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Home , Bayazid Bastami, Mathnawi, Middle Persian, Persian literature, Persian mysticism, Rudaki

Сетевой научно-практический журнал АУЧНЫЙ 73 СЕРИЯ Вопросы теоретической и прикладной лингвистики Н РЕЗУЛЬТАТ

UDC 821 DOI: 10.18413 / 2313-8912-2015-1-3-73-82

THE INFLUENCE Moghaddas Mahdieh Boostani OF ’S THOUGHT ON WHITMAN’S

Bahram Moghaddas PhD in TEFL, Ministry of Education, Mahmoodabad, , Department of English, Khazar Institute of Higher Education, Iran E-mail: [email protected] Mahdieh Boostani PhD Candidate in the English Language and , Banaras Hindu University, E-mail: [email protected]

АBSTRACT ufism or tasawwuf is the inner, mystical, or psycho-spiritual dimension of . SHowever, many scholars believe that is outside the sphere of Islam. As a result, there has always been disagreement among religious scholars and Sufis themselves regarding the origins of Sufism. The traditional view sees Sufism as the mystical school of Islam and its beginnings in the first centuries following the life of the Prophet Mohammad. Indeed, there is another view that traces the pre-Islamic roots of Sufism back through mystics and mystery schools of the other regions gathered into the trunk known as Islamic Sufism. The word Sufi originates from a Persian word meaning wisdom and wisdom is the ultimate power. The following survey tries to explore this concept in the works of Rumi and its impact on the western writers and particularly Whitman. It tries to show how Whitman inspired from Rumi and came to be the messenger of Sufism in his poems. These poems reveal the depth of Sufi spirituality, the inner states of mystical love, and the Unity of Being through symbolic expressions. They also ex- press aspects of Sufism and of traveling the Sufi path inaccessible in writings.

Key words: Sufism; ; Persian poetry; Rumi, Whitman.

№3 2015 Bahram Moghaddas, Mahdieh Boostani АУЧНЫЙ 74 THE INFLUENCE OF RUMI’S THOUGHT РЕЗУЛЬТАТ ON WHITMAN’S POETRY СетевойН научно-практический журнал

Introduction tions, for example, Tahirids and Samanids were Persian writing is one of the world’s most situated in Khorasan (Zarandi et al., 2014). established written works (Bruijn, 2015; Trin- Iranians wrote in both Persian and ity, 2013). It compasses over two centuries, (Divsalar and Mazhari, 2013; Lewis, 2011); Per- though a significant part of the pre-Islamic ma- sian prevailed in later artistic circles. Persian terial has been lost. Its sources have been in- poets, for example, , Sa’di, Hafiz, Attar, side including present-day Iran, Nezami, Rumi and are addition- and the , and additionally locales ally known in the West and have affected the of where the Persian dialect has writing of numerous nations. truly been the national dialect (Tehrani, 2014; Persian Poetry Reviews, 2012). For example, Molana (Rumi), Classical Persian poetry and verse is con- one of Iran’s best-adored artists, conceived in stantly rhymed. The principal verse structures or Vakhsh (in what is presently Afghani- are the Qasideh, , Qazal and Ruba’i stan or ), wrote in Persian, and lived (Iran Chamber Society, 2015; Schimmel, 2014). in , then the capital of the Seljuks. The The or ode is a long lyric and poem in vanquished expansive regions in monorhyme, for the most part of a , in- Central and and received Persian as structive or religious nature; the Masnavi, sent their court dialect. There is in this way Persian in rhyming couplets, is utilized for gallant, sen- literature from Iran, , , timental, or narrative verse; the (ode or the wider Caucasus, , western parts of lyric) is a similarly short poem, generally pas- , Tajikistan and different parts of Cen- sionate or mysterious and fluctuating from four tral Asia. Not all this literature is composed to sixteen couplets, all on one rhyme. A conven- in Persian, as some consider works composed tion of the ghazal is the presentation, in the last by ethnic in different languages and couplet, of the ’s nom de plume or pen name dialects, for example, Greek and Arabic, to be (). The ruba’i is a with a spe- incorporated. In the meantime, not all writing cific meter, and an accumulation of written in Persian is composed by ethnic Per- is called “Ruba’iyyat” (the plural of ruba’i). At sians or Iranians. Especially, Indic, Caucasian, last, a gathering of a poet’s and other and Turkic poets, essayists and writers have verse, orchestrated alphabetically based on the likewise utilized the as a part rhymes, is known as a (Iran Chamber So- of the land of Persianate societies and cultures ciety, 2015). (Branch, 2014; Zarandi et al., 2014). A word may not be strange here on the un- Depicted as one of the colossal writings of hu- conventional challenges of deciphering Persian mankind, Persian literature has its establishes in verse and literature toward the western reader. surviving works of and Old Per- To the pitfalls regular to all interpretations from sian, the last of which go back similarly as 522 verse must be included, on account of Persian BCE (the date of the most punctual surviving literature, such extraordinary challenges as the Achaemenid engraving, the . free utilization of Sufi symbolism, the inces- Persian literature was considered by Goethe one sant artistic, Koranic and different references of the four primary collections of and suggestions, and the general occupation of (Zarandi et al., 2014). The majority of surviving monorhyme, a structure exceedingly compelling Persian literature, notwithstanding, originates in Persian yet unsuited to most different lan- from the times after the Islamic success of Iran guages. In any case, most essential of all is the around 650 CE. After the Abbasids came to con- way that the verse of Persia depends to a more trol (750 CE), the Iranians turned into the record- prominent degree than that of most different ers, scribes and bureaucrats of the Islamic domain countries on excellence of language for its be- and, progressively, additionally its poets and longings. This is the reason a significant part writers. The New Persian literature emerged and of the considerable volume of “ in com- prospered in Khorasanand in light of mendation of sovereigns” can at present be read political reasons – the early Iranian administra- with delight in the origional, though. It is gener-

СЕРИЯ Вопросы теоретической и прикладной лингвистики Bahram Moghaddas, Mahdieh Boostani АУЧНЫЙ 75 THE INFLUENCE OF RUMI’S THOUGHT РЕЗУЛЬТАТ ON WHITMAN’S POETRY СетевойН научно-практический журнал

ally unsuited to interpretation. So, the best ap- strate that emotional strategy was not outsider peal of Persian literature lies, as Sir E. Denison to Persian literary taste. Numerous authors and Ross commented, in its language and its music, poets exceeded expectations in effectively ex- and subsequently the reader of an interpretation pressing an idea adequately by the prudent uti- “ has perforce to forego the essence of the mat- lization of complexity, accentuation, paradox, ter” (Iran Chamber Society, 2015: Zarandi et al., and incongruity, yet above all else by a fitting 2014). delineation utilized as a part of Persian didac- Characteristics of Persian literature tic literature to dramatize an abstract point or i. Preponderance and advantage dictum. of Poetry But it is the making of mind-sets and im- A genuinely broad prose literature, basically pacts and the portrayal of scenes and opinions of a narrative, episodic, and admonishing kind that have remained the main concerns of the likewise thrived, yet it is dominated by poetry writers and poets of Persia. Abstract and liter- regarding quality and quantity alike (Nanaje, ary constructions of an architectural nature, 2010; Nejati and Shafaei, 2008). In fact, poetry where all points of interest are subordinated is the art par excellence of Persia, and her notable to the prerequisites of an overriding subject or social and cultural accomplishment. In spite of thought, have from time to time been the con- their significant achievements in painting, pot- vincing point of Iranian literary works. Struc- tery, textiles, and architecture, in no other field tural frames as, they are seen in the West, with have the Persians succeeded in accomplishing emotional pressure coming about because of the same level of prominence. While the extent their improvement of characters and their of alternate arts stayed constrained, literature imagined connection don’t distract the Persian and verse formed into a vehicle for the most re- literary mind. Instead of following a planned fined musings and the most profound supposi- advancement from introductory premises to tions. Pensive and enthusiastic in the meantime, climax and resolution, the Persian authors per- poetry talks the language of the Persian heart, mit themselves to investigate, frequently at a psyche, and soul, completely mirroring the Per- lackadaisical pace, the scenes and points of in- sian world perspective, background and life ex- terest that energize their own creative energy, perience (Nanaje, 2010). and to impart these to the reader. This, unfo- ii. “Tangential” Structure cused, wandering kind of literary development and Organization finds its preeminent sample in Rumi’s Mathna- The literary works of Persia for the most part vi, where mysterious thoughts and preachings have a tendency to be unmistakable instead of are represented by stories inside of stories, with emotional, expressionistic rather than natural- no reasonable structure between drifting ser- istic, natural as opposed to compositional (Lee, mons and philosophical comments. 2012). This does not imply that Iranian writings It is additionally obvious that in the pres- lack sensational, dramatic or well-constructed ent century, when fiction composing has get to stories. The -nama contains some intense be prominent, it is the short story (basically de- stories with impressive emotional impact. The scriptive) and not the that has pulled in scenes of and , Siyavosh and the best talents and abilities. What’s more, in Sudaba, and Rostam and Esfandiyar, are com- Afghani’s Showhar-e Ahu Khanom and Dowla- pelling in themselves as well as told with excel- tabadi’s Kelidar, two huge post-World War II lent structural cohesion - just like various occa- books, continuous peregrinations, have a great sions reported by the eleventh-century historian time abusing the repercussions of their subjects, Bayhaqi. From their Persian interpretations, it and fanning out into side back alleys are usual is clear that the Middle Persian historical nov- of the same centrifugal inclination that we see in els in light of the lives of and Bahram the works of Nezami or Attar. Chobin were emotional and well-formed. One Persian poets and essayists are demonstrat- need just allude to the epigrammatic quatrains ed experts of vignettes, aphorisms, concise com- of Omar Khayyam and his imitators to demon- ments, world renowned expressions, well suited

СЕРИЯ Вопросы теоретической и прикладной лингвистики Bahram Moghaddas, Mahdieh Boostani АУЧНЫЙ 76 THE INFLUENCE OF RUMI’S THOUGHT РЕЗУЛЬТАТ ON WHITMAN’S POETRY СетевойН научно-практический журнал

definitions, pregnant suggestions, illustrative minstrels for the most part sang their ballads stories, and innovative short depictions; these to the backup of instruments. Poetry, to judge methods are exemplified in the pages of the most by our few remaining cases, was genuinely ba- observed Persian exposition work, Sadi’s Goles- sic in arrangement since the music was there tan (The rose greenery enclosure), created in the to help convey its passionate effect. Numerous thirteenth century. Persian and Middle Persian early Persian sonnets were, indeed, imagined as have a rich store of insight writing, comprising melodies and were sung by the writer or a ravi for the most part of withdrew or approximately (Arabic rawi, reciter) as instanced by ’s associated good adages and moral perceptions well-known poem on (Nanaje, 2010; from which one can barely find a rational ar- Iran Daily, 2010). rangement of moral reasoning. It is symptomatic It was not long, notwithstanding, before of the Persian method of speculation and artistic poetry accomplished an absolutely isolate pres- preference that the genuine unit of Persian verse ence from music and its own particular custom is the line (distich or bayt). The best - was built up with a repertory of routine topics, ists regularly succeed in communicating signifi- themes, symbolism, and imagery. Since the free cant contemplations or energetic conclusions play of creative ability was fairly restricted by the within the limitations of a solitary couplet (Ar- limitations of this convention, embellishment tarena, 2015). and decoration turned into an essential method iii. Decorative Orientations for displaying scholarly aptitude and of inspiring A third element of Persian writing is its de- one’s audience. Stylistic mastery and rhetorical sire for the utilization of rhetorical devices and craftsmanship slowly turned into a sign of good ornament. It has regularly been notified that composition. Persian arts have a marked decorative inclina- iv. Conventionality tion. This is obviously found in the visual ex- A fourth element of Persian literary custom pressions: architecture, book illustration, wall is the conventionality of its themes, imagery, and painting, calligraphy, bookbinding, and materi- symbolism. The significant themes and types of als, and also in music. In modern Persian criti- Persian poetry were situated in the first century cism, this propensity, an indispensable piece of its appearance; they are seen as early as the of masterful expression in Persian letters, has works of Rudaki (d. 940-41). Besides, the dis- been fairly belittled, incompletely as a result tinctive classifications of Persian poetry for the of changes in abstract qualities and mostly on most part relate to particular structures: the the grounds that the faultfinders have typically qasida (tribute), a long mono-rhyme, for pan- centered around exorbitant cases. Such a per- egyrics; the ghazal, a shorter mono-rhyme of spective, in any case, overlooks the benchmarks around seven to fourteen lines, for lyrics; the of taste prevailing in medieval Persia and its mathnavi or couplet, for narrative themes; the circles of social impact, and it misses, too, the roba’i or quatrain for epigrammatic ballads; and genuine nature and capacity of decoration in the qet’a (piece or fragment) for casual themes. Persian writing. A long way from being a simple These structures and their relating genres have expansion or adornment, decoration is a key remained genuinely consistent for almost a component of literary expression. It is one of thousand years (Nanaje, 2010; Iran Daily, 2010: the significant gadgets writers or poets utilize Simidchieva, 2003). Traditional poets have con- to show their resourcefulness, granting style stantly made their works inside of the prerequi- and modernity to their items, and awakening sites of formal canons and thematic and imagis- the reader’s profound respect (Iran Daily, 2010; tic traditions. Chalisova, 2009). Persian In early Persian poetry, ornament is neg- Poetry, more specifically Persian poetry, is ligible, mostly as a result of the poetry’s youth not as simple to discuss in an article as it is the and as it was displayed on Sassanian poetry. speech and heart of Persia, the land of beauty, In pre-Islamic Persia, as we have seen, po- love, and poetry playing the most important role etry and music went as hand in hand, and the in Persian literature. The softest and richest lan-

СЕРИЯ Вопросы теоретической и прикладной лингвистики Bahram Moghaddas, Mahdieh Boostani АУЧНЫЙ 77 THE INFLUENCE OF RUMI’S THOUGHT РЕЗУЛЬТАТ ON WHITMAN’S POETRY СетевойН научно-практический журнал

guage in the world is the Persian and it is so pe- twenty distiches; but the Arabians sometimes culiarly adapted to the purposes of poetry. The make it exceed five hundred. history of Persian Sufi poetry was called by A. J. Love is probably the most universal symbol Arberry “the golden era” (De Bruijn, 1997). The for the relationship between the mystic and the term golden era was coined because the greatest Divine. In the language of love, a poet can put sufi poets who created the most influential po- his words in the most proper manner for his re- ems all lived in Persia. Sufi poetry has had a great lationship with his Creator. No form of poetry effect in persian poetry as Reynold Nicholson’s is as closely tied to the theme of love, as the statement shows:“Sufism has few ideas, butan Persian ghazal. In general, we can ghazal inexhaustible wealth and variety of illustration” is a poem of love, using various themes. “ (5), we can claim that Sufi poetry is the most was also the earliest writer of mystical ghazal” fruitful form of persian poetry that has had such (57).The name of Maulana Jalal al-Din Rumi is a superb effect in persian literature being called often mentioned as the third master of ghazal the mine of persian literature (Lotfi, 2009). ‘’The after Sanai and Attar. The usual subjects of mine of Persian literature,’ observes an elegant the ghazals are beauty, love, or friendship; but writer, ‘ contains every substance, from the daz- frequently they are employed to set forth the zling diamond to the useful granite, and its ma- praises of wine, and many treat of the mysteries terials may be employed with equal success to of the Sufis. The poet generally introduces his build castles in the air or upon earth’’ (Costello, name in the last couplet. 1899, p. 44). Mathnavi is a “kind of narrative poetry, in- Most of the classical Persian poets are Su- ternal rhyme of all distichs, which changes with fis, a profession of religion so mystical, that it is each following line” (84). The greatest mathnavi difficult to explain in a few words (Ernst, 2003). is Mathnavi by Rumi which has a literal and fig- Sufism or Tasawwuf is “the esoteric or inward urative sense. In fact, whatever we are searching aspect of Islam” (Burckhart, 2008, p. 5). They for in Persian literature, we can understand that prefer meditations and ecstasies of the name of Rumi is in the peak of this moun- to the pleasures of the world. Their fundamen- tain. Especially in Persian Sufi poetry the name tal tenets consists of the existence of absolutely of Maulana Jalal al-Din Rumi can’t be denied be- nothing but : that the human soul is an ema- cause his name is like a star which is at the center nation from His essence and it will finally be re- of the Sufiґs sky. A great star which Sufiґs sky stored to Him. can’t be bright without its presence. The poetical compositions of the Persian Maulana Jalal al-Din Rumi Sufi poetry are of several kinds. The most im- Jalal al-Din Rumi was born on September portant are the quatrain or rubai, the qasida, 30, 1207 to native Persian speaking parents, the ghazal, and the mathnavi. Persian qua- originally from the Balkh city of Khorasan, in trains consist of four lines and the sequence modern- day . He was born prob- of two internal rhymes. The Persian name for ably in the village of Wakhsh, a small town lo- quatrain is rubai, a derivation from the Arabic cated on the Wakhsh River in the greater Balkh arba. According to Shams- iQays who was liv- region, in modern-day Tajikistan. But because ing in early thirteenth century, “the rubai was the whole area at that time was Persia, the ma- invented by the poet Rudaki who lived in the jor portion of which is present-day Iran, Rumi tenth century” (De Bruijn, 1997, p. 7). Rubai is celebrated in Iran as one of that country’s deals with any theme that could be treated in most illustrious poets. Rumi is one of the fa- classical Persian poetry. The Qasida was bor- mous influential figures in the history of Persia, rowed by religious minded poets from the liter- currently known as Iran, as well as in the West- ature of the courts. It is originally a long poem ern World. of praise (a long praise poem) written in mono- His father, Baha al-Din, was a theologian, rhyme. It may consist of either praise or sat- jurist and a mystic from Wakhsh. In 1219, Baha ire, morality or other subjects. The Persians do al-Din fled with his family from Balkh because not extend the length beyond one hundred and of the impending invasion of the Mongols. Baha

СЕРИЯ Вопросы теоретической и прикладной лингвистики Bahram Moghaddas, Mahdieh Boostani АУЧНЫЙ 78 THE INFLUENCE OF RUMI’S THOUGHT РЕЗУЛЬТАТ ON WHITMAN’S POETRY СетевойН научно-практический журнал

al-Din, with his family and a group of disciples, to Thee, or we worship Thee? ‘’ (Ernst, 2012, p. set out from Balkh to Konia. On their way they 286). passed some cities. When Baha al-Din arrived in The place where these two oceans met each , the Iranian city, located in the prov- other for the first time is known as “Marc’al ince of Khorasan, Rumi encountered one of the Bahreyn” (Aydin, 2004, p. 7). It is the most fa- most famous mystic Persian poets, Attar. It has mous and probably the most fruitful relation- been told that Attar “presented young Jalal al- ship in Rumi’s development .From that moment Din-Rumi with his Asrarnama and informed on, it was a great change in Rumi’s life. He took his father that the child would someday become Shams to live in his own home and the two men famous throughout the world” (Davis, 2013, p. were inseparable; they spent hours a day togeth- 34). From Nishapur, Baha al-Din traveled to er, sometimes isolating themselves for long pe- . There he was invited by Shahab al- riods to pray and fast in divine communion with Din Suhrawardi to stay a while at his Khaniqah, God. This close relationship caused anger and but he did not accept. Instead, he stayed at the jealousy among his students and his family. Ru- Mustansariah School. After Baghdad, he vis- mi’s lack of attention made them angry, because ited , Medina, and , all the time they were unable to change the attitude of their looking for a town in which he could settle (in teacher. Because of their jealousy, life in Konia or down) a Madrasah and teach his disciples was very difficult for Shams. Without inform- who had accompanied him. None of these places ing Rumi about his future residence, Shams left satisfied Baha al-Din’s requirements for a new Konia. For fifteen months Rumi sought Shams’s home. From Damascus, he moved to Aleppo, place without any luck. Finally, he received in- and then to Malatya where he stayed for four formation that Shams was living in Damascus. years before he moved to Laranda (present-day He sent Walad to persuade Shams to Karaman), southeast of Konia, in present-day return to Konia. In his joy Damascus was the Turkey. He lived in Laranda for seven years. centre of this world. We are enamoured and At Laranda, Jalal al-Din married Gawhar Kha- bewildered and enraptured of Damascus, We tun. They had two sons: and Ala- have given our soul and bound our heart to the eddin Chalabi. Finally, they settled in Konia. In passion of Damascus (Schimmel, 1993, p. 22). Konia, Baha al-Din was given the title “king of When Shams returned, for some time, all was the religious scholars (sultan al-)” (Chit- well between him and Rumi’s disciples. But the tick 3). In Konia they found a peaceful place, reunion of Rumi and Shams did not last for long. and established themselves under the royal pa- Again, a lack of attention to his teaching infuri- tronage of Alla al-Din Kaiqobad, a great Suljuk ated the disciples. Shams left Rumi for the last prince. When his wife died, Rumi married again time (1247). Some people told Rumi perhaps and had a son, Amir Alim Chalabi, and a daugh- Shams went to Syria. So, Rumi went to Syria but ter, Malaken Khatun. When his father Baha al- it was no result. We don’t know exactly about the Din passed away in 1231, Rumi succeeded him disappearance of Shams, and there are various as professor in religious sciences at the largest stories, but the most reliable one is perhaps this theological school in Konia. one: The climax of Rumi’s life was at the moment ‘’Aflaki boldly states that he was murdered he met a wandering named Shams-e Ta- in connivance with Rumi’s son ‘Aliaoddin’, the briz. It is one of the most memorable encounters pride of professors’’. (23) in the . Although there are vari- Rumi’s major work is Mathnavi Manavi ous stories of this encounter, probably the most (spiritual couplets). Soon after his spiritual reliable account is the one that Shams himself friend Shams appeared in his life, Rumi started recorded in his discourses (Maqalat). Where he his marvellous work, Mathnavi. It consists of says that he spoke as follows to Rumi: twenty-seven thousand verses. It was written ‘’The first thing I talked to him was this: How in couplets and collected into six large volumes. is it that Bayazid did not need to follow (the ex- Rumi’s six-volume masterpiece, Mathnavi, also ample of the Prophet), and did not say Glory be may be said to have had only a single purpose:

СЕРИЯ Вопросы теоретической и прикладной лингвистики Bahram Moghaddas, Mahdieh Boostani АУЧНЫЙ 79 THE INFLUENCE OF RUMI’S THOUGHT РЕЗУЛЬТАТ ON WHITMAN’S POETRY СетевойН научно-практический журнал

communion with the Absolute. The Mathnawt, Rumi was fading away in the autumnal days has often been called “the Quran in the Persian of 1273, and the physicians despaired of diag- language” (Chittick 2). Rumi’s Mathnavi con- nosing his illness. He passed away on 17 Decem- tains within its tales references to the Quran, ber 1273, at sunset. It is told that that night was the sayings of Prophet , Muslim named Shab-e Arus (literally Wedding Night or history, famous saints and sinners, poetic allu- Rumi’s Night of Union with God). His funeral sions, and tales of animals and fantastic events. was attended by all people from different reli- Professor R. A. Nicholson translated the Math- gions. nawiinto English and characterised Rumi as Rumi and Whitman ‘the greatest mystic poet of any age’(Iqbal, It is a matter of common knowledge that 1991, p. 13). The Mathnavi expresses Rumi’s the 19th century American writers Emerson and burning love, refined spirits, fine intelligence Thoreau were deeply influenced by the orien- and lofty mysticism through the form of linked tal thought. For Whitman, the Sufi poets held stories. Jalal al-Din Rumi is said to have been a prominent position in shaping the course of forty-three years engaged in writing the Math- hispoetics, from its to its structural navi. Often whole nights were spent in its com- organization. One poet in particular, Jalaluddin position, Rumi reciting and his friend Husam Rumi, seems to have had an effect on Whitman al-Din copying it down and sometimes singing that has not been adequately examined. One of portions of the verse in his beautiful voice. It’s the primary problems in connecting Whitman the only one of Rumi’s works that he deliber- to Rumi and the other Sufi poets is determining ately composed in chronological order for a what kind of access Whitman had to their work. single purpose. R.A Nicholson (1925-40) in In nearly any scholarly analysis of Whitman’s praise of Mathnavi said: ‘’This is the Book of poetry it is impossible to exclude mentioning the Mathnawн, which is the root of the roots of ’s influence as a men- the roots of the (Mohammedan) Religion in re- tor upon his poetic development. Emerson was spect of (its) unveiling the mysteries of attain- America‘s first internationally significant writer ment (to the Truth) and of certainty; and which and philosopher, and his writings drew deeply is the greatest science of God and the clearest on Persian poetry and thought. Best known for (religious) way of God and the most manifest his role as a founder, philosopher, and poet in evidence of God.’’ (p. 13) the Transcendentalist movement, Emerson also Rumi’s other major work is the Divane made a great contribution to Kabir (great work) or Divane Shams (The as a conductor who exposed Americans to medi- Works of Shams of ); because Rumi used eval Persian Sufi poetry through his own efforts his friend’s name as his pen name, and con- as a translator. Farhang Jahanpour claims that sisting of over forty thousand couplets, this is Emerson’s acquaintance with Persian literature a monumental work of divine lyricism. The Di- started in his teen years: van is a remarkable piece of literature in that ‘’A study of Emerson’s journals, and espe- it translates the author’s ecstatic experiences cially an examination of the often neglected liter- directly into poetry. William C. Chittick (2005) ary journals that he borrowed from various Bos- for explaining the value of divan has made this ton and Harvard libraries, shows that Emerson’s statement: familiarity with Persians goes back to his youth.’’ ‘’It is well known that most of the ghazals (or (Aminrazavi, 2014, p. 118) “lyric poems of love”) of the were com- His eastern studies between 1845 and 1855 posed spontaneously by Mawlana during the were mainly dominated by Persian literature. ’ or “mystical dance.” This dance, which lat- Among the most important books which Emer- er came to be known as the “dance of the whirl- son read during these years about Persian litera- ing ,” is an auxiliary means of spiritual ture were: “W.R. Alger’s (1865) the poetry of the concentration employed by the , a east; James Atkinson’s of the Shah- means which, it is said, was originated by Rumi Nameh; James Ross’s translation of Sa’di’s Gu- himself’.(p. 5) listan (the Flower Garden); the German transla-

СЕРИЯ Вопросы теоретической и прикладной лингвистики Bahram Moghaddas, Mahdieh Boostani АУЧНЫЙ 80 THE INFLUENCE OF RUMI’S THOUGHT РЕЗУЛЬТАТ ON WHITMAN’S POETRY СетевойН научно-практический журнал

tion of the Divan of the celebrated Persian mystic which the two Americans came to appreciate the Jalal al-Din Rumi” (118). Sufi ideas found a way Sufis’ work ultimately highlighted their deeper into Whitman’s spiritual development under the philosophical differences to such an extent that it influence of Emerson. Alger’sPoetry of the East, led to a split between Whitman and his onetime more than half of which is devoted to Persian po- mentor. Emerson approached the Sufis from an etry, with a large selection of Rumi’s poems, the intellectual standpoint, while Whitman was in- rest of it being allotted to Hindi and Arabic po- creasingly drawn toward the way in which the etry. In his “Introduction to Oriental Poetry,” the Sufis placed the body at the core of their poetic second part of which deals with the Persian po- expression, including, and particularly, sensual ets, Alger introduces Jalal al-Din Rumi in these experience. Indeed his very transcendental doc- exalted terms: trines, which later influenced Whitman’s Leaves ‘’The Sufi poets are innumerable, but their of Grass, are said to have developed largely out universally acknowledged head and master is of his reading of , at the cen- the celebrated Mewlana Dschelaleddin Rumi, ter of which, of course, stands Rumi’s Mathnavi. the greatest mystic poet of the whole Orient, By way of indirect influence, Leaves of Grass, in the oracle of the devotees, the nightingale of addition to Alger’s Poetry of the East, seems to the contemplative life, the lawgiver in piety, the have benefitted from Emerson’s Persian mysti- founder of the principle order of Dervishes, and cism too. And this could be responsible for the author of the Mesnavi. The Mesnavi is a vast amazing points of resemblance we can encoun- and famous double-rhymed ascetic poem, an ter between Rumi and Whitman. exhaustible coffer of Sufi lore and gems. From Another critic Massud Farzan in his article the banks of Ganges to the Bosporus it is the Whitman and Sufism: toward a Persian lesson, hand-book of all Sufis, the law-book and ritu- mentions similarities between Whitman and al of all the mystics. From this work, says Von Rumi. Hammer, this volcanic eruption of inspiration, Massud Farzan reminds us Lord Viscount breaks forth the inmost peculiarity of Oriental Strangford’s idea: mysticism, a solitary self-direction towards the ‘Whitman instead of wasting his gifts on loftiest goal of perfection over the contempla- Leaves of Grass……….. should have translated tive way of Divine Love. On the wings of the Rumi (Aminrazavi, 2014, p. 155). Here however highest religious inspiration, which rise far be- Farzan offers a thoughtful conjecture: yond all outer forms of positive religion, ador- ‘While Strangford’s comments were un- ing the Eternal Essence, in its completest ab- doubtedly exaggerated, there is no reason why straction from everything earthly, as the purest Whitman would not have been acquainted with fountain of eternal light, soars Dschelaleddin, Sufi poets of Persia and highly influenced by above suns and moons, above time and space, their thought and poetry. His contemporary above creation and fate, beyond the primeval kindred soul Emerson was extremely interested decrees of destiny, beyond the sentence of the in the Sufis, having read their works extensive- last judgment, forth into infinitude, where he ly and written about them, notably Saadi and melts into unity with the Endless Being as end- Hafiz. Thoreau too was fond of the Sufis and had less worshiper, and into the Boundless Love as quoted from Saadi’sGulistan in Walden. More boundless lover. . .’’ (Alger, 1865, p. 66-67). unequivocally, Whitman’s own 1891 poem ‘A The searching eye of Whitman, himself a Persian Lesson’ − originally called ‘A Sufi Les- mystic bard of the Occident, must have seen over son’ − is indeed a surprisingly accurate and in- these lines. Undoubtedly, he also read Emerson’s spired reflection of Persian Sufism’. (p. 164) article, “Persian Poetry,” “in the Atlantic Monthly “A Persian Lesson” not only reflects a Sufi- in 1858. Emerson introduced his readers to Per- inspired piece; it also contains lines which mar- sian poetry in this essay, particularly”the seven velously complement many a poem of Rumi dra- masters of the Persian Parnassus”: Firdusi, En- matizing his concept of mystic evolution: weri, Nisami, Jelaleddin, Saadi, Hafiz, and ” The motion of every atom is towards its ori- (Ford, 1987, p. 12-13). The different ways in gin;

СЕРИЯ Вопросы теоретической и прикладной лингвистики Bahram Moghaddas, Mahdieh Boostani АУЧНЫЙ 81 THE INFLUENCE OF RUMI’S THOUGHT РЕЗУЛЬТАТ ON WHITMAN’S POETRY СетевойН научно-практический журнал

A man comes to be the thing on which he is The closing lines of “A Persian Lesson” bent. strongly echo Rumi’s poetry in particular. By the attraction of fondness and yearning, The Sufi teacher of the poem ends his lesson the soul and the in Whitman-like fashion with a series of ques- Heart Assume the qualities of the Beloved, tions followed by his own conjectural response: who is the Soul of souls (Nicholson 83). Rumi ‘Would you know the dissatisfaction? the It is the central urge in every atom, urge and spur of every life; (Often unconscious, often evil, downfallen) The something never still’d − never entirely To return to its divine source and origin, gone? the invisible need of every seed? however distant, ‘It is the central urge of every atom, Latent the same in subject and in object, (Often unconscious, often evil, downfallen,) without one exception. Whitman To return to its divine source and origin, Like Whitman, Rumi composed a vast however distant, amount of poetry. His masterpiece work is the Latent the same in subject and in object, Mathnawi, a six-book piece consisting of more without one exception.’ than twenty thousand lines. However, it is not a The urge that Whitman attributes to ev- single-storied epic poem, but a series of stories ery atom to return to its original, divine source and meditation all directed toward the education evokes the proem to the first book of the Math- and improvement of the soul. The opening lines nawi. Rumi uses a reed and the crying noise as- of the proem to the first book evoke Whitman’s sociated with it as a musical instrument to illus- use of grass: trate longing. Listen to the reed how it tells a tale, com- Conclusion plaining of separations − One may consider Whitman and Rumi as Saying, “Ever since I was parted from the panentheists, according to their vision toward reed-bed, my lament hath nature and God. In their panentheistic idea, they caused man and woman to moan. maintain that the Divine can be both transcen- I want a bosom torn by severance, that I may dent and immanent at the same time. From their unfold (to such a one) the viewpoint, God might be everything without be- pain of love-desire. ing identical with everything. Every one who is left far from his source The research was not to express similarities wishes back the time when he between Rumi and Whitman because it is clear was united with it. that both poets believed in God as a unifying force. In every company I uttered my wailful notes, But instead of all similarities found in Rumi and I consorted with the unhappy Whitman’s poetry already mentioned above (some and with them that rejoice. (Nicholson, of them), it would be fantastic to mention how 1898, p. 1-5) Sufi ideas attracted American writers. The peak Rumi’s reed longs to return to the reed-bed of Sufism who is Rumi and an honor for Persia in from which it has been separated; Whitman’s re- the 13th century has been influential on American lationship between human and grass works sim- writers’ thoughts like Whitman in 19th century. As ilarly. Whitman does not personify the grass as Mentioned in Rumiґs introduction we can’t deny Rumi does, but he endows it with a nature that the importance of Rumi in Persian literature as represents unity. well as the world literature especially in Sufism.

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