Al-Muՙallaqāt
Al-Muՙallaqāt, often referred to as "The Seven Golden Odes," is a renowned collection of Arabic poetry from the pre-Islamic era known as al-Jāhilīyah. Likely compiled by Ḥammād ar-Rāwiyah in Al-Kufa, Iraq, during the 8th century, this anthology showcases the artistry of seven prominent poets who epitomize early Arabic poetic traditions. The poems, also called "the seven long poems," delve into themes of love, the trials of desert life, and the poets' relationships with their patrons, reflecting the rich cultural tapestry of sixth-century Bedouin life.
Among the poets featured, Imru՚al-Qays is noted for his contributions to the qasida form, while Tarafah and ʿAntara are celebrated for their satire and war narratives, respectively. The collection also includes Labīd, who uniquely transitioned to Islam, marking a significant cultural shift. The term Al-Muՙallaqāt, meaning "suspended poems," may have originated because of the tradition of displaying these works in gold at the Kaʿba in Mecca. This anthology not only serves as a literary treasure but also as a window into the values, struggles, and artistry of early Arabic society.
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Al-Muՙallaqāt
Related civilizations: Arabia, the Near East, Mesopotamia.
Date: eighth century c.e.
Locale: Al-Kufa, Iraq
Authorship: Seven poets, probably compiled by Ḥammād ar-Rāwiyah
Al-Muՙallaqāt
The Al-Muՙallaqāt (ahl mew-AWL-ah-kaht; The Seven Golden Odes of Pagan Arabia, 1903) is a collection of qasida, or Arabic odes, dating from al-Jāhilīyah, or the pre-Islamic age, that was probably gathered by Ḥammād ar-Rāwiyah (Ḥammad the Transmitter or Reciter, c. 694-c. 772 c.e.) in Al-Kufa, Iraq. Although the guidelines Ḥammād used to select works for this anthology are uncertain, some think that length was important because these poems are also known as “the seven long poems.” The seven poets in this book represent the flower of early Arabic poetry and illustrate fine details of Bedouin life in the sixth century c.e.
The formal qasida include references to forsaken love; descriptions of former camp grounds, beloved horses and camels, and trials in the desert; and praise of the poet’s prince or patron. The earliest poet represented in Al-Muՙallaqāt is Imru՚al-Qays (d. c. 550 c.e.), a member of the ancient royal family of Yemen, who is said to have invented the qasida form. Tarafah (fl. sixth century c.e.), a native of Bahrain, settled at the court of ՙAmr ibn Hind in al-Ḥīra and was noted for his satire. Zuhayr ibn Abī-Sulmā Rabīՙa (c. 520-c. 609 c.e.), the son and father of Arabian poets, was a warrior poet who sang about the end of the war of Dāḥis. ՙAmr ibn Kulthūm (fl. sixth century c.e.), celebrates in his poem his patron ՙAmr ibn Hind and his tribe, the Taghlib of Mesopotamia. ՙAntara (fl. sixth century c.e.) was noted for his love for his cousin ՙAbla and later became the hero of a romance. His poem is filled with vivid descriptions of his role in battles during the war of Dāḥis. Al-Ḥārith ibn Ḥilliza of Bakr (fl. sixth century c.e.) attacks the accusers of his patron, and the Banū Bakr. Labīd (d. c. 661 c.e.) was the youngest of the seven, and the only one to convert to Islam. In addition to these standard seven poets, al-Nābigha (fl. c. 600 c.e.), who wrote at courts in Iraq and Syria, and al-Aՙshā (before 570-c. 625 c.e.), a blind poet from Arabia, are sometimes added.
Ḥammād may have referred to the anthology not as Al-Muՙallaqāt but as al-Mashhūrāt, or “the famous ones.” The term al-Muՙallaqāt, or “suspended poems,” known only circa 900 c.e., probably is related to the word ՙilq, which means “a precious thing,” especially one hung in a storeroom or in a conspicuous place. It is possible that this derivation resulted in the tenth century tradition of these poems being written in gold on linen and hung from the Kaՙba in Mecca.
Bibliography
Arberry, A. J. The Seven Odes of Love. Cairo, Egypt: American University in Cairo Press, 1997.
O’Grady, Desmond. The Seven Odes: The First Chapter in Arabic Literature. New York: Macmillan, 1957.