Fragments

785. Fragment No. 1

English
When you reach Shiraz, morning breeze, take this letter and carry my greetings to my loved ones. Though I cannot bear to be away from my friend's face, I endure it only because I must, like a fish enduring life out of water.
Explanation: The first couplet is in Arabic, addressing the morning breeze as a messenger. The fish out of water image conveys that this patience is impossible and lethal.

Original

قطعه شمارهٔ ۱

مَتیٰ حَلَلْتَ بِشیراز یا نَسیمَ الصُّبْح خُذِ الْکِتابَ وَ بَلِّغْ سَلامیَ الْأَحْباب اگر چه صبرِ من از روی دوست ممکن نیست همی کنم به ضرورت، چو صبرِ ماهی از آب

786. Fragment No. 2

English
If they take me to paradise without you, I would rather sew my eyes shut than look at it. This is not what God promised me: that in paradise itself I should have to burn.
Explanation: The burning in paradise is a paradox: without the beloved, even heaven feels like the fire of hell.

Original

قطعه شمارهٔ ۲

گر مرا بی‌تو در بهشت برند دیده از دیدنش بخواهم دوخت کاین چنینم خدای وعده نکرد که مرا در بهشت باید سوخت

787. Fragment No. 3

English
I asked: what have I done that you won't even look at me? And the affection you once had, why has it faded? You said: for the crime that at seventy years old you still dream of feasting, when it's time for mourning.
Explanation: The beloved chides the aging speaker for chasing joy and celebration at seventy, an age the beloved thinks should be given to sober reflection.

Original

قطعه شمارهٔ ۳

گفتم چه کرده‌ام که نگاهم نمی‌کنی؟ وآن دوستی که داشتی اول چرا کم است؟ گفتا به جرم آنکه به هفتاد سالگی سودای سور می‌پزی و جای ماتم است

788. It's Clear the End of Days Has Come

English
The restlessness in your drunken eyes is the smoke rising from a loving heart's grief. And here's the strange thing: her eyes ache, yet it's from our eyes that the tears of blood keep flowing. Two disasters have broken out at the very same time; it's clear the end of days has come.
Explanation: 'Tears of blood' is a classical image for extreme grief. The poem's wit lies in the lover suffering the pain that belongs to the beloved.

Original

قطعه شمارهٔ ۴ - پیداست که آخرالزمان است!

آشفتن چشم‌های مستت دود دل یار مهربانست وین طرفه که درد چشم او را خونابه ز چشم ما روانست دو فتنه به یک قرینه برخاست پیداست که آخرالزمانست

789. Fragment No. 5

English
Tell the beautiful one to dress in rags: they remain the same lovely, adorned figure. Tell the ugly one to wear a thousand fine robes: they remain the same corpse washer from last year.
Explanation: The 'corpse washer' image marks someone as unattractive and lifeless no matter how they are dressed up; the point is that true worth lies within, not in outward appearance.

Original

قطعه شمارهٔ ۵

خوب را گو پلاس در بر کن که همان لعبت نگارینست زشت را گو هزار حله بپوش که همان مرده‌شوی پارینست

790. Fragment No. 6

English
What can be said about a drop of spring rain? What can be said about the musk of the Tartar deer? If every thing could fit inside a fitting praise, what could be said of the beauty and depth you hold?
Explanation: The 'musk of the Tartar deer' refers to a prized fragrance from Central Asian musk deer, a classic image of rare, indescribable perfection.

Original

قطعه شمارهٔ ۶

در قطرهٔ باران بهاری چه توان گفت؟ در نافهٔ آهوی تتاری چه توان گفت؟ گر در همه چیزی صفت و نعت بگنجد در صورت و معنی که تو داری چه توان گفت؟

791. Saadi Does Not Turn from the Beloved to the Patron

English
Talk of love is forbidden to that empty chatterer who, after reciting ten lines of a love poem, breaks into flattery of a patron. How admirable is Saadi's high resolve and his way of speaking, for he never abandons the beloved to court a patron.
Explanation: The poem criticizes poets who begin with a love lyric only to switch to paid praise of a wealthy patron, contrasting them with Saadi's integrity.

Original

قطعه شمارهٔ ۷ - سعدی از معشوق به ممدوح نمی‌پردازد

سخن عشق حرامست بر آن بیهده گوی که چو ده بیت غزل گفت مدیح آغازد حبذا همت سعدی و سخن گفتن او که ز معشوق به ممدوح نمی‌پردازد

792. Fragment 8

English
I would say I have never seen a mouth smaller than yours. There are mouths smaller than this wide one of yours, but not every small mouth is sweet as sugar.
Explanation: The poem plays on the classical ideal of a tiny mouth as a mark of beauty; the poet teases that the beloved's mouth is actually wide, yet still the sweetest.

Original

قطعه شمارهٔ ۸

من بگویم ندیده‌ام دهنی کز دهان تو تنگتر باشد تنگتر زین دهان فراخ ولیک نه همه تنگها شکر باشد

793. Fragment No. 9

English
A hill of fragrant amber rests upon her chin; you'd truly say it's a quince dusted with musk. If it ever fell into the hands of Sufis, they'd give it up for nothing less than a stolen kiss.
Explanation: The 'amber hill on her chin' is a beauty mark or dimple, prized for its scent and charm. 'Shaftalud' literally means a peach, but here plays on the idiom for a kiss on the cheek.

Original

قطعه شمارهٔ ۹

کوه عنبر نشسته بر زنخش راست گویی بهی‌ست مشک‌آلود گر به چنگال صوفیان افتد ندهندش مگر به شفتالود

794. Fragment 10

English
You are not someone anyone turns away from because of cruelty; the fault is yours, yet here I stand, asking forgiveness. Could any dust of yours ever trouble my heart? I am the dust beneath your feet, and what does dust care about a little dust?
Explanation: The wordplay turns on 'dust': the lover, already the dust under the beloved's feet, cannot be disturbed by any grievance ('dust') caused by the beloved.

Original

قطعه شمارهٔ ۱۰

تو آن نه‌ای که به جور از تو روی برپیچند گناه تست و من استاده‌ام به استغفار مرا غبار تو هرگز اثر کند در دل که خاکپای توام؟ خاک را چه غم ز غبار؟

795. Fragment 11

English
Enough, beautiful boy with your sweet, clever ways; the fire of loving you has set the whole world ablaze. Why would you need foul naphtha to hold in your mouth? Your own ruby lips already keep a fire burning there.
Explanation: Naphtha was a flammable fuel; the poet says the beloved's red lips burn on their own, needing no fuel. 'Ruby lips' is a stock Persian image for the beloved's deep red mouth.

Original

قطعه شمارهٔ ۱۱

بس ای غلام بدیع‌الجمال شیرین‌کار که سوز عشق تو انداخت در جهان آتش به نفط گنده چه حاجت که بر دهان گیری تو را خود از لب لعلست در دهان آتش

796. Fragment 12

English
That fairy-faced beauty whom everyone, man or woman, old or young, praises as a connoisseur of beauty the moment they see her. She brushed my sleeve and at once I fainted; they were right when they said: it's a fairy that strikes the madman.
Explanation: In Persian folk belief, madness (being 'touched') was blamed on a fairy or spirit; the pun turns on the beloved being a 'fairy' (pari) who literally strikes the lover senseless.

Original

قطعه شمارهٔ ۱۲

آن پریروی که از مرد و زن و پیر و جوان هر که بینی دم صاحبنظری می‌زندش آستینم زد و از هوش برفتم در حال راست گفتند که دیوانه پری می‌زندش

797. Fragment 13

English
For me, gazing at beauty is no sin, since whatever I look upon appears beautiful in my eyes. Everyone has been given two eyes in their head, but you see the painting, while I look at the painter.
Explanation: 'Shahed' means both a witness and a beautiful beloved; the poet plays on this to justify his gaze. The 'painter' points to the divine creator behind visible beauty.

Original

قطعه شمارهٔ ۱۳

مرا به صورت شاهد نظر حلال بود که هرچه می‌نگرم شاهدست در نظرم دو چشم در سر هر کس نهاده‌اند ولی تو نقش بینی و من نقشبند می‌نگرم

798. Fragment 14

English
One night I want to whisper it to you in secret, hidden from friends and strangers alike. I want to pull the curve of your hair toward me so gently that even the collar's button next to it stays unaware. But every sin has its own punishment, and the sin of love is paid for by the cruelty of rivals.
Explanation: The 'curve of your hair' renders the Persian image of hair as a polo stick (chogan), a classic figure for the beloved's twisting locks.

Original

قطعه شمارهٔ ۱۴

شبی خواهم که پنهانت بگویم نهان از آشنایان و غریبان چنان در خود کشم چوگان زلفت کزو غافل بود گوی گریبان ولیکن هر گناهی را جزاییست گناه عشق را جور رقیبان

799. You Are Harder Than Stone

English
The idol-worshipper plants a thousand kisses on a stone that can bring neither harm nor good, no sign of either. You, my idol, are not made of stone; you are harder than stone, since no one can ever land a kiss upon your lips!
Explanation: The poet plays on 'bot' (idol), a common term for a beautiful, cold-hearted beloved, contrasting a stone idol that at least accepts kisses with a beloved who refuses even that.

Original

قطعه شمارهٔ ۱۵ - تو از سنگ سخت‌تری!

هزار بوسه دهد بت‌پرست بر سنگی که ضر و نفع محالست ازو نشان دادن تو بت! ز سنگ نه‌ای بل ز سنگ سخت‌تری که بر دهان تو بوسی نمی‌توان دادن!

800. Ask Him!

English
Someone scolded me for loving his face: Why rush so blindly to drown in your own blood? Ask the one who keeps a captive tied to his saddle; don't ask me, the one with the noose around his neck.
Explanation: The 'saddle-strap' (fatrak) was where a hunter or rider fastened his catch; the lover is that helpless prey. The blame should fall on the beloved who holds him captive, not on the trapped lover himself.

Original

قطعه شمارهٔ ۱۶ - از او بپرس!

کسی ملامتم از عشق روی او می‌کرد که خیره چند شتابی به خون خود خوَردن؟ ازو بپرس که دارد اسیر بر فتراک ز من مپرس که دارم کمند در گردن

801. Straw and Amber

English
How long will you tell me to give up loving her, to calm myself with patience? Tell the amber not to pull; what can one poor scrap of straw do against it?
Explanation: Amber, when rubbed, attracts bits of straw, a classic Persian image for an irresistible pull between lover and beloved. The straw is helpless before it, just as the poet is helpless before his love.

Original

قطعه شمارهٔ ۱۷ - کاه و کهربا

چند گویی که مهر ازو بردار خویشتن را به صبر ده تسکین کهربا را بگوی تا نبرد چه کند کاه پاره‌ای مسکین؟

802. The Black Blanket

English
I envy that black blanket, since it lies against her silver body, slim as a cypress tree. Look at that blanket, what pleasure it enjoys against her, and look at my black luck, kept far from her side.
Explanation: The Persian plays on 'siyah gelim' (black blanket), which also means an unlucky, ill-fated person; the second couplet turns the literal blanket into the poet's own dark fortune.

Original

قطعه شمارهٔ ۱۸ - سیه گلیم

بر آن گلیم سیاهم حسد همی آید که هست در بر سیمین چون صنوبر او گلیم بین که در آن بر، چه عیش می‌راند سیه گلیمی من بین که دورم از بر او

803. Fragment 19

English
I said I would catch you on the road and hold your hem, and tell you: your radiant beauty is the envy of the sun. You set a whole city on fire with the grief of separation, but I was the first to be trapped in the chains of loving you. Grant me the gift of one devoted glance from the corner of your eye, so I may be your servant and forever in your debt. A wise friend counseled me: be careful, do not make a scene; the beloved does not care for your loud complaints. The witness of my love is right there; why explain my state? Just look into that face, and my heart's secret is already known.
Explanation: The final couplet plays on the beloved's face as the visible proof of the poet's love, making words unnecessary.

Original

قطعه شمارهٔ ۱۹

گفتم به ره ببینم و دامن بگیرمش کای رشک آفتاب جمال منیر تو شهری بر آتش غم هجران بسوختی اول منم به قید محبت اسیر تو انعام کن به گوشهٔ چشم ارادتی تا بندهٔ تو باشم و منت پذیر تو صاحبدلی به تربیتم گفت زینهار غوغا مکن که دوست ندارد نفیر تو شاهد منجمست چه حاجت به شرح حال در وی نگاه کن که بداند ضمیر تو

804. Fragment No. 20

English
How much pain your love brought me; yet the moment you came back, you lifted all of it away. When dawn lifts its head it hides every fault: all day long we quarrel, all night long we make peace.
Explanation: The contrast of day-quarreling and night-reconciling captures the cycle of a stormy love.

Original

قطعه شمارهٔ ۲۰

وه که چه آزار بود من از مهر تو لیک چو باز آمدی آن همه برداشتی سر چو برآورد صبح بپوشد گناه روز همه روز جنگ شب همه شب آشتی