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Arabic proverbs
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Proverbs
Every proverb in this language, a page at a time.
«فِيَّ وَلَا فِيكْ يَا أَحْمَرْ»
Let it fall on me rather than on you, my dear one.
The speaker wishes that any harm heading toward a loved one would land on the speaker instead. It is a compact vow of self-sacrifice: whatever misfortune exists, let it strike me and leave you untouched. It voices devotion, not a literal request for harm.
«مُلُوخِيَّه وْعِيشْ لَيِّنْ يَا خَرَابَكْ يَا مْزَيِّنْ»
Mulukhiyya stew and fresh soft bread together, poor barber, you're done for!
Mulukhiyya is a stew that people scoop up with bread, so serving it means a lot of bread gets eaten, and even more when the loaves are soft and fresh. The barber appears for the rhyme, not as a comment on barbers; he stands for any man of modest means with many dependents.
«هِينْ قِرْشَكْ وَلَا تْهِينْ نَفْسَكْ»
Let your money be cheapened rather than your own self.
The proverb ranks personal dignity above money. The qirsh, a specific coin, stands here for money in general rather than any precise sum. Facing a choice between parting with cash and suffering humiliation, it advises letting the money be belittled instead of oneself, since coins can be earned again but shame is harder to repair.
«قَالُوا لِلْحَرَامِي: ابْنَكْ بِيِسْرَقْ. قَالْ: مَا اشْتَرَاهْشْ مِ السُّوقْ»
The saying holds that children take after their parents, and that a son's faults are best explained by looking at his father. When a thief's boy turns out to steal, nobody should be surprised, because the habit was learned or inherited at home rather than acquired from strangers.
«مِنْ يُومِكْ يَا زْبِيبَهْ وِفِيكِي دِي الْعُودْ»
Little raisin, you've had that bit of stem on you since the day you began.
The image is a dried grape that still carries the tiny piece of stem that once joined it to the bunch. That leftover mark has been part of it from the start, so its presence is no surprise and is not going to disappear.
«مِنْ حَفِّ غْمُوسُهْ أَكَلْ عِيشُهْ حَافْ»
Gobble up the relish too soon, and you'll be left chewing plain bread.
The image is an ordinary meal of bread eaten with an accompanying dish, such as a stew, cheese, or sauce, rather than a condiment. A diner who greedily finishes the tasty part first is left holding plain, dry bread with nothing to soften or flavor it. The pleasure taken too early becomes the cause of a dull, unsatisfying end.
«زَيِّ فْطِيرِ الزِّيَارَهْ وَاسِعْ عَلَى قِلِّةْ بَرَكَهْ»
Like the alms bread baked for graveside visits: broad in size but poor in goodness.
The picture is of the ghee-kneaded pastry given to the poor when families go to visit their dead on seasonal occasions. Because givers are sparing with the ghee, the round loaf spreads wide and looks generous, yet it carries little baraka: real richness or nourishing goodness rather than a narrowly religious blessing.
«يَا فَرْحَة مَا تَمِّتْ خَدْهَا الْغُرَابْ وِطَارْ»
Alas for a joy that never got to last: the crow snatched it up and flew away.
The saying laments a happiness cut short. Someone obtains something they wanted and begins to delight in it, but the gain slips away so quickly that the joy never reaches its full course, leaving only the memory of a pleasure that was barely tasted.
«مِنْ حَالَكْ اُعْذُرَ اخُوكْ»
Look at your own situation, and you will forgive your brother.
The saying asks you to measure a fellow's behavior against your own circumstances; "brother" here can mean a friend, neighbor, or community member, not only a sibling. If you know scarcity yourself, you should understand why someone equally hard-pressed cannot give or lend what you hope for, and not blame them.
«يَا مِيلْتِي جَاتْنِي دْرِيرْتِي»
Oh, my rotten luck — I've been landed with a little rival wife!
A mother laments her crooked fortune, meaning bad luck rather than physical tilting: she expected a daughter but got what behaves like a little rival wife. The girl goes unnamed; the co-wife diminutive, not a word for 'pearl', stands for her as she copies her mother, demands whatever her mother owns, and wears her down.
«مِنْ طَقْطَقْ، لِلسَّلَامُ عَليكُمْ»
The whole thing, from the first knock on the door to the parting goodbye.
The saying measures a stretch of time by a visit. It begins when a caller raps on the door and ends when the guest says the customary words of peace on leaving; here that phrase is the parting farewell, not the arrival greeting. Everything in between falls inside the phrase, so it stands for an event taken whole.
«اِلْمِرِيسِي يِرْمِي الرَّيِّسْ مَحَل مَا يِكْرَهْ»
The south wind drives the captain where he would rather not go.
The saying pictures a boat's skipper (the rayyis, here a ship's master rather than a political chief) at the mercy of the Marisi, a named southerly wind regarded as harmful. However skilled he is, the wind overpowers his steering and pushes the vessel toward a place he never wanted to reach.
«فَرْخَه بْكِشْكْ»
As prized as a chicken cooked with kishk
The saying draws on the kitchen to express worth. A chicken prepared together with kishk counts as a real treat, so giving something this label places it among the finest and most desirable things one could have.
«زَيِّ الْبَصَلْ مَحْشُورْ فِي كُل طَعَامْ»
He's like onions, stuck into every dish going.
The saying pictures onion as an ingredient crammed or wedged into nearly every dish, and turns that kitchen fact into a jab at a person. Someone compared to onion is not simply present everywhere but keeps pushing in, squeezing into company where nobody asked for them.
«مِكَسَّحَهْ وِتْقُولْ لِلسَّايِغْ: تَقَّلِ الْخُلْخَالْ»
A woman who cannot walk brags about her anklet and asks the jeweler to make it heavier.
The image is of a woman who cannot walk, so she cannot show off an anklet by moving with it, yet she asks the goldsmith to make it heavier. The mockery lies in that contrast: the ornament exists for display, and her request ignores that her body cannot provide the display.
«مَا يِمْسَحْ دِمْعِتَكْ إِلَّا إِيدَكْ»
Only your own hand will wipe away your tears.
The saying holds that real tenderness toward your own pain starts with you. Others may pity you for a moment, but no one feels your hurt as fully or tends to it as faithfully as you do, so comfort must ultimately come from within.
«اِلْبَطْنْ مَا تْجِيبْش عَدُو»
A child is never truly an enemy to their parents.
The saying holds that kinship between parents and children endures even when a child’s conduct, resentment, or rejection makes the relationship look openly hostile.
«اِلنَّاسْ بِالنَّاسْ وِالْكُل عَلَى الله»
People depend on one another, and all of us depend on God.
The saying holds that no one gets through life alone. People get by through one another: each relies on others for help, work, and support, so mutual aid is part of how ordinary life is meant to function, not a sign of weakness.
«لَا طَالْ تُوتِ الشَّامْ وَلَا عِنَبِ الْيَمَن»
He got his hands on neither the mulberries of Syria nor the grapes of Yemen.
The saying describes a person who attaches himself to two hoped-for prizes at the same time and, because his attention and effort are split, ends up empty-handed, missing out on the first prize and the second alike.
«مَا يْنُوبِ الْمِخَلَّصْ إِلَّا تَقْطِيعْ هُدُومُهْ»
All the peacemaker gets for his trouble is torn clothes.
The saying pictures someone wading into a physical scuffle to pull the fighters apart, not a formal mediator but a bystander who steps between them. The brawlers walk away, and the only thing the would-be rescuer has to show for the effort is a ripped shirt. Good intentions bring no reward, only damage.
«زَيِّ كَدِيشِ الطَّطَرْ اِلقَمْشَهْ وَرَاهْ وِحَامِلِ الْهَم عَلَى قَفَاهْ»
Like the Tatars' nag, with the lash at its back and its worries riding on its neck.
The saying portrays a person who is degraded and mistreated and who carries more troubles than anyone should. Like a nag driven by the whip from behind while weighed down from above, such a person is harried and burdened at the same time, with no relief on either side.
«جَتِ الدُّودَهْ تقَلِّدِ التِّعْبَانْ اِتْمَطَّعِتْ قَامِتِ اتْقَطَّعِتْ»
A worm tried to copy a snake and tore itself apart.
The saying targets a foolish person who sets out to make himself the equal of someone ranked above him, only to bring injury upon himself through that very ambition.
«إِيشْ غَرَضِ الْأَعْمَى؟ قَالْ: قُفِّةْ عُيُونْ»
Ask a blind man what he most wants, and he will say: a basket full of eyes.
The saying conveys that a person's strongest wish is shaped by the lack, need, or condition weighing most heavily on them. What seems excessive to others may be the direct answer to a private hardship.
«أَلْحَسْ مِسَنِّي وَابَاتْ مِهَنِّي»
I would rather go hungry than eat food that comes with reproach.
The saying praises self-reliance and contentment. It presents even an extremely meagre meal as preferable to accepting food or support that a giver later uses to humiliate the recipient or as leverage.
«طَاعِةِ اللِّسَانْ نَدَامَهْ»
Let your tongue have its way, and you will end up sorry.
The saying treats the tongue as an impulsive master that, if followed blindly, leads a person into trouble. Here 'obedience' means yielding to the urge to speak, not religious obedience or obeying another person. Whoever voices every passing thought, retort, or complaint will eventually say something hurtful or reckless and come to regret it.
«جِفْنِ الْعِينْ جِرَابْ مَا يِمْلَاهْ إِلَّا التُّرَابْ»
The eye is a sack, and only dust will ever fill it.
Human desire has no bottom. The eye stands for appetite, pictured as a bag that never reaches capacity: however much a person gains, room for more remains, and the saying names only dust as the thing that will finally fill it. Sack and dust are figurative images, not a remark about actual dirt in the eye.
«جَعَانْشِي أَفِت لَكْ؟»
You're not hungry, are you? Should I break up some bread for you?
The question sounds generous but quietly undoes itself; it works rhetorically rather than as a sincere inquiry about hunger. Someone who truly meant to feed a guest would simply set the food down without asking first, since a hungry person may be too embarrassed to say yes or to ask for a meal outright.
«عِيشْ يَا حَبِيبِي وَلَا تْبَكِّينِي حِسَّكْ فِي الدُّنْيَا يِكَفِّينِي»
The speaker begs a loved one to stay alive and spare them the sorrow of bereavement. The word for "voice" or "sound" here stands for the beloved's mere presence, so a literal reading misses the point. The wish is not for favors, help, or affection in return, but simply for the beloved to remain in the world.
«مِنْ قَرِّ بْذَنْبُهْ غَفَرَ الله لُهْ»
Own up to your sin, and God will pardon you.
The proverb teaches that acknowledging one's own sin is what leads to being forgiven. Instead of hiding or denying a wrong, the person who owns it is promised God's pardon, so the act of admission itself becomes a means of rescue.
«اِللِّي يْمِد رِجْلُهْ مَا يْمِدِّشْ إِيدُهْ»
Whoever puts out his leg should not then put out a hand to ask.
The proverb pits two bodily gestures against each other: the leg extended by someone sitting at ease and unbothered, and the open palm of a supplicant. It treats these postures as mutually exclusive, so one person cannot adopt both toward the same people.
«اِلْحَرَامِي وِعَمْلِتُهْ»
The thief must answer for what he did; it's not our concern.
The expression ties a wrongdoer to the act he committed. Here the "deed" is the theft itself, not his job or work in a neutral sense. Whoever has stolen carries the responsibility and will be called to account for it, and nobody else has to shoulder the blame for what he took.
«اِلْبَلَا يْعُم وِالرَّحْمَهْ تْخُص»
Misfortune strikes broadly, but mercy is selective.
The proverb sets extensive suffering against mercy that does not extend to everyone. Its force lies in the unequal scope of the two: trouble is portrayed as broad, whereas mercy is selective in whom it reaches.
«يَابَا عَلِّمْنِى الرَّزَالَهْ. قَالْ: اللِّي تْقُولُهْ عِيدُهْ»
"Dad, how do I become a real bore?" "Simple: say everything twice."
The saying is staged as a short dialogue. A son asks his father how to become an insufferable bore, meaning tiresome, heavy company rather than base or vile, and the father deadpans that the whole art lies in repeating whatever one says. The joke makes repetition the mark of wearisome company.
«إِن شُفْت أَعْمَى دِبُّهْ، وَخُدْ عَشَاهْ مِنْ عِبُّهْ؛ مَا نْتَشْ أَرْحَمْ مِنْ رَبُّهْ»
The saying reflects the belief that disability is a condition a person deserves and that it therefore need not awaken pity. Its violent commands press the claim that divine judgment, rather than human compassion, determines the sufferer’s lot.
«لَمَّا انْتَ عَامِلْ جَمَلْ بَعْبَعْتْ لِيهُ امَّالْ؟»
If you've chosen to be the camel, why are you groaning about the load now?
The saying confronts a person who willingly took on a hard, load-bearing role and then complains about its weight. Having cast yourself as the beast of burden, you forfeit the right to groan, since carrying heavy loads is exactly what that role involves.
«هُوَّ الْإِنْسَانْ عَقْلُهْ دَفْتَرْ؟»
Do you expect a human memory to work like a written ledger?
The saying excuses forgetfulness by pointing out that human memory is not a written record. A notebook keeps every entry exactly as it was set down, but a person's mind does not, so occasionally losing track of something is normal and should not be treated as a fault.
«عَدُوِّتِي وِعَمَلِتْ مِغَسِّلْتِي»
My own enemy ended up washing my body for the grave.
The words come from a woman who has fallen and whose rival, also a woman, now stands over her. Her enemy has not only lived to see her death but has gone further, becoming the one who washes her body. The image marks the fullest gloating an adversary could enjoy at the speaker's expense.
«مَا يْدَايِقِ الزِّرِيبَهْ إِلَّا النَّعْجَه الْغَرِيبَهْ»
The fold only feels too small when the ewe belongs to someone else.
The saying observes that a pen rarely feels cramped because of its own flock. Only when a ewe from another owner wanders in does it suddenly seem too narrow, and the verb holds both senses: being physically crowded and being irritated. The crowding is less about room than about who is felt to belong.
«جِيتْ بِيتَ ابُويَا أَرْتَاحْ قَفَلُوا فِي وِشِّي وِتَوِّهُوا الْمُفْتَاحْ»
The speaker goes to the father's house, the one place where a welcome should be assured, wanting nothing more than rest. Instead the door is shut in their face and the key is hidden, so a shelter that is theirs by right is deliberately closed to them.
«قَالُوا: يَا جُحَا، عِد مُوجِ الْبَحْرْ. قَالِ: الْجَيَّاتْ أَكْتَرْ مِنِ الرَّايْحَاتْ»
The saying applies to something so plentiful that tallying it makes no sense. Whatever has already passed is small next to what is still on its way, so any attempt at a count will always fall behind.
«إِنْ سَبِّ النَّدْلْ في أَهْلُهْ لَا خِيرْ فِيهْ وَلَا في أَهْلُهْ»
The saying dismisses a person's attack on his own people as unsurprising when both the speaker and those he condemns are judged equally contemptible. It treats the insult not as a startling revelation, but as conduct expected from someone considered disreputable.
«اِللِّي يِكْرَهُهْ رَبِّنَا يِسَلَّطْ عَلِيهْ لِسَانُهْ»
When God rejects someone, their own speech turns people against them.
The saying warns that a person’s own hostile speech can bring about their social undoing. In its religious framing, this consequence is attributed to divine will, while its practical point is that disparagement breeds resentment.
«لَا سدِّتْ كَر وَلَا طَاقِيَّهْ»
Not enough for a turban, and no good for a cap either.
The image is a piece of fabric, the unnamed subject implied by the feminine verb, that someone hoped to turn into headwear. It is too short to serve as the length of cloth wound into a turban and too poor to sew into a light cap, so it ends up serving no purpose at all.
«لَمَّا يِشْبَعِ الْحُمَارْ يِبَعْزَقْ عَلِيقُهْ»
A donkey with a full belly kicks its fodder around.
The saying describes a person whose good fortune has grown so large that they stop valuing it. Once their needs are more than met, they begin to squander, misuse, or treat lightly the very things that once sustained them, much as a sated animal carelessly scatters and wastes its feed.
«يِمْشِي عَلَى الْحِيطَهْ وِيْقُولْ: يَا رَب سَلِّمْ»
He walks along the top of a wall, praying, 'Lord, keep me safe!'
The saying mocks a person who deliberately places himself in harm's way and then turns to God, asking to be kept safe. The picture is of someone balancing atop a wall, a perch nobody needs to climb, while murmuring a prayer against falling. The plea may sound sincere, but the saying treats it as ironic because he chose the danger.
«مِنْ حَبُّهْ رَبُّهْ وِاخْتَارُهْ جَابْ لُهْ رِزْقُهْ عَلَى بَابْ دَارُهْ»
When God loves someone and picks them out, their daily bread shows up right at their doorstep.
The proverb holds that a person enjoying God's affection and selection does not need to chase a living. Provision arrives at their own threshold, so what others labor for reaches them without toil, travel, or hardship.
«اِلْمُدُوغِي يُقَعْ فِي كِلَابُهْ»
The cheat ends up tripping over his own game pieces.
The saying holds that dishonesty carries its own undoing. A player who cheats at siga, a board game played with stones as counters, eventually blunders with the very pieces he was manipulating; the 'fall' is a mistake, not a physical tumble, and his trickery becomes his defeat and exposure.
«جَا يْتَاجِرْ فِي الْحِنَّهْ كِتْرِتِ الْأَحْزَانْ»
No sooner did he take up dealing in henna than sorrows multiplied.
The image is of a man who sets up as a henna merchant, henna being the dye people use at weddings and in times of joy. Right as he enters this trade, sorrows grow more numerous, and his business goes slack, a turn blamed on his own poor luck.
«كَتَّرْ مِنِ الْفُرُوشْ تِمْلَا السُّرُوجْ»
Take more wives, and you'll have sons enough to fill every saddle.
The proverb counsels a man to multiply his marriages, letting the word for bedding stand in for wives. Its reasoning runs forward in time: many wives mean many sons, and enough sons will one day occupy every saddle.
«قِيرَاطْ بَخْتْ وَلَا فَدَّانْ شَطَارَهْ»
Better one small plot of luck than a whole field of skill.
The saying prefers a tiny portion of good fortune over a vast stretch of cleverness. Here the qirat is a land measure, one twenty-fourth of a feddan, so the image weighs one small sliver of land against a whole field, and the small sliver of luck is preferred.