THE FORTY RULES OF LOVE PDF URDU TRANSLATION
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Some books more so than others. They transform their readers, and they also transform their writers. This was one of those books for me. When I finished it I was not the same person I was at the beginning. Much of the novel concerns the position of women both in the medieval Islamic world and in contemporary Western society.
What is your sense of how women are faring in the Middle East today compared to women in Western cultures? We tend to think that as human beings we have made amazing progress throughout the centuries.
And we like to think that the women in the West are emancipated whereas women in the East are oppressed all the time.
It is true that we have made progress but in some other ways we are not as different from the people of the past as we like to think. Also there are so many things in common between the women in the East and the women in the West. Patriarchy is universal.
It is not solely the problem of some women in some parts of the world. Basically, as I was writing this novel I wanted to connect people, places, stories—to show the connections, some obvious, some much more subtle.
How would you explain the extraordinary popularity of Rumi in the West right now? What is it about his poetry—and his spirituality—that readers find so engaging? It is a very inclusive, embracing, universal voice that puts love at its center. No one is excluded from that circle of love. What aspects of Sufism do you find most appealing and relevant to contemporary life? Do you have a sense that the mystical strands of Islam—represented by Shams of Tabriz in the novel—are beginning to balance out the more fundamentalist views—represented by the Zealot—in contemporary Islamic cultures?
Mysticism and poetry have always been important elements in Islamic cultures. This has been the case throughout the centuries. The Muslim world is not composed of a single color. And it is not static at all. It is a tapestry of multiple colors and patterns.
Sufism is not an ancient, bygone heritage. It is a living, breathing philosophy of life. It is applicable to the modern day. It teaches us to look within and transform ourselves, to diminish our egos.
There are more and more people, especially women, artists, musicians, and so on, who are deeply interested in this culture. Could you talk about your own spiritual practice and its relation to your creative work?
My interest in spirituality started when I was a college student. At the time it was a bit odd for me to feel such an attraction. I did not grow up in a spiritual environment. My upbringing was just the opposite, it was strictly secular. And I was a leftist, anarcho-pacifist, slightly nihilist, and feminist, and so on, and so were most of my friends, and there was no apparent reason for me to be interested in Sufism or anything like that.
But I started reading about it. Not only Islamic mysticism but mysticisms of all kinds, because they are all reflections of the same universal quest for meaning and love. The more I read the more I unlearned. Unlearning is an essential part of learning, in my experience. We need to keep questioning our truths, our certainties, our dogmas, and ourselves.
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This kind of introspective thinking, to me, is healthier than criticizing other people all the time. Has that reception differed significantly from how American readers have responded to the book? It was amazing, and so moving. In Turkey the novel was an all time bestseller. There was such positive, warm feedback from readers, especially from women readers, of all ages, of all views. Often the same book was read by more than one person, by the mother, the daughters, the great-aunt, a distant cousin.
The story reached different audiences. When the novel came out in Bulgaria, France, America, and Italy, I had similar reactions, and I still receive touching e-mails from readers around the world. In other words they share their personal stories with me.
And I find that very humbling, very inspiring. How do the two stories relate to and illuminate each other? What are the pleasures of such narrative layering across time and space? How does love shake up their worlds and push them out of their comfort zones? What does the novel suggest about the challenges women faced—particularly in terms of relationships and spiritual aspirations—in medieval Islamic societies?
In what ways does Ella change over the course of the novel? In what ways does Rumi change?
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Does Ella make the right decision in choosing love and the present moment over security and the future? What would Shams think of her choice? In what ways are Sweet Blasphemy and The Forty Rules of Love both about the need to break free from conventions and the fear of the opinion of others, the desire for safety, respectability, and security?
What instances of defying convention stand out in the novel? What is the price to be paid for going against prevailing opinion? What is Shafak saying about the personal and imaginative potential of fiction?
Have you had similarly transformative experiences from reading novels? What struggles do women face in the Islamic world of Sweet Blasphemy?
It means to look at the thorn and see the rose, to look at the night and see the dawn. Impatience means to be shortsighted as to not be able to see the outcome. The lovers of God never run out of patience, for they know that time is needed for the crescent moon to become full. Shams was a very intimidating character and he could intimidate people in good or bad ways.
But what he was trying to bring out of Rumi was very unclear to me. I felt if I could know Rumi's transition in detail I would understand it better. It is the only thing I felt lacking in this book. Everything that you see around, including the things that you might not be fond of and even the people you despise or abhor, is present within you in varying degrees. Therefore, do not look for Sheitan outside yourself either. The devil is not an extraordinary force that attacks from without.
It is an ordinary voice within. If you set to know yourself fully, facing with honesty and hardness both your dark and bright sides, you will arrive at a supreme form of consciousness. When a person knows himself or herself, he or she knows God. They were deep and meaningful.
I like these kind of conversations where you can find the depth of mind of others. As I am a very closed of person and don't talk to people how I feel very often, I always long for this kind of friendship.
The future is on illusion. The world does not more through time as if it were a straight line, proceeding from the past to the future.
Instead time moves through and within us, in endless spirals. Eternity does not mean infinite time, but simply timelessness. If you want to experience eternal illumination, put the past and the future out of your mind and remain within the present moment. This is not one of my most favorite books but yet it will stay with me for a long time.So to get the facts right, I did a lot of research.
How would you explain the extraordinary popularity of Rumi in the West right now? Elif Shafak builds on this simple idea to argue that fiction can overcome identity politics.
His poetry and philosophy have always inspired me. In the Financial Times , Sadiq Khan chose the book as his favourite book of the year. If you set to know yourself fully, facing with honesty and hardness both your dark and bright sides, you will arrive at a supreme form of consciousness.
Kara Nisbet. Love for God, for mankind and all other kinds of love. So much Pleased Nafs obsession is crafted that followers forget their present Pleasing Nafs and fret for an imaginary future.
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