Translating Classical Persian Poetry: Farid al-Din Attar’s “Ilahi-Nama”

One of eight major works that can reli­ably be ascribed to Attar, Ilahi-Nama (Book of God or, some­times, Divine Book) has, accord­ing to Ency­clo­pe­dia Iran­ica, been trans­lated once into Eng­lish, by John A. Boyle in 1976, and once into French, by F. Rouhani in 1961. Four of Attar’s eight works—Ilahi-Nama is part of this sub­set — are mys­ti­cal nar­ra­tives, each one deal­ing with a dif­fer­ent aspect of Sufi thought and expe­ri­ence. Ilahi-Nama’s sub­ject is zuhd, or asceti­cism, which Sufis under­stand to mean a dis­ci­plined stance of detach­ment and indif­fer­ence towards one’s desires so that one will not be ruled by them. This focus on the inte­rior world of human emo­tion dif­fer­en­ti­ates Ilahi-Nama from the other of Attar’s poems with which it is often com­pared, Man­teq al-tayr (Con­fer­ence of the Birds), his best known work in Eng­lish. The two poems are sim­i­lar in form (they are each frame sto­ries) and mes­sage (the key to enlight­en­ment exists within each human being, not in the exter­nal world), but the fram­ing nar­ra­tive of Man­teq al-tayr, an alle­gory about a group of birds in search of a king, is essen­tially a cri­tique of people’s need to find a mas­ter who will lead them on the path to true under­stand­ing. Ilahi-Nama, on the other hand, is about learn­ing to mas­ter oneself.

The fram­ing nar­ra­tive of Ilahi-Nama is about a caliph who asks his six sons what they desire most. The first son says he wants the daugh­ter of the king of the peris (faeries); the sec­ond wants to learn the art of magic; the third son desires Jamshid’s cup because it will reveal to him the secrets of the world; the fourth seeks the water of life; the fifth son cov­ets the ring Solomon used to con­trol demons; and the sixth son wants to mas­ter alchemy. As each son gives his answer, the father tells sto­ries to illus­trate, first, how shal­low and mate­ri­al­is­tic the son is for want­ing what he wants and, sec­ond, how the son should under­stand his desire so he can use it on the path to enlight­en­ment. None of the sons, how­ever, accept their father’s lessons at face value, argu­ing that he has mis­un­der­stood their desires and that the lessons he wants them to learn, there­fore, are mis­guided. When the father tells his first son what has come to be known as “The Tale of Mar­juma,” for exam­ple — about a beau­ti­ful and right­eous woman who, after her hus­band leaves on pil­grim­age to Mecca, must fend off a series of men who are so over­come with lust when they glimpse her beauty that they will stop at noth­ing to have her — the son accuses his father of want­ing to elim­i­nate sex. “God for­bid[!]” the father replies, explain­ing that “The Tale of Mar­juma” illus­trates how sex, prop­erly com­pre­hended and entered into, is a first step on the path to enlightenment:

But when your desire achieves apoth­e­o­sis,
sex gives birth to a love with­out lim­its;
and when this love is pushed by pas­sion to the edge
of its strength, spir­i­tual love emerges; and when
spir­i­tual love can grow no fur­ther, your soul
will van­ish into the Beloved’s end­less­ness. (My translation)

Given that the sur­face of the nar­ra­tive in “The Tale of Mar­juma” feels more like a Perils-of-Pauline-type story in which the depraved and debauched men get their come­up­pance than one about the spir­i­tual nature of sex­u­al­ity, the son’s mis­read­ing of the tale is an easy one to fall into. Such a read­ing, how­ever, fails to account for, among other things, the fact that not all the men who try to pos­sess the woman give in to their desires with­out a strug­gle. They are, in other words, nei­ther evil nor merely slaves to their desires; they are human and flawed and, more to the point, they are, in the end, able and will­ing to repent. Indeed, they must repent, for God has pun­ished them with a paral­y­sis from which — in an irony that is at the core of the story’s mean­ing — they can be healed only by con­fess­ing to the woman every­thing they did to her. Con­tinue read­ing

A New Covenant

They say it’s a shame we didn’t do it
when we should have, that prob­a­bly you’ll need it
later in life, when it’s more com­pli­cated,
more painful and, worse, you’ll remem­ber it.

They say women won’t want you, that you’ll not
for­give us, ever, espe­cially me, and that
the Jews who’ve died for what it means to be cut
will have died in vain because we left you complete.

And I know I can’t not bur­den you with that.
You have to, have to, res­onate with what
your body would have meant to all that hate,
and you will — but sit­ting here alone tonight,

my ampu­tated life aching anew,
I’m grate­ful for all that’s merely whole in you.

Richard Jeffrey Newman on The Power of Poetry

This past Sat­ur­day, my col­league and friend Mar­cia McNair inter­viewed me about my book of poems, The Silence Of Men, on her BlogTalk Radio show, The Power of Poetry. I hope you’ll give a listen.

Mar­cia is a per­cep­tive reader and won­der­ful inter­viewer and her ques­tions led me to see things in my poetry that I hadn’t seen before. My favorite part of the con­ver­sa­tion was about the poem called “Work­ing The Dot­ted Line,” which tells the story of the first time an old girl­friend and I had sex, and she was a vir­gin. What I liked best about Marcia’s read­ing of this piece was her notic­ing my mother’s pres­ence in the poem and how that started me talk­ing about some­thing I often encounter but have never given much seri­ous thought. Most of the men I know, even as adults, are deeply uncom­fort­able with their mother’s sex­u­al­ity, and I don’t under­stand it. Or, to be more accu­rate, while I under­stand intel­lec­tu­ally, I don’t get it emo­tion­ally. As well, they often it pro­foundly dis­turb­ing that I am not made uncom­fort­able not just by the idea of my mother as a sex­ual being, but by the fact that, when I was grow­ing up, I knew – that she made no effort to hide the fact (though she cer­tainly did not rub it in my face either) – that she had sex­ual rela­tion­ships with at least some of the men she dated. I even knew that my mother would occa­sion­ally go to bars, or danc­ing, where men would try to pick her up, or where she might try to pick some­one up her­self, and it didn’t bother me. Indeed, it seemed to me per­fectly nat­ural. Why wouldn’t my mother, who was in her 30s at the time, go out and have a good time, and do things that other sin­gle 30-year-old women did when they social­ized? My mother has been a sin­gle woman since I was around 12 years old, and I have always known that she had a sex life. More to the point, I have never expected her not to have one or to keep it hid­den from me. I met all, or at least most (as far as I know), of the men she dated when I was grow­ing up, and it never seemed strange to me or wrong or awk­ward that she should have men in her life or that I should know she was hav­ing sex with them. (Though it was often, I think, awk­ward for them.) I don’t really have much else to say about this for now, but it is some­thing I want to write about, some­thing I had never really thought to write about until Mar­cia brought it up. Here is the poem:

Work­ing The Dot­ted Line

I don’t remem­ber what vaca­tion
I was home for, or how Beth
man­aged to be in New York
on the one day we’d have
the apart­ment to our­selves,
but I think I recall
my mother’s hang­ing crys­tals
scat­ter­ing the after­noon sun­light
in small rain­bows that shim­mied
on the walls and on our skin,
and I can still see Beth stretch­ing
ner­vous along the length
of the daybed’s mat­tress,
and my fin­gers trac­ing
the ridges of her ribs
as she tugged at my erec­tion.
I’m ready. Let’s do it!

It was her first time, not mine,
but it was my first con­dom,
and I’d for­got­ten to read the direc­tions,
so I stood there grow­ing soft,
squint­ing at the print on the box
telling me the step-by-step
I needed to learn
was on the inside.
I ripped the card­board open
and sat read­ing on the bed’s edge,
thumb­ing the foil-packed
lubri­cated cir­cle,
try­ing to visu­al­ize
what I had to do.
Beth reached into my lap
to ready me again,
but when I tore along the dot­ted line,
our pro­tec­tion, like a gold­fish
taken by hand from its bowl,
slipped from my grasp
and landed under the desk
my mother sat at
when she paid the bills.
When I picked it up,
it was cov­ered with the dust
and small par­ti­cles of dirt
that set­tle daily into all our lives,
so I didn’t put the next one on
till I was kneel­ing hard
between Beth’s open legs.
She raised her­self on her elbows,
smil­ing that the sec­ond skin
we needed to keep us safe
should make me so clumsy,
but once I let go
of what the instruc­tions called
the reser­voir tip — I thought
of the dams hold­ing water back
in the moun­tains near where she lived
and what would hap­pen if they broke—
her smile dis­ap­peared
and bunch­ing the sheet beneath her
into her fists, she lifted
her butt onto the pil­low
we’d heard would make things easier.

I bent for a quick look
at where I had to go
and climbed up onto her,
try­ing with one hand
to be grace­ful and accu­rate
and with the other
to bal­ance over her
with­out falling.
At her first gri­mace
I pulled back. No!
She shook her head, eyes
clamped shut and then
star­ing wide, her voice
a whis­per through clenched teeth,
Just do it! Get it over with!

So I entered her again, try­ing
from the tight­ness in her face
to gauge how hard not to push,
but when she cried out any­way,
I left her body one more time
and crouched over her,
my latex-covered penis
nos­ing down­ward
towards her navel,
and I placed my palms
against her cheeks,
I can­not hurt you like this!

Look, it’s going to hurt, she said.
There’s no other way.
And I’ve cho­sen you!

And since I wanted so much to be her choice,
I kissed her eye­lids and her mouth,
and with my eyes buried
in the hol­low of her neck
moved slowly in
till I felt her flesh
stop giv­ing way. Then,
with one arm around her rib cage
and the other around her head,
hold­ing her tight against my chest,
I pulled down and thrust up
in a sin­gle motion I breathed through
like I was lift­ing heavy boxes.
She screamed into the mus­cle
just above my col­lar bone,
bit deep into my flesh,
and, as she bled onto me,
I bled.

We said noth­ing after­wards.
We didn’t cud­dle
or smile at each other as we dressed
or walk hand in hand
to the train that took her home;
and I did not ask her
what her silence meant,
nor she mine, but if she had,
I would’ve told her this:
My word­less­ness was shame.
I’d no idea how not to hurt her;
and I would’ve told her
I wanted it to do over,
which is what I’d tell her even now.

I Know I’ve Had Orgasms That Changed Me

A friend of mine who does not like jazz – espe­cially any­thing that has a sax­o­phone in it – told me once about a con­ver­sa­tion she and her ex-husband, a seri­ous jazz-lover, had over din­ner with a cou­ple, the male half of which also loved jazz, while the female half felt sim­i­larly to my friend. This sec­ond woman defined her dis­like by say­ing some­thing along the lines of, “I don’t need to sit and lis­ten to a bunch of men mas­tur­bat­ing,” a ref­er­ence both to the empha­sis in jazz on the impro­vised solo and to the fact that most jazz musi­cians – or maybe most well-known jazz musi­cians – seem to be men. My friend said she felt an imme­di­ate click of right­ness when her din­ner guest made this state­ment, which led to a long dis­cus­sion about the com­par­i­son between music and sex, between impro­vi­sa­tion and solo sex – though, of course, jazz impro­vi­sa­tion is not usu­ally done in soli­tude. I have writ­ten else­where about the con­nec­tion I made early on in my own sex­ual awak­en­ing between the orches­trat­ing of sex­ual plea­sure dur­ing love­mak­ing and music, but what my friend’s story made me think about was how, say, a cer­tain kind of jazz solo, where the musi­cian explores sub­tle nuances of melody and har­mony, or the var­i­ous ways in which you can slice up a beat to cre­ate dif­fer­ent rhyth­mic tex­tures, cor­re­sponds to the kind of mas­tur­ba­tion in which you use the plea­sure you are giv­ing your­self to explore your­self, either through the fan­tasies that arise while you mas­tur­bate or through the dif­fer­ent kinds of aware­ness your solo love­mak­ing gives you of your own body; and then I thought about how rock solos or blues solos or the large solo con­certs that Keith Jar­rett once gave all have an ana­log in mas­tur­ba­tion, from the kind that is just a release of sex­ual ten­sion to the kind that is an affir­ma­tion in deep sad­ness and/or joy – and/or the entire range of emo­tions it is pos­si­ble to feel dur­ing sex, which means pretty much all the emo­tions of which human beings are capa­ble – of the fact that you are alive, which for me is what defines the sound of the blues, to the kind that is large and com­plexly moti­vated and that you may never fully understand.

Mas­tur­ba­tion is, as all sex is, a work­ing through of who we are and how we feel about our­selves, of what we wish for, of what we wish to avoid, of the his­tory of our bod­ies, of every­thing that makes us human in the capac­ity of our bod­ies to expe­ri­ence that human­ity; and there is a way in which sex is the cre­ation of a sym­bol of that human­ity: in the plea­sures we move through on our way to orgasm, not because orgasm is the only and nec­es­sary goal of sex – though in mas­tur­ba­tion orgasm usu­ally is the point – but because each orgasm, whether we are con­scious of it or not, is some­thing to which we have to give mean­ing, and mean­ing requires his­tory, not only the spe­cific his­tory of the sen­sa­tions that brought you to this par­tic­u­lar orgasm, but the larger per­sonal and cul­tural his­tory that each of those sen­sa­tions taps into. I know I’ve had orgasms that changed me. Some were soli­tary and some were shared, but all of them cap­tured a truth about myself that I needed to face if I was going to grow, sex­u­ally and otherwise.

This sym­bolic aspect of sex – which may or may not be an accu­rate way of talk­ing about these things, but which makes sense to me – reminds me as well of some­thing I read a long time ago in Suzanne Langer’s book, Feel­ing and Form about how music is the sym­bolic rep­re­sen­ta­tion of the process of human emo­tion and that it is this sym­bol which the com­poser cre­ates on the page and that the per­former plays into exis­tence when he or she per­forms; and so it occurs to me that sex, solo or oth­er­wise, is the play­ing into exis­tence of that part of our­selves that is wait­ing to become, and some­times we will under­stand what we are becom­ing in and through sex, and some­times sex is what opens us up to the fact that this under­stand­ing is what we need to find.

So I am won­der­ing: What have peo­ple out there under­stood? What have they found? Which are the orgasms that have changed you?

Cross posted on Alas.