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سَلوا قَلبي غَداةَ سَلا وَثابا — لَعَلَّ عَلى الجَمالِ لَهُ عِتابا

وَيُسأَلُ في الحَوادِثِ ذو صَوابٍ — فَهَل تَرَكَ الجَمالُ لَهُ صَوابا

وَكُنتُ إِذا سَأَلتُ القَلبَ يَومًا — تَوَلّى الدَمعُ عَن قَلبي الجَوابا

وَلي بَينَ الضُلوعِ دَمٌ وَلَحمٌ — هُما الواهي الَّذي ثَكِلَ الشَبابا

تَسَرَّبَ في الدُموعِ فَقُلتُ وَلّى — وَصَفَّقَ في الضُلوعِ فَقُلتُ ثابا

وَلَو خُلِقَت قُلوبٌ مِن حَديدٍ — لَما حَمَلَت كَما حَمَلَ العَذابا

وَلا يُنبيكَ عَن خُلُقِ اللَيالي — كَمَن فَقَدَ الأَحِبَّةَ وَالصَحابا

فَمَن يَغتَرُّ بِالدُنيا فَإِنّي — لَبِستُ بِها فَأَبلَيتُ الثِيابا

جَنَيتُ بِرَوضِها وَردًا وَشَوكًا — وَذُقتُ بِكَأسِها شُهدًا وَصابا

فَلَم أَرَ غَيرَ حُكمِ اللَهِ حُكمًا — وَلَم أَرَ دونَ بابِ اللَهِ بابا

وَأَنَّ البِرَّ خَيرٌ في حَياةٍ — وَأَبقى بَعدَ صاحِبِهِ ثَوابا

نَبِيُّ البِرِّ بَيَّنَهُ سَبيلًا — وَسَنَّ خِلالَهُ وَهَدى الشِعابا

وَكانَ بَيانُهُ لِلهَديِ سُبلًا — وَكانَت خَيلُهُ لِلحَقِّ غابا

وَعَلَّمَنا بِناءَ المَجدِ حَتّى — أَخَذنا إِمرَةَ الأَرضِ اِغتِصابا

وَما نَيلُ المَطالِبِ بِالتَمَنّي — وَلَكِن تُؤخَذُ الدُنيا غِلابا

وَما اِستَعصى عَلى قَومٍ مَنالٌ — إِذا الإِقدامُ كانَ لَهُم رِكابا

أَبا الزَهراءِ قَد جاوَزتُ قَدري — بِمَدحِكَ بَيدَ أَنَّ لِيَ اِنتِسابا

فَما عَرَفَ البَلاغَةَ ذو بَيانٍ — إِذا لَم يَتَّخِذكَ لَهُ كِتابا

مَدَحتُ المالِكينَ فَزِدتُ قَدرًا — فَحينَ مَدَحتُكَ اِقتَدتُ السَحابا

سَأَلتُ اللَهَ في أَبناءِ ديني — فَإِن تَكُنِ الوَسيلَةَ لي أَجابا

وَما لِلمُسلِمينَ سِواكَ حِصنٌ — إِذا ما الضَرُّ مَسَّهُمُ وَنابا

Salu qalbi ghadata sala wa-thaba — la'alla 'ala l-jamali lahu 'itaba

Wa-yus'alu fi l-hawadithi dhu sawabin — fa-hal taraka l-jamalu lahu sawaba

Wa-kuntu idha sa'altu l-qalba yawman — tawalla d-dam'u 'an qalbi l-jawaba

Wa-li bayna d-dulu'i damun wa-lahmun — huma l-wahi lladhi thakila sh-shababa

Tasarraba fi d-dumu'i fa-qultu walla — wa-saffaqa fi d-dulu'i fa-qultu thaba

Wa-law khuliqat qulubun min hadidin — lama hamalat kama hamala l-'adhaba

Wa-la yunbika 'an khuluqi l-layali — ka-man faqada l-ahibbata wa-s-sahaba

Fa-man yaghtarru bi-d-dunya fa-inni — labistu biha fa-ablaytu th-thiyaba

Janaytu bi-rawdiha wardan wa-shawkan — wa-dhuqtu bi-ka'siha shuhdan wa-saba

Fa-lam ara ghayra hukmi llahi hukman — wa-lam ara duna babi llahi baba

Wa-anna l-birra khayrun fi hayatin — wa-abqa ba'da sahibihi thawaba

Nabiyyu l-birri bayyanahu sabilan — wa-sanna khilalahu wa-hada sh-shi'aba

Wa-kana bayanuhu li-l-hadyi sublan — wa-kanat khayluhu li-l-haqqi ghaba

Wa-'allamana bina'a l-majdi hatta — akhadhna imrata l-ardi ghtisaba

Wa-ma naylu l-matalibi bi-t-tamanni — wa-lakin tu'khadhu d-dunya ghilaba

Wa-ma sta'sa 'ala qawmin manalun — idha l-iqdamu kana lahum rikaba

Aba z-Zahra'i qad jawaztu qadri — bi-madhika bayda anna liya ntisaba

Fa-ma 'arafa l-balaghata dhu bayanin — idha lam yattakhidhka lahu kitaba

Madahtu l-malikina fa-zidtu qadran — fa-hina madahtuka qtadtu s-sahaba

Sa'altu llaha fi abna'i dini — fa-in takuni l-wasilata li ajaba

Wa-ma li-l-muslimina siwaka hisnun — idha ma d-durru massahumu wa-naba

Ask my heart, the morning it forgot and then relapsed — perhaps it holds some reproach against beauty

In hard times people consult the clear-headed man — but has beauty left him any clear head at all?

Whenever I put a question to my heart — my tears would take the answer upon themselves

Within my ribs there is blood, there is flesh — one frail thing together, mourning its own lost youth

It drained away in tears, and I said: it is gone — then it beat against my ribs, and I said: it has returned

Had hearts been forged out of iron — they could not have carried what mine has carried of torment

And no one can tell you the true nature of the nights — like one who has lost his loved ones and companions

Let others be deceived by this world — I have worn its garments and worn them through

In its garden I gathered both rose and thorn — and from its cup I tasted honey and bitter aloes

So I have found no judgment but the judgment of God — and I have found no door short of the door of God

And righteousness is best while a man still lives — and outlasts its doer as enduring reward

The Prophet of righteousness marked it out as a road — traced its ways and guided through the mountain passes

His eloquence became highways for guidance — and his horses a forest of lances around the truth

He taught us how glory is built — until we seized command of the earth by storm

Goals are never attained by wishing — the world is only ever taken by striving

And no prize has ever defied a people — who make boldness the mount they ride

Father of al-Zahra, in praising you I have overreached my station — and yet I claim a kinship of my own

For no master of speech has ever known eloquence — unless he took you for his book

I praised the kings, and my standing grew — but when I praised you, I led the rainclouds by the rein

I have petitioned God for the children of my faith — and if you are my intercessor, He will answer

The Muslims have no fortress but you — when harm has touched them and calamity bitten deep

What this song means

In 1946 Umm Kulthum turned to the greatest name in modern Arabic poetry — Ahmed Shawqi, the “Prince of Poets,” dead since 1932 — and sang twenty-one verses from one of his most beloved qasidas. “Salou Qalbi” (“Ask My Heart”) opened a remarkable partnership between the singer, the composer Riad al-Sunbati, and a poet who was no longer alive to hear it: within four years the same trio-across-the-grave would produce “Nahj al-Burda” and “Wulida al-Huda,” the summit of her religious repertoire.

The poem itself is a curious, capacious thing. Shawqi wrote seventy-two verses in the rolling wafir meter, beginning as a love lyric, passing through worldly wisdom, and ending in praise of the Prophet — the classical arc of madih nabawi, in which the profane heart is the road to the sacred one. Umm Kulthum’s selection compresses that journey without breaking it: the interrogated heart, the world worn threadbare like an old robe, the discovery that no door remains but God’s, and finally the address to “Father of al-Zahra.” The cut is an interpretation in itself — twenty-one verses chosen so that a listener who knows nothing of the full diwan still travels the whole distance.

Sunbati set the qasida in maqam Rast, the mode Arab theorists treat as the natural center of the system — balanced, diatonic at its base, radiant without pathos. It was an inspired match for a poem that argues rather than weeps. The setting moves in discrete waves, one for each thematic station, and leaves Umm Kulthum wide margins for repetition; surviving broadcasts show her returning to single hemistichs again and again, adjusting a vowel’s weight, resharpening a consonant, while the audience calls for more.

One couplet escaped the song entirely and entered the language. “Wa-ma naylu l-matalibi bi-t-tamanni — goals are never attained by wishing; the world is only ever taken by striving.” Shawqi had written it decades earlier, but 1946 gave it a detonator: Egypt was pressing for the evacuation of British troops, the Arab world was thick with talk of independence, and a line about seizing rather than wishing sounded less like poetry than like a program. It has since become one of the most quoted verses in modern Arabic — recited in classrooms and parliaments by people who have long forgotten, or never knew, that its fame passed through a song.

The premiere had its own occasion of state: she sang it during the January 1946 visit of King Abdulaziz Al Saud to Egypt, adding a handful of salutation verses for the guest that were retired once the occasion passed. The detail is telling. “Salou Qalbi” lived simultaneously as court ceremony, popular entertainment, national exhortation and act of devotion — and the song was large enough to be all of these at once, which is perhaps the most Kulthumian quality a song can have.

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History

The Films of Umm Kulthum

Umm Kulthum made six musical films between 1936 and 1947, from Widad to Fatma. Why she went before the camera, the songs her films carried, and why she stopped.

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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.

Read more