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2
816-840

  • هر که را خوی نکو باشد برست ** هر کسی کاو شیشه دل باشد شکست‏
  • Whosoever has a good disposition is saved; whosoever is of frail heart is broken.

  • پس امام حی قایم آن ولی است ** خواه از نسل عمر خواه از علی است‏
  • That saint, then, is the living Imám who arises (in every age), whether he be a descendant of ‘Umar or of ‘Alí.

  • مهدی و هادی وی است ای راه جو ** هم نهان و هم نشسته پیش رو
  • He is the Mahdí (the God-guided one) and the Hádí (the Guide), O seeker of the (right) way: he is both hidden (from you) and seated before your face.

  • او چو نور است و خرد جبریل اوست ** و آن ولی کم از او قندیل اوست‏
  • He is as the Light (of Mohammed), and (Universal) Reason is his Gabriel; the saint that is lesser than he is his lamp (and receives illumination from him).

  • و انکه زین قندیل کم مشکات ماست ** نور را در مرتبه ترتیبهاست‏ 820
  • That (saint) who is lesser than this lamp is our lamp-niche: the Light has gradations in degree,

  • ز انکه هفصد پرده دارد نور حق ** پرده‏های نور دان چندین طبق‏
  • Because the Light of God has seven hundred veils: regard the veils of the Light as so many tiers.

  • از پس هر پرده قومی را مقام ** صف صف‏اند این پرده‏هاشان تا امام‏
  • Behind each veil a certain class (of saints) has its place of abode: these veils of theirs are (in ascending order), rank by rank, up to the Imám.

  • اهل صف آخرین از ضعف خویش ** چشمشان طاقت ندارد نور بیش‏
  • Those in the last (lowest) rank, through their weakness, (are such that) their eyes cannot endure the light in front (of them);

  • و آن صف پیش از ضعیفی بصر ** تاب نارد روشنایی بیشتر
  • And that front rank, from weakness of sight, cannot support the light that is more advanced.

  • روشنیی کاو حیات اول است ** رنج جان و فتنه‏ی این احول است‏ 825
  • The light that is the life of the first (highest rank) is heartache and tribulation to this squinter;

  • احولیها اندک اندک کم شود ** چون ز هفصد بگذرد او یم شود
  • (But) the squintnesses, little by little, grow less, and when he passes beyond the seven hundred (veils), he becomes the Sea.

  • آتشی کاصلاح آهن یا زر است ** کی صلاح آبی و سیب تر است‏
  • The fire that does good to iron or gold—how is it good for fresh quinces and apples?

  • سیب و آبی خامیی دارد خفیف ** نه چو آهن تابشی خواهد لطیف‏
  • The apple and quince have (only) a slight crudity: unlike iron, they want a gentle heat;

  • لیک آهن را لطیف آن شعله‏هاست ** کاو جذوب تابش آن اژدهاست‏
  • But those flames are (too) gentle for the iron, for it is (eagerly) drawing to (itself) the heat of that (fiery) dragon.

  • هست آن آهن فقیر سخت کش ** زیر پتک و آتش است او سرخ و خوش‏ 830
  • That iron is the dervish who bears hardship (self-mortification): under the hammer and the fire he is red and happy.

  • حاجب آتش بود بی‏واسطه ** در دل آتش رود بی‏رابطه‏
  • He is the chamberlain of the fire (and) in immediate touch (with it): he goes into the heart of the fire without (any) link (between the fire and him).

  • بی‏حجاب آب و فرزندان آب ** پختگی ز آتش نیابند و خطاب‏
  • Without some screen, water and water's children get no cooking or conversation from the fire.

  • واسطه دیگی بود یا تابه‏ای ** همچو پا را در روش پا تابه‏ای‏
  • The medium is a pot or a pan—as (the medium) for the foot in walking (is) a sock (shoe)—

  • یا مکانی در میان تا آن هوا ** می‏شود سوزان و می‏آرد بما
  • Or a space between, so that the air becomes burning hot and brings (the fire) to the water.

  • پس فقیر آن است کاو بی‏واسطه ست ** شعله‏ها را با وجودش رابطه ست‏ 835
  • The dervish, then, is he that has no intermediary: the flames have (direct) connexion with his being.

  • پس دل عالم وی است ایرا که تن ** می‏رسد از واسطه‏ی این دل به فن‏
  • Therefore he is the heart of the world, because by means of this heart the body attains to (its proper) art (function).

  • دل نباشد، تن چه داند گفت‏وگو ** دل نجوید، تن چه داند جستجو
  • (If) the heart be not there, how can the body talk and speak? (If) the heart seek not, how can the body seek and search?

  • پس نظرگاه شعاع آن آهن است ** پس نظرگاه خدا دل نی تن است‏
  • Therefore the theatre of the (Divine) rays is that iron; therefore the theatre of God is the heart, not the body.

  • باز این دلهای جزوی چون تن است ** با دل صاحب دلی کاو معدن است‏
  • Again, these partial (individual) hearts are as the body in relation to the heart of the man of heart (the perfect saint), which is the original source.

  • بس مثال و شرح خواهد این کلام ** لیک ترسم تا نلغزد وهم عام‏ 840
  • This argument wants much illustration and exposition, but I fear lest the opinion of the vulgar should stumble (and fall into error),