Songs
ولد الهدى Wulida al-Huda (The Guide Is Born)
- Year
- 1949
- Lyricist
- Ahmed Shawqi
- Composer
- Riad Al-Sunbati
- Maqam
- Rast
Lines marked with a gold ornament carry a note — select one to read it.
وُلِدَ الهُدى فَالكائِناتُ ضِياءُ — وَفَمُ الزَمانِ تَبَسُّمٌ وَثَناءُ
Wulida l-huda fa-l-ka'inatu diya'u — wa-famu z-zamani tabassumun wa-thana'u
The Guide is born, and all creation is radiance — and the mouth of time is a smile and a song of praise
Among the most famous opening lines in modern Arabic poetry — recited at mawlid celebrations across the Arab world to this day. Shawqi wrote the poem as a hamziyya, every verse ending in a long-a hamza, answering al-Busiri's medieval Hamziyya as "Nahj al-Burda" answered his Burda. Sunbati sets the birth announcement in maqam Rast, the tradition's mode of daylight and clarity: creation itself switched on like a lamp.
الروحُ وَالمَلَأُ المَلائِكُ حَولَهُ — لِلدينِ وَالدُنيا بِهِ بُشَراءُ
Ar-ruhu wa-l-mala'u l-mala'iku hawlahu — li-d-dini wa-d-dunya bihi bushara'u
The Spirit and the host of angels surround him — bearers of glad tidings, to faith and to the world
وَالعَرشُ يَزهو وَالحَظيرَةُ تَزدَهي — وَالمُنتَهى وَالسِدرَةُ العَصماءُ
Wa-l-'arshu yazhu wa-l-haziratu tazdahi — wa-l-muntaha wa-s-sidratu l-'asma'u
The Throne exults and the sacred precinct glows — with the utmost boundary and the inviolate Lote Tree
The birth is registered not on earth but in the highest cosmology the tradition knows: the Throne, the celestial precinct, and the Lote Tree of the Utmost Boundary (sidrat al-muntaha) that marks the point beyond which no created being passes. The infant is announced from the top of the universe downward — an inversion of every ordinary nativity.
وَالوَحيُ يَقطُرُ سَلسَلًا مِن سَلسَلٍ — وَاللَوحُ وَالقَلَمُ البَديعُ رُواءُ
Wa-l-wahyu yaqturu salsalan min salsalin — wa-l-lawhu wa-l-qalamu l-badi'u ruwa'u
Revelation drips, spring-water out of spring-water — and the Tablet and the wondrous Pen stand beautiful
يا خَيرَ مَن جاءَ الوُجودَ تَحِيَّةً — مِن مُرسَلينَ إِلى الهُدى بِكَ جاؤوا
Ya khayra man ja'a l-wujuda tahiyyatan — min mursalina ila l-huda bika ja'u
O best of all who ever came into existence, a greeting — from the messengers, who came to guidance through you
بِكَ بَشَّرَ اللَهُ السَماءَ فَزُيِّنَت — وَتَضَوَّعَت مِسكًا بِكَ الغَبراءُ
Bika bashshara llahu s-sama'a fa-zuyyinat — wa-tadawwa'at miskan bika l-ghabra'u
With you God gave the heavens glad tidings, and they were adorned — and through you the dusty earth breathed musk
Heaven is decorated and the "dusty earth" (al-ghabra') breathes musk — the perfumed cosmos is a signature image of mawlid poetry, and Umm Kulthum's audiences knew it from centuries of popular birth-narratives. Her ornamentation on "miskan" was a reliable moment of uproar: the word itself made fragrant.
يَومٌ يَتيهُ عَلى الزَمانِ صَباحُهُ — وَمَساؤُهُ بِمُحَمَّدٍ وَضّاءُ
Yawmun yatihu 'ala z-zamani sabahuhu — wa-masa'uhu bi-Muhammadin wadda'u
A day whose morning walks proud over all of time — and whose evening, through Muhammad, blazes with light
يوحى إِلَيكَ الفَوزُ في ظُلُماتِهِ — مُتَتابِعًا تُجلى بِهِ الظَلماءُ
Yuha ilayka l-fawzu fi zulumatihi — mutatabi'an tujla bihi z-zalma'u
Triumph is revealed to you within its darkness — verse upon verse, until the gloom is driven back
وَالآيُ تَترى وَالخَوارِقُ جَمَّةٌ — جِبريلُ رَوّاحٌ بِها غَدّاءُ
Wa-l-ayu tatra wa-l-khawariqu jammatun — Jibrilu rawwahun biha ghadda'u
The signs come one upon another, the wonders abound — Gabriel arriving with them at dusk and at dawn
دينٌ يُشَيَّدُ آيَةً في آيَةٍ — لَبِناتُهُ السوراتُ وَالأَضواءُ
Dinun yushayyadu ayatan fi ayatin — labinatuhu s-suratu wa-l-adwa'u
A faith built upward, verse set into verse — its building-blocks the suras, and its mortar light
Religion as architecture: a faith "built upward, verse set into verse," its bricks the suras of the Qur'an. Shawqi the neoclassicist loved engineering metaphors, and the following line caps this one with a builder no rival panegyric could outbid — God Himself as the mason.
الحَقُّ فيهِ هُوَ الأَساسُ وَكَيفَ لا — وَاللَهُ جَلَّ جَلالُهُ البَنّاءُ
Al-haqqu fihi huwa l-asasu wa-kayfa la — wa-llahu jalla jalaluhu l-banna'u
Truth in it is the very foundation — and how not — when God, majestic in His majesty, is the builder
بِكَ يا ابنَ عَبدِ اللَهِ قامَت سَمحَةٌ — بِالحَقِّ مِن مِلَلِ الهُدى غَرّاءُ
Bika ya bna 'Abdi llahi qamat samhatun — bi-l-haqqi min milali l-huda gharra'u
Through you, O son of Abdullah, there arose a gracious creed — radiant with truth among the paths of guidance
بُنِيَت عَلى التَوحيدِ وَهيَ حَقيقَةٌ — نادى بِها سُقراطُ وَالقُدَماءُ
Buniyat 'ala t-tawhidi wa-hya haqiqatun — nada biha Suqratu wa-l-qudama'u
Founded upon the oneness of God — a truth — that Socrates and the ancients had once proclaimed
The most modernist gesture in the sung text: tawhid, the oneness of God, presented as a truth "Socrates and the ancients" had already proclaimed — followed by the priests of the Nile valley. Shawqi folds Greek philosophy and Pharaonic Egypt into the genealogy of Islam, a civilizational argument typical of the liberal nahda in which he wrote, and startling to hear delivered from a concert stage.
وَمَشى عَلى وَجهِ الزَمانِ بِنورِها — كُهّانُ وادي النيلِ وَالعُرَفاءُ
Wa-masha 'ala wajhi z-zamani bi-nuriha — kuhhanu wadi n-nili wa-l-'urafa'u
And by whose light there walked across the face of time — the priests of the Nile valley and the seers
اللَهُ فَوقَ الخَلقِ فيها وَحدَهُ — وَالناسُ تَحتَ لِوائِها أَكفاءُ
Allahu fawqa l-khalqi fiha wahdahu — wa-n-nasu tahta liwa'iha akfa'u
In it God alone stands above creation — and beneath its banner all people stand as equals
وَالدينُ يُسرٌ وَالخِلافَةُ بَيعَةٌ — وَالأَمرُ شورى وَالحُقوقُ قَضاءُ
Wa-d-dinu yusrun wa-l-khilafatu bay'atun — wa-l-amru shura wa-l-huququ qada'u
Religion is ease, the caliphate a freely sworn compact — affairs are counsel, and rights are binding law
A political constitution compressed into a single bayt: religion is ease, rule rests on the consent of the ruled (bay'a), public affairs belong to consultation (shura), and rights are enforceable law. In 1949, under a discredited palace and a failing parliamentary order, the verse read like an indictment by contrast — praise of the Prophet doubling as a mirror held up to the modern state.
الاِشتِراكِيّونَ أَنتَ إِمامُهُم — لَولا دَعاوى القَومِ وَالغُلَواءُ
Al-ishtirakiyyuna anta imamuhum — lawla da'awa l-qawmi wa-l-ghulawa'u
The socialists — you would be their imam — were it not for the slogans of the crowd and their excess
The audacity that made the song briefly a political affair: "the socialists — you would be their imam." The story is widely told in the Egyptian press that the palace pressed for this verse and its sequels to be dropped, and that Umm Kulthum sang them anyway. Whatever the precise truth, the verses stayed in, and the boldest social program she ever sang — equality, the right to life, justice for the poor — reached the whole Arab world under the unimpeachable cover of prophetic praise.
داوَيتَ مُتَّئِدًا وَداوَوا طَفرَةً — وَأَخَفُّ مِن بَعضِ الدَواءِ الداءُ
Dawayta mutta'idan wa-dawaw tafratan — wa-akhaffu min ba'di d-dawa'i d-da'u
You healed with patience; they would heal at one wild leap — and some diseases weigh less than their cure
الحَربُ في حَقٍّ لَدَيكَ شَريعَةٌ — وَمِنَ السُمومِ الناقِعاتِ دَواءُ
Al-harbu fi haqqin ladayka shari'atun — wa-mina s-sumumi n-naqi'ati dawa'u
War, in a just cause, is in your code legitimate — even from the deadliest poisons medicine is drawn
وَالبِرُّ عِندَكَ ذِمَّةٌ وَفَريضَةٌ — لا مِنَّةٌ مَمنونَةٌ وَجَباءُ
Wa-l-birru 'indaka dhimmatun wa-faridatun — la minnatun mamnunatun wa-jaba'u
And charity with you is a covenant and a duty — not a favor grudgingly granted, and not a tax
جاءَت فَوَحَّدَتِ الزَكاةُ سَبيلَهُ — حَتّى التَقى الكُرَماءُ وَالبُخَلاءُ
Ja'at fa-wahhadati z-zakatu sabilahu — hatta ltaqa l-kurama'u wa-l-bukhala'u
Almsgiving came and made its practice a single road — on which the generous and the miserly finally meet
أَنصَفَت أَهلَ الفَقرِ مِن أَهلِ الغِنى — فَالكُلُّ في حَقِّ الحَياةِ سَواءُ
Ansafat ahla l-faqri min ahli l-ghina — fa-l-kullu fi haqqi l-hayati sawa'u
It did the people of poverty justice against the rich — for in the right to life all stand the same
يا مَن لَهُ الأَخلاقُ ما تَهوى العُلا — مِنها وَما يَتَعَشَّقُ الكُبَراءُ
Ya man lahu l-akhlaqu ma tahwa l-'ula — minha wa-ma yata'ashshaqu l-kubara'u
O you whose character holds all that eminence desires — and everything the great fall in love with
زانَتكَ في الخُلُقِ العَظيمِ شَمائِلٌ — يُغرى بِهِنَّ وَيولَعُ الكُرَماءُ
Zanatka fi l-khuluqi l-'azimi shama'ilu — yughra bihinna wa-yula'u l-kurama'u
In your tremendous nature shine such qualities — as captivate the noble and hold them spellbound
فَإِذا سَخَوتَ بَلَغتَ بِالجودِ المَدى — وَفَعَلتَ ما لا تَفعَلُ الأَنواءُ
Fa-idha sakhawta balaghta bi-l-judi l-mada — wa-fa'alta ma la taf'alu l-anwa'u
When you give, your bounty reaches the farthest horizon — and does what the rain-bearing stars cannot do
The Prophet's generosity "does what the anwa' cannot" — the anwa' being the rain-bringing stars by which pre-Islamic Arabs told the seasons. Shawqi reaches for the oldest weather vocabulary in the language precisely to say the old cosmos has been outperformed; it is praise built from the ruins of the world it replaces.
وَإِذا عَفَوتَ فَقادِرًا وَمُقَدَّرًا — لا يَستَهينُ بِعَفوِكَ الجُهَلاءُ
Wa-idha 'afawta fa-qadiran wa-muqaddaran — la yastahinu bi-'afwika l-juhala'u
When you forgive, it is from power, and with measure — no fool mistakes your pardon for weakness
وَإِذا رَحِمتَ فَأَنتَ أُمٌّ أَو أَبٌ — هَذانِ في الدُنيا هُما الرُحَماءُ
Wa-idha rahimta fa-anta ummun aw abun — hadhani fi d-dunya huma r-ruhama'u
When you show mercy, you are a mother or a father — the two most merciful beings this world knows
وَإِذا خَطَبتَ فَلِلمَنابِرِ هِزَّةٌ — تَعرو النَدِيَّ وَلِلقُلوبِ بُكاءُ
Wa-idha khatabta fa-li-l-manabiri hizzatun — ta'ru n-nadiyya wa-li-l-qulubi buka'u
When you preach, a tremor takes hold of the pulpits — runs through the assembly, and hearts break into weeping
وَإِذا أَخَذتَ العَهدَ أَو أَعطَيتَهُ — فَجَميعُ عَهدِكَ ذِمَّةٌ وَوَفاءُ
Wa-idha akhadhta l-'ahda aw a'taytahu — fa-jami'u 'ahdika dhimmatun wa-wafa'u
And when you take a pledge, or give your own — your every covenant is sacred trust and faithfulness
يا مَن لَهُ عِزُّ الشَفاعَةِ وَحدَهُ — وَهوَ المُنَزَّهُ ما لَهُ شُفَعاءُ
Ya man lahu 'izzu sh-shafa'ati wahdahu — wa-hwa l-munazzahu ma lahu shufa'a'u
O you to whom alone belongs the glory of interceding — before the Transcendent One, who needs no intercessors
لي في مَديحِكَ يا رَسولُ عَرائِسٌ — تُيِّمنَ فيكَ وَشاقَهُنَّ جَلاءُ
Li fi madihika ya rasulu 'ara'isu — tuyyimna fika wa-shaqahunna jala'u
I keep in your praise, O Messenger, brides of verse — lovesick for you, and longing to be unveiled
هُنَّ الحِسانُ فَإِن قَبِلتَ تَكَرُّمًا — فَمُهورُهُنَّ شَفاعَةٌ حَسناءُ
Hunna l-hisanu fa-in qabilta takarruman — fa-muhuruhunna shafa'atun hasna'u
They are fair ones; and should you graciously accept them — their bride-price is a beautiful intercession
ما جِئتُ بابَكَ مادِحًا بَل داعِيًا — وَمِنَ المَديحِ تَضَرُّعٌ وَدُعاءُ
Ma ji'tu babaka madihan bal da'iyan — wa-mina l-madihi tadarru'un wa-du'a'u
I have not come to your door to flatter, but to plead — for part of praise is supplication and prayer
The turn every great madih must make: "I have not come to your door to flatter, but to plead." The professional panegyrist — Shawqi praised khedives for a living — disowns his own craft at the door of the one subject that makes praise into prayer. Umm Kulthum sang the line with stripped-down gravity, and in the final verse ("my weakened people, in a crisis") her 1949 audience, one year after the Palestine catastrophe, heard exactly whom the plea was for.
أَدعوكَ عَن قَومي الضِعافِ لِأَزمَةٍ — في مِثلِها يُلقى عَلَيكَ رَجاءُ
Ad'uka 'an qawmi d-di'afi li-azmatin — fi mithliha yulqa 'alayka raja'u
I call upon you for my weakened people, in a crisis — of the kind in which all hope is laid on you
What this song means
“The Guide is born, and all creation is radiance.” Few opening lines in modern Arabic poetry are as instantly recognizable as the first bayt of Ahmed Shawqi’s nabawi hamziyya — and since 1949, when Umm Kulthum sang it for the Prophet’s birthday in Riad al-Sunbati’s setting, the line has effectively been the anthem of the mawlid across the Arab world. The song completed a trilogy: after “Salou Qalbi” and “Nahj al-Burda” in 1946, this was the third and last of the great Shawqi qasidas she recorded with Sunbati, and in some ways the most daring.
The poem answers al-Busiri’s medieval Hamziyya as “Nahj al-Burda” had answered his Burda — every verse closing on the same long-vowelled hamza, a rhyme that rings like a struck bell. From Shawqi’s long original Umm Kulthum sang thirty-four verses, and the selection shows what she and Sunbati wanted the evening to be: not a narrative of the Prophet’s life but a cosmology, an argument, and finally a plea. The birth is announced from the top of the universe downward — the Throne exulting, the Lote Tree of the Utmost Boundary trembling, the earth breathing musk — before the poem descends into history and revelation, Gabriel shuttling between heaven and the cave “at dusk and at dawn.”
Then comes the section that no other singer of her stature would have touched. Shawqi’s Prophet is the imam the socialists would have “were it not for their slogans and excess”; his religion is ease, his caliphate a freely sworn compact, its affairs settled by consultation, its rights enforceable at law; his zakat “did the people of poverty justice against the rich — for in the right to life all stand the same.” This is the liberal nahda’s entire social program smuggled inside a praise poem, with Socrates and the priests of the Nile valley enlisted as forerunners of tawhid. The Egyptian press has long told the story that the royal palace, hearing its own portrait in the negative, pressed for cuts — and that Umm Kulthum sang every verse. The details of the anecdote vary with the telling; the verses, on the recordings, are all there.
Sunbati set the whole in maqam Rast — the mode of clarity and daylight, the same choice he made for “Salou Qalbi” — and built the melody as a long sunrise: expansive and ceremonial at the opening annunciation, tightening into declamation for the social verses, where the music gets out of the way of the words, then opening again for the portrait of the Prophet’s character, the tenderest music in the piece falling on “when you show mercy, you are a mother or a father.”
The ending is the reason the song outlives its occasion. The professional panegyrist — and Shawqi had praised khedives for a living — renounces his own craft at the one door where praise turns into prayer: “I have not come to your door to flatter, but to plead.” The plea is for “my weakened people, in a crisis,” and in 1949, one year after the catastrophe in Palestine, no listener in the Arab world had to ask which crisis was meant. A birth song that ends as an intercession; a mawlid hymn carrying a social manifesto; a court poet’s masterpiece sung in defiance of a court — “Wulida al-Huda” holds all of this in a single Rast arc from daybreak to supplication, and it remains among the most beloved religious works Umm Kulthum ever performed.
Related songs
All songsSalou Qalbi (Ask My Heart) سلوا قلبي
1946 · Maqam Rast
Salou Qalbi (1946): Ahmed Shawqi's qasida in Sunbati's maqam Rast — the song that made 'goals are never attained by wishing' the proverb of a generation.
Misr Tatahaddath An Nafsiha (Egypt Speaks of Herself) مصر تتحدث عن نفسها
1951 · Maqam Rast
Misr Tatahaddath An Nafsiha (1951): full lyrics & translation of Hafez Ibrahim's qasida in Riad al-Sunbati's maqam Rast setting — Egypt speaks in her own voice.
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.
Rubaiyat el-Khayyam (The Quatrains of Khayyam) رباعيات الخيام
1950 · Maqam Rast
Rubaiyat el-Khayyam (1950): Omar Khayyam in Ahmed Rami's Arabic, set by Riad al-Sunbati in maqam Rast — meaning and translation of Umm Kulthum's masterpiece.
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.
Concepts
The Art of the Qasida
The qasida — the classical Arabic ode — was the most prestigious form Umm Kulthum sang. A guide through Salou Qalbi, Al-Atlal, the Rubaiyat, and Nahj al-Burda.