Leg over Leg. Ahmad Faris al-Shidyaq

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СКАЧАТЬ * وشنَفها وحدقلتها * وشفونها وازلاقها * واستكفافها واستشفافها * واستيضاحها واستشرافها * وخلاعتها وخُيَلائها * وتمايلها وتهاديها * وتغدّنها وتعاطفها * وتثنّيها وتاوّدها * وتدكّلها وتخوّدها * وتذيّلها وتعيّلها * وتفتّلها وتقتّلها * وتذبلها وترفلها * وتبخترها وتخطلها * وتفختها وتدهكرها * وتبهكنها وتهذخرها * وتخلعها وتفككها * وميْحها وحَكَكها^١ * وتدأديها وتغطرفها * وتوذفها وتغضفها * ودألها ووهازتها * والّها وهَوادتها * وخيزلاها وخيزراها * وزاْنباها واُوَزّاها * ومُطَيطآئها وكِرْدَحائها * وهَبَيَّخَاها وعِجِّيْساها * وهِرْبذاها وحَيَداها * وهَبَصاها وجِيِضّاها * وفَنْجلاها وهِبِلّاها * وخِبقاّها ودِفِقاّها * وعَرْقلاها وهِمِقّاها * وعَمَيْثَليَّتها وقِمَطْراها * وسِبَطْراها * وتبدحها وترنحها * وخندفتها وخزرفتها * وخظرفتها وبادلتها * وبحدلتها وبهدلتها * وذحذحتها وحرقلتها * وحركلتها وهركلتها * ورابلتها ورهبلتها * وقهبلتها وكسملتها * وقندلتها وحنكلتها * وعردلتها وهيقلتها * وخذعلتها ودربلتها * وزيحلتها ووكوكتها * وكوكوتها * ووذوذتها * وذوذوتها زوزكتها * ورهوكتها وفرتكتها * ومكمكتها ورهدنتها * وكتكتتها وبرقطتها * وقرمطتها وحرقصتها * وزهزمتها وحذلمتها * ودعرمتها وزهلقتها * وترهيئها وتعمّجها * وتبهرسها وتهبرسها * وتغطرسها * وتهطرسها * وتكدسها وترهوكها * وتهالكها وتهكيلها * وتفركها وتومّزها * وتهيّمها واُنُفها * ورَسَمها وزَوْفها * وزيَفْها وهَوْجلها * وحَتَكانها وعَيَكانها * وزَيَكانها وزَوَكانها * ورفلانها وملدانها * وزيَفانها وذالَانها * ورَيَسانها وكتفانها * وميسانها وتزابيها * وهَمَذانيّها وتثرطلها * وتعذلقها وتخزلجها * وحَقَطها ولَبَطها * وبفزّها وقفزها ونقزها مقبلة مدبرة * وزاد طمعها ايضا فى الهدايا * قال وقد نظمت فى البرقع بيتين ما اظن احدا سبقنى اليهما وهما *

لا يحسب الغِرُّ البراقع للنسا	منعا لهن التمادى فى الهوى
ان السفينة انما تجرى اذا	وُضع الشراع لها على حكم الهوا

      ١ ١٨٥٥: وحَككَها.

      “She therefore shows off more of her hidden charms, her elegance, and her forbidden fruits. She bewitches them with her gestures and nods, her eye-rolling and her gestures behind her back, her expressive looks and glances, her come-hither winks and cow eyes, her billings and cooings, her haughtiness and conceit, her vanity and coquetry, her playfulness and her turning aside of her cheek in pride, her comings and goings and goings and comings, her demurrals and her mincing walk, her glances to the side and her glances askance, her looks of surprise and swivelings of her eyes, her backward glances of spite or surprise and her angry looks, her peepings through her fingers against the sun to see³⁴ and her turnings to observe what lies behind her, her shading of her eyes against the sun to see and her peering through her fingers against the sun to see, her wantonness and her conceitedness, her staggering and swaying, her tottering and strutting, her bending and bowing, her coyness and bough-like curvaceousness, the trailing of her skirts over the ground as she walks and her sweeping by, her turning of her face aside as she proceeds and her walking with a swinging gait, her stepping out manfully and her walking proudly in her clothes, her ambling and her rambling, her stepping like a pouting pigeon and her rolling gait, the swinging of her mighty buttocks and her sashaying, the insinuating wriggling of her shoulders, her pretty waddling and the way she walks as though she were short, her shaking of her shoulders, her sprinting and her haughtiness (especially in walking), her taking short steps and her sinuosity, her ponderousness and her modesty of deportment, her hastening and her willowiness, her slowness of motion and her looseness of motion, her slow stepping and her skipping from foot to foot, her stretching out her hands as she paces and her walking with short steps, her swaying and her slowness, her walking proudly like a high priest of the Parsees and her sudden startings off the road, her sprightly running and her bending as she walks, her languishing gait and her strutting, her galloping and her striding out, her stalking and her swaying from side to side, her nonchalant sauntering and her walking with the limbs held close to the body, her swaggering, her walking finely and loosely and her staggering as though intoxicated, her walking with her thighs far apart kicking up her feet and her walking with a swing, her striding fast and her rushing, her skelping and her stepping quick, her tripping quickly along with short steps and three other ways of walking, each with a difference of one letter, and her walking nicely, her limping and a fourth way of walking with yet another letter changed³⁵ and her walking making her steps close together, her gliding and her walking slowly, her shambling and a fifth way of walking, with further letters changed,³⁶ her walking with tiny steps³⁷ and her shuffling, her walking with conceit and her walking as though too weak to take long strides, her running with short steps and her walking fast, her disjointed walking and the moving of her buttocks and sides as she walks, the looseness of her joints as she walks and her walking with close steps, her walking with a rolling gait and her slowness and turning in walking, her walking fast with close steps and her close stepping, her walking with steps as close as closely written letters and her walking with steps as close as rapidly uttered words, her hopping like a shackled camel and her rolling walk, her walking with small hurried steps and her moving like a fast, well-gaited donkey, her easy pacing and her twisting and turning, her marching proudly (spelled two ways),³⁸ her walking arrogantly and her tottering, her walking so fast that her shoulders shake and her cleavage rises and her moving like a wave, her walking as though falling onto a bed and her walking proudly like a horse, her walking like an effeminate man and her fast, agitated walking, her handsome way of walking and the same said another way,³⁹ the beauty of her walk and her walking like a dove dragging its wings and tail on the ground, her walking like a pouting pigeon and her floppy walking, her walking with close, fast steps, moving her shoulders, her swashbuckling and stepping like a crow, her nubile grace, her hastening as she sways and her running with close steps, her lion-like pacing and her hurrying, her swaying as she walks and her walking slowly with long steps, her walking finely and the way she drags her skirts behind her, her active way of walking and her racing, her nimbleness and her knock-kneed running, her starting like a scared gazelle and and her leaping, and her jumping up and down in place and her facing forward and facing backward—and all the time her appetite for presents grows. I have composed two lines⁴⁰ on the face СКАЧАТЬ