The flowing white tennure, the rotating sikke, the rotary rotation of the right foot, the turning hands: a point towards the sky, the the other towards the earth - the spinning mass of the flesh, and the whirling spiral of the spirit; nothing seems to be standing still. The whole world is lost in the spontaneous spinning movement, full of energy and vitality, as if power radiates from the core of this lively movement. The Semazen's quiet, calm and serene expression, however, belies an entirely different story. The secure anchoring of the left foot and the aura of contentment surrounding the whirling body are in stark contradiction to the apparent frenzy of this spectacular dance: the Sama. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Unique to the Mevlevi Order founded on the teachings and ideals of Maulana Jalaluddin Rumi, the Sama is an exquisite symbolic representation of the idea of ​​unity amidst diversity, peace amidst turmoil, and tranquility amidst movement. The ability to bring such divergent dichotomies together into an unnatural union is quintessential Rumi, and is evident throughout his work and words. In his conception of God, we see Mercy and Wrath join as One, in his vision of nature, the exquisite and the mundane come together in delicate balance, and in his speech, the voice transcends into silence. Likewise, in the circular movement of the body during Sama, the heart and soul become one with the surroundings, the outside merges with the inside, and form dissolves into meaning. Sama, however, is not the only thing associated with Rumi that elicits such an interplay of dichotomies and contradictions. The play between spontaneity and calm present in Mevlevi dance is reflected in the form and meaning of Rumi's ghazals, where energy is effectively contained within the parameters of meter and rhyme. This essay attempts to explore how Maulana Jalaluddin Rumi's poetry, particularly the ghazal, achieves a grounded grounding through the effective use of meter and rhyme, while at the same time flowing spontaneously in a powerful wave of movement - an exquisite dichotomy that it is incorporated into the body and soul in the symbolic dance of Mevlevi Sama. The spontaneous movement within the confined structure of Rumi's ghazal is evidence of the eccentricity of Maulana Rumi's creative expression. This creative expression manifests itself through the flow of active progress in the ghazal within the limits of a poetic expression that meets metrical and rhythmic qualifications, as well as a common radif. Rumi, confined in the straitjacket of these boundaries, still brings out a completely unbridled form of poetic expression that never fails to amaze the reader. The ghazal, “Ah che bi rang o bi neshan ke manam” is a good example of this. Consider the first verse of the ghazal: “Ah che bi rang o bi neshan ke manam ke binam mera chenan ke manam” “Oh, how colorless and formless I am! When will I ever see the being that I am?” This verse is full of natural life which refreshes the reader and creates a tone of intimacy between the Maulana and the reader. The colloquial tone and simple but effective choice of words are such that they give the ghazal a sense of naturalness, as if Maulana were conversing with the reader over a cup of chae. Pure sincerity, and not glittering artificiality, adorns this setting. The authenticity in the long “Ah” at the beginning creates a tone of informality that immediately befriends the reader: now a conversation has begun between two intimates, where the words are not premeditated before they are spoken. Then follows, once again, a natural outpouring of beautifully aligned words, in the samecolloquial tone. "You said: The secrets you know, bring to light, put out, speak!" the ghazal addresses a being, presumably God. However, the tone is once again that of an energetic dialogue that arises naturally from a highly load. A paradox is created by representing “secrets” as gushing, where the silent and hidden nature of a secret is turned on its head. The urgency in the tone, the immediate need to lay bare all the hidden knowledge adds the element of spontaneous frenzy and haste that makes the ghazal appear as the result of a chaotic flow of words. The seventh, eighth and ninth verses, however, embody the sense of unorganized fluidity in the ghazal. I am!He saidSilence! No tongue has ever spoken what I am. I said, since no tongue has given you voice: Here I am! your inexpressible exposition." The rapid exchange of words between the "You" and the "I" is remarkable in its effect of creating the flow of raw and fiery energy in the ghazal. The responses are spontaneous, impulsive and unbridled, but restrained , shaped and influenced by the response of others. Just like the massive ocean waves rising, rushing towards the shore in a resounding oblivion of all worldly constraints – until they crash against the solid mass of rocks that lie in their way. . The wave is tamed by the rock and the “I” is breathless in the encounter with the “you”. This dynamism of spontaneous and impetuous flow is evident in all Rumi's ghazals in general, and in this particular ghazal in the. specific, where the liveliness is almost tangible in its effectiveness. However, Rumi is a poet of exquisite genius. He gives the reader a spontaneity intertwined with a sense of rigid anchoring, which gives footing to the overflowing current of the ghazal it is, in reality, strictly adhering to the constraints of rhyme and meter, and tied together by the thread of a radif. For example, let's consider the first bayt again. “Ah che bi rang o bi neshan ke manam ke binam mera chenan ke manam” The monosyllabic sound of “Ah”, “che”, “bi”, “rang” and “ke” in the verses give his release a rhythmic quality similar to the beating of a drum. The energy that flows from the words of the verse is no coincidence: the monosyllables were actually used to produce this very energy. The khafif meter has been respected in this ghazal, which has a xu-xu-xu- meter. Here, “-” denotes a long syllable, “u” is used for a short syllable, while “x” is for a syllable that can be either long or short. Writing fluid poetry within the parameters of such rigid rules is in fact what exalts Rumi as a poet. His verses seem to expand and contract at the same time. However, it is the radif that is the true anchor of Rumi's ghazals. Baergel discusses the unifying feature of the radif in detail in “The Word is a Ship, and Means the Sea,” hailing it as a device that not only brings acoustic coherence but also adds thematic unity to Rumi's verse. Baergel defines radif as “one or more words, sometimes even an entire phrase, that follow immediately after the rhyme in each line of a poem, without any alteration.” (Baergel 48) For example, in “Ah che bi rang,” the repetition of the word “manam” at the end of each line qualifies it for radif status. When the word “manam” is repeated thirteen times, an obvious coherence is achieved. Radif, however, contributes much more to poetry than acoustic coherence. As Baergel says, "In Rumi's ghazals, the radif is not a simple ornament, nor even just a formal factor that gives unity to the poem, but a strong vehicle of meaning that intensifies the message and symbolism." (Baergel 50) The radif “manam,” meaning “I am,” becomes important in reinforcing the theme of being and self that dominates the ghazal. While the ghazal speaks of self-annihilation –destruction of the self to discover the true self – the radif“manam” becomes the axis around which the ghazal revolves. The fixed nature of the ghazal in terms of radif and meter, while at the same time flowing in ecstatic exuberance, is evidence of Rumi's ability to bring together spontaneity amidst rootedness in meaningful union. The third cabin in "Ah che bi rang" raises this idea beautifully. "kiyy shavad in ravan man sakin in chanin sakin rawan ke manam" "When will my soul be still? It moves when it is still, the soul that I am." Movement in the poem is coupled with stillness of a kind that does not limit its movement, but helps it move with unparalleled grace and elegance - like the flowing soul (ravan) that becomes more beautiful when stillness (sakin) of love touches her. The ghazal “Morde bodam zende shodam” is another effective example. “Morde bodam zende shodam, gerye bodam khande shodam Daulati ishq amad o man daulati payinda shodam” The rhythmic pattern of the line “Morde bodam zende shodam, gerye bodam khande shodam” reaches “phonetic concretisation” (Baergel 47) in the ghazal, where the the person's ecstasy is highlighted through the overflowing musicality of the verse. The plosive “b” and “d” sounds in “morde,” “bodam,” “zende,” “shodam,” “khande,” “daulati,” and “amad” add volatility to the line, while the “sh ,” repeated three times through the use of the word “shodam” and once in “ishq,” adds a spark of ignition to the flame of life that burns through these words. Once again the ecstatic aura of loss of self-control is hidden, underlined by a very strict meter and radif. Here the meter is sari, i.e. xxu- xxu- -u-, while the radif is “shodam”. The radif in this case is special as it not only adds the explosive acoustic effect to the ghazal, but is a clever play on tense and verb. The word "shodam" is a suffix of a verb in the present tense. For example, according to Google translator, “zende shodam” means “I live,” while “khande shodam” means “I laugh.” Without a verb before it, “shodam” has no meaning. Furthermore, the “shodam” means that the action is taking place right now, in the present. Thus, through the use of the word "shodam", the message of the movement is highlighted, precisely in the present, where stagnation cancels the "shodam" and is harmful to man's being. Thus, within Rumi's ghazal, there is a distinct life and spontaneity that is effectively tamed with the help of metre, rhyme (radif) and rhythm. In this respect, Rumi's ghazal is like a young river. In strictly geographical terms, a young river is defined as one that is close to its source, is high in both volume and velocity, and has the power to erode all land particles of sand and gravel that cross its path. Even so, this stubborn river has a current, invisible to the eye, that pushes it forward in a single path with tremendous thrust and power. Rumi's ghazal is also fresh and exciting like the young river. It is close to the source of Truth, is loaded with images and metaphors, and has multiple layers in its depths. It pours forth in an ecstatic outpouring of words, eroding all the basic elements of ignorance in its path. And just like the river, it too is governed by the strong thread of the radif. All the power and energy of the ghazal is contained in the unity of its rhyme, rhythm and meter, ensuring that the ghazal is coherent in its entirety and direction. Flowing from the matla, the first verse, and meandering towards the maqta, the ghazal realizes its similarity to the river. Franklin D. Lewis, understanding the river as the nature of the ghazal, expounds his translations in a unique pattern (Lewis). Each ghazal flows visually before the reader, meandering around each verse, and is chatty with the load of its contents. Rumi himself may not have organized his versesin this scheme, but Lewis, through the brilliance of his transcreation, recognizes and pays homage to the “behrebekiran” that is, Rumi's ghazal. The effect of visual impact can be better understood if one studies the arrangement of the ghazal, where the different length and indentation of each line produces a unique image. For example, in the translation of "Ay Yusuf-e Khwosh", Lewis organizes the ghazal in the following way: The fluid nature of the ghazal becomes evident through its elegantly flowing form. It is through this creative visual impact that the reader sees, quite literally, the ghazal as the metaphorical river of Rumi's thoughts and words. It flows, winds, meanders, grows and shortens like the impetuous and vigorous river. However, Lewis, it seems, is also sensitive to the concept of anchoring, of unity in the flow. The arrangement of the verses, despite exuding a sense of radiant liveliness, is still coherent in its entirety, thus realizing the essence of Rumi's dichotomy. The coherently flowing world of Rumi's ghazal is, in essence, a microcosm of the image of Rumi's concept of God and His worship. Spontaneity, altruism, lack of control: all are central to Rumi's thoughts and teachings, but not without a strong sense of control and groundedness. Just as the Parwana (moth) circles the Shama (flame) in disinterested oblivion of the world around it – yet there is fixity in its focal point. It is this devotion to an unchanging center, and the restless but focused movement, that leads to the ascension of the soul to a level where the angels transcend. The Shama/parwana image is recurring in Rumi's work and parallels the image of Tawaf - the symbolic representation of circling the Beloved, approaching His Oneness from all angles. Only after the seven rounds of allegiance can the spiritual journey of Hajj be complete. Being static in front of the Kaaba for years and years cannot guarantee the status of Haji as the seven cycles of movement do. Interestingly, movement is usually equated with restlessness. Inaction does not coexist with progress: it is the stationary that is compared to serene and calm. However, Rumi's genius lies in the brilliance with which opposing dichotomies are brought together into one. In Rumi's world, it is restlessness that brings calm and it is movement that brings rest. It is through devoted and revered movement around the Beloved that raises the heart from the lowest of the low to the highest of the high. Just like the ghazal that flows impulsively and achieves concentration and coherence at the same time, movement in Rumi's thinking and teachings is deeply intertwined with the idea of ​​anchoring. Without one, the other cannot truly exist. As Rumi says, “It moves when it is still.” This single line seems to embody the diverse, dynamic and inherently vast world of Maulana Jalaluddin Rumi in a nutshell. Every soul, every heart, every intellect, every body, every verse, every ghazal, every thought, every dua, every ibadah – in short, every single atom of God's universe is in the motionless motion that defines the very essence of existence. TS Eliot, in his poem “Four Quartets,” incorporates this idea beautifully. At the still point of the turning world. Neither flesh nor fleshless;Neither from nor towards; at the still point there is dance, but neither arrest nor movement. And don't call it fixity (TSEliot)Eliot seems to take us by the hand, from the realm of the ghazal and the teachings of Rumi, to the platform of the Semakhane, where whirling bodies and spinning souls oscillate between the worlds of "flesh" and without flesh." Existence and non-existence become one in the place where movement and immobility come together. “At the still point, here is the dance”. The whirling dervish's restlessness now has a whole new meaning, where it becomes “norarrest or movement". Just like the ghazal that is spontaneous in the midst of restraint, just like the parwana that is calm in the midst of its frenetic circumambulation of the shama, just like the Lover who finds rest in the movement of the Beloved's tawaf, even the rotary and selfless twirling of the Semazen, embodies calm, serenity and fixity. The very act of Sama, therefore, is the embodiment of the dichotomies that Rumi displays in the form and meaning of his ghazal. The Mevlevi Sama, although not the initiation of the Maulana himself, is also not entirely separate from his influence. Ibrahim Gamard traces the origins of Sama to Baghdad, where it existed as a spiritual exercise centuries before the time of Rumi (Gamard). Lewisohn further validates this claim as he writes, “In Islam, his (Sama’s) background can be traced back at least to the time of Abfi’l-Qasim Junayd (d. 298/910) who… lived much of his life in Baghdad where the Sama-khane, lodges dedicated to the performance of mystical musical concerts, were active since the second half of the 9th century”. (Lewisohn 5) The Sama of that time was not different from the Mevlevi Sama of today in that the movements similar to dervish dances were inspired by the recitation of the Holy Quran or by Sufi chants Gamard writes that the dervishes, in such an environment "entered ecstatic spiritual states of consciousness", where the physical movements would be in line with the recitations, but at the same time. at the same time would belie a complete lack of control. Systematically institutionalized by Pir Adel Chalebi (d. 1461) he did not initiate the ritual we know as Mevlevi Sama. , the Mevlevi Sama today is an elaborate ceremony with specific steps and instructions relating to the dress and movements of the Semazen. Even today, much reliance is placed on detailed manuals regarding precise instructions composed during the period of its institutionalization, which outline the correct conduct (adab) in performing the Sama. If Sama today is such a documented method of predetermined guidelines, but symbolizes, in essence, an ecstatic joy of love for the Beloved, then what is the reality of Mevlevi Sama? Exploring the answer to this question brings us back to the images with which we began – the flowing white dress (tennure), the tall conical cap (sikke), the black cloak (hirka), the palms each facing heaven and earth and the anchoring of the foot – are all deeply enshrined in the tariqa of the Mevlevi Order. All of this is crucial to understanding how Sama, an act of ecstatic loss of control, is carefully contained within the parameters of predefined rules. In this way, the paradox of movement in stillness, of control in loss of control is as central to the Mevlevi Sama as it is to the ghazal. Maulana Rumi, through the deliberate formation of his ghazal and the penetrating concepts of his teachings, teaches us how one cannot give up discipline even in euphoria. This fundamental lesson is also central to the Mevlevi Sama; “The main point of etiquette on which all Sufis agree, is that silence and stillness must reign throughout Sama despite the participant being struck with ecstasy and rapture (wajd)” (Lewisohn 8). Semazen, therefore, must adhere to and be sensitive to the dichotomies that Rumi has used throughout his speech and his work. Mevlevi Sama, while in its modern form may not be what Rumi envisioned Sama in the 13th century, however, is still essentially tied to Rumi's teachings in terms of the core concepts they share. The Mevlevi Sama, just like the ghazal, is the embodiment of the thoughts and ideas of Maulana Jalaluddin Rumi. While every word, verse, meter and rhyme employed in the ghazal is.