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-"[[Beyond good and evil]] there is a field where we can all meet."--[[Rumi]]+"[[Beyond good and evil there is a field where we can all meet]]"--Rumi
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-'''Rumi''' (1207 – 1273), was a 13th-century [[Persian poet]], Islamic [[jurist]], [[theologian]], and [[mystic]].+'''Rumi''' (1207 – 1273), was a [[Persian poet]], [[Islamic]] [[jurist]], [[theologian]], and [[mystic]], known as the author of the ''[[Masnavi]]''.
 +==From the ''[[Library of the World's Best Literature]]''==
-JALĀL- AD- DİN RŪMI (A. D. 1207-1273) BY A. V. WILLIAMS JACKSON HE appellation Rūmi, or Syrian, is given to the Persian poet Jalāl-ad-din because most of his life was passed at Iconium in Rum, or Asia Minor. His full name is recorded as Jalāl-ad-din Mohammed Rūmi ; he is generally known as Jalāl-ad- din, or Splendor of the Faith, " but it is convenient to record his name, according to Western methods, under the simple form Rūmi. This Persian poet may best be remembered as the founder of the Maulavi sect of dervishes, or the whirling dervishes as they are often called ; whose austerity of life, mystic philosophy, enthusiastic devotion, and religious ecstasy superinduced by the whirling dance, are familiar to readers of Eastern literature. The writings of Jalāl- ad- din, like Jāmi, Nizāmī, and others, breathe the religious spirituality of Sufi philosophy : the world and all that is comprised therein is but a part of God, and the universe exists only through God ; the Love Divine is all- pervading, and the rivers of life pour their waters into the boundless ocean of the supreme soul ; man must burnish the mirror of his heart and wipe away the dross of self that blurs the perfect image there. This is a keynote to the " Rūmian's " religious and mystic poetry. Jalāl-ad-din Rumi was not only himself renowned, but he inherited renown from a noble father and from distinguished ancestors. The blood of the old Khvarismian kings flowed in his veins. He was born in Balkh, Bactria, A. D. 1207. The child's father was a zealous teacher and preacher, a scholar whose learning and influence won for him so great popularity with the people of Balkh as to arouse the jealous opposition of the reigning Sultan. Obliged to leave his native city, this worthy man wandered westward with his family, and ultimately settled in Syria, where he founded a college under the generous patronage of the Sultan of Rūm, as Asia Minor is termed in the Orient. He died honored with years and with favors, at a moment when his son had recently passed into manhood. Upon his father's death Jalāl-ad-din succeeded to the noble teacher's chair, and entered upon the distinguished career for which his natural gifts and splendid training had destined him. He was already 12488 JALAL-AD-DIN RUMI married ; and when sorrow came in the untimely death of a son , and in the sad fate of a beloved teacher, his life seems to have taken on a deeper tinge of sombre richness and a fuller tone of spiritual devotion, that colors his poetry. Revered for his teaching, his purity of life, and his poetic talents, the " Rūmian's " fame soon spread, and he became widely followed . Among many anecdotes that are told of his upright but uneventful life is a sort of St. Patrick story, that ascribes to him supernatural power and influence. Preaching one time on the bank of a pond, to a large concourse of eager listeners who had assembled to drink in his inspired words, his voice was drowned by the incessant croaking of innumerable frogs. The pious man calmly proceeded to the brink of the water and bade the frogs be still. Their mouths were instantly sealed. When his discourse was ended, he turned once more to the marge of the lake and gave the frogs permission again to pipe up. Immediately their hoarse voices began to sound, and their lusty croaking has since been allowed to continue in this hallowed spot. To-day, Jalāl-ad- dîn Rūmī's fame rests upon one magnum opus, the 'Masnavi' or ' Mathnavi. ' The title literally signifies " measure, " then a poem composed in that certain measure, then the poem par excel lence that is composed in that measure, the ' Masnavi. ' It is a large collection of some 30,000 or 40,000 rhymed couplets, teaching Divine love and the purification of the heart, under the guise of tales, anecdotes, precepts, parables, and legends. The poetic merit, religious fervor, and philosophic depth of the work are acknowledged. Six books make up the contents of the poem ; and it seems to have been finished just as Jalāl-ad-din, the religious devotee, mystic philosopher, and enthusiastic poetic teacher, died A. D. 1273. The best collection of bibliographical material is that given by Ethé in Geiger and Kuhn's ' Grundriss der Iranischen Philologie, ' Vol. ii . , pages 289-291 . The first of the six books of the ' Masnavi is easily accessible in a metrical English version by J. W. Redhouse, London, 1881 (Trübner's Oriental Series) ; and three selections are to be found in S. Robinson's ' Persian Poetry for English Readers, ' 1883 , pages 367-382 . Both these valuable works have been drawn upon for the present sketch . The abridged English translation of the Masnavi ' by E. H. Whinfield, London, 1887 (Trübner's Oriental Series) , is a standard to be consulted. M... A.r.Webeams 1Jackuns JALAL-AD-DİN RÜMİ 12489 THE SONG OF THE REED, OR DIVINE AFFECTIONS From the Masnavi ' IST how that reed is telling its story; how it is bewailing the L'STpangs of separation : - Whilst they are cutting me away from the reed-bed, men and maidens are regretting my fluting. My bosom is torn to pieces with the anguish of parting, in my efforts to express the yearnings of affection. Every one who liveth banished from his own family will long for the day which will see them reunited . To every assembly I still bore my sorrow, whether the companion of the happy or the unhappy. Every one personally was ever a friend, but no one sought to know the secrets within me. My affections and my regrets were never far distant, but neither eye nor ear can always discern light. The body is not veiled from the soul, nor the soul from the body; but to see the soul hath not been permitted. It is love that with its fire inspireth the reed ; it is love that with its fervor inflameth the wine. Like the reed, the wine is at once bane and antidote ; like the reed, it longeth for companionship, and to breathe the same breath. The reed it is that painteth in blood the story of the journey, and inspired the love- tale of the frenzied Mejnun. * Devoid of this sense, we are but senseless ourselves ; and the ear and the tongue are but partners to one another. In our grief, our days glide on unprofitably ; and heartcompunctions accompany them on their way. But if our days pass in blindness, and we are impure, O remain Thou Thou, like whom none is pure. No untried man can understand the condition of him who hath been sifted ; therefore , let your words be short, and let him go in peace. Rise up, young man; burst thy bonds, and be free ! How long wilt thou be the slave of thy silver and thy gold ? If thou shouldest fill thy pitcher from the ocean, what were thy store ? The pittance of a day !+THE APPELLATION Rūmī, or Syrian, is given to the [[Persian poet]] Jalāl-ad-dīn because most of his life was passed at [[Iconium]] in Rūm, or [[Asia Minor]]. His full name is recorded as Jalāl-ad-dīn Mohammed Rūmī; he is generally known as Jalāl-ad-dīn, or “Splendor of the Faith,but it is convenient to record his name, according to Western methods, under the simple form Rūmī.
-Mejnun and Laila, the Romeo and Juliet of the East. Their love-tale+This Persian poet may best be remembered as the founder of the Maulavī sect of [[dervishes]], or the [[whirling dervishes]] as they are often called; whose austerity of life, mystic philosophy, enthusiastic devotion, and religious ecstasy superinduced by the whirling dance, are familiar to readers of [[Eastern literature]]. The writings of Jalāl-ad-dīn, like [[Jāmī]], [[Nizami]], and others, breathe the religious spirituality of [[Sūfī]] philosophy: the world and all that is comprised therein is but a part of God, and the universe exists only through God; the Love Divine is all-pervading, and the rivers of life pour their waters into the boundless ocean of the supreme soul; man must burnish the mirror of his heart and wipe away the dross of self that blurs the perfect image there. This is a keynote to the “Rūmian’s” religious and mystic poetry.
-forms the subject of poems by several eminent Persian poets. 12490 JALAL- AD-DIN RÜMI In the eye of the covetous man it would not be full . If the shell lay not contented in its bed, it would never be filled with the pearl. He whose garment is rent by Love Divine -he only is cleansed from avarice, and the multitude of sins. Hail to thee, Love, our sweet insanity ! O thou, the physician of all our ills! Thou, our Plato and our Galen, the medicine of our pride and our self-estimation ! By Love the earthly eye is raised to heaven, the hills begin to dance, and the mountains are quickened. Could I join my lip to that of one who breatheth my breath, I would utter words as melodious as my reed. When the rose- garden is withered, and the rose is gone, thou wilt hear no longer news of the nightingale. How should I be able any longer to retain my understanding, when the light of my beloved one no longer shineth upon me ? If the lover no longer receiveth his nourishment, he must perish like a bird deprived of its food. Translation of S. Robinson. THE MERCHANT AND THE PARROT From the Masnavi HERE was a merchant owned a parrot which was kept shut THEup in a cage, the paroquet's world. On a certain occasion the merchant made preparations for a journey, beginning with Hindustan. Calling each of his man- servants and his maid- servants, he said : " What am I to bring back to you ? Let me know. " Each expressed a wish according to his own choice ; and the good man promised something to every one. Turning to the poll- parrot, he said : " And what gift am I to bring you from the land of Hindustan ? " Polly replied : " When you see those parrots there, make my situation known to them, and say : - " There is a certain parrot who is longing for you, but is confined from the free vault of heaven, shut up in a cage. " He sends you his greetings, and he asks of you direction and some means of deliverance . ' JALĀL-AD-DIN RÜMİ 12491 "And add : ' Does it seem fair for me to be wasting my life in longing and to die here far away? " Am I to be allowed to continue in durance vile, while you are in green nooks among the boughs ? " Is this to be the loyalty of friends -for me to be in a cage, and you out in the gardens ? " Recall to memory that grieving bird, O ye grandees, in the morning draft amid your delightsome nooks. ' » [The parrot proceeds then to expatiate upon love, and upon the union existing between souls . ] The merchant received the message, with its salutation, to deliver to the bird's kindred. And when he came to the far-off land of Hindustan, he saw in the desert parrots, many a one. Stopping his beast and raising his voice , he delivered his salutation and his message. Then, wonderful to relate, one of the parrots began a great fluttering, and down it fell, dead, and breathed its last. «< The merchant sore repented of telling his message, and said : Tis only for the death of a living creature I am come. " There was perchance a connection between these parrots, two bodies with but a single soul. "Ah, why did I do it ! Why did I carry out my commission ! I am helplessly grieved at telling this. " [The merchant moralizes at some length upon life, and upon the soul and its relation to God. ] When the merchant had finished up his business abroad, he returned to his glad home. And to every man- servant he presented some gift, and to each maid- servant he handed out a gift. Then up spake the Polly: " What gift for the prisoner ? What did you see and what did you say ? Tell me that. ” Said the merchant : "Ah me! That whereof I repent me, and for which I could bite my hand and gnaw my fingers. "Why did I, through ignorance and folly, vainly carry that idle message ? " Said Poll : " Merchant, what's this repentance about ? And what has brought about this passion and grief ? " 12492 JALAL-AD-DIN RŪMI He replied : " I told that plaintive story of yours to a flock of parrots that looked just like you. "And a certain parrot felt so keenly for your distress that its heart broke in twain, and it fluttered and dropped dead. " I felt deep regret. What was this I had said ? But what does regret help, whatever I said ? " [The merchant moralizes at some length. ] As soon as the parrot heard what that bird had done, he too fluttered and dropped down and grew cold. When the merchant observed it thus fallen, he started up and flung down his turban upon the ground. And when he saw the bird in such plight and condition, he started to tear the very clothes at his throat, Saying: " O Polly, my pretty creature, what is this, alas, that has happened thee ? Why art thou thus ? "Ah, alas, my sweet-voiced bird ! Ah, alas, my companion and confidant! "Ah, alas, my sweet-note bird ; my spirit of joy and angel of the garden ! " [He continues to lament over the departed bird. But it must have fallen in accordance with the Divine Will. Man's dependence upon God. ] Thereupon the merchant tossed the bird out of the cage ; but the paroquet instantly flew up on a high bough. The merchant. was dumbfounded at the bird's conduct ; amazed and at a loss, he marveled at the mystery of the bird. And looking upward he said : " My nightingale, give some explanation of what you have done! Said the parrot : «< That bird it was gave me counsel how I' should act ; in effect, this : ' Rid yourself of your speech, voice, and talking; " For it is your voice that has brought you into captivity. ' And then to prove its counsel it died itself. " [ The parrot dilates further in religious manner upon the changes and chances of mortal life . ] Then Polly gave one or two bits more of guileless advice, and now said: - "Adieu, good- by ! Farewell, my merchant ; you have done a mercy to me : you have set me free from bonds and oppression. JALAL-AD-DIN RÜMI 12493 " Farewell, O merchant : I am now going home; and one day mayest thou become free just like me. " The merchant responded : " To God's keeping go thou ; thou hast taught me from this instant a new path of life. " Version by A. V. W. Jackson. THE CHINESE AND ROMAN ARTISTS ; OR, THE MIRROR OF THE HEART HIS Contest heed, of Chinaman's and Roman's art. THISThe Chinese urged they had the greater painters' skill ; The Romans pleaded they of art the throne did fill . The sovereign heard them both : decreed a contest fair ; Results the palm should give the worthiest of the pair. The parties twain a wordy war waged in debate ; The Romans' show of science did predominate. The Chinamen then asked to have a house assigned For their especial use ; and one for Rome designed. Th' allotted houses stood on either side one street ; In one the Chinese, one the Roman artists meet. The Chinese asked a hundred paints for their art's use : The sovereign his resources would not them refuse. Each morning from the treasury, rich colors' store Was served out to the Chinese till they asked no more. The Romans argued, " Color or design is vain : We simply have to banish soil and filth amain. " They closed their gate. To burnish then they set themselves ; As heaven's vault, simplicity filled all their shelves : Vast difference there is ' twixt colors and not one. The colors are as clouds ; simplicity's the moon. Whatever tinge you see embellishing the clouds, You know comes from the sun, the moon, or stars in crowds. At length the Chinamen their task had quite fulfilled ; With joy intense their hearts did beat, their bosoms thrilled . The sovereign came, inspected all their rich designs, And lost his heart with wonder at their talents' signs. 12494 JALAL-AD-DIN RUMI He then passed to the Romans, that his eyes might see ; The curtains were withdrawn to show whate'er might be. The Chinese paintings all, their whole designs in full , Reflected truly were on that high-burnished wall. Whatever was depicted by the Chinese art Was reproduced by mirrors, perfect every part. Those Romans are our mystics, know, my worthy friend : No art, no learning ; study, none : but gain their end. They polish well their bosoms, burnish bright their hearts , Remove all stain of lust, of self, pride, hate's deep smarts. That mirror's purity prefigures their hearts' trust ; With endless images reflections it incrust. Translation of J. W. Redhouse. 12495 J+
 +Jalāl-ad-dīn Rūmī was not only himself renowned, but he inherited renown from a noble father and from distinguished ancestors. The blood of the old Khvarismian kings flowed in his veins. He was born in Balkh, [[Bactria]], A.D. 1207. The child’s father was a [[zealous]] teacher and preacher, a scholar whose learning and influence won for him so great popularity with the people of Balkh as to arouse the jealous opposition of the reigning Sultan. Obliged to leave his native city, this worthy man wandered westward with his family, and ultimately settled in Syria, where he founded a college under the generous patronage of the Sultan of Rūm, as Asia Minor is termed in the Orient. He died honored with years and with favors, at a moment when his son had recently passed into manhood.
 +
 +Upon his father’s death Jalāl-ad-dīn succeeded to the noble teacher’s chair, and entered upon the distinguished career for which his natural gifts and splendid training had destined him. He was already married; and when sorrow came through the untimely death of a son, and in the sad fate of a beloved friend and teacher, known as Shams-ad-Dīn of Tabrīz, Jalāl’s life seems to have taken on a deeper tinge of [[somber]] richness and a fuller tone of spiritual devotion, that colors his poetry. Revered for his teaching, his purity of life, and his poetic talents, the “Rūmian’s” fame soon spread, and he became widely followed. Among many anecdotes that are told of his upright but uneventful life is a sort of [[St. Patrick]] story, that ascribes to him supernatural power and influence. Preaching one time on the bank of a pond, to a large concourse of eager listeners who had assembled to drink in his inspired words, his voice was drowned by the incessant croaking of innumerable [[frogs]]. The pious man calmly proceeded to the brink of the water and bade the frogs be still. Their mouths were instantly sealed. When his discourse was ended, he turned once more to the marge of the lake and gave the frogs permission again to pipe up. Immediately their hoarse voices began to sound, and their lusty croaking has since been allowed to continue in this hallowed spot.
 +
 +To-day, Jalāl-ad-dīn Rūmī’s fame rests upon one magnum opus, the ‘Masnavī’ or ‘Mathnavī.’ The title literally signifies “measure,” then a poem composed in that certain measure, then the poem par excellence that is composed in that measure, the ‘Masnavī.’ It is a large collection of some 30,000 or 40,000 rhymed couplets, teaching Divine love and the purification of the heart, under the guise of [[tales]], [[anecdotes]], [[precepts]], [[parables]], and [[legends]]. The poetic merit, religious fervor, and philosophic depth of the work are acknowledged. Six books make up the contents of the poem; and it seems to have been finished just as Jalāl-ad-dīn, the religious devotee, mystic philosopher, and enthusiastic poetic teacher, died A.D. 1273.
 +
 +The best collection of bibliographical material is that given by [[Ethé]] in Geiger and Kuhn’s ‘[[Grundriss der Iranischen Philologie]],’ Vol. ii., pages 289–291. The first of the six books of the ‘Masnavī’ is easily accessible in a metrical English version by [[J. W. Redhouse]], London, 1881 ([[Trübner]]’s Oriental Series); and three selections are to be found in Samuel Robinson’s ‘[[Persian Poetry for English Readers]],’ 1883, pages 367–382. Both these valuable works have been drawn upon for the present sketch. The abridged English translation of the ‘Masnavī’ by [[E. H. Whinfield]] (Trübner’s Oriental Series, London, 1887) is a standard to be consulted, as well as [[C. E. Wilson]]’s ‘Masnavī, Book 2’ (London, 1910), and [[R. A. Nicholson]]’s ‘[[Dīvāni Shams Tabrīz]]’ (Cambridge, 1898).
==See also== ==See also==
-; Seljuk Sultanate of Rûm 
* [[Great Seljuk Empire]] * [[Great Seljuk Empire]]
- 
-; On Persian culture 
* [[Iranian philosophy|Persian philosophy]] * [[Iranian philosophy|Persian philosophy]]
-* [[List of Persian poets and authors]] 
-* [[Mastan Ensemble]] 
* [[Persian literature]] * [[Persian literature]]
* [[Persian mysticism]] * [[Persian mysticism]]
-* [[Persian people]] 
-* [[Tajik people]] 
- 
-; Spiritual Islam 
* [[Sufism]] * [[Sufism]]
- 
-;Other 
* [[Blind men and an elephant]] * [[Blind men and an elephant]]
-* [[Sant Mat]] 
- 
-; Rumi experts 
-* [[Hamid Algar]] 
-* [[Rahim Arbab]] 
-* [[William Chittick]] 
-* [[Badiozzaman Forouzanfar]] 
-* [[Hossein Elahi Ghomshei]] 
-* [[Kabir Helminski]] 
-* [[Fatemeh Keshavarz]] 
-* [[Majid M. Naini]] 
-* [[Seyyed Hossein Nasr]] 
-* [[Franklin Lewis]] 
-* [[François Pétis de la Croix]] 
-* [[Annemarie Schimmel]] 
-* [[Abdolkarim Soroush]] 
-* [[Dariush Shayegan]] 
-* [[Abdolhossein Zarinkoob]] 
- 
-; English translators of Rumi poetry 
-* [[William Chittick]] 
-* [[Ravan A. G. Farhadi]] 
-* [[Nader Khalili]] 
-* [[Franklin Lewis]] 
-* [[Majid M. Naini]] 
-* [[Reynold A. Nicholson]] 
-* [[James Redhouse|James W. Redhouse]] 
-* [[Shahram Shiva]] 
- 
-; Interpreters of Rumi 
-* [[Coleman Barks]] 
-* [[Omer Tarin]] 
{{GFDL}} {{GFDL}}

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"Beyond good and evil there is a field where we can all meet"--Rumi

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Rumi (1207 – 1273), was a Persian poet, Islamic jurist, theologian, and mystic, known as the author of the Masnavi.

From the Library of the World's Best Literature

THE APPELLATION Rūmī, or Syrian, is given to the Persian poet Jalāl-ad-dīn because most of his life was passed at Iconium in Rūm, or Asia Minor. His full name is recorded as Jalāl-ad-dīn Mohammed Rūmī; he is generally known as Jalāl-ad-dīn, or “Splendor of the Faith,” but it is convenient to record his name, according to Western methods, under the simple form Rūmī.

This Persian poet may best be remembered as the founder of the Maulavī sect of dervishes, or the whirling dervishes as they are often called; whose austerity of life, mystic philosophy, enthusiastic devotion, and religious ecstasy superinduced by the whirling dance, are familiar to readers of Eastern literature. The writings of Jalāl-ad-dīn, like Jāmī, Nizami, and others, breathe the religious spirituality of Sūfī philosophy: the world and all that is comprised therein is but a part of God, and the universe exists only through God; the Love Divine is all-pervading, and the rivers of life pour their waters into the boundless ocean of the supreme soul; man must burnish the mirror of his heart and wipe away the dross of self that blurs the perfect image there. This is a keynote to the “Rūmian’s” religious and mystic poetry.

Jalāl-ad-dīn Rūmī was not only himself renowned, but he inherited renown from a noble father and from distinguished ancestors. The blood of the old Khvarismian kings flowed in his veins. He was born in Balkh, Bactria, A.D. 1207. The child’s father was a zealous teacher and preacher, a scholar whose learning and influence won for him so great popularity with the people of Balkh as to arouse the jealous opposition of the reigning Sultan. Obliged to leave his native city, this worthy man wandered westward with his family, and ultimately settled in Syria, where he founded a college under the generous patronage of the Sultan of Rūm, as Asia Minor is termed in the Orient. He died honored with years and with favors, at a moment when his son had recently passed into manhood.

Upon his father’s death Jalāl-ad-dīn succeeded to the noble teacher’s chair, and entered upon the distinguished career for which his natural gifts and splendid training had destined him. He was already married; and when sorrow came through the untimely death of a son, and in the sad fate of a beloved friend and teacher, known as Shams-ad-Dīn of Tabrīz, Jalāl’s life seems to have taken on a deeper tinge of somber richness and a fuller tone of spiritual devotion, that colors his poetry. Revered for his teaching, his purity of life, and his poetic talents, the “Rūmian’s” fame soon spread, and he became widely followed. Among many anecdotes that are told of his upright but uneventful life is a sort of St. Patrick story, that ascribes to him supernatural power and influence. Preaching one time on the bank of a pond, to a large concourse of eager listeners who had assembled to drink in his inspired words, his voice was drowned by the incessant croaking of innumerable frogs. The pious man calmly proceeded to the brink of the water and bade the frogs be still. Their mouths were instantly sealed. When his discourse was ended, he turned once more to the marge of the lake and gave the frogs permission again to pipe up. Immediately their hoarse voices began to sound, and their lusty croaking has since been allowed to continue in this hallowed spot.

To-day, Jalāl-ad-dīn Rūmī’s fame rests upon one magnum opus, the ‘Masnavī’ or ‘Mathnavī.’ The title literally signifies “measure,” then a poem composed in that certain measure, then the poem par excellence that is composed in that measure, the ‘Masnavī.’ It is a large collection of some 30,000 or 40,000 rhymed couplets, teaching Divine love and the purification of the heart, under the guise of tales, anecdotes, precepts, parables, and legends. The poetic merit, religious fervor, and philosophic depth of the work are acknowledged. Six books make up the contents of the poem; and it seems to have been finished just as Jalāl-ad-dīn, the religious devotee, mystic philosopher, and enthusiastic poetic teacher, died A.D. 1273.

The best collection of bibliographical material is that given by Ethé in Geiger and Kuhn’s ‘Grundriss der Iranischen Philologie,’ Vol. ii., pages 289–291. The first of the six books of the ‘Masnavī’ is easily accessible in a metrical English version by J. W. Redhouse, London, 1881 (Trübner’s Oriental Series); and three selections are to be found in Samuel Robinson’s ‘Persian Poetry for English Readers,’ 1883, pages 367–382. Both these valuable works have been drawn upon for the present sketch. The abridged English translation of the ‘Masnavī’ by E. H. Whinfield (Trübner’s Oriental Series, London, 1887) is a standard to be consulted, as well as C. E. Wilson’s ‘Masnavī, Book 2’ (London, 1910), and R. A. Nicholson’s ‘Dīvāni Shams Tabrīz’ (Cambridge, 1898).

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