M6:1022 — آن چه بادست اندر آن خرد استخوان / کو پذیرد حرف و صوت قصه‌خوان

Translation: That wind which is within that small bone, / How does it receive the word and sound of the storyteller? Meaning: Mowlana here points to the physical mechanism of hearing, questioning how the ear, with its airy and bony structure, can receive and comprehend the words and sounds of a narrator.

Mowlana, in this couplet, alludes to the ancient theories of medicine and physiology, particularly those articulated by Avicenna. Yet, his aim is undoubtedly not merely scientific description; he seeks to guide us to a deeper stratum of perception. He notes the presence of static air within our middle ear, which, when vibrated by external air, gives rise to auditory perception. He then poses the crucial question: 'How does that wind, nestled within that tiny bone (the ear), receive and comprehend the word and sound of the storyteller?'

It is my conviction that Mowlana, by posing this question, deems these physical mechanisms as mere 'ropush'—a Persian term, profoundly significant in the Masnavi, denoting a covering or veil over a deeper reality. This wind, this bone, these are but the preconditions; the actual act of perception transcends them and unfolds independently of these physical processes.

From a philosophical perspective, this immediately brings to mind the insights of Mulla Sadra, who posited that our perceptions exhibit an 'emissive subsistence' (qiyām ṣudūrī) to the soul, rather than an 'inherent subsistence' (qiyām ḥulūlī). The latter implies that perceptions enter our mind or soul from external sources. However, Mulla Sadra argues that perceptions are issued from the soul; that is, the soul creates and constructs them. The sensory apparatus and bodily organs merely 'prepare' the soul, making it ready to generate and emit a perception.

Thus, this couplet underscores the principle that the human soul and psyche are the true agents of perception. The ear, with all its intricate workings, is but an instrument that lays the groundwork for the soul's creation of perception. We are not merely passive receivers of sound; rather, it is our soul that shapes and imbues sound with meaning, thereby comprehending it. Mowlana consistently emphasizes that truth is never confined to appearances; the exterior is merely a window to the interior, and here, the mechanism of hearing is but a 'ropush' for the wondrous and creative activity of the soul in the realm of perception.

Key takeaways

• Sensory perception is not merely a physical process but is rooted in the soul's creative activity.
• Bodily mechanisms (like the ear) are mere 'coverings' and instruments for the soul to generate perception.
• The soul is the primary agent and creator of perceptions, not merely a passive receiver.
• By referencing ancient theories, Mowlana aims to guide us beyond the mechanical appearance of perception.