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De Groot maintains that Rumi’s philosophy of the oneness of love explains why Rumi signed about a third of the Divan under Shams-i Tabrizi’s name; By writing as if he and Shams were the same person, Rumi repudiated the longing that plagued him after Shams’ disappearance in favour of the unity of all beings found in divine love. [29]
The Sufi Path of Love: The Spiritual Teachings of Rumi, by William Chittick, Albany: SUNY Press, 1983. The Mysteries of the Universe and Rumi's Discoveries on the Majestic Path of Love, by Majid M. Naini, Universal Vision & Research, 2002, ISBN 978-0-9714600-0-3 www.naini.net; The Mesnevi of Mevlâna Jelālu'd-dīn er-Rūmī.
For his part, Rumi, in his writings, developed the concept of love as a direct manifestation of the will of God, in part as a calculated response to objections coming from the orthodox wing of Islam: "Not a single lover would seek union if the beloved were not seeking it". [7] The concepts of unity and oneness of mankind also appear in Rumi's ...
It is documented that Rumi began dictating the verses of the Masnavi at the request of his favourite 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.
The Forty Rules of Love is a novel written by the Turkish author Elif Shafak, [1] [2] [3] Her interest in writing this book was influenced by the degree she received in Gender and Women’s Studies. [4] The book was published in March 2009. [5] It is about the Persian mystic poet Maulana Jalal-Ud-Din, known as Rumi and his companion Shams Tabrizi.
Shams-i Tabrīzī (Persian: شمس تبریزی) or Shams al-Din Mohammad (1185–1248) was a Persian [1] Shafi'ite [1] poet, [2] who is credited as the spiritual instructor of Mewlānā Jalāl ad-Dīn Muhammad Balkhi, also known as Rumi and is referenced with great reverence in Rumi's poetic collection, in particular Diwan-i Shams-i Tabrīzī.
The Three Princes who fell in love with the portrait of the Princess of China; The Sadr-i Jahán of Bukhárá and the Jurist; Story of two Brothers; The King who forced a learned Doctor to drink wine with him; Imra’u ‘l-Qays and the King of Tabúk; The Man who dreamed of a Hidden Treasure; The Cadi and the Wife of Júhí; The Prophet and ...
It is the intense Divine Love of Sufism that serves as a model for all the forms of love found in ghazal poetry. [citation needed] Most ghazal scholars today recognize that some ghazal couplets are exclusively about Divine Love (ishq-e-haqiqi). Others are about earthly love (ishq-e-majazi), but many can be interpreted in either context.