Rumi in America: 'Islamization' of Rumi's Poetry

It is well known that poetry is untranslatable. There are those who believe that translating poetry is impossible, and what is published as translations of poetry here and there is merely a shadow, distant or close, of the original poem in the source language. Now, with this assumption, imagine a translator undertaking the monumental task of translating the poems of Rumi, a person whose works are woven with Islam and the Quran, so much so that they cannot be separated. Let us not forget that Jalal al-Din Muhammad Balkhi, known as Rumi, was a mufti and an Islamic scholar before he became a mystic and fell in love with Shams Tabrizi according to legends. Some even believe that Rumi was likely a memorizer of the Quran; this is said based on the influence of the Quran and Hadith on his poetry. As noted in literary articles and research, Rumi's Masnavi references over 300 verses of the Quran and more than 700 Hadiths and narrations, both directly and indirectly. Now imagine that our translator does not know Persian, does not know much about Islam, and as he himself has admitted somewhere, 'reading the Quran is difficult.' This becomes a significant issue when you know that some researchers consider Rumi's Masnavi a 'Tafsir of the Quran' and others 'the Quran in Persian,' which necessitates the translator's familiarity with the Quran. Coleman Barks, a university professor, poet, and American translator, is known worldwide, especially in America and Iran, for translating Rumi's poetry. Above all, even his critics must tip their hats to him for introducing millions of people in America and indeed around the world to Rumi through the popularity of his translations, opening a new world to this famous Iranian poet. Following the publication of Coleman Barks' translations of Rumi's poetry, famous individuals such as Madonna, the American pop singer, became interested in these works, and their interest drew a vast number of people towards Rumi. In English, Barks' translations of Rumi are very fluent, melodious, and impactful, especially when you hear these translations read by Tilda Swinton, the famous British actress, with her beautiful and heartfelt recitation. The problem begins when you are already familiar with Rumi's poetry or compare Barks' translation with the original poems; then you will realize that what Coleman Barks has done is not a translation but a very free interpretation of these poems, attempting to adapt the poems to the style of American free verse and leaving himself open for any kind of alteration. Barks, who received an honorary doctorate from Tehran University a few years ago for his translations, has also been heavily criticized for his type of translation and has been the subject of several articles, theses, and dissertations in Iran. He admits in several places that his work is not translation but merely a rewriting of previous translations of Rumi's works into a more readable language. Nevertheless, his name is printed on the cover of all his books as a translator, and this is the only thing that catches the reader's eye when looking at the books. Another problem mentioned in an article in The New Yorker is that in the translations that have found so many readers in America and have arguably made Rumi the 'best-selling poet' in this country, 'there is little sign of Islam.' In America, few people recognize 'Rumi' as a Muslim. For reasons that likely remain clear only to him, Coleman Barks has removed any reference to Islamic concepts and principles, replacing them with Christian symbols or completely altering the text. Consider this couplet from Ghazal 1826 of the Divan-e Shams: 'Whoever asks you about the houris, show your face, for likewise... whoever speaks to you of the moon, come to the roof, for likewise.' In his translation of this ghazal titled 'Like This,' which is beautifully rendered in English, Barks has replaced the word 'houris,' which has religious meanings and implications, with a completely different sentence. Meanwhile, in another couplet from the same ghazal, he has preserved the reference to the Prophet Joseph and his father Jacob in the original form. It seems that the translator, due to unfamiliarity with Islam and its concepts and stories, has removed everything related to them. In this famous quatrain, which has been tattooed on Brad Pitt's arm, the words 'kufr' (disbelief) and 'Islam' have been omitted, and the words 'evil' and 'good' have been substituted: 'From disbelief and from Islam, there is a desert... We have a longing for that space in between.' The translator has vaguely responded to this criticism in an interview: 'Yes, fundamentalists or those who think this work has a specific reason criticize me for this.' That's it! In an interview with The New Yorker, he also says he does not remember whether there was a specific reason for omitting Islamic references or not! In an era when being a Muslim, especially in America, has a cost and causes stress and anxiety, perhaps it is better that this translator has left no trace of Islam in Rumi's poetry. Now it is up to Iranians who consider Rumi their own to decide which they prefer: for Americans to know 'Rumi,' albeit without his religious beliefs, or for Rumi's Islam to remain intact but confined within the borders of Iran, among the walls of universities.