Quatrains

639. Quatrain 1Rubāʿī

English
Every hour the blood boils inside me, and those outside have no idea of it. Only someone who has seen Leyli's face can know the pain that Majnun endures.
Explanation: Leyli and Majnun are the archetypal lovers of Persian literature; here Majnun stands for anyone consumed by love.

Original

رباعی شمارهٔ ۱

هر ساعتم اندرون بجوشد خون را وآگاهی نیست مردمِ بیرون را الا مگر آن‌ که روی لیلی دیده‌ست داند که چه درد می‌کشد مجنون را

640. Quatrain 2Rubāʿī

English
Your lovers are captives at your door, so come. They will not hold your bad temper against you, so come. Every cruelty and wrong you've done, you're forgiven. Come before the day when your excuse won't be accepted.
Explanation: The poem plays on the idea that the beloved's faults are excused now, but that grace won't last forever.

Original

رباعی شمارهٔ ۲

عشاق به درگهت اسیرند بیا بدخویی تو بر تو نگیرند بیا هر جور و جفا که کرده‌ای معذوری زآن پیش که عذرت نپذیرند بیا

641. Quatrain 3Rubāʿī

English
Your eyes are drowsy with sleep and drunk with wine; the discerning ones thirst for you, but your embrace is only a mirage. Someone as lovely as you, anywhere in this whole world, could only ever be seen in a mirror or in water.
Explanation: The mirror and water suggest that your beauty has no equal in reality, only a reflection could match it. 'Abad o kharab' (in flourishing and in ruin) means simply 'anywhere at all'.

Original

رباعی شمارهٔ ۳

ای چشم تو مست خواب و سرمست شراب! صاحب‌نظران تشنه و وصل تو سراب مانند تو آدمی در آباد و خراب باشد که در آیینه، توان دید و در آب

642. Quatrain 4Rubāʿī

English
Since the heart can't be freed from longing for the beloved, the only cure is patience and bowing your head. Either you must give up the bright red rose, or you must make peace with the pain of its thorns.
Explanation: The rose stands for the beloved and love itself; its thorns for the suffering that comes with loving.

Original

رباعی شمارهٔ ۴

چون دل ز هوای دوست نتوان پرداخت درمانش تحمل است و سر پیش انداخت یا ترک گل لعل همی باید گفت یا با الم خار همی باید ساخت

643. Quatrain 5Rubāʿī

English
The heart is slipping away, and there's no sewing the eyes shut to stop it; when there's no true piety inside you, you can't peddle a fake show of it. It wasn't the candle that burned the helpless moth; the one who truly burned was the very love that kept the candle lit.
Explanation: The moth and candle are a classic Persian image of the lover consumed by the beloved. Here the poet reverses it: the real burning belongs to the love itself.

Original

رباعی شمارهٔ ۵

دل می‌رود و دیده نمی‌شاید دوخت چون زهد نباشد نتوان زرق فروخت پروانهٔ مستمند را شمع نسوخت آن سوخت که شمع را چنین می‌افروخت

644. Quatrain 6Rubāʿī

English
One day you told me: 'Some night I'll make your heart glad, and set you free from the chains of your sorrows.' You saw how many nights have passed since that day, and not once did your own promise come back to your mind?
Explanation: The 'chains of sorrow' is a common Persian image for being bound by grief; here the poet gently reproaches a lover who forgot a promise of union.

Original

رباعی شمارهٔ ۶

روزی گفتی «شبی کنم دلشادت وز بند غمان خود کنم آزادت» دیدی که از آن روز چه شب‌ها بگذشت وز گفتهٔ خود هیچ نیامد یادت؟

645. Quatrain 7Rubāʿī

English
A hundred times I told the servants at your gate not to leave a mirror in front of you again. I'm afraid you'll see your own moon-like face, and then no one else will ever catch your eye.
Explanation: The 'moon-like face' is a classic Persian image for extraordinary beauty; the joke is that the beloved is so lovely they might fall for their own reflection.

Original

رباعی شمارهٔ ۷

صد بار بگفتم به غلامان درت تا آینه دیگر نگذارند برت ترسم که ببینی رخ همچون قمرت کس باز نیاید دگر اندر نظرت

646. Quatrain 8Rubāʿī

English
The one who broke our pledge of love was leaving, and I clung to the hem of her robe, holding on. She said, 'From now on, you'll only see me in your dreams.' As if, once she was gone, I could ever sleep at all.
Explanation: The closing line turns her taunt against her: sleep, and therefore dreams, becomes impossible for the abandoned lover.

Original

رباعی شمارهٔ ۸

آن یار که عهدِ دوستاری بشکست می‌رفت و منش گرفته دامان در دست می‌گفت «دگر باره به خوابم بینی» پنداشت که بعد از آن مرا خوابی هست

647. Quatrain 9Rubāʿī

English
Nights pass when I can't close my eyes; everyone else is drunk on sleep, and I on the thought of you. May you spill my blood with your own hand, so that as I give up my life, I finally hold what I longed for.
Explanation: Grasping the hem of one's goal is a Persian idiom for finally attaining what one desires, even at the cost of death.

Original

رباعی شمارهٔ ۹

شب‌ها گذرد که دیده نتوانم بست مردم همه از خواب و من از فکر تو مست باشد که به دست خویش خونم ریزی تا جان بدهم دامن مقصود به دست

648. Quatrain 10Rubāʿī

English
A clear head grows drunk on longing for you; how lucky the heart that loses itself to your face. Without you, everything in the realm of existence is nothing; and though there be nothing, since you exist, everything exists.
Explanation: The play in the final couplet turns on 'nothing' and 'everything': the beloved's presence is what gives all things their reality.

Original

رباعی شمارهٔ ۱۰

هشیار سری بوَد ز سودای تو مست خوش آن که ز روی تو دلش رفت ز دست بی‌‌تو همه هیچ نیست در ملک وجود ور هیچ نباشد، چو تو هستی، همه هست

649. Quatrain 11Rubāʿī

English
If the trouble of the people in this street comes from us, or if the blame for that sour face is ours, tomorrow that face will change and turn as fresh as milk, and we too will be cast out, the way a hair is pulled from milk.
Explanation: The 'sour face' means a scowling, unhappy expression, contrasted with milk as an image of freshness and calm. The closing image plays on removing a hair from milk, a proverbial way of describing something easily and cleanly discarded.

Original

رباعی شمارهٔ ۱۱

گر زحمت مردمان این کوی از ماست یا جرم ترش بودن آن روی از ماست فردا متغیر شود آن روی چو شیر ما نیز برون شویم چون موی از ماست

650. Quatrain 12Rubāʿī

English
What a wonder! This upright figure is doomsday itself; even the cypress lacks the grace that you possess. Better that you visit graves no more, so the dead won't cry out, 'Judgment Day has come!'
Explanation: In Persian poetry the cypress is the standard image for a beloved's tall, elegant stature. 'Qiyamat' (resurrection/doomsday) puns on the beloved's stunning 'qamat' (figure): so beautiful it could raise the dead.

Original

رباعی شمارهٔ ۱۲

وه وه که قیامت‌ست این قامت راست با سرو نباشد این لطافت که تو راست شاید که تو دیگر به زیارت نروی تا مرده نگوید که «قیامت برخاست»

651. Quatrain 13Rubāʿī

English
The cypress took the measure of its height from your stature; the sea took its glowing pearls from your mouth. Wherever I see a violet, I say: 'The wind has carried a strand of your hair out to the open field.'
Explanation: The dark violet is a classic Persian image for the beloved's dark curls. Pearls stand for the beauty and words of the beloved's mouth.

Original

رباعی شمارهٔ ۱۳

سرو از قدت اندازهٔ بالا بُردست بحر از دهنت لؤلؤ لالا بُردست هر جا که بنفشه‌ای ببینم گویم «مویی ز سرت باد به صحرا بُردست»

652. Quatrain 14Rubāʿī

English
Tonight, with my love here to light up my soul, my fortune wins out, no matter what my enemies wish. Let the candle die and the moon go down, I don't care: any night you're beside me is bright as day.
Explanation: The candle and moon stand for ordinary light sources, which the beloved's presence outshines.

Original

رباعی شمارهٔ ۱۴

امشب که حضور یار جان افروزست بختم به خلاف دشمنان پیروزست گو «شمع بمیر و مه فرو شو» که مرا آن شب که تو در کنار باشی روزست

653. Quatrain 15Rubāʿī

English
The night you spend beside me is bright as day, and the day that passes with you is a festival. Yesterday is gone; don't sit waiting for tomorrow. Seize this moment, for the fruit of life is today.
Explanation: Nowruz, the Persian New Year, is used here to mean a joyful, celebratory day.

Original

رباعی شمارهٔ ۱۵

آن شب که تو در کنار مایی روزست و آن روز که با تو می‌رود نوروزست دی رفت و به انتظار فردا منشین دریاب که حاصل حیات امروزست

654. Quatrain 16Rubāʿī

English
They say spring's air is sweet, the scent of flowers and the birdsong in the garden are sweet. The low note of the strings and the mournful cry are sweet; you who don't understand, all of this is sweet only with your love beside you.
Explanation: 'The low note of the strings' refers to the deeper register of a stringed instrument. The poet's point is that spring's beauty means nothing without the beloved.

Original

رباعی شمارهٔ ۱۶

گویند هوای فصل آزار خوش‌ست بوی گل و بانگ مرغ گلزار خوش‌ست ابریشم زیر و نالهٔ زار خوشست ای بی‌خبران! این همه با یار خوش‌ست

655. Quatrain 17Rubāʿī

English
I will rise and go, for waiting is unbearable; I will lay my life at her feet, for she is my heart's peace. And before enemy and friend alike I will confess: «the one who killed me has my full forgiveness.»
Explanation: 'Killed me' is the lover's dramatic idiom for being overwhelmed by love; the beloved's cruelty is willingly forgiven.

Original

رباعی شمارهٔ ۱۷

خیزم بروم چو صبر نامحتمل‌ست جان در قدمش کنم که آرامِ دل‌ست و اقرار کنم برابر دشمن و دوست «کآن کس که مرا بکشت از من بحل‌ست»

656. Quatrain 18Rubāʿī

English
That beauty you once called an angel of mercy, look again this time and you'll see a devil. A face that was as welcome as fire in winter is today as unwanted as a fur coat in summer.
Explanation: The poet contrasts past attraction with present distaste through the seasonal images of fire and a fur coat.

Original

رباعی شمارهٔ ۱۸

آن ماه که گفتی ملک رحمانست این بار اگرش نگه کنی شیطانست رویی که چو آتش به زمستان خوش بود امروز چو پوستین به تابستانست

657. Quatrain 19Rubāʿī

English
That fickle one, the hard-hearted love of mine, is a warm light for others but a fire that burns everything I own. You who are at peace with everyone yet at odds only with me: the fault is not yours; the blame lies with my luck.
Explanation: The image of the beloved as a candle giving others gentle light while scorching the poet plays on the double role of fire as both warmth and destruction.

Original

رباعی شمارهٔ ۱۹

آن سست وفا که یار دل‌سخت من است شمع دگران و آتشِ رخت من است ای با همه کس به صلح و با ما به خلاف جرم از تو نباشد گنه از بخت من است

658. Quatrain 20Rubāʿī

English
He wounded the hearts of enemy and friend so often that, as punishment, it's as if his very skin was transformed. Once, the grief he caused weighed on every heart; now all the sorrows of the world weigh on his.
Explanation: The image of the skin being transformed refers to the idea of metamorphosis as divine punishment for wrongdoing.

Original

رباعی شمارهٔ ۲۰

از بس که بیازرد دل دشمن و دوست گویی به گناه مسخ کردندش پوست وقتی غم او بر همه دلها بودی اکنون همه غمهای جهان بر دل اوست

659. Quatrain 21Rubāʿī

English
You have entered my heart like blood through vein and skin; whatever comes to me from your hand is good. Bird of the dawn, you have risen with the morning, but all night long we never slept, aching for the one we love.
Explanation: The 'bird of the dawn' is the nightingale that sings at first light, a classic Persian symbol of the sleepless lover.

Original

رباعی شمارهٔ ۲۱

ای در دل من رفته چو خون در رگ و پوست هرچ آن به سر آیدم ز دست تو نکوست ای مرغ سحر تو صبح برخاسته‌ای ما خود همه شب نخفته‌ایم از غم دوست

660. Quatrain 22Rubāʿī

English
Since even my wretched state looks fine to the one I love, let the enemy be cruel, let him strip the skin from my body. Since this merciless enemy is a messenger sent by her, I would be a breaker of vows if I did not hold this enemy dear.
Explanation: The lover embraces suffering because the tormentor comes from the beloved; loyalty means loving even the pain she sends.

Original

رباعی شمارهٔ ۲۲

چون حال بدم در نظر دوست نکوست دشمن ز جفا گو ز تنم برکن پوست چون دشمن بی‌رحم فرستادهٔ اوست بدعهدم اگر ندارم این دشمن دوست

661. Quatrain 23Rubāʿī

English
The warrior races and struggles toward martyrdom, but the one whom longing for you has killed stands higher than he. On the day of resurrection, how could these two be alike? One was slain by the enemy, the other slain by the beloved.
Explanation: The poem contrasts the holy warrior who dies fighting an enemy with the lover who dies of longing for the beloved, ranking the lover's death as nobler.

Original

رباعی شمارهٔ ۲۳

غازی ز پی شهادت اندر تک و پوست وآن را که غم تو کُشت، فاضل‌تر ازوست فردای قیامت این بدان کی ماند کآن کشتهٔ دشمن‌ست و آن کشتهٔ دوست؟

662. Quatrain 24Rubāʿī

English
If a heart is to be given to anyone, my love, let it be given to you, for you have a sweet temper, a sweet scent, and a lovely face. I can bear to live without anyone at all, except you, for you are my whole existence.
Explanation: The Persian plays on 'vojud' (existence/being), repeated to say the beloved is the poet's entire being.

Original

رباعی شمارهٔ ۲۴

گر دل به کسی دهند باری به تو دوست کت خوی خوش و بوی خوش و روی نکوست از هر که وجود صبر بتوانم کرد الا ز وجودت که وجودم همه اوست

663. Quatrain 25Rubāʿī

English
If I am wounded by that hand as soft as a healing balm, or if my kernel is cracked from its shell like an almond, my pride will not let me complain to anyone, so that no one guesses that the one I mean is you.
Explanation: The almond image suggests being broken open to reveal what is hidden inside; the lover guards his pain to keep the beloved's identity secret.

Original

رباعی شمارهٔ ۲۵

گر زخم خورم ز دست چون مرهم دوست یا مغز برآیدم چو بادام از پوست غیرت نگذاردم که نالم به کسی تا خلق ندانند که منظور من اوست