Vicarious suffering in the path of God: Muharram
As the above summary of Shii history shows, Shiis have found themselves to have suffered severe injustices in the first three centuries of Muslim history. First they were excluded from taking the positions of leadership which clearly were theirs; when Ali, the proper heir to power, finally did gain the seat of the caliph he was granted only a short period of rule before being assassinated; when Ali's son Husayn made another try at the caliphate he too is assassinated, and this under most heinous conditions; and finally, the line of Ali seemed to die altogether when the twelfth imam disappeared.
Shiism reconciled these injustices with the clear directives of the Prophet, who, they felt, had explicitly designated them the true Muslims, by adopting the explanation that God's inscrutable plan underlay it all and that all these events were foreordained for specific reasons. Since these maligned Shii heroes were doubtless destined to receive the favor of God, it was not a long jump to the conclusion that accepting all the sufferings was in some way the key to God's good pleasure. For the mass of the Shiis, who were not privy to the core events of Shii history, the key to God's favor and even the intercession of the imams was to commemorate and sincerely lament over these events and thereby partake vicariously in the sufferings of God's chosen ones.
All of God's prophets, Muslim belief holds, have suffered in His path, and likewise have all of the imams.[64] Each and every one, according to Shii belief, found his life ended by martyrdom. Shiis commemorate the sufferings of these martyrs frequently, both in a variety of public holidays scattered throughout the year and also in private, often weekly, ceremonies. The most important of these ceremonies are those held in Muharram, the month in which Husayn was killed. This month, and especially its first ten days, is the central focus of Shii piety. Worshippers attend special commemorative meetings in which the story of Karbala is told and retold and the sufferings of the house of Ali, the imams, and especially Husayn are recounted, processions are held, and passion plays, taziya, are enacted.[65] These three rituals--the tellings of the story of Husayn (rauza-khani), the passion plays (ta'ziya), and the processions (dasta-yi azadari)--are the three main elements of activity and devotions during Muharram.[66]
The commemorative meetings known as rauza-khanis, or "Rauza readings," are named after an early book on the sufferings of Husayn called Rauza al-Shuhada', "Garden of Martyrs."[67] These are held in many venues, both public and private. Special narrators, called rauza-khans, "Rauza readers," are hired to recite the events surrounding the day of Ashura, the day of Husayn's martyrdom. The more successful of these narrators are highly skilled in poetic storytelling, dramatic techniques, and chanting of elegies, as well as perfect pronunciation of classical Arabic and skilled use of symbolism, all serving to convey the events of Karbala with an intense passion and maximize the audience's emotional involvement. The rauza-khan portrays the events with great detail, and dwells especially on the sufferings of Husayn and his party: their long march, the heat and their thirst, the gradual killing of the fighting men and the agonies of each individual death, and the brutality Husayn is subjected to. As the narration proceeds and continually heightens in intensity, the audience repeatedly will burst into sobbing and moaning and will slap their foreheads and beat their chests in anguish.
The taziya, the passion play in which the events of Husayn's death are actually reenacted by the participants, is another important event. These plays began to be enacted in a simple form shortly after the event of Karbala but only became widespread during the Safavid period,[68] reaching their peak in eighteenth- and nineteenth-century Qajar Iran. In the twentieth century Iran's various secular governments have occasionally outlawed their practice,[69] but the taziyas nonetheless still exist as a key religious event in Iranian Islam. They are enacted in every major city in Iran, and semi-professional traveling troupes--whose pay is often provided by a wealthy sponsor as a public service bringing its own religious rewards--sometimes bring the play even to remote and small villages. As with the rauza-khans, the taziyas do not simply portray the known historical events but provide a great amount of imaginative detail to flesh out the story. A Turkish traveler to Iran in 1640 provides a vivid description of one such public passion play for Husayn, to which came "the nobles and notables and all the people of the city, great and small":
When the reader of the book [on the martyrdom of Husayn] reaches the part describing the manner in which the accursed Shemr killed the oppressed Husayn, at that very moment, they bring out to the field...mock representations of the bodies of the dead children of the Imam. Upon seeing this spectacle shouts and screams and wailings of "Alas, Husayn" mount from the people to the heavens and all spectators weep and wail. Hundreds of Husayn's devotees beat and wound their heads, faces and bodies with swords and knives. For the love of Imam Husayn they make their blood flow. The green grassy field becomes bloodied and looks like a field of poppies. Then the mock dead are carried from the field and the reading of the story of Imam Husayn's martyrdom is completed.[70]
The processions are perhaps the most public of the Muharram ceremonies and, with their conspicuous self-flagellation, are perhaps the most immediately noticeable to foreign observers. These range from simple marches to elaborate pageants, complete with characters from the taziya, groups singing dirges and laments, banners and flags representing the standard of Husayn at Karbala (the alam), and floats, all interspersed with often shirtless men wailing and beating their chests.[71] The self-beatings take a variety of forms, from light chest-slapping practiced chiefly by the observers to strenuous self-flagellation, often with chains, daggers, razor blades, or other "implements"--these occurring in their most vigorous forms during processions and other outdoor events--practiced most conspicuously by young men. Indeed, many of the forms of self-beating are complex and evolved enough that the activity has become even part art and part sport, with vendors selling a variety of instruments and enthusiasts discussing fine points of technique.[72]
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