M6:3787 — گفت نقش رشک پروینست این / صورت شه‌زادهٔ چینست این

Translation: He said: "This image is the envy of the Pleiades; / This is the form of the princess of China." Meaning: This verse recounts the moment a discerning sheikh reveals the secret identity of a mesmerizing image that had captivated three brothers, attributing its beauty to a princess from China. The sheikh, with his unique insight, uncovers the name of the owner of this dazzling form.

Here we arrive at a pivotal moment in the narrative of the three brothers, who, after an arduous search for the owner of a wondrous form, find themselves in need of a 'discerning sheikh.' This sheikh, whom Rumi describes as one who gains knowledge 'not through the ear, but through the revelation of intellect' (naz tarīq-i gūsh, bal az waḥy-i hūsh), symbolizes the adept seeker whose wisdom emanates not from mere sensory perception or rational argumentation, but from inspiration and illumination. I contend that Rumi, in this context, highlights the universality of revelation (waḥy); just as revelation reaches the bee and Moses' mother, it also graces mystics and spiritual guides, unfolding secrets 'without a veil' (bī-rūy-pūsh).

The sheikh, responding to the youths' bewilderment, declares: "This image is the envy of the Pleiades; this is the form of the princess of China." This statement is far from simplistic; it carries a profound deciphering of symbols. In Persian literature, and specifically within Rumi's intellectual framework, 'China' invariably symbolizes sūrat (form) and naqsh (image), standing in stark contrast to 'India,' which represents maʿnā (meaning) and bāṭin (inner reality). This dichotomy has deep historical and cultural roots; Chinese painters were renowned for their mastery in capturing forms, as Saʿdī eloquently states: "O painter of China, behold her fair form / Either paint one like it, or abandon painting altogether." Rumi himself, in the tale of the Romans and Chinese in Book One of the Masnavi, likens the Romans (polishers of inner essence) to Sufis, and the Chinese (painters of outward forms) to adherents of superficiality.

I deem this crucial because 'China' in the Masnavi can be understood as representing worldliness and an enthrallment to the phenomenal realm. Observe that China, throughout history, unlike India — the cradle of hundreds of religions and spiritual traditions — has largely remained a secular land. This inner meaninglessness, however, manifests itself in mesmerizing and deceptive outward forms. Even Muḥyī al-Dīn Ibn ʿArabī once remarked, "The death of the world, the death of humanity, will begin from China;" this itself points to the dark and potentially seductive aspect of the world of forms.

Thus, the princess of China, who is the envy of the Pleiades, symbolizes the most exquisite worldly forms that captivate souls. Yet, the sheikh's profound insight lies in asserting the ultimate reality not in the form itself, but in the 'Owner of the Form' (ṣāḥib-i sūrat). He reveals not merely a name, but a path: the trajectory from form to meaning, from symbol to origin. These youths had fallen captive to the 'image,' and the sheikh shows them that this image, however beautiful, is merely a shadow of a deeper truth and an emanation of a more fundamental existence. This is the Masnavi's perennial invitation: one must transcend the outward to reach the inward, and escape the cage of forms for the flight of meaning to commence.

Key takeaways

• True knowledge is attained through 'revelation of intellect' (waḥy-i hūsh) or inspiration, transcending superficial senses and discursive reason.
• In Masnavi literature, 'China' symbolizes the world of forms, outward beauty, and worldly focus, contrasting with 'India' as the symbol of meaning and inner reality.
• Infatuation with forms and images, if devoid of insight, can obstruct the perception of truth and the ultimate 'Owner of the Form.'
• The role of the mystic and discerning guide is to lead the seeker from the level of symbol and form to the depth of meaning and origin.