Majnun Layla (Arabic: ????? ????? Majnun Layla, "Possessed by madness for Layla" ) also referred to as (Persian: ????

? ?????? Leyli o Majnun, "The Madman and La yla" in Persian) is a love story that originated as a short, anecdotal poem in a ncient Arabia,[1] later significantly expanded and popularized in a literary ada ptation by the Persian poet Nizami Ganjavi who also wrote Khosrow and Shirin. It is the third of his five long narrative poems, Khamsa (the Quintet). Qays and Layla fall in love with each other when they are young, but when they g row up Leyla s father doesn't allow them to be together. Qays becomes crazy about her and that's why he's later given the name Majnun (?????, lit. "possessed") in his community. The epithet given to the semi-historical character Qays ibn al-M ulawwah of the Banu 'Amir tribe. Long before Nizami, the legend circulated in an ecdotal forms in Arabic akhbar. The early anecdotes and oral reports about Majnu n are documented in Kitab al-Aghani and Ibn Qutaybah's al-Shi'r wal-Shu'ara'. Th e anecdotes are mostly very short, only loosely connected, and show little or no plot development.[1] Many imitations have been contrived of Nizami's work, several of which are origi nal literary works in their own right, including Amir Khusrow Dehlavi's Majnun o Leyli (completed in 1299), and Jami's version, completed in 1484, amounts to 3, 860 couplets. Two other notable imitations are by Maktabi Shirazi and Hatefi (d. 1520), which became popular in Ottoman Turkey and India. Sir William Jones publ ished Hatefi's romance in Calcutta in 1788. The popularity of the romance follow ing Nizami's version is also evident from the references to it in lyrical poetry and mystical mathnavis before the appearance of Nizami's romance, there are just some allusions to Leyli and Majnun in divans. The number and variety of anecdote s about the lovers also increased considerably from the twelfth century onwards. Mystics contrived many stories about Majnun to illustrate technical mystical co ncepts such as fanaa (annihilation), divanagi (love-madness), self-sacrifice, et c. Nizami's work has been translated into many languages.[1]Majnun Layla (Arabic : ????? ????? Majnun Layla, "Possessed by madness for Layla") also referred to a s (Persian: ???? ? ?????? Leyli o Majnun, "The Madman and Layla" in Persian) is a love story that originated as a short, anecdotal poem in ancient Arabia,[1] la ter significantly expanded and popularized in a literary adaptation by the Persi an poet Nizami Ganjavi who also wrote Khosrow and Shirin. It is the third of his five long narrative poems, Khamsa (the Quintet). Qays and Layla fall in love with each other when they are young, but when they g row up Leyla s father doesn't allow them to be together. Qays becomes crazy about her and that's why he's later given the name Majnun (?????, lit. "possessed") in his community. The epithet given to the semi-historical character Qays ibn al-M ulawwah of the Banu 'Amir tribe. Long before Nizami, the legend circulated in an ecdotal forms in Arabic akhbar. The early anecdotes and oral reports about Majnu n are documented in Kitab al-Aghani and Ibn Qutaybah's al-Shi'r wal-Shu'ara'. Th e anecdotes are mostly very short, only loosely connected, and show little or no plot development.[1] Many imitations have been contrived of Nizami's work, several of which are origi nal literary works in their own right, including Amir Khusrow Dehlavi's Majnun o Leyli (completed in 1299), and Jami's version, completed in 1484, amounts to 3, 860 couplets. Two other notable imitations are by Maktabi Shirazi and Hatefi (d. 1520), which became popular in Ottoman Turkey and India. Sir William Jones publ ished Hatefi's romance in Calcutta in 1788. The popularity of the romance follow ing Nizami's version is also evident from the references to it in lyrical poetry and mystical mathnavis before the appearance of Nizami's romance, there are just some allusions to Leyli and Majnun in divans. The number and variety of anecdote s about the lovers also increased considerably from the twelfth century onwards. Mystics contrived many stories about Majnun to illustrate technical mystical co ncepts such as fanaa (annihilation), divanagi (love-madness), self-sacrifice, et c. Nizami's work has been translated into many languages.[1]Majnun Layla (Arabic

: ????? ????? Majnun Layla, "Possessed by madness for Layla") also referred to a s (Persian: ???? ? ?????? Leyli o Majnun, "The Madman and Layla" in Persian) is a love story that originated as a short, anecdotal poem in ancient Arabia,[1] la ter significantly expanded and popularized in a literary adaptation by the Persi an poet Nizami Ganjavi who also wrote Khosrow and Shirin. It is the third of his five long narrative poems, Khamsa (the Quintet). Qays and Layla fall in love with each other when they are young, but when they g row up Leyla s father doesn't allow them to be together. Qays becomes crazy about her and that's why he's later given the name Majnun (?????, lit. "possessed") in his community. The epithet given to the semi-historical character Qays ibn al-M ulawwah of the Banu 'Amir tribe. Long before Nizami, the legend circulated in an ecdotal forms in Arabic akhbar. The early anecdotes and oral reports about Majnu n are documented in Kitab al-Aghani and Ibn Qutaybah's al-Shi'r wal-Shu'ara'. Th e anecdotes are mostly very short, only loosely connected, and show little or no plot development.[1] Many imitations have been contrived of Nizami's work, several of which are origi nal literary works in their own right, including Amir Khusrow Dehlavi's Majnun o Leyli (completed in 1299), and Jami's version, completed in 1484, amounts to 3, 860 couplets. Two other notable imitations are by Maktabi Shirazi and Hatefi (d. 1520), which became popular in Ottoman Turkey and India. Sir William Jones publ ished Hatefi's romance in Calcutta in 1788. The popularity of the romance follow ing Nizami's version is also evident from the references to it in lyrical poetry and mystical mathnavis before the appearance of Nizami's romance, there are just some allusions to Leyli and Majnun in divans. The number and variety of anecdote s about the lovers also increased considerably from the twelfth century onwards. Mystics contrived many stories about Majnun to illustrate technical mystical co ncepts such as fanaa (annihilation), divanagi (love-madness), self-sacrifice, et c. Nizami's work has been translated into many languages.[1]Majnun Layla (Arabic : ????? ????? Majnun Layla, "Possessed by madness for Layla") also referred to a s (Persian: ???? ? ?????? Leyli o Majnun, "The Madman and Layla" in Persian) is a love story that originated as a short, anecdotal poem in ancient Arabia,[1] la ter significantly expanded and popularized in a literary adaptation by the Persi an poet Nizami Ganjavi who also wrote Khosrow and Shirin. It is the third of his five long narrative poems, Khamsa (the Quintet). Qays and Layla fall in love with each other when they are young, but when they g row up Leyla s father doesn't allow them to be together. Qays becomes crazy about her and that's why he's later given the name Majnun (?????, lit. "possessed") in his community. The epithet given to the semi-historical character Qays ibn al-M ulawwah of the Banu 'Amir tribe. Long before Nizami, the legend circulated in an ecdotal forms in Arabic akhbar. The early anecdotes and oral reports about Majnu n are documented in Kitab al-Aghani and Ibn Qutaybah's al-Shi'r wal-Shu'ara'. Th e anecdotes are mostly very short, only loosely connected, and show little or no plot development.[1] Many imitations have been contrived of Nizami's work, several of which are origi nal literary works in their own right, including Amir Khusrow Dehlavi's Majnun o Leyli (completed in 1299), and Jami's version, completed in 1484, amounts to 3, 860 couplets. Two other notable imitations are by Maktabi Shirazi and Hatefi (d. 1520), which became popular in Ottoman Turkey and India. Sir William Jones publ ished Hatefi's romance in Calcutta in 1788. The popularity of the romance follow ing Nizami's version is also evident from the references to it in lyrical poetry and mystical mathnavis before the appearance of Nizami's romance, there are just some allusions to Leyli and Majnun in divans. The number and variety of anecdote s about the lovers also increased considerably from the twelfth century onwards. Mystics contrived many stories about Majnun to illustrate technical mystical co ncepts such as fanaa (annihilation), divanagi (love-madness), self-sacrifice, et c. Nizami's work has been translated into many languages.[1]Majnun Layla (Arabic

: ????? ????? Majnun Layla, "Possessed by madness for Layla") also referred to a s (Persian: ???? ? ?????? Leyli o Majnun, "The Madman and Layla" in Persian) is a love story that originated as a short, anecdotal poem in ancient Arabia,[1] la ter significantly expanded and popularized in a literary adaptation by the Persi an poet Nizami Ganjavi who also wrote Khosrow and Shirin. It is the third of his five long narrative poems, Khamsa (the Quintet). Qays and Layla fall in love with each other when they are young, but when they g row up Leyla s father doesn't allow them to be together. Qays becomes crazy about her and that's why he's later given the name Majnun (?????, lit. "possessed") in his community. The epithet given to the semi-historical character Qays ibn al-M ulawwah of the Banu 'Amir tribe. Long before Nizami, the legend circulated in an ecdotal forms in Arabic akhbar. The early anecdotes and oral reports about Majnu n are documented in Kitab al-Aghani and Ibn Qutaybah's al-Shi'r wal-Shu'ara'. Th e anecdotes are mostly very short, only loosely connected, and show little or no plot development.[1] Many imitations have been contrived of Nizami's work, several of which are origi nal literary works in their own right, including Amir Khusrow Dehlavi's Majnun o Leyli (completed in 1299), and Jami's version, completed in 1484, amounts to 3, 860 couplets. Two other notable imitations are by Maktabi Shirazi and Hatefi (d. 1520), which became popular in Ottoman Turkey and India. Sir William Jones publ ished Hatefi's romance in Calcutta in 1788. The popularity of the romance follow ing Nizami's version is also evident from the references to it in lyrical poetry and mystical mathnavis before the appearance of Nizami's romance, there are just some allusions to Leyli and Majnun in divans. The number and variety of anecdote s about the lovers also increased considerably from the twelfth century onwards. Mystics contrived many stories about Majnun to illustrate technical mystical co ncepts such as fanaa (annihilation), divanagi (love-madness), self-sacrifice, et c. Nizami's work has been translated into many languages.[1]Majnun Layla (Arabic : ????? ????? Majnun Layla, "Possessed by madness for Layla") also referred to a s (Persian: ???? ? ?????? Leyli o Majnun, "The Madman and Layla" in Persian) is a love story that originated as a short, anecdotal poem in ancient Arabia,[1] la ter significantly expanded and popularized in a literary adaptation by the Persi an poet Nizami Ganjavi who also wrote Khosrow and Shirin. It is the third of his five long narrative poems, Khamsa (the Quintet). Qays and Layla fall in love with each other when they are young, but when they g row up Leyla s father doesn't allow them to be together. Qays becomes crazy about her and that's why he's later given the name Majnun (?????, lit. "possessed") in his community. The epithet given to the semi-historical character Qays ibn al-M ulawwah of the Banu 'Amir tribe. Long before Nizami, the legend circulated in an ecdotal forms in Arabic akhbar. The early anecdotes and oral reports about Majnu n are documented in Kitab al-Aghani and Ibn Qutaybah's al-Shi'r wal-Shu'ara'. Th e anecdotes are mostly very short, only loosely connected, and show little or no plot development.[1] Many imitations have been contrived of Nizami's work, several of which are origi nal literary works in their own right, including Amir Khusrow Dehlavi's Majnun o Leyli (completed in 1299), and Jami's version, completed in 1484, amounts to 3, 860 couplets. Two other notable imitations are by Maktabi Shirazi and Hatefi (d. 1520), which became popular in Ottoman Turkey and India. Sir William Jones publ ished Hatefi's romance in Calcutta in 1788. The popularity of the romance follow ing Nizami's version is also evident from the references to it in lyrical poetry and mystical mathnavis before the appearance of Nizami's romance, there are just some allusions to Leyli and Majnun in divans. The number and variety of anecdote s about the lovers also increased considerably from the twelfth century onwards. Mystics contrived many stories about Majnun to illustrate technical mystical co ncepts such as fanaa (annihilation), divanagi (love-madness), self-sacrifice, et c. Nizami's work has been translated into many languages.[1]Majnun Layla (Arabic

: ????? ????? Majnun Layla, "Possessed by madness for Layla") also referred to a s (Persian: ???? ? ?????? Leyli o Majnun, "The Madman and Layla" in Persian) is a love story that originated as a short, anecdotal poem in ancient Arabia,[1] la ter significantly expanded and popularized in a literary adaptation by the Persi an poet Nizami Ganjavi who also wrote Khosrow and Shirin. It is the third of his five long narrative poems, Khamsa (the Quintet). Qays and Layla fall in love with each other when they are young, but when they g row up Leyla s father doesn't allow them to be together. Qays becomes crazy about her and that's why he's later given the name Majnun (?????, lit. "possessed") in his community. The epithet given to the semi-historical character Qays ibn al-M ulawwah of the Banu 'Amir tribe. Long before Nizami, the legend circulated in an ecdotal forms in Arabic akhbar. The early anecdotes and oral reports about Majnu n are documented in Kitab al-Aghani and Ibn Qutaybah's al-Shi'r wal-Shu'ara'. Th e anecdotes are mostly very short, only loosely connected, and show little or no plot development.[1] Many imitations have been contrived of Nizami's work, several of which are origi nal literary works in their own right, including Amir Khusrow Dehlavi's Majnun o Leyli (completed in 1299), and Jami's version, completed in 1484, amounts to 3, 860 couplets. Two other notable imitations are by Maktabi Shirazi and Hatefi (d. 1520), which became popular in Ottoman Turkey and India. Sir William Jones publ ished Hatefi's romance in Calcutta in 1788. The popularity of the romance follow ing Nizami's version is also evident from the references to it in lyrical poetry and mystical mathnavis before the appearance of Nizami's romance, there are just some allusions to Leyli and Majnun in divans. The number and variety of anecdote s about the lovers also increased considerably from the twelfth century onwards. Mystics contrived many stories about Majnun to illustrate technical mystical co ncepts such as fanaa (annihilation), divanagi (love-madness), self-sacrifice, et c. Nizami's work has been translated into many languages.[1]Majnun Layla (Arabic : ????? ????? Majnun Layla, "Possessed by madness for Layla") also referred to a s (Persian: ???? ? ?????? Leyli o Majnun, "The Madman and Layla" in Persian) is a love story that originated as a short, anecdotal poem in ancient Arabia,[1] la ter significantly expanded and popularized in a literary adaptation by the Persi an poet Nizami Ganjavi who also wrote Khosrow and Shirin. It is the third of his five long narrative poems, Khamsa (the Quintet). Qays and Layla fall in love with each other when they are young, but when they g row up Leyla s father doesn't allow them to be together. Qays becomes crazy about her and that's why he's later given the name Majnun (?????, lit. "possessed") in his community. The epithet given to the semi-historical character Qays ibn al-M ulawwah of the Banu 'Amir tribe. Long before Nizami, the legend circulated in an ecdotal forms in Arabic akhbar. The early anecdotes and oral reports about Majnu n are documented in Kitab al-Aghani and Ibn Qutaybah's al-Shi'r wal-Shu'ara'. Th e anecdotes are mostly very short, only loosely connected, and show little or no plot development.[1] Many imitations have been contrived of Nizami's work, several of which are origi nal literary works in their own right, including Amir Khusrow Dehlavi's Majnun o Leyli (completed in 1299), and Jami's version, completed in 1484, amounts to 3, 860 couplets. Two other notable imitations are by Maktabi Shirazi and Hatefi (d. 1520), which became popular in Ottoman Turkey and India. Sir William Jones publ ished Hatefi's romance in Calcutta in 1788. The popularity of the romance follow ing Nizami's version is also evident from the references to it in lyrical poetry and mystical mathnavis before the appearance of Nizami's romance, there are just some allusions to Leyli and Majnun in divans. The number and variety of anecdote s about the lovers also increased considerably from the twelfth century onwards. Mystics contrived many stories about Majnun to illustrate technical mystical co ncepts such as fanaa (annihilation), divanagi (love-madness), self-sacrifice, et c. Nizami's work has been translated into many languages.[1]Majnun Layla (Arabic

: ????? ????? Majnun Layla, "Possessed by madness for Layla") also referred to a s (Persian: ???? ? ?????? Leyli o Majnun, "The Madman and Layla" in Persian) is a love story that originated as a short, anecdotal poem in ancient Arabia,[1] la ter significantly expanded and popularized in a literary adaptation by the Persi an poet Nizami Ganjavi who also wrote Khosrow and Shirin. It is the third of his five long narrative poems, Khamsa (the Quintet). Qays and Layla fall in love with each other when they are young, but when they g row up Leyla s father doesn't allow them to be together. Qays becomes crazy about her and that's why he's later given the name Majnun (?????, lit. "possessed") in his community. The epithet given to the semi-historical character Qays ibn al-M ulawwah of the Banu 'Amir tribe. Long before Nizami, the legend circulated in an ecdotal forms in Arabic akhbar. The early anecdotes and oral reports about Majnu n are documented in Kitab al-Aghani and Ibn Qutaybah's al-Shi'r wal-Shu'ara'. Th e anecdotes are mostly very short, only loosely connected, and show little or no plot development.[1] Many imitations have been contrived of Nizami's work, several of which are origi nal literary works in their own right, including Amir Khusrow Dehlavi's Majnun o Leyli (completed in 1299), and Jami's version, completed in 1484, amounts to 3, 860 couplets. Two other notable imitations are by Maktabi Shirazi and Hatefi (d. 1520), which became popular in Ottoman Turkey and India. Sir William Jones publ ished Hatefi's romance in Calcutta in 1788. The popularity of the romance follow ing Nizami's version is also evident from the references to it in lyrical poetry and mystical mathnavis before the appearance of Nizami's romance, there are just some allusions to Leyli and Majnun in divans. The number and variety of anecdote s about the lovers also increased considerably from the twelfth century onwards. Mystics contrived many stories about Majnun to illustrate technical mystical co ncepts such as fanaa (annihilation), divanagi (love-madness), self-sacrifice, et c. Nizami's work has been translated into many languages.[1]