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The poems written by these cultured women poets present the beloved as having a
face like the sun or the moon (bright), with cheeks like a rose, and a mouth sweeter than
wine. A common animal metaphor for the man is the lion. The woman describes herself,
or is described by her lover, with the metaphor of the gazelle, the midday sun, or the
moon. The description of her body includes hair in curls; cheeks like roses; teary black
eyes; lips like sweet water; teeth like pearls; breasts like round peaches; adorned with a
pearl necklace. She is young and unmarried (often through the metaphor of a garden
without a gardener). White skin is preferred, and the denigration of dark skin assumes
sharper tones when the poetic voice is that of a woman jealous of her beloved who has
taken a black slave as a lover: Wāllada the Umayyad (eleventh century) describes herself as “la luna de los cielos” and the rival as a “sombrío planeta” (Rubiera Mata 104; all
translations are by Rubiera Mata). A similar example is from the poetry of Ḥafṣa Bint al-
Ḥāŷŷ Ar-Rakūniyya (Granada, 1135-1191) who describes her rival as “negra como la
noche” ‘dark as the night’, such that “no se ve la hermosura del rostro … el rubor de las
mejillas” ‘one cannot see the beauty of her face … the rosy cheeks’:
¡Oh tú que eras el hombre más fino del mundo
antes que el destino te hiciera caer!
Estás enamorado de una negra como la noche,
donde se ocultan los encantos de la belleza;
donde no se ve la hermosura del rostro,
ni, desde luego, el rubor de la mejillas.
¡Díme tú que sabes tanto de amar a las formas bellas!
¿Quién puede amar un jardín que no tiene flores? (Rubiera Mata 144)
In the poetry of the cultured women (wholly composed in Classical Arabic), the
love theme is typical of the Arabic poetry written by men: symptoms of lovesickness, the
bucolic “locus amoenus” and the (narcissist) self-portraits that adopt the classic metaphor
of the woman as a gazelle or a doe, with bewitching eyes, pink cheeks, and teeth as
pearls.
face like the sun or the moon (bright), with cheeks like a rose, and a mouth sweeter than
wine. A common animal metaphor for the man is the lion. The woman describes herself,
or is described by her lover, with the metaphor of the gazelle, the midday sun, or the
moon. The description of her body includes hair in curls; cheeks like roses; teary black
eyes; lips like sweet water; teeth like pearls; breasts like round peaches; adorned with a
pearl necklace. She is young and unmarried (often through the metaphor of a garden
without a gardener). White skin is preferred, and the denigration of dark skin assumes
sharper tones when the poetic voice is that of a woman jealous of her beloved who has
taken a black slave as a lover: Wāllada the Umayyad (eleventh century) describes herself as “la luna de los cielos” and the rival as a “sombrío planeta” (Rubiera Mata 104; all
translations are by Rubiera Mata). A similar example is from the poetry of Ḥafṣa Bint al-
Ḥāŷŷ Ar-Rakūniyya (Granada, 1135-1191) who describes her rival as “negra como la
noche” ‘dark as the night’, such that “no se ve la hermosura del rostro … el rubor de las
mejillas” ‘one cannot see the beauty of her face … the rosy cheeks’:
¡Oh tú que eras el hombre más fino del mundo
antes que el destino te hiciera caer!
Estás enamorado de una negra como la noche,
donde se ocultan los encantos de la belleza;
donde no se ve la hermosura del rostro,
ni, desde luego, el rubor de la mejillas.
¡Díme tú que sabes tanto de amar a las formas bellas!
¿Quién puede amar un jardín que no tiene flores? (Rubiera Mata 144)
In the poetry of the cultured women (wholly composed in Classical Arabic), the
love theme is typical of the Arabic poetry written by men: symptoms of lovesickness, the
bucolic “locus amoenus” and the (narcissist) self-portraits that adopt the classic metaphor
of the woman as a gazelle or a doe, with bewitching eyes, pink cheeks, and teeth as
pearls.
https://mospace.umsy....pdf?sequence=3
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