The commentators side by side

لورسم الراقى أى لوفرض أن من يرقى الادواء المعنوية كالجنون والصرع رسم حروف اسم ا. المدامة على جبين مصاب والمصاب اسم مفول من اصاب الشئ فهو مصيب وذال مصاب ج أى مجنون وجن بضم الجيم على صبغة البناء للمجهول وأما جن الليل بفتح الجيم فهو على صيغة المعلوم

"If the charmer inscribed": i.e. if it were supposed that one who treats with incantations non-physical ailments such as madness and epilepsy inscribed the letters of the name of the wine on the forehead of one afflicted (muṣāb). Muṣāb is a passive participle from aṣāba al-shayʾ, so he is muṣīb and that one is muṣāb. [Junna], i.e. mad. Junna is with ḍamma on the jīm, in the passive form; whereas janna al-layl (night fell), with fatḥa on the jīm, is in the active form.

الاشارة بالراقى الى الانسان الكامل وهو الشيخ المرشد

The allusion by the charmer is to the perfect human being, who is the guiding shaykh.

﴿حروف اسمها﴾

كناية عن انصرافات ما يتخيله السالك من معانى تجليات الحضرة الالهية وقت حضوره معها بها لا بنفسه ورسم ذلك انما يكون من المرشد الكامل بطريق التوجه الربانى والامداد الرحمانى

An allusion to the inṣirāfāt (turnings) of what the sālik (wayfarer) imagines of the meanings of the tajalliyāt (self-disclosures) of the divine ḥaḍra (presence) at the time of his being present with it, by it and not by himself; and the inscribing of that comes only from the perfect murshid (guide), by way of lordly tawajjuh (spiritual orientation) and merciful succor.

﴿مصاب جن﴾

الاشارة بذلك الى الغافل المحجوب الذى هو منقاد لتخيلات عقله وهواء ووسواسه فى جميع مدر كاته ينتقل بفكره وذهنه من كون الى كون ولا يرى الا الاكوان وهو مع رض عن تجليات الحق تعالى لها فينظرها قائمة بنفسها تعطى وتمنع وتخفض وترفع وليس لله تعالى ذكر معها ولا بها اولا فيها وما ذلك الامن ف- ساد خياله وغلبة الاوهام على عقله ولولا انه صاح لهذه الحالة التى هو فيها لحكمنا عليه بالجنون المطبق شرعا وأسقطنا عنه جميع التكاليف الشرعية ولكنه لما صحا لهذه الحالة الفاسدة ورسخ فيها فرض الله عليه فيها جميع التكاليف الشرعية والزمه بها مقتا منه تعالى له وابعاداء ن جنابه فهذا هو المراد بالصاب الذى جن وانما كان الرسم على الجبين لدوم استحضار ذلك عنده فى اعلى مكان اه

The allusion by that is to the heedless, veiled one who submits to the imaginings of his intellect, his desire and his whisperings in all that he perceives; he moves with his thought and mind from one kawn (engendered thing) to another and sees nothing but the akwān (engendered things), while turning away from the tajalliyāt (self-disclosures) of the Real Most High to them; so he sees them as self-subsistent, giving and withholding, lowering and raising, with no mention of God Most High with them, nor by them, nor in them. That comes only from the corruption of his imagination and the dominance of illusions over his intellect. Were it not that he is ṣāḥin (sober) toward this state he is in, we would judge him, according to the Law, to be totally mad, and would drop from him all the legal obligations; but since he is sober toward this corrupt state and firmly rooted in it, God imposed upon him in it all the legal obligations and bound him to them, out of His Most High loathing for him and removal [of him] from His presence. This is what is meant by the afflicted one who has gone mad. The inscription is on the forehead only so that it be constantly present to him, in the highest place.

﴿أبرأه الرسم﴾

أى شفاء ذلك الرسم وأل فى الرسم للعهد الخارجى أى الرسم المعلوم وهو رسم حروف اسمها واعلم أن قوله جن تخصيص لمعنى المصاب لانه أعم من الجنون ولا يخفى الجناس فى الاسم والرسم وانما قال حروف اسمها لان قانون الراقى ان يكتب الحروف المقطعة كما تكتب حروف. * روف الكرخى كذلك اذ المراد الحروف لاجل اسرارها لا معنى الكلمة بعدتر كيبها فاعلم

I.e. that inscription cured him. The al in al-rasm is for external ʿahd (reference to the known), i.e. the known inscription, namely the inscribing of the letters of its name. Know that his word junna specifies the meaning of muṣāb, since it is more general than madness. The jinās (paronomasia) between ism and rasm is evident. He said "the letters of its name" only because the rule of the charmer is to write the letters separately, as the letters of [Maʿ]rūf al-Karkhī […] are written in that way, since what is intended is the letters, for the sake of their secrets, not the meaning of the word after its composition. So know [this].