M6:110 — در هوای دستبوس او زحل / لیک خود را می‌نبیند از محل

Translation: Saturn, in desire to kiss His hand, Yet does not perceive itself worthy of that station.

Meaning: This verse illustrates Saturn's lesser spiritual station in relation to the Divine Light; Saturn longs to kiss the hand of that Light but, due to its own inherent ill-omened nature, does not find itself worthy of such proximity and remains excluded.

This verse appears as Mowlana continues his description of the “Directionless Star” (setāreh-ye bī-jehat), which serves as a metaphor for the pure Divine Truth. This star transcends all direction, form, and indeed, any thought conceivable by us. Mowlana has previously invoked this directionless star as a luminous, “pearl-scattering celestial body” (kawkab-e dor-pāsh), beside which the sun of our world is a mere bat, and the seven crooked heavens are in servitude to it. This star represents a divine radiance that affects “ears seeking revelation” (gūsh-hā-ye wahy-jū), inviting humanity from the realm of form and direction to formlessness and directionlessness.

Here, at the zenith of his poetic and allegorical prowess, Mowlana depicts the position of the celestial bodies in relation to this primordial light. He portrays Venus (Zohreh) as questioning and begging from this light, and Jupiter (Moshtarī) as a buyer offering its very soul (naqd-e jān) as payment to grasp this truth. Within this same celestial hierarchy, we arrive at Saturn (Zuhal).

In ancient astrology, Saturn was considered the “Greater Maleficent” (nahs-e akbar), contrasting with Jupiter, the “Greater Beneficent.” Mowlana implicitly extends this malefic quality to Saturn's spiritual station. Saturn, though yearning to kiss the hand of this absolute light, seems to perceive its own essence as “impure” or “maleficent.” Consequently, it deems itself unworthy of “that station” (ān mahall), the place of proximity and connection to that light, and is therefore rejected. This rejection stems not from disobedience but from Saturn's self-awareness of its own inadequacy and inner defect. This allegory suggests that even in the higher echelons of existence, proximity to absolute truth requires an inner purity and capacity that not all beings possess. This bears a resemblance to the hierarchical spiritual order in Sufism, where each seeker approaches the Divine according to their capacity and inner purity.

Mowlana further elaborates that Mars (Marrīkh), the warrior, breaks its own hands and feet striving to reach this light, and Mercury (ʿOtāred), the scribe, breaks its pens in attempts to describe it. All these signify the helplessness of stars and various existential symbols before the grandeur of the Directionless Star. These are but appearances; this light is the “soul of all constellations” (jān-e nojūm). After these elaborate allegories, Mowlana immediately reminds us that in the higher realms, there is no place for thought: “Thought? Nay, there all is pure light.” These poetic expressions are, in truth, for us, the “thought-afflicted” (fekr-nākān), for in that sacred domain, there is no darkness or unknown that would necessitate thought. These allegories are images for our “frozen intellect” (ʿaql-e monjamed) to stir and flow towards truth. Thus, this verse, like others in this section, is a poetic endeavor to contain an infinite light within the finite vessel of words, guiding the “weak lover” (zaʿīfī ʿeshqmand) towards the infinite.

Key takeaways

• Divine truth transcends all form and direction, demanding awe and longing even from the celestial bodies.
• Proximity to the Divine Light in the hierarchy of being requires inherent purity and spiritual capacity, not universally possessed.
• Saturn, symbolizing the 'Greater Maleficent,' despite its yearning for union, is rejected due to its perceived unworthiness for divine proximity.
• Mowlana's allegories are poetic devices to convey infinite truths to the finite human intellect.