The child named Azar sets fire to my heart;
her eyes are like two whole worlds to me.
Her love, this endless child, has swept me away;
over the years and years, it never fades.
Explanation: The couplets are in a dialect and partly obscure; the reading follows the summary, where Azar's eyes are compared to two worlds and her love is timeless.
Original
شمارهٔ ۱
دل بچهنام آذر سوتمی ناد
چشم یان اج دو گیتی دوتمی ناد
لاوه چهنام یر بیباره ببرد
برآن چه و سالها اند و تمی ناد
If I reach the sea, in the sea I see you;
if I reach the desert, in the desert I see you.
There is nothing else in this world but you;
so wherever I go, everywhere I see you.
Explanation: The poem uses dialect forms (te for 'you'). The beloved becomes the only reality present in all of nature.
Original
شمارهٔ ۲
ار به دریا رسم دریا ته وینم
ور به صحرا رسم صحرا ته وینم
به جز ته هیچ کیجی نی به گیتی
اژ آن هر یا رسم هر یا ته وینم
At dawn, when my heart takes fire like a burning pan,
the seven heavens catch flame from my sighs.
My heart lets out a sigh of fire so fierce
that from its heat the very sun itself grows hot.
Explanation: The verses are in a Gorani/Laki dialect; 'roj' means sun and 'tawa' evokes a heated griddle. The imagery links the poet's burning heart to the heavens and the sun.
Original
شمارهٔ ۳
سحرگاهان که دیلم تاوه گیری
از آهم هفت چرخ آلاوه گیری
چدیلم آذرین آهی ورایی
که روج اج تاوه دیلم تاوه گیری
At dawn, when my eyes fill up with tears,
the rising mist drinks its moisture from my weeping eyes.
I rain down such bloody tears from my eyes
that the whole world turns crimson with blood.
Explanation: The verses are in a Persian dialect (Luri/Laki). 'Bloody tears' is a classical image for extreme grief.
Original
شمارهٔ ۴
سحرگاهان که چشمم آوه گیری
کهان اج آو چشمم لاوه گیری
انان خوناوه اج چشمان بوارم
که گیتی سر به سر خوناوه گیری
From this comes my loss of order and peace,
from this comes the wound in my heart and soul.
Since I gave my heart to my beloved, I have wandered lost, day and night,
from this my lips are always trembling and restless.
Explanation: This is a dialect quatrain (likely Gorani/Kurdish) about the turmoil of love; the translation renders the general sense of restless longing.
Original
شمارهٔ ۵
انک وی ساو و سامانی اژین انژ
انک وی دیل و وی یانی اژین انژ
انک بش ناد وارو دی شو وَ رو
میشه بنگشته لاوانی اژین انژ
My heart weeps for her the way I weep for my home;
like me, it mourns for the land and the fields and the meadow.
In all my land and country I see nothing but her;
my whole homeland weeps only for her.
Explanation: The poem is in a local dialect where 'her/beloved' and 'homeland' blur together, so the lover's country and his beloved become one longing.
Original
شمارهٔ ۶
دیله اویان چو من سامانه بگریت
چو من بوم و بر و دامانه بگریت
بجز اویان نوینم بین بر و بوم
بر و بومم همه اویانه بگریت
That sun with its sweet yellow glow shone over field and thicket, while I set my snare, hoping to hunt.
Suddenly I fell into that very trap myself, and the snare, the traps, and all my gear slipped from my mind.
Explanation: This appears to be in a regional Persian dialect; 'nojir' refers to hunting or hunting tools, and the poem plays on the hunter becoming the hunted.
Original
شمارهٔ ۷
خور او زردی شرین به کوشن و هیر
که دام انداتمی اج رای نجیر
ناگهان هاکتم به دام اویان
دام و نجیر و هیرم بشود اج ویر
Whatever they say, listen to your heart; and never let the words of your heart slip from your mind.
The world could not take my heart, for my heart is young; youth never fades, though the world grows old.
Explanation: The verses are in a Persian dialect (likely Laki or Kurdish-influenced). The reading follows the summary's theme of trusting the heart and the contrast between youth and age.
Original
شمارهٔ ۸
هر چه اویان واته دیله بشنیر
دیله واته چو اویان نَشُر اژ ویر
نبُر گیتی که دیلم نویُوان بُر
نویُوانی متا گیتی بُرو پیر
There is no field or grassland in the world, no mountain or meadow, no sown crop or fallow ground.
For I have laid the seed of that meadow myself, and I myself have made the mountain valleys my home.
Explanation: These verses appear to be in a regional Iranian dialect, so the reading is approximate. The imagery ties the speaker's identity to the land, its fields, and its mountains.
Original
شمارهٔ ۹
نه اَمرو بُر به گیتی و نه مشکیر
نه کوه و کوشن بُر نه کِشتَه و هیر
که من بج ناد کوشن تومه بِنداست
که من بج گیل کوهان کرده نجیر
Come, work hard in your own lane; be your own person.
Otherwise all this thinking and worrying is wasted.
You who feel regret, you hold to a faith, a creed;
let go of that old creed, for this is the true one.
Explanation: The poem is in an old dialect and its wording is uncertain; the reading follows the summary's theme of effort and rethinking over regret.
Original
شمارهٔ ۱۰
او نادر کوی آی اج خویشه بوذر
ورنه ژین فکر و ژین اندیشه بوذر
نادم اهنام داری کیشه داری
اج آن کیشَه که وی این کیشَه بوذر
Wake your heart from its own sleep; keep chasing the work and craft that once was yours.
Hold on to whatever calling you have and practice it; stay true to these customs, for such was the way before you.
Explanation: The verses are in a Persian dialect (likely Tati or a Caspian dialect); the reading follows the summary's sense of urging diligence in one's work and loyalty to tradition.
Original
شمارهٔ ۱۱
اویان به دیله وات اج خویشه بوذر
ها پی او کی کهان و پیشه بوذر
او چهنام داری کیشه ورزی
اجین آئین و اِنیز کیشه بوذر
The world was not yet here, nor mountain, nor plain;
no one to sow, no field to name.
Then a seed took hold and gave the land its shape,
and color sprang from the heart, and hues blossomed into being.
Explanation: The source text appears fragmentary and partly in a regional dialect, so the reading is tentative. The imagery follows the summary's theme of nature and the earth coming into being.
Original
شمارهٔ ۱۲
نه گیتی بد هنوز نه کوشن و دشت
کما چهنام داری کومه می کشت
توم چهنام اما آورده بین بوم
اما رنک اج دل و والالوان رست
The dead lie fallen; hear the news of them,
like wood cut down and laid low, above and below.
Whoever stays alive will keep on living;
you will not die until you are ruined and worn away.
Explanation: This is in a Gorani/Dilami dialect, so some words are uncertain; the reading follows the summary's theme of survival and life enduring until the body itself is destroyed.
Original
شمارهٔ ۱۳
مرده دیلم چو اویان نیوه بشنیر
بِبُر چویان دیلم به بر و ژیر
هر که ژیونده بو ببو اج اویان
نمیری تا که ویران و نبو پیر
A familiar pain has settled in my heart;
what pain it is that has taken hold of my heart.
Night and day I carry the thread of longing in my head;
how long will this passion keep me its captive?
Explanation: This is in a Kurdish/Luri dialect; 'thread of longing' renders the obsessive, tangled pull of love. The reading is somewhat uncertain given the dialect.
Original
شمارهٔ ۱۴
اشنه دردی مبا کر با چه من با
کونه دردی مبا کر با چه من با
رشته سودا به سر دیرم شب و روز
چه ما سودا زمانی اشنه سر با
When the world had not yet risen from nothingness into being, my soul and heart were already drunk with love, like this.
There was no name or trace of soul and heart, and yet my soul was making its vow with the beloved.
In that pact the beloved sealed with me, I have never broken a single one of those promises.
There was no hand or garment in all the world that my hand did not reach out to grasp its hem.
It was the beloved who first bound my soul, not I who tied myself to any other.
Love from the loving ones was always sweet; go on, no loving heart was ever truly broken!
Our bond was not made only today, nor did my heart break free of both worlds only today.
My heart cut itself off from the crowd on that ancient day, yet on that same day my soul was joined to yours.
Like my own self, that day my western part rose up, while the soul settled quietly with itself for a moment.
Explanation: The poem uses a dialect form; the vow made before creation echoes the mystical covenant of eternal love that predates the world.
Original
غزل
هنو گیتی نبد اج نیستی هست
که بر یان و دلم چویان سرمست
نبد اج یان و دل نام و نشانی
کوا یان من اویان عهد میبست
در آن عهدین که اویان بسته با من
من اج اویان پیمان هیجه نشکست
نبد دستی و دامانی به گیتی
که من نِج ناد دامان هاژَرَه دست
من اج اویان کوا اهنامم آورد
نَه اُم چهنام آمَن به خویشه ببست
مهر اج مهروانان میشه خوش بی
نیجه رو، مهروانی کَستَه بی کَست!
نه امروجی چِه ما پیوند دَ ناد
نه امرو اج دو گیتی دل چِِه ما رست
چِه ما دل اج کهان آن روژه ببْرَر
اما دَناد یان آن روژه پیوست
چو خویشم مغربی آن روزه وَر خاست
کوا اویان دمی وی خویشه بنشست