This is a modern-English version of The Luzumiyat of Abu'l-Ala: Selected from his Luzum ma la Yalzam and Suct us-Zand, originally written by Abu al-Ala al-Maarri.
It has been thoroughly updated, including changes to sentence structure, words, spelling,
and grammar—to ensure clarity for contemporary readers, while preserving the original spirit and nuance. If
you click on a paragraph, you will see the original text that we modified, and you can toggle between the two versions.
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THE LUZUMIYAT OF ABU’L-ALA [3]
THE LUZUMIYAT OF ABU’L-ALA [__A_TAG_PLACEHOLDER_0__]
TO HIS ROYAL HIGHNESS
EMIR FEISAL
IN WHOM ARE CENTRED
THE HOPES AND ASPIRATIONS
OF THE SYRIAN PEOPLE
FOR A UNITED SYRIA
THIS BOOK
IS DEDICATED [5]
TO HIS ROYAL HIGHNESS
EMIR FEISAL
IN WHOM ARE CENTERED
THE HOPES AND ASPIRATIONS
OF THE SYRIAN PEOPLE
FOR A UNITED SYRIA
THIS BOOK
IS DEDICATED [__A_TAG_PLACEHOLDER_0__]
OF
ABU’L-ALA
Luzum ma la Yalzam and Suct uz-Zand
and first rendered into English
NEW YORK
JAMES T. WHITE & CO.,
1920
[6]
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“His poems generally known as the Luzumiyat arrest attention by their boldness and originality as well as by the sombre and earnest tone which pervades them.”—Raynold A. Nicholson: A History of the Arabs.
“His poems, usually referred to as the Luzumiyat, capture attention with their boldness and originality, alongside the serious and earnest tone that runs throughout them.” —Raynold A. Nicholson: A History of the Arabs.
“Abu’l-Ala is a poet many centuries ahead of his time.”—Von Kremer.
“Abu’l-Ala is a poet who is many centuries ahead of his time.”—Von Kremer.
COPYRIGHTED 1918 BY
JAMES T. WHITE & CO. [7]
COPYRIGHTED 1918 BY
JAMES T. WHITE & CO. [__A_TAG_PLACEHOLDER_0__]
TO ABU’L-ALA
In thy fountained peristyles of Reason
In your fountain-filled colonnades of Reason
Glows the light and flame of desert noons;
Glows the light and flame of desert afternoons;
And in the cloister of thy pensive Fancy
And in the quiet of your thoughtful imagination
Wisdom burns the spikenard of her moons.
Wisdom ignites the spikenard of her moons.
Closed by Fate the portals of the dwelling
Closed by Fate, the doors of the home
Of thy sight, the light thus inward flowed;
Of your sight, the light flowed inward;
And on the shoulders of the crouching Darkness
And on the shoulders of the huddled Darkness
Thou hast risen to the highest road.
You have risen to the highest path.
I have seen thee walking with Canopus
I have seen you walking with Canopus.
Through the stellar spaces of the night;
Through the amazing expanses of the night;
I have heard thee asking thy Companion,
I have heard you asking your friend,
“Where be now my staff, and where thy light?”
“Where is my staff now, and where is your light?”
Abu’l-Ala, in the heaving darkness,
Abu’l-Ala, in the deep darkness,
Didst thou not the whisperings hear of me?
Did you not hear my whispers?
In thy star-lit wilderness, my Brother,
In your starry wilderness, my brother,
Didst thou not a burdened shadow see?
Did you not see a troubled shadow?
[8]
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I have walked and I have slept beside thee,
I have walked and I have slept next to you,
I have laughed and I have wept as well;
I have laughed and I have cried too;
I have heard the voices of thy silence
I have heard the voices of your silence
Melting in thy Jannat and thy hell.
Melting in your paradise and your hell.
I remember, too, that once the Saki
I remember, too, that once the Saki
Filled the antique cup and gave it thee;
Filled the antique cup and gave it to you;
Now, filled with the treasures of thy wisdom,
Now, filled with the treasures of your wisdom,
Thou dost pass that very cup to me.
You pass that very cup to me.
By the God of thee, my Syrian Brother,
By the God of you, my Syrian Brother,
Which is best, the Saki’s cup or thine?
Which is better, the Saki's cup or yours?
Which the mystery divine uncovers—
Which the divine mystery reveals—
If the cover covers aught divine.
If the cover hides anything divine.
And if it lies hid in the soul of silence
And if it’s hidden in the soul of silence
Like incense in the dust of ambergris,
Like incense in the dust of ambergris,
Wouldst thou burn it to perfume the terror
Would you burn it to scent the fear?
Of the caverns of the dried-up seas?
Of the caves of the dried-up oceans?
Where’er it be, Oh! let it be, my Brother.—
Wherever it is, oh! let it be, my brother.—
Though “thrice-imprisoned,”9 thou hast forged us more
Though "thrice-imprisoned,"9 you have shaped us more
Solid weapons for the life-long battle
Solid weapons for the lifelong battle
Than all the Heaven-taught Armorers of yore.
Than all the skilled armorers of the past.
[9]
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“Thrice-imprisoned,” thou wert e’en as mighty,
“Thrice-imprisoned,” you were even as mighty,
In the boundless kingdom of the mind,
In the limitless realm of the mind,
As the whirlwind that compels the ocean,
As the storm that drives the sea,
As the thunder that compels the wind.
As the thunder that drives the wind.
“Thrice-imprisoned,” thou wert freer truly
“Thrice-imprisoned,” you were freer truly
Than the liegeless Arab on his mare,—
Than the stateless Arab on his mare,—
Freer than the bearers of the sceptre,—
Freer than those who hold the scepter,—
Freer than the winged lords of the air.
Freer than the flying masters of the sky.
“Thrice-imprisoned,” thou hast sung of freedom
“Three times imprisoned,” you have sung of freedom
As but a few of all her heroes can;
As only a few of her heroes can;
Thou hast undermined the triple prison
You have weakened the triple prison.
Of the mind and heart and soul of man.
Of the mind, heart, and soul of humanity.
In thy fountained peristyles of Reason
In your fountain-filled colonnades of Reason
Glows the light and flame of desert noons;
Glows the light and flame of desert afternoons;
And in the cloister of thy pensive Fancy
And in the quiet of your thoughtful imagination
Wisdom burns the spikenard of her moons.
Wisdom ignites the spikenard of her moons.
Ameen Rihani. [11]
Ameen Rihani. [__A_TAG_PLACEHOLDER_0__]
PREFACE.
When Christendom was groping amid the superstitions of the Dark Ages, and the Norsemen were ravaging the western part of Europe, and the princes of Islam were cutting each other’s throats in the name of Allah and his Prophet, Abu’l-Ala’l-Ma’arri was waging his bloodless war against the follies and evils of his age. He attacked the superstitions and false traditions of law and religion, proclaiming the supremacy of the mind; he hurled his trenchant invectives at the tyranny, the bigotry, and the quackery of his times, asserting the supremacy of the soul; he held the standard of reason high above that of authority, fighting to the end the battle of the human intellect. An intransigeant with the exquisite mind of a sage and scholar, his weapons were never idle. But he was, above all, a poet; for when he stood before the eternal mystery of Life and Death, he sheathed his sword and murmured a prayer.
When Christianity was feeling its way through the superstitions of the Dark Ages, the Norsemen were pillaging the western part of Europe, and the Muslim leaders were fighting each other in the name of Allah and his Prophet, Abu’l-Ala’l-Ma’arri was waging his peaceful war against the foolishness and wrongs of his time. He challenged the superstitions and false traditions of law and religion, advocating for the power of the mind; he aimed his sharp criticism at the tyranny, bigotry, and charlatanism of his era, asserting the power of the soul; he raised the banner of reason high above that of authority, fighting until the end for the cause of human intellect. An uncompromising thinker with the brilliant mind of a sage and scholar, his tools were always at the ready. But he was, above all, a poet; for when he confronted the eternal mystery of Life and Death, he put away his sword and whispered a prayer.
Abu’l-Ala’l-Ma’arri,1 the Lucretius of Islam, the Voltaire of the East, was born in the spring of the year 973 A.D., in the obscure village of Ma’arrah,2 [12]which is about eighteen hours’ journey south of Halab (Aleppo). And instead of Ahmad ibn Abdallah ibn Sulaiman ut-Tanukhi (of the tribe of Tanukh), he was called Abu’l-Ala (the Father of the Sublime), by which patronymic of distinction he is popularly known throughout the Arabic speaking world.
Abu’l-Ala’l-Ma’arri, the Lucretius of Islam and the Voltaire of the East, was born in the spring of 973 A.D. in the little-known village of Ma’arrah, which is about an eighteen-hour journey south of Halab (Aleppo). Instead of being called Ahmad ibn Abdallah ibn Sulaiman ut-Tanukhi (from the tribe of Tanukh), he was known as Abu’l-Ala (the Father of the Sublime), a name by which he is widely recognized throughout the Arabic-speaking world.
When a boy, Abu’l-Ala was instructed by his father; and subsequently he was sent to Halab, where he pursued his studies under the tutelage of the grammarian Muhammad ibn Abdallah ibn us-Sad. His literary proclivity was evinced in his boyhood, and he wrote verse, we are told, before he was ten. Of these juvenile pieces, however, nothing was preserved.
When he was a boy, Abu’l-Ala was taught by his father; later, he was sent to Halab, where he studied under the grammarian Muhammad ibn Abdallah ibn us-Sad. His talent for writing became apparent in his childhood, and it's said he wrote poetry before he turned ten. Unfortunately, none of these early works were saved.
He was about five years old when he fell a victim to small-pox and almost lost his sight from it. But a weakness in his eyes continued to trouble him and he became, in middle age, I presume, totally blind.3 Some of his biographers would have us believe he was born blind; others state that he completely lost his sight when he was attacked by the virulent disease; and a few intimate that he could see slightly at least with the right eye. As to whether or not he was blind when he was sent to Halab to pursue his studies, his biographers do not agree. My theory, based on the careful perusal of his poems and on a statement advanced by one of his biographers,4 is that [13]he lost his sight gradually, and total blindness must have come upon him either in his youth or his middle age.5 Were we to believe that he was born blind or that he suffered the complete loss of his sight in his boyhood, we should be at a loss to know, not how he wrote his books, for that was done by dictation; not how he taught his pupils, for that was done by lectures; but how he himself was taught in the absence in those days of a regular system of instruction for the blind.
He was about five years old when he got smallpox and almost lost his sight because of it. But a weakness in his eyes continued to bother him, and by middle age, he was completely blind, I assume. Some of his biographers want us to think he was born blind; others say he lost his sight entirely when he was hit by the severe disease; and a few suggest that he could at least see a little with his right eye. When it comes to whether he was blind when he went to Halab to study, his biographers don't agree. My theory, based on a close reading of his poems and a statement made by one of his biographers, is that he gradually lost his sight, and total blindness must have developed either in his youth or middle age. If we were to believe that he was born blind or that he lost all his sight in childhood, we would wonder not how he wrote his books—since that was done by dictation—not how he taught his students—because that was done through lectures—but how he himself was taught, given the lack of a regular system for instructing the blind at that time.
In 1010 A.D. he visited Baghdad, the centre of learning and intelligence and the capital of the Abbaside Khalifs, where he passed about two years and became acquainted with most of the literary men of the age.6 He attended the lectures and the readings of the leading doctors and grammarians, meeting with a civil reception at the hand of most of them.
In 1010 A.D., he visited Baghdad, the hub of knowledge and the capital of the Abbasid Caliphs, where he spent about two years and got to know many of the literary figures of the time.6 He attended lectures and readings by the top scholars and grammarians, receiving a friendly welcome from most of them.
He also journeyed to Tripoli,7 which boasted, in those days, of many public libraries; and, stopping at Ladhekiyah, he lodged in a monastery where he met and befriended a very learned monk. They discussed theology and metaphysics, digressing now and then into the profane. Indeed, the skepticism which permeates Abu’l-Ala’s writings must have been nursed in that convent by both the monk and the poet. [14]
He also traveled to Tripoli, 7, which had many public libraries back then; and, stopping at Ladhekiyah, he stayed in a monastery where he met and became friends with a very knowledgeable monk. They talked about theology and metaphysics, going off-topic occasionally into less serious topics. In fact, the skepticism that runs through Abu’l-Ala’s writings must have been nurtured in that convent by both the monk and the poet. [__A_TAG_PLACEHOLDER_0__]
These are virtually the only data extant showing the various sources of Abu’l-Ala’s learning; but to one endowed with a keen perception, a powerful intellect, a prodigious memory, together with strong innate literary predilections, they seem sufficient. He was especially noted for the extraordinary memory he possessed; and around this our Arab biographers and historians weave a thick net of anecdotes, or rather fables. I have no doubt that one with such a prodigious memory could retain in a few minutes what the average person could not; but when we are told that Abu’l-Ala once heard one of his pupils speaking with a friend in a foreign tongue, and repeated there and then the long conversation, word for word, without having the slightest idea of its meaning, we are disposed to be skeptical. Many such anecdotes are recorded and quoted by his Arab biographers without as much as intimating a single doubt.8 The fact that he was blind partly explains the abnormal development of his memory.
These are pretty much the only data available showing the different sources of Abu’l-Ala’s learning; but for someone with sharp perception, a powerful intellect, an incredible memory, and strong natural literary inclinations, they seem adequate. He was especially known for his remarkable memory, and around this, Arab biographers and historians have spun a web of anecdotes, or rather stories. I have no doubt that someone with such an amazing memory could remember in minutes what the average person couldn’t; however, when we hear that Abu’l-Ala once listened to one of his students talking with a friend in a foreign language and then repeated the entire long conversation, word for word, without understanding its meaning at all, we tend to be skeptical. Many such stories are documented and cited by his Arab biographers without indicating even a hint of doubt.8 The fact that he was blind helps explain the unusual development of his memory.
His career as poet and scholar dates from the time he returned from Baghdad. This, so far as is known, was the last journey he made; and his home became henceforth his earthly prison. He calls himself “A double-fettered Captive,”9 his solitude being the one and his blindness the other. Like most of the [15]scholars of his age, in the absence of regular educational institutions, with perhaps one or two exceptions, he had to devote a part of his time to the large number of pupils that flocked to Ma’arrah from all parts of Asia Minor, Arabia, and India. Aside from this, he dictated to his numerous amanuenses on every possible and known subject. He is not only a poet of the first rank, but an essayist, a literary critic, and a mathematician as well. Everything he wrote was transcribed by many of his admirers, as was the fashion then, and thus circulated far and near. Nothing, however, was preserved but his Diwans, his Letters and the Epistle of Forgiveness,10 of which I shall yet have occasion to speak.11
His career as a poet and scholar started when he returned from Baghdad. This was, as far as is known, his last journey; from then on, his home became his earthly prison. He describes himself as “A double-fettered Captive,”9 with solitude being one chain and his blindness the other. Like most of the [__A_TAG_PLACEHOLDER_0__] scholars of his time, and with maybe a couple of exceptions, he had to spend part of his time teaching the many pupils who came to Ma’arrah from all over Asia Minor, Arabia, and India. In addition to this, he dictated to his many scribes on every possible topic. He is not only a top-tier poet but also an essayist, literary critic, and mathematician. Everything he wrote was copied by many of his fans, as was customary at the time, and circulated widely. However, only his Diwans, his Letters, and the Epistle of Forgiveness10 were preserved, which I will discuss later.11
His reputation as poet and scholar had now, after his return from Baghdad, overleaped the horizons, as one writer has it. Honors were conferred upon him successively by the rulers and the scholars of his age. His many noted admirers were in constant communication with him. He was now looked upon as “the master of the learned, the chief of the wise, and the sole monarch of the bards of his century.” Ma’arrah12 became the Mecca of every literary aspirant; ambitious young scholars came there for enlightenment and inspiration. And Abu’l-Ala, although a pessimist, received them with his wonted kindness [16]and courtesy. He imparted to them what he knew, and told them candidly what he would not teach, since, unlike other philosophers, he was not able to grasp the truth, nor compass the smallest of the mysteries of creation. In his latter days, youthful admirers sought his blessing, which he, as the childless father of all, graciously conferred, but with no self-assumed spiritual or temporal authority.
His reputation as a poet and scholar had now, after his return from Baghdad, surpassed all expectations, as one writer puts it. Honors were continuously awarded to him by the rulers and scholars of his time. His many notable admirers kept in constant touch with him. He was now regarded as “the master of the learned, the chief of the wise, and the sole monarch of the bards of his century.” Ma’arrah12 became the destination for every aspiring writer; ambitious young scholars flocked there for awareness and inspiration. And Abu’l-Ala, even though he was a pessimist, welcomed them with his usual kindness [__A_TAG_PLACEHOLDER_0__] and courtesy. He shared what he knew with them and honestly explained what he wouldn’t teach, since, unlike other philosophers, he wasn’t able to comprehend the truth or understand the smallest mysteries of creation. In his later years, young admirers sought his blessing, which he, as the childless father to all, graciously gave, but without any self-assumed spiritual or temporal authority.
For thirty years he remained a vegetarian, living the life of an ascetic.13 This mode of living led his enemies to accuse him of renouncing Islam and embracing Brahminism, one of the tenets of which forbids the slaughter of animals. The accusation was rather sustained by the dispassionate attitude he held towards it, and, furthermore, by his vehement denunciation of the barbarous practice of killing animals for food or for sport.
For thirty years, he stayed a vegetarian, leading the life of an ascetic.13 This way of living led his enemies to accuse him of abandoning Islam and adopting Brahminism, which includes a belief against killing animals. The accusation was somewhat supported by his indifferent stance on it, and, additionally, by his strong condemnation of the cruel practice of killing animals for food or for sport.
Most of the censors of Abu’l-Ala were either spurred to their task by bigotry or animated by jealousy and ignorance. They held him up to ridicule and opprobrium, and such epithets as heretic, atheist, renegade, etc., were freely applied. But he was supremely indifferent to them all,14 and never would he cross swords with any particular individual; he attacked the false doctrines they were teaching, turning a deaf ear to the virulent vituperations they hurled upon him. I fail to find in the [17]three volumes of his poems, even in the Letters, one acrimonious line savoring of personality.
Most of the critics of Abu’l-Ala were either driven by prejudice or fueled by jealousy and ignorance. They mocked him and used terms like heretic, atheist, and renegade without hesitation. But he was completely indifferent to them all, and he never engaged in personal battles; instead, he challenged the false teachings they promoted, ignoring the ruthless insults they directed at him. I can't find in the [__A_TAG_PLACEHOLDER_0__]three volumes of his poems, or even in the Letters, a single bitter line that feels personal.
Ibn-Khillikan, The Plutarch of Arabia, who is cautious and guarded in his statements, speaking of Abu’l-Ala, truly says:
Ibn-Khillikan, the Plutarch of Arabia, who is careful and restrained in his remarks, discussing Abu’l-Ala, accurately states:
“His asceticism, his deep sense of right and wrong, his powerful intellect, his prodigious memory, and his wide range of learning, are alike acknowledged by both friend and foe.”
“His self-discipline, strong sense of right and wrong, sharp intellect, remarkable memory, and broad knowledge are recognized by both friends and enemies.”
His pessimism was natural, in part hereditary. The man was nothing if not genuine and sincere. Ruthlessly he said what he thought and felt. He had no secrets to hide from the world, no thoughts which he dared not express. His soul was as open as Nature; his mind was the polished mirror of his age.15 It may be that had he not been blind-stricken and had not small-pox disfigured his features, he might have found a palliative in human society. His pessimism might not have been cured, but it might have been rendered at least enticing. Good-fellowship might have robbed it of its sting. Nor is his strong aversion to marriage, in view of these facts, surprising.
His pessimism was natural, partly inherited. The man was nothing if not genuine and sincere. He bluntly stated what he thought and felt. He had no secrets to hide from the world, no thoughts he dared not express. His soul was as open as Nature; his mind was a clear reflection of his time.15 It’s possible that if he hadn’t been blinded and disfigured by smallpox, he might have found some relief in human connections. His pessimism might not have disappeared, but it could have at least become more appealing. Friendliness might have dulled its sting. Given these facts, it’s not surprising that he had a strong dislike for marriage.
He lived to know that “his fame spread from the sequestered village of Ma’arrah to the utmost confines of the Arabic speaking world.” In the spring of 1055 A.D. he died, and was buried in a [18]garden surrounding his home. Adh-Dhahabi states that there were present at his grave eighty poets, and that the Koran was read there two hundred times in a fortnight. Eighty poets in the small town of Ma’arrah sounds incredible. But we must bear in mind that almost every one who studies the Arabic grammar has also to study prosody and versification and thus become at least a rhymster. Even to-day, the death of a noted person among the Arabs, is always an occasion for the display of much eloquence and tears, both in prose and verse.
He lived to know that “his fame spread from the secluded village of Ma’arrah to the furthest reaches of the Arabic-speaking world.” In the spring of 1055 A.D., he died and was buried in a [__A_TAG_PLACEHOLDER_0__]garden around his home. Adh-Dhahabi mentions that there were eighty poets present at his grave, and that the Quran was recited there two hundred times in a fortnight. Eighty poets in the small town of Ma’arrah sounds unbelievable. But we have to remember that almost everyone who studies Arabic grammar also learns about prosody and versification, becoming at least a bit of a poet. Even today, the death of a prominent figure among the Arabs is always an opportunity for a lot of eloquence and tears, both in prose and verse.
Abu’l-Ala, beside being a poet and scholar of the first rank, was also one of the foremost thinkers of his age. Very little is said of his teachings, his characteristics, his many-sided intellect, in the biographies I have read. The fact that he was a liberal thinker, a trenchant writer,—free, candid, downright, independent, skeptical withal,—answers for the neglect on the part of Mohammedan doctors, who, when they do discuss him, try to conceal from the world what his poems unquestionably reveal. I am speaking, of course, of the neglect after his death. For during his life-time he was much honored, as I have shown, and many distinguished travellers came especially to Ma’arrah to see him. He was also often called upon to act as intercessor with the Emirs for the natives of his village.16 [19]
Abu’l-Ala, besides being a top poet and scholar, was also one of the leading thinkers of his time. Very little is mentioned about his teachings, personality, and diverse intellect in the biographies I've read. His status as a liberal thinker and a sharp writer—unfiltered, honest, straightforward, independent, and skeptical—explains why he has been overlooked by Islamic scholars who, when they do discuss him, attempt to hide what his poems clearly express. I’m talking about the neglect that occurred after his death. During his lifetime, he was greatly respected, as I have noted, and many notable travelers came especially to Ma’arrah to meet him. He was also frequently asked to intervene with the Emirs on behalf of the people of his village.16 [__A_TAG_PLACEHOLDER_0__]
The larger collection of his poems, the Luzumiyat,17 was published in Cairo, in two volumes, by Azeez Zind, from an original Ms. written in the twelfth century, under Abu’l-Ala’s own title Luzum ma la Yalzam, or the Necessity of what is Unnecessary. This title refers to the special system of rhyming which the poet adopted. And the poems, published in desultory fashion, were written, it seems, at different periods of his life, and are arranged according to his particular alphabetical system of rhyming. They bear no titles except, “And he also says, rhyming with so and so,” whatever the consonant and vowel may be. In his Preface to the Luzumiyat he says:
The larger collection of his poems, the Luzumiyat, was published in Cairo in two volumes by Azeez Zind, based on an original manuscript written in the twelfth century under Abu’l-Ala’s own title Luzum ma la Yalzam, which means the Necessity of what is Unnecessary. This title refers to the unique rhyming system the poet used. The poems, published in a scattered manner, appear to have been written at different times in his life and are organized according to his specific alphabetical rhyming system. They have no titles except for the phrase, “And he also says, rhyming with so and so,” based on the corresponding consonant and vowel. In his Preface to the Luzumiyat, he states:
“It happened that I composed these poems during the past years, and in them I have always aimed at the truth. They are certainly free from the blandishments of exaggeration. And while some of them are written in glorification of God, who is above such glory, others are, as it were, a reminder to those who forget, a pinch to those who sleep, and a warning to the children of the earth against the wiles of the great world, where human rights and human gratitude are often strangled by the same hand of Fate.”
“It so happened that I wrote these poems over the past few years, always with the goal of pursuing the truth. They are definitely free from the temptations of exaggeration. While some of them praise God, who surpasses all glory, others serve as reminders for those who forget, a nudge for those who are complacent, and a warning to the children of the earth about the deceptions of the larger world, where human rights and gratitude are often crushed by the same hand of Fate.”
As for the translation of these chosen quatrains, let me say at the outset that it is almost impossible [20]to adhere to the letter thereof and convey the meaning without being insipid, dull, and at times even ridiculous. There being no affinity between the Arabic and the English, their standards of art and beauty widely differ, and in the process of transformation the outer garment at times must necessarily be doffed. I have always adhered to the spirit, however, preserving the native imagery where it was not too clannish or grotesque. I have added nothing that was foreign to the ruling idea, nor have I omitted anything that was necessary to the completion of the general thought. One might get an idea of what is called a scholarly translation from the works of any of the Orientalists who have made a study of Abu’l-Ala. The first English scholar to mention the poet, as far as I know, was J. D. Carlisle, who in his “Specimens of Arabic Poetry”, published in 1810, has paraphrased in verse a quatrain on Pride and Virtue. He also translated into Latin one of Abu’l-Ala’s bold epigrams, fearing, I suppose, to publish it at that time in English.
Regarding the translation of these selected quatrains, I want to clarify from the start that it’s almost impossible [__A_TAG_PLACEHOLDER_0__] to stick strictly to the original text while also conveying the meaning without making it bland, boring, and sometimes even silly. Since there’s no direct connection between Arabic and English, their artistic and aesthetic standards are quite different, and during the transformation, the outer layer often has to be shed. Nevertheless, I have always focused on the essence, maintaining the original imagery where it wasn’t too insular or bizarre. I haven’t added anything unrelated to the main idea, nor have I left out anything essential for expressing the overall thought. For an example of what is considered a scholarly translation, one could look at the works of any Orientalists who have studied Abu’l-Ala. The first English scholar to refer to the poet, to my knowledge, was J. D. Carlisle, who in his “Specimens of Arabic Poetry,” published in 1810, paraphrased a quatrain on Pride and Virtue into verse. He also translated one of Abu’l-Ala’s daring epigrams into Latin, probably because he was hesitant to publish it in English at that time.
The quatrains which are here published are culled from the three Volumes of his poems, and they are arranged, as nearly as may be, in the logical order of their sequence of thought. They form a kind of eclogue, which the poet-philosopher delivers from his prison in Ma’arrah. [21]
The quatrains published here are selected from his three volumes of poetry and are organized as closely as possible to follow the logical flow of his ideas. They create a sort of eclogue, which the poet-philosopher shares from his prison in Ma’arrah. [__A_TAG_PLACEHOLDER_0__]
Once, in Damascus, I visited, with some friends, a distinguished Sufi; and when the tea was being served, our host held forth on the subject of Abu’l-Ala’s creed. He quoted from the Luzumiyat to show that the poet-philosopher of Ma’arrah was a true Sufi, and of the highest order. “In his passionate hatred of the vile world and all the vile material manifestations of life,” quoth our host, “he was like a dervish dancing in sheer bewilderment; a holy man, indeed, melting in tears before the distorted image of Divinity. In his aloofness, as in the purity of his spirit, the ecstatic negations of Abu’l-Ala can only be translated in terms of the Sufi’s creed. In his raptures, shathat, he was as distant as Ibn ul-Arabi; and in his bewilderment, heirat, he was as deeply intoxicated as Ibn ul-Fared. If others have symbolized the Divinity in wine, he symbolized it in Reason, which is the living oracle of the Soul; he has, in a word, embraced Divinity under the cover of a philosophy of extinction.”...
Once, in Damascus, I visited a distinguished Sufi with some friends, and while the tea was being served, our host talked about Abu’l-Ala’s beliefs. He quoted from the Luzumiyat to show that the poet-philosopher from Ma’arrah was a true Sufi of the highest order. “In his passionate hatred for the corrupt world and all its material aspects,” our host said, “he was like a dervish dancing in sheer confusion; indeed, a holy man, moved to tears before the distorted image of Divinity. In his detachment, as well as in the purity of his spirit, the ecstatic denials of Abu’l-Ala can only be understood through the lens of the Sufi’s beliefs. In his raptures, shathat, he was as distant as Ibn ul-Arabi; and in his confusion, heirat, he was as deeply intoxicated as Ibn ul-Fared. While others have represented Divinity through wine, he represented it through Reason, which is the living oracle of the Soul; in one word, he embraced Divinity under the guise of a philosophy of extinction.”
This, and more such from our Sufi host, to which the guests gently nodded understanding. One of them, a young poet and scholar, even added that most of the irreligious opinions that are found in the Luzumiyat were forced upon the poet by the rigorous system of rhyming he adopted. The Rhyme, [22]then, is responsible for the heresies of Abu’l-Ala! Allah be praised! But this view of the matter was not new to me. I have heard it expressed by zealous Muslem scholars, who see in Abu’l-Ala an adversary too strong to be allowed to enlist with the enemy. They will keep him, as one of the “Pillars of the Faith,” at any cost. Coming from them, therefore, this rhyme-begotten heresy theory is not surprising.
This, and more from our Sufi host, was met with gentle nods of understanding from the guests. One of them, a young poet and scholar, even mentioned that many of the irreligious opinions found in the Luzumiyat were imposed on the poet by the strict rhyming system he used. The Rhyme, [__A_TAG_PLACEHOLDER_0__]then, is to blame for the heresies of Abu'l-Ala! God be praised! But this perspective wasn’t new to me. I’ve heard similar sentiments from passionate Muslim scholars, who view Abu'l-Ala as an opponent too formidable to be allowed to ally with the enemy. They will uphold him as one of the “Pillars of the Faith,” no matter the cost. Therefore, it’s no surprise that this theory about rhyme-induced heresy comes from them.
But I am surprised to find a European scholar like Professor Margoliouth giving countenance to such views; even repeating, to support his own argument,18 such drivel. For if the system of rhyme-ending imposes upon the poet his irreligious opinions, how can we account for them in his prose writings? How, for instance, explain his book “Al-fusul wal Ghayat” (The Chapters and the Purposes), a work in which he parodied the Koran itself, and which only needed, as he said, to bring it to the standard of the Book, “the polishing of four centuries of reading in the pulpit?” And how account for his “Risalat ul-Ghufran” (Epistle of Forgiveness), a most remarkable work both in form and conception?—a Divina Comedia in its cotyledonous state, as it were, only that Abu’l-Ala does not seem to have relished the idea of visiting Juhannam. He must have felt that in his “three earthly prisons” [23]he had had enough of it. So he visits the Jannat and there meets the pagan bards of Arabia lulling themselves in eternal bliss under the eternal shades of the sidr tree, writing and reading and discussing poetry. Now, to people the Muslem’s Paradise with heathen poets who have been forgiven,—hence the title of the Work,—and received among the blest,—is not this clear enough, bold enough, loud enough even for the deaf and the blind? “The idea,” says Professor Nicholson, speaking of The Epistle of Forgiveness,19 “is carried out with such ingenuity and in a spirit of audacious burlesque that reminds one of Lucien.”
But I’m surprised to see a European scholar like Professor Margoliouth supporting such views; he even repeats, to back up his own argument, such nonsense. If the rhyme system forces the poet to express his irreligious opinions, how do we explain them in his prose writings? For example, how can we make sense of his book “Al-fusul wal Ghayat” (The Chapters and the Purposes), in which he parodies the Koran itself, and which, as he said, only required “the polishing of four centuries of reading in the pulpit” to meet the standard of the Book? And how do we account for his “Risalat ul-Ghufran” (Epistle of Forgiveness), a truly remarkable work both in form and concept?—like a Divina Comedia in its early stages, except that Abu’l-Ala doesn’t seem to have liked the idea of visiting Juhannam. He must have felt that in his “three earthly prisons” [__A_TAG_PLACEHOLDER_0__] he’d had enough of it. So he visits Jannat and meets the pagan bards of Arabia, enjoying eternal bliss under the everlasting shade of the sidr tree, writing, reading, and discussing poetry. Now, filling the Muslim Paradise with forgiving pagan poets who are welcomed among the blessed — isn’t this clear enough, bold enough, and loud enough even for the deaf and blind? “The idea,” says Professor Nicholson, referring to The Epistle of Forgiveness, 19 “is conveyed with such cleverness and in a spirit of daring parody that it reminds one of Lucien.”
This does not mean, however, that the work is essentially of a burlesque quality. Abu’l-Ala had humor; but his earnest tone is never so little at an ebb as when he is in his happiest mood. I quote from The Epistle of Forgiveness:
This doesn’t mean, though, that the work is basically a joke. Abu’l-Ala had a sense of humor, but his serious tone never really drops, even when he’s in the happiest mood. I quote from The Epistle of Forgiveness:
“Sometimes you may find a man skilful in his trade,” says the Author, “perfect in sagacity and in the use of arguments, but when he comes to religion he is found obstinate, so does he follow in the old groove. Piety is implanted in human nature; it is deemed a sure refuge. To the growing child, that which falls from his elders’ lips is a lesson that abides with him all his life. Monks in their cloisters and devotees in their mosques accept their creed just as a story is handed down from him who tells it, without distinguishing between a true interpreter and a [24]false. If one of these had found his kin among the Magians, or among the Sabians, he would have become nearly or quite like them.”
“Sometimes you might come across a guy who's really good at his job,” the Author says, “super wise and skilled in making arguments, but when it comes to religion, he sticks to what he knows. Faith is part of human nature; it’s seen as a safe haven. For a growing child, what they hear from their elders becomes a lesson they carry for life. Monks in their monasteries and worshippers in their mosques accept their beliefs just like a story passed down from the person who shares it, without being able to tell the difference between a genuine interpreter and a [__A_TAG_PLACEHOLDER_0__]fake one. If one of them had found his family among the Magians or the Sabians, he would likely have turned out very similar to them.”
It does seem, too, that the strain of heterodoxy in Abu’l-Ala is partly hereditary. His father, who was also a poet of some distinction, and his maternal uncle, were both noted for their liberal opinions in religious matters. And he himself, alluding in one of his poems to those who reproached him for not making the pilgrimage to Mecca, says that neither his father, nor his cousin, nor his uncle had pilgrimaged at all, and that he will not be denied forgiveness, if they are forgiven. And if they are not, he had as lief share their fate.
It seems that the strain of unconventional beliefs in Abu’l-Ala might be partly inherited. His father, who was also a notable poet, and his maternal uncle were both recognized for their liberal views on religion. In one of his poems, he refers to those who criticize him for not making the pilgrimage to Mecca, stating that neither his father, cousin, nor uncle had ever made the pilgrimage, and that he won't be denied forgiveness if they are forgiven. And if they aren't forgiven, he would just as soon share their fate.
But aside from his prose writings, in which, do what we may, we can not explain away his supposed heresies, we find in the Luzumiyat themselves his dominant ideas on religion, for instance, being a superstition; wine, an unmitigated evil; virtue, its own reward; the cremation of the dead, a virtue; the slaughter or even the torture of animals a crime;20 doubt, a way to truth; reason, the only prophet and guide;—we find these ideas clothed in various images and expressed in varied forms, but unmistakable in whatever guise we find them. Here, for instance, is Professor Nicholson’s almost literal translation of a quatrain from the Luzumiyat: [25]
But aside from his written work, where we can't brush aside his supposed heresies, we see in the Luzumiyat his main ideas about religion, such as viewing it as a superstition; considering wine to be purely evil; believing that virtue is its own reward; viewing the cremation of the dead as virtuous; and seeing the slaughter or even torture of animals as a crime; doubt as a pathway to truth; and reason as the only prophet and guide. These ideas are presented in various images and expressed in different forms, but they are clear no matter how they appear. For example, here is Professor Nicholson’s almost literal translation of a quatrain from the Luzumiyat: [__A_TAG_PLACEHOLDER_0__]
Jews wildered, Magians far on error’s way:—
Jews confused, Magians lost on the wrong path:—
We mortals are composed of two great schools,
We humans are made up of two main groups,
Enlightened knaves or else religious fools.
Enlightened tricksters or just pious idiots.
And here is the same idea, done in a large picture. The translation, literal too, is mine:
And here's the same concept presented in a bigger picture. The translation, which is also literal, is my own:
’Tis strange that Kusrah and his people wash
’Tis strange that Kusrah and his people wash
Their faces in the staling of the kine;
Their faces in the fading light of the cattle;
And that the Christians say, Almighty God
And the Christians say, Almighty God
Was tortured, mocked, and crucified in fine:
Was tortured, mocked, and crucified in fine:
And that the Jews should picture Him as one
And that the Jews should envision Him as one
Who loves the odor of a roasting chine;
Who loves the smell of roasting meat;
And stranger still that Muslems travel far
And it's even stranger that Muslims travel far
To kiss a black stone said to be divine:—
To kiss a black stone that's considered sacred:—
Almighty God! will all the human race
Almighty God! Will all of humanity
The East still remains the battle-ground of the creeds. And the Europeans, though they shook off their fetters of moral and spiritual slavery, would keep us in ours to facilitate the conquests of European commence. Thus the terrible Dragon, which is fed by the foreign missionary and the native priest, by the theologians and the ulama, and which still preys upon the heart and mind of Orient nations, is as active to-day as it was ten centuries ago. Let those consider this, who think Von Kremer exaggerated when he said, “Abu’l-Ala is a poet many centuries ahead of his time.” [26]
The East is still the battleground for different beliefs. And while Europeans have freed themselves from their moral and spiritual chains, they attempt to keep us in ours to support their business expansions. The terrible Dragon, fed by foreign missionaries, local priests, theologians, and ulama, continues to prey on the hearts and minds of Eastern nations. It is just as active today as it was a thousand years ago. Let those who think Von Kremer was exaggerating when he said, “Abu’l-Ala is a poet many centuries ahead of his time,” consider this. [__A_TAG_PLACEHOLDER_0__]
Before closing, I wish to call attention to a question which, though unimportant in itself, is nevertheless worthy of the consideration of all admirers of Arabic and Persian literature. I refer to the similarity of thought which exists between Omar Khayyam and Abu’l-Ala. The former, I have reason to believe, was an imitator or a disciple of the latter. The birth of the first poet and the death of the second are not very far apart: they both occurred about the middle of the eleventh century. The English reading public here and abroad has already formed its opinion of Khayyam. Let it not, therefore, be supposed that in making this claim I aim to shake or undermine its great faith. My desire is to confirm, not to weaken,—to expand, not contract,—the Oriental influence on the Occidental mind.
Before I wrap up, I want to highlight a question that, while not particularly significant on its own, deserves the attention of anyone who appreciates Arabic and Persian literature. I'm referring to the similarity of thought between Omar Khayyam and Abu’l-Ala. I believe that Khayyam was either an imitator or a student of Abu’l-Ala. The birth of the former and the death of the latter are not too far apart: both events took place around the middle of the eleventh century. The English-speaking audience, both locally and internationally, has already formed its views on Khayyam. Therefore, let it not be assumed that in making this claim, I'm trying to challenge or undermine that strong faith. My intention is to affirm, not weaken— to broaden, not narrow— the Eastern influence on the Western mind.
Whoever will take the trouble, however, to read Omar Khayyam in conjunction with what is here translated of Abu’l-Ala, can not fail to see the striking similarity in thought and image of certain phases of the creed or the lack of creed of both poets.23 To be sure, the skepticism and pessimism of Omar are to a great extent imported from Ma’arrah. But the Arab philosopher in his religious opinions is far more outspoken than the Persian tent-maker. I do not say that Omar was a plagiarist; but I say [27]this: just as Voltaire, for instance, acquired most of his liberal and skeptical views from Hobbes, Locke and Bayle, so did Omar acquire his from Abu’l-Ala. In my notes to these quatrains I have quoted in comparison from both the Fitzgerald and the Herron-Allen versions of the Persian poet; and with so much or so little said, I leave the matter in the hands of the reader, who, upon a careful examination, will doubtless bear me out as to this point. [35]
Whoever takes the time to read Omar Khayyam alongside the translations of Abu’l-Ala can't help but notice the striking similarities in the thoughts and imagery of both poets regarding certain aspects of belief or disbelief. To be sure, Omar’s skepticism and pessimism are largely influenced by Ma’arrah. However, the Arab philosopher is much more direct in his religious views than the Persian tent-maker. I’m not saying Omar was a plagiarist; rather, I’m pointing out that just as Voltaire, for example, gained many of his liberal and skeptical ideas from Hobbes, Locke, and Bayle, Omar drew his from Abu’l-Ala. In my notes to these quatrains, I've compared passages from both the Fitzgerald and the Herron-Allen versions of the Persian poet; with that said, I leave the matter to the reader, who, upon careful reflection, will likely agree with me on this point.
1 My learned friend, Count E. de Mulinen, called my attention to the work of Von Kremer on Abu’l-Ala. And I have seen copies of a certain German Asiatic Review in which were published translations, made by that eminent Orientalist, of many poems from the Luzumiyat. He speaks of Abu’l-Ala as one of the greatest moralists of all times, whose profound genius anticipated much that is commonly attributed to the so-called modern spirit of enlightenment.
1 My learned friend, Count E. de Mulinen, drew my attention to Von Kremer's work on Abu’l-Ala. I've come across copies of a certain German Asiatic Review that published translations by that eminent Orientalist of many poems from the Luzumiyat. He describes Abu’l-Ala as one of the greatest moralists of all time, whose deep insights anticipated much of what is usually associated with the so-called modern spirit of awakening.
Professor D. S. Margoliouth has also translated into English the Letters of Abu’l-Ala, which were published with the Arabic Text at the Clarendon Press, Oxford, 1898. Also Professor Raynold A. Nicholson, in his work, “A Literary History of the Arabs,” discusses the poet at length and renders into English some poems from the Luzumiyat. A work was published by Charles Carrington, Paris, 1904, under the title, “Un Précurseur d’Omar Khayyam, Le Poéte Aveugle: Extraits de Poémes et de Lettres d’Abu’l-Ala al-Ma’arri.” And another, “The Diwan of Abu’l-Ala,” done into English by Henry Baerlein, who must have helped himself freely to the Quatrains of Von Kremer. ↑
Professor D. S. Margoliouth has translated the Letters of Abu’l-Ala into English, which were published with the Arabic text at Clarendon Press, Oxford, in 1898. Additionally, Professor Raynold A. Nicholson discusses the poet in detail in his book “A Literary History of the Arabs,” where he translates some poems from the Luzumiyat into English. A work published by Charles Carrington in Paris in 1904 is titled “A Forerunner of Omar Khayyam, The Blind Poet: Excerpts from Poems and Letters of Abu’l-Ala al-Ma’arri.” Another work, “The Diwan of Abu’l-Ala,” was translated into English by Henry Baerlein, who likely borrowed extensively from the Quatrains of Von Kremer. ↑
4 “He was four years of age when he had the attack of small-pox. The sight of his left eye was entirely lost and the eyeball of his right had turned white. Al-Hafiz us-Silafi relates: ‘Abu Muhammad Abdallah told me that he visited him (Abu’l-Ala) once with his uncle and found him sitting on an old hair matting. He was very old, and the disease that attacked him in his boyhood had left its deep traces on his emaciated face. He bade me come near him and blessed me as he placed his hand on my head. I was a boy then, and I can picture him before me now. I looked into his eyes and remarked how the one was horribly protruding, and the other, buried in its socket, could barely be seen.’”—Ibn Khillikan. ↑
4 “He was four years old when he got smallpox. He completely lost the sight in his left eye, and the eyeball of his right eye had turned white. Al-Hafiz us-Silafi recounts: ‘Abu Muhammad Abdallah told me that he visited him (Abu’l-Ala) once with his uncle and found him sitting on an old hair mat. He was very old, and the illness he suffered in his childhood had left deep marks on his thin face. He asked me to come closer and blessed me as he placed his hand on my head. I was just a boy then, and I can still picture him in my mind. I looked into his eyes and noticed how one was grotesquely bulging while the other, sunk in its socket, was barely visible.’”—Ibn Khillikan. ↑
5 “How long he retained any sort of vision is not certain. His frequent references in his writings to stars, flowers, and the forms of the Arabic letters imply that he could see a little at least some years after this calamity.”—D. S. Margoliouth: The Letters of Abu’l-Ala.
5 “It’s not clear how long he was able to see anything. His repeated mentions in his writings of stars, flowers, and the shapes of Arabic letters suggest that he might have been able to see a bit at least a few years after this disaster.”—D. S. Margoliouth: The Letters of Abu’l-Ala.
6 For an interesting account of Literary Society in Baghdad see Renan’s “Islam and Science”; also the Biography to the Letters of Abu’l-Ala. Prof. Margoliouth, though not unfair in his judgment of the poet, is unnecessarily captious at times. He would seem partial to the suffrage of orthodox Mohammedans with regard to Abu’l-Ala’s unorthodox religious views. But they have a reason, these ulama, for endeavoring to keep a genius like Abu’l-Ala within the pale of belief. Which reason, let us hope, has no claim on Prof. Margoliouth. And in his attempt to depreciate Abu’l-Ala as a disinterested [31]and independent scholar and poet, he does not escape the inconsistency which often follows in the wake of cavil. Read this, for instance:
6 For an interesting account of the Literary Society in Baghdad, check out Renan’s “Islam and Science”; also the Biography of the Letters of Abu’l-Ala. Prof. Margoliouth, while not unjust in his assessment of the poet, is unnecessarily critical at times. He seems to favor the opinions of orthodox Muslims regarding Abu’l-Ala’s unconventional religious beliefs. However, these ulama have their own reasons for trying to keep a genius like Abu’l-Ala within traditional beliefs. Let's hope that reason doesn't influence Prof. Margoliouth. And in his effort to downplay Abu’l-Ala as an unbiased [__A_TAG_PLACEHOLDER_0__] and independent scholar and poet, he falls into the inconsistency that often accompanies nitpicking. Consider this, for example:
“Like many of those who have failed to secure material prosperity, he found comfort in a system which flatters the vanity of those who have not succeeded by teaching that success is not worth attaining.”
“Like many who haven’t achieved financial success, he found solace in a belief system that flatters the pride of those who haven’t succeeded by suggesting that success isn’t worth pursuing.”
And this, not on the same page perhaps, but close to it:
And this, maybe not on the exact same page, but close to it:
“For though other roads towards obtaining the means of supporting himself at Baghdad have been open to him, that which he refused to follow (the profession of an encomiast, i. e. a sycophant, a toady) was the most certain.”
“For although there were other ways for him to secure a living in Baghdad, the path he chose not to take (the profession of an encomiast, i.e. a sycophant, a toady) was the most reliable.”
7 Biography of Abu’l-Ala by Adh-Dhahabi. __A_TAG_PLACEHOLDER_1__
9 In one of his poems he speaks of three prisons, his body being the third. Here is Professor Nicholson’s translation:
9 In one of his poems, he talks about three prisons, with his body being the third. Here is Professor Nicholson’s translation:
Methink I am thrice-imprisoned—ask not me
Methinks I am trapped three times—don’t ask me.
Of news that need no telling—
Of news that doesn't need to be told—
By loss of sight, confinement in my house,
By losing my sight and being stuck at home,
And this vile body for my spirit’s dwelling.
And this awful body is where my spirit lives.
11 Adh-Dhahabi gives the titles of forty-eight of his works, to which Safadi adds fourteen. A literary baggage of considerable bulk, had not most of it [32]perished when the Crusaders took Ma’arrah in 1098. Now, the Luzumiyat, the Letters, Suct uz-Zand and the Epistle of Forgiveness can be obtained in printed form. ↑
11 Adh-Dhahabi lists forty-eight of his works, and Safadi adds another fourteen. That's a significant amount of literary output, but most of it [__A_TAG_PLACEHOLDER_0__]was lost when the Crusaders captured Ma’arrah in 1098. Now, the Luzumiyat, the Letters, Suct uz-Zand, and the Epistle of Forgiveness are available in print. ↑
13 Even before he visited Baghdad he had a pension of thirty dinars (about $100), half of which he paid to his servant, and the other half was sufficient to secure for him the necessaries of life. “He lived on lentils and figs,” says Adh-Dhahabi; “he slept on a felt mattress; he wore nothing but cotton garments; and his dwelling was furnished with a straw matting.” ↑
13 Even before he went to Baghdad, he had a pension of thirty dinars (about $100), half of which he gave to his servant, leaving him with just enough to cover his basic needs. “He survived on lentils and figs,” says Adh-Dhahabi; “he slept on a felt mattress; he wore only cotton clothing; and his home was furnished with straw mats.” ↑
“One of these critics came one day to Abu’l-Ala and relating the conversation himself said, ‘What is it that is quoted and said about you?’ I asked.
“One of these critics came one day to Abu’l-Ala and, recounting the conversation himself, said, ‘What are people saying about you?’ I asked."
‘It is false; they are jealous of me,’ he replied.
'That's not true; they're just jealous of me,' he replied.
‘And what have you to incite their jealousy? You have left for them both this world and the other.’
‘And what do you have to make them jealous? You’ve left them with both this world and the next.’
‘And the other?’ murmured the poet, questioning, ruminating. ‘And the other, too?’” ↑
‘And the other?’ the poet whispered, thinking, reflecting. ‘And the other, too?’” ↑
16 The Governor of Halab, Salih ibn Mirdas, passed once by Ma’arrah, when thirty of its distinguished citizens were imprisoned on account of a riot in the town the previous year. Abu’l-Ala being asked to intercede for them, was led to Salih, who received him most politely and asked him what he desired. The poet, in eloquent but unflattering speech, asked Salih ‘to take and give forgiveness.’ And the Governor, not displeased, replied: ‘I grant it you.’ Whereupon the prisoners were released. ↑
16 The Governor of Halab, Salih ibn Mirdas, happened to pass through Ma’arrah while thirty of its prominent citizens were locked up due to a riot in the town the year before. When asked to help them, Abu’l-Ala was brought to Salih, who welcomed him warmly and inquired about his request. The poet, in a charming yet critical manner, urged Salih to 'extend and accept forgiveness.' The Governor, not at all offended, responded: 'I grant it to you.' Consequently, the prisoners were set free. ↑
17 “His poems leave no aspect of the age (in which he lived) untouched, and present a vivid picture of degeneracy and corruption, in which tyrannous rulers, venal judges, hypocritical and unscrupulous theologians, swindling astrologers, roving swarms of dervishes and godless Carmathians, occupy a prominent place.”—Raynold A. Nicholson: A Literary History of the Arabs. ↑
17 “His poems cover every aspect of the time he lived in and create a striking image of decline and corruption, where oppressive rulers, corrupt judges, insincere and ruthless theologians, deceitful astrologers, wandering groups of dervishes, and godless Carmathians play a significant role.” —Raynold A. Nicholson: A Literary History of the Arabs. ↑
18 “The Mohammedan critics who thought he let his opinions be guided by his pen probably came near the truth. And any man who writes in such fetters as the meter (he means the rhyme-ending; for Abu’l-Ala made use of every known meter of Arabic prosody) of the Luzumiyat imposes, can exercise but slight control over his thoughts.”—D. S. Margoliouth: Letters of Abu’l-Ala. ↑
18 “The Muslim critics who believed he allowed his opinions to be shaped by his writing were probably onto something. Anyone who writes within the constraints of a meter (referring to the rhyme-ending; because Abu’l-Ala used every known meter of Arabic prosody) like that of the Luzumiyat can exert very little control over their thoughts.” —D. S. Margoliouth: Letters of Abu’l-Ala. ↑
21 The Orthodox, i.e., the Muslims. __A_TAG_PLACEHOLDER_1__
THE LUZUMIYAT OF ABU’L-ALA
[37]
[__A_TAG_PLACEHOLDER_0__]
I
The sable wings of Night pursuing day
The dark wings of Night chasing after day
Across the opalescent hills, display
Across the shimmering hills, show
The wondrous star-gems which the fiery suns
The amazing star-gems that the blazing suns
Are scattering upon their fiery way.
Are scattering on their fiery path.
II
O my Companion, Night is passing fair,
O my Friend, the Night is beautifully clear,
Fairer than aught the dawn and sundown wear;
Fairer than anything the dawn and sunset wear;
And fairer, too, than all the gilded days
And more beautiful, too, than all the golden days
Of blond Illusion and its golden snare.
Of blonde illusion and its golden trap.
[38]
[__A_TAG_PLACEHOLDER_0__]
III
Hark, in the minarets muazzens call
Hark, in the minarets, the muezzins call
The evening hour that in the interval
The evening hour that in the interval
Of darkness Ahmad might remembered be,—
Of darkness Ahmad might recall—
Remembered of the Darkness be they all.
Remembered of the Darkness are they all.
IV
And hear the others who with cymbals try
And listen to the others who are trying with cymbals
To stay the feet of every passer-by:
To stop the feet of everyone passing by:
The market-men along the darkling lane
The market vendors along the dimly lit street
Are crying up their wares.—Oh! let them cry.
Are shouting out their products.—Oh! let them shout.
[39]
[__A_TAG_PLACEHOLDER_0__]
V
Mohammed or Messiah! Hear thou me,
Mohammed or Messiah! Listen to me,
The truth entire nor here nor there can be;
The whole truth can't be found either here or there;
How should our God who made the sun and moon
How should our God, who created the sun and moon,
Give all his light to One, I cannot see.
Give all his light to one, I can't see.
VI
Come, let us with the naked Night now rest
Come, let’s rest now in the open night.
And read in Allah’s Book the sonnet best:
And read in Allah’s Book the best poem:
The Pleiads—ah, the Moon from them departs,—
The Pleiades—ah, the Moon leaves them—
She draws her veil and hastens toward the west.
She pulls her veil down and quickly heads west.
[40]
[__A_TAG_PLACEHOLDER_0__]
VII
The Pleiads follow; and our Ethiop Queen,
The Pleiades follow, and our Ethiopian queen,
Emerging from behind her starry screen,
Emerging from behind her starry screen,
Will steep her tresses in the saffron dye
Will soak her hair in the saffron dye
Of dawn, and vanish in the morning sheen.
Of dawn, and disappear in the morning light.
VIII
The secret of the day and night is in
The secret of day and night lies in
The constellations, which forever spin
The constellations that always spin
Around each other in the comet-dust;—
Around each other in the comet dust;—
The comet-dust and humankind are kin.
The dust from comets and humans are connected.
[41]
[__A_TAG_PLACEHOLDER_0__]
IX
But whether of dust or fire or foam, the glaive
But whether made of dust, fire, or foam, the glaive
Of Allah cleaves the planet and the wave
Of Allah divides the planet and the wave
Of this mysterious Heaven-Sea of life,
Of this mysterious Heaven-Sea of life,
And lo! we have the Cradle of the Grave.
And look! we have the Cradle of the Grave.
X
The Grave and Cradle, the untiring twain,
The Grave and Cradle, the relentless pair,
Who in the markets of this narrow lane
Who in the shops of this narrow street
Bordered of darkness, ever give and take
Bordered by darkness, always a give and take
In equal measure—what’s the loss or gain?
In equal measure—what's the loss or gain?
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XI
Ay, like the circles which the sun doth spin
Ay, like the circles that the sun spins
Of gossamer, we end as we begin;
Of delicate threads, we end as we begin;
Our feet are on the heads of those that pass,
Our feet are on the heads of those who pass by,
But ever their Graves around our Cradles grin.
But still their graves smile around our cradles.
XII
And what avails it then that Man be born
And what good is it then that a person is born
To joy or sorrow?—why rejoice or mourn?
To joy or sorrow?—why celebrate or grieve?
The doling doves are calling to the rose;
The cooing doves are calling to the rose;
The dying rose is bleeding o’er the thorn.
The dying rose is bleeding over the thorn.
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XIII
And he the Messenger, who takes away
And he the Messenger, who takes away
The faded garments, purple, white, and gray
The worn-out clothes, purple, white, and gray
Of all our dreams unto the Dyer, will
Of all our dreams to the Dyer, will
Bring back new robes to-morrow—so they say.
Bring back new robes tomorrow—so they say.
XIV
But now the funeral is passing by,
But now the funeral is going by,
And in its trail, beneath this moaning sky,
And in its wake, under this gloomy sky,
The howdaj comes,—both vanish into night;
The howdaj comes, — both disappear into the night;
To me are one, the sob, the joyous cry.
To me, they are one and the same—the sob and the joyful cry.
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XV
With tombs and ruined temples groans the land
With tombs and crumbling temples, the land moans.
In which our forbears in the drifting sand
In which our ancestors in the moving sand
Arise as dunes upon the track of Time
Arise like dunes on the path of Time
To mark the cycles of the moving hand
To track the cycles of the moving hand
XVI
Of Fate. Alas! and we shall follow soon
Of Fate. Alas! and we will follow soon.
Into the night eternal or the noon;
Into the endless night or the noon;
The wayward daughters of the spheres return
The wandering daughters of the planets return
Unto the bosom of their sun or moon.
Unto the heart of their sun or moon.
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XVII
And from the last days of Thamud and ‘Ad
And from the last days of Thamud and ‘Ad
Up to the first of Hashem’s fearless lad,
Up to the first of Hashem’s fearless young man,
Who smashed the idols of his mighty tribe,
Who broke the idols of his powerful tribe,
What idols and what heroes Death has had!
What idols and heroes Death has had!
XVIII
Tread lightly, for the mighty that have been
Tread carefully, for the powerful that have come before
Might now be breathing in the dust unseen;
Might now be breathing in invisible dust;
Lightly, the violets beneath thy feet
Lightly, the violets under your feet
Spring from the mole of some Arabian queen.
Spring from the mound of an Arabian queen.
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XIX
Many a grave embraces friend and foe
Many graves hold both friends and enemies.
Behind the curtain of this sorry show
Behind the curtain of this sad performance
Of love and hate inscrutable; alas!
Of love and hate that are hard to understand; oh no!
The Fates will always reap the while they sow.
The Fates will always reap what they sow.
XX
The silken fibre of the fell Zakkum,
The silky fiber of the Zakkum,
As warp and woof, is woven on the loom
As threads are woven on the loom.
Of life into a tapestry of dreams
Of life woven into a tapestry of dreams
To decorate the chariot-seat of Doom.
To decorate the seat of the chariot of Doom.
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XXI
And still we weave, and still we are content
And still we create, and still we are happy
In slaving for the sovereigns who have spent
In working tirelessly for the rulers who have spent
The savings of the toiling of the mind
The savings from the hard work of the mind
Upon the glory of Dismemberment.
On the glory of Dismemberment.
XXII
Nor king nor slave the hungry Days will spare;
Nor king nor slave will be spared by the hungry Days;
Between their fangéd Hours alike we fare:
Between their fanged hours, we travel together:
Anon they bound upon us while we play
Anon they jumped on us while we played
Unheeding at the threshold of their Lair.
Unaware at the entrance of their lair.
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XXIII
Then Jannat or Juhannam? From the height
Then Heaven or Hell? From the height
Of reason I can see nor fire nor light
Of reason, I can see neither fire nor light.
That feeds not on the darknesses; we pass
That doesn’t thrive in darkness; we move on.
From world to world, like shadows through the night.
From one world to another, like shadows passing through the night.
XXIV
Or sleep—and shall it be eternal sleep
Or sleep—and should it be eternal sleep?
Somewhither in the bosom of the deep
Somewhere in the depths of the sea
Infinities of cosmic dust, or here
Infinities of cosmic dust, or here
Where gracile cypresses the vigil keep!
Where slender cypress trees stand guard!
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XXV
Upon the threshing-floor of life I burn
Upon the threshing floor of life, I burn
Beside the Winnower a word to learn;
Beside the Winnower, a word to learn;
And only this: Man’s of the soil and sun,
And just this: Man’s of the earth and sun,
And to the soil and sun he shall return.
And to the soil and sun he will return.
XXVI
And like a spider’s house or sparrow’s nest,
And like a spider's web or a sparrow's nest,
The Sultan’s palace, though upon the crest
The Sultan’s palace, though on the top
Of glory’s mountain, soon or late must go:
Of glory’s mountain, sooner or later, we all must go:
Ay, all abodes to ruin are addrest.
Ay, all homes are doomed to destruction.
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XXVII
So, too, the creeds of Man: the one prevails
So, too, the beliefs of humanity: the one wins.
Until the other comes; and this one fails
Until the other arrives; and this one falls short.
When that one triumphs; ay, the lonesome world
When that one succeeds; yes, the lonely world
Will always want the latest fairy-tales.
Will always want the latest fairy tales.
XXVIII
Seek not the Tavern of Belief, my friend,
Seek not the Tavern of Belief, my friend,
Until the Sakis there their morals mend;
Until the Sakis improve their morals;
A lie imbibed a thousand lies will breed,
A single lie will lead to a thousand more lies.
And thou’lt become a Saki in the end.
And you'll end up being a Saki in the end.
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XXIX
By fearing whom I trust I find my way
By fearing those I trust, I find my way.
To truth; by trusting wholly I betray
To the truth; by trusting completely, I betray.
The trust of wisdom; better far is doubt
The trust in wisdom; far better is doubt.
Which brings the false into the light of day.
Which brings the truth into the open.
XXX
Or wilt thou commerce have with those who make
Or will you trade with those who make
Rugs of the rainbow, rainbows of the snake,
Rugs of the rainbow, rainbows of the snake,
Snakes of a staff, and other wondrous things?—
Snakes on a staff, and other amazing things?—
The burning thirst a mirage can not slake.
The burning thirst a mirage can't quench.
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XXXI
Religion is a maiden veiled in prayer,
Religion is a young woman covered in prayer,
Whose bridal gifts and dowry those who care
Whose wedding gifts and dowry matter to those who care
Can buy in Mutakallem’s shop of words
Can buy in Mutakallem’s shop of words
But I for such, a dirham can not spare.
But I can't spare a dirham for that.
XXXII
Why linger here, why turn another page?
Why stay here, why flip to another page?
Oh! seal with doubt the whole book of the age;
Oh! seal with doubt the whole book of the age;
Doubt every one, even him, the seeming slave
Doubt everyone, even him, the one who looks like a slave.
Of righteousness, and doubt the canting sage.
Of righteousness, and question the self-righteous teacher.
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XXXIII
Some day the weeping daughters of Hadil
Some day, the grieving daughters of Hadil
Will say unto the bulbuls: “Let’s appeal
Will say to the bulbuls: “Let’s appeal
To Allah in behalf of Brother Man
To God on behalf of Brother Man
Who’s at the mercy now of Ababil.”
Who’s at the mercy of Ababil now?
XXXIV
Of Ababil! I would the tale were true,—
Of Ababil! I wish the story were true,—
Would all the birds were such winged furies too;
Would that all the birds were such winged furies, too;
The scourging and the purging were a boon
The beating and the cleansing were a blessing
For me, O my dear Brothers, and for you.
For me, oh my dear brothers, and for you.
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XXXV
Methinks Allah divides me to complete
Methinks Allah divides me to complete
His problem, which with Xs is replete;
His problem, which is full of Xs;
For I am free and I am too in chains
For I am free, and yet I am also in chains.
Groping along the labyrinthine street.
Groping along the maze-like street.
XXXVI
And round the Well how oft my Soul doth grope
And around the Well how often my Soul does search
Athirst; but lo! my Bucket hath no Rope:
Athirst; but look! my bucket has no rope:
I cry for water, and the deep, dark Well
I cry for water, and the deep, dark well
Echoes my wailing cry, but not my hope.
Echoes my painful cry, but not my hope.
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XXXVII
Ah, many have I seen of those who fell
Ah, I’ve seen many who fell
While drawing, with a swagger, from the Well;
While confidently drawing from the Well;
They came with Rope and Bucket, and they went
They arrived with a rope and a bucket, and then they left.
Empty of hand another tale to tell.
Empty of hand, another story to share.
XXXVIII
The I in me standing upon the brink
The I in me standing at the edge
Would leap into the Well to get a drink;
Would jump into the well to get a drink;
But how to rise once in the depth, I cry,
But how to rise from the depths, I cry,
And cowardly behind my logic slink.
And I cowardly hide behind my logic.
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XXXIX
And she: “How long must I the burden bear?
And she asked, “How long do I have to carry this burden?”
How long this tattered garment must I wear?”
How long do I have to wear this worn-out piece of clothing?
And I: “Why wear it? Leave it here, and go
And I: “Why wear it? Leave it here and go.
Away without it—little do I care.”
Away without it— I couldn’t care less.
XL
But once when we were quarreling, the door
But one time when we were arguing, the door
Was opened by a Visitor who bore
Was opened by a Visitor who bore
Both Rope and Pail; he offered them and said:
Both Rope and Pail; he offered them and said:
“Drink, if you will, but once, and nevermore.”
“Drink, if you want, but do it only once, and never again.”
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XLI
One draught, more bitter than the Zakkum tree,
One sip, harsher than the Zakkum tree,
Brought us unto the land of mystery
Brought us to the land of mystery
Where rising Sand and Dust and Flame conceal
Where rising sand, dust, and flame hide
The door of every Caravanseri.
The door of every Caravanserai.
XLII
We reach a door and there the legend find.
We reach a door and there find the legend.
“To all the Pilgrims of the Human Mind:
“To all the Explorers of Human Thought:
Knock and pass on!” We knock and knock and knock;
Knock and move on!” We knock and knock and knock;
But no one answers save the moaning wind.
But no one answers except for the moaning wind..
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XLIII
How like a door the knowledge we attain,
How much like a door is the knowledge we gain,
Which door is on the bourne of the Inane;
Which door is at the boundary of the meaningless;
It opens and our nothingness is closed,—
It opens and our emptiness is closed,—
It closes and in darkness we remain.
It closes, and we are left in the dark.
XLIV
Hither we come unknowing, hence we go;
Hither we come unknowing, hence we go;
Unknowing we are messaged to and fro;
Unknowingly, we are sent messages back and forth;
And yet we think we know all things of earth
And yet we believe we know everything about the earth.
And sky—the suns and stars we think we know.
And the sky—the suns and stars we think we understand.
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XLV
Apply thy wit, O Brother, here and there
Apply your wit, Brother, here and there
Upon this and upon that; but beware
Upon this and upon that; but beware
Lest in the end—ah, better at the start
Lest in the end—oh, it's better at the start
Go to the Tinker for a slight repair.
Go to the Tinker for a quick fix.
XLVI
And why so much ado, and wherefore lay
And why all this fuss, and why is there so much concern
The burden of the years upon the day
The weight of the years on the day
Of thy vain dreams? Who polishes his sword
Of your pointless dreams? Who sharpens his sword
Morning and eve will polish it away.
Morning and evening will wear it down.
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XLVII
I heard it whispered in the cryptic streets
I heard it whispered in the mysterious streets
Where every sage the same dumb shadow meets:
Where every wise person encounters the same silent shadow:
“We are but words fallen from the lipe of Time
“We are just words fallen from the lips of Time
Which God, that we might understand, repeats.”
Which God, so that we can understand, repeats."
XLVIII
Another said: “The creeping worm hath shown,
Another said: “The creeping worm has shown,
In her discourse on human flesh and bone,
In her talk about human flesh and bone,
That Man was once the bed on which she slept—
That man used to be the bed where she slept—
The walking dust was once a thing of stone.”
The walking dust used to be made of stone.
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XLIX
And still another: “We are coins which fade
And yet another: “We are coins that fade
In circulation, coins which Allah made
In circulation, coins that Allah created
To cheat Iblis: the good and bad alike
To trick Iblis: both the good and the bad
Are spent by Fate upon a passing shade.”
Are spent by Fate upon a passing shadow.”
L
And in the pottery the potter cried,
And in the pottery, the potter shouted,
As on his work shone all the master’s pride—
As he worked, all the master's pride shone through—
“How is it, Rabbi, I, thy slave, can make
“How is it, Rabbi, I, your servant, can
Such vessels as nobody dare deride?”
Such ships that no one would dare mock?
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LI
The Earth then spake: “My children silent be;
The Earth then spoke: “My children, be silent;
Same are to God the camel and the flea:
The camel and the flea are equally valued by God:
He makes a mess of me to nourish you,
He makes a mess of me to take care of you,
Then makes a mess of you to nourish me.”
Then makes a mess of you to feed me.”
LII
Now, I believe the Potter will essay
Now, I believe the Potter will try
Once more the Wheel, and from a better clay
Once again the Wheel, and from a better material
Will make a better Vessel, and perchance
Will make a better vessel, and maybe
A masterpiece which will endure for aye.
A masterpiece that will last forever.
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LIII
With better skill he even will remould
With better skill, he will even reshape
The scattered potsherds of the New and Old;
The scattered pieces of pottery from the New and Old;
Then you and I will not disdain to buy,
Then you and I won’t hesitate to buy,
Though in the mart of Iblis they be sold.
Though they are sold in the market of Iblis.
LIV
Sooth I have told the masters of the mart
So I have told the masters of the market
Of rusty creeds and Babylonian art
Of rusty beliefs and Babylonian art
Of magic. Now the truth about myself—
Of magic. Now the truth about me—
Here is the secret of my wincing heart.
Here is the secret of my aching heart.
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LV
I muse, but in my musings I recall
I think, but in my thoughts I remember
The days of my iniquity; we’re all—
The days of my wrongdoing; we’re all—
An arrow shot across the wilderness,
An arrow flew through the wilderness,
Somewhither, in the wilderness must fall.
Somewhere, in the wilderness must fall.
LVI
I laugh, but in my laughter-cup I pour
I laugh, but in my cup of laughter, I pour
The tears of scorn and melancholy sore;
The tears of disdain and sadness flow.
I who am shattered by the hand of Doubt,
I, who am broken by the hand of Doubt,
Like glass to be remoulded nevermore.
Like glass that can never be reshaped again.
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LVII
I wheedle, too, even like my slave Zeidun,
I can be persuasive as well, just like my servant Zeidun,
Who robs at dawn his brother, and at noon
Who steals from his brother at dawn, and at noon
Prostrates himself in prayer—ah, let us pray
Prostrates himself in prayer—oh, let’s pray
That Night might blot us and our sins, and soon.
That night could cover us and our mistakes, and soon.
LVIII
But in the fatal coils, without intent,
But in the deadly trap, without meaning to,
We sin; wherefore a future punishment?
We sin; so why is there a future punishment?
They say the metal dead a deadly steel
They say the metal is a deadly steel.
Becomes with Allah’s knowledge and consent.
Becomes with Allah’s knowledge and approval.
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LIX
And even the repentant sinner’s tear
And even the tear of a sinner who regrets.
Falling into Juhannam’s very ear,
Falling into Juhannam’s ear,
Goes to its heart, extinguishes its fire
Goes to its core, puts out its flame
For ever and forever,—so I hear.
For eternity and beyond,—that's what I hear.
LX
Between the white and purple Words of Time
Between the white and purple Words of Time
In motley garb with Destiny I rhyme:
In a mix of garments, I rhyme with Destiny:
The colored glasses to the water give
The colored glasses for the water give
The colors of a symbolry sublime.
The colors of a symbol that is sublime.
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LXI
How oft, when young, my brothers I would shun
How often, when I was young, I would avoid my brothers
If their religious feelings were not spun
If their religious feelings were not exaggerated
Of my own cobweb, which I find was but
Of my own cobweb, which I realize was just
A spider’s revelation of the sun.
A spider showing the sun.
LXII
Now, mosques and churches—even a Kaaba Stone,
Now, mosques and churches—even a Kaaba Stone,
Korans and Bibles—even a martyr’s bone,—
Korans and Bibles—even the bone of a martyr,—
All these and more my heart can tolerate,
All of these things and more, my heart can handle,
For my religion’s love, and love alone.
For the love of my faith, and only love.
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LXIII
To humankind, O Brother, consecrate
To humanity, O Brother, dedicate
Thy heart, and shun the hundred Sects that prate
Your heart, and avoid the many Sects that talk endlessly
About the things they little know about—
About the things they hardly know about—
Let all receive thy pity, none thy hate.
Let everyone receive your compassion, and no one your anger.
LXIV
The tavern and the temple also shun,
The tavern and the temple also avoid,
For sheikh and libertine in sooth are one;
For a sheikh and a libertine are truly the same;
And when the pious knave begins to pule,
And when the deceitful person starts to complain,
The knave in purple breaks his vow anon.
The guy in purple breaks his promise right away.
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LXV
“The wine’s forbidden,” say these honest folk,
“The wine’s off-limits,” say these honest folks,
But for themselves the law they will revoke;
But for themselves, they will overturn the law;
The snivelling sheikh says he’s without a garb,
The whiny sheikh says he doesn’t have any clothes,
When in the tap-house he had pawned his cloak.
When he was at the tap-house, he had pawned his cloak..
LXVI
Or in the house of lust. The priestly name
Or in the house of desire. The priestly name
And priestly turban once were those of Shame—
And the priestly turban was once associated with Shame—
And Shame is preaching in the pulpit now—
And Shame is now preaching from the pulpit—
If pulpits tumble down, I’m not to blame.
If the pulpits fall apart, it's not my fault.
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LXVII
For after she declaims upon the vows
For after she talks about the promises
Of Faith, she pusillanimously bows
Of Faith, she timidly bows
Before the Sultan’s wine-empurpled throne,
Before the Sultan's wine-filled throne,
While he and all his courtezans carouse.
While he and all his companions party.
LXVIII
Carouse, ye sovereign lords! The wheel will roll
Carouse, you mighty lords! The wheel will roll
Forever to confound and to console:
Always to confuse and comfort:
Who sips to-day the golden cup will drink
Who sips from the golden cup today will drink
Mayhap to-morrow in a wooden bowl—
Maybе tomorrow in a wooden bowl—
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LXIX
And silent drink. The tumult of our mirth
And a quiet drink. The chaos of our laughter
Is worse than our mad welcoming of birth:—
Is worse than our crazy celebration of birth:—
The thunder hath a grandeur, but the rains,
The thunder has a grandeur, but the rains,
Without the thunder, quench the thirst of Earth.
Without the thunder, satisfy the Earth's thirst.
LXX
The Prophets, too, among us come to teach,
The Prophets also come among us to teach,
Are one with those who from the pulpit preach;
Are united with those who preach from the pulpit;
They pray, and slay, and pass away, and yet
They pray, and kill, and move on, and yet
Our ills are as the pebbles on the beach.
Our troubles are like the pebbles on the beach.
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LXXI
And though around the temple they should run
And even if they ran around the temple
For seventy times and seven, and in the sun
For seventy times seven, and in the sun
Of mad devotion drool, their prayers are still
Of crazy devotion, their prayers are still.
Like their desires of feasting-fancies spun.
Like their cravings for extravagant meals that were woven together.
LXXII
Oh! let them in the marshes grope, or ride
Oh! let them stumble in the marshes, or ride
Their jaded Myths along the mountain-side;
Their worn-out myths along the mountainside;
Come up with me, O Brother, to the heights
Come up with me, Brother, to the heights
Where Reason is the prophet and the guide.
Where Reason is the prophet and the guide.
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LXXIII
“What is thy faith and creed,” they ask of me,
“What is your faith and belief?” they ask me,
“And who art thou? Unseal thy pedigree.”—
“And who are you? Show me your background.”
I am the child of Time, my tribe, mankind,
I am the child of Time, my people, humanity,
And now this world’s my caravanseri.
And now this world is my inn.
LXXIV
Swathe thee in wool, my Sufi friend, and go
Swaddle yourself in wool, my Sufi friend, and go
Thy way; in cotton I the wiser grow;
Thy way; in cotton, I grow wiser;
But we ourselves are shreds of earth, and soon
But we are just pieces of earth, and soon
The Tailor of the Universe will sew.
The Tailor of the Universe will sew.
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LXXV
Ay! suddenly the mystic Hand will seal
Ay! Suddenly the mysterious Hand will seal
The saint’s devotion and the sinner’s weal;
The saint’s devotion and the sinner’s well-being;
They worship Saturn, but I worship One
They worship Saturn, but I worship One.
Before whom Saturn and the Heavens kneel.
Before whom Saturn and the Heavens bow.
LXXVI
Among the crumbling ruins of the creeds
Among the crumbling ruins of the beliefs
The Scout upon his camel played his reeds
The scout on his camel played his flutes.
And called out to his people,—“Let us hence!
And called out to his people, "Let's go!"
The pasture here is full of noxious weeds.”
The field here is full of harmful weeds.
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LXXVII
Among us falsehood is proclaimed aloud,
Among us, falsehood is openly declared,
But truth is whispered to the phantom bowed
But truth is whispered to the ghost bent down
Of conscience; ay! and Wrong is ever crowned,
Of conscience; yes! and Wrong is always crowned,
While Right and Reason are denied a shroud.
While Right and Reason are denied a cover.
LXXVIII
And why in this dark Kingdom tribute pay?
And why pay tribute in this dark Kingdom?
With clamant multitudes why stop to pray?
With loud crowds, why take a break to pray?
Oh! hear the inner Voice:—“If thou’lt be right,
Oh! listen to the inner voice:—“If you want to be right,
Do what they deem is wrong, and go thy way.”
Do what they think is wrong, and go your way.
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LXXIX
Thy way unto the Sun the spaces through
Thy way unto the Sun the spaces through
Where king Orion’s black-eyed huris slew
Where king Orion’s black-eyed beauties killed
The Mother of Night to guide the Wings that bear
The Mother of Night to guide the Wings that bear
The flame divine hid in a drop of dew.
The divine flame was hidden in a drop of dew.
LXXX
Hear ye who in the dust of ages creep,
Hear ye who crawl in the dust of ages,
And in the halls of wicked masters sleep:—
And in the halls of cruel masters, they rest:—
Arise! and out of this wan weariness
Arise! and out of this pale exhaustion
Where Allah’s laughter makes the Devil weep.
Where God's laughter makes the Devil cry.
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LXXXI
Arise! for lo! the Laughter and the Weeping
Arise! For look! The Laughter and the Weeping
Reveal the Weapon which the Master’s keeping
Reveal the weapon that the Master is keeping.
Above your heads; Oh! take it up and strike!
Above your heads; Oh! pick it up and hit!
The lion of tyranny is only sleeping.
The lion of tyranny is just sleeping.
LXXXII
Evil and Virtue? Shadows on the street
Evil and Virtue? Shadows on the street
Of Fate and Vanity,—but shadows meet
Of Fate and Vanity,—but shadows collide
When in the gloaming they are hast’ning forth
When it's twilight, they're rushing out
To drink with Night annihilation sweet.
To drink sweetly with the annihilation of night.
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LXXXIII
And thus the Sun will write and will efface
And so, the Sun will write and will erase.
The mystic symbols which the sages trace
The mysterious symbols that the wise ones draw
In vain, for all the worlds of God are stored
In vain, because all of God's worlds are stored
In his enduring vessels Time and Space.
In his lasting creations, Time and Space.
LXXXIV
For all my learning’s but a veil, I guess,
For all my knowledge is just a cover, I guess,
Veiling the phantom of my nothingness;
Veiling the ghost of my emptiness;
Howbeit, there are those who think me wise,
However, there are people who consider me wise,
And those who think me—even these I bless.
And those who think of me—even them I bless.
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LXXXV
And all my years, as vapid as my lay,
And all my years, as dull as my life,
Are bitter morsels of a mystic day,—
Are bitter bits of a mysterious day,—
The day of Fate, who carries in his lap
The day of Fate, who holds in his lap
December snows and snow-white flowers of May.
December snow and the white flowers of May.
LXXXVI
Allah, my sleep is woven through, it seems,
Allah, it feels like my sleep is intertwined,
With burning threads of night and golden beams;
With fiery strands of night and golden rays;
But when my dreams are evil they come true;
But when my dreams are bad, they come true;
When they are not, they are, alas! but dreams.
When they aren't, they're just dreams, unfortunately!
[80]
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LXXXVII
The subtle ways of Destiny I know;
The subtle ways of Destiny I know;
In me she plays her game of “Give and Go.”
In me, she plays her game of "Give and Go."
Misfortune I receive in cash, but joy,
Misfortune I get in cash, but joy,
In drafts on Heaven or on the winds that blow.
In writings about Heaven or the winds that blow.
LXXXVIII
I give and go, grim Destiny,—I play
I give and go, grim Destiny—I play
Upon this checker-board of Night and Day
Upon this checkerboard of Night and Day
The dark game with thee, but the day will come
The dark game with you, but the day will come
When one will turn the Board the other way.
When someone turns the board the other way.
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LXXXIX
If my house-swallow, laboring with zest,
If my house-swallower is busy,
Felt like myself the burden of unrest,
Felt like I carried the weight of unease,
Unlightened by inscrutable designs,
Unenlightened by puzzling designs,
She would not build her young that cozy nest.
She wouldn’t make her young one that cozy nest.
XC
Thy life with guiltless life-blood do not stain—
Your life, don't stain it with innocent blood—
Hunt not the children of the woods; in vain
Hunt not the kids of the forest; it’s pointless.
Thou’lt try one day to wash thy bloody hand:
You'll try one day to wash your bloody hand:
Nor hunter here nor hunted long remain.
Nor hunter here nor hunted stay for long.
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XCI
Oh! cast my dust away from thee, and doff
Oh! throw my dust away from you, and remove
Thy cloak of sycophancy and like stuff:
Your cloak of flattery and similar things:
I’m but a shadow on the sandy waste,—
I’m just a shadow on the sandy waste,—
Enough of thy duplicity, enough!
Enough of your deception, enough!
XCII
Behold! the Veil that hid thy soul is torn
Behold! The veil that concealed your soul is ripped apart.
And all thy secrets on the winds are borne:
And all your secrets are carried on the winds:
The hand of Sin has written on thy face
The mark of sin is on your face.
“Awake, for these untimely furrows warn!”
“Wake up, because these unexpected lines warn!”
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XCIII
A prince of souls, ‘tis sung in ancient lay,
A prince of souls, it's sung in an ancient song,
One morning sought a vesture of the clay;
One morning sought a garment of the clay;
He came into the Pottery, the fool—
He walked into the Pottery, the fool—
The lucky fool was warned to stay away.
The lucky fool was told to keep his distance.
XCIV
But I was not. Oh! that the Fates decree
But I wasn't. Oh! that the Fates decide
That I now cast aside this clay of me;
That I now set aside this part of myself;
My soul and body wedded for a while
My body and soul united for a time.
Are sick and would that separation be.
Are sick and would that separation be.
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XCV
“Thou shalt not kill!”—Thy words, O God, we heed,
“Do not kill!”—Your words, O God, we obey,
Though thy two Soul-devouring Angels feed
Though your two soul-devouring angels feed
Thy Promise of another life on this,—
Thy Promise of another life on this,—
To have spared us both, it were a boon indeed.
To have saved us both would be a real blessing.
XCVI
Oh! that some one would but return to tell
Oh! if only someone would come back to tell
If old Nubakht is burning now in hell,
If old Nubakht is burning in hell right now,
Or if the workers for the Prophet’s prize
Or if the workers for the Prophet’s prize
Are laughing at his Paradisal sell.
Are laughing at his heavenly sale.
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XCVII
Once I have tried to string a few Pearl-seeds
Once I tried to string a few pearl seeds.
Upon my Rosary of wooden beads;
Upon my rosary of wooden beads;
But I have searched, and I have searched in vain
But I have looked, and I have looked in vain.
For pearls in all the caverns of the creeds
For pearls in all the depths of the beliefs
XCVIII
And in the palaces of wealth I found
And in the rich palaces, I found
Some beads of wisdom scattered on the ground,
Some bits of wisdom scattered on the ground,
Around the throne of Power, beneath the feet
Around the throne of Power, beneath the feet
Of fair-faced slaves with flowers of folly crowned.
Of good-looking slaves wearing crowns of foolish flowers.
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XCIX
Thy wealth can shed no tears around thy bier,
Your wealth can shed no tears around your grave,
Nor can it wash thy hands of shame and fear;
Nor can it wash away your shame and fear;
Ere thou departest with it freely part,—
Ere you leave with it freely part,—
Let others plead for thee and God will hear.
Let others advocate for you, and God will listen.
C
For me thy silks and feathers have no charm
For me, your silks and feathers hold no appeal.
The pillow I like best is my right arm;
The pillow I prefer the most is my right arm;
The comforts of this passing show I spurn,
The comforts of this fleeting spectacle I reject,
For Poverty can do the soul no harm.
For poverty can’t harm the soul.
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CI
The guiding hand of Allah I can see
The guiding hand of God I can see
Upon my staff: of what use then is he
Upon my staff: what use is he then?
Who’d be the blind man’s guide? Thou silent oak,
Who would be the blind man's guide? You silent oak,
No son of Eve shall walk with me and thee.
No son of Eve will walk with you and me.
CII
My life’s the road on which I blindly speed:
My life is the road that I speed down without knowing where it leads:
My goal’s the grave on which I plant a reed
My goal is the grave where I plant a reed.
To shape my Hope, but soon the Hand unseen
To shape my hope, but soon the unseen hand
Will strike, and lo! I’m but a sapless weed.
Will strike, and look! I’m just a lifeless weed.
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CIII
O Rabbi, curse us not if we have been
O Rabbi, please don’t curse us if we have been
Nursed in the shadow of the Gate of Sin
Nurtured in the shadow of the Gate of Sin
Built by thy hand—yea, ev’n thine angels blink
Built by your hand—yes, even your angels blink
When we are coming out and going in.
When we are entering and exiting.
CIV
And like the dead of Ind I do not fear
And like the dead of India, I do not fear
To go to thee in flames; the most austere
To go to you in flames; the most severe
Angel of fire a softer tooth and tongue
Angel of fire, a gentler tooth and tongue
Hath he than dreadful Munker and Nakir.
Hath he than dreadful Munker and Nakir.
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CV
Now, at this end of Adam’s line I stand
Now, at this end of Adam's line, I stand.
Holding my father’s life-curse in my hand,
Holding my father's life curse in my hand,
Doing no one the wrong that he did me:—
Doing no one the wrong that he did me:—
Ah, would that he were barren as the sand!
Ah, I wish he were as empty as the desert!
CVI
Ay, thus thy children, though they sovereigns be,
Ay, so your children, even though they are rulers,
When truth upon them dawns, will turn on thee,
When the truth hits them, they will turn on you,
Who cast them into life’s dark labyrinth
Who threw them into life’s dark maze
Where even old Izrail can not see.
Where even old Israel cannot see.
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CVII
And in the labyrinth both son and sire
And in the maze, both father and son
Awhile will fan and fuel hatred’s fire;
A while will fan and fuel hatred’s fire;
Sparks of the log of evil are all men
Sparks of the log of evil are all men
Allwhere—extinguished be the race entire!
Everywhere—may the race end!
CVIII
If miracles were wrought in ancient years,
If miracles happened in ancient times,
Why not to-day, O Heaven-cradled seers?
Why not today, O visionaries embraced by the heavens?
The highway’s strewn with dead, the lepers weep,
The highway is littered with death, the lepers cry,
If ye but knew,—if ye but saw their tears!
If you only knew—if you could see their tears!
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CIX
Fan thou a lisping fire and it will leap
Fan a soft fire and it will leap
In flames, but dost thou fan an ashy heap?
In flames, but do you stir up a pile of ashes?
They would respond, indeed, whom thou dost call,
They would respond, indeed, whom you are calling,
Were they not dead, alas! or dead asleep.
Were they not dead, sadly! or just sound asleep.
CX
The way of vice is open as the sky,
The path to wrongdoing is as clear as the sky,
The way of virtue’s like the needle’s eye;
The way of virtue is like the eye of a needle;
But whether here or there, the eager Soul
But whether here or there, the eager soul
Has only two Companions—Whence and Why.
Has only two companions—Whence and Why.
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CXI
Whence come, O firmament, thy myriad lights?
Whence come, O sky, your countless lights?
Whence comes thy sap, O vineyard of the heights?
Whence comes your juice, O vineyard of the heights?
Whence comes the perfume of the rose, and whence
Whence comes the scent of the rose, and whence
The spirit-larva which the body blights?
The spirit-larva that damages the body?
CXII
Whence does the nettle get its bitter sting?
Whence does the nettle get its bitter sting?
Whence do the honey bees their honey bring?
Whence do the honey bees get their honey?
Whence our Companions, too—our Whence and Why?
Whence our friends, too—our Where and Why?
O Soul, I do not know a single thing!
O Soul, I don't know anything!
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CXIII
How many like us in the ages past
How many of us were there in the past?
Have blindly soared, though like a pebble cast,
Have flown blindly, just like a thrown pebble,
Seeking the veil of mystery to tear,
Seeking to tear through the veil of mystery,
But fell accurst beneath the burning blast?
But fell cursed beneath the burning blast?
CXIV
Why try to con the book of earth and sky,
Why attempt to fool the book of earth and sky,
Why seek the truth which neither you nor I
Why look for the truth that neither you nor I
Can grasp? But Death methinks the secret keeps,
Can you understand? But I think Death holds the secret,
And will impart it to us by and by.
And will share it with us soon.
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CXV
The Sultan, too, relinquishing his throne
The Sultan, too, giving up his throne
Must wayfare through the darkening dust alone
Must travel through the darkening dust alone
Where neither crown nor kingdom be, and he,
Where there's no crown or kingdom, and he,
Part of the Secret, here and there is blown.
Part of the Secret is revealed here and there.
CXVI
To clay the mighty Sultan must return
To clay, the powerful Sultan must come back.
And, chancing, help a praying slave to burn
And, by chance, help a praying slave to burn
His midnight oil before the face of Him,
His late-night efforts before God,
Who of the Sultan makes an incense urn.
Who among the Sultan creates an incense urn.
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CXVII
Turned to a cup, who once the sword of state
Turned to a cup, who was once the sword of state
Held o’er the head of slave and potentate,
Held over the head of slaves and rulers,
Is now held in the tippler’s trembling hand,
Is now held in the drinker's shaking hand,
Or smashed upon the tavern-floor of Fate.
Or shattered on the tavern floor of Fate.
CXVIII
For this I say, Be watchful of the Cage
For this I say, Stay alert for the Cage.
Of chance; it opes alike to fool and sage;
Of chance; it opens to both the fool and the wise;
Spy on the moment, for to-morrow’ll be,
Spy on the moment, for tomorrow will be,
Like yesterday, an obliterated page.
Like yesterday, a destroyed page.
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CXIX
Yea, kiss the rosy cheeks of new-born Day,
Yea, kiss the rosy cheeks of new-born Day,
And hail eternity in every ray
And shout out to eternity in every beam
Forming a halo round its infant head,
Forming a halo around its tiny head,
Illumining thy labyrinthine way.
Lighting your complex path.
CXX
But I, the thrice-imprisoned, try to troll
But I, the three-times-imprisoned, try to troll
Strains of the song of night, which fill with dole
Strains of the night song, which fill with sadness
My blindness, my confinement, and my flesh—
My blindness, my confinement, and my flesh—
The sordid habitation of my soul.
The grim dwelling of my soul.
CXXI
Howbeit, my inner vision heir shall be
However, my inner vision will be
To the increasing flames of mystery
To the growing flames of mystery
Which may illumine yet my prisons all,
Which might still light up all my prisons,
And crown the ever living hope of me.
And crown the everlasting hope that I have.
[97]
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NOTES TO THE QUATRAINS
To open a poem with a few amatory lines, is a literary tradition among Arab poets. But Abu’l-Ala, having had no occasion to evince such tender emotions, whether real or merely academic, succeeded, as in everything else he did, in deviating from the trodden path. I find, however, in his minor Diwan, Suct uz-Zand, a slight manifestation of his youthful ardor, of which this and the succeeding quatrains, descriptive of the charms of Night, are fairly representative.
To start a poem with some romantic lines is a literary tradition among Arab poets. But Abu’l-Ala, having no reason to express such tender feelings, whether genuine or just theoretical, managed, as he always did, to stray from the conventional path. However, I do find a hint of his youthful passion in his minor collection, Suct uz-Zand, where this and the following quatrains, which describe the beauty of Night, are quite representative.
“And hear the others who with cymbals try,” etc., meaning the Christians; in the preceding quatrain he referred to the Mohammedans.
“And listen to those others who try with cymbals,” etc., meaning the Christians; in the previous quatrain, he referred to the Muslims.
Milton, in Il Penseroso, also speaks of night as “the starred Ethiop queen”; and Shakespeare, in Romeo and Juliet, has these lines:
Milton, in Il Penseroso, also refers to night as “the starred Ethiop queen”; and Shakespeare, in Romeo and Juliet, has these lines:
“Her beauty hangs upon the cheek of night
“Her beauty hangs upon the cheek of night
As a rich jewel in an Ethiop ear.”
As a beautiful gem in an Ethiopian's ear.
The source of inspiration is the same to all world-poets, who only differ sometimes in the jars they bring to the source. [98]
The source of inspiration is the same for all poets around the world, who only occasionally differ in the jars they bring to the source. [__A_TAG_PLACEHOLDER_0__]
The purple, white, and gray garments, symbolizing Man’s dreams of power, of love, and of bliss.
The purple, white, and gray clothes represent humanity's aspirations for power, love, and happiness.
The same idea is expressed by Omar Khayyam. Here are the first three lines of the 122nd quatrain of Heron-Allen’s literal translation:
The same idea is expressed by Omar Khayyam. Here are the first three lines of the 122nd quatrain of Heron-Allen’s literal translation:
“To him who understands the mysteries of the world
“To him who understands the mysteries of the world
The joy and sorrow of the world is all the same,
The joy and sorrow of the world are all the same,
Since the good and the bad of the world all come to an end.”
Since both the good and the bad in the world eventually come to an end.
“Howdaj,” a sort of palanquin borne by camels; hence, a wedding or a triumphal procession.
“Howdaj,” a type of palanquin carried by camels; therefore, a wedding or a celebratory procession.
“Thamud” and “’Ad,” two of the primitive tribes which figure prominently in the legendary history of Arabia. They flouted and stoned the prophets that were sent to them, and are constantly held up in the Koran as terrible examples of the pride that goeth before destruction.
“Thamud” and “’Ad,” two of the ancient tribes that play a significant role in the legendary history of Arabia. They rejected and attacked the prophets sent to them and are frequently cited in the Koran as grim examples of the pride that leads to ruin.
“Hashem’s fearless lad,” Mohammed the Prophet.
“Hashem’s fearless kid,” Mohammed the Prophet.
I quote again from Omar, Fitzgerald’s translation:
I’m quoting again from Omar, Fitzgerald's translation:
“And this reviving Herb, whose Tender Green
“And this reviving herb, whose tender green
Fledges the River-Lip, on which we lean—
Fledges the River-Lip, on which we lean—
Ah, lean upon it lightly! for who knows
Ah, lean on it gently! Because who knows
From what once lovely Lip it springs unseen.”
From what was once a beautiful lip, it emerges unseen.
In justice to both the Persian and the Arab poet, however, I give the 43d quatrain of Heron-Allen’s, which I think contains two lines of that of Fitzgerald, together with Abu’l-Ala’s own poetic-fancy. [99]
In fairness to both the Persian and the Arab poet, I’ll include the 43rd quatrain from Heron-Allen, which I believe has two lines from Fitzgerald, along with Abu’l-Ala’s own creative touch. [__A_TAG_PLACEHOLDER_0__]
“Everywhere that there has been a rose or tulip bed
“Everywhere there has been a rose or tulip bed
There has been spilled the crimson blood of a king;
There has been spilled the red blood of a king;
Every violet shoot that grows from the earth
Every violet shoot that emerges from the ground
Is a mole that was once upon the cheek of beauty.”
Is a mole that used to be on the cheek of beauty.
“Zakkum,” a tree which, in Mohammedan mythology, is said to have its roots in hell, and from which are fed the dwellers of hell-fire. In one of the Chapters of the Koran, The Saffat, I find this upon it: “And is that a pure bounty, or the Zakkum tree? It is a tree which groweth in hell; its fruits are like unto the heads of the devils, who eat from it, and from it fill their stomachs.”
“Zakkum,” a tree that, in Islamic mythology, is believed to have its roots in hell, and from which the residents of hellfire are nourished. In one of the chapters of the Quran, Al-Saffat, I find this about it: “And is that a pure blessing, or the Zakkum tree? It is a tree that grows in hell; its fruits are like the heads of devils, who eat from it and fill their stomachs.”
Zakkum is also one of the bitter-fruited trees of Arabia. And the people there speak of “a mouthful of zakkum” when they want to describe an unhappy experience. It is also the name of one of the plants of the desert, whose flower is like the jasmine; and of one of the trees of Jericho, whose fruit is like the date, but somewhat bitter.
Zakkum is also one of the bitter-fruited trees found in Arabia. People there refer to “a mouthful of zakkum” when they want to describe an unpleasant experience. It's also the name of a desert plant with a flower that resembles jasmine, and it refers to one of the trees in Jericho, whose fruit is similar to a date but a bit bitter.
“Jannat,” Paradise. “Juhannam,” Hell.
“Jannat,” Paradise. “Juhannam,” Hell.
And Tennyson also says:
And Tennyson also states:
“There is more truth in honest doubt,
“There is more truth in honest doubt,
Believe me, than in all the creeds.”
Believe me, more than in all the beliefs.
“Mutakallem,” disputant. The mutakallemin are the logicians and theologians of Islam. [100]
“Mutakallem,” debater. The mutakallemin are the logicians and theologians of Islam. [__A_TAG_PLACEHOLDER_0__]
Hadil is a poetic term for dove. And in Arabic mythology it is the name of a particular dove, which died of thirst in the days of Noah, and is bemoaned until this day.
Hadil is a poetic word for dove. In Arabic mythology, it refers to a specific dove that died of thirst during Noah's time and is mourned to this day.
“Ababil,” a flock of birds, who scourged with flint-stones which they carried in their beaks, one of the ancient Arab tribes, noted for its idolatry and evil practices.
“Ababil,” a group of birds, who attacked with stones they carried in their beaks, one of the ancient Arab tribes, known for its idol worship and immoral behavior.
I quote again from Omar, Fitzgerald’s version, quatrain 44:
I quote again from Omar, Fitzgerald’s version, quatrain 44:
“Why, if the Soul can fling the dust aside,
“Why, if the Soul can toss the dust aside,
And naked on the air of Heaven ride,
And ride, exposed to the open sky,
Were’t not a shame—were’t not a shame for him
Were it not a shame—was it not a shame for him
In this clay carcass crippled to abide?”
In this broken clay body, how can we endure?
And from Heron-Allen’s, quatrain 145:
And from Heron-Allen’s, stanza 145:
“O Soul, if thou canst purify thyself from the dust of the clay,
“O Soul, if you can free yourself from the dust of the earth,
Thou, naked spirit, canst soar in the heav’ns,
You, naked spirit, can soar in the heavens,
The Empyrian is thy sphere—let it be thy shame
The Empyrian is your realm—let it be your disgrace.
That thou comest and art a dweller within the confines of earth.”
That you come and live within the boundaries of the earth.
“The walking dust was once a thing of stone,” is my rendering of the line,
“The walking dust was once made of stone,” is my version of the line,
“And he concerning whom the world is puzzled
“And he whom the world finds confusing
Is an animal evolved of inorganic matter.”
Is an animal evolved from inorganic matter.”
This line of Abu’l-Ala is much quoted by his enthusiastic admirers of the present day to prove [101]that he anticipated Darwin’s theory of evolution. And it is remarkable how the fancy of the poet sometimes coincides with the logical conclusions of the scientist.
This line from Abu’l-Ala is often quoted by his passionate fans today to show that he predicted Darwin’s theory of evolution. It’s interesting how the poet’s imagination can align with the scientist’s logical conclusions.
This quatrain is quoted by many of the Biographers of Abu’l-Ala to prove that he is a materialist. Which argument is easily refuted, however, with others quatrains taken at random from the Luzumiyat.
This quatrain is quoted by many biographers of Abu’l-Ala to argue that he is a materialist. However, this argument can be easily countered with other quatrains randomly selected from the Luzumiyat.
Omar was also a confessed cynical-hypocrite. Thus runs the first line of the 114th quatrain of Heron-Allen’s:
Omar was also a self-admitted cynical hypocrite. Thus runs the first line of the 114th quatrain of Heron-Allen’s:
“The world being fleeting I practise naught but artifice.”
“The world is temporary, so I only focus on deception.”
And he also chafes in the chains of his sins. Following is the 23d quatrain of the same translation:
And he also struggles in the chains of his sins. Following is the 23rd quatrain of the same translation:
“Khayyam, why mourn for thy sins?
“Khayyam, why grieve over your sins?
From grieving thus what advantage more or less dost thou gain?
From grieving like this, what advantage do you gain, more or less?
Mercy was never for him who sins not,
Mercy was never meant for someone who doesn’t sin,
Mercy is granted for sins; why then grieve?”
“Mercy is given for sins; so why feel sad?”
Abu’l-Ala, in a quatrain which I did not translate, goes even farther in his questioning perplexity. [102]“Why do good since thou art to be forgiven for thy sins?” he asks.
Abu’l-Ala, in a quatrain that I didn't translate, goes even further in his questioning confusion. [__A_TAG_PLACEHOLDER_0__]“Why do good if you are going to be forgiven for your sins?” he asks.
“Kaaba Stone,” the sacred black stone in the Kaaba at Meccah.
“Kaaba Stone,” the sacred black stone in the Kaaba at Mecca.
The American poet, Lowell, in “The Crisis,” utters the same cry:
The American poet, Lowell, in “The Crisis,” expresses the same feeling:
“Truth forever on the scaffold,
“Truth forever on the sidelines,
Wrong forever on the throne.”
"Always wrong on the throne."
XC
“And the poor beetle that we tread upon
“And the poor beetle that we step on
In corporal sufferance finds a pang as great
In physical suffering, there is a pain as intense
As when a giant dies.”
As when a giant passes away.
—Shakespeare: Measure for Measure.
—Shakespeare: Measure for Measure.
“To let go a flea is a more virtuous act than to give a dirham to a beggar.”—Abu’l-Ala.
“To let go of a flea is a more virtuous act than giving a dirham to a beggar.”—Abu’l-Ala.
Omar too, in the 157th quatrain of Heron-Allen’s—
Omar too, in the 157th quatrain of Heron-Allen’s—
“Had I charge of the matter I would not have come,
“Had I been in charge of the situation, I wouldn't have come,
And likewise could I control my going, where could I go?”
And if I could control where I went, where would I even go?
“Thy two soul-devouring angels,” the angels of death and resurrection. [103]
“Your two soul-devouring angels,” the angels of death and resurrection. [__A_TAG_PLACEHOLDER_0__]
“Nubakht,” one of the opponents of the Prophet Mohammed.
“Nubakht,” one of the opponents of the Prophet Muhammad.
“And like the dead of Ind,” referring to the practice of the Hindus who burn their dead.
“And like the dead of India,” referring to the practice of Hindus who cremate their deceased.
“Munker” and “Nakir,” the two angels who on the Day of Judgment open the graves of the dead and cross-examine them—the process is said to be very cruel—as to their faith. Whosoever is found wanting in this is pushed back into the grave and thence thrown into Juhannam. No wonder Abu’l-Ala prefers cremation.
“Munker” and “Nakir,” the two angels who on Judgment Day open the graves of the dead and question them—the process is said to be very harsh—about their faith. Anyone who falls short in this is shoved back into the grave and then cast into Hell. It’s no surprise that Abu’l-Ala prefers cremation.
He wrote his own epitaph, which is:
He wrote his own epitaph, which is:
“This wrong to me was by my father done,
“This wrong was done to me by my father,
But never by me to any one.”
But never by me to anyone.”
These will suggest to the reader Shakespeare’s lines:
These will remind the reader of Shakespeare’s lines:
“Imperial Caesar, dead and turned to clay,
“Imperial Caesar, dead and turned to clay,
Might stop a hole to keep the wind away;
Might block a hole to keep the wind out;
O, that that earth, which kept the world in awe,
O, that the earth, which kept the world in awe,
Should stop a wall t’expel the winter’s flaw.”
Should stop a wall to expel the winter’s flaw.
[104]
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Compare this with Omar’s:
Compare this with Omar's:
“Thou hast no power over the morrow,
“You have no power over tomorrow,
And anxiety about the morrow is useless to thee:
And worrying about tomorrow is pointless for you:
Waste not thou the moment, if thy heart is not mad,
Waste not the moment, if your heart is not mad,
For the value of the remainder of thy life is not certain.”
For the value of the rest of your life is not guaranteed.
[105]
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PRESS AND PERSONAL NOTICES
Mr. Rihani’s book is soundly workmanlike, with adequate scholarship, and is often very felicitous. He has done a real service to modern understanding of an important though slightly known literature in presenting these selections with sufficient annotation.—New York Evening Sun.
Mr. Rihani’s book is well-crafted, with solid scholarship, and is often very pleasing. He has truly contributed to our modern understanding of an important but somewhat lesser-known literature by presenting these selections with adequate commentary.—New York Evening Sun.
The Luzumiyat. By Abu’l-Ala. Born in Syria, in the tenth century A. D., this poet, scholar, teacher, philosopher and pessimist became known as “the Voltaire of the East,” and may well be read for the beauty of his work, even if there is little agreement with his general ideas of life.—The Christian Century.
The Luzumiyat. By Abu’l-Ala. Born in Syria in the 10th century A.D., this poet, scholar, teacher, philosopher, and pessimist was known as “the Voltaire of the East,” and his work can be appreciated for its beauty, even if most people don’t agree with his overall views on life.—The Christian Century.
Abu’l-Ala is a true poet, with a philosophy much nobler than Omar’s, and Mr. Rihani’s translation has rare poetic qualities.—Edwin Markham.
Abu’l-Ala is a genuine poet, with a philosophy much greater than Omar’s, and Mr. Rihani’s translation has exceptional poetic qualities.—Edwin Markham.
If I had but a garden for a bower
If I just had a garden for a retreat
Wherein the roses of Damascus flower,
Where the roses of Damascus bloom,
How happy, with the Luzumiyat in hand,
How happy, with the Luzumiyat in hand,
To pass the afternoon and sunset hour!
To spend the afternoon and watch the sunset!
Clinton Scollard. [106]
Clinton Scollard. [__A_TAG_PLACEHOLDER_0__]
“The Luzumiyat” of Abu’l-Ala, as rendered into English by Mr. Ameen Rihani, is more than a mere translation—it is excellent poetry. Aside from its interest as a literary curiosity, it possesses intrinsic value as literature of a high quality. The historical matter contained in the preface of the book, as well as the notes following the preface, will appeal to the scholar who makes a study of the best expressions of Oriental thought.—James B. Kenyon.
“The Luzumiyat” of Abu’l-Ala, translated into English by Mr. Ameen Rihani, is more than just a translation—it’s exceptional poetry. Beyond its appeal as a literary curiosity, it has real value as high-quality literature. The historical information in the book’s preface, along with the notes that follow, will attract scholars who study the finest expressions of Eastern thought.—James B. Kenyon.
The first English rendition of the Luzumiyat of Abu’l-Ala, comes from Ameen Rihani, the author of the Book of Khaled, who has selected the quatrains from three volumes of the works of the Syrian poet. For those who cling to a childish haze concerning Assyrians and Syrians, we would add that while the Assyrian comes down like a wolf on the fold, the Syrian, at least this particular one, has a tread like Omar Khayyam. Therein lies the chief interest of the Luzumiyat, unfair as it may be, in view of the fact that Abu’l-Ala died at about the time Omar was born. So marked and far-reaching is the resemblance, that we might almost bring ourselves to the belief that in Omar Khayyam was recreated the soul of Abu’l-Ala, with subtle changes, notable among them the casting off of the tenets of prohibition, and a substitution of fatalism for stoicism.—The Sun (New York). [107]
The first English version of the Luzumiyat by Abu'l-Ala comes from Ameen Rihani, the author of the Book of Khaled, who has chosen quatrains from three volumes of the Syrian poet's work. For those who still hold on to outdated views about Assyrians and Syrians, we should point out that while the Assyrian attacks like a wolf in sheep's clothing, this particular Syrian moves with the grace of Omar Khayyam. This is the main interest of the Luzumiyat, which may seem unfair considering that Abu'l-Ala died around the time Omar was born. The similarities are so striking and extensive that we might even believe that the essence of Abu'l-Ala was reincarnated in Omar Khayyam, with subtle differences—most notably, turning away from prohibitions and embracing fatalism instead of stoicism.—The Sun (New York). [__A_TAG_PLACEHOLDER_0__]
What Fitzgerald did for the Man of Neishapur in his wonderful version of the Rubaiyat, Mr. Rihani has done, in scarcely inferior measure, for his own remote ancestor Abu’l-Ala. Mr. Rihani, who is a poet and essayist in English as well as in Arabic, has made a permanent addition to Literature. The Luzumiyat can not be displaced.—Michael Monahan.
What Fitzgerald did for the Man of Neishapur in his amazing version of the Rubaiyat, Mr. Rihani has done, in nearly equal measure, for his own distant ancestor Abu’l-Ala. Mr. Rihani, who writes poetry and essays in both English and Arabic, has made a lasting contribution to Literature. The Luzumiyat can't be overlooked.—Michael Monahan.
Mr. Rihani has rendered valuable service to Literature in making the career of “The Lucretius of Islam,” as he happily calls him, known to the general reader in the English-speaking world.... The similarity of the Luzumiyat to Omar Khayyam under certain aspects, should win for Rihani’s brilliant rendering a generous measure of recognition. As it is, the rare merits of the book, the critical power of the preface, the skill and sincere feeling exhibited in the verse, and the wide knowledge of English Literature shown in the notes, make it, to my mind, a little masterpiece.—Percy White.
Mr. Rihani has provided valuable contributions to literature by introducing the career of “The Lucretius of Islam,” as he aptly refers to him, to English-speaking readers. The similarities between the Luzumiyat and Omar Khayyam in certain aspects should earn Rihani’s impressive translation significant recognition. The unique qualities of the book, the insightful critique in the preface, the talent and genuine emotion displayed in the verses, and the extensive knowledge of English literature presented in the notes, make it, in my opinion, a little masterpiece.—Percy White.
The similarity in some parts of the Luzumiyat to Omar Khayyam is striking. But Abu’l-Ala, to my mind, is a greater poet, and he is at times so remarkably modern. I am glad to make his acquaintance through your excellent translation.—R. B. Cunninghame Graham. [108]
The similarity in some parts of the Luzumiyat to Omar Khayyam is really striking. But I believe Abu’l-Ala is a greater poet, and he feels surprisingly modern at times. I'm happy to get to know him through your excellent translation.—R. B. Cunninghame Graham. [__A_TAG_PLACEHOLDER_0__]
There is a compelling power in his attack on hypocrisy and quackery, in his recognition of the supremacy of reason and the human soul. Those who still fondly turn to the “Rubaiyat” for enjoyment will surely find stimulus, too, and pleasure in these ruthless rhymes.—Asia.
There’s a strong force in his critique of hypocrisy and fraud, in his acknowledgment of the importance of reason and the human spirit. Those who still cherish the “Rubaiyat” for enjoyment will definitely find inspiration and enjoyment in these harsh verses.—Asia.
Table of Contents
| TO ABU’L-ALA | 7 | |||||||
| PREFACE. | 11 | |||||||
| THE LUZUMIYAT OF ABU’L-ALA | 35 | |||||||
| I. | I | 37 | ||||||
| II. | II | 37 | ||||||
| III. | III | 38 | ||||||
| IV. | IV | 38 | ||||||
| V. | V | 39 | ||||||
| VI. | VI | 39 | ||||||
| VII. | VII | 40 | ||||||
| VIII. | VIII | 40 | ||||||
| IX. | IX | 41 | ||||||
| X. | X | 41 | ||||||
| XI. | XI | 42 | ||||||
| XII. | XII | 42 | ||||||
| XIII. | XIII | 43 | ||||||
| XIV. | XIV | 43 | ||||||
| XV. | XV | 44 | ||||||
| XVI. | XVI | 44 | ||||||
| XVII. | XVII | 45 | ||||||
| XVIII. | XVIII | 45 | ||||||
| XIX. | XIX | 46 | ||||||
| XX. | XX | 46 | ||||||
| XXI. | XXI | 47 | ||||||
| XXII. | XXII | 47 | ||||||
| XXIII. | XXIII | 48 | ||||||
| XXIV. | XXIV | 48 | ||||||
| XXV. | XXV | 49 | ||||||
| XXVI. | XXVI | 49 | ||||||
| XXVII. | XXVII | 50 | ||||||
| XXVIII. | XXVIII | 50 | ||||||
| XXIX. | XXIX | 51 | ||||||
| XXX. | XXX | 51 | ||||||
| XXXI. | XXXI | 52 | ||||||
| XXXII. | XXXII | 52 | ||||||
| XXXIII. | XXXIII | 53 | ||||||
| XXXIV. | XXXIV | 53 | ||||||
| XXXV. | XXXV | 54 | ||||||
| XXXVI. | XXXVI | 54 | ||||||
| XXXVII. | XXXVII | 55 | ||||||
| XXXVIII. | XXXVIII | 55 | ||||||
| XXXIX. | XXXIX | 56 | ||||||
| XL. | XL | 56 | ||||||
| XLI. | XLI | 57 | ||||||
| XLII. | XLII | 57 | ||||||
| XLIII. | XLIII | 58 | ||||||
| XLIV. | XLIV | 58 | ||||||
| XLV. | XLV | 59 | ||||||
| XLVI. | XLVI | 59 | ||||||
| XLVII. | XLVII | 60 | ||||||
| XLVIII. | XLVIII | 60 | ||||||
| XLIX. | XLIX | 61 | ||||||
| L. | L | 61 | ||||||
| LI. | LI | 62 | ||||||
| LII. | LII | 62 | ||||||
| LIII. | LIII | 63 | ||||||
| LIV. | LIV | 63 | ||||||
| LV. | LV | 64 | ||||||
| LVI. | LVI | 64 | ||||||
| LVII. | LVII | 65 | ||||||
| LVIII. | LVIII | 65 | ||||||
| LIX. | LIX | 66 | ||||||
| LX. | LX | 66 | ||||||
| LXI. | LXI | 67 | ||||||
| LXII. | LXII | 67 | ||||||
| LXIII. | LXIII | 68 | ||||||
| LXIV. | LXIV | 68 | ||||||
| LXV. | LXV | 69 | ||||||
| LXVI. | LXVI | 69 | ||||||
| LXVII. | LXVII | 70 | ||||||
| LXVIII. | LXVIII | 70 | ||||||
| LXIX. | LXIX | 71 | ||||||
| LXX. | LXX | 71 | ||||||
| LXXI. | LXXI | 72 | ||||||
| LXXII. | LXXII | 72 | ||||||
| LXXIII. | LXXIII | 73 | ||||||
| LXXIV. | LXXIV | 73 | ||||||
| LXXV. | LXXV | 74 | ||||||
| LXXVI. | LXXVI | 74 | ||||||
| LXXVII. | LXXVII | 75 | ||||||
| LXXVIII. | LXXVIII | 75 | ||||||
| LXXIX. | LXXIX | 76 | ||||||
| LXXX. | LXXX | 76 | ||||||
| LXXXI. | LXXXI | 77 | ||||||
| LXXXII. | LXXXII | 77 | ||||||
| LXXXIII. | LXXXIII | 78 | ||||||
| LXXXIV. | LXXXIV | 78 | ||||||
| LXXXV. | LXXXV | 79 | ||||||
| LXXXVI. | LXXXVI | 79 | ||||||
| LXXXVII. | LXXXVII | 80 | ||||||
| LXXXVIII. | LXXXVIII | 80 | ||||||
| LXXXIX. | LXXXIX | 81 | ||||||
| XC. | XC | 81 | ||||||
| XCI. | XCI | 82 | ||||||
| XCII. | XCII | 82 | ||||||
| XCIII. | XCIII | 83 | ||||||
| XCIV. | XCIV | 83 | ||||||
| XCV. | XCV | 84 | ||||||
| XCVI. | XCVI | 84 | ||||||
| XCVII. | XCVII | 85 | ||||||
| XCVIII. | XCVIII | 85 | ||||||
| XCIX. | XCIX | 86 | ||||||
| C. | C | 86 | ||||||
| CI. | CI | 87 | ||||||
| CII. | CII | 87 | ||||||
| CIII. | CIII | 88 | ||||||
| CIV. | CIV | 88 | ||||||
| CV. | CV | 89 | ||||||
| CVI. | CVI | 89 | ||||||
| CVII. | CVII | 90 | ||||||
| CVIII. | CVIII | 90 | ||||||
| CIX. | CIX | 91 | ||||||
| CX. | CX | 91 | ||||||
| CXI. | CXI | 92 | ||||||
| CXII. | CXII | 92 | ||||||
| CXIII. | CXIII | 93 | ||||||
| CXIV. | CXIV | 93 | ||||||
| CXV. | CXV | 94 | ||||||
| CXVI. | CXVI | 94 | ||||||
| CXVII. | CXVII | 95 | ||||||
| CXVIII. | CXVIII | 95 | ||||||
| CXIX. | CXIX | 96 | ||||||
| CXX. | CXX | 96 | ||||||
| CXXI. | CXXI | 96 | ||||||
| NOTES TO THE QUATRAINS | 97 | |||||||
| I. | I | 97 | ||||||
| III. | III | 97 | ||||||
| IV. | IV | 97 | ||||||
| VII. | VII | 97 | ||||||
| XIII. | XIII | 98 | ||||||
| XIV. | XIV | 98 | ||||||
| XVII. | XVII | 98 | ||||||
| XVIII. | XVIII | 98 | ||||||
| XX. | XX | 99 | ||||||
| XXIII. | XXIII | 99 | ||||||
| XXIX. | XXIX | 99 | ||||||
| XXXI. | XXXI | 99 | ||||||
| XXXIII. | XXXIII | 100 | ||||||
| XXXVIII, XCIII and XCIV | 100 | |||||||
| XLVIII. | XLVIII | 100 | ||||||
| XLIX. | XLIX | 101 | ||||||
| L. | L | 101 | ||||||
| LVI. | LVI | 101 | ||||||
| LVII, LVIII and LIX | 101 | |||||||
| LXII. | LXII | 102 | ||||||
| LXXVII. | LXXVII | 102 | ||||||
| XC. | XC | 102 | ||||||
| XCIII and XCIV | 102 | |||||||
| XCV. | XCV | 102 | ||||||
| XCVI. | XCVI | 103 | ||||||
| CIII. | CIII | 103 | ||||||
| CIV. | CIV | 103 | ||||||
| CV. | CV | 103 | ||||||
| CVI. | CVI | 103 | ||||||
| CXV, CXVI and CXVII | 103 | |||||||
| CXVIII. | CXVIII | 104 | ||||||
| PRESS AND PERSONAL NOTICES | 105 | |||||||
Colophon
Availability
This digital edition is dedicated to the people of Syria, in the hope that the seeds of rationality will once again find a fertile soil in your country.
This digital edition is dedicated to the people of Syria, hoping that the seeds of reason will once again find fertile ground in your country.
Scans for this book are available from the Internet Archive (copy 1).
Scans of this book can be found on the Internet Archive (copy 1).
Encoding
Revision History
- 2015-11-08 Started.
External References
Corrections
The following corrections have been applied to the text:
The following corrections have been applied to the text:
| Page | Source | Correction |
|---|---|---|
| 11, 32 | enlightment | enlightenment |
| 13, 22 | [Not in source] | ” |
| 31 | disgressing | digressing |
| 38, 69 | , | . |
| 57, 81 | [Not in source] | . |
| 86, 97 | . | , |
| 103 | Ceasar | Caesar |
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