Cultural Lesson: Islamic Burial Practices

I did this lesson on Islamic burial practices with my Latin IV class last year as we were reading my publication Nasreddin Chogia: Fabellae. One of the fables alludes to Islamic burial practices. Here is my Latin adaptation of the fable:

Chōgia ōlim hieme in silvā ligna caedēns, “Algeō!,” inquit, “Ergō, mortuus sum!”

Ergō, Chōgia cum dēcubuisset tamquam mortuus, “Efferendus sum!,” inquit.

Chōgia cum domum rediisset, tum, “Mortuus sum,” inquit uxōrī, “in silvā. Iubē amīcōs mē efferre.”

Deinde Chōgia cum in silvam rediisset, dēcubuit.

Cum uxor Chōgiae in tabernam vēnisset, “Nasreddīn Chōgia,” inquit, “in silvā mortuus est.”

Amīcī Chōgiae, “Quī scīs?,” inquiunt.

Uxor, “Quia,” inquit, “Chōgia domum rediit et haec mihi dīxit.”

(A translation for readers who do not read Latin:)

Once upon a time, Hoca, while chopping firewood in the woods in the wintertime, said, "I am cold! Therefore, I am dead!"

So Hoca, when he had lay down as if he were dead, said, "I must be carried out (i.e. for burial)!"

So Hoca, when he had returned home, then he said to his wife, "I died in the woods. Tell my friends to carry me out (i.e. for burial)."

Then Hoca, when he had returned to the woods, lay down.

When Hoca's wife had arrived at the coffeehouse, she said, "Nasreddin Hoca has died in the woods."

Hoca's friends said, "How do you know?"

The wife said, "Because Hoca came back home and told me this."

After reading this fable with my students, I wanted students to understand Islamic burial practices and why Nasreddin Hoca feels such a strong sense of urgency to be buried when he believes that he is dead. For this lesson, students located QR codes posted around our building at school. These QR codes linked to a sentence in Latin and a clue to the location of the next clue. All of the sentences described steps involved in a traditional Islamic burial. Students not only located the QR codes and copied down the Latin sentences, but also put the sentences in chronological order.

The sentences for each step. I glossed new terms in Latin or in English in parentheses:

1. Muslimus periit. (A Muslim has died.)

2. Cadaver (corpus mortui) inter 24 horas sepeliendum (in terra ponendum) est. [The corpse (the body of a deceased person) must be buried (placed in the ground) within 24 hours.

3. Cadaver necessariis (e.g. sororibus, fratribus, filiis, matri, patri, etc.) lavandum est. [The corpse must be washed by relatives (e.g. sisters, brothers, children, mother, father, etc.).]

4. Cadaver involvendum est. (The corpse must be wrapped up.)

5. Cadaver in arca ponitur. (The corpse is placed in a coffin.)

6. Cadaver ad meschitam effertur. (The corpse is brought to a mosque.)

7. Cadaver in sepulcretum effertur. (The corpse is brought to a cemetery.)

8. Eis qui adsunt orandum est. (Those in attendance must pray.)

9. Cadaver in sepulcro sepeliendum (in terra ponendum) est. [The corpse must be buried (placed in the ground)].

10. Cadaver in Meccam advertendum est. (The corpse must be turned towards Mecca.)

After putting the steps in order, students then wrote in Latin summarizing the fable in their own words in Latin and explaining why Hoca felt such a strong sense of urgency to be buried.

The worksheet:

Mercurius Omnia Furatur/Ἑρμῆς πάντα κλέπτει

Available in both Latin and Ancient Greek

When he is born, the god Mercury/Hermes is no normal baby. He can walk, talk, and even make music. But what he really wants to do is steal from the other gods. Will Mercury/Hermes get away with it? Or will the gods find out that they've been tricked by a newborn baby?

Mercurius Omnia Furatur (Latin Version)

Click to see on Amazon

• Total Words: 1,598

• Vocabulary: 79 (excluding names and unique forms), 217 unique forms

• 72% of the vocabulary (86% if excluding glossed words) appears in the Dickinson College Commentaries Latin Core Vocabulary, which consists of 1,000 high-frequency Latin words.

• 80% of the vocabulary (91% if excluding glossed words) appears in Mark A. E. Williams' Essential Latin Vocabulary, which consists of 1,425 high-frequency Latin words.

• Intended level: Novice (1st year)

First 103 Words:

Hodiē puer nātus est. Hic puer est fīlius Iovis et Māiae. Māia est māter puerī. Iūppiter est pater puerī. Iūppiter est rex deōrum.

Hic puer est mīrus. Hic puer ambulāre potest. Hic puer loquī potest. Hic puer canere potest. Nōmen puerō est Mercurius.

Hodiē Mercurius in Cyllēnē monte nātus est. Mercurius cum mātre habitat. Mercurius cum patre nōn habitat. Nam Iūppiter in Olympō monte habitat. Mercurius est puer mīrus. Mercurius domō exīre vult. Mercurius loquī vult. Mercurius canere vult. Mercurius autem vult fūrārī.

Mercurius clam domō exit.

Mercurius: “Ego volō domō exīre! Ego volō fūrārī!”

Mercurius videt testūdinem!

Mercurius: “Ego volō habēre testūdinem!

Ἑρμῆς πάντα κλέπτει (Hermes Panta Kleptei) (Ancient Greek Version)

Click to see on Lulu

• Total Words: 2,225

• Vocabulary: 87 (excluding names and unique forms), 263 unique forms

• 62% of the vocabulary (80% if excluding glossed words) appears in the Dickinson College Commentaries Greek Core Vocabulary, which consists of 500 high-frequency Ancient Greek words.

• Intended level: Novice (1st year)

First 100 Words:

τήμερον παιδίον τι ἐγένετο. τοῦτο δὲ τὸ παιδίον ἐστὶν ὁ υἱὸς Διὸς καὶ Μαίας. ἡ μὲν γὰρ Μαῖά ἐστιν ἡ μήτηρ τοῦ παιδίου. ὁ δὲ Ζεύς ἐστιν ὁ πατὴρ τοῦ παιδίου. καὶ ὁ Ζεύς ἐστιν ὁ τῶν θεῶν βασιλεύς.

τὸ δὲ παιδίον ἐστὶ θαυμαστόν. βαδίζειν μὲν γὰρ τὸ παιδίον δύναται. διαλέγεσθαι δὲ τὸ παιδίον δύναται. ᾄδειν δὲ τὸ παιδίον δύναται. Ἑρμῆς δέ ἐστι τῷ παιδίῳ ὄνομα.

τήμερον δὲ ὁ Ἑρμῆς ἐγένετο ἐν τῷ ὄρει τῇ Κυλλήνῃ. καὶ ἡ μήτηρ μὲν οἰκεῖ μετὰ τοῦ Ἑρμοῦ. ὁ δὲ πατὴρ οὐκ οἰκεῖ μετὰ τοῦ Ἑρμοῦ. ὁ γὰρ Ζεὺς οἰκεῖ ἐν τῷ Ὀλύμπῳ ὄρει.     

Self-Publishing in Greek

In the world of self-publishing novellas for language learners, most authors use Amazon's Kindle Direct Publishing (KDP). Why? For authors, it is easy to use - you just need to upload your manuscript and cover artwork and you are pretty much ready to publish. With KDP, your novella is published on Amazon and is accessible to Amazon's massive customer base. Many customers already have an Amazon account and are probably familiar with how Amazon works, so customers can buy your novella in a matter of seconds.

Sound too good to be true?

There are some drawbacks to KDP compared to other self-publishing websites, such as:

• If you have ethical concerns about Amazon
• KDP's royalty rate for authors is lower than those of other self-publishing websites
• KDP (almost) only supports publishing in languages that use the Latin alphabet

This last point obviously presents a challenge for those of us who wish to self-publish in Greek (Ancient, Modern - it doesn't matter!). In this post I will share all of the hurdles I had to overcome to publish my novella in Greek.

But there are Greek books on Amazon! How does that work?!

I am pretty certain that those books were published through CreateSpace, which Amazon bought out a couple of years ago. I never used CreateSpace, but I believe that it supported Greek. As far as I know, KDP continues to support all books that were originally published with CreateSpace.

There is also a way to circumvent KDP's language policy, which I will share at the end of this post, but this requires violating KDP's language policy.

I. Choose a self-publishing company.

There are a variety of self-publishing companies out there. Most of them are targeted at authors who wish to self-publish books in English for a wide audience, i.e. not those of us who wish to publish novellas in languages other than English for a very select audience (i.e. language teachers and self-motivated language learners). 

I went with Lulu. Why?

• Writers of Latin novellas use it (such as these)
• Lulu allows free edits (some self-publishing websites charge a fee if you need to fix errors in your book - no thanks!)
• No language restrictions! (Caveat: Books in Greek can only be sold on Lulu and are ineligible for their wider distribution service)

No self-publishing company is perfect, so choose the one that best suits your goals.

II. Convert your PDF files into a press-ready PDF files

Before publishing my novella, I had no idea what layers and flattening were in PDF files. KDP allows authors to submit any old PDF. Other self-publishing companies, on the other hand, require that your PDF be flattened to remove all layers (also described as a "press-ready PDF"). 

The easiest way to do this is with Adobe Acrobat Pro DC. 

The downside? Adobe is expensive! As of August 2020, it costs $14.99/month (USD). I am lucky that my work PC has Adobe already installed.

To convert your PDF to a press-ready PDF, click File, then Save as Other, then select Press-Ready PDF (PDF/X). In the save menu, I also clicked Settings... and selected Save as PDF/X-1a. It turns out that there are different types of press-ready PDFs. According to the wisdom of the Internet, PDF/X-1a seems to be the safest option. 

You will also need to convert your cover artwork PDF file too.

III. Publish!

At this point, your Greek novella should be ready to publish.

Fonts: Stick with PDF-friendly fonts that support Polytonic Greek. I used Source Sans Pro and Palatino Linotype. There are plenty of fonts to choose from, but always check your PDFs to ensure that they display correctly. Fonts may look great in your word processing program of choice, but may not be rendered properly or at all in a PDF. I had to change my fonts at least a few times!

Publishing with KDP: Remember how I said earlier that you can try to circumvent KDP's language policy and self-publish in Greek? It is fairly simple, but I have not attempted it, so do so at your own risk. The secret: select English as your book's language. I have heard that KDP will remove your book if they find out that your book is in an unapproved language. That was too big of a risk for me to take, so I decided to play it safe and publish on Lulu. 

I still have a lot to learn about self-publishing, so please share your tips and tricks! 

γράφε δή!

Navigating My Thoughts on Writing a Novella

Novellas have grown in popularity in world language classrooms within the past decade. They provide comprehensible and engaging narratives with lots of repetition of (often) high-frequency vocabulary. I have used one in my Latin I class two years ago (Lance Piantaggini's Piso Ille Poetulus) and have a library of most of the Latin novellas, which I admittedly still need to read. I too would like to jump on the novella hype train, but there are several obstacles that I am facing in the brainstorming stage. The point of this post is to discuss these issues.

First are the challenges that many prospective novella writers face. How do you limit the number of unique words used within one story? Some novellas use under 100 unique words. I'm over here like

On top of that, how do you create a story that students actually want to read and keep reading till the end? I have a quirky sense of humor, which I would like to incorporate in a novella, but that might not necessarily resonate with many younger readers.

Besides these challenges that all novella writers face, I would like to write a novella that would stand out from the crowd and reflect my own interests. One consideration I have is to write a novella in Medieval Latin and/or in a medieval setting. Why? I came to the Classics as a medievalist first and foremost and will always champion the post-classical world among classicists. Sadly, Medieval Latin and Greek are understudied and underappreciated, so I would love to introduce readers to the fascinating stories found in medieval folktales and saint's lives.

One such story is the Navigatio Sancti Brendani (The Voyage of St. Brendan). I first read this text several years ago in a summer online reading group and loved it! It tells the story of St. Brendan and his fellow monks who leave Ireland and sail across the sea in search of the Promised Land. Along the way, they encounter angry blacksmiths, talking birds, a sea monster, even Judas himself. Because of these fun episodes, some Latin teachers teach this text, making it one of the better known texts in Medieval Latin. Most Latinists, however, are not familiar with it, so why not make it accessible to them as well as to my students?

In thinking about adapting the Navigatio for the novella format, two issues come to mind. First, should I try, as best as I can, to preserve medieval vocabulary, grammar, and orthography? Many Latin teachers want texts that include vocabulary that is high-frequency in Classical Latin, so that could be an issue in adapting a medieval text. Some words found in Classical Latin take on different meanings in medieval literature (often with Christian nuances). Medieval Latin grammar and vocabulary, depending upon the text, can vary significantly from Classical Latin, but for the sake of simplicity and for the ease of the reader I would not mind adapting the text with a more classicizing style. In short, I am torn between staying true to the medieval features of the text and making the text appealing to an audience trained in and devoted to Classical Latin authors.

The other issue is related, but pertains to the Navigatio's content rather than its language. The Voyage of St. Brendan was written by a Christian author(s) for a Christian audience to promote Christian morality and inspire its audience to be more pious Christians. My novella would certainly not have the same intent, but I do not wish to separate the narrative from its cultural context. Sure, I could preserve the adventurous episodes and downplay the moralizing, but that seems disingenuous to the original text. How I see it, I can offer a glimpse into the values and customs of early medieval Ireland without endorsing them. For many public school teachers, however, that is too fine a line to walk. The novella would be either too Christian or not Christian enough. Latin teachers usually do not have to deal with the issue of religion because ancient Roman religious practices and myths are regarded as belonging to the past (although it is problematic to ignore the reality that we have pagan students in our classrooms) and are appreciated as a significant part of Western cultural heritage, as found in literature, the visual arts, and music. Christianity, on the other hand, remains potentially too controversial for many teachers to touch, even at the expense of our cultural heritage from medieval Europe.

Teachers of English literature, Spanish, French, German, Arabic, and other languages: how do you sensitively expose your students to the role that religion has played in the cultures of the language you teach? 

I should add that I have other texts in mind for a novella, such as ancient texts that avoid the aforementioned issues. Eventually, however, I still would like to write a novella set in Late Antiquity or the Middle Ages. In any case, I plan over the next year to continue work on a novella. As in any voyage, there will be delights and there will be perils, but I am excited for the journey.