M6:3885 — رو به هم کردند هر سه مفتتن / هر سه را یک رنج و یک درد و حزن

Translation: The three, now captivated by infatuation, turned towards one another; For all three shared a single anguish, a single pain, and a single grief.

Meaning: This verse describes the three princes, who, after falling in love with the same princess, find themselves sharing an identical experience of sorrow and profound longing, acknowledging their mutual suffering.

This couplet appears amidst the narrative of the three princes, all of whom have become infatuated with a single princess. Mawlana carefully frames this scene as a prelude to exploring the states of lovers. 'Muftatan' here signifies being ensnared by the fitna (allure or trial) of love, to be deeply captivated. These three princes, though distinct in lineage, are united in a 'single anguish, a single pain, and a single grief.' This shared suffering is a critical point Mawlana emphasizes from the outset. As he states: 'All three were companions in a single thought and a single melancholia / All three were afflicted by a single anguish and a single cause.' This 'sawda,' or melancholia, is none other than love, gripping all three and placing them in an identical internal state; even in their silence, their thoughts are one, and in speech, their arguments are unified. At times they weep, and at other times, with fiery breaths, their hearts ignite, like an incense burner upon which coals are kindled.

This condition of the three princes reflects a profound point in Mawlana's philosophy: the anguish of judā'ī (separation). This 'ḥuzn' (grief) and 'dard' (pain) are not of the order of tanhā'ī (loneliness), but rather of judā'ī. The distinction between these two concepts is fundamental in Mawlana's worldview. Loneliness is the feeling of being alone and estranged from one's origin in a meaningless world; separation, however, is the sense of distance from a companion, an eternal Beloved who has a real presence, and a return to whom is possible. The princes 'turned towards one another,' meaning they do not leave each other alone in this suffering, and this camaraderie indicates they have not fallen into loneliness, but are in a state of separation from a shared beloved. This separation is not a catastrophe, but the very road and path to union.

Unlike Hafez, who at times laments the world's crookedness and speaks of 'a world that must be built anew,' Mawlana views the world with wisdom and impartiality, finding it flawless. Therefore, grief in Mawlana's view is not a complaint against creation, but a jalā al-aḥzān (a polishing of griefs). It is a 'green sorrow' that ultimately leads to spiritual ecstasy (ṭarab). The suffering of these three princes is of this very nature: an authentic grief that is not destructive but rather a path to purification and a deeper understanding of oneself and the Beloved. This is a form of inner readiness, which Mawlana alludes to in the verse 'I desire a heart torn to pieces by separation / So that I may explain the pain of yearning.' The hearts of these princes, torn by separation, are therefore ready to receive the secrets of love and the path of return to their true origin.

Key takeaways

• Shared love unites the three princes in a singular anguish and grief, a suffering that draws them towards one another.
• The princes' pain and grief are of the nature of judā'ī (separation), not tanhā'ī (loneliness), as they share a common Beloved and are not alone in their plight.
• This shared suffering makes them worthy recipients of the Masnavi's message; their 'torn hearts' (shahrheh shahrheh) are ready to receive the secrets of love.
• In Mawlana's view, 'ḥuzn' (grief) is not a complaint against the world, but a jalā al-aḥzān (polishing of griefs) that can lead to spiritual ecstasy (ṭarab).
• This initial anguish is the first step on the path back to one's true origin; a separation that is not a catastrophe but a necessary journey.