Rumi

Persian philosopher Medieval
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Name: Jalāl ad-Dīn Muhammad Rūmī
Birth: 1207 C.E.
Death: 1273 C.E.
School/tradition: Sufism, possibly influenced by Shiism
Main interests
lyric poetry, music
Notable ideas
Middle Eastern music, Sufi poetry, Sufi philosophy, and Sufi dance
Influences	Influenced
Attar, Shams-e Tabrizi	Muhammad Iqbal

Mawlānā Jalāl ad-Dīn Muhammad Rūmī (مولانا جلال الدین محمد رومی,) , known to the English-speaking world simply as Rumi, (1207 — 1273 C.E.) was a 13th century Persian (Tājīk) poet, jurist, and theologian. His name literally means "Majesty of Religion."'

Rumi was born in Balkh (then a city of Greater Khorasan in Persia, now part of Afghanistan) and died in Konya (in present-day Turkey). His birthplace and native tongue indicate a Persian heritage. He also wrote his poetry in Persian and his works are widely read in Iran, Afghanistan, Tajikistan, and Turkey. He lived most of his life and produced his works under the Seljuk Empire.

The ecstatic and wondrous spiritual writings of the Persian poet and philosopher Jalaludin Rumi left a lasting impression on Sufism, the mystical practice of Islam. Rumi wrote over 65,000 verses of intoxicated poetry on the Sufi path of passionate love and spiritual understanding (Loutfy & Berguno, 2005). His songs express the pain of being separated from the Beloved and the joy of union with Him (Chittick, 2000). The Persian world, from Turkey to India, looks upon Rumi as the greatest spiritual poet, and he is more widely recognized as one of the greatest Sufi poets in history (Chittick, 2000). Over the last century, Rumi’s poetry has spread from the Islamic world and into the Western world (Tell, 2002). The lyrical beauty of his outpourings of love for the Divine has helped to make him one of the most popular and best-selling poets in America (Tell, 2002).

After Rumi's death, his followers founded the Mevlevi Order, better known as the "Whirling Dervishes", who believe in performing their worship in the form of dance and music ceremony called the sema. Rumi's importance is considered to transcend national and ethnic borders. He has had a significant influence on both Persian and Turkish literature throughout the centuries. His poems have been translated into many of the world's languages and have appeared in various formats.

Life

Rumi was born in 1207 in Balkh, in what is present-day Afghanistan (Chittick, 2000; El-Zein, 2000; Tell, 2002). He was a descendent of a family full of Islamic theologians and mystics; his father, Baha’al’Din Valad was respected in his community as a teacher, Sufi mystic and theologian (Chittick, 2000; Tell, 2002).

But the family was uprooted from their comfortable life and their home when the Mongols invaded Balkh (Chittick, 2000). The twelve-year-old Rumi and his family went into exile for about ten years, in which time Rumi’s mother died (Tell, 2002). Certain scholars believe the turbulence and uncertainty of Rumi’s young life played a role in his future development as a mystic and a poet (Tell, 2002).

After his family finally settled in the Muslim city of Konia, in what is now Turkey, Rumi also lost his father. Rumi, who was in his twenties at the time, took up his father’s role as head of their religious community (El-Zein, 2000).

Rumi achieved much success in Konia, marrying, having children, and gaining a following for his teaching and scholarship (Tell, 2002). But at the time, he had no desire to be a poet, saying, “By Allah, I care nothing for poetry, and there is nothing worse in my eyes than that” (Tell, 2002).

But Rumi’s views would change after meeting his spiritual teacher, Shams al-Din of Tabriz (El-Zein, 2000). There are several stories explaining how Rumi met the wandering dervish: in one version, Shams interrupted Rumi in the middle of a lecture and threw Rumi’s books into a pool of water. In a similar story, Shams waved his hand over Rumi’s books, engulfing them in flames (Tell, 2002).

In a third version, Rumi was riding into town on a mule with his students when a strange figure in a cloak, Shams, approached him and asked him a simple question, which he was not able to answer correctly (Tell, 2002).

Each version demonstrates what Shams taught Rumi, which was that book-learning was limited. Only the pursuit of divine love would lead to true enlightenment, Shams explained (Tell, 2002).

Rumi spent six months with Shams learning the mysteries of the absolute (El-Zein, 2000).

Rumi underwent a transformation palpable to those close to him and his son wrote, “After meeting Shams, my father danced all day and sang all night. He had been a scholar – he became a poet. He had been an ascetic – he became drunk with love.” (Tell, 2002).

Thus, at the age of 37, Rumi changed from the sober intellectual into the ecstatic Sufi follower from whom poetry flowed (El-Zein, 2000; Tell, 2002).

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Rumi in pensive mood

Rumi's life is described in Shams ud-Din Ahmad Aflāki's "Manākib ul-Ārifīn" (written between 1318 and 1353). He is described as a descendant of the caliph Abu Bakr, and of the Khwārizm-Shāh Sultān Alā ud-Dīn bin Takash (1199–1220), whose only daughter, Mālika-e Jahān, had allegedly been married to Rumi's grandfather. However, both claims are rejected by modern scholars.

When the Mongols invaded Central Asia sometime between 1215 and 1220, his father (Bahauddin Walad, a theologian, jurist and a mystic of uncertain lineage) set out westwards with his whole family and a group of disciples. On the road to Anatolia, Rumi encountered one of the most famous mystic Persian poets, Attar, in the city of Nishapur, located in what is now the Iranian 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." He gave the boy his Asrarnama, a book about the entanglement of the soul in the material world. This meeting had a deep impact on the eighteen-year-old Rumi's thoughts, which later on became the inspiration for Rumi's works.

From Nishapur, Walad and his entourage set out for Baghdad, meeting many of the scholars and Sufis of the city. From there they went to the Hejaz and performed the pilgrimage at Mecca. It was after this journey that most likely as a result of the invitation of Allāh ud-Dīn Key-Qobād, ruler of Anatolia, Bahauddin came to Asia Minor and finally settled in Konya in Anatolia within the westernmost territories of Seljuk Empire.

Bahauddin became the head of a madrassa (religious school) and when he died Rumi succeeded him at the age of twenty-five. One of Bahauddin's students, Syed Burhanuddin Mahaqqiq, continued to train Rumi in the religious and mystical doctrines of Rumi's father. For nine years, Rumi practiced Sufism as a disciple of Burhanuddin until the latter died in 1240-1. During this period Rumi also travelled to Damascus and is said to have spent four years there.

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Rumi and the whirling dervishes

It was his meeting with the dervish Shams Tabrizi in the late fall of 1244 that changed his life completely. Shams had traveled throughout the Middle East searching and praying for someone who could "endure my company". A voice came, "What will you give in return?" "My head!" "The one you seek is Jelaluddin of Konya." On the night of December 5, 1248, as Rumi and Shams were talking, Shams was called to the back door. He went out, never to be seen again. It is believed that he was murdered with the connivance of Rumi's son, Allaedin; if so, Shams indeed gave his head for the privilege of mystical friendship.

Rumi's love and his bereavement for the death of Shams found their expression in an outpouring of music, dance and lyric poems, Divani Shamsi 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!

For more than ten years after meeting Shams, Mevlana had been spontaneously composing ghazals, and these had been collected in the Divan-i Kabir. Rumi found another companion in Saladin Zarkub, the goldsmith. After Saladin's death, Rumi's scribe and favorite student Husam Chelebi assumed the role. One day, the two of them were wandering through the Meram vineyards outside of Konya when Husam described an idea he had to Rumi: "If you were to write a book like the Ilahiname of Sanai or the Mantik'ut-Tayr'i 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 Mathnawi, beginning with:

Listen to the reed and the tale it tells,

How it sings of separation...

Husam implored Rumi to write more. Rumi spent the next twelve years of his life in Anatolia dictating the six volumes of this masterwork, the Mathnawi to Husam. 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.

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Rumi`s tomb in Konya

He died on December 17, 1273 in Konya; Rumi was laid to rest beside his father, and a splendid shrine, the Yeşil Türbe "Green Tomb", was erected over his tomb. His epitaph reads:

"When we are dead, seek not our tomb in the earth, but find it in the hearts of men."

Poetry

Rumi’s three most seminal texts are the Diwan-I Shams-I Tabriz, the Rubaiyat and the the Mathnawi (Omaima, 1994, Tell, 2002). The works express mystical odes and lore and a certain madness in the experience of the divine (Tell, 2002). Rumi acknowledged that his poetry, and language in general, was a limited way to express union with the Beloved, but he believed that language could trace the shadow of divine love (Chittick, 2000). :“Someone asked, “What is loverhood?” :I replied, “Don’t ask me about these meanings – :“When you become like me, you’ll know; :When it calls you, you’ll tell its tale. :What is it to be a lover? To have perfect thirst. :So let me explain the water of life.” (Chittick, 2000).

Love, as Rumi explains it, was the motive for God’s creation of the cosmos (Chittick, 2000). God’s love sustains the universe, and as He continues to love, he creates an ever-growing and changing universe. Rumi writes that God’s all-pervasive divine love is expressed in sexual union to further expand the cosmos (Chittick, 2000). :“God’s wisdom through His destiny and decree :Made us lovers one of another. :That foredainment paired all the world’s parts :And set each in love with its mate… :The female inclines towards the male :So that each may perfect the other’s work. :God placed inclination in man and woman :So the world may subsist through their union” (Chittick, 2000).

Not all of his writings clearly express they are referring to love for the Beloved, a vagueness that is further heightened in Persian because pronouns have no gender and there are no capital letters (Chittick, 2000). But Rumi considers all love to be, in reality, the divine love for Allah. Although people love one another and beautiful objects of the world, these are only reflections of the Beloved and as such, are a distraction from the truth (Chittick, 2000).

“When people leave this world and see the Eternal King without these veils, they will know that all these were veils and coverings and that the object of their desire was in reality that One Thing” (Chittick, 2000).

When people realize the only truth is God and reunite with the Beloved, Rumi writes that their joy is like that of lovers reuniting after having felt the torturous pangs of being apart from one another.

“First you empty the lovers at the hand of separation,

Then you fill them with gold to the tops of their heads” (Chittick, 2000).

In this way, his writings often express the dialect of love, which exists in the opposites of separation and union, hope and fear, sobriety and drunkenness, and pain and joy (Chittick, 2000; El-Zein, 2000).

Rumi employs certain elements of the Sufi poetic tradition in his work, such as the use of metaphors to symbolize aspects of the divine (Tell, 2002). One such metaphor involves wine and drunkenness to symbolize how mystics can become drunk on God’s love as humans can become drunk on wine (Abdin, 2004; Omaima, 1994; Tell, 2002).

Other sensual symbols in Rumi’s work include the nightingale to represent the soul, a rose to show the perfect beauty of God, the winter to show a soul separated form God, and the sun to represent the spiritual guide or teacher, (Tell, 2002).

Rumi's poetry is often divided into various categories: the quatrains (rubaiyat) and odes (ghazals) of the Divan, the six books of the Mathnawi, the discourses, the letters, and the almost unknown Six Sermons. Rumi's major work is Masnavi-ye Manavi (Spiritual Couplets), a six-volume poem regarded by many Sufis as second in importance only to the Qur'an. In fact, the Masnawi is often called the Qur'an-e Parsi (The Persian Qur'an). It is considered by many to be one of the greatest works of mystical poetry. Rumi's other major work is the Diwan-e Shams-e Tabriz-i (The Works of Shams of Tabriz - named in honor of Rumi's great friend and inspiration, the darvish Shams), comprising some 40,000 verses. Several reasons have been offered for Rumi's decision to name his masterpiece after Shams. Some argue that since Rumi would not have been a poet without Shams, it is apt that the collection be named after him. Others have suggested that at the end, Rumi became Shams, hence the collection is truly of Shams speaking through Rumi. Both works are among the most significant in all of Persian literature. Shams is believed to have been murdered by disciples of Rumi who were jealous of his relationship with Shams (also spelled Shems).

Fihi Ma Fih (In It What's in It) is composed of Rumi's speeches on different subjects. Rumi himself did not prepare or write these discourses. They were recorded by his son Sultan Valad or some other disciple of Rumi and put together as a book. The title may mean, "What's in the Mathnawi is in this too." Some of the discourses are addressed to Muin al-Din Parvane. Some portions of it are commentary on Masnavi.

Majalis-i Sab'a (seven sessions) contains seven sermons (as the name implies) given in seven different assemblies. As Aflaki relates, after Sham-i Tabrizi, Rumi gave sermons at the request of notables, especially Salah al-Din Zarqubi.

Teachings

A page of a copy circa 1503 of the "Diwan-e Shams-e Tabriz-i"

The general theme of his thoughts, like that of the other mystic and Sufi poets of the Persian literature, is essentially about the concept of Tawheed (unity) and union with his beloved (the primal root) from which/whom he has been cut and fallen aloof, and his longing and desire for reunity.

The "Mathnawi" weaves fables, scenes from everyday life, Qur’anic revelations and exegesis, and metaphysics, into a vast and intricate tapestry. Rumi is considered an example of "insani kamil" — the perfected or completed human being. In the East, it is said of him, that he was, "not a prophet — but surely, he has brought a scripture". Rumi believed passionately in the use of music, poetry and dancing 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. He founded the order of the Mevlevi, the "whirling" dervishes, and created the "Sema", their "turning", sacred dance. In the Mevlevi tradition, Sema represents a mystical journey of spiritual ascent through mind and love to "Perfect." In this journey the seeker symbolically turns towards the truth, grows through love, abandons the ego, finds the truth, and arrives at the "Perfect"; then returns from this spiritual journey with greater maturity, so as to love and to be of service to the whole of creation without discrimination against beliefs, races, classes and nations.

According to Shahram Shiva, one reason for Rumi's popularity is that "Rumi is able to verbalize the highly personal and often confusing world of personal/spiritual growth and mysticism in a very forward and direct fashion. He does not offend anyone, and he includes everyone. The world of Rumi is neither exclusively the world of a Sufi, nor the world of a Hindu, nor a Jew, nor a Christian; it is the highest state of a human being — a fully evolved human. A complete human is not bound by cultural limitations; he touches every one of us. 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 [1], one of the foremost international Rumi scholars who travels the world trying to spread Rumi's universal message of love, Rumi's life and transformation provide true testimony and proof that people of all religions and backgrounds can live together in peace and harmony throughout the world. At Rumi’s grand funeral procession Jews, Christians, Muslims, Hindus, Buddhists, and Sufis cried and mourned in a manner that one would have thought that Rumi belonged to each one of them. 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.

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The tavern is a recurring theme in Rumi's poetry

In other beautiful verses in Mathnavi, Rumi describes in detail the universal message of love. For example, he states:

Love’s nationality is separate from all other religions,

The lover’s religion and nationality is the Beloved (God).

The lover’s cause is separate from all other causes

Love is the astrolabe of God’s mysteries.

Whirling Dervishes

When Rumi used the word “Sun” to represent the spiritual guide in his poetry, he was specifically referring to his own teacher, Shams, whose name literally means “sun” (Omaima, 1994). Shams was not only Rumi’s master and mentor, he was a source of inspiration to the poet; in many of Rumi’s poems, the word “Shams” became a poetic equivalent for the mystical supreme itself (Omaima, 1994).

When Shams mysteriously disappeared eighteen months after he had entered Rumi’s life, the poet was distraught over his loss (Tell, 2002).

Rumi invented a circling dance to symbolize his anguished search for his teacher (Tell, 2002). The poet’s followers also began to perform the dance, and thus, the Mevlevi brotherhood order that Rumi founded became renowned as whirling dervishes (El-Zein, 2000).

Along with anticipation and anguish, the dance of the whirling dervish symbolizes the exhilaration that comes from the search for divine love (El-Zein, 2000; Tell, 2002).

Through his whirling and dancing to the sounds of a longing reed and an insistent drum, Rumi attempted to transcend his body and rational consciousness (Tell, 2002; Waines, 1995).

Rumi sought the union with the Beloved through the cessation of his own being, saying the ultimate of humility and self-abasement was to realize “I am naught, God is all; there is no being but God” (Abdin, 2004). For Rumi, one means of self-annihilation was through dance. He wrote that to dance was to tear one’s heart to pieces and to give up one’s soul: “Dance where you can break yourself to pieces and totally abandon your world passions” (And, 1977).

As the intensity of his dancing mounted, Rumi would burst forth with lyrics about the divine and the cosmos, lyrics that his disciples would immediately write down (El-Zein, 2000). :“The heavens are like a dancing dervish-cloak, :But the Sufi is hidden. Oh Moslems, who ever has seen a cloak dance without a body in it? :The cloak dances because of the body, the body because of the spirit, and love for the Beloved has tied the spirit’s neck to the end of a string.” (El-Zein, 2000).

Thus Rumi expressed how his whirling was part of the universal cosmic dance that was begun and sustained by the divine music of love (And, 1977; Omaima, 1994). Much of his intoxicated and spontaneous poetry was borne through the ecstasy of his dance (Omaima, 1994).

Legacy

Rumi died on December 17, 1273 in Konia. He was laid to rest beside his father and his followers erected a shrine over his remains (And, 1977). The thirteenth-century Mevlana mausoleum, which also has a mosque, dance hall, dervish living quarters and school, continues to draw pilgrims from across the world (And, 1977).

Rumi’s life and legacy is marked with the Mevlana annual festival, which is held every year in Konia (And, 1977; Tell, 2002). The festival starts on December 2nd, and following sixteen days of music, dancing and celebrations, it culminates on December 17th (And, 1977; Tell, 2002). This date, the anniversary of Rumi’s death, is called Sheb-i Arus, or nuptial night, to mark the union of the poet with God (And, 1977).

Not only is Rumi’s life and death heralded in the Islamic world, but he has also become exceedingly popular in the Western world; Rumi is one of the best-selling poets in America (Tell, 2002). The poet Coleman Barks is thought to have helped boost the popularity of Rumi in America twenty years ago, when he translated the Persian poet’s into an accessible free verse (Tell, 2002). His translations of Rumi have since sold more than 125,000 copies (Tell, 2002).

One explanation for Rumi’s popularity may be because his poetry embraces all cultures, nationalities and mythologies (Tell, 2002). People can read the poetry of Rumi without feeling as though he is imposing any orthodox belief upon them (Tell, 2002).

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Rumi museum in Konya

Of course, Rumi considers himself first and foremost to be a Muslim in search for the divine, writing, “I am the slave of the Koran, While I still have life,” (El-Zein, 2000). Although he dedicates himself to Islam and the Sufi tradition, Rumi integrates themes and myths from multiple religious traditions into a universal expression of Divine Love. His doctrine was one of tolerance, goodness, charity and awareness through love (And, 1977): :Come, come whoever you are, :An unbeliever, a fire-worshipper come. :Our convent is not of desperation. :Even if you have broken your vows a hundred times :Come, come again (And, 1977).

Unlike other modern and postmodern poets, Rumi forgoes intellectualism or obscurity in favor of the plain language of his ecstasy (Chittick, 2000). He invites readers into the spiritual world of his poetry and to draw closer to God, writing, "Listen to the presences inside poems / Let them take you where they will.” (Tell, 2002).

The Mevlevi Sufi order was founded in 1273 by Rumi's followers after his death. His first successor in the rectorship of the order was Husam Chelebi himself, after whose death in 1284 Rumi's younger and only surviving son, Sultan Walad, favorably known as author of the mystical Mathnawi Rabābnāma, or the Book of the Guitar (died 1312), was installed as grand master of the order. The leadership of the order has been kept in Jalaluddin's family in Iconium uninterruptedly for the last six hundred years. The Mevlevi, or "The Whirling Dervishes", believe in performing their dhikr in the form of sema. During the time of Rumi (as attested in the "Manakib ul Arifin" of Eflaki Dede), his followers gathered for musical and "turning" practices. Mevlana himself was a notable musician, who played the rebab although his favorite instrument was the ney. The music accompanying the traditional ritual consists of settings of poems from the "Mathnawi" and "Diwan-i-Kebir" or of his son Sultan Veled's poems. The Mevlevi were 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 centre for the Mevlevi order was in Konya. There is also a Mevlevi monastery or dergah in Istanbul, near the Galata Tower, where the sema ceremony is performed and accessible to the public. The Mevlevi order issues an invitation to people of all backgrounds:

"Come, come, whoever you are.

Wanderer, idolater, worshipper of fire,

Come even though you have broken your vows a thousand times,

Come, and come yet again.

Ours is not a caravan of despair.

During Ottoman times, the Mevlevi order produced a number of famous poets and musicians such as Sheikh Ghalib, Ismail Rusuhi Dede of Ankara, Esrar Dede, Halet Efendi, and Gavsi Dede (all buried at the Galata Mevlevi-Hane in Istanbul) and the poet Sari Abdullah . Music, especially the ney, play an important part in the Mevlevi order and thus much of the traditional 'oriental' music that Westerners associate with Turkey originates with the Mevlevi order. Indeed, if one buys a CD of Turkish Sufi music, chances are it will be Mevlevi religious music.

The Mevlevi order was outlawed in Turkey at the dawn of the secular revolution by Kemal Atatürk in 1923. In the 1950s, the Turkish government began allowing the Whirling Dervishes to perform annually in Konya on the Urs of Mevlana, December 17, the anniversary of Rumi's death. In 1974, they were allowed to come to the West. The Mevlana annual festival is held every year in Konya in December. It lasts two weeks and its culminating point is the 17th December called Sheb-i Arus meaning 'Nuptial Night', the night of the union of Mevlana with God.

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Rumi's tomb in Konya, Turkey

Rumi's importance transcends national and ethnic borders. Speakers of the Persian language in Iran, Afghanistan and Tajikistan see him as one of their most significant classical poets and an influence on many poets through history. He has also had a great influence on Turkish literature throughout the centuries. His poetry forms the basis of much classical Iranian and Afghan music. Contemporary classical interpretations of his poetry are made by Muhammad Reza Shajarian (Iran), Shahram Nazeri (Iran), Davood Azad (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. Pakistan's National Poet, Muhammad Iqbal (November 9, 1877-April 21, 1938) was also inspired by Rumi's works and considered him to be his spiritual leader and addressed 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).

Rumi's work has been translated into many of the world's languages including Russian, German, French, Italian and Spanish, and is appearing in a growing number of formats including concerts, workshops, readings, dance performances and other artistic creations. The English translations of Rumi's poetry by Coleman Barks have sold more than a half million copies worldwide. Recordings of Rumi poems have made it to Billboard's Top 20 list. A collection of Deepak Chopra's translations of Rumi's love poems has been sung by Hollywood personalities such as Madonna, Goldie Hawn and Demi Moore; also Shahram Shiva's CD, Rumi: Lovedrunk has been very popular on the Internet's music communities such as MySpace.com. The 13th-century poet of the Seljuk Empire is one of the most widely read poets in the United States

References

ISBN links support NWE through referral fees

• Abdin, A. (2004). Love in Islam. European Judaism, 37, 92 – 102.
• And, Metin. (1977). The Mevlana Cermemony. The Drama Review, 21, 83-94.
• The Mysteries of the Universe and Rumi's Discoveries on the Majestic Path of Love, by Majid M. Naini, Universal Vision & Research, 2002 ISBN 0-9714600-0-0 [2]
• The Mesnevi of Mevlānā 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, Mevlānā 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 0-934252-46-7. Recipient of Benjamin Franklin Award.
• Hush, Don't Say Anything to God: Passionate Poems of Rumi, translated by Shahram Shiva Jain Publishing, 1999 ISBN 0-87573-084-1.
• The Essential Rumi, translated by Coleman Barks with John Moyne, A. J. Arberry, Reynold Nicholson, San Francisco: Harper Collins, 1996 ISBN 0-06-250959-4; Edison (NJ) and New York: Castle Books, 1997 ISBN 0-7858-0871-X. Selections.
• The Illuminated Rumi, translated by Coleman Barks, Michael Green contributor, New York: Broadway Books, 1997 ISBN 0-7679-0002-2.
• The Masnavi: Book One, translated by Jawid Mojaddedi, Oxford World's Classics Series, Oxford University Press, 2004 ISBN 0-19-280438-3. 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.
• El-Zein, A. (2000). Spiritual consumption in the United States: the Rumi phenomenon. Spiritual Islam and Christian-Muslim Relations, 11, 71 – 86.
• Loutfy, N., & Berguno, G. (2005). The Existential Thoughts of the Sufis. Existential Analysis: Journal of the Society for Existential Analysis, 16, 144 – 155.
• Omaima, A. (1994). Abrogation of the mind in the Poetry of Jalal al-Din Rumi. Alif: Journal of Comparative Poetics, 14. 37-63.
• Tell, C. (2002). A poet and a mystic: Jalaluddin Rumi. Social Education, 66, 204 – 210.
• Waines, D. (1995). An introduction to Islam. Cambridge: Cambridge University Press.

On Rumi's life and work

• Majid M. Naini,The Mysteries of the Universe and Rumi's Discoveries on the Majestic Path of Love, Universal Vision & Research, 2002, ISBN 0-9714600-0-0 [3]
• Franklin Lewis, Rumi Past and Present, East and West, Oneworld Publications, 2000. ISBN 1-85168-214-7
• Leslie Wines, Rumi: A Spiritual Biography, New York: Crossroads, 2001 ISBN 0-8245-2352-0.
• 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, Somerset (NJ): The Light Inc., 2004 ISBN 1-932099-79-4.

On Persian literature

• E.G. Browne, Literary History of Persia, four volumes, 1998 ISBN 0-7007-0406-X. 2,256 pages, and twenty-five years in the writing.
• Jan Rypka, History of Iranian Literature, Reidel Publishing Company; ASIN B-000-6BXVT-K

External links

On-line texts by Rumi

• Wikisource:Masnavi I Ma'navi, abridged version translated by E.H. Whinfield, 1898.
• The Masnavi I Ma'navi, by Maulana Jalalu-'d-din Muhammad Rumi, Abridged and Translated by E.H. Whinfield on sacred-texts.com
• Dar al Masnavi, several English versions of selections by different translators.
• Rumi's little-known biography and poems (Quatrains and Odes) in English by Shahram Shiva

On Rumi

• Rumi, Poet of Love and Justice, CHN News
• Wikisource:Author:Jalaluddin Rumi
• Jalaluddin Rumi
• About Rumi, English translations and personal/rare biography
• Iranian studies site
• 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
• Rumi, Jalal al-Din, a biography by Professor Iraj Bashiri, University of Minnesota.
• Mevlana Jalal al-Din Rumi A commentary on Rumi by Fethullah Gülen
• What goes round... - The Guardian, November 5, 2000
• Rumi Lectures at Harvard University
• Rumi and the Tradition of Sufi Poetry
• Rumi and Islamic Spirituality
• Rumi and Self Discovery
• Mewlana Jelal Ad-Din Rumi
• Treasures of Persian Literature, by Professor Behrouz Homayoun Far
• Sadeq Dehqan. UNESCO designates 2007 "Year of Molana", Iran Daily, April 8, 2006.
• Ashkhabad to host Molana conference

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