Songs
إلى عرفات الله Ila Arafat Allah (To the Arafat of God)
- Year
- 1951
- Lyricist
- Ahmed Shawqi
- Composer
- Riad Al-Sunbati
- Maqam
- Huzam
Lines marked with a gold ornament carry a note — select one to read it.
Lyrics (Arabic)
إلى عرفاتِ اللهِ يا خيرَ زائرٍ
عليكَ سلامُ اللهِ في عرفاتِ
ويومَ تولِّي وجهةَ البيتِ ناضرًا
وسيمَ مجالي البِشْرِ والقسماتِ
على كلِّ أفقٍ بالحجازِ ملائكٌ
تزفُّ تحايا اللهِ والبركاتِ
لدى البابِ جبريلُ الأمينُ براحِهِ
رسائلُ رحمانيّةُ النفحاتِ
وفي الكعبةِ الغرّاءِ ركنٌ مرحِّبٌ
بكعبةِ قُصّادٍ وركنِ عُفاةِ
وزمزمُ تجري بينَ عينيكَ أعينًا
منَ الكوثرِ المعسولِ منفجراتِ
لكَ الدينُ يا ربَّ الحجيجِ جمعتَهم
لبيتٍ طهورِ الساحِ والعرصاتِ
أرى الناسَ أفواجًا ومن كلِّ بقعةٍ
إليكَ انتهوا من غربةٍ وشتاتِ
تساووا فلا الأنسابُ فيها تفاوتٌ
لديكَ ولا الأقدارُ مختلفاتِ
ويا ربِّ هل تُغني عنِ العبدِ حجّةٌ
وفي العمرِ ما فيهِ منَ الهفواتِ
وتشهدُ ما آذيتُ نفسًا ولم أضرْ
ولم أبغِ في جهري ولا خطراتي
ولا حُمِّلتْ نفسٌ هوًى لبلادِها
كنفسي في فعلي وفي نفثاتي
وقدّمتُ أعذاري وذلّي وخشيتي
وجئتُ بضعفي شافعًا وشكاتي
وأنتَ وليُّ العفوِ فامحُ بناصعٍ
منَ الصفحِ ما سوّدتُ من صفحاتي
ومن تضحكِ الدنيا إليهِ فيغتررْ
يمتْ كقتيلِ الغيدِ بالبسماتِ
إذا زرتَ بعدَ البيتِ قبرَ محمدٍ
وقبّلتَ مثوى الأعظُمِ العطراتِ
وفاضتْ منَ الدمعِ العيونُ مهابةً
لأحمدَ بينَ السترِ والحجراتِ
وأشرقَ نورٌ تحتَ كلِّ ثنيّةٍ
وضاعَ أريجٌ تحتَ كلِّ حصاةِ
فقل لرسولِ اللهِ يا خيرَ مرسلٍ
أبثُّكَ ما تدري منَ الحسراتِ
شعوبُكَ في شرقِ البلادِ وغربِها
كأصحابِ كهفٍ في عميقِ سُباتِ
بأيمانِهم نورانِ ذكرٌ وسنّةٌ
فما بالُهم في حالكِ الظلماتِ
وقل ربِّ وفِّقْ للعظائمِ أمتي
وزيِّنْ لها الأفعالَ والعزماتِ
Transliteration
Ila 'arafati Llahi ya khayra za'irin
'Alayka salamu Llahi fi 'arafati
Wa-yawma tuwalli wijhata l-bayti nadiran
Wasima majali l-bishri wa-l-qasamati
'Ala kulli ufqin bi-l-Hijazi mala'ikun
Tazuffu tahaya Llahi wa-l-barakati
Lada l-babi Jibrilu l-aminu bi-rahihi
Rasa'ilu rahmaniyyatu n-nafahati
Wa-fi l-Ka'bati l-gharra'i ruknun murahhibun
Bi-ka'bati qussadin wa-rukni 'ufati
Wa-Zamzamu tajri bayna 'aynayka a'yunan
Mina l-kawthari l-ma'suli munfajirati
Laka d-dinu ya rabba l-hajiji jama'tahum
Li-baytin tahuri s-sahi wa-l-'arasati
Ara n-nasa afwajan wa-min kulli buq'atin
Ilayka ntahaw min ghurbatin wa-shatati
Tasawaw fa-la l-ansabu fiha tafawutun
Ladayka wa-la l-aqdaru mukhtalifati
Wa-ya rabbi hal tughni 'ani l-'abdi hijjatun
Wa-fi l-'umri ma fihi mina l-hafawati
Wa-tash-hadu ma adhaytu nafsan wa-lam adur
Wa-lam abghi fi jahri wa-la khatarati
Wa-la hummilat nafsun hawan li-biladiha
Ka-nafsi fi fi'li wa-fi nafathati
Wa-qaddamtu a'dhari wa-dhulli wa-khashyati
Wa-ji'tu bi-da'fi shafi'an wa-shakati
Wa-anta waliyyu l-'afwi fa-mhu bi-nasi'in
Mina s-safhi ma sawwadtu min safahati
Wa-man tadhaki d-dunya ilayhi fa-yaghtarir
Yamut ka-qatili l-ghidi bi-l-basamati
Idha zurta ba'da l-bayti qabra Muhammadin
Wa-qabbalta mathwa l-a'zumi l-'atirati
Wa-fadat mina d-dam'i l-'uyunu mahabatan
Li-Ahmada bayna s-sitri wa-l-hujurati
Wa-ashraqa nurun tahta kulli thaniyyatin
Wa-da'a arijun tahta kulli hasati
Fa-qul li-rasuli Llahi ya khayra mursalin
Abuththuka ma tadri mina l-hasarati
Shu'ubuka fi sharqi l-biladi wa-gharbiha
Ka-ashabi kahfin fi 'amiqi subati
Bi-aymanihim nurani dhikrun wa-sunnatun
Fa-ma baluhum fi haliki z-zulumati
Wa-qul rabbi waffiq li-l-'aza'imi ummati
Wa-zayyin laha l-af'ala wa-l-'azamati
English translation
To the Arafat of God, O best of pilgrims —
Ahmed Shawqi wrote the original qasida in 1910 as a poetic apology to Khedive Abbas Hilmi II, who had invited him on the Hajj — the opening addressed the ruler as "ya bna Muhammadin," O son of Muhammad. For Umm Kulthum, Ahmed Rami cut roughly forty of the sixty-three verses and recast the courtly address as "ya khayra za'irin" — O best of pilgrims — so that every believer bound for Arafat becomes the poem's addressee. A panegyric for a prince was quietly converted into a song for millions.
Sunbati's setting rests on maqam Huzam, the ceremonial, quarter-tone-lit mode he reserved for the sacred qasida, over the stately masmudi rhythm. In the instrumental prelude the drums fall like the footfall of a caravan — the pilgrimage begins before the voice enters, and the whole melodic architecture stays within the older Eastern modes, without a single excursion into Westernized color.
God's peace be upon you on the plain of Arafat.
The song has a forgotten first owner. The singer Nagat Ali had recorded a selection of the poem for the radio in 1949, in a setting by Abdel Fattah Badir. When Umm Kulthum wanted the text, broadcasting rules stood in her way until Nagat Ali graciously ceded it — only then did Sunbati compose the version the world knows, an episode that says much about how songs were owned, and surrendered, in mid-century Cairo.
And on the day you turn, radiant, toward the House,
your face all brightness in its noble lines,
on every horizon of the Hijaz stand angels
Shawqi's Hajj is a pageant seen from above: angels stationed on every horizon of the Hijaz, greeting the pilgrim like a royal procession. It is the neoclassical imagination at full stretch — the ritual geography of Mecca redrawn as a court ceremony in which heaven itself performs the honors.
bearing in procession God's greetings and His blessings.
At the door is Gabriel the Trustworthy, in his palm
letters fragrant with the breath of the All-Merciful;
and in the resplendent Kaaba a cornerstone gives welcome —
itself a shrine of seekers, a pillar for those who plead.
And Zamzam runs before your eyes in springs
The well of Zamzam multiplies into many springs and is grafted onto al-Kawthar, the honeyed river of Paradise — earthly ritual water and promised celestial water made one stream. Shawqi keeps compressing the seen Hajj and the unseen one into single images; Umm Kulthum lingers on "al-ma'sul," the honeyed, letting the word taste of what it names.
bursting from the honeyed river of Paradise.
Faith is Yours, O Lord of the pilgrims: You gathered them
to a House whose courts and precincts are all purity.
I see mankind in throngs, from every corner of the earth,
Umm Kulthum made an edit of her own here: Shawqi wrote "asnafan" — in categories — and she sang "afwajan," in throngs, echoing the Qur'anic verse in which people enter God's religion "afwajan" (Surat al-Nasr). One word deepens the scriptural resonance and turns taxonomy into tide; it became the most quoted line of the song.
ending at Your door their exile and their scattering.
They stand as equals: no lineage outranks another
before You, and no worldly stations differ.
And O my Lord — can one pilgrimage avail Your servant
The pivot of the whole work. After the pageantry, the voice drops into first-person frailty: can a single pilgrimage outweigh a lifetime's stumbles? Sunbati marks the turn by bending the melody toward maqam Saba, the mode Arab ears associate with brokenness and supplication — the music itself bows its head.
when a lifetime holds the stumbles that mine holds?
You witness I never wounded a soul, did no harm,
sought no wrong in my speech nor in my secret thoughts;
and no soul was ever charged with love of its homeland
deeper than mine, in all I do and all I utter.
I have laid out my excuses, my humbleness, my fear,
and brought my weakness and my complaint to intercede.
You are the Master of pardon: erase with the white light
of forgiveness whatever pages I have blackened.
Shawqi seals the plea with a jinas — a twinned-word pun — worthy of the classical masters: erase with the whiteness of forgiveness (safh) what I have blackened of my pages (safahati). Sin as ink, pardon as light on paper; a poet's theology, where the ledger of deeds is literally a manuscript awaiting correction.
For he at whom the world smiles, and who is beguiled,
dies as the victims of beauties die — slain by a smile.
When, after the House, you visit Muhammad's tomb
In the original, this verse began "If you visit, my lord, the tomb of Muhammad" — the "lord" being the Khedive. The sung text's "after the House" removes the last trace of the royal addressee and folds the visit to Medina into every pilgrim's itinerary. It is the finest example of how Rami's scalpel turned an occasional poem into a timeless one.
and kiss the resting place of the fragrant bones,
and eyes brim over with the tears of awe
for Ahmad, there between the veil and the chambers,
a light will dawn beneath every mountain pass
and a perfume rise from under every stone.
Then say to God's Messenger: O best of the sent,
I pour out to you sorrows you already know.
Your peoples, in the east of the lands and in their west,
The devotional song suddenly becomes an argument about civilization: the Muslim peoples, holding "two lights," sleep like the Sleepers of the Cave (Qur'an, Sura 18) through their own dark age. This is Shawqi the reformer of the nahda speaking through the pilgrim's mouth — and when Umm Kulthum recorded the song again for television in 1963, filmed by Ahmed Badrakhan with designs by Shadi Abdel Salam, she famously wept as she sang. Broadcast every Hajj season since, it remains Arab radio's pilgrimage anthem.
are like the Sleepers of the Cave, sunk deep in slumber.
In their right hands are two lights — the Book and the Way —
so why do they wander in the blackest of darkness?
And say: my Lord, make my nation equal to great things,
and adorn its deeds and its resolves with grace.
What this song means
Every year, when the pilgrims begin to gather on the plain of Arafat, Arab radio reaches for the same recording. “Ila Arafat Allah” is not merely a song about the Hajj; for seven decades it has been the sound of the Hajj for millions who experience the season through the airwaves. That an ode written in 1910 to flatter a Khedive became this — the common property of every pilgrim — is one of the great stories of editorial transformation in Arabic song.
Ahmed Shawqi, the “Prince of Poets,” composed the original sixty-three verses as an elegant apology: Khedive Abbas Hilmi II had invited him along on the pilgrimage, and Shawqi, declining, sent the ruler on his way wrapped in angels and blessings, addressing him as “son of Muhammad.” The poem might have remained a courtly artifact. Instead, two decades after Shawqi’s death, it passed through a series of careful hands. The singer Nagat Ali had recorded a short selection for the radio in 1949; when Umm Kulthum fell in love with the text, she first had to obtain Nagat Ali’s gracious waiver. Then Ahmed Rami cut some forty verses and surgically removed the Khedive: “O son of Muhammad” became “O best of pilgrims,” and “if you visit, my lord, the tomb of Muhammad” became “when, after the House, you visit.” The addressee was no longer a prince but anyone with dust on their feet.
Riad al-Sunbati composed his setting in 1951, and it is among the purest examples of his sacred style: maqam Huzam — the ceremonial mode of his great religious qasidas — carried on the processional masmudi rhythm, with a prelude in which the drums fall like the footsteps of a departing caravan. The melody keeps entirely to the older Eastern modes, bending into the broken, supplicating color of Saba exactly where the text turns inward: “O my Lord, can one pilgrimage avail Your servant?” The most famous public performance came at the Azbakiyya theatre in April 1955, and in 1963 she recorded it again for the new Egyptian television, filmed by Ahmed Badrakhan with visual designs by Shadi Abdel Salam — the cameras caught her weeping as she sang.
The sung poem moves through three ascending registers. First, pageantry: angels on every horizon, Gabriel at the door, Zamzam braided with the rivers of Paradise — Shawqi’s neoclassical imagination staging the Hajj as a celestial court ceremony. Then humility: the speaker lays out his excuses and his weakness, asking that the white light of pardon erase the pages he has blackened, in one of Shawqi’s most exquisite puns. Finally, at the Prophet’s tomb, the poem becomes an argument: your peoples sleep like the Sleepers of the Cave, two lights in their hands, wandering in darkness. It ends not in comfort but in petition — “my Lord, make my nation equal to great things.”
Umm Kulthum left her own fingerprint on the text, singing “I see mankind in throngs” — afwajan, the Qur’an’s word — where Shawqi had written “in categories.” It is a single word, and it is everything: the crowd of pilgrims becomes the crowd of revelation. In that small act of editorship, as in the whole history of this song, the archive shows us how a masterpiece is not only written; it is inherited, argued with, trimmed, and finally given away to everyone.
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From the wiki
All articlesConcepts
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.
Concepts
Where to Start with Umm Kulthum: A Listener's Guide
New to Umm Kulthum? A step-by-step listening guide: which songs to start with, from Enta Omri to Al-Atlal, and how to enjoy her hour-long live tarab recordings.
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.