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Gönderen Konu: ABOUT THE DIVAN  (Okunma sayısı 2617 defa)

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Kasım 05, 2006, 05:40:21 ös
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The "Divan" is the inspiration of Rumi's middle-aged years. It
began with his meeting Shams-i Tabriz, becoming his disciple and
spiritual friend, the stress of Shams' first disappearance, and the
crisis of Shams' final disappearance. It is believed that he
continued to compose poems for the Divan long after this final
crisis-- during the composition of the Masnavi.

The Divan is filled with ecstatic verses in which Rumi expresses
his mystical love for Shams as a symbol of his love for God. It is
characteristic of Persian sufi poetry for it to be ambiguous as to
whether the human beloved or the Divine Beloved (= God) is
being addressed. It is also an essential feature of the particular kind
of sufism Rumi practiced that mystical "annihilation in the spiritual
master" [fanâ fi 'sh-shaykh] is considered a necessary first stage
before mystical "annihilation in God" [fanâ fi 'llâh] can be attained.
The Divan is filled with poems expressing this first stage in which
Rumi sees Shams everywhere and in everything. Rumi's
"annihilation" of his separate self was so intense that, instead of
following the tradition of including his own name in the last line of
odes/ghazals, he often uses the name of his beloved spiritual
master and friend instead. Or he appeals to (mystical) Silence
[khâmosh] which transcends the mind and its concepts.

"Divan" [Arabic: dîwân; pronounced "dîvân" in Persian] means the
"collected works" of a poet. It has been published with a variety of
titles: "Dîvan-i Kabîr," "Dîvân-i Shams-i Tabrîzî ," "Kulliyât-i
Shams," "Kulliyât-i Shams-i Tabrîzî."

Rumi's Divan consists of three different types of poems. It contains
44,282 lines (according to Foruzanfar's edition, which is based on
the oldest manuscripts available): 3,229 odes, or ghazals
[ghazaliyât] (total lines = 34,662); 44 tarji-bands [tarjî`ât] (total
lines = 1698); and 1,983 quatrains [rubâ`iyât] (total lines = 7932).

Persian Editions of the Divan

The best edition available was done by the Iranian scholar,
Badi`uzzamân Forôzânfar, published in ten volumes between

There is a also a (widely distributed) commercial edition in one
volume ("Kulliyât-i Dîvân-i Shamsî Tabrîzî," published by Amîr
Kabîr, 1957, enlarged 1962, and re-printed many times since),
which falsely purports to contain all of Foruzanfar's edition.
However, it was first put out before Foruzanfar completed the last
section of ghazals (finished in 1966), all of the tarji-bands,
(finished in 1966) and all of the quatrains (finished in 1963).
Therefore, the one-volume edition contains Foruzanfar's authentic
work (minus his variants and footnotes) only up to ghazal number
3106. After that, the rest of the volume consists of poems
incorporated from other (inferior sources) and not from the earliest
manuscripts. This includes the ghazals (numbered 3107-3365), all
the tarji-bands (numbered 3366-3502), and all the
ruba'iyats/quatrains (numbered 1-1995).
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