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Rumi: Swallowing the Sun
Franklin D. Lewis, Franklin Dean Lewis
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eBook - ePub
Rumi: Swallowing the Sun
Franklin D. Lewis, Franklin Dean Lewis
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A beautifully presented volume that draws from the breadth of the great Persian poet's work Timeless and eternal, the poetry of Jalal al-Din Rumi is loved the world over. The best-selling poet from America to Afghanistan, his words are as relevant today as ever, still resonating with contemporary concerns of both East and West alike. Commemorating the 800th anniversary of Rumi's birth, this beautifully presented volume draws from the breadth of Rumi's work, spanning his prolific career from start to finish. From the uplifting to the mellow, Franklin's Lewis polished translation will prove inspirational to both keen followers of Rumi's work and readers discovering the great poet for the first time.
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LiteratureSous-sujet
Middle Eastern Literary CollectionsNOTES ON THE POEMS
The notes provided here are offered where some explanation was felt essential to the understanding of the poem for non-specialists; they are not intended as a systematic commentary or as literary analysis. Indeed, some ghazals did not seem particularly in need of notes at all, and most of the Masnavi passages explain themselves. Quotations from or allusions to passages from the Koran (QurâÄn) are indicated in brackets on the right-hand side of the page.
I. ORISONS TO THE SUN: POEMS OF PRAISE AND INVOCATION
The poem fragments that begin this section are addressed to Shams-e Tabrizi, or Shams al-Din of Tabriz, the figure who transformed Rumiâs spiritual life. Shams means âsun,â which name Rumi plays with frequently. Shams al-Din (Sun of the Faith) and Shams al-Haqq (Sun of Truth) are also titles Rumi uses for Shams.
SUDDEN RESURRECTION! Endless Mercy! | Ghazal 1 |
Ay rastakhiz-e nĂągahĂąn v-ay rahmat-e bi-montahĂą
Rajaz: | ÂŻ ÂŻ Ë ÂŻ | ÂŻ ÂŻ Ë ÂŻ | ÂŻ ÂŻ Ë ÂŻ | ÂŻ ÂŻ Ë ÂŻ ||
A poetâs collected lyrical poems, called by the generic title DivĂąn in Persian, were commonly arranged in alphabetical order, by the last letter of the line, from about the time of Rumi onward. Rumiâs collection of poetry (known as the DivĂąn-e kabir = the Great Divan; or DivĂąn-e Shams = the Divan of Shams) is traditionally organized not strictly by alphabetical order, but also by meter. Whether by design or not, Rumiâs DivĂąn opens with a poem addressed to the spiritual beloved, one may assume Shams, as âSudden Resurrection.â The poem of course ends with the Saqi, or spiritual cupbearer, pouring out the mystical experience that cannot be expressed and does not admit rational explanation.
âAngel Eyesâ from the Koran describe the beauties in the symbolic paradise that awaits believers (see Koran 52:20, 56:22 and 44:54). The multi-chrome design may refer to Rumiâs notion of the prismatic nature of reality: truth is unichrome, white light, but as it is refracted into the phenomenal world, things that are actually one appear in duality and distinction, so that even Moses may come into conflict with a Moses (see Masnavi Book 1:2467). The speaking persona of the poem asks the guide/beloved for attention, which includes the reprimands of boxing his ears, but as long as exclusive attention is given to the disciple/lover, this is enough, even if the reprimands prove overwhelming and unending. Of course, the discussion is jocular in tone, and everyday events intrude on the poem, such as the bread and greens (it is worth noting that novitiates desiring entrance into the Mevlevi Order of Whirling Dervishes in later centuries had to first serve in the kitchen for 1001 days).
O MOUTHPIECE of God | Ghazal 1310 |
Ay nĂąteq-e elĂąhi v-ay dide-ye haqĂąyeq
MozĂąreâ akhrab al-sadrayn: | ÂŻ ÂŻ Ë | ÂŻ Ë ÂŻ ÂŻ | ÂŻ ÂŻ Ë | ÂŻ Ë ÂŻ ÂŻ ||
LOOK AT that face | Ghazal 5 |
Ăn shekl bin v-Ăąn shive bin v-Ăąn qadd o khadd o dast o pĂą
Rajaz: | ÂŻ ÂŻ Ë ÂŻ | ÂŻ ÂŻ Ë ÂŻ | ÂŻ ÂŻ Ë ÂŻ | ÂŻ ÂŻ Ë ÂŻ ||
âAgiaryâ: a word used in South Asian English for a Zoroastrian fire-temple (Persian: Ăątash-kade). Zoroastrians revere fire as a symbol of beneficent force in the cosmos, but ill-informed or inimical outsiders have accused them of being âfire-worshippers.â Rumiâs allusion here therefore appears quite sophisticated, understanding the divine beloved as having taken on human form, a form that becomes the focal point of worship. The beauty of this godly youth overpowers the beholder and steals away his heart, as a bandit might swoop down on a caravan and plunder it. The speaking persona in the poem appeals to this godly incarnation for respite.
âGood sirâ (fatĂą): a young man, perhaps even a member of the chivalric order of young men (or fotovvat). The word connotes a young warrior, a knight, who has power to plunder but operates according to a code of chivalry.
âThe Sun in the Zenithâ (Shams al-ážuáž„ĂĄ) uses a description from the opening words of Sura 93 of the Koran to apply to Shams, which of course also means âthe sunâ.
âCome and get itâ (salĂą): the call to begin eating.
Narcissi and hyacinth: the belovedâs eyes are often compared to the narcissus in Persian poetry, and the facial hair of the beloved, here eyebrows, to the fragrant, bushy hyacinth.
WHAT A BANNER, what a standard | Ghazal 2407 |
Zahi levĂą va âalam lĂą elĂąha ella llĂąh
Mojtass: | Ë ÂŻ Ë ÂŻ | Ë Ë ÂŻ ÂŻ | Ë ÂŻ Ë ÂŻ | Ë Ë ÂŻ ||
The refrain of this poem, âthere is no God but God,â is of course a liturgical phrase from the obligatory prayers, repeated five times daily. It often occurs in Sufi chanting (dhikr) and meditation, as well.
II. POEMS OF FAITH AND OBSERVANCE
In the lines with which this chapter opens, the miârÄj refers to the Prophetâs miraculous ascension to heaven and entrance into the luminous presence of the divine. The story is provided in suggestive outline in the Koran (53:5â18), but it was much elaborated in the Hadith, and the genre known as âstories of the prophets.â The Prophet was borne aloft by a winged equine-like creature, named BurÄq. Various Sufis have suggested that the fully self-realized spiritual person can repeat this journey for himself.
âZoroastâ is a poetic license, a metrical shortening of âZoroastrian.â The Persian word used here (gahr â sometimes rendered into English in British India as âguebreâ) was in quite common usage among medieval Persian Muslims as an unflattering term to denote Zoroastrians. The word used here for âJewâ (jahud) is also now considered derogatory, though the extent to which Rumi uses it in a necessarily derogatory sense is open to interpretation. The Koran generally uses al-yahĆ«d to designate the Jews, or BanÄ« IsrÄâÄ«l for âthe children of Israel.â Rumi uses both yahud and jahud, which are of course etymologically related. Both gabr and jahud are now considered derogatory, though one may quibble about the emotional overtones they would have carried in the Persian verse of Rumiâs time. Note, however, that in the shorthand used by Rumi and other Muslims of his day, a true âbelieverâ (moâmen) is, of necessity, a Muslim. The Jews and Zoroastrians and Chri...