المعلقات السبع Pdf
Julie Followell
وقيل إن حَمَّادًا الرَّاويةَ هو أولُ مَن جمع القصائدَ السَّبْعَ الطِّوَالَ وسماها بالمعلقاتِ (السموط). وكان يقولُ إنها مِن أعذبِ ما قال العربُ وإنَّ العربَ كانوا يسمونها بالسُّموطِ (الْمُعَلَّقَاتِ). وقد ذهب الأُدباءُ والكُتَّابُ من بعدِه لدِراسَتِها. مثلُ ابنِ الكَلْبِيِّ. وابْنِ عَبْدِ رَبِّهِ صاحبِ العقد الفريد وأضاف بكِتَابِهَ أَمْرَ تَعْلِيقِهَا عَلَى الْكَعْبَةِ. قَدْ تَجِدُهُنَّ سَبْعَ قَصَائدَ في كلِّ كتابٍ قديمٍ لكِنَّ منهمْ مَن أضاف قصيدةً لشاعِرٍ وأهمل قصيدةً لِشاعرٍ آخَرَ. فاحتاروا مَن السبعةُ فجعلوها عشرًا.[2]
المُعلّقات لغةً من العِلْق: وهي المال الذي يُكرَم عليك تضُنُّ به تقول: هذا عِلْقُ مَضَنَّة. وما عليه عِلقةٌ إذا لم يكن عليه ثيابٌ فيها خير والعِلْقُ: هو النفيس من كلّ شيء وفي حديث حذيفة: فما بالُ هؤلاء الذين يسرقون أعلاقنا أي نفائسَ أموالنا. والعَلَق هو كلّ ما عُلِّق.
قصائدُ جاهليّةٌ بلغ عددُها سبعًا أو عشرًا برزت فيها خصائصُ الشعرِ الجاهليِّ بوُضُوحٍ حتى عُدَّت أفضلَ ما بَلَغَنَا عن الجاهِلِيِّينَ من آثارٍ أدَبيَّة.
ولقد تُرجمت المعلقات ترجمات عديدة إلى اللغة الإنجليزية وغيرها منذ القرن الثامن عشر حتى القرن الحادي والعشرين ولذلك ينبغي أن تُدرس دراسات مقارنة متعددة تتوافق وترجماتها المختلفة ومن هنا كان هذا الموضوع: المعلقات السبع بين الأصل العربي والترجمة الإنجليزية "دراسة مقارنة".
قيل لها معلقات لأنها مثل العقود النفيسة تعلق بالأذهان ويقال إن هذه القصائد كانت تكتب بماء الذهب وتعلق على أستار الكعبة قبل مجيء الاسلام وتعتبر هذه القصائد أروع وأنفس ما قيل في الشعر العربي القديم وهي عادةً ما تبدأ بذكر الأطلال وتذَكُّر ديار محبوبة الشاعر.وقيل أن حماد الراوية هو أول من جمع القصائد السبع الطوال وسماها بالمعلقات (السموط).
وقد أطلق الرواة والباحثون على هذه المجموعة من قصائد الشعر الجاهلي أسماء أخرى إلا أنها أقل ذيوعاً وجرياناً على الألسنة من لفظ المعلقات ومن هذه التسميات:
The Muʻallaqāt (Arabic: المعلقات, [ʔalmuʕallaqaːt]) is a compilation of seven long pre-Islamic Arabic poems.[1] The name means The Suspended Odes or The Hanging Poems, they were named so because these poems were hung in the Kaaba in Mecca,[2] Some scholars have also suggested that the hanging is figurative, as if the poems "hang" in the reader's mind.[3]
Along with the Mufaddaliyat, Jamharat Ash'ar al-Arab, Asma'iyyat, and the Hamasah, the Mu'allaqāt are considered the primary source for early written Arabic poetry.[4] Scholar Peter N. Stearns goes so far as to say that they represent "the most sophisticated poetic production in the history of Arabic letters."[5]
The original compiler of the poems may have been Hammad al-Rawiya (8th century). The grammarian Ahmad ibn Muhammad al-Nahhas (d. 949 CE) says in his commentary on the Mu'allaqat: "The true view of the matter is this: when Hammad al-Rawiya saw how little men cared for poetry, he collected these seven pieces, urged people to study them, and said to them: 'These are the [poems] of renown.'"[2][3] Orfali suggests that the connection is "the multi-thematic qaṣidāh form".[6]
Hammad was a Persian by descent, but a client of the Arab tribe, Bakr ibn Wa'il. For this reason, some suppose he not only received into the collection a poem of the famous poet Tarafa, of the tribe of Bakr, but also that of another Bakrite, Harith. The latter had been a prominent chieftain, while his poem could serve as a counterpoise to Harith's contemporary 'Amr, chief of the Taghlib, the rival tribe of the Bakr. 'Amr praises the Taghlib in glowing terms: Harith, in a similar vein, extols the Bakr ancestors of Hammad's patrons.[2]
Ibn Abd Rabbih in the Al-ʿIqd al-Farīd ("The Precious Necklace") states, "The Arabs had such an interest in poetry, and valued it so highly, that they took seven long pieces selected from the ancient poetry, wrote them in gold on pieces of Coptic linen folded up, and hung them up (allaqat) [sic] on the curtains which covered the Kaaba. Hence we speak of 'the golden poem of Imru' al-Qais,' 'the golden poem of Zuhayr.' The number of the golden poems is seven; they are also called 'the suspended' (al-Muʻallaqāt)." Similar statements are found in later Arabic works. Al-Nahhas, however, denied this in his commentary on the Muʻallaqāt: "As for the assertion that they were hung up in the Kaaba, it is not known to any of those who have handed down ancient poems."
No trace of this story is found in early sources about Mecca or the customs of pre-Islamic Arabia. There are records of other items being hung in the Kaaba: a Meccan was reported to have hung a spoil of battle on the Kaaba (Ibn Hisham, ed. Wiistenfeld, p. 431), and an important document may have been deposited there (ibid. p. 230). A passage of late origin claims that the poems were taken down after the capture of Mecca by the Prophet (De Sacy, Chrestom. ii. 480), but the event is not otherwise attested.
However, there was no king of all the Arabs, and it is unlikely that any Arabian king attended the fair at Okaz. The story that the poems were written in gold originated in the name "the golden poems" (literally "the gilded"), a figurative expression for excellence. The designation "suspended" may be interpreted in the same way, referring to those (poems) which have been raised, on account of their value, to a specially honourable position. Another derivative of the same root is ʻilq, "precious thing." Another name sometimes used for these poems is assumut, "strings of pearls". From this usage it became popular, even in ordinary prose, to refer to speech in rhythmical form as naqm "to string pearls." The selection of these seven poems is unlikely to have been the work of the ancient Arabs, but rather some one writing at a later date.[2]
The lives of these poets were spread over a period of more than a hundred years. The earliest of the seven was Imru' al-Qais, regarded by many as the most illustrious of Arabian Muʻallaqah poets. His exact date cannot be determined; but probably the best part of his career fell within the midst of the sixth century. He was a scion of the royal house of the tribe Kinda, which lost its power at the death of its king, Harith ibn ʻAmr, in the year 529. The poet's royal father, Hojr, by some accounts a son of this Harith, was killed by a Bedouin tribe, the Banu Asad ibn Khuzaymah. The son led an adventurous life as a refugee, now with one tribe, now with another, and appears to have died young. A contemporary of Imruʻ al-Qais was Abid ibn al-Abras, one poem of whose is by some authorities reckoned among the collection.[2]
The Muʻallaqah of 'Amr ibn Kulthum hurls defiance against the king of al-Hirah, 'Amr III ibn al-Mundhir, who reigned from the summer of 554 until 568 or 569, and was afterwards killed by the poet. This prince is also addressed by Harith in his Muʻallaqa. Of Tarafa, a few satirical verses have been preserved, directed against this same king. This agrees with the fact that a grandson of the Qais ibn Khalid, mentioned as a rich and influential man in Tarafa's Muʻallaqah (v. 80 or 81), figured at the time of the Battle of Dhi Qar, in which the tribe Bakr routed a Persian army. This battle falls about 610 CE.[2]
The Muʻallaqah of Antarah ibn Shaddad and that of Zuhayr bin Abi Sulma contain allusions to the feuds of the kindred tribes Banu Abs and Banu Dhubyan. Famous as these contests were, their time cannot accurately be ascertained. But the date of the two poets can be approximately determined from other data. Ka'b bin Zuhayr, composed first a satire, and then, in the year 630, a eulogy on the Prophet; another son, Bujair, had begun, somewhat sooner, to celebrate Muhammad. Antara killed the grandfather of Ahnaf ibn Qais, who died at an advanced age in 686 or 687; he outlived 'Abdallah ibn Simma, whose brother Duraid was old when he died in battle against Muhammad's army (early in 630 CE); and he had communications with Ward, whose son, the poet Urwah ibn al-Ward, may perhaps have survived the flight of Muhammad to Medina. From these indications, German scholar Theodor Nldeke placed the productive period of both poets in the end of the 6th century. The historical background of Antara's Muʻallaqat lies somewhat earlier than that of Zuhayr's.[2]
The poems of 'Alqama ibn 'Abada and Al-Nabigha are from the same period. In Al-Nabigha's poem sometimes reckoned as a Muʻallaqah, he addresses himself to the king of al-Hirah, al-Nu'man III ibn al-Mundhir, who reigned in the two last decades of the sixth century. The same king is mentioned as a contemporary in one of poems of ʻAlqama.[2]
The poem of al-A'sha, sometimes added to the Muʻallaqāt, contains an allusion to the battle of Dhi Qar (under the name "Battle of Hinw", v. 62). This poet, lived to compose a poem in honour of Muhammad, and died not long before 630 CE.[2]
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