Article
Culture
Freedom of Belief
5 min read

Translating heart-languages

For two Iranian women, home and danger are often synonymous. Belle Tindall shares why they translate a defiant message.
An illustration of a woman with dark long hair looking to the right.
'Miriam'
Open Doors.

This weekend (16th September) marked the first anniversary of the death of Mahsa Amini. Mahsa, also known as ‘Jina’, was a 22-year-old Iranian woman who was arrested by the Iranian ‘morality police’ and tragically died while being held in police custody. Her (alleged) crime was a violation of Iran’s strict dress code, as she was caught in the city of Tehran without her hair adequately covered.  

News of Mahsa’s unjust arrest and harrowing death quickly spread throughout the world, building a momentum of grief, shock, and defiance.  

Of course, we mourned the tragic loss of a precious life. A woman was lost; a daughter, a sister, a friend, a person. Mahsa’s life was taken away and we watched the world grieve as if she belonged to us all. Billions of hearts were breaking at the loss. However, accompanying such deep grief was a profound sense of rage. We were faced with the reality that women in Iran aren’t safe. On the contrary, they are in danger of arrest, violence and death – all at the hands of those who are supposed to protect, all under the guise of that which is meant to empower. In Iran, as in so many countries, a woman is simply a dangerous thing to be.  

Another people group who find themselves living in continual danger in Iran is its Christian population. In a population of 86 million, 1.2 million are believed to be Christians. With Christianity perceived as a threat to the State and an insult to Islam, Christians in Iran are often severely discriminated against. What’s more, the Human Rights charity, Open Doors, have observed that the tightening of the Penal Code in 2021, the force of which was keenly felt in the way in which protestors of Mahsa Amini’s death were so harshly dealt with, are making things increasingly difficult for Christians.  

So, to be an Iranian woman is hazardous. To be an Iranian Christin is hazardous. It therefore goes without saying that to be an Iranian woman who is also a Christian – well, such an identity comes with such difficulty, it can be hard to fathom. For such women, home and danger are often synonymous. Which is why the stories of Miriam and Stella, two Iranian women who are secretly translating the Bible into their own languages, is so astonishing.  

‘Miriam’  

Miriam is Iranian, but she also belongs to the fifty per-cent of the Iranian population who do not speak Farsi/Persian (the national language) as their first language. Azeri, Kurdish, Baluchi, Armenian Gilaki, Luri, and Arabic are all spoken throughout the country. Therefore, despite Farsi being the official language of Iran, almost half of the population aren’t fluent, while millions of Iranians are visually illiterate in the Farsi script. 

Miram, who despite it not being her first language, has learnt to speak and read Farsi to a high level, became a Christian through secretly watching online classes on Christianity. Being married into a strict Muslim family, Miriam kept her Christianity a secret from her husband. That was, until he walked in on her watching one of her classes. Despite the immense dangers she faces as a result of the minimal rights that a Christian woman holds in Iran, Miriam decided that she would be honest with her husband about her new-found Christian faith. Miriam still marvels at the unexpected response from her husband, who said,  

‘I know you are a serious-minded woman and if this is important to you, it’s OK.’ 

Out of curiosity, Miriam’s husband joined her in watching the online classes, until he too became a Christian.  

For the past three years Miriam has been secretly working on translating the Bible from Farsi into her ‘heart-language’ (for the sake of Miriam’s anonymity, she has kept her ‘heart-language’ confidential). She tells us that she is willing to take the profound risk of doing this work because, 

‘We are not allowed to study our heart languages in Iranian public schools. This is a limitation for our people. Iranian leaders use my people as political tools. I wanted to do something good for my people. I have this language specialty and experience, this expertise, so I can help my own people. People like my mother can read this book.’ 

Being the first person from her community to do such work, Miriam states that,  

‘Despite having two children and knowing that my life is at risk for believing in Jesus in Iran, I cannot even imagine leaving this work unfinished. I must complete this work and see the result.’ 

'Stella'

A woman with dark hair looks straight at us.

'Stella'

Stella is also Iranian, and also speaks a ‘heart-language’, one that is shared with even fewer people than Miriam’s.  

After tragically losing her husband in 2013, Stella had to battle her late husband’s family to keep custody of her then seven-year-old son. As the battle continued to rage on, Stella fled Iran with her son, leaving behind her entire life in order to keep hold of her child. As a refugee, Stella’s life is not without its ever-present difficulties as she is continually fighting to stay in the country that she and her son have now called home for ten years.  

Stella became a Christian twelve years ago, while she was in the middle of the fierce battle to keep hold of her son while mourning the loss of her husband. As sorrow and desperation raged around her, Stella simply knelt on her floor and spoke into the silence ‘if you are God, save me’. She has been a Christian ever since.  

Just like Miriam, Stella is secretly working to translate the Bible from Farsi into the language of her community. With tears in her eyes, she says,  

‘There is no other job that your boss is God. I love my mother language. I'm telling the poetry; I write the context. I write the sentence, I record it… I am thinking about my mum, my father, my childhood. And everyone that doesn’t have it (the Bible) right now. I really want to bring God to my town and my people.’ 

Stella can’t return home, but she is nevertheless determined to work for the spiritual well-being of those whom she was forced to leave, regardless of the immense risk. 

The heart language that both Miriam and Stella speak of, and are translating the Bible into, is the vernacular that binds their communities together in their home country of Iran. But to me, hearing these stories; the term that Miriam coined feels loaded with depth of multifaceted meaning.  

The language with which they speak of their faith is unfused with resilient hope and faith-fueled boldness. 

Their words when they speak of their home are dripping with resilient affection, obvious frustration and forgiveness.  

The way in which they speak of themselves, and their dangerous task, is undeniably defiant and astonishingly selfless. 

Review
Art
Culture
5 min read

Blake, imagination and the insight of God

A new exhibition focuses on seekers of spiritual regeneration and national revival.

Jonathan is Team Rector for Wickford and Runwell and a area dean. He is co-author of The Secret Chord, and writes regularly on the arts.

William Blake's illustration of God squatting down to create with his hair and beard blown to one side
Blake's Ancient of Days.
The Fitzwilliam Museum.

The exhibition William Blake’s Universe at the Fitzwilliam Museum, Cambridge, enables visitors to discover a constellation of European Romantic artists who sought spirituality in their lives and art in response to war, revolution and political turbulence. 

The exhibition brings together the largest-ever display of works by the radical British artist, printmaker and poet from the Fitzwilliam Museum's collection, alongside artworks by Blake's European contemporaries such as the German romantic painters Philipp Otto Runge and Caspar David Friedrich – many of which have never been displayed publicly in the UK until now. Though they never met or connected in their lifetimes, Blake, Runge and Friedrich shared an unwavering belief in the power of art to redeem a society in crisis.  

Blake believed it ‘is only the imagination’, the faculty we have neglected, which can lead us out of our self-imposed prison. 

The exhibition also places Blake within his artistic network in Britain, drawing parallels with the work of his peers, mentors and followers including Henry Fuseli, John Flaxman, and Samuel Palmer. In the exhibition catalogue Esther Chadwick draws attention to a little-known series of paintings in which ‘Blake is shown partaking in an immense community of like-minded intellectuals of the European Romantic generation.’ These include writers and poets associated with Runge, as well as artists and poets such as Flaxman, William Wordsworth and Samuel Taylor Coleridge. Flaxman introduced Charles Augustus Tulk, a well-known Swedenborgian, to Blake, to whom Tulk later introduced Coleridge saying ‘Blake and Coleridge, when in company seemed like congenial beings from another sphere breathing for a while on our earth’. 

Exhibition curators David Bindman and Chadwick have said: “This is the first exhibition to show William Blake not as an isolated figure but as part of European-wide attempts to find a new spirituality in face of the revolutions and wars of his time. We are excited to be able to shed new light on Blake by placing his works in dialogue with wider trends and themes in European art of the Romantic period, including transformations of classical tradition, fascination with Christian mysticism, belief in the coming apocalypse, spiritual regeneration and national revival.” 

Independently of each other, Blake and Runge were inspired by the writings of German mystic Jacob Böhme, who, as Bindman and Chadwick explain, ‘believed that all being arises from the dynamic interplay of opposites: between darkness and light, life and death, hot and cold, male and female’. As a result, he viewed our spiritual quest as ‘the reconciliation of differences to produce spiritual and philosophical regeneration’. Bryan Aubrey has also shown that Böhme believed human beings can share in the divine imagination, through which we act ‘with, and on behalf of, the creator’. Böhme ‘equated the strong imagination with the faith that moves mountains’ while Blake believed it ‘is only the imagination’, the faculty we have neglected, which can lead us out of our self-imposed prison. Blake was, as a result, indebted to Böhme for his concept of the imagination and his doctrine of contraries. 

This exhibition demonstrates that many of great Romantic philosophers and writers were seeking just such a spiritual regeneration and national revival. 

Melanie Öhlenbach has argued that ‘Runge's life, his theory and works bear testimony to Böhme's importance’. For Runge, art ‘is considered as the revelation of God and the artist as its tool, while the artist's imagination creates the insight of God’. He believed it is ‘the artists' duty to re-create the diverging harmony of man and cosmos in the sense of an artistic-spiritual revolution’. She writes that due to his early death, ‘Runge managed only partly to put his ambitions into practice’, notably in his Times of Day series which represent not only the changing times of day, but the seasons, the ages of humanity and historical epochs. Similarly, Friedrich’s seven sepia drawings The Ages of Man are thought to be inspired by Runge’s interest in visual representations of time, meaning that this exquisitely delicate series is associated with the themes of change in nature, the cyclical representation of time and the temporality of human life. 

The significance of these artists is, in part, as prophets within the Christian tradition. Lucy Winkett has noted that ‘Blake’s faith was in the Jesus whom he believed the Church had abandoned’. As a result, ‘he was — and still is — an internal rather than external critic of the way in which the Christian faith is practised by its adherents; and so, for those who have ears to hear, his is a prophetic rather than destructive force within the Christian tradition’. Richard A. Rosengarten states that ‘Blake wanted to stir things up because he thought the Christian revelation was meant to stir things up’. He argues that, for Blake, the ‘first step in doing so (after reading the Bible from stem to stern) was to liberate Imagination from the shackles of Reason’. This is what ‘could make us fully human again, and thus much more approximately the creatures of God that we truly are’.   

Malcolm Guite suggests that both Blake and Coleridge: ‘recognised Jesus as the Divine Imagination and Love bodied forth for us and kindling afresh in us the love and imagination which is God’s lost image deep in our souls. Both men were calling for England (‘Albion’ in Blakes terms) to awaken from the sleep of materialism, greed and conquest, and to be renewed in Christ through an awakening of the spiritual imagination.’ 

This exhibition demonstrates that many of great Romantic philosophers and writers were seeking just such a spiritual regeneration and national revival. In our own time of war, revolution and political turbulence, it may be that this is a prescient exhibition bringing us artists who, as Winkett said of Blake, have ‘a distinctively Christian voice for our time’.  

In Jerusalem, one of Blake’s illuminated books from which many plates are shown in this exhibition, Blake writes: ‘I know of no other Christianity and of no other Gospel than the liberty both of body and mind to exercise the Divine Arts of Imagination – Imagination, the real & eternal World of which this Vegetable Universe is but a faint shadow, & in which we shall live in our Eternal or Imaginative Bodies when these Vegetable Mortal Bodies are no more.’ 

William Blake’s Universe, 23 February 2024 - 19 May 2024, Fitzwilliam Museum.

Watch the exhibition trailer