The King in Disguise: A Look at the Mathnawi’s Story of Sultan Mahmud and the Night Thieves

The story of Sultan Mahmud and the Night Thieves in the last book of Mathnawi, for which no source has yet been found, is one of the most complex and unique examples of disguising in our narrative heritage. Wearing a disguise (especially when done by the Sultan), and what is even more unique, his association with thieves, are familiar motifs reflected in the world’s fictional heritage. Disguising can be viewed from various perspectives, both as a personal and adventurous experience to explore the lesser-known aspects of society, as well as a unique opportunity for storytelling. In Rumi's narrative, a combination of these aspects can be found, which have both social and personal dimensions. He also considers fresh perspectives in the story. Rumi's innovative outlook is derived from his distinguished mystical interpretation. He ties the story to the mystics' interpretation of the apparent and hidden senses and the transformation of bodily senses into hidden ones. He especially emphasizes the significance of the eye and vision, which, of course, have a metaphorical aspect. This analogy mainly signifies the authenticity of perception, facing certainties, and having a viewpoint. This research presents a general introduction to the aspects of disguising. It also highlights the universality and importance of this motif in our narrative heritage, especially in the poems of Attar and Rumi's Mathnawi. Furthermore, this work examines The Story of Sultan Mahmud and the Night Thieves from narrative, psychological, sociological, and mystical allegory perspectives and contemplates the connection of these aspects with each other.
Introduction
The story of Sultan Mahmud and the Night Thieves in the last book of Mathnawi, for which no source has yet been found, is one of the most complex and distinctive examples of disguising in our narrative heritage. One night, the famous Ghaznavid king encounters a group of thieves in disguise, each of whom possesses an exceptional ability, and embarks on an adventurous journey with them. Then, he orders their arrest. Finally, one of the thieves with extraordinary vision recognizes the Sultan during the day in royal attire, and the Sultan pardons them. Wearing a disguise, especially when this is done by the Sultan, as well as his association with thieves are familiar motifs reflected in the world’s fictional heritage. Disguising can be viewed from various perspectives, both as a personal and adventurous experience to explore the lesser-known aspects of society, as well as a unique opportunity for storytelling.
Method
 In Rumi's narrative, a combination of the aforementioned aspects can be found, which have both social and personal dimensions. He also considers fresh perspectives in the story. Rumi's innovative outlook is derived from his exceptional mystical interpretation. He ties the story to the mystics' interpretation of both the apparent and hidden senses and the transformation of bodily senses into hidden ones, especially emphasizing the significance of the eye and vision, which, of course, have a metaphorical aspect. This analogy mainly signifies the authenticity of perception, facing certainties, and having a viewpoint. This research presents a general introduction to the aspects of disguising. It also highlights the universality and importance of this motif in our narrative heritage, especially in the poems of Attar and Rumi's Mathnawi. Furthermore, this work examines The Story of Sultan Mahmud and the Night Thieves from narrative, psychological, sociological, and mystical allegory perspectives and contemplates the connection of these aspects with each other.
Results
Sultan Mahmud’s disguise shows him the hidden part of society. The conqueror king, who has repeatedly marched to the distant land of India, encounters thieves in the capital and near the palace; cunning, intelligent, and highly talented thieves. Then, the king even steals from his own treasury. A very biting irony of the situation raises this question in the king’s mind: Why is the treasury so vulnerable to theft? And why is the information system so inefficient? How sycophantic are the officials and to what extent do they distort the facts? In the vicinity of the palace is the humble dwelling of a widow that even thieves turn away from. In the silence of the night, as he is contemplating the situation, he realizes the depth of his ignorance about the society he rules. On the other hand, this disguising is an adventure, a hobby, and a liberation from a life full of royal glamor and artifice. The king puts himself in the shoes of the lowest members of society. He is involved in crime and even learns to put himself in the position of those punished. In this way, the psychological and mental aspects of the story become apparent, where the king is brought to the horizon of self-confrontation, recognizing himself through a sudden, unfamiliar experience. Alongside these, the story transcends its literal narrative and becomes an allegory. The ability of each thief in the realm of one of the five senses gives Rumi an excuse to open a mystical view of the story. He speaks of passing from the apparent senses to other ones, which is a symbol and an expression of transformation, and an indication of the utterly different perception and delight. The transformation of the senses, which Rumi has addressed many times in Mathnawi and Shams's Ghazaliyat, refers to the transition to an experience beyond sensory and even rational perception.
Conclusion
 The story encompasses a spiritual and mystical experience that apparently awakens new and different senses in the awakened mystic. In the end, along with the final blow and the story's resolution, Rumi emphasizes the prominence of vision, insight, and perspective. This is symbolized by the thief who has an extraordinary sense of sight, recognizing the Sultan by the attire he wore the previous night. Thus, the story subtly points to the experience of direct perception and the spirituality beyond imitation, repetitions, and infusions. It also indicates the importance of a unique perspective, the most determining variable of cognizance in Rumi's epistemological system. These three perspectives, along with all their distinctions, accompany Rumi's creative narration, and a different narrative emerges from all other examples of disguising.