Qasīdat al-Burda (, "Ode of the Mantle"), or al-Burda for short, is a thirteenth-century ode of praise for the Islamic prophet Muhammad composed by the eminent Sufi mystic Imam al-Busiri of Egypt. The poem whose actual title is al-Kawākib ad-durriyya fī Madḥ Khayr al-Bariyya (, "The Celestial Lights in Praise of the Best of Creation"), is famous mainly in the Sunni Muslim world. It is entirely in praise of Muhammad, who is said to have been praised ceaselessly by the afflicted poet, to the point that Muhammad appeared in a dream and wrapped him in a mantle or cloak; in the morning the poet discovers that God has cured him. Bānat Suʿād, a poem composed by Ka'b bin Zuhayr was originally called as Al-Burdah. He recited this poem in front of Muhammad after embracing Islam. Muhammad was so moved that he removed his mantle and wrapped it over him. The original Burdah is not as famous as the one composed by Imam al-Busiri even though Muhammad had physically wrapped his mantle over Ka'b not in a dream like in the case of Imam al-Busiri. Composition The Burda is divided into 10 chapters and 160 verses all rhyming with each other. Interspersing the verses is the refrain, "My Patron, confer blessings and peace continuously and eternally on Your Beloved, the Best of All Creation" (Arabic: مولاي صل وسلم دائما أبدا على حبيبك خير الخلق كلهم). Each verse ends with the Arabic letter mīm, a style called mīmiyya. The 10 chapters of the Burda comprise: On Lyrical love yearnly On Warnings about the Caprices of the Self On the Praise of the Prophet On His Birth On His Miracles On the Exalted Stature and Miraculous Merits of the Qur'an On the Ascension of the Prophet On the Struggle of Allah's Messenger On Seeking Intercession through the Prophet On Intimate Discourse and the Petition of One's State. Popularity Sufi Muslims have traditionally venerated the poem. It is memorized and recited in congregations, and its verses decorate the walls of public buildings and mosques. This poem decorated Al-Masjid al-Nabawi (the mosque of Muhammad) in Medina for centuries but was erased but for two lines. Over 90 commentaries have been written on this poem and it has been translated into Hausa, Persian, Urdu, Turkish, Berber, Punjabi, English, French, German, Sindhi, Saraiki, Norwegian, Chinese (called Tianfangshijing), and other languages. It is known and recited by a