The Old Harper

Adulterated Coin

When the minstrel grew older and feeble, through not earning (anything) he became indebted for a single loaf of bread.He said, “Thou hast given me long life and respite: O God, Thou hast bestowed (many) favours on a vile wretch.For seventy years I have been committing sin, (yet) not for one day hast Thou withheld Thy bounty from me.I (can) earn nothing: to-day I am Thy guest, I will play the harp for Thee, I am Thine.”He took up his harp and went in search of God to the graveyard of Medina, crying “Alas!”He said, “I crave of God the price of silk (for harpstrings), for He in His kindness accepts adulterated coin.”He played the harp a long while and (then), weeping, laid his head down: he made the harp his pillow and dropped on a tomb.Sleep overtook him: the bird, his soul, escaped from captivity, it let harp and harper go and darted away.It became freed from the body and the pain of this world in the simple (purely spiritual) world and the vast region of the soul.

Masnavi I.2082–2090 · tr. R. A. Nicholson, 1926

The harper's repentance is not the end. When he breaks his harp, ʿUmar answers: "This wailing of thine is also (one of) the marks of thy sobriety" and "thy repentance is worse than thy sin" (I.2199, I.2205), reaching back to the Masnavi's opening image: "Whilst the reed is knotted, it is not a sharer of secrets" (I.2203).

Nicholson 1926, Masnavi I.2199–2205, pp. 119–120, with the heading before I.2199


An old harper, his voice gone, plays for God alone in the graveyard of Medina and falls asleep on a tomb.

Masnavi I.1913–2222, set "in the time of ʿUmar". A minstrel at whose song "the dead would arise" (I.1915) grows old until his voice is "like the bray of an old donkey" (I.2077). Penniless, he takes his harp to the graveyard of Medina and plays for God, then sleeps on a tomb while his soul sings in a garden it would not leave. God tells the sleeping ʿUmar to carry seven hundred dinars from the public treasury to "Our servant"; ʿUmar searches the graveyard and finds only the old harper. Long digressions interrupt the tale, among them the moaning pillar (I.2113), before the gold is given, the harper breaks his harp, and ʿUmar tells him that his repentance too is a veil. The lines here, I.2082–2090, are the old man's offering. Whinfield abridges the tale as Story VIII of Book I.

Light

It honours the poorest offering: an old man with a ruined voice and nothing to sell gives the one thing he has, and the poem has God take it, "for He in His kindness accepts adulterated coin".

Shadow

The same tale ends by condemning the gift: the harper calls his harp "a curtain (debarring me) from God" and breaks it (I.2186–2187) — a hard close from a poet who, Whinfield records, "prescribed the use of music" in his dervishes' services.

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  • Derives fromReynold A. NicholsonAttested

    Every English line here is Nicholson's 1926 translation of Book I, checked against the page images of that printing.

  • Set againstThe Moaning PillarAttested

    The pillar's tale is told inside this one, at I.2113, to prove what ʿUmar's dream has just said: "(Even) wood and stone have understood that voice" (I.2109).

  • Part ofThe MasnaviAttested

    Book I, lines 1913–2222, the tale of the harper, ʿUmar and the graveyard of Medina.

  • Set againstThe Song of the ReedAttested

    ʿUmar answers the harper with the Masnavi's opening image, turned into a rebuke: "Whilst the reed is knotted, it is not a sharer of secrets" (I.2203).

  • Attributed toRūmīAttested

    Book I of the Masnavi, dictated by Rūmī, who breaks off the tale to speak in his own voice more than once.