The Masnavi, Masnavi-I Ma'navi or Mesnevi (Turkish), also written Mathnawi, Ma'navi, or Mathnavi, is an extensive poem written in Persian by Jalal al-Din Muhammad Rumi, the celebrated Persian Sufi saint and poet. It is one of the best known and most influential works of both Sufism and Persian literature. The Masnavi is a series of six books of poetry that amount to about 25,000 verses or 50,000 lines. It is a spiritual writing that teaches Sufis how to reach their goal of being in union with God.
A true Lover doesn't follow any one religion, be sure of that. Since in the religion of Love, there is no irreverence or faith. When in Love, body, mind, heart and soul don't even exist. Become this, fall in Love, and you will not be separated again. Piece from Rumis works
The title Masnavi-I Ma'navi means "Rhyming Couplets of Profound Spiritual Meaning." Rumi himself referred to the Masnavi as "the roots of the roots of the roots of the (Islamic) Religion.". The Masnavi is a poetic collection of rambling anecdotes and stories derived from the Quran, hadith sources, and everyday tales. Stories are told to illustrate a point and each moral is discussed in detail. It incorporates a variety of Islamic wisdom but primarily focuses on emphasizing inward personal Sufi interpretation. This work by Rumi is referred to as a “sober” Sufi text. It reasonably presents the various dimensions of Sufi spiritual life and advices disciples on their spiritual paths. “More generally, it is aimed at anyone who has time to sit down and ponder the meaning of life and existence.”
The Masnavi was a Sufi masterpiece started during the final years of Rumi’s life. He began dictating the first book around the age of 54 around the year 1258 and continued composing verses until his death in 1273. The sixth and final book would remain incomplete.
It is documented that Rumi began dictating the verses of the Masnavi at the request of his treasured disciple, Husam al-Din Chalabi, who observed that many of Rumi’s followers dutifully read the works of Sana’i and ‘Attar. Thus, Rumi began creating a work in the didactic style of Sana’i and ‘Attar to complement his other poetry. These men met regularly in meetings where Rumi would deliver the verses and Chalabi would record it and recite back to him. During the final years of Rumi’s life, the Masnavi was being created.
Each book consists of about 4,000 verses and contains its own prose introduction and prologue. Considering there are no epilogues, one must read the proceeding volumes to fully benefit from the wisdom presented by Rumi. Some scholars suggest that in addition to the incomplete work of Book 6, there might be a seventh volume.
The six books of the Masnavi can be divided into three groups of two because each pair is linked by a common theme:
- Books 1 and 2: They “are principally concerned with the nafs, the lower carnal self, and its self-deception and evil tendencies.”
- Books 3 and 4: These books share the principal themes of Reason and Knowledge. These two themes are personified by Rumi in the Biblical and Quranic figure of the Prophet Moses.”
- Books 5 and 6: These last two books are joined by the universal ideal that man must deny his physical earthly existence to understand God’s existence.
In addition to the reoccurring themes presented in each book, Rumi includes multiple points of view or voices that continually invite his readers to fall into “imaginative enchantment.” There are seven principal voices that Rumi uses in his writing:
- The Authorial Voice – Each passage reflects the authority of the majestic Sufi teacher narrating the story. This voice generally appears when it addresses You, God, and you, of all humankind.
- The Story-telling Voice – The primary story is occasionally interrupted by side stories that help clarify a point being made in the original statement. Rumi sometimes takes hundreds of lines to make a point because he is constantly interrupting himself.
- The Analogical Voice – This voice interrupts the flow of the narration because it entertains an analogy which is used to explain a statement made in the previous verse. Rumi’s Masnavi is filled with analogies.
- The Voice of Speech and Dialogue of Characters – Rumi conveys many of his stories through dialogue and speeches presented by his characters.
- The Moral Reflection – Rumi supports his voice of morality by including quotations from the Quran and various hadith stories of events in the life of the Prophet Mohammed.
- The Spiritual Discourse – The Spiritual Discourse resembles the Analogical Voice where Rumi always includes a moral reflection on the wisdom revealed.
- Hiatus – Rumi occasionally questions the wisdom conveyed though the verses. “Sometimes Rumi says that he cannot say more because of the reader’s incapacity to understand.”
Book one of the Masnavi must be read in order to understand the other five volumes. It is a poetic art where Rumi layers his writing. For example, he begins a story, then moves on to a story within that story, and again moves to another within that one. Through this composition style, the poet’s personal voice comes through to his audience. The Masnavi has no framed plot. Its tone includes a variety of scenes. It includes popular stories from the local bazaar to fables and tales from Rumi’s time. It also includes quotations from the Quran and from hadith accounts from the time of Mohammed.
Although there is no constant frame, style, or plot, Rumi generally follows a certain writing pattern that flows in the following order:
- The Mesnevi of Mevlĝnĝ Jelĝlu'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 anedocts, as collected by their historian, Mevlĝnĝ Shemsu'd-dīn Ahmed el-Eflĝkī 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 and on wikisource.
- The Masnavī by Jalĝlu'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.
- The Masnavi: Book One, translated by #REDIRECT 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.
- Rumi, Spiritual Verses, The First Book of the Masnavi-ye Ma'navi, newly translated from the latest Persian edition of M. Este'lami, with an Introduction on a reader's approach to Rumi's writing, and with explanatory Notes, by Alan Williams, London and New York, Penguin Classics, Penguin, xxxv + 422 pp. 2006 ISBN 0-14-044791-1.
- 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.
Paraphrases of English translations
- 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.
Masnavi in Urdu literature is a form of poetry. It is in the majority of cases a poetic romance. It may extend to several thousand lines, but generally is much shorter. A few masnavis deal with ordianry domestic and other occurrences. Mir and Sauda wrote some of this kind. They are always in heroic couplets, and the common metre is bacchic tetrameter with an iambus for last foot.
- ^ Jalĝl, Al-Dīn Rūmī, and Alan Williams. Spiritual Verses: the First Book of the Masnavi-ye Manavi. London: Penguin, 2006. Print
- ^ Laura Gibbs, Rumi: The Fable of the Lion’s Share, "Journey to the Sea", Issue 4, 1 October 2008, http://journeytothesea.com/rumi-lion/
- ^ Jalĝl, Al-Dīn Rūmī, and William C. Chittick. The Sufi Path of Love: the Spiritual Teachings of Rumi. Albany: State University of New York, 1983. Print.Pg 6)
- ^ (Franklin Lewis, "Rumi, Past and Present, East and West: The Life, Teachings and Poetry of Jalâl al-Din Rumi," Oneworld Publications, England, 2000.)
- ^ Jalĝl, Al-Dīn Rūmī, and William C. Chittick. The Sufi Path of Love: the Spiritual Teachings of Rumi. Albany: State University of New York, 1983. Print. Pgs 5-6
- ^ Rumi, Jalal Al-Din. Rumi The Masnavi Book One. Trans. Jawid Mojaddedi. Oxford UP, 2004. Print. Pg xxii
- ^ Jalĝl, Al-Dīn Rūmī, and Alan Williams. Spiritual Verses: the First Book of the Masnavi-ye Manavi. London: Penguin, 2006. Print. Pgs xx-xxvi
- ^ Jalĝl, Al-Dīn Rūmī, and Alan Williams. Spiritual Verses: the First Book of the Masnavi-ye Manavi. London: Penguin, 2006. Print. Pgs xvii-xix
- ^ A History of Urdu literature by T. Grahame Bailey; Introduction
- Guardian series of blogs on the Masnavi by Franklin Lewis, 2009
- An abridged version translated by E.H. Whinfield, (1898)
- Dar al Masnavi
- Treasure of National Library of Turkey 18th century Masnavi in Nesih calligraphy, Herat
- Verse-translation of The Song of the Reed
- The Song of the Reed (part one)
- Masnavi Stories Online Classes (in Persian)
- Urdu poetic forms