In The Arena of Love Divine
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The one Rose is the real One- Kul Nesimi
Translation
The original rose is indeed the Rose.
The lineage of prophets is indeed the rose too.
When I entered the garden of the Shah, there was a collection of ashiks who were roses.
On the branches of the vines were roses.
In the hives, the honey was the rose.
On the trees were many forms of roses, on the plane tree as well as the cypress.
Oh my rose open, your blooms well, do not let your mad nightingale cry.
Poor heart, it is crying for the rose.
The market place is the rose.
Here the scales are roses where they sell and buy roses
Oh, Nesimi come, smile.
The roses appear again, in the season.
The wailing by the nightingale is the cry for the Rose.
Reflections
The poem, which takes off from the concept so well developed in Islamic literature, that of the rose, the single symbol of the Divine, is divided into three parts. The one line that connects all three is the recognition of the Divine in all things.
The first part that affirms a heritage that is divine, declares at the very outset, the ultimate Divine is the ROSE. Next the lineage of prophet, through whom revelations are accessed is the rose. The garden of the Divine Ruler which is a special garden, is full of the mystic lovers of the divine, who are all a collection of roses.
The second part indicates evidences of the divine as seen in nature. The vines possibly grapevines so common in the area, tender in nature is seen to bear no matter, what they really bear, are symbolically roses. The honey in the hive that is accumulated with so much effort by the bees, is again the divine rose.
The cypress tree seen generally near cemeteries symbolizing solemnity as it shades the tombs, is also the rose. The plane tree that is connected to the presence of water formations, known for its shade, longevity and autumnal colour is also the rose.
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The transition from nature to Nesimi’s own self is touching, as he openly begs the rose bud to bloom so that the nightingale mad for the divine does not need to cry. It is here one can recognize that the wretch he refers to is really himself!
The third part has to do clearly with the individual, the nightingale, representing the self itself, in its longing for the Rose, the Divine. The need to have much more than just mere glimpses of the divine is expressed here. Nesimi finds that he cannot escape the day to day life which is compared to a market place, where trading goes on. Even here the poet finds the hidden workings of the divine used, in what is weighed, as well as all that is sold and bought in life. In all transactions he sees the Rose.
The final reminder to himself is that Nesimi's own life with its ups and downs, of sorrows, joys and vacuities, is like the cycle of the seasons. Indeed, spring will return and the roses will bloom. Just like the cry of the nightingale, his cry that issues is only for the ROSE.
Gül olanın aslı güldür, peygamberin nesli güldür
Girdim ÅŸahın bahçesine, cümlesi aşık güldür gül
Asmasında gül dalları, kovanında gül balları
AÄŸcında gül halleri, selvi çınarı güldür gül
Açil gey ey gonca gülüm, aÄŸlatma ÅŸeyda bülbülün
Åžu inleyen garib dilin, ah u efgani güldür gül
Gülden terazı yaparlar, gül ile gülü tartarlar
Gül alırlar gül satarlar, çarşı pazarı güldür gül
Gel ha gel gül ey Nesimi, geldi yine gül mevsimi
Bu feryad bülbül sesimi, sesi feryadı güldür gül
(Nihavend Makam)
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