Poems of The Way by Nasr
Poems of The Way by Nasr
Poems of The Way by Nasr
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Poems of the Vay
Poems of the Way
Ay
Seyyed PHfossein Vlasr
AWS Z
The calligraphy of the Persian poems appearing on pages 62, 68, and 70 is by
the contemporary Persian calligrapher Amir Hossein Tabnak.
For information:
ISBN: 0-9629984-6-x
Table of Contents
Introduction
by Luce Lopez-Baralt 1
Evordinn
Alhamdu li’Lilah—Praise be to God 13
Ode to the One 14
O Friend of God—Ya Habib Allah 15
S acred Vlights
Luminous Night 37
The Newly Born Moon of Ramadan 38
Laylat al-Qadr (The Night of Power) 40
Laylat al-Mi‘raj (The Nocturnal Ascent) 42
“The Primordial Ganctuary
Wonders of Creation 47
Sacred Mountain 49
Spring Flowers 5]
The Crescent Moon 52
Pprdalucia— Reminiscences of An
Ever-present Past
La Mezquita 55
The Golden Calligraphy of Love 56
Golden Geometry in Alcazar 57
San Lorenzo de el Escorial 58
Flamenco 59
s) aaaaea ee
Divine Bi-Unity 71
Who Am |? 72
Who is the Knower, What is the Known? 73
The Castle Within 75
Silent Music ry
Why Here Why Now? 78
Life and Death 80
Human Beings Are Asleepn—When They Die
They Awaken 82
2
symbolic Praise of Wine. Our author also celebrates the
paradoxical silent music that flows from his heart (p. 77)—truly
he has heard the same unimaginable melody of the
Pythagoreans, of the Sufis, of St. John of the Cross. Nasr’s is
indeed a ‘language of unsaying’, that bears a powerful
resemblance to the apophatic discourse of ecstatics such as Ibn
‘Arabi, Meister Eckhart or Plotinus that Michael Sells* explores at
length. When the subject of discourse is Transcendent and
Unfathomable, it is not surprising that logic be superseded. “The
Tao that can be spoken is not the Tao,” assures the Tao Te Ching.
St. Augustine’s teaching remains valid as well for the
contemplatives of all ages: we speak about God not ut ille
diceretur, sed ne taceretur (“not because we can say anything
about him, but so as to avoid remaining silent”).
Luckily, Seyyed Hossein Nasr chose to reject the ever-present
temptation of every authentic mystic: silence, and translates his
sense of spiritual wonderment into a cascade of verses that
scintillate (just like the ‘Friends of God’) in the luminosity of His
proximity. Nasr’s vigorous Poems of the Way constitute a veritable
sparkling diamond of light. Better still, they create an ocean of
light, because its poetry is alive: it flows, convinces, caresses,
dances with the mystified reader the eternal dance of Shiva. The
reader is carried on the wings of this primordial rhythm, just as
the poet himself was carried away when he felt the beating of
the feet and the throbbing of the guitar (p. 59) of the flamenco
dance set him free for an instant from the chain of separative
existence. Nasr’s golden calligraphy is indeed able to convey a
definite something of the inapprehensible mystical experience
he celebrates with such vulnerability, and with such
overwhelming passion.
| have long been waiting for this book of poems. Nasr had
published a short selection of his poetry in scattered journals,
and | had the honor of translating some of his mystical poems
into my native Spanish. They received rave reviews in that land
4
All these /oci, which constitute God’s ‘Inexhaustible Treasury
Divine’, in spite of their unearthly beauty, are but witnesses to
this world of changing forms. The poet again ponders in his
celebration of Bali, (p. 33) that the countless forms into which
the imaginal world pours only betray our bitter, earthly exile of
evanescent silhouettes. The contemplative cannot be satisfied in a
station of change and uncertainty. He knows all too well that our
works may crumble unto dust on earth, / But we belong to peaks
that shine above, / In the eternal Sun which never sets (p. 31).
The reader is immediately struck by the passionate nostalgia
with which the verses evoke our primordial, spiritual home. We
can only find safety from the turmoil of a vanishing world by
looking within. Seyyed Hossein Nasr longs to walk The path of
return to the point from whence all issues, / The center from which
nothing departs (p. 65). Thus he sets forth on his sacred
pilgrimage to the Ka’bah of his heart. This is the true /ocus of
divine Life, for every mystic knows—and Nasr repeats the
venerable spiritual instruction employing a hadith of the Prophet
of Islam—that The heart of the believer is the Throne of the
Compassionate (p. 43). The mystical lesson is indeed universal,
for the hadith would translate in St. Augustine’s elegant Latin for
the famous dictum “In interiori hominis habitat veritas”. But Nasr,
ever the Persian poet, celebrates his locus of Divine
manifestation with luminous metaphors which evoke the
incandescent hearts or gu/ub of such masters as ‘Attar, al-Kubra,
Suhrawardi, Hujwiri, Ibn ‘Arabi, and al-Ndari. Like the pilgrims
circumambulating the holy House of God, and like many Sufis
and Spanish mystics before him, our contemplative poet circles
feverishly around his heart like moths around the candle of the
night, /Around this pole supreme of Truth and Presence (p. 27).
And he discovers with inexpressible joy that his inner galb, like
the Ka’bah, becomes an ocean of light (p. 27) in spiritual
contemplation. Unlike the passing forms of earthly life, unstable
abode of becoming and of change (p. 87), this sacred interior
temple which holds the Throne of the Compassionate is
invulnerable: immutable like a diamond firm (p. 27). So were
Hakim al-Tirmidhi’s and St. Teresa of Avila’s interior diamantine
castles. The pristine purity and hardness of the diamond is a
leitmotif with which the Poems of Way try to evoke the perfect
safety of the innermost heart as the sublime abode of God. The
verses themselves turn diamantine, brilliant and pure when they
depict the crystalline perfection, coldness of life eternal of our
inexpugnable interior abode. Alfred Lord Tennyson gave us the
same merciful assurance: “The lesson [of the mystical
experience] is one of central safety: the Kingdom is within”.
Our interior heart, veritable Jocus of the manifestation of the
Divine Truth, totally eradicates the relative categories of time and
space and of constant change and lets us savor eternity for a
privileged instant. The sublime lesson is simple, yet categorical:
Question not why, but understand this simple truth:
Here is the Center that is the Center of all wheres:
Now is the moment at the heart of all times.
To be here now with all thy being
Is to be in all those worlds and eons of thy dream
And beyond thy dream in that awakening from all
dreaming.
(‘Why Here, Why Now?’, p. 78)
The poet turns to this central Pole, divine (p. 32) of the
Absolute Truth to be redeemed from his Occidental exile. It is
important to note that Nasr gives a new, profound meaning to
this ‘Occidental exile’—an Islamic mystical symbol whose
significance is twofold in his Poems of the Way. In a first level of
meaning, the poet is referring to his banishment from his
beloved Iranian homeland, whose exalted peaks and vast deserts
he longingly evokes in his poem ‘Occidental Exile’. He is an
Eastern poet writing in the West, a Sufi expressing his thoughts
not in Persian but in English, his language of exile. But his exile is
also spiritual. He feels exiled in the Occident of this world while
yearning for That Orient we carry in our hearts (p. 23). Nasr is
masterfully rewriting the traditional /eitmotif of so many Sufis
who preceded him. The Persian Suhrawardi describes in rich
detail his pelerinage mystique toward the ‘Orient’ of his own soul
in his Récit de I’éxil occidental, which in turn Henry Corbin
explores in his much quoted essays on Sufism, Creative
Imagination in the Sufism of Ibn ‘Arabi and L’homme de lumiere
dans le soufisme iranien. To arrive in this “Sinai mystique, la méme
ou reside I’Esprit saint’’ implies a symbolic return to the Orient
from where the mystic came originally, and where he rejoins his
Perfect Nature in ecstasy: “le sommet du déme mystique, le
pole...c’est la... que le pélerin rejoint sa nature parfaite, son
Esprit-saint.° The mystical pilgrim, upon reaching this celestial
pole, has finally become ‘oriented’ in this géographie visionnaire:
*L‘imagination créatrice dans le soufism d‘Ibn ‘Arabi, Paris: Flammarion, 1958, p. 53.
*L’homme de lumiére dans le soufism iranien, Paris: Editions Présence, 1971, pp. 69
and 70.
“L’Orient oriente ici sur le centre qui est le sommet du déme
cosmique, le pdle”’ Nasr’s version is close to Suhrawardi’s: Our
return from exile is return to that Center / To our real land of birth
(p. 23). Our poet, however, directly associates the Orient with
illumination—that Orient which is light pure (p. 23). Once again
we can see that he is a true Sufi, for Muslim mystics have
claimed for centuries that when they finally reached the ‘Orient’
of their souls their symbolic ‘Occidental exile’ came to an end.
Only then were they worthy of the name ishragiyyun—that is to
say, they were ‘Orientals’, and, at the same time, they were
‘illuminated’. /shraq implies also the ‘East’ or the ‘Orient’, and,
consequently, to reach the East is ‘to be enlightened’. Nasr thus
joins these traditional illuminati from his native homeland, and in
joining them, his ‘Occidental exile’ is finally ended. He is finally
engulfed in mystical light. His banishment was, evidently, more
spiritual than geographical in nature.
In spite of his geographical and spiritual homesickness, and
perhaps precisely because of it, Nasr succeeds in ‘Orientalizing’
his language and his culture of exile. He interweaves his poetry
with the most revered Sufi metaphors—the luminous night, the
‘Station of Intimacy’ (al-qurb), the interior castle, the pure wine
of ecstasy that the saki pours. Specific Islamic concepts, such as
the Moon of Ramadan, the /aylat al-gadr (The Night of Power)
and the Mi’raj or Nocturnal Ascent of the Prophet Muhammad
also punctuate his verses, which are often signed not only in our
Western calendar but in the dates of the Islamic calendar as well.
His Poems of the Way also celebrate the sacred /oci of Islam,
such as the Ka’bah and the Mosque of Cordova, and above all,
the Supreme Unity which they represent. Our poet extols with
great poetical sophistication his own traditional past and he pays
constant homage to his Sufi predecessors. In some cases he
cleverly paraphrases his Islamic cultural heritage, so as not to
task his Occidental reader too much: when he speaks of the
‘Ibid., p. 70.
tablet of my soul (p. 71), he is alluding to the Lawh al-mahfaz,
the symbolic Guarded Tablet where God’s primordial Pen
inscribed His plans for the created world with ineffaceable ink.
The whole book has a delicate but ever present Islamic aura that
also owes much to the poet’s constant quotes from the Quran
(both direct and indirect) and from the Prophetic literature of
the hadith. But all these Islamic themes are rendered in vibrant
English, intertwined with allusions to Dante and even to the
Bible in its traditional Latin version.
Nasr has written an immensely original book of poetry. Maybe
it was meant to be written in a language of separation and exile,
spiritually and geographically, and even linguistically. Perhaps
writing his poetry in the West was Seyyed Hossein Nasr’s higher
destiny. His Poems of the Way will reach many more souls and
will contribute to the understanding between East and West in a
more effective way. The poet knows, however, that the ultimate
Truth, in the end, belongs neither to the East nor to the West,
like the blessed olive tree of Surah XXIV, 35:
Luce Lopez-Baralt
Universidad de Puerto Rico
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Athamdn ti’Ltah— Praise te to God
Seville, Spain
January 6, 1985
Bethesda, Maryland
August 11, 1996
14
OC Friend of GodA—YVA fHhavit Attah
15
Revealing in all its nobility and beauty
What it means to be truly human.
Bethesda, Maryland
May 13, 1993
16
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Welcome Adam
Washington, DC
April 3, 1989
19
The Eternal Covenant
Bethesda, Maryland
July 27, 1996
*”And when thy Lord drew forth from the children of Adam from their loins their
descendants, and made them testify concerning themselves (saying) ‘Am | not your Lord?’
They said: ‘Yea! We do testify.” The Quran, al-A’raf (The Heights) VII, v. 172.
20
OC Saki
Bethesda, Maryland
November 12, 1995
21
The Wine of Remembrance
Bethesda, Maryland
July 27, 1996
*Concerning paradise, the Quran says, “The Lord will slake their thirst with a wine pure and
holy; (and it will be said with them): Lo! This is a reward for you. Your endeavor (upon
earth) hath found acceptance.” The Quran, al-Insan (Man) LXXVI; v. 21-22.
22
Occidental Exile
*Islam began in exile and shall become as it began, and happy are those who are in
exile.” A hadith of the Prophet.
24
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Enchanted Places
The House of God
27
Emanating the barakah of the Spirit
Within and without in the eternal now.
How fortunate to behold this site of the sacred Ka’bah,
How blessed to enter the Ka’bah of the heart.
Jeddah
22 Safar 1408
October 16, 1987
28
Ra's al-}fusayn
29
It evaporates like the mist of dawn
Before the rising sun of that Truth Supreme
For which thou didst die, O martyr exemplar,
The Truth to whose abode thy earthly remains
Guide us through the barakah they emanate,
Acting as reminder of the message of thy life
Which is the final triumph of that Truth
That alone will utter the ultimate word.
30
Machu Picchu
Washington, DC
October 28, 1985
31
Terengganu
Terengganu, Malaysia
November 26, 1986
*The mountain outside Mecca where the Prophet received the first revelation of the
Noble Quran.
32
Enchanted Istana
Bali
July 4, 1993
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Luminous Night
38
During this month held dear by all who love
The One, His Prophet and His Word revealed.
Washington, DC
May 9, 1986
Beginning of Ramadan 1406
39
Laylat at-€Qadr (The Wight of Porver)
40
O Night of Power thou doest reflect power
But a power that guides to His Mercy,
A power which crushes not but saves,
Through that Word which issues from compassion,
Through that Prophet who is mercy to all the worlds.
41
Sy wa
Las
Laytat al-Wni'rAaj (The Viecturnal Ascent)
42
Lest we forget, “The heart of the believer is the Throne of
the Compassionate”,
And our ascent above to the Abode of the One,
Penetration into our heart, into that Center wherein He resides.
Bethesda, Maryland
Ramadan 1418
January 1998
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Wonders of Creation
47
To fulfill the goal of Thy creation which is
To know the “Hidden Treasure” which Thou art?
As the sun sets upon Thy glorious creation,
Scarred by a humanity forgetful of its end,
We bear witness to Thy Glory manifest
In heights and depths beyond normal human ken,
Yet revealed at this late hour to affirm
The infinity of Thy “Treasury Invisible”,
The power of Thy Majesty Supreme,
The beauty of Thy creation primordial
Reflected in the depth of the seas as well,
In the stars twinkling in the firmament
To which we bear witness as children of Adam
In whom Thou didst breathe Thy Spirit Eternal.
Cozumel, Mexico
August 7, 1987
Sacred VNountain
49
Our souls departing from this sacred peak
To the realm where we resided then and ever more.
50
Spring Flowers
Washington, DC
April 7, 1985
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Cordova-Seville, Spain
May 5-6, 1994
Cordova, Spain
January 6, 1985
56
Grtden Geometry in Alcazar
Seville, Spain
January 8, 1985
*”All things perish except His Face.” Quran, al-Qasas (The Story) XXVIII, v. 88.
57
San Lorenzo de et Escorial
58
SHlamenco
Madrid, Spain
August 23, 1991
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Washington, DC
August 26, 1996
63
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Madrid, Spain
January 10, 1985
To the Pole of the Ager
Fez, Morocco
May 10, 1994
*Dedicated to Shaykh ‘Abd al-Salam ibn Mashish—may Allah sanctify his secret—after
pilgrimage to his tomb on Jabal al-‘Alam in the Rif Mountains in Northern Morocco.
rom Hamadan to Toledo
Toledo, Spain
January 9, 1985
To the Sacred Memory of
SAyyidi JoraAhim ‘Jzz al-Din at-Shadhili
atAtawi at-Naryami
al-Makkat al-Mukarramah
19 Safar, 1407 (A.H.)
October 12, 1987 (A.D.)
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Divine Bi-Lnity
Washington, DC
January 26, 1985
71
WA Am J?
Bethesda, Maryland
November 12, 1995
72
Who is the Kinotver, What is the Kouotwn?
The secret of thy life is the door that is open before thee,
Pass through it to behold and taste the supreme elixir of non-being.
Pass through that door and let the Knower know Herself.
O mirror of the Countenance of the One,
Pass through that door before the journey’s end
When the door will shut before thy face
And the occasion of letting the Friend know
That which is to be known through the window of thy being
Passes away, inaccessible to thy grasp.
Realize while thou canst, that only the Divine | knows,
And It knows that which is the outward,
But the outward of that inner Reality which forever remains It-Self,
Knowing Itself through the alpha and omega of time,
As It does in that Eternal Moment beyond all becoming,
That moment when the Knower was and is and shall be the Known,
That moment in which no otherness finds room,
When | and thou must melt like snow before the Sun of high noon.
Know thy-self and thou shalt know Thy Lord,*
The Lord who as the reigning | alone knoweth.
Live in that moment when | and thou
And all the I’s between the alpha and omega of recorded time
Fade away before the radiant Sun.
Cancun, Mexico
Beginning of August 1997
*’He who knows himself knows his Lord.” A hadith of the Prophet.
74
The Castle Within
75
The traveller has come from afar and does need
Thy welcoming embrace to his final home of rest.
A single glimpse of thy face is reward indeed
For all the hardships of the journey endured.
76
Silent VWusic
Washington, DC
November 13, 1985
77
WiAy Here Why Vow?
78
Ask not why here and now
But be in the here and now,
To find the key to all existence, to taste being’s alpha and
omega,
To experience not only all the climes and times,
When She manifested the Beauty of Her Face,
But also the eternal naught beyond all moments of time, all
stretches of space.
Be here and now with all thy being and wonder not why.
Bethesda, Maryland
June 25, 1996
79
Life and Death
80
Choose while thou canst that spiritual death
Which is birth in the land of the Spirit pure,
Choose while thou canst before the hand of death
Closes for thee the door to eternal bliss.
Bethesda, Maryland
July 26, 1996
81
Gas
Did not the Blessed Prophet, he whose heart was always awake,
Utter that we are asleep and awaken when we die?
Who is it who is asleep?
Who is it who awakens?
Here below we dream the dream of negligence,
Imagining to be awake, yet slumbering.
The ego asserts itself as the subject that dreams
Claiming to be awake, yet it is but a sleep-walker.
Let this ego die that voluntary death
Before the angel of death shatters the pillars of thy earthly
existence.
Let the Self awaken within thee
And know, it is the World Soul that dreams the ego.
We are but the dream of that One who yet sleepeth not.
Awaken now to that Reality which thy dreamy eyes
Blinking in the darkness cannot perceive.
Awaken now while the gift of this miraculous now
Is still present before thee, the gift of the All-Merciful.
Awaken unto the world of light from that murky existence
That thy ego mistakes for reality.
82
Let thy heart awaken to His call
And see thy ego and the world as a dream,
From which thou hast already awakened.
For he who has already awakened here and now has died to the world;
He will not die when the angel of death does knock at the door.
83
Stations of Wisdom
88
Watered therein by the spring of Life Divine,
Gushing forth when the Sun of Thy Being melts
The hardened shell of the heart of Thy creature man.
O Reality whose Love embraces us all,
| confide in Thee, desperate as a drowning man,
For |am drowning in this sea of change
And only Thy remembrance can save my immortal soul
And reinstate it in the world of permanent Love.
Let not my soul ever forget this Love supreme,
Nor that Reality which cares and saves, here, now.
| live and die confident in that Love,
Which moves the sun and the stars, within the sky,
Which enlivens the soul and gives it eternal life.
89
Casting those forms of celestial origin upon
That mirror of nothingness that the world and |
Were and are and will always be,
As dust before Thy Majesty, Thy Throne,
O Unique Reality, beyond equal and like.
Malaga, Spain
January 6, 1986
91
“Seyyed Hossein Nasr, whose impressive intellectual legacy in the
field of Islamic thought and mysticism is simply one of the finest
in the twentieth century, herein gives us his greatest gift yet: his
own soul in the inner courtyard of intimacy, as he himself confesses
in Poems of the Way. These forty poems constitute a veritable
actualization of Sufism, written in a delicate verbal geometry of
light and shadow that evokes the exquisite opalescence of
- Persian poetry.”
—from the Introduction by Luce Lopez-Baralt
— Gai Eaton
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