Welcome to the personal website of
Lucía Andrea Illanes Albornoz
Mostly eukaryotic multicellular form of life
🏳️⚧️ 𒊩 𒈨 𒊬𒊏 𒌓 𒁲𒆷 𒂊𒀀 🏳️⚧️
Rush to wine and early
Ruḥ lir-rāḥ wa-bākir
نوع الشعر: موشحة
الشاعر: ابن عبادة القزاز
منطقه: الأندلس
عصر: العصر الوسطى (القرن الحادي عشر)
| رُحْ للراح وباكر | بالمُعْلَم المَشوف |
| غَبوقا وصُبوح | على الوَتَر الفصيح |
| ليس اسم الخمر عندي | مأخوذا فأعلم |
| إلا من خاء الخد | وميم المبسم |
| وراء ريق الشهد | العاطر الفم |
| فكنْ للهم هاجر | وصلْ هذي الحروف |
| كي تغدو وتروح | بجسم له روح |
| بالله سقِّنيها | في ود الواثق |
| فإن منه فيها | شِبْهَ الخلائق |
| من أعدم الشبيها | في المجد الباسق |
| له من المفاخر | تليدٌ وطريف |
| دَوْحٌ من عهد نوح | وروضةٌ تفوح |
| هل تحسن المدائح | من كل مادح |
| إلا على الجحاجح | بني صمادح |
| فأنهم مصابح | على سوابح |
| أكارم أكابر | صيدٌ شُمّ الأنوف |
| حازروا المجد الصريح | فَخُصّوا بالمديح |
| محمدٌ بعيد | مرامه قريب |
| وحوله جنود | من آله تُجيب |
| كأنهم أسود | في حومة الحروب |
| إذا سلّوا البواتر | فالحين والحتوف |
| والنصر والفتوح | وآية تلوح |
| وإذا لاح ابن معن | في جيشه اللجب |
| ونادى كل قرن | باسمه في اللعب |
| فالهيجاء تغني | والسيف قد طرب |
| ما أملحَ العساكر | وترتيبَ الصفوف |
| واﻷبطال تُصيح | الواثق يا مليح |
Type of poem: Muwaššaḥah[1]
Name of poet: b. ʕubādah al-Qazzāz
Region of poet: al-Andalus
Era: medieval (11th century)
| Rush to wine and early | By the bright and shining coin[2] |
| In the evening, the morning | In eloquent metre[3] |
| The name of wine is not spelt out, | so be aware: |
| except with the Ḫāʔ that draws, | also the smiling Mīm, |
| the Rāʔ of honey saliva,[4] | perfuming the mouth. |
| So let all concern depart | and join those consonants |
| so that you may leave and go | with a body full of spirit |
| By God, give me a drink | for the love of al-Wāṯiq[5] |
| For from him spring therein | two beings both alike |
| Unequalled and unique | in his lofty, noble glory |
| He is, of all the noble, | of good lineage and wit |
| upon the tree of Nūḥ[7] | a perfumed splendid garden |
| Who deserves the panegyric | from all of those that write it |
| Better than the generous lords | of House Banū Ṣumādiḥ[8] |
| For luminant lamps they are | upon poets of poems of praise |
| The most generous, most grand | They hunt with finest sense |
| Endowed with distinguished glory | Exalted they are in praise |
| When Muḥammad[5] is far away | desire of him is near |
| And surrounding him, the army | of House Banū Tujīb[6] |
| Like lions they all are | in the thick of war and battle |
| When cutting swords are drawn | and death and trial draw near |
| and conquests are delivered | and his handsomeness appears |
| When the son of Maʕn[5] appears | his army's in uproar |
| and all his foes declare | his name in fun and play |
| And the sabre starts to sing | the sword my instrument: |
| How wonderful the armies | when arranged in orderly ranks |
| when the champions loudly shout: | al-Wāṯiq[5], the most Handsome! |
[1] Muwaššaḥah or Tawšīḥ, Moaxaja in Spanish - "girdled" poetry, named owing to its strophic structure and with
reference to the fashionable girdle, double belt, or scarf worn by women of high status in al-Andalus at the time - is a
form of Classical strophic poetry, e.g. composed in Classical as opposed to vernacular Arabic, that originated in
al-Andalus, specifically attributed to either Muqaddam b. al-Muʕāfah al-Qabrī in the 10th century, el Ciego de Cabra,
the Blind Man of Cabra, near Córdoba, then named Qabrah or b. ʕabd Rabbih in the 9th/10th century, also from near Córdoba,
the famous author of the ʕiqdu l-Farīd, The Unique Necklace.
A Muwaššaḥah is always composed of half-verse pairs - as in Arabic poetry in general - in the form of strophes of three or more Bayt ("verse" (etymologically related to "tent, house") pl. Abyāt,) or Ġuṣn ("branch, twig", pl. Aġṣān,) and, at the end, a Qufl ("lock, bolt", pl. Aqfāl) or Simṭ ("string, thread" (particularly of a necklace,) pl. Sumūṭ.) The first - optional - Qufl is named the Maṭlah ("overlook, vantage"; "remainder of water in a basin", pl. Maṭlāt.) The last - obligatory - Qufl is named the Ḫarjah ("departure, exit", pl. Ḫarajāt - Jarcha in Spanish) - the latter being the most important, refined, and renowned part of a Muwaššaḥah, establishing the ultimate intention and premise of the poet; some Ḫarjah were composed in Romance or Mozarabic - Hispanic Vulgar Latin of the day and age - or Hebrew. Often, a Ḫarjah is composed from the perspective of a beloved person, often women but not always, or even an abstract object or interceding person, etc. pp.
In contrast to Classical poetry, a Muwaššaḥah may be composed in a much larger ranges of metres than those documented - and thereby arguably fixed - by al-Ḥalīl b. Aḥmad al-Farāhīdī in the 8th century. The Classical range of genres - Faḫr, Madīḥ, Hijāʔ, and Riṯāʔ (exaltation, panegyric, satire, and lamentation,) Waṣf (description,) Ġazal (love,) etc. - is more limited in that the genres of Ḥamriyyah, Rabīʕiyyah, Rawḍiyyah, and Nawriyyah (poetry on wine, spring, gardens, and the blossoming of flowers) as well as love predominate; homoerotic poetry is also just as strongly present as it was in Classical poetry where often it is unclear whether the beloved person being referred to is female or male. Stylistically speaking, a Muwaššaḥah tends to have very spontaneous, concise, and direct yet witty qualities.
Andalusian language, culture, identity, and also, of course, poetry - arguably the genesis of the first, true autochthonous and quite pluralistic (yet certainly tumultously so) Hispanic identity with all it entailed - across the centuries decidely set itself apart from that of the - comparatively miniscule in number anyway - Yemenites, Syrians, and Umayyads present in the peninsula beginning in the 8th century, whilst maintaining very strong ties to and influence from the ʕabbasid era heartlands of the Islamic World at the time, viz. Mesopotamia, where, among others, Persian influence was much stronger than peninsular Arabian. This also affected poetry: Arabic or Arabian poetry, Classical poetry, was - eventually - viewed as little but poetry on "towering camels" - there were, of course, no camels and no desert culture in al-Andalus and while Andalusian language identity was of course primarily Arabic - and Romance or Mozarabic and then Hebrew - it was not Arabian - and hence, a more uniquely Andalusian form of poetry was born: the Muwaššaḥah, the counterpart to Classical poetry and, later, the Zajal ("shout",) the counterpart to vernacular poetry.
Much of what has been preserved is due to the 11th/12th century Ayyūbid-era Egyptian poet b. Sanāʔ al-Mulk, known also as al-Qāḍī as-Saʕīd, of Cairo, in his Dār aṭ-Ṭirāz, The House of Brocade, containing the vast majority of the body of old Andalusian Muwaššaḥah along with a great deal of history and analysis thereof.
In addition to this, the repertoire of Classical Andalusian Music (Ṭarabu l-Ālah) in the Maġrib encompasses a large number of Muwaššaḥāt, though only fragments thereof.
Both the Muwaššaḥah and the Zajal, in altered form, have continued to enjoy a great deal of popularity, including in modernity and post-modernity, in the Arab world, such as in Lebanon in the form of extemporaneous poetic duels and have exerted considerable influence on the poetry of Western Europe from France to England, possibly including the poem of Sir Gawain and the Green Knight, as well as Hispanic poetry and song to this day and age.
This particular Muwaššaḥah begins as a Ḫamriyyah - poetry on wine - and humorous word play, then becomes Madīḥ - panegyric - praising House Banū Tujīb, particularly its branch Banū Ṣumādiḥ, and specifically Muḥammad b. Maʕn al-Wāṯiq, then turns towards the subject of war - not uncommonly featured in Andalusian literature owing to constant conflict between al-Andalus and the Old Christians - and culminates in a Ḫarjah from the perspective of a sword.
[2] as in the best wine that money can buy - ref. to poem by ʕantarah b. Šaddād, as in "bought by a bright, shining coin (or: a marked, distinguished camel)" as wine was very expensive then
[3] or: stringed instrument
[4] spelling out Ḫ-M-R as in Ḫamr as in wine
[5] presumably Muḥammad b. Maʕn al-Wāṯiq of b. Tujīb
[6] Arab dynasty of the Upper March of al-Andalus in the 9th-11th centuries
[7] Noah - as in, in the line of the covenant of Noah
[8] Arab dynasty of the Taifa of Almería of al-Andalus in the 11th century; branch of House Banū Tujīb[6]
A Muwaššaḥah is always composed of half-verse pairs - as in Arabic poetry in general - in the form of strophes of three or more Bayt ("verse" (etymologically related to "tent, house") pl. Abyāt,) or Ġuṣn ("branch, twig", pl. Aġṣān,) and, at the end, a Qufl ("lock, bolt", pl. Aqfāl) or Simṭ ("string, thread" (particularly of a necklace,) pl. Sumūṭ.) The first - optional - Qufl is named the Maṭlah ("overlook, vantage"; "remainder of water in a basin", pl. Maṭlāt.) The last - obligatory - Qufl is named the Ḫarjah ("departure, exit", pl. Ḫarajāt - Jarcha in Spanish) - the latter being the most important, refined, and renowned part of a Muwaššaḥah, establishing the ultimate intention and premise of the poet; some Ḫarjah were composed in Romance or Mozarabic - Hispanic Vulgar Latin of the day and age - or Hebrew. Often, a Ḫarjah is composed from the perspective of a beloved person, often women but not always, or even an abstract object or interceding person, etc. pp.
In contrast to Classical poetry, a Muwaššaḥah may be composed in a much larger ranges of metres than those documented - and thereby arguably fixed - by al-Ḥalīl b. Aḥmad al-Farāhīdī in the 8th century. The Classical range of genres - Faḫr, Madīḥ, Hijāʔ, and Riṯāʔ (exaltation, panegyric, satire, and lamentation,) Waṣf (description,) Ġazal (love,) etc. - is more limited in that the genres of Ḥamriyyah, Rabīʕiyyah, Rawḍiyyah, and Nawriyyah (poetry on wine, spring, gardens, and the blossoming of flowers) as well as love predominate; homoerotic poetry is also just as strongly present as it was in Classical poetry where often it is unclear whether the beloved person being referred to is female or male. Stylistically speaking, a Muwaššaḥah tends to have very spontaneous, concise, and direct yet witty qualities.
Andalusian language, culture, identity, and also, of course, poetry - arguably the genesis of the first, true autochthonous and quite pluralistic (yet certainly tumultously so) Hispanic identity with all it entailed - across the centuries decidely set itself apart from that of the - comparatively miniscule in number anyway - Yemenites, Syrians, and Umayyads present in the peninsula beginning in the 8th century, whilst maintaining very strong ties to and influence from the ʕabbasid era heartlands of the Islamic World at the time, viz. Mesopotamia, where, among others, Persian influence was much stronger than peninsular Arabian. This also affected poetry: Arabic or Arabian poetry, Classical poetry, was - eventually - viewed as little but poetry on "towering camels" - there were, of course, no camels and no desert culture in al-Andalus and while Andalusian language identity was of course primarily Arabic - and Romance or Mozarabic and then Hebrew - it was not Arabian - and hence, a more uniquely Andalusian form of poetry was born: the Muwaššaḥah, the counterpart to Classical poetry and, later, the Zajal ("shout",) the counterpart to vernacular poetry.
Much of what has been preserved is due to the 11th/12th century Ayyūbid-era Egyptian poet b. Sanāʔ al-Mulk, known also as al-Qāḍī as-Saʕīd, of Cairo, in his Dār aṭ-Ṭirāz, The House of Brocade, containing the vast majority of the body of old Andalusian Muwaššaḥah along with a great deal of history and analysis thereof.
In addition to this, the repertoire of Classical Andalusian Music (Ṭarabu l-Ālah) in the Maġrib encompasses a large number of Muwaššaḥāt, though only fragments thereof.
Both the Muwaššaḥah and the Zajal, in altered form, have continued to enjoy a great deal of popularity, including in modernity and post-modernity, in the Arab world, such as in Lebanon in the form of extemporaneous poetic duels and have exerted considerable influence on the poetry of Western Europe from France to England, possibly including the poem of Sir Gawain and the Green Knight, as well as Hispanic poetry and song to this day and age.
This particular Muwaššaḥah begins as a Ḫamriyyah - poetry on wine - and humorous word play, then becomes Madīḥ - panegyric - praising House Banū Tujīb, particularly its branch Banū Ṣumādiḥ, and specifically Muḥammad b. Maʕn al-Wāṯiq, then turns towards the subject of war - not uncommonly featured in Andalusian literature owing to constant conflict between al-Andalus and the Old Christians - and culminates in a Ḫarjah from the perspective of a sword.
[2] as in the best wine that money can buy - ref. to poem by ʕantarah b. Šaddād, as in "bought by a bright, shining coin (or: a marked, distinguished camel)" as wine was very expensive then
[3] or: stringed instrument
[4] spelling out Ḫ-M-R as in Ḫamr as in wine
[5] presumably Muḥammad b. Maʕn al-Wāṯiq of b. Tujīb
[6] Arab dynasty of the Upper March of al-Andalus in the 9th-11th centuries
[7] Noah - as in, in the line of the covenant of Noah
[8] Arab dynasty of the Taifa of Almería of al-Andalus in the 11th century; branch of House Banū Tujīb[6]
𒌌𒉡𒌋𒄷𒌋𒆷𒀀𒋗𒅋𒌋𒈠𒈠𒉌
© 2017, 2018, 2019, 2021, 2022, 2023, 2024, 2025, 2026 Lucía Andrea Illanes Albornoz | email: lucia@luciaillanes.de
CC BY 2.0 background photography Sevilla-4-9 courtesy of ajay_suresh on Flickr
Created with Vim, hosted by OVH & Hurricane Electric DNS, served by nginx & PHP on Ubuntu.
© 2017, 2018, 2019, 2021, 2022, 2023, 2024, 2025, 2026 Lucía Andrea Illanes Albornoz | email: lucia@luciaillanes.de
CC BY 2.0 background photography Sevilla-4-9 courtesy of ajay_suresh on Flickr
Created with Vim, hosted by OVH & Hurricane Electric DNS, served by nginx & PHP on Ubuntu.