Quatrains

by Kamal al-Din Isma'il

1. Number 1Rubāʿī

English
The enemy who takes the spear from behind on the day of battle: I have no fear of my enemies' schemes. In the Quran itself, where there is a place for fear and hope, isn't there 'do not be afraid' spoken against rebellious foes?
Explanation: 'La takhaf' ('do not fear') echoes a recurring Quranic reassurance; the poet leans on faith to dismiss any dread of his enemies.

Original

شمارهٔ ۱

خصم که ز پس نیزه خورد روز وغا اندیشۀ خصمان چنان نیست مرا خود در قران که جای خوفست ورجا نه« لاتخفست» پیش خصمان بغا؟

2. The Morning BreezeRubāʿī

English
Sometimes the morning breeze tears loose the violet's dark curls, sometimes it shatters the tulip's cup of wine. Sometimes the morning breeze sets a shiver across the water, and then, what a gentle breath the morning breeze exhales.
Explanation: The 'violet's curls' and the 'tulip's cup' are classic Persian images: petals likened to a beloved's hair and to a wine goblet. The morning breeze (bad-e saba) is a stock symbol of tender, life-giving movement.

Original

شمارهٔ ۲

گه زلف بنفشه برکند باد صبا گه ساغر لاله بشکند باد صبا گه لرزه بر آب افگند باد صبا و آنگه چه دم لطف زند باد صبا

3. Number 3Rubāʿī

English
Where survival demands rising up, it is your spear, not your boasting, that stands tall. And where a hard problem must be answered, it is your sword that speaks at length.
Explanation: The 'long tongue' idiom is turned into an image: the sword, not words, does the talking in a crisis.

Original

شمارهٔ ۳

جایی که در بقا فرازست آنجا رمح تو ز لاف سرفرازست آنجا و آنجا که جواب مشکلی باید داد شمشیر ترا زبان درازست آنجا

4. Number 4Rubāʿī

English
There, where every sign dissolves into signlessness, the finger of imagination rests upon its lips, hushed. There, a flirting glance keeps its arrow drawn in the bow; beware, do not go, for there your very life is at risk.
Explanation: The finger on the lips is a gesture of astonished silence. The 'flirting glance' is the beloved's coquettish look, a classic Persian image where the eye's arrow wounds the lover.

Original

شمارهٔ ۴

جایی که نشان بی نشانست آنجا انگشت خیال بر دهانست آنجا از غمزه خدنگ در کمانست آنجا زنهار مرو که بیم جانست آنجا

5. Number 5Rubāʿī

English
May I always hold the hem of your robe in my hand, and wherever you set your foot, may my head lie beneath it. I cannot bear that anyone else should love you; my love, may the whole world be your enemy!
Explanation: Holding the hem of a robe signals devotion and clinging; wishing the world to be the beloved's enemy is a hyperbole meaning the poet wants to be the only one who loves them.

Original

شمارهٔ ۵

در دست منت همیشه دامن بادا وانجا که تو را پای سر من بادا برگم نبود کسی تو را دارد دوست ای دوست همه جهانْت دشمن بادا‌!

6. Number 6Rubāʿī

English
I am a candle: the mark of grief shows in me, and the burning of my heart shows in my brimming eyes. It is not from mourning that my burning shows; lately weeping and laughter can no longer be told apart in me.
Explanation: The candle is a classic Persian image for the lover who slowly consumes himself; its melting wax stands for tears and its flame for inner burning.

Original

شمارهٔ ۶

شمعم که زمن هست اثر غم پیدا شد سوز دلم زچشم پر نم پیدا زآن نیست مرا سوز زماتم پیدا کم گریه و خنده نیست از هم پیدا

7. Number 7Rubāʿī

English
If I open my lips tonight and let my grief pour out, my burning breath would scorch the very stars in the sky. Come, morning, make an effort too; maybe together we can turn this night into day.
Explanation: The poet's sorrow is so intense that his sighs could burn the stars; he asks the dawn to help him defeat the darkness.

Original

شمارهٔ ۷

گر بگشایم ز غصّه امشب لب را بر چرخ بسوزم از نفس کوکب را ای صبح بیا تو نیز جانی می کن باشد که بهم روز کنیم این شب را

8. Number 8Rubāʿī

English
Day came, and I sealed my lips shut; I emptied my body of its restless soul. Now that the night is what keeps me alive, perhaps, like a candle, I should keep the night alive too.
Explanation: The candle, which burns and gives light through the night, is a classic image of one who stays awake and endures for love or devotion.

Original

شمارهٔ ۸

روز آمد و بردوختم از دم لب را پرداخته کردم از روان قالب را اکنون که مرا زنده همی دارد شب شاید که چو شمع زنده دارم شب را

9. Number 9Rubāʿī

English
You were left friendless by the one who had no friend in you, and at ease was the heart that carelessly abandoned you. From dryness you are like an empty wine cup: whoever lifts you up is already fallen for you.
Explanation: The wine cup image plays on emptiness and craving: the drinker who reaches for the cup is himself 'fallen', both drunk and undone.

Original

شمارهٔ ۹

بی یار، کسی که یار نداشت ترا و آسوده دلی که خیره بگذاشت ترا از بی آبی بساغر می مانی کافتادۀ تست هرکه برداشت ترا

10. Number 10Rubāʿī

English
I call your sorrows joy, and give the name of fairness to all the cruelties you deal me. You left, and chose another over me; honestly, what can I say about your kindnesses?
Explanation: The second line is bitterly ironic: 'kindnesses' mocks the beloved's betrayal.

Original

شمارهٔ ۱۰

شادی خوانم بنام غمهای ترا دادم لقب انصاف ستمهای ترا رفتی تو و برمن دگری بگزیدی الحق چه توان گفت کرمهای ترا؟

11. Number 11Rubāʿī

English
When the morning breeze saw the rose in the garden, and saw it laughing shamelessly before you, at once it grabbed the rose by its foot on the branch, then rained down thorns on it like a storm of arrows.
Explanation: The thorns of the rose bush are imagined as arrows the jealous breeze uses to punish the flower for daring to laugh in the beloved's presence.

Original

شمارهٔ ۱۱

چون دید صبا میان بستان گل را وز بی شرمی پیش تو خندان گل را در حال در آویخت بپایش ز درخت پس کرد ز خار تیر باران گل را

12. Number 12Rubāʿī

English
The holiday has come, yet my pain stays the same, and the single grief I carried has become a thousand. My true holiday is the sight of that beloved face; so what do I care for anyone else's holiday?
Explanation: The 'holiday' is Eid, a time of public celebration that only sharpens the poet's private sorrow. The beloved's face is his only real feast.

Original

شمارهٔ ۱۲

عید آمد و درد برقرارست مرا وآن غم که یکی بود هزارست مرا چون عید ز روی آن نگارست مرا با عید دگر کسان چه کارست مرا؟

13. Number 13Rubāʿī

English
From the spring of union my only share was tears; the rouge that colors my face is nothing but tears. Like the sky with its sun and stars, night and day I have one eye and a thousand drops of tears.
Explanation: The 'rouge' image reworks the idea that instead of the flush of joy, weeping is what colors the poet's face.

Original

شمارهٔ ۱۳

زابشخور وصل بهره اشکست مرا گلگونۀ رنگ چهره اشکست مرا چون چرخ ز خورشید و ستاره شب و روز چشمی و هزار قطره اشکست مرا

14. Number 14Rubāʿī

English
The grief of you lives in my body in place of my soul; longing for you runs through the marrow of my bones. This has gone beyond love; if there is anything above love, that is what I feel for you.
Explanation: The image of longing in the marrow of the bones conveys how deeply the feeling has penetrated the poet's being.

Original

شمارهٔ ۱۴

در تن غم تو بجای جانست مرا سودای تو مغز استخوانست مرا از عشق فرا گذشت این کار ار هیچ چیزیست ورای عشق آنست مرا

15. Number 15Rubāʿī

English
No friend comes to me in this heartbreak, and nothing is left to me but the grief of love. And still you tell me: keep your heart light. Quiet, now, which heart? Do I even have a heart left?

Original

شمارهٔ ۱۵

نه یاری ازین دلگسلی هست مرا نه جز غم عشق حاصلی هست مرا وآنگه گویی مرا که دل خوش می دار خاموش، کدام دل؟ دلی هست مرا؟

16. Number 16Rubāʿī

English
Your hair, loosed to the wind like that, undid me; it tore a cry out of my very self. So much befell me from those tresses that I no longer even remember the joy of seeing your face.
Explanation: The beloved's windblown hair is a classic Persian image for the distractions and torments that keep the lover from union.

Original

شمارهٔ ۱۶

زلف تو چنان بباد بر داد مرا کآورد ز خویشتن بفریاد مرا چندان ز سر زلف تو افتاد مرا کز وصل رخ تو نیست خود یادمرا

17. Number 17Rubāʿī

English
This raw, foolish greed has ruined my name, it wasted my days for nothing. I ask you for a little firewood, so it can cook this raw greed of mine into something ripe.
Explanation: The 'raw greed' and 'firewood to cook it ripe' work as a metaphor for immature desire that needs the fire of experience to mature.

Original

شمارهٔ ۱۷

کرد این طمع خام تبه نام مرا بیهوده بباد داد ایام مرا قدری هیزم از تو طمع می دارم تا پخته کند این طمع خام مرا

18. Number 18Rubāʿī

English
I give my heart to you, in spite of those who wish us ill; their quarrel will never pull me away from you. And even if I should die of longing for you, I will leave my love for you as an inheritance to my kin.
Explanation: The poet frames love as something so lasting it can be passed down like an inheritance to future generations.

Original

شمارهٔ ۱۸

دل بر تو نهم رغم بد اندیشان را وز تو نبرم ستیزۀ ایشان را ور من بمثل بمیرم اندر غم تو عشق تو بمیراث دهم خویشان را

19. Number 19Rubāʿī

English
Those to whom fate never granted faithfulness, our being together sits badly with them. They want to pull me away from serving you, God, may their tongues be cut out.
Explanation: «May their tongues be cut out» is a common Persian curse against slanderers who try to separate lovers.

Original

شمارهٔ ۱۹

آنها که فلک وفا نداد ایشان را وصل من و تو بد اوفتاد ایشانرا خواهند مرا ز خدمتت باز برند یا رب که زبان بریده باد ایشانرا

20. Number 20Rubāʿī

English
Your blade makes kings your servants, and leads many of the lost back onto the path. In your hand it looks like a single drop of water, but it is a flood that has swept over the heads of your enemies.
Explanation: The 'drop of water' plays on the shine of a sword blade, while 'water passing over the head' is a Persian idiom for being overwhelmed or drowned.

Original

شمارهٔ ۲۰

تیغ تو که بنده می‌کند شاهان را آورد بسی به راه گمراهان را در دست تو یک قطرۀ آبست و لیک آبیست ز سر گذشته بدخواهان را

21. Number 21Rubāʿī

English
That beloved whom they worship with longing, why did they wound it as they wounded my own heart? The wound that was meant for my heart, what pain, they bound it onto you instead.
Explanation: These fragmentary couplets speak of a wound meant for the poet's heart being transferred to the beloved. The imagery is deliberately ambiguous in the original.

Original

شمارهٔ ۲۱

ساقت که بآرزو پرستند او را همچون دل من چرا بخستند او را زخمی که حوالت گه او بود دلم دردا گه برشته بر تو بستند او را

22. Number 22Rubāʿī

English
Death is an illness with no cure; its command holds sway over king and minister alike. The king who yesterday ate the finest food of Kerman, today the worms of the grave are eating him.
Explanation: There is a wordplay in Persian: 'kerman' the place and 'kerman' meaning worms sound alike, contrasting the king's feasting with his body being consumed after death.

Original

شمارهٔ ۲۲

دردیست اجل که نیست درمان او را بر شاه و وزیر هست فرمان او را شاهی که بحکم دوش کرمان می خورد امروز همی خورند کرمان او را

23. Number 23Rubāʿī

English
Whoever knew both the heights of joy and the depths of sorrow sold away his whole existence for a single sip of wine. Like the narcissus flower, the one who truly sees makes a place for that intoxication in his own eyes.
Explanation: The narcissus is a classic Persian symbol for the eye, so the wise seer 'holds' the wine's intoxication within his own vision.

Original

شمارهٔ ۲۳

هر کو بشناخت مستی و پستی را بفروخت بیک جرعۀ می هستی را مانندۀ نرگس آنکه صاحب نظرست بر دیدۀ خود جای کند مستی را

24. Number 24Rubāʿī

English
The cup kept coming and going among us, until no blood was left in our veins, no wine in our goblets. So long did it stay in the cold, like a rooster's eye, that my crown turned red as a rooster's comb.
Explanation: The comparisons to a rooster's eye and comb evoke the redness brought on by cold and by drinking. The imagery of an emptied cup and drained veins suggests the passing of time and the exhaustion of life.

Original

شمارهٔ ۲۴

می آمد و می رفت پیاله بر ما تا خون بنماند در رگ و ساغر ما چون چشم خروه بس که شد در سرما چون تاج خروه لعل شد افسرما

25. Number 25Rubāʿī

English
Though our sickly state is far from well, this rebellious heart of ours is the source of our pain. Like a candle, we made peace with the fire of grief; but this fire is really water that has passed over our head.
Explanation: The final line plays on a Persian idiom: 'water passing over the head' means being overwhelmed or ruined, contrasted here with the 'fire' of grief.

Original

شمارهٔ ۲۵

گرچه خوش نیست حالت ناخوش ما درد سر ماست این دل سرکش ما با اتش غم چو شمع، دل خوش کردیم کآبیست ز سر گذشته این آتش ما