Posted at 10.29.2018
The story of Layla and Majnun, written 1000 years before Romeo and Juliet, has been repeatedly compared to William Shakespeare's play due to tragic love and death of the primary character types in each tale. Considered one of the very most popular love experiences written in the Sufi traditions, the narrative, Layla and Majnun, has experienced many adaptations and translations throughout the years. Publisher, Nizami Ganjavi, a Persian Sufi, has been referred to as the greatest charming epic poet in Persian literature and converted the folktale into a poem. Nizami's poem has been referred to as a "Sufi Romeo and Juliet" by many viewers. Although the tragic love and death of the key character types is a common theme between the two stories, the differences in writing styles and personality development make Nizami's poem more fun to read.
The setting of Layla and Majnun is the Arabian Desert in the centre East. The male persona named Qays was created to the greatest chieftan of the Banu Amir tribe, also known as sayyid, who was simply a very rich man. Layla was also the princess of any chieftan almost as powerful as sayyid. The two quickly dropped in love but were not permitted to be alongside one another because Layla's dad knew that Qay's obsession with his daughter got made him a madman, or Majnun, as he was nicknamed. Layla's dad read that Majnun was yelling Layla's name out loud and required her out of college and confined her to a tent in a desert camp. Majnun became heartbroken and created love songs and poems about Layla that he'd sing when he'd roam the desert. Majnun spent most of his time in the desert while his dad tried several times to treat his heartbreak, including a failed pilgrimage to Mecca. Majnun cried, "I pray for you, let me not be healed of love, but let my passion grow! Take what's left of my life and present it to Layla's, yet i want to never demand from her a lot as an individual hair! I want to love for loves sake, and make my love 100 times greater as it is this very day" (Reader, 204).
Majnun often drew a public of people who pay attention to his love songs and who duplicate them down. Layla became more beautiful plus more love sick and tired as time went on. She also sang love melodies that became popular among people and her melodies would reach Majnun who in return would create a new tune for Layla. While Majnun lived in the desert he became good friends with the animals. Nazami's detailed information said:
"First the lion, then the very stag that he previously saved, and then your antelope, and the wolf, and the fox; the outrageous ass became a member of their company, and the hare, and the timid gazelle. Majnun ruled over them all; a king was he, the cave was his courtroom. All around him were stones and thorns and using up sand. No place on earth was more desolate than this, yet Majnun called it heaven, for he lived in peace with all his friends. One of the animals there was perfect tranquility; the lion lay down with the lamb, the wolf chased not the hare; the gazelle gone undisturbed prior to the fox. " (Audience, 212)
Layla wedded Ibn Salam but neither of these was happy in the marriage. Layla little by little became sick, weak, and heartbroken and then she died. Majnun remained at Layla's grave for a month while the pets guarded him. He wept and grew poor and asked God release a him from his earthly form and bring him to Layla's area. Majnun's prayer was responded to and he died and was buried next to Layla's grave. The two deaths resulted in much grieving in both Layla's and Majnun's camp and their love tale is still told today.
"Sufism is actually the road of Love, and the seeker is the lover searching for the Eternal Favorite. When the lover and the Beloved unite everything that remains is Love. All those things remains is the One, all that there surely is, is the true" (Amat-un-Nur, 1). Majnun is unquestionably on the road of Love, which leads him to Layla. In the long run Majnun becomes one after asking God to release him from his earthly form and bring him to Layla's part. As Majnun serves in the poem, "A person in love will not value his comfort or sleep and is day and night only occupied in the contemplation of the Beloved" (Amat-un-Nur, 1). Majnun no more cares about himself once he recognizes Layla and he spends the others of his life enthusiastic about Layla. Majnun is unquestionably exhibiting Sufism and is similar to the quote, "Sufis seek extinction of the personal, that is to expire to the globe and also to subsist only in God" (Reader, 217). Majnun's devotion to Layla and his screen of love for Layla is comparable to his love for God. Sufism is also evident in Majnun since he is constantly roaming and performing, equally as this quote represents; "Sufis tend to be called "whirling dervishes, because of their use of melody and boogie to induce religious expresses" (Reader, 217).
The interest and tragic loss of life of Romeo and Juliet is nearly the same as that of Layla and Majnun. The storyline is made up of two commendable feuding family members, the Montagues and the Capulets, who stay in Verona, Italy. Romeo, who is a Montague, is actually in love with a woman and goes to a masquerade along with his cousin Benvolio at the Capulet's villa in hopes of seeing the lady there. The Capulet family ideas for their daughter, Juliet, to be married to a man named Paris.
Not knowing initially that Juliet is a Capulet, Romeo instantly falls in love with Juliet through the masquerade. Following the party, Romeo wanders in to the garden near Juliet's screen and they call out to the other person and exchange vows. Romeo confesses his want to his good friend Friar Lawrence, who agrees to marry Romeo and Juliet at once. Participants of the Capulet family, who are outraged that Romeo and his friends showed up at their masquerade, task those to a duel and a member of every feuding family is killed. Romeo is banished from Verona for the murder and must leave for Mantua. Romeo and Juliet meet going back time and Romeo leaves for Mantua. Juliet learns she is to marry Paris in a few days and would go to Friar Lawrence for help. They plan for her to drink a potion that will make her appear lifeless so she'll be put in the family crypt and Romeo will sneak back again for her. The marriage is sooner than expected so Juliet holds out having the potion and Romeo never receives the letter describing the program. He learns of her fatality and goes to the crypt where he first kills Paris and then drinks the poison and dies next to Juliet. Juliet awakens and recognizes Romeo dead so she kisses his lip area wanting the poison will wipe out her. It fails so she stabs herself through the center with a dagger and dies on Romeo's body. The Capulets and Montagues find the body of their children and consent to end the feud.
The reviews are similar in that the addicts are kept in one another by their parents and ultimately die in the long run. It seems that they can't live without one another. When Romeo considers Juliet for the first time at the masquerade and when Majnun views Layla for the first time they know they are destined for each and every other. Layla becomes weaker and Majnun becomes crazier the a bit longer they are really without each other. Layla appears to die of your broken heart which causes Majnun to come back to her grave and stay until he too dies so that he can be with Layla. Juliet dislike being without Romeo when he is exiled so she and Friar Lawrence devise an idea to get them back together. A lot like Majnun, Romeo comes home to visit the tomb where Juliet is and dies. When Juliet wakes up and perceives Romeo deceased she can't live without him so she kills herself to be with him.
The tales are also similar in their family disagreements. While Majnun and Layla's young families aren't exactly friends, they did not feud to the point that the Capulet's and Montague's did. Layla's father does refuse to let her marry Majnun and set up on her behalf to marry Ibn Salam. Likewise, Juliet was set up to marry Paris, even though she was in love with Romeo. Majnun's daddy even goes to Layla's camp and asks Layla's father to allow two marry. The testimonies' similarities continue with the help of a trusted friend. Majnun's friend, Nowfal, gathers an army to fight Layla's father to be able to help Majnun get Layla.
One of the major dissimilarities for me is the display of the two testimonies. The tragic, dramatic play format of Romeo and Juliet was dialogue only and will not allow the audience to get a true sense of a few of the details that were conveyed in the narrative style of Majnun and Layla. Just because a play will be performed by actors who individualize their lines and could motivate their audience using their acting, simply reading the storyline was rather dull. The narrative storyline, on the other hands, was much more entertaining and created stunning information of both characters and scenery. Early on in the poem Nazami vibrantly explained the beauty of Layla: "She was as slim as a cypress tree and as graceful as a bird; her epidermis was as white as milk, her cheeks and lips were red as roses, and she got the darting dark-colored eyes of the gazelle. But even darker than her eye was her raven mane; her locks was more lustrous than the sky at midnight, and even she was called Layla, or Nighttime" (Reader, 200). As Majnun travelled throughout the desert, he investigated the gentle sight of an gazelle trapped in a trap and recalled the very soft, black eyes of Layla. At one point, Majnun was found in the desert, "in a desolate gorge, writhing just like a snake, moaning and sighing, and increasing and falling upon the rocks" (Reader, 204). A visualization of the desert was made with the words, "stones and thorn-bushes and a long way of sand. " Nazami's story is full of explanations that also supply the tale alternate meetings (how Majnun's love for Layla is similar to his love for God) that act like the mystic poetry of other Sufi authors.
Many significant Sufi writers have guided numerous people across the world in their search to attain Sufi knowledge. Some noteworthy Sufi authors include: Sheikh Saadi, Hakim Jami, Mohamed El-Ghazali, Omar Khayyam, Farid ud-Din Attar and Jalaludin Rumi. Considered both an influential Sufi author as well as a popular Persian poet, Rumi uses his writings to propagate Sufi beliefs. In another of Rumi's poems he says, "The Sufi starts his hands to the universe and gives away each instant, free. Unlike somebody who begs on the street for money to make it through, a dervish begs to offer his life" (Reader, 224). In Layla and Majnun, both individuals desperately desire to be collectively to the level that Majnun begs God to let him expire in order to become one. In another one of Rumi's poems, he claims, "Whenever your love grows to the core, earth-heavals and smart irruptions spew in the air. The world becomes one religious thing, that easy, love combining with the spirit" (Reader, 223). He is stating that once someone is completely in love, everything becomes one and becomes nearer to God. This poem links to Majnun and how his extreme love makes him one with both Layla and God
After comparing both tales of Romeo and Juliet and Layla and Majnun, it is straightforward to conclude that they discuss several similarities. Both the stories have main individuals that are madly deeply in love with one another and ultimately pass away to be jointly in the long run. The story of Layla and Majnun is more unique since it is packed with rich explanations and the play of Romeo and Juliet offers more dialogue but less information. The Sufi interpretation of the Layla and Majnun story is the fact love is the constant quest to find God. By adoring Layla with such intensity, Majnun was actually caring God as well. Majnun wasn't necessarily aware of what was going on but his obsession of Layla placed him on course in his quest to God. Both Romeo and Juliet and Layla and Majnun are renowned love reviews that share some typically common elements yet present a tale in separate ways. Corresponding to Rumi, "Lovers don't finally meet anywhere. They're in one another all along" (Rumi rates, 1).