نیم‌شب آن میر با سی معتمد ** در گشاد حجره‌ی او رای زد
At midnight the Amír with thirty trusted (officers) set out to open his chamber,
مشعله بر کرده چندین پهلوان ** جانب حجره روانه شادمان
And all these valiant men, carrying torches, moved joyfully in that direction,
که امر سلطانست بر حجره زنیم ** هر یکی همیان زر در کش کنیم
Saying, “’Tis the Sultan's command: let us raid the room and each of us pocket a purse of gold.”
آن یکی می‌گفت هی چه جای زر ** از عقیق و لعل گوی و از گهر 1870
“Hey!” cried one of them, “why trouble about gold?” Talk (rather) of cornelians and rubies and (all sorts of) jewels.
خاص خاص مخزن سلطان ویست ** بلک اکنون شاه را خود جان ویست
He is the most privileged (keeper) of the Sultan's treasury: nay, he is now (as dear) to the King (as) life itself.”
چه محل دارد به پیش این عشیق ** لعل و یاقوت و زمرد یا عقیق
What worth should rubies and corundums and emeralds or cornelians possess in the eyes of this man (so) beloved (of the King)?
شاه را بر وی نبودی بد گمان ** تسخری می‌کرد بهر امتحان
The King had no evil thoughts of him: he was (only) making a mock (of the courtiers) by way of trial.
پاک می‌دانستش از هر غش و غل ** باز از وهمش همی‌لرزید دل
He knew him to be free from all deceitfulness and guile; (yet) again his heart was shaken with misgiving,
که مبادا کین بود خسته شود ** من نخواهم که برو خجلت رود 1875
Lest this (charge) might be (true) and he (Ayáz) should be wounded (in his feelings). “I do not wish,” (he said), “that shame should come over him.
این نکردست او و گر کرد او رواست ** هر چه خواهد گو بکن محبوب ماست
He has not done this thing; and if he has, ’tis right: let him do whatever he will, (for) he is my beloved.
هر چه محبوبم کند من کرده‌ام ** او منم من او چه گر در پرده‌ام
Whatever my beloved may do, ’tis I have done (it). I am he, he is I: what (matter) though I am (hidden from view) in the veil?”
باز گفتی دور از آن خو و خصال ** این چنین تخلیط ژاژست و خیال
Again he would say, “He is far removed from this disposition and (these bad) qualities: such wild accusations (on their part) are (mere) drivel and fancy.
از ایاز این خود محالست و بعید ** کو یکی دریاست قعرش ناپدید
(That) this (should proceed) from Ayáz is absurd and incredible, for he is an ocean whereof none can see the bottom.”
هفت دریا اندرو یک قطره‌ای ** جمله‌ی هستی ز موجش چکره‌ای 1880
The Seven Seas are (but) a drop in it: the whole of existence is (but) a driblet of its waves.
جمله پاکیها از آن دریا برند ** قطره‌هااش یک به یک میناگرند
All purities are fetched from that ocean: its drops, every one, are alchemists.
شاه شاهانست و بلک شاه‌ساز ** وز برای چشم بد نامش ایاز
He is the King of kings; nay, he is the King-maker, though on account of the evil eye his name is “Ayáz.”
چشمهای نیک هم بر وی به دست ** از ره غیرت که حسنش بی‌حدست
Even the good eyes are evil to him in respect of (their) jealousy, for his beauty is infinite.
یک دهان خواهم به پهنای فلک ** تا بگویم وصف آن رشک ملک
I want a mouth as broad as heaven to describe the qualities of him who is envied by the angels;
ور دهان یابم چنین و صد چنین ** تنگ آید در فغان این حنین 1885
And if I should get a mouth like this and a hundred times as (broad as) this, it would be too narrow for (utterance of) this longing's distressful cry.
این قدر گر هم نگویم ای سند ** شیشه‌ی دل از ضعیفی بشکند
(Yet), if I should not utter even this (little) amount, O trusted (friend), the phial, (which is) my heart, would burst from weakness (inability to contain its emotion).
Since I have seen my heart's phial (to be) fragile, I have rent many a mantle in order to allay (my pain).
من سر هر ماه سه روز ای صنم ** بی‌گمان باید که دیوانه شوم
Beyond doubt, O worshipful one, I must become mad for three days at the beginning of every month.
هین که امروز اول سه روزه است ** روز پیروزست نه پیروزه است
Hark, to-day is the first of the triduum: ’tis the day of triumph (pírúz), not (the day of) the turquoise (pírúza).
هر دلی که اندر غم شه می‌بود ** دم به دم او را سر مه می‌بود 1890
Every heart that is in love with the King, for it (for that heart) ’tis always the beginning of the month.
قصه‌ی محمود و اوصاف ایاز ** چون شدم دیوانه رفت اکنون ز ساز
Since I have become mad, the story of Mahmúd and the description of Ayáz are now out of order.
بیان آنک آنچ بیان کرده می‌شود صورت قصه است وانگه آن صورتیست کی در خورد این صورت گیرانست و درخورد آینه‌ی تصویر ایشان و از قدوسیتی کی حقیقت این قصه راست نطق را ازین تنزیل شرم می‌آید و از خجالت سر و ریش و قلم گم می‌کند و العاقل یکفیه الاشاره
Explaining that what is related (here) is (only) the outward form of the Story, and that it is a form befitting these (hearers) who apprehend (no more than) the external form and suitable to the mirror of their imagination, whereas the real essence of the Story is so transcendent that speech is ashamed to reveal it, and from (being overcome with) confusion (the writer) loses head, beard, and pen. And a hint is enough for the wise.