M2:1793 — دم که مرد نایی اندر نای کرد / درخور نایست نه درخورد مرد

The scholar cites this beyt while analyzing the symbol of the ney (reed flute) in the opening of the Masnavi. He argues that Rumi uses this verse to explain that the flute is not a purely passive or inert medium for the breath blown into it. [d1-s4] Although the flute is hollow, the sound that emerges is not solely that of the player; rather, it is conditioned and shaped by the flute's own specific qualities (mokayyaf shodeh be keyfiyāt-e ney).

The resulting sound is "in proportion to the flute, not in proportion to the man" (darkhor-e nāy ast na darkhord-e mard). This means the output is proportional to the vessel's own capacities—its size, dimensions, and material—not to the entirety of the player's breath. The same breath blown through a different flute would produce a different sound. [d1-s4]

This verse serves as a powerful analogy for the relationship between divine revelation (wahy) and the prophet who receives it. From this perspective, the recipient of revelation is not a neutral channel. Just as the flute affects the sound, the prophet's own being and capacities shape the divine inspiration. The scholar emphasizes, "no recipient of revelation is without a role; such that if that same revelation, that same inspiration, were given to someone else, the output would be different." [d1-s4]