Siyar Aʿlām al-NubalāʾShams al‑Din al‑Dhahabi

He later moved to Egypt, where he died in 412 AH.
He was fond of jest and play, and he composed that well-known poem (1), which runs:

The pangs of passion have shaken my very entrails,
and my patience fled the moment I swore allegiance to grief.

My wits took flight when I beheld them,
traveling under the darkness of night, folding up the road.

I never ceased to trace their footsteps,
while separation strove to destroy my soul.

Had their mounts known what has befallen me,
they would have wept for me morning and evening.

So I shall divert my thoughts from them
with a folly that would amaze every man of sense.

And with witty snippets I string together, all short,
for I was once a cloth-fuller, felled by frivolity.

Whoever slaps people yet will not let them
slap him back in kind has surely overstepped (2).

Whoever climbs to the rooftop and flings himself
down to the ground will one day come to ruin.

Nothing rouses a mule, once it balks on the road,
like the prompting of a stick.

The beard is merely hair that grows upon the face;
the true rump (3) is the part that lies beneath the testicles.

No one eats walnuts with their shells,
yet fresh dates are eaten together with the soft pulp.

Whoever boils a rooster without first slaughtering it
will see it fly from the pot wherever it pleases (4).

(1) The poem with which he challenged Ibn Durayd’s maqsurah. Ibn Durayd is Abu Bakr Muhammad ibn al-Hasan ibn Durayd al-Azdi (d. 321/933); his biography was given in volume 15. (2) Both al-Wafi and al-Fawat read faʿalayhim in place of mithlahu qad. (3) Al-Wafi and al-Fawat read al-ist (the buttocks) instead of al-dubr (the hind-part). The same line is cited in al-Bidaya wa-l-Nihaya and Hasan al-Muhadara as: “wa-l-dhaqnu shaʿrun fi-l-wujuh taaliʿ, kadhalika al-ʿaqsatu min khalf al-qafa” (“The beard is hair that appears on faces; likewise the lock at the back of the nape”). (4) Al-Wafi and al-Fawat have yashaʾ in place of ishtaha; al-Bidaya and Hasan al-Muhadara add the word intaha at the end.
وَقَدْ تَحَوَّلَ إِلَى مِصْرَ، فَمَاتَ بِهَا فِي سَنَةِ اثْنَتَيْ عَشْرَةَ وَأَرْبَع مائَة. وَكَانَ صَاحِبَ مُزَاحٍ وَلَعِبٍ، وَلَهُ تِيْكَ القَصِيْدَة السَّائِرَة (١) ، وَهِيَ: قَلْقَلَ أَحْشَائِي تَبَارِيْحُ الجَوَى ... وَبَانَ صَبْرِي حِيْنَ حَالَفْتُ الأَسَى وَطَارَ عَقْلِي حِيْنَ أَبْصَرْتُهُمُ ... تَحْتَ ظَلاَمِ اللَّيْلِ يَطْوُون السُّرَى فَلَمْ أَزَلْ أَسْعَى عَلَى آثَارِهِمْ ... وَالبَيْنُ فِي إِتْلاَفِ رُوْحِي قَدْ سَعَى فَلَو دَرَتْ مَطِيُّهُم مَا حَلَّ بِي ... بَكَتْ عَلَيَّ فِي الصَّبَاحِ وَالمَسَا فَسَوْفَ أَسْلِي عَنْهُم خَوَاطِرِي ... بِحُمُقٍ يَعْجَبُ مِنْهُ مَنْ وَعَا وَطُرَفٍ أَنْظِمُهَا مَقْصُورَةً ... إِذْ كُنْتُ قَصَّاراً صَرِيْعاً للدِّلاَ مَنْ صَفَعَ النَّاسَ وَلَمْ يَدَعْهُمُ ... أَنْ يَصْفَعُوهُ مِثْلَهُ قَدِ (٢) اعْتَدَى مَنْ صَعَدَ السَّطْحَ وَأَلْقَى نَفْسَهُ ... إِلَى قَرَارِ الأَرْضِ يَوْماً ارْتَدَى وَلَيْسَ للبَغْلِ إِذَا لَمْ يَنْبَعِثَ ... مِنَ الطَّرِيْقِ بَاعِثٌ مِثْلُ العَصَا وَالذَّقْنُ شَعْرٌ فِي الوُجُوهِ نَابِتٌ ... وَإِنَّمَا الدُّبْرُ (٣) الَّذِي تَحْتَ الخُصَى وَالجَوْزَ لاَ يُؤْكَلُ مَعَ قُشُورِهِ ... وَيُؤْكَلُ التَّمْرُ الجَدِيْدُ بِالِّلبا مَنْ طَبَخَ الدِّيْكَ وَلاَ يَذْبَحُهُ ... طَارَ مِنَ القِدْرِ إِلَى حَيْثُ اشْتَهَى (٤)
(١) والتي عارض بها مقصورة ابن دريد، وهو أبو بكر محمد بن الحسن بن دريد الأزدي، المتوفى سنة ٣٢١، مرت ترجمته في الجزء الخامس عشر. (٢) في " الوافي " و" الفوات ": " فعليهم " بدل " مثله قد ". (٣) في " الوافي " و" الفوات ": " الاست " بدل " الدبر " والبيت في " البداية والنهاية " و" حسن المحاضرة ": والذقن شعر في الوجوه طالع * كذلك العقصة من خلف القفا (٤) في " الوافي " و" الفوات ": " يشا " بدل " اشتهى "، وفي " البداية " و" حسن المحاضرة ": انتهى ".

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