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3
2106-2130

  • کان عوضها و آن بدلها بحر را ** از کجا آید ز بعد خرجها
  • (And tell) whence come to the sea those compensations and substitutes after (such) expenditures.

  • صد هزاران جانور زو می‌خورند ** ابرها هم از برونش می‌برند
  • Hundreds of thousands of animals drink of it; from outside also the clouds take it (its water) away;

  • باز دریا آن عوضها می‌کشد ** از کجا دانند اصحاب رشد
  • (But) again the sea draws (into itself) those compensations— whence (they come) is known to the righteous.

  • قصه‌ها آغاز کردیم از شتاب ** ماند بی مخلص درون این کتاب
  • We began the stories in haste; in this Book (the Mathnawí) they are left without (being brought to) the (final) issue.

  • ای ضیاء الحق حسام الدین راد ** که فلک و ارکان چو تو شاهی نزاد 2110
  • O Light of God, noble Husámu’ddín, a king whose like the sky and the elements have never brought to birth,

  • تو بنادر آمدی در جان و دل ** ای دل و جان از قدوم تو خجل
  • Seldom hast thou come into (the world of) soul and heart, O thou at whose advent heart and soul are abashed.

  • چند کردم مدح قوم ما مضی ** قصد من زانها تو بودی ز اقتضا
  • How oft have I praised the people of the past! Of necessity, thou wert (the object of) my quest in (praising) them.

  • خانه‌ی خود را شناسد خود دعا ** تو بنام هر که خواهی کن ثنا
  • Verily the invocation knows its own house: attach the praise to the name of whomsoever you will.

  • بهر کتمان مدیح از نا محل ** حق نهادست این حکایات و مثل
  • God hath set down these tales and parables for the purpose of concealing (the true nature of) the praise from the unworthy.

  • گر چه آن مدح از تو هم آمد خجل ** لیک بپذیرد خدا جهد المقل 2115
  • Even if that praise is abashed before thee, yet God accepts the (utmost) exertion of one that has little (to give).

  • حق پذیرد کسره‌ای دارد معاف ** کز دو دیده‌ی کور دو قطره کفاف
  • God accepts a crust (of bread) and absolves (the giver), for from the eyes of a blind man two drops (of light) are enough.

  • مرغ و ماهی داند آن ابهام را ** که ستودم مجمل این خوش‌نام را
  • Birds and fishes know the (real meaning of) the ambiguous style in which I have praised compendiously this person of goodly name,

  • تا برو آه حسودان کم وزد ** تا خیالش را به دندان کم گزد
  • To the end that the sighs of the envious may not blow upon him, and that he (the envier) may not bite the (false) idea of him (Husámu’ddín) with the teeth (of malice).

  • خود خیالش را کجا یابد حسود ** در وثاق موش طوطی کی غنود
  • Where should the envious man find even the idea of him? When did a parrot rest in the abode of a mouse?

  • آن خیال او بود از احتیال ** موی ابروی ویست آن نه هلال 2120
  • That idea of him (Husámu’ddín) arises (in the mind of the envious man) from cunning practice (on his part): it is the hair of his eyebrow, not the new moon.

  • مدح تو گویم برون از پنج و هفت ** بر نویس اکنون دقوقی پیش رفت
  • I sing thy praise outside of the five (senses) and the seven (heavens). Now write “Daqúqí went forward.”

  • پیش رفتن دقوقی به امامت آن قوم
  • How Daqúqí went forward to lead that company (in prayer).

  • در تحیات و سلام الصالحین ** مدح جمله‌ی انبیا آمد عجین
  • In the salutations and benedictions addressed to the righteous (saints) praise of all the prophets is blended.

  • مدحها شد جملگی آمیخته ** کوزه‌ها در یک لگن در ریخته
  • The praises are all commingled (and united): the jugs are poured into one basin.

  • زانک خود ممدوح جز یک بیش نیست ** کیشها زین روی جز یک کیش نیست
  • Inasmuch as the object of praise Himself is not more than One, from this point of view (all) religions are but one religion.

  • دان که هر مدحی بنور حق رود ** بر صور و اشخاص عاریت بود 2125
  • Know that every praise goes (belongs) to the Light of God and is (only) lent to (created) forms and persons.

  • مدحها جز مستحق را کی کنند ** لیک بر پنداشت گم‌ره می‌شوند
  • How should folk praise (any one) except Him who (alone) has the right (to be praised)?—but they go astray on (the ground of) a vain fancy.

  • همچو نوری تافته بر حایطی ** حایط آن انوار را چون رابطی
  • The Light of God in relation to phenomena is as a light shining upon a wall—the wall is a link (focus) for these splendours:

  • لاجرم چون سایه سوی اصل راند ** ضال مه گم کرد و ز استایش بماند
  • Necessarily, when the reflexion moved towards its source, he who had gone astray lost the moon and ceased from praise;

  • یا ز چاهی عکس ماهی وا نمود ** سر بچه در کرد و آن را می‌ستود
  • Or (again) a reflexion of the moon appeared from a well, and he (the misguided one) put his head into the well and was praising that same (reflexion):

  • در حقیقت مادح ماهست او ** گرچه جهل او بعکسش کرد رو 2130
  • In truth he is a praiser of the moon, although his ignorance has turned its face towards its (the moon's) reflexion.