LessonsImruʾ al-Qays: Movement, Mirror, Gaze, and Gazelle Imagery (Verses 30–34)Quiz

هَصَرْتُ بِفُودَي رَأْسِهَا فَتَمَايَلَتْ
عَلَيَّ هَضِيمَ الْكَشْحِ رَيَّا الْمُخَلْخَلِ
“I pulled at the hair on the two sides of her head, and she swayed toward me—slender at the waist, fuller where an anklet would sit.”

Haṣartu conveys bending, pulling, or drawing something toward oneself. In fa-tamāyalat, the sequential fāʾ links the sway directly to the earlier action. The verse therefore begins in movement, not in a static portrait.

The physical contact is the speaker’s own narrated action. Fa-tamāyalat describes the bodily response; it does not by itself establish consent or non-consent on the woman’s part.

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Verse 30: a physical movement and the resulting sway

Imruʾ al-Qays: Movement, Mirror, Gaze, and Gazelle Imagery (Verses 30–34)

هَصَرْتُ بِفُودَي رَأْسِهَا فَتَمَايَلَتْ
عَلَيَّ هَضِيمَ الْكَشْحِ رَيَّا الْمُخَلْخَلِ
“I pulled at the hair on the two sides of her head, and she swayed toward me—slender at the waist, fuller where an anklet would sit.”

Haṣartu conveys bending, pulling, or drawing something toward oneself. In fa-tamāyalat, the sequential fāʾ links the sway directly to the earlier action. The verse therefore begins in movement, not in a static portrait.

The physical contact is the speaker’s own narrated action. Fa-tamāyalat describes the bodily response; it does not by itself establish consent or non-consent on the woman’s part.