{"id":53,"date":"2014-05-08T01:25:13","date_gmt":"2014-05-08T05:25:13","guid":{"rendered":"http:\/\/blogs.law.harvard.edu\/olumakindeislamicart\/?p=53"},"modified":"2014-05-08T22:38:10","modified_gmt":"2014-05-09T02:38:10","slug":"oguns-return-weeks-89","status":"publish","type":"post","link":"https:\/\/archive.blogs.harvard.edu\/olumakindeislamicart\/2014\/05\/08\/oguns-return-weeks-89\/","title":{"rendered":"Ogun’s return. (Weeks 8\/9)"},"content":{"rendered":"

\"imgres-2\"\"images-3\"<\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

The ghazal is a form of Persian poetry, traditionally in the form of love poetry.\u00a0 It has become especially popular in the Persian, Arabic, and Urdu languages.\u00a0 Structurally, it is composed of couplets or verses, called baits.\u00a0 These are meant to both blend into the overall theme of the poem, and stand alone as a virtual poem in themselves.\u00a0 These poems are ment to have a very distinct rhyme structure. The bothlines of the poem\u2019s first bait, and the second line of all preceding baits are to have a refrain, or radif.\u00a0 Before each radif, one usually finds a qafiyah or a word which rhymes with the others preceding the refrain.\u00a0 Finally, it is often customary for the poet to refer to themselves in the final verse of the poem, though through some pen-name, or takhalus, which reveals something of the character of the poet.<\/p>\n

 <\/p>\n

I found my inspiration in the 6th Ghazal by Hafiz in the book, Green Sea of Heaven, recreated, translated in English below:<\/p>\n

 <\/p>\n

O dawn wind, where is my love’s resting place?<\/p>\n

Where is the moon’s house, that rogue, killer of lovers?<\/p>\n

 <\/p>\n

The night is dark, the road to the valley of safety lies ahead.<\/p>\n

Where is the fire of Sinai? Where is the moment of meeting?<\/p>\n

 <\/p>\n

All who come into this world bear the mark of ruin.<\/p>\n

In the tavern ask, “Where is the sober one?”<\/p>\n

 <\/p>\n

He who understands signs lives with glad tidings.<\/p>\n

There are many subtleties. \u00a0Where is an intimate of the secrets?<\/p>\n

 <\/p>\n

Every tip of our hair has a thousand ties to you.<\/p>\n

Where are we? And where is the accuser idle?<\/p>\n

 <\/p>\n

Reason went mad. \u00a0Where are those musk-scented chains?<\/p>\n

Our heart withdrew from us from us. Where is the arch of her brow?<\/p>\n

 <\/p>\n

Wine, minstrel, and rose are all ready<\/p>\n

but there is no pleasure in celebrating with her. \u00a0Where is she?<\/p>\n

 <\/p>\n

Hafiz, don’t take offence at autumn’s wind over the field of the world.<\/p>\n

Think rationally: where is the thornless rose?<\/p>\n

 <\/p>\n

I attempted to create an English version of a Ghazal, with the same structural elements.\u00a0 My refrain is also an indicator of the subject of the poem, \u201cto return,\u201d and before each refrain a word is rhymed with the first qafiyah, \u201cdeign.\u201d\u00a0 My pen name is a reference to the Yoruba deity of Iron and warfare, who is quite fond of solitude.\u00a0 This is both a reference to my heritage and personality.\u00a0 The message of this last verse is meant as an exhortation to those with such a disposition.\u00a0 Finally, each couplet is designed to be a story unto itself, with a particular symbolism.<\/p>\n

 <\/p>\n

Ogun’s Return<\/strong><\/p>\n

 <\/p>\n

Where is my love this day? When will he deign to return?<\/p>\n

Where is the path to the Magi\u2019s house?\u00a0 There I go, in pain, to return.<\/p>\n

 <\/p>\n

Bewildered, I am content to wait in the woods alone<\/p>\n

Finally, I am convinced by the goddess of rain, to return.<\/p>\n

 <\/p>\n

If you should ever be driven away, and the sweet scent of your hair disappear,<\/p>\n

The fires of my passion would burn till your palm wine lead me, insane, to return.<\/p>\n

 <\/p>\n

Last night, hanging from chain of Orisanla I lay sleeping,<\/p>\n

Till your servant awoke his brother, to strive, to strain, to return.<\/p>\n

 <\/p>\n

Oh, Ogun, forget your exile, abandon your nature. Remember,<\/p>\n

To examine the rosy cup of truth to see all else is vain, to return.<\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

The traditional Persian ghazal is quite remarkable for the Sufi symbols that give it such depth and meaning.\u00a0 There are a few symbols that are typically employed, which have multiple layers of meaning but all center about love. They frequently appear in varied form to produce nuanced effects in the reader.\u00a0 However, different sufi traditions appreciate artistic expression in different ways.\u00a0 From the Mourides of Senegal with their images of Cheick Amadou Bamba, to the Dervishes from Konya, to the Qawwali musicof South Asia, practices arise within particular cultural contexts.\u00a0 Thus, to present this intertwining of culture and religion, I attempted to tie in symbols from a traditional Yoruba Mythology (If\u00e1), and match it with the symbols of a traditional Ghazal.\u00a0 A brief explanation of the various symbols and references may be found below:<\/p>\n

 <\/p>\n