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Instead, there is a kind of carpetlike pattern; the Arabic and Persian poem is, in general, judged not as a closed unity but rather according to the perfection of its individual verses.

Its main object is not to convey a deep personal feeling but to perfect to the utmost the traditional rules and inherited metaphors, to which a new image may sometimes be added.

The strict rules of the outward form of the poems (monorhyme, complicated metre) even in pre-Islamic times led to a certain formalism and encouraged imitation.For many pious Muslims, poetry was something suspect, opposed to the divine law, especially since it sang mostly of forbidden wine and of free love.The combination of music and poetry, as practiced in court circles and among the mystics, has always aroused the wrath of the lawyer divines who wield so much authority in Islamic communities.Thus, the personality of the poet becomes visible only through the minimal changes of expression and rhythm and the application of certain preferred metaphors, just as the personality of the miniature painter can be detected by a careful observation of details, of his way of colouring a rock or deepening the shade of a turban.The same holds true for the arabesques, which were developed according to a strict ritual to a mathematical pattern and were refined until they reached a perfection of geometrically complicated figures, as in the dome of the Karatay Medrese in Konya (1251); it corresponds both to the most intricate lacelike Kūfic inscriptions around this dome and to the poetical style of Jalāl al-Dīn Rūmī, who wrote in that very place and during those years.

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