The first moment, to renounce life;
The last step, to fare without feet;
To regard this world as invisible,
Not to see what appears to one’s self.”
All the love-romances and allegories of Sūfī poetry—the tales of Laylā and Majnūn, Yūsuf (Joseph) and Zulaykhā, Salāmān and Absāl, the Moth and the Candle, the Nightingale and the Rose—are shadow-pictures of the soul’s passionate longing to be reunited with God. It is impossible, in the brief space at my command, to give the reader more than a passing glimpse of the treasures which the exuberant fancy of the East has heaped together in every room of this enchanted palace. The soul is likened to a moaning dove that has lost her mate; to a reed torn from its bed and made into a flute whose plaintive music fills the eye with tears; to a falcon summoned by the fowler’s whistle to perch again upon his wrist; to snow melting in the sun and mounting as vapour to the sky; to a frenzied camel swiftly plunging through the desert by night; to a caged parrot, a fish on dry land, a pawn that seeks to become a king.
These figures imply that God is conceived as transcendent, and that the soul cannot reach Him without taking what Plotinus in a splendid phrase calls “the flight of the Alone to the Alone.” Jalāluddīn says:
“The motion of every atom is towards its origin;
A man comes to be the thing on which he is bent.
By the attraction of fondness and yearning, the soul and the heart
Assume the qualities of the Beloved, who is the Soul of souls.”