The Mesnevi — A Closer Reading

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In Category - Ethics
Jalal al-Din Rumi, Maulana, 1207-1273, Redhouse, James W. (James William), Sir, 1811-1892 [Translator] Project Gutenberg 2020 Not confirmed
Jalal al-Din Rumi, Maulana, 1207-1273; Mevleviyeh; Sufi literature Readers of public-domain and historical texts
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Words 136,100
Reading time 592 min
Text sections 40

For The Mesnevi — A Closer Reading, the stored edition analysis reports 136,100 words, 9 hr 52 min estimated reading time, and 40 detected text sections.

The text analysis averages about 15.2 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Jalal al-Din Rumi, Maulana, 1207-1273,” connecting these edition facts with the source record’s subject description.

Redhouse's 1881 translation of Rumi's Mesnevi Book I, prefaced by hagiographic anecdotes from El Eflaki. The verse employs didactic tales and philosophical dialogues, with a distinctive meter and rhyme scheme. Catalog subjects align with the work's Sufi and ethical content, but the excerpts show a stronger emphasis on narrative exempla and theological argument than on systematic ethics.
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structions and departure from Qonya to Qaysariyya, where he died, and after Jelāl’s studies at Aleppo and Damascus, with his subsequent return to Qonya and appointment to the four colleges, another great saint came to visit Jelāl at this latter city. This was Shemsu-’d-Dīn of Tebrīz, for whom Jelāl conceived a very great friendship. He is mentioned in the Mesnevī several times in very high terms. He appears to have been exceedingly aggressive and domineering in his manner. This roused a fierce animosity against him, which at length broke out in a tumult. Jelāl’s eldest son, ‘Alā’u-’d-Dīn, was killed or mortally hurt in this disturbance. The local police seized Shemsu-’d-Dīn in consequence, and he was never again seen alive by his friends. Jelāl went himself to Damascus, in hopes that he might have been sent away, or have got away, privately. But the effort was fruitless. Later traditions cause his corpse to have been recovered and buried at Qonya, differing, however, as to the place of interment.

When Jelāl found that he required assistance in conducting all the various duties that fell on him, he selected first for that office his former fellow-student-, Sheykh Salāhu-’d-Dīn Ferīdūn, surnamed Zer-Kūb (the Goldbeater), from his business. He assisted Jelāl for about ten years, and died in A.D. 1258.

Jelāl now took as his assistant his own favourite pupil, Hasan Husāmu-’d-Dīn, surnamed the son of Akhī-Turk, through his being descended from some man of celebrity of the name or designation of Akhī-Turk. There appears to have been a large family of very influential men residing at Qonya and other towns of Asia Minor, all calling themselves Akhī, and distinguished as Akhī Ahmed, Akhī Eshref, &c. The word “Akhī” is Arabic, and signifies “my brother.” It may also mean “one related to a brother,” as a servant, slave, client, &c., of some prince, &c.; or of some dervish “brother” of some religious order. Indeed, these very numerous individuals named Akhī, may have been each a “brother” of such a fraternity or fraternities, or even of some industrial guild.

Ten years after Husām was taken as his assistant by Jelāl, this latter was called to his rest in December A.D. 1273; and was buried in his father’s mausoleum, leaving Husām as his successor. But meanwhile, at Husām’s suggestion, and with himself as the first amanuensis thereof, the Mesnevī had been composed, in six volumes, books, or parts, by Jelāl. The second volume was commenced in A.D. 1263. There had been an interval of two years between the completion of the first and this, caused by Husām’s grief at the death of his wife. The whole work is stated to contain twenty-six thousand six hundred and sixty couplets. A seventh volume or book has been also attributed to the Mesnevī, to make up the number to that of the “seven planets;” some say it was composed or collected by Sultān Veled. The anecdotes of Eflākī make mention of many hundreds of odes composed also by Jelāl.

He is said to have instituted his peculiar order of dervishes, with their special dress, the Indian garb of mourning, in memory of his murdered friend, Shemsu-’d-Dīn of Tebrīz; and to have adopted the use of instrumental music, the flute, the rebeck, the drum, and the tambourine, with singing or chanting, as an accompaniment to the holy dance, on account of the lethargic nature of the “Romans.” As a child is tempted to take a salutary medicine by the exhibition of a little jam or honey, so Jelāl judged that the “Romans” might be tempted to a devotional love for God through the bait of sweet sounds addressed to their outward senses. Dancing or twirling by dervishes was of much older date, as will be recollected in one of the tales of the Arabian Nights.

Husām died in A.D. 1284, just ten years after his teacher Jelāl; whose son, Bahā’u-’d-Dīn, Sultān Veled, succeeded Husām as chief of the order, and died in A.D. 1312. His son, Chelebī Emīr ‘Ārif, succeeded him, and passed away in A.D. 1320; two of his half-brothers becoming chiefs of the order after him in succession.

Redhouse's 1881 translation of the Mesnevi opens not with Rumi's verse but with a substantial preface of selected anecdotes about the author and his circle, drawn from the hagiographer El Eflaki. This framing foregrounds the work's status within the Mevlevi order, where the poem is treated with near-scriptural reverence. The catalog subjects—Sufi literature, ethics, and Rumi himself—are accurate but broad; the excerpts reveal a text that is as much about narrative exempla and theological debate as about moral instruction.

The Anecdotal Preface and Its Function

The translator's preface, occupying roughly a quarter of the volume, consists of biographical chapters on Rumi, his father Bahā'u-'d-Dīn, and key disciples such as Shemsu-'d-Dīn Tebrīzī and Chelebī Husāmu-'d-Dīn. These are not neutral biographies but hagiographic accounts that establish Rumi's spiritual authority and the lineage of the Mevlevi order. The catalog subject "Mevleviyeh" is thus directly supported, but the ethical content of these anecdotes is implicit: they model ideal behavior through miraculous and pious stories, rather than through abstract moral reasoning.

Verse Structure and Didactic Method

The poetic text of Book I employs a consistent meter and rhyme scheme, with each line divided into two hemistiches. Redhouse's translation renders this as rhyming couplets, often with a colloquial, almost proverbial tone: "From converse converse stands forth, as Frank from Negro." The didactic method relies heavily on extended tales—such as "The Prince and the Handmaid" or "The Lion and the Beasts"—which are interrupted by philosophical asides and direct addresses to the reader. The catalog subject "Sufi literature" is evident in the poem's concern with divine unity and the limitations of human perception, but the ethical framework emerges through narrative consequences rather than systematic exposition.

Theological Argument Embedded in Narrative

In the excerpt from the lion-and-hare tale, the poem shifts abruptly from a fable about animal hierarchy to a discourse on the nature of God and creation: "The light of God no converse has in being's bound; / By converse, then, man has not its distinction found." This blending of story and theology is characteristic of the Mesnevi's method. The catalog subject "Ethics" is present but subordinated to metaphysical concerns; the hare's plea for mercy and the lion's wrath are vehicles for exploring justice, ignorance, and divine attributes. Readers expecting a straightforward moral treatise will find instead a work that insists on the insufficiency of human reason and the necessity of spiritual insight.

Redhouse's translation preserves the Mesnevi's oral, performative quality, with its sudden shifts between narrative, dialogue, and philosophical reflection. Readers should approach the text as a series of interconnected lessons that reward slow, attentive reading. The anecdotes in the preface provide essential context for the poem's characters and allusions, but the verse itself remains the primary vehicle for Rumi's teaching.

That rainy afternoon, Rumi’s disputations in The Mesnevi felt less like doctrine and more like weather—slow, inevitable. I drifted between tales, and by evening, found myself reaching for a forgotten shelf. The voice there was older, stranger, yet it asked the same quiet question: what dissolves the self? The Yoga-Vasishtha Maharamayana of Valmiki, Vol. 4 (of 4), Part 2 (of 2) — Story, Setting & Ideas answered with a wholly different patience.

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