What does the heartbreak of love have to do with the easy pleasures of desire? Look how far apart they are: the bait over here, the trap over there.
Soothing the fevered mind of love is something else entirely; your mad longing and a dab of almond oil are worlds apart.
Explanation: Almond oil was a traditional remedy thought to cool a feverish or troubled mind, so the poet contrasts a simple folk cure with the deep affliction of real love.
Original
شمارهٔ ۱
با عشق هوس سوز غم کام کجا
این دانه ببین کجا و این دام کجا
ترطیب دماغ عشق چیز دگرست
سودای تو و روغن بادام کجا
In the valley of love, don't spread your wings, set down your foot;
walk this stage of the road without taking a single step.
People say: pick up your feet and leave.
I say: plant your feet and come closer.
Explanation: The paradox of walking without stepping suggests that love's journey is inward, not measured by ordinary movement. The poet inverts the crowd's advice to flee love, urging the seeker to stay and draw nearer.
Original
شمارهٔ ۲
در وادی عشق پر مکش منّت پا
بیگام درین مرحله شو ره پیما
مردم گویند پای بردار و برو
من میگویم که پای بگذار و بیا
Though the Prophet's companions are all light and guidance,
each one travels his own separate road toward the next world.
But Ali, the honored king of men,
is a road that runs straight all the way to God.
Explanation: Ali is called «shah-e mardan», the king of men, a traditional honorific for Imam Ali.
Original
شمارهٔ ۳
اصحاب پیمبر ارچه نورند و هُدا
هر یک سوی آخرت رهیاند جدا
لیکن شه مردان علی عالیقدر
راهیست که راست میرود تا به خدا
You who comfort a soul raised on sorrow, come.
You who polish a heart covered in dust, come.
You know nothing of the ache in these weary hearts.
We are dying from your absence, you who feel no pain: come.
Explanation: Polishing the heart of dust is a Persian image for restoring clarity and peace to a grieving mind.
Original
شمارهٔ ۴
ای راحت جان غصّه پرورد بیا
وی صیقل خاطر پر از گرد بیا
از درد دل خستهدلان بیخبری
مردیم ز دوری تو بیدرد، بیا
You who are the longing of my grief stricken heart, come;
you who heal a soul worn down by weeping, come.
You went off to a rival's gathering, so don't linger there.
I might lose you altogether, so come back quickly.
Explanation: The 'rival' (ghayr) is the classic Persian image of a competitor for the beloved's attention.
Original
شمارهٔ ۵
ای آرزوی دل غم اندود بیا
ای مرهم جان ناله فرسود بیا
رفتی چو به بزم غیر پر دیر مکن
از دست مبادا که روی، زود بیا
Without a drop of your generosity, the whole sea is a mirage;
without the light of your being, every flourishing place lies in ruin.
All the world claims its existence only from you,
the way a shadow claims it from the sun, a wave from the water.
Explanation: The poem addresses God, casting all creation as utterly dependent on the divine, like a shadow on the sun or a wave on water.
Original
شمارهٔ ۶
ای بینم جود تو همه بحر سراب
بینور وجودت همه معموره خراب
عالم همه از تو لاف هستی زدهاند
چون سایه ز آفتاب و چون موج ز آب
The eternal Giver who set out the feast of existence
fills the cup of speech with the aged wine of meaning.
So that the bitterness of the wine would not sting the soul's palate,
he sweetened its taste with the sugar of gratitude.
Explanation: The 'wine of meaning' is a Sufi image for divine truth or eloquent speech. 'Shukr' puns on both sugar and thankfulness, a wordplay kept here as 'sugar of gratitude'.
Original
شمارهٔ ۷
فیاض ازل که بزم هستی آراست
جام سخن از می معانی پیر است
تا تلخی می مذاق جان را نگزد
از شکّر شکر خویش کردش مزه راست
When fate, with delicate care, adorned the face of beauty,
the robe of modesty was tailored to fit the stature of love.
If these two guardians did not stand watch on left and right,
what smoke would rise from these two flames!
Explanation: Beauty and modesty are cast as paired guardians; without them, love's fire (the 'two flames') would burn out of control.
Original
شمارهٔ ۸
از ناز قضا چو چهرة حسن آراست
تشریف حیا به قدّ عشق آمد راست
گر این دو نگهبان نبود از چپ و راست
بس دود کزین دو شعله برخواهد خاست
Though the heart brims with the light of God,
still, what is a single drop next to the sea?
Anyone with eyes that truly see the truth knows this:
if a mirror claims 'I am the original,' it lies.
Explanation: The second couplet plays on the idea of reflection: the heart is only a mirror of God, never the source. The phrase echoes mystical claims of union while warning against confusing the image with the real.
Original
شمارهٔ ۹
هر چند که دل لبالب از نور خداست
لیکن به مثل قطره کجا بحر کجاست؟
داند نظری کو به حقیقت بیناست
کابینه اناالعکس اگر گفت؟ خطاست
Ramadan, what a soul-reviving month it is; the marks of subtle grace shine clearly through it.
Why does everyone wear the pale color of recovery, if not because Ramadan drives away the most dangerous diseases?
Explanation: The 'pale color of recovery' refers to the faces of those fasting, likened to convalescents healing from sickness, here a healing of both body and spirit.
Original
شمارهٔ ۱۰
ماه رمضان عجب مه روحفزاست
آثار لطایف اندرین مه پیداست
رنگ همه چون رنگ نقاهت ز چه روست
گر نه رمضان مزیل امراض خطاست!
We are the ones whose craft is living without pretense;
our home stands at the crossroads of letting go.
Cunning, the eye for beauty, drunkenness, and madness:
the honor of a thousand callings rests on our shoulders.
Explanation: 'Rindi' (rendered as cunning) is the carefree, unconventional wisdom of the free spirit in Persian poetry. 'Nazarbazi' means delighting in beauty as a contemplative, almost spiritual act.
Original
شمارهٔ ۱۱
ماییم که بیتکلّفیها فن ماست
در چار سوی گذشتگی مسکن ماست
رندی و نظربازی و مستی و جنون
ناموس هزار کار در گردن ماست
Your pain is the price I pay for chasing comfort;
loving you atones for all my pious failings.
Your hair, the very summit of every confusion,
measures out the longing of all the lost and troubled.
Explanation: The beloved's tangled hair is a classic Persian image for the soul's bewilderment; 'me'raj' (ascension) is used to mean the peak of disorder.
Original
شمارهٔ ۱۲
درد تو تلافی تن آسانیهاست
عشق تو کفارة مسلمانیهاست
اندازة همّت پریشانان است
زلف تو که معراج پریشانیهاست
To someone with knowledge and learning, what matters is having the means ready; success is simply that the tools are at hand.
Once the means are gathered, the rest of the work is up to you; for your journey, success is the moonlight that lights the way.
Explanation: Moonlight here stands for the guiding favor that makes the road of effort possible. The poem stresses that preparation opens the way, but action is the traveler's own.
Original
شمارهٔ ۱۳
در پیش کسی که علم و دانش بابست
توفیق مهیّا شدن اسبابست
اسباب چو جمع شد دگر کار از تست
توفیق برای سفرت مهتابست
In the garden of love, joy is hard to find;
its thorns and flowers are quenched only by thirsty lips.
Sharing a single shirt with the flower bud,
wilting and blooming both lie sleeping together.
Explanation: The image of thirst being the only water suggests that in love, longing itself is what sustains. The bud holds both decay and flowering at once.
Original
شمارهٔ ۱۴
در گلشن عشق خرمی نایابست
خار و گلش از تشنه لبی سیرابست
با غنچه گل در ته یک پیراهن
پژمردگی و شکفتگی در خوابست
Tonight your sorrow burned my soul and spirit, and the fever racking your body set my own life on fire.
From that fever that tortured you last night, even the marrow in my bones, boneless as it was, burned within me.
Explanation: The closing image plays on 'maghz' (marrow/brain), suggesting the poet burns down to his innermost core out of sympathy for the beloved's pain.
Original
شمارهٔ ۱۵
امشب ز غمت روح و روانم میسوخت
وز تاب تب جسم تو جانم میسوخت
زان تب که شب دوش ترا داشت به رنج
مغزی که نداشت استخوانم میسوخت
Come, Fayyaz, for love has granted you entry,
and saved you from the turmoil of the intellect.
Come like a brave man, leave your very existence behind,
for this mighty river has let you pass through it.
Explanation: The 'mighty river' (originally the Tigris) is the powerful current of love that sweeps the seeker away from worldly attachment. Fayyaz is the name of the person being addressed.
Original
شمارهٔ ۱۶
فیّاض بیا که عشق بارت دادست
وز فتنه عقل زینهارت دادست
مردانه بیا از سر هستی بگذر
کاین دجله پر زور گذارت دادست
O flame, because of your cruel, tyrannical ways
I burn alive, and you have no idea I exist.
You asked why I circle you like a moth around a candle.
I circle you because I would give my life for you.
Explanation: The moth circling the candle flame is a classic Persian image for the lover destroyed by devotion to the beloved. The Persian 'gardam gerd-e sarat' plays on both circling around the head and offering one's life as a sacrifice.
Original
شمارهٔ ۱۷
ای شعله ز دست خوی بیدادگرت
میسوزم و هیچ نیست از من خبرت
گفتی که چو پروانه چه گردی گردم
میگردم قربان سرت گرد سرت
Today, when seeing you is a holiday for me,
the brand of your absence turns my chest into a garden of hope.
The rosy color of your face comes from the blood of my heart;
otherwise, paleness is the sun's natural lot.
Explanation: The poet claims the beloved's rosy glow is borrowed from the blood of his grieving heart, while the sun, by nature, is pale. The 'brand' or scar of love paradoxically blooms into hope.
Original
شمارهٔ ۱۸
امروز که دیدار تو ما را عیدست
از داغ تو سینه گلشن امیّدست
گلگونة روی تو ز خون دل ماست
ورنه زردی لازمة خورشیدست
The Generous One has given you the gift of love once more,
and granted your work and affairs new success.
As atonement for the vow of repentance you made in autumn,
breaking that vow has now given you spring.
Explanation: Fayyaz ('the Generous One') is a name for God. The poem plays on the idea that abandoning a joyless vow made in autumn brings the renewal of spring.
Original
شمارهٔ ۱۹
فیّاض دگر عشق عبارت دادست
توفیق رواج کار و بارت دادست
کفّارة توبهای که کردی به خزان
این توبه شکستن بهارت دادست
Whoever has glimpsed your qualities is forever changed;
your grace brings a fresh promise with every passing moment.
Our obedience will never measure up to your goodness,
yet in your presence we hold a different kind of hope.
Explanation: The poem contrasts the speaker's inadequate devotion with the boundless grace of the beloved or the divine, placing all trust in that grace rather than in personal merit.
Original
شمارهٔ ۲۰
آنرا که به اوصاف تو دید دگرست
از لطف تو هر لحظه نوید دگرست
با طاعت ما روی بهی نیست ولی
ما را به جناب تو امید دگرست
I am the one whose heart is ashamed of cheer;
joy has grown strange to my nature and turns away from me.
I came to nothing because my fortune raised me wrong;
a palm tree grown in shade bears no fruit.
Explanation: The palm raised in shade is a metaphor for a life sheltered or misshaped by fate, yielding nothing.
Original
شمارهٔ ۲۱
آنم که ز خرّمی دلم را عارست
وز عادت من خوی طرب بیزارست
بیحاصل از آن شدم که بختم پرورد
نخلی که به سایه پرورد بیبارست
From the start the heart tied itself to attachment;
then reason arrived, and that bond grew thin.
For a lifetime we hung balanced on one foot;
then love arrived and set this broken thing right.
Explanation: Hanging 'on one foot' pictures an unsteady, precarious life that love finally steadies and completes.
Original
شمارهٔ ۲۲
دل بست به خود تارِ تعلّق ز نخست
عقل آمد و این علاقه شد اندکست
آویخته بودیم به یک پا عمری
عشق آمد و این شکسته را کرد درست
Whoever clings more tightly to existence, if he can let go of himself, he reaches his true self.
As long as something remains, letting go is the dervish's art; when nothing is left, anyone can be a dervish.
Explanation: The 'dervish' here stands for one who renounces worldly attachment; the point is that true renunciation means giving up while you still possess something.
Original
شمارهٔ ۲۳
هر کس که تعلّقش به هستی بیش است
گر بگذرد از خویش به جای خویش است
تا هست، گذشتن هنرِ درویش است
وقتی که نباشد همه کس درویش است
Fayyaz, where are you? I am feeling good;
in love with her, my months are sweet, my years are sweet.
In my suffering, even the dark night is lovely;
in this fire, my burning wings feel just fine.
Explanation: Fayyaz is a name used in direct address. The image of burning wings conveys contentment found even in the pain of love.
Original
شمارهٔ ۲۴
فیّاض کجایی که مرا حال خوشست
در عشق ویم ماه خوش و سال خوشست
در محنتم ایّام شب تیره نکوست
در آتشم احوال پر و بال خوشست
My sighing wore down the flame in my heart, and it died;
from the dry thornbush of my being, only smoke remained.
Like a dry thorn in the furnace of love,
I caught fire fast, and just as fast burned out.
Explanation: The dry thorn is an image of something that flares brightly but briefly, used here for the fleeting nature of love and the self quickly consumed by it.
Original
شمارهٔ ۲۵
آهم ز دل زبانه فرسود نشست
از بوتة خارِ هستیم دود نشست
ماننده خار خشک در گلخن عشق
زودم آتش گرفت و هم زود نشست