Showing posts with label Buddhism. Show all posts
Showing posts with label Buddhism. Show all posts

12 December 2024

The variety of temples
and mosques illustrate
the tolerance and
diversity of Singapore

The Yueh Hai Ching Temple, one of the oldest Chinese temples in Singapore (Photograph: Patrick Comerford, 2024; click on images for full-screen viewing)

Patrick Comerford

One of the enduring impressions of Singapore is its diversity and pluralism, with a variety of religious, ethnic and cultural communities and traditions. According to reports by the Pew Research Centre, Singapore’s religious diversity is remarkable on a global scale, and especially in comparison with its neighbours in South and South-East Asia.

During our recent 36-hour visit to Singapore last month, I took time to visit a variety of cathedrals, churches, synagogues mosques, shrines, pagodas and temples, making it almost like a fieldtrip in interfaith dialogue, visiting places of worship associated with Christians, Jews, Muslims, Buddhists, Hindus and Chinese traditional religion.

No more than around a third of the population in Singapore follows any one religion, according to census figures. Yet a Pew Research Centre report ranks Singapore as the most religiously diverse country in the world, with high levels of interreligious tolerance and acceptance on multiple measures.

Among adults in Singapore, 26% identify as Buddhist, 18% as Muslim, 17% as Christian, 8% as Hindu, 6% as a follower of Chinese traditional religions like Taoism or Confucianism, and 4% as some other religion, including Indigenous religions. Another 22% do not identify with any religion.

The churches I visited included Anglican, Roman Catholic and Armenian cathedrals and churches, I have been writing over the past few weeks about the synagogues and Jewish community of Singapore, and I was writing yesterday about my visit to the Buddha Tooth Relic Temple on South Bridge Road, the largest and most impressive Buddhist temples in Chinatown, and the newest too.

Inside one of the two prayer halls in the Yueh Hai Ching Temple in the heart of the central business district in Singapore (Photograph: Patrick Comerford, 2024)

One of the oldest Chinese temples in Singapore is the Yueh Hai Ching Temple, also known in Teochew as the Wak Hai Cheng Bio, on Philip Street, near Raffles Place in the heart of the central business district of Singapore.

The name means ‘Temple of the Calm Sea of the Guangdong (Yue) People’. Today the temple is dwarfed by modern skyscrapers, but it dates from the early 19th century, when it was also the first stop for many Chinese immigrants arriving in Singapore.

The Teochew immigrants were from the Chaoshan region in Guangdong Province in South China, bordering Fujian Province. When they first arrived in Singapore, they set up a small wood-and-attap shrine on what is now Philip Street, and offered their thanks to Mazu, goddess of the seas, for protection them during treacherous sea voyages from China.

Lin Pan is named as the man said to have built the first purpose-built temple where the makeshift shrine once stood in 1826.

Like many other places of worship in Singapore, the temple became a social centre for immigrants. Ngee Ann Kongsi was established in 1845 to look after the religious and welfare needs of the Teochew community in Singapore, and took over the management of the temple that year. During its early years, the Kongsi was led by Seah Eu Chin, a wealthy Teochew pepper and gambier merchant.

Yueh Hai Ching Temple was rebuilt in 1852-1855 with funds from the growing Teochew community. Some building materials were specially imported from China.

Yueh Hai Ching Temple has received many awards for its heritage and conservation work (Photograph: Patrick Comerford, 2024)

The temple has two prayer halls: the left wing of the temple, Tian Hou Gong (‘Palace of the Heavenly Empress’), is reserved for the worship of Mazu; Shang Di Gong (‘Palace of the Heavenly Emperor’) on the right is for Xuan Tian Shang Di or Heavenly Emperor, the patron deity of the Teochews. As both prayer halls look identical, Cantonese devotees nicknamed the temple Mah Miu, which means ‘Twin Temples’.

The temple was built with the standard three-hall layout of Chinese temples, with covered courtyards between the entrance and main halls. Its Teochew-style roof has a relatively straight ridge. An outstanding feature is the set of three-dimensional sculptures on the roof, depicting scenes of towns in China, as well as mythical flora and fauna representing longevity, posterity, and strength.

The images of dragons and other ornamentation on the roofs of the temple are crafted using a method known as jian nian or ‘cut and paste’. Colourful ceramics were carefully cut and trimmed into smaller pieces, and then pasted to create beautiful mosaic figures. Inside, the temple has intricate carvings depicting scenes from popular Chinese legends and folklore.

In 1899, the Emperor Guangxu of Qing China gave the Yueh Hai Ching Temple the gift of a calligraphy scroll with four characters elegantly written in his own hand. The phrase, translated as ‘moving seas with peaceful clouds above’, conveyed the Emperor’s blessings to the local Chinese community, in return for the temple’s contribution towards flood relief efforts in Shandong, China.

The four characters were carved on a large wooden plaque, now prominently displayed in the Mazu temple. The only other Chinese temple in Singapore to have received a similar imperial favour is Thian Hock Keng.

Yueh Hai Ching Temple was gazetted as a national monument of Singapore in 1996. It was restored extensively in 2011-2014 and has received many awards for its heritage and conservation work. The temple remains popular with the Chinese community and some festivals include puppet shows to honour the deities.

The Jamae Mosque and its front entrance gate flanked by two minarets (Photograph: Patrick Comerford, 2024)

In Chinatown itself, close to the Buddha Tooth Relic Temple on South Bridge Road, the Jamae Mosque is one of the oldest mosques in Singapore, while its neighbour, the Sri Mariamman Temple, is the oldest and perhaps the best-known Hindu temples in Singapore. Both the mosque and the temple stand out in the predominantly Chinese location.

Masjid Jamae was founded in 1826, the first of three mosques in Chinatown built by the Chulias, who were Tamil Muslims from the Coromandel coast of south India. The mosque has a shrine to an early local Muslim religious leader, Muhammad Salih Valinvah, whose grave was there before the mosque was built in the 1830s.

The mosque was completed in 1835, and its architectural styles blend eclectic traditions, from Indian and Islamic styles to western and Greek influences.

The neoclassical features of the mosque were influenced by the work of George Drumgoole Coleman from Drogheda (Photograph: Patrick Comerford, 2024)

The most significant feature is the front entrance gate with a South Indian Indo-Islamic influence, with two minarets flanking a miniature palace façade.

The neoclassical features of the two prayer halls and the shrine are in a Neo-Classical style that is typical of George Drumgoole Coleman (1795-1844) from Drogheda, the first trained architect in Singapore. These features include Doric columns and large windows with Chinese green-glazed tiles.

The mosque, which has given Mosque Street its name, was gazetted as a National Monument in 1974.

Sri Mariamman Temple dates from 1827 and is Singapore’s oldest Hindu temple (Photograph: Patrick Comerford, 2024)

Sri Mariamman Temple on South Bridge Road dates from 1827 and is Singapore’s oldest Hindu temple. Mariamman is a rural south Indian mother goddess who is invoked for protection against diseases.

The temple was founded in 1827 by Naraina Pillai, eight years after the East India Company established a trading settlement in Singapore. Pillai was a government clerk from Penang who arrived in Singapore with Sir Stamford Raffles on his second visit to the island in May 1819. Pillai went on to set up Singapore’s first construction company, was involved in the textile business, and was a leading figure in the Indian community.

The central tower or Goputram at the entrance resembles a pagoda, and this explains how the temple gives both Temple Street and Pagoda Street their names. The grand tower has five tiers of sculptures and carvings of Hindu deities and mythological figures.

The central tower at the entrance to Sri Mariamman Temple has tiers of sculptures and carvings of Hindu deities and mythological figures (Photograph: Patrick Comerford, 2024)

Inside the temple, there are exquisite ceiling paintings in the main hall. A major part of the present structure is believed to have been built in 1862–1863.

The walkway connecting the main entrance to the principal shrine was originally covered in attap, but this was destroyed in a fire in 1910. The architectural firm of Swan and Maclaren then designed a more permanent walkway in 1915.

Sri Mariamman Temple is known for the annual firewalking festival, Theemithi, about a week before Deepavali, the Festival of Lights. The temple was designated a National Monument in 1973.

The Sri Layan Sithi Vinayagar Temple was built almost 100 years ago in 1925 (Photograph: Patrick Comerford, 2024)

The other Hindu temple I visited in Chinatown is the Sri Layan Sithi Vinayagar Temple, beside the hotel where we were staying on Keong Saik Road. This temple was built almost 100 years ago in 1925 by Nattukkottai Chettiars, a money-changing community originally from Tamil Nadu.

The temple is dedicated to Ganesha, the elephant-headed god. Its humble beginnings were near the mortuary of Singapore General Hospital, where a Hindu temple with an atthapu roof of metal sheets was frequented by hospital and prison staff. The temple had statues of Vinayagar, also known as the elephant-headed god Ganesha, and Naagar, the snake god.

The government acquired the site from the temple in 1920 and used the land to expand the hospital. The compensation was used to build a new and more elegant temple at the junction of Keong Saik Road and Kreta Ayer Road in 1925.

Inside the Sri Layan Sithi Vinayagar Temple on Keong Saik Road (Photograph: Patrick Comerford, 2024)

The statue of Vinayagar from the first temple and was installed in the new temple in front of the main black-stoned Vinayagar statue. A third statue of Vinayagar was installed was donated by Pichappa Chettiar, a trustee of the Sri Thandayuthapani Temple.

The temple on Keong Saik Road also has statues of the Holy Spear and the Rama Naamam. Every year on Thaipusam, the Holy Spear is brought to Thandayuthapani Temple in a silver chariot, where it is bathed in milk as an offering to Vinayagar’s brother, Murugan.

Recent census figures show 74.3 per cent of the population of Singapore is ethnic Chinese, 13.5 per cent ethnic Malay, 9 per cent ethnic Indian, and 3.2 per cent other, including Eurasian. It was easy during my visits to these cathedrals, churches, synagogues mosques, shrines, pagodas and temples to understand why Singapore has become known as a religious ‘melting pot’ and ‘cultural mosaic’.

Religious diversity and tolerance have made Singapore a religious ‘melting pot’ and ‘cultural mosaic’ (Photograph: Patrick Comerford, 2024)

11 December 2024

The Buddha Tooth Relic
Temple in Chinatown is
one of the most visited
pilgrim sites in Singapore

The Buddha Tooth Relic Temple in the heart of Chinatown is one of the most-visited sites of Buddhist tourism and pilgrimage in Singapore (Photograph: Patrick Comerford, 2024)

Patrick Comerford

The Buddha Tooth Relic Temple in the heart of Chinatown is one of the many eye-catching religious buildings I visited in Singapore. The temple is built in a style inspired by the Tang dynasty era in China and by the Mandala, a Buddhist symbol representing the universe. It is one of the most-visited sites of Buddhist tourism and pilgrimage in Singapore.

The colourful exterior of the temple has traditional ornate carvings and attractive colours in bright paint. Inside, the atmosphere is one of quiet reverence among worshippers and of awe among tourists.

The temple has many layers, with sacred halls, chambers and landscaped gardens and it offers a unique insight into the role Chinese Buddhism has played in the daily life of people in Singapore.

There are richly decorated interiors and a large array of exhibits and displays on Buddhist art, history and culture. Yet the temple on South Bridge Road is a recent addition to the streetscape of Chinatown. It was founded in 2002 by a Buddhist monk, the Venerable Shi Fa Zhao, with the support of the Singapore Tourist Board, and was built on the vacant Sago Lane site in 2007 at a cost of S$75 million.

Inside the Buddha Tooth Relic Temple there is quiet reverence among worshippers and awe among tourists (Photograph: Patrick Comerford, 2024)

The temple takes its name from what is said to be the left canine tooth of Buddha, recovered from his funeral pyre. The Buddha Tooth Relic is housed in a giant stupa weighing 3,500 kg and made from 320 kg of gold.

The tooth is said to have been discovered by the Venerable Cakkapala, the Abbot of the Bandula Monastery in Mrauk U in Myanmar (Burma) in 1980. When a collapsed stupa or relic building and a statue of Buddha were being restored, the Ven Cakkapala and his assistants were said to have found the tooth within a stupa of solid gold on Bagan Hill. The discovery was not publicised at the time and the tooth was enshrined at the Bandula Monastery.

When the Bandula Monastery was fundraising in January 2001, it appealed to the Veneable Shi Fazhao from the Golden Pagoda Temple in Singapore for financial support. Ven Shi agreed to help, and in August 2001 he visited the Bandula Monastery, where he formed a close relationship with the elderly Ven Cakkapala.

Ven Cakkapala visited Singapore in 2002, and visited the Golden Pagoda Temple and the Metta Welfare Association founded by Ven Shi. In August that year, two Buddha tooth relics, including the Bandula relic, were part of a three-day, S$1-million exhibition to mark the tenth anniversary of the Golden Pagoda Temple.

More than 300,000 people visited the exhibition, and it was announced that one of the tooth relics would remain at the Golden Pagoda Temple. Ven Cakkapala formally handed the Buddha tooth relic to Ven Shi, adding that a monastery should be built to house the relic and to welcome Buddhist pilgrims.

Ven Cakkapala died the following December. Ven Shi then withrew himself to a year-long retreat, returning with the inspiration to name the temple ‘Buddha Tooth Relic Temple’. He also decided that the temple’s architectural style would be based on a mandala or Buddhist diagram representing the universe, and incorporate Buddhist art from China’s Tang dynasty. The temple also displays some Japanese and Tibetan Buddhist influences.

The statue of the Bodhisattva Guanyin sitting on an elaborate lotus throne in the Universal Wisdom Hall (Photograph: Patrick Comerford, 2024)

Chinatown was chosen as the location for the new temple, with Ven Shi saying he hoped the temple would add to the vibrancy and heritage of the area. The project was supported by the Singapore Tourism Board, which said it would add to Chinatown’s appeal to tourists. Another exhibition featuring the tooth relic attracted 600,000 visitors in May 2004.

The temple signed a 30-year lease with the STB in January 2005 for the 2,700 sq metre vacant Sago Lane site on South Bridge Road. A three-week fundraising exhibition was held staged, and the temple began seeking donations and sponsorship for the construction, with parts of the building, including Buddha statues and images, roof tiles and bricks put up for sponsorship.

The temple also collected donations of gold that were melted down to build the stupa housing the tooth relic. About 83 kg of gold and S$10 million were donated in less than three months. By November 2006, another 1,700 kg of jewellery had been donated by 15,000 people, and by May 2007 S$43 million had been raised from more than 60,000 people.

To meet the final cost of S$75 million, including the lease, building, interior decoration and cost of the temple’s images and artefacts, the temple took out a S$22.8 million loan. Sections of the temple were briefly opened to the public in May 2007. The temple was fully completed a year later and the consecration took place on 17 May 2008.

The Universal Wisdom Hall with a statue of the Bodhisattva Guanyin and the Heart Sutra embroidered in the Siddham script (Photograph: Patrick Comerford, 2024)

An entry gate and courtyard, flanked by two towers, form the temple’s entrance at ground level. The first or ground floor has halls with various Buddha statues for ceremonies, prayer and offerings. The main hall, the Hundred Dragon Hall, is 27 ft high with a 15 ft statue of the Buddha Maitreya, with two bodhisattvas on each side. The statue of the Buddha sits on a throne in a bhadrasana posture, with each foot on top of a lotus flower.

The Universal Wisdom Hall has a statue of the Bodhisattva Guanyin sitting on an elaborate lotus throne and flanked by two vajra-wielding dharmapalas. The Heart Sutra, written in the Siddham script, is embroidered on the rear wall of the hall, along with embroidered patterns of lotuses waving in the breeze. The walls of the hall are adorned with shrines and statues of a grouping of eight Buddhas, Bodhisattvas and Wisdom Kings, surrounded by smaller statues.

The mezzanine level houses the Eminent Sangha Museum, a gallery of prominent local and foreign monks, and the Ksitigarbha Hall for ancestral tablets. The second and third floors host a teahouse, shop and a museum, with displays of Asian Buddhist artefacts, including a chamber of Buddha relics.

The fourth storey holds the centrepiece of the temple: the Sacred Light Hall with the Buddha tooth relic. The relic is housed within a stupa made from 420 kg of gold, 234 kg of which was melted down from gold items donated by devotees. The monks who conduct daily services there are the only ones allowed into the relic chamber, bit visitors can view the relic chamber twice a day from the public viewing area.

The first or ground floor of the temple has halls with various Buddha statues (Photograph: Patrick Comerford, 2024)

I missed out this time on visiting the temple roof, a tranquil hideaway with more pagodas, pavilions and a garden, including the Dendrobium Buddha Tooth, an orchid named after the temple and relic, and a Buddhist prayer wheel.

The Ten Thousand Buddha Pagoda on the roof is a pavilion where about 11,111 Buddhas and Bodhisattvas are enshrined and venerated. At the centre of the pagoda is a large Vairocana Buddha Prayer Wheel, inspired by the Tibetan Buddhist tradition. More than 3,000 calligraphy copies of the Vairocana Mantra have been placed within the prayer wheel, and a statue of Vairocana is also enshrined within the pagoda.

The basement of the temple includes a theatre and a vegetarian dining hall.

The walls of the hall are adorned with shrines and statues of Buddhas, Bodhisattvas and Wisdom Kings (Photograph: Patrick Comerford, 2024)

The temple was embroiled in controversy before its launch in 2007, with media reports questioning the authenticity of the tooth relic. Dental experts were quoted as saying that the tooth’s long crown and short root were incompatible with the dimensions of a human tooth, and that the tooth likely belonged to an animal, probably a cow or buffalo. The length of the tooth was also said to be too long to have come from a human.

Ven Shi responded to the controversy, saying: ‘To me, it has always been real and I have never questioned its authenticity. They can say all they want. I don’t care what they say. If you believe it’s real, then it’s real.’

A number of letters to the press from devotees and donors expressed disappointment and called for the tooth to be authenticated. However, the temple rejected requests for DNA tests and Ven Shi said: ‘Each of us has different views on what is ‘real’, as it depends on each individual’s understanding of Buddhism. While we fully respect the opinions of others, we should stand firm on our own faith towards the sacred relics.’

The temple was embroiled in controversy before its opening, with media reports questioning the authenticity of the tooth relic (Photograph: Patrick Comerford, 2024)

06 August 2024

Ronald Rae’s ‘Hiroshima’
at the peace temple by
Willen Lake is a reminder
of the inhumanity of war

Ronald Rae’s sculpture ‘Hiroshima’ (1988) in the grounds of the Japanese Peace Pagoda beside Willen Lake in Milton Keynes (Photograph: Patrick Comerford, 2024)

Patrick Comerford

Today marks the 79th anniversary of the atomic bombing of Hiroshima on 6 August 1945. I visited Hiroshima when I was a student in Japan in 1979, and for over 40 years I took part in Irish CND’s Hiroshima Day commemorations in Merrion Park, Dublin. This evening, Charlotte and I hope to attend the annual Hiroshima Day commemorations at the Japanese Peace Pagoda beside Willen Lake in Milton Keynes, a ceremony we have been attending for three years now.

The Anglican Pacifist Fellowship and Christian CND are also marking Hiroshima Day with an online vigil at 8 pm this evening.

Ronald Rae’s sculpture ‘Hiroshima’ (1988) is in the grounds of theJapanese Buddhist Temple beside Willen Lake. The temple was built by Japanese Buddhis monks who are devoted to promoting peace and nuclear disarmament, and the sculpture was donated to the temple in 2007.

‘Hiroshima’ is one of three pieces of sculpture by the Scottish sculptor and artist Ronald Rae in the parks in Milton Keynes. The work is carved from granite in memory of the people who were killed by the atomic bombing at Hiroshima on 6 August 1945 and warns of the tragedy of nuclear war.

Ronald Rae made this sculpture ‘Hiroshima’ in 1988 from Scottish granite that is 470 million years old. It measures 4 x 3 x 3 ft and weighs 2.00 tons. The figure twists in agony and looks up, saying: ‘Let this never happen again.’

The sculpture ‘Hiroshima’ or ‘Hiroshima Departed’ was bought from the Ronald Rae Exhibition at Milton Keynes in 1995-1999 and was donated to the Temple by the art consultant Edna Eguchi Read (1929-2012). She was a well-known pacifist and was once described as an ‘irresistible force and champion of public art in Milton Keynes’.

Edna Read was instrumental in many of the city’s cultural organisations, including the Milton Keynes Gallery and Theatre Company, Aim Gallery, the Public Arts Trust and the Sculpture Walk for Emigré Artists at Bletchley Park. She died tragically at the age of 83 in a car crash in October 2012. Her funeral service was held in the Church of Christ the Cornerstone, Milton Keynes.

The temple at Willen Lake is an appropriate and apt location for Rae’s ‘Hiroshima’. Every year on Hiroshima Day the Buddhist monks and nuns of the Nipponzan Myohoji (Japan Buddha Sangha) organise this memorial service at the Pagoda, which includes lighting candles around this sculpture and floating lanterns on Willen Lake.

The plaque beside the sculpture reads:

‘Hiroshima

‘Ronald Rae 1988

‘Ronald Rae’s hand-carved 470 million year old Scottish Granite Memorial does not invite admiration of heroism or self sacrifice for others.

‘This nameless, pathetic, scarcely human form conveys only the appalling history of innocent men, women and children suddenly extinguished by nuclear bombs. Ronnie is also remembering those today who die in the worlds continuing conflicts.’

Prayers for peace at the Japanese Peace Temple at Willen Lake (Photograph: Patrick Comerford, 2024)

Ronald Rae’s two other sculptures in public places in Milton Keynes are his ‘Animals in War’ (1998) in a hollow below the Belvedere in Campbell Park, and the ‘Cuddling Couple’ outside Milton Keynes Central Station.

Animals in War’ was the sculptor’s gift to the people of Milton Keynes in 2015 in memory of Edna Read, who was an active promoter of public art in the new city. It symbolises the aftermath of war and is a poignant memorial to all animals who died in wars, in particular horses who died in their millions in World War I. The soldier in the sculpture is missing half an arm and is wearing a gas mask, also referring to the horrors of chemical warfare.

The sculpture in Kemnay granite was previously on loan to Bletchley Park. The Public Arts Trust, Milton Keynes, working with partners Bletchley Park, the Parks Trust and Milton Keynes Council moved the large, 6 ton sculpture across Milton Keynes, and it was unveiled in Campbell Park on 30 July 2015 by Dr Charles Robert Saumarez Smith, secretary and chief executive of the Royal Academy of Arts in London.

Rae’s ‘Cuddling Couple’ outside Milton Keynes Central Station was bought by the Commissions for the New Towns after a major exhibition of his work in Milton Keynes in 1995-1999.

Ronald Rae was born in Ayr in 1946. His works are entirely hand-carved in granite and over the course of 58 years he carved 58 large granite monoliths, many of which are in public and private collections throughout the UK.

Rae’s largest work to date is the 20 tonne ‘Lion of Scotland.’ His sculptures have been exhibited in Milton Keynes (1995-1999), Regent’s Park, London (1999-2002), the Yorkshire Sculpture Park, Wakefield, and Holyrood Park, Edinburgh (2006-2007).

His eight-tonne sculpture ‘Fish’ was installed on the waterfront at Cramond in 2009 after a successful fundraising campaign by the Cramond Community.

Many of his granite sculptures in public places have Biblical themes, including five sculptures depicting the ‘Tragic Sacrifice of Christ’ in Alloway, ‘Abraham’ at the Royal Edinburgh Hospital, the ‘Return of the Prodigal’ in Perth, the ‘Good Samaritan’ in Glenrothes, and his ‘Celtic Cross’ at Erdington Railway Station, Birmingham. His ‘Fallen Christ’, outside the MacLeod Centre on the island of Iona, is to the memory of Jim Hughes, a member of the Iona Community.

Ronald Rae’s ‘Hiroshima’ was donated to the Japanese temple in Willen by the art consultant and pacifist Edna Eguchi Read (Photograph: Patrick Comerford, 2024)

11 December 2023

Daily prayers in Advent with
Leonard Cohen and USPG:
(9) 11 December 2023

‘I have not lingered in European monasteries’ (Leonard Cohen) … the cloisters in Jerónimos Monastery in Belém in Lisbon (Photograph: Patrick Comerford)

Patrick Comerford

We are in the countdown to Christmas in the Church since the beginning of Advent, and yesterday was the Second Sunday of Advent (10 December 2023).

Throughout Advent this year, my reflections each day include a poem or song by Leonard Cohen. These Advent reflections are following this pattern:

1, A reflection on a poem or song by Leonard Cohen;

2, the Gospel reading of the day in the Church of England lectionary;

3, a prayer from the USPG prayer diary.

‘I have not lingered in European monasteries’ (Leonard Cohen) … in Arkadi Monastery in Crete (Photograph: Patrick Comerford)

The Songs and Poems of Leonard Cohen: 9, I Have Not Lingered in European Monasteries:

Leonard Cohen’s second book, The Spice-Box of Earth, was published in 1961, when he was 27, and became the most popular and commercially successful of his early books, established his poetic reputation in Canada, and brought him a measure of early literary acclaim.

My copy of this book, to paraphrase words in another Leonard Cohen song, ‘has grown old and weary,’ or, rather, it is battered, stained and dog-eared. As I read through it, I recall the poems I selected for poetry readings in Wexford in the early and mid-1970s, including ‘I have not lingered in European monasteries’ and ‘The Genius.’

Soon after The Spice-Box of Earth was published, Leonard Cohen retreated for several years to the island of Hydra in Greece, where worked on the sharper, darker poems published in Flowers for Hitler published in 1964.

Thirty years later, Leonard Cohen retreated yet again, when he interrupted his career in 1994 and entered Mount Baldy Zen Centre near Los Angeles for what became five years of solitude and study.

But his immersion in Zen Buddhism did not mean Cohen had abandoned his Jewish faith. Rather, he remained an observant Jew. He pointed out that there were neither petitionary prayer nor a god figure in Zen practice and said the two were not incompatible.

After leaving the monastery, Cohen returned to writing poetry, sending new material to be posted on a fan website. By 2001 he was back in the studio recording Ten New Songs, which became an international hit.

In this poem, the narrator the many things he has not done: he has not lingered in European monasteries, a metaphor for not heeding centuries-old religious traditions; he has not engaged in practices of meditation that would allow his mind to wander and wait; he has not ‘held my breath so that I might hear the breathing of God’; and he has not engaged in traditional religious practices that he dismisses as the worship of ‘wounds and relics. Instead, he claims, he is content and sees himself as being self-contained:

During the day I laugh and during the night I sleep.
My favourite cooks prepare my meals,
my body cleans and repairs itself,
and all my work goes well.


These final four lines are, on first reading, supposedly positive in their outlook, contrasting sharply with the negative dismissals earlier in the poem. The narrator claims a self-generating mastery over his own reading of the world. But the reader is left with a sense of emptiness and loneliness.

The speaker unintentionally exposes his own self-conscious obsession with the past traditions that he claims to reject. In this rejection itself there is another kind of ‘lingering’, despite the poem’s opening claims. Perhaps the narrator really needs to hold his breath so that he may hear the breathing of God.

The narrator is speaking ironically when he concludes that he has not been unhappy for 10,000 years. The poem laments both the loss of a right and proper way and a life lived superficially. None of his accomplishments amount to anything, really. What is gained by merely meeting my bodily needs and doing my work well?

Indeed, the tone of the closing stanza is so ironic that the poem comes to mean the opposite of what it seems to say on first reading, and exposes the deficiency and failings of the narrator’s claims to being the master of himself.

Many years after returning to terra firma following his five years as a recluse on Mount Baldy, Leonard Cohen gave an interview in 2007, in which he said he had ‘always resisted the claim for the unique truth of one particular model, and, growing up in Montreal, one had powerful versions of Catholicism, Protestantism and Judaism. It didn’t involve a real stretch to be affected by those traditions. It was natural.’

When he was a secretary to his teacher, Roshi, there was ‘a kind of rapprochement between Zen and the Roman Catholic church,’ through people like Thomas Merton and the Trappists in Massachusetts. Cohen would accompany him to these monasteries, setting-up the meetings and dialogue while Roshi was leading meditations.

His interviewer asked, ‘So you lingered in North American monasteries but not in European ones?’

Cohen replied: ‘That’s right. I did linger in a number of them and I would talk to the monks and get a feel for things apart from what I was reading, like Simone Weil. I remember an older monk with whom I became friendly. I said to him one day, “How’s it going?” and he said, “I’ve been here 12 years and every morning when I wake up I have to decide whether or not to stay.” It’s a rough life.’

He spent many years with Roshi and explained: ‘People have very romantic ideas but a monastery is a kind of hospital where people end up because they can’t make it in any other circumstances.’

Leonard Cohen, I Have Not Lingered in European Monasteries:

I have not lingered in European monasteries
and discovered among the tall grasses tombs of knights
who fell as beautifully as their ballads tell;
I have not parted the grasses
or purposefully left them thatched.

I have not released my mind to wander and wait
in those great distances
between the snowy mountains and the fishermen,
like a moon,
or a shell beneath the moving water.

I have not held my breath
so that I might hear the breathing of God,
or tamed my heartbeat with an exercise,
or starved for visions.
Although I have watched him often
I have not become the heron,
leaving my body on the shore,
and I have not become the luminous trout,
leaving my body in the air.

I have not worshipped wounds and relics,
or combs of iron,
or bodies wrapped and burnt in scrolls.
I have not been unhappy for ten thousand years.
During the day I laugh and during the night I sleep.
My favourite cooks prepare my meals,
my body cleans and repairs itself,
and all my work goes well.

‘I have not lingered in European monasteries’ (Leonard Cohen) … the courtyard in Stavropoleos Monastery in Bucharest, known throughout the Orthodox world for its Byzantine library and music (Photograph: Patrick Comerford)

Luke 5: 17-26 (NRSVA):

17 One day, while he was teaching, Pharisees and teachers of the law were sitting nearby (they had come from every village of Galilee and Judea and from Jerusalem); and the power of the Lord was with him to heal. 18 Just then some men came, carrying a paralysed man on a bed. They were trying to bring him in and lay him before Jesus; 19 but finding no way to bring him in because of the crowd, they went up on the roof and let him down with his bed through the tiles into the middle of the crowd in front of Jesus. 20 When he saw their faith, he said, ‘Friend, your sins are forgiven you.’ 21 Then the scribes and the Pharisees began to question, ‘Who is this who is speaking blasphemies? Who can forgive sins but God alone?’ 22 When Jesus perceived their questionings, he answered them, ‘Why do you raise such questions in your hearts? 23 Which is easier, to say, “Your sins are forgiven you”, or to say, “Stand up and walk”? 24 But so that you may know that the Son of Man has authority on earth to forgive sins’ – he said to the one who was paralysed – ‘I say to you, stand up and take your bed and go to your home.’ 25 Immediately he stood up before them, took what he had been lying on, and went to his home, glorifying God. 26 Amazement seized all of them, and they glorified God and were filled with awe, saying, ‘We have seen strange things today.’

The healing of the paralytic man (see Luke 5: 17-26) … a fresco in Analipsi Church in Georgioupoli, Crete (Photograph: Patrick Comerford)

Today’s Prayers (Monday 11 December 2023):

The theme this week in the new edition of ‘Pray With the World Church,’ the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘The Faith of Advent.’ This theme was introduced yesterday.

The USPG Prayer Diary today (11 December 2023) invites us to pray as we reflect on these words:

As yesterday was Human Rights Day, let us celebrate the fundamental rights we share and safeguard the rights of our fellow human beings.

‘I have not lingered in European monasteries and discovered … tombs of knights’ (Leonard Cohen) … among the Littleton tombs in Penkridge (Photograph: Patrick Comerford)

The Collect:

O Lord, raise up, we pray, your power
and come among us,
and with great might succour us;
that whereas, through our sins and wickedness
we are grievously hindered
in running the race that is set before us,
your bountiful grace and mercy
may speedily help and deliver us;
through Jesus Christ your Son our Lord,
to whom with you and the Holy Spirit,
be honour and glory, now and for ever.

The Post-Communion Prayer:

Father in heaven,
who sent your Son to redeem the world
and will send him again to be our judge:
give us grace so to imitate him
in the humility and purity of his first coming
that, when he comes again,
we may be ready to greet him
with joyful love and firm faith;
through Jesus Christ our Lord.

Additional Collect:

Almighty God,
purify our hearts and minds,
that when your Son Jesus Christ comes again
as judge and saviour
we may be ready to receive him,
who is our Lord and our God.

Yesterday’s Reflection

Continued Tomorrow

‘Although I have watched him often / I have not become the heron, / leaving my body on the shore’ (Leonard Cohen) … a heron on the river in Newcastle West, Co Limerick (Photograph: Patrick Comerford)

Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org



12 December 2022

A Reflection on the Crises in Afghanistan
following the Fall of Kabul

The Winter 2021 edition of ‘Studies: An Irish Quarterly Review’(Vol 110, No 440) , Winter 2021) included my paper, ‘A Reflection on the Crises in Afghanistan following the Fall of Kabul’ (pp 458-469)

Patrick Comerford

Introduction

The fall of Kabul in recent months and the completion of the Taliban takeover of Afghanistan in August have created a multiplicity of crises and have had repercussions in many areas of life in Ireland. The responses in Ireland have included knee-jerk and prejudiced reactions from people who object to accepting Afghan refugees. Paradoxically they are also among the people who point vocally to the forms of Islam expounded by the Taliban, yet have exercised little or no effort to understand Afghanistan, its history, its people, and the complexity and diversity of its religious cultures.

For many too, the Taliban confirm all their fears and prejudices of an expanding, militant Islam, and they are unwilling to concede that Islam is as diverse as Christianity and other religions, if not more so. The Taliban represents an extreme expression of Islam that has arisen only comparatively recently. Indeed, the Taliban expression of Islam cannot easily be labelled ‘conservative’ – for it is not conserving anything that is traditional in many streams of Islamic culture and thinking, nor is it rooted in traditions in Afghanistan.

Fears about the rights of women, for the education of children, and for freedom of expression in Afghanistan are well-founded. But there are genuine fears too for the loss of religious and cultural diversity and pluralism in Afghanistan under Taliban rule.

It is difficult too, for many of us, to understand and accept that Afghanistan is not a distant and remote part of Asia, but that for many centuries it came within the ambit of the ‘Euro-Mediterranean’ world, that it has long had close links with the classical and Hellenistic worlds, and that its history has been intimately interconnected with the history of Europe, including the history of Ireland.

Childhood reminders

As a child in Cappoquin, Co. Waterford, I was regaled with stories of General Sir John Keane (1781–1844), who eventually become Baron Keane of Ghuznee and Cappoquin. Those derring-do stories of Keane’s escapades and adventures in Afghanistan were as gripping as the stories of ‘the Wolf of Kabul’, which featured in my childhood days in The Hotspur, a popular British boy’s comic in the 1960s.

Keane played the key role in the capture of Ghuznee (Ghazni) during the First Anglo-Afghan War in 1839, following the fall of Kabul. I was reminded of this link between Ireland and past conflicts in Afghanistan during a recent visit to Cappoquin House, when Sir Charles Keane showed me many family mementoes of Lord Keane, including a portrait, a painting of Ghunzee Fort, and a ceremonial sword.

John Keane was born in Belmont, Cappoquin, on 6 February 1781, the second son of Sir John Keane, 1st baronet. He joined the army as an ensign at the age of 11 in 1792, rose to the rank of lieutenant-colonel and commanded a brigade in the Peninsular War, and he was promoted to major-general when he commanded a brigade at the Battle of New Orleans. Later, he was the British commander-in-chief in the West Indies and administered the colonial government of Jamaica.

Keane was commander-in-chief of the Bombay Army in 1834–1840, and he commanded the combined British and Indian army (‘The Army of the Indus’) during the opening campaign of the First Anglo-Afghan War. He and his forces seized Karachi in February 1839. He then commanded an expeditionary force that entered Afghanistan from India to forestall an expected, imminent Russian invasion, and commanded the victorious British and Indian army at the Battle of Ghazni on 23 July 1839.

Because of severe shortages of supplies and the lack of draft horses, Keane’s forces had to leave heavy siege equipment behind them in Kandahar. The defence of the city was led by Hyder Khan, the son of Dost Muhammad, then the ruler of Afghanistan. All the gates into Ghazni were sealed with rocks and debris, with the sole exception of the Kabul Gate, which was lightly guarded and poorly defended. Keane’s forces went around the city, camped on the north side facing the Kabul gate, and attacked early on the morning of 23 July. By dawn, Keane’s force had captured the city.

The British forces suffered 200 men killed and wounded while the Afghans lost almost 500 men and 1,600 were taken prisoner. Keane left a small garrison in Ghazni and began to march his forces towards Kabul on 30 July. When Dost Muhammad heard of the fall of Ghazni, he fled Kabul towards Western Afghanistan and the Afghan army surrendered. The British then installed Shuja Shah Durrani of Kandahar as the new ruler of Afghanistan.

Keane retired without being engaged in further fighting. He was honoured with the peerage title of Baron Keane, of Ghuznee and of Cappoquin, Co. Waterford, on 23 December 1839, and received a pension of £2,000 a year for his and two successive lives.

Lord Keane died on 24 August 1844, and his title died out in 1901. But his remaining mementoes in Cappoquin House are a reminder that events in Afghanistan were never remote from the lives of people in Ireland.1

The reaches of ‘Euro-Med’ civilisation

From Keane’s adventures to recent events in Afghanistan, we are reminded throughout wars and history why Afghanistan has been known to military and diplomatic figures as the ‘graveyard of empires.’ But modern Afghanistan, as we know it, dates from 1747, when Ahmad Shah Durrani captured territory from Nader Shah’s descendants in Persia, from the Mughals, and the Uzbeks to his north. Although the name Afghanistan, meaning the land of the Afghans or Pashtuns, only came into general use during the wars of the 19th century, it can be traced to some time between the eighth and the 14th centuries.

Afghanistan is not a new country, nor is it culturally Asian. Traditionally, it has been seen as part of the ‘Euro-Med’ world. In classical times, the area was regarded as within the ambit of the Persian Empire, one of the great classical civilisations, and was known to both Greek and Roman writers as Ariana (Ἀριανή), from an Old Persian word (Ariyanem) meaning ‘the Land of the Aryans.’

In Rudyard Kipling’s short story ‘The Man Who Would Be King’ (1888), two British venturers, Peachy Carnehan and Danny Dravot, played by Michael Caine and Sean Connery in John Huston’s film of the same name (1975), set out to become kings of Kafiristan, a mountainous, isolated country beyond the Hindu Kush in north-east Afghanistan. They confide in their plans to Rudyard Kipling (Christopher Plummer), who tells them they are mad. No man, he says, has made it to Kafiristan since Alexander the Great, to which Peachy replies, ‘If a Greek can do it, we can do it’. In north-east Afghanistan, they find the last remnants of the empire of Alexander the Great, and a local culture and religion that are part-Greek, part-Kafiri.2

The story is fiction, but aspects of its historical content are true. Alexander the Great spent most of the years 330–325 BCE campaigning in Afghanistan, Pakistan and India, and left behind Greek kingdoms and culture that flourished throughout the Hellenistic period and even later.3

Alexander the Great and his Macedonian forces crossed the Euphrates, marched through Mesopotamia, defeated Darius III of Persia in 331 BCE, and dismantled the Achaemenid empire. Alexander arrived in Afghanistan in 330 BCE, and the Seleucid Empire held on to the area for 15 years.

Later, there was a second Hellenistic conquest of the area by the Greco-Bactrians. Until the Taliban first took over Afghanistan, traces of these Greek kingdoms came to light continually, and the archaeological, artistic and epigraphic evidence from Afghanistan revealed a prosperous and culturally diverse kingdom.

Kandahar, the second city of Afghanistan and the de facto capital of the Taliban until the fall of Kabul, dates from the conquests of Alexander the Great, who laid out the foundation of what is now Old Kandahar in 330 BCE and gave it the Greek name Ἀλεξάνδρεια Ἀραχωσίας (Alexandria of Arachosia).

Alexander the Great is also said to have founded the city of Alexandria on the Oxus, at present-day Ai-Khanoum in Takhar Province, northern Afghanistan, in 327 BCE. It had a magnificent royal palace, a large amphitheatre, several Hellenic temples, a gymnasium, stoas and mosaics. For almost two centuries, this was a focal point of Hellenism in the East, and the centre of Hellenistic culture at the doorstep of India.4

This area was the most easterly reach of Greek civilisation and the Hellenistic world, and the Greek influence survived until at least the year 10 CE. This was the access point for the Classical World to the east, and when the Silk Road opened in the first century BCE, Afghanistan flourished thanks to trade along the routes from the Greek and Roman world through Persia to China and India. Ideas as well as goods were bartered, traded and exchanged at this centre point, so that Afghanistan was at the ultimate reach of our European-Mediterranean or ‘Euro-Med’ world.

The Kalash people in the Hindu Kush mountains are unique, with a distinctive cultural and religious identity; they are light-skinned, have blonde hair and blue eyes. To this day, traditions and myths persist that they are the descendants of Alexander the Great’s army.5

But how diverse is Afghanistan and its people in terms of religious heritage and identity?

Diversity in Afghanistan

The Taliban, or ‘students’ in the Pashto language, emerged as recently as the early 1990s in northern Pakistan, following the withdrawal of Soviet troops from Afghanistan. The predominantly Pashtun movement first appeared in religious seminaries, mostly financed from Saudi Arabia, and preached an extreme form of Salafism within Sunni Islam, with their own austere version of sharia, or Islamic law.6

One of the principal objectives of the Taliban is to impose a uniform practice of Islam throughout Afghanistan that forces all Muslims to conform to their own interpretation of Salafism.

Within weeks of the fall of Kabul, Muslim minorities became the first religious groupings to feel the impact of this religious intolerance. Yet, in the past, Afghanistan was known for its diversity among Muslims, once embracing a variety of expressions of Islam, among Shia minorities and Sufi orders.

Shia Islam

Shia Muslims form Afghanistan’s largest religious minority, and they are the religious group facing immediate threats and fears today. Estimates vary, but Shia Muslims make up from 7 to 20 per cent of the population of Afghanistan. They are mainly divided into two groupings, the Twelvers, who look to Iran for spiritual leadership, and the Ismailis, most of whom recognise the leadership of the Aga Khan. Both groups are regarded as heretical by the Sunni majority, and there is no doubt that the Taliban and Isis seek to eliminate their presence in Afghanistan and throughout the Islamic world.

The association of Twelver Shia Muslims with Iran also makes them politically vulnerable under the Taliban, and Shia Muslims are additionally vulnerable because they are mainly members of ethnic and linguistic minorities, including the Hazaras, Farsiwan (who are Persian speakers), Qizilbash and Pamir people.7

Two recent attacks on mosques in Afghanistan serve to illustrate not only the diversity of Islam in Afghanistan, but that the first target of Islamists in any religious purge is the country’s Muslim minorities.

At least 65 people were killed when the Imambargah in Kandahar, the equivalent of a Shia mosque, was attacked by a suicide bomber during Friday prayers on 15 October. The attack came a week after a similar bomb attack on a Shia mosque in northern Kunduz province, in which at least 50 people were killed.

Following the fall of Kabul, the Taliban has disarmed all security guards at Shia buildings, leaving them vulnerable to attacks by the even more extreme Isis. Kandahar is in the Taliban heartland, and the attack sent the clear message that Afghanistan’s Shia minority is no longer safe in a Taliban-ruled Afghanistan. ‘Life is becoming difficult and risky in Afghanistan for every Afghan, especially for Shias as Isis are only targeting Shia Muslims in Afghanistan. The world communities must help Afghanistan and Afghans in this terrible time’, one social activist who asked not to be named told The Guardian.8

Rumi, poet and Sufi mystic

Perhaps the most influential Muslim figure to emerge from what is today’s Afghanistan was Jalāl ad-Dīn Mohammad Rūmī, also known as Jalāl ad-Dīn Mohammad Balkhī or Mevlânâ and known more popularly and more simply as Rumi. Although this Sufi mystic was born to Persian-speaking parents in 1207 and was buried in Konya in present-day Turkey when he died in 1273, he was born, as his name indicates, in Balkh, then part of the Khwareziman Empire and now in present-day Afghanistan.

At the time, Greater Balkh was a major centre of Persian culture, and Sufism had developed there for several centuries, and Rumi’s father, Bahā ud-Dīn Walad, was a theologian, jurist and mystic from Balkh. For several generations, the family were preachers of the relatively liberal Hanafi Maturidi school. Rumi’s influence transcends national borders and ethnic and religious divisions, and he has been described as the ‘most popular poet’ and the ‘best-selling poet’ in the United States.9

Later, in the sixteenth century, Ahmad al Faruqi Kabuli, who was born near Kabul, was renowned for his teachings in India.

Three Sufi orders are prominent in Afghanistan: the Naqshbandiya, founded in Bukhara; the Qadiriya, founded in Baghdad; and the Cheshtiya, found mainly at Chesht-i-Sharif, east of Herat.

Afghan religious minorities

Buddhism first arrived in what we now know as Afghanistan with the expansion and conquests of the Maurya Empire throughout the Hindu Kush region during the reign of King Ashoka (268-232 BCE). In the following century, the Buddhist monk Lokakṣema travelled to China, and his translations of Mahayana Buddhist scriptures contributed significantly to the development of Buddhism in China.

His near contemporary, Mahadhammarakkhita, was a Greek Buddhist master in the reign of the Indo-Greek king Menander in the 2nd century BCE. His birth name Yona means ‘Ionian,’ and he travelled from ‘Alasandra’ – Alexandria of the Caucasus, about 150 km north of Kabul, or Alexandria of the Arachosians – with 30,000 monks for the dedication of the Great Stupa in Sri Lanka.10

Buddhism began to fall into decline in Afghanistan with the Muslim conquest in the seventh century, but finally came to an end under the Ghaznavid dynasty in the eleventh century.

The last great, surviving monuments to the presence of Buddhism in Afghanistan were the massive Buddha of Bamiyan, carved in the sixth and seventh centuries, and destroyed by rocket and guns in March 2001 after the Taliban decreed they were idolatrous.

The region of Arachosia, around Kandahar in southern Afghanistan, was once primarily Zoroastrian and is sometimes described as the ‘second homeland of Zoroastrianism.’ Until half a century ago, 2,000 Zoroastrians or Parsees were living in Afghanistan. There may still be small pockets of Bahais, Sikhs, Jains and Hindus in the country.

Christianity in Afghanistan

A legend in the apocryphal Gospel of Thomas and other traditions suggests that Saint Thomas the Apostle once preached in Bactria. By the fifth century, the Nestorian Church had a number of dioceses in Afghanistan, and there was a Christian presence in Herat until at least the early fourteenth century.

But Christianity has always had a small presence in Afghanistan. Until recently, the total number of Christians in Afghanistan was put at 10,000–12,000, almost all of them converts from Islam, although the law has not allowed Afghans to convert to Christianity, and only expatriates may be recognised as Christians.

Perhaps the best-known expatriate Christian living in Afghanistan until this year was Rula Ghani, a Maronite Christian from Lebanon, whose husband, Ashraf Ghani, was President of Afghanistan from 2014 until they fled Kabul as it fell to the Taliban earlier this year.

The only legally recognised Christian church building in Afghanistan is the Catholic chapel in the Italian embassy, which existed from the 1930s. The only Protestant church in Kabul was destroyed on 17 June 1973.

The last Jew of Kabul

Legends claim that Balkh, the home of Rumi, was also the burial place of the prophet Ezekiel and was once home to the prophet Jeremiah. There is a tradition among the Pashtuns of Afghanistan that they are descended from the exiled lost tribes of Israel. Interest in the topic was revived recently by a Jerusalem anthropologist, Professor Shalva Weil, who was quoted in the popular press as claiming the ‘Taliban may be descended from Jews’.11

Legends aside, a Jewish presence flourished in eastern Afghanistan from about the seventh century CE. An estimated 40,000 Jews once lived in the area of Herat. That number dwindled to fewer than 5,000 by the mid-twentieth century, as the community faced persecution from successive regimes that, influenced partly by Nazi propaganda and beliefs that Jews were ‘Bolshevik agents,’ restricted where they could live and work.

The Jewish presence in Afghanistan virtually disappeared from the 1950s, with emigration to Israel, India, Britain, and the US. When the Taliban first came to power in 1996, the Jewish population had dwindled to single-digit numbers.

Afghanistan’s last known surviving Jew, Zabulon Simantov (62), was finally evacuated from Kabul after spurning a number of rescue attempts in the days immediately after the city fell to the Taliban. Earlier this year, he told Arab News he would leave Afghanistan after the High Holy Days, which began on Rosh Hashanah (6 September 2021). Simantov had stayed on in Afghanistan to look after the last remaining synagogue in Kabul, through decades of violence and turmoil.

Simantov is a carpet and jewellery merchant who was born in Herat, once home to hundreds of Jews. He moved to Kabul but fled to Tajikistan in 1992, before returning to Kabul. Since then, he had lived the synagogue – which he has renovated– in the heart of Kabul’s flower district.

He became the country’s last Jew when Yitzhak Levi died in 2005. The pair famously did not get along, and in 1998 Levi wrote to the Taliban interior minister to accuse Simantov of the theft of Jewish relics. Simantov retorted by telling the Taliban that Levi ran a secret brothel where he sold alcohol. The Taliban jailed both men, but eventually released them when they continued to fight in prison.

Their story inspired Michael J Flexer’s play My Brother’s Keeper, staged by the Apikoros Theatre Company at the Edinburgh Fringe Festival in 2006. The play tells the tale of the last two remaining Jews in Afghanistan under Taliban rule. They harbour a bitter hatred for one another, born out of their enforced co-habitation in a small, dilapidated synagogue, and spend the duration of the play feuding in fiery fashion.

Flexer told interviewers at the time that he had ‘tried to infuse the play with that feisty yet phlegmatic Jewish gallows humour’, and that he wanted the play to get across the idiocy of religious intolerance: ‘The comedy comes from the fact that, in this case, there was only one religion involved!’

However, in the past few months, comedy has given way to disturbing reality, and fears grow for everyone with the return of Taliban rule. Simantov’s departure means the future of the synagogue in Kabul is perilous and brings to an end Jewish life in Afghanistan after 1,500 to 2,000 years, or more.12

Conclusions

The ‘Wolf of Kabul’ in the Hotspur was supposed to be the moniker of Second Lieutenant Bill Sampson, a British intelligence agent in the North-West Frontier, and he first appeared in the Wizard in 1922. But, apart from Keane of Cappoquin, there have been other real-life ‘wolves of Kabul’ in Irish history.

Michael Mallin (1874–1916), chief of staff of the Irish Citizen Army garrison at the Royal College of Surgeons during the 1916 Rising in Dublin, spent 14 years in the British army, mainly in Afghanistan and India. He was decorated with the India Medal of 1895, and with the Punjab Frontier and Tirah clasps in 1897-1898. But it is also said that he was radicalised during his years in Afghanistan.

Before him, Lieutenant Walter Hamilton (1856-1879) from Inistioge, Co. Kilkenny, was posthumously decorated with the Victoria Cross for his part in the second Afghan War (1878–1880). He was part of the guard on duty when British headquarters in Kabul were overwhelmed and their guns seized in 1879. Other Irish recipients of awards and decorations during that war in Afghanistan include Sir Reginald Clare Hart (1848–1931) from Scarriff, Co. Clare, but Hamilton is remembered too for his appearance in M.M. Kaye’s epic novel The Far Pavilions (1978), which later became a British television mini-series.

Rudyard Kipling made popular the label ‘The Great Game’ as a description of the wars between Britain and Russia for control of Afghanistan – although the phrase was probably first used by the explorer Arthur Conolly (1807–1842), born in London of Irish parents. Kipling was so intrigued by the story of the disappearance and possible survival after the Battle of Balaclava of an Irish heir that it provided the basis for another of his short stories, ‘The Man Who Was’.

John Charles Henry Fitzgibbon (1829–1854), Viscount Fitzgibbon of Mountshannon House in Castleconnell, Co. Limerick, disappeared during the Crimean War and his body was never found. However, there were persistent rumours in his native Co. Limerick and in army lore that he had survived and escaped through Russia and Siberia to Afghanistan.

During the second Afghan War, Fitzgibbon’s regiment, the 8th Hussars, was stationed near the North-West frontier. One night, a dishevelled-looking man who spoke English was brought into the officers’ mess and was invited to stay for dinner. There he surprised all with his uncannily good knowledge of the regimental customs, indicating he was an ex-officer of the regiment. He was not asked to identify himself, but rumours developed and persisted that he was, in reality, the missing Fitzgibbon heir from Co. Limerick.

Kipling adapted the story in 1890 to tell of a man arrested for gun-stealing and who is believed to be an Afghan. He turns out to be an ex-officer, Austin Limmason – perhaps a verbal play on ‘Limerick’s son’ – who had been a Russian prisoner for many decades before making good his escape and finding his way back to his regiment in Afghanistan.

Kipling heads his 1891 version of this short story in his collection Life’s Handicap with a short ballad:

The Earth gave up her dead that tide,
Into our camp he came,
And said his say, and went his way,
And left our hearts aflame.
Keep tally – on the gun-butt score
The vengeance we must take,
When God shall bring full reckoning,
For our dead comrade’s sake.
13

But the fall of Kabul and the conquest of Afghanistan cannot be regarded as part of God’s reckoning, nor can we continue to seek the ‘vengeance we must take’. In a geopolitical understanding of the present crises in Afghanistan, we are seeing yet another working out of the internal power struggles in the Islamic world between Saudi Arabia, seeking to assert its place as the major power among Sunni Muslims, and Iran, equally assertive of its place as the major power among Shia Muslims. It is a power struggle that has already had disastrous consequences for the people of Yemen and Syria, and Afghanistan serves to let the Iranians know that the Saudis have now opened another front on the eastern borders of Iran.

Western concerns for the future of Afghanistan cease being a continuing playout of ‘The Great Game’ in the ‘Graveyard of Empires’ when we begin to grasp that Afghanistan is – and has always been – an integral part of our ‘Euro-Med’ world; and condemnations of the Taliban and their expressions of Salafism can only gain legitimacy when we start to appreciate the pluralism and diversity within Islam and the religious, cultural and ethnic diversity that is part of the heritage of Afghanistan.

(Canon) Patrick Comerford is a priest in the Church of Ireland Diocese of Limerick and canon precentor of Saint Mary’s Cathedral, Limerick. He is a former adjunct assistant professor in Trinity College Dublin, a former lecturer in Church History and Liturgy in the Church of Ireland Theological Institute, and a former foreign desk editor at The Irish Times. He has written and lectured widely on Christian-Muslim affairs, and blogs daily at www.patrickcomerford.com.

Notes

1 Glacott Symes, Sir John Keane and Cappoquin House in Time of War and Revolution (Dublin: Four Courts Press, 2016), passim; the author’s visits to Cappoquin House, last visited 28 August 2020.
2 Rudyard Kipling, ‘The Man Who Would Be King,’ in The Man Who Would Be King: Selected Stories of Rudyard Kipling (Oxford: Oxford World’s Classics, 1999); Rachel Meirs, The Archaeology of the Hellenistic Far East, BAR International Series 2196 (2011), 13.
3 Shane Wallace, ‘Greek Culture in Afghanistan and India: Old Evidence and New Discoveries,’ 205–226 in Greece & Rome, 63.2 (The Classical Association, 2016), p 209. Meirs (2011), 8.
4 Meirs (2011), 16. 5 Barbara A West, Encyclopedia of the Peoples of Asia and Oceania (New York: Infobase Publishing, 2009), 357–358.
6 Malise Ruthven, Islam in the World (London: Penguin, 2000), 393–394; Sayed Hassan Akhlaq, ‘Taliban and Salafism: a historical and theological exploration,’ Open Democracy, 1 December 2013, https://www.opendemocracy.net/en/taliban-and-salafism-historical-and-theological-exploration/, accessed 22 October 2021.
7 Ruthven, Islam in the World, 211–21.
8 ‘Dozens dead in mosque bombing as doubt cast on Taliban security’, Guardian, 16 October 2021; ‘Islamic State Bombing Kills at Least 65 people in Southern Afghanistan’, Washington Post, 16 October 2021.
9 John Baldock, The Essence of Sufism (Royston, Herts: Eagle Editions, 2004); William C Chittick, Sufism (London: Oneworld, 2013), 76. 10 Meirs (2011), 12.
11 Rory McCarthy, ‘Pashtun clue to lost tribes of Israel’, The Observer, 17 January 2010; Michael Freund, ‘Are the Taliban descendants of Israel?’ Jerusalem Post, 9 September 2021.
12 Josef Federman, ‘Rescuers: Last Jew of Kabul making his way to Israel, AP News, 17 October 2021, https://apnews.com/article/afghanistan-middle-east-religion-israel-turkey-c701c38308bbd81c8f69b32315ee3393, accessed 22 October 2021.
13 Rudyard Kipling, ‘The Man Who Was’ in Life’s Handicap (London: Macmillan, 1891), 84.

● Patrick Comerford, ‘A Reflection on the Crises in Afghanistan following the Fall of Kabul,’ Studies: An Irish Quarterly Review (Vol 110, No 440, Winter 2021, pp 458-469)

09 November 2022

Praying in Ordinary Time with USPG
and TS Eliot’s ‘The Waste Land’:
Wednesday 9 November 2022

Saint Augustine depicted in a stained glass window by George W Walsh in Saint Augustine’s Church, Galway … ‘The Fire Sermon’ draws heavily on Saint Augustine’s ‘Confessions’ (Photograph: Patrick Comerford, 2022)

Patrick Comerford

Today, the Calendar of the Church of England in Common Worship remembers Margery Kempe, Mystic (ca 1440) with a commemoration (9 November 2022).

Margery Kempe was born in King’s Lynn in Norfolk in the late 14th century, a contemporary of Julian of Norwich. She received many visions, several of them of the holy family, one of the most regular being of the crucifixion. She also had conversations with the saints. She was much sought after as a visionary, was endlessly in trouble with the Church, rebuked by the Archbishop, and was more than once imprisoned.

Following the messages in her visions, she undertook pilgrimages to many holy places, including Walsingham, Canterbury, Compostela, Rome and Jerusalem, often setting out penniless. She was blessed with the gift of tears and seems to have been favoured with singular signs of Christ’s love, whereby for long periods she enjoyed consciousness of a close communion with him and developed a strong compassion for the sins of the world. Her autobiography, The Book of Margery Kempe, recounts her remarkable life. She died in the mid-15th century.

Before this day gets busy, I am taking some time this morning for reading, prayer and reflection.

Throughout this week, I am reflecting in these ways:

1, One of the readings for the morning;

2, A reflection based on TS Eliot’s ‘The Waste Land,’ first published 100 years ago, in 1922;

3, a prayer from the USPG prayer diary, ‘Pray with the World Church.’

‘… where the walls / Of Magnus Martyr hold / Inexplicable splendour of Ionic white and gold’ (TS Eliot, ‘The Waste Land’) … Saint Magnus Martyr Church is one of two London churches named in ‘The Waste Land’ (Photograph: Patrick Comerford, 2022)

Luke 17: 11-19 (NRSVA):

11 On the way to Jerusalem Jesus was going through the region between Samaria and Galilee. 12 As he entered a village, ten lepers approached him. Keeping their distance, 13nthey called out, saying, ‘Jesus, Master, have mercy on us!’ 14 When he saw them, he said to them, ‘Go and show yourselves to the priests.’ And as they went, they were made clean. 15 Then one of them, when he saw that he was healed, turned back, praising God with a loud voice. 16 He prostrated himself at Jesus’ feet and thanked him. And he was a Samaritan. 17 Then Jesus asked, ‘Were not ten made clean? But the other nine, where are they? 18 Was none of them found to return and give praise to God except this foreigner?’ 19 Then he said to him, ‘Get up and go on your way; your faith has made you well.’

‘Sweet Thames, run softly, till I end my song …/Sweet Thames, run softly till I end my song / Sweet Thames, run softly, for I speak not loud or long’ (TS Eliot, ‘The Waste Land’) … Fishmongers Hall and London Bridge seen from the South Bank near Southwark Cathedral (Photograph: Patrick Comerford, 2022)

The Waste Land 3: ‘The Fire Sermon’

TS Eliot published ‘The Waste Land’ in 1922, the same year as James Joyce published Ulysses. The poem includes well-known phrases such as ‘April is the cruellest month,’ and ‘I will show you fear in a handful of dust.’ Recent studies see in ‘The Waste Land’ a description of Eliot’s pilgrimage from the Unitarianism of his childhood to his life-lasting Anglo-Catholicism.

‘The Waste Land’, which I am reflecting on throughout this week, was first published 100 years ago at the end in 1922. It is a masterpiece of modern literature and one of the greatest poems in the English language. Its opening lines are often quoted, even by people who have never read all five sections and 434 lines of the poem.

‘The Waste Land’ was published in Eliot’s The Criterion in October 1922. It was then published in the US in the November issue of The Dial, and was published in book form in December 1922.

To mark the 100th anniversary of the publication of The Waste Land in 1922, I am dipping in and out of the five sections of The Waste Land in this prayer diary each day this week. ‘The Waste Land’ is divided into five sections:

1, ‘The Burial of the Dead’, introduces the diverse themes of disillusionment and despair.

2, ‘A Game of Chess’, employs alternating narrations, in which vignettes of several characters address those themes experientially.

3, ‘The Fire Sermon’, offers a philosophical meditation in relation to the imagery of death and views of self-denial in juxtaposition, influenced by Augustine of Hippo and Eastern religions.

4, ‘Death by Water’, includes a brief lyrical petition.

5, ‘What the Thunder Said’, the culminating fifth section, concludes with an image of judgment.

The third section, of ‘The Waste Land,’ ‘The Fire Sermon,’ offers a philosophical meditation in relation to the imagery of death and views of self-denial in juxtaposition, influenced by Saint Augustine of Hippo and Eastern religions.

The title of this, the longest section of ‘The Waste Land’, is from a sermon by Buddha in which he encourages his followers to give up earthly passions, symbolised by fire, and to seek freedom from earthly things. A turn away from the earthly does indeed take place in this section, as a series of increasingly debased sexual encounters concludes with a river-song and a religious incantation.

A fisherman’s bar is described, then a beautiful church interior, then the Thames itself. Even amidst the moral and physical decay of the Thames River that is depicted in the first stanzas of ‘The Fire Sermon,’ Eliot juxtaposes one physical place, the ruined river, with another place, the Church of Saint Magnus Martyr:

O City city, I can sometimes hear
beside a public bar in Lower Thames Street,
The pleasant whining of a mandolin
And a clatter and a chatter from within
Where fishmen lounge at noon: where the walls
Of Magnus Martyr hold
Inexplicable splendour of Ionian white and gold.


Eliot is recalling an important church in London, the sounds associated with it, and the sights of the people there, which is indicative of his strong attachment to senses and to memory.

These seven lines are a brief digression from a section in ‘The Waste Land’ that is dedicated entirely to describing the vices that are ‘on fire’ in London as the consequences of excessive passions. But the few lines where the poet turns his eyes to Saint Magnus Martyr display a shift in Eliot’s use of sensory experience: the senses, here, are used in a reverent way to remember and contemplate something transcendent of which the church is a vestige.

John Betjeman would later write: ‘the whole district smells of fish, but inside the church there is the abrupt change to a smell of incense.’

In a footnote, Eliot says the interior of the church is ‘one of the finest among Wren’s interiors.’ Barry Spurr notes that Saint Magnus Martyr ‘was one of the leading shrines of the Anglo-Catholic movement and it is very notable that Eliot should not only refer to it, but, in the midst of a poem of almost unrelieved negativity, present it so positively (if somewhat uncomprehendingly) in terms of the exquisite beauty of its interior: its “Inexplicable splendour of Ionian white and gold”.’

Spurr points out that white and gold are ‘the liturgical colours … of Eastertide and resurrection, a concept otherwise denied repeatedly throughout ‘The Waste Land’.’

Father George Every told Spurr that Eliot started frequenting the High Mass at Saint Magnus the Martyr after World War I, and that ‘the influence of the liturgy on the drama was indeed apparent to him before he was a believer. Images out of Murder in the Cathedral and The Family Reunion belong to this time.’ Eliot first enjoyed Saint Magnus aesthetically for its ‘splendour’ and that later he appreciated its ‘utility’ when he came there as a sinner.

This section also refers to Queen Victoria Street, but neither of the two churches on the street, Saint Benet Paul’s Wharf and Saint Andrew-by-the-Wardrobe, are named in this section. On the other hand, this section includes portions of many musical pieces, including Spenser’s wedding song, a soldier’s ballad, a nightingale’s chirps, a song from Oliver Goldsmith’s The Vicar of Wakefield, and a mandolin tune, which has no words but is echoed in ‘a clatter and a chatter from within’.

Mr Eugenides, a Greek merchant from Smyrna in this section, is probably the one-eyed merchant of Madame Sosostris’s tarot pack. His pocket is full of currants, small, seedless and dried grapes that are the deadened version of fertile fruits and the product of The Waste Land, from the infertile land of the Fisher King. His pocket full of this product foreshadows a dark future.

In his notes, Eliot describes ‘The Waste Land’ as a commentary on ‘the present decay of Eastern Europe.’ It is an interesting remark, for one of the most terrifying symbols of that decay in 1922, as Eliot was finalising the text of ‘The Waste Land,’ was the burning of Smyrna.

The Turkish army captured Smyrna on 9 September 1922, promptly proclaimed a jihad and the atrocities against the Greek and Armenian communities began immediately. The Orthodox Metropolitan Chrysostomos was murdered and as many as 100,000 Armenian and Greek Christians were slaughtered throughout the city.

The fire that broke out in Smyrna on 13 September 1922, four days after the capture of the city, is one of the greatest disasters in Greek and Turkish history. The city became the scene of the worst Turkish excesses against the Greek population of Anatolia, and most of the city was burned to the ground in a fire that raged for days.

As thousands of Christians were murdered, allied ships in the harbour stood idly by and for three days refused the pleas of a quarter of a million refugees huddled in terror on the quayside. In desperation, many jumped into the waters they escape their pursuers and drowned before the eyes of the very people who had the means to rescue them.

Raisins and currants were a major part of the trade of Greeks in Smyrna until then. Perhaps Eliot was conscious of the unsavoury and catastrophic consequences for Europe of the genocide of the Christians in Smyrna as he put the finishing touches to ‘The Waste Land,’ subconsciously giving this unsavoury character an identifiable Greek name, and indicating the death of the Christian way of life in major world event at that time.

The Agora in Smyrna … the genocide of Greeks and Armenians in Smyrna by fire and drowning took place weeks before the publication of ‘The Waste Land’ (Photograph: Patrick Comerford)

This section of the poem comes to an abrupt end with a few lines from Saint Augustine’s Confessions and a vague reference to the Buddha’s ‘Fire Sermon.’ Eliot claims to have deliberately conflated Augustine and the Buddha, as the representatives of Eastern and Western asceticism. Both seem, in the lines Eliot quotes, to be unable to transcend the world on their own: Augustine must call on God to ‘pluck [him] out,’ while Buddha can only repeat the word ‘burning,’ unable to break free of its monotonous fascination.

Augustine’s Confessions and Buddha’s ‘Fire Sermon’ offer a solution for the social and cultural problems that Eliot expresses in his poem. Eliot weaves together the Christian and Buddhist texts in short and seemingly disconnected phrases.

The last five lines of ‘The Fire Sermon’ read:

To Carthage then I came
Burning burning burning burning
O Lord Thou pluckest me out
O Lord Thou pluckest
Burning


The first, third, and fourth lines above are references to Saint Augustine’s Confessions, while the second and fifth lines refer to Buddha’s ‘Fire Sermon.’ Eliot presents Saint Augustine and Buddha as the exemplars of asceticism for their particular religious culture.

Eliot alludes to Buddha in order to point out that sensory experience without spiritual guidance is what ignites passions. The title, ‘The Fire Sermon,’ is a direct reference to a sermon in which Buddha, wandering with a congregation of priests, eventually turns to them and says: ‘All things, O priests, are on fire … And with what are these on fire? With the fire of passion, say I, with the fire of hatred, with the fire of infatuation; with birth, old age, death, sorrow, lamentation, misery, grief, and despair are they on fire.’

Eliot sees memory as a vital factor in spiritual salvation, and it is on this foundation that he introduces Saint Augustine’s Confessions as his solution to society’s moral problem.

‘To Carthage then I came’ is a reference to Book III of the Confessions, in which the young Augustine describes the first time he arrived in Carthage and saw how it was filled with worldly vices. The temptations Augustine sees in Carthage echo what Buddha is advising against in his sermon, and he makes use of the term ‘burning’ in the same way that Buddha used it in his Fire Sermon – as a negative way to describe the vices that pull on the soul and lead it to temptation and sin.

After the ‘burning burning burning burning’ cadence that follows the reference to Book III, Eliot draws on Book X in the Confessions:

O Lord Thou pluckest me out
O Lord Thou pluckest


In Book X, Saint Augustine moves from his autobiographical narrative to examine the implications of his spiritual journey. Once he has established the importance of Christianity for spiritual salvation, he elaborates in the rest of the books in his Confessions on how to achieve salvation. Book X discusses the importance and power of memory throughout several chapters.

Saint Augustine does not limit his memory to himself. His ability to analyse and learn from the includes drawing on the faith of others, which creates a collective memory that strengthen his own faith.

The last line in ‘The Fire Sermon’ is the single word ‘burning.’ Perhaps Eliot is signalling to his readers that an absolute rejection of our senses, as Buddha advocated, should not be the solution to our depravity. Instead, our senses should be aided by our memory and our innate disposition towards the divine, much like Augustine did in his search for God.

There are places in ‘The Fire Sermon’ that reveal a remedy, if not a hope, for an ailing society. By using Saint Augustine’s Confessions and Buddha’s ‘Fire Sermon’, Eliot is reminding us that the answers to our soul’s depravity are all around us, in our collective culture.

‘At the violet hour, when the eyes and back / Turn upwards from the desk …’ (TS Eliot, ‘The Waste Land’) … the clock at Saint Magnus Martyr Church once hung over the access to London Bridge (Photograph: Patrick Comerford, 2022)

Today’s Prayer (Wednesday 9 November 2022):

The Collect:

Almighty Father,
whose will is to restore all things
in your beloved Son, the King of all:
govern the hearts and minds of those in authority,
and bring the families of the nations,
divided and torn apart by the ravages of sin,
to be subject to his just and gentle rule;
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.

The Post Communion Prayer:

God of peace,
whose Son Jesus Christ proclaimed the kingdom
and restored the broken to wholeness of life:
look with compassion on the anguish of the world,
and by your healing power
make whole both people and nations;
through our Lord and Saviour Jesus Christ.

The theme in the USPG Prayer Diary this week is ‘A New Commandment.’ This theme was introduced on Sunday by Sue Claydon, chair of the Anglican Pacifist Fellowship.

The USPG Prayer Diary invites us to pray today in these words:

We pray for all those working for peace within families, communities and nations, give them courage and strength in often difficult situations.

Yesterday’s reflection

Continued tomorrow

Buddha depicted on a panel at the Japanese Peace Pagoda in Milton Keynes … ‘The Fire Sermon’ takes its title from a sermon by Buddha (Photograph: Patrick Comerford, 2022)

Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org

The statue of Oliver Goldsmith at Trinity College Dublin … Eliot quotes a song from Oliver Goldsmith’s ‘The Vicar of Wakefield’ in ‘The Waste Land’ (Photograph: Patrick Comerford, 2022)