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2
1959-1983

  • Every call that excites cupidity in thee—know that it is the howl of the wolf which tears men (to pieces).
  • هر ندایی که ترا حرص آورد ** بانگ گرگی دان که او مردم درد

  • This (afore-mentioned) height is not (high) in respect of position; these “heights” are towards (refer to) mind and spirit. 1960
  • این بلندی نیست از روی مکان ** این بلندیهاست سوی عقل و جان‏

  • Every cause is higher than the effect: the stone and iron (from which fire is struck) are superior to the sparks.
  • هر سبب بالاتر آمد از اثر ** سنگ و آهن فایق آمد بر شرر

  • Such and such a person is (really) seated above that one who lifts up his head so haughtily, though in appearance he is seated beside him.
  • آن فلانی فوق آن سرکش نشست ** گر چه در صورت به پهلویش نشست‏

  • The superiority of that (person's) place is in respect of (his spiritual) nobility; the place (that is) far from the (spiritual) seat of honour is held in slight regard.
  • فوقی آن جاست از روی شرف ** جای دور از صدر باشد مستخف‏

  • Forasmuch as the stone and iron are prior in action, the superiority of these twain is proper;
  • سنگ و آهن زین جهت که سابق است ** در عمل فوقی این دو لایق است‏

  • But those sparks, in respect of their being the final cause, are from this point of view far in front of (superior to) the iron and stone. 1965
  • و آن شرر از روی مقصودی خویش ** ز آهن و سنگ است زین رو پیش و بیش‏

  • The stone and iron are first, and the sparks last; but these twain are the body, and the sparks are the soul.
  • سنگ و آهن اول و پایان شرر ** لیک این هر دو تنند و جان شرر

  • If those sparks are posterior in time, (yet) in quality they are higher than the stone and iron.
  • آن شرر گر در زمان واپس‏تر است ** در صفت از سنگ و آهن برتر است‏

  • The bough is prior to the fruit in time, (but) it (the fruit) is superior to the bough in excellence.
  • در زمان شاخ از ثمر سابق‏تر است ** در هنر از شاخ او فایق‏تر است‏

  • Since the fruit is the final cause of the tree, it follows that the fruit is (really) first, the tree last.
  • چون که مقصود از شجر آمد ثمر ** پس ثمر اول بود و آخر شجر

  • When the bear cried out for help against the dragon, a valiant man removed it from the (dragon's) claws. 1970
  • خرس چون فریاد کرد از اژدها ** شیر مردی کرد از جنگش جدا

  • Cunning and courage gave support to each other: by this strength he slew the dragon.
  • حیلت و مردی بهم دادند پشت ** اژدها را او بدین قوت بکشت‏

  • The dragon has strength, (but) it has not cunning; again, there is a cunning above your cunning.
  • اژدها را هست قوت حیله نیست ** نیز فوق حیله‏ی تو حیله‏ای است‏

  • When you have regarded your own cunning, go back (and see) whence it came: go to the origin.
  • حیله‏ی خود را چو دیدی باز رو ** کز کجا آمد سوی آغاز رو

  • Whatever is below has come from above: come on, turn your eye towards the height.
  • هر چه در پستی است آمد از علا ** چشم را سوی بلندی نه هلا

  • Looking aloft gives light, though at first it produces dazzlement; yes, it does. 1975
  • روشنی بخشد نظر اندر علی ** گر چه اول خیرگی آرد بلی‏

  • Accustom your eye to the light; if you are not a bat, look in that direction.
  • چشم را در روشنایی خوی کن ** گر نه خفاشی نظر آن سوی کن‏

  • Vision of the end is the sign of your (having the) light; the lust of the moment is in truth your (dark) grave.
  • عاقبت بینی نشان نور تست ** شهوت حالی حقیقت گور تست‏

  • The man with vision of the end, who has seen a hundred artifices, is not like him that has (only) heard of one artifice,
  • عاقبت بینی که صد بازی بدید ** مثل آن نبود که یک بازی شنید

  • (And who) has been so befooled by that one artifice that in his pride he has become alienated from the masters.
  • ز آن یکی بازی چنان مغرور شد ** کز تکبر ز اوستادان دور شد

  • Like Sámirí, when he has seen in himself that (little) skill, through pride he has rebelled against (a) Moses. 1980
  • سامری‏وار آن هنر در خود چو دید ** او ز موسی از تکبر سر کشید

  • He has learned that skill from (a) Moses and (then) closed his eyes to his teacher.
  • او ز موسی آن هنر آموخته ** وز معلم چشم را بر دوخته‏

  • Moses, of course, exhibited another artifice, so that it swept away (both) that artifice (of Sámirí) and his life.
  • لاجرم موسی دگر بازی نمود ** تا که آن بازی و جانش را ربود

  • Oh, many is the knowledge (talent) that runs in the head (and urges) that he (the owner) should become eminent—in truth, through that (knowledge) his head goes (he loses his life).
  • ای بسا دانش که اندر سر دود ** تا شود سرور بدان خود سر رود