You are the light in the eyes of those who see,
the very purpose behind all creation.
You are the one whose heart never sleeps,
the guest who spends the night in his Lord's care.
To describe you, 'there is no prophet after me' says enough;
for who could praise you but yourself, or the words of Saadi?
Explanation: The poem praises the Prophet Muhammad. Lines two and three weave in Arabic phrases: 'my heart does not sleep' and 'there is no prophet after me,' both echoing traditional sayings about him.
Original
شمارهٔ ۱ - در پند و اخلاق
ای چشم و چراغ اهل بینش
مقصود وجود آفرینش
صاحب دل لاینام قلبی
مهمان أبیت عند ربی
در وصف تو لانبی بعدی
خود وصف تو و زبان سعدی؟
When you give, give to everyone alike; do not leave one satisfied and another empty-handed.
Do your good to all of them together, so no dust of discord settles among them.
For whatever you add to one side of the scale must, without dispute, be matched on the other.
Explanation: The scale in the final couplet is an image of fairness: any favor granted to one must be balanced by an equal favor to the rest.
Original
شمارهٔ ۲
همه را ده چو میدهی موسوم
نه یکی راضی و دگر محروم
خیر با همگنان بباید کرد
تا نیفتد میان ایشان گرد
کانچه در کفهای بیفزاید
به دگر بیخلاف درباید
Justice, fairness, and honesty are what matter;
even if the treasury runs empty, that is fine.
People of knowledge and justice would never
break the people's hearts to fill their coffers.
A king who stands with the poor
is the true guardian of his own realm.
Explanation: 'Dervish' here means the poor and the weak rather than a religious ascetic.
Original
شمارهٔ ۳
عدل و انصاف و راستی باید
ور خزینه تهی بود شاید
نکند هرگز اهل دانش و داد
دل مردم خراب و گنج آباد
پادشاهی که یار درویشست
پاسبان ممالک خویشست
Look closely at this fine hair on your head, for people of insight see the finest details.
A single strand is weaker than a thread, but woven into a chain it grows strong.
Explanation: The image plays on how a single hair is fragile alone, but many hairs bound together, like links of a chain, become strong; a metaphor for the power of unity or detailed perception.
Original
شمارهٔ ۴
نظر کن درین موی باریک سر
که باریک بینند اهل نظر
چو تنهاست از رشتهای کمترست
چو پر شد ز زنجیر محکمترست
Think first, then speak, because a wall without a foundation will never stand firm.
When you do wrong, don't feel safe from criticism, for no one will ever call a bad deed good.
Explanation: The unstable wall is a metaphor for careless speech that lacks a solid basis in thought.
Original
شمارهٔ ۵
نخست اندیشه کن آنگاه گفتار
که نامحکم بود بیاصل دیوار
چو بد کردی مشو ایمن ز بدگوی
که بد را کس نخواهد گفت نیکوی
How well Ibrahim Adham spoke, once he gave up his kingdom, his wealth, and his royal ring.
'Never fasten your heart to any thing or any person, for tearing your heart away is a hard thing to do.'
Explanation: Ibrahim Adham was a king who renounced his throne to live as an ascetic; his ring here symbolizes royal authority.
Original
شمارهٔ ۶
چه نیکو گفت ابراهیم ادهم
چو ترک مُلک و دولت کرد و خاتم
«نباید بستن اندر چیز و کس دل
که دل برداشتن کاریست مشکل»
I saw a man in a certain place, digging into the grave of a king.
Dust from the royal court slipped through his hands, tears fell from his eyes, and he said:
I cannot tell if this was a king or a guard; all I see is a handful of bones.
Explanation: The poem uses the image of a royal grave reduced to bones to show that death erases every difference between power and servitude.
Original
شمارهٔ ۷
یکی را دیدم اندر جایگاهی
که میکاوید قبر پادشاهی
به دست از بارگاهش خاک میرفت
سرشک از دیده میبارید و میگفت
ندانم پادشه یا پاسبانی
همی بینم که مشتی استخوانی
How many veiled women were truly manly; they snatched the ball of pride right out of men's hands.
As for you, with all your manhood and your shows of strength, I fear you may turn out to be less than a woman.
Explanation: The 'ball of pride' comes from polo imagery, meaning they won the trophy of honor. The 'veiled women' contrasts sheltered women who still outdid boastful men.
Original
شمارهٔ ۸
چه سرپوشیدگان مرد بودند
که گوی نخوت از مردان ربودند
تو با این مردی و زورآزمایی
همی ترسم که از زن کمتر آیی
Though kindness toward the worthless is a waste,
now and then, for your own good, it must be done.
When a snarling dog bares its teeth,
toss it a bone right there and then.
By common measure, nothing in the world is worse than a dog,
yet showing it kindness is not against wisdom.
For if you throw a stone at it, it turns to fight;
but if you care for it, it will guard your flock.
Explanation: The poem uses the dog as a practical image: even a base creature responds better to kindness than to hostility, so caution and calculated goodwill serve one's own safety.
Original
شمارهٔ ۹
نکویی گرچه با ناکس نشاید
برای مصلحت گه گه بباید
سگ درنده چون دندان کند تیز
تو در حال استخوانی پیش او ریز
به عرف اندر جهان از سگ بتر نیست
نکویی با وی از حکمت به در نیست
که گر سنگش زنی جنگ آزماید
ورش تیمار داری گله پاید
A good name never dies, even when its bearer does, for among his people someone always rises to take his place.
Just as when a gathering has a lamp: if one candle goes out, the room stays lit all the same.
Explanation: The candle and the lamp stand for a person and their lasting reputation: the individual may pass, but the light of their good name endures.
Original
شمارهٔ ۱۰
نمیرد گر بمیرد نیکنامی
که در خیلش بود قائم مقامی
چو در مجلس چراغی هست اگر شمع
بمیرد، همچنان روشن بود جمع
I never heard of a bird that fled the trap and came back willingly to share its secret.
A wild bird that has flown to the wall, who can ever catch it again?
You bring back those who have left with kindness, not by fighting and wounding them worse.
Explanation: The escaped bird is a metaphor for a person who has left; the poem argues that only gentleness, never force, can win them back.
Original
شمارهٔ ۱۲
نشنیدم که مرغ رفته ز دام
باز گردید و سرّ گفته به کام
مرغ وحشی که رفت بر دیوار
که تواند گرفت دیگر بار؟
رفتگان را به لطف باز آرند
نه به جنگش بتر بیازارند
They wound each other, blow upon blow,
tearing at the flesh, yet offer no salve to heal it.
Thorn and flower are tangled together, darkness and light,
honey and nectar, the sting and the bee.
Explanation: The second couplet pairs opposites, sweetness and pain bound together, to show how good and bad are inseparable in the world.
Original
شمارهٔ ۱۳
زخم بالای یکدگر بزنند
بخراشند و مرهمی نکنند
خار و گل درهماند و ظلمت و نور
عسل و شهد و نشتر و زنبور
Whether a carefree rogue, restless and out of luck,
or an ascetic who makes life hard on himself.
Strive for piety and restraint, for honesty and purity,
but never claim to outdo the Prophet Mohammad.
Don't demand a whiteness beyond all measure,
for that is blameworthy, no less than dead black.
Explanation: «Rend» is the free-spirited, unconventional figure often praised in Persian poetry against the rigid ascetic. The final couplet warns that going to extremes, even toward apparent purity, is as faulty as its opposite.
Original
شمارهٔ ۱۴
چه رند پریشان شوریده بخت
چه زاهد که بر خود کند کار سخت
به زهد و ورع کوش و صدق و صفا
ولیکن میفزای بر مصطفی
از اندازه بیرون سپیدی مخواه
که مذموم باشد، چه جای سیاه
I heard every insult you threw at me,
and saw no way to fight back.
With someone like you I chose patience,
saving my answer for the right moment.
The day your strength fails you,
everything you said will come back to your own ears.
Explanation: The final couplet warns that harsh words return to the one who spoke them once they lose their power.
Original
شمارهٔ ۱۵
دشنام تو سر به سر شنیدم
امکان مقاومت ندیدم
با مثل تو کرده به مدارا
تا وقت بود جواب ما را
آن روز که از عمل بیفتی
با گوش تو آید آنچه گفتی
Do you know what makes a person truly whole?
Kindness and generosity to both friend and foe.
Grieving alongside the friends of God,
and meeting your enemies with patience and comfort.
Explanation: «Friends of God» renders a phrase for the devout or righteous. The poem frames human perfection as compassion extended even toward enemies.
Original
شمارهٔ ۱۶
دانی چه بود کمال انسان؟
با دشمن و دوست لطف و احسان
غمخواری دوستان خدا را
دلداری دشمنان مدارا
A dog is nobler than the kind of person
who wounds the hearts of his own friends.
This claim needs a truth to back it up,
so the meaning can settle in your heart.
A person shares your food at your own table,
while the dog is kept outside, shut from the door.
What a shame that the dog stays loyal,
yet a human thinks enmity is fair.
Explanation: The poem contrasts a dog's loyalty with human betrayal, arguing that faithfulness makes the dog more honorable than a treacherous person.
Original
شمارهٔ ۱۷
سگ بر آن آدمی شرف دارد
کاو دل دوستان بیازارد
این سخن را حقیقتی باید
تا معانی به دل فرود آید
آدمی با تو دست در مطعوم
سگ ز بیرون آستان محروم
حیف باشد که سگ وفا دارد
و آدمی دشمنی روا دارد
Grief, if you set it not on the heart but on a mountain,
would crush the mountain, worn down by the weight of sorrow.
When the sweet soul itself is suffering pain,
how can the poor body ever be at ease?
Explanation: The image contrasts the crushing weight of grief on something as solid as a mountain with the frailty of the human body.
Original
شمارهٔ ۱۸
غم نه بر دل که گر نهی بر کوه
کوه گردد ز بار غصه ستوه
جان شیرین که رنج کش باشد
تن مسکین چگونه خوش باشد؟
Don't take Zeyd's word against Amr
until you first know the truth of the matter.
If there is a quarrel between them,
then without a doubt such talk is unreliable.
Explanation: Zeyd and Amr are placeholder names in Persian and Arabic, like 'so-and-so' or 'Tom and Dick' in English.
Original
شمارهٔ ۱۹
سخن زید نشنوی بر عمرو
تا ندانی نخست باطن امر
گر خلافی میان ایشانست
بیخلاف این سخن پریشانست
All human beings are children of Adam, but some lean toward good and some toward evil.
This one would not even hurt an ant, while that one is outdone in worth by a dog.
Explanation: The second couplet contrasts a person of such gentleness that he spares even an ant with one so base that a dog ranks above him in virtue.
Original
شمارهٔ ۲۰
همه فرزند آدمند بشر
میل بعضی به خیر و بعضی شر
این یکی مور ازو نیازارد
وان دگر سگ برو شرف دارد
Everyone knows, the soldiers and the lords alike, that youth never springs back from the old.
My excuse is written plainly on my face; after this, what excuse do I need to offer?
Explanation: There is a play on the similar-sounding Persian words 'ozr' (excuse) and 'ezar' (cheek/face), suggesting the poet's aged face is itself his apology.
Original
شمارهٔ ۲۱
همه دانند لشکر و میران
که جوانی نیاید از پیران
عذر من بر عذار من پیداست
بعد ازینم چه عذر باید خواست؟
If you have any sense, don't hoard wealth,
for it will trample the peace of your mind.
Once I had a purse full of silver,
and day and night that purse kept me in fear.
I threw it away and turned my back on it,
and from that endless guarding I found my freedom.
Explanation: The 'purse full of silver' stands for accumulated wealth; the poet frames possessions as a source of anxiety rather than security.
Original
شمارهٔ ۲۲
اگر هوشمندی مکن جمع مال
که جمعیتت را کند پایمال
مرا پیش ازین کیسه پر سیم بود
شب و روزم از کیسه پر بیم بود
بیفکندم و روی برتافتم
وزان پاسبانی فرج یافتم
These false friends you see around you
are nothing but flies swarming over sweets.
As long as there's some scrap to feast on,
they buzz around you like a swarm of bees.
But once the estate is ruined and empty,
and your purse rings hollow as a broken drum,
they drop your company and their affection,
as if they never knew you at all.
Then, when fortune turns your way again
and success comes knocking at your door,
just cook up a rich stew and, from every side,
they'll dive in like flies landing in yogurt.
The truth is, they're the stray dogs of the market:
they love the bone far more than they love you.
Explanation: The 'broken drum' renders 'kasa-ye rabab', the hollow body of a stringed instrument, an image of emptiness. The final couplet's bone-loving dogs make plain that these friends value profit, not the person.
Original
شمارهٔ ۲۳
این دغل دوستان که میبینی
مگساناند دور شیرینی
تا حُطامی که هست مینوشند
همچو زنبور بر تو میجوشند
باز وقتی که ده خراب شود
کیسه چون کاسهٔ رباب شود
ترک صحبت کنند و دلداری
معرفت خود نبود پنداری
بار دیگر که بخت باز آید
کامرانی ز در فراز آید
دوغبایی بپز که از چپ و راست
در وی افتند چون مگس در ماست
راست خواهی سگان بازارند
کاستخوان از تو دوستر دارند