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Samuel Jordan Center for Persian Studies and Culture

www.dabirjournal.org

ISSN: 2470-4040

No.7.2020Digital Archive of Brief notes & Iran Review

Special Issue: Hellenism and Iran

xšnaoθrahe ahurahe mazdåDetail from above the entrance of Tehran’s fĳ ire temple, 1286š/1917–18. Photo by © Shervin Farridnejad

The Digital Archive of Brief Notes & Iran Review (DABIR) ISSN: 2470-4040www.dabirjournal.org

Samuel Jordan Center for Persian Studies and CultureUniversity of California, Irvine1st Floor Humanities GatewayIrvine, CA 92697-3370

Editor-in-ChiefTouraj Daryaee (University of California, Irvine)

EditorsParsa Daneshmand (Oxford University)Shervin Farridnejad (Freie Universität Berlin/Österreichische Akademie der Wissenschaften, Wien)Judith A. Lerner (ISAW NYU)

Book Review EditorShervin Farridnejad (Freie Universität Berlin/Österreichische Akademie der Wissenschaften, Wien) Advisory BoardSamra Azarnouche (École pratique des hautes études); Dominic P. Brookshaw (Oxford University); Matthew Canepa (University of Minnesota); Ashk Dahlén (Uppsala University); Peyvand Firouzeh (Cambridge Univer-sity); Leonardo Gregoratti (Durham University); Frantz Grenet (Collège de France); Wouter F.M. Henkel-man (École Pratique des Hautes Études); Rasoul Jafarian (Tehran University); Nasir al-Ka‘abi (University of Kufa); Andromache Karanika (UC Irvine); Agnes Korn (CNRS, UMR Mondes Iranien et Indien); Lloyd Llewellyn-Jones (University of Edinburgh); Jason Mokhtarain (University of Indiana); Ali Mousavi (UC Irvine); Mahmoud Omidsalar (CSU Los Angeles); Antonio Panaino (University of Bologna); Alka Patel (UC Irvine); Richard Payne (University of Chicago); Khodadad Rezakhani (History, UCLA); Vesta Sarkhosh Curtis (British Museum); M. Rahim Shayegan (UCLA); Rolf Strootman (Utrecht University); Giusto Traina (University of Paris-Sorbonne); Mohsen Zakeri (University of Göttingen)

Copy Editor: Philip GrantLogo design by Charles LiLayout and typesetting by Kourosh Beighpour

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Contents

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1Articles1 Domenico Agostini: On Jerusalem and Luhrāsp: A Closer Look2 Daryoosh Akbarzadeh: Collapse of Sasanian Empire3 Kiumars Alizadeh: The earliest Persians in Iran toponyms and Persian ethnicity4 Elshad Bagirow: Sassanid toreutics discovered in Shemakha, Azerbaijan as artistic metalwork

in the art of Sasanian Iran5 Majid Daneshgar: An Old Persian-Malay Anthology of Poems from Aceh6 Morteza Djamali, Nicolas Faucherre: Sasanian architecture as viewed by the 19th century

French architect Pascal-Xavier Coste7 Shervin Farridnejad: Cow Sacrifĳice and the Hataria’s Dedicatory Inscription at the Zoroastrian

Shrine of Bānū-Pārs8 Hasmik C. Kirakosian: New Persian Pahlawān9 Khodadad Rezakhani: Notes on the Pahlavi Archives I: Finding *Haspīn-raz and the Geography

of the Tabarestan Archive10 Yusef Saadat: Contributions to Middle Persian lexicography11 Diego M. Santos; Marcos Albino: Mittelpersisch rōzag ‘Fasten’12 Ehsan Shavarebi; Sajad Amiri Bavandpour: Temple of Anahid and Martyrdom of Barshebya

Special Issue: Hellenism and Iran13 Jake Nabel: Exemplary History and Arsacid Genealogy14 Marek Jan Olbrycht: Andragoras, a Seleukid Governor of Parthia-Hyrkania, and his Coinage 15 Rolf Strootman: Hellenism and Persianism in the East

Reviews16 Chiara Barbati: Review of Benkato, Adam. Āzandnāmē. An Edition and Literary-Critical Study

of the Manichaean-Sogdian Parable-Book. Beiträge Zur Iranistik 42. Wiesbaden: Reichert Verlag, 2017. 216 p., 42 images, ISBN: 9783954902361.

17 Majid Daneshgar: Translation of Persian and Malay Literary Works in Malaysia and Iran18 Yaser Malekzadeh: Review of Ghafouri, Farzin. Sanǧeš-e manābeʿ-e tārīḫī-ye šāhnāme dar

pādšāhī-ye ḫosrō anūšīravān [The Evaluation of Historical Sources of Shāhnāme in the Reign of Khusraw Anūshīravān]. Tehran, Mīrās̱-e Maktūb. 2018. 577+17 pp. ISBN 9786002031310.

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© Samuel Jordan Center for Persian Studies & Culture University of California, Irvine

No.7.2020Digital Archive of Brief notes & Iran Review

ISSN: 2470 - 4040

Special Issue: Hellenism and Iran

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2020, No. 7ISSN: 2470 - 4040

© Samuel Jordan Center for Persian Studies and Culture, University of California, Irvine

An Old Persian-Malay Anthology of Poems from Aceh

Majid Daneshgar (Albert-Ludwigs-Universität Freiburg)

This essay is about a rare and old anthology (jung) of Persian poems (including Arabic and Malay phrases) originating from Aceh.1 Only a few scholars have superfĳicially touched this manuscript, their fĳindings either incomplete or incorrect, and they did not provide a comprehensive analysis of the work. Building on my research using the oldest manuscripts and most precise works possible, I provide readers with a new edition of the original text s as well as (for the fĳirst time) an English translation of both Persian and Malay translations along with short commentaries.

The AnthologyWhile examining various manuscripts in the Leiden University Library, I came across Or.7056, entitled

“Mystical Verses in Persian and Arabic, with Malay Interlinear Translation” (Fig. 1). Christiaan Snouck Hurgronje (d. 1936) became acquainted with this source in the late nineteenth century. According to Hurgronje’s pencil note on top of folio 3, this manuscript was found in Lam Pisang in Aceh, in 1896. It includes thirteen yellowish folios, “16 x 11 cm”2, made of tree-bark paper (dluwang/daluang).

1- I thank Henri Chambert-Loir, Edwin P. Wieringa and Peter G. Riddell for reading the earliest drafts of this paper and generously providing me with their helpful comments. Likewise, Chambert-Loir kindly paid attention to my translation and transliterations of Malay texts, for which I am really grateful. All errors are mine.

2- See: Teuku Iskandar, Catalogue of Malay, Minangkabau, and South Sumatran manuscripts in the Netherlands (Leiden: Documentatiebureau Islam-Christ endom, 1999), 373.

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Fig. 1. From left to right: folios: 6, 9, 11, Or.7056, Leiden University Library

Review of the literature shows that Alessandro Bausani (d. 1988) is the only recent scholar to have examined it, in 1968. Bausani was fĳirst and foremost known as an Iranologist as he was holding the “Chair of Persian Studies in the Istituto Universitario Orientale di Napoli from 1956 to 1974.”3 Indeed, his expertise in and familiarity with Persian and Arabic was crucial in stimulating him to look at the manuscript. He was informed by Professor Drewes about the Persian nature of Or.7056 and Or.1666 in the Leiden University Library, after which he requested a photocopy of the text. His examination of Or.7056 was published in Italian in the Annali of the Instituto Orientale di Napoli.4 According to him, the manuscript is rather old (‘piuttosto antico’).5 I consider its date in the following discussion. Bausani was able to identify the origin of only a few verses, couplets, or poems in the manuscript. He states that the main parts of the anthology are said to be the verses (abyāt) of Rūmī (d. c. 1273), and the rest of the identifĳiable verses belong to Abū Tammām (d. c. 845), Saʿdī (d. c. 1291), and Khayyām (d. c. 1131), an assumption which was taken for granted by other scholars.6 Earlier studies presented a selective synopsis of Bausani’s examination in the Malay language without further investigation of the manuscript, nor of

3- Heshmat Moayyad, “Obituary: Alessandro Bausani (1921–1988),” Bahá’í Studies Review 10 (2001), 167–170.4- Alessandro Bausani, “Note su una antologia inedita di versi mist ici Persiani con versione interlineare Malese” Annali dell’Ist .

Univ. Orientale di Napoli 18 (1968), 39–66. Bausani’s article is divided into four parts: (a) a short introduct ion; (b) Persian edition and Malay transliteration of the poems along with short commentaries; (c) fĳ inal commentary; and (d) a Malay-Italian glossary.

5- Ibid.6- See: Teuku Iskandar, Kesusast eraan Klasik Melayu Sepanjang Abad (Jakarta: Penerbit Libra Jakarta, 1996), 316–319; Claude

Guillot, “La Perse et le monde Malais: Échanges commerciaux et intellect uels,” Archipel 68/1 (2004), 159–192; A.C.S. Peacock, “Notes on Some Persian Documents from Early Modern Southeast Asia,” SEJARAH: Journal of the Department of Hist ory (Univ. of Malaya, Kuala Lumpur) 27/1 (2018), 81–97.

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the accuracy of the identifĳication of both the poems and Bausani’s claims.7 Some, for example, wrongly referred to Bausani regarding a point that was never expressed categorically by him.8 The only exception is Vladimir Braginsky who has, in the light of Bausani’s essay, analyzed a small part of the anthology and concluded that “a long poetical excerpt [was] mistakenly ascribed to Jalāl al-Dīn Rūmī.”9

However, as will be shown, the Bausani’s analysis—who of course deserves a round of applause for his important contribution to the fĳield—is not accurate; but he did forge the path for the next generation of readers to fĳind out about the origin of other verses, their importance and influence on Malay Islamic literature, and so on and so forth:

Because a precise study of identifĳication would have entailed work not proportional to the importance of the text, which has more to do with Malayology than with Arabic or Iranian studies, I renounced any in-depth research aimed at identifying all fragments of this anthology, restricting myself to highlighting those authors I was more familiar with.10

In contrast to Bausani’s observation that examining the text is more of a task for specialists of Malay than of Arabic or Iranian studies, I would say that its examination requires a knowledge of both the Malay-Indonesian language and Arabic and Persian sources and manuscripts, through which the link and interconnection between the sources and cultures of the core lands of Islam and Southeast Asia become more obvious.

In this regard, my aim is to provide a new edition of the Persian and Arabic poems and phrases as well as, for the fĳirst time, the Jawi interlinear rendition and their English translation. As most poem excerpts have not so far been attributed to particular poets, I will fĳill this gap, too.

The Manuscript’s Place of Origin and DateThis manuscript includes mark of antiquity, including features not found in classical Malay any more.

It is probable that this manuscript was produced in the sixteenth century. Its date and place of origin need to be discussed. In order to do so, I provide the following remarks:

1. Bausani noticed that the orthography of the manuscript indicates that the Malay translation of the text was influenced by ancient Javanese.11 More precisely it can be observed that the

7- Iskandar, taking earlier literature for granted says: “sebuah sajak Jalal al-Din yang dimasukkan dalam Bungarampai ini ialah sebuah ghazal yang disebut gubahan Mawlana Rumi Metrum ini digunakan oleh Jalal al-Din dalam karya agungnya Diwan”: Ibid., 317.

8- Peacock says: “It contains excerpts from the works of Jalal al-Din Rumi with an interlinear Malay translation.” see ibid, 83. 9- See: Vladimir Braginsky, “Jalinan dan Khazanah Kutipan: Terjemahan dari Bahasa Parsi dalam Kesusast raan Melayu,

Khususnya yang Berkaitan dengan ‘Cerita-Cerita Parsi,” in Sadur: Sejarah Terjemahan di Indonesia dan Malaysia, edited by Henri Chamert-Loir (Jakarta: Gramedia Ecole Francaise de Extreme Orient, 2009), 72. He clearly found that those sect ion belonged to Fakhr al-Dīn al-ʿIrāqī.

10- “Poiché un lavoro preciso di identifĳ icazione avrebbe comportato un lavoro non proporzionato con l’importanza der test o, che e piu malesiologica che arabist ica o iranist ica, ho rinunciato a una indagine approfondita per la identifĳ icazione di tutti i frammenti dell’antologia limitandomi a indicare gli autori da me piu facilmente riconoscibili,” Bausani, 1968, 41. I thanks Valerio de Vito for helping me to translate this part.

11- Bausani, 1960, 40.

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nasalisation of the sufffĳix “-ku” by means of “ng” is inherited from Old Javanese, where it is the rule,12 or Old Malay, where it is optional.13 For example, we may observe bagingku for bagiku (fragment II), ertingku for ertiku (fragment III), hatingku for hatiku (fragment III), peringku for periku (fragment III), rupangku for rupaku (fragment III), namangku for namaku (fragment III), padangku for padaku (fragment III), telingangku for telingaku (fragment IX), adangku for adaku (three times in fragment III) and cahayangku for cahayaku (twice in fragment III). However, the occurrences of some of these words without nasalisation (without ng) are found in a few places: adaku (fragment XIII), rupaku (fragments II and III), padaku (fragment XIII), periku (fragment XVII), and hatiku (fragment XXII). Interestingly, these words are used without nasalisation in Hamzah Fansuri’s treatises held in the Leiden University Library. For instance, on pages 43 and 61 of his Asrār al-ʿĀrifīn and 115 of his al-Muntahī (both from Or. 7291) respectively, the term cahayaku (جاھیااک), padaku (ڤـداک), and adaku (ادک) may be seen. Thus, the scribe might have produced Or.7056 when the old spelling, still usual, was on the way to becoming obsolete.

2. The anthology was written on a particular type of paper, called dluwang/daluang, which is yellow and strong. Such paper was widely produced and used in Java and it is said that early Javanese manuscripts were written on dluwang papers.14 In addition, another Persian-Malay manuscript in the Leiden University Library (i.e. Or.1666), also examined by Bausani, was written on daluang. This manuscript was dated in 990/1582.15

3. Given that Lam Pisang was the home of Or.7056, this may suggest that it was produced in Aceh.

4. The relatively literal and appropriate content of the text suggests that the author (or translator) was somewhat familiar with Persian poetic and mystical literature, meaning it must have been produced before the decline of Persian in the Malay-Indonesian world in the seventeenth century.16

5. The mystical nature of the work suggests that it was clearly produced by a pantheistic scholar for the sake of the Indonesian Wujudiyyah school, the one also acquainted with Fansuri in the sixteenth century.17

12- E. M. Uhlenbeck, “Personal Pronouns and Pronominal Sufffĳ ixes in Old Javanese,” Lingua 21 (1968), 466–482.13- See: Waruno Mahdi, “Old Malay” in The Aust ronesian Languages of Asia and Madagascar, edited by Alexander Adelaar and

Nikolaus P. Himmelmann (New York and London: Routledge, 2005), 182–201.14- Uli Kozok and Waruno Wahdi, “Tanjung Tanah Manuscript TK 214” in the 14th Century Malay Code of Laws edited by Uli Kozok

(Singapore: ISEAS Publishing, 2015), 50–161.15- Alessandro Bausani, “Un Manoscritto Persiano-Malese di Grammatica Arabe del XVI Secolo,” Annali dell’Ist ituto Orientale

di Napoli 19/29 (1969), 69–98.16- Ibid.17- “Tutti o quasi i versi della nost ra piccolo antologia sono di contenuto o fortemente panteist ico o almeno interpretabili

come pantheist ic e come tali certamente interpretati dal possessore e traduttore; si tratta quindi con molta probabiltà di un prodotto marginale di quella scuola indonesiana di wudjudijjah già da tempo st udiata”: Bausani, 1968, 40. About the controversy around the death date of Fansuri see: Claude Guillot, and Ludvik Kalus, “La st èle funéraire de Hamzah Fansuri,” Archipel 60/4 (2000), 3–24; Vladimir I. Braginsky, “On the Copy of Hamzah Fansuri’s Epitaph Published by C. Guillot & L. Kalus,” Archipel 62/1 (2001), 21–33. Also, how this anthology might contribute to the debate on Fansuri’s lifespan is the subject of a forthcoming article.

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6. Or.7056 includes the verses of famous Persian poets whose works and even some phrases were clearly cited in Fansuri’s prose works Sharāb al-ʿĀshiqīn, Asrār al-ʿĀrifīn, al-Muntahī and poetic compositions. Among them, we can name Khayyām (d. c. 1131), ʿAṭṭār (d. c. 1221), Rūmī (d. 1273), Saʿdī (d. c. 1291), Fakhr al-Dīn al-ʿIrāqī (d. c. 1289), and Shāh Niʿmatullāh Walī (d. c. 1431).

7. The presentation of Or.7056 to some extent resembles that of Fansuri’s works, and this might suggest to us that such works were produced in the Archipelago in the same period. To clarify this, the following comparisons between Or.7056 and Fansuri’s works may be made:

(a) The Javanese translation of the Malay al-Muntahī, Ms. 5716(2) in the Leiden University Library, contains verses which are not found in its other versions. One of the main verses is that of the Persian poet Shaykh Fakhr al-Dīn Ibrāhīm al-Hamadanī, known as al-ʿIrāqī in his Lamaʿāt (‘Divine Flashes’):

ẓaharat shamsuhā fa-ghayyibt-u/fa ghibtu fī-hā | Fa-idhā ashraqat wa dhāka shurūqī18

According to al-Attas’ edition of Fansuri’s al-Muntahī, the term shamsuhā/شمسھا (‘Her sun’) is wrongly read as shamsun/شمٌس (the Sun) in the Javanese text of Ms. 5716(2). This bayt (couplet), including the same error, is likewise seen in Or.7056. However, not only was the poet not recognized by earlier scholars, but this error was also not identifĳied by them:

ẓaharat shamsun fa ghayyibt/fa ghibtu fī-hā | Fa-idhā ashraqat wa fa-dhakā shurūqī

As can be seen in the table below, in this verse the Malay translation of the bayt in Or.7056 is closer to the explanation of ʿIrāqī himself than the translation of al-Attas. In one of the oldest known manuscripts of ʿIrāqī’s Lamaʿāt, Ms. 329, kept in the Parliament Library of Iran, dated 1089/1678, the term shamsuhā is interpreted without pronoun (i.e., without hā):

Chon āftab dar āyina tābad [khod] rā āftab pendārad … va dar ḥaqīqat ūʾī-e ū āftab ast che ẓuhūr oū rā ast19

Not only is this translation of the sun (شمس) similar to the Or.7056 rendition (متھار), but also relevant Persian commentary of the verse in Ms. 329 is clearly compatible with the Malay rendition:

MS. 329. ẓāhir shud vojūd-e āftāb-e ḥaqīqī, pas ghayib shodam man dar ān […] kamā qāla al-Shaykh al-Maghribī, ẓuhūr-e tu bi-man ast va vojūd-e man az tu.

“When the real Sun appears, then I disappear in it […] [as Shaykh al-Maghribī said:] your [sun]rise is mine, and my being is subject to your being.”

Or.

7056. kelihatan [ki?] matahari maka lenyap aku dalamnya… maka jang terbit matahari itulah terbitku.

“When the sun appears, then I disappear in it… when the sun rises, that is my rising.”

18- Ms. 329 Parliament Library of Iran, f l. 246. 19- Ibid.

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(b) Pages 28–29 of Or. 7291(1) in Leiden University Library include verses by the Persian poet Muḥammad Shīrīn Maghribī (d. c. 1407), known as al-Maghribī:

Chon ʿazm-e tamāshā-yi jahān kard ze khalvat|āmad be-tamāshā-yi jahān ʿeyn-e jahān shod […] har naqsh ke ū khāst be-dān naqsh bar-āmad|pūshid hamān naqsh be-naqshi ʿayān shod

Apart from inaccurate transliterations of this verse by Doorenbos,20 al-Attas21 and Brakel,22 the point which is also overlooked is that this verse, along with other verses of al-Maghribī, is obviously to be seen in Or.7056. However, and as far as I found, in the manuscripts and early printed volumes of the Dīvān-e Shams-e Maghribī (the collection of Maghribī’s poems), the verse reads as follows:

Chon ʿazm-e tamāshā-yi jahān kard ze khalvat| āmad be-tamāshā-yi jahān jomla jahān shod23

As emphasized, in all Persian manuscripts the term jomla/جملھ (lit. “entirely”) is seen, which in Hamzah Fansuri’s Asrār al-ʿĀrifīn (7291(I)) as well as in Or. 7056, is replaced with ʿeyn-e/عین (lit. “homogeneously”). To have a better idea about the similarity of Fansuri’s translation to those of Or.7056, I compare them in the original language and script:

ManuscriptNumber

Or. 7291(I) Asrār al-ʿĀrifīn (pp. 28–29) Or. 7056

Persian Phrase چون عزم تماشای جھان کرد زخلوت،آمد بتماشای جھان عین جھان شد

چون عزم تماشای جھان کرد خلوت،آمد بتماشای جھان عین جھان شد

Jawi Phrase تتکال بربیچارا ھندق ملیھت عالم در ڤـ د رومھ یڠ سوڽ،

داتڠ ملیھت روڤ عالم منجادی سمات عالم

تتکال برکھندق ای منجالن عالم؛ای جادای ایت عالم منجالن خلوت ڤـد در ای داتڠ

سمات عالمPersian Phrase ھر نقش کھ او خواست بدان نقش بر آمد،

پوشید ھمان نقش بد نقش عیان شدھر نقش کھ او خواست بدان نقش برآمد،پوشیده ھمان نقش و بدان نقش عیان شد

Jawi Phrase بارڠ بارڠ تولس یڠ دکھندق کیـڽ دڠـن تولس ایت داتڠ،ترتوتوڤ دڠن تولس ایت جوک پات لھاتن

بارڠ تولس یڠ دکنھدقڽ ای جوک دڠن تولس داتڠ؛ مڤون ڤون تولس ایت دان دعدن تولس ایت جاد پات

کلھاتن

(c) Asrār al-ʿĀrifīn in Or.7291(I) includes the section “faʿlam ʿ ilmu itu hakikat Muhammad al-Nabi” (p. 40), related to the essence of Muhammad’s reality. Besides using Qur’anic verses and prophetic statements—whose authenticity is debated—the way Fansuri explains and translates that the

20- J. Doorenbos, De Geschriften van Hamzah Pansoeri. Leiden: Batteljee & Terpst ra (Ph.D. Thesis, Leiden State University, 1933), 131.

21- M. N. al-Attas, The Myst icism of Ḥamzah Fanṣūrī (Kuala Lumpur: University of Malaya Press, 1970), 245.22- L. F. Brakel, “Persian Inf luence on Malay Literature,” Abr Nahrain 9 (1969), 13.23- Dīvān-e Maghribī. Ms. 138, p. 63; Ms. 2502, p. 46; edited version by Mir-kamālī Khvānsārī, n.d., 40; Maghribī, Dīvan-e

Muḥammad Shirīn Maghribī, edited by Leonardo Luisian (Tehran-London: Muʾassasa Muṭālaʿat-e Islāmī, 1993), 134.

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creation of everything was subject to the creation of the light of Muhammad resembles those in Or.7056, which suggests such works might have been produced at a specifĳic period of time: Asrār al-ʿĀrifīn, Or. 7291(I), p. 41-42

کارن روح دان نور ایتولھ مک معلومات جادی[...] جک تیاد چھیا محمد ایت تیاد اکن جاد سمست سکلین...سڤرة سبد رسول هللا صلی هللا علیھ و سلم ُکنُت نبیّا وادم بَیَن الماَِء و الطّیِن یعنی ادک دھول دھول نبی تتکاال ایت ادم الک انتار

ایر دان تانھ24...

This bold prophetic statement that says “I [Muhammad] was the very fĳirst Prophet whilst Adam was yet between water and clay”25 is similar to the fĳirst couplet in Or.7056, which says:

انّی َواِن ُکنُت ابُن آَدَم صورة| فَلِی فِیِھ معنًی َشاِھٌد بِأبُوتِی

“Truly in form, I am Adam’s son–and Yet” within Adam himself lies a secret|–my secret– that testifĳies: I am his father!”26

Scholars believe that this Arabic couplet is that widely known as the work of the famous Arab poet, ʿ Umar b. al-Fāriḍ (d. c. 1234);27 it had already influenced Rūmī’s poems on the creation of [the light] of Muhammad28 – as such he translated it into Persian in his Masnavī:

گر بصورت من ز آدم زاده ام | من بھ معنی جد جد افتاده ام... | پس ز من زایید در معنی پدر| پس ز میوه زاد در معنی شجر

If in appearance I am born of Adam| in reality I am the forefather of (every) forefather…| Therefore, in reality the Father (Adam) was born of me| therefore in reality the tree was born of the fruit29

24- As long as Or. 7291(I) is a copy of Fansuri’s work, I will not edit the Malay text, as I am not sure it would be right to do that as al-Attas did, when the original sources are not available.

25- See: al-Attas’ translation, 377.26- My own translation is “[And] If I am the descendant (son) of Adam in the visible world| then I am his ascendant (father)

in the world of reality.” However, Chittick and Wilson’s myst ical English translations of ʿIrāqī are taken into account with minor modifĳ ication. Fakhr al-Dīn ʿ Irāqī, Divine Flashes, trans. and Introduct ion by William C. Chittick and Peter Lamborn Wilson. Preface by Seyyed Hossein Nasr (New York: Paulist Press, 1982), 69.

27- See: Jamāl al-Dīn al-Qāsimī, Tafsīr al-Qāsimī, al-Musammā Mahāsin al-Taʾwīl (Cairo: Dār al-Kutub al-ʿArabī, 1957), 3951.28- See: Murtaḍā Muṭahharī, Khatm-e Nubuwwat (n.p., n.d.), vol. 1, 25; Moḥammad Ḥussein Bayāt, “Chehreh-yi Payāmbar-e Aʿẓam

(s.) dar Masnavī va Muqāyeseh-yi ān bā Dīdgāh-e Ibn ʿArabī”, Pazhūhesh-e Zabān va Adabiyyāt-e Fārsī 13 (1388), 47. Mawlānā ʿAbd al-Salām b. Mashīsh, Riyāḍ al-Raqā iʾq wa Ḥiyāḍ al-Ḥaqā iʾq, ed. Muḥammad b. Muḥammad al-Mahdī al-Tamsamānī (Beirut: Dār al-Kutub al-ʿilmiyya, 2016), 116; Amīr Maḥmud Anvar, “Bādeh-yi Salekān va Sharāb-e ʿĀref,” Dānishkadah-yi Adabiyyāt va ʿUlūm-e Ensāni-yi Dāneshgāh-e Tehrān 1.2/23 (1355/1976), 295–307.Muḥammad Ḥamid, Hā-kadhā takallam Jalāl al-Dīn al-Rūmī (Cairo: Dār ʿIbdāʿ, 2016), 180.

29- This English translation is by R.A. Nicholson.

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Also, [not mentioned by al-Attas] ʿIrāqī narrates his verses on the creation of Muhammad’s light in the Lamaʿāt while referring to this Arabic bayt by Ibn al-Fāriḍ, whose meaning, along with that of Rūmī, is very similar to Or.7056’s and Fansuri’s interpretation of the creation of Muhammad’s light before Adam in his Asrār al-ʿĀrifīn:30

ʿIrāqī’s Lamaʿāt English translation ofʿIrāqī’s Lamaʿāt

English translation of Fansuri’sAsrār al-ʿĀrifīn

الحمد الذي نّور وجھ حبیبھ بتجلیّات الجمال، فتالء النورا،

وابصر فیھ غایات الکمال، فقر بھ سرورا،...،

وآدم لم یکن شیئا مذکورا، وال القلم کاتبا والاللّوح مسطورا31

“Praise belongs to God who made efffulgent the face of His Friend Muhammad with Beauty’s theophanies, that it sparkled with light:beholding therein the far reach of Perfection, fĳilling Him with Joy at the sight. God began with him, […], when Adam was not yet remembered nor the Tablet yet traced by the Pen. …”32

“[…] between the Knower and the Known---that is when the Light of Muhammad (may God bless him and give him peace!) fĳirst ‘separates’ from the Divine Essence. According to one expression It is called the Relational Spirit; and according to another It is called the Universal Intellect; and according to another It is called Light; and according to another It is called Pen; and according to another It is called Tablet.”33

8. Moreover, Or. 7056 begins with a Jawi title “روم موالن literally: “the couplet of Mawlana ,”بیت Rūmī” (in Persian: بیت موالنا رومی”), an epithet which was mostly popular before the eighteenth century, when he became well-known in Persian as “Mawlavī” (34.(مولوی Also, Fansuri’s treatise (p.115, Or.7291), includes the title “موالنا روم” (“Mawlana Rūmī”).

30- Also, there are other phrases in Fansuri’s Asrār al-ʿĀrif īn for which neither Doorenbos nor al-Attas were able to address their Persian parallel. Interest ingly, Shāh Niʿmatullāh Walī’s commentary (sharḥ) on ʿ Irāqī’s Lamaʿāt, includes phrases like “law laka lama khaliqatu’l-aflak” that are exact ly as found in Fansuri’s Asrār al-ʿĀrif īn (p.42). For Shāh Niʿmatullāh Walī’s commentary (sharḥ) on ʿ Irāqī’s Lamaʿāt, see: Ms. 10220 in the Parliament Library of Iran, Tehran, f l.3. Also, the Ms. 5–22304 in Tehran on ʿIrāqī’s Lamaʿāt includes marginal points and notes that are largely similar to Fansuri’s treatises in general and al-Muntahī in particular. This manuscript contains a prophetic tradition “I [Muhammad] was a Prophet whilst Adam was yet between water and clay”, which was also cited by Fansuri. A few names, including Kamāluddīn Fārsī (d. c. 1318), ʿAbdallāh Shaṭṭār (d. c. 1406), and Shaykh Hamza are shown in this manuscript.

31- - See Ms.8134 and Ms.29 in the Parliament Library of Iran; Ms.4922 in the National Library of Iran; However, Ms. PAK–001–1541 in the Ganjbakhsh collect ion does not include this part from the ʿ Irāqī’s Lamaʿāt.

32- The English Translation of Lamaʿāt by Chittick and Wilson; Fakhr al-Dīn ʿIrāqī, Divine Flashes, trans. and Introduct ion by William C. Chittick and Peter Lamborn Wilson. Preface by Seyyed Hossein Nasr (New York: Paulist Press, 1982), 69.

33- Al-Attas, 1970, 376.34- See: Jalāl al-Dīn Muḥammad Mawlavī, Kuliyyāt-e Shams-e Tabrīzī be-enḍemām-e Sharḥ-e Ḥāl-e Mawlavī, ed. Badīʿ al-Zamān

Forūzānfar (Tehran: Amīr Kabīr, 1376/1997). Although in a few commentaries on Rūmī’s Masnavī in the sixteenth century, Rūmī is called “Ḥaḍrat al-Mawlawī” (e.g. in Lubb-e lubāb-e Masnavī), this title became more common during the Qajar period and afterwards.

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9. The themes of poems in Or.7056 are exactly those that are largely found in Fansuri’s works35 and other literary sources influenced by the sixteenth century wujūdiyyah school, covering the goal of human “earthly existence”, God’s immortality, the light of Muhammad, natural wonders (sea and ocean), search for the “water of life”, and more importantly, the metaphorical presence of God in Fansuri’s statements about lover and beloved.

10. The terms (and their spelling) used in this anthology are largely similar to those available manuscripts attributed to Fansuri as well as those phrases that appeared in other sixteenth century-mystical and religious works,36 such as Syurga (Paradise), Maʾ al-Hayat (the Water of Life), Zarah (the Particle),37 Maʿnavi (Spiritual),38 ʿIsa (Masih/Jesus);39 Tanah (soil/earth/clay); Darwisy (Dervish), Matahari (Sun), Zanjabil (Ginger),40 etc.

The Structure of the AnthologyOr.7056’s fĳirst page, not examined by others, includes various geometrical shapes, tables and terms

which had been used for centuries by Malay-Indonesians. For instance, it includes a magic square (jadwal) above which has been written “cincin” (‘the ring’) in Jawi, a term widely used in Malay talismanic-divinatory texts. There is also a drawing of several loops similar to a famous talismanic design called Angka sangga Siti Fatimah (‘Fāṭima’s life-preserving cipher’).41

As mentioned earlier, this is an anthology (jung) of various poets’ couplets, quatrains, and poetic phrases (henceforth: fragments). Such jungs, according to scholars, may include new poems, or phrases by or attributed to famous poets, which might afffect our future studies of Persian literature and its territories.42 This one is no exception, either. The poetic content of Or.7056 is divided into six parts. Each part includes diffferent fragments, separated by the term bayt (lit. Couplet/Poem) written in red ink, which here indicates a new part. Throughout Or.7056, each two hemistiches are separated by means of a red horizontal stroke measuring about a centimetre, and each line ends with one or more red dots. Every page, except the last one, includes fĳive lines from the original texts (in Persian and a few in Arabic) and fĳive lines of Malay interlinear translation.

Edition and TranslationFor the reproduction of the Persian and Jawi texts, I am faithful to the original script of Or.7056, and any

editorial comments, if necessary, will be mentioned in the footnotes. The edition-cum-translation below

35- Also, see: G. W. J. Drewes and L. F. Brakeland, The Poems of Hamzah Fansuri (Bibliotheca Indonesica, Dordrecht, Holland and Cinnaminson, USA: Foris Publications,1986), 36–50.

36- Also see: Syed Muhammad Naquib al-Attas, The Oldest Known Malay Manuscript: A 16th Century Malay Translation of the ʿAqā iʾd of al-Nasaf ī (Kuala Lumpur: University of Malaya, 1988).

37- E.g., See Ms. 7291(I), 44.38- Ms. 2016, f l.15.39- Also see: Doorenbos, 188.40- Ibid, 36.41- On cincin (e.g., cincin Sulayman), Angka sangga Siti Fatimah as well as magic squares (e.g., budūḥ), see: Farouk Yahya, Magic

and Divination in Malay Illust rated Manuscripts (Leiden: Brill, 2016).42- Moḥsen Sharīf ī Ṣohī and Ḥāmed Khātamī-pour, “Ashʿārī Nou-yāfteh dar Jung-e Khaṭṭī-ye 900-e Majlis” (“New Poems Found

in an Anthology; Ms.900 of the Perliment,” Matn-shenāsī-yi Adab-e Fārsī 5/1 (1392/2013), 45–60.

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gives six versions of the text: 1. A copy of the Persian text; 2. a translation of the same; 3. a copy of the Malay text (in Jawi); 4. a transcription of the Malay text into Latin script; 5. A translation of the Malay text; 6. Commentary.

New PartFragment I

a.1. بیت موالن روم2. a.The Couplet of Mawlana Rūmī

a.3. بیت موالن روم

4. a.Bait Maulana Rūmī5. a.The Couplet of Mawlana Rūmī6. See above discussion.

Fragment IIa.1. 43اِنِّی َواِۡن ُکنُت اۡبُن آَدَم ُصۡوَرتِی44

تِی فَلۡی فِۡیِھ َمعناً َشاِھٌد بِأبُوَّ

2. a. Truly in form I am Adam’s son— and yet within Adam himself lies a secret— my secret— that testifĳies: I am his father!

a.3. بھواک جکلو درڤد آنق ادم سکالـڤـون رڤاک جومک بکیـڠـک ڤد حقیقتڽ نایک شکش بھواک بـڤاڽ

4. a. Bahwa aku jikalau daripada anak Adam sekalipun rupaku jua maka bagingku pada hakikatnya naik saksi45 bahwa aku bapanya

5. a. Even though my face is that of a son of Adamin reality I attest that I am his father

6. The poet is Ibn al-Fāriḍ.

Fragment III

a.1. ُکفتَا بَُصۡوَره ار جۡیز46 اوَالِد آَدَمماَز ُرۡوی مرتَبَھۡء بَھََمۡھ حا47 برتََرۡم.

43- This bayt st arts with و in some Persian and Arabic sources.44- This line ends with ةروص in some Persian and Arabic sources.45- Bausani reads it as: “sjaksji”ار چھ ز -46حال -47

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b. ُچوۡن بِنۡکَرم48 َدر آینَھ َعکِس َجَماۡل ُخِوۡیۡشَرم َکۡرَدد ھَم49 ِجھَاۡن بَِحقِیقَۡت ُمَصوَّc. ُخوۡرِشیُد آَسماۡن ظُھُۡوُرۡم َعَجب َمَداۡر

50 َکائنات َکر51 َکۡشُت َمظھََرۡم. َذرَّd. اَرَواِح قُۡدۡس چیس52 نَُموَداِر َمۡعنَیَۡم

اَشبَاِح اِۡنِس چۡیۡسۡت نَِکۡھ َداُر پَیَکَرۡم.e. بَحِر ُمِحۡیط َرۡشَحھۡء اَز فَیُض فَایَُضۡم

نُۡوۡر بَِسۡیِط لَمَعھء اَۡز نُۡوۡر اَۡزھََرۡم.هَِء بُۡوۡد f. اَۡز َعۡرۡش تَا بَفَۡرۡش ھََمھۡء َذرِّ

َرۡم. َدر نُوِر53 آۡفتَاِب ظَِمۡیِر54 ُمنَوَّg. ُرۡوَشۡن َشَوۡد ِز ُرۡوَشنِۡی َذاِت َمۡن ِجھَاۡن

َکۡر55 پَۡرَدهَِء ِصفَاِت ُخۡوۡد اَۡز ھَۡم فُُرۡو َدَرۡم.h. نُۡوَرۡم ِکۡھ اَۡز ظُھُۡوِرَمۡن اَشۡیا ظُھُۡوُریَاۡفۡت

ظَاِھۡر تَۡر اَۡسۡت ھَۡر نَفَۡس اَۡنَواِر اَۡظھََرۡم56i. اَبِۡی57 ِکھۡء ِزۡنَده َکۡشُت اَزۡو ِخۡضَر َجاِوَداۡنآۡن آۡب چۡیسُت قَۡطره اَۡز َحۡوِض َکۡوثََرۡم.

j. َو آۡن َدۡم َمِسۡیَح ھََمھ ُمۡرَد ِزۡنَدۡه َکَرۡد58یَۡک نَفََخھء یۡیست59 اَۡز نَفَِس ُرۡوِح پَۡرَوَرۡم.k. فِي الُجۡملَِة َمۡظھَۡر ھََمھء اَۡشیَاۡسُت َذاِت َمۡن

بَۡل اِۡسم اَۡعظََمۡم بََحۡقیِقَۡت ُچۡو بنَکَرۡم60.l. بَۡحِر ظُھُۡوُر َو بَۡحِر بَطُۡوُن و قَِدۡم بَھَۡم

َدۡر َمۡن بِبِۡیۡن ِکھء َمۡجَمۡع بََحَرۡیِن اَۡکبََرۡم.61

2. a. “Outwardly” he says “I am of Adam’s childrenyet in every way far above him in station.

b. I gaze at the mirror which reveals my beautyand see the universe but an image of that image.

بنگرم -48ھمھ -49ذّرات -50گر -51 چیست -52زیر -53ضمیر -54گر -5556- In some Persian manuscripts of ʿIrāqī’s Lamaʿāt, this bayt is removed. See: Ms. 29, 2; and in some manuscripts, it adds four

more couplets (bayts), which are not found in Or. 7056, too. See: Ms. 329, 242آبی -57آن دم کزو مسیح ھمی مرده زنده کرد -58نفخھ بود -59بنگرم -6061- In contrast to the Persian manuscript Ms. 29, in Or.7056, this bayt (no. 12) is replaced with number 11. Also in Ms.329 it is

removed.

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c. In the paradise of theophany I am the Sun: marvel notthat every atom becomes a vehicle of my manifestation.

d. What are the Holy Spirits? The delegates of my secretand the shapes of men? The vessels of my bodily form.

e. World-encircling Ocean? A drop of my overflowing efffusionPurest Light? But a spark of my illumination.

f. From the Throne to the outstretched carpet of the worldall things are motes in the sun-ray of my illumined mind.

g. The world would shed its darkness in my bright beingif I tore the curtain from my attributes.

h. [No,] I am Light: All things are seen in my unveilingand from moment to moment my radiance is more manifest.

i. What is the water which gave life to undying Khidr?A drop from my Spring of Abundance (Kawthar).

j. And that breath of Christ which brought the dead to life?One breath of my breath, the nurture of Spirits.

k. My essence? the locus of theophany of all the Names ...No. When I look in truth, I am the Greatest Name.

l. The visible and invisible oceans are together.Behold me that I am the assembly of the two greatest oceans.

a .3. کتاڽ جک درڤد آنق ادم سکالـڤـون رڤاک جودرڤد ڤیھق سکل ڤـڠـکت دڠـن سکل بارڠ ڤریـڽ ترتڠـ ک اک درڤداڽ

b. اڤـ بیل کتیک ڤـ د سبالک چرمن ایلق دریکجدیلھ سکل عالم دڠـن حقیقتک در ڤـاکن

c. متھار یـڠ دالڠـت ایت کـپـ تانک جا ڠـن کواندھکنسکل ذّر موجودات جکلو جاد مننجقکن پـ تاک جوکd. سکل پـ او یـڠ سوچ اڤـاکھ62 ین منمننجقکن ارتیڠـ ک جوسکل توبھ مانسی اڤـکھ ایتـڤـ ون ملھراکن رڤاڠـک جوe. الوت یڠ ملڤـ وت دنیا ستیتک درڤد لیڤھ الوت ادڠـ ک جو

چھای یـڠ ترھمڤـ ر سوات کیلت درڤد چھیاڠـ ک یڠ امت برچھایf. درعرش داتـڠ کتوجھ ڤاتل بوم سکلینڽ سوات ذّره جو

دلم چھای متھاری ھتیڠک یڠ دترڠـکینg. تلھ برچھیالھ سکل عالم درڤد ترڠ چھای ادڠک

جک تیری سکل ڤریڠک ایت کچرقکنh. بھو درڤد کپتان چھیاڠک سکلین اشیاڤون برولھ کپتان

امت پات ڤد کتیک چھای کپتانکj. ماء الحیات یڠ دمینم خضر63 درڤداڽ حضرت ھیدڤ ککل ایت

اڤـاکھ ستیتک درڤد حوض کوثرک جو

اڤـکھ؟ -6263- Or. 7056 Shows خضرت

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j. برمول درڤد تیڤ نفس عیسی سکل اورڠ مات جاد ھیدڤسوات تیڤ درڤد نفس پاو یڠ ملھر اکن داک جو

k. ڤد جملھ سکل کپتان سکلین اشیا ادڠک جوتتاڤ جک کتیلک دڠـن حقیقت نماڠک یڠ مھابسر ایتl. الوت یڠ پات دان الوت یڠ تربوڽ سدی بسرت کدواڽ

ڤدڠک تیلک الھم بھو ڤرھمڤونن کدو الوت یڠ مھابسر ایت اک.

4. a. Katanya jika daripada anak Adam sekalipun rupaku juadaripada pihak segala pangkat64 dengan segala barang perinya tertinggi65 aku daripadanya

b. Apabila ketika66 pada sebalik cermin elok dirikujadilah segala alam dengan hakikatku dirupakan.67

c. Matahari yang di langit68 itu kenyataanku, jangan kauindahkansegala zarah maujudat jikalau jadi menunjukkan nyataku juga.

d. Segala nyawa yang suci apakah Ini menunjukkan ertingku jua.Segala tubuh manusia apakah itupun meliharakan rupangku jua.

e. Laut yang meliputi dunia setitik daripada lipah laut adangku juaCahaya yang terhampar suatu kilat daripada cahayangku yang amat bercahaya.

f. Dari arsy datang ketujuh petala bumi sekaliannya suatu zarah juaDalam cahaya matahari hatingku yang diterangkan

g. Telah bercahayalah segala alam daripada terang cahaya adangkujika tirai segala peringku itu kucerukkan69

h. Bahwa daripada kenyataan cahayangku sekalian asyia pun beroleh kenyataanAmat nyata pada ketika cahaya kenyataanku.

i. Maʾ al-hayat yang diminum hadirat (?) daripadannya khadirat hidup kekal ituApakah, setitik daripada haud kawtharku jua.

j. Bermula daripada tiup nafas Isa segala orang mati jadi hidupsuatu tiup daripada nafas nyawa yang meliharakan daku jua.

k. Pada jumlah segala kenyataan sekalian asyya adangku juatetapi jika kutilik dengan hakikat namangku yang mahabesar itu.

l. Laut yang nyata dan laut yang terbunyi sedia beserta keduanyaPadangku tilik olehmu bahwa perhimpunan kedua laut yang mahabesar itu aku.

5. a. Even though my face is that of a son of Adam,in terms of rank, from all aspects, I am superior to him.

b. When I see my beauty in a mirror[it is clear that] the world has been shaped following my being.

64- Bausani reads it as tingkat.65- Bausani reads it as tertinngi.66- Kutilik, as suggest ed by Bausani.67- Perhaps “daripakan”.68- Bausani says “dilangit”, which was the st andard spelling in 1964.69- In BM: koyakkan.

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c. The sun in the sky is my reality, do not pay attentionif all particles manifest my reality.

d. What are sacred spirits? They refer to my signifĳication.What are the human bodies? they refer to my appearance.

e. The sea covering the world is a drop of my overflowing se.aThe outspread light is a flash of my incandescent light.

f. From the Throne to the seven layers of earth all things arebut one particle in the sun-ray of my heart.

g. The whole world would glow from my light,if I tore the curtain of all my attributes.

h. It is a fact that from the reality of my lightall things get an authentic reality when the light of my reality becomes manifest.

i. What is the maʾ al-hayat (‘the water of life’) that gives the Lord eternal lifewhen drinking it? A drop of my pond of abundance.

j. When by means of Jesus’ breath, the dead came to life,I am the one who nurtured each of these breaths of life.

k. The total reality of all things is [due to] my being,as long as I observe (?) them with the supreme name.

l. The visible and the hidden oceans have always been together with me;See that the assembly of those two huge oceans are me.

6. This ghazal is found in al-ʿIrāqī’s Lamaʿāt. At the beginning of the Persian phrases, he cites the Arabic bayt of Ibn al-Fāriḍ (see: fragment II). Bausani rightly assumes that the Persian part might be an explanation of the Arabic bayt. However, as Bausani wonders, this ghazal might have been wrongly attributed to Rūmī in the beginning of Or.7056.

Fragment IV

a.1. ظَھََرۡت َشۡمٌس فََغیِّۡبُت70 فِۡیھَافَاَِذا اَۡشَرقَۡت فََذاَک ُشُرۡوقِۡی

2. a. When the sun appears, then I disappear in it;When the sun rises, that is my rising.

a.3. کلھاتن (کـ؟)متھار مک لنپڤلھ اک دلمڽمک یڠ تربت متھاری ایتولھ تربتک

4. a.Kelihatan matahari maka lennyaplah71 aku dalamnyaMaka yang terbit matahari itulah terbitku

70- Some sources suggest: فغیبت.71- It is read as lennyap by Bausani

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5. a. Appears the sun then I disappear in it;When the sun rises that is my rise.

6. This is from ʿIrāqī’s Lamaʿāt. See my discussion above.

Fragment V

بَاَح بِنَۡجِم َراح ٍ a.1. اَِذاَطَلَّع الصَّتََساِوۡی فِۡیِھ َوَسَکَراۡن َوَصاۡح

2. a. When the dawn breaks upon the morning star of wineThe drunkard and the sober person are equal.72

a.3. تتکال تربت لھ ڤاکی ۲ مک ڤرکیلھ سکل بنتڠسمالھ دلمڽ یڠ مابق دان سیومن

4. a.Tatkala terbitlah pagi-pagi maka pergilah segalah bintangSama lah dalamnya yang mabuk dan siuman

5. a. When the early morning appears, then the stars goes away.It is at that [time] that drunk and awake are equal.

6. This verse is one of the most popular poems that appeared in Ruzbihān Baqlī’s (d. c. 1209) mystical tafsīr ʿArāʾis al-Bayān on Q 9:122.73 It is clearly cited by ʿIrāqī in his 10th Lamʿa. Later, it was cited by mystical fĳigures, such as Shams al-Dīn al-Rāzī al-Ḥanafī, Jalāl al-Dīn al-Dawwānī, ʿAlī al-Hujwīrī, Zakariyyā b. Muhammad al-Ansārī, etc.

Fragment VI

a.1. َوَماۡلَوۡجھُ اِالَّ َواِحٌد َغۡیَر اَنَّھَُدا اَِذا اَۡنَت َعۡدَدُت ۡالَمَرایَا تََعدُّ

2. a.There is not a face but unless that oneWhen there are lots of mirrors so there are lots of faces (inside)74

a.3. تیاد ھن بایق موک ھاڽ اس جوک ملینکن بھوسنتتکال کوڤر باپق چرمن جاد باپق موک دلمـڽ

4.a. Tiada han (??) banyak muka hanya esa juga melainkan bahwasanyaTatkala kauperbanyak cermin jadi banyak muka dalamnya

72- This is based on Alan A. Godlas’ translations, 143: see Ruzbihan Baqli, The ‘Ara’is al-Bayan: The Myst ical Qur’anic Exegesis of Ruzbihan al-Baqli, ed. and trans. Alan Arthur Godlas (PhD. Dissertation, University of California at Berkeley, 1991).

73- I consulted the Ms.4407 (dated 1041 or 1091/1632 or 1680), 92; preserved in the Parliament library of Iran, Tehran.74 Chittick and Wilson translated it as “But one face: Multiply the mirrors, make it many,” 73.

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5.a. There are not many faces, just one,except when you multiply the mirror so that there are many faces in them.

6. It is found in the Fuṣūṣ al- Ḥikam (the Seals of Wisdom) by Ibn ʿArabī which is clearly cited in the fĳirst Lamʿa of ʿIrāqī, too.

Fragment VII

a.1. نَقِّۡل فَُواَدَک َحۡیُث ِشۡئَت ِمَن ۡالھََویِل َماۡلُحبُّ اِالَّ لِۡلُمحّب 75 اَالوَّ

2.a. Let your heart move [wherever it wants] along the path of love;There is no love, but to the fĳirst sweetheart.76

a.3. ڤندھکن ھتیم ڤد بارڠ کھندقم در ڤد برھیتیاد ھن کاسھ ملینکن کڤد ککاسھ77 یڠ ڤرتام

4. a.Pindahkan hatimu pada barang kehendakmu daripada berahiTiada han (??) kasih melainkan kepada kekasih yang pertama

5. a.Move your heart towards what your desire looks for;There is no afffection, except for the fĳirst sweetheart.

6. Although this is a famous poem by Abū Tammām, it is clearly cited by ʿIrāqī in his 7th Lamʿa, which is followed by the following explanatory phrase, again by ʿIrāqī.

Fragment VIII

a.1. ھَۡرَکۡھ ُدۡوۡسۡت َداِرۡی اُۡو َرا ُدۡوۡسۡت َداۡشتَھ بَاِشۡیَو بَھَرچھ ُروۡی بَُدرۡوۡی اََوۡرَدهَ بَاِشۡی َو اََکۡر ِچۡھ نََدانِۡی78

2. a.“Love where you may, you will have loved him; turn your face whatever way, it turns toward him—even if you know it not.”79

a.3. سکل بارڠ کو کسیھ آد کڤداڽ جو آد کاسھ لم ایتدان بارڠ کمان موک کوھدڤکن کڤداڽ جو موک کوھدڤکن جکلو تیاد کوکتھوی سکالـڤـون

4.a. Segala barang kau kasih ada kepadanya jua ada kasih lama ituDan barang ke mana muka kauhadapkan kepadanya jua muka kauhadapkan jikalau tiada kauketahui

sekalipun.

للحبیب -7576 Chittick and Wilson’s translation is “Shift, transfer your heart where you will, love belongs but to the First beloved”, 85.77- The Malay translation of حبیب as kekasih may be compatible with the original Arabic poem of Abū Tammām. ,I have edited this based on Ms. 29 .ھر کھ را دوست داری، او را دوست داشتھ باشی، و بھ ھر چھ روی آوری برو آورده باشی، و اگر چھ ندانی -78

36; and Ms. 329, 248–249.79- With a small modifĳ ication from Chittick and Wilson’s translation.

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5. a.Whatever you like, your fĳirst love already had it, and wherever you turn your face, you turn it in his direction, even if you are not aware of it.

6. It is from the 7th Lamʿa of ʿIrāqī.

Fragment IX

a.1. تَۡا ِچۡشِم َواۡز َکۡرَدۡم نُۡوُر رخ تو دیدمتَا ُگۡوۡش بَۡرُگَشاَدۡم اََواِز تُۡو ُشنِۡیَدۡم

2. a.As soon as I opened my eyes, I observed your face’s light.As soon as I listened, I heard your voice.

a.3. سھڠڬ متا80 کبکاکن چھای مکام جو کلھیتسھڠڬ تلڠاڠک کبکاکن سورام جو کدڠر

4. a.Sehingga mata kubukakan cahaya mukamu jua kulihatSehingga telingangku kubukakan suaramu jua kudengar

5.a. When I opened my eyes, the light of your face I saw;When I opened my ears, your voice I heard.

6. It is, however, one of the ghazals of ʿAṭṭār, but was again clearly cited by ʿIrāqī in his 18th Lamʿa.81

Fragment X

a.1. پَۡش82 َعاِشۡق َدایِۡم َدۡر َرۡقُص َوَحِرَکَت َمۡعنَِوی اَۡسۡتَو اََکۡر83ِچھ بَُصۡوَرۡت َساِکۡن نَُمایَۡد

b. َوتََری الِجبَاُل تَۡحِسبُھَا َجاِمَدةً َوِھَی تَُمرُّ َمرَّ السََّحاۡبه از َذّراِت َکائِنَاۡت c. ُخۡوۡد ِجۡکۡونَۡھ َساِکۡن تََوانَۡد بُود چھ ھَۡر َذرَّ

ۡک بَِحۡرَکِة اُۡوۡسۡت84 d. ُمتََحرِّه را َکلَِمھ اُۡسۡت َو ھَۡر َکلَِمھ (؟)اِۡسِمۡی85 ِچۡھ ھَۡر َذرَّ

e. َو86 ھَۡر اِۡسِمۡی َرا َزبَانِۡی [...]87

2. a. As such the lover is in a spiritual (invisible) dance,although he seems motionless (calm).

80- Illegible. 81- See MS 329, 257. Even MS. PAK-001-1541 in the “Ganjbakhsh collect ion” includes the name of ʿ Aṭṭār clearly.پس -82و اگر -83 خود چگونھ تواند بود کھ ھر ذرة از ذّرات کائنات محّرک اوست -84چھ ھر ذّره کلمھ است و ھر کلمھ را اسمی -8586- In some Persian manuscripts, this line does not st art with و.87- Edited based on MS.29 and Ms. 329.

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b. “And you see the mountains, thinking them rigidwhile they will pass as the passing of clouds”88 (Q27:88)

c. “How could he sit still when every atom of the universe prods him to move?d. each atom a word, each word a namee. and each name with a tongue”89 […]

a.3. مک عاشق سنتیاس دلم تیرن دان ڬـ رق معنوی جوکجک ڤد ظاھر رڤاڽ دیم سکالـڤـون کلھاتن

b. کولیھت سکل بوکت ڤد بچرام کو سڠڬ دیم ای ایت برالک سـڤـرت کلکون آون ایc. بتاڤ اکن داڤت دیم اداڽ سکل ذره درڤد سکل ذره موجودات برڬرق دڠن ڬرقڽ جوک

d. کارن سکل ذره ایت آد اکندی کات دان سکل کات ایت آد اکندی نامe. دان سکل نام ایت آد اکندی لیده

4. a. Maka asyik senantiasa dalam tarian dan gerak maʿnawi juga

Jika pada zahir/lahir rupanya diam sekalipun kelihatanb. Kaulihat segala bukit, pada bicaramu kausangka diam ia itu berlaku seperti kelakuan awan iac. Betapa akan dapat diam adanya segala zarah daripada segala zarah maujudat bergerak dengan geraknya

jugad. Karena segala zarah itu ada akan dia kata dan segala kata itu ada akan dia namae. dan segala nama itu ada akan dia lidah

5. a. So the lover is always in spiritual dance and movement,Even if it looks immobile.

b. You see the mountains, you think they are motionless, [whereas] they act like clouds do.c. How could it be immobile while all molecules of all particles of being move with its movement?d. because all particles have a word, and all words have a namee. and all names have a tongue […]6. This is part of the ʿIrāqī’s 18th Lamʿa.

Fragment XI

a.1. ُکۡویان ُشَده پَۡس ھَۡر َزبَان ِکۡیۡسۡتb. ُکۡفتِۡی ِکۡھ َجۡسُم َوَجاۡن بُُرۡونَۡم پُوسۡیَده لِبَاۡس َجۡسُم َوَجاۡن ِکۡیۡسۡت90

2. a. Then who is the one who speaks in any language?b. You said that I am out of my body and soul; who is the one wearing the attire of soul and body?

88- See: Sahih translation of the Qur’an (www.quran.com). 89- With minor modifĳ ication from Chittick and Wilson’s translation, 108. edited based on Ms. 138, as well as the ;گویا شده پس بھ ھر زبان کیست؟ | گفتی کھ ز جسم و جان برونم | پوشیده لباس جسم و جان کیست؟ -90

Persian edition of Leonard Lewisohn, 49.

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a.3. مک یڠ برکات ۲(؟) دڠن سکل لیده ایت سیاڤb. کتام بھو درڤد توبھ دان پاو کلوراک؛یڠ مماکی ڤکاین توبھ دان پاو ایت سیاڤ

4. a. Maka yang berkata-kata dengan segala lidah itu siapa?b. Katamu bahwa daripada tubuh dan nyawa keluar aku

yang memakai pakaian tubuh dan nyawa itu siapa?

5. a. So, who speaks with all these tongues?b. You say that I come out of body and soul

Who is wearing the clothes of body and soul?

6. This is from the Dīvān of Shaykh Maghribī.

Fragment XII

a.1. َکِسۡی مۡر تََماۡم َدۡر تََمامسۡتُکنَۡد َدۡر ُخَواَچِکۡی َکار ُغالَمست91

2.a. That man is perfect in perfectionThat while being a lord, performs his devotion

a.3. اورڠ لکال یڠ سمڤرن سمڤرناڽ ایتدلم کادنڽ توھن...د ڤربوتڽ ڤربواتن ھمب

4.a. Orang laki-la[ki]92 yang sempurna sempurnanya ituDalam keadaan Tuhan, diperbuatnya perbuatan hamba

5.a. A man is as perfect as a man can be,In God’s presence, acts as a slave.

6. This is a part of Shaykh Maḥmūd Shabistarī’s Golshan-e Rāz.

New PartFragment XIII

اۡم ُروِزۡی a.1. ِکِل93 ُخوۡشبُۡوۡی َدۡر َحمَِّرَسیَد اۡز َدۡسِت َمۡحبُۡوبِۡی بََدۡستَۡمb. بَُدۡو ُگۡفتَۡم تُۡو ُمۡشِکۡی یَا َعبِۡیِرۡی

ِکۡھ اَۡز بُِوۡی ِدالِوۡیِزۡی تُو َمۡستَۡم94

کسی مرد تمام است از تمامی، کند با خواجگی کار غالمی -9192- Bausani reads it as Lakilaki..It is also wrongly transcribed as “Gol” (lit. flower) in Braginsky 2009 .گلی -93.بدو گفتم کھ مشکی یا عبیری| کھ از بوی دالویز تو مستم -94

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c. بُِگۡفتَا َمۡن ِکلِۡی95 نَاجۡیۡز بُۡوَدۡمتِۡی بَا 96 نَِشۡستُۡم َولِۡیِکِن ُمدَّ

d. َکَماِل ھَۡمنَشۡیۡن َدۡر َمۡن اَثَۡر َکۡرۡد َو َکۡر نِۡی97 َمۡن ھَُماۡن َخاَکۡم ِکھ ھَۡستَۡم

2. a. A “nice-smelling” piece of clay [for washing the head]98 one day in the bathcame from the hand of a beloved one to my hand.

b. I asked: “Are you musk or ambergris?Because your delicious odor intoxicates me”

c. It replied: “I was a despicable lump of clay,but for a while in the society of a rose

d. The perfection of my companion took efffect on meand, if not, I am the same earth which I am.”99

a.3. س؟100 تانھ ھرم دلم حمام ڤد سات ھاریسمڤی ای درڤد تاڠن ک... ڤد تاڠنک

b. برکات اک ڤداڽ اڠکو کستوری اتو عنبرکھکارن درڤد باووم یڠ مڠڬنتڠ ھات ایت اک

c. کتاڽ اک تانھ سسوات جوک اداکتتاڤ الم اک سکد دوکن دڠن بوڠ

d. کسمڤرنان (یڠ؟) سکد دوکن ایت بکسکنڽ ڤداکجک تیاد اک تانھ یڠ ایتولھ اداک

4. a. tanah harum dalam hammam pada satu harisampai ia daripada tangan k[ekasih] pada tanganku

b. berkata aku padanya: engkau kesturi atau ‘anbarkahkarena daripada baumu yang menggantung hati itu aku101

c. katanya: aku tanah sesuatu juga adakutetapi lama aku sekedudukan dengan bunga

d. kesempurnaan sekedudukan itu bekaskannya padakujika tiada aku tanah yang itulah adaku

5. a. A fragrant clay in the bath one dayarrived from the hand of a sweetheart to my hand.

.گلی -95.ولیکن مّدتی با گل نشستم -96.و گرنی -9798- In both English and Malay translations, گل خوشبوی is translated as sweet-smelling piece of clay and “satu tanah harum” in Or.7056, or “seketul tanah berbau”, in a recent modern translation of Saʿdī. However, it is a particular type of clay for washing hair, which is literally known as the bath or sweet-smelling clay. See Dehkhoda.99- David Rosenbaum’s English translation, 7.100- It does not seem to me to be “satu”.101- Bausani adds the term, “Mabuk” (feel drunk), in order to get literally similar to the text.

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b. I said to it: “are you musk or amber? Because of the smell of you, my heart is suspended.”c. It said, “I am but a piece of clay

but for a long time I was in the same place as a flower.d. That perfect association left a mark on me;

otherwise, I am the clay that I am.”

6. This poem is from the Golestān (‘the Rose Garden’) by Saʿdī Shīrāzī.

Fragment XIV

.a.1 ھَۡر ِچھ َدۡر َچۡشِم ِجھَاۡن بِۡینَۡت نُِکوۡسۡتَعۡکِس ُحۡسُن َو پَۡرتَِو اِۡحَساِن اُۡوۡسۡت

b. َکۡر102بََراۡن اِۡحَساُن َو ُحۡسِن اِۡی َحۡق ِشنَاۡساَۡز تُۡو ُرۡوِزۡی َدۡر ُوۡجُوۡد ایَۡد ِسپَاۡس

c. َدر َحقِۡیقَۡت آۡن ِسپَاۡس اُۡو بَُوۡدنَاِم اِۡیۡن َو آن لِبَاۡس اُۡو بَُوۡد

d. ھَۡمُچنِۡیَن ُشۡکِر تُۡو ِظلُّ ُشۡکِر اُۡوۡسۡتآِن اُۡو َمۡغَز اََمُد َو آُن تُۡو پُۡوۡسۡت e. لِۡیِکِن اۡینََجا پُۡوۡسۡت بَاَشۡد َعۡیِن َمِغۡز

َچۡشِم بَِکَشا103 َوۡز َرِه َوۡحَدۡت َملَۡغۡز104

2. a. Everything is good in the eye of the worldThat is the image of his excellence and the radiance of his kindness.

b. O grateful, if for that excellence and kindnessYou appreciate them one day.

c. In fact, that appreciation is himself,The name of these and/or those clothes is “he”.

d. Your thanking is a shadow thanking of him;It is the kernel that came for him and it is the rind that came for you.

e. But here, the rind acts like the kernel;Open your eyes so as not to err on the road of unity.

a.3. بارڠ اڤ یڠ بایک کولیھت ڤد مات عالم ایبیڠبایڠ ایلق دان ڤنچر کبجیکن ڽ جوک برالکb. جک اتس کبجیکن دان ایلق ایت ھی یڠ مڠنل هللادرڤد ام ھاری ایت داتڠ...ان ڤوج ایت سکالڤون

c. ڤد حقیقت ای ایت ڤجیڽ جوک اداڽنام این دان ای ایت ڤکاپنڽ جوک اداڽ

.گر -102.بگشا -103104 - This poem maybe narrated diffferently by some literary fĳ igures.

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d. دمکینالک شکرم ایتڤون بپڠپایڠ شکرڽ جوکایاڽ ایت اوتق داتڠ دان ایام ایت کولت جوe. تتاڤ ؟پن105 اد کولت ایت کادان اوتق جوک

لینچیر بکاکن متامھ دان درڤد جالن وحدت ایت جاڠن کوتر

4. a. Barang apa yang baik kaulihat pada mata alam itubayang-bayang elok dan pancar kebajikannya jugaberlaku

b. Jika atas kebajikan dan elok itu, hai yang mengenal Allahdaripadamu hari itu datang…an puji itu sekalipun

c. Pada hakekat ia itu pujinya juga adanyanama ini dan ia itu pakaiannya juga adanya

d. Demikian lagi syukurmu itu pun bayang-bayang syukurnya jugaia-nya itu otak datang dan iamu itu kulit jua

e. Tetapi [disi]nya ada kulit itu keadaan otak jugabukakan matamu dan daripada jalan wahdat itu jangan kautergelincir106

5. a. What good things you see in nature’s eyeAre the reflection of his beauty and the radiation of his generosity.

b. Even if for that generosity and that beauty, O you who know God,Comes your praise on that day,

c. In truth he himself is the praise and the name and the cloth.d. Thus, again, your gratitude was a shadow of his gratitude,

That of him comes “kernel”, and that of you “rind”e. But here the rind is in the state of the kernel,

Open your eyes and on the way of uniqueness do not fear to slip.

6. Bausani and a few other scholars believe that these are the lost verses of Rūmī’s Masnavī. It seems they are right, especially as Moḥaqqiq Sabzevārī (d. c.1090) in Asrār al-Ḥikam cited them as the works of Rūmī.107 However, the fĳirst verse is seen in the commentary on the Golshan-e Rāz by Ibrāhīm Sabzevārī Khorāsānī (d. c.1939).

Fragment XV

a.1. َحۡیَراۡن ُشَدۡم بَۡر َحاِل ُخۡوۡد َکاِه نَِدۡیَدۡم ڤیش راه108َدۡشتَۡم بِۡکِر اَۡی َشاِه یِۡک ِجۡیِزۡی بَۡدِه َدِروۡیۡش َراه109

105- Disini?106 - Bausnai reads it as “kerlinchir”.107- Moḥaqqiq Sabzevārī, Asrār al-Ḥikam (n.p., n.d.), I: 51. .حیران شدم بر حال خود گاه بدیدم پیش را -108.دستم بگیر ای شاه یک چیزی بده درویش را -109

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2. a.I was bewildered of myself although I saw it before me;O King, hold my hand and give something to this dervish.

a.3. تربڤڠ اک اکن حال دریک سکالڤون بلم کلیھت کھداڤنک ایتڤڬڠ تاڠنک ھی راج یڠ اس سسوات بریکنلھ اکن درویش این

4. a. Terbingung aku akan hal diriku sekalipun belum kulihat kehadapanku ituPegang110 tangangku hai raja yang esa, sesuatu berikanlah akan darwisy ini

5.a. I am bewildered of my situation, although I don’t see what is in front of me yet;Hold my hand O unique king, give something to this dervish.

6. Unknown poet.

Fragment XVI

a.1. ھَۡر ِچۡھ نََدانِۡیۡض اۡنتُھ بَِشۡی بَۡیَشِکۡیَوۡر نََدانِۡی اَۡذ َخَران بَاِشی بَۡییَکۡی111

2.a.When you know, then you are without doubt,But if you do not know [anything], you are a donkey.

a.3. برڠ...112اڠکو کتھوی ای ایت اڠکو جوک اد دڠن تیاد شکدان جک تیاد کو کتھوی د...سکل کلدی اداڠکو سیکر کلدی

4. a.Barang.... engkau ketahui, ia itu engkau juga ada dengan tiada syakdan jika tiada kauketahui d[aripada]segala keledai ada engkau seekor keledai

5. a.What you know, you feel absolutely certain [about it],and when you are unable to distinguish, among the donkeys, you are a donkey yourself.

6. This bayt is part of the Moṣībat Nāma (‘The Book of Hardship’) by ʿAṭṭār.

Fragment XVII

a.1.ظُھۡورۡی لَۡم یََزۡل َذاتِۡی بَِذاتِۡیِحَجابِۡی َال یََزاۡل ِمن ِصفَاتِۡی113

2. a.The everlasting manifestation is my natural essence,The everlasting veil is one of my features.

110- Bausani reads it as “pegan”. Edited based on Moḥammad Reḍa Shafīʿī Kadkanī's edition of the .ھرچھ دانی، آن تو باشی بی شکی| ور ندانی، از خران باشی یکی -111

Moṣībat Nāma, 28.ک؟ -112.Edited based on the MS.14308, 3 . ظھور لم یزال ذاتی بذاقی| حجاب ال یزالی من صفاتی -113

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a.3. پتاک ایت سنتیاس ذاتک دڠن ذتک114 جوکدندڠک ایت سنتیاس درڤد سکل ڤریک جوک

4. a.Nyataku itu sentiasa115 zatku dengan zatku jugaDindingku itu sentiasa daripada segala periku juga

5. a.My reality is permanently my substance and my substance;My partition comes permanently from my features.

6. This is part of the Dīvān-e Shāh Niʿmat Allāh Walī

Fragment XVIII

a.1. ھَۡر ِچھ َدۡر َچۡشِم ِجھَاۡن بِۡینَۡت نُِکوۡسۡتعۡقِس ڤَرتاِو اِۡحَساِن اُۡوۡس116(َعۡقِس: بیان) 117

2. a.Whatever is seen in the eye of the world is pleasantthat is the image of his excellence and the radiance of his kindness.

a.3. برڠ اڤ یڠ بایک کولیھت ڤد (مات) عالم ایتبیڠبایڠ (ایلق دان) ڤنچر کبجیکن ڽ جوک برالک

4. a.Barang apa yang baik kaulihat pada [mata] alam itubayang-bayang pancar kebajikan nya juka berlaku

5. a.What good things you see in the nature’s eyeare the reflection of his beauty and the radiation of his kindness

6. See “XIV”.

Fragment XIX

a.1. َجنَّۡت اَۡربَاِب ِدۡل ُرۡخَساِرَجانَاۡن ِدیَد...سۡتَدۡر ُجنِۡیۡن َجنَّۡت لَھُ ُکۡفم َزۡنَجبِۡیُل ُو ُحۡوۡر یِۡیۡسۡت118

2. a.The paradise of the heart’s master is to see the face of the beloved;In such a paradise it is said, there is ginger and huri.

a.1. شرڬ ... یڠ امڤوڽ ھات ایت کڤد موک پاو جوک سنڽدلم سرڬ (؟) یڠ ککات دمکین ایت منو من زنجبیل دان بدیادری119

.ذاتک -114115- Bausani reads it as “senantiasa”.116- See N (1).117- A marginal note on top of the f l.11..Edited based on Ms. 138, 25, and Khvānsarī, 15 . جنّت ارباب دل رخسار جانان دیدن است، در چنین جنت کھ گفتیم زنجبیل و حور نیست -118.بیداداري -119

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4.a. Syurga [orang] yang empunya hati itu kepada muka nyawa juga sanyaDalam syurga yang kukata demikian itu minuman zanjabil dan bidiadari120

5.a. For the one who has a heart, paradise resides in the face of his soul [his beloved];In the paradise I am talking about are the zanjabil drink and nymphs.

6. This is a part of the Dīvān-e Maghribī.

Fragment XX

a.1. فَقَۡد َصحَّ قَۡوٌل للُمَحقِّۡق اِنَّھُلَخاَلُِق اَۡشیَاٍء لَِعۡیٌن لَھُۡجتَال121َ

2.a.Then the statement of the scholar is validThat creates objects for the eye of the beholder (?)122

a.3. مک سپن؟؟ صحلھ کات محقق بھو سپنمنجدیکن سکل ڤرکار بکیڽ کادان سکل ڤرکار

4. a.Maka sanya sahlah kata mohaqqiq bahwasanya[yang] menjadikan segala perkara baginya keadaan segala perkara

5. a.Then the saying of the scholar is validthat made things for him to …

6. Unidentifĳied author.

New PartFragment XXI

a.1. اِی َمۡغِربِۡی آۡن یَاِر ِکھ بِۡی نَاُم َو ِنَشاۡن بَُوۡداَۡز پَۡرَدۡه بُِرۡوۡن آیَۡد بَا نَاَم َو نَِشاۡن ُشۡد123b. چون عزم تماشای جھان کرد زخلوتآمد بتماشای جھان عین جھان شد

c. ھر نقش کھ او خواست بدان نقش بر آمدپوشیده ھمان نقش بدان نقش عیان شد124

2. a. O Maghribi, that anonymous companion [beloved]came out from behind the curtain and then was named and identifĳied.

120 - Bausani reads it as “bidaadari”..لمجتال؟ -121122- As the original phrases are not clear, this translation might be inaccurate.123- In the majority of Persian manuscripts, this bayt comes at the end of ghazal. 124- Interest ingly, lines 2 and 3, found in Fansuri’s treatise, also do not include vowels.

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b. “When he resolved to examine the world, coming from the house of seclusionhe went forth and became the very essence of the world.”

c. Whatever painting that is desired by him came in that form,[And he] covered [himself] in the painting which became clearly apparent.”125

a.3. ھی مغربی یڠ ککاسھم126 ایت دھول اداڽ تیاد برنام دان تیاد ترتندکلورلھ در دالم تیری ادالھ (نام دا)ن تند اکندی

b. تتکال برکھندق ای منجالن عالم داتڠ ایدرڤد خلوت منجالن عالم ایت جادای سمات عالم

c. بارڠ تولس127 یڠ دکنھدقڽ ای جوک دڠن تولس داتڠمڤون128 ڤون تولس ایت دان دعدن تولس ایت جاد پات کلھاتن

4. a. Hai Maghribi, yang kekasihmu itu dahulu adanya tiada bernama dan tiada terdanda129keluarlah dari dalam tirai adalah nama dan tanda akan dia

b. Tatkala berkehendak ia menjalani alam datang ia daripada khalwatmenjalani alam itu jadi ia semata alam

c. Barang tulis yang dikehendaknya ia juga dengan tulis datingmupun (?)130 pun tulis itu dan dengan tulis itu jadi nyata kelihatannya

5. a. O Maghribi, your beloved had no name and no sign at fĳirst,then he came from behind the curtain with a name and a sign.

b. When he wanted to explore the world he came out of seclusion and explored the worldand he became the world itself.

c. Any image he wanted, he came and painted it,and with that image [things] became visible.

6. The poet is al-Maghribī. See also my earlier discussion of these verses.

Fragment XXII

a.1. َمۡن بَۡنَده َعاِصۡی اَۡم لُۡطُف َو َعطَاِی ...ۡتتَاِرۡیۡک ِدلَۡم نُۡوُر ۡو َصفَۡاِی تُۡو ُکَجاۡسۡتb. َما َرا تُِو ّبِھَیۡشۡت اََکۡر بَطَاَعۡت بَۡخِشۡی

اِۡیۡن بَۡیع ِبُۡوۡد لُۡطُف َوَعطَاِی تُۡو ُکَجاۡسۡت131

125- Al-Attas’ translation, 365.126- Using the term “kekasihmu” or “beloved” would suggest that the Malay author was fully familiar with Persian poetic

literature. 127- Also تولیس. It seems like a perfect choice, as this term aptly conveys the meaning of the Persian term نقش . 128- Illegible word.129- Bausani reads it as “bertanda”.130- Menutup? من بنده عاصی ام لطف و عطای تو کجاست؟| تاریک دلم، نور و صفای تو کجاست؟| ما را تو بھشت اگھ بطاعت بخشی| این بیع بود، لطف و عطای تو -131.کجاست؟

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2. a. I am the guilty servant, where is your kindness and grace?My heart grows dark, where is your light and caress?

b. If you bestow on us heaven because of [our] obedience,This is [just] a deal , and where is your kindness and grace?

a.3. اک ھمب ...132درھک کارنی دان انڬرھا... مان کتاه؟ (یعنی مان ڬرڠ)133ھتیک کلم، چھانڽ ؟134 مناتھ مان کتاه؟

b. بک کلم شرڬ ایت کوانڬراکن کارن کبڤتناین برنیاڬ اداڽ کارنیام دان ڤمبریم ساج ایت مناتھ؟

4. a. Aku hamba [yang] derhaka,135 karunia dan anugeraha… mana kutahu (yakni mana gerangan)Hatiku kelam, cahaya manatah mana kutahu?

b. Bagi kami syurga itu kauanugerakan karena kebaktianIni berniaga adanya, karuniamu dan pemberimu saja itu manatah?

5. a. I am the disobedient servant; Your mercy and you present how do I know [that is, where are they]?My heart is dark, yours light, how do I know it?

b. You give us paradise because of [our] good deeds;This is trading, where are you genuine mercy and gifts?

6. These are attributed to Khayyām, however, they have also been attributed to Abū Saʿīd Abū al-Khayr.

New PartFragment XXIII

a.1. َمۡن بَاِر َغۡم ھَۡجِری ُکِشۡیَد لِۡی نَۡھ تَُوانِۡیۡمُمۡشتَاِق تَُوایِۡم بَا تُۡو َرِسۡیَداۡن نَۡھ تَُوانِۡیۡم

b. بَۡر بَاِدۡی بُِکۡفتَۡم136 ِکۡھ بََرۡد بَا تُۡو بَیَاِمۡیُکفتَا137 ِکھ اَۡد َراۡن ۡکو َمۡی بَِرۡید اۡن نَۡھ تَُوان...138

2. a. I am not able to bear the grief of leaving (emigration);I am eager to reach you, but I cannot.

b. I said to the wind to bring you [my] message;He said if you want [me] to carry it to that side, then I cannot do that.

132- Illegible.133- The phrase in bracket has been added by the scribe in the left margin.134- It seems like ھنڤم.135- Bausani reads it as durhaka. .بگفتم -136.گفتا -137138- Further st udies are required to edit this part carefully.

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وڠن دکچت139 ڤنچر این ایت مھیل دی تیاد کواس کام a.3. الھ کام تڠدندم اکن دیکو داتڠ...140تیاد کواس کام

b. برکات اک ڤد اڠن اکن (؟) ممباو ڤسن ڤدامکتاڽ ڤد کادڠ 141 ایت الڬ تیاد کواس کام

4. a. Oleh kami tanggungan dukacita pancar ini itu […] dia tiada kuasa kamidendam akan dikau, datang [kepadamu] tiada kuasa kami

b. Berkata aku pada angin akan membawa pesan padamukatanya pada kurung itu lagi tiada kuasa kami

5. a. We cannot bear the burden of the grief of this emigration;Desire for you comes [to us], we are not able.142

b. I told the wind to bring you a message;He said, ‘we are not able to…’143

6. Author not identifĳied.

New PartFragment XXIV

a.1. اََگۡرَعاِشۡق ُشَوۡد َدۡر یَاِد َمۡعُشۡوِقنَبَاِد اُۡو َرا ِھۡیۡج144 تُو...

b. َعاِشۡق بَظَاھۡر َدۡر طَِرۡیقَۡت تُۡوئِۡی َمۡعُشو...َدۡر بَاطُۡن َحقِۡیقَۡت نِھَانِۡی/نِھَائِۡی ُخِوۡیِش بِتََسۡیَال َشَکاۡر َشَوۡد َعاۡشۡق بَۡرَوۡی ُخۡوۡد اِۡنَکاۡر145

2. a. If you fall in love with the belovedshould not be her [memory] any …

b. You are the lover apparently; on the mystical path you are the beloved;In the innermost part, the ultimate reality appears…

a.3. جک اڠکو146 جاد برھی ایڠتکن147 یڠ کو برھیکنتیاد داڤت اڠکو ایڠت اکن...

139- also “دوکاچیتا”. 140 - Illegible.141- Can be read as کوروڠ, too.142 the pronouns “we” and “ours” are used in Or.7056. 143- Illegible..ھیچ -144145-These lines are unclear and illegible. However, Bausani edits them as:

عاشق بظاھر در طریقت توئی معشوق، در باطن حقیقت... پوشیده آشکار شود عاشق بروی خود این کار .146- Also, اڠکاو.147- Could be read as ایڠتن.

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b. اڠکو برھی (ڤد) ظاھر دلم طریقت یڠ کو برھیدلم ظن148 حقیقت تربوڽ دریم149کلیھت یڠ پات جاد برھی اڠکو دی ڤکرجانم150

4. a. Jika engkau jadi berahi ingatkan yang kauberahikantiada dapat engkau ingat akan…

b. Engkau berahi [pada] lahir dalam tarikat yang kau berahidalam batin hakekat terbunyi dirimu kulihat yang nyata jadi berahi engkau dia pekerjaanmu.

5. a. When you desire, think of the one you desire;You can’t remember...

b. You desire the physical; on the mystical path what you desire spiritually is the essence ...You see the visible and then you desire it, that is your work.

6. Not identifĳied, however, it resembles phrases of ʿIrāqī’s Lamaʿāt found in PAK-001-1541 preserved in the Ganjbakhsh collection, Pakistan, or those of Lamʿa 26 in Ms.29 in Tehran.

As shown above, although both Persian and Malay texts are faulty, the Malay translation is somewhat compatible with the Persian one. The author/translator used vowels for most Persian lines151 and sometimes replaced the Persian “p” (پ) with the Jawi one (152.(ڤ He also did not use other additional Persian letters which are not found in Arabic, including “che/če” (چ) and “gaf” (گ), rather replacing them with Arabic ones: “jim” (ج) and “kaf” (153.(ک These may altogether suggest that he was a Malay scholar mostly familiar with Arabic alphabets and grammar who tried to provide a bilingual mystical prescription. While delivering his lecture at the University of Tehran in 1965, Bausani wondered how Malay Sufĳi scholar Hamzah Fansuri was able to translate the Persian phrases of “Ibrāhīm al-Hamadānī” on “و عشق و معشوق beloved, love and lover, all three) 154 ”عاشق ھر سھ یکیست اینجا/برھی دان یڠ برھی دان یڠ دبرھی کن این کتیکاڽ اس جوare one) as precisely as possible:155

mathalan dar … “Kitāb-e al-Muntahī” mi-farmāyad ke Shaykh Ibrāhīm Hamādānī (bandeh natavānestam tashkhīṣ konam ke īn Shaykh kodām Shaykh-e Hamādānī ast…in jomleh ʿeyn-an bi-zabān-e Fārsī dhekr mishavad va baʿdan be-ṭour-e besyār daqīq be-zabān-e Mālezī tarjumeh mīgardad (For example, in… “al-Muntahī” [by Fansuri] it is said that Shaykh Ibrāhīm al-Hamadānī (I could not identify which Shaykh Hamadānī is this Shaykh) …this sentence is exactly as mentioned in Persian, and then is translated into the Malaysian [sic] language very carefully.156

148- Illegible149- Illegible. 150- Can be read as: ڤکرجاءنم.151- Persian phrases in Fansuri’s treatises (e.g., Or.7291) sometimes include vowels.152- See sect ions XV and XVIII. 153- E.g., sect ions XI, XI, and XVI. 154- This was also cited (without mentioning the reference) by Shāh Niʿmatullāh Walī. 155- Bausani did not identify his literary name of Shaykh Ibrāhīm, which was, in fact , ʿIrāqī. See ʿIrāqī’s second Lamʿa.156- Alessandro Bausani, “Taʾthīr-e Farhang va Zabān-e Fārsī dar Adabiyyāt-e Andunizī”, Dānishkadeh Adabiyyāt va ʿUlūm-e

Insāni-yi Dāneshgāh Tehran 53 (1345/1966), 4–15.

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Along with Fansuri’s works, it is clear that the Lamaʿāt (‘Divine Flashes’) of Fakhr al-Dīn Ibrāhīm al-Hamadānī, known as ʿIrāqī, had been warmly received among Malay scholars, including the author(s) of Or. 7056 and “wherever the Persian language has been read or spoken”.157 A large part of Or.7056 (from II to XI) is poems by famous Persian poets, whose works have been clearly cited by ʿIrāqī.

This anthology addresses a mutual relationship between Malay and Persian sources (especially mystical and poetic sources), demonstrating how Persian-Malay manuscripts may help us to learn more about Persian literature and vice versa. Various scholars wonder whether the poems in fragment XIV, attributed to Rūmī, are actually his or not. A brief reference occurs in Moḥaqqiq Sabzevārī’s Asrār al-Ḥikam,158 in which he states that the poem is from [Rūmī’s] Masnavī. However, scholars have concluded that this verse is not found in Rūmī’s mystical sources. In this regard, Or.7056 could be one of the only known manuscripts which includes one of the most important [omitted] poems attributed to Rūmī, one that I think can be placed in section 1:3743 of the Masnavi where the rhythm and context of the couplet are similar to that of section XIV:

“The view that it is faulty arises from the weakness of his understanding: Universal Reason is the kernel, and the particular reason is (like) the rind.”

More importantly, the fĳirst part of the manuscript about the creation of the light of Muhammad, which can obviously be seen in the preface of ʿIrāqī’s Lamaʿāt, is [mistakenly] attributed to Rūmī. However, it led me to examine various manuscript copies of the Lamaʿāt. I then fĳigured out that poems or phrases cited by ʿIrāqī are often shown with bold headings such as, among others, shiʿr and bayt (شعر/بیت). Interestingly, the fĳirst part about Muhammad’s light (fragment II) is positioned in the preface and separated by the heading “shiʿr” (lit. poem) too, suggesting that the poems appearing in fragment III of Or.7056 were ʿIrāqī’s commentaries on fragment II (those of al-Fāriḍ).

157- Sayyed Hossein Nasr, “Preface”, in Fakhruddīn ʿIrāqī’s Divine Flashes, ix.158- Moḥaqqiq Sabzevārī, I: 51.