M6:3582 — هر یکی از دیگری استوده‌تر / در سخا و در وغا و کر و فر

Translation: Each one was more praised than the other, In generosity, in battle, and in martial might. Meaning: This couplet describes the king's sons, each excelling beyond the other in noble qualities such as generosity and prowess in warfare.

This couplet emerges from the story of the three princes in Book 6, where Rumi paints a portrait of the king's sons. These are no ordinary figures; Rumi describes each as excelling beyond the other in lofty attributes such as generosity (sakhā) and valor (vaḡā). The phrase ostūda-tar signifies a greater degree of being praised and superior in these qualities.

Rumi, in his characteristic depth, clarifies that these princes are not merely endowed with outward beauty. They are described as sāḥib-i fiṭnat u sāḥib-i naẓar, possessing both sharp intelligence and profound insight. This is a crucial point; even in a world where "Chin" (China) symbolizes form and outward appearance—as Persian literature often contrasts India as the realm of meaning with China as the realm of form—these outwardly beautiful individuals are far from superficial. The king perceives them as "philosophers," much as Rumi elsewhere refers to Pharaoh as a chust-i fīlsūf (a clever philosopher). This implies that their appeal is not solely external; they are also endowed with wisdom and perception.

The very vocabulary of the beyt is telling. Vaḡā explicitly means war or battle. However, kar-o-far is a specialized compound signifying martial prowess and skill in the maneuvers of attack and strategic retreat in combat. Kar means to attack, and far denotes a tactical withdrawal from the battlefield to launch another offensive. The historical figure of Haydar Karrar (Imam Ali) was praised for this very quality, continuously attacking without ever turning his back on the enemy. Thus, these princes were swift and masterful on the battlefield as well.

The king is not merely pleased by the sight of his outstanding sons; his very being is nourished by them. While the subsequent couplet clarifies this point—az rah-i pinhān zi aynayn-i pisar / mī-kashīd ābī nakhīl ān pidar (from the hidden path, from the eyes of the sons, that father's palm tree drew water)—this description of their superior generosity and martial prowess lays the groundwork for understanding that hidden sustenance. It is as if the brilliant and distinguished qualities of the sons act as a water of life, making the father's existential palm tree fertile. This portrayal reveals how beauty and perfection in outward form (associated with the symbol of China) can yet be rooted in depth, becoming a source of spiritual vitality.

Key takeaways

• The king's sons are presented as paragons of human excellence in generosity and valor.
• The term ostūda-tar emphasizes their superlative praise and superiority over others.
• Vaḡā and kar-o-far denote martial prowess, specifically tactical attacks and retreats in battle.
• Even when describing prominent characters, Rumi hints at their hidden dimensions of 'intelligence and insight,' transcending mere appearance.
• These outstanding qualities in the sons lay the groundwork for the hidden spiritual nourishment the father receives from them, transforming outward perfection into a source of inner vitality.