Rumi’s poem and Songs of Solomon: Tracing the themes of ...adalyajournal.com/gallery/30-jan-2515.pdf · Prachi Jain PG Research Scholars, CHRIST (Deemed to be) University, Bangalore,

Rumi’s poem and Songs of Solomon: Tracing the themes of ‘Spirituality’ and

‘Romanticism’

Shivani A. Damle

Prachi Jain

PG Research Scholars,

CHRIST (Deemed to be) University,

Bangalore, Karnataka,

India.

ABSTRACT

While reading the poems of Rumi, one often wonders at the

depth of the words used by him in a single stanza. Many

people read differently into his works. Some consider it as

love poems, others think of it as a philosophical or spiritual

poem. Similar confusions one might find in the Songs of

Solomon as well. Thus, it can be said that there exists

similarities in the works of these two poets: Rumi and

Solomon; which leads to the question of how these

similarities are portrayed in the works of the two poets and

in which aspects. Thus, this paper aims to find and establish

the similarities between these two poets of different

religions, time-zones and ideologies by conducting a

comparative study of Diwan-e-Shams-e-Tabrizi by Rumi

and the Songs of Solomon from the Old Testament and

carrying out a thematic analysis of these works. Through

the literature review and the research conducted, it can be

said that the themes of ‘Spirituality’ and ‘Romanticism’ are

intermingled in the two selected primary texts.

KEYWORDS: Rumi, Songs of Solomon, Diwan-e-Shams-e-Tabrizi, Spirituality,

Romanticism

Introduction:

The 21st century world is way more advanced than the ages where the scriptures and

philosophical texts were written and yet they have a tendency to be timeless. Now the

concept of globalization is as inherent in our lives as the word individualism. And therefore,

with the freedom this concept gives, it is possible to study world literatures across the globe.

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Volume 9, Issue 1, January 2020

This paper deals with a work of the Persian literature and how it is reflected upon in relation

to the hermeneutics of another work in Catholic literature through a comparative study.

Though both the literatures deal heavily with the theme of spirituality, there are other less

known interpretations too that are latent in them. There exists yet another striking point of

contact between these literatures, and that is the style and way in which a few writers have

portrayed their intention. These writers have debunked the idea that spirituality can be taught

only through a didactic medium or only through the rigid structures of religion using jargons

which even the people of the same religion will find it difficult to understand. These writers

have shown, through „romanticism‟, the way of spirituality using simple yet aphoristic

language. Thus, this paper seeks to pave a bridge between the two notions of „romanticism‟

and „Sufism‟ or „spirituality‟; which has been looked upon as two disparate domains in

general by the researchers.

Jalal –ud-din Rumi (1207-1273) wrote the Diwan-e-Shams-e-Tabrizi. Now there exists a

dualism where in the text is written by a Sufi saint but about separation and loss of his friend

and mentor, Shams Tabrizi. So this is where the paper functions in realizing that Rumi, while

writing about love, was explaining how to attain the „Eternal soul and being‟; because for

him, the aspect of love and romanticism is no more different from Sufism. Rumi's reference

to God is always deeply personal. Whereas the Song of Solomon from the Old Testament in

the Bible, literally, gives the notion of it being a love song between two lovers; but

figuratively, it actually gives a spiritual analogy between the Church and Christ as the

masculine and feminine.

Therefore, it is apparent that these two afore mentioned texts, though belonging from two

different literatures of the world, do show similarities in a few ideologies, the way of writing

and its portrayal. Of all the articles studied so far, one which compares these two spiritual

texts of dissimilar religion but possessing similar views on spirituality, which is through

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romanticism; were not to be found. This paper tries to address these issues and this will make

a background study for those who aspire to take it up further to compare and contrast other

texts from various religious sects.

Establishing the definitions of the key terms used in the paper is essential. „Romanticism‟, as

is understood in a literature class in general is, as a movement of art and in literature during

the 1700s which was opposed to the classical age before that. But in the research paper, the

term „romanticism‟ is not in relation to the art movement, but is referred as a noun form to

the word „romance‟. „Romance‟ came down from romanz in Old French which very

generically means an intimate relationship shared by two people. Many terms can be

associated with romance, such as attachment, idealized love, that which is pure and beautiful,

a mysterious and exciting feeling, etc. These are the terms that are considered through

analysing the works of Rumi and Solomon.

The term „spirituality‟ is as is known to all, the noun form of spirit and refers to anything that

is not pertaining to the material world, earthly matters and such. It also refers to the

connection between man and God. In the paper, the terms „spiritual‟ and „religious‟ are not

analysed; though these words are used at places in the paper.

Thesis Statement:

A Comparative Study between Diwan-e-Shams-e-Tabrizi by Rumi and the Songs of

Solomon: Tracing the Themes of „Spirituality‟ and „Romanticism‟ Intermingled in these

Texts and to Prove the Similarities between these Two Poets through their Representation of

these Themes, through a Thematic Analysis.

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Literature Review:

Through all the articles reviewed so far, there is a similar thread that runs through all of them,

which is that the work written by Rumi, Diwan-e-Shams-e-Tabrizi, was trying to make the

readers understand something that is very elated from the normal teachings about love. It

talks about how through the path of love, the „Beloved‟ or the God could be attained.

Similarly, in the article reviewed about the Song of Solomon, the article points out to a poem

or verses which are no more than a love song that king Solomon composes for a girl he loves;

but there exists a deeper meaning to it that just being a lyrical love song because it is involved

in a religious text, the Bible, where there might not be place for a common lover‟s songs.

Thus, the reason is established behind its inclusion in the Bible that because there exists an

allegorical meaning to it also. The interpretation is described verse by verse in Matthew

Henry‟s paraphrase to the Song of Solomon, which says that the song actually talks about the

love between Christ as a masculine entity and the Church as a feminine one.

Though the research papers support the claim of achieving spirituality through romanticism

of various forms, they only support the individual poets at a time. Thus, the research paper to

be published based on this literature review and other articles to be read further about the

topic, intends to cater to the comparative studies from the point of „spirituality and Sufism‟

through „romanticism‟ of the two texts only, which are the Diwan-e-Shams-e-Tabrizi and the

Song of Solomon from the Old Testament of the Bible, since this particular research has not

been found so far.

The given example is the first one to deal with the thematic analysis from Rumi‟s poetry:

I once had a thousand desires

but in my one desire to know you

all else melts away. (Diwan-e-Shams-e-Tabrizi)

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In the quote, Rumi is addressing Shams of Tabriz, his friend and mentor, by saying that Rumi

himself had a thousand worldly desires, such as maintaining the decorum of the society as his

father would have done. But when he met Shams, he started to let go of such ephemeral

positions in society that ultimately have no value in an individual‟s life. Though this quote

seems to be love poetry at a glance, research has enabled the readers to read out other

interpretations as well for the works of Rumi. Another interpretation too is as evident as the

first one is. The fact that Shams came into Rumi‟s life as a mentor, plays a vital role. It was

Shams who had guided the Sufi poet Rumi into the path of God. And the quote might as well

be read as; those trivial desires all melted away, once Rumi was bestowed with the

knowledge of God and was kindled with a desire to know Him.

Panjwani in her research paper titled „Rumi and Donne, Comparative Reflections‟ reiterates

this observation and adds by saying that for Rumi, love was everything; right from being

religion to madness, from universal intellect to a creative force. For Rumi, love is the source

of Divinity and Beyond.

Thus, we see that for Rumi, love becomes „God and beyond‟.

Similarly, in the Songs of Solomon, through the description of the girl and Christ, we can see

that it talks about spiritual aspects through the love poem.

He: Your neck is like the tower of David,

built with courses of stone (Song 4)

The poem continues with the praise and He (Christ) says to the girl that she is beautiful and is

flawless. Even though Songs of Solomon is a song of praise between two lovers, as is evident

through the selected quote; there has to be a reason as to why such a text is placed in the

Bible. Here comes in another interpretation which draws parallels between the love of

Solomon and the girl with the love between Christ and the Church. Even the usage of words

such as „tower‟, built with stone‟ depicts some of the aspects of a church as is seen in the

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quote. Thus, this love song becomes the relation between the two pairs; Solomon and his

beloved as well as Christ and the Church.

There are many interpretations on how there are links found between Christ and the Church

through the Songs of Solomon. Quinn in his paper, states similarly that the Shepherd or the

Groom is made in the figure, or image of Jesus, whereas the girl from Shulam, the Shulamite

maiden is made in the image of the Church. He goes on to say that the relation between

Solomon and the girl in the song is as strong as the relation between Christ and Church. In a

figurative sense, this also means that the relation is eternal as is Jesus and as well-built as the

foundation of the Church. This also signifies that in spite of the obstacles that come in the

lives of Solomon and the girl from Shulam, they both stand sturdy against them all, just like

the image in which they are built.

Through these examples, it can be seen that the two different texts; in terms of authors of

different religions and time, had both used allegorical and parable like literary devices to

portray their true and latent intentions. Thus, through comparison of the two selected

examples, it becomes evident that both the poets have used the path of romanticism to attain

spirituality. Thus, it proves the claim that both the poets, in spite of belonging to two different

religions; had similar ideology in terms of their belief that romanticism was the way in which

one could reach spirituality.

The following example is specifically looking at the imagery of flame and light as used in the

two texts. There are instances when Shams and Christ are looked upon as a/the source of light

in Rumi‟s and other people‟s lives.

From your majestic bright face

The flame lighting my place (Diwan-e-Shams-e-Tabrizi 4)

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The stanza is addressed to Shams. Rumi implies that Shams‟ presence in his life is like a

flame that lightens every corners of the dark room. It implies that it is an enlightening

experience to have Shams in his otherwise dull or ignorant life.

The same stanza here can be interpreted as addressed to God. It could be said that the divine

presence brings light in ones‟ life. Many have viewed God as their guiding „light‟ in their

lives. The ancient people used to believe the same about God. Peter Enns is a senior member

of biblical studies at BioLogos Foundation. He has observed in the article, Science vs. The

Bible, that the meaning as given in the Genesis is that which talks about the God of Israel,

who is so powerful that He doesn‟t need a sun, moon or the stars to light up the day. His own

light is sufficient to light up the entire cosmos. This again may be considered as a source that

also claims that God is light, and that everything around Him seems bright because of His

presence.

In Rumi‟s poetry, Shams is always portrayed as a guide, who is there to spread Allah‟s love

towards the mankind. „Shams‟ stands for the “Sun” in Arabic, literally; thus, Shams was a

sun in the true sense, as well as in the referential sense. Rumi as well, looked at Shams as

though he was the Light of the Sun personified, who was there to guide him (Rumi) to follow

the right path and to dispel the darkness of his heart, mind, body and soul.

These statements prove that God can be said to be synonymous to light just like Rumi finds

Shams‟ presence to be filled with light.

...fair as the moon, bright as the sun,

majestic as the stars in procession... (Song 6:10)

Here, the Church, or the bride is being addressed to as being fair as the moon, which

ultimately borrows its light from the sun, which can be represented as Christ or being

synonymous to Him.

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Matthew Henry provides extensive commentaries on the theological works and is referred to

through the entire paper as well for commentaries on Songs of Solomon. He gives another

perspective for the chosen couplet above. He says that even though the moon is fair, it still

has its own eclipses and spots. Even though the moon does shine, but that is a borrowed light

from the Sun and shines only when it is dark. Sun here, refers to Christ again and he says that

when the moon will be „perfected in the glory‟ and reach a stature as high as that of the

Sun/Christ and is finally ready to receive the Christ; then the moon-like Church, will be

embraced and clothed by the Sun, which is Christ.

Thus, it is evident through the elucidated examples, that both the poets view God as light in

their lives, one that brings hope and brightness into ones‟ life. Their belief about thinking

God to be synonymous to light proves that their notions about their respective Gods are

similar to each others‟, in spite of their different religious beliefs, and this too they prove

through intermingled themes of romanticism and spirituality. The stanzas appear as though

they are love poems, but their intention must have been to convey the path that ultimately

leads to God.

In such revealing nights I swoon

The night when beloved is in our midst

A night as revealing as a hundred high noon.

(Diwan-e-Shams-e-Tabrizi 6)

In this stanza, the focus is on spending as much time with the „beloved‟ as possible. In the

poem, Rumi has addressed this to Shams but the intention is that the more time they spend

together, the more „revealing‟ gets the night; which means gaining more insight into the

Eternal, getting enlightened by the master about the Almighty. The last line of the stanza

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again refers to this one night being „revealing‟ with spiritually filled talks and discussions.

For Rumi, this one night was equal to the hundred „high noon‟ that he could have spent with

others; because the spiritual knowledge that Shams had, Rumi found that even a hundred

days spent with a scholar would not have matched and sufficed.

Smolovits in his article titled „Rumi Poet of the Heart‟, writes about the time Rumi and

Shams used to spend together alone. He says that while they were thus secluded from the

world, they would engage in sohbet which means „mystical conversations‟. Another Rumi

scholar and a translator of his works, Andrew Harvey, says that Rumi‟s heart and his whole

being was transformed massively; which was actually a result of the transmission of

knowledge and enlightenment from Shams to Rumi, during these secluded hours spent

together. He also gives a reason stating why Shams was so eager to transfer his knowledge to

Rumi. He tells that Shams had come to know that very little time was left with him and that

for some reason or the other, he would be separated from Rumi.

In the many biographies on Rumi, one said that Shams was in search of an apprentice whose

spirit was already rekindled by the divine touch and was just in need of someone to direct

him on to the right path. Thus, when Shams found Rumi, he would always try to engage him

in such spiritual talks so that the revelations that Shams felt himself responsible for, to

transmit to Rumi, would be strongly ingrained in him, before their time together gets spent

up. Also, in Sufism, it is considered the duty and responsibility of the pir or the spiritual

master to pass on the knowledge to his spiritual disciple.

She: Come, my beloved, let us go to the countryside,

let us spend the night in the villages (Song 7:11)

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Here, the lover is eager to spend time with her beloved. This constitutes the romantic aspect

of the poem, whereas the connotated meaning is that the bride or the Church, the believing

soul, is eager to spend time with her „beloved‟ Christ. Here too the underlying meaning is to

depict the eagerness of a devotee to spend time with the master.

Henry in his commentaries on the Songs of Solomon, also holds a similar view. He explains

the spiritual aspect of the love couplet. He explains that the girl is eager to spend the night

with her Beloved because she earnestly desires a communion with Christ, her Beloved. She

eagerly wants to spend time with her Beloved, to receive consul, comfort, instruction and also

wants to spell her grievances to Him, without any interruptions from the world; which here

establishes a two dimensional world: one that is the material world, and the other that is in the

presence of Christ, a spiritual world.

Another aspect to be observed in the couplet, says Henry, is her desire to stay longer in the

company of her Beloved. Through this, he alludes to the blessed Paul, who in a similar

manner desired more and more the company and knowledge of Christ.

Through these examples, it can be observed that both the poets have written about a lover

desiring more time with his/her beloved, who crave the other‟s presence and this becomes the

surface level meaning. Through this, Rumi and the Shulamite girl, both try to portray their

eagerness to be closer to God, be it through talking with one‟s mentor, or be it with being in

the presence of Christ Himself. Thus, it can be seen that through romanticism, these poets are

talking about spirituality.

The next comparison between the two poets consists of their usage of the symbol of wine in

their poetries.

What is cup-bearer and wine, if not divine

In the kitchen of heart we can wine and dine

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The whole town can smell such aromatic sign.


Here, the cup-bearer becomes Rumi himself and the wine is Shams and Rumi says that this

union of the cup-bearer and the wine is a divine union. Here, he clearly establishes that he is

not writing about the material and worldly love but of a divine kind of love; thereby

establishing the inter-woven nature of his poetries between romanticism and divinity. The

next lines represent that „wine‟ or a symbol for the love of God will be served which will be

beneficial for the whole town as its aroma will spread around. Usually in Ghazal Poetries,

wine is seen as a symbol of the „Love of God‟ personified. Thus, here as well, it can clearly

be seen that Rumi is trying to portray Shams in a light that makes him the one who is there to

spread the love of God, not just to Rumi, but to the whole town as well.

She: May the wine go straight to my beloved,

flowing gently over lips and teeth. (Song 7:9)

In this stanza, Solomon deals with the symbol of wine, just the way Rumi did in the previous

example. The previous lines of the song are conveying how Solomon is adoring the

Shulamite girl and compares her breasts to that of a cluster of grapes, he says that the

fragrance of her breath is like apples and that her mouth tastes as the best wine. To which the

girl willingly offers herself to Solomon.

Here, the allegorical sense is stated clearly by Henry, that Christ is pleased by the words that

are flowing as sweetly as wine from the girl‟s mouth about spiritual taste. This also

symbolizes the communion with God and how sweet that communion is. Thus, wine is the

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medium through which God‟s love is gained by the Shulamite maiden, and is also an image

of the communion with God.

Therefore, wine becomes a symbol of divinity, because it is portrayed as a medium to spread

the love and knowledge of God, so that the people can gain Christ.

Through this reference, the interpretations become clear as to how wine is used as a symbol

to achieve the „spiritual taste‟. Thus, it can be said that both the poets have used wine in a

semi-erotic and romantic way as a symbol which ultimately is shown as a path to divinity or

spirituality.

O Pride of Tabriz...

...where can I find a better friend?


Shams of Tabriz was a Pir, a guide and a mentor for Rumi and he addresses Shams as his

very close friend as well. This can even be a verse which similarly addresses God because

Rumi uses personal names for Him as well, such as the „Beloved‟. In the Ghazal poetry also,

there is a mention that the beloved, yar (a friend), is generally used to indicate and refer to

God.

Graham Billy in his article named „Friends with God‟ says that God had actually created

humans so that they could be His friends. He traces this saying back to the time when Adam

and Eve were created. He believes that this divine plan of humans being friends with God had

its origin in the Love of God. But he remarks that this friendship was a different kind of

friendship because usually, we choose friends who belong to the same class with similar

ideologies. Therefore, he says that God and Adam were unequal in such terms. He says that

God was the one who created this universe and Adam was one of His creations; God was

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infinite and Adam was finite; God was self-sufficient, whereas Adam was the one who

depended on Him. In spite of all such vast differences, Graham notes that God still wanted to

be friends with Adam and Eve.

It is noteworthy, just as the way Graham says that God was independent and man was

dependent on Him, Rumi was also dependent on Shams and in a way, Shams was his creator

and Rumi was the creation. This also bears resemblance with the mentor – disciple kind of relationship which

Shams and Rumi had for each other.

Similarly, in the Song of Songs, a corresponding treatment is seen where the maiden is addressing to her beloved.

This is my beloved, this is my friend,

daughters of Jerusalem. (Song 5:16)

It can be observed that the maiden is time and again referring to Christ as „my/mine‟. As per

the gospel-covenant, mine stands for „mine in every sense and way possible‟. Mine also

means that she needs Him for her soul to be pure. It also means that by stating Christ as mine,

she has surrendered herself entirely to Him.

According to Henry, those who believe God to be their friend, are the ones who truly receive

His Grace and those who love Him, He in turn loves them immensely.

Here too, the Church, the lover, the Bride and Believer calls Christ her „beloved and friend‟,

both personal and subjective addresses.

Thus, it can be seen that both the poets consider God as their „Beloved‟ and „Friend‟, which

draws similarities between both of them, yet again. They both have a personal approach to

God, as opposed to the Objective approach to keeping God on a high pedestal and fearing

Him instead. It is noteworthy that even in Old Testament, such a personal and subjective

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label is given to God, although notions of God were different in those times as opposed to the

New Testament, where there are more frequent usage of personal attributes for God.

After all such comparisons made between the two works of romance and spirituality, there

are a few differences as well that were noted.

Love, beauty, grace, goodness, passion

Fear not, fear not, enter this realm of the Wise


Along with talking about „love‟ and „spirituality‟, Rumi also talks about being Wise, about

gaining the knowledge and enlightenment about God.

This aspect of a call to be wise is not to be seen in the Songs of Solomon, at least in the text

per say. Through the entire set of poems, it is observed that there is just praises for the lover

and the Beloved; Christ and the Church.

This observation leads to the dissimilarities portrayed in the two selected texts, thus it goes

against the thesis statement which tries to portray the similarities between the two poets of

different religions and even though this paper focuses on just the two aspects of

„romanticism‟ and „spirituality‟, the aspect of „wisdom‟ is relative to both the themes, but is

only dealt by Rumi and is not present in the Songs of Solomon.

But, the major themes that the paper focuses on are the themes of „romanticism‟ and

„spirituality‟ and there are many relative terms that fall under these umbrella terms. Though

the Songs do not look at the aspect of Wisdom literally, it talks about it at a hermeneutics

level. And also it looks at the rest of the aspects of spirituality which are mentioned in the

above given example. The Songs does talk about beauty, grace, passion and other such

aspects related to God-believer relationship.

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Thus, it is reasonable to say that even though differences exist in both the texts, and thus,

between both the poets; it can be seen as an exception to the norm which is not that

significant either because only the relative themes are different; the major themes that are

dealt with for this paper, are treated in a similar manner by both the poets, thus, reiterating the

fact that both the poets have used the themes of „romanticism‟ and „spirituality‟ intermingled

in their works.

Conclusion:

After the research is conducted, it can be said that dealing with the allegorical style, both the

poets have used to convey their intentions, not having chosen the direct path to express

themselves. Both of them consider God to be synonymous with light, here as well their

association with God matches. Both the poems show instances of the desire to spend more

and more time with and in company of God, thus, the desires are similar that they both want

to spend time with their „Beloved‟. The treatment of wine as a symbol to denote a path to

God and having a personal relation with the divine also shows the way the poets have treated

God very subjectively. For them, God is like a friend. All these depictions in the two texts

point to the similarities between the two poets that too confining to their treatment of the two

themes of „romanticism‟ and „spirituality‟, as there are many aspects to look at these themes,

and these are just a few among those many representations of „love‟ and God.

This research paper only looks at the treatment of the themes of „romanticism‟ and

„spirituality‟ intertwined in the texts. But there are many ways in which texts can be

interpreted. In case of these two texts, the portrayal of women is also a part that can be well

researched into, as both the texts do have female characters. In the same way, any two texts

of these two religions can be compared to show similarities or dissimilarities within them.

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In conclusion, it could be clearly stated that the two primary texts; Diwan-e-Shams-e-Tabrizi

by Jalal –ud-din Rumi and the Songs of Solomon from the Old Testament have shown

similarities in the treatment of their writing styles, similar ideas on God and ideologies in

association with the themes of „romanticism‟ and „spirituality‟.

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étymologique (in French), Paris: Librairie Larousse

https://en.wiktionary.org/wiki/romance#English

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https://en.wikipedia.org/wiki/Spirituality

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https://bible.knowing-jesus.com/words/Flame

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Contact Details:-

Shivani A. Damle: [email protected]

Prachi Jain: [email protected]

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https://www.islamicity.org/3374/rumi-poet-of-the-heart/

http://www.writersalon.com/literary_criticism/rumi-in-love-and-unity

mailto:[email protected]

mailto:[email protected]

Documents

Rumi’s poem and Songs of Solomon: Tracing the themes of ...adalyajournal.com/gallery/30-jan-2515.pdf · Prachi Jain PG Research Scholars, CHRIST (Deemed to be) University, Bangalore,