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ريمٌ عَلى القاعِ بَينَ البانِ وَالعَلَمِ — أَحَلَّ سَفكَ دَمي في الأَشهُرِ الحُرُمِ

لَمّا رَنا حَدَّثَتني النَفسُ قائِلَةً — يا وَيحَ جَنبِكَ بِالسَهمِ المُصيبِ رُمي

جَحَدتُها وَكَتَمتُ السَهمَ في كَبِدي — جُرحُ الأَحِبَّةِ عِندي غَيرُ ذي أَلَمِ

يا لائِمي في هَواهُ وَالهَوى قَدَرٌ — لَو شَفَّكَ الوَجدُ لَم تَعذِل وَلَم تَلُمِ

لَقَد أَنَلتُكَ أُذنًا غَيرَ واعِيَةٍ — وَرُبَّ مُنتَصِتٍ وَالقَلبُ في صَمَمِ

يا ناعِسَ الطَرفِ لا ذُقتَ الهَوى أَبَدًا — أَسهَرتَ مُضناكَ في حِفظِ الهَوى فَنَمِ

يا نَفسُ دُنياكِ تُخفي كُلَّ مُبكِيَةٍ — وَإِن بَدا لَكِ مِنها حُسنُ مُبتَسَمِ

صَلاحُ أَمرِكَ لِلأَخلاقِ مَرجِعُهُ — فَقَوِّمِ النَفسَ بِالأَخلاقِ تَستَقِمِ

وَالنَفسُ مِن خَيرِها في خَيرِ عافِيَةٍ — وَالنَفسُ مِن شَرِّها في مَرتَعٍ وَخِمِ

إِن جَلَّ ذَنبي عَنِ الغُفرانِ لي أَمَلٌ — في اللَهِ يَجعَلُني في خَيرِ مُعتَصِمِ

أُلقي رَجائي إِذا عَزَّ المُجيرُ عَلى — مُفَرِّجِ الكَربِ في الدارَينِ وَالغَمَمِ

إِذا خَفَضتُ جَناحَ الذُلِّ أَسأَلُهُ — عِزَّ الشَفاعَةِ لَم أَسأَل سِوى أُمَمِ

وَإِن تَقَدَّمَ ذو تَقوى بِصالِحَةٍ — قَدَّمتُ بَينَ يَدَيهِ عَبرَةَ النَدَمِ

لَزِمتُ بابَ أَميرِ الأَنبِياءِ وَمَن — يُمسِك بِمِفتاحِ بابِ اللَهِ يَغتَنِمِ

مُحَمَّدٌ صَفوَةُ الباري وَرَحمَتُهُ — وَبُغيَةُ اللَهِ مِن خَلقٍ وَمِن نَسَمِ

وَنودِيَ اِقرَأ تَعالى اللَهُ قائِلُها — لَم تَتَّصِل قَبلَ مَن قيلَت لَهُ بِفَمِ

هُناكَ أَذَّنَ لِلرَحمَنِ فَاِمتَلَأَت — أَسماعُ مَكَّةَ مِن قُدسِيَّةِ النَغَمِ

سَرَت بَشائِرُ بِالهادي وَمَولِدِهِ — في الشَرقِ وَالغَربِ مَسرى النورِ في الظُلَمِ

أَتَيتَ وَالناسُ فَوضى لا تَمُرُّ بِهِم — إِلّا عَلى صَنَمٍ قَد هامَ في صَنَمِ

أَسرى بِكَ اللَهُ لَيلًا إِذ مَلائِكُهُ — وَالرُسلُ في المَسجِدِ الأَقصى عَلى قَدَمِ

لَمّا خَطَرتَ بِهِ اِلتَفّوا بِسَيِّدِهِم — كَالشُهبِ بِالبَدرِ أَو كَالجُندِ بِالعَلَمِ

صَلّى وَراءَكَ مِنهُم كُلُّ ذي خَطَرٍ — وَمَن يَفُز بِحَبيبِ اللَهِ يَأتَمِمِ

جُبتَ السَماواتِ أَو ما فَوقَهُنَّ بِهِم — عَلى مُنَوَّرَةٍ دُرِّيَّةِ اللُجُمِ

مَشيئَةُ الخالِقِ الباري وَصَنعَتُهُ — وَقُدرَةُ اللَهِ فَوقَ الشَكِّ وَالتُهَمِ

حَتّى بَلَغتَ سَماءً لا يُطارُ لَها — عَلى جَناحٍ وَلا يُسعى عَلى قَدَمِ

وَقيلَ كُلُّ نَبِيٍّ عِندَ رُتبَتِهِ — وَيا مُحَمَّدُ هَذا العَرشُ فَاِستَلِمِ

يا رَبِّ هَبَّت شُعوبٌ مِن مَنِيَّتِها — وَاِستَيقَظَت أُمَمٌ مِن رَقدَةِ العَدَمِ

رَأى قَضاؤُكَ فينا رَأيَ حِكمَتِهِ — أَكرِم بِوَجهِكَ مِن قاضٍ وَمُنتَقِمِ

فَاِلطُف لِأَجلِ رَسولِ العالَمينَ بِنا — وَلا تَزِد قَومَهُ خَسفًا وَلا تُسِمِ

يا رَبِّ أَحسَنتَ بَدءَ المُسلِمينَ بِهِ — فَتَمِّمِ الفَضلَ وَاِمنَح حُسنَ مُختَتَمِ

Rimun 'ala l-qa'i bayna l-bani wa-l-'alami — ahalla safka dami fi l-ash-huri l-hurumi

Lamma rana haddathatni n-nafsu qa'ilatan — ya wayha janbika bi-s-sahmi l-musibi rumi

Jahadtuha wa-katamtu s-sahma fi kabidi — jurhu l-ahibbati 'indi ghayru dhi alami

Ya la'imi fi hawahu wa-l-hawa qadarun — law shaffaka l-wajdu lam ta'dhil wa-lam talumi

Laqad analtuka udhnan ghayra wa'iyatin — wa-rubba muntasitin wa-l-qalbu fi samami

Ya na'isa t-tarfi la dhuqta l-hawa abadan — as-harta mudnaka fi hifzi l-hawa fa-nami

Ya nafsu dunyaki tukhfi kulla mubkiyatin — wa-in bada laki minha husnu mubtasami

Salahu amrika li-l-akhlaqi marji'uhu — fa-qawwimi n-nafsa bi-l-akhlaqi tastaqimi

Wa-n-nafsu min khayriha fi khayri 'afiyatin — wa-n-nafsu min sharriha fi marta'in wakhimi

In jalla dhanbi 'ani l-ghufrani li amalun — fi llahi yaj'aluni fi khayri mu'tasimi

Ulqi raja'i idha 'azza l-mujiru 'ala — mufarriji l-karbi fi d-darayni wa-l-ghamami

Idha khafadtu janaha dh-dhulli as'aluhu — 'izza sh-shafa'ati lam as'al siwa umami

Wa-in taqaddama dhu taqwa bi-salihatin — qaddamtu bayna yadayhi 'abrata n-nadami

Lazimtu baba amiri l-anbiya'i wa-man — yumsik bi-miftahi babi llahi yaghtanimi

Muhammadun safwatu l-bari wa-rahmatuhu — wa-bughyatu llahi min khalqin wa-min nasami

Wa-nudiya qra' ta'ala llahu qa'iluha — lam tattasil qabla man qilat lahu bi-fami

Hunaka adhdhana li-r-rahmani fa-mtala'at — asma'u makkata min qudsiyyati n-naghami

Sarat basha'iru bi-l-hadi wa-mawlidihi — fi sh-sharqi wa-l-gharbi masra n-nuri fi z-zulami

Atayta wa-n-nasu fawda la tamurru bihim — illa 'ala sanamin qad hama fi sanami

Asra bika llahu laylan idh mala'ikuhu — wa-r-ruslu fi l-masjidi l-aqsa 'ala qadami

Lamma khatarta bihi ltaffu bi-sayyidihim — ka-sh-shuhbi bi-l-badri aw ka-l-jundi bi-l-'alami

Salla wara'aka minhum kullu dhi khatarin — wa-man yafuz bi-habibi llahi ya'tamimi

Jubta s-samawati aw ma fawqahunna bihim — 'ala munawwaratin durriyyati l-lujumi

Mashi'atu l-khaliqi l-bari wa-san'atuhu — wa-qudratu llahi fawqa sh-shakki wa-t-tuhami

Hatta balaghta sama'an la yutaru laha — 'ala janahin wa-la yus'a 'ala qadami

Wa-qila kullu nabiyyin 'inda rutbatihi — wa-ya Muhammadu hadha l-'arshu fa-stalimi

Ya rabbi habbat shu'ubun min maniyyatiha — wa-stayqazat umamun min raqdati l-'adami

Ra'a qada'uka fina ra'ya hikmatihi — akrim bi-wajhika min qadin wa-muntaqimi

Fa-ltuf li-ajli rasuli l-'alamina bina — wa-la tazid qawmahu khasfan wa-la tusimi

Ya rabbi ahsanta bad'a l-muslimina bihi — fa-tammimi l-fadla wa-mnah husna mukhtatami

A gazelle on the plain, between the willow and the peak — has made the shedding of my blood lawful in the sacred months

When it gazed at me, my soul spoke up and said — alas for your side: the unerring arrow has found it

I denied her, and hid the arrow deep in my liver — a wound from the beloved, to me, carries no pain

You who blame me for loving him — love is fate — had longing wasted you, you would not scold or blame

I lent you an ear that took in nothing — many a man seems to listen while his heart is deaf

O drowsy-eyed one, may you never taste love's ache — you have kept your worn-out lover awake guarding love; now sleep

O soul, your world conceals every cause for weeping — however lovely the smile it turns upon you

The mending of your affairs traces back to character — so straighten the soul with virtue, and it stands straight

The soul, in its goodness, dwells in perfect health — and in its evil, in a rank and poisoned pasture

If my sin is too great for pardon, I still have hope — in God, who sets me in the surest refuge

When every protector fails, I cast my hope upon — the Reliever of anguish, in both worlds, and of sorrow

When I lower the wing of humility and ask him — for the glory of intercession, I ask nothing out of reach

And where the pious man brings forward his good works — I bring before him only the tear of my remorse

I have kept to the door of the prince of prophets — and whoever grasps the key to God's door has won

Muhammad, the Creator's chosen one and His mercy — the purpose of God in all creation, in every living breath

The call came: "Read!" — exalted be He who spoke it — a word never joined to a mouth before the one who heard it

There he raised the call to the Merciful, and the ears — of Mecca filled with the holiness of that melody

Glad tidings of the Guide and of his birth ran on — through East and West, as light runs through the dark

You came when mankind was chaos, and passing among them — one met only an idol infatuated with an idol

God carried you by night, while His angels — and the messengers stood waiting at the Farthest Mosque

When you appeared among them they pressed round their master — like stars around the full moon, or soldiers round the standard

Every man of rank among them prayed behind you — for whoever wins God's beloved takes him as imam

You crossed the heavens, and what lies above them, with them — on a luminous mount bridled with pearl

The will of the Maker, the Creator, and His handiwork — and the power of God, above all doubt and accusation

Until you reached a heaven no wing can fly to — and no foot was ever made to climb

And it was said: let every prophet keep his station — but O Muhammad, here is the Throne: draw near

O Lord, peoples have risen up from their deathbed — and nations have woken from the slumber of nothingness

Your decree has judged us as its wisdom saw fit — how exalted Your face, as judge and as requiter

For the sake of the Messenger of the worlds, be gentle with us — do not deepen his people's abasement, nor brand them further

O Lord, through him You gave the Muslims a beautiful beginning — now complete the grace, and grant a beautiful end

What this song means

Every literature has a poem that later poets must answer, and for the Arabic tradition of prophetic praise that poem is the Burda — the “Mantle Ode” of al-Busiri, a thirteenth-century Egyptian Sufi whose qasida of praise for the Prophet became, over seven centuries, the most recited poem in the Islamic world. When Ahmed Shawqi wrote “Nahj al-Burda” — “The Way of the Mantle” — he was performing the tradition’s most demanding exercise: a mu’arada, a formal answer-poem that keeps the original’s meter (basit) and rhyme (the letter mim) across a hundred and ninety verses, and dares comparison at every line.

In 1946 Umm Kulthum and Riad al-Sunbati distilled those hundred and ninety verses to thirty. The selection is a masterclass in editorial intelligence, preserving each station of the canonical arc: the ghazal prelude, where a gazelle’s glance makes the lover’s blood lawful even in the sacred months; the reproach of the soul, whose world “conceals every cause for weeping” behind its smile; repentance and hope; the entry into praise at the door of “the prince of prophets”; the Night Journey and the ascent through the heavens; and the closing prayer. A listener who never opens the diwan still travels the entire road from profane wound to sacred plea.

Sunbati set the poem in Rahat al-Arwah — “the repose of souls” — a transposed member of the Sikah-Huzam family whose lowered position and quarter-tone shading give it a veiled, censer-smoke gravity. It was a connoisseur’s choice: where “Salou Qalbi,” premiered the same year, stands in the daylight clarity of Rast, “Nahj al-Burda” moves through candlelight. The setting rises section by section with the text, thinning to near-bareness for the address to the soul, breaking open at the first sounding of the name “Muhammad,” and climbing register by register through the mi’raj until the famous summons — “O Muhammad, here is the Throne: draw near” — where the melody performs the very ascent the words describe.

The poem’s boldest moments had always drawn debate; theologians argued over whether calling the Prophet past all other prophets to the Throne itself exceeded the proprieties of praise. Sung, the question dissolved into awe. Contemporary accounts and later recordings agree that the mi’raj section was the evening’s peak, the audience’s exclamations riding under the orchestra — tarab and devotion proving, for the length of a concert, indistinguishable.

And the ending belonged to its year. Shawqi had closed with a prayer written in the Ottoman twilight — “peoples have risen from their deathbed, nations have woken from the slumber of nothingness” — but in 1946, with the war just ended, the empires visibly receding and the independence question filling every newspaper, Umm Kulthum’s audience heard the line as a bulletin about themselves. That is the recurring miracle of her Shawqi repertoire: verse written for one historical moment, detonating in another. “Nahj al-Burda” remains for many listeners the most exalted thing she ever sang — a poem seven centuries deep, a melody at the summit of Sunbati’s craft, and a voice able to carry both at once.

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Concepts

Understanding Maqam

A plain-language guide to the maqam system — quarter tones, sayr, and tarab — through four maqams heard in Umm Kulthum's songs: Rast, Kurd, Huzam, Farahfaza.

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History

The First Thursday Concerts

Once a month, on the first Thursday, the Arab world stopped: the story of Umm Kulthum's live radio concerts and the ritual they became.

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