No wonder they love you,
no wonder they come to see us
in this light,
in the morning with dancing.
The scent of the gardens all still
and the voices that carry through dusk
on the paths of these hills.
Yours are the words that draw me,
yours is the grace that I praise.
Yours are my songs
and yours is the glance of my heart.
Sunday, March 27, 2011
Saturday, March 19, 2011
because you answer me!
Yours I come,
frail in my love.
In my eyes
you are everything
when you call me.
I am blind,
inclined to other things.
You pursue me
and you have called,
your voice has called:
I love you, with all that is mine.
I will give all of my days to you.
Is there a light other than yours?
I could lose all my ways in you.
You who take nothing away,
whose song is deep and strong,
I stay, my face unmasked in you.
By your nearness I'm kept close
to stay here,
hoping to be unified in love for you.
frail in my love.
In my eyes
you are everything
when you call me.
I am blind,
inclined to other things.
You pursue me
and you have called,
your voice has called:
I love you, with all that is mine.
I will give all of my days to you.
Is there a light other than yours?
I could lose all my ways in you.
You who take nothing away,
whose song is deep and strong,
I stay, my face unmasked in you.
By your nearness I'm kept close
to stay here,
hoping to be unified in love for you.
Sunday, March 6, 2011
my light.
One thing have I asked of the Lord,
that I will seek after;
that I may dwell in the house of the Lord
all the days of my life,
to behold the beauty of the Lord
and to inquire in his temple.
For he will hide me in his shelter
in the day of trouble;
he will conceal me under the cover of his tent,
he will set me high upon a rock.
And now my head will be lifted up
above my enemies round about me;
and I will offer in his tent
sacrifices with shouts of joy;
I will sing and make melody to the Lord.
Hear, O Lord, when I cry aloud,
be gracious to me and answer me!
You have said, "Seek my face".
My heart says to you,
"Your face, Lord, I seek".
Hide not your face from me.
that I will seek after;
that I may dwell in the house of the Lord
all the days of my life,
to behold the beauty of the Lord
and to inquire in his temple.
For he will hide me in his shelter
in the day of trouble;
he will conceal me under the cover of his tent,
he will set me high upon a rock.
And now my head will be lifted up
above my enemies round about me;
and I will offer in his tent
sacrifices with shouts of joy;
I will sing and make melody to the Lord.
Hear, O Lord, when I cry aloud,
be gracious to me and answer me!
You have said, "Seek my face".
My heart says to you,
"Your face, Lord, I seek".
Hide not your face from me.
Saturday, March 5, 2011
return, return, that we may look upon you.
When we asked our lecturer on Thursday which biblical translation she preferred for the poetic books, she simply replied that she reads them in Hebrew. This is more frustrating than amusing for me, since I don't read any Hebrew, but the surrounding discussion justified her answer well. Poetry is incredibly heightened in its awareness of every part of language as part of its meaning. The literal sense, the effect of sound and rhythm, the atmospheres emerging and the subtle implications of all the words' order, patterns and relationships enflesh the sub-literal parts of what is uniquely expressed.
A simple example of this is the gender of language, where for example strength and power in Psalm 21:13-
Be exalted, O Lord, in your strength!
We will sing and praise your power.-
are paired; one is feminine, one masculine. I wrote about parallelism earlier here, where the second line of each pair often reflects and expands on the first one. This is happily translatable, but the felt sense of each is still dampened in a non-gendered image.
Another difference between the languages is that Hebrew has a much more complicated case system than English. A lot of our words don't change, regardless of where they are in a sentence. We usually rely on sentence order to know what a word is doing or having done to it, but Hebrew poetry easily places important words early in a phrase. Many words also have very particular, clustered meanings that take a number of words to translate- so that a very simple line of just a few words, carefully placed together for meaning, usually becomes a long sentence in English.
That said, the translations are still wonderful, still the words of God in our hands. Even if the literary and devotional senses of poetic lyrics can't be split, the simple meaning of the words themselves is deeply true and fully relevant. This seems to be the way with God! There is always so much vastness, so much reality to be amazed by, yet His knowledge (in love) is already near. His goodness is overflowing for everyone who seeks Him, and He makes our worlds larger forever.
We looked at some beautiful things. In Song of Solomon 2:14, "Let me see your face" is stronger than it seems: let me doesn't mean 'I'd like to' so much as it is an imperative to the listener. The words for see and face are related as well, so that the lover is really telling his beloved to let him see her face, and in her face her visible self. This whole book is also fascinating when the titles are taken out of modern translations, so that it is difficult to know who is speaking at which point, who is listening, what they are doing and where; it changes often. This is true of many of the psalms and other poetry, and gives a sense of sounds and conversations- an entire atmosphere- being taken out real social or relational moments to be held in the pages. As a side note, ancient readers seem to have always read out loud, and ancient writers to have 'written out loud' as well, dictating to themselves. Many 'readers' were really a collective audience of listeners, and many of these poems would have been music. It gives the literature a different way of being.
The structure of thoughts within a psalm often tells a story on its own, as in Psalm 136:10-15. There, the firstborn of Egypt are killed; Israel is brought out from among them; the Red Sea is divided; Israel passes through it; Pharoah and his host are overthrown in the sea. The structure is a-b-c-b-a, fulfilling Israel's deliverance through the waters. The psalm begins with praise for God's goodness and love, then sees Him spreading out the earth on the water, then forming all the great lights named as rulers of their times. The deliverance centrepiece is followed with God's leading of His people out of the wilderness (which is like what is "formless and empty"), overthrowing kings and providing food for all people. The reflection is not so precise, verse by verse, as to feel contrived, but it is a strong declaration of who God is as the Lord and the Shepherd of the earth, of the whole cosmos, of the nations and of His people whom He loves. All through the song there is also repeated a response, "for his steadfast love endures forever", embodying this trustworthy, unchanging strength. The final line is beautiful after the first three and after the rest of the psalm:
O give thanks to the God of heaven,
for his steadfast love endures forever.
Psalm 80 does something similar, repeating its plea and adding to it.
Give ear, O Shepherd of Israel,
you who lead Joseph like a flock...
Restore us, O God,
let your face shine, that we may be saved!
then,
Restore us, O God of hosts...
and finally again,
Restore us, O Lord God of hosts,
let your face shine, that we may be saved.
Among these refrains is the story of Israel led like flock, and the stirring cry for restoration of this covenant:
O Lord God of hosts,
how long will you be angry with your people's prayers?
You have fed them with the bread of tears,
and given them tears to drink in full measure.
You make us the scorn of our neighbours;
and our enemies laugh among themselves.
The picture is repeated and articulated as a story, this time with a vine rather than a flock. In a few final verses this is told again, the travellers and animals that ravage the vineyard being now people who burn it and cut it down; and then, at this height, the Davidic promise is remembered (astounding that these worshippers were led to write about their God like this) and the covenant is renewed in heart and in blessing.
But let your hand rest upon the man of your right hand,
the son of man you have made strong for yourself!
Then we will never turn back from you...
In these ways the image is expanded, the scene embroidered, from line to line and from part to part. Song of Solomon 5:1 does this clearly, with a different sense:
I come to my garden, my sister, my bride,
I gather my myrrh with my spice,
I eat my honeycomb with my honey,
I drink my wine with my milk.
We talked as well about how the second part often particularises the thought it reflects. In Psalm 144:1,
Blessed be the Lord, my rock,
who trains my hands for war,
and my fingers for battle,
the wider reality of a hand or a war is brought down to smaller details, the fingers and battles. It feels like the lesser things look after lesser things, the greater ones the greater; every detail is seen and known among the vast plans of God. Meaning is formed in the poetry, infusing the literal words.
The other thing I hadn't noticed was the idea of fixed pairs in the Bible- sons and daughters, the heavens and the earth, night and day- and how embedded these are in the idea of Hebrew songs. Some translators even consider the positioning of these pairs to determine which passages are prose and which, with pairs as the heart of their parallel lines, are poetry. Here is Psalm 19, which is exquisite when it's read with the ear of all this tradition.
The heavens are telling the glory of God;
and the firmament proclaims his handiwork.
Day to day pours forth speech,
and night to night declares knowledge.
There is no speech, there are no words;
their voice is not heard;
yet their voice goes out through all the earth,
and their words to the end of the world.
In them he has set a tent for the sun,
which comes forth like a bridegroom leaving his chamber,
and like a strong man runs its course with joy.
Its rising is from the end of the heavens,
and its circuit to the end of them;
and there is nothing hid from its heat.
The law of the Lord is perfect,
reviving the soul;
the testimony of the Lord is sure,
making wise the simple;
the precepts of the Lord are right,
rejoicing the heart;
the commandment of the Lord is pure,
enlightening the eyes;
the fear of the Lord is clean,
enduring for ever;
the ordinances of the Lord are true,
and righteous altogether.
More desired are they than gold,
even much fine gold;
sweeter also than honey,
and drippings of the honeycomb.
Moreover by them is thy servant warned;
in keeping them there is great reward.
But who can discern his errors?
Clear me from hidden faults.
Keep back your servant also from presumptuous sins;
let them not have dominion over me!
Then I shall be blameless,
and innocent of great transgression.
Let the words of my mouth and the meditation of my heart
be acceptable in your sight,
O Lord, my rock and my redeemer.
A simple example of this is the gender of language, where for example strength and power in Psalm 21:13-
Be exalted, O Lord, in your strength!
We will sing and praise your power.-
are paired; one is feminine, one masculine. I wrote about parallelism earlier here, where the second line of each pair often reflects and expands on the first one. This is happily translatable, but the felt sense of each is still dampened in a non-gendered image.
Another difference between the languages is that Hebrew has a much more complicated case system than English. A lot of our words don't change, regardless of where they are in a sentence. We usually rely on sentence order to know what a word is doing or having done to it, but Hebrew poetry easily places important words early in a phrase. Many words also have very particular, clustered meanings that take a number of words to translate- so that a very simple line of just a few words, carefully placed together for meaning, usually becomes a long sentence in English.
That said, the translations are still wonderful, still the words of God in our hands. Even if the literary and devotional senses of poetic lyrics can't be split, the simple meaning of the words themselves is deeply true and fully relevant. This seems to be the way with God! There is always so much vastness, so much reality to be amazed by, yet His knowledge (in love) is already near. His goodness is overflowing for everyone who seeks Him, and He makes our worlds larger forever.
We looked at some beautiful things. In Song of Solomon 2:14, "Let me see your face" is stronger than it seems: let me doesn't mean 'I'd like to' so much as it is an imperative to the listener. The words for see and face are related as well, so that the lover is really telling his beloved to let him see her face, and in her face her visible self. This whole book is also fascinating when the titles are taken out of modern translations, so that it is difficult to know who is speaking at which point, who is listening, what they are doing and where; it changes often. This is true of many of the psalms and other poetry, and gives a sense of sounds and conversations- an entire atmosphere- being taken out real social or relational moments to be held in the pages. As a side note, ancient readers seem to have always read out loud, and ancient writers to have 'written out loud' as well, dictating to themselves. Many 'readers' were really a collective audience of listeners, and many of these poems would have been music. It gives the literature a different way of being.
The structure of thoughts within a psalm often tells a story on its own, as in Psalm 136:10-15. There, the firstborn of Egypt are killed; Israel is brought out from among them; the Red Sea is divided; Israel passes through it; Pharoah and his host are overthrown in the sea. The structure is a-b-c-b-a, fulfilling Israel's deliverance through the waters. The psalm begins with praise for God's goodness and love, then sees Him spreading out the earth on the water, then forming all the great lights named as rulers of their times. The deliverance centrepiece is followed with God's leading of His people out of the wilderness (which is like what is "formless and empty"), overthrowing kings and providing food for all people. The reflection is not so precise, verse by verse, as to feel contrived, but it is a strong declaration of who God is as the Lord and the Shepherd of the earth, of the whole cosmos, of the nations and of His people whom He loves. All through the song there is also repeated a response, "for his steadfast love endures forever", embodying this trustworthy, unchanging strength. The final line is beautiful after the first three and after the rest of the psalm:
O give thanks to the God of heaven,
for his steadfast love endures forever.
Psalm 80 does something similar, repeating its plea and adding to it.
Give ear, O Shepherd of Israel,
you who lead Joseph like a flock...
Restore us, O God,
let your face shine, that we may be saved!
then,
Restore us, O God of hosts...
and finally again,
Restore us, O Lord God of hosts,
let your face shine, that we may be saved.
Among these refrains is the story of Israel led like flock, and the stirring cry for restoration of this covenant:
O Lord God of hosts,
how long will you be angry with your people's prayers?
You have fed them with the bread of tears,
and given them tears to drink in full measure.
You make us the scorn of our neighbours;
and our enemies laugh among themselves.
The picture is repeated and articulated as a story, this time with a vine rather than a flock. In a few final verses this is told again, the travellers and animals that ravage the vineyard being now people who burn it and cut it down; and then, at this height, the Davidic promise is remembered (astounding that these worshippers were led to write about their God like this) and the covenant is renewed in heart and in blessing.
But let your hand rest upon the man of your right hand,
the son of man you have made strong for yourself!
Then we will never turn back from you...
In these ways the image is expanded, the scene embroidered, from line to line and from part to part. Song of Solomon 5:1 does this clearly, with a different sense:
I come to my garden, my sister, my bride,
I gather my myrrh with my spice,
I eat my honeycomb with my honey,
I drink my wine with my milk.
We talked as well about how the second part often particularises the thought it reflects. In Psalm 144:1,
Blessed be the Lord, my rock,
who trains my hands for war,
and my fingers for battle,
the wider reality of a hand or a war is brought down to smaller details, the fingers and battles. It feels like the lesser things look after lesser things, the greater ones the greater; every detail is seen and known among the vast plans of God. Meaning is formed in the poetry, infusing the literal words.
The other thing I hadn't noticed was the idea of fixed pairs in the Bible- sons and daughters, the heavens and the earth, night and day- and how embedded these are in the idea of Hebrew songs. Some translators even consider the positioning of these pairs to determine which passages are prose and which, with pairs as the heart of their parallel lines, are poetry. Here is Psalm 19, which is exquisite when it's read with the ear of all this tradition.
The heavens are telling the glory of God;
and the firmament proclaims his handiwork.
Day to day pours forth speech,
and night to night declares knowledge.
There is no speech, there are no words;
their voice is not heard;
yet their voice goes out through all the earth,
and their words to the end of the world.
In them he has set a tent for the sun,
which comes forth like a bridegroom leaving his chamber,
and like a strong man runs its course with joy.
Its rising is from the end of the heavens,
and its circuit to the end of them;
and there is nothing hid from its heat.
The law of the Lord is perfect,
reviving the soul;
the testimony of the Lord is sure,
making wise the simple;
the precepts of the Lord are right,
rejoicing the heart;
the commandment of the Lord is pure,
enlightening the eyes;
the fear of the Lord is clean,
enduring for ever;
the ordinances of the Lord are true,
and righteous altogether.
More desired are they than gold,
even much fine gold;
sweeter also than honey,
and drippings of the honeycomb.
Moreover by them is thy servant warned;
in keeping them there is great reward.
But who can discern his errors?
Clear me from hidden faults.
Keep back your servant also from presumptuous sins;
let them not have dominion over me!
Then I shall be blameless,
and innocent of great transgression.
Let the words of my mouth and the meditation of my heart
be acceptable in your sight,
O Lord, my rock and my redeemer.
bütün şarkılarımız senin için.
In the first week of lectures and readings for 'Islam and Muslims in World History', we've talked mostly about the idea of a 'universal history'- explaining the whole human past according to one's own paradigms. Whether creationist, Enlightenment, Romantic or modern in basis, this has tended in European history to draw a picture of linear development towards 'civilisation'. Because of this, the history of other regions is often exoticised even when portrayed.
An alternative to this is a more 'global history', an attempt to portray the connections between cultures and societies in the history of the world from a wider range of perspectives. This doesn't just include telling the stories of the rest of the world, but also the potential to tell these in light of foreign memories of the events; even exploring foreign values to choose which stories should be told in the first place, and what meaning is drawn from those. Far from relativism, this opens out so much of the real meaning of history. Humanity is intricate on so many levels: there's always something new to look at and piece into our understanding of universal history- and of our personal histories- as they really are.
It's interesting to begin learning more about the connections between Arabic/Oriental and Hellenic/Roman/European cultures. The divide between East and West didn't always exist, but it is difficult to imagine the Middle Ages or the current time without it. There have been many exchanges between the two that are easy to forget, and our lecturer also made a point of the differences between the Arab and Muslim 'worlds'. At some points in history the two have been basically synonymous, and obviously there is significant mutual identity, but not all Arabic speakers have been Muslims, nor by any means all Islamic societies Arab/Eastern. Territorial and doctrinal conflicts in the Middle Ages, along with the Classical concept of the barbarian, led to the deep 'otherness' that the East has attained in the eyes of the West, but this is hardly inherent.
Apart from the diversity of Islamic societies- the distinctions between religion, society and culture seem to unify groups while also allowing for significant differences- the continuities and changes within a single culture are also underestimated. Islam has developed over time, and cultures in one country or empire can change dramatically even within a decade. To speak of 'Western culture' as somehow the same in antiquity, in the Middle Ages, a few centuries ago and the present- and then of all these together as somehow different to 'Eastern culture'- is a false construct. The lines of time and space are much more nuanced than archetypal history and literature have sometimes portrayed.
I still have a lot to learn, just by listening and watching for a while. I don't feel I've begun to understand the real heart of Arabic and Islamic cultures. Drawing closer to this, there are things I'll both appreciate and disagree with, but hopefully in a different way to the stereotypes I have at the moment! For now, even the methodology is interesting... It's nice to be an Arts student this year :)
An alternative to this is a more 'global history', an attempt to portray the connections between cultures and societies in the history of the world from a wider range of perspectives. This doesn't just include telling the stories of the rest of the world, but also the potential to tell these in light of foreign memories of the events; even exploring foreign values to choose which stories should be told in the first place, and what meaning is drawn from those. Far from relativism, this opens out so much of the real meaning of history. Humanity is intricate on so many levels: there's always something new to look at and piece into our understanding of universal history- and of our personal histories- as they really are.
It's interesting to begin learning more about the connections between Arabic/Oriental and Hellenic/Roman/European cultures. The divide between East and West didn't always exist, but it is difficult to imagine the Middle Ages or the current time without it. There have been many exchanges between the two that are easy to forget, and our lecturer also made a point of the differences between the Arab and Muslim 'worlds'. At some points in history the two have been basically synonymous, and obviously there is significant mutual identity, but not all Arabic speakers have been Muslims, nor by any means all Islamic societies Arab/Eastern. Territorial and doctrinal conflicts in the Middle Ages, along with the Classical concept of the barbarian, led to the deep 'otherness' that the East has attained in the eyes of the West, but this is hardly inherent.
Apart from the diversity of Islamic societies- the distinctions between religion, society and culture seem to unify groups while also allowing for significant differences- the continuities and changes within a single culture are also underestimated. Islam has developed over time, and cultures in one country or empire can change dramatically even within a decade. To speak of 'Western culture' as somehow the same in antiquity, in the Middle Ages, a few centuries ago and the present- and then of all these together as somehow different to 'Eastern culture'- is a false construct. The lines of time and space are much more nuanced than archetypal history and literature have sometimes portrayed.
I still have a lot to learn, just by listening and watching for a while. I don't feel I've begun to understand the real heart of Arabic and Islamic cultures. Drawing closer to this, there are things I'll both appreciate and disagree with, but hopefully in a different way to the stereotypes I have at the moment! For now, even the methodology is interesting... It's nice to be an Arts student this year :)
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