Mu‘allaqa (plural, Mu‘allaqát) "is most likely derived from the word ‘ilq, meaning 'a precious thing or a thing held in high estimation,' either because one 'hangs on' tenaciously to it, or because it is 'hung up' in a place of honour, or in a conspicuous place, in a treasury or storehouse."[203] In course of time the exact signification of Mu‘allaqa was forgotten, and it became necessary to find a plausible explanation. The Mu‘allaqát, or 'Suspended Poems.' Hence arose the legend, which frequent repetition has made familiar, that the 'Suspended Poems' were so called from having been hung up in the Ka‘ba on account of their merit; that this distinction was awarded by the judges at the fair of ‘Ukáẓ, near Mecca, where poets met in rivalry and recited their choicest productions; and that the successful compositions, before being affixed to the door of the Ka‘ba, were transcribed in letters of gold upon pieces of fine Egyptian linen.[204] Were these statements true, we should expect them to be confirmed by some allusion in the early literature. But as a matter of fact nothing of the kind is mentioned in the Koran or in religious tradition, in the ancient histories of Mecca, or in such works as the Kitábu ’l-Aghání, which draw their information from old and trustworthy sources.[205] Almost the first authority who refers to the legend is the grammarian Aḥmad al-Naḥḥás; († 949 a.d.), and by him it is stigmatised as entirely groundless. Moreover, although it was accepted by scholars like Reiske, Sir W. Jones, and even De Sacy, it is incredible in itself. Hengstenberg, in the Prolegomena to his edition of the Mu‘-allaqa of Imru’u ’l-Qays (Bonn, 1823) asked some pertinent questions: Who were the judges, and how were they appointed? Why were only these seven poems thus distinguished? His further objection, that the art of writing was at that time a rare accomplishment, does not carry so much weight as he attached to it, but the story is sufficiently refuted by what we know of the character and customs of the Arabs in the sixth century and afterwards. Is it conceivable that the proud sons of the desert could have submitted a matter so nearly touching their tribal honour, of which they were jealous above all things, to external arbitration, or meekly acquiesced in the partial verdict of a court sitting in the neighbourhood of Mecca, which would certainly have shown scant consideration for competitors belonging to distant clans?[206]
However Mu‘allaqa is to be explained, the name is not contemporary with the poems themselves. In all probability they were so entitled by the person who first chose them out of innumerable others and embodied them in a separate collection. This is generally allowed to have been Ḥammád al-Ráwiya, a famous rhapsodist who flourished in Origin of the collection. the latter days of the Umayyad dynasty, and died about 772 a.d., in the reign of the ‘Abbásid Caliph Mahdí. What principle guided Ḥammád in his choice we do not know. Nöldeke conjectures that he was influenced by the fact that all the Mu‘allaqát are long poems—they are sometimes called 'The Seven Long Poems' (al-Sab‘ al-Ṭiwál)—for in Ḥammád's time little of the ancient Arabian poetry survived in a state even of relative completeness.
It must be confessed that no rendering of the Mu‘allaqát can furnish European readers with a just idea of the originals, a literal version least of all. They contain much Difficulty of translating the Mu‘allaqát. that only a full commentary can make intelligible, much that to modern taste is absolutely incongruous with the poetic style. Their finest pictures of Bedouin life and manners often appear uncouth or grotesque, because without an intimate knowledge of the land and people it is impossible for us to see what the poet intended to convey, or to appreciate the truth and beauty of its expression; while the artificial framework, the narrow range of subject as well as treatment, and the frank realism of the whole strike us at once. In the following pages I shall give some account of the Mu‘allaqát and their authors, and endeavour to bring out the characteristic qualities of each poem by selecting suitable passages for translation.[207]
The oldest and most famous of the Mu‘allaqát is that of Imru’u ’l-Qays, who was descended from the ancient kings of Yemen. His grandfather was King Ḥárith of Kinda, the antagonist of Mundhir III, King of Ḥíra, by whom he was defeated and slain.[208] On Ḥárith's death, the confederacy which he had built up split asunder, and his sons divided among themselves the different tribes of which it was Imru’u ’l-Qays. composed. Ḥujr, the poet's father, ruled for some time over the Banú Asad in Central Arabia, but finally they revolted and put him to death. "The duty of avenging his murder fell upon Imru’u ’l-Qays, who is represented as the only capable prince of his family; and the few historical data which we have regarding him relate to his adventures while bent upon this vengeance."[209] They are told at considerable length in the Kitábu ’l-Aghání, but need not detain us here. Suffice it to say that his efforts to punish the rebels, who were aided by Mundhir, the hereditary foe of his house, met with little success. He then set out for Constantinople, where he was favourably received by the Emperor Justinian, who desired to see the power of Kinda re-established as a thorn in the side of his Persian rivals. The emperor appointed him Phylarch of Palestine, but on his way thither he died at Angora (about 540 a.d.). He is said to have perished, like Nessus, from putting on a poisoned robe sent to him as a gift by Justinian, with whose daughter he had an intrigue. Hence he is sometimes called 'The Man of the Ulcers' (Dhu ’l-Qurúḥ).
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 thy father 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 theologicum notwithstanding, extolled his genius and originality.[211] Coming to the Mu‘allaqa itself, 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:—