I am a servant of your face, you wine lover;
your drowsy, intoxicating eyes have left my soul drunk.
When the light of your face appears before me,
all I can do at your doorstep is cry out with longing.
Explanation: The 'drowsy narcissus' is a classic Persian image for a lover's languid, half-closed eyes. The exclamation 'hey hey' conveys ecstatic clamor at the beloved's door.
Original
شمارهٔ ۱
من بنده روی توام، ای باده پرست
وز نرگس مخمور تو جانم شده مست
چون پرتو دیدار تو ظاهر گردد
مارا بسر کوی تو یک هی هی هست
If I speak of my soul, it has long been your lover;
if I speak of my heart, it is your poor, humble servant.
Every creature in both worlds exists only through your grace;
whether unbeliever or faithful, each one follows your faith.
Explanation: «Both worlds» means this world and the next. The final line suggests the beloved is the center around which even belief and disbelief revolve.
Original
شمارهٔ ۲
گر جانم گویم، عاشق پیشین شماست
ور دل گویم، بنده مسکین شماست
خلق دو جهان طفیل تمکین شماست
گر کافر و مؤمنست، بر دین شماست
As long as our home is on the street of love,
the secret of eternity, before time and after, is ours to hold.
As long as the thrill of your love runs through our clay,
at the head of every list of names stands the name of the heart.
Explanation: 'Water and clay' is a classic Persian image for the human body and its very substance. The 'street of love' marks the poet's chosen dwelling among lovers.
Original
شمارهٔ ۳
تا بر سر کوی عاشقی منزل ماست
سر ازلی و ابدی حاصل ماست
تا نشئه عشق تو در آب و گل ماست
سر نامه نامها بنام دل ماست
My heart is in love with your wild, dreamy Turkish eyes;
you are the candle, and the whole world circles you like moths.
My soul and heart are lovesick and crazy for you;
you have become the home of my heart, and my heart is your home.
Explanation: The 'Turkish eyes' is a classic Persian image of a captivating, bold beauty. The candle and moth stand for the beloved and the self-consuming lovers drawn to them.
Original
شمارهٔ ۴
دل عاشق چشم ترک مستانه تست
تو شمعی و عالم همه پروانه تست
جان و دل ما عاشق و دیوانه تست
تو خانه دل شدی و دل خانه تست
A lover who cannot walk through fire like the salamander is just a beast of burden; a Sufi who is not a free-spirited wanderer is worthless.
A rogue who is not also pure at heart is no true man; an ascetic who has no beloved to witness is nothing but an owl in a ruin.
Explanation: The salamander was believed to live in fire, a symbol of a lover who endures passion's flames. The owl in ruins is a Persian image of desolation and emptiness.
Original
شمارهٔ ۵
عاشق که سمندر نبود خر کوفست
صوفی که قلندر نبود موقوفست
رندی که نه پارسا بود نامردست
زاهد که نه شاهدیش باشد بوفست
I said: I love you with a thousand hearts.
She laughed with a teasing charm and said: what a lovely way to be.
I said: my beauty, whose road leads to your embrace, and where does it begin?
She answered: my friend, it runs from the beloved straight to the beloved.
Explanation: The final line plays on the idea that union with the beloved comes only through the beloved itself, a mystical circle of love.
Original
شمارهٔ ۶
گفتم:بهزار دل ترا دارم دوست
در خنده شد از ناز که:این شیوه نکوست
گفتم:صنما،راه وصال از که بکیست؟
فرمود که: ای دوست، هم از دوست بدوست
Even though in these times there is no true confidant,
and the foundation of friendship stands on shaky ground,
in every state, we stay glad with her sorrow;
since the sorrow is safe and well, there is no more grief.
Explanation: The second couplet plays on the idea that as long as the beloved's sorrow itself remains 'safe and well,' the poet welcomes it, so no real grief exists.
Original
شمارهٔ ۷
هرچند که در زمانه یک محرم نیست
بنیاد اساس دوستی محکم نیست
ما در همه حال با غمش دلشادیم
چون غم به سلامتست، دیگر غم نیست
For one moment my heart has no wish to be sober;
with the sober-minded I have no wish for friendship.
I carry a load a drunken elephant couldn't bear,
and nothing can lift this load but God's own grace.
Explanation: The 'drunkenness' here is spiritual intoxication with the divine, not literal wine. The elephant image conveys an overwhelming weight only God can carry.
Original
شمارهٔ ۸
یک لحظه دلم را سر هشیاری نیست
با هشیاران مرا سر یاری نیست
باریست مرا،که پیل مستش نکشد
وین بار بجز عنایت باری نیست
Every heart that gained true awareness from the start
found the whole kingdom of the world, from the moon above to the fish below.
Grasp it now, if only you will understand,
for in time you will come to see this very point.
Explanation: The phrase 'from the moon to the fish' is a Persian idiom meaning the entire span of existence, from the heavens down to the mythical fish said to support the earth.
Original
شمارهٔ ۹
هر دل،که ز سر کارآگاهی یافت
در ملک جهان ز ماه تا ماهی یافت
دریاب،اگر چنانچه در خواهی یافت
کین نکته بروزگار در خواهی یافت
If my beloved takes on the ways of the drunk and plays a thousand tricks on those who love him,
don't lose hope in him, for in the end he will make everything easy for you.
Explanation: The 'ways of the drunk' evokes the beloved's careless, teasing coquetry, a common image in Persian love poetry.
Original
شمارهٔ ۱۰
گر دلبر من شیوه مستان گیرد
بر عاشقان خود هزار دستان گیرد
نومید مشو ازو،که در آخر کار
هم عاقبت کار تو آسان گیرد
My heart, the sorrow of love makes you skilled in every art,
and lifts you higher than anything you could imagine.
In the ordeal of separation it lays you low;
in the end, what will the grief of that beloved make of you?
Explanation: «ذو فنون» means possessing many talents or arts; here love's pain paradoxically enriches the heart even as separation crushes it.
Original
شمارهٔ ۱۱
ای دل،غم عشق ذو فنونت سازد
وز هرچه گمان بری فزونت سازد
در واقعه هجر زبونت سازد
آخرغم آن نگار چونت سازد؟
My heart is bound to your dark, musky locks,
and my weary soul belongs to your ruby lips, set with pearls.
The souls of both worlds have become your humble servants;
a hundred prayers rise, all dependent on your single 'amen'.
Explanation: The 'ruby set with pearls' pictures red lips and white teeth. The final line means all blessings wait upon the beloved's approval.
Original
شمارهٔ ۱۲
دل بسته طره های مشکین تو شد
جان خسته لعل گوهرآگین تو شد
جان دو جهان بنده مسکین تو شد
صد فاتحه خوان طفیل آمین تو شد
For a while the old sage of wisdom gave me this advice:
Beware, never bind yourself to love.
My wretched fate ignored wisdom's counsel,
and separation crashed down on my head like Mount Alvand.
Explanation: Mount Alvand is a peak near Hamadan, used here to convey the crushing, immovable weight of separation.
Original
شمارهٔ ۱۳
یک چند مرا پیر خرد گفتی پند :
هان!تانکنی به مهرورزی پیوند
نشنید نصیحت خرد بخت نژند
هجران بسرم تاخت چو کوه الوند
The day they raised this dome of blue glass,
and set up this vault of nine high heavens,
there was no veil of nothingness, no candle, no fire,
no thread; it was the love of the beloved they tied upon us.
Explanation: The «dome of blue glass» is a classic Persian image for the sky. «Kotm-e adam» (the veil of nonexistence) refers to the state before creation.
Original
شمارهٔ ۱۴
آن روز که این گنبد مینا بستند
وین طارم نه سپهر اعلا بستند
نی کتم عدم بود،نه شمع و نه آتش
نی رشته،که عشق یار بر ما بستند
Those who are lost in longing for you
are restless, frantic, and adrift.
They stand amazed before your lovely face;
they stay amazed until the day they die.
Explanation: The repeated 'amazed' echoes the Persian repetition of 'heyranan,' stressing a wonder that lasts a lifetime.
Original
شمارهٔ ۱۵
آنها که ز سودای تو سرگردانند
آشفته و شوریده و بی سامانند
در طلعت زیبای تو حیرانانند
حیرانانند و تا بحی میرانند
When he handed us the wine, in spite of every envious eye,
we drank it down, whether it ran clear or thick with dregs.
This wine was poured for us; who else would drink it?
The custom of the tavern was set for us alone.
Explanation: Clear wine versus wine thick with dregs suggests accepting whatever fate offers, good or bad, without complaint.
Original
شمارهٔ ۱۶
چون باده بما داد،علی رغم حسود
خوردیم،اگرصاف،اگر دردی بود
این باده ز بهر ماست،جز ما که خورد؟
چون رسم شراب خانه بهر مابود
I came into the marketplace of being for your sake, and for your sake I go searching among the signs of all that exists.
If you had never shown yourself, had never come into the open, every secret of existence would have stayed pointless and void.
Explanation: The 'marketplace of being' pictures the world as a bustling market one enters at birth. The beloved's manifestation is what gives all creation its meaning.
Original
شمارهٔ ۱۷
از بهر تو آمدم ببازار وجود
وز بهر تو می روم بر آثار وجود
گر زانکه نیامدی به اظهار وجود
باطل ماندی جمله اسرار وجود
King of the world, no harm ever comes from you; you are wise of heart, learned, and your fortune is wide awake.
I have fallen weak and worn at your doorstep's dust; out of your kindness, lift me up from the ground.
Explanation: The 'wakeful fortune' is a common Persian image for a person favored by luck and destiny.
Original
شمارهٔ ۱۸
ای شاه جهان،از تو نیاید آزار
دانا دل و عالمی و بختت بیدار
بر خاک درت فتاده ام زار و نزار
از روی کرم ز روی خاکم بردار
Whatever quality the beloved reveals, whether in pure darkness or in unmixed light,
the lover takes on that very same quality; subjects follow the faith of their kings.
Explanation: The final line uses the old idea that ordinary people adopt the religion of their rulers, here as an image of how the lover mirrors the beloved.
Original
شمارهٔ ۱۹
معشوقه به هر صفت که آید به ظهور
از ظلمت محض، یا خود از خالص نور
عاشق به همان صفت موصوف گردد
بر دین ملوک است رعیت مامور
The king's kindness rests once more on your spirit; you are God's beloved, a bird of soaring flight.
What comparison could an elephant have with you? The kings of the world stand humbly at your threshold, laid out like pieces on the board of need.
Explanation: The second couplet plays on chess imagery: 'pil' means both elephant and the chess bishop, and 'nat' (the board) frames earthly kings as mere pieces before the praised one.
Original
شمارهٔ ۲۰
ای ساعد لطف شاه از روح تو باز
محبوب خدا،طایر عالی پرواز
با پیل چه نسبتت؟که شاهان جهان
بر خاک درت پیاده بر نطع نیاز
You who walked on your own two feet into a place beyond words,
and by your own hand fell into a ruin beyond words.
Step out, just for a moment, from the copper of your own being,
so you may find your way to an alchemy beyond words.
Explanation: In classical Persian imagery, alchemy turns base copper into gold; here it stands for spiritual transformation, and the self is the raw copper that must be transcended.
Original
شمارهٔ ۲۱
ای رفته به پای خود به جایی که مپرس
وز دست خودی تو در بلایی که مپرس
از مس وجود خود دمی بیرون آی
تا راه بری به کیمیایی که مپرس
By his grace our beauty is beautiful;
the whole world thirsts, and we are the clear water.
We are people of perfection, and every breath we take
brings a hundred kinds of greeting to those who seek it too.
Explanation: 'Clear water' works as an image of what satisfies the world's spiritual thirst. 'People of perfection' points to those who have reached spiritual completeness through divine grace.
Original
شمارهٔ ۲۲
ما را ز عنایتش جمیلست جمال
عالم همه تشنه اند و ما آب زلال
ما اهل کمالیم وز ما هر نفسی
صدگونه تحیتست بر اهل کمال
You, the life of the world, life of the world, my Gilani sweetheart,
my heart longs for your face every single day.
The flood of Qasim's tears, pouring from the cloud of grief for you,
ran on so long it swept all of Gilan away.
Explanation: The poet mixes Gilaki dialect with Persian. 'Qasim' is the poet's own name, used in the classic style of naming oneself in the final couplet.
Original
شمارهٔ ۲۳
ای جان جهان، جان جهان، دلبر گیل
می دل همه روج داروتی دیمی میل
سیلاب سرشک قاسم از ابر غمت
اندی بشو، که برد گیلان را سیل
I beg of the eternal king a single sip of wine, one that fills me from head to toe.
Let it make me so drunk that I find peace, free from the rule of being and the custom of nothingness.
Explanation: Wine here is a mystical symbol for divine intoxication that frees the soul from earthly attachments and from the concerns of existence and non-existence.
Original
شمارهٔ ۲۴
مستدعیم از حضرت سلطان قدم
یک جرعه شراب را که سرتابقدم
مستم کند آن چنان که آسوده شوم
از قاعده وجود و از رسم عدم
Whether I'm an unbeliever or a believer, I follow your faith; whether good or bad, I'm your poor servant.
If I'm sincere devotion, I'm the sermon that proclaims your majesty; and if I'm a prayer, I live only by the grace of your 'amen'.
Explanation: 'Fatiha' is the opening chapter of the Quran, used here to mean a prayer that depends on God's answering 'amen'.
Original
شمارهٔ ۲۵
گر کافر و مؤمنم،که بر دین توام
گر نیک و بدم، بنده مسکین توام
گر اخلاصم، خطبه تمکین توام
ور فاتحه ام، طفیل آمین توام