Who is this that settled his heart and sat back at ease,
imagining there was still some grace period, some delay?
Tell him: don't drive in the tent pegs, the tent must come down.
Tell him: don't unpack your things, the bags must be tied up again.
Explanation: The tent and baggage are images of life as a brief journey; pitching a tent or unpacking implies false confidence that one may stay, when departure is imminent.
Original
رباعی شمارهٔ ۱
آن کیست که دل نهاد و فارغ بنشست
پنداشت که مهلتی و تأخیری هست
گو میخ مزن که خیمه میباید کند
گو رخت منه که بار میباید بست
Seek sound judgment from a happy heart;
the first capital of well-being is having enough.
A weak arm cannot deliver a strong sword stroke;
in the same way, no right decision comes from a broken heart.
Explanation: The 'sword from a weak arm' is a metaphor: just as a feeble arm cannot strike hard, a troubled heart cannot make good decisions.
Original
رباعی شمارهٔ ۲
تدبیر صواب از دل خوش باید جست
سرمایهٔ عافیت کفافست نخست
شمشیر قوی نیاید از بازوی سست
یعنی ز دل شکسته تدبیر درست
For the one who sees his own mistake as right,
don't bother laying out the truth; to him it looks like error.
He only sees the face that lives in his own nature;
a crooked mirror never shows beauty straight.
Explanation: The mirror image means a flawed inner character distorts whatever truth it reflects, just as a warped mirror bends a fair face.
Original
رباعی شمارهٔ ۳
آن کس که خطای خویش بیند که رواست
تقریر مکن صواب نزدش که خطاست
آن روی نمایدش که در طینت اوست
آیینهٔ کج جمال ننماید راست
If there is a single needle point in the whole city,
it will find its way into the foot of whoever is poorest.
For all its fairness, the scale still leans
toward the side that carries the heavier load.
Explanation: The poem uses the image of a balance scale: even an honest measure tips toward the heavier side, suggesting that suffering and hardship always gravitate toward those already burdened.
Original
رباعی شمارهٔ ۴
گر در همه شهر یک سر نیشترست
در پای کسی رود که درویش ترست
با این همه راستی که میزان دارد
میلش طرفی بود که آن بیشترست
Even if all your worship leaves you nothing but skin on bone,
it is ugly to believe that you have done something good.
If the one who seeks the Friend walks forward on the point of a spear,
in truth, the debt of gratitude still rests on him: the Friend's grace is his.
Explanation: The 'Friend' (dust) is a common Persian term for God or the Beloved. The final line means that even the seeker's suffering is a favor granted by the Beloved, so the debt runs one way.
Original
رباعی شمارهٔ ۵
گر خود ز عبادت استخوانی در پوست
زشتست اگر اعتقاد بندی که نکوست
گر بر سر پیکان برود طالب دوست
حقا که هنوز منت دوست بروست
As long as even a hair's breadth of your own self remains,
the habit of worshipping idols remains too.
You said, 'I shattered the idol of illusion, I'm free.'
But the very idol you shattered through illusion still remains.
Explanation: The 'idol' here stands for the ego and false beliefs; the paradox is that claiming to have destroyed such illusions is itself another form of self-regard.
Original
رباعی شمارهٔ ۶
تا یک سر مویی از تو هستی باقیست
اندیشهٔ کار بتپرستی باقیست
گفتی بت پندار شکستم رستم
آن بت که ز پندار شکستی باقیست
No command overrules a fate already sealed;
once death's pain takes hold, there is no cure.
Do good today, while your time is still yours,
for this land does not stay with any one farmer forever.
Explanation: The 'land' and 'farmer' image means the world belongs to no one for good; each of us is only its temporary tenant.
Original
رباعی شمارهٔ ۷
بالای قضای رفته فرمانی نیست
چون درد اجل گرفت درمانی نیست
امروز که عهد تست نیکویی کن
کاین ده همه وقت از آن دهقانی نیست
The fish of my life's hope slipped off the hook and swam away;
my life passed uselessly, like a drunken night.
A life whose single breath was worth a whole soul,
what a pity, it slipped through my hands for nothing.
Explanation: The 'fish on the hook' image captures hope that was almost grasped but lost. 'Worth a whole soul' renders the idiom for something priceless.
Original
رباعی شمارهٔ ۸
ماهّیِ امیدِ عمرم از شَست برفت
بیفایده عمرم چو شبِ مست برفت
عمری که ازو دمی به جانی ارزد
افسوس که رایگانم از دست برفت
The Giver, who opened the door of destiny to us,
laid the world's foundation exactly as it should be.
If He withheld something from someone, there was a reason;
He knew you shouldn't hand fine grapes to a donkey.
Explanation: The image of giving grapes to a donkey means offering something valuable to one who cannot appreciate it; here 'sarv' likely reads as fine fruit rather than the cypress.
Original
رباعی شمارهٔ ۹
دادار که بر ما در قسمت بگشاد
بنیاد جهان چنانکه بایست نهاد
آن را که نداد از سببی خالی نیست
دانست سرو به خر نمیباید داد
Not everyone whose fortune the world blocks
will send their cries and wailing up to the sky.
There are so many whose insides rumble like thunder,
while their lips flash a smile like lightning.
Explanation: The thunder and lightning pairing contrasts hidden inner grief with an outward show of cheer.
Original
رباعی شمارهٔ ۱۰
نه هر که زمانه کار او دربندد
فریاد و جزع بر آسمان پیوندد
بسیار کسا که اندرونش چون رعد
مینالد و چون برق لبش میخندد
You whose worth is so high the vast sky seems small beside you,
you can win the ball of victory from anyone in the world.
What harm can an enemy do that you should shed his blood?
Just drop him from the sight of your favor, and he is finished.
Explanation: The 'ball of victory' echoes the Persian game of polo, where winning the ball means winning the match. Withdrawing one's favorable gaze is imagined as enough to destroy a rival.
Original
رباعی شمارهٔ ۱۱
ای قدر بلند آسمان پیش تو خرد
گوی ظفر از هر که جهان خواهی برد
دشمن چه کری کند که خونش ریزی
از چشم عنایتش بینداز که مرد
My king, your horse's hoof treads across the sky;
fear no envier's scheme, no evil eye.
But you are a whole world of grace, generosity, and skill,
and no single horse can carry off an entire world.
Explanation: The poet plays on the idea that the king is so vast in virtue that even a sky-treading horse cannot bear him, meaning his greatness surpasses any measure.
Original
رباعی شمارهٔ ۱۲
شاها سم اسبت آسمان میسپرد
از کید حسود و چشم بد غم نخورد
لیکن تو جهان فضل و جود و هنری
اسبی نتواند که جهانی ببرد
Injustice drains the strength from a king's heart and hand;
the just ruler wins a good name from his age.
If you build up the kingdom, the kingdom is yours;
if you don't, then whoever does will take it away.
Explanation: The second couplet plays on 'molk bari' meaning both 'you carry off the kingdom' and 'the kingdom is yours,' a wordplay rendered here by sense.
Original
رباعی شمارهٔ ۱۳
ظلم از دل و دست ملک نیرو ببرد
عادل ز زمانه نام نیکو ببرد
گر تقویت ملک بری ملک بری
ور تو نکنی هر که کند او ببرد
Wine brings joy and stirs a man's strength,
but the nature of the herb breeds dryness and cold.
Wrap yourself in red wine and turn toward a bright face,
for chewing that green weed only leaves your face sallow.
Explanation: The 'herb' or 'green weed' (sabza/hashish) is contrasted with wine; a sallow, yellow face signals weakness and loss of vitality.
Original
رباعی شمارهٔ ۱۴
از می طرب افزاید و مردی خیزد
وز طبع گیا خشکی و سردی خیزد
در بادهٔ سرخ پیچ و در روی سپید
کز خوردن سبزه، روی زردی خیزد
A fool mixes with everyone, everywhere,
like a drowning man who grabs at whatever he sees.
Don't keep company with people of bad reputation,
for sitting by a sooty stove leaves you black.
Explanation: The 'sooty stove' image warns that bad company stains you the way soot from a fire pit blackens whatever is near it.
Original
رباعی شمارهٔ ۱۵
نادان همه جا با همه کس آمیزد
چون غرقه به هر چه دید دست آویزد
با مردم زشت نام همراه مباش
کز صحبت دیگدان سیاهی خیزد
Whoever keeps his word and honors his promises
has nothing to fear from the police or the king.
But the venom that lives in a serpent's nature
is better left hidden than out in the open.
Explanation: The 'serpent' stands for a person whose malice is part of their very nature; the poet suggests such hidden evil is safest kept concealed.
Original
رباعی شمارهٔ ۱۶
هر کس که درست قول و پیمان باشد
او را چه غم از شحنه و سلطان باشد
وان خبث که در طبیعت ثعبانست
او را به از ان نیست که پنهان باشد
Whatever wealth and fortune fate hands out,
don't waste your mind wondering why it's given.
The giver isn't giving from our purse;
the kingdom is God's, and it's his to choose whom he favors.
Explanation: The poem argues that all gifts of fortune ultimately come from God's will, not from any human generosity or logic we can question.
Original
رباعی شمارهٔ ۱۷
هر دولت و مکنت که قضا میبخشد
در وهم نیاید که چرا میبخشد
بخشنده نه از کیسهٔ ما میبخشد
ملک آن خداست تا کرا میبخشد
Time has seated many a king like you upon the throne,
and each one ruled a realm according to his own desire.
They all passed on, and the turning world was handed to you.
Understand this: it will slip away from you the same way.
Explanation: The 'turning world' (dowr-e giti) evokes the wheel of fortune that lifts and abandons every ruler in turn.
Original
رباعی شمارهٔ ۱۸
بس چون تو ملک زمانه بر تخت نشاند
هر یک به مراد خویشتن ملکی راند
از جمله بماند و دور گیتی به تو داد
دریاب که از تو هم چنین خواهد ماند
Not everyone who can crush another
gets to keep charging ahead as boldly as he likes.
It is clear how long such commands and prohibitions can last:
in the end, time will surely collect what it is owed.
Explanation: The closing image says time itself will take back its due, meaning justice eventually undoes every tyrant's power.
Original
رباعی شمارهٔ ۱۹
نه هر که ستم بر دگری بتواند
بیباک چنانکه میرود میراند
پیداست که امر و نهی تا کی ماند
ناچار زمانه داد خود بستاند
All their lives these men have patched worn rags together,
scraping out a bare living through a thousand tricks.
On the day of judgment, for all their sins,
perhaps they won't be burned, for they have already burned.
Explanation: The final line plays on 'burning': having suffered so much hardship in life, these poor men may be spared the fire of hell.
Original
رباعی شمارهٔ ۲۰
مردان همه عمر پاره بردوختهاند
قوتی به هزار حیله اندوختهاند
فردای قیامت به گناه ایشان را
شاید که نسوزند که خود سوختهاند
The phoenix flew away, yet its royal splendor remained;
the grace that adorned the throne of kingship remained.
If the moon was eclipsed, the true dawn broke through;
if the candle went out, its light still remained.
Explanation: The 'anqa (phoenix) and huma are mythical birds symbolizing majesty and good fortune; their departure yet lingering glory points to the permanence of royal splendor.
Not everyone who drapes fine clothes across his shoulders
should let the wine of arrogance leave him drunk.
He breaks his word who, once a poor man's friend,
forgets that friend the moment wealth arrives.
Explanation: The 'wine of arrogance' is a metaphor for being intoxicated with pride, not literal drink.
Original
رباعی شمارهٔ ۲۲
نه هر که طراز جامه بر دوش کند
خود را ز شراب کبر مدهوش کند
بدعهد بود که یار درویشی را
در حال توانگری فراموش کند
The wise one does not indulge the vain desires of the self,
so the mind stays clear and craves nothing.
If you do not fill the pitcher up to its neck,
nothing will pour out demanding through its spout.
Explanation: The pitcher filled to overflowing is a metaphor for a self stuffed with desire: keep it moderate and no craving spills out. 'Rana' here suggests a showy, self-flattering appetite.
Original
رباعی شمارهٔ ۲۳
فرزانه رضای نفس رعنا نکند
تا خیره نگردد و تمنا نکند
ابریق اگر آب تا به گردن نکنی
بیرون شدن از لوله تقاضا نکند
That flower, only just come into bloom,
was snatched away by the fury of the wind before it could open fully.
The poor thing carried so many hopes in its heart,
but what use are long hopes when life is so short?
Explanation: The flower stands for a young life or fragile hope cut down before it could flourish.
Original
رباعی شمارهٔ ۲۴
آن گل که هنوز نو به دست آمده بود
نشکفته تمام باد قهرش بربود
بیچاره بسی امید در خاطر داشت
امید دراز و عمر کوتاه چه سود؟
Pity the heart that music cannot move;
it is stone, and what use is talk of love with stone?
For the one who is a stranger to love, music is forbidden;
for smoke rises only from what has burned.
Explanation: The 'burned heart' is the classic Persian image of a soul consumed by love; only such a heart can respond to spiritual music (sama).
Original
رباعی شمارهٔ ۲۵
افسوس بر آن دل که سماعش نربود
سنگ است و حدیث عشق با سنگ چه سود؟
بیگانه ز عشق را حرام است سماع
زیرا که نیاید به جز از سوخته دود