{[Islamic Art –] The Word (2) [continued (14)][Rumi]}[14th April 1991]

[Redbook9:109-110][19910414:1104w]{[Islamic Art –] The Word (2) [continued (14)][Rumi]}[14th April 1991]

19910414:1104

[continued]

‘The most famous of the Persian mystical masnaris is by Mawlana (“Our Lord”) Jalaled-

Din ar-Rumi (died 1273)* and is known simply as the Masnari. It comprises some 26,000 verses and is a complete – though quite disorganised – encyclopaedia of all the mystical thought, theories, and images known in the 13^th century. It is regarded by most of the Persian-reading orders of the Sufis as second only in importance to the Quran. Its translation into many Islamic languages and the countless commentaries written on it up to the present day indicate its importance in the formation of Islamic poetry and religious thought.

Jalalad-Din, who hailed from Balkh and settled in Konya, the capital of the Rum, or Anatolian Seljuks (and hence was surnamed “Rumi”), was also the author of love lyrics whose beauty surpasses even that of the tales in the Masnari. Mystical love poetry had been written since the days of Sanai,** and theories of love had been explained in the most subtle prose and and sensitive verses by the Sufis of the early 12^th century.*** Yet Rumi’s experience of mystical love for the wandering mystic, Shams ad-Din of Tabriz, was so ardent and enraptured him to such an extent that he identified himself completely with Shams, going so far as to use the beloved’s name as his own pen-name. His dithyrambic lyrics, numbering more than 30,000 verses altogether, are not at all abstract or romantic. On the contrary, their vocabulary and imagery are taken direct from everyday life, so that they are vivid, fresh, and convincing. Often their rhythm invites the reader to partake in the mystical dance practised by Rumi’s followers, the Mawlawiyah. His verses sometimes approach the form of popular folk poetry; indeed, Rumi is reputed to have written mostly under inspiration; and despite his remarkable poetical technique, the sincerity of his love and longing is never overshadowed, nor is his personality veiled. In these respects he is unique in Persian literature.’

****

*{2048J~1280[ce]}

**{↑[[Redbook9:107-108][19910414:1104v]{[Islamic Art –] The Word (2) [continued (13)][Attar]}[14th April 1991],] 107}

***{2048A~J~1152[ce}

****– ibid [Encyclopaedia Britannica 22]: 55-56

(immediately following preceding extract)

{cf [[Redbook9:64-67][19910410:1202]{The Path (Tariqah)}[10th April 1991],] 64,

[[Redbook9:89][19910413:1056e]{Sufis}[13th April 1991],] 89,

[[Redbook9:105][19910414:1104r]{[Islamic Art –] The Word (2) [continued (9)] – Love and Death}[14th April 1991],] 105f}

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