Ribaldries

1. Number 1

English
A mount is meant to bring you comfort, yet my own horse only brings me misery. There isn't a scrap of flesh left on its bones; it's just like a chess knight.
Explanation: The comparison to a chess knight mocks how skinny and skeletal the horse is, like a bare carved game piece.

Original

شمارهٔ ۱

مَرکب از بهر راحتی باشد بنده از اسب خویش در رنج است ‌گوشت قطعاً بر استخوانش نیست ‌راست مانند اسب شطرنج است

2. Number 2

English
The amber curls at your neck are enough already; a musk scented darling has no need for perfume. Tonight is not the time for a lover's scent and the colors of romance; it's the hour for pleasure, laughter, play, and lovemaking. Set aside the tale of the turning fortunes of the age, my kind moon; now is the time to lie down together. Won't you finally pay the tithe on the harvest of your youth? I'm a needy beggar deserving it, and it's your time to give. You, temptation of the age, come lie with me a while; and you, sleeping loins, now is the time to rise.
Explanation: This is a bawdy, erotic poem in the classical Persian tradition of frank sexual verse. The 'tithe on the harvest of youth' plays on religious almsgiving to demand sexual generosity.

Original

شمارهٔ ۲

گیسوی عنبرینهٔ گردن تمام بود دلبند مُشک‌بوی چه محتاج لادن است؟ ‌امشب نه وقتِ بوی نگار است و رنگ عشق ‌هنگام عیش و خنده و بازی و گادَن است ‌بر نِه حکایتِ سرِ دَورانِ روزگار ‌ای ماه مهربان! که گهِ برنهادن است ‌آخر زکوة رَیعِ جوانی نمی‌دهی؟ ‌درویش مستحق! تو را وقتِ دادن است ‌ای فتنهٔ زمانه! دَمی پیش ما بخفت ‌وی کیرِ خفته! وقتِ به پا ایستادن است

3. Number 3

English
That one whose figure no cypress can match: he is straight with everyone, but not with me. His wide, silver-lined saddlebag has room for all, but none for me. What a strange devotion I keep, that I get no share from the feast. My luck is like a fish so bitter that its only longing lives in the sea. You who are unmatched in the world for beauty: don't be faithless, for faithlessness is not beautiful. Even if you can bear to be away from your friends, your friends' hearts cannot bear to be without you. No night passes without you where my body is not stiff as flint. You whose backside can hold as much as a bowl of buttermilk, more than any water-carrier's skin can hold. Why won't you come sit on my horn? Have you no taste for the show? What sin have I committed, my darling, that you have no desire for my company? To steal a kiss from your mouth: the longing burns on my lips, but I lack the nerve. Take me by the hand for one coupling, for I want nothing more than this.
Explanation: This is a bawdy, satirical piece that parodies the courtly love ghazal, mixing romantic conventions with crude sexual innuendo. The word 'bouq' (horn) and the buttermilk-skin comparison are deliberately vulgar jokes undercutting the lofty opening imagery.

Original

شمارهٔ ۳

آن‌که سَروَش به قَدّ و بالا نیست با همه راست است و با ما نیست ‌جامه‌دانِ فَراخ و سیمینَش ‌همه را جای هَست، ما را نیست ‌بوالعَجَب طاعَتی که مَن دارَم ‌که نَصیبَم ز خوان یَغما نیست ‌بَختِ ماهیِّ مَن چنان شور است ‌که به‌جز حَسرَتَش به دَریا نیست ‌اِی به زیبائی از جَهان مُمتاز ‌بی‌وَفائی مَکُن، که زیبا نیست ‌گَر تو از دوستان شَکیبائی ‌دوستان را دِلِ شَکیبا نیست ‌بی تو بَر مَن شَبی نمی‌گُذَرَد ‌که عَمودَم چو سَنگِ خارا نیست ‌ای که هم‌سنگِ دوغ در کونت ‌آب دَر مَشکِ هیچ سقّا نیست بَر سَرِ بوق ما چِرا نَرَوی؟ ‌مَگَرَت خاطِرِ تَماشا نیست؟ ‌چه گُنَه کرده‌ام نِگارینا ‌که تو را بَرگِ صُحبَتِ ما نیست؟ ‌بوسه‌ای بَرگِرِفتَن از دَهَنَت ‌حَسرَتَم دَر لَب است و یارا نیست ‌به جماعیم دَستگیری کُن ‌که مرا بیش از این تَمَنّا نیست

4. Number 4

English
From your intoxicating eyes I hope for sleep, but you sleep well; there is no rest for me. Just seeing you is not enough for me. I have another thing to say, but this is no place to say it.
Explanation: The 'intoxicating eyes' are a classic Persian image for a beloved whose gaze bewitches and robs the lover of peace.

Original

شمارهٔ ۴

ز چشم مست تو امّید خواب می‌بینم تو خوش بخفت‌ که ما را قرار خفتن نیست ‌به دیدن از تو قناعت نمی‌توانم‌کرد ‌حکایتی دگرم هست و جای گفتن نیست

5. Number 5

English
Only a man who knows nothing of Zoroaster's ways would throw away his gold on a pretty boy. Wherever you see a tall, cypress-like figure, keep your eyes on the face and spit into your fist. Since there is no gate to his backside and no trousers, no one will kill you for an innocent thing. And if it is coupling you crave, at most you'll push a finger in up to the ring. In the end the whole gain of it is this: that the hard and the soft in you go slack. If you think it over, it comes down to one donkey mounting the back of another.
Explanation: This is a coarse, satirical piece mocking the pursuit of young boys; the imagery is deliberately crude and dismissive. The 'cypress-like figure' is a stock Persian image for a tall, elegant youth.

Original

شمارهٔ ۵

زر به اَمرَد کسی دهد به‌گزاف که نداند طریقتِ زردشت ‌هر کجا سرو‌قامتی بینی ‌چشم در روی کن، خَیو در مشت ‌چون نه کونش دری ّ و نه شلوار ‌بی‌گناهت کسی نخواهد کشت ‌ور جماع آرزوت می‌‌باشد ‌تا به خاتم فروکنی انگشت ‌حاصل آن بیش نیست آخر کار ‌که شود با تو نرم کنگ و درشت ‌گر تأمل کنی، بدان مانَد ‌که خری را خری رَوَد در پشت

6. Number 6

English
Yesterday a fellow was spilling his seed out onto the field, muttering to himself, and this thought kept turning in his mind: Since sin is bound to happen anyway, better to spend it in a clean hand than in a filthy backside.
Explanation: This is a bawdy, satirical epigram. The crude joke contrasts masturbation with sodomy as two forms of transgression.

Original

شمارهٔ ۶

دی مردکی آبِ پشت می‌‌ریخت به دشت می‌‌گفت و از این حدیث می ‌درنگذشت ‌باری چو گناهکار می‌‌باید بود ‌هم در کفِ پاک بِه که در کونِ پَلَشت

7. Number 7

English
If a Tatar kills a coward, no one should turn around and kill the Tatar. How long must he be like the bridge of Baghdad, water flowing beneath him and people trampling his back?
Explanation: The 'bridge of Baghdad' image mocks a passive, spineless man who lets everyone walk over him. The Tatar reference evokes the feared Mongol invaders.

Original

شمارهٔ ۷

تَتَری گر کُشد مُخَنَّث را تَتَری را دگر نباید کُشت ‌چند باشد چو جِسرِ بغدادش ‌آب در زیر و آدمی در پشت؟

8. Number 8

English
As long as the pimp keeps a wife, he'll speak well of her only for the profit she brings.
Explanation: The satire mocks a man who praises his wife only because he profits from prostituting her. 'Qaltaban' is a crude term for a man who lives off his wife's shame.

Original

شمارهٔ ۸

قَلتبان تا به یاد دارد جفت خیر در حقّ او تواند گفت

9. Number 9

English
A fellow whose wife had divorced him, and she happened to find another husband. The first one held his head in his hands over her cruelty, while the other one's manhood swung idle in the archway.
Explanation: This is a bawdy satirical epigram; the crude imagery is original to the text and kept in register. The final image plays on the idea of a member left unused or unsatisfied.

Original

شمارهٔ ۹

مردکی را که زن طلاق افتاد شوهری دیگر اتفاق افتاد ‌دست آن بر سر از جفای زنش ‌کیر این در میان طاق افتاد

10. Number 10

English
When that infatuated fool got a gust of wind in his horn, he threw that silver-colored dome to the wind. For the sake of a minaret he gave away the whole desert as endowment; may God spare no one such a bad neighbor.
Explanation: The 'wind in his horn' suggests empty vanity and boastfulness. The couplets mock a reckless man who squandered something precious for a trivial or foolish cause.

Original

شمارهٔ ۱۰

آن شیفته را چو باد در بوق افتاد آن گنبد سیم‌رنگ بر باد بداد ‌از بهر مناره بادیه وقف بکرد ‌همسایهٔ بد خدای کس را ندهاد

11. Number 11

English
Do you remember those days, that good fortune and grace, when you wouldn't spare a thought for your helpless lover? Back then you fled, when there was no one like you; and today you've returned, when let there be no one like you.
Explanation: The second line is a bitter reversal: once the beloved was praised as unmatched, now the poet wishes there were no one like them, that is, they've fallen out of favor.

Original

شمارهٔ ۱۱

آن عهد به یاد داری و دولت و داد کز عاشق بیچاره نمی‌‌کردی یاد؟ ‌آنگه بگریختی که کس چون تو نبود ‌و امروز بیامدی که کس چون تو مباد

12. Number 12

English
I said, 'Come here to me, you of angelic beauty.' She said, 'Bring something first, what will you give me?' I said, 'My mother will pray for you.' She said, 'You think you'll bed me with your mother's prayers?'
Explanation: This is a bawdy satirical piece; the final line is crudely explicit in the original, mocking the man for offering prayers instead of payment.

Original

شمارهٔ ۱۲

گفتم که بیا پیش من ای حور‌نژاد گفتا که بیار تا چه‌ام‌ خواهی داد ‌گفتم که دعا کند به تو مادر من ‌گفتا به دعای مادرم خواهی گاد؟

13. Number 13

English
I fear the violet will steal the freshness of your face, that it will take away the marketplace of your charming beauty. Do not scrawl that ugly line of hair on the margin of the ledger of your beauty, for it will ruin the splendor of your inscription.
Explanation: The 'violet' and the 'ugly line' both hint at the first growth of a beard or down on a beautiful youth's face, a common motif in classical Persian poetry where such growth is said to spoil delicate beauty.

Original

شمارهٔ ۱۳

ترسم که بنفشه آب سیبت ببرد بازار جمال دلفریبت ببرد ‌بر حاشیهٔ دفتر حسن آن خط زشت ‌منویس، که رونق کتیبت ببرد

14. Number 14

English
Galen's cure is to plant his cock in your ass; your temperament runs to bile, so squeeze a lemon in there.
Explanation: This is a crude satirical parody mocking Galenic humoral medicine, where an excess of yellow bile called for sour remedies like lemon. The obscenity is deliberate and stays in the original bawdy register.

Original

شمارهٔ ۱۴

طبّ جالینوس باشد کیر در کون تو برد طبع صفراوی بود، لیمو در آن باید فشرد

15. Number 15

English
Wine brings joy and stirs up courage, while by nature the green herb brings only dryness and cold. Stick to the red wine, and steer clear of the white; for eating the green plant only turns your face pale and yellow.
Explanation: The poem plays on colors: red wine versus the green herb (likely hashish or similar), praising wine over intoxicating plants that drain vitality.

Original

شمارهٔ ۱۵

از می طرب افزاید و مردی خیزد وز طبع گیا خشکی و سردی خیزد ‌در بادهٔ سرخ پیچ و در کون سفید ‌کز خوردن سبز روی زردی خیزد

16. Number 16

English
Whoever fails to reach the exalted court, it comes from black luck and an unlucky tongue. A man who has never once prayed in his whole life, no doubt, will never rise to lead the prayer.
Explanation: The imam here is the one who leads communal prayer; the point is that reward matches effort. 'Black luck' is a Persian idiom for wretched fortune.

Original

شمارهٔ ۱۶

هر کس که به بارگاه سامی نرسد از بخت سیاه و بد کلامی نرسد ‌همگر که به عمر خود نکردست نماز ‌شک نیست که همگر به امامی نرسد

17. Number 17

English
What need is there for a wall to be painted and adorned, or for aloe wood and sugar to burn on the fire? Do you know what our happiness really needs? If this musician would stop playing, it would be a delight.
Explanation: Aloe wood and sugar were burned as costly incense; the couplet mocks needless luxury. The closing line is satirical: real pleasure would come from silencing the bad musician.

Original

شمارهٔ ۱۷

دیوار چه حاجت که مُنقَّش باشد یا عود و شکر بر سر آتش باشد؟ ‌دانی که به عیش ما چه در می‌‌باید؟ ‌این مطرب اگر نمی‌‌زند خوش باشد

18. Number 18

English
Don't hand gold to a rotten fool; his temperament is out of balance. Friendship is good only up to a point; beyond that it brings nothing but worry and heartache.
Explanation: The Persian uses crude, satirical idioms; I have rendered the intent in a plainer register while keeping the cautionary, mocking tone.

Original

شمارهٔ ۱۸

زر به خر کنده‌ای نباید داد که مزاجش نه معتدل باشد ‌دوستی تا به خایه نیک بود ‌ورنه تیمار و درد دل باشد

19. Number 19

English
I have never seen a thirty-year-old still passing for a smooth-faced boy like you. Such a freak can only belong to the end of days. If they tied both your hands behind your back for a week, by the next week your beard would grow down to your waist.
Explanation: The joke mocks a grown man pretending to be a beardless youth; the tied-hands line implies he only stays smooth-faced by constantly plucking or shaving.

Original

شمارهٔ ۱۹

ندیدم اَمرد سی ساله چون تو در عالم عجوبه‌ای چنین، آخرالزّمان باشد ‌اگر دو دست تو یک هفته در قَفا بندند ‌به هفتهٔ دگرت ریش تا میان باشد

20. Number 20

English
Last night I swore I'd give up love, since the time to leave this world had come. Then I took back that vow, because the memory of that heart stealing lover came to me. The moment his name and his backside crossed my tongue, my cock's mouth began to water.
Explanation: The poem is deliberately bawdy and satirical, playing off the pious language of repentance against blunt sexual desire.

Original

شمارهٔ ۲۰

دوش گفتم ز عشق توبه کنم که گَه ِ رفتن از جهان آمد ‌توبه کردم ازین سخن، که مرا ‌یاد آن یار دل‌ستان آمد ‌بر زبان نام کون او بردم ‌کیر را آب بر دهان آمد

21. Number 21

English
A man who spent his life in sin and debauchery, at the hour of death swears his regret again and again. 'I've repented and will sin no more,' he says; but you can't do anything anymore, so stop fooling yourself.
Explanation: The phrase 'به ریش خویش مخند' literally means 'don't laugh at your own beard,' an idiom for deceiving oneself.

Original

شمارهٔ ۲۱

حریف عمر به سر برده در فسق و فجور به وقت مرگ پشیمان همی خورد سوگند ‌که توبه کردم و دیگر گنه نخواهم کرد ‌تو خود دگر نتوانی، به‌ ریش‌خویش مخند

22. Number 22

English
No wonder that with these David-like melodies the birds hang spellbound in the air. You are surely forgiven, and God knows best, for a whole land speaks well of you and blesses you.
Explanation: David is a prophet renowned in Islamic tradition for a voice so beautiful that even birds stopped to listen.

Original

شمارهٔ ۲۲

بر این اَلحان داوودی عجب نیست که مرغان در هوا حیران بمانند ‌تو آمرزیده‌ای، واللّه اعلم ‌که اقلیمی به خیرت هم‌زبانند

23. Number 23

English
When he saw my hair had turned white with age, he turned away and showed me no more devotion. I said: if my hair has gone white so soon, at least be grateful, for my heart is as dark as it always was.
Explanation: The 'dark heart' here is a playful reversal: white hair signals lost youth, but the still-black heart implies undimmed passion or a mischievous, unchanged nature.

Original

شمارهٔ ۲۳

چون دید که پیریم سپیدی بفزود برگشت و ارادتی زیادت ننمود ‌گفتم که اگر سپید شد مویم زود ‌شکر است، که دل همان‌ سیاه است که‌ بود

24. Number 24

English
People suffer because of you, and God is displeased; curses rain down on you, worse than on any infidel or non-believer. No wonder the wound cries out, 'Why did you give birth?' when the seed that carried you was pregnant nine months in shame.
Explanation: The second couplet is a coarse, biting insult about the subject's very birth, aimed at maximum contempt.

Original

شمارهٔ ۲۴

خلق از تو به رنجند و خدا ناخشنود لعنت به تو می‌بارد و بر گَبر و جهود ‌سر زخم نگوید که چرا می‌زائید ‌آن خایه که نُه مَه به تو آبستن بود

25. Number 25

English
Your beard is taking far too long to come in; the hair on your chin is only just sprouting. Even so, whenever I call your backside to mind, my mouth waters and my cock stirs.
Explanation: This is a bawdy, satirical piece typical of classical Persian obscene verse (hazl); the register is deliberately crude.

Original

شمارهٔ ۲۵

این ریش تو سخت دیر بر می‌‌آید موی زَنَخَت به زیر بر می‌آید ‌با این همه، چون کون تو می‌آرم یاد ‌آبم به دهان کیر بر می‌آید