M1:187 — تا سمرقند آمدند آن دو امیر / پیش آن زرگر ز شاهنشه بَشیر

Translation: To Samarkand arrived those two emissaries / Bringing tidings from the King of Kings to that goldsmith. Meaning: This verse describes the king's two emissaries reaching Samarkand to summon the goldsmith, delivering the king's message to him.

This verse marks a pivotal moment of deception in the intricate tale of the King and the Slave Girl. The king's emissaries arrive in Samarkand, bearing seemingly joyful news and deceptive gifts, to lure the goldsmith towards his inevitable doom. Mawlana, with his characteristic genius, subtly lays the groundwork for a larger scheme that began with the king's ardent love and extends to the story's conclusion. This is the essence of what Mawlana means by "one event gives rise to another in the world" (kār az kār khīzad dar jahān) – every action, whether seemingly small or grand, sets in motion a chain of consequences.

I have said this repeatedly: Mawlana is not given to superficial observations. Here, he is not merely narrating a historical or fictional account; rather, with exquisite subtlety, he unveils deeper layers. The king's emissaries approach the goldsmith with "gold and a robe of honor" (zar va khil'at) and with ghurūr (deception). This term ghurūr, which in Arabic signifies deceit rather than pride, forms the very core of this scene. The unfortunate goldsmith, captivated by wealth and status, abandons his city, family, and home, and by his own feet, walks towards sūʾ al-qaẓā, meaning an ill fate or evil decree. This is what one might call a "kiss of death," a metaphor frequently used in Christian literature for fatal deceptions, much like Judas's kiss, which outwardly conveyed affection but inwardly concealed betrayal and death.

For me, the phrase sūʾ al-qaẓā is profoundly significant. Mawlana explicitly states here that the goldsmith "by his own feet" (khud ba pāy-i khwīsh) embarks on this path. This emphasizes human responsibility in shaping one's own destiny, even if initially perceived as ultimate bliss. This is a central tenet in Mawlana's mysticism: one does not complain about the external world; rather, if one perceives crookedness, the correction must begin from within. The goldsmith, driven by a lust for status and wealth, pays a price that is, in reality, his own "blood money" (khūn-bahā). He "mistook his own blood money for a robe of honor" (khūn-bahāy-i khwīsh-rā khil'at shinākht) – the tragedy lies in his perception of this alluring reward as a benevolent gift, oblivious to the fact that this gold is stained with blood.

In my view, this verse and the subsequent verses that detail the goldsmith's fate are part of Mawlana's broader critique of "colored loves" (ishq-hā-yī k'az pay-i rangī būd). The goldsmith is not only deceived himself but soon becomes the instrument of the slave girl's love's demise. As we observe later in the story, the slave girl's affection for the goldsmith "was not love, but ultimately a disgrace" (ishq na-būd āqibat nangī būd), because it was founded upon the goldsmith's beauty and youth. With the fading of that "color" (rang), the love itself loses its hue. This narrative, then, serves as Mawlana's profound lesson: anything built upon transient forms, appearances, or worldly possessions is inherently unstable and ultimately leads to "disgrace" (nang).

Key takeaways

• Deceptive Appearances: The king's invitation, seemingly an honor, is a summons to death.
• Self-Deception and Greed: The goldsmith, lured by gifts, willingly walks towards his bitter fate.
• The Concept of Sūʾ al-Qaẓā: Referring to an ill destiny towards which one proceeds by one's own choice.
• Human Responsibility: There is no external complaint against fate; one shapes one's destiny through one's own choices.
• "His Own Blood Money": The reward the goldsmith receives is, in reality, the price of his life.
• Critique of "Colored Loves": This episode critiques any love built on beauty, wealth, or status, which fades as these "colors" diminish.