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THE TALE OF EGYPT’S 29 COPTIC MARTYRS OF MINYA BY THE AMERICAN CARTOONIST, ROD ANDERSON

August 19, 2017

On the 26 May 2017, the Islamists of ISIS attacked Coptic pilgrims to a monastery in the area of Minya, in Upper Egypt, who were traveling in a bus. The Copts were asked to renounce Christ; when they refused, 29 of them, men, women and children (ten of them) were savagely killed. Rod Anderson commemorates their brave martyrdom in a cartoon titled “The Tale of Egypt’s Coptic Martyrs” that was published in The Christian Post on 14 July 2017.

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One of the survivors of the massacre of 29 Egyptian Christians in Minya in May said that the Islamic State extremists forced the women off the bus and ordered them to renounce their faith in Christ, but the Copts refused.

Financial Times reported on Tuesday that Mariam Adel, a young mother whose husband and nine of her relatives were killed in the attack, has been speaking from her hospital bed about the terrorist group’s attack.

Adel said that the jihadists opened fire with machine guns at the bus carrying the Christians traveling to a desert monastery, before getting on board to kill any men left alive.

Read more at: https://www.nytimes.com/2017/05/26/world/middleeast/egypt-coptic-christian-attack.html?mcubz=1

THE BRAVE AFRICAN MAN WHO SHARED THE COPTS IN MARTYRDOM BY THE AMERICAN CARTOONIST, ROD ANDERSON

August 19, 2017

On the 12 February 2015, 21 Christians were beheaded in Libya by the Islamists of ISIS. Twenty of these were Copts from Egypt; however, one was from Chad or Ghana – he shared in the brave act of martyrdom with the Copts. The facts are not clear about this martyr, and some accounts say that he wasn’t Christian but he converted at the time having seen the courage of the Copts who refused to abandon Christ to save their lives. He joined them in – and he died a Christian martyr. It is a great shame that we still don’t know much about this African neo-martyr, not even his name.

Rod Anderson, the American cartoonist celebrates this African man in a cartoon titled “The Martyr Who Converted in the Face of ISIS” that was published in The Christian Post on 18 May 2017.

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Most of us are familiar with the story of the 21 Coptic Christians from Egypt who held fast to their faith and were beheaded by ISIS in February 2015. But did you know that only 20 of them were actually Copts from Egypt? Did you know that one of the martyrs was from Chad, and he had not been a Christian prior to the day of his beheading?

Although this story was previously reported, I had not heard it before this week. But at this week’s World Summit in Defense of Persecuted Christians hosted by the Billy Graham Evangelistic Association, which I had the privilege of attending, a Coptic leader shared the account. It is a remarkable story and yet another tribute to the faith of these martyred Copts.

Read more at http://www.christianpost.com/news/the-man-who-was-beheaded-the-day-he-became-a-believer-183399/#7pVcGEWmbX21RLA6.99

EGYPT’S COPTIC CHRISTIANS HONOR THEIR MARTYRS BY THE AMERICAN CARTOONIST, ROD ANDERSON

August 19, 2017

Rod Anderson is an American cartoonist who works at The Christian Post, an Evangelical Christian newspaper based in Washington, D.C. You can see all his work here. He touches Christian issues, including persecution, worldwide – and he has dedicated some of his art to the Copts. He draws his cartoon and adds to it some text about the subject, and then a link to an article that discusses the matter in more detail. A cartoon is often considered to be a medium for satire, but a cartoon is basically a simplified or exaggerated version or interpretation of something, and is not always meant to satirise or for humour of fun purposes. Anderson uses his cartoons in this sense.

The following cartoon, “Egypt’s Coptic Christians Honor Their Martyrs,” was published in The Christian Post on 18 February 2017.

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Relatives of the 21 Coptic Christians beheaded by ISIS in the infamous “A Message Signed With Blood to the Nation of the Cross” video are sharing the pain of losing their loved ones, but also their pride in the men’s refusal to deny Jesus on the two-year anniversary of their death.

One wife said that her husband “kept the faith, and was martyred in the name of Christ. His faith was very strong. I’m proud of him. He has lifted our heads up and honored us and all the Christians.”

Read more at http://www.christianpost.com/news/21-coptic-christians-beheaded-by-isis-honored-refusing-deny-christ-175128/

COPTIC CHRISTIAN MOURNERS BY THE AMERICAN PASTEL ARTIST, DONNA YEAGER

August 18, 2017

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Donna Yeager is an American pastel painter. One of her pieces of art, “Coptic Christian Mourners,” is dedicated to the mourning families of the 21 Coptic martyrs who were slain by the Islamists of ISIS in Libya on February 12, 2015.

Yeager used pastel on a photograph of families. The family showed dignity and generosity as they mourned their dead children. The 21 murdered Copts, who died with the name of Jesus Christ in their mouths, are now commemorated by the Coptic Orthodox Church as martyrs and saints on the 8th of Amshir of the Coptic calendar (corresponding to the 15th of February of the Georgian calendar). It is nice to see decent people across the world celebrating the courage of these neo-martyrs and their families.

THE HOLY FAMILY IN EGYPT BY THE COPTIC ARTIST, FARID FADEL

August 18, 2017

Farid Fadel Hanna Murkus is a Coptic Egyptian painter who is also a doctor and musician. He has produced so many works of art of Egyptian theme, and exhibited his works a few times. Some of his works are of purely Coptic nature, but with a curious modern Egyptian touch. One of them is the painting below.

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The Virgin Mary and Child Jesus are depicted as in Western art; but the boat people and the donkey boy are all dressed in modern Egyptian garments, with jalabiya, taqiyya (skull-cap) and ‘imama (turban), and not in the costumes of the Roman period. The Nile, felucca, buildings, donkey, palm trees and pyramids are as they have always been when the Holy Family came to Egypt and then now.

What do I make of this painting? It is a beautiful piece of art, colourful and different. Any renovation in Coptic art is welcome.

THE CONVENT OF THE PULLEY (DEIR EL ADRA OR THE MONASTERY OF THE VIRGIN MARY AT GABAL AL-TAYR) 5: THE ENCOUNTER OF FREDERICK WILLIAM FAIRHOLT WITH THE MONKS

August 15, 2017

To read the first four parts of this thread, click on the following:

The Convent of the Pulley (Deir el Adra or the Monastery of the Virgin Mary) at Gabal al-Tayr 1: Intrduction

The Convent of the Pulley (Deir el Adra or the Monastery of the Virgin Mary) at Gabal al-Tayr 2: The Account of the Coptic Historian of the Twelfth Century Abu al-Makarim

The Convent of the Pulley (Deir el Adra or the Monastery of the Virgin Mary) at Gabal al-Tayr 3: Old Photograph from 1923 by the American John Nicholas Brown II

The Convent of the Pulley (Deir el Adra or the Monastery of the Virgin Mary) at Gabal al-Tayr 4: The Encounter of Gustave Flaubert with the Monks

Convent of the Pulley

Frederick William Fairholt (1814 – 1866) was a British artist and writer of German roots. In 1862, he visited Egypt, and sailed via felucca up the Nile and then returned back. He told of his experience in his book ‘Up the Nile, and Home Again’,[1] which was published by Chapman and Hall in London, 1862. He included several drawings in his book. One of them is Plate V, which I share with my readers above.

The drawing is interesting from two points: first, it shows the eastern high cliffs of Gebel-al-Tayr, or Mountain of the Bird, as seen from the Nile, with the cracks in the cliff that house the almost legendary birds, spoken about by so many writers from early times; and, second, it shows the Convent of the Pulley (‘Coptic convent of Sitteh, or Sittina, dedicated to the Virgin’) on top of the mountain. There are three monks depicted up the cliff who wear long black gowns, with wide hanging sleeves, and tall round caps. While the monkish habit depicted in the drawing, and described in the text, is familiar from today’s habit worn by Coptic monks, the headgear is different – the tall round cap was different from the current bonnet that is flat and covers the whole head, hanging down on the back of the head until the shoulders, and is tied to the neck with two thin strings.  The bonnet is embroidered with thirteen crosses:  twelve on the top, six on each side,[2] that symbolise Christ’s twelve disciples; and one on the back of the bonnet which stands for Christ.

Fairholt visited Egypt during the rule of Muhammad Sa’id Pasha (1854 – 1863) and most probably after the death of Pope Kyrillos (Cyril) IV in January 1862 and the ordination of Pope Demetrius II in June 1862. Fairholt was not sympathetic towards the Copts, and his book shows. He was critical of the begging behaviour of the Coptic monks on Gabal al-Tayr, and as we have seen before, he wasn’t the first one. After describing his encounter with them, he goes on to write:

“It was by no means agreeable to see Christianity at so low an ebb, represented by so despicable a set. The [Muslim] boatmen were, of course, far from civil; and when one continued his importunity after he had obtained gifts, and would listen to no refusal, they unceremoniously pitched him into the water. Certainly those who do not respect themselves, have no cause to imagine others will respect them. Surely this convent might manage its begging with more decency, by sending a man in a boat, and not thus allowing a whole horde of naked wretches to disgrace themselves before people who already despise them too much.”[3]

While, I am sure, Fairholt is unsympathetic, and wasn’t completely fair in his opinion about the Coptic monks of Gabal al-Tayr, it is hard not to agree with him on the gist of his criticism: what we used to do there was disrespectful and undignified; and we should have prevented it from happening. It created a bad impression for our monks and our Church which registered in so many Western traveller books. The task of the Coptic nationalist is to criticise what is unbecoming in us, and to praise what is good.

Anyway, I post below the passage in which Fairholt describes his encounter with the Coptic monks (I simply add some endnotes to clarify some words or points). It makes an interesting read:

The rocks, which have been gradually approaching the river on the eastern side, now form bold cliffs many hundred feet in height. The nearest is known as the Gebel-el-Tayr, or Mountain of the Bird, from a curious Arab legend attached to it, thus given by Wilkinson[4]: — “All the birds of the country are reported to assemble annually at this mountain, and after having selected one of their number to remain there till the following year, they fly into Africa, and only return to release their comrade and substitute another in his place.” The lateral ledges of the sandstone rock, upon which the birds rest in the sun, safe from all molestation, have led to the choice by them of these cliffs as perching-places ; and long lines, numbering many thousands, may often be seen here, and probably originated the legend, which may be traced far back, for the writer above-quoted adds, “The story is probably another version of that mentioned by Aelian,[5] who speaks of two hawks being deputed by the rest of the winged community to go to certain desert islands near Libya, for no very definite purpose.”

On the very summit of this rock, is the Coptic convent of Sitteh,[6] or Sittina,[7] dedicated to the Virgin, and inhabited by a small community of monks, whose long black gowns, with wide hanging sleeves, and tall round caps, give them somewhat the aspect of stage necromancers.[8] They subsist on the produce of small portions of land, and are exempt from taxation.[9] The convent and church are confined within dreary walls, from which steps lead downwards to natural platforms on the rock, as exhibited in our view, Plate V. From this platform fissures descend to the water, where they open into small caverns. By this means the monks come down to the river, and leaving their clothes behind them, dash into the stream, clamorously begging of all boats passing. As they have abundant leisure, they don’t throw any chance away, but post themselves along the entire face of the rock at various intervals, and on the flat shore opposite. Two of them swam out to meet our boat on its approach, loudly proclaiming themselves Christians all the way they came. When helped on board, they crouched down and wrapped themselves in an old sail, asking first for something to drink.

This obtained, and duly swallowed, they then begged for money, for more drink for their brethren and the chief of the convent, and ultimately for the bottles they had emptied. The latter they use to hold oil, aniseed, &c, which they cultivate on their lands, and sell in the markets near. The money they carry ashore in their mouths, the bottles, &c, in the left hand, swimming sideways and using the right arm only as a paddle. Once on board, they were in no hurry to go. It was by no means agreeable to see Christianity at so low an ebb, represented by so despicable a set. The boatmen were, of course, far from civil; and when one continued his importunity after he had obtained gifts, and would listen to no refusal, they unceremoniously pitched him into the water. Certainly those who do not respect themselves, have no cause to imagine others will respect them. Surely this convent might manage its begging with more decency, by sending a man in a boat, and not thus allowing a whole horde of naked wretches to disgrace themselves before people who already despise them too much.

The Hon. R. Curzon,[10] in his account of “Visits to Monasteries of the Levant,” has given a graphic and amusing description of his ascent up this cliff, after he had been assisted to the cave at its foot by two of the priests, who “swam like Newfoundland dogs.”[11] A narrow fissure, about the size of an ordinary chimney, had to be climbed. The abbot crept in at a hole at the bottom,” and telling me to observe where he placed his feet, he began to climb up the cleft with considerable agility. A few preliminary lessons from a chimney-sweep would have been of the greatest service to me ; but in this branch of art my education had been neglected, and it was with no small difficulty that I climbed up after the abbot, whom I saw striding and sprawling, in the attitude of a spread eagle, above my head. My slippers soon fell upon the head of a man under me, whom, on looking down, I found to be the reis, or captain of my boat, whose immense turban formed the whole of his costume. At least twenty men were scrambling and puffing underneath him, most of them having their clothes tied in a bundle on their heads, where they had secured them when they swam or waded to the shore. Arms and legs were stretched out in all manner of attitudes, the forms of the more distant climbers being lost in the gloom of the narrow cavern up which we were advancing, the procession being led by the unrobed ecclesiastics. Having climbed up about one hundred and twenty feet, we emerged, in a fine perspiration, on the face of the precipice, which had an unpleasant slope towards the Nile.”

A more agreeable ascent leads from thence to the monastery, a square walled building entered by a low doorway. The church he describes as “one of the earliest Christian buildings which has preserved its originality:” it is partly subterranean; the apsidal end is built in the recesses of an ancient stone quarry. It is constructed on the principle of Latin basilicas, not cruciform; the portion in which the congregation assemble being perfectly square, the roof supported by columns in advance of the walls, a lattice parting the sanctuary therefrom, which is much smaller and is reached by steps. That, and a small cell beside it, are cut in the rock, as shown in the plan given in Mr. Curzon’s valuable little volume.[12]

 

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[1] The full title of the book is, ‘Up the Nile, and Home Again: A Handbook for Travellers, and a Travel-Book for the Library.’

[2] In the middle of the bonnet is a rip, sown with crochet, which starts from above the forehead up to its third. This rip separates the two sets of six crosses on each side.

[3] Up the Nile, p. 124.

[4] Sir John Gardner Wilkinson in his ‘Modern Egypt and Thebes, being a description of Egypt, including information required for travellers in that country, V. p. 35 (London, 1843).

[5] Claudius Aelianus (175 – 235 AD), a Roman author.

[6] Sitteh in Arabic means, My Lady.

[7] Sittina in Arabic means, Our Lady.

[8] Necromancer is a person who practises necromancy; a wizard or magician. Necromancy is the supposed practice of communicating with the dead, especially in order to predict the future; or, witchcraft, sorcery or black magic in general.

[9] I do not think the writer is accurate here.

[10] Robert Curzon (1810 – 1873), the famous English traveller, diplomat and author; who wrote in 1849, ‘Visits to Monasteries in the Levant’.

[11] The Newfoundland dogs are dogs that originated from Canada (in the Dominion of Newfoundland, which is now part of Canada), and are either black, or white-and-black (Landseer). They are dogs originally used by fishermen; and are known for their giant size, intelligence, tremendous strength, calm disposition, and loyalty. They excel at water rescue because of their muscular build, thick double coat, webbed feet, and innate swimming abilities. (See: Daily Mail; August 27, 2010).

[12] The church is believed to have been built by Empress Helena (d. c. 330), mother of the Roman Emperor Constantine the Great (306 – 337), in AD 328, on the place the Holy Family landed on the Gabal al-Tayr.

A MOST RIDICULOUS CLAIM

August 13, 2017

Ridiculousness is a common currency, but some ridiculous matters are more ridiculous.

I have heard this claim: Since six of the so-called “the seven renowned ones”[1], authors of what is known as Al-Mu‘allaqāt al-Sabaa’h (المعلقات السبعة)[2], a group of seven long Arabic poems that are considered the best work of the pre-Islamic era, were Christian, we, the Copts, should embrace Arabic as a Christian language; adopt it; and take it as our own, speaking it and forgetting about reviving our Coptic language.

First, it is inaccurate that six of these dignitaries were Christian; but, second, even if the seven of them, not only six, were Christian, there could be nothing more ridiculous than to conclude from that that Arabic is a Christian language when almost 98% of its speakers are Muslim, or worse still, to suggest, based on that, that we, as Coptic Christians, should adopt Arabic as our language, and forget about our national language.

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[1] These seven are: Imru’ al-Qais, Labīd, Tarafa, Zuhayr ibn Abi Sulma, Antara Ibn Shaddad, Amr ibn Kulthum and Harith ibn Hilliza.

[2] Al-Mu‘allaqāt al-Saba’ah means “The Hanging Poems”, as they were hung on the wall of Ka’ba at Mecca.

 

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