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؟
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
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
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
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!
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
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
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
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
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؟
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
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؟
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
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
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؟
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
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
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
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
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
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
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
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
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
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