Rumi: The Book of Love: Poems of Ecstasy and Longing
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About this ebook
Rumi: The Book of Love is a collection of astonishing poems for lovers from the mystic Rumi, by the translator who made him sing anew, Coleman Barks.
Poetry and Rumi fans will want to own this gorgeously packaged compilation of love poems by the thirteenth-century Sufi mystic. Rumi is best known and most cherished as the poet of love in all its forms, and renowned poet and Rumi interpretor Coleman Barks has gathered the best of these poems in delightful and wise renderings that will open your heart and soul to the lover inside and out.
Coleman Barks
Coleman Banks is the author of The Essential Rumi.
Read more from Coleman Barks
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Reviews for Rumi
3 ratings1 review
- Rating: 2 out of 5 stars2/5The problem with translations is that one never knows how much of what one is reading is the translator’s voice, and how much is the original artist’s voice. Banks is credited with “popularising” Rumi’s works in America. That’s the essence of the difficulty I had with this translation. To “translate” a work, one “expresses the sense of (a word, book etc) in another language”, while to “popularise” a work is to “present a specialised subject in a popular or readily understandable form”. In his note on the translation, Banks admits that in “translating Rumi into American” he may have distorted what Rumi searched for in his poems: the ecstasy of Divine Love.Having watched both live and DVD performances of the Whirling Dervishes (a spiritual meditative dance based on the teachings of Rumi), I approached this volume with the expectation of experiencing that same sense of immersion in – or union with – the Divine beloved. Instead, I was left with a weird sense of dislocation. While Banks’ intentions in attempting this translation were clearly a sincere attempt to express the ecstasy he has found in Rumi’s original words, this reader was unable to share in that lyrical ecstasy. Contemporary images celebrated sexual union, but not ecstatic union. While there’s nothing wrong with celebrating sex, Rumi celebrates sex in the same way that Kabbalists would on a Sabbath: as a ‘tikkun’. In this translation, the idea of “sex as Divine union with the Other” was lost in modern crudity. For example, “Is this the way a man prays, with his balls? Does your penis long for union like this? Is that why her legs are so covered with this stuff?” [Pg 85] Stuff? Stuff? The modern language, too, was conveyed without any mystical rhythm. In musical terms this would be the steady cadence of a liturgical chant (the exquisite sound of the Gregorian or Benedictine chants). In seeking to convey the lightness of the mystical trance in simple, modern (popular!) terms, the language in this translation became heavy and, with a few notable exceptions, left me sadly earthbound.
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