These eyes of mine keep watch along the road of waiting,
and this ear of mine listens for a loved one's words.
At whom else should I look, and from whom should I hear,
when both of these exist in me only for one purpose?
Explanation: The 'road of waiting' is an idiom for longing and anticipation; the poet's eyes and ears serve only the beloved.
Original
شمارهٔ ۱
این دیده به راه انتظاریست مرا
وین گوش به گفتگوی یاریست مرا
دیگر سوی که بینم و از که شنوم
این هر دو چو از برای کاریست مرا
I am wounded by you; send me some strength to endure.
I am sick with sorrow; send me food for my soul.
The healer would be content with even a dry note from you.
If there is no rose, then send a withered autumn leaf.
Explanation: The 'dry note' is a plain, loveless letter; the speaker pleads for any token at all, even a faded leaf, when a fresh rose is too much to hope for.
Again a hidden flirtatious glance lies in ambush for me;
my heart bears a wound from the probing of those eyelashes.
How long will you laugh at my weeping?
It seems you have never heard that there is such a thing as separation.
Explanation: The 'probing eyelashes' is a classic Persian image: the beloved's eyes and lashes pierce the lover's heart like arrows.
Original
شمارهٔ ۳
بازم به کمین غمزه پنهانی هست
زخمی به دل از کاوش مژگانی هست
تا چند تو بر گریه ما می خندی
گویا نشنیده ای که هجرانی هست
You, whose work always goes smoothly, whose calling is to bring lovers to life.
This eye that weeps blood without your face, how long must it stay on the road, waiting for you?
Explanation: Weeping blood is a classical Persian image for the extreme grief of separation.
Original
شمارهٔ ۴
ای آنکه همیشه جور کارت باشد
آوردن عاشقان شعارت باشد
این دیده که بی روی تو خون می گرید
تا چند براه انتظارت باشد
If fate tears me away from that one peerless pearl,
my whole body will become like a shell, a hollow filled with regret.
I fear that the fire your love kindles over my head
will slowly burn me down and bring me to my knees, like a candle.
Explanation: The shell and pearl image plays on the lover as a shell left empty once its precious pearl is gone. The candle melting down captures a slow, consuming death by love.
Original
شمارهٔ ۵
گر فلک سازد جدا زان گوهر یکتا مرا
چون صدف گردد کف افسوس سرتاپا مرا
ترسم آن آتش که از عشق تو سوزد بر سرم
رفته رفته افکند مانند شمع از پا مرا
The very day fate cut me off from you, the one who created me already knew it would be so.
I carry so much grief from being apart from you that no one has ever seen me with a smiling mouth.
Original
شمارهٔ ۶
روزی که فلک از تو بریده است مرا
می دانم آنکه آفریده است مرا
چندان غم هجران تو در دل دارم
کس با لب پرخنده ندیده است مرا
At your gathering, whoever drinks the pure wine,
far from you ends up drinking tears of blood instead.
Lord, let no stone ever break it:
the cup from which a thirsty soul has drunk its water.
Explanation: 'Tears of blood' is a classic Persian image for grief and longing. The poet prays that the beloved (the cup that quenched another's thirst) stay safe from harm.
Original
شمارهٔ ۷
در بزم تو هر کس که می ناب خورد
دور از تو به جای باده خوناب خورد
یارب نرسد زسنگش آسیب شکست
جامی که ازو تشنه لبی آب خورد
Better not chase after me or scramble for my trail; don't even look toward the place where I am.
My companions, have mercy on your own lives: don't breathe in the scent of the flower that springs from our dust.
Explanation: The flower growing from the poet's dust is a classic image of what remains after death; its scent carries a warning rather than mere beauty.
Original
شمارهٔ ۸
دنبال من آن به که تکاپو نکنید
وآنجا که منم نگه به آن سو نکنید
ای همنفسان به جان خود رحم کنید
آن گل که ز خاک ما دمد بو نکنید
May my heart never know an easy joy,
never a happiness without a bitter cry and a soul-burning sigh.
If this is the good day my friends enjoy,
then God, let the night of my sorrow never turn into such a day.
Explanation: The poet rejects a contentment empty of longing, preferring the ache of love over a shallow happiness.
Original
شمارهٔ ۹
هرگز دل من به عیش فیروز مباد
بی ناله زار و آه جانسوز مباد
گر روز خوش اینست که یاران دارند
یارب شب محنت مرا روز مباد
Wherever there is a dog, it has a doorstep to call its own;
wherever there is a bird, it has a nest.
Only your threshold has none, you healer grown used to grief;
anyone who doubts this is a faithless unbeliever.
Explanation: The poem contrasts how even the lowliest creatures have a home, while the beloved's door remains uniquely without shelter. The address to a 'healer used to grief' suggests the beloved who soothes others yet bears sorrow alone.
Original
شمارهٔ ۱۰
هرجا که سگیست آستانی دارد
هر جا مرغیست آشیانی دارد
جز درگه تو، طبیب خو کرده به غم
کافر بادا اگر گمانی دارد
Since the cruelty of fate tore me away from you,
for not a single moment have I found my heart glad.
I long for you as the nightingale longs for the rose garden;
I need you as a hungover man needs his morning wine.
Explanation: The 'morning wine' (saboohi) is a traditional drink taken at dawn to ease a hangover, here a figure for desperate craving.
Original
شمارهٔ ۱۱
تا از تو زجور فلک افتادم دور
یکدم دل خویش را ندیدم مسرور
مشتاق توام چون به گلستان بلبل
محتاج توام چون به صبوحی مخمور
Look at the ways and habits of that cruel love: my own failure, and the success of all my rivals.
See how my sweetheart greets me only with spite, while she keeps picking fights with her own lover.
Explanation: The poem turns on the bitter irony that the beloved rewards rivals and punishes the faithful lover.
Original
شمارهٔ ۱۲
رسم و ره آن یار ستمکار نگر
ناکامی یار و کام اغیار نگر
با ما در کینه میزند دلبر بین
با یار ستیزه می کند یار نگر
You left, and life went with you, what a pity.
Age arrived, youth was gone, what a pity.
Come back, for life has passed and the day draws near
when you'll say of so-and-so, what a pity.
Explanation: The refrain 'what a pity' (afsus) recurs and is kept identical throughout. The closing line refers to looking back on a person once it is too late.
Original
شمارهٔ ۱۳
رفتی تو رفت زندگانی افسوس
آمد پیری و شد جوانی افسوس
باز آ که گذشت عمر و نزدیک رسید
آن روز که گوئی از فلانی افسوس
You asked who I am: a recluse, don't ask.
Someone grown used to losing a darling, don't ask.
Drink to your joy and be happy, for I carry a heart,
and a sorrowful heart at that, don't ask.
Explanation: The recurring phrase 'don't ask' (که مپرس) signals a grief too deep to explain.
Original
شمارهٔ ۱۴
گفتی که کیم؟ گوشه نشینی که مپرس
خو کرده به هجر نازنینی که مپرس
می نوش به شادی و تو خوش باش که من
دارم دلی و دل حزینی که مپرس
Anyone who burns down my harvest, who ruins me,
must do it with weeping and lament.
On the rose that springs up from my dust,
I wish a nightingale would make its home.
Explanation: The rose growing from the poet's dust is a classic image of the dead returning as flowers; the mourning nightingale stands for a lover who keeps grieving over him.
Original
شمارهٔ ۱۵
هر کس به من سوخته خرمن سازد
شرطست که با ناله و شیون سازد
بر شاخ گلی که سرزند از خاکم
ای کاش که بلبلی نشیمن سازد
For a lifetime now, madness has welled up from my heart,
and tears the color of red tulips pour from my eyes.
In the valley of love, my weeping eye is that spring
from which blood forever flows.
Explanation: Tulip-colored tears evoke deep red, a classic Persian image of bloody grief. The weeping eye as a spring of blood underscores love's pain.
Original
شمارهٔ ۱۶
عمریست که از دلم جنون می جوشد
از دیده ام اشگ لاله گون می جوشد
در وادی عشق چشم گریان منست
آن چشمه کزو همیشه خون می جوشد
You who pass through the memory of my heart: when you go by, nothing but tears can answer the grief you leave behind.
Since I was torn from you, what misery is mine; if your memory doesn't come to rescue my heart, it cries out in pain.
Explanation: The phrase 'come to my heart's cry' (به فریاد رسیدن) is an idiom meaning to come to someone's aid in distress.
Original
شمارهٔ ۱۷
ای آن که چو بگذری تو بر یاد دلم
جز گریه نگیرد زغمت داد دلم
تا از تو جدا فتادم ای وای بمن
یادت نرسد اگر به فریاد دلم
I want to compose love's anthem, to build it from the ground up,
and remember the days of my captivity.
I long so deeply for the snare and the cage
that, though I am free, I go searching for the hunter.
Explanation: The bird that misses its cage is a classic Persian image for a lover who yearns for the sweet bondage of love even after gaining freedom.
Original
شمارهٔ ۱۸
خواهم که سرود عشق بنیاد کنم
از عهد گرفتاری خود یاد کنم
از بسکه در آرزوی دام و قفسم
آزادم و جستجوی صیاد کنم
What pain, that the idol I love is so quarrelsome,
and from a single glance of hers my soul lies wounded.
People ask me how my days are going,
imagining I have a fine life of it.
Explanation: 'Bot' (idol) is a standard image for a beautiful, captivating beloved. The closing line plays on the double sense of 'roozgar' as both one's days and a good, easy life.
Original
شمارهٔ ۱۹
دردا که بت ستیزه کاری دارم
وز غمزه او جان فگاری دارم
مردم گویند روزگارت چونست
می پندارند روزگاری دارم
For a lifetime my days have been dark; what can I do?
I have fallen from the eye of esteem; what can I do?
If in this hard moment my hand has reached for my own collar in grief, no wonder:
the hem of my beloved's robe has slipped from my grasp; what can I do?
Explanation: Clutching one's own collar is a Persian gesture of helpless grief. Holding the beloved's hem means clinging to their support, now lost.
Original
شمارهٔ ۲۰
عمریست که تیره روزگارم چکنم
افتاده ز چشم اعتبارم چه کنم
گر وقت گریبان شده دستم چه عجب
رفته است ز کف دامن یارم چه کنم
How could I tell someone a story about you,
or make an endless complaint about you?
I would be ashamed to complain about you to a stranger;
if I must complain at all, I will bring it only to you.
Explanation: The poem turns on the lover's reluctance to air grievances to anyone but the beloved.
Original
شمارهٔ ۲۱
کی پیش کسی حکایتی از تو کنم
یا شکوه بی نهایتی از تو کنم
غیر و من و شکوه از تو شرمم بادا
هم با تو مگر شکایتی از تو کنم
If I raised a cup at the party of pleasure without you,
I plunged my wet eyes a hundred times into blood.
Like the wine jug left standing there,
so stays the hand I struck on my own head in grief for you.
Explanation: Striking the head with the hand is a traditional gesture of mourning; the poet compares his frozen, grieving hand to the curved handle of a wine jug.
Original
شمارهٔ ۲۲
گر بی تو به بزم عیش ساغر زده ام
صد غوطه به خون دیده تر زده ام
مانند سبوی باده مانده است بجای
دستی که به هجران تو بر سر زده ام
They tell me not to be restless,
not to weep through the nights of separation.
But as long as the fire of his love burns over my head,
I cannot stop my crying for a single moment, like a candle.
Explanation: The candle is a classic Persian image: it burns and melts (weeps) while its own flame consumes it, mirroring the lover undone by love.
Original
شمارهٔ ۲۳
گویند به من که بیقراری نکنم
شبهای فراق اشگباری نکنم
تا هست مرا آتش عشقش بر سر
یک لحظه چو شمع ترک زاری نکنم
I take no pleasure in a lover's embrace, nor any longing for flowers or springtime walks.
It is enough for me that, sitting in a corner of grief, I have the thought of a friend like you for company.
Original
شمارهٔ ۲۴
نه ذوق من از وصل نگاری دارم
نه شوق گل و سیر بهاری دارم
کافیست مرا همین که در کنج غمی
بنشسته خیال چون تو یاری دارم
You asked: where is the body that love wore thin, and where is the soul that never rested in it for a moment?
Let me answer you with a word, but don't take offense: where is the beauty you had just two days ago?
Explanation: The poem turns the beloved's mocking question back on them: both the lover's wasted body and the beloved's fading beauty pass away.
Original
شمارهٔ ۲۵
گفتی که تنی که عشق فرسودت کو
آن جان که به تن دمی نیاسودت کو
من هم به تو گویم سخنی رنجه مشو
حسنی که دو روز پیش ازین بودت کو