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The Essential Rumi (Englisch) Taschenbuch – 28. Mai 2004

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Produktinformation

Produktbeschreibungen

Pressestimmen

"If Rumi is the most-read poet in America today, ColemanBarks is in good part responsible. His ear for the truly divinemadness in Rumi's poetry is truly remarkable." -- Huston Smith, author of "The World's Religions""In this.delightful treasury, Barks sparklingly demonstratesonce again why his free-form interpretations of [Rumi's] poetryhave been a major impetus for the current Rumi vogue."-- "Publishers Weekly""Perhaps the world's greatest spiritual poet--the gold of Rumipours down through Coleman's words. The words leap off thepage and dance!" -- Jack Kornfield, author of "A Path with Heart"""The Essential Rumi" is a rare and precious book that will stir the hearts of Rumi devotees and win many new converts."-- "Body Mind Spirit"

Synopsis

A collection of poetry by the thirteenth century Sufi saint cover topics ranging from emptiness and silence to elegance and majesty.

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Von Ein Kunde am 16. November 1999
Format: Taschenbuch
This pretty book of verse calls well-deserved attention to Jalaluddin Rumi, a 13th-century mystic considered by many to be one of the greatest poets the world has ever seen. But while author Coleman Barks's intentions may be the best, it's doubtful that what he serves up here is the essential Rumi, if only because Barks speaks not a word of Persian, the language in which Rumi wrote. Barks freely admits that he relied entirely on academic translations to concoct his popularized renderings. This would be less of a handicap were Rumi merely trying to entertain or to convey feelings, moods and subjective impressions. But as Barks himself points out, Rumi was a Sufi; and Sufis maintain that, far from being the emotional outpourings appearance might suggest, their poems are actually precise and carefully constructed technical instruments designed to have very specific effects on the reader under the right circumstances. These effects, which depend heavily upon the language in which the poems were written (not to mention the specific audience they were written for, which is another matter entirely), are easily blunted by translation and other forms of tampering. Barks - in translating translations - would seem to be carrying this tampering a step further, despite his skill as a wordsmith. The result, however aesthetically pleasing and emotionally evocative, is unlikely to be what Rumi had in mind - any more than the miming of a surgeon's hand-movements, however gracefully executed, is likely to heal the sick. Those interested in Rumi's essential - and still relevant - message would do better to read THE SUFIS by Idries Shah, THE LIFE & WORK OF JALALUDDIN RUMI by Afzal Iqbal, or E.H. Whinfield's TEACHINGS OF RUMI.
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I must start off with one word - Wow! I had heard of Rumi for several years but never read his works until just recently. I was totally floored! How can a man who lived over 700 years ago know me so well? I was immediately caught up in the simple wit, humor, and frankness Rumi displayed, and identified with many of his characters. I never knew I was dying of thirst until I drank from this fountain! Anyone who understands metaphysical and New Age principles will find this book to be a delightful journey. Poets and writers who love blending emotions and intellect will be inspired by it. I wish I had discovered Rumi years ago. I will keep this book by my bed for a long, long time!
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Format: Taschenbuch
Rumi (as he is known in the West), was known as Jelaluddin Balkhi by the Persians and Afghanis, from where he was born in 1207. Rumi means 'from Roman Anatolia', which is where his family fled to avoid the threat of Mongol armies. Being raised in a theological family, Rumi studied extensively in religion and poetry, until encountering Shams of Tabriz, a wandering mystic, with whom he formed the first of his intense, mystical friendships, so intense that it inspired jealously among Rumi's students and family. Shams eventually disappeared (most likely murdered because of the jealousy); Rumi formed later more mystical friendships, each with a different quality, which seemed essential for Rumi's creative output. Rumi was involved with the mystical tradition that continues to this day of the dervish (whirling dervishes are best known), and used it as a personal practice and as a teaching tool.
This book has a deliberate task: 'The design of this book is meant to confuse scholars who would divide Rumi's poetry into the accepted categories.' Barks and Moyne have endeavoured to put together a unified picture that playfully spans the breadth of Rumi's imagination, without resorting to scholarly pigeon-holes and categorisations.
'All of which makes the point that these poems are not monumental in the Western sense of memorialising moments; they are not discrete entities but a fluid, continuously self-revising, self-interrupting medium.'
Rumi created these poems as part of a constant, growing conversation with a dervish learning community. It flows from esoteric to mundane, from ecstatic to banal, incorporating music and movement at some points, and not at others, with the occasional batch of prose.
'Some go first, and others come long afterward.
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Yes, it's true that Barks did not translate Rumi directly from the Persian originals and that some concepts of Islamic faith are not translatable. However, in the end it is not about words or translations. If your understanding of an experience transforms you, gives you a glimpse of the more immediate reality, makes you feel more subtly, that is what is of importance.
This book moves me each time I read it. Much of what I read doesn't yet connect, and some connects light lightening.
The Great Spirit moves through everything, including translations of translations.
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Coleman Barks "Essential Rumi" deserves praise - but as to whether it is truly "essential" is of question. Barks does a good job translating the already translated work. But by changing the language, much of the mysticism Rumi was trying to evoke on the reader is lost. For example here is a Rumi poem in both Farsi(or Persian -English word for Farsi) and English -
Jumla ma'shuq ast-o 'aashiq pardah' i
Zenda ma'shuq ast-o 'aashiq mordah'i
All is the Beloved and the lover is a veil
The Beloved is alive and the lover is dead
If you read the Farsi (even if it doesn't make sense to you) you can tell that the words not only rhyme but they have a distinct rhythm to them, aside from that, the vocabulary Rumi uses is ingenious.
Like another review I read, Barks is "translating translations", Barks mereley takes work already translated and retranslates them into a more readable structure.
The 6 books of the Mathnavi were put in a special order but Barks just chooses from here and there. Barks was even told by Bawa Muhayadeen (sufi saint) that "In order to understand a master, he would have to become one" Which he explains he didn't do, but he said that he frequently did meet with Bawa.
Nevertheless Coleman Barks does deserve much credit for bringing Rumi into Western culture.
Jalaludin Rumi was an ecstatic lover of Allah (SWT). His Mathnavi is considered by many the greatest book ever written by a human being. It would be to everyones benefit to read through it and see how a 13th Century Mystic, from Afghanistan but lived most of his life Konya, Turkey, had everything and everyone in this world figured out.
For a better idea of Rumi read E.H. Whinfield's TEACHINGS OF RUMI.
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