ISSN 1923-1555[Print]
ISSN 1923-1563[Online]
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Studies in Literature and Language
Vol. 9, No. 3, 2014, pp. 30-39
DOI: 10.3968/5910
The Socio-Cultural, Historical, and Political Allusions in the Translation of the
Saudi National Day Poetry: “Peace, O Gracious King” as a Case Study
B. Al-Azzam[a],*; M. Al-Ahaydib[a]; M. Shalaby[a]
[a]
Al-Imam Mohamed Ibn Saud Islamic University, College of Languages
& Translation, Department of English Language & Literature, Saudi
Arabia.
*
Corresponding author.
King as the nation’s father taking care of his subjects
and having allegiance to the nation’s stability is a salient
feature of national songs. In addition, the poet populates
his song with other native traditional symbols – the palm
tree is an example- that are rooted in the Saudi world
and are reflective of its indigenous cultural experience.
As will be shown in the discussion, the Saudi national
culture, natural world, and common heritage are the
sources for his material. He relies on the past experience
of the Saudi people to express their present situation and
future aspirations. A study of the local national poem/
song examined here is meant to give readers a hint at:
First, the Saudi notion of what a nation is. Second, the
social, cultural, religious, historical, political and emotive
implications of the song, and Third, the difficulties
encountered when translating such a eulogizing poem/
song into English and the procedures the translator should
adopt to overcome such difficulties.
Key words: Eulogy; National day; Cultur; Arabic
translation challenges
Received 25 September 2014; accepted 10 November 2014
Published online 26 December 2014
Abstract
The aim of this paper is to explore the cultural, social,
political, and linguistic aspects of Saudi poems sung on
patriotic occasions such as the Saudi National Day. The
focus of the study will be on “Peace, O gracious King”, a
poem composed by Dr. Abdulaziz Khuja and sung by the
famous Saudi singer, Mohamed Abdu in 2010. The use of
eulogy has a long tradition in Arabic poetry. It could be
traced back to the classic ages. Classic Arab poets used to
live on the eulogy’s bounty granted to them by rulers. For
them, eulogy was both a means of surviving and to have
the privileges of being close to the ruler. Furthermore, it
was a way to fame and good reputation.
The language of the song gains its power not only from
its musicality and lyricism but also from its literariness
and poeticness, the most obvious aspects of Abdul-Aziz
Khuga’s songs. The song is written in al-fushā or what is
known as the modern standard form of Arabic. Dr. Khuga,
presently the Minister of Information and Culture in Saudi
Arabia, is a Saudi poet. He is one of the contemporary
poets who use standard Arabic to express the concerns
of the Saudi people using simple language, though
exceptionally of poetic and high style. It is a language
that can be said to be appealing and accessible to a large
audience in society. This language is set up to answer the
new needs of the modern Saudi society. Khuga’s language
has also managed to bring the audience closer to poetic
songs, particularly the national ones.
The poem/song is permeated by the age-old metaphor
of the King as “pater patriae”; “father” to his subjects’
or “the father of the country”. The representation of the
Copyright © Canadian Academy of Oriental and Occidental Culture
Al-Azzam, B., Al-Ahaydib, M., & Shalaby, M. (2014). The SocioCultural, Historical, and Political Allusions in the Translation of the
Saudi National Day Poetry: “Peace, O Gracious King” as a Case
Study. Studies in Literature and Language, 9 (3), 30-39. Available
from: http://www.cscanada.net/index.php/sll/article/view/5910
DOI: http://dx.doi.org/10.3968/5910
INTRODUCTION
In the Kingdom of Saudi Arabia, national songs represent
folkloric regular expression of the national culture of the
Saudis. Besides the early attempts of Mathew Arnold
to define culture as the pursuit of perfection, sweetness
and light (Arnold, 1869, p.67, 173), Raymond Williams
provides a definition that can suit the artistic context
of national songs. Williams refers to the various senses
in which the word ‘culture’ is usually used. One sense
30
B. Al-Azzam; M. Al-Ahaydib; M. Shalaby (2014).
Studies in Literature and Language, 9 (3), 30-39
that seems to fit the national songs is the one in which
the word ‘culture’“describes the works and practices of
intellectual and especially artistic activity (Williams,
2011, p.80). This definition of culture fits the cultural
phenomenon of national songs because they are historical
texts generally set to music by songwriters, poets and
other artists native to the place and therefore probably
important for the country. Geert Hofstede provides
a thorough definition of culture as “the collective
programming of the mind that distinguishes the members
of one group or category of people from others” (Hofstede,
p.6) National songs, an aspect of this distinction, play
a critical role in the cultural, political and social life of
the Saudi. They are utilised to strengthen and reinforce
the social ties between them and to express the common
sentiments and feelings which they share.
Although the Saudi Kingdom has almost all of
the characteristics of a modern state, one of its salient
features is the tribal structure on which the society is
based. However, there are strong bonds between its
tribes; language, religion, and race feature as the most
prominent. In addition, they are linked by common
cultural signs; tribal values and practices, particular norms
of behaviour, and traditions. These aspects of the Saudi
culture can be well discerned in their national songs sung
on patriotic occasions and at important ceremonies such
as the national day to reflect the ‘collective’ spheres of the
country and to celebrate the stability of the nation.
National songs can be regarded as an interesting and
informative form of art that could help us understand the
cultural tradition and the political and social life of certain
people. Like other folkloric forms of literary and musical
output, songs can reflect the world view of these people,
their values, aspirations, dreams, the historical experience
of their past, and the challenges of their present life.
They can also tell us about their religious beliefs. The
core of patriotic songs can represent a national message
representing the overall societal structure. The nationalist
passions of the crowd are ignited by such verbal behavior
on occasions such as the National Day commemoration
exhibit the collective nationhood awareness as they
materialize the people’s pride in their nation. A song can
reflect a number of concepts and references or even tells a
whole story, and is usually composed for performance on
certain occasions. Moreover, songs are generally replete
with a variety of allusions, which include poetic texts, an
implicit narrative story that is not recounted in detail as
it is assumed that the natives are already familiar with its
threads and the aesthetic value embedded in it.
We are going to examine the national song of
Mohamed Abdo to examine the collective cultural values
which the poem advocates, and hence to see how far it is
a representative song of the Saudi national culture. The
song/poem specifies the valleys, the mountain ranges,
the landscapes, and the two kingdoms of Nejd and Hijaz
that constituted the historical geography of Saudi Arabia.
It also celebrates the national culture through the symbol
of the palm-tree; a sustained source of food, shadow and
beauty for a desert environment. The palm tree itself is
part of the Saudi national emblem. The Saudi Arabia
national emblem consists of two crossed swords with
a palm tree in the space above and between the blades.
The swords represent the two regions of Nejd and Hijaz
which were united under King Abdel Aziz Ibn Saud on
23rd Septemper, 1926 (Hence, the Saudi National Day is
celebrated on 23rd September every year to commemorate
this historical event. This year of 2014 witnessed the 84th
National Day celebration in Kingdom of Saudi Arabia).
The palm tree represents the Kingdom’s assets which
are defined as its people, heritage, history, and natural
resources. Thus, the palm tree symbolizes the nation as
guarded by the two swords. King Abdullah is praised in
the song for building up on what his father achieved, and
for reinforcing the cultural integration of Nejd and Hijaz
and fostering social stability in the Kingdom.
Some songs like national, patriotic or religious ones
are viewed as a unique legacy to the local community
and the living cultural history of it. In addition to
affirming cultural identity as a nation, song texts are
a source of information about historical figures and
celebrities, important places, and the present natural and
ecological features of the country, or those that may have
disappeared. Songs bring together people over national
and religious events in a spirit of artistic competition.
This cultural legacy is held in the oral tradition through
which it is activated, which keeps it alive. In Kingdom
of Saudi Arabia, as the case might be the same in other
communities, songs themselves have their own historic
background in terms of their original compositions,
the music and type of dance accompanying them. It
is through such songs as a social convention, people
constitute national sensibilities, voice out national pride,
and negotiate national meanings, thus making nationhood
as associated with loyalty, belonging, solidarity and
allegiance to the leader of a prominent feature of their
everyday lives. Such songs are enacted with a particular
music and even special costumes when on national
occasions to highlight their distinctiveness.
Communities give expression to their culture in an
attempt to construct a way of living, create a meaning
for their lives, and establish a cultural representation of
their history and traditions. As an art form or an aspect
of expressing, songs are, to quote Williams, “one of
the primary human activities, and that it can succeed in
articulating not just the imposed or constitutive social or
intellectual system, but at once this and an experience
of it…” (Williams, p.25). Songs are considered cultural
items and primary constituents of a way of life shared by
individuals who have common characteristics and are tied
by their world views and tradition. They further carry the
31
Copyright © Canadian Academy of Oriental and Occidental Culture
The Socio-Cultural, Historical, and Political Allusions in the Translation of the
Saudi National Day Poetry: “Peace, O Gracious King” as a Case Study
attitudes and shed light into the behavior of a community
of people who implicitly and explicitly share common
cultural values. Considering this distinctiveness, which
further can justify songs’ differences cross-linguistically
and cross-culturally, songs can also be looked at as
another integral component of the multifaceted and
“collective programming of the mind” as Hofstede defines
it (p.6).
consent of co-habitation and determination to preserve
that heritage. Interestingly enough, these two elements
exist in today’s common cultural atmosphere of Saudi
people, and it is strongly reflected in their national songs
as we will see in the study shown here.
Since nature played a pivotal role in forging the
alliance between the two regions of Najd and Hejaznatural integration based on common geography and
history, religion, ethnicity, and language- the national
concept is surviving. There is a high degree of cohesion
among the people of Saudi Arabia. They take pride in their
common heritage and in being together under one flag.
Hence, it is not difficult for them to retain the feelings of
harmony and belonging necessary for a nation to be stable
and productive.
Among the various materials and symbolic struggles,
to make a nation or to make people nationalism is the
promotion of standardized national languages. A national
language is regarded by the speakers of an ethnic
community as the means which best expresses their
distinctive culture and traditions, and thus is a symbol of
their identity. In sociolinguistics, as Holmes (1992, p.105)
states, the distinction between a national language and
an official one, for example, is made along the affectivereferential dimension or in this specific context along
the ideological-instrumental one. Adopting the concept
of “everyday nationhood” used by Fox and Miller-Idriss
(ibid), a national language is the people’s everyday verbal
behavior constituting the communicative means of a
political, cultural and social unit.
The people’s activities in which their solidarity
is displayed are based on a national language which
strengthens the feeling of nationhood. This national
language is a unifying element; an expression of the
essence of belonging to a nation. It becomes a symbol
of cooperation, integration, artistic creativity. It is
partially embodied in songs which give voice to people’s
aspirations, ambitions, hopes, grievances, delightful and
dreadful times, etc. With this in mind, the nation is not
simply an outcome or product of macro-structural forces
as it is rather concurrently the practical achievements of
ordinary people engaging in routine activities. What goes
in harmony with this is what Hobsbawm (1992, p.10)
admits that while nationalism is “…constructed essentially
from above, [it]… cannot be understood unless also
analyzed from below, that is in terms of the assumptions,
hopes, needs, longings and interests of ordinary people”.
National songs in Saudi Arabia as one salient way of
displaying nationhood awareness, through expressing
senses of belonging, pride, patriotism, and loyalty to
homeland and the leader is a quotidian behavior in which
nationhood is produced and reproduced in everyday life.
This supports the concept introduced by Hobsbawm
(ibid) that a nation is a discursive construct constituted
and legitimated not only in response to elite directives
and orders but also in accordance with the contingencies
1. STATEMENT AND PURPOSE
One of the salient features of the Saudi community is its
tribal structure. This inevitably entails that its members
share a multitude of attributes and common cultural habits
and traditions. Nationhood awareness as reflected in the
everyday behavior of ordinary people is expressed in the
artistic folkloric literature. Solidarity among its members
including the sense of loyalty to both the homeland and
the King manifests itself outstandingly in national and
patriotic songs. Hence, the present study lends itself to
investigating the intimate relationship between the Saudi
political system and the people. Examining the Saudi wellknown national song “salam ayuha al malik al jalil” lit.
Peace to you, your majesty the King, as an example, this
paper analyses the cultural, historical and social allusions
utilized in expressing loyalty to His Majesty King
Abdullah bin Abdulaziz of the Kingdom of Saudi Arabia
and to a unified nation. As it is shown in the analysis
below, the study attempts to show how the songwriter
successfully incorporates certain symbols and lexical
items that potently reflect semantically loaded meanings
and connotations contained within a nationwide collective
consciousness. Moreover, the paper also addresses some
translation problematic areas which are relevant to
social and cultural peculiarities. These peculiarities posit
themselves as a challenge for the translation of national
songs.
2. NATION, SONGS, AND NATIONAL
LANGUAGE
Nationalism has been examined as a political ideology
holding that each state should have its nation and each
nation its state. Both the state and the nation are brought
into alignment as “a cultural construct of collective
belonging realized and legitimated through institutional
and discursive practices” as Fox and Miller-Idriss put it.
It is further looked at as a project to make the state as a
political unit congruent with the nation as a cultural unit.
In his essay “What is a Nation?”, Ernest Renan defines
“nation” as “… a large-scale solidarity, constituted by the
feeling of sacrifices that one has made in the past and of
those one will be prepared to make in the future.” (Nation
and Narration 19) This solidarity is determined by two
elements: A common heritage from the past and present
Copyright © Canadian Academy of Oriental and Occidental Culture
32
B. Al-Azzam; M. Al-Ahaydib; M. Shalaby (2014).
Studies in Literature and Language, 9 (3), 30-39
of everyday life. Therefore, from this perspective, we
look at songs as one way of “talking the nation”, i.e. the
discursive construction of the nation through routine talk
in interaction, to use Hobsbawm’s (ibid) words. Therefore,
songs are among the ways in which nationhood shapes
the choices people make and how it is implicated in the
spontaneous decisions of ordinary people, in addition
to their distinctive invocations and ritual enactment of
symbols, whether national, patriotic or religious. In this
sense, songs as one feature of everyday life is an activity
spontaneously coordinated and pursued by the public or
ordinary people, and thus are seen as politicized forms
of collective belonging when glorifying, exalting, and
honoring, through chanting a national symbol like the
king or elements from nature as in the selected song
here within a Saudi context. Thus, festivals and parties
in which songs, among other artistic performances, are
played are contrived occasions for the crystallization
of national awareness. Besides, songs are themselves a
symbolic accoutrement of the nation, like flags, banners
and speeches, which, according to Mosse (1975) provide
explicitly national parameters to facilitate the organization
and experience of national solidarities. As for the
integrative function of symbols and rituals wherein songs
are sung, chants chanted, banners unfurled and flags
waved, Turner (1967, pp.22, 48-50) states that these are to
make the bonds that join one another momentarily visible
and audible to express the social unity, serving to create,
or are themselves a constitutive element of that national
awareness.
rely on emotive power to create an equivalent emotive
effect on the listener. In translation, however, this emotive
power produced on the entertained audience of the source
text might not be realized in the receptive culture, where
people are very likely to have different if not opposing
views. In the case of songs, the translator is not solely
working on a printed text. She is also working on a sung
text where extra meanings spring from the auditory
form of the national song which moves the audience
feelings, and hence the translator is entrusted with a
more challenging task. As a result, the translator can but
compromises, offers a sacrifice of what seems to be of
little significance, and makes cultural transplantation in
order to create an effect tantamount to the original one on
the target language audience.
Besides, translating songs requires not only imparting
the source language message to a target audience as
optimally as possible, but also subduing it to the musical
features accompanying the song, whereby a translation
symbiosis is produced that embraces the poetic and
musical aspects (cf. Graham, 1989; Whissell,1996;
Dunbar, 2002). Of course, in songs meaning is the
vital criterion; yet, the scope of acceptable accuracy in
this context is likely to be wider than in other acts of
translating, as stated by Low (2005a, pp.193-195). So
one can say that when the purpose of translating a certain
song is for singing, the translator focuses on form, but if
the content is what the translator is after, the form then is
relegated to the background.
As a result of intercultural gaps, which are likely
to be confronted in song-translation, and according to
Translation Studies principles, the ultimate purpose in
any corpus study is to find out whether the translation
gives priority to the source or the target pole and text. In
other words, the translator makes a choice against Toury’s
‘initial norm’ and ‘continuum of adequate and acceptable
translation (Munday, pp.112-113): Either to keep the
translation close to the original, hence the translation is
adequate, or close to the original text-type in the target
culture, hence the translation is acceptable (Sánchez,
p.132). Since no translation can be completely be adequate
or acceptable because of interferences from the source
language and culture, and the inevitable shifts between
the two texts, as Tirkkonen-Condit (1989, p.6) and Toury
(1995, pp.56-7) argue. The translator can choose a more
satisfactory approach and opt for intermediate resolutions.
The types of shifts or changes that could possibly occur
during translation such as cultural shift, narrowing or
broadening of meaning, compensation, to mention a few,
stand for the elements that do not remain approximately
identical in the original and the translated text, and hence
results in rendering a variation of the source text.
Since the pre-Islamic era, poetry has been implemented
as a way of eulogizing rulers, kings or high dignitaries. In
the written, or more often the oral composition of poems,
3. THE TRANSLATABILITY OF SONGS
Although the Saudi community shares much with its
neighboring Arab states, its folkloric literature including
poetry and songs enacted represents a distinctive cultural
entity. This could be attributed to the artistic nature of this
folkloric genre, especially national and patriotic songs.
They are much allusive, contextual, thematic, message
bearing and highly metaphoric and figurative. These do
reflect a multifaceted cultural composite that makes them
unique and distinctive, which inevitably poses specific
challenges in the act of translation, and thus creating
a host of gaps that are likely to be hard to bridge. The
frequent use of figures of speech and words with varying
shades of meaning, which highly need to be interpreted, in
addition to the frequent use of intertextuality derived from
ancestral history or religious contexts can be invulnerable
in the process of translation.
Moreover, the norms and codes of behavior that reflect
the values and virtues are transmitted through songs.
Translating songs, national or patriotic, is not an everyday
activity, the complexity of which makes it an extremely
interesting area of research due to the intricacies involved
in it. As is shown in the analysis below, songs heavily
33
Copyright © Canadian Academy of Oriental and Occidental Culture
The Socio-Cultural, Historical, and Political Allusions in the Translation of the
Saudi National Day Poetry: “Peace, O Gracious King” as a Case Study
poets used to illuminate the remarkable features of the
eulogized addressee such as courage, wisdom, sagacity
and clemency, especially in unsettled situations. In order
to successfully reflect the prestigious position or status
of the ruler, poets tended to choose the most appreciated
values and merits of the person eulogized, as considered
by their own community. What makes certain eulogizing
poems more popular than others is performing them as
songs, and socially giving them enough attention. The
intimate relationship between the Saudi political system
and the Saudis springs from the historical dimension of
the royal family of the Kingdom. Expression of loyalty
to the king, and belonging to the land has taken many
forms, one of which is elucidating the merits of the king
via songs. As will be shown in the discussion below,
allusion to the Saudi cultural and social elements is what
characterizes the Saudi national songs.
The poem “salaman ayuha l maliku l jaleelu”, which
enlightens the values and the highly appreciated qualities
of the Custodian of the Two Holy Mosques, King
Abdullah Ibn Abdulaziz, is a case in point. This panegyric
embraces some attributions of the King, that is clearly
welcome by the Saudi community. Being peculiar to such
a community gives the sung poem idiosyncracies that
make it uneasy to grasp in translation. To put it differently,
the eulogizing poem under discussion does not lend itself
easily to translation, because it is loaded with expressive
language.
In order to handle the sung poem translationally, it is
conducted according to themes. Therefore, verse inability
and incapability to describe the King, the importance of
geopolitical dimensions illustrated in the poem, the role of
the King in the patronage of the Two Holy Mosques, his
highly-esteemed qualities, and the strong relations between
the King and his people are major themes of the poem.
and though voluminous as a sea it cannot give you your
due”. The linguistic and literary power of the poet’s words
emanates from the fact that this genre has been inherited
as people’s voice in demonstrating their needs before the
ruler. What ensures those eulogists is that rulers appreciate
poetry, and awards are normally given as a response to
their eulogizing compositions. As it seems, the translation
does not reflect the skirmish between the poet and his
poetry in enlightening the extremely appreciated qualities
of King Abdullah. Though the poetry is sea in itself, it
does have the courage to produce or say a verse in the
presence of ‫ﻳﻤﻴﻞ‬
the King.
the exalted
dignified
‫ﻳﺤﻴﺪ وﻻ‬Of‫ ﻻ‬course,
‫اﻟﺠﻠﻴﻞ وﻋﻬﺪا‬
‫اﻳﻬﺎ اﻟﻤﻠﻚ‬and
‫ﺳﻼﻣﺎ‬
character of the King imposes itself in the scene, a fact
that cannot‫ﻳﻘﻮل‬
be observed
the western
‫ﻓﻲ ﻣﻘﺎﻣﻚ ﻻ‬in‫ﻓﻴﺼﻤﺖ‬
‫ وهﻮ ﺑﺤﺮ‬culture,
‫ﻓﻴﻚ ﺷﻌﺮي‬where
‫أﺣﺎور‬
rulers do not pay enough attention to such a social genre.
‫ﻷﻧﻚ ﻳﺎ ﻣﻠﻴﻜﻲ ﻓﻮق ﻣﺪﺣﻲ وﻣﻬﻤﺎ زدت ﻓﻲ وﺻﻔﻲ ﻗﻠﻴﻞ‬
Because you your highness is far beyond my eulogy
‫اﻟﻨﺒﻴﻞ‬
‫واﻟﻘﻠﻢ‬
‫وﻳﺴﻤﻮ‬
‫وأﻧﺘﻢ ﻣﻦ ﺗﻌﺰ ﺑﻪ اﻟﻤﻌﺎﻟﻲ‬
and whatever
I say
is ‫اﻟﺤﺮف‬
little in
my view
The mutual relationship that King Abdullah has built
‫وأﺑﻌﺚ ﻣﻬﺠﺘﻲ ﺣﺒﺎ‬
‫ﻟﻠﻘﻮاﻓﻲ ﻣﺎ ﺗﺸﺎء‬
‫ﺳﺄﺗﺮك‬
on the basis‫ﻳﺴﻴﻞ‬
of veneration
and gratitude
between
himself
and his people has made it no strange to be addressed in
‫ واﻟﺴـﻬـﻮل‬style.
‫اﻟـﺮواﺑـﻲ‬
‫وﺗﻨﺸـﺮهـﺎ‬
‫ﺐ‬
ٍ ‫آــﻞ ﻗـﻠـ‬
‫اﻟﻤﺤـﺒـﺔ‬
this highly elevated
The
harmonious
textile
of ‫ﻳﺴﺎﺑﻘـﻨـﻲ‬
the
Saudi community and the King has resulted from efforts
made by the‫اﻟﻨﺨﻴـ ُﻞ‬
ruling‫ﻣﻌﺎﻧﻴﻬﺎ‬
family
facilitate
the Saudi
‫ ﻣﻦ‬to
‫وﺗﺮﻗﺺ‬
‫ﻓـﺨــ ٍﺮ‬life
‫ﺑـﻜـﻞ‬for
‫اﻟـﺴـﺮاة‬
‫وﺗﻌﺰﻓـﻬـﺎ‬
community, and help in modernizing the Kingdom at all
levels. The poet
is trying
in third
line to find
‫ﺗــــﺠــــﻮ ُل‬
‫ﻣـــﻌــــﺰزة‬
‫ﻣــﻌــﻄـــﺮة‬
‫ ﻧﺠـ ٍﺪ‬justifications
‫وﻳﺤﻤﻠﻬﺎ اﻟﺼﺒﺎ ﻓﻲ آـﻞ‬
for his poetry incapacity to praise the King. The poet
says that his‫اﻟـﺠـﻤـﻴــ ُﻞ‬
verse is‫ﺗـﻮﺣــﺪﻧــﺎ‬
unable ‫ﻳـﻨـﻐـﻤـﻬـﺎ‬
to reflect
the ‫ﻧـﺠـﺪ‬
attributions
‫ﺣـﺠـﺎ ٌز‬
‫وﻳﻬﺘـﻒ ﻳﺎ ﺻـﺒـﺎ‬
of the King by saying “Because you your highness is
far beyond ‫ُﻞ‬my
eulogy
and
I say
is little
in my
‫اﻟﻤﺴﺘﺤﻴ‬
‫أردت‬
‫ إن‬whatever
‫ﺷـﻬـ ٌﻢ وﻳﺨﻀﻊ‬
‫ت‬
ِ ‫اﻷزﻣــﺎ‬
‫ﻓـﺎرس‬
‫ﻷﻧـﻚ‬
view”. The fact that praising kings is exclusive to some
cultures like the Arabic culture has made it challenging
‫ﺖ آﺘﺎب رﺑﻚ ﺧﻴـﺮ ﻧـﻮ ٍر ﻟﺪرﺑـﻚ أن ﻳﻜـﻮن هـﻮ اﻟﺪﻟﻴـ ُﻞ‬
َ ‫رﺿﻴ‬
to be reflected
likewise
western
culture.
‫ﻳﻤﻴﻞ‬
‫ﻳﺤﻴﺪ وﻻ‬in‫ ﻻ‬the
‫وﻋﻬﺪا‬
‫اﻟﻤﻠﻚ اﻟﺠﻠﻴﻞ‬
‫ اﻳﻬﺎ‬The
‫ﺳﻼﻣﺎ‬social
values of intimacy, closeness, community satisfaction, and
‫ﺖ ﻟﺘﺨـﺪم اﻟﺤﺮﻣﻴـﻦ أﺟـﺮًا ﻣــﻦ اﻟﺮﺣـﻤـﻦ ﻳﺮﻓـﻠـﻪ اﻟﻘـﺒـﻮ ُل‬
َ ‫ﺳﻠﻤ‬
the cultural aspect
this‫ﻓﻲ‬
type
of poetry
make
it difficult
‫ ﻻ ﻳﻘﻮل‬of
‫ﻣﻘﺎﻣﻚ‬
‫ﻓﻴﺼﻤﺖ‬
‫وهﻮ ﺑﺤﺮ‬
‫ﺷﻌﺮي‬
‫أﺣﺎور ﻓﻴﻚ‬
‫ﺳﻼﻣﺎ اﻳﻬﺎ اﻟﻤﻠﻚ اﻟﺠﻠﻴﻞ وﻋﻬﺪا ﻻ ﻳﺤﻴﺪ وﻻ ﻳﻤﻴﻞ‬
to relay in the target language. The translator has, thus, to
‫ ُل‬such
‫اﻟﺮﺳﻮ‬type
‫ﻦ‬
ّ ‫ﻣﺎ ﺳ‬
‫ذاك‬
‫اﻟـﻌـﻮادي وﺣﻜﻤﻚ‬
‫ﺗﺨـﺶ‬new
‫أﻋﺒـﺪ اﷲ ﻻ‬
of ‫زدت‬
a literary
is not
Peace, O gracious King and a covenant that neither indicate that ‫ﻗﻠﻴﻞ‬
‫ﻓﻲ وﺻﻔﻲ‬
‫ وﻣﻬﻤﺎ‬genre
‫ﻓﻮق ﻣﺪﺣﻲ‬
‫ ﻳﺎ ﻣﻠﻴﻜﻲ‬and
‫ﻷﻧﻚ‬
‫أﺣﺎور ﻓﻴﻚ ﺷﻌﺮي وهﻮ ﺑﺤﺮ ﻓﻴﺼﻤﺖ ﻓﻲ ﻣﻘﺎﻣﻚ ﻻ ﻳﻘﻮل‬
deviates nor tends
has been inherited over history in the Arabic culture.
‫ﻒ ﺻﻘﻴـ ُﻞ‬
ٌ ‫وﻗﻮﻟـﻚ ﻧﺎﺻـ ٌﻊ أﺻــ ٌﻞ وﻓـﺼـ ٌﻞ وﺻﺪﻗﻚ ﻗﺎﻃ ٌﻊ ﺳﻴـ‬
In the introductory section of the poem, the poet is
‫وأﻧﺘﻢ ﻣﻦ ﺗﻌﺰ ﺑﻪ اﻟﻤﻌﺎﻟﻲ وﻳﺴﻤﻮ اﻟﺤﺮف واﻟﻘﻠﻢ اﻟﻨﺒﻴﻞ‬
‫ﻗﻠﻴﻞ‬
‫وﺻﻔﻲ‬
‫ﻓﻲ‬
‫زدت‬
‫وﻣﻬﻤﺎ‬
‫ﻣﺪﺣﻲ‬
‫ﻓﻮق‬
‫ﻣﻠﻴﻜﻲ‬
‫ﻳﺎ‬
‫ﻷﻧﻚ‬
addressing the King saying: “Peace, O gracious King and
Your majesty
is the
of ‫وإﻧﻚ‬
ranks’
elevation,
and
‫ﺻـﺆو ُل‬
‫أﺳ ٌﺪ‬source
‫ﻓﻲ اﻟﻮﻏﻰ‬
‫رﺣـﻴـ ٌﻢ‬
‫ب‬
ٌ ‫اﻟـﺴـﻼم أ‬
‫ﻓــﻲ‬the
‫وإﻧـﻚ‬
a covenant that neither deviates nor tends”. Translating raise of letter
(language)
the‫ﺗﺸﺎء‬
noble
‫ﻳﺴﻴﻞ‬
‫ﻣﻬﺠﺘﻲ ﺣﺒﺎ‬and
‫وأﺑﻌﺚ‬
‫ ﻣﺎ‬pen
‫ﺳﺄﺗﺮك ﻟﻠﻘﻮاﻓﻲ‬
‫اﻟﻨﺒﻴﻞ‬is‫واﻟﻘﻠﻢ‬
‫اﻟﺤﺮف‬to‫وﻳﺴﻤﻮ‬
‫اﻟﻤﻌﺎﻟﻲ‬
‫ﺗﻌﺰ ﺑﻪ‬
‫وأﻧﺘﻢ ﻣﻦ‬
the first line literally
deemed
fail, due
to the
socioThe poet‫اﻟـﻈـﻠـﻴـ ُﻞ‬
continues
admiring
the King
by illustrating
‫واﻟــــﺪﻩ‬
‫آـﺄﻧــﻚ ﻇــــﻞ‬
‫اﻟﻄﻔﻞ ﻳﺒﻜـﻲ‬
‫وﺗﺪﻣﻊ إن رأﻳﺖ‬
cultural implications that are pertinent to the source
‫اﻟـﺮواﺑـﻲ واﻟﺴـﻬـﻮل‬
‫وﺗﻨﺸـﺮهـﺎ‬
‫ﺐ‬
ٍ ‫ﻗـﻠـ‬attributes;
‫اﻟﻤﺤـﺒـﺔ آــﻞ‬the
‫ﻳﺴﺎﺑﻘـﻨـﻲ‬
his verse incapability
to reflect
the Royal
text. In the source
there
is ‫ﺗﺸﺎء‬
normally
a direct
‫ﻳﺴﻴﻞ‬culture,
‫ﻣﻬﺠﺘﻲ ﺣﺒﺎ‬
‫وأﺑﻌﺚ‬
‫ﻟﻠﻘﻮاﻓﻲ ﻣﺎ‬
‫ﺳﺄﺗﺮك‬
high positions
or
statuses
are
raised
by
the
majesty
of
the
‫وهﻤّﻚ أن ﻳﻌﻴﺶ اﻟﻨﺎس أﻣﻨـ ًﺎ وﺗﺴﻬـ ُﺮ ﻋﻨﻬﻤـﻮ ﻟﻴـﻼً ﻳـﻄـﻮ ُل‬
relationship between the people and the ruler, and people
‫ﻣﻌﺎﻧﻴﻬﺎ‬
‫ﻣﻦ‬masculine
‫ﻓـﺨــ ٍﺮ وﺗﺮﻗﺺ‬
‫اﻟـﺴـﺮاة ﺑـﻜـﻞ‬
‫وﺗﻌﺰﻓـﻬـﺎ‬
King. The use‫اﻟﻨﺨﻴـ ُﻞ‬
of the
plural
addressee
pronoun
usually express themselves
and their‫وﺗﻨﺸـﺮهـﺎ‬
needs or‫ﺐ‬
in a ‫ﻳﺴﺎﺑﻘـﻨـﻲ‬
‫اﻟـﺮواﺑـﻲ واﻟﺴـﻬـﻮل‬
ٍ demand
‫اﻟﻤﺤـﺒـﺔ آــﻞ ﻗـﻠـ‬
“antum”, “you plural”, instead of the masculine singular
‫ﺖ ﻟـﻜـ ٍﻞ ﻣﻨﻬـﻤـﻮ اﻟـﺨــ ﱡﻞ اﻟﺨـﻠـﻴـ ُﻞ‬
َ ‫وإﻧـﻚ إن ﻓـﺮﺣـﺖ وإن ﺣـﺰﻧـ‬
highly elevated
style.
appreciating
poetry and
‫وﻻ ﻳﻤﻴﻞ‬
‫ﻳﺤﻴﺪ‬Featured
‫ وﻋﻬﺪا ﻻ‬as
‫اﻟﺠﻠﻴﻞ‬
‫ﺳﻼﻣﺎ اﻳﻬﺎ اﻟﻤﻠﻚ‬
addressee pronoun
“anta”,
“you ‫ﻣــﻌــﻄـــﺮة‬
singular” ‫ٍﺪ‬are
an example
‫ﺗــــﺠــــﻮ ُل‬
‫ﻣـــﻌــــﺰزة‬
‫آـﻞ ﻧﺠـ‬
‫وﻳﺤﻤﻠﻬﺎ اﻟﺼﺒﺎ ﻓﻲ‬
poets, Kings tend ‫ُﻞ‬to‫اﻟﻨﺨﻴـ‬
respond
to
what
their
people
ask.
‫وﺗﻌﺰﻓـﻬـﺎ اﻟـﺴـﺮاة ﺑـﻜـﻞ ﻓـﺨــ ٍﺮ وﺗﺮﻗﺺ ﻣﻦ ﻣﻌﺎﻧﻴﻬﺎ‬
of eulogizing the addressee. The poet addresses the King
‫ف اﻟﺸﻌـﺐ أﻓﺌـﺪة اﻟﺘﻔـﺎﻧـﻲ وﺣـﺒـ ًﺎ ﻓــﻲ اﻟﺤﻨـﺎﻳـﺎ ﻻ ﻳــﺰو ُل‬
ُ ‫ﻳـﺰ‬
‫أﺣﺎور ﻓﻴﻚ ﺷﻌﺮي وهﻮ ﺑﺤﺮ ﻓﻴﺼﻤﺖ ﻓﻲ ﻣﻘﺎﻣﻚ ﻻ ﻳﻘﻮل‬
by saying “your
majesty
is the source
ranks’‫ﻧـﺠـﺪ‬
elevation,
‫اﻟـﺠـﻤـﻴــ ُﻞ‬
‫ﺗـﻮﺣــﺪﻧــﺎ‬
‫ﻳـﻨـﻐـﻤـﻬـﺎ‬of‫ﺣـﺠـﺎ ٌز‬
‫وﻳﻬﺘـﻒ ﻳﺎ ﺻـﺒـﺎ‬
‫وﻳﺤﻤﻠﻬﺎ اﻟﺼﺒﺎ ﻓﻲ آـﻞ ﻧﺠـ ٍﺪ ﻣــﻌــﻄـــﺮة ﻣـــﻌــــﺰزة ﺗــــﺠــــﻮ ُل‬
of letter (language) and the noble pen”. The
Of your Highness I converse with my poetry and and the raise‫ﺗـﻘــﻮ ُل‬
‫ـﺔ ﻣـــﺎ‬the
‫ﺑﺎﻟﻤﺤـﺒ‬
‫ﺳﻨﺘـﺒـﻊ‬
‫ﻣـــ ّﺪ أﻟﻴﻤﻴﻨﺎ‬
‫ﻓـﺄﻧــﺖ ﻣﻠﻴـﻜـﻨـﺎ‬
figurative
language
cannot
though voluminous
as ‫زدت‬
a sea
it cannot
give
you‫ ﻳﺎ‬your
‫ﻓﻲ وﺻﻔﻲ ﻗﻠﻴﻞ‬
‫وﻣﻬﻤﺎ‬
‫ﻓﻮق ﻣﺪﺣﻲ‬
‫ﻣﻠﻴﻜﻲ‬
‫ﻷﻧﻚ‬
‫اﻟﻤﺴﺘﺤﻴ ُﻞ‬of‫أردت‬
‫إن‬poet
‫وﻳﺨﻀﻊ‬
‫ﺷـﻬـ ٌﻢ‬be‫ت‬
ِ reproduced
‫ﻓـﺎرس اﻷزﻣــﺎ‬in‫ﻷﻧـﻚ‬
due
‫ﻳﺎ ﺻـﺒـﺎ ﻧـﺠـﺪ ﺣـﺠـﺎ ٌز ﻳـﻨـﻐـﻤـﻬـﺎ ﺗـﻮﺣــﺪﻧــﺎ اﻟـﺠـﻤـﻴــ ُﻞ‬the
‫وﻳﻬﺘـﻒ‬
translation, and the emotive power that it enjoys in
In the second
line,
the
poet
continues
praising
the
King
the
source
language
hardly
attainable.
This
‫وأﻧﺘﻢ ﻣﻦ ﺗﻌﺰ ﺑﻪ اﻟﻤﻌﺎﻟﻲ وﻳﺴﻤﻮ اﻟﺤﺮف واﻟﻘﻠﻢ اﻟﻨﺒﻴﻞ‬
‫هـﻮ اﻟﺪﻟﻴـ ُﻞ‬is‫ﻳﻜـﻮن‬
‫ﻟﺪرﺑـﻚ أن‬
‫ﺧﻴـﺮ ﻧـﻮ ٍر‬
‫رﺑﻚ‬difficulty
‫ﺖ آﺘﺎب‬
َ ‫رﺿﻴ‬
‫اﻟﻤﺴﺘﺤﻴ ُﻞ‬
‫ أردت‬I‫إن‬converse
‫ ٌﻢ وﻳﺨﻀﻊ‬with
‫ت ﺷـﻬـ‬
ِmy
‫اﻷزﻣــﺎ‬
‫ﻷﻧـﻚ ﻓـﺎرس‬
by saying “Of your
Highness
poetry
can be attributed to the social and cultural impact of
‫ﺳﺄﺗﺮك ﻟﻠﻘﻮاﻓﻲ ﻣﺎ ﺗﺸﺎء وأﺑﻌﺚ ﻣﻬﺠﺘﻲ ﺣﺒﺎ ﻳﺴﻴﻞ‬
‫ﺖ آﺘﺎب رﺑﻚ ﺧﻴـﺮ ﻧـﻮ ٍر ﻟﺪرﺑـﻚ أن ﻳﻜـﻮن هـﻮ اﻟﺪﻟﻴـ ُﻞ‬
َ ‫رﺿﻴ‬
‫ﺐ وﺗﻨﺸـﺮهـﺎ اﻟـﺮواﺑـﻲ واﻟﺴـﻬـﻮل‬
ٍ ‫ﻳﺴﺎﺑﻘـﻨـﻲ اﻟﻤﺤـﺒـﺔ آــﻞ ﻗـﻠـ‬
‫اﻟﻘـﺒـﻮ ُل‬
‫ﻳﺮﻓـﻠـﻪ‬and
‫اﻟﺮﺣـﻤـﻦ‬
‫ﻣــﻦ‬
‫ﻟﺘﺨـﺪم اﻟﺤﺮﻣﻴـﻦ أﺟـﺮًا‬
َ ‫ﺳﻠﻤ‬
Copyright © Canadian Academy
of Oriental
Occidental
Culture
34 ‫ﺖ‬
‫وﺗﻌﺰﻓـﻬـﺎ اﻟـﺴـﺮاة ﺑـﻜـﻞ ﻓـﺨــ ٍﺮ وﺗﺮﻗﺺ ﻣﻦ ﻣﻌﺎﻧﻴﻬﺎ اﻟﻨﺨﻴـ ُﻞ‬
‫ﻦ اﻟﺮﺳﻮ ُل‬
ّ ‫أﻋﺒـﺪ اﷲ ﻻ ﺗﺨـﺶ اﻟـﻌـﻮادي وﺣﻜﻤﻚ ذاك ﻣﺎ ﺳ‬
‫ﺖ ﻟﺘﺨـﺪم اﻟﺤﺮﻣﻴـﻦ أﺟـﺮًا ﻣــﻦ اﻟﺮﺣـﻤـﻦ ﻳﺮﻓـﻠـﻪ اﻟﻘـﺒـﻮ ُل‬
َ ‫ﺳﻠﻤ‬
‫ﻦ اﻟﺮﺳﻮ ُل‬
ّ ‫أﻋﺒـﺪ اﷲ ﻻ ﺗﺨـﺶ اﻟـﻌـﻮادي وﺣﻜﻤﻚ ذاك ﻣﺎ ﺳ‬
‫ﻒ ﺻﻘﻴـ ُﻞ‬
ٌ ‫وﻗﻮﻟـﻚ ﻧﺎﺻـ ٌﻊ أﺻــ ٌﻞ وﻓـﺼـ ٌﻞ وﺻﺪﻗﻚ ﻗﺎﻃ ٌﻊ ﺳﻴـ‬
‫أﺣﺎور ﻓﻴﻚ ﺷﻌﺮي وهﻮ ﺑﺤﺮ ﻓﻴﺼﻤﺖ ﻓﻲ ﻣﻘﺎﻣﻚ ﻻ ﻳﻘﻮل‬
‫ﻷﻧﻚ ﻳﺎ ﻣﻠﻴﻜﻲ ﻓﻮق ﻣﺪﺣﻲ وﻣﻬﻤﺎ زدت ﻓﻲ وﺻﻔﻲ ﻗﻠﻴﻞ‬
B. Al-Azzam; M. Al-Ahaydib; M. Shalaby (2014).
Studies in Literature and Language, 9 (3), 30-39
‫وأﻧﺘﻢ ﻣﻦ ﺗﻌﺰ ﺑﻪ اﻟﻤﻌﺎﻟﻲ وﻳﺴﻤﻮ اﻟﺤﺮف واﻟﻘﻠﻢ اﻟﻨﺒﻴﻞ‬
poem. In the western culture, rulers do not receive such plain, a ‫ﻳﺴﻴﻞ‬
sea, or
steep ‫وأﺑﻌﺚ‬
region.
In ‫ﻣﺎ‬other
words,
‫ ﺣﺒﺎ‬a‫ﻣﻬﺠﺘﻲ‬
‫ﺗﺸﺎء‬
‫ﻟﻠﻘﻮاﻓﻲ‬
‫ﺳﺄﺗﺮك‬the entire
interest and care ‫ﻳﻤﻴﻞ‬
of the
fact that
such Kingdom’s geography celebrates being together, and
‫وﻻ‬community,
‫وﻋﻬﺪا ﻻ ﻳﺤﻴﺪ‬a‫اﻟﺠﻠﻴﻞ‬
‫اﻟﻤﻠﻚ‬makes
‫ﺳﻼﻣﺎ اﻳﻬﺎ‬
thankfulness
to the
royal ‫ﺐ‬
creating
this
a genre seem extraterrestrial and foreign. Not only this, express ‫واﻟﺴـﻬـﻮل‬
‫اﻟـﺮواﺑـﻲ‬
‫وﺗﻨﺸـﺮهـﺎ‬
ٍfamily
‫آــﻞ ﻗـﻠـ‬in‫اﻟﻤﺤـﺒـﺔ‬
‫ﻳﺴﺎﺑﻘـﻨـﻲ‬
the fact that eulogy
been
socially,
and‫أﺣﺎور‬harmony of unity.
‫ﻻ ﻳﻘﻮل‬has
‫ﻣﻘﺎﻣﻚ‬
‫ﻓﻲ‬traditionally,
‫وهﻮ ﺑﺤﺮ ﻓﻴﺼﻤﺖ‬
‫ﻓﻴﻚ ﺷﻌﺮي‬
culturally, inherited has given it a sense of sacredness
‫وﺗﻌﺰﻓـﻬـﺎ اﻟـﺴـﺮاة ﺑـﻜـﻞ ﻓـﺨــ ٍﺮ وﺗﺮﻗﺺ ﻣﻦ ﻣﻌﺎﻧﻴﻬﺎ اﻟﻨﺨﻴـ ُﻞ‬
and sensitiveness.
literary
norm
been
employed
‫ﻗﻠﻴﻞ‬This
‫وﺻﻔﻲ‬
‫زدت ﻓﻲ‬
‫وﻣﻬﻤﺎ‬has
‫ﻣﺪﺣﻲ‬
‫ﻓﻮق‬
‫ﻷﻧﻚ ﻳﺎ ﻣﻠﻴﻜﻲ‬And *Al-Surat proudly fiddle love of the King and
over history, and has gained enough attention and care of palm trees
dance‫ﻣـــﻌــــﺰزة‬
to the meanings
that‫آـﻞ‬music
‫ﺗــــﺠــــﻮ ُل‬
‫ﻣــﻌــﻄـــﺮة‬of‫ﻧﺠـ ٍﺪ‬
‫وﻳﺤﻤﻠﻬﺎ اﻟﺼﺒﺎ ﻓﻲ‬
rulers, which empowers
it
and
makes
it
highly
acceptable,
‫وأﻧﺘﻢ ﻣﻦ ﺗﻌﺰ ﺑﻪ اﻟﻤﻌﺎﻟﻲ وﻳﺴﻤﻮ اﻟﺤﺮف واﻟﻘﻠﻢ اﻟﻨﺒﻴﻞ‬
The animation is clear in the competition of mounts
at all levels, the highest of which is the political level.
‫اﻟـﺠـﻤـﻴــ ُﻞ‬
‫ﻳـﻨـﻐـﻤـﻬـﺎ‬
‫ﻧـﺠـﺪ ﺣـﺠـﺎ‬
‫وﻳﻬﺘـﻒ ﻳﺎ‬
and plains
in love‫ﺗـﻮﺣــﺪﻧــﺎ‬
of the King,
an‫ ٌز‬image
that‫ﺻـﺒـﺎ‬
cannot
be
‫ﺳﺄﺗﺮك ﻟﻠﻘﻮاﻓﻲ ﻣﺎ ﺗﺸﺎء وأﺑﻌﺚ ﻣﻬﺠﺘﻲ ﺣﺒﺎ ﻳﺴﻴﻞ‬
similarly handled in other culture’s political discourses.
beauty
the composed
poem‫ﻓـﺎرس‬
is that
‫اﻟﻤﺴﺘﺤﻴ ُﻞ‬
‫ أردت‬to
‫وﻳﺨﻀﻊ إن‬
‫ت ﺷـﻬـ ٌﻢ‬
ِ ‫اﻷزﻣــﺎ‬
‫ﻷﻧـﻚ‬the
I will let the rhymes to express what they desire, and What added
let my love flow‫ﺐ وﺗﻨﺸـﺮهـﺎ اﻟـﺮواﺑـﻲ واﻟﺴـﻬـﻮل‬
love is proudly fiddled by Al-Surat range of mountains;
ٍ ‫ﻳﺴﺎﺑﻘـﻨـﻲ اﻟﻤﺤـﺒـﺔ آــﻞ ﻗـﻠـ‬
‫ ﻳﻤﻴﻞ‬this
‫ﻳﺤﻴﺪ وﻻ‬
‫وﻋﻬﺪا ﻻ‬
‫ اﻟﻤﻠﻚ اﻟﺠﻠﻴﻞ‬aims
‫ﺳﻼﻣﺎ اﻳﻬﺎ‬
range
at ‫آﺘﺎب‬
illuminating
‫هـﻮ‬
‫ﻳﻜـﻮن‬of‫أن‬mountains
‫رﺑﻚ ﺧﻴـﺮ ﻧـﻮ ٍر ﻟﺪرﺑـﻚ‬
‫ﺖ‬
َ ‫رﺿﻴ‬
The poet concludes the introductory part of the resort to‫اﻟﺪﻟﻴـ ُﻞ‬
the
idea
that
all
elements
of
nature
in
the
Kingdom
are
‫ﻞ‬
ُ
‫اﻟﻨﺨﻴـ‬
‫ﻣﻌﺎﻧﻴﻬﺎ‬
‫ﻣﻦ‬
‫وﺗﺮﻗﺺ‬
‫ﺮ‬
ٍ
‫ﻓـﺨــ‬
‫ﺑـﻜـﻞ‬
‫اﻟـﺴـﺮاة‬
‫وﺗﻌﺰﻓـﻬـﺎ‬
‫ﺳﻼﻣﺎ اﻳﻬﺎ اﻟﻤﻠﻚ اﻟﺠﻠﻴﻞ وﻋﻬﺪا ﻻ ﻳﺤﻴﺪ وﻻ ﻳﻤﻴﻞ‬
poem by declaring his surrender, and announcing his
‫ﻳﻘﻮل‬
‫ﻻ‬
‫ﻣﻘﺎﻣﻚ‬
‫ﻓﻲ‬
‫ﻓﻴﺼﻤﺖ‬
‫ﺑﺤﺮ‬
‫وهﻮ‬
‫ﺷﻌﺮي‬
‫ﻓﻴﻚ‬
‫أﺣﺎور‬
extremely
glad
on
this
occasion,
to
the
extent
that
all
inability to continue eulogizing. To put differently, he
‫ﺖ ﻟﺘﺨـﺪم اﻟﺤﺮﻣﻴـﻦ أﺟـﺮًا ﻣــﻦ اﻟﺮﺣـﻤـﻦ ﻳﺮﻓـﻠـﻪ اﻟﻘـﺒـﻮ ُل‬
َ ‫ﺳﻠﻤ‬
fiddle
“love
of
the
King”.
Cohesion
is
apparent
among
‫ﺗــــﺠــــﻮ ُل‬
‫ﻣـــﻌــــﺰزة‬of
‫ﻣــﻌــﻄـــﺮة‬
‫ﻧﺠـ ٍﺪ‬cannot
‫ ﻓﻲ آـﻞ‬be
‫أﺣﺎور ﻓﻴﻚ ﺷﻌﺮي وهﻮ ﺑﺤﺮ ﻓﻴﺼﻤﺖ ﻓﻲ ﻣﻘﺎﻣﻚ ﻻ ﻳﻘﻮلوﻳﺤﻤﻠﻬﺎ اﻟﺼﺒﺎ‬
confessed that the
high qualities
the King
‫وﺻﻔﻲ ﻗﻠﻴﻞ‬
‫وﻣﻬﻤﺎ زدت ﻓﻲ‬the
‫ﻣﻠﻴﻜﻲ ﻓﻮق ﻣﺪﺣﻲ‬
‫ ﻷﻧﻚ ﻳﺎ‬which
components
expressed in his words; his lexicography bank does not the various
‫اﻟﺮﺳﻮ ُل‬
‫ﻦ‬
ّ ‫ذاك ﻣﺎ ﺳ‬of
‫وﺣﻜﻤﻚ‬terrain;
‫اﻟـﻌـﻮادي‬palm
‫ﺗﺨـﺶ‬trees,
‫أﻋﺒـﺪ اﷲ ﻻ‬
are
considered
as
a
main
feature
in
the
Kingdom,
do
have expressions‫اﻟـﺠـﻤـﻴــ ُﻞ‬
that can‫ﺗـﻮﺣــﺪﻧــﺎ‬
state the‫ﻳـﻨـﻐـﻤـﻬـﺎ‬
high qualities
of ‫ﺻـﺒـﺎ‬
the ‫ﻷﻧﻚ ﻳﺎ ﻣﻠﻴﻜﻲ ﻓﻮق ﻣﺪﺣﻲ وﻣﻬﻤﺎ زدت ﻓﻲ وﺻﻔﻲ ﻗﻠﻴﻞوﻳﻬﺘـﻒ ﻳﺎ‬
‫ﻧـﺠـﺪ ﺣـﺠـﺎ ٌز‬
not
remain
standstill
when
the
Al-Surat
Mountains
‫اﻟﻨﺒﻴﻞ‬
‫واﻟﻘﻠﻢ‬
‫اﻟﺤﺮف‬
‫وﻳﺴﻤﻮ‬
‫اﻟﻤﻌﺎﻟﻲ‬
‫ﺑﻪ‬
‫ﺗﻌﺰ‬
‫ﻣﻦ‬
‫وأﻧﺘﻢ‬
King, as the merits are beyond description. On this basis,
‫ﻒ ﺻﻘﻴـ ُﻞ‬
ٌ ‫وﻗﻮﻟـﻚ ﻧﺎﺻـ ٌﻊ أﺻــ ٌﻞ وﻓـﺼـ ٌﻞ وﺻﺪﻗﻚ ﻗﺎﻃ ٌﻊ ﺳﻴـ‬
“fiddle love of the King”, but rather dance joyfully. This
he releases the rhymes
express
in their
and‫ﻓـﺎرس‬
the ‫ﻷﻧـﻚ‬
‫ اﻟﻤﺴﺘﺤﻴ ُﻞ‬to
‫أردت‬
‫وﻳﺨﻀﻊ إن‬
‫ﺷـﻬـ ٌﻢ‬own,
‫ت‬
ِ ‫اﻷزﻣــﺎ‬
‫وأﻧﺘﻢ ﻣﻦ ﺗﻌﺰ ﺑﻪ اﻟﻤﻌﺎﻟﻲ وﻳﺴﻤﻮ اﻟﺤﺮف واﻟﻘﻠﻢ اﻟﻨﺒﻴﻞ‬
of‫وأﺑﻌﺚ‬
the ‫ﺗﺸﺎء‬
poem cannot
be felt equally if
‫ﻳﺴﻴﻞ‬
‫ﺣﺒﺎ‬scene
‫ﻣﻬﺠﺘﻲ‬
‫ﻟﻠﻘﻮاﻓﻲ‬
‫ ﻳﻤﻴﻞ‬see
‫ﻳﺤﻴﺪ وﻻ‬
‫اﻟﺠﻠﻴﻞ وﻋﻬﺪا ﻻ‬
‫اﻳﻬﺎ اﻟﻤﻠﻚ‬the
‫ﺳﻼﻣﺎ‬
way they
appropriate
in reflecting
unprecedented rudimentary
‫ﺻـﺆو ُل‬
‫اﻟﻮﻏﻰ أﺳ ٌﺪ‬
‫رﺣـﻴـ ٌﻢﻣﺎوإﻧﻚ ﻓﻲ‬
‫ب‬
ٌ ‫ﺳﺄﺗﺮكأ‬
‫وإﻧـﻚ ﻓــﻲ اﻟـﺴـﻼم‬
the
poem
is
translated
literally
in
the
target
language, for
values of kings. ‫ُﻞ‬Simultaneously,
poet
his heart
‫ أن ﻳﻜـﻮن هـﻮ اﻟﺪﻟﻴـ‬the
‫ﻟﺪرﺑـﻚ‬
‫ﻧـﻮ ٍر‬sends
‫رﺑﻚ ﺧﻴـﺮ‬
‫ﺖ آﺘﺎب‬
َ ‫ﺳﺄﺗﺮك ﻟﻠﻘﻮاﻓﻲ ﻣﺎ ﺗﺸﺎء وأﺑﻌﺚ ﻣﻬﺠﺘﻲ ﺣﺒﺎ ﻳﺴﻴﻞ رﺿﻴ‬
the
idea
that
palm
trees,
if
existing,
are
not
socially
and
‫ﺐ وﺗﻨﺸـﺮهـﺎ اﻟـﺮواﺑـﻲ واﻟﺴـﻬـﻮل‬
ٍ ‫اﻟﻤﺤـﺒـﺔ آــﻞ ﻗـﻠـ‬
‫ﻳﺴﺎﺑﻘـﻨـﻲ‬
flooding
love,‫ﻓﻲ‬respect,
appreciation,
gratitude,
‫ﻳﻘﻮل‬with
‫ﻣﻘﺎﻣﻚ ﻻ‬
‫ﺑﺤﺮ ﻓﻴﺼﻤﺖ‬
‫ﻓﻴﻚ ﺷﻌﺮي وهﻮ‬
‫ أﺣﺎور‬and
‫اﻟـﻈـﻠـﻴـ ُﻞ‬
‫واﻟــــﺪﻩ‬and
‫ﻇــــﻞ‬
‫وﺗﺪﻣﻊ إن رأﻳﺖ اﻟﻄﻔﻞ ﻳﺒﻜـﻲ آـﺄﻧــﻚ‬
culturally
appreciated
treasured.
gratefulness for a‫اﻟﻘـﺒـﻮ ُل‬
repay‫ﻳﺮﻓـﻠـﻪ‬
to the‫اﻟﺮﺣـﻤـﻦ‬
King who
made
enough
‫ﻣــﻦ‬has
‫أﺟـﺮًا‬
‫اﻟﺤﺮﻣﻴـﻦ‬
‫ﺖ ﻟﺘﺨـﺪم‬
َ ‫*ﺳﻠﻤ‬As-Surat:
‫اﻟـﺮواﺑـﻲ واﻟﺴـﻬـﻮل‬
‫وﺗﻨﺸـﺮهـﺎ‬
‫ﺐ‬
ٍ ‫اﻟﻤﺤـﺒـﺔ آــﻞ ﻗـﻠـ‬
‫ﻳﺴﺎﺑﻘـﻨـﻲ‬
a long
and high
in the
‫ﻣﻌﺎﻧﻴﻬﺎ اﻟﻨﺨﻴـ ُﻞ‬
‫وﺗﺮﻗﺺ ﻣﻦ‬
‫ﻓـﺨــ ٍﺮ‬mountain
‫اﻟـﺴـﺮاة ﺑـﻜـﻞ‬range
‫وﺗﻌﺰﻓـﻬـﺎ‬
efforts‫ﻗﻠﻴﻞ‬
for‫وﺻﻔﻲ‬
the contentment
happiness
‫وﻣﻬﻤﺎ زدت ﻓﻲ‬and
‫ﻣﺪﺣﻲ‬
‫ﻣﻠﻴﻜﻲ ﻓﻮق‬of‫ﻳﺎ‬his
‫ﻷﻧﻚ‬people.
‫ل‬
ُ
‫ﻳـﻄـﻮ‬
‫ﻼ‬
ً
‫ﻟﻴـ‬
‫ﻋﻨﻬﻤـﻮ‬
‫ﺮ‬
ُ
‫وﺗﺴﻬـ‬
‫ﺎ‬
ً
‫أﻣﻨـ‬
‫اﻟﻨﺎس‬
‫ﻳﻌﻴﺶ‬
‫أن‬
‫وهﻤّﻚ‬
South
West
of
the
Kingdom
of
Saudi
Arabia.
The King associations,
of ‫اﻟـﻌـﻮادي‬
expressing
these
‫ﻦ اﻟﺮﺳﻮ ُل‬
ّand
‫ﻣﺎ ﺳ‬the
‫ذاك‬way
‫وﺣﻜﻤﻚ‬
‫ﺗﺨـﺶ‬
‫وﺗﻌﺰﻓـﻬـﺎ اﻟـﺴـﺮاة ﺑـﻜـﻞ ﻓـﺨــ ٍﺮ وﺗﺮﻗﺺ ﻣﻦ ﻣﻌﺎﻧﻴﻬﺎ اﻟﻨﺨﻴـ ُﻞ أﻋﺒـﺪ اﷲ ﻻ‬
values‫اﻟﻨﺒﻴﻞ‬
in the
poetry
of
eulogy
cannot
be
observed,
if
the
‫ﺗــــﺠــــﻮ ُل‬
‫ﻣــﻌــﻄـــﺮة‬
‫آـﻞ ﻧﺠـ‬
‫ﺤﻤﻠﻬﺎ اﻟﺼﺒﺎ‬
‫وﻳ‬
‫وأﻧﺘﻢ ﻣﻦ ﺗﻌﺰ ﺑﻪ اﻟﻤﻌﺎﻟﻲ وﻳﺴﻤﻮ اﻟﺤﺮف واﻟﻘﻠﻢ‬
‫ﻣـــﻌــــﺰزةاﻟﺨـﻠـﻴـ ُﻞ‬
‫ﻣﻨﻬـﻤـﻮ اﻟـﺨــ ﱡﻞ‬
‫ﺖ ﻟـﻜـ ٍﻞ‬
َ ‫ﺣـﺰﻧـٍﺪ‬
‫ﻓـﺮﺣـﺖﻓﻲوإن‬
‫وإﻧـﻚ إن‬
poem is translated in the Western culture. Again, this may Saba (the morning cool wind) holds love all over Najd,
‫ﻒ ﺻﻘﻴـ ُﻞ‬
ٌ ‫وﻳﺤﻤﻠﻬﺎ اﻟﺼﺒﺎ ﻓﻲ آـﻞ ﻧﺠـ ٍﺪ ﻣــﻌــﻄـــﺮة ﻣـــﻌــــﺰزة ﺗــــﺠــــﻮ ُل وﻗﻮﻟـﻚ ﻧﺎﺻـ ٌﻊ أﺻــ ٌﻞ وﻓـﺼـ ٌﻞ وﺻﺪﻗﻚ ﻗﺎﻃ ٌﻊ ﺳﻴـ‬
be due‫ﻳﺴﻴﻞ‬
to the
social,‫وأﺑﻌﺚ‬
cultural,
emotive,
ecological, and scented,
enhanced
and ‫ﻳـﻨـﻐـﻤـﻬـﺎ‬
moving ‫ٌز‬through
‫اﻟـﺠـﻤـﻴــ ُﻞ‬
‫ﺗـﻮﺣــﺪﻧــﺎ‬
‫وﻳﻬﺘـﻒ ﻳﺎ ﺻـﺒـﺎ ﻧـﺠـﺪ ﺣـﺠـﺎ‬
‫ﻣﻬﺠﺘﻲ ﺣﺒﺎ‬
‫ﻣﺎ ﺗﺸﺎء‬
‫ﺳﺄﺗﺮك ﻟﻠﻘﻮاﻓﻲ‬
‫ف اﻟﺸﻌـﺐ أﻓﺌـﺪة اﻟﺘﻔـﺎﻧـﻲ وﺣـﺒـ ًﺎ ﻓــﻲ اﻟﺤﻨـﺎﻳـﺎ ﻻ ﻳــﺰو ُل‬
ُ ‫ﻳـﺰ‬
expressive differences.
‫ب رﺣـﻴـ ٌﻢ وإﻧﻚ ﻓﻲ اﻟﻮﻏﻰ أﺳ ٌﺪ ﺻـﺆو ُل‬
ٌ ‫وﻳﻬﺘـﻒ ﻳﺎ ﺻـﺒـﺎ ﻧـﺠـﺪ ﺣـﺠـﺎ ٌز ﻳـﻨـﻐـﻤـﻬـﺎ ﺗـﻮﺣــﺪﻧــﺎ اﻟـﺠـﻤـﻴــ ُﻞ وإﻧـﻚ ﻓــﻲ اﻟـﺴـﻼم أ‬
‫ت ﺷـﻬـ ٌﻢ وﻳﺨﻀﻊ إن أردت اﻟﻤﺴﺘﺤﻴ ُﻞ‬
ِ ‫ﻷﻧـﻚ ﻓـﺎرس اﻷزﻣــﺎ‬
‫ﺐ وﺗﻨﺸـﺮهـﺎ اﻟـﺮواﺑـﻲ واﻟﺴـﻬـﻮل‬
ٍ ‫ﻳﺴﺎﺑﻘـﻨـﻲ اﻟﻤﺤـﺒـﺔ آــﻞ ﻗـﻠـ‬
‫ﺗـﻘــﻮ ُل‬loudly
‫ﺑﺎﻟﻤﺤـﺒـﺔ ﻣـــﺎ‬
‫ﺳﻨﺘـﺒـﻊ‬
‫أﻟﻴﻤﻴﻨﺎ‬
‫ﻣﻠﻴـﻜـﻨـﺎ‬
‫ﻓـﺄﻧــﺖ‬
And Hijaz
chants
“oh
the‫ﻣـــ ّﺪ‬
Saba
(the
cool
‫واﻟــــﺪﻩ اﻟـﻈـﻠـﻴـ ُﻞ‬
‫آـﺄﻧــﻚ‬
‫ﻳﺒﻜـﻲ‬love
‫اﻟﻄﻔﻞ‬
‫اﻟﻤﺴﺘﺤﻴ‬
‫أردت‬a‫إن‬chant
‫وﻳﺨﻀﻊ‬melodised
‫ت ﺷـﻬـ ٌﻢ‬
ِ ‫اﻷزﻣــﺎ‬
‫ﻷﻧـﻚ‬
wind ‫ُﻞ‬of)
Najd”,
by ‫ﻓـﺎرس‬
our beautiful
’All hearts are competing
with‫ﻇــــﻞ‬
mine
in the
(of‫رأﻳﺖ‬
the ‫وﺗﺪﻣﻊ إن‬
‫ﺖ آﺘﺎب رﺑﻚ ﺧﻴـﺮ ﻧـﻮ ٍر ﻟﺪرﺑـﻚ أن ﻳﻜـﻮن هـﻮ اﻟﺪﻟﻴـ ُﻞ‬
َ ‫رﺿﻴ‬
‫ﻣﻦ‬by
‫وﺗﺮﻗﺺ‬
‫ﻓـﺨــ ٍﺮ‬
‫ﺑـﻜـﻞ‬
‫وﺗﻌﺰﻓـﻬـﺎ اﻟـﺴـﺮاة‬
King),‫ ُﻞ‬a‫اﻟﻨﺨﻴـ‬
love‫ﻣﻌﺎﻧﻴﻬﺎ‬
spread
mounts
and
plains
unification
‫ ﻳـﻄـﻮ ُل‬the
ً‫ ﻟﻴـﻼ‬whole
‫ ﻋﻨﻬﻤـﻮ‬land
‫وﺗﺴﻬـ ُﺮ‬
‫ﻳﻌﻴﺶ اﻟﻨﺎس‬the
‫ وهﻤّﻚ أن‬The
In order to reflect
in‫أﻣﻨـ ًﺎ‬
appreciating
‫اﻟﺪﻟﻴـ ُﻞ‬
‫هـﻮ‬continues
‫ﻟﺪرﺑـﻚ أن ﻳﻜـﻮن‬
‫ رﺑﻚ ﺧﻴـﺮ ﻧـﻮ ٍر‬environmental
‫ﺖ آﺘﺎب‬
َ ‫رﺿﻴ‬
poet
incorporating
‫ﺖ ﻟﺘﺨـﺪم اﻟﺤﺮﻣﻴـﻦ أﺟـﺮًا ﻣــﻦ اﻟﺮﺣـﻤـﻦ ﻳﺮﻓـﻠـﻪ اﻟﻘـﺒـﻮ ُل‬
َ ‫ﺳﻠﻤ‬
‫ﺗــــﺠــــﻮ‬
‫ ﻣـــﻌــــﺰزة‬natural
‫ﻣــﻌــﻄـــﺮة‬
‫ آـﻞ ﻧﺠـ ٍﺪ‬in
‫ ﻓﻲ‬his
‫اﻟﺼﺒﺎ‬
‫ﺤﻤﻠﻬﺎ‬
‫ وﻳ‬elements
King, ‫ُل‬the
poet includes
elements
ode,
and
in the celebration of the national day. As the
shows the competition
between
love
the ‫ إن‬capital,
‫اﻟـﺨــ ﱡﻞ اﻟﺨـﻠـﻴـ ُﻞ‬
‫ﻣﻨﻬـﻤـﻮ‬people
‫ﺖ ﻟـﻜـ ٍﻞ‬
َ in
‫ﺣـﺰﻧـ‬
‫ وإن‬of
‫ﻓـﺮﺣـﺖ‬
‫اﻟﻘـﺒـﻮ ُل وإﻧـﻚ‬
‫ﻳﺮﻓـﻠـﻪ‬lies
‫اﻟﺮﺣـﻤـﻦ‬
‫ﻣــﻦ‬which
‫اﻟﺤﺮﻣﻴـﻦ أﺟـﺮًا‬
‫ﺖ ﻟﺘﺨـﺪم‬
َ region
‫ﺳﻠﻤ‬
Riyadh,
in Najd,
is the central
‫اﻟﺮﺳﻮ ُل‬
‫ﻦ‬
ّ ‫ﻣﺎ ﺳ‬
‫اﻟـﻌـﻮادي وﺣﻜﻤﻚ‬
‫اﷲ ﻻ‬
‫أﻋﺒـﺪ‬
‫اﻟـﺠـﻤـﻴــ ُﻞ‬
‫ﻳـﻨـﻐـﻤـﻬـﺎ‬
‫ﻧـﺠـﺪ ﺣـﺠـﺎ ٌز‬
‫ﻳﺎ ﺻـﺒـﺎ‬in‫وﻳﻬﺘـﻒ‬
King, an
image ‫ﺗـﻮﺣــﺪﻧــﺎ‬
that cannot
be reflected
likewise
other of Saudi
Arabia,
and‫ذاك‬includes
besides ‫ﺗﺨـﺶ‬
Riyadh,
Al-Qaseem
cultures. In Arabic,
“heart”
is the‫اﻟﺘﻔـﺎﻧـﻲ‬
source‫أﻓﺌـﺪة‬
of love
the‫ﻦ‬
stresses
the morning
‫“ﻳــﺰو ُل‬qalb”,
‫اﻟﺤﻨـﺎﻳـﺎ ﻻ‬
‫وﺣـﺒـ ًﺎ ﻓــﻲ‬
‫ف اﻟﺸﻌـﺐ‬
ُ and
‫ ﻳـﺰ‬Ha’il,
‫اﻟﺮﺳﻮ ُل‬
ّ ‫ﺳ‬poet
‫ذاك ﻣﺎ‬
‫وﺣﻜﻤﻚ‬that
‫اﻟـﻌـﻮادي‬
‫اﷲ ﻻ ﺗﺨـﺶ‬cool
‫أﻋﺒـﺪ‬wind
‫ﺻﻘﻴـ‬love
‫ﻒ‬
ٌ ‫ﺳﻴـ‬in‫ ٌﻊ‬all
‫ﻗﺎﻃ‬parts
‫وﺻﺪﻗﻚ‬
‫ وﻓـﺼـ‬not
‫أﺻــ ٌﻞ‬
‫ﻧﺎﺻـ ٌﻊ‬
‫أردت اﻟﻤﺴﺘﺤﻴ ُﻞ‬the
‫ إن‬poet
‫وﻳﺨﻀﻊ‬
‫ﺷـﻬـ ٌﻢ‬
ِ ‫اﻷزﻣــﺎ‬
‫ﻓـﺎرس‬
and appreciation;
says
that‫ت‬
all hearts
are‫ﻷﻧـﻚ‬
racing holds ‫ُﻞ‬this
of ‫ٌﻞ‬Najd;
only
this,‫وﻗﻮﻟـﻚ‬
this love
with me to your
love,
dear ‫ﺳﻨﺘـﺒـﻊ‬
King. ‫أﻟﻴﻤﻴﻨﺎ‬
The pragmatic
is perfumed
this‫ ٌﻞ‬pivotal
region
and is
‫ﺗـﻘــﻮ ُل‬
‫ﻣـــﺎ‬my
‫ﺑﺎﻟﻤﺤـﺒـﺔ‬
‫ﻓـﺄﻧــﺖ ﻣﻠﻴـﻜـﻨـﺎ ﻣـــ ّﺪ‬
‫ﻒ ﺻﻘﻴـ ُﻞ‬
ٌ from
‫ ٌﻊ ﺳﻴـ‬the
‫ ﻗﺎﻃ‬essence
‫ ٌﻞ وﺻﺪﻗﻚ‬of
‫وﻓـﺼـ‬
‫ﻧﺎﺻـ ٌﻊ أﺻــ‬
‫وﻗﻮﻟـﻚ‬
‫ ﺻـﺆو ُل‬moved
‫اﻟﻮﻏﻰ أﺳ ٌﺪ‬
‫وإﻧﻚ‬
‫ب رﺣـﻴـ‬
ٌ ‫أ‬Thus,
‫اﻟـﺴـﻼم‬the
‫ﻓــﻲ‬
‫وإﻧـﻚ‬
meaning
is that
all people,
of their
‫اﻟﺪﻟﻴـ ُﻞ‬
‫ﻳﻜـﻮن هـﻮ‬
‫ﻟﺪرﺑـﻚ أن‬regardless
‫رﺑﻚ ﺧﻴـﺮ ﻧـﻮ ٍر‬
‫ﺖ آﺘﺎب‬
َtribal
‫ رﺿﻴ‬and respectfully
all ‫ﻓﻲ‬
over
the‫ ٌﻢ‬region.
line
“Saba
regional belongings, are contending in love of the King (the morning
cool
wind)
holds
love
all
over
Najd,
scented,
‫ب رﺣـﻴـ ٌﻢ وإﻧﻚ ﻓﻲ اﻟﻮﻏﻰ أﺳ ٌﺪ ﺻـﺆو ُل‬
ٌ ‫وإﻧـﻚ ﻓــﻲ اﻟـﺴـﻼم أ‬
‫اﻟـﻈـﻠـﻴـ ُﻞ‬
‫واﻟــــﺪﻩ‬
‫ ﻇــــﻞ‬through,”
‫ ﻳﺒﻜـﻲ آـﺄﻧــﻚ‬shows
‫رأﻳﺖ اﻟﻄﻔﻞ‬
‫وﺗﺪﻣﻊ‬
whose‫ ُل‬ancestors
have
made‫ﻣــﻦ‬
immense
efforts‫ﻟﺘﺨـﺪم‬
to unify
and
moving
the‫إن‬political
‫ﻳﺮﻓـﻠـﻪ اﻟﻘـﺒـﻮ‬
‫اﻟﺮﺣـﻤـﻦ‬
‫اﻟﺤﺮﻣﻴـﻦ أﺟـﺮًا‬
‫ﺖ‬
َ ‫ﺳﻠﻤ‬the enhanced
outstretched Kingdom on the basis of equality, justice, central‫اﻟـﻈـﻠـﻴـ ُﻞ‬
role of‫واﻟــــﺪﻩ‬
the region
in
the
Kingdom.
‫وﺗﺪﻣﻊ إن رأﻳﺖ اﻟﻄﻔﻞ ﻳﺒﻜـﻲ آـﺄﻧــﻚ ﻇــــﻞ‬
duties, ‫ُل‬and
more
and appreciation.
‫ﻳـﻄـﻮ ُل‬
ً‫ﻟﻴـﻼ‬highlights
‫وﺗﺴﻬـ ُﺮ ﻋﻨﻬﻤـﻮ‬
‫ﻳﻌﻴﺶ اﻟﻨﺎس‬and
‫ّﻚ أن‬
‫وهﻤ‬
This
line
the‫أﻣﻨـ ًﺎ‬
religious
political
‫اﻟﺮﺳﻮ‬
‫ﻦ‬
ّ ‫ﺳ‬importantly
‫وﺣﻜﻤﻚ ذاك ﻣﺎ‬love
‫اﻟـﻌـﻮادي‬
‫أﻋﺒـﺪ اﷲ ﻻ ﺗﺨـﺶ‬
The fact that the King has gained enough love and dimensions of the poem. On the national day, Saudis recall
‫وهﻤّﻚ أن ﻳﻌﻴﺶ اﻟﻨﺎس أﻣﻨـ ًﺎ وﺗﺴﻬـ ُﺮ ﻋﻨﻬﻤـﻮ ﻟﻴـﻼً ﻳـﻄـﻮ ُل‬
appreciation
his‫وﺻﺪﻗﻚ‬
people
and ‫ٌﻞ‬land
apparent
of ‫ﻣﻨﻬـﻤـﻮ‬
the royal
preservation
‫اﻟﺨـﻠـﻴـ ُﻞ‬role
‫اﻟـﺨــ ﱡﻞ‬
‫ﻟـﻜـ ٍﻞ‬family
‫ﺖ‬
َ ‫ ﺣـﺰﻧـ‬for
‫ وإن‬the
‫ﻓـﺮﺣـﺖ‬
‫وإﻧـﻚ إن‬
‫ﻒ ﺻﻘﻴـ ُﻞ‬
ٌ from
‫ﻗﺎﻃ ٌﻊ ﺳﻴـ‬
‫وﻓـﺼـ ٌﻞ‬
‫ٌﻊ أﺻــ‬is‫ﻧﺎﺻـ‬
‫ وﻗﻮﻟـﻚ‬in the major
exchanging and extending congratulations on the Saudi of the Islam as a message, and the Islamic message of
‫ﺖ ﻟـﻜـ ٍﻞ ﻣﻨﻬـﻤـﻮ اﻟـﺨــ ﱡﻞ اﻟﺨـﻠـﻴـ ُﻞ‬
َ ‫وإﻧـﻚ إن ﻓـﺮﺣـﺖ وإن ﺣـﺰﻧـ‬
National
Day.‫أﺳ ٌﺪ‬
The
poet‫ﻓﻲ‬
expresses
this‫ب‬
candidly,
when tolerance,
the ‫اﻟﺸﻌـﺐ‬
other. ‫ف‬
‫ﻳــﺰو ُل‬moderation,
‫ﻓــﻲ اﻟﺤﻨـﺎﻳـﺎ ﻻ‬and
‫وﺣـﺒـ ًﺎ‬respect
‫اﻟﺘﻔـﺎﻧـﻲ‬of‫أﻓﺌـﺪة‬
ُHijaz
‫ ﻳـﺰ‬is
‫ﺻـﺆو ُل‬
‫اﻟﻮﻏﻰ‬
‫رﺣـﻴـ ٌﻢ وإﻧﻚ‬
ٌ ‫أ‬fact
‫اﻟـﺴـﻼم‬
‫وإﻧـﻚ ﻓــﻲ‬
he expresses this fact by saying “All hearts are competing mostly recognized for accommodating the two Islamic
‫ﻻ ﻳــﺰو ُل‬Mecca
‫ اﻟﺤﻨـﺎﻳـﺎ‬and
‫ًﺎ ﻓــﻲ‬Medina.
‫اﻟﺘﻔـﺎﻧـﻲ وﺣـﺒـ‬
‫أﻓﺌـﺪة‬
‫ اﻟﺸﻌـﺐ‬of
‫ف‬
ُ ‫ﻳـﺰ‬
with me in the love (of the King), which is spread by holy cities,
As‫ﻣـــ ّﺪ‬
the‫ﻣﻠﻴـﻜـﻨـﺎ‬
region
‫ﻣـــﺎ ﺗـﻘــﻮ ُل‬
‫ﺳﻨﺘـﺒـﻊ ﺑﺎﻟﻤﺤـﺒـﺔ‬
‫أﻟﻴﻤﻴﻨﺎ‬
‫ﻓـﺄﻧــﺖ‬these
‫وﺗﺪﻣﻊ إن رأﻳﺖ اﻟﻄﻔﻞ ﻳﺒﻜـﻲ آـﺄﻧــﻚ ﻇــــﻞ واﻟــــﺪﻩ اﻟـﻈـﻠـﻴـ ُﻞ‬
mounts and plains”. The choice of these geographical Islam’s holy places, the Hejaz has significance in the
‫ﺗـﻘــﻮ‬Islamic,
‫ﺑﺎﻟﻤﺤـﺒـﺔ ﻣـــﺎ‬
‫أﻟﻴﻤﻴﻨﺎ ﺳﻨﺘـﺒـﻊ‬
‫ﻣﻠﻴـﻜـﻨـﺎ ﻣـــ ّﺪ‬
‫ ﻓـﺄﻧــﺖ‬and
features is deliberate as it reflects the unity of land in the Arab ‫ُل‬and
religious,
historical,
cultural,
‫وهﻤّﻚ أن ﻳﻌﻴﺶ اﻟﻨﺎس أﻣﻨـ ًﺎ وﺗﺴﻬـ ُﺮ ﻋﻨﻬﻤـﻮ ﻟﻴـﻼً ﻳـﻄـﻮ ُل‬
Kingdom, regardless of its features, being a mountain, a political map. The significance of this part of the poem
‫ﺖ ﻟـﻜـ ٍﻞ ﻣﻨﻬـﻤـﻮ اﻟـﺨــ ﱡﻞ اﻟﺨـﻠـﻴـ ُﻞ‬
َ ‫وإﻧـﻚ إن ﻓـﺮﺣـﺖ وإن ﺣـﺰﻧـ‬
‫ف اﻟﺸﻌـﺐ أﻓﺌـﺪة اﻟﺘﻔـﺎﻧـﻲ وﺣـﺒـ ًﺎ ﻓــﻲ اﻟﺤﻨـﺎﻳـﺎ ﻻ ﻳــﺰو ُل‬
ُ ‫ﻳـﺰ‬
‫ﻓـﺄﻧــﺖ ﻣﻠﻴـﻜـﻨـﺎ ﻣـــ ّﺪ أﻟﻴﻤﻴﻨﺎ ﺳﻨﺘـﺒـﻊ ﺑﺎﻟﻤﺤـﺒـﺔ ﻣـــﺎ ﺗـﻘــﻮ ُل‬
35
Copyright © Canadian Academy of Oriental and Occidental Culture
‫ﺳﻼﻣﺎ اﻳﻬﺎ اﻟﻤﻠﻚ اﻟﺠﻠﻴﻞ وﻋﻬﺪا ﻻ ﻳﺤﻴﺪ وﻻ ﻳﻤﻴﻞ‬
‫أﺣﺎور ﻓﻴﻚ ﺷﻌﺮي وهﻮ ﺑﺤﺮ ﻓﻴﺼﻤﺖ ﻓﻲ ﻣﻘﺎﻣﻚ ﻻ ﻳﻘﻮل‬
‫ﻳﻘﻮل‬
‫ﻣﻘﺎﻣﻚ‬
‫وهﻮ ﺑﺤﺮ‬
‫أﺣﺎور ﻓﻴﻚ‬
‫وﻻ ﻻﻳﻤﻴﻞ‬
‫ﻓﻴﺼﻤﺖ ﻻﻓﻲﻳﺤﻴﺪ‬
‫اﻟﺠﻠﻴﻞ وﻋﻬﺪا‬
‫ﺷﻌﺮياﻟﻤﻠﻚ‬
‫ﺳﻼﻣﺎ اﻳﻬﺎ‬
The Socio-Cultural, Historical, and Political Allusions in the Translation of the
‫ﻷﻧﻚ ﻳﺎ ﻣﻠﻴﻜﻲ ﻓﻮق ﻣﺪﺣﻲ وﻣﻬﻤﺎ زدت ﻓﻲ وﺻﻔﻲ ﻗﻠﻴﻞ‬
Saudi National Day Poetry: “Peace, O Gracious King” as a Case Study
‫ﻗﻠﻴﻞ‬
‫وﺻﻔﻲ‬
‫زدت ﻓﻲ‬
‫ﻣﺪﺣﻲ وﻣﻬﻤﺎ‬
‫ﺷﻌﺮيﻓﻮق‬
‫ﻓﻴﻚ ﻣﻠﻴﻜﻲ‬
‫ﻷﻧﻚ ﻳﺎ‬
‫ﻳﻘﻮل‬
‫ﻣﻘﺎﻣﻚ ﻻ‬
‫ﻓﻴﺼﻤﺖ ﻓﻲ‬
‫وهﻮ ﺑﺤﺮ‬
‫أﺣﺎور‬
‫وأﻧﺘﻢ ﻣﻦ ﺗﻌﺰ ﺑﻪ اﻟﻤﻌﺎﻟﻲ وﻳﺴﻤﻮ اﻟﺤﺮف واﻟﻘﻠﻢ اﻟﻨﺒﻴﻞ‬
is that it reflects the real and strong relationship between Therefore,
you
the‫وﻣﻬﻤﺎ‬
chivalrous
knight
of
crises,
‫اﻟﻨﺒﻴﻞ‬
‫واﻟﻘﻠﻢ‬
‫اﻟﺤﺮف‬
‫وﻳﺴﻤﻮ‬
‫اﻟﻤﻌﺎﻟﻲ‬
‫ﺗﻌﺰ‬
‫وأﻧﺘﻢ ﻣﻦ‬
‫“ﻗﻠﻴﻞ‬As
‫وﺻﻔﻲ‬
‫ﻓﻲ‬are
‫زدت‬
‫ﻓﻮقﺑﻪﻣﺪﺣﻲ‬
‫ﻣﻠﻴﻜﻲ‬
‫ﻷﻧﻚ ﻳﺎ‬
‫ﺣﺒﺎ ﻳﺴﻴﻞ‬
‫وأﺑﻌﺚ‬
‫ﻟﻠﻘﻮاﻓﻲ‬cannot
‫ ﺳﺄﺗﺮك‬fully
the religious and the political regions of the Knigdom, the impossible
is ‫ﻣﻬﺠﺘﻲ‬
subdued
to ‫ﺗﺸﺎء‬
your‫ﻣﺎ‬will’’
where the ruling family has significantly contributed in reflect ‫ﻳﺴﻴﻞ‬
the
peculiar
values
of the
Saudi
community
‫واﻟﻘﻠﻢﺣﺒﺎ‬
‫ﻣﻬﺠﺘﻲ‬
‫وﻳﺴﻤﻮوأﺑﻌﺚ‬
‫ﺗﺸﺎء‬
‫ﻟﻠﻘﻮاﻓﻲ ﻣﺎ‬
‫ﺳﺄﺗﺮك‬
‫اﻟﻨﺒﻴﻞ‬
‫اﻟﺤﺮف‬
‫اﻟﻤﻌﺎﻟﻲ‬
‫ﺗﻌﺰ ﺑﻪ‬
‫ وأﻧﺘﻢ ﻣﻦ‬on
‫واﻟﺴـﻬـﻮل‬
‫اﻟـﺮواﺑـﻲ‬
‫وﺗﻨﺸـﺮهـﺎ‬
‫ﺐ‬
ٍ ‫ﻗـﻠـ‬does
‫اﻟﻤﺤـﺒـﺔ آــﻞ‬
‫ﻳﺴﺎﺑﻘـﻨـﻲ‬
establishing this relationship. The political region, Najd, the National
Day. The
Arabic
“shahm”
not have
a
and the religious region, Hijaz are integrated, holding clear equivalence
in
the
target
culture,
and
has
stemmed
‫واﻟﺴـﻬـﻮل‬
‫اﻟـﺮواﺑـﻲ‬
‫وﺗﻨﺸـﺮهـﺎ‬
‫ﺐ‬
ٍ
‫ﻗـﻠـ‬
‫آــﻞ‬
‫اﻟﻤﺤـﺒـﺔ‬
‫ﻳﺴﺎﺑﻘـﻨـﻲ‬
‫ﺳﺄﺗﺮك ﻟﻠﻘﻮاﻓﻲ ﻣﺎ ﺗﺸﺎء وأﺑﻌﺚ ﻣﻬﺠﺘﻲ ﺣﺒﺎ ﻳﺴﻴﻞ‬
the political and religious dimensions of the Kingdom. its values ‫ ُﻞ‬from
the Arabic
culture;
as
‫ﻣﻌﺎﻧﻴﻬﺎ اﻟﻨﺨﻴـ‬
‫وﺗﺮﻗﺺ ﻣﻦ‬
‫ﻓـﺨــ ٍﺮ‬meanings
‫اﻟـﺴـﺮاة ﺑـﻜـﻞ‬such
‫وﺗﻌﺰﻓـﻬـﺎ‬
The political rules of the Kingdom are stemmed from helping‫ ُﻞ‬the
needy,
supporting
the
oppressed,
sheltering
‫اﻟﻨﺨﻴـ‬
‫اﻟـﺮواﺑـﻲﻣﻌﺎﻧﻴﻬﺎ‬
‫وﺗﺮﻗﺺ ﻣﻦ‬
‫ﺐﻓـﺨــ ٍﺮ‬
‫اﻟـﺴـﺮاة‬
‫وﺗﻌﺰﻓـﻬـﺎ‬
‫واﻟﺴـﻬـﻮل‬
‫وﺗﻨﺸـﺮهـﺎ‬
ٍ ‫ﺑـﻜـﻞ‬
‫آــﻞ ﻗـﻠـ‬
‫اﻟﻤﺤـﺒـﺔ‬
‫ﻳﺴﺎﺑﻘـﻨـﻲ‬
the Qur’an and Sunnah, and it is thus no strange that the the homeless,
and protecting
neighbors
be ‫اﻟﺼﺒﺎ‬
derived
‫ﺗــــﺠــــﻮ ُل‬
‫ ﻣـــﻌــــﺰزة‬the
‫ﻣــﻌــﻄـــﺮة‬
‫ ﻧﺠـ ٍﺪ‬can
‫ﻓﻲ آـﻞ‬
‫وﻳﺤﻤﻠﻬﺎ‬
‫ﺳﻼﻣﺎ اﻳﻬﺎ اﻟﻤﻠﻚ اﻟﺠﻠﻴﻞ وﻋﻬﺪا ﻻ ﻳﺤﻴﺪ وﻻ ﻳﻤﻴﻞ‬
poet illuminates this relationship. These culture-bound from this Arabic expression, but cannot be felt likewise
‫ﺗــــﺠــــﻮ ُل‬
‫ﻣـــﻌــــﺰزة‬
‫ﻣــﻌــﻄـــﺮة‬
‫ﺑـﻜـﻞﻧﺠـ ٍﺪ‬
‫اﻟـﺴـﺮاةآـﻞ‬
‫وﺗﻌﺰﻓـﻬـﺎاﻟﺼﺒﺎ ﻓﻲ‬
‫وﻳﺤﻤﻠﻬﺎ‬
‫ﻣﻌﺎﻧﻴﻬﺎ اﻟﻨﺨﻴـ ُﻞ‬
‫وﺗﺮﻗﺺ ﻣﻦ‬
‫ﻓـﺨــ ٍﺮ‬
dimensions and implications of the national day poem in the western
culture.
Those
meanings
are‫ﺻـﺒـﺎ‬
highly
‫اﻟـﺠـﻤـﻴــ ُﻞ‬
‫ﺗـﻮﺣــﺪﻧــﺎ‬
‫ﻳـﻨـﻐـﻤـﻬـﺎ‬
‫ﻧـﺠـﺪ ﺣـﺠـﺎ ٌز‬
‫وﻳﻬﺘـﻒ ﻳﺎ‬
‫ﻳﻘﻮل‬
‫ﻻ‬
‫ﻣﻘﺎﻣﻚ‬
‫ﻓﻲ‬
‫ﻓﻴﺼﻤﺖ‬
‫ﺑﺤﺮ‬
‫وهﻮ‬
‫ﺷﻌﺮي‬
‫ﻓﻴﻚ‬
‫أﺣﺎور‬
cannot be grasped similarly if the text is literally rendered appreciated in the source text, but are equally considered
‫اﻟـﺠـﻤـﻴــ ُﻞ‬
‫ﻳـﻨـﻐـﻤـﻬـﺎ‬
‫ﺣـﺠـﺎ ٌز‬
‫ﺻـﺒـﺎ‬
‫وﻳﻬﺘـﻒ ﻳﺎ‬
‫ﺗـﻮﺣــﺪﻧــﺎﺗــــﺠــــﻮ‬
‫ﻣـــﻌــــﺰزة‬
‫ﻣــﻌــﻄـــﺮة‬
‫ٍﺪ‬such
‫ﻧـﺠـﺪﻧﺠـ‬
‫آـﻞ‬values
‫اﻟﺼﺒﺎ ﻓﻲ‬
‫ﺤﻤﻠﻬﺎ‬
as “And Hijaz loudly chants ‘oh the Saba (the cool wind by target ‫ ُل‬language
people,
who lack
at ‫ﻷﻧـﻚ‬
the ‫وﻳ‬
‫ﻞ‬
ُ
‫اﻟﻤﺴﺘﺤﻴ‬
‫أردت‬
‫إن‬
‫وﻳﺨﻀﻊ‬
‫ﻢ‬
ٌ
‫ﺷـﻬـ‬
‫ت‬
ِ
‫اﻷزﻣــﺎ‬
‫ﻓـﺎرس‬
‫ﻗﻠﻴﻞ‬
‫وﺻﻔﻲ‬
‫ﻓﻲ‬
‫زدت‬
‫وﻣﻬﻤﺎ‬
‫ﻣﺪﺣﻲ‬
‫ﻓﻮق‬
‫ﻣﻠﻴﻜﻲ‬
‫ﻳﺎ‬
‫ﻷﻧﻚ‬
of) Najd’, a chant melodised by our beautiful unification”. social and cultural levels.
‫اﻟﻤﺴﺘﺤﻴ ُﻞ‬
‫أردت‬
‫وﻳﺨﻀﻊ إن‬
‫تٌز ﺷـﻬـ ٌﻢ‬
ِ ‫ﺣـﺠـﺎ‬
‫اﻷزﻣــﺎ‬
‫ﻓـﺎرس‬
‫اﻟـﺠـﻤـﻴــ ُﻞ‬
‫ﺗـﻮﺣــﺪﻧــﺎ‬
‫ﻳـﻨـﻐـﻤـﻬـﺎ‬
‫ﻧـﺠـﺪ‬
‫ﻷﻧـﻚﺻـﺒـﺎ‬
‫وﻳﻬﺘـﻒ ﻳﺎ‬
As far as translation is concerned, the translator should
‫ﻞ‬
ُ
‫اﻟﺪﻟﻴـ‬
‫هـﻮ‬
‫ﻳﻜـﻮن‬
‫أن‬
‫ﻟﺪرﺑـﻚ‬
‫ر‬
ٍ
‫ﻧـﻮ‬
‫ﺧﻴـﺮ‬
‫رﺑﻚ‬
‫آﺘﺎب‬
‫ﺖ‬
َ ‫رﺿﻴ‬
‫اﻟﻨﺒﻴﻞ‬
‫واﻟﻘﻠﻢ‬
‫اﻟﺤﺮف‬
‫وﻳﺴﻤﻮ‬
‫اﻟﻤﻌﺎﻟﻲ‬
‫ﺑﻪ‬
‫ﺗﻌﺰ‬
‫ﻣﻦ‬
‫وأﻧﺘﻢ‬
have enough knowledge of the geography of the Kingdom
have
accepted
God’s
(The
Holy
‫اﻟﺪﻟﻴـ ُﻞ‬
‫ﻳﻜـﻮن هـﻮ‬
‫ﻟﺪرﺑـﻚ‬
‫ﻧـﻮ ٍر‬
‫تﺧﻴـﺮ‬
‫رﺑﻚ‬
‫آﺘﺎب‬
‫ﺖ‬
َ ‫رﺿﻴ‬
‫اﻟﻤﺴﺘﺤﻴ ُﻞ‬
‫أن أردت‬
‫إن‬your
‫وﻳﺨﻀﻊ‬
‫ﺷـﻬـ ٌﻢ‬
ِbook
‫اﻷزﻣــﺎ‬
‫ﻓـﺎرس‬
‫ﻷﻧـﻚ‬
of Saudi Arabia. Understanding this geography quips the You
Qur’an) as‫اﻟﻘـﺒـﻮ ُل‬
the best
light
of guidance
to‫اﻟﺤﺮﻣﻴـﻦ‬
your path
‫ﻳﺮﻓـﻠـﻪ‬
‫اﻟﺮﺣـﻤـﻦ‬
‫ﻣــﻦ‬
‫ا‬
ً
‫أﺟـﺮ‬
‫ﻟﺘﺨـﺪم‬
‫ﺖ‬
َ ‫ﺳﻠﻤ‬
‫ﻳﺴﻴﻞ‬
‫ﺣﺒﺎ‬
‫ﻣﻬﺠﺘﻲ‬
‫وأﺑﻌﺚ‬
‫ﺗﺸﺎء‬
‫ﻣﺎ‬
‫ﻟﻠﻘﻮاﻓﻲ‬
‫ﺳﺄﺗﺮك‬
translator with the necessary details needed to reflect the
‫اﻟﻘـﺒـﻮ ُل‬
‫اﻟﺮﺣـﻤـﻦ‬
‫أﺟـﺮٍرًا ﻣــﻦ‬
‫اﻟﺤﺮﻣﻴـﻦ‬
‫ﺖﻟﺘﺨـﺪم‬
َ‫رﺿﻴ‬
‫ﺳﻠﻤ‬
‫ﻳﺮﻓـﻠـﻪاﻟﺪﻟﻴـ ُﻞ‬
‫ﻳﻜـﻮن هـﻮ‬
‫ﻟﺪرﺑـﻚ أن‬
‫ﺧﻴـﺮ ﻧـﻮ‬
‫آﺘﺎب رﺑﻚ‬
َ‫ﺖ‬
various associations of the two significant regions under
‫ل‬
ُ
‫اﻟﺮﺳﻮ‬
‫ﻦ‬
ّ
‫ﺳ‬
‫ﻣﺎ‬
‫ذاك‬
‫وﺣﻜﻤﻚ‬
‫اﻟـﻌـﻮادي‬
‫ﺗﺨـﺶ‬
‫ﻻ‬
‫اﷲ‬
‫أﻋﺒـﺪ‬
‫واﻟﺴـﻬـﻮل‬
‫اﻟـﺮواﺑـﻲ‬
‫وﺗﻨﺸـﺮهـﺎ‬
‫ﺐ‬
ٍ
‫ﻗـﻠـ‬
‫آــﻞ‬
‫اﻟﻤﺤـﺒـﺔ‬
‫ﻳﺴﺎﺑﻘـﻨـﻲ‬
Delivered
to
look
after
the
Two
Holy
Mosques
and
discussion. The religious significance of Hijaz, and the
is‫ﻦ‬
increased
by ‫ﻣــﻦ‬
God’s
of
your
‫اﻟﺮﺳﻮ ُل‬
ّ ‫ﻳﺮﻓـﻠـﻪ‬
‫ذاك ﻣﺎ ﺳ‬
‫وﺣﻜﻤﻚ‬
‫اﻟـﻌـﻮادي‬
‫اﷲ ﻻ ﺗﺨـﺶ‬
‫أﻋﺒـﺪ‬
political approval of the religious rules apply in the capital your reward
‫اﻟﻘـﺒـﻮ ُل‬
‫اﻟﺮﺣـﻤـﻦ‬
‫أﺟـﺮًا‬acceptance
‫اﻟﺤﺮﻣﻴـﻦ‬
‫ﻟﺘﺨـﺪم‬
‫ﺖ‬
َ ‫ﺳﻠﻤ‬
deed
‫ﻞ‬
ُ
‫ﺻﻘﻴـ‬
‫ﻒ‬
ٌ
‫ﺳﻴـ‬
‫ﻊ‬
ٌ
‫ﻗﺎﻃ‬
‫وﺻﺪﻗﻚ‬
‫ﻞ‬
ٌ
‫وﻓـﺼـ‬
‫ﻞ‬
ٌ
‫أﺻــ‬
‫ﻊ‬
ٌ
‫ﻧﺎﺻـ‬
‫وﻗﻮﻟـﻚ‬
city in Najd
signify
between
the
‫اﻟﻨﺨﻴـ ُﻞ‬
‫ﻣﻌﺎﻧﻴﻬﺎ‬the
‫ﻣﻦ‬strong
‫وﺗﺮﻗﺺ‬relationship
‫اﻟـﺴـﺮاة ﺑـﻜـﻞ ﻓـﺨــ ٍﺮ‬
‫وﺗﻌﺰﻓـﻬـﺎ‬
political and religious references, a fact that does not exist
‫ﺻﻘﻴـ ُﻞ‬
‫ﻒ‬
ٌ ‫ﻦﺳﻴـ‬
‫وﺻﺪﻗﻚ‬
‫وﻓـﺼـ ٌﻞ‬
‫ﺗﺨـﺶأﺻــ ٌﻞ‬
‫وﻗﻮﻟـﻚ ﻻﻧﺎﺻـ ٌﻊ‬
‫اﻟﺮﺳﻮ ُل‬
ّ ‫ﻗﺎﻃ ٌﻊﺳ‬
‫ذاك ﻣﺎ‬
‫وﺣﻜﻤﻚ‬
‫اﻟـﻌـﻮادي‬
‫أﻋﺒـﺪ اﷲ‬
‫ب رﺣـﻴـ ٌﻢ وإﻧﻚ ﻓﻲ اﻟﻮﻏﻰ أﺳ ٌﺪ ﺻـﺆو ُل‬
ٌ ‫وإﻧـﻚ ﻓــﻲ اﻟـﺴـﻼم أ‬
in most countries.
values
cannot‫ﻧﺠـ ٍﺪ‬
be ‫آـﻞ‬
easily
attained
‫ ﺗــــﺠــــﻮ ُل‬These
‫ﻣـــﻌــــﺰزة‬
‫ﻣــﻌــﻄـــﺮة‬
‫اﻟﺼﺒﺎ ﻓﻲ‬
‫وﻳﺤﻤﻠﻬﺎ‬Oh Abdullah
fear not the enemies, and your ruling is
in the target culture if the translator is not acknowledged but an implementation
‫ﺻـﺆو ُل‬
‫اﻟﻮﻏﻰ‬
‫وإﻧﻚ‬
‫رﺣـﻴـ ٌﻢ‬
‫ب‬
ٌ ‫اﻟـﺴـﻼم ٌﻞأ‬
‫وﻗﻮﻟـﻚ ﻓــﻲ‬
‫وإﻧـﻚ‬
of‫وﺻﺪﻗﻚ‬
the prophet’s
Sunnah
‫أﺳ ٌﺪﺻﻘﻴـ ُﻞ‬
‫ﻒ‬
ٌ ‫ﺳﻴـ‬
‫ﻓﻲﻗﺎﻃ ٌﻊ‬
‫وﻓـﺼـ ٌﻞ‬
‫أﺻــ‬
‫ﻧﺎﺻـ ٌﻊ‬
‫وﺗﺪﻣﻊ إن رأﻳﺖ اﻟﻄﻔﻞ ﻳﺒﻜـﻲ آـﺄﻧــﻚ ﻇــــﻞ واﻟــــﺪﻩ اﻟـﻈـﻠـﻴـ ُﻞ‬
enough in ‫ُﻞ‬the
Saudi‫ﺗـﻮﺣــﺪﻧــﺎ‬
culture,‫ﻳـﻨـﻐـﻤـﻬـﺎ‬
which has
taken
as
‫اﻟـﺠـﻤـﻴــ‬
‫ﺣـﺠـﺎ ٌز‬
‫ﻧـﺠـﺪ‬Shari’ah
‫وﻳﻬﺘـﻒ ﻳﺎ ﺻـﺒـﺎ‬
The fact that the Kingdom of Saudi Arabia embraces
the source of rules and authorities.
‫اﻟـﻈـﻠـﻴـ ُﻞ‬
‫واﻟــــﺪﻩ‬
‫آـﺄﻧــﻚﻓﻲﻇــــﻞ‬
‫رأﻳﺖ‬
‫إن‬
‫ﺻـﺆو ُل‬
‫اﻟﻮﻏﻰ أﺳ ٌﺪ‬
‫وإﻧﻚ‬
‫اﻟﻄﻔﻞرﺣـﻴـ‬
‫ب‬
ٌ ‫اﻟـﺴـﻼم أ‬
‫وﺗﺪﻣﻊﻓــﻲ‬
‫وإﻧـﻚ‬
the abode
of Islam,
where
the ‫ﻳﺒﻜـﻲٌﻢ‬
message
of
Islam
was
‫ل‬
ُ
‫ﻳـﻄـﻮ‬
‫ﻼ‬
ً
‫ﻟﻴـ‬
‫ﻋﻨﻬﻤـﻮ‬
‫ﺮ‬
ُ
‫وﺗﺴﻬـ‬
‫ﺎ‬
ً
‫أﻣﻨـ‬
‫اﻟﻨﺎس‬
‫ﻳﻌﻴﺶ‬
‫وهﻤّﻚ أن‬
‫ت ﺷـﻬـ ٌﻢ وﻳﺨﻀﻊ إن أردت اﻟﻤﺴﺘﺤﻴ ُﻞ‬
ِ ‫ ﻷﻧـﻚ ﻓـﺎرس اﻷزﻣــﺎ‬revealed, has given it a unique significance worldwide.
‫ﻳـﻄـﻮ ُل‬
ً‫واﻟــــﺪﻩ ﻟﻴـﻼ‬
‫ﻋﻨﻬﻤـﻮ‬
‫آـﺄﻧــﻚوﺗﺴﻬـ ُﺮ‬
‫ﻳﺒﻜـﻲ أﻣﻨـ ًﺎ‬
‫اﻟﻨﺎس‬
‫ﻳﻌﻴﺶ‬
‫أن‬
‫إنّﻚ‬
‫وﺗﺪﻣﻊوهﻤ‬
family
has given
enough
care
and‫رأﻳﺖ‬
interest
to
‫اﻟـﻈـﻠـﻴـ ُﻞ‬
‫ﻇــــﻞ‬
‫اﻟﻄﻔﻞ‬
As you are the chivalrous knight of crises, the The ruling
‫ﻞ‬
ُ
‫اﻟﺨـﻠـﻴـ‬
‫ﻞ‬
‫ﱡ‬
‫اﻟـﺨــ‬
‫ﻣﻨﻬـﻤـﻮ‬
‫ﻞ‬
ٍ
‫ﻟـﻜـ‬
‫ﺖ‬
َ
‫ﺣـﺰﻧـ‬
‫وإن‬
‫ﻓـﺮﺣـﺖ‬
‫وإﻧـﻚ إن‬
‫ﻳﻜـﻮن هـﻮ‬to‫أن‬your
‫ﻟﺪرﺑـﻚ‬will
‫ﺖ آﺘﺎب رﺑﻚ ﺧﻴـﺮ ﻧـﻮ ٍر‬
َ ‫رﺿﻴ‬
this divine religion, and at all levels. As his ancestors,
impossible‫اﻟﺪﻟﻴـ ُﻞ‬
is subdued
‫اﻟﺨـﻠـﻴـ ُﻞ‬
‫ﻣﻨﻬـﻤـﻮ‬
‫ﺖ ﻟـﻜـ ٍﻞ‬
َthe
‫ﻓـﺮﺣـﺖ وإن‬
did‫ﻋﻨﻬﻤـﻮ‬
not cease
‫اﻟـﺨــﻼً ﱡﻞﻳـﻄـﻮ ُل‬
‫ﻟﻴـ‬
‫وﺗﺴﻬـ ُﺮ‬
‫ﺣـﺰﻧـًﺎ‬
‫ أﻣﻨـ‬tradition
‫اﻟﻨﺎس‬
‫ﻳﻌﻴﺶ‬of‫إنأن‬caring
‫وإﻧـﻚّﻚ‬
‫وهﻤ‬
The Middle East in general and the Arab region in King Abdullah
‫ﻳــﺰو ُل‬
‫ﻻ‬Muslims
‫ﻓــﻲ اﻟﺤﻨـﺎﻳـﺎ‬in‫وﺣـﺒـ ًﺎ‬
‫اﻟﺘﻔـﺎﻧـﻲ‬
‫ أﻓﺌـﺪة‬stemming
‫ف اﻟﺸﻌـﺐ‬
ُ ‫ﻳـﺰ‬
about
Islam
and
different
areas,
‫ل‬
ُ
‫اﻟﻘـﺒـﻮ‬
‫ﻳﺮﻓـﻠـﻪ‬
‫اﻟﺮﺣـﻤـﻦ‬
‫ﻣــﻦ‬
‫ا‬
ً
‫أﺟـﺮ‬
‫اﻟﺤﺮﻣﻴـﻦ‬
‫ﻟﺘﺨـﺪم‬
‫ﺖ‬
َ
‫ﺳﻠﻤ‬
particular have witnessed continuing problems over the
and
Sunnah.
The
Two‫ف‬
‫ﻳــﺰو ُل‬
‫ﻻ‬of‫اﻟﺤﻨـﺎﻳـﺎ‬
‫ﻓــﻲ‬
‫وﺣـﺒـ ًﺎ‬
‫اﻟﺘﻔـﺎﻧـﻲ‬
‫اﻟﺸﻌـﺐ‬
ُ‫إن‬Holy
‫ﻳـﺰ‬
‫اﻟﺨـﻠـﻴـ ُﻞ‬
‫ﱡﻞ‬the
‫اﻟـﺨــ‬Qur’an
‫ﻣﻨﻬـﻤـﻮ‬
‫ﻟـﻜـ ٍﻞ‬
‫ﺖ‬
َ ‫أﻓﺌـﺪةﺣـﺰﻧـ‬
‫وإن‬
‫ﻓـﺮﺣـﺖ‬
‫وإﻧـﻚ‬
last few decades, among which was the Arab and the the approach
‫ل‬
ُ
‫ﺗـﻘــﻮ‬
‫ﻣـــﺎ‬
‫ـﺔ‬
‫ﺑﺎﻟﻤﺤـﺒ‬
‫ﺳﻨﺘـﺒـﻊ‬
‫أﻟﻴﻤﻴﻨﺎ‬
‫ﺪ‬
ّ
‫ﻣـــ‬
‫ﻣﻠﻴـﻜـﻨـﺎ‬
‫ﻓـﺄﻧــﺖ‬
Mosques,
for
example,
have
been
tremendously
looked
‫ل‬
ُ
‫اﻟﺮﺳﻮ‬
‫ﻦ‬
ّ
‫ﺳ‬
‫ﻣﺎ‬
‫ذاك‬
‫وﺣﻜﻤﻚ‬
‫اﻟـﻌـﻮادي‬
‫ﺗﺨـﺶ‬
‫ﻻ‬
‫اﷲ‬
‫أﻋﺒـﺪ‬
Muslim’s central question, the Palestinian issue. The
the
reign,
and
this
can
be ‫ﻓـﺄﻧــﺖ‬
clearly
‫ﺗـﻘــﻮ ُل‬
‫ـﺔ‬Saudi
‫ﻓــﻲﺑﺎﻟﻤﺤـﺒ‬
‫ﺳﻨﺘـﺒـﻊ‬
‫أﻓﺌـﺪةﻣـــ ّﺪ‬
‫ﻣﻠﻴـﻜـﻨـﺎ‬
Kingdom has been supporting the Arabs and Muslims, after during
‫ﻣـــﺎﻳــﺰو ُل‬
‫اﻟﺤﻨـﺎﻳـﺎ ﻻ‬
‫أﻟﻴﻤﻴﻨﺎوﺣـﺒـ ًﺎ‬
‫اﻟﺘﻔـﺎﻧـﻲ‬
‫اﻟﺸﻌـﺐ‬
‫ف‬
ُ ‫ﻳـﺰ‬
observed
during
the
pilgrimage
period,
where
services
and
due to the‫ ُﻞ‬pivotal
role‫ﻊ‬
it enjoys
the Arab,
and
‫ﻒ ﺻﻘﻴـ‬
ٌ ‫ﺳﻴـ‬
ٌ ‫ﻗﺎﻃ‬
‫وﺻﺪﻗﻚ‬at‫وﻓـﺼـ ٌﻞ‬
‫أﺻــ ٌﻞ‬Muslim,
‫وﻗﻮﻟـﻚ ﻧﺎﺻـ ٌﻊ‬
facilities
are
offered
to
the
pilgrim
guests.
Not
only
this,
international levels. Not only this, the Kingdom is catering
‫ﻓـﺄﻧــﺖ ﻣﻠﻴـﻜـﻨـﺎ ﻣـــ ّﺪ أﻟﻴﻤﻴﻨﺎ ﺳﻨﺘـﺒـﻊ ﺑﺎﻟﻤﺤـﺒـﺔ ﻣـــﺎ ﺗـﻘــﻮ ُل‬
for the internal
and‫ﻓﻲ‬
does
the possible
in applying the rules of Islam in people’s affairs is another
‫ﺻـﺆو ُل‬affairs,
‫اﻟﻮﻏﻰ أﺳ ٌﺪ‬
‫وإﻧﻚ‬all‫رﺣـﻴـ ٌﻢ‬
‫ب‬
ٌ ‫اﻟـﺴـﻼم أ‬efforts
‫وإﻧـﻚ ﻓــﻲ‬
order to provide a decent life for its population. For all the
insurmountable
facing
neighboring
states,
‫اﻟـﻈـﻠـﻴـ ُﻞ‬challenges
‫ﻇــــﻞ واﻟــــﺪﻩ‬
‫آـﺄﻧــﻚ‬the
‫ﻳﺒﻜـﻲ‬
‫إن رأﻳﺖ اﻟﻄﻔﻞ‬
‫وﺗﺪﻣﻊ‬
the Kingdom managed to get out intact thanks to the wise
and far-sighted
of the‫وﺗﺴﻬـ ُﺮ‬
King. ‫وهﻤّﻚ أن ﻳﻌﻴﺶ اﻟﻨﺎس أﻣﻨـ ًﺎ‬
‫ﻳـﻄـﻮ ُل‬vision
ً‫ﻋﻨﻬﻤـﻮ ﻟﻴـﻼ‬
It is thus no strange that the poet is expressing what
he has observed
and ‫ﻣﻨﻬـﻤـﻮ‬
felt, being
Saudi
citizen.
‫اﻟـﺨــ ﱡﻞ اﻟﺨـﻠـﻴـ ُﻞ‬
‫ﺖ ﻟـﻜـ ٍﻞ‬
َ a‫ﺣـﺰﻧـ‬
‫ﻓـﺮﺣـﺖ وإن‬
‫ إن‬Of
‫وإﻧـﻚ‬
course, this the feeling of the Saudis who have enjoyed
their rights and have been living decently and securely
‫ف اﻟﺸﻌـﺐ أﻓﺌـﺪة اﻟﺘﻔـﺎﻧـﻲ وﺣـﺒـ ًﺎ ﻓــﻲ اﻟﺤﻨـﺎﻳـﺎ ﻻ ﻳــﺰو ُل‬
ُ ‫ﻳـﺰ‬
during the period of the Saudi family after the unification
of this outstretched Kingdom. The ruling family has
‫ﺗـﻘــﻮ ُل‬and
‫ﻣـــﺎ‬equality
‫ ﺑﺎﻟﻤﺤـﺒـﺔ‬among
‫أﻟﻴﻤﻴﻨﺎ ﺳﻨﺘـﺒـﻊ‬
‫ﻣـــ ّﺪ‬on‫ﻣﻠﻴـﻜـﻨـﺎ‬
‫ﻓـﺄﻧــﺖ‬
created justice
people
the basis
of
Shari’ah, without which it seems impossible to achieve
social harmony between the tribal structure; it is thus with
the real will that the impossible has become reality and
turned true and practical.
Translating the verse under discussion literally, the
translator would collide with many linguistic, social,
cultural, political, religious, and emotive problems.
Copyright © Canadian Academy of Oriental and Occidental Culture
36
example, where such rules are equally applied without
distinguishing between people in the Kingdom, whether
being Muslims and non-Muslims.
On the national day, people express their happy feelings
and point out the political and the religious of the ruling
family. The fact that King Abdullah, and of course his
ancestors, has adopted the Qur’an as guidance is clear in
addressing the King in the verse “You have accepted your
God’s book (The Holy Qur’an) as the best light of guidance
to your path”. This can explicate the idea that the Qur’an
and Sunnah are practically implemented in the Kingdom,
where religious approach is clear in all people’s affairs,
if compared with other Islamic states, where secularism
can be clearly observed. The only recompense the King
is awaiting from the care of the Two Holy Mosques is the
award from Allah; this is clear in the verse “Delivered
to look after the Two Holy Mosques and your reward is
increased by God’s acceptance of your deed”. The idea that
‫ﺳﻼﻣﺎ اﻳﻬﺎ اﻟﻤﻠﻚ اﻟﺠﻠﻴﻞ وﻋﻬﺪا ﻻ ﻳﺤﻴﺪ وﻻ ﻳﻤﻴﻞ‬
‫أﺣﺎور ﻓﻴﻚ ﺷﻌﺮي وهﻮ ﺑﺤﺮ ﻓﻴﺼﻤﺖ ﻓﻲ ﻣﻘﺎﻣﻚ ﻻ ﻳﻘﻮل‬
‫ﻗﻠﻴﻞ‬
‫زدتﻻﻓﻲ‬
‫وﻣﻬﻤﺎ‬
‫ﻣﺪﺣﻲ‬
‫وﺻﻔﻲﻳﻤﻴﻞ‬
‫ﻳﺤﻴﺪ وﻻ‬
‫وﻋﻬﺪا‬
‫اﻟﺠﻠﻴﻞ‬
‫ﻓﻮقاﻟﻤﻠﻚ‬
‫ﻣﻠﻴﻜﻲاﻳﻬﺎ‬
‫ﻷﻧﻚ ﻳﺎﺳﻼﻣﺎ‬
‫أﺣﺎور ﻓﻴﻚ ﺷﻌﺮي وهﻮ ﺑﺤﺮ ﻓﻴﺼﻤﺖ ﻓﻲ ﻣﻘﺎﻣﻚ ﻻ ﻳﻘﻮل‬
B. Al-Azzam; M. Al-Ahaydib; M. Shalaby (2014).
‫وﺻﻔﻲ ﻗﻠﻴﻞ‬
‫ﻳﻤﻴﻞ‬
‫زدت ﻻﻓﻲﻳﺤﻴﺪ وﻻ‬
‫وﻣﻬﻤﺎوﻋﻬﺪا‬
‫ﻣﺪﺣﻲاﻟﺠﻠﻴﻞ‬
‫ﻓﻮقاﻟﻤﻠﻚ‬
‫ﻣﻠﻴﻜﻲ اﻳﻬﺎ‬
‫ﻷﻧﻚ ﻳﺎ ﺳﻼﻣﺎ‬
Studies in Literature and Language, 9 (3), 30-39
‫اﻟﻨﺒﻴﻞ‬
‫واﻟﻘﻠﻢ‬
‫اﻟﺤﺮف‬
‫وﻳﺴﻤﻮ‬
‫اﻟﻤﻌﺎﻟﻲ‬
‫ﺑﻪ‬
‫ﺗﻌﺰ‬
‫ﻣﻦ‬
‫وأﻧﺘﻢ‬
‫أﺣﺎور ﻓﻴﻚ ﺷﻌﺮي وهﻮ ﺑﺤﺮ ﻓﻴﺼﻤﺖ ﻓﻲ ﻣﻘﺎﻣﻚ ﻻ ﻳﻘﻮل‬
‫ﻷﻧﻚ ﻳﺎ ﻣﻠﻴﻜﻲ ﻓﻮق ﻣﺪﺣﻲ وﻣﻬﻤﺎ زدت ﻓﻲ وﺻﻔﻲ ﻗﻠﻴﻞ‬
‫واﻟﻘﻠﻢﻻاﻟﻨﺒﻴﻞ‬
‫ﺑﺤﺮوﻳﺴﻤﻮ‬
‫اﻟﻤﻌﺎﻟﻲ‬
‫ﻣﻦ ﺗﻌﺰ ﺑﻪ‬
‫ﻳﻘﻮل‬
‫اﻟﺤﺮفﻣﻘﺎﻣﻚ‬
‫ﻓﻴﺼﻤﺖ ﻓﻲ‬
‫ﺷﻌﺮي وهﻮ‬
‫وأﻧﺘﻢ ﻓﻴﻚ‬
‫أﺣﺎور‬
‫ﻳﺴﻴﻞ‬
‫ﺣﺒﺎ‬
‫ﻣﻬﺠﺘﻲ‬
‫وأﺑﻌﺚ‬
‫ﺗﺸﺎء‬
‫ﻣﺎ‬
‫ﻟﻠﻘﻮاﻓﻲ‬
‫ﺳﺄﺗﺮك‬
‫ﻗﻠﻴﻞ‬
‫وﺻﻔﻲ‬
‫ﻓﻲ‬
‫زدت‬
‫وﻣﻬﻤﺎ‬
‫ﻣﺪﺣﻲ‬
‫ﻓﻮق‬
‫ﻣﻠﻴﻜﻲ‬
‫ﻷﻧﻚ‬
the King is putting his trust in God has made him ‫ﻳﺎ‬satisfied
The wise leader is the one who acts and reacts
‫وأﻧﺘﻢ ﻣﻦ ﺗﻌﺰ ﺑﻪ اﻟﻤﻌﺎﻟﻲ وﻳﺴﻤﻮ اﻟﺤﺮف واﻟﻘﻠﻢ اﻟﻨﺒﻴﻞ‬
‫وﺻﻔﻲﻳﺴﻴﻞ‬
‫ﺣﺒﺎ‬enemies
‫ﻣﻬﺠﺘﻲ‬
‫وأﺑﻌﺚ‬
‫ﺗﺸﺎء‬
‫ﻟﻠﻘﻮاﻓﻲ ﻣﺎ‬
‫ﺳﺄﺗﺮك‬
and fearless
of
or‫وﻣﻬﻤﺎ‬
opponents.
This
is clear
‫ﻗﻠﻴﻞ‬
‫زدت ﻓﻲ‬
‫ﻣﺪﺣﻲ‬
‫ﻓﻮق‬
‫ﻣﻠﻴﻜﻲ‬
‫ﻷﻧﻚ ﻳﺎ‬in the according to situations and circumstances; as the situation
‫واﻟﺴـﻬـﻮل‬
‫ﺐ‬
ٍ ‫ﻗـﻠـ‬and
‫اﻟﻤﺤـﺒـﺔ‬
‫ﻳﺴﺎﺑﻘـﻨـﻲ‬
‫اﻟـﺮواﺑـﻲواﻟﻘﻠﻢ اﻟﻨﺒﻴﻞ‬
‫اﻟﺤﺮف‬
‫وﻳﺴﻤﻮ‬
‫اﻟﻤﻌﺎﻟﻲ‬
‫ﺗﻌﺰآــﻞﺑﻪ‬your
‫وأﻧﺘﻢ ﻣﻦ‬
line “Oh Abdullah
fear
not ‫وﺗﻨﺸـﺮهـﺎ‬
the enemies,
ruling
is in the region is unsettled, the King has done enough
‫ﻳﺴﻴﻞ‬
‫ﺣﺒﺎ‬
‫ﻣﻬﺠﺘﻲ‬
‫وأﺑﻌﺚ‬
‫ﺗﺸﺎء‬
‫ﻣﺎ‬
‫ﻟﻠﻘﻮاﻓﻲ‬
‫ﺳﺄﺗﺮك‬
but an implementation
the prophet’s
‫واﻟﺴـﻬـﻮل‬
‫وﺗﻨﺸـﺮهـﺎ‬
‫ﺐ‬
ٍ ‫ﺑﻪﻗـﻠـ‬Sunnah”.
‫آــﻞ‬
‫اﻟﻨﺒﻴﻞ‬
‫اﻟـﺮواﺑـﻲواﻟﻘﻠﻢ‬
‫اﻟﺤﺮف‬of‫وﻳﺴﻤﻮ‬
‫اﻟﻤﻌﺎﻟﻲ‬
‫اﻟﻤﺤـﺒـﺔﺗﻌﺰ‬
‫ ﻳﺴﺎﺑﻘـﻨـﻲوأﻧﺘﻢ ﻣﻦ‬efforts to keep his people secure and safe. However, if any
‫ﺣﺒﺎاﻟﻨﺨﻴـ‬
‫ﻣﻌﺎﻧﻴﻬﺎ‬
‫وأﺑﻌﺚﻣﻦ‬
‫وﺗﺮﻗﺺ‬
‫ﻓـﺨــ ٍﺮ‬
‫اﻟـﺴـﺮاة ﺑـﻜـﻞ‬
‫ﻣﻬﺠﺘﻲ‬
‫ﺗﺸﺎء‬
‫ﻟﻠﻘﻮاﻓﻲ ﻣﺎ‬
‫ وﺗﻌﺰﻓـﻬـﺎ ﺳﺄﺗﺮك‬danger is imposed upon his people, he will react bravely
What ‫ﻳﺴﻴﻞُﻞ‬
makes
translating
these
lines
problematic
‫واﻟﺴـﻬـﻮل‬
‫اﻟـﺮواﺑـﻲ‬
‫وﺗﻨﺸـﺮهـﺎ‬
‫ﺐ‬
ٍ
‫ﻗـﻠـ‬
‫آــﻞ‬
‫اﻟﻤﺤـﺒـﺔ‬
‫ ﻳﺴﺎﺑﻘـﻨـﻲ‬and boldly. This is expressed in the line “In peace you
is being‫ﻳﺴﻴﻞ‬
heavily
overloaded
national,
‫اﻟﻨﺨﻴـ ُﻞ‬
‫وأﺑﻌﺚﻣﻦ‬
‫وﺗﺮﻗﺺ‬
‫ﻓـﺨــ ٍﺮ‬
‫اﻟـﺴـﺮاة ﺑـﻜـﻞ‬
‫وﺗﻌﺰﻓـﻬـﺎ‬
‫ﻣﻌﺎﻧﻴﻬﺎﺣﺒﺎ‬
‫ﻣﻬﺠﺘﻲ‬
‫ﺗﺸﺎء‬with
‫ﻟﻠﻘﻮاﻓﻲ ﻣﺎ‬
‫ﺳﺄﺗﺮك‬religious,
‫ل‬
ُ
‫ﺗــــﺠــــﻮ‬
‫ﻣـــﻌــــﺰزة‬
‫ﻣــﻌــﻄـــﺮة‬
‫ﺪ‬
ٍ
‫ﻧﺠـ‬
‫آـﻞ‬
‫ﻓﻲ‬
‫اﻟﺼﺒﺎ‬
‫ وﻳﺤﻤﻠﻬﺎ‬are a merciful father, and in battlefield an assailing lion.”
cultural, social,
and
political
allusions.
Target
language
‫واﻟﺴـﻬـﻮل‬
‫اﻟـﺮواﺑـﻲ‬
‫وﺗﻨﺸـﺮهـﺎ‬
‫ﺐ‬
ٍ ‫آــﻞ ﻗـﻠـ‬
‫اﻟﻤﺤـﺒـﺔ‬
‫ﻳﺴﺎﺑﻘـﻨـﻲ‬
‫ﻞ‬
ُ
‫اﻟﻨﺨﻴـ‬
‫ﻣﻌﺎﻧﻴﻬﺎ‬
‫ﻣﻦ‬
‫وﺗﺮﻗﺺ‬
‫ﺮ‬
ٍ
‫ﻓـﺨــ‬
‫ﺑـﻜـﻞ‬
‫اﻟـﺴـﺮاة‬
‫وﺗﻌﺰﻓـﻬـﺎ‬
readers ‫واﻟﺴـﻬـﻮل‬
comprehend
the
of
the‫اﻟﺼﺒﺎ‬
national
‫ُل‬would
‫ﺗــــﺠــــﻮ‬not
‫ﻣـــﻌــــﺰزة‬
‫ﻣــﻌــﻄـــﺮة‬
‫ٍﺪ‬idea
‫ﻧﺠـ‬
‫ﻓﻲ‬
‫ وﻳﺤﻤﻠﻬﺎ‬Social closeness is another merit of the King as illustrated
‫اﻟـﺮواﺑـﻲ‬
‫وﺗﻨﺸـﺮهـﺎ‬
‫ﺐ‬
ٍ ‫ﻗـﻠـ‬
‫آـﻞآــﻞ‬
‫اﻟﻤﺤـﺒـﺔ‬
‫ﻳﺴﺎﺑﻘـﻨـﻲ‬
‫اﻟـﺠـﻤـﻴــ‬
‫ﺗـﻮﺣــﺪﻧــﺎ‬
‫ﻳـﻨـﻐـﻤـﻬـﺎ‬
‫ٌز‬Kingdom
‫ﺣـﺠـﺎ‬
‫وﺗﻌﺰﻓـﻬـﺎﺻـﺒـﺎ‬
‫ﻳﺎ‬and
‫ وﻳﻬﺘـﻒ‬in “Your tears drop down when you see an infant crying
celebration,
where
people
over
the
recall
‫اﻟﻨﺨﻴـ ُﻞُﻞ‬
‫ﻣﻌﺎﻧﻴﻬﺎ‬
‫وﺗﺮﻗﺺ ﻣﻦ‬
‫ﻓـﺨــ ٍﺮ‬
‫ﻧـﺠـﺪﺑـﻜـﻞ‬
‫اﻟـﺴـﺮاة‬
‫ل‬
ُ
‫ﺗــــﺠــــﻮ‬
‫ﻣـــﻌــــﺰزة‬
‫ﻣــﻌــﻄـــﺮة‬
‫ﺪ‬
ٍ
‫ﻧﺠـ‬
‫آـﻞ‬
‫ﻓﻲ‬
‫اﻟﺼﺒﺎ‬
‫ﺤﻤﻠﻬﺎ‬
‫وﻳ‬
commemorate
the‫ﺗـﻮﺣــﺪﻧــﺎ‬
values and
merits
of the ruling
family
‫اﻟـﺠـﻤـﻴــ‬
‫ﻳـﻨـﻐـﻤـﻬـﺎ‬
‫ﺻـﺒـﺎ‬
‫ وﻳﻬﺘـﻒ ﻳﺎ‬as if you were the father.” The last two lines reveal the
‫اﻟﻨﺨﻴـُﻞ ُﻞ‬
‫ﻣﻌﺎﻧﻴﻬﺎ‬
‫وﺗﺮﻗﺺ ﻣﻦ‬
‫ﺣـﺠـﺎ ٌزﻓـﺨــ ٍﺮ‬
‫ﻧـﺠـﺪ ﺑـﻜـﻞ‬
‫اﻟـﺴـﺮاة‬
‫وﺗﻌﺰﻓـﻬـﺎ‬
in establishing
this‫أردت‬
Kingdom
of justice
equality.
‫اﻟﻤﺴﺘﺤﻴ ُلُﻞ‬
‫وﻳﺨﻀﻊ إن‬
‫ت ﺷـﻬـ ٌﻢ‬
ِ‫ ٍﺪ‬and
‫اﻷزﻣــﺎ‬
‫ﻓـﺎرس‬
‫ﻷﻧـﻚ‬
‫ﺗــــﺠــــﻮ‬
‫ﻣـــﻌــــﺰزة‬
‫ﻣــﻌــﻄـــﺮة‬
‫ﻧﺠـ‬
‫آـﻞ‬
‫ﻓﻲ‬
‫اﻟﺼﺒﺎ‬They
‫وﻳﺤﻤﻠﻬﺎ‬intimate relationship between the community and the
‫اﻟـﺠـﻤـﻴــ ُﻞ‬
‫ﻳـﻨـﻐـﻤـﻬـﺎ ﺗـﻮﺣــﺪﻧــﺎ‬
‫ﻧـﺠـﺪ ﺣـﺠـﺎ‬
‫ﺻـﺒـﺎ‬Muslim
‫ وﻳﻬﺘـﻒ ﻳﺎ‬ruler, a relationship that may not be experienced likewise
would not
also understand
that, ‫ٌز‬unlike
other
‫أردت اﻟﻤﺴﺘﺤﻴ‬
‫وﻳﺨﻀﻊ إن‬
‫تٍﺪ ﺷـﻬـ ٌﻢ‬
ِ‫اﻷزﻣــﺎﻧﺠـ‬
‫ﺗــــﺠــــﻮ ُﻞُل‬
‫ﻣـــﻌــــﺰزة‬
‫ﻣــﻌــﻄـــﺮة‬
‫ﻓـﺎرسﻓﻲ‬
‫ﻷﻧـﻚاﻟﺼﺒﺎ‬
‫ﺤﻤﻠﻬﺎ‬
countries,
implementation
of Islam
is‫آـﻞ‬
manifest
all‫ وﻳ‬in other communities.
‫اﻟﺪﻟﻴـُﻞ ُﻞ‬
‫ﻳﻜـﻮن هـﻮ‬
‫ﻟﺪرﺑـﻚ أن‬
‫ﺧﻴـﺮٌز ﻧـﻮ ٍر‬
‫رﺑﻚ‬
‫آﺘﺎب‬
‫ﺖ‬
َ in
‫رﺿﻴ‬
‫اﻟـﺠـﻤـﻴــ‬
‫ﺗـﻮﺣــﺪﻧــﺎ‬
‫ﻳـﻨـﻐـﻤـﻬـﺎ‬
‫ﺣـﺠـﺎ‬
‫ﻧـﺠـﺪ‬
‫ﺻـﺒـﺎ‬
‫وﻳﻬﺘـﻒ ﻳﺎ‬
branches
of life‫أردت‬
in the
Kingdom,
this is‫ﻓـﺎرس‬
due ‫ﻷﻧـﻚ‬
to the
‫اﻟﻤﺴﺘﺤﻴ ُﻞ‬
‫وﻳﺨﻀﻊ إن‬
‫ﺷـﻬـ ٌﻢ‬and
‫ت‬
ِ ‫اﻷزﻣــﺎ‬
Fathers in traditional communities, like the Saudi one,
‫اﻟﺪﻟﻴـ ُﻞُﻞ‬
‫ﺗـﻮﺣــﺪﻧــﺎ هـﻮ‬
‫ﻳﻜـﻮن‬
‫أن‬and
‫ﻟﺪرﺑـﻚ‬
‫ٍر‬care
‫ﺣـﺠـﺎ ٌزﻧـﻮ‬
‫ﺧﻴـﺮ‬
‫رﺑﻚ‬
‫آﺘﺎب‬
َ ‫رﺿﻴ‬
‫اﻟـﺠـﻤـﻴــ‬
‫ﻳـﻨـﻐـﻤـﻬـﺎ‬
‫ﻧـﺠـﺪ‬Islamic
‫ﺖﺻـﺒـﺎ‬
‫ﻳﺎ‬rules.
‫وﻳﻬﺘـﻒ‬
directions
of the‫ﻳﺮﻓـﻠـﻪ‬
King,‫اﻟﺮﺣـﻤـﻦ‬
his‫ﻣــﻦ‬
of ‫اﻟﺤﺮﻣﻴـﻦ‬
the
are
given sufficient importance, adequate respect, ample
‫اﻟﻘـﺒـﻮ ُﻞُل‬
‫ا‬
ً
‫أﺟـﺮ‬
‫ﻟﺘﺨـﺪم‬
‫ﺖ‬
َ
‫ﺳﻠﻤ‬
‫ت ﺷـﻬـ ٌﻢ وﻳﺨﻀﻊ إن أردت اﻟﻤﺴﺘﺤﻴ‬
ِ ‫ﻷﻧـﻚ ﻓـﺎرس اﻷزﻣــﺎ‬
Therefore,
supporting
are‫ﻧـﻮ ٍر‬
necessary
point
out all reverence, and high prestige, and are held in esteem.
‫اﻟﺪﻟﻴـ ُﻞ‬
‫ﻳﻜـﻮن هـﻮ‬details
‫ﻟﺪرﺑـﻚ أن‬
‫رﺑﻚ ﺧﻴـﺮ‬to‫آﺘﺎب‬
‫ﺖ‬
َ ‫رﺿﻴ‬
‫ﻳﺮﻓـﻠـﻪ اﻟﻘـﺒـﻮ‬
‫اﻟﺮﺣـﻤـﻦ‬
‫ﻣــﻦ‬
‫تأﺟـﺮًا‬
‫ﻷﻧـﻚﻟﺘﺨـﺪم‬
‫ﺖ‬
َ ‫ﺳﻠﻤ‬
‫اﻟﻤﺴﺘﺤﻴ ُلُﻞ‬
‫أردت‬
‫وﻳﺨﻀﻊ إن‬
‫ﺷـﻬـ ٌﻢ‬
ِ ‫اﻟﺤﺮﻣﻴـﻦ‬
‫اﻷزﻣــﺎ‬
‫ﻓـﺎرس‬
those meanings
that
are
idiosyncratic
and peculiar
to
the Fathers are sometimes sworn by, though religiously
‫هـﻮاﻟﺮﺳﻮ‬
‫ﻦ‬
ّ ‫ﻳﻜـﻮنﺳ‬
‫ﻣﺎ‬
‫ذاك‬
‫ﺖاﷲ ﻻ‬
‫أﻋﺒـﺪ‬
‫اﻟﺪﻟﻴـ ُلُﻞ‬
‫وﺣﻜﻤﻚأن‬
‫اﻟـﻌـﻮاديٍر ﻟﺪرﺑـﻚ‬
‫ﺗﺨـﺶ ﺧﻴـﺮ ﻧـﻮ‬
‫آﺘﺎب رﺑﻚ‬
َ ‫رﺿﻴ‬
source text.
forbidden, a fact that indicates sacredness and reverence.
‫ﺖ ﻟﺘﺨـﺪم اﻟﺤﺮﻣﻴـﻦ أﺟـﺮًا ﻣــﻦ اﻟﺮﺣـﻤـﻦ ﻳﺮﻓـﻠـﻪ اﻟﻘـﺒـﻮ ُل‬
َ ‫ﺳﻠﻤ‬
‫اﻟﺮﺳﻮ‬
ّ‫ﺳ‬
‫ذاك ﻣﺎ‬
‫اﻟـﻌـﻮادي ٍروﺣﻜﻤﻚ‬
‫ﺗﺨـﺶ‬
‫اﷲ ﻻ‬
‫أﻋﺒـﺪ‬
‫اﻟﺪﻟﻴـُل ُﻞ‬
‫ﻦهـﻮ‬
‫ﻳﻜـﻮن‬
‫ﻟﺪرﺑـﻚ أن‬
‫رﺑﻚ ﺧﻴـﺮ ﻧـﻮ‬
‫آﺘﺎب‬
‫ﺖ‬
َ ‫رﺿﻴ‬
‫ﺻﻘﻴـ ُلُﻞ‬
ٌ ‫ﻳﺮﻓـﻠـﻪ‬
‫ﻗﺎﻃ ٌﻊ ﺳﻴـ‬
‫وﺻﺪﻗﻚ‬
‫وﻓـﺼـ ٌﻞ‬
‫ﻧﺎﺻـ ٌﻊ أﺻــ‬
‫وﻗﻮﻟـﻚ‬
‫ﻒاﻟﻘـﺒـﻮ‬
‫اﻟﺮﺣـﻤـﻦ‬
‫ﻣــﻦ‬
‫اﻟﺤﺮﻣﻴـﻦٌﻞ أﺟـﺮًا‬
‫ﻟﺘﺨـﺪم‬
‫ﺖ‬
َ ‫ ﺳﻠﻤ‬Here, the King is likened to a kind merciful father. What
‫اﻟﺮﺳﻮ ُل‬
‫ﻦ‬
ّ ‫ﺳ‬is‫ﻣﺎ‬purely
‫وﺣﻜﻤﻚ ذاك‬
‫اﻟـﻌـﻮادي‬
‫أﻋﺒـﺪ اﷲ ﻻ ﺗﺨـﺶ‬is a has pushed the singer to perch on such choice of lexical
And your
saying
clear
and‫اﻟﺤﺮﻣﻴـﻦ‬
‫اﻟﻘـﺒـﻮ ُﻞ‬
‫ﺻﻘﻴـ‬
‫ﻒ‬
ٌ‫ﻳﺮﻓـﻠـﻪ‬
‫اﻟﺮﺣـﻤـﻦ ٌﻊ ﺳﻴـ‬
‫وﺻﺪﻗﻚ ﻗﺎﻃ‬
‫وﻓـﺼـ ٌﻞ‬
‫ ٌﻞ‬your
‫ ٌﻊ أﺻــ‬honesty
‫ﻧﺎﺻـ‬
‫وﻗﻮﻟـﻚ‬
‫ل‬
ُ
‫ﻣــﻦ‬
‫ا‬
ً
‫أﺟـﺮ‬
‫ﻟﺘﺨـﺪم‬
‫ﺖ‬
َ ‫ﺳﻠﻤ‬
heavy cutting
sword
‫ﺻـﺆوُل ُل‬
‫أﺳ ٌﺪ‬
‫اﻟـﻌـﻮاديٌﻢ وإﻧﻚ‬
‫ب رﺣـﻴـ‬
ٌ ‫ﺗﺨـﺶ أ‬
‫ﻓــﻲ ﻻاﻟـﺴـﻼم‬
‫ وإﻧـﻚ‬elements is the social value given to fathers, and the
‫اﻟﺮﺳﻮ‬
‫ﻦ‬
ّ ‫اﻟﻮﻏﻰﺳ‬
‫وﺣﻜﻤﻚﻓﻲذاك ﻣﺎ‬
‫أﻋﺒـﺪ اﷲ‬
communality of the significance of the ‘lion’ as a brave
‫ﻒ ﺻﻘﻴـ ُﻞ‬
ٌ ‫وﻗﻮﻟـﻚ ﻧﺎﺻـ ٌﻊ أﺻــ ٌﻞ وﻓـﺼـ ٌﻞ وﺻﺪﻗﻚ ﻗﺎﻃ ٌﻊ ﺳﻴـ‬
‫ﺻـﺆو ُلُل‬
‫اﻟـﻌـﻮادي وإﻧﻚ‬
‫ب رﺣـﻴـ ٌﻢ‬
ٌ ‫ﺗﺨـﺶأ‬
‫اﻟـﺴـﻼم‬
‫أﻋﺒـﺪﻓــﻲ‬
‫وإﻧـﻚ‬
‫ﻦٌﺪ اﻟﺮﺳﻮ‬
ّ‫اﻟﻮﻏﻰ ﺳأﺳ‬
‫ﻓﻲ ذاك ﻣﺎ‬
‫وﺣﻜﻤﻚ‬
‫اﷲ ﻻ‬
‫اﻟـﻈـﻠـﻴـ ُﻞُﻞ‬
‫آـﺄﻧــﻚ‬
‫اﻟﻄﻔﻞٌﻞﻳﺒﻜـﻲ‬
‫ وﺗﺪﻣﻊ‬hunter of the enemies in war.
‫ﻒ ﺻﻘﻴـ‬
ٌ ‫واﻟــــﺪﻩ‬
‫ﻇــــﻞﻗﺎﻃ ٌﻊ ﺳﻴـ‬
‫وﺻﺪﻗﻚ‬
‫وﻓـﺼـ ٌﻞ‬
‫رأﻳﺖٌﻊ أﺻــ‬
‫إن ﻧﺎﺻـ‬
‫وﻗﻮﻟـﻚ‬
Welcoming the King by addressing him as a merciful
In peace‫ﺻـﺆو ُل‬
you are
merciful
father,
in battlefield
an
‫ أﺳ ٌﺪ‬a‫اﻟﻮﻏﻰ‬
‫وإﻧﻚ ﻓﻲ‬
‫رﺣـﻴـ ٌﻢ‬and
‫ب‬
ٌ ‫اﻟـﺴـﻼم أ‬
‫وإﻧـﻚ ﻓــﻲ‬
‫اﻟـﻈـﻠـﻴـ‬
‫واﻟــــﺪﻩ‬
‫آـﺄﻧــﻚ‬
‫أﺻــ ٌﻞﻳﺒﻜـﻲ‬
‫رأﻳﺖ ٌﻊاﻟﻄﻔﻞ‬
‫ وﺗﺪﻣﻊ إن‬father has cultural and social implications. Unlike the
‫ﺻﻘﻴـ ُﻞُﻞ‬
ٌ ‫ﺳﻴـ‬
‫ﻇــــﻞﻗﺎﻃ ٌﻊ‬
‫وﺻﺪﻗﻚ‬
‫وﻓـﺼـ ٌﻞ‬
‫وﻗﻮﻟـﻚ ﻧﺎﺻـ‬
assailing
lion‫ﻒ‬
‫ﻳـﻄـﻮ ُلُل‬
‫وﺗﺴﻬـ ُﺮ‬
‫اﻟﻨﺎس‬
‫ﻓــﻲأن ﻳﻌﻴﺶ‬
‫وإﻧـﻚﻤّﻚ‬
‫وه‬
‫ﻟﻴـٌﺪﻼًﺻـﺆو‬
‫ﻋﻨﻬﻤـﻮأﺳ‬
‫ﻓﻲ اﻟﻮﻏﻰ‬
‫أﻣﻨـٌﻢًﺎ وإﻧﻚ‬
‫رﺣـﻴـ‬
‫ب‬
ٌ ‫اﻟـﺴـﻼم أ‬
‫ وﺗﺪﻣﻊ إن رأﻳﺖ اﻟﻄﻔﻞ ﻳﺒﻜـﻲ آـﺄﻧــﻚ ﻇــــﻞ واﻟــــﺪﻩ اﻟـﻈـﻠـﻴـ ُﻞ‬western culture, where family relations of parents and
‫أﺳ ٌﺪﻼً ﻳـﻄـﻮ‬
‫ﻋﻨﻬﻤـﻮ ﻟﻴـ‬
‫وﺗﺴﻬـ ُﺮ‬
‫أن ﻳﻌﻴﺶ‬
‫وه‬
‫ﺻـﺆو ُلُل‬
‫ﻓﻲ اﻟﻮﻏﻰ‬
‫أﻣﻨـ ًﺎٌﻢ وإﻧﻚ‬
‫اﻟﻨﺎسرﺣـﻴـ‬
‫ب‬
ٌ ‫اﻟـﺴـﻼم أ‬
‫وإﻧـﻚﻤّﻚﻓــﻲ‬
Your tears
drop ‫ﱡﻞ‬down
when
an ‫وإن‬
infant
crying
as sons are pathetic after the age of sixteen, the historic and
‫اﻟﺨـﻠـﻴـ ُﻞُﻞ‬
‫ﻣﻨﻬـﻤـﻮ اﻟـﺨــ‬
‫آـﺄﻧــﻚٍﻞ‬
‫ ﻟـﻜـ‬see
‫ﺖ‬
َ ‫ﻳﺒﻜـﻲ‬
‫ﺣـﺰﻧـ‬
‫ﻓـﺮﺣـﺖ‬
‫وﺗﺪﻣﻊ إن‬
‫وإﻧـﻚ‬
‫اﻟـﻈـﻠـﻴـ‬
‫واﻟــــﺪﻩ‬
‫ ﻇــــﻞ‬you
‫اﻟﻄﻔﻞ‬
‫رأﻳﺖ‬
‫إن‬
intimate relationship between sons and fathers in the
if you were
the
father
‫وهﻤّﻚ أن ﻳﻌﻴﺶ اﻟﻨﺎس أﻣﻨـ ًﺎ وﺗﺴﻬـ ُﺮ ﻋﻨﻬﻤـﻮ ﻟﻴـﻼً ﻳـﻄـﻮ ُل‬
‫واﻟــــﺪﻩﱡﻞ اﻟﺨـﻠـﻴـ‬
‫ﻣﻨﻬـﻤـﻮ اﻟـﺨــ‬
‫ﺖ ﻟـﻜـ ٍﻞ‬
َ ‫ﻳﺒﻜـﻲ‬
‫اﻟﻄﻔﻞﺣـﺰﻧـ‬
‫ﻓـﺮﺣـﺖ وإن‬
‫ وإﻧـﻚ‬Saudi conservative community is strongly constructed
‫اﻟـﻈـﻠـﻴـ ُﻞُﻞ‬
‫آـﺄﻧــﻚ ﻇــــﻞ‬
‫وﺗﺪﻣﻊإنإن رأﻳﺖ‬
‫ﻳــﺰو ُلُل‬
‫وﺗﺴﻬـ ُﺮﻓــﻲ‬
‫اﻟﺘﻔـﺎﻧـﻲًﺎ وﺣـﺒـ ًﺎ‬
‫أﻓﺌـﺪة‬
‫اﻟﺸﻌـﺐ‬
ُ‫وهﻤ‬
‫ﻳـﺰ‬
‫اﻟﺤﻨـﺎﻳـﺎﻼًﻻﻳـﻄـﻮ‬
‫ﻋﻨﻬﻤـﻮ ﻟﻴـ‬
‫اﻟﻨﺎس أﻣﻨـ‬
‫ﻳﻌﻴﺶ‬
‫فّﻚ أن‬
and genetically inherited. The elderly people are given
‫ﺖ ﻟـﻜـ ٍﻞ ﻣﻨﻬـﻤـﻮ اﻟـﺨــ ﱡﻞ اﻟﺨـﻠـﻴـ ُﻞ‬
َ ‫وإﻧـﻚ إن ﻓـﺮﺣـﺖ وإن ﺣـﺰﻧـ‬
Your concern
is‫اﻟﺤﻨـﺎﻳـﺎ‬
people’s
lives,
while
you
remain
‫ﻟﻴـﻻﻼً ﻳــﺰو‬
‫ﻓــﻲ‬
‫ًﺎ‬safe
‫أﻣﻨـ ًﺎوﺣـﺒـ‬
‫اﻟﺘﻔـﺎﻧـﻲ‬
‫أﻓﺌـﺪة‬
ُ‫ﻳـﺰوه‬
sufficient attention of sons and grandsons, and the
‫ﻳـﻄـﻮ ُلُل‬
‫ﻋﻨﻬﻤـﻮ‬
‫وﺗﺴﻬـ ُﺮ‬
‫اﻟﻨﺎس‬
‫اﻟﺸﻌـﺐﻳﻌﻴﺶ‬
‫ّﻚ أن‬
‫فﻤ‬
‫ﺗـﻘــﻮ‬
‫ﻣـــﺎ‬
‫ﺑﺎﻟﻤﺤـﺒـﺔ‬
‫ﺳﻨﺘـﺒـﻊ‬
watchful ‫ُﻞُل‬long
nights
‫اﻟﺨـﻠـﻴـ‬
‫اﻟـﺨــ ﱡﻞ‬
‫ﻣﻨﻬـﻤـﻮ‬
‫أﻟﻴﻤﻴﻨﺎ ﻟـﻜـ ٍﻞ‬
‫ﺖ‬
َ ‫ﻣـــ ّﺪﺣـﺰﻧـ‬
‫ﻣﻠﻴـﻜـﻨـﺎوإن‬
‫ﻓـﺄﻧــﺖﻓـﺮﺣـﺖ‬
‫ وإﻧـﻚ إن‬consideration and care that they receive from their
‫ف اﻟﺸﻌـﺐ أﻓﺌـﺪة اﻟﺘﻔـﺎﻧـﻲ وﺣـﺒـ ًﺎ ﻓــﻲ اﻟﺤﻨـﺎﻳـﺎ ﻻ ﻳــﺰو ُل‬
ُ ‫ﻳـﺰ‬
‫ﻣـــﺎ ﺗـﻘــﻮ‬
‫ﺑﺎﻟﻤﺤـﺒـﺔ‬
‫ﻣﻠﻴـﻜـﻨـﺎ ﻣـــ‬
‫اﻟﺨـﻠـﻴـ ُلُﻞ‬
‫اﻟـﺨــ ﱡﻞ‬
‫ﺳﻨﺘـﺒـﻊﻣﻨﻬـﻤـﻮ‬
‫ﺖ ﻟـﻜـ ٍﻞ‬
َ‫أﻟﻴﻤﻴﻨﺎ‬
‫وإنّﺪﺣـﺰﻧـ‬
‫ﻓـﺄﻧــﺖ ﻓـﺮﺣـﺖ‬
‫ وإﻧـﻚ إن‬offspring have enabled them to occupy a social position,
‫ف اﻟﺸﻌـﺐ أﻓﺌـﺪة اﻟﺘﻔـﺎﻧـﻲ وﺣـﺒـ ًﺎ ﻓــﻲ اﻟﺤﻨـﺎﻳـﺎ ﻻ ﻳــﺰو ُل‬
ُ ‫ﻳـﺰ‬
And when
or ‫ﺳﻨﺘـﺒـﻊ‬
pleased,
to ‫ ّﺪ‬each
you ‫ﻓـﺄﻧــﺖ‬
are the making them spokespersons on social occasions.
‫ﺗـﻘــﻮ ُل‬saddened
‫ﺑﺎﻟﻤﺤـﺒـﺔ ﻣـــﺎ‬
‫أﻟﻴﻤﻴﻨﺎ‬
‫ﻣﻠﻴـﻜـﻨـﺎ ﻣـــ‬
Describing the King as a merciful father highlights the
best companion
‫ف اﻟﺸﻌـﺐ أﻓﺌـﺪة اﻟﺘﻔـﺎﻧـﻲ وﺣـﺒـ ًﺎ ﻓــﻲ اﻟﺤﻨـﺎﻳـﺎ ﻻ ﻳــﺰو ُل‬
ُ ‫ﻳـﺰ‬
‫ل‬
ُ
‫ﺗـﻘــﻮ‬
‫ﻣـــﺎ‬
‫ـﺔ‬
‫ﺑﺎﻟﻤﺤـﺒ‬
‫ﺳﻨﺘـﺒـﻊ‬
‫أﻟﻴﻤﻴﻨﺎ‬
‫ﺪ‬
ّ
‫ﻣـــ‬
‫ﻣﻠﻴـﻜـﻨـﺎ‬
‫ﻓـﺄﻧــﺖ‬
The poet continues eulogizing King Abdullah by warm welcome that the King should expect from his
referring
to his
and ‫أﻟﻴﻤﻴﻨﺎ‬
the social
closeness
‫ﺗـﻘــﻮ ُل‬
‫ ﻣـــﺎ‬character
‫ﺳﻨﺘـﺒـﻊ ﺑﺎﻟﻤﺤـﺒـﺔ‬
‫ﻣﻠﻴـﻜـﻨـﺎ ﻣـــ ّﺪ‬
‫ ﻓـﺄﻧــﺖ‬to people. Though the singer subjectively expresses the
feeling towards the King, he highlights a social feeling
and loyalty to the ruler. The case being so, the national
song is performed on different social occasions, in a
way that combines between the leader and his people.
The verbal link between the two parts represents a real
intimacy of the people’s truthfulness to the Saudi Royal
Family, an intimacy that does not exist in Republic States,
where a leader can only be given charge for four years or
a few more years. This short period might not be enough
to build bridging relations between the top authorities and
the subordinates.
Peace and security are essential requirements for
the happiness and contentment of any society. They are
prioritized by King Abdullah and given enough care and
precedence. It is thus no strange that the poet alludes to
such a necessity in his ode; this citation is manifest when
addressing the King as “Your concern is people’s safe
lives, while you remain watchful long nights”. The socio-
his people. Reference is made to the words and deeds
of the King, an allusion that has plainly reflected the
King’s features, as felt by the Saudi community. Arabs
are socially related by nature, and close to each other;
this appreciated feature of Arabs is reflected in the
person of the King, who is close to people in all their life
circumstances. The King is watchful over his people to
ensure that the people are living happily with all needs
provided; he has the mercy upon the people, and does all
efforts for his people to live securely and peacefully.
The reflection of the King’s features is clear in the
poem and at different levels. The fact that the King is
clear in words and deeds is clearly portrayed when the
poet says “And your saying is purely clear and your
honesty is a heavy cutting sword”. Sword is a symbol of
sharpness and decision taking in the Arabic culture, and
is figuratively implemented to depict King Abdullah in
expression and deed.
37
Copyright © Canadian Academy of Oriental and Occidental Culture
‫ﺳﻼﻣﺎ اﻳﻬﺎ اﻟﻤﻠﻚ اﻟﺠﻠﻴﻞ وﻋﻬﺪا ﻻ ﻳﺤﻴﺪ وﻻ ﻳﻤﻴﻞ‬
‫أﺣﺎور ﻓﻴﻚ ﺷﻌﺮي وهﻮ ﺑﺤﺮ ﻓﻴﺼﻤﺖ ﻓﻲ ﻣﻘﺎﻣﻚ ﻻ ﻳﻘﻮل‬
‫أﺣﺎور ﻓﻴﻚ ﺷﻌﺮي وهﻮ ﺑﺤﺮ ﻓﻴﺼﻤﺖ ﻓﻲ ﻣﻘﺎﻣﻚ ﻻ ﻳﻘﻮل‬
The Socio-Cultural,
Historical,
and Political
in the‫ﻣﻠﻴﻜﻲ‬
Translation
‫وﺻﻔﻲ ﻗﻠﻴﻞ‬
‫زدت ﻓﻲ‬
‫ وﻣﻬﻤﺎ‬Allusions
‫ﻓﻮق ﻣﺪﺣﻲ‬
‫ﻷﻧﻚ ﻳﺎ‬of the
Saudi National Day Poetry: “Peace, O Gracious King” as a Case Study
‫ﻷﻧﻚ ﻳﺎ ﻣﻠﻴﻜﻲ ﻓﻮق ﻣﺪﺣﻲ وﻣﻬﻤﺎ زدت ﻓﻲ وﺻﻔﻲ ﻗﻠﻴﻞ‬
‫وأﻧﺘﻢ ﻣﻦ ﺗﻌﺰ ﺑﻪ اﻟﻤﻌﺎﻟﻲ وﻳﺴﻤﻮ اﻟﺤﺮف واﻟﻘﻠﻢ اﻟﻨﺒﻴﻞ‬
political value
of the‫اﻟﺤﺮف‬
poem‫وﻳﺴﻤﻮ‬
reflects
the social
political in the poem when the poet addresses the King saying
‫واﻟﻘﻠﻢ اﻟﻨﺒﻴﻞ‬
‫اﻟﻤﻌﺎﻟﻲ‬
‫ ﺗﻌﺰ ﺑﻪ‬and
‫وأﻧﺘﻢ ﻣﻦ‬
‫ﺣﺒﺎ‬Saudi
‫ﻣﻬﺠﺘﻲ‬community.
‫ﻣﺎ ﺗﺸﺎء وأﺑﻌﺚ‬Though
‫ﺳﺄﺗﺮك ﻟﻠﻘﻮاﻓﻲ‬
lifestyle ‫ﻳﺴﻴﻞ‬
of the
the Kingdom “the people send you the hearts of devotion, and a love
is outstretched,
King‫وأﺑﻌﺚ‬
has succeeded
to keep
it secure, eternalized in the bones”. The real love of the King comes
‫ﺣﺒﺎ ﻳﺴﻴﻞ‬the‫ﻣﻬﺠﺘﻲ‬
‫ﻟﻠﻘﻮاﻓﻲ ﻣﺎ ﺗﺸﺎء‬
‫ﺳﺄﺗﺮك‬
‫اﻟـﺮواﺑـﻲ‬
‫ﺐ‬
ٍ ‫ﻗـﻠـ‬wise
‫اﻟﻤﺤـﺒـﺔ آــﻞ‬
peaceful,‫واﻟﺴـﻬـﻮل‬
and safe;
this is‫وﺗﻨﺸـﺮهـﺎ‬
due to his
policy ‫ﻳﺴﺎﺑﻘـﻨـﻲ‬
which as gratitude for the favours that the royal family has been
is based on bringing his people close to him, and in all doing since the establishment of the Kingdom, and the
‫ﺐ وﺗﻨﺸـﺮهـﺎ اﻟـﺮواﺑـﻲ واﻟﺴـﻬـﻮل‬
ٍ ‫ﻳﺴﺎﺑﻘـﻨـﻲ اﻟﻤﺤـﺒـﺔ آــﻞ ﻗـﻠـ‬
conditions.
Not
only‫ﻣﻦ‬
this,
the ‫ٍﺮ‬King
is always
his fortification of the political system, which is primarily
‫اﻟﻨﺨﻴـ ُﻞ‬
‫ﻣﻌﺎﻧﻴﻬﺎ‬
‫وﺗﺮﻗﺺ‬
‫ﺑـﻜـﻞ ﻓـﺨــ‬
‫ اﻟـﺴـﺮاة‬with
‫وﺗﻌﺰﻓـﻬـﺎ‬
people and in all occasions; his happiness or sadness is based on the rules of the Qur’an and Sunnah. The poet
‫وﺗﻌﺰﻓـﻬـﺎ اﻟـﺴـﺮاة ﺑـﻜـﻞ ﻓـﺨــ ٍﺮ وﺗﺮﻗﺺ ﻣﻦ ﻣﻌﺎﻧﻴﻬﺎ اﻟﻨﺨﻴـ ُﻞ‬
a reaction
of his people’s
they
he ‫ وﻳ‬states the nations follow up by saying “You are our
‫ﺗــــﺠــــﻮ ُل‬
‫ﻣـــﻌــــﺰزة‬feelings.
‫ﻣــﻌــﻄـــﺮة‬If‫ﻧﺠـ ٍﺪ‬
‫آـﻞ‬are
‫ ﻓﻲ‬happy,
‫ﺤﻤﻠﻬﺎ اﻟﺼﺒﺎ‬
shares them the same feeling, and if they are otherwise, sovereign, kindly stretch your right hand, and with love
‫ﺗــــﺠــــﻮ ُل‬
‫ﻣـــﻌــــﺰزة‬
‫ﻣــﻌــﻄـــﺮة‬
‫ﻧﺠـ ٍﺪ‬
‫ ﻓﻲ آـﻞ‬when
‫ﺤﻤﻠﻬﺎ اﻟﺼﺒﺎ‬
he is deemed
to be‫ﺗـﻮﺣــﺪﻧــﺎ‬
sad with‫ﻳـﻨـﻐـﻤـﻬـﺎ‬
them. This
is ‫ﻧـﺠـﺪ‬
stated
the ‫وﻳ‬we follow what you say”.
‫اﻟـﺠـﻤـﻴــ ُﻞ‬
‫ﺣـﺠـﺎ ٌز‬
‫وﻳﻬﺘـﻒ ﻳﺎ ﺻـﺒـﺎ‬
poet says “And when saddened or pleased, to each you are
Translating the concluding part of the poem is not less
‫وﻳﻬﺘـﻒ ﻳﺎ ﺻـﺒـﺎ ﻧـﺠـﺪ ﺣـﺠـﺎ ٌز ﻳـﻨـﻐـﻤـﻬـﺎ ﺗـﻮﺣــﺪﻧــﺎ اﻟـﺠـﻤـﻴــ ُﻞ‬difficult than the previous sections. The translator should
the best companion”.
‫ت ﺷـﻬـ ٌﻢ وﻳﺨﻀﻊ إن أردت اﻟﻤﺴﺘﺤﻴ ُﻞ‬
ِ ‫ﻷﻧـﻚ ﻓـﺎرس اﻷزﻣــﺎ‬
The socio-political and cultural values expressed have enough social, cultural, religious, political, and
‫اﻟﻤﺴﺘﺤﻴ ُﻞ‬
‫أردت‬
‫وﻳﺨﻀﻊ إن‬
‫ت ﺷـﻬـ ٌﻢ‬
ِ ‫اﻷزﻣــﺎ‬similarly
‫ﻷﻧـﻚ ﻓـﺎرس‬in regional information to approximately reflect the values
in the above
lines
cannot
be reproduced
‫ﺖ آﺘﺎب رﺑﻚ ﺧﻴـﺮ ﻧـﻮ ٍر ﻟﺪرﺑـﻚ أن ﻳﻜـﻮن هـﻮ اﻟﺪﻟﻴـ ُﻞ‬
َ ‫رﺿﻴ‬
the target language. Due to the lack of knowledge in and allusions of the original text. Target language readers
‫ﻳﻜـﻮن هـﻮ‬
‫ ﻧـﻮ ٍر ﻟﺪرﺑـﻚ أن‬of
‫ﺧﻴـﺮ‬the‫رﺑﻚ‬national
‫ﺖ آﺘﺎب‬
َ ‫رﺿﻴ‬
the Saudi‫اﻟﺪﻟﻴـ ُﻞ‬
culture,
and celebration
day, would not seize the total meaning of the text without
‫ﺖ ﻟﺘﺨـﺪم اﻟﺤﺮﻣﻴـﻦ أﺟـﺮًا ﻣــﻦ اﻟﺮﺣـﻤـﻦ ﻳﺮﻓـﻠـﻪ اﻟﻘـﺒـﻮ ُل‬
َ ‫ﺳﻠﻤ‬
target culture readers would not be able to have enough being equipped with enough details about the source
comprehension
and awareness
the ‫اﻟﺤﺮﻣﻴـﻦ‬
source ‫ﻟﺘﺨـﺪم‬
text. ‫ﺖ‬
‫ﻳﺮﻓـﻠـﻪ اﻟﻘـﺒـﻮ ُل‬
‫ﻣــﻦ اﻟﺮﺣـﻤـﻦ‬of‫أﺟـﺮًا‬
َThe
‫ ﺳﻠﻤ‬language social and political implications. To uncover
ّ‫ﺳ‬
‫ذاك ﻣﺎ‬his
‫وﺣﻜﻤﻚ‬
‫اﻟـﻌـﻮادي‬with
‫ﺗﺨـﺶ‬explanatory
‫أﻋﺒـﺪ اﷲ ﻻ‬
translator‫اﻟﺮﺳﻮ ُل‬
has to‫ﻦ‬
attach
translation
the difficulties and resolve their translation problems, the
details to ‫ ُل‬reflect
as‫ﻣﺎ‬much
meaning
as possible
the translator should study the translation first, and examine
‫ﻦ اﻟﺮﺳﻮ‬
ّ‫ﺳ‬
‫وﺣﻜﻤﻚ ذاك‬
‫اﻟـﻌـﻮادي‬
‫اﷲ ﻻ ﺗﺨـﺶ‬in‫أﻋﺒـﺪ‬
‫ﻒ ﺻﻘﻴـ ُﻞ‬
ٌ Cultural
‫وﺻﺪﻗﻚ ﻗﺎﻃ ٌﻊ ﺳﻴـ‬
‫وﻓـﺼـ ٌﻞ‬allusions
‫ﻧﺎﺻـ ٌﻊ أﺻــ ٌﻞ‬between
‫وﻗﻮﻟـﻚ‬
target culture.
and social
its matchlessness or watchfulness with the receiving
the royal‫ﺻﻘﻴـ ُﻞ‬
family
and
the‫وﺻﺪﻗﻚ‬
people
cannot
predicted
culture and society.
‫ﻒ‬
ٌ ‫ﺳﻴـ‬
‫ﻗﺎﻃ ٌﻊ‬
‫وﻓـﺼـ ٌﻞ‬
‫أﺻــ ٌﻞ‬be‫ﻧﺎﺻـ ٌﻊ‬
‫وﻗﻮﻟـﻚ‬
‫وإﻧﻚ ﻓﻲ اﻟﻮﻏﻰ‬
‫رﺣـﻴـ‬text.
‫ب‬
ٌ ‫اﻟـﺴـﻼم أ‬
‫وإﻧـﻚ ﻓــﻲ‬
from the‫ﺻـﺆو ُل‬
literal‫أﺳ ٌﺪ‬translation
of ‫ٌﻢ‬the
Not only
that,
indeed, the
various
connotations
of the
‫ﺻـﺆو ُل‬
‫اﻟﻮﻏﻰ أﺳ ٌﺪ‬
‫رﺣـﻴـ ٌﻢ وإﻧﻚ ﻓﻲ‬
‫ب‬
ٌ ‫ أ‬Saudi
‫ اﻟـﺴـﻼم‬national
‫ وإﻧـﻚ ﻓــﻲ‬CONCLUSION
‫اﻟـﻈـﻠـﻴـ ُﻞ‬
‫ﻇــــﻞ واﻟــــﺪﻩ‬
‫ ﻳﺒﻜـﻲ‬translation
‫إن رأﻳﺖ اﻟﻄﻔﻞ‬of‫وﺗﺪﻣﻊ‬
day cannot
be displayed
in ‫آـﺄﻧــﻚ‬
the mere
the
poem. Meanings
such
as
unification
of
the
Kingdom,
‫ وﺗﺪﻣﻊ إن رأﻳﺖ اﻟﻄﻔﻞ ﻳﺒﻜـﻲ آـﺄﻧــﻚ ﻇــــﻞ واﻟــــﺪﻩ اﻟـﻈـﻠـﻴـ ُﻞ‬To conclude, the study attempts to figure out the
poetic, social, and cultural implications in the Saudi
peace, security,
prosperity,
social‫أﻣﻨـ ًﺎ‬
relations,
and‫أن‬intimacy
‫ﻟﻴـﻼً ﻳـﻄـﻮ ُل‬
‫وﺗﺴﻬـ ُﺮ ﻋﻨﻬﻤـﻮ‬
‫ﻳﻌﻴﺶ اﻟﻨﺎس‬
‫وهﻤّﻚ‬
between the leader and his citizens cannot be grasped national songs, and the political influence on orienting
‫وهﻤّﻚ أن ﻳﻌﻴﺶ اﻟﻨﺎس أﻣﻨـ ًﺎ وﺗﺴﻬـ ُﺮ ﻋﻨﻬﻤـﻮ ﻟﻴـﻼً ﻳـﻄـﻮ ُل‬
totally in‫اﻟﺨـﻠـﻴـ ُﻞ‬
translation
without‫ﻟـﻜـ ٍﻞ‬
supporting
translation
‫ﻣﻨﻬـﻤـﻮ اﻟـﺨــ ﱡﻞ‬
‫ﺖ‬
َ ‫وإن ﺣـﺰﻧـ‬the
‫ﻓـﺮﺣـﺖ‬
‫ وإﻧـﻚ إن‬the national singers to adapt such a style to indirectly
express the public loyalty to the King and belonging to
with enough social and cultural details.
‫ﺖ ﻟـﻜـ ٍﻞ ﻣﻨﻬـﻤـﻮ اﻟـﺨــ ﱡﻞ اﻟﺨـﻠـﻴـ ُﻞ‬
َ ‫ وإﻧـﻚ إن ﻓـﺮﺣـﺖ وإن ﺣـﺰﻧـ‬the homeland. National songs are regarded as the living
‫ف اﻟﺸﻌـﺐ أﻓﺌـﺪة اﻟﺘﻔـﺎﻧـﻲ وﺣـﺒـ ًﺎ ﻓــﻲ اﻟﺤﻨـﺎﻳـﺎ ﻻ ﻳــﺰو ُل‬
ُ ‫ﻳـﺰ‬
part of cultural and social heritage as they include various
The people
send
you the
hearts
devotion,
and a ‫ف‬
‫ﻳــﺰو ُل‬
‫اﻟﺤﻨـﺎﻳـﺎ ﻻ‬
‫ﻓــﻲ‬
‫ وﺣـﺒـ ًﺎ‬of
‫اﻟﺘﻔـﺎﻧـﻲ‬
‫اﻟﺸﻌـﺐ أﻓﺌـﺪة‬
ُlove
‫ ﻳـﺰ‬cultural elements that might not lend themselves easily
eternalized
in
the
bones
‫ﻓـﺄﻧــﺖ ﻣﻠﻴـﻜـﻨـﺎ ﻣـــ ّﺪ أﻟﻴﻤﻴﻨﺎ ﺳﻨﺘـﺒـﻊ ﺑﺎﻟﻤﺤـﺒـﺔ ﻣـــﺎ ﺗـﻘــﻮ ُل‬
understood by the new generation. In addition, the study
‫ﻓـﺄﻧــﺖ ﻣﻠﻴـﻜـﻨـﺎ ﻣـــ ّﺪ أﻟﻴﻤﻴﻨﺎ ﺳﻨﺘـﺒـﻊ ﺑﺎﻟﻤﺤـﺒـﺔ ﻣـــﺎ ﺗـﻘــﻮ ُل‬
has made clear that the environmental and ecological
You are our sovereign, kindly stretch your right hand, factors have played a crucial role in shaping the Saudi
and with love we follow what you say
national song, a strategy that has fed it with a communal
The Saudi faithful and sincere community highly acceptance nationwide. The analysis has shown that the
appreciate the efforts exerted by its political leadership, clear linguistic and cultural differences between Arabic
an admiration that has stemmed from the achievements and English add to the intricacy of translating this type of
that have been witnessed all over the Kingdom, and at songs into English. As far as translation is concerned, the
all levels. It is customary among honest communities study has shown that sociolinguistics and politics of the
to reflect their happiness and thankfulness to their source national song is culture-specific and as such cannot
leadership, as a repay of the honors gifted of their be completely preserved in the target language. As such,
leadership. A scrutinizing eye in what has been achieved it is hopeful that the study has succeeded in revealing to
in the Kingdom over the last eighty four years would what extent Arabic could be different from English in the
reveal the huge size of success and accomplishments; that representation of social, cultural, and emotional relations–
would not have happened without the real and the sincere a lingua-cultural difference that manifests itself clearly in
intention of the Saudi leadership, represented in the Saudi Abdou’s national song, the case study of this paper.
family.
Celebrating the national day in the Kingdom is
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Copyright © Canadian Academy of Oriental and Occidental Culture