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  • مصطفی بین که چو صبرش شد براق  ** بر کشانیدش به بالای طباق 
  • See, when fortitude became a Buráq for him, how it carried Mustafá (Mohammed) up to the top of the (celestial) spheres.
  • روان گشتن شاه‌زادگان بعد از تمام بحث و ماجرا به جانب ولایت چین سوی معشوق و مقصود تا به قدر امکان به مقصود نزدیک‌تر باشند اگر چه راه وصل مسدودست به قدر امکان نزدیک‌تر شدن محمودست الی آخره 
  • How, after full discussion and debate, the princes set out for the province of China towards their beloved and the object (of their desire), in order that they might be as near as possible to that object; (for) although the way to union is barred, ’tis praiseworthy to approach as near as is possible.
  • این بگفتند و روان گشتند زود  ** هر چه بود ای یار من آن لحظه بود  3980
  • They said this and immediately set out: O my friend, everything that was (to be gained) was (gained) at that moment.
  • صبر بگزیدند و صدیقین شدند  ** بعد از آن سوی بلاد چین شدند 
  • They chose fortitude (as their guide) and became true witnesses; then they set off towards the land of China.
  • والدین و ملک را بگذاشتند  ** راه معشوق نهان بر داشتند 
  • They left their parents and kingdom, they took the way to the hidden beloved.
  • هم‌چو ابراهیم ادهم از سریر  ** عشقشان بی‌پا و سر کرد و فقیر 
  • Like Ibráhím son of Adham, Love (banished them) from the throne (and) made them footless and headless and destitute.
  • یا چو ابراهیم مرسل سرخوشی  ** خویش را افکند اندر آتشی 
  • Either, like Abraham who was sent (as a prophet), one intoxicated (with love) cast himself into a fire,
  • یا چو اسمعیل صبار مجید  ** پیش عشق و خنجرش حلقی کشید  3985
  • Or, like the much-enduring and glorious Ismá‘íl (Ishmael), offered a throat to Love and his dagger.
  • حکایت امرء القیس کی پادشاه عرب بود و به صورت عظیم به جمال بود یوسف وقت خود بود و زنان عرب چون زلیخا مرده‌ی او و او شاعر طبع قفا نبک من ذکری حبیب و منزل چون همه زنان او را به جان می‌جستند ای عجب غزل او و ناله‌ی او بهر چه بود مگر دانست کی این‌ها همه تمثال صورتی‌اند کی بر تخته‌های خاک نقش کرده‌اند عاقبت این امرء القیس را حالی پیدا شد کی نیم‌شب از ملک و فرزند گریخت و خود را در دلقی پنهان کرد و از آن اقلیم به اقلیم دیگر رفت در طلب آن کس کی از اقلیم منزه است یختص برحمته من یشاء الی آخره 
  • Story of Imra’u ’l-Qays, who was the king of the Arabs and exceedingly handsome: he was the Joseph of his time, and the Arab women were desperately in love with him, like Zalíkhá (with Joseph). He had the poetic genius (and composed the ode beginning)— “Halt, let us weep in memory of a beloved and a dwelling-place.” Since all the women desired him with (heart and) soul, one may well wonder what was the object of his love-songs and lamentations. Surely he knew that all these (beauteous forms) are copies of a (unique) picture which have been drawn (by the Artist) on frames of earth. At last there came to this Imra’u ’l-Qays such a (spiritual) experience that in the middle of the night he fled from his kingdom and children and concealed himself in the garb of a dervish and wandered from that clime to another clime in search of Him who transcends all climes: “He chooseth for His mercy whom He will”; and so forth.
  • امرء القیس از ممالک خشک‌لب  ** هم کشیدش عشق از خطه‌ی عرب 
  • Imra’u ’l-Qays was weary of his empire: Love carried him away from the country of the Arabs,
  • تا بیامد خشت می‌زد در تبوک  ** با ملک گفتند شاهی از ملوک 
  • So that he came and worked as a brick-maker at Tabúk. The king was told that a royal personage,
  • امرء القیس آمدست این‌جا به کد  ** در شکار عشق و خشتی می‌زند 
  • Imra’u ’l-Qays (by name), having fallen a prey to Love, had come thither and was making bricks by (his own) labour.