Talking Shop with Coleman Barks

Talking Shop with Coleman Barks

Subscribe to Outside+ now to get unique access to all of our content, including sequences, instructor tips, video lessons, and much more. In the twenty years following his publication, Coleman Barks’ translations of the writings of Sufi poet Rumi have sold more than half a million copies. He began translating the work of the thirteenth-century mystic in 1976, and his bookThe Essential Rumihas since become a best-seller in the United Kingdom. Barks spent 30 years as a poetry and creative writing professor at the University of Georgia before relocating to Athens, Georgia, with his wife.

Yoga Journal (Yoga Journal): What factors contribute to the widespread acceptance of Rumi’s poetry?

It provides sustenance to the Western mentality, which is in desperate need of it.

The majority of the ecstasies were removed from the New Testament as a result of this.

  1. This is an intriguing notion, but it remains a mystery as to why so many individuals have been bringing my books around with them, into boardrooms, enterprises, and airports, among other places.
  2. A: I have two types of work, my own poetry and my work with Rumi, and I try to stay focused on both of them at all times.
  3. After teaching, I used to spend my time working on them.
  4. YJ: Do you consider your work to be translations or transliterations that take greater liberties with the original language or spelling?
  5. I make an effort to be aware of any spiritual knowledge that is attempting to enter my consciousness.
  6. Then you’re on a divine mission, much like the Blues Brothers, isn’t it?
  7. Bawa Muhaiyaddeen, like Rumi, lived in an intellectual community, and so did Rumi.

He lived in the same manner as Rumi, and his spontaneous poetry was recorded by a scribe.

Both of them spent their lives in a state of ecstasy.

He assists me in understanding my own identity as something greater and more expansive.

Full consciousness, according to Rumi, is accompanied by a craving for the universe or a creative world; a location or a life that is surrounded by the universe of the globe; and a sense of belonging.

Maintain your commitment to your daily routine, keep working, and keep knocking on doors.

Listening to Rumi’s art and tasting his knowledge of Rumi’s art constitute the bulk of my practice.

Robert Bly hosted a symposium in 1976, and it was then that we began reading academic translations of Rumi.

One afternoon, I was reading scholarly translations of these poems and rephrasing them in an attempt to make them legitimate English poetry.

Young Journalists: What are your ideas on incorporating Rumi’s mystic aspects into one’s everyday life?

Rumi is a master of the dream state.

Afterwards, Omar, the Second Caliph of Islam, is instructed to carry 700 dinars to the cemetery and present the gift to the elderly gentleman who is resting there.

In what ways does Rumi’s work influence the poetry that you write?

Rumi is a far bigger story than my little petty soap drama.

It does have a schizophrenic ring to it, doesn’t it? But I enjoy the way it is balanced. By continuing to be active in my art and learning from this greater being, it appears like I have a role to play in the creation of awareness that is now taking place on this world.

Bill Moyers Journal . Archive . Coleman Barks Reads Rumi

April 11, 2003OnBILL MOYERS JOURNAL poet Robert Blytalked about his recent focus on Islamic poets, including Rumi, Hafez and 15th century Indian spiritual poet Kabir. Bly states: “Rumi and Hafez have been the guiding light, Rumi especially, of American poetry for the last five or ten years.But also it seems to me that if we’re.criticizing the Muslim world so much, we should be able to give thanks for the genius that is there.”PoetColeman Barksis also known for his translations of the great 13th century Islamic poet and teacher, Jalaladdin Rumi. In 2003, Barks appeared on NOW WITH BILL MOYERS, reading three of Rumi’s poems. Not only is Rumi’s work heard on radio throughout the Arab world, he is a best-selling poet in America.Together Bly and Barks visited the tomb of Hafez, a revered poet of the 14th century, in the southern Iranian city of Shiraz.Bly says of the visit:”We got up in the morningand we went to the grave.And about eight o’clock in the morning, you know, children started to come.Maybe third grade children.And they stood around the little tomb and sang a poem of Hafez’s.Really charming.And then they went away, and now some fifth graders came.And they stood around the tomb and sang a poem of Hafez. Of course, every poem of Hafez is connected with a tune, so you teach the children the tune, and then they have the poem.So I said to myself, “Isn’t that unbelievable?And why don’t we do that?Why don’t we go to the grave of Walt Whitman and have children come there?” Photo courtesy ofTexas Nafas.back to Robert Bly on BILL MOYERS JOURNAL More on Rumi, Hafez and Kabir and Persian PoetryJelaluddin Rumi was born in the Eastern part of the Ancient Persian Empire near Balkh (presently Afghanistan) in 1207. His first name literally means “Majesty of Religion.” Because of the threat of Mongol invasion in Persia his family fled, finally settling in Konya, Turkey. He passed away, on December 17, 1273. His shrine is in Konya.Following in his father’s footsteps, Rumi became a scholar.Rumi underwent a spiritual transformation in 1244 after meeting the wandering dervish, Shams al-Din. With appearance of Shams, Rumi became reborn and soon started one of his renowned works, MATHNAWI, consisting of 24,000 verses at age 38.Rumi’s poetry has a mystic connotation, a combination that is the universal language of the human soul.Rumi’s poetry has been translated into many languages, his work is well known throughout the world. Rumi was the founder of the Mevlevi Dervish Order, also known as the whirling dervishes.Rumi was born in what is now Afghanistan, in the year 1207, but his family moved on, in the face of the Mongol invasion, moved to Baghdad, then Damascus, and finally to a crossroads on the Silk Road.There, as a Sufi Muslim, he was influenced with both Christian and Jewish thought.It was a violent time, with the crusades raking back and forth across his land.But Rumi’s sense of the sacred remained inclusive, gentle, and true to the longing of the human heart.Texas NafasNafas, in Middle-Eastern languages, is the word for “breath” and a metaphor for spirit or life.Texas Nafas airs on Public Access Community Television (PACT, Time Warner Cable channel 16, every Saturday at 10:00 PM to 10:30 PM in Austin, Texas). In August 2007, Robert Bly and Coleman Barks read poems in a special program sponsored by Nafas.

The Erasure of Islam from the Poetry of Rumi

When Coldplay’s Chris Martin was going through a divorce from actress Gwyneth Paltrow and feeling low, a friend offered him a book to help him improve his spirits. It was a couple of years ago. Coleman Barks translated a collection of poems by Jalaluddin Rumi, a thirteenth-century Persian poet, and published it in the United States. Afterwards, in an interview, Martin stated that the experience “sort of altered my life.” The following poetry is included in a Coldplay song from their most recent album, with Barks reading it: “This being human is a guest home / Every morning there’s a new arrival / Joy, despair, meanness, / some transient awareness arrives / as an unexpected visitor.” An artwork for Rumi’s epic poem “Masnavi” from the seventeenth century.

  • Rumi is frequently referred to be a mystic, a saint, and an enlightened man.
  • WITH CREDIT TO PHOTOGRAPH THE WALTERS ART MUSEUM is a non-profit organization dedicated to the promotion of art in the community.
  • Rumi’s aphorisms are shared on social media on a regular basis, serving as sources of inspiration.
  • Alternatively, “I chip away at my destiny at every opportunity.” The craftsman of my own soul is who I am.
  • Rumi is frequently referred to as “the best-selling poet in the United States” due to his popularity among readers.
  • Curiously, though, despite the fact that he was a lifetime student of the Koran and Islam, he is less usually referred to as a Muslim than he should be.
  • The majority of the book’s fifty thousand lines are written in Persian, but they are interspersed with Arabic passages from Muslim religion, and the text regularly references to stories from the Koran that teach moral lessons.

Keshavarz believes Rumi had the Koran memorized.

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In recent conversations, Jawid Mojaddedi, a historian of early Sufism at Rutgers University, shared his thoughts on the subject.

He was born in what is now Afghanistan in the early thirteenth century and is known as the poet Rumi.

In addition to being a preacher and religious scholar, Rumi’s father also exposed him to Sufism.

He then went to Konya to work as a seminary professor.

The nature of their close connection is up for question, but everyone believes that Shams had a profound impact on Rumi’s religious practice as well as his poetic expression.

Rumi would eventually come to combine the intuitive love for God that he discovered in Sufism with the legal norms of Sunni Islam and the mystical ideas that he learnt from Shams to create his own unique style of Islam.

While in Konya, Rumi had an extensive fan base that included Sufis, Muslim literalists and theologians, Christians and Jews, as well as local Sunni Seljuk monarchs and a wide range of other religious groups.

The contradiction between these facts and the urge to infer that Rumi, in some way, transcended his past can be found even within Gooch’s book: “He made claims for a’religion of love’ that went beyond all structured faiths,” as Gooch puts it.

As Mojadeddi points out, the Koran recognizes Christians and Jews as “people of the book,” serving as a starting point for the pursuit of universal values.

Coldplay’s involvement in the elimination of Islam from Rumi’s poetry began long before Coldplay was involved.

Translators and theologians of the period were unable to reconcile their beliefs about a “desert religion,” with its peculiar moral and legal norms, with the work of poets such as Rumi and Hafez, who wrote in Arabic.

In this period, Muslims were singled out for legal discrimination: a law passed in 1790 limited the number of Muslims who could enter the United States, and a century later, the Supreme Court of the United States declared that Muslims harbored “intense hostility toward all other sects, and particularly toward Christians.” Sir James Redhouse remarked in the preface to his translation of the “Masnavi” in 1898, “TheMasnaviis addressed to those who forsake the world, endeavor to know and be with God, efface their self, and devote themselves to spiritual contemplation.” Rumi and Islam were considered different entities by those living in the West.

  • Rumi’s prominence in the English-language canon was enhanced in the twentieth century by a succession of famous translators, including R.
  • Nicholson, A.
  • Arberry, and Annemarie Schimmel, among others.
  • He is more of an interpreter than a translator because he does not know how to read or write Persian.
  • Verse of a very specific sort is being presented here.
  • He earned his Ph.D.
  • The first time he heard of Rumi was later that decade, when another poet, Robert Bly, brought him a copy of Arberry’s translations and informed him that they needed to be “released from their cages”—that is, translated into American free verse—in order to be properly appreciated.

Barks had no prior knowledge of Islamic literature.

In the dream, he was resting on a cliff by a river, which he found comforting.

Barks had never met this individual before, but he did so the following year at a Sufi order outside Philadelphia, where they became fast friends.

He began spending his afternoons studying and rephrasing the Victorian translations that Bly had given him, which he did every day.

Rumi’s poetry, according to Barks, is “the mystery of opening the heart,” something that “you can’t articulate in English,” he said to me during our talk.

For starters, he has reduced the number of allusions to Islam.

In Islam, houris are virgins who have been guaranteed a place in Paradise.

Barks, on the other hand, continues to make references to Jesus and Joseph in other parts of the same poem.

“I was raised in a Presbyterian household,” he explained.

Omid Safi, among many others, credits Barks for introducing Rumi to millions of readers in the United States; in transforming Rumi’s poetry into contemporary American rhyme, Barks has devoted a significant amount of time and affection to the poet’s works and life.

Chopra, an author of spiritual writings and a proponent of alternative medicine, acknowledges that his poetry do not include the words of Rumi.

“I perceive a form of’spiritual colonialism’ at work here,” Safi added, referring to the process of bypassing, erasing, and occupying a spiritual landscape that has been lived and breathed and absorbed by Muslims from Bosnia and Istanbul to Konya and Iran, as well as Central and South Asia.

Islam is frequently referred to as a “disease,” notably by General Michael Flynn, President-elect Donald Trump’s nominee for national-security advisor, and leaders continue to argue that non-Western and non-white communities have made no contributions to civilization.

“Religion is such a source of controversy for people all around the world,” he explained.

Even though Rumi’s Persian readers would be familiar with the strategy, most American readers are not familiar with the Islamic plan.

Rumi’s compositions are not only infused with religious meaning; they also serve as a symbol of the historical dynamic that exists within Islamic knowledge.

Reading Rumi in the West: The burden of Coleman Barks

I authored an article a few months ago titled The Erasure of Islam from Rumi’s Works from English Translations, which can be seen here. The reason for this was in reaction to the innumerable requests I was receiving for the name of a reputable translator, preferably one who was not Coleman Barks. As a result, unless someone better comes along, the translations of Jawid Mojaddedi will continue to be used as a response. As a result of this essay, there has been some discussion about the potential damage of translations and whether poetry can ever be translated correctly.

  • Rumi is the most well-known poet in the world today.
  • Prior to Rumi, the Persian poet Omar Khayyam was the most popular poet in the Western world for more than a century before Rumi emerged.
  • It was the first time that the pornographic business has expressed an interest in poetry in over a decade.
  • With a glass of wine and a little intoxication?
  • They then replaced themes, rhymes, images and messages that conveyed the writer’s own understanding of spirituality and mysticism.
  • It is possible to claim that the Western world has become devoid of spirituality and purpose, with rationalism and materialism serving as its principal religion (Christianity, it appears, was tossed out with the ‘enlightenment’).
  • In response to this new-age need for a godless feelgood religion with no church or temple, secularized Rumi has been bred to satisfy this craving.

Rubaiyat of Omar Khayyam

In 1859, an Englishman by the name of Edward FitzGerald ‘translated’ the poetry of Omar Khayyam, a Persian astronomer and poet who lived in the 12th century. With its use of rhyme and meter, FitzGerald’s translation was also rather liberating in its interpretation. Many of the verses written by FitzGerald have been paraphrased, and some of them cannot even be traced back to Omar Khayyam’s original source material. While the Rubaiyat can be regarded a “translation” in the restricted sense, it can also be considered creative poetry by FitzGerald, loosely based on Omar’s quatrains, rather than a “translation” in the broad meaning.

FitzGerald, on the other hand, was not satisfied with just rewriting Omar Khayyam; he went so far as to seek to eradicate Islam from his poetry.

FitzGerald began by asserting that Omar was “hated and dreaded by Sufis, whom he decried as hypocrites.” FitzGerald continued by saying that Omar was “hated and dreaded by Sufis, who he decried as hypocrites.” So far as to assert, supported by his fellow Pre-Raphaelites, that other renowned Sufis such as Shams Tabrizi, Attar, and Al-Ghazali regarded Omar with awe and resentment.

It took a courageous group of proposals from English authors and artists who could not speak Persian and did not have access to authentic manuscripts, but who were determined to make Omar Khayyam a part of their own.

Indeed, according to recent news reports, Khayyam did not write any poetry himself, but rather the work of authors over a 200-year period who composed quatrains that were credited to the famed scientist in the first place (why, its not clear but perhaps because it would stick more if a name as big as Khayyam could be used, similar examples exist of poetry assigned to other Persian scientists including Ibn Sina).

  • After being questioned about why he excluded Islamic imagery and imagery from the poetry of Rumi, Coleman Barks said, “I was raised up Presbyterian,” he remarked.
  • A number of individuals who do not believe in God or religion have turned to Rumi as their ‘prophet.’ He has come to embody the age of a ‘feel-good’ religion in which spirituality comes from inside, compassion comes naturally, and kindness is unavoidable.
  • No, not at all, Allah.
  • There is no Quran.
  • Nope.
  • Please.

Is there a debt of gratitude given to the West for the translations of, importation of, and study of the writings of Jalal ad-Din Muhammad Rumi that have taken place?

Entry of Rumi into the West

An Englishman called Edward FitzGerald ‘translated’ the poetry of Omar Khayyam, an astronomer and poet from the 12th century who lived in the Persian Empire. With its use of rhyme and meter, FitzGerald’s translation was also rather liberating in its approach. Many of the verses written by FitzGerald have been paraphrased, and some of them cannot even be traced back to Omar Khayyam’s original source texts. Rather than being a “translation” in the traditional sense, the Rubaiyat might be regarded creative poetry by FitzGerald that is loosely based on Omar’s quatrains.

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He was not satisfied with just rewriting Omar Khayyam’s poetry; FitzGerald went so far as to seek to eliminate Islam from his poetry entirely, which was unsuccessful.

(a set of English poets, artists and creatives who wanted to revive the honesty and spirituality in Christian art).

He was described as a “free-thinking scientist,” rather than a “Sufi.” It took a courageous group of proposals from English authors and artists who did not speak Persian and did not have access to authentic manuscripts, but who were determined to make Omar Khayyam a part of their own culture.

Indeed, according to recent news reports, Khayyam did not write poetry himself, but rather the work of authors over a 200-year period who composed quatrains that were credited to the famed scientist (why, its not clear but perhaps because it would stick more if a name as big as Khayyam could be used, similar examples exist of poetry assigned to other Persian scientists including Ibn Sina).

  1. “The Koran is difficult to understand,” he said.
  2. A lovely harmony of verses that express the “human language” is all that is required to feel at ease.
  3. Neither a Prophet nor a Prophecy There is no Quran in this house!
  4. Nope.
  5. Please.

It is possible that the West owes a debt of gratitude to Jalal ad-Din Muhammad Rumi for the translations of, importation of, and study of his writings.

What do we then owe Barks for his contribution to the spread of the very Muslim Rumi?

For starters, Barks began by deleting the vast majority, if not all, of Rumi’s references to Islam from his work. The Sufism that Barks entertained did not penetrate the text, but rather prompted him to de-couple any Islamic allusions from the Masnavi, which he accomplished in the final draft. Barks began to rewrite what we in the Muslim world refer to as ‘The Persian Quran’ into what he called pop-Sufism for dummies. The Masnavi, in its core, instructs its readers on how to achieve their ultimate aim of falling deeply in love with Allah.

Let’s take a look at some of Barks’ interpretations.

It was written in the original: “You say, ‘With the body, I am far away, but with the heart, I am with the Beloved.'” “You claim that you no longer have any sexual desires.” Barks Interpretation: “You’ve become one with the person you love.” An exact translation of the original: “If you don’t have a lover, why don’t you go out and find one?” “If you have reached the Beloved, why do you not rejoice?” says the Prophet.

In the words of Barks, “If you don’t have a lady who lives with you, why aren’t you looking?” “If you have one, why aren’t you content with it?” says the author.

Ok sure there are issues with translations, true, but Barks essentially gave the non-Persian world Rumi. Without him, none of us would be reading Rumi. Right? Including Muslims!

Rumi, despite his widespread popularity in the English language, is far more well-known and widely present throughout the remainder of the globe that does not speak English. When reading Rumi and other ‘Sufi’ poets in English solely, a reader can conclude that Rumi and other poets are essentially “dead,” and that the typical Muslim does not comprehend or appreciate the skill of Rumi and other poets. Due to the fact that the analysis and conclusion are made from an English world view, this perspective is constrained.

Those who wish to hear the words of Mawlana Mohammed Jamil Jalaluddin Rumi, Hafez, or Mohammad Iqbal recited in a Mosque, Madrassa, or Café will have to travel to the Middle East, where these poets are often recited from memory by both the old and the young, in debates, poetry recitals, and even political speeches.

While reading from their little copy of the Masnavi, a young guy shivered with joy and affection as they pulled a few lines that they believed were appropriate for the talks we were having out of their bag and into ours.

They claim that he composed these phrases for his loves while under the influence of alcohol.” The young guy refused to believe what I had just stated, expressing amazement and horror at what I had just spoken.

While there are numerous reasons to be saddened by the loss and lack of appreciation for saints, scholars, poets, and philosophers in the Muslim world (the Golden Age has passed), it is erroneous to believe that the experience of Islam in the West is identical to the experience of Islam in the East (the Golden Age has passed).

Rumi has inspired poets and scholars for over 800 years

He claimed to have been inspired by Al-Ghazali, Attar, Baha-ud-din Zakariya, Bayazid Bistami, and of course Shams Tabrizi in his poetry and writing. The number of individuals he has influenced is considerably greater. Jami, Shah Abdul Latif Bhittai, Kazi Nazrul Islam, Abdolhossein Zarrinkoob, Abdolkarim Soroush, Hossein Elahi Ghomshei, Muhammad Iqbal, Hossein Nasr, Yunus Emre, and Coleman Barks are among those who have contributed to this work.

So, what does Rumi or other poets owe the West?

While some of Bark’s rhymes and interpretations are laudable for their lyrical beauty, he is first and foremost a poet who deserves to be recognized for his achievements. We must also remember the light of the Truth, the light of holiness, which seeps (even in little fractions) into interpretations and translations, no matter how corrupt they may appear to be. To seek knowledge and to further one’s understanding is a noble endeavour. When it comes to comprehending our faith, there is no book more significant than the magnificent Quran, followed by the teachings of the loving Prophet Muhammad (pbuh).

The Masnavi makes an attempt to explain both the universals and the specifics.

Rumi in the West Today

Rumi’s ‘translations’ by non-Persian speakers are frequently based on other people’s translations. Unfortunately, because they do not understand the original language, the “poetic inspiration” of the “translators” sometimes takes them further away from the original meaning and spirit of the work, rather than closer, as one might hope. If the most widely read translations (or interpretations) of the Masnavi today are by authors who have (intentionally or accidentally) modified the meaning of the Masnavi, what message is the Masnavi delivering and how is it being received is a valid question.

  1. How many young Muslims have been introduced to Rumi by interpreters such as Barks who were completely unconscious of what they were doing?
  2. It is difficult, if not impossible, for a non-Persian speaker to distinguish between a stanza that is more similar to the original and one that is completely distinct from it.
  3. What information does the reader receive?
  4. Or are we now entering a domain of spirituality and mysticism in which Rumi’s Islam is less essential than the ‘feel good’ emotions elicited by his poetry, and the objective is to achieve these sensations?
  5. Do rhymes and pop-Sufi couplets that operate as ephemeral forces between the Islamic east and the rationalistic west have a greater significance, or are they less significant?
  6. What if there is no Allah, no Messenger, no Jibreel, and no Quran?
  7. Two goals were set forth for this project: first, to offer Christian intellectuals with a scholarly book to analyze and dispute; and second, to disseminate mistranslations throughout the European continent in order to portray the “real darkness” of this desert religion to the public.
  8. Would you like Islam, in all of its fullness and splendor, to continue in the writings of Rumi and other Islamic poets?
  9. We now have great translations of Rumi, as opposed to the past.
  10. Jawid Mojaddedi, a native Persian speaker, has published the most up-to-date English translations of the Masnavi, which are available on the internet.

For as long as I am alive, I will serve the Qur’an as his servant. I am the dust that collects on Muhammad’s path as the Chosen One. If someone quotes anything other than this from my writings, I will be furious with him and appalled by his actions. — Mawlana Rumi, in his own words

Poetry Reading by Robert Bly and Coleman Barks

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The Glance: Songs of Soul-Meeting (Compass): Rumi, Jalaloddin, Barks, Coleman, Ergin, Nevit: 9780141002316: Books

In addition to being smooth and straightforward, Barks’ translation serves to further solidify his status as one of the finest Rumi specialists working in English today. ” The Kirkus Reviews have said that “This collection contains some of the most exquisite love poems ever written. Barks’ translations are well-known for their clarity and crisp simplicity, which are reminiscent of a bell. In every sense of the word, this is a tremendously desirable book.” —Booklist

About the Author

Rumi was born on September 30, 1207, in Balkh, Afghanistan, which was then a part of the Persian Empire and was known as ‘Jelaluddin Balkhi’ by both the Persians and the Afghans. It was between 1215 and 1220 that he and his family fled the threat posed by the invading Mongols and settled in Konya, Turkey; it was at some point after this that he became known as ‘Rumi’, which literally translates as ‘from Roman Anatolia.’ After his father’s death, Rumi assumed the job of sheikh in the dervish learning community in Konya, where he had grown up.

  1. Rumi lived the life of an orthodox religious scholar until 1244, when he came face to face with Shams of Tabriz, a wandering dervish who changed his life.
  2. Rumi’s students felt ignored as a result of this close relationship, and Shams vanished as a result of the ill will he had received.
  3. Rumi came to the notion that Shams was now a part of him after Shams’ second disappearance (he was most likely murdered) and a period spent seeking for his long-lost companion.
  4. As a result of Shams’ death, Rumi had two additional mystical companions: Saladin Zarkub, a goldsmith, and then, following Saladin’s death, Husam Chelebi, Rumi’s scribe and pupil, who accompanied Rumi for the rest of his life.
  5. Rumi passed away on December 17, 1273, after twelve years of hard labour on this masterpiece.

It was Bill Moyers’sLanguage of Life series that showcased his work with Rumi, who was the subject of an hour-long program on his work as a translator for the poet. He currently resides in Athens, Georgia. Rumi: The Book of Love: Poems of Ecstasy and Longing eBook : Barks, Coleman, Moyne, John, Ergin, Nevit, Nicholson, Reynold, Gupta, M. G.: Books

The product was reviewed in the United States on September 18, 2017 and it was verified as a purchase. Everyone should read this book, in my opinion. Rumi’s poetry provide a rare glimpse into Iranian society that we don’t often get to witness. That Rumi was a poet, spiritualist, sufi mystic and devoted and well-educated Sunni Muslim is critical to remembering his legacy. In reality, he was never separated from his religious beliefs, and we do him a disservice when we pretend that his spiritual search is distinct from the official teachings of his faith.

  • verified purchaseReviewed in the United States on November 9, 2017Verified Purchase It’s important for me to remind myself that I’m reading more Coleman Barks than authentic Rumi whenever I’m reading Coleman Barks.
  • Barks’ bite-sized chunks of excellent English imagery.
  • Its beauty has moved me to tears on more than one occasion.
  • Rumi poetry are frequently magical, however the way the e-book has been put together makes it impossible to read them in its whole.
  • It is far preferable to purchase a larger library of books in print.
  • They are both from the same sphere, and they can sense each other no matter where they are.
  • The darkness comforts both the self and the soul, and they are united in their truth.

On July 12, 2013, a review was published in the United States, and a verified purchase was made.

This translation is appropriate for an American readership that represents a diverse range of religious beliefs and practices.

I found it to be compelling and uncomplicated; spiritual but not dogmatic; and filled with sincere images.

As a result, we, as readers, are able to comprehend the poem and internalize its meaning in our hearts.

On March 16, 2013, a review was published in the United States of America.

Among his many works is the Book of Love, which is an extraordinary collection of love poetry.

It contains a great deal of information on the human soul, the genuine essence of our humanity, regardless of our background, and, most significantly, about the nature of love, among other things.

He is a poet of remarkable depth.

The poems are so fresh and contemporary that it is difficult to believe that they were written by a Muslim mystic hundreds of years ago.

This version includes a preface and an introductory study, as well as a brief commentary on each of the fifteen groups of poems that helps to contextualize them and the idea around which they are based.

On July 13, 2019, a reviewer in the United States expressed satisfaction with their purchase.

The product was reviewed in the United States on August 29, 2018.

I suppose that when things are translated from one language to another, certain things are lost, but I believe that the intent and sentiments have been preserved. I was moved in so many different ways, but always in the direction of Love. This is a book that I strongly recommend.

Top reviews from other countries

5.0 stars out of 5 for this product Translation of a great novel that is quite emotional. Purchased on August 3, 2020 in the United Kingdom and reviewed on August 3, 2020 This book on love is fantastic! Coleman Bark has done an excellent job with the translation. He captures the past in a way that is both modern and incredibly lyrical. Simple, yet really profound. a rating of one out of five stars Do not purchase this book; it is not worth your money! On June 5, 2019, a review was conducted in the United Kingdom.

5.0 stars out of 5 for this product Rumi is very remarkable.

On April 30, 2021, the United Kingdom will conduct a review.

5.0 stars out of 5 for this product Five out of five stars verified purchase, as reviewed in the United Kingdom on June 15, 2018Verified Purchase 4.0 stars out of 5 for this product Rumi translations that are excellent On March 23, 2014, a review was published in the United Kingdom.

The more decent translations of his magnificent poems that we can get our hands on, the better.

I do, however, heartily suggest this book to anybody who like Rumi, Persian poetry, or spirituality in general.

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