The idol said to the idol-worshiper: You who kneel to me, do you know why you bow down before me?
The one you truly watch and witness through me has revealed his own beauty upon our face.
Explanation: The poem plays on the Sufi idea that the divine shines through all forms, so even worshiping an idol becomes worship of God reflected in it.
Original
شمارهٔ ۱
بت گفت به بتپرست کای عابد ما
دانی ز چه روی گشتهای ساجد ما
بر ما به جمال خود تجلی کرده است
آن کس که ز تست ناظر و شاهد ما
Though both worlds, from end to end, are His own being,
why is the human the kernel and the universe the shell?
It is because the human is the pupil of His eye,
and He, in turn, is the mirror that holds the human's face.
Explanation: 'Both worlds' means this world and the next. The imagery of pupil and mirror expresses a mutual seeing between the human and the divine.
Original
شمارهٔ ۲
با آنکه دو کون سر به سر هستی اوست
انسان ز چه مغز گشت عالم ز چه پوست
زین است که او مردمک چشم وی است
باز آن که بود آینه چهره اوست
The men are all lost in ecstasy, yet the reed pipe cannot be seen;
the drunkards are all in plain sight, yet the wine cannot be seen.
A hundred caravans have passed down this road before,
and the strange thing is that not a single trace of them can be seen.
Explanation: 'Sama' refers to the Sufi spiritual dance and music. The poem plays on the paradox that the visible signs (dancing, drunkenness) appear, but their hidden cause (music, wine, the divine) stays unseen.
Original
شمارهٔ ۳
مردان همه در سماع و نی پیدا نیست
مستان همه ظاهرند و می پیدا نیست
صد قافله پیشتر درین ره رفتند
وین طرفه که هیچگونهای پیدا نیست
There is no one without a path leading toward you; without the intoxication of your love, not a stone, a flower, or a blade of grass has any worth.
You cannot find a single speck among all the specks of the world that does not carry a moon of your love shining in its heart.
Explanation: The 'moon' in the heart of every speck is a mystical image: every particle of creation holds the light of divine love.
Original
شمارهٔ ۴
کس نیست کزو بسوی تو راهی نیست
بیمستی او سنگ و گل و کاهی نیست
یک ذرّه ز ذرات جهان نتوان یافت
کاندر دل او ز مهر تو ماهی نیست
They chased their evenings without ever reaching the dawn they longed for,
and never took a single step beyond their own selves.
A crowd of common people came dressed in the robes of the elite,
dragging the good name of the honorable through the mud.
Explanation: The 'robes of the elite' (kesvat-e khas) marks status; here frauds wear it to appear noble. The image contrasts genuine seekers with those who only imitate them.
Original
شمارهٔ ۵
نابرده به صبح در طلب شامی چند
ننهاده برون ز خویشتن گامی چند
در کسوت خاص آمده عامی چند
بدنام کننده نکونامی چند
Before there was any before or after, when this before and after did not yet exist,
when there was no nation, no religion, no creed, no faith.
All this talk of me and you, of us and them,
in His presence was never more than a single One.
Explanation: The poem expresses the mystical idea of the unity of being: all apparent divisions dissolve into a single divine reality.
Original
شمارهٔ ۶
پیش از پس و پیش کاین پس و پیش نبود
وین ملت و دین و مذهب و کیش نبود
این ما و منی و این شمائی و توئی
در حضرت او بجز یکی بیش نبود
Your beauty shows itself in everything on view,
and your eye is the watcher in every scene.
Because of the light of your face and the darkness of your hair,
one crowd becomes believers and another stays faithless.
Explanation: The bright face standing for faith and the dark hair for disbelief is a classic Persian trope for how beauty pulls people in opposite directions.
Original
شمارهٔ ۷
ای حسن تو در کل مظاهر ظاهر
وی چشم تو در جمله مناظر ناظر
از نور رخ و ظلمت زلفت دایم
قومی همه مومن اند و قومی کافر
I am the seed to the mole in your hair that is my snare;
I am the mirror that holds the face of my beloved.
I am the cup of the wine of sorrow you brew to the end;
I am the mirror that shows you the world, and I am your goblet too.
Explanation: The 'world-showing cup' (jam-e jahan-nama) is a legendary goblet in which one could see the whole world, here used to say the poet reflects both the beloved and all existence.
Original
شمارهٔ ۸
من دانه خال زلف چون دام توام
من آینه روی دلارام توام
پیمانه باده غم انجام توام
هم جام جهان نمای و هم جام توام
I am the comb that runs through your amber-scented hair,
the artist who adorns your heart-winning face.
I am the pupil in your bewitching eyes,
and the mirror where your face reveals its glow.
Explanation: The «mashate» is the woman who beautifies a bride; here the poet casts himself as the one who enhances the beloved's beauty. Amber-scented hair is a classical image of fragrance and darkness.
Original
شمارهٔ ۹
من شانه زلف عنبرین بوی توام
مشاطه حسن روی دلجوی توام
هم مردمک دیده جادوی توام
هم جلوه گه آینه روی توام
I have come drunk, ruined, worshipping wine, dazed by the wine poured at the dawn of creation.
Don't imagine I will ever turn sober again: I will leave drunk, because I arrived drunk.
Explanation: «The wine of Alast» refers to the primordial covenant in Islamic tradition, when God asked souls 'Am I not your Lord?', here treated as an intoxication that has lasted since the beginning of existence.
Original
شمارهٔ ۱۰
من مست و خراب و می پرست آمده ام
مدهوش ز باده الست آمده ام
تا ظن نبری که باز گردم هشیار
هم مست روم از آنکه مست آمدهام
Since I came from nothingness into being,
I came to bear witness, to see the truth with my own eyes.
Since I rose up and then bowed down again,
I came to prostrate myself before your face.
Explanation: The verses play on the postures of Islamic prayer: standing (qiyam), sitting (qu'ud), witnessing (tashahhud), and prostration (sujud), turning the ritual into a metaphor for the soul's journey toward the divine.
Original
شمارهٔ ۱۱
تا من زعدم سوی وجود آمده ام
از بهر تشهد به شهود آمده ام
تا من ز قیام در قعود آمده ام
در پیش رخ تو در سجود آمده ام
When I look at faces beautiful as angels, no face appears to me but yours.
In every lovely face, at every moment, the beauty of your face reveals itself to me in a new way.
Explanation: The word 'parirokh' means angel-faced or fairy-faced, a common Persian image for great beauty.
Original
شمارهٔ ۱۲
در روی پری رخان چو در می نگرم
جز روی تو می نیاید اندر نظرم
هر لحظه ز هر پریرخی حسن رخت
بردیده کند جلوه به وجه دگرم
I'll start with joy and pleasure and delight,
and throw myself into the tavern of the free.
From there I'll make my way to the gambling house,
and lose every last thing I own.
Explanation: The «tavern of the Magi» (kharabat) is a classic Persian image for a place of wine and abandon, a refuge from convention. I rendered it as 'tavern of the free' to keep that spirit.
Original
شمارهٔ ۱۳
خرم طرب و نشاط و عیش آغازم
خود را به خرابات مغان اندازم
زآنجا به قمارخانه راهی سازم
تا هر چه مرا هست به کل دربازم
How long will I keep lighting the flame of remembrance with a spirit that's grown cold?
How long will I sing your praises with a heart this withered?
I let the prayer I never offered slip away,
but if I have life left, I'll make up for what I've done.
Explanation: The poem plays on 'qaza,' the Islamic idea of making up a missed prayer, turning it into a wider regret over lost devotion.
Original
شمارهٔ ۱۴
تا چند فروز ذکر افسرده کنم
تا کی صفتت با دل پژمرده کنم
ناکرده نماز را قضا کردم لیک
گر عمر بود قضای این کرده کنم
I am the guide for those who seek the truth; I am the master of the arts of adding and subtracting.
Since I hold knowledge, modesty, patience, and honesty, I am Uthman and Umar, Ali and the Truthful one.
Explanation: «The Truthful one» (Siddiq) is the traditional title of Abu Bakr. The poet lists the four early caliphs to claim their virtues for himself.
Original
شمارهٔ ۱۵
هادی طریق اهل تحقیق منم
عارف به فنون جمع و تفریق منم
چون علم و حیا و حلم و صدق است مرا
عثمان و عمر علی و صدیق منم
The one through whom I hear, I speak, and the one for whom I search in every direction,
it is He within me who says at every moment, openly and in secret: He is I, and I am He.
Explanation: The closing line echoes the Sufi theme of union between the self and the divine, where the boundary between lover and Beloved dissolves.
Original
شمارهٔ ۱۶
آن کس که بدو می شنوم می گویم
وانکس که بدو هرطرفی میپویم
هم اوست ز من که هر زمان می گوید
پیدا و نهان که او من و من اویم
We are the treasure whose seal is the whole world; we are the essence, and Adam is our attribute made visible.
You who are searching for the Greatest Name of God: do not pass us by, for that Greatest Name is us.
Explanation: The 'Greatest Name' (ism-e a'zam) is the hidden, all powerful name of God in Islamic tradition. The couplets voice a Sufi claim that the human being is itself the manifestation of divine truth.
Original
شمارهٔ ۱۷
گنجی که طلسم اوست عالم ماییم
ذاتی که صفات اوست آدم ماییم
ای آنکه تویی طالب اسم اعظم
از ما مگذر که اسم اعظم ماییم
The world is only a veil over the face of my beloved;
on the sea of his being, the world is a single bubble.
In the eyes of those who thirst for the water of existence,
the world is a mirage in the desert of their longing.
Explanation: The bubble on the sea is a classic image for the fleeting, insubstantial nature of the world against the vastness of true being. The mirage conveys how the world deceives those searching for real substance.
Original
شمارهٔ ۱۸
بر چهره یار ما نقابست جهان
بر بحر وجود او حباب است جهان
در دیده تشنگان آب هستی
در بادیه طلب سراب است جهان
Your face has appeared in the cup that mirrors the world,
and from your sweet name the world took its own name.
You are all that is visible in the world and all that is hidden;
you are the world's beginning and its end.
Explanation: The 'cup of the world' echoes the legendary all-seeing cup of Jamshid, an image for a mirror reflecting the whole universe.
Original
شمارهٔ ۱۹
ای گشته عیان روی تو از جام جهان
پیدا شده از نام خوشت نام جهان
پیدای جهان تویی و پنهان جهان
آغاز جهان تویی و انجام جهان
Now and then I wrestle with myself,
and I see that, like a tangled thread, I am all knots.
How could I ever claim to be something? I am nothing,
for when I look again, I find that I truly am nothing at all.
Explanation: The 'tangled thread' image captures the self caught up in the knots of its own being and identity.
Original
شمارهٔ ۲۰
گه گاه به نفس خویش درپیچم من
بینم که چو رشته جمله در پیچم من
کی دعوی او کنم که من هیچ نیم
با آنکه چو باز بنگرم هیچم من
The sun of your face shows itself in every atom of both worlds; your essence, by its quality, defines the being of both worlds.
Your beauty has given existence to nothingness itself; from negation you brought forth the very proof of both worlds.
Explanation: Both worlds (dow kown) refers to this world and the hereafter. The poem praises the divine as the source that turns nothingness into existence.
Original
شمارهٔ ۲۱
ای مهر رخت مظهر ذرّات دو کون
ذاتت به صفت معین ذات دو کون
وی داده به نیستی جمالت هستی
ای کرده ز نفی عین اثبات دو کون
You are drunk on yourself, and we are all drunk on you;
you exist through yourself, and we all exist through you.
Since in every way our being belongs to you,
we have surrendered ourselves entirely into your hands.
Explanation: The 'drunkenness' here is the classic Sufi image of being intoxicated by divine or beloved presence. 'Giving one's hand' means complete surrender.
Original
شمارهٔ ۲۲
تو مست خودی و ما همه مست به تو
تو هست خودی و ما همه هست به تو
تا نسبت ما به تو بود از همه روی
دادیم ازین سبب همه دست به تو
Who is this that is other than you? Tell me who it is.
Where does he come from, what is he even made of? Tell me.
Since surely nothing has any life apart from you,
then whoever exists besides you, how does he live? Tell me.
Explanation: The poem argues that no true existence or life is possible outside the beloved, a common motif in mystical Persian verse where the beloved stands for the divine source of all being.
Original
شمارهٔ ۲۳
آن کیست که غیر توست آن کیست بگو
او خود ز کجاست یا خود او چیست بگو
چون غیر ترا نیست حیاتی به یقین
آن کس که بجز تو بود چون زیست بگو
You came from God, and for God's sake alone;
you didn't come for the sake of play and passing desires.
Strive to know and worship God,
for this is the only reason you came into this house of the world.
Explanation: 'This house' refers to the earthly world as a temporary dwelling.
Original
شمارهٔ ۲۴
از پیش خدا بهر خدا آمده ای
نی از پی بازی و هوا آمده ای
در معرفت و عبادت ایزد کوش
کز بهر همین درین سرا آمده ای
Once you know where you came from, who sent you here, and why you came,
then rise, step forward, and strive with courage, if indeed you came for the sake of God.
Explanation: The poem is a call to grasp one's origin and purpose, then act boldly in devotion to God.
Original
شمارهٔ ۲۵
چون دانستی که از کجا آمده ای
یا کیت فرستاد و چرا آمده ای
برخیز و قدم در نه و مردانه بکوش
گر زانکه تو از بهر خدا آمده ای