In my paper I will analyze al-A?sha's madia poem to al-Muaallaq al-Kalbi using J.L Austin's concept of speech act to understand the conventional procedures of utterance in the praise poem to al-Mu allaq in the context of the traditional praise poem of the madio. In al-Aisha's madi- to al-Musallaq , he breaks the traditional structure of praise poetry in the pre-Islamic period; I believe that the madie here, in Austin's terms, does a different function than the madit that he composed, for instance, in praise of King Iyas ibn Qubayysah. I will examine to what extent al-A sha utilizes the available poetic traditions of the madip, and at what point he departs from the traditional madip. I will also analyze how and why al-Aisha constructed his poem differently making use of other themes and images, and how the discourse of gift exchange operates as speech act in the madio. Scholars have argued that a successful poet/negotiator virtually entraps his addressee by engaging in a ritual exchange that obligates the patron to respond to the poet's proffered gift with a counter-gift. I argue in my paper that the gift of al-Arsha's madip to al-Mu allaq works exactly the other way around, for al-A sha has already received the gift from al-MuMallaq. Hence, al-Aesha has to reciprocate al-Mulallaq by taking up the challenge of praising him. A recent critic observes, separately that "the panegyric ode performs, on the one hand, the illocutionary act of declaring allegiance to the ruler and, on the other hand, the act of obligating the patron to reward the poet and to protect him". In the case of al-Aasha's madit to al-Murallaq, the critic's claim about the ritual of gift exchange is inverted: I will show how this poem works as an illocutionary act. The construction of this poem, the multiple sections, images, and the tone of the poet have a poetic function different from the function of the poem to King Iyas. The poet uses specific poetic images and style that are appropriate for the humbler mamdue. Al-Aasha's madiy for al-Mueallaq is composed in public; He does not eulogize him as patron of opulence or heap on him unacceptable praise. Instead, al-Amsha limits himself to a favorable limited description of a noble but ordinary man, a man who belonged to a recognizable world.