So Much Beauty – The Persian Verses of Rumi

Have we taken Allah out of Rumi’s poems?

New Age “translations of  jalaluddin Rumi’s works have become a type of ‘spiritual colonialism.’ We in the West have been bypassing, erasing, and occupying a spiritual landscape that has been lived and breathed and internalized by Muslims from Bosnia and Istanbul to Konya and Iran to Central and South Asia.” Extracting the spiritual from the religious context has deep reverberations. Islam is regularly diagnosed as a “cancer”  by people today and we are loathed to think that the  greatness of Sufi Poems are based on the Islamic faith.

In the 1800s, colonialist-minded translators found it difficult to reconcile Rumi’s poetry with their preconceptions of Islam as a “desert religion,” whose followers were forsaken with “unusual moral and legal codes.” In the twentieth century, prominent translators, such as R. A. Nicholson, A. J. Arberry, and Annemarie Schimmel, made limited headway into producing versions that stayed more true to the original Persian prose, but these translations have not been the most widely circulated among Western readers.

earlier translations of Rumi’s works – possibly

by R.A. Nicholson

That title is held by Coleman Barks, the American poet and interpreter responsible for re-introducing Rumi’s poetry for English-speaking audiences in recent decades. Barks, who does not speak Persian and is not trained in Islamic literature, has recast earlier translations of Rumi’s works into “fluid, casual American free verse,” according to Christain Science Monitor.

For his part, Coleman Barks sees religion as secondary to the essence of Rumi. “Religion is such a point of contention for the world,” he told me. “I got my truth and you got your truth—this is just absurd. We’re all in this together and I’m trying to open my heart, and Rumi’s poetry helps with that.” One might detect in this philosophy something of Rumi’s own approach to poetry: Rumi often amended texts from the Koran so that they would fit the lyrical rhyme and meter of the Persian verse. But while Rumi’s Persian readers would recognize the tactic, most American readers are unaware of the Islamic blueprint. Some have said, compare reading Rumi without the Koran to reading Milton without the Bible: even if Rumi was heterodox, it’s important to recognize that he was heterodox in a Muslim context—and that Islamic culture, centuries ago, had room for such heterodoxy. Rumi’s works are not just layered with religion; they represent the historical dynamism within Islamic scholarship.

Rumi used the Koran, Hadiths, and religion in an explorative way, often challenging conventional readings. One of Barks’s popular renditions goes like this: “Out beyond ideas of rightdoing and wrongdoing, there is a field. / I will meet you there.” The original version makes no mention of “rightdoing” or “wrongdoing.” The words Rumi wrote were iman (“religion”) and kufr (“infidelity”). Imagine, then, a Muslim scholar saying that the basis of faith lies not in religious code but in an elevated space of compassion and love. What we, and perhaps many Muslim clerics, might consider radical today is an interpretation that Rumi put forward more than seven hundred years ago.

Such readings were not entirely unique back then. Rumi’s works reflected a broader push and pull between religious spirituality and institutionalized faith—though with a wit that was unmatched. “Historically speaking, no text has shaped the imagination of Muslims—other than the Koran—as the poetry of Rumi and Hafez,” it is said. This is why Rumi’s voluminous writings, produced at a time when scribes had to copy works by hand, have survived.

“Language isn’t just a means of communication,” the writer and translator Sinan Antoon has said. “It’s a reservoir of memory, tradition, and heritage.” As conduits between two cultures, translators take on an inherently political project. They must figure out how to make, for instance, a thirteenth-century Persian poet comprehensible to a contemporary American audience. But they have a responsibility to remain true to the original work—an act that, in the case of Rumi, would help readers to recognize that a professor of Sharia could also write some of the world’s mostly widely read love poetry.

Jawid Mojaddedi is now in the midst of a years-long project to translate all six books of the “Masnavi.” Three of them” have been published; the fourth is due out this spring. His translations acknowledge the Islamic and Koranic texts in the original by using italics to denote whenever Rumi switches to Arabic. His books are also riddled with footnotes. Reading them requires some effort, and perhaps a desire to see beyond one’s preconceptions. That, after all, is the point of translation: to understand the foreign. As Keshavarz put it, translation is a reminder that “everything has a form, everything has culture and history. A Muslim can be like that, too.”

earlier translation

Have we hi-jacked Rumi and moulded him to our own understanding – Yes indeed,  is that a bad thing? No! Indeed no. We have not destroyed the original Rumi and who would want to? We have  expanded on his wonderful poetry and by so doing, opened him and his works to an international audience and an entirely new generation. I think we have done good! 

Excerpted from Rozina Ali’s recent article The Erasure of Islam from the Poetry of Rumi

Link to article

http://www.newyorker.com/books/page-turner/the-erasure-of-islam-from-the-poetry-of-rumi

Happy 82nd Birthday Elvis!

Pure unadulterated Sexiness

Happy birthday Elvis Presley – your 82nd. You never stayed around to grow old but your light  and your music has never faded. I remember you from my childhood, when my brother mimicked your moves to the music of “Blue Suede Shoes.”  I used to giggle at his “wiggle” and  often we’d  both end  up on the floor laughing.  I loved your songs and I loved the way you moved and grooved to that old rock and roll music. I don’t have a favourite song from back then – all are magic.  There’s no one like you. Keep on  Dreaming Elvis, wherever you are tonight.

“Before Elvis there was nothing!” ~ John Lennon.

elvis

Then the famous singer began to speak, incorporating a favorite Roy Hamilton Rhythm and Blues tune, “Without a Song.”

“When I was a child, ladies and gentlemen, I was a dreamer. I read comic books, and I was the hero of the comic book. I saw movies, and I was the hero in the movie. So every dream I ever dreamed has come true a hundred times. These gentlemen over there, these are the type who care, are dedicated. You realize if it’s not possible that they might be building the Kingdom, it’s not far-fetched from reality. I learned very early in life that: ‘Without a song, the day would never end; without a song, a man ain’t got a friend; without a song, the road would never bend, without a song.’”

About The Video posted.

“Way Down” is a song recorded by Elvis Presley in October 1976, it was the last single released before his death on August 16, 1977. The song was written by Layng Martine, Jr. and was later covered by Status Quo and Cliffhanger. Released as a single (with “Pledging My Love” on the B-side) on June 6, 1977, it was his current single when he died. It was racing up the top 40 when news of his death broke. Shortly after his death, it became the 33rd Number 1 of his career. It reached #1 on both the American Country and British Pop charts just days after his death, and almost six years after his previous Number 1 single. It was re-issued in April 2005 and reached #2 on the UK singles chart.