M6:144 — در عجوزه چیست که ایشان را نبود‌؟ / که ترا زان نقش‌ها با خود ربود‌؟

Translation: What was there in that old woman that was not in those paintings? That drew you away from those images to herself?

Meaning: Mowlana questions why a human being, despite their own beauty and capabilities, chooses to compare themselves with a weak old woman rather than with lifeless, beautiful paintings. The verse suggests that the basis for comparison and interaction lies not in superficial form but in the presence of intellect and soul.

Mowlana, in these verses, unravels one of the deepest ontological and epistemological points, articulating the supremacy of 'soul' (jān) over 'form' (sūrat) in a most ingenious way. He poses the fundamental question: why does man, despite all the honor and grace bestowed upon him by God, make such an peculiar choice when comparing himself to the phenomena of the world?

He begins with a tangible example from his time: in public bathhouses, paintings and images of beauties and heroes were customary. A man would never stand before the image of a hūr-like beauty and measure himself against it, never saying, "Look, I am more beautiful than you!" Why? The answer is clear: that image is lifeless (bī-jān), lacking intellect, sensation, perception, and foresight. It is a mere form; it has no movement, no life worthy of comparison.

Mowlana then asks why this same man passes by those enchanting images but then 'displays himself' (jilwa ārad) to an 'old, half-blind woman' (ajūz-i nīm-kūr). That is, before an elderly woman, who might even have impaired vision, he presents himself and perhaps proudly proclaims: "I am younger, more capable, more beautiful than you." This is where Mowlana poses the key question of this verse: "What was there in this old woman that was not in those paintings, which drew you away from those images to herself?" What quality does this old woman possess that those paintings lack, and what is this quality that compels you to compare and interact with her?

Mowlana's answer is unequivocal and unveils the essence of 'soul': "Intellect, sensation, perception, foresight, and soul itself." These are the elements present in the old woman, despite her physical frailties, which lend her the dignity of comparison and interaction. This is a fundamental principle of the Masnavi: that 'the soul is the origin, and the body is the branch.' Forms in the world are like the foam on the sea; if you are seeking truth, you must pass beyond the foam to reach the water.

This verse is, in essence, an allegory for all creation. God bestowed 'honor' (karamnā) upon humanity, not upon the heavens and stars. Humanity is 'full of sorrow' (pur-ghamān), born with pain, and this very sorrow is a sign of its depth and awareness. Angels do not understand pain; it is humanity that possesses this station. Therefore, the comparison between man and the cosmos is a 'fallacious analogy' (qiyās-i maʿ al-fāriqa), because the cosmos lacks 'soul' in the sense Mowlana intends. Only 'soul' compares itself with 'soul,' and only 'king' speaks to 'king.' This is the insight that calls humanity to 'self-knowledge,' for 'soul' is 'awareness,' and whoever is more aware is 'more soulful.' If the bathhouse painting were to gain life and motion, then it too would become comparable to man, but as long as it remains a mere lifeless image, it holds no value for comparison.

Key takeaways

• Human essence lies in its 'soul' (jān), not in its 'form' (sūrat) or physical appearance.
• True comparison and interaction are only possible between beings possessing 'soul'; 'soul' speaks to 'soul'.
• Intellect, sensation, perception, foresight, and awareness are signs of the 'soul's' presence, even amidst physical frailty.
• The world is full of lifeless forms; the wise one is he who transcends form to reach the truth of soul and meaning.
• Human dignity stems from its capacity for 'awareness,' which elevates it above inanimate beings.