Five hundred of Rumi’s odes conclude with khamush, silence.
Rumi is less interested in language, more attuned to the sources of it.….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.
Colman Barks, On Silence





