Ulayya bint al-Mahdi

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Ulayya bint al-Mahdi
عُلَيّة بنت المهدي
Born777
Abbasid Empire
Died825
Abbasid Empire
SpouseMusa ibn Isa ibn Musa al-Hashimi
RelativesAl-Hadi (brother)
Harun al-Rashid (brother)
Ibrahim (brother)
Ubaydallah (brother)
Abbasa (sister)
Names
Ulayya bint Muhammad al-Mahdi ibn Abdallah al-Mansur
DynastyAbbasid
Fatheral-Mahdi
MotherMaknuna
ReligionIslam
OccupationSinger,
Composer,
Musician,
Arabic Poet

Ulayya bint al-Mahdi (Arabic: عُلَيّة بنت المهدي‎, romanized: ʿUlayya bint al-Mahdī, 777-825) was an Abbasid princess, noted for her legacy as a poet and musician.

Biography[]

‘Ulayya was one of the daughters of the third Abbasid Caliph al-Mahdi bi-'llah (r. 775–85), who reigned from 775 to his death in 785, and was noted for promoting poetry and music in his realm.[1] Her mother was a singer and concubine called Maknūna (herself the jāriya of one al-Marwānīya). It appears that, with her father dying early in her life, ‘Ulayya was brought up by her half-brother Harun al-Rashid (r. 786-809).

‘Ulayya was a princess, and, like her half-brother Ibrahim ibn al-Mahdi (779–839), a noted musician, and poet. It has been claimed that she surpassed her brother in skills and while 'not the only princess known to have composed poetry and songs', nonetheless 'the most gifted'.[2] 'Much of her poetry consists of short pieces designed to be sung; in the muḥdath style, it treats of love, friendship and longing for home, but also includes praise of Hārūn, the caliph, celebration of wine and sharp attacks on enemies.'[2]

The main source for ‘Ulayya's life is the tenth-century Kitāb al-Aghānī of Abū ’l-Faraj al-Iṣfahānī.[3] This and other sources tend to portray ‘Ulayya as an accomplished woman who could readily hold her own in court society, but who tended to shy from too prominent a role in public life. She was wealthy and clearly possessed slave-girls, and had an intimate relationship with her powerful brothers; although there is little evidence of her communing with religious scholars, 'various reports in ‘Ulayya's tarājim refer to her piety and adherence to ritual obligations'.[4]:66–68, 74​

‘Ulayya was married to an ‘Abbāsid prince, but 'love-poems of her addressed to two slaves have been preserved'.[2] One of the best known anecdotes about her concerns

her relationship with a member of al-Rashīd's palace staff, a khādim named Ṭall, with whom she would correspond in verse. When al-Rashīd forbids her from uttering his name, she follows his order to the letter even when it precludes her from uttering a line of Sūrat al-Baqara in which the term ṭall occurs. When the caliph learns of this, he is swayed and presents Ṭall to her as a gift. In this case, her piety become the means to winning a quite worldly reward.[4]:77​

Similar to other free Arab women known for their musical ability, Ulayya bint al-Mahdi only performed in private, chaperoned family only functions to avoid any potential impropriety, such as to be compared to the slave-qiyan, jawaris or mughanniyat, but she was referred to as a qayna as a tribute to her musical ability.[5] She once performed a duet with her brother Ibrahim ibn al-Mahdi. She also composed love poems for her sister-in-law Zubaidah bint Ja`far, which was allegedly performed by 2000 slave women singers for her brother Harun al-Rashid. [6]

Marriage[]

Ulayya married Musa ibn Isa, a prominent member of a cadet branch of the Abbasid dynasty. He had an extended relation with Abbasid dynasty, Musa was a great-nephew of its first two caliphs al-Saffah (r. 750–754) and al-Mansur (r. 754–775);[7] he was also connected to the ruling line by his marriage to Ulayya, daughter of the third caliph al-Mahdi.[8]

Poetry[]

As example of ‘Ulayya's poetry is:

I held back my love's name and kept repeating it to myself.
Oh how I long for an empty space to call out the name I love.[9]

Editions[]

  • al-Ṣūlī, Abū Bakr, Ash‘ār awlād al-khulafā’ wa-akhbāruhum, ed. by J. Heyworth Dunne, 3rd edn (Beirut: Dār al-Masīra, 1401/1982), pp. 64–76.

References[]

  1. ^ Kilpatrick, Hilary (2005). "Mawālī and Music". In Monique Bernards; John Nawas (eds.). Patronate and Patronage in Early and Classical Islam. Leiden: Brill. pp. 326–48.
  2. ^ Jump up to: a b c Kilpatrick, Hilary (1998). "'Ulayya bint al-Mahdī (160-210/777-825)". In Julie Scott Meisami; Paul Starkey (eds.). Encyclopedia of Arabic Literature. II. London: Routledge. p. 791.
  3. ^ al-Iṣfahīnī, Abu l-Faraj, Kitāb al-aghānī, Dār al-Fikr, 21 parts and Index in 9 vols., equivalent to the edition Kairo 1322/1905–5.
  4. ^ Jump up to: a b Gordon, Matthew S. (2004). Montgomery, James E. (ed.). "The Place of Competition: The Careers of 'Arīb al-Ma'mūnīya and 'Ulayya bint al-Mahdī, Sisters in Song". 'Abbasid Studies: Occasional Papers of the School of 'Abbasid Studies, Cambridge, 6–10 July 2002. Leuven: Peeters: 61–81.
  5. ^ Matthew Gordon, Kathryn A. Hain: Concubines and Courtesans: Women and Slavery in Islamic History
  6. ^ Albrecht Classen:Pleasure and Leisure in the Middle Ages and Early Modern Age
  7. ^ Yarshater 1985–2007, v. 30: p. xxv.
  8. ^ Ibn Hazm 1982, p. 22; Al-Isbahani 1938, p. 185.
  9. ^ Abdullah al-Udhari, Classical Poems by Arab Women (London: Saqi, 1999), p. 110.

Bibliography[]

  • Al-Isbahani, Abu al-Faraj (1938). Kitab al-Aghani (in Arabic). 10. Cairo: Dar al-Kutub al-Misriyya.
  • Ibn Hazm, Abu Muhammad ibn 'Ali ibn Ahmad ibn Sa'id al-Andalusi (1982). Harun, 'Abd al-Salam Muhammad (ed.). Jamharat Ansab al-'Arab (in Arabic) (5th ed.). Cairo: Dar al-Ma'arif.
  • Yarshater, Ehsan, ed. (1985–2007). The History of al-Ṭabarī (40 vols). SUNY Series in Near Eastern Studies. Albany, New York: State University of New York Press. ISBN 978-0-7914-7249-1.

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