When Oppressors Meet God


When tyrants choose oppression as their way
Persisting boldly, earning ugly gains,
Then leave them to the turn of destiny,
For it undoubtedly will show to them,
Such things as they had not been counting on.
For soon, while they in heedlessness remain,
Vicissitudes of time shall knock their door.
Then they’ll be left with no repute, nor wealth,
With no good deeds accrued to their account.
Then recompensed are they for what they’ve done,
Beneath the lash of God’s stern punishment.

[Muḥammad b. Idrīs al-Shāfiʿī (d. 204/820), poet and jurist, eponym of the Shafi`i school of law]

The above is my iambic pentameter blank verse translation.The original Arabic is as follows:
إِذا ما ظالِمُ استَحسَنَ الظُلمَ مَذهَباً ** وَلَجَّ عُتُوّاً في قَبيحِ اِكتِسابِهِ
فَكِلهُ إِلى صَرفِ اللَيالي فَإِنَّها ** سَتُبدي لَهُ ما لَم يَكُن في حِسابِهِ
فَعَمَّا قَليلٍ وَهُوَ في غَفَلاتِهِ ** أَناخَت صُروفُ الحادِثاتِ بِبابِهِ
فَأَصبَحَ لا مالٌ لَهُ وَلا جاهٌ يُرتَجى ** وَلا حَسَناتٌ تَلتَقي في كِتابِهِ
وَجوزِيَ بِالأَمرِ الَّذي كانَ فاعِلاً ** وَصَبَّ عَلَيهِ اللَهُ سَوطَ عَذابِهِ

PICTURE CREDIT: DaKub, https://pixabay.com/photos/wire-barbed-wire-freedom-unfreedom-3235327/

Genres of Poetry

The major genres of poetry in Arabic are:

•           Narrative/Descriptive – الوصف.

•           Praise (Ode) – المدح.

•           Elegy (Mourning) -الرثاء.

•           Romantic (Love) Poetry -الغزل

•           Boast – الفخر

•           Invective / Lampooning / Insult -الهِجاء

• Wisdom -الحكمة

[Taken mostly from Fawakih Arabic Curriculum, Level 6]

PICTURE CREDIT: Sponchia, Pixabay

The Gardens of Bovan (Bawwan)

Tِhe Poet: Abu al-Tayyib Ahmad Al-Mutanabbi (d. 965 CE / 354 H)

The Gardens of Bovan had a reputation in the medieval world. Persian geographer Zakariyya Qazwini (d. 1283 CE / 685H) mentioned its pristine beauty, and charm, having many fruit trees, gushing waters, and varieties of bird species. Abu Bakr al-Khwarizmi (d. 993 CE / 383 H), a contemporary of Mutanabbi, mentioned the site as one of the top four worldly gardens (as we find reported in Yaqut’s Mu`jam al-Buldan), along with Damascus’ Ghouta, Samarqand’s Safad, and Ubulla Island.

One of Mutanabbi’s most famous poems contains an 18-line description of the Bovan gardens, as a prelude to a 48-line elegy to Abu Shuja` (whom I discuss in the next paragraph). The Gardens of Bovan (Bawwan) are located in what is today Iran’s Mamasani County, in Fars Province. Nurabad is today the capital of Mamasani County, and contains the ruins of Nawbandijan [Daniel T Potts, Nomadism in Iran: From Antiquity to the Modern Era, 166]. Mutanabbi mentions Nawbandijan in the poem, but for exigencies of rhyme and meter, I substituted it Nurabad in my translation below.

Abu Shuja, the subject of the elegy, refers to Abu Shuja` Fatik al-Rumi (known as al-Majnun). Fatik was captured from his native Anatolia as a child, along with his two siblings. He was enslaved, and taken to Palestine where he grew up. The Ikshidid commander Muhammad Ibn Tughj in turn seized him from his master, following which Fatik lived with Ibn Tughj as a freeman. There he befriended Kafur, another eunuch who has also been freed by Ibn Tughj.  Following Ibn Tughj’s death, Kafur’s rose to power as de facto ruler, and Fatik retired to Fayyum where he had an estate. Fatik had a reputation for generosity. Mutanabbi was initially hesitant about composing an elegy to Fatik, out of fear of the jealousy of Kafur. After Fatik sent a gift of 1,000 dinars and other presents to Mutanabbi, the latter sought Kafur’s permission to write poetry praising Fatik. Kafur reluctantly gave permission, and so Mutanabbi went ahead and composed the elegy.

What follows is my translation (in rhymed pentameter couplets) of the first 19 lines of the poem, containing Mutanabbi’s description of Bovan Valley. The original Arabic of the poem can be found here.

Translation of Mutanabbi's description of the Vale of Bovan
Bovan Gorge
PICTURE CREDIT: Iran Tourism and Touring Organization (original here) The picture at the top of the page is from the same organization.

This vale resort compared to all the rest,
Like spring among the seasons, is the best.
But this Arabian lad’s a stranger there,
His skin tone, script and tongue perceived as rare.
This park which if King Solomon traversed,
He might not fathom these jinn-men’s converse.
The vale entranced our knights and mounts daylong,
But for their virtue, they would tarry long.
In early morn, behold the boughs’ refrain:
Sunlight as pearls released on my steed’s mane!
The self-same boughs provided me with shade,
And veiled the sun, as I traversed the glade.
The sun from midst the trees tossed coins of gold,
Coins which alas my fingers can’t enfold!
Hark! Thin-skinned fruits are beckoning: draw near
To juice that, gobletless, hangs in mid-air!
This gorge whose rocks with melody do charm
Like bangles jingling on a songstress’ arm.
In Ghouta would a skilled groom take my steed,
And then in stoneware tasty treats me feed.
My host would then a hearty fire stoke
With aloeswood, exuding fragrant smoke.
His gracious welcome leaves you with no care,
So when it’s time to leave, you do not dare.
These pleasant memories which I have had
Remain as I proceed to Nurabad.
The cooing of the grey-black doves therein
Is answered by girls’ songs in unison.
The valley-folk’s speech needs translation more
Than doves whom we’ve heard sing and mourn since yore.
Akin in unintelligibility,
Yet, oh, so different in reality!
In Bovan Vale, the protest of my steed:
From this delight are we to war proceed?
Your father Adam when he first transgressed
Taught you from gardens to be dispossessed
I said: for friends and places do not pine
Abu Shuja` is consolation fine.






Elegy for Andalus (Al-Rundi’s Poem translated)

War and conflict are, sadly, a frequent theme in human history, and as with emotional themes in general, have attracted the attention of poets. Elegy to Andalus (Ritha al-Andalus) was written in 1267CE by Abu al-Baqa’ (Abu al-Tayyib) Salih ibn Abil-Hasan al-Rundi (ca. 1204-1285CE / 601-684H, from the city of Ronda), who was a belletrist of renown, as well as a hadith scholar, jurist and expert on inheritance law.[1] He lived in the taifa era, well after the dissolution of the Umayyad caliphate of Cordoba. This was a time when the influence of Islam was declining in Iberia, and many Muslim kings felt themselves compelled to make concessions to the Christian ruler in order to retain their own nominal hold on power. Many Muslim cities fell to the Christians, Granada being the last independent emirate in the Iberian peninsular.

The poet al-Rundi expresses his anguish over the conquest of Muslim Spain (al-Andalus) by the Christian Spanish kings, and calls for succor (primarily from the Marinid king whose capital was in Fez). The poem starts with an admonition on the ephemerality of worldly glory, and then proceeds to describe the humiliation and horrors suffered by the conquered Muslims, including mention of several conquered cities by name.

The original Arabic of the poem can be found here, and appears to be influenced by Abu al-Fath al-Bosti’s Epitome of Wisdom. My translation (below) renders each distich of the Arabic into a rhymed pentameter couplet.

Before proceeding to my translation, we should note that some of the themes within the poem (such as injustice and mistreatment of religious minorities) have parallels today (in various parts of the world), but I issue a stern warning to anyone who would use past or present injustices as an excuse to commit acts of violence against innocent people (or against people who are deemed to not be innocent, but through contrived and convoluted ‘reasoning’). Such acts are not to be tolerated, and I will continue to condemn them.

Image by Maatkare from Pixabay

All things once having peaked will sure decline

So do not be beguiled by lifestyle fine.

Reality’s in flux as you have seen

Brief joys are Interspersed with sadness,

For these vicissitudes of life spare none.

And times of glory here will soon be gone.

When coats of mail encounter swords of Fate

The swords will sure the armor lacerate.

When fate unsheathes his mortal swords none’s safe

Not even kings in Ghumdan fort like Sayf.

The ancient kings of Yemen in fine gowns,

Where are they, and their wreaths and crowns?

In Iram Shaddad‘s city now lies waste

The kingdom of Sasan likewise displaced.

And where is all Qarun amassed of gold

Where are Shaddad, Qahtan and Aad of old?

They all met death the inescapable

They left and now they are untraceable.

To talk about these kings and kingdoms seems

Just like a drowsy man relating dreams.

Both Darius and assassin, time betrayed

And Chosroes ruled but death could not evade.

As if they all did not achieve a thing

And as if Solomon had ne’er been king.

Vicissitudes of life are quite diverse

And life has joys and sorrows interspersed

In every setback, comfort can be sought

But this scourge on Islam has solace naught.,

A tragedy smites Andalus forlorn:

Yea, Uhud and Thahlan fain would be torn.

Islam’s lands here are now diminishing,

And this the envious ones are relishing.

Ask Valencia how Murcia has fared,

And Xativa and Jaen, have they been spared?

What is the fate of Cordoba’s college,

From where arose savants of deep knowledge?

And what of Seville[2], that resort innate,

Where flows the mighty river oft in spate.

These cities were foundations of our land;

Without foundations can a building stand?

Pure monotheism now weeps from grief,

Like lovers torn apart, without relief,

Islam from these bleak homes has been chased

And now by unbelief has been replaced.

Our mosques now as cathedrals are recast

The crosses and the bells leave us aghast

The lifeless prayer niche cries woefully

The wooden pulpit too weeps dolefully.

O heedless fellow time’s rebuke now heed

Though you are drowsy time’s alert indeed.

If you still in your homeland strut about

E’en after Seville you’re beguiled no doubt

This tragedy made us forget our past,

And its calamitous effect will last.

O valiant king behind a banner pure

Go trounce the ingrates, may they be no more!

Now ask the riders of the pedigreed

Fine slender horses having eagles’ speed,

And those who clutch fine indian scimitars

Which in the darkness gleam like fiery stars,

And those beyond who graze their flocks, carefree

Enjoying in their land proud liberty.

So ask them if of Andalus they’ve news

This tragic tale which riders made diffuse.

How many cries reach us from the oppressed

Enslaved and killed, yet who is seen distressed?

The ties of faith are severed, can it be

Though you the devotees of God should brethren be?

Are there no proud and lofty souls with verve

Who will arise, then good and justice serve?

O see how shame replaced authority

Because of unbelief and tyranny.

They recently were kings in their chateaux,

But now they are enslaved in land of foe.

If you could see how so perplexed they are

And how they find shame’s garment so bizarre.

And how they weep when into slav’ry sold:

A monstrous sight which brings you grief untold.

You see a little girl from mother torn,

Like soul is ripped from body, thus they mourn.

A pretty lady, splendid as sunlight,

Her beauty just like coral and jewels bright,

Dragged off by infidel for rape most vile,

Her heart perplexed, she’s crying all the while.

And thus the soul sheds tears and falls apart,

If there’s Islam and faith within that heart.


[1] Ibn `Abd al-Malik al-Marrakushi, Al-Dhayl wal-Takmila li-Kitabay al-Mawsul wal-Silah. ed. Ihsan Abbas, 5 vols., (Dar al-Gharb al-Islami, 2012), 2:129

[2] The poet uses the name Hims (Emesa) for Seville. Emesa is a city in Levant, but Seville was known as the Emesa of Andalus.

Rainstorm (2/2) (Poetry by Imr al-Qays)

I had previously translated the first 6 lines of the famous pre-Islamic Arab poet Imr al-Qays‘ fabulous description of a rainstorm. I present here the rest of the description, once again in my own translation (rhymed pentameter couplet), followed by the original Arabic.

And at Tayma’ no branch was left alone,

Nor any fort, save those shored up with stone.

See Mount Thabir when first the rain comes down:

A chief of people, wrapped in fine striped gown!

At dawn, the scum and water ‘round this hill,

Mujaymir, look just like a spinning wheel.

O’er parched Ghabit it cast its verdant cloak,

Like dazzling wares strewn out by pedlar-folk.

At dawn the whistling birds now sing with zest

As if they have drunk peppered wine, fresh-pressed.

By afternoon, you see drowned beasts galore,

Like soil-stained onions floating near the shore.


وَتَيْمَاءَ لَمْ يَتْرُكْ بِهَا جِذْعَ نَخْلَـةٍ ** وَلاَ أُطُمـاً إِلاَّ مَشِيْداً بِجِنْـدَلِ

كَأَنَّ ثَبِيْـراً فِي عَرَانِيْـنِ وَبْلِـهِ **  كَبِيْـرُ أُنَاسٍ فِي بِجَـادٍ مُزَمَّـلِ

كَأَنَّ ذُرَى رَأْسِ المُجَيْمِرِ غُـدْوَةً ** مِنَ السَّيْلِ وَالأَغثَاءِ فَلْكَةُ مِغْـزَلِ

وأَلْقَى بِصَحْـرَاءِ الغَبيْطِ بَعَاعَـهُ ** نُزُوْلَ اليَمَانِي ذِي العِيَابِ المُحَمَّلِ

كَأَنَّ مَكَـاكِيَّ الجِـوَاءِ غُدَّبَـةً ** صُبِحْنَ سُلافاً مِنْ رَحيقٍ مُفَلْفَـلِ

كَأَنَّ السِّبَـاعَ فِيْهِ غَرْقَى عَشِيَّـةً ** بِأَرْجَائِهِ القُصْوَى أَنَابِيْشُ عُنْصُـلِ

Image by Peggychoucair from Pixabay

Rainstorm (Poetry by Imr al-Qays)

In light of the recent torrential rains, I thought I would translate some lines on a rainstorm by the famous pre-Islamic Arab poet Imr al-Qays. The last 12 lines of his famous Suspended Ode (mu`allaqa) are devoted to this description. Although there are already translations by other of the entire poem, I present here the first 6 of the 12 rainstorm lines in my own translation (rhymed pentameter couplet), followed by the original Arabic. I may translate the other 6 at some future time.

Behold this lightning, fellow fine, and see its gleam,

Like streaking arms amidst piled clouds who beam!

Its glow gives light, or like a friar’s lamp,

The plaited wick burns bright, with fuel-oil damp.

Between Udhayb and Darij I sat tight,

With friends, observing from afar this sight.

From Yadhbul and Sitar the storm extends,

As far as Qatan, I’d guess, the rain descends.

Kutayfa was deluged before midday,

And huge acacias[1] on their faces lay.

To Mount Qannan the shower gives fair share,

And brings down mountain goats from every lair.


[1] I have translated the Arabic kanahbal as “acacia.” The scientific name for the specific species that is called kahanbal is Acacia origena, a taller species of the genus with thicker collar diameter, which grows in Arabia.

أصَاحِ تَرَى بَرْقاً أُرِيْكَ وَمِيْضَـهُ  ** كَلَمْـعِ اليَدَيْنِ فِي حَبِيٍّ مُكَلَّـلِ

يُضِيءُ سَنَاهُ أَوْ مَصَابِيْحُ رَاهِـبٍ ** أَمَالَ السَّلِيْـطَ بِالذُّبَالِ المُفَتَّـلِ

قَعَدْتُ لَهُ وصُحْبَتِي بَيْنَ ضَـارِجٍ      ** وبَيْنَ العـُذَيْبِ بُعْدَمَا مُتَأَمَّـلِ

عَلَى قَطَنٍ بِالشَّيْمِ أَيْمَنُ صَوْبِـهِ ** وَأَيْسَـرُهُ عَلَى السِّتَارِ فَيَذْبُـلِ

فَأَضْحَى يَسُحُّ المَاءَ حَوْلَ كُتَيْفَةٍ     **يَكُبُّ عَلَى الأذْقَانِ دَوْحَ الكَنَهْبَلِ

ومَـرَّ عَلَى القَنَـانِ مِنْ نَفَيَانِـهِ ** فَأَنْزَلَ مِنْهُ العُصْمَ مِنْ كُلِّ مَنْـزِلِ

Image by Oimheidi from Pixabay

Elegy for Sakhr

Khansaa (d, 645 CE / 24 H) was famous for her poems mourning her two brothers. Below is a poetic translation (rhymed iambic pentameter couplets) one of these elegies, followed by the original Arabic.

O eyes flow copiously and do not dry!
For Sakhr, the generous, will you not cry?
Will you not mourn this valiant nobleman?
And weep for this fair leader of his clan?
A tall brave man, a host to those in need.
While still a lad, his people he did lead.
When folk reach with their hands for eminence 
He joins them in pursuit of excellence 
But he achieves more glory than them all,
And then continues rising, standing tall.
In arduous times their burdens they transfer
To him 'though he's a stripling, they aver.
Behold how glory 'pon his house descends!
Content is he that far his praise extends.
Immediately when glory is invoked,
He stands and dons this, his exclusive cloak.

أَعَينَيَّ جودا وَلا تَجمُدا ** أَلا تَبكِيانِ لِصَخرِ النَدى

أَلا تَبكِيانِ الجَريءَ الجَميلَ ** أَلا تَبكِيانِ الفَتى السَيِّدا

طَويلَ النِجادِ رَفيعَ العِمادِ ** سادَ عَشيرَتَهُ أَمرَدا

إِذا القَومُ مَدّوا بِأَيديهِمِ ** إِلى المَجدِ مَدَّ إِلَيهِ يَدا

فَنالَ الَّذي فَوقَ أَيديهِمِ ** مِنَ المَجدِ ثُمَّ مَضى مُصعِدا

يُكَلِّفُهُ القَومُ ما عالُهُم ** وَإِن كانَ أَصغَرَهُم مَولِدا

تَرى المَجدَ يَهوي إِلى بَيتِهِ ** يَرى أَفضَلَ الكَسبِ أَن يُحمَدا

وَإِن ذُكِرَ المَجدُ أَلفَيتَهُ ** تَأَزَّرَ بِالمَجدِ ثُمَّ اِرتَدى

Image by _Marion from Pixabay

Khansaa (Poet Biography)

AL-KHANSAA (al-Khansāʾ), Tumāḍir bint ʿAmr ibn al- Ḥārith ibn al-Shārid

A poetess who gained renown before Islam through her copious and passionate, anguish-filled elegies to her two brothers who were killed in battle. She was nicknamed Khansaa, meaning snub-nosed, a physical feature deemed beautiful. The word Khansaa also means oryx, another metaphor for beauty. Her given name, Tumāḍir, means fair of complexion. She did not compose much poetry until her two brothers, Muʿawiya and Ṣakhr, were killed, following which she wrote many outstanding elegies for them, especially for Ṣakhr. There is general agreement that there was no poetess before her or after her who matches her in her genre. When the famous Umayyad poet and satirist Jarīr ibn ʿAtiyya (d. 728 CE / 110 H) was asked who is the best Arab poet, he replied, “It would have been me, if not for Khansaa.”

It is reported that Khansaa came to the Prophet Muhammad (peace be upon him) in a delegation of her tribe (Banu Sulaym), accepted Islam, and recited some of her poetry to him. Khansaa was married twice, with one son from the first marriage, and four sons from the second. All of her children were also poets. It is reported that her four sons (from the second marriage) were all killed in the battle of Qādisiyya, and when she received word of this, she exhibited remarkable fortitude and patience, praising God for blessing her sons with an honorable death, and expressing hope that she would be re-united with them in Heaven. A contemporary writer has commented that Islam thus transformed Khansaa’s former unhealing sorrow into eloquent submission to God. Khansaa died in the year 645 CE / 24 H, at an age of more than 70.

[References:

  • Zirikli’s A`lam
  • `Abd al-Qadir al-Baghdadi, Khizanat al-Adab
  • Karam Bustani’s introduction to her anthology,
  • Sh Faris Ali al-Mustafa’s article,

]

Photo Credit: Publioc domain image from Wikipedia, by user Western Region, https://commons.wikimedia.org/wiki/File:Arabian_oryx,_Abu_Dhabi,_WesternRegion.jpg

A Kindred Enemy (Poetry)

A moving account of how to counteract negative and destructive behavior with goodness

It has been narrated that the Umayyad king Abdul-Malik ibn Marwan (d. 705CE/86H) was with his children and other members of his household when he asked everyone to recite the best lines of poetry from the past. People proceeded to recite from Zuhayr ibn Abi Sulma (d. 609CE), Nabigha Dhubyani (d. 605CE/18BH), Imr al-Qays (d. 540CE), Tarafa ibn `Abd (d. 569CE) and Labid ibn Rabi`a (d. 661CE/41H). When they had finished, `Abd al-Malik’s rejoinder was the best poet was the one who composed the poem Perchance a kinsman whose malice…. (and then he proceeded to recite a poem of 24 lines  in the tawil meter); the poem is by Ma`n ibn Aws. [Ibn `Asakir, Tarikh Dimashq, 59/430] This poem appears in the published version of the Diwan in a longer version (34 lines), and in a shorter version (15 lines) in Amali al-Qali with some additional lines attributed to the philologist Ibn al-A`rabi (d. 845CE / 231H).  I found a 23-line version online.

This poem is a moving account of negative and destructive behavior that the poet experienced from one of his relatives. He describes that although he was exasperated, he did not respond in  like coin, but rather he took the higher road – treating him with love and kindness – until the relationship was mended. Ibn Abd Rabbih (d. 327H) cited the first three lines of the poem in al-`Iqd al-Farid (2/135) in the chapter on Forbearance, and repelling [someone’s] evil deed with [your] good deed. The connection with the Quranic verse that Ibn Abd Rabbih has alluded to it evident:

“And not equal are the good deed and the bad. Repel [evil] by that [deed] which is better; and thereupon the one whom between you and him is enmity [will become] as though he was a devoted friend.”

Quran, 41:34

The poem also contains a reference to the following saying of the Prophet Muhammad:

God said: I am al-Rahman (the Source of Mercy, Compassion, etc) and this is al-rahim (ties of kinship). I have derived for it a name from My Name. Whoever brings together [these bonds] I will maintain him [with mercy and blessing], and whoever cuts off [these bonds], I will cut him off.

(Narrated by Abu Dawud and Ahmad)

I present here an abridged form of the poem, in the form of a sonnet. Below that I list the relevant Arabic lines.

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Forbearance lonesome still pours forth as rain,
Perchance to trim spite’s claws from one who’s kin.
He seeks but to compel me with disdain,
Though I view shaming him as mortal sin.
If I forgive, this mote I can endure,
‘Though he knows not that I have pardoned him.
If I requite, I’d be an archer sure,
But one who cracks the bone of his own limb.
Had it not been for fear of God in me,
Realizing God has hallowed kindred ties,
I would have marked his nose, for all to see,
A stamp of infamy, to advertise.
From self-restraint and love I mixed a balm,
Which caused his hate to wither, yielding calm.

وذي رَحِمٍ قَـــلَّـــمتُ أظــــفـــارَ ضِــــــغْنِه ** بحـــلـــمــي عـــنه وهـــو لـــيس له حِــــلم

يُحـــاولُ رَغــمـــي لا يحـــاولُ غــــــيـــره ** وكـــالمـــوت عـــندي أن يَحُلَّ به الرَّغْم

فإن أعْـــفُ عـنه أُغــــضِ عَيْناً على قَذى ** وليس له بالصــفـــح عــن ذنــبـــــه عِلم

وإن أنـــتـــصـــر مـــنه أكُنْ مثل رائشٍ ** ســهـــامَ عَــــدُوٍ يُــستهاض بها العَظم

فلولا اتــــقــــاءُ الله والـــــرحـــــــمِ التي ** رِعــــايـــتُــها حـــقٌ وتَعـــطـــيلُـها ظُلمُ

إذاً لعـــلاهُ بـــــارقــي وخَــطَـــمْـــتُــــــــهُ ** بـــوســـم شَــــــنَــــارٍ لا يشاكهُه وَسمُ

فــمــــا زلــــت فـــي لـــيني له وتعطفي ** عــــلــيه كــــما تـــحــــنو على الولد الأمُ

فـــــداويتـــــه حـــــتى ارْفَـــــأَنَّ نِـفاره ** فَــــعُــــدنا كأنا لم يــكن بيننا صَرْم

PICTURE CREDIT: Image by John Hain from Pixabay

Maʿn ibn Aws, Biography

Maʿn ibn Aws al-Muzani (d. 683 CE / 64H) was one of the mukhadram (‘intergenerational’) poets: those who were born in the pre-Islamic period (Jahiliyya) but who died in the Islamic era. He embraced Islam, but although he did not meet the Prophet Muhammad, he met a number of his Companions. Some of his poetry is in praise of some of the Companions, and a number of them held him in high regard. Besides elegies, he has also written in the satire, romantic and gab (boast) genres. He travelled to the Levant and to Basra, and died in Madinah. He had become blind in his final years. According to the Umayyad king ʿAbdul-Malik ibn Marwan (d. 705 CE / 86H), Maʿn was the best of the Arab poets. His anthology Diwan Maʿn ibn Aws al-Muzani was published by Dr Nuri Hamudi al-Qaysi and Hatim Salih al-Damin in 1977 by Matbaʿat Dar al-Jahiz in Baghdad.

[See: Zirikli’s Aʿlam, Ibn ʿAsakir’s Tarikh Dimashq, The Arab Encyclopedia]