In this anecdote from Jami's Baharestan, a youth stands beneath a window entranced by the song of a slave-girl musician he secretly loves. His rapture in her voice is so complete that when the master notices him, seats him at his own table, and converses with him, the youth remains inwardly absent, his whole attention given to the beloved's melody. The tale dramatizes the Sufi motif of bikhudi (self-forgetfulness): the lover, absorbed in the beloved's voice and in the enchantment of sama (audition/music), becomes oblivious to his surroundings, so that metaphorical (majazi) love and music appear as forces that dissolve the self's ordinary awareness. Grasping this theme is what lets a learner read the concrete narrative as a deliberate allegory rather than a mere love story.