Текст книги "Literary History of the Arabs "

Автор книги: Reynolds Nicholson

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Many fabulous traditions surround the romantic figure of Imru’u ’l-Qays.210 According to one story, he was banished by his father, who despised him for being a poet and was enraged by the scandals to which his love adventures gave rise. Imru’u ’l-Qays left his home and wandered from tribe to tribe with a company of outcasts like himself, leading a wild life, which caused him to be known as 'The Vagabond Prince' ( al-Malik al-Ḍillíl). When the news of his father's death reached him he cried, "My father wasted my youth, and now that I am old he has laid upon me the burden of blood-revenge. Wine to-day, business to-morrow!" Seven nights he continued the carouse; then he swore not to eat flesh, nor drink wine, nor use ointment, nor touch woman, nor wash his head until his vengeance was accomplished. In the valley of Tabála, north of Najrán, there was an idol called Dhu ’l-Khalaṣa much reverenced by the heathen Arabs. Imru’u ’l-Qays visited this oracle and consulted it in the ordinary way, by drawing one of three arrows entitled 'the Commanding,' 'the Forbidding,' and 'the Waiting.' He drew the second, whereupon he broke the arrows and dashed them on the face of the idol, exclaiming with a gross imprecation, "If thyfather had been slain, thou would'st not have hindered me!"

Imru’u ’l-Qays is almost universally reckoned the greatest of the Pre-islamic poets. Muḥammad described him as 'their leader to Hell-fire,' while the Caliphs ‘Umar and ‘Alí, odium theologicumnotwithstanding, extolled his genius and originality.211 Coming to the Mu‘allaqaitself, European critics have vied with each other in praising its exquisite diction and splendid images, the sweet flow of the verse, the charm and variety of the painting, and, above all, the feeling by which it is inspired of the joy and glory of youth. The passage translated below is taken from the first half of the poem, in which love is the prevailing theme:—212

"Once, on the hill, she mocked at me and swore, 'This hour I leave thee to return no more,' Soft! if farewell is planted in thy mind, Yet spare me, Fáṭima, disdain unkind. Because my passion slays me, wilt thou part? Because thy wish is law unto mine heart? Nay, if thou so mislikest aught in me, Shake loose my robe and let it fall down free. But ah, the deadly pair, thy streaming eyes! They pierce a heart that all in ruin lies. How many a noble tent hath oped its treasure To me, and I have ta'en my fill of pleasure, Passing the warders who with eager speed Had slain me, if they might but hush the deed, What time in heaven the Pleiades unfold A belt of orient gems distinct with gold. I entered. By the curtain there stood she, Clad lightly as for sleep, and looked on me. 'By God,' she cried, 'what recks thee of the cost? I see thine ancient madness is not lost.' I led her forth—she trailing as we go Her broidered skirt, lest any footprint show– Until beyond the tents the valley sank With curving dunes and many a pilèd bank, Then with both hands I drew her head to mine, And lovingly the damsel did incline Her slender waist and legs more plump than fine;– A graceful figure, a complexion bright, A bosom like a mirror in the light; A white pale virgin pearl such lustre keeps, Fed with clear water in untrodden deeps. Now she bends half away: two cheeks appear, And such an eye as marks the frighted deer Beside her fawn; and lo, the shapely neck Not bare of ornament, else without a fleck; While from her shoulders in profusion fair, Like clusters on the palm, hangs down her coal-dark hair."

In strange contrast with this tender and delicate idyll are the wild, hard verses almost immediately following, in which the poet roaming through the barren waste hears the howl of a starved wolf and hails him as a comrade:—

"Each one of us what thing he finds devours: Lean is the wretch whose living is like ours."213

The noble qualities of his horse and its prowess in the chase are described, and the poem ends with a magnificent picture of a thunder-storm among the hills of Najd.

Ṭarafa b. al-‘Abd was a member of the great tribe of Bakr. The particular clan to which he belonged was settled in Baḥrayn on the Persian Gulf. He early developed Ṭarafa. a talent for satire, which he exercised upon friend and foe indifferently; and after he had squandered his patrimony in dissolute pleasures, his family chased him away as though he were 'a mangy camel.' At length a reconciliation was effected. He promised to mend his ways, returned to his people, and took part, it is said, in the War of Basús. In a little while his means were dissipated once more and he was reduced to tend his brother's herds. His Mu‘allaqacomposed at this time won for him the favour of a rich kinsman and restored him to temporary independence. On the conclusion of peace between Bakr and Taghlib the youthful poet turned his eyes in the direction of Ḥíra, where ‘Amr b. Hind had lately succeeded to the throne (554 a.d.). He was well received by the king, who attached him, along with his uncle, the poet Mutalammis, to the service of the heir-apparent. But Ṭarafa's bitter tongue was destined to cost him dear. Fatigued and disgusted by the rigid ceremony of the court, he improvised a satire in which he said—

"Would that we had instead of ‘Amr A milch-ewe bleating round our tent!"

Shortly afterwards he happened to be seated at table opposite the king's sister. Struck with her beauty, he exclaimed—

"Behold, she has come back to me, My fair gazelle whose ear-rings shine; Had not the king been sitting here, I would have pressed her lips to mine!"

‘Amr b. Hind was a man of violent and implacable temper. Ṭarafa's satire had already been reported to him, and this new impertinence added fuel to his wrath. Sending for Ṭarafa and Mutalammis, he granted them leave to visit their homes, and gave to each of them a sealed letter addressed to the governor of Baḥrayn. When they had passed outside the city the suspicions of Mutalammis were aroused. As neither he nor his companion could read, he handed his own letter to a boy of Ḥíra214 and learned that it contained orders to bury him alive. Thereupon he flung the treacherous missive into the stream and implored Ṭarafa to do likewise. Ṭarafa refused to break the royal seal. He continued his journey to Baḥrayn, where he was thrown into prison and executed.

Thus perished miserably in the flower of his youth—according to some accounts he was not yet twenty—the passionate and eloquent Ṭarafa. In his Mu‘allaqahe has drawn a spirited portrait of himself. The most striking feature of the poem, apart from a long and, to us who are not Bedouins, painfully tedious description of the camel, is its insistence on sensual enjoyment as the sole business of life:—

"Canst thou make me immortal, O thou that blamest me so For haunting the battle and loving the pleasures that fly? If thou hast not the power to ward me from Death, let me go To meet him and scatter the wealth in my hand, ere I die.   Save only for three things in which noble youth take delight, I care not how soon rises o'er me the coronach loud: Wine that foams when the water is poured on it, ruddy, not bright. Dark wine that I quaff stol'n away from the cavilling crowd; "And second, my charge at the cry of distress on a steed Bow-legged like the wolf you have startled when thirsty he cowers; And third, the day-long with a lass in her tent of goat's hair To hear the wild rain and beguile of their slowness the hours."215

Keeping, as far as possible, the chronological order, we have now to mention two Mu‘allaqaswhich, though not directly related to each other,216 are of the same period—the reign of ‘Amr b. Hind, King of Ḥíra (554-568 a.d.). Moreover, their strong mutual resemblance and their difference from the other Mu‘allaqas, especially from typical qaṣídas like those of ‘Antara and Labíd, is a further reason for linking them together. Their distinguishing mark is the abnormal space devoted to the main subject, which leaves little room for the subsidiary motives.

‘Amr b. Kulthúm belonged to the tribe of Taghlib. His mother was Laylá, a daughter of the famous poet and warrior Muhalhil. That she was a woman of heroic ‘Amr b. Kulthúm. mould appears from the following anecdote, which records a deed of prompt vengeance on the part of ‘Amr that gave rise to the proverb, "Bolder in onset than ‘Amr b. Kulthúm"217:—

One day ‘Amr. b. Hind, the King of Ḥíra, said to his boon-companions, "Do ye know any Arab whose mother would disdain to serve mine?" They answered, "Yes, the mother of ‘Amr b. Kulthúm." "Why so?" asked the king. "Because," said they, "her father is Muhalhil b. Rabí‘a and her uncle is Kulayb b. Wá’il, the most puissant of the Arabs, and her husband is How ’Amr avenged an insult to his mother. Kulthúm b. Málik, the knightliest, and her son is ‘Amr, the chieftain of his tribe." Then the king sent to ‘Amr b. Kulthúm, inviting him to pay a visit to himself, and asking him to bring his mother, Laylá, to visit his own mother, Hind. So ‘Amr came to Ḥíra with some men of Taghlib, and Laylá came attended by a number of their women; and while the king entertained ‘Amr and his friends in a pavilion which he had caused to be erected between Ḥíra and the Euphrates, Laylá found quarters with Hind in a tent adjoining. Now, the king had ordered his mother, as soon as he should call for dessert, to dismiss the servants, and cause Laylá to wait upon her. At the pre-arranged signal she desired to be left alone with her guest, and said, "O Laylá, hand me that dish." Laylá answered, "Let those who want anything rise up and serve themselves." Hind repeated her demand, and would take no denial. "O shame!" cried Laylá. "Help! Taghlib, help!" When ‘Amr heard his mother's cry the blood flew to his cheeks. He seized a sword hanging on the wall of the pavilion—the only weapon there—and with a single blow smote the king dead.218

‘Amr's Mu‘allaqais the work of a man who united in himself the ideal qualities of manhood as these were understood by a race which has never failed to value, even too highly, the display of self-reliant action and decisive energy. And if in ‘Amr's poem these virtues are displayed with an exaggerated boastfulness which offends our sense of decency and proper reserve, it would be a grave error to conclude that all this sound and fury signifies nothing. The Bedouin poet deems it his bounden duty to glorify to the utmost himself, his family, and his tribe; the Bedouin warrior is never tired of proclaiming his unshakable valour and recounting his brilliant feats of arms: he hurls menaces and vaunts in the same breath, but it does not follow that he is a Miles Gloriosus. ‘Amr certainly was not: his Mu‘allaqaleaves a vivid impression of conscious and exultant strength. The first eight verses seem to have been added to the poem at a very early date, for out of them arose the legend that ‘Amr drank himself to death with unmixed wine. It is likely that they were included in the original collection of the Mu‘allaqát, and they are worth translating for their own sake:–

"Up, maiden! Fetch the morning-drink and spare not The wine of Andarín, Clear wine that takes a saffron hue when water Is mingled warm therein. The lover tasting it forgets his passion, His heart is eased of pain; The stingy miser, as he lifts the goblet, Regardeth not his gain.   Pass round from left to right! Why let'st thou, maiden, Me and my comrades thirst? Yet am I, whom thou wilt not serve this morning, Of us three not the worst! Many a cup in Baalbec and Damascus And Qáṣirín I drained, Howbeit we, ordained to death, shall one day Meet death, to us ordained."219

In the next passage he describes his grief at the departure of his beloved, whom he sees in imagination arriving at her journey's end in distant Yamáma:—

"And oh, my love and yearning when at nightfall I saw her camels haste, Until sharp peaks uptowered like serried sword-blades, And me Yamáma faced! Such grief no mother-camel feels, bemoaning Her young one lost, nor she, The grey-haired woman whose hard fate hath left her Of nine sons graves thrice three."220

Now the poet turns abruptly to his main theme. He addresses the King of Ḥíra, ‘Amr b. Hind, in terms of defiance, and warns the foes of Taghlib that they will meet more than their match:—

"Father of Hind,221 take heed and ere thou movest Rashly against us, learn That still our banners go down white to battle And home blood-red return. And many a chief bediademed, the champion Of the outlaws of the land, Have we o'erthrown and stripped him, while around him Fast-reined the horses stand. Our neighbours lopped like thorn-trees, snarls in terror Of us the demon-hound;222 Never we try our hand-mill on the foemen But surely they are ground. We are the heirs of glory, all Ma‘add knows,223 Our lances it defend, And when the tent-pole tumbles in the foray, Trust us to save our friend!224 O ‘Amr, what mean'st thou? Are we, we of Taghlib, Thy princeling's retinue? O ‘Amr, what mean'st thou, rating us and hearkening To tale-bearers untrue? O ‘Amr, ere thee full many a time our spear-shaft Has baffled foes to bow;225 Nipped in the vice it kicks like a wild camel That will no touch allow– Like a wild camel, so it creaks in bending And splits the bender's brow!"226

The Mu‘allaqaends with a eulogy, superb in its extravagance, of the poet's tribe:—

"Well wot, when our tents rise along their valleys, The men of every clan That we give death to them that durst attempt us, To friends what food we can; That staunchly we maintain a cause we cherish, Camp where we choose to ride, Nor will we aught of peace, when we are angered, Till we be satisfied. We keep our vassals safe and sound, but rebels We soon force to their knees; And if we reach a well, we drink pure water, Others the muddy lees. Ours is the earth and all thereon: when westrike, There needs no second blow; Kings lay before the new-weaned boy of Taghlib Their heads in homage low. We are called oppressors, being none, but shortly A true name shall it be!227 We have so filled the earth 'tis narrow for us, And with our ships the sea!228

Less interesting is the Mu‘allaqaof Ḥárith b. Ḥilliza of Bakr. Its inclusion among the Mu‘allaqátis probably due, as Nöldeke suggested, to the fact that Ḥammád, Ḥárith b. Ḥilliza. himself a client of Bakr, wished to flatter his patrons by selecting a counterpart to the Mu‘allaqaof ‘Amr b. Kulthúm, which immortalised their great rivals, the Banú Taghlib. Ḥárith's poem, however, has some historical importance, as it throws light on feuds in Northern Arabia connected with the antagonism of the Roman and Persian Empires. Its purpose is to complain of unjust accusations made against the Banú Bakr by a certain group of the Banú Taghlib known as the Aráqim:—

"Our brothers the Aráqim let their tongues Against us rail unmeasuredly. The innocent with the guilty they confound: Of guilt what boots it to be free? They brand us patrons of the vilest deed, Our clients in each miscreant see."229

A person whom Ḥárith does not name was 'blackening' the Banú Bakr before the King of Ḥíra. The poet tells him not to imagine that his calumnies will have any lasting effect: often had Bakr been slandered by their foes, but (he finely adds):—

"Maugre their hate we stand, by firm-based might Exalted and by ancestry– Might which ere now hath dazzled men's eyes: thence scorn To yield and haughty spirit have we. On us the Days beat as on mountain dark That soars in cloudless majesty, Compact against the hard calamitous shocks And buffetings of Destiny."230

He appeals to the offenders not wantonly to break the peace which ended the War of Basús:—

"Leave folly and error! If ye blind yourselves, Just therein lies the malady. Recall the oaths of Dhu ’l-Majáz231 for which Hostages gave security, Lest force or guile should break them: can caprice Annul the parchments utterly?232

‘Antara b. Shaddád, whose father belonged to the tribe of ‘Abs, distinguished himself in the War of Dáḥis.233 In modern times it is not as a poet that he is chiefly remembered, but as a hero of romance—the Bedouin ‘Antara. Achilles. Goddess-born, however, he could not be called by any stretch of imagination. His mother was a black slave, and he must often have been taunted with his African blood, which showed itself in a fiery courage that gained the respect of the pure-bred but generally less valorous Arabs. ‘Antara loved his cousin ‘Abla, and following the Arabian custom by which cousins have the first right to a girl's hand, he asked her in marriage. His suit was vain—the son of a slave mother being regarded as a slave unless acknowledged by his father—until on one occasion, while the ‘Absites were hotly engaged with some raiders who had driven off their camels, ‘Antara refused to join in the mêlée, saying, "A slave does not understand how to fight; his work is to milk the camels and bind their udders." "Charge!" cried his father, "thou art free." Though ‘Antara uttered no idle boast when he sang—

"On one side nobly born and of the best Of ‘Abs am I: my sword makes good the rest!"

his contemptuous references to 'jabbering barbarians,' and to 'slaves with their ears cut off, clad in sheepskins,' are characteristic of the man who had risen to eminence in spite of the stain on his scutcheon. He died at a great age in a foray against the neighbouring tribe of Ṭayyi’. His Mu‘allaqais famous for its stirring battle-scenes, one of which is translated here:—234

"Learn, Málik's daughter, how I rush into the fray, And how I draw back only At sharing of the prey. I never quit the saddle, My strong steed nimbly bounds; Warrior after warrior Have covered him with wounds. Full-armed against me stood One feared of fighting men: He fled not oversoon Nor let himself be ta'en. With straight hard-shafted spear I dealt him in his side A sudden thrust which opened Two streaming gashes wide, Two gashes whence outgurgled His life-blood: at the sound Night-roaming ravenous wolves Flock eagerly around. So with my doughty spear I trussed his coat of mail– For truly, when the spear strikes, The noblest man is frail– And left him low to banquet The wild beasts gathering there; They have torn off his fingers, His wrist and fingers fair!"

While ‘Antara's poem belongs to the final stages of the War of Dáḥis, the Mu‘allaqaof his contemporary, Zuhayr b. Abí Sulmá, of the tribe of Muzayna, celebrates Zuhayr. an act of private munificence which brought about the conclusion of peace. By the self-sacrificing intervention of two chiefs of Dhubyán, Harim b. Sinán and Ḥárith b. ‘Awf, the whole sum of blood-money to which the ‘Absites were entitled on account of the greater number of those who had fallen on their side, was paid over to them. Such an example of generous and disinterested patriotism—for Harim and Ḥárith had shed no blood themselves—was a fit subject for one of whom it was said that he never praised men but as they deserved:—

Noble pair of Ghayẓ ibn Murra,235 well ye laboured to restore Ties of kindred hewn asunder by the bloody strokes of war. Witness now mine oath the ancient House in Mecca's hallowed bound,236 Which its builders of Quraysh and Jurhum solemnly went round,237 That in hard or easy issue never wanting were ye found! Peace ye gave to ‘Abs and Dhubyán when each fell by other's hand And the evil fumes they pestled up between them filled the land."238

At the end of his panegyric the poet, turning to the lately reconciled tribesmen and their confederates, earnestly warns them against nursing thoughts of vengeance:—

"Will ye hide from God the guilt ye dare not unto Him disclose? Verily, what thing soever ye would hide from God, He knows. Either it is laid up meantime in a scroll and treasured there For the day of retribution, or avenged all unaware.239 War ye have known and war have tasted: not by hearsay are ye wise. Raise no more the hideous monster! If ye let her raven, she cries Ravenously for blood and crushes, like a mill-stone, all below, And from her twin-conceiving womb she brings forth woe on woe."240

After a somewhat obscure passage concerning the lawless deeds of a certain Ḥusayn b. Ḍamḍam, which had well-nigh caused a fresh outbreak of hostilities, Zuhayr proceeds, with a natural and touching allusion to his venerable age, to enforce the lessons of conduct and morality suggested by the situation:—

"I am weary of life's burden: well a man may weary be After eighty years, and this much now is manifest to me: Death is like a night-blind camel stumbling on:—the smitten die But the others age and wax in weakness whom he passes by. He that often deals with folk in unkind fashion, underneath They will trample him and make him feel the sharpness of their teeth. He that hath enough and over and is niggard with his pelf Will be hated of his people and left free to praise himself. He alone who with fair actions ever fortifies his fame Wins it fully: blame will find him out unless he shrinks from blame. He that for his cistern's guarding trusts not in his own stout arm Sees it ruined: he must harm his foe or he must suffer harm. He that fears the bridge of Death across it finally is driven, Though he span as with a ladder all the space 'twixt earth and heaven. He that will not take the lance's butt-end while he has the chance Must thereafter be contented with the spike-end of the lance. He that keeps his word is blamed not; he whose heart repaireth straight To the sanctuary of duty never needs to hesitate. He that hies abroad to strangers doth account his friends his foes; He that honours not himself lacks honour wheresoe'er he goes. Be a man's true nature what it will, that nature is revealed To his neighbours, let him fancy as he may that 'tis concealed."241

The ripe sententious wisdom and moral earnestness of Zuhayr's poetry are in keeping with what has been said above concerning his religious ideas and, from another point of view, with the tradition that he used to compose a qaṣída in four months, correct it for four months, submit it to the poets of his acquaintance during a like period, and not make it public until a year had expired.

Of his life there is little to tell. Probably he died before Islam, though it is related that when he was a centenarian he met the Prophet, who cried out on seeing him, "O God, preserve me from his demon!"242 The poetical gifts which he inherited from his uncle Basháma he bequeathed to his son Ka‘b, author of the famous ode, Bánat Su‘ád.

Labíd b. Rabí‘a, of the Banú ‘Ámir b. Ṣa‘ṣa‘a, was born in the latter half of the sixth century, and is said to have died soon after Mu‘áwiya's accession to the Caliphate, which Labíd. took place in a.d. 661. He is thus the youngest of the Seven Poets. On accepting Islam he abjured poetry, saying, "God has given me the Koran in exchange for it." Like Zuhayr, he had, even in his heathen days, a strong vein of religious feeling, as is shown by many passages in his Díwán.

Labíd was a true Bedouin, and his Mu‘allaqa, with its charmingly fresh pictures of desert life and scenery, must be considered one of the finest examples of the Pre-islamic qaṣída that have come down to us. The poet owes something to his predecessors, but the greater part seems to be drawn from his own observation. He begins in the conventional manner by describing the almost unrecognisable vestiges of the camping-ground of the clan to which his mistress belonged:—

"Waste lies the land where once alighted and did woneThe people of Miná: Rijám and Ghawl are lone. The camp in Rayyán's vale is marked by relics dimLike weather-beaten script engraved on ancient stone.Over this ruined scene, since it was desolate,Whole years with secular and sacred months had flown.In spring 'twas blest by showers 'neath starry influence shed,And thunder-clouds bestowed a scant or copious boon.Pale herbs had shot up, ostriches on either slopeTheir chicks had gotten and gazelles their young had thrown;And large-eyed wild-cows there beside the new-born calvesReclined, while round them formed a troop the calves half-grown.Torrents of rain had swept the dusty ruins bare,Until, as writing freshly charactered, they shone,Or like to curved tattoo-lines on a woman's arm,With soot besprinkled so that every line is shown.I stopped and asked, but what avails it that we askDumb changeless things that speak a language all unknown?"243

After lamenting the departure of his beloved the poet bids himself think no more about her: he will ride swiftly away from the spot. Naturally, he must praise his camel, and he introduces by way of comparison two wonderful pictures of animal life. In the former the onager is described racing at full speed over the backs of the hills when thirst and hunger drive him with his mate far from the barren solitudes into which they usually retire. The second paints a wild-cow, whose young calf has been devoured by wolves, sleeping among the sand-dunes through a night of incessant rain. At daybreak "her feet glide over the firm wet soil." For a whole week she runs to and fro, anxiously seeking her calf, when suddenly she hears the sound of hunters approaching and makes off in alarm. Being unable to get within bowshot, the hunters loose their dogs, but she turns desperately upon them, wounding one with her needle-like horn and killing another.

Then, once more addressing his beloved, the poet speaks complacently of his share in the feasting and revelling, on which a noble Arab plumes himself hardly less than on his bravery:—

"Know'st thou not, O Nawár, that I am wont to tieThe cords of love, yet also snap them without fear?That I abandon places when I like them not,Unless Death chain the soul and straiten her career?Nay, surely, but thou know'st not I have passed in talkMany a cool night of pleasure and convivial cheer,And often to a booth, above which hung for signA banner, have resorted when old wine was dear.For no light price I purchased many a dusky skinOr black clay jar, and broached it that the juice ran clear;And many a song of shrill-voiced singing-girl I paid,And her whose fingers made sweet music to mine ear."244

Continuing, he boasts of dangerous service as a spy in the enemy's country, when he watched all day on the top of a steep crag; of his fearless demeanour and dignified assertion of his rights in an assembly at Ḥíra, to which he came as a delegate, and of his liberality to the poor. The closing verses are devoted, in accordance with custom, to matters of immediate interest and to a panegyric on the virtues of the poet's kin.

Besides the authors of the Mu‘allaqátthree poets may be mentioned, of whom the two first-named are universally acknowledged to rank with the greatest that Arabia has produced—Nábigha, A‘shá, and ‘Alqama.

Nábigha245—his proper name is Ziyád b. Mu‘áwiya, of the tribe Dhubyán—lived at the courts of Ghassán and Ḥíra Nábigha of Dhubyán. during the latter half of the century before Islam. His chief patron was King Nu‘mán b. Mundhir Abú Qábús of Ḥíra. For many years he basked in the sunshine of royal favour, enjoying every privilege that Nu‘mán bestowed on his most intimate friends. The occasion of their falling out is differently related. According to one story, the poet described the charms of Queen Mutajarrida, which Nu‘mán had asked him to celebrate, with such charm and liveliness as to excite her husband's suspicion; but it is said—and Nábigha's own words make it probable—that his enemies denounced him as the author of a scurrilous satire against Nu‘mán which had been forged by themselves. At any rate he had no choice but to quit Ḥíra with all speed, and ere long we find him in Ghassán, welcomed and honoured, as the panegyrist of King ‘Amr b. Ḥárith and the noble house of Jafna. But his heart was in Ḥíra still. Deeply wounded by the calumnies of which he was the victim, he never ceased to affirm his innocence and to lament the misery of exile. The following poem, which he addressed to Nu‘mán, is at once a justification and an appeal for mercy246:—

"They brought me word, O King, thou blamedst me;For this am I o'erwhelmed with grief and care.I passed a sick man's night: the nurses seemed,Spreading my couch, to have heaped up briars there.Now (lest thou cherish in thy mind a doubt)Invoking our last refuge, God, I swearThat he, whoever told thee I was false,Is the more lying and faithless of the pair.Exiled perforce, I found a strip of landWhere I could live and safely take the air:Kings made me arbiter of their possessions,And called me to their side and spoke me fair—Even as thou dost grace thy favouritesNor deem'st a fault the gratitude they bear.247O leave thine anger! Else, in view of menA mangy camel, smeared with pitch, I were.Seest thou not God hath given thee eminenceBefore which monarchs tremble and despair? All other kings are stars and thou a sun:When the sun rises, lo, the heavens are bare!A friend in trouble thou wilt not forsake;I may have sinned: in sinning all men share.If I am wronged, thou hast but wronged a slave,And if thou spar'st, 'tis like thyself to spare."

It is pleasant to record that Nábigha was finally reconciled to the prince whom he loved, and that Ḥíra again became his home. The date of his death is unknown, but it certainly took place before Islam was promulgated. Had the opportunity been granted to him he might have died a Moslem: he calls himself 'a religious man' ( dhú ummat ⁱⁿ),248 and although the tradition that he was actually a Christian lacks authority, his long residence in Syria and ‘Iráq must have made him acquainted with the externals of Christianity and with some, at least, of its leading ideas.

The grave and earnest tone characteristic of Nábigha's poetry seldom prevails in that of his younger contemporary, Maymún A‘shá. b. Qays, who is generally known by his surname, al-A‘shá—that is, 'the man of weak sight.' A professional troubadour, he roamed from one end of Arabia to the other, harp in hand, singing the praises of those who rewarded him; and such was his fame as a satirist that few ventured to withhold the bounty which he asked. By common consent he stands in the very first rank of Arabian poets. Abu ’l-Faraj, the author of the Kitábu ’l-Aghání, declares him to be superior to all the rest, adding, however, "this opinion is not held unanimously as regards A‘shá or any other." His wandering life brought him into contact with every kind of culture then existing in Arabia. Although he was not an avowed Christian, his poetry shows to what an extent he was influenced by the Bishops of Najrán, with whom he was intimately connected, and by the Christian merchants of Ḥíra who sold him their wine. He did not rise above the pagan level of morality.