RUMI’S POEMS:
“THE TAVERN” AND “HOW VERY CLOSE”
A THESIS
Presented as Partial Fulfillment of the Requirements to Obtain theSarjana PendidikanDegree
in English Language Education
By:
Intika Putri Widiarti
Student Number: 031214142
ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION
SANATA DHARMA UNIVERSITY YOGYAKARTA
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MYSTICAL EXPERIENCE AS REVEALED IN JALALUDDIN RUMI’S POEMS:
“THE TAVERN” AND “HOW VERY CLOSE”
A Thesis
Presented as Partial Fulfillment of the Requirements to Obtain theSarjana PendidikanDegree
in English Language Education
By:
Intika Putri Widiarti
Student Number: 031214142
ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION
SANATA DHARMA UNIVERSITY YOGYAKARTA
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ACKNOWLEDGMENTS
First of all I would like to express my thank to the Almighty God. He is not
only the one who saves me, but He is a loyal and great companion. He gives me
strength, He stays on my side, and gives me tremendous bless that I can stand up
once again and again. He helpful hands support me that I can finally finish this
thesis.
I would like to express my high appreciation to my major sponsorDr. Wigati Yektiningtyas Modouw, M.Hum.,for her patient, understanding and her motivating guidance in helping me finish this thesis. I will not forget those great moments we
share together. My deepest gratitude also goes to my co-sponsor Henny Herawati, S.Pd., M.Hum. She assists me on my every page of this thesis. She is unbelievably efficient and critical although she has a very little time. I am honored to be one of her
students.
I would also like to express my great thanks to all lecturers for their great contribution in my development, their honest and critical sharing and unforgettable
memories. I would like to express my thanks to all staff in the secretariat, especially
Mbak TariandMbak Danisupporting me since the first semester until now.
My special thanks go to my fatherIr. Kunto Prayogo.He is my hero and my idol since I was a little girl until now and forever. He is my everything. He supports
me with his endless love, continuous assistance and enriches me with his
encouraging wisdom. I learn about respect for individual difference from him. My
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caring. To my lovely sistersDitaandLilawho has become little angels in the house. No one can make me as happy, as sad, as proud, as angry, as confuse as they do.
My sincere thanks go to my best friends, Bunga Ajeng and her family, Timur Pamenang (Timmy), Fendi, Sharylin Childers (riil). I found precious friendship, honesty, and respect and share the greatest feeling of friendship with
them. For all my ‘children’ gorgeous cats whom I love so much, Tukul (kungkung), Rio (yoyoh), eta’ and all her kitties, Hj. Maria chiripa and all her kitties, cindyand all her kitties, lusi, ruben (ubeng), iteng,andmas lilo.
I also thank to my precious friends of PBI: Bunga,Dera, Timur, Debby, Helen, Winny, Fendi, Ellen and mas moi, mbak Desty, Bertha, Cipox, Rinto Dudung, Dudy, Andre 98, Andre 02 and others for the greatest support. Also, my friends Sharylin Childers, Mbak Citra, Mas Adi, Mbak Ayu, Eric Manning, Jenny Hayes, Mas Hari, MD, Mas Indra, Mas Alex, Mbak Marina, Yobie Rukanda as well as my family Mas Adit, Mbak Leni, Mbak Ivy, Papa and Mama Raharjo Yudhono, Bupoh Dien, Ajeng Hayu, Bude Anik, Bude Arum, Mbak Yurni, and others whom I could not mention one by one here.
In addition, I give my best appreciation and compliment to Suma Ching Hai,
Eyang Jimat as well Kuinjabihari who have always guided me in enduring my
journey of life, released my pain as well as giving the enlightment, freedom and
wisdom both for me and for all the living things in this world.
My great appreciation, finally, goes to my greatest man, Yogi Priandhika.
Thanks for supporting words, inspiring encouragement, and greatest love. He is
everything to me. He is the one I want in this life.
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TABLE OF CONTENTS
TITLE PAGE……... i
PAGE OF APPROVAL…... ii
PAGE OF ACCEPTANCE………... iii
STATEMENT OF WORK’S ORIGINALITY... PAGE OF DEDICATION... iv v STATEMENT OF PUBLICITY……….. vi
ACKNOWLEDGMENTS…... vii
TABLE OF CONTENTS……….……… ix
ABSTRACT………..….….. xii
ABSTRAK………...….. xiii
CHAPTER I INTRODUCTION…... 1
1.1 Background of the Study... 1
1.2 Objectives of the Study... 4
1.3 Problem Formulation... 4
1.4 Benefits of the Study... 5
1.5 Definition of the Terms... 5
CHAPTER II REVIEW OF RELATED LITERATURE... 6
2.1 Theoretical Review... 6
2.2 Reviews on Religious Ground and Sufism... 11
2.2.1 Religious Ground... 11
2.2.2 Sufism……… 14
2.3 The Life and the Work of Jalaluddin Rumi………... 17
2.3.1 The Life………...……….. 17
2.3.2 The Work………...………... 20
2.4 Criticism... 21
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CHAPTER III METHODOLOGY... 24
3.1 Subject Matter... 3.1.1 “The Tavern”………... 3.1.2 “How Very Close”………... 24 24 25 3.2 Approach... 27
3.3 Procedures………... 28
CHAPTER IV ANALYSIS... 30
4.1 The Explication of Jalaluddin Rumi’s Poems “The Tavern” and “How Very Close”…... 31
4.1.1 The Tavern……….….……….. 32
4.1.2 How Very Close………..………... 37
4.2 Mystical Experience Represented in Jalaluddin Rumi’s Poems “The Tavern” and “How Very Close”………. 44
4.2.1 Bondageless………... 44
4.2.2 Transcendent Love………….………... 54
CHAPTER V CONCLUSION AND SUGGESTION... 72
5.1 Conclusion………...………. 72
5.2 Suggestion……….………... 73
5.2.1 Suggestion for the Further Researchers………...………. 73
5.2.2 The Implementation of Teaching Poetry………... 74
5.2.2.1 The Importance of Applying Biographical Background to Analyze Rumi’s poems in Teaching Poetry…...………...………. 74
5.2.2.2 The Implementation of Teaching Rumi’s Poems by Applying Author’s Biographical Background………...………... 76
BIBLIOGRAPHY……… 78
APPENDICES………..
Appendix 1 “The Tavern” and “How Very Close”………..… 81
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Appendix 2 Jalaluddin Rumi’s Biography………... 84
Appendix 3 Jalaluddin Rumi’s Picture………... 87
Appendix 4 The Middle East Map 13thCentury………. 88
The Ottoman Empire’s Map………. 89
The Middle East Map……….. 90
Appendix 5 Lesson Plan……….. 91
Appendix 6 Short Description about Poetry I………. 94
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ABSTRACT
Widiarti, Intika Putri (2008).Mystical Experience as Revealed in Jalaluddin Rumi’s Poems: “The Tavern” and “How Very Close”. Thesis. Yogyakarta: English Language Education Study Program Sanata Dharma University.
This thesis discussed and analyzed “The Tavern” and “How Very Close” (2004), two poems written by Jalaluddin Rumi. This thesis explored the concept of true happiness through mystical experience offered by Jalaluddin Rumi which was manifested into both poems. It was interesting to discuss mystical experience because it offered the values we could learn.
This thesis presented two main questions: 1.What does Jalaluddin Rumi say in his poems “The Tavern” and “How Very Close”? 2. How is mystical experience represented in “The Tavern” and “How Very Close”? This thesis is aimed to answer the problems mentioned.
The writer applied Structural-Semiotics approach by Julia Kristeva to answer the questions. To answer the first question, Structural approach was employed to get the meaning in the intrinsic level. The analysis of the intrinsic level was based on the elements of the poems in a text level which were seen from language, namely words, prosodic features, and the interpretation of the words written in the poems. Thus, the use of dictionary was essential. The second question employed Semiotics approach to explore the extrinsic level of the poems. To construct the meaning in extrinsic level, it needed information from the contextual background which were seen from religious ground, Sufism, Jalaluddin Rumi’s biographical background as well as the information suggested by spiritual practitioner. This information was employed as the supporting information in understanding the essence of the poems.
The findings of this thesis are, furthermore, two imperative messages that Rumi wishes to convey through both of the poems. The first finding in intrinsic level of the poem “The Tavern” refers to the finding of the author’s self identity while “How Very Close” refers to the intimacy of the author’s beloved. This finding directs to the same point of Rumi’s spiritual Journey. The second finding in extrinsic level, pointing to the same similarities, namely: ‘bondageless’ and ‘transcendent love’ as the mystical phase of Jalaluddin Rumi. To this point, the phase refers to his primary life reflection of his spiritual journey which enables him to attain higher level of spiritual understanding.
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ABSTRAK
Widiarti, Intika Putri (2008). Mystical Experience as Revealed in Jalaluddin Rumi’s Poems: “The Tavern” and “How Very Close”. Thesis. Yogyakarta: Pendidikan Bahasa Inggris Universitas Sanata Dharma.
Skripsi ini menganalisis dan membahas puisi berjudul “The Tavern” and” How Very Close” (2004) yang ditulis oleh Jalaluddin Rumi. Skripsi ini menggali konsep dari kebahagiaan sejati melalui pengalaman spiritual yang ditawarkan oleh Jalaluddin Rumi yang termanifestasikan kedalam kedua puisinya. Pengalaman spiritual merupakan suatu hal yang menarik untuk dibicarakan karena hal ini menawarkan nilai-nilai yang dapat kita pelajari.
Skripsi ini mengajukan dua pertanyaan utama: 1. Apakah yang Jalaluddin Rumi katakan dalam puisinya yang berjudul “The Tavern” and “How Very Close”? 2. Bagaimanakah pengalaman spiritual yang direpresentasikan di dalam “The Tavern” and “How Very Close”? Skripsi ini bertujuan untuk menjawab dua pertanyaan yang telah disebutkan.
Penulis menggunakan pendekatan Structural-Semiotics dari Julia Kristeva untuk menjawab pertanyaan-pertanyaan yang telah disebutkan diatas. Untuk menjawab pertanyaan pertama, pendekatan Struktural digunakan untuk mendapatkan arti dalam lapisan intrinsik. Analisis dari lapisan intrinsik ini berdasarkan element-element dari puisi dalam level teks yang dilihat dari segi bahasa, element-element prosodik, dan interpretasi dari kata-kata yang terdapat didalam puisi-puisi tersebut. Oleh karena itu, penggunaan kamus sangatlah penting. Pertanyaan kedua t pendekatan Semiotik untuk menggali lapisan ekstrinsik dari puisi-puisi tersebut. Untuk membangun interpretasi lapisan ekstrinsik, dibutuhkan informasi dari latarbelakang kontekstual yang dilihat dari dasar religius, Sufi, latar belakang Jalaluddin Rumi, dan informasi yang diperoleh dari praktsi spiritual. Informasi-informasi ini digunakan sebagai informasi pendukung untuk mengerti esensi dari puisi-puisi tersebut.
Hasil dari studi ini adalah dua pesan yang sangatlah penting yang ingin disampaikan Rumi melalui kedua puisinya. Hasil pertama dalam lapisan intrinsik dari puisi “The Tavern” menunjuk pada penemuan identitas diri sang pengarang sedangkan “How Very Close” menunjuk pada hubungan yang sangat intim sang pengarang dengan kekasihnya. Hasil ini menuju titik yang sama yaitu perjalanan spiritual Rumi. Hasil penemuan kedua dalam lapisan ektrinsik menunjuk pada inti yang sama yaitu “bondageless” dan “transcendent love” sebagai suatu fase perkembangan kehidupan mistik Jalaluddin Rumi. Pada titik ini, fase ini menunjuk pada refleksi kehidupan yang terpenting dari perjalanan spiritualnya yang memudahkan Rumi mencapai tahap pengertian spiritual yang lebih tinggi.
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CHAPTER I INTRODUCTION
This chapter is divided into five sections. The first section is Background of
the Study. It deals with the reasons for choosing mystical experience as the main
concern of the study. The second section is the Objectives of the Study. This section
discusses the main purpose of this study. The third section is Problem Formulation,
which contains questions to be answered by this study. The fourth section is the
Benefits of the Study. It puts forth the advantages of conducting this study. The fifth
section is Definition of Terms. It explains the terms used in this study in order to
enable the readers to understand this thesis better.
1.1 Background of the Study
Every human wants to live in peace and harmony with nature and the society
they inhabit. They expect to be happy. They have made many efforts and attempts to
make their lives become more peaceful and harmonious. In relation to this statement,
religions have been one of the main facilitators to control and improve human life1. The word religion is derived from Latin language. Re means ‘to come back’ and
lagaremeans ‘to connect’. The purpose of religion is therefore to reconnect a soul to
his Creator (1990:10). However, life is sometimes not easy as it looks. Over time,
humans have abandoned the tenets of the religions which have been upheld for
thousands of years as a result of modernity. It is due to this religions do not have the
capacity to facilitate the practical problems that humans face in everyday life and in
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the present era by preventing them for going in the wrong direction. When humans
fail to solve the practical problems in everyday life and feel that God does not answer
their prayers, humans tend to find another way which is much faster and easier to
achieve what they want. The example of this phenomenon is Lia Eden’s case. She
founded a new religion named Salamullah. This religion came about as a tool to
answer the practical problems occurring in everyday life in the context of questions
about God. While their former religions had failed to aid them in answering these
questions, the Salamullah believers consider this religion as the answer to the
questions they have been waiting for so long2.
In conjunction with the failure of religions to aid humans in answering
practical problems occuring in everyday life, Bernard Lonergan has identified the
shift in thinking as “the turn to interiority” (2003: 316). The interior side can be
found in every religion. It empowers its believers to have a comprehensible
understanding of the religions’ core objective. It directs people to the same point,
which is to create a balanced life synchronized with nature and both living and non
living creatures of God. For example, Islam, has an interior side called Sufism, with
Jalaluddin Rumi being one of the most famous individuals who practiced Sufism.
The role of the interior side in creating a balanced life is to provide the knowledge as
well as the wisdom to its believer so that they feel God in everything they perceive
through their five senses. Then, the understanding of God slowly changes. God is
seen as a manifestation of the living and non-living creatures in the universe instead
of God who just observes from the sky and is distant from His creatures. This
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understanding is called mysticism, and the experience called mystical experience3. Margaret Smith explains the notion mysticism clearly as follows:
Mysticism is not to be regarded as a religion in itself, but rather as the most vital element in all true religions, rising up in revolt against cold formality and religious torpor. Nor is it a philosophical system, though it has its own doctrine of the scheme of things. It is to be described rather as an attitude of mind; an innate tendency of the human soul, which seeks to transcend reason and to attain to a direct experience of God, and which believes that it is possible for the human soul to be united with Ultimate Reality, when “God ceases to be an object and becomes an experience” (1980: 20).
Jalaluddin Rumi (1207- 1273) has been recognized as the greatest mystical
poet of Islam, and as the supreme mystical poet of all mankind. He was born in 1207
C.E. in the city of Balkh, which was then in the Persian province of Khorasan but is
now in Afghanistan. His most well – known work,The Mathanawi, contains a broad
expanse of Sufi teaching and of Islam itself. It is considered by many as the most
magnificent work of Persian ever written (1983: 11).
His insights into the human heart and soul are deep. Rumi’s universe is
shaped by the Koran, the prophet of Islam, and the Muslim saints. Rumi’s message is
nevertheless so universal and full of liberal use of imagery drawn from sources
common to all human experience that his meaning is accessible to people of various
backgrounds and religious perspectives (1983:9).
As one who is interested in Rumi’s teachings, I came to realize that many of
his mystical doctrines and practical wisdom taken from real life are very interesting
to explore since they offer valuable meanings for readers which can be implemented
into one’s life. This study is employed in order to analyze and investigate the essence
of mystical experience as it is found in Rumi’s poems. My intention is, therefore, to
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explore and observe the messages of what Jalaluddin Rumi tries to convey through
his poems “The Tavern” and “How Very Close”. I try to reveal the message of the
concept real happiness through mystical experience which Rumi wants to convey. I
hope this thesis is able to give a new perspective in understanding God better so that
humans can make a deep consideration and self-definition of their lives.
In addition, I give the limitation to this thesis that I am a practical and
empirical observer of English as an English education program student who is
investigating and deepening my knowledge of the English language by exploring
Jalaluddin Rumi’s poems. The analysis about mystical experience is taken from
Jalaluddin Rumi’s point of view which is conveyed through his mystical poems “The
Tavern” and “How Very Close.”
1.2 Objectives of the Study
The study aims, first, to explore Jalaluddin Rumi’s poems “The Tavern” and
“How Very Close”’ and what Jalaluddin Rumi tries to convey in both of poems. The
second aim of the study is to understand the meaning of mystical experience
according to Jalaluddin Rumi which is manifested in his poems “The Tavern” and
“How Very Close.” These two objectives are undertaken with the view that Rumi’s
message is highly valuable to humankind because it highlights other ways of
understanding and appreciating God but also offer a concept of real happiness in life.
1.3 Problem Formulation
Based on the background of the study discussed above, the problems of the
1. What does Jalaluddin Rumi convey in his poems “The Tavern” and “How
Very Close”?
2. How is mystical experience represented in “The Tavern” and “How Very
Close”?
1.4 Benefits of the Study
The study is beneficial for both readers and those who are interested in
literary works. This study helps the readers to understand more about the poems, so
that the readers are able to enjoy reading Jalaluddin Rumi’s poems. The readers can
also enrich their knowledge of literary studies, particularly, about mysticism in the
Sufi order and mystical experience as an inherent dimension of human existence. The
other advantage is that this study may make a useful contribution to other researchers
who want to analyze Jalaluddin Rumi’s poems “The Tavern” and ”How Very Close”
on other topics related to Sufism.
1.5. Definition of the Terms
In order to clarify the meaning of the term ‘mystical experience’ used in this
study, below is the definition of the term.
Mystical Experience
According to Rahner and Vorgrimler in Theological Dictionary mystical
experience means the following:
(a) An experience, the interior meeting and union of man with the Divine infinity that sustains him and all other beings in Christian mysticism, in Judaism and Islam, with the personal God as well as,
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CHAPTER II
REVIEW OF RELATED LITERATURE
This chapter contains mostly theories and approaches, which will strengthen
and accompany my analysis of the work. This chapter is important to help me work
objectively and develop my comprehension logically. The first section is the
Theoretical Review which discusses the theories used in analyzing the poems. This
thesis employs the Structural-Semiotics theory. The second section is the Review of
Related Studies which is employed as the important element in deepening the
analysis. This section is divided into two parts, namely: Religious Ground and
Sufism. The third section is The Life and Work of Jalaluddin Rumi which later will
be correlated with the Structural-Semiotics theory used to analyse the poems. The
last section is the Theoretical Framework.
2. 1 Theoretical Review
This thesis employs the theory of Structural-Semiotics ‘text and context’
proposed by Julia Kristeva in analyzing Jalaluddin Rumi’s poems. Jalaluddin Rumi’s
poems are seen as a complex structure. However, to fully understand the meaning of
the poems, I include the information from the text itself and the context in which the
poems were written. To understand Jalaluddin Rumi’s poems “The Tavern” and
“How Very Close”, Structural-Semiotics theory is used as the main element in
understanding the poems. The text is used to explore the intrinsic level of poems,
unity of meaning, then, the approach is divided into two priorities, namely Structural
and Semiotics.
The first priority uses structural theory to reveal information at a structural
level of interpretation (intrinsic). A structural level of interpretation investigates the
comprehensible linguistic signs. The analysis of the intrinsic level is based on the
elements of the poems in a text taken from language, namely words, prosodic
features, and interpretation of the language in the poems at the intrinsic level. In
order to understand the meaning at the intrinsic level, the assistance of a dictionary1 is needed. The role of the dictionary is to explicate the structural meanings of the
poems which later serve as a basic foundation in organizing the essence of the poem
at a extrinsic level.
The second priority, semiotics, is employed to discover the essence of the
poems through a deeper level of interpretation (extrinsic). Semiotics theory explores
the extrinsic level of interpretation which is seen from the context of the poems. The
context’s role is to provide information about the background which influenced Rumi
and how he was able to create such poems. When we know how the background
influenced Rumi to create such poems, we are able to infer the message of Rumi’s
mystical experience and construct the essential meanings based on the information
provided in its entirely. Thus, it is relevant that I provide information from religious
ground, Sufism, Jalaluddin Rumi’s life, as well as the information about spiritual life
suggested by Kuinjabihari.
The information from the extrinsic level is employed as referential
information in understanding the essence of the poems. Religious ground plays a
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significant role in explaining the essence of religion’s interior side which aim to
create a harmonious life. The understanding lies in the explanation that, to create a
synchronized life, humans need the correct concept of what a religion is. So, later,
human feels happy in running his life.
Sufism is used as referential information for the reason that Sufism is the
core of the religion of Islam (the interior side), the role of this information is to give
knowledge for the readers. The readers will be able to understand and make a
connection between Sufi concepts and the essence of the poems.
Jalaluddin Rumi’s life is used as the referential information of how he was
shaped, through his journey in life, to be somebody who realized his true essence and
was able to create such works in which his essence was manifested.
The information from a spiritual practitioner of Sufism named Kuinjabihari
serves to give the significant in making sense of the theory I read from many written
sources. It also helps readers and I understand what spiritual life is like, which is
essential for readers to understand the poems deeper. The significance of this overall
information is to help readers to have a better understanding of the poems.
The understanding of the poems comes when the readers know the context of
Rumi’s life which influenced him to become a mystic, and the values explained in
the religious ground and Sufism. Thus, by employing Structural-Semiotics theory, I
expect to get the complete meaning of mystical experience according to Jalaluddin
Rumi which is manifested in the poems “The Tavern” and “How Very Close.”
Literary works are seen as structures of meaning-structures which have
meanings. As a matter of fact, literary works are a sign system which has a meaning
structural criticism to grasp the sign meanings which correlate with the structure
system. The science to analyze the signs is called semiotics (Preminger et al,
1974:980). Therefore, semiotic analysis cannot be separated from structural analysis.
The semiotic notion of intertextuality proposed by Julia Kristeva refers to the
terms text and context. According to Julia Kristeva in her book entitled Desire in
Language,text is defined as a trans-linguistic apparatus that redistributes the order of
language by relating communicative speech, which aims to inform directly, to
different kinds of anterior or synchronic utterances (1980: 36). The text, in brief,
gives meaning directly through the structural level which is in the poems. This
opinion is supported by Culler in his book entitled Structuralist Poetics, where
analyzing and criticizing literary works are the efforts to catch and to give meaning
to the texts of literary works (1977: VIII).
The term context is defined as the procedure of a semiotics that, by studying
the text as intertextuality, considers it as such within (the text of) society and history.
The construction of the context is the focus where knowing reality grasps the
transformation of utterances into a totality (the text) as well as the insertions of this
totality into the historical and social context (1980:37). In brief, the context is
therefore an effective tool to investigate the pre-textual experiences, which serve as a
base from which it influences the author of the literary works to generate such works.
The nature of every element in any given situation has no significance by
itself, and in fact is determined by its relationship to all the other elements involved
in that situation. The full significance of any entity or experience cannot be perceived
unless it is integrated into thestructure of which it forms a part (Hawkes, 1977:18).
autonomous, but it is more on a part of difficult situation and from its relationship
with other parts, the elements form meanings (Culler, 1977:170-1). Therefore, to
understand poems, we have to notice the correlation of the elements as a part of the
whole meaning.
Semiotics is science of signs. Signs have two aspects, signifier and signified:
both elements function as aspects of the ‘indissoluble unity’ of the sign (Hawkes,
1977:126). Signs have various meanings which are based on the relationship
between signifier and signified, namely icon, index and symbol. In the icon, the
relationship between sign and object, or signifier and signified, manifests as ‘a
community in some quality’: a similarity or ‘fitness’ of resemblance proposed by
signs. A painting has aniconicrelationship to its subject in so far as it is resembles it.
In the index, the relationship is concrete, actual and usually of a sequential, causal
kind. Smoke is anindexof fire. In thesymbol, the relationship between signifier and
signified is arbitrary; it requires the active presence of the interpretant to make the
signifying connection. Saussure gives a following example, the major systematic
manifestation of signs in this mode occurs in language. The observation of a leaf
could be said to be theindexof a tree; where painting of a tree constitutes aniconof
the tree, my utterance of the word ‘tree’ is a symbol of the tree because there is no
inherent, necessary ‘tree-like’ quality in that signifier: its relationship to an actual
tree remains fundamentally arbitrary sustained only by the structure of the language
in which it occurs, and which is understood by its interpretant, and not by reference
to any area of experience beyond that (1977:129).
In conclusion, this thesis applies Structural-Semiotics theory. This theory is
textual level of the poems (the intrinsic level of the poem’s interpretation). Thus, the
assistance of dictionary is needed to explicate the meaning in the structural text level.
Meanwhile, Semiotics investigates the contextual level of the poems (the extrinsic
level of interpretation): the information beyond the text which influences the author
so that he is able to generate such works. The information of religious ground,
Sufism, Jalaluddin Rumi’s life as well as the information suggested by the spiritual
practitioner, Kuinjabihari, indeed, are relevant to discover the essential meaning of
the poems in this study.
2.2 Reviews of Religious Ground and Sufism 2.2.1 Religious Ground
In this part, a discussion of religion as a vital element which has a role in the
analysis of the poems will be put forth. This part is useful in the fact that it highlights
for the reader the value of religion. This part is useful as it gives a significant
description which supports the essential meaning of mystical experience through the
poems written by Jalaluddin Rumi. Thus, this description will help to obtain a deeper
understanding of Rumi’s works “The Tavern” and “How Very Close.”
Religion as a search for the Transcendental is an inherent dimension of
human existence, although its external form seems to vary from person to person,
tradition to tradition, and culture to culture. Religion is treated as a loving reality that
runs through every aspect of human beings who must live it wholeheartedly each and
every moment in their continued religious existence irrespective of the status,
affinity, or affiliation. According to Saju Chackalackal in Journal DharmaRationality
Religion is seen as a trans-rational existential approach to human conditions; resolutions of these problems are searched for within an initial framework supplied by certain fundamentals assumptions about reality, a framework… (2005:383).
Friedrich von Hugel, in his workThe Mystical Element of Religion,lists three
elements that are essentially present in any institutionalized religion. They are (1)
organizational or institutional, (2) speculative or intellectual, and (3) experiential or
mystical (1923:51-53). Although von Hugel is of the opinion that a proper balancing
of all these three elements is necessary for a proper and healthy approach to religion
as a unified reality, Chackalackal tend to think that any ignorance of the experiential
or mystical dimensions of religion will misrepresent its own inner spirit, leaving only
a lifeless structural construction, which in turn, would become a drained system
incapable of providing any assistance to its believers in appropriating a
transcendental or trans-rational perspective in approaching and realizing the ultimate
nature of reality in finding answers to the ultimate questions about God and life .
Moreover, Chackalackal also adds that
experientially-oriented or mystically disposed believers (if they are on the right track) will reinvigorate and sustain their respective religions against sheer emotionalism, self-centeredness, and unbecoming idiosyncrasies on the part of individuals… (2005: 384).
Although there are a lot of sense-related practises within religions, these
practises by themselves are unable to lead a seeker to a long-lasting experience of the
God. These practises have value only insofar as they are symbolic in reminding an
initial and intermittent understanding and experience of the Ultimate, which could be
further enriched and strengthened by an ongoing practise of various methods (mostly
related to the structural and dogmatic practises). A lasting and long-lasting
rational frameworks and sense-bound experiences. It requires an inward turn so as to
identify the inner spiritual meaning. It calls for transcendence over the sensual and
nonessential meaning and reach of those methods (including sacred scriptures,
ritualistic observances, etc) to the mystical, which according to every religion has a
prime, of place:
...the mystical belongs to the very essence of every religion, even though that essence usually contains other elements as well. Not only does it occasionally take a complete hold of some, but, more importantly, it shapes and informs, inspires and renews, all religious activity, whether it be ritual, moral, or theoretical. Without some share of spiritual experience religions withers away in sterile ritualism, arid moralism, or theological intellectualism... (1988: 6-7)
For a person, belonging to religious tradition especially, experiencing the
essence of his or her religion and being a mystic constitute an ongoing process, an
unending pilgrimage in faith; bring someone to an end of love and trust in God. As
Underhill puts it, a mystic is one “in whom the transcendental consciousness can
dominate the normal consciousness, and who has definitely surrendered himself to
the embrace of Reality.” (2006: 75).
What is essential in this regard, therefore, is orienting oneself totally and
generously towards the Real by cultivating an open perspective motivated by an
attitude of love and communion towards every being, living and non-living.
As we know that there are a huge number of multitude methods but no single
method could be put aside as the most excellent method. Every method seems to
contribute its might; but no single method seems to finally attain such an ultimate
experience. The reason is, all the methods that are available to us are mediated
through logical reasoning and an experience already conveyed through the linguistic
becomes an essential element in suggesting an approximation of the transcendental
experience, encountered by the mystics. The incapability in explaining the
transcendental experience would limit the value of symbolic expressions to a great
extent.
The role of religion in facilitating mystical experience is crucial. A believer
who is capable of distinguishing between the essentials and non-essentials and of
accepting the absolute character of God wholeheartedly will definitely be able to soar
high in religious experience without losing the firm foundations in radical faith
(2005: 387).
2.2.2 Sufism
The word “Sufi” originates from Arabic word “Suf” which means wool,
implying a cloak and refers to the simple cloaks the early Muslim ascetics wore. But
one should also note that not all Sufis wear cloaks or clothes of wool. Another
etymological theory states that the root word of Sufi is the Arabic word “saaf”,
meaning pure, clean or blank. This etymology refers to the emphasis of Sufism on
purity of heart and soul. One should notice and to be distinguished here that, Sufism
is different than the teaching of Islam in general. In fact, commonly we know that
Sufism belongs to Islam. However, according to Annemarie Schimmel, Sufism is in
its early stages of development meant nothing but the interiorization of Islam.
According to the history of Sufism, Sufism originates in the esoteric teaching
of the Prophet Muhammad. A.J. Arberry explores, in his bookSufism: An account of
way how to deeply recognize God by communing with Him instead of doing a
tasteless or empty rituals of conventional religions:
While the Moslem Scriptures prescribe in detail the religious duties incumbent upon the believer, and regulate his behavior as a servant of God and a member of the faithful community, we are not immediately concerned here to summarize this aspect of the Koran. We are interested rather to examine those passage beloved by the Sufis as testifying to God’s Nature and Attributes, His self-revelation to mankind through the voice of Gabriel (the angel) speaking to Mohammed. For these mystical texts are the chief encouragement and justification of the Sufi in his belief that he also may commune with God (1950: 16-17).
In the same book, Arberry also explains that the Sufis seem to notice the
essential message through a deep comprehension of the Koran. Such knowledge of
the essence of God takes the Sufis to start and continue their appreciation toward
God:
Remember God often is a phrase which constantly recurs in the Koran: in its context it has an obvious, neutral meaning, but the Sufis interpreted it in a special way, and the word “remembrance” (dhikir) acquired in time a very particular connotation. “Everything upon the earth passeth away, save His Face” seem where it stands to be innocent of all but its apparent intention;it is taken by the Sufis as the peg upon which to hang their characteristic doctrine of the passing away (fana’) of human attributes through union with God, whereby the mystic achieves the eternal continuance (baqa’) of spiritual life in Him (Arberry, 1950:22)
The characteristic of the Sufi order is that there is the existence of a master
(shaykh or pir) and “apprentice” (murid) relationship. An “apprentice” places himself
under the spiritual direction of a “Master” (shaykh or pir). This is a very esoteric and
private relationship between them. The relationship, then, advances into the teaching
of the values of life and also spirituality. It concerns such topics as: mystical
God, and especially the approach towards God through a series of progressive stages
or stations and states.
The basic belief of Sufism is Love, since love is a projection of the essence of
God to the Universe. Sufis believe that everything is a reflection of God. The Sufi
conception of divine love is not restricted to what the term of "love of God" implies;
it also includes human loves with a perspective that views everything a manifestation
of God. The importance of Sufis is that they inspire man to lift his eyes to what
exists beyond the physical world. Sufis believe that love is the most evident when the
object of love is absent.
The chief aim of all Sufis then is to let go of all notions of ‘duality’ (and
therefore of the individual self also), and realize the divine unity which is considered
to be the truth. Islam, in general, believe that Humans are God’s slaves. However, as
it is said above, Sufism does not believe in the duality which means God and humans
are separated. Humans and God are One; and this also includes everything in this
material world, as it was there before God created us. Humans come from God and
must return to God whatever the way. Since Sufis follow that principles, God and
humans are one, Sufism’s rituals, teachings and aims are to be united with God. The
desire to experience God, the Creator, the Supreme Entity has brought about
transcendent experiences. When they unite with God, the experience, then, is called
a mystical experience.
However, as the consequence of the Sufis’ intimacy with God, they have
never argued the different ways that people from different religions choose in
2.3 The Life and the Work of Jalaluddin Rumi 2.3.1 The Life
Persian and Afghanis call Rumi “Jelaluddin Balkhi”. He was born on
September 30, 1207, in Balkh, Afghanistan, which was then part of the Persian
Empire. The nameRumi means “from Roman Anatolia.” He was not known by that
name, of course, until after his family, fleeing the threat of the invading Mongols
armies, emigrated to Konya, Turkey, sometime between 1215 and 1220. Due to
Rumi’s years in which he fled to safe places to avoid the destructive army of
Mongols, Rumi and the Sufis group “performing the pilgrimage to Mecca, returning
northward to Syria and Asia Minor, visiting Sufi centres” (Shah, 1964: 132-133).
This information may lead us logically to think that in the journey to find a safe place
to reside, he stayed in or, at least was familiar with the tavern, since a tavern in early
times was a hut placed at caravan stops in the Middle East for the shelter of traders
and travellers. So, Rumi might have been familiar with taverns as a result of his
travels from one country to another to find a safe place to stay due to the massive
destruction of the Mongol army’s invasion of Persia and the Near-East in 1215-1220.
It might help us to analyze the significance of a tavern in Rumi’s poem.
His father, Bahauddin Walad, was a theologian and jurist and a mystic of
uncertain linage. Bahauddin Walad’sMaarif,a collection of notes, diarylike remarks,
sermons, and strange accounts of visionary experiences, has shocked most of the
conventional scholars who have tried to understand them. He shows an astonishingly
sensual freedom in stating his union with God. Rumi was instructed in his father’s
secret inner life by a former student of his father, Burhanuddin Mahaqqiq. Burhan
position of sheikh in the dervish learning community in Konya. His life seems to
have been a fairly normal one for a religious scholar – teaching, meditating, helping
the poor- until in the late fall of 1244 when he met stranger who put a question to
him. That stranger was the wandering dervish, Shams of Tabriz, who had travelled
throughout the Middle East searching and praying for someone who could “endure
his company.
There are various versions of this encounter, but whatever the facts, Shams
and Rumi became inseparable. Their friendship is one of the mysteries. They spent
months together without any human needs, transported into region of pure
conversation. This ecstatic connection caused difficulties in the religious community.
Rumi’s students felt neglected. Sensing the trouble, Shams disappeared as suddenly
as he had appeared. Annemarie Schimmel, a scholar immersed for forty years in the
works of Rumi, thinks that it was at this first disappearance that Rumi began the
transformation into a mystical artist. “He turned into a poet, began to listen to music,
and sang, whirling around, hour after hour.”
What makes Rumi’s mysticism different from any other mystics is that his
relationship with Shams is considered as a homosexual relationship which makes
both Rumi’s family and his scholars suspicious and envy about their togetherness, as
it was said by Rumi: “You are the light of my house, don’t go away and leave me
alone (Iqbal, 1983: 115).
According to Iqbal, it cannot be argued that both Rumi and Shams were
looking for the essence of life, as it is stated below:
on account of their highly developed sense of intuition. Each of them felt like a traveller who reaches his destination after years of labour and toil. Perfect harmony was established between two. Both found the long-sought-for confidant in each other, and they opened out their hearts as they would do to no one else. The meeting brought about a unique peace and restlessness. (Iqbal, 1983: 113-114)
According to Iqbal, there are some reasons why Shams was not welcomed by
the people closed to Rumi in Konya, namely:
(a)it was under his influence that Rumi gave up the professional gown for a peculiar dress of dervish; (b) to all appearances Shams did not rigorously follow the Islamic tenets and sometimes he uttered words which ordinary people attributed to irreligion; (c) to a casual observer Shams gave the impression that he did not care much about Islamic discipline (Iqbal, 1983: 119-120).
Word came that Shams was in Damascus. Rumi sent his son, Sultan Velad, to
Syria to bring his Friend back to Konya. When Rumi and Shams met for the second
time, they fell at each other’s feet, so that “no one knew who was lover and who the
beloved.” Shams stayed in Rumi’s home and was married to a young girl who had
been brought up in the family. Again the long mystical conversation (sohbet) began,
and again the jealousies grew.
On the night of December 5, 1248, as Rumi and Shams were talking, Shams
was called to the back door. He went out, never to be seen again. Most likely, he was
murdered with the involvement of Rumi’s son, Allaedin; if so, Shams indeed gave
his head for the privilege of mystical Friendship.
The mystery of the Friend’s absence covered Rumi’s world. He himself went
out searching for Shams and went for journey again to Damascus. It was there that he
realized and he wrote the poems as follow:
The Union became complete. There was fullfana,annihilation in the Friend.
Shams was writing the poems. Rumi called the huge collection of his odes and
quatrainsThe Works of Shams of Tabriz.
After Sham’s death and Rumi’s reunion with him, another companion was
found, Saladin Zarkub, the goldsmith. Saladin became the Friend to whom Rumi
addressed his poems, not so fierily as to Shams, but with quiet tenderness. When
Saladin died, Husam Chelebi, Rumi’s scribe and favourite student, assumed this role.
Rumi claimed that Husam was the source, the one who understood the vast, secret
order of the Mathnawi, that great work that shifts so fantastically from theory to
folklore to jokes to ecstatic poetry. For the last twelve years of his life, Rumi dictated
the six volumes of this master-work to Husam. He died on December 17, 1273.
2.3.2 The Works
Rumi’s major works are the Diwani-Shams-i-Tabrizi of some 40,000 verses
and the Mathnawi of about 25,000 verses. There also some collections of his talks
and letters are Fihi ma Fihi (“In it is what is in it”), Majalis-I sab’ah (“Seven
session”), and finally Rumi’s Makatib or “Letters,” 145 documents of an average
length of one or two pages.
The Diwan (“Collected poems”) is composed of 3,230 ghazals totally of 35
thousands verses; 44 tarjiat, a type of poem composed of two or more ghazals, a total
of 1,700 verses; and 2,000 rubaiyat or “quatrains.” The Diwan contains all of Rumi’s
The Mathnawi(“Couplets”) comprises six books of poetry in a didactic style,
ranging in length from 3,810 to 4,915 verses. TheMathnawirepresents a single work
which was composed in its present order. According to Afzal Iqbal, the Mathnawi
was called as ‘the Qur’an in the Persian.’ (1983: 175).
Fihi ma fihi,in fact, represents transcription of talks given by Rumi to various
disciples. Like Mathnawi, it is very much a didactic work, explaining in detail and
through a great variety of comparisons and analogies different dimension of Sufi
teachings. The Majalis-I sab’ah is a short work which comprises a number of
sermons obviously delivered not to an audience comprised only of Sufis but to a
larger public.
The last work, Rumi’s Makatib is mostly addressed to various princes and
noblemen of Konya and in fact are letters of recommendations or requests for various
favours written on behalf of disciples and friends. A small number are addressed to
family members and disciples. In contrast to many collections of letters by Sufi
masters, theMakatibcontains only one letter addressed specifically to someone who
has asked for spiritual counsel (Chittick, 1983: 5-7).
2.4 Criticism
Jelaluddin Rumi is so famous in the east that people there call him “Giants
come forth from Afghanistan and influence the world” (Idries Shah, 1964: 115). In
the introduction of Afzal Iqbal’s book The Life and Work of Jelaluddin Rumi, A.J.
Arberry put a high appreciation toward the poet when he says that Rumi is the best
Poet of all whose come from Persia and his Mathnawi is ‘the great poems all the
Idries Shah, in his book The Sufis supports the familiarity of Rumi’s
translated books among the readers in the West when he said that Rumi’s familiar
presentation help people much to obtain the essential values in religion (1968:110).
In the same book by Idries Shah, Doctor Johnson, best known for his
unfavourable pronouncements, mentions the undoubted quality of Jelaluddin Rumi:
”He (Rumi) makes plain to the Pilgrim the secrets of the Way of Unity, and unveil
the Mysteries of the Path of Eternal Truth” (1969:115).
According to Iqbal, the values offered in Rumi’s work are always in
accordance with demands found in each era along human’s histories. He also has an
excellent mode of vision toward humanity (1956:132).
Another good thing from Rumi is his sincerity towards other religions’ ways
of thinking. Rumi’s work can be received universally since they contain relatively the
same experience in various religious backgrounds as it is mentioned by William C.
Chittick in his bookThe Sufi Path of Love:
Rumi’s universe is shaped by the Koran, the prophet, and the Moslem saints, just as Dante’s is shaped by Christ, the Bible, and the church. But fortunately, Rumi’s message is go universal and he is so liberal in his use of imagery drawn from the sources common to all human experience that this obstacle (of reading Rumi’s book by Western readers) is not a fundamental one (1983:9).
Many people admire Rumi’s work and Professor R.A. Nicholson is one of
them who puts a high appreciation toward Rumi’s works: “The Mathnawi (one of the
sources of The Essential Rumi) contains a wealth of delightful poetry” (Shah,
1969:117).
Iqbal in The Life and Work of Jelaluddin Rumi continues his high
Rumi is a truly great artist. He is not afraid of death, for as a creative artist he draws his inspiration from his own immortal self for which there is neither decay nor death but which, on the other hand, grows and develops continuously (1956:136).
2.5 Theoretical Framework
In this thesis, I will just apply one theory; Structural-Semiotics in order to
obtain a better understanding of the background and the message of mystical
experience as revealed in Jalaluddin Rumi’s poems.
This theory is divided into two priorities, namely Structural and Semiotics.
Structural explores the textual level of the poems (intrinsic). The analysis of the first
layer is based on the elements of the poems which are seen from language, namely
words, prosodic features, and interpretation of the language in the poems at the
intrinsic level. To construct the meaning in the first layer of interpretation, the
assistance of dictionary is needed. The role of dictionary is to explicate the structural
meanings of the poems which later serve a basic foundation in organizing the essence
of the poem at a deeper level.
Semiotics investigates the contextual level of the poems (extrinsic level of
interpretation). Semiotics is used as the contextual information (beyond the text)
which influences the author so that he is able to generate such works. This
information involves the information from religious ground, Sufism, Rumi’s life as
well as the information suggested by the spiritual practitioner, Kuinjabihari, and
24
CHAPTER III METHODOLOGY
This chapter presents the methodology in analyzing Rumi’s poems. There are
three sections in this chapter. The first section is the subject matter, which concerns
with the topic of the thesis. The second is the approach employed in answering the
problem. The last section is the procedures, which discuss about the process in doing
the study.
3.1 Subject Matter 3.1.1 “The Tavern”
“The Tavern” was taken from a bookThe Essential Rumi byColeman Barks,
et al whom they have dedicated most of their life to interpret Jalalludin Rumi’s
poems from Arabic to English. Coleman Barks, et al proclaim in the introduction of
The Essential Rumi that the book is the compilation from many categories: the
quatrains (rubaiyat) and odes (ghazals) of theDivan, the six books of theMathnawi,
the discourses, the letters, and the almost unknownSix Sermons. This book is divided
into twenty-eight divisions which shed a light on Rumi’s esoteric thinking of other
realms. His collection of quatrains and odes is calledThe Works of Shams of Tabriz
(Divani Shamsi Tabriz). The six books of poetry he dictated to his scribe, Husam
Chelebi, are simply titled Spiritual Couplets (Mathnawi), or sometimes he refers to
them asThe Book of Husam. The wonderfully title of the discourses,In It What’s in
It (Fihi Ma Fihi,),means “what’s in theMathnawiis in this too”.
From the source of origin, “The Tavern “was translated by Coleman Barks.,
poem is taken from The Works of Shams of Tabriz, I fully realize that this poem is
made intentionally to recall Rumi’s master, Shams of Tabriz. I definitely sure that
this poem was designed deliberately to remember and give the best appreciation to
his truly master. Even though Rumi felt so despair losing his mystical friendship,
later in the development, he might have known that the person he was trying to seek
for is in his heart (refer to Chapter 2). This poem was made when Rumi lost his
mystical friend for the first time, later in the development Rumi asked his son to go
to Damascus to bring Shams back to Konya. This is the time when Rumi started
writing his mystical poems dedicated to his mystical companion to express his deep
longing and grief whose feeling separated from his partner. This poem consists of 6
stanzas and 26 lines.
This poem describes about the origin of human being and the ecstatic union
of the present of the Truth which enables human being to build direct connection to
his own God and feel the union symbolizes with the mystical experience. This poem
also describes how human in his grief and deep longing searches for the truth, thus
human has to find the way back home to the true nature; Supreme Entity (God
Hirmself), even how hard it takes. The obstacles to find the truth are so beautiful that
human need to release worldly attachment which bound them to unite with the
Supreme Entity, Rumi put this fighting into words which are awesome.
3.1.2 “How Very Close”
Having similar mystical potential like the previous poems, “How Very Close”
was also taken from the compilation ofThe Essential Rumiwith different categories,
a kind of spiritual couplets and was created when Rumi was in his great grief of
losing his truly friend, Shams. We can feel how Rumi in his great despair of losing
Shams. To truly understand this poem, we suppose to think about somebody we love
very much, our true lover. True love cannot be exchanged with something else in this
world. We are to think about a truly lover in which between the lover and us, there is
a strong connection of pure love that cannot be substituted with something else; love
is the perfect unity between the lover and the love. As an addition, “How very Close”
was translated by Nader Khalili. He is one of the devotee of Jalaluddin Rumi who
has dedicated most of his life translating Rumi’s poems from Arabic to English. This
poem consists of 7 stanzas and 35 lines.
This poem was made when Rumi lost his mystical companion for the second
time and it was the time that changed Rumi to be a real devotee of God. The grief,
longing and sorrow expressed in the poem turned out to be an intimate relationship
with God (refer to Chapter 2), while it used to be; the first disappearance of Shams;
expressed with a certain distance to unite with his beloved. This poem best describes
as the union momentum between Rumi and God with the help of a master. This
poem discusses about how Rumi intoxicated to the mystery of Divine Love. It also
describes as a sense of total submission, completeness and devotion to something he
loves more than everything in this world.
Since this thesis uses qualitative study, I do not include the whole
twenty-eight divisions of the poems in the book, but then I chose two of them which mainly
imply the relationship to the title of my study.
My consideration of choosing two of the poems is that the poems seemingly
is a role of master significantly influences Rumi’s attitude toward his vision of life
and by the assistance of a master, Rumi found the Truth which transforms and leads
him to undergo mystical experience. This experience furthermore is manifested into
Rumi’s mystical poems. The role of a master, in my opinion, is really essential since
this is the starting point for Rumi to be the real devotee of God. Being a real devotee
of God makes Rumi realize what a true happiness is. The notion to explain his
happiness is called ‘ecstasy’. Coleman Barks in his book The Essential Rumi also
highlights this noticeable relation:
“No one can say what such friendship is. In the commingling I heard a voice saying something close to my own sense of failure, joy, grief, ecstasy. Why is it so difficult to say the content of Rumi’s ghazals? I feel happy inside them, continuous, whole, in the simplicity of just taking in sunlight, no pretext, no excuse, empty in the present moment.” (2004: xvii)
It cannot be argued, anyway, that there are still some other poems which also
seem to have relationship to my study, however, after reading the book several times
I found that the two poems are the most suitable among all in terms of their
correlation to my study. The reason why I choose those two poems is because I find
that they are closely related to my thesis, which focuses on the mystical experience.
3.2. Approach
This thesis employs Structural-Semiotics approach in order to get better
understanding of the background and the message of mystical experience as revealed
in Jalaluddin Rumi’s poems.
This approach is divided into two priorities, namely Structural and Semiotics.
interpretation). Semiotics investigates the context level of the poems (extrinsic level
of interpretation). This approach is employed to get a whole unity of the essence
meaning of mystical experience through Jalaluddin Rumi’s poems “The Tavern” and
“How Very Close.”
3.3. Procedure
When I conducted this study, I applied two sources which, hopefully, guided
me to explore each path of Rumi’s work. The sources were divided into two parts;
primary and secondary source. The primary source was the two poems taken from
The Essential Rumi. These two poems, hopefully, were the representation of Rumi’s
mystical experience. While, the secondary sources were books which were
significant to the work, i.e., the references of Rumi’s biography, religious ground,
Sufism and also an approach Structural Semiotics as well as the other sources,
namely articles, newspapers, magazines, websites, journals, etc. I mostly consulted
my sources from Kolsani’s library and spiritual practitioners named Kuinjabihari.
The importance of interviewing Kuinjabihari is to give the significance meaning in
making sense the schemes of sources I read. It also helped me and readers to
understand of how spiritual life was and it was essential for readers to understand the
poems deeper. The significance of this overall information was to help readers to
have a better understanding of the poems, in this case mystical experience.
This study employed library research in analyzing the poems. I began my work
by establishing some steps to have a systematic and logic understanding toward
Rumi’s works. The steps were, first, I read the book persistently and I then chose two
continued reading the theory of Structural Semiotics. Next, I read others related
literature and critics towards the author. Finally, I started my analysis toward the
poems. The analysis assisted the information from Rumi’s biography, religious
ground and Sufism as well. To investigate more information about Sufism and
mysticism, I went to Solo to meet Kuinjabihari whose name means The God of the
Universe on April 18, 2007 at 9:00 am - 01:30 pm. He is a spiritual practitioner
whose belief is Sufism. I interviewed him to get any information related to Sufism
and mysticism. I noted everything important and he explained clearly that to find our
self essence, we needed assistance from an enlightened spirit in a form of human who
helped us to bring us back to God or our true nature. Once a human has found his
true nature, it was told that a man was considered to be a whole being. This stage
means that human can directly communicate to God with the ability within the
human being. In brief, to be a whole being is the manifestation of the characteristic of
God hirmself. If human being has acquired the characteristics of God, it is told that
he has united with the God. So every act, utterance and attitude was representation of
God hirmself. When human has been in a stage of union with God, thus, it was
possible for human being to communicate to God directly, as this messages revealed
in Rumi’s poems “The Tavern” and “How Very Close”.
He also gave explanation that a journey to find self essence through many ways
of beliefs rooted to the same source that is God. However, mysticism was the private
relationship between human and God. Again, he emphasized that God was not
anywhere but God was inside yourselves. At the end, I drew my conclusion just after
contrasting the work and the approach above. During running the steps, I was
30
CHAPTER IV ANALYSIS
This chapter discusses Rumi’s appreciation toward God and his mystical
experience expressed in the works. The analysis will consistently limit my scope of
study only over a discourse of Mysticism in Islam i.e., Sufism. In order to have
critical understanding of the work, I firstly try to explore the background of Sufism
which later in the development will be strongly and directly connected to essence of
mystical experience expressed in the poems. Although the experiences found in
every religion are relatively similar, their ways to attain them are different.
Idries Shah describes the meaning of Sufism which is not far different from
the Mysticism in other religions: “Sufism is the knowledge whereby man can realize
himself and attain permanency. Sufis can teach in any vehicle, whatever its name”
(1968: 312). Menahem Milson, in the introduction of a book Menjadi Sufi:
Bimbingan untuk Para Pemula, describes that the Sufi read the verses of the Koran
repeatedly. By doing so, they try to comprehend and internalize the essence of God’s
words, and thus the process of approaching the Owner of the words is begun (1994:
12). In Islamic Mysticism, we can find two systematic states of having mystical
experience namely “fana i.e., passing away from self and “baka i.e., the
consciousness of survival in God” (please, see chapter II). These two states indicate a
long hard effort to achieve the superlative state i.e., uniting with God.
Islamic Mystics believe that they can make a contact with God since the
previous prophet, Mohammed, was able to mystically communicate with Him
them and the prophet. Since the later is also a man, the Mystics see an opportunity to
have the same mystical experience.
Sufism believes that love is the essence of their core belief. Sufism believes
that everything is a reflection of God. Through love, Sufism breaks the barrier of
physical world which produces the loss of consciousness of everything which is
distant to the Truth, even forgetfulness of our own state of forgetfulness (Brown,
1982: 542). This may lead Sufism to experience mystical experience or intoxication.1 The analysis is divided into two sections. The first section is to discuss the
poems as seen in the intrinsic level. The usage of dictionary, then, is needed to
explicate the meaning of the poems. The second section is to explore the poems in
extrinsic level. It investigates the essence of the poems which Rumi wants to convey.
Thus, the comprehension of religious ground, Sufism, Rumi’s biography as well as
the information from spiritual practitioner Kuinjabihari have achieved in order to
understand the concept of real happiness which Rumi wants to convey in both of his
poems “The Tavern” and “How Very Close”. As an addition, the values both in the
intrinsic as well as extrinsic level play important roles in shaping the concept of real
happiness in life through Rumi’s mystical experience.
4.1 The Explication of Jalaluddin Rumi’s poems “The Tavern” and “How Very Close”
This section analyzes text level of interpretation (intrinsic level) through the
investigation of the comprehension linguistic signs. The analysis of the intrinsic level
is based on the elements of the poems in a text level which seen from language,
1
namely words, prosodic features, and interpretation of the language in the poems in
the first layer. Thus, the assistance of dictionary is needed. The role of dictionary is
to help me to understand the meaning in text/structural level. The structural meaning
of the poems, later, serves a basic foundation in organizing the essence of the poem
in extrinsic level. Hawkes argues that structures can be obtained when the full
significance of any entity or experience cannot be perceived unless and until it is
integrated into thestructure of which it forms a part (1977:18). This section will be
divided into two sub sections which contain Jalaluddin Rumi’s poem “The Tavern”
and “How Very Close” of which analyzed according to its stanzas.
4.1.1 “The Tavern”
This poem consists of 6 stanzas and 26 lines. The rhymes used are free verse.
This poem uses lyrical “I” expression. This poem is understandable since the diction
is very simple and clear so that it will make the reader easy to understand.
The first lines of the poem expresses as followed:
All day I think about it, then at night I say it
Where did I come from, and what am I supposed to be doing? I have no idea
My soul is from elsewhere, I’m sure of that and I intend to end up there
The speaker starts to think who he/she is, where he comes from and what he
is supposed to be doing. He asks himself that he does not belong in this place. He is
sure that he comes from a place and will return again one day later. The speaker feels
confused; he has no clue about what is happening. The one he knows that he is not
This drunkenness began in some other tavern When I get back around to that place,
I’ll be completely sober.
Meanwhile, I’m like a bird from another continent, sitting in this aviary
The day is coming when I fly off
But who is it now in my ear who hears my voice? Who says words with my mouth?
The speaker talks about a place for having fun. The speaker is so desperate,
so he decides to go to a tavern. According to Macmillan English Dictionary for
Advance Learners, Tavern is an old word for a pub (2002:1470). Still in the same
sources, Pub is a place where people go to drink alcohol (2002: 1138). What comes
to our mind is that a tavern is a sort of place where people drink alcohol and release
their fatigues of their problems in life.
The word Tavern derives from the Latin taberna and the Greek
ταβέρνα/taverna. According to wikipedia encyclopedia, a tavern is a place of business
where people gather to drink alcoholic beverages and, more than likely, also be
served food, though not licensed to put up guests. According to the Columbia
Encyclopedia, the earliest public houses were empty huts placed at carava
