The work was a resounding success, and its popularity gave rise to many ships being named "Lalla Rookh" during the 19th century.

It also played an instrumental role in making Kashmir (spelled as Cashmere in the poem) a household name in the English-speaking world.

[1] The poem remains one of the great works of Oriental poetry, and has been regularly adapted into films, musicals, operas and other media.

The bulk of the work consists of four interpolated tales sung by the poet: "The Veiled Prophet of Khorassan" (loosely based upon the story of Al-Muqanna), "Paradise and the Peri", "The Fire-Worshippers", and "The Light of the Harem".

[17] It is also the basis of the operas Lalla-Rûkh, festival pageant (1821) by Gaspare Spontini, partly reworked into Nurmahal oder das Rosenfest von Caschmir (1822), Lalla-Roukh by Félicien David (1862), Feramors by Anton Rubinstein (1863), and The Veiled Prophet by Charles Villiers Stanford (1879).

Eine romantische Dichtung aus dem Morgenlande, by Anton Edmund Wollheim da Fonseca,[18] and was possibly the most translated poem of its time.

[11] The popularity of the poem and its subsequent adaptations gave rise to many ships being named Lalla Rookh during the 19th century.

Alfred Joseph Woolmer painted "Lalla Rookh" in 1861, depicting Hinda, daughter of the Emir of Arabia, in a tower overlooking the Persian Gulf, based on the story called "The Fire-Worshippers" in the poem.