The Wine Poems of Abu Nuwas

We look at this is the case in Nuwas' metrical composition, where the drinking companions move "Towards the taverns of fuddle-coloured-colored among vineyards," with a master who " hurriedly" moves toward his patrons who exclaim "Wine!" (Select 1). We hang the imagery in the poem then turns toward sexuality and admiration or love for the wine-colored bearer, as the loudspeaker informs us he spent the iniquity among "two pure(a)s," water and wine (Select 1). This image of honesty volition soon dissolve into one of carnal lust. This is quite parking lot in Nuwas' poems, fit to Kennedy (81) who maintains in many of the poet's works on that point is "a clear transition from chastity towards carnal gratification." This wave-particle duality is one clear element that is associated with the qasida.

In his depiction of the wine bearer, Nuwas resorts to a common image in Arabic wine poetry, that of the suck or gazelle. The speaker turns his attention from the wine to the purity and beauty of the boy who brings it to him. For we are told, "Whilst a gentle fawn passed around the cup; he had delightful flanks and a feisty waist," and that "when I had fixed my spear inside of him, he awoke as an injured man awakens from his wounds" (Select 2). Despite this imagery of being hurt in what most likely was the rape of the wine bearer, the speaker maintains he has done nothing wrong to visit his lust upon the boy, "By your father, you're an easy kill, so there is no causation for recriminations" (Select 1).

the speaker of the poem is withal representative of how Abu Nuwas celebrates wine as a liberating or tone ending force in his poetry. As Kennedy suggests, "Abu Nuwas adopts the mask of a merry andrew and turns drunkenness, which frees the body from the control of logic and traditions, into a symbol of number liberation" (Widening 123). Indeed, in this poem we see that the speaker has no inhibitions about describing the boy's impact on his libido.

For the wine bearer is draw in a manner that makes it apparent that the speaker's intoxicated reconcile has made him completely lost in the boy's charms, "In whose eyeball there is obvious magic, and in whose fragrance is a treacly smell like the diffusion of perfume" (Select 2). The speaker continues to swim himself in the boy's appeal through imagery that includes the sun, moon, wine, and fine jewels, "He is the full moon, though there is a beauty in his languid glance that excels the sun and the moon. / He laughs to uncover a pretty set of teeth they are like bubbles of wine or choice pearls" (Select 3).

The night of drunken revelry depict by Nuwas in this poem is something that occurred while he and his guests were inebriated. However, according to one critic, the "Nadim should bear in mind that what was said in the evening should be forgotten by the morning" (Widening 124). We see that in the morning thoughts of sin and redemption become a focus, once the liberating nature of the wine has worn off. We also see in Nuwas' poem that another convention of Arabic wine poetry, the dialogue, is embedded into the poem when his adversary, Iblis, tempts him with any number of sins. The following represents a portion of this dialectic: "What then of a beardless youth quivering, full buttocks One like a virgin behind a silk-screen, but with a chest transparent by jewels?" / "No!" / "Then a boy who sings and plays melody delightfully?" / "No!" (Select 5).

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