In Farid al-Din Attar's 'Elahi Nameh', the figure of Sultan Mahmud is repeatedly utilized to contrast temporal power with the ultimate equality brought by death. In 'The Tale of Sultan Mahmud and the Washerman', this equalizing force is represented materially through the karbas (canvas shroud) and khesht (grave bricks), which signify the identical final needs of kings and commoners alike. Complementing this, 'The Tale of Sultan Mahmud and the Man Who Had the Same Name' addresses the vanity of titles, concluding that both the mighty Sultan and his destitute namesake will become indistinguishable once reduced to dust. Both narratives serve as complementary memento mori, employing the iconic king to deconstruct earthly hierarchy and emphasize Sufi teachings on humility and detachment.