Works of Mevlana

Mesnevi

Mesnevi is the name given to a certain poetry style in the classical eastern literature. It's dictionary meaning is "two by two" or "doubleness". In literature the verses which have the same measure and where each couplet is in rhyme seperately within itself are called Mesnevi. As each couplet rhymes within itself even though all have the same measure, there is great ease in writing the Mesnevi. Hence for themes which are likely to be long, or for stories to be told in verse form, Mesnevi style was chosen for its easy rhyme mould.

Even though Mesnevi is a verse style of the classical eastern poetry, the word "Mesnevi" always brings to mind the "Mesnevi of Mevlana"

Mevlana wrote his mesnevi upon the request of Зelebi Hьsameddin. According to his secretary Hьsameddin Зelebi, Mevlana would come up with the couplets when relaxing at Meram, while sitting, walking and even during the Samah; and the Зelebi Hьsameedin would note them down.

The language of Mesnevi is Persian. According to the oldest copy available which is dated 1278, and displayed at the Mevlana Museum the number of couplets is 25618

Measure of the Mesnevi is:

Fa i la tьn - Fa i la tьn - Fa i lьn

Mevlana in his 6 large volumed Mesnevi puts forward the Sufi thoughts and philosophy in intertwined stories.

Divanэ - Kebir

Is the name given to the notebook in which the classical poets of the Ottoman period collected their work.It literally means the "Big Book" or the "Big Divan".

All of the poems Mevlana recited on different subjects are in this book. Even though the language of the collection is Persian, it includes poems in Arabic, Turkish and Greek.

Divan-э Kebir, the big collection, was formed by combining 21 small collections (Bahir) and the Rubai collection together. The number of couplets in Divan-э Kebirs is more than 40.000.

As Mevlana wrote some of the poems in the Big Collection with the pseudonym of Юems, this collection is sometimes called "Divan-э Юems" - The Book of Юems. The poems included are arranged with due consideration to meter and rhyme.

Mektubat (Letters)

Includes 147 letters written mainly to Seljuk Sultans and other dignitaries of the time, to give advice or to comment and provide illuminating information on religious issues for which his view or help is seeked. Mevlana did not follow the rules of writing letters in a literate style but wrote in exactly the same manner as he talked. He also did not use the traditional words of servitude such as "your servant", etc Except the titles or positions used in addressing, he preferred to address the reader in a manner and in words best suited to the mind, belief and deeds of the person he was writing to.

Fihi Ma Fih
Fihi Ma Fih means "what he has in him is in him". This collection was put together by his son Sultan Veled as the talks he gave at various gatherings. It consists of 61 sections. Some of these sections address the Seljuk Vizier Sьleyman Pervane. As some political incidents are also touched upon, this work is regarded as a historical source.

The talks, are about themes such as heaven and hell, worldand the other world, master and the disciple and love and sema

Mecalis-Эseb'a (Seven Courts)
As the name indicates these are the seven sermons given or courts held by Mevlana, which were noted down. The sermons of Mevlana were noted by Зelebi Hьsameddin or his son Sultan Veled and later some additions were made without touching the substance. It is very likely that the work was corrected by Mevlana after its editing was completed.

Mevlana, for whom poetry was not an end but a means of expressing his ideas, the issues he took up at his seven courts are:

1. The way to salvation for nations which have swerved from the right path
2. Avoiding fault and awakening from thoughtlessness with the way of the mind.
3. The power of belief
4. Those who repent and find the right way are the belowed subjects of the God
5. The value of knowledge
6. Slumber of indifference
7. Importance of the mind

In those seven courts, besides the main theme a total of 41 sermons are also transmitted. Each sermon chosen by Mevlana has a social context. In each section he starts by thanking God and giving a silent prayer. He used to make the subject to be discussed and his Sufi ideas more attractive with stories and poetry. This is the exact style used in writing the Mesnevi.

ROCK TOMBS

Lycian Tombs

All pre-Greek people of Anatolia built beautiful monumental tombs associated with some form of ancestor worship. The Lycians developed this form of art to perfection, no doubt facilitated by the soft limestone of the region. The quality of stonemasonry of the Lycian people is noteworthy and is especially significant in the construction of tombs. Today the entire landscape of Lycia is still dotted with their fascinating funerary monuments. The most recent count has revealed one thousand and eighty-five examples still intact, rock-cut tombs being the most common form. Lycia is famous for the sheer number of tombs and their quality.

One thing that sets Lycian tombs apart from Hellenistic tradition is that whereas in Hellenistic culture the dead were placed outside of liveable areas (often flanking main roads into the cities), Lycian tombs are integrated often integrated right into cities, displaying Lycia's ties with eastern traditions. This is very noticeable, for instance, at Patara, where monumental tombs are proudly placed right alongside the harbor. A monumental temple-tomb is even located beside the huge imperial granary and the main trade center. The Lycians, in effect, were always living with their departed ones.

The Lycians seem to have held a belief that the souls of their dead would be transported from the tombs to the afterworld by a sort of winged siren-like creature, and so often placed their tombs along the coast or at the top of cliffs when they were not integrated into the liveable areas of the cities.

The originality of Lycian art is special among that of ancient Anatolia, expressed especially in its funeral architecture, reliefs and sculpture. Though is was impacted by a variety of foreign influences, it retained a typically Lycian character. Bas reliefs and engraved drawing have been found on 36 Lycian rock tombs; mythological scenes, funerary feasts, battles and animal and figural motifs are some of the themes of the reliefs which are found on tombs dated to the first quarter of the 4th century BC. They have Greek and Persian elements as well as those of Lycian styles (Lycia had contact with the Greek world and was under Persain control for many years during the BC centuries). This is usually expressed (and is especially seen in the dynastic tombs of Xanthos) as a mixture of Persian iconography and Greek style overlaying the Lycian architectural core. For example, scenes depicting funerary feasts, banquet scenes, the inclusion of an audience and hunt and battle scenes are a direct Persian influence and were widespread in the funerary art of Achaemenid Anatolia. (The Harpy Tomb and Nereid Monument of Xanthos are two such examples) Persian influence can also be seen in the smallest details, such as the manner in which a horse is conducted. The clothing and headgear of warriors is often another Persian influence. Greek influence is apparent in mythological scenes and style. Lions, a favorite Lycian royal symbol, are often seen in their funerary art, especially at Cibyra, which had a "resting lion" motif as its symbol.

Round shaped altars decorated with inscriptions or ornamentation were sometimes placed near tombs, such as a necropolis at Patara, and these were used to make sacrificial offerings for the dead. Buried offerings for the dead were varied. Tombs have been found with tear collection bottles, terra-cotta statuettes and people were buried with their jewellery. Coins were placed in the mouths of the dead for payment to Charon. It is sometimes possible to determine the social standing of the person within a tomb, a writer might be buried with a plume and inkbottle. Unfortunately, most tombs have been looted by robbers. This must have been a problem even in the ancient times, since so many tomb insriptions are curses against desecrators (see below 'care of the tombs').

Early Burial

An Anatolian belief that became a Lycian tradition, was of using the strength of the rocks around them to represent the strength of the gods. Dr. Fahri Iюэk, head excavator at Patara, believes that this was probably transferred to the Lycian via the Phrygirans, from the Urartians. This belief seems to have influenced early burials - in early years Lycians at Patara would be buried in rock formations on the Tepecik Acropolis, very much like the Hittites. Rock altars and niches cut into the living rock are nearby, as are bowls, believed to have been used to make liquid offerings during religious and funeral ceremonies.

Pillar Tombs

Pillar tombs are the oldest form of tomb and were used mainly for important dynasts. They are the least common type of tomb and seem to be confined to western Lycia.

Pillar tombs consists of a monolith which tapers towards the top and stands either directly on the rock or on a stepped base. The pillar usually has two chambers, one of which is square and carved out of the upper part of the pillar. The stone plate forming the lid of the pillar tomb can be of various shapes. Sometimes the pilllar tombs are decorated with reliefs, but only on the grave-chamber at the top, as seen at on the Harpy Tomb at Xanthos.

Photo at right: pillar tombs of Xanthos - Harpy Tomb is on the right with casts of its reliefs, originals in the British Museum. The tomb on the left is an interesting hybrid of a pillar tomb and a sarcophagus.

Sarcophagi

Sarcophagi are a common form of burial all over the world, however Lycian sarcophagi are distinctive - especially for their great size. These sarcophagi usually consist of three parts: a base, a grave-chamber and a crested 'Gothic' (pointed) lid. In some sarcophagi deceased slaves and dependents were held in a hyposorion under the main grave-chamber. Lycian sarcophagi are often decorated with reliefs, usually on the sides and crest of the lid, but sometimes on the grave-chamber. Most of the intact Lycian sarcophagi belong to the Roman Age. These are generally smaller and simpler than those preceding them, though still with a crest and rounded lid. Some, however, have gable-shaped lids with acroteria at the lower corners (many of these can be seen at Sidyma). Most Lycian sarcophagi are free-standing, open to the sky, but others are placed inside of monumental tombs.

Roman era sarcophagi belonging to a father and son, Sidyma
This type of sarcophagus is different than the normal Lycian sarcophagi with 'gothic' shaped lids, having gable-shaped lids with acroteria at the lower corners.

A spectacular sarcophagus at the Istanbul Archaeological Museum. This tomb was found in Sidon, Lebanon, believed to have been carved by a sculptor from the Peloponnese who successfully combined an understanding of Peloponnesian art with traditional Lycian style (as seen in the form of the sarcophagus). Certain elements, such as the figures' attire, depth gained from overlapping figures and placing chariots in three-quarter pose and the traditional classical position of the griffons come from Greek art while the subject matter of the scenes depicted on the sarcophagus' sides comes is taken from Near Eastern motifs. The surface was once completely painted with vivid shades of red, blue and brown.

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