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  1. John Renard. Historical dictionary of Sufism.  Rowman & Littlefield, 2005.  . 155.

    «Perhaps the most famous Sufi who is known to many Muslims even today by his title alone is the seventh/13th century Persian mystic Rumi»

  2. Annemarie Schimmel. The Mystery of Numbers.  Oxford University Press, 1993.  . 49.

    A beautiful symbol of the duality that appears through creation was invented by the great Persian mystical poet Jalal al-Din Rumi, who compares Gods creative word kun (written in Arabic KN) with a twisted rope of 2 threads (which in English twine, in German Zwirn¸ both words derived from the root «two»).

  3. Ritter, H.; Bausani, A. Encyclopaedia of Islam - "ḎJ̲alāl al- Dīn Rūmī b. Bahāʾ al-Dīn Sulṭān al-ʿulamāʾ Walad b. usayn b. Amad Ḵh̲aṭībī" / Bearman , Th. Bianquis , C. E. Bosworth , E. van Donzel and W. P. Heinrichs.  Brill Online, 2007.

    known by the sobriquet Mawlānā (Mevlânâ), Persian poet and founder of the Mawlawiyya order of dervishes.

  4. Julia Scott Meisami. Forward to Franklin Lewis, Rumi Past and Present, East and West(revised edition).  Oneworld Publications, 2008.
  5. Frederick Hadland Davis. "The Persian Mystics. Jalálu'd-Dín Rúmí".  Adamant Media Corporation, November 30, 2005.  ISBN 1402157681
  6. Arthur John Arberry. The Legacy of Persia.  Clarendon Press, 1953.  . 200.  ISBN 019821905
  7. Frye, R. N. The Encyclopaedia of Islam - "Darī" (CD version).  Brill Publications.
  8. Encyclopedia of library and information science, Volume 13  (.). Google Books. 18 2010.
  9. Pahlavi psalter Encyclopædia Iranica. Philippe Gignoux
  10. Abdolhossein Zarrinkoub. Naqde adabi.  Tehran, 1959.  . 374-379.
  11. Abdolhossein Zarrinkoub. Naqde adabi.  Tehran, 1947.  . 374-379.
  12. III IV . // . . 2, . XXV.:

    , , , ; . .

  13. CHARLES-HENRI DE FOUCHÉCOUR IRAN viii. PERSIAN LITERATURE (2) Classical.  (.). Encyclopaedia Iranica (15 2006 .). 8 2010.

    The distinction between poetry and prose has always been quite deliberate in Persian literature, with poetry given the pride of place. It distinguished itself clearly from prose not only in terms of rhyme and rhythm, but also in the artful play between explicit meaning or meanings and implicit nuances.

  14. 1 2 3 4 Sakina Berengian. Azeri and Persian literary works in twentieth century Iranian Azerbaijan.  Berlin: Klaus Schwarz Verlag, 1988.  . 2.  238 .  ISBN 3922968694

    The prevalent classification of classical literary schools into Central Asia, Transcaucasian, Persian, and Indian originated with Y.E. Bertels whose primary emphasis seems to have been on ethnic and regional contributions.

  15. PETER CHELKOWSKI LITERATURE IN PRE-SAFAVID ISFAHAN - . 112  (.). 18 2010.

    The three main literary styles which follow each other consecutively are known as: Khurasani, Iraqi, and Hindi. The time spans of each style are equally flexible. Within these broad geographical divisions we then come across certain «literary schools» which reflect regional peculiarities and idiosyncrasies and are identified with smaller entities like provinces or towns. For example, there are: the Azerbayjani school, the Tabriz school, or the Shirvan school.

  16. C. E. Bosworth ʿAǰam  (.). Encyclopaedia Iranica (December 15, 1984). 8 2010.
  17. Rypka, Jan. Poets and Prose Writers of the Late Saljuq and Mongol Periods, in The Cambridge History of Iran, Volume 5, The Saljuq and Mongol Periods.  January 1968.

    «One of the striking features of the Transcaucasian school is its complicated technique.»

  18. Peter Chelkowski. Literature in Pre-Safavid Isfahan International Society for Iranian Studies Iranian Studies, Vol. 7, No. 1/2.  Taylor & Francis, Ltd. on behalf of International Society for Iranian Studies, 1974.  . 112-131.

    «The three main literary styles which follow each other consecutively are known as: Khurasani, Iraqi, and Hindi. The time spans of each style are equally flexible. Within these broad geographical divisions we then come across certain literary schools which reflect regional peculiarities and idiosyncrasies and are identified with smaller entities like provinces or towns. For example, there are: the Azerbayjani school, the Tabriz school, or the Shirvan school.»

  19. Muammad Amīn Riyāī. Sharvānī, Jamāl Khalīl, fl. 13 cent., Nuzhat al-majālis / Jamāl Khalīl Sharvānī ; tāʼlīf shudah dar nīmah-ʼi avval-i qarn-i haftum, tashih va muqaddimah va sharh-i hal-i gūyandigān va tawzīāt va fihristhā.  Tehran: Intishārāt-i Zuvvār, 1366 [1987].  764 .
  20. Peter Chelkowski. Literature in Pre-Safavid Isfahan International Society for Iranian Studies Iranian Studies, Vol. 7, No. 1/2.  Taylor & Francis, Ltd. on behalf of International Society for Iranian Studies, 1974.  ISBN 112-131

    Azerbayjan became the heir to the Khurasani style.

  21. Francois De Blois. Persian Literature - A Biobibliographical Survey: Volume V Poetry of the Pre-Mongol Period Volume 5 of Persian Literature, 2nd edition.  Routledge, 2004.  . 187.

    «The point of the anectode is clear that the diwans of these poets contained Eastern Iranian (i.e. Sogdian etc.) words that were incomprehensible to a Western Persian like Qatran, who consquently took advantage of an educated visitor from the East, Nasir, to ascertain their meaning.

  22. Minorsky. Marand in Encyclopaedia of Islam / P. Bearman , Th. Bianquis , C. E. Bosworth , E. van Donzel and W. P. Heinrichs.  1991.  . 6.  . 504.

    According to one of al-Tabaris authorities (iii, 1388), the shaykhs of Maragha who praised the bravery and literary ability (adab) of Ibn Baith also quoted his Persian verses (bil-fdrisiyya). This important passage, already quoted by Barthold, BSOS, ii (1923), 836-8, is evidence of the existence of the cultivation of poetry in Persian in northwestern Persia at the beginning of the 9th century. Ibn Baith must have been Iranicised to a considerable extent, and, as has been mentioned, he relied for support on the non-Arab elements in his Rustakhs (Uludj Rasatikhi)

  23. Jamal-Din Ḵalil Šarvāni. Nozhat al-majāles, 2nd ed / Moammad Amin Riāi.  Tehran, 1996.
  24. Tabari. The History of Tabari, 2nd edition.  Asatir Publications, 1993.  . 7.

    حد ثني انه انشدني بالمراغه جماعه من اشياخها اشعاراً لابن البعيث بالفارسيه وتذكرون ادبه و شجاعه و له اخباراً و احاديث» طبري، محمدبن جرير، تاريخ طبري، جلد 7، چاپ دوم، انتشارات اساطير، 1363.

  25. [1]Richard Davis. Borrowed WareMedieval Persian Epigrams.  Mage Publishers, 1998.  ISBN 0-934211-52-3

    «In preparing the brief notes on individual poets my chief debt is to Dr. Zabihollah Safas Tarikh-e Adabiyat dar Iran ('History of Literature in Iran', 5 vols., Tehran, reprinted 1366/1987). I have also made use of Dr. Mohammad Amin Riahis introduction to his edition of the 14th-century anthology of rubaiyat, the Nozhat al-Majales (Pleasure of the Assemblies), as well as using material from other sources.»

  26. Peter Chelkowski. "Mirror of the Invisible World".  New York: Metropolitan Museum of Art, 1975.  . 6.  117 .

    «Nizamis strong character, his social sensibility, and his poetic genius fused with his rich Persian cultural heritage to create a new standard of literary achievement. Using themes from the oral tradition and written historical records, his poems unite pre-Islamic and Islamic Iran.»

  27. Anna Livia Beelaert ḴĀQĀNI ŠERVĀNI  (.). Encyclopedia Iranica. 3 2010.

    Khaqanis is noted for his extremely rich imagery, drawn from and alluding to a wide range of fields of knowledgea mannerist, in an even higher degree than other classical Persian poets, both in the way he absorbs and transforms the poetry of his predecessors and in his love of paradox.

  28. 1 2 3 Daniela Meneghini SALJUQS v. SALJUQID LITERATURE  (.). Encyclopedia Iranica. 18 2010.

    «The geographical closeness of the territories subject to the Ildeguzids and those under the Šarvānšāh encouraged the flow of intellectuals and poets from one court to the other. It is also possible to speak of a certain similarity of inspiration and of style between the poets born and educated in these areas, to the point of defining them as belonging to the Azerbaijan school (Rypka, Hist. Iran Lit., pp. 201-9). The complexity of the language and of the compositional techniques, the originality and multiplicity of the themes, the presence of Persian archaisms and, at the same time, a wide range of borrowings from Arabic vocabulary are among the stylistic features which are common to poets in this cultural context compared with other contemporaries closer to the Khorasani style.»

  29. NOZHAT AL-MAJĀLES. Encyclopædia Iranica. 30 2010.

    «Nozhat al-mājales is thus a mirror of the social conditions at the time, reflecting the full spread of Persian language and the culture of Iran throughout that region, clearly evidenced by the common use of spoken idioms in poems as well as the professions of the some of the poets (see below). The influence of the northwestern Pahlavi language, for example, which had been the spoken dialect of the region, is clearly observed in the poems contained in this anthology.

  30. NOZHAT AL-MAJĀLES. Encyclopædia Iranica. 30 2010.

    In contrast to poets from other parts of Persia, who mostly belonged to higher echelons of society such as scholars, bureaucrats, and secretaries, a good number of poets in the northwestern areas rose from among the common people with working class backgrounds, and they frequently used colloquial expressions in their poetry. They are referred to as water carrier (saqqāʾ), sparrow dealer (ʿoṣfori), saddler (sarrāj), bodyguard (jāndār), oculist (kaāl), blanket maker (leāfi), etc., which illustrates the overall use of Persian in that region

  31. NOZHAT AL-MAJĀLES. Encyclopædia Iranica. 30 2010.

    This blending of cultures certainly left its mark on the works of the poets of the region, resulting in the creation of a large number of new concepts and terms, the examples of which can be noticed in the poems of Ḵāqāni and Neāmi, as well as in dictionaries.»

  32. Daniela Meneghini SALJUQS v. SALJUQID LITERATURE  (.). Encyclopedia Iranica. 18 2010.

    The complexity of the language and of the compositional techniques, the originality and multiplicity of the themes, the presence of Persian archaisms and, at the same time, a wide range of borrowings from Arabic vocabulary are among the stylistic features which are common to poets in this cultural context compared with other contemporaries closer to the Khorasani style

  33. Francois De Blois. Persian Literature - A Biobibliographical Survey: Volume V Poetry of the Pre-Mongol Period Volume 5 of Persian Literature, 2nd edition.  Routledge, 2004.  . 187.

    «The point of the anectode is clear that the diwans of these poets contained Eastern Iranian (i.e. Sogdian etc.) words that were incomprehensible to a Western Persian like Qatran, who consquently took advantage of an educated visitor from the East, Nasir, to ascertain their meaning».

  34. Sakina Berengian. Azeri and Persian literary works in twentieth century Iranian Azerbaijan.  Berlin: Klaus Schwarz Verlag, 1988.  . 238.  ISBN 3922968694
  35. 1 2 3 Muammad Amīn Riyāī. Sharvānī, Jamāl Khalīl, fl. 13 cent., Nuzhat al-majālis / Jamāl Khalīl Sharvānī ; tāʼlīf shudah dar nīmah-ʼi avval-i qarn-i haftum, tashih va muqaddimah va sharh-i hal-i gūyandigān va tawzīāt va fihristhā az Muammad Amīn Riyāī. See Indroduction.  Tehran: Intishārāt-i Zuvvār, 1366 [1987].
  36. . . III. X-XIII . // . 6 . 2. . .  , 2009.  . 2.  ISBN 978-5-02-036403-5, 5-02-018102-1

    « , , , ( ) ,   . I, IIII . ,   , , ».

  37. Rypka. History of Iran Literature.  . 201-209.

    The geographical closeness of the territories subject to the Ildeguzids and those under the Šarvānšāh encouraged the flow of intellectuals and poets from one court to the other. It is also possible to speak of a certain similarity of inspiration and of style between the poets born and educated in these areas, to the point of defining them as belonging to the «Azerbaijan school».

  38. Rypka, Jan. History of Iranian Literature.  Reidel Publishing Company, January 1968.  . 76.

    «The centripetal tendency is evident in the unity of Persian literature from the points of view of language and content and also in the sense of civic unity. Even the Caucasian Nizami, although living on the far-flung periphery, does not manifest a different spirit and apostrophizes Iran as the Heart of the World».

  39. NOZHAT AL-MAJĀLES. Encyclopædia Iranica. 4 2010.

    Due to change of language, the heritage in the area, the heritage of Persian literature has almost entirely vanished

    .
  40. CHARLES-HENRI DE FOUCHÉCOUR IRAN viii. PERSIAN LITERATURE (2) Classical.  (.). Encyclopaedia Iranica (15 2006 .). 8 2010.
  41. Neāmī." Encyclopædia Britannica. 2009. Encyclopædia Britannica Online. 28 Feb. 2009 <http://www.britannica.com/EBchecked/topic/413374/Nezami>

    Greatest romantic epic poet in Persian Literature, who brought a colloquial and realistic style to the Persian epic. . Nezami is admired in Persian-speaking lands for his originality and clarity of style, though his love of language for its own sake and of philosophical and scientific learning makes his work difficult for the average reader.

  42. Julie Scott Meisami. The Haft Paykar: A Medieval Persian Romance.  Oxford University Press (Oxford World's Classics), 1995.  ISBN 0-19-283184-4

    «Abû Muhammad Ilyas ibn Yusuf ibn Zaki Muayyad, known by his pen-name of Nizami, was born around 1141 in Ganja, the capital of Arran in Transcaucasian Azerbaijan, where he remained until his death in about 1209. His father, who had migrated to Ganja from Qom in north central Iran, may have been a civil servant; his mother was a daughter of a Kurdish chieftain; having lost both parents early in his life, Nizami was brought up by an uncle. He was married three times, and in his poems laments the death of each of his wives, as well as proferring advice to his son Muhammad. He lived in an age of both political instability and intense intellectual activity, which his poems reflect; but little is known about his life, his relations with his patrons, or the precise dates of his works, as the accounts of later biographers are colored by the many legends built up around the poet.»

  43. Yar-Shater, Ehsan. Persian Poetry in the Timurid and Safavid Periods - Cambridge History of Iran.  Cambridge: Cambridge University Press, 1986.  . 973-974.
  44. Sanjay Bumbroo Oblivion of Persian language will leave void in Sikh history  (.). Chandigarh, India - Punjab. The Tribune. 18 2010.

    He said Persian sources had been important for the researchers of Sikh history. He further added that Persian writings of Bhai Lal were absolutely in tune with the Sikh spirit, which provided the key to unlock the spiritual secrets and mystical flights of Sikhism through his poems. Giving brief historical facts about Bhai Nand Lal, Balkar Singh said he was one of the 52 poets in the court of Guru Gobind Singh. Son of Diwan Chajju Ram, mir munshi or chief secretary of the Governor of Ghazni, Bhai Lal in a short time acquired great efficiency in Persian and Arabic languages. After the death of his parents, he decided to return to Multan where he married a Sikh girl, who used to recite Gurbani and knew Gurmukhi. Leaving his family behind, he left for Anandpur Sahib and received Guru Gobind Singhs blessings. After staying at there for some time, he left to serve as mir munshi under prince Mauzzam (later to become Emperor Bahadur Shah), due to an acquaintance of his father, named Wasif Khan. Aurangzeb wished to convert him to Islam because he had so beautifully interpreted verses of the Koran. Fearing persecution, Bhai Lal and his family left for the northern India. Leaving his family in Multan, he once again came to stay with Guru Gobind Singh at Anandpur Sahib in 1697. Later, he returned to Multan where he opened a school of higher education in Persian and Arabic. Professor Singh said Bhai Lals seven works in Persian poetry included Diwan-e-Goya, Zindgi Nama, Ganj Nama, Joti Bigaas, Arzul Alfaaz, Tausif-o-Sana and Khatima, and Dastural-Insha, besides three in Punjabi.

  45. Ashk Dahlén, Kingship and Religion in a Mediaeval Fürstenspiegel: The Case of the Chahār Maqāla of Nizāmi ʽAruzi, Orientalia Suecana, vol. 58, Uppsala, 2009.
  46. NIZAM al-Mulk
  47. Lapidus, Ira A History of Islamic Societies p. 151
  48. Lane, Andrew J. (2003), Review: Gregor Schoeler's Écrire et transmettre dans les débuts de lislam, Cambridge: MIT Electronic Journal of Middle East Studies, <http://web.archive.org/web/20080306031906/http://web.mit.edu/CIS/www/mitejmes/issues/200310/br_lane.htm> 
  49. Abdol Hossein Saeedian, «Land and People of Iran» p. 447

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