We have sent from the Ninth Sphere (the highest Heaven) the elixir (namely), He will rectify for you your actions.”
ما فرستادیم از چرخ نهم ** کیمیا یصلح لکم اعمالکم
What in sooth is Adam's (Man's) sovereignty and power of choice beside the Light of the Everlasting Abode?
خود چه باشد پیش نور مستقر ** کر و فر اختیار بوالبشر
His speaking organ is a piece of flesh; the seat of his vision is a piece of fat;
گوشت‌پاره آلت گویای او ** پیه‌پاره منظر بینای او
The seat of his hearing consists of two pieces of bone; the seat of his (intellectual) perception is two drops of blood, that is to say, the heart.
مسمع او آن دو پاره استخوان ** مدرکش دو قطره خون یعنی جنان
Thou art a little worm and art stuffed with filth; (yet) thou hast made a (great) display of pomp in the world.1855
کرمکی و از قذر آکنده‌ای ** طمطراقی در جهان افکنده‌ای
Thou wert (originally composed) of seed: relinquish egoism! O Ayáz, keep in mind that sheepskin jacket!
از منی بودی منی را واگذار ** ای ایاز آن پوستین را یاد دار
The Story of Ayáz and his having a chamber for his rustic shoon and sheepskin jacket; and how his fellow-servants thought he had a buried treasure in that room, because the door was so strong and the lock so heavy.
قصه‌ی ایاز و حجره داشتن او جهت چارق و پوستین و گمان آمدن خواجه تاشانس را کی او را در آن حجره دفینه است به سبب محکمی در و گرانی قفل
Impelled by sagacity, Ayáz hung up his sheepskin jacket and rustic shoon.
آن ایاز از زیرکی انگیخته ** پوستین و چارقش آویخته
Every day he would go into the private chamber, (saying to himself), “These are thy shoon: do not regard thy (present) eminence.”
می‌رود هر روز در حجره‌ی خلا ** چارقت اینست منگر درعلا
They (his rivals) said to the King (Mahmúd), “He has a chamber, and in it there is gold and silver and a jar (of treasure).
شاه را گفتند او را حجره‌ایست ** اندر آنجا زر و سیم و خمره‌ایست
He admits no one into it: he always keeps the door locked.”1860
راه می‌ندهد کسی را اندرو ** بسته می‌دارد همیشه آن در او
The King said, “Oh, I wonder what in sooth that servant (of mine) has that is hidden and concealed from me.”
شاه فرمود ای عجب آن بنده را ** چیست خود پنهان و پوشیده ز ما
Then he gave orders to a certain Amír, saying, “Go at midnight and open (the door) and enter the room.
پس اشارت کرد میری را که رو ** نیم‌شب بگشای و اندر حجره شو
Whatever you find is yours: plunder him, expose his secret to the courtiers.
هر چه یابی مر ترا یغماش کن ** سر او را بر ندیمان فاش کن
Notwithstanding such innumerable kindnesses and favours (as I have bestowed upon him), does he meanly hide silver and gold (from me)?
با چنین اکرام و لطف بی‌عدد ** از لیمی سیم و زر پنهان کند
He professes loyalty and love and enthusiasm—and then (after all) he is one who shows wheat and sells barley!1865
می‌نماید او وفا و عشق و جوش ** وانگه او گندم‌نمای جوفروش
To any one who finds life in love, aught but (devoted) service would seem infidelity.”
هر که اندر عشق یابد زندگی ** کفر باشد پیش او جز بندگی
At midnight the Amír with thirty trusted (officers) set out to open his chamber,
نیم‌شب آن میر با سی معتمد ** در گشاد حجره‌ی او رای زد
And all these valiant men, carrying torches, moved joyfully in that direction,
مشعله بر کرده چندین پهلوان ** جانب حجره روانه شادمان
Saying, “’Tis the Sultan's command: let us raid the room and each of us pocket a purse of gold.”
که امر سلطانست بر حجره زنیم ** هر یکی همیان زر در کش کنیم
“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).
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
My body is wasted away by secret indications of the mysteries, ever since I beheld eternal life (baqá) in dying to self (faná).1895
ذاب جسمی من اشارات الکنی ** منذ عاینت البقاء فی الفنا
O Ayáz, from love of thee I have become (thin) as a hair: I am unable to tell (thy) story, do thou tell my story.
ای ایاز از عشق تو گشتم چو موی ** ماندم از قصه تو قصه‌ی من بگوی
Many a tale of thy love have I recited with (all) my soul: (now) that I have become (unsubstantial as) a tale, do thou recite mine.
بس فسانه‌ی عشق تو خواندم به جان ** تو مرا که افسانه گشتستم بخوان
Verily thou art reciting, O model (for all), not I: I am Mount Sinai, thou art Moses, and this (discourse) is the echo.
خود تو می‌خوانی نه من ای مقتدی ** من که طورم تو موسی وین صدا
How should the helpless mountain know what the words are? The mountain is empty of that (meaning) which Moses knows.
کوه بیچاره چه داند گفت چیست ** زانک موسی می‌بداند که تهیست
The mountain knows (only) according to its own measure: the body hath (only) a little of the grace of the spirit.1900
کوه می‌داند به قدر خویشتن ** اندکی دارد ز لطف روح تن