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5
1870-1894

  • “Hey!” cried one of them, “why trouble about gold?” Talk (rather) of cornelians and rubies and (all sorts of) jewels. 1870
  • آن یکی می‌گفت هی چه جای زر  ** از عقیق و لعل گوی و از گهر 

  • He is the most privileged (keeper) of the Sultan's treasury: nay, he is now (as dear) to the King (as) life itself.”
  • خاص خاص مخزن سلطان ویست  ** بلک اکنون شاه را خود جان ویست 

  • What worth should rubies and corundums and emeralds or cornelians possess in the eyes of this man (so) beloved (of the King)?
  • چه محل دارد به پیش این عشیق  ** لعل و یاقوت و زمرد یا عقیق 

  • The King had no evil thoughts of him: he was (only) making a mock (of the courtiers) by way of trial.
  • شاه را بر وی نبودی بد گمان  ** تسخری می‌کرد بهر امتحان 

  • He knew him to be free from all deceitfulness and guile; (yet) again his heart was shaken with misgiving,
  • پاک می‌دانستش از هر غش و غل  ** باز از وهمش همی‌لرزید دل 

  • Lest this (charge) might be (true) and he (Ayáz) should be wounded (in his feelings). “I do not wish,” (he said), “that shame should come over him. 1875
  • که مبادا کین بود خسته شود  ** من نخواهم که برو خجلت رود 

  • He has not done this thing; and if he has, ’tis right: let him do whatever he will, (for) he is my beloved.
  • این نکردست او و گر کرد او رواست  ** هر چه خواهد گو بکن محبوب ماست 

  • Whatever my beloved may do, ’tis I have done (it). I am he, he is I: what (matter) though I am (hidden from view) in the veil?”
  • هر چه محبوبم کند من کرده‌ام  ** او منم من او چه گر در پرده‌ام 

  • Again he would say, “He is far removed from this disposition and (these bad) qualities: such wild accusations (on their part) are (mere) drivel and fancy.
  • باز گفتی دور از آن خو و خصال  ** این چنین تخلیط ژاژست و خیال 

  • (That) this (should proceed) from Ayáz is absurd and incredible, for he is an ocean whereof none can see the bottom.”
  • از ایاز این خود محالست و بعید  ** کو یکی دریاست قعرش ناپدید 

  • The Seven Seas are (but) a drop in it: the whole of existence is (but) a driblet of its waves. 1880
  • هفت دریا اندرو یک قطره‌ای  ** جمله‌ی هستی ز موجش چکره‌ای 

  • All purities are fetched from that ocean: its drops, every one, are alchemists.
  • جمله پاکیها از آن دریا برند  ** قطره‌هااش یک به یک میناگرند 

  • He is the King of kings; nay, he is the King-maker, though on account of the evil eye his name is “Ayáz.”
  • شاه شاهانست و بلک شاه‌ساز  ** وز برای چشم بد نامش ایاز 

  • Even the good eyes are evil to him in respect of (their) jealousy, for his beauty is infinite.
  • چشمهای نیک هم بر وی به دست  ** از ره غیرت که حسنش بی‌حدست 

  • I want a mouth as broad as heaven to describe the qualities of him who is envied by the angels;
  • یک دهان خواهم به پهنای فلک  ** تا بگویم وصف آن رشک ملک 

  • And if I should get a mouth like this and a hundred times as (broad as) this, it would be too narrow for (utterance of) this longing's distressful cry. 1885
  • ور دهان یابم چنین و صد چنین  ** تنگ آید در فغان این حنین 

  • (Yet), if I should not utter even this (little) amount, O trusted (friend), the phial, (which is) my heart, would burst from weakness (inability to contain its emotion).
  • این قدر گر هم نگویم ای سند  ** شیشه‌ی دل از ضعیفی بشکند 

  • Since I have seen my heart's phial (to be) fragile, I have rent many a mantle in order to allay (my pain).
  • شیشه‌ی دل را چو نازک دیده‌ام  ** بهر تسکین بس قبا بدریده‌ام 

  • Beyond doubt, O worshipful one, I must become mad for three days at the beginning of every month.
  • من سر هر ماه سه روز ای صنم  ** بی‌گمان باید که دیوانه شوم 

  • Hark, to-day is the first of the triduum: ’tis the day of triumph (pírúz), not (the day of) the turquoise (pírúza).
  • هین که امروز اول سه روزه است  ** روز پیروزست نه پیروزه است 

  • Every heart that is in love with the King, for it (for that heart) ’tis always the beginning of the month. 1890
  • هر دلی که اندر غم شه می‌بود  ** دم به دم او را سر مه می‌بود 

  • Since I have become mad, the story of Mahmúd and the description of Ayáz are now out of order.
  • قصه‌ی محمود و اوصاف ایاز  ** چون شدم دیوانه رفت اکنون ز ساز 

  • Explaining that what is related (here) is (only) the outward form of the Story, and that it is a form befitting these (hearers) who apprehend (no more than) the external form and suitable to the mirror of their imagination, whereas the real essence of the Story is so transcendent that speech is ashamed to reveal it, and from (being overcome with) confusion (the writer) loses head, beard, and pen. And a hint is enough for the wise.
  • بیان آنک آنچ بیان کرده می‌شود صورت قصه است وانگه آن صورتیست کی در خورد این صورت گیرانست و درخورد آینه‌ی تصویر ایشان و از قدوسیتی کی حقیقت این قصه راست نطق را ازین تنزیل شرم می‌آید و از خجالت سر و ریش و قلم گم می‌کند و العاقل یکفیه الاشاره 

  • Forasmuch as my elephant has dreamed of Hindustán, abandon hope of (receiving) the tax: the village is ruined.
  • زانک پیلم دید هندستان به خواب  ** از خراج اومید بر ده شد خراب 

  • How should poesy and rhyme come to me after the foundations of sanity are destroyed?
  • کیف یاتی النظم لی والقافیه  ** بعد ما ضاعت اصول العافیه 

  • ’Tis not (merely) one madness I have amidst the sorrows of love; nay, but madness on madness on madness.
  • ما جنون واحد لی فی الشجون  ** بل جنون فی جنون فی جنون