Coleman Barks

Barks does not speak or read Persian; his 'translations' are therefore technically paraphrases. Barks bases his paraphrases entirely on other English translations of Rumi which include renderings by John Moyne and Reynold A. Nicholson.[5] In addition, while the original Persian poetry of Rumi is heavily rhymed and metered, Barks has used primarily free verse. In some instances, he will also skip[6] or mix lines and metaphors from different poems into one 'translation'.

For example, here is a very literal rendering by Reynold A. Nicholson,

On the Day of Resurrection every hidden thing will be made manifest: every sinner will be ignominiously exposed by himself.
His hands and feet will give evidence and declare his iniquity in the presence of Him whose help is sought.
His hand will say, 'I have stolen such and such'; his lip will say, 'I have asked such and such questions';
His foot will say. 'I have gone to (enjoy) things desired'; his pudendum will say, 'I have committed fornication.'
His eye will say, 'I have cast amorous glances at things forbidden'; his ear will say, 'I have gathered evil words.'
Therefore he is a lie from head to foot, for even his own members give him the lie,
Just as, in (the case of) the specious prayers (performed by the ascetic), their fine appearance was proved to be false testimonio testiculi.
Act, then, in such wise that the action itself, without (your) tongue (uttering a word), will be (equivalent to) saying 'I testify' and (to making) the most explicit declaration,
So that your whole body, limb by limb, O son, will have said 'I testify' as regards both good and ill.
The slave's walking behind his master is a testimony (equivalent to saying), 'I am subject to authority and this man is my lord.'[7]

And Barks' version of the same passage,

On Resurrection Day your body testifies against you.
Your hand says, 'I stole money.'
Your lips, 'I said meanness.'
Your feet, 'I went where I shouldn't.'
Your genitals, 'Me Too.'

They will make your praying sound hypocritical
Let the body's doings speak openly now,
without your saying a word,
as a student's walking behind a teacher
says, "This one knows more clearly
than I the way.[8]

Barks' translations have been criticised by many Persian scholars. Majid Naficy writes that Coleman Barks reduces Rumi's poetry to a New Age text:

The essential problem of Coleman Barks lies in the fact that in his version he intentionally changes Rumi... He approaches Rumi's poetry as sacred texts, which need to be dusted from the passage of times by a touched devotee and prepared for the Post Modern, New Age market in the West. The New Age movement finds a remedy for modern alienation in old recipes, such as horoscope, Extra-Sensory Perception and divination... In order to remodel and fix Rumi for the American market Barks follows the path of a New-Age sufi. He tries to disconnect the mystical concepts of Rumi from their historical and social backgrounds and modify them for our contemporary taste... The falsification and misrepresentation of Rumi's fundamental concepts is not limited to Love and spreads to other ideas such as "wine", "master" and "Jesus".[9]