A
TABLET OF
BAHĀ'-ALLĀH OF
THE LATE IRAQ PERIOD
لوح
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
LAWḤ-I HALIH, HALIH, HALIH,
YĀ BISHĀRAT
BEING REVISED 2006
Introduction
Below is a slightly revised translation of my earlier rendering(s) of the Halih halih
halih yā
bishārat, the
text of which can
be found in the original printing of Bahā'i Studies Bulletin 2:3
(December 1983),105-112, which translated the text printed in Ishrāq
Khāvarī's Ganj-i-shāyigān ("The Befitting Treasury") (Tehran, 123 BE/
1967-8, pp.33-35). On or around 16/7/1995, I posted a slightly revised version
of my first translation of the Halih halih
halih yā
bishārat
on the USA listserve
Talisman,
incorporating a few minor corrections to the text.
Subsequently, the Ganj text and my
translation of the Halih halih halih... was discussed and commented upon
by Dr. Frank Lewis (Emory Univ. Atlanta) and others. Lewis correctly suggested
that in line 5 the words
دو
طيف
(dū ṭayf) so
Ganj, 34 (this always seemed strange to
me) might actually be
دوصَيْف
dū ṣayf, ("two swords [daggers]"). I affirmed the
truth of this reading by referring to the text of the Halih halih
halih yā
bishārat
reproduced in INBMC
35:445-6
Later Sen McGlinn (now a student at Univ. Leiden) obtained a copy of a
mss. in the handwriting of `Abd al-Bahā' (from the BWC) which is now available
at ADD. He also made a poetical version "in rhythmic verse" based
on my own translation which he came to dubb something "based on two very
defective texts", namely, those in Ganj, 33-5 and INBMC 35:445-6.
These versions seem not so much inaccurate or "defective" but different (possibly earlier?)
versions / recensions of the same Tablet. They may well represent earliy or
partially updated,
possibly orally (and textually)
transmitted versions of the evolving Halih
halih halih text. Some of these various recensions, in whole or in part, may well go back to Bahā'-Allāh himself.
It is very unlikely that all the differing mss. texts of the Halih
halih halih... are all "defective" versions of a single original.
On
occasion Bahā'-Allāh
(and /or the Bābī-Bahā'ī community?) most likely re-revealed
(through waḥy) or refashioned
earlier texts in devotional and other circumstances. It is well-known that Baha'-Allāh re-revealed
scriptural texts in sometimes complex "updated"
ways. The evolving text history of many alwah of Bahā'-Allāh remains to
be clarified.
The first Persian typed text below is according to that contained in Ishrāq
Khāvarī's Ganj-i-shāyigān ("The Befitting
Treasury") (Tehran, 123 BE/ 1967-8, pp. 33-35) with one correction. This text
was translated in the BSB 2:3 (December 1983),105-112.
It is not necessarily wholly "accurate" but represents one stream of the
Halih halih halih... tradition.
The second Persian text of the Halih halih halih
yā bishārat
below is that of the Hadiqat al-Irfān in the light also of the typed version from the mss.
in the handwriting
of `Abd al-Bahā'. This is semi-critically reproduced below. To repeat
myself, in some instances it is not that texts are "defective"
but that varying texts often seem to be versions or "streams" of the
evolving textual tradition.
Introduction
The poetical work, the Halih halih
halih yā
bishārat
derives
its title from the refrain which follows each internally rhyming line (Halih
x 3 = Rejoice! or [loosely] Hallelujah!). Composed towards the end of
Baha'-Allāh's residence in Baghdad (late 1862 or early 1863 CE?) it is
expressive of his claim to special communion with God through a ḥuriyya
celestial maiden evident in such other of his alwah such as the al-Qaṣīda
al-warqā'iyya; Hur-i `ujab; Lawḥ-i Huriyya.
At times one can see from the text of the Halih halih
halih yā
bishārat
evidence of Baha'-Allāh's imminent assumption of a leadership
role within the Bābī community. Drawing on qur'ānic, Sufi and Bābī imagery,
most notably the Sūrat al-huriyya of the Bāb's mid. 1260/1844 Qayyūm
al-asma' (= QA.29) In his mystically oriented ode, Baha'-Allāh calls upon
the members of the Bābī community to listen to his "wondrous new melodies"
(cf. Tarikh-i Nabīl Zarandi [Pt II ] cited in Ishrāq Khāvarī,
Ayyām-i tis`ih, 332f).
Two musical, vocal renditions of my earlier translation of the Halih
halih halih
yā bishārat
have appeared. First that of
Laura McCall performed at a Bosch mysticism conference and
released to me on cassette tape on 17/11/95 and
the second that of the professional
harpist ADD
THE
REVISED BSB 2:3 TRANSLATION
He
is the Beloved One
هوالمحموب
[1]
حُور بَقَا از فردَوس
علا
آمد
The
Maid of Eternity came
from the Exalted Paradise;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[2]
با چنگ و نوا هم
با كاسه
ء حمرا آمد
With
harp and with song, with
crimson goblet she came;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[3]
با غمزه جانی با مزه فانی
با رقص و نوا آمد
With
amorous glances, with
the taste of mystical death;
with
dance and with song she came.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[4]
با گيسوی مشكين با لعل نمكين
With
musky tresses, with beauteous ruby lips; from
nigh unto God, she came.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[5]
دو
*سيف ز ابرويش صد تير
ز مژگانش بهر دل ما آمد
Two
daggers her eyebrows, one
hundred arrows from her eyelashes;
to
ravage our hearts she came.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[6]
All
souls in her path, all hearts in her embrace, massacred
when she came.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[7]
With snow-white hand,
with
raven locks--
like
the dragon [serpent] of Moses she came;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[8]
From
the Divine Lote-Tree this sweet Davidic voice came
with the Messianic Spirit.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[9]
With
the allurement of fidelity, with
the protection of Bahā' (Glory-Beauty);
she
came from the Dawning-Place of [the letter] "H"
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[10]
With
guiding light from the morn of the Divine Encounter; with
Mount Sinai she came;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[11]
This
songbird of the Spirit came to her lovers from
the Nightingale of "No".
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[12]
With
the joyful tidings of reunion this Divine Maiden came
from a branch of the Tree of Blessedness;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[13]
This
annihilated lover, this earthly bird; she
came as a sacrifice in the path of the Beloved.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[14]
This
sword of oppression from the Throne of fidelity; she
came upon the neck of the Beloved.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[15]
This
sacred missive, with an Arab messenger; she
came from the city of Sheba.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[16]
This
Eternal Countenance; she
came with snow-white hand from
the Divine Logos-Command;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[17]
This
Ḥijāzī Falcon came with Iraqi accents from
the forearm of the King.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[18]
This
Pardoning Visage; she
came with fetching allure from
the Court of Nearness.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[19]
This
Nightingale of mystic meaning, she
came from the sacred rose bush with
the hand of *ecstasy*;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[20]
This
luminous page; she
came with light and splendor from
the Midian of Spirit;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[21]
This
Witness of the Omnipotent, this
heady Wine of the Beloved;
she
came with the goblet of Sovereignty.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[22]
That
essence of the Beauty of the True One, that
jewel of the Glory of the True One;
she
came with the Most Great Sign.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[23]
That
Countenance of the Desired One, that
Face of the Adored One;
she
came with the Most-Supreme Mercy.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[24]
The
souls to her reunion, the
hearts to her Bestowal;
as
the Most Exalted Lord she hath come!
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[25]
This
Wondrous Remembrance hath
come from the Eternal Rose-garden
that
the lovers of the beauty of the Adored One,
hearts and souls burning with love,
might, in utmost tranquility, busy
themselves with these wondrous new melodies;
that
perchance, attracted thereby, the
inmates of the Kaaba of Gnosis
might be shaken with ecstasy
and
recall their divine and sacred homeland.
LAWḤ-I HALIH,
HALIH, HALIH,
YĀ
BISHĀRAT
THE
PERSIAN TEXT
The second Persian text of the
Halih halih halih
yā bishārat
below is that of the Hadiqat al-Irfān in the light also of the typed version from the mss.
in the handwriting
of `Abd al-Bahā' which is semi-critically reproduced below. To repeat
myself, in some instances it is not that texts are "defective"
but that there seem several versions or "streams" of the textual tradition. Thus, for example ADD
Below are versions of a semi-critical Persian text of Baha'-Allāh's Lawḥ-i Halih
halih halih
yā bishārat.
I have added a few vowels to the Persian text to
clarify the reading adopted. In setting it down here I have referred to
various (unpointed) mss and texts printed in
-
(1)
the probably early text in INBMC 36:445-6;
-
(2) the
text in Gani-i shayigan, 33-35 [= above,
Persian text 1];
-
(3) the BWC
typescript text based on a mss. in the handwriting of `Abd al-Baha' (posted by
Sen McGlinn);
-
(4) The text in
Hadiqat al-`irfān, 160ff; (5)
add...
This typed version below will largely follow version (3) though this does not
necessarily highlight the "defective" nature of other textual traditions of the Lawḥ-i Halih
halih halih
yā bishārat.
The
Ganj-i shayigan Persian text (I)
followed
by the BSB 2:3 translation with
minor revisions.
ADD
PERSIAN TEXT HERE
هُوالمَحبُوب
[1]
حُور بَقَا از فردَوس
علا
آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[2]
با چنگ و نوا هم
با كاسه
ء حمرا آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[3]
با غمزه جانی با مزه فانی
با رقص و نوا آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[4]
با گيسوی مشكين با لعل نمكين
از نزد خدا آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[5]
دو
*سيف ز ابرويش صد تير
ز
*مژگو/انش
بهر دل ما آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[6]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[7]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[8]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[9]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[10]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[11]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[12]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[12]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[13]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[14]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[15]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[16]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[16]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[11]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[17]
با گيسوی مشكين با لعل نمكين
از نزد خدا آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[18]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[19]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[20]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[21]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[22]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[23]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[24]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[25]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
add rest of Ganj text
لوح
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
هُوالمَحبُوب
[1]
حُور بَقَا از فردَوس
علا
آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[2]
با چنگ و نوا هم
با كاسه
ء حمرا آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[3]
با غمزه جانی با مزه فانی
با رقص و نوا آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[4]
با گيسوی مشكين با لعل نمكين
از نزد خدا آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[5]
دو
*(ط) سيف ز ابرويش
صد تير ز مژگا*ونش
بهر دل ما آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[6a]*
با
نغمه ورقا؟
[6b]*
جانها برهش دلها ببرش جمله فنا آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[7]
با كفه بيضأ با گيسوی سودا
چون اژدر موسی آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[8]
اين نغمه داودی از سدره لاهوتی
با
روح مسيحا آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[9]
با جَذْب وَفَا با صون بَهأء *
عماء
از مَشرِق هَاء
آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[10]
با نُور هد*ي
ائی از صُبْح لِقََا
با طُور سنا آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[11]
اين نغمه جان در نزد*
جانان
از بُلبُل لآ آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[12]
با مژده وصلی اين حور الهی
از شاخه طُوبیَ آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[13]
بر صدر حبيبان تير قضا
از سّر سما
آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[14]
اين نامهء قدسی با هُدهُد ناری
از شهر سبا آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[15]
بر
گردن
عاشق
سيف
جفا
از
عرش
وفا
آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[16]
اين
وجههء
باقی
از
امر
الهی
با
يد
و
بيضا
آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[17]
اين
باز
حجازی
با
لحن
عراقی
از
ساعد
شاه
آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[18]
اين
طلعت
معراجی
با
جذبهء
بّهاجی
از
ساحت
ادنی
آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[19]
هان
بلبل
معنی
از
گُلبن
قدسی
با
گفت
و
صدا
آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[20]
اين
ورقهء
نورا
اين
مدين
روحا
با
نور
و
ضيا
آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[21]
اين
شاهد
يزدان
اين
مست
می
جانان
با
جام
تولّی
آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[22]
آن
صِرف
جمال
حّق
آن
جوهر
اجلال
حّق
با
آيت
كُبری
آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[23]
آن
طلعت
مقصود
آن
وجههء
معبود
با
رحمت
عظمی
آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[24]
جانها
بوصالش
دلها
به
نثارش
كان
ربّ
علی
آمد
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[25]
اين
ذكر
بديع
از
گلشن
باقی
آمد
تا
عاشقان
جمال
جانان
به
آتش
حُّب
از
دل
و
جان
و
با
كمال
اطمينان
به
بدايع
لحنهای
خوش
به
آن
مشغول
شوند
كه
شايد
از
جذبهء
آن
عاكفان
كعبه
عرفان
بشور
آيند
و
وطن
قدس
الهی
را
فراموش
نفرمائيد.
He
is the Beloved One
هوالمحموب
[1]
The
Maid of Eternity came from the Exalted Paradise;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[2]
With
harp and with song, with crimson goblet she came;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[3]
With
amorous glances, with the taste of mystical death;
with
dance and with song she came.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[4]
With
musky tresses, with beauteous ruby lips;
from
nigh unto God, she came.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[5]
Two
daggers her eyebrows,
one
hundred arrows from her eyelashes;
to
pierce our hearts she came.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[6]
All
souls in her path, all hearts in her embrace,
massacred
when she came.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[7]
With
snow-white hand, with raven locks--like the dragon of Moses she came;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[8]
From
the Divine Lote-Tree this sweet Davidic voice
came
with the Messianic Spirit.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[9]
With
the allurement of fidelity,
with
the protection of Bahā';
she
came from the Dawning-Place of [the letter] "H"
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[10]
With
guiding light from the morn of the Divine Encounter;
with
Mount Sinai she came;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[11]
This
songbird of the Spirit came to her lovers
from
the Nightingale of "No".
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[12]
With
the joyful tidings of reunion this Divine Maiden
came
from a branch of the Tree of Blessedness;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[13]
This
annihilated lover, this earthly bird;
she
came as a sacrifice in the path of the Beloved.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[14]
This
sword of oppression from the Throne of fidelity;
she
came upon the neck of the Beloved.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[15]
This
sacred missive, with an Arab messenger;
she
came from the city of Sheba.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[16]
This
Eternal Countenance;
she
came with snow-white hand
from
the Divine Logos-Command;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[17]
This
Ḥijāzī Falcon came with Iraqi accents
from
the forearm of the King.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[18]
This
Pardoning Visage;
she
came with fetching allure
from
the Court of Nearness.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[19]
This
Nightingale of mystic meaning,
she
came from the sacred rose bush
with
the hand of *ecstasy*;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[20]
This
luminous page;
she
came with light and splendor
from
the Midian of Spirit;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[21]
This
Witness of the Omnipotent,
this
heady Wine of the Beloved;
she
came with the goblet of Sovereignty.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[22]
That
essence of the Beauty of the True One,
that
jewel of the Glory of the True One;
she
came with the Most Great Sign.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[23]
That
Countenance of the Desired One,
that
Face of the Adored One;
she
came with the Most-Supreme Mercy.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[24]
The
souls to her reunion,
the
hearts to her Bestowal;
as
the Most Exalted Lord she hath come!
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[25]
This
Wondrous Remembrance
hath
come from the Eternal Rose-garden
that
the lovers of the beauty of the Adored One,
hearts and souls burning with love,
might, in utmost tranquility,
busy
themselves with these wondrous new melodies;
that
perchance, attracted thereby,
the
inmates of the Kaaba of Gnosis
might be shaken with ecstasy
and
recall their divine and sacred homeland.
LAWḤ-I
HALIH,
HALIH, HALIH,
YA
BISHĀRAT
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
Hallelujah,
Hallelujah, Hallelujah,
O Glad Tidings!
Revised translation of the semi-critical
probably later version of the text
2000/03 CE.
Preliminary note
At times an asterisk will mark words, phrases or lines where variants exist or where the translation remains
particularly tentative, subject to possible alteration in a future revision...
I have retained the "Hallelujah, Hallelujah, Hallelujah, O Glad Tidings!" though
it would not, I think, be anything untoward if person reciting it wished to
substitute "Rejoice, Rejoice, Rejoice, O Glad Tidings!" throughout -- or perhaps
at every other line. Some might find reciting Hallelujah something rather too
`ecclesiastical' or having unbecoming evangelical associations.
He
is the Beloved One
هوالمحموب
[1]
The
Maid of Eternity came from the Exalted Paradise;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[2]
With
harp and with song, with crimson goblet she came;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[3]
With
amorous glances, with the taste of mystical death;
with
dance and with song she came.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[4]
With
musky tresses, with beauteous ruby lips;
from
nigh unto God, she came.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[5]
Two
daggers her eyebrows,
one
hundred arrows from her eyelashes;
to
pierce our hearts she came.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[6]
All
souls in her path, all hearts in her embrace,
massacred
when she came.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[7]
With
snow-white hand, with raven locks--like the dragon of Moses she came;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[8]
From
the Divine Lote-Tree this sweet Davidic voice
came
with the Messianic Spirit.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[9]
With
the allurement of fidelity,
with
the protection of Bahā';
she
came from the Dawning-Place of [the letter] "H"
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[10]
With
guiding light from the morn of the Divine Encounter;
with
Mount Sinai she came;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[11]
This
songbird of the Spirit came to her lovers
from
the Nightingale of "No".
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[12]
With
the joyful tidings of reunion this Divine Maiden
came
from a branch of the Tree of Blessedness;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[13]
This
annihilated lover, this earthly bird;
she
came as a sacrifice in the path of the Beloved.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[14]
This
sword of oppression from the Throne of fidelity;
she
came upon the neck of the Beloved.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[15]
This
sacred missive, with an Arab messenger;
she
came from the city of Sheba.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[16]
This
Eternal Countenance;
she
came with snow-white hand
from
the Divine Logos-Command;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[17]
This
Ḥijāzī Falcon came with Iraqi accents
from
the forearm of the King.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[18]
This
Pardoning Visage;
she
came with fetching allure
from
the Court of Nearness.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[19]
This
Nightingale of mystic meaning,
she
came from the sacred rose bush
with
the hand of *ecstasy*;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[20]
This
luminous page;
she
came with light and splendor
from
the Midian of Spirit;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[21]
This
Witness of the Omnipotent,
this
heady Wine of the Beloved;
she
came with the goblet of Sovereignty.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[22]
That
essence of the Beauty of the True One,
that
jewel of the Glory of the True One;
she
came with the Most Great Sign.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[23]
That
Countenance of the Desired One,
that
Face of the Adored One;
she
came with the Most-Supreme Mercy.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[24]
The
souls to her reunion,
the
hearts to her Bestowal;
as
the Most Exalted Lord she hath come!
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[25]
This
Wondrous Remembrance
hath
come from the Eternal Rose-garden
that
the lovers of the beauty of the Adored One,
hearts and souls burning with love,
might, in utmost tranquility,
busy
themselves with these wondrous new melodies;
that
perchance, attracted thereby,
the
inmates of the Kaaba of Gnosis
might be shaken with ecstasy
and
recall their divine and sacred homeland.
SELECT
NOTES
Without attempting to
comment on the Lawh-i Halih Halih in detail the following few points may
be noted.
[5]
It is clear from the
INBA mss, as Frank Lewis brilliantly proposed, that line 5 has *du sayf* = lit.
"two swords" and not (as in the almost certainly erroneous Ganj printing) *du
tayf* -- which I had earlier hesitantly translated "two phantoms". Tony's first
class suggestion -- in the light of Frank Lewis' correct emendation to *sayf*
("sword") -- "two daggers" has been retained as a dagger can be a short sword --
possibly curved like the maiden's eyebrows!
[7]
The "Maid of Eternity"
is represented as coming with the miraculous "snow-white hand" of Moses (see for
example, Exodus 4:6f; Qur'an 7:108) and like his rod which turned into a
"serpent" or "dragon". i.e. she manifests the signs of true prophethood.
[8]
Baha'u'llah refers to
himself or the "Divine Maiden" - who at times seems to be his celestial Self -
as being capable of uttering verses comparable to those of King David the
psalmist and being characterised by the spirit (ruh) of Jesus.
[9]
The "dawning-place of
[the letter] "H" (ha')" as the locale from which the Maiden came probably
expresses the fact that she came from the most elevated divine real or from God;
"H" (ha') being the first letter of huwa (Allah) ("He is [God]) and Huwiyya
("He-ness"; the Divine Ipseity) and Hahut, the realm of the huwiyya, the exalted
Divinity.
[11]
The
Arabic negative particle
لا lā = "no" indicates
probably does not allude to the Syriac loan word lāhūt
("the divine realm"). لا lā has a range of senses in Persian and Arabic mystical
poetry, often relating to the "no" at the beginning of the kalimat al-tawhīd (Word
of the divine unity), la ilaha ila Allah = "there is NO
deity (god) but God" or a Babi version such as
"there is no God except I Myself" (la ilaha ila ana). It may be that the
"lovers" are the Babis to whom Baha'u'llah appears uttering a version of the
Sinaitic declaration of divinity ("There is NO God except I, Myself") and
calling them to attain the Divine Presence (see line 12). On the use of "no"
(la) in Persian poetry and in line 13b of Baha'u'llah's earlier *Rashh-i `ama'*
("The Sprinkling of the Cloud of Unknowing") see BSB 3:2 (September 1984 --
REVISED VERSION FORTHCOMING), p.28
n.b. *Rashh-i `ama'* line 13b =
"Observe the Iraqi Harmony! Behold the Hijazi Tambourine! See thou that the
rapture of "no" (la) raineth down from the Divine Hand"
[13-14]
Allusions to Baha'u'llah's sufferings and lamentation over the debased
condition of many Babis?
[15]
An allusion to the message sent by the Queen of Sheba to Solomon (see Qur'an
27:20ff) through the hoopoe.
[16]
An allusion to Baha'u'llah's superiority to Mirza Yahya (?)
[17]
An allusion to Baha'u'llah's exile from Iran to Iraq (?) cf the following
lines from the Lawh-i madinat al-tawhid ("Tablet of the City of the Divine
Unity"; late Baghdad Period)
"Hearken on this Day in which the Caller (al-munad) crieth out in the midst
of the immortal realm and the Dove of Hijaz warbleth in the region of Iraq (fi
shatr al-`Iraq) summoning all unto concord.." (Ishrāq Khāvarī, Ma'ida-yi Asmani,
4:326-7).
[19]
The INBA mss, where the Ganj printed text has *kaff-i vasl(??)*, is not at
all clear though there is not an alif missing. If the reading is not as above it
could well be *kaff-i vujdAn* ("hand of ecstasy") or (less likely) *kaff-i
vah.dAn* ("hand of singleness")?? I have followed the probable reading *kaff-i
vujdAn* ("hand of ecstasy") which would seem to be OK for the rhythm. I'm still
pondering on this and hoping for another clearer mss.
[20]
Baha'u'llah likens his status to that which Moses attained after leaving Midian for Egypt
[24]
The sense and translation of kana rabb `ala are uncertain. It may be that
Baha'u'llah alludes to his manifestation as the "return of the Bab" (at times
known among his followers as ḥaḍrat-i
rabbi al-a`lā
("His Holiness my Lord, the
Most High").
Comments on the translation posted on Talisman by
Frank Lewis
Date: Mon, 10 Jul 95 17:10:35
From: "Lewis, Frank"
Subject: halih halih yA bishArat
Dear Stephen Lambden:
Thank you very much for the translation of *Lawh-i halih halih yA bishArat*.
Some of the lines in this poem are not so very easy to construe and you are to
be commended. The difficulty of the lines is made more difficult, I think, by a
few errors which have crept in to the edition of the Persian text of the poem as
given in Ishrāq-Khāvarī's *ganj-e shAyegAn*.
The version of *ganj-i ShAyigAn* which I am working from is dated 124 Badi`,
and it seems to be the same text referred to in Stephen's message. As I say, I
suggest that the text is corrupt and that either Ishrāq-Khāvarī's typist
introduced the errors or the ms which Ishrāq-Khāvarī was working from might be
corrupt (I think the former more likely, as Ishrāq-Khāvarī would have most
probably caught the errors I am about to mention). LINE 5: TWO PHANTOMS FROM HER
EYEBROWS
First, the image of phantoms (*t.ayf*) flying out of the eyebrows is most
peculiar. I have never before encountered such an image, which doesn't mean, of
course, that it doesn't exist. But, as an image, it is rather illogical, and it
does not fit the context (which requires a piercing weapon of attack, like
arrows). I believe that the word might be either "sword" (*sayf*) or "blade" (*tigh*)
and not "phantom" (*t.ayf*). The beloved's eyebrows are often imagined as bows
which fire the arrows of love (rather more menacing than our little putti,
Cupid) at the lover. I have never heard of them firing phantoms, though I
supposed Northrop (or whoever it is that manufactures the F-14 Phantom) could,
with a little technical gadget wizardry, make such an image believable. The
phantom (*t.ayf*) in Persian and Arabic usually refers to the apparition of the
beloved which haunts the wakeful lover in the long hours of the night. Most of
the time, they do not appear in pairs. LINE 7: DRAGON OF MOSES
Though the Persian has *ezhdar-e musA*, I think this ought to be translated
as snake or serpent, rather than "dragon." Shouldn't we construe it as an
allusion to Moses' staff which "magically" turns to a snake? Or is there some
other dragon associated with Moses in Talmudic lore that I am ignorant of? LINE
15:
THE SWIFT [ARAB?] HOOPEE
Arab is the correct rendering for *tAzi*, not swift. The word *tAz* (the
present tense stem of *tAxtan*), can mean swift-charging or fiercly attacking in
compound formations, but *tAzi*, by itself, means Arab. The Hoopoe bird hails
from the Arabian realm (Sheba), as does the Hijazi Falcon and its Iraqi accents,
in line 17. By the way, in the medieval period, both Hijazi and Iraqi were names
of musical modes, so, in addition to suggesting the accent or language of the
speaker, in connection with the word *lah.n* (melody, tone), Hijazi and Iraqi
also allude to the flow and intonation, or music, of the speaker. Adding to the
note on line 17, Hijazi (from the Hijaz, or southwestern region of Arabia, above
the Yemen, where Mecca is situated) may be a reference to Muhammad or `Ali (and
Iraqi perhaps to Husayn?), in which case, the truth of Muhammad (or the `Alids)
can now be heard in Iraq, in the person of Baha'u'llah. Also, since the Bab was
a Sayyid, Hijazi may be a reference to Him, while Iraqi may allude to
Baha'u'llah's own exile in Iraq. Either way, the allusion is to falconry, the
royal bird being the falcon, which here becomes the messenger of God. LINE 19:
THE HAND OF UNION
This part of the text is almost certainly a corruption. While it is not
uncommon to come across metrical irregularities in Baha'u'llah's poetry, *kaff-e
vas.l* would be a violation of the rhyme of this poem, which is, in all the
other lines "aa". Furthermore, *kaff-e vas.l* would be a somewhat unusual image.
The open palm (*kaff*) does symbolize liberality and beneficence, but not
usually in conjunction with *vas.l*. I propose that the phrase ought to read *kaff
o s.alA* rather than *kaff-e vas.l* [this means that the words have been printed
to closely and an alif has been left out]. The word *s.alA* would provide the
correct rhyme. It is an interjection, like "bon appetit" or "come and get it",
used to call the guests to food. It was quite popular with Sufis, who, it seems,
liked to eat. (BTW, Brent, whatever happened to the *moqta`edin* order? Will it
be joining with the Baha'i mystics society, or can it not be bothered to get off
its duff?).
In any case, the nightingale seems to be calling the believers to a
(spiritual) feast. The outstretched palm ( kaff) might
be a gesture of invitation to the food and XX the verbal reaffirmation of the
invitation--"please, help yourselves to the mystic truth."
Yours, Frank Lewis
The Halih Halih Halih
as translated "in rhythmic verse" by Sen McGlinn (workbench version, 18 December 1996)
can be found at:
SELECT
NOTES
Without attempting to
comment on the Lawh-i Halih Halih in detail the following few points may
be noted.
Line 5
It is clear from the
INBA mss, as Frank Lewis brilliantly proposed, that line 5 has *du sayf* = lit.
"two swords" and not (as in the almost certainly erroneous Ganj printing) *du
tayf* -- which I had earlier hesitantly translated "two phantoms". Tony's first
class suggestion -- in the light of Frank Lewis' correct emendation to *sayf*
("sword") -- "two daggers" has been retained as a dagger can be a short sword --
possibly curved like the maiden's eyebrows!
Line 7
The "Maid of Eternity"
is represented as coming with the miraculous "snow-white hand" of Moses (see for
example, Exodus 4:6f; Qur'an 7:108) and like his rod which turned into a
"serpent" or "dragon". i.e. she manifests the signs of true prophethood.
Line 8
Baha'u'llah refers to
himself or the "Divine Maiden" - who at times seems to be his celestial Self -
as being capable of uttering verses comparable to those of King David the
psalmist and being characterised by the spirit (ruh) of Jesus.
Line 9
The "dawning-place of
[the letter] "H" (ha')" as the locale from which the Maiden came probably
expresses the fact that she came from the most elevated divine real or from God;
"H" (ha') being the first letter of huwa (Allah) ("He is [God]) and Huwiyya
("He-ness"; the Divine Ipseity) and Hahut, the realm of the huwiyya, the exalted
Divinity.
A
TABLET OF
BAHĀ'-ALLĀH
OF
THE LATE IRAQ PERIOD
LAWH-I HALIH, HALIH, HALIH,
YA
BISHĀRAT
Introduction
Below is a revised translation of my earlier renderings of the Halih Halih Halih yā Bishārat , the first of which can
be found in the original printing of Bahā'i Studies Bulletin 2:3
(December 1983),105-112, with rendered the text printed in Ishrāq Khāvarī's Ganj-i-shāyigān ("The Befitting Treasury") (Tehran, 123 BE/ 1967-8, pp.
33-35).On or around 16/7/1995, I posted a slightly revised version on of my
first renderings of the Halih Halih Halih yā Bishārat on the USA list serve Talisman. Subsequently, the original text was discussed and commented upon by Frank
Lewis of the Univ. of Atlanta and others. Lewis correctly suggested that in
line 5 the words (du tayf) so Ganj, xxx ( this
always seemed strange to me) might actually be du sayf, ("two
swords"). I affirmed the truth of this reading by referring to a text of the Halih,Halih,Halih Ya Bisharat reproduced in INBAMC. XX:xxxxx.
Later Sen McGlinn (now a student at Univ. Leiden) obtained a copy of a mss.
in the handwriting of `Abd al-Bahā' from the BWC which is now available at
XXX. He also made a poetical version "in rhythmic verse" based on my own
translation which he came to dubb something "based on two very defective
texts". The two texts being those in Ganj, 33-5 and INBMC 35:445-6 though
they are largely accurate only differing slightly from the text of the
Halih Halih Halih yā Bishārat in the handwriting of `Abd al-Bahā'. Thus,
for example ADD
The
poetical work, the Halih Halih Halih Ya Bisharat derives its title
from the refrain which follows each internally rhyming line (halih x 3
= Rejoice! or [loosely] Hallelujah!). Composed towards the end of
Baha'u'llah's residence in Baghdad (late 1862 or early 1863 CE?) it is
expressive of his claim to special communion with God through a ḥuriyya
celestial maiden evident in such other of his alwah such as the al-Qaṣīda
al-warqā'iyya; Hur-i `ujab; Lawḥ-i Huriyya.
At
times one can see from the text of the Halih Halih Halih yā Bishārat
evidence of Baha'-Allāh's imminent assumption of a leadership role within the
Bābī community. Drawing on qur'ānic, Sufi and Bābī imagery, most notably the Sūrat al-huriyya of the Bāb's mid. 1260/1844 Qayyūm al-asma' (=
QA.29) In his mystically oriented ode, Baha'-Allāh calls upon the members of
the Bābī community to listen to his "wondrous new melodies" (cf. Tarikh-i
Nabil Zarandi [Pt II ] cited in Ishrāq Khāvarī, Ayyam-i Tis`ih,
332f).
Two
musical, vocal renditions of my early translation of the Halih, Halih,
Halih yā Bishārat have appeared.
LAWH-I
HALIH,
HALIH, HALIH,
YĀ
BISHĀRAT
THE
PERSIAN TEXT
LAWH-I
HALIH,
HALIH, HALIH,
YA
BISHĀRAT
("Hallelujah,
Hallelujah, Hallelujah, O Glad Tidings!)
Revised translation 2000/03 CE.
Preliminary note
An asterisk
will mark words or phrases the translation of which there remains particularly
tentative or subject to possible alteration in a future revision...
I have
retained the "Hallelujah, Hallelujah, Hallelujah, O Glad Tidings!" though it
would not, I think, be anything untoward if person reciting it wished to
substitute "Rejoice, Rejoice, Rejoice, O Glad Tidings!" throughout -- or perhaps
at every other line. Some might find reciting Hallelujah something rather too
`ecclesiastical' or having unbecoming evangelical associations.
He
is the Beloved One
[1]
The
Maid of Eternity came from the Exalted Paradise;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[2]
With
harp and with song, with crimson goblet she came;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[3]
With
amorous glances, with the taste of mystical death;
with
dance and with song she came.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[4]
With
musky tresses, with beauteous ruby lips;
from
nigh unto God, she came.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[5]
Two
daggers her eyebrows,
one
hundred arrows from her eyelashes;
to
pierce our hearts she came.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[6]
All souls in her path, all hearts in her embrace--massacred when she came;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[7]
With snow-white hand, with raven locks--like the dragon of Moses she came;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[8]
From
the Divine Lote-Tree this sweet Davidic voice
came
with the Messianic Spirit.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[9]
With
the allurement of fidelity,
with
the protection of Bahā';
she
came from the Dawning-Place of [the letter] "H"
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[10]
With
guiding light from the morn of the Divine Encounter;
with
Mount Sinai she came;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[11]
This
songbird of the Spirit came to her lovers
from
the Nightingale of "No".
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[12]
With
the joyful tidings of reunion this Divine Maiden
came
from a branch of the Tree of Blessedness;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[13]
This
annihilated lover, this earthly bird;
she
came as a sacrifice in the path of the Beloved.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[14]
This
sword of oppression from the Throne of fidelity;
she
came upon the neck of the Beloved.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[15]
This
sacred missive, with an Arab messenger;
she
came from the city of Sheba.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[16]
This
Eternal Countenance;
she
came with snow-white hand
from
the Divine Logos-Command;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[17]
This
Ḥijāzī Falcon came with Iraqi accents
from
the forearm of the King.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[18]
This
Pardoning Visage;
she
came with fetching allure
from
the Court of Nearness.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[19]
This Nightingale of mystic meaning,
she
came from the sacred rose bush
with
the hand of *ecstasy*;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[20]
This
luminous page;
she
came with light and splendor
from
the Midian of Spirit;
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[21]
This
Witness of the Omnipotent,
this
heady Wine of the Beloved;
she
came with the goblet of Sovereignty.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[22]
That
essence of the Beauty of the True One,
that
jewel of the Glory of the True One;
she
came with the Most Great Sign.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[23]
That
Countenance of the Desired One,
that
Face of the Adored One;
she
came with the Most-Supreme Mercy.
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[24]
The
souls to her reunion,
the
hearts to her Bestowal;
as
the Most Exalted Lord she hath come!
Hallelujah, Hallelujah, Hallelujah,
O
Glad Tidings!
[25]
This
Wondrous Remembrance
hath
come from the Eternal Rose-garden
that
the lovers of the beauty of the Adored One,
hearts and souls burning with love,
might, in utmost tranquility,
busy
themselves with these wondrous new melodies;
that
perchance, attracted thereby,
the
inmates of the Kaaba of Gnosis
might be shaken with ecstasy
and
recall their divine and sacred homeland.
SELECT
NOTES
Without attempting to
comment on the Lawh-i Halih Halih in detail the following few points may
be noted.
Line 5
It is clear from the
INBA mss, as Frank Lewis brilliantly proposed, that line 5 has *du sayf* = lit.
"two swords" and not (as in the almost certainly erroneous Ganj printing) *du
tayf* -- which I had earlier hesitantly translated "two phantoms". Tony
Lee's first
class suggestion -- in the light of Frank Lewis' correct emendation to *sayf*
("sword") -- "two daggers" has been retained as a dagger can be a short sword --
possibly curved like the maiden's eyebrows!
Line 7
The "Maid of Eternity"
is represented as coming with the miraculous "snow-white hand" of Moses (see for
example, Exodus 4:6f; Qur'an 7:108) and like his rod which turned into a
"serpent" or "dragon". i.e. she manifests the signs of true prophethood.
Line 8
Baha'u'llah refers to
himself or the "Divine Maiden" - who at times seems to be his celestial Self -
as being capable of uttering verses comparable to those of King David the
psalmist and being characterised by the spirit (ruh) of Jesus.
Line 9
The "dawning-place of
[the letter] "H" (ha')" as the locale from which the Maiden came probably
expresses the fact that she came from the most elevated divine real or from God;
"H" (ha') being the first letter of huwa (Allah) ("He is [God]) and Huwiyya
("He-ness"; the Divine Ipseity) and Hahut, the realm of the huwiyya, the exalted
Divinity.
line 11 (REVISED)
The la = "no" indicates the Arabic negative particle -- probably not lahut
("the divine realm") -- which has various senses in Persian and Arabic mystical
poetry mostly relating to the "no" at the beginning of the *kalimat al-tawhid*
(la ilaha ila Allah) = "there is NO God but God" or a Babi version such as
"there is no God except I Myself" (la ilaha ila ana). It may be that the
"lovers" are the Babis to whom Baha'u'llah appears uttering a version of the
Sinaitic declaration of divinity ("There is NO God except I, Myself") and
calling them to attain the Divine Presence (see line 12). On the use of "no"
(la) in Persian poetry and in line 13b of Baha'u'llah's earlier *Rashh-i `ama'*
("The Sprinkling of the Cloud of Unknowing") see BSB 3:2 (September 1984 --
REVISED VERSION FORTHCOMING), p.28
n.b. *Rashh-i `ama'* line 13b =
"Observe the Iraqi Harmony! Behold the Hijazi Tambourine! See thou that the
rapture of "no" (la) raineth down from the Divine Hand"
lines 13-14
Allusions to Baha'u'llah's sufferings and lamentation over the debased
condition of many Babis?
line 15
An allusion to the message sent by the Queen of Sheba to Solomon (see Qur'an
27:20ff) through the hoopoe.
line 16
An allusion to Baha'u'llah's superiority to Mirza Yahya (?)
line 17
An allusion to Baha'u'llah's exile from Iran to Iraq (?) cf the following
lines from the Lawh-i madinat al-tawhid ("Tablet of the City of the Divine
Unity"; late Baghdad Period)
"Hearken on this Day in which the Caller (al-munad) crieth out in the midst
of the immortal realm and the Dove of Hijaz warbleth in the region of Iraq (fi
shatr al-`Iraq) summoning all unto concord.." (Ishrāq Khāvarī, Ma'ida-yi Asmani,
4:326-7).
Line 19
The INBA mss, where the Ganj printed text has *kaff-i vasl(??)*, is not at
all clear though there is not an alif missing. If the reading is not as above it
could well be *kaff-i vujdAn* ("hand of ecstasy") or (less likely) *kaff-i
vah.dAn* ("hand of singleness")?? I have followed the probable reading *kaff-i
vujdAn* ("hand of ecstasy") which would seem to be OK for the rhythm. I'm still
pondering on this and hoping for another clearer mss.
line 20
Baha'u'llah likens his status to that which Moses attained after leaving
Midian for Egypt
lino 24
The sense and translation of kana rabb `ala are uncertain. It may be that
Baha'u'llah alludes to his manifestation as the "return of the Bab" (at times
known among his followers as Hadrat-i Rabbi al-a`la ("His Holiness my Lord the
Most High").
2) Comments on this translation by Frank Lewis
Date: Mon, 10 Jul 95 17:10:35
From: "Lewis, Frank"
Subject: halih halih yA bishArat
Dear Stephen Lambden:
Thank you very much for the translation of *Lawh-i halih halih yA bishArat*.
Some of the lines in this poem are not so very easy to construe and you are to
be commended. The difficulty of the lines is made more difficult, I think, by a
few errors which have crept in to the edition of the Persian text of the poem as
given in Ishrāq-Khāvarī's *ganj-e shAyegAn*.
The version of *ganj-i ShAyigAn* which I am working from is dated 124 Badi`,
and it seems to be the same text referred to in Stephen's message. As I say, I
suggest that the text is corrupt and that either Ishrāq-Khāvarī's typist
introduced the errors or the ms which Ishrāq-Khāvarī was working from might be
corrupt (I think the former more likely, as Ishrāq-Khāvarī would have most
probably caught the errors I am about to mention).
LINE 5: TWO
PHANTOMS FROM HER EYEBROWS
First, the image of phantoms (*t.ayf*) flying out of the eyebrows is most
peculiar. I have never before encountered such an image, which doesn't mean, of
course, that it doesn't exist. But, as an image, it is rather illogical, and it
does not fit the context (which requires a piercing weapon of attack, like
arrows). I believe that the word might be either "sword" (*sayf*) or "blade" (*tigh*)
and not "phantom" (*t.ayf*). The beloved's eyebrows are often imagined as bows
which fire the arrows of love (rather more menacing than our little putti,
Cupid) at the lover. I have never heard of them firing phantoms, though I
supposed Northrop (or whoever it is that manufactures the F-14 Phantom) could,
with a little technical gadget wizardry, make such an image believable. The
phantom (*t.ayf*) in Persian and Arabic usually refers to the apparition of the
beloved which haunts the wakeful lover in the long hours of the night. Most of
the time, they do not appear in pairs. LINE 7: DRAGON OF MOSES
Though the Persian has *ezhdar-e musA*, I think this ought to be translated
as snake or serpent, rather than "dragon." Shouldn't we construe it as an
allusion to Moses' staff which "magically" turns to a snake? Or is there some
other dragon associated with Moses in Talmudic lore that I am ignorant of? LINE
15: THE SWIFT [ARAB?] HOOPEE
Arab is the correct rendering for *tAzi*, not swift. The word *tAz* (the
present tense stem of *tAxtan*), can mean swift-charging or fiercly attacking in
compound formations, but *tAzi*, by itself, means Arab. The Hoopoe bird hails
from the Arabian realm (Sheba), as does the Hijazi Falcon and its Iraqi accents,
in line 17. By the way, in the medieval period, both Hijazi and Iraqi were names
of musical modes, so, in addition to suggesting the accent or language of the
speaker, in connection with the word *lah.n* (melody, tone), Hijazi and Iraqi
also allude to the flow and intonation, or music, of the speaker. Adding to the
note on line 17, Hijazi (from the Hijaz, or southwestern region of Arabia, above
the Yemen, where Mecca is situated) may be a reference to Muhammad or `Ali (and
Iraqi perhaps to Husayn?), in which case, the truth of Muhammad (or the `Alids)
can now be heard in Iraq, in the person of Baha'u'llah. Also, since the Bab was
a Sayyid, Hijazi may be a reference to Him, while Iraqi may allude to
Baha'u'llah's own exile in Iraq. Either way, the allusion is to falconry, the
royal bird being the falcon, which here becomes the messenger of God. LINE 19:
THE HAND OF UNION
This part of the text is almost certainly a corruption. While it is not
uncommon to come across metrical irregularities in Baha'u'llah's poetry, *kaff-e
vas.l* would be a violation of the rhyme of this poem, which is, in all the
other lines "aa". Furthermore, *kaff-e vas.l* would be a somewhat unusual image.
The open palm (*kaff*) does symbolize liberality and beneficence, but not
usually in conjunction with *vas.l*. I propose that the phrase ought to read *kaff
o s.alA* rather than *kaff-e vas.l* [this means that the words have been printed
to closely and an alif has been left out]. The word *s.alA* would provide the
correct rhyme. It is an interjection, like "bon appetit" or "come and get it",
used to call the guests to food. It was quite popular with Sufis, who, it seems,
liked to eat. (BTW, Brent, whatever happened to the *moqta`edin* order? Will it
be joining with the Baha'i mystics society, or can it not be bothered to get off
its duff?).
In any case, the nightingale seems to be calling the believers to a
(spiritual) feast. The outstretched palm (*kaff*) might be a gesture of
invitation to the food and *s.alA* the verbal reaffirmation of the
invitation--"please, help yourselves to the mystic truth."
Yours, Frank Lewis
[6]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[7]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[8]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[9]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[10]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[11]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[12]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[13]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[14]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[15]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[16]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[17]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[18]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[19]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[20]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[21]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[22]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[23]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
[24]
هَلِه هَلِه هَلِه
يَا بِِِِِِِِِشَارَت
BAHA'U'LLAH baha'u'llah Bahá'u'lláh
Baha'-Allah Bahá
BAHA'U'LLAH baha'u'llah Bahá'u'lláh
Baha'-Allah Bahá
| 