How to live a life?

 

 

 بِسْمِ اللّهِ الرَّحْمـَنِ الرَّحِيمِ

The following couplets is are shared under the name of Khwaja Muʿinuddin Chishti (Ajmer)—but academic discussion points to a common mix‑up: a published Dīvān repeatedly printed in South Asia under “Muʿinuddin Chishti” have been argued to actually belong to Muʿin al‑Dīn Farāhī Haravī (known as Mullā Miskīn / “Muʿīnī”), and that Muʿinuddin Chishti himself did not compose poetry.

  وقتی که تو آمدی به دنیا عریان

 مردم همه خندان و تو بودی گریان

 کاری بکن ای دوست که وقت رفتن

 مردم همه گریان و تو باشی خندان

You entered the world in tears; all smiled at your birth,
and your arrival made every heart glad.
So live today (do good works) that when the day comes to leave,
you go with a smile—and all others weep.

 

Quoting an anonymous poet:

.چنان بزی که اگر مرگ ماست مرگ دوام
خدا ز کردهٔ خود شرمسار تر گردد

Live in such a way that, if our death is a death that abides,

God Himself would become shy of His  deed [making our death everlasting]. 

 

Salawat Tarhim

 

 

 بِسْمِ اللّهِ الرَّحْمـَنِ الرَّحِيمِ

الصَّلَاةُ وَالسَّلَامُ عَلَيْكَ يَا إمَامَ الْمُجَاهِدِيْنَ
يَا رَسُوْلَ اللهِ
الصَّلَاةُ وَالسَّلَامُ عَلَيْكَ
يَا نَاصِرَ اْلهُدَى
يَا خَيْرَ خَلْقِ اللهِ
الصَّلَاةُ وَالسَّلَامُ عَلَيْكَ
يَا نَاصِرَ الْحَقِّ يَارَسُوْلَ اللهِ
الصَّلَاةُ وَالسَّلَامُ عَلَيْكَ
يَا نَاصِرَ الْحَقِّ يَارَسُوْلَ اللهِ
الصَّلَاةُ وَالسَّلَامُ عَلَيْكَ
يَا مَنْ اَسْرَى بِكَ المُهَيْمِنُ لَيْلًا نِلْتَ مَا نِلْتَ وَالأَنَامُ نِيَامُ
وَتَقَدَّمْتَ لِلصَّلَاةِ فَصَلىَّ كُلُّ مَنْ فِى السَّمَاءِ وَاَنْتَ الْإِمَامُ
وَ اِلَى الْمُنْتَهَى رُفِعْتَ كَرِيْمًا
وَ سَمِعْتَ النِّدَاءَ عَلَيْكَ السَّلَامُ
يَا كَرِيْمَ الْأَخْلَاقِ
يَارَسُوْلَ اللهِ
صَلىَّ اللهُ عَلَيْكَ
وَ عَلىَ آلِكَ وَ اَصْحَابِكَ أجْمَعِيْنَ

 

Blessings and peace be upon you,
O leader of those who strive in God’s way,
O Messenger of God.

Blessings and peace be upon you,
O supporter of guidance,
O best of God’s creation.

Blessings and peace be upon you,
O defender of truth, O Messenger of God.
Blessings and peace be upon you,
O defender of truth, O Messenger of God.

Blessings and peace be upon you,
O you whom the All-Protecting One carried on the Night Journey.

You attained what you attained while all creation was asleep.

And you stepped forward to lead the prayer,
so everyone in the heavens prayed behind you,
and you were the imam.

And you were raised, in honor, to the Lote-Tree of the Utmost Limit.

And you heard the call:
“Peace be upon you.”

O noble in character,
O Messenger of God.

May God’s blessings be upon you,
and upon your family and all your companions..

What ChatGPT search says about the Origin of the “Tarhīm” (Salutation) Verses

The above verses – beginning with “الصَّلاةُ والسَّلامُ عَلَيْكَ يَا إمامَ المُجاهِدِين…” – are a form of salutation and praise (ṣalāt wa-salām) upon Prophet Muḥammad ﷺ. They are commonly known as “Tarhīm” (sometimes spelled Tarkhīm or referred to as shalawāt tarhīm) in Islamic tradition. This Tarhīm is essentially a poetic litany of blessings and peace upon the Prophet, often recited in melodic form (ibtiḥāl) by Qur’ān reciters or munshids. The lines extol the Prophet’s qualities (e.g. “Imām of the Mujāhidīn,” “Best of God’s creation,” “one who ascended in the Night Journey,” etc.) and conclude with prayers for him, his family and companions – it is not from the Qur’ān or ḥadīth, but rather a later devotional composition.

Such Tarhīm verses are most famously recited before the call to prayer (adhān) – especially before the dawn (Fajr) adhān in many countries – as a way to remind people of the coming prayer time while sending blessings on the Prophet. In places like Indonesia and Malaysia, for example, it’s common to hear recordings of these ṣalawāt Tarhīm over mosque loudspeakers in the early morning. Renowned reciters recorded these Tarhīm supplications in the 1950s–60s. Those recordings became popular and helped spread the Tarhīm tradition across the Muslim world.

Historical Origin of the Practice

The origin of this Tarhīm (i.e. adding formal prayers upon the Prophet around the time of the adhān) traces back to the medieval Islamic period – centuries after the Prophet ﷺ. Early on, the adhān itself did not include these extra phrases; the Prophet and his Companions limited the call to prayer to its known formula. However, during the Ayyūbid and Mamlūk eras, Muslim authorities introduced the practice of pronouncing prayers on the Prophet at adhān times as a pious addition. Historical sources in Arabic confirm this development:

• Initial Introduction (12th Century): It is reported that Sulṭān Ṣalāḥ al-Dīn al-Ayyūbī (Saladin) in his time encouraged a simple form of this practice. Before the Fajr adhān, people in Egypt and Syria would say: “as-salāmu ʿalā Rasūl Allāh ﷺ” (Peace be upon the Messenger of God.. This appears to have started as an informal devotional act to honor the Prophet before dawn. Some sources even cite the year 781 AH (≈1380 CE) during the reign of al-Nāṣir Ṣalāḥ al-Dīn Yūsuf as a time when sending ṣalāt on the Prophet was regarded as a “good innovation (bidʿa ḥasana)” and was added after the adhān of certain prayers (like on Monday and Friday nights).

• Formalization in Mamluk Egypt (14th Century): The full-fledged Tarhīm after adhān was institutionalized in the Mamluk period. According to the historian Shaykh Aḥmad al-Bishbīshī (as quoted in Ḥāshiyat al-Dusūqī and other works), the first official addition of the ṣalāt wa-salām after every adhān on mosque minarets was enacted under Sulṭān al-Manṣūr Ḥājjī, a Mamluk ruler. This occurred in Shaʿbān 791 AH (≈ August 1389 CE), by order of the market inspector (muḥtasib) Najm al-Dīn al-Ṭunbud. At that time, the phrase “الصلاة والسلام عليك يا رسول الله” (“al-ṣalātu wa’l-salāmu ʿalayka yā Rasūlallāh” – Blessings and peace be upon you, O Messenger of God) was decreed to be proclaimed from the minaret after each adhān.

• Gradual Expansion: This 791 AH decree built upon the earlier custom from Saladin’s era. There was an interim step: by 777 AH a Mamluk official named Ṣalāḥ al-Dīn al-Burlusī (the muḥtasib at the time) had ordered that the original simple salutation be expanded to “الصلاة والسلام عليك يا رسول الله” (as noted above) before the Fajr adhān. Then in 791 AH, as mentioned, it was standardized after every adhān (with the exception of Maghrib, due to the short interval before the prayer). In other words, the practice evolved over a few decades in the 14th century: from a single-line salutation before Fajr, to a slightly longer phrase, and finally to a routine inclusion after all adhāns. Scholars of the time debated it; many considered it a praiseworthy addition to remind people to honor the Prophet, while a few viewed it as a religious innovation. Notably, a classical Maliki manual Bulghat al-Sālik records that “the ṣalāt ʿala’n-Nabī after adhān” was seen as a good innovation and notes its establishment in that period.

• Composition of the Tarhīm Verses: The specific verses you’ve provided (“yā Imāma’l-mujāhidīn, yā Rasūlallāh… yā nāṣir al-hudā… yā man asrā bika’l-Muhaymin laylan…,” etc.) were likely composed subsequently as poetic embellishments to the basic formula. Over time, mosque callers and poets added honorific titles and rhyming lines to magnify the praise of the Prophet. The Tarhīm text you shared is one of the famous traditional formulas that emerged. It includes references to the Prophet’s Miʿrāj (Ascension – “You who were taken by the Almighty on a night journey… you led the prayer to which all in heaven bore witness… you were raised to the Lote-Tree of the Utmost Limit (al-muntahā)…”) and his noble character (“yā Karīma’l-akhlāq”) before concluding with prayers for him and his family.These embellishments do not come from any canonical text; rather, they were authored by devotees (the exact author is often not clear, as such litanies were part of oral tradition). By the time of the late Ottoman period and into the 20th century, such a set of lines had become standard in many Muslim communities when performing Tarhīm.

Spread and Contemporary Use

After being formally adopted in Mamluk-era Cairo, the practice of Tarhīm spread to other regions. It was eventually printed in prayer manuals and taught as a cultural devotional, especially in places like the Levant, North Africa, and later South Asia and Southeast Asia. In modern times, the Tarhīm gained even wider popularity through audio recordings. In the mid-20th century, Egyptian reciters like Sh. Maḥmūd Khalīl al-Ḥuṣarī recorded these ibtiḥālāt (supplicatory chants) for radio and mosque use. By the 1950s–60s, such recordings were distributed on cassettes, and mosques worldwide began using them, from the Middle East to Indonesialenteraterang.blogspot.com. Today, many Muslims recognize this Tarhīm as a familiar pre-adhān “song” of devotion. It’s commonly played before Fajr prayer (hence sometimes called “Tarhīm Subuh” in Southeast Asia, meaning Dawn Tarhīm), and it remains a much-loved tradition, even though it’s technically outside the obligatory adhān.

In summary, the origin of this Tarhīm lies in post-prophetic tradition: it began as a pious innovation in the 12th–14th centuries to beautify the call to prayer with extra praises for the Prophet. The specific lyrical form you heard from Shaykh al-Ḥuṣarī is a product of that historical development – an Arabic poetic homage to Prophet Muḥammad ﷺ that was later popularized via Egyptian religious culture. Arabic historical sources like Ḥāshiyat al-Dusūqī and others document that it was first instituted officially in 791 AH / 1389 CE under Mamluk rule building on a simpler salutation practice dating to Ṣalāḥ al-Dīn’s era (12th century). Thus, the “Imām al-mujāhidīn” Tarhīm is not from the Qur’ān or hadith, but from a devotional tradition that has been handed down and embellished by Muslims over the past 600–800 years.

Sources

• Ibn ʿAllān al-Ṣiddīqī, al-Futūḥāt al-Rabbāniyya (vol. 2, p.113), quoted in A. b. Ḥajar al-Haytamī’s al-Durr al-Manḍūd: detailing how prayers on the Prophet were first added to the adhān in 791 AH by order of Sulṭān al-Manṣūr Ḥājjī, after a simpler “salām ʿala’l-Nabī” had been practiced before Fajr since Ṣalāḥ al-Dīn’s time.

• Bulghat al-Sālik (Maliki fiqh manual, vol.1 p.86) and Ḥāshiyat al-Dusūqī (vol.1 p.193): affirming that sending ṣalāt on the Prophet in the adhān was regarded as a “good innovation” introduced in the late 8th century Hijri. They note an initial implementation in 781 AH (during the rule of al-Nāṣir Ṣalāḥ al-Dīn Yūsuf) for certain adhāns, and the general adoption after 791 AH, with the phrase “al-ṣalātu wa’l-salāmu ʿalayka yā Rasūlallāh” added after every adhān (except Maghrib) on the minarets.

• Lentera Terang (Indonesian Islamic blog) – “Sholawat Tarkhim” article: provides the full Arabic text of the Tarhīm verses in question and explains their usage in Indonesia before adhān. It also cites scholarly consensus that this practice was a later introduction (dating it to Mamluk times as above) and mentions that Egyptian Qur’ān reciters’ recordings in the 1950s–60s greatly popularized it worldwide.

 

 

 

 

If you know the Qadr (worth)

 

 بِسْمِ اللّهِ الرَّحْمـَنِ الرَّحِيمِ

Mullah Jami says:

ای خواجه چه جویی ز شب قدر نشانی
هر شب شب قدر است اگر قدر بدانی

O sir—why do you look for a sign of the Night of Power?
Every night is the Night of Power, if you know what “worth” is.

Jāmī opens with a wordplay on “qadr”: it means both the “Night of Qadr” (Laylat al-Qadr) and value / worth / measure. So he’s saying: Stop chasing the calendar only. If you truly recognize the spiritual value of a night—if you live with wakeful reverence—then any night can become “Qadr” for you.

My own reading: this is a very Sufi move. He’s shifting the question from “Which night is it?” to “Do you have the sight to recognize it?”

روشن به تو گویم که شب قدر کدام است
گر زانکه تو ادراک شب قدر توانی

I will tell you plainly which night is the Night of Power—
if you are capable of perceiving the Night of Power.

This couplet is a gentle challenge. He’s saying: I can name it for you, but naming is not the point. The real condition is idrāk—inner apprehension, spiritual perception. If you can’t “catch” its meaning inwardly, then even the correct date won’t help much.

آنست شب قدر که بر جان محمد
قرآن عظیم آمده و سبع مثانی

That is the Night of Power: when upon Muḥammad’s soul
came down the Mighty Qur’an and the Seven Oft-Repeated.
 

Now he gives the first “definition” in the orthodox-historical sense: Laylat al-Qadr is the night of Revelation—the descent of the Qur’an upon the Prophet’s inner being (“jān-e Muḥammad,” his soul/life-spirit).

“Sabʿ-e Mathānī” (“the Seven Oft-Repeated”) is a Qur’anic phrase commonly understood as Sūrat al-Fātiḥa, the seven-verse opening that is repeated in prayer. Jāmī pairs the عظیم Qur’an with its concentrated essence, so to speak.

آنست شب قدر که از نور جمالش
وارست کلیم از شب تاریک و شبانی

That is the Night of Power: when, by the light of His Beauty,
the Kalīm was freed—from the dark night and from shepherding.
 

“Kalīm” is Moses (Mūsā), called Kalīmullāh (“the one who spoke with God”). Jāmī alludes to Moses’ encounter with divine light (the burning bush / Sinai moment), when Moses is summoned out of obscurity into prophetic mission.

There’s also a fine poetic trick: he stacks “night” language:

• شبِ تاریک = dark night

• شبانی = shepherding (Moses’ earlier life)

So the line suggests: By divine beauty’s light, Moses is released from both literal darkness and the “night” of an ordinary vocation. It’s not belittling shepherding; it’s saying revelation re-assigns a person. 

آنست شب قدر که بر طلعت ماهی
تا مطلع فجرش به تماشا گذرانی

That is the Night of Power: when before the face of a moon-like one
you pass the night in gazing—until the rising-place of dawn. 
 

Here Jāmī makes the classic Sufi turn: the Night of Power is not only a past historical night—it is also an experienced night.

The beloved is “māhī” (a moon): moon-faced, radiant. To spend the whole night in tamāshā (contemplative beholding) is not mere romance; it’s a symbol for mushāhada—witnessing, presence, absorbed attention. Dawn (“ مطلع فجر”) becomes the boundary of an all-night vigil of vision.

ماهی که بود غایت حاجات و مقاصد
ماهی که بود قبله آمال و امانی

A moon who is the ultimate end of needs and aims—
a moon who is the qibla of hopes and wishes.
 

This couplet tells you what kind of “moon” he means: not just physical beauty, but the final object of longing.

• “Ghāyat” = ultimate end/limit: the beloved is the final purpose behind all seeking.

• “Qibla” = direction of prayer: your inner orientation turns toward this beloved the way prayer turns toward the Kaʿba.

Sufi reading (and I think it’s strongly invited here): the “moon” is the Divine Beloved—or at least the beloved as a mirror of divine beauty. Your whole life becomes directionally aligned.

جامی چو به این شب برسی از پی عمری
زنهار سلام من بیدل برسانی

Jāmī—when after a lifetime you finally arrive at such a night, 

take heed: deliver my greeting to the heartless beloved.
 

This is the signature couplet (he names himself). “Zinhār” is an urgent caution: watch out / don’t fail / for God’s sake.

The one ambiguity is “bī-del”:

• It can mean “heartless” (a beloved who shows no mercy—very common in ghazal language).

• It can also mean “heart-bereft / heart-lost” (the lover in a state of ravishment).

So another plausible shading is: “Convey my greeting to the heart-bereft one.” Either way, the emotional truth is the same: after a lifetime of seeking, when you reach a true Night of Power—don’t miss the essential act of love and connection.

My opinion on the best fit here: in a ghazal atmosphere, “bī-del” most naturally points to the beloved as “heartless” (cruelly indifferent), because sending “salām” to the beloved is a familiar closing gesture—half devotion, half complaint.

 

How Classical Arabic Poetry Teaches Us to Say Alhamdulillah. Hand, Tongue, and Hidden Heart

بِسْمِ اللّهِ الرَّحْمـَنِ الرَّحِيمِ

 

 

Hand, Tongue, and Hidden Heart
A short poem on gratitude, its story, and where to find it

 

1. The poem  

The famous two lines are:

وَما كانَ شُكري وافِيًا بِنَوالِكُمُ
وَلَكِنَّنِي حاوَلْتُ فِي الجُهدِ مَذْهَبَا

أَفادَتْكُمُ النَّعْماءُ مِنِّي ثَلاثَةً
يَدِي وَلِسَانِي وَالضَّمِيرَ المُحَجَّبَا

A natural modern-English rendering:

My thanks have never fully matched your gifts,
yet I have tried to make effort my chosen path.

Your kindness has drawn from me three things:
my hand, my tongue, and the heart hidden within.

You can feel how compact it is: the poet admits that gratitude is too small for the favour received, but insists on giving everything he can — action, speech, and inner feeling.

 

2. What the poem is actually saying

Let’s unpack the lines a bit.

“وما كان شكري وافياً بنوالكم”

My gratitude has not been equal to your giving.

• شُكري: my gratitude / my thankfulness.

• نَوالكم: your generosity, what you give freely.

The poet starts with humility: no matter how much he thanks, it does not really match the size of the favour.

“ولكنني حاولت في الجهد مذهباً”

But I have tried to choose the way of doing all I can.

• حاولت في الجهد مذهباً: literally, “I tried to take effort as a path.”
  He’s saying: Even if I fall short, I am not lazy about gratitude.

“أفادتكم النعماء مني ثلاثة”

Your blessings have produced three things from me.

• أفادتكم: have benefited you, or yielded to you.

• النعماء: the blessing / kindness you showed me.

The idea is: because you were generous, you now “own” certain parts of me.

“يدي ولساني والضمير المحجبا”

My hand, my tongue, and the heart that is veiled inside.

• يدي: my hand → physical actions: service, help, work.

• لساني: my tongue → words: praise, thanks, dua.

• الضمير المحجب: the hidden inner self → the heart: love, recognition, sincere intention.

In other words:

You have my actions, my words, and my inner heart.
All three are now in your service.

That is exactly how many classical scholars define الشُّكر (gratitude):

بالشَّكر يكون بالقلب واللسان والجوارح – by the heart, the tongue, and the limbs. (Quranpedia)

The poem almost reads like a neat little definition of shukr turned into verse.

 

3. Where does this poem come from?

Earliest written sources

In the sources we can actually see on paper, the earliest clear witness is:

1. Al-Zamakhsharī (d. 538 AH) – al-Kashshāf on the verse

   {ٱلْحَمْدُ لِلَّهِ رَبِّ ٱلْعَالَمِينَ} (Q 1:2)

   He explains that ḥamd (praise) is mainly by the tongue, while shukr (gratitude) is for specific blessings and is done by heart, tongue, and limbs. Then he quotes the poem as an illustration: (Quranpedia)

   أَفادَتْكُمُ النَّعْمَاءُ مِنِّي ثَلاثَةً ... يَدِي وَلِسَانِي وَالضَّمِيرَ المُحَجَّبَا
   وَما كانَ شُكْرِي وافِيًا بِنَوالِكُمُ ... وَلَكِنَّنِي حاوَلْتُ فِي الجُهدِ مَذْهَبَا

   He then comments: your favour “has taken possession” of my hand, tongue, and heart — so all of them and their actions belong to you. (lib.efatwa.ir)

2. Al‑Nasafī (d. 710 AH) – Madārik al‑Tanzīl (another famous tafsīr)
   Nasafī repeats the same distinction between ḥamd and shukr, and again brings the line:

   أَفادَتْكُمُ النَّعْماءُ مِنِّي ثَلاثَةً *** يَدِي وَلِسَانِي وَالضَّمِيرَ المُحَجَّبَا

   then explains: “that is, the heart,” and says this line shows shukr is one of the three: heart, tongue, limbs. (quran-tafsir.net)

3. Commentary on al‑Ḥikam al‑ʿAṭā’iyya (Ibn ʿAtā’ Allāh’s aphorisms)
   In the explanation of the saying “Whoever does not thank blessings exposes them to disappearance…” the commentator defines shukr and brings the two lines together as a classic example of full gratitude by heart, tongue, and limbs. (The Single Monad Model of the Cosmos)

   The commentary spells out the sense very clearly: your hand serves them, your tongue praises them, and your heart is filled with love and loyalty for them. (The Single Monad Model of the Cosmos)

4. Al‑Suyūṭī (d. 911 AH) – Nawāhid al‑Abkār (his marginal notes on al‑Bayḍāwī’s tafsīr)
   Suyūṭī quotes the poem while discussing الشكر, citing al‑Zamakhsharī’s other work al‑Fā’iq as a source for the definition of shukr, and says the poet gathered all three “branches” of shukr in this one line. (Shamela)

So:

• The earliest explicit appearance we can easily track is in al‑Kashshāf, early 6th century AH.

• Later tafsīr and commentary works treat it as a well‑known poetic example of the threefold nature of shukr.

Is the poet known?

Short answer: No reliable early attribution.

• Classical authors usually introduce it with “قال الشاعر” (“a poet said”) without giving a name. 

As always, there are later claims about its author. Personally, I would treat other later claims about it being written by this or that, as uncertain at best. When strong early sources either give no name or explicitly say “we don’t know the author”, and much later sources suddenly attach a famous imam’s name, it looks more like devotional guesswork than solid transmission.

So, the safest position is:

This is an anonymous line (or pair of lines) from the classical tradition, preserved by the Qur’an commentators and language scholars as a perfect illustration of what real gratitude involves.

4. Why classical scholars loved this poem

If you’re a mufassir, linguist, or preacher trying to explain shukr, this poem is almost too handy:

1. It matches the textbook definition.
   Many scholars define gratitude as:

   • recognition in the heart,

   • praise on the tongue,

   • and obedience / service by the limbs. (Quranpedia)

   The poet lines them up in one neat list: hand – tongue – hidden heart.

2. It puts the giver in the centre.
   The focus is not “look how grateful I am,” but: your favour has taken hold of my whole being. There’s a nice shift from the self to the benefactor.

3. It balances humility with effort.

   • Humility: “My gratitude isn’t enough.”

   • Responsibility: “But I’m still trying, with all the effort I can manage.”

   I like that balance a lot – it avoids both arrogance (I have thanked you properly) and despair (I can never thank, so why try?).

4. It is easy to memorise and teach.
   Two simple bayts, clear vocabulary, a rhythmic list of “three things” – perfect for students, Friday khutbahs, or lessons on manners.

---

5. Key online sources for the poem

Here are some direct links where you can see the poem inside its classical context (all Arabic):

1. al‑Zamakhsharī – al‑Kashshāf, Qur’an 1:2
   – Quranpedia edition (Quranpedia)

2. al‑Nasafī – Madārik al‑Tanzīl, Qur’an 1:2
   – al‑Mawsūʿa al‑Shāmila / al‑Jāmiʿ al‑Tārīkhī (quran-tafsir.net)

3. al‑Samīn al‑Ḥalabī – al‑Durr al‑Maṣūn
   – quotation and “I did not find its author” note on the verse {ٱلْحَمْدُ لِلَّهِ رَبِّ ٱلْعَالَمِينَ} (Ahlulbayt Library)

4. Commentary on al‑Ḥikam al‑ʿAṭā’iyya (ʿAbd al‑Majīd al‑Sharṇūbī)
   – see the commentary on the wisdom: “من لم يشكر النعم فقد تعرض لزوالها…” where the poem is quoted and explained. (The Single Monad Model of the Cosmos)

5. al‑Suyūṭī – Nawāhid al‑Abkār (Ḥāshiya on al‑Bayḍāwī)
   – his detailed note on the line “أفادتكم النعماء مني ثلاثة…” and the reference to al‑Fā’iq for the definition of shukr. (Shamela)

If you’re building class material, those five are a strong “source set” to rely on.

---

6. The poem again – Arabic text with line‑by‑line meaning

Here it is in a simple teaching layout, Arabic followed by a short English meaning.

1. وَما كانَ شُكري وافِيًا بِنَوالِكُمُ
   My gratitude has never truly matched the generosity you showed me.

2. وَلَكِنَّنِي حاوَلْتُ فِي الجُهدِ مَذْهَبَا
   But I have tried to choose the path of doing all I can.

3. أَفادَتْكُمُ النَّعماءُ مِنِّي ثَلاثَةً
   Your blessings have drawn from me three things and made them yours…

4. يَدِي وَلِسَانِي وَالضَّمِيرُ المُحَجَّبَا
   my hand in service, my tongue in praise, and my heart that is hidden within.

I