Safar Nameh, Persian Pictures: A Book Of TravelBell, Gertrude Lowthian
Science
Safar Nameh, Persian Pictures: A Book Of Travel
Bell, Gertrude Lowthian
Iran -- Description and travel
The one really useful piece of knowledge he possessed had not been
taught him at the Madrasseh--he had picked up French by himself, he
told me. I could have wished that he had picked it up in a somewhat
less fragmentary condition, for his translations did but little to
define the meaning of the original Persian. We read some of Hafiz
together, but the Sheikh had only one gender at his disposal, and the
poet’s impassioned descriptions of his mistresses were always conveyed
to me in the masculine. ‘Boucles de cheveux’ seemed at first a strange
beauty in a lady, but custom, the leveller of sensations, brought me
to accept without question even this Gorgon-like adornment. The Sheikh
took a particular pleasure in the more philosophical verses. Over these
I would puzzle for long hours, and in all innocence arrive at the
conclusion that some anecdote of angels, or what not, appertaining,
doubtless, to the Mohammedan religion, was related in them. The Sheikh
would then proceed to annotate them in halting French, pointing out
that a pun was contained in every rhyme, that half the words bore at
the smallest computation two or three different meanings, and that
therefore the lines might be done into several English versions, each
with an entirely different significance, and each an equally truthful
rendering of the Persian. At this my brain would begin to whirl. I
was unable to deal with the confusion of difficulties among which the
Sheikh Hassan was delightedly battling; it was enough for me if I could
seize some of the beauty which lay like a sheath about the poems, the
delicate, exquisite rhythm of the love-songs, the recurrent music of
the rhyme, and the noble swing of the refrains. I received and admired
their proud stoicism as it stood written: women were women and wine
red wine for me, the cup-bearer was the person whose advent was most
eagerly to be greeted; roses and nightingales, soft winds and blooming
gardens, were all part of a beautiful imaginative world, and fit
setting for a poet’s dreams.
But this was wilful stupidity. If I had listened to the wisdom of
Sheikh Hassan, I should have realized that we were in the midst
of sublime abstractions, and that the most rigid morality and the
strictest abstinence were inculcated by those glowing lines. In
practice, however, I had the poets themselves on my side; the days
of Hafiz sped merrily, if tradition has not belied him, and the last
prayer of the Tent-Maker was that he might be buried in a rose-garden,
where the scented petals would fall softly upon his head and remind him
after his death of the joys he had loved on earth.
Were these things also abstractions?
Public-domain text, read in full here on John Shaqi.
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