Rumi’s Metaphysics of the Heart*
mohamme d rustom
The heart of the believer is the Throne
of the All-Merciful
Prophet Muhammad
I saw my Lord with the eye of the heart
I asked, ‘Who are You?’ He replied,
‘You’
Hallaj
In
Rumi’s (d. 672/1273) Mathnawi-yi ma cnawi (The Couplets
of Inner Meaning), countless metaphysical concepts are woven into the
fabric of the text in order to elucidate important Sufi teachings. One concept to which Rumi devotes a good deal of
attention is the heart (qalb in
Arabic; dil in Persian).
But before attempting to discuss Rumi’s
understanding of the heart,
it should first
be noted that he also speaks
of
the spirit and the intellect.1 Unfortunately, I will not be able to look at
their intimate relationship to the heart here. It suffices to say that
they are themselves
unique faculties of perception which may also be synonymous with the heart, depending on the context
in which they are
used.2 But in so far as the heart is distinct from both intellect
and spirit, it can be said that it stands
at the forefront of Rumi’s
Sufi teachings.
Many references to the heart are to be found in both the Qur’an and the traditions of the Prophet.
Consequently, Sufi literature has devoted a good
deal of attention to the systematic exposition of the nature and function of
the heart, as is seen in the works of such figures as the famous Sufi and theologian, Abu Hamid Muhammad al-Ghazali (d. 505/
* This is a
modified version of a previously published article: ‘The Metaphysics of the
Heart in the Sufi Doctrine of Rumi’, Studies
in Religion 37, no. 1 (2008), pp.
3–14.
1
The
words ruh in Arabic and jan in Persian denote the ‘spirit’,
whereas the words caql in Arabic
and khirad in Persian
denote the ‘intellect’. Unless otherwise stated,
all translations are my own.
2
William
Chittick, The Sufi Path of Love: The Spiritual Teachings of Rumi (Albany:
State University of New York Press 1983), p. 40.
1111).3 The twelfth-century saint, Ahmad
Samcani (d.
534/1140), explains the
heart’s reality along the following lines:
From the spirit the heart took subtlety and from the earth gravity.
It came to be praised by both sides
and was well pleasing to both. It became the locus for the vision
of the unseen. The heart
is neither spirit nor bodily frame.
It is both spirit and bodily frame.
If it is spirit, where does this embodiment come from? And if it is a bod-
ily frame, why does it have subtlety? It is neither
that nor this.
But it
is both that and this.4
As Samcani pointed out, the heart is connected to the physical
world in some way, yet it
also stands ‘outside’ of us. But, for the Sufis, the question of where the heart is located
in relation to the human
being is not as important as
the question of what the heart is.
The late French Iranologist and philosopher of religion Henry Corbin aptly
referred to the heart as one of the organs
of ‘mystic physiology’.5 The Sufis often refer to this ‘organ
of mystic physiology’ as a mirror.
In order to reflect
the divine, the mirror of the heart must be polished from the rust which
tarnishes it. Rumi, in keeping with the Sufi tradition which preceded him, also
refers to the heart as a mirror:
Do you not know why your mirror does not reflect?
Because the
rust has not been removed from its face.6
What is
required is for this mirror to be so polished that it may reflect what Rumi
calls the ‘non-delimited formless form of the unseen’,7 a point to
which I will return in due course. Rumi’s standard way of speaking about the
purified heart can be seen in the following verses from the Mathnawi:
3
For
Ghazali’s treatment of the heart, see Ghazali, The Marvels of the Heart, trans. Walter Skellie (Cambridge: Islamic
Texts Society, forthcoming).
4
Cited
in Sachiko Murata, The Tao of Islam: A
Sourcebook on Gender Relationships in Islamic
Thought (Albany: State
University of New York Press
1992), p. 296. Cf. Chittick, ‘Love as the Way to Truth’, Sacred Web 15 (2005), p. 24.
5
Henry Corbin,
Creative Imagination in the Sufism of Ibn cArabi, trans. Ralph
Manheim (Princeton: Princeton University Press 1969), p. 221.
6
Rumi,
Maṭ?nawi-yi
ma cnawi, ed.
and trans. R. A. Nicholson as The
Mathnawí of Jalál’uddín Rúmí, 8 vols. (London: Luzac 1925–1940), 1:34.
7
Rumi, Mathnawi, 1:3486.
Once the mirror of your heart becomes pure and clear,
you will see pictures
from beyond the domain of water and clay,
Not only pictures,
but also the Painter, not only
the carpet of good fortune, but also the Carpet-spreader.8
Elsewhere in
the Mathnawi, Rumi says that a
purified heart is higher than the heavens, because it has become cleansed of
the impurities which taint it. A purified heart is no longer of this world
since it has transcended the ephemeral, phenomenal order. It now has a direct
relationship with the unseen:
That heart has become clean and pure from the mud [which taints it].
It has become excellent and complete.
It has cast the mud aside and come towards the Sea.
Free from the prison of mud, it has become
of the Sea.9
The purified heart
may reflect the things in the phenomenal world in their true form, since
the heart itself
stands between the seen and the unseen. Because the heart is
connected to both the spiritual and physical worlds, it portrays images from the phenomenal
world’s true origin,
which is why images such as paintings, to use an example Rumi himself
gives in the Mathnawi, when reflected in the mirror
of the heart, are more perfect and beautiful than the actual paintings found in the phenomenal world.10 The mirror of the heart acts as a type
of isthmus
between the phenomenal and noumenal worlds,
for it can capture the materiality of the phenomenal world but also
retain something of the unseen element
by its very nature, hence
producing
8
Cited
in Chittick, The Sufi Path of Love, 38. 9
Rumi, Mathnawi, 2:2249–50.
10 Rumi makes
this point in his rendition of the famous
tale of the contest between the Chinese and Greek painters,
which is to be found at Mathnawi,
1:3467–99. At Mathnawi, 4:1358–72, he makes a similar point in the story of the Sufi in the garden,
which can be summarized as follows: a Sufi was in deep meditation in a garden when somebody reproached him for not
paying attention to the beautiful signs of God’s blessings in the garden. The
Sufi then retorted that what this person was referring to as God’s signs were
in fact the ‘traces of the traces’ of God’s signs. In other words, this Sufi
was in a state of contemplation in which he was in direct contact with the traces
of the divine self-disclosure, the locus of which was his
heart. On the other hand,
his heart acted
as a receptacle, displaying the traces of the divine imprints upon his heart to
the phenomenal world.
an imaginal11
form of phenomenal images. The mirror of the heart, when purified, acts as a type of intermediary which reflects the beauty
of the unseen onto phenomenal existence, and from this perspective is
responsible for distributing God’s blessings to the cosmos:
The heart encompasses this realm of
existence
and spreads
gold out of beneficence and kindness.
Upon the people of the world it bestows
that peace [which comes]
from God’s peace.12
The Heart of the Perfec t Man
It is with the
above considerations in mind that the Sufis who devoted their attention
to explaining the structure of the cosmos could say that it is the heart of one special
individual that is solely responsible for sustaining the universe. This
person’s heart reflects the divine treasures to the cosmos, thus keeping it in
order by distributing God’s divine names. But the heart of such a person may
not only reflect the beauty of the unseen to the seen world, or even be
responsible for sustaining the cosmos; it can also reflect the unseen to
itself. One should not, however, be mistaken into thinking that this heart is
somehow accessible to just anyone. In fact, it is potentially accessible to everyone, since everyone has a heart.
But very few people will
11 The term ‘imaginal’ in the context of Sufism
should by no means be understood as ‘imaginary’. Terms such as ‘imaginal’ or
‘imagination’ derive from the Arabic term khayal,
which denotes the intermediary nature of a thing’s existence between the
material and spiritual worlds. A good example of something imaginal but not
imaginary is a dream: it conveys to us something of the reality with which we
are familiar since the objects which appear to us in our dreams often
correspond to the concrete forms with which we are familiar in our waking
state; but our dreams are also somehow tied to the unseen or spiritual world
since the objects we perceive in them are equally incorporeal and
spiritualized. Because the objects in dreams are both materialized and
spiritualized, their status is ambiguous: they do not belong entirely to the
unseen, nor do they belong entirely to the seen. They lie somewhere in between. See Pierre Lory, Le rêve et ses interprétations en Islam (Paris:
Albin Michel 2003),
p. 302; Chittick, Imaginal Worlds: Ibn al-cArabi and
the Problem of Reli- gious Diversity (Albany: State University of New York Press 1994), passim;
Corbin, Creative Imagination, pp.
179–83 and 216–20; Corbin, Spiritual Body
and Celestial Earth: From Mazdean Iran to Shi
cite Iran, trans. Nancy Pearson (Princeton: Princeton
University Press 1977), pp. vii–xvi and 86–90.
12
Rumi, Mathnawi, 2:2272–3.
perfect their
hearts. To whom does this heart belong?13 It is the one who has
utterly died to the self. According to a well-known sacred tradition (hadith
qudsi ), God says, ‘The heavens
and the earth cannot contain Me, but the heart
of my believing servant does contain Me’. In
other words, it is the ‘empty’ heart which can ‘contain’ God, for only
realization of God’s utter oneness (and thus one’s own nonexistence) can render
one a true ‘believing servant’. It is through this heart that God reveals
Himself to Himself, so that He may contemplate Himself in His multiple
manifestations. Thus, the heart acts as a type of receptacle in which God sees
the manifest form of His Essence. This heart belongs to an individual known in
Sufi metaphysics as ‘the Perfect Man’ (al-insan
al-kamil ); that is, one who
reflects the divine names in their totality.14
The prototype of the Perfect
Man is none other than the Prophet Muhammad. It is through
the Prophet’s grace, the Muhammadan baraka, that every other Perfect Man may come to exist. Along with
the assistance which accompanies the Muhammadan grace, the
Perfect Man’s mirror of the heart also becomes polished
because of his purifying his lower self from base
human qualities, such as envy and pride, and through partaking in spiritual
discipline, such as meditation and prayer. Once purified in its totality, the
heart of the Perfect Man becomes a polished mirror which reflects the form of
God, and hence the cosmos can be said to be nothing but the form of the form of
God. But if the heart of the Perfect Man can display God in His manifest
aspect, it must display that aspect of His manifestness which is also formless. A heart which cannot reflect
both God’s form and his form- less form is not a purified heart. Hence, for Rumi, the heart of the
Perfect Man is boundless or non-delimited, and is capable
of reflecting God’s limitless
form. From this perspective, there can be no distinction
between the heart and God:
Here the intellect becomes
silent, otherwise it will lead you astray, because the heart is with Him,
or, it is He.15
13 See Rumi, Mathnawi, 3:2270 for a similar question
posed by the author.
14 The word insan in
Arabic is not gendered. Therefore, the Perfect Man can either
be a man or a woman. See Michel Chodkiewicz, ‘Female Sainthood in
Islam’, Sufi,
21 (1994) pp. 12–19.
15 Rumi, Mathnawi, 1:3489.
This, however, is not an essential identification. Rather,
the heart of the Perfect Man can be said to ‘be’ God qua His self-disclosure, or the
outward aspect of His Essence.16 To employ the dichotomy articulated by Rumi’s older contemporary,
the famous Sufi Ibn cArabi (d. 638/ 1240), the heart may reflect
the divine name Allah (God), but not
the name al-Ahad (the One). The
latter denotes the divine Essence in Its absolute, undifferentiated aspect,
whereas the former denotes the divine Essence in terms of Its
manifestation of the divine names, that is,
in terms of its multiplicity, or, as Ibn cArabi would also say, in terms
of the cosmos being ‘He’ (huwa).17 The divine name ‘One’, on the other hand, denotes the Essence in terms
of the cosmos being ‘not He’ (la huwa).18
With respect to the heart being God, the only way that it can reflect
God’s formless form is if it is Him, since if the heart is other than He, it
would also be a form, which in turn would not be able to reflect God in His formlessness. A heart which is other than He, that is, an
16 Corbin notes that God reveals himself to the
heart of the mystic in his manifest aspect, and . . . ‘not as He inwardly knows
Himself’. See Corbin, Creative
Imagination, p. 221.
17 I will occasionally explain Rumi’s treatment
of the heart with reference to the formulations of theoretical Sufism,
particularly as found
in the work of Ibn cArabi. It would indeed be quite difficult to explain Rumi’s theosophical teachings without
recourse to the expositions of theoretical Sufism
(of which Ibn cArabi is the foremost
medieval representative). It is for this reason that generations of
commentators on Rumi’s Mathnawi have
also taken recourse to the teachings of Ibn cArabi in order to explain the metaphysical implications
of Rumi’s poetry. In so far as both Rumi and Ibn cArabi were writing from the standpoint of the Oneness of
Being (wahdat al- wujud ), their Sufi doctrines do
indeed complement one another. The differences in the way they articulated their experience
of the Oneness of Being has, more than anything else, to do with their own
temperaments, spiritual dispositions, intellectual make-up, language,
and medium of communication. However,
Chittick rightly notes that
reading Rumi through the lens of Ibn cArabi ‘is not
completely fair to his [Rumi’s] perspective . . .’ But, he says, ‘it is certainly preferable to methodologies not rooted in the tradition.’ See Chittick, The Sufi Doctrine of Rumi (Bloomington: World
Wisdom 2005), p. xiii. On the question of Rumi’s being ‘influenced’ by Ibn cArabi, see Chittick, ‘Ibn cArabi and Rumi’, Sacred Web 13 (2004), pp. 33–45; Chittick, ‘Rumi and Wahdat al-wujud
’, in Poetry and Mysticism in Islam: The Heritage of Rumi, ed. Amin
Banani et al. (Cambridge:
Cambridge University Press 1994); Omid Safi, ‘Did the Two Oceans Meet? Connections and Disconnections
Between Ibn cArabi and Rumi’, Journal of the Muhyiddin Ibn cArabi Society 26 (1999), pp. 57–88.
18
On Ibn cArabi’s ‘He/not He’ distinction, see Chittick, The Sufi Path of Knowledge:
Ibn
al-cArabi’s Metaphysics of Imagination (Albany:
State University of New York Press 1989), pp. 90–96 and 113–15.
unpolished heart, can reflect
God only imaginally, not as He is in Him-
self. But a polished heart, when all traces of the dross of duality disappear,
reflects God as He is to Himself, since He looks at Himself through the polished mirror and only sees Himself.19 It is worth noting
here that when looking into a mirror, the observer is unconscious of the
surface of the mirror itself, and can only behold his own image, which is not actually
‘real’. In a sense, the image reflected in the mirror is real because it accurately
reflects the qualities of the object placed before the mirror. But the object
is not ‘real’ because it is not actually ‘there’. The reflected image in the
mirror is the form or image of the object placed before the mirror. It is a
form in so far as it accurately reflects the object placed before the mirror,
but it is a formless form, and consequently unreal, insofar as it merely
reproduces the image of the object.
It is with this same idea in mind that we are able to understand how God
can look upon the purified mirror of the heart and only see Himself. The mirror
of the heart therefore can reflect God’s formless form to Himself. The
phenomenal universe, on the other hand, may not contain God’s formless form
precisely because the things in phenomenal existence are themselves possessed
of forms. The heart of the Perfect
Man, however, does not have a form like the things in phenomenal existence,
which is why it can reflect that which is formless, which is the image of God
Himself. Of course, when we speak of God’s image, a form is immediately implied.
But for the Sufis, God’s
image, like the image of a reflected object in a mirror, is to be understood as
a form without a form, or that which can be contained by the heart of the
Perfect Man, which itself is formless. Hence Rumi says:
In the mirror of the heart,
that Moses-like saint contains20 the non-delimited formless form of
the unseen,
even though that form is contained
in neither the Throne or the Footstool, nor in the heavens or on earth.21
19
Corbin, Creative Imagination, p. 221.
20 The words ‘Moses’ and ‘heart’ allude to the Qur’an 7:108, 27:12, and 28:32.
21 This line literally reads, ‘nor in the
heavens or on the fish.’ The ‘fish’ referred to here is the creature which, according to medieval lore, upholds
the cow which itself upholds the earth. See Annemarie
Schimmel, The Triumphal Sun: A Study
of the
This is because those are delimited
and confined.
But know
that the mirror of the heart
is non-delimited.22
Both the Perfect Man and his heart are, in a sense, uncreated, which is
why Rumi refers to the heart of the Perfect Man as God. But from the
perspective of the divine Essence’s hiddenness, the heart of the Perfect Man is created.
In a famous sacred tradition, God says, ‘I was a hidden treasure and I wanted to be
known. So I created creatures that they may know Me.’23 It is
precisely through this heart that God can know Himself, since in the heart of
the Perfect Man He contemplates Himself objectively. In other words,
God contemplates Himself
in His manifest form in the
heart of the Perfect Man by looking upon His names in their locus of
manifestation. This is why it is a fitting metaphor to describe the Perfect
Man’s heart as a polished mirror, for it is that which at once reflects the
divine treasures to the cosmos, but which also reflects the divine beauty to
God Himself.
The Seeker and the Sought
If the heart
of the Perfect Man (1) reflects the unseen onto the pheno- menal order, (2) is
what sustains the cosmos, and (3) is the mirror in which God may contemplate
Himself, Rumi also has a great deal to say about the role of the purified
heart in one’s envisioning the divine.
After all, the heart is, in its most fundamental aspect, the seat of an
individual’s mystic consciousness. Thus, it has a direct role to play in one’s
vision and contemplation of the divine. As we shall see, Rumi cannot resist
but to point out that,
in this case too, it is really
God who sees and contemplates
Himself.
For the Sufis, seeing God is the greatest of felicities, both in this life
and in the next. This concept has many well-known scriptural ante- cedents in
the Qur’an and in the sayings of the Prophet. The Prophet is reported to have defined
spiritual excellence (ihsan) as worshipping
Works of Jalaloddin Rumi (Albany: State University of New York Press 1993), p. 71. For the cosmological significance of the
symbol of the fish in various traditional civilizations, see René Guénon, Fundamental Symbols: The Universal Language
of Sacred Science, ed. Michel Vâlsan and Martin Lings, trans. Alvin Moore
Jr (Cam- bridge: Quinta Essentia 1995), pp. 105–9.
22
Rumi, Mathnawi, 1:3486–8.
23 For Rumi’s use of this tradition in his works, see Schimmel, The Triumphal Sun,
p. 225 and Chittick, The Sufi Path of Knowledge, pp. 48–49, 56, 71, 99, 137, and 149.
God as though we see Him, with the caveat that even if we do not see Him,
He nonetheless sees us. Throughout his corpus, Rumi empha-
sizes the fact that the greatest vision of God can take place in prayer.
As we have seen above, Rumi,
like the other
Sufis before him, says that the
heart must be polished, for a rusted
heart, like a rusted mirror,
will not accurately reflect the object which stands before it. The pure
heart in a state of contemplation in prayer is thus more receptive to God’s
self-disclosure
than an impure heart partaking in the same activity. As for the heart which has
some rust on it, it is also capable of envis- ioning, although the representations are delimited forms, whereas the heart
of the Perfect Man sees only a non-delimited form since it is non-delimited itself,
as has been explained above.
Rumi tells us that one of the reasons why the Perfect Man can envision
God is because he is able to see the end in the beginning.24 After
all, those who can see what is to come can anticipate it. Rumi relates this
important point to the postures of the daily prayers as a prefigurement of what
will take place on the day of resurrection, where people will be brought before
God to account for how they spent their time on earth.25 By
imagining oneself as facing God now, by seeing the inner significance behind
the physical gestures of the daily prayers — this being possible
only by means
of a purified heart — the true goal of prayer will be achieved. People will then be able to
envision God from the very beginning of their prayers and will therefore be
able to attach their hearts to their object of worship, that is, the formless
form of God.
Just as one must first die in order to be resurrected, so too must one
die to the self in order to be resurrected before God. In the ritual prayer,
people stand before God as they will on the Last Day, and so long as they have
died to themselves, they will achieve the goal of the prayer, which is a direct
encounter with the divine. But this encounter with the divine is nothing other
than the divine’s encounter with Himself.
Only if the self is negated can vision of God come about, for then the
Sufi becomes an empty vessel through which God may disclose Himself to Himself.
When the servant beseeches God from the depths of his soul, what he does not
realize is that it is not he who is calling out to God. Rather, it is God who is calling out to Himself. In other
24 Rumi, Mathnawi, 3:2196–2201. 25 Rumi, Mathnawi, 3:2147–75.
words, God
supplicates to Himself through the servant’s heart. Rumi reminds us that our supplications are only lent to us by God.26 In every prayer, God
is at once the seeker and the sought:
That supplication is self-less. The ‘self ’ is another.
The supplication is not from him [i.e., the character in the tale]; It is the Judge’s speech.
The Real is performing the supplication; The
servant has passed away from self.
Both supplication and answer are from God.27
This statement
made by Rumi is a general remark which applies to all prayers and to all types
of individuals. Regardless of who is suppli- cating God, in the very act of
prayer, be it a saint or a sinner, it is God who turns to Himself in the act of
prayer. It is God who prays to Himself in every prayer, since every servant who
prays to Him becomes negated. But it is to the degree that the servant becomes
absent to himself, to the degree that his heart becomes purified from the rust
of otherness, that God will be able to see Himself. And it is to the degree
that God sees Himself and thus prays to Himself that the servant will have
vision of Him and pray to Him in His sacred centre, which is the heart.
27 Rumi, Mathnawi, 3:2219–21. Similar passages in the Mathnawi are to be found in Schimmel, The Triumphal Sun, pp. 352, 354, and 363–5. On p. 353, Schimmel briefly documents the interesting way in which Rumi’s verses about God’s self-veneration were received by nineteenth- and twentieth-century Orientalists. For Rumi’s exposi- tion of how it is that our prayers actually ‘belong’ to God, see Rumi, Signs of the Unseen, trans. Wheeler Thackston (Boston: Shambhala 1993), pp. 71–2.
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