M6:3986 — امرء القیس آمدست این‌جا به کد / در شکار عشق و خشتی می‌زند

Translation: Imru’ al-Qays has come here in toil, Seeking the hunt of love, and laying bricks.

Meaning: Mowlana here narrates the tale of Imru’ al-Qays, the 'straying king,' who abandoned his throne to pursue divine love, humbly taking up bricklaying. It symbolizes the relinquishing of worldly status for the ultimate Beloved.

Mowlana recounts here a narrative concerning Imru’ al-Qays, the renowned pre-Islamic Arab poet. This specific verse appears within the story Mowlana crafts about him, depicting how this celebrated king abandoned his wealth, status, and kingdom to humble himself in Tabuk, laying bricks in pursuit of love. It must be stated unequivocally that this particular rendition of Imru’ al-Qays's story, as told by Mowlana, lacks any historical or biographical corroboration. No historical text or hagiography exists that speaks of Imru’ al-Qays's asceticism or his devotion to God.

I have previously noted that Imam Ali (peace be upon him), in Nahj al-Balagha, referred to Imru’ al-Qays as 'Al-Malik al-Ḍalīl' or the 'Straying King,' praising his eloquence but emphasizing his misguidedness. Yet, it is our Mowlana who, in his tumultuous and ecstatic mind, undertakes a re-creation of history, weaving figures into his narratives as it suits his spiritual intent. It is highly probable that this anecdote is a mélange of several stories within Mowlana’s mind, coalescing into this form during the Masnavi's composition, a period when, as he himself admitted, his 'strength was waning.'

The pivotal point in Mowlana's storytelling here is to illustrate the boundless and astonishing power of love. Love can dethrone a king like Imru’ al-Qays and compel him to lay bricks in the deserts of Tabuk. This humility and suffering on the path of love are central to Mowlana’s narrative. Further in the story, even the Roman Emperor, who pleads with this 'handsome king' and 'Yusuf of his time' to remain and rule, is utterly transformed by Imru’ al-Qays's words. The Roman Emperor, despite his philosophical pronouncements (Mowlana employs the word 'philosophy' derogatorily here, implying 'empty rhetoric'), could not sway Imru’ al-Qays. However, the moment Imru’ al-Qays 'suddenly unveiled his face' and 'whispered things of love and pain into his ear,' the Emperor too became 'bewildered like himself,' renounced his throne and royal attire, and joined Imru’ al-Qays on his spiritual journey. This exemplifies the profound impact of the lover’s speech and state, which captivates even another monarch.

Mowlana explicitly concludes this narrative by stating: 'ʿIshq yak kirt nakardast īn gunah,' meaning, 'Love has not committed this 'sin' just once.' Love has, time and again, liberated individuals from the bonds of status and position, drawing them to the desert of quest. The phrase 'this sin' (īn gunah) is a subtle irony, comparing love's action to a 'sin'—a sin that is no sin at all, but rather the path to salvation and freedom from worldly attachments. The story of Imru’ al-Qays thus stands as a symbolic narrative of love's power, elevating aspirations and freeing God's servants from the bondage of all that is not Him.

Key takeaways

• Mowlana deliberately adapts historical narratives to serve his mystical aims; historical accuracy yields to spiritual depth in the Masnavi.
• Love possesses extraordinary power, capable of drawing kings from their thrones into the realm of humility and arduous striving.
• Relinquishing worldly status and enduring hardship for love signifies the elevated aspiration of the seeker.
• The words and spiritual state of a true lover are so potent that they not only transform themselves but also stir the hearts of others, even monarchs.
• Humility and unpretentiousness in the pursuit of love (symbolized by bricklaying) serve as a path to the eternal Beloved.