Worthless folk humiliate every story-teller: if his words are lofty, they make them low;1240
هر محدث را خسان باذل کنند ** حرفش ار عالی بود نازل کنند
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.
زانک قدر مستمع آید نبا ** بر قد خواجه برد درزی قبا
[Description of the old woman.]
صفت آن عجوز
Since the audience is not free from such reproach, there is no means of avoiding low and undignified talk.
چونک مجلس بی چنین پیغاره نیست ** از حدیث پست نازل چاره نیست
Hark, redeem this topic (of discourse) from pawn: return to the tale of the old woman.
واستان هین این سخن را از گرو ** سوی افسانه‌ی عجوزه باز رو
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.
چون مسن گشت و درین ره نیست مرد ** تو بنه نامش عجوز سال‌خورد
He has neither (any spiritual) capital and basis, nor is he capable of receiving (such a) stock-in-trade.1245
نه مرورا راس مال و پایه‌ای ** نه پذیرای قبول مایه‌ای
He is neither a giver nor a receiver of (spiritual) delight; in him there is neither reality nor (the power of) absorbing reality.
نه دهنده نی پذیرنده‌ی خوشی ** نه درو معنی و نه معنی‌کشی
(He has) neither tongue nor ear nor understanding and insight nor consciousness nor unconsciousness nor reflections;
نه زبان نه گوش نه عقل و بصر ** نه هش و نه بیهشی و نه فکر
Neither humble supplication nor any beauty (with which) to show pride: his (whole interior), coat on coat, is stinking, like an onion.
نه نیاز و نه جمالی بهر ناز ** تو بتویش گنده مانند پیاز
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.
نه رهی ببریده او نه پای راه ** نه تبش آن قحبه را نه سوز و آه
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).”
قصه‌ی درویشی کی از آن خانه هرچه می‌خواست می‌گفت نیست
A beggar came to a house and asked for a piece of dry bread or a piece of moist (new) bread.1250
سایلی آمد به سوی خانه‌ای ** خشک نانه خواست یا تر نانه‌ای
The owner of the house said, “Where is bread in this place? Are you crazy? How is this (house) a baker's shop?”
گفت صاحب‌خانه نان اینجا کجاست ** خیره‌ای کی این دکان نانباست
“At least,” he begged, “get me a little bit of fat.” “Why,” said he, “it isn't a butcher's shop.”
He said, “O master of the house, give me a pittance of flour.” “Do you think this is a mill?” he replied.
گفت پاره‌ی آرد ده ای کدخدا ** گفت پنداری که هست این آسیا
“Well then,” said he, “give me some water from the reservoir.” “Why,” he replied, “it isn't a river or a watering-place.”
گفت باری آب ده از مکرعه ** گفت آخر نیست جو یا مشرعه
Whatever he asked for, from bread to bran, he (the householder) was mocking and deriding him.1255
هر چه او درخواست از نان یا سبوس ** چربکی می‌گفت و می‌کردش فسوس
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.]
آن گدا در رفت و دامن بر کشید ** اندر آن خانه بحسبت خواست رید
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.]
گفت هی هی گفت تن زن ای دژم ** تا درین ویرانه خود فارغ کنم
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 درینجا نیست وجه زیستن ** بر چنین خانه بباید ریستن
Since you are not a falcon, so as to (be able to) catch the prey, (a falcon) hand-trained for the King's hunting;
چون نه‌ای بازی که گیری تو شکار ** دست آموز شکار شهریار
Nor a peacock painted with a hundred (beautiful) designs, so that (all) eyes should be illumined by the picture which you present;1260
نیستی طاوس با صد نقش بند ** که به نقشت چشمها روشن کنند
Nor a parrot, so that when sugar is given to you, (all) ears should bend to (listen to) your sweet talk;
هم نه‌ای طوطی که چون قندت دهند ** گوش سوی گفت شیرینت نهند
Nor a nightingale to sing, like a lover, sweetly and plaintively in the meadow or the tulip-garden;
هم نه‌ای بلبل که عاشق‌وار زار ** خوش بنالی در چمن یا لاله‌زار
Nor a hoopoe to bring messages, nor are you like a stork to make your nest on high—
هم نه‌ای هدهد که پیکیها کنی ** نه چو لک‌لک که وطن بالا کنی
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?
در چه کاری تو و بهر چت خرند ** تو چه مرغی و ترا با چه خورند
Mount beyond this ship of hagglers to the shop of Bounty where God is the purchaser.1265
زین دکان با مکاسان برتر آ ** تا دکان فضل که الله اشتری
(There) that Gracious One hath purchased the piece of goods that no people would look at on account of its shabbiness.
کاله‌ای که هیچ خلقش ننگرید ** از خلاقت آن کریم آن را خرید
With Him no base coin is rejected, for His object in buying is not (to make a) profit.
هیچ قلبی پیش او مردود نیست ** زانک قصدش از خریدن سود نیست
Return to the tale of the old woman.
رجوع به داستان آن کمپیر
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.]
چون عروسی خواست رفتن آن خریف ** موی ابرو پاک کرد آن مستخیف
The old woman took the mirror (and held it) before her face, that she might beautify her cheeks and face and mouth.
پیش رو آیینه بگرفت آن عجوز ** تا بیاراید رخ و رخسار و پوز
She rubbed (them) gleefully (with) rouge several times, (but) the creases of her face did not become more concealed,1270
چند گلگونه بمالید از بطر ** سفره‌ی رویش نشد پوشیده‌تر
(So) that filthy (hag) was cutting out portions of the Holy Book and sticking them on her face,
عشرهای مصحف از جا می‌برید ** می‌بچفسانید بر رو آن پلید
In order that the creases of her face might be hidden, and that she might become the bezel in the ring of fair (women).
تا که سفره‌ی روی او پنهان شود ** تا نگین حلقه‌ی خوبان شود
She was putting (these) bits of the Book all over her face, (but) they always dropped off when she put on her chádar (veil);
عشرها بر روی هر جا می‌نهاد ** چونک بر می‌بست چادر می‌فتاد
Then she would stick them on again with spittle on all sides of her face,
باز او آن عشرها را با خدو ** می‌بچفسانید بر اطراف رو
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.1275
باز چادر راست کردی آن تکین ** عشرها افتادی از رو بر زمین
Since they always dropped off though she tried many an artifice, (at last) she exclaimed, “A hundred curses on Iblís!”
چون بسی می‌کرد فن و آن می‌فتاد ** گفت صد لعنت بر آن ابلیس باد
Immediately Iblís took (visible) shape and said (to her), “O luckless dried-up harlot,
شد مصور آن زمان ابلیس زود ** گفت ای قحبه‌ی قدید بی‌ورود
In all my life I have never thought of this: I have never seen this (impiety practised) by any harlot except thee.
من همه عمر این نیندیشیده‌ام ** نه ز جز تو قحبه‌ای این دیده‌ام
Thou hast sown unique seed in (the field of) infamy: thou hast not left a single Scripture (Qur’án) in the world.
تخم نادر در فضیحت کاشتی ** در جهان تو مصحفی نگذاشتی
Thou art a hundred Devils, troop on troop: let me alone, O foul hag!”1280
صد بلیسی تو خمیس اندر خمیس ** ترک من گوی ای عجوزه‌ی دردبیس
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 عشر از علم کتاب ** تا شود رویت ملون هم‌چو سیب
How long will you steal the words of the men of God, that you may sell (them) and obtain applause (from the crowd)?
چند دزدی حرف مردان خدا ** تا فروشی و ستانی مرحبا
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).
رنگ بر بسته ترا گلگون نکرد ** شاخ بر بسته فن عرجون نکرد
At last, when the veil of death comes over you, these bits of the Book drop away from your face.
عاقبت چون چادر مرگت رسد ** از رخت این عشرها اندر فتد
When the call comes to arise and depart, thereafter (all) the arts of disputation vanish.1285
چونک آید خیزخیزان رحیل ** گم شود زان پس فنون قال و قیل
The world of silence comes into view. Stop (talking)! Alas for him that hath not a familiarity (with silence) within him!
عالم خاموشی آید پیش بیست ** وای آنک در درون انسیش نیست
Polish your breast (heart) for a day or two: make that mirror your book (of meditation),
صیقلی کن یک دو روزی سینه را ** دفتر خود ساز آن آیینه را
For from (seeing) the reflexion of the imperial Joseph old Zalíkhá became young anew.
که ز سایه‌ی یوسف صاحب‌قران ** شد زلیخای عجوز از سر جوان
The chilly temperature of “the old woman's cold spell” is changed (into heat) by the sun of Tamúz (July).
می‌شود مبدل به خورشید تموز ** آن مزاح بارد برد العجوز