Imagery in Sufi poetry is often interpreted purely allegorically as static symbols pointing to higher spiritual meanings. This approach has a strong historical grounding in Sufism itself in the form of the many poetic commentaries and poetic lexicons produced by Sufis throughout the medieval and early modern period and it continues to exercise considerable influence today in most scholarly readings of Sufi poetry. However, while the Sufi hermeneutic tradition represents an undeniable important interpretative community within Sufism and informed the poetry of many Sufi poets, there are several problems with this approach. Several scholars, for example, have recently argued that its universalizing approach to individual poetic images often fails in the context of specific poems. But, even more importantly, as I will demonstrate in this paper, this Sufi symbolist approach was not the only historically grounded approach to imagery within Sufism itself. Through a close reading of J?m?'s approach to Sufi anacreontic imagery in his poetic commentary, Lav?mi', I will argue for an alternative mode of interpreting imagery in Sufi poetry---an "embodied poetics" that understands imagery as embodied (i.e., formal) performances of meaning. In discussing why the imagery of wine is used to express "meanings" about love, J?m? argues that "expressing meanings in the clothing of forms" functions as a powerful pedagogical tool for training "form-worshipers" in the higher "meanings" of the Sufi path. Stated differently, he is trying to map out the various ways in which wine imagery prompts the reader---by evoking mental simulation of the imagery---to create affective and embodied meaning about the abstract concept of love. The forms and bodies in poetic imagery, and, perhaps most importantly, the way they interact with one another in an unfolding poem, constructs a "metaphoric bridge to the real [meaning]," to slightly adapt the famous Sufi concept of "al-maj?z qantarat al-haq?qah." This is a type of supra-representational meaning that will not be found in Sufi lexicons or theoretical discussions of Sufi metaphysics; it must be located in the body---or, rather, the bodies of the poem and audience members. The paper will conclude by applying this "embodied" interpretative approach to a "city-disturber" (shahr-?sh?b) poem of the great thirteenth-century Persian Sufi poet, Fakhr al-Din 'Ir?q?, illustrating how its thematic concern with self-annihilation and the resultant transgression of social norms animates the "imaginal embodiments" of the poem.