Divan-i Kebir, also known as the “Dīvān of Lovers,” is a monumental work containing the most fervent and ecstatic expressions of divine love from the inner world of Mevlâna Celâleddîn-i Rûmî. This article has been created based on the source presented with translations and explanations by Şefik Can, exploring the nature of the work and its place in Mevlâna’s worldview:
Divan-i Kebir, meaning “Great Dīvān,” is a collection of poems recited by Mevlâna in a state of ecstasy through divine love. This blessed work surpasses the volume of Mevlâna’s other major work, the Masnavi; the number of couplets approaches fifty thousand when including ruba’is. In the tradition of classical Islamic literature, dīvāns are known by the names of poets, but this work is more commonly known as Dīvān-i Şems-i Tebrîzî. This is because Mevlâna frequently used the name of Şems-i Tebrîzî, whom he loved and saw himself in, as his pen name at the end of his odes.
Mevlâna concealed himself under the name of Şems in his poems. This is likened to Plato having Socrates speak through all of his works, even though Socrates had no writings of his own. According to sources, Şems saw himself in Mevlâna, and Mevlâna saw himself in Şems; they became mirrors for each other’s truth.
Some metaphorical expressions used in Divan-i Kebir are susceptible to misunderstanding if viewed superficially. However, for those who possess insight (the ‘arifūn), the concepts expressed in these poems have profound meanings:
* Mey (Wine): Divine love that leaves no trace of sorrow or grief and transports people to other realms.
* Meyhâne: Places of worship and assemblies of truth, specific to lovers of God.
* Sâkî: Guides who show the way to those who embark on the path of God and offer them the wine of meaning.
Mevlâna generally composed his poems in the form of ghazals, which are typically lyrical love poems. Although each couplet of a ghazal can address a separate topic, Mevlâna often maintained the same spiritual fervor and theme throughout an entire ode. He states that he recites his poems “because he takes his lesson from love.” Sometimes his exuberance reaches such a degree that he refers to the majesty of the secrets alluded to in Hallāj-i Mansūr’s words, “Ene’l-Hak” (I am God).
As stated in the preface (mukaddime) of Divan-i Kebir, this work is not merely a book of poetry; it is “spiritual secrets,” a “Noah’s Ark” for those who devote their hearts to God, and a source of grace carrying the news of the saints. Readers are advised to move on to another poem if they do not find pleasure in one, and delve into the depth of the couplets that appeal to them; for it is possible to hear the voice of Mevlâna’s heart beating with divine love within these lines.