baᶜd az samāᶜ gūyī k-ān shūr-hā kujā shud
yā khud na-būd chizī yā būd va ān fanā shud
Confounded, after the samāᶜ you inquire, “What became of that tumult?”
I say, “Either it wasn't anything or maybe it was and simply ceased to be.”
This Paper Shall Deal with the Formal Aspects of the Storytelling technique employed by Mowlana Jalal al-Din Rumi (1207-73 C.E.) in his Manavī-yi Maᶜnavī (henceforth Manavī). I shall begin with the assumption that there is some kind of form to this work and shall try to investigate the nature of that form.
To the casual observer the Manavī, as a whole, seems to have no narrative sequence with its plethora of apparently unconnected and disjointed stories. Moreover, the narrative order of a particular story may be interrupted by other stories, sermons, expositions of Qurᶜanic verses, aḥādīth, stories of prophets (qiṣaṣ al-anbiyāᵓ), popular Islamic lore and glosses, etc. Throughout this entire exercise Rumi's goal is to drive home various precepts of Sufism via the use of these means.