The Masnavi of Jalal al-Din Rumi (1207-1273), a massive poem of some 25,000 rhyming couplets, by common consent ranks among the world's greatest masterpieces of religious literature. The material which makes up the Masnavi is divisible into two different categories: theoretical discussion of the principal themes of Sufi mystical life and doctrine, and stories of fables intended to illustrarte those themes as they arise. This selection of tales is the most accessible introduction to this giant epic for the non-perisan reader.

Philip Pullman, author of 'His Dark Materials' trilogy, has remarked that "after nourishment, shelter, and companionship, stories are the thing we need most in the world." This new collection of Rumi stories fills that need. This fresh prose translation of 105 short teaching stories by Rumi, which form the core of the six-volume Masnavi, explores the hidden spiritual aspects of everyday experience. Rumi transforms the seemingly mundane events of daily life into profound Sufi teaching moments. These prose gems open the mystical portal to the world of the ancient mystic. These stories include well-known and popular tales such as "Angel of Death," "The Sufi and His Cheating Wife," "Moses and the Shepherd," "Chickpeas," and "The Greek and Chinese Painters" as well as the less commonly quoted parables: "The Basket Weaver," "The Mud Eater," and "A Sackful of Pebbles." Rumi's voice alternates between playful and authoritative, whether he is telling stories of ordinary lives or inviting the discerning reader to higher levels of introspection and attainment of transcendent values. Mafi's translations delicately reflect the nuances of Rumi's poetry while retaining the positive tone of all of Rumi's writings, as well as the sense of suspense and drama that mark the essence of the Masnavi.

The Masnavi of Jalal al-Din Rumi (1207-1273), a massive poem of some 25,000 rhyming couplets, by common consent ranks among the world's greatest masterpieces of religious literature. The material which makes up the Masnavi is divisible into two different categories: theoretical discussion of the principal themes of Sufi mystical life and doctrine, and stories of fables intended to illustrarte those themes as they arise. This selection of tales is the most accessible introduction to this giant epic for the non-perisan reader.

Begun in 1262 AD, Masnavi-ye Ma ‘navi, or ‘spiritual couplets', is thought to be the longest single-authored ‘mystical’ poem ever written. As the spiritual masterpiece of the Persian Sufi tradition, it teaches how to progress to the ultimate goal of the Sufi path - union with God. Jalaloddin Rumi was a poet and a mystic, but he was first a teacher; in these verses he draws the reader into the complexities of human love and separation and explains the path to divine love through the elimination of self-regard and worldly desires. Drawing on diverse sources from bawdy tales and fables to stories of the prophet Mohammed, these verses are brief in expression yet copious in meaning.

First published in 1963, this work puts into clear and rhythmical English one hundred stories and apologues of the Masnavi of Rumi. Composed over a period of many years during the thirteenth century, as a manual of instruction and initiation into spiritual life, the Masnavi has long been acclaimed the greatest mystical epic of Islam. The tales were designed to illustrate in human terms the often complex doctrine, and this they do with a wealth of beauty, honour and pathos, as appealing to the modern reader as to the medieval audience to which they were originally addressed. The volume, like its predecessor Tales of the Masnavi, is included in the UNESCO list of representative great works of world literature. This work will be of interest to those studying Islam and Middle Eastern literature.

Often described as the bible of the Sufis, the Mathnawi is a 13th-century mystical poem by Jalalu'l-Din Rumi, the Persian poet and mystic. Professor Nicholson presents translations of the most important stories from this work, which explore the deep questions of life's meaning and purpose.

Rumi's "Masnavi" is the unrivalled masterpiece of Sufi spirituality. It guides the student on the path to union with God by way of fables and sayings that are "easier than easy to the ignorant, but harder than hard to the wise." Reynold Nicholson (Adams Professor of Arabic, Univ of Cambridge) has delivered this authoritative translation.

Jalaloddin Rumi's Masnavi-ye Ma'navi, or 'Spiritual Couplets', composed in the 13th Century, is a monumental work of poetry in the Sufi tradition of Islamic mysticism. For centuries before his love poetry became a literary phenomenon in the West, Rumi's Masnavi had been revered in the Islamic world as its greatest mystical text. Drawing upon a vast array of characters, stories and fables, and deeply versed in spiritual teaching, it takes us on a profound and playful journey of discovery along the path of divine love, toward its ultimate goal of union with the source of all Truth. In Book Two of the Masnavi, the second of six volumes, we travel with Rumi toward an understanding of the deeper truth and reality, beyond the limits of the self. Alan Williams's authoritative new translation is rendered in highly readable blank verse and includes the original Persian text for reference. True to the spirit of Rumi's poem, this new translation establishes the Masnavi as one of the world's great literary achievements for a global readership. Translated with an introduction, notes and analysis by Alan Williams and including the Persian text edited by Mohammad Este'lami.

English; Arabic text with parallel English translation.

HEARKEN to the reed-flute, how it complains, Lamenting its banishment from its home: "Ever since they tore me from my osier bed, My plaintive notes have moved men and women to tears. I burst my breast, striving to give vent to sighs, And to express the pangs of my yearning for my home. He who abides far away from his home Is ever longing for the day he shall return. My wailing is heard in every throng, In concert with them that rejoice and them that weep. Each interprets my notes in harmony with his own feelings, But not one fathoms the secrets of my heart. My secrets are not alien from my plaintive notes, Yet they are not manifest to the sensual eye and ear. Body is not veiled from soul, neither soul from body, Yet no man hath ever seen a soul." This plaint of the flute is fire, not mere air. Let him who lacks this fire be accounted dead! 'Tis the fire of love that inspires the flute,l 'Tis the ferment of love that possesses the wine. The flute is the confidant of all unhappy lovers; Yea, its strains lay bare my inmost secrets. Who hath seen a poison and an antidote like the flute? Who hath seen a sympathetic consoler like the flute? The flute tells the tale of love's bloodstained path, It recounts the story of Majnun's love toils. None is privy to these feelings save one distracted, As ear inclines to the whispers of the tongue. Through grief my days are as labor and sorrow, My days move on, hand in hand with anguish. Yet,, though my days vanish thus, 'tis no matter, Do thou abide, O Incomparable Pure One! But all who are not fishes are soon tired of water; And they who lack daily bread find the day very long; So the "Raw" comprehend not the state of the "Ripe;" Therefore it behoves me to shorten my discourse. Arise, O son! burst thy bonds and be free! How long wilt thou be captive to silver and gold? Though thou pour the ocean into thy pitcher, It can hold no more than one day's store. The pitcher of the desire of the covetous never fills, The oyster-shell fills not with pearls till it is content; Only he whose garment is rent by the violence of love Is wholly pure from covetousness and sin. Hail to thee, then, O LOVE, sweet madness! Thou who healest all our infirmities! Who art the physician of our pride and self-conceit! Who art our Plato and our Galen! Love exalts our earthly bodies to heaven, And makes the very hills to dance with joy! O Iover, 'twas love that gave life to Mount Sinai, When "it quaked, and Moses fell down in a swoon." Did my Beloved only touch me with his lips, I too, like the flute, would burst out in melody. But he who is parted from them that speak his tongue, Though he possess a hundred voices, is perforce dumb. When the rose has faded and the garden is withered, The song of the nightingale is no longer to be heard.