زانک قدر مستمع آید نبا ** بر قد خواجه برد درزی قبا
For the tale is (lofty or low) in proportion to (the understanding of) the hearer: the tailor cuts the coat according to the Khwája's (customer's) figure.
صفت آن عجوز
[Description of the old woman.]
چونک مجلس بی چنین پیغاره نیست ** از حدیث پست نازل چاره نیست
Since the audience is not free from such reproach, there is no means of avoiding low and undignified talk.
واستان هین این سخن را از گرو ** سوی افسانه‌ی عجوزه باز رو
Hark, redeem this topic (of discourse) from pawn: return to the tale of the old woman.
چون مسن گشت و درین ره نیست مرد ** تو بنه نامش عجوز سال‌خورد
When he (any one) has become advanced in years and is not a man (adept) in this Way, bestow the name of “aged crone” upon him.
نه مرورا راس مال و پایه‌ای ** نه پذیرای قبول مایه‌ای 1245
He has neither (any spiritual) capital and basis, nor is he capable of receiving (such a) stock-in-trade.
نه دهنده نی پذیرنده‌ی خوشی ** نه درو معنی و نه معنی‌کشی
He is neither a giver nor a receiver of (spiritual) delight; in him there is neither reality nor (the power of) absorbing reality.
نه زبان نه گوش نه عقل و بصر ** نه هش و نه بیهشی و نه فکر
(He has) neither tongue nor ear nor understanding and insight nor consciousness nor unconsciousness nor reflections;
نه نیاز و نه جمالی بهر ناز ** تو بتویش گنده مانند پیاز
Neither humble supplication nor any beauty (with which) to show pride: his (whole interior), coat on coat, is stinking, like an onion.
نه رهی ببریده او نه پای راه ** نه تبش آن قحبه را نه سوز و آه
He has not traversed any path, nor (has he) the foot for (any power to traverse) the path: that shameless one has neither (inward) glow nor burning (passion) and sighs.
قصه‌ی درویشی کی از آن خانه هرچه می‌خواست می‌گفت نیست
Story of the dervish to whom, whenever he begged anything from a certain house, he (the owner) used to say, “It is not (to be had here).”
سایلی آمد به سوی خانه‌ای ** خشک نانه خواست یا تر نانه‌ای 1250
A beggar came to a house and asked for a piece of dry bread or a piece of moist (new) bread.
گفت صاحب‌خانه نان اینجا کجاست ** خیره‌ای کی این دکان نانباست
The owner of the house said, “Where is bread in this place? Are you crazy? How is this (house) a baker's shop?”
“At least,” he begged, “get me a little bit of fat.” “Why,” said he, “it isn't a butcher's shop.”
گفت پاره‌ی آرد ده ای کدخدا ** گفت پنداری که هست این آسیا
He said, “O master of the house, give me a pittance of flour.” “Do you think this is a mill?” he replied.
گفت باری آب ده از مکرعه ** گفت آخر نیست جو یا مشرعه
“Well then,” said he, “give me some water from the reservoir.” “Why,” he replied, “it isn't a river or a watering-place.”
هر چه او درخواست از نان یا سبوس ** چربکی می‌گفت و می‌کردش فسوس 1255
Whatever he asked for, from bread to bran, he (the householder) was mocking and deriding him.
آن گدا در رفت و دامن بر کشید ** اندر آن خانه بحسبت خواست رید
The beggar went in and drew up his skirt: in ea domo voluit consulto cacare. [The beggar went in and drew up his skirt: he wanted to defecate deliberately inside the house.]
گفت هی هی گفت تن زن ای دژم ** تا درین ویرانه خود فارغ کنم
He (the householder) cried, “Hey, hey!” “Be quiet, O morose man,” said he, “ut in hoc loco deserto alvum exonerem. [He (the householder) cried, “Hey, hey!” “Be quiet, O morose man,” said he, “so that I may relieve myself inside this desolate place.]
چون درینجا نیست وجه زیستن ** بر چنین خانه بباید ریستن
Since there is no means of living (zístan) here, upon a house like this cacare (rístan) oportet.” [Since there is no means of living (zístan) here, one should defecate (rístan) upon a house such as this.”]
چون نه‌ای بازی که گیری تو شکار ** دست آموز شکار شهریار
Since you are not a falcon, so as to (be able to) catch the prey, (a falcon) hand-trained for the King's hunting;
نیستی طاوس با صد نقش بند ** که به نقشت چشمها روشن کنند 1260
Nor a peacock painted with a hundred (beautiful) designs, so that (all) eyes should be illumined by the picture which you present;
هم نه‌ای طوطی که چون قندت دهند ** گوش سوی گفت شیرینت نهند
Nor a parrot, so that when sugar is given to you, (all) ears should bend to (listen to) your sweet talk;
هم نه‌ای بلبل که عاشق‌وار زار ** خوش بنالی در چمن یا لاله‌زار
Nor a nightingale to sing, like a lover, sweetly and plaintively in the meadow or the tulip-garden;
هم نه‌ای هدهد که پیکیها کنی ** نه چو لک‌لک که وطن بالا کنی
Nor a hoopoe to bring messages, nor are you like a stork to make your nest on high—
در چه کاری تو و بهر چت خرند ** تو چه مرغی و ترا با چه خورند
In what work are you (employed), and for what (purpose) are you bought? What (sort of) bird are you, and with what (digestive) are you eaten?
زین دکان با مکاسان برتر آ ** تا دکان فضل که الله اشتری 1265
Mount beyond this ship of hagglers to the shop of Bounty where God is the purchaser.
کاله‌ای که هیچ خلقش ننگرید ** از خلاقت آن کریم آن را خرید
(There) that Gracious One hath purchased the piece of goods that no people would look at on account of its shabbiness.
هیچ قلبی پیش او مردود نیست ** زانک قصدش از خریدن سود نیست
With Him no base coin is rejected, for His object in buying is not (to make a) profit.
رجوع به داستان آن کمپیر
Return to the tale of the old woman.
چون عروسی خواست رفتن آن خریف ** موی ابرو پاک کرد آن مستخیف
Since that (crone who was faded as) autumn desired to be wed, that lustful one plucked out the hair of her eyebrows. [Since that (crone who was faded as) autumn desired to be wed, that one (who was) desirous of a (drawn back) foreskin plucked out the hair of her eyebrows.]
پیش رو آیینه بگرفت آن عجوز ** تا بیاراید رخ و رخسار و پوز
The old woman took the mirror (and held it) before her face, that she might beautify her cheeks and face and mouth.
چند گلگونه بمالید از بطر ** سفره‌ی رویش نشد پوشیده‌تر 1270
She rubbed (them) gleefully (with) rouge several times, (but) the creases of her face did not become more concealed,
عشرهای مصحف از جا می‌برید ** می‌بچفسانید بر رو آن پلید
(So) that filthy (hag) was cutting out portions of the Holy Book and sticking them on her face,
تا که سفره‌ی روی او پنهان شود ** تا نگین حلقه‌ی خوبان شود
In order that the creases of her face might be hidden, and that she might become the bezel in the ring of fair (women).
عشرها بر روی هر جا می‌نهاد ** چونک بر می‌بست چادر می‌فتاد
She was putting (these) bits of the Book all over her face, (but) they always dropped off when she put on her chádar (veil);
باز او آن عشرها را با خدو ** می‌بچفسانید بر اطراف رو
Then she would stick them on again with spittle on all sides of her face,
باز چادر راست کردی آن تکین ** عشرها افتادی از رو بر زمین 1275
And once more that bezel (paragon of beauty) would arrange her veil, and (again) the bits of the Book would fall from her face to the ground.
چون بسی می‌کرد فن و آن می‌فتاد ** گفت صد لعنت بر آن ابلیس باد
Since they always dropped off though she tried many an artifice, (at last) she exclaimed, “A hundred curses on Iblís!”
شد مصور آن زمان ابلیس زود ** گفت ای قحبه‌ی قدید بی‌ورود
Immediately Iblís took (visible) shape and said (to her), “O luckless dried-up harlot,
من همه عمر این نیندیشیده‌ام ** نه ز جز تو قحبه‌ای این دیده‌ام
In all my life I have never thought of this: I have never seen this (impiety practised) by any harlot except thee.
تخم نادر در فضیحت کاشتی ** در جهان تو مصحفی نگذاشتی
Thou hast sown unique seed in (the field of) infamy: thou hast not left a single Scripture (Qur’án) in the world.
صد بلیسی تو خمیس اندر خمیس ** ترک من گوی ای عجوزه‌ی دردبیس 1280
Thou art a hundred Devils, troop on troop: let me alone, O foul hag!”
چند دزدی عشر از علم کتاب ** تا شود رویت ملون هم‌چو سیب
How long will you steal portions of the lore of the Book, in order that your face may be coloured like an apple?
چند دزدی حرف مردان خدا ** تا فروشی و ستانی مرحبا
How long will you steal the words of the men of God, that you may sell (them) and obtain applause (from the crowd)?
رنگ بر بسته ترا گلگون نکرد ** شاخ بر بسته فن عرجون نکرد
The daubed-on colour never made you (really) rosy; the tied-on bough never performed the function of the (fruit-bearing) stump (from which the dates are cut off).
عاقبت چون چادر مرگت رسد ** از رخت این عشرها اندر فتد
At last, when the veil of death comes over you, these bits of the Book drop away from your face.
چونک آید خیزخیزان رحیل ** گم شود زان پس فنون قال و قیل 1285
When the call comes to arise and depart, thereafter (all) the arts of disputation vanish.
عالم خاموشی آید پیش بیست ** وای آنک در درون انسیش نیست
The world of silence comes into view. Stop (talking)! Alas for him that hath not a familiarity (with silence) within him!
صیقلی کن یک دو روزی سینه را ** دفتر خود ساز آن آیینه را
Polish your breast (heart) for a day or two: make that mirror your book (of meditation),
که ز سایه‌ی یوسف صاحب‌قران ** شد زلیخای عجوز از سر جوان
For from (seeing) the reflexion of the imperial Joseph old Zalíkhá became young anew.
می‌شود مبدل به خورشید تموز ** آن مزاح بارد برد العجوز
The chilly temperature of “the old woman's cold spell” is changed (into heat) by the sun of Tamúz (July).
می‌شود مبدل بسوز مریمی ** شاخ لب خشکی به نخلی خرمی 1290
A dry-lipped bough is changed into a flourishing palm-tree by the burning (anguish) of a Mary.