That playful beauty's flirting glance killed me, though I was innocent;
the apple of that dimpled chin threw me down a well.
I became the slave of the dark mole on that face, not knowing
that a black beauty spot would take me captive.
My heart was steady and my mind was sound, but
the way that beloved walked led my heart astray.
A thousand times I fell into the snare of my eyes and heart,
and still I have not learned my lesson.
I cannot turn my face away from that love,
even if grass were to sprout from the dust of my grave.
If I die from the beloved's cruelty I will come alive again,
if only that gaze looks on me with kindness.
Obayd, do not give up hope in the beloved's grace,
for that generous kindness is my only hope.
Explanation: The 'apple of the chin' is a classic Persian image for a rounded, dimpled chin; the well recalls the story of Joseph, suggesting the lover is cast down and trapped. The dark mole ('Hindu slave') is a stock metaphor for a captivating beauty spot.
Original
غزل شمارهٔ ۱
بکشت غمزهٔ آن شوخ، بیگناه مرا
فکند سیب زنخدان او به چاه مرا
غلام هندوی خالش شدم ندانستم
کاسیر خویش کند زنگی سیاه مرا
دلم بجا و دماغم سلیم بود ولی
ز راه رفتن او دل بشد ز راه مرا
هزار بار فتادم به دام دیده و دل
هنوز هیچ نمیباشد انتباه مرا
ز مهر او نتوانم که روی برتابم
ز خاک گور اگر بردمد گیاه مرا
به جور او چو بمیرم ز نو شوم زنده
اگر به چشم عنایت کند نگاه مرا
عبید از کرم یار بر مدار امید
که لطف شامل او بس امیدگاه مرا
Our separation has gone too far, your cruelty too far.
Come, it's the season of joy, of making peace and being clear again.
Your lips have written their claim in the blood of lovers' hearts.
What is this fresh dust of estrangement standing between us?
Your two eyes threw me into black misfortune.
Otherwise, what am I, and where would I get this drunkenness and love?
Who could ever dare to ask those raiding eyes:
why do you plunder the mind and wits of the whole world?
There's no freeing the heart from your curls and beauty mark;
those dark captors will not let it go.
My heart is lovesick and shattered by your curling hair.
Yes, longing always brings this kind of ruin.
Obeyd describes your mouth and lips.
See how fine and delicate his thinking is.
Explanation: The 'dark captors' (literally 'black Zangis') are the beloved's dark curls and mole, imagined as guards who won't release the heart. 'Obeyd' is the poet Obeyd Zakani naming himself in the closing couplet.
Original
غزل شمارهٔ ۲
ز حد گذشت جدائی ز حد گذشت جفا
بیا که موسم عیشست و آشتی و صفا
لبت به خون دل عاشقان خطی دارد
غبار چیست دگر باره در میانهٔ ما
مرا دو چشم تو انداخت در بلای سیاه
و گرنه من که و مستی و عاشقی ز کجا
کجا کسیکه از آن چشم ترک وا پرسد
که عقل و هوش جهانی چرا کنی یغما
ز زلف و خال تو دل را خلاص ممکن نیست
که زنگیان سیاهش نمیکنند رها
دلم ز جعد تو سودائی و پریشانست
بلی همیشه پریشانی آورد سودا
عبید وصف دهان و لب تو میگوید
ببین که فکر چه باریک و نازکست او را
The ways of that lovely one drove me wild;
his love set me free from both the world and religion.
Sorrow became my companion, and I sorrow's;
who knows what such a companion will bring upon me.
The way the fire in my heart keeps flaring up,
how long will this burning breath scorch me?
Friends, that restless hair of his
won't grant me a single moment's rest on this earth.
I saw him from afar, and my reason said, stay away from him;
far-sighted reason is driving me mad.
If his hair cast its shade over my head for a moment,
the sun would become my servant and the moon would glean for me.
Since I, like Obeyd, keep vigil at his doorstep,
I have no desire left for the highest paradise.
Explanation: Obeyd is the poet Obeyd Zakani, who names himself in the final couplet. The beloved's restless curls are a classic image of the source of a lover's turmoil.
Original
غزل شمارهٔ ۳
شوریده کرد شیوهٔ آن نازنین مرا
عشقش خلاص داد ز دنیا و دین مرا
غم همنشین من شد و من همنشین غم
تا خود چها رسد ز چنین همنشین مرا
زینسان که آتش دل من شعله میزند
تا کی بسوزد این نفس آتشین مرا
ای دوستان نمیدهد آن زلف بیقرار
تا یکزمان قرار بود بر زمین مرا
از دور دیدمش خردم گفت دور از او
دیوانه میکند خرد دوربین مرا
گر سایه بر سرم فکند زلف او دمی
خورشید بنده گردد و مه خوشهچین مرا
تا چون عبید بر سر کویش مجاورم
هیچ التفات نیست به خلد برین مرا
The one who steals my heart looks at me with disdain,
and the one I know so well walks past me like a stranger.
Though I did nothing wrong, my friend has pulled away.
Who knows what my enemy whispered behind my back.
I complain to no one about the cruelty I suffer,
afraid that talk would only spread our story further.
I have surrendered my heart to the pain of separation,
since the healer has no cure to offer me anyway.
Longing for the coiled chain of her hair,
my troubled heart goes mad with every breath.
If this burning sigh of mine passed over a mountain,
surely its hard heart would catch fire for my sake.
You may well weep tears of blood, Obeyd, for she
never leaves anything of me but ruin.
Explanation: The 'chain of her hair' is a classic Persian image: the beloved's curls bind and madden the lover. Obeyd (Obeyd Zakani) names himself in the final couplet, a common closing device.
Original
غزل شمارهٔ ۴
در ما به ناز مینگرد دلربای ما
بیگانهوار میگذرد آشنای ما
بیجرم دوست پای ز ما درکشیده باز
تا خود چه گفت دشمن ما در قفای ما
با هیچکس شکایت جورش نمیکنم
ترسم به گفتگو کشد این ماجرای ما
ما دل به درد هجر ضروری نهادهایم
زیرا که فارغست طبیب از دوای ما
هر دم ز شوق حلقهٔ زنجیر زلف او
دیوانه میشود دل آشفته رای ما
بر کوه اگر گذر کند این آه آتشین
بی شک بسوزدش دل سنگین برای ما
شاید که خون دیده بریزی عبید از آنک
او میکند همیشه خرابی بجای ما
The lovely lines and mole of your face are the source of my madness;
a single breath spent with you is the root of all I want.
The moment longing for you steps into the kingdom of my soul,
patience leaps out from my lovesick heart.
Now that love's royal canopy has cast its shadow over me,
if you look for me, ask the way to the tavern.
With your beautiful face here as the shrine for everyone,
my Christian sweetheart, let there be no other Kaaba.
I am one of the wandering, carefree gypsy folk: who am I, and what is bowing in prayer?
My light, reckless mind has decided to flee.
Tell that cold, gloomy Sufi not to bother me;
you keep your prayer niche of piety, I'll keep my cross.
Don't set the heavy wine cup out of your hand, Obeyd,
for our life is running off on quick, light feet.
Explanation: This poem echoes the famous opening of Hafez. The 'cross' and 'Christian sweetheart' signal a deliberate rejection of outward piety in favor of love and wine. 'Obeyd' is the poet's own pen name (Obeyd Zakani).
Original
غزل شمارهٔ ۵
ای خط و خال خوشت مایهٔ سودای ما
ای نفسی وصل تو اصل تمنای ما
چونکه قدم مینهد شوق تو در ملک جان
صبر برون میجهد از دل شیدای ما
چتر همایون عشق سایه چو بر ما فکند
راه خرابات پرس گر طلبی جای ما
از رخ زیبای تو قبلهگه عام را
کعبهٔ دیگر نباد دلبر ترسای ما
مردم لولیوشیم ما که و سجده کدام
رای هزیمت گرفت عقل سبک رای ما
صوفی افسرده را زحمت ما گو مده
رو تو و محراب زهد ما و چلیپای ما
رطل گران را ز دست تا ننهی ای عبید
زانکه روان میبرد عمر سبک پای ما
The chain of your curling hair drives me insane,
your drunken, drowsy eyes drag me to the tavern.
I am amazed: how did the sorrow of loving you
suddenly find me here, in this ruined corner?
My heart longs for the soft curve of your neck;
that is why each of my tears falls like a precious pearl.
What fortune it would be, if in the light of your face
they found me burned and dead, like a moth at a candle.
This preacher gives me a headache, and imagines
I actually care for his pointless, empty tales.
The only cure is to put on a show of madness,
so the wise preacher will finally forget about me.
Since I got drunk on the wine of your love, like Obeid,
I no longer crave the goblet or the cup.
Explanation: The moth burning at the candle is a classic Persian image of self-annihilation in love. Obeid refers to the poet Obeid Zakani, who names himself in the closing line.
Original
غزل شمارهٔ ۶
میکُند سلسلهٔ زلف تو دیوانه مرا
میکِشد نرگس مست تو به میخانه مرا
متحیر شدهام تا غم عشقت ناگاه
از کجا یافت در این گوشهٔ ویرانه مرا
هوس در بناگوش تو دارد دل من
قطرهٔ اشک از آنست چو دردانه مرا
دولتی یابم اگر در نظر شمع رخت
کشته و سوخته یابند چو پروانه مرا
درد سر میدهد این واعظ و میپندارد
کالتفاتست بدان بیهده افسانه مرا
چاره آنست که دیوانگیی پیش آرم
تا فراموش کند واعظ فرزانه مرا
از می مهر تو تا مست شدم همچو عبید
نیست دیگر هوس ساغر و پیمانه مرا
Her deadly, playful glance shoots its arrow at me.
My friends, what plan do you have for me in this affliction?
I am not a madman who will listen to advice.
Spare me the old man's counsel; tell my aging father to keep it.
It is just me and my nightlong wailing, in the state I am in.
When will anyone come to answer my midnight cry?
My idol, love for you will only leave me with my life itself,
for the grief of your love sank into me with my mother's milk.
Unless the chain of your curling hair binds me for a moment,
no chain in this whole city could hold me.
They showed me the ring of your hair in a dream.
What can that dream mean for me but confusion and despair?
Explanation: The beloved's curled hair is a recurring image of a chain or snare that binds the lover. 'Sank in with my mother's milk' renders the idiom for love that is ingrained from birth.
Original
غزل شمارهٔ ۷
میزند غمزهٔ مرد افکن او تیر مرا
دوستان چیست در این واقعه تدبیر مرا
من دیوانه نه آنم که نصیحت شنوم
پند پیرانه مده گو پدر پیر مرا
منم و نالهٔ شبگیر بدین سان که منم
کی به فریاد رسد نالهٔ شبگیر مرا
صنما عشق تو با جان بدر آید ناچار
چون فرو رفت غم عشق تو با شیر مرا
گر نه زنجیر سر زلف تو باشد یکدم
نتوان داشت در این شهر به زنجیر مرا
حلقهٔ زلف تو در خواب نمودند به من
جز پریشانی از آن خواب چه تعبیر مرا
The rose of your face freed me from ever needing a garden;
the unbelief of your dark hair stripped away my faith.
Once the image of your tall, graceful stature crossed my heart,
my mind was set free from the swaying cypress tree.
We who have been left restless and wild in loving you,
the coil of your hair keeps scattering us to pieces.
Until the hand of hope reaches the hem of union with you,
my tears will not let go of your skirt.
On the road to the Kaaba of your embrace we will not stop walking,
even if the desert thorns break beneath our feet.
Obeyd, how long can you chase after this heart of yours?
Longing for you has left me utterly ruined and homeless.
Explanation: The 'Kaaba of union' casts the beloved as a sacred pilgrimage goal. 'Mughilan thorns' are the sharp desert acacia thorns pilgrims endure, a stock image for love's hardships.
Original
غزل شمارهٔ ۸
کرد فارغ گل رویت ز گلستان ما را
کفر زلف تو برآورد ز ایمان ما را
تا خیال قد و بالای تو در دل بگذشت
خاطر آزاد شد از سرو خرامان ما را
ما که در عشق تو آشفته و شوریده شدیم
میکند حلقهٔ زلف تو پریشان ما را
تا به دامان وصالت نرسد دست امید
دستْ کوته نکند اشک ز دامان ما را
در ره کعبهٔ وصل تو ز پا ننشینیم
گرچه در پا شکند خار مغیلان ما را
ای عبید از پی دل چند توان رفت آخر
کرد سودای تو بس بی سر و سامان ما را
My heart, seek friendship with the mystics;
from the old master of the mystics, seek light.
If you cannot find the quiet corner of contentment,
then ask the madmen to show you the way.
And if you long to rise to sacred heights,
seek release from the snare of your own nature.
If you are a true knower, take the road to the tavern;
and if you are a fool, go looking for piety.
Seek the cure for a weary heart in its own pain;
find your own song in having nothing at all.
If fate breaks you a hundred times over,
don't go begging the mean-spirited for a remedy.
Obeyd, if you are a beggar, count it a blessing;
and if you are a king, still ask to be a beggar.
Explanation: The 'old master of the mystics' (pir-e moghan) and the tavern are Sufi images for spiritual guidance and divine intoxication, set against hollow outward piety. 'Mumiyai' literally meant a healing balm, here a remedy sought in vain from the base.
Original
غزل شمارهٔ ۹
دلا با مغان آشنائی طلب
ز پیر مغان روشنائی طلب
به کنج قناعت گرت راه نیست
ز دیوانگان رهنمائی طلب
وگر اوج قدست کند آرزو
ز دام طبیعت رهائی طلب
اگر عارفی راه میخانه گیر
و گر ابلهی پارسائی طلب
دوای دل خسته از درد جوی
نوای خود از بینوائی طلب
اگر صد رهت بشکند روزگار
مکن از خسان مومیائی طلب
عبید ار گدائی غنیمت شمار
وگر پادشاهی گدائی طلب
I have a lover with a face worth a hundred moons and suns,
more delicate than a fresh flower, more fragrant than rosewater.
More graceful than the wild rose standing in the garden,
more charming than the tall cypress by the water's edge.
Beside her face, the jasmine in the meadow burns with envy;
feverish with shame at her glow, the wine sweats in the cup.
One form, and a hundred graces; one face, and a hundred beauties;
one glance, and a hundred flirtations; one ruby lip, and a hundred reproaches.
The sun would hide itself behind a veil of shame
if she ever lifted the veil from her life-giving face.
Our souls are captives in the coils of her hair,
our hearts roasted by her drunken eyes.
I cry out at those two dark, curling locks like musky hyacinths;
I beg for mercy from those two half-sleeping, bewitching eyes.
Whenever she kneels close and offers me wine,
in that moment I would give my life to the wind, fragile as a bubble.
On the day she is with me, I, Obayd, on that day
am blessed with pleasure and fulfilled in life.
Explanation: The 'two hyacinths' and 'two half-sleeping narcissi' are classic Persian images for the beloved's dark locks and languid, seductive eyes. Obayd is the poet's pen name (Obayd-e Zakani).
Original
غزل شمارهٔ ۱۰
دارم بتی به چهرهٔ صد ماه و آفتاب
نازکتر از گلِ تر و خوشبوتر از گلاب
رعناتر از شمایلِ نسرین میان باغ
نازندهتر ز سرو سهی بر کنار آب
در تابِ حیرت از رخِ او در چمن سمن
در خوی خجلت از تب او در قدح شراب
شکلی و صد ملاحت و رویی و صد جمال
چشمی و صد کرشمه و لعلی و صد عتاب
خورشید در نقابِ خجالت نهان شود
از روی جانفزاش اگر بر فتد نقاب
در حلقههای زلفش جانهای ما اسیر
از چشمهای مستش دلهای ما کباب
فریاد از آن دو سنبل مشکین تابدار
زنهار از آن دو نرگس جادوی نیمخواب
هرگه که زانویی زند و بادهای دهد
من جان به باد بر دهم آن لحظه چون حباب
روزی که با من است من آن روز چون عبید
از عیش بهرهمندم و از عمر کامیاب
Your kindness knows no limit, your beauty has no end.
Your sting is sweet to the soul; your pain is our cure.
Your love rules on the throne of the heart, a conqueror of kingdoms;
your affection reigns over the realm of the soul as its ruler.
The glow of your face is the source of the shining sun;
your dimpled cheek works wonders like magic.
Your seductive eyes are a doll that deceives people;
your teasing glance works wonders like magic.
From you comes only defiance, while on our side
the face of hope still lies on the ground and the hand of longing is raised in prayer.
If it kills you, Obeyd, bow your head and say nothing:
the way of the beautiful is cruelty, and the lover's only remedy is to submit.
Explanation: Obeyd (Obeyd-e Zakani) is the poet naming himself in the closing couplet, a common convention in the ghazal.
Original
غزل شمارهٔ ۱۱
لطف تو از حد برون حسن تو بی منتهاست
نیش تو نوش روان درد تو درمان ماست
عشق تو بر تخت دل حاکم کشور گشای
مهر تو بر ملک جان والی فرمانرواست
پرتو رخسار تو مایهٔ مهر منیر
چهرهٔ پرچین تو جادوی معجز نماست
نرگس فتان تو لعبت مردم فریب
غمزهٔ غماز تو جادوی معجز نماست
از تو همه سرکشی وز طرف ما هنوز
روی امل بر زمین دست طمع بر دعاست
گر کشدت ای عبید سر بنه و دم مزن
عادت خوبان ستم چارهٔ عاشق رضاست
Happy the one who never escapes love for a moment,
who feels no sorrow over wild abandon and no pull toward piety.
The startled heart of scandalous lovers
is a broken thing that no ointment can mend.
He has set his mind free from thoughts of this world and the next,
that knower of God who has no dealings with the crowd.
I am the servant of the contented dervish's spirit,
who carries no dream of grandeur, no craving for a throne.
Do not keep asking God to grant your wishes,
for at the door of His mercy there is no need to beg.
I have grown content in the corner of solitude
because I no longer long for hollow, false company.
Obeyd Zakani is a free and solitary wanderer,
no match for lordship, no man for running a household.
Explanation: 'Mummy' (mumiya) was a folk remedy believed to heal broken bones; the broken heart is beyond even that cure. 'Qalandar' means a wandering, unconventional mystic.
Original
غزل شمارهٔ ۱۲
خوشا کسی که ز عشقش دمی رهایی نیست
غمش ز رندی و میلش به پارسایی نیست
دل رمیدهٔ شوریدگان رسوایی
شکستهایست که در بند مومیایی نیست
ز فکر دنیی و عقبی فراغتی دارد
خداشناس که با خلقش آشنایی نیست
غلام همت درویش قانعم کاو را
سر بزرگی و سودای پادشایی نیست
مراد خود مطلب هر زمان ز حضرت حق
که بر در کرمش حاجت گدایی نیست
به کنج عزلت از آن روی گشتهام خرسند
که دیگرم هوس صحبت ریایی نیست
قلندریست مجرد عبید زاکانی
حریف خواجگی و مرد کدخدایی نیست
Don't be cruel; cruelty is not the way of one who steals hearts.
Don't leave me; I have no strength to bear the parting.
The fire of longing for you burns endlessly inside me,
and not for a single moment am I free of that flame.
To show devotion, then turn away and treat me harshly,
is not the path of a lover, nor the code of one who charms hearts.
Light up my eyes with the reflection of your face,
for my sight finds no brightness except in that face.
How could I ever dare to beg a kiss from you,
when I lack even the courage to be a beggar at your door?
The blessing of union with you can't be won by effort;
it's clear that such fortune comes only as a gift.
Obeyd, for those who truly love,
a night of union is no less than a day of being king.
Explanation: Obeyd (Obeyd Zakani) is the poet's pen name, used in the final couplet as is customary. The poem's closing image equates the lover's night of union with the glory of kingship.
Original
غزل شمارهٔ ۱۳
جفا مکن که جفا رسم دلربایی نیست
جدا مشو که مرا طاقت جدایی نیست
مدام آتش شوق تو در درون منست
چنانکه یک دم از آن آتشم رهایی نیست
وفا نمودن و برگشتن و جفا کردن
طریق یاری و آیین دلربایی نیست
ز عکس چهرهٔ خود چشم ما منور کن
که دیده را جز از آن وجه روشنایی نیست
من از تو بوسه تمنا کجا توانم کرد
چو گرد کوی توام زهرهٔ گدایی نیست
به سعی، دولت وصلت نمیشود حاصل
محقق است که دولت به جز عطایی نیست
عبید، پیش کسانی که عشق میورزند
شب وصال کم از روز پادشایی نیست
The lover in love is not wounded by the arrows of blame;
the madman has no taste for the ways of the wise.
What thought could he spare for our pain, what fear for our plight,
someone whose heart is not bound and whose foot is not caught in the snare?
Farhad, whose heart clings to Shirin,
has no craving for healing balms, no need for sweetness.
Wherever the fire of the beloved's sorrow flares up,
gladly cast your life into it, for this is no place for wild rue.
Stop, Obeyd, arguing with a heart gone wild;
our advice does the poor wretch no good.
Explanation: Farhad and Shirin are legendary lovers; 'sweetness' plays on Shirin's name, which means sweet. Wild rue (sepand) was burned to ward off the evil eye, so 'no place for rue' means give your whole self, not a token offering.
Original
غزل شمارهٔ ۱۴
دلداده را ز تیر ملامت گزند نیست
دیوانه را طریقهٔ عاقل پسند نیست
از درد ما چه فکر وز احوال ما چه باک
آنرا که دل مقید و پا در کمند نیست
فرهاد را که با دل شیرین تعلقست
رغبت به نوشدارو و حاجت به قند نیست
هرجا که آتش غم دلدار شعله زد
جان برفشان به ذوق که جای سپند نیست
بس کن عبید با دل شوریده داوری
بیچاره را نصیحت ما سودمند نیست
Longing for the beloved, I care for nothing else;
no concern for my own life, no worry for the whole universe.
If for a single breath I am kept away from the beloved,
that breath does not count as part of my living.
Silence in love, patience in separation:
this is a tale that lies beyond what is possible.
Choose the free, unpretentious way, for the pursuit of reputation and show
is nothing but empty fancy and idle nonsense.
Leave behind all that you own and move on, for a man
has no better provision for the road to salvation than giving up provisions.
Seek from yourself, for whatever you ask of the beloved
is found neither in the narrow Kaaba nor in the temple of idols.
I begged a kiss from the sweetheart's lips.
She said, 'Go away, Obeyd, this is no time for charity.'
Explanation: Sumnat (Somnath) was a famous Hindu temple, here standing for idol worship as opposed to the Kaaba; the poet says the beloved's truth is found in neither. The closing pun treats a kiss as 'zakat,' the alms one is obliged to give.
Original
غزل شمارهٔ ۱۵
ما را ز شوق یار به غیر التفات نیست
پروای جان خویش و سر کاینات نیست
از پیش یار اگر نفسی دور میشوم
هر دم که میزنم ز حساب حیات نیست
در عاشقی خموشی و در هجر صابری
این خود حکایتیست که در ممکنات نیست
رندی گزین که شیوهٔ ناموس و رنگ و بو
غیر از خیال باطل و جز ترهات نیست
بگذار هر چه داری و بگذر که مرد را
جز تَرک توشه، توشهٔ راه نجات نیست
از خود طلب که هر چه طلب میکنی ز یار
در تنگنای کعبه و در سومنات نیست
دریوزه کردم از لب دلدار بوسهای
گفتا برو عبید که وقت زکات نیست
My beloved, tipsy and reckless, lifted the wine cup,
and set a whole world spinning in tumult and uproar.
The reflection of that sunlike beauty blazed across the world
and seized all seven realms in its fire.
When the morning breeze drifted through the curls of that hair,
the whole garden filled with the scent of musk and amber.
With every smoky sigh I breathed,
a fire caught in the incense and the burner.
My heart begged a kiss from that beloved,
but how could such a plea ever take hold?
Obayd, from the burning of his heart, kept telling
the tale of that pain, again and again from the start.
Explanation: The 'Turk' in classical Persian poetry is a stock image of a strikingly beautiful, bold beloved, rendered here simply as the beloved. Obayd (Obayd-e Zakani) names himself in the final couplet, a common closing device.
Original
غزل شمارهٔ ۱۶
ترک سرمستم که ساغر میگرفت
عالمی در شور و در شر میگرفت
عکس خورشید جمالش در جهان
شعله میزد هفت کشور میگرفت
چون صبا بر چین زلفش میگذشت
بوستان در مشک و عنبر میگرفت
هر دمی از آه دودآسای من
آتشی در عود و مجمر میگرفت
بوسهای زو دل طلب میکرد لیک
این سخن با او کجا در میگرفت
قصهٔ دردش عبید از سوز دل
هر زمان میگفت و از سر میگرفت
My patience fled, my heart deserted me the moment my beloved left.
What remedy can I find now that the one who was my remedy is gone?
She mounted her horse and deliberately took the reins again,
turned her face toward us helpless ones, and rode away once more.
The spring of my eyes wept so much blood
that the worn cloak of my hypocrisy was washed clean out of prayer.
Except for dreams of her figure, her hair, and the tale of longing,
every other lingering thought has left my mind.
I used to guard myself carefully against people's blame,
but now my story has passed far beyond all caution.
What grief, what pain: apart from my beloved and worn down by the world's sorrow,
my life slipped away, and truth was lost while I chased illusions.
Obeyd, wailing like a caravan bell does no good now,
for the whole caravan, bell and all, has left without waiting.
Explanation: The 'worn cloak of hypocrisy' mocks pious pretense; tears of blood wash away the poet's fake devotion. 'Truth lost to illusion' plays on the Sufi contrast between haqiqat (reality) and majaz (the transient world).
Original
غزل شمارهٔ ۱۷
رمید صبر و دل از من چو دلنواز برفت
چه چاره سازم از این پس چو چارهساز برفت
سوار گشته و عمدا گرفته باز به دست
نموده روی به بیچارگان و باز برفت
به گریه چشمهٔ چشم بریخت چندان خون
که کهنه خرقهٔ سالوسم از نماز برفت
جز از خیال قد و زلف یار و قصهٔ شوق
دگر ز خاطرم اندیشهٔ دراز برفت
ز منع خلق از این بیش محترز بودم
کنون حدیث من از حد احتراز برفت
دریغ و درد که در هجر یار و غصهٔ دهر
برفت عمر و حقیقت که بر مجاز برفت
عبید چون جرست ناله سود مینکند
چو کاروان جرس جمله بیجواز برفت
My dark-skinned idol's charm is beyond all measure;
her scolding, like the cruelty of fate, is beyond all measure.
The softness of her lips and teeth, the drunkenness of her eyes,
like our own devotion to wine, each one is beyond all measure.
Pleading, I said the rival's torment is beyond all measure;
mocking, she said, without a doubt, it is beyond all measure.
Drink the pure wine straight from the hand of your beloved,
for the faithlessness of the turning sky is beyond all measure.
They put Obeid's hardened heart to the test,
and on the touchstone his loyalty proved beyond all measure.
Explanation: 'Namak' (literally salt) means charm or allure in Persian. The touchstone is a stone used to test the purity of gold, here a metaphor for testing love's sincerity.
Original
غزل شمارهٔ ۱۸
سیاه چرده بتم را نمک ز حد بگذشت
عتاب او چو جفای فلک ز حد بگذشت
لطافت لب و دندان و مستی چشمش
چو می پرستی ما یک به یک ز حد بگذشت
به لابه گفت که از حد گذشت جور رقیب
به طنز گفت که بی هیچ شک ز حد بگذشت
بنوش بادهٔ صافی ز دست دلبر خویش
که بیوفائی چرخ و فلک ز حد بگذشت
عبید را دل سنگینش امتحان کردند
عیار دوستیش بر محک ز حد بگذشت
When your cheek let its dark curls fall over the rosy skin,
it stripped me of myself and made my name a rumor across the world.
Before I could describe even a single strand of your hair,
my heart tied a thousand knots on the tip of my tongue.
Your mouth spoke of me as something frail and slight,
and it made me truly doubt whether I even exist.
You keep drawing the bow of your brow back to your ear,
hoping to bring down some prey wherever one can be found.
The seduction of your hair drew my words out long,
then your lips slipped in a fine, subtle point of their own.
No wonder that, faced with your face and brow,
the moon dropped its shield and, in defeat, laid down its bow.
Whatever Obeyd kept hidden of the secret of his love,
his tears have flung it out onto everyone's lips.
Explanation: The 'bow of the brow' is a standard image for the beloved's arched eyebrow that hunts lovers. The tiny mouth (couplet 3) is a beauty ideal so small it seems barely to exist. Obeyd is the poet Obeyd Zakani.
Original
غزل شمارهٔ ۱۹
ز سنبلی که عذارت بر ارغوان انداخت
مرا به بیخودی آوازه در جهان انداخت
ز شرح زلف تو موئی هنوز نا گفته
دلم هزار گره در سر زبان انداخت
دهان تو صفتی از ضعیفیم میگفت
مرا ز هستی خود نیک در گمان انداخت
کمان ابروی پیوسته میکشی تا گوش
بدان امید که صیدی کجا توان انداخت
ز دلفریبی مویت سخن دراز کشید
لب تو نکتهٔ باریک در میان انداخت
عجب مدار که در دور روی و ابرویت
سپر فکند مه از عجز تا کمان انداخت
ز سرّ عشق هر آنچ از عبید پنهان بود
سرشک جمله در افواه مردمان انداخت
From your embrace I gain nothing but longing;
to dream of your hair is no strange madness.
Last night my heart looked for faithfulness in your promise;
you answered that such goods are not in stock with me.
I told you again and again, my love, that I have hope in you;
but you kept your mouth shut, as if from shame, though it isn't that.
You promised a thousand kisses from your lips, and you won't give even one;
and I don't have the nerve to ask.
Since it is now your face's turn to shine, comfort a heart,
for the strange tricks of fate are never clear.
I feel ashamed before the guest of your image,
because I have nothing to offer but tears and a burning heart.
You said, mocking, that I hold my life back from you;
for God's sake don't say it: Obeyd is not one of those.
Explanation: Obeyd (Obeyd-e Zakani) names himself in the final line, a common closing signature in the ghazal. The 'guest of your image' means the beloved's imagined presence that the poet can host only with tears.
Original
غزل شمارهٔ ۲۰
مرا ز وصل تو حاصل به جز تمنا نیست
خیال زلف تو بستن خلاف سودا نیست
وفا ز عهد تو میجست دوش خاطر من
جواب داد که خود این متاع با ما نیست
بسی بگفتمت ایدوست هست رای منت
دهان ز شرم فرو بستهای همانا نیست
هزار بوسه ز لب وعده کردهای و یکی
نمیدهی و مرا زهرهٔ تقاضا نیست
چو دور دور رخ تست خاطری دریاب
که کار بوالعجبیهای چرخ پیدا نیست
ز میهمان خیالت چو شرمسارم از آنک
جز آب چشم و کباب جگر مهیا نیست
به طعنه گفتی کز ما دریغ داری جان
مگر مگوی خدا را عبید از آنها نیست
I can no longer leave this land;
being a stranger, far from my love's street, is impossible now.
Away from your sweet lips, your hair, your face,
I can find no patience, no strength, no calm, no rest.
My heart, try hard to catch the hem of her robe,
for there is no union without longing and waiting.
I cannot survive without loving;
I cannot go through spring without wine.
In this land where I am living now,
even the morning breeze can find no way to pass through.
Obeyd, write a poem now and then if you can,
for there is no keepsake sweeter than this.
Explanation: Saba, the morning breeze, is a classic messenger of lovers in Persian poetry; here even it cannot reach the poet. Obeyd is the poet Obeyd Zakani addressing himself in the final couplet.
Original
غزل شمارهٔ ۲۱
دگر برون شدنم زین دیار ممکن نیست
دگر غریبیم از کوی یار ممکن نیست
مرا از آن لب شیرین و زلف و عارض تو
شکیب و طاقت و صبر و قرار ممکن نیست
دلا بکوش مگر دامنش به دست آری
که وصل بیطلب و انتظار ممکن نیست
من اینکه عشق نورزم مرا به سر نرود
من اینکه می نخورم در بهار ممکن نیست
در آن دیار که مائیم حالیا آنجا
مسافران صبا را گذار ممکن نیست
عبید هم غزلی گاه گاه اگر بتوان
بگو که خوشتر از این یادگار ممکن نیست
Come, my love, for without you my heart finds no peace.
I have no more patience left, no strength to keep waiting.
Mad as I am, caught in the affliction of love,
my heart wants nothing else, and my reason is useless.
Whether you wish to call me close or drive me away,
do as you please; the choice was never mine.
It is enough for me that I carry the pain of love;
from being near you I want no kiss, no embrace.
My heart, be always in love and always drunk,
for whoever is not drunk on love is not truly awake.
Sit beside love and break free of reason,
for to those who truly see, reason carries no weight.
Every people has its own path, its way, its shrine to face;
for Obayd there is no shrine but the street of the beloved.
Explanation: The 'shrine' (qibla) is the direction one turns to pray; the poet says his only direction of worship is the beloved's neighborhood. Obayd (Obayd Zakani) is the poet naming himself in the final line.
Original
غزل شمارهٔ ۲۲
جانا بیا که بی تو دلم را قرار نیست
بیشم مجال صبر و سر انتظار نیست
دیوانه این چنین که منم در بلای عشق
دل عاقبت نخواهد و عقلم به کار نیست
گر خواندنت مراد و گر راندن آرزوست
آن کن که رای تست مرا اختیار نیست
ما را همین بسست که داریم درد عشق
مقصود ما ز وصل تو بوس و کنار نیست
ای دل همیشه عاشق و همواره مست باش
کان کس که مست عشق نشد هوشیار نیست
با عشق همنشین شو و از عقل برشکن
کو را به پیش اهل نظر اعتبار نیست
هر قوم را طریقی و راهی و قبلهایست
پیش عبید قبله به جز کوی یار نیست
Our life yields nothing but trouble,
and time gives us no share except weariness.
Don't hope for a lucky throw from the dice of this world;
this five-day game is nothing but a passing dream.
High rank, glory, power, and wealth
come only with the stain of instability, flaw, and ruin.
Happy is the mind that never craved rank and glory;
glad is the heart that isn't chasing power and wealth.
Don't seek your bread from the table of the stingy,
for to those who walk the true path that morsel is forbidden.
Look at the ways of the world with the eye of reason;
don't ask how anyone is doing, for there's no room to ask.
Like the twisted curls of the beauties of this land,
wherever there's defiance, it ends in nothing but being trampled.
In this flood of turmoil where all people have fallen,
there's no rescuer but the mercy of the Glorious God.
My heart has been freed from grief so completely that from now on
there is no way for joy to find a place in it.
I'd give my life for the wise one who said:
'Shiraz is no place for people of true worth.'
Poverty, exile, and hardship have gone beyond all limits;
I, Obeyd, can bear no more than this.
Explanation: The 'dice' image (three-six versus a bad throw) uses backgammon to mean chasing good fortune. Obeyd Zakani signs his own name in the closing couplet, a common convention.
Original
غزل شمارهٔ ۲۳
حاصل ز زندگانی ما جز وبال نیست
وز روزگار بهره به جز از ملال نیست
نقش سه شش طلب مکن از کعبتین دهر
کین نقش پنج روزه برون از خیال نیست
چون منصب بزرگی و چون جاه و ملک و مال
بی وصمت تزلزل و عیب و زوال نیست
خوش خاطری که منصب و جاه آرزو نکرد
خرم دلی که در طلب ملک و مال نیست
از خوان ممسکان مطلب توشهٔ حیات
کان لقمه پیش اهل طریقت حلال نیست
در وضع روزگار نظر کن به چشم عقل
احوال کس مپرس که جای سؤال نیست
چون زلف تابدادهٔ خوبان در این دیار
هرجا که سرکشی است به جز پایمال نیست
در موج فتنهای که خلایق فتادهاند
فریاد رس به جز کرم ذوالجلال نیست
از غم چنان برست دل ما که بعد از این
در وی به هیچ وجه طرب را مجال نیست
جانم فدای خاطر صاحب دلی که گفت:
«شیراز جای مردم صاحب کمال نیست»
درویشی و غریبی و زحمت ز حد گذشت
زین بیش ای عبید مرا احتمال نیست
My heart never wandered to any place but your street;
not for a moment did the image of your face leave my sight.
My life left me, but longing for you never left my soul;
my head was lost, yet the desire for you never left my head.
Whoever was not slain by love, when they went to the grave,
came into the world unaware and left it unaware.
In the street of love no wretched, homeless soul ever showed a sign
who did not arrive with a wounded heart and leave with a bleeding one.
My life passed in the search for love, and in the end
my heart found no fulfillment, no task was ever finished.
You cast such a frenzy across the horizons that no one was left
who, like Obeyd, did not fall headlong into this uproar and turmoil.
Explanation: Obeyd is the poet Obeyd Zakani, naming himself in the closing couplet, a common convention. 'Slain by love' means one who fully surrendered to love and truly lived.
Original
غزل شمارهٔ ۲۴
هرگز دلم ز کوی تو جائی دگر نرفت
یکدم خیال روی توام از نظر نرفت
جان رفت و اشتیاق تو از جان بدر نشد
سر رفت و آرزوی تو از سر بدر نرفت
هرکو قتیل عشق نشد چون به خاک رفت
هم بیخبر بیامد و هم بیخبر برفت
در کوی عشق بی سر و پائی نشان نداد
کو خسته دل نیامد و خونین جگر نرفت
عمرم برفت در طلب عشق و عاقبت
کامی نیافت خاطر و کاری بسر نرفت
شوری فتاد از تو در آفاق و کس نماند
کو چون عبید در سر این شور و شر نرفت
As long as our jug isn't full of wine at home,
there's no peace for us, no rest, no calm, no sleep.
In a private room with wine, the cupbearer, and a beautiful face,
there's no need for harp or lute or flute or fiddle.
Cheer up your friends with wine while there's time; in our book,
a life not spent in joy doesn't count at all.
Here's the wine, and if you feel like washing up before prayer,
use the pitcher, because there's no water in this house.
For us, the realm of poverty and contentment is enough;
we need no handout from any king who rules over slaves.
Like Obeyd, tear down the house of your existence,
because treasure is found only in the ruins.
Explanation: Obeyd refers to the poet Obeyd Zakani himself. The final image draws on the Persian idea that hidden treasure lies buried under ruins, so ruining the self reveals its true wealth.
Original
غزل شمارهٔ ۲۵
در خانه تا قرابهٔ ما پر شراب نیست
ما را قرار و راحت و آرام و خواب نیست
در خلوتی که باده و ساقی و شاهد است
حاجت به چنگ و بربط و نای و رباب نیست
خوش کن به باده وقت حریفان که پیش ما
عمری که خوش نمیگذرد در حساب نیست
اینک شراب اگر هوست میکند وضو
در آفتابه کن که در این خانه آب نیست
ما را که ملک فقر و قناعت مسلم است
حاجت به جود خسرو مالک رقاب نیست
همچون عبید خانهٔ هستی خراب کن
زیرا که جای گنج به جز در خراب نیست