The Interwoven Realism in the Artistic Depiction of the Cosmos and Nature in Jeziri’s Sufi Poetry
Cîhanên Têkilhev di Xêzkirina Hunerî de li ser Gerdûn û Xwezaya helbestên Sofîgeriyê li nik Cizîrî
Prepared by the researche: Dr. Safia Zivingi (Prof.hc) – College of Applied Interdisciplinary LTD – London- UK
Democratic Arabic Center
International Journal of Kurdish Studies : Eighth Issue – January 2025
A Periodical International Journal published by the “Democratic Arab Center” Germany – Berlin
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Abstract
Jiziri’s diwan is a masterpiece of classical Kurdish literature. It showcases the Poet Jiziri’s genius through the creation of stunning imagery and scenes, demonstrating an astonishing harmony between form and content. The structure of his poems is characterized by an integrated and harmonious design of artistic images, consistent with his ideas and emotions. In his book, Al-‘Aqad al-Jawhari fi Sharh Diwan Jiziri (“The Jewel Necklace in the Explanation of Jiziri’s Diwan”), Mela Ahmad Zivingi undertook significant efforts to clarify the challenging aspects of Jiziri’s work, both linguistically and conceptually. The article’s topic—the symbolism of the universe and nature in Jiziri’s poetry—holds significant importance for several reasons. It illuminates the intersection of Sufi mysticism, artistic expression, and the natural world within a specific historical and cultural context. Understanding Jiziri’s use of symbolism provides insights into his worldview, his poetic techniques, and the broader cultural significance of nature in Islamic thought. The methodology of this study is based on analyzing the texts of Jiziri’s poems, by identifying the recurring natural images (plants, animals, climate phenomena), analyzing their contextual usage, and interpreting their symbolic meaning within the framework of Sufi thought. This study highlights the rich tapestry of symbolic meanings woven into Jiziri’s poetry. The study reveals how seemingly simple natural elements are transformed into potent vehicles for expressing complex spiritual states, the dynamics of love, and the challenges faced on the Sufi path. The detailed analysis of specific symbols (e.g., trees, birds, insects) provides valuable insights into Jiziri’s poetic technique and his unique contribution to the broader tradition of Sufi literary expression. The study ultimately contributes to a more comprehensive understanding of the relationship between nature, spirituality, and artistic expression within the context of Islamic culture. Jiziri’s poetry utilizes the universe is presented as a manifestation of divine beauty, with God’s presence evident in all aspects of nature. Plants, particularly trees, symbolize spiritual growth, the intellectual soul, and the rewards of spiritual striving. Thorny plants represent inauthenticity. Animals, both predatory and gentle, illustrate the complexities of love and the spiritual journey, with birds often symbolizing the soul’s ascent and various emotional states (joy, sorrow, suffering). Insects like the butterfly and scorpion are used metaphorically to represent devotion and the beloved’s features respectively. The overall effect is a complex interplay of natural imagery and Sufi symbolism, where the natural world serves as a vehicle for expressing profound spiritual and emotional experiences.
Kurtehî
Dîwana Jizîrî şahesereke edebiyata kurdî ya klasîk e. Ew jîrbûna Helbestkar Jizîrî bi afirandina wêne û dîmenên balkêş nîşan dide, di navbera form û naverokê de ahengek ecêb nîşan dide. Struktura helbestên wî bi sêwirana yekgirtî û lihevhatî ya wêneyên hunerî, bi raman û hestên wî ve tê diyar kirin. Mela Ehmedê Zivingî di pirtûka xwe ya bi navê Al‘eqidu Ccewhrî fî Şerh Dîwanê Cizîrî de (“Geldanka zêran di ravekirina dîwana Cizîrî de”) de, ji bo zelalkirina aliyên dijwar ên xebata Cizîrî, hem ji aliyê zimanî û hem jî ji aliyê têgînî ve, hewlên girîng dan. Mijara gotarê – sembolîzma gerdûn û xwezayê di helbesta Jizîrî de – ji ber çend sedeman girîngiyek girîng digire. Ew di çarçoveyek taybetî ya dîrokî û çandî de hevberdana mîstîsîzma sûfî, vegotina hunerî û cîhana xwezayî ronî dike. Fêmkirina bikaranîna Jizîrî ya sembolîzmê, li ser cîhanbîniya wî, teknîkên wî yên helbestî û girîngiya çandî ya berfireh a xwezayê di ramana îslamî de têgihîştinek peyda dike. Rȇbaza vê lêkolînê li ser analîzkirina metnên helbestên Jizîrî, bi naskirina wêneyên xwezayî yên dûbare (nebat, ajal, diyardeyên avhewayê), analîzkirina bikaranîna wan a lihevhatî û şîrovekirina wateya wan a sembolîk di çarçoveya ramana sûfî de ye. Ev vekolîn tapeya dewlemend a wateyên sembolîk ên ku di helbesta Cizîrî de hatine xêzkirin radixe ber çavan. Lêkolîn eşkere dike ka hêmanên xwezayî yên sade çawa ji bo îfadekirina rewşên giyanî yên tevlihev, dînamîkên evînê, û kêşeyên ku li ser riya sufiyan rû didin vediguhezîne wesayîtên bi hêz. Tehlîlkirina hûrgulî ya sembolên taybetî (mînak, dar, çûk, kêzik) li ser teknîka helbestî ya Jizîrî û tevkariya wî ya bêhempa di kevneşopiya berfireh a vegotina edebî ya sûfî de nihêrînên hêja peyda dike. Lêkolîn di dawiyê de beşdarî têgihiştinek berfirehtir a têkiliya di navbera xweza, giyanî, û vegotina hunerî de di çarçoveya çanda Îslamî de dibe. Helbesta Jizîrî ku gerdûnê bi kar tîne, wekî diyardeyek bedewiya xwedayî tê pêşkêş kirin, ku hebûna Xwedê di hemû aliyên xwezayê de diyar e. Nebat, nemaze dar, mezinbûna giyanî, giyanê rewşenbîrî û xelatên xebata giyanî sembolîze dikin. Nebatên stirî nerastiyê temsîl dikin. Heywan, hem nêçîrvan û hem jî nerm, tevliheviya evînê û rêwîtiya giyanî nîşan didin, bi çûkan re bi gelemperî hilkişîna giyan û rewşên hestyarî yên cihêreng (şabûn, keder, êş) sembolîze dikin. Kêzikên mîna bilbil û dûpişk bi mecazî têne bikar anîn da ku bi rêzê ve dilsozî û taybetmendiyên delal temsîl bikin. Tesîra giştî têkiliyek tevlihev a wênesaziya xwezayî û sembolîzma sûfî ye, ku cîhana xwezayî wekî navgînek ji bo îfadekirina ezmûnên giyanî û hestyarî yên kûr xizmet dike.
Jiziri’s diwan is a masterpiece of classical Kurdish literature. It showcases Jiziri’s genius through the creation of stunning imagery and scenes, demonstrating an astonishing harmony between form and content. The structure of his poems is characterized by an integrated and harmonious design of artistic images, consistent with his ideas and emotions. Jiziri possessed immense poetic talent; he was a masterful weaver of words, creating a synergy between inventive artistic images and captivating rhythmic music. He was adept at using Sufi symbols, skillfully blending and creating surprising relationships between them.
This intricate interplay of artistic and intellectual genius made deciphering the symbolism and complex structure of his poetry a significant challenge. The dense imagery, abundant synonyms, alliteration, linguistic diversity, and dialectal variations often left readers struggling with comprehension due to the depth of his ideas embedded within a whirlwind of artistic images and intertwined scenes.
Scholar Mela Ahmad Zivingi played a crucial role in preserving this classical Kurdish literary treasure. Through immense effort, he salvaged and republished much of Jiziri’s poetry, which was threatened with loss, collecting, correcting, verifying, and annotating it.
In his book, Al-‘Aqad al-Jawhari fi Sharh Diwan Jiziri (“The Jewel Necklace in the Explanation of Jiziri’s Diwan”), Mela Ahmad Zivingi undertook significant efforts to clarify the challenging aspects of Jiziri’s work, both linguistically and conceptually. Regarding linguistic difficulties, Jiziri’s poetry contained corruption, errors, and inconsistencies. The translator and commentator invested considerable effort in correcting and refining these errors, explaining the complex vocabulary spanning multiple languages and dialects, and verifying the authenticity of verses affected by corruption.
The article’s topic—the symbolism of the universe and nature in Jiziri’s poetry—holds significant importance for several reasons. It illuminates the intersection of Sufi mysticism, artistic expression, and the natural world within a specific historical and cultural context. Understanding Jiziri’s use of symbolism provides insights into his worldview, his poetic techniques, and the broader cultural significance of nature in Islamic thought. Furthermore, it contributes to a deeper understanding of Sufi symbolism itself, demonstrating how natural elements were employed to convey complex spiritual and emotional experiences. Studying such symbolism enriches our appreciation of both the poetry and the underlying philosophical framework.
The methodology of this study is based on analyzing the texts of Jiziri’s poems, by identifying the recurring natural images (plants, animals, climate phenomena), analyzing their contextual usage, and interpreting their symbolic meaning within the framework of Sufi thought and existing scholarship on Islamic symbolism.
Several difficulties arose during this study. The inherent ambiguity of poetic language presents a challenge, requiring careful consideration of multiple interpretations and the nuanced meanings within the Sufi tradition. Accessing and authenticating Jiziri’s complete works have posed logistical hurdles. Furthermore, establishing a clear connection between the symbolic usage and its grounding in Sufi doctrine requires a deep understanding of poetic and religious contexts. The potential for multiple, valid interpretations of the symbolism adds to the complexity of the research.
Jiziri’s poetry utilizes natural imagery extensively, imbuing plants, animals, and climate phenomena with symbolic meaning within a Sufi framework. The universe is a manifestation of divine beauty, with God’s presence evident in all aspects of nature. Plants, particularly trees, symbolize spiritual growth, the intellectual soul, and the rewards of spiritual striving. Thorny plants represent inauthenticity. Animals, both predatory and gentle, illustrate the complexities of love and the spiritual journey, with birds often symbolizing the soul’s ascent and various emotional states (joy, sorrow, suffering). Insects like the butterfly and scorpion are used metaphorically to represent devotion and the beloved’s features respectively. The overall effect is a complex interplay of natural imagery and Sufi symbolism, where the natural world serves as a vehicle for expressing profound spiritual and emotional experiences.
This study, based on the commentary of Mela Zivingi on Jiziri’s diwan (a collection of poems), explores the complex interplay of symbolism in Jiziri’s Sufi poetry, a significant work within classical Kurdish literature. Zivingi’s commentary is crucial because it penetrates the intricate relationships and deciphers the symbolic language often obscured by the apparent simplicity of Sufi poetry.
Through in-depth readings, the researchers found that Sufi thought tends to be symbolic and unconventional. They exist in a sort of semantic intensity that is organized by open spiritual experience, which by nature is in alignment with various symbolic objects and their various manifestations by a strong spiritual sense, equipped with imagination and intuition that emanates from the depths of their being.[1]
There are numerous sign systems used in the Sufi language that, in terms of functionality, go beyond those used in conventional language. The symbols have the following qualities in the intuitive dimension: First, mystical knowledge produces symbols (Gnosticism). The foundation of sufi symbols is the integration of mental, emotional, and spiritual intelligence. Second, the symbolism that Sufis understand is very extensive. The Sufi is endowed with the power to reveal different secrets and inner truths when he reaches the state of mukafah and muhadah. He is capable of understanding sign language’s symbolic expressions. Third, symbols offer a wide range of possible interpretations. Symbolism is based on an approach to interpretation that, by accurately reproducing meaning, broadens thought. This talent shows how the Sufi’s spiritual level evolved from the sensory level to the level of infinite totality.[2]
The Sufi philosophy embodies principles of love, compassion, and spiritual enlightenment, potent antidotes to the rhetoric of hatred and violence propagated by extremist groups. Sufi teachings emphasize the interconnectedness of humanity, fostering a culture of tolerance, understanding, and mutual respect.[3]
Jiziri frequently references celestial bodies, planets, and constellations, detailing their astrological influences on the world and his personal experiences.
Some Sufis incorporated elements of astrology and gematria (the assigning of numerical values to letters) into their understanding of nature, believing in the celestial influence on individuals, nations, and historical events. Planets and constellations held specific symbolic meanings. For instance, Mercury, Jupiter, Saturn, the Sun, the Moon, and the Earth represented concepts like elevation, adornment, brilliance, and illumination.
Nazika min ko bi mestî di çemen hatî xeram
Ji ḥesed çûne xusûfê meh û mihri di felek
Jiziri employed astrological and astronomical imagery in his poetry to highlight the role of celestial influences and divine destiny in shaping his life.
Teqaḍe weh dikir ḥikmet ko ҫerx û lewleb û bab in
Huwe l fe‘‘alu la teẍter bi esbabin we alatȋ [4]
He drew upon the characteristics of individual planets, associating them with divine attributes like light or circularity, to reflect his emotional state.
Şemsȇ bi şemsȇ cam bi cam Ḥetta dikin dewrȇ temam
Ateş dirȇjit her medam Ev gunbeda dewwarȇ ҫerx[5]
The poet believes that the circles rotate and are based on a fixed point, and that the Creator is the director of the rotation of these spheres, and that they do not rotate on their own.
Bȇ nuqţe nehin daȋre iḥsan ke Mala
Dewwarȇ ҫi kit daȋreya tekwȋnȇ [6]
He saw certain planets as sources of divine light dispelling darkness, frequently mentioning the morning star (Venus or Jupiter) symbolizing the first manifestations of divine grace. He wished for the rise of the morning star and the setting of Saturn, hoping to replace his darkness and suffering with light. The lovers in his poetry endured suffering throughout the night, finding solace only with the dawn’s arrival.[7]
Bi derba kewkeba şubhȇ Li meşriq Zuhre ţali‘ bit
Zuḥel dûr bit bi şeş burcan Ȗ winda bit di ẋerbȇ da[8]
The light of the planets is also reflected in the brilliance of his beloved’s jewels, which resemble the glittering stars. He further utilized the planets’ circular motion, symbolizing the divine self (lacking beginning and end), to represent the eternal nature of the divine presence.
Bi ḥusna xwe ilahȋ kȋ Bi sehm û heybeta dȋnȇ
Nucûm û kewkebȇ lami‘ Ji bala tȇn bi bejnȇ da [9]
He depicted beautiful women dancing in a circle as stars and jewels encircling the earth.
Di ҫirxȇ wek nucûm dȇmdur Sema hatin qirana yek
Heyȋva bedrȇ bû ew Surperȋ min dȋ di reqṡȇ da [10]
Planets also symbolized beauty, with the star Canopus representing intense brilliance and luminosity.
Hin gulȇ bo ‘enber in Hin di şȋrȋn esmerin
Hin guherȋ dane yin Miŝlȇ suheylȇ sema [11]
Jiziri used astrology as a means of coping with his suffering, observing planetary movements and their impact on human lives. For example, he connected the conjunction of the Sun and Saturn in Scorpio to Mars gaining dominance, causing him heartache. He attributed the reversal of Saturn’s influence on Jupiter to Mercury’s distance from the Sun.
Vȇk kitin şems û Zuḥel iro di burca ‘Eqrebȇ
Seyfi ҫû destȇ Merȋxȇ mulkȇ dil lew bû xerab
Lew tenezzul kir Merȋxȇ nobe ҫû dura Zuḥel
Ҫû ţeref mihra sipihrȇ nezzilȋ ‘erdan ‘eẓab [12]
His poetry also includes concepts of fate, destiny, and envy, along with other mystical elements. In Sufi symbolism, magic represents any word or action that alters reality.
Bȇ lebȇ le‘lȇ Mela min ji meya ali ҫi ḥeż
Ṡuḥbeta tȇ nebitin yari bi herḥali ҫi ḥeż [13]
In Sufi literature, the Sun and the Moon are prominent symbols of manifestation and light, representing the divine presence through their circular form and radiance. Their light symbolized God’s saints: the Muhammadan reality is like the sun, and the lights of the hearts of the saints (the verses) are like the moons, drawing their light from the sun that never sets, day or nigh[14]t. The sun represents the intellect (active and effusive), and the moon represents the soul (passive and receptive).
Bi evȋnȇ melek û ҫerx û felek tȇne sema
Rewşen in tȇki bi mihrȇ ji sema ta bi semek [15]
Natural elements held specific symbolic meanings in Sufi literature. Forests symbolized spiritual secrets, unknown dangers, and struggles against death and darkness. The sea symbolized beginnings, initial chaos, and transition to infinity, representing the boundless nature of truth through its countless waves. It also represented the world with its dangers and challenges, as well as death, resurrection, and immortality. Returning to the sea symbolized returning to the mother and death. The sea’s symbolism extends to the human nature, its waves mirroring the undulations of mountains, representing the turmoil of life or thought.
Şevȇ żulmat û deryayȇ Ji mewcan qeţ xeber nayȇ
Şikestȋ keştiya bayȇ ‘Ecacȇ wȇ şefeq dayȇ [16]
Jiziri depicts a scene of the sea during a dark night, amidst raging waves and winds, where his ship is wrecked in a violent storm, highlighting the danger threatening human existence. This imagery also symbolizes the complex and turbulent journey of spiritual states and divine encounters.
The thoughts and feelings of human love inspired the Sufis to express their ideas about their experience of divine love through secular symbols that create gaps of indeterminacy in their poems.[17]
Jiziri’s poetry includes lightning, storms, dust storms, and rain (both heavy and light), reflecting the emotional turmoil and suffering of lovers or the calamities they face.
Climatic phenomena held specific Sufi meanings. Wind represented a cosmic breath, its movement signifying instability. The recurring symbolized divine grace, while a gentle breeze represented the manifestation of divine beauty. A storm signified destruction, death, and annihilation, representing a struggle against death and spiritual secrets. Rain symbolized God’s abundance, mercy, purity, and joy. Holy water purified the soul from the defilement of base instincts and vices. Clouds symbolized evil beliefs, false suspicions, and illusions, obscuring faith and knowledge of truth, just as clouds block the sun’s light.
Jiziri viewed breezes positively, using them to convey messages to his beloved and considering the Zephyr a remedy for his pain.
Ey nesîmê ṡibehê ma di mecala seḥerê
ṡed selaman bigehînî ji me wê lib şekerê [18]
He makes wind a medicine to treat his pain:
Ji axa asitanê mistekê bîn
Li daẍan da bibînim xweş ṡeba tîz [19]
He found the gentle breeze refreshing, fragrant with the scent of his beloved, freeing lovers from their constraints.
Nesȋmi sunbul û sȇvan Seḥer da ḥebs û zindanȇ
Vebû qufla me bȇ mifte Ziringȋnȋ ji quflȇ da[20]
In contrast, his depiction of lightning, storms, and whirlwinds was harsh, mirroring his suffering and cries of pain.
- Symbolism of nature:
Sufi poets blend manifestations of divine beauty with nature to create a state of natural spiritual union. This is evident through the perceptible beauty in its dazzling worldly appearance, symbolizing an eternal celestial beauty.
‘Aşiqan bȇ gavi lew kalȋn ji dȋl tȇn şubhȇ re‘d
Wan ji bala lȇ dibarin wek birûskan remz û naz [21]
The beauty of the feminine essence and its symbolism of transcendence blend with diverse nature. God manifests in all things, in the flocks of birds in the sky, in the seas and rivers, in the whispers of breezes and roars of winds, in trees, roses, blossoms, and gardens, in darkness and light, and more. From all this, they perceive God’s greatness, secrets, beauty, and majesty. However, it remains unclear whether this is a reflection of the divine presence’s beauty, a gleam of eternal beauty, or vice versa.
Plant symbolism holds a prominent place in Islamic art in general and Sufi literature in particular. For Sufis, plants symbolize the growing body, considered a lower order than minerals.[22]
Nisrȋn û binefş tewwizandin Mawerd di reşandi şûş‘ȇ ‘ac
Following the example of Sufi poets, Jiziri used plants and blossoms to describe his beloved. He depicted her as straight like a cypress or juniper tree, with white, delicate skin like jasmine, and rosy cheeks like anemones.
Sunbulȇn ter li gulan pali bi mistȋ diderin
Susinȇn taze li nisrȋn wereqan bûne helek[23]
Her round face, temples, and radiant, fragrant ornaments are surrounded by the scent of irises, fragrant herbs, and lavender, making the beloved appear like a garden from the gardens of Paradise.
Sunbulȇn ter li gulan pali bi mistȋ diderin
Susinȇn taze li nisrȋn wereqan bûne helek[24]
He mentioned several flowers, each symbolizing a specific meaning: (Binefş = viole), symbolizing the power of perception in thought; (Gula zerde = yellow rose), symbolizing the stage of opening the heart of the seeker and the gnostic; and (Lale = tulip), signifying the lover’s sorrow, among others.
Lew seḥer cewlan didit babȇ ṡebayȇ rast û ҫep
Sosin û sunbul bi mestȋ bȇn semayȇ rast û ҫep [25]
The symbol of the tree acquired a unique character in Sufi writings and gained profound semantic dimensions. For Sufis, the tree symbolizes the intellectual soul, due to its characteristic of beginning from a single origin, then branching into two main branches. Thus, it branches and multiplies its branches through intellectual divisions, leading to results that are its fruit. Some Sufis also symbolized the tree with life, while others symbolized it with knowledge, faith, or other Sufi connotations.
Fitlȇ siyah marȇ şevȋn Rȇḥan bi dor serwan ҫevȋn
Axir bi selwȇ da revȋn Xef bûn di tayȇn ҫenberȇ [26]
Jiziri used trees to depict the straightness of his beloved’s stature, like the straightness of cypress and juniper trees. He also compared the dancing and swaying of beautiful women and those experiencing spiritual ecstasy to the swaying of tree branches in the wind. Here, a harmony exists between the elements of nature.
Jiziri did not limit himself to delicate plants and roses to describe the beauty of his beloved; rather, he used thorny plants to represent contrasting states. He referred to some thorny plants and weeds, such as (xar, xes), described as useless and harmful, thus associating them with the characteristics of an inauthentic person.
Tu şehinşahȇ besȋ min ji butan
Ne muḥib her ne kes û xar û xes ȋn[27]
Jiziri portrays the garden and its fruits as the reward given for sincere efforts and pure conduct exerted to reach the beloved. He depicted this beloved as an image of Paradise, through her radiant beauty, fragrant scents like the fragrance of roses and blossoms, her graceful stature like cypress trees, and her eyes that water her cheeks, making her like a garden watered by the heavens. Jiziri considers this Paradise to be the promised reward for the devout and sincere. However, the cruel beloved did not fulfill this promise. The poet reproaches her because instead of rewarding her lovers for their love and devotion by offering them hospitality from fruits and lush gardens, she met them with cruelty, neglect, and torment.
Ȇy ḥorȋ siriştȇ li me xweş meywe te ber kir
Cennat e di weṡla te we ateşperesȋ tu[28]
He also symbolized Paradise with knowledge. He sees in the lover’s heart a hundred streams of divine knowledge, a hundred rivers of divine secrets, a hundred gardens of esoteric wisdom, and a hundred orchards of manifestations of God’s mercy.
ṡed co û ṡed cobar e tê ṡed gulşen û gulzar tê
Ҫendan ji ‘işqê nar e tê ṡafî neżer dî nûr e dil [29]
Paradise also represents attributes; it is the spiritual Paradise of manifestations of divine attributes and names, the Paradise of hearts.
Among the symbols belonging to the world of living nature are animals and birds of various kinds. Animals were present in Jiziri’s poetry, but they appeared either suffer or tormentors. There are predatory animals that devour the lover’s body, soul, and heart, such as lions, tigers, falcons, and ravens. Other animals separated him from his beloved, like the deceitful elephant in chess and the dogs guarding the beloved’s door. There are also gentle creatures that burn themselves in the flames of fire, hoping to approach the light of the beloved, like the butterfly. Alongside singing birds, such as nightingales and orioles, there are birds that he endowed with sweet speech, like the parrot, and other animals and birds carrying various Sufi meanings and symbols.
Sufi symbolism differs from artistic symbolism and its connection to beauty. There is a unifying unity that blends women and nature through the repetition of inherited stereotypical images, such as comparing the beloved to a gazelle in its beauty and grace, the redness of her cheeks, the blackness of her eyes, and the swiftness of her glances. However, the gazelle here symbolizes the beloved, the divine self to which one is devoted.
In Jiziri’s work, the image of the gazelle appears in the context of difficult-to-obtain hunting, which cannot be tricked with bait to catch it.
Canȇ xwe me kir dan’ȇ dava ko vedayȋ
Ahû ṡifet ew pȇ ḥissiya rahȇ xeţa girt [30]
Jizirimentioned the serpent in his poetry, which represented broad cultural symbols, capable of multiple interpretations and connotations. In some cultures, the serpent symbolizes creation, and in others, sensuality and deception, as in the story of Adam and Eve.
The serpent appears in Jiziri’s poetry in the context of describing the beloved’s black braids as a large serpent (“Ȇlan”) that coils around the beloved’s stature, straight like a cypress tree. This coiling of the serpent around the beloved’s body evokes the various circular and curved shapes in the depiction of the beloved’s features.
Şetrȋ û zulf û belg û per Hemiyan li dȇm de‘wa û şer
Ȇlan li selwa bûne ger ‘Eqreb xwiyan ez her ṭeref [31]
The dog also appears frequently in Jiziri’s poetry. He portrays it as the servant and guardian at the door of the beloved, and the poet wishes to take its place to enjoy seeing the beloved every day.
Li kelbê Asitanê xwe Ne pirsî qeţ ḥebîb carek
Gelo nayêye bîrê em Di vê nêçîr û rave da [32]
He used the donkey in his poetry to symbolize stupidity.
ẍaliba ehli zemani me Mela ademî yin
Ve numayin ji kerê mey reş û gayê te yê beş [33]
Birds are considered an important symbol in Sufi literature, especially in the Mi’raj stories and the treatises of birds, in which, the Sufis symbolized the soul and its flight towards emancipation and liberation from the prison of body. This idea is the basis of the flights of birds treatises and stories, which were creatively written by Sufis As Al-Bustami did in his Mi’raj, Al- Hallaj in his “Tawasin”, and IbnSina and Al-Ghazali in their stories of a flock of birds in the journey towards their king. The symbol of birds is also the focus of Al-Suhrawardi’s narrative writings and his symbolic treatises.[34]
Birds had a presence in scholastic books and literature, as was the case with Sufis. For Sufis, the bird symbolizes the soul, the self, imagination, soaring, elevation, love, and other philosophical and intellectual dimensions.
Jiziri mentioned some types of birds, each carrying specific symbols and connotations, in contextual uses that complement the intellectual dimensions the poet wants to convey.
The hoopoe (“hudhud”) recurs in Jiziri’s poetry. He drew inspiration from the story of the Queen of Sheba in the Quran to symbolize knowledge and wisdom, the Sufi sheikh, or the perfect human who has experienced this path. It also symbolizes the messenger, the envoy, and movement. Among the birds mentioned by Jiziri is the nightingale, which symbolizes fleeting worldly love and obsession. Jiziri also used the peacock to symbolize those with pure hearts in heaven. It is said that Paradise is the peacock of birds. He mentioned the parrot, which symbolizes duality and negativity. In addition to various types of predatory mountain birds, the bird “kibik” appears, symbolizing corruption. There is also the “hajal” bird, which roams the mountains where gold and pearl treasures are found.
He also used the mythical phoenix, which refers to annihilation because it is a mythical bird, and symbolizes the impossibility of hunting and also a coma. Similarly, he used the mythical “homa” bird, which refers to the same symbols. He compared the temples of her hair to the feathers of the happy “homa” bird.
‘Enqa ne şigara kes e davan tu biçîn ver
Dava ko li ‘enqa tu vedî badi hewa girt [35]
Such as:
Saye numayȇ cebhetȇ Neqş û xeṭȇ ji qudretȇ
Nuqṭe û ḥerf û cezme tȇ Bal û perȇn humayȇ zulf [36]
He also referred to the dove, which soars with joy, mirth, and song, like the soul that soars joyfully in a state of union and annihilation. The dove represents a link between the high and the earth, used as a messenger of peace and love between earth and heaven. The dove also symbolizes the human soul in many cultures. The flight of birds in Sufi literature is often a search for the beloved.
The raven is one of the most frequently used birds by Jiziri in his similes and metaphors, due to the darkness of its color and its gloominess, which resembles the body in its density, due to its lack of awareness and luminosity. Jiziri compares everything dark and gloomy to the raven; the darkness he sees is even more intense than the blackness of the raven, as if the Day of Judgment has come.
Ez dibȇm axir zeman e dȇ qiyamet rabitin
Lew şeva tarȋ kişandȋ yû nehişt eswed ẍurab
Xweş li min ‘alem siyah ma stȇr û kewkeb qeţ neman
Ez ji vȇ rojȇ ditirsam axirȋ zû kir şitab [37]
He compared everything black in the beloved’s features to the raven. He depicted her temples as a black raven rushing to devour them.
Fetl û taban da ẍuraban Ebleq û cohtȇ şebaban
Dame ber pence û kulaban Dil ji min bir dil ji min[38]
He also said:
Min dî bi xewab ew mahitab da dil kulab cohtê ẍurab
Dil şewwişand xwê lê reşand Xweş harişand têk hûri bû [39]
He also compared her eyes to the raven due to their intense blackness, and her eyelashes to flocks of predatory birds like ravens and hawks that wound and tear his heart.
Ref ref nehiştin zaẍi zaẍ Danȋn li dil min daẍi daẍ
Dȇ kȋ bimȋnit saẍi saẍ Westane leşker ṡef bi ṡef [40]
There are also singing birds, such as doves, nightingales, and orioles, that sing in the presence of beauty.
Gerçi bulbul cewherê ẓatê gul e Lê gulê rewneq ji ‘işqa bulbul e
Guh de ẓikrê ḥal û coşa badeyê Wê bi bulbul re dixwînit bulbul e[41]
These were imbued with various meanings and symbols; some symbolized fleeting worldly love, while others alluded to the dawning of magical light.
Qumrȋ û bulbul di xwȋnin Lȇ ‘eceb ew xweş dimȋnin
Her Seḥer meḥbûb dibȋnin ‘Endelȋb vȇ ra teba ye [42]
In addition to other birds, such as the “tutāk” and “kuyin,” Jiziri symbolized suffering through them.
Seḥergeh ‘endelȋb mestin Ji bihna werd û bişkojan
Şubih tûtak û goyȋnan Dinalin em di ferqȇ da[43]
He embodied, through their continuous cries and moans, the intensity of the torment and suffering from separation from the beloved, which symbolized the lovers’ prohibition from reaching the stage of permanence due to their lament.
Miŝli goyîn te rewan nal ji dili miskîni tên
Em nizanîn tu çira her we dinalî şeb û roz
Te bi firyad û fiẍanan bi xwe bulbul ker kir
Allah Allah ji çi derdê dikalî şeb û roz [44]
Jiziri frequently depicted the “kuyin” bird’s singing and moaning throughout the night until dawn, as a metaphor for the circles of remembrance and the repetition of dhikr (remembrance of God).
Tu seḥergeh bi temaşa were bazari ḥudûŝ
Lê te bê fa‘ide azari nedit xari ḥudûŝ [45]
The butterfly is one of the most prevalent insects in Jiziri’s poetry, carrying multiple meanings. He symbolized through it the devoted lover who burns himself with the fire of love for the beloved, silently without outcry, enabling him to attain permanence.
Perwane û bulbul bi dilin şu‘ele ‘işqê
Lê ger tu neżer dî bi xwe ew gulşen û razin [46]
He also mentioned the scorpion in the context of comparing the beloved’s features, describing her mouth as a scorpion.
Zulfȇn but û şêrȋn leban Jehrȋ ne şubhet ‘eqreban
Lȇ min ji biska pirgirȇ Iro tinȇ girtin du ta[47]
This study highlight the rich tapestry of symbolic meanings woven into Jiziri’s poetry. The study reveals how seemingly simple natural elements are transformed into potent vehicles for expressing complex spiritual states, the dynamics of love, and the challenges faced on the Sufi path. The detailed analysis of specific symbols (e.g., trees, birds, insects) provides valuable insights into Jiziri’s poetic technique and his unique contribution to the broader tradition of Sufi literary expression. The study ultimately contributes to a more comprehensive understanding of the relationship between nature, spirituality, and artistic expression within the context of Islamic culture. Jiziri’s poetry utilizes universe is presented as a manifestation of divine beauty, with God’s presence evident in all aspects of nature. Plants, particularly trees, symbolize spiritual growth, the intellectual soul, and the rewards of spiritual striving. Thorny plants represent inauthenticity. Animals, both predatory and gentle, illustrate the complexities of love and the spiritual journey, with birds often symbolizing the soul’s ascent and various emotional states (joy, sorrow, suffering). Insects like the butterfly and scorpion are used metaphorically to represent devotion and the beloved’s features respectively. The overall effect is a complex interplay of natural imagery and Sufi symbolism, where the natural world serves as a vehicle for expressing profound spiritual and emotional experiences.
- References:
- Al-Ajam, Rafiq. Encyclopedia of Islamic Sufism Terms, Lebanon Publishers Library, 1999.
- Al-Kashani, Abdul Razzaq. Dictionary of Sufi Terminology, – Investigation and Commentary: Abdul Aal Shaheen, Dar Al-Manar, Cairo, 1992 & .
- Abdelaoui , Wafa, Birds in Sufi Literature :A Symbolic Reading of Selected Texts, November 2022. https://www.researchgate.net/publication/365411103_Birds_in_Sufi_Literature_A_Symbolic_Reading_of_Selected_Texts
- Binmayaba, Mustafa Muhammad,Sufi Symbol as Gap, Metaphor as Clue: Symbols in Ibn ʿArabī’s Love Poem as a Case Study, Journal of Sufi Studies, October 2020.
- Muhammad Farid AbdullahAhmad Agus Suaidi, Binyat ar-Ramz al-Lugawiyyah fī at-Tafsīr aṣ-Ṣūfī, LISANIA Journal of Arabic Education and Literature, December 2022
- Mir , Sarosh, Kanz Philosophia: A Journal for Islamic Philosophy and Mysticism THE DOCTRINE OF SUFI PHILOSOPHY AS A POWERFUL ANTIDOTE TO GLOBAL TERRORISM, September 2024 , DOI: 20871/kpjipm.v10i1.247
- Zivingi, Mela Ahmed, Al‘eqidu -Ccewheri fi Sherh Diwani Jiziri (The Essential Necklace in Explaining the Diwan of Sheikh Jiziri), Al-Sabah Press, Aleppo, 2nd ed., 1987.
[1] Muhammad Farid AbdullahAhmad Agus Suaidi, Binyat ar-Ramz al-Lugawiyyah fī at-Tafsīr aṣ-Ṣūfī, LISANIA Journal of Arabic Education and Literature, December 2022
[2] – Muhammad Farid AbdullahAhmad Agus Suaidi, Binyat ar-Ramz al-Lugawiyyah fī at-Tafsīr aṣ-Ṣūfī, LISANIA Journal of Arabic Education and Literature, December 2022
[3] – Mir , Sarosh, Kanz Philosophia: A Journal for Islamic Philosophy and Mysticism THE DOCTRINE OF SUFI PHILOSOPHY AS A POWERFUL ANTIDOTE TO GLOBAL TERRORISM, September 2024 , DOI: 10.20871/kpjipm.v10i1.247
[4] – Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p. 708
[5] – Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p. 202
[6]– Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p765
[7] – Zivingi, Mela Ahmed, ipid, p. 40
[8] – Zivingi, Mela Ahmed, ipid, p. 40
[9] – Zivingi, Mela Ahmed, ipid, p. 52
[10] – Ipid, p . 46
[11] -Zivingi, Mela Ahmed, ipid, p.21
[12]– Zivingi, Mela Ahmed, ipid,80
[13] – Zivingi, Mela Ahmed, ipid, p.430
[14] – Al-Ajam, Rafiq. Encyclopedia of Islamic Sufism Terms, Lebanon Publishers Library, 1999. & Al-Kashani, Abdul Razzaq. Dictionary of Sufi Terminology, – Investigation and Commentary: Abdul Aal Shaheen, Dar Al-Manar, Cairo, 1992 .
[15]- Zivingi, Mela Ahmed, ipid, p. 373
[16] – – Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p. 8
[17] – Binmayaba, Mustafa Muhammad,Sufi Symbol as Gap, Metaphor as Clue: Symbols in Ibn ʿArabī’s Love Poem as a Case Study, Journal of Sufi Studies, October 2020.
[18] – Zivingi, Mela Ahmed, ipid, p.717
[19] – Zivingi, Mela Ahmed, ipid, 272
[20] – Zivingi, Mela Ahmed, ipid, p. 45
[21]– Zivingi, Mela Ahmed, Zivingi, Mela Ahmed, ipid, p. 264
[22] – Al-Ajam, Rafiq. Encyclopedia of Islamic Sufi Terminology, p. 959.
[23] – Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p.380
[24] – Zivingi, Mela Ahmed, ipid, p. 380
[25]– Zivingi, Mela Ahmed, ipid, p.90
[26] – Zivingi, Mela Ahmed, ipid, p. 736
[27] – Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p.470
[28] – Zivingi, Mela Ahmed, ipid, p. 627
[29]– Zivingi, Mela Ahmed, ipid, p. 411
[30]– Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p115
[31] – Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p. 350
[32]– Zivingi, Mela Ahmed, ipid, p. 42
[33] – Zivingi, Mela Ahmed, ipid, p 304
[34] – Abdelaoui , Wafa, Birds in Sufi Literature :A Symbolic Reading of Selected Texts, November 2022. https://www.researchgate.net/publication/365411103_Birds_in_Sufi_Literature_A_Symbolic_Reading_of_Selected_Texts
[35] – Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p .116
[36] – Zivingi, Mela Ahmed, ipid, 345
[37]– Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p. 82
[38] – Zivingi, Mela Ahmed, ipid, p 483.
[39] – Zivingi, Mela Ahmed, ipid, p. 602
[40] – Zivingi, Mela Ahmed, ipid, p. 354
[41] – Zivingi, Mela Ahmed, ipid, p. 580
[42]– Zivingi, Mela Ahmed, ipid, p. 542
[43] – Zivingi, Mela Ahmed, ipid, p. 42
[44]– Zivingi, Mela Ahmed, ipid, p. 277
[45]– Zivingi, ipid, p. 158
[46]– Zivingi, Mela Ahmed, ipid, p. 436
[47] – Zivingi, Mela Ahmed, ipid, p. 34
