Songs
سلوا قلبي Salou Qalbi (Ask My Heart)
- Year
- 1946
- Lyricist
- Ahmed Shawqi
- Composer
- Riad Al-Sunbati
- Maqam
- Rast
Lines marked with a gold ornament carry a note — select one to read it.
Lyrics (Arabic)
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
Transliteration
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
English translation
Ask my heart, the morning it forgot and then relapsed — perhaps it holds some reproach against beauty
The command is plural — "ask, all of you, my heart" — as if the poet were summoning witnesses to a hearing. The bayt turns on a jinas between sala ("it forgot") and thaba ("it relapsed"): forgetting and relapse packed into a single breath. Sunbati opens in maqam Rast, the most foursquare and luminous of the Arab modes — confession delivered standing up straight.
The premiere belongs to January 1946, when Umm Kulthum sang the qasida at celebrations honoring King Abdulaziz Al Saud's state visit to Egypt — for that one occasion she added verses of royal salutation that never entered the canonical text. Shawqi himself had died in 1932; like much of her Shawqi repertoire, this is a poet sung in his absence.
In hard times people consult the clear-headed man — but has beauty left him any clear head at all?
A second jinas, wickeder than the first: sawab as "sound judgment" against sawaba "any judgment left." The clear-headed man is the one you consult in a crisis — but beauty has already emptied his head. Shawqi's wordplay is never mere decoration; it argues that love and reason share one vocabulary and cannot both keep it.
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
The worn-garment image announces the poem's pivot from ghazal to hikma, the classical register of hard-won wisdom: the world as a robe the poet has worn to rags. Umm Kulthum drops her ornamentation here to almost declarative plainness — the sound of experience rather than passion.
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
The theological hinge of the sung text: two negations ("no judgment... no door") that close every exit except one. From here the poem moves irreversibly toward the Prophet. Sunbati marks the turn with a modulation away from Rast's home ground, letting the melody wander before it settles — doubt performed, then dissolved.
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
The most famous line Shawqi ever wrote, and arguably the most quoted bayt of twentieth-century Arabic verse: "goals are never attained by wishing — the world is only ever taken by striving." Sung in 1946, between a world war and an empire's exit, it landed as political instruction. Audiences made her repeat it, schoolteachers set it as copywork, and it survives as a proverb people cite without knowing they are quoting a song.
And no prize has ever defied a people — who make boldness the mount they ride
The companion aphorism completes the couplet: iqdam — boldness, forward motion — as the riding mount of nations. The metaphor is cavalry, the meter is wafir's rolling gait, and Sunbati's setting drives the rhythm forward so that the music itself seems to advance on the objective.
Father of al-Zahra, in praising you I have overreached my station — and yet I claim a kinship of my own
"Father of al-Zahra" — the Prophet addressed through his daughter Fatima. With this apostrophe the qasida openly becomes madih nabawi, prophetic praise, and the singer's whole posture changes: the tone of the lover and the moralist gives way to the supplicant. That a national diva sang this on the public stage, to rapt secular audiences, says much about how naturally devotion and high art shared one room in 1940s Egypt.
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
Shawqi spent his career as court poet to Egypt's khedives — "I praised the kings" is autobiography, not figure. The startling image that follows (praising the Prophet, he "led the rainclouds by the rein") outbids every royal panegyric he ever wrote: generosity itself, the rain, walks behind this praise like a led animal.
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.
Related songs
All songsWulida al-Huda (The Guide Is Born) ولد الهدى
1949 · Maqam Rast
Wulida al-Huda (1949): Shawqi's mawlid hymn in Sunbati's maqam Rast — the boldest verses on faith, justice and equality Umm Kulthum ever sang.
Ila Arafat Allah (To the Arafat of God) إلى عرفات الله
1951 · Maqam Huzam
Ila Arafat Allah (1951): Ahmed Shawqi's Hajj qasida in Riad al-Sunbati's maqam Huzam setting — how Umm Kulthum's pilgrimage anthem came to be, with translation.
Nahj al-Burda (The Way of the Mantle) نهج البردة
1946 · Maqam Rahat al-Arwah
Nahj al-Burda (1946): Shawqi's answer to al-Busiri's Burda, set by Sunbati in maqam Rahat al-Arwah — the most exalted of Umm Kulthum's prophetic praise songs.
Salou Ku'us al-Tila (Ask the Cups of Wine) سلوا كؤوس الطلا
1938 · Maqam Huzam
Salou Ku'us al-Tila (1938): Ahmed Shawqi's wine-song portrait of Umm Kulthum's own voice, set by Riad al-Sunbati in maqam Huzam — annotated and translated.
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