The Essential Rumi, New Expanded Edition
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This revised and expanded edition of The Essential Rumi includes a new introduction by Coleman Barks and more than 80 never-before-published poems.
Through his lyrical translations, Coleman Barks has been instrumental in bringing this exquisite literature to a remarkably wide range of readers, making the ecstatic, spiritual poetry of thirteenth-century Sufi Mystic Rumi more popular than ever.
The Essential Rumi continues to be the bestselling of all Rumi books, and the definitive selection of his beautiful, mystical poetry.
one foot tangled in invisible string, follows, suspended in the air. Amazed faces ask, “When did a raven ever go underwater and catch a frog?” The frog answers, This is the force of Friendship. What draws friends together does not conform to laws of nature. Form doesn’t know about spiritual closeness. If a grain of barley approaches a grain of wheat, an ant must be carrying it. A black ant on black felt. You can’t see it, but if grains go toward each other, it’s there. A hand shifts
Works of Shams of Tabriz (Divani Shamsi Tabriz). The six books of poetry he dictated to his scribe, Husam Chelebi, are simply titled Spiritual Couplets (Mathnawi), or sometimes he refers to them as The Book of Husam. The wonderfully goofy title of the discourses, In It What’s in It (Fihi Ma Fihi), may mean “what’s in the Mathnawi is in this too,” or it may be the kind of hands-thrown-up gesture it sounds like. All of which makes the point that these poems are not monumental in the Western sense
his head touches. He studies and meditates on that pattern, gradually discovering that it is a diagram of the lock that confines him in his cell and how it works. He’s able to escape. Anything you do every day can open into the deepest spiritual place, which is freedom. A WISHED-FOR SONG You’re song, a wished-for song. Go through the ear to the center where sky is, where wind, where silent knowing. Put seeds and cover them. Blades will sprout where you do your work. A BASKET
not on others, is a mysterious thing. Some attunement must be there. I felt drawn immediately to the spaciousness and longing in Rumi’s poetry. I began to explore this new world, rephrasing Arberry’s English. I sent some of the early attempts to a friend who was teaching law at Rutgers-Camden. He, inexplicably, read them to his class. A young law student came up afterward, asked him for my address, and started writing, urging me to come meet his teacher in Philadelphia. When I finally did walk
4089-128, 4137-58; “A Dying Dog,” V, 477-97; “One Strong Brushstroke Down,” I, 1489-1546; “Refuse the First Plate,” V, 1743-59; “Backpain,” II, 2212-17, 2252-65; “The Uses of Fear,” VI, 2195-2233; “Town and Country,” III, 236-63,414-31, 458-64, 497-509, 514-23, 598-642; “Sweet-Talked into Connection,” II, 2580-2600; “Inklings,” III, 790-807; I, 3343-59; “Ayaz and the Thirty Courtiers,” VI, 385-414, 418-27; “The Well of Sacred Text,” III, 4209-26, 4232-33; “Ocean Love,” III, 2243-80; “Hand Above