|Mewlānā Jalāl ad-Dīn Muḥammad Balkhī
مولانا جلالالدین محمد بلخی
Jalal ad-Dīn Muhammad Rumi
|Title||Mewlānā (Classical Persian), Mowlānā (Modern Persian), and Mevlâna (Modern Turkish)|
Wakhsh (present-day Tajikistan)
|Died||17 December 1273 C.E.
Konya (present-day Turkey)
|Resting place||Konya (present-day Turkey)
|Region||Khwarazmian Empire (Balkh: –1212 and 1213–17; Samarkand: 1212–13)
Seljuk Sultanate of Rum (Malatya: 1217–19; Akşehir: 1219–22; Larende: 1222–28; Konya: 1228 until his death in 1273 AD.)
|Creed||Hanafi, Sufism; his followers formed the Mevlevi Order|
|Main interest(s)||Sufi poetry, Sufi whirling, Muraqaba, Dhikr|
|Notable idea(s)||Persian poetry, Ney and Sufi dance|
|Notable work(s)||Masnavi, Diwan-e Shams-e Tabrizi, Fihi Ma Fihi|
Jalāl ad-Dīn Muhammad Balkhī (Persian: جلالالدین محمد بلخى), also known as Jalāl ad-Dīn Muhammad Rūmī (جلالالدین محمد رومی), and more popularly in the English-speaking world simply as Rumi (30 September 1207 – 17 December 1273), was a 13th-century Persian poet, jurist, theologian, and Sufi mystic. Iranians, Turks, Afghans, Tajiks, and other Central Asian Muslims as well as the Muslims of the Indian subcontinent have greatly appreciated his spiritual legacy in the past seven centuries. Rumi's importance is considered to transcend national and ethnic borders. His poems have been widely translated into many of the world's languages and transposed into various formats. In 2007, he was described as the "most popular poet in America."
Rumi's works are written in Persian and his Mathnawi remains one of the purest literary glories of Persia, and one of the crowning glories of the Persian language. A Persian literary renaissance (in the 8th/9th century), alongside the development of Sufism, started in regions of Sistan, Khorāsān and Transoxiana and by the 10th/11th century, it reinforced the Persian language as the preferred literary and cultural language in the Persian world. His original works are widely read today in their original language across the Persian-speaking world (Iran, Tajikistan, Afghanistan and parts of Persian speaking Central Asia). Translations of his works are very popular in other countries. His poetry has influenced Persian literature as well as Urdu, Punjabi, Turkish and some other Iranic, Turkic and Indic languages written in Perso-Arabic script e.g. Pashto, Ottoman Turkish, Chagatai and Sindhi.
Jalāl ad-Dīn Muḥammad Balkhī (Persian: جلالالدین محمد بلخى Persian pronunciation: [dʒælɒːlæddiːn mohæmmæde bælxiː]) is also known as Jalāl ad-Dīn Muḥammad Rūmī (جلالالدین محمد رومی Persian pronunciation: [dʒælɒːlæddiːn mohæmmæde ɾuːmiː]). He is widely known by the sobriquet Mawlānā/Molānā (Persian: مولانا Persian pronunciation: [moulɒːnɒː]) in Iran and Afghanistan, and popularly known as Mevlâna in Turkey. According to the authoritative Rumi biographer Franklin Lewis of the University of Chicago, "[t]he Anatolian peninsula which had belonged to the Byzantine, or eastern Roman empire, had only relatively recently been conquered by Muslims and even when it came to be controlled by Turkish Muslim rulers, it was still known to Arabs, Persians and Turks as the geographical area of Rumi. As such, there are a number of historical personages born in or associated with Anatolia known as Rumi, literally “from Rome”. In Muslim countries, therefore, Jalal al-Din is not generally known as "Rumi"." The terms مولوی Mawlavi (Persian) and Mevlevi (Turkish) which mean "having to do with the master" are more often used for him.
Rumi was born to native Persian speaking parents, probably in the village of Wakhsh, a small town located at the river Wakhsh in Persia (in what is now Tajikistan). Wakhsh belonged to the larger province of Balkh (parts of now modern Afghanistan and Tajikistan), and in the year Rumi was born, his father was an appointed scholar there.
Greater Balkh was at that time a major center of a Persian culture and Khorasani Sufism had developed there for several centuries. Indeed, the most important influences upon Rumi, besides his father, are said to be the Persian poets Attar and Sanai. Rumi in one poem express his appreciation: "Attar was the spirit, Sanai his eyes twain, And in time thereafter, Came we in their train" and mentions in another poem: "Attar has traversed the seven cities of Love, We are still at the turn of one street". His father was also connected to the spiritual lineage of Najm al-Din Kubra.
He lived most of his life under the Persianate Seljuq Sultanate of Rum, where he produced his works  and died in 1273 AD. He was buried in Konya and his shrine became a place of pilgrimage. Following his death, his followers and his son Sultan Walad founded the Mevlevi Order, also known as the Order of the Whirling Dervishes, famous for its Sufi dance known as the Sama ceremony. He was laid to rest beside his father, and over his remains a splendid shrine was erected. A hagiographical account of him is described in Shams ud-Din Ahmad Aflāki's Manāqib ul-Ārifīn (written between 1318 and 1353). This hagiographical account of his biography needs to be treated with care as it contains both legends and facts about Rumi. For example, Professor Franklin Lewis, Chicago University, in the most complete biography on Rumi has a separate section for the hagiographical biography on Rumi and actual biography about him.
Rumi's father was Bahā ud-Dīn Walad, a theologian, jurist and a mystic from Wakhsh, who was also known by the followers of Rumi as Sultan al-Ulama or "Sultan of the Scholars". The popular hagiographer assertions that have claimed the family's descent from the Caliph Abu Bakr does not hold on closer examination and is rejected by modern scholars. The claim of maternal descent from the Khwarazmshah for Rumi or his father is also seen as a non-historical hagiographical tradition designed to connect the family with royalty, but this claim is rejected for chronological and historical reasons. The most complete genealogy offered for the family stretches back to six or seven generations to famous Hanafi Jurists.
We do not learn the name of Baha al-Din's mother in the sources, but only that he referred to her as "Māmi" (Colloquial Persian for Māma) and that she was a simple woman and that she lives in 13th century. The mother of Rumi was Mu'mina Khātūn. The profession of the family for several generations was that of Islamic preachers of the liberal Hanafi rite and this family tradition was continued by Rumi (see his Fihi Ma Fih and Seven Sermons) and Sultan Walad (see Ma'rif Waladi for examples of his everyday sermons and lectures).
When the Mongols invaded Central Asia sometime between 1215 and 1220, Baha ud-Din Walad, with his whole family and a group of disciples, set out westwards. According to hagiographical account which is not agreed upon by all Rumi scholars, Rumi encountered one of the most famous mystic Persian poets, Attar, in the Iranian city of Nishapur, located in the province of Khorāsān. Attar immediately recognized Rumi's spiritual eminence. He saw the father walking ahead of the son and said, "Here comes a sea followed by an ocean."[this quote needs a citation] He gave the boy his Asrārnāma, a book about the entanglement of the soul in the material world. This meeting had a deep impact on the eighteen-year-old Rumi and later on became the inspiration for his works.
From Nishapur, Walad and his entourage set out for Baghdad, meeting many of the scholars and Sufis of the city. From Baghdad they went to Hejaz and performed the pilgrimage at Mecca. The migrating caravan then passed through Damascus, Malatya, Erzincan, Sivas, Kayseri and Nigde. They finally settled in Karaman for seven years; Rumi's mother and brother both died there. In 1225, Rumi married Gowhar Khatun in Karaman. They had two sons: Sultan Walad and Ala-eddin Chalabi. When his wife died, Rumi married again and had a son, Amir Alim Chalabi, and a daughter, Malakeh Khatun.
On 1 May 1228, most likely as a result of the insistent invitation of 'Alā' ud-Dīn Key-Qobād, ruler of Anatolia, Baha' ud-Din came and finally settled in Konya in Anatolia within the westernmost territories of the Seljuk Sultanate of Rûm.
Baha' ud-Din became the head of a madrassa (religious school) and when he died, Rumi, aged twenty-five, inherited his position as the Islamic molvi. One of Baha' ud-Din's students, Sayyed Burhan ud-Din Muhaqqiq Termazi, continued to train Rumi in the Shariah as well as the Tariqa, especially that of Rumi's father. For nine years, Rumi practiced Sufism as a disciple of Burhan ud-Din until the latter died in 1240 or 1241. Rumi's public life then began: he became an Islamic Jurist, issuing fatwas and giving sermons in the mosques of Konya. He also served as a Molvi (Islamic teacher) and taught his adherents in the madrassa.
During this period, Rumi also traveled to Damascus and is said to have spent four years there.
It was his meeting with the dervish Shams-e Tabrizi on 15 November 1244 that completely changed his life. From an accomplished teacher and jurist, Rumi was transformed into an ascetic.
Shams had traveled throughout the Middle East searching and praying for someone who could "endure my company". A voice said to him, "What will you give in return?" Shams replied, "My head!" The voice then said, "The one you seek is Jalal ud-Din of Konya." On the night of 5 December 1248, as Rumi and Shams were talking, Shams was called to the back door. He went out, never to be seen again. It is rumored that Shams was murdered with the connivance of Rumi's son, 'Ala' ud-Din; if so, Shams indeed gave his head for the privilege of mystical friendship.
Rumi's love for, and his bereavement at the death of, Shams found their expression in an outpouring lyric poems, Divan-e Shams-e Tabrizi. He himself went out searching for Shams and journeyed again to Damascus. There, he realized:
Why should I seek? I am the same as
He. His essence speaks through me.
I have been looking for myself!
Mewlana had been spontaneously composing ghazals (Persian poems), and these had been collected in the Divan-i Kabir or Diwan Shams Tabrizi. Rumi found another companion in Salaḥ ud-Din-e Zarkub, a goldsmith. After Salah ud-Din's death, Rumi's scribe and favorite student, Hussam-e Chalabi, assumed the role of Rumi's companion. One day, the two of them were wandering through the Meram vineyards outside Konya when Hussam described to Rumi an idea he had had: "If you were to write a book like the Ilāhīnāma of Sanai or the Mantiq ut-Tayr of 'Attar, it would become the companion of many troubadours. They would fill their hearts from your work and compose music to accompany it." Rumi smiled and took out a piece of paper on which were written the opening eighteen lines of his Masnavi, beginning with:
Listen to the reed and the tale it tells,
How it sings of separation...
Hussam implored Rumi to write more. Rumi spent the next twelve years of his life in Anatolia dictating the six volumes of this masterwork, the Masnavi, to Hussam.
In December 1273, Rumi fell ill; he predicted his own death and composed the well-known ghazal, which begins with the verse:
How doest thou know what sort of king I have within me as companion?
Do not cast thy glance upon my golden face, for I have iron legs.
Rumi died on 17 December 1273 in Konya; his body was interred beside that of his father, and a splendid shrine, the Yeşil Türbe (Green Tomb, قبه الخضراء; today the Mevlâna Museum), was erected over his place of burial. His epitaph reads:
When we are dead, seek not our tomb in the earth, but find it in the hearts of men.
The 13th century Mevlâna Mausoleum, with its mosque, dance hall, dervish living quarters, school and tombs of some leaders of the Mevlevi Order, continues to this day to draw pilgrims from all parts of the Muslim and non-Muslim world. Jalal al-Din who is also known as Rumi, was a philosopher and mystic of Islam. His doctrine advocates unlimited tolerance, positive reasoning, goodness, charity and awareness through love. To him and to his disciples all religions are more or less truth. Looking with the same eye on Muslim, Jew and Christian alike, his peaceful and tolerant teaching has appealed to people of all sects and creeds.
The general theme of Rumi's thought, like that of other mystic and Sufi poets of Persian literature, is essentially that of the concept of tawhid — union with his beloved (the primal root) from which/whom he has been cut off and become aloof — and his longing and desire to restore it.
The Masnavi weaves fables, scenes from everyday life, Qur'anic revelations and exegesis, and metaphysics into a vast and intricate tapestry. In the East, it is said of him that he was "not a prophet — but surely, he has brought a scripture".[this quote needs a citation]
Rumi believed passionately in the use of music, poetry and dance as a path for reaching God. For Rumi, music helped devotees to focus their whole being on the divine and to do this so intensely that the soul was both destroyed and resurrected. It was from these ideas that the practice of whirling Dervishes developed into a ritual form. His teachings became the base for the order of the Mevlevi which his son Sultan Walad organized. Rumi encouraged Sama, listening to music and turning or doing the sacred dance. In the Mevlevi tradition, samāʿ represents a mystical journey of spiritual ascent through mind and love to the Perfect One. In this journey, the seeker symbolically turns towards the truth, grows through love, abandons the ego, finds the truth and arrives at the Perfect. The seeker then returns from this spiritual journey, with greater maturity, to love and to be of service to the whole of creation without discrimination with regard to beliefs, races, classes and nations.
In other verses in the Masnavi, Rumi describes in detail the universal message of love:
The lover’s cause is separate from all other causes
Love is the astrolabe of God's mysteries.
Rumi's poetry is often divided into various categories: the quatrains (rubayāt) and odes (ghazal) of the Divan, the six books of the Masnavi. The prose works are divided into The Discourses, The Letters, and the Seven Sermons.
- Rumi's major work is the Maṭnawīye Ma'nawī (Spiritual Couplets; مثنوی معنوی), a six-volume poem regarded by some Sufis as the Persian-language Qur'an. It is considered by many to be one of the greatest works of mystical poetry. It contains approximately 27000 lines of Persian poetry.
- Rumi's other major work is the Dīwān-e Kabīr (Great Work) or Diwan-e Shams-e Tabrizi|Dīwān-e Shams-e Tabrīzī (The Works of Shams of Tabriz; دیوان شمس تبریزی), named in honor of Rumi's master Shams. Besides approximately 35000 Persian couplets and 2000 Persian quatrains, the Divan contains 90 Ghazals and 19 quatrains in Arabic, a couple of dozen or so couplets in Turkish (mainly macaronic poems of mixed Persian and Turkish) and 14 couplets in Greek (all of them in three macaronic poems of Greek-Persian).
- Fihi Ma Fihi (In It What's in It, Persian: فیه ما فیه) provides a record of seventy-one talks and lectures given by Rumi on various occasions to his disciples. It was compiled from the notes of his various disciples, so Rumi did not author the work directly. An English translation from the Persian was first published by A.J. Arberry as Discourses of Rumi(New York: Samuel Weiser, 1972), and a translation of the second book by Wheeler Thackston, Sign of the Unseen(Putney, VT: Threshold Books, 1994). The style of the Fihi ma fihi are colloqual and are meant for middle-class men and women, and lack the sophisticated wordplay.
- Majāles-e Sab'a (Seven Sessions, Persian: مجالس سبعه) contains seven Persian sermons (as the name implies) or lectures given in seven different assemblies. The sermons themselves give a commentary on the deeper meaning of Qur'an and Hadeeth. The sermons also include quotations from poems of Sana'i, 'Attar, and other poets, including Rumi himself. As Aflakī relates, after Shams-e Tabrīzī, Rumi gave sermons at the request of notables, especially Salāh al-Dīn Zarkūb. The style of Persian is rather simple, but quotation of Arabic and knowledge of history and the Hadith show Rumi's knowledge in the Islamic sciences. His style is the typical of the genre of lectures given by Sufis and spiritual teachers.
- Makatib (The Letters, Persian: مکاتیب) is the book containing Rumi's letters in Persian to his disciples, family members, and men of state and of influence. The letters testify that Rumi kept very busy helping family members and administering a community of disciples that had grown up around them. Unlike the Persian style of the previous two mentioned work (which are lectures and sermons), the letters is consciously sophisticated and epistolar, which is in conformity with the expectations of correspondence directed to nobles, statement and kings.
Rumi was an evolutionary thinker in the sense that he believed that the spirit after devolution from the divine Ego undergoes an evolutionary process by which it comes nearer and nearer to the same divine Ego. All matter in the universe obeys this law and this movement is due to an inbuilt urge (which Rumi calls "love") to evolve and seek enjoinment with the divinity from which it has emerged. Evolution into a human being from an animal is only one stage in this process. The doctrine of the Fall of Adam is reinterpreted as the devolution of the Ego from the universal ground of divinity and is a universal, cosmic phenomenon. The French philosopher Henri Bergson's idea of life being creative and evolutionary is similar, though unlike Bergson, Rumi believes that there is a specific goal to the process: the attainment of God. For Rumi, God is the ground as well as the goal of all existence.
However Rumi need not be considered a biological evolutionary creationist. In view of the fact that Rumi lived hundreds of years before Darwin, and was least interested in scientific theories, it is probable to conclude that he does not deal with biological evolution at all. Rather he is concerned with the spiritual evolution of a human being: Man not conscious of God is akin to an animal and true consciousness makes him divine. Nicholson has seen this as a Neo-Platonic doctrine: the universal soul working through the various spheres of being, a doctrine introduced into Islam by Muslim philosophers like Al Farabi and being related at the same time to Ibn Sina's idea of love as the magnetically working power by which life is driven into an upward trend.
I died as a mineral and became a plant,
از جمادی مُردم و نامی شدم — وز نما مُردم به حیوان سرزدم
مُردم از حیوانی و آدم شدم — پس چه ترسم؟ کی ز مردن کم شدم؟
حملهٔ دیگر بمیرم از بشر — تا برآرم از ملائک بال و پر
وز ملک هم بایدم جستن ز جو — کل شیء هالک الا وجهه
بار دیگر از ملک پران شوم — آنچه اندر وهم ناید آن شوم
پس عدم گردم عدم چو ارغنون — گویدم کانا الیه راجعون
It is often said that the teachings of Rumi are ecumenical in nature. For Rumi, religion was mostly a personal experience and not limited to logical arguments or perceptions of the senses. Creative love, or the urge to rejoin the spirit to divinity, was the goal towards which every thing moves. The dignity of life, in particular human life (which is conscious of its divine origin and goal), was important.
ملت عشق از همه دینها جداست — عاشقان را ملت و مذهب خداست
The nation of Love has a different religion of all religions — For lovers, God alone is their religion
However, despite the aforementioned ecumenical attitude, and contrary to his contemporary portrayal in the West as a proponent of non-denominational spirituality, a number of Rumi poems suggest the importance of outward religious observance, the primacy of the Qur'an.
Flee to God's Qur'an, take refuge in it
there with the spirits of the prophets merge.
The Book conveys the prophets' circumstances
those fish of the pure sea of Majesty.
Seyyed Hossein Nasr states:
One of the greatest living authorities on Rûmî in Persia today, Hâdî Hâ'irî, has shown in an unpublished work that some 6,000 verses of the Dîwân and the Mathnawî are practically direct translations of Qur'ânic verses into Persian poetry.
Rumi states in his Dīwān:
His Masnavi contains anecdotes and stories derived largely from the Quran and the hadith, as well as everyday tales.
On the first page of the Masnavi, Rumi states:
"Hadha kitâbu 'l- mathnawîy wa huwa uSûlu uSûli uSûli 'd-dîn wa kashshâfu 'l-qur'ân."
This is the book of the Masnavi, and it is the roots of the roots of the roots of the (Islamic) Religion and it is the Explainer of the Qur'ân.[this quote needs a citation]
The famous (15th century) Sufi poet Jâmî, said of the Masnavi,
"Hast qur'ân dar zabân-é pahlawî"
It is the Qur'ân in the Persian tongue.
Rumi's poetry forms the basis of much classical Iranian and Afghan music (Eastern-Persian, Tajik-Hazara music). Contemporary classical interpretations of his poetry are made by Muhammad Reza Shajarian, Shahram Nazeri, Davood Azad (the three from Iran) and Ustad Mohammad Hashem Cheshti (Afghanistan). To many modern Westerners, his teachings are one of the best introductions to the philosophy and practice of Sufism. In the West Shahram Shiva has been teaching, performing and sharing the translations of the poetry of Rumi for nearly twenty years and has been instrumental in spreading Rumi's legacy in the English speaking parts of the world. Pakistan's National Poet, Muhammad Iqbal, was also inspired by Rumi's works and considered him to be his spiritual leader, addressing him as "Pir Rumi" in his poems (the honorific Pir literally means "old man", but in the Sufi/mystic context it means founder, master, or guide).
Shahram Shiva asserts that "Rumi is able to verbalize the highly personal and often confusing world of personal growth and development in a very clear and direct fashion. He does not offend anyone, and he includes everyone.... Today Rumi's poems can be heard in churches, synagogues, Zen monasteries, as well as in the downtown New York art/performance/music scene."
According to Professor Majid M. Naini, "Rumi's life and transformation provide true testimony and proof that people of all religions and backgrounds can live together in peace and harmony. Rumi’s visions, words, and life teach us how to reach inner peace and happiness so we can finally stop the continual stream of hostility and hatred and achieve true global peace and harmony.”
Rumi's work has been translated into many of the world's languages, including Russian, German, Urdu, Turkish, Arabic, Bengali, French, Italian, and Spanish, and is being presented in a growing number of formats, including concerts, workshops, readings, dance performances, and other artistic creations. The English interpretations of Rumi's poetry by Coleman Barks have sold more than half a million copies worldwide, and Rumi is one of the most widely read poets in the United States. Shahram Shiva book "Rending the Veil: Literal and Poetic Translations of Rumi" (1995, HOHM Press) is the recipient of the Benjamin Franklin Award.
Recordings of Rumi poems have made it to the USA's Billboard's Top 20 list. A selection of American author Deepak Chopra's editing of the translations by Fereydoun Kia of Rumi's love poems has been performed by Hollywood personalities such as Madonna, Goldie Hawn, Philip Glass and Demi Moore.
There is a famous landmark in Northern India, known as Rumi Gate, situated in Lucknow (the capital of Uttar Pradesh) named for Rumi.
پارسی گو گرچه تازی خوشتر است — عشق را خود صد زبان دیگر است
Say all in Persian even if Arabic is better — Love will find its way through all languages on its own.
These cultural, historical and linguistic ties between Rumi and Iran have made Rumi an iconic Iranian poet, and some of the most important Rumi scholars including Foruzanfar, Naini, Sabzewari, etc., have come from modern Iran. Rumi's poetry is displayed on the walls of many cities across Iran, sung in Persian music, and read in school books.
Mewlewī Sufi Order
The Mewlewī Sufi order was founded in 1273 by Rumi's followers after his death. His first successor in the rectorship of the order was "Husam Chalabi" himself, after whose death in 1284 Rumi's younger and only surviving son, Sultan Walad (died 1312), favorably known as author of the mystical Maṭnawī Rabābnāma, or the Book of the Rabab was installed as grand master of the order. The leadership of the order has been kept within Rumi's family in Konya uninterruptedly since then. The Mewlewī Sufis, also known as Whirling Dervishes, believe in performing their dhikr in the form of Sama. During the time of Rumi (as attested in the Manāqib ul-Ārefīn of Aflākī), his followers gathered for musical and "turning" practices.
According to tradition, Rumi was himself a notable musician who played the robāb, although his favorite instrument was the ney or reed flute. The music accompanying the samāʿ consists of settings of poems from the Maṭnawī and Dīwān-e Kabīr, or of Sultan Walad's poems. The Mawlawīyah was a well-established Sufi order in the Ottoman Empire, and many of the members of the order served in various official positions of the Caliphate. The center for the Mevlevi was in Konya. There is also a Mewlewī monastery (درگاه, dargāh) in Istanbul near the Galata Tower in which the samāʿ is performed and accessible to the public. The Mewlewī order issues an invitation to people of all backgrounds:
|“||Come, come, whoever you are,
Wanderer, idolater, worshiper of fire,
During Ottoman times, the Mevlevi produced a number of notable poets and musicians, including Sheikh Ghalib, Ismail Rusuhi Dede of Ankara, Esrar Dede, Halet Efendi, and Gavsi Dede, who are all buried at the Galata Mewlewī Khāna (Turkish: Mevlevi-Hane) in Istanbul. Music, especially that of the ney, plays an important part in the Mevlevi.
With the foundation of the modern, secular Republic of Turkey, Mustafa Kemal Atatürk removed religion from the sphere of public policy and restricted it exclusively to that of personal morals, behavior and faith. On 13 December 1925, a law was passed closing all the tekkes (or tekeyh) (dervish lodges) and zāwiyas (chief dervish lodges), and the centers of veneration to which pilgrimages (ziyārat) were made. Istanbul alone had more than 250 tekkes as well as small centers for gatherings of various fraternities; this law dissolved the Sufi Orders, prohibited the use of mystical names, titles and costumes pertaining to their titles, impounded the Orders' assets, and banned their ceremonies and meetings. The law also provided penalties for those who tried to re-establish the Orders. Two years later, in 1927, the Mausoleum of Mevlâna in Konya was allowed to reopen as a Museum.
In the 1950s, the Turkish government began allowing the Whirling Dervishes to perform once a year in Konya. The Mewlānā festival is held over two weeks in December; its culmination is on 17 December, the Urs of Mewlānā (anniversary of Rumi's death), called Šabe Arūs (شب عروس) (Persian meaning "nuptial night"), the night of Rumi's union with God. In 1974, the Whirling Dervishes were permitted to travel to the West for the first time. In 2005, UNESCO proclaimed the "The Mevlevi Sama Ceremony" of Turkey as one of the Masterpieces of the Oral and Intangible Heritage of Humanity.
According to Edward G. Browne, the three most prominent mystical Persian poets Rumi, Sanai and Attar were all Sunni Muslims and their poetry abounds with praise for the first two caliphs Abu Bakr and Umar ibn al-Khattāb. According to Annemarie Schimmel, the tendency among Shia authors to include leading mystical poets such as Rumi and Attar among their own ranks, became stronger after the introduction of Twelver Shia as the state religion in the Safavid Empire in 1501.
Eight hundredth anniversary celebrations
In Afghanistan, Rumi is known as Mawlānā, in Turkey as Mevlâna, and in Iran as Molavī.
At the proposal of the Permanent Delegations of Afghanistan, Iran, and Turkey, and as approved by its Executive Board and General Conference in conformity with its mission of “constructing in the minds of men the defences of peace”, UNESCO was associated with the celebration, in 2007, of the eight hundredth anniversary of Rumi's birth. The commemoration at UNESCO itself took place on 6 September 2007; UNESCO issued a medal in Rumi's name in the hope that it would prove an encouragement to those who are engaged in research on and dissemination of Rumi's ideas and ideals, which would, in turn, enhance the diffusion of the ideals of UNESCO.
The Afghan Ministry of Culture and Youth established a national committee which organized an international seminar to celebrate the birth and life of the great ethical philosopher and world-renowned poet. This grand gathering of the intellectuals, diplomats, and followers of Mewlana was held in Kabul and in Balkh, the Mewlana's place of birth.
On 30 September 2007, Iranian school bells were rung throughout the country in honor of Mewlana. Also in that year, Iran held a Rumi Week from 26 October to 2 November. An international ceremony and conference were held in Tehran; the event was opened by the Iranian president and the chairman of the Iranian parliament. Scholars from twenty-nine countries attended the events, and 450 articles were presented at the conference. Iranian musician Shahram Nazeri was awarded the Légion d'honneur and Iran's House of Music Award in 2007 for his renowned works on Rumi masterpieces. 2007 was declared as the "International Rumi Year" by UNESCO.
Also on 30 September 2007, Turkey celebrated Rumi’s eight-hundredth birthday with a giant Whirling Dervish ritual performance of the samāʿ, which was televised using forty-eight cameras and broadcast live in eight countries. Ertugrul Gunay, of the Ministry of Culture and Tourism, stated, "Three hundred dervishes are scheduled to take part in this ritual, making it the largest performance of sama in history."
Mawlana Rumi Review
The "Mawlana Rumi Review" (ISSN 2042-3357) is published annually by The Centre for Persian and Iranian Studies at the University of Exeter in collaboration with The Rumi Institute, Nicosia, Cyprus, and Archetype Books, Cambridge. The first volume was published in 2010 and it has come out annually since then. According to the principal editor of the journal, Leonard Lewisohn: "Although a number of major Islamic poets easily rival the likes of Dante, Shakespeare and Milton in importance and output, they still enjoy only a marginal literary fame in the West because the works of Arabic and Persian thinkers, writers and poets are considered as negligible, frivolous, tawdry sideshows beside the grand narrative of the Western Canon. It is the aim of the Mawlana Rumi Review to redress this carelessly inattentive approach to world literature, which is something far more serious than a minor faux pas committed by the Western literary imagination."
- Ritter, H.; Bausani, A. "ḎJ̲alāl al-Dīn Rūmī b. Bahāʾ al-Dīn Sulṭān al-ʿulamāʾ Walad b. Ḥusayn b. Aḥmad Ḵh̲aṭībī." Encyclopaedia of Islam. Edited by: P. Bearman, Th. Bianquis, C.E. Bosworth, E. van Donzel and W.P. Heinrichs. Brill, 2007. Brill Online. Excerpt: "known by the sobriquet Mewlānā, persian poet and founder of the Mewlewiyya order of dervishes"
- William Harmless, Mystics, (Oxford University Press, 2008), 167.
- Annemarie Schimmel, "I Am Wind, You Are Fire," p. 11. She refers to a 1989 article by the German scholar, Fritz Meier:
Tajiks and Persian admirers still prefer to call Jalaluddin 'Balkhi' because his family lived in Balkh, current day in Afghanistan before migrating westward. However, their home was not in the actual city of Balkh, since the mid-eighth century a center of Muslim culture in (Greater) Khorasan (Iran and Central Asia). Rather, as the Swiss scholar Fritz Meier has shown, it was in the small town of Wakhsh north of the Oxus that Baha'uddin Walad, Jalaluddin's father, lived and worked as a jurist and preacher with mystical inclinations. Franklin Lewis, Rumi Past and Present, East and West: The Life, Teachings, and Poetry of Jalâl al-Din Rumi, 2000, pp. 47–49.
- H. Ritter, 1991, DJALĀL al-DĪN RŪMĪ, The Encyclopaedia of Islam (Volume II: C-G), 393.
- C. E. Bosworth, 1988, BALḴ, city and province in northern Afghanistan, Encyclopaedia Iranica: Later, suzerainty over it passed to the Qarā Ḵetāy of Transoxania, until in 594/1198 the Ghurid Bahāʾ-al-Dīn Sām b. Moḥammad of Bāmīān occupied it when its Turkish governor, a vassal of the Qarā Ḵetāy, had died, and incorporated it briefly into the Ghurid empire. Yet within a decade, Balḵ and Termeḏ passed to the Ghurids’ rival, the Ḵᵛārazmšāh ʿAlāʾ-al-Dīn Moḥammad, who seized it in 602/1205-06 and appointed as governor there a Turkish commander, Čaḡri or Jaʿfar. In summer of 617/1220 the Mongols first appeared at Balḵ.
- Franklin D. Lewis, "Rumi: Past and Present, East and West: The life, Teaching and poetry of Jalal Al-Din Rumi", Oneworld Publication Limited, 2008 p. 9: "How is that a Pesian boy born almost eight hundred years ago in Khorasan, the northeastern province of greater Iran, in a region that we identify today as Central Asia, but was considered in those days as part of the greater Persian cultural sphere, wound up in central Anatolia on the receding edge of the Byzantine cultural sphere"
- Annemarie Schimmel, "The Mystery of Numbers",Oxford University Press, Apr 7, 1994. p. 51: "These examples are taken from the Persian mystic Rumi's work, not from Chinese, but they express the yang-yin relationship with perfect lucidity."
- Seyyed Hossein Nasr, "Islamic Art and Spirituality", Suny Press, 1987. p. 115: "Jalal al-Din was born in a major center of Persian culture, Balkh, from Persian speaking parents, and is the product of that Islamic Persian culture which in the 7th/13th century dominated the 'whole of the eastern lands of Islam and to which present day Persians as well as Turks, Afghans, Central Asian Muslims and the Muslims of the Indo-Pakistani subcontinent are heir. It is precisely in this world that the sun of his spiritual legacy has shone most brillianty during the past seven centuries. The father of Jalal al-Din, Muhammad ibn Husayn Khatibi, known as Baha al-Din Walad and entitled Sultan al-'ulama', was an outstanding Sufi in Balkh connected to the spiritual lineage of Najm al-Din Kubra."
- Charles Haviland (2007-09-30). "The roar of Rumi — 800 years on". BBC News. Retrieved 2007-09-30.
- Louis Gardet, "Religion and Culture" in the "The Cambridge History of Islam — part VIII: Islamic Society and Civilization” — edited by P. M. Holt, Ann K. S. Lambton, Bernard Lewis, Cambridge University Press (1977), p. 586: "It is sufficient to mention 'Aziz al-Din Nasafi, Farid al-Din 'Attar and Sa'adi, and above all Jalal al-Din Rumi, whose Mathnawi remains one of the purest literary glories of Persia"
- C.E. Bosworth, "Turkmen Expansion towards the west" in UNESCO HISTORY OF HUMANITY, Volume IV, titled "From the Seventh to the Sixteenth Century", UNESCO Publishing / Routledge, p. 391: "While the Arabic language retained its primacy in such spheres as law, theology and science, the culture of the Seljuk court and secular literature within the sultanate became largely Persianized; this is seen in the early adoption of Persian epic names by the Seljuk rulers (Qubād, Kay Khusraw and so on) and in the use of Persian as a literary language (Turkmen must have been essentially a vehicle for everyday speech at this time). The process of Persianization accelerated in the thirteenth century with the presence in Konya of two of the most distinguished refugees fleeing before the Mongols, Bahā' al-Dīn Walad and his son Mawlānā Jalāl al-Dīn Rūmī, whose Mathnawī, composed in Konya, constitutes one of the crowning glories of classical Persian literature."
- Franklin D. Lewis, "Rumi: Past and Present, East and West: The life, Teaching and poetry of Jalal Al-Din Rumi", Oneworld Publication Limited, 2008. p. 139: “Persian poetry and Sufism developed first in Khorasan, in the east of Iran..”
- Lazard, Gilbert "The Rise of the New Persian Language", in Frye, R. N., The Cambridge History of Iran, Cambridge: Cambridge University Press, 1995, Vol. 4, pp. 595–632. (Lapidus, Ira, 2002, A Brief History of Islamic Societies, "Under Arab rule, Arabic became the principal language for administration and religion. The substitution of Arabic for Middle Persian was facilitated by the translation of Persian classics into Arabic. Arabic became the main vehicle of Persian high culture, and remained such will into the eleventh century. Parsi declined and was kept alive mainly by the Zoroastrian priesthood in western Iran. The Arab conquests however, helped make Persian rather than Arabic the most common spoken language in Khurasan and the lands beyond the Oxus River. Paradoxically, Arab and Islamic domination created a Persian cultural region in areas never before unified by Persian speech. A new Persian evolved out of this complex linguistic situation. In the ninth century the Tahirid governors of Khurasan began to have the old Persian language written in Arabic script rather than in pahlavi characters. At the same time, eastern lords in the small principalities began to patronize a local court poetry in an elevated form of Persian. The new poetry was inspired by Arabic verse forms, so that Iranian patrons who did not understand Arabic could comprehend and enjoy the presentation of an elevated and dignified poetry in the manner of Baghdad. This new poetry flourished in regions where the influence of Abbasid Arabic culture was attenuated and where it had no competition from the surviving tradition of Middle Persian literary classics cultivated for religious purposes as in Western Iran." "In the western regions, including Iraq, Syria and Egypt, and the lands of the far Islamic west including North Africa and Spain, Arabic became the predominant language of both high literary culture and spoken discourse." pp. 125–132, Cambridge: Cambridge University Press.)
- Radio Free Europe/Radio Liberty © 2012 RFE/RL, Inc. All Rights Reserved. http://www.rferl.org/content/Interview_Many_Americans_Love_RumiBut_They_Prefer_He_Not_Be_Muslim/2122973.html.("Interview: 'Many Americans Love Rumi…But They Prefer He Not Be Muslim'")() accessed 08-14-2012
- (Franklin Lewis, "Rumi, Past and Present, East and West: The Life, Teachings and Poetry of Jalal al-Din Rumi", One World Publication Limited, 2008)(p. 9):
- Jalāl al-Dīn Rūmī (Maulana), Ibrahim Gamard, "Rumi and Islam: Selections from His Stories, Poems, and Discourses, Annotated & Explained", SkyLight Paths Publishing, Feb 1, 2004.
- Franklin Lewis: "On the question of Rumi's multilingualism (pages 315–17), we may still say that he spoke and wrote in Persian as a native language, wrote and converesd in Arabic as a learned "foreign" language and could at least get by at the market in Turkish and Greek (although some wildly extragavant claims have been made about his command of Attic Greek, or his native tongue being Turkish") (Lewis 2008:xxi). (Franklin Lewis, "Rumi, "Past and Present, East and West: The Life, Teachings and Poetry of Jalal al-Din Rumi", One World Publication Limited, 2008). Franklin also points out that: ”Living among Turks, Rumi also picked up some colloquial Turkish.”(Franklin Lewis, "Rumi, "Past and Present, East and West: The Life, Teachings and Poetry of Jalal al-Din Rumi", One World Publication Limited, 2008, p. 315). He also mentions Rumi composed thireen lines in Greek (Franklin Lewis, "Rumi, "Past and Present, East and West: The Life, Teachings and Poetry of Jalal al-Din Rumi", One World Publication Limited, 2008, p. 316). On Rumi's son, Sultan Walad, Franklin mentions: “Sultan Valad elsewhere admits that he has little knowledge of Turkish”(Sultan Walad): Franklin Lewis, "Rumi, "Past and Present, East and West: The Life, Teachings and Poetry of Jalal al-Din Rumi", One World Publication Limited, 2008, p. 239) and “Sultan Valad did not feel confident about his command of Turkish”(Franklin Lewis, Rumi Past and Present, East and West, Oneworld Publications, 2000, p. 240)
- Annemarie Schimmel, The Triumphal Sun: A Study of the Works of Jalaloddin Rumi, SUNY Press, 1993, p. 193: "Rumi's mother tongue was Persian, but he had learned during his stay in Konya, enough Turkish and Greek to use it, now and then, in his verse".
- Seyyed Hossein Nasr, "Islamic Art and Spirituality", Suny Press, 1987. p. 115: "Jalal al-Din was born in a major center of Persian culture, Balkh, from Persian speaking parents, and is the product of that Islamic Persian culture which in the 7th/13th century dominated the 'whole of the eastern lands of Islam and to which present day Persians as well as Turks, Afghans, Central Asian Muslims and the Muslims of the Indo-Pakistani and the Muslims of the Indo-Pakistani subcontinent are heir. It is precisely in this world that the sun of his spiritual legacy has shone most brilliantly during the past seven centuries. The father of Jalal al-Din, Muhammad ibn Husayn Khatibi, known as Baha al-Din Walad and entitled Sultan al-'ulama', was an outstanding Sufi in Balkh connected to the spiritual lineage of Najm al-Din Kubra."
- Franklin D. Lewis, "Rumi: Past and Present, East and West: The life, Teaching and poetry of Jalal Al-Din Rumi", Oneworld Publication Limited, 2008 p. 9: "How is that a Persian boy born almost eight hundred years ago in Khorasan, the northeastern province of greater Iran, in a region that we identify today as Central Asia, but was considred in those days as part of the greater Persian cultural sphere, wound up in central Anatolia on the receding edge of the Byzantine cultural sphere"
- Maqsood Jafrī, "The gleam of wisdom", Sigma Press, 2003. p. 238: "Rumi has influenced a large number of writers while on the other hand he himself was under the great influence of Sanai and Attar.
- A. J. Arberry, "Sufism: An Account of the Mystics of Islam",Courier Dover Publications, Nov 9, 2001. p. 141
- Seyyed Hossein Nasr, "The Garden of Truth: The Vision and Promise of Sufism, Islam's Mystical Tradition" HarperCollins, Sep 2, 2008. page 130: "Attar has traversed the seven cities of Love, We are still at the turn of one street!"
- Grousset, Rene, The Empire of the Steppes: A History of Central Asia, (Rutgers University Press, 2002), 157; "…the Seljuk court at Konya adopted Persian as its official language.".
- Aḥmad of Niǧde's "al-Walad al-Shafīq" and the Seljuk Past, A. C. S. Peacock, Anatolian Studies, Vol. 54, (2004), 97; With the growth of Seljuk power in Rum, a more highly developed Muslim cultural life, based on the Persianate culture of the Great Seljuk court, was able to take root in Anatolia
- Carter Vaughn Findley, “The Turks in World History”, Oxford University Press, Nov 11, 2004. p. 72: Meanwhile, amid the migratory swarm that Turkified Anatolia, the dispersion of learned men from the Persian-speaking east paradoxically made the Seljuks court at Konya a new center for Persian court culture, as exemplified by the great mystical poet Jelaleddin Rumi (1207–73).
- Barks, Coleman, Rumi: The Book of Love: Poems of Ecstasy and Longing, HarperCollins, 2005, p. xxv, ISBN 978-0-06-075050-3
- Note: Rumi's shrine is now known as the Mevlâna Museum in Turkey
- Franklin Lewis, Rumi Past and Present, East and West, Oneworld Publications, 2000.
How is it that a Persian boy born almost eight hundred years ago in Khorasan, the northeastern province of greater Iran, in a region that we identify today as Central Asia, but was considered in those days as part of the Greater Persian cultural sphere, wound up in Central Anatolia on the receding edge of the Byzantine cultural sphere, in which is now Turkey
- Franklin Lewis, Rumi Past and Present, East and West, Oneworld Publications, 2008 (revised edition). pp. 90–92: "Baha al-Din’s disciples also traced his family lineage to the first caliph, Abu Bakr (Sep 9; Af 7; JNO 457; Dow 213). This probably stems from willful confusion over his paternal great grandmother, who was the daughter of Abu Bakr of Sarakhs, a noted jurist (d. 1090). The most complete genealogy offered for family stretches back only six or seven generations and cannot reach to Abu Bakr, the companion and first caliph of the Prophet, who died two years after the Prophet, in C.E. 634 (FB 5–6 n.3)."
- H. Algar, “BAHĀʾ-AL-DĪN MOḤAMMAD WALAD“, Encyclopedia Iranica. There is no reference to such descent in the works of Bahāʾ-e Walad and Mawlānā Jalāl-al-Dīn or in the inscriptions on their sarcophagi. The attribution may have arisen from confusion between the caliph and another Abū Bakr, Šams-al-Aʾemma Abū Bakr Saraḵsī (d. 483/1090), the well-known Hanafite jurist, whose daughter, Ferdows Ḵātūn, was the mother of Aḥmad Ḵaṭīb, Bahāʾ-e Walad’s grandfather (see Forūzānfar, Resāla, p. 6). Tradition also links Bahāʾ-e Walad’s lineage to the Ḵᵛārazmšāh dynasty. His mother is said to have been the daughter of ʿAlāʾ-al-Dīn Moḥammad Ḵārazmšāh (d. 596/1200), but this appears to be excluded for chronological reasons (Forūzānfar, Resāla, p. 7) [dead link]
- (Ritter, H.; Bausani, A. "ḎJalāl al- Dīn Rūmī b. Bahāʾ al-Dīn Sulṭān al-ʿulamāʾ Walad b. Ḥusayn b. Aḥmad Ḵhaṭībī ." Encyclopaedia of Islam. Edited by: P. Bearman, Th. Bianquis, C.E. Bosworth, E. van Donzel and W.P. Heinrichs. Brill, 2009. Brill Online. Excerpt: "known by the sobriquet Mawlānā (Mevlâna), Persian poet and founder of the Mawlawiyya order of dervishes"): "The assertions that his family tree goes back to Abū Bakr, and that his mother was a daughter of the Ḵhwārizmshāh ʿAlāʾ al-Dīn Muḥammad (Aflākī, i, 8–9) do not hold on closer examination (B. Furūzānfarr, Mawlānā Ḏjalāl Dīn, Tehrān 1315, 7; ʿAlīnaḳī Sharīʿatmadārī, Naḳd-i matn-i mathnawī, in Yaghmā, xii (1338), 164; Aḥmad Aflākī, Ariflerin menkibeleri, trans. Tahsin Yazıcı, Ankara 1953, i, Önsöz, 44).")
- Franklin Lewis, Rumi Past and Present, East and West, Oneworld Publications, 2008 (revised edition). p. 44:“Baha al-Din’s father, Hosayn, had been a religious scholar with a bent for asceticism, occupied like his own father before him, Ahmad, with the family profession of preacher (khatib). Of the four canonical schools of Sunni Islam, the family adhered to the relatively liberal Hanafi rite. Hosayn-e Khatibi enjoyed such renown in his youth — so says Aflaki with characteristic exaggeration — that Razi al-Din Nayshapuri and other famous scholars came to study with him (Af 9; for the legend about Baha al-Din, see below, “The Mythical Baha al-Din”). Another report indicates that Baha al-Din’s grandfather, Ahmad al-Khatibi, was born to Ferdows Khatun, a daughter of the reputed Hanafite jurist and author Shams al-A’emma Abu Bakr of Sarakhs, who died circa 1088 (Af 75; FB 6 n.4; Mei 74 n. 17). This is far from implausible and, if true, would tend to suggest that Ahmad al-Khatabi had studied under Shams al-A’emma. Prior to that the family could supposedly trace its roots back to Isfahan. We do not learn the name of Baha al-Din’s mother in the sources, only that he referred to her as “Mama” (Mami), and that she lived to the 1200s.” (p. 44)
- Ahmed, Nazeer, Islam in Global History: From the Death of Prophet Muhammed to the First World War, p.58, Xlibris Corporation (2000), ISBN 978-0-7388-5962-0
- Hz. Mawlana and Shams by Sefik Can[dead link]
- The Essential Rumi. Translations by Coleman Barks, p. xx.
- Helminski, Camille. "Introduction to Rumi: Daylight". Archived from the original on July 16, 2011. Retrieved 2007-05-06.
- Nasr, Seyyed Hossein (1987). Islamic Art and Spirituality. SUNY Press. p. 120. ISBN 978-0-88706-174-5.
- Mevlâna Jalal al-din Rumi
- Maulana Rumi (25 May 2011). The Masnavi I Ma'navi of Rumi: Complete 6 Books. CreateSpace. ISBN 978-1-4635-1016-9. Retrieved 28 September 2011.
- Naini, Majid. The Mysteries of the Universe and Rumi's Discoveries on the Majestic Path of Love.
- Abdul Rahman Jami notes:
من چه گویم وصف آن عالیجناب — نیست پیغمبر ولی دارد کتاب
مثنوی معنوی مولوی — هست قرآن در زبان پهلوی
What can I say in praise of that great one?
He is not a Prophet but has come with a book;
The Spiritual Masnavi of Mowlavi
Is the Qur'an in the language of Pahlavi (Persian).
(Khawaja Abdul Hamid Irfani, "The Sayings of Rumi and Iqbal", Bazm-e-Rumi, 1976.)
- J.T.P. de Bruijn, "Comparative Notes on Sanai and 'Attar", The Heritage of Sufism, L. Lewisohn, ed., p. 361: "It is common place to mention Hakim Sana'i (d. 525/1131) and Farid al-Din 'Attar (1221) together as early highlights in a tradition of Persian mystical poetry which reached its culmination in the work of Mawlana Jalal al-Din Rumi and those who belonged to the early Mawlawi circle. There is abundant evidence available to prove that the founders of the Mawlawwiya in the thirteenth and fourteenth centuries regarded these two poets as their most important predecessors"
- Franklin Lewis, Rumi Past and Present, East and West, Oneworld Publications, 2008 (revised edition). p. 306: "The manuscripts versions differ greatly in the size of the text and orthography. Nicholson’s text has 25,577 lines though the average medieval and early modern manuscripts contained around 27,000 lines, meaning the scribes added two thousand lines or about eight percent more to the poem composed by Rumi. Some manuscripts give as many as 32000!"
- Franklin D. Lewis, Rumi: Past and Present, East and West: The Life, Teaching, and Poetry of Jalâl al-Din Rumi, rev. ed. (2008). p. 314: “The Foruzanfar’s edition of the Divan-e Shams compromises 3229 ghazals and qasidas making a total of almost 35000 lines, not including several hundred lines of stanzaic poems and nearly two thousand quatrains attributed to him”
- Dar al-Masnavi Website, accessed December 2009: According to the Dar al-Masnavi website: “In Forûzânfar's edition of Rumi's Divan, there are 90 ghazals (Vol. 1, 29;Vol. 2, 1; Vol. 3, 6; Vol. 4, 8; Vol. 5, 19, Vol. 6, 0; Vol. 7, 27) and 19 quatrains entirely in Arabic. In addition, there are ghazals which are all Arabic except for the final line; many have one or two lines in Arabic within the body of the poem; some have as many as 9–13 consecutive lines in Arabic, with Persian verses preceding and following; some have alternating lines in Persian, then Arabic; some have the first half of the verse in Persian, the second half in Arabic.”
- Mecdut MensurOghlu: “The Divan of Jalal al-Din Rumi contains 35 couplets in Turkish and Turkish-Persian which have recently been published me” (Celal al-Din Rumi’s turkische Verse: UJb. XXIV (1952), pp. 106–115)
- Franklin D. Lewis, Rumi: Past and Present, East and West: The Life, Teaching, and Poetry of Jalâl al-Din Rumi, rev. ed. (2008): "“a couple of dozen at most of the 35,000 lines of the Divan-I Shams are in Turkish, and almost all of these lines occur in poems that are predominantly in Persian”"
- Dedes, D. 1993. Ποίηματα του Μαυλανά Ρουμή [Poems by Rumi]. Ta Istorika 10.18–19: 3–22. see also 
- Franklin D. Lewis, Rumi: Past and Present, East and West: The Life, Teaching, and Poetry of Jalâl al-Din Rumi, rev. ed. (2008): "Three poems have bits of demotic Greek; these have been identified and translated into French, along with some Greek verses of Sultan Valad. Golpinarli (GM 416–417) indicates according to Vladimir Mir Mirughli, the Greek used in some of Rumi’s macaronic poems reflects the demotic Greek of the inhabitants of Anatolia. Golpinarli then argues that Rumi knew classical Persian and Arabic with precision, but typically composes poems in a more popular or colloquial Persian and Arabic.".
- Franklin Lewis, Rumi: Past and Present, East and West — The Life, Teachings, and Poetry of Jalal al-Din Rumi, Oneworld Publications, 2000, Chapter 7.
- “As Safa points out (Saf 2:1206) the Discourse reflect the stylistics of oral speech and lack the sophisticated word plays, Arabic vocabulary and sound patterning that we would except from a consciously literary text of this period. Once again, the style of Rumi as lecturer or orator in these discourses does not reflect an audience of great intellectual pretensions, but rather middle-class men and women, along with number of statesmen and rulers”” (Franklin Lewis, Rumi Past and Present, East and West, Oneworld Publications, 2008 (revised edition). p. 292)
- Franklin Lewis, Rumi Past and Present, East and West, Oneworld Publications, 2008 (revised edition). p. 293
- Franklin Lewis, Rumi Past and Present, East and West, Oneworld Publications, 2008 (revised edition). p. 295:“In contrast with the prose of his Discourses and sermons, the style of the letters is consciously sophisticated and epistolary, in conformity with the expectations of correspondence directed to nobles, statement and kings"
- M.M. Sharif, A History of Muslim Philosophy, Vol II, p. 827.
- M.M. Sharif, A History of Muslim Philosophy, Vol II, p. 828.
- The triumphal sun By Annemarie Schimmel. p. 328
- Various Scholars such as Khalifah Abdul Hakim (Jalal al-Din Rumi), Afzal Iqbal (The Life and Thought of Rumi), and others have expressed this opinion; for a direct secondary source, see citation below.
- Khalifah Abdul Hakim, "Jalal al-Din Rumi" in M.M. Sharif, ed., A History of Muslim Philosophy, Vol II.
- Lewis 2000, pp. 407–408
- Lewis 2000, p. 408
- Seyyed Hossein Nasr, "Rumi and the Sufi Tradition," in Chelkowski (ed.), The Scholar and the Saint, p. 183
- Quoted in Ibrahim Gamard, Rumi and Islam: Selections from His Stories, Poems, and Discourses — Annotated and Explained, p. 171.
- Arthur John Arberry, "Tales from the Masnavi", Psychology Press, Apr 17, 2002. p. 11: "called by the poet Jami 'the Koran in the Persian tongue'
- Said, Farida. "REVIEWS: The Rumi craze". Archived from the original on 2007-09-27. Retrieved 2007-05-19.
- From Dr. Naini's programs
- From Rumi Network
- The Diploma of Honorary Doctorate of the University of Tehran in the field of Persian Language and Literature will be granted to Professor Coleman Barks
- Curiel,Jonathan, San Francisco Chronicle Staff Writer, Islamic verses: The influence of Muslim literature in the United States has grown stronger since the Sept. 11 attacks (February 6, 2005), Available online (Retrieved Aug 2006)
- Central Bank of the Republic of Turkey. Banknote Museum: 7. Emission Group — Five Thousand Turkish Lira — I. Series, II. Series & III. Series. — Retrieved on 20 April 2009. Archived 2 June 2009 at WebCite
- Franklin Lewis, Rumi Past and Present, East and West, Oneworld Publications, 2000.
- See for example 4th grade Iranian school book where the story of the Parrot and Merchant from the Mathnawi is taught to students
- ISCA — The Islamic Supreme Council of America Archived July 26, 2011 at the Wayback Machine
- "Mevlâna Celâleddin Rumi". Retrieved 2007-05-19.
- About the Mevlevi Order of America
- Hanut, Eryk (2000). Rumi: The Card and Book Pack : Meditation, Inspiration, Self-discovery. The Rumi Card Book. Tuttle Publishing. xiii. ISBN 978-1-885203-95-3.
- Web Page Under Construction
- Mango, Andrew, Atatürk: The Biography of the Founder of Modern Turkey, (2002), ISBN 978-1-58567-011-6.
- Kloosterman Genealogy, Jalal al-Din Muhammad Rumi
- The Mevlevi Sema Ceremony UNESCO.
- Edward G. Browne, A Literary History of Persia from the Earliest Times Until Firdawsh, 543 pp., Adamant Media Corporation, 2002, ISBN 978-1-4021-6045-5, ISBN 978-1-4021-6045-5 (see p.437)
- Annemarie Schimmel, Deciphering the Signs of God, 302 pp., SUNY Press, 1994, ISBN 978-0-7914-1982-3, ISBN 978-0-7914-1982-3 (see p.210)
- Today'S Zaman
- UNESCO: 800th Anniversary of the Birth of Mawlana Jalal-ud-Din Balkhi-Rumi. — Retrieved on 22 April 2009.
- UNESCO. Executive Board; 175th; UNESCO Medal in honour of Mawlana Jalal-ud-Din Balkhi-Rumi; 2006
- http://www.iran-daily.com/1385/2690/pdf/i12.pdf Archived June 29, 2011 at the Wayback Machine
- Ministry of Foreign Affairs Afghanistan — Rumi's 800 Anniversary
- همشهری آنلاین
- Int'l congress on Molana opens in Tehran
- Iran Daily — Arts & Culture — 10/03/06[dead link]
- CHN | News
- Podcast Interview with Coleman Barks on Rumi
- tehrantimes.com, 300 dervishes whirl for Rumi in Turkey
- Leonard Lewisohn, Editor’s Note to Mawlana Rumi Review.
- Ma-Aarif-E-Mathnavi A commentary of the Mathnavi of Maulana Jalaluddin Rumi (R.A.), by Hazrat Maulana Hakim Muhammad Akhtar Saheb (D.B.), 1997.
- The Sufi Path of Love: The Spiritual Teachings of Rumi, by William Chittick, Albany: SUNY Press, 1983.
- The Mysteries of the Universe and Rumi's Discoveries on the Majestic Path of Love, by Majid M. Naini, Universal Vision & Research, 2002 ISBN 978-0-9714600-0-3 www.naini.net
- The Mesnevi of Mevlâna Jelālu'd-dīn er-Rūmī. Book first, together with some account of the life and acts of the Author, of his ancestors, and of his descendants, illustrated by a selection of characteristic anecdotes, as collected by their historian, Mevlâna Shemsu'd-dīn Ahmed el-Eflākī el-'Arifī, translated and the poetry versified by James W. Redhouse, London: 1881. Contains the translation of the first book only.
- Masnaví-i Ma'naví, the Spiritual Couplets of Mauláná Jalálu'd-din Muhammad Rúmí, translated and abridged by E. H. Whinfield, London: 1887; 1989. Abridged version from the complete poem. On-line editions at sacred-texts.com and on wikisource.
- The Masnavī by Jalālu'd-din Rūmī. Book II, translated for the first time from the Persian into prose, with a Commentary, by C.E. Wilson, London: 1910.
- The Mathnawí of Jalálu'ddín Rúmí, edited from the oldest manuscripts available, with critical notes, translation and commentary by Reynold A. Nicholson, in 8 volumes, London: Messrs Luzac & Co., 1925–1940. Contains the text in Persian. First complete English translation of the Mathnawí.
- Rending The Veil: Literal and Poetic Translations of Rumi, translated by Shahram Shiva Hohm Press, 1995 ISBN 978-0-934252-46-1. Recipient of Benjamin Franklin Award.
- Hush, Don't Say Anything to God: Passionate Poems of Rumi, translated by Shahram Shiva Jain Publishing, 1999 ISBN 978-0-87573-084-4.
- The Essential Rumi, translated by Coleman Barks with John Moyne, A. J. Arberry, Reynold Nicholson, San Francisco: Harper Collins, 1996 ISBN 978-0-06-250959-8; Edison (NJ) and New York: Castle Books, 1997 ISBN 978-0-7858-0871-8. Selections.
- The Illuminated Rumi, translated by Coleman Barks, Michael Green contributor, New York: Broadway Books, 1997 ISBN 978-0-7679-0002-7.
- The Masnavi: Book One, translated by Jawid Mojaddedi, Oxford World's Classics Series, Oxford University Press, 2004 ISBN 978-0-19-280438-9. Translated for the first time from the Persian edition prepared by Mohammad Estelami with an introduction and explanatory notes. Awarded the 2004 Lois Roth Prize for excellence in translation of Persian literature by the American Institute of Iranian Studies.
- Divani Shamsi Tabriz, translated by Nevit Oguz Ergin as Divan-i-kebir, published by Echo Publications, 2003 ISBN 978-1-887991-28-5.
- The rubais of Rumi: insane with love, translations and commentary by Nevit Oguz Ergin and Will Johnson, Inner Traditions, Rochester, Vermont, 2007, ISBN 978-1-59477-183-5.
- The Masnavi: Book Two, translated by Jawid Mojaddedi, Oxford World's Classics Series, Oxford University Press, 2007. ISBN 978-0-19-921259-0. The first ever verse translation of the unabridged text of Book Two, with an introduction and explanatory notes.
- Mystical Poems of Rumi, Translated by A. J. Arberry, (University of Chicago Press, 2009)
- The quatrains of Rumi: Complete translation with Persian text, Islamic mystical commentary, manual of terms, and concordance, translated by Ibrahim W. Gamard and A. G. Rawan Farhadi, 2008.
- The Soul of Rumi: A New Collection of ECS+A+IC Poems, translations by Coleman Barks, Harper One, 2002.
- The Hundred Tales of Wisdom, a translation by Idries Shah of the Manāqib ul-Ārefīn of Aflākī, Octagon Press 1978. Episodes from the life of Rumi and some of his teaching stories.
Life and work
- Fatemeh Keshavarz, "Reading Mystical Lyric: The Case of Jalal al-Din Rumi", University of South Carolina Press, 1998. ISBN 978-1-57003-180-9.
- Mawlana Rumi Review mawlanarumireview.com. An annual review devoted to Rumi. Archetype, 2010. ISBN 978-1-901383-38-6.
- Seyyed Hossein Nasr, Islamic Art and Spirituality, Albany: SUNY Press, 1987, chapters 7 and 8.
- William Chittick, The Sufi Doctrine of Rumi: Illustrated Edition, Bloomington: World Wisdom, 2005.
- Annemarie Schimmel, The Triumphal Sun: A Study of the Works of Jalaloddin Rumi, Albany: SUNY Press, 1993.
- Majid M. Naini, The Mysteries of the Universe and Rumi's Discoveries on the Majestic Path of Love, Universal Vision & Research, 2002, ISBN 978-0-9714600-0-3
- Franklin Lewis, Rumi Past and Present, East and West, Oneworld Publications, 2000. ISBN 978-1-85168-214-0
- Leslie Wines, Rumi: A Spiritual Biography, New York: Crossroads, 2001 ISBN 978-0-8245-2352-7.
- Rumi's Thoughts, edited by Seyed G Safavi, London: London Academy of Iranian Studies, 2003.
- Şefik Can, Fundamentals of Rumi's Thought: A Mevlevi Sufi Perspective, Sommerset (NJ): The Light Inc., 2004 ISBN 978-1-932099-79-9.
- Rumi's Tasawwuf and Vedanta by R M Chopra in Indo Iranica Vol. 60
- E.G. Browne, History of Persia, four volumes, 1998 ISBN 978-0-7007-0406-4. 2,256 pages, and twenty-five years in the writing.
- Jan Rypka, History of Iranian Literature, Reidel Publishing Company; 1968 OCLC 460598. ISBN 978-90-277-0143-5
- "RUMI: His Teachings And Philosophy" by R.M. Chopra, Iran Society, Kolkata (2007).
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On-line texts and translations of Rumi
- Works by Rumi on Open Library at the Internet Archive
- Maulana Jalaluddin Balkhy Site Vancouver Canada مولانا جلال الدین محمد بلخى
- Guardian newspaper series of articles on Rumi, by Franklin Lewis
- Fatemeh Keshavarz, Speaking of Faith: The Ecstatic Faith of Rumi, with Krista Tippet, American Public Media, December 13, 2007
- Extensive collection of pictures of the Mevlâna Museum in Konya
- A Study about the Persian Cultural Legacy and Background of the Sufi Mystics Shams Tabrizi and Jalal al-Din Rumi also here  (In various formats)(Ragozar Minutalab, Creative License (free publication), 2009)
- Four new translations of Rumi poems by Coleman Barks
- Rumi Network, hosted by Shahram Shiva, contains Rumi poetry and his untold life story
- Rumi poetry set to beautiful Persian Music on Mp3 and CD
- Dar al Masnavi, several English versions of selections by different translators.
- Quatrains at Iranian.com
- English translation of Rumi's Book of Love
- complete Ghazals of Rumi's large Deewan-e-Shams in Persian single free pdf file uploaded by Javed Hussen
- Original Persian / Farsi text of Rumi's work
- The Foundation of Universal Lovers of Mevlâna Jelaluddin Rumi (EMAV)
- Iranian studies site
- Rumi Network
- The Threshold Society and Mevlevi Order
- The Mevlevi Order of America. [This organization and the one above are unaffiliated with each other]
- Official website of the Family of Jalal al-Din Muhammad Rumi
- RumiOnFire.com — A Tribute to Rumi
- What goes round... — The Guardian, November 5, 2005
- Rumi Lectures at Harvard University
- Rumi and the Tradition of Sufi Poetry
- Treasures of Persian Literature, by Professor Behrouz Homayoun Far
- Guernica Magazine (guernicamag.com) on the 800th anniversary of Rumi's birth
- Sermon on Rumi by UU Minister John Young
- Can Rumi Save Us Now?
|Sufism and Tariqa|