عکس می‌دان نقش دیباجه‌ی جهان ** نام هر بنده‌ی جهان خواجه‌ی جهان
Know that what is depicted on this mundane frontispiece is preposterous: every slave to the world is named “lord of the world.”
ای تن کژ فکرت معکوس‌رو ** صد هزار آزاد را کرده گرو
O wrong-thinking perversely-acting body, thou that hast enthralled a hundred thousand freemen,
مدتی بگذار این حیلت پزی ** چند دم پیش از اجل آزاد زی
Abandon this guileful plotting for a time: live free a few moments ere thou die;
ور در آزادیت چون خر راه نیست ** هم‌چو دلوت سیر جز در چاه نیست 4445
For if, like the (heavily-laden) ass, thou hast no way of attaining to freedom, thy movement, like that of the bucket, can only be (down) into the well.
مدتی رو ترک جان من بگو ** رو حریف دیگری جز من بجو
Go, take leave of my spirit for awhile: go, seek another companion instead of me.
نوبت من شد مرا آزاد کن ** دیگری را غیر من داماد کن
My turn is finished: set me free, espouse another, (beguile) some one else.
ای تن صدکاره ترک من بگو ** عمر من بردی کسی دیگر بجو
O body with thy hundred (worldly) concerns, bid me farewell: thou hast taken my life: (now) seek another (victim).
مفتون شدن قاضی بر زن جوحی و در صندوق ماندن و نایب قاضی صندوق را خریدن باز سال دوم آمدن زن جوحی بر امید بازی پارینه و گفتن قاضی کی مرا آزاد کن و کسی دیگر را بجوی الی آخر القصه
How a cadi was infatuated with the wife of Júhí and remained (hidden) in a chest, and how the cadi's deputy purchased the chest; and how next year (when) Júhí's wife came again, hoping to play the same trick (which had succeeded) last year, the cadi said (to her), “Set me free and seek some one else”; and so on to the end of the story.
جوحی هر سالی ز درویشی به فن ** رو بزن کردی کای دلخواه زن
Every year, on account of poverty, Júhí would artfully turn to his wife and say, “O sweetheart,
چون سلاحت هست رو صیدی بگیر ** تا بدوشانیم از صید تو شیر 4450
Since thou hast the weapons, go, catch some game in order that we may get milk (profit) from thy prey.
قوس ابرو تیر غمزه دام کید ** بهر چه دادت خدا از بهر صید
Wherefore has God given thee the bow of thine eyebrow, the arrow of thy amorous glance, and the snare of thy craftiness? For hunting.
رو پی مرغی شگرفی دام نه ** دانه بنما لیک در خوردش مده
Go, lay the snare for a big bird: show the bait, but do not let him eat it.
کام بنما و کن او را تلخ‌کام ** کی خورد دانه چو شد در حبس دام
Show him his wish, but disappoint him: how can he eat the bait when he is imprisoned in the snare?”
شد زن او نزد قاضی در گله ** که مرا افغان ز شوی ده‌دله
His wife went to the cadi to complain, saying, “I appeal (to thee) for help against my faithless husband.”
قصه کوته کن که قاضی شد شکار ** از مقال و از جمال آن نگار 4455
(To) cut the tale short, the cadi fell a prey to the (pleading) words and beauty of the fair woman.
گفت اندر محکمه‌ست این غلغله ** من نتوانم فهم کردن این گله
He said, “There is such a noise in the court of justice (that) I cannot understand this complaint;
گر به خلوت آیی ای سرو سهی ** از ستم‌کاری شو شرحم دهی
(But) if you will come to my private house, O cypress-slender one, and describe to me the injurious behaviour of your husband”—
گفت خانه‌ی تو ز هر نیک و بدی ** باشد از بهر گله آمد شدی
“In thy house,” she replied, “there will be a (constant) coming and going of every sort of people, good and bad, for the purpose of making complaints.”
خانه‌ی سر جمله پر سودا بود ** صدر پر وسواس و پر غوغا بود
(If) the house of the head be wholly filled with a mad passion, the breast will be full of anxiety and commotion.