Whoever holds the tips of your hair in their hand
has no more need of perfume, and is free of musk.
A wise man never compares your hair to musk;
he knows there is a difference between the two.
Explanation: Musk and 'ghalia' (a fragrant paste) were prized perfumes; the beloved's hair is said to surpass both, too unique to compare.
Original
رباعی شمارهٔ ۱
هرکس که سر زلف تو آورد بدست
از غالیه فارغ شد و از مشگ برست
عاقل نکند نسبت زلفت با مشگ
داند که میان این و آن فرقی هست
Ever since love for you settled in my restless heart,
and my eyes fell on those intoxicating flower-like eyes of yours,
this sorrow will not set foot outside my heart,
and these tears will not let go of the hem of my robe.
Explanation: The 'narcissus' (nargues) is the classic Persian metaphor for a beloved's languid, intoxicating eyes.
Original
رباعی شمارهٔ ۲
تا مهر توام در دل شوریده نشست
وافتاد مرا چشم بدان نرگس مست
این غم ز دلم نمینهد پای برون
وین اشگ ز دامنم نمیدارد دست
Your face is what the sun worshippers seek;
the arch of your brow is the whole world's altar.
Your mouth is all the joy the poor and broken have;
your hair holds the loose threads of every scattered heart.
Explanation: The 'sun worshippers' evokes those who turn toward beauty as devotees turn toward the sun. 'Scattered hearts' plays on the image of disheveled hair as tangled emotions.
Original
رباعی شمارهٔ ۳
ای مقصد خورشید پرستان رویت
محراب جهانیان خم ابرویت
سرمایهٔ عیش تنگدستان دهنت
سر رشتهٔ دلهای پریشان مویت
I called on my reason; it said, 'I stand bewildered before you.'
I called on my soul; it said, 'I am the one who dies for you.'
I called on my heart; it said, 'That madman?
He's chained up in the tangle of your scattered hair.'
Explanation: The 'scattered hair' is a classic Persian image for a lover trapped and driven mad by the beloved's beauty; its loose curls become the chains that bind him.
Original
رباعی شمارهٔ ۴
گفتم عقلم گفت که حیران منست
گفتم جانم گفت که قربان منست
گفتم که دلم گفت که آن دیوانه
در سلسلهٔ زلف پریشان منست
A lifetime without wine and the one who pours it is just filler;
without the murmur of the Iraqi reed-flute, it is empty.
However closely I study the sum total of this world,
the only thing that stands out is joy; the rest is filler.
Explanation: The 'Iraqi reed-flute' points to a musical mode (maqam-e Araq) associated with feasting and pleasure. 'Fazalek' is an accounting term for a final sum, used here for the world's grand total.
Original
رباعی شمارهٔ ۵
دوران بقا بیمی و ساقی حشو است
بی زمزمهٔ نای عراقی حشو است
چندانکه فذالکِ جهان مینگرم
بارز همه عشرتست و باقی حشو است
This world is not our home, not a place to settle down.
For the wise, it's better to live here ruined and drunk.
Pour a little wine on the fire of your grief,
before you go down into the dust with empty hands.
Explanation: 'Wind in the hands' is a Persian idiom for coming away with nothing; here it points to leaving life empty-handed.
Original
رباعی شمارهٔ ۶
دنیا نه مقام ماست نه جای نشست
فرزانه در او خراب اولیتر و مست
بر آتش غم ز باده آبی میزن
زان پیش که در خاک روی باد بدست
Tonight it was just me, a harp player, and a lively lover;
we gave ourselves to pleasure and swore a firm vow together.
The cupbearer poured pure wine from crystal onto the ground:
red agate spilled out, and fresh pearls sprang up in its place.
Explanation: The wine's red color is likened to agate, and its bubbles or sparkle to pearls, a common image in Persian poetry.
Original
رباعی شمارهٔ ۷
امشب من و چنگیی و معشوقهٔ چست
بودیم به عیش و عهد کردیم درست
ساقی ز بلور ناب بر روی زمین
میکشت عقیق و لؤلؤتر میرست
Strive so that the wise and clear-sighted count you as one of their own,
yet the world of hidden secrets keeps no record of you.
If you do good, they will call you an angel;
if you give in to human appetites, they will call you merely human.
Explanation: The poem contrasts the angelic and the merely human as two directions a person can choose.
Original
رباعی شمارهٔ ۸
میکوش که تا ز اهل نظر خوانندت
وز عالم راز بیخبر خوانندت
گر خیر کنی فرشته خوانند ترا
ور میل بشر کنی بشر خوانندت
Though every weary heart carries plenty of its own pain,
and fate has snapped plenty of threads apart,
be careful: don't let a tangled situation crush your spirit,
for in the book of the unseen there are plenty of sealed secrets.
Explanation: The «book of the unseen» refers to the hidden divine record; the poet urges patience because much remains beyond our knowledge.
Original
رباعی شمارهٔ ۹
هرچند که درد دل هر خسته بسیست
وز دست فلک رشتهٔ بگسسته بسیست
زنهار ز کار بسته دل تنگ مدار
در نامهٔ غیب راز سربسته بسیست
The rose is left ashamed before her face;
only its sweet fragrance faintly resembles her.
When the full moon rises on the fourteenth night,
it is not her, yet it comes close to looking like her.
Explanation: The fourteenth night of the lunar month is when the moon is full, the traditional image of perfect beauty. Galia is a costly perfume, standing here for the rose's scent.
Original
رباعی شمارهٔ ۱۰
گل کز رخ او خجل فرو میماند
چیزیش بدان غالیهبو میماند
ماه شب چهارده چو بر میآید
او نیست ولی نیک بدو میماند
This candle laughing at night among the gathering
is like a flower laughing in the meadow.
Every night it comes to my bedside until dawn:
it burns, and it laughs at my weeping.
Explanation: The candle both burns (weeps its wax) and gives light (laughs), mirroring the poet's own tearful vigil.
Original
رباعی شمارهٔ ۱۱
این شمع که شب در انجمن میخندد
ماند بگلی که در چمن میخندد
هر شب که به بالین من آید تا روز
میسوزد و بر گریهٔ من میخندد
Yes, paradise has a hundred blessings: roast fowl, wine, and slender, lovely maidens.
But cupbearer, pour me this rose colored wine now, in hand, for its heavenly version is a promise that only pays out on Judgment Day.
Explanation: The contrast is between cash ('naqd', payment now) and credit ('nasiyeh', a deferred promise): the poet prefers present pleasures to rewards postponed until the afterlife.
Original
رباعی شمارهٔ ۱۲
هر چند بهشت صد کرامت دارد
مرغ و می و حور سرو قامت دارد
ساقی بده این بادهٔ گلرنگ به نقد
کان نسیهٔ او سر به قیامت دارد
Since my love left, my patience fled from me,
and from every eyelash a thousand drops of blood-tinged tears fell.
It seems I will never see her again;
'may anyone who cannot see go blind.'
Explanation: The final line is a Persian proverb, wishing blindness on whoever cannot see, used here as a bitter play on the poet's own inability to see his beloved.
Original
رباعی شمارهٔ ۱۳
تا یار برفت صبر از من برمید
وز هر مژهام هزار خونابه چکید
گوئی نتوانم که ببینم بازش
«تا کور شود هر آنکه نتواند دید»
The sun is just a spark from the light of your face;
grief for you has turned my cheeks pale and my hair white.
Everyone in the whole world took their share of being with you,
and all I was left with, weary as I am, is hope.
Explanation: Pale cheeks and white hair are conventional signs of the lover's suffering in Persian poetry.
Original
رباعی شمارهٔ ۱۴
ای شعلهای از پرتو رویت خورشید
رویم ز غمت زرد شد و موی سفید
از وصل تو هر که بود در جمله جهان
برداشت نصیبی و من خسته امید
A thought that flows through a fluent mind
is explained by more than rhetoric and meaning.
Why isn't your poetry delicate and sweet?
After all, doesn't it pass across those lips and that mouth?
Explanation: The poet suggests that verse born from a beloved's lips should carry their sweetness.
Original
رباعی شمارهٔ ۱۵
فکری که بر آن طبع روان میگذرد
شرحش ز معانی و بیان میگذرد
شعر تو چرا نازک و شیرین نبود
آخر نه بدان لب و دهان میگذرد
That lock of hair resting on the collar's edge
branded a hundred wounds of cruelty on the hearts of lovers.
When the moon saw the arch of her brow above her face,
it set its own beauty aside and gave up the claim.
Explanation: The final line plays on the phrase 'putting something on the shelf' (bar taq nahadan), meaning to abandon or renounce; the moon concedes it cannot match her beauty.
Original
رباعی شمارهٔ ۱۶
آن زلف که بر گوشهٔ غلطاق نهاد
صد داغ جفا بر دل عشاق نهاد
بر چهرهٔ او چو طاق ابرویش دید
مه خوبی روی خویش بر طاق نهاد
When the beggar drinks the wine, he rises to a prince;
and should a little fox drink it, he grows into a lion.
If an old man drinks, he takes up youth again;
and if a young man drinks, he arrives at the wisdom of age.
Explanation: The wine here works as a transformative force, turning the lowly into the powerful and reversing the effects of age. The fox and lion contrast timidity with strength.
Original
رباعی شمارهٔ ۱۷
درویش که می خورد به میری برسد
ور روبهکی خورد به شیری برسد
گر پیر خورد جوانی از سر گیرد
ور زانکه جوان خورد به پیری برسد
Drink the thing that strengthens the soul: rose-red wine that opens the heart to grace.
I am the servant of the one who drinks it at nightfall, and the slave of the one who takes more of it at dawn.
Explanation: The morning draught ('sabuh') is the traditional dawn cup of wine, a favorite image in Persian poetry.
Original
رباعی شمارهٔ ۱۹
آن خور که ازو قوت روح افزاید
یعنی می گلگون که فتوح افزاید
من بندهٔ آنکه در شبانگاه خورد
من چاکر آن که در صبوح افزاید
My soul keeps telling the story of that eloquent, moon like face,
and my heart looks to those charming lips for all its longing.
If the reflection of that face ever fell upon the meadow,
wild tulips would spring up from every patch of earth.
Explanation: The moon here is the beloved, whose beauty is so radiant it could make flowers bloom from bare ground.
Original
رباعی شمارهٔ ۲۰
جان قصهٔ آن ماه سخنگو گوید
دل کام روان زان لب دلجو جوید
گر عکس رخش بر چمن افتد روزی
از خاک همه لالهٔ خودرو روید
Your love will grind me down into the dust of the road;
the beauty mark on your face will wreck the state I'm in.
Your hair will scatter me to the wind;
your eyes will leave my house in darkness.
Explanation: 'Scatter me to the wind' renders a Persian idiom for utter ruin. 'Leave my house in darkness' suggests desolation and grief.
Original
رباعی شمارهٔ ۲۱
عشق تو مرا چو خاک ره خواهد کرد
خال تو مرا حال تبه خواهد کرد
زلف تو مرا به باد بر خواهد داد
چشم تو مرا خانه سیه خواهد کرد
From the moment they shaped me and gave me form,
they threw me down to be trampled under the weight of grief.
It seems that they made me, pale-faced and heartburned,
like a candle, made only to burn.
Explanation: The candle is a classic Persian image for a life that gives light only by consuming and destroying itself.
Original
رباعی شمارهٔ ۲۲
تا ساخته شخص من و پرداختهاند
در زیر لگد کوب غم انداختهاند
گوئی من زرد روی دلسوخته را
چون شمع برای سوختن ساختهاند
If your embrace takes my restless hand in its own,
and this pain and separation flee into the wild,
then my whole state grows well again from your face,
and my fortune rises tall, like your graceful height.
Explanation: The Persian plays on the beloved's 'height' (qad) to mean both physical grace and the poet's own rising fortune.
Original
رباعی شمارهٔ ۲۳
گر وصل تو دست من شیدا گیرد
وین درد و فراق راه صحرا گیرد
هم حال من از روی تو نیکو گردد
هم کار من از قد تو بالا گیرد
Whoever sets his lips on that joyful ruby mouth
plants his foot above the nine thrones of the heavens.
The sun, like the moon, out of respect before that face,
lays its brow upon the dust twice each day.
Explanation: The 'ruby' refers to red lips, a standard Persian image for a beloved's mouth. The sun bowing twice a day evokes sunrise and sunset as gestures of homage.
Original
رباعی شمارهٔ ۲۴
لب هر که بر آن لعل طربناک نهد
پا بر سر نه کرسی افلاک نهد
خورشید چو ماه پیش رویش به ادب
هر روز دو بار روی بر خاک نهد
From sheer poverty and the grip of hardship,
in our tent you'll find no sleep and no food.
In our pan and platter, our bowl and jug,
there's nothing rich, nothing sweet, nothing warm, nothing cold.
Explanation: A wry lament on destitution: even the cookware sits empty of anything worth having.
Original
رباعی شمارهٔ ۲۵
از شدت دست تنگی و محنت برد
در خیمه ما نه خواب یابی و نه خورد
در تابه و صحن و کاسه و کوزهٔ ما
نه چرب و نه شیرین و نه گرم است و نه سرد