8 Most Troubled Relationship Poems for Him / Her
It is an immaterial measurement of the relationships of material substances; .. Meter—a metron, a thing by which we measure—formalizes the. From the inception of formalizing a relationship, the focus becomes Please " like" my Facebook page to see quotes of the day, follow me on. In allegorical verse, on the other hand: 1) the relationship is erotic; 2) the relationship is formalized in the manner of engagement or marriage; 3) the female.
With a particular taste for the innovative, EPC http: Questions of how online distribution transforms the aesthetics of writing and reading aside, advances in this last area of audio represent the most striking initial difference in the experience of poetry online versus the page.
You can hear it. Writes Charles Bernstein of PennSound http: We launched PennSound — http: PennSound represents a new way of producing and distributing poetry. While records, tapes, and CDs have also provided audio recordings of poets reading their work, the web greatly increases access to the small amount of material made available in these formats.
But beyond that, the digitalization of archival material—which in our PennSound project preserves and distributes at the same time—is making recordings available that previously had no publication or distribution source.
36 Marriage Poems - Love Poems about Marriage
Eighteenth-century scholar John Richetti, for example, admirably captures Jonathan Swift's mix of coy humor and affection in his delivery of "On Stella's Birthday ," a greeting that celebrates the subject, despite her apparent doubling in size and age since the poet first glimpsed her virginal year-old form. Listening to Richetti, one can imagine Swift offering the birthday toast with a tonal cocktail of the sweet and the sharp: One can listen to poet, critic, and artist Tan Lin introduce his Controlled Vocabularies: This work was an attempt to do a post-generic book of poetry or novel that could also masquerade as other art forms including architecture, cinema, film, lounge music, the airport, things like that.
It would be nice if the book could be less spatially kinetic and more boring like mailbox with a name on it or a billboard. As anyone who has ever read a bestseller can tell you, the best reading experiences don't last very long and they tend to be as amorphous and formulaic as the human attention span will permit. Such a book would have the general effect of dispersing its community and converting all readers into non-readers.
Henri Bergson called disorder an order we cannot see. Similarly, the most beautiful poem suggests experiences that are highly inattentive and unwritten, and the most beautiful are merely superficial indicators for other sorts of peripheral, coded, programmatic, functional or directional information that is applied to the surface of things like postcards, flat panel displays, parking lots, brochures, street signs, or other depthless objects[.
Eliot's notes to The Waste Land. Lin extends this effect by miming the prosaic tone of the introduction—the work's first section is also called "Editorial Note"—in the poem itself: Most notable is Lin's contextualization of his poem. Airports as art forms? Poetry as a distributed experience? This is far removed from Walter Pater's notion of an individual's reading as a solitary experience of beauty, a moment snapped off in time, the value of which exists in its singular brilliance, its hard gem-like seconds of burning.
And yet, Li's work, with its emphasis on collaboration and inattention, seems to capture well how the experience of poetry on the Web—in this case auditor—differs substantially from poetry on the page.
Some of the works archived on Poems that Go http: An image of crowds in a grandstand forms the background, while a whirl of apparently random letters circles around the center. Mouse over an icon and the letters drop from the alphabetic maelstrom and sequence as the poe's title. Clicking the topmost icon, "Injury Analysis," sends the user to eight recorded tracks, each of a voice recounting an injury and its aftermath. Manipulating volume controls allows the user to prioritize some voices over others: Here audio deployment of the poem asserts its primacy as the "text" and with it comes the license to transform the final "product.
Why not make data verse and verse data? Why not have a little fun? Writes the pioneering poet and critic Stephanie Strickland: What digital media can do that print can't: This is a different kind of Paterian combustion: The Formal Aspects of Digital Poetry "Poetry," writes John Hollander in a sharp, sensible little guide to English verse, "is a matter of trope; and verse, a matter of structure.
Wallace Stevens formulated this equation: There is no avoiding the conscious choices associated with applying ideas to structures and structures to ideas. And when such choices are well made, the aesthetic effect is pleasure, which comes in difficult, even punishing forms, as well as, soft, sweet, easily accepted ones.
But what happens when poets seek out determinedly "non-poetic" material—very much the kind of roadside signs Hollander and Lin both refer to—in creating their music or noise as the case may be and their forms are plastic, and easily manipulated by the reader? What happens when the reader—or a combination of the reader and a program—choose the structure of a poem, as they can on the Web?
Canadian-born, London-based poet John Cayley publishes a variety of formal experiments on his Web site: One of these,"overboard" represents the experience of drowning by utilizing QuickTime animation, and a soundtrack composed by Giles Perring, so that the lines of the poem itself—and its accompanying music—sink and rise to the surface of intelligibility, composing and decomposing themselves continually.
The effect of this "dynamic, linguistic 'wall hanging'"  on the reader is that parts of the four-stanza poem—the simple tale of a sailor who falls over the side of a ship during a storm—are always submerged. The reader must complete the missing segments or construct relationships between those portions that are legible, in effect making decisions on the form and thus the argument of the poem. Simultaneously, a visual representation of the poem, consisting of moving illuminated squares, follows the patterns of the made and unmade words synchronized to musical tones.
A traditionalist like Hollander might argue that this is indeed non-poetry masquerading as poetry in a suit of turned lines, nothing more than a shopping list; noise, not music. Yet if the object of poetry is mimetic—art reflecting, and, perhaps replacing, life in a parallel experience—Cayley's work arguably succeeds as a new kind of poem, enabled only by digital media. And only imagine how a master of print form, such as Robert Browning, might have published one of his many musical poems, such as "A Toccata of Galuppi's" were audio and animation available to him.
This may be the emergence of a new generation of Brownings and Dickinsons on the Web? It is difficult, and perhaps even pointless, to judge, as poems—a little like deities—depend on the attention of their followers for their existence, and therefore will live or die by how well they move, amuse, piss off, or please; the forms they use to coax such responses are only one factor in their relevance.
But what of the finances? While very few poets get paid—Billy Collins, Fifty Cent, and John Ashbery representing the range of notable exceptions—it costs poets money to publish. For many of the major publishing houses in their pre-conglomerate days Random House, Harper and Fill-in-the blank, Farrar, Strauss and Girouxpoetry publishing was a small but stable part of the editorial program, and editors were often counseled that acquiring a poet's first collection might eventually produce her more accessible first novel.
In this post-conglomeration era, operating income pressures increasingly squeeze poetry out of commercial publishers' pipelines and into the houses of independent publishers and university presses, where, to a large degree, it remains, though increasingly dependent on grants, and years of lead time associated with scarce funding. Match this slow connection-dependent and critical-reception-dependent mode with the possibilities of instant Internet publishing and the advantages of the latter become readily apparent.
Today, almost anyone can start a poetry journal. Writes Bruce Covey, poet, and publisher of the online journal Coconut http: It's affordable to publish an online journal. In Coconut, I feel the luxury of space—I can publish long sequences and chapbooks. The increase in the number of online journals and the continued emergence of blog poetry and the issue-less journal i. And "credibility" is skyrocketing within more established poetry circles. Online journals are becoming a larger and larger presence within Best American Poetry, for instance, and a couple of poets in the recently updated Norton Anthology of Modern Poetry are prolific bloggers.
It seems to me that the relevance of online magazines grows each year as we age and are born with technology Each year highly relevant new magazines pop up online that seem to take for granted the venue some random examples: Octopus, Coconut, Softblow, Dusie, Ghoti. Then there are the mind-blowers like Jacket, which remains THE magazine on or off-line. Nearly all of the editors and poets interviewed for this article were asked to comment on the potential for relevance, or irrelevance, of print publishing in a digital world.
My great aunt was married at 11, in Mashad, and that was only years ago. A young lady from a wealthy and well-respected family who obviously had a large dowry, would be plucked off just around the age 11 or There is no credible scenario to suggest that she would simply wait around for years and years unmarried.
Kimia would have had 2 children before her 15th birthday; this is a fact of life at that time. Also women didn't have much say about whom they married back then. Even in today's India and other parts of the East arrange marriages are very common. A young lady like Kimia would have had many suitors and since she was already enamored with Ala al-Din, their fate may have been sealed as it becomes obvious below.
Also to those who say that the reason she was unmarried until older age was because she was very picky and highly selective. I submit, if she was that determined of a young lady to wait around many years for her prince charming against the wish of everyone, including Ala al-Din and the entire social structure of the time, why in the world would she agree to marry Shams? This last argument is the weakest of all claims for her older age. I submit that Kimia was 12 at the time of her forced marriage to Shams.
This simply makes historical sense and it is consistent with the untold or secret history of Rumi, it also explains the tragic events that follow this unfortunate mating. Rumi wanting to keep Shams around for as long as possible makes him an offer he couldn't refuse--hand of Kimia in marriage. Prior to the offer, Shams was fully committed in taking off a second time and never returning to Konya.
He was sick of all the death threats and constant nagging of everyone around him to leave master Rumi alone. When Rumi announced his decision for Kimia's fate, it sent shockwaves through the region. Rumi potentially multiplied Sham's growing unpopularity. And the decision not only made the household very unhappy but caused Rumi's youngest son, who most probably was planning marriage with Kimia, fuming.
After the marriage Shams becomes extremely obsessive and possessive of Kimia. He basically keeps her indoors at all times and forbids her to ever leave the house. Apparently Rumi's youngest son was always lurking around Kimia's residence, as he was unwilling to accept her marriage. And this specially annoyed Shams. So Shams would routinely chase Ala al-Din away and forbid Kimia to ever see her step brother. Shams apparently was known to punish Kimia for any misbehavings, even for minor things such as going out to a public garden with her mother.
However, long held Middle Eastern marriage customs typically show extreme possessiveness on behalf of husbands. This is of course true today as wives are either routinely prevented from leaving the house or kept wrapped up in chadors or burqas when in public and never allowed to go out unaccompanied. So Shams in essence was behaving very much like a typical husband.
Shams' entire life was about pursuit of self-realization and ascension without any concern for social norms. High caliber mystics like Shams typically never take a wife and routinely live hermetic lives away from society. So, this ill-fated marriage is one of the biggest ironies of Rumi and Sham's unconventional relationship. Kimia dies just a short few months after being married.
Love Poems about Marriage
And death of Kimia in essence brings the end of Shams. I explain various reasons that history offers for Sham's second disappears after the death of Kimia in topic 5, however the real reason was that, the entire region became enraged that a young princess had suffered such an unfortunate fate.
And it was the wish of all for Shams to pay a price for it. Soon after her death, Ala al-Din, plus 3 of his friends commit honor killing on Shams.
And this honor killing that was approved by all including townspeople and the policewas kept from Rumi all his life. Rumi thought Shams disappeared after death of Kimia and not wanting to be found again. Some explain, 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.
I disagree with both of these statements. They mainly have been hypothesized by non-creative types. Any artist can attest that no matter the inspiration the final work is an expression of the creative individual.
We are all inspired when we create. Inspired by nature, our environment, our childhood or culture, place of birth, romantic encounters, other artists, events in history and of course other individuals who cross our path. Rumi named the collection after his mentor to make sure Shams' name will be remembered alongside himself. Rumi knew well that his students, family members and historians had little intention to remember this wandering, wild holy man who was severely disliked by almost everyone in town.
They considered Shams a blemish on Rumi's otherwise pristine reputation. Rumi as usual took the matter into his own hands. He not only named the collection after Shams, but used Shams as the pen name or signature at the end of hundreds of his poems.
He assured that his successors had no possible alternative but to perpetuate Shams. Even altering the title of the epic would not have wiped Shams from the history books, since few hundred poems still enshrined him.
So, what is it between these two? Why was Shams so precious to Rumi? What happened during their private sessions? Why was their private sessions so secure where no one was ever allowed? Why was Rumi so affected by those private meetings that he would leave the world of law and teaching and become a genius poet instead? Why would Rumi hold such a high regard for a wandering homeless dervish, nicknamed the Bird? Rumi refers to the process of Soul Evolution as being cooked.
The idea is just as meals can't be ready to be consumed until they're well cooked, a soul is not ready for ascension until it's also cooked. Cooking of the soul refers to maturity of the spirit which is achieved by life experiences but specially by learning of universal mysteries and the truth about soul's imprisonment on this planet.
From the dust of the earth to a human being, there are a thousand steps. I have been with you through these steps, I have held your hand and walked by your side. And I will be with you as you move beyond this human form and soar to the highest heavens.
The process of Soul Evolution is about maturity of the soul and its readiness for ascension off this dark planet. You transform from that of a child soul needing boundaries and reward and punishment control methods to a mature soul that no longer requires any limitations. This is true with our bodies too. As children we require all sorts of control methods and reward and punishment tactics to prevent us from electrocuting ourselves, drowning, walk in front of traffic, drinking cleaning products or jump from balconies and so on.
In essence as a child these boundaries protect us from ourselves. But as healthy adults, not only do we no longer require such overseeing, but we then assume the role of the protector for other children.
There are a few things to consider before we continue. The process of Soul Evolution or ascension is a slow process and could take at the very least several lifetimes with best of candidates. Hence the term slow cooking that Rumi uses also meant to suggest long process. Furthermore, many so-called spiritual masters are just repeaters of low-grade information with no special gifts. As the West witnessed with the shenanigans of the corrupt Hindu gurus who almost all fell from grace in the past few decades, the term master is thrown around casually.
It's often meant to suggest "master manipulator. Keep in mind just because someone teaches about meditation that doesn't make them spiritual master, they are simply repeating available information.
He kept his increasing wealth 99 Rolls Royce cars and his erotic parties fully open to the public. He also tried to poison a whole town in Oregon just to take full control of it. Now that's an honest "guru. Shams was in his 60s when he met Rumi. That's a full lifetime. If he wanted wealth or large following he could have accomplished that by then. But his whole life was only about being true to himself and being genuine to the mission of ascension.
He was also holder of secrets of ancient mystery schools, including the famed Egyptian school Thath. Yes, Shams was the real deal. So, here we have two absolutely genuine, once in an eon bright, untarnished spirits coming together.
The meeting of Shams and Rumi doesn't happen every century nor every millennium, it happens once every spiritual cycle about 12, years. So instead of a slow cooker, Shams put Rumi in a microwave oven.
Instead of several life times, the process of ascension was sped up to a mere several years. Rumi not only clearly understood this, but he did his absolute best to make sure no mystic ever forgot what happened between them. Here are some nitty-gritty facts about these two. Shams drank, Rumi did not. Their companionship, although short lived, was about transmission of power and high secret knowledge and it was never physical.
Think about it, why else would Rumi offer him a wife if they were physically involved? Shams' powers grew while he was with Rumi. Rumi saw mysterious he never thought possible. I would tell you about their experiences but they are so magnificent and so far removed from our reality that they would fall into the zone of Sci-Fi. However, their meetings were not just about discourse, they were experiential.
Meaning Shams was able to bestow direct experiences to Rumi, rather than just discussing them in theory. These direct experiences also included manifestation of imagery and beings from other times and dimensions.
I'll keep the more juicy details for my talks and workshops. It's no wonder that years later we're still discussing, with great passion and interest, the mystery of Shams and Rumi.
For any serious mystical students reading this, these two are on a short list of real genuine articles in the whole history of spirituality. Rumi, Hafez, Omar Khayyam and Global Artistic Perspective Major artistic movements, form, mature and grow in clusters of time and region.
Without exception all major, global, highly creative and intensely demanding artistic movements are a product of a very specific cultural vibration set within a particular time and geography.
The Persian classical poetry movement is not an exception and follows this natural flow quite precisely. When an artistic movement is formed, a whole universe of activity starts to buzz around it. Enthusiast groups are formed and special viewing areas or performance halls are built.
A system of training and education also shapes to support these movements; meaning as the artform grows so does the understanding and appreciation of it. And the training structure allows the young to aspire to become the next big players within these creative fields. However, only three of which are globally recognized: Rumi, Hafez and Omar Khayyam. These movies represent the very popular aspect of American culture. Since the English-speaking world appreciates Persian classical poetry through translations, the personality of these literary giants and the unique style of each poet is often ignored or morphed together to form an endless stream of brilliant verse.
However, their work in the original Persian language is quite unique. Hafezwho is undoubtedly the most popular of all the Persian classic poets in his homeland of Iran, is the true Persian word-meister. He has an immense grasp of the language, with a very distinct fluid style, that is often embellished with great care.
However, Hafez translations in English are often indistinguishable from Rumi, and this is of course expected when any great literary work is read through translation and interpretation. Nevertheless, the beauty, grandeur, majesty, poetic craft and wisdom of these great beings come through not only in the original Persian language but in the English translations as well.
It's impossible today to imagine how popular poetry was at the time of Rumi. It was the pop music of its time. The only massively popular art form really. Since local singers would put to music the verses of popular poets, their poems were both recited and sung all day and all night long.
History remembers tyrants, prophets and poets. Famous sculptors and painters didn't emerge until years after Rumi, during the Italian Renaissance. Tyrants were kings and rulers with distinct bloodlines or bloodthirsty military types who took lands by force.
And the world only has a handful of popular prophets. So those two positions were near impossible to attain for highly gifted and charismatic individuals like Rumi. But to become a grandmaster poet, if you had the poetic chops, was a wide-open field.
Rumi is one of the most famous personalities in the world but he wouldn't have become known had he not chosen poetry as his weapon of choice. I would argue that poetry actually chose him; since he never considered himself a poet even though he became the greatest.
Rumi's unique style of poetry became all the rage at the time. He blended romantic imagery of classical Persian poetry that features a beautiful female companion, a cup of wine, a flower garden, moon lit night and candles burning with quotes from the 3 Abrahamic religious books plus mystical references, direct emotional expressions, issues involving maturity and growth of the soul and even anecdotes about daily life. Rumi was the most famous personality in the region and his fame and unique poetic style had already spread 3, miles away to India during his lifetime.
He was a superstar while he was alive and he has been admired, loved and cherished in the East ever since and in the West and globally since the s. In the early days when I had just started translating Rumi I became aware of what I thought then were strange similarities between Rumi lyrics and the American blues.
How could it be, I thought, how could lyrics from an year old Persian poet have anything in common with songs from a 20th Century American phenomena? Despite my initial disbelief I found similarities in four major themes that run through these two genres: Heartache, Drunkenness, Disagreeable Lover and Aloneness. Standard blues lyrics routinely talk about looking for a fix for this heartache. In fact just like the classic Persian poets, a blues performer considers having the blues a real privilege.
There is a saying, that if you don't have the blues, you aint got nothing. Rumi of course routinely exclaimed proudly how the pain of love was exclusive to him. In fact in my Rumi translation of his poem "Go Back To Sleep," he is shunning all those who aren't fortunate enough to be suffering from this heartache. He is commanding them to go back to sleep, which means remain in darkness of ignorance and give up your desire for growth and evolution. Just like in the American blues, this heartache was also paramount for Rumi.
Love is best when mixed with anguish. In our town, we won't call you a Lover if you escape the pain. Also like many of Rumi's poems a blues singer is often singing about being drunk, or is getting drunk, or just woke up with a hangover. I have lost the earth, the moon, and the sky. Don't put another cup of wine in my hand, pour it in my mouth, for I have lost the way to my mouth. So far we have covered the core theme of heartache or the blues, and the concept of drunkenness in both genres.
And here's the next point of similarity: In the famous Billie Holiday's song "Fine and Mellow" she sings: Your cruel heart is weary of me already. You have left me alone, yet your sorrow remains. Truly your sorrow is more faithful than you are. Also similar to the line "love will make you drink and gamble," complaining about the heartless lover ruining one's good name, is routine in Rumi poetry.
They are alone for various reasons: And this issue of aloneness is rampant in both Persian classical poetry and blues lyrics. So these similarities over the years made me aware about a connection between Rumi and the blues, in fact I used to perform a song called Rumi Blues with blues music and rhythms, honoring the connection without actually fully understanding the reason.
The article exposed the missing link for me, that blues is an African American experience. And African American of course denotes origin from Africa and this is where things get interesting. The Persian classical poets, specially Rumi, where immensely popular in the East. In fact Rumi has been a giant in the East ever since the 13th Century. And the Persian classical metaphors for heartache, drunkenness, disagreeable lover, and aloneness were well established all through the region from the Mediterranean Sea to India, North, West and East Africa and the Moorish Spain.
The African slaves, who were familiar with the imagery and metaphors of Persian classical poetry, brought these ideas with them to the US and gradually through generations as English became their native tongue learned to express them in the New World.
Hence this African American experience inspired by Rumi and other Persian classical poets became the source for today's popular music. So next time you hear a young crooner tearing his or her heart out in a modern love song, you have Rumi to thank for. The short answer is no. Rumi was a professor, a theologian and a scholar for most of his life. He was nearly 40 when he met the wild dervish named Shams who transformed his life.
Until then he led a quiet, disciplined life of an orthodox religious figure from an elite family who was an incredibly popular university professor.
Going back eight hundred years and the life expectancy not being so great, 40 by the standard of the time was considered mature age. So, in essence his life should have remained the same for the remainder of his days, had he not met and embraced Shams. Let's look at what it means to be called a Sufi. To be a Sufi, is the same as belonging to any cult or sect or small religious or spiritual group that has a structure and a system of hierarchy.
There is the master at the top, then officers below him and then the disciples. The master, whether it's a small Christian cult in the Midwest of the US, or an ultra-orthodox Hasidic community in Jerusalem, or a small Sufi sect in Egypt, or a Guru in an ashram in a village in India, has complete and total control over the group.
His or her word is considered a command and is obeyed by all the disciples blindly. Unless the organization has grown very large to include multiple locations, no new student can join the group until deemed worthy by the master. Also, joining such groups means adhering to strict rituals and routine practices formulated by that cult. Keep in mind that Sufism is a relative newcomer in the region that dates back many thousands of years and is rich with culture, spirituality, mysticism and the desire to explore the mysteries of humanity and the universe.
Being a mystic in Mideast doesn't necessitate in being a Sufi. For examples many dervishes in Iran trace their heritage back to at least 5, years and would clearly distinguish themselves from Sufism, which is only a several hundred year old tradition. Based on the above, Rumi certainly was not a Sufi. He didn't belong to any such sect neither did he pay homage to any particular master--short of Shams, who was not a Sufi and had no other followers.
Lastly Rumi knew Shams for only a couple of years before Shams was killed in the hands of Rumi's youngest son. Rumi was a universal soul appearing as a Persian mystic poet, with an incredibly brilliant mind, who lived by his own code. Many years after he passed away, the order of Whirling Dervishes was formed in his honor and that often confuses people as though he was part of such a sect. Rumi for All Seasons Who is the real Rumi?
Was he religious, or a progressive thinker, or a hip spiritualist believing in the occult, or was he a scholar or a professor?
The correct answer is all of the above. Due to his incredibly long and prolific creative life he has covered every topic imaginable from erotica to deeply philosophical, hence he has become a projection of the reader's own mind.
For example Rumi talks about God in some of his poems and then dismisses him in many others. His prime message is that God is found in your own heart. He recited hundreds of poems where he mentions that he would set fire to Kaaba and any temple or church, because God is not found there. He then encourages the reader to look into his or her own heart instead. Due to the fact that Rumi recited poetry for about 25 years and 70, verses, he has covered every morsel of emotion, thought, idea and topic.
Therefore, he can't be pinned in one statement. Also because of the long duration of his creative expression he changed his mind often. Hence, you have poems where he praises God and then poems where he outright destroys any such concept. In years of popularity, Rumi has become a mirror projecting what the reader imagines.
An orthodox or a religious reader, or a university professor, or a New Age type, or an advanced progressive thinker, all embrace Rumi as one of their own. But as soon as they heard that I'd like to submit articles on Rumi, they said they couldn't mention Rumi in Saudi Arabia because he is considered blasphemous and his poetry is not allowed there. Rumi, like all true masters of art of self-realization, was totally original.
He was insanely gifted both creatively and mystically in addition he was wealthy, socially and culturally influential, had massive political power and was the most famous personality in the region during his lifetime and beyond.
It's impossible today to imagine how popular poetry was at that time. Since local singers would put to music the verses of popular poets, their poems were both recited and sung. Historically speaking almost all creative types had to cater to a patron to survive and to be allowed to work and display their art. Be it the Vatican, the Medici family or various major landowners, the nobility and courts of kings.
And with patronage always comes censorship, because ultimately you are producing and altering your work for the patron's approval. Rumi was the complete exception.
8 Most Troubled Relationship Poems for Him / Her
The emir or sultan of the region at the time, part of Kayqubad dynasty, was one of his students. So in essence Rumi was above the king, hence above the military and certainly above the big mosque and all the clerics. This, in addition to his own independent lifestyle, gave him enormous power to express himself without any reservation. He also became the head of his tribe at the age of 24, upon the passing of his father, so he didn't even had to submit to a paternal authority like most young men of his time.
Rumi was totally his own man. An utterly brilliant artist and a true genius who after the death of his mentor Shams became unstoppable. Although historically and still today in Middle East the clerics or mullahs would immediately execute blasphemous people however no cleric dared to censor Rumi's work. So the result is not just one or two lines but hundreds of Rumi poems that are openly anti-religion and pro self-empowerment.
I have several examples of Rumi's blasphemous poems in the "Rumi Poetry" section of this website. You can view here: Two such poems are below. Don't look for Him in every direction, for He is in my soul.
I am the Sultan. I would be lying. If I said that there is someone who is my sultan. Turning me into an idol worshiper while I am seated at Kaaba. I have no control in this game of good and bad. Those who have been focused on his lighter, more crowd-pleasing work the Masnavi Massnavi, Mathnawi have little understanding of these so-called blasphemous poems.
Masnavi is "Rumi light" hence it's much more popular with the masses than his immensely passionate, deeply mystical and autobiographical early collection the Divan. Rumi's brilliant mind mixed with his independent lifestyle gave him a unique sense of expression that is very rare in Mideast and is badly needed in today's highly oppressive environment.
I began exploring my deep connection to Rumi, in New York, back in when I was in my early twenties. Literal and Poetic Translations of Rumi is the book that stands out from a few I've done so far. Rending The Veil's structure is completely unique in history of Rumi. It brings to Western reader poems of Rumi, many of which never before translated, and presents each of them in 4 versions. The actual calligraphic Persian of the original, a transliteration, word-for-word translation and finally a true to source English rendition.
I remember a very rude Iranian radio interviewer once asking me, "why would a Jew, wanna translate Rumi? The interview was pre-recorded for a major network from Europe and that silly line didn't make the final edit. The fact that a "Jew" has devoted decades of his life to Rumi is indeed the whole story of Rumi's appeal to Western audiences in a nutshell. I am a living example of Rumi's universality and his timeless message of self-empowerment, lack of prejudice and finding the divine not at any place of worship but in your own heart.
The great Jewish people have been residing in Persia and now Iran for 2, years. My direct ancestors migrated to the area that later became known as Persia and now Iran after the destruction of the first temple in Jerusalem. The Jewish holiday of Purimis part of my ancestors history. It is about the Jewish queen Esther in the court of a Persian king. And lastly my people are known as "Kalimi" in Iran, which means those who have spoken to God.
Now how do you go from that cultural high-honor to the type of anti-Semitism we are used to witnessing from Iran and some Iranians? Rumi's First vs Second Collection Rumi is a creative giant with a very colorful life story that involves a wild anti-social mystic mentor and an honor killing.