The Long and Arduous Journey of the Dīvān-i Kabīr
The Dīvān-i Kabīr, one of the works of Mevlana Jalal al-Din Rumi, is more than just a collection of poetry; it is also a witness to a centuries-long process of writing, preservation, and transmission. The initial compilation of the work was begun in 1368 by Hasan, son of Osman, but its completion took many years and it underwent various changes in different manuscripts. In this process, the publication of the work also experienced a challenging journey: after the publication of five volumes, the printing of the remaining sections was made possible through a collaboration with the newspaper Milliyet, and subsequently, on the occasion of the 700th anniversary of Mevlana’s birth, it was completed by İnkılâp and Aka Publishing House, thus reaching us today. This long process of the Dīvān-i Kabīr further increases the value and importance of the work.
Selection of Manuscripts and Translation Standards
In the translation of the Dīvān-i Kabīr, selecting the most reliable and complete manuscript was of great importance. In this context, the manuscript written by Hasan, son of Osman, and registered at the Konya Mevlana Museum, dated 768 Shawwal and 770 Rabiʿ al-Akhir, was taken as the basis. Additionally, the Persian Manuscripts no. 334 at the Istanbul University Library were also utilized. This meticulous approach aimed both to ensure the accuracy of the translation and to preserve the original structure of the work. The language and style used in the translation process were carefully chosen to reflect Mevlana’s philosophical depth and poetic quality, thus conveying the spirit of the work to today’s readers while preserving its essence.
The Content and Structure of the Dīvān-i Kabīr
The Dīvān-i Kabīr is a vast poetic corpus consisting of 35,945 couplets; this demonstrates the richness and diversity of the work. Most of the poems were written in reference to events Mevlana experienced, dreams he saw, or experiences he gained, and they deal with profound themes such as love, fanāʾ (annihilation in God), and the search for ḥaqīqa (inner reality). The structure of the work is also complex; some poems are written in different forms with the same meter and rhyme scheme. This reflects Mevlana’s inspired state of ecstasy and the spontaneous expressions recorded by the “scribes of secrets.” These structural features of the Dīvān-i Kabīr elevate the work beyond a mere collection of poetry, making it a guide for a mystical journey and inner discovery.