ��ْ‬ ‫رى و ر‬ ‫ر � ع‬ ‫�َ ْ َ َ‬ ‫�صَ��ْ‬ ‫�َ�ا �ف ُ �َم�ا �َ ن‬ ‫�لي����س ي��خ �‬ ‫ع‬ ‫�َ ��ضِ َّ �نَ��فْ سٍا �َ ا �نَ ��� �ْ‬ ‫�� ر � ��� � م� �فِ‬ ‫و�‬ ‫�‬ ‫ٱْ ع‬ ‫َ‬ ‫َ� َّ ا َ أ َ ْ َ � ��فِ�زَ ْ‬ ‫�ل�م� ر� �ى �و ج��ه � � �ل�‬ ‫ع‬ ‫�َا َ ���قِ � �بٍا �َ�ٱ �نْ����قِ َ �ْ‬ ‫���ط� ر ِر�ي� � و � �م‬ ‫ع‬ ‫َ َ ْ ُ َ ْ �قِ ْ َخ �َ ْ‬ ‫�و �ر�ي ب� د �هر � �د ��د‬ ‫ٍ‬ ‫ع‬

‫‪116‬‬

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‫‪١،٤٢‬‬

‫‪5،٤٢‬‬

‫‪10،٤٢‬‬

The Face of Fear

A description of a peregrine and a crow:

It approached, hesitant, eyes

42.1

on the alert, cautious. On the ground it looked like an odd boot pulled off in front of a large army, black as a rain cloud’s shadow. In the meadow, carefree, it preened and pampered itself. But life is full of contradictions—

42.10

often the same thing can be good and bad. It was shocked by a glimpse of the face of fear, then flew in a spurt till, beguiled by Time’s

117

117

‫ا � ن‬ ‫�ب� ب� ا �ل�ع��ي�‬

‫َ ُ‬ ‫��ح َّ �َمْ ٌت �َ �نَ����قِ �ْ‬ ‫�و� �م �و� و �‬ ‫َ ع‬ ‫َ َّ‬ ‫�� ُ �ثَ ْ فٌ‬ ‫�� ْ‬ ‫�ص��ك�ه � �� �‬ ‫��‬ ‫�َو�‬ ‫��ق� ك����سِ‬ ‫ع‬ ‫���فِ ��قِ َّ �� َ ٱ ��ْ ُ �غ�ْ ثَ � �� ْ‬ ‫��‬ ‫� ��ط� � ل���ب � ���طِ‬ ‫قِ ع‬ ‫ع‬ ‫َ �َ ْ َ � �ٱ ��ْ�َ ْ َ ���طَ ْ‬ ‫�و�ل���� � لع���� ��م�‬ ‫ي س فِي� ي شِ� ع‬

‫‪118‬‬

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‫‪15،٤٢‬‬

The Face of Fear

wiles, it yielded. Death had arrived—an expert hunter,

42.15

thwacking, binding to, tearing the rest of the flock to bits— they had lost the will to live.

119

119

‫~ ‪~ ٤٣‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫� �ز �‬ ‫ا �لب��ا �ي� [ا �لر�ج�ز ]‬

‫َ ْ أَ�غْ‬ ‫َ � ٱ � �ُّ َ َ َ ا ��غُ‬ ‫�ق�د � � تَ� ِ�د �ي� �و�ي� � �ل�د ج��ى �مب�� ِ�ل�‬ ‫فِ‬ ‫َ�ٱ ��ْ�ف�لَ� ْ ُ � � ّ َ ا �قِ نْ َ ا َ ا�غُ‬ ‫��ص� ��‬ ‫�و �‬ ‫��جر ِ�ل�ل���س� � ��ةِ �ِم �‬ ‫�ه� � �بِ‬ ‫َ � �� � ُّ ْ خَ � ٌ نَا�غُ‬ ‫��‬ ‫����طِ ي� ب� �� ��‬ ‫�و�فِ��ي�ِه ِل�ل�‬ ‫���ص�‬ ‫�بِ‬ ‫ْبِ‬ ‫ح‬ ‫َ نْ ُ �زَ�غُ‬ ‫َٱ � �َّ ْ ُ � �ٱ �ل� َ� ْ‬ ‫� �ع��ه ا �ئِ��‬ ‫� �و �ل�ل���ي�ل فِ�ي� م���غِر بِ‬ ‫�ُ�م��ْ�ستَ ًّ � ٱ � �َّ َ ا َ ��غُ‬ ‫بِ‬ ‫���مِ ر �ي� � �ل�د ��م� ِء � اوِ�ل�‬ ‫فِ‬ ‫ُ َ شْ‬ ‫ُ َّ �َ ُ ��قِ‬ ‫َ ا�غُ‬ ‫��ق�د �ل�ه � ِ�م��ي��ص �و����� ���س� ��‬ ‫يٍ �بِ‬ ‫ٱ � �شَّ َ ا َ �غُ‬ ‫نْ �سِ‬ ‫�َوِ�م����� ٌر �َم�ا ضِ���� � �ل�� ب�� ةِ� د ا �مِ �‬ ‫ي‬ ‫َ ْ َ �أُ َ���فَّ ْ �جِ َ ا ٌ َ ا ِ�غُ‬ ‫ي���م�ل� ��ك ��ي�ِه �‬ ‫� ن��ح� ��ف� ر‬

‫‪120‬‬

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‫‪١،٤٣‬‬

‫‪٥،٤٢‬‬

Fine Rhetoric

A description of a gos:

On the march, the rear guard of night’s army was dyed red by the dawn, morning’s effusive orator; night, his fine rhetoric now silenced, set in the west and I crossed the edges of darkness with a goshawk of great stamina, bloodthirsty, clad in an ample patterned mail coat; her brutal beak can smash brains to bits, and her mighty wings fill both my hands.

121

121

‫~ ‪~ ٤٤‬‬ ‫�‬ ‫�‬ ‫�و��ق�ا �ل ��ي �ص�ف� ا �� ك�‬ ‫ل���ل ب� [ا �ل��س ��ير� ]‬ ‫ع‬

‫َ‬ ‫�َق ْ أ�غْ� تَ � � ��ثَ ْ ��لَْ ضَ‬ ‫���ا ��‬ ‫� ي���ٍل � فِ ي�‬ ‫�د � � ِ�د ي� فِ�ي� �و بِ‬ ‫َ‬ ‫َٱ � ُّ‬ ‫��صْ ُ �لَ� ْ َ خ�ْ ُ ْ� � نَ �ٱ �ْ �أ ْ َ ا �ف‬ ‫� � �ل �‬ ‫� � ي ر ِم� �ل��‬ ‫�ص�د ٰ�‬ ‫و بح م �ج‬ ‫ٱَ‬ ‫َ�ٱ ��لنَّ��ْ ُ � َ‬ ‫حْ�� � �� �ظّل���� َل�ا� َ ���ط�ا ��‬ ‫�‬ ‫�و �‬ ‫��ج�م فِ�ي� �و ضِ�‬ ‫ِم فِ ي�‬ ‫َ‬ ‫ُ‬ ‫� ْ �طِ �‬ ‫� �أ ْ �َ� �� � َ ا �ف‬ ‫بِ��م‬ ‫��خ��� �فٍ� �ذِ ي� �بر � خِ‬ ‫���ف� ٰ�‬ ‫ع‬ ‫َ ْ َ �أُ َ ا � شِ ًّ ٍ َ‬ ‫ْ‬ ‫َ‬ ‫�‬ ‫�‬ ‫ي��م�ل���ه� ��� �د ا �بِ� كي���ٍل � او فِ�ي�‬ ‫أَ‬ ‫َ أََّ أَ‬ ‫� ن� َ‬ ‫�ف�ا ُ هُ � ����َ‬ ‫�م�ا � ْ������ظ��َ‬ ‫ش�ا ��‬ ‫ك� �‬ ‫ر‬ ‫فِ ي�‬ ‫َ‬ ‫َ ا �� � ظَّ �� َ ا �َ �ِ هُ � نْ‬ ‫ك�ا ��‬ ‫فِ ي�‬ ‫�م� ِل�ل����ب� ِء م�ع� ِم�‬ ‫َ� ْ �ف ٌ �ُ�َ ا � نَّ ��ٱ �� ��ذُّ َ ا �ف‬ ‫ح���ت� �ي ��غ� ِد �ي ِ�ه� بِ� ل� ��ع� ٰ�‬ ‫ٌّ َ قٌ َٱ ْ نَ ا قٌ‬ ‫َ�ا ��‬ ‫��خِ �ل ر� �� � �و �ع��تِ �� �‬ ‫�‬ ‫�‬ ‫�‬ ‫�ج‬ ‫�‬ ‫فِ ي�‬ ‫� �فِي �‬ ‫�َ ْ َ �َهُ �غ�َ ْ ُ َ � � نْ � َ ف‬ ‫�لي����س �ل� ���ير دٍم ِم� ���‬ ‫ش�ا ٰ��‬ ‫َ‬ ‫�� فِ���قِ َ نَ �ٱ ��ْ�ل�ُ ُ � نَ ��ٱ �ْ �أْ �� َ�ا �ف‬ ‫�� ر� ��قر و� بِ� �ل����ظ�ل ٰ�‬ ‫نْ ِ ْ ثُ �َ ا َ ْ‬ ‫���خِ ��ف ��نِ �هُ ��يُ�َا ��‬ ‫�ِم� �‬ ‫�حي�� �ل� ي�‬ ‫و فِ ي�‬ ‫َ‬ ‫ًَ‬ ‫َ‬ ‫�� �َ �ٱ �ْ �أ ْ َ ا �ف‬ ‫عَ او ���سِ ي��ا ��ك�فِ� � �لقِ� �ل��‬ ‫��ص�د ٰ�‬ ‫��‬

‫‪122‬‬

‫‪122‬‬

‫‪١،٤٤‬‬

‫‪٥،٤٤‬‬

‫‪١٠،٤٤‬‬

A Tender Lover

A description of a dog:

The dawn had not yet risen,

44.1

and the Pleiades swam in the trough of gloom. Wrapped in a cloak of night, I crossed the dark with a fleet, leanwaisted saluki, his legs fraught with speed, his nails like awls. The gazelles were defenseless. Death brought them an early dose of poison—our saluki, a tender lover with a deadly embrace. Only blood would slake his thirst. His sudden attack caught them off guard, tearing them apart from head to hoof, casting them aside like broken shells.

123

123

44.10

‫~ ‪~ ٤٥‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�‬ ‫� �‬ ‫�‬ ‫ا �ل�ص�ق�ر � او �� ك�‬ ‫ل��ل�ا ب� [ا �ل��ط�و���ل]‬ ‫ي‬

‫ْ َ‬ ‫َ ��قْ ُ ُ‬ ‫�َ ٱ �� �َّ ��ذَّ ت �َ ْ �ٌ �سِ‬ ‫�‬ ‫ع‬ ‫�� ����سر ��ت�ه‬ ‫ا‬ ‫� �ي �و �‬ ‫�‬ ‫�َو�ِم ن� ج بِ ل�‬ ‫� ل� ِ م‬ ‫ُ‬ ‫�غِ َ ْ نَ َ َ� َّ � ْ تَ ٱ � �ِّ‬ ‫����شْ�م��ُ �أ ف�ْ��قَ� �َ‬ ‫ه�ا‬ ‫�ر� ��� � �ل‬ ‫�� �د � �و�ا �و �ل�م�ا �� تِ‬ ‫س �‬ ‫قِ‬ ‫تَ�شُ قُّ َا � صٍا �قِ ْ تََ ِّ ظَ‬ ‫ه�ا‬ ‫�ق ���� �نَ��ْ ُ��َ‬ ‫�� � � �د ���ي ��‬ ‫ض‬ ‫���‬ ‫��� �� ِر�ي� �‬ ‫ور‬ ‫َ أَ َ‬ ‫ٱْ‬ ‫�ق�ا �ع�َه�ا‬ ‫ك�� نّ� �� َ��ا َ� � �ل�م ْ��س��ك �َ��ْ نَ � ��َ‬ ‫عِ ي ب ِ ِ ب ي� �بِ ِ �‬ ‫َ َ ْت � َتْ ٱ � َّ ْ غُ ْ فٌ َ‬ ‫�َ ٌ‬ ‫�و���د � ِل‬ ‫�‬ ‫�صي� ِ�د �� �ض‬ ‫ح��فِ� � �ل�‬ ‫� �� ك��� او �ِ�س ب�‬ ‫�قِ ي‬ ‫ْ‬ ‫ٱ‬ ‫ْ‬ ‫ٱ‬ ‫ْ‬ ‫ن‬ ‫��خِ‬ ‫َ‬ ‫�قِ‬ ‫َ‬ ‫ِ‬ ‫�‬ ‫�إِ�ذَ � َ �� تْ‬ ‫� �م نَ � � �ل� �ل�ا �� �د خِ���ل��تَه�ا‬ ‫�‬ ‫ِ‬ ‫�ئِ ِ‬ ‫ا � � ر�ط �‬ ‫تُ َ ا ُ َ ا �قَ ْ ضَ ٱ � �ُّ فُ أَ َ ا �ٌ‬ ‫� ����ق� ����سِ �م�ه� � ��ب�� � �ل��ن� ��و�� � �‬ ‫�‬ ‫�ج� ِد �ل‬ ‫�‬ ‫سِ‬ ‫ٱ � ِّ َ تَ ُ ُّ‬ ‫َ ََ َ‬ ‫�‬ ‫ك��أ نّ د ��ل�اءً �� � �ل����س�م�ا ء �‬ ‫ه�ا‬ ‫ط�َ‬ ‫�ح �‬ ‫�‬ ‫ِ‬ ‫� ِ فِي�‬ ‫�‬ ‫َ‬ ‫َ ُّ‬ ‫ُ�ِ‬ ‫�قَّ قُ آ�ذَ نَ ٱ �ْ �أَ‬ ‫ن‬ ‫كَه�ا‬ ‫�‬ ‫ي�‬ ‫ا‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫�س‬ ‫ش‬ ‫�‬ ‫���‬ ‫���‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫��‬ ‫�‬ ‫�‬ ‫ر‬ ‫�ص �‬ ‫�‬ ‫ِ بِ‬ ‫�فِ‬ ‫�ََّ ���خِ�زَّا نَ �ٱ ��ْ�لُ��قَ � ِّ ُ ْ �َ ًة‬ ‫� �‬ ‫� � � � ر��ي��ةِ ���غ�د و�‬ ‫��صِب �‬ ‫ح‬ ‫ضُ‬ ‫�� َ ِّ �ةً‬ ‫َ نَ ِّ َ َ ْ � � �َا نَ ٱ � ُّ‬ ‫َ‬ ‫ظط� � � �ل���ترا � ���‬ ‫ح��ي�‬ ‫�ق��� ���‬ ‫� �و���ب�ه ��ي��‬ ‫بِ‬ ‫َ َ َ ْت عِ َ ْ َ ا ��قِ ْ ��قِ ف ٌ َا ِّ �ةٌ‬ ‫�يى�‬ ‫�ود ا ر� �� ��ل��ي ن�� � ر� �� �ب� ��بِ��ِل� ��‬

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‫َ ٱ � َّ ْ َ� ْ َ ْ َ ْ ٱ � َّ ْ َ � فُ‬ ‫ �ِم ن� � �ل��د �هر �ل�م �ي���ع��ل� �بِ�ِه � �ل��د �هُر ���س�اِ�ل��‬ ‫ِ‬ ‫م‬ ‫تَ ُ َ ا �قُ ُ ٱ �ْل َ ا ٱ �ْ�خلََ ن فُ‬ ‫ ����سِ ي���ل ��بِ��ن� ��ود � جِ�� �‬ ‫�ي�م� ِد � ��وا �ِ���‬ ‫ََ �ََّ َ ا َ ْ ٌ نَ ٱْ� ُ �زْ ن �ذَ فُ‬ ‫  � �و�ل�ل�ه� د � �‬ ‫��م��م� �ِم� � �ل��م ِ� ا ِر��‬ ‫ُ �ب��فِ � ّ َ ع‬ ‫ٱ � ََّا � ٱ � َّ �َ فُ‬ ‫� �� تَ��ُ َ أ ْ‬ ‫  �ي‬ ‫حه�ا � ���ي ِ�د �ي� � �ل �ر� ِ � �ل�� �‬ ‫ل��ط�ا ��ئِ��‬ ‫�‬ ‫يح‬ ‫َ‬ ‫َ‬ ‫�� ثْ َ � ٱ �ْ َ ا َا ت ن َ فُ‬ ‫ك�‬ ‫��‬ ‫�ح�ا ��ئِ��‬ ‫ ��مِ ���ِل ��قِ �د ا ِح � �ل��ب� ِر�ي� ِ‬ ‫��تِ َ �َ َ ا ُ ُ� ٱ � ََّا � ٱ �ْ َ َ فُ‬ ‫  �� را م�ى بِ���ه� �ه�و � �ل �ير� ِ � �ل� �ع او ِ�‬ ‫�ص��‬ ‫�ج ح‬ ‫فَ ٱ �ْ �أَْ نَ َّا شٌ َ � ٱ �ْلَ َّ َخ ا � فُ‬ ‫  ���� � �ل�ر��� ��ه� ��� �و�� � �ج��و �� ِ�� �‬ ‫ط�‬ ‫فِي‬ ‫�فِ ي�‬ ‫ضِ‬ ‫أَ‬ ‫َ‬ ‫َ ٌ غَ َ فُ‬ ‫َ ��تِ ْ ق َ ْ‬ ‫� او ِر��‬ ‫  � �و� ر��ى بِ���ه�ا � ���ي ٍ�د ����سِ را � �‬ ‫ْ ع‬ ‫�� َ َّ أَنْ َ ا ف َ ٱ � َ‬ ‫ََ‬ ‫�َ ف َخ ا فُ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫��ص� �� � �ل �ك ِو �يرِ �� ِر�‬ ‫�ص��ك � ���‬ ‫  �مك�ا �‬ ‫� شِ َ ا � نُ � أَ �فَْ نَّ ٱْ�ََ ا � فُ‬ ‫ ��� ي�� ���طِ ��ي� فِ�ي� � �� او هِ� ِ�ه� � �لم��ت� ِ�ل��‬ ‫َ ٌ أْ ُ‬ ‫��ُ ٱ �ْ �أَْ ضَ َ ا فُ‬ ‫��َ �ٱ ��ْ�َ ْ ّ َ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ك‬ ‫�صر�ش���د �ي�� �ل �ل�ر � �ع� ِ�‬ ‫ �إِ ل�ى لع�‬ ‫�ص�‬ ‫ِ‬ ‫َُ � �فُ َ ْ ٌ َ ٱ �ْ � نْ آ � فُ‬ ‫طو� بِ���‬ ‫  ��ي �� �‬ ‫ه�ا ِر����ئ�م �ِم ن� � �لإِ����سِ �ِ�ل��‬

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‫‪١،٤٥‬‬

‫‪٥،٤٥‬‬

‫‪١٠،٤٥‬‬

The Wind’s Soft Hands

A description of a saker and dogs:

It was a day of pure bliss stolen

45.1

from Time, who paid us no heed as we crossed the dark before sunrise on haughty, long-necked horses, through meadows awake with flowers drenched in tears of rain— as fragrant as musk pouches, opened by the wind’s soft hands, scattered across the leas. It was time for the quarry to die—

45.5

lean salukis, drop-eared hunters like unfletched arrows— were it not for their collars you’d think a puff of wind might whisk them away. Ground forces combined with aerial might— working with sakers in yarak that tower, then stoop from the sky, like buckets dropped down a well by hasty hands thirsty for water, our dogs snatched souls. The hares’ eardrums were burst by thwacks like the cracks of date-palm spathes split open by croppers. Demon dogs with jaws of doom came early

45.10

to Qurayyah’s jacks—running fast as the wind, devouring the miles, rousing the wakeful quarry all day. A graceful gazelle of a boy

45.12

passed a Bābil wine around, his waist swaying

125

125

‫�‬ ‫�ب�ا ب� ا � �لف��ا ء‬

‫ُ َّ فُ �َ ْ � َ‬ ‫خَ ْ أَ�ثْ �قِ َ ْ ُ ٱ � َّ َ فُ‬ ‫َْ‬ ‫ح����ظٍ�ا ��ل�ا �ُ��َع�ا دُ � �مِ� � �‬ ‫�ر�� ل‬ ‫��ُض�هُ  �َو��م شِ���� بِ�‬ ‫�‬ ‫��صِ‬ ‫��ي �‬ ‫�‬ ‫��‬ ‫���صٍر � � �� ��ل��ت�ه � �لر� او ِد ��‬ ‫�‬ ‫�ي‬ ‫ي ي�‬ ‫ِر�ي‬ ‫ْ‬ ‫َ ْ ُ ��غِ ْ َ ٱ َّ‬ ‫�َ َّ َ�َ ّ ٱ �‬ ‫�َ ْ َٱ ��قِ �ْ ُ َ فُ‬ ‫��ج�ُم �� ���ف�ل�ا ت� � ��لر� �� ����نِ �ْ�����ظَر� �‬ ‫�ر�‬ ‫� ك���م��َ � �جل���مر � �و � �ل� �ل ب� �‬ ‫ل‬ ‫� �و�� يِ‬ ‫�‬ ‫�‬ ‫�‬ ‫�خ�ا ��ئِ��‬ ‫ِ �قِ ي بِ بِ‬ ‫ةٍ �إِ ي س ِ‬

‫‪126‬‬

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The Wind’s Soft Hand

with the weight of his plump buttocks. You’d never recover from one of his looks. His guardian paid no heed, as the boy’s glance glowed like a coal and my heart grew faint.

127

127

‫~ ‪~ ٤٦‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫� �ز �‬ ‫ا �لب��ا �ي� [ا �لر�ج�ز ]‬

‫َ� َّا ��جِ َ�ا ضَ ْ ُ �ٱ �� ِّ َ ا � َ ��فِ تَقْ‬ ‫�‬ ‫�ل�م� � �ل � � ء ل��‬ ‫��و � صب�� ِح و ���‬ ‫تَ��جِ� ََّ �ٱ �� ِّ ف�ْ َ � نْ تَ�ْ ت �ٱ �� َّ �نَقْ‬ ‫��ح��ل�� ل�‬ ‫���ص ��و�ةِ ِم� ح ِ‬ ‫� لر ���‬ ‫ي‬ ‫َ أَ نْ ُ ُ ٱ � �َّ ْ َ َ ا ُت ٱ �ْلحِ َ قْ‬ ‫� �و �‬ ‫�ض� � � �‬ ‫�‬ ‫��ج�م � �ل�ل���ي�ِل �م �ر ��‬ ‫� �د ��‬ ‫ِ �ي‬ ‫ُ ٱ ُّ َ‬ ‫َ‬ ‫َ‬ ‫حِ�زَ قْ‬ ‫��حِ�ز ��قٍ�ا �ب�َ�ْ�ع�د �‬ ‫��تَ�ْ�ت�� �لو � ��ل���ثَر�ّ�ا �‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ي‬ ‫َ �أَنَّ َ ا نَ ��فِ َ ٱ � ُّ ْ ُ َ �شَ قّْ‬ ‫ك� ���ه� ِ�‬ ‫ح��ي� � ر�ى � �ل�� ب�ص� � ��‬ ‫� و ��‬ ‫ح‬ ‫ْ‬ ‫طِ � �ةٌ َ ْ نَ �َ �آ� تَ�أتَ� قْ‬ ‫َ‬ ‫� �‬ ‫�‬ ‫� او ���سِ‬ ‫���س��� � �ب�ي� �ل� ٍل �� �ِ �ل�‬ ‫َ‬ ‫ُ‬ ‫َ أَنَّ َ ٱ �ْ‬ ‫�َ ْ�زَ ُ � أ ْ َ ٱ �ْ �أ�فُقْ‬ ‫ل‬ ‫�‬ ‫�‬ ‫اء‬ ‫�� ا �‬ ‫ك� ��م� �ج �و فِ�ي� ��ع��ل�ى �ل� ���‬ ‫أَ غْ َ ا نُ نَ ْ أَ ْ � َ ا ٌ� نْ َ َ قْ‬ ‫� ���‬ ‫�ص� � � ��وٍر � �و �ِو���ش�ح �ِم� �ور��‬ ‫َ‬ ‫َ�ٱ ��ْ�ف�لَ� ْ ُ � �ٱْ� َ�ْ‬ ‫���ٱ ��ل�ثَّ� ْ �ٱ �� نَّ َ قْ‬ ‫�‬ ‫�‬ ‫��‬ ‫�و �‬ ‫��جر فِ�ي� �لم����شِرقِ� ك� ���غِر ل �‬ ‫��س�‬ ‫َ َ‬ ‫َ‬ ‫َ �أ ِّ هُ �أ ��ْ��قَ َ َ ٱ �ْ �أْ�� طِ�� َ قْ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ك� ��ن� ل�ى �ع��ل�ى �ل�ر ضِ� ب ���‬ ‫�غِ َ ْ ُت � �ثَْ � نَ ٱ � �َّ ْ ��خِ �َقْ‬ ‫�� �د �و� فِ�ي� � �و بٍ‬ ‫� ِم� � �ل�ل���ي�ِل � � �ل�‬ ‫�َا � ٱ � ِّ �ْ � َ‬ ‫ُ َّ أُ�فُقْ‬ ‫�ن����ظر�ةِ ��ي� �ك�ل �‬ ‫� ���ط� ِر � �ل�‬ ‫�‬ ‫�‬ ‫�بِ‬ ‫�‬ ‫فِ‬ ‫ح‬ ‫ِ‬ ‫نْ �سِ أَ ْ نَ �إِ�ذَ شَ � َّ ��خِ َ قْ‬ ‫�ذِ �ي� ِ�م����� ر � ��ق��ى ا ����ك �‬ ‫� ر��‬ ‫ٍ‬ ‫ّ‬ ‫َ‬ ‫ُ‬ ‫َ‬ ‫�ُ خمْ �تِ‬ ‫َ ْ � عِ � قْ‬ ‫��� ��� �ك�ل ��ي �و� �‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�� ضِ بٍ فِي‬ ‫ٍم �بِ �‬ ‫َُ‬ ‫��ُّ َ ْ � � ف�ْ ٌ �إِ�ذَ عِ � قْ‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫ك‬ ‫�‬ ‫مِ‬ ‫�‬ ‫ل‬ ‫�‬ ‫��‬ ‫صِ‬ ‫�‬ ‫��ظ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ع‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫م‬ ‫�و‬ ‫ل‬ ‫ل‬ ‫ِ�‬ ‫ٍ‬ ‫‪128‬‬

‫‪128‬‬

‫‪١,٤٦‬‬

‫‪٥,٤٦‬‬

‫‪١٠,٤٦‬‬

‫‪١٥,٤٦‬‬

In Night’s Tatters

A description of a gos:

Like clear water in a muddy pond,

46.1

dawn burst into bloom. The stars, like ailing eyes, were herded by the Pleiades shining like pearls among duller beads. Gemini lay on the horizon like a crown of leaves or buds on a branch. In the east, day, bright as a mouth of even teeth, shone like a lid on the earth. Wrapped in night’s tatters,

46.11

I traveled with a gos whose eyes scanned the horizon. Dyed each day with clots of blood, her hooked beak pierces and slices flesh; she binds to, and bones are split at the joints;

129

129

‫�ق ف‬ ‫�ب�ا ب� ا � �ل��ا ��‬

‫َُ ْ‬ ‫ُ ُ هُ �إِ�ذَ َ �َ قْ‬ ‫�ق��َل� �تَ��ْ‬ ‫�و� �‬ ‫ا‬ ‫��م‬ ‫�د‬ ‫م‬ ‫�‬ ‫�‬ ‫�‬ ‫�ق‬ ‫��ص‬ ‫��ص‬ ‫�‬ ‫�‬ ‫ر‬ ‫�ةٍ‬ ‫�‬ ‫َ‬ ‫َ‬ ‫�ةٌ َا َ َ قْ‬ ‫َ �أ نّ َ ا �� ْ سِ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ح‬ ‫�‬ ‫نِ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫���‬ ‫���‬ ‫ه‬ ‫س‬ ‫ل‬ ‫ك� ��‬ ‫بِ ور�‬ ‫ر جِ‬ ‫ُ نْ ُ � ٱ �ْ �أَثْ َا � �حِ‬ ‫� تَّ ��َنْ���فِ ت قْ‬ ‫�‬ ‫�‬ ‫�‬ ‫�ي���� �شِ� ب� فِ�ي� � �ل� ����ب� �جِ‬ ‫�ى ي ِ ��‬ ‫�بٍ َ‬ ‫ٱ �ْ‬ ‫�� �ْ أَنْ‬ ‫�حِ �َقْ‬ ‫�َ�مَ‬ ‫ا‬ ‫�‬ ‫َ‬ ‫ل‬ ‫ك‬ ‫��ص� �‬ ‫�خ�ا �ِ�ل� �ا ِ�م��ث�ل � �‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫فِ‬ ‫ِ‬ ‫َ‬ ‫ُ َ ا َ ٌ �إِ�ذَ َ أ � ��فِ �قِ ْ ُ قْ‬ ‫�م��ب�ى� رك ا ر� ى � �� �د ر�زِ ��‬ ‫َ‬ ‫ْ ��فِ �قِ ْ �َ‬ ‫أ ْ �َا َ نَْ� َ‬ ‫�قْ‬ ‫ل‬ ‫حو � صِ‬ ‫� �و ���ط� ر �‬ ‫�� ي��دِهِ � �� �د ِ �‬ ‫ح�‬ ‫َ نْ َ مِ تْ ُ ٱ �ْ َ ف ُّ َ‬ ‫��ا َ َ ْ َت قْ‬ ‫�‬ ‫�‬ ‫�‬ ‫�و � ر�� ��ه � �ل �‬ ‫�‬ ‫د‬ ‫�‬ ‫�‬ ‫ك‬ ‫�‬ ‫ح‬ ‫�ك� ي رِ �‬ ‫�إِ‬ ‫َْ قُ �ذُ ْ َ ٱ � َّ � ْ نْ َ ْ ثُ ٱ ْ َت َ قْ‬ ‫ي���س �� �عر � �ل��ط�ي� �ِم� �‬ ‫حي�� � �م��ر��‬ ‫بِ �‬ ‫رِ‬ ‫ٱ‬ ‫ْ‬ ‫ْ‬ ‫ٱ‬ ‫َ‬ ‫َ� تَّ َ ْ نَ �َْ َت نْ ��ق ْ � ��فِ َ قْ‬ ‫�‬ ‫ح�ى ��� يِ‬ ‫�ري�� � �ل �‬ ‫مو� �ِم� ب���ِل � �ل� ر��‬ ‫آ نَ َ � �نَُّ َ ْ �� �قِ ْ � �سِ�� َ قْ‬ ‫�‬ ‫� ���س �ي� �� او ِر ر�و ضٍ� � �د‬ ‫�م�‬ ‫فِ‬ ‫َ َ حٍا � مِ تْن �ُ َّ ًّ �غِ قْ‬ ‫� � �� �� ��� �جل‬ ‫� � ��‬ ‫��ي� �� ِ�د ��‬ ‫�س او بِ�ح فِي‬ ‫ِ‬ ‫َ‬ ‫َ‬ ‫���ٱ ��ل �ِّ ف�َ ٱ �ْ ��أْ�يِ �َ ا َ� � �ٱ ��ْل�غ�َ َ قْ‬ ‫ك�� ����ش ��� �‬ ‫�‬ ‫�‬ ‫��س‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫ل‬ ‫�‬ ‫�‬ ‫ب‬ ‫�‬ ‫ي‬ ‫�‬ ‫قِ‬ ‫ضِ ح فِ‬ ‫َ‬ ‫َْ‬ ‫� � �ف ُ َ� نْ هُ �ٱ �� َّ�ُ أ ْ �ذَ َ �ٱ �� َّ �نَقْ‬ ‫ت‬ ‫�‬ ‫�‬ ‫ع‬ ‫اء‬ ‫�‬ ‫�‬ ‫ش‬ ‫ل‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫���‬ ‫�‬ ‫�ق‬ ‫�‬ ‫ي‬ ‫�‬ ‫�ك ِ‬ ‫ر ��‬ ‫رح‬ ‫�سِ ��قْ َ �ٱ ��ْ��قُ ُ ن �َ �تْنَ �َ ضْ ُ ْ َ �� قْ‬ ‫�� بٍ �‬ ‫��� �� لي ��و ِ� م� � ع�‬ ‫� م��ن�د ِ�ل�‬ ‫ي‬ ‫فَ �َا َ َ‬ ‫���ٱ �ْ ْ � ٱْ� َ ٱْ�ُ ْ َت قْ‬ ‫ح � �ل�مِري���شِ� � �ل��م�م��رِ ��‬ ‫�� ���ط� ر ك�� � �ل�قِ� �د ِ‬ ‫َ ا َ ا فَ‬ ‫َ� تَّ خَ َ قْ‬ ‫� َ�ع نْ � ْ َ ���ط�ا‬ ‫�ص� �‬ ‫ح‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫سِ‬ ‫�م� �‬ ‫� قِر ِ ى ر�‬ ‫َ‬ ‫َ‬ ‫َ ا َت ٱ �َّ� أ َ ا َ نْ َ ا أ ْ َ‬ ‫�ص� قْ‬ ‫��ص� ب� �ِم � �‬ ‫�‬ ‫�م� � � �ل��ذِ �ي� � �‬ ‫�ه� �و عِ ��‬ ‫َ‬ ‫مِ�زَ قْ‬ ‫َ َ �� ِّ َ ٱ � َّ شَ َ َ ٱ �ْ �أْ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�و�ط���ير � �لري���� �ع��ل�ى � �ل� ر ضِ�‬ ‫�‬ ‫‪130‬‬

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‫‪٢٠,٤٦‬‬

‫‪٢٥,٤٦‬‬

‫‪٣٠,٤٦‬‬

In Night’s Tatters

her eyes never fail, burning like narcissi

46.16

without petals; she sinks her talons, like half rings, and rips guts open; when quarry’s sighted she’s blessed with food, for her flights at prey never fail; she explodes when cast from the hand; unleashed, she’s quicker than the fear in the eye of her prey—they see Death before they can scatter. In the tall plants of the fields, she spied swimmers on a lake, like splashes of red in a twilight sky. The wind blew the foam, as smiths whet a blade’s edge to make it easier to draw from the sheath. Unswerving, she sped like a fletched arrow and shredded her targets. Her victims died on the spot; the rest fainted at her swoop— tufts of feathers on the ground.

131

131

46.25

‫~ ‪~ ٤٧‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫� ق �‬ ‫ا �ل�ص��ر [ا �لر�ج�ز ]‬

‫َ‬ ‫َا ُ َّ‬ ‫�‬ ‫���‬ ‫�جِ نَ ا � ٱ �� َّ‬ ‫� ��لَ�ْ‬ ‫��ن�ا �عق‬ ‫ك‬ ‫�‬ ‫��ي‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫�ي� ر ب‬ ‫ٍل‬ ‫ِ‬ ‫ِ ٰ�‬ ‫ح‬ ‫� �سِ�� َ ��ْ ُ �ى ُ ْ َ َ �َا ق‬ ‫��ت�ى�ه ��بِ �فِ� ��تي���ةٍ ��ب ���ط� ِرٰ��‬ ‫ري‬ ‫تَ ْ تَ ا ُ َ‬ ‫�صْ��دًا �ل��َْ ��ُ��يَ ْ �َ����َ�ا �ق‬ ‫ط‬ ‫ر‬ ‫ر‬ ‫����ن�� ب� � ي م ع �ب‬ ‫ِ ٰ�‬ ‫َ‬ ‫� �أ �ْ َ �� �َ��ْ�قَ نُ �نُ�ْ ��� قَ ٱ �� َّ‬ ‫��ن�ا ���طق‬ ‫بِ� �‬ ‫�ج�د ٍل �ي ل ��� �‬ ‫ط� � ل ِ ٰ��‬ ‫َ‬ ‫ُ َ ْ َ ٱ ْ� َ �ف � ٱ ْ‬ ‫ع�ا �ت�ق‬ ‫�ْ�خ�م � ��ل��َ‬ ‫�م��ل��م��ل� � ل��َ‬ ‫ه�ا �م��ةِ �‬ ‫�‬ ‫ِ‬ ‫ِ ٰ�‬ ‫ِم‬ ‫َ � ًّ خَْ � ٱ � َّ ا ن َ ا ت َ‬ ‫ح�ا �ق‬ ‫��ط� بِ�‬ ‫طفِ� � �ل��س�ِ�‬ ‫� �� �‬ ‫ح� ِ‬ ‫� � �ذِ ٰ�‬ ‫ب‬ ‫َ أَ‬ ‫ْ‬ ‫َ‬ ‫ْ‬ ‫ٱ‬ ‫ُ‬ ‫َ‬ ‫��ن ن � �ل� َ ا �� ق‬ ‫� ��م‬ ‫�ْ�خ��ل � ��ق ن ك�‬ ‫�ذِ ي� ِ بٍ‬ ‫� ��ى ��و ِ� �م� �شِ ٰ��‬ ‫ْ‬ ‫َ‬ ‫�َ ُ���ؤْ ُ�� ��ل�ا��    �‍�� �َ �ش��� َ ا � ق‬ ‫�‬ ‫ر‬ ‫و‬ ‫�‬ ‫يٍ �ئِ ٰ�‬ ‫و�ج َ �ج �ؤٍ بِ‬ ‫سِ‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫����أ ����ثِ �ٱ �ْ��أ�ْ � َ�ا� � �ٱ �ل� ََ�ا �ق‬ ‫�‬ ‫ك‬ ‫م‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�ق‬ ‫ه‬ ‫ل‬ ‫ر‬ ‫�‬ ‫ر‬ ‫ِ ْ ِم فِي � ِ ٰ�‬ ‫ٱ� ُ‬ ‫ٱ �ْ‬ ‫أَ ْ َ‬ ‫�‬ ‫��َ� َ ا َ‬ ‫ْ‬ ‫�‬ ‫�‬ ‫�َ�م�ا ��لق‬ ‫�‬ ‫ل‬ ‫�‬ ‫ا‬ ‫ل‬ ‫ك‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ك‬ ‫�‬ ‫حِ‬ ‫�‬ ‫� �و �ب �‬ ‫�ق� ي� ��ح�ِل فِ�ي�‬ ‫ِ ٰ��‬ ‫�حِ‬ ‫� �تَّ ��بِ َ�د ا ضَ ْ ءُ � صِ‬ ‫�� َ��ا � �فَ�ا �ت�ق‬ ‫�‬ ‫��‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫و‬ ‫ى‬ ‫ب ٍح ِ ٰ�‬ ‫ْ‬ ‫ْ‬ ‫ٱ‬ ‫ٱ‬ ‫َ‬ ‫َ‬ ‫�‬ ‫��تَ��بِ َّ�د �َ � �لم ����ش� � � �ل�م� َ�ا �ق‬ ‫� فِ�ي� ��ف ِرٰ�‬ ‫ي� ِ ي بِ‬

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‫‪١،٤٧‬‬

‫‪٥،٤٧‬‬

‫‪١٠،٤٧‬‬

Fluent in Human Speech

A description of a saker:

A night black as a raven’s wing— I’m out with a noble troop, bringing doom to the quarry still asleep, accompanied by a saker in yarak with a stony crown and bulky wrist, fluent in human speech. A brilliant expert— footing sprung ẓabys is her specialty, her talons curved like round nūns— what fine calligraphy! Her mail shone brightly in her patterned cloak, like marks made by a stylus on parchment or traces of kohl on an eyelid. Then dawn burst and slashed the gloom, a streak of white through black hair.

133

133

‫~ ‪~ ٤٨‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�‬ ‫�‬ ‫�‬ ‫ا � �لق ��و��س � او �لب�ن��د �ق� [ا �ل ت�‬ ‫م��ق�ا ر ب�]‬

‫َ‬ ‫َ أَ نَّ ٱ �ْ‬ ‫َ َ ا ٱ � ِّ � ْ ُ �مِ ْ ُ طِ � �ةٌ‬ ‫�ُ َّ �أ ْ ��‬ ‫ه�ا‬ ‫طَ ا قِ���َ‬ ‫ل‬ ‫�‬ ‫�و��م� ٍء �بِ�ِه � � �‬ ‫ل��ط�ي�ر �� ر��ب �و��� �  ك�� � � �حلِ���� بِ� � و�‬ ‫ي‬ ‫َ� ْ َ ْ‬ ‫ٱ‬ ‫َ‬ ‫�غ�َ َ�د �ْ �نَ�ا َ�ع��لَ�ْ�ي�ه �َ �� �شِ�� ْ�م��ُ � ��ل��ِّنَه�ا  �ل� ت‬ ‫ه�ا‬ ‫� ُ���سَه�ا ��ث�ْ َ� �شْ�� َ ا ���َ‬ ‫�‬ ‫�‬ ‫ك‬ ‫�‬ ‫ر‬ ‫ِو‬ ‫و‬ ‫�‬ ‫�‬ ‫س‬ ‫و ب َ�إِ ر قِ‬ ‫ِ م‬ ‫ٱ‬ ‫َ‬ ‫فَ � ْ َ �ظِ ّ ُ ُ ُ �‬ ‫َّ َ ٱ � ُّ � ُ َ أ ْ‬ ‫ه�ا‬ ‫ح��َد ا قِ���َ‬ ‫�ن�ا �َو���� ��ل ت� �عي ��و ن� � � �قِ�ل سِ�� ��‬ ‫� ت� ْرِ�م�ي� � �ل��طي ��ور ��� �‬ ‫س‬ ‫���ظِ ����ل�‬ ‫�‬ ‫بِ‬ ‫ي‬

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‫‪١،٤٨‬‬

Doomed Fowl

A description of the pellet bow:

We paid an early visit to a pond before it was draped in sunlight, the necks of the doomed fowl as if clad in jewels— all day long our bows fired eyeballs from their sockets at the birds.

135

135

‫~ ‪~ ٤٩‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�‬ ‫�‬ ‫ا �� ك�‬ ‫ل��ل�ا ب� [ا �لر�ج�ز ]‬

‫َ‬ ‫َ نْ ُ �بِ �ةٌ َ‬ ‫��� مِ ��ةُ �ٱ �ْ��أ�ْ��ع َا �ق‬ ‫�‬ ‫ك‬ ‫��‬ ‫�‬ ‫ل‬ ‫�م�� �‬ ‫ر‬ ‫��س �و� � ِير‬ ‫ٰ�‬ ‫َ‬ ‫ضَ ا ��يِ �ةٌ �ُم شْ����َع��َ�ةُ �ٱ �ْ �أ�ْ‬ ‫� َ�د ا �ق‬ ‫��� ِر� �‬ ‫�‬ ‫ل� �ل� ح ٰ�‬ ‫حِ َ ٱ �ْ أَ‬ ‫تَ َ ُ‬ ‫� ��ل � �� ْ ���طَ ا �ق‬ ‫�خ�ا ل���َه�ا ��‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫�‬ ‫�‬ ‫قِ�‬ ‫و ٰ�‬ ‫فِي‬ ‫َ‬ ‫ضَ َ ً‬ ‫��ا �م نْ �َ�س�َع� �ٱ �ْ��أ�شْ��َ�د ا �ق‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ل‬ ‫�ةِ‬ ‫ِ‬ ‫��� او حِ� ك �‬ ‫ٰ�‬

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Deft Hunters

A description of dogs:

Pedigreed, of noble descent, deft hunters, lambent eyes— in their collars, they seem to grin with their long, thin pincer bites.

137

137

‫~ ‪~ ٥٠‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫ق �‬ ‫�ص��ر [ا �لر�ج�ز ]‬

‫َ‬ ‫�َ �أ �ْ َ �� �َ ف�ْ� �هِ ُ �نُ�ْ ��� قَ ٱ �� َّ‬ ‫��ن�ا ���طق‬ ‫و�‬ ‫�ج�د ٍل �ي �� �م �‬ ‫ط� � ل ِ ٰ��‬ ‫ٱ‬ ‫ْ‬ ‫َ‬ ‫ُ َ ْ َ � َ َ �ف ٱ ْ‬ ‫ع�ا �ت�ق‬ ‫�ل � � ل ا‬ ‫�ْ��خ�م � ��ل��َ‬ ‫�‬ ‫�م� ��م�ِل�م ��ه� �م��ةِ � ِ‬ ‫ِ ٰ�‬ ‫أَقْنَ ٱْ�َ‬ ‫�َ�ا ��ل� �طِ��� ��ُل � َ�ا �ق‬ ‫� �ل‬ ‫م‬ ‫�‬ ‫� �م ِرٰ�‬ ‫� �و بٍ‬ ‫� �ى �خ ِي بِ‬ ‫ََ‬ ‫��أ� نَّ َ ا نُ نَا ُ‬ ‫َ ف َّ ٱْ�‬ ‫ت‬ ‫�م�ا �شِ�� ق‬ ‫َ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ك�� ��ه� ��و� � �ك� � �ل‬ ‫ٰ��‬ ‫ْ‬ ‫َ‬ ‫�� ُ���ؤْ ُ�� ��ل�ا��� �َ �ش��� َ ا � ق‬ ‫�‬ ‫�‬ ‫ر‬ ‫و‬ ‫�‬ ‫يٍ �ئِ ٰ�‬ ‫�ذَِ ي �ج �ج �ؤٍ بِ سِ‬ ‫��‬ ‫�ُ��مْ�تَ�َ�د ا ٱ ��� َّ�ا �َم�ا ت � �ٱ�لْ�َ َ�ا �ق‬ ‫ك ب‬ ‫� لل ِ‬ ‫� فِ�ي� م��ه ِر ٰ�‬ ‫أَ َٱ َ ٱ �ْ ُ‬ ‫�ْ‬ ‫ٱ �ْ َ‬ ‫�م�ا ��لق‬ ‫ل‬ ‫��‬ ‫حَ‬ ‫��ح � � �‬ ‫��� �ْمت ا � �ل ك‬ ‫� �ْ �‬ ‫و ك� ِ��د ِد � �ِل فِ�ي� � ِ ٰ��‬ ‫نَ��جِ َ ْ � َ‬ ‫ٱ‬ ‫َ � ت �ل��‬ ‫�ْح���� ��عِ �ْ� ن � ��ل َّا � ق‬ ‫ل‬ ‫�‬ ‫�و� �م� ِ ظِ‬ ‫ي ِ� ر مِ ٰ��‬ ‫ْ ّ‬ ‫َ �ْ‬ ‫����شٌ �م نَ �ٱ ��ل�� �َ �زَ �� ���غِ � َل�ا ��ق‬ ‫�ع‬ ‫�‬ ‫و‬ ‫�‬ ‫ِ‬ ‫ر‬ ‫� إِ فِي‬ ‫فِ ٰ�‬ ‫�فَ�مِ َّ َ‬ ‫����ٱ ��لَّ� ���عِ����ع�زْ� َ�ا د �ق‬ ‫�‬ ‫ك‬ ‫ي‬ ‫��ص‬ ‫�‬ ‫ِ ٰ�‬ ‫�� ر رِح �بِ‬ ‫ٍم‬ ‫�حِ �تَّ دَ �نَ�ا �مِ� نْ ُ�ه نَّ �مثْ��َ �ٱ ��ل��َّ�ا �ق‬ ‫�‬ ‫�ى‬ ‫�� � ِ �ل �س ِرٰ�‬ ‫��ُ َّ ِ‬ ‫�جِ نَ��ا � �َ‬ ‫�خ�ا ��ق‬ ‫�ع� َل�ا��َه�ا‬ ‫�‬ ‫�‬ ‫��ث�م �‬ ‫�‬ ‫�‬ ‫بِ‬ ‫فِ ٰ�‬ ‫ٍح‬ ‫َ‬ ‫َ ْ ُ أ ْ َ �زَ ٱ �ْلَ شَ ا نْ َ‬ ‫ح�ا �ق‬ ‫ح ار � �‬ ‫� رب� � �‬ ‫�‬ ‫��ي �ض‬ ‫ر‬ ‫ح���� �ِم� ِ ٰ�‬ ‫ِ‬ ‫َ َ ا َ أَْ تَ َ ِّ �ةَ ٱ � َّ‬ ‫�صَ ا �عق‬ ‫� ��‬ ‫ك�م� ر� ��ي� ر�‬ ‫�ج� ل� �و ِ ٰ��‬ ‫�فَ���طِ��� �� ��قَ تْ �م نْ ��َه�ا ���� �َ �َ‬ ‫��ف�ا � ق‬ ‫�‬ ‫��فِ � ِ � ِل ٍك و �ئِ ٰ�‬ ‫‪138‬‬

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‫‪٥،٥٠‬‬

‫‪١٠،٥٠‬‬

‫‪١٥،٥٠‬‬

A Puff of Wind

A description of a saker:

A saker in yarak, with a stony crown

50.1

and bulky wrist, adept at speech, a brilliant hunter with her curved talons like a calligrapher’s nūns, her mail brightly clad in a patterned cloak like loops of lāms on parchment or kohl penciled on eyelids. A side-glance from her sharp eye spotted ten geese in a duckweed pond. She raked away on a true course,

50.10

a puff of wind, creeping like a thief. With a wing flick she was on them, ripping the guts from a nimble bird in a thunderbolt display— many perished, others fled away.

139

139

‫�ق ف‬ ‫�ب�ا ب� ا � �ل��ا ��‬

‫ٱ ْ َ َ ٱْ‬ ‫ح �سِ‬ ‫��� ����س َ � �� �لق ��ْ �ُ ��ل� � �ل���مِ َا ��ق‬ ‫�َو َ�‬ ‫�‬ ‫ى‬ ‫ر‬ ‫ر‬ ‫و‬ ‫فِ‬ ‫�إِ‬ ‫ٰ�‬ ‫م‬ ‫َ ْ َ �َ‬ ‫���فِ نَ��ْ نُ � نْ ُ‬ ‫ا‬ ‫حق‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ح� ِم� �‬ ‫�‬ ‫�‬ ‫ل‬ ‫�‬ ‫ه‬ ‫�م‬ ‫�م‬ ‫�‬ ‫ل‬ ‫�‬ ‫� ِو�جٍ و ِ ٰ��‬ ‫َ ًا َ‬ ‫����َلْ�� م� �ٱ ��لْ َ�ا �ق‬ ‫�َ ����َش�ا‬ ‫�‬ ‫ك‬ ‫� را �‬ ‫ح�‬ ‫�‬ ‫��ب‬ ‫ر‬ ‫و‬ ‫ِرٰ�‬ ‫بٍ‬ ‫ِ‬ ‫ِ‬ ‫ع‬ ‫�َْ َ ْ ُ ْ َ ًّ � َْ‬ ‫�ل ه � َ ا � ق‬ ‫�ل� ي�‬ ‫���خ�ل �ِم ن� �‬ ‫�ص ب� �إِ ي��ِ ���ش� �ئِ ٰ��‬ ‫م‬ ‫َ َ �زَ َ َّ ٱ �ْ‬ ‫َ‬ ‫� ا � �د � �ل�َ ا �� ق‬ ‫�َو��ع�ا �شِ�� �� �‬ ‫�ج� �و ح� �ع� �شِ ٰ��‬ ‫قٍ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫�بِ‬ ‫َ‬ ‫ت‬ ‫��ْ ءُ �ص��ا � �َ‬ ‫�حِ �تَّ �� �د ا ض‬ ‫��ف�ا ��ق‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�ى‬ ‫و ب ٍ‬ ‫ح ِ ٰ��‬ ‫ٱْ�َ‬ ‫� ثْ َ تََ َّ � ٱ � شَّ ْ‬ ‫م�َ�ا �ق‬ ‫�‬ ‫�‬ ‫�‬ ‫�ل‬ ‫�ف‬ ‫�‬ ‫�‬ ‫ِم���ل ��ب��د ي� � �ل���ي�� بِ فِي�‬ ‫ِرٰ�‬ ‫ٱْ‬ ‫حَ� ْ � ُ�د ل ّٰله �ٱ ��ْلَ �ُه �ٱ ��ل َّا �ق‬ ‫فَ��� �ل‬ ‫�‬ ‫�‬ ‫�م‬ ‫�م‬ ‫�‬ ‫�‬ ‫ِ ِ و و بِ ر �زِ ٰ�‬

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‫‪٢٠،٥٠‬‬

A Puff of Wind

The troop rolled up their sleeves, some hasty with their food, others cooking it just right. One of us, an admirer’s devotion— a lover beyond the pale of love—

50.20

drank wine, sheet-lightning bright. Then dawn sliced through the gloom, a streak of white through a dark head. Praise God, the Generous Provider!

141

141

‫~ ‪~ ٥١‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�ش ا ن �‬ ‫� � �‬ ‫ا �ل���� �ه��‬ ‫ي� � او �لغ�� ار ب� �و ��ط��ير ا�لم�ا ء [ا �لر�ج�ز ]‬

‫َ ْ َ ٱ ْ ُ ْ َ ن ٱْ� َ‬ ‫َٱ �ْ َ� كْ‬ ‫�‬ ‫�‬ ‫���‬ ‫�‬ ‫�وي� �ب�ِن� ���غ�د را ِ� � �لم سِ ي���ل و ل���بِ ر�‬ ‫ِ‬ ‫ح‬ ‫َا َ َ نًا َ ا َ َ‬ ‫ُ ُ� ْ‬ ‫ْ‬ ‫�‬ ‫��حر �ي� �‬ ‫�‬ ‫�‬ ‫�حب��ك‬ ‫�ج� �ور حِ�ي��� �م� ء ب ٍ �ذِ‬ ‫�َْ َ�فْ ��تِ ْ َ ن�يِ �ةً َ ٱ � ِّ َ ْ‬ ‫�ل� ��ي� � ��قِ� �د �‬ ‫�ح�ا �ِ�� � �ِم ن� � �ل����س�م��ك‬ ‫م‬ ‫ْ‬ ‫ِ ْ ثُ سِ �َ� ْ‬ ‫�تَ��ل �مِ�� �ُ �� �م�ْ��ن��َ‬ ‫�ق�ا رِهِ �‬ ‫�حي�� ��� �لك‬ ‫ع فِي� ِ‬ ‫َ‬ ‫���‬ ‫���خِ نْ‬ ‫َ ف َّ َ َّ ا �فِ تَ � ْ‬ ‫��جِ‬ ‫ك‬ ‫� ��‬ ‫� ٍر فِ��ي� �ك�� �ع��ي� ٍر � ��ك‬ ‫ٱ خْ ت َ � ا َ���فُّ ُ َ ْ �أَ َ َ � ْ‬ ‫�� ��ط� �� ��ك �ه �م�ل� �ى �‬ ‫� نْ � � �‬ ‫ح��س�ك‬ ‫ِم� �ذِ ي� ِ فٍ‬ ‫�غِ َ �َ ٱ � �َّ َ ا َ ْ � � َ ا نَ ٱ �ْلحِ َ ْ‬ ‫�� �د ا �إِ �ل�ى � �ل�د ��م� ِء �ع ��ط���ش� � � �‬ ‫� ن���ك‬ ‫�حِ تَّ �إِ�ذَ أَ ْ‬ ‫َ ُ �َْ َ�ْ تَ � ْ‬ ‫�ل‬ ‫� ��ى ا � ��ب ��صِ‬ ‫���‬ ‫���صره �م ي��م��� سِ� �ك‬ ‫َ �ْ ُ ُ ُ َ ْ ً َ � ْ �أَ ْ ��تِ َ� كْ‬ ‫��ي��ترك�ه �ع��م�د ا �و�ل�ل��‬ ‫�‬ ‫�‬ ‫�خ��ذِ �� ر‬ ‫ِ‬ ‫�ُ َّ عِ َا �ُ َّ تَ َ �فَّ َٱ نْ �سِ �فَ � ْ‬ ‫���ث�م �� �ل� ���ث�م ���ك��ى � �و ���� � �ك‬ ‫َ‬ ‫�َ‬ ‫���‬ ‫ٱ � َّ � ْ �إِ�ذَ َ � َّ هِ تَ � ْ‬ ‫��جِ‬ ‫ك‬ ‫ح‬ ‫�‬ ‫� �‬ ‫��حِر � �ل�� �‬ ‫�ص�ك �� ��ك‬ ‫طوِد ا �‬

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‫‪١،٥١‬‬

‫‪٥،٥١‬‬

‫‪١٠،٥١‬‬

Her Thirsty Beak

A description of a peregrine, a crow, and waterfowl:

It was a grim day for the wader beside the wind-rippled lake. Glistening fish squirmed in its beak, an assassin’s evil dagger. Snatchfoot the peregrine came, rancorous, her thirsty beak out for blood. She sighted the wader. She laid a sudden trap: she avoided it, then ringed up, waited on, stooped— an avalanche, a thwack, a mess.

143

143

‫~ ‪~ ٥٢‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�‬ ‫�‬ ‫ا �� ك�‬ ‫ل��ل�ا ب� [ا �لر�ج�ز ]‬

‫َ‬ ‫�أ �نْ��عَ��ُ َ ا ضَ َ ا � ًا �نََ‬ ‫� � َل�ا‬ ‫�‬ ‫ا‬ ‫ت�ه� � �‬ ‫��و �مِ� ر ��و حِ‬ ‫َ‬ ‫���أَ نَّ أَ فْ َ َ ا خَ‬ ‫��َ‬ ‫ص�ا �� َل�ا‬ ‫ك�� � ��‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ه‬ ‫�‬ ‫�‬ ‫فِي و هِ �‬ ‫ئِ‬ ‫ً‬ ‫�نََ �� ��فٍا ف�َ � َ‬ ‫�س�ا �� ًل�ا‬ ‫�ق�ا �����ط ا �َ �� َ‬ ‫و‬ ‫ر‬ ‫�� او ِ�ط� � �� ِ‬ ‫ئِ‬ ‫�زُ �ًّا �إِ�ذَ ٱ ْ تَ ْ َ ْ تَ َ ا َ‬ ‫عَ ا � سِ� � َل�ا‬ ‫�‬ ‫�ل� ا � ��س��د ب�ر���ه� �و‬ ‫َ ا �َ�ةً تُ َ‬ ‫�ج�ا ُ� �ٱ ��ل� ِّ��س� َل�ا � سِ� � َل�ا‬ ‫�ج� ��ئِ�ل� �‬ ‫�‬ ‫�‬ ‫� �ذِ ب‬ ‫�إِ�ذَ ٱ ْ تَ�قَ تْ َ أَْتَ‬ ‫�م�ا �َ�مَ ا �� َل�ا‬ ‫هَ‬ ‫ا � �ر �� � ر�ي���� �‬ ‫و ثِ‬ ‫َ‬ ‫َ�� ْ َ‬ ‫�� ف ًّ َ ���فِ �َ تْ‬ ‫� �أ �نَ�ا �مِ� � َل�ا‬ ‫�‬ ‫�‬ ‫كِ��م���ث�ل ك� ر ع‬ ‫ِ‬ ‫َ‬ ‫َ نْ َ َ ْت َ� ْ �ِ َ ا َ �َ ا�‬ ‫�و � �ه�و� ح� سِ� ب���ت�ه� ج��د ا �ِو�ل�‬ ‫�إِ‬ ‫َ ْ فُ َ ًة تَ ِّ� ُ ٱْ‬ ‫َ‬ ‫�‬ ‫�س�ا �� َل�ا‬ ‫َ‬ ‫��م‬ ‫�‬ ‫��ح� ��ور� �����طِ�ل ب� � �لم�� ئِ‬ ‫ََ‬ ‫َ‬ ‫���أ نَّ � �أ �فْ َا � َ ا � �مِ � َ ا � �َ ا‬ ‫ك�� � �ي� ��و هِ ��ه� � �ع� ِو�ل�‬ ‫فِ‬

‫‪144‬‬

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‫‪١،٥٢‬‬

‫‪٥،٥٢‬‬

‫‪١٠،٥٢‬‬

Like Torrents

A description of dogs:

I sing of Flow, Drip, and Drop, sharp, slender dogs, tongues like branches in their mouths. Their lank hips, viewed from behind, quiver like lances, restlessly tugging on their chains. You watch them, in their leanness, climb the sand dunes like fingers outstretched, then rush on like torrents, pursuing the quarry with their pickax jaws.

145

145

‫~ ‪~ ٥٣‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫� ق �‬ ‫�ق‬ ‫ا � �ل ��و��س � او �لب�ن��د �� [ا �لر�ج�ز ]‬

‫َأَ ِ َ َ ٱ نْ‬ ‫��خِ‬ ‫�حِ ن��َ ِ�ل‬ ‫���� � ّ��ن�هُ �ل� ّ�م�ا � �‬ ‫ك�‬ ‫� تْ�ِ��ل�ِه‬ ‫ى‬ ‫َ َ َ ٱ ٰ َ ُ �قِ‬ ‫�و�‬ ‫حك�َم � ّللهُ ��ل�ه ��بِ �� تْ�ِ��ل�ِه‬ ‫دَ اءُ �غَ� َّ �ا �� �َهَ� �م نْ َ‬ ‫�‬ ‫حبْ�ِ��ل�ِه‬ ‫ِر‬ ‫��س ٍل �وى ِ �‬ ‫أَ ْ َ‬ ‫ُْ ُ َ‬ ‫�َ َرا � رِ�ز ��ق�ه ��� �ن� ْ��بِ��ل�ِه‬ ‫� ���ف��ل‬ ‫فِي‬ ‫ح ٍم‬

‫‪146‬‬

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‫‪١،٥٣‬‬

Held Low in an Ambush

A description of the pellet bow:

Held low in an ambush— God having decreed it shall inflict death today— it looks like a wet cloak fallen from a rope. May the archer who needs its pellets to secure food enjoy success!

147

147

‫~ ‪~ ٥٤‬‬ ‫ف � ّق �‬ ‫�و��ق�ا �ل ��ي �ص�� ا �ل�ز ر�� [ا �ل��س ��ير� ]‬ ‫ع‬

‫َ� َّ ا َ �َ ٱ �ْ � ْ َ ا ُ� �ٱ � ِّ َ‬ ‫ل����ظ�ل�ا �‬ ‫�ل�م� �‬ ‫��صب�� �بِ� � �‬ ‫ح�د ا � �لإِ��‬ ‫ٰم‬ ‫ح‬ ‫َ ُ � �َّ�قَ تْ �عِ َ ُ ٱ �ْ �أَ ْ َ‬ ‫�و ���ط�ل� � �� را ئِ��� � �ل��‬ ‫�ح�ل�ا�‬ ‫س‬ ‫ٰم‬ ‫ْ‬ ‫ٱ‬ ‫َ �قَ ُ َ ٱ �ْل��جِ‬ ‫� �فْ�� نُ �َع ن � �ل�َ‬ ‫�م نَ��ا �‬ ‫�و��‬ ‫���صر � � � ِ�‬ ‫ٰم‬ ‫َ‬ ‫َ‬ ‫أ َ ْ تُ هُ � � ْ‬ ‫َ‬ ‫ِ�را �‬ ‫�‬ ‫� ج ��ب�ى�� �بِ �فِ ��تي���ةٍ ك‬ ‫ٰم‬ ‫�َ ا ُ ْ � ئُ نَ َ ا ِ �ةَ ٱ �ْ � ْ�� َ‬ ‫� ������ � � � � � � � ل‬ ‫�‬ ‫�ج�ا �‬ ‫�ل ي ب طِ �و� ��س �ع �لإِ � ٰم‬ ‫َ �زُ َّ �ُ��جِ َّ‬ ‫ْ َ‬ ‫�و ر�� �م‬ ‫��‬ ‫�ق�د ا �‬ ‫� ��مِ‬ ‫���‬ ‫ر‬ ‫��ح بٍ‬ ‫قٍ‬ ‫ٰم‬ ‫ْ‬ ‫َ‬ ‫َ‬ ‫ٱ‬ ‫ت‬ ‫�ُ‬ ‫� َ�ا َ �م نَ � �ل‬ ‫ح ْ ن ��ل ���َ�ا �‬ ‫��ص ر ِ � ٱ ْ��سِ� �إِ �ى م ٰم‬ ‫َ �‬ ‫�َ ْ��فِ ٱ � ُّ‬ ‫َ‬ ‫��ْ‬ ‫�‬ ‫��ضَ�م نُ �ز ا دَ � ج ل�‬ ‫ح�� �ل � �ل��ل��َه�ا �‬ ‫�‬ ‫��ي‬ ‫�‬ ‫ٰم‬ ‫ِ‬ ‫َ أَ ِّ ُ َ َ‬ ‫ٱ �ْ َ‬ ‫ك�� ���ن�ه �ف��ْو�ق� ���يِ ِ�د � �ل��ُ�غ�ل�ا�‬ ‫ٰم‬ ‫ُ ْ ٌ �َ ُ ْ ٌ نَ ٱ � �ِّ َ‬ ‫ل���ظ�ل�ا�‬ ‫� �ل�ه ِد ر �ِم� � � �‬ ‫���ص�‬ ‫� ب‬ ‫ٰم‬ ‫ع‬ ‫ح‬ ‫ُُْ َ‬ ‫�� ��نِ َ �ٱ �� ُّ‬ ‫�‬ ‫�‬ ‫َ�ا �‬ ‫ك‬ ‫�ذِ �ي� �ج���ؤ�ج�� � �م ل �‬ ‫�ؤٍ‬ ‫��شِ� ر �خ ٰم‬ ‫أَ ْ أَ ْ ُ � َ �قِ ٱ �ْ �أَ ْ اَ‬ ‫� �و � ��س����ط د � � � � � � � ��‬ ‫ٍر �قِ�ي � �ةِ �ل �قلٰم‬ ‫خَ ِ ٱ �ْ �أَ ْ ُ َٱ �ْ � ْ‬ ‫�َ‬ ‫�‬ ‫ع‬ ‫�� �ّ�ي��ةِ � �ل��‬ ‫�ج�ا �‬ ‫��حر�فِ � � ��‬ ‫� �فِ‬ ‫� و �لإِ ٰم‬

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‫‪١،٥٤‬‬

‫‪٥،٥٤‬‬

‫‪١٠،٥٤‬‬

Expert at Physiognomy

A description of a tiercel:

Daybreak drove the murk away,

54.1

dreams were divorced like wives, eyelids knitted, too small for sleep— I acted and roused noble comrades in a hurry to bridle their horses, and fetched my bold, battle-hardened tiercel, a paragon of beauty, able to feed a large army. On my retainer’s hand, he sat like dawn clad in a mail coat of gloom, his mail like stippled marble or lines of writing traced by a fine stylus, letters and dots barely visible.

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149

54.10

‫�‬ ‫م�‬ ‫���ا � ال� �‬ ‫ب ب يم‬

‫َ �ْ فُ ضُ �غَ ْ َ ٱ �ْ ُ َّ ٱ �ْ آ َ‬ ‫� � � �ل�ق �ف� �َ �و �ل�� ك�‬ ‫���ا �‬ ‫��ي���ن���� �ي� ب‬ ‫ٰم‬ ‫�ُ ْ َ تُ ُ َ‬ ‫���ٱ � َّ َ‬ ‫بِ �‬ ‫��ضرا �‬ ‫��‬ ‫���م�‬ ‫�ق��ل��ةٍ � ْ����سِر� ك�� �ل�‬ ‫ٰم‬ ‫�ج‬ ‫َ نْ �ِ ُ ٱ �ْ ُ‬ ‫َ‬ ‫� � �ل�ب �ْ�ع َ�د � َ ���طْ �‬ ‫��س�ا �‬ ‫�����‬ ‫��‬ ‫ت�ه ب‬ ‫�بِ رفٍ‬ ‫ي ِ‬ ‫ٰم‬ ‫أَ ْ �َ ُ �ٱ � ِّ ْ نَ ٱ �ْ �أَقْ َ‬ ‫��ص��د �م � � �� ا �‬ ‫� ��ع�ل� �بِ� �ل�‬ ‫ي ِ ِ � �ل �و ٰم‬ ‫م‬ ‫�� ��َ‬ ‫ه�ا � مِ� � ���فِ َّا � سِ�� � ��ل��ْل�َه� �ا‬ ‫فِي�‬ ‫�ةٍ ر �ةٍ ِ � ٰم‬ ‫ٱ‬ ‫ْ‬ ‫� ِّ‬ ‫َ ضْ‬ ‫َن‬ ‫� � �ل ����شبَ��ا ةِ� دَ ا �‬ ‫�َو�م�����سِ‬ ‫�ٍر �ع‬ ‫��‬ ‫�‬ ‫بِ‬ ‫ٰم‬ ‫�َ ْ َ ٱ �ْ�خلَ ْ َ ٱ �ْ‬ ‫َك���‬ ‫�ق�د ك � ��م��� �� ن‬ ‫�‬ ‫ي� ��� �ل��ْ���َه�ا �‬ ‫ع‬ ‫�‬ ‫ِ‬ ‫سِ بِ إِ ب ٰم‬ ‫ٱ‬ ‫ْ‬ ‫� َ‬ ‫�ُ�منْ���تَ ��ل��َ‬ ‫�غ�ا �ِم��� � �ل�عِ� �����ظ�ا �‬ ‫زِ�ع ِ‬ ‫ٰم‬ ‫ضِ‬ ‫َ ٱٍْ‬ ‫ٱ‬ ‫ْ �‬ ‫� َّ ���خِ َ �زَ � نَّ � ��‬ ‫ُ‬ ‫َ� �ا‬ ‫����نِ�ز � �لم ِك‬ ‫�� ب� � ر � �ل���‬ ‫ظ‬ ‫ٰم‬ ‫ع‬ ‫َ َخ ا � � َّ ْ � ٱ ْ � اَ‬ ‫� �ص��ط� ��‬ ‫� �� �� �ل�ل�ص��د‬ ‫و فِ�قٍ� ِ � ي ِ �ذِ ي� � ِ لٰم‬ ‫َ ْ ُ ُ ُ � َّ‬ ‫ٱ �ْ ْ َ‬ ‫�ي� ن�� �����شره ِ�ل��لن�� ْ�ه��� �َ �و �ل�� ��ق�د ا �‬ ‫ضِ إِ‬ ‫ٰم‬ ‫َ�نَ ْ َ ٱ �ْ ْ َ َ َ ٱْ‬ ‫ُ‬ ‫�‬ ‫ك���� �����شِرك � �ل�ُ��برد �ع��ل� � �لم ْ���ستَ��ا �‬ ‫ى‬ ‫ٰم‬ ‫أَ َ ُ ْ َ �قِ ٱ �ْ‬ ‫��غِ‬ ‫َ‬ ‫� ْ����سر �ِم ن� �ب�ا ِر� ��ةِ � �ل�� �م�ا �‬ ‫ٰم‬ ‫ع‬ ‫َ َ � َ ٱ �ْ‬ ‫َ‬ ‫ُ‬ ‫ح�� َ‬ ‫�َو�ذ �ن�َ� �ك��ط �� � ل‬ ‫�‬ ‫�س�ا �‬ ‫بٍ‬ ‫رفِ‬ ‫ٰم‬ ‫ٱ‬ ‫ُ‬ ‫فَ َ ا َ َ ا شَ ا َ ْت َ ا � � َّ‬ ‫�‬ ‫�‬ ‫م‬ ‫ا‬ ‫�‬ ‫���‬ ‫�ص� د �م� ���� ء � �شِ��م� �ل � �لرِ ي�‬ ‫ٱْ‬ ‫ٱ ْ َّ‬ ‫�ِم نَ � ��ل�� �َو�ز �َو�م نَ � �ل‬ ‫�‬ ‫��حِ �‬ ‫��حَ�م�ا �‬ ‫ِ�‬ ‫� إِ‬ ‫ٰم‬

‫‪150‬‬

‫‪150‬‬

‫‪١٥،٥٤‬‬

‫‪٢٠،٥٤‬‬

‫‪٢٥،٥٤‬‬

Expert at Physiognomy

He sees what lies concealed in hills

54.14

and uplands with an eye that burns like a bonfire, deleting vast distances with his keen sight. Expert at physiognomy, he’s a wiser hunter than we men; the scorpion sting of his bloody beak resembles a thumb making the sign for fifty.2 He plucks out hidden bones, as you’d bend to pick up beads from a snapped necklace. His wings, striped like a burd lifted from a camel’s hump, are spread wide for flight, and destroy all quarry they meet, quicker than a flash of lightning in a rain cloud, the tail feathers like the edges of sharp blades. Guided by his handler’s left hand, he proceeds to hunt his victims—pigeons and geese.

151

151

54.20

‫~ ‪~ ٥٥‬‬ ‫�‬ ‫�و��ق�ا �ل [ا �ل��س ��ير� ]‬ ‫ع‬

‫َ‬ ‫َ‬ ‫��ُ���ش���ْل تُ َ�ع نْ �أ ْ ���ط� َ�ا �� �َ ْ�ه��� َ�ا   �َ َ�ع نْ ُ �ُ�س � �أ �ْق����فِ� َ ْت �� نَ‬ ‫�ي��ا‬ ‫ر� حِ‬ ‫�غِ � � ل ِل و بِ ي ��ن و � ر �وٍم‬ ‫َ � � زَ نَ َ �ذَ‬ ‫�ٱ �ْ َ‬ ‫�ْ� َٱ �ْ�قُ فْ َ قُ ْ � ُ ُّ‬ ‫��� نَ‬ ‫َ‬ ‫�ي��ا‬ ‫ا‬ ‫ا‬ ‫�‬ ‫ِ� ْرك�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�بِ� �ل ك‬ ‫�ر�خِ و ل ���صِ و����طر���ب�لٍ و��طِ ��ط�ي �� ب� وك ِ‬ ‫َ � َ ا ن ِ �ذَّ َ ن ُ ُّ ُ ُ‬ ‫��ص ْ�د �� �ه �ن��ُ �نَ�ا‬ ‫� َّ �� �م نْ � ُ‬ ‫�‬ ‫ش�س� ِد ٍ� ��ع� ب� ��� �‬ ‫��م‬ ‫�و�����‬ ‫�غِ ِ و‬ ‫ح��ب�ه  � �عِ رقٍ ِ �‬ ‫ِي‬ ‫َ �أَنَّ‬ ‫نَ أَ َ َ ْ‬ ‫ن‬ ‫�َه�هُ   �َ ��قِ ْ�د ���فِ ��قِ� ْ�د �نَ�ا �َم نْ ��ُ��ي َا �� �نَ��ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ك� �ِ��ي� ِح�ي� رى و ج � و‬ ‫� ر عِ ي‬ ‫أَ ْ‬ ‫َق ْ َ َ ٱ �ْ �أَْ �فَ � َ ْ‬ ‫ّ‬ ‫ُ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫�نُ ن اَ‬ ‫ُ‬ ‫�‬ ‫ْ‬ ‫ْ‬ ‫شِ‬ ‫ً‬ ‫�‬ ‫ف‬ ‫َ‬ ‫ْ‬ ‫� ك� �‬ ‫���� �ع ن� د ر �و�ع ن� �ج��و�هرٍ  ��د را � ��ي� � �ل���س� �ا ��ِط �م ك‬ ‫�� �� �و�‬ ‫َ َ ح فِ‬ ‫أَ ْ أَ نْ ُ ٱ �ْ َ شْ َ ٱ � َّ � َ َّ أ ْ أ ْ‬ ‫���فتَ ُ َ�ع نْ �نَْ �َ َ�ا ��ت� نَ‬ ‫�ي��ا‬ ‫�‬ ‫���ف‬ ‫� �و � � �ش�� ُر � � �لو����ي� � �ل��ط ار �زِ �ي� � �و  � � �‬ ‫� � ��وٍر ب ���س ِ‬ ‫ح‬ ‫َ‬ ‫نَ � ِّ َ �قِ �ْ َ ْ نَ أَ ْ َ‬ ‫َ ْ ٌ ُ�َ َّ‬ ‫���س��ه �ٱ �ْ��أ� �مِ� َّ�� ن�اَ‬ ‫ا‬ ‫ه‬ ‫ح‬ ‫�‬ ‫�‬ ‫�ض�ل �ِ�ع�ِ د ��هر ي‬ ‫� ����فر � �بِل��� �ب�ي�� � ��‬ ‫ير �‬ ‫ي ِ �ل‬ ‫ي‬ ‫ْ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫ْ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫ِ‬ ‫َ‬ ‫ً‬ ‫َ‬ ‫��قِ‬ ‫�‬ ‫ُ‬ ‫ْ‬ ‫��يِ�ز � �ُ ْ � ا �ذ‬ ‫�� ��َ�ا �� �ف � ف‬ ‫�سُ� �نَ�ا‬ ‫���ا ن� �م��‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�ل‬ ‫م‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ط‬ ‫�‬ ‫�‬ ‫�ض‬ ‫�‬ ‫�‬ ‫�‬ ‫ ‬ ‫�‬ ‫ك‬ ‫�‬ ‫�م‬ ‫�‬ ‫�‬ ‫ك‬ ‫�‬ ‫�ط‬ ‫ل‬ ‫�‬ ‫�ج‬ ‫ر‬ ‫ر‬ ‫و‬ ‫��ئِ ٍ ي‬ ‫ِب‬ ‫صٍ م‬ ‫َ‬ ‫�فِ َ ن َ‬ ‫أ‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫�فِ‬ ‫ْ‬ ‫َ‬ ‫ّ‬ ‫ْ‬ ‫ُ‬ ‫�َ ��م �����شُ � � نّ� ن �ْ َ ْ تُ ��م ْ‬ ‫�‬ ‫��ح�ز � �نَ�ا‬ ‫ع‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫� �د ا �ِو �ي� �‬ ‫��ج�ل بِ‬ ‫�مول��ةٍ  ��إِ ِ��ي� م��سي��� ��ح و‬ ‫ِ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫أ‬ ‫ٱ‬ ‫ً‬ ‫أ‬ ‫�‬ ‫َ‬ ‫ْ‬ ‫ٌ‬ ‫ا دَّ َ�ع ت� � �ل����نْ�َ‬ ‫�� ْ����سَ �ى �َ ��� �� ��نَ��ا‬ ‫�غ� ِك�‬ ‫����س �ى � ��ا  �َم نْ �ُم�ْ�ب�ِ�‬ ‫�ب�ا ُ ���ط ِك�‬ ‫ل‬ ‫و‬ ‫ر‬ ‫ر ب‬ ‫�‬ ‫ِ ِ‬ ‫سِ يرِ ي‬ ‫�َ ْ �َ ا �َ ٰ �ذَ ��َ ُ َ ا َ ا � � ٌ‬ ‫ك  �م نْ �َ�ْ�ع�د �تَ��ْ‬ ‫�ح�نَ��ا‬ ‫�َ�م�ا‬ ‫�‬ ‫�‬ ‫هِ‬ ‫�‬ ‫�‬ ‫�‬ ‫ع‬ ‫� �لو �ق� �ل ��ه� ا ل���ه�م� ��م�ِ�ل�‬ ‫�‬ ‫ي‬ ‫�‬ ‫ِ‬ ‫�ب‬ ‫ِ‬ ‫�‬ ‫ي‬ ‫ِ �ذِ بِ‬ ‫ٱ ٱَ‬ ‫��َلنَ����خِ � َ � نْ آ نُ نَ� ْ َ ًة تُ ْ‬ ‫� ُ ���ط �� � ��ل نّ�َ�ا � ��ل �شّ�� َ��ا ��� �نَ��ا‬ ‫� ��حرا ِم� � ���فٍ� ���خر�   �� �ض ِر فِي� ِر ي طِ ي‬

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‫‪١،٥٥‬‬

‫‪٥،٥٥‬‬

‫‪١٠،٥٥‬‬

Sharp Knives

I have neither time nor tears for ruins

55.1

in Wahbīn or for faint traces in Karkh, Qufṣ, Quṭrubbul, Ṭīzanābādh, or Kirkīn— not even for a fawn whose love tortured me, his curls like nūns, daubed in scent. Away from prying eyes, I gazed at his face, thinking night had fallen and I was lifting jewels and pearls from a casket, or unfurling a ṭirāzī gown, or unlocking flower gardens in full bloom. Time startled my heart, forcing it to drink life’s bitterness, all aflutter like a bird suddenly caught in a cage. Hurry!

55.9

Heal me with a wine chilled by the north wind, for I’m overcome with grief—to think that Nabataean farmers claimed Khusro as their father! Who can take a message to Khusro and Shīrīn? They would have punished kings for this claim, bellowing so loud they’d scare farts from Hell’s devils!

153

153

‫� ن‬ ‫�ب�ا ب� ا �ل ن��و�‬

‫َق ْ أَ�غْ‬ ‫َ�ٱ ��ْ�ف�لَ ْ ُ �ُم�ْ ت‬ ‫�سَ��ْع ٌ �َ ْ ًا � ���قِ ْ ن �ٱ ��ل��ُّ�صْ‬ ‫َ‬ ‫ت‬ ‫�‬ ‫��د � � � ِ�د ي� �و �‬ ‫�‬ ‫ب�‬ ‫�‬ ‫جِ���ل  �ل��ي�ل� �بِ � ر ِ�‬ ‫��جر‬ ‫ح‬ ‫ِ أَ‬ ‫� ُ ْ َ أَ�ْ‬ ‫� َ ا � َ ا َ ْ نَ �َ� َ ا َ ت َ ْ‬ ‫َ‬ ‫س�ا �� َك�ا ت‬ ‫��ن�ا‬ ‫���� َ‬ ‫ل‬ ‫�‬ ‫س‬ ‫�‬ ‫�‬ ‫�‬ ‫ا‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ ‬ ‫�‬ ‫�‬ ‫�‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫ح‬ ‫�‬ ‫�م‬ ‫�م‬ ‫بِ���� لِ‬ ‫و ٍ و ر ضِ ي‬ ‫�� ٍ‬ ‫� ��سب���ل � ظِ � ب ي�‬ ‫ُ‬ ‫ُ�‬ ‫��ن�ا‬ ‫��ب�ا ���� َ‬ ‫��ن�ا ����ي� َه�ا  �أ ��لْ�� ْ��س نَ �م نْ ��� ��تَ َ‬ ‫�َّ�مَا ت َ نْ ظَ � َ‬ ‫�م���شِ ر ٍ‬ ‫� �ع� ��� بِ بِ �‬ ‫بِي‬ ‫بِ � ِ � ِري شٍ�‬ ‫ٱْ‬ ‫َ َّ َ �قَ ْ َ ٱ �ْ‬ ‫تَ�قْ ضُ أَ ْ َ ٱ � ِّ‬ ‫��جِ‬ ‫ْ‬ ‫�‬ ‫ض‬ ‫��ن�ا‬ ‫ا‬ ‫� � َل�ا� �� � ��ل�ِ�عث�َ�ا �ن��� َ‬ ‫�‬ ‫ل��ط�ي� �� �ج��و�ه�   �ب��� � ل‬ ‫��‬ ‫ِي‬ ‫ِو��ي�زِ‬ ‫�‬ ‫� بِ���� � �ع��ل�ى � � � رِ فِي‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫َا ت أ ْ َ أ ْ َ ِ� َّ �فَ َ ا ٱ ّٰ ُ َ َ‬ ‫�أ نْ� ُ‬ ‫��� نَ‬ ‫�ي��ا‬ ‫ك�اِك�‬ ‫�‬ ‫�‬ ‫�بِ� �‬ ‫��‬ ‫م‬ ‫�م‬ ‫� � �بر�� � �بر��ٍ ����طر ��ه� � لله ��س‬ ‫ل‬ ‫ٍ‬ ‫ع أَع َ تَ�جِ َّ ْ َ َ أَ‬ ‫َ‬ ‫�ُ عِ ُّ � َّا أ ��خِ �ذَ ْت َ اٍ َ ْت  �إِ�ذ‬ ‫��ن�ا‬ ‫� ��ل ت� �ف��ْ �ق� � ��ْ�ي�د �� َ‬ ‫�‬ ‫ا‬ ‫�ي�� �د مِ�م� � � � � �م� ر� �‬ ‫ِي‬ ‫و‬ ‫َ‬ ‫َ‬ ‫َ‬ ‫� تْ � نْ ِ�� َ أ ْ �ؤُ ًا أْقَ نَّ � نْ‬ ‫�َّ ك��‬ ‫��ن�ا‬ ‫�� ْ��د ��َم�ا ����� َ‬ ‫�َو�‬ ‫�‬ ‫�‬ ‫�‬ ‫ �‬ ‫�‬ ‫ط‬ ‫�‬ ‫�‬ ‫م‬ ‫م‬ ‫�‬ ‫�‬ ‫�‬ ‫�م‬ ‫�‬ ‫�‬ ‫صِ‬ ‫�‬ ‫�‬ ‫�س‬ ‫�‬ ‫�حِ ر ِ � ٍ ر‬ ‫ي ٍ بِ شِ ي‬ ‫�ي � ِ �‬ ‫ع‬ ‫أَ‬ ‫أَ‬ ‫ٱ ْ أَ‬ ‫تَ‬ ‫�ى�ا‬ ‫�ْ�ح ��� َك � ��ْ��شَ��ا � لِ���َه�ا �َم�ا ت� ه�ْ   َ � �ْ ا �م نَ � ��ل�� �ّ�َا � �تَ��ْ�ل ����ن �ى َ‬ ‫�‬ ‫ي �خٍ‬ ‫ِِ� م ر و ِ � ي ِم ِوي‬ ‫ِري‬

‫‪154‬‬

‫�َ ْم�����ط�ُ�ع �نَ�ا‬ ‫و‬

‫‪154‬‬

‫‪١٥،٥٥‬‬

‫‪٢٠،٥٥‬‬

Sharp Knives

I crossed the dark, as dawn hurried the night impaled on the sun’s horn, accompanied by goshawks following the course mapped by their eyes between heaven and earth, birds dressed for action, the plumage above their arms like a sailor’s breeches, grabbing high-soaring birds in the air (as the militia grasp men by their beards), with four fingers on each foot, sharp knives fashioned by God. Any quarry they see is counted a catch when flying from the fist, and, confident of killing any prey at whim, they greedily shake their heads, like old men who’ve seen how easily fortune can change.

155

155

55.13

‫~ ‪~ ٥٦‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫� �ة �‬ ‫ا �� ك�‬ ‫ل���لب�� [ا �ل��س ��ير� ]‬ ‫ع‬

‫� ْ �بِ �غِ َ َ ْ َ نُ‬ ‫ََ‬ ‫�وك����ل� ��ةٍ �� �د ا بِ���ه�ا �فِ���تي��ا �‬ ‫أَ ْ � َقَ َ ا نْ �يِ ٱ �ل�زَّ َ ا نُ‬ ‫� ���ط��ل���ه� �ِم� �� �دِهِ � � ��م� �‬ ‫َ‬ ‫َ َ ا ُ َ ا �� أ نْ ُ َ ا �َ َ� ُ‬ ‫�‬ ‫�‬ ‫�‬ ‫���ا �ن��وا‬ ‫�ق� ل ك‬ ‫�و�م� ��ي��ب� لِ�ي� � � �ي�‬ ‫�ا نُ‬ ‫أََ تْ ��فِ َ ا َ � ْ ُ � َ ا َ َ‬ ‫�‬ ‫طه� �م ك‬ ‫� �ب�� � �م� ��ي �‬ ‫�� �‬ ‫��ضبِ� �� �‬ ‫َأََّ َ �إِ�ذَ َت مِ َّ � ْ َ نُّ‬ ‫ك�‬ ‫���� ن���ه�ا ا ��� ��ط ت� �‬ ‫�‬ ‫�ج�ا �‬ ‫أَ ْ َ ْ َ ٌة َ خَ� ْ � ُ َ ا ٱ � َّ نَ ا نُ‬ ‫� �و �‬ ‫�ص�ع�د � �و� ���ط�م�ه� � �ل��س�� �‬ ‫َ نَ��جِ َ تْ ��ل��َ ْ � َ ا ��غِ�زْ �َ ا نُ‬ ‫� �م� ِ�ل‬ ‫�و�‬ ‫�ه� �� �ل��‬ ‫�حظِ�� �‬ ‫َ ْ ُ ُ َ �ُ �هِ فْ �هِ ف ٌ َقْ �َ نُ‬ ‫��ي��‬ ‫�ق�د �م�ه�ا م�� ���� �� ��ي������ظ�ا �‬ ‫َ ْ َ ا نُ‬ ‫َ�ٱ ��لنَّ� ْ ُ � َ غْ‬ ‫ن‬ ‫�و ��‬ ‫ه‬ ‫�‬ ‫�‬ ‫�‬ ‫��ج�م فِ�ي� �م��ِر� �ِ و��س�� �‬ ‫�بِ‬ ‫حِ ْ َ نُ‬ ‫َ�ٱ �� ُّ ْ ُ � َ ْ‬ ‫�ش‬ ‫�‬ ‫�‬ ‫ه‬ ‫�‬ ‫ا‬ ‫� ل��ص�‬ ‫� فِ�ي� �م�� ر�قِ �ِ � �ي ر �‬ ‫و َ بح ْ ِ‬ ‫َأ ِّ ُ �ُ َ ��‬ ‫� ٌ ُ ْ َا نُ‬ ‫���� ���ن�ه �م�‬ ‫ط‬ ‫�‬ ‫ك�‬ ‫�‬ ‫�‬ ‫�‬ ‫��ض �� جِ‬ ‫� ��عري� �‬ ‫ع‬ ‫َ أَ �خِ �ذَ ْت َ ا أَ َخ ��ذَ ٱ �ْ َ ا نُ‬ ‫� �و �‬ ‫� � � �م� � �� � �ل�عِ� ي�� �‬

‫‪156‬‬

‫‪156‬‬

‫‪١،٥٦‬‬

‫‪٥،٥٦‬‬

‫‪١٠،٥٦‬‬

The Drowsy Pleiades Set

A description of a bitch:

A bitch taken on an early hunt by a troop of comrades released from Time’s grip, with no thought for the future. On her return, the hunting ground emptied, she was like a white serpent at full stretch, or a spear fitted with her muzzle for its head. Some ẓabys entered her field of vision, with a lean, watchful buck in the lead. The drowsy Pleiades set, but morning had lost its way, as if still lying undressed in bed. For this dog, whatever she spotted was fair prey.

157

157

‫~ ‪~ ٥٧‬‬ ‫�‬ ‫ف �ف‬ ‫�ه�ود [ا �لر�ج�ز ]‬ ‫��ي �‬ ‫���ص�� ا � �ل �‬

‫أَ�نْ َ �ُ َ ا تَ فْ ٱ �ْ فَ َ ِ ْ‬ ‫�ض�ا ءَ ��ع�د �َوا‬ ‫� ��ع�ت�ه� � ���ر�ي� � � �ل���‬ ‫ِ‬ ‫��نِ�ز َْ‬ ‫نََ ًا ��خِ �ْ ف َ ٱ �� َّ ��‬ ‫� �� او �زِ �ي� � �ل�� � ل�طِ �ر��ي ِ�د �� � او‬ ‫�َ ا تُ ْ ُ ٱ �ْ ُ ْ َ ةُ نْ َ ا َ فْ‬ ‫�ل� �‬ ‫�ه� �‬ ‫ع� ��َوا‬ ‫ح� سِ� ن� � � �ل�‬ ‫�ق�د ر� �ِم �‬ ‫�َق ْ�د �َ َ���َد تْ َ ����ط�ْع َ �ٱ ��ل��دَّ �َم�ا ء ُ� َْ‬ ‫ِ‬ ‫ح�� �ل او‬ ‫و ج � �م‬

‫‪158‬‬

‫‪158‬‬

‫‪١،٥٧‬‬

Blood’s Taste

A description of cheetahs:

I sing of them speeding across the plain, hopping and skipping after their prey, relishing blood’s taste— what life can survive such power?

159

159

‫~ ‪~ ٥٨‬‬ ‫ف‬ ‫ا�‬ ‫�و��ق� ل ��ي�‬

‫�‬ ‫�‬ ‫ا �� ك�‬ ‫ل��ل�ا ب� [ا �ل��س ��ير� ]‬ ‫ع‬

‫َ� َّا �غِ َ ْ نَا َٱ � �ِّ � َا ُ �قِ ْ َ َ‬ ‫�ل�م� �� �د � �و� � �و � �‬ ‫ل��ظ�ل� �م � �د �و��هى‬ ‫َ‬ ‫َ نَ َ َ �ٱ �� ُّ ْ ُ ٱْ� ُ‬ ‫م� ءُ �ٱ �ْ �أ�ْ ُ‬ ‫�َه�ا‬ ‫�‬ ‫�و���س ب� ل�ب�ص�‬ ‫� �ل ضِ ��ي� �ل�و ج �‬ ‫ُ ْ نَا � ��غِ�زْ �َ ا نح ٱ � ُّ‬ ‫�جِ ْ َ�ٱ�لْ�ِ اَ‬ ‫��ق�د �� ِ�ل�� �ل� ِ� � �ل��د �‬ ‫� ي���ل �و�م�ه�‬ ‫ِ‬ ‫ً تَ‬ ‫ِ‬ ‫ضَ‬ ‫��َ‬ ‫حْ��� ���سُُ�ه نَّ �نُ���ّ�قَه�ا‬ ‫�‬ ‫�‬ ‫ا‬ ‫ا‬ ‫�‬ ‫�مِ‬ ‫�‬ ‫ب�� � �‬ ‫ر‬ ‫�و‬ ‫سِ‬ ‫�َ�صِ ْ�د نَ ��ل��ْل�غ�َ�ا د � � نَّ �َ �ا �ٱ �شْ تَ َ‬ ‫ه‬ ‫�‬ ‫�ي � � ِ ِ ي� �بِ ِ�ه� م �� �� ى‬ ‫َ َ ا ٱ�ن�ْ �ِ َ تْ‬ ‫حتَّ �ٱن��ْتََ‬ ‫� ��قِ ُّ ���ط ��ه َ�‬ ‫�و�م� � �ت�ه‬ ‫�‬ ‫ه‬ ‫�‬ ‫ِ‬ ‫�‬ ‫بِ ى � ى‬ ‫َ‬ ‫نْ �ُ َ � تْ‬ ‫� �م نْ � َّ�د َ�ه�ا �ل�� ْ ����تِ َ َ�ه�ا‬ ‫�إِ � �‬ ‫��خِر ��ط ِ � قِ‬ ‫م ر‬ ‫ٱ‬ ‫�َّ ا َ َ ا شَ ا َ ْت � نَ � �� ِّ‬ ‫��ص ْ��د ��َلَه�ا‬ ‫�إِ �ل� �و�م� ���� ء � ِم� ل� ي ِ �‬ ‫ُ ُ َ ّ َ‬ ‫ُت ْ‬ ‫ض‬ ‫��ً�ا �َ ��ل�ا ��ُ�ت ْ�د �َم� � َه�ا‬ ‫��مِ��سك�ه �ع� و‬ ‫ى �بِ �‬ ‫أَ‬ ‫ُ‬ ‫����غِ ����ي�زَ�ةً �مِ� نْ ُ�ه نَّ � �ْ �تَ����فِ� ��ّ�قَه�ا‬ ‫�� � و‬ ‫�‬ ‫ِر‬ ‫َ‬ ‫َ‬ ‫ّ‬ ‫ٱْ‬ ‫َ‬ ‫�م�ا نْ� َت��مَ��ُّ � ��ل��أْ ض��َ ��ل�ا �َ ��َلَه�ا‬ ‫س ر � �إِ و �‬ ‫� �إِ‬ ‫ََ‬ ‫���أ نَّ َ ا تَ�قْ ضُ َ�ْ ً �يِ ُ‬ ‫�د َ�ه�ا‬ ‫ك�� ���ه� � �� � ��� ج ���مرا ��‬ ‫�بِ‬ ‫َ‬ ‫ْ‬ ‫ُ �ْ َ ْ نَ �ٱ �ل�زّ ْ‬ ‫ع �َ ��ُ�ي�د �عِ� ��ْ نَ � َه�ا‬ ‫ي����ش��ل�ي�� �بِ� � � �قِ� و‬ ‫ي � �بِ �‬

‫‪160‬‬

‫‪160‬‬

‫‪١،٥٨‬‬

‫‪٥،٥٨‬‬

‫‪١٠،٥٨‬‬

Training or Instinct?

A description of dogs:

We crossed the feeble gloom as dawn revealed our faces bringing to the oryx and ẓabys of Dujayl a pack of dogs as scrawny as convalescents. On an early foray, they catch any prey the hunter wants, never stopping until he gives the order. When they’re sicced, you won’t see them miss the quarry, held fast in their mouths without bloodshed— training or instinct?—gingerly treading the ground as if handling coals, called back by the hunter’s shouts.

161

161

‫~ ‪~ ٥٩‬‬ ‫ف � ّق‬ ‫��ي �‬ ‫���ص�� ا �ل�ز ر��‬

‫� � �‬ ‫�و ��ط��ير ا�لم�ا ء [ا �ل��س ��ير� ]‬ ‫ع‬

‫َا ُ َّ �َا نَ‬ ‫� �قِ� صِ� ّ‬ ‫هِ‬ ‫�‬ ‫�‬ ‫�ي� ر ب� �‬ ‫�‬ ‫ر‬ ‫�‬ ‫�ج� ِر ٍ‬ ‫ي�‬ ‫ٰ‬ ‫َ َ‬ ‫ُْ‬ ‫ح�ً�ص �نَ�� ّ‬ ‫��ض �ِ����ط � َ�ع��ل �‬ ‫�م‬ ‫�‬ ‫ر‬ ‫�‬ ‫ِ بٍ �ى ى �قِ ي�‬ ‫ٰ‬ ‫َ‬ ‫�َ ���ُ�ت ْ ���بِ � �ذ ا ت� ����ثِ ً�ى �َ ���ط ّ‬ ‫و‬ ‫ر‬ ‫�‬ ‫و ر �ةٍ ِ‬ ‫ِ ي�‬ ‫ْٰ‬ ‫َ‬ ‫َ‬ ‫�َ �ز � �هِ� �ُ�مْ���ت��� �م ��ع ّ‬ ‫ر‬ ‫ب‬ ‫ر‬ ‫�‬ ‫و ٍ‬ ‫�سِ ٍ ِ �ب ِ ي�‬ ‫ٰ‬ ‫ُ ْ‬ ‫�َت‬ ‫َ ُ ْ ��ضِ‬ ‫�� � ّ‬ ‫�‬ ‫�‬ ‫�� � � بِصِ‬ ‫��ل �و�‬ ‫��م‬ ‫هِ‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ر‬ ‫�م ك �‬ ‫ي�‬ ‫ٍ‬ ‫ٍ‬ ‫ع‬ ‫أَ ِ ��فِ َ ُ ٱ �ْ ٰ‬ ‫َ‬ ‫�ُح�� ّ‬ ‫ك�� ��ّ�ن�هُ � را �� �د � ل‬ ‫�‬ ‫�‬ ‫�ئِ‬ ‫لِ‬ ‫ي�‬ ‫ٱْ ٰ‬ ‫َا َ‬ ‫ك� َ ���ٱ ��ْل���غِ َ�د ا � �َ � ��ل�َع��� ّ‬ ‫�ب�‬ ‫�‬ ‫و‬ ‫ر‬ ‫ةِ‬ ‫شِ ي�‬ ‫بِ‬ ‫ٰ‬ ‫قَ ٱ � نََّ � � شِ َ ّ‬ ‫ِر��ي�� � �ل��د �ى فِ�ي� ��� بِ���ٍم �ع��ذِ �ي�‬ ‫ٰ‬ ‫���ظِ��� َّ �� َ ا �� �َا َ� ّ‬ ‫�ل بِ��ب� ٍل �ف� ر ر خِ �ي�‬ ‫ِ�غٍ ٰ‬ ‫َ َ ا ٱ َّ �َ � نْ � َ َ ّ‬ ‫�و�م� � د ع�ى ِم� ���شِ �ب�ٍ� �و ِر�ي�‬ ‫عْ ْ ٰ‬ ‫�ذَ ٱ �ْ‬ ‫� نَّ �م نَ �ٱ ��ل���ن سِ�� ّ‬ ‫�َق ْ�د ��َ‬ ‫ع�ا ���‬ ‫ل‬ ‫�‬ ‫ِ‬ ‫بِ جِ � � إِ ي�‬ ‫ٱ َ ٱ ُّ ٰ‬ ‫�ُ َ َّ‬ ‫ك�مً�ا �� � ��ل ّ���سَم��ك � ��ل���ل ّ‬ ‫�م‬ ‫ح‬ ‫�‬ ‫�‬ ‫فِي‬ ‫ِ �جِ ي�‬ ‫�َ��ْ�ُ ُ � َ ا � ْ َ � مِ ْ ّٰ‬ ‫�ق���ط�ه� بِ��مِ‬ ‫�ي ل�‬ ‫�� �عو�ٍل �� �د ِر�ي�‬ ‫ٱْ ٰ‬ ‫��َ�لقْ َ ��� �ن� َ ا �� �ٱ ��ْلغ�َ َ�� � �ل�َْ�م ّ‬ ‫�ط ِ �‬ ‫�ص� ِل �ر ضِ� �مرِ�ي�‬ ‫ٰ‬

‫‪162‬‬

‫‪162‬‬

‫‪١،٥٩‬‬

‫‪٥،٥٩‬‬

‫‪١٠،٥٩‬‬

His Pickax Beak

A description of a tiercel and waterfowl:

A denizen of a distant river,

59.1

clear, burbling over pebbles, with banks of rich well-trodden soil and smiling spring flowers, blossoms like peerless jewels among fresh saplings—from dawn to dusk, he sipped the dew’s saliva mixed with cold rainwater, free of cares, deeming it his right to eat and drink his fill, protected from man by the jinn,

59.11

given dominion over the fish he reaps with his pickax beak like the tooth of an iron comb, as if plucking arrows from a target.

163

163

‫�‬ ‫�ب�ا ب� ا �لي��ا ء‬

‫َ‬ ‫���صِ َّ��ْ ُ هُ � �أ ���جِ �َ � ّ‬ ‫�‬ ‫بح��ت� بِ� � �ٍل وحِ �ي�‬ ‫ٰ‬ ‫َ‬ ‫َ َ �� � َ‬ ‫�ّ‬ ‫�َ�م�ا �ِل ��ق�ا �ِن��� خ� �فِ��‬ ‫�ع��ل� ��شِ‬ ‫ى‬ ‫ي�‬ ‫صٍ‬ ‫ُ ْ ُ ُ حِ َّ ْ ٰ‬ ‫َ‬ ‫�� ّ‬ ‫�ي� �ج���ؤ�� ��م‬ ‫� ب��رٍ � �موشِ ��ي�‬ ‫�ذِ‬ ‫�ج �ؤٍ‬ ‫ٰ‬ ‫ْ‬ ‫َ‬ ‫َ‬ ‫ْ‬ ‫ٱ‬ ‫�قِ‬ ‫َ‬ ‫َُ ْ‬ ‫ت‬ ‫حقُ ��� �� �ل� صِ� ّ‬ ‫�ق��ل��ةٍ ����ل‬ ‫�و� �‬ ‫��م‬ ‫�‬ ‫�‬ ‫�‬ ‫�‬ ‫ي�‬ ‫بِ‬ ‫�قِ ْ َ َ ٱ � ِّ ٱ ْ ٰ‬ ‫� ��ق تْ � �ل �����شَ‬ ‫���خِ � ّ‬ ‫� � �ل‬ ‫�‬ ‫�‬ ‫�‬ ‫� �د �ع�ِل � �بِ� ب‬ ‫�فِ‬ ‫ي�‬ ‫ِ‬ ‫ح‬ ‫َ‬ ‫ٰ‬ ‫َ �أ نَّ َ ا َ ا ُ‬ ‫ْ�َ � ّ‬ ‫ك� ���ه� ِد ��ي��ن� ر �‬ ‫��صِ �ي رفِ�ي�‬ ‫ٱْ ُ ٰ‬ ‫�َ�ٱ �تَّ� �لَ تْ �� َا � ه � �� �لق � ّ‬ ‫و�‬ ‫��صِ � � ��بِ ر �نِ� �ِ ��وهِ �ي�‬ ‫ٱْ�َْ ٰ‬ ‫َ قٌ َ�غُ ْ ٱ َ‬ ‫ا �‬ ‫��ص ن � ��ل���ذّ َ�ه� �ل‬ ‫��� ّ‬ ‫م‬ ‫��س� �� ك��� ِ�‬ ‫بِ ج لِ�ي�‬ ‫ٱ � ّ َ َ �طِ � َ ٰ‬ ‫�� ّ‬ ‫ك�‬ ‫�َ ا � � �ل َ��� � �ا � � ���‬ ‫َو فِ�ي� َسلِح �ب �ٍل ِ��مي�‬ ‫َٰ‬ ‫�أ �شْ�� َ��َ �أ �َّا ء �عِ � َ �ٱ �ْ �أ� ّ‬ ‫�و س ب�ٍ � �ع��ل�ى �ل�بِ�ي�‬ ‫ٰ‬

‫‪164‬‬

‫‪164‬‬

‫‪١٥،٥٩‬‬

‫‪٢٠،٥٩‬‬

His Pickax Beak

I raided the bird with my tiercel,

59.15

life and death on a hunter’s left hand, his mail decorated in patterns; his eyes, like a money changer’s dinars, pick out hidden shapes in the distance; he’s dressed in Qūhī breeches above arms like burnished gold ingots; a proud warrior in full armor, squinting with battle rage— never likely to yield to insult or injury.

165

165

Notes

1

An echo of Q Fajr 89:12.

2

A reference to dactylonomy, or finger counting: see Pellat, “Ḥisāb al-ʿAḳd.”

167

167

Glossary

ʿarfaj  Rhanterium epapposum, a shrub grazed by livestock that grows in soft soil and is highly combustible when dried. arms  the legs of a raptor, from the thigh to the foot. Bābil  the Arabic name for Babylon, generally associated with wine production. bind to  a raptor “binds to” when she catches and holds her quarry in the air. blaze (Ar. ghurrah)  the white star-shaped mark on the forehead of a horse. burd  a mantle of striped woolen cloth manufactured in the Yemen. cheetah (Ar. fahd)  Acinonyx jubatus, trained for the hunt and carried on horseback behind the rider to preserve its strength. covert  undergrowth or a thicket in which game can hide. crow (Ar. ghurāb)  the hooded crow (Corvus cornix) or the South Eurasian raven (Corvus corvus subcorax); incorrectly identified by the copyist of MS Laleli 1728 as the quarry of the peregrine in Poems 42 and 51. crown  the head of a raptor. Dujayl  a river north of Baghdad. farsakh  a measure of distance, usually around 3.7 miles (just short of six kilometers). fly at bolt  a hawk “flies at bolt” when she flies at quarry straight from the fist. fly from the fist  the same as fly at bolt. foot  a raptor “foots” her prey when she grabs it with her feet and talons. gazelle (Ar. ẓaby)  the general term in Arabic for a gazelle, be it an idmi, Gazella gazella, the mountain gazelle, a species that lives on mountain ridges and desert plateaus, or a rhim, Gazella arabica, an Arabian subspecies of the mountain gazelle. goshawk (Ar. bāz)  Accipiter gentilis, the northern goshawk, a large and aggressive raptor; the female of the genus is noticeably larger than the male. When hunting, the goshawk will either hug the ground in flight or attack from a high soar. See also tiercel. goose (Ar. iwazz) either Anser albifrons, the greater white-fronted goose; Anser erythropus, the lesser white-fronted goose; Anser anser, the greylag goose; or Branta ruficolis, the red-breasted goose.

168

168

Glossary

ibis (Ar. bughth)  Geronticus eremita, the northern bald ibis, the prey of the peregrine in Poems 42 and 51, mistakenly identified by the copyist of MS Laleli 1728 as the crow. jilbab (Ar. jilbāb)  a long and loose-fitting outer garment worn by women. Karkh  the west side of Baghdad below the Round City constructed by Caliph al-Manṣūr (r. 136–38/754–75). khaṭṭī  epithet of a spear shaft, imported from India to a place called al-Khaṭṭ, either in Yamāmah in the Arabian Peninsula or al-Baḥrayn. Khusro  the name of two Sassanid rulers, used in Arabic (kisrā) as a title, here Khusro II Parvīz (r. ad 590–628). Kirkīn  a suburb of Baghdad. � lām  the Arabic letter l (‫)�ل‬.

maddah  an orthographic sign written as a slightly curved line above the letter ‫آ‬ alif ( � ). mail  the breast of a raptor.

mantle  a raptor “mantles” when she spreads her wings and hunches over her prey. Nabataean  an Abbasid designation for the agriculturalists of the sawād of Iraq, the cultivated regions of lower Mesopotamia and the marshes between Kufa and Basra. According to the historian al-Ṭabarī, the Nabataeans of the sawād of Iraq were the Aramaeans who historically reigned in Babylonia and as far as the region of Mawṣil. nawraj (or nayraj, nawzaj, or nayzaj) a domestically bred scent hound, probably a cross between a Kurdish sheepdog and a saluki. net (Ar. shabak)  a trap made of fine netting for catching birds, set up between two poles or trees. niqab  a head covering worn by women that conceals the face, with an aperture for the eyes. ‫ن‬ nūn  the Arabic letter n (�).

onager (Ar. ḥimār waḥshī)  Equus hemionus hemippus, the Syrian or Mesopotamian wild ass, an extinct subspecies that was native to Arabia. The onager, typically 660 pounds (300 kg) in weight and six and a half feet (two meters) in length, could reach speeds of thirty-seven miles (sixty km) per hour. oryx (Ar. baqar waḥshī)  Oryx leucoryx, the Arabian oryx, a subspecies of antelope distinctive for its straight horns and white hide, black facial and

169

169

Glossary

caudal stripes, and dark-brown legs. Oryx are perfectly adapted to desert conditions and can go for long periods without water. pellet bow (Ar. qaws al-bunduq)  a handheld bullet-shooting crossbow (also called a prodd or stone bow) constructed from wood, used for firing a pellet made of hardened clay, known in Arabic as bunduq, “hazelnut.” The pellets were carried in pouches. Hunting with the pellet bow was a team sport. peregrine (Ar. shahīn)  Falco peregrinus brookei, the peregrine falcon, a powerful raptor, agile in the air, with a distinctive stoop on prey at great speeds, often catching its prey in the air. Peregrines have dark mustache marks under each eye. pigeon (Ar. ḥamām) either Columba livia palaestinae, the Arabian rock dove, or Columba livia gaddi, the Iranian rock dove. Qufṣ  a people living in Kirmān-Baluchistan in southeastern Persia. Qūhī  adjective denoting an origin from Qūhistān, a mountainous and only partially arable province of Iran, renowned in the third/ninth century for the manufacture of fine linen textiles. Qurayyah  name of two areas in Baghdad. Quṭrubbul  a village in the vicinity of Baghdad renowned for the quality of its wines. rake away  a raptor, usually a falcon, “rakes away” when she flies too far while waiting on; see wait on. ring up  a raptor “rings up” when she climbs in a spiral. saker (Ar. ṣaqr)  Falco cherrug milvipes, the eastern saker falcon, a large rufousbrown falcon that prefers to hunt from a vantage point or from a height and surprise its prey. It has excellent stamina and will tail-chase its prey until the prey is exhausted. Females are larger than males. saluki (Ar. salūqī)  a sight hound widely used to hunt game, distinguished by its stamina and speed over long distances. scent hound see nawraj. scorpion  either the fat-tailed scorpion (Androctonus crassicauda) or the lesser Asian scorpion (Mesobuthus eupeus). The former has a dark brown to black coloration, the latter yellow to light brown. Shīrīn  Christian wife and favorite of the Sassanian ruler Khusro II Parvīz (r. 590–628). snake  Macrovipera lebetina, the Lebetine (or blunt-nosed) viper found in Syria and Iraq.

170

170

Glossary

sparrow hawk (Ar. bāshiq)  Accipiter nisus, the Eurasian sparrow hawk, a small hawk known to hunt by employing an undulating flight to allow it to close in on its quarry before it can escape. stoop  a falcon “stoops” when she dives at quarry from a great height. tiercel (Ar. zurraq)  Accipiter gentilis, the male northern goshawk, noticeably smaller than the female, known in Arabic as bāẓ. See also goshawk. ṭirāzī  adjective from ṭirāz, a type of embroidery, usually in the form of a band, inscribed with the name of the ruler or patron, and sewn onto a ceremonial robe of honor. Ṭīzanābādh  a settlement between Kufa and al-Qādisiyyah much frequented by pleasure-seekers, renowned for its wines and taverns. trap net (Ar. fakhkh)  a trap for catching birds and gazelles, with a trip hazard placed under a suspended net. Wahbīn  either a sand dune or a mountain located in the great Dahnāʾ erg (sand sea) in the southeast of the Arabian Peninsula. wait on  a raptor “waits on” when she circles in the air at a height, until the game is sighted. waterfowl (Ar. ṭayr al-māʾ)  Anas platyrhynchos, the mallard or wild duck. wrist  the joint where a raptor’s wings attach to her body. yarak  when a falcon or a hawk is described as “in yarak,” it is in a fit and proper condition for flying—that is, hunting. ẓaby see gazelle.

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Bibliography

Barthes, Roland. A Lover’s Discourse. Translated by Richard Howard. New York: Hill and Wang, 1978. Bates, Catherine. Masculinity and the Hunt: Wyatt to Spenser. Oxford: Oxford University Press, 2016. Bray, Julia. “Ibn al-Muʿtazz and Politics: The Question of the Fuṣūl Qiṣār.” Oriens 38 (2010): 107–43. Heinrichs, Wolfhart P. “Ibn al-Muʿtazz (1 November 861–17 December 908).” In Arabic Literary Culture, 500–925, edited by Michael Cooperson and Shawkat M. Toorawa, 164–71. Detroit: Thomson Gale, 2005. Ibn Abī ʿAun [= ʿAwn]. The Kitāb al-Tashbīhāt of Ibn Abī ʿAun. Edited by M. ʿAbdul Muʿīd Khān. London: Luzac, 1950. Ibn al-Muʿtazz. Der Diwan des ʿAbdallāh ibn al-Muʿtazz. Edited by Bernhard Lewin. 2 vols. Istanbul: Staatsdruckerei, 1945 and 1950.    . Fuṣūl al-tamāthīl fī tabāshīr al-surūr. Edited by Makkī Sayyid al-Jasīm and Muḥammad Makkī al-Jasīm. Baghdad: Dār al-Shuʾūn al-Thaqāfiyyah al-ʿĀmmah, 1989.    . Kitāb al-Badī ʿ of ʿAbd Allāh Ibn al-Muʿtazz. Edited by Ignatius Kratchkovsky. London: Luzac, 1935.    . Min Fuṣūl Ibn al-Muʿtazz wa-rasāʾilihi wa-nuṣūṣ min kutubihi al-mafqūdah wa-akhbārihi. Edited by Yūnus Aḥmad al-Sāmarrāʾ ī. Baghdad: Wizārat al-Thaqāfah, Dār al-Shuʾūn al-Thaqāfiyyah al-ʿĀmmah, 2002.    . Ṭabaqāt al-shuʿarāʾ al-muḥdathīn fī madḥ al-khulafāʾ wa-l-wuzarāʾ. Edited by ʿAbd al-Sattār Aḥmad Farrāj. Cairo: Dār al-Maʿārif, 1968. Kratchkovsky, Ignatius. “Le Kitāb al-Ādāb d’Ibn al-Muʿtazz.” Le Monde Oriental 18 (1924): 56–121. Montgomery, James E., ed. and trans. Fate the Hunter: Early Arabic Hunting Poems. New York: New York University Press, 2023. Pellat, Ch. “Ḥisāb al-ʿAḳd.” Encyclopaedia of Islam, Second Edition. Brill Online, 2012. Al-Shabushtī. The Book of Monasteries. Edited and translated by Hilary Kilpatrick. New York: New York University Press, 2023. Stoetzer, W. “Sarī ʿ.” Encyclopaedia of Islam, Second Edition. Brill Online, 2012. Al-Ṣūlī. Ashʿār awlād al-khulafāʾ min Kitāb al-Awrāq. Edited by J. Heyworth-Dunne. London: Luzac, 1935. Turberville, George. Epitaphes, Epigrams, Songs and Sonets. London: Henry Denham, 1567.

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Further Reading

Ali, Samer M. Arabic Literary Salons in the Islamic Middle Ages: Poetry, Public Performance, and the Presentation of the Past. Notre Dame, IN: University of Notre Dame Press, 2010. Arazi, Albert. “Poétique et politique dans Kitāb al-ṭabaqāt d’Ibn al-Muʿtazz.” Jerusalem Studies in Arabic and Islam 30 (2005): 264–92. Bates, Catherine. Masculinity, Gender and Identity in the English Renaissance Lyric. Cambridge: Cambridge University Press, 2007. Bauer, Thomas. A Culture of Ambiguity: An Alternative History of Islam. Translated by Hinrich Biesterfeldt and Tricia Tunstall. New York: Columbia University Press, 2021. Bonebakker, S. A. “Ibn al-Muʿtazz and Kitāb al-Badī ʿ.” In ʿAbbasid Belles-Lettres, edited by Julia Ashtiany et al., 388–411. Cambridge: Cambridge University Press, 1990. Calasso, Roberto. The Celestial Hunter. Translated by Richard Dixon. London: Penguin, 2020. Fahd, Toufic. “Nabaṭ.” Encyclopaedia of Islam, Second Edition. Brill Online, 2012. Ibn al-Muʿtazz. Dīwān ashʿār al-Amīr Abī l-ʿAbbās ʿAbd Allāh ibn Muḥammad al-Muʿtazz bi-llāh al-khalīfah al-ʿAbbāsī. Edited by Muḥammad Badī ʿ Sharīf. Cairo: Dār al-Maʿārif, 1977–78.    . Dīwān shiʿr Ibn al-Muʿtazz. Edited by Yūnus al-Sāmarrāʾ ī. 3 vols. Beirut: ʿĀlam al-Kutub li-l-Ṭibāʾah wa-l-Nashr wa-l-Tawzī ʿ, 1997. Lang, C. “Muʿtaḍid als Prinz und Regent, ein historisches Heldengedicht von Ibn el Muʿtazz.” Zeitschrift der Deutschen Morgenländischen Gesellschaft 40 (1886): 563–611; Zeitschrift der Deutschen Morgenländischen Gesellschaft 41 (1887): 232–79. Lewin, B. “Ibn al-Muʿtazz.” Encyclopaedia of Islam, Second Edition. Brill Online, 2012. Massignon, Louis. The Passion of al-Hallaj, Mystic and Martyr of Islam. Translated by Herbert Mason. 4 vols. Princeton, NJ: Princeton University Press, 2019. Mattock, John N. “A Political Poem of Ibn al-Muʿtazz.” Occasional Papers of the School of Abbasid Studies 4 (1992): 51–61. Montgomery, James E. “Review of Jocelyn Sharlet, Patronage and Poetry in the Islamic World.” Der Islam 92, no. 1 (2015): 287–91. Osti, Letizia. History and Memory in the Abbasid Caliphate: Writing the Past in Medieval Arabic Literature. London: I. B. Tauris, 2022. Ouyang, Wen-chin. Literary Criticism in Medieval Arabic-Islamic Culture: The Making of a Tradition. Edinburgh: Edinburgh University Press, 1997.

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Further Reading Rosenmayer, Thomas G. The Green Cabinet: Theocritus and the European Pastoral Lyric. Berkeley, CA: University of California Press, 1973. Schoeler, Gregor. Arabische Naturduchtung. Beirut: Franz Steiner Verlag, 1974. Sedgwick, Eve Kosofsky. Between Men: English Literature and Male Homosocial Desire. New York: Columbia University Press, 2016. Sharlet, J. Patronage and Poetry in the Islamic World: Social Mobility and Status in the Medieval Middle East and Central Asia. London: I. B. Tauris, 2011. Spearing, A. C. The Medieval Poet as Voyeur. Cambridge: Cambridge University Press, 1993. Stetkevych, Jaroslav. The Hunt in Arabic Poetry: From Heroic to Lyric to Metapoetic. Notre Dame, IN: University of Notre Dame Press, 2016. Sourdel, Dominique. Le vizirat ʿabbāside de 749 à 936 (132 à 324 de l’Hégire). Damascus: Institut Français de Damas, 1959–60.

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Index

Abbasid caliphate, xiv–xv

baqar waḥshī (oryxes), 3, 51, 53, 87, 101, 161

Abū Muḥammad Aḥmad ibn Jaʿfar

bāshiq (sparrow hawks), 49

(al-Muʿtazz). See Ibn al-Muʿtazz

bāz. See goshawks

Abū Nuwās, xxvi–xxviii

beads, 129, 151

African, 17

beaks: bloodthirsty, 143; brutality of, 121;

Aḥmad ibn Ṣaʿīd al-Dimashqī, xv

dyed with blood, 27, 129, 151; like half

air, 3, 9, 11, 55, 59, 111, 155

plectrums, 77; perfumed, 61; pickax,

ʿAlī ibn Abī Ṭālib, xvii

163; sharpness of, 81

Allah, 33, 69, 107, 141, 147, 155

beards, 15, 155

Allahu akbar, 87

bellies, 5, 73, 105

ambergris, 81

bellows, 97, 153

ancestry, xviii

bells, 59

animals, 69. See also nonhumans; quarry

belts, 75

and prey; specific animals

birds: in cages, 153; crows, 23, 117, 143;

apothegms, xix

feathers, 27, 47, 55, 59, 131, 151; fowl,

Apothegms (Ibn al-Muʿtazz), xvii

135; geese, 33, 35, 95, 139, 151; hunting

Arabic poetry, xvi

of, with dogs, 99; hunting of, with

Arabs, 37

goshawks, 27, 59–61, 75–77, 155; hunting

archers, 9, 89–93, 147

of, with pellet bows, 91–93, 135; hunting

arenas, 105

of, with sakers, 139; ibis, 117, 143;

ʿarfaj (shrub), 55

pigeons, 151; ravens, 133; slaughtering

armies, 57, 61, 117, 121, 149

of, 55; waterfowl, 143, 163–165; wind

arms, 65, 155, 165

described as, 105. See also birds of prey;

arrows, 23, 49, 69, 73, 97, 125, 131, 163

wings

assassins, 143

birds of prey: binding to, 119, 129; crowns,

awls, 5, 123

55, 81, 129, 133, 139; footing, 133; mail, 57, 59, 75, 81, 121, 133, 139, 149, 165;

babies, 63, 105. See also children

mantling, 95; raking away, 139; ringing

Bābil (Babylon), 125

up, 143; sakers, 33, 35, 95, 115, 125, 133,

backs, 27, 53

139; stooping, 33, 125, 143; swooping, 131;

Baghdad, xv

talons, 17, 55, 61, 75–77, 115, 131, 133, 139;

175

175

Index birds of prey (cont.): waiting on, 143;

buttocks, 81, 127

wrists, 53, 95, 111, 133, 139; in yarak, 33, 35, 125, 133, 13. See also beaks; falconry;

cages, 153

flying; goshawks; tiercels; wings

calligraphy, 133, 139

bismillah, 87

calls, 5, 19, 49, 161

blades, 23, 83, 131, 151

camels, 3, 53, 55, 151

blaze (ghurrah), 15, 53, 79, 85, 105

campsites, xviii

blocks, 23, 43

canals, 27

blood: beaks dyed by, 27, 129, 151; blood

caskets, 153

oaths, 19; bloodthirst, 99, 121, 123, 143;

cheeks, 37

dogs drinking, 7; drenching talons, 61;

cheetahs (fahd), 37, 73, 97, 159

exchanging flesh for, 11; no bloodshed,

chests, 17, 37, 47

25, 39–41, 45, 63, 161; relishing taste of,

children, 105. See also babies; youth

159; shedding of, 15, 33, 75, 115

Christians, 75

bones, 83, 129, 151

clay, 89

bonfires, 151

cloaks, 3, 53, 67, 79, 123, 133, 139, 147

Book of Leaves (al-Ṣūlī), xxvii

cloisters, 63

Book of Monasteries (al-Shabushtī), xviii

clouds, 13, 31, 55, 87, 95, 113, 117, 151

Book of Similes (Ibn Abī ʿAwn), xxviii

coals, 37, 127, 161

books, 19

coats, 5, 21, 57, 69, 81, 121, 149

boots, 117

cobblers, 5

Borges, Jorge Luis, xxvii

coins, 105

boulders, 55, 81

collars, 59, 77, 87, 125, 137

bowls, 87

combs, 113, 163

bows, 69, 73, 89–93, 135, 147

communal feasts of meat sharing, xx, xxi,

boys, 125–127

37, 55, 105, 111, 141

bracelets, 53

comrades, 27, 41, 65, 101, 149, 157

brains, 121

convalescents, 161

breasts, 47, 89

cotton, 27, 55

breeches, 27, 155, 165

courtly society, xv, xvi, xvii–xviii, xx

breezes, 7, 67

coverts, 103

Brief Statements (Ibn al-Muʿtazz), xvii

cows, 51

brows, 15, 55

creeks, 75

buck, 157

croppers, 125

buckets, 35, 125

crows (ghurāb), 23, 117, 143

burd (mantle), 151

crystal, 87

176

176

Index cups, 81

dew, 7, 11, 103, 163

curls, 153

al-Dimashqī, Abū l-Ḥasan Aḥmad ibn Ṣaʿīd,

cypress, 31

xxvii dinars, 75, 101, 165

daggers, 63, 81, 143

dirhams, 79

darkness: crossing of, 15, 17, 31, 39, 59, 67,

diving arrows, 97

69, 79, 85, 91, 97, 99, 111, 121, 123, 125,

dogs: bitches, 3, 5, 23–25, 39, 41, 43, 69, 157;

155; goshawks in, 57; horses reaching

bloodthirst, 99, 123; coat, 21; death of,

water in, 71

69; descent, 137; described as demons,

date palms, 83, 125

125; dogfights, 99; ears, 67; eyes, 5, 21,

dates, 31

23, 39–41, 137; hips, 87, 145; and hunters,

dawn: and darkness, 11, 57, 59, 65, 67,

137, 161; kennel-bred, 99; leashes, 67,

91, 99, 155; described as blaze, 79;

69, 87, 113; legs, 67, 123; no shedding of

described as clear water, 129; described

blood by, 25, 39–41, 63, 161; in poems’

as gray/white hair, 31, 133, 141;

text, 3–7, 39, 63, 67, 85–87, 109, 113, 123,

described as morning’s orator, 121; and

145, 157, 161; salukis, 23, 51, 63, 113, 123,

dew, 7, 163; dressing/undressing by,

125; scent hounds, 99, 101; speed, 3, 23,

23, 39, 41; leaving before, 75; and light,

63, 69, 123–125; teeth, 23–25, 39–41

85; revealing of faces, 161; and salukis’

dots, 101, 149

hunger, 51; showing of teeth, 17; and

dreams, 149

stars, 53, 123, 129; tiercel sitting as, 149.

duckweed, 139

See also dusk; morning; night

Dujayl, 161

day, 75, 87, 97, 125, 129, 143

dusk, 7, 51, 163. See also dawn

daybreak, 101, 149

dust, 15, 55, 67, 95, 97, 113

death: and birth, 13; cheating of, 107; of clouds, 13; death knells, 59; of dogs, 69;

earrings, 113

by dogs, 113; meeting Death, 19, 27, 37,

ears, 5, 31, 67, 113, 125

45, 87, 119, 123, 131; by pellet bows, 147;

embroidery, 79, 101

saliva of, 45; sparrow hawks’ love of, 49;

emirs, 27

by swords, 77; by tiercels, 165

eyes: of birds, 91, 117; blink of an eye, 3, 31;

debauchery, 81

of cheetahs, 37, 97; of clouds, 13; color

degeneracy, xvii

of, when inflamed, 71; color of dinars,

demons, 67, 125

75; described as gold nails, 127; of

desert, 21, 39, 41, 45, 73, 105, 113

dogs, 5, 21, 23, 39–41, 137; eyeballs, 135;

destiny, 107

eyebrows, 55; eyelids, 55, 133, 139, 149;

devils, 153

field of vision, 157; of gazelles, 81;

177

177

Index eyes (cont.): of goshawks, 27, 55, 59, 75, 81, 129–131, 155; houri-eyed girls, 85; irises,

33; stooping, 33, 125, 143; tiercels, 17–19, 151; waiting on, 143

5; looks, 127; of oryxes, 87; of prey, 131;

foal, 105

prying, 153; of sakers, 33–35, 115, 139;

folly, 15

of saplings, 79; seeing in darkness, 69;

forays, 19, 161

sight, 75, 97, 131, 143, 151; stars described

forelocks, 105

as, 103, 129; tears, 13, 81; of tiercels, 151,

fortune, 155

165

fowl, 135 fragrance, 125

fahd (cheetahs), 37, 73, 97, 159

fringes, 3, 27, 75, 81, 91

falconers, 33, 151

fronds, 31

falconry, xxix falcons: peregrine falcons, 117, 143; sakers, 33, 35, 95, 115, 125, 133, 139

gazelles (ẓabys), xxi–xxii, 3, 23–25, 37, 73, 81, 113, 123, 125–127, 133, 157, 161

farsakh (measure of distance), 61

geese (iwazz), 33, 35, 95, 139, 151

Fate, 85, 91, 107

Gemini, 11, 53, 129

fawns, 5, 153

generals, 57, 61, 65

fear, 19, 33, 35, 117–119, 131

ghazal. See love

feathers, 27, 47, 55, 59, 131, 151

ghurāb (crows), 23, 117, 143

feet, 31, 55, 67, 155

ghurrah (blaze), 15, 53, 79, 85, 105

fetuses, 105

girls, 15, 53, 85

fields, 131, 157

gloom, 53, 85, 123, 133, 141, 149, 161. See also

fife, 77

darkness; dusk; night

fingers, 145, 155

gloves, 33, 75, 83

fire, 31, 53, 55, 77

goblets, 15, 31

fish, 143, 163

God, 33, 69, 107, 141, 147, 155

flags, 53

gold, 21, 37, 165

flames, 31

goshawks (bāz): described as generals, 61,

flanks, 5

65; eyes, 27, 55, 59, 75, 81, 129–131, 155;

flesh, 7, 11, 129

and love, xxi–xxii, 79; in poems’ text,

flocks, 91, 119

27–29, 53–61, 65, 75–83, 101, 121, 129–131,

floods, 101

155; and rulership, xviii, 155; speed, 131;

flowers, 5, 13, 79, 105, 125, 131, 153, 163

and tiercels, 17–19; wings, 55, 59, 83, 121.

flying: at bolt, 95, 155; cheetahs, 37; crows,

See also tiercels

117; like arrows, 49; of pellets, 89;

gowns, 37, 81, 105, 153

raking away, 139; ringing up, 143; sakers,

grapes, 15

178

178

Index Greek philosophy and science, xvi

31; necks, 125; pasterns, 53; in poems’

guts, 131, 139

text, 15, 31, 53–55, 71, 105, 149; ribs, 53; saddles, 101; spines, 55; withers, 53

hair: gray, 15, 31, 99, 113; of hags, 7; of

hounds, 99, 101, 109

horses, 53, 105; of night, 23, 113; white,

houndsmen, 63

85, 133. See also blaze

hubris, 91–93

ḥamām (pigeons), 151

humps, 151

al-Ḥamdānī, ʿAbd al-Malik ibn ʿAbd al-ʿAzīz

hunters: becoming victims, xxi; death

ibn Muḥammad ibn Yaʿqūb, xxv

described as, 117–119; dog handlers,

Ḥanbalī movement, xvi

39–41; and dogs, 137, 161; hungry and

hands, 121, 125, 131, 149, 151, 165

poor, 109; sakers, 139; tiercels, 17, 151,

harems, 105

165

hares, 39, 41, 99, 125

hunting: with bitches, 157; as cheetahs,

hauberks, 65

37; with cheetahs, 97; dangers of,

hawks: hawking, xxix; sparrow hawks, 49;

xix, xx; with dogs, 67, 99; and heroic

tiercels, 17–19, 111, 149–151, 163–165. See

masculinity, xix–xxi; and night, 75; with

also birds of prey; goshawks

pellet bows, 89–93; and rulership, xviii–

heads, 15, 27, 39, 55, 123, 141, 155

xix, xx. See also specific weapons and

hearts, 15, 85, 89, 127, 153

hunting animals

Hell, 153

hunting poems (ṭardiyyāt), xxi–xxii, xxv,

herds, 5, 11, 23

xxvi, xxix

heroic masculinity, xix–xxi hides, 69

ibis, 117, 143

hijabs, 39, 41

Ibn Abī ʿAwn, xxviii

hills, 95, 151

Ibn al-Marzubān, xxvii

ḥimār waḥshī (onager jacks), xix, 105

Ibn al-Muʿtazz: elite, xvi–xvii; heroic

hips, 51, 145

masculinity, xix–xxi; life of, xiv–xv; and

homosocial desire, xxi–xxii, 125–127

politics, xv, xviii–xix; verse, xvii–xviii;

hoppers, 59

works of, xvi–xvii

horizons, 39, 53, 71, 129

Images to Bring Joy (Ibn al-Muʿtazz), xvii

horns, 155

Imruʾ al-Qays, xviii

horsemen, 67

ingots, 165

horses: blazes, 15, 53, 79, 85, 105; carrying

instinct, 161

cheetahs, 97; feet, 55; galloping, 87,

al-Iṣfahānī, Ḥamzah, xxvi–xxviii, xxviii

101; hooves, 15, 31, 53, 55, 59, 67, 87,

iwazz (geese), 33, 35, 95, 139, 151

123; moving like a river in spate, 15,

179

179

Index jacks, xix, 105, 125

lieutenants, 75

jade, 37

lightning, 13, 67, 141, 151

Jaʿfar (al-Muqtadir), xv

lime sticks, 45

Jahiliya, xvi

linen, 27

jail, 47

lips, 81

jaws, 125, 145

litters, 53, 55

jennies, 105

locusts, 99

jewelry boxes, 113

loins, 3

jewels, 79, 81, 135, 153, 163

love (ghazal): about, xxi–xxii; and boasts,

jilbab (outer garment), 23, 53, 75

xviii, 153–155; and cheetahs, 37; and

jinn, 163

fawns, 153; and gazelles, 81, 125;

jugs, 31

homosocial desire, xxi–xxii, 125–127; lover beyond the pale of love, 141;

Karkh (west side of Baghdad), 153

salukis described as tender lovers, 123

Khan, M. ʿAbdul Muʿīd, xxviii

lungs, 97

Khusro II Parvīz, 153 kings, 55, 153

maddah (orthographic sign), 3, 11

Kirkīn (suburb of Baghdad), 153

mantles, 55, 151

Kitāb al-Awrāq (al-Ṣūlī), xxvii

manuscript, xxv–xxviii

Kitāb al-Diyārāt (al-Shabushtī), xviii

marble, 75, 149

Kitāb al-Tashbīhāt (Ibn Abī ʿAwn), xxviii

al-Marzubānī, Abu ʿUbayd Allāh Muḥammad ibn ʿImrān, xxvii

knights, 75 knives, 29, 155

masculinity, xix–xxii

kohl, 31, 37, 87, 133, 139

meadows, 91, 97, 105, 117, 125 meat, xx, xxi, 37, 55, 105, 111, 141

lakes, 59, 131, 143

militia, 155

lām (Arabic letter), 139

minbar, 45

lamps, 81

Modernist Poets (Ibn al-Muʿtazz), xvi–xvii

lances, 105, 145

Modernists (muḥdathūn), xvi, xviii

laths, 91

monasteries, xviii, 63

leas, 79, 125

money changers, 165

leashes, 67, 69, 87, 113, 131

morning, 53, 75, 121, 157. See also dawn

leaves, 31, 105, 129

mothers, 63

legs, 15, 37, 67, 105, 123

mouths, 63, 79, 129, 145, 161

letters, 17, 81, 149

al-Mubarrad, xv

Lewin, Bernhard, xxviii

mud, 79, 129

180

180

Index al-Muhtadī, Muḥammad ibn Hārūn

nonhumans, xx, xxi–xxii, xxix, 143, 145. See

al-Wāthiq, xv

also animals; birds of prey; quarry and

al-Muktafī, Abū Aḥmad ʿAlī (caliph), xv

prey; specific nonhumans

al-Muqtadir bi-llāh (caliph), xv

noses, 99

murk, 67, 87, 149

Nubians, 75

muscles, 5, 105

nūn (Arabic letter), 133, 139, 153

al-Mustaʿīn bi-llāh, Aḥmad (caliph), xiv–xv

nurses, 105

al-Muʿtaḍid bi-llāh, Abū l-ʿAbbās Aḥmad (caliph), xv, xvii

oaths, 19

al-Mutawakkil ʿalā Allāh, Jaʿfar (caliph), xiv

onager jacks (ḥimār waḥshī), xix, 105

al-Muʿtazz, Abū ʿAbdallāh Muḥammad

orators, 121

(caliph), xiv–xv

oryxes (baqar waḥshī), 3, 51, 53, 87, 101, 161

muzzles, 113, 157 myrtle, 31

pages, 61 palm leaves, 105

Nabataean farmers, xviii–xix, 153

palms, 31

Nahj al-balāghah (al-Sharīf al-Raḍī), xvii

Paragon of Eloquence (al-Sharīf al-Raḍī),

nails, 5, 23, 27, 75, 123

xvii

narcissi, 131

parchment, 75, 83, 133, 139

nawraj (scent hounds), 99, 101

pasterns, 53

necklaces, 51, 151

paws, 63

necks, 39, 87, 113, 125, 135

pearls, 51, 113, 129, 153

nests, 103

pellet bows (qaws al-bunduq), 89–93, 135,

nets (shabak), 45

147

The New Style (Kitāb al-Badī ʿ ) (Ibn

pellets, 9, 89, 93, 147

al-Muʿtazz), xvi

pens, 3

night: black, 23, 39, 69, 75, 91, 97, 133; cloak

peregrine falcons (shahīn), 117, 143

of, 123; and dawn, 11, 17, 79, 121, 155; and

Persian, 61, 75

daybreak, 101; and gloom, 53, 85; hair

petals, 5, 131

of, 23, 113; and love, 153; and morning,

physiognomy, 151

53; in night’s tatters, 129; in poems’

pickaxes, 145, 163

text, 13, 61, 65, 67, 111; and stars, 3, 43,

pigeons (ḥamām), 151

103; wrapped in a gown, 105. See also

pillions, 37

darkness; dusk; stars

pincers, 137

niqabs, 23

pitch, 13, 75 plants, 131

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Index plectrums, 77

rain: and clouds, 13, 117, 151; pellets

Pleiades, 53, 97, 113, 123, 129, 157

compared to raining stones, 93; in

plumage, 155

poems’ text, 103; rainwater, 163; tears of,

poetry: boasts, xviii; by Ibn al-Muʿtazz,

125; torrents, 87, 145; washing leas, 79

xv, xvi–xvii, xvii–xviii; meter, xviii, xix,

rats, 47, 105

xxvi–xxvii, xxviii; Modernist, xvi, xviii;

ravens, 133

motifs, xviii; “novel” (badī ʿ ) style, xvi;

rhetoric, xvii, 121

vaunts, xviii, xix

ribs, 53

poison, 123

rivers, 15, 31, 91, 163

polo mallets, 55

robes, 109

ponds, 33–35, 129, 135, 139

rocks, 15, 87, 105

pouches, 89, 125

ropes, 97, 147

poverty, 109

ruins, 153

prey. See quarry and prey

rulership, xviii–xix, xx, 107, 153–155

prison, 45 saddles, 101 Qabīḥah, xv

safflower, 81

qaws al-bunduq (pellet bows), 89–93, 135,

saffron, 109

147

sailors, 155

quarry and prey: and cheetahs, 37, 97,

saker falcons (ṣaqr), 3

159; and dogs, 63, 125, 145, 161; and

saliva, 45, 163

goshawks, xviii, 131, 155; and heroic

salukis (sight hounds), 23, 51, 63, 113, 123,

masculinity, xx; and horses, 15, 105; and

125

love, xxi; in poems’ text, 29, 81, 157; and

Samarra, xiv–xv

sakers, 33, 133; seeing Death, 37, 131;

sand dunes, 145

sniffing out of, 101; and sparrow hawks,

saplings, 79, 163

49; terrifying of, 81; and tiercels, 151. See

sāqī (wine servers), xxi, 125–127

also specific animals

ṣaqr (saker falcons), 33, 35, 95, 115, 125, 133,

Qufṣ, 153

139

Qūhī breeches, 165

Sassanian learning, xvi

Qurʾan, xvi, 79

scent, 153

Qurayyah, 125

scent hounds (nawraj), 99, 101

Quṭrubbul, 153

scorpions, 3, 151 script, 61

races, 67, 87, 105

serpents, 157 shabak (nets), 45

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Index al-Shabushtī, xviii

11, 31; of sakers, 33, 139; of tiercels,

shadows, 117

17–19, 151

shahīn (peregrine falcons), 117, 143

spines, 55, 113

al-Sharīf al-Raḍī, xvii

squadrons, 75

sheaths, 23, 41, 63, 131. See also blades;

staffs, 105

knives

stars: described as watery-eyed, 103; dogs

sheets, 67

described as, 23, 39, 43; Gemini, 11, 53,

shells, 123

129; and night, 3, 43, 103; Pleiades, 53,

Shīrīn (wife of Khusro II Parvīz), 153

97, 113, 123, 129, 157; quenching the soil,

shoes, 109

13; shooting stars, 5; tiercel described

shuʿūbiyyah controversy, xvi

as, 111

silver, 105

storms, 15, 55, 67, 87, 101

skins, 7, 17, 75

strings, 89, 91

sky: dust clouds in, 67; illuminated by sun,

styluses, 11, 133, 149

81; pellets falling from, 91–93; pellets fired into, 9; and stars, 113; stars in, 11;

al-Ṣūlī, Abū Bakr Muḥammad ibn Yaḥyā, xxv, xxvi, xxvii

stooping from, 125; tiercel taking to, 111;

sun, 53, 61, 81, 111, 155

twilight, 131

sunlight, 135

slaves, 17

sunrise, 125

sleeves, 83, 141

Suspended Ode (Muʿallaqah) (Imruʾ

smallpox, 87

al-Qays), xviii

smiling, 15, 79, 101, 163

swords, 41, 77

smiths, 97, 131

syncretism, xvii

snakes, 5, 17, 21, 39, 41 society, ills of, xvii, 107

table companion (nadīm), xvii

souls, 27, 37, 57, 107, 125

tails, 31, 47, 81, 113, 151

spadixes, 105

ṭardiyyāt (hunting poems), xxi–xxii, xxv,

sparrow hawks (bāshiq), 49

xxvi, xxix Ṭardiyyāt (Ibn al-Muʿtazz): manuscript,

spathes, 83, 125 spearheads, 27, 47

xxv–xxviii; marginal poems in, xxix;

spears, 45–47, 55, 95, 157

translation, xxix

spear shafts, 17

targets, 67, 131, 163

speech, 133

ṭayr al-māʾ (waterfowl), 143, 163–165

speed: of cheetahs, 73; of dogs, 3, 23, 63, 69,

tears, 13, 79, 81, 89, 125, 153

123–125; of gazelles, 73; of goshawks, 131; of horses, 105; quicker than a blink,

183

teeth: brightness of, 129; of combs, 113, 163; of dawn, 17; of dogs, 23–25, 39–41;

183

Index teeth (cont.): of gazelles, 81; of saplings, 79; white teeth on red lips, 3

water: birds in, 61, 75; dawn described as, 129; drinking of, 105; horses in, 53, 71;

temples, 105

rainwater, 163; spilling from a jug, 31;

tents, 105

stars described as watery-eyed, 103; and

Thaʿlab, Aḥmad ibn Yaḥyā, xv

thunder clouds, 13; water carriers, 9;

thieves, 139

and wells, 33, 125

throats, 105

water bugs, 105

thumbs, 151

waterfowl (ṭayr al-māʾ ), 143, 163–165

thunder, 13, 67

al-Wāthiq bi-llāh, Hārūn (caliph), xv

thunderbolts, 139

weapons. See arrows; bows; knives; lances;

tiercels (zurraq), 17–19, 111, 149–151,

spears; swords

163–165. See also goshawks

wells, 33, 35, 125

time, 85, 117, 125, 153, 157

whips, 33, 37, 113

ṭirāzī (type of embroidery), 153

whirlwinds, 67, 105

Ṭīzanābādh, 153

wind, 23, 53, 63, 105, 125, 131, 139, 143

tongues, 63, 145

wine: courtly etiquette, xv; cups, 81;

topics (funūn), xxv

goshawk’s mail compared to, 59; in

torrents, 87, 145

monasteries, xviii; in poems’ text, 81,

train feathers, 27

103, 125, 141, 153; wine servers, xxi,

traps, 45, 143

125–127

trees, 31

wings: of air, 3; broken, 91; of crows, 23; of

Turkish, 37

goshawks, 55, 59, 83, 121; of ravens, 133;

turquoise, 55

of sakers, 95, 139; of tiercels, 111, 151; and

tweezers, 99

wind, 105

tyrants, 77

withers, 53

veils, 27

wives, 149

venom, 31

wombs, 105

victims, 7, 77, 131, 151 Yemeni, 79 waders, 143

youth, 15, 17, 23, 85

Wahbīn, 153 waists, 81, 123, 125

ẓabys. See gazelles

warriors, 101, 165

zurraq (tiercels), 17–19, 111, 149–151, 163–165. See also goshawks

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About the NYUAD Research Institute

The Library of Arabic Literature is a research center affiliated with NYU Abu Dhabi and is supported by a grant from the NYU Abu Dhabi Research Institute. The NYU Abu Dhabi Research Institute is a world-class center of cuttingedge and innovative research, scholarship, and cultural activity. It supports centers that address questions of global significance and local relevance and allows leading faculty members from across the disciplines to carry out creative scholarship and high-level research on a range of complex issues with depth, scale, and longevity that otherwise would not be possible. From genomics and climate science to the humanities and Arabic literature, Research Institute centers make significant contributions to scholarship, scientific understanding, and artistic creativity. Centers strengthen cross-disciplinary engagement and innovation among the faculty, build critical mass in infrastructure and research talent at NYU Abu Dhabi, and have helped make the university a magnet for outstanding faculty, scholars, students, and international collaborations.

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About the Typefaces

The Arabic body text is set in DecoType Naskh, designed by Thomas Milo and Mirjam Somers, based on an analysis of five centuries of Ottoman manuscript practice. The exceptionally legible result is the first and only typeface in a style that fully implements the principles of script grammar (qawāʿid al-khaṭṭ). The Arabic footnote text is set in DecoType Emiri, drawn by Mirjam Somers, based on the metal typeface in the naskh style that was cut for the 1924 Cairo edition of the Qurʾan. Both Arabic typefaces in this series are controlled by a dedicated font layout engine. ACE, the Arabic Calligraphic Engine, invented by Peter Somers, Thomas Milo, and Mirjam Somers of DecoType, first operational in 1985, pioneered the principle followed by later smart font layout technologies such as OpenType, which is used for all other typefaces in this series. The Arabic text was set with WinSoft Tasmeem, a sophisticated user interface for DecoType ACE inside Adobe InDesign. Tasmeem was conceived and created by Thomas Milo (DecoType) and Pascal Rubini (WinSoft) in 2005. The English text is set in Adobe Text, a new and versatile text typeface family designed by Robert Slimbach for Western (Latin, Greek, Cyrillic) typesetting. Its workhorse qualities make it perfect for a wide variety of applications, especially for longer passages of text where legibility and economy are important. Adobe Text bridges the gap between calligraphic Renaissance types of the 15th and 16th centuries and high-contrast Modern styles of the 18th century, taking many of its design cues from early post-Renaissance Baroque transitional types cut by designers such as Christoffel van Dijck, Nicolaus Kis, and William Caslon. While grounded in classical form, Adobe Text is also a statement of contemporary utilitarian design, well suited to a wide variety of print and on-screen applications.

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Titles Published by the Library of Arabic Literature

For more details on individual titles, visit www.libraryofarabicliterature.org Classical Arabic Literature: A Library of Arabic Literature Anthology   Selected and translated by Geert Jan van Gelder (2012) A Treasury of Virtues: Sayings, Sermons, and Teachings of ʿAlī, by al-Qāḍī al-Quḍāʿī, with the One Hundred Proverbs attributed to al-Jāḥiẓ   Edited and translated by Tahera Qutbuddin (2013) The Epistle on Legal Theory, by al-Shāfiʿī   Edited and translated by Joseph E. Lowry (2013) Leg over Leg, by Aḥmad Fāris al-Shidyāq   Edited and translated by Humphrey Davies (4 volumes; 2013–14) Virtues of the Imām Aḥmad ibn Ḥanbal, by Ibn al-Jawzī   Edited and translated by Michael Cooperson (2 volumes; 2013–15) The Epistle of Forgiveness, by Abū l-ʿAlāʾ al-Maʿarrī   Edited and translated by Geert Jan van Gelder and Gregor Schoeler   (2 volumes; 2013–14) The Principles of Sufism, by ʿĀʾishah al-Bāʿūniyyah   Edited and translated by Th. Emil Homerin (2014) The Expeditions: An Early Biography of Muḥammad, by Maʿmar ibn Rāshid   Edited and translated by Sean W. Anthony (2014) Two Arabic Travel Books   Accounts of China and India, by Abū Zayd al-Sīrāfī    Edited and translated by Tim Mackintosh-Smith (2014)   Mission to the Volga, by Aḥmad ibn Faḍlān    Edited and translated by James Montgomery (2014) Disagreements of the Jurists: A Manual of Islamic Legal Theory, by al-Qāḍī al-Nuʿmān   Edited and translated by Devin J. Stewart (2015)

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Titles Published by the Library of Arabic Literature

Consorts of the Caliphs: Women and the Court of Baghdad, by Ibn al-Sāʿī   Edited by Shawkat M. Toorawa and translated by the Editors of the Library   of Arabic Literature (2015) What ʿĪsā ibn Hishām Told Us, by Muḥammad al-Muwayliḥī   Edited and translated by Roger Allen (2 volumes; 2015) The Life and Times of Abū Tammām, by Abū Bakr Muḥammad ibn Yaḥyā al-Ṣūlī   Edited and translated by Beatrice Gruendler (2015) The Sword of Ambition: Bureaucratic Rivalry in Medieval Egypt, by ʿUthmān ibn Ibrāhīm al-Nābulusī   Edited and translated by Luke Yarbrough (2016) Brains Confounded by the Ode of Abū Shādūf Expounded, by Yūsuf al-Shirbīnī   Edited and translated by Humphrey Davies (2 volumes; 2016) Light in the Heavens: Sayings of the Prophet Muḥammad, by al-Qāḍī al-Quḍāʿī   Edited and translated by Tahera Qutbuddin (2016) Risible Rhymes, by Muḥammad ibn Maḥfūẓ al-Sanhūrī   Edited and translated by Humphrey Davies (2016) A Hundred and One Nights   Edited and translated by Bruce Fudge (2016) The Excellence of the Arabs, by Ibn Qutaybah   Edited by James E. Montgomery and Peter Webb   Translated by Sarah Bowen Savant and Peter Webb (2017) Scents and Flavors: A Syrian Cookbook   Edited and translated by Charles Perry (2017) Arabian Satire: Poetry from 18th-Century Najd, by Ḥmēdān al-Shwēʿir   Edited and translated by Marcel Kurpershoek (2017) In Darfur: An Account of the Sultanate and Its People, by Muḥammad ibn

ʿUmar al-Tūnisī   Edited and translated by Humphrey Davies (2 volumes; 2018)

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Titles Published by the Library of Arabic Literature

War Songs, by ʿAntarah ibn Shaddād   Edited by James E. Montgomery   Translated by James E. Montgomery with Richard Sieburth (2018) Arabian Romantic: Poems on Bedouin Life and Love, by ʿAbdallāh ibn Sbayyil   Edited and translated by Marcel Kurpershoek (2018) Dīwān ʿAntarah ibn Shaddād: A Literary-Historical Study   By James E. Montgomery (2018) Stories of Piety and Prayer: Deliverance Follows Adversity, by al-Muḥassin ibn ʿAlī al-Tanūkhī   Edited and translated by Julia Bray (2019) The Philosopher Responds: An Intellectual Correspondence from the Tenth Century, by Abū Ḥayyān al-Tawḥīdī and Abū ʿAlī Miskawayh   Edited by Bilal Orfali and Maurice A. Pomerantz   Translated by Sophia Vasalou and James E. Montgomery (2 volumes; 2019) Tajrīd sayf al-himmah li-stikhrāj mā fī dhimmat al-dhimmah: A Scholarly Edition of ʿUthmān ibn Ibrāhīm al-Nābulusī’s Text   By Luke Yarbrough (2020) The Discourses: Reflections on History, Sufism, Theology, and Literature— Volume One, by al-Ḥasan al-Yūsī   Edited and translated by Justin Stearns (2020) Impostures, by al-Ḥarīrī   Translated by Michael Cooperson (2020) Maqāmāt Abī Zayd al-Sarūjī, by al-Ḥarīrī   Edited by Michael Cooperson (2020) The Yoga Sutras of Patañjali, by Abū Rayḥān al-Bīrūnī   Edited and translated by Mario Kozah (2020) The Book of Charlatans, by Jamāl al-Dīn ʿAbd al-Raḥīm al-Jawbarī   Edited by Manuela Dengler   Translated by Humphrey Davies (2020)

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Titles Published by the Library of Arabic Literature

A Physician on the Nile: A Description of Egypt and Journal of the Famine Years, by ʿAbd al-Laṭīf al-Baghdādī   Edited and translated by Tim Mackintosh-Smith (2021) The Book of Travels, by Ḥannā Diyāb   Edited by Johannes Stephan   Translated by Elias Muhanna (2 volumes; 2021) Kalīlah and Dimnah: Fables of Virtue and Vice, by Ibn al-Muqaffaʿ   Edited by Michael Fishbein   Translated by Michael Fishbein and James E. Montgomery (2021) Love, Death, Fame: Poetry and Lore from the Emirati Oral Tradition, by al-Māyidī ibn Ẓāhir   Edited and translated by Marcel Kurpershoek (2022) The Essence of Reality: A Defense of Philosophical Sufism, by ʿAyn al-Quḍāt   Edited and translated by Mohammed Rustom (2022) The Requirements of the Sufi Path: A Defense of the Mystical Tradition, by Ibn Khaldūn   Edited and translated by Carolyn Baugh (2022) The Doctors’ Dinner Party, by Ibn Buṭlān   Edited and translated by Philip F. Kennedy and Jeremy Farrell (2023) Fate the Hunter: Early Arabic Hunting Poems   Edited and translated by James E. Montgomery (2023) The Book of Monasteries, by al-Shābushtī   Edited and translated by Hilary Kilpatrick (2023) In Deadly Embrace: Arabic Hunting Poems, by Ibn al-Muʿtazz   Edited and translated by James E. Montgomery (2023) The Divine Names: A Mystical Theology of the Names of God in the Qurʾan, by ʿAfīf al-Dīn al-Tilimsānī   Edited and translated by Yousef Casewit (2023)

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Titles Published by the Library of Arabic Literature

English-only Paperbacks Leg over Leg, by Aḥmad Fāris al-Shidyāq (2 volumes; 2015) The Expeditions: An Early Biography of Muḥammad, by Maʿmar ibn Rāshid (2015) The Epistle on Legal Theory: A Translation of al-Shāfiʿī’s Risālah, by al-Shāfiʿī (2015) The Epistle of Forgiveness, by Abū l-ʿAlāʾ al-Maʿarrī (2016) The Principles of Sufism, by ʿĀʾishah al-Bāʿūniyyah (2016) A Treasury of Virtues: Sayings, Sermons, and Teachings of ʿAlī, by al-Qāḍī al-Quḍāʿī, with the One Hundred Proverbs attributed to al-Jāḥiẓ (2016) The Life of Ibn Ḥanbal, by Ibn al-Jawzī (2016) Mission to the Volga, by Ibn Faḍlān (2017) Accounts of China and India, by Abū Zayd al-Sīrāfī (2017) A Hundred and One Nights (2017) Consorts of the Caliphs: Women and the Court of Baghdad, by Ibn al-Sāʿī (2017) Disagreements of the Jurists: A Manual of Islamic Legal Theory, by al-Qāḍī al-Nuʿmān (2017) What ʿĪsā ibn Hishām Told Us, by Muḥammad al-Muwayliḥī (2018) War Songs, by ʿAntarah ibn Shaddād (2018) The Life and Times of Abū Tammām, by Abū Bakr Muḥammad ibn Yaḥyā al-Ṣūlī (2018) The Sword of Ambition, by ʿUthmān ibn Ibrāhīm al-Nābulusī (2019) Brains Confounded by the Ode of Abū Shādūf Expounded: Volume One, by Yūsuf al-Shirbīnī (2019) Brains Confounded by the Ode of Abū Shādūf Expounded: Volume Two, by Yūsuf al-Shirbīnī and Risible Rhymes, by Muḥammad ibn Maḥfūẓ al-Sanhūrī (2019) The Excellence of the Arabs, by Ibn Qutaybah (2019) Light in the Heavens: Sayings of the Prophet Muḥammad, by al-Qāḍī al-Quḍāʿī (2019) Scents and Flavors: A Syrian Cookbook (2020) Arabian Satire: Poetry from 18th-Century Najd, by Ḥmēdān al-Shwēʿir (2020) In Darfur: An Account of the Sultanate and Its People, by Muḥammad al-Tūnisī (2020)

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Titles Published by the Library of Arabic Literature

Arabian Romantic: Poems on Bedouin Life and Love, by ʿAbdallāh ibn Sbayyil (2020) The Philosopher Responds, by Abū Ḥayyān al-Tawḥīdī and Abū ʿAlī Miskawayh (2021) Impostures, by al-Ḥarīrī (2021) The Discourses: Reflections on History, Sufism, Theology, and Literature— Volume One, by al-Ḥasan al-Yūsī (2021) The Book of Charlatans, by Jamāl al-Dīn ʿAbd al-Raḥīm al-Jawbarī (2022) The Yoga Sutras of Patañjali, by Abū Rayḥān al-Bīrūnī (2022) The Book of Travels, by Ḥannā Diyāb (2022) A Physician on the Nile: A Description of Egypt and Journal of the Famine Years, by ʿAbd al-Laṭīf al-Baghdādī (2022) Kalīlah and Dimnah: Fables of Virtue and Vice, by Ibn al-Muqaffaʿ (2023) Love, Death, Fame: Poetry and Lore from the Emirati Oral Tradition, by al-Māyidī ibn Ẓāhir (2023) The Essence of Reality: A Defense of Philosophical Sufism, by ʿAyn al-Quḍāt (2023)

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About the Editor–Translator

James E. Montgomery is Sir Thomas Adams’s Professor of Arabic, Fellow of Trinity Hall at the University of Cambridge, and an Executive Editor of the Library of Arabic Literature.

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