Showing posts with label Rumi. Show all posts
Showing posts with label Rumi. Show all posts

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)

27 August 2021

‘Preparing for a pleasure
doubles the enjoyment’

Plaza de Juda Levi in Córdoba recalls the Spanish Jewish doctor, poet and philosopher, Judah Halevi (Photograph: Patrick Comerford)

Patrick Comerford

As I listen to the commentators, analysts and newly-proclaimed experts deliberate and pronounce on events in Kabul, I am amazed how many of them see Afghanistan as a ‘place out there,’ remote and distant, rather than a place that is within our cultural orbit – a place that was within the reach of Alexander the Great and his dynastic expansions, a place that was part of Persian classical civilisation, an important link on the Silk Road, and later the birthplace of Rumi, one of the great mystical poets in the Persian language.

The region is often unknown among western commentators.

To the north of Afghanistan, modern Kazakhstan, which has been independent since 1990, represents the Khazar territory that once extended as far as the borders of Afghanistan. In size, it is as large as Western Europe, and it is the world’s largest landlocked country.

At some time in the ninth century, the central Asian Khazar royalty and nobility converted collectively to Judaism, in part, it is argued, perhaps to deflect competing pressures from Arabs and Byzantines to accept either Islam or Christianity.

The extent of this Jewish kingdom is often debated, if not exaggerated. But an interesting work of mediaeval Jewish literature is Sefer HaKuzari, or The Book of the Khazars, written by the Spanish-born Jewish philosopher Judah HaLevi (1075-1141). This Sephardic writer practised in medicine and was well-versed in Arabic, Hebrew and philosophy.

In The Book of the Khazars, Judah HaLevi imagines a lengthy series of dialogues in which the king of the Khazars questions an Aristotelean philosopher and scholars of Christianity and Islam about their belief systems. After listening to the Christian and Muslim scholars deride Judaism despite acknowledging their faiths are its offspring, he decides to speak with a rabbi.

The bulk of the book consists of that dialogue, and for my reflections this Friday evening, I am thinking about some excerpts from The Book of the Khazars and the words attributed to that rabbi:

‘An individual who prays but for himself is like one who retires alone and into his house, refusing to assist his fellow citizens in the repair of their walls. His expenditure is as great as his risk. But he who joins the majority spends little, yet remains in safety, because one replaces the defects of the other. The city is in the best possible condition, all its inhabitants enjoying its prosperity with but little expenditure, which all share alike.’

‘The blessing of one prayer lasts until the time of the next, just as the strength derived from the morning meal lasts until supper.’

‘When we have nothing of our own, God blesses us for the sake of his love, for he is good.’

‘Preparing for a pleasure doubles the enjoyment. This advantage has he who recites a benediction with devotion.’

Shabbat Shalom

03 April 2020

Two Mevlevi dervishes
join an interfaith chorus
on a rectory bookshelf

Two Mevlevi dervishes have joined priests, bishops and rabbis in an interfaith chorus on a bookshelf in the Rectory in Askeaton (Photograph: Patrick Comerford, 2020)

Patrick Comerford

I am back in the Rectory in Askeaton, and two Mevlevi dervishes have arrived from Istanbul on a bookshelf in the Rectory in Askeaton.

These ‘whirling dervishes’ have joined an array of multifaith religious figures of varying sizes on the bookshelf that now include a Russian Orthodox bishop, two Greek Orthodox priests – one with a Bible, the other with an icon, a pious Jew from Kraków, a rabbi carrying Torah scrolls, and a mohel from Murano, whose scalpel, in some unseemly manner, slipped off while he was being brought back from Venice.

In among them too is a Golem figure from Prague, who has not yet managed to find his way up into the rectory attic.

An accompanying present from Istanbul is a cushion cover based on a painting by Osman Hamdi, The Turtle Trainer (Kaplumbağa Terbiyecisi), painted in 1906. There has a copy of this painting in the house in Knocklyon, Dublin, for many years.

This painting was originally called The tortoises and the man (‘Kaplumbağalar ve Adam’), but became known popularly as The Tortoise Trainer.

The painting recalls how, during the Tulip era in the 18th century, Ottoman gardens were lit at night with turtles carrying candles on their back. The tortoises were used like this less for illuminative and more for decorative purposes, but they were so fashionable that they were even counted in the payroll as palace-employees. The Turtle Trainer in the painting is an image of Osman Hamdi himself. He carries a reed flute, tongs hanging from his neck and a Dervish’s pot on his back, which is a symbol of impending death, which all Mevlevi dervishes were supposed to wait for in expectation.

The trainer is supervising three turtles eating leaves with their heads bowed, while two other turtles behind him are trying to approach to the leaves. This picture can be interpreted as a merciless, hopeless satire on his colleagues at work. The light coming from the only, low window, which is at floor level in the room, co-ordinates all the other elements in the picture, from which all unnecessary details have been eliminated.

Osman Hamdi’s original painting sold for $3.5 million in 2004. It was acquired by the Suna and İnan Kıraç Foundation and is on display at the Pera Museum in İstanbul.

A Mevlevi dervish on a cushion cover inspired by Osman Hamdi’s ‘The Turtle Trainer’ (Photograph: Patrick Comerford, 2020)

The two Mevlevi dervishes and the cushion cover were brought as presents from Istanbul in mid-March, and are reminders of earlier visits to Mevlevi tekkes in Konya in Turkey and Nicosia in Cyprus, and reminders too of an evening at a ‘Whirling Dervish’ performance in Uçhisar in Cappadocia five years ago and a similar performance during a working visit to Istanbul in 1992.

The Mevlevi Order or ‘Whirling Dervishes’ traces its origins to Jalāl ad-Dīn Muhammad Rūmī (1207-1273), also known as Mevlânâ, Mevlevî (‘my master’), and more popularly as Rūmī. He was a Persian poet, jurist, theologian and Sufi mystic.

Rumi’s influence transcends national, ethnic and even religious divisions. He wrote mainly in Persian, but also wrote verse in Greek, Arabic, and Turkish. His Mathnawī, written in Konya, is the greatest classical work of Persian literature.

His poetry has been translated into many languages and he is said to be the most popular, best-selling poet in the US. Dr Leonard Lewisohn, editor of the Cambridge-published journal, Mawlana Rumi Review, compares his place in Persian and Middle Eastern literature with Dante in Italian and Shakespeare and Milton in English.

Rumi wrote his best-known work, his Masnavi, in Konya, with the opening lines:

Listen to the reed and the tale it tells,
How it sings of separation …


Rumi spent the next 12 years dictating the six volumes of his masterpiece. By the end, he also wrote about belief in a ‘religion of love’ that crosses over traditional denominational boundaries. In the Masnavi, he wrote, ‘The religion of love is beyond all faiths, The only religion for lovers is God.’

When he died in Konya on 17 December 1273, he was buried beside his father. At his funeral, there were singers, musicians, dancers, Quran reciters, and imams. But there were also Jewish rabbis reciting psalms, and Christian priests reading from the Gospels at his funeral – which left some of his Muslim followers bewildered, but probably makes the ‘dervishes’ more at home with the other figures on the rectory bookshelf.

The Yeşil Türbe or ‘Green Tomb’ was erected over his grave. The mausoleum was designed by the architect Behrettin Tebrizli and was finished in 1274. Rumi’s epitaph reads: ‘When we are dead, seek not our tomb in the earth, but find it in the hearts of men.’

Following Rumi’s death, his son Sultan Walad and his followers founded the Mevlevi Order, also known as the Whirling Dervishes, famous for their Sufi dance known as the sema ceremony. The mausoleum of Rumi is now the Mevlâna Museum and is one of the great centres of pilgrimage in the Islamic world.

The tomb of Rumi is covered with brocade embroidered in gold with verses from the Quran (Photograph: Patrick Comerford)

In the Mevlevi ritual, the sema represents a mystical journey of spiritual ascent through mind and love to the Perfect One. In this journey, the seeker symbolically turns towards the truth, grows through love, abandons the ego, finds the truth and arrives at the Perfect. The seeker then returns from this spiritual journey, with greater maturity, to love and to be of service to the whole of creation without discrimination based on belief, ethnicity, class or and nationality.

Rumi’s teachings emphasise tolerance, positive reasoning, goodness, charity and awareness through love. He believed all religions are seeking truth. His essential teaching focusses on the reunion of the soul with the Beloved or the Creator, from whom the soul has been cut off. It is said the sound of the reed and the ney represent the plaintive longing of the soul for reunion with the Friend, the Creator.

Some sayings of Rumi include:

In generosity and helping others, be like a river.
In compassion and grace, be like the sun.
In concealing others’ faults, be like the night.
In anger and fury, be like the dead.
In modesty and humility, be like the earth.
In tolerance, be like the sea.
In generosity and helping others, be like a river.


One of his poems that I love best is ‘The Mouse and the Frog’:

A mouse and a frog met every morning
on the riverbank.
They sit in a nook of the ground and talk.
Each morning, the second they see each other,
they open easily, telling stories and dreams and secrets,
empty of any fear or suspicious holding-back.
To watch and listen to those two
is to understand how, as it’s written,
sometimes when two beings come together,
Christ becomes visible.


In another poem, he writes:

A soul not clothed with Love
brings shame on its existence.
Be drunk on Love,
for Love is all that exists.
They ask, ‘What is Love?’
Say, ‘Renouncing your will.’
He who has not renounced will
has no will at all.
The lover is a mighty king,
standing above the two worlds.
A king does not look
at what is beneath him.
Only Love and lovers
have eternal life.
Set your hearts on this alone;
the rest is merely borrowed.


A ‘Whirling Dervish’ performance in Uçhisar (Photograph: Patrick Comerford)

06 September 2015

Konya’s dervishes
and pilgrims challenge
stereotypes of Islam

A “Whirling Dervish” performance in Uçhisar (Photograph: Patrick Comerford, 2015)

Patrick Comerford

My visit to Cappadocia earlier this year was motivated mainly by a desire to see sites associated with the Cappadocian Fathers as well as the underground cities, and the rock-hewn monasteries and Byzantine churches.

But there was an unexpected opportunity too to visit Konya, the city at the heart of the Turkish Sufi mystical practices, once the principal centre of the Mevleni school of “Whirling Dervishes” and the burial place of its founder, Rumi.

A “Whirling Dervish” performance had been part of a floor show at dinner in Uçhisar earlier in the week, and I had seen a similar performance in Istanbul in 1992. But this day-trip to Konya was a first-hand opportunity to visit the heart of Mevleni Sufism.

The Mevlâna Museum, tekke and surrounding buildings are the heart of Konya (Photograph: Patrick Comerford, 2015)

Konya is a religiously conservative city, once known as the “citadel of Islam.” It is a large, industrialised city in Central Turkey, with a population of over 1.2 million. It is Turkey’s seventh largest city, with its own airport and a light-rail system, but is such a sprawling city that the main bus station is 15 km from the centre.

Classical and Byzantine foundations

The Alâeddin Mosque on the citadel of Konya stands on the site of an early Christian basilica (Photograph: Patrick Comerford, 2015)

Konya was known to the Greeks as Ἰκόνιον (Ikónion) and to the Romans as Iconium. Greek legend says its name is derived from the word εἰκών (eikon, icon), or the image of the head of Medusa used by Perseus to defeat the local population before founding the city. Xenophon says it was the last city of Phrygia; later it was part of the Persian Empire until Darius III was defeated by Alexander the Great in 333 BC. When Attalus III, the last king of Pergamon, died without an heir in 133 BC, he bequeathed his kingdom, including Ikónion, to the Roman Republic.

The Apostle Paul and Saint Barnabas preached in Iconium ca 47-48 AD (see Acts 14: 1–5 and Acts 14: 21), and Saint Paul and Saint Silas probably visited it again ca 50 (see Acts 16: 2).

During the Byzantine Empire, the town was destroyed several times by Arab invaders in the 7th to 9th centuries, and it was captured by the Seljuk Turks in 1084. Although it was briefly occupied by Crusaders under Godfrey of Bouillon and Frederick Barbarossa, the area was retaken by the Turks, who made Konya the capital of the Seljuk Sultanate of Rum from 1097 to 1243.

The Seljuks changed the name of Iconium to Konya in 1134, and the city enjoyed a golden age that lasted into the 13th century.

The Mevlâna Museum and complex is one of the most sacred pilgrim sites for Muslims, after Mecca, Medina and Jerusalem (Photograph: Patrick Comerford, 2015)

I started my visit at the Alâeddin Mosque on the citadel of Konya. A Christian basilica once stood on the site but was converted into a mosque by the Seljuks. The Alâeddin Mosque, built in the mid-12th and mid-13th centuries, incorporates architectural features, including columns and capitals, from this basilica and other nearby Byzantine buildings. It served as the “Mosque of the Throne” for the Seljuk sultans and houses their mausoleum.

From there, I went on to the Mevlâna Museum, historically the centre of the Mevlevi Order or “Whirling Dervishes” and the burial place of Rumi. In 1228, the Seljuk Sultan Kayqubad I, who invited Bahā ud-Dīn Walad and his son Rumi, the founder of the Mevlevi order, to settle in Konya.

Persian poet and mystic

The tomb of Rumi is covered with brocade embroidered in gold with verses from the Koran (Photograph: Patrick Comerford, 2015)

Jalāl ad-Dīn Muhammad Rūmī (1207-1273) is also known as Mevlânâ, Mevlevî (“my master”), and more popularly as Rūmī. He was a Persian poet, jurist, theologian and Sufi mystic. His influence transcends national, ethnic and even religious divisions. He wrote mainly in Persian, but also wrote verse in Greek, Arabic, and Turkish. His Mathnawī, written in Konya, is the greatest classical work of Persian literature.

His poetry has been translated into many languages and he is said to be the most popular, best-selling poet in the US. Dr Leonard Lewisohn, editor of the Cambridge-published journal, Mawlana Rumi Review, compares his place in Persian and Middle Eastern literature with Dante in Italian and Shakespeare and Milton in English.

The distinctive conical dome over Rumi’s tomb is covered with turquoise faience (Photograph: Patrick Comerford, 2015)

Rumi was born to Persian-speaking parents in the Balkh city of Khorasan, in present-day Afghanistan. Balkh was then a major centre of Persian culture where Sufism had evolved over several centuries. His father, Bahā ud-Dīn Walad, a theologian and mystic, is known to Rumi’s followers as Sultan al-Ulama or “Sultan of the Scholars.”

When the Mongols invaded Central Asia ca 1215-1220, Baha ud-Din Walad, his family and his disciples migrated west through Persia to Baghdad, and then to Mecca. From there, they travelled on to Damascus and then Cappadocia. They finally settled in Konya in 1228.

When Bahā ud-Dīn Walad died in 1231, the sultan offered his rose garden for his burial. His 25-year-old son Rumi succeeded him as molvi or head of his madrassa or religious school in Konya. Rumi travelled to Damascus, where he met the Dervish Shams-i-Tabrizi in 1244 in a meeting that changed Rumi’s life.

The richly decorated interior of a dome in the Mevlâna complex (Photograph: Patrick Comerford, 2015)

Back in Konya, Rumi began writing his best-known work, his Masnavi, with the opening lines:

Listen to the reed and the tale it tells,
How it sings of separation...


An early version of the Mathnawī, Mevlâna’s book of poetry, on display in the Mevlâna Museum (Photograph: Patrick Comerford, 2015)

Rumi spent the next 12 years dictating the six volumes of his masterpiece. When he died in Konya on 17 December 1273, he was buried beside his father. The Yeşil Türbe or “Green Tomb” was erected over his grave. The mausoleum was designed by the architect Behrettin Tebrizli and was finished in 1274. Rumi’s epitaph reads: “When we are dead, seek not our tomb in the earth, but find it in the hearts of men.”

Centre of pilgrimage

The decorated box said to contain the beard of the Muslim prophet Muhammad (Photograph: Patrick Comerford, 2015)

Following Rumi’s death, his son Sultan Walad and his followers founded the Mevlevi Order, also known as the Whirling Dervishes, famous for their Sufi dance known as the sema ceremony. The mausoleum of Rumi is now the Mevlâna Museum and is one of the great centres of pilgrimage in the Islamic world.

I entered the mausoleum from the Tilavet Room through a silver door made in 1599. To my left, stood six coffins in rows of dervishes who accompanied Rumi and his family from Belkh. Opposite, on a raised platform and covered by two domes, stand the cenotaphs of the descendants of the Mevlâna family and high-ranking members of the Mevlevi order.

The tomb of Rumi is covered with green brocade, embroidered in gold with verses from the Koran. Next to Rumi’s tomb, several other tombs include those of his father and his son. The cylindrical drum of the dome over Rumi’s tomb originally rested on four pillars. The conical dome is covered with turquoise faience, and several sections were added until 1854.

An old, richly decorated copy of the Koran on display in the museum (Photograph: Patrick Comerford, 2015)

The Ritual Hall (semahane) was built during the reign of Süleyman the Magnificent. Here the dervishes performed their circular ritual dance to the music of violins, cymbals, tambourines, drums and the flute or ney once played by Rumi himself. He saw music, poetry and dance as a path to this union with God, helping the believer to focus on the divine. From these ideas, the practices of the Whirling Dervishes developed into their ritual form.

Journey towards truth

Richly decorated and illustrated manuscripts and books are included in the museum displays (Photograph: Patrick Comerford, 2015)

In the Mevlevi ritual, the sema represents a mystical journey of spiritual ascent through mind and love to the Perfect One. In this journey, the seeker symbolically turns towards the truth, grows through love, abandons the ego, finds the truth and arrives at the Perfect. The seeker then returns from this spiritual journey, with greater maturity, to love and to be of service to the whole of creation without discrimination based on belief, ethnicity, class or and nationality.

An exhibition of dervishes being taught the Mevlevi ritual, the sema (Photograph: Patrick Comerford, 2015)

The Mevlevi order includes people of all backgrounds in its invitation:

Come, come, whoever you are,
whether you be fire-worshippers, idolaters, or pagans,
Come even though you have broken your vows a thousand times,
Come, and come yet again.
Ours is not a dwelling place of despair.
All who enter will receive a welcome here.


The musical instruments are on display, along with dervish clothes, Mevlâna’s books of poetry, illustrated Korans, rare prayer rugs, and a decorated box (Sakal-i Ṣerif) said to contain the beard of the Muslim prophet Muhammad.

In the middle of the courtyard stands the ṣadirvan (ritual fountain), with the dervish cells on the south and east sides of the courtyard, each cell covered with a small dome and housing mini-exhibitions. Close to the mausoleum are the kitchen of the dervishes (Matba), also used for educating novices, and the mausoleum of Hurrem Pasha.

A museum display of two dervishes in conversation (Photograph: Patrick Comerford, 2015)

In a secularist drive under Ataturk, the mausoleum and the dervish lodge were turned into a museum in 1926. But the Mevlâna Mausoleum, with its mosque, dance hall, dervish living quarters, school and tombs, continues to draw pilgrims from throughout the Muslim and non-Muslim world.

Rumi’s teachings emphasise tolerance, positive reasoning, goodness, charity and awareness through love. He believed all religions are seeking truth. His essential teaching focusses on the reunion of the soul with the Beloved or the Creator, from whom the soul has been cut off. It is said the sound of the reed and the ney represent the plaintive longing of the soul for reunion with the Friend, the Creator.

A recording of dervish music and singing, with the plaintive sound of the ney, played throughout our visit. We were, perhaps, the only non-Muslims there that afternoon. It was humbling to watch people in their unguarded piety as they prayed in silence, reverently and in tears before the tomb of Rumi.

‘Be drunk on love’

The ritual fountain in the courtyard seen from a former cell of a dervish (Photograph: Patrick Comerford, 2015)

Some of the sayings of Rumi include:

In generosity and helping others, be like a river.
In compassion and grace, be like the sun.
In concealing others’ faults, be like the night.
In anger and fury, be like the dead.
In modesty and humility, be like the earth.
In tolerance, be like the sea.
In generosity and helping others, be like a river.


15, For Rumi, the ney represents the plaintive longing of the soul for reunion with the Friend, the Creator (Photograph: Patrick Comerford, 2015)

One of his poems that I love best is “The Mouse and the Frog”:

A mouse and a frog met every morning
on the riverbank.
They sit in a nook of the ground and talk.
Each morning, the second they see each other,
they open easily, telling stories and dreams and secrets,
empty of any fear or suspicious holding-back.
To watch and listen to those two
is to understand how, as it’s written,
sometimes when two beings come together,
Christ becomes visible.


In another poem, Rumi writes:

A soul not clothed with Love
brings shame on its existence.
Be drunk on Love,
for Love is all that exists.
They ask, ‘What is Love?’
Say, ‘Renouncing your will.’
He who has not renounced will
has no will at all.
The lover is a mighty king,
standing above the two worlds.
A king does not look
at what is beneath him.
Only Love and lovers
have eternal life.
Set your hearts on this alone;
the rest is merely borrowed.


Two Turkish coffees at the end of the day in Konya (Photograph: Patrick Comerford, 2015)

Canon Patrick Comerford lectures in the Church of Ireland Theological Institute. This feature was first published in September 2015 in the ‘Church Review’ (Dublin and Glendalough) and the ‘Diocesan Magazine’ (Cashel, Ferns and Ossory).