Sheik Sadiq Muhammad ibn Umayl
(Senior Zadith ben Hamuel)
c. 950 CE
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NOTE |
Sheik Sadiq Muhammad ibn Umayl (c. 900 - c. 960 CE) entered Latin literature from a garbling of his titles, becoming Senior Zadith ben Hamuel, and his prose commentary al-Mā’ al-Waraqî wa'l-Arḍ an-Najmīya (The Silvery Water and the Starry Earth) became a cornerstone of Western alchemy in Latin translation. Ibn Umayl lived in Egypt and explored alchemy, likely at Akhmim. He was heavily influenced by Zosimus of Panoplis and he was a follower of the Hermetic philosophy. In the introduction to his Silvery Water, Ibn Umayl describes a journey into an Egyptian temple near Memphis, apparently of the god-hero Imhotep, whose statues medieval alchemists mistook for those of Hermes due to their characteristic posture of a man holding an open book of wisdom. My translation from the Latin translation of c. 1200 CE includes a few notes about its departure from the Arabic and is based on the critical edition of the Latin text published by M. Turāb 'Alī in the Memoirs of the Asiatic Society of Bengal 12, no. 1 (1933). Afterward, I offer the translation of H. E. Stapleton and M. Hidayat Husain from the same issue of the Arabic text. Note that the translators have mistakenly translated the word birba, which means temple, as pyramid, a common error. This translation appears to be in the public domain in the United States because it was published outside the United States, and a search of copyright registrations turned up neither a renewal nor an original registration as required by law at the time.
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Renaissance-era illustration of the statue seen by Ibn Umayl.
THE LATIN TEXT
translated by Jason Colavito (2018)
Senior Zadith, the son of Hamuel, said: Abū al-Qāsim and I entered a birba into a kind of subterranean house, and afterward al-Hasan and I saw all of the burned-out prisons of Joseph [sic for Arabic: “the prison of Joseph, known as Sidar Busir”]. I saw on the ceiling nine painted images of eagles, having their wings extended, as if they were flying, with their feet truly extended and open. In the feet of each eagle was a large bow, like those that archers are accustomed to carry. And on the walls of the house, to the right and the left as one enters, were images of standing men as perfect and beautiful as it is possible to be, dressed in clothes of different kinds and colors, having hands extended toward the interior of the innermost chamber, toward a certain statue seated in the house, on side of the door of the innermost chamber, to the left of the one who enters, facing him. It was seated on a chair similar to the chairs of the physicians, which could be separated from the statue. In its lap and held atop its forearms and its hands, which were extended over its lap, was a tablet of marble which could be separated from the statue. It had the length of one of the forearms [sic for Arabic “one cubit”] and the width of one of the palms [sic for Arabic “one span”], and the fingers of its hands were curled over the tablet from underneath, as if it were holding the tablet. And this tablet was like an open book to those entering, as though signaling the visitor to take a look at it. And in the part of the innermost chamber where it sat, there were infinite images of diverse things and letters in the barbarous tongue [Arabic: “in the letters of the birba,” i.e., hieroglyphics]. And the tablet which it had on its lap was divided in twain. There was a line which ran through the middle. On the lower part, tilted against the statue’s chest, there was the image of two birds, one having cut wings and the other two wings, and each having its tail in the beak of the other, as if the flying one wished to fly with the other, or the other wished to retain the flying one with him. These two birds, of the same type, were depicted together in a circle, as though to make the image of the Two-in-One, and next to the head of the flying bird of the two there was a circle. And above these two birds, near to the head of the tablet, nearest the fingers of the statue, there was the image of the crescent moon. And on the other part of the tablet there was another circle, looking at [sic for Arabic “similar to”] the birds below. There were always [sic for Arabic “in total”] five images, that is to say, the two birds and [the circle] below, and the moon and the other circle.
On the other half of the tablet, near the top part leaning against the fingers of the statue, there was an image of the sun emitting rays, making this image the “Two-in-One.” And in the other part there was another image of the sun, with only one ray descending. And this makes three, that is to say two lights, with two descending rays from one and one ray from the other, stretching to the bottom of the tablet, surrounded by a black circle divided in its circuit into two-thirds and one-third parts.
The third had the form of the crescent moon, and its interior parts were white without any blackness, and a black circle surrounded it and [apparent lacuna] a single sun, and its shape was as if the “Two-in-One.” And this is appearance of this half, which similarly had five images, and thus altogether there are ten, accordingly the number of those eagles and the black earth.
I have told you all of this and composed a poem about it, but we would not have any of it if not by the grace of God, whose name should be praised. So that you will understand it well and ponder it, in this poem I have depicted for you every image on this tablet, and the other images and figures which were in this place, and you will be able to weigh the significance of these figures in its chapters.
I have explicated and even explained these ten figures, and afterward I have demonstrated at the ends of my poem, which plainly was not able to be accomplished without poetry, and manifestly I have opened to you that which the wise man had hidden, the one who made the statue in this house, as if in his own image, in which he described the totality of his knowledge, and taught his wisdom through his stone and made it manifest to the perceptive.
I know that this statue is in the shape of the wise man, and that which is on the tablet which sits atop its forearms and knees on its lap is his hidden knowledge, which he described through the figures, that he might direct to them those who will have learned and understood nearer to what the wise man wanted to say through them. For by accurately and inwardly perceiving and recognizing the ends of wisdom, from discussions figurative and obscure, brought together with discussions of those images and figures, one can open the rest, nor will obscurity reign over the stone [sic for Arabic: “nor will it remain hidden from a possessor of wisdom.”].
On the other half of the tablet, near the top part leaning against the fingers of the statue, there was an image of the sun emitting rays, making this image the “Two-in-One.” And in the other part there was another image of the sun, with only one ray descending. And this makes three, that is to say two lights, with two descending rays from one and one ray from the other, stretching to the bottom of the tablet, surrounded by a black circle divided in its circuit into two-thirds and one-third parts.
The third had the form of the crescent moon, and its interior parts were white without any blackness, and a black circle surrounded it and [apparent lacuna] a single sun, and its shape was as if the “Two-in-One.” And this is appearance of this half, which similarly had five images, and thus altogether there are ten, accordingly the number of those eagles and the black earth.
I have told you all of this and composed a poem about it, but we would not have any of it if not by the grace of God, whose name should be praised. So that you will understand it well and ponder it, in this poem I have depicted for you every image on this tablet, and the other images and figures which were in this place, and you will be able to weigh the significance of these figures in its chapters.
I have explicated and even explained these ten figures, and afterward I have demonstrated at the ends of my poem, which plainly was not able to be accomplished without poetry, and manifestly I have opened to you that which the wise man had hidden, the one who made the statue in this house, as if in his own image, in which he described the totality of his knowledge, and taught his wisdom through his stone and made it manifest to the perceptive.
I know that this statue is in the shape of the wise man, and that which is on the tablet which sits atop its forearms and knees on its lap is his hidden knowledge, which he described through the figures, that he might direct to them those who will have learned and understood nearer to what the wise man wanted to say through them. For by accurately and inwardly perceiving and recognizing the ends of wisdom, from discussions figurative and obscure, brought together with discussions of those images and figures, one can open the rest, nor will obscurity reign over the stone [sic for Arabic: “nor will it remain hidden from a possessor of wisdom.”].
THE ARABIC TEXT
translated by H. E. Stapleton and M. Hidayat Husain (1933)
Bismillah.
“Praise be to Allah, the Lord of the Worlds, and Peace be on our Lord Muhammad, the best of the Prophets, and on all his descendants. Abū ‘Abdallāh Muḥammad bin Umail [bin ‘Abdallāh bin Umail] at-Tamīmī—May Allah be pleased with him!—said: ‘I and Abū’l Qāsim ‘Abd ar-Raḥmān—brother of Abū’l Faḍl Ja‘far an-Naḥwī—(once upon a time) entered: and, later, I and Abū’l Ḥusain ‘Alī bin Aḥmad bin ‘Umar—known as al-‘Adawī—a second time entered into Būṣīr, the prison of Yūsuf (Joseph), known as Sīdār Būṣīr. We went towards the Pyramid (Birbā’) which the keepers opened, and I saw on the roof of the galleries of the Pyramid a picture of Nine Eagles with out-spread wings, as if they were flying, and with outstretched and open claws. In the claw of each of the eagles was a thing like the fully-drawn bow which is used by soldiers (Jund: MSS. P. and L. Khayl: ‘cavalry’). On the wall of the gallery on the right side of any one entering the Pyramid, and on the left side, were pictures of people standing, most perfect in shape and beauty, wearing clothes of various colours and having their hands stretched out towards a figure seated inside the Pyramid, near the pillar of the gate of the Hall. The image was situated to the left hand of whoever desired to enter into the Hall, facing the person who entered from the gallery. The image was (seated) in a chair, like those used by physicians, the chair being separate from the figure. In its lap, resting on the arms—the two hands of the figure being stretched out on its knees—was a stone slab (balāṭah)—also separate—the length of which was about 1 cubit, and the breadth about 1 span. The fingers of both its hands were bent behind the slab, as if holding it. The slab was like an open book, exhibited to all who entered as if to suggest that they should look at it. On the side, viz., in the Hall (iwan) where the image was situated, were different pictures, and inscriptions in hieroglyphic (birbawi) writing. The tablet which was in the lap of the image was divided into two halves by a line down the middle; and on one half of it towards the bottom, was a picture of two birds having their breasts (contiguous) to one another. One of them had both wings cut off, and the other had both wings (intact). Each of them held fast the tail of the other by its beak as if the flying bird wished to fly with the mutilated bird, and the mutilated bird wished to keep the flying bird with itself. These two linked birds that were holding one another appeared like a circle, a symbol of ‘Two in One’. Above the head of the one that was flying was a circle and, above these two birds, at the top of the tablet close to the fingers of the image (sic!), was the representation of the crescent moon (hilāl). At the side of the Moon was a circle, similar to the circle near the two birds at the bottom. The total (of these symbols) is Five—3 at the bottom, viz., two birds and the circle: and, above, the figure of the Crescent Moon and another circle.
“On the other half of the stone tablet at its top, close to the fingers of the image (sic!), was a picture of a Sun with two rays, as if they were a symbol of ‘Two in One’ and next to them was another Sun with one descending ray. These are three things—I mean, three lights, viz., the rays of the ‘Two in One’, and the one descending ray extending to the lower part of the tablet. These rays enclose a black circle of which one-third is divided off. Thus it became one-third and two-thirds. One-third of it had the form of the Crescent Moon because the interior of it is white, free from blackness: and the black circle surrounds it because these figures are the representation of ‘Two in One’. That which is at the bottom is ‘One of Two’, and these are the Black Circle, and the Crescent Moon which is included in the circle. Two Suns are also at the top, I mean the figure of ‘Two in One’, and the single Sun, which is the figure of ‘One in One’. Consequently these also total Five [as in the other half of the tablet]; and the [grand] total is Ten, according to the number of those Eagles, and the Black Earth.
“He (the author) said: ‘I have expounded all these things to you—May Allah continue to preserve your honour!’—and I have explained them in the poem that follows: and this was through the grace of Allah towards me—May His name be sanctified!—so that you may know this and meditate on it. I have drawn a picture for you of that Tablet and of these Figures and Images that were on it, in its proper place in the aforesaid poem under the couplets that refer to these images. I have explained these Ten Images, and I have commented on them and described them after the end of this my poem, and after paraphrasing them in prose because such explanations are not possible in verse. Thus the secret of what the Philosopher has concealed will be manifest to you. This was he who made that image in his Pyramid in which he summed up all his knowledge by means of his own image and (taught) the knowledge of his wisdom which he wished to show to the world in stone. For I know that that image was a true representation of the Sage, and that those things which were on the tablet resting on his two arms and thighs in his lap were the hidden knowledge that he wished to expound [people so that those who understood might be guided to it and might understand what the Philosopher meant by it. Because this will be understood by the wise reader who understands the definitions of Philosophy from the hidden and mysterious sayings, when he will link up these with these Images and Figures. One will solve the other, and this will not remain hidden from a possessor of wisdom.”
“On the other half of the stone tablet at its top, close to the fingers of the image (sic!), was a picture of a Sun with two rays, as if they were a symbol of ‘Two in One’ and next to them was another Sun with one descending ray. These are three things—I mean, three lights, viz., the rays of the ‘Two in One’, and the one descending ray extending to the lower part of the tablet. These rays enclose a black circle of which one-third is divided off. Thus it became one-third and two-thirds. One-third of it had the form of the Crescent Moon because the interior of it is white, free from blackness: and the black circle surrounds it because these figures are the representation of ‘Two in One’. That which is at the bottom is ‘One of Two’, and these are the Black Circle, and the Crescent Moon which is included in the circle. Two Suns are also at the top, I mean the figure of ‘Two in One’, and the single Sun, which is the figure of ‘One in One’. Consequently these also total Five [as in the other half of the tablet]; and the [grand] total is Ten, according to the number of those Eagles, and the Black Earth.
“He (the author) said: ‘I have expounded all these things to you—May Allah continue to preserve your honour!’—and I have explained them in the poem that follows: and this was through the grace of Allah towards me—May His name be sanctified!—so that you may know this and meditate on it. I have drawn a picture for you of that Tablet and of these Figures and Images that were on it, in its proper place in the aforesaid poem under the couplets that refer to these images. I have explained these Ten Images, and I have commented on them and described them after the end of this my poem, and after paraphrasing them in prose because such explanations are not possible in verse. Thus the secret of what the Philosopher has concealed will be manifest to you. This was he who made that image in his Pyramid in which he summed up all his knowledge by means of his own image and (taught) the knowledge of his wisdom which he wished to show to the world in stone. For I know that that image was a true representation of the Sage, and that those things which were on the tablet resting on his two arms and thighs in his lap were the hidden knowledge that he wished to expound [people so that those who understood might be guided to it and might understand what the Philosopher meant by it. Because this will be understood by the wise reader who understands the definitions of Philosophy from the hidden and mysterious sayings, when he will link up these with these Images and Figures. One will solve the other, and this will not remain hidden from a possessor of wisdom.”
