Get up and pour the rose-red wine,
the joy that fills us within and without.
Make me so drunk on this wine
that I can't tell a mountain from a flat plain.
Once the wine sets my head spinning,
I won't count the turning sky as anything at all.
The cup-shaped wheel of heaven drinks my blood;
from this cup I'll take that blood right back.
Spill a little more onto the ground,
let even Korah's greedy mind get drunk,
so that, out of sheer joy, he flings up
the buried treasure from people's hearts.
The wheel of fate throws down the wise,
while the sky lifts up the worthless.
You too, pour the wine into your cup,
then strike up the measured music and dance.
Draw the silken string across the harp,
warm up that rose-red mount for the ride.
So that, to break the army of sorrow,
I can launch a night raid on the head of the wine jar.
Explanation: Korah (Qarun) is the biblical/Quranic figure famous for immense hoarded wealth, used here as the symbol of buried treasure and greed. The 'night raid on the wine jar' plays on military imagery to describe attacking grief by drinking.
Original
شمارهٔ ۱
خیزُ دَر دٍه شراب گلگون را
شادیِ اندرون و بیرون را
آن چُنان مست کن ز باده مرا
که ندانم ز کوه، هامون را
چون ز باده سرم شود گردان
نارم اندر شمار گردون را
خون من خورد چرخِ ساغرشکل
باز خواهم ز ساغر آن خون را
جرعه بر خاک ریز بیشترک
مست گردان دٍماغ قارون را
تا ز شادیّ آن بر اندازد
از دل خلق گنج مدفون را
چرخ افگند اهل دانش را
آسمان برکَشید هردون را
باده را در فکن تو نیز به جام
برکش آنگه سٍماع موزون را
تنگ ابریشمین بکش بر چنگ
گرم کن بارگیر گلگون را
تا ز بهر شکست لشکر غم
بسر خم برم شبیخون را
Your face is what every heart desires;
the joy of your sorrow lies upon every heart.
The ring of your hair is forever
tangled by the chatter of hearts.
Beside the stream of your love,
your hard heart has shattered the pitchers of hearts.
Into the curling coils of your dark hair,
fate has tossed the hearts like a ball.
What is this plunder your hair commits,
locking hearts up in their searching?
One could follow you a thousand miles,
guided only by the scent that hearts pursue.
Since it keeps company with your tiny mouth,
the temper of these hearts has grown so cramped and narrow.
Explanation: The beloved's tiny mouth is a classic Persian ideal of beauty; the poem plays on 'tang' (narrow/cramped) to link the small mouth with hearts made anxious and constricted.
Original
شمارهٔ ۲
ای روی تو آرزوی دلها
شادیّ غمت به روی دلها
ای حلقۀ زلف تو همیشه
آشفته ز گفتوگوی دلها
بشکسته به جویبار عشقت
سنگین دل تو سبوی دلها
در انگلههای زلف مشکینت
افکند زمانه گوی دلها
غارتگر زلف تو میان چیست
در بسته به جستوجوی دلها
پی در پیِ تو هزار فرسنگ
بتوان آمد به بوی دلها
تا با دهن تو مینشیند
بس تنگ شدست خوی دلها
When the tulip sprang up beside the fresh green grass,
it almost seemed to be your face.
The tulip spoke the name of your face,
so it rinsed its own mouth with musk and wine.
No rose ever bloomed except in memory of your cheek;
no violet ever grew without the likeness of the down on your face.
The cypress, serving your graceful height,
has nimbly and eagerly tucked up its skirt at the waist.
Whoever sought color and scent in the meadow
was pointed instead toward your face and your hair.
The bud finds its opening from the morning breeze,
even though its tightness came from that same breeze at first.
The sickly breeze nurtures the soul in ease,
breathing in the pure, healing air.
The playful movements of the sweet breeze
made the bud's heart melt with laughter.
Explanation: The 'down' (khatt) refers to the fine hair on a beloved's face, a classic Persian image of beauty compared to a violet. The cypress tucking up its skirt evokes a servant readying itself before the beloved's tall stature.
Original
شمارهٔ ۳
تا که بر گرد سبزه لاله برست
در گمان میفتد که چون رخ تست
نام روی تو میبَرد لاله
زان دهان را بمشک و باده بشست
جز به یاد رخ تو گل نشکفت
بی مثال خطت بنفشه نرست
سرو در خدمت قدت دامن
به کمر در زدست چابک و چست
رخ و زلف تواَش نشان دادند
در چمن هر که رنگ و بویی جست
غنچه را از صبا گشایشهاست
ورچه زو بود بستگیش نخست
جان همی پرورد در آسایش
باد بیمار در هوای درست
حرکتهای باد شیرین کار
کرد از خنده غنچه را دل سست
The rose has spread its finery through the garden,
and lifted the veil from its face.
Along the path of the morning breeze, in the shape of buds,
it has scattered a hundred purses full of gold.
The New Year has brought all the world's means of joy and delight
together at once.
The lily grew thirsty for the tulip's blood,
and so it has stuck out its tongue.
Like a musk pod not yet ripe,
the tulip has scattered itself over every hill and valley.
It has mixed blood and musk together,
and cast them down as if worthless and unguarded.
It is as if a startled deer,
in its fear, dropped that scent on the roadside.
The narcissus has flung the spittle of the clouds
into the eyes of those who cannot see.
At the arrival of the rose, the nightingale
has raised a clamor and commotion all around.
The lily has drawn its blade from water,
and the rose has thrown up a shield of fire.
It sank into its own thoughts
the moment it gazed upon the rose's face.
You would think the narcissus drank wine all night long,
the way it hangs its head like a drunkard.
No, no: out of shame before my beloved's eye
it has thrown itself into ruin.
Explanation: The tulip is imagined as a deer's musk pod spilling blood and scent, a classic Persian pairing of red bloom with musk. The narcissus, shaped like an eye, droops as if drunk or shamed, since in Persian verse the beloved's eyes are compared to the narcissus.
Original
شمارهٔ ۴
گل رَخت به باغ در فکندست
وز چهره نقاب بر فکندست
بر راه صبا ز شکل غنچه
صد صرّۀ پر ز زر فکندست
اسباب نشاط و عیش عالم
نوروز به یک دگر فکندست
شد تشنه بخون لاله، سوسن
زین روی زبان به در فکندست
چون نافهٔ مشک نارسیده
لاله همه کوه و در فکندست
آمیخته خون و مشک با هم
بی قیمت و بیخطر فکندست
آهوی رمیده گویی آنرا
از ترس برهگذر فکندست
آب دهن سحاب نرگس
در دیدهٔ بیبصر فکندست
بلبل ز قدوم گل در اطراف
آوازۀ شور و شر فکندست
از آب سنان کشیده سوسن
وز آتش گل سپر فکندست
ز اندیشه به خویشتن فرو شد
تا بر رخ گل نظر فکندست
گویی همه شب شراب خوردست
نرگس که چو مست سرفکندست
نی نی که ز شرم چشم یارم
خود را بخراب در فکندست
Whoever holds his own heart in his hands
keeps all his wishes close beside him.
He has no one to ease his sorrow, and the strange thing is:
he himself is the comforter of his own grieving friend.
How can I complain about my beloved,
when all my pain comes from my own wounded heart?
Whoever wants a friend only for his own sake
is no lover; he loves only himself.
The true lover in this world is the one
whose whole existence lives and dies for the beloved.
Though my clothes are soaked with tears,
the fire in my chest still burns as before.
I weep so much from my eyes
that I feel ashamed before my own tear-filled eyes.
You take my life, so take it, what can I do?
By God, you too are counted among what is mine.
In all your days there is not a single moment
when you are not busy with your own affairs.
I was apologizing to my sorrow, for my heart
feels ashamed of the headache I bring you.
You said: careful, do not speak this way,
for serving you is my own duty.
Explanation: In couplet 10, 'headache' renders sodaa, meaning the trouble or bother the poet feels he causes the beloved. The final line reverses the roles, with the beloved calling service to the lover a personal duty.
Original
شمارهٔ ۵
هر که را دل به اختیار خودست
آرزوهاش در کنار خودست
غمگساری ندارد و عجب آنک
همغمِ یارِ غمگسار خودست
گله از دوست چون کنم که مرا
همه رنج از دل فکار خودست؟
دوست را هر که بهر خود خواهد
او نه عاشق که دوستار خودست
عاشق آنست در جهان کو را
بود و نابود بهر یار خودست
ز آب چشم ار چه دامنم تر شد
آتش سینه بر قرار خودست
بس که از دیده اشک میبارم
شرمم از چشم اشکبار خودست
جان من می بری، ببر، چه کنم؟
بخدا کت هم از شمار خودست
نیست در روزگار تو یک دم
که نه مشغول روزگار خودست
عذر میخواستم ز غم که دلم
از صداع تو شرمسار خودست
گفت زنهار این حدیث مگوی
که مرا خدمت تو کار خودست
The branch is green, the meadow glad;
the world flourishes through the justice of spring.
The moment the bud turns its face toward the open field,
it loosens a knot from the heart's tightness.
The cypress stands in service of the rose;
the willow has fallen at the plane tree's feet.
I am the servant of the musk-breathed lily,
who alone is free from the bondage of the world.
The violet's heart is broken, what can it do?
It has bowed its head to the tyranny of the age.
Every means of pleasure the world can give
has gathered, all of it, into the cypress's hand.
How can it shake an empty hand at the world?
No one helps carry its load, no one lends a hand.
Look at that bud with a knowing heart,
how cheerful it stays even in its own sorrow.
Because it knows the good and evil of this world
are like a heap of flowers scattered to the wind.
Explanation: Persian poetry often reads flowers as figures of human states: the cypress as freedom or dignity, the violet as a bowed, grieving head. The closing image treats worldly fortune as fleeting as petals blown away.
Original
شمارهٔ ۶
شاخ سرسبز و چمن دلشادست
عالم از عدل بهار آباد است
غنچه تا روی به صحرا آورد
گرهی از سر دل بگشادست
سرو در خدمت گل برپایست
بید در پای چنار افتادست
بندهٔ سوسن مشکین نفسم
کوست کز بند جهان آزادست
دل شکستهست بنفشه چه کند؟
سر به بیداد زمان بنهادست
سرو را هر چه ز اسباب خوشیست
سربهسر دست فراهم دادست
بر جهان دست تهی چون افشاند
بار کس مینکشد، او را دست
بنگر آن غنچهٔ صاحبدل را
که به دلتنگی خود چون شادست
زانکه داند که بد و نیک جهان
همچو خرمنگه گل بر بادست
Anyone who doesn't drink like a flower during the season of flowers, imagine they never existed in this world at all.
The keen-eyed narcissus, once it saw the ways of the world, chose nothing but drunkenness and watching.
Since the breeze became a weaver of robes and the cloud a scatterer of pearls, no beauty in the world is left without necklace and bracelet.
The rose, shamed by the nightingale, tore its garment; for the bird is a great talker, and the rose cannot speak.
If the tulip's wine cup shattered, that is only right, since hard granite is no place for playing with a fragile bowl.
When the color and scent of milk comes from the lily's lips, why then is it not swaddled like a bud in a cradle?
The wild rose on the bush and the blossom's petals in the air, in their outward forms, are nothing but fixed stars and wandering planets.
Beneath its shirt the rose's beauty has no color, for the source of its charm is nothing but its face.
Though sparks of fire may leap from hard granite, the tulip's fire was not struck from any stone.
Among the cypress and the lily a heavy goblet of wine is needed; the gathering of free spirits cannot do without weight.
Explanation: The narcissus is traditionally an eye or watching flower in Persian poetry, so its 'drunkenness and watching' plays on that image. 'Fixed stars and wandering planets' evokes the medieval sky of unmoving stars and moving planets.
Original
شمارهٔ ۷
هر که اندر موسم گل همچو گل می خواره نیست
آنچنان پندار کوخود در جهان یکباره نیست
نرگس صاحب نظر تا دید احوال جهان
اختیارش از جهان جز مستی و نظّاره نیست
تا صبا شد حلّه باف و ابر شد گوهرفشان
هیچ لعبت در جهان خالی ز طوق و یاره نیست
گل ز بلبل طیره شد، زان جامه برخود پاره کرد
زآنکه پر گویست و او را طاقت گفتاره نیست
ساغر لاله اگر بشکست بر جای خودست
زانکه جای کاسه بازی مغز سنگ خاره نیست
از لب سوسن چو رنگ و بوی شیر آید همی
پس برای چه چو غنچه بسته در گهواره نیست؟
نسترن بر گلبن و برگ شکوفه در هوا
از طریق صورت الّا ثابت و سیّاره نیست
از درون پیرهن رنگی ندارد حسن گل
ز آنکه او را مایۀ خوبی بجز رخساره نیست
گر جهد بیرون ز سنگ خاره آتش پاره ها
لاله را از سنگ خاره جسته آتش پاره نیست
در میان سرو و سوسن رطل می باید گران
مجلس آزادگانرا از گرانی چاره نیست
How marvelous is the whole affair of your lips;
how precious is the reign of your lips.
So many souls and hearts, like your curling hair,
fall in love with the season of your lips.
It seems my lips have drunk again
from the sweet, delicious spring of your lips.
For years I have stayed downcast,
like your own eyes, drunk with longing for your lips.
In all the mines of Badakhshan there is not
a single ruby fit to match the worth of your lips.
By your life, if only for one night I could take
your lips' edge in my embrace, the way your fine down does.
Like the down on your face, I would form a ring
around that glistening ruby of your lips.
In the whole household of my heart
only half a life survives, a keepsake of your lips.
I fear you are too delicate and it would hurt you,
or else I would offer even that up to your lips.
Since everyone takes their very life from your lips,
I wish your lips would come to use for me again.
Life is sweet, and my own life sweeter still,
especially when your lips are half its work.
Even if the soul showed a hundred thousand graces,
in the end it would stand ashamed before your lips.
The turquoise sky would bow into a ring
before the jewel-adorned ruby of your lips.
A painting on a wall would come alive
if the passage of your lips fell upon it.
My soul has grown sweet and delightful
because it was raised at the side of your lips.
Give me a kiss, for my wounded soul
has risen to my lips, waiting for your lips.
Like Khidr, I would find life everlasting
if I drank from the flowing spring of your lips.
Explanation: Badakhshan was famed for its rubies, a classic image for red lips. Khidr is the immortal figure of legend linked to the water of life, evoked here for eternal life through the beloved's kiss.
Original
شمارهٔ ۸
بس شگرفست کار و بار لبت
بس عزیزست روزگار لبت
ای بسا جان و دل که چون زلفت
بر عم افتند روزبار لبت
بلبم گوییا که باز خورد
چشمۀ نوش خوشگوار لبت
سالها شد که مانده ایم دژم
همچو چشم تو در خمار لبت
در همه کارگاه کان بدخش
نیست یک لعل بر عیار لبت
بسر تو که گر فرو گیرم
یک شبی چون خطت کنار لبت
همچو خطّ تو حلقه یی سازم
گرد آن لعل آبدار لبت
در همه کدخدایی دل من
نیم جانیست یادگار لبت
ترسم از نازکی برنج آید
ورنه هم کردمی نثار لبت
چون همه جان خود از لب تو برند
کاش باز آمدی بکار لبت
خوش بود جان و جان من خوشتر
خاصه چون هست نیم کار لبت
جان اگر صد هزار لطف کند
عاقبت هست شرمسار لبت
چرخ پیروزه پشت حلقه کند
پیش لعل گهر نگار لبت
نقش دیوار جانور گردد
اگر افتد برو گذار لبت
خوش و شیرین شدست جانم از آنک
پرورش یافت بر کنار لبت
بوسه یی ده که جان خستۀ من
بلب آمد در انتظار لبت
چون خضر عمر جاودان یابم
گر خورم آب چشمه سار لبت
When will it be? When, that I step in through your door
and fall against you the way your own hair falls?
So that with kisses I may plunder
the sweetness of your lips and the honey of your mouth.
Ah, my heart has become tangled in your hair,
bound to a single strand, like the belt around your waist.
The ringlets of your hair have fallen into chaos,
coiled and knotted one inside another.
This burnt heart of mine, heap upon heap of ash,
is worth nothing in your sight.
I would pull my heart free from your hair,
if only I had the strength to reach your head.
Tears from my eyes, blood from my face, pour down at your door
every moment, so they might shape a rose from its dust.
If you would only let go of my life,
I would give you, from a pure heart, a heart without fear.
Explanation: The beloved's curling hair is a classic Persian image of a trap that ensnares the lover's heart. The final couplet plays on the poet offering his life and heart in exchange for release.
Original
شمارهٔ ۹
کی بود؟ کی؟ که در آیم ز درت
همچو زلف تو در افتم ببرت
تا که از بوسه بتاراج دهم
شکر ننگت و تنگ شکرت
آه کز زلف تو آمیخت دلم
بستۀ موی شدن چون کمرت
همه فتنه شده بر یکدیگر
حلقۀ زلف یک اندر دگرت
این دل سوخته خرمن خرمن
می نیاید بجوی در نظرت
دل ز زلف تو برون آورمی
اگرم دستر سستی بسرت
آب چشم و رخ ز درم هر دم
که گلی سازند از خاک درت
گر ز جان دست برداری تو، دهم
از دلی پاک دلی بی جگرت
I don't know what the nightingale told the bud,
for its heart is so full of blood and its face so troubled.
Perhaps the secret it shared with the morning breeze
has been laid bare, revealed one by one across its face.
You would think a fire had caught in the thorns,
so many are the flowers that have burst from the rosebush.
Only in the cupped ring of the tulip will you find
the pearls that the eye of the cloud has strung.
Though the narcissus is the mischief of the garden,
I am glad that in the end the mischief has fallen asleep.
On the tip of the stem the breeze laid open
every small secret the rose had hidden in its heart.
The narcissus showed two heads on a single stalk;
bless it, how lovely, both single and paired at once.
Explanation: The 'pearls strung by the eye of the cloud' are dewdrops or raindrops gathered in the tulip's cup. The narcissus is traditionally called the eye of the garden, here playfully cast as its 'mischief.'
Original
شمارهٔ ۱۰
ندانم غنچه را بلبل چه گفتهست
که بس خونین دل و چهره کشفتهست
مگر رازی که او را با صبا بود
یکایک فاش در رویش بگفتهست
تو گویی آتش افتادست در خار
ز بس گلها که از گلبن شکفتهست
بجز در حلقۀ لاله نیایی
گهرهایی که چشم ابر سفتهست
اگر چه فتنۀ باغست نرگس
بدان شادم که آخر فتنه خفتهست
صبا کرد آشکارا بر سر چوب
هر آن خرده که گل در دل نهفتهست
دو سر در یک قدم بنمود نرگس
بنامیزد، چه زیبا طاق و جفتست
The heart of the bud is gripped by grief once more:
why has the violet's back bent low?
The morning breeze means to lift the veil from her face,
and that is why it holds the bud back from its breath.
For the meadow, the fresh line of new grass is a royal decree,
as if it has claimed the whole realm of joy for its own.
Did my eyes glimpse the narcissus in a dream,
that its eye has grown so moist from mine?
The rose's nature was kneaded from musk and wine,
so from these it took its scent and color both.
Its work fell into disarray because of my love's tresses,
and for this the violet has put on mourning.
The tulip consented to the blood in its cup,
for grief has seized its heart and holds it fast.
The bud tells all its secrets to the wind;
look at that simple heart, taking the wind for a confidant.
Explanation: The violet's bent stalk conventionally suggests both sorrow and dark curling tresses. The tulip's red cup is imagined as filled with blood, a classic sign of heartbreak.
Original
شمارهٔ ۱۱
دل غنچه را باز این غم گرفتست
که پشت بنفشه چرا خم گرفتست
نقاب از رخ او بخواهد گشودن
صبا غنچه را زان فرادم گرفتست
چمن را خط سبزه منشور ملکست
که اقلیم شادی مسلّم گرفتست
مگر چشم من دید در خواب نرگس
که چشمش ز چشمم چنین نم گرفتست
مزاج گل از مشک و می شد سرشته
کزن بوی و زان رنگ در هم گرفتست
شد از زلف یارم بشولیده کارش
بنفشه ازین روی ماتم گرفتست
رضا داد لاله بخون پیاله
که خونش گرفتست و محکم گرفتست
همه راز دل غنچه با باد گوید
تو آن ساده دل بین که محرم گرفتست
With your lips, the soul becomes the prey of your hair; with your face, all that matters is the work of your hair.
The spring of the sun turns toward your face; the ring of night is the earring of your hair.
At the wedding feast of your beauty, reason is caught, hand and grip, in the ornament of your hair.
The edge of your cheek is full of fragrance; that is not down growing there, it is the scattered gift of your hair.
What can I say? Brighter than your face is the chaos your hair has stirred through all these days.
You have stolen a hundred thousand hearts, and still the snare and clutch of your hair keeps counting more.
On the gold of my cheek, my crimson tears have drawn a picture: this too is the handiwork of your hair.
A whole world of lovers, men and women alike, longs to rest in the embrace of your hair.
Since your chin is the well of Joseph, our soul is held chained in the grip of your hair.
Explanation: The 'well of Joseph' recalls the Quranic/Biblical story where Joseph was cast into a well; here the beloved's dimpled chin is compared to that well, a trap for the lover's soul. The 'gold cheek and crimson tears' pictures a pale face streaked with bloody weeping.
Original
شمارهٔ ۱۲
با لب تو جان شکار زلف تست
با رخ تو کار کار زلف تست
چشمۀ خورشید سوی روی تو
حلقۀ شب گوشوار زلف تست
در عروسیّ جمالت عقل را
دست و پنجه در نگار زلف تست
پر ز عتبر شد کنار عارضت
آن نه خطّست ، آن نثار زلف تست
من چه گویم؟ کز رخت روشنتر ست
فتنه کاندر روزگار زلف تست
صد هزاران دل ربودی و هنوز
شست و پنجه در شمار زلف تست
برزر رخسارم از شنگرف اشک
نقش شد کین دستکار زلف تست
عالمی عشّاق را از مرد و زن
آرزو اندر کنار زلف تست
تا زنخدان تو چاه یوسفست
جان ما زنجیر دار زلف تست
As long as the morning breeze opens its hand,
let it loosen a knot from our heavy heart.
Every blossoming the world receives from flowers
comes from the breeze unfolding its breath.
Every pattern and design in that meadow
the breath of the morning breeze has spread open.
You might think the tulip is spring's perfumer,
unsealing a pod of Tartary musk.
The smiling meadow is throwing a feast;
that is why the bud has unfastened its collar.
Who has wounded the heart of the iris,
that it has opened its tongue in complaint?
Out of empty hands, the poor plane tree
spreads its palms like a beggar asking for alms.
Hoping its own flower might grant a little gold,
it opens its hand before it in prayer.
If the cloud held no burning heart within,
why would it pour water from its eyes?
Explanation: The plane tree's leaves shaped like open palms suggest a beggar's outstretched hands. 'Musk of Khata' refers to prized musk from Tartary, a classic image of fine fragrance.
Original
شمارهٔ ۱۳
تا دم باد صبا بگشا دست
گرهی از دل ما بگشا دست
هر فتوحی که جهانراست ز گل
همه از باد هوا بگشادست
نقش بدان چمن را همه کار
ار نفسهای صبا بگشادست
لاله پنداری عطّار بهار
نافۀ مشک خطا بگشادست
میزبا نیست چمن خندان روی
غنچه زان بند قبا بگشادست
دل سوسن ز که آزرده شدست
که زبانرا بجفا بگشادست
از تهی دستی، بیچاره چنار
دست خواهش چو گدابگشادست
تا گلش خردکی زر بخشد
پنجه پیشش بدعا بگشادست
ابر را گر نه برو دل سوزست
آبش از دیده چرا بگشادست؟
What your love has done in this world, I swear to God, not even the turning sky has done.
What grudge does your love hold against my heart? It stole my heart and now it's after my life.
That is no beauty mark; it's the reflection of my eye, printing its mark on your delicate face.
Your hat is rightly called a night-cover, since it hides your dark hair away.
The sun throws down its shield before your face, even though it wields a hundred blades at its side.
Ever since the sky learned coquetry from you, it has spent years perfecting the art.
Why has that curling, twisting hair of yours knit its face into folds against me like that?
It teased me, then took my life; truly, it has caused me such loss.
Explanation: The 'reflection of my eye' image plays on the idea that the poet's gaze itself left the dark mark on the beloved's face. 'Coquetry' (eshveh) is the playful, teasing charm typical of the beloved in Persian love poetry.
Original
شمارهٔ ۱۴
آنچه عشق تو در جهان کردهست
بالله ار دور آسمان کردهست
مهر تو با دلم چه کین دارد؟
که دلم برد و قصد جان کردهست
آن نه خالت، عکس دیده ما
بر رخ نازکت نشان کردهست
هست نام کلاه تو شب پوش
زانکه زلف ترا نهان کردهست
آفتاب از رخت سپر بفکند
ورچه صد تیغ بر میان کردهست
تا بیاموخت از تو عشوه گری
سالها آسمان دران کردهست
بر من آن زلف پیچ پیچ آخر
روی پرچین چرا چنان کردهست؟
عشوه ام داده است و بستده جان
راستی را بسی زیان کردهست
Anyone who has longed for her face
has wished for a flower to bloom on the thornbush.
My heart's loss of itself is exactly where it should be,
because it has longed to see her.
As long as my heart is captive to being apart from her,
it has wished for death a hundred times over.
Tell whoever has wished for this fate
to come and first look at the state I'm in.
Whoever asks for love without its pain
has wished for a rose without its thorns.
In my chest is a heart that eats itself alive,
because it has longed for the sorrow of the beloved.
It flees into the shade of her hair,
as the breeze longs for the rose garden.
Reason cannot cook up the dream of union with her,
no matter how much it has wished for it.
Know that I rain down tears like the seeds of a pomegranate,
for her ailing, drowsy eyes have wished it so.
Explanation: The 'ailing eyes' is a classic Persian image: the beloved's languid, half-closed gaze that resembles the look of the lovesick or intoxicated. Tears compared to pomegranate seeds evoke red, blood-tinged weeping.
Original
شمارهٔ ۱۵
هر که رخسارش آرزو کردست
گل بر بارش آرزو کردست
بی خودیّ دلم بجای خودست
زانکه دیدارش آرزو کردست
تا گرفتار هجر اوست دلم
مرگ صد بارش آرزو کردست
گو بیا حال من نخست ببین
هر که این کارش آرزو کردست
عشق بی رنج هر که می طلبد
گل بی خارش آرزو کردست
در بر من دلی جگر خوارست
که غم یارش آرزو کردست
می گریزد بسایۀ زلفش
باد گلزارش آرزو کردست
عقل سودای وصل او نپزد
گرچه بسیارش آرزو کردست
اشک چون نار دان که می بارم
چشم بیمارش آرزو کردست
Your face is made of moonlight, your lips of sugar; each is lovelier than the other.
How could anyone dare to kiss your face, when even to glance at it is a bold thing?
It isn't that your waist is missing from its grace; the wonder is that a belt somehow finds a waist there at all.
So the evil eye won't reach your lips, on every tongue their name is 'sugar.'
A single kiss from your sweet lips and teeth, dear boy, is worth the blood-price of both worlds.
Why do you call my face unwashed? My face is washed in the blood of my own heart.
You treat me cruelly and I beg you: don't. You tell me it's good for me, and that is worse.
I make my peace with your face and your teasing glance, for in you the rose and the thorn go together.
Explanation: The beloved's waist is so slender it seems barely to exist; a face 'washed in heart's blood' means the poet weeps tears of blood from love's pain. The rose and thorn image sums up beauty inseparable from the suffering it causes.
Original
شمارهٔ ۱۶
رخت از ماه و لبت از شکرست
آنت ازین وینت از آن خوبترست
بر رخت بوسه کجا شاید داد؟
که نظر نیز محل نظرست
نه میان نیست میان تو ز لطف
وین عجبتر که میان کمرست
تا لبت را نرسد چشم بدان
در زبانها همه نام شکرست
بوسه یی از لب و دندان خوشت
خون بهای دو جهان خوش پسرست
از چه ناشسته رخم می خوانی
که رخم شسته بخون جگرست
بدکنی با من و گویم که مکن
گوئیم نیکست، اینم بترست
با رخ و غمزۀ تو می سازم
که گل و خارتو با یکدگرست
Today your face is lovelier than any day before,
and your sweet lips are more delightful than my very soul.
The sick, drooping look in your eyes, that drinks blood all day long,
today even a fragment of it is sweeter than every other day.
My heart welcomes the reaching touch of your curling hair,
and the veil torn by your heart piercing glance is sweeter still.
I begged you to give back my wounded heart, and you mocked me:
'Keep it. The ache you carry gets sweeter for you every day.'
I am better off with the pain of your love, for even the candle
is at its finest with tears in its eyes and a burning flame.
Though your temper toward me is never quite kind,
after all, the gossip that teaches me pain is still sweet to hear.
Gazing at your face and drinking wine in your memory
is always sweet, and in the season of Nowruz sweeter yet.
Explanation: Nowruz is the Persian New Year, a festival of spring renewal. The candle weeping tears (melting wax) while burning is a classic image of the lover consumed by longing.
Original
شمارهٔ ۱۷
امروز روی تو ز همه روز خوشترست
شیرین لب ز جان دل افروز خوشترست
بیمار چشم تو که همه روز خون خورد
امروز پاره یی ز همه روز خوشترست
بر دل خوشست دست درازیّ زلف تو
پرده دری ز غمزۀ دلدوز خوشترست
گفتم که باز ده دل ریشم بطنز گفت
مه تو دل صداع تو هر روز خوشترست
با درد تو بهست مرا زانکه شمع را
هم با سرشک دیده و با سوز خوشترست
با آنکه نیست خوی توبا ما چنان نکو
سر باری حدیث بد آموز خوشترست
در روی تو نظاره و بر یاد تو شراب
دایم خوشست و موسم نوروز خوشترست
My heart aches with longing for the beloved's face; I never reach that love, and that is why I suffer so.
Every pain and torment comes from this near side of love; once you stake your life on it, the work grows easy.
If you are no true lover yet boast of love, what you call perfection is nothing but flaw itself.
The first condition of love's path is a seeing eye, for the beauty of the beloved is no work for the blind.
Once your sight is open, many veils remain, and you must come to understand each one of them.
When you have passed, one by one, the veils of arrogance, the veil of your own self is a hundred thousand times as thick.
When your own being packs up and leaves your sight, even a clod of clay becomes a mirror of the beloved's beauty.
When you enter love's inner court through the door of sincerity, sin becomes pure worship and unbelief becomes faith.
Love drives futile sorrows from the heart; when the love is true, the very pain is the cure.
Through love's spirit one can live forever; blessed is the heart whose life is sustained by this grace.
Explanation: The 'veil of self' is a common Sufi image: the ego is the greatest barrier between the lover and the divine beloved.
Original
شمارهٔ ۱۸
دلم در آرزوی عشق روی جانانست
بعشق می نرسم این همه بلا زانست
همه ازین سوی عشقست هر چه رنج و بلاست
چو جان بعشق گروکشت کار اسانست
چو اهل عشق نباشی و لاف عشق زنی
تو آن کمال شناسی و عین نقصانست
نخست شرط ره عشق دیدة بیناست
که عشق چهرة خوبان نه کار کورانست
چو دیده ور شدی آنگه حجاب بسیارست
که شرح هر یک از آنها ببایدت دانست
چو از حجاب بروتی برون شدی یک یک
حجاب هستی تو صد هزار چندانست
چو هستی تو ز پیش تو رخت بر بندد
کلوخ آینة حسن روی جانانست
چو در سراچۀ عشق آمدی ز مدخل صدق
گناه طاعت محضست و کفر ایمانست
غمان بیهده از دل بعشق دفع شود
چو عشق صدق بود درد عین درمانست
بجان عشق توان زنده جاودان بودن
خنک دلی که حیاتش بلطف این جانست
The one whose command my head obeys,
my heart is the ball he strikes with his mallet.
I gave my heart to grief over him, and I would give my life too,
if only her lips and teeth were truly hers.
Whatever turmoil my heart is in,
it is the reflection of that scattered, tumbling hair of hers.
When you see Venus and the moon together,
know it is the string and the ball caught in her collar.
Whoever seeks her mouth, that fountain of life,
dies of thirst, just as my heart does.
The sun's own spring of light, for all its brightness,
is but a single drop from the well of her chin.
In loving her, patience, that once was drawn as tight as a bow,
now hangs looser than the knot of her broken promise.
The heart that beat so hard within my chest,
I saw at last that even it was not one of his men.
So let it be, if my heart is not under my command,
for whatever it is, it belongs to her anyway.
Explanation: The polo imagery (ball and mallet) is a classic Persian metaphor for the helpless lover tossed at the beloved's will. The 'fountain of life' (aab-e hayvan) is the mythical water of immortality.
Original
شمارهٔ ۱۹
آنکه سرم بر خط فرمان اوست
گوی دلم در خم چوگان اوست
دل به غمش دادم و جان هم دهم
گر لب و دندان لب و دندان اوست
حال دلم هر چه پریشانی است
پرتو آن زلف پریشان اوست
زهره و مه چونکه ببینی به هم
دان که زه و گوی گریبان اوست
تشنه بمیرد چو دلم هر که او
در طلب چشمۀ حیوان اوست
چشمۀ خورشید بدان آب روی
قطرهای از چاه زنخدان اوست
صبر چنان سخت کمان در غمش
سست تر از عقدۀ پیمان اوست
دل که چنان سینه همی کرد وی
دیدمش او هم نه ز مردان اوست
شاید اگر دل نه به فرمان ماست
زانکه به هر حال که هست آن اوست
The shadow of your hair spills down and my reason loses its way;
I am a slave to your face, which shines like fifty suns.
Ever since my eyes made me aware of your beauty,
I have lost all awareness of myself; only God is aware.
The lasso of your hair pulls me toward it
because your hair is dark as jet and my face is pale as straw.
The shadow of your beauty always falls over the sun,
just as the sun's shadow falls over the moon.
Your lip is caught fast in my teeth's longing, and chasing it,
this grieving heart is forever at the mercy of my rival.
Patience and wits have left my side, and before them
my heart set off; now my eyes wait watching the road.
In this lifetime, union with you cannot be found,
for your promise is long and my life is short.
Explanation: The 'lasso of hair' is a classic Persian image for a beloved whose curling locks trap the lover. The final couplet plays on the lover's short life against the beloved's endlessly deferred promises.
Original
شمارهٔ ۲۰
بریز سایۀ زلف تو عقل گمراهست
غلام روی تو چون آفتاب پنجاهست
مرا ز حسن تو تا دیده داد آگاهی
ز خویشتن نیم آگه خدای آگاهست
کمند زلف تو زان میکشد مرا در خود
که زلف تو شبه رنگست و روی من کاهست
همیشه سایۀ حسن تو بر سر خورشید
چنانکه سایۀ خورشید بر سر ماهست
لب تو نیک بدندان ماست وز پی او
همیشه این دل غمگین بکام بدخواهست
شدند از بر من صبر و هوش وز پیشان
دلم برفت و کنون دیده بر سر راهست
بروزگار ،وصال تودر نشاید یافت
که وعدۀ تو درازست و عمر کوتاهست
Moon of my dreams! There is not a single moment free of grief for you,
not a moment when my heart is not tangled like your hair.
As long as your hair and your graceful form lean together,
no one's back or figure stays without its curve.
I swallow the grief of losing you, and yet I am glad,
for whoever carries grief for you carries no real sorrow at all.
Who ever laid a hand on the edge of your curling hair
without their heart turning as radiant as your face?
I will not spell out my grief with a pen,
for the pen has two tongues and cannot be trusted.
My tales are long,
but who can I tell them to, when I have no companion?
In this world my only companions are the dawn and the morning breeze;
beyond these two I have no friend at all.
I should not tell my secret to the dawn,
since its tongue has no firm lock to hold it.
Nor should I tell the morning breeze, for the breeze
drifts everywhere and keeps no confidence either.
So I will go and tell it to your image instead,
for who could I trust more closely than that?
Explanation: The pen having 'two tongues' plays on the split nib of a reed pen and the idea of a double-tongued, unreliable confidant. The morning breeze (saba) is a classic Persian messenger of lovers, here dismissed as too talkative to keep a secret.
Original
شمارهٔ ۲۱
ماه رویا! ز غمت یک دم نیست
که چو زلف تو دلم درهم نیست
زلف و بالای تو تا هم پشتند
پشت و بالای کسی بیخم نیست
غم تو می خورم و شادم از آنک
هر کرا هست غم تو غم نیست
دست در دامن زلف تو که زد؟
که دل او چو رخت خرّم نیست
به قلم شرح غمت ندهم از آنک
دو زبانست قلم محرم نیست
ماجراهای درازست مرا
با که گویم چو کسم همدم نیست
همدم من ز جهان صبح و صباست
بجز این همدمم از عالم نیست
راز با صبح نشاید گفتن
که ورا بند زبان محکم نیست
با صبا نیز مگویم که صبا
هست هرجایی و محرم هم نیست
بروم هم به خیالت گویم
که از او محرمتر دانم کیست
My dark-hearted beloved has a face the color of tulips; tight-natured like a bud, and narrow-eyed too.
Those weary eyes are like something sick, and each flirtatious glance carries a hint of limp and weakness.
My love, enough with all this cruelty; everyone you look at has a reputation and honor to guard.
I am always in a rush to be with you, even though on your side there is only delay.
You are so hard-hearted, yes; you could be patient if you wanted, for there is stone inside you.
Your two eyebrows are shaped like a bow, and every glance within them is a sharp poplar arrow.
Why do you aim bow and arrow straight at me? Is there some greater war still left between us?
When your tongue starts moving to make excuses, you would say one lame man is leaning on another.
Whoever takes their color from your face has green freshness, a smiling mouth, and rosy cheeks, like a flower.
I said my body is moaning in pain; you said: what is wrong with it? Bless it, it wails as sweetly as a harp!
Explanation: The eyebrow-as-bow and glance-as-arrow is a classic Persian image for a beloved's wounding beauty. The closing couplet is bitterly playful: the lover's pain is dismissed as pleasant music.
Original
شمارهٔ ۲۲
نگار دل سیاهم لاله رنگیست
چو غنچه بستهطبعی، چشمتنگیست
چو بیماریست چشم ناتوانش
که بر دوشش ز غمزه نیم لنگیست
نگارا بس کن آخر زین جفاها
که هر کس را که بینی نام و ننگیست
مرا دایم بوصل تو شتابیست
وگرچه در تو زین معنی درنگیست
تو بس سنگیندلی، آری، توانی
اگر صبری کنی، کاندر تو سنگیست
دو ابروی تو بر شکل کمانیست
که هر غمزه درو تیر خدنگیست
چرا تیر و کمان بر من کنی راست؟
مگر زین بیشتر با مات جنگیست؟
زبانت چون روان گردد به عذرت
تو گویی لنگی اندر دوش لنگیست
سرش سبزست و لب خندان و رخ سرخ
چو گل هر کس کش از روی تو رنگیست
تنم گفتم که نالانست، گفتا:
چه بودستش؟ بنامیزد! چو چنگیست
The one sick with missing you is in a sorry state; while you are far, no peace is possible.
In your time no one has shown a sign of it: who has found rest while longing to reach you?
Among all the days the world has known, my day is a dark day, an empty one.
My face pale as straw, my heart searching for love like a scavenger; every lover ends up caught in your sack.
You grow angry at whatever I say; still, my friend, I have a question for you.
Are you truly like this with your servant, or are you simply bored with the old tale of lovers?
With every turn of the wheel of time, the grief of losing you gives my hand a fresh slap.
The moon said: me and your face? Yes, well, everyone carries some fancy in their head.
You tie a golden belt around your waist, even beside one as frail and broken as me.
Explanation: The 'wheel of time' is the fatalistic turning heavens of Persian poetry, blamed for a lover's suffering. In couplet 8 the moon mockingly admits it could never compete with the beloved's face.
Original
شمارهٔ ۲۳
بیمار فراق تو بحالیست
در دور تو عافیت محالیست
در عهد تو کس نشان ندادست
کآسود کیست پا وصالیست
بر چهرۀ روزهای گیتی
روز من تیره روز، خالیست
رخ چون که و دل ز عشق جو جو
هر عاشقی از تو در جوالیست
در خشم شوی ز هر چه گویم
ای دوست، مرا ز تو سوالیست
بابنده چنینی یا ترا خود
ز افسانۀ عاشقان ملالیست؟
از گردش چرخ هر زمانم
بر دست غم تو گوشمالیست
مه گفت: من و رخ تو، آری
اندر سر هر کسی خیالیست
می بر بندی به زر میان را
با انکه چو من ضعیف حالیست
You don't have the slightest concern for me;
your heart takes no interest in my good or bad.
What wrong did I do? On the dust of your doorstep
even the dogs have a place, but I have none.
You have countless lovers, it's true,
but in devotion not one of them equals me.
How can I find a way to reach you? How would I know,
when this matter isn't in my hands at all?
Don't tell me to be patient in my grief;
that is beyond my love-crazed heart.
You're excused: through your long nights
you have no word of my eyes that measure out the dark.
In the pain of longing, my heart remembers nothing;
in your easy pleasures, you give no thought to me.
My heart has lost itself in longing for you,
yet your heart holds no longing for me at all.
Explanation: The image of eyes that 'measure out the dark' refers to a sleepless lover counting the hours of the night. Being lower than the dogs at the beloved's door is a classical figure for utter rejection.
Original
شمارهٔ ۲۴
ترا یک ذره خود پروای ما نیست
بنیک و بد دلت را رای ما نیست
چه بد کردم که بر خاک در تو
سگانرا هست جای و جای ما نیست
فراوان عاشقان داری ولیکن
بدلسوزی یکی همتای ما نیست
چه سازم چاره وصلت چه دانم
که این معنی بدست و پای ما نیست؟
مرا در غم شکیبایی مفرمای
که این کار دل شیدای ما نیست
تو معذوری که شبهای درازت
خبر از چشم شب پیمای ما نیست
مرا از درد دل دل نیست بر یاد
ترا از عیش خوش پروای ما نیست
مرا شد در سر سودای تو دل
دلت را خود سر سودای ما نیست
From you I get nothing but heartache and blood of the liver.
What can I do, my love, when nothing else comes of this?
No one can tie a sash around your waist, because
there is no waist there at all, nothing but the edge of the sash.
Just remembering your lips is sweet to my mouth,
though the taste of sugar never comes from the word 'sugar'.
You said: look at the moon and the sun instead,
if looking at my face gives you no pleasure.
Though both of them are bodies of the utmost brightness,
what I want from you is something moon and sun can never give.
I asked your curls for my heart, and they only coiled tighter.
Say it, don't be ashamed: if it isn't here, then say it isn't here.
However much I speak with you, I get only a headache;
none of what I long for, my dear, ever comes to pass.
I offered you: one kiss from those ruby lips, and my life paid in full.
Why this delay? Is it that nothing is to be had?
I have given up all hope of you, for no wish of mine
comes true without gold from you, and gold there is none.
Explanation: The recurring end-rhyme 'hasil nist' ('nothing comes of it / it is not to be had') runs through every couplet as the poem's refrain of frustrated longing. The beloved's tiny waist is a stock image of ideal beauty, here made a paradox.
Original
شمارهٔ ۲۵
از تو جز درد دل و خون جگر حاصل نیست
چه کنم جان؟ چو جزین هیچ دگر حاصل نیست
بر نبندد ز میان تو کمر طرفی، از آنک
در میان خود بجز از طرف کمر حاصل نیست
ذوق باشد دهنم را که کد یاد لبت
ورچه ذوق شکر از نام شکر حاصل نیست
گفتی اندر مه و خورشید نگاهی می کن
گر ز رخسار منت حظّ نظر حاصل نیست
گرچه این هر دو دوجسمیست بغایت روشن
آن غرض کز تو بود از مه و خور حاصل نیست
دل ز زلف تو طلب کردم و بر خود پیچید
گو:مکن شرم، بگو نیست اگر حاصل نیست
بجز از درد سر ار با تو بسی خواهم گفت
هیچ مقصود من ای جان پدر حاصل نیست
گفتمت بوسی از آن لعل وز من جانی نقد
این توقّف ز چه رویست؟ مگر حاصل نیست؟
بر گرفتم طمع از تو که مرا هیچ طمع
بی زر از تو نشود حاصل وزر حاصل نیست