Majnoon
Layla and Majnun (Arabic: مجنون ليلى majnūn laylā "Layla's Mad Lover"; Persian: لیلی و مجنون, romanized: laylâ o majnun) is an old story of Arab origin, about the 7th-century Arabian poet Qays ibn al-Mulawwah and his lover Layla bint Mahdi (later known as Layla al-Aamiriya).
"The Layla-Majnun theme passed from Arabic to Persian, Turkish, and Indic languages", through the narrative poem composed in 1188 CE by the Persian poet Nizami Ganjavi, as the third part of his Khamsa. It is a popular poem praising their love story.
Faisal and Layla fell in love with each other when they were young, but when they grew up, Layla's father did not allow them to be together. Qays became obsessed with her. His tribe Banu 'Amir, and the community gave him the epithet of Majnūn (مجنون "crazy", lit. "possessed by Jinn"). Long before Nizami, the legend circulated in anecdotal forms in Iranian akhbar. The early anecdotes and oral reports about Majnun are documented in Kitab al-Aghani and Ibn Qutaybah's Al-Shi'r wa-l-Shu'ara'. The anecdotes are mostly very short, only loosely connected, and show little or no plot development. Nizami collected both secular and mystical sources about Majnun and portrayed a vivid picture of the famous lovers. Subsequently, many other Persian poets imitated him and wrote their own versions of the romance. Nizami drew influence from Udhrite (Udhri) love poetry, which is characterized by erotic abandon and attraction to the beloved, often by means of an unfulfillable longing.
Many imitations have been contrived of Nizami's work, several of which are original literary works in their own right, including Amir Khusrow Dehlavi's Majnun o Leyli (completed in 1299), and Jami's version, completed in 1484, amounting to 3,860 couplets. Other notable reworkings are by Maktabi Shirazi, Hatefi (died 1520), and Fuzuli (died 1556), which became popular in Ottoman Turkey and India. Sir William Jones published Hatefi's romance in Calcutta in 1788. The popularity of the romance following Nizami's version is also evident from the references to it in lyrical poetry and mystical masnavis—before the appearance of Nizami's romance, there are just some allusions to Layla and Majnun in divans. The number and variety of anecdotes about the lovers also increased considerably from the twelfth century onwards. Mystics contrived many stories about Majnun to illustrate technical mystical concepts such as fanaa (annihilation), divānagi (love-madness), self-sacrifice, etc. Nizami's work has been translated into many languages. The modern Arabic-language adaptation of the classical Arabic story include Shawqi's play The Mad Lover of Layla.
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