My God, give me a way of my own to drink from, for I am weary of all the creeds. I don't know what these children are reciting in their schools.
The hardships of the road exist for the ease of arrival. If you are the destination, then why are the creeds so many and so different?
From far off, the mirage looks like water to thirsty people. You, sun-faced one, show your face, so the stars dissolve in your light.
I can't make sense of the jurists, and the philosophers talk nonsense. Come and draw the curtain aside, so the truth of things is revealed.
If you are not the aim of all knowledge, what a waste of all that learning. If you are not the meaning behind every word, then pity all our lips.
The pearl of the sea of wonder is better left unpierced. Come, you clever ones, let us shatter every drill.
Reason's planning accomplishes nothing here; pain is what is needed. No lamp burns through these nights like the brand seared on the heart.
Since I am free of learning, what's it to me, Illuminationist or Peripatetic? Since I have fallen into madness, what are creeds to me, or ways of drinking?
In separation from him, each limb of mine burns with its own fire. No one's remedy can soothe me; oh, the cry that rises from these fevers!
In his name, people are given wings even while caught in the snare of the self. In remembering him, the body becomes a phoenix in its own nest.
Tonight the Bountiful One is lifting the trace of grief from my pillow into his lap. I don't know who is prompting me, teaching me the chant of 'O Lord, O Lord.'
Explanation: The Illuminationist (Eshraqi) and Peripatetic (Mashsha'i) refer to two rival schools of Islamic philosophy. The huma (phoenix) is a mythic bird whose shadow confers fortune.
Original
شمارهٔ ۱
الهی فیضِ مشرب ده که دلگیرم ز مذهبها
نمیدانم چه میخوانند این طفلان به مکتبها
مشقّتهای راه آمد برای راحت منزل
اگر مقصد تویی پس مختلف از چیست مذهبها!
سراب از دوری دریا به مردم آب میماند
تو ای خورشید رخ بنما که گم گردند کوکبها
فقیهان را نمیدانم، حکیمان هرزه میگویند
بیا و پرده یک سو کن که گردد کشف مطلبها
تو گر مقصد نباشی علمها را، حیف از دانش
تو گر مطلب نباشی حرفها را، وای بر لبها
همان ناسفته بهتر گوهر دریای حیرانی
بیا تا بشکنیم ای هوشمندان جمله مثقبها
ز تدبیر خرد کاری نیاید، درد میباید
چراغی همچو داغ دل نمیسوزد درین شبها
چون من از دانش آزادم، چه اشراقی چه مشّایی
چو من دیوانه افتادم، چه مذهبها چه مشربها
مرا هر عضو در هجران او سوز دگر دارد
نمیسازند با درمانِ کس فریاد ازین تبها!
به نام او پری دارند در دام نفس مردم
به یاد او هما در آشیان دارند قالبها
به دامن میبرد فیّاض اثر امشب ز بالینم
نمیدانم به تلقین که دارد وردِ یاربها
When I made the Prophet of the ascension my intercessor,
I lifted my needy heart to a state of contentment and self-sufficiency.
I am the disciple of an old master whose humility
built step upon step, raising even the ascension itself higher.
The dust of poverty is my throne, the brand of love my crown;
it costs me nothing to kick aside an actual throne and crown.
Since I gambled on love and let go of all but the Beloved,
let me be a heretic if I ever counted the winning card.
Though I seem far off, set at the tip of your arrow,
your strong drawing hand has made me the master of the target.
When your kind ear pretends not to need us, the enemy wails;
you take your toll from our lament with sweet, careless grace.
You have never seen a night, for wherever you are it is nothing but day,
so you cannot know the state of our pitch black nights.
Since, like the Generous One, I have lived on a handful of the dust of contentment,
I have satisfied the needs of a hundred beggars as poor as myself.
Explanation: The 'ascension' (me'raj) refers to the Prophet Muhammad's night journey to heaven. 'Laylaj' was a winning move or piece in an old game; here it stands for the gambler's winning card.
Original
شمارهٔ ۲
تا شفیع خویش کردم صاحب معراج را
سر به استغنا برآوردم دل محتاج را
من مرید همّت پیری که از افتادگی
پایهها افزود بر بالای هم معراج را
خاک فقرم مسند است و داغ عشقم افسر است
پشت پایی گر زنم سهل است تخت و تاج را
تا قمارِ عشقِ ترک ماسوا ورزیدهام
کافرم گر در حساب آوردهام لیلاج را
گرچه دورم در نظرگاهِ سر تیر توام
شست پرزور تو میداندار کرد آماج را
بینیازیهای گوش لطف، شیون دشمن است
خوش به ناز از نالة ما میستاند باج را
شب ندیدستی که هر جا کش تویی جز روز نیست
تا بدانی حال شبهای سیاه داج را
تا کف خاک قناعت خوردهام فیّاضوار
سیر حاجت کردهام چون خویش صد محتاج را
I have not idly girded myself against the spite of fate;
I have made the Lord of the Dhulfiqar my ally and helper.
What harm can fear of autumn do to the garden of my hope,
when it is I who water its spring with burning tears?
I cling to the hope of bowing my face at a threshold
that forever lines the eye of expectation with the kohl of promises.
I press my heart's wound against my chest. How long, in the grief of love,
must I crush the longing for tulip fields against my heart's desire?
The seed of my longing will not rise from the soil of sorrow.
How many times must I send my weeping eyes to plead for me?
What use is the lovely lament tearing through my breath,
when I have already handed the reins of my will into love's hand?
However long, like Fayyaz, my eyes pour out their rows of tears,
weeping cannot carry the dust of grief out of my heart.
Explanation: Dhulfiqar is the famed two-pronged sword of Imam Ali, here invoked as a source of strength. 'Fayyaz' is likely the poet's pen name (takhallus), suggesting abundance and generosity, used here as a play on copious tears.
Original
شمارهٔ ۳
هرزه کمر نبستهام کینة روزگار را
یاور خویش کردهام صاحب ذوالفقار را
بیم خزان چه میکند در چمن امید من
من که به اشک آتشین آب دهم بهار را
ما و امید سجدة خاک دری که تا ابد
سرمة وعده میدهد دیدة انتظار را
سینه به داغ دل دهم، در غم عشق تا به کی
در شکنم به کام دل حسرت لالهزار را
سر نکشد ز خاک غم دانة آرزوی من
چند شفیع آورم دیدة اشکبار را
جیبِ نفس چه میدرد نالة دلکشی که من
در کف عشق دادهام دامن اختیار را
چند چو فیّاض کند دیدة من قطار اشک
گریه برون نمیبرد از دل من غبار را
Our longing heart has brimmed over with complaint. Where is the edge of a robe we might cling to for help?
It was not right to torment us any further; we are already pale and broken, so what good is our defeat to anyone?
We raise our hands to heaven in prayer for you; what more could come from our hands besides prayer?
There is still hope that we may find all we lack, now that our very being has worn itself down to nothing.
Tonight, when no listening ear lay in wait for a moan, our faint songs rang out as loud cries of grief.
We won a victory over ourselves, nothing more; the only arrow that ever flew true from our bow struck us.
Our beginning comes only after the end of time itself; the night of resurrection is our first dawn of creation.
Clever one, show off your skill no further; our drunken, careless heart will take in no learning.
Generous one, stop mocking our wretchedness; for us, sitting in the dust of humiliation has been an honor.
Explanation: The 'dawn of Alast' refers to the pre-eternal covenant when God asked souls 'Am I not your Lord?'; the poet inverts time, placing his true beginning after the world's end. 'Fayyaz' (the Generous) is also a divine epithet.
Original
شمارهٔ ۴
لبریزِ شکوه شد دل حسرتپرست ما
کو طرف دامنی که بیفتد به دست ما!
آزار ما روا نبود بیش ازین دگر
رنگ شکستهایم چه حاصل شکست ما!
دست دعا برای تو داریم بر سپهر
غیر از دعا دگر چه برآید ز دست ما!
امید هست اینکه بیابیم هر چه نیست
اکنون که سر به نیست برآورده هست ما
امشب که گوش ناله شنو در کمین نبود
شیون بلند داشت نواهای پست ما
بر خویش یافتیم ظفر، غیر ازین نبود
تیری که یافت فیض گشادی ز شست ما
ما را بدایتی است پس از منتهای دهر
شام قیامت است صباح الست ما
ای هوشمند عرض هنر بیش ازین مبر
دانشپذیر نیست دل لایمست ما
فیّاض طعن خواری ما بیش ازین مزن
عزّت بود به خاک مذلّت نشست ما
Love has come and set fire to all of us, the good and the bad alike.
O masters of blame, lend me the shelter of your robe.
We are the fresh rosebush of love, and nothing fills our basket
but the nightingale's lament for the rose of our face.
We are the ones whose reason is undone, for every day
madness comes to circle our wits like a pilgrim.
We are that lucky star, and nothing is worthy
to watch us but the highest pinnacle of heaven's throne.
Where annihilation sells its rank for a price,
our humble felt mat lies above the nine silken skies.
We are that proud, intoxicated one whose every moment
lands a slap of refusal across the cheek of the heavens.
We are that lover of pain who, on the field of fate,
envies nothing but a wounded heart.
In the eight green gardens of paradise there is not
one cypress as graceful as the box tree of our stature.
Though in cruelty a hundred of him is not equal to one,
in love and faithfulness one of us is worth a hundred.
At the table of love's sorrow for you we are honored guests,
and every moment a fresh grief is betrothed to us.
The giver of sorrow does not come from straying in the desert of madness;
on this road the print of our own steps is our guide.
Explanation: The 'lucky star' (kokab-e sa'd) is an astrological image of fortune. The cypress and box tree are classic Persian emblems of an elegant, upright figure.
Original
شمارهٔ ۵
عشق آمده آتش زده در نیک و بد ما
ای دامن ارباب ملامت مدد ما
ما گلبن نوباوة عشقیم و نباشد
جز نالة بلبل گل روی سبد ما
آن عقلْ پریشان شدگانیم که هر روز
دیوانگی آید به طواف خرد ما
آن کوکب سعدیم که شایسته نباشد
جز کنگرة عرش برای رصد ما
جایی که فنا رتبه فروش است نشیند
بر اطلس نه چرخ مقدم نمد ما
آن مست غیوریم که هر لحظه فروشد
سیلی به بناگوش فلک دست رد ما
آن عاشق دردیم که در عرصة تقدیر
جز بر دل آزرده نباشد حسد ما
در هشت چمن گلشن فردوس ندارد
یک سرو به رعنایی شمشاد قد ما
در جور و جفا گرچه صِد او به یکی نیست
در مهر و وفا لیک یک ماست صدِ ما
بر خوان غم عشق تو مهمان عزیزیم
هر لحظه غمی تازه شود نامزد ما
فیّاض غم از گمرهی دشت جنون نیست
نقش قدم ماست درین ره بلد ما
My grief-nourished body turned to dust on the road to him,
and my dust now puts on airs before the eyes of the heavens.
We have made our loved ones content with our death;
in the end, our pain became the cure for a whole world's pain.
A reckless beloved, faithless friends, a wretched fate,
so you were just waiting for your chance, our cowardly enemy?
Everyone we meet is consumed with envy of our longing;
our cold sigh keeps a whole world warm while you are gone.
In the court of love, no one's worth stays hidden;
our pale yellow face will make us glow with honor at last.
We walked to the village of nonexistence, our skirt full of the heart's torn shreds;
this is all we brought back from the garden of existence.
How could our handful of dust draw the scorn of angels,
when a horseman like love rode out of our dust?
We wear the armor of humility and wield the sword of need;
if the sky is a man, let it withstand the assault of our battle.
Let a whole world draw its blade; we have thrown down our shield,
for in this arena there is no man left but us.
Not one night did our bed of grief-spreading turmoil
let the side of comfort rest beside us.
It cost us nothing, generous one, if we gambled away faith and heart;
in our game of dice, losing is the very name of winning.
Explanation: The pale yellow face is a classic Persian sign of love's suffering, here turned into a badge of honor. 'Fayyaz' (the generous one) addresses God or the bountiful beloved.
Original
شمارهٔ ۶
خاک شد تا در ره او جسم غم پرورد ما
نازها بر دیدة افلاک دارد گرد ما
دوستداران را به مرگ خویش راضی کردهایم
عاقبت درمان درد عالمی شد درد ما
یار بیپروا و یاران بیوفا، طالع زبون
فرصتی میخواستیها دشمن نامرد ما؟
هر که را دیدیم رشک حسرت ما میبرد
گرم دارد عالمی را بیتو آه سرد ما
قدر کس پنهان نخواهد ماند در دیوان عشق
روی ما را سرخ خواهد کرد رنگ زرد ما
دامنی پر لخت دل رفتیم تا کوی عدم
از گلستان وجود اینست راه آورد ما
مشت خاک ما کجا طعن ملایک میکشد
شهسواری همچو عشق آمد برون از گرد ما
جوشن افتادگی داریم و شمشیر نیاز
گر فلک مردست تاب حملة ناورد ما
یک جهان گو تیغ برکش ما سپر انداختیم
کس درین میدان به غیر از ما نباشد مردما
یک شب از پهلوی ما پهلوی آسایش ندید
بستر آشفتگیپردازِ غم گستردِ ما
مفت ما فیّاض اگر ما دین و دل درباختیم
نقشِ بردن راست نامِ باختن در نرد ما
Our planning is mortgaged to our aging reason; who knows how far the arrow of our strength will fly.
Logic opens no door to truth through knowledge; the pen of our scribe marks down only errors.
In the kingdom of the heart the demons' tyranny has gone too far; our minister, our reason, governs us badly.
Since the heart's hand has clutched the tresses of the beautiful, that same grip will be what saves us on the Day of Reckoning.
Fayyaz, don't grieve, for moment by moment it reaches the ear: the glad tidings from the ruby lips of our herald.
Explanation: Fayyaz is the poet's pen name, addressed in the closing couplet. The 'minister' is reason, ruling poorly over the heart's realm.
Original
شمارهٔ ۷
تدبیر ماست در گرو عقل پیر ما
معلوم تا کجا برسد زور تیر ما
برهان ز معرفت نگشاید در صواب
نقش خطا زند همه کلک دبیر ما
در ملک دل تغلّب دیوان ز حد گذشت
بد میکند کفایت ما را وزیر ما
تا دست دل به دامن زلف بتان زدیم
باشد به روز حشر همین دستگیر ما
فیّاض غم مخور که دمادم رسد به گوش
بانگ بشارت از لب لعل بشیر ما
You said that whoever longs to see us must stay awake;
our wakeful eye keeps faith with that command of yours.
We have happily turned lowliness into a high station;
even our own wall casts its shadow over us.
Friends lay on the balm, enemies pour in crushed glass;
no one knows the cure for our wounded heart.
Just as a breeze coaxes a rose petal out of the garden,
when will a lament draw the torn pieces of our heart from us?
Every strand of my breath is caught in the cords of a lament;
what more, O longing, do you want from my worn-out soul?
The ascetic's piety is just a branch of our family of unbelief;
his prayer beads are close kin to our pagan girdle.
Though we became a byword for a soiled and sinful life,
the water of mercy still flows in the stream of our repentance.
We don't know what new mischief will set it preening again;
today the smell of blood drifts from our door and walls.
We have fallen from the summit of the sky to the threshold;
O Generous One, it is not noble to torment us this much.
Explanation: The 'prayer beads and pagan girdle' couplet contrasts Islamic piety with non-Muslim devotion, mocking hollow asceticism. 'Fayyaz' (the Generous One) addresses God as the bountiful giver.
Original
شمارهٔ ۸
گفتهای: بیدار باید عاشق دیدار ما
پاس این حرف تو دارد دیدهٔ بیدار ما
رتبة افتادگی را خوش به بالا بردهایم
سایه بر بالای خود میافکند دیوار ما
دوستان مرهمگذار و دشمنان الماسریز
کس نمیداند علاج سینة افگار ما
چون نسیمی کز چمن برگ گلی آرد برون
ناله لخت دل برون کی آرد از گلزار ما
هر یک از پود نفس در دستِ تارِ نالهایست
دیگر ای حسرت چه میخواهی ز جان زار ما!
زهد زاهد شعبهای از دودمان کفر ماست
خویشی نزدیک دارد سبحه با زنّار ما
گرچه در آلوده دامانی مثل گشتیم لیک
آب رحمت میرود در جوی استغفار ما
تا کدامین فتنه بازش بر سر ناز آورد
بوی خون میآید امروز از در و دیوار ما
ما ز اوج آسمان بر آستان افتادهایم
از مروّت نیست فیّاض این قدر آزار ما
Nothing but the scar on the heart blooms in our spring; our tulip field drinks water from a stream of flame.
Every tulip color that broke open became sunlight; no flower of our spring was ever touched by withering.
In all four seasons our rosebush keeps blossoming; the flower has sworn a bond of brotherhood with our thorn.
We, the pure of nature, have made our peace with the world; no mirror takes on dimness from our dust.
Love laid us level with the dark earth; this was the reason for our standing in the world.
Though we are thin and worn, day and night the turning sky rides full speed, hunting us down.
Fayyaz, your style of speech was always fresh, yet in our age this fresh style has grown fresher still.
Explanation: Fayyaz is the poet's pen name, used in the closing couplet as is the convention. 'Riding full speed with two horses' is an idiom for relentless pursuit, here rendered as hunting at full speed.
Original
شمارهٔ ۹
جز داغ سینه گل نکند در بهار ما
از جوی شعله آب خورد لالهزار ما
هر رنگ لالهای که شکست آفتاب شد
پژمردگی نچید گلی از بهار ما
در چار فصل، گلبن ما را شکفتگی است
گل بسته است عقد اخوّت به خار ما
ما صاف طینتان به جهان صلح کردهایم
آیینه تیرگی نکشد از غبار ما
ما را به خاک تیره برابر نمود عشق
این بود در جهان سبب اعتبار ما
هر چند لاغریم ولیکن ز روز و شب
تازد دو اسبه دور فلک در شکار ما
فیّاض گرچه طرز سخن تازه بود لیک
این طرز تازهتر شده در روزگار ما
The brand of madness has found a place on my head once more;
my star has cast its shadow over me again.
We who are burned by fate know nothing of feasting and joy;
when any festival comes to our country, it turns to mourning.
Even after we perish, we who are burned lose no worth:
the mirror brightens its eye from our ashes.
Our days are dark, yet when love casts its ray,
our garment becomes a robe of honor on our body, like a lamp.
On the bed of comfort we find no rest;
like a precious blade's gem, only a sword's edge can be our resting place.
Even the shadow of the Huma's wing would weigh like a hair upon us,
if the brand of your love already shadows our head.
The yellow pallor of our face is worth no more than a straw,
unless love's slap stamps its mark on us like coin upon gold.
It is not from riches that we look down on the heavens;
the satin sky itself feels too tight against our body.
When our morning rises from the horizon of the glass,
our wine cup makes the sun's splendor pale in our sight.
We are rakish, drunk, our skirts soaked with wine; and you, lavish ascetic,
we have no mind like yours, so leave us alone.
Explanation: The Huma is a mythical bird whose shadow was said to confer kingship; here even that blessing feels heavy compared to the burden of love. The 'brand' (dagh) is the searing mark of passion and madness recurring through the poem.
Original
شمارهٔ ۱۰
کرد جا داغ جنون باز ز نو بر سر ما
سایه افکند دگر بر سر ما اختر ما
ما فلک سوختگان عیش و طرب نشناسیم
عید، ماتم شود آید چو سوی کشور ما
قدر ما سوختگان کم نشود بعد هلاک
دیده روشن کند آیینه ز خاکستر ما
تیره روزیم ولی عشق چو پرتو فکند
جامه چون خلعت فانوش شود در بر ما
پهلوی راحت ما را نبود آرامی
همچو جوهر مگر از تیغ کنی بستر ما
سایة بال هما درد سر آرد چون موی
داغ عشق تو اگر سایه کند بر سر ما
زردی چهرة ما قدر پر کاهش نیست
سیلی عشق مگر سکّه زند بر زر ما
از غنا نیست که ما ناز بر افلاک کنیم
اطلس چرخِ برین تنگ بود در بر ما
صبح ما از افق شیشه چو طالع گردد
در نظر جلوة خورشید کند ساغر ما
رند و تر دامن و مستیم و، تو زاهد فیّاض
ما دماغ تو نداریم، برو از سر ما
You who are hidden from my sight, you are the one drunk on your own beauty; let all my life of need be sacrificed to your sweet pride.
Jacob, with his eyes shut tight, complained of separation; now look what this open eye of mine endures.
What pain, that the days of my life have run out, and still this long, endless sorrow of mine will not end.
Not a single particle of it reaches your heart: this soul-shattering, heart-melting cry of mine.
Though you are the loveliest in the world and need no one, my love, no one but you can bear my fond demands.
I have no tongue to protest the cruelty of separation; my self-sufficient one already knows how needy I am.
My tongue is different, my way of telling is different; O Fayyaz, no one ever comes to know my secret.
Explanation: Jacob alludes to the Quranic and biblical figure who wept himself blind grieving for his lost son Joseph, a classic emblem of suffering in separation. 'Fayyaz' is the poet's pen name, addressed in the closing couplet.
Original
شمارهٔ ۱۱
ای غایب از نظر که تویی مست ناز ما
بادا فدای ناز تو عمر نیاز ما
یعقوب چشم بسته شکایت کند ز هجر
آخر ببین چه میکشد این چشم باز ما
دردا که روز عمر به آخر رسید و باز
آخر نمیشود غم دور و دراز ما
یک ذرّه در دل تو سرایت نمیکند
این نالة نفس گسل دلگداز ما
با آنکه نازنین جهانیّ و بینیاز
غیر از تو کس نمیکشد ای دوست ناز ما
ما را زبان شکوة بیداد هجر نیست
داند نیازمندی ما بینیاز ما
ما را زبان دیگر و تقریر دیگرست
فیّاض آشنا نشود کس به راز ما
My breath is too cramped to fill my long, aching chest.
So come, my cry, and send up smoke from this cage of mine.
Whose hope still follows after this caravan,
when the throat of our bell is scratched raw from wailing?
Your blade flashed over me like lightning, what grief,
for this flame would not fit in my body of straw.
Even if my longing breaks its fast in paradise,
it will still be left starved of the bounty of seeing you.
Weak as we are, with love to help us,
our fly outshines even the Simorgh.
My life is yours, on one condition: that in my dying breath
my gaze stays turned on your face.
Fayyaz, who in this caravan now stirs the senses,
so tonight our bell sings out drunk with joy?
Explanation: The Simorgh is a mythical bird symbolizing supreme greatness; love makes even a mere fly surpass it. The bell of the caravan is a recurring image of the journey of love and longing.
Original
شمارهٔ ۱۲
ناید به دراز سینه ز تنگی نفس ما
ای ناله بیا دود برآر از قفس ما
امیدِ که سر در پی این قافله دارد؟
کز ناله خراشیده گلوی جرس ما
بگذشت چو برق از سر ما تیغ تو ای وای
کاین شعله نگنجید در آغوش خس ما
از دولت دیدار تو محروم بماند
در خلد اگر روزه گشاید هوس ما
هر چند ضعیفیم ولی از مدد عشق
در جلوه ز سیمرغ نماند مگس ما
جان پیشکش تست به شرطی که دم نزع
بر روی تو باشد نگه باز پس ما
فیّاض، که در قافله بر هم زن هوشست؟
کامشب همه مستانه سراید جرس ما
The heavens don't strive in vain to destroy me;
even the sun gathers dust from my pure clay.
Sword of my beloved, the lover's longing writhes in blood:
your hem is clutched by the hand of my dying hope.
I sit here waiting for the uproar of resurrection;
at least, as a test, pass once over my dust.
The spring of my nature never knew an autumn;
it was sheer drunkenness that laid the vine's leaves down.
Beside the sobbing of my weeping sits, as its equal,
the laughter rising from my torn and shredded heart.
I've pinned the age's heartlessness upon myself, and still
my laughing breath weeps tears of blood.
As long as I've lived I've been a reckless rogue, ready to risk all;
like Fayyaz, I have feared no one.
Explanation: Fayyaz is the poet's pen name, here invoked as a model of fearless, free-spirited living. The 'rind' is the wine-loving rogue who scorns convention, a classic figure in Persian lyric poetry.
Original
شمارهٔ ۱۳
بیجا نبود سعی فلک در هلاک ما
خورشید گرده میکند از خاک پاک ما
ای تیغ یار، حسرتِ عاشق به خون تپید
دامان تست و دست امید هلاک ما
در انتظار شور قیامت نشستهایم
باری به امتحان گذری کن به خاک ما
هرگز بهار مشرب ما را خزان نبود
بدمستی افکند به زمین برگ تاک ما
با های های گریه برابر نشسته است
آواز خندة جگر چاک چاک ما
بیدردی زمانه به خود بستهایم و باز
خون گریه میکند نفس خندهناک ما
تا بودهایم رند و سرانداز بودهایم
از کس نبوده است چو فیّاض باک ما
Memories of you fill the corners of my eye and heart;
every room of my being has become a camp for your image.
My heart is tighter than the knot of your curls;
your sharp nail never untied my tangle.
Through clinging to the body, I am at the mercy of fate;
my soul lies like a slaughtered thing, writhing in the blood of the flesh.
Do not stop searching just because I keep to my corner;
my shore was raised by the hands of whirlpools.
The rawness of knowledge still holds him in its fire;
our wise man never understood madness through reason.
A sweet tongue leads you astray, alas;
still, I wish you never learned what is in my heart.
Desire cannot reach the place where I now stand;
thought has not been allowed into my dwelling.
It is no fault of his that he feels free of me;
in his heedlessness he has not even thought of himself.
I have heard my killer still thinks of paying my blood price;
he has not yet rubbed the sleep from his eyes.
I watered my own crop from the stream of patience and calm;
but when will Khizr's long life ever ripen as my harvest?
Beyond stealing his own heart away with a single flirtatious glance,
you and God: tell me, what other crime did my heartless love commit?
Though on his path all thought is futile,
my futile thoughts still travel the true road.
Except the friend whose love has rooted itself in my soul,
I tore out everything else that had sprouted from the clay of my being.
No one steals a taste of life from my bitterness;
my deadly poison carries sugar as a gift to Egypt.
The one who always bit his lip with a sweet smile,
how used he has grown to the insistence of my begging.
The world has filled with my scattered, raving talk;
my chains are enough for every maddened heart.
Now that our Mirza Saeed is alone,
how well it turned out that Fayyaz left my heart.
Explanation: Khizr is the immortal figure of legend, here a symbol of endless life that still cannot save the poet's barren harvest. Egypt was famed as a land of sugar, so sending sugar there is a paradox of carrying sweetness to where it is already abundant.
Original
شمارهٔ ۱۴
پُر است یاد تو در کنج دیده و دل ما
حشمنشین خیال تو شد منازل ما
دلی ز عقدهی زلف تو تنگتر داریم
نکرد ناخن تیز تو باز مشکل ما
ز تنپرستی خویشیم زیردست فلک
به خون تپیدهی جسم است جان بسمل ما
ز گوشهگیری ما ترک جستجو نکنی
که دستپرور گردابهاست ساحل ما
هنوز خامی دانش در آتشش دارد
جنون ز عقل نفهمیده است عاقل ما
تو را زبان خوش از راه میبرد هیهات
هنوز کاش ندانی که چیست در دل ما
در آن مقام که ماییم آرزو نرسد
ندادهاند ره اندیشه را به منزل ما
نه جرم اوست که از ما فراغتی دارد
به فکر خویش نیفتاده است غافل ما
شنیدهایم که در فکر خونبهاست هنوز
هنوز چشم نمالیده است قاتل ما
ز جوی صبر و سکون آب کشت خود دادیم
بقای عمر خضر کی رسد به حاصل ما
جز اینکه خود دلش از کف به عشوهای بردی
تو و خدا که دگر چیست جرم بیدل ما؟
اگر چه در رهش اندیشه باطل است ولی
درست میرود اندیشههای باطل ما
به غیر دوست که در جان دوانده ریشهی مهر
زدیم هر چه دگر رُسته بود از گل ما
کسی ز تلخی ما کام جان نمیدزدد
شکر به مصر برد ارمغان هلاهل ما
کسی که لب ز شکرخنده میگزید مدام
چه خو گرفت به ابرامهای سایل ما
ز گفتگوی پریشان ما جهان پر شد
بس است هر دل دیوانه را سلاسل ما
بدین وسیله که میرزا سعید ما تنهاست
چه خوب کرد که فیّاض رفت از دل ما
Our heart is a mirror for every tulip cheeked beauty;
it moves from door to door, lit by the glow of the beloved.
What a strange marvel: a single hue made of a hundred clashing colors.
Wherever an idol of beauty stands, our heart holds up the mirror.
Always hoping that you might be the one lying in wait,
our heart becomes the prey wherever a snare is set.
If love did not exist, who would nurture beauty?
Wherever you are, our heart is a garden in full spring.
The moment we lifted our lashes in the dust of misfortune,
our heart was a mirror buried under that dust.
You rose from sleep, a vision of pure radiance;
in the season of your face, our heart holds up the mirror.
If there is no room for grief and pain in this house,
then, Fayyaz, what good is our heart for anything?
Explanation: Fayyaz is the poet's pen name, used in the closing line as is customary. The mirror imagery throughout suggests a heart that reflects and is polished by the beloved's beauty.
Original
شمارهٔ ۱۵
آیینة هر لاله عذارست دل ما
خوش در بدر از جلوة یارست دل ما
یکرنگی صد رنگ مخالف چه بلایی است
هر جا صنمی، آینهدارست دل ما
دایم به امیدی که کمین کرده تو باشی
هر جا که بود دام، شکارست دل ما
گر عشق نباشد که کند تربیت حسن؟
هر جا که تویی باغ و بهارست دل ما
در گرد حوادث مژه تا باز گشودیم
آیینة در زیر غبارست دل ما
برخاستی از خواب تماشای صفایی
در عهد رخت آینهدارست دل ما
گر جای غم و درد درین خانه نباشد
فیّاض دگر بهر چه کارست دل ما؟
If we get drunk on the ruby lips of beautiful idols, in that drunkenness we hide the wine itself.
The whimper of those who seal their lips out of fear is more disgraceful; don't silence us, for we cry out loud.
The childlike tear on my lashes does the crying out, otherwise we would hold our tongue from complaint.
A single tender glance has plundered us completely; whatever profit we make, we turn into loss.
Every moment, lost in a wave of moaning, in our searching we send sorrowful letters to our beloved.
We have never strayed from humility and self-abasement; whatever we have done, we keep on doing the same.
Fayyaz, we die from the cruelty of our friend; in the end, we make our own faithfulness plain to see.
Explanation: Fayyaz in the final couplet is the poet's pen name. 'Ruby lips' is a classical image for a beloved's red lips.
Original
شمارهٔ ۱۶
گر مستییی ز لعل بتان میکنیم ما
در مستی شراب نهان میکنیم ما
رسواترست نالة لب بستگانِ بیم
ما را خمش مکن که فغان میکنیم ما
طفل سرشک بر مژه فریاد میکند
ورنه ز شکوه منع زبان میکنیم ما
از یک نگاهِ لطف به تاراج رفتهایم
سودی که میکنیم زیان میکنیم ما
هر دم ز موج نالة گم گشته در سراغ
غمنامهها به دوست روان میکنیم ما
هرگز خلاف عجز و تنزّل نکردهایم
کاری که کردهایم همان میکنیم ما
فیّاض میشویم هلاک جفای دوست
آخر وفای خویش عیان میکنیم ما
Fire drips like water from the way we speak;
you would think the tongue in our mouth is a flame.
In the land of love, the reflection of that face
turned the promise of our spring into autumn's color.
Tonight, as we spoke of your face,
no companion burned for us more tenderly than the candle.
Like the broken pen of clumsy writers describing those curls,
not one true word comes out of our mouth.
No one ever finds us through our frailty;
when you want a sign of us, ask the moaning instead.
Explanation: The candle is a classic image of a fellow sufferer that burns while it weeps. In the last couplet, the lover has grown so weak and faint that only his moans, not his body, can mark his presence.
Original
شمارهٔ ۱۷
آتش چکد چو آب ز طرز بیان ما
گویی که شعلهایست زبان در دهان ما
از عکس چهره هر دو قدم در دیار عشق
طرح بهار ریخته رنگ خزان ما
امشب که داشتیم حدیث رخت نبود
دلسوزتر ز شمع کسی همزبان ما
چون خامة شکستهنویسان به وصف زلف
حرف درست سر نزند از زبان ما
هرگز کسی ز ضعف به ما ره نمیبرد
گاهی ز ناله پرس چو خواهی نشان ما
The blade of your graceful brow thirsts for our blood; the lovely line of your face is the headline of our lesson in madness.
Our star was never this dark before; your hair cast its shadow over our wretched fate.
Your mischief-making eyes are not flushed from wine; the hem of their coy beauty is stained with our blood.
We are honest and single-hearted with everyone, like a mirror: whatever lies inside us, it shows on the outside.
Fayyaz, how can I give thanks for this black fortune? In the end it led me straight to the curls of beautiful idols.
Explanation: Fayyaz is the poet's pen name, used in the closing couplet as is customary. The 'idols' (botan) are beautiful beloveds, a common Persian metaphor.
Original
شمارهٔ ۱۸
ای تشنه تیغ ابروی نازت به خون ما
خطِّ خوش تو سرخط مشق جنون ما
هرگز نبود کوکب ما این چنین سیاه
زلفت فکند ساه به بخت زبون ما
گلگون ز باده نیست ترا چشم فتنهساز
آلوده است دامن نازش به خون ما
یکروی و یکدلیم به هر کس چو آینه
بیرون نماید آنچه بود در درون ما
فیّاض شکرِ بخت سیه را چهسان کنم
شد عاقبت به زلف بتان رهنمون ما
A child practices teasing, aiming straight for my life;
the cupbearer of our age keeps his wine still sour in the unripe grape.
I bow to the playfulness of your beauty: in parting and in union
your radiance never breaks away from my bewildered eyes.
Though we swallow our own blood, we are safe from fate's wheel;
our love has become both the disaster and the charm that turns it away.
Better to make a happy home somewhere beyond the sky,
for the flood of annihilation has surged into our hall.
What would we do with our heavy hearts in this temple of being,
if nonexistence had not been let into our foundation?
Years have passed since we opened the vein of desire, and still
the blood of rotten longings boils out of our arteries.
We have put on the robe of our existence inside out:
its outer face is our true meaning, its lining the mere title.
We are the Joseph of Canaan in wisdom, and the wicked self is Zulaikha;
the world is our pit, and the people of this age are our brothers.
No one will get a turn to be questioned
if our Judge settles our account on the Day of Resurrection.
With all the shame our sins have brought upon us,
our disobedience would not even regard the piety of the ascetic.
Our covenant takes no crack from all this faithlessness;
our pledge is made of the same clay as our faith.
Strange that we still keep eyes hopeful toward love, and yet
our raw, unfinished burning has not stained our faith with the color of unbelief.
We are drowned in disobedience, and stranger still: out of grace
our sovereign carries out that very command of ours.
There is a dark line written on the scripture of the idols' faces,
a verse foretelling our own dark fortune.
Where are we, and where the luck to catch the prey of the heart's desire?
To rival the heavens! How could that ever befit our station?
How long, generous Lord, this cruelty and tyranny of separation?
Tell our king it is better to be kind to his subjects.
Explanation: The Joseph and Zulaikha image casts reason as the chaste Joseph and the carnal self as the seducer who throws him into the pit of the world. 'Fayyaz' (the Bountiful) is read here as an address to God, the generous Lord.
Original
شمارهٔ ۱۹
مشق شوخی میکند طفلی به قصد جان ما
بادهای در غوره دارد ساقی دوران ما
شوخی حسن ترا نازم که در هجران و وصل
جلوه از هم نگسلد در دیدة حیران ما
گرچه ما خون میخوریم اما ز گردون ایمنیم
عشق ما شد هم بلا و هم بلاگردان ما
در برون آسمان بهتر که جایی خوش کنیم
شورش سیل فنا ره کرد در ایوان ما
ما ز دلگیری چه میکردیم در دیر وجود
گر عدم را ره نمیدادند در بنیان ما؟
عمرها شد تا رگ خواهش گشودیم و هنوز
خون حسرتهای فاسد جوشد از شریان ما
ما قبای هستی خود واژگون پوشیدهایم
ابرهاش مضمون ما و آستر عنوان ما
یوسف کنعان عقلیم و زلیخا نفس شوم
چاه ما دنیا و ابنای زمان اخوان ما
نوبت پرسش نمیافتد به دست هیچکس
در قیامت داور ما گر کند دیوان ما
زین خجالتها که ما را از گناهان حاصل است
زهد زاهد را نیارد در نظر عصیان ما
عهد ما از بیوفاییها نگردد رخنهدار
کرده با ایمان ما همطینتی پیمان ما
وه که ما چشم قبول از عشق داریم و هنوز
پر نکرد از خامسوزی رنگ کفر ایمان ما
غرق نافرمانییم و طرفهتر این کز کرم
میبرد فرمانروای ما همان فرمان ما
هست خط تیرهرو در مصحف روی بتان
در بیان تیرهروزی آیهای در شان ما
ما کجا و طالع صید مراد دل کجا
همسری با آسمان! کی گنجد این در شان ما؟
تا به کی فیّاض بر ما ظلم و بیداد فراق
گو رعیتپروری بهتر کند سلطان ما
No heart but ours can welcome grief; no mirror but ours reflects the darkness.
The brand of madness will never quit my head, not until the grief of loving you is satisfied with my chest.
For the sorrow of having spent one single night with you until dawn, my grudge against fate will never leave my heart.
Union is good when it matches the size of my longing; what can a single glance do for my ancient, aching desire?
Thanks to the fortune of love, every day of my week was a working Saturday; in my Friday there is no holiday from the lesson.
The heavens are settling accounts, deeply afraid of me; my woolen cloak of poverty would make the world too small for them.
Even if eternal union were betrothed to me, Fayyaz, it could never make up for, never erase, my grief of last night.
Explanation: Friday (Adineh) is the traditional day of rest in Iran; the poet says love allows him no rest, every day is a workday. Fayyaz is the poet's pen name.
Original
شمارهٔ ۲۰
غصّه را دل نگشاید به جز از سینة ما
تیرگی روی نبیند جز از آیینة ما
تا ابد داغ جنون ترک سر ما نکند
تا غم عشق تو راضی شود از سینة ما
در غم اینکه شبی با تو به روز آوردیم
چرخ را تا ابد از دل نرود کینة ما
وصل خوبست که در خورد تمنّا باشد
به نگاهی چه کند حسرت دیرینة ما!
هفتة ما همه شنبه بود از دولت عشق
رسم تعطیل سبق نیست در آدینة ما
در حساب است فلک، سخت زما میترسد
جا بر او تنگ کند خرقة پشمینة ما
گر شود وصل ابد نامزد ما فیّاض
نشود محو تلافی غم دوشینة ما
Sorrow from being apart from you has become my whole way of being; without you my veins and roots are like a buried ruby waiting in the dark.
Unless a glowing face appears before my eyes, the blood of meaning will never boil up in my thoughts.
No amount of digging can move us from our place; we are a vein of ruby whose roots run deep in the stone.
Follow me and step bravely into the ranks of love; our thicket can turn even the fox of your fear into a lion.
For all my simple heart, when grief was handed to me like a trust, my glass would not betray it: it never lets the color of my face show the secret.
No vein of ruby can be found in this generous mine; even the pickaxe turns red only from the blood of my own head.
Explanation: The ruby buried in stone is a classic Persian image of hidden, hard-won worth refined through suffering. The fox-into-lion line means courage in love transforms timid fear into bravery.
Original
شمارهٔ ۲۱
بسکه افسردگی از هجر تو شد پیشة ما
کان یاقوت بود بیتو رگ و ریشة ما
تا نباشد به نظر چهرة افروختهای
خون معنی نزند جوش در اندیشة ما
نتوان برد به هر کاوشی از جا ما را
رگ لعلیم که در سنگ بود ریشة ما
پی ما گیر و دلیرانه درآ در صف عشق
روبه وهمِ ترا شیر کند بیشة ما
با همه سادهدلی غم چو امانت سپرد
پرده بر رنگ رخ میندرد شیشة ما
رگ لعلی نتوان یافت درین کان فیّاض
هم ز خونِ سرِ ما سرخ شود تیشة ما
The axe of our thought makes no dent in our grief. I wish that axe would just fall on our own head instead.
Our palm tree, it seems, will never bear the fruit of progress, as if our roots and veins have sunk into solid steel.
No wonder the moon shattered apart like torn linen, when the flash of our axe blade claims to rival its light.
My heart will never agree to come together with yours. I fear, my friend, that our glass will smash against your stone.
You are not a man to carry our slight burden, Fayyaz; your lion would only claw at the rock in our thicket.
Explanation: The 'axe' echoes the Persian legend of Farhad cutting through stone, used here for futile effort. Fayyaz appears to be the poet's pen name or addressee in the final couplet.
Original
شمارهٔ ۲۲
کارگر نیست به غم تیشة اندیشة ما
خورد ای کاش همان بر سر ما تیشة ما
نخل ما بار ترقی ندهد پنداری
که به فولاد فرو رفته رگ و ریشة ما
چه عجب گر چو کتان ماه فرو ریخت ز هم
دم ز مهتاب زند برق دمِ تیشة ما
دل ما جمع نخواهد که شود با دل تو
ترسم ای دوست که بر سنگ خورد شیشة ما
نیستی مرد سبک حملگی ما فیّاض
پنجه در سنگ زند شیر تو در بیشة ما
The careless indifference of my reckless beloved has destroyed me, and yet, on top of this, the beloved demands a blood-price from our very dwelling.
We are the herald of silence, a child raised on a tongue not yet loosened; still, our inner clamor strikes hard against the ear of indifference.
Explanation: «Diyat» refers to the blood-price owed for a killing under Islamic law; the irony is that the beloved both kills the lover and then demands payment. The «child of silence» suggests feelings too deep or young to be spoken aloud, yet they still cry out.
Original
شمارهٔ ۲۴
کشت ما را تغافل یار بیپروای ما
با وجود این دیت میخواهد از ماوای ما
ما بشیر خامشی طفل زبان پروردهایم
تند بر گوش تغافل میخورد غوغای ما
Union itself became the cause of our parting;
the very closeness we shared turned into our enemy.
Even our dust never reached the hem of anyone;
how far-reaching our failure turned out to be.
In the meadow our wings were bound even tighter;
the trap laughed at the thought of our freedom.
We have become the very nature of brokenness;
how costly the balm to mend us would be.
Since no one bought us at any price,
how plainly our true worth has been revealed.
We have turned our friend into our enemy;
our alchemy lost badly in the bargain.
It is hard work to become a barrier to the heart;
our failures came to us for nothing.
We who only hope to lose ourselves,
when would even Khizr bother to guide us!
Sorrow showered us gently with its need;
there was a freshness in how we stole hearts.
Whatever we had, we have gambled away;
our poverty was the capital we built upon.
Our union did not gladden the generous heart;
perhaps our parting will bring it joy instead.
Explanation: Khizr is the legendary immortal guide of Sufi tradition who leads lost travelers; here the poet feels even he would not bother. 'Mummy' in couplet 4 refers to a costly healing balm believed to mend broken bones.
Original
شمارهٔ ۲۵
وصل شد باعث جدایی ما
خصم ما گشت آشنایی ما
گرد ما هم به دامنی نرسید
چه رسا بود نارسایی ما
در چمن بال بستهتر گشتیم
دام خندید بر رهایی ما
دل نهادِ شکستگی شدهایم
چه گران است مومیایی ما
زین که ما را به هیچ کس نخرید
چه عیان شدگرانبهایی ما
دوست را کردهایم دشمن خویش
سخت واباخت کیمیایی ما
سخت کاریست سد دل گشتن
مفت ما بود ناروایی ما
ما که امّید گم شدن داریم
کی کند خضر رهنمایی ما!
غم به ما خوش نیاز پاشی کرد
تازگی داشت دلربایی ما
هر چه هم داشتیم باختهایم
مایه برداشت بینوایی ما
وصل ما خوش نکرد دل فیّاض
دل مگر خوش کند جدایی ما