Appendices and Single Verses

805. Poem 1

English
My longing has passed all limits, and my patience under the weight of missing you is gone, my love. Heal this maddened heart of mine by letting me be with you. No ordinary doctor understands the pain of those who yearn; only Layla can cure the grief of frantic Majnun. If you were never going to care for the grieving and the helpless, you should not have shown us that beautiful face at the start. Since you showed yourself and stole all steadiness from my mind and all patience from my heart, now you must find a remedy for this restless soul. I never carried a passion for beautiful faces before this, but the moment I saw you, I chose the road of love and longing. All I want from this world and the next is to be with you; without you, faith and the world hold no value at all. I long so much to see you, my beloved, that from this separation a sigh rises from my heart hot enough to burn seven seas. Come, let us be happy together in private for one moment today, for no one in this world knows what tomorrow holds. You speak sweet words, Saadi, in spite of your enemies; but what does a man sick with unquenchable thirst know of the delight of sweets?
Explanation: Layla and Majnun are the archetypal lovers of Persian and Arabic tradition, standing for hopeless, all-consuming love. The final couplet plays on 'estesqa,' a disease of insatiable thirst, to say the lovesick cannot enjoy sweetness while parched with longing.

Original

شمارهٔ ۱

ز حد بگذشت مشتاقی و صبر اندر غمت یارا به وصل خود دوایی کن دل دیوانه ما را علاج درد مشتاقان طبیب عام نشناسد مگر لیلی کند درمان غم مجنون شیدا را گرت پروای غمگینان نخواهد بود و مسکینان نبایستی نمود اول به ما آن روی زیبا را چو بنمودی و بربودی ثبات از عقل و صبر از دل بباید چاره‌ای کردن کنون آن ناشکیبا را مرا سودای بت‌رویان نبودی پیش ازین در سر ولیکن تا تو را دیدم گزیدم راه سودا را مراد ما وصال تست از دنیا و از عقبی وگرنه بی‌شما قدری ندارد دین و دنیا را چنان مشتاقم ای دلبر به دیدارت که از دوری برآید از دلم آهی بسوزد هفت دریا را بیا تا یک زمان امروز خوش باشیم در خلوت که در عالم نمی‌داند کسی احوال فردا را سخن شیرین همی گویی به رغم دشمنان سعدی ولی بیمار استسقا چه داند ذوق حلوا را؟

806. Number 2

English
I don't know how to handle these tricks of mine to win over that beloved so full of tricks. With the sword of cruelty he spills the blood of my heart, just to dye his own hands with my heart's blood. Poor and empty-handed as I am, I fear that union will never fall into the hands of the empty-handed. If one day I catch the hem of his union, I'll never let it go from my grasp until Judgment Day. The parrot of my nature can never capture his qualities, no matter how much it describes that eloquent nightingale. My heart craves him; but what can I say if my short reach can't touch that tall cypress? His drunken narcissus eyes hunt for my heart's torment, the eyes that, in their quarrel, set even the sober reeling. If I see his beautiful face I have no wish for the garden, for no rose in the orchard is like his cheek. Anyone who has seen my adorned beloved in all his life will never go to gaze at any gallery of paintings. This blow means nothing to Sadi, and no wonder, if the grief of parting from him wipes out all that exists.
Explanation: The poem plays on 'dastan' (tricks/tales) and 'dast' (hand), a wordplay tying the lover's cunning to the poet's longing to hold him. The 'narcissus eyes' is a standard Persian image for a beloved's languid, intoxicating gaze.

Original

شمارهٔ ۲

می‌ندانم چه کنم چاره من این دستان را تا به دست آورم آن دلبر پردستان را او به شمشیر جفا خون دلم می‌ریزد تا به خون دل من رنگ کند دستان را من بیچاره تهیدستم از آن می‌ترسم که وصالش ندهد دست تهیدستان را دامن وصلش اگر من به کف آرم روزی ندهم تا به قیامت دگر از دست آن را در صفاتش نرسد گرچه بسی شرح دهد طوطی طبع من آن بلبل پردستان را هوس اوست دلم را چه توان گفت اگر دست بر سرو بلندش نرسد پستان را؟ نرگس مست وی آزار دلم می‌طلبد آنکه در عربده می‌آورد او مستان را گر ببینم رخ خوبش نکنم میل به باغ زانکه چون عارض او نیست گلی بستان را هر که دیدست نگارین من اندر همه عمر به تماشا نرود هیچ نگارستان را نیست بر سعدی از این واقعه و نیست عجب گر غم فرقت او نیست کند هستان را

807. Poem 3

English
Muslims, I cry out against those bewitching eyes, for in a single glance they stole my patience, calm, and endurance. Her face is fair as a Roman's, her curls and beauty mark dark as an African's, and her brow arches like a Central Asian archer's bow, full of reproach. Of all the wonders of the world, thirty-two rare marvels I see gathered plainly in her face, with nothing hidden from me. Moon and Pleiades, Mercury and Venus, sun and rainbow, pine and ivory, myrtle and narcissus, ruby and rose, fresh green and wine, union and deceit. Willow and hollyhock, candle and sandalwood, milk and tar, light and fire, honey and sugar, musk and amber, pearl and jewel, pomegranate and apple. The miracles of five prophets appear in her face: Ahmad and David and Jesus, Khizr and the son-in-law of Shu'ayb. My idol, if I die without tasting those lips, the Just One will demand justice from you on the Day of Reckoning. Sa'di, have you never truly heard this saying? Every valley has its peak, and every peak its valley.
Explanation: The 'narcissus' is the classic Persian metaphor for the beloved's eyes. The poem catalogues beauty through contrasts of fairness and darkness (Roman/African) and lists prophets' miracles as parallels for the beloved's overwhelming charms.

Original

شمارهٔ ۳

ای مسلمانان فغان زان نرگس جادو فریب کو به یک ره بُرد از من صبر و آرام و شکیب رومیانه روی دارد، زنگیانه زلف و خال چون کمان چاچیان، ابروی دارد پرعتیب از عجایب‌های عالم سی و دو چیز عجیب جمع می‌بینم عیان در روی او من بی حجیب ماه و پروین، تیر و زهره، شمس و قوس و کاج و عاج مُورْد و نرگس، لعل و گل، سبزی و می، وصل و فریب بان و خطمی، شمع و صَندل، شیر و قیر و نور و نار شهد و شِکّر، مشک و عنبر، در و لؤلؤ، نار و سیب معجزات پنج پیغمبر به رویش در پدید احمد و داود و عیسی خضر و داماد شَعیب ای صنم گر من بمیرم ناچشیده زان لبان دادگر از تو بخواهد داد من روز حَسیب سعدیا از روی تحقیق این سخن نشنیده‌ای؟ هر نشیبی را فراز و هر فرازی را نشیب

808. Number 4

English
Leaving the beloved's homeland is like doomsday itself; and fate has always handed me my share of such days. What does someone sleeping in comfort know of how a person aching with separation spends the night, especially a stranger far from home? I leave in bitter defeat, and there is no chance I can set foot again in my love's city because of my rival. My father kept urging me to be patient, saying, 'Son, enough of these disorderly days.' I answered this way: 'Father, my pain will not yield to any cure, no matter how hard the doctor tries.' Do not expect repentance from me, for even in the mosque I would rather listen to the sound of the harp than the preacher's sermon. You sent me to school, but it did no good; my fingernails were worn down by the teacher's beating stick, yet my heart still strums its own tune. Even now the scent of love rises from my dust, though in the grave my body falls apart, joint by joint. Saadi does not set out on this journey by his own choice; strange cruelty is no surprise from such a strange age.
Explanation: In couplet 7, 'nail worn by the stick' plays on the image of a harp player: the poet was punished at school but his passion for music and love never changed. The 'scent of love from my dust' means love outlasts even death.

Original

شمارهٔ ۴

قیامتست سفر کردن از دیار حبیب مرا همیشه قضا را قیامتست نصیب به ناز خفته چه داند که دردمند فراق به شب چه می‌گذراند علی‌الخصوص غریب؟ به قهر می‌روم و نیست آن مجال که باز به شهر دوست قدم در نهم ز دست رقیب پدر به صبر نمودن مبالغت می‌کرد که ای پسر بس از این روزگار بی‌ترتیب جواب دادم از این ماجرا که ای بابا چو درد من نپذیرد دوا به جهد طبیب مدار توبه توقع ز من که در مسجد سماع چنگ تأمل کنم نه وعظ خطیب به مکتب ارچه فرستادی‌ام نکو نامد گرفته ناخن چنگم به زخم چوب ادیب هنوز بوی محبت ز خاکم آید اگر جدا شود به لحد بند بندم از ترکیب به اختیار ندارد سر سفر سعدی ستم غریب نباشد ز روزگار عجیب

809. Number 5

English
Your eye is an eternal spell, or the great temptation of the world's end. When it lowers its lids against the evil eye, it still hides another flirtation within. With a single coy glance you have hunted me down; your eye is like the eyes of gazelles. In this city, faced with the army of your seductive looks, ( ... ) there is no safety left. The arrowhead of your flirting glance, no doubt, is poison that needs no bow. From the sugar-scattering ruby of your lips, one kiss is worth a hundred thousand lives. Your kiss has grown cheap; and what is cheaper than something given for free? All year I sit with my hand pressed to my head, for separation stands between us. They tell me, Be patient, Sadi; but this is easy to say for those who don't feel it.
Explanation: The 'evil eye' refers to the folk belief in a harmful gaze; here the beloved's own eye seems to shield against it while remaining alluring. Hand pressed to the head is a gesture of grief.

Original

شمارهٔ ۵

چشم تو طلسم جاودانست یا فتنهٔ آخرالزمانست تا چشم بدی به زیر بنهد دیگر به کرشمه در نهانست ما را به کرشمه صید کردست چشمت که چو چشم آهوانست با لشکر غمزهٔ تو در شهر ( ... ) الامانست پیکان خدنگ غمزهٔ تو شک نیست که زهر بی‌کمانست از لعل لب شکرفشانت یک بوسه به صد هزار جانست ارزان شده است بوسهٔ تو ارزان چه بود که رایگانست هستم همه ساله دست بر سر چون پای فراق در میانست گویند صبور باش سعدی این کار به گفت دیگرانست

810. Number 6

English
My condition, when I try to describe my grief for you, becomes a legend; my eye, from the reflection of your face, has turned into a temple full of idols. Wherever there is a worthless stone in the world, it lies beside a pearl as rare as you. Hoping for your hair that falls in chains, how many a wise man ends up acting like a madman. I asked her, what kind of curling locks are these? She said, well, in short, they are... From her lips comes a single subtle point... and from her wine cup, a single drop is a whole measure. Before the blazing sun of her beauty, the candle of the sky is less than a moth. My darling, why do you hide your face from me? After all, this poor wretch is not less than a stranger. They tell many tales of Azar's idol, but my own idol is this, from... The heart is no fitting place for you, so what can I do? In all my world it is only this one ruin. This they should not call a heart... this is not love, from...
Explanation: Azar was Abraham's idol-making father in Islamic tradition; the beloved is likened to a more wondrous idol. Several couplets are damaged in the original, leaving gaps.

Original

شمارهٔ ۶

حالم از شرح غمت افسانه(ایست) چشمم از عکس رخت بتخانه(ایست) هر کجا بدگوهری در عا(لمست) در کنار آنچنان دردانه(ایست) بر امید زلف چون ز(نجیر تو) ای بسا عاقل که چون (دیوانه‌ایست) گفتم او را این چه زلفـ......... گفت هان فی‌الجمله در......... از لبش یک نکته‌ای......... وز خمش یک قطره‌ای (پیمانه‌ایست) با فروغ آفتاب حسـ(ـن او) شمع گردون کمتر از (پروانه‌ایست) نازنینا رخ چه می‌پو(شی ز من) آخر این مسکین کم (از بیگانه‌ایست) از بت آزر حکایت‌ها کنـ(ـند) بت خود این است از......... دل نه جای توست آخر چـ(ـون کنم) در جهانم خود همین (ویرانه‌ایست) این نه دل خوانند کیـ......... این نه عشق است از.........

811. Number 7

English
I am wounded by the blade of separation, aching with longing beyond all measure. Breeze, what would it cost you to show me a moment's kindness? Pass through my beloved's street and carry the state of my heart, just as you heard it from me, tell the tale to that one who stole my heart. Retell to that darling one story of what I have been through, though my complaint about the pain of parting is long. Breeze, comfort of my soul, when you reach the place you know, do me this one favor too, if you can. Tell that idol of China and Khotan, that faithless beauty: for God's sake, show your lover a little care. The watchman of your absence plunders my patience every moment; I would claim justice for myself if union with you would defend me. You take lives, you steal hearts, then you seek separation from me; your nurse must have fed you on the milk of faithlessness. The complaints I hold against you, I bring them to you as well. But why speak, when the story of parting has no end? Longing for your bound locks, caught in the lure of your drunken eyes, even the devout ascetic takes up residence in the tavern. Everyone has a heart-stealer they hover around like a speck of dust; each person turns toward some direction, but Saadi's whole direction is you.
Explanation: China and Khotan were famed in Persian poetry for beauty and fine painting, so 'idol of China and Khotan' means a beauty of surpassing loveliness. The 'direction' (qibla) is the point one turns toward in prayer, used here to say the beloved is Saadi's sole object of devotion.

Original

شمارهٔ ۷

خستهٔ تیغ فراقم سخت مشتاقم به غایت ای صبا آخر چه گردد گر کنی یکدم عنایت؟ بگذری در کوی یارم تا کنی حال دلم را همچنان کز من شنیدی پیش آن دلبر روایت یک حکایت سر گذشتم پیش آن جان بازگویی گرچه از درد فراقم هست بسیاری شکایت ای صبا آرام جانی چون رسی آنجا که دانی هم بکن گر می‌توانی یک مهم ما کفایت آن بت چین و ختا را آن نگار بی‌وفا را گو بکن باری خدا را جانب یاری رعایت شحنهٔ هجر تو هر دم می‌برد صبرم به یغما داد خود را هم ستانم گر کند وصلت حمایت جان‌ستانی، دلربایی، پس ز من جویی جدایی خود به شیرِ بی‌وفایی پروریدستَست دایت آن شکایت‌ها که دارم از تو هم پیش تو گویم نِی چه گویم چون ندارد قصهٔ هجران نهایت در هوای زلف بستت در فریب چشم مستت ساکن میخانه گردد زاهد صاحب ولایت هر کسی را دلربایی، همچو ذره در هوایی قبلهٔ هر کس به جایی، قبلهٔ سعدی سرایت

812. Number 8

English
I leave your land with pain and longing: farewell. I lay down my life in the service of your memory: farewell. I cannot lift my head before you to ask for anything; I am too ashamed before your flower-like face: farewell. Wherever I am, I will keep praying for your good fortune. May God bless your days: farewell. If life gives me a reprieve, I will see your face in the end; and if I die far away, waiting for you: farewell. If even a trace of your curling hair reaches my dust, I will rise alive from that musky scent: farewell. If you remember me, write a few lines there. Saadi, those sweet words of yours: farewell.
Explanation: The refrain 'kheir bad' is a parting blessing, rendered as 'farewell' throughout. The curling hair carrying a musky scent is a classic image of the beloved's power to revive the lover.

Original

شمارهٔ ۸

می‌روم با درد و حسرت از دیارت خیر باد می‌گذارم جان به خدمت یادگارت خیر باد سر ز پیشت برنمی‌آرم ز دستور طلب شرم می‌دارم ز روی گلعذارت خیر باد هر کجا باشم دعا گویم همی بر دولتت از خدا باد آفرین بر روزگارت خیر باد گر دهد عمرم امان رویت ببینم عاقبت ور بمیرم در غریبی ز انتظارت خیر باد گر ز چین زلف تو بویی رسد بر خاک ما زنده برخیزم ز بوی مشکبارت خیر باد گر ز من یاد آوری بنویس آنجا قطعه‌ای سعدیا آن گفته‌های آبدارت خیر باد

813. Nothing But Her Image

English
I gave up my head to be free of headaches; let nothing live in my mind or heart but the thought of my beloved. On every white surface I saw a dark spot; there is no color that ranks above black. The color true men accept is green and white; the imprint of her face is not found in every face. The eye that beholds union is an eye set on guidance; the secret it holds is not in every gaze. I wandered through all creation and found no equal to you; a beauty like yours exists nowhere on earth. No one can describe you, no one can recite your praise; there is no moon-faced one like you on land or sea. For no reason could Saadi ever take his eyes off you; whatever might come of looking, what is not in sight cannot rise.
Explanation: 'Khushk o tar' (dry and wet) is an idiom meaning all of creation, everything that exists. The final line plays on 'nazar,' meaning both a glance and spiritual insight.

Original

شمارهٔ ۹

ما ترک سر بگفتیم، تا دردسر نباشد غیر از خیال جانان، در جان و سر نباشد در روی هر سپیدی، خالی سیاه دیدم بالاتر از سیاهی، رنگی دگر نباشد رنگ قبول مردان، سبز و سفید باشد نقش خیال رویش، در هر پسر نباشد چشم وصال بینان، چشمیست بر هدایت سری که باشد او را، در هر بصر نباشد در خشک و تر بگشتم، مثلت دگر ندیدم مثل تو خوبرویی، در خشک و تر نباشد شرحت کسی نداند، وصفت کسی نخواند همچون تو ماه سیما، در بحر و بر نباشد سعدی به هیچ معنی، چشم از تو برنگیرد تا از نظر چه خیزد، کاندر نظر نباشد

814. Fortune Returns

English
Luck and prosperity came flowing back to me like a running stream, and from good fortune the graceful cypress, my beloved, returned to me. Every day I grew old longing for the sight of that lovely face; now in my old age my young luck has come back again. The friend returned and the enemy fled from me; thanks be for this blessing, that life came back into my weary body. Bring me good news, dear friend, for the suffering has passed; the blessing of victory and ease has arrived in due time. Prosperity came to my side, luck and good fortune arrived; out of joy, Jupiter, the star of blessing, came back to its arc. The sun of generosity and the moon of light both arrived; the crown of good fortune and grace appeared plainly before me. Sa'di, the crown of happiness has arrived once more, for the one who had gone came back like a running stream.
Explanation: Jupiter (moshtari) was considered the planet of good fortune in classical Persian astrology. The 'graceful cypress' is a standard image for the tall, elegant beloved.

Original

شمارهٔ ۱۰

بخت و دولت به برم زآب روان باز آمد وز سعادت به سرم سرو روان باز آمد پیر بودم به وصال رخ خوبش همه روز باز پیرانه سرم بخت جوان باز آمد دوست باز آمد و دشمن برمید از پیشم شکر نعمت که به تن جان گران باز آمد مژدگانی بده ای دوست که محنت بگذشت نعمت فتح و گشایش به زمان باز آمد دولت آمد به بر و بخت و سعادت برسید مشتری از سر شادی به کمان باز آمد آفتاب کرم و ماه ضیا هم برسید تاج اقبال و کرامت به عیان باز آمد سعدیا تاج سعادت دگر از نو برسید کان نگار شده چون آب روان باز آمد

815. Poem 11

English
Gone are the days when you had time for me, when my greeting still earned an answer from you. Out of pride and out of your beauty, you scolded me sweetly with every breath. You kept giving me your lovely promises, as if those promises were only a mirage. Now that the time of union has passed, it seems those days were nothing but a dream. In my hand, from the cupbearer of the feast, there was a full cup of wine with every breath. I am left wounded, and you never ask how this ruined, broken soul is doing. Blessed were the days when, from the charity of your lips, your lovers received their rightful share. Saadi, how did the season of union slip away? What a pity, it was nothing but a mirage.
Explanation: The 'charity of your lips' plays on the idea of alms and a due portion (nisab), casting the beloved's kisses as a rightful gift owed to lovers.

Original

شمارهٔ ۱۱

رفت آن کم بر تو آبی بود یا سلام مرا جوابی بود از سر ناز وز سر خوبی هر دمی با منت عتابی بود وعده‌های خوشم همی دادی گویی آن وعده‌ها سرابی بود روزگار وصال چون بگذشت گویی آن روزگار خوابی بود بر کف من ز دست ساقی بزم هر نفس ساغر شرابی بود خستهٔ مانده‌ام نمی‌پرسی که مرا خستهٔ خرابی بود حبذا آنکه از زکات لبت عاشقان تو را نصابی بود سعدیا چون زمان وصل گذشت؟ ای دریغا که چون سرابی بود

816. Number 12

English
I remember there was a time when I had someone to ease my sorrow. With my love's lips near, held in my sweetheart's arms, every moment brought some sweet occupation. My cup of joy held not a single dreg, and the rose of union had no thorn for me. That lion-taming, fox-playing gazelle of a beloved made my helpless heart its willing prey. The soft down around that sun-bright face was like a bed of violets by the water of life. Everything I needed for delight was ready. God, what days those were! Even if the world raised its waves of rivals against him, Sadi still had a choice and precious companion.
Explanation: The 'gazelle who tames lions' is a classic image of a beloved so captivating it overpowers the strong. The 'down like violets by the water of life' pictures the fresh beard-shadow on the beloved's radiant face.

Original

شمارهٔ ۱۲

یاد دارم که روزگاری بود که مرا پیش غمگساری بود با لب یار و در بر دلدار هر زمانیم کار و باری بود جام عیش مرا نه دردی بود گل وصل مرا نه خاری بود ز اهوی شیرگیر روبه‌باز دل بیچاره را شکاری بود گرد آب حیات بر خورشید از خط او بنفشه‌زاری بود همه اسباب عیشم آماده یارب آن خود چه روزگاری بود گر جهان موجها زدی ز اغیار سعدیش بس گزیده یاری بود

817. When My King Comes to Court

English
When my king steps out into his court, cries and shouts rise up from all his army. The true lover flees his home and household, and the rich man walks away from wealth and rank. Gaze on the street where he lives, and you will see a thousand Josephs of Egypt rise from the bottom of the well. The dawn is so honest in its longing for him that out of desire for his face it rises early. When those who keep to their cloisters... a cry of 'what a scandal!' goes up from everyone. His glance is drunk and... whoever steps out steps out of all shelter. If, say, he rises later than usual from sleep, then on that day the morning breaks at noon. If a mirror caught his reflection from afar, a thousand sighs would rise from its stony heart. If a dead man remembered him in the heart of the dust, plenty of grass would sprout over his grave. Be patient, my heart... the work gets done as the years and months roll by. When someone sins in the secret of his love, the scent of worship rises out of that very sin. Sadi's heart, do not... bow down there where...
Explanation: Several couplets have gaps in the original text (marked with dashes), so those lines are rendered only in part. Joseph rising from the well evokes deliverance and dazzling beauty.

Original

شمارهٔ ۱۳ - خسرو من چون به بارگاه (برآید)

خسرو من چون به بارگاه برآید نعره و فریاد از سپاه برآید عاشق صادق ز خان و مان بگریزد مرد توانگر ز مال و جاه برآید بر سر کویش نظاره کن که هزاران یوسف مصری ز قعر چاه برآید صبح چنان صادق است در طلب او کز هوس روی او پگاه‌ برآید صومعه داران چو........ از همگان وافضیحتاه برآید غمزهٔ او مست و......... هر که برون آید از (پناه) برآید گر به مثل دیرتر ز خواب بخیزد صبح در آن روز چاشتگاه برآید آینه گر عکس او ز دور ببیند از دل سنگش هزار آه برآید مرده اگر یاد او کند به دل خاک بر سر خاکش بسی گیاه برآید صبر کن ای دل......... کار برآید چو سال و ماه برآید چون ز سرّ عشق او کنند گناهی بوی عبادت از آن گناه برآید ای دل سعدی نه......... سجده کن آنجا که.........

818. Number 14

English
The spring wind blows in from the meadow, and once again the cry of every longing bird rises to the heavens. The cypress stands tall, the garden is arranged, and the cuckoo sings out over the willow and the plane tree. A flower blooms in the garden; is it the moon, or the sun? The cypress sways in a dance along the streambank. The branch heavy with fruit gets pelted with stones, while the willow, bearing nothing, is spared such cruel abuse. Look at the way of the narcissus, sit beside the violet, choose the graceful lily, and let the yellow poppy rain down its petals. Rise and treasure it all: the stirring of the spring breeze, the bird's measured song, the sweet scent of the tulip field. Every flower and leaf that exists remembers God. What does the nightingale, what does the turtledove sing? The praise of the Lord. For the mind that understands, each green leaf on the trees is a page, and every page a book of knowing the Creator. It is springtime, so rise, let us go and take in the sight; there is no relying on time to bring the spring back again. Nightingale, sing your tunes; sweet-voiced bird, take up your song; sugar-scattering parrot, bring your sweets to the gathering. Along the mountains and the plains, this is a day for wandering and roaming; the spring season has passed, so recite the words of Saadi.
Explanation: The image in couplet 4, of the fruit-bearing branch being stoned while the barren willow is left alone, is a classic Persian metaphor: those who bear something of value attract attack and burden. The 'sugar-scattering parrot' is a stock image for sweet, eloquent speech.

Original

شمارهٔ ۱۴

باد بهاری وزید، از طرف مَرغزار باز به گردون رسید، نالهٔ هر مُرغ‌ِ زار سرو شد افراخته، کار چمن ساخته نعره‌زنان فاخته، بر سر بید و چنار گل به چمن در بر است، ماه مگر یا خور است سرو به رقص اندرست، بر طرف جویبار شاخ که با میوه‌هاست، سنگ به پا می‌خورد بید مگر فارغ‌ست، از ستم نابکار شیوهٔ نرگس ببین، نزد بنفشه نشین سوسن رعنا گزین، زرد شقایق ببار خیز و غنیمت شمار، جنبش باد ربیع نالهٔ موزون مرغ، بوی خوش لاله‌زار هر گل و برگی که هست، یاد خدا می‌کند بلبل و قمری چه خواند؟ یاد خداوندگار برگ درختان سبز، پیش خداوند هوش هر ورقی دفتری‌ست، معرفت کردگار وقت بهارست خیز، تا به تماشا رویم تکیه بر ایام نیست، تا دگر آید بهار بلبل دستان بخوان، مرغ خوش‌الحان بدان طوطی شکرفشان، نقل به مجلس بیار بر طرف کوه و دشت، روز طواف‌ست و گشت وقت بهاران گذشت، گفتهٔ سعدی بیار

819. Number 15

English
Dawn breeze, bring me the scent of my love's hair; from those restless curls bring my heart some rest. Carry a greeting from wretched me to that graceful cypress; bring back a message from that rose-cheeked, moon-faced one. Deliver the tale from the lips of a helpless Farhad; and bring me back a comforting greeting from her. Whisper it in secret to my one true friend, listen for the answer, then bring it to me openly. As a cure for my soul and a balm for my spirit, bring me the fragrance of those two coiled, musk-scented locks. The springtime of my eyes is nothing but the reflection of her face; be kind, and bring me that reflection of spring. To brighten my eyes, which are far from her face, bring me some dust from her direction, some earth from her land. Carry countless blessings from me to my beloved; and, in your kindness, bring back some news of reunion with her. Keep the words I told you and carry them along; hold in mind whatever answer she gives, and bring it back. Waiting for you, Saadi says it always: dawn breeze, bring me the scent of my love's hair.
Explanation: Farhad is the legendary lover from Persian tradition, evoked here as a symbol of devoted, suffering love. The cypress is a classic image for the beloved's tall, graceful form.

Original

شمارهٔ ۱۵

ایا نسیم سحر بوی زلف یار بیار قرار دل ز سر زلف بی‌قرار بیار سلامی از من مسکین بدان صنوبر بر پیامی از آن مهروی گلعذار بیار حکایت از لب فرهاد ناتوان برسان سلامی از من مسکین غمگسار بیار نهان بگوی به آن دوستدار یکدل من جواب بشنو و آنگه به آشکار بیار دوای جان من و مرهم روان بویی از آن دو زلف زره‌وار مشکبار بیار بهار دیدهٔ من نیست جز که عکس رخش تلطفی بکن و عکس آن بهار بیار ز بهر روشنی چشم کز رخش دورست غبار ازان طرف و گرد از آن دیار بیار ز من درود فراوان ببر به دلبر من به لطف مژده‌ای از وصل آن نگار بیار من آن حدیث که گفتم نگاه دار و ببر هر آن جواب که گوید به یاد دار و بیار در انتظار تو سعدی همیشه می‌گوید که ای نسیم سحر بوی زلف یار بیار

820. Number 16

English
Though it gave itself to someone else, my heart is still mine. I swear by that person's life: my heart still holds to its faith. I don't know why, after all the cruelty done to me, the mark of loving that person still lingers in my heart. I whispered to my heart: let that one go, forget. It answered: that beloved is still ours. Even when I'm dead, if that one passes over my grave, I will rise with a shout: that soul is still mine. The hostility comes from the side of the one who broke the pact; as for me, the same pure devotion still remains. My idol, don't turn your face from me, take my hand, for your turmoil and unrest still fill my head. Where is the judge's house? In the case of love the dispute between lover and beloved is still open. My need cannot be captured by any pen. I have measured it, and it lies beyond all thought. Morning breeze, carry my greeting to the beloved and say that Sadi has still not abandoned his vow to you.
Explanation: The 'idol' (bot) is a conventional Persian term for the beautiful beloved. The 'judge's house' imagines love as an unresolved legal case between lover and beloved.

Original

شمارهٔ ۱۶

اگر چه دل به کسی داد، جان ماست هنوز به جان او که دلم بر سر وفاست هنوز ندانم از پی چندین جفا که با من کرد نشان مهر وی اندر دلم چراست هنوز؟ به راز گفتم با دل، ز خاطرش بگذار جواب داد فلانی ازان ماست هنوز چو مرده باشم اگر بگذرد به خاک لحد به بانگ نعره برآید که جان ماست هنوز عداوت از طرف آن شکسته پیمانست وگرنه از طرف ما همان صفاست هنوز بتا تو روی ز من برمتاب و دستم گیر که در سرم ز تو آشوب و فتنه‌هاست هنوز کجاست خانهٔ قاضی که در مقالت عشق میان عاشق و معشوق ماجراست هنوز نیازمندی من در قلم نمی‌گنجد قیاس کردم و ز اندیشه‌ها وراست هنوز سلام من برسان ای صبا به یار و بگو که سعدی از سر عهد تو برنخاست هنوز

821. Number 17

English
What heartache is this that has struck me, falling into the trap of your love, my darling? What wrong had I done, that so suddenly I fell into the hands of you, playful tyrant? With a heart like mine, I had no choice in the game of love, yet still I fell. Onto the field of your love, riding the horse of longing, I galloped hard and was thrown headlong. I never fell quite like this before, though in this way I have fallen a hundred times. From the flood of this sorrow I find no escape, for I sank like an anchor into the waves of my tears. I imagined her lips, her face, her beauty mark, and fell headfirst into flowers, musk, and sugar. My hand slipped from that dark, musky hair, and into what a fragrant dust I fell. My soul landed happily in that well, yet through my own bad luck I fell at the door. All his life Saadi has cursed his fortune: you stayed carefree, and I was left to grieve.
Explanation: The poem plays on a single verb, 'to fall,' repeated as a rhyme to link every stage of falling in love. The 'well' in couplet 9 evokes the beloved's chin or dimple, a classic image of the trap that catches the lover.

Original

شمارهٔ ۱۷

چه درد دلست اینچه من درفتادم که در دام مهر تو دلبر فتادم؟ چه بد کرده بودم که ناگه ازینسان به دست تو شوخ ستمگر فتادم؟ مرا با چنین دل سر عشقبازی نبود اختیاری ولی درفتادم به میدان عشق تو در اسب سودا همی تاختم تیز و در سر فتادم بدینگونه هرگز نیفتادم ارچه درین شیوه صد بار دیگر فتادم ز غرقاب این غم، رهایی نیابم که در موج دیده چو لنگر فتادم خیال لب و روی و خالش بدیدم به سر در گل و مشک و شکر فتادم بلغزید دستم از آن زلف مشکین بدان خاک مشکین به چه درفتادم دران چاه جانم خوش افتاد لیکن ز بدبختی خویش بر در فتادم به طالع همی خورده سعدی همه عمر که بودی تو غمخوار و غمخور فتادم

822. Number 18

English
I never broke away from you, for you are my beloved friend; I became like your servant, ready to gird myself for your command. You are a swift, nimble rider, and you tied my heart to your saddle; how blessed and sweet is the heart that becomes my beloved's prey. With such beauty and such purity your face reveals, I have chosen you above all; I want no love but you. In hope of you I am full of joy, in your love I burn; sometimes I weep from delight, sometimes I laugh from longing. I have tasted much bitterness since the moment I saw your face; in your words and on your lips, my love, you are my sugar, you are my sweetness. In your love I am wretched and bewildered, undone by helpless daze; out of jealousy I have torn the very root of jealousy from my heart at once. The sapling of love, my beloved, in the garden of my heart, is why I have scattered talk of tenderness across the world. I wrote down my own tale as I heard those words; since I sowed love for you in my heart, may my bond be blessed. Though I have no peace, I am still your unripe lover; burn me like wild rue, sweetly, in love. I became your servant, an Ayaz to your Mahmud; draw me close to you, as you draw yourself near.
Explanation: Some lines in the original are incomplete (marked by dots in the source), so those endings are rendered as best fits the sense. Ayaz and Mahmud are the classic model of the devoted servant and his beloved king.

Original

شمارهٔ ۱۸

من از تو هیچ نبریدم که هستی یار دلبندم تو را چون بنده‌ای گشتم به فرمانت کمر بندم سواری چُست و چالاکی دلم بستی به فتراکی خوشا و خرما آن دل که باشد صید دلبندم بدین خوبی بدین پاکی که رویت......... تو را از جمله بگزیدم به جز تو یار نپسندم به امّیدت طربناکم به عشقت......... گهی از ذوق می‌گریم گهی از شوق می‌خندم بسی تلخی چشیدستم که رویت را بدیدستم به گفتار و لبت جانا تویی شکر تویی قندم به عشقت زار و حیرانم ز مدهوشی پریشانم ز غیرت بیخ غیرت را ز دل یکبارگی کندم نهال عشق ای دلبر به باغ دل......... حدیث مهربانی را به گیتی زآن پراکندم حدیث خویش بنوشتم چو آن گفتار( بشنفتم ) چو در دل مهر تو کشتم مبارک (باد پیوندم) اگر چه نیست آرامم هنوزت عا(شق خامم) بسوزان چون سپندم خوش به عشق......... ایاز چاکرت گشتم به محمودی......... به خود نزدیک گردانم چو خود را د.........

823. Number 19

English
This letter that I'm writing to you now, I write it with tears mixed with blood. I've written to you from this door before, but never with the burning pain I feel as I write now. To Azra I show the ache that Vameq bore; to Layla I describe the state of Majnun. My love, I don't even know how to set down the story of my own heart for you. Accept it, though I have no excuse to offer; read it kindly, though what I write is poor.
Explanation: Vameq and Azra, and Layla and Majnun, are famous pairs of tragic lovers in Persian tradition; the poet compares his own suffering to theirs.

Original

شمارهٔ ۱۹

من این نامه که اکنون می‌نویسم به آب چشم پر خون می‌نویسم ازین در بر نوشتم نامه لیکن نه آن سوزست کاکنون می‌نویسم به عذرا درد وامق می‌نمایم به لیلی حال مجنون می‌نویسم نگارا قصهٔ خود را به خدمت نمی‌دانم که تا چون می‌نویسم تو بپذیر، ارچه من عذری نیارم تو خوش خوان، گرچه من دون می‌نویسم

824. Number 20

English
Did you see, my heart, what has come to me again? What can I do, who can I tell, what thought can I even hold? I wish love's cruelty had never pitched its tent on me, for now I'm left helpless with my aching heart. My love, you never laid a hand on the snake of your own curls; so how much more must the scorpion of your absence sting me? Like a drum, I take blow after blow from your cruelty; like a harp, I bow my head low under the grief of losing you. Why disgrace me? Just put out the fire of love in me. I'm less than dust already, so don't scatter me to the wind. Take pride in your beauty as you like, but I won't beg to your face, so you'll know my heart is rich even when I'm penniless. Again and again the urge rises in me to speak words of unbelief, since I'm caught heart and soul by those infidel locks of yours. Reason itself lost its mind over crazy Saadi; that's why, wrecked and scattered, I still cling to my state.
Explanation: The 'infidel locks' image plays on the beloved's dark curling hair as something that leads the lover astray from faith, a common device in Persian love poetry.

Original

شمارهٔ ۲۰

دیدی ای دل که دگر باره چه آمد پیشم چه کنم با که بگویم چه خیال اندیشم؟ کاش بر من نرسیدی ستم عشق رخت که فرو مانده به حال دل تنگ خویشم دلبرا نازده در مار سر زلف تو دست چه کند کژدم هجران تو چندین نیشم همچو دف می‌خورم از دست جفای تو قفا چنگ‌وار از غم هجران تو سر در پیشم آبرویم چه بری آتش عشقم بنشان کمتر از خاکم و بر باد مده زین بیشم گر به جان ناز کنی گر نکنم در رویت تا بدانی که توانگر دلم ار درویشم دم به دم در دلم آید که دم کفر زنم تا به جان فتنهٔ آن طرهٔ کافر کیشم عقل دیوانه شد از سعدی دیوانه مزاج با پریشانی از آن بر سر حال خویشم

825. So Shaken by Your Love

English
Come, come, for your love has left me so shattered that even my grief spills out on my tongue in confusion. You are free of me, while I wander lost in longing for you. Come and see what grief has done to break me apart. I have neither the strength to stay with you nor the will to let go. Broken hearted, I am caught helpless between the two. I cannot reach a single lock of your hair, so like your curling tresses I am scattered, night and day. My heart and eyes have never once been on my side, so I am forever ruined at their hands. No one has ever been so wrecked by heart and eyes as I am, the most broken soul in all the world. How can my mind find peace, telling myself you will come, when your cruelty, unkind one, tears me apart? I have not caught even a trace of the perfume of union with you, so the fire in my heart leaves me scattered like smoke. Though the promise of union gladdens Saadi's heart, as long as I stay in separation I remain undone.
Explanation: The Persian word 'parishan' (scattered, disheveled, distressed) runs through the poem as a pun, linking his troubled mind to the beloved's tangled curls.

Original

شمارهٔ ۲۱

بیا بیا که ز عشقت چنان پریشانم که می‌رود ز غمت بر زبان پریشانم تو فارغ از من و من در غم تو (سرگردان) بیا ببین که ز غم بر چه سان پریشانم نه روی با تو نشستن نه رای (دل کندن) من شکسته دل اندر میان پریشانم نمی‌توان که به دست آورم کلاله تو چو سنبل تو شب و روز از آن پریشانم به هیچ نوع دل و دیده‌ام ز (من نبود) ازان همیشه من از دستشان پریشانم ز دست دیده ودل هیچ کس پریش نگشت ازین بتر که من اندر جهان پریشانم چگونه جمع شود خاطرم که (می‌آیی) ز دست جور تو نامهربان پریشانم ز عطر مجمر وصفت نیافتم بویی ازان ز آتش دل چون دخان پریشانم دلم به وعدهٔ وصل ار چه خوش کند سعدی چو در فراق بوم همچنان پریشانم

826. Poem 22: Nothing Without You

English
Worn out, I can't rest for a single breath without you. With what heart could I find patience, my love, without you? How could I choose the path of patience when I've given my heart to the wind? My soul can find no peace at all without you. By the dust of your feet, my idol, if I sit in this corner of grief, it's only out of necessity, never by choice, without you. If they dragged me off toward hell, I'd go along gladly; but I would never set foot in paradise without you. What joy could a garden or an orchard give me, my love, when the whole world looks fake and gilded to my eyes without you? To breathe in for even a moment the scent of being with you is better, my dear, than living a whole lifetime like this, heartbroken, without you. Don't imagine that Saadi chose you as just one companion among many: by your own life, he has no desire for any companion without you.
Explanation: The 'corner of grief' (bayt al-ahzan) alludes to the house of sorrow where Jacob wept for Joseph, a classic image of loving separation. 'Gilded' here means shiny but worthless, all surface and no value.

Original

شمارهٔ ۲۲

من خسته چون ندارم، نفسی قرار بی‌تو به کدام دل صبوری، کنم ای نگار بی‌تو ره صبر چون گزینم، من دل به باد داده که به هیچ وجه جانم، نکند قرار بی‌تو صنما به خاک پایت، که به کنج بیت احزان به ضرورتم نشیند، نه به اختیار بی‌تو اگرم به سوی دوزخ، ببرند باز خوش خوش بروم ولی به جنت، نکنم گذار بی‌تو سر باغ و بوستانم، به چه دل بود نگارا که به چشم من جهان شد، همه زرنگار بی‌تو نفسی به بوی وصلت، زدنم بهست جانا که چنین بماند عمری، من دلفگار بی‌تو تو گمان مبر که سعدی، به تو برگزید یاری به سرت که نیست او را، سر هیچ یار بی‌تو

827. Why Are You Upset With Me?

English
My restless love, why are you upset with me? You are my ache and my cure, why are you upset with me? My graceful cypress, my beautiful sweetheart, your ruby lips are my sweetness, why are you upset with me? Look how your absence has left me, spinning lost like the sky, bloodied by your arrows, why are you upset with me? If I die in your sorrow, my idol, my blood is on your neck; tomorrow I will cling to your skirt, why are you upset with me? I am Saadi at your door, in love with your moon-like face, I wish you only good, why are you upset with me?
Explanation: 'My blood is on your neck' means the beloved will bear responsibility for the lover's death. 'Clinging to your skirt' evokes seeking justice on Judgment Day.

Original

شمارهٔ ۲۳

ای یار ناسامان من! از من چرا رنجیده‌ای؟ وی درد و ای درمان من! از من چرا رنجیده‌ای؟ ای سرو خوش‌بالای من! ای دل‌بر رعنای من! لعل لبت حلوای من! از من چرا رنجیده‌ای؟ بنگر ز هجرت چون شدم، سرگشته چون گردون شدم وز ناوکت پرخون شدم، از من چرا رنجیده‌ای؟ گر من بمیرم در غمت، خونم بُتا در گردنت فردا بگیرم دامنت، از من چرا رنجیده‌ای؟ من سعدیِ درگاه تو، عاشق به روی ماه تو هستیم نیکوخواه تو، از من چرا رنجیده‌ای؟

828. Number 24

English
You are so beautiful, so heart-stealing, that you would grudge showing yourself to just anyone. It isn't in my interest, yet it's better that you stay veiled and never come out in public. I turned faithfulness into my enemy the day I made my pact with you, once I saw that you, my ruin, are the faithless one. I have grown so distant from myself, so estranged, ever since I came to know you. If it weren't for the hope of reaching you, I would drive the light right out of my eyes. You feel no grief at all for my broken heart; but who ever saw a villager without his own holiday? From now on it's just me and sorrow, far from your face, what would it cost you to come to me for a single night?
Explanation: In couplet 6, the proverb about a villager still having a holiday means even the lowly deserve some joy, hinting that the poet too deserves the beloved's compassion.

Original

شمارهٔ ۲۴

چنان خوب رویی بدان دلربایی دریغت نیاید به هر کس نمایی مرا مصلحت نیست لیکن همان به که در پرده باشی و بیرون نیایی وفا را به عهد تو دشمن گرفتم چو دیدم مرا فتنه تو بی‌وفایی چنین دور از خویش و بیگانه گشتم که افتاد با تو مرا آشنایی اگر نه امید وصال تو بودی ز دیده برون کردمی روشنایی نیاید تو را هیچ غم بی‌دل من کسی دید خود عید بی‌روستایی من و غم ازین پس که دور از رخ تو چه باشد اگر یک شبی پیشم آیی؟

829. Number 25

English
Every night, with an aching heart and endless weeping, it is just me, my tears, and my sleeplessness. No moisture is left inside me, my eyes have shed so many pearls of grief. What does your heart know of sorrow? How could you understand what it means to grieve? You will finally know how I feel only when, like me, you drag a single night through to morning.
Explanation: Shedding pearls is a classical Persian image for weeping precious tears. 'Dragging a night to morning' means enduring a sleepless, grief-filled night.

Original

شمارهٔ ۲۵

هر شبی با دلی و صد زاری منم و آب چشم و بیداری بنماندست آب در جگرم بس که چشمم کند گهرباری دل تو از کجا و غم ز کجا؟ تو چه دانی که چیست غمخواری؟ آگه از حال من شوی آنگاه که چو من یک شبی به روز آری