Sufi Classics · June 26, 2026

Mevlana’s Turkish Legacy: A Turning Point at the Intersection of Language and Literature

The Rise of Turkish in Literature and Mevlana’s Role The ability to express itself through a literary language in the late 13th century and early 14th century was a significant turning point; during this process, …

The Rise of Turkish in Literature and Mevlana’s Role

The ability to express itself through a literary language in the late 13th century and early 14th century was a significant turning point; during this process, the influence of Jalaluddin Rumi (Mevlana) is undeniable. The emergence of a new language blending Arabic and Persian words with Turkish, coincided with the rise of the Seljuk principalities and the Ottoman Empire, and it was named “Üç Lisandan Mürekkep Lisân-ı Azbü'l-Beyân-ı Osmâni” (The Language Composed of Three Languages – The Most Elegant Expression of the Ottomans). As the public struggled to understand this complex language, saz poets began composing poems in hece meter, leading to the emergence of Turkish folk literature and shaping the evolution of the language. It is necessary to be aware of this linguistic transformation when examining Mevlana’s works.

Understanding Mevlana: Beyond Language and Expression Boundaries

Criticism that Mevlana did not write in Turkish often stems from ignorance or a misunderstanding of different Sufi endeavors, such as Bekashism. Since Mevlana’s primary purpose was to convey divine love and truth to all humanity, linguistic limitations were not an obstacle for him; Rumi emphasized the spiritual connection of different languages with the verse, “What is the matter with the soul with Arabic or Turkish?” It should be remembered that Mevlana effectively used Turkish and transcended language boundaries to deliver universal messages.

Divan-ı Kebir: A Literary Legacy Carrying the Marks of Time

Divan-ı Kebir constitutes a large collection of Mevlana’s works and is organized according to the traditional alphabetical order principle in Eastern divans. This arrangement makes it difficult to follow Mevlana’s spiritual development chronologically; however, poems within each bahar (section) are arranged in the same order. Eflaki’s notes reveal which specific events or individuals some gazels (odes) were attributed to, while also indicating that Mevlana’s works have been mixed with contributions from other poets over time. This situation increases the literary richness and complexity of Divan-ı Kebir.