PREFACE
for Diwan al-Layla wal-Majnuun
If you just want to skip this preface and head to the main text, go for it...
Layla and Majnuun (or “Layla and Majnun” as it is more often written in the West) is cherished as a classic throughout the world. In Arabic, Layla means “night” and Majnuun means “mad man.” So one could rightly translate the title as “The Night and The Madman,” which speaks powerfully to major themes in the tale. This story of love has a renowned place in the lore of Arabic and Persian literature, but is even celebrated in other cultures. From its ancient roots even to today, it continues to touch people deeply in the core of their hearts. Yet it has only received limited recognition in the West outside of scholarly and spiritual circles.
Simply put, it is a story of pure love. A love which is beyond what words and concepts can fully describe. Yet this is exactly what has drawn so many storytellers, poets, and readers to this tale: the invitation to strive for something that cannot be attained in order to sate an intimate yearning within we cannot deny. This speaks to one of the beauties of love for those who are genuine and sincere. Love draws us to be “something” beyond what we are, as confined by the limitations of our identities. Yet this “something” is not only closer to what we truly are, it is the only Reality that is.
We are but a drop within the Endless Ocean of Reality and love seeks to draw us into relationship with that. But we are often too selfish and entrapped in the facades of this drawing to realize the purity of love. Like shadows striving to hold on to the objects that are producing them, we resist relinquishing the objects to become (dissolve into) pure light. Not so for Layla and Majnuun. Despite immense and prolonged suffering and hardships, their love remains pure -- even as madness becomes one of the facades flowing over their love. This purity has lured poets and storytellers throughout the ages to the tales of these lovers, offering the chance to capture and share portions of love’s pure fragrance for those who present or are audience to these tales...
Those familiar with the story of Lalya and Majnuun need not the repetition of an overview. And for those encountering it for the first time, it may be better to embrace this story of virgin love with a “virgin” mind free from forecasting the story. (Feel free to dive into the main text right now, you can always come back and read this later.) But since there are various versions of this tale, with a range of plot streams and outcomes, it is worth mentioning the framework I used.
I utilized English translations of the Persian version written by Nizami Ganjavi (transliteration: Nizaamii Ganjavii), in particular Rudolph Gelpke’s translation. Nizami was a Sufi poet born in the twelfth century A.D., and I do not hesitate to refer to him as a spiritual and literary master. His version of Layla and Majnuun is regarded as a masterpiece, one of the greatest works in Persian literature. I follow his plot structure and elements of his approach in composing a “new” adaptation.
The story of Layla and Majnuun has roots in the Arab oral tradition, so there is no single fixed version. And, as is one of the characteristics of this tradition, different versions of the same story may vary not only in detail but also in emphasis depending on the storyteller’s intentions. Nizami draws from this diversity of accounts to formulate a renowned rendition of this tale, at times weaving disconnected stories and elements into a coherent whole. Being a Sufi, he also threads spiritual and mystical undercurrents into the themes and plot in ways that speak to those “who have ears to hear.” So if you just want an earthly story of love, his version offers that. If you’re drawn deeper into a space of spiritual metaphors, his version offers that too without imposing on those not interested in such. And if you’re drawn even deeper into the quest to dissolve the ego into the uncompromising Reality of Love, his same version offers that too. This quality of unimposing layers within the text is something I strove for with the version I share.
Nizami’s version is also written in long poem form, as are some of the other noted versions of Layla and Majnuun. He approaches this story as an epic, in span and length, and utilizes stories within the main story and a poetic playfulness evoking expansive exploration. This differs from some modern streams of poetry which strive to be more terse and concise. It also differs from some prose versions of this legend which capture the themes of the story but with less inclination to delve deep into the sea of metaphors, symbolism, and deeper meanings. Following Nizami’s example, I dive into the pool of long form poetry, hoping my dances within the waters haven’t gone too deep that some readers drown. But if you do, hopefully closing the book will suffice as a life jacket that brings you back to the surface...
I must also add that sometimes the story of Layla and Majnuun is referred to as an Arabic (or Persian) Romeo and Juliet. This is an over-simplistic comparison. Yes, there are some similarities and common ground: both are tragic tales of virgin lovers that play heavily upon poetry. But the scope of Layla and Majnuun (particularly within the hands of Sufi poets like Nizami) goes much further than Shakespeare’s wonderful play: they occupy different realms within the universe of world literature.
Lastly, let me address some editorial issues. Since this tale has its roots in Islamic Arabia, I chose to maintain some of the Arabic and Islamic references in this version. For example, I use the Arabic word “allaah” (often written as “Allah”) in the text instead of using the term “God” which is how it is sometimes translated into English. Some Arabic terms and names are italicized in the text, with brief definitions given in the glossary at the end. Also, I do not use capitalization in this text, which is in keeping with Arabic language. Initial words of “sentences” (poetic phrasings), names, titles, etc. are presented all in lower case. With the format being poetry, neither do I confine the text to standard sentence structure; sometimes I bend, or even break, the rules of grammar. I utilize commas and quotation marks throughout but, for the most part, refrain from punctuating the text with periods and question marks. The overall structure and arc of the text follows that of a novel expressed in the form of poetic verse.
With that said, I admit I may have bitten off more than I can chew, but hopefully not at the expense of this endearing story of Layla and Majnuun. I also apologize in advance for any editorial mistakes I did not catch. Any mistakes in this work please blame on my human imperfections. But for all that is good and “hits the mark,” give all the credit for that to the Most High.
In Surrender and Peace,
nashid