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Jalal-ad- Din Rumi : Mathnavi Ma’navi, Persian & Sufi poetry

Rebacked with brown gilt decorated morocco. , , some soiling towards beginning, small repairs, black shagreen gilt.

A fine copy
, 8vo (115mm x 200mm), Persian manuscript on white and grey coloured paper, 500 leaves, 2 leaves left blank at end, 18 lines to the page written in two columns of neat naskh script in black ink, and 22 lines written diagonally by the same hand in the outer margin of each page, double intercolumnar rules in gold, margins ruled in blue and gold, catchwords, headings written in naskh script in red, 5 illuminated headpieces in colours and gold

Jalāl ad-Dīn Muḥammad Balkhī , also known asJalāl ad-Dīn Muḥammad Rūmī and popularly known asMevlānā in Turkey and Mawlānā in Iran and Afghanistan but known to the English-speaking world simply as Rumi (30 September 1207 – 17 December 1273) was a 13th-century Persian Muslim poet, jurist, theologian, and Sufi mystic. Rūmī is a descriptive name meaning \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"Roman\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\" since he lived most of his life in an area called \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"Rûm\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\" (then under the control of Seljuq dynasty) because it was once ruled by the Eastern Roman Empire. He was born in the province of Balkh in the greater Persian cultural sphere of Khorasan, the easternmost province of Persia and was part of the Khwarezmian Empire where his father was an appointed scholar.
His birthplace and native language both indicate a Persian heritage. His father decided to migrate westwards due to quarrels between different dynasties in Khorasan and fear of the impending Mongol cataclysm. Rumi\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'s family traveled west, first performing the Hajj and eventually settling in the Anatolian city Konya (capital of the Seljuk Sultanate of Rum, in present-day Turkey). This was where he lived most of his life, and here he composed one of the crowning glories of Persian literature which profoundly affected the culture of the area.
He also spent a great deal of his life under the Sultanate of Rum, where he produced his works and died in 1273 AD. He was buried in Konya and his shrine became a place of pilgrimage.When his father died, Rumi, aged twenty-five, inherited his position as the Islamic molvi. For nine years, Rumi practiced Sufism as a disciple of Burhan ud-Din until the latter died in 1240 or 1241. Rumi\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'s public life then began: he became an Islamic Jurist, issuing fatwas and giving sermons in the mosques of Konya. He also served as a Molvi (Islamic teacher) and taught his adherents in the madrassa.
During this period, Rumi also traveled to Damascus and is said to have spent four years there. It was his meeting with the dervish Shams-e Tabrizi on 15 November 1244 that completely changed his life. From an accomplished teacher and jurist, Rumi was transformed into an ascetic. Shams had traveled throughout the Middle East searching and praying for someone who could \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"endure my company\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\". A voice said to him, \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"What will you give in return?\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\" Shams replied, \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"My head!\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\" The voice then said, \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"The one you seek is Jalal ud-Din of Konya.\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\" On the night of 5 December 1248, as Rumi and Shams were talking, Shams was called to the back door. He went out, never to be seen again
Rumi\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'s love for, and his bereavement at the death of, Shams found their expression in an outpouring lyric poems, Divan-e Shams-e Tabrizi. He himself went out searching for Shams and journeyed again to Damascus. There, he realized:
Why should I seek? I am the same as
He. His essence speaks through me.
I have been looking for myself!

Mewlana had been spontaneously composing ghazals (Persian poems), and these had been collected in the Divan-i Kabir or Diwan Shams Tabrizi. The general theme of Rumi\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'s thought, like that of other mystic and Sufi poets of Persian literature, is essentially that of the concept of tawhīd – union with his beloved (the primal root) from which/whom he has been cut off and become aloof – and his longing and desire to restore it. The Masnavi weaves fables, scenes from everyday life, Qur\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'anic revelations and exegesis, and metaphysics into a vast and intricate tapestry. In the East, it is said of him that he was \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"not a prophet — but surely, he has brought a scripture\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\". Rumi believed passionately in the use of music, poetry and dance as a path for reaching God. His poetry is often divided into various categories: the quatrains (rubayāt) and odes (ghazal) of the Divan, the six books of the Masnavi. The prose works are divided into The Discourses, The Letters, and the Seven Sermons.
Poetic works
Rumi\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'s major work is the Maṭnawīye Ma\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'nawī (Spiritual Couplets), a six-volume poem regarded by some Sufis as the Persian-language Qur\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'an. It is considered by many to be one of the greatest works of mystical poetry. It contains approximately 27000 lines of Persian poetry. Rumi\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'s other major work is the Dīwān-e Kabīr (Great Work) or Diwan-e Shams-e Tabrizi|Dīwān-e Shams-e Tabrīzī (The Works of Shams of Tabriz; named in honor of Rumi\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'s master Shams. Besides approximately 35000 Persian couplets and 2000 Persian quatrains, the Divan contains 90 Ghazals and 19 quatrains in Arabic, a couple of dozen or so couplets in Turkish (mainly macaronic poems of mixed Persian and Turkish) and 14 couplets in Greek (all of them in three macaronic poems of Greek-Persian).

Prose works
 Fihi Ma Fihi (In It What\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'s in It, Persian: provides a record of seventy-one talks and lectures given by Rumi on various occasions to his disciples. It was compiled from the notes of his various disciples, so Rumi did not author the work directly. An English translation from the Persian was first published by A.J. Arberry as Discourses of Rumi (New York: Samuel Weiser, 1972), and a translation of the second book by Wheeler Thackston, Sign of the Unseen(Putney, VT: Threshold Books, 1994).
 Majāles-e Sab\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'a (Seven Sessions, Persian: contains seven Persian sermons (as the name implies) or lectures given in seven different assemblies. The sermons themselves give a commentary on the deeper meaning of Qur\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'an and Hadeeth. The sermons also include quotations from poems of Sana\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'i, \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'Attar, and other poets, including Rumi himself. As Aflakī relates, after Shams-e Tabrīzī, Rumi gave sermons at the request of notables, especially Salāh al-Dīn Zarkūb.
 Makatib (The Letters, Persian: is the book containing Rumi\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'s letters in Persian to his disciples, family members, and men of state and of influence. The letters testify that Rumi kept very busy helping family members and administering a community of disciples that had grown up around them.

Philosophical Outlook
Rumi was an evolutionary thinker in the sense that he believed that the spirit after devolution from the divine Ego undergoes an evolutionary process by which it comes nearer and nearer to the same divine Ego. All matter in the universe obeys this law and this movement is due to an inbuilt urge (which Rumi calls \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"love\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\") to evolve and seek enjoinment with the divinity from which it has emerged. Evolution into a human being from an animal is only one stage in this process. The doctrine of the Fall of Adam is reinterpreted as the devolution of the Ego from the universal ground of divinity and is a universal, cosmic phenomenon. The French philosopher Henri Bergson\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'s idea of life being creative and evolutionary is similar, though unlike Bergson, Rumi believes that there is a specific goal to the process: the attainment of God. For Rumi, God is the ground as well as the goal of all existence.
However Rumi need not be considered a biological evolutionary creationist. In view of the fact that Rumi lived hundreds of years before Darwin, and was least interested in scientific theories, it is probable to conclude that he does not deal with biological evolution at all. Rather he is concerned with the spiritual evolution of a human being: Man not conscious of God is akin to an animal and true consciousness makes him divine. Nicholson has seen this as a Neo-Platonic doctrine: the universal soul working through the various spheres of being, a doctrine introduced into Islam by Muslim philosophers like Al Farabi and being related at the same time to Ibn Sina\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'s idea of love as the magnetically working power by which life is driven into an upward trend.
Rumi was a philosopher and mystic of Islam. His doctrine advocates unlimited tolerance, positive reasoning, goodness, charity and awareness through love. To him and to his disciples all religions are more or less truth. Looking with the same eye on Muslim, Jew and Christian alike, his peaceful and tolerant teaching has appealed to people of all sects and creeds. Rumi\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'s works are written in the New Persian language. A Persian literary renaissance (in the 8th/9th century) started in regions of Sistan, Khorāsān and Transoxiana and by the 10th/11th century, it reinforced the Persian language as the preferred literary and cultural language in the Persian Islamic world. Rumi\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'s importance is considered to transcend national and ethnic borders. His original works are widely read in their original language across the Persian-speaking world. Translations of his works are very popular in other countries. His poetry has influenced Persian literature as well as Urdu, Punjabi and other Pakistani languages written in Perso/Arabic script e.g. Pashto and Sindhi. His poems have been widely translated into many of the world\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\'s languages and transposed into variou

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