This article employs an analytical-comparative method to examine the extensive appropriation of Aḥmad Samʿānī’s Rawḥ al-Arwāḥ fī Sharḥ Asmāʾ al-Malik al-Fattāḥ from Maybudī’s Kashf al-Asrār wa ʿUddat al-Abrār. Although the two works were composed within the same decade (520–529 AH), numerous textual correspondences—extending to verbatim repetition of phrases and sentences—are observed. By collecting a large body of evidence, the study classifies and analyzes various types of appropriation in Rawḥ al-Arwāḥ from Kashf al-Asrār, including “verbatim,” “amplificatory,” “abbreviatory,” “transpositional,” and “composite” adaptations. Taking into account criteria such as the earlier date of Kashf al-Asrār, its significantly larger volume, the stylistic affiliation of both works with a mode of rhymed, literary exegesis, and the unlikelihood that scribal intervention alone accounts for these commonalities, the preliminary conclusion strongly suggests that Aḥmad Samʿānī extensively appropriated material from Maybudī’s work in composing his own. This study exemplifies the complexity of intertextual relations and the methods of textual re-creation within the tradition of Persian mystical prose. The collected evidence shows that many passages in Rawḥ al-Arwāḥ were taken from Kashf al-Asrār verbatim or with slight modifications, and that the amplificatory and composite adaptations resulted in a creative recasting. The research also refutes the view of a few scholars who have proposed the opposite direction of borrowing, and, on the basis of historical and codicological data, it establishes the one‑way nature of the appropriation. The sheer extent of both overt and covert borrowing calls into question the boundary between literary influence and plagiarism, and underscores the need to reassess the originality of works within the mystical tradition.