Rumi · Mevlâna

What Is Seb-i Arus? Rumi’s 17 December Commemoration

Seb-i Arus—often translated as the “wedding night”—is the name associated with the annual remembrance of Rumi’s death and his idea of reunion with the Divine.

Meaning of the name

Şeb-i Arûs is commonly translated as “wedding night.” In Mevlevi memory it expresses an interpretation of death as reunion rather than simple separation.

Why 17 December?

Rumi died in Konya on 17 December 1273, so the date anchors the annual commemoration.

Visiting Konya

December programs may include sema ceremonies, lectures and cultural events. Schedules and tickets change, so visitors should verify current details with official institutions.

Editorial note: This site distinguishes historical evidence, later tradition and modern attributions. For changing information such as opening hours, tickets and event dates, verify current official sources.
Mevlana Museum and sema tradition in Konya

Konya & Mevlâna

The Mevlana Museum is the historic complex in Konya containing Rumi’s tomb and spaces associated with the Mevlevi lodge.

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Historical context

Rumi’s life and works belong to the learned, devotional and literary world of thirteenth-century Persian-speaking Anatolia. A useful account therefore distinguishes evidence close to his lifetime from later Mevlevi memory and from modern popular retellings. This distinction does not make later tradition unimportant; it clarifies what kind of claim each source can support.

Text and transmission

Rumi’s corpus is not a single kind of document. The Masnavi is a six-book didactic poem of roughly 26,000 verses; the Divan is lyric poetry; Fihi ma fihi preserves material compiled from notes made in his teaching circle. Letters, sermons and later biographies answer different historical questions. Genre and transmission should therefore be considered before a passage is used as direct biography.

Interpretive depth

A deeper reading follows images and stories beyond isolated quotations. In the Masnavi, narrative can break into direct address, commentary or another embedded story; this movement is part of the teaching method. Comparing parallel themes across the Masnavi, Fihi ma fihi and the Divan can reveal both continuity and differences in voice, audience and literary purpose.