Poem II.
Hebrew Orthography
יא מלק אלקלוב * ואהגִר כם לך תועדב למן יהוואך
//אלאלאן
מה תכתשי מן אללה תוכפף אלדנוב באללה תובא **
ובצטתלי בצט מן אלנואר חתא חצל קלבי פי
אשבאך * ופתחתלי אבואב פי אלחברוב באללה תובא **
//אש קאלי אלפקי חין קולתלו האד אלעדור
Arabic Orthography
يا ملق القلوب * واهجر كم لك توعدب لمن يهوواك
//الالان
مه تختشي من الله توخفف الدنوب بالله توبا **
وبصطتلي بصط من النوار حتا حصل قلبي في
اشباك * وفتحتلي ابواب في الحروب بالله توبا **
//اش قالي الفقي حين قولتلو هاد العدور
English Translation
O King of Hearts, I leave you on your own to torment the one who loves you, alālān!
Do not be afraid: through God sins are lightened—repentance is with God!
She laid out for me an array of flowers until my heart was ensnared,
and she opened for me the doors of war—repentance is with God!
What the teacher told me when I told him of these regrets.
Standardized Version
يا ملك القلوب واهجركم لك تعذب لمن يهواك الالان
ما تختشي من الله تخفف الذنوب بالله التوبة
وبسطت لي بسط من النوار حتى حصل قلبي في اشباك
وفتحت لي ابواب في الحروب بالله التوبة
اش قال لي الفقيه حين قُلت لُه هذا العذور
Notes:
1. The heading kharja is common throughout the ṭarīq section of the manuscript. Traditionally, the kharja is the final couplet of the strophic poem known as muwashshaḥ, and it is often colloquializing and quotative. Here, however, kharja appears to name not a closing couplet but rather the entire poem in the muwashshaḥ form. Note too that some of the Hebrew poems that appear earlier in the manuscript using headings associated with the piyyuṭ tradition appear in this section as kharja.
2. Many of the song-texts in this manuscript include the interjection of syllables like alālān, yā la lān, and ṭānī ṭāna. This is a common practice in sung muwashshaḥāt, including in the modern nūba practice in the Maghrib. Usually, however, such syllables are not included in written texts. We have kept such syllables in the standardized Arabic version and the English translation, even though they should be understood as sung interjections and not as parts of the poetic form as such.