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 هلال2120
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 بود2125
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 رو2130
In truth he is a praiser of the moon, although his ignorance has turned its face towards its (the moon's) reflexion.
مدح او مه‌راست نه آن عکس را ** کفر شد آن چون غلط شد ماجرا
His praise belongs to the moon, not to that reflexion, (but) that (praise) becomes infidelity when the matter is misapprehended;
کز شقاوت گشت گم‌ره آن دلیر ** مه به بالا بود و او پنداشت زیر
For that bold man was led astray by (his) perdition: the moon was above, while he fancied it was below.