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Rumi has a whole theory of language based on the reed flute (ney).
Beneath everything we say, and within each note of the reed flute, lies a nostalgia for the reed bed. Language and music are possible only because we’re empty, hollow, and separated from the source.
All language is a longing for home.
Why is there not a second tonality, he muses, a note in praise of the craftsman’s skill, which fashioned the bare cylinder into a ney, the intricate human form with its nine holes?
—Coleman Barks
On Silence
The Essential Rumi
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