When the sun of your face rose into view,
the atoms of both worlds became visible.
When the sunlight of your face cast its shadow,
from that shadow all things came into being.
Every atom, from the sunlight of your face,
took on the nature of the sun and shone clear.
The atom exists because of the sun,
and the sun reveals itself through the atom.
The sea of being began to surge,
and flung a single wave toward the open plain.
That wave sank down and rose again,
wearing a lovely garment and enchanting form.
The violets of meaning sprang up,
like the graceful, elegant script of a beautiful hand.
The poppies of truth burst into bloom,
and a thousand tall cypresses stood revealed.
All of this was nothing but that wave itself,
and what was the wave but the sea itself?
Every part is identical to the whole,
so the whole, from end to end, is its parts.
And what are the parts but manifestations of the whole,
what are the things but shadows of the divine names?
And what are the names but the sun's appearing,
and the sun is the beauty of the exalted Essence.
And what is the plain but the ground of possibility,
which is the very book of God Most High?
Maghrebi, let this discourse rest;
do not lay bare the secret of the two worlds.
Explanation: The poem is a Sufi meditation on divine unity: the sun is God's Essence, and all creation is its shadow or reflection. 'Maghrebi' is the poet's own pen name, addressed in the closing couplet.
Original
شمارهٔ ۱
خورشید رخت چو گشت پیدا
ذرّات دو کَون شد هویدا
مهر رخ تو چو سایه انداخت
زان سایه پدید گشت اشیاء
هر ذرّه ز نور مهر رویت
خورشید صفت شد آشکارا
هم ذرّه به مهر گشت موجود
هم مهر به ذرّه گشت پیدا
دریای وجود موج زن شد
موجی بفکند سوی صحرا
آن موج فرو شد و بر آمد
در کسوت و صورتی دلارا
بر رسته بنفشۀ معانی
چون خطّ خوش نگار رعنا
بشکفته شقایق حقایق
بنموده هزار سرو بالا
این جمله چو بود عین آن موج
و آن موج چه بود عین دریا
هر جزو که هست عین کلّست
پس کلّ باشد سراسر اجزا
اجزا چه بود مظاهر کلّ
اشیاء چه بود ظلال اسماء
اسماء چه بود ظهور خورشید
خورشید جمال ذات والا
صحرا چه بود زمین امکان
کانست کتاب حقتعالی
ای مغربی این حدیث بگذار
سرّ دو جهان مکن هویدا
Throw off the veil of names from the face of the Essence;
do not hide the true One behind a mere label.
Cast off the veil and set out for the open plain;
leave the corner of solitude and, for a moment, take in the sight of unity.
Even though the radiance of the Essence would dissolve all things
the instant this veil falls away.
Though there is an 'us' and an 'I,' they too are nothing but You;
for a single moment, take this 'I' and 'we' away from me.
Though the world is the shadow of the mythical Anqa of the West,
still that shadow has become a veil over the Anqa itself.
The many patterns of the waves on the sea's surface
are veil enough to hide the sea's inner oneness.
The glow of your own beautiful face keeps itself hidden;
like a lovely maiden's cheek concealed from the heartsick lover's eye.
It is not fitting that you stay hidden from those who can truly see,
for you yourself are the light of every seeing eye.
Since it is You, Maghrebi, who beholds your own beautiful face,
do not hide that lovely face from him, my friend.
Explanation: The Anqa is a mythical bird symbolizing a hidden, transcendent reality. 'Vameq and Azra' are famous lovers from Persian tradition, invoked for the concealed cheek of the beloved.
Original
شمارهٔ ۲
ز روی ذات بر افکن نقاب اسما را
نهان به اسم مکن چهرۀ مسمّا را
نقاب بر فکن از روی و عزم صحرا کن
ز کنج خلوت وحدت دمی تماشا را
اگر چه پرتو انوار ذات محو کند
چو این نقاب بر افتد جمیع اشیا را
اگر چه ما و منی نیز جز توئی
تو نیست زماو من بِسِتان یک زمان من و ما را
اگر چه سایۀ عنقا مغربست جهان
و لیک سایه حجاب آمده است عنقا را
نقوش کثرت امواج ظاهر دریا
حجاب وحدت باطن بس است دریا را
فروغ چهرۀ عذرای خود نهان دارد
ز چشم وامق بیدل عذار عذرا را
نمی سزد که نهان گردی از اولو الابصار
که نور دیده تویی چشمهای بینا را
ز مغربی چو تویی ناظر رخ زیبات
نهان از و مکن ای دوست روی زیبا را
Cupbearer, bring that cup of pure clarity; for a moment set us free from ourselves.
For God's sake, if you can do something, then do it, do something, do something, for God's sake.
As you have made your own eyes drunk, make drunk our hearts, our minds, our souls, our sight.
The world is full of counterfeits and cheats; come, work your alchemy on these false hearts.
You could remake us into a whole new self, if only you and we had the desire.
A beggar becomes a king the very day that you seat that beggar on your own throne.
The first painting is crowded with figures and designs; O beloved, wipe every image from the heart.
Come, cleanse the world-reflecting mirror clean of every picture of this world.
Once you have wiped away the world's design, adorn its face with the image of your own face.
Before the sky of the heart, like the sun, sweep every star from the tablet of the heavens.
Come, cast a ray of light upon the setting west; in the name of love, turn this faint star into the sun.
Explanation: The 'world-reflecting mirror' echoes the legendary cup of Jamshid that showed all the world. The final couplet plays on the poet's name Maghrebi (the westerner) and 'Soha,' a faint star.
Original
شمارهٔ ۳
بیاور ساقی آن جام صفا را
دمی از ما رهایی بخش ما را
خدا را گر توانی کرد کاری
بکن کاری بکن کاری خدا را
چو چشم خویشتن سرمست گردان
دل و عقل و روان و دیدهها را
جهان پر قلب و پر قلاب کرده
بیا بر قلبها زن کیمیا را
توانی ساختن از ما شمایی
اگر میلی بُوَد ما و شما را
گدا سلطان شود گر زان که روزی
نشانَد بر سریر خود گدا را
نگار اول پر از نقش و نگار است
ببر نقش و نگار از دل نگارا
بیا از نقش گیتی پاک گردان
میان آینه گیتینما را
چو از نقش جهانش پاک کردی
به نقش روی خود رویش بیارا
برابر آسمان دل چو خورشید
ز کوکب پاک کن لوح سما را
بیا بر مغربی انداز تابی
به نام مهر گردان این سها را
The whole world shines in your life-giving face, and your face is revealed in the mirror of all creation.
When the beauty of your face looked into the mirror, it saw its own reflection and lost itself in wonder and longing.
Each moment your face offered its own beauty to itself, appearing before its own eyes in a hundred lovely forms.
From the eyes of lovers it cast a glance, so it could gaze at its own beauty in the faces of the beautiful.
To display itself, your face made a mirror, and it gave that mirror the name of Adam and Eve.
It saw the beauty of its own face in every face, and so it became the mirror of all the names.
Since you are both the one who sees and the one who is seen, and no one exists but you, then why did all this uproar arise?
Maghrebi, the horizons fill with clamor when the sultan of your beauty pitches his tent in the open plain.
Explanation: The poem reflects a Sufi idea: the beloved (the divine) sees its own beauty reflected everywhere, and creation is a mirror. 'The names' refers to the divine attributes. Maghrebi is the poet's pen name.
Original
شمارهٔ ۴
ای جمله جهان در رخ جانبخش تو پیدا
وی روی تو در آینۀ کَون هویدا
تا شاهد حسن تو در آیینه نظر کرد
عکس رخ خود دید بشد واله و شیدا
هر لحظه رخت داد جمال رخ خودرا
بر دیده خود جلوه بصد کسوت زیبا
از دیده عشاق برون کرد نگاهی
تا حسن خود از روی بتان کرد تماشا
رویت ز پی جلوهگری آینهای ساخت
آن آینه را نام نهاد آدم و حوّا
حسن رخ خود را به همه روی در او دید
زان روی شد او آینهٔ جملهٔ اسما
چون ناظر و منظور توئی غیر تو کس نیست
پس از چه سبب گشت پدید این همه غوغا
ای مغربی آفاق پر از ولوله گردد
سلطان جمالت چو زند خیمه به صحرا
What love was this the Beloved kneaded into our clay,
what treasure did the Friend lay hidden in our heart?
For forty mornings the eternal gardener worked by hand,
finding no rose-seed he did not plant in our soil.
What moon was this that came down from the sky
and settled, serene and at ease, in our house and constellation?
What angel was it that fell into the pit of Babylon?
What spells lie deep in this well of ours in Babylon!
What waves keep breaking, moment after moment,
from the surge and stirring of His sea onto our shore?
The heart takes on a thousand shapes in a single instant;
see how ready our receptive heart is to be imprinted.
With every knot He loosens from His own hair,
a hundred thousand of our troubles come undone.
If you long to be accepted at His court,
come and become the servant of the one who is our fortunate one.
Like Maghrebi, close your eyes to the images of this world
if you seek perfection from our Perfect One.
Explanation: Babylon and its well allude to the angels Harut and Marut, teachers of magic in Islamic tradition. Maghrebi is the poet's pen name.
Original
شمارهٔ ۵
چه مهر بود که بسرشت دوست در گل ما
چه گنج بود که بنهاد یار در دل ما
به دست خویش چهل صبح باغبان ازل
ندید تخم گلی تا نکشت در گل ما
چه ماه بود که از آسمان فرود آمد
نشست خوش متمکن به برج و منزل ما
ملک که بود که افتاد در چه بابل
چه سحرهاست درین قعر چاه بابل ما
چه موجها که پیاپی همی رسد هر دم
ز جوش و جنبش دریای او به ساحل ما
هزار نقش به یک لحظه می پذیرد دل
ببین چه نقش پذیر است قلب قابل ما
به هر گره که وی از زلف خویش بگشاید
از او گشاده شود صد هزار مشکل ما
اگر ز حضرت مات آرزوی مقبولی ست
بیا و هندوی آن شو که هست مقبل ما
چو مغربی نظر از نقش کاینات بدوز
اگر کمال طلب می کنی ز کامل ما
What we seek lies beyond what every seeker seeks;
our drinking is of a wine no other cup can hold.
No one has ever tasted a single sip to his heart's content
from the wine our own lips keep drinking without pause.
Our starry sky lies beyond all the skies,
for the sacred essence itself is our sky of stars.
Many spurred on the horse of the heart, yet no rider,
however swift his soul, ever caught up to our steed.
When the days and nights of creation did not yet exist,
his face was already our day, his hair our night.
Whoever gave up life and world bought his love,
and came to know the loss and gain of our trade.
Only that one grasps the meaning of our sighs and prayers
who, like us, has been burned by our cry of 'O Lord.'
Take up our faith, root and branch,
for the true religion is the one we follow.
First wash the tablet of your heart clean of all creation's marks,
if, like Maghrebi, you mean to enter our school.
What love was it the Friend kneaded into our clay?
What treasure did the Beloved lay within our heart?
Explanation: Maghrebi is the poet's pen name, so the final couplet is self-address. The phrase 'root and branch' renders the religious terms for fundamental and derivative principles.
Original
شمارهٔ ۶
ورای مطلب هر طالب است مطلب ما
برون زمشرب هر شارب است مشرب ما
به کام دل به کسی هیچ جرعه ای نرسید
از آن شراب که پیوسته می کشد لب ما
سپهر کوکب ماست از سپهر ها برون
که هست ذات مقدس سپهر کوکب ما
بتاختند اسب دل ولی نرسید
سوار هیچ روانی به گرد مرکب ما
هنوز روز و شب کائنات هیچ نبود
که روز ما رخ او بود و زلف او شب ما
کسی که جان و جهان داد عشق او بخرید
وقوف یافت ز سود زیان بکسب ما
ز آه و یارب ما آن کسی خبر دارد
که سوخته است چو ما او ز آه یا رب ما
تو وین و مذهب ما گیر در اصول و فروع
که دین و مذهب حق است دین و مذهب ما
نخست لوح دل از نقش کائنات بشوی
چو مغربیت هست اگر عزم مکتب ما
چه مهر بود که بسرشت دوست در گل ما
چه گنج بود که بنهاد یار در دل ما
For forty mornings, from the dawn of creation, with its own hand it planted;
no seed of any rose was seen until it was sown in our clay.
What moon was this that came down from the sky
and settled sweetly, at home, in the tower of our dwelling?
What angel was it that fell into the pit of Babylon?
What spells lie at the bottom of our Babylonian well?
What waves keep arriving, moment after moment,
from the surge and stirring of his sea onto our shore?
The heart takes on a thousand forms in a single instant;
see how ready to receive every shape our willing heart is.
With each knot he loosens from his hair,
a hundred of our difficulties come undone.
If you long to be accepted at our court,
come, become the servant of his dark locks, for that is our path to fortune.
Like Maghrebi, fix your gaze on the very essence of all being,
if you seek perfection from the one who is perfect among us.
Explanation: 'The dawn of creation' renders 'alast,' the primordial covenant between God and souls in Islamic tradition. The angel in the Babylonian well alludes to Harut and Marut, the fallen angels of the Quran associated with magic.
Original
شمارهٔ ۷
بهدست خویش چهل صبح بامداد الست
ندید تخم گلی تا نکشت در گل ما
چه ماه بود که از آسمان فرود آمد
نشست خوش متمکن به برج منزل ما
ملک که بود که افتاد در چه بابل
چه سحرهاست در این قعر چاه بابل ما
چه موجها که پیاپی همیرسد هر دم
ز جوش و جنبش دریای او به ساحل ما
هزار نقش به یک لحظه میپذیرد دل
ببین چه نقشپذیر است قلب قابل ما
به هر گره که وی از زلف خویش بگشاید
از او گشاده شود صد مشکل ما
اگر ز حضرت ما آرزوی مقبولیست
بیا ز هندوی او شو که هست مقبل ما
چو مغربی نظر از عین کائنات بدوز
اگر کمال طلب میکنی ز کامل ما
Do you know who we are, and who you are?
We are the shadows cast by the sun of God's light.
A shadow is the shining of that sun,
and the sun's shining is the very light itself.
The sun is not far from its own rays,
and the shadow is never separate from the sun.
Shadow and sun are one and the same:
He is one, though He appears as many.
Since the shadow of the sun is a single thing,
then Lord, where did all this multiplicity come from?
Turn your gaze away from the surface of creation,
and the shadow will reveal itself to you as one.
Move past the shadow, for what you call a shadow
is, everywhere, the sun itself.
Explain how a single thing can become
the very being of all things.
There is one essence, and all these individual beings;
there is one named, and all these names.
Essence and aspect, name and epithet and attribute,
intellect and soul, nature, form, and faculties,
all of them are marks of His self-determinations,
whatever exists on earth and in the sky.
In thousands upon thousands of strange forms,
He shows Himself to Himself.
He is present in the world, old and new;
His latest name is Adam and Eve.
Sometimes He becomes Majnun, sometimes Layla;
sometimes He is Vameq, sometimes Azra.
What I call waves is a mirror of His radiance,
appearing dressed in the guise of 'me' and 'us'.
The pattern of this wave on the endless sea
is Maghrebi, and Sanai, and their light.
Explanation: The poem expresses the Sufi doctrine of the unity of being (wahdat al-wujud): the whole world is God's shadow, and all separate things are one reality appearing in many forms. Majnun/Layla and Vameq/Azra are famous pairs of lovers from classical poetry; the closing line names the poet Maghrebi and puns on 'sana' (radiance) and the poet Sanai.
Original
شمارهٔ ۸
هیچ دانی که کیستیم و شما
سایه آفتاب نور خدا
سایه آفتاب تابش اوست
تابش مهر هست عین ضیا
نیست خورشید از شعاع بعید
نیست سایه ز آفتاب جدا
سایه و آفتاب یک چیزند
هست او واحد کثیر نما
چون یکی بود سایه خورشید
یا رب این کثرت از چه شد پیدا
نظر از عین کائنات بدوز
تا که سایه نمایدت یکتا
بگذر از سایه زانکه خورشید است
آنکه تو سایه خوانیش هر جا
شیئی واحد بگو که چون گردد
عین هستی جمله اشیا
هست یک عین ، اینهمه اعیان
یک مسما است این همه اسما
ذات و وجهت است و اسم و نعت و صفت
عقل و نفس است طبع و شکل قوا
جمله نقش تعینات ویند
هرچه هستند در زمین و سما
بهزاران هزار نقش غریب
مینماید به خویشتن خود را
هست اندر جهان کهنه و نو
آخرین نامش آدم و حوا
گاه مجنون شود گهی لیلی
گاه وامق بود گهی عذرا
آنچه امواج خوانمش مجلاست
گشته ظاهر به کسوت من و ما
نقش این موج بحر بی پایان
مغربی و سنایی است و سنا
Come, plunge into the sea and let go of this 'I' and 'we,'
for until you become the sea yourself, you will never know the sea's true essence.
If one day a wave from that sea sweeps you into this desert,
it will drown you so completely that you forget the desert ever existed.
If you see the waves of the sea as nothing but waves, not the sea itself,
I know for certain you will never see the named reality behind the names.
Once you have made all your numbers into one, nothing remains but the One;
when you become a single tomorrow, you see yesterday and tomorrow as one.
Move from multiplicity toward unity, then from unity back to multiplicity;
only by the path of unity and multiplicity can you truly know the names.
What do you know of what lies beneath and above the earth and sky, when you,
such as you are, have never even seen your own below and above?
Since you are drunk on the beloved's essence, sink deep into yourself and be still;
both this hidden and this visible arise from that same hiddenness and appearing.
Listen, Maghrebi: if you speak of the Phoenix of the West,
you must seek that Phoenix somewhere beyond both East and West.
Explanation: The 'names' and 'named' (asma/musamma) reflect the Sufi idea that divine names point to a single hidden Reality. 'Maghrebi' is the poet's own pen name, and the 'Phoenix of the West' (Anqa) is a symbol of an ungraspable, transcendent truth.
Original
شمارهٔ ۹
بیا در بحر و دریا شو رها کن این من و ما را
که تا دریا نگردی تو ندانی عین دریا را
اگر موجت از آن دریا درین صحرا کشد روزی
چنانت غرقه گرداند که ناری یاد از صحرا
اگر امواج دریا را بجز دریا نمی بینی
یقین دانم که نتوانی مسما دید اسما را
چو واحد کردی اعدادت نشاید سر بسر واحد
چو فردائی یکی بینی پری و دی فردا را
ز کثرت سوی وحدت شو ز وحدت سوی کثرت آی
ز راه وحدت و کثرت توان دانستن اسما را
چه دانی زیر و بالای زمین و آسمان چون تو
ندید استی تو ور خود زیر بالا را
چو مستی نسخه جانان فرو رو در خود و ادوان
ز پنهانی و پیدائیست این پنهان و پیدا را
الا ایمغربی عنقای مغرب را اگر گوئی
برون از مشرق و مغرب بباید جست عنقا را
Come and let your beautiful face shine before the lover's eyes, for only a true lover knows the perfection of a beloved's beauty.
Come to the open plain of the lover's heart and pass by displaying yourself; adorn the world with your lovely face.
For a moment step out from the solitude of oneness into the open field; look upon those who watch, and see the crowd that has come to gaze.
What kind of sun is this, I cannot tell, that sets the whole world ablaze, yet from its own face keeps granting light to every seeing eye.
O Joseph of the Egypt of loveliness, how long will you keep this heartbroken Jacob and the grieving soul of Zuleikha in sorrow?
You have hidden your sweetness away, leaving all the flies to circle in confusion; if you want a swarm of them, bring your sweets out into the open.
O plundering beloved, come and carry off my soul as your spoils; my heart will not give you up, nor will you give up plundering.
My beloved's sweet lips fill the world with uproar, for such lovely ones always delight in commotion and turmoil.
O westerner, speak little to the man of the desert, for one of the desert cannot understand the language of the people of the sea.
Explanation: Vamiq and Azra, and Joseph, Jacob, and Zuleikha are classic Persian pairs of lovers used as symbols of devotion and longing. The 'plundering Turk' is a stock image of a beautiful, ravishing beloved.
Original
شمارهٔ ۱۰
بیا بر چشم عاشق کن تجلی روی زیبارا
که جز وامق نداند کس کمال حسن عذرا را
بصحرای دل عاشق بیا جلوه کنان بگذر
بروی عالم آرایت بیارا روی زیبا را
دمی از خلوت وحدت تماشا را به صحرا شو
نظر بر ناظران افکن ببین اهل تماشا را
چه مهر است آن نمیدانم که عالم هست در آتش
ز روی خویش بخشد نور هر دم چشم بینا را
الا ای یوسف مصر ملاحت تا بکی داری
بدین یعقوب بیدل را غمین جان زلیخا را
تو حلوا کرده ای پنهان مگسها جمله سرگردان
اگر جوش مگس خواهی بصحرا آر حلوا را
الا ای ترک یغمایی بیا جان را به یغما بر
نه دل ترک تو خواهد کرد نه تو ترک یغما را
جهان پر شور از آن دارد لب شیرین ترک من
که ترکان دوست میدارند دایم شور و غوغا را
سخن با مرد صحرایی الا ایمغربی کم گوی
که صحرایی نمیداند زبان اهل دریا را
Soul-nightingale, how are you inside this cage of the body?
How long will you stay here alone, a single body all by yourself?
Sweet-voiced nightingale, from that rose garden and that orchard,
how did you suddenly fall into these dunghills?
It seems that in this ash pit you have forgotten
that meadow, that garden, those hyacinths and lilies.
Break the cage of the body, then singing your bright song,
rise up from the rank of the ash pit and stroll into the gardens.
Your fellow singing birds have all left this ash pit;
they flew to the garden and took their places there.
One cannot make a home among predators and beasts;
leave this dreadful place, my soul, and head for safe havens.
Bird of the heavens, caught in the snare of an earthly body,
for two or three grains you have missed whole harvests.
At least, since you cannot get out of this shell,
sit by its window and throw all the openings wide.
Poor Maghrebi, why settle down here,
when over there dwellings have been made ready for you?
Explanation: The nightingale in the cage is the soul trapped in the body, a classic Sufi image. 'Maghrebi' is the poet's own pen name, addressing himself in the closing couplet.
Original
شمارهٔ ۱۱
ای بلبل جان چونی اندر قفس تنها
تا چند درین تنها مانی تو تن تنها
ای بلبل خوشالحان زان گلشن و زان بستان
چون بود که افتادی ناگاه به کلجنها
گویی که فراموشت گردیده درین گلخن
آن روضه و آن گلشن و آن سنبل و سوسنها
بشکن قفس تن را پس تنتنتنگویان
از مرتبه گلخن بخرام به گلشنها
مرغان همآوازت مجموع ازین گلخن
پرنده به گلشن شد بگرفته نشیمنها
در پیش دام و دد معوا نتوان کردن
زین جای مخوف ای جان رو جانب مامنها
ای طایر افلاکی در دام تن خاکی
از بهر دو سه دانه وامانده خرمنها
باری چو نمییاری بیرون شدن از قالب
بر منظرهاش بنشین بگشاده روزنها
ای مغربی مسکین اینجا چه شوی ساکن
کآنجاست برای تو پرداخته مشکنها
When the light of the beloved's beauty shone on my heart,
the eye of my soul saw beauty in its full perfection.
How could anyone still care for the pleasures of the world
once they have tasted, even for a moment, the joy of union with the beloved?
How could it stoop to the world's snares and its scattered grain,
this heart now caught in the beloved's curling hair and beauty mark?
It never even imagines ruling over both worlds,
the mind that is never for a moment empty of thoughts of the beloved.
In neither world can you find anything to match the beloved,
though both worlds are patterned after the beloved's likeness.
My inner self is so completely filled with the beloved
that if the beloved came, there would be no room left for the beloved.
My heart and soul are so full of the beloved
that, being lost in the beloved, I no longer even watch for the beloved.
What need does the eye have for outer beauty
when the beloved's beauty shines from within?
When it rose from the east of your heart,
a thousand full moons faded before the beloved's crescent.
Explanation: The repeated word 'habib' (beloved) plays on divine and human love. The image of no room 'for the beloved' even if the beloved arrives expresses that the beloved has already filled the poet entirely.
Original
شمارهٔ ۱۲
چون تافت بر دل من پرتو جمال حبیب
بدید دیده جان حسن بر کمال حبیب
چه التفات بلذات کائنات کند
کسی که یافت دمی لذت وصال حبیب
بدام و دانه عالم کجا فرود آید
دلی که گشت گرفتار زلف و خال حبیب
خیال ملک دو عالم نیاورد بخیال
سری که نیست دمی خاای از خیال حبیب
حبیب را نتوان یافت در دو کَون مثال
اگر چه هر دو جهان هست بر مثال حبیب
درون من نه چنان از حبیب مملو شد
که گر حبیب در آید بود مجال حبیب
بدانصفت دل و جان از حبیب پر شده است
که از حبیب ندارم نظر بحال حبیب
چه احتیاج بود دیده را به حسن برون
چو در درون متجلی شود جمال حبیب
ز مشرق دلت چه کرد طلوع
هزار بدر برفت از نظر هلال حبیب
Your face shines out in the eyes of everything beautiful; all the grace and beauty of the lovely ones belongs to you.
On the face of every fairy-featured beauty, only a line or two from the book of your beauty has been written.
There is no beloved anywhere except your face; for true rapture, nothing is worth loving but your face.
Zuleikha's eyes were fixed on the reflection of your face, seeing the lovely face of Joseph, son of Jacob, as if in a mirror.
In the witness and the witnessed, you are both the seer and the seen; in lover and beloved, you are both the seeker and the sought.
In the taverns they worship none but you; even the one who bows to stone and clay and wood.
The broom of longing for you swept the house of my heart clean; and now this house is swept just as the heart desires.
From those scattered locks and that mischievous glance, the whole world, from end to end, was filled with turmoil and unrest.
Maghrebi is not veiled from your face, my friend; if anything, he is veiled from your beauty only by himself.
Explanation: Zuleikha and Joseph refer to the famous Quranic tale of overwhelming love and beauty. Maghrebi is the poet's own pen name in the closing couplet.
Original
شمارهٔ ۱۳
ای کرده متجلی رخت از دیده هر خوب
وی حسن و جمال همه خوبان بتو منسوب
بر صفحه رخساره هر ماه پری روی
حرفی دو سه از دفتر حسنت شده مکتوب
محبوب ز هر روی بجز روی تو نبود
خود نیست بهر وجد بجز روی تو محبوب
بر عکس رخت چشم زلیخا نگران بود
در آینه روی خوش یوسف یعقوب
در شاهد و مشهود توئی ناظر و منظور
در عاشق و معشوق توئی طالب و مطلوب
در میکده ها غیر تو را می نپرستند
انکس که کند سجده بر سنگ و گل و چوب
جاروب غمت کرد مرا جامه دل پاک
وینخانه کنونست بکام دل جاروب
زان زلف پراکنده و زان غمزه فتان
پر گشت جهان سربسر از فتنه و آشوب
محجوب نباشد ز رخت مغربی ایدوست
گر خود به خود است از رخ زیبای تو محجوب
Your ruby lips are my cupbearer, my cup of wine; those two intoxicating eyes keep me forever undone.
When the murmur of my beloved's voice is in my ears, what need have I for the sound of harp, lute, or fiddle?
Under a lucky star my gaze fell on the beloved's face; the moment my eyes opened, my fortune woke from sleep.
In the state I'm in, drunk on the eternal cupbearer, it's a wonder I can still tell real wine from a mirage.
Someone who knows nothing of pleasure or of pain has no sense of paradise, and none of torment either.
Since beside your being I am nothing at all, do not turn your face away, do not fall into anger.
If you don't speak to me, that is no surprise; the sun never bothers to address a shadow.
Don't ask Maghrebi for etiquette on the path of love, for no one ever sought manners from the drunk and the lovers.
Explanation: 'Two intoxicating eyes' renders the Persian 'narcissus,' a classic image for the beloved's languid, drowsy eyes. Maghrebi is the poet's own pen name, used here to address himself.
Original
شمارهٔ ۱۴
مرا که لعل لبت ساقی است و جام شراب
از آن دو نرگس مست توام مدام خراب
مرا که زمزمه قول دوست در گوش است
چه حاجت است آواز چنگ عود و رباب
فتاده بر رخ دلبر بطالع مسعود
نخست چشم که بگشود چشم بخت از خواب
بدین صفت که منم مست ساقی باقی
عجب که باز شناسم شراب را ز سراب
کسی که بیخبر از ِلذت و الم باشد
نه از نعیم بود آگهیش نه ز عذاب
چو با وجود تو من هیچ نیستم از نیست
بهیچ وجه مگردان رخ ک مشو در تاب
خطاب اگر نکنی با من این عجب نبود
که سایه را نکند هیچ آفتاب خطاب
مجو ز مغربی آفتاب در طریقت عشق
که کسی نجست ز مستان و عاشقان آداب
Your boundless attributes are the talisman guarding the treasure of Your essence; and the treasure of Your essence lies hidden behind the spell of those attributes.
The whole world is nothing but the design of the talisman guarding Your treasure; yet no mystery is ever solved by talisman or image alone.
Your attributes are the painter working in the workshop of both worlds; the image of all creation is only a shadow of the light of Your attributes.
The shadow that is the image of creation appears only from Your light, for its spreading reaches across every possible thing.
A shadow is a mere reflection of light; it has no will of its own, and so it never holds still for a single moment.
The worthless shadow keeps saying to the light: 'You appear only through me, so I too exist in my own right, just like You.'
The shadow looks as if it exists, but it has no real being; if you could tell nothingness from true being, you would find your salvation.
How could Khizr ever drink a single draught from the water of eternal life, so long as you mistake mere darkness for the water of life?
O heart, lost and bewildered on the western plain, if you are truly seeking the placeless One, pass beyond all places and directions.
Explanation: Khizr is the immortal prophetic figure who found the water of life; here he symbolizes the seeker who must not confuse illusion with truth. The western plain evokes the land of sunset and darkness in Sufi geography.
Original
شمارهٔ ۱۵
ای صفات بیکران تو طلسم گنج ذات
گنج ذات تو گشته مخفی ز طلسمات صفات
هست عالم سربسر نقش طلسم گنج تو
از طلسم و نقش هرگز حل نگردو مشکلات
ای صفاتت نقشبند کارگاه هردو کَون
سایه نور صفات توست نقش کاینات
ظل نقش کاینات از نور تو دارد ظهور
زانکه باشد انبساطش بر جمیع ممکنات
پرتو نور است سایه خود ندارد اختیار
زان سبب هرگز نباشد یکزمان او را ثبات
سایه ناچیز گوید هر زمانی نور را
ای بتو ظاهر شده ماهمچو تو ظاهر بذات
سایه هستی مینماید لیکن او را اصل نیست
نیست را از هست اگر بشناختی یابی نجات
کی خورد خضر حیات از آب حیوان شربتی
تا تو ظلمت را تصور کرده آب حیات
ایدل سرگشته حیران بساط مغربی
بیجهت را گر همی جویی گذر کن از جهات
Your face is the sun and all creation its scattered specks; your essence lies beyond both denial and affirmation.
How could specks of dust ever reach the sun? Dust is dust, and the sun is beyond all reach.
Every name and attribute of creation is lost, dissolved in delight within your essence.
There is no name there, no epithet, no mark, no shape, no fixed form like yours.
When manifestation arose from the outward signs, the names and attributes reached their full perfection.
And for this purpose the earths, the elements, and the heavens came into being.
Clear and defined, the verses were written out upon the page of existence.
Through the painted image and its receiving forms, we saw it plainly, with no rival to it.
One meaning and a hundred thousand shapes; one shape and a hundred thousand mirrors.
The lamp is your face, my beloved; both worlds are the glass and the niche that hold it.
Your sun became visible in the west, though it is by that sun the specks of dust are seen.
Explanation: The word 'mehr' means both the sun and love, and the poem plays on both senses. The lamp, glass, and niche in couplet 10 echo the Light Verse of the Quran (24:35).
Original
شمارهٔ ۱۶
ای روی تو مهر و کَون ذرات
ذات تو برون ز نفی و اثبات
ذرّات کجا رسند در مهر
ذرات کجا و مهر هیهات
اسماء و صفات کَون هر یک
در ذات تو اند محو لذّات
نی اسم و نه نعت بود آنجا
نه رسم و نه شکل و وضع همتات
چون خاست ظهور از مظاهر
اسما و صفات را کمالات
موجود شدند بهر این کار
ارضین و عناصر و سماوات
مسطور معین و مبین
شد برورق وجود آیات
از روی نگار و از قوابل
دیدیم عیان بی محادات
یک معنی و صد هزار صورت
یک صورت و صد هزار مرآت
مصباح رخ ترا نگارا
کَونین زجاجه است مشکوات
مهر تو بغربی عیان شد
با آنکه عیان از اوست ذرّات
Your attributes are the veil over the face of your essence;
your pure essence is what makes those attributes appear.
When the sun of your face began to shine,
all darkness was destroyed by its light.
Your lips breathed upon a dead world,
and from that breath it found new life.
That world burst into clamor and motion,
like dust particles dancing before the sun of your face.
A whole world was nothing, mere non-existence;
your life-giving lips brought it into being.
Every motion in the world comes from you;
otherwise non-existence stays still and fixed.
How would the poor world have grown rich,
if you had not drawn out the alms from your treasure?
And what they call Adam
is a copy of the world and the manifestation of the essence.
Maghrebi, what they call the world
is only the reflection of your face in a mirror.
Explanation: Maghrebi is the poet's own pen name, used in the closing couplet as is customary in Persian ghazals. The 'dust particles dancing before the sun' evokes tiny motes made visible only in a sunbeam, a classic image of creatures existing only through the divine light.
Original
شمارهٔ ۱۷
ای صفاتت حجاب چهره ذات
ذات پاکت ظهور بخش صفات
آفتاب رخت چو تابان گشت
منهدم شد ز نور او ظلمات
لب تو بر جهان مرده دمید
نفسی زان بیافت حیات
آنجهان در خروش و جوش آمد
پیش مهر رخ تو چون ذرّات
عالمی را چو نفی بود عدم
لب جانبخش تو نمود اثبات
جنبش از توست جمله عالم را
ورنه دارد عدم سکَون و ثبات
از چه شد عالمِ فقیر غنی
گر نکردی برون ز گنج ذکوات
وانچه او آدمش همی دانند
نسخه عالم است و مظهر ذات
مغربی آنچه عالمش خوانند
عکس رخسار تست در مرآت
The whole universe is a mirror of your essence; and to those with true sight, your attributes surpass even the essence itself.
The moment your captivating face resolved to appear, all creation became the stage for its display.
When the sun of your beauty rose, every particle of the possible world came into being.
So much did the cloud of your grace rain down on nothingness that a spring of life burst from the ground of the void.
The dust of nothingness did not glance away from your signs; it became the site where your revelations descend.
When your beauty shone through the idols of Somnath, the idol worshipper began to adore those very idols.
The unbeliever bowed to Lat and Manat out of longing, for in Manat and Lat he glimpsed your beauty.
You whose love sets the heavens turning: it is longing for you that gives all the skies their warrant to move.
Child of the grace of the Incomparable God, no eye of any father or mother has ever seen one like you.
You are the treasury of treasures and its trusted keeper; you are the riddle of both worlds and the secret that solves every riddle.
You are the center, the orbit, the being and its bounds; steady like the pole star, yet turning like the restless sky.
If I send you a greeting, you are the greeting itself; if I offer you a blessing, you are that blessing too.
Tell me at last: how could anyone give you to yourself? You are your own purifier, and you are your own alms.
O most beautiful of the beautiful, most charming of the charming; O grace of all graces, O finest of all subtleties.
O most comprehensive of appearances, O most perfect manifestation; O barrier between all barriers, O gatherer of all that is scattered.
You are both the treasure and its talisman, both body and soul; both the name and the named, both the essence and its attributes.
You are both west and east, and the rising place itself; the throne, the earth, the elements, the heavens, and every direction.
Explanation: Lat, Manat, and the idols of Somnath were famous pre-Islamic and Indian idols; here they signify that even the worship of idols is ultimately a reflection of the one divine beauty. 'Barzakh' (barrier) is the isthmus between two realms in Sufi cosmology.
Original
شمارهٔ ۱۸
ای کائنات ذات ترا مظهر صفات
وی پیش اهل دیده صفات تو به ز ذات
تا روی دلفریب تو آهنگ جلوه کرد
شد جلوه گاه روی تو مجموع کاینات
تا آفتاب حسن و جمالت ظهور کرد
ظاهر شدند جمله ذرات ممکنات
از بس که ابر فیض تو بارید بر عدم
سر بر زد از زمین عدم چشمه حیات
خاک عدم نکرد ز آیات یکنظر
شد مورد تجلی واردات
ز صنام صومنات چو حسن تو جلوه کرد
شد بت پرست عابد اصنام سومنات
لات و منا ت را ز سر شوق سجده کرد
کافر چو دید حسن ترا از منات و لات
ای چرخ را بچرخ آورده عشق تو
از شوق تست جمله افلاک را برات
ایطفل لطف ایزد بیچون که چون توتی
هرگز ندیده دیده ابا و امهات
ای مخزن خزاین وی خازن امین
وی مشکل دو عالم و سر حل مشکلات
ای مرکز و مدار وجود و محیط خود
وی همچو قطب ثابت و چون چرخ بی ثبات
گر سوی تو سلام فرستم تویی سلام
ور بر تو من صلات فرستم تویی صلات
کی چون دهد ترا بتو آخر بگو مرا؟
ای تو ترا مزکی و تو ترا زکات
یا اجمل الجمال و یا املح الملاح
یا لطف اللطایف یا نکته النکات
یا اشمل ابمظاهر یا اکمل الظهور
یا برزخ البرازخ و یا جامع الشتات
هم گنج و هم طلسمی هم جسم و هم روان
هم اسم و هم مسما هم ذات و هم صفات
هم مغربی و هم مشرقی و شرق
هم عرش و فرش و عنصر افلاک و هم جهات
Who is the one hidden from both worlds yet plainly seen?
And if that one is openness itself, then who is this hidden thing?
The one who, in a hundred thousand forms,
appears anew each moment, who is it?
And the one who, in a hundred thousand displays,
reveals its beauty at every instant, who is it?
You say it shows itself from both worlds,
appearing one by one; who is it?
I said, I am always silent;
so the one who speaks through every tongue, who is it?
You said, I am beyond body and soul;
then who is it that wears the garment of body and soul?
You said, I am neither this nor that;
then the one who is both this and that, who is it?
You who keep to the edge and stand apart,
by God, in the midst of all this, who is it?
The one who keeps shining forth
in the grace and beauty of the beloveds, who is it?
And the one who showed itself
and cast turmoil into the world, who is it?
You who linger, thinking you have reached perfection,
yet never made certain who holds the bow, who is it?
Vanish from Maghrebi's own sight,
and through that one's eyes, see plainly who is it.
Explanation: Maghrebi is the poet's pen name, invoked in the final couplet as is customary. The poem is a mystical meditation on the one divine reality manifesting through all forms.
Original
شمارهٔ ۱۹
ای از دو جهان نهان عیان کیست
وی عین عیان پس این نهان کیست
آنکس که به صد هزار صورت
هر لحظه همی شود عیان کیست
وانکس که به صد هزار جلوه
بنمود جمال هر زمان کیست
گویی که نماهنم از دو عالم
پیدا شده در یکان یکان کیست
گفتم که همیشه من خموشم
گویا شده پس به هر زبان کیست
گفتی که ز جسم و جان برونم
پوشیده لباس جسم و جان کیست
گفتی که نه اینم و نه آنم
پس آنکه بود همین هم آن کیست
ای آنکه گرفته کرانه
باللّه درین میان کیست
آنکس که همی کند تجلی
از حسن و جمال دلبران کیست
وانکس که نمود خود را
وآشوب فکنده در جهان کیست
ای آنکه تو مانده در کمالی
ناکرده یقین که در کمان کیست
از دیده مغربی نهان شو
وز دیده ی او ببین عیان کیست
Even a thousand different cups hold nothing but one wine;
though the stars are countless, there is only one sun.
Though the sea throws up countless waves,
the many are in the waves, yet it is nothing but one water.
When it spoke to itself, all creation appeared;
so the cause of the world's making is nothing but one word.
It asked itself a single question in the world of soul and heart;
that is why every spirit is nothing but one answer.
Though many books have been written in every kind,
we read them all: the craft is nothing but one book.
You give the world a face of real existence,
yet in the desert of nothingness the world is nothing but a mirage.
What is this world whose sign and name you keep asking about?
On the ocean of absolute being it is nothing but a bubble.
You whose own existence has become a veil over the beloved's face,
tear it away, for it is nothing but a veil over that face.
Maghrebi has become a veil across the soul's own road, Maghrebi;
step past your own face at last, for it is nothing but a veil.
Explanation: The poem is a classic statement of the unity of being: all multiplicity is a single reality in different forms. 'Maghrebi' is the poet's own pen name, used in the closing couplet.
Original
شمارهٔ ۲۰
ور هزاران جام گوناگون شرابی بیش نیست
گرچه بسیارند انجم آفتابی بیش نیست
گرچه برخیزد ز آب بحر موج بی شوار
کثرت اندر موج باشد لیکن آبی بیش نیست
چون خطابی کرد با خود گشت پیدا کاینات
علّت ایجاد عالم پس خطابی بیش نیست
یک سخن پرسید از خود در جهان جان و دل
جمله ارواح را زانرو جوابی بیش نیست
گرچه بسیاری در ایمنی کتب کتب مرقوم گشت
جمله را خواندیم حرفت از کتابی بیش نیست
اینکه عالم را وجود آبروئی می نهی
در بیابان عدم عالم سرابی بیش نیست
چیست عالم ایکه میپرسی نشان و نام او
بر محیط هستی مطلق حبابی بیش نیست
ایکه هستی تو اندر روی دلبر شد نقاب
برفکن از روی دلبر چون نقابی بیش نیست
مغربی آمد حجاب راه جان مغربی
درگذر از روی چه آخر حجابی بیش نیست
The bewildered sun asks: where is the sun?
Every flood asks: where has the water gone?
Last night sleep asked my eyes:
don't call this world a dream, but where does sleep itself lie?
The drunkard asks: have you seen the drunk?
Lord, where is that man beside himself, undone?
The wine itself, right there in the tavern,
threw a gathering and asked: where is the wine?
The beloved walks about unveiled
and asks: where is that unveiled beloved?
Everyone is lost and restless,
yet where is the one who has broken free of restlessness?
All of them, behind their own veils, searching for themselves;
where is the knower who has escaped the veil?
How long will you ask, when you yourself are the key to yourself?
What is the key, and where is the door that opens?
Maghrebi, you are like an eastern sun yourself;
how long will you keep asking where the sun is?
Explanation: The poem plays on the paradox of searching for what one already is; the sun seeking the sun. 'Maghrebi' is the poet's pen name, meaning 'the western one,' set against 'eastern sun' for a deliberate east-west wordplay.
Original
شمارهٔ ۲۱
مهر سر گشته کافتاب کجاست
آب هر سودان که آب کجاست
خواب دوشم ز دیده ام پرسید
کاین جهان را مگو که خواب کجاست
مست پرسان که مست را دیدی
یارب آن بیخود و خراب کجاست
باده در میکده همی کرده
کرد مجلسی که کو شراب کجاست
یار خود بی نقاب می گردد
که همان یار بی نقاب کجاست
همه سرگشته مضطرب احوال
رسته گاو ز اضطراب کجاست
همه در پرده خویش را جویان
عارف رسته از حجاب کجاست
چند پرسی که خود کلید خودی
چیست مفتاح و فتح باب کجاست
مغربی چون تو مهر مشرقی ای
چند پرسی که آفتاب کجاست
If he were to lift the veil of his attributes from his face, both worlds would burn to ash in the light of his essence.
Before the blaze of the essence revealing itself, all attributes are erased, just as they are already slain by the radiance of those very attributes.
Do not look for existence or permanence before his radiance, for a fragile bud cannot survive the wind of true endurance.
My heart, throw back the veil from his face and ask no more, for you will be consumed in the fire of his glory.
By the light of your face, which is the light of all lights, and by the dust of your street, which is both fire and the water of life.
Do not fear this destruction; be brave, for that very ruin is the cause of your freedom and salvation.
If you are not erased, how will you ever truly be? If you seek permanence, seek it in your own vanishing.
The sun of his face is hidden in the West, though every speck of dust shines plainly with his radiance.
Explanation: The poet's pen name Maghrebi (Westerner) is woven into the final couplet, playing on the sun setting in the west while still lighting all things. The mystical idea is that annihilation of the self (fana) is the path to true being.
Original
شمارهٔ ۲۲
اگر ز روی براندازد او نقاب صفات
دو کَون سوخته گردد ز نور پرتو ذات
به پیش تاب تجلی ذات محو شود
چنانکه هست کشته از فروغ صفات
مجوز کَون و ثباتی به پیش برتو او
که بسته را نتوان بافت پیش باد ثبات
دلا نقاب برافکن ز روی او و مپرس
ز آنکه سوخته گردی در آتش سبحات
بنور روی تو کان نور نور انوار است
بخاک کوی تو کان آتش است و آب حیات
ازین هلاک میندیش و باش مردانه
که آن هلاک بود موجب خلاص و نجات
اگر تو محو نگردی کجا شوی مثبت
بمحو خویش طلب گر طلب کنی ثبات
بمغربی است نهان آفتاب رخسارش
اگرچه هست عیان از فروغ او ذرات
The eternal cupbearer, whose wine my soul is drunk on,
poured me a drink that has no color and no scent.
Without a mouth, my soul drank down that wine,
for it is pure and beyond any barrel, cup, or jug.
The light of that wine went to work in my soul and heart,
its fire in my bones, my marrow, and my skin.
In my drunkenness I saw the back of drunkenness itself,
and saw a world with no hidden side: all of it turned toward me.
When at last the veil was lifted from before me,
I saw both worlds entirely, and saw they were all Him.
What I had called a mere speck of dust was a blazing sun,
what I had called a little stream was an endless sea.
Ugly and beautiful they seemed, but were not two:
whatever I called ugly and whatever I called beautiful were one.
Everyone I had imagined to be my enemy,
when I finally saw the truth, turned out to be my friend.
Maghrebi, since there is no real difference at all,
hold your tongue: this is no place for talk.
Explanation: The wine here is a Sufi symbol for divine intoxication and mystical union, not literal drink. 'Maghrebi' is the poet's pen name, addressing himself in the final couplet.
Original
شمارهٔ ۲۳
ساقی باقی که جانم مست اوست
باده در داد کان بیرنگ و بوست
بی دهن جان باده را در کشید
کاو منزه از خم و جام و سبوست
نور می در جان و در دل کار کرد
نار وی در استخوان و مغز و پوست
دیدم از مستی چو مستی را قفا
عالمی را بی قفا دیدم که روست
چون حجاب ما یقین شد مرتفع
هردو عالم را بکل دیدم که اوست
مهر بکد آنرا که ذره خواندمی
بحر بود آنرا که می گفتم جوست
زشت و نیکو می نمود اما نبود
هر کرا من گفتمی زشت و نکوست
هر کرا دشمن همی پنداشتم
آخرالامرش چو دیدم بود دوست
مغربی چون اختلافی نیست هیچ
رو زبان درکش چه جای گفتگوست
I am so drunk, so drunk, so utterly drunk
that I can't tell my foot from my head, or my head from my hand.
Except for the one whose cup has made me drunk,
I no longer believe anyone exists in the whole world.
I want to lose myself completely, to leave myself behind,
if the cupbearer keeps pouring the wine like this.
The pact my heart had made with the world of existence,
once it grew drunk, shattered every last piece of it.
Reason walked out the moment love walked in;
my soul rose and fled the instant love sat down.
Drunk or sober, it's all the same to me now;
anyone not like this hasn't truly tasted the wine.
Someone who has never known anything but the One,
what would he know of five or six, of counting at all?
I have passed beyond both height and depth;
now there is no high or low left before me.
Don't go looking for the four-arched dome of the sky,
not you, who have leapt free from the prison of the six directions.
None can reach the nearness of that intimate presence
unless, like an arrow, the heart springs loose from the bow's grip.
Even east and west cannot contain him
once his being, like the sun's essence, breaks free of the setting place.
Explanation: 'Qab-e qawsayn' (couplet 10) is a Quranic image of utmost nearness to the divine. 'The six directions' and 'four-arched dome' evoke the confines of the physical, mortal world that the mystic transcends.
Original
شمارهٔ ۲۴
چنان مستم چنان مستم چنان مست
که نه پا دانم از سر نه سر از دست
جز آنکس را که مست از جام اویم
ندانم در جهان هرگز کسی هست
بکلی خواهم از خود گشت بیخود
اگر باده دهد ساقی ازین دست
دلم عهدیکه بسته بود با کَون
چو شد سرمست آن مجموع بشکست
خرد بیرون شد آنجا کو درآمد
روان برخاست از پیشش چو بنشست
بود یکسان بر من مست و هشیار
هر آنکو نیست زینسان نیست سرمست
کسی کو جز یکی هرگز ندانست
چه میداند که پنجه چیست یا شصت
ز بالا و ز پستی در گذشتم
کنون پیشم نه بالا ماند و نی پست
مجو ور نه رواق چار طاقش
کسی کز حبس شش سوی جهان جَست
برو ناید مگر در قاب قوسین
چو تیر دل جَهَد از قبضه شست
اگر ور مشرق و مغرب نگنجد
چو ذات مغربی از مغربی رَست
What the heart and soul long for is right here, within heart and soul;
but the soul that stays unaware of itself is lost and heedless.
My heart searches for the Beloved's home with all its heart and soul,
unaware that the Beloved already dwells inside that very heart and soul.
That heart and soul make their home amid water and clay,
though their true dwelling lies beyond this realm of dust and mud.
This hidden treasure was granted to every person within themselves,
yet each one's own secret is a hard riddle sealed against them.
It is all one ocean, and that ocean is our very self,
but our sense of self stands as a veil between us and the sea.
Only the one who drowns in the sea has eyes that truly see it;
whoever stays on the shore sees nothing but the shapes of the waves.
No one who merely reflects the sea is complete in either world;
know that only the one who becomes the sea itself is the perfect man.
The whole world is nothing but the shadow of the light of Being;
turn your face away from the world, for a shadow soon fades.
If you are wise, choose the shadow that leans on the sun;
no one truly wise would trade the sun for a mere shadow.
It is not fitting for one who walks the straight path
to lean toward whatever the crowd happens to desire.
Since you have learned that truth is being and falsehood is nothing,
follow the truth and turn away from all that is false.
The point of oneness is the very heart of unity, the ocean of Being;
it belongs to whoever arrives at the line of justice.
Do you know what stands between the soul and the Beloved, Maghrebi?
A meeting point that gathers all: an imagined line, a dividing edge.
Explanation: Maghrebi is the poet's pen name, addressed to himself in the closing couplet. 'Water and clay' is a classic Persian image for the physical body.
Original
شمارهٔ ۲۵
آنچه مطلوب دل و جان است ابا جان و دلست
لیکن از خود جان آنکه بیخبر بد غافل است
منزل جانان بجان و دل همی جوید دلم
غافل از جانان که او را در دل و جان منزل است
درمیان آب و گل سازد وطن آنجان و دل
منزلش گرچه برون از خطّه آب و گل است
هر کسی دادند با خود این چنین گنج نهان
لیک هر کس راز خود بر خود طلسمی مشکل است
همه دریا و دریا عین ما بوده ولی
مائی ما در میان ما و دریا حایل است
چشم دریابین کسی دارد که غرق بحر شد
ورنه نقش موج بیند هر که او بر ساحل است
نیست کامل در دو عالم هرکه دریا عین اوست
عین دریا هرکه شد میدان که مرد کامل است
جمله عالم نیست الّا سایهء علم وجود
روی از عالم بگردان زانکه ظل زایل است
سایه بر خورشید بگزین گر تو مرد عاقلی
سایه بر خورشید نگزیند کس کو عاقل است
نیست شان آنکه باشد بر صراط مستقیم
میل کردن جانب چیزی که مردم مایل است
چون بدانستی که حق هستی و باطل نیستی است
در پی حق گیر و بگذر از هر آنچه باطل است
نقطه توحید عین جمع و دریای وجود
حاصل است آنرا که بر خط عدالت واصل است
چیست دانی در میان جان و جانان مغربی
برزخ جامع خط موهوم و حد فاصل است