Cosmic Navigation and Cosmic Pilots

As we embark on a new academic year with our Arabic reading group, we start more in earnest to tackle the pages of Sulayman al-Mahri’s Mir’at al-salak li-kurat al-aflak (Mirror of Travellers into the Heavenly Spheres), a primer of astronomy for the education of maritime pilots in the early 15th century. Not so much of a primer really, but more like an intermediate-level handbook of cosmography.

The first pages tell us about the order of the heavenly orbs, how the universe is conceived as… an onion (that’s my image, not al-Mahri’s!), or more elegantly, as a compound of concentric spheres, within each of which move the planets or other heavenly bodies. It all starts from the centre of the earth, with the description of the elemental spheres wrapped around it: water, air, fire. This cosmology is of course in all its basics an Aristotelian cosmology, found in numerous accounts over most of ancient and medieval Eurasia. Latin versions abound, including some beautifully illustrated.

Gautier de Metz, 13th century.

Approximately at the same time that al-Mahri was writing his works, Iberian nautical science was being revolutionised by the incorporation of astronomical precision techniques to the extensive tried and tested savoir-faire of the pilots. Long-distance oceanic navigation elicited, or rather forced, technoscientific developments which brought its practitioners to new levels of skill. And yet, East or West, either in Atlantic or Indian Ocean waters, there is the lingering question: Did they really need to know about the system of the cosmos in order to take a ship from A to B? And if they did not need to know those cosmic subtleties, why did they keep learning them? Why would such a practical pilot as al-Mahri, who wrote excruciatingly detailed route descriptions, care to elaborate so much on what was practically philosophical knowledge? Was it just didactic inertia, a superstitious repetition of old doctrines?

The answer is most likely “No, they did not need to know,” just as a mechanic fixing a carburetor does not need to know the laws of physics, or a butcher the details of embryology. A more interesting question may be asked, though, especially in our times, when all the cosmology and astronomy of the nautical sciences has been encapsulated in little devices which use satellite geo-positioning technology, like GPS. The question, and we are only left to ponder, is How did that knowledge impact their navigation? Did it have any practical influence, or was it just a matter of “depth”, of ”taste” (sapere, saber, dhawq) added to the mental framework of the pilots? Next time you meet a 15th-century pilot, we know what to ask him! [JA]

A Great Book Read in Good Company

After months of slow travel between the dangerous reefs and sand banks of the Red Sea coast, tacking northwards through narrow channels, sometimes against the current!, along rows of half-sunk islets and rocks, we have come to the end of chapter 12 of Ibn Majid’s Fawa’id, “On the Red Sea”. And so we come to the end of the book, closing a three-year long cycle (around one hundred meetings), tackling head-on every week the challenges posed by a very technical 500-year-old Arabic manuscript. It is worth pausing for a minute to reflect on the book as a whole, and also on the format of our group reading.

The lingering question, almost as an aftertaste, is still about the readership of the book. The Fawa’id is, explicitly, the work of the old age of a veteran sea captain, full of diversions as he brings up literary rarities in the middle of technical discussions, rambling and then coming back to his topic. It is in turn charming, bewildering, puzzling and annoying, but always informative. Now, who would read this among the pilots and the sea folk? One fascinating detail, partly as an answer, is that centuries later we find excerpts of the Fawa’id copied verbatim in very technical seafaring manuals called rahmanaj. These newer manuals are opening new vistas into the evolution and spread of Indian Ocean nautical literature, and we are already working on this “continuation” of the story.

Speaking of readership, isn’t it amazing that so long after its composition we have gathered every week for over three years to jointly decipher and comment every line? Some texts like the Fawa’id are called “classics”—understanding that the label can be applied more or less loosely, and that there are variations of quality among them. They elicit an interest century after century, and more specifically, it is as if they issue a permanent invitation for collegial engagement: “Hey, get some friends together to read me!”, or maybe, more solemnly: “Tolle, lege!”

This perennial convocation of the great books is at the unchanging basis of what was called in medieval Europe the communio or universitas magistrorum, the “society of masters”, those who had been prepared to read and understand the texts. The Latin version of our saying “three’s company,” is in fact tres faciunt collegium, which can be interpreted as “three make a college,” meaning that in the quest for knowledge, you cannot “go it alone”—non solus!.

Like all major institutions, universities undergo change: study methods evolve, governance errs and finance creeps in, and, in short, the flesh is weak. But if you go ahead and find yourself the closest group of at least three who are responding to the appeal of a great book, do know that there, sharing doubts and certainties, and exposing your ignorance and your knowledge around a central text, you will be back at the root, reviving and strengthening the essence of the university. [Juan Acevedo]

If You Are Patient…

Speaking of celestial rhumbs, Ibn Mājid is constantly going back to fine points of astronomical observations, how one star is “fettered” to another and how each one pertains to a rich interplay of positions. “Look at it when it is rising, then what is at the zenith and four fingers to the north at the same level. Then look at it when it is culminating, and check what is level with it and what is setting and rising at the same time…” and so on and so forth to a point of baffling complexity. It was the business of the pilots, who watched through the night and recognised the different configurations, as is encapsulated in the following advice:

If you persevere from its rising to its setting, from the beginning to the end of the night, you will see how all the configurations of its altitude measurements take shape through the sky.

Shapes seen in the sky by more than thirty different civilizations.
Design by Eleanor Lutz.

We had had occasion to comment on this “figurative” view of the stars, including its artisanal aspects and some of its more abstract associations. What is peculiar here is the emphasis on the prolonged observation to get “the full picture”, the direct relation between the tenacity of the practitioner and the access to the whole of the material, as it where.

In a few words we get a vivid and timeless picture of the Indian Ocean pilot’s discipline: watching through the night, patiently, registering the manyfold complexity that made wayfinding possible. I wonder to what extent this applies to the proficiency in other arts and techniques: the relentless attention, watching while everyone else sleeps, absorbing those guiding, principial forms—in the end, this is as good an image as it gets of what “in-formation“ used to mean; not just being exposed to data, but imbibing knowledge through the night with diligent eyes, to find a way. [JA]

Forms of Knowledge in the Heart

From our reading last week, this is how Ibn Mājid speaks of the purpose of his astronomical descriptions and teachings,

…for the discerning pilot to find his way through the expanse and the compact of the heavenly spheres… to advance to the ultimate degree and thus picture the sciences in his heart; and to comprehend the turning and dimensions of the spheres through the stars as they rise and set.

The original of this curious “picturing the sciences in the heart” is well worth a closer look. It may be said that the Arabic wording, yusawwiru al-‘ulūm fī qalbihi, is medieval epistemology in a nutshell, particularly in relation to technoscientific knowledge. In describing an accomplished pilot and the perfection of his art, this formula has three components: 1–an object, what is acquired or obtained, al-‘ulūm—plural of ‘ilm, knowledge, often translated as “sciences” or “techniques”; 2–a manner of acquisition, or a process, the verb yusawwiru—a root (s-w-r) we had found used for the “shapes” of constellations, and which has to do with forms, and in particular the Platonic ideas/forms/shapes (suwar aflatuniyyah); 3–a recipient or container for the knowledge acquired, qalb—the “heart” as a centre of consciousness sometimes distinct and sometimes overlapping with ‘aql, “intelect” or “mind”.

So, let’s for now leave aside the first component, and let’s unpack the formula by making explicit some of its implicit nuances. First, like those brilliant shapes in the night sky, the Platonic ideas, or objects of real knowledge, had acquired in Arabic a certain tridimensionality; the root s-w-r has to do with sculpture and pottery: the “ideas” were more like bodies of concrete knowledge. Second, their locus was not so much a breath-like, airy subtance like spiritus, ruh, anima, etc., or an abstract ethereal intellectus or mens, but the liquid/solid fixed centre of the body and the seat of vitality, the heart.

I think we might now rephrase and appropriately paraphrase Ibn Mājid’s formula: “the ultimate degree of your craft is when the knowledges acquired take shape like concrete constellations in the life-giving centre of your existence.” It may sound a bit grandiose, but it does express quite well something that takes place in the day-to-day practice of artisans everywhere: embodied knowledge is not just in the muscles and tendons that know the habitual movements, but also deep down in a central locus from where springs (like blood) the existential knowing joy of a work well made. [JA]

Masters of One Language

Speaking of poetry, Ibn Mājid regaled us last week with a demanding passage in verse, though certainly not technical this time. It was a poem introduced as a “a riddle” (lughz), and purportedly about how nobility is related to elevation—we are still on a mainly astronomical section of the book, you see. It had some of the signature boasting of the author: “My name is like the radiant sun to which you entrust the direction of your way,” and yet it also played on quite a different level.

At the end of the cryptic verses, Ibn Mājid gives a hint and also issues a stern caveat: “This riddle is about that name which can only be understood by him who reads it with morphological knowledge, for it contains a fine point of language on the name Ahmad.” The hint about this name is welcome, because it is certainly not apparent in the text! and it has a double meaning: Ahmad is Ibn Mājid’s first name, but it is also recognised immediately by Muslims as an inner name of the Prophet, based on the same three letters h-m-d, from which derives Muhammad.

Ottoman calligraphy: between the names of God and Muhammad, the name Ahmad takes shape.

The caveat given is precious: it points to the fundamental need for thorough training in one canonical language. A pilot and a sailor of the 15th century could boast of his grammatical subtlety because mastery of a classical language was a given in a normal education.

Perhaps in our days we have reached a nadir of linguistic proficiency in academia, when the question of the need to learn languages other than one’s own is even asked. At all times and everywhere (like still in most of the world today), the rule was to move at ease between languages, because the living contact with ancient sources guaranteed a direct and profound experience of “grammar.” Even today, unlettered peasants in India can recite Vedic verses in Sanskrit, like Arab nomads the Qur’an or any Chinese villager Confucius’ Analects—so the anomaly is ours, and the relevant questions are Eliot’s questions: “Where is the wisdom we have lost in knowledge? Where is the knowledge we have lost in information?” [JA]