The Chickpea to the Cook

The Cook Was Boiled First

Look at a chickpea in the pot, how it leaps up when it is subjected to the fire.At the time of its being boiled, the chickpea comes up continually to the top of the pot and raises a hundred cries,Saying, “Why are you setting the fire on me? Since you bought (and approved) me, how are you turning me upside down?”The housewife goes on hitting it with the ladle. “No!” says she: “boil nicely and don't jump away from one who makes the fire.I do not boil you because you are hateful to me: nay, 'tis that you may get taste and savour,So that you may become nutriment and mingle with the (vital) spirit: this affliction of yours is not on account of (your) being despised.”

Masnavi III.4159–4164 · tr. R. A. Nicholson, 1930

The pot only consoles because of a ladder Rūmī set out 258 lines earlier at Mathnawī III.3901–3906; the story closes not on a denial of reincarnation but on a warning against stumbling over deep sayings, which Nicholson's 1940 commentary reads as aimed at the heresy of tanāsukh.


A chickpea leaps from the pot and the housewife beats it back — Nicholson read her as master, it as disciple.

Mathnawī III.4159–4208, dictated at Konya in the years before Rūmī's death in 1273. A chickpea leaps from the pot and the kadbānū — Nicholson's “housewife” — hits it with the ladle, then answers it. She boils it not from contempt but so that it may get “taste and savour”, become nutriment and “mingle with the (vital) spirit”; its water-drinking in the garden was for the sake of this fire. Nicholson's commentary reads her as the murshid, the chickpea as the murīd, the fire as riyāḍat. At III.4203–4206 she adds that she too was earth once, and boiled twice, before she became a teacher. The argument runs on a ladder set out 258 lines earlier at III.3901–3906; Nicholson's note reads the caveat closing the story, at III.4209, as aimed at the heresy of tanāsukh.

Light

The objection is given words and then answered. The chickpea gets a hundred cries and a real grievance — you bought me, why turn me upside down — and the one holding the ladle claims no exemption, having been earth, and boiled, herself.

Shadow

It consoles the one in the pot and becomes another thing in the hand holding the ladle: at III.4174 the housewife casts herself as Abraham with the knife, and the Arabic quoted at III.4186 is Ḥallāj's, who was executed in 922.

Sources and verification4 sources · 12 links

Primary source

Scholarship

  • Reynold A. Nicholson, The Mathnawí of Jalálu'ddín Rúmí, vol. VIII: commentary on books III–VI (Gibb Memorial Series), 1940, notes on III.4162, III.4165, III.4168, III.4186–4187, III.4199, III.4205, III.4209That the housewife stands for the murshid, the chickpea for the murīd and the fire for riyāḍat; that the Arabic lines at III.4186–4187 come from a poem by Ḥallāj; that III.4205 alludes to the mineral and vegetive stages; and that the caveat at III.4209 is aimed at the heresy of tanāsukh, transmigration, 'which he repudiates in common with all authoritative Sufi teachers' — a reading Nicholson prefaces with 'No doubt', and which the closing line itself, a warning against stumbling over deep sayings, does not state.
  • Franklin D. Lewis, Rumi: Past and Present, East and West, rev. ed., 2008, the chapters on the Mathnawī's composition and chronologyThe sequence and dating of the six books — Book I from about 1262, Book II resumed about 1264, Books III to VI dictated before Rūmī's death on 17 December 1273. Book III carries no internal date of its own.

Further reading

  • Ibrahim Gamard, Dar al-Masnavi (dar-al-masnavi.org), 'The Pea Boiling in the Pot', parts one and two; and the parallel text at masnavi.netA free parallel Persian-and-English text of III.4159–4211 with Nicholson's commentary quoted in the footnotes — where the Persian kadbānū (کدبانو) and nukhud (نخود) at III.4162 can be checked against the English.

Linked entries

  • Derives fromReynold A. NicholsonAttested

    Every English line here is Nicholson's, from his 1930 translation of Books III and IV; his printed Persian from Book III, v. 2836 to the end of Book IV is founded on the Qoniya manuscript of 677 A.H./1278, so this story falls in the stretch he edited from the oldest surviving copy.

  • Set againstThe Song of the ReedAttested

    The reed opens the Mathnawī crying at having been cut from the reed bed; two books later the chickpea is told, at length and by the one doing the cutting, what the cutting is for.

  • Set againstThe Elephant in the DarkAttested

    Both sit in Book III and both turn on an elephant, but not the same one: the beast felt in a dark house at III.1259, and at III.4199 the elephant dreaming of Hindustan that the chickpea asks to be beaten out of.

  • Set againstOut Beyond Ideas of Wrongdoing and RightdoingA modern connection

    Both reach English readers through the popular versions rather than the scholarly text — there as a quatrain freely reworked, here as an English title that renamed Rūmī's lady of the house 'the cook'.

  • Part ofThe MasnaviAttested

    Book III of the Masnavi, lines 4159–4208 — the tale of the chickpea and the housewife.

  • Attributed toRūmīAttested

    Rūmī dictated the Masnavi, in which this tale stands at Book III.

  • Set againstThe Dream of the Treasure in CairoA modern connection

    Two Masnavi arguments about being hurt — the chickpea is being cooked into fitness, whereas here the beating is only the courier that carries the message.

  • Set againstI Died as a MineralAttested

    The chickpea's pot, 258 lines later, runs on this ladder: the housewife tells the chickpea she too was once part of the earth and in the inanimate state, and was boiled before she became its teacher (III.4203–4207) — the same climb by dying, told from inside the pot.

  • Set againstThe Journey Through the KingdomsAttested

    The chickpea's consolation rests on the first-person ladder at III.3901–3906; this is the Book IV telling, where each stage is forgotten rather than died to.

  • Set againstThe Mouse and the CamelAttested

    Two tales of master and disciple: the chickpea is told to submit to the ladle; the mouse, who took the camel's halter to lead it, is carried over on its hump once he repents (II.3450–3452).

  • Set againstThe Lover and the Night PatrolAttested

    Both make a torment into a means: the housewife's fire is for the chickpea's savour, and the night-patrol's terror drives the lover to his beloved; the chickpea is told so while it boils, the lover finds out only afterwards.

  • Set againstThe Sage and the PeacockA modern connection

    Two Masnavi arguments over pain taken on for the soul's sake: the chickpea is told the boiling is for its good, while the peacock argues its own self-wounding is the lesser harm, and Rūmī lets the argument stand.