Book Extract: What is Sufism? Martin Lings

Author: Martin Lings
First published in 1975 133 pp. 195x130

The great Andalusian Sufi, Muhyi’d-Din Ibn Arabi, used to pray a prayer which begins: ‘Enter me, O Lord, into the deep of the Ocean of Thine Infinite Oneness’, and in the treatises of the Sufis this ‘Ocean’ is mentioned again and again, likewise by way of symbolic reference to the End towards which their path is directed. Let us therefore begin by saying, on the basis of this symbol, in answer to the question ‘What is Sufism?’: From time to time a Revelation ‘flows’ like a great tidal wave from the Ocean of Infinitude to the shores of our finite world; and Sufism is the vocation and the discipline and the science of plunging into the ebb of one of these waves and being drawn back with it to its Eternal and Infinite Source.

‘From time to time’: this is a simplification which calls for a commentary; for since there is no common measure between the origin of such a wave and its destination, its temporality is bound to partake, mysteriously, of the Eternal, just as its finiteness is bound to partake of the Infinite. Being temporal, it must first reach this world at a certain moment in history; but that moment will in a sense escape from time. Better than a thousand months is how the Islamic Revelation describes the night of its own advent. There must also he an end which corresponds to the beginning; but that end will be too remote to be humanly foreseeable. Divine institutions are made for ever. Another imprint of the Eternal Present upon it will be that it is always flowing and always ebbing in the sense that it has, virtually, both a flow and an ebb for every individual that comes within its scope.

There is only one water, but no two Revelations are outwardly the same. Each wave has its own characteristics according to its destination, that is, the particular needs of time and place towards which and in response to which it has providentially been made to flow. These needs, which include all kinds of ethnic receptivities and aptitudes such as vary from people to people, may be likened to the cavities and hollows which lie in the path of the wave. The vast majority of believers are exclusively concerned with the water which the wave deposits in these receptacles and which constitutes the formal aspect of the religion.

Mystics on the other hand—and Sufism is a kind of mysticism—are by definition concerned above all with ‘the mysteries of the Kingdom of Heaven’; and it would therefore be true to say, in pursuance of our image, that the mystic is one who is incomparably more preoccupied by the ebbing wave than by the water which it has left behind. He has none the less need of this residue like the rest of his community—need, that is, of the outward forms of his religion which concern the human individual as such. For if it be asked what is it in the mystic that can ebb with the ebbing wave, part of the answer will be: not his body and not his soul. The body cannot ebb until the Resurrection, which is the first stage of the reabsorption of the body—and with it the whole material state—into the higher states of being. As to the soul, it has to wait until the death of the body. Until then, though immortal, it is imprisoned in the world of mortality. At the death of Ghazali, the great eleventh-century Sufi, a poem which he had written in his last illness was found beneath his head. In it are the lines:

A bird I am: this body was my cage
But I have flown leaving it as a token.

Other great Sufis also have said what amounts to the same: but they have also made it clear in their writing or speaking or living-and this is, for us, the measure of their greatness that something in them had already ebbed before death despite the ‘cage’, something incomparably more important than anything that has to wait for death to set it free.

What is drawn back by spiritual realisation towards the Source might be called the centre of consciousness. The Ocean is within as well as without; and the path of the mystics is a gradual awakening as it were ‘backwards’ in the direction of the root of one’s being, a remembrance of the Supreme Self which infinitely transcends the human ego and which is none other than the Deep towards which the wave ebbs.

To use a very different image which will help to complete the first, let us liken this world to a garden—or more precisely, to a nursery garden, for there is nothing in it that has not been planted there with a view to its being eventually transplanted elsewhere. The central part of the garden is allotted to trees of a particularly noble kind, though relatively small and growing in earthenware pots; but as we look at them, all our attention is caught by one that is incomparably finer than any of the others, which it far excels in luxuriance and vigour of growth. The cause is not naked to the eye, but we know at once what has happened, without the need for any investigation: the tree has somehow been able to strike root deep into the earth through the base of its receptacle.

The trees are souls, and that tree of trees is one who, as the Hindus say, has been ‘liberated in life’, one who has realised what the Sufis term ‘the Supreme Station;’ and Sufism is a way and a means of striking a root through the ‘narrow gate’ in the depth of the soul out into the domain of the pure and unimprisonable Spirit which itself opens out on to the Divinity. The full-grown Sufi is thus conscious of being, like other men, a prisoner in the world of forms, but unlike them he is also conscious of being free, with a freedom which incomparably outweighs his imprisonment. He may therefore be said to have two centres of consciousness, one human and one Divine, and he may speak now from one and now from the other, which accounts for certain apparent contradictions.

To follow the path of the mystics is to acquire as it were an extra dimension, for this path is nothing other than the dimension of depth. Consequently, as will be seen in more detail later, even those rites which the mystic shares with the rest of his community, and which he too needs for the balance of his soul, are not performed by him exoterically as others perform them, but from the same profound esoteric point of view which characterises all his rites and which he is methodically forbidden to forsake. In other words he must not lose sight of the truth that the water which is left behind by the wave is the same water as that which ebbs. Analogously, he must not forget that his soul, like the water that is ‘imprisoned’ in forms, is not essentially different from the transcendent Spirit, of which it is a prolongation, like a hand that is held out and inserted into a receptacle and then, eventually, withdrawn.

If the reason for the title of this chapter is not yet apparent, this is partly because the word ‘original’ has become encrusted with meanings which do not touch the essence of originality but which are limited to one of its consequences, namely difference, the quality of being unusual or extraordinary. ‘Original’ is even used as a synonym of ‘abnormal’ which is a monstrous perversion, since true originality is always a norm. Nor can it be achieved by the will of man, whereas the grotesque is doubly easy to achieve, precisely because it is no more than a chaos of borrowings.

The original is that which springs directly from the origin or source, like pure uncontaminated water which has not undergone any ‘side’ influences. Originality is thus related to inspiration, and above all to revelation, for the origins are transcendent, being beyond this world, in the domain of the Spirit. Ultimately the origin is no less than the Absolute, the Infinite and the Eternal-whence the Divine Name ‘The Originator’, in Arabic al-Badi’, which can also be translated ‘the Marvellous’. It is from this Ocean of Infinite Possibility that the great tidal waves of Revelation flow, each ‘marvellously’ different from the others because each bears the imprint of the One-and-Only from which it springs, this imprint being the quality of uniqueness, and each profoundly the same because the essential content of its message is the One-and-Only Truth.

In the light of the image of the wave we see that originality is a guarantee of both authenticity and effectuality. Authenticity, of which orthodoxy is as it were the earthly face, is constituted by the flow of the wave, that is, the direct provenance of the Revelation from its Divine Origin; and in every flow there is the promise of an ebb, wherein lies effectuality, the Grace of the Truth’s irresistible power of attraction. Sufism is nothing other than Islamic mysticism, which means that it is the central and most powerful current of that tidal wave which constitutes the Revelation of Islam; and it will be clear from what has just been said that to affirm this is in no sense a depreciation, as some appear to think. It is on the contrary an affirmation that Sufism is both authentic and effectual.

As to the thousands of men and women in the modem Western world who, while claiming to be ‘Sufis’, maintain that Sufism is independent of any particular religion and that it has always existed, they unwittingly reduce it—if we may use the same elemental image—to a network of artificial inland waterways. They fail to notice that by robbing it of its particularity and therefore of its originality, they also deprive it of all impetus. Needless to say, the waterways exist. For example, ever since Islam established itself in the subcontinent of India, there have been intellectual exchanges between Sufis and Brahmins; and Sufism eventually came to adopt certain terms and notions from Neoplatonism. But the foundations of Sufism were laid and its subsequent course irrevocably fixed long before it would have been possible for extraneous and parallel mystical influences to have introduced non-Islamic elements, and when such influences were finally felt, they touched only the surface.

In other words, by being totally dependent upon one particular Revelation, Sufism is totally independent of everything else. But while being self-sufficient it can, if time and place concur, pluck flowers from gardens other than its own. The Prophet of Islam said: ‘Seek knowledge even if it be in China’.

read more this book at http://www.fonsvitae.com/whatsufism.html

Read More......

Reading of Martin Lings' Poems from British Poetry in East Sufism

Pembacaan Puisi Martin Lings
Menyimak Penyair Inggris dalam Semesta Sufisme Timur

by Sihar Ramses Simatupang


”Nasib manusia adalah ruang dan waktu,/ bergerak dan diam/ Langit dan bumi,/ dengan Ruh bersayap dan tak bersayap/ Nafas kehidupan diembuskan ke dalam tubuh kita.” Syair di atas memiliki napas ketimuran yang sangat kental. Orang awam tak akan menyangka jika sajak ini dihasilkan seorang penyair asal Inggris bernama Martin Lings. ”Orang akan terkesan pada sajaknya yang bernada ketimuran,” kata Abdul Hadi WM, seorang penyair Indonesia.

Puisi-puisi religius karya seorang sufi sekaligus penyair Martin Lings dibacakan beberapa seniman di British Council Jl. Jend. Sudirman No. 71 Jakarta Selatan (22/11) itu, dibacakan oleh beberapa tokoh seniman Indonesia. Mereka adalah Hamid Jabbar, Rieke Dyah Pitaloka, Baby Jim Aditya dan Direktur British Council Richard Gozney.

Dengan bahasa yang indah, Lings mempertautkan metafora dengan konsep pemujaan pada ke-Tuhanan adalah ciri khas karya-karyanya. Salah satu karyanya berjudul Penari memperlihatkan bagaimana Lings berbicara tentang cinta pada Tuhan melalui simbol gerak berupa tari: ”Tari dan tidur, keduanya kepadamu dipersembahkan, wahai Ruh..” Sajaknya kerap berdialog kepada Sang Pencipta dengan teramat dekat seakan sebuah dialog yang tak mengenal batas. ”Jadilah Kau penari! Aku pun ikut menari. Kerajaan waktu dan ruang-Mu diperuntukkan padaku. Dan seperti bayangan burung layang-layang yang tak pernah salah. Pun aku, dengan menari aku akan bergantung pada-Mu.”

Sajak Penari itu dibacakan Hamid Jabbar diiringi grup musik Zapin oleh Sanggar Hajir Marawis Al-Ma'sumiyah Pimpinan H. Asmari HE. Jabbar melantunkannya dalam bentuk musikalisasi puisi dengan warna lagu Melayu sehingga pembacaan karya Lings itu mendatangkan aura tersendiri. Karya penyair Eropa itu kini sungguh menjadi ”sajak timur” dalam pembacaan seorang penyair dari Minang itu.

Pembacaan oleh Hamid Jabbar sendiri, di dalam undangan sebenarnya dijadwalkan dibaca oleh dua penyair ”kawakan” lagi pada momen itu, Sutardji Calzoum Bachri dan Taufiq Ismail. Bang Tardji (sapaan akrab penyair berkredo ”mantera” di masa lalunya itu) tidak hadir pada momen itu sedangkan Pak Taufiq dikabarkan sakit hingga saat ini.
Setelah lantunan nada Melayu pada sajak Lings, ganti Richard Gozney, mengembalikan sajak-sajak tersebut dalam bahasa aslinya, Inggris. Yang dibacakannya berjudul Birds (yang kemudian diterjemahkan oleh Abdul Hadi W.M. menjadi ”Burung-burung”). Setelah itu, Rieke Dyah Pitaloka, membacakan puisi Taman dengan ekspresif dan lantang. Baby Jim Aditya, tampil dan membacakan sajak yang berjudul Question.

Spiritual Islam
Abdul Hadi W.M mengaku telah membaca karya Martin Lings sejak 1977, lewat pemberian dua buku karya Lings dari seorang teman, antara lain buku What is Sufism dan The Element and Other Poems, dari esei sastranya hingga kaitan seni dan spiritualitas dalam Islam.

”Saya terkesan setelah berkali-kali membaca sajaknya. Mungkin ia tidak sebesar W.B. Yeats, John Keats, T.S. Eliot, T.S. Hulme, Stephen Spender atau penyair Inggris modern lainnya, tapi sajaknya mengesankan, karena ketulusan dan keotentikan pengalamannya,” ujar Abdul Hadi.

Penyair tersebut melukiskan betapa kehidupan modern begitu gersang dari sentuhan spiritualitas. Sebagai anak manusia yang dibesarkan di jantung peradaban modern Inggris juga bertahun-tahun di Mesir, dia sadar kalau dia berada dalam ketegangan corak peradaban yang berbeda. Bisa jadi, ungkapan sajak Martub tentang kerinduan kepada Tuhan, dilihat sebagai sesuatu yang ketinggalan zaman. ”Jika Tuhan muncul dalam sajak mutakhir, Ia adalah Tuhan yang diragukan keberadaanya dan absurd,” ujar Abdul Hadi.

Sajak karya Lings berjudul Taman--ditulis saat kembali ke Inggris tahun 1952 -- dalam catatannya dikatakan bahwa barisnya diilhami oleh doa-doa orang Islam. Lings tak menyembunyikan perasaannya, betapa spiritualitas dan budaya Timur telah memberi makna yang besar bagi hidupnya.

Pada momen tersebut, Abdul Hadi, kemudian membedah beberapa karya-karya Lings terutama pada sisi baik dari tema, citraan, simbol maupun religiositasnya. Teknik persajakan Lings, dipandang Abdul Hadi, juga tak lepas dari tradisi Islam termasuk saat mengangkat keindahan tersembunyi dari Yang Gaib. Pada sajak Taman terlihat karyanya seperti sajak atau prosa yang lazim kita jumpai pada sajak dan prosa berirama karangan penulis Muslim baik dalam sastra Arab, Persia, Urdu maupun Melayu.

Tasawuf Lings, juga dikenal sebagai pelopor pendekatan filsafat perenial (tasawuf) dalam bidang studi agama. Lings, belajar sastra Arab dan Inggris di Oxford University dan London University. Selama 12 tahun mengajar di Cairo University terutama dalam kajian Shakespeare. Ia juga pernah menjadi konsultan ”The World of Islam Festival Trust” dan menjadi anggota ”Art Council Committee” dalam pameran ”The Art of Islam”.

Wali Songo Eropa

Nurcholis Madjid menyebut beberapa nama tokoh yang dipandang sebagai ahli sufi berkebangsaan barat sebagai ”Wali Songo Eropa” masa kini.

”Dia ahli sangat konseptual dan ahli untuk mempertemukan agama-agama,” ujar Direktur Pusat Studi Islam Paramadina, Budi Munawar Rachman. Dengan tasawuf, Lings dapat mempertemukan kerohanian, semangat yang dapat membuat semua orang dari agama mana pun bertemu, karena sama-sama punya penghayatan ke-Tuhanan. Teologi (bukan agama, red) dianggap terlalu formal didalam melihat yang benar dan yang salah.

Martin Lings, selain seorang penyair yang menghasilkan karya berupa sajak sebagai bentuk seni dan estetika yang memancar dari sumber wahyu dan sejarah kreativitas Islam, adalah seorang sarjana Eropa yang sangat berjasa memperkenalkan khazanah kerohanian Islam.

Terhadap konflik yang kerap terjadi di lingkup nasional, menurut Budi, tentu saja secara tak langsung kegiatan ini punya hubungan ke arah sana. Bagaimanapun sikap Martin Lings dapat diambil masyarakat Indonesia dalam dialog antaragama di masyarakat Indonesia yang plural.

(Esai ini termuat di Harian Umum Sinar Harapan, media dimana penulis bekerja)

Read More......