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The origin of the story. The relevant sources are described and studied in a pioneering article by I. Based on various reports in these Arabic books, it can be inferred that the story originates in Arabia in the seventh century. The anecdotes are mostly very short, only loosely connected, and show little or no plot development.

Despite the large number of anecdotes, the story did not develop as a unified whole in Arabic in medieval times. The lovers are forbidden to see each other. This causes violent and perennial suffering for the lovers. They remain chaste all their lives, expressing their emotions in poetry.

Made distraught by love, the lover roams the deserts alone, composing love poems about his beloved. Physical contact is alien to these stories, and when the lovers have an opportunity to meet, they sing poetry for each other while weeping. Sometimes they swoon on seeing their love. These lovers, as Mia Irene Gerhardtp. Despite the pangs of separation, the lover remains constant, bemoaning his unattainable union and ill fate in a poignant poetic voice.

He refers explicitly to his sources seventeen times, at the beginning of each episode, but none of the sources can be identified with certainty: For example, the Nowfal episode is developed into a completely different event, hardly resembling the original Arabic account.

Persian verse romances are commonly about princes, and characters are usually related to courtly circles. He also urbanizes the Bedouin legend: Majnun does not meet Leyli in the desert amongst the camels, but at school with other children.

A summary of the story.

The plot of the romance is simple. Separated from Leyli, Majnun becomes obsessed with her, singing of his love for her in public.

The Story of Layla and Majnun

When he realizes that he cannot obtain union even when other people intercede for him, he grows disillusioned with society and roams naked in the desert among the beasts. Contemplating the image of Leyli increases his love so that he cannot eat or sleep. His only activity is thinking of Leyli and composing love songs for her. She arranges secret meetings with Majnun, and when they meet, they have no physical contact, rather they recite poetry to each other from a distance.

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Leyli dies out of grief and is buried in her bridal dress. Hearing this news, Majnun rushes to her grave where he instantly dies. They leil buried side by side and their graves become a site of pilgrimage. In the coda, someone dreams that they are united in Paradise, living as a king and queen. Analysis of the story. Leyli and Majnun was not the first Mxjnoon romance to be versified in Persian.

It was his son who persuaded him to undertake the project, saying: Likewise, when Leyli desires to see Majnun, she is placed in an exquisitely designed palm grove in spring.

She composes exquisite poems, and takes the initiative in arranging meetings with Majnun. While married, she does not share her bed with her husband and even arranges secret meetings with Majnun.

But when Majnun comes near her, she reminds him that she is married and any physical contact is against the majnooon code. He is presented as a poet oeili is able to compose dazzling poetry in various poetic genres.

As well as being engagingly written, the poem also has a strong moral undertone, depicting the way mundane and earthly love are transfigured into a sublime spiritual force. One important aspect of love the poet shows is that a pure mystical and God-centered love creates havoc when focused on an object in a human society and in an earthly setting. In pictorial presentations, Majnun is depicted as an emaciated ascetic.

LEYLI O MAJNUN – Encyclopaedia Iranica

P its simple structure and plot, the romance is among the most imitated works in Persian, and in other languages under Persian cultural and literary influence, such as Pashto, Urdu, Kurdish, and the Turkic languages. Asadollayev names 80 poets who have written versions of Leyli o Majnun.

All these themes are then elaborated in the narrative.

It is much shorter only 2, couplets and is less imbued with mystical ideas. Majnun ldili not fall in love at a young age with Leyli, but with another girl. He is disillusioned about love until he later meets Leyli. In one episode, Majnun walks barefoot in the leilj, and in another saves a cypress tree which is about to be felled, by ransoming it: In another episode, in order to see Leyli, Majnun pretends to be a poor, blind man who accidentally i and falls into her tent.


The number and variety of anecdotes about the lovers also increased considerably from the twelfth century onwards. When the king then summons Leyli and sees how ugly she is, he asks Majnun how he could be so infatuated with her.

Several commentaries on this short treatise have used at least one anecdote about Majnun. Manuscripts, editions and translations.

The Story of Layla and Majnun

There are numerous editions of the romance from many keili, in a variety of forms. An enormous body of lithographed publications appeared in India, and these need to be examined not only for their texts but also for their illustrations. Critical editions of the romance appeared at the beginning of the twentieth century in Persia.

Alizada prepared another edition Moscow, which consists of 66 chapters and 4, couplets. The first translation of the romance was an abridged verse rendition by Leeili Atkinson published in ; this has been reprinted several times In recent decades, several translations, adaptations and performances of this romance have appeared in English, of which those by Rudolf Gelpke originally in Lfili and Colin Turner should be mentioned.

Knowledge, Love, and Rhetoric, New York,pp. Leyli o Majnun, ed. Alizada, Moscow, ; ed.

Khairallah, Love, Madness and Poetry: An Interpretation of the Majnun Legend, L, Hellmut Ritter, Oriens 8,pp. Fuzuli, Leyli and Majnun by Majnoln, trans. Huri, introduction by Alessio Bombaci, London, Laili Majnun, a poem from the Original Persian of Nizami, tr. Oriental Translation fund, ; second editionIndian reprint The Story of Layla and Majnun, tr. HillOxford, Stratton, British Musical Biography: Chelkowski, Mirror of the Invisible World: The Madman in Medieval Islamic Society, ed.

Gignoux, Paris,pp. Gerhardt, The Art of Story-Telling: Giffen, Theory of profane love among the Arabs: The development of the genre, New York, Idem, Layli and Majnun: Submitted tags will be reviewed by site administrator before it is posted online.

If you enter several tags, leill with commas. Topic select a topic Tvorcheskij put poeta, Moscow, Imitations and comparative studies. Idem, Leyli o Majnun, ed.

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