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The Persian Popular Songs Attributed to Xayyam Nam me: The Persian Popu ular Songs Auth hor: Reza Parchizadeeh Publisher: Zaban Ketab Layout: Morteza Shalili Impression: First Datee: oct 2010 Num mbers: 5000 ISBN N: 978-600-5006-09--4

‫اﻧﺘﺸﺎرات زﺑﺎن ﻛﻛﺘﺎب‬ P Songs The Persian Popular ‫ رﺿﺎ ﻲ‬:‫ﻣﻮﻟﻒ‬ ‫ﭘﺮﭼﻲ زاده‬ 1389 ‫اول‬ ‫ ل‬: ‫ﻧﻮﺑﺖ ﭼﺎپ‬ 978-600-5006 6-09-4 :‫ﺷﺎﺑﻚ‬

Disttributer: Zaban Tafakkkor Add dress: No 609, Forouzzandeh Passage, Enghelab Avenue, Tehran, Iran Tel: 098 21 66499414 – 098 0 21 66966673

 

‫ ﺳ‬:‫ﭼﺎپ و ﺻﺤﺎﻓﻲ‬ ‫ﺳﻴﻤﻴﻦ‬ 5000 :‫ﺗﻴﺮاژ‬ ‫ ﻳﺎل‬50000 :‫ﻗﻴﻤﺖ‬

Reza Parchizadeh All rights reserved. No part of this book may be reproduced in any form, or incorporated into other books or any information retrieval system, electronic or mechanical, without the written permission of the author. However, quoting from and making references to this book is permissible if the source is mentioned.

Instead of Preface A. J. Arberry once wrote: “Every scholar of Persian firmly resolves, quite early in his career, that whatever other temptation he may yield to in the course of his alluring adventures, he will never be drawn into the Omar Khayyam controversy”. As the awe implied in this statement quite clearly and typically demonstrates, the case of Omar Khayyam and the poetry attributed to him is truly a vexed affair, a can of worms whose opening has caused quite a lot of trouble and set the stone among both the amateur and professional intelligentsia in Iran and abroad during the past century-and-half, but one from which there is no escape for anybody who comes to grips with the vast array of Iranian literature. To tell the truth, the case has proved the same for me, and perhaps even much more complicated, especially since I have more or less felt in the first place many of the cultural, social, political, and on the whole, epistemological pangs that were the causes of the coming into being of those pieces of poetry that since childhood, far away from any hint of transoceanic scholarship, have grown on me. Consequently, what comprises this volume is the result of a twofold study, both personal and academic, from intimate experience and scholarly reading, of the Songs, the very Rubaiyat. For some reasons, and they mostly having to do with my obsession with competence and perfection, at first I preferred to issue this volume without any introductory note or foreword whatsoever that, regarding the huge quantity of the material to be mentioned and also the multiplicity of the points to be addressed, would inevitably leave out much to be desired; but later on when I understood that I might not

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survive this storm of madness that has been ferociously ravaging my homeland for quite some time now (For in this Storm whatever stands is curst!) and be no more to give out the entirety of what I have discovered in this regard so far, I resolved to impart at least a small portion of my findings to the world in the form of this very brief preamble which I called “Instead of Preface”. Xayyam (in transliterating the proper name Xayyam /xæj'jä:m/ into English, I, according to the IPA standard, will henceforward employ the phonetic [x] (the velar, voiceless fricative) instead of the orthographic /kh/ formerly in fashion) is perhaps the most well-known of the Iranian ‘poets’ around the world; however, there is no single piece of concrete evidence indicating that he was really a poet. In fact, even the biographical information on him is scarce, and it was the interest made by the Songs attributed to him that lead to the considerable biographical research on him that in turn resulted in the finding of the very scanty and hazy items of information about his life that we now possess, of which Zhukovski’s comprehensive research after more than a century still proves to be an unparalleled summation. Consulting the small amount of historical documents – and that largely anecdotal and narrative-like – on his life demonstrates the verity that Xayyam, during his lifetime, and as a matter of fact long after his death, had nothing to do with poetry, and what has become famous as Xayyam the Poet is in effect a “persona”, a “construct” of the latter historical sources which has been shaped according to age-old hackneyed sensibilities and conceptualizations of the man Xayyam as an “atheist, maverick philosopher” that in modern times, first abroad and then in Iran, due to quite a few biased assumptions and concerns that have generally nothing to do with the significance of the Songs per se, has been presented to the contemporary reader as The Xayyam; so it appears that the

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attribution of the Songs to Xayyam in modern times is the result of a very shaky consensus among the Western and Eastern scholars based upon the scanty anecdotal and narrative-like information of the pseudo-historical sources. Consequently, most approaches to the Songs so far have been systematically subjected to a mythically overwhelming “Romantic Fallacy”, which is the investing of everything about a work of literature in its author – and in the case of the Songs generally in their translator – and his/her personal quirks and whims, which has most of the time been overemphasized in an impressionistic manner to the neglect of other possible modes of conceptualizing and reading the Songs.

parodies (for example, Gelette Burgess’ The Rubaiyat of Omar Cayenne (1904)), and perhaps most important of all, the Omar Khayyam Clubs that sprang overnight like fungi all over England and America; and through these, just at the turn of the century, Iranians themselves became aware of the existence of this “Grand National Poet” who had surprisingly evaded their attention for around a millennium or so.

Arguably, the most influential – and not the sole – factor in imposing this so-called Romantic Fallacy upon the Songs in a post-Romantic and imperially anti-individual era was the single-minded characterization of the persona of Xayyam as the “romantic heretic” by Edward FitzGerald who in the midnineteenth century translated into English and up to the time of his death issued in four editions (a fifth edition came out posthumously) the poetry attributed to Xayyam mostly in ‘No. 140 of the Ouseley MSS.’ at Bodleian, Oxford. During the immediate decades after FitzGerald had popularized the Songs and also in the decades following his death, the many scholars and amateurs who were mainly genially and sometimes acrimoniously struck by this “Petty, Impious, Oriental Piece of Attitude” went to work to provide this loved-hated Myth of Xayyam and his ‘poem’ with the much-needed variously benign and malignant by-products such as rejoinders (for instance, Robert Browning’s Rabbi Ben Azra (1862)), plaudits (such as that made by Charles Eliot Norton), imitations (James Whitcomb Riley’s The Rubaiyat of Doc Sifers (1897), for example), morphologies (such as that made by Edward HeronAllen), pathologies (as partially made by the Reverend William Hastie in Festival of Spring, from the Divan of Jallaleddin (1903)),

In the ages after FitzGerald, especially since the first quarter of the 20th century, the two trends of Xayyam Scholarship in Iran and abroad, by maintaining at the basis of their creeds the Myth of Xayyam as the romantic heretic, something of Milton’s Satan, Shelley’s Prometheus, and Byron’s Manfred, have gone two rather separate ways: while the Iranians, following in general Arthur Emanuel Christensen’s lead and the reductionist method he proposes in Recherches sur less Rubaiyat de Omar Khayyam (1905), have impressionistically – remember the title “the Sweet-Singing Bolbol (nightingale) of Iran’s Literature” much conferred upon Xayyam – and contentiously been busy establishing a ‘genuine’ canon – sometimes intellectual and some other times, surprisingly, mystical – worthy of the status of the Grand Hakim by standing at loggerheads over such sorry questions as “Where lies the earliest account that contains a suggestion to Xayyam? Was Xayyam from Lokar or Neyshabur? Had he been a direct or an indirect pupil of Ebn Sina? Had Zemaxshari truly seen him? What was the nature of the question he asked Beihaqi”, and by treating the Songs as hermetic phenomena independent of historical and social influences, significances, and consequences; the Westerners, following in the footsteps of FitzGerald, seem to have been much preoccupied with the romance of the Songs, the impressionistic adoration of a cult figure (surprisingly enshrined not in the person of Xayyam the ‘poet’ but in that of FitzGerald the translator), and, of course, with rivaling one another over the possession of the

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supposedly older manuscripts which contribute to the making of “Complete Translations”. Again, following FitzGerald’s lead, most of the translators of the Songs into English from Whinfield to Avery have majorly imposed the status of dithyramb on the Songs, while in fact they prove to be much more versatile pieces than just that. Now it comes as a surprise that after around more than a century and a half that the Case of Xayyam has been opened and the world of letters and its corresponding criticism and theory have undergone quite drastic and revolutionary conceptualizations and transformations that sometimes altogether change the nature and the reality of the literary phenomena, the approach toward Xayyam and the Songs attributed to him all over the world is still much the same as what opened this Case in the first place; as if time has been frozen for the nostalgic preservation of one particular mode of reading these truly timeless phenomena, or even more, for the greater fear of unsettling an acclaimed adamantly-established literary tradition. Consequently, the approach I have adopted in this volume will aim at presenting the other side of the coin of the “Question of Xayyam”, which, although more logical, has less been brought to attention and in fact most of the time has been suppressed for a host of material and ideological reasons (for instance, remember H. H. Shaeder’s extreme stance that “the name of Xayyam should be blotted out from the bulk of Iranian literature” put forth in the Oriental Convention of Bon in 1934); that is to say, what this collection intends to deliver is to show the truth that apart from the question of who composed them (and I will indicate in the Notes of this collection the attribution of these Songs to other poets as well), the Songs per se possess a unique multi-layered dynamic significance in the premises of Iranian culture and literature whose discovery will help a great deal to the disclosing of the

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cultural and social epistemology of the Iranians through the passage of their history, and thus by adopting this radically adverse method of research to substantially push the parochial contemporary study of these phenomena toward stretching itself in all other possible directions. Therefore, in this collection, instead of focusing my concern on making a solo “Canon” through personal taste, baseless conjecture, and wild guesswork, I have tried to bring to view a representative sample of the vast array of a unique phenomenon called Song. Before I advance in my argument, I see it necessary to expound the significance of the term “Song”. To tell the truth, in this collection in particular and in any book or paper that I will publish on the matter henceforward, the term Song does not mean just any song, for in the form of the three or fourrhymed quatrain with a particular prosodic meter there have been composed many pieces of poetry with various significances in different eras in Iran. What is the target of this collection, however, is that miscellaneous array of pieces which more than a century ago have been termed by the Russian scholar Valentine Zhukovsky the “Wandering Quatrains”, which stand for the Songs that have been attributed, beside Xayyam, to more than one person, and whose ultimate composers have never been identified; nevertheless, with regard to the existing earlier historical documents that do not speak of Xayyam as a poet and also in respect to many other factors at which in the course of this volume will be mostly glanced, in this collection I have extended the sense of the phrase to all the pieces of poetry attributed to Xayyam; for these pieces, or at least most of them, can truly be regarded as the “Enfants Terribles” and thus the “Foundlings of Iranian Literature” that according to the common lore in an age of extreme “Transcendental Illogicalism” (remember the violent rise of the militant Ash’arism in the ages contemporary with and then following

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Xayyam) could have been attached to no more of an (un)suitable stepfather than Xayyam the “Materialist Philosopher”! For the collecting of these Songs, not only the famous and the not-so-famous manuscripts of the Songs all over the world and their corresponding renderings into other languages (if extant) were consulted as far as possible, but also the various Iranian and non-Iranian contemporary editions as well as the personal collections and notes of interested people, all of which bear their own importance according to the pluralistic approach of this book. With regard to the fact that the arrangement of the Songs in a strict or even partial chronological line proves to be virtually impossible, and it is very likely that a Song manifesting the stylistic features of an era actually belong in another era, and also considering that their arrangement according to the last letter of the rhyme which has become dully common reportedly since the 15th century by the compilers of the socalled ‘Sundries’ in Iran, or their arrangement according to the mood of the singular persona advocated by FitzGerald, would prove to be more of a matter of convenience, or rather of taste, than of scholarship, I decided to discard the idea of any particular kind of arrangement altogether right from the start. Besides, as most of the Songs uncompromisingly prove to be the representatives of the ‘alter ego’ of the Authorized Iranian Literature, this apparent disarray would already befit the generally centrifugal and subversive essence of the text as well. Nevertheless, for reasons that I am going to explain in the course of this preface, the Songs, in regard to their major concerns, their prevailing motifs, and the tone of their expression (a major factor which has never been taken into account before while collecting and also translating the Songs) have been classified in four categories, which again is never

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the Ultimate Say on them; for though taking into account many rather objective pieces of reference, disciplines, methods, and technical features such as morphology of genres, stylistics, semiotics, history of ideas, stocks of imagery, verbal texture , etc., in the collecting of these Songs, a great part of this practice of categorization still proves subjective and depends upon the judgment of the collector, as a Song which has been subsumed under one category regarding a few features can be put in another category with regard to still some other features; or if the collector had heard the Songs recited to him by the ones who composed them in the first place, he might have caught a different tone than what he assumes to be the right one, and so on and so forth. In other words, now that the only thing we can hear is the faint echoes of a legion of lost “voices” – for the voices of the authors of the Songs have been practically lost in the course of history – and their immediate or rather ‘synchronic’ significances and preoccupations are in large measure absent from our consciousness, we can do no better than to make do, mostly in regard to the lot of the concrete features I cited above, with the overall “tone” that any one single piece of these Songs offers; and truth be told, this is just as far as I could reach according to experience and study. The abovementioned categories are: 1) Expressive, 2) Mystical, 3) Winy, and 4) Critical, which will be expounded on respectively. Almost the first half of the book is dedicated to the Expressive Songs. The main concerns of these kinds of Songs are the Questions of Fate and Mortality, which is expressive of the collective (as far as I am informed) existential anxiety of humanity. The unique point about these Songs is that though fate and mortality have long been major concerns of literature all over the world (for example look at the Babylonian Gilgamesh, the Greek Iliad, and the tragic episodes of the Persian Shahnameh), but the existential attitude had never been

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articulated in such a tersely epigrammatic, highly mellifluous, and imaginatively graphic manner before, which were the very distinctive characteristics that at first brought the Songs to the attention of the Westerners – especially the English-speaking people who themselves had Hamlet as the modern archetype of existential anxiety – that in turn brought the Songs to the attention of the Iranians themselves. As a matter of fact, these Songs in general have rather more of Stoicism in them than of out-and-out epicureanism (with a lowercase 'e', I insist), or even less, of downright mysticism; and their composers most of the time seem to have had something in common with the man conscious of his paralyzing entanglement in the quagmire of the post postmodern world than with the romantically escapist Victorians for whom FitzGerald reduced them to “saddest when most ostentatiously merry”. For this, it may prove a legitimate scale to stand the Songs’ general air comparison with that of Shakespeare’s most grim and at the same time ironic character. Just as a case in point, look at the succinct manner in which this Song

Hum! This fellow might be in’s time a great buyer of land, with his statutes, his recognizances, his fines, his double vouchers, his recoveries. Is this the fine of his fines, and the recovery of his recoveries, to have his fine pate full of fine dirt? Will his vouchers vouch him no more of his purchases, and double ones too, than the length and breadth of a pair of indentures? The very conveyances of his lands will scarcely lie in this box; and must th’inheritor himself have no more, ha? (5.1.90102)

There’s another. Why may not that be the skull of a lawyer? Where be his quiddits now, his quillets, his cases, his tenures, and his tricks? Why does he suffer this rude knave now to knock him about the sconce with a dirty shovel, and will not tell him of his action of battery?

Again like in Hamlet, the high frequency of the verbs pertaining to static situations such as sitting, lying, and, most important of all, thinking in the premises of these kinds of Songs produces a feeling of passive latency which inspires resignation. On the other hand, the imagery that these Songs employ is mainly concrete, and there are a small number of figures of thought present there that might tilt the pieces towards abstraction, which confers upon them an active sense of tangibility that is a well-known characteristic of early Farsi poetry of any kind; and this is a major difference between much classical existential literature and its modern counterpart all over the world that when both of them express much the same feeling, one does it generally through the “foregrounding of the concrete” and the other mostly through the “concretization of abstractions” (for the exposition of a wellreasoned instance of this argument refer to T. S. Eliot’s Hamlet and His Problems and the notion of ‘objective correlative’ he puts forth in this regard), both of which have much to do with the concept of “tone”, with whose consideration we reach the major crux of contention between this translation and the other translations of the Songs into English.

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I passed the city market yesterday, And saw the potter kick and punch the clay! The earthen plopped and peeped as if to plead: “I used to be like thee! For mercy stay!” states the very concept which is put forth in many words by Hamlet:

Truth be told, the tone which is one of the most crucial factors in the reading of the Songs is not simply a smoothly lyrical one in case of this first category, but in fact a semirugged Epi-Lyrical tone (Epi stands for Epic). The major portion of the corpus of Farsi lyric poetry of early ages that commonly originated in the eastern parts of the present-day Iran and well beyond it both eastwards and northwards, under the influence of the ancient epical epistemology of these parts – which surprisingly survived the Arab Conquest and lingered until the 10th century – is highly epical in tone. This is the reason why even the most lyrical moments of early Farsi poetry still smack of epic. In addition to this, complaining to Heavens while drinking wine is a technique of the Epic Tradition of Iranian literature, which is in fact based upon the Gosanic pattern of the Parthian period (a Gosan, as Mary Boyce defines it, was an ancient itinerant bard who used to recite poetry of epical nature, perhaps to the accompaniment of an instrument). Interestingly, the sequence or the scene that most of these Songs depict is like the time when any one of the Persian epic heroes drinks and meanwhile complains to Time and Erath and Heavens for the pain they inflict upon him. As it seems, these tightly integrated episodes, after undergoing a great deal of technical and ideological transformation by gathering the moss of different disciplines through their rolling in the course of history, have developed an independent character and metamorphosed into a completely separate entity, namely Song.

grape-juice”, the intention of the piece by no means is the sole praise of wine, but more crucial questions and concerns are at stake here. In other words, the ‘Rubaiyat’ is not just some little bittersweet dithyramb composed to accommodate the taste of a particular bon vivant class of disillusioned people in a particular place and a particular time, but the fiercest politically-charged bulk of classical existential poetry that I have ever seen, and certainly it deserves to be treated as such both in original and in translation. Alas that the swift wings of the soaring Eagle were clipped to make it puddle around like a domestic Swan!

These bits of stylistic information reveal the fact that the exclusive “carpe diem” and “drink-while-you-may” interpretation that many times has been forced upon the Songs holds true only partially of them, and that the presence of wine in most of these Songs is in effect a long-lasting stock tradition which is a technical necessity of their genre, and though this wine is certainly the very “crimson, half-bitter, intoxicating

However, it must be taken into account that through the passage of time and with the evolution of the epistemology of Iranian poetry, this traditional imagery of wine was employed in many sundry guises not only in the premises of the latter Songs (to which will be suggested in this book by means of their stylistic features) but also for the expression of other kinds of concerns. What is to remember here is the fact that literary icons and traditions – just like any other tradition – are diehard concepts, and once they have been imprinted into the collective mind of their general audience and acquired the status of habit and expectation, they become really hard to eradicate or to alter; thus, the most subtle and efficient way to sterilize them is to “possess” and take the advantage of the ready-made implications of these already-existing icons and images through their “corruption”, which is, instead of struggling to eradicate them outright, to use them in order to convey different or sometimes inverted meanings, whose most famous instance in the premises of Iranian literature has been the Metamorphosis of the Earthly Wine into the Mystic Wine by the mostly Ash’ari (a radical polemical branch of Islam) mystical orders, which threw FitzGerald, Nicholas, and later Graves into confusion, and became the bone of contention among them; for as Deleuze and Guattari once put it, it is not

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easy to see the ‘grass in the words’: “The question is one of perceptual semiotics. It’s not easy to see things in the middle, rather than looking down on them from above or up them from below, or from left to right or right to left: try it, you’ll see that everything changes (A Thousand Plateaus, 522).” Interestingly, during the popular uprisings of 2009-2010 against the theological totalitarianism of the regime in Iran, the many people who “appropriated” the hackneyed slogans and “calls” of that very regime with a fresh load of significance in order to break the monopoly of the System on quite a few binding aspects of the prevailing ideology of the country so as to undermine its hegemony demonstrated the applicability of this very principle of ‘corruption’ to everyday life in contemporary times yet again. To return to our argument, with regard to the grumbling stance of most of the Songs, it should be considered that these Songs, in addition to following the pattern of those famous episodes of complaining to Heavens (which is an implication of a belief in some sort of metaphysics) during a session of drinking, prove to be the disillusioned parodies of those very episodes as well. Thus, in the heart of each Song there certainly lies some kind of cosmic irony which further complicates the layers of readings of the Songs. And this is why I have tried to employ some kind of pseudo-Biblical idiom in general for the rendering of these Songs in order to double the fall of the pomposity that they both praise and parody in expressing, which reminds me of the late Sergio Leone and his epochmaking so-called ‘Spaghetti Westerns’ that introduced another more acute side to the then clichéd genre. As a result, almost each one of the Songs offers a number of conflicting “subject positions” from which to be read and speculated upon; in other words, within the four-line confines of a Song there is usually packed a host of different emotions

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and divers or even paradoxical worldviews that generate alternative layers of meaning; and this truly proves to be the translation of the Iranian people’s generally polymorphous epistemology that though intensely impassioned yet subtly rules out the belief in any one idea in the long run, whose pangs and tantrums have clearly demonstrated themselves in the land’s long history which has constantly altered its course through unexpected upheavals and revolutions that later have been left to their own devices. It is not pointless that Christensen considers the Songs the “Poetic Encyclopedia of the Spiritual and Psychological Life of the Iranians”, and thus takes them to be the most prominent literary work that the Iranians have created so far. This comprehensive cultural encyclopedia which by the attestation of many historical documents and stylistic features has its roots in the oral tradition of Farsi poetry far away from the strict observation of the Shah, the Vizier, the Ayatollah, the Censor, etc., comes to a manifold prominence when we know “… Farsi poetry in all eras, more or less, directly or indirectly, has been a kind of poetry at the service and under the patronage of the elite and the aristocracy, and thus suited to their learned taste and level of understanding. Consequently, the poetry which contains elements of the popular life and depicts the image of Everyman is a very rare thing in the premises of Iranian literature (Mohammadreza Shafi’ii Kadkani, The Imagery In Farsi Poetry, 288)”. In effect, these Songs which lie a far distance from the controlled and restrained formalism of much of the ‘formal’ and official poetry of the land, can truly shed considerable light on at least part of the Iranian people’s historical psychological, social, and political preoccupations which have also found their way to the present and shaped the contours of the contemporary events.

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The Tree of World no sturdy scion burst, For in this Storm whatever stands is curst! The boughs we seize have gone from bad to worst: To-day as yester deem, the morn as first! So much for this first category! Now let us move to the second cycle of the Songs, what I have called the Mystic Songs. As I mentioned above, the mass of the Songs is truly an encyclopedia of various worldviews and different approaches to life which makes the bulk of them slip any strict categorization, and this maybe the boon rather than the bane of the Songs that whether the reader immediately grasps this fact or not, they, when placed beside one another, articulate the very concept of “polyphony” and reject any one single reading of themselves as a whole (and this is in addition to that epistemological polymorphism that most of the firstcategory Songs and many of the other ones offer). Thus it should not come as a surprise if among all the fatalistic and anti-metaphysical Songs there should exist also a considerable number of Mystical Songs which seemingly stand at the other side of the gamut and struggle to maintain the epistemological contrast within the bulk of the Songs. Historically speaking, with reference to mystical documents – which are more than abundant – we are informed that these kinds of Songs are almost as old as the first ones, and as a matter of fact most of these Songs, generally addressing themselves to the same concerns of the first cycle of the Songs through much the same imagery, seem to be the mystical answers or counterparts to those Songs, which is perhaps the reason why they have been put together by the unknown collectors of the historical collections of the Songs called ‘Sundries’. However, there are also Songs – though lesser in number – in this category that, expounding on the concerns of Sufis and mystics outright

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through their own specialized imagery, bear no relation whatsoever to the first ones, or the second ones for that matter, and their placing among all those somehow-similar Songs is a mystery itself. Since mysticism in its Iranian context in fact purports to be the ‘internalized’ and subjectified version of the former ‘external’ and objective epic, and the Mystical Voyage in effect stands for an Epic Quest that leads to the “Greater War” with and then the slaying of the Dragon of Self or some such allegorical monster (remember Spenser’s The Faerie Queene and Bunyan’s Pilgrim’s Progress, for example), and then the general inclination of the mystics themselves to “epicize” their cause – which can be an indication of the internalization and spiritualization of the very ancient epic in reaction to the oppressive presence of the Arabs, Turks, and Mongols in Iran’s latter history that effectively ruled out the possibility of the cherishing of any “national epic” – all in all suggest that these Songs, like the first ones, must also convey an epic tone; as the employment of the cadenced and beating prosodic measure of ‘Ramal’ in two of the greatest works of mystical poetry in Iran, namely Attar’s Conference of Birds (early 13th century) and Rumi’s Masnavi-ye Manavi (late 13th century), which has also been called the Mystic Shahnameh, boosts this idea. Thus the reading of these Songs must in all probability also be EpiMystical in fact, which has been considered in their translation as well. Needless to say, in addition to Xayyam (that with reference to no extant historical document can be considered the author of these kinds of Songs), most of these Songs have also been attributed to others as well. O Soul! We fare alike the compass’ feet: Though roll apart, we hold a solo seat! Now we revolve around the Center Dot, Till comes the Circle full, and then we meet!

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As for the Songs I called Winy, since I explained the truly elusive nature of the “wine in the context of Iranian literature” in some detail when speaking about the first category of the Songs, I can only add it that though all over the world the Songs are generally known through their preoccupation with wine-drinking and time-seizing, in fact only a limited quantity of them have wine as their principal core of concentration, and again among these Songs only a very scanty number exclusively and without presenting any other concern deal with these now hackneyed and threadbare motifs; in other words, most of these kinds of Songs are not “dithyramb proper”, and the praise accorded them as such is largely misdirected. Truth be told, the majority of these Songs, through employing the Islamic bête noire of wine and its accoutrements – perhaps as psychological taboos – harshly lampoon the seemingly other-worldly promises of Heaven and Hell, the pigheadedness and also the treachery of the religious and civil authorities in prescribing and doling out “Shalts” and “Shalt Nots” respectively to attain Heaven and evade Hell, and the boneheadedness of the blindfolded “mob” that regards these Shalts and Shalt Nots as Divine Decrees, which links them closely to the last category of these Songs, namely the Critical Songs. The Sun hath thrown upon the domes his shaft!

both of them together, the major difference between them being that in the premises of the former category the concern with wine almost exclusively plays a central role in the semantic formation of the piece, while in this class, where wine might be either present or absent, the core of concentration mostly comprises other concerns beside that of wine’s. As is true about many of the Winy Songs that came before, the sarcastic irony is the cornerstone of these Songs; in other words, the prevailing factor in them is irony – and consequently the dominant tone in them is ironic as well – which pertains more to head than to heart; thus lyricism, though extant in them, is actually more of an undertone than an overtone, and their epic sublimity virtually equals naught. In comparison to the two former classes of the Songs which were generally pictorial and occasionally studded with similes and metaphors, these latter two can mostly be regarded as verbal pieces that use the prosodic form of Song as a vehicle for the stark conveyance of a particular dissenting stance or ideology. Consequently, with regard to commonsensical esthetic and literary norms most of these Songs can be dismissed as ‘Unpoetic’ or at most oratorical, but with reference to the scanty historical documents on Iranian literary criticism we can say that in their own time they were certainly regarded as poetry.

To tell the truth, these Songs, which prove to be the most category-fleeing of them all, share many traits with the Songs of the former Winy category, which is why I decided to explain

These Songs that by questioning the common methods of establishing truth and conviction gaily flout the authority of the ruling system which only speaks in ‘serious absolutes’ in order to conceal the instability of the basis on which it has been founded, are in fact the strident criticisms of the social and political mores and try to lay them bare by showing how phonily ridiculous they are to the root when divested of their authoritative mask. To put it in Zizek’s terminology, these Songs generally work through a process of ‘kynicism’: “Kynicism represents the popular, plebian rejection of the

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King Day hath raised his flagon by the haft! To crocks! For Dawn’s Herald hath made the call: “O crock-a-doo-dle-do-and-dawny-draft!”

official culture by means of irony and sarcasm: the classical cynical procedure is to confront the pathetic phrases of the ruling official ideology – its solemn, grave tonality – with everyday banality and to hold them up to ridicule, thus exposing behind the sublime noblesse of the ideological phrases the egotistical interests, the violence, the brutal claims to power (The Sublime Object of Ideology, 319).” Thus, concerning their general tone, these Songs resemble the more verbally witty and psychologically sophisticated poetry of the latter ages (and this is why mostly with respect to these kinds of Songs many have found a Hafez-like charm in them that arouses the suspicion that Hafez might have committed plagiarism) than to the primitive mytho-epical complaints of the early Farsi poetry. Interestingly, this category (?) of Songs, generally in respect to the challenges it puts forth and the implications it makes, constitutes that portion of these verbal phenomena that lends itself more readily to a political criticism; in other words, it is these very Songs that in a more direct and accessible manner could be used for the sociopolitical analysis of their ages – in case of their traceability – and even more important than that, that of the contemporary era which manifestly sticks to much the same ‘values’ and ‘prejudices’. O Leader Chaste! Just once with us agree! Be fair and lift against us your decree: What we do right you just regard as wrong! Go heal your eyes, for God! and leave us be!

19

And this practical prospect, alas, is what has been virtually completely lost in the pell-mell of biased antediluvian squabbles over whether Xayyam was a poet or not or whether this or that Song belong to him or not; for many years after the flagging of the fever of ‘Discovering’ or rather ‘Inventing’ Xayyam, it seems that nobody is inclined anymore to open his Case yet again in order to unearth the correspondence between the supposed poetry of this Xayyam and its contextual concerns, which are by no means trivial or small in amount for that matter – Song in general has never been ‘art-for-art’ poetry, and shed new light on the Song Phenomenon, and as long as a poet is laureated and his ‘sublime poetry’ is sifted from the ‘lowly verse’ of other poetasters, it proves to be perfectly enough for the world and the case must be permanently closed! As Eagleton observantly encapsulates the process, “To secure the meaning of a work for all time, rescuing it from the ravages of history, criticism has to police its potentially anarchic details, hemming them back with the compound of ‘typical’ meaning. Its stance towards the text is authoritarian and juridical: anything which cannot be herded inside the enclosure of ‘probable authorial meaning’ is brusquely expelled, and everything remaining within that enclosure is strictly subordinated to this single governing intention. The unalterable meaning of the sacred scripture has been preserved; what one does with it, how one uses it, becomes a merely secondary matter of ‘significance’ (Terry Eagleton, Literary Theory: An Introduction, 68).” Now that the reader has been informed of the different significances of the Songs and consequently the process of collecting and categorizing them in this book according to those significances, it is only proper to look in detail at the formal structure of the Songs and then the process of their rendering into English as well.

20

The ‘Rubaiyat’, as the Songs are known to the world, is the plural form of Roba’ii /robä:'i:/, which is an originally Arabic term, roughly meaning ‘foursome’, used to name a certain quatrain or tetrastich with distinctive technical and semantic features. Perhaps it should sound ironic that the only prosodic form supposedly invented by the Iranians (as I have mentioned before, my stance on this issue inclines towards the improvement of Song from older existing disciplines and forms rather than its outright invention) after the Arab political as well as poetical conquest of Persia in the 7th century C.E. should be known in its Arabic version all over the world; however, since Iranian poetry owes a great deal to its Arabic counterpart, this process could be marked as a good case of profitable reciprocation, since the form became popular in Arabic as well – even a handful Arabic Roba’iis and pieces, perhaps as the result of the false allurement to relate and to liken him to the pessimistic medieval Arab poet Abol’ala Ma’arri (363-449/12th century), have been attributed to Xayyam; and there exist numerous Roba’iis in original Arabic, though not so well-known as the Iranian ones worldwide. Nevertheless, Iranians themselves would mostly prefer to call this piece of poetry a “Taraneh”, which means Song; and this is one of the reasons why I prefer the more emotion-packed Song over the technical term Roba’ii, or Quatrain for that matter.

Song language finds not many opportunities to maneuver in a boldly marked manner, what in large measure determines the significance of the piece is not the generally hackneyed figures of thought or speech (I formerly hinted that most of the formal techniques and imagery used in the premises of the Songs in fact originally belong in the earliest eras of Farsi poetry) employed in it but the very tone in which it is uttered; in other words, Song, 1) in contrast to most of other Iranian poetic genres, proves to be a ‘meaning-first’ genre; and 2) it is one of those rare literary phenomena all over the world whose tone actively plays one of the most prominent roles in the delivery of its significance; and any failure on the part of the reader or the translator of these pieces to take into account these crucial factors could introduce wrong cues into the process of interpreting their significance.

Semantically speaking, Song is one the most organically coherent forms of Farsi poetry, for while in Qaside (ode) and Qazal (sonnet) the concentration of the poet is mostly on the syntagmatic axis of the poem and consequently the stikhos or the line in any of these forms is almost always an independent unit of meaning, in Song, most certainly for its brevity, both the syntagmatic and paradigmatic axes of the poem are equally taken care of, and the two lines, or more accurately the four hemistichs, usually strive toward the delivery of one single significance. In addition, since within the confines of a

The process of the signification of the Song or the manner it systematically employs to produce meaning typically – but by no means always – follows this pattern: the first and the second rhyming lines express and re-express, in a patent representation of the features of oral poetry, a statement in different images, soaring towards a climax; then the third line, which is usually blank, both sustains and suspends the heightened movement of expression by diverting the musical pattern of the two previous lines as a short breath before the plunge; ultimately, the forth line precipitates down the slope towards the hammering of a final strong rhyme which releases all the significance of what has been expressed so far in a dramatic manner, violating the soaring perception of the reader with a shrewd semantic bathos. The final line which is called the ‘hemistich of stress or beat’, taxing all the mastery of the poet, in effect proves to be the all-stitching hemistich that ends in an abrupt and striking manner the already curt piece, to enforce whose effect the employment of a shock-inducing rhyme – semantically speaking – will help a great deal (some

21

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believe that in most cases it was actually the fourth line that was composed first, and then the rest used to be made on the basis of and in accordance with this last line). In Hegelian terminology, it can be said that the first three lines constitute the premise, or the thesis, of the argument, and the last line nails down the usually antithetical response which somehow contains something of the premise as well, leaving the discovery of the off-stage synthesis and its effects to the reader; in other words, by first keeping up with the normative expectations of the listener or the reader and then by brusquely and treacherously transgressing those very expectations – whether by means of emotion or irony – instead of carrying on to boost them, the piece usually pushes the reader towards the keeping of an “empathetic distance”, a phenomenon whose creation is the specialty of the genre of Song. Incidentally, this cardiogram-like pattern reminds one of a miniature four-act drama of life itself with all the necessary components such as the rising action, the climax, the falling action, and the denouement; and, as a matter of fact, many of the Songs have been constructed in a manner so as to convey a sense of dramatic encounter rather than just delivering a monotonous expression; and the frequency of vocatives, imperatives, and interrogatives (that point at least to an implied addressee) in the context of many of them intimates this very dramatic immediacy. Thus, the Songs are much alive in their being not only stoically lyrical, but also boisterously dramatic snapshots of life; a fact that most of the time has been disregarded about them by their interpreters. Within the tavern lay an old man tight; I asked: “Why not of those bygone indite?” Replied: “Go tope! For like us much a wight Have gone and none returned! And that’s alright!”

23

The rhythmical pattern of Song, according to Iranian prosody itself, is one of the most volatile patterns in all Iranian poetry – maybe fitting its subject matter. Perhaps in its original Farsi the form Song could have been embraced by a cardcarrying formalist such as Shklovsky who once stated: “It is obvious that the systematization will not work, for in reality the problem is not one of complicating the rhythm but of disordering the rhythm – a disordering which cannot be predicted (Art as Technique, 65).” A Song contains, most of the time, but by no means always, four twelve-syllabled lines with a rhythmical pattern of – – U\ U – U –\ U – – –\ – and a rhyme pattern of ‘aaba’ in general, or ‘aaaa’ in some particular cases, which supposedly takes back the origins of Song to the infancy of Iranian poetry in its oral phase. Now this Farsi formal pattern of Song has been rendered into the most naturalized of all the English prosodic measures, namely the (rhymed) iambic pentameter (U –\ U –\ U –\ U –\ U –) by most of its early translators including FitzGerald himself. Formally speaking, whereas I must confess that what FitzGerald did regarding the introduction of this novel genre into English was one of the most spectacular feats of formconveyance (in contrast to meaning-conveyance) in modern times, none the less by ignoring many of the structural and vocal aspects of this form that, as I have formerly demonstrated, quite crucially bear upon its significance, he introduced misreadings (remember Arberry’s “numerous infidelities of interpretation which go beyond the generous margin of poetic paraphrase”) into the bulk of the Songs which through the fetishizing of his translation in later times acquired the status of a creed that endured in the collective consciousness of the world up to this very moment. Truth be told, an original Song’s typical ‘vocal’ characteristics such as its cadence and rhyme-pattern are more in vain of that of Dryden’s and Pope’s strong end-stopping

24

heroic couplets than that of Wordsworth’s and Keats’ smooth and running-on enjambments that FitzGerald and the later translators of the Songs into English generally adopted. Thus, since the Songs are one of the most cadenced forms of Iranian classical poetry, a rather faithful translation of most of them, technically speaking, is a rendering that transforms that very anxious palpitation into English as well by, for example, continual adherence to the natural beat of the iambic pentameter line that amplifies the rhythm, recurrent use of monosyllabic and disyllabic vocabulary items that convey a sense of immediacy and brusqueness, frequent employment of antithetical balancing techniques (which are fortunately galore in English) that generate a virtual bicameral environment of pseudo-epical this-and-thatness (black-and-whiteness?), regular observation of alliteration, assonance, consonance, and other vocal techniques that unify the piece phonetically, etc. In this rendition, as well as employing the many of those techniques already mentioned, I have introduced yet another original musical feature of Song, a peculiarity of Farsi lyric poetry, called ‘Radif’, meaning ‘in one line’. As its name suggests, Radif is a kind of autorhyme which is repeated in the three and sometimes in all the lines of a Song after the rhyme, its function being to enrich the melody of the piece and to boost the musicality of the rhyme. Semantically speaking, it also induces a collective sense of recurrence essential to the melancholic vicious-circle atmosphere of many of the pieces, functioning as some sort of unfortunate zeugma. In fact, many of the most provoking Songs almost always contain a set of Radifs in their original Farsi. However, as Radif is more of an auxiliary musical boost, and since it is essential to make the rhyme of the forth line – which usually constitutes the final vocabulary item of the piece – deliver the shock-inducing coda of the Song, I have in this rendition observed the technique of Radif insofar as this process of shock-inducement is not

25

disrupted or compromised; otherwise I have opted for the solitary rhyme. Here is an example: This pot as I in Passion’s Wreck hath been! At love’s confounding call and beck hath been! This crooked handle thou see round its neck A hand around a darling’s neck hath been! Regarding proper nouns, terms, and expression, as they, whether orthographically or phonetically, somehow usually constitute the most immediate and concrete evidence of the origins of a text in general, I have managed to maintain their original form, though there maybe Latinized versions of them extant as well, and most of the time ‘transliterate’, instead of translate, them into English, of course with the help of a brief or if necessary a comprehensive endnote to explain the unfamiliar proper noun, term, or expression (and hereby I insist, many of these notes, rather than being auxiliary asides, are in effect constitutive to the very essence of this volume). The most apparent of these transliterations is the name Xayyam /xæj'jä:m/ itself which I mentioned before. Another obvious transliteration is Saqi /sä:'qi:/, in the transliterating of which I have used [q] (the uvular, voiced plosive) instead of /k/ formerly in fashion. Having in view the fact that in Farsi the pronouns and most of the generic nouns do not indicate the gender of the subject, I have tried to maintain this ambiguity in translation as well, unless the context strictly indicates the subject’s or the addressee’s gender. What makes crucial the observation of this peculiarity of Farsi language in rendering the Songs into English is that this phenomenon, which through ages has enormously facilitated the process of censoring and

26

bowdlerizing Iranian literature by both its creators and interpreters (whether classical or modern), in fact hides the true identity of the addressed mate or beloved or some such person which most of the time, surprisingly, is a male rather than a female. About this homophilia I will say more in the context of the book. Though I have contrived to retain the native imagery of the Songs as far as possible, it is my opinion that this very creed of “adhering to what is original when translating” in fact proves to be a marring of every precious opportunity that the target language may offer (and thank God English is rich in and generous about what it might offer in this regard!) for the improvement of the rendering. Therefore, I have been constantly on the alert to replace any original image with what might seem a far more telling image in the target language as long as the integrity of the piece is not compromised. Thus, the renderings of the pieces in this volume, especially with respect to their imagery, prove to be much more heterogeneous than what their originals actually are. Truth be told, many times the imagery employed in the original Songs grows wearyingly similar, and this is where a fresh image could revive the moribund piece. For instance, Iran being mostly an arid country, the desert imagery is abundant in the premises of the Songs. Why not metamorphose some of those ‘deserts’ into ‘seas’ which are a much more telling and nurtured imagery in English worldview? ‘Tis we who stood the test of Chill and Boil! And sailed in hope of spoils beyond the Moil! At last we rendered home no gain but pain, And left behind no tale but Thankless Toil!

27

And about the denseness of the imagery and image clusters in Farsi poetry that makes the process of their proper rendering into English virtually impossible, it is enough to remember that Arberry, perhaps the sanest and most meticulous of the translators of the Songs into English so far, by conceding to the disadvantage of losing the ‘epigramaticality’ of the Songs, replaced the four-line original stanza with an eight-line stanza in order not to lose anything of their imagery. Here I must crystallize the fact that poetry for me is not what is ‘lost in translation’, and that I do not belief in such concepts as ‘heresy of translation’ – at least not to that extreme extent of exclusiveness; for what such attitudes implicate is the total disability in literary communication amongst peoples of various languages that might none the less share a great deal of ontological and epistemological significances – I would carefully avoid ‘universal’ significances; and I trust that at least one can give it a good try before completely giving it up. Thus, I have resolved to maintain, as far as possible, the ‘original’ sense of each single Song as a discrete and independent unit of thought which shares a myriad of features with the rest. This liberal yet binding process is likely to render this volume, by and large, dramatically different from the editions with which the reader is familiar. I do welcome the comparison between the translation and the original which have been put vis-à-vis. I think now, after all I have said about the minutiae of the Songs’ renderings, I have acquired at least a partial right to complain about the ‘labor’ of translation, and through that to explain why I have chosen the title that this volume bears. I must confess that translating the Songs, contrary to what might seem, is a rather demanding task; since, in order to do them justice while transforming them, the translator must be familiar with a great number of different pieces of information and levels of cognition, both within the premises of the source

28

and the target languages, and also be ready to maneuver through many disparate states of mind, tempers, and moods. It is also a tempting process, since many of the Songs, maintaining crude inconsistencies even within their very texts, suggest to be the quintessence of the Farsi oral tradition of poetry gone literary, thus one cannot resist the urge to modify and, as he may regard, to improve them, as I have partially tried to do, mostly by emending the inconsistencies and unifying the semantic significance of each single piece (the variants are also mentioned in the Farsi Notes), even if its new appearance renders it far from the wont of its original audience. This must be the reason, as is the case also with English popular ballads, why there exist many variants of a single Song even in its original Farsi language. In fact, the strongly-evidenced assumption that these pieces have their roots in the oral tradition of Iranian poetry is the reason I have called the present collection The Persian Popular Songs, which, as I am going to demonstrate in my comprehensive study of the Songs (should I be given the opportunity), are more likely and even to a great extent certain to be the collective product of a great number of people over a wide range of time.

troubled a time that the only place where the ripe fruits can show to the full is upon the trees, hanging and withered?

Reza Parchizadeh Summer 2010

Song is no “genre counter”, as Claude Guillen would have termed it, but a genre that has surprisingly accommodated many sundry attitudes that have appeared throughout the history of Iran, and this is why it has been constantly present in the cultural and literary life of the people and has never gone passé like many other once-nurtured genres. Even the Father of Iran’s Modern Poetry, Nima Yushij, has composed a book of Songs. In the end, I must confess that it is with great reluctance that I am now going to pluck the fruit of the constant toil of around four years of my life so unripe; but what can a gardener do when he is bound to a land plagued by so harsh a clime in so

29

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Acknowledgments Hereby I wish to express my gratitude to my dear friend Malek Ebrahim Amiri who this project was “half a child of his mind”, though in the end that child grew far beyond his wildest imagination! I must also extend my gratitude to Dr. Maryam Soltan Beyad who proved to be my most sincere professor during my long years of study at the Faculty of Foreign Languages and Literatures of Tehran University where the initial inspirations for starting this project began to emerge. Alas that those good days are gone! I should also acknowledge my debt to Doctors Mohammad Reza Shafi’ii Kadkani and Sirouss Shamissa, the men whom I have never met but whose exceptional enlightening publications on Iranian literature have proved of great assistance to me in composing this volume in general. Keep up the good work! I must also thank my antiquarian friends Manuchehr Sheida’ii and Farzad Piruz who provided me with several antique collections and also many unpublished manuscripts attributed to Xayyam in Iran and abroad that proved handy in the compilation of this volume. I hope that they will publish all the precious bulk of what they have gathered, much of it rare, in the near future. In the end, my most heartfelt appreciation goes to my wife Somayeh who during my many turbulent days and nights of labor under pressure proved to be the only mainstay that could bestow upon me a sense of moral and spiritual security. I love you, my dear.

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32

(1)

(1)

Thou know when bolts of light the darkness mark,

‫ﻫﻨﮕﺎم ﺳﭙﻴﺪه دم ﺧﺮوس ﺳﺤﺮي‬

Wherefore the cock would on his dirge embark?

‫داﻧﻲ ﻛﻪ ﭼﺮا ﻫﻤﻲ ﻛﻨﺪ ﻧﻮﺣﻪ ﮔﺮي؟‬ 3

He saith: “They showed within the Glass of Dawn 4

That night hath passed and thou art in the dark!”1

‫ﻳﻌﻨﻲ ﻛﻪ ﻧﻤﻮدﻧﺪ در آﻳﻴﻨﻪ ﺻﺒﺢ‬

‫ﻛﺰ ﻋﻤﺮ ﺷﺒﻲ ﮔﺬﺷﺖ و ﺗﻮ ﺑﻲ ﺧﺒﺮي‬ (2)

(2)

‫اﻳﻦ ﺑﺤﺮ وﺟﻮد آﻣﺪه ﺑﻴﺮون ز ﻧﻬﻔﺖ‬

Amidst this Strait which swells of Chasm’s Hide,

‫ﻛﺲ ﻧﻴﺴﺖ ﻛﻪ اﻳﻦ ﮔﻮﻫﺮ ﺗﺤﻘﻴﻖ ﺑﺴﻔﺖ‬

No salt would dare his shaky vessel guide! Upon say-so each captain mapped a chart, But none could tell what lies beyond the tide!

‫ ﮔﻔﺘﻪ اﺳﺖ‬5‫ﻫﺮﻛﺲ ﺳﺨﻨﻲ از ﺳﺮ ﺳﻮدا‬ ‫زآن روي ﻛﻪ ﻫﺴﺖ ﻛﺲ ﻧﻤﻲ داﻧﺪ ﮔﻔﺖ‬ (3)

(3)

‫ﭼﻮن ﻛﺎر ﻧﻪ ﺑﺮ ﻣﺮاد ﻣﺎ ﺧﻮاﻫﺪ ﺑﻮد‬

As rumbles loud the Tide of Timeless Tune,

‫اﻧﺪﻳﺸﻪ و ﺟﻬﺪ ﻣﺎ ﻛﺠﺎ دارد ﺳﻮد‬

To what avails our humble low bassoon?!

‫ﭘﻴﻮﺳﺘﻪ ﻧﺸﺴﺘﻪ اﻳﻢ در ﺣﺴﺮت آﻧﻚ‬

Now all the time we toss and turn that we

‫دﻳﺮ آﻣﺪه اﻳﻢ و رﻓﺖ ﻣﻲ ﺑﺎﻳﺪ زود‬

So late have come, and are to leave so soon!

  (4) ‫ آراﺳﺖ‬7‫ ﭼﻮ ﺗﺮﻛﻴﺐ ﻃﺒﺎﻳﻊ‬6‫دارﻧﺪه‬

(4)

‫از ﺑﻬﺮ ﭼﻪ او ﻓﻜﻨﺪش اﻧﺪر ﻛﻢ وﻛﺎﺳﺖ؟‬

The Maker who endued the Moods with frame, O why once more it rendered maimed and lame?! Wherefore to smash the piece if ‘tis well-wrought?!

‫ﮔﺮ ﻧﻴﻚ آﻣﺪ ﺷﻜﺴﺘﻨﺶ ﺑﻬﺮ ﭼﻪ ﺑﻮد؟‬ 8

‫ور ﻧﻴﻚ ﻧﻴﺎﻣﺪ آﺧﺮ اﻳﻦ ﻋﻴﺐ ﻛﻪ راﺳﺖ؟‬

Or if that lies with fault then who’s to blame?!2 33

34

(5)

(5)

O Wheel9! This waste befalls us by thy rage!

15

‫اي ﭼﺮخ ﻓﻠﻚ ! ﺧﺮاﺑﻲ از ﻛﻴﻨﻪ ﺗﻮﺳﺖ‬

Of olden times our wear of heart thy wage!

‫ﺑﻴﺪادﮔﺮي ﺷﻴﻮه دﻳﺮﻳﻨﻪ ﺗﻮﺳﺖ‬

Lo dust! If this thy chest they tear apart,

‫اي ﺧﺎك! اﮔﺮ ﺳﻴﻨﻪ ﺗﻮ ﺑﺸﻜﺎﻓﻨﺪ‬

There lies a host of gems within thy cage!

‫ﺑﺲ ﮔﻮﻫﺮ ﺳﻔﺘﻨﻲ ﻛﻪ در ﺳﻴﻨﻪ ﺗﻮﺳﺖ‬ (6)

(6)

‫ﻣﺪن و رﻓﺘﻦ ﻣﺎﺳﺖ‬Ĥ‫در داﻳﺮه اي ﻛ‬

Within this Gyre which is our Grievous Eve –

‫ ﻧﻪ ﻧﻬﺎﻳﺖ ﭘﻴﺪاﺳﺖ‬16‫وآن را ﻧﻪ ﺑﺪاﻳﺖ‬

Whose dawn and evening lies beyond conceive – No soul shall answer this dejected

heave10:

“Wherefore I came and why I have to

leave?!”11

‫ﻛﺲ ﻣﻲ ﻧﺰﻧﺪ دﻣﻲ در اﻳﻦ ﻣﻌﻨﻲ راﺳﺖ‬ 17

‫ﻛﺎﻳﻦ آﻣﺪن از ﻛﺠﺎ و رﻓﺘﻦ ﺑﻪ ﻛﺠﺎﺳﺖ؟‬ (7)

(7)

‫ﻫﺮ ذره ﻛﻪ در ﺧﺎك زﻣﻴﻨﻲ ﺑﻮده اﺳﺖ‬

Each speck of dust that rolls around and veers

‫ ﺑﻮده اﺳﺖ‬18‫ زﻫﺮه ﺟﺒﻴﻨﻲ‬،‫ﺧﻮرﺷﻴﺪ رﺧﻲ‬ ‫ اﻓﺸﺎن‬19‫ﮔﺮد از رخ آﺳﺘﻴﻦ ﺑﻪ آزرم‬

Was part of Venus-Browed12 and Sun-Faced peers!

‫ن ﻫﻢ ﺳﺮ زﻟﻒ ﻧﺎزﻧﻴﻨﻲ ﺑﻮده اﺳﺖ‬Ĥ‫ﻛ‬

So off thy gown with care thou shake the earth, For that was once the locks and curls of dears!

(8) ‫ﭼﻮن اﺑﺮ ﺑﻪ ﻧﻮروز رخ ﻻﻟﻪ ﺑﺸﺴﺖ‬

(8)

‫ﺑﺮﺧﻴﺰ و ﺑﻪ ﺟﺎم ﺑﺎده ﻛﻦ ﻋﺰم درﺳﺖ‬

As Noruz’13 rain refreshed the tulip’s eyes,

‫ﻛﺎﻳﻦ ﺳﺒﺰه ﻛﻪ اﻣﺮوز ﺗﻤﺎﺷﺎﮔﻪ ﺗﻮﺳﺖ‬

Go raise the cup of wine and this apprize!

20

For this low lawn which is thy gambol’s guise, The morn once more of dust of thine shall rise!14 35

36

‫ﻓﺮدا ﻫﻤﻪ از ﺧﺎك ﺗﻮ ﺑﺮﺧﻮاﻫﺪ رﺳﺖ‬

(9)

(9)

With sea mingled a strolling water dot21;

‫ﻳﻚ ﻗﻄﺮه آب ﺑﻮد و ﺑﺎ درﻳﺎ ﺷﺪ‬

In earth was laid at last a roaming spot;

‫ﻳﻚ ذره ﺧﺎك ﺑﺎ زﻣﻴﻦ ﻳﻜﺘﺎ ﺷﺪ‬

What means this come and then again this go?

‫آﻣﺪ ﺷﺪن ﺗﻮ اﻧﺪر اﻳﻦ ﻋﺎﻟﻢ ﭼﻴﺴﺖ؟‬ 24

Some vermin wormed to life and went forgot!22

‫آﻣﺪ ﻣﮕﺴﻲ ﭘﺪﻳﺪ و ﻧﺎﭘﻴﺪا ﺷﺪ‬ (10)

(10)

25

This morn I happened by the potter’s cot,

‫دﻳﺪم دوﻫﺰار ﻛﻮزه ﮔﻮﻳﺎي ﺧﻤﻮش‬

And eyed the pots and what became their lot; Each one rehearsed in meet a tone to me: “Where are the potter, buyer, and the

pot?!”23

‫در ﻛﺎرﮔﻪ ﻛﻮزه ﮔﺮي ﺑﻮدم دوش‬

‫ﻫﺮ ﻳﻚ ﺑﻪ زﺑﺎن ﺣﺎل ﺑﺎ ﻣﻦ ﻣﻲ ﮔﻔﺖ‬ 26

‫ﻛﻮ ﻛﻮزه ﮔﺮ و ﻛﻮزه ﺧﺮ و ﻛﻮزه ﻓﺮوش؟‬ (11)

(11)

‫ﻣﻲ ﺧﻮر ﻛﻪ ﻓﻠﻚ ﺑﻬﺮ ﻫﻼك ﻣﻦ و ﺗﻮ‬

O drink and merry make! Th’Eternal King

‫ﻗﺼﺪي دارد ﺑﻪ ﺟﺎن ﭘﺎك ﻣﻦ و ﺗﻮ‬

Hath schemed upon our lives to ruin bring!

‫ﺑﺮﺳﺒﺰه ﻧﺸﻴﻦ و ﻣﻲ روﺷﻦ ﻣﻲ ﻧﻮش‬ ‫ﻛﺎﻳﻦ ﺳﺒﺰه ﺑﺴﻲ دﻣﺪ ز ﺧﺎك ﻣﻦ و ﺗﻮ‬

Now lounge upon the lawn and carmine take, For lawn once more of soil of ours will spring!

(12) ‫ﺑﺮ ﺳﻨﮓ زدم دوش ﺳﺒﻮي ﻛﺎﺷﻲ‬

(12)

‫ﺳﺮﻣﺴﺖ ﺷﺪم ﭼﻮ ﻛﺮدم اﻳﻦ اوﺑﺎﺷﻲ‬

Yester I staged a merry-maker’s game:

‫ﺑﺎ ﻣﻦ ﺑﻪ زﺑﺎن ﺣﺎل ﻣﻲ ﮔﻔﺖ ﺳﺒﻮ‬

On rock I smashed my earthen pot sans shame!

‫ ﺗﻮ ﻧﻴﺰ ﭼﻮن ﻣﻦ ﺑﺎﺷﻲ‬،‫ﻣﻦ ﭼﻮن ﺗﻮ ﺑﺪم‬

That vessel called to me in wistful tones: “As thee was I, thou shall suffer the same!” 37

38

(13)

(13)

O thou who left the Land that bears no lore! Befogged by Six and Se’en and Five and Four!27

31 32

‫اي آﻣﺪه از ﻋﺎﻟﻢ روﺣﺎﻧﻲ ﺗﻔﺖ‬

‫ﺣﻴﺮان ﺷﺪه در ﭘﻨﺞ و ﭼﻬﺎر و ﺷﺶ و ﻫﻔﺖ‬

Now pour! In darkness lies thy former port!

‫ﻣﻲ ﻧﻮش! ﻧﺪاﻧﻲ از ﻛﺠﺎ آﻣﺪه اي‬

Now shake! In shadows lies thy final shore!

‫ﺧﻮش ﺑﺎش! ﻧﺪاﻧﻲ ﺑﻪ ﻛﺠﺎ ﺧﻮاﻫﻲ رﻓﺖ‬ (14)

(14)

‫اي آﻧﻜﻪ ﻧﺘﻴﺠﻪ ﭼﻬﺎر و ﻫﻔﺘﻲ‬

O thou who bear the Four and Seven’s hood28!

33

And are consumed by them as burning wood!29

‫وز ﻫﻔﺖ و ﭼﻬﺎر داﻳﻢ اﻧﺪر ﺗﻔﺘﻲ‬

‫ﻣﻲ ﺧﻮر ﻛﻪ ﻫﺰار ﺑﺎر ﺑﻴﺸﺖ ﮔﻔﺘﻢ‬

Go drink as I have bade a thousand times!

‫ ﭼﻮ رﻓﺘﻲ رﻓﺘﻲ‬،‫ﺑﺎزآﻣﺪﻧﺖ ﻧﻴﺴﺖ‬

There’s no return: when gone, it is for good!

(15) (15)

‫اي ﺑﺲ ﻛﻪ ﻧﺒﺎﺷﻴﻢ و ﺟﻬﺎن ﺧﻮاﻫﺪ ﺑﻮد‬

O while we lag behind, the world will run!

‫ﻧﻲ ﻧﺎم ز ﻣﺎ و ﻧﻪ ﻧﺸﺎن ﺧﻮاﻫﺪ ﺑﻮد‬ 34

Of ours the fray and fun will linger none!

‫زﻳﻦ ﭘﻴﺶ ﻧﺒﻮدﻳﻢ و ﻧﺒﺪ ﻫﻴﭻ ﺧﻠﻞ‬

‫زﻳﻦ ﭘﺲ ﭼﻮ ﻧﺒﺎﺷﻴﻢ ﻫﻤﺎن ﺧﻮاﻫﺪ ﺑﻮد‬

No whit emerged in want when we began; The same will be the wont when we are done!

(16) 35

‫ﻣﺎ ﻟﻌﺒﺘﻜﺎﻧﻴﻢ و ﻓﻠﻚ ﻟﻌﺒﺖ ﺑﺎز‬

(16)

36

The Wheel in leisure rolls our dolly bands,

‫ﻳﻚ ﭼﻨﺪ در اﻳﻦ ﺑﺴﺎط ﺑﺎزي ﻛﺮدﻳﻢ‬

And that, O dolor! lies beyond our hands!

37

Awhile we dawdle in the House of Dolls, But then our seat will be the Box of Sands!30 39

‫ ﻧﻪ از روي ﻣﺠﺎز‬،‫از روي ﺣﻘﻴﻘﺘﻲ‬

40

‫رﻓﺘﻴﻢ ﺑﻪ ﺻﻨﺪوق ﻋﺪم ﻳﻚ ﻳﻚ ﺑﺎز‬

(17)

(17)

Though I am come in such a fine array,

‫ﻫﺮﭼﻨﺪﻛﻪ رﻧﮓ و روي زﻳﺒﺎﺳﺖ ﻣﺮا‬

My tallness elm, my look the bloom of May,

‫ﭼﻮن ﻻﻟﻪ رخ و ﭼﻮ ﺳﺮو ﺑﺎﻻﺳﺖ ﻣﺮا‬

Yet I know not in this Art House of Dust

‫ﻣﻌﻠﻮم ﻧﺸﺪ ﻛﻪ در ﻃﺮﺑﺨﺎﻧﻪ ﺧﺎك‬

Th’Eternal Painter why did me portray?!

‫ﻧﻘﺎش ازل ﺑﻬﺮ ﭼﻪ آراﺳﺖ ﻣﺮا‬ (18)

(18)

‫ﻋﺎﻟﻢ ﻫﻤﻪ اﻧﺪر ﺗﻚ و اﻧﺪر ﭘﻮﻳﻨﺪ‬

The folks are all befogged by fall and rise!

‫وز ﺑﻲ ﺧﺒﺮي دﻳﺪه ﺑﻪ ﺧﻮن ﻣﻲ ﺷﻮﻳﻨﺪ‬

And in the Blood of Burden bathe their eyes!

‫ﭼﻮن ﻋﻘﻞ ﺑﻪ ﺳﺮ ﻛﺎر آﮔﻪ ﻧﺸﻮد‬

As wits would not unfold this Legend’s end,

‫از ﻋﺠﺰ دروﻏﻬﺎي ﺧﻮش ﻣﻲ ﮔﻮﻳﻨﺪ‬

They calm themselves by making comely lies!

(19) (19)

‫ﺑﺮﺧﻴﺰ و ﻣﺨﻮر ﻏﻢ ﺟﻬﺎن ﮔﺬران‬ 41

O rise and leave the passing world’s concern!

‫ﻣﻲ ﺧﻮاه و دﻣﻲ ﺑﻪ ﺷﺎدﻣﺎﻧﻲ ﮔﺬران‬ ‫ ﺟﻬﺎن اﮔﺮ وﻓﺎﻳﻲ ﺑﻮدي‬42‫در ﻃﺒﻊ‬

Send word for wine, a while of solace earn! 43

Were faith the fashion of the ancient world,38

‫ﻧﻮﺑﺖ ﺑﻪ ﺗﻮ ﺧﻮد ﻧﻴﺎﻣﺪي از دﮔﺮان‬

Of forbears thou would never seize thy turn!39

(20) 44

‫ﺑﺮ ﻣﻔﺮش ﺧﺎك ﺧﻔﺘﻪ ﮔﺎن ﻣﻲ ﺑﻴﻨﻢ‬

(20)

‫در زﻳﺮ زﻣﻴﻦ ﻧﻬﻔﺘﻪ ﮔﺎن ﻣﻲ ﺑﻴﻨﻢ‬

Now on the soil the “Lost-in-Sleep” I see!

‫ﭼﻨﺪان ﻛﻪ ﺑﻪ ﺻﺤﺮاي ﻋﺪم ﻣﻲ ﻧﮕﺮم‬

And down the earth the “Veiled-in-Deep” I see!

45

As far as eyes could search the Waste of Naught, The “Come-with-Care” and “Leave-by-Leap” I see!40 41

42

‫ﻧﺎ آﻣﺪه ﮔﺎن و رﻓﺘﻪ ﮔﺎن ﻣﻲ ﺑﻴﻨﻢ‬

(21)

(21)

Alas that Scroll of Costly Savings furled!

‫اﻓﺴﻮس ﻛﻪ ﺳﺮﻣﺎﻳﻪ ز ﻛﻒ ﺑﻴﺮون ﺷﺪ‬

And Fortune countless souls to Hades hurled!

‫از دﺳﺖ اﺟﻞ ﺑﺴﻲ ﺟﮕﺮﻫﺎ ﺧﻮن ﺷﺪ‬

Yet none returned to solve this poser vexed:

‫ﻛﺲ ﻧﺎﻣﺪ از آن ﺟﻬﺎن ﻛﻪ ﭘﺮﺳﻢ از وي‬

“O what befell the Farers of the World?!”

‫اﺣﻮال ﻣﺴﺎﻓﺮان ﻋﺎﻟﻢ ﭼﻮن ﺷﺪ؟‬ (22)

(22)

‫ را ﻧﻪ ﺗﻮ داﻧﻲ و ﻧﻪ ﻣﻦ‬49‫اﺳﺮار ازل‬

Th’Eternal Law nor thou would learn nor I!

‫وﻳﻦ ﺣﻞ ﻣﻌﻤﺎ ﻧﻪ ﺗﻮ ﺧﻮاﻧﻲ و ﻧﻪ ﻣﻦ‬

The Cure-All Saw nor thou would earn nor I! Warm with debate we are before the O when that falls, nor thou would

‫ﻫﺴﺖ از ﭘﻲ ﭘﺮده ﮔﻔﺘﮕﻮي ﻣﻦ و ﺗﻮ‬

Veil46,

turn47

50

nor I!

‫ﭼﻮن ﭘﺮده ﺑﺮاﻓﺘﺪ ﻧﻪ ﺗﻮ ﻣﺎﻧﻲ و ﻧﻪ ﻣﻦ‬ (23)

(23)

‫آورد ﺑﻪ اﺿﻄﺮارم اول ﺑﻪ وﺟﻮد‬

At first perforce my light He set aflame!

‫وز ﺑﻮدﻧﻢ اﻳﻦ ﻣﻘﺎل ﭼﻴﺰي ﻧﻔﺰود‬

Yet all that was then came to pass the same!

‫رﻓﺘﻴﻢ ﺑﻪ اﻛﺮاه و ﻧﺪاﻧﻴﻢ ﭼﻪ ﺑﻮد‬ 51

And now perforce I am to leave as came!

‫زﻳﻦ آﻣﺪن و ﺑﻮدن و رﻓﺘﻦ ﻣﻘﺼﻮد‬

What was of this arrive-and-leave the aim?!48

(24) ‫اي دل ﻫﻤﻪ اﺳﺒﺎب ﺟﻬﺎن ﺧﻮاﺳﺘﻪ ﮔﻴﺮ‬

(24)

‫ﺑﺎغ ﻃﺮﺑﺖ ﺑﻪ ﺳﺒﺰه آراﺳﺘﻪ ﮔﻴﺮ‬

My heart! Now call for all the flower and faun!

‫آﻧﮕﺎه ﺑﺮ آن ﺳﺒﺰه ﺷﺒﻲ ﭼﻮن ﺷﺒﻨﻢ‬

Thy Folly’s Field thou green anon with lawn!

52

And like the dew upon the Pasture’s Bed Thou loll, and rise then at the break of dawn! 43

44

‫ﺑﻨﺸﺴﺘﻪ و ﺑﺎﻣﺪاد ﺑﺮﺧﺎﺳﺘﻪ ﮔﻴﺮ‬

(25)

(25)

There is this Urn that charms the senses sound

‫ﺟﺎﻣﻲ اﺳﺖ ﻛﻪ ﻋﻘﻞ آﻓﺮﻳﻦ ﻣﻲ زﻧﺪش‬

To dote upon it all the more profound!

‫ ﻣﻲ زﻧﺪش‬59‫ﺳﺪ ﺑﻮﺳﻪ ز ﻣﻬﺮ ﺑﺮ ﺟﺒﻴﻦ‬

The Potter of the Wheel this Dainty Urn

‫اﻳﻦ ﻛﻮزه ﮔﺮ دﻫﺮ ﭼﻨﻴﻦ ﺟﺎم ﻟﻄﻴﻒ‬

Would mold, and then once more reduce to ground!

‫ﻣﻲ ﺳﺎزد و ﺑﺎز ﺑﺮ زﻣﻴﻦ ﻣﻲ زﻧﺪش‬ (26)

(26)

‫از آﻣﺪن و رﻓﺘﻦ ﻣﺎ ﺳﻮدي ﻛﻮ؟‬

Of Be and Not where is the boot53?! O where?!

‫وز ﺑﺎﻓﺘﻪ وﺟﻮد ﻣﺎ ﭘﻮدي ﻛﻮ؟‬

Of Farm of Life where is the fruit?! O where?! In this Coil of the Wheel good souls galore Ignite and burn! Where is the soot?! O

where?!54

‫ ﺟﺎن ﭼﻨﺪﻳﻦ ﭘﺎﻛﺎن‬،‫در ﭼﻨﺒﺮ ﭼﺮخ‬ 60

‫ﻣﻲ ﺳﻮزد و ﺧﺎك ﻣﻲ ﺷﻮد؛ دودي ﻛﻮ؟‬ (27)

(27)

‫ﭼﻮن ﻋﻤﺮ ﺑﻪ ﺳﺮ رﺳﺪ ﭼﻪ ﺑﻐﺪاد و ﭼﻪ ﺑﻠﺦ‬

Baghdad be it or Balx where thou are slain!55

‫ ﭼﻮ ﭘﺮ ﺷﻮد ﭼﻪ ﺷﻴﺮﻳﻦ و ﭼﻪ ﺗﻠﺦ‬61‫ﭘﻴﻤﺎﻧﻪ‬

Thy Cup56 when fills be it the balm or bane!

‫ﺧﻮش ﺑﺎش ﻛﻪ ﺑﻌﺪ از ﻣﻦ و ﺗﻮ ﻣﺎه ﺑﺴﻲ‬ 62

Now seize the moon57! For after us the Moon

‫از ﺳﻠﺦ ﺑﻪ ﻏﺮه آﻳﺪ از ﻏﺮه ﺑﻪ ﺳﻠﺦ‬

Will wane and wax and once again will wane! (28) ‫ ﻣﺎ‬63‫آﻣﺪ ﺳﺤﺮي ﻧﺪا ز ﻣﻲ ﺧﺎﻧﻪ‬

(28)

‫ و دﻳﻮاﻧﻪ ﻣﺎ‬64‫اي رﻧﺪ ﺧﺮاﺑﺎﺗﻲ‬

At dawn the tavern58 mates take up the trill:

‫ﺑﺮﺧﻴﺰﻛﻪ ﭘﺮ ﻛﻨﻴﻢ ﭘﻴﻤﺎﻧﻪ ز ﻣﻲ‬

“Now rise our savage pal! Thy sorrow kill!

65

Let us fill up the earthen cups with wine, Before our Cups of Life with whine they fill!” 45

46

‫زان ﭘﻴﺶ ﻛﻪ ﭘﺮ ﻛﻨﻨﺪ ﭘﻴﻤﺎﻧﻪ ﻣﺎ‬

(29)

(29)

Behold! Our toil and moil were all in vain!

‫اﻓﺴﻮس ﻛﻪ ﺑﻲ ﻓﺎﻳﺪه ﻓﺮﺳﻮده ﺷﺪﻳﻢ‬ ‫ ﺳﭙﻬﺮ ﺳﺮﻧﮕﻮن ﺳﻮده ﺷﺪﻳﻢ‬68‫وز آس‬

The Grinding Wheel engirt us like the grain! O woe betide! As soon we winked an eye,

‫دردا و ﻧﺪاﻣﺘﺎ ﻛﻪ ﺗﺎ ﭼﺸﻢ زدﻳﻢ‬ 69

Despoiled of pay, alas! we passed in pain!66

‫ ﻧﺎﺑﻮده ﺷﺪﻳﻢ‬،‫ﻧﺎﺑﻮده ﺑﻪ ﻛﺎم ﺧﻮﻳﺶ‬ (30)

(30)

‫ ﻓﻀﻞ و آداب ﺷﺪﻧﺪ‬70‫آﻧﺎن ﻛﻪ ﻣﺤﻴﻂ‬

O those who plunged in Seas of Knowledge deep,

‫ ﺷﻤﻊ اﺻﺤﺎب ﺷﺪﻧﺪ‬،‫در ﺟﻤﻊ ﻛﻤﺎل‬

And raised their wits beyond the Wisdom’s Keep,

‫ره زﻳﻦ ﺷﺐ ﺗﺎرﻳﻚ ﻧﺒﺮدﻧﺪ ﺑﺮون‬

Found not the way to Day out of this Dark:

‫ﮔﻔﺘﻨﺪ ﻓﺴﺎﻧﻪ اي و در ﺧﻮاب ﺷﺪﻧﺪ‬

Some tale they told and went again to sleep!

(31) (31)

71

‫درﻳﺎب! ﻛﻪ از ﺟﺴﻢ ﺟﺪا ﺧﻮاﻫﻲ رﻓﺖ‬

Behold and lo! Thy airy soul will flow

‫ ﺧﻮاﻫﻲ رﻓﺖ‬72‫در ﭘﺮده اﺳﺮار ﻓﻨﺎ‬

Behind the wrinkles of the Veil of Woe!

‫ﻣﻲ ﻧﻮش! ﻧﺪاﻧﻲ از ﻛﺠﺎ آﻣﺪه اي‬

Be calm and leave it be fro where thou came!

‫ﺧﻮش ﺑﺎش! ﻧﺪاﻧﻲ ﺑﻪ ﻛﺠﺎ ﺧﻮاﻫﻲ رﻓﺖ‬

Be gay and leave it be to where thou go! (32) (32)

‫ﻳﻚ ﭼﻨﺪ ﺑﻪ ﻛﻮدﻛﻲ ﺑﻪ اﺳﺘﺎد ﺷﺪﻳﻢ‬

Awhile as novice we to master went,

‫ﻳﻚ ﭼﻨﺪ ﺑﻪ اﺳﺘﺎدي ﺧﻮد ﺷﺎد ﺷﺪﻳﻢ‬

Then lay in mastery of ours content;

‫ﭘﺎﻳﺎن ﺳﺨﻦ ﺷﻨﻮ ﻛﻪ ﻣﺎ را ﭼﻪ رﺳﻴﺪ‬ 73

Behold to what we came then in the end: Raised us the dust, the wind winnowed and rent!67 47

48

‫از ﺧﺎك ﺑﺮآﻣﺪﻳﻢ و ﺑﺮ ﺑﺎد ﺷﺪﻳﻢ‬

(33)

(33)

Since naught we hold in hand of ought but air, Since ought in hand is but of vain affair,

‫ﭼﻮن ﻧﻴﺴﺖ ز ﻫﺮﭼﻪ ﻫﺴﺖ ﺟﺰ ﺑﺎد ﺑﻪ دﺳﺖ‬ ‫ﭼﻮن ﻫﺴﺖ ﺑﻪ ﻫﺮﭼﻪ ﻫﺴﺖ ﻧﻘﺼﺎن و ﺷﻜﺴﺖ‬

Presume it aught: what thou perceive is not! Assume it naught: what thou conceive is there!74

‫ ﻫﺮﭼﻪ در ﮔﻴﺘﻲ ﻧﻴﺴﺖ‬،‫ﭘﻨﺪار ﻛﻪ ﻫﺴﺖ‬ 79

‫ ﻫﺮﭼﻪ در ﻋﺎﻟﻢ ﻫﺴﺖ‬،‫اﻧﮕﺎر ﻛﻪ ﻧﻴﺴﺖ‬ (34)

(34)

‫از آﻣﺪﻧﻢ ﻧﺒﻮد ﮔﺮدون را ﺳﻮد‬

By my advent the Wheel did naught achieve!

‫وز رﻓﺘﻦ ﻣﻦ ﺟﺎه و ﺟﻼﻟﺶ ﻧﻔﺰود‬

And by my rent75 it did no rank receive!

‫از ﻫﻴﭻ ﻛﺲ اﻳﻦ ﻧﻴﺰ دو ﮔﻮﺷﻢ ﻧﺸﻨﻮد‬

And of no soul could I this tale retrieve

‫ﻛﺎﻳﻦ آﻣﺪن و رﻓﺘﻨﻢ از ﺑﻬﺮ ﭼﻪ ﺑﻮد‬

That “why I came, and why I have to leave?!”

(35) (35)

‫ﻧﻴﻜﻲ و ﺑﺪي ﻛﻪ در ﻧﻬﺎد ﺑﺸﺮ اﺳﺖ‬

Within the human soul the good and ill;

‫ﺷﺎدي و ﻏﻤﻲ ﻛﻪ در ﻗﻀﺎ و ﻗﺪر اﺳﺖ‬

And in the Fortune’s Roll the dole76 and thrill;

‫ﺑﺎ ﭼﺮخ ﻣﻜﻦ ﺣﻮاﻟﻪ ﻛﺎﻧﺪر ره ﻋﻘﻞ‬ 80

Be fair and censure not the Wheel for those: For that’s forsooth the most devoid of will!77

‫ﭼﺮخ از ﺗﻮ ﻫﺰار ﺑﺎر ﺑﻴﭽﺎره ﺗﺮ اﺳﺖ‬ (36) ‫در ﮔﻮش دﻟﻢ ﮔﻔﺖ ﻓﻠﻚ ﭘﻨﻬﺎﻧﻲ‬

(36)

‫ ﺑﻮد ز ﻣﻦ ﻣﻲ داﻧﻲ؟‬81‫ﺣﻜﻤﻲ ﻛﻪ ﻗﻀﺎ‬

Whispered to me the Wheel: “O now discern!

‫ اﮔﺮ ﻣﺮا دﺳﺖ ﺑﺪي‬82‫در ﮔﺮدش ﻣﻦ‬

Say why thou deem thy doom of my concern78?!

‫ﺧﻮد را ﺑﺮﻫﺎﻧﺪﻣﻲ ز ﺳﺮﮔﺮداﻧﻲ‬

If I could rein this hopeless roll of mine, I would arrest at once this toss and turn!” 49

50

(37)

(37)

This mind of thine, endowed with wit and wise,

‫اﻳﻦ ﻋﻘﻞ ﻛﻪ در ره ﺳﻌﺎدت ﭘﻮﻳﺪ‬

Would thee a hundred times a day advise:

‫روزي ﺻﺪ ﺑﺎر ﺧﻮد ﺗﻮ را ﻣﻲ ﮔﻮﻳﺪ‬

“O seize the while! For thou are not that wheat

‫درﻳﺎب دم ﺧﺮم و ﺧﻨﺪان ﻛﻪ ﻧﻪ اي‬ 86

That reapers scythe, and once again would rise!”83

‫ ﻛﻪ ﺑﺪروﻧﺪ و دﻳﮕﺮ روﻳﺪ‬85‫آن ﻃﺮه‬ (38)

(38)

‫اي دوﺳﺖ! ﺑﻴﺎ ﺗﺎ ﻏﻢ ﻓﺮدا ﻧﺨﻮرﻳﻢ‬

Fellows! Let us not lament the morrow!

‫اﻳﻦ ﻳﻚ دم ﻋﻤﺮ را ﻏﻨﻴﻤﺖ ﺷﻤﺮﻳﻢ‬

Seize the day, desist from woe and sorrow!

‫روزي ﻛﻪ از اﻳﻦ دﻳﺮﻛﻬﻦ درﮔﺬرﻳﻢ‬

Once we fare out of this ancient narrow,

87

‫ﺑﺎ ﻫﻔﺖ ﻫﺰارﺳﺎﻟﻪ ﮔﺎن ﺳﺮ ﺑﻪ ﺳﺮﻳﻢ‬

One we are with our ancestors’ barrow!84 (39) ‫اي ﻛﺎش ﻛﻪ ﺟﺎي آرﻣﻴﺪن ﺑﻮدي‬

(39)

‫ﻳﺎ اﻳﻦ ره دور را رﺳﻴﺪن ﺑﻮدي‬

O would that this Ocean would rest ashore!

‫ﻛﺎش از ﭘﻲ ﺻﺪﻫﺰار ﺳﺎل از دل ﺧﺎك‬

Or would a tender peace would end this War!

‫ﭼﻮن ﺳﺒﺰه اﻣﻴﺪ ﺑﺮدﻣﻴﺪن ﺑﻮدي‬

O would that past a thousand years in earth One could desire as lawn to rise once more!

(40) ‫ﻳﺎران ﻣﻮاﻓﻖ ﻫﻤﻪ از دﺳﺖ ﺷﺪﻧﺪ‬

(40)

‫در ﭘﺎي اﺟﻞ ﻳﻜﺎن ﻳﻜﺎن ﭘﺴﺖ ﺷﺪﻧﺪ‬

The fellows fond were all by Fortune bound:

‫ﺑﻮدﻳﻢ ﺑﻪ ﻳﻚ ﺷﺮاب در ﻣﺤﻔﻞ ﻋﻤﺮ‬

The Reaper’s Hook them one by one did hound!

‫ﻳﻚ دور ز ﻣﺎ ﭘﻴﺶ ﺗﺮك ﻣﺴﺖ ﺷﺪﻧﺪ‬

The same wine drank we in the Feast of Life, They sooner passed by taking one more round! 51

52

(41)

(41)

The friends are gone upon a Famous Foam88!

‫ﻳﺎران ﻫﻤﻪ رﻓﺘﻨﺪ ﺑﻪ راﻫﻲ ﻣﺸﻬﻮر‬

Their hay is burned and yonder lies their loam89!

‫ﻫﻢ ﺳﻮﺧﺘﻪ ﺧﺮﻣﻦ اﻧﺪ و ﻫﻢ ﺳﺎﺧﺘﻪ ﮔﻮر‬

‘Tis we who roam beneath this Haughty Dome, Oh! Like a hack: stout its heft90, far its home!

‫ﻣﺎ ﻣﺎﻧﺪه در اﻳﻦ ﺑﺎدﻳﻪ ﭘﺮ ز ﻏﺮور‬ ‫ ﻣﻨﺰل دور‬،99‫ ﺑﺎر ﮔﺮان‬،98‫ﭼﻮن ﻻﺷﻪ ﺧﺮي‬ (42)

(42)

‫ ﮔﺮداﻧﻴﻢ‬100‫اﻳﻦ ﭼﺮخ ﻓﻠﻚ ﻛﻪ ﻣﺎ در او‬

This Potent Light that source of life we take

‫ از او ﻣﺜﺎﻟﻲ داﻧﻴﻢ‬101‫ﻓﺎﻧﻮس ﺧﻴﺎل‬

The Magic Lamp91 we count its double fake:

‫ ﻓﺎﻧﻮس‬102‫ﺧﻮرﺷﻴﺪ ﭼﺮاغ دان و ﻋﺎﻟﻢ‬

Thou fancy Sol92 the Light and Soil93 the Lamp, And us the wraiths that rave around and

103

rake!94

‫ﻣﺎ ﭼﻮن ﺻﻮرﻳﻢ ﻛﺎﻧﺪر او ﺣﻴﺮاﻧﻴﻢ‬ (43)

‫آن را ﻛﻪ وﻗﻮف اﺳﺖ ﺑﺮ اﺳﺮار ﺟﻬﺎن‬

(43)

‫ﺷﺎدي و ﻏﻢ ﺟﻬﺎن ﺑﺮ او ﺷﺪ ﻳﻜﺴﺎن‬

For whom that artless95 lies the world’s arcane, The bliss is borne the same just as the bane!

‫ﭼﻮن ﻧﻴﻚ و ﺑﺪ ﺟﻬﺎن ﺑﻪ ﺳﺮ ﺧﻮاﻫﺪ ﺷﺪ‬ ‫ﺧﻮاﻫﻲ ﻫﻤﻪ درد ﺑﺎش ﺧﻮاﻫﻲ درﻣﺎن‬

Since come to pass the salt96 and evil all, In pleasure dawdle thou, or die in pain!

(44) ‫اي ﺑﻲ ﺧﺒﺮ از ﻛﺎر ﺟﻬﺎن! ﻫﻴﭻ ﻧﻪ اي‬

(44)

‫ﺑﻨﻴﺎد ﺑﻪ ﺑﺎد اﺳﺖ وزان ﻫﻴﭻ ﻧﻪ اي‬

O thou! By ups and downs of world distraught!

‫اﻳﻦ ﺣﺪ وﺟﻮد ﺗﻮ ﻣﻴﺎن دو ﻋﺪم‬

Thy earth on air97 and thou in current caught!

‫اﻃﺮاف ﺗﻮ ﻫﻴﭻ و در ﻣﻴﺎن ﻫﻴﭻ ﻧﻪ اي‬

Thy life is laid between two Timeless Nils, Thy borders naught, and thou amid them naught! 53

54

(45)

(45)

The Lordly Wheel erects of soil no bloom

‫ﮔﺮدون ز زﻣﻴﻦ ﻫﻴﭻ ﮔﻠﻲ ﺑﺮﻧﺎرد‬

That breaks it not and banks again in tomb!

‫ﻛﺶ ﻧﺸﻜﻨﺪ و ﺑﺎز زﻣﻴﻦ ﻧﺴﭙﺎرد‬

If air could raise the earth alike the brume104,

‫ﮔﺮ اﺑﺮ ﭼﻮ آب ﺧﺎك را ﺑﺮدارد‬

The blood of dears was due to rain till Doom!

‫ ﻫﻤﻪ ﺧﻮن ﻋﺰﻳﺰان ﺑﺎرد‬109‫ﺗﺎ ﺣﺸﺮ‬ (46)

(46)

‫ داﻣﻦ ﮔﻞ ﭼﺎك ﺷﺪه‬110‫ﺑﻨﮕﺮ ز ﺻﺒﺎ‬

Behold: the blossoms’ lap is ripped by gust!

‫ ز ﺟﻤﺎل ﮔﻞ ﻃﺮﺑﻨﺎك ﺷﺪه‬111‫ﺑﻠﺒﻞ‬

Bolbols105 exult and sing in blossoms’ lust!

‫در ﺳﺎﻳﻪ ﮔﻞ ﻧﺸﻴﻦ ﻛﻪ ﺑﺴﻴﺎر اﻳﻦ ﮔﻞ‬

Go land among the blooms for such so much Have ‘spired to hights and then have sunk to

112

dust!106

‫از ﺧﺎك ﺑﺮآﻣﺪه اﺳﺖ و در ﺧﺎك ﺷﺪه‬ (47)

(47)

‫اي دل ﭼﻮ ﺣﻘﻴﻘﺖ ﺟﻬﺎن ﻫﺴﺖ ﻣﺠﺎز‬

As Truth forsooth is Tale at every turn,

‫ﭼﻨﺪﻳﻦ ﭼﻪ ﺑﺮي ﺧﻮاري از اﻳﻦ رﻧﺞ دراز؟‬

Why with this mighty toil thy heart concern?!

‫ﺗﻦ را ﺑﻪ ﻗﻀﺎ ﺳﭙﺎر و ﺑﺎ درد ﺑﺴﺎز‬

Thy will thou leave to Wheel and wail adjourn:

‫ﻛﺎﻳﻦ رﻓﺘﻪ ﻗﻠﻢ ز ﺑﻬﺮ ﺗﻮ ﻧﺎﻳﺪ ﺑﺎز‬

The fortune bound to run would not return!

(48) ‫ﻣﻲ ﭘﺮﺳﻴﺪي ﻛﻪ ﭼﻴﺴﺖ اﻳﻦ ﻧﻘﺶ ﻣﺠﺎز‬

(48)

‫ﮔﺮ ﺑﺮﮔﻮﻳﻢ ﺣﻘﻴﻘﺘﺶ ﻫﺴﺖ دراز‬

Thou ask: “What might this Molded Likeness feign107?”

‫ﻧﻘﺸﻲ اﺳﺖ ﭘﺪﻳﺪ آﻣﺪه از درﻳﺎﻳﻲ‬

Now ponder this and labor not in vain:

‫وآﻧﮕﺎه ﺷﺪه ﺑﻪ ﻗﻌﺮ آن درﻳﺎ ﺑﺎز‬

It proves a Form that rose of Endless Seas, And sunk again beneath the Boundless Main108! 55

56

(49)

(49)

‘Tis we who stood the test of Chill and Boil!

‫ﻣﺎﻳﻴﻢ ﻓﺘﺎده روز و ﺷﺐ در ﺗﻚ و ﺗﺎز‬ ‫ ﻧﻬﺎده روي در ﺷﻴﺐ و ﻓﺮاز‬116‫ﺑﺮ ﺧﻴﺮه‬

And sailed in hope of spoils beyond the Moil! At last we rendered home no gain but pain,

‫ﻧﻪ ﻫﻴﭻ ره آورده ﺑﻪ ﺟﺰ رﻧﺞ و ﻣﻼل‬

And left behind no tale but Thankless Toil!

‫ﻧﻪ ﻫﻴﭻ ﭘﺲ اﻓﻜﻨﺪه ﺑﻪ ﺟﺰ راه دراز‬ (50)

(50)

‫ﻛﺲ را ﭘﺲ ﭘﺮده ﻗﻀﺎ راه ﻧﺸﺪ‬

None found a way behind the Fortune’s Veil!

‫وز ﺳﺮ ﻗﺪر ﻫﻴﭻ ﻛﺲ آﮔﺎه ﻧﺸﺪ‬

And none unfurled the Rolling Portion’s Sail!

‫ﻫﺮﻛﺲ ز ﺳﺮ ﻗﻴﺎس ﭼﻴﺰي ﮔﻔﺘﻪ اﺳﺖ‬

A tale hath told each fellow out of bile, And that, O yet! devoid of head and

117

tail!113

‫ﻣﻌﻠﻮم ﻧﮕﺸﺖ و ﻗﺼﻪ ﻛﻮﺗﺎه ﻧﺸﺪ‬ (51)

‫ ﻓﻠﻚ از ﭘﻴﺶ ﺗﻬﻲ اﺳﺖ‬118‫اﻓﺴﻮس ﻛﻪ ﻃﺎس‬

(51) Alas that dot-less rolls the Fortune’s Die!114

‫آﺳﻮده درﻳﻦ ﺟﻬﺎن ﻧﻤﻲ داﻧﻢ ﻛﻴﺴﺖ‬

In peace no soul a breath beneath the sky;

‫اﻳﻤﻦ ﻧﻔﺴﻲ ز ﻣﺮگ ﻣﻲ ﻧﺘﻮان زﻳﺴﺖ‬

Disposed of death no life a blink of eye;

‫ﭘﺲ ﻓﺎﻳﺪه در ﺟﻬﺎن ﺑﻲ ﻓﺎﻳﺪه ﭼﻴﺴﺖ؟‬

So what’s the fruit in this Abode of Fie?!

  (52) ‫آرﻧﺪ ﻳﻜﻲ و دﻳﮕﺮي ﺑﺮﺑﺎﻳﻨﺪ‬

(52)

‫ﺑﺮ ﻫﻴﭻ ﻛﺲ اﻳﻦ راز ﻫﻤﻲ ﻧﮕﺸﺎﻳﻨﺪ‬

They115 bring and take the folk in just a blink!

‫ﻣﺎ را ز ﻗﻀﺎ ﺟﺰ اﻳﻨﻘﺪر ﻧﻨﻤﺎﻳﻨﺪ‬

And keep for all this Book in murk of ink!

119

Of doom they just disclose this only wink: Our spirits ripe it is they draw and drink! 57

58

‫ﭘﻴﻤﺎﻧﻪ ﻋﻤﺮ ﻣﺎﺳﺖ ﻣﻲ ﭘﻴﻤﺎﻳﻨﺪ‬

(53)

(53)

The Sower much as me did raise and reap!

‫دﻫﻘﺎن ﻗﻀﺎ ﺑﺴﻲ ﭼﻮ ﻣﺎ ﻛﺸﺖ و درود‬

Alas! To naught avail my wail and weep!

‫ﻏﻢ ﺧﻮردن ﺑﻴﻬﻮده ﻧﻤﻲ دارد ﺳﻮد‬

So fill the cup and put it in my hand,

‫ﭘﺮ ﻛﻦ ﻗﺪح ﺑﺎده و ﺑﺮ دﺳﺘﻢ ﻧﻪ‬

For all that goes is bound their course to keep!

‫ ﻛﻪ ﺑﻮدﻧﻲ ﻫﺎ ﻫﻤﻪ ﺑﻮد‬،‫ﺗﺎ ﻧﻮش ﻛﻨﻢ‬ (54)

(54)

‫آﻧﻬﺎ ﻛﻪ ﺑﺮآﻣﺪﻧﺪ و در ﻫﻮش ﺷﺪﻧﺪ‬

The souls that rose to waking out of Deep,

‫آﺷﻔﺘﻪ ﻧﺎز و ﻃﺮب و ﻧﻮش ﺷﺪﻧﺪ‬

And left their count of days in Comfort’s Keep,

‫ﺧﻮردﻧﺪ ﭘﻴﺎﻟﻪ اي و ﻣﺪﻫﻮش ﺷﺪﻧﺪ‬

A cup they took and tumbled on the Steep,

‫در ﺧﻮاب ﻋﺪم ﺟﻤﻠﻪ ﻫﻢ آﻏﻮش ﺷﺪﻧﺪ‬

And now in Endless Peace together sleep!

(55) (55)

‫ﻣﺎﻳﻴﻢ در اﻳﻦ ﮔﻨﺒﺪ دﻳﺮﻳﻨﻪ اﺳﺎس‬ 123

‘Tis we who roam beneath this Bowl of Ill To find a hole: like ants in barley’s fill120! For naught we rove around devoid of will

‫ﺟﻮﻳﻨﺪه رﺧﻨﻪ اي ﭼﻮ ﻣﻮر اﻧﺪر ﻃﺎس‬ ‫آﮔﺎه ﻧﻪ از ﻣﻨﺰل و در ﺑﻴﻢ و ﻫﺮاس‬

124

And vision: like the bull that rolls the mill!121

‫ﺳﺮﮔﺸﺘﻪ و ﭼﺸﻢ ﺑﺴﺘﻪ ﭼﻮن ﮔﺎو ﺧﺮاس‬ (56) ‫دي ﻛﻮزه ﮔﺮي ﺑﺪﻳﺪم اﻧﺪر ﺑﺎزار‬

(56)

‫ﺑﺮ ﭘﺎره ﮔﻠﻲ ﻟﮕﺪ ﻫﻤﻲ زد ﺑﺴﻴﺎر‬

I passed the city market yesterday,

‫وآن ﮔﻞ ﺑﻪ زﺑﺎن ﺣﺎل ﺑﺎ وي ﻣﻲ ﮔﻔﺖ‬

And saw the potter kick and punch the clay!

‫ﻣﻦ ﻫﻤﭽﻮ ﺗﻮ ﺑﻮده ام ﻣﺮا ﻧﻴﻜﻮ دار‬

The earthen plopped and peeped as if to plead: “I used to be like thee! For mercy stay122!” 59

60

(57)

(57)

O thou! To Doom’s Mallet a polo ball! Take hits from left and right and bear thy gall!

‫ﻗﻀﺎ ﻫﻤﭽﻮن ﮔﻮي‬

133

‫اي رﻓﺘﻪ ﺑﻪ ﭼﻮﮔﺎن‬

‫ﭼﭗ ﻣﻲ ﺧﻮر و راﺳﺖ ﻣﻲ رو و ﻫﻴﭻ ﻣﮕﻮي‬

For That who rendered thee to This a thrall,

‫ﻛﺎن ﻛﺲ ﻛﻪ ﺗﻮ را ﻓﻜﻨﺪ اﻧﺪر ﺗﻚ و ﭘﻮي‬

He knows! He knows! He only knows it all!

‫او داﻧﺪ و او داﻧﺪ و او داﻧﺪ و اوي‬ (58)

(58)

‫اي ﭘﻴﺮ ﺧﺮدﻣﻨﺪ! ﭘﮕﻪ ﺗﺮ ﺑﺮﺧﻴﺰ‬

My Ancient Sage! The Sun is up! Arise!

‫ را ﺑﻨﮕﺮ ﺗﻴﺰ‬134‫وآن ﻛﻮدك ﺧﺎك ﺑﻴﺰ‬

The lad who pounds the dust sans care previse125!

‫ﭘﻨﺪش ده و ﮔﻮ ﻛﻪ ﻧﺮم ﻧﺮﻣﻚ ﻣﻲ ﺑﻴﺰ‬

Advise him: “Mild to pound and not despise The head of Keyqobad and Parviz’

135

eyes!”126

‫ﻣﻐﺰ ﺳﺮ ﻛﻲ ﻗﺒﺎد و ﭼﺸﻢ ﭘﺮوﻳﺰ‬ (59)

(59)

‫ﺑﻨﮕﺮ! ز ﺟﻬﺎن ﭼﻪ ﻃﺮف ﺑﺮﺑﺴﺘﻢ؟ ﻫﻴﭻ‬

Behold! Of life what fruit I stacked? Oh! Naught!

‫از ﺣﺎﺻﻞ ﻋﻤﺮ ﭼﻴﺴﺖ در دﺳﺘﻢ؟ ﻫﻴﭻ‬ ‫ ﻫﻴﭻ‬136‫ﺷﻤﻊ ﻃﺮﺑﻢ وﻟﻲ ﭼﻮ ﺑﻨﺸﺴﺘﻢ‬

For pain I took what pay I packed? Oh! Naught! Light of Delight I am, but lacked127: Oh! Naught!

137

‫ﺧﻮد ﺟﺎم ﺟﻤﻢ وﻟﻲ ﭼﻮ ﺑﺸﻜﺴﺘﻢ ﻫﻴﭻ‬

The Jaam of Jam128 I am, but cracked: Oh! Naught!

(60) 138

(60) Once spring is come, O thou, my wanton fay129!

‫ﻣﻲ ﺳﺎز ﺗﺮاﻧﻪ اي و ﭘﻴﺶ آور ﻣﻲ‬ 139

Go take thy cup and make a dulcet130 lay!

‫ﻛﺎﻓﮕﻨﺪ ﺑﻪ ﺧﺎك ﺻﺪﻫﺰاران ﺟﻢ و ﻛﻲ‬ ‫ و رﻓﺘﻦ دي‬140‫اﻳﻦ آﻣﺪن ﺗﻴﺮﻣﻪ‬

For razed to dust a thousand Jam and Key131 Tirmah’s Advance and Exodus of Dey!132 61

‫ اي ﺻﻨﻢ ﻓﺮخ ﭘﻲ‬،‫ﻫﻨﮕﺎم ﺑﻬﺎر‬

62

(61)

(61)

That Court whose name beyond the Heaven’s grew,

147

Where came the kings to pay their homage due,

‫آن ﻗﺼﺮ ﻛﻪ ﺑﺎ ﻋﺮش ﻫﻤﻲ زد ﭘﻬﻠﻮ‬ ‫ﺑﺮ درﮔﻪ او ﺷﻬﺎن ﻧﻬﺎدﻧﺪي رو‬

‫ اش ﻓﺎﺧﺘﻪ اي‬148‫دﻳﺪﻳﻢ ﻛﻪ ﺑﺮ ﻛﻨﮕﺮه‬

Behold! A bird hath perched upon its keep And sings the joyless song: “Cuckoo?! Cuckoo?!”141

‫ﺑﻨﺸﺴﺘﻪ ﻫﻤﻲ ﮔﻔﺖ ﻛﻪ ﻛﻮﻛﻮ؟ ﻛﻮﻛﻮ؟‬ (62)

(62)

‫آن ﻛﺎخ ﻛﻪ ﺟﻤﺸﻴﺪ در او ﺟﺎم ﮔﺮﻓﺖ‬

That Court where Jam his mighty Jaam was gave,

‫آﻫﻮ ﺑﭽﻪ ﻛﺮد و روﺑﻪ آرام ﮔﺮﻓﺖ‬

There cattle calved, it changed to fox’s cave!

‫ﺑﻬﺮام ﻛﻪ ﮔﻮر ﻣﻲ ﮔﺮﻓﺘﻲ ﻫﻤﻪ ﻋﻤﺮ‬

Bahram who hunted asses grave142 all life,

149

‫دﻳﺪي ﻛﻪ ﭼﮕﻮﻧﻪ ﮔﻮر ﺑﻬﺮام ﮔﺮﻓﺖ؟‬

Behold! He’s hunted by the Steed of Grave!143 (63) ‫ را ﻛﻪ ﮔﻴﺘﻲ ﻧﺎم اﺳﺖ‬150‫اﻳﻦ ﻛﻬﻨﻪ رﺑﺎط‬

(63)

‫ ﺻﺒﺢ و ﺷﺎم اﺳﺖ‬151‫آراﻣﮕﻪ اﺑﻠﻖ‬

This Ancient Dome which poised hath been aplomb, Where raids the Charger Pied144 of Days therefrom;

‫ﻗﺼﺮي اﺳﺖ ﻛﻪ واﻣﺎﻧﺪه ﺻﺪ ﺟﻤﺸﻴﺪ اﺳﺖ‬ ‫ﮔﻮري اﺳﺖ ﻛﻪ ﺧﻮاﺑﮕﺎه ﺻﺪ ﺑﻬﺮام اﺳﺖ‬

It is the Court the Mortmain of Jamshid! It is the Crypt the Fort-Bane of Bahram!

(64) ‫ﻃﻮس‬

(64)

152

‫ﻣﺮﻏﻲ دﻳﺪم ﻧﺸﺴﺘﻪ ﺑﺮ ﺑﺎره‬

‫در ﭘﻴﺶ ﻧﻬﺎده ﻛﻠﻪ ﻛﻲ ﻛﺎووس‬

A bird had perched upon the steed of Tus, And laid ahead the head of Keykavus145,

‫ﺑﺎ ﻛﻠﻪ ﻫﻤﻲ ﮔﻔﺖ ﻛﻪ اﻓﺴﻮس اﻓﺴﻮس‬ 154

‫ ﻫﺎ و ﻛﺠﺎ ﻧﺎﻟﻪ ﻛﻮس؟‬153‫ﻛﻮ ﺑﺎﻧﮓ ﺟﺮس‬

Lamenting by the head: “Alas! No use! Where are the toll of bell and crack of Kus146?!” 63

64

(65)

(65)

It is a Sinai: many155 Moses seen!

‫ﻛﻪ ﺻﺪﻫﺰار ﻣﻮﺳﻲ دﻳﺪه اﺳﺖ‬

‘Tis a Calvary: many Jesus seen!

‫دﻳﺮﻳﺴﺖ ﻛﻪ ﻛﻪ ﺻﺪﻫﺰار ﻋﻴﺴﻲ دﻳﺪه اﺳﺖ‬

A Senate many Caesars left behind! ‘Tis a Ctesiphon: many Kasras seen!156

162

‫ﻃﻮرﻳﺴﺖ‬

‫ ﺑﮕﺬاﺷﺖ‬163‫ﻗﺼﺮﻳﺴﺖ ﻛﻪ ﺻﺪﻫﺰار ﻗﻴﺼﺮ‬ ‫ دﻳﺪه اﺳﺖ‬164‫ﻃﺎﻗﻴﺴﺖ ﻛﻪ ﺻﺪﻫﺰار ﻛﺴﺮي‬ (66)

(66)

‫آن ﻫﺎ ﻛﻪ ﻛﻬﻦ ﺷﺪﻧﺪ و اﻳﻦ ﻫﺎ ﻛﻪ ﻧﻮﻧﺪ‬

Those ancient ones and these who rise anew

‫ﭼﻨﺪي ﺑﻪ ﻣﺮاد ﺧﻮد ﺑﻪ ﻫﺮ ﺳﻮ ﺑﺪوﻧﺪ‬

Awhile would dare the world with much ado!

‫اﻳﻦ ﻛﻬﻨﻪ ﺳﺮا ﺑﻪ ﻛﺲ ﻧﻤﺎﻧﺪ ﺑﺎﻗﻲ‬

This Aged Lodge will none oblige for long:

‫رﻓﺘﻨﺪ و روﻳﻢ و دﻳﮕﺮ آﻳﻨﺪ و روﻧﺪ‬

They went, we’ll go, and all will bid adieu! (67) (67)

‫ﺗﺮﻛﻴﺐ ﻃﺒﺎﻳﻊ ﭼﻮ ﺑﻪ ﻛﺎم ﺗﻮ دﻣﻲ اﺳﺖ‬

The while with thee the Moods157 in balance camp,

‫ اﮔﺮﭼﻪ ﺑﺮ ﺗﻮ ﺳﺘﻤﻲ اﺳﺖ‬،‫رو ﺷﺎد ﺑﺰي‬

Enjoy! Though more than oft they cause the cramp!

‫ﺑﺎ اﻫﻞ ﻃﺮب ﺑﺎش ﻛﻪ اﺻﻞ ﺗﻦ ﺗﻮ‬ 165

Go merry make! For this amount158 of thine Amounts to dust and draft and dazzle159 and damp!160

‫ﮔﺮدي و ﻧﺴﻴﻤﻲ و ﺷﺮاري و ﻧﻤﻲ اﺳﺖ‬ (68) ‫ﺑﺎ ﻳﺎر ﭼﻮ آرﻣﻴﺪه ﺑﺎﺷﻲ ﻫﻤﻪ ﻋﻤﺮ‬

(68) If sleep thou by a

‫ﻟﺬات ﺟﻬﺎن ﭼﺸﻴﺪه ﺑﺎﺷﻲ ﻫﻤﻪ ﻋﻤﺮ‬ sweet161

serene all life,

‫ﻫﻢ آﺧﺮ ﻛﺎر رﻓﺘﻨﺖ ﺧﻮاﻫﺪ ﺑﻮد‬

Or muster all the might and mean all life;

‫ﺧﻮاﺑﻲ ﺑﺎﺷﺪ ﻛﻪ دﻳﺪه ﺑﺎﺷﻲ ﻫﻤﻪ ﻋﻤﺮ‬

Beware! At last thou ought to journey hence! A dream it be that thou have seen all life! 65

66

(69)

(69)

As yester goes, let go! ‘Tis out of way!

‫ﻛﻪ ﮔﺬﺷﺖ ﻫﻴﭻ از او ﻳﺎد ﻣﻜﻦ‬

And morn’s166 to come, so what’s the ho-and-heigh?!

170

‫از دي‬

‫ﻓﺮدا ﻛﻪ ﻧﻴﺎﻣﺪه اﺳﺖ ﻓﺮﻳﺎد ﻣﻜﻦ‬

O waste thou not thy while on might and may!

‫ﺑﺮﻧﺎﻣﺪه و ﮔﺬﺷﺘﻪ ﺑﻨﻴﺎد ﻣﻜﻦ‬

This day thou seize and loose the ceasing day!

‫ﺣﺎﻟﻲ ﺧﻮش ﺑﺎش و ﻋﻤﺮ ﺑﺮ ﺑﺎد ﻣﻜﻦ‬ (70)

(70)

‫ﻏﺮه ﭼﻪ ﺷﻮي ﺑﻪ ﻣﺴﻜﻦ و ﻛﺎﺷﺎﻧﻪ؟‬

Thou boast of might and boon and fine array?! Of life whose pay is naught except decay?!

‫ﺑﺮ ﺣﺎﺻﻞ ﺧﻮد ﻛﻪ ﻧﻴﺴﺖ ﺟﺰ اﻓﺴﺎﻧﻪ؟‬ 172

Thou light a match amid the raid of gust?!

‫ ﭼﻪ اﻓﺮوزي ﺷﻤﻊ؟‬171‫ﺑﺮ ﻣﻌﺒﺮ ﺻﺮﺻﺮي‬ ‫در رﻫﮕﺬر ﺳﻴﻞ ﭼﻪ ﺳﺎزي ﺧﺎﻧﻪ؟‬

And make a home before the torrent’s way?! (71) ‫ﻫﺮ ﭼﻨﺪﮔﻬﻲ ﻳﻜﻲ ﺑﺮآﻳﺪ ﻛﻪ ﻣﻨﻢ‬

(71) Time and again one takes this talk: “ ‘Tis I!

‫ﺑﺎ ﻧﻌﻤﺖ و ﺑﺎ ﺳﻴﻢ و زر آﻳﺪ ﻛﻪ ﻣﻨﻢ‬

With power, wealth, and weight to walk: ‘Tis I!”

‫ﭼﻮن ﻛﺎرﮔﻪ اش ﻧﻈﺎم ﮔﻴﺮد روزي‬

Eftsoon his craft and fair begin to bloom,

‫ﻧﺎﮔﻪ اﺟﻞ از ﻛﻤﻴﻦ درآﻳﺪ ﻛﻪ ﻣﻨﻢ‬

Old Doom sets forth out of his stalk: “ ‘Tis I!”

(72) ‫ﻫﻴﻬﺎت ﻛﻪ اﻳﻦ ﺷﻜﻞ ﻣﺠﺴﻢ ﻫﻴﭻ اﺳﺖ‬

(72)

‫ ﻫﻴﭻ اﺳﺖ‬174‫ ﻧﻪ ﺳﭙﻬﺮ ارﻗﻢ‬173‫وﻳﻦ ﻃﺎرم‬

Alas! That this Invested Four167 is naught!

‫درﻳﺎب ﻛﻪ در ﻛﺸﺎﻛﺶ ﻣﻮت و ﺣﻴﺎت‬

This Piebald Asp of Nine-Fold Lore is naught!168

‫واﺑﺴﺘﻪ ﻳﻚ دﻣﻴﻢ و آن ﻫﻢ ﻫﻴﭻ اﺳﺖ‬

Beware! Amidst the Heave of Life and Death A gasp is ours, and that once more is naught!169 67

68

(73)

(73)

Beware! For ruthless is the Fortune’s Reign!

‫اﺳﺖ‬

And heed: his Sword to slay the folks is fain!

179

‫ﻫﺸﺪار ﻛﻪ روزﮔﺎر ﺷﻮراﻧﮕﻴﺰ‬

‫اﻳﻤﻦ ﻣﻨﺸﻴﻦ ﻛﻪ ﺗﻴﻎ دوران ﺗﻴﺰ اﺳﺖ‬ ‫ ﻧﻬﺪ‬180‫در ﻛﺎم ﺗﻮ ﮔﺮ زﻣﺎﻧﻪ ﻟﻮزﻳﻨﻪ‬

If thee he bade to take his Cordial Balm, O fie! Abstain! For that’s thy Mortal Bane!

‫زﻧﻬﺎر ﻓﺮو ﻣﺒﺮ ﻛﻪ زﻫﺮآﻣﻴﺰ اﺳﺖ‬ (74)

(74)

‫در ﻣﺴﺘﻲ ﻣﺎ ﭼﻮ ﺑﻮي ﻫﺸﻴﺎري ﻧﻴﺴﺖ‬

As off this lasting daze would be no shake175,

‫ﻏﺎﻓﻞ ﻣﻨﺸﻴﻦ ﻛﻪ وﻗﺖ ﺑﻲ ﻛﺎري ﻧﻴﺴﺖ‬

Anon gird loins and fast thy moment take!

‫ ﻛﻪ داري در ﭘﻴﺶ‬،‫ﺑﻴﺪار ﺷﻮ از ﺧﻮاب‬

Arise of this bewildered doze! For thou

‫ﺧﻮاﺑﻲ ﻛﻪ در آن اﻣﻴﺪ ﺑﻴﺪاري ﻧﻴﺴﺖ‬

Are doomed to fall to Sleep that bodes no wake!

(75) (75)

‫زآن ﭘﻴﺶ ﻛﻪ از زﻣﺎﻧﻪ ﺗﺎﺑﻲ ﺑﺨﻮرﻳﻢ‬

Before the Reaper rakes our fore and aft,

‫ﺑﺮﺧﻴﺰ و ﺑﻴﺎ ﺑﻪ ﻫﻢ ﺷﺮاﺑﻲ ﺑﺨﻮرﻳﻢ‬

O bid for wine and make awareness daft176!

‫ﻛﺎﻳﻦ ﭘﻴﻚ اﺟﻞ ﺑﻪ وﻗﺖ رﻓﺘﻦ ﻣﺎ را‬

For this Herald of Doom the time he raids

‫ﭼﻨﺪان ﻧﺪﻫﺪ اﻣﺎن ﻛﻪ آﺑﻲ ﺑﺨﻮرﻳﻢ‬

Would suffer not a soul to drink a draft!177

(76) ‫ رﻓﺘﻪ ﮔﺎن اﻳﻦ راه دراز‬181‫از ﺟﻤﻠﻪ‬

(76)

‫ﺑﺎزآﻣﺪه اي ﻛﻮ ﻛﻪ ﺑﻪ ﻣﺎ ﮔﻮﻳﺪ راز؟‬

Among the rovers of this Weary Way

‫ﻫﺎن ﺑﺮ ﺳﺮ اﻳﻦ دوراﻫﻪ از روي ﻧﻴﺎز‬

Hath one returned our worry to allay?! Beware! Upon this Valley naught

‫ﭼﻴﺰي ﻧﮕﺬاري ﻛﻪ ﻧﻤﻲ آﻳﻲ ﺑﺎز‬

belay178,

For thou will not return to take it! Nay! 69

70

(77)

(77)

Erased from this Record of Life we must,

‫از دﻓﺘﺮ ﻋﻤﺮ ﭘﺎك ﻣﻲ ﺑﺎﻳﺪ ﺷﺪ‬

And torn asunder by the Reaper’s Gust!

‫در ﭼﻨﮓ اﺟﻞ ﻫﻼك ﻣﻲ ﺑﺎﻳﺪ ﺷﺪ‬

O Saqi182 sane! Thou be resourceful yet!

‫ ﺗﻮ ﺧﻮش دل ﻣﻲ ﺑﺎش‬187‫اي ﺳﺎﻗﻲ ﺧﻮش ﻟﻘﺎ‬

Now pour a drink before we go to dust!

‫آﺑﻲ در ده ﻛﻪ ﺧﺎك ﻣﻲ ﺑﺎﻳﺪ ﺷﺪ‬ (78)

(78)

‫ﭼﻮن آﻣﺪﻧﻢ ﺑﻪ ﺧﻮد ﻧﺒﺪ روز ﻧﺨﺴﺖ‬

Since this fancy to rank upon this Brink Was not my own, is it now sane to shrink?!

‫اﻳﻦ رﻓﺘﻦ ﺑﻲ ﻣﺮاد ﻋﺰﻣﻲ اﺳﺖ درﺳﺖ؟‬ 189

O Saqi! Rise and gird thy loins a wink183!

‫ اي ﺳﺎﻗﻲ ﭼﺴﺖ‬188‫ﺑﺮﺧﻴﺰ و ﻣﻴﺎن ﺑﺒﻨﺪ‬

‫ﻛﺎﻧﺪوه ﺟﻬﺎن ﺑﻪ ﻣﻲ ﻓﺮو ﺧﻮاﻫﻢ ﺷﺴﺖ‬

In pink of wine let us our sorrow sink!

(79) ‫ﻫﺮ روز ﻛﻪ آﻓﺘﺎب ﺑﺮﻣﻲ آﻳﺪ‬

(79) Each brave new day that bids farewell to night

‫ﻳﻚ روز ز ﻋﻤﺮ ﻣﺎ ﺑﻪ ﺳﺮ ﻣﻲ آﻳﺪ‬

Puts forth a part of precious life to flight!

‫ﻫﺮ ﺻﺒﺢ ﻛﻪ ﻧﻘﺪ ﻋﻤﺮ ﻣﺎ ﻣﻲ دزدد‬ 190

And morn184 that thieves the treasure of our life

‫دزدي اﺳﺖ ﻛﻪ ﺑﺎ ﻣﺸﻌﻠﻪ درﻣﻲ آﻳﺪ‬

A burglar is who steals with torched a light!185

(80) 191

(80)

‫اﻳﻦ ﻗﺎﻓﻠﻪ ﻋﻤﺮ ﻋﺠﺐ ﻣﻲ ﮔﺬرد‬

‫درﻳﺎب دﻣﻲ ﻛﻪ ﺑﺎ ﻃﺮب ﻣﻲ ﮔﺬرد‬

O how hath run of days of yore this train!

‫ﺳﺎﻗﻲ ﻏﻢ ﻓﺮداي ﺣﺮﻳﻔﺎن ﭼﻪ ﺧﻮري؟‬

This while that runs with simple joy sustain!

‫ﭘﻴﺶ آر ﭘﻴﺎﻟﻪ را ﻛﻪ ﺷﺐ ﻣﻲ ﮔﺬرد‬

Saqi! What is thy care of morrow’s tax?! Now run some wine for night is due to wane!186 71

72

(81)

(81)

Upon this Waste that onto Fortune heaves,

‫در ﻣﻬﻠﻜﻪ اي ﻛﻪ ﺑﺮ ﻗﻀﺎ ﻣﻲ ﺳﺎﻳﺪ‬

And awe and wonder like a warren weaves,

‫ﺣﻴﺮت ﺑﻪ ﻓﺮاز وﻫﻢ ﻣﻲ اﻓﺰاﻳﺪ‬

It lies in dark that whence and then for where

‫ﻣﻌﻠﻮم ﻧﺸﺪ ﻛﻪ از ﻛﺠﺎ و ﺑﻪ ﭼﻪ ﺟﺎ‬

A column192 comes, and then another leaves!

‫ﻳﻚ ﻗﺎﻓﻠﻪ ﻣﻲ رود ﻳﻜﻲ ﻣﻲ آﻳﺪ‬ (82)

(82)

‫اﻓﺴﻮس ﻛﻪ ﻧﺎﻣﻪ ﺟﻮاﻧﻲ ﻃﻲ ﺷﺪ‬

Alack that rolled and coiled the Scroll of May!

‫وآن ﺗﺎزه ﺑﻬﺎر زﻧﺪﮔﺎﻧﻲ دي ﺷﺪ‬

And green of spring’s resigned to winter’s gray!

199

That trilling Bird of Mirth whose name was youth,

‫ ﻛﻪ ﻧﺎم او ﺑﻮد ﺷﺒﺎب‬198‫آن ﻣﺮغ ﻃﺮب‬ ‫ﻓﺮﻳﺎد! ﻧﺪاﻧﻢ ﻛﻪ ﻛﻲ آﻣﺪ ﻛﻲ ﺷﺪ‬

Alas! When came to wing?! When soared away?! (83) 200

(83) Within the tavern lay an old man tight;

‫ﭘﻴﺮي دﻳﺪم ﺑﻪ ﺧﺎﻧﻪ ﺧﻤﺎري‬

‫ﮔﻔﺘﻢ ﻧﻜﻨﻲ ز رﻓﺘﮕﺎن اﺧﺒﺎري؟‬ ‫ﮔﻔﺘﺎ ﻣﻲ ﺧﻮر ﻛﻪ ﻫﻤﭽﻮ ﻣﺎ ﺑﺴﻴﺎري‬

I asked: “Why not of those bygone indite193?”

‫ ﺑﺎري‬.‫رﻓﺘﻨﺪ و ﻛﺴﻲ ﺑﺎزﻧﻴﺎﻣﺪ‬

Replied: “Go tope! For like us much194 a wight Have gone and none returned! And that’s alright!”

(84) ‫ﻫﺮ ﺳﺒﺰه ﻛﻪ در ﻛﻨﺎر ﺟﻮﻳﻲ رﺳﺘﻪ اﺳﺖ‬

(84)

‫ﮔﻮﻳﻲ ز ﻟﺐ ﻓﺮﺷﺘﻪ ﺧﻮﻳﻲ رﺳﺘﻪ اﺳﺖ‬

The moss that marks the marge195 of water-race, Thou take of crops of upper lips a trace! Beware! As base thou trample not the lawn!

‫ﭘﺎ ﺑﺮ ﺳﺮ ﺳﺒﺰه ﺗﺎ ﺑﻪ ﺧﻮاري ﻧﻨﻬﻲ‬ 201

‫ن ﺳﺒﺰه ز ﺧﺎك ﻻﻟﻪ روﻳﻲ رﺳﺘﻪ اﺳﺖ‬Ĥ‫ﻛ‬

For that’s the foison196 of a Tulip-Face!197 73

74

(85)

(85)

O bathed the Face of Waste rains of Noruz!

‫ﺻﺤﺮا رخ ﺧﻮد ﺑﻪ اﺑﺮ ﻧﻮروز ﺑﺸﺴﺖ‬

And sped202 the world again beyond the blues!

‫وﻳﻦ دﻫﺮ ﺧﻤﻮده ﺑﺎز ﻧﻮ ﮔﺸﺖ درﺳﺖ‬

Go drink beside a ped203 by meadow’s bed,

‫ ﺑﻪ ﺳﺒﺰه زاري ﻣﻲ ﺧﻮر‬204‫ﺑﺎ ﺳﺒﺰﺧﻄﻲ‬

Before thy Bed of Dust the meadows use!

205

‫زان ﭘﻴﺶ ﻛﻪ ﺳﺒﺰه زار از ﺧﺎﻛﺖ رﺳﺖ‬   (86)

(86)

‫وﻗﺖ ﺳﺤﺮ اﺳﺖ ﺧﻴﺰ اي ﻃﺮﻓﻪ ﭘﺴﺮ‬

The Sun hath dawned! O dawn my sonny gay!

‫ﭘﺮ ﺑﺎده ﻟﻌﻞ ﻛﻦ ﺑﻠﻮرﻳﻦ ﺳﺎﻏﺮ‬

And fill with vermeil wine the flagon, pray!

‫ﻛﺎﻳﻦ ﻳﻚ دم ﻋﺎرﻳﺖ در اﻳﻦ ﻛﻨﺞ ﻓﻨﺎ‬

For this our breath-be-owed in ‘Bode of Boom

‫ اﺳﺖ در وﻗﺖ ﺳﺤﺮ‬206‫ﻫﻤﭽﻮن دم اﻓﻠﻖ‬

Is like the Breath of Dusk at break of day! (87) ‫اﻳﻦ ﻛﻮزه ﭼﻮ ﻣﻦ ﻋﺎﺷﻖ زاري ﺑﻮده اﺳﺖ‬

(87)

‫در ﺑﻨﺪ ﺳﺮ زﻟﻒ ﻧﮕﺎري ﺑﻮده اﺳﺖ‬

This pot as I in Passion’s Wreck hath been!

‫اﻳﻦ دﺳﺘﻪ ﻛﻪ ﺑﺮﮔﺮدن او ﻣﻲ ﺑﻴﻨﻲ‬

At love’s confounding call and beck hath been! This crooked handle thou see round its neck

‫دﺳﺘﻲ اﺳﺖ ﻛﻪ ﺑﺮﮔﺮدن ﻳﺎري ﺑﻮده اﺳﺖ‬

A hand around a darling’s neck hath been!

(88) ‫از ﻣﻦ رﻣﻘﻲ ﺑﻪ ﺳﻌﻲ ﺳﺎﻗﻲ ﻣﺎﻧﺪه اﺳﺖ‬

(88)

‫ ﺑﻲ وﻓﺎﻳﻲ ﻣﺎﻧﺪه اﺳﺖ‬،‫وز ﺻﺤﺒﺖ ﺧﻠﻖ‬

What’s left of me is the work of Saqi!

‫از ﺑﺎده دوﺷﻴﻦ ﻗﺪﺣﻲ ﺑﻴﺶ ﻧﻤﺎﻧﺪ‬

For what’s left of soul mates is just ennui!

‫از ﻋﻤﺮ ﻧﺪاﻧﻢ ﻛﻪ ﭼﻪ ﺑﺎﻗﻲ ﻣﺎﻧﺪه اﺳﺖ‬

This only cup is left of yester’s wine; Of life of mine how much is left to me?! 75

76

(89)

(89)

Saqi! Victor have turned the bloom and mead!

‫ﺳﺎﻗﻲ ﮔﻞ و ﺳﺒﺰه ﺑﺲ ﻃﺮﺑﻨﺎك ﺷﺪه اﺳﺖ‬

But heed ere they to terms of dust accede!

‫درﻳﺎب ﻛﻪ ﻫﻔﺘﻪ دﮔﺮ ﺧﺎك ﺷﺪه اﺳﺖ‬

Pour wine and pick the bloom! For in a blink The blossom comes to thorn and mead to weed!207

‫ﻣﻲ ﻧﻮش و ﮔﻠﻲ ﺑﭽﻴﻦ ﻛﻪ ﺗﺎ درﻧﮕﺮي‬ 210

‫ﮔﻞ ﺧﺎك ﺷﺪه اﺳﺖ و ﺳﺒﺰه ﺧﺎﺷﺎك ﺷﺪه اﺳﺖ‬ (90)

(90)

‫اﻣﺮوز ﺗﻮ را دﺳﺘﺮس ﻓﺮدا ﻧﻴﺴﺖ‬

The After-Day thou cannot earn To-Day,

‫ ﻧﻴﺴﺖ‬212‫ ﻓﺮدات ﻣﮕﺮ ﺳﻮدا‬211‫زاﻧﺪﻳﺸﻪ‬

And morn’s concern will steal thy calm away;

‫ﺿﺎﻳﻊ ﻣﻜﻦ اﻳﻦ دم ار دﻟﺖ ﺑﻴﺪار اﺳﺖ‬

So waste thou not this trice of passing joy!

‫ﻫﺎن ﺑﺎﻗﻲ ﻋﻤﺮ را ﺑﻬﺎ ﭘﻴﺪا ﻧﻴﺴﺖ‬

Seize this! Who could the rest of life assay?!

(91) (91)

‫ﭼﻮن ﺑﻠﺒﻞ ﻣﺴﺖ راه در ﺑﺴﺘﺎن ﻳﺎﻓﺖ‬

The oiled208 Bolbol when found his way to lawn,

‫ﺟﺎم ﮔﻞ و ﺟﺎن ﺑﺎده را ﺧﻨﺪان ﻳﺎﻓﺖ‬

And saw the bowl of wine and flower yawn,

‫آﻣﺪ ﺑﻪ زﺑﺎن ﺣﺎل در ﮔﻮﺷﻢ ﮔﻔﺖ‬ ‫ ﻛﻪ ﻋﻤﺮ رﻓﺘﻪ را ﻧﺘﻮان ﻳﺎﻓﺖ‬213‫درﻳﺎب‬

Rambled around and warbled in my ear: “O seize this day! Thy dusk will bear no dawn!”

(92) ‫ اي ﺳﺎﻗﻲ‬،‫آﻧﺎن ﻛﻪ ز ﭘﻴﺶ رﻓﺘﻪ اﻧﺪ‬

(92)

‫ اي ﺳﺎﻗﻲ‬،‫در ﺧﺎك ﻗﺮون ﺧﻔﺘﻪ اﻧﺪ‬

Those ancient hordes that went ahead209, Saqi!

‫رو ﺑﺎده ﺧﻮر و ﺣﻘﻴﻘﺖ از ﻣﻦ ﺑﺸﻨﻮ‬

The sands of years now make their bed, Saqi!

‫ اي ﺳﺎﻗﻲ‬،‫ﺑﺎد اﺳﺖ ﻫﺮآﻧﭽﻪ ﮔﻔﺘﻪ اﻧﺪ‬

So hear from me the truth of life and tope, For vain as wind was all they said, Saqi! 77

78

(93)

(93)

Dear mate! Thy bowl and pot to wine allot!

‫ اي دل ﺟﻮ‬،‫ﺑﺮدار ﭘﻴﺎﻟﻪ و ﺳﺒﻮ‬

Sit by the creek and round the prairie trot!

‫ﻣﻲ ﮔﺮد ﺑﻪ ﮔﺮد ﺳﺒﺰه زار و ﻟﺐ ﺟﻮ‬ ‫ ﻗﺪ ﺑﺴﻲ ﺑﺘﺎن ﻣﻪ رو‬216‫ﻛﺎﻳﻦ ﭼﺮخ‬

For this high Wheel the idols’ lofty lot Hath bent to bowl at times and shaped to pot!

‫ﺻﺪ ﺑﺎر ﭘﻴﺎﻟﻪ ﻛﺮد و ﺻﺪ ﺑﺎر ﺳﺒﻮ‬ (94)

(94) Ere us the Sun and Moon did roll in high!

‫ ﺑﻮده اﺳﺖ‬217‫ﭘﻴﺶ از ﻣﻦ و ﺗﻮ ﻟﻴﻞ و ﻧﻬﺎري‬ ‫ﮔﺮدﻧﺪه ﻓﻠﻚ ﻧﻴﺰ ﺑﻪ ﻛﺎري ﺑﻮده اﺳﺖ‬

And ruled upon the trade of doom the sky!

‫ ﻗﺪم ﺑﻪ ﺧﺎك آﻫﺴﺘﻪ ﻧﻬﻲ‬218‫زﻧﻬﺎر‬

Beware and walk with care the sable earth,

‫ﻛﺎن ﻣﺮدﻣﻚ ﭼﺸﻢ ﻧﮕﺎري ﺑﻮده اﺳﺖ‬

For that was once a darling’s lucid eye!

(95) 219

(95)

‫ﭼﻮن ﻋﻬﺪه ﻧﻤﻲ ﺷﻮد ﻛﺴﻲ ﻓﺮدا را‬ ‫ﺣﺎﻟﻲ ﺧﻮش دار اﻳﻦ دل ﺷﻴﺪا را‬

Since none is charged by yon and thereupon,

‫ﻣﻲ ﻧﻮش ﺑﻪ ﻣﺎﻫﺘﺎب اي ﻣﺎه ﻛﻪ ﻣﺎه‬

Go bathe in mirth thy beaten mind anon!

220

In moon imbibe, my moon! because the Moon Will shine and shine again and find us gone!214

‫ﺑﺴﻴﺎر ﺑﺘﺎﺑﺪ و ﻧﻴﺎﺑﺪ ﻣﺎ را‬ (96)

‫ﭼﻮن ﻻﻟﻪ ﺑﻪ ﻧﻮروز ﻗﺪح ﮔﻴﺮ ﺑﻪ دﺳﺖ‬ (96)

‫ﺑﺎ ﻻﻟﻪ رﺧﻲ اﮔﺮ ﺗﻮ را ﻓﺮﺻﺖ ﻫﺴﺖ‬

O raise thy cup as tulip in Noruz,

‫ﻣﻲ ﻧﻮش ﺑﻪ ﺧﺮﻣﻲ ﻛﻪ اﻳﻦ ﭼﺮخ ﻛﺒﻮد‬

And choose a tulip-face to be thy muse!

‫ﻧﺎﮔﺎه ﺗﻮ را ﭼﻮ ﺧﺎك ﮔﺮداﻧﺪ ﭘﺴﺖ‬

Go drink in weal for this deceitful Wheel At once thy height to lowly earth will use!215 79

80

(97)

(97)

Unless our Sailer we with gladness crown,

‫ﺗﺎ دﺳﺖ ﺑﻪ اﺗﻔﺎق ﺑﺮ ﻫﻢ ﻧﺰﻧﻴﻢ‬

We won’t the Sable-Sail of Sadness drown!

‫ﭘﺎﻳﻲ ز ﻧﺸﺎط ﺑﺮ ﺳﺮ ﻏﻢ ﻧﺰﻧﻴﻢ‬

Let’s dawn and drink before the dawn of morn,

‫ﺧﻴﺰﻳﻢ و دﻣﻲ زﻧﻴﻢ ﭘﻴﺶ از دم ﺻﺒﺢ‬

For morn will dawn again when we are down!

‫ﻛﺎﻳﻦ ﺻﺒﺢ ﺑﺴﻲ دﻣﺪ ﻛﻪ ﻣﺎ دم ﻧﺰﻧﻴﻢ‬ (98)

(98)

‫ﭼﻮن ﭼﺮخ ﺑﻪ ﻛﺎم ﻳﻚ ﺧﺮدﻣﻨﺪ ﻧﮕﺸﺖ‬

O since thy will the Wheel will not rotate, Thou heavens take whether seven or eight! As leave thou must and all thy lust abate, The lot of ants’ thou be or vultures’ bait!

‫ﺧﻮاﻫﻲ ﺗﻮ ﻓﻠﻚ ﻫﻔﺖ ﺷﻤﺮ ﺧﻮاﻫﻲ ﻫﺸﺖ‬ 223

‫ﭼﻮن رﻓﺖ ﻫﻤﻪ ﺑﺎﻳﺪ و ﺧﻮاﻫﺶ ﻫﻤﻪ ﻫﺸﺖ‬

‫ﭼﻪ ﻣﻮر ﺧﻮرد ﺑﻪ ﮔﻮر و ﭼﻪ ﮔﺮگ ﺑﻪ دﺷﺖ‬ (99)

(99)

‫اﻓﻼك ﺑﻪ ﺟﺰ ﻏﻢ ﻧﻔﺰاﻳﻨﺪ دﮔﺮ‬

The Spheres221 for naught except for sorrow strive!

‫ﻧﻨﻬﻨﺪ ﺑﻪ ﺟﺎ ﺗﺎ ﻧﺮﺑﺎﻳﻨﺪ دﮔﺮ‬

This would give not before of that deprive!

‫ﻧﺎآﻣﺪه ﮔﺎن اﮔﺮ ﺑﺪاﻧﻨﺪ ﻛﻪ ﻣﺎ‬

If those that rest behind conceived our test,

‫ﻳﻨﺪ دﮔﺮ‬Ĥ‫از دﻫﺮ ﭼﻪ ﻣﻲ ﻛﺸﻴﻢ ﻧ‬

Indeed they would decline this mortal dive!

(100) ‫ﺑﺎ ﺳﺮوﻗﺪي ﺗﺎزه ﺗﺮ از ﺧﺮﻣﻦ ﮔﻞ‬

(100)

‫از دﺳﺖ ﻣﻨﻪ ﺟﺎم ﻣﻲ و داﻣﻦ ﮔﻞ‬

By thee a fresher dear than flower’s sheave222,

‫زان ﭘﻴﺶ ﻛﻪ ﻧﺎﮔﻪ ﺷﻮد از ﺑﺎد اﺟﻞ‬

Do not the cup and lap of flower’s leave,

‫ﭘﻴﺮاﻫﻦ ﻋﻤﺮ ﻣﺎ ﭼﻮ ﭘﻴﺮاﻫﻦ ﮔﻞ‬

Before the Ride of Time and Tide of Doom Thy Dress of Life as that of flower’s cleave! 81

82

(101)

(101)

Now when of fun but foulness reigns and none,

‫اﻛﻨﻮن ﻛﻪ ز ﺧﻮﺷﺪﻟﻲ ﺗﻮ را ﻛﺎم ﻧﻤﺎﻧﺪ‬

To side with thee but cider224 deigns and none,

‫ﻳﻚ ﻫﻤﺪم ﭘﺨﺘﻪ ﺟﺰ ﻣﻲ ﺧﺎم ﻧﻤﺎﻧﺪ‬ ‫ ﮔﻞ ﺑﺎز ﻣﮕﻴﺮ‬228‫دﺳﺖ ﻃﺮب از ﺳﺎﻏﺮ‬

O let go not the Florid Goblet’s Lap, This moment when but that remains and none!

‫اﻣﺮوز ﻛﻪ در دﺳﺖ ﻣﮕﺮ ﺟﺎم ﻧﻤﺎﻧﺪ‬ (102)

(102)

‫آﻧﻜﺲ ﻛﻪ زﻣﻴﻦ و ﭼﺮخ و اﻓﻼك ﻧﻬﺎد‬

The One who Earth, the Wheel, and cosmos dressed, Much sadness He to saddened225 hearts addressed! So much a Ruby Lip and

Lyric226

Lock

‫ﺑﺲ داغ ﻛﻪ او ﺑﺮ دل ﻏﻤﻨﺎك ﻧﻬﺎد‬ ‫ﺑﺴﻴﺎر ﻟﺐ ﭼﻮ ﻟﻌﻞ و ﮔﻴﺴﻮي ﭼﻮ ﭼﻨﮓ‬ ‫ ﺧﺎك ﻧﻬﺎد‬229‫در ﻃﺒﻞ زﻣﻴﻦ و ﺣﻘﻪ‬

To Void of Earth and Bowl of Dust He pressed!

(103) (103)

‫اﺑﺮآﻣﺪ و زار ﺑﺮ ﺳﺮ ﺳﺒﺰه ﮔﺮﻳﺴﺖ‬

Aloft the turf the cloud let tears alight;

‫ ﻧﻤﻲ ﺷﺎﻳﺪ زﻳﺴﺖ‬230‫ﺑﻲ ﺑﺎده ارﻏﻮان‬

Sans crimson wine our life is not so bright!

‫اﻳﻦ ﺳﺒﺰه ﻛﻪ اﻣﺮوز ﺗﻤﺎﺷﺎﮔﻪ ﻣﺎﺳﺖ‬

Today this merry mead our comely scene;

231

‫ﺗﺎ ﺳﺒﺰه ﺧﺎك ﻣﺎ ﺗﻤﺎﺷﺎﮔﻪ ﻛﻴﺴﺖ؟‬

The morn for whom our moss will make a sight?!227 (104) ‫اي دل ﺗﻮ ﺑﻪ ادراك ﻣﻌﻤﺎ ﻧﺮﺳﻲ‬

(104)

‫در ﺣﻠﻘﻪ زﻳﺮﻛﺎن داﻧﺎ ﻧﺮﺳﻲ‬

My mind! This Code Arcane thou never gain! The ken of wits by brain thou never gain!

‫ ﺧﻴﺰ! ﺑﻬﺸﺘﻲ ﻣﻲ ﺳﺎز‬،‫از ﺳﺒﺰه و ﻣﻲ‬

Now rise! A heaven make of wine and mead:

‫آﻧﺠﺎ ﻛﻪ ﺑﻬﺸﺖ اﺳﺖ رﺳﻲ ﻳﺎ ﻧﺮﺳﻲ‬

Heaven thou whether gain or never gain! 83

84

(105)

(105)

When saddled went the Sky’s Ferocious Steed,

‫ﻓﻠﻚ زﻳﻦ ﻛﺮدﻧﺪ‬

And Spheres were set with countless light a Bead232,

‫ﻛﺮدﻧﺪ‬

The Wheel our portion willed to woe and wail!

238

237

‫آن روز ﻛﻪ ﺗﻮﺳﻦ‬

‫آراﻳﺶ ﻣﺸﺘﺮي و ﭘﺮوﻳﻦ‬

‫ﺧﻮن ﺑﻮد ز دﻳﻮان ﻗﻀﺎ ﻗﺴﻤﺖ دل‬ 239

For what misdeed this end was made our meed233?!

‫ﻣﺎ را ﭼﻪ ﮔﻨﻪ ﻛﻪ ﻋﺎﻗﺒﺖ اﻳﻦ ﻛﺮدﻧﺪ؟‬ (106)

(106)

‫ اﻳﻦ دل را داد دﻫﻴﻢ‬240‫ﺑﺮﺧﻴﺰ! ﻣﮕﺮ‬

Now rise! Let us the Rite of Frolic hail!

‫ﻣﺴﺘﺎن ﺻﺒﻮح را ﻃﺮب ﻳﺎد دﻫﻴﻢ‬

And teach the matin sots a novel tale:

‫ﺑﺮ ﻧﻐﻤﻪ ﺑﻠﺒﻼن ﭼﻮ ﮔﻞ ﺟﺎﻣﻪ درﻳﻢ‬

Tear garb as blossoms to the Bolbol’s song,

‫ﭘﺲ ﻫﻤﭽﻮ ﺷﻜﻮﻓﻪ ﻋﻤﺮ ﺑﺮ ﺑﺎد دﻫﻴﻢ‬

Then like the flower resign our life to gale!

(107) (107)

‫ﻣﻬﺘﺎب ﺑﻪ ﻧﻮر داﻣﻦ ﺷﺐ ﺑﺸﻜﺎﻓﺖ‬

O moon234 hath slashed the night’s tenebrous line!

‫ﻣﻲ ﻧﻮش! دﻣﻲ ﺧﻮش ﺗﺮ از اﻳﻦ ﻧﺘﻮان ﻳﺎﻓﺖ‬

Pour wine! We’ll find no moment more benign!

‫ﺧﻮش ﺑﺎش و ﻣﻴﻨﺪﻳﺶ ﻛﻪ ﻣﻬﺘﺎب ﺑﺴﻲ‬ 241

In weal thou live awhile and leave thy wail,

‫اﻧﺪر ﺳﺮ ﮔﻮر ﺗﺎ اﺑﺪ ﺧﻮاﻫﺪ ﺗﺎﻓﺖ‬

For Moon on tombs of us till Doom will shine!235 (108) ‫دوﺷﻴﻨﻪ ﭘﻲ ﺷﺮاب ﻣﻲ ﮔﺮدﻳﺪم‬

(108) Last night I was for vintage down the aisle Where in the flames I found a bloom in bile236;

‫ آﺗﺶ دﻳﺪم‬242‫ﭘﮋﻣﺮده ﮔﻠﻲ ﻛﻨﺎر‬ ‫ﮔﻔﺘﻢ ﺗﻮ ﭼﻪ ﻛﺮده اي ﻛﻪ ﻣﻲ ﺳﻮزﻧﺪت؟‬ ‫ﮔﻔﺘﺎ ﻧﻔﺴﻲ در اﻳﻦ ﭼﻤﻦ ﺧﻨﺪﻳﺪم‬

I asked: “What didst, O bloom! to merit this?!” Replied: “Oh! In this mead I smiled awhile!” 85

86

(109)

(109)

Once I could tell apart my arm and thigh,

‫ﺗﺎ ﺑﺎزﺷﻨﺎﺧﺘﻢ ﻣﻦ اﻳﻦ ﭘﺎي ز دﺳﺖ‬

My arm and thigh the Mighty Wheel did tie243!

‫اﻳﻦ ﭼﺮخ ﻣﺮا ﻗﻴﺪ زد و ﭘﺎي ﺑﺒﺴﺖ‬

Alas! That they with life will count those days That went without the wench and vintage by!

‫اﻓﺴﻮس ﻛﻪ در ﺣﺴﺎب ﺧﻮاﻫﻨﺪ ﻧﻬﺎد‬ 246

‫ﻋﻤﺮي ﻛﻪ ﻣﺮا ﺑﻲ ﻣﻲ و ﻣﻌﺸﻮق ﮔﺬﺷﺖ‬ (110)

(110)

‫اي ﭼﺮخ! دﻟﻢ ﻫﻤﻴﺸﻪ ﻏﻤﻨﺎك ﻛﻨﻲ‬

O Wheel! Thou alway render me to dearth!

‫ﭘﻴﺮاﻫﻦ ﺧﺮﻣﻲ ﻣﻦ ﭼﺎك ﻛﻨﻲ‬

And rend apart the raiment of my mirth!

‫ﺑﺎدي ﻛﻪ ﺑﻪ ﻣﻦ وزد ﺗﻮ آﺗﺶ ﻛﻨﻲ اش‬

The wind that wafts my way thou set afire!

‫آﺑﻲ ﻛﻪ ﺧﻮرم در دﻫﻨﻢ ﺧﺎك ﻛﻨﻲ‬

The water that I take thou change to earth!

(111) (111)

‫ﻫﺎن! ﺻﺒﺢ دﻣﻴﺪ و داﻣﻦ ﺷﺐ ﺷﺪ ﭼﺎك‬

The Darts of Day the Mask of Dusk have thrust!

‫ ﭼﺮاﻳﻲ ﻏﻤﻨﺎك؟‬،‫ﺑﺮﺧﻴﺰ و ﺻﺒﻮح ﻛﻦ‬

Why whine?! Awake and take the wine robust!

‫ ﻛﻪ ﺻﺒﺢ ﺑﺴﻴﺎر دﻣﺪ‬247‫ﻣﻲ ﻧﻮش ﻫﻼ‬ ‫او روي ﺑﻪ ﻣﺎ ﻛﺮده و ﻣﺎ روي ﺑﻪ ﺧﺎك‬

Now raise thy cup, for morn will oft arise: Her face to us, and ours, alas! to dust!

(112) ‫دﻧﻴﺎ ﻧﻪ ﻣﻘﺎم ﺗﻮﺳﺖ ﻧﻪ ﺟﺎي ﻧﺸﺴﺖ‬

(112)

‫ﻓﺮزاﻧﻪ در آن ﺧﺮاب و در ﺑﺴﺘﺮ ﻣﺴﺖ‬

The world is not thy place of rest and stand: The sage is lost therein, the sot a-strand244! Now pour on Fire of Woe that water: wine!

‫ﺑﺮ آﺗﺶ ﻏﻢ ز ﺑﺎده آﺑﻲ ﻣﻲ زن‬ 248

‫زآن ﭘﻴﺶ ﻛﻪ در ﺧﺎك روي ﺑﺎد ﺑﻪ دﺳﺖ‬

Before to dust thou go just wind in hand!245 87

88

(113)

(113)

The Tree of World no sturdy scion burst,

‫در دﻫﺮ ﺑﺮ ﻧﻬﺎل ﺗﺤﻘﻴﻖ ﻧﺮﺳﺖ‬ ‫ ﻛﺴﻲ ﻧﻴﺴﺖ درﺳﺖ‬252‫زﻳﺮا ﻛﻪ در اﻳﻦ ورﻃﻪ‬

For in this Storm whatever stands is curst249! The boughs we seize have gone from bad to worst:

‫ﻫﺮﻛﺲ زده دﺳﺖ ﻋﺠﺰ در ﺷﺎﺧﻲ ﺳﺴﺖ‬

To-day as yester deem, the morn as first!

‫اﻣﺮوز ﭼﻮ دي ﺷﻤﺎر و ﻓﺮدا ﭼﻮ ﻧﺨﺴﺖ‬ (114)

(114)

‫ﮔﻞ ﮔﻔﺖ ﺑﻪ از ﺗﺒﺴﻢ ام ﭼﻴﺰي ﻧﻴﺴﺖ‬

The blossom sighed: “No charm could best my cheers!

‫ﭼﻨﺪﻳﻦ ﺳﺘﻢ ﮔﻼب ﮔﺮ ﺑﺎري ﭼﻴﺴﺖ‬

So why the force of Pressers250 and their gears?!”

‫ﺑﻠﺒﻞ ﺑﻪ زﺑﺎن ﺣﺎل ﺑﺎ او اﻳﻦ ﮔﻔﺖ‬

Upon this sigh the Bolbol burst to sing: “Who twittered once that sank not

all251

‫ﻳﻚ روز ﻛﻪ ﺧﻨﺪﻳﺪ ﻛﻪ ﻋﻤﺮي ﻧﮕﺮﻳﺴﺖ؟‬

to tears?!”

(115) (115)

253

Beneath this Wheel that rolls around in gloom,

‫ﺟﺎﻣﻲ اﺳﺖ ﻛﻪ ﺟﻤﻠﻪ را ﭼﺸﺎﻧﻨﺪ ﺑﻪ دور‬

There lies a Cup that all in turn assume! Thy turn when comes, let go of woe and wail!

‫در داﻳﺮه ﺳﭙﻬﺮ ﻧﺎﭘﻴﺪا ﻏﻮر‬

‫ﻧﻮﺑﺖ ﭼﻮ ﺑﻪ دور ﺗﻮ رﺳﺪ آه ﻣﻜﺶ‬ 254

‫ﺧﻮش درﻛﺶ و رو ﻛﻪ ﻛﻬﻨﻪ دور اﺳﺖ ﺑﻪ ﺟﻮر‬

Assume thy turn, for that’s the way of Doom! (116) ‫ﺑﻪ ﻫﺮ دري ﻫﻤﻲ ﺑﺎﻳﺪ ﺗﺎﺧﺖ‬

(116)

‫ﺑﺮ ﻫﺮزه‬

‫ﺑﺎ ﻧﻴﻚ و ﺑﺪ زﻣﺎﻧﻪ ﻣﻲ ﺑﺎﻳﺪ ﺳﺎﺧﺖ‬

To fight we are without a right to choose!

‫ ﺗﻘﺪﻳﺮ‬256‫از ﻃﺎﺳﻚ ﭼﺮخ و ﻛﻌﺒﺘﻴﻦ‬

And are to bear alike the bliss and blues!

‫ﻫﺮ ﻧﻘﺶ ﻛﻪ ﭘﻴﺪا ﺷﻮد آن ﺑﺎﻳﺪ ﺑﺎﺧﺖ‬

The Wheel of Fortune and the Die of Fate What numbers cast the same we ought to lose! 89

255

90

(117)

(117)

If ‘neath the Crust of Hope I found a core,

‫ﺑﺮ ﺷﺎخ اﻣﻴﺪ اﮔﺮ ﺑﺮي ﻳﺎﻓﺘﻤﻲ‬

A cure I’d find for this my sorry sore!

‫اﻳﻦ رﺷﺘﻪ ﺧﻮﻳﺶ را ﺳﺮي ﻳﺎﻓﺘﻤﻲ‬

How long endure the joyless Fold of Life?!

‫ﺗﺎ ﭼﻨﺪ ز ﺗﻨﮕﻨﺎي زﻧﺪان وﺟﻮد؟‬

I long to Field of Death I found a door!

‫اي ﻛﺎش ﺳﻮي ﻋﺪم دري ﻳﺎﻓﺘﻤﻲ‬   (118)

(118)

‫زان ﭘﻴﺶ ﻛﻪ از اﺟﻞ ﮔﺮﻳﺰان ﮔﺮدم‬

Before my life is by the Reaper cleaved,

‫ﭼﻮن ﺑﺮگ ز ﺷﺎخ ﻋﻤﺮ رﻳﺰان ﮔﺮدم‬

And I am like a leaf by earth received,

‫ﻋﺎﻟﻢ ﺑﻪ ﻧﺸﺎط دل ﺑﻪ ﻏﺮﺑﺎل ﻛﻨﻢ‬

I am to sieve the Earth to my content,

‫زان ﭘﻴﺶ ﻛﻪ ﺧﺎك ﺧﺎك ﺑﻴﺰان ﮔﺮدم‬

Before my earth is by the Sifter sieved!

(119) 260

(119)

‫ اﺳﺖ ﻧﮕﻮن اﻓﺘﺎده‬259‫اﻳﻦ ﭼﺮخ ﭼﻮ ﻃﺎﺳﻲ‬

O like a fallen bowl revolves this Wheel257

‫در وي ﻫﻤﻪ زﻳﺮﻛﺎن زﺑﻮن اﻓﺘﺎده‬

Beneath which fools and wits beguile258 and reel!

‫در دوﺳﺘﻲ ﺷﻴﺸﻪ و ﺳﺎﻏﺮ ﻧﮕﺮﻳﺪ‬ 261

Behold the love between the cup and pot: They’re lip to lip, and blood their fealty’s seal!

‫ﻟﺐ ﺑﺮ ﻟﺐ و در ﻣﻴﺎﻧﻪ ﺧﻮن اﻓﺘﺎده‬ (120)

‫ ﺧﻴﺰ! اي ﻣﺎﻳﻪ ﻧﺎز‬،‫وﻗﺖ ﺳﺤﺮ اﺳﺖ‬

(120)

‫ﻧﺮﻣﻚ ﻧﺮﻣﻚ ﺑﺎده ﺧﻮر و ﭼﻨﮓ ﻧﻮاز‬

The morn hath come! Awake, my darling prize!

‫ﻧﺎن ﻛﻪ ﺑﻪ ﺟﺎﻳﻨﺪ ﻧﭙﺎﻳﻨﺪ ﺑﺴﻲ‬Ĥ‫ﻛ‬

Sip! Sip the wine and then the harp surprise!

‫وآﻧﻬﺎ ﻛﻪ ﺷﺪﻧﺪ ﻛﺲ ﻧﻤﻲ آﻳﺪ ﺑﺎز‬

Those settled down will linger not so long, And those who rest in peace shall never rise! 91

92

(121)

(121)

Within this Field of World which bodes august,

‫در ﻣﺰرع دﻫﺮ ﻛﺰ ﻧﺸﺎط آﻣﺪه ﭘﺎك‬

The Fate’s Farmer but cast the seed of rust!

‫دﻫﻘﺎن ﻗﻀﺎ ﻧﺮﻳﺨﺖ ﺟﺰ ﺗﺨﻢ ﻫﻼك‬

For that the folks as seeds with torsos thrust262,

‫ﭼﻮن داﻧﻪ ﮔﻨﺪم ﻫﻤﻪ زان ﺑﺎ دل ﭼﺎك‬ 268

Will rise and then once more will fall to dust!263

‫از ﺧﺎك ﺑﺮآﻣﺪﻧﺪ و رﻓﺘﻨﺪ ﺑﻪ ﺧﺎك‬ (122)

(122)

‫ﺗﺎ ﻛﻲ ﻏﻢ آن ﺧﻮرم ﻛﻪ دارم ﻳﺎ ﻧﻪ؟‬

How much shall I for having whine or not?!264

‫اﻳﻦ ﻋﻤﺮ ﺑﻪ ﺧﻮﺷﺪﻟﻲ ﮔﺬارم ﻳﺎ ﻧﻪ؟‬

Or if I’ll waste my days in fine or not?!

‫ﭘﺮﻛﻦ ﻗﺪح ﺑﺎده ﻛﻪ ﻣﻌﻠﻮﻣﻢ ﻧﻴﺴﺖ‬

The vial fill! For this is veiled to me:

‫اﻳﻦ دم ﻛﻪ ﻓﺮو ﺑﺮم ﺑﺮآرم ﻳﺎ ﻧﻪ‬

This gasp-at-stake this trice is mine or not?!

(123) (123)

‫ﻳﻚ روز ز ﺑﻨﺪ ﻋﺎﻟﻢ آزاد ﻧﻴﻢ‬

No trice am I released of Welkin’s Cord!

‫ﻳﻚ دم زدن از وﺟﻮد ﺧﻮد ﺷﺎد ﻧﻴﻢ‬

All that befalls me, all! is untoward!

‫ﺷﺎﮔﺮدي روزﮔﺎر ﻛﺮدم ﺑﺴﻴﺎر‬ ‫در ﻛﺎر ﺟﻬﺎن ﻫﻨﻮز اﺳﺘﺎد ﻧﻴﻢ‬

For long have I to Wheel a learner265 been, In deals it makes yet I am not a lord266!

(124) ‫ﮔﺮ آﻣﺪﻧﻢ ﺑﻪ ﻣﻦ ﺑﺪي ﻧﺎﻣﺪﻣﻲ‬

(124)

‫ور ﻧﻴﺰ ﺷﺪن ﺑﻪ ﺧﻮد ﺑﺪي ﻛﻲ ﺷﺪﻣﻲ‬

Were it on me to come, I never should!

‫ﺑﻪ زان ﻧﺒﻮد ﻛﻪ اﻧﺪر اﻳﻦ دﻳﺮ ﺧﺮاب‬

Were it on me to go, O how I could?!

269

Were not it best in this Abode of Waste I neither pass, nor stay, nor sunder would?!267 93

94

‫ﻧﻪ آﻣﺪﻣﻲ ﻧﻪ ﺷﺪﻣﻲ ﻧﻪ ﺑﺪﻣﻲ؟‬

(125)

(125)

How long thy days in vain self-praise to pass?!

‫ﺗﺎ ﻛﻲ ﻋﻤﺮت ﺑﻪ ﺧﻮد ﭘﺮﺳﺘﻲ ﮔﺬرد؟‬

Or in the Prise270 of Cosmos’ Maze to pass?! O pour! The life that is pursued by death

‫ﻳﺎ در ﭘﻲ ﻧﻴﺴﺘﻲ و ﻫﺴﺘﻲ ﮔﺬرد؟‬ ‫ﻣﻲ ﻧﻮش ﻛﻪ ﻋﻤﺮي ﻛﻪ اﺟﻞ در ﭘﻲ اوﺳﺖ‬ 273

Indeed is best in doze or daze to pass!271

‫ﺑﻬﺘﺮﻛﻪ ﺑﻪ ﺧﻮاب ﻳﺎ ﺑﻪ ﻣﺴﺘﻲ ﮔﺬرد‬ (126)

(126)

‫ﻳﻚ روز ﻓﻠﻚ ﻛﺎر ﻣﺮا ﺳﺎز ﻧﻜﺮد‬

O ne’er the Lordly Wheel allayed my sores!

‫ﻫﺮﮔﺰ ﺳﻮي ﻣﻦ دﻣﻲ ﺧﻮش آواز ﻧﻜﺮد‬

And never sang for me its merry scores!

‫ﻳﻚ دم ﻧﻔﺴﻲ از ﺳﺮ ﺷﺎدي ﻧﺰدم‬

Not once to weal it oped a meager gap

‫ﻛﺎن روز ﺑﻪ ﺻﺪ ﻏﻤﻢ دري ﺑﺎز ﻧﻜﺮد‬

That next to woe did not a hundred doors!

(127) (127)

‫زان ﭘﻴﺶ ﻛﻪ ﺟﺎن ﺗﻮ ز ﻋﺎﻟﻢ ﺑﺮود‬

Ere of this world embarks thy soul to go,

‫ﻣﻲ ﺧﻮر ﻛﻪ ﭼﻮ ﻣﻲ ﺑﻪ دل رﺳﺪ ﻏﻢ ﺑﺮود‬

Go drink, for that compels thy dole to go!

‫ﺑﮕﺸﺎي ز ﺳﺮ زﻟﻒ ﺑﺘﻲ ﺑﻨﺪ ﺑﻪ ﺑﻨﺪ‬

Unroll the manes of idols chunk by chunk,

‫زان ﭘﻴﺶ ﻛﻪ ﺑﻨﺪ ﺑﻨﺪت از ﻫﻢ ﺑﺮود‬

Ere chunk by chunk thy members272 roll to go!

(128) ‫ﺳﺎﻗﻲ ﻗﺪﺣﻲ ﻛﻪ ﻛﺎر ﻋﺎﻟﻢ ﻧﻔﺴﻲ اﺳﺖ‬

(128) Saqi! My stein! This Waste of World is nil! Fulfilled a breath, that’s just enough! O fill!

‫ﮔﺮ ﺷﺎدي از او ﻳﻚ ﻧﻔﺲ آن ﻧﻴﺰ ﺑﺴﻲ اﺳﺖ‬ ‫ﺧﻮش ﺑﺎش ﺑﻪ ﻫﺮﭼﻪ ﭘﻴﺸﺖ آﻳﺪ ﻛﻪ ﺟﻬﺎن‬ ‫ﻫﺮﮔﺰ ﻧﺸﻮد ﭼﻨﺎﻧﻜﻪ دﻟﺨﻮاه ﻛﺴﻲ اﺳﺖ‬

Go bide content with what betides thy way, The Wheel will never roll the way thou will! 95

96

(129)

(129)

At first thou fostered me so well; O why?!

‫ﭼﻨﺪان ﻛﺮم و ﻟﻄﻒ ز آﻏﺎز ﭼﻪ ﺑﻮد؟‬

And made my home the hill and dell; O why?!

‫وآن داﺷﺘﻨﻢ در ﻃﺮب و ﻧﺎز ﭼﻪ ﺑﻮد؟‬

Now stranding me at sea thy sole concern:

‫اﻛﻨﻮن ﻫﻤﻪ در رﻧﺞ دﻟﻢ ﻣﻲ ﻛﻮﺷﻲ‬

What was my sin?! Wherefore?! O tell me why?!

‫آﺧﺮ ﭼﻪ ﮔﻨﺎه ﻛﺮده ام؟ ﺣﺎل ﭼﻪ ﺑﻮد؟‬ (130)

(130)

‫ﺑﺎ ﺣﻜﻢ ﻓﻠﻚ ﺟﺰ ﺑﻪ رﺿﺎ درﻧﮕﺮﻓﺖ‬

With Fortune’s Word274 but wait275 did not avail!

‫ﺑﺎ ﻋﻴﺶ و ﻃﺮب ﺟﺰ ﺑﻪ ﻋﺰا درﻧﮕﺮﻓﺖ‬

With love at last but hate did not avail!

‫ﻫﺮ ﺣﻴﻠﻪ ﻛﻪ در ﺗﺼﻮر ﻋﻘﻞ آﻳﺪ‬

What could the mind devise to hinder Doom

‫ﻛﺮدﻳﻢ وﻟﻴﻚ ﺑﺎ ﻗﻀﺎ درﻧﮕﺮﻓﺖ‬

We did, and, Oh! with Fate did not avail!

(131) 281

(131) Now from the Womb of Earth to Saturn’s Loom276

‫ ﺧﺎك ﺗﺎ اوج زﺣﻞ‬280‫از ﺟﺮم ﺣﻀﻴﺾ‬ ‫ﻛﺮدم ﻫﻤﻪ ﻣﺸﻜﻼت ﮔﺮدون را ﺣﻞ‬

The wonders of the world could I subsume277;

‫ﺑﻴﺮون ﺟﺴﺘﻢ ز ﺑﻨﺪ ﻫﺮ ﻣﻜﺮ و ﺣﻴﻞ‬ 282

My eyes did reach beyond the Aural Brume278; All gloom and darkness waned but that of Doom!279

(132) 283

(132)

‫ در ﻣﻌﻨﻲ ﺳﻔﺘﻨﺪ‬،‫آﻧﻬﺎ ﻛﻪ ﺑﻪ ﻓﻜﺮ‬

‫در ذات ازل ﻓﺰون ﺳﺨﻨﻬﺎ ﮔﻔﺘﻨﺪ‬

The Bolds that willed to breach the Ancient Keep,

‫ﺳﺮرﺷﺘﻪ اﺳﺮار ﻧﺪاﻧﺴﺖ ﻛﺴﻲ‬

And pondered on that Timeless Fort in deep,

‫اول زﻧﺨﻲ زدﻧﺪ و آﺧﺮ ﺧﻔﺘﻨﺪ‬

O none could even pass that Fastness’ fosse: All fired a shot in dark and fell to sleep! 97

‫ﻫﺮ ﺑﻨﺪ ﮔﺸﺎده ﺷﺪ ﻣﮕﺮ ﺑﻨﺪ اﺟﻞ‬

98

(133)

(133)

If life amid this Vale could find its trail,

‫داﻧﺴﺖ‬

Indeed it would unveil the Deathly Tale!

‫دل ﺳﺮ ﺣﻴﺎت اﮔﺮ ﻛﻤﺎﻫﻲ‬

‫در ﻣﺮگ ﻫﻢ اﺳﺮار اﻟﻬﻲ داﻧﺴﺖ‬

This Gale thou won’t endure with flesh and soul, O what would ‘vail when soul is under sail?!284

287

‫اﻣﺮوز ﻛﻪ ﺑﺎ ﺧﻮدي ﻧﺪاﻧﺴﺘﻲ ﻫﻴﭻ‬ 288

‫ﻓﺮدا ﻛﻪ ز ﺧﻮد روي ﭼﻪ ﺧﻮاﻫﻲ داﻧﺴﺖ؟‬ (134)

(134) Today that Frolic’s Flower is full abloom, Why not thy hands the cup of wine assume285?! Go tope! For Fate in hide contrives thy doom!

‫اﻛﻨﻮن ﻛﻪ ﮔﻞ ﺳﻌﺎدﺗﺖ ﭘﺮ ﺑﺎر اﺳﺖ‬ ‫دﺳﺖ ﺗﻮ ز ﺟﺎم ﻣﻲ ﭼﺮا ﺑﻲ ﻛﺎر اﺳﺖ؟‬ ‫ اﺳﺖ‬289‫ﻣﻲ ﺧﻮر ﻛﻪ زﻣﺎﻧﻪ دﺷﻤﻨﻲ ﻗﺪار‬ ‫ روز ﭼﻨﻴﻦ دﺷﻮار اﺳﺖ‬290‫درﻳﺎﻓﺘﻦ‬

‘Tis hard indeed to such an hour resume286!

(135) (135)

‫اي دل ﭼﻮ زﻣﺎﻧﻪ ﻣﻲ ﻛﻨﺪ ﻏﻤﻨﺎﻛﺖ‬

Now whilst the Wheel doth thee to sorrow thrust, Thy soul will sunder from thy corpse the gust!

‫ﻧﺎﮔﻪ ﺑﺮود ز ﺗﻦ روان ﭘﺎﻛﺖ‬ ‫ﺑﺮ ﺳﺒﺰه ﻧﺸﻴﻦ و ﺧﻮش ﺑﺰي روزي ﭼﻨﺪ‬ ‫زان ﭘﻴﺶ ﻛﻪ ﺳﺒﺰه ﺑﺮدﻣﺪ از ﺧﺎﻛﺖ‬

On mead thou seat enrapt and merry make, Before the mead enwraps thy mounting dust!

(136) ‫ﺗﻦ زن ﭼﻮ ﺑﻪ زﻳﺮ ﻓﻠﻚ ﺑﻲ ﺑﺎﻛﻲ‬

(136)

‫ﻣﻲ ﻧﻮش ﭼﻮ در ﺟﻬﺎن آﻓﺖ ﻧﺎﻛﻲ‬

O leave thy care while in the Welkin’s Coil!

‫ﭼﻮن اول و آﺧﺮت ﻓﻘﻂ ﺧﺎك ﺑﻮد‬

And sip when roaming round the Realm of Spoil!

‫اﻧﮕﺎر ﻛﻪ ﺑﺮ ﺧﺎك ﻧﺌﻲ در ﺧﺎﻛﻲ‬

As soil will be thy very first and last, Regard thyself not on but in the soil! 99

100

(137)

(137)

We sailed beyond the cosmos’ fore and stern –

‫ﺑﺴﻴﺎر ﺑﮕﺸﺘﻴﻢ ﺑﻪ ﮔﺮد در و دﺷﺖ‬ 298

What sights to see and what lessons to learn! Yet never heard of one that went and came:

‫از ﻛﺲ ﻧﺸﻨﻴﺪﻳﻢ ﻛﻪ آﻣﺪ زﻳﻦ راه‬ ‫ رﻓﺖ دﻳﮕﺮ او ﺑﺎزﻧﮕﺸﺖ‬299‫اﻳﻦ راه ﻛﻪ‬

Who fared this Way indeed would not return!

(138)

(138)

‫ﺑﺮ ﻟﻮح ﻧﺸﺎن ﺑﻮدﻧﻲ ﻫﺎ ﺑﻮده اﺳﺖ‬

Upon the Pane291 what must was firmly lain,

‫دﻳﮕﺮ ز ﭘﺴﺶ ﻗﻠﻢ ز ﻛﺎر آﺳﻮده اﺳﺖ‬

And then the Hand would sign no loss or gain!292 Indeed at Dawn

‫اﻧﺪر ﻫﻤﻪ آﻓﺎق ﺑﺮﻓﺘﻴﻢ ﺑﻪ ﮔﺸﺖ‬

foredoomed293

‫در روز ازل ﻫﺮآﻧﭽﻪ ﺑﺎﻳﺴﺖ ﺑﺪاد‬

what comes to pass:

Our sweat and pain, alas! till Dusk is

300

vain!294

‫ﻏﻢ ﺧﻮردن و ﻛﻮﺷﻴﺪن ﻣﺎ ﺑﻴﻬﻮده اﺳﺖ‬ (139)

(139)

‫آﺑﻲ ﺑﻮدﻳﻢ در ﻛﻤﺮ اﻓﺘﺎده‬

We were a drop of water in the spine!

‫از آﺗﺶ ﺷﻬﻮﺗﻲ ﺑﺮون اﻓﺘﺎده‬

Pitched out of there by forceful fire of pine295!

‫ﻓﺮداﺳﺖ ﻛﻪ ﺑﺎد ﺧﺎك ﻣﺎ را ﺑﺒﺮد‬ ‫ﺧﻮش ﻣﻲ ﮔﺬران اﻳﻦ دو ﻧﻔﺲ ﺑﺎ ﺑﺎده‬

The morn the wind will waft away our dust; Let’s drown the whine of rolling days in wine!

(140) ‫اﺟﺰاي ﭘﻴﺎﻟﻪ اي ﻛﻪ در ﻫﻢ ﭘﻴﻮﺳﺖ‬

(140)

‫ﺑﺸﻜﺴﺘﻦ آن روا ﻧﻤﻲ دارد ﻣﺴﺖ‬

When bits and pieces of the goblet mate, The sot sees not it right once more to grate296; For whom the hordes of heads and hands and legs,

‫ﭘﺲ اﻳﻦ ﻫﻤﻪ ﺳﺎق ﻧﺎزﻧﻴﻦ و ﺳﺮ و دﺳﺖ‬ 301

‫از ﻣﻬﺮ ﻛﻪ ﭘﻴﻮﺳﺖ و ﺑﻪ ﻛﻴﻦ ﻛﻪ ﺷﻜﺴﺖ؟‬

Then, jointed out of love, disjoined by hate?!297 101

102

(141)

(141)

To welcome thee if they the world array,

‫ﺑﺮ ﭼﺸﻢ ﺗﻮ ﻋﺎﻟﻢ ارﭼﻪ ﻣﻲ آراﻳﻨﺪ‬

Be not deceived! Let not thy wisdom sway!

‫ﻣﮕﺮاي ﺑﺪان ﻛﻪ ﻋﺎﻗﻼن ﻧﮕﺮاﻳﻨﺪ‬

As thee much come and go with short a stay:

‫ﺑﺴﻴﺎر ﭼﻮ ﺗﻮ روﻧﺪ و ﺑﺴﻴﺎر آﻳﻨﺪ‬ ‫ ﺑﺮﺑﺎﻳﻨﺪ‬309‫ﺑﺮﺑﺎي ﻧﺼﻴﺐ ﺧﻮﻳﺶ ﻛﺖ‬

Now heed the calls of want ere called away!

(142)

(142) As Works and Days we cannot wane or tax, ‘Tis best to leave our Psyche302 just relax! The lots of me and thee as needs must be, Oh! Can’t we cast as if some piece of wax!

‫ﭼﻮن روزي و ﻋﻤﺮ ﺑﻴﺶ و ﻛﻢ ﻧﺘﻮان ﻛﺮد‬ ‫ ﻧﺘﻮان ﻛﺮد‬310‫دل را ﺑﻪ ﭼﻨﻴﻦ ﻏﺼﻪ دژم‬ ‫ﻛﺎر ﻣﻦ و ﺗﻮ ﭼﻨﺎن ﻛﻪ راي ﻣﻦ و ﺗﻮﺳﺖ‬ ‫ ﻧﺘﻮان ﻛﺮد‬311‫ﭼﻮن ﻣﻮم ﺑﻪ دﺳﺖ ﺧﻮﻳﺶ ﻫﻢ‬ (143)

(143)

‫از ﺗﻦ ﭼﻮ ﺑﺮﻓﺖ ﺟﺎن ﭘﺎك ﻣﻦ و ﺗﻮ‬

When sails the ghostly303 souls of thou and I,

‫ ﻣﻦ و ﺗﻮ‬312‫ﺧﺸﺘﻲ دو ﻧﻬﻨﺪ ﺑﺮ ﻣﻐﺎك‬

Some slab they’ll set on holes304 of thou and I!305

‫وآﻧﮕﺎه ﺑﺮاي ﺧﺸﺖ ﮔﻮر دﮔﺮان‬ 313

To make the slab for others’ holes then they Will mold the soils and boles306 of thou and I!307

‫در ﻛﺎﻟﺒﺪي ﻛﺸﻨﺪ ﺧﺎك ﻣﻦ و ﺗﻮ‬ (144)

‫آﻧﺎن ﻛﻪ ﺑﻪ ﻛﺎم دل و ﺟﺎن داﺷﺘﻪ اﻧﺪ‬

(144)

‫ﻧﺎﻛﺎم ﺟﻬﺎن ﺑﻪ ﺟﺎي ﺑﮕﺬاﺷﺘﻪ اﻧﺪ‬

The ones who sought delight and revels wrought, Took naught at last and left their weal distraught! Thou deem thou would remain for Time-To-Come;

‫ﺗﻮ ﭘﻨﺪاري ﻛﻪ ﺟﺎودان ﺧﻮاﻫﻲ ﻣﺎﻧﺪ‬ 314

‫ﭘﻴﺶ از ﺗﻮ ﻫﻢ اﻳﺸﺎن ﭼﻮ ﺗﻮ ﭘﻨﺪاﺷﺘﻪ اﻧﺪ‬

In Times-Foregone the folks that fared so thought!308 103

104

(145)

(145)

Now that thou art embalmed with Jolly Oil, Enjoy! To-morrow’s thought is only toil!

‫اﻣﺮوز ﻛﻪ ﺳﻮي ﻃﺮﺑﺖ دﺳﺘﺮس اﺳﺖ‬ ‫ﺧﻮش ﺑﺎش ﻛﻪ اﻧﺪﻳﺸﻪ ﻓﺮدا ﻫﻮس اﺳﺖ‬

Beware! For it would not remain with thee:

‫درﻳﺎب ﻛﻪ ﺑﺎ ﺗﻮ ﺧﻮد ﻧﺨﻮاﻫﺪ ﻣﺎﻧﺪن‬

All that which was a time another’s spoil!

‫آﻧﻬﺎ ﻛﻪ ﺑﻪ ﺟﺎ ﻣﺎﻧﺪه ﺑﺴﻴﺎر ﻛﺲ اﺳﺖ‬ (146)

(146) The Cosmic

Lights315

‫ ﻛﻪ ﺳﺎﻛﻨﺎن اﻳﻦ اﻳﻮان اﻧﺪ‬319‫اﺟﺮام‬

that set this Dome ablaze,

‫ ﺧﺮدﻣﻨﺪان اﻧﺪ‬320‫اﺳﺒﺎب ﺗﺮدد‬

Are bound indeed the sage and wise to ‘maze!

‫ ﮔﻢ ﻧﻜﻨﻲ‬321‫ﻫﺎن ﺗﺎ ﺳﺮ رﺷﺘﻪ ﻃﺮب‬

So heed lest thou let loose the Fancy’s Line316!

‫ﻧﺎن ﻛﻪ ﻣﺪﺑﺮﻧﺪ ﺳﺮﮔﺮدان اﻧﺪ‬Ĥ‫ﻛ‬

For those who seized the Sense’ were lost in haze!

(147) (147)

‫اي دل ﻏﻢ اﻳﻦ ﺟﻬﺎن ﻓﺮﺳﻮده ﻣﺨﻮر‬

My heart! This World of Rot do not lament!

‫ ﻏﻤﺎن ﺑﻴﻬﻮده ﻣﺨﻮر‬،322‫ﺑﻴﻬﻮده ﺑﺪي‬

Vain is thy lot! That lot do not lament! Since was is gone and is will go as well,

‫ﭼﻮن ﺑﻮده ﮔﺬﺷﺖ و ﻧﻴﺴﺖ ﻧﺎﺑﻮده ﭘﺪﻳﺪ‬ 323

Be gay! What is and not do not lament!317

‫ﺧﻮش ﺑﺎش و ﻏﻢ ﺑﻮده و ﻧﺎﺑﻮده ﻣﺨﻮر‬ (148) ‫ﺑﺮ ﭘﺸﺖ ﻣﻦ از زﻣﺎﻧﻪ ﺗﻮ ﻣﻲ آﻳﺪ‬

(148)

‫ ﻧﺎﻧﻜﻮ ﻣﻲ آﻳﺪ‬،‫ﺑﺮ ﻣﻦ ﻫﻤﻪ ﻛﺎر‬

The wear and tear of Age my thews318 doth gall!

‫ ﻛﺮد ﮔﻔﺘﻢ ﺑﻤﺮو‬324‫ﺟﺎن ﻋﺰم رﺣﻴﻞ‬

My palmy dawns now darker evenings pall!

‫ﮔﻔﺘﺎ ﭼﻪ ﻛﻨﻢ؟ ﺧﺎﻧﻪ ﻓﺮو ﻣﻲ آﻳﺪ‬

The soul set forth to fly, I bade: “O bide!” Replied: “O how?! The House is bound to fall!” 105

106

(149)

(149)

Alas! My mold the Sap of Absence massed!

‫از آب ﻋﺪم ﺗﺨﻢ ﻣﺮا ﻛﺎﺷﺘﻪ اﻧﺪ‬

Amidst my soul the Sear of Sadness passed!

‫از آﺗﺶ ﻏﻢ روح ﻣﻦ اﻓﺮاﺷﺘﻪ اﻧﺪ‬

As wind I rave and roam around the world

‫ﺳﺮﮔﺸﺘﻪ ﭼﻮ ﺑﺎد ﻣﻲ روم ﮔﺮد ﺟﻬﺎن‬

In quest of whence the dust of mine was cast!

‫ﺗﺎ ﺧﺎك ﻣﻦ از ﭼﻪ ﺟﺎي ﺑﺮداﺷﺘﻪ اﻧﺪ‬ (150)

(150)

‫ﮔﺮ ﺑﺮ ﻓﻠﻜﻢ دﺳﺖ ﺑﺪي ﭼﻮن ﻳﺰدان‬

If I as God could lord the Welkin’s Drill,

‫ﺑﺮداﺷﺘﻤﻲ ﻣﻦ اﻳﻦ ﻓﻠﻚ را ز ﻣﻴﺎن‬

Indeed I would its fateful turning kill,

‫از ﻧﻮ ﻓﻠﻜﻲ دﮔﺮ ﭼﻨﺎن ﺳﺎﺧﺘﻤﻲ‬

And make, as it behooves, a Wheel anew Where Man would love and labor as he

326

will!325

‫زاده ﺑﻪ ﻛﺎم دل رﺳﻴﺪي آﺳﺎن‬Ĥ‫ﻛ‬ (151)

(151)

‫ﭼﻮن ﻧﻴﺴﺖ ﺣﻘﻴﻘﺖ و ﻳﻘﻴﻦ اﻧﺪر دﺳﺖ‬

Since there is not in hand of Fate a jot,

‫ﻧﺘﻮان ﺑﻪ ﻫﻮاي ﺷﻚ ﻫﻤﻪ ﻋﻤﺮ ﻧﺸﺴﺖ‬

Leave not thy golden life to dole and lot!

‫ﻫﺎن ﺗﺎ ﻧﻨﻬﻴﻢ ﺟﺎم ﻣﻲ را از ﻛﻒ‬

Now heed and let go not the cup of wine:

‫در ﺑﻲ ﺧﺒﺮي ﻣﺮد ﭼﻪ ﻫﺸﻴﺎر ﭼﻪ ﻣﺴﺖ‬

While in the dark, a man be sane or sot! (152) (152)

‫ﻏﻢ ﭼﻨﺪ ﺧﻮري ﺑﻪ ﻛﺎر ﻧﺎآﻣﺪه ﭘﻴﺶ؟‬

How long for what yet lies to come digress?! For those who mind, the due is just duress! Now rest in peace and sunder not thy dress,

‫رﻧﺞ اﺳﺖ ﻧﺼﻴﺐ ﻣﺮدم دوراﻧﺪﻳﺶ‬ ‫ﺧﻮش ﺑﺎش و ﺟﻬﺎن ﺗﻨﮓ ﻣﻜﻦ ﺑﺮ دل ﺧﻮﻳﺶ‬ 327

For fate with that would not go more or less!  107

108

‫ﻛﺰ ﺧﻮردن ﻏﻢ ﻗﻀﺎ ﻧﮕﺮدد ﻛﻢ و ﺑﻴﺶ‬

(153)

(153)

How much Attire of Life that out of lust

‫ﺑﺲ ﭘﻴﺮﻫﻦ ﻋﻤﺮ ﻛﻪ ﻫﺮ ﺷﺐ اﻓﻼك‬

The Wheel will sew and on a fancy328 thrust!

‫ﺑﺮدوﺧﺘﻪ و ﺑﻪ ﺻﺒﺢ ﮔﺮداﻧﺪ ﭼﺎك‬

Each day the folks the Gory Fortune’s Gust

‫ﻫﺮ روز ﺑﺴﻲ زﻣﺎﻧﻪ ﺷﺎد و ﻏﻤﻨﺎك‬

Shall raise of earth, and raze again to dust!

‫از ﺧﺎك ﺑﺮآرد و ﺑﺮد ﺑﺎز ﺑﻪ ﺧﺎك‬ (154)

(154) As Lot of Man at this Unwholesome Sea

‫ﭼﻮن ﺣﺎﺻﻞ آدﻣﻲ در اﻳﻦ ﺷﻮرﺳﺘﺎن‬

Is just to toil embarked a Wayward Lee329,

‫ﺟﺰ ﺧﻮردن ﻏﺼﻪ ﻧﻴﺴﺖ ﻳﺎ ﻛﻨﺪن ﺟﺎن‬ ‫ﺧﺮم دل آﻧﻜﻪ زﻳﻦ ﺟﻬﺎن زود ﺑﺮﻓﺖ‬

O light330 his mind who left this Vessel soon!

‫وآﺳﻮده ﻛﺴﻲ ﻛﻪ ﺧﻮد ﻧﻴﺎﻣﺪ ﺑﻪ ﺟﻬﺎن‬

And rapt his heart who never came to be!

(155)

(155)

‫ﻧﻪ ﺟﺎﻣﻪ ﻋﻤﺮ ﻛﻬﻨﻪ ﻧﻮ ﺧﻮاﻫﺪ ﺷﺪ‬

O nor would crow once more the Early Cock,

‫ﻧﻪ ﻛﺎر ﺑﻪ اﻧﺪﻳﺸﻪ ﻧﻜﻮ ﺧﻮاﻫﺪ ﺷﺪ‬

And neither would return the Livings’ Clock! Now drink of pots of clay and leave thy care, For when thy Clay goes cold it makes a crock!

‫ﻣﻲ ﺧﻮر ز ﺳﺒﻮي ﮔﻞ! ﺗﻮ اﻧﺪوه ﻣﺨﻮر‬ ‫ ﭼﻮ ﻓﺴﺮده ﺷﺪ ﺳﺒﻮ ﺧﻮاﻫﺪ ﺷﺪ‬333‫ﻛﺎﻳﻦ ﮔﻞ‬   (156)

(156)

‫ﺑﻔﻜﻨﺪﻧﻲ اﺳﺖ ﻫﺮآﻧﭽﻪ ﺑﺮداﺷﺘﻪ اﻳﻢ‬

It was our loss what we assumed our gain!

‫ﺑﺴﺘﺮدﻧﻲ اﺳﺖ ﻫﺮآﻧﭽﻪ ﺑﻨﮕﺎﺷﺘﻪ اﻳﻢ‬

It was our bane for which we were so fain331!

‫ﺳﻮدا ﺑﻮدﺳﺖ ﻫﺮآﻧﭽﻪ ﭘﻨﺪاﺷﺘﻪ اﻳﻢ‬

It was insane all that we deemed as sane!

335

Alas that we have lost our lives in vain!332 109

110

‫ ﻋﻤﺮ ﺑﮕﺬاﺷﺘﻪ اﻳﻢ‬334‫دردا ﻛﻪ ﺑﻪ ﻋﺸﻮه‬

(157)

(157)

One day I passed before the potter’s door,

‫در ﻛﺎرﮔﻪ ﻛﻮزه ﮔﺮي ﻛﺮدم راي‬

And eyed him roll the wheel upon the floor:

‫در ﭘﺎﻳﻪ ﭼﺮخ دﻳﺪم اﺳﺘﺎد ﺑﻪ ﭘﺎي‬

He was to make a pot the head and hand,

‫ﻣﻲ ﻛﺮد دﻟﻴﺮ ﻛﻮزه را دﺳﺘﻪ و ﺳﺮ‬

Oh! From the head of rich and hand of poor!

‫از ﻛﻠﻪ ﭘﺎدﺷﺎه و از دﺳﺖ ﮔﺪاي‬ (158)

(158) Now cheer awhile! For ‘tis thy lot to scorch!

‫ﺧﻮش ﺑﺎش ﻛﻪ ﻏﺼﻪ ﺑﻴﻜﺮان ﺧﻮاﻫﺪ ﺑﻮد‬ ‫ﺑﺮ ﭼﺮخ ز اﺧﺘﺮان ﻧﺸﺎن ﺧﻮاﻫﺪ ﺑﻮد‬

The stars are light when goweth dark thy torch!

‫ﺧﺸﺘﻲ ﻛﻪ ز ﻗﺎﻟﺐ ﺗﻮ ﺧﻮاﻫﻨﺪ زدن‬

The tile that they would cast out of thy dust, Would lie

between336

‫اﻳﻮان ﺳﺮاي دﻳﮕﺮان ﺧﻮاﻫﺪ ﺑﻮد‬

the tiles of others’ porch!

(159) (159)

‫اﻳﻦ ﻛﻮزه ﮔﺮان ﻛﻪ دﺳﺖ در ﮔﻞ دارﻧﺪ‬

These potters that upon the roller lean,

‫ﻋﻘﻞ و ﺧﺮد و ﻫﻮش ﺑﺮ آن ﺑﮕﻤﺎرﻧﺪ‬

And cast the dust to mold a novel mien,

‫ﻣﺸﺖ و ﻟﮕﺪ و ﻃﭙﺎﻧﭽﻪ ﺗﺎ ﭼﻨﺪ زﻧﻨﺪ‬

How long will punch and beat the piece of dust?!

‫ ﭼﻪ ﻣﻲ ﭘﻨﺪارﻧﺪ؟‬،‫ﺧﺎك ﭘﺪران اﺳﺖ‬

Perhaps a queen it was! O what they ween?! (160) ‫ﭼﻮن رزق ﺗﻮ زآﻧﭽﻪ ﭼﺮخ ﻗﺴﻤﺖ ﻓﺮﻣﻮد‬

(160)

‫ﻳﻚ ذره ﻧﻪ ﻛﻢ ﺷﺪ و ﻧﻪ ﺧﻮاﻫﺪ اﻓﺰود‬

As ‘tis appointed by the Wheel’s Decree

‫آﺳﻮده ز ﻫﺮ ﭼﻪ ﻫﺴﺖ ﻣﻲ ﺑﺎﻳﺪ ﺷﺪ‬

That neither more nor less be gave to thee;

  ‫آزاده ز ﻫﺮ ﭼﻪ ﻫﺴﺖ ﻣﻲ ﺑﺎﻳﺪ ﺑﻮد‬

O best to sleep without a world of care,

 

And then of all the world to wander free! 111

112

(161)

(161)

O none could roll in luck the Wheel of Fate!

‫ﺑﺮ ﭼﺮخ ﻓﻠﻚ ﻫﻴﭻ ﻛﺴﻲ ﭼﻴﺮ ﻧﺸﺪ‬

And dust went not of taste of mankind sate337!

‫وز ﺧﻮردن آدﻣﻲ زﻣﻴﻦ ﺳﻴﺮ ﻧﺸﺪ‬

Thou boast that dust hath not digested thee?

‫ﻣﻐﺮور ﺑﺪاﻧﻲ ﻛﻪ ﻧﺨﻮردﺳﺖ ﺗﻮ را‬

Now make no haste! It shall! ‘Tis never late!

‫ﺗﻌﺠﻴﻞ ﻣﻜﻦ ﻫﻢ ﺑﺨﻮرد دﻳﺮ ﻧﺸﺪ‬ (162)

(162) The One who doled delight upon His beaus,

‫آن ﻛﺲ ﻛﻪ ﺑﻪ ﺧﻮﺑﺎن ﻟﺐ ﺧﻨﺪان داده اﺳﺖ‬ ‫ﺧﻮن ﺟﮕﺮي ﺑﻪ دردﻣﻨﺪان داده اﺳﺖ‬

The same dispensed sorrow upon His foes!

‫ﮔﺮ ﻗﺴﻤﺖ ﻣﺎ ﻧﺪاد ﺷﺎدي ﻏﻢ ﻧﻴﺴﺖ‬

If He made not our lot the Bow’r of Bliss, Let go! For we were gave the Vale of

340

Woes!338

‫ﺷﺎدﻳﻢ ﻛﻪ ﻏﻢ ﻫﺰارﭼﻨﺪان داده اﺳﺖ‬ (163)

(163)

‫ﻋﻤﺮ ﺗﻮ ﭼﻪ ﺻﺪ ﺳﺎل ﺑﻮد ﭼﻪ ﺻﺪ ﻫﺰار‬

If He let thee to thousand years extend,

‫زﻳﻦ ﻛﻬﻨﻪ ﺳﺮا ﺑﺮون ﺑﺮﻧﺪت ﻧﺎﭼﺎر‬

At last He would of this serai thee rend!

‫ﮔﺮ ﭘﺎدﺷﻬﻲ و ﮔﺮ ﮔﺪاي ﺑﺎزار‬

Should thou be just a pauper or the prince,

‫اﻳﻦ ﻫﺮ دو ﺑﻪ ﻳﻚ ﻧﺮخ ﺑﻮد آﺧﺮ ﻛﺎر‬

They both will count as one before the end! (164) ‫اﻳﺎم ﺷﺒﺎب رﻓﺖ و ﺧﻴﻞ و ﺣﺸﻤﺶ‬

(164)

‫ وﻟﻲ ﻣﻲ ﭼﺸﻤﺶ‬،‫ﺗﻠﺦ اﺳﺖ ﻣﺮا ﻋﻴﺶ‬

O gone are hours of dawn and cometh eve! Though dark my days, yet I am not to grieve! This Dart of Height of Mine hath bent to bow,

‫اﻳﻦ ﻗﺎﻣﺖ ﻫﻤﭽﻮ ﺗﻴﺮ ﻣﻦ ﮔﺸﺘﻪ ﻛﻤﺎن‬ 341

‫زه ﻛﺮده ام از ﻋﺼﺎ و ﺧﻮش ﻣﻲ ﻛﺸﻤﺶ‬

My rod I would erect as line and heave!339 113

114

(165)

(165)

No while the soul is loosed of moil uphill!

‫ﺷﺐ ﻧﻴﺴﺖ ﻛﻪ ﻋﻘﻞ در ﺗﺤﻴﺮ ﻧﺸﻮد‬

No time the tears no more my pupils rill!

349

‫وز ﮔﺮﻳﻪ ﻛﻨﺎر ﻣﻦ ﭘﺮ از در ﻧﺸﻮد‬

Conceit342 will not set up the bowl of head:

‫ﭘﺮ ﻣﻲ ﻧﺸﻮد ﻛﺎﺳﻪ ﺳﺮ از ﺳﻮدا‬ 350

The bowl that lies upset shall never fill!343

‫آن ﻛﺎﺳﻪ ﻛﻪ ﺳﺮﻧﮕﻮن ﺑﻮد ﭘﺮ ﻧﺸﻮد‬   (166)

(166) In toss and turn asked of the bird the bream: “O could it be that run once more our stream?” The bird replied: “When we are served with cream, Then leave the brooklet run in truth or

‫ﺑﺎ ﺑﻂ ﻣﻲ ﮔﻔﺖ ﻣﺎﻫﻲ اي در ﺗﺐ و ﺗﺎب‬ ‫ﺑﺎﺷﺪ ﻛﻪ ﺑﻪ ﺟﻮي رﻓﺘﻪ ﺑﺎزآﻳﺪ آب؟‬ ‫ﺑﻂ ﮔﻔﺖ ﻛﻪ ﭼﻮن ﻣﻦ و ﺗﻮ ﮔﺸﺘﻴﻢ ﻛﺒﺎب‬ 351

dream!”344

‫دﻧﻴﺎ ﭘﺲ ﻣﺮگ ﻣﺎ ﭼﻪ درﻳﺎ ﭼﻪ ﺳﺮاب‬ (167)

(167)

‫ﻫﺮ ﺻﺒﺢ ﻛﻪ روي ﻻﻟﻪ ﺷﺒﻨﻢ ﮔﻴﺮد‬

Each morn when dews the tulip’s face enwrap,

352

And westerly deflowers the pansy’s nap,

‫ﺑﺎﻻي ﺑﻨﻔﺸﻪ در ﭼﻤﻦ ﺧﻢ ﮔﻴﺮد‬

‫اﻧﺼﺎف ﻣﺮا ز ﻏﻨﭽﻪ ﺧﻮش ﻣﻲ آﻳﺪ‬

Indeed I favor most the dainty bloom

353

‫ﻛﻮ داﻣﻦ ﺧﻮﻳﺸﺘﻦ ﻓﺮاﻫﻢ ﮔﻴﺮد‬

That all besieged by winds embalms her lap!345 (168) ‫ﺧﺮم دل آن ﻛﺴﻲ ﻛﻪ ﻣﻌﺮوف ﻧﺸﺪ‬

(168) O rapt his heart that naught could run afoul! And trapped was not in loincloth, felt, and cowl346! Soared high in boundless heavens as Simorq347,

‫ ﻧﺸﺪ‬354‫در ﻓﻮﻃﻪ و در اﻃﻠﺲ و در ﺻﻮف‬ ‫ وش از ﻓﺮاز ﻋﺎﻟﻢ ﺑﺮﺧﺎﺳﺖ‬355‫ﺳﻴﻤﺮغ‬ ‫ ﻧﺸﺪ‬356‫در ﻛﻨﺞ ﺧﺮاب اﻳﻦ ﺟﻬﺎن ﺑﻮف‬

Upon this ruined House turned not an owl!348 115

116

(169)

(169)

The store of salve we are, the cache of qualm!

‫ﻏﻤﻴﻢ‬

The stash of charm we are, the stock of smarm!

366

‫ﻣﺎﻳﻴﻢ ﻛﻪ ﮔﻨﺞ ﺷﺎدي و ﻛﺎن‬ ‫ﺳﺮﻣﺎﻳﻪ دادﻳﻢ و ﻧﻬﺎد ﺳﺘﻤﻴﻢ‬

Alarm and calm we are, and harm and balm!

‫ﭘﺴﺘﻴﻢ و ﺑﻠﻨﺪﻳﻢ و ﻛﻤﺎﻟﻴﻢ و ﻛﻤﻴﻢ‬ 367

The mirror daubed357 we are and Jamshid’s Jaam!358

‫آﻳﻴﻨﻪ زﻧﮓ ﺧﻮرده و ﺟﺎم ﺟﻤﻴﻢ‬ (170)

(170)

‫در ﺟﺴﺘﻦ ﺟﺎم ﺟﻢ ﺟﻬﺎن ﭘﻴﻤﻮدﻳﻢ‬

In search of Jaam of Jam the world we braved, All days we writhed and every night we raved; Just when the Sage the shape of Jaam engraved, It dawned on us we were the Find we

‫روزي ﻧﻨﺸﺴﺘﻴﻢ و ﺷﺒﻲ ﻧﻐﻨﻮدﻳﻢ‬ ‫ ﭼﻮ وﺻﻒ ﺟﺎم ﺟﻢ ﺑﺸﻨﻮدﻳﻢ‬368‫ز اﺳﺘﺎد‬ 369

craved!359

‫ﺧﻮد ﺟﺎم ﺟﻬﺎن ﻧﻤﺎي ﺟﻢ ﻣﻲ ﺑﻮدﻳﻢ‬ (171)

(171) The Wheel: a wisp of withered climbs360 of ours!

‫ﮔﺮدون ﻧﮕﺮي ز ﻗﺪ ﻓﺮﺳﻮده ﻣﺎﺳﺖ‬ ‫ ﻣﺎﺳﺖ‬371‫ اﺛﺮي ز اﺷﻚ ﭘﺎﻟﻮده‬370‫ﺟﻴﺤﻮن‬

Jeihun361: a trace of tearful climes of ours!

‫ ز رﻧﺞ ﺑﻴﻬﻮده ﻣﺎﺳﺖ‬372‫دوزخ ﺷﺮري‬

Hades: a flash of fruitless crimes of ours!

373

‫ﻓﺮدوس دﻣﻲ ز ﺣﺎل آﺳﻮده ﻣﺎﺳﺖ‬

Heaven: a breath of blissful times of ours!362 (172) ‫ ازل ﺑﻮد ﻣﺮا اﻧﺸﺎ ﻛﺮد‬374‫ﭼﻮن ﺟﻮد‬

(172)

‫ﺑﺮ ﻣﻦ ز ﻧﺨﺴﺖ درس ﻋﺸﻖ اﻣﻼ ﻛﺮد‬

For His Bounty He made me come to be,

‫ رﻳﺰه ﻗﻠﺐ ﻣﺮا‬375‫وآﻧﮕﺎه ﻗﺮاﺿﻪ‬

And Love’s Lesson ordained my first decree,

‫ ﻣﻌﻨﺎ ﻛﺮد‬377‫ در ﺧﺰﻳﻨﻪ‬376‫ﻣﻔﺘﺎح‬

Then made of trifles filed363 of heart of mine To Treasure House of Nous364 the final key!365 117

118

(173)

(173)

O thou who are the sum of Foursome-Beam!

‫اي آﻧﻜﻪ ﺧﻼﺻﻪ ﭼﻬﺎر ارﻛﺎﻧﻲ‬

Now heed the Truth Above and leave thy dream:

‫ﺑﺸﻨﻮ ﺳﺨﻨﻲ ز ﻋﺎﻟﻢ روﺣﺎﻧﻲ‬

They lie in thee: the angel, div378, and deme379!

‫دﻳﻮي و ددي و ﻣﻠﻚ و اﻧﺴﺎﻧﻲ‬ 387

Indeed thy soul is what thou make it seem!380

‫ﺑﺎ ﺗﻮﺳﺖ ﻫﺮآﻧﭽﻪ ﻣﻲ ﻧﻤﺎﻳﻲ آﻧﻲ‬   (174)

  (174) At first I writhed of soil my soul to free The Slate and Pen381 and Hell and Hea’en to see, Until my Sage declared: “Now hark to me! The Slate and Pen and Hell and Hea’en is thee!”

‫ ﺧﺎﻃﺮم روز ﻧﺨﺴﺖ‬388‫ﺑﺮ ﻃﺮز ﺳﭙﻬﺮ‬ ‫ و ﺑﻬﺸﺖ و دوزخ ﻣﻲ ﺟﺴﺖ‬389‫ﻟﻮح و ﻗﻠﻢ‬ ‫ﭘﺲ ﮔﻔﺖ ﻣﺮا ﻣﻌﻠﻢ از ﻋﻠﻢ درﺳﺖ‬ ‫ﻟﻮح و ﻗﻠﻢ و ﺑﻬﺸﺖ و دوزخ در ﺗﻮﺳﺖ‬   (175)

(175)

‫ ﻧﻴﺎز‬390‫اي دل ﻛﻪ ﻧﺒﻮدت دﻫﺶ ﭼﺎر‬

O thou were not the Foursome’s382 bondsman erst!

‫ﻛﺮدﻧﺪ ﻧﻴﺎزﻣﻨﺪت اﻳﻦ ﭼﺎر اﻧﺒﺎز‬

See how the Partners Four thy soul have cursed!

‫ﻫﺮ ﻳﻚ ﺑﻪ ﺗﻮ آﻧﭽﻪ داد ﺑﺴﺘﺎﻧﺪ ﺑﺎز‬  

They sometime all their turn would have reversed,

391

‫ﺗﺎ ﺑﺎز ﭼﻨﺎن ﺷﻮي ﻛﻪ ﺑﻮدي زآﻏﺎز‬

And thou would turn the same as thou were first!383 (176) ‫ﺟﺎﻧﺎ ﻣﻦ و ﺗﻮ ﻧﻤﻮﻧﻪ ﭘﺮﮔﺎرﻳﻢ‬

(176) O Soul384! We fare alike the compass’ feet385:

‫ ﻳﻚ ﺗﻦ دارﻳﻢ‬،‫ﺳﺮ ﮔﺮﭼﻪ دو ﻛﺮده اﻳﻢ‬ ‫ﺑﺮ ﻧﻘﻄﻪ رواﻧﻴﻢ ﻛﻨﻮن داﻳﺮه وار‬

Though roll apart, we hold a solo seat!

 

Now we revolve around the Center Dot, Till comes the Circle full, and then we meet!386 119

120

392

‫ﺗﺎ آﺧﺮ ﻛﺎر ﺳﺮ ﺑﻪ ﻫﻢ ﺑﺎزآرﻳﻢ‬

(177)

(177)

Unspoiled we came, and ended in the spoil!

‫ﭘﺎك از ﻋﺪم آﻣﺪﻳﻢ و ﻧﺎﭘﺎك ﺷﺪﻳﻢ‬

Of Heaven rolled downhill to Vale of Toil!

‫ﺷﺎدان ﺑﻪ در آﻣﺪﻳﻢ و ﻏﻤﻨﺎك ﺷﺪﻳﻢ‬

The rain of eyes had set our hearts afire,

‫ﺑﻮدﻳﻢ ز آب دﻳﺪه در آﺗﺶ دل‬ 400

We sold our soul to wind393 and went to soil!394

‫دادﻳﻢ ﺑﻪ ﺑﺎد ﻋﻤﺮ و در ﺧﺎك ﺷﺪﻳﻢ‬ (178)

(178)

‫آﻧﻬﺎ ﻛﻪ ﻛﺸﻨﺪه ﺷﺮاب ﻧﺎب اﻧﺪ‬

The folks who days the fruits of rapture reap, And those who nights their somber vigil keep; O none’s sober: they all are sunk in deep! O none’s awake: they all are fast

‫وآﻧﻬﺎ ﻛﻪ ﺑﻪ ﺷﺐ ﻣﺪام در ﻣﺤﺮاب اﻧﺪ‬ ‫ ﻫﻤﻪ در آب اﻧﺪ‬،‫ﺑﺮ ﺧﺸﻚ ﻳﻜﻲ ﻧﻴﺴﺖ‬ 401

asleep!395

‫ ﻫﻤﻪ در ﺧﻮاب اﻧﺪ‬،‫ﺑﻴﺪار ﻳﻜﻲ ﻧﻴﺴﺖ‬ (179)

(179)

‫ اﻧﺪ و ﻗﻮﻣﻲ ﺑﻪ ﻳﻘﻴﻦ‬402‫ﺟﻤﻌﻲ ﺑﻪ ﺗﺸﻜﻚ‬

Some hold to doubt and some other to fay396;

‫ﻫﺮ ﻳﻚ ﺑﻪ رﻫﻲ ﻓﺘﺎده اﻧﺪر ﭘﻲ دﻳﻦ‬

Forsooth each one pursues their fixed way; At once a harbinger would sound this Say:

‫ﻧﺎﮔﺎه ﻣﻨﺎدي اي ﺑﺮآﻳﺪ ز ﻛﻤﻴﻦ‬ 403

‫ﻛﺎي ﺑﻲ ﺧﺒﺮان راه ﻧﻪ آن اﺳﺖ ﻧﻪ اﻳﻦ‬

“O fie on thee! Thou all are gone astray!”397 (180) ‫ﺗﺎ ﻛﻲ ز ﭼﺮاغ ﻣﺴﺠﺪ و دود ﻛﻨﺸﺖ‬

(180)

‫ﺗﺎ ﻛﻲ ز زﻳﺎن دوزخ و ﺳﻮد ﺑﻬﺸﺖ‬

How much the arch of mosque and ark of shul398?!

‫رو ﺑﺮ ﺳﺮ ﻟﻮح ﺑﻴﻦ ﻛﻪ اﺳﺘﺎد ﻗﻠﻢ‬

How much the Heat of Hell and Heaven’s Cool?!

404

Behold the Slate whereon the Lord of Quills In Time Foregone what comes to pass did rule!399 121

122

‫روز ازل آﻧﭽﻪ ﺑﻮدﻧﻲ ﺑﻮد ﻧﻮﺷﺖ‬

(181)

(181)

The Sun hath thrown upon the domes his shaft!

‫ﺧﻮرﺷﻴﺪ ﻛﻤﻨﺪ ﺻﺒﺢ ﺑﺮ ﺑﺎم اﻓﻜﻨﺪ‬

King Day hath raised his flagon by the haft!

‫ﻛﻴﺨﺴﺮو روز ﺑﺎده در ﺟﺎم اﻓﻜﻨﺪ‬

To crocks! For Dawn’s Herald hath made the call:

‫ﻣﻲ ﺧﻮر ﻛﻪ ﻣﻨﺎدي ﺳﺤﺮﮔﻪ ﺧﻴﺰان‬ 414

“O crock-a-doo-dle-do-and-dawny-draft!”405

‫آوازه اﺷﺮﺑﻮ در اﻳﺎم اﻓﻜﻨﺪ‬ (182)

(182) ‘Tis fine a day: the clime406 nor warm nor cold,

415

‫روزي اﺳﺖ ﺧﻮش و ﻫﻮا ﻧﻪ ﮔﺮم اﺳﺖ و ﻧﻪ ﺳﺮد‬

The welkin bathes in rain the face of fold407,

‫اﺑﺮ از رخ ﮔﻠﺰار ﻫﻤﻲ ﺷﻮﻳﺪ ﮔﺮد‬

The blithe Bolbol warbles to blossoms gold:

‫ﺑﻠﺒﻞ ﺑﻪ زﺑﺎن ﭘﻬﻠﻮي ﺑﺎ ﮔﻞ زرد‬ ‫ﻓﺮﻳﺎد ﻫﻤﻲ زﻧﺪ ﻛﻪ ﻣﻲ ﺑﺎﻳﺪ ﺧﻮرد‬

“Now hold thy cups aloft! Carouse! Be bold!”

(183)

(183)

‫زﻣﺎﻧﻪ از ﻛﺴﻲ دارد ﻧﻨﮓ‬

Xayyam!408 The Wheel will not the man condone

416

‫ﺧﻴﺎم‬

‫ﻛﺎو در ﻏﻢ اﻳﺎم ﻧﺸﻴﻨﺪ دﻟﺘﻨﮓ‬

Who aye bemoans his dole409 and sits alone!

418

Go fill the glass and tune a merry tone,

419

Before your Glass410 is shattered by the stone!

‫ ﺑﺎ ﻧﻐﻤﻪ ﭼﻨﮓ‬417‫ﻣﻲ ﻧﻮش در آﺑﮕﻴﻨﻪ‬ ‫زآن ﭘﻴﺶ ﻛﺖ آﺑﮕﻴﻨﻪ آﻳﺪ ﺑﺮ ﺳﻨﮓ‬ (184)

(184)

‫ ﻣﻲ ﻣﺮا ﺷﻜﺴﺘﻲ رﺑﻲ‬420‫اﺑﺮﻳﻖ‬

The ewer of my wine Thou sunk411, O Lord!

‫ﺑﺮ ﻣﻦ در ﻋﻴﺶ را ﺑﺒﺴﺘﻲ رﺑﻲ‬

And oped to me the door to funk412, O Lord!

‫ﻣﻦ ﻣﻲ ﺧﻮرم و ﺗﻮ ﻣﻲ ﻛﻨﻲ ﻋﻴﺎﺷﻲ‬ 421

I quaff the wine and it’s Thou who carouse; Oh! Shame on me! Art Thou drunk, O Lord?!413 123

124

‫ﺧﺎﻛﻢ ﺑﻪ دﻫﺎن ﻣﮕﺮ ﺗﻮ ﻣﺴﺘﻲ رﺑﻲ؟‬

(185)

(185)

Where is he who did no taboo?! O tell! And how he lived who didn’t do?! O tell!

‫ﻧﺎﻛﺮده ﮔﻨﺎه در ﺟﻬﺎن ﻛﻴﺴﺖ؟ ﺑﮕﻮ‬ ‫وآﻧﻜﺲ ﻛﻪ ﮔﻨﻪ ﻧﻜﺮد ﭼﻮن زﻳﺴﺖ؟ ﺑﮕﻮ‬

I play with ill and Thou punish with ill;

‫ﻣﻦ ﺑﺪ ﻛﻨﻢ و ﺗﻮ ﺑﺪ ﻣﻜﺎﻓﺎت دﻫﻲ‬

So what’s the difference ‘twixt us two?! O tell!

‫ﭘﺲ ﻓﺮق ﻣﻴﺎن ﻣﻦ و ﺗﻮ ﭼﻴﺴﺖ؟ ﺑﮕﻮ‬ (186)

(186)

‫ﺧﻴﺎم اﮔﺮ ز ﺑﺎده ﻣﺴﺘﻲ ﺧﻮش ﺑﺎش‬

Xayyam! If wine carries thee far, cheer up!

‫ﺑﺎ ﻻﻟﻪ رﺧﻲ اﮔﺮ ﻧﺸﺴﺘﻲ ﺧﻮش ﺑﺎش‬

By thee two lips as flower ajar, cheer up! Since all the fares of world would fade in fine, Deem thou are not! So when thou are, cheer up!

‫ﭼﻮن ﻋﺎﻗﺒﺖ ﻛﺎر ﺟﻬﺎن ﻧﻴﺴﺘﻲ اﺳﺖ‬ ‫ ﭼﻮ ﻫﺴﺘﻲ ﺧﻮش ﺑﺎش‬،‫اﻧﮕﺎر ﻛﻪ ﻧﻴﺴﺘﻲ‬ (187)

(187)

‫ﻳﺎران ﺑﻪ ﻣﺮاﻓﻘﺖ ﭼﻮ دﻳﺪار ﻛﻨﻴﺪ‬

My mates! When you around the tavern meet,

‫ﺑﺎﺷﺪﻛﻪ ز دوﺳﺖ ﻳﺎد ﺑﺴﻴﺎر ﻛﻨﻴﺪ‬

O don’t forget your parted mates to greet422!

‫ﭼﻮن ﺑﺎده ﺧﻮﺷﮕﻮار ﻧﻮﺷﻴﺪ ﺑﻪ ﻫﻢ‬ 425

As you fill up with wine and empty cups,

‫ﻧﻮﺑﺖ ﻛﻪ ﺑﻪ ﻣﺎ رﺳﺪ ﻧﮕﻮﻧﺴﺎر ﻛﻨﻴﺪ‬

Just turn them down, and that will be our treat!423 (188) (188)

‫ﻣﻲ ﻧﻮش ﻛﻪ ﻋﻤﺮ ﺟﺎوداﻧﻲ اﻳﻦ اﺳﺖ‬

Carouse for life! For that’s the After-Life:

‫ﻫﻢ ﺣﺎﺻﻠﺖ از دور ﺟﻮاﻧﻲ اﻳﻦ اﺳﺖ‬

The only peace you’ll find amid the strife! It is the time of May424 and mates all gay:

‫ اﺳﺖ و ﻳﺎران ﺳﺮﻣﺴﺖ‬426‫ﻫﻨﮕﺎم ﮔﻞ و ﻣﻞ‬ ‫ﺧﻮش ﺑﺎش دﻣﻲ ﻛﻪ زﻧﺪﮔﺎﻧﻲ اﻳﻦ اﺳﺖ‬

Awhile you merry make, for this is life! 125

126

(189)

(189)

O morning’s come! The garden bathes in dew; The comely bard attunes his lyre to woo;

‫وﻗﺖ ﺳﺤﺮ و ﺑﺎغ و دو ﺳﻪ ﺑﺎده ﭘﺮﺳﺖ‬ ‫ و ﺑﺲ ﭼﺎﺑﻚ و ﻣﺴﺖ‬431‫ﻳﻚ ﻣﻄﺮب ﺧﻮش ﻋﺎرض‬

The blossoms scent, the birds and drinkers coo;

‫ﺑﻮي ﮔﻞ و ﺑﺎﻧﮓ ﻣﺮغ و ﻳﺎران ﺳﺮﻣﺴﺖ‬

Make haste! For all is here except for you!

  ‫ﺑﺨﺮام ﻛﻪ ﺟﺰ ﺗﻮ ﻫﺮﭼﻪ ﻣﻲ ﺑﺎﻳﺪ ﻫﺴﺖ‬   (190)

(190)

‫ﺑﺮ ﭼﻬﺮه ﮔﻞ ﻧﺴﻴﻢ ﻧﻮروز ﺧﻮش اﺳﺖ‬

The breeze of Eid427 on blossom May428 is nice!

‫ روي دل اﻓﺮوز ﺧﻮش اﺳﺖ‬432‫ﺑﺮ ﻃﺮف ﭼﻤﻦ‬

And by the turf the fairest fay429 is nice! Not nice at all what passed just yesterday: So yester leave! Indeed to-day is

nice!430

‫از دي ﻛﻪ ﮔﺬﺷﺖ ﻫﺮ ﭼﻪ ﮔﻮﻳﻲ ﺧﻮش ﻧﻴﺴﺖ‬ 433

‫ﺧﻮش ﺑﺎش و ز دي ﻣﮕﻮ ﻛﻪ اﻣﺮوز ﺧﻮش اﺳﺖ‬ (191)

(191)

‫اﻳﻦ ﺟﺴﻢ ﭘﻴﺎﻟﻪ ﺑﻴﻦ ﺑﻪ ﺟﺎن آﺑﺴﺘﻦ‬

This cup is by the Carmine Sire conceived!

‫ ﺑﻪ ارﻏﻮان آﺑﺴﺘﻦ‬434‫ﻫﻤﭽﻮن ﺳﻤﻨﻲ‬

A Flower White by Red Desire conceived!

‫ﻧﻲ ﻧﻲ ﻏﻠﻄﻢ ﻛﻪ ﺑﺎده از ﻏﺎﻳﺖ ﻟﻄﻒ‬

Nay! Nay! I was so wrong, for wine indeed

‫آﺑﻲ اﺳﺖ ﺑﻪ آﺗﺶ روان آﺑﺴﺘﻦ‬   (192)

Is water by the Flowing Fire conceived!

‫ﺑﺮﺧﻴﺰم و ﻋﺰم ﺑﺎده ﻧﺎب ﻛﻨﻢ‬

(192)

‫رﻧﮓ رخ ﺧﻮد ﺑﻪ رﻧﮓ ﻋﻨﺎب ﻛﻨﻢ‬

Now rise I will and all to vintage keep!

‫اﻳﻦ ﻋﻘﻞ ﻓﻀﻮل ﭘﻴﺸﻪ را ﻣﺸﺘﻲ ﻣﻲ‬

And dye my pallid cheeks in purple deep!

  ‫ﺑﺮ روي زﻧﻢ ﭼﻨﺎﻧﻜﻪ در ﺧﻮاب ﻛﻨﻢ‬

This mindful mind of mine a draft of wine I’ll get to swill and lure again to sleep! 127

128

(193)

(193)

The dewy welkin rose and daisy rains!

‫ﻧﺴﺘﺮن ﻣﻲ رﻳﺰد‬

439

‫ز ﺳﺤﺎب‬

438

‫ﮔﺮدون‬

You fancy on the field it posy rains!

‫ﮔﻮﻳﻲ ﻛﻪ ﺷﻜﻮﻓﻪ در ﭼﻤﻦ ﻣﻲ رﻳﺰد‬

Let’s pour carnation wine in iris cups,

‫در ﺟﺎم ﭼﻮ ﺳﻮﺳﻦ ﻣﻲ ﮔﻠﮕﻮن رﻳﺰم‬

Now that the puffy purple pansy rains!

‫ﻛﺰ اﺑﺮ ﺑﻨﻔﺸﻪ ﮔﻮن ﺳﻤﻦ ﻣﻲ رﻳﺰد‬ (194)

(194)

440

Within the bowl the brewing

blow435:

how fine!

The frantic chant and fevered glow: how fine! Your darling dove by you and vintage too, O let you go the world’s heigh-ho: how fine!

442

‫در ﻧﺎي ﻗﺮاﺑﻪ ﻗﻠﻘﻞ ﻣﻲ ﭼﻪ ﺧﻮش اﺳﺖ‬

‫ و ﻧﺎﻟﻪ ﻣﻲ ﭼﻪ ﺧﻮش اﺳﺖ‬441‫آواز ﺳﻤﺎع‬ ‫در ﺑﺮ ﺑﺖ دﻟﻔﺮﻳﺐ و در ﺳﺮ ﻣﻲ ﻧﺎب‬

‫ﻓﺎرغ ز ﻏﻢ زﻣﺎﻧﻪ ﻫﻲ ﻫﻲ ﭼﻪ ﺧﻮش اﺳﺖ‬ (195)

(195)

‫ﻫﺮﮔﻪ ﻛﻪ ﺑﻨﻔﺸﻪ ﺟﺎﻣﻪ ﺑﺎ رﻧﮓ زﻧﺪ‬

O when pansy her garb to painter’s takes,

‫در داﻣﻦ ﮔﻞ ﺑﺎد ﺻﺒﺎ ﭼﻨﮓ زﻧﺪ‬

And westerly the skirt of daisy rakes,

‫ﻫﺸﻴﺎرﻛﺴﻲ ﺑﻮد ﻛﻪ ﺑﺎ ﺳﻴﻢ ﺑﺮي‬ ‫ﻣﻲ ﻧﻮﺷﺪ و ﺟﺎم ﺑﺎده ﺑﺮ ﺳﻨﮓ زﻧﺪ‬

Wise is the man who with a comely mate Rollicks and on the rock the bottle breaks!

(196) ‫ﺳﺎﻗﻲ ﻏﻢ ﻣﻦ ﺑﻠﻨﺪآوازه ﺷﺪه اﺳﺖ‬

(196)

‫ﺳﺮﻣﺴﺘﻲ ﻣﻦ ﺑﺮون ز اﻧﺪازه ﺷﺪه اﺳﺖ‬

Saqi! My fame and shame are on the wing!

‫ ﺗﻮ‬443‫ ﺳﺮﺧﻮﺷﻢ ﻛﺰ ﺧﻂ‬،‫ﺑﺎ ﻣﻮي ﺳﭙﻴﺪ‬

My merriment beyond the shah and king!

444

Though winter’s come, I scent the flowers yet, For your verdure436 has changed my age to spring!437 129

130

‫ﭘﻴﺮاﻧﻪ ﺳﺮم ﺑﻬﺎر دل ﺗﺎزه ﺷﺪه اﺳﺖ‬

(197)

(197)

O pour before the dawn destroys our game!

‫ﺑﺎز ﺳﺮ ﮔﻴﺮد روز‬

Look at the scarlet wine and look the same!

‫ﺳﺎﻏﺮ ﭘﺮ ﻛﻦ ﻛﻪ‬

‫زان ﺑﺎده ﮔﻠﮕﻮن ره رﻧﮓ آﻣﻮز‬

Go find two Ouds445 and this our fete acclaim446: This set to play, and that you set aflame!

450

‫ﺑﺮدار دو ﻋﻮد را و ﻣﺠﻠﺲ ﺑﻔﺮوز‬ 451

‫ﻳﻚ ﻋﻮد ﺑﺴﺎز و آن دﮔﺮ ﻋﻮد ﺑﺴﻮز‬ (198)

(198) Saqi! Your Lunar Mien: the soul of all!

‫ﺳﺎﻗﻲ ﻣﻪ رﺧﺴﺎر ﺗﻮ ﺟﺎن ﻫﻤﻪ اﺳﺖ‬

My spirit’s solace and console447 of all!

‫دﻟﺪار ﻣﻦ اﺳﺖ و دﻟﺴﺘﺎن ﻫﻤﻪ اﺳﺖ‬

A Sun! Not Moon’s image within a pool:

‫ ﻧﻪ ﻣﺎه در آب ﺳﻜﻮن‬،‫ﺧﻮرﺷﻴﺪ ﺻﻔﺖ‬

Not just my lot, but it’s the dole448 of all!

‫ﺗﻨﻬﺎ ﻧﻪ از آن ﻣﻦ ﻛﻪ زان ﻫﻤﻪ اﺳﺖ‬ (199)

(199)

‫ﺑﺮ روي ﮔﻞ از اﺑﺮ ﻧﻘﺎب اﺳﺖ ﻫﻨﻮز‬

The flower yet is veiled by Fluffy Cake! My humor harbors yet the drinking ache!

‫در ﺟﺎن و دﻟﻢ ﻣﻴﻞ ﺷﺮاب اﺳﺖ ﻫﻨﻮز‬ ‫در ﺧﻮاب ﻣﺮو ﻧﻪ وﻗﺖ ﺧﻮاب اﺳﺖ ﻫﻨﻮز‬

Go not to bed! Not yet! Just for my sake!

‫ﺟﺎﻧﺎ ﻣﻲ ﺧﻮر ﻛﻪ آﻓﺘﺎب اﺳﺖ ﻫﻨﻮز‬

Let’s merry make! The Sun is yet awake! (200) (200)

‫ﺻﺒﺢ اﺳﺖ! دﻣﻲ ﺑﺎ ﻣﻲ ﮔﻠﺮﻧﮓ زﻧﻴﻢ‬

‘Tis dawn! Now let’s hold up our carmine crock!

‫وﻳﻦ ﺷﻴﺸﻪ ﻧﺎم و ﻧﻨﮓ ﺑﺮ ﺳﻨﮓ زﻧﻴﻢ‬ ‫ ﺧﻮد ﺑﺎزﻛﺸﻴﻢ‬452‫دﺳﺖ از اﻣﻞ ﻓﺮاز‬

And knock the Glass of Fame and Shame on rock!

453

Retire our hands from luck so long and far, And tire them long with lyre and longer lock!449 131

132

‫در زﻟﻒ دراز و داﻣﻦ ﭼﻨﮓ زﻧﻴﻢ‬

(201)

(201)

Take up your wine and take up your warble

457

To swallow’s song and the lay of Bolbol!

‫ﻣﻲ ﺑﺮ ﻛﻒ ﻣﻦ ﻧﻪ و ﺑﺮآور ﻓﻠﻔﻞ‬ ‫ﺑﺎ ﻧﻌﺮه ﻋﻨﺪﻟﻴﺐ و ﺻﻮت ﺑﻠﺒﻞ‬

If it were right to drink without a tune,

‫ﺑﻲ ﻧﻐﻤﻪ اﮔﺮ روا ﺑﺪي ﻣﻲ ﺧﻮردن‬

In the bottle the wine would not gurgle!454

‫ﻣﻲ در ﺳﺮ ﺷﻴﺸﻪ ﻫﺎ ﻧﻜﺮدي ﻗﻠﻘﻞ‬ (202)

(202)

‫ﺗﺎ ﻛﻲ ز ﺟﻔﺎي ﻫﺮ ﺧﺴﻲ ﻧﻨﮓ ﻛﺸﻴﻢ‬

How long shall we to every grafter doff?!

‫وز ﻧﺎﻛﺲ روزﮔﺎر ﻧﻴﺮﻧﮓ ﻛﺸﻴﻢ‬

And suffer every cheater us to scoff?!

‫ﺧﻮش ﺑﺎش ﻛﻪ روزﮔﺎر ﺗﺰوﻳﺮ ﮔﺬﺷﺖ‬

Make merry! Days of dupery are gone: It’s

Eid455!

‫ﻋﻴﺪ اﺳﺖ ﺑﻴﺎ ﺗﺎ ﻣﻲ ﮔﻠﺮﻧﮓ ﻛﺸﻴﻢ‬

Let us the carmine vintage quaff!

(203)

  (203) ‫ اﺳﺖ‬458‫ﺳﺎﻗﻲ ﻛﻪ ﻣﻲ اش ﻣﻔﺮح ﻻﻫﻮت‬

Saqi whose sacred wine is Heaven’s Mark,

‫دل را ﻗﺪح اش ﻗﻮت و ﺟﺎن را ﻗﻮت اﺳﺖ‬

Whose draft the only light in days of dark,

‫ﻫﺮﻛﺲ ﻛﻪ ﻧﺸﺪ ﻏﺮﻗﻪ ﺑﻪ ﻃﻮﻓﺎن ﻣﻲ اش‬

Who drowned was not in his Diluve456 of Wine

‫در ﻛﺸﺘﻲ ﻧﻮح زﻧﺪه در ﺗﺎﺑﻮت اﺳﺖ‬

Indeed is tombed alive in Noah’s Ark! (204) ‫ ﺧﻴﺰ اي ﺳﺎﻗﻲ‬،‫ﺻﺒﺤﻲ ﺧﻮش و ﺧﺮم اﺳﺖ‬

(204)

‫در ﺷﻴﺸﻪ ﺑﻜﻦ ﺷﺮاب از ﺷﺐ ﺑﺎﻗﻲ‬

Saqi! The dawn has come! Now rise and smile!

‫ﺟﺎﻣﻲ ﺑﺰن و دﻣﺖ ﻏﻨﻴﻤﺖ ﺑﺸﻤﺎر‬

Go fetch the yester wine from down the aisle!

‫ﻓﺮدا ﭼﻮ رﺳﺪ ﺗﻮ ﻧﻴﺰ ﺧﺸﺖ ﻃﺎﻗﻲ‬

Now raise your cup and seize your costly time! When morrow comes you are the burrow’s tile! 133

134

(205)

(205)

How long the fable of Five and Four, Saqi?!

‫ﺗﺎ ﭼﻨﺪ ﺣﺪﻳﺚ ﭘﻨﺞ و ﭼﺎر اي ﺳﺎﻗﻲ؟‬

The sore be one or thousands more, Saqi!

‫ﻣﺸﻜﻞ ﭼﻪ ﻳﻜﻲ ﭼﻪ ﺻﺪ ﻫﺰار اي ﺳﺎﻗﻲ‬

Now light thy fire! The waters roar, Saqi!

‫ ﺷﻌﻠﻪ ﮔﺰار اي ﺳﺎﻗﻲ‬،‫ﺧﺎﻛﻴﻢ ﻫﻤﻪ‬ 461

We’re lost at sea! Blow us to shore, Saqi!459

‫ ﺑﺎده ﺑﻴﺎر اي ﺳﺎﻗﻲ‬،‫ﺑﺎدﻳﻢ ﻫﻤﻪ‬ (206)

(206)

‫ ﻛﺎن روان اﺳﺖ روان‬،‫در ﻣﻌﺪن ﺟﺎم‬

Within the Mine of Goblet lies the Dole460!

‫در ﺟﺴﻢ ﭘﻴﺎﻟﻪ ﺟﺎن روان اﺳﺖ روان‬

And in the Bole of Cup abides the Soul!

‫ آﺗﺶ ﺳﻴﺎر اﺳﺖ‬462‫در آب ﻓﺴﺮده‬

O in this Water Cold a Firestorm flies:

‫در ﺑﻄﻦ ﺳﺒﻮي آن روان اﺳﺖ روان‬

A Vital Blood that runs the Heart of Bowl!

(207) 463

(207)

464

O make my daily lot a draft of wine!

‫زﻧﻬﺎر! ﻣﺮا ز ﺟﺎم ﻣﻲ ﻗﻮت ﻛﻨﻴﺪ‬

‫وﻳﻦ ﭼﻬﺮه ﻛﻬﺮﺑﺎ ﭼﻮ ﻳﺎﻗﻮت ﻛﻨﻴﺪ‬

And ruby turn this amber face of mine!

‫ﭼﻮن درﮔﺬرم ﺑﻪ ﻣﻲ ﺑﺸﻮﻳﻴﺪ ﻣﺮا‬ 465

When I am past, my stiff in vintage lave, And then for that a coffin make of vine!

‫وز ﭼﻮب رزم ﺗﺨﺘﻪ ﺗﺎﺑﻮت ﻛﻨﻴﺪ‬ (208) ‫ زﻳﺴﺘﻦ ﻧﺘﻮاﻧﻢ‬،‫ﻣﻦ ﺑﻲ ﻣﻲ ﻧﺎب‬

(208)

‫ ﻧﺘﻮاﻧﻢ‬،‫ﺑﻲ ﺑﺎده ﻛﺸﻴﺪ ﺑﺎر ﺗﻦ‬

Without the best of boozes wash I can’t!

‫ﻣﻦ ﺑﻨﺪه آن دﻣﻢ ﻛﻪ ﺳﺎﻗﻲ ﮔﻮﻳﺪ‬

Oh! No! Sustain this rotten tosh I can’t!

‫ﻳﻚ ﺟﺎم دﮔﺮ ﺑﮕﻴﺮ و ﻣﻦ ﻧﺘﻮاﻧﻢ‬

I love the time Saqi takes up the call: “Now take your last!”, and I say: “Gosh! I can’t!” 135

136

(209)

(209)

Of what is there and not I know the sign;

‫ﻣﻦ ﻇﺎﻫﺮ ﻧﻴﺴﺘﻲ و ﻫﺴﺘﻲ داﻧﻢ‬

I know the drinks both worldly and divine!

‫ﻫﻢ ﺑﺎﻃﻦ ﻫﺮ ﻓﺮاز و ﭘﺴﺘﻲ داﻧﻢ‬

Yet shame on me if I say something else

‫ﺑﺎ اﻳﻦ ﻫﻤﻪ از داﻧﺶ ﺧﻮد ﺷﺮﻣﻢ ﺑﺎد‬

I know that beats our last year’s homely wine!

‫ﮔﺮ ﻣﺮﺗﺒﻪ اي وراي ﻣﺴﺘﻲ داﻧﻢ‬ (210)

(210)

‫ﻳﻚ ﺟﺎم ﺷﺮاب ﺻﺪ دل و دﻳﻦ ارزد‬

The caelum466 all is worth a cup terrene467!

‫ﻳﻚ ﺟﺮﻋﻪ ﻣﻲ ﻣﻤﻠﻜﺖ ﭼﻴﻦ ارزد‬

A draft of wine is worth the rule of Ch’in468!

‫ﺟﺰ ﺑﺎده ﻟﻌﻞ ﻧﻴﺴﺖ در روي زﻣﻴﻦ‬

Except for wine there’s not a thing on Earth

‫ﺗﻠﺨﻲ ﻛﻪ ﻫﺰار ﺟﺎن ﺷﻴﺮﻳﻦ ارزد‬

So sour that’s worth a thousand lives serene!

(211) (211)

‫از ﺑﺎده ﺷﻮد ز ﺳﺮ ﺗﻜﺒﺮﻫﺎ ﻛﻢ‬

The mighty wine would wholly vainness ban!

‫وز ﺑﺎده ﺷﻮد ﮔﺸﺎده ﺑﻨﺪ ﻣﺤﻜﻢ‬

And would untie the tightly knotted span469!

‫اﺑﻠﻴﺲ ز ﺑﺎده ﮔﺮ ﺑﺨﻮردي ﺟﺎﻣﻲ‬

If our Old Nick were bade a bowl of wine

‫ﻛﺮدي دوﻫﺰار ﺳﺠﺪه ﭘﻴﺶ آدم‬

He’d crawl on all his fours in front of Man!470 (212) ‫اﻣﺮوز ﻛﻪ ﻧﻮﺑﺖ ﺟﻮاﻧﻲ ﻣﻦ اﺳﺖ‬

(212) Today that I am young and soar with strife471, I must carouse and make sour wine my wife!

‫ ﻣﻦ اﺳﺖ‬473‫ﻣﻲ ﻧﻮﺷﻢ از آن ﻛﻪ ﻛﺎﻣﺮاﻧﻲ‬ ‫ ﺧﻮش اﺳﺖ‬،‫ﻋﻴﺒﻢ ﻧﻜﻨﻴﺪ! اﮔﺮﭼﻪ ﺗﻠﺦ اﺳﺖ‬ 474

I like the sweet of mine the same: all sour! Why sour? Why not?! Because this is my life!472 137

138

‫ﺗﻠﺦ اﺳﺖ ﭼﺮا؟ ﻛﻪ زﻧﺪﮔﺎﻧﻲ ﻣﻦ اﺳﺖ‬

(213)

(213)

My soul will care for naught but for my bowl!

‫دﺳﺘﻢ ﻫﻤﻪ ﺑﺎ ﺳﺎﻏﺮ و ﻣﻞ ﭘﻴﻮﻧﺪد‬

Except the Blossom-Face will naught extol!

‫ﻃﺒﻌﻢ ﻫﻤﻪ ﺑﺎ روي ﭼﻮ ﮔﻞ ﭘﻴﻮﻧﺪد‬

Now I will gain my share of all the parts,

‫از ﻫﺮ ﺟﺰﺋﻲ ﻧﺼﻴﺐ ﺧﻮد ﺑﺮﮔﻴﺮم‬ 477

Before their time is come to join the Whole!475

‫زان ﭘﻴﺶ ﻛﻪ ﺟﺰءﻫﺎ ﺑﻪ ﻛﻞ ﭘﻴﻮﻧﺪد‬ (214)

(214)

‫ﺑﺮﺧﻴﺰ و ﺑﻴﺎ ﺑﺘﺎ ﺑﺮاي دل ﻣﺎ‬

Arise and shine my love! Yourself array!

‫ﺣﻞ ﻛﻦ ﺑﻪ ﺟﻤﺎل ﺧﻮﻳﺸﺘﻦ ﻣﺸﻜﻞ ﻣﺎ‬

With your allure my troubled heart allay!

‫ﻳﻚ ﻛﻮزه ﺷﺮاب ﺗﺎ ﺑﻪ ﻫﻢ ﻧﻮش ﻛﻨﻴﻢ‬

O let’s cast off our cares to carmine cups,

‫زان ﭘﻴﺶ ﻛﻪ ﻛﻮزه ﻫﺎ ﻛﻨﻨﺪ از ﮔﻞ ﻣﺎ‬

Ere cups they cast out of our careless clay!

(215) ‫ ﻛﻨﻴﺪ‬478‫ﮔﺮ ﻳﺎر ﻣﻨﻴﺪ ﺗﺮك ﻃﺎﻣﺎت‬

(215) O my comrades! Let go your counsel all!

‫ﻏﻢ ﻫﺎي ﻣﺮا ﺑﻪ ﻣﻲ ﻣﻜﺎﻓﺎت ﻛﻨﻴﺪ‬

Then call for wine and loll my olden gall!

‫ﭼﻮن درﮔﺬرم ز ﺧﺎك ﻣﻦ ﺧﺸﺖ زﻧﻴﺪ‬

When I am past you cast my dust a brick,

‫در رﺧﻨﻪ دﻳﻮار ﺧﺮاﺑﺎت ﻛﻨﻴﺪ‬

And post it in the chink of tavern’s wall!476

(216) ‫ﭼﻨﺪان ﺑﺨﻮرم ﺷﺮاب ﻛﺎﻳﻦ ﺑﻮي ﺷﺮاب‬

(216)

‫ ﭼﻮن ﺷﻮم زﻳﺮ ﺗﺮاب‬479‫آﻳﺪ ز ﺗﺮاب‬

I’ll drink so much of this my darling pot

‫ﺗﺎ ﺑﺮ ﺳﺮ ﺧﺎك ﻣﻦ رﺳﺪ ﻣﺨﻤﻮري‬

That I will scent the dust when I’m forgot!

‫از ﺑﻮي ﺷﺮاب ﻣﻦ ﺷﻮد ﻣﺴﺖ و ﺧﺮاب‬

So when a sober soak goes by my dust My scent of wine afresh will make him sot! 139

140

(217)

(217)

Though wine did dent my honor by and by,

484

I won’t be rent from it until I die!

‫ﺑﺎ آﻧﻜﻪ ﺷﺮاب ﭘﺮده ﻣﺎ ﺑﺪرﻳﺪ‬

‫ﺗﺎ ﺟﺎن دارم ﻧﺨﻮاﻫﻢ از ﺑﺎده ﺑﺮﻳﺪ‬

I wonder at the vintners’ dopey end:

‫ﻣﻦ در ﻋﺠﺒﻢ ز ﻣﻲ ﻓﺮوﺷﺎن ﻛﺎﻳﺸﺎن‬

To best the thing they sell what will they buy?!

‫ﺑﻪ زان ﻛﻪ ﻓﺮوﺷﻨﺪ ﭼﻪ ﺧﻮاﻫﻨﺪ ﺧﺮﻳﺪ؟‬ (218)

(218)

‫در ﺳﺮ ﻣﮕﺬار ﻫﻴﭻ ﺳﻮداي ﻣﺤﺎل‬

Now hanker not for what would ne’er befall!

‫ﻣﻲ ﺧﻮر ﻫﻤﻪ ﺳﺎﻟﻪ ﺳﺎﻏﺮ ﻣﺎﻻﻣﺎل‬

Embrace the brimful cup at home and mall!

‫ ﻧﺸﻴﻦ و ﻋﻴﺸﻲ ﻣﻲ ﻛﻦ‬485‫ﺑﺎ دﺧﺘﺮ رز‬

Go date and dally with the Wench of Vine: The Maid

haram480,

Oh! beats the Dame

‫دﺧﺘﺮ ﺑﻪ ﺣﺮام ﺑﻪ ز ﻣﺎدر ﺑﻪ ﺣﻼل‬

halal481!

(219) (219)

‫ﻣﺎﻳﻴﻢ ﺧﺮﻳﺪار ﻣﻲ ﻛﻬﻨﻪ و ﻧﻮ‬ 486

It’s we who buy the old and novel swill! And sell the Lofty Sky for just a fill!

‫وآﻧﮕﺎه ﻓﺮوﺷﻨﺪه ﺟﻨﺖ ﺑﻪ دو ﺟﻮ‬

‫داﻧﻲ ﻛﻪ ﭘﺲ از ﻣﺮگ ﻛﺠﺎ ﺧﻮاﻫﻲ رﻓﺖ؟‬

You know where is you go when you are dead?

‫ﻣﻲ ﭘﻴﺶ ﻣﻦ آر و ﻫﺮﻛﺠﺎ ﺧﻮاﻫﻲ رو‬

Go bring my wine and then go where you will! (220) ‫ﮔﻔﺖ‬

(220)

‫ﮔﻔﺖ‬

By sense the mind supplies a reason tight! The same in Rome’s482 and Arab’s reign they cite! Should rascals rumble: “Wine? O fie! It’s wrong!”

488

‫در ﺑﺰم ﺧﺮد ﻋﻘﻞ دﻟﻴﻠﻲ ﺳﺮه‬

‫در روم و ﻋﺮب ﻣﻴﻤﻨﻪ و ﻣﻴﺴﺮه‬

‫ﮔﺮ ﻧﺎ اﻫﻠﻲ ﮔﻔﺖ ﻛﻪ ﻣﻲ ﻧﺎﺳﺮه اﺳﺖ‬ 489

‫ﻣﻦ ﻛﻲ ﺷﻨﻮم ﭼﻮن ﻛﻪ ﺧﺪا ﻣﻲ ﺳﺮه ﮔﻔﺖ‬

Say: “Go to hell! For Lord declared it right!”483 141

487

142

(221)

(221)

Though wine is damned as Devil’s Dow’r, it’s sweet! When served by boys beneath the bow’r it’s sweet! It’s sour and sanctioned, yet I like it all: It has been long since all that’s sour is sweet!

‫ﭼﻮن ﺑﺮ ﻛﻒ ﺳﺎﻗﻲ ﻏﻼم اﺳﺖ ﺧﻮش اﺳﺖ‬ ‫ﺗﻠﺦ اﺳﺖ و ﺣﺮام اﺳﺖ ﺧﻮﺷﻢ ﻣﻲ آﻳﺪ‬ ‫دﻳﺮي اﺳﺖ ﻛﻪ ﺗﺎ ﻫﺮﭼﻪ ﺣﺮام اﺳﺖ ﺧﻮش اﺳﺖ‬ (222)

(222) Tonight I’ll find a heavy

‫ﻣﻲ ﮔﺮﭼﻪ ﺑﻪ ﺷﺮع زﺷﺖ ﻧﺎم اﺳﺖ ﺧﻮش اﺳﺖ‬

maund490

of wine!

And fill myself with double tumblers fine! I’ll first divorce my faith and reason

thrice491,

‫ ﺧﻮاﻫﻢ ﻛﺮد‬495‫اﻣﺸﺐ ﭘﻲ ﺟﺎم ﻳﻚ ﻣﻨﻲ‬ ‫ ﻣﻲ ﻏﻨﻲ ﺧﻮاﻫﻢ ﻛﺮد‬496‫ﺧﻮد را ﺑﻪ دو رﻃﻞ‬ ‫اول ﺳﻪ ﻃﻼق ﻋﻘﻞ و دﻳﻦ ﺧﻮاﻫﻢ ﮔﻔﺖ‬ ‫ﭘﺲ دﺧﺘﺮ رز را ﺑﻪ زﻧﻲ ﺧﻮاﻫﻢ ﻛﺮد‬

Then make the Vintage Maid the wife of mine!

(223) (223)

‫ﻣﻲ ﺧﻮر ﻛﻪ ز ﺗﻮ ﻛﺜﺮت و ﻗﻠﺖ ﺑﺒﺮد‬

O tope! For that the wrongs and rights will oust!

‫ ﺑﺒﺮد‬497‫واﻧﺪﻳﺸﻪ ﻫﻔﺘﺎد و دو ﻣﻠﺖ‬

The Two and Se’enty Factions492 fights will oust!

‫ﭘﺮﻫﻴﺰ ﻣﻜﻦ ز ﻛﻴﻤﻴﺎﻳﻲ ﻛﻪ از او‬

Leave not the balm of which a thimbleful

‫ﻳﻚ ﺟﺮﻋﻪ ﺧﻮري ﻫﺰار ﻋﻠﺖ ﺑﺒﺮد‬

You lap, and that a thousand plights will oust! (224) ‫ﻫﺮﮔﺰ ﻧﺒﻮد دﻣﻲ ﻛﻪ ﻣﻦ ﻧﺎﻣﺴﺘﻢ‬

(224) There be no time that I am not a sot!

‫ﻫﺮ ﺷﺐ ﺷﺐ ﻗﺪر و ﮔﻮﺷﻪ اي ﭼﻮن ﺑﺴﺘﻢ‬ ‫ﻟﺐ ﺑﺮ ﻟﺐ ﺟﺎم و ﺳﻴﻨﻪ ﺑﺮ ﺳﻴﻨﻪ ﺧﻢ‬

Each night my Qadr493 and tavern’s nook my cot494:

‫ دﺳﺘﻢ‬498‫ﺗﺎ روز ﺑﻪ ﮔﺮدن ﺻﺮاﺣﻲ‬

Kissing the cup, my chest upon the cask’s, Till dawn my arms around my lovely pot! 143

144

(225)

(225)

We pledge499 and lounge around and bludge500 today!

‫ﻣﺎ ﻋﺎﺷﻖ و ﻣﻲ ﭘﺮﺳﺖ و ﻣﺴﺘﻴﻢ اﻣﺮوز‬

From Vintage Hall we’ll move no budge today!

‫در ﻛﻮي ﺑﺘﺎن ﺑﺎده ﭘﺮﺳﺘﻴﻢ اﻣﺮوز‬

Encumbered by the carnal bonds no more,

‫از ﻫﺴﺘﻲ ﺧﻮﻳﺸﺘﻦ ﺑﻪ ﻛﻠﻲ رﺳﺘﻪ‬ 503

We stand before Th’Eternal Judge today!

‫ اﻣﺮوز‬502‫ﭘﻴﻮﺳﺘﻪ ﺑﻪ درﮔﺎه اﻟﺴﺘﻴﻢ‬ (226)

(226)

504

I will the Scroll of Zeal and Bias roll!

‫ﻣﻦ داﻣﻦ زﻫﺪ و ﺗﻮﺑﻪ ﻃﻲ ﺧﻮاﻫﻢ ﻛﺮد‬ ‫ ﻗﺼﺪ ﻣﻲ ﺧﻮاﻫﻢ ﻛﺮد‬،‫ﺑﺎ ﻣﻮي ﺳﭙﻴﺪ‬

A hoary boy, I’ll roam around the bowl!

‫ﭘﻴﻤﺎﻧﻪ ﻋﻤﺮ ﻣﻦ ﺑﻪ ﻫﻔﺘﺎد رﺳﻴﺪ‬

My Bowl of Life to seventy full-filled;

‫اﻳﻦ دم ﻧﻜﻨﻢ ﻧﺸﺎط ﻛﻲ ﺧﻮاﻫﻢ ﻛﺮد؟‬

If now I sleep so when to save the soul?!

(227) (227)

‫ﻣﺎﻳﻴﻢ و ﻣﻲ و ﻣﻄﺮب و اﻳﻦ ﻛﻨﺞ ﺧﺮاب‬

It’s we and wine and bard within this Dell!

505

‫ﺟﺎن و دل و ﺟﺎم و ﺟﺎﻣﻪ در رﻫﻦ ﺷﺮاب‬

Our heart and mind enthralled by Vermeil Spell!

‫آزاد ز ﺧﺎك و ﺑﺎد و از آﺗﺶ و آب‬ ‫ﻓﺎرغ ز اﻣﻴﺪ رﺣﻤﺖ و ﺑﻴﻢ ﻋﺬاب‬

Set free from dust, wind, fire, and water’s Cell! Released of Bliss of Hea’en and Curse of Hell!

(228) ‫ﺳﺎﻗﻲ دل ﻣﻦ ﻛﺬب و ﺣﻘﻴﻘﺖ ﻧﺸﻨﺎﺧﺖ‬

(228) Saqi! My heart nor good nor evil priced! No wine but vintage took, be warmed or iced!

‫ﺟﺰ ﺟﺎم ﻣﻲ از راه و ﻃﺮﻳﻘﺖ ﻧﺸﻨﺎﺧﺖ‬ ‫ روح و ﺟﺎﻧﺒﺨﺶ ﻣﻦ اﺳﺖ‬،‫ﻣﻲ ده ﻛﻪ ﺻﺒﻮح‬ 506

A draft! For that’s what blows the dead to life! And this no prophet seized but Jesus Christ!501 145

146

‫ﻛﺲ ﻏﻴﺮ ﻣﺴﻴﺢ اﻳﻦ ﻏﻨﻴﻤﺖ ﻧﺸﻨﺎﺧﺖ‬

(229)

(229)

All days I say: “It’s time! I must atone!

‫ﻫﺮ روز ﺑﺮ آﻧﻢ ﻛﻪ ﻛﻨﻢ ﺷﺐ ﺗﻮﺑﻪ‬

Yes! For the love of chime507 I must atone!”

‫از ﺟﺎم و ﭘﻴﺎﻟﻪ ﻟﺒﺎﻟﺐ ﺗﻮﺑﻪ‬

Now that has come the blossom’s time, O my!

‫اﻛﻨﻮن ﻛﻪ رﺳﻴﺪه وﻗﺖ ﮔﻞ اي ﻓﺮﻳﺎد‬ 513

For that atonement’s crime I must atone!508

‫در ﻣﻮﺳﻢ ﮔﻞ ز ﺗﻮﺑﻪ ﻳﺎ رب ﺗﻮﺑﻪ‬ (230)

(230)

‫ ﺑﺎﺷﺪ‬514‫ ازرق‬،‫ﻫﺮ ﮔﻪ ﻛﻪ ﻃﻠﻮع ﺻﺒﺢ‬

O when the dawn has made its azure flight,

‫ ﺑﺎﺷﺪ‬515‫ﺑﺎﻳﺪ ﺑﻪ ﻛﻔﺖ ﻣﻲ ﻣﺮوق‬

It’s due you take full-bodied vintage bright!

‫ ﻛﻪ ﺣﻖ ﺗﻠﺦ ﺑﻮد‬516‫ﮔﻮﻳﻨﺪ در اﻓﻮاه‬

They say in sale and store the sooth is sour,

‫ﺑﺎﻳﺪ ﺑﻪ ﻫﻤﻴﻦ دﻟﻴﻞ ﻣﻲ ﺣﻖ ﺑﺎﺷﺪ‬

And ‘tis the why that wine must be alright!

(231) ‫ ﻧﺎب ﻣﻲ ﺧﻮاﻧﻨﺪش‬517‫زان روح ﻛﻪ راح‬

(231) That soul the Holy Ghost, O gad! they call;

‫ﺗﻴﻤﺎر دل ﺧﺮاب ﻣﻲ ﺧﻮاﻧﻨﺪش‬

The Moly509 for the bosom mad they call;

‫ﺟﺎﻣﻲ دو ﺳﻪ ﺳﻨﮕﻴﻦ ﺑﻪ ﻣﻦ آرﻳﺪ ﺳﺒﻚ‬ ‫ﺧﻴﺮآب! ﭼﺮا ﺷﺮاب ﻣﻲ ﺧﻮاﻧﻨﺪش؟‬

Now fetch a cup or two to me at once: It’s Water-Good! Why Water-Bad they call?!510

(232) ‫دوران ﺟﻬﺎن ﺑﻲ ﻣﻲ و ﺳﺎﻗﻲ ﻫﻴﭻ اﺳﺖ‬

(232)

‫ ﻫﻴﭻ اﺳﺖ‬518‫ﺑﻲ زﻣﺰﻣﻪ ﻧﺎي ﻋﺮاﻗﻲ‬

Our life without the juice and gest511 is naught! And sans the Persian Piper’s zest is naught! As far as I survey the Vale of Tears,

‫ﻫﺮﭼﻨﺪ در اﺣﻮال ﺟﻬﺎن ﻣﻲ ﻧﮕﺮم‬ 519

‫ﺣﺎﺻﻞ ﻫﻤﻪ ﻋﺸﺮت اﺳﺖ و ﺑﺎﻗﻲ ﻫﻴﭻ اﺳﺖ‬

The fruit is frolic and the rest is naught!512 147

148

(233)

(233)

Now that Bolbol once more hath burst to rime,

‫اﻛﻨﻮن ﻛﻪ زﻧﺪ ﻫﺰاردﺳﺘﺎن دﺳﺘﺎن‬

Go raise thy cup and cheer around the chime520!

‫ﺟﺰ ﺑﺎده ﻟﻌﻞ از ﻛﻒ ﻣﺴﺘﺎن ﻣﺴﺘﺎن‬

O rise! The bloom hath come in mirth once more!

‫ﺑﺮﺧﻴﺰ و ﺑﻴﺎ ﻛﻪ ﮔﻞ ﺑﻪ ﺷﺎدي ﺑﺸﻜﻔﺖ‬

Go waste521 thy while in weal and seize the time!

‫روزي دو ﺳﻪ داد ﺧﻮد ز ﺑﺴﺘﺎن ﺑﺴﺘﺎن‬ (234)

(234) A life my chant has been the wine’s salute!

‫ﻋﻤﺮي اﺳﺖ ﻛﻪ ﻣﺪاﺣﻲ ﻣﻲ ورد ﻣﻦ اﺳﺖ‬ ‫ﺗﻘﺪﻳﻢ ﻣﻲ اﺳﺖ ﻫﺮﭼﻪ ﺑﺮ ﮔﺮد ﻣﻦ اﺳﺖ‬

A toast to wine all that‘s my life’s pursuit!

‫ اي واي‬،‫زاﻫﺪ اﮔﺮ اﺳﺘﺎد ﺗﻮ ﻋﻘﻞ اﺳﺖ‬

O Hermit! If your grand old guide is Head, Now go recant! For that is scarce my

‫ﻫﻴﻬﺎت ﻛﻪ اﺳﺘﺎد ﺗﻮ ﺷﺎﮔﺮد ﻣﻦ اﺳﺖ‬

boot522!

(235) (235)

‫ﺳﺎﻗﻲ ﻧﻈﺮي ﻛﻪ ﺳﺮ ز اﻧﺪﻳﺸﻪ ﺗﻬﻲ اﺳﺖ‬

O Saqi! Just a glance! The pass is blank! 

‫ ﻣﺮ ﺑﻴﺸﻪ ﺗﻬﻲ اﺳﺖ‬،‫ﺷﻴﺮان ﻫﻤﻪ رﻓﺘﻪ اﻧﺪ‬

The pards have parted all, the grass is blank!

‫ﻫﺮ ﺷﺐ ز ﺣﺒﺎب ﻛﻒ زدي ﺷﻴﺸﻪ ﭼﺮخ‬ ‫اﻣﺮوز ﻛﻪ دور ﻣﺎ ﺑﻮد ﺷﻴﺸﻪ ﺗﻬﻲ اﺳﺖ‬

Each night was full to brim the Glass of Wheel, Tonight that is our turn the Glass is blank!

(236) ‫ﺳﺎﻗﻲ ﭼﻮ زﻣﺎﻧﻪ ورﺷﻜﺴﺖ ﻣﻦ و ﺗﻮﺳﺖ‬

(236)

‫ ﻧﺸﺴﺖ ﻣﻦ و ﺗﻮﺳﺖ‬523‫دﻧﻴﺎ ﺑﻪ ﺳﺮاﭼﻪ‬

Saqi! Since Fate’s the trade of me and you; This fading world the shade of me and you; As lies with us the soothing glass of wine,

‫از آﻧﻜﻪ ﻣﻴﺎن ﻣﻦ و ﺗﻮ ﺟﺎم ﻣﻲ اﺳﺖ‬ 524

‫ﻣﻴﺪان ﺑﻪ ﻳﻘﻴﻦ ﻛﻪ ﺣﻖ ﻣﻴﺎن ﻣﻦ و ﺗﻮﺳﺖ‬

Be sure the sooth is laid with me and you! 149

150

(237)

(237)

O be it that I dote on idols aye525!

‫در ﺳﺮ ﻫﻮس ﺑﺘﺎن ﭼﻮن ﺣﻮرم ﺑﺎد‬

And all the time take up the goblet high!

‫ﺑﺮ دﺳﺖ ﻫﻤﻴﺸﻪ ﺟﺎم اﻧﮕﻮرم ﺑﺎد‬

They say: “Would God our Lord make thee atone!”

‫ﮔﻮﻳﻨﺪ ﻛﺴﺎن ﺧﺪا ﺗﻮ را ﺗﻮﺑﻪ دﻫﺎد‬

If He should make, O God! I would deny!

‫ دورم ﺑﺎد‬،‫او ﮔﺮ ﺑﺪﻫﺪ ﻣﻦ ﻧﻜﻨﻢ‬ (238)

(238)

‫ﻣﻲ ﺧﻮر ﺗﻮ ﻣﺪام! راﺣﺖ روح ﺗﻮ اوﺳﺖ‬

To wine! For that’s the timeless lark526 of yours!

‫آﺳﺎﻳﺶ ﺟﺎن و دل ﻣﺠﺮوح ﺗﻮ اوﺳﺖ‬

In days of dark, the candle spark of yours!

‫ﻃﻮﻓﺎن ﻏﻢ ار ﺑﺮآﻳﺪ از ﭘﻴﺶ و ﭘﺴﺖ‬

Should Waves of Woe betide you fore and aft,

‫ ﻛﺸﺘﻲ ﻧﻮح ﺗﻮ اوﺳﺖ‬،‫در ﺑﺎده ﮔﺮﻳﺰ‬

Embark on wine! That’s Noah’s Ark of yours!

(239) (239)

‫ﭼﻮن ﻫﺴﺖ زﻣﺎﻧﻪ در ﺧﺮاب اي ﺳﺎﻗﻲ‬

Since all there is is Bunglers’ Hope, Saqi!

‫ﺑﺮﻧﻪ ﺑﻪ ﻛﻔﻢ ﺟﺎم ﺷﺮاب اي ﺳﺎﻗﻲ‬

Come, let us hold the cup and tope, Saqi!

‫ﻫﻨﮕﺎم ﺻﺒﻮح ﻗﻔﻞ ﺑﺮ در زده اﻳﻢ‬ 529

It’s matins! Even though we latched the door, Make haste! The Sun will break it ope, Saqi!527

‫ﺗﻌﺠﻴﻞ ﻛﻪ آﻣﺪ آﻓﺘﺎب اي ﺳﺎﻗﻲ‬ (240)

‫ﻟﻌﻞ اﺳﺖ ﻣﻲ ﻣﺬاب و ﺳﺎﻏﺮ ﻛﺎن اﺳﺖ‬

(240)

‫ﺟﺴﻢ اﺳﺖ ﭘﻴﺎﻟﻪ و ﺷﺮاﺑﺶ ﺟﺎن اﺳﺖ‬

The wine the stone528, the flagon is the mine! The corpse the stein, the spirit is the wine! That crystal cup which is by wine benign

‫آن ﺟﺎم ﺑﻠﻮرﻳﻦ ﻛﻪ ز ﻣﻲ ﺧﻨﺪان اﺳﺖ‬ 530

‫اﺷﻚ اﺳﺖ ﻛﻪ ﺧﻮن دل در آن ﭘﻨﻬﺎن اﺳﺖ‬

The tear is where the blood lies in confine! 151

152

(241)

(241)

The spring is come: the hill and dale are cool! The wanton souls regale beside the pool!

‫ﻧﻮﺑﻬﺎر و ﻟﺐ ﻛﺸﺖ‬ ‫ﺣﻮرﺳﺮﺷﺖ‬ 537

Now haste and pour: the dandy sots of dawn Are done with Must of Mosque and Shalt of Shul!

536

535

‫ﻓﺼﻞ ﮔﻞ و ﻃﺮف‬

‫ﺑﺎ ﻳﻚ دو ﺳﻪ اﻫﻞ و ﻟﻌﺒﺘﻲ‬

‫ﭘﻴﺶ آر ﻗﺪح ﻛﻪ ﺑﺎده ﻧﻮﺷﺎن ﺻﺒﻮح‬

‫آﺳﻮده ز ﻣﺴﺠﺪاﻧﺪ و ﻓﺎرغ ز ﻛﻨﺸﺖ‬ (242)

(242) The Moon, the dame, the flaming

link531,

Saqi!

‫ و ﻣﺎﻫﺘﺎب اي ﺳﺎﻗﻲ‬538‫ﺷﻤﻊ اﺳﺖ و ﺷﻔﻴﻖ‬ ‫در ﺷﻴﺸﻪ ﻣﻲ ﭼﻮ ﻟﻌﻞ ﻧﺎب اي ﺳﺎﻗﻲ‬

Within the glass the Ruby Drink, Saqi!

‫از ﺧﺎك ﻣﮕﻮ! اﻳﻦ دل ﭘﺮ آﺗﺶ را‬

Tell not of earth! This heart of mine afire

‫ﺑﺮ ﺑﺎد ﻣﺪه! ﺑﻴﺎر آب اي ﺳﺎﻗﻲ‬

Leave not to wind! Now water pink, Saqi!

(243) (243)

‫ﺗﺎ ﻫﺸﻴﺎرم ﻃﺮب ز ﻣﻦ ﭘﻨﻬﺎن اﺳﺖ‬

When I am dry, I hear no tuneful fife532!

‫ﭼﻮن ﻣﺴﺖ ﺷﻮم در ﺧﺮدم ﻧﻘﺼﺎن اﺳﺖ‬

When I am wet, my wits give way to strife!

‫ﺣﺎﻟﻲ اﺳﺖ ﻣﻴﺎن ﻣﺴﺘﻲ و ﻫﺸﻴﺎري‬

There lies a spot beset by dry and wet

‫ﻣﻦ ﺑﻨﺪه آن ﻛﻪ زﻧﺪﮔﺎﻧﻲ آن اﺳﺖ‬

Where I abide, and that’s the Isle of Life!

(244) ‫ﺑﺮﺧﻴﺰ و ﺑﺪه ﺑﺎده! ﻧﻪ وﻗﺖ ﺳﺨﻦ اﺳﺖ‬

(244) O rise and call for wine and roll and rock! Tonight your lips outdo that of the crock! Now pour the scarlet cherry as your cheek533:

‫اﻣﺸﺐ دﻫﻦ ﺗﻨﮓ ﺗﻮ روزي ﻣﻦ اﺳﺖ‬ ‫ﻫﻤﭽﻮن رخ ﺧﻮﻳﺶ ﻣﻲ ﻣﺮا ﮔﻠﮕﻮن ده‬ ‫ﻛﻴﻦ ﺗﻮﺑﻪ ﻣﻦ ﭼﻮ زﻟﻒ ﺗﻮ ﭘﺮ ﺷﻜﻦ اﺳﺖ‬

This fast of mine is broken like your lock534! 153

154

(245)

(245)

Koran that sans consort and pair they call,

‫ﻛﻼم ﺧﻮاﻧﻨﺪ آن را‬

Sometimes set up in empty air they call!

541

‫ﻗﺮآن ﻛﻪ ﻣﻬﻴﻦ‬

‫ﮔﻪ ﮔﺎه ﻧﻪ ﺑﺮ دوام ﺧﻮاﻧﻨﺪ آن را‬

Yet round the pot there lies a charming chant

‫ﺑﺮ ﮔﺮد ﭘﻴﺎﻟﻪ آﻳﺘﻲ ﻫﺴﺖ ﻣﻘﻴﻢ‬ 542

That evermore and everywhere they call!

‫ﻛﺎﻧﺪر ﻫﻤﻪ ﺟﺎ ﻣﺪام ﺧﻮاﻧﻨﺪ آن را‬ (246)

(246)

‫ﻣﻲ ﺧﻮردن و ﺷﺎد ﺑﻮدن آﻳﻴﻦ ﻣﻦ اﺳﺖ‬

To shake and merry make: the shot of mine! To laugh at rake and sheik: the lot of mine! I asked the Bride of Dust: “What is your dower?”

‫ دﻳﻦ ﻣﻦ اﺳﺖ‬،‫ﻓﺎرغ ﺑﻮدن ز ﻛﻔﺮ و دﻳﻦ‬ ‫ ﺗﻮ ﭼﻴﺴﺖ؟‬543‫ﮔﻔﺘﻢ ﺑﻪ ﻋﺮوس دﻫﺮ ﻛﺎﺑﻴﻦ‬ ‫ﮔﻔﺘﺎ دل ﺧﺮم ﺗﻮ ﻛﺎﺑﻴﻦ ﻣﻦ اﺳﺖ‬

She said: “Your mindless mind the dot of mine!”

  (247)

(247)

‫ﻳﺰدان ﭼﻮ ﮔﻞ وﺟﻮد ﻣﻦ ﻣﻲ آراﺳﺖ‬

As God His breath did in my bole inhume,

‫داﻧﺴﺖ ز دﺳﺖ ﻣﻦ ﭼﻪ ﺑﺮﺧﻮاﻫﺪ ﺧﻮاﺳﺖ‬

He knew full well what of my hand would bloom!

‫ﺑﻲ ﺣﻜﻤﺶ ﻧﻴﺴﺖ ﻫﺮ ﮔﻨﺎﻫﻲ ﻛﻪ ﻣﺮاﺳﺖ‬

It’s not without His leave what I presume;

 

544

‫ﭘﺲ ﺳﻮﺧﺘﻦ روز ﻗﻴﺎﻣﺖ ز ﻛﺠﺎﺳﺖ؟‬

So why to burn me on the Day of Doom?!539 (248) ‫ﺑﺮ ﻣﻦ ﻗﻠﻢ ﻗﻀﺎ ﭼﻮ ﺑﻲ ﻣﻦ راﻧﻨﺪ‬

(248) As they without me run the Fortune’s Plume540, Then how to make this mate the charge assume?!

‫ﭘﺲ ﻧﻴﻚ و ﺑﺪش ز ﻣﻦ ﭼﺮا ﻣﻲ داﻧﻨﺪ؟‬ ‫دي ﺑﻲ ﻣﻦ و اﻣﺮوز ﭼﻮ دي ﺑﻲ ﻣﻦ و ﺗﻮ‬ ‫ﻓﺮدا ﺑﻪ ﭼﻪ ﺣﺠﺘﻢ ﺑﻪ داور ﺧﻮاﻧﻨﺪ؟‬

Without me yore, today the same, the morn On what charges the Judge would rule my doom?! 155

156

(249)

(249)

The Omni-Shot545 who did the meshes span,

‫ﺻﻴﺎد ازل ﻛﻪ داﻧﻪ در دام ﻧﻬﺎد‬

Some groping game He caught and called it Man!

‫ﺻﻴﺪي ﺑﮕﺮﻓﺖ و آدﻣﺶ ﻧﺎم ﻧﻬﺎد‬

All good and bad that goes around the world

‫ﻫﺮ ﻧﻴﻚ و ﺑﺪي ﻛﻪ ﻣﻲ رود در ﻋﺎﻟﻢ‬

He doth! And maketh folks carry the can!

‫او ﻣﻲ ﻛﻨﺪ و ﺑﻬﺎﻧﻪ ﺑﺮ ﻋﺎم ﻧﻬﺎد‬   (250)

(250) O God! Thou sowed this seed! What should I do?!  And Thou this dough did knead! What should I do?!  What good and evil comes to pass with me,

‫ﻳﺎ رب ﺗﻮ ﮔﻠﻢ ﺳﺮﺷﺘﻪ اي ﻣﻦ ﭼﻪ ﻛﻨﻢ‬ ‫ ﺗﻮ رﺷﺘﻪ اي ﻣﻦ ﭼﻪ ﻛﻨﻢ‬550‫وﻳﻦ ﭘﺸﻢ و ﻗﺼﺐ‬ ‫ﻫﺮ ﻧﻴﻚ و ﺑﺪي ﻛﻪ آﻳﺪ از ﻣﻦ ﺑﻪ وﺟﻮد‬   ‫ﺗﻮ ﺑﺮ ﺳﺮ ﻣﻦ ﻧﻮﺷﺘﻪ اي ﻣﻦ ﭼﻪ ﻛﻨﻢ؟‬

‘Tis Thou who them decreed! What should I do?!  (251)

  (251) 551

‫ﻧﻘﺸﻲ اﺳﺖ ﻛﻪ ﺑﺮ وﺟﻮد ﻣﻦ ﺑﻴﺨﺘﻪ اي‬ ‫ ز ﻣﻦ ﺑﺮاﻧﮕﻴﺨﺘﻪ اي‬552‫ﺻﺪ ﺑﻮاﻟﻌﺠﺒﻲ‬

O it was Thou who me like this begot! And made such wonders my pathetic lot!

‫ﻣﻦ زان ﺑﻪ از اﻳﻦ ﻧﻤﻲ ﺗﻮاﻧﻢ ﺑﻮدن‬ ‫ ﻣﺮا ﺑﺮون ﭼﻨﻴﻦ رﻳﺨﺘﻪ اي‬553‫ﻛﺰ ﺑﻮﺗﻪ‬

I fare could never far beyond this pose, For ‘tis the way Thou cast me out of Pot546!

(252) 554

(252)

555

When comes the time “The sky teareth away”547,

((‫وآﻧﺪم ﻛﻪ ﺷﻮد ))اذا اﻟﻨﺠﻮم اﻧﻜﺪرت‬ ‫ﻣﻦ داﻣﻦ ﺗﻮ ﺑﮕﻴﺮم اﻧﺪر ﺳﺌﻠﺖ‬

And then the time “The stars resign their ray”548,

556((‫رﺑﻲ ))ﺑﺎي ذﻧﺐ ﻗﺘﻠﺖ؟‬

I will at last Thy will and way survey And ask: “O Lord! “Wherefore Thy Son to slay?!”549” 157

((‫روزي ﻛﻪ ﺷﻮد ))اذا اﻟﺴﻤﺎء اﻧﺸﻘﺖ‬

158

‫ﮔﻮﻳﻢ‬

(253)

(253)

There was a knave who had denied all aim:

‫زﻣﻴﻦ‬

No faith, no doubt, no claim, no flame, no name;

‫ﻧﻪ ﻛﻔﺮ و ﻧﻪ اﺳﻼم و ﻧﻪ دﻧﻴﺎ و ﻧﻪ دﻳﻦ‬

No right, no wrong, no blame, no fame, no shame!

‫اﻧﺪر دو ﺟﻬﺎن ﻛﻪ را ﺑﻮد زﻫﺮه اﻳﻦ؟‬ (254)

(254) They say the boozer bears Gehenna’s brand! Now leave this goof for that same goofy band!

‫ﮔﻮﻳﻨﺪ ﻛﻪ دوزﺧﻲ ﺑﻮد ﻋﺎﺷﻖ و ﻣﺴﺖ‬ ‫ دل در آن ﻧﺘﻮان ﺑﺴﺖ‬،‫ﻗﻮﻟﻲ اﺳﺖ ﺧﻼف‬ ‫ﮔﺮ ﻋﺎﺷﻖ و ﻣﻲ ﺧﻮاره ﺑﻪ دوزخ ﺑﺎﺷﻨﺪ‬

If Hell should be the lot of soak and sot, By

‫رﻧﺪي دﻳﺪم ﻧﺸﺴﺘﻪ ﺑﺮ ﺧﻨﮓ‬

‫ﻧﻲ ﺣﻖ ﻧﻪ ﺣﻘﻴﻘﺖ ﻧﻪ ﺷﺮﻳﻌﺖ ﻧﻪ ﻳﻘﻴﻦ‬ 562

Now who’s so brave a man to be the same?!557

Doom558

561

you’ll see Heaven as palm of

‫ﻓﺮدا ﺑﻴﻨﻲ ﺑﻬﺸﺖ ﻫﻤﭽﻮن ﻛﻒ دﺳﺖ‬

hand559!

(255) (255)

‫آن را ﻛﻪ از آن ﻣﺤﺎل ﺑﺎﺷﺪ ﭘﺮﻫﻴﺰ‬

The same that must by all the odds befall

‫ و اﻣﺮ ﻛﺮده ﻛﺰ وي ﺑﮕﺮﻳﺰ‬563‫ﺧﻮد ﻛﺮده‬

He’s made and bade us not to do at all!

‫وآﻧﮕﺎه ﻣﻴﺎن اﻣﺮ و ﻧﻬﻲ اش ﻋﺎﺟﺰ‬ ‫اﻳﻦ ﻗﺼﻪ ﭼﻨﺎن ﺑﻮد ﻛﻪ ﻛﺞ دار و ﻣﺮﻳﺰ‬

Then always torn between to “do” or “not”; It’s like: “You falter, but do not let fall!”560

(256) ‫را ﺑﺪﻳﺪﺳﺖ؟ اي دل‬

(256) Has any seen Heaven and Hell?! O my!

‫ﻛﺲ ﺧﻠﺪ و ﺟﺤﻴﻢ‬

‫ﻛﺎو ﻛﺲ ﻛﻪ از آن ﺟﻬﺎن رﺳﻴﺪﺳﺖ؟ اي دل‬ ‫اﻣﻴﺪ و ﻫﺮاس ﻣﺎ ز ﭼﻴﺰي اﺳﺖ ﻛﺰ آن‬

And where’s the rev’nant this to tell?! O my!

‫ﺟﺰ ﻧﺎم و ﻧﺸﺎﻧﻲ ﻧﻪ ﭘﺪﻳﺪﺳﺖ اي دل‬

Our hopes and fears are to and from abodes Where but for say-so ring no bell! O my! 159

564

160

(257)

(257)

When God is not to trust565 the thing I want,

‫اﻳﺰد ﭼﻮ ﻧﺨﻮاﺳﺖ آﻧﭽﻪ ﻣﻦ ﺧﻮاﺳﺘﻪ ام‬

Oh! Then is only lust566 the thing I want!

‫ﻛﻲ ﮔﺮدد راﺳﺖ آﻧﭽﻪ ﻣﻦ ﺧﻮاﺳﺘﻪ ام‬

If all He wants is bound to pass as just,

‫ﮔﺮ ﺟﻤﻠﻪ ﺻﻮاب اﺳﺖ ﻛﻪ او ﺧﻮاﺳﺘﻪ اﺳﺖ‬

Then all is, all! unjust the thing I want!

‫ﭘﺲ ﺟﻤﻠﻪ ﺧﻄﺎﺳﺖ آﻧﭽﻪ ﻣﻦ ﺧﻮاﺳﺘﻪ ام‬ (258)

(258)

‫اي ﭼﺮخ ﺑﻪ ﮔﺮدش ﺗﻮ ﺧﺮﺳﻨﺪ ﻧﻲ ام‬

O Wheel! I favor not thy ruthless reign!

‫آزاد ﻛﻨﻢ ﻛﻪ ﻻﻳﻖ ﺑﻨﺪ ﻧﻲ ام‬

Release me! My desert is not thy chain!

‫ﮔﺮ ﻣﻴﻞ ﺗﻮ ﺑﺎ ﺑﻲ ﺧﺮد و ﻧﺎ اﻫﻞ اﺳﺖ‬

If thou condone the dotty, dolt, and dense, I neither am sober, nor sound, nor

568

sane!567

‫ﻣﻦ ﻧﻴﺰ ﭼﻨﺎن اﻫﻞ و ﺧﺮدﻣﻨﺪ ﻧﻲ ام‬ (259)

(259)

569

Having in mind Heaven’s Beatitude,

‫ﺗﺎ ﺑﻮد ﺑﺰﻳﺴﺖ روزﮔﺎري دﻟﺸﺎد‬

‫آدم ﺑﻪ اﻣﻴﺪ روزﮔﺎري ﺑﺮ ﺑﺎد‬

Adam himself could till the end delude!

‫زآن ﻣﻲ ﺗﺮﺳﻢ ﻛﻪ روزﮔﺎرم ﻧﺪﻫﺪ‬

But I, without that fancy’s hope, despair

‫ﭼﻨﺪان ﻛﻪ ز روزﮔﺎر ﺑﺴﺘﺎﻧﻢ داد‬

That I would not attain that quietude! (260) ‫اي دﻫﺮ ﺑﻪ ﻇﻠﻤﻬﺎي ﺧﻮد ﻣﻌﺘﺮﻓﻲ‬

(260) O Wheel! Thou own thy wayward turn! Alas! Amid the Shrine of Sin thou say thy mass! Thou offer Boon to Bad and Bane to Good;

‫ ﺟﻮر و ﺳﺘﻢ ﻣﻌﺘﻜﻔﻲ‬570‫در ﺧﺎﻧﻘﻪ‬ ‫ ﺑﻪ ﻛﺴﺎن‬571‫ﻧﻌﻤﺖ ﺑﻪ ﺧﺴﺎن دﻫﻲ و ﻧﻘﻤﺖ‬ ‫ ﺧﺮي ﻳﺎ ﺧﺮﻓﻲ‬:‫زﻳﻦ ﻫﺮ دو ﺑﺮون ﻧﻴﺴﺖ‬

One holds of two: thou must be crass or ass! 161

162

(261)

(261)

I don’t know He who molded me from ash

575

Heaven’s Lush made my lot or Hades’ Lash?!

‫ﻣﻦ ﻫﻴﭻ ﻧﺪاﻧﻢ ﻛﻪ ﻣﺮا آﻧﻜﻪ ﺳﺮﺷﺖ‬ ‫از اﻫﻞ ﺑﻬﺸﺖ ﻛﺮد ﻳﺎ دوزخ زﺷﺖ‬

The lawn, the lute, the loved, and the mulled bash:

‫ ﺑﺮ ﻟﺐ ﻛﺸﺖ‬576‫ﺟﺎﻣﻲ و ﺑﺘﻲ و ﺑﺮﺑﻄﻲ‬

For credit Heaven yours, these mine in cash!

‫اﻳﻦ ﻫﺮ ﺳﻪ ﻣﺮا ﻧﻘﺪ و ﺗﻮ را ﻧﺴﻴﻪ ﺑﻬﺸﺖ‬ (262)

(262)

‫ﻣﻦ ﻣﻲ ﺧﻮرم و ﻫﺮﻛﻪ ﭼﻮ ﻣﻦ اﻫﻞ ﺑﻮد‬

I drink and he who like me is urbane

‫ﻣﻲ ﺧﻮردن ﻣﻦ ﺑﻪ ﻧﺰد او ﺳﻬﻞ ﺑﻮد‬

Will deem it right and bother me no grain!

‫ﻣﻲ ﺧﻮردن ﻣﻦ ﺣﻖ از ازل ﻣﻲ داﻧﺴﺖ‬

That I should drink the Lord himself foreknew: If I should not, He’d prove, O fie!

577

insane!572

‫ﮔﺮ ﻣﻲ ﻧﺨﻮرم ﻋﻠﻢ ﺧﺪا ﺟﻬﻞ ﺑﻮد‬ (263)

(263)

‫ﮔﻮﻳﻨﺪ ﺑﻪ ﺣﺸﺮ ﮔﻔﺘﮕﻮ ﺧﻮاﻫﺪ ﺑﻮد‬

They say in Doomsday we will be engaged!

‫وآن ﻳﺎر ﻋﺰﻳﺰ ﺗﻨﺪﺧﻮ ﺧﻮاﻫﺪ ﺑﻮد‬ 578

The Darling Lord will be full well enraged! Can Perfect Good give out but what is good?!573

‫از ﺧﻴﺮ ﻣﮕﺮ ﺑﻪ ﺟﺰ ﻧﻜﻮﻳﻲ آﻳﺪ؟‬

‫ﺧﻮش ﺑﺎش ﻛﻪ ﻋﺎﻗﺒﺖ ﻧﻜﻮ ﺧﻮاﻫﺪ ﺑﻮد‬

Go joy with rage! Our end will be assuaged! (264) ‫ﺑﺎﺷﺪ‬

(264)

‫ﮔﻮﻳﻨﺪ ﺑﻬﺸﺖ و ﺣﻮر و ﻛﻮﺛﺮ‬

‫ﺟﻮي ﻣﻲ و ﺷﻴﺮ و ﺷﻬﺪ و ﺷﻜﺮ ﺑﺎﺷﺪ‬

They say there will be shades and Huris ash574!

‫ﭘﺮﻛﻦ ﻗﺪح ﺑﺎده و ﺑﺮ دﺳﺘﻢ ﻧﻪ‬

And streams that with the mead and nectar plash!

‫ﻧﻘﺪي ز ﻫﺰار ﻧﺴﻴﻪ ﺧﻮش ﺗﺮ ﺑﺎﺷﺪ‬

Now fill my cup and bid me hold it high: Let all that credit go, and come this cash! 163

579

164

(265)

(265)

One hand to skoal580, and the other to Scroll581!

‫و ﻳﻚ دﺳﺖ ﺑﻪ ﺟﺎم‬

Sometime haram, and then halal our goal!

585

‫ﻳﻚ دﺳﺖ ﺑﻪ ﻣﺼﺤﻔﻴﻢ‬

‫ﮔﻪ ﻧﺰد ﺣﻼﻟﻴﻢ و ﮔﻬﻲ ﻧﺰد ﺣﺮام‬

Unripe our flesh, and then so ripe our soul:

‫ﺳﺮﮔﺸﺘﻪ در اﻳﻦ دار ﻓﻨﺎ ﭘﺨﺘﻪ و ﺧﺎم‬

A Mammon582 neither, nor a Muslim whole!

‫ﻧﻪ ﻛﺎﻓﺮ ﻣﻄﻠﻖ ﻧﻪ ﻣﺴﻠﻤﺎن ﺗﻤﺎم‬ (266)

(266) They say: “Heaven is fine for Huris’ treat!” I say: “Of course! But wine is more the sweet!” Now take this cash and let that credit go: For just from far is nice the drummer’s

beat!583

‫ﮔﻮﻳﻨﺪ ﻛﺴﺎن ﺑﻬﺸﺖ ﺑﺎ ﺣﻮر ﺧﻮش اﺳﺖ‬ ‫ﻣﻦ ﻣﻲ ﮔﻮﻳﻢ ﻛﻪ آب اﻧﮕﻮر ﺧﻮش اﺳﺖ‬ ‫اﻳﻦ ﻧﻘﺪ ﺑﮕﻴﺮ و دﺳﺖ از آن ﻧﺴﻴﻪ ﺑﺪار‬   ‫واز دﻫﻞ ﺷﻨﻴﺪن از دور ﺧﻮش اﺳﺖ‬Ĥ‫ﻛ‬   (267)

(267)

‫در دﻫﺮ ﭼﻮ آواز ﮔﻞ ﺗﺎزه دﻫﻨﺪ‬

When rose again the flower’s reign proclaims,

‫ﻓﺮﻣﺎي ﺑﺘﺎ ﻛﻪ ﻣﻲ ﺑﻪ اﻧﺪازه دﻫﻨﺪ‬

Go take a drink beside the boys and dames!

‫از دوزخ و از ﺑﻬﺸﺖ و از ﺣﻮر و ﻗﺼﻮر‬

The Heaven’s Hur let go and Hades’ Haunt!

‫ﻓﺎرغ ﺑﻨﺸﻴﻦ ﻛﺎﻳﻦ ﻫﻤﻪ آوازه دﻫﻨﺪ‬

Go merry make, for those are empty claims!

(268) ‫ﺟﺎوﻳﺪ ﻧﻴﻢ ﭼﻮ اﻧﺪر اﻳﻦ دﻫﺮ ﻣﻘﻴﻢ‬

(268)

586

For in this world I’m not supposed to rest, ‘Tis sad to waste my days sans juice and gest! For Fact and Ancient why should I contest?!

‫ اﻣﻴﺪم و ﺑﻴﻢ؟‬587‫ﺗﺎ ﻛﻲ ز ﻗﺪﻳﻢ و ﻣﺤﺪث‬ ‫ﭼﻮن درﮔﺬرم ﺟﻬﺎن ﭼﻪ ﻣﺤﺪث ﭼﻪ ﻗﺪﻳﻢ‬

As I would pass, let all be damned or blest!584 165

‫ﭘﺲ ﺑﻲ ﻣﻲ و ﻣﻌﺸﻮق ﻋﺬاﺑﻲ اﺳﺖ اﻟﻴﻢ‬

166

(269)

(269)

The pal who’s put upon this Parched Parade,

‫ﺗﺎﺧﺘﻪ اﻧﺪ‬

Without his leave his fortune they fore-laid:

‫آن را ﻛﻪ ﺑﻪ ﺻﺤﺮاي ﻋﻠﻞ‬

‫ﺑﻲ او ﻫﻤﻪ ﻛﺎرﻫﺎ ﺑﭙﺮداﺧﺘﻪ اﻧﺪ‬

This trice he’s settled on a decent trade, But soon he is to part on what they bade!588

591

‫اﻣﺮوز ﺑﻬﺎﻧﻪ اي دراﻧﺪاﺧﺘﻪ اﻧﺪ‬ 592

‫ﻓﺮدا ﻫﻤﻪ آن ﺑﻮد ﻛﻪ ﺧﻮد ﺳﺎﺧﺘﻪ اﻧﺪ‬ (270)

(270)

593

How long shall I the Cosmic Ocean

churn589?!

594

O fie upon the mosque’s and shul’s concern! Who says Xayyam is bound to end in hell?! Who went to hell? And, pray, who did return?!

‫ﺗﺎ ﭼﻨﺪ زﻧﻢ ﺑﻪ روي درﻳﺎﻫﺎ ﺧﺸﺖ؟‬ ‫ﺑﻴﺰار ﺷﺪم ز ﻛﺎﻓﺮﺳﺘﺎن و ﻛﻨﺸﺖ‬

‫ﺧﻴﺎم ﻛﻪ ﮔﻔﺖ دوزﺧﻲ ﺧﻮاﻫﺪ ﺑﻮد؟‬ ‫ﻛﻪ رﻓﺖ ﺑﻪ دوزخ و ﻛﻪ آﻣﺪ ز ﺑﻬﺸﺖ؟‬ (271)

(271)

‫ﮔﻮﻳﻨﺪ ﻫﺮآن ﻛﺴﺎن ﻛﻪ ﺑﺎ ﭘﺮﻫﻴﺰﻧﺪ‬

“Each man who lives in abstinence”, they say,

‫آن ﺳﺎن ﻛﻪ ﺑﻤﻴﺮﻧﺪ ﭼﻨﺎن ﺑﺮﺧﻴﺰﻧﺪ‬

“Would rise the same he’d lived before he lay!”

‫ﻣﺎ ﺑﺎ ﻣﻲ و ﻣﻌﺸﻮﻗﻪ از آﻧﻴﻢ ﻣﺪام‬

For that we every night carouse and court

‫ﺑﺎﺷﺪ ﻛﻪ ﺑﻪ ﺣﺸﺮﻣﺎن ﻫﻤﺎن اﻧﮕﻴﺰﻧﺪ‬

So that we rise the same when comes the Day!590 (272) ‫ﺧﻮاﻫﺪ ﺑﻮد‬

(272) They say Hereafter Hurs will be our wife; And there the balm and wine like hell is rife!

‫ﮔﻮﻳﻨﺪ ﺑﻬﺸﺖ و ﺣﻮر ﻋﻴﻦ‬

‫ ﺧﻮاﻫﺪ ﺑﻮد‬596‫آﻧﺠﺎ ﻣﻲ ﻧﺎب و اﻧﮕﺒﻴﻦ‬ ‫ﮔﺮ ﻣﺎ ﻣﻲ و ﻣﻌﺸﻮق ﮔﺰﻳﺪﻳﻢ ﭼﻪ ﺑﺎك؟‬ ‫ﭼﻮن ﻋﺎﻗﺒﺖ ﻛﺎر ﻫﻤﻴﻦ ﺧﻮاﻫﺪ ﺑﻮد‬

So what if we went after them just now? For that would be the trend in Afterlife! 167

595

168

(273)

(273)

In love we are and dazed and drunken all!

‫ﻣﺎ ﻋﺎﺷﻖ و ﻣﺴﺖ و ﻣﻲ ﭘﺮﺳﺘﻴﻢ ﻫﻤﻪ‬

In tavern’s corner we have shrunken all!

‫در ﻛﻮي ﺧﺮاﺑﺎت ﻧﺸﺴﺘﻴﻢ ﻫﻤﻪ‬

Behind we left the Good and Evil’s Tale,

‫ﺑﮕﺬﺷﺘﻪ ز ﺣﺴﻦ و ﻗﺒﺢ و از وﻫﻢ و ﺧﻴﺎل‬

O ask no sense! For we are sunken all!

‫از ﻣﺎ ﻣﻄﻠﺐ ﻫﻮش ﻛﻪ ﻣﺴﺘﻴﻢ ﻫﻤﻪ‬ (274)

(274)

‫ﺑﺮ ﻋﺎﻟﻢ ﺧﺎك ﺧﺎك ﭘﺎﺷﻴﺪم و رﻓﺖ‬

Alas! The World of Dust I missed and went!

‫ﺻﺪ دﺷﻤﻦ و دوﺳﺖ ﺑﺮﺗﺮاﺷﻴﺪم و رﻓﺖ‬

My foes I killed and friends I kissed, and went!

‫ﺑﺎ ﭼﻮن و ﭼﺮاي ﻓﻠﻜﻢ ﻛﺎري ﻧﻴﺴﺖ‬

I have no business with the why of Wheel, And, Oh! upon my wits I pissed and

602

went!597

‫ﭼﻨﺪاﻧﻜﻪ ﺑﻪ داﻧﺸﻢ ﺑﺸﺎﺷﻴﺪم و رﻓﺖ‬

 

(275)

(275)

‫ﭘﻴﻮﺳﺘﻪ ﺧﺮاﺑﺎت ز رﻧﺪان ﺧﻮش ﺑﺎد‬

O times the tavern be the tippler’s bunk! And blaze befall and raze the zealous monk!

603 604

That cowl be torn to shreds, that Purple Suf598

‫آن دﻟﻖ ﺑﻪ ﺻﺪ ﭘﺎره و آن ﺻﻮف ﻛﺒﻮد‬ ‫ ﺑﺎد‬605‫اﻓﻜﻨﺪه ﺑﻪ زﻳﺮ ﭘﺎي دردي ﻛﺶ‬

Be trampled by the tiddly and the drunk!

  (276) 606

(276)

‫در داﻣﻦ زﻫﺪ زاﻫﺪان آﺗﺶ ﺑﺎد‬

‫ﺑﺮﺧﻴﺰ و ﺑﻴﺎ ﻛﻪ ﭼﻨﮓ در ﭼﻨﮓ زﻧﻴﻢ‬

Let’s tune the lyre and stroke a merry tone!

‫ﻣﻲ ﻧﻮش ﻛﻨﻴﻢ و ﻧﺎم ﺑﺮ ﻧﻨﮓ زﻧﻴﻢ‬

Carouse and leave the name and shame alone!

‫ﺳﺠﺎده ﺑﻪ ﻳﻚ ﭘﻴﺎﻟﻪ ﻣﻲ ﺑﻔﺮوﺷﻴﻢ‬

Barter for just a shot599 the Sajjadeh600,

‫وﻳﻦ ﺷﻴﺸﻪ زﻫﺪ ﺑﺮ ﺳﺮ ﺳﻨﮓ زﻧﻴﻢ‬

And smash the Glass of Patience601 on the stone! 169

170

(277)

(277)

Alert in this Abode of Lie thou must!

‫در ﻋﺎﻟﻢ ﺟﺎن ﺑﻪ ﻫﻮش ﻣﻲ ﺑﺎﻳﺪ ﺑﻮد‬

To stay and live, never to sigh thou must!

‫در ﻛﺎر ﺟﻬﺎن ﺧﻤﻮش ﻣﻲ ﺑﺎﻳﺪ ﺑﻮد‬

To keep the tongue and ear and eye in place, Without the tongue and ear and eye thou must!607

‫ﺗﺎ ﭼﺸﻢ و زﺑﺎن و ﮔﻮش ﺑﺮ ﺟﺎ ﺑﺎﺷﺪ‬ 611

‫ﺑﻲ ﭼﺸﻢ و زﺑﺎن و ﮔﻮش ﻣﻲ ﺑﺎﻳﺪ ﺑﻮد‬ (278)

(278)

‫ﺑﺎ اﻳﻦ دو ﺳﻪ ﻧﺎدان ﻛﻪ ﺟﻬﺎن داراﻧﻨﺪ‬

Now with these tyrant fools that roar and bawl,

‫در ﺟﻬﻞ ﻛﻪ داﻧﺎي ﺟﻬﺎن اﻳﺸﺎﻧﻨﺪ‬

And crave to make the folks their timeless thrall, Go make your peace; for gooses as they are, Whoe’er is not a goose they Godless

call!608

‫ ﺑﻪ ﻣﺜﻞ‬612‫ﺗﺎب آر ﻛﻪ از ﺧﺮي اﻳﺸﺎن‬ 613

‫ﻫﺮ ﻛﺎو ﻧﻪ ﺧﺮ اﺳﺖ ﻛﺎﻓﺮش ﻣﻲ ﺧﻮاﻧﻨﺪ‬ (279)

(279)

‫در راه ﭼﻨﺎن رو ﻛﻪ ﻣﻼﻣﺖ ﻧﻜﻨﻨﺪ‬

Now roam the road that foes could not arraign!

‫ﺑﺎ ﺧﻠﻖ ﭼﻨﺎن زي ﻛﻪ ﻗﻴﺎﻣﺖ ﻧﻜﻨﻨﺪ‬

And keep at bay the people’s boon and bane!

‫در ﻣﺴﺠﺪ اﮔﺮ روي ﭼﻨﺎن رو ﻛﻪ ﺗﻮ را‬ 614

Should thou to Masjed go, behave as such

‫در ﭘﻴﺶ ﻧﺨﻮاﻫﻨﺪ و اﻣﺎﻣﺖ ﻧﻜﻨﻨﺪ‬

That folks refrain from thee and thou abstain!609 (280) ‫دﺳﺖ ﭼﻮ ﻣﻨﻲ ﻛﻪ ﺟﺎم و ﺳﺎﻏﺮ ﮔﻴﺮد‬

(280) My hand that must the cup and goblet hold,

‫ﺣﻴﻒ اﺳﺖ ﻛﻪ آن دﻓﺘﺮ و ﻣﺤﻀﺮ ﮔﻴﺮد‬ ‫ﺗﻮ زاﻫﺪ ﺧﺸﻜﻲ و ﻣﻨﻢ ﻓﺎﺳﻖ ﺗﺮ‬

Pity it should the Book and Pulpit hold!

‫آﺗﺶ ﻧﺸﻨﻴﺪه اي ﻛﻪ در ﺗﺮ ﮔﻴﺮد‬

You blaze with zeal and I am coolly still: How could your fire my head-to-toe-wet hold610?! 171

172

(281)

(281)

My heart can’t tell apart caress from claw:

‫دل ﻓﺮق ﻧﻤﻲ ﻛﻨﺪ ﻫﻤﻲ داﻧﻪ ز دام‬

One way to bowl inclines and else to Law!

‫راﻫﻲ اش ﺑﻪ ﻣﺴﺠﺪ اﺳﺖ و راﻫﻲ اش ﺑﻪ ﺟﺎم‬

Yet leave me by my pot and pair to paw615:

‫ﺑﺎ اﻳﻦ ﻫﻤﻪ ﻣﺎ و ﻣﻲ و ﻣﻌﺸﻮق ﻣﺪام‬

To tope when ripe is best to pray when raw!

‫در ﻣﻴﻜﺪه ﭘﺨﺘﻪ ﺑﻪ ﻛﻪ در ﺻﻮﻣﻌﻪ ﺧﺎم‬ (282)

(282)

‫ ﺧﺎن و ﺗﺎج ﻛﻲ ﺑﻔﺮوﺷﻴﻢ‬621‫ﻣﺎ اﻓﺴﺮ‬

We vend the crest of khan and crown of king!

‫دﺳﺘﺎر ﻗﺼﺐ ﺑﻪ ﺑﺎﻧﮓ ﻧﻲ ﺑﻔﺮوﺷﻴﻢ‬

The turban pay for our poor pipers’ sing!

‫ﺗﺴﺒﻴﺢ ﻛﻪ ﭘﻴﻚ ﻟﺸﻜﺮ ﺗﺰوﻳﺮ اﺳﺖ‬

Tasbih616 which is the Noose of Knight of Cant617, At once we flog for one half-flagon

622

fling!618

‫در آن ﺑﻪ ﻳﻚ ﭘﻴﺎﻟﻪ ﻣﻲ ﺑﻔﺮوﺷﻴﻢ‬ (283)

(283)

‫ﻣﻦ ﻣﻲ ﺧﻮرم و ﻣﺨﺎﻟﻔﺎن از ﭼﭗ و راﺳﺖ‬

I drink and foes begin their nagging nod

623

And say: “The fiendish vine thy faith hath trod!”

‫ﮔﻮﻳﻨﺪ ﻣﺨﻮر ز رز ﻛﻪ دﻳﻦ را اﻋﺪاﺳﺖ‬

Now since I know it ranks against the Faith,

‫ﭼﻮن داﻧﺴﺘﻢ ﻛﻪ رز ﻋﺪوي دﻳﻦ اﺳﺖ‬ 624

‫ﺑﺎﷲ ﺑﺨﻮرم ﺧﻮن ﻋﺪو را ﻛﻪ رواﺳﺖ‬   (284)

I’ll drink the Blood of Vine for zeal of God!619

  ‫اي ﺧﻮاﺟﻪ ﻳﻜﻲ ﻛﺎم روا ﻛﻦ ﻣﺎ را‬

(284)

‫دم درﻛﺶ و در ﻛﺎر ﺧﺪا ﻛﻦ ﻣﺎ را‬

O Leader Chaste! Just once with us agree!

‫ﻣﺎ راﺳﺖ روﻳﻢ و ﻟﻴﻚ ﺗﻮ ﻛﺞ ﺑﻴﻨﻲ‬

Be fair and lift against us your decree:

625

What we do right you just regard as wrong! Go heal your eyes, for God! and leave us be!620 173

174

‫رو ﭼﺎره دﻳﺪه ﻛﻦ رﻫﺎ ﻛﻦ ﻣﺎ را‬

(285)

(285)

We saner are, O strictest Jud626! than you!

‫اي ﺻﺎﺣﺐ ﻓﺘﻮي ز ﺗﻮ ﺑﻴﺪارﺗﺮﻳﻢ‬

With all the fill yet leave the flood to you!

‫ﺑﺎ اﻳﻦ ﻫﻤﻪ ﻣﺴﺘﻲ ز ﺗﻮ ﻫﺸﻴﺎرﺗﺮﻳﻢ‬

We shed the gore of vines and you of veins:

‫ ﺧﻮرﻳﻢ و ﺗﻮ ﺧﻮن ﻛﺴﺎن‬631‫ﻣﺎ ﺧﻮن رزان‬

Now are we keener on the blood or you?!

‫ ﻛﺪام ﺧﻮن ﺧﻮارﺗﺮﻳﻢ؟‬:‫اﻧﺼﺎف ﺑﺪه‬ (286)

(286)

‫ﮔﺮ ﻣﻲ ﻧﺨﻮري ﻃﻌﻨﻪ ﻣﺰن ﻣﺴﺘﺎن را‬

If drink you not, do not the drunk deprave627! Put forward no deception, hoax, and rave! Do not go vain that you deal not in wine: To what you knead poor wine is just a knave!

‫ را‬632‫ﺑﻨﻴﺎد ﻣﻜﻦ ﺗﻮ ﺣﻴﻠﻪ و دﺳﺘﺎن‬ ‫ ﺑﺪان ﻣﺸﻮ ﻛﻪ ﻣﻲ ﻣﻲ ﻧﺨﻮري‬633‫ﺗﻮ ﻏﺮه‬ ‫ﺳﺪ ﻟﻘﻤﻪ ﺧﻮري ﻛﻪ ﻣﻲ ﻏﻼم اﺳﺖ آن را‬ (287)

(287)

‫ﺳﺎﻗﻲ دل ﻣﻦ ز دﺳﺖ اﮔﺮ ﺧﻮاﻫﺪ رﻓﺖ‬

Saqi! If this my heart is on the booze, A sea it is! How seas their rising lose628?! Sufi629 who’s like the wispy vessel stuffed,

‫ﺑﺤﺮ اﺳﺖ! ﻛﺠﺎ ز ﺧﻮد ﺑﻪ در ﺧﻮاﻫﺪ رﻓﺖ؟‬ ‫ﺻﻮﻓﻲ ﻛﻪ ﭼﻮ ﻇﺮف ﺗﻨﮓ از ﺧﻮﻳﺶ ﭘﺮ اﺳﺖ‬ ‫ﻳﻚ ﺟﺮﻋﻪ اﮔﺮ دﻫﻲ ﺑﻪ ﺳﺮ ﺧﻮاﻫﺪ رﻓﺖ‬

A sip you give and see at once he’ll ooze! (288) ‫ ﻫﺴﺘﻢ‬،‫ﻣﺴﺘﻢ‬

(288)

‫ﻫﺮ ﻃﺎﻳﻔﻪ اي ﺑﻪ ﻣﻦ ﮔﻤﺎﻧﻲ دارد‬ 636

Each sect denounces me for some conceit; O leave me be! For I am what I am!630 175

‫ﮔﺮ ﻣﻦ ز ﻣﻲ و ﻣﻐﺎﻧﻪ‬

‫ ﻫﺴﺘﻢ‬،‫ و ﺑﺖ ﭘﺮﺳﺘﻢ‬635‫ﮔﺮ ﻛﺎﻓﺮ و ﮔﺒﺮ‬

If hot I am with lute and pot, I am! If heathen, infidel’s my lot, I am!

634

176

‫ ﻫﺮآﻧﭽﻪ ﻫﺴﺘﻢ ﻫﺴﺘﻢ‬،‫ﻣﻦ زآن ﺧﻮدم‬

(289)

(289)

The grape that tastes so tart in winter-day,

‫در ﺑﺎغ ﭼﻮ ﺑﺪ ﻏﻮره ﺗﺮش اول دي‬

How comes so sweet in March, and sour in May?!

‫ﺷﻴﺮﻳﻦ ز ﭼﻪ ﮔﺸﺖ و ﺗﻠﺦ ﭼﻮن آﻣﺪ ﻣﻲ؟‬ 641

You rule: “Thou shalt not make of reeds the pipe!” 642

O what of Land that makes in bundles Ney?!637

‫ ﮔﻮ ﻧﺴﺎزﻳﺪ رﺑﺎب‬640‫از ﭼﻮب ﻧﺒﻴﺬ‬

‫وز ﺑﻴﺸﻪ ﭼﻪ ﮔﻮﻳﻲ ﻛﻪ ﻫﻤﻲ روﻳﺪ ﻧﻲ؟‬ (290)

(290)

‫ﭼﺮﺧﻲ ﻛﻪ ﺑﻪ ﻗﺪرت ﺳﺮ و رو ﻣﻲ ﺳﺎزد‬

As God for Man his legs and hands secured,

‫ﻫﻢ اوﺳﺖ ﻛﻪ ﻛﺎر ﻃﻌﻢ و ﺑﻮ ﻣﻲ ﺳﺎزد‬

The same for wine the smell and taste insured!

‫ﮔﻮﻳﻨﺪ ﻗﺮاﺑﻪ ﮔﺮ ﻣﺴﻠﻤﺎن ﻧﺒﻮد‬

You say: “the gourd-vendors are Godless ghouls!” O what you say of God who made the

‫او را ﺗﻮ ﭼﻪ ﮔﻮﻳﻲ ﻛﻪ ﻛﺪو ﻣﻲ ﺳﺎزد؟‬

gourd638?!

(291) ‫ ﻧﻬﻨﺪ‬643‫آﻧﻬﺎ ﻛﻪ اﺳﺎس ﻛﺎر ﺑﺮ زرق‬

(291) The cons who found on cant their faulting Law

‫آﻳﻨﺪ ﻣﻴﺎن ﺟﺎن و ﺗﻦ ﻓﺮق ﻧﻬﻨﺪ‬ ‫ ﻣﻲ ﻣﻦ ﭘﺲ از اﻳﻦ‬644‫ﺑﺮ ﻓﺮق ﻧﻬﻢ ﺧﺮوس‬

Between the flesh and soul a parting draw!

‫ﮔﺮ ﻫﻤﭽﻮ ﺧﺮوﺳﻢ اره ﺑﺮ ﻓﺮق ﻧﻬﻨﺪ‬

Now be the crock upon my head should they Alike the cock put on my parting saw!639

(292) ‫در ﻣﺠﻠﺲ دﻫﺮ ﺳﺎز ﻫﺴﺘﻲ ﭘﺴﺖ اﺳﺖ‬

(292)

645

In Feast of Fools but fools are all abused! The Pan, the Pipe, the Piper all accused! The rascals all have bade farewell to wine,

‫ﻧﻪ ﭼﻨﮓ و ﻧﻪ ﻧﺎي و ﻧﻪ دﻟﻢ در دﺳﺖ اﺳﺖ‬ ‫رﻧﺪان ﻫﻤﻪ ﺗﺮك ﻣﻲ ﭘﺮﺳﺘﻲ ﻛﺮدﻧﺪ‬

647

‫ ﺷﻬﺮ ﻛﻪ داﺋﻢ ﻣﺴﺖ اﺳﺖ‬646‫ﺟﺰ ﻣﺤﺘﺴﺐ‬

Except the Reeve of Town who’s always boozed! 177

178

(293)

(293)

There flies a Bull in skies, his name Parvin648;

‫ﮔﺎوي اﺳﺖ ﺑﺮ آﺳﻤﺎن و ﻧﺎﻣﺶ ﭘﺮوﻳﻦ‬

Another one dawdles below terrene649;

653

Open your Eye of Sense and eye the scene:

‫ﭼﺸﻢ ﺧﺮدت ﮔﺸﺎي ﭼﻮن اﻫﻞ ﻳﻘﻴﻦ‬

A bunch of asses loiter in between!

‫ﻳﻚ ﮔﺎو دﮔﺮ ﻧﻬﻔﺘﻪ در زﻳﺮ زﻣﻴﻦ‬ ‫زﻳﺮ و زﺑﺮ دو ﮔﺎو ﻣﺸﺘﻲ ﺧﺮ ﺑﻴﻦ‬ (294)

(294)

‫ ﻣﺴﺘﻲ‬:‫ﺷﻴﺨﻲ ﺑﻪ زﻧﻲ ﻓﺎﺣﺸﻪ ﮔﻔﺘﺎ‬

A mullah told a moll: “Oh! You are high!

‫ﻫﺮ ﻟﺤﻈﻪ ﺑﻪ وﻫﻢ دﻳﮕﺮي دل ﺑﺴﺘﻲ‬

With every sinful sniff you slink awry!”

‫ﮔﻔﺘﺎ ﺷﻴﺨﺎ ﻫﺮآﻧﭽﻪ ﮔﻮﻳﻲ ﻫﺴﺘﻢ‬

Replied: “I sure am what you say I am;

‫اﻣﺎ ﺗﻮ ﭼﻨﺎن ﻛﻪ ﻣﻲ ﻧﻤﺎﻳﻲ ﻫﺴﺘﻲ؟‬

But are yourself as pure as you imply?!”

(295) (295)

‫ﻧﺎزم ﺑﻪ ﺧﺮاﺑﺎت ﻛﻪ ﺳﺨﺘﺶ ﺳﻬﻞ اﺳﺖ‬

Long live taverns and your delighting boules650!

‫ﭼﻮن ﻧﻴﻚ ﻧﻈﺮ ﻛﻨﻲ ﺑﺪش ﻫﻢ اﻫﻞ اﺳﺖ‬ ‫از ﻣﺪرﺳﻪ ﺑﺮﻧﺨﻮاﺳﺖ ﻳﻚ اﻫﻞ دﻟﻲ‬

Indeed your groggy gulpers are no ghouls! The school produced no don to match your men;

654

‫وﻳﺮان ﺷﻮد اﻳﻦ ﺧﺮاﺑﻪ داراﻟﺠﻬﻞ اﺳﺖ‬

To hell with it! It is the House of Fools!651

(296) ‫ ﻛﺮدﻳﻢ‬655‫ﻣﺎ ﺧﺮﻗﻪ زﻫﺪ در ﺳﺮ ﺧﻢ‬

(296)

‫وز ﺧﺎك ﺧﺮاﺑﺎت ﺗﻴﻤﻢ ﻛﺮدﻳﻢ‬

The Cowl of Zeal we made the Cap of Pot! And washed our faces with the Tavern’s Shot!

‫ﺑﺎﺷﺪ ﻛﻪ در اﻳﻦ ﻣﻲ ﻛﺪه ﻫﺎ درﻳﺎﺑﻴﻢ‬ 656

Be it that we around the tavern find The truth that we in years of school forgot!652 179

180

‫آن ﻋﻤﺮ ﻛﻪ در ﻣﺪرﺳﻪ ﻫﺎ ﮔﻢ ﻛﺮدﻳﻢ‬

(297)

(297)

To leave the Hall of Downs and Ups657: it’s best!

‫از درس ﻋﻠﻮم ﺟﻤﻠﻪ ﺑﮕﺮﻳﺰي ﺑﻪ‬

And snatch the locks of saucy pups: it’s best!

‫واﻧﺪر ﺳﺮ زﻟﻒ دﻟﺒﺮ آوﻳﺰي ﺑﻪ‬

Before the bloody Welkin sheds your blood,

‫زان ﭘﻴﺶ ﻛﻪ روزﮔﺎر ﺧﻮﻧﺖ رﻳﺰد‬

You shed the blood of pots in cups: it’s best!

‫ﺗﻮ ﺧﻮن ﭘﻴﺎﻟﻪ در ﻗﺪح رﻳﺰي ﺑﻪ‬   (298)

(298)

‫ﻃﺒﻌﻢ ﺑﻪ ﻧﻤﺎز و روزه ﭼﻮن ﻣﺎﻳﻞ ﺷﺪ‬

As soon my heart by Chant and Fast was lulled,

‫ﮔﻔﺘﻢ ﻛﻪ ﻧﺠﺎت ﻛﻠﻲ ام ﺣﺎﺻﻞ ﺷﺪ‬

I said: “Thank God! My faith to safety sculled658!” Alas! That Chant of mine a break-wind broke! And, Oh! my Fast a half-sipped swallow

‫ ﺑﺎدي ﺑﺸﻜﺴﺖ‬،‫اﻓﺴﻮس ﻛﻪ آن ﻧﻤﺎز‬  

666

nulled!659

‫وآن روزه ﺑﻪ ﻧﻴﻢ ﺟﺮﻋﻪ اي ﺑﺎﻃﻞ ﺷﺪ‬ (299)

(299)

‫ ﻧﻪ رواﺳﺖ‬،‫ﮔﻮﻳﻨﺪ ﺑﻪ ﺷﻌﺒﺎن ﺗﻮ ﻣﺨﻮر ﻣﻲ‬

They ban the drink in the month of Sha’ban;

‫ﻧﻪ ﻧﻴﺰ رﺟﺐ ﻛﻪ آن ﻣﻪ ﺧﺎص ﺧﺪاﺳﺖ‬

The same Rajab, which is for God’s Élan660. Sha’ban, Rajab, for God and his Rasul661:

‫ﺷﻌﺒﺎن و رﺟﺐ ﻣﺎه ﺧﺪا اﻧﺪ و رﺳﻮل‬ 667

‫ن ﺧﺎﺻﻪ ﻣﺎﺳﺖ‬Ĥ‫ﻣﺎ ﻣﻲ رﻣﻀﺎن ﺧﻮرﻳﻢ ﻛ‬

We’ll drink in our good month of Ramezan!662

(300) ‫ﻣﺎه رﻣﻀﺎن ﭼﻨﺎﻧﻜﻪ اﻣﺴﺎل آﻣﺪ‬

(300)

‫ ﺑﻨﺪ ﮔﺮان ﺣﺎل آﻣﺪ‬،‫ﺑﺮ ﭘﺎي ﺧﺮد‬

As Ramezan once more this fall has come,

‫اي ﺑﺎرﺧﺪاي ﺧﻠﻖ را ﻏﺎﻓﻞ ﺳﺎز‬

To Sense’s663 Feet a Heavy Haul664 has come!

‫ﭼﻨﺪاﻧﻜﻪ ﮔﻤﺎن ﻛﻨﻨﺪ ﺷﻮال آﻣﺪ‬

O Lord! Divert the mind of foolish folks So that they fancy good Shavval665 has come! 181

182

(301)

(301)

In Ramezan you saw me broke my fast;

‫ﻣﻦ در رﻣﻀﺎن روزه اﮔﺮ ﻣﻲ ﺧﻮردم‬

Mistake it not! I missed it! I’m steadfast!

‫ﺗﺎ ﻇﻦ ﻧﺒﺮي! ﻛﻪ ﺑﻲ ﺧﺒﺮ ﻣﻲ ﺧﻮردم‬

The tax of fast had made my day as night,

‫از ﻣﺤﻨﺖ روزه روز ﻣﻦ ﭼﻮن ﺷﺐ ﺑﻮد‬ ‫ ﻣﻲ ﺧﻮردم‬671‫ﭘﻨﺪاﺷﺘﻪ ﺑﻮدم ﻛﻪ ﺳﺤﺮ‬

Therefore I thought I was having break-fast!

(302)

(302)

‫ﻣﻦ ﺑﺎده ﺑﻪ ﺟﺰ ﺗﻠﺨﻪ و دﻳﺮﻳﻦ ﻧﺨﻮرم‬

No drink but by the sod for me to drink!

‫واﻧﺪر ﻣﻪ روزه ﺟﺰ ﺑﻪ آدﻳﻦ ﻧﺨﻮرم‬

When fast, the last day odd668 for me to drink!

‫اﻧﮕﻮر ﺣﻼل ﺧﻮﻳﺶ در ﺧﻢ ﻛﺮدم‬

My grape was sweet when laid inside the cask;

‫ﮔﻮ ﺗﻠﺦ ﻣﻜﻦ ﺧﺪاي ﺗﺎ اﻳﻦ ﻧﺨﻮرم‬

Tell sour it not, O God! for me to drink!

(303) (303)

‫ﮔﻮﻳﻨﺪ ﻛﻪ ﻣﺎه رﻣﻀﺎن ﮔﺸﺖ ﭘﺪﻳﺪ‬

They say: “The Month of Fast has come! Godspeed!

‫ﻣﻦ ﺑﻌﺪ ﺑﻪ ﮔﺮد ﺑﺎده ﻧﺘﻮان ﮔﺮدﻳﺪ‬

Henceforth are banned the cursed wine and mead!”

‫در آﺧﺮ ﺷﻌﺒﺎن ﺑﺨﻮرم ﭼﻨﺪان ﻣﻲ‬

Thus on Sha’ban’s669 last day I would carouse

‫ﻛﺎﻧﺪر رﻣﻀﺎن ﻣﺴﺖ ﺑﻴﻔﺘﻢ ﺗﺎ ﻋﻴﺪ‬

That I would hibernate till comes the Eid670! (304) ‫ﺗﺎ ﭼﻨﺪ اﺳﻴﺮ رﻧﮓ و ﺑﻮ ﺧﻮاﻫﻲ ﺷﺪ‬

(304) How long to hanker for the nod and wink?!

‫ﭼﻨﺪ از ﭘﻲ ﻫﺮ زﺷﺖ و ﻧﻜﻮ ﺧﻮاﻫﻲ ﺷﺪ‬ ‫ﮔﺮ ﭼﺸﻤﻪ زﻣﺰﻣﻲ و ﮔﺮ آب ﺣﻴﺎت‬

How long to dote upon the white and pink?!

‫آﺧﺮ ﺑﻪ دل ﺧﺎك ﻓﺮو ﺧﻮاﻫﻲ ﺷﺪ‬

The Heaven’s Well thou be or Fount of Life, Thou must at last beneath the boulder sink! 183

184

(305)

(305)

When lines the count’nance of your darling pitched,

‫آن ﺧﻂ ﻛﻪ ز روي ﻳﺎر ﺑﺮﺧﻮاﺳﺘﻪ ﺷﺪ‬

Beware lest you assume his charm is ditched:

‫ﺗﺎ ﻇﻦ ﻧﺒﺮي ﻛﻪ ﺣﺴﻦ او ﻛﺎﺳﺘﻪ ﺷﺪ‬

For your delight in his Face’s Parterre

‫در ﺑﺎغ رﺧﺶ ﺑﻬﺮ ﺗﻤﺎﺷﺎﮔﻪ ﺟﺎن‬ 675‫ﺷﺪ‬

There perched the bloom, the border it enriched!672

‫ﮔﻞ ﺑﻮد ﺑﻪ ﺳﺒﺰه ﻧﻴﺰ آراﺳﺘﻪ‬ (306)

(306) If sane thou art, do not for passion slave!

‫ﮔﺮ ﺑﺎ ﺧﺮدي ﺗﻮ ﺣﺮص را ﺑﻨﺪه ﻣﺸﻮ‬

Thy mind do not to hunger make a knave!

‫در ﭘﺎي ﻃﻤﻊ ﺧﺎم و ﺳﺮاﻓﻜﻨﺪه ﻣﺸﻮ‬ ‫ﭼﻮن آﺗﺶ ﺗﻴﺰ ﺑﺎش و ﭼﻮن آب روان‬

Be sharp as fire, and be as water smooth,

‫ﭼﻮن ﺧﺎك ﺑﻪ ﻫﺮ ﺑﺎد ﭘﺮاﻛﻨﺪه ﻣﺸﻮ‬

As earth do not with every weather673 rave!

(307)

(307)

‫زآن ﭘﻴﺶ ﻛﻪ ﺑﺮ ﺳﺮت ﺷﺒﻴﺨﻮن آرﻧﺪ‬

Ere they your height to lowly earth reduce,

‫ﻓﺮﻣﺎي ﻛﻪ ﺗﺎ ﺑﺎده ﮔﻠﮕﻮن آرﻧﺪ‬

Rejoice yourself and call for Crimson Juice!

‫ﺗﻮ زر ﻧﻪ اي اي ﻏﺎﻓﻞ ﻧﺎدان ﻛﻪ ﺗﻮ را‬

You gold are not, O careless goose! that they

‫در ﺧﺎك ﻧﻬﻨﺪ و ﺑﺎز ﺑﻴﺮون آرﻧﺪ‬

Should hide in earth and once again produce! (308) ‫ﮔﻔﺘﻢ ﻛﻪ دﮔﺮ ﺑﺎده ﮔﻠﮕﻮن ﻧﺨﻮرم‬

(308) I said: “This wine once more I’ll never sink!

‫ دﮔﺮ ﺧﻮن ﻧﺨﻮرم‬،‫ﻣﻲ ﺧﻮن رزان اﺳﺖ‬ ‫ﭘﻴﺮ ﺧﺮدم ﮔﻔﺖ ﺑﻪ ﺟﺪ ﻣﻲ ﮔﻮﻳﻲ؟‬

It is the blood of vines though it looks pink!” My mentor asked: “Are you in earnest? Sure?”

676‫ﭼﻮن ﻧﺨﻮرم؟‬

I said: “Come on! How could I leave the drink!”674 185

186

،‫ﮔﻔﺘﻢ ﻛﻪ ﻣﺰاح ﻣﻲ ﻛﻨﻢ‬

(309) The Eid is come to burnish us with bliss, As the brow of the bride! Saqi would bring the wine that renders vis677,

(309) ‫ﺳﺎﻗﻲ ﻣﻲ ﻧﺎب در ﺳﺒﻮ ﺧﻮاﻫﺪ ﻛﺮد‬ 682

‫ﭼﻮن ﭼﺸﻢ ﺧﺮوس‬

‫ﭼﻮن روي ﻋﺮوس‬

‫ﻋﻴﺪ از ﺳﺮ اﻳﻦ ﺧﺮان ﻓﺮو ﺧﻮاﻫﺪ‬

So rich and rooster-eyed678! The Noose of Namaz679 and Reins of Ruzeh680 –

‫ﻋﻴﺪ آﻣﺪ و ﻛﺎر ﻣﺎ ﻧﻜﻮ ﺧﻮاﻫﺪ ﻛﺮد‬

‫اﻓﺴﺎر ﻧﻤﺎز و ﭘﻮزه ﺑﻨﺪ روزه‬ ‫ﻛﺮد‬

683

‫اﻓﺴﻮس اﻓﺴﻮس‬

‫ﻳﻚ ﺑﺎر دﮔﺮ‬

Now just another time – Good Eid would of the dunces’ pates dismiss! Alas! O woe betide!681                

187

188

Notes: 1

                                                                                                                                                                                                  

From here onwards to the middle of this collection come the Songs which I called Expressive. 2 Most of the first half of the Songs in this collection are the oldest among those attributed to Xayyam by the 13th and 14th century sources, this one being the first recorded Song ever to have been attributed to him, and that by the mystic Faxr Razi, virtually a century after Xayyam’s death (it is to be mentioned that only one extant version of Razi’s book attributes this Song to Xayyam, and another version attributes it to Amr Ebn Hesam!). In this Song, the Moods stand for the so-called four humors (sanguine, melancholic, choleric, phlegmatic) and their corresponding four natural elements (fire, water, wind, dust) which were known in the course of ancient and medieval philosophy and (Galenic) medical practice as the molders of the universe and of man. If a proper balance amongst these humors could have been achieved, the person would have behaved and lived properly, otherwise he would have inclined toward the dominant humor. As Abrahamian suggests by quoting Lambton, incidentally it seems that the traditional system of rule in Iran must have also been based upon such a kind of quadripartite pattern: “It came from ancient Zoroastrian and Greek thought via the Persian genre of “mirror for princes” literature. This literature divided the population into four classes, each representing the four basic elements in nature as well as the four “humors” in the human body. “Men of the pen” represented air; “men of the sword,” warriors, represented fire; “men of trade,” merchants and tradesmen, represented water; and “men of husbandry,” the peasantry, represented earth. The prince was depicted as a doctor whose main duty was to preserve a healthy balance between the four humors in the human body. In fact, “justice” meant the preservation of a healthy balance (Ervand Abrahamian, A History of Modern Iran, 9-10)”. And indeed it proves to be one of the many significances of the Songs to demonstrate the extreme instability of all such ‘balances’ by exposing first the fleeting nature of the elements that go into their making and then the unreson of the very ‘doctor’ who is purportedly supposed to keep them in place. Ironically, it is this saliently recurrent elemental and humor-bound imagery, standing in sharp contrast to the commonly-held and officially-imposed varieties of metaphysical belief in the land, which has functioned as one of the principal taboos that has constantly pushed the bulk of the Songs toward the adoption of the status of a rather underground phenomenon in the

189

collective consciousness of the Iranian people both before and after the mass introduction of the Songs to them in modern times. Interestingly, elemental imagery was also abundant in the English poetry of the 16th and 17th centuries which demonstrates some kind of a resemblance in the poetic conceptualization of the world by the poets of the two nations in specific eras. For example see Shakespeare’s sonnets 44 (If the dull substance of my flesh were thought) and 45 (The other two, slight air and purging fire) :‫ ﭼﻨﺎﻧﻜﻪ ﺣﺎﻓﻆ ﻫﻢ ﻣﻲ ﮔﻮﻳﺪ‬،‫ آﻓﺘﺎب ﻃﻠﻮع ﻛﺮد و ﻫﺮﭼﻪ در دﻧﻴﺎ ﻫﺴﺖ ﻗﺎﺑﻞ ﻣﺸﺎﻫﺪه ﺷﺪ‬3 ‫ﺑﻨﻤﺎﻳﺪ رخ ﮔﻴﺘﻲ ﺑﻪ ﻫﺰاران اﻧﻮاع‬

‫ﺑﺮﻛﺸﺪ آﻳﻨﻪ از ﺟﻴﺐ اﻓﻖ ﭼﺮخ و در آن‬

‫ اﻣﺎ ﺑﺮﺧﻲ ﻧﻜﺎت ﻣﻬﻢ ﻣﻘﺪﻣﻪ و ﺗﺮﺟﻤﻪ‬،‫ ﺑﻪ دﻻﻳﻠﻲ ﺗﺮﺟﻴﺢ دادم ﺑﺮاي اﻳﻦ ﻛﺘﺎب ﻣﻘﺪﻣﻪ ﻓﺎرﺳﻲ ﻧﻨﻮﻳﺴﻢ‬4 ‫اﻧﮕﻠﻴﺴﻲ را ﻛﻪ ﺑﻪ ﻓﺎرﺳﻲ زﺑﺎﻧﺎن ﺑﺮاي درك ﺑﻬﺘﺮ روﻳﻜﺮد اﻳﻦ ﻛﺘﺎب ﻣﻮﺛﺮ ﺧﻮاﻫﺪ ﺑﻮد ﺑﻪ ﺻﻮرﺗﻲ ﺑﺴﻴﺎر ﻣﻮﺟﺰ‬ ‫ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ اﻳﻦ ﺣﻘﻴﻘﺖ ﻛﻪ ﺗﺤﻘﻴﻖ و ﺗﻔﺤﺼﻲ ﻛﻪ ﻣﻨﺠﺮ ﺑﻪ ﺷﻜﻞ‬.‫در اﻳﻦ ﻳﺎدداﺷﺖ و ﺑﺎﻗﻲ ﻳﺎدداﺷﺘﻬﺎ ﻣﻲ آورم‬ ‫ﮔﻴﺮي اﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺷﺪه ﺗﺎ ﺑﻪ اﻣﺮوز ﻛﻪ ﻛﺘﺎب ﺣﺎﺿﺮ ﺑﻪ ﻃﺒﻊ ﻣﻲ رﺳﺪ ﻧﺰدﻳﻚ ﺑﻪ ﭼﻬﺎر ﺳﺎل از ﻋﻤﺮ ﻧﮕﺎرﻧﺪه‬ ‫را ﺑﻪ ﺧﻮد اﺧﺘﺼﺎص داده و اﻟﺒﺘﻪ ﻫﻤﭽﻨﺎن اداﻣﻪ دارد و ﻛﺘﺎب ﻣﻔﺼﻠﻲ ﻛﻪ ﺣﺎﺻﻞ اﻳﻦ ﺗﺤﻘﻴﻖ اﺳﺖ در آﻳﻨﺪه ﺑﻪ‬ ‫ در اﻳﻨﺠﺎ ﻓﻘﻂ ﺑﻪ ﻗﺼﺪ ﻣﻌﺎرﻓﻪ ﻣﻮﺿﻮع ﺧﻄﻮﻃﻲ ﻣﻲ ﻧﻮﻳﺴﻢ ﺗﺎ ﺧﻮاﻧﻨﺪﮔﺎن ﺑﺪاﻧﻨﺪ ﻛﻪ ﻛﺘﺎب‬،‫ﻃﺒﻊ ﺧﻮاﻫﺪ رﺳﻴﺪ‬ ،‫ﺣﺎﺿﺮ ﻓﻘﻂ وﻳﺮاﻳﺸﻲ ﻣﺠﺪد از ﻫﺮآﻧﭽﻪ ﻛﻪ ﺗﺎ ﺑﻪ ﺣﺎل ﻋﻤﻮﻣﺎ در ))داﻧﺸﮕﺎه(( و ))ﺑﺎزار(( ﻣﻮﺟﻮد ﺑﻮده ﻧﻴﺴﺖ‬ ‫ﺑﻠﻜﻪ ﺣﺎﺻﻞ ﺗﺤﻘﻴﻘﻲ ﭼﻨﺪ ﻻﻳﻪ اﺳﺖ ﻛﻪ ﺑﺎ روﻳﻜﺮدي اﻧﺘﻘﺎدي و ﭘﻮﻳﺎ ﺑﻪ ﭘﺪﻳﺪه اي ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮد ﺑﻪ ﻧﺎم‬ ‫ ﺑﺎز ﻫﻢ اﺻﺮار دارم ﻛﻪ ﮔﺮﭼﻪ ﭼﻨﺪ ﺧﻄﻲ ﻛﻪ در ﭘﻲ ﻣﻲ آﻳﺪ ﻫﺮﮔﺰ ﺣﻖ ﻣﻄﻠﺐ را ادا ﻧﻤﻲ‬.‫))ﺗﺮاﻧﻪ(( ﻣﻲ ﭘﺮدازد‬ ‫ اﻣﺎ ﻣﺮاﺟﻌﻪ ﺑﻪ ﻳﺎدداﺷﺘﻬﺎي دﻳﮕﺮ اﻳﻦ ﻛﺘﺎب ﻛﻪ ﻫﺮﻛﺪام ﺧﻮد ﻧﻴﻤﻪ ﻣﻘﺎﻟﻪ اي ﻫﺴﺘﻨﺪ – ﺗﺎ زﻣﺎﻧﻲ ﻛﻪ آن‬،‫ﻛﻨﺪ‬ ‫ﻛﺘﺎب ﻣﻮرد ﺑﺤﺚ ﺑﻪ ﻃﺒﻊ ﺑﺮﺳﺪ – ﺗﺼﺎوﻳﺮي ﭘﺮاﻛﻨﺪه از روﻳﻜﺮد ﻛﻠﻲ اﻳﻦ ﻧﻮﻳﺴﻨﺪه ﺑﻪ ﻣﻘﻮﻟﻪ ﺗﺮاﻧﻪ ﻫﺎ را ﻣﻘﺎﺑﻞ‬ .‫ﺧﻮاﻧﻨﺪه ﻗﺮار ﺧﻮاﻫﺪ داد‬ ‫ اﻣﺎ اﺳﻨﺎد و ﻣﺪارك ﺑﺴﻴﺎر ﻗﻠﻴﻞ و رواﻳﺖ‬،‫ﺧﻴﺎم ﺷﺎﻳﺪ ﻣﻌﺮوف ﺗﺮﻳﻦ ))ﺷﺎﻋﺮ(( اﻳﺮاﻧﻲ در ﺧﺎرج از ﻛﺸﻮر ﺑﺎﺷﺪ‬ ‫ﮔﻮﻧﻪ ﺗﺎرﻳﺨﻲ ﻛﻪ از زﻧﺪﮔﻲ وي در دﺳﺖ اﺳﺖ ﭼﻨﻴﻦ ﻣﻲ ﻧﻤﺎﻳﻨﺪ ﻛﻪ وي در دوران ﺣﻴﺎت ﺧﻮد و ﺣﺘﻲ ﺗﺎ‬ ‫ و آﻧﭽﻪ ﻛﻪ ﺑﻪ ﺧﻴﺎم ﺷﺎﻋﺮ ﻣﻌﺮوف ﺷﺪه‬،‫ﻣﺪﺗﻲ ﻃﻮﻻﻧﻲ ﭘﺲ از ﻣﺮﮔﺶ ﺑﺎ ﺷﻌﺮ و ﺷﺎﻋﺮي ﻫﻴﭻ ارﺗﺒﺎﻃﻲ ﻧﺪاﺷﺘﻪ‬ ‫در ﺣﻘﻴﻘﺖ ﭘﺪﻳﺪه اي ﺑﺮﺳﺎﺧﺘﻪ ﻣﻨﺎﺑﻊ ﻣﺘﺎﺧﺮ ﺗﺎرﻳﺨﻲ اﺳﺖ ﻛﻪ در روزﮔﺎر ﻣﺪرن اﺑﺘﺪا در ﺧﺎرج و ﺳﭙﺲ در‬ ‫ و اﻟﺒﺘﻪ اﻗﺘﺼﺎدي ﻣﻮرد ﺗﺎﻛﻴﺪ ﻗﺮار ﮔﺮﻓﺘﻪ و ﺧﻴﺎم‬،‫ ﺳﻴﺎﺳﻲ‬،‫ اﺟﺘﻤﺎﻋﻲ‬،‫داﺧﻞ ﺑﻪ ﻫﻮاي ﺑﺮﺧﻲ ﻣﻼﺣﻈﺎت ﻓﺮﻫﻨﮕﻲ‬ ‫ اﻣﺎ روﻳﻜﺮد اﻳﻦ ﻛﺘﺎب ﺑﻪ ﺧﻴﺎم و ﺗﺮاﻧﻪ ﻫﺎي ﻣﻨﺘﺴﺐ ﺑﻪ او ﭼﻨﻴﻦ ﺧﻮاﻫﺪ ﺑﻮد ﻛﻪ‬.‫اﻣﺮوز را ﺗﺤﻮﻳﻞ ﻣﺎ داده اﺳﺖ‬ ‫ﺑﻪ آن روي ﺳﻜﻪ ))ﻗﻀﻴﻪ ﺧﻴﺎم(( ﻛﻪ از ﻗﻀﺎ ﺑﺎ وﺟﻮد ﻣﻨﻄﻘﻲ ﺗﺮ ﺑﻮدن ﻛﻤﺘﺮ ﻣﻮرد ﺗﻮﺟﻪ ﻗﺮار ﮔﺮﻓﺘﻪ و ﺑﻪ دﻻﻳﻞ‬ ‫ ﻛﻪ ﺑﻪ ﻃﻮر ﻋﻤﺪه ﺗﻤﺮﻛﺰ ﺗﺤﻘﻴﻖ ﺑﺮ روي اﻳﻦ ﻗﻀﻴﻪ را ﺑﻪ‬،‫ﻣﺨﺘﻠﻒ ﺣﺘﻲ ﺑﻴﺎن آن ﺑﺎرﻫﺎ ﺳﺮﻛﻮب ﺷﺪه ﻣﻲ ﭘﺮدازد‬

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‫ﻫﺮ ﺗﺮاﻧﻪ و ﻟﺤﻦ ﺑﻴﺎن آن )ﻣﺴﺎﻟﻪ اي ﻛﻪ ﻫﻴﭻ ﮔﺎه در ﮔﺮدآوري و ﺑﻪ ﻫﻤﭽﻨﻴﻦ در ﺗﺮﺟﻤﻪ ﺗﺮاﻧﻪ ﻫﺎ ﻣﻮرد ﺗﻮﺟﻪ و‬

‫ﻣﺴﻴﺮي دﻳﮕﺮ ﻣﻲ اﻧﺪازد و اﻳﻦ ﺣﻘﻴﻘﺖ را ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻲ ﮔﺬارد ﻛﻪ ﺟﺪاي از اﻳﻦ ﻣﺴﺎﻟﻪ ﻛﻪ ﭼﻪ ﻛﺴﻲ آﻧﻬﺎ را‬

‫رﻋﺎﻳﺖ ﻗﺮار ﻧﮕﺮﻓﺘﻪ( ﺑﻪ ﭼﻬﺎر دﺳﺘﻪ ﺗﻘﺴﻴﻢ ﺷﺪه اﻧﺪ ﻛﻪ اﻟﺒﺘﻪ اﻳﻦ ﺗﻘﺴﻴﻢ ﺑﻨﺪي ﻣﺴﻠﻤﺎ ﻣﻄﺎﺑﻖ ﺑﺮداﺷﺖ ﻧﮕﺎرﻧﺪه از‬

‫ﺳﺮوده )در اﻳﻦ ﻛﺘﺎب اﻧﺘﺴﺎب ﻫﺮ ﺗﺮاﻧﻪ ﺑﻪ ﺷﺎﻋﺮان دﻳﮕﺮ را ﻧﻴﺰ ﻣﺸﺨﺺ ﻛﺮده ام(‪ ،‬ﺗﺮاﻧﻪ ﻫﺎ ﺑﻪ ﻧﻔﺴﻪ داراي‬

‫ﻣﺤﺘﻮاي آﻧﻬﺎ ﺑﻮده و ﻫﺮﮔﺰ ﺣﺮف آﺧﺮ ﻧﻤﻲ ﺑﺎﺷﺪ‪ ،‬ﺑﻪ ﻃﻮري ﻛﻪ ﺗﺮاﻧﻪ اي ﻛﻪ ﺑﺎ در ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﻋﻮاﻣﻠﻲ در اﻳﻦ‬

‫اﻫﻤﻴﺖ ﭼﻨﺪﻻﻳﻪ و ﭘﻮﻳﺎﻳﻲ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮد در ﺣﻮزه ﻓﺮﻫﻨﮓ و ادﺑﻴﺎت اﻳﺮاﻧﻲ ﻣﻲ ﺑﺎﺷﻨﺪ ﻛﻪ ﭘﺮداﺧﺘﻦ ﺑﻪ آﻧﻬﺎ ﺑﻪ‬

‫ﮔﺮوه ﻗﺮار ﮔﺮﻓﺘﻪ ﺑﻪ اﺣﺘﻤﺎل زﻳﺎد ﻣﻲ ﺗﻮاﻧﺪ ﺑﺎ در ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﻋﻮاﻣﻞ دﻳﮕﺮ در ﮔﺮوﻫﻲ دﻳﮕﺮ ﻗﺮار ﺑﮕﻴﺮد‪ ،‬و‬

‫ﭘﻴﺸﺒﺮد ﻣﻌﺮﻓﺖ ﺷﻨﺎﺳﻲ ﻓﺮﻫﻨﮕﻲ و اﺟﺘﻤﺎﻋﻲ در اﻳﺮان و اﻟﺒﺘﻪ در ﺧﺎرج از اﻳﺮان ﻛﻤﻚ ﺷﺎﻳﺎﻧﻲ ﺧﻮاﻫﺪ ﻛﺮد‪.‬‬

‫ﻗﺲ ﻋﻠﻲ ﻫﺬا‪ .‬اﻳﻦ ﭼﻬﺎر دﺳﺘﻪ ﺗﺮاﻧﻪ )‪ (1‬ﺑﻴﺎﻧﻲ‪ (2) ،‬ﻋﺮﻓﺎﻧﻲ‪ (3) ،‬ﺷﺮاﺑﻲ‪ ،‬و )‪ (4‬اﻧﺘﻘﺎدي ﺧﻮاﻫﻨﺪ ﺑﻮد ﻛﻪ ﻫﺮ‬

‫در اﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺑﻪ ﺟﺎي اﻳﻨﻜﻪ ﺑﺮ اﺳﺎس ﺣﺪس و ﮔﻤﺎﻧﻬﺎي ﺳﻠﻴﻘﻪ اي و ﺑﻲ اﺳﺎس دﻏﺪﻏﻪ ﺧﻮد را ﺑﻪ اﻣﺮ‬

‫ﻛﺪام در ﺟﺎي ﺧﻮد ﺑﻪ اﺧﺘﺼﺎر ﺗﻮﺿﻴﺢ داده ﺧﻮاﻫﻨﺪ ﺷﺪ‪.‬‬

‫ﺑﻴﻬﻮده ﻛﺎﻧﻮن ﺳﺎزي و اﻧﺘﺴﺎب ﺑﻲ ﺣﺴﺎب و ﻛﺘﺎب ﺗﺮاﻧﻪ ﻫﺎ ﺑﻪ ﺧﻴﺎم ﻗﺮار دﻫﻢ‪ ،‬ﻗﺼﺪم ﺑﺮ اﻳﻦ ﺑﻮده ﺗﺎ ﺑﻪ اراﺋﻪ‬

‫از اﻳﻨﺠﺎ ﺗﺎ ﻧﻴﻤﻪ ﻫﺎي ﻛﺘﺎب را ﺗﺮاﻧﻪ ﻫﺎي ﺻﺮﻓﺎ ﺣﺴﻲ و ﺑﻴﺎﻧﻲ )اﻛﺴﭙﺮﺳﻴﻮ( ﺑﻪ ﺧﻮد اﺧﺘﺼﺎص ﻣﻲ دﻫﻨﺪ‪ .‬دﻏﺪﻏﻪ‬

‫ﻣﺸﺖ ﻧﻤﻮﻧﻪ ﺧﺮواري اﻧﺘﻘﺎدي از ﺣﺠﻢ ﻋﻈﻴﻢ ﭘﺪﻳﺪه اي ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮد ﺑﻪ ﻧﺎم ))ﺗﺮاﻧﻪ(( – ﺗﺮﺟﻴﺢ ﻣﻲ دﻫﻢ در‬

‫اﺻﻠﻲ اﻛﺜﺮ اﻳﻦ ﻗﺒﻴﻞ ﺗﺮاﻧﻪ ﻫﺎ ﻣﺴﺎﻟﻪ ﺗﻘﺪﻳﺮ و ﻓﻨﺎﭘﺬﻳﺮي اﺳﺖ ﻛﻪ ﺑﻪ اﺻﻄﻼح ﻏﺮﺑﻲ ﻫﺎ ﺑﻴﺎﻧﮕﺮ درد‬

‫ﺟﺎﻳﻲ ﻛﻪ ))ﺗﺮاﻧﻪ(( ﻫﻢ ﻫﺴﺖ ))رﺑﺎﻋﻲ(( ﻧﮕﻮﻳﻢ – ﺑﭙﺮدازم و ﺧﻮاﻧﺸﻲ – و ﺑﻠﻜﻪ ﺧﻮاﻧﺶ ﻫﺎﻳﻲ – دﻳﮕﺮ از آن‬

‫اﮔﺰﻳﺴﺘﺎﻧﺴﻴﺎﻟﻴﺴﺘﻲ ﺑﺸﺮ )ﻧﻪ ﻟﺰوﻣﺎ ﺑﻪ ﻋﻨﻮان ﺗﺰي ﻣﻜﺘﺒﻲ‪ ،‬ﺑﻠﻜﻪ ﺑﻪ ﻣﻌﻨﺎﻳﻲ ﮔﺴﺘﺮده ﺗﺮ( ﻣﻲ ﺑﺎﺷﻨﺪ‪ .‬ﻧﻜﺘﻪ ﻣﻨﺤﺼﺮ ﺑﻪ‬

‫ﻛﻪ ﺗﺎ ﺑﻪ اﻣﺮوز از ﻧﻈﺮ ﻣﺮدم و ﻛﺎرﺷﻨﺎﺳﺎن در ﺳﺮﺗﺎﺳﺮ دﻧﻴﺎ ﭘﻨﻬﺎن ﻣﺎﻧﺪه و ﻳﺎ ﺷﺎﻳﺪ ﻧﺎدﻳﺪه ﮔﺮﻓﺘﻪ ﺷﺪه را ﭘﻴﺶ‬

‫ﻓﺮد درﺑﺎره اﻳﻦ ﺗﺮاﻧﻪ ﻫﺎ اﻳﻦ اﺳﺖ ﻛﻪ ﮔﺮﭼﻪ ادﺑﻴﺎت اﮔﺰﻳﺴﺘﺎﻧﺴﻴﺎﻟﻴﺴﺘﻲ از زﻣﺎﻧﻲ ﺑﺴﻴﺎر دور ﻣﻮرد ﺗﻮﺟﻪ ﺑﺸﺮ‬

‫روي ﻣﺨﺎﻃﺐ ﺑﮕﺬارم‪ .‬ﺑﺪﻳﻬﻲ اﺳﺖ ﻛﻪ ﭘﺮداﺧﺘﻦ ﺑﻪ ﭼﻨﻴﻦ ﺣﺠﻢ ﺑﺰرﮔﻲ از اﻃﻼﻋﺎت و دﺳﺖ ﺑﻪ ﮔﺮﻳﺒﺎن ﺷﺪن‬

‫ﺑﻮده )ﺑﺮاي ﻣﺜﺎل ﻧﮕﺎه ﻛﻨﻴﺪ ﺑﻪ ﮔﻴﻠﮕﻤﺶ ﺑﺎﺑﻠﻲ‪ ،‬اﻳﻠﻴﺎد ﻳﻮﻧﺎﻧﻲ‪ ،‬و ﻣﺸﻬﻮرﺗﺮﻳﻦ اﭘﻴﺰودﻫﺎي ﺗﺮاژﻳﻚ ﺷﺎﻫﻨﺎﻣﻪ‬

‫ﺑﺎ روﻳﻜﺮدﻫﺎي ﻣﺨﺘﻠﻒ درﺑﺎره ﺗﺮاﻧﻪ ﻫﺎ در ﻧﻬﺎﻳﺖ و در ﻫﻨﮕﺎم ﻧﺘﻴﺠﻪ ﮔﻴﺮي از ﻣﺠﻤﻮﻋﻪ اﻳﻦ ﻋﻮاﻣﻞ ﻧﻤﻲ ﺗﻮاﻧﺪ‬

‫ﻓﺮدوﺳﻲ ﻛﻪ اﺗﻔﺎﻗﺎ ﻣﻮﺗﻴﻔﻬﺎ‪ ،‬دروﻧﻤﺎﻳﻪ ﻫﺎ‪ ،‬و ﻟﺤﻦ ﺑﻴﺎﻧﻲ ﻧﺰدﻳﻜﻲ را ﺑﺎ ﺑﺴﻴﺎري از ﺗﺮاﻧﻪ ﻫﺎ ﺑﻪ اﺷﺘﺮاك دارد( اﻣﺎ‬

‫ﺧﺎﻟﻲ از ﺧﻄﺎ ﻳﺎ اﺷﻜﺎل ﺑﺎﺷﺪ‪ ،‬ﻟﺬا ﻫﻤﻴﻨﺠﺎ از ﺧﻮاﻧﻨﺪﮔﺎن آﮔﺎه اﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺧﻮاﻫﺶ ﻣﻲ ﻛﻨﻢ ﻛﻪ در ﺻﻮرت‬

‫ﻃﺮز ﺗﻔﻜﺮ اﮔﺰﻳﺴﺘﺎﻧﺴﻴﺎﻟﻴﺴﺘﻲ ﻫﺮﮔﺰ ﺑﺎ ﭼﻨﻴﻦ اﻳﺠﺎز ﻣﻮﺳﻴﻘﺎﻳﻲ و ﻣﺨﻴﻠﻲ ﻛﻪ ﻣﺸﺨﺼﻪ ﺗﺮاﻧﻪ ﻫﺎ ﻣﻲ ﺑﺎﺷﺪ ﺑﻴﺎن‬

‫ﺑﺮﺧﻮرد ﺑﺎ ﻫﺮﮔﻮﻧﻪ ﺧﻄﺎ ﻳﺎ اﺷﻜﺎل اﺣﺘﻤﺎﻟﻲ ﻧﮕﺎرﻧﺪه را در ﺟﺮﻳﺎن ﻗﺮار داده و ﺑﻪ اﺻﻼح ﻛﺎر در ﭼﺎﭘﻬﺎي ﺑﻌﺪي‬

‫ﻧﺸﺪه‪ ،‬و ﻫﻤﻴﻦ اﻣﺘﻴﺎز ﺑﻮد ﻛﻪ در درﺟﻪ اول ﻏﺮﺑﻴﺎن و ﺑﻪ ﺧﺼﻮص اﻧﮕﻠﻴﺴﻲ زﺑﺎﻧﺎن را ﻛﻪ ﺧﻮد ﻫﻤﻠﺖ – ﻛﻬﻦ‬

‫ﻛﻤﻚ ﻛﻨﻨﺪ‪.‬‬

‫اﻟﮕﻮي ﻣﺪرن درد اﮔﺰﻳﺴﺘﺎﻧﺴﻴﺎﻟﻴﺴﺘﻲ در ﻏﺮب – را دارﻧﺪ ﻣﺘﻮﺟﻪ و ﻋﻼﻗﻤﻨﺪ ﺗﺮاﻧﻪ ﻫﺎ ﻧﻤﻮد ﻛﻪ ﺑﻪ ﻧﻮﺑﻪ ﺧﻮد‬

‫ﭘﻴﺶ از اﻳﻨﻜﻪ اﻳﻦ ﮔﻔﺘﺎر را اداﻣﻪ دﻫﻢ ﺑﺎﻳﺪ اﻳﻦ ﻧﻜﺘﻪ را روﺷﻦ ﻛﻨﻢ ﻛﻪ در اﻳﻦ ﻣﺠﻤﻮﻋﻪ و اﺻﻮﻻ در ﺗﻤﺎم‬

‫ﺑﺎﻋﺚ ﺟﻠﺐ ﺗﻮﺟﻪ ﺧﻮد اﻳﺮاﻧﻴﺎن ﺑﻪ ﺗﺮاﻧﻪ ﻫﺎ ﮔﺮدﻳﺪ‪ .‬ﺑﻪ ﻣﺜﻞ ﻣﻨﺎﻗﺸﻪ ﻧﻴﺴﺖ‪ ،‬وﻟﻲ ﻗﻀﻴﻪ ﺗﺮاﻧﻪ ﻫﺎ ﻫﻢ زﺑﺎﻧﻢ ﻻل ﻣﺜﻞ‬

‫ﺗﺤﻘﻴﻘﺎﺗﻲ ﻛﻪ اﻳﻨﺠﺎﻧﺐ درﺑﺎره ژاﻧﺮ ﺗﺮاﻧﻪ ﻣﻨﺘﺸﺮ ﺧﻮاﻫﻢ ﻛﺮد‪ ،‬اﺻﻄﻼح ))ﺗﺮاﻧﻪ(( ﻟﺰوﻣﺎ ﻫﺮ ﺗﺮاﻧﻪ اي ﻧﻴﺴﺖ‪ ،‬زﻳﺮا‬

‫ﻗﻀﻴﻪ ﻫﻤﺎن ))ﺑﻮق اﺳﺘﺎدﻳﻮم(( ﺧﻮدﻣﺎن اﺳﺖ ﻛﻪ ﺗﺎ ﻣﻠﺒﺲ ﺑﻪ ﻟﺒﺎس ﺳﺒﺰ و ﺳﻴﺎه و ﺑﻪ ﻧﺎم ))ووووزﻻ(( از ﺟﺎم‬

‫ﻛﻪ در ﻗﺎﻟﺐ ﭼﻬﺎر ﺧﻄﻲ ﻣﺼﺮع )و ﺑﻴﺸﺘﺮ ﻣﻮاﻗﻊ ﺗﻨﻬﺎ ﺑﺎ ﺳﻪ ﻗﺎﻓﻴﻪ( ﻛﻪ ﺑﻪ اﺻﻄﻼح ﺑﻪ وزن ))ﻻ ﺣﻮل وﻻ ﻗﻮه اﻻ‬

‫ﺟﻬﺎﻧﻲ آﻓﺮﻳﻘﺎي ﺟﻨﻮﺑﻲ ﺳﺮ درﻧﻴﺎورد و ﺑﻪ ﻓﺮﻣﻮده ﻳﻜﻲ از ﮔﺰارﺷﮕﺮان وﻃﻨﻲ وارد ))ﻓﺮﻫﻨﮓ ﺟﻬﺎﻧﻲ(( ﻧﺸﺪ و‬

‫ﺑﺎﷲ(( ﺳﺮوده ﺷﺪه ﺑﺴﻴﺎري اﺷﻌﺎر ﻣﺘﻘﺪم و ﻣﺘﺎﺧﺮ ﺑﺎ ﻣﻀﺎﻣﻴﻦ ﻣﺘﻔﺎوت و ﺑﺎ دﻏﺪﻏﻪ ﻫﺎي ﻣﺨﺘﻠﻒ وﺟﻮد دارد ﻛﻪ‬

‫در ﻓﺮﻧﮕﺴﺘﺎن ﻛﻠﻲ ﺗﺸﺮﻳﺢ و ﺗﻔﺴﻴﺮ ﺑﺮ آن ﻧﻮﺷﺘﻪ ﻧﺸﺪ ﻛﺴﻲ در داﺧﻞ آن را ﺑﻪ ﭼﻴﺰي ﻧﻤﻲ ﮔﺮﻓﺖ‪ ،‬و ﺑﻌﺪ از آن‬

‫ﻣﻨﻈﻮر ﻧﻈﺮ ﻧﮕﺎرﻧﺪه ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ آن دﺳﺘﻪ از ﺗﺮاﻧﻪ ﻫﺎﻳﻲ ﻛﻪ ﺑﻪ ﻗﻮل واﻟﻨﺘﻴﻦ ژوﻛﻮﻓﺴﻜﻲ روﺳﻲ‬

‫ﻳﻚ ﺷﺒﻪ ره ﺻﺪ ﺳﺎﻟﻪ ﭘﻴﻤﻮد و ﺑﻪ ﭘﺪﻳﺪه اي ))ﻋﻈﻴﻢ(( ﺗﺒﺪﻳﻞ ﺷﺪ؛ و اﺻﻮﻻ ﺑﺮاي ﻣﺎ اﻳﺮاﻧﻲ ﻫﺎ ﻣﺮغ ﻫﻤﺴﺎﻳﻪ‬

‫))ﺳﺮﮔﺮدان((اﻧﺪ و ﺳﺮاﻳﻨﺪه ﻗﻄﻌﻲ ﻣﺸﺨﺼﻲ ﺑﺮاي آﻧﻬﺎ ﺷﻨﺎﺧﺘﻪ ﻧﺸﺪه و ﺑﻪ اﺻﻄﻼح ))ﻓﺮزﻧﺪان ﺳﺮ راﻫﻲ ادﺑﻴﺎت‬

‫ﺑﺪﺟﻮري ﻏﺎز اﺳﺖ! ﺑﮕﺬرﻳﻢ‪.‬‬

‫ﻓﺎرﺳﻲ(( ﻫﺴﺘﻨﺪ ﻣﻮرد ﻧﻈﺮ ﻧﮕﺎرﻧﺪه ﻣﻲ ﺑﺎﺷﻨﺪ‪.‬‬

‫ﺑﺴﺎﻣﺪ ﻧﺴﺒﺘﺎ ﺑﺎﻻي اﻓﻌﺎل اﺳﺘﺎﺗﻴﻚ ﻫﻤﭽﻮن اﻧﺪﻳﺸﻴﺪن‪ ،‬ﻧﺸﺴﺘﻦ‪ ،‬ﺧﻮاﺑﻴﺪن و ﻏﻴﺮه در ﺣﻮزه اﻳﻦ دﺳﺘﻪ از ﺗﺮاﻧﻪ ﻫﺎ‬

‫در ﮔﺮدآوري ﺗﺮاﻧﻪ ﻫﺎي اﻳﻦ ﻣﺠﻤﻮﻋﻪ‪ ،‬ﻧﻪ ﺗﻨﻬﺎ ﻧﺴﺨﻪ ﻫﺎي ﺧﻄﻲ ﻣﺸﻬﻮر و ﻧﻪ ﭼﻨﺪان ﻣﺸﻬﻮر ﺗﺮاﻧﻪ ﻫﺎ در ﺳﺮاﺳﺮ‬

‫ﺣﺲ ﺳﻜﻮن را در آﻧﻬﺎ ﺑﻪ ﺷﺪت ﺑﺎﻻ ﻣﻲ ﺑﺮد ﻛﻪ ﻋﻠﻲ رﻗﻢ ﻣﺤﺘﻮاي ﻋﻤﻮﻣﺎ ﺗﺮاژﻳﻜﺸﺎن ﻣﺎﻳﻪ ﻫﺎﻳﻲ از ﺳﻨﮕﻴﻨﻲ‬

‫دﻧﻴﺎ و ﻫﻤﭽﻨﻴﻦ ﺗﺮﺟﻤﻪ ﻫﺎي ﺑﺮﺧﻲ از آﻧﻬﺎ ﺑﻪ زﺑﺎﻧﻬﺎي ﺧﺎرﺟﻲ ﺗﺎ آﻧﺠﺎ ﻛﻪ اﻣﻜﺎن داﺷﺖ ﻣﻮرد ﻣﻄﺎﻟﻌﻪ ﻗﺮار‬

‫ﺧﺮدﻣﻨﺪاﻧﻪ را در آﻧﻬﺎ اﻟﻘﺎ ﻣﻲ ﻛﻨﺪ؛ و اﻳﻦ ﺗﻔﺎوت ﻋﻤﺪه ﺗﺮاﻧﻪ ﻫﺎ و ﺑﺴﻴﺎري دﻳﮕﺮ از اﺷﻌﺎر ﻛﻼﺳﻴﻚ ﻓﺎرﺳﻲ ﺑﺎ‬

‫ﮔﺮﻓﺘﻨﺪ‪ ،‬ﺑﻠﻜﻪ وﻳﺮاﻳﺶ ﻫﺎي ﻣﻌﺮوف داﺧﻠﻲ و ﺧﺎرﺟﻲ و ﻧﺴﺨﻪ ﻫﺎي ﺑﺎزاري ﻗﺪﻳﻤﻲ و ﺟﺪﻳﺪ ﮔﻤﻨﺎم و ﺑﻪ‬

‫ادﺑﻴﺎت ﻣﺪرن اﮔﺰﻳﺴﺘﺎﻧﺴﻴﺎﻟﻴﺴﺘﻲ ﻫﻤﭽﻮن ﺷﻌﺮ ﻓﺮوغ ﻓﺮﺧﺰاد و ﻧﺜﺮ ﺻﺎدق ﻫﺪاﻳﺖ اﺳﺖ ﻛﻪ در ﺟﺎﻳﻲ ﻛﻪ‬

‫ﻫﻤﭽﻨﻴﻦ ﻣﺠﻤﻮﻋﻪ ﻫﺎ و ﻳﺎداﺷﺘﻬﺎي ﺷﺨﺼﻲ دوﺳﺘﺎن ﻋﻼﻗﻤﻨﺪ ﻧﻴﺰ ﻛﻪ ﻫﻤﻪ و ﻫﻤﻪ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ روﻳﻜﺮد ﭘﻠﻮراﻟﻴﺴﺘﻲ‬

‫دﻏﺪﻏﻪ ﻫﺮ دو ﻳﻚ ﭼﻴﺰ و آن ﻫﻢ ﺟﺒﺮ و ﺗﻘﺪﻳﺮ اﺳﺖ‪ ،‬ﻳﻜﻲ از ﻣﻮﺿﻌﻲ ﺳﻨﮕﻴﻦ و ﺑﺎ ذﻫﻨﻴﺘﻲ ﻣﺮداﻧﻪ )ﻣﺴﻜﻴﻮﻟﻴﻦ(‬

‫اﻳﻦ ﻛﺘﺎب داراي اﻫﻤﻴﺖ ﺧﺎص ﺧﻮد ﻣﻲ ﺑﺎﺷﻨﺪ ﻣﻮرد ارﺟﺎع ﻗﺮار ﮔﺮﻓﺘﻪ اﻧﺪ‪ .‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ اﻳﻦ ﺣﻘﻴﻘﺖ ﻛﻪ ﻃﺒﻘﻪ‬

‫ﺑﻴﺎن ﺷﺪه و دﻳﮕﺮي از ﻣﻮﺿﻌﻲ ﻣﺸﻮش و زﻧﺎﻧﻪ )ﻓﻤﻴﻨﻴﻦ(‪ ،‬ﻛﻪ ﺑﺎز ﺑﻪ ﻫﻤﺎن ﻓﺎﻛﺘﻮر ))ﻟﺤﻦ ﺑﻴﺎن(( ﺑﺮﻣﻲ ﮔﺮدد ﻛﻪ‬

‫ﺑﻨﺪي ﺗﺮاﻧﻪ ﻫﺎ از ﻟﺤﺎظ زﻣﺎﻧﻲ اﻣﺮي ﺗﻘﺮﻳﺒﺎ ﻏﻴﺮﻣﻤﻜﻦ اﺳﺖ و اﻣﻜﺎن دارد ﺗﺮاﻧﻪ اي ﺑﺎ ﻣﺸﺨﺼﺎت ﺳﺒﻜﻲ ﻣﻌﻤﻮل‬

‫در اداﻣﻪ ﺗﻮﺿﻴﺢ داده ﺧﻮاﻫﺪ ﺷﺪ‪.‬‬

‫ﻳﻚ دوره در اﺻﻞ ﻣﺮﺑﻮط ﺑﻪ دوره اي دﻳﮕﺮ ﺑﺎﺷﺪ‪ ،‬ﺗﺮاﻧﻪ ﻫﺎ ﺑﺮ اﺳﺎس دﻏﺪﻏﻪ ﻛﻠﻲ و ﻣﻮﺗﻴﻔﻬﺎي ﺑﻴﺎن ﺷﺪه در‬

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‫))ﻓﺮﻳﺎد((ﻫﺎي ﻣﻌﺮوف ﻛﺮدﻧﺪ(‪ ،‬ﻛﻪ ﻣﺸﻬﻮر ﺗﺮﻳﻦ ﻧﻤﻮﻧﻪ آﻟﻮدﮔﻲ ﻳﺎ ﻣﺴﺦ ﺗﺼﻮﻳﺮ در ﺗﺎرﻳﺦ ﺷﻌﺮ ﻓﺎرﺳﻲ ﻫﻤﺎﻧﺎ‬

‫ﻟﺤﻦ ﻳﺎ ﻫﻤﺎن ))ﺗﻮن(( ﻛﻪ از ﻣﻬﻤﺘﺮﻳﻦ ﻫﺎي ﻧﻜﺘﻪ ﻫﺎي ﺗﺎﺛﻴﺮﮔﺬار در ﺧﻮاﻧﺶ ﺑﺴﻴﺎري از ﺗﺮاﻧﻪ ﻫﺎ ﻣﻲ ﺑﺎﺷﺪ در‬

‫اﺳﺘﺤﺎﻟﻪ ﺗﺼﻮﻳﺮ ﺷﺮاب ﺗﻮﺳﻂ اﻫﻞ ﻋﺮﻓﺎن ﻣﻲ ﺑﺎﺷﺪ‪.‬‬

‫ﺣﻘﻴﻘﺖ ﻟﺤﻦ ))ﻏﻨﺎﻳﻲ ‪-‬ﺣﻤﺎﺳﻲ(( اﺳﺖ و ﻧﻪ ﻏﻨﺎﻳﻲ ﻟﻄﻴﻒ از ﺟﻨﺲ ﻏﺰل ﺳﻌﺪي و ﺣﺎﻓﻆ‪ .‬ﻣﺜﻼ ﺗﺼﻮﻳﺮي ﻛﻪ‬

‫ﺣﺎل ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻣﻮﺿﻊ ﺷﻜﺎﻳﺖ آﻣﻴﺰ اﻛﺜﺮ ﺗﺮاﻧﻪ ﻫﺎ ﻧﺒﺎﻳﺪ اﻳﻦ ﺣﻘﻴﻘﺖ را از ﻧﻈﺮ دور داﺷﺖ ﻛﻪ ﺗﺮاﻧﻪ ﻫﺎ در ﻋﻴﻦ‬

‫اﻛﺜﺮ ﺗﺮاﻧﻪ ﻫﺎ ﭘﻴﺶ ﭼﺸﻢ ﺧﻮاﻧﻨﺪه ﻣﺠﺴﻢ ﻣﻲ ﻛﻨﻨﺪ ﻣﺜﻞ زﻣﺎﻧﻲ اﺳﺖ ﻛﻪ رﺳﺘﻢ ﻳﺎ اﺳﻔﻨﺪﻳﺎر ﻳﺎ ﻫﺮﻛﺪام از‬

‫اﻟﮕﻮﺑﺮداري از ﻫﻤﺎن اﭘﻴﺰودﻫﺎي ﻛﺬاﻳﻲ اﻋﺘﺮاض ﺑﻪ ﻛﺎﺋﻨﺎت )ﻛﻪ ﻧﺸﺎﻧﻪ ﺿﻤﻨﻲ اﻋﺘﻘﺎد ﺑﻪ ﻣﺘﺎﻓﻴﺰﻳﻚ ﻣﻲ ﺑﺎﺷﺪ(‬

‫ﻗﻬﺮﻣﺎﻧﺎن ﺣﻤﺎﺳﻲ ﺑﺎده ﻣﻲ ﻧﻮﺷﻨﺪ و ﺑﻪ زﻣﻴﻦ و زﻣﺎن و ﻓﻠﻚ ﺑﺎﺑﺖ رﻧﺠﻲ ﻛﻪ از ﻗﺒﻞ آﻧﻬﺎ ﻣﻲ ﻛﺸﻨﺪ ﮔﻼﻳﻪ ﻣﻲ‬

‫در ﺣﻴﻦ ﻣﻲ ﺧﻮردن‪ ،‬از ﻃﺮف دﻳﮕﺮ ﻣﻀﺤﻜﻪ )ﭘﺎرودي( آﻧﻬﺎ ﻧﻴﺰ ﻣﻲ ﺑﺎﺷﻨﺪ‪ ،‬و ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ در ﻻﻳﻪ ﻫﺎي‬

‫ﻛﻨﻨﺪ‪ ،‬و اﺻﻮﻻ ﺷﻜﺎﻳﺖ ﺑﻪ ﻓﻠﻚ در ﺣﻴﻦ ﻣﻲ ﺧﻮردن ﺑﺨﺸﻲ از ﺳﻨﺖ ﺣﻤﺎﺳﻲ ﺷﻌﺮ ﻓﺎرﺳﻲ اﺳﺖ ﻛﻪ ﺑﺮداﺷﺘﻲ‬

‫زﻳﺮﻳﻦ ﻫﺮ ﺗﺮاﻧﻪ ﺑﻪ ﻃﻮر ﻗﻄﻊ ﺑﺎﻳﺪ ﺑﻪ دﻧﺒﺎل ﻛﻨﺎﻳﻪ اي )ﺑﻪ ﻗﻮل اروﭘﺎﻳﻴﺎن ﻛﺎزﻣﻴﻚ آﻳﺮوﻧﻲ( ﺑﻮد ﻛﻪ ﻻﻳﻪ ﻫﺎي‬

‫از ﻣﺪل ﺷﻌﺮ ﮔﻮﺳﺎﻧﻲ ﭘﺎرﺗﻲ ﻣﻲ ﺑﺎﺷﺪ‪ .‬ﻣﺜﻼ ﺗﻮﺟﻪ ﻛﻨﻴﺪ ﺑﻪ اﻳﻦ اﺑﻴﺎت ﺷﺎﻫﻨﺎﻣﻪ ﻓﺮدوﺳﻲ ﻛﻪ از ﺧﻮان ﺳﻮم )زن‬

‫ﺧﻮاﻧﺶ ﺗﺮاﻧﻪ ﻫﺎ را ﺑﺎز ﻫﻢ ﻏﻨﻲ ﺗﺮ و ﭘﻴﭽﻴﺪه ﺗﺮ ﻣﻲ ﻛﻨﺪ‪ .‬ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ در ﻗﺎﻟﺐ ﭼﻬﺎر ﺧﻄﻲ ﺗﺮاﻧﻪ ﻋﻤﻮﻣﺎ دﻧﻴﺎﻳﻲ‬

‫ﺟﺎدو( ﻫﻔﺘﺨﻮان رﺳﺘﻢ اﻗﺘﺒﺎس ﺷﺪه‪:‬‬

‫اﺣﺴﺎﺳﺎت و روﻳﻜﺮدﻫﺎي ﻣﺘﻔﺎوت و ﺑﻠﻜﻪ ﻣﺘﻨﺎﻗﺾ ﺑﻪ ﻣﺴﺎﺋﻞ ﻫﺴﺘﻲ ﮔﻨﺠﺎﻧﺪه ﺷﺪه ﻛﻪ اﻟﺤﻖ و واﻻﻧﺼﺎف‬

‫ﻧﺸﺴﺖ از ﺑﺮ ﭼﺸﻤﻪ ﻓﺮﺧﻨﺪه ﭘﻲ‬

‫ﻳﻜﻲ ﺟﺎم زر دﻳﺪ ﭘﺮ ﻛﺮده ﻣﻲ‬

‫ﺗﺮﺟﻤﺎن ﻣﻌﺮﻓﺖ ﺷﻨﺎﺳﻲ اﻳﺮاﻧﻴﺎن اﺳﺖ و ﻃﺒﻌﺎت ﻣﺜﺒﺖ و ﻣﻨﻔﻲ ﭼﻨﻴﻦ دﻳﺪ ﺗﻴﺰﻫﻮﺷﺎﻧﻪ و ﻋﻤﻴﻘﻲ ﺑﻪ زﻧﺪﮔﻲ ﻛﻪ‬

‫اﺑﺎ ﻣﻲ ﻳﻜﻲ ﻧﻴﺰ ﻃﻨﺒﻮر ﻳﺎﻓﺖ‬

‫ﺑﻴﺎﺑﺎن ﭼﻨﺎن ﺧﺎﻧﻪ ﺳﻮر ﻳﺎﻓﺖ‬

‫ﺑﺎور ﺳﻔﺖ و ﺳﺨﺖ ﺑﻪ ﻫﺮ ﻋﻘﻴﺪه اي ﺑﺮاي ﻣﺪت ﻃﻮﻻﻧﻲ را از ﻣﻴﺪان ﺑﻪ در ﻣﻲ ﻛﻨﺪ ﺑﺎرﻫﺎ در ﻃﻮل ﺗﺎرﻳﺦ‬

‫ﺗﻬﻤﺘﻦ ﻣﺮ آن را ﺑﻪ ﺑﺮ درﮔﺮﻓﺖ‬

‫ﺑﺰد رود و ﮔﻔﺘﺎرﻫﺎ ﺑﺮﮔﺮﻓﺖ‬

‫اﻳﺮاﻧﻴﺎن ﺧﻮدﻧﻤﺎﻳﻲ ﻛﺮده و ﺑﺎﻋﺚ ﺗﻐﻴﻴﺮ ﭘﻴﺶ ﺑﻴﻨﻲ ﻧﺎﭘﺬﻳﺮ ﻣﺴﻴﺮ ﺗﺎرﻳﺦ ﺷﺪه اﺳﺖ‪ .‬ﺑﻲ ﺟﺎ ﻧﻴﺴﺖ ﻛﻪ آرﺗﻮر‬

‫ﻛﻪ آواره و ﺑﺪﻧﺸﺎن رﺳﺘﻢ اﺳﺖ‬

‫ﻛﻪ از روز ﺷﺎدﻳﺶ ﺑﻬﺮه ﻏﻢ اﺳﺖ‬

‫ﻛﺮﻳﺴﺘﻨﺴﻦ ﺗﺮاﻧﻪ ﻫﺎ را داﺋﺮه اﻟﻤﻌﺎرف ﺷﺎﻋﺮاﻧﻪ زﻧﺪﮔﻲ روﺣﻲ و رواﻧﻲ اﻳﺮاﻧﻴﺎن ﻣﻲ ﻧﺎﻣﺪ‪ ،‬و ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ آﻧﻬﺎ را‬

‫ﻫﻤﻪ ﺟﺎي ﺟﻨﮓ اﺳﺖ ﻣﻴﺪان اوي‬

‫ﺑﻴﺎﺑﺎن و ﻛﻮه اﺳﺖ ﺑﺴﺘﺎن اوي‬

‫ﻣﻬﻢ ﺗﺮﻳﻦ اﺛﺮ ادﺑﻲ ﻛﻪ اﻳﺮاﻧﻴﺎن ﺗﺎ ﺑﻪ اﻣﺮوز ﺑﻪ ﺧﻠﻖ آن ﭘﺮداﺧﺘﻪ اﻧﺪ ﺑﺮﻣﻲ ﺷﻤﺎرد‪ .‬دﺳﺖ ﺑﺮ ﻗﻀﺎ‪ ،‬اﻳﻦ داﺋﺮه‬

‫ﻫﻤﻪ ﺟﻨﮓ ﺑﺎ ﺷﻴﺮ و ﻧﺮ اژدﻫﺎﺳﺖ‬

‫ﻛﺠﺎ اژدﻫﺎ از ﻛﻔﺶ ﻧﺎرﻫﺎﺳﺖ‬

‫اﻟﻤﻌﺎرف ﻓﺮﻫﻨﮕﻲ ﺑﺰرگ ﻛﻪ ﺑﻪ ﺷﻬﺎدت اﺳﻨﺎد و ﺷﻮاﻫﺪ ﺑﺴﻴﺎر رﻳﺸﻪ در ﻓﺮﻫﻨﮓ ﺷﻔﺎﻫﻲ ﺑﻪ دور از ﻧﻈﺎرت‬

‫ﻣﻲ و ﺟﺎم و ﺑﻮﻳﺎ ﮔﻞ و ﻣﻴﮕﺴﺎر‬

‫ﻧﻜﺮدﺳﺖ ﺑﺨﺸﺶ ورا ﻛﺮدﮔﺎر‬

‫رﺳﻤﻲ ﺷﺎه و وزﻳﺮ و ﻣﻔﺘﻲ و ﻣﺤﺘﺴﺐ و ﻗﺎﺿﻲ ﺷﺮع و ‪ ...‬دارد ﻫﻨﮕﺎﻣﻲ ارزش ﻣﻀﺎﻋﻒ ﭘﻴﺪا ﻣﻲ ﻛﻨﺪ ﻛﻪ‬

‫ﻫﻤﻴﺸﻪ ﺑﻪ ﺟﻨﮓ ﻧﻬﻨﮓ اﻧﺪر اﺳﺖ‬

‫ﺑﺪاﻧﻴﻢ ))‪ ...‬ﺷﻌﺮ ﭘﺎرﺳﻲ در ﻫﻤﻪ ادوار‪ ،‬ﺑﻴﺶ و ﻛﻢ ﻣﺴﺘﻘﻴﻢ و ﻏﻴﺮﻣﺴﺘﻘﻴﻢ‪ ،‬ﺷﻌﺮي در ﺧﺪﻣﺖ اﺷﺮاف و در‬

‫و ﻫﻤﻴﻦ اﻣﺮ ﻧﺸﺎن دﻫﻨﺪه اﻳﻦ ﺣﻘﻴﻘﺖ اﺳﺖ ﻛﻪ ﺑﺮداﺷﺖ ﺻﺮﻓﺎ ﺧﻤﺮﻳﻪ اي اي ﻛﻪ ﺑﺎرﻫﺎ از ﺗﺮاﻧﻪ ﻫﺎ ﺷﺪه و ﻣﻲ‬

‫ﺣﻮزه ﻓﻬﻢ و ﺷﻌﻮر و ﻣﻮازﻳﻦ ادراﻛﻲ اﻳﺸﺎن ﺑﻮده و ﺷﻌﺮي ﻛﻪ از ﺧﺼﺎﻳﺺ زﻧﺪﮔﻲ ﺗﻮده ﻣﺮدم ﺑﻬﺮه ﻛﺎﻣﻞ‬

‫ﺷﻮد درﺑﺎره ﺑﺴﻴﺎري از ﺗﺮاﻧﻪ ﻫﺎ ﺻﺪق ﻧﻤﻲ ﻛﻨﺪ‪ ،‬و اﺷﺎره ﺑﻪ ﺷﺮاب در اﻛﺜﺮ ﺗﺮاﻧﻪ ﻫﺎ در ﺣﻘﻴﻘﺖ ﻳﻚ ﻓﺎﻛﺘﻮر‬

‫ﺑﺮده ﺑﺎﺷﺪ‪ ،‬و ﺗﺼﻮﻳﺮ ﺣﻴﺎت ﻣﺮدم ﻋﺎدي در آن ﺟﺮﻳﺎن داﺷﺘﻪ ﺑﺎﺷﺪ ﺑﻪ ﻧﺴﺒﺖ ﺑﺴﻴﺎر ﻛﻢ دارﻳﻢ ‪) ...‬ﻣﺤﻤﺪرﺿﺎ‬

‫ﺳﻨﺘﻲ )ﺑﻪ ﻗﻮل اﻧﮕﻠﻴﺴﻲ ﻫﺎ اﺳﺘﺎك ﺗﺮدﻳﺸﻦ( ﺗﺼﻮﻳﺮي ﺑﺎﺳﺘﺎﻧﻲ در اﻳﻦ ﻗﺒﻴﻞ ﺗﺮاﻧﻪ ﻫﺎﺳﺖ ﻛﻪ ﻻزﻣﻪ ﻓﻨﻲ ژاﻧﺮ آﻧﻬﺎ‬

‫ﺷﻔﻴﻌﻲ ﻛﺪﻛﻨﻲ‪ ،‬ﺻﻮر ﺧﻴﺎل در ﺷﻌﺮ ﻓﺎرﺳﻲ‪(((288 ،‬؛ و ﺗﺮاﻧﻪ ﻫﺎ ﻛﻪ از ﻗﺎﻟﺒﻲ ﮔﺮي ﻋﻤﺪﺗﺎ ﻛﻨﺘﺮل ﺷﺪه ﺑﺴﻴﺎري‬

‫ﻣﻲ ﺑﺎﺷﺪ‪ ،‬و ﮔﺮﭼﻪ ﺷﺮاب اﻛﺜﺮ ﺗﺮاﻧﻪ ﻫﺎ ﺑﺪون ﺷﻚ ﻫﻤﺎن ﻋﺼﺎره اﻧﮕﻮر ﺳﺮخ رﻧﮓ ﻧﻴﻤﻪ ﺗﻠﺦ ﺳﻜﺮآور اﺳﺖ‪،‬‬

‫از اﺷﻌﺎر رﺳﻤﻲ ﺑﻪ دور از ﺣﻘﻴﻘﺖ زﻧﺪﮔﻲ ﻓﺎﺻﻠﻪ اي ﺑﺴﻴﺎر دارﻧﺪ ﺑﻪ راﺳﺘﻲ ﻛﻪ ﻣﻲ ﺗﻮاﻧﻨﺪ در روﺷﻦ ﻧﻤﻮدن‬

‫ﻗﺼﺪ ﺑﻪ ﻫﻴﭻ وﺟﻪ ﺻﺮف ﭘﺮﺳﺘﺶ ﺷﺮاب ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ دﻏﺪﻏﻪ ﻫﺎي ﺟﺪي ﺗﺮي ﻣﻨﻈﻮر ﻧﻈﺮ اﺳﺖ‪ .‬ﻻزم ﺑﻪ ذﻛﺮ‬

‫ﻗﺴﻤﺘﻲ از ﺟﻨﺒﻪ ﻫﺎي ﻣﺨﺘﻠﻒ اﻧﺪﻳﺸﻪ اي و ﻋﻤﻠﻲ ﻣﺮدم اﻳﺮان در ﻃﻲ ﺗﺎرﻳﺦ ﻃﻮﻻﻧﻲ ﺷﺎن ﻛﻪ ﺗﺎ ﺑﻪ ﺣﺎل ﺣﺎﺿﺮ‬

‫اﺳﺖ ﻛﻪ اﻳﻦ ﺳﻨﺖ در ﮔﺬار زﻣﺎن و ﺑﺎ ﭘﻴﺸﺮﻓﺖ ﻣﻌﺮﻓﺖ ﺷﻨﺎﺳﻲ ﺷﻌﺮ ﻓﺎرﺳﻲ ﺑﻪ ﺷﻴﻮه ﻫﺎي ﻣﺘﻔﺎوت ﻧﻪ ﺗﻨﻬﺎ در‬

‫ﻫﻢ اداﻣﻪ داﺷﺘﻪ و وﻗﺎﻳﻊ اﻣﺮوز را رﻗﻢ زده ﻧﻘﺶ ﻗﺎﺑﻞ ﻣﻼﺣﻈﻪ اي اﻳﻔﺎ ﻛﻨﻨﺪ‪.‬‬

‫ﺗﺮاﻧﻪ ﻫﺎي ﻣﺘﺎﺧﺮ )ﻛﻪ ﺑﺎ دﻻﻳﻞ ﺳﺒﻚ ﺷﻨﺎﺳﻲ در ﻫﻤﻴﻦ ﻛﺘﺎب ﺑﻪ آﻧﻬﺎ و اﺣﺘﻤﺎل ﻣﺘﺎﺧﺮ ﺑﻮدﻧﺸﺎن اﺷﺎره ﺧﻮاﻫﺪ‬

‫اﻳﻦ ﺗﺮاﻧﻪ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ اﺑﻮﺳﻌﻴﺪ اﺑﻮاﻟﺨﻴﺮ‪ ،‬ﺳﻌﺪي‪ ،‬ﺷﻴﺦ روزﺑﻬﺎن ﺑﻘﻠﻲ‪ ،‬و ﺷﻴﺦ رﺑﺎﻋﻲ ﻣﺸﻬﺪي ﻣﻲ ﺑﺎﺷﺪ‪.‬‬

‫ﺷﺪ( ﺑﻠﻜﻪ در ﻗﺎﻟﺒﻬﺎ و و در ﺑﻴﺎن ﻣﻮﺿﻮﻋﻬﺎي دﻳﮕﺮي )ﻣﺜﻼ ﻫﻤﺎن ﻣﻲ اﻟﺴﺖ ﻋﺮﻓﺎﻧﻲ ﻣﻌﺮوف!( ﻫﻢ ﺑﻪ ﻛﺎر ﮔﺮﻓﺘﻪ‬

‫‪ 5‬ﻣﺎﻟﻴﺨﻮﻟﻴﺎ‪ ،‬ﺧﻮاب و ﺧﻴﺎل‬

‫ﻣﻲ ﺷﻮد ﻛﻪ اﻳﻨﺠﺎ ﻣﺠﺎل ﺳﺨﻦ ﮔﻔﺘﻦ از آﻧﻬﺎ ﻧﻴﺴﺖ‪ .‬آﻧﭽﻪ ﺑﺎﻳﺪ ﺑﻪ ﺧﺎﻃﺮ ﺳﭙﺮد اﻳﻦ ﺣﻘﻴﻘﺖ اﺳﺖ ﻛﻪ ﺳﻨﺘﻬﺎ و‬

‫‪ 6‬ﻣﺎﻟﻚ‪ ،‬ﺻﺎﺣﺐ ﺗﺪﺑﻴﺮ )ﻛﻨﺎﻳﻪ اﺳﺖ از آﻓﺮﻳﻨﻨﺪه(‬

‫ﺗﺼﺎوﻳﺮ ﺷﻌﺮي – ﻣﺜﻞ ﻫﺮ ﺳﻨﺖ دﻳﮕﺮي – ﺳﺨﺖ ﺟﺎن ﻫﺴﺘﻨﺪ و ﻫﻨﮕﺎﻣﻲ ﻛﻪ در ذﻫﻦ ﻣﺮدم ﺟﺎ اﻓﺘﺎدﻧﺪ و ﺗﺒﺪﻳﻞ‬

‫‪)) 7‬ﻃﺒﺎﻳﻊ(( ﻫﻤﺎن ﭼﻬﺎر ﻃﺒﻊ )دم‪ ،‬ﺳﻮدا‪ ،‬ﺻﻔﺮا‪ ،‬ﺑﻠﻐﻢ( ﻫﺴﺘﻨﺪ ﻛﻪ واﺑﺴﺘﻪ ﺑﻪ ﭼﻬﺎر ﻋﻨﺼﺮ ﻃﺒﻴﻌﻲ )آﺗﺶ‪ ،‬آب‪،‬‬

‫ﺑﻪ ﻋﺎدت ﺷﺪﻧﺪ ﺑﻪ ﺳﺨﺘﻲ ﻣﻲ ﺗﻮان از ﺳﻴﻄﺮه ﻧﻔﻮذ آﻧﻬﺎ ﺧﻼص ﺷﺪ‪ ،‬ﻟﺬا ﺑﻬﺘﺮﻳﻦ و ﻛﺎرﺑﺮدي ﺗﺮﻳﻦ روش ﺑﺮاي‬

‫ﺑﺎد‪ ،‬ﺧﺎك( ﻣﻲ ﺑﺎﺷﻨﺪ و در ﻃﺐ و ﻓﻠﺴﻔﻪ ﻗﺪﻳﻢ ﺑﻪ ﻋﻨﻮان ﻋﻨﺎﺻﺮ ﺳﺎزﻧﺪه ﺟﻬﺎن و اﻧﺴﺎن ﺑﺴﻴﺎر ﻣﻮرد ﺗﻮﺟﻪ‬

‫ﺑﻲ اﺛﺮ ﻛﺮدن اﻳﻦ ﺗﺼﺎوﻳﺮ ))ﺗﺴﺨﻴﺮ ﻛﺮدن(( آﻧﻬﺎ اﺳﺖ‪ ،‬ﻛﻪ ﺑﻪ ﻣﻌﻨﺎي اﺳﺘﻔﺎده از ﻫﻤﺎن ﺳﻨﺘﻬﺎ و ﺗﺼﺎوﻳﺮ در ﺑﻴﺎن‬

‫وﮔﺮ ﺑﺎ ﭘﻠﻨﮕﺎن ﺑﻪ ﺟﻨﮓ اﻧﺪر اﺳﺖ‬

‫ﻣﻔﺎﻫﻴﻤﻲ ﺗﺎزه و ﺑﻪ اﺻﻄﻼح آﻟﻮده ﻛﺮدن )ﻛﻮراﭘﺸﻦ( آﻧﻬﺎﺳﺖ )ﻛﺎري ﻛﻪ اﺧﻴﺮا ﺑﺮﺧﻲ ﺑﺎ ﺑﻌﻀﻲ ﺷﻌﺎرﻫﺎ و‬

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‫ وﮔﺮﻧﻪ ﺑﻪ ﺳﻮي ﻳﻜﻲ از‬،‫ اﮔﺮ ﺗﻌﺎدل ﻣﻴﺎن اﻳﻦ ﺳﺮﺷﺘﻬﺎ در ﻓﺮدي ﺣﻔﻆ ﻣﻲ ﺷﺪ آن ﻓﺮد ﻣﺘﻌﺎدل ﻣﻲ ﺑﻮد‬.‫ﺑﻮدﻧﺪ‬

The “Wheel” which is a very well-known motif in Iranian literature in general, by pointing to the turning of the sky – according to ancient astronomy – and the unstable nature of the heavenly bodies that influence the life of man, refers to the inconstancy of life and whatever worldly. “In Zoroastrian literature, we are faced with two classes of Hormozdi (good) and Ahrimani (evil) heavenly bodies: the fixed stars are Hormozdi, and the moving planets Ahrimani. The members of this latter category, however, have also been materialized into their concrete forms by Hormozd so that they could not hide themselves from the eyes of man, and consequently they can be observed and possibly avoided in time. This stance towards the planets that regards them as evil comes from their disorderly movement in

space (of course from the viewpoint of the terrestrial beholder) and is rooted in the sacredness that stability and geometry maintained among the Persians; and this precisely is why they used to call the planets ‘loose’ or ‘promiscuous’ (Mehrdad Bahar, A Study of Persian Myths, 57)”. In the premises of the Songs, nevertheless, this Wheel grows more into a tyrannical and all-powerful force whose origin and quality is uncertain, and being so, predetermines even the most trivial doings of the world and its inhabitants, all of which render it something roughly like the Fates in Greek mythology; and as Christensen and a host of other Orientalists have pointed out, this concept in all probability is rooted in a myth as well, which is the myth of Zorvan in ancient Persia: “According to Zoroastrian mythology, the Sky has been made by Zorvan, the God of Time. The Sky is actually Zorvan’s body, wherein the entire material world resides. In Pahlavi literature it is considered a Wheel. Metaphors like the Turning Sky and the Turning Wheel in Farsi literature are remnants of that very same myth. The fate of the world is in his control. He is capable of both good and evil (Mehrdad Bahar, A Study of Persian Myths, 158)”. In line with this, invoking the seemingly inanimate natural objects and elements which is a well-known stock tradition of both Iranian culture and literature can be regarded as the heritage of the age of animism when man used in reality to address the so-called ‘gods of nature’ as if they were human beings themselves (or rather man was their incarnate simulacrum) and had a human understanding. In post-mythological ages, however, the ‘real talk’ of man with these supernatural divinities, which surely constituted a religious ritual as well as a reality, by being transformed and relegated into the status of his talk with the Sky and the Wheel in the realm of literature, was able to continue on into the heart of an age of strict monism. Incidentally, the modern Western instances of this very kind of apostrophe – though mostly employed as a stock tradition – were still galore around two centuries ago in the works of the English Romantic poets who invoked the Greek Muses. In line with the above-mentioned apostrophes, the high frequency of the personification of inanimate objects or concepts in the Songs, which proves to be a vestige of that very ancient animism once more, technically supports the notion of an Epi-Lyrical reading of these Songs. 10 Sigh 11 Also attributed to Baba Afzal Kashi (12th century) 12 With a beautiful brow like that of Venus’ 13 The ancient Persian ceremony for the arrival of spring during the vernal equinox on Farvardin 1st, roughly corresponding with March 21st 14 Also attributed to Mahasti Ganjavi (12th century)

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.‫ اﻳﻦ ﭼﻬﺎر ﻃﺒﻊ ﻫﻤﺎن ))ﭼﻬﺎر(( ﻣﻌﺮوف ﺗﺮاﻧﻪ ﻫﺎ ﻫﺴﺘﻨﺪ‬.‫اﻳﻦ ﻣﺸﺎرب ﻣﺘﻤﺎﻳﻞ ﻣﻲ ﺷﺪ‬ ‫ ﻛﻪ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ اﻳﻨﻜﻪ ﺑﺎ ﻃﺮز ﺗﻔﻜﺮ‬،‫در ﺗﺮاﻧﻪ ﻫﺎ ﺗﺼﻮﻳﺮﮔﺮاﻳﻲ ﻃﺒﺎﻳﻌﻲ و ﻋﻨﺎﺻﺮي ﺑﺴﻴﺎر ﺑﻪ ﭼﺸﻢ ﻣﻲ ﺧﻮرد‬ ‫ﻋﻤﻮﻣﺎ اﺷﺮاﻗﻲ اﻛﺜﺮ اﻳﺮاﻧﻴﺎن در ﺗﻀﺎدي آﺷﻜﺎر اﺳﺖ ﻳﻜﻲ از دﻻﻳﻠﻲ اﺳﺖ ﻛﻪ ﺑﺎﻋﺚ ﺷﺪه ﺗﺮاﻧﻪ ﻫﺎ در ﮔﺬر‬ ‫ ﺻﻔﺎت ))ﻃﺒﺎﻳﻌﻲ(( و ))دﻫﺮي(( ﻛﻪ ﺳﺎﺑﻖ ﺑﺮ اﻳﻦ ﻣﺘﺮادف‬.‫ﺗﺎرﻳﺦ ﺑﻪ ﭘﺪﻳﺪه اي ﻧﺴﺒﺘﺎ زﻳﺮزﻣﻴﻨﻲ ﺗﺒﺪﻳﻞ ﺷﻮﻧﺪ‬ ‫ﻛﺎﻓﺮ ﺑﻪ ﻛﺎر ﻣﻲ رﻓﺖ ﻧﻴﺰ از ﻫﻤﻴﻦ ﻃﺮز ﺗﻔﻜﺮ ﮔﺮﻓﺘﻪ ﺷﺪه و ﺑﻪ ﻣﻌﻨﺎي ﻛﺴﻲ اﺳﺖ ﻛﻪ ﺟﻬﺎن را ﻣﺨﻠﻮق ﻃﺒﺎﻳﻊ و‬ .‫ﻋﻨﺎﺻﺮ ﻣﻲ داﻧﺪ و ﻧﻪ ﭘﺮوردﮔﺎر؛ ﺑﻪ ﻋﺒﺎرﺗﻲ ﺧﺎﻟﻖ را ﻣﺤﺪث ﻣﻲ داﻧﺪ ﻧﻪ ﻗﺪﻳﻢ‬ ‫ﺟﻼل اﻟﺪﻳﻦ ﻫﻤﺎﻳﻲ در ﻣﻘﺪﻣﻪ ﻃﺒﻊ ﻃﺮﺑﺨﺎﻧﻪ ﺑﻪ ﻧﻘﻞ از ﺻﺎﺣﺐ ﻣﺠﻤﻊ اﻟﻔﺼﺤﺎ ﻣﻲ ﻧﻮﻳﺴﺪ ﻛﻪ اﻳﻦ ﺗﺮاﻧﻪ را ﻳﻜﻲ‬ :‫( ﻧﻮﺷﺖ و او ﺗﺮاﻧﻪ زﻳﺮ را در ﺟﻮاب ﻓﺮﺳﺘﺎد‬1431/834 ‫از ﻓﻀﻼي ﻋﻬﺪ ﺑﻪ ﺷﺎه ﻧﻌﻤﺖ اﷲ وﻟﻲ )ﻣﺘﻮﻓﻲ‬ ‫ﺻﻮرت ﺑﺴﻲ ﻛﻪ ﻃﺒﻊ ﺻﻮرﺗﮕﺮ ﻣﺎﺳﺖ‬

‫ﺗﺮﻛﻴﺐ ﻃﺒﺎﻳﻊ ار ﻧﮕﺸﺘﻲ ﻛﻢ و ﻛﺎﺳﺖ‬

‫ﻛﺎﻳﻦ ﻋﺎﻟﻢ را ﻣﺼﻮري ﻛﺎﻣﺮواﺳﺖ‬

‫ﭘﺮورد و ﺑﻜﺎﺳﺖ ﺗﺎ ﺑﺪاﻧﻨﺪ ﻛﺴﺎن‬ .‫اﻳﻦ ﺗﺮاﻧﻪ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺑﺎﺑﺎ اﻓﻀﻞ ﻛﺎﺷﻲ ﻣﻲ ﺑﺎﺷﺪ‬

،‫ ﺑﻴﺸﺘﺮ ﺗﺮاﻧﻪ ﻫﺎي ﻧﻴﻤﻪ اول اﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺟﺰو ﻗﺪﻳﻤﻲ ﺗﺮﻳﻦ ﺗﺮاﻧﻪ ﻫﺎﻳﻲ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﻪ ﺧﻴﺎم ﻧﺴﺒﺖ داده ﺷﺪه اﻧﺪ‬8 ‫و اﻳﻦ ﺗﺮاﻧﻪ – اوﻟﻴﻦ ﺗﺮاﻧﻪ ﻣﻨﺴﻮب ﺑﻪ ﺧﻴﺎم – را اﻣﺎم ﻓﺨﺮ رازي در ﻛﺘﺎﺑﺶ ))ﻣﺮﺻﺎداﻟﻌﺒﺎد(( ﺗﻘﺮﻳﺒﺎ ﻳﻚ ﻗﺮن‬ ‫ﭘﺲ از درﮔﺬﺷﺖ ﺧﻴﺎم ﺑﻪ وي ﻧﺴﺒﺖ داده )ﻻزم ﺑﻪ ذﻛﺮ اﺳﺖ ﻛﻪ از دو ﻧﺴﺨﻪ ﺑﺎﻗﻲ ﻣﺎﻧﺪه از ﻣﺮﺻﺎداﻟﻌﺒﺎد ﺗﻨﻬﺎ‬ ‫ ﮔﺮﭼﻪ اﻳﻦ ﺗﺮاﻧﻪ ﻫﺎ ﻣﺸﺨﺼﺎ ﺑﺎ ﺳﺒﻜﻬﺎ و‬.(!‫ﻳﻜﻲ اﻳﻦ ﺗﺮاﻧﻪ را ﺑﻪ ﺧﻴﺎم ﻧﺴﺒﺖ ﻣﻲ دﻫﺪ و دﻳﮕﺮي ﺑﻪ اﺑﻦ ﺣﺴﺎم‬ ‫روﻳﻜﺮدﻫﺎي ﻣﺘﻔﺎوﺗﻲ ﺑﻪ ﺗﺤﺮﻳﺮ درآﻣﺪه اﻧﺪ و از ﻣﻨﺎﺑﻊ ﻣﺨﺘﻠﻔﻲ ﻛﻪ ﺻﺤﺖ و ﺳﻘﻢ اﻧﺘﺴﺎب ﺗﺮاﻧﻪ ﻫﺎ در آﻧﻬﺎ‬ ‫ ﺑﺎ اﻳﻦ وﺟﻮد ﻧﺰدﻳﻚ ﻳﻚ ﻗﺮن و ﻧﻴﻢ اﺳﺖ ﻛﻪ ﻣﻮرد ﺑﺤﺚ و ﻓﺤﺺ ﭘﺮ‬،‫ﻣﺤﻞ ﺗﺮدﻳﺪ اﺳﺖ اﺳﺘﺨﺮاج ﺷﺪه اﻧﺪ‬ ‫ﺷﻮر و ﺧﺮوش ﻣﺤﻘﻘﺎن و ﺟﻤﻊ آورﻧﺪه ﮔﺎن ))ﺗﺮاﻧﻪ ﻫﺎي ﺧﻴﺎم(( ﺑﻪ ﻣﻨﻈﻮر ﻛﺸﻒ ﺷﺨﺼﻴﺖ ﺣﻘﻴﻘﻲ وي و‬ .‫ﺳﺎﺧﺘﻦ ﻣﺠﻤﻮﻋﻪ ﻫﺎي ))اﺻﻴﻞ(( از آﻧﻬﺎ ﻗﺮار ﮔﺮﻓﺘﻪ اﻧﺪ‬ 9

‫‪                                                                                                                                   ‬‬

‫‪                                                                                                                                   ‬‬

‫ﮔﻔﺘﻦ ﺑﺎ ﺳﭙﻬﺮ و ﭼﺮخ در ﻣﻌﺮﻓﺖ ﺷﻨﺎﺳﻲ ﺗﺎرﻳﺨﻲ ﻗﻮم و در ادﺑﻴﺎت ﻣﻠﺖ ﺑﺎﻗﻲ ﻣﺎﻧﺪه و در روزﮔﺎر ﺗﻮﺣﻴﺪ‪،‬‬

‫‪)) 15‬ﭼﺮخ(( ﻛﻪ ﻣﻔﻬﻮﻣﻲ ﻣﺘﺪاول در ادﺑﻴﺎت ﻓﺎرﺳﻲ اﺳﺖ ﺑﺎ اﺷﺎره ﺑﻪ ﭼﺮﺧﺶ ﺳﺘﺎرﮔﺎن و اﻓﻼك ﻛﻪ زﻧﺪﮔﻲ‬

‫ﻣﺨﺎﻃﺒﻪ ﻣﺴﺘﻘﻴﻢ ﺧﺪاﻳﺎن ﻛﻪ ﻣﺴﻠﻤﺎ ﺟﻨﺒﻪ ﻋﺒﺎدي ﻫﻢ داﺷﺘﻪ ﺑﻪ ﻣﺮﺗﺒﻪ اﻟﺘﻔﺎت ادﺑﻲ ﺗﻨﺰل ﻳﺎﻓﺘﻪ‪ .‬ﻧﻤﻮﻧﻪ ﻏﺮﺑﻲ ﻫﻤﻴﻦ‬

‫اﻧﺴﺎن را ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﻗﺮار ﻣﻲ دﻫﻨﺪ ﺑﻪ ﻋﺪم ﭘﺎﻳﺪاري و ﺑﻲ ﺛﺒﺎﺗﻲ زﻧﺪﮔﻲ ﺗﺎﻛﻴﺪ ﻣﻲ ﻛﻨﺪ‪)) .‬در ادﺑﻴﺎت زرﺗﺸﺘﻲ‬

‫ﮔﻮﻧﻪ اﻟﺘﻔﺎت )ﮔﺮﭼﻪ ﻋﻤﻮﻣﺎ ﺑﻪ ﺷﻴﻮه اي اﺳﺘﻌﺎري و ﺑﻴﺸﺘﺮ ﺑﻪ ﻗﺼﺪ ﭘﺎﻳﺒﻨﺪي ﺑﻪ ﺳﻨﺖ( در آﺛﺎر ﺷﺎﻋﺮان اﻧﮕﻠﻴﺴﻲ‬

‫ﺑﻪ دو دﺳﺘﻪ ﺳﺘﺎرﮔﺎن ﻫﺮﻣﺰدي و اﻫﺮﻳﻤﻨﻲ ﺑﺮﻣﻲ ﺧﻮرﻳﻢ‪ :‬ﺳﺘﺎرﮔﺎن ﺛﺎﺑﺖ‪ ،‬اﺧﺘﺮان ﻫﺮﻣﺰدي اﻧﺪ‪ ،‬و ﺳﻴﺎرات‬

‫زﺑﺎﻧﻲ ﻛﻪ از اﻟﻬﮕﺎن ﻫﻨﺮ ﻳﻮﻧﺎﻧﻲ )ﻣﻴﻮزﻫﺎ( ﻣﺪد ﻣﻲ ﻃﻠﺒﻴﺪﻧﺪ ﺗﺎ ﺣﺪود دو ﻗﺮن ﻗﺒﻞ ﻫﻨﻮز در ﺟﺮﻳﺎن ﺑﻮد‪ .‬در ﻫﻤﻴﻦ‬

‫اﺑﺎاﺧﺘﺮان اﻫﺮﻳﻤﻨﻲ‪ ،‬وﻟﻲ ﺗﻦ اﺑﺎاﺧﺘﺮان را ﻧﻴﺰ ﻫﺮﻣﺰد آﻓﺮﻳﺪه اﺳﺖ ﺗﺎ اﻳﻦ ﻣﻮﺟﻮدات اﻫﺮﻳﻤﻨﻲ از ﻧﻈﺮ ﭘﻨﻬﺎن ﻧﻤﺎﻧﻨﺪ‬

‫راﺳﺘﺎ‪ ،‬ﺑﺴﺎﻣﺪ اﺳﻨﺎد ﻣﺠﺎزي – ﻧﺴﺒﺖ دادن ﻋﻤﻠﻲ ﺑﻪ ﻓﺎﻋﻠﻲ ﻛﻪ آن ﻓﻌﻞ از او ﺑﺮﻧﻤﻲ آﻳﺪ‪ ،‬ﭼﻮن آن ﻋﻤﻞ‬

‫و ﺑﺘﻮان ﺑﺮ آﻧﻬﺎ و ﻛﺮدارﺷﺎن ﻧﻈﺎرت داﺷﺖ‪ .‬اﻳﻦ ﻋﻘﻴﺪه ﻛﻪ ﺳﻴﺎرات را دﻳﻮي و اﻫﺮﻳﻤﻨﻲ ﻣﻲ اﻧﮕﺎرد‪ ،‬از‬

‫ﻣﺨﺼﻮص اﻧﺴﺎن اﺳﺖ – در ﺗﺮاﻧﻪ ﻫﺎ ﻧﻴﺰ ﺑﻪ ﺷﺪت ﺑﺎﻻﺳﺖ‪ ،‬ﻛﻪ دوﺑﺎره ﺑﺎزﻣﺎﻧﺪه ﻫﻤﺎن اﻧﻴﻤﻴﺴﻢ ﺑﺎﺳﺘﺎﻧﻲ اﺳﺖ‪.‬‬

‫ﺣﺮﻛﺖ ﻧﺎﻣﻨﻈﻢ آﻧﻬﺎ در ﻓﻀﺎ )اﻟﺒﺘﻪ ﺑﻪ ﭼﺸﻢ ﺑﻴﻨﻨﺪه ﺑﺮ زﻣﻴﻦ( ﺑﺮﻣﻲ ﺧﻴﺰد و ﻣﺘﻜﻲ ﺑﻪ ﺗﻘﺪﺳﻲ اﺳﺖ ﻛﻪ ﻧﻈﻢ و‬

‫ﻫﺮ دوي اﻳﻦ ﻣﻮارد ﻧﻈﺮﻳﻪ ))ﺧﻮاﻧﺶ ﻏﻨﺎﻳﻲ ‪-‬ﺣﻤﺎﺳﻲ(( ﺑﺴﻴﺎري از ﺗﺮاﻧﻪ ﻫﺎ را ﺗﺎﻳﻴﺪ ﻣﻲ ﻛﻨﻨﺪ‪.‬‬

‫ﻗﺎﻋﺪه در اﻧﺪﻳﺸﻪ ﻣﺘﻔﻜﺮان اﻳﺮاﻧﻲ داﺷﺘﻪ اﺳﺖ و ﺑﺪﻳﻦ روي اﺳﺖ ﻛﻪ ﺳﻴﺎرات را ﻫﺮزه ﻣﻲ ﺧﻮاﻧﻨﺪ‪ .‬اﻣﺎ ﺑﺮﻋﻜﺲ‬

‫‪ 16‬آﻏﺎز‬

‫ﮔﻮﻫﺮ اﻫﺮﻳﻤﻨﻲ ﺷﺎن‪ ،‬اﻳﻦ ﺳﻴﺎرات ﻧﺎﻣﻬﺎﻳﻲ ﻫﺮﻣﺰدي دارﻧﺪ‪ .‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻧﺎﻣﻬﺎي ﺳﻴﺎرات در ﺑﺎﺑﻞ اﻋﺼﺎر ﺑﺎﺳﺘﺎن و‬

‫‪ 17‬ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺑﺎﺑﺎ اﻓﻀﻞ ﻛﺎﺷﻲ‬

‫اﺳﺎﻃﻴﺮ ﻣﺮﺑﻮط ﺑﻪ آﻧﻬﺎ‪ ،‬ﻣﻲ ﺗﻮان دﻳﺪ ﻛﻪ در اﻋﺘﻘﺎد ﺑﺎﺑﻠﻴﺎن ﺳﻴﺎرات ﺧﺪاﻳﺎﻧﻨﺪ و ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺗﺎﺛﻴﺮ ﻋﻠﻢ ﻧﺠﻮم و‬

‫‪ 18‬داراي ﭘﻴﺸﺎﻧﻲ ﺗﺎﺑﻨﺎك ﻫﻤﭽﻮن زﻫﺮه )آﻓﺮودﻳﺖ ﻳﻮﻧﺎﻧﻲ و وﻧﻮس ﻻﺗﻴﻦ( ﻛﻪ اﻟﻬﻪ ﻋﺸﻖ و زﻳﺒﺎﻳﻲ ﺑﻮد‬

‫ﮔﺎﻫﺸﻤﺎري ﺑﺎﺑﻠﻲ در اﻳﺮان ﺑﺎﺳﺘﺎن‪ ،‬ﻣﻲ ﺗﻮان ﺑﺎور داﺷﺖ ﻛﻪ ﻧﺎﻣﻬﺎي اﻳﺰدي ﺳﻴﺎرات زﻳﺮ ﺗﺎﺛﻴﺮ ﻓﺮﻫﻨﮓ ﺑﺎﺑﻞ ﺑﻮده‬

‫‪ 19‬ادب‪ ،‬ﻧﺮﻣﻲ‬

‫اﺳﺖ‪ ،‬ﺑﻪ وﻳﮋه اﮔﺮ ﺗﻮﺟﻪ ﻛﻨﻴﻢ ﻛﻪ ﻧﺎم اﻳﺮاﻧﻲ ﺳﺘﺎره زﺣﻞ‪ ،‬ﻛﻴﻮان‪ ،‬وام واژه اي اﺳﺖ ﺑﺎﺑﻠﻲ ﻛﻪ اﺻﻞ ﺑﺎﺑﻠﻲ آن‬

‫‪ 20‬ﺑﺮﺧﻲ ﺗﺮاﻧﻪ ﻫﺎ ﻣﺜﻞ اﻳﻦ ﻳﻜﻲ ﺑﺎ اﺷﺎره ﺑﻪ ﺧﻴﺰش ﻣﺠﺪد ﺳﺒﺰه و ﭼﻤﻦ از ﺧﺎك ﻣﺮده اﻳﺪه ﺗﻨﺎﺳﺦ را ﺑﻪ ﺧﺎﻃﺮ‬

‫‪ kayamanu‬اﺳﺖ‪ .‬ﺑﺪﻳﻦ ﮔﻮﻧﻪ‪ ،‬در اﻣﺮ ﺳﻴﺎرات‪ ،‬ﻣﺎ ﺑﺮﺧﻮرد و ﺗﻠﻔﻴﻘﻲ ﺗﺎزه ﻣﻴﺎن اﻧﺪﻳﺸﻪ ﻫﺎي اﻳﺮاﻧﻲ و داﻧﺶ‬

‫ﺧﻮاﻧﻨﺪه ﻣﻲ آورﻧﺪ‪ .‬ﻧﮕﺎرﻧﺪه در ﻋﻴﻦ ﺣﺎل ﻛﻪ اﻳﻦ ﺧﻮاﻧﺶ را رد ﻧﻤﻲ ﻛﻨﺪ و ﺑﻪ ﺗﻔﺴﻴﺮ ))ﻳﻜﻲ ﻫﺴﺖ و ﻫﻴﭻ‬

‫ﺑﺎﺑﻠﻲ ﻣﻲ ﺑﻴﻨﻴﻢ ﻛﻪ ﺑﺎﻳﺪ ﻣﺘﻌﻠﻖ ﺑﻪ دوره ﻫﺨﺎﻣﻨﺸﻴﺎن ﺑﺎﺷﺪ‪ ،‬ﻳﻌﻨﻲ اﻫﺮﻳﻤﻨﻲ ﺑﻮدن ﺳﻴﺎرات اﻳﺮاﻧﻲ اﺳﺖ وﻟﻲ ﻧﺎﻣﻬﺎي‬

‫ﻧﻴﺴﺖ ﺟﺰ او(( ﻣﻌﺘﻘﺪ ﻧﻴﺴﺖ اﻣﺎ ﻣﻄﺎﺑﻖ ﺗﺤﻘﻴﻘﺎت ﮔﺴﺘﺮده ﺧﻮد در اﻳﻦ ﻣﻮﺿﻮع ﺑﻴﺸﺘﺮ ﺗﻤﺎﻳﻞ دارد اﻳﻨﮕﻮﻧﻪ‬

‫اﻳﺰدي آﻧﻬﺎ ﺑﺎﺑﻠﻲ )ﻣﻬﺮداد ﺑﻬﺎر‪ ،‬ﭘﮋوﻫﺸﻲ در اﺳﺎﻃﻴﺮ اﻳﺮان‪.(((57 ،‬‬

‫ﺗﺼﻮﻳﺮﺳﺎزي ﻫﺎ ﻛﻪ در ﺣﻮزه ﺗﺮاﻧﻪ ﻫﺎ ﻛﻢ ﻫﻢ ﻧﻴﺴﺘﻨﺪ را زاﻳﻴﺪه ﺗﺨﻴﻞ اﺳﺘﻌﺎره ﭘﺮداز و ﺗﺸﺨﻴﺺ ﺑﺨﺶ ذﻫﻦ‬

‫ﺑﺎ اﻳﻦ وﺟﻮد در ﺣﻮﺿﻪ ﺗﺮاﻧﻪ ﻫﺎ اﻳﻦ ﭼﺮخ ﺑﻪ ﻧﻴﺮوﻳﻲ ﻗﺎﻫﺮ ﻓﺮاﺗﺮ از ﺻﺮف ﺳﺘﺎرﮔﺎن و اﻓﻼك ﺗﺒﺪﻳﻞ ﻣﻲ ﺷﻮد‬

‫ﻏﻨﺎﭘﺮور اﻳﺮاﻧﻲ ﺑﺪاﻧﺪ ﻛﻪ ﺑﻪ ﺳﺎﻧﺘﻴﻤﺎﻧﺘﺎﻟﻴﺴﻢ و اﺣﺴﺎس ﺑﺮاﻧﮕﻴﺰي ﮔﺮاﻳﺶ دارد‪ ،‬ﭼﻪ ﺗﻨﺎﺳﺦ ﻫﻴﭻ وﻗﺖ در ﻃﻮل‬

‫ﻛﻪ ﺑﻪ ﺷﻴﻮه اي ﻇﺎﻟﻤﺎﻧﻪ ﺗﻤﺎم وﻗﺎﻳﻊ دﻧﻴﺎ را از رﻳﺰ و درﺷﺖ رﻗﻢ ﻣﻲ زﻧﺪ‪ ،‬و ﭼﻨﺎﻧﻜﻪ آرﺗﻮر ﻛﺮﻳﺴﺘﻨﺴﻦ‬

‫ﺗﺎرﻳﺦ از ﻣﺒﺎﻧﻲ ﻋﻤﺪه اﻋﺘﻘﺎدي اﻳﺮاﻧﻴﺎن ﻧﺒﻮده و ﺑﻪ ﻋﻄﻒ اﻳﻨﻜﻪ ﭼﻴﺰي ﺣﺪود ﭘﻨﺞ ﻗﺮن ﭘﺲ از ﻣﺮگ ﺧﻴﺎم‪،‬‬

‫داﻧﻤﺎرﻛﻲ و ﺑﺮﺧﻲ دﻳﮕﺮ از ﻣﺴﺘﺸﺮﻗﺎن ﻏﺮﺑﻲ اﺷﺎره ﻛﺮده اﻧﺪ ﻣﻔﻬﻮم ﭼﺮخ در ادﺑﻴﺎت ﻓﺎرﺳﻲ ﺑﻪ اﺣﺘﻤﺎل ﺑﺴﻴﺎر‬

‫ﻣﻮﻟﻒ ﮔﻤﻨﺎم ))ﺗﺎرﻳﺦ اﻟﻔﻲ(( رﺑﺎﻋﻲ‬

‫زﻳﺎد رﻳﺸﻪ در ﻃﺮز ﺗﻔﻜﺮ زرواﻧﻲ اﻳﺮان ﺑﺎﺳﺘﺎن دارد‪)) .‬ﺑﻨﺎ ﺑﻪ اﺳﺎﻃﻴﺮ زردﺷﺘﻲ‪ ،‬ﺳﭙﻬﺮ از زروان‪ ،‬ﺧﺪاي زﻣﺎن‪ ،‬ﺑﻪ‬

‫اي رﻓﺘﻪ و ﺑﺎزآﻣﺪه‪ ،‬ﺑﻞ ﻫﻢ ﮔﺸﺘﻪ‬

‫ﻧﺎﻣﺖ ز ﻣﻴﺎن ﻧﺎﻣﻬﺎ ﮔﻢ ﮔﺸﺘﻪ‬

‫وﺟﻮد آﻣﺪه اﺳﺖ‪ .‬او ﺗﻦ زروان اﺳﺖ و ﺟﻬﺎن ﻣﺎدي در اوﺳﺖ‪ .‬او را در ادﺑﻴﺎت ﭘﻬﻠﻮي ﭼﻮن ﭼﺮﺧﻲ ﻣﻲ‬

‫ﻧﺎﺧﻦ ﻫﻤﻪ ﺟﻤﻊ آﻣﺪه و ﺳﻢ ﮔﺸﺘﻪ‬

‫رﻳﺶ از ﭘﺲ ﻛﻮن درآﻣﺪه دم ﮔﺸﺘﻪ‬

‫داﻧﻨﺪ‪ .‬اﺳﺘﻌﺎره ﻫﺎﻳﻲ ﭼﻮن ﻓﻠﻚ ﮔﺮدان و ﭼﺮخ ﮔﺮدون در ادﺑﻴﺎت ﻓﺎرﺳﻲ ﺑﺎزﻣﺎﻧﺪه آن اﺳﻄﻮره اﺳﺖ‪.‬‬

‫را ﺑﻪ وي ﻧﺴﺒﺖ ﻣﻲ دﻫﺪ و ﮔﺮه ﻛﻮر را دوﺗﺎ – ﺑﻠﻜﻪ ﭼﻨﺪ ﺗﺎ – ﻣﻲ ﻛﻨﺪ ﻧﻤﻲ ﺗﻮان ﺧﻴﺎم را از اﻫﻞ ﺗﻨﺎﺳﺦ‬

‫ﺳﺮﻧﻮﺷﺖ ﺟﻬﺎن در دﺳﺖ اوﺳﺖ‪ .‬ﻧﻴﻜﻮﻳﻲ ﻛﺮدن و ﺑﺪي ﻛﺮدن ﻫﺮ دو از او ﺳﺎﺧﺘﻪ اﺳﺖ )ﻣﻬﺮداد ﺑﻬﺎر‪،‬‬

‫ﺑﺮﺷﻤﺮد و ﺳﭙﺲ ﺧﻄﺎي ﺑﺰرﮔﺘﺮي ﻣﺮﺗﻜﺐ ﺷﺪ و ﺑﻪ ﻃﺒﻊ اﻳﻦ ﺗﺼﻮر اﻳﻦ اﻳﺪه را ﺑﻪ ﻫﻤﻪ رﺑﺎﻋﻴﺎﺗﻲ ﻛﻪ از ﻗﻀﺎ ﺑﻪ‬

‫ﭘﮋوﻫﺸﻲ در اﺳﺎﻃﻴﺮ اﻳﺮان‪.(((158 ،‬‬

‫وي ﻣﻨﺴﻮب ﻣﻲ ﺑﺎﺷﻨﺪ ﻧﻴﺰ ﺗﻌﻤﻴﻢ داد‪.‬‬

‫اﺗﻔﺎﻗﺎ ﻧﻜﺘﻪ اي ﻛﻪ در اﻛﺜﺮ ﺗﺮاﻧﻪ ﻫﺎ و اﺻﻮﻻ در ادﺑﻴﺎت و ﻓﺮﻫﻨﮓ اﻳﺮاﻧﻲ ﺑﺴﻴﺎر ﻣﺸﺎﻫﺪه ﻣﻲ ﺷﻮد ﻣﺨﺎﻃﺐ ﻗﺮار‬

‫ﻣﻔﻬﻮم اﺳﻄﻮره اي ‪-‬ﺑﺎﺳﺘﺎﻧﻲ و ﻳﻚ ﺑﺎر ﺑﺮاي ﻫﻤﻴﺸﻪ ))ﺑﺎز آﻣﺪﻧﺖ ﻧﻴﺴﺖ‪ ،‬ﭼﻮ رﻓﺘﻲ رﻓﺘﻲ!(( ﻛﻪ ﻣﺸﺨﺼﺎ‬

‫دادن ﻋﻨﺎﺻﺮ ﻇﺎﻫﺮا ﺑﻲ ﺟﺎن ﻃﺒﻴﻌﺖ و ﺑﻪ اﺻﻄﻼح ادﺑﻲ آﻧﻬﺎ را ﻣﻮرد اﻟﺘﻔﺎت ﻗﺮار دادن اﺳﺖ‪ .‬ﺗﻮﺟﻴﻪ ﻧﺴﺒﺘﺎ ﻗﺎﺑﻞ‬

‫ﺗﻨﺎﺳﺨﻲ ﻧﻴﺴﺖ و در ﺑﻴﺸﺘﺮ ﺗﺮاﻧﻪ ﻫﺎ ﭼﻪ ﺑﻪ ﺻﺮاﺣﺖ و ﭼﻪ ﺑﻪ ﺗﻠﻮﻳﺢ ﺣﺎﺿﺮ اﺳﺖ و دﻳﻦ زرﺗﺸﺖ و اﺳﻼم )ﺑﺮ‬

‫ﻗﺒﻮﻟﻲ ﻛﻪ ﺑﺮاي اﻳﻦ اﻣﺮ ﻣﻲ ﺗﻮان در ﻧﻈﺮ ﮔﺮﻓﺖ اﻳﻦ اﺳﺖ ﻛﻪ اﻳﻦ ﮔﻮﻧﻪ ﻣﺨﺎﻃﺐ ﻗﺮار دادن ﻃﺒﻴﻌﺖ در ﺣﻘﻴﻘﺖ‬

‫ﺧﻼف آﻧﭽﻪ ﻣﻌﻤﻮﻻ در اﻳﺮان ﻓﻜﺮ ﻣﻲ ﻛﻨﻨﺪ( ﺑﻪ ﻃﻮر ﻋﻤﺪه ﺳﻌﻲ ﺑﺮ ﺗﻌﺪﻳﻞ آن داﺷﺘﻪ اﻧﺪ در ﻣﻴﺎن اﻳﺮاﻧﻴﺎن‬

‫ﻣﻴﺮاث روزﮔﺎر ﺟﺎﻧﺪارﭘﻨﺪاري )اﻧﻴﻤﻴﺴﻢ( ﻃﺒﻴﻌﺖ اﺳﺖ ﻛﻪ اﻧﺴﺎن ﺑﻪ ﺷﻴﻮه اي ﻛﺎﻣﻼ ﺣﻘﻴﻘﻲ ))ﺧﺪاﻳﺎن ﻃﺒﻴﻌﺖ((‬

‫ﺑﻴﺸﺘﺮ ﺑﻪ ﭼﺸﻢ ﻣﻲ ﺧﻮرد‪ ،‬و ﻃﺮز ﺗﻔﻜﺮ ﺷﻴﻌﻲ ﻣﻬﺪوي ﻛﻪ در ﺣﻘﻴﻘﺖ اﺳﻼم اﻳﺮاﻧﻲ ﺷﺪه اﺳﺖ دﻗﻴﻘﺎ رﻳﺸﻪ در‬

‫را ﻣﻮرد ﺧﻄﺎب ﻗﺮار ﻣﻲ داد ﭼﻨﺎﻧﻜﻪ اﻧﮕﺎر اﻧﺴﺎن اﻧﺪ )ﻳﺎ در ﺣﻘﻴﻘﺖ ﺧﻮد اﻧﺴﺎن ﻧﻤﻮﻧﻪ ﺗﺠﺴﺪ ﻳﺎﻓﺘﻪ آﻧﺎن اﺳﺖ(‬

‫ﻫﻤﻴﻦ ﻃﺮز ﺗﻔﻜﺮ ﺗﺮاژﻳﻚ دارد‪ ،‬ﭼﺮا ﻛﻪ ﻣﺮدﻣﺎﻧﻲ ﻛﻪ ﻋﻤﻴﻘﺎ ﺑﻪ زﻧﺪﮔﻲ آن ﺟﻬﺎﻧﻲ ﻣﻌﺘﻘﺪ ﺑﺎﺷﻨﺪ اﺻﻮﻻ ﺑﻪ ﻧﺎﺟﻲ‬

‫و درك اﻧﺴﺎﻧﻲ دارﻧﺪ‪ .‬در دوران ﭘﺲ از اﺳﺎﻃﻴﺮ‪ ،‬ﻣﻜﺎﻟﻤﻪ اﻧﺴﺎن ﺑﺎ اﻳﻦ ﺧﺪاﻳﺎن ﻛﻪ ﺣﻘﻴﻘﻲ ﺑﻮد ﺑﻪ ﺷﻜﻞ ﺳﺨﻦ‬

‫‪198‬‬

‫‪197‬‬

                                                                                                                                   

                                                                                                                                   

‫ و اﻳﻦ ﺧﻮد از ﺗﻨﺎﻗﺾ ﻫﺎي ﻣﻌﺮﻓﺖ ﺷﻨﺎﺧﺘﻲ دﻛﺘﺮﻳﻦ ﺷﻴﻌﻪ اﻳﺮاﻧﻲ اﺳﺖ ﻛﻪ ﻓﻘﻂ‬،‫اﻳﻦ ﺟﻬﺎﻧﻲ اﺣﺘﻴﺎﺟﻲ ﻧﺪارﻧﺪ‬

!‫در ﺑﻬﺎران زاد و ﻣﺮﮔﺶ در دي اﺳﺖ‬

‫ﭘﺸﻪ ﻛﻲ داﻧﺪ ﻛﻪ اﻳﻦ ﺑﺎغ از ﻛﻲ اﺳﺖ‬

.‫ﺑﻴﺎن آن ﺷﺮح ﻃﻮﻳﻠﻲ ﻣﻲ ﻃﻠﺒﺪ‬

‫ ﺳﺤﺮﮔﺎه‬25

.‫اﻳﻦ ﺗﺮاﻧﻪ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻣﻬﺴﺘﻲ ﮔﻨﺠﻮي ﻣﻲ ﺑﺎﺷﺪ‬

‫ اﺳﺘﻔﺎده ﻣﺪاوم از ﺗﺼﺎوﻳﺮ ﻣﺮﺑﻮط ﺑﻪ ﮔﻞ و ﺧﺎك و ﻛﻮزه در ﺣﻮﺿﻪ ﺗﺮاﻧﻪ ﻫﺎ و ﺑﻪ ﻃﻮر ﻛﻞ در ادﺑﻴﺎت‬26

Drop Also attributed to Attar (13th century) 23 The frequent employment of the Earthenware Imagery in the premises of the Songs in particular and in Iranian literature in general is in most probability rooted in the image of the Creator as the Potter and the maker of man from earth (remember that all the Semitic scriptures without exception take man to be made of or ‘cast’ from dust), which is most obviously manifested in the phrase the “Potter of the Wheel” in There is this Urn that charms the senses sound To dote upon it all the more profound! The Potter of the Wheel this Dainty Urn Would mold, and then once more reduce to ground! “In the opinion of the ancient people of the East, in association with pottery which has been known of old, man is usually considered to be made of clay: Xenon makes man of clay in Egypt, and so does the Babylonian Aurora. Kyumars [the prototype of man in Persian mythology] is titled the ClayKing (Arthur Emanuel Christensen, Les types du premier home et du premier roi dans l’histoire legendaire des Iraniens, 60)”. In addition, the topographical features of the lands in this part of the world that provide the suitable raw material of pottery for the local man can be one of the reasons for the prevalence of such kind of imagery in the realm of Iranian literature. The production of earthenware among the Persians has a long history. Earthenware has been discovered in Persia which dates back to the Paleolithic and Neolithic eras. Through the passage of time, the craft has been made into an art by its expert practitioners, especially in the Islamic era, and the art of pottery, still thriving in contemporary times, constitutes one of the major traditional artistic attractions of Iran for both the Iranians and the foreigners. While the patterns portrayed on a Greek Amphora usually depict a story, the patterns on an Iranian piece of pottery or ceramic almost always imply an abstract lyric air which has its roots in the common transcendental attitude of the people. Regarding this fact, it is not a surprise that an apparently lifeless object should be the subject of so much animated romantic apostrophe and address in the context of Iranian literature. :‫ ﻣﻮﻟﻮي ﻫﻢ ﺑﻴﺘﻲ دارد ﻛﻪ ﺑﻪ ﺷﺪت ﺑﻪ اﻳﻦ ﻣﻔﻬﻮم ﻧﺰدﻳﻚ اﺳﺖ‬.‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻋﻄﺎر ﻧﻴﺸﺎﺑﻮري‬24

‫ﻓﺎرﺳﻲ ﺑﻪ اﺣﺘﻤﺎل زﻳﺎد از ﺗﺼﻮﻳﺮ آﻓﺮﻳﻨﻨﺪه ﺑﻪ ﻣﺜﺎﺑﻪ ﻛﻮزه ﮔﺮ و ﺳﺎزﻧﺪه اﻧﺴﺎن از ﮔﻞ )ﻛﺘﺐ ﻣﻘﺪس ادﻳﺎن ﺳﺎﻣﻲ‬

21 22

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‫ﺑﺪون اﺳﺘﺜﻨﺎ اﻧﺴﺎن را ﺑﺮآﻣﺪه و ﺑﻪ اﺻﻄﻼح رﻳﺨﺘﻪ ﺷﺪه از ﮔﻞ ﻣﻲ داﻧﻨﺪ( ﻛﻪ ﺑﻪ ﻃﻮر ﻣﺸﺨﺺ در ﻋﺒﺎرت‬ ‫))ﻛﻮزه ﮔﺮ دﻫﺮ(( در ﺗﺮاﻧﻪ‬ ‫ﺳﺪ ﺑﻮﺳﻪ ز ﻣﻬﺮ ﺑﺮ ﺟﺒﻴﻦ ﻣﻲ زﻧﺪش‬

‫ﺟﺎﻣﻲ اﺳﺖ ﻛﻪ ﻋﻘﻞ آﻓﺮﻳﻦ ﻣﻲ زﻧﺪش‬

‫ﻣﻲ ﺳﺎزد و ﺑﺎز ﺑﺮ زﻣﻴﻦ ﻣﻲ زﻧﺪش‬

‫اﻳﻦ ﻛﻮزه ﮔﺮ دﻫﺮ ﭼﻨﻴﻦ ﺟﺎم ﻟﻄﻴﻒ‬

‫ ﺑﻪ ﻗﻴﺎس‬،‫ اﻧﺴﺎن ﻣﻌﻤﻮﻻ از ﮔﻞ ﺳﺎﺧﺘﻪ ﺷﺪه اﺳﺖ‬،‫ ))در ﻧﻈﺮ ﻣﻠﺘﻬﺎي ﻗﺪﻳﻢ ﺷﺮق‬.‫ﺗﺼﻮﻳﺮ ﺷﺪه ﻧﺸﺎت ﻣﻲ ﮔﻴﺮد‬ ‫ ﺑﺪﻳﻦ ﮔﻮﻧﻪ اﺳﺖ ﻛﻪ در ﻣﺼﺮ ﺧﻨﻮن‬.‫ﺑﺎ ﻛﺎرﻫﺎي ﻛﻮزه ﮔﺮي ﻛﻪ از زﻣﺎﻧﻬﺎي دور و دراز ﺷﻨﺎﺧﺘﻪ ﺷﺪه اﺳﺖ‬ ،‫ ﮔﻴﻮﻣﺮث ﻟﻘﺐ ﮔﻠﺸﺎه دارد )آرﺗﻮر ﻛﺮﻳﺴﺘﻨﺴﻦ‬.‫ ﺑﻪ ﻫﻤﻴﻦ ﻧﺤﻮ آروروي ﺑﺎﺑﻠﻴﺎن‬،‫آدﻣﻴﺎن را از ﮔﻞ ﻣﻲ ﺳﺎزد‬ .(((60 ،‫ﻧﻤﻮﻧﻪ ﻫﺎي ﻧﺨﺴﺘﻴﻦ اﻧﺴﺎن و ﻧﺨﺴﺘﻴﻦ ﺷﻬﺮﻳﺎر در ﺗﺎرﻳﺦ اﻓﺴﺎﻧﻪ اي اﻳﺮان‬ ‫ ﻣﺸﺨﺼﺎت ﺟﻐﺮاﻓﻴﺎﻳﻲ ﺳﺮزﻣﻴﻨﻬﺎي اﻳﻦ ﻗﺴﻤﺖ ﻋﺎﻟﻢ ﻛﻪ ﻣﻮاد ﺧﺎم ﻣﻨﺎﺳﺐ ﺑﺮاي ﺳﻔﺎﻟﮕﺮي را از‬،‫ﺑﻪ ﻋﻼوه‬ ‫ﺳﻔﺎﻟﻲ در ادﺑﻴﺎت اﻳﺮان‬- ‫دﻳﺮﺑﺎز در اﺧﺘﻴﺎر اﻧﺴﺎن ﺑﻮﻣﻲ ﻗﺮار داده از دﻻﻳﻞ اﺻﻠﻲ ﻓﺮاواﻧﻲ ﺗﺼﻮﻳﺮﮔﺮاﻳﻲ ﻛﻮزه‬ ‫ و ﺳﻔﺎﻟﻬﺎي ﺑﻪ ﻗﺪﻣﺖ دوران ﭘﺎرﻳﻨﻪ ﺳﻨﮕﻲ‬،‫ ﭘﻴﺸﻴﻨﻪ ﺳﻔﺎﻟﮕﺮي در اﻳﺮان ﺑﻪ زﻣﺎﻧﻬﺎي ﺑﺴﻴﺎر دور ﺑﺎزﻣﻲ ﮔﺮدد‬.‫اﺳﺖ‬ ‫ در ﮔﺬر زﻣﺎن و ﺑﻪ ﺧﺼﻮص در دوره اﺳﻼﻣﻲ ﺳﻔﺎﻟﮕﺮي در اﻳﺮان‬.‫و ﻧﻮﺳﻨﮕﻲ در اﻳﺮان ﺑﻪ وﻓﻮر ﻳﺎﻓﺖ ﺷﺪه اﻧﺪ‬ ‫ اﻣﺮوزه ﺳﻔﺎﻟﮕﺮي ﻳﻜﻲ‬.‫ﻣﺮزﻫﺎي ﻧﻴﺎزﻫﺎي روزﻣﺮه را درﻧﻮردﻳﺪ و ﺑﻪ ﻫﻨﺮي ﻣﺴﺘﻘﻞ از ﻣﺴﺎﻟﻪ ﻛﺎرﻛﺮد ﺗﺒﺪﻳﻞ ﺷﺪ‬ .‫از ﺟﺎذﺑﻪ ﻫﺎي ﻫﻨﺮي اﺻﻠﻲ ﺳﺮزﻣﻴﻦ اﻳﺮان ﻫﻢ ﺑﺮاي ﺧﺎرﺟﻲ ﻫﺎ و ﻫﻢ ﺑﺮاي ﺧﻮد اﻳﺮاﻧﻴﺎن ﻣﻲ ﺑﺎﺷﺪ‬ ‫در ﺟﺎﻳﻲ ﻛﻪ ﻧﻘﻮش ﺗﺮﺳﻴﻢ ﺷﺪه ﺑﺮ روي ﻳﻚ آﻣﻔﻮرا )ﻛﻮزه ﺑﺰرگ( ﻳﻮﻧﺎﻧﻲ ﻣﻌﻤﻮﻻ داﺳﺘﺎﻧﻲ را ﺗﺼﻮﻳﺮ ﻣﻲ‬ ‫ ﺧﻄﻮط ﻣﻨﻘﺶ ﺑﺮ ﺳﻔﺎﻟﻬﺎي اﻳﺮان ﺗﻘﺮﻳﺒﺎ ﺑﺪون اﺳﺘﺜﻨﺎ ﺣﺴﻲ اﺛﻴﺮي و ﻏﻨﺎﻳﻲ را ﺑﻪ ﺑﻴﻨﻨﺪه اﻟﻐﺎ ﻣﻲ ﻛﻨﻨﺪ ﻛﻪ‬،‫ﻛﻨﻨﺪ‬ ‫رﻳﺸﻪ در ﺟﻤﺎل ﺷﻨﺎﺳﻲ اﻧﺘﺰاﻋﻲ اﻳﺮاﻧﻴﺎن دارد ﻛﻪ ﺑﻪ ﺷﻴﻮه اي ﻣﺒﺮﻫﻦ در ﺑﺮاﺑﺮ زﻳﺒﺎﻳﻲ ﺷﻨﺎﺳﻲ ﻫﻨﺪﺳﻲ و‬ ‫ ﺑﺎ وﺟﻮد ﭼﻨﻴﻦ زﻣﻴﻨﻪ اي ﻧﺒﺎﻳﺪ ﭼﻨﺪان ﻣﺘﻌﺠﺐ ﺷﺪ ﻛﻪ ﭼﺮا ﻗﻄﻌﻪ ﺳﻔﺎﻟﻲ ﺑﻲ‬.‫ﻣﺎﺗﺮﻳﺎﻟﻴﺴﺘﻲ ﻳﻮﻧﺎﻧﻲ ﻗﺮار ﻣﻲ ﮔﻴﺮد‬ .‫ﺟﺎن ﺑﺎﻳﺪ آن ﻫﻤﻪ در ﻣﺤﺪوده ادﺑﻴﺎت ﻓﺎرﺳﻲ ﻣﻮرد ﺧﻄﺎب و اﻟﺘﻔﺎت ﺷﺎﻋﺮاﻧﻪ ﻗﺮار ﺑﮕﻴﺮد‬ 27

Four is the number of the humors and the elements responding to them; Five is the number of the senses, or the number of the days that a mystic usually fasts; Six is the number of directions (above and below included), or the number of the days of creation according to Semitic scriptures; Seven is the number of the spheres in Ptolemaic astronomy 28 Mark

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‫ﻋﻨﺼﺮ ﻛﻪ ﺑﻪ آﻧﻬﺎ اﻣﻬﺎت ﺳﻔﻠﻲ ﻣﻲ ﮔﻔﺘﻨﺪ‪ ،‬ﻣﻮاﻟﻴﺪ ﺛﻼث ﻳﻌﻨﻲ ﺣﻴﻮان و ﻧﺒﺎت و ﻣﻌﺪﻧﻴﺎت )ﺟﻤﺎد( ﺑﻪ وﺟﻮد‬

‫‪Man that in the early Farsi poetry is mostly regarded as the product of the‬‬ ‫‪Four Elements and the Seven Skies, in the poetry of the latter ages which‬‬ ‫‪has considerably passed through the filter of mysticism is usually considered‬‬ ‫‪to be at loggerheads with those very elements and skies which have‬‬ ‫‪constituted him in the first place; and this is just another of the myriad of the‬‬ ‫‪examples of the evolution and metamorphosis of the older and more worldly‬‬ ‫‪imagery of Farsi poetry to the mystically allegorical imagery of the poetry‬‬ ‫‪of the latter ages, which in turn marks the widening of the abysmal chasm‬‬ ‫‪between the ‘physical’ and the non or rather the ‘metaphysical’ in the‬‬ ‫‪premises of the Iranians’ general epistemology.‬‬ ‫‪30‬‬ ‫‪Note also the magnificent interpretive translation of this Song by‬‬ ‫‪FitzGerald that reminds the reader of the movie The Seventh Seal by the late‬‬ ‫‪Swedish director Ingmar Bergman:‬‬ ‫‪‘Tis all a Chequer-board of Nights and days‬‬ ‫‪Where Destiny with Men for Pieces plays:‬‬ ‫‪Hither and thither moves, and mates, and slays,‬‬ ‫‪And one by one back in the Closet lays.‬‬ ‫‪ 31‬ﻗﻬﺮ و ﻏﻀﺐ و ﻗﻠﻴﺎن‬

‫آﻣﺪ‪ .‬از اﻳﻦ رو اﻧﺴﺎن ﺑﭽﻪ )ﻧﺘﻴﺠﻪ( اﻳﻦ ﭘﺪر و ﻣﺎدر اﺳﺖ )ﺳﻴﺮوس ﺷﻤﻴﺴﺎ‪ ،‬ﻓﺮﻫﻨﮓ اﺷﺎرات‪.(((23 ،‬‬ ‫از ﻇﺮاﻳﻒ اﻳﻦ ﺗﺮاﻧﻪ و ﺗﺮاﻧﻪ ﻫﺎي از اﻳﻦ دﺳﺖ اﻳﻦ اﺳﺖ ﻛﻪ ﺻﻨﻌﺖ ادﺑﻲ ﺳﻴﺎﻗﻪ اﻻﻋﺪاد ﻳﺎ ﺑﻪ ﻛﺎر ﺑﺮدن اﻋﺪاد‬ ‫در ﺷﻌﺮ را ﻛﻪ در آﺛﺎر ﺑﺴﻴﺎري از ﺷﻌﺮاي ﻗﺮن ﭘﻨﺠﻢ و ﺷﺸﻢ ﺑﻪ اﻓﺮاط ﻛﺸﻴﺪه ﺷﺪه ﺑﻪ ﺷﻴﻮه اي ﺑﺴﻴﺎر ﺷﻴﻮا و ﺑﻪ‬ ‫دور از ﺗﻌﻘﻴﺪ )و ﺷﺎﻳﺪ اﺻﻼ ﺑﺪون ﻣﻮرد ﻧﻈﺮ ﻗﺮار دادن ﺟﻨﺒﻪ ﺻﻨﻌﺖ ﮔﻮﻧﻪ آن( در ﺑﻴﺎن ﺷﺎﻋﺮاﻧﻪ ﻫﺴﺘﻲ ﺷﻨﺎﺳﻲ‬ ‫ﻃﺒﺎﻳﻌﻲ ﺑﻪ ﻛﺎر ﮔﺮﻓﺘﻪ اﺳﺖ‪ .‬ﺣﺎل ﻛﺎرﺑﺮد اﻳﻦ ﺻﻨﻌﺖ را در ﺧﺎﻗﺎﻧﻲ ﺑﺒﻴﻨﻴﺪ‪:‬‬ ‫ﺑﻪ ﻳﻚ رﻗﻴﺐ و دو ﻓﺮع و ﺳﻪ ﻧﻮع و ﭼﺎر اﺳﺒﺎب‬

‫ﺑﻪ ﭼﻬﺎر ﻧﻔﺲ و ﺳﻪ روح و دو ﺻﺤﻦ و ﻳﻚ ﻓﻄﺮت‬

‫از ﻗﻀﺎ ﻧﻤﻮﻧﻪ ﭼﻨﻴﻦ آﻛﺮوﺑﺎت ﺑﺎزي ﻫﺎي ﺧﻨﻜﻲ در ﻳﻜﻲ از ﻗﻄﻌﺎﺗﻲ ﻛﻪ در ﺑﺮﺧﻲ ﻧﺴﺨﻪ ﻫﺎ ﺑﻪ ﺧﻴﺎم ﻧﺴﺒﺖ داده‬ ‫ﺷﺪه ﻧﻴﺰ ﻣﺸﺎﻫﺪه ﻣﻲ ﺷﻮد‪:‬‬ ‫ﻫﻔﺖ اﺧﺘﺮم از ﺷﺶ ﺟﻬﺖ اﻳﻦ ﻧﺎﻣﻪ ﻧﺒﺸﺖ‬

‫ده ﻋﻘﻞ ز ﻧﻪ رواق وز ﻫﺸﺖ ﺑﻬﺸﺖ‬ ‫ﻛﺰ ﭘﻨﺞ ﻫﻮاس و ﭼﺎر ارﻛﺎن و ﺳﻪ روح‬

‫اﻳﺰد ﺑﻪ دو ﻋﺎﻟﻢ ﭼﻮ ﺗﻮ ﻳﻚ ﻛﺲ ﻧﺴﺮﺷﺖ!‬

‫‪ 33‬آدﻣﻲ را ﻛﻪ در ﺷﻌﺮ ﻣﺘﻘﺪم ﻓﺎرﺳﻲ ﺣﺎﺻﻞ ﻋﻨﺎﺻﺮ ﭼﻬﺎرﮔﺎﻧﻪ و اﻓﻼك ﻫﻔﺘﮕﺎﻧﻪ ﭘﻨﺪاﺷﺘﻪ ﺷﺪه در ﺷﻌﺮ‬ ‫ﺧﺮاﺳﺎﻧﻲ ﻣﺘﺎﺧﺮ و ﻋﺮاﻗﻲ ﻣﺘﻘﺪم ﻛﻪ از ﻗﻀﺎ ﻫﺮ دو ﻛﻤﺎﺑﻴﺶ ﺑﺎ ﻃﺮز ﺗﻔﻜﺮ ﻋﺮﻓﺎﻧﻲ آﻣﻴﺨﺘﮕﻲ دارﻧﺪ ﻣﻌﻤﻮﻻ در‬ ‫ﻛﺸﺎﻛﺶ و ﺗﻘﺎﺑﻞ ﺑﺎ ﻫﻤﺎن ﻋﻨﺎﺻﺮ و اﻓﻼك ﺳﺎزﻧﺪه ﺧﻮد ﺑﻪ ﺗﺼﻮﻳﺮ ﻣﻲ ﻛﺸﻨﺪ‪ ،‬ﭼﻨﺎﻧﻜﻪ ﻇﻬﻴﺮ ﻓﺎرﻳﺎﺑﻲ ﻣﻲ ﮔﻮﻳﺪ‪:‬‬ ‫وﻳﻦ آدﻣﻲ ﻛﻪ زﺑﺪه ارﻛﺎﻧﺶ ﻣﻲ ﻧﻬﻨﺪ‬

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‫))ﭼﻬﺎر(( ﺗﻌﺪاد ﻋﻨﺎﺻﺮ و ﺑﻪ ﻃﺒﻊ آﻧﻬﺎ ﺳﺮﺷﺘﻬﺎﺳﺖ‪)) .‬ﭘﻨﺞ(( ﺗﻌﺪاد ﺣﺴﻬﺎﺳﺖ؛ ﻳﺎ ﺗﻌﺪاد روزﻫﺎي روزه‬

‫ﮔﺮﻓﺘﻦ ﻣﺨﺼﻮص ﻋﺎرﻓﺎن اﺳﺖ‪)) .‬ﺷﺶ(( ﺟﻬﺎت ﭼﻬﺎرﮔﺎﻧﻪ ﺑﻪ اﺿﺎﻓﻪ ﺑﺎﻻ و ﭘﺎﻳﻴﻦ اﻧﺪ؛ ﻳﺎ ﺗﻌﺪاد روزﻫﺎي‬

‫ﭘﻴﻮﺳﺘﻪ در ﻛﺸﺎﻛﺶ اﻳﻦ ﭼﺎر اژدﻫﺎﺳﺖ‬

‫آﻓﺮﻳﻨﺶ ﻣﻄﺎﺑﻖ ﻛﺘﺐ دﻳﻨﻲ ﺳﺎﻣﻲ‪ ،‬ﭼﻨﺎﻧﻜﻪ در اﻳﻦ ﺑﻴﺖ ﺧﺎﻗﺎﻧﻲ ))ﺣﺎﺻﻞ ﺷﺶ روز ﻛﻮن‪ ،‬ﭼﻮن ﺗﻮﻳﻲ از ﻫﻔﺖ‬

‫و ﻋﻄﺎر ﻣﻲ ﮔﻮﻳﺪ‪:‬‬ ‫ﺳﭙﻬﺮ اژدﻫﺎﻳﻲ اﺳﺖ ﺑﺎ ﻫﻔﺖ ﺳﺮ‬

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‫ﭼﺮخ‪/‬ﺑﺮ ﺗﻮ ﺳﺰد ﺗﺎ اﺑﺪ‪ ،‬ﻣﻠﻚ ﺟﻬﺎن ﻣﺨﺘﺘﻢ((‪ ،‬ﻳﺎ اﻳﻦ ﺑﻴﺖ ﻋﻄﺎر ))ﻛﺮد در ﺷﺶ روز ﻫﻔﺖ اﻧﺠﻢ ﭘﺪﻳﺪ‪/‬وز دو‬

‫ﺑﻪ زﺧﻤﻲ ﻛﻲ اﻧﺪازد از ﻣﻪ ﺳﭙﺮ‬

‫و اﻳﻦ ﻳﻜﻲ دﻳﮕﺮ از ﻧﻤﻮﻧﻪ ﻫﺎي ﺗﻄﻮر ﺗﺼﺎوﻳﺮ ﻗﺪﻳﻤﻲ ﺗﺮ و آﻓﺎﻗﻲ ﺗﺮ ﺷﻌﺮ ﻓﺎرﺳﻲ و ﻣﺴﺘﺤﺎﻟﻪ و اﻧﻔﺴﻲ ‪-‬ﺗﻤﺜﻴﻠﻲ‬

‫ﺣﺮف آورد ﻧﻪ ﻃﺎرم ﭘﺪﻳﺪ((‪)) .‬ﻫﻔﺖ(( ﺗﻌﺪاد آﺳﻤﺎﻧﻬﺎ و اﻓﻼك اﺳﺖ ﻛﻪ در ﺟﻬﺎن ﺷﻨﺎﺳﻲ ﺑﻄﻠﻤﻴﻮﺳﻲ ﻣﻮرد‬

‫ﺷﺪن آﻧﻬﺎ در اﻋﺼﺎر ﺟﺪﻳﺪﺗﺮ اﺳﺖ‪ ،‬ﻛﻪ ﺑﻪ ﻧﻮﺑﻪ ﺧﻮد ﻧﺸﺎﻧﮕﺮ ﻋﺮﻳﺾ ﺗﺮ ﺷﺪن ﺷﻜﺎف ﻧﺎﺧﻮﺷﺎﻳﻨﺪ ﻣﻴﺎن‬

‫ﺗﺎﻛﻴﺪ ﺑﻮد‪ .‬ﻣﻄﺎﺑﻖ اﻋﺘﻘﺎد ﮔﺬﺷﺘﮕﺎن‪ ،‬آﺳﻤﺎﻧﻬﺎ و اﻓﻼك در رﻗﻢ زدن ﺳﺮﻧﻮﺷﺖ ﺑﺸﺮ ﻧﻘﺶ ﻗﺎﺑﻞ ﺗﻮﺟﻬﻲ اﻳﻔﺎ ﻣﻲ‬

‫))ﻓﻴﺰﻳﻚ(( و ))ﻣﺘﺎﻓﻴﺰﻳﻚ(( در ﻣﻌﺮﻓﺖ ﺷﻨﺎﺳﻲ ﻋﻤﻮﻣﻲ اﻳﺮاﻧﻴﺎن ﻣﻲ ﺑﺎﺷﺪ‪.‬‬

‫ﻛﺮدﻧﺪ‪ .‬ﻣﻔﺎﻫﻴﻢ ﻃﺎﻟﻊ ﺳﻌﺪ و ﻧﺤﺲ و ﻓﺎل ﻣﻨﺘﺴﺐ ﺑﻪ ﺳﺘﺎرﮔﺎن و اﻓﻼك رﻳﺸﻪ در ﻫﻤﻴﻦ ﻃﺮز ﺗﻔﻜﺮ دارﻧﺪ‪.‬‬

‫‪ 34‬ﻛﻤﺒﻮد‪ ،‬ﻛﺎﺳﺘﻲ‬

‫))ﻫﻨﻴﻨﮓ ﻣﻌﺘﻘﺪ اﺳﺖ ﻛﻪ اﻳﺮاﻧﻴﺎن در اﺻﻞ ﭼﻬﺎر آﺳﻤﺎن را ﺑﺎزﻣﻲ ﺷﻨﺎﺧﺘﻪ اﻧﺪ‪ (1) :‬ﺳﭙﻬﺮ اﺧﺘﺮان‪ (2) ،‬ﻣﺎه ﭘﺎﻳﻪ‪،‬‬

‫‪ 35‬ﻋﺮوﺳﻚ‪ ،‬اﺳﺒﺎب ﺑﺎزي‬

‫)‪ (3‬ﺧﻮرﺷﻴﺪ ﭘﺎﻳﻪ و )‪ (4‬ﺑﻬﺸﺖ‪ ،‬ﻛﻪ ﮔﺎه اﺑﺮﭘﺎﻳﻪ ﻧﻴﺰ ﺑﺪان اﻓﺰوده ﻣﻲ ﺷﺪه اﺳﺖ‪ .‬اﻣﺎ اﺿﺎﻓﻪ ﺷﺪن ﭘﺎﻳﻪ ﻫﺎي‬

‫‪ 36‬ﻳﻌﻨﻲ ﺑﺎزي ﻧﻴﺴﺖ‪ ،‬در ﺣﻘﻴﻘﺖ ﺑﺴﻴﺎر ﻫﻢ ﺟﺪي اﺳﺖ! ﻛﻪ ﻛﻨﺎﻳﻪ ﻇﺮﻳﻔﻲ دارد‪.‬‬

‫آﺳﻤﺎن ﺗﺎ ﻫﻔﺖ ﭘﺎﻳﻪ ﺑﻪ ﺳﺒﺐ ﻋﻼﻗﻪ ﺑﻪ ﺗﻘﺪس ﻋﺪد ﻫﻔﺖ و اﻋﺘﻘﺎد ﺑﻪ ﻣﺒﺎرك ﺑﻮدن آن و ﻧﻴﺰ ﺑﻪ ﺳﺒﺐ ﻧﻔﻮذ ﻋﻤﻴﻖ‬

‫‪ 37‬ﺗﺮﺟﻤﻪ اي ﻛﻪ ﻓﻴﺘﺰﺟﺮاﻟﺪ ﺑﻪ اﻧﮕﻠﻴﺴﻲ از اﻳﻦ ﺗﺮاﻧﻪ اراﺋﻪ ﻛﺮده ﻓﻴﻠﻢ ))ﻣﻬﺮ ﻫﻔﺘﻢ(( ﻛﺎرﮔﺮدان ﻓﻘﻴﺪ ﺳﻮﺋﺪي‬

‫ﻧﺠﻮم ﺑﺎﺑﻠﻲ اﺳﺖ ﺑﺮ ﻧﺠﻮم اﻳﺮاﻧﻲ‪ .‬و ﺑﺪﻳﻦ ﮔﻮﻧﻪ اﺳﺖ ﻛﻪ ﻫﻔﺖ آﺳﻤﺎن )در ﺑﺮاﺑﺮ ﭼﻬﺎر ﻳﺎ ﭘﻨﺞ آﺳﻤﺎن ﺑﻨﺎ ﺑﻪ‬

‫اﻳﻨﮕﻤﺎر ﺑﺮﮔﻤﺎن را ﺑﻪ ﺧﺎﻃﺮ ﻣﻲ آورد ﻛﻪ در آن ﻣﺮگ ﺑﺎ ﺷﻮاﻟﻴﻪ اي ﺑﺮ ﺳﺮ زﻧﺪﮔﻲ اش ﺷﻄﺮﻧﺞ ﺑﺎزي ﻣﻲ ﻛﻨﺪ‪.‬‬

‫اﻋﺘﻘﺎد ﻗﺪﻳﻢ( ﺑﻪ وﺟﻮد ﻣﻲ آﻳﺪ )ﻣﻬﺮداد ﺑﻬﺎر‪ ،‬ﭘﮋوﻫﺸﻲ در اﺳﺎﻃﻴﺮ اﻳﺮان‪ .(((66 ،‬ﻛﻪ ﺑﺎ اﺳﺘﻨﺎد ﺑﻪ اﻳﻦ ﮔﻔﺘﻪ ﭼﻬﺎر‬ ‫و ﭘﻨﺞ ﻫﻢ ﻣﻤﻜﻦ اﺳﺖ دﺧﻠﻲ ﺑﻪ آﺳﻤﺎن داﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ ،‬و ﻣﻔﻬﻮم ﺷﺶ ﻫﻢ ﺷﺎﻳﺪ ﭼﻴﺰ دﻳﮕﺮي ﺑﺎﺷﺪ‪ .‬درﺑﺎره‬

‫ﺑﻪ ﻳﺎدداﺷﺖ ﺗﺮﺟﻤﻪ اﻧﮕﻠﻴﺴﻲ اﻳﻦ ﺗﺮاﻧﻪ ﻣﺮاﺟﻌﻪ ﻛﻨﻴﺪ‪.‬‬ ‫‪38‬‬

‫ﻫﻔﺖ‪ ،‬ﺷﻤﻴﺴﺎ ﻧﻈﺮ ﻣﻌﺮوف دﻳﮕﺮي را ﺑﻴﺎن ﻣﻲ ﻛﻨﺪ‪)) :‬آﺑﺎي ﺳﺒﻌﻪ ﻳﺎ آﺑﺎي ﻋﻠﻮي‪ ،‬ﻛﻨﺎﻳﻪ از ﻫﻔﺖ ﺳﻴﺎره ﻛﻪ ﺑﻪ‬

‫‪‘If the world was faithful to its inhabitants’, meaning ‘not to make them‬‬ ‫’‪perish‬‬

‫ﻋﻘﻴﺪه ﻗﺪﻣﺎ در ﺳﺮﻧﻮﺷﺖ اﻧﺴﺎن دﺧﻴﻞ ﺑﻮدﻧﺪ‪ ....‬اﻳﻦ ﻫﻔﺖ ﺳﻴﺎره ﻧﻘﺶ ﭘﺪر را داﺷﺘﻨﺪ و از ازدواج آﻧﻬﺎ ﺑﺎ ﭼﻬﺎر‬

‫‪202‬‬

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The original version of this Song, as well as those of many others, according to the olden pseudo-formalistic critical essays and books on Farsi poetry, has the ‘defect’ of repeating the rhyme-word in two lines. Thus, regarding the fact that the repetition of the rhyme in formal poetry was considered a defect, we can partially conclude, also with respect to other formal and historical features which I have mentioned or to which I will point later, that this genre in effect must have been primarily rooted in the oral tradition of Iranian poetry and not the formal poetry which was certainly critiqued by such relentless and hard-nosed commentators as Rashideddin Vatvat and Shams Qeis Razi. This Song has also been attributed to Kamaleddin Esma’iil Esfahani (13th century). 40 Also attributed to Attar ‫ اﻳﻦ ﺗﺮاﻧﻪ و ﺑﺴﻴﺎري ﺗﺮاﻧﻪ ﻫﺎي دﻳﮕﺮ ﺗﻜﺮار ﻗﺎﻓﻴﻪ دارﻧﺪ )اﻣﻴﺪوارم ﻛﻪ ﺑﻌﺪا اﺳﺘﺎدي ﻧﻔﺮﻣﺎﻳﻨﺪ ﻛﻪ ﭼﻮن ﻳﻜﻲ‬41

The overall tone of this Song and also its employment of the conceptual imagery such as the ‘Veil’ (in common mystic idiom, the Veil denotes the vagueness that obscures the supposed transcendental truth behind the seeming truth of the tangible world) suggest that this piece might constitue a critique of the mystical epistemology which was and somehow still is prevalent in Iran. However, it might also imply the veil used by the conjurers in order to make things vanish for the amusement of people. This image, likewise, reminds one of the Elizabethans’ and the Jacobeans’ preoccupation with the Playhouse Imagery and the representation of the stage and play as metaphors of the world and life. For instance, see Walter Ralegh’s On the Life of Man (What is our life? A play of passion), Philip

Sidney’s Sonnet 69 (O joy, too high for my low style to show), Edmund Spenser’s Sonnet 54 (Of this worlds theatre in which we stay), and Shakespeare’s Sonnet 23 (As an unperfect actor on the stage). See also FitzGerald’s translation: There was a Door to which I found no Key: There was a veil past which I could not see: Some little Talk awhile of ME and THEE There seemed – and then no more of THEE and ME. This Song has also been attributed to Abolhasan Xaraqani and Abusa’iid Abolxeir, both of them well-known mystics of the 10th century Iran. 47 Return 48 Mulla Sadra (c. 1572-1640), the Islamic philosopher who is to a great extent responsible for the engineering of the philosophical doctrines of the modern Shiite branch of Islam in Iran, and who gives many references to the Songs in his works, maintains a very famous concept in his transcendental philosophy known as the Trans-substantial Motion, “which is the basis of his explanation of many of the most difficult problems of traditional philosophy including the creation of the world and the whole meaning of becoming in light of the Immutable and the Eternal. As is well-known, earlier Islamic philosophers, especially Avicenna, had followed the Aristotelian natural philosophy in accepting motion only in the categories of quantity, quality, situation, and place, all of which are accidents and denied explicitly the possibility of motion in the category of substance. Avicenna’s main argument was that motion requires a subject that moves and if the very substance of an object changes through trans-substantial motion, then there will be no subject for motion. Mulla Sadra opposed this thesis directly by saying that any change in the accidents of an object requires in fact a change in its substance since accidents have no existence independent of substance. He asserts that there is always “some subject” for motion even if we are unable to fix it and delimit it logically. Mulla sadra asserts that the whole of the physical and even psychic or imaginal universes which extend up to the Immutable or luminous Archetypes are in constant motion or becoming. Were it to be otherwise, the effusion of Being (from God) could not reach all things (partly extracted from History of Islamic Philosophy by Nasr & Leaman (649)).” However, all this doctrine succeeds in delivering, in simple terms, is the supposition that the Creator is forced to create (the flowing of the Creator implies the bringing to life of the lower-level possibilities of living) only because of an effusive peculiarity or rather malfunction in his own nature!

203

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39

‫ﺻﻔﺖ اﺳﺖ و دﻳﮕﺮي ﻓﻌﻞ ﭘﺲ ﺗﻜﺮار آﻧﻬﺎ ﺗﻜﺮار ﻗﺎﻓﻴﻪ ﻣﺤﺴﻮب ﻧﻤﻲ ﺷﻮد( ﻛﻪ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ اﺳﻨﺎد و ﻛﺘﺐ ﻧﻘﺪ‬ ‫ ﺗﻜﺮار‬،‫ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ‬.‫ﺷﺒﻪ ﻓﺮﻣﺎﻟﻴﺴﺘﻲ ﻗﺪﻳﻢ ﻫﻤﭽﻮن اﻟﻤﻌﺠﻢ ﺧﻄﺎﻳﻲ ﻧﺎﺑﺨﺸﻮدﻧﻲ در ﺷﻌﺮ ﺑﻪ ﺷﻤﺎر ﻣﻲ رﻓﺖ‬ ‫ﻗﺎﻓﻴﻪ – ﻛﻪ ﻣﻲ ﺗﻮاﻧﺪ ﻧﺘﻴﺠﻪ اﺷﺘﺒﺎه ﻧﺴﺎﺧﺎن در ﻫﻨﮕﺎم ﻧﺴﺨﻪ ﺑﺮداري ﻧﻴﺰ ﺑﻮده ﺑﺎﺷﺪ – ﺷﺎﻳﺪ در اﺻﻞ در ﻫﻨﮕﺎم ﺑﻪ‬ ‫ ﻛﻪ در اﻳﻦ ﺻﻮرت ﻳﻜﻲ از ﻧﺸﺎﻧﻪ ﻫﺎي ﺗﻌﻠﻖ‬،‫ﻛﺘﺎﺑﺖ درآﻣﺪن ﺷﻌﺮ ﺑﺮاي اوﻟﻴﻦ ﺑﺎر ﻫﻢ ﺑﻪ ﻫﻤﻴﻦ ﺷﻜﻞ ﺑﻮده‬ ‫)اوﻟﻴﻪ( ژاﻧﺮ ﺗﺮاﻧﻪ ﺑﻪ ﺳﻨﺖ ﺷﻔﺎﻫﻲ ادﺑﻴﺎت ﻓﺎرﺳﻲ و در ﻧﺘﻴﺠﻪ رد ﺻﻼﺣﻴﺖ آن در دﻧﻴﺎي ﺷﻌﺮ رﺳﻤﻲ ﻧﻮﺷﺘﺎري‬ .‫اﺳﺖ ﻛﻪ ﻗﻄﻌﺎ ﺑﻪ ﺳﺨﺘﻪ ادﻳﺒﺎن ﻣﻼﻧﻘﻄﻲ زﻣﺎن ﺳﻨﺠﻴﺪه ﻣﻲ ﺷﺪه‬ ‫ ﻣﻨﺶ‬،‫ ﻃﺒﻴﻌﺖ‬42 ‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻛﻤﺎل اﻟﺪﻳﻦ اﺳﻤﺎﻋﻴﻞ اﺻﻔﻬﺎﻧﻲ‬43 ‫ ﻓﺮش‬44 ‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻋﻄﺎر ﻧﻴﺸﺎﺑﻮري‬45 46

                                                                                                                                   

                                                                                                                                   

Now this quasi-Neo-Platonic stance of Mulla Sadra’s has a cruder and more immediate mythical version as well: “The people’s Frawahar (their transcendental essence according to Zoroastrianism), at the moment of their coming into being, in communing and counsel with Hormozd (the good god), consciously and willingly chose to come to the world to assist him in his fight against Ahriman (the evil god). Therefore, through his conscious choice to bear the pain of birth, life, and death, man guaranteed Hormozd’s victory over his adversary (Mehrdad Bahar, A Study of Persian Myths, 69)”. Or so we are told that this coming into being is ‘transcendentally’ considered to be conscious and out of will, though in reality it proves vice versa, or rather more properly, undecided. Incidentally, the first hemistich of this Song which resentfully deprecates the obligation through which the Maker was forced to create man perhaps reflects a critique of such an attitude. Of course, with regard to the fact that this Song is extant in many early sources such as the Bodleian and the Tarabxaneh which were supposedly inscribed before the era of Mulla Sadra, it is very unlikely that this Song be an answer to his concept of Transsubstantial Motion, and probably it criticizes some such attitude on the whole which has been prevalent in Iran even before Mulla Sadra turned it to a pseudo-philosophical doctrine. Now Xayyam who by the strict attestation of the olden historical sources and also the philosophical treatises attributed to him was a pure (in sense of logic-based) philosopher who only believed in the possibility of knowledge through empirical philosophy and was purportedly a follower of the greatest Islamic materialist philosopher Ebn Sina who interpreted creation in some kind of Aristotelian ontological materialism, could not have possibly believed in such a transcendental pattern of creation in the first place to compose such a piece of poetry in regard to that attitude. This instance reveals the verity that only with respect to some superficial similarities, whether in structures or in concepts, one cannot attribute through the sheer force of enthusiasm a saying or a piece of writing to a person as ‘genuine’ and dismiss other pieces through the imperative of taste under the name of ‘fake’; for as a matter of fact this Song in many seemingly reliable sources has been attributed to Xayyam who according to the scanty historical documents must have believed in its contrary or at least in something very different from it. By the way, in one of the not so famous versions of the Songs I saw Ezterab (tension) instead of Ezterar (perforce) that wholly throws the process of the interpretation of this Song into another direction, which in turn demostrates the fact that to what extent subjective could be the giving out of judgements

on the genuineness or fakeness of a text and also the interpretation of a text with sole reliance upon the manuscripts which have undergone constant modifications – both at the level of words and concepts – in the course of history, and that this process at best and in the most optimistic view could only prove relative. Interestingly, this generally unscholarly and mainly prejudiced process of attributing exemplary words and acts by pseudo-historical sources to famous people which leads to the producing of the hardy, authoritative interpretations by the later generations that in turn consolidate into the GodOrdained norms of assessing and implementing today’s attitude and behavior purports to have a much more serious precedent in the Shiite Narrative Tradition. Shiism, the official doctrine of the state in contemporary Iran, at a practical and everyday level (which matters the most politically speaking) has largely been constructed around the center of the tradition of such mostly fabricated anecdotes, accounts, and exempla attributed to the Prophet or the Imams or the secondary and tertiary etc. religious authorities which are collectively called the ‘Revayats’ (narratives) that constitute one of the major five sources of jurisprudence in Iran’s social (actually religious) law. Expectedly, the treacherously pragmatic resort to the precedent of these Revayats appeared to be one of the chief strategies of the totalitarian regime in Iran in order to crush the recent pro-democratic socalled Green Movement. ‫ زﻣﺎن ﺑﻲ آﻏﺎز‬49

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‫ ﻛﻠﻴﺖ اﻳﻦ ﺗﺮاﻧﻪ و ﺑﻪ ﺧﺼﻮص اﺷﺎره آن ﺑﻪ ﭘﺮده ﭼﻨﻴﻦ ﻣﻲ ﻧﻤﺎﻳﺪ ﻛﻪ اﻳﻦ ﺗﺮاﻧﻪ اﺣﺘﻤﺎﻻ ﺧﺮده اي ﺑﺎﺷﺪ ﺑﻪ‬50 ‫ اﻟﺒﺘﻪ ﺷﺎﻳﺪ ﻟﺰوﻣﺎ ﻫﻢ ﭼﻨﻴﻦ ﻧﺒﺎﺷﺪ و‬.‫ﻣﻌﺮﻓﺖ ﺷﻨﺎﺳﻲ ﻋﺮﻓﺎﻧﻲ ﻛﻪ ﺑﺎزار آن از دﻳﺮﺑﺎز در اﻳﺮان ﮔﺮم ﺑﻮده و ﻫﺴﺖ‬ ‫ﭘﺮده ﺑﻪ ﻣﻌﻨﺎي دﻳﮕﺮي ﻫﻤﭽﻮن ﭘﺮده ﺷﻌﺒﺪه ﺑﺎزان ﺑﺎﺷﺪ ﻛﻪ ﺑﺎز ﻫﻢ از ﻃﺮﻳﻖ ﺧﻮاﻧﺸﻲ دﻳﮕﺮ ﺑﺎ ﻛﻠﻴﺖ ﺗﺮاﻧﻪ ﺟﻮر‬ ‫ ﭼﻴﺰﻫﺎي ﻋﺠﻴﺐ ﺑﻴﺮون ﻣﻲ آوردﻧﺪ و‬،‫ ))ﺷﻌﺒﺪه ﮔﺮان ﭘﺮده اي ﻣﻲ آوﻳﺨﺘﻨﺪ و از ﭘﺸﺖ آن‬:‫درﻣﻲ آﻳﺪ‬ ‫ ﻓﺮﻫﻨﮓ‬،‫اﺻﻄﻼح ﭘﺮده از ﻛﺎر ﺑﺮداﺷﺘﻦ ﺑﻪ ﻣﻌﻨﺎي اﻓﺸﺎي راز ﻧﺎﻇﺮ ﺑﻪ اﻳﻦ ﻣﻌﻨﻲ اﺳﺖ )ﺳﻴﺮوس ﺷﻤﻴﺴﺎ‬ ‫ از ﻗﻀﺎ ﻣﻮﺗﻴﻒ ﭘﺮده – ﺑﺎ ارﺟﺎع ﺑﻪ ﭘﺮده ﻧﻤﺎﻳﺸﺨﺎﻧﻪ – از ﭘﺮﻃﺮﻓﺪارﺗﺮﻳﻦ ﺗﺼﺎوﻳﺮ ادﺑﻴﺎت‬.(((228 ،‫اﺻﻄﻼﺣﺎت‬ ‫ اﻧﮕﻠﺴﺘﺎن ﺑﻮد و ﺷﻜﺴﭙﻴﺮ وﺑﺴﻴﺎري دﻳﮕﺮ ﺷﻌﺮﻫﺎﻳﻲ ﺑﺎ ﻣﻮﺗﻴﻒ ﭘﺮده دارﻧﺪ )ﺑﻪ ﻳﺎدداﺷﺖ ﺗﺮﺟﻤﻪ‬17 ‫ و‬16 ‫ﻗﺮن‬ .(‫اﻧﮕﻠﻴﺴﻲ اﻳﻦ ﺗﺮاﻧﻪ ﻣﺮاﺟﻌﻪ ﻛﻨﻴﺪ‬ .‫اﻳﻦ ﺗﺮاﻧﻪ ﺑﻪ اﺑﻮاﻟﺤﺴﻦ ﺧﺮﻗﺎﻧﻲ و اﺑﻮﺳﻌﻴﺪ اﺑﻮاﻟﺨﻴﺮ ﻛﻪ ﻫﺮ دو از ﻋﺎرﻓﺎن ﻧﺎﻣﺪار اﻳﺮان ﺑﻮدﻧﺪ ﻧﻴﺰ ﻣﻨﺴﻮب اﺳﺖ‬ ‫( ﻛﻪ ﺗﺎ ﻣﻴﺰان زﻳﺎدي ﺑﻨﻴﺎﻧﮕﺰار ﺟﺮﻳﺎن ﻃﺮاﺣﻲ اﻧﺪﻳﺸﻪ ﻫﺎي ﻓﻠﺴﻔﻲ ﺷﻴﻌﻪ ﻣﺪرن در‬1050- 979) ‫ ﻣﻼ ﺻﺪرا‬51 ‫اﻳﺮان ﻣﻲ ﺑﺎﺷﺪ و اﺗﻔﺎﻗﺎ در آﺛﺎرش ﺑﺴﻴﺎر ﺑﻪ ﺗﺮاﻧﻪ ﻫﺎ ارﺟﺎع ﻣﻲ دﻫﺪ در ﻓﻠﺴﻔﻪ اﺷﺮاق ﮔﺮاﻳﺎﻧﻪ ﺧﻮد ﻣﻔﺎﻫﻴﻤﻲ را‬

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‫ﺗﺮاﻧﻪ ﻫﺎ ﺑﻪ ﻃﻮر ﺧﺎص و در ﻣﻠﻐﻤﻪ اﻧﺘﺴﺎب اﻋﻤﺎل و رواﻳﺎت ﺑﻪ اﻓﺮاد ﺗﺎرﻳﺨﻲ ﺑﻪ ﻃﻮر ﻋﺎم ﻛﻪ در ﻧﺘﻴﺠﻪ ﺑﻪ‬

‫ﻣﻲ ﭘﺮوراﻧﺪ ﺑﻪ ﻧﺎﻣﻬﺎي ))ﺣﺮﻛﺖ ﺟﻮﻫﺮي(( و ))ﻗﺎﻋﺪه اﻣﻜﺎن اﺷﺮف(( ﻛﻪ ﺑﺪان وﺳﻴﻠﻪ ﻗﺼﺪ ﺗﺒﻴﻴﻦ و ﺗﻮﺟﻴﻪ‬

‫ﺗﻔﺴﻴﺮﻫﺎﻳﻲ ﻣﻲ اﻧﺠﺎﻣﺪ ﻛﻪ در ﻧﻬﺎﻳﺖ ﻣﻌﻴﺎر ﺧﺪاداد ﻗﻀﺎوت اﻋﻤﺎل اﻣﺮوز ﻗﺮار ﻣﻲ ﮔﻴﺮﻧﺪ ﻓﺮاوان اﺳﺖ‪ ،‬و اﻳﻦ‬

‫آﻓﺮﻳﻨﺶ را دارد‪ .‬ﻣﻄﺎﺑﻖ اﻳﻦ ﻣﻔﺎﻫﻴﻢ‪ ،‬ﺗﻤﺎم دﻧﻴﺎي ﻓﻴﺰﻳﻜﻲ و روﺣﺎﻧﻲ ﺑﻪ واﺳﻄﻪ ﺳﻴﻼن ﻓﻴﺾ ﭘﺮوردﮔﺎر و از‬

‫ﻣﻮرد ﺗﻨﻬﺎ ﺑﻪ ﻋﻨﻮان ﻣﺸﺖ ﻧﻤﻮﻧﻪ ﺧﺮوار ﻣﻮرد ﺑﺤﺚ و ﺑﺮرﺳﻲ ﻗﺮار ﮔﺮﻓﺖ‪.‬‬

‫ﻃﺮﻳﻖ ﻗﺎﻋﺪه اﻣﻜﺎن اﺷﺮف ﻛﻪ اﺑﺘﺪا ﻓﻴﺾ را ﺑﻪ ﻣﻮﺟﻮدات ﺑﺎ ﻟﻴﺎﻗﺖ ﺑﻴﺸﺘﺮ ﺑﺮاي ﻫﺴﺖ ﺷﺪن ﻣﻲ رﺳﺎﻧﺪ ﺑﺎ ﺣﻔﻆ‬

‫ﻗﺎﺑﻞ ذﻛﺮ اﺳﺖ ﻛﻪ ﻣﻦ در ﻧﺴﺨﻪ اي ﻧﻪ ﭼﻨﺪان ﻣﺸﻬﻮر ﺑﻪ ﺟﺎي اﺿﻄﺮار ﻛﻠﻤﻪ ))اﺿﻄﺮاب(( دﻳﺪم ﻛﻪ ﺗﻔﺴﻴﺮ‬

‫ﺟﻮﻫﺮ اﺻﻠﻲ ﺧﻮد ﻣﺪام در ﺣﺎل ﺗﻐﻴﻴﺮ و ﺗﺤﻮل و ))ﺷﺪن(( اﺳﺖ‪ .‬اﮔﺮ ﭼﻨﻴﻦ ﻧﺒﻮد‪ ،‬ﻓﻴﺾ ﭘﺮوردﮔﺎر )ﻛﻪ ﺑﻪ‬

‫ﺗﺮاﻧﻪ را ﻛﻼ ﺑﻪ ﻣﺴﻴﺮ دﻳﮕﺮي ﻣﻲ اﻧﺪازد و ﻧﺸﺎن دﻫﻨﺪه اﻳﻦ ﺣﻘﻴﻘﺖ اﺳﺖ ﻛﻪ ﻗﻀﺎوت ذﻫﻨﻲ )ﺳﺎﺑﺠﻜﺘﻴﻮ(‬

‫واﺳﻄﻪ ﻛﻤﺎل ﻣﻄﻠﻖ ﺑﻮدﻧﺶ ﻣﺠﺒﻮر ﺑﻪ ﺟﺎري ﺷﺪن اﺳﺖ( ﺳﻴﻼن ﻧﻤﻲ ﻳﺎﻓﺖ و در ﻧﺘﻴﺠﻪ ﺟﻬﺎن از ﻫﺴﺘﻲ ﺳﺎﻗﻂ‬

‫درﺑﺎره اﺻﺎﻟﺖ ﻳﺎ ﻋﺪم اﺻﺎﻟﺖ ﻳﻚ ﻣﺘﻦ و ﺑﻪ ﻃﻮر ﻛﻞ ﺗﻔﺴﻴﺮ ﻣﻌﻨﺎي ﻳﻚ ﻣﺘﻦ ﺑﺎ اﺗﻜﺎ ﺑﻪ ﻧﺴﺨﻲ ﻛﻪ در ﮔﺬار‬

‫ﻣﻲ ﺷﺪ‪ .‬ﺑﻪ ﻋﺒﺎرﺗﻲ دﻳﮕﺮ‪ ،‬ﭘﺮوردﮔﺎر ﺻﺮﻓﺎ ﺑﻪ ﺧﺎﻃﺮ ﺧﺼﻮﺻﻴﺘﻲ ﻛﻪ در ﻃﺒﻴﻌﺖ ﺧﻮد وي ﻣﻮﺟﻮد اﺳﺖ‬

‫ﺗﺎرﻳﺦ ﺑﺎرﻫﺎ و ﺑﺎرﻫﺎ دﺳﺘﺨﻮش ﺗﻐﻴﻴﺮ و ﺗﺤﻮل – ﭼﻪ ﻛﻼﻣﻲ و ﭼﻪ ﻣﻔﻬﻮﻣﻲ – ﺷﺪه اﻧﺪ ﺗﺎ ﭼﻪ اﻧﺪازه ﻏﻴﺮﻣﻨﻄﻘﻲ‬

‫))اﺟﺒﺎر(( ﺑﻪ آﻓﺮﻳﻨﺶ دارد! از ﻗﻀﺎ اﻳﻦ ﻓﻠﺴﻔﻪ ﺷﺒﻪ ﻧﻮ ‪-‬اﻓﻼﻃﻮﻧﻲ ﻣﻼﺻﺪرا ﺷﺒﻪ ﻣﻌﺎدل اﺳﺎﻃﻴﺮي ﺑﻲ ﭘﺮده ﺗﺮي‬

‫و در ﺧﻮﺷﺒﻴﻨﺎﻧﻪ ﺗﺮﻳﻦ ﺣﺎﻟﺖ ))ﻧﺴﺒﻲ(( اﺳﺖ‪.‬‬

‫ﻫﻢ دارد‪)) :‬ﻓﺮوﻫﺮ ﻣﺮدم‪ ،‬ﺑﻪ ﻫﻨﮕﺎم ﺧﻠﻘﺖ‪ ،‬در ﺳﮕﺎﻟﺶ ﺑﺎ ﻫﺮﻣﺰد آﮔﺎﻫﺎﻧﻪ ﭘﺬﻳﺮﻓﺖ و ﺑﻪ اﺧﺘﻴﺎر ﺧﻮد ﺑﻪ ﮔﻴﺘﻲ‬

‫‪ 52‬در ﻣﻮزه ﺳﺎﻻرﺟﻨﮓ ﺣﻴﺪرآﺑﺎد دﻛﻦ در ﻫﻨﺪوﺳﺘﺎن ﻣﻴﻨﻴﺎﺗﻮري از دوره ﻣﻐﻮل دﻳﺪم ﻛﻪ اﻳﻦ ﺗﺮاﻧﻪ را ﺗﺼﻮﻳﺮ‬

‫آﻣﺪ ﺗﺎ ﺑﺎ ﺗﻦ ﭘﺘﻴﺎره ﺑﺠﻨﮕﺪ‪ .‬او داﻧﺴﺘﻪ ﺑﺎ اﻳﻦ ﮔﺰﻳﻨﺶ‪ ،‬ﺑﺎ ﻗﺒﻮل رﻧﺞ زادن و زﻳﺴﺘﻦ و ﻣﺮدن‪ ،‬ﭘﻴﺮوزي ﻫﺮﻣﺰد و‬

‫ﻛﺮده اﺳﺖ‪ .‬در ﺟﺎﻳﻲ ﻛﻪ ﻣﻴﻨﻴﺎﺗﻮرﻫﺎي اﺧﻴﺮ اﻳﺮاﻧﻲ و اروﭘﺎﻳﻲ ‪-‬آﻣﺮﻳﻜﺎﻳﻲ ﻛﻪ ﺗﺮاﻧﻪ ﻫﺎ را ﺗﺼﻮﻳﺮ ﻛﺮده اﻧﺪ ﻳﺎ‬

‫آﻓﺮﻳﻨﺶ او را ﺿﻤﺎن ﮔﺸﺖ )ﻣﻬﺮداد ﺑﻬﺎر‪ ،‬ﭘﮋوﻫﺸﻲ در اﺳﺎﻃﻴﺮ اﻳﺮان‪.(((69 ،‬‬

‫آﻧﻬﺎ را ﻫﻤﺮاﻫﻲ ﻛﺮده اﻧﺪ ﻣﻌﻤﻮﻻ ﺑﻪ ﺗﻔﺴﻴﺮﻫﺎي ﺗﺼﻮﻳﺮي ﺗﻤﺎﻣﺎ اروﺗﻴﻚ ﺗﻤﺎﻳﻞ دارﻧﺪ‪ ،‬ﭼﻨﺪ ﻣﻴﻨﻴﺎﺗﻮري ﻛﻪ ﻣﻦ‬

‫ﻣﺼﺮاع اول اﻳﻦ ﺗﺮاﻧﻪ ﻛﻪ ﻇﺎﻫﺮا ﺑﻪ اﺿﻄﺮار و ﺟﺒﺮ آﻓﺮﻳﻨﺶ ﺧﺮده ﻣﻲ ﮔﻴﺮد اﺣﺘﻤﺎﻻ اﻧﻌﻜﺎﺳﻲ اﻧﺘﻘﺎدي از‬

‫در ﻫﻨﺪوﺳﺘﺎن ﺑﻪ ﻫﻤﺮاه ﺑﺮﺧﻲ ﺗﺮاﻧﻪ ﻫﺎ دﻳﺪم ﺗﻔﺎﺳﻴﺮ اﮔﺰﻳﺴﺘﺎﻧﺴﻴﺎﻟﻴﺴﺘﻲ ﻋﻤﻴﻖ ﺗﺮي از آﻧﻬﺎ اراﺋﻪ ﻣﻲ ﻛﻨﻨﺪ‪ .‬ﺟﺎي‬

‫روﻳﻜﺮد ﻓﻮق اﻟﺬﻛﺮ ﺑﺎﺷﺪ‪ .‬اﻟﺒﺘﻪ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ اﻳﻦ ﺣﻘﻴﻘﺖ ﻛﻪ اﻳﻦ ﺗﺮاﻧﻪ در ﺑﺴﻴﺎري ﻣﻨﺎﺑﻊ ﻣﺘﻘﺪم ﻫﻤﭽﻮن ﻧﺴﺨﻪ‬

‫ﺑﺴﻲ ﺗﺎﺳﻒ اﺳﺖ ﻛﻪ اﻣﺮوزه ﺗﺮاﻧﻪ ﻫﺎ ﺑﻪ ﻃﻮر ﺧﺎص و ادﺑﻴﺎت ﻓﺎرﺳﻲ ﺑﻪ ﻃﻮر ﻋﺎم ﻋﻤﺪﺗﺎ ﺑﻪ ﻫﻮاي ﺑﺎزاري ﺷﺪن‬

‫ﺑﺎدﻟﻴﺎن و ﻃﺮﺑﺨﺎﻧﻪ ﻛﻪ ﺗﺤﺮﻳﺮﺷﺎن ﺑﻪ ﺗﺤﻘﻴﻖ ﺑﻪ زﻣﺎﻧﻲ ﺑﺴﻴﺎر دورﺗﺮ از ﻣﻼ ﺻﺪرا ﺑﺮﻣﻲ ﮔﺮدد ذﻛﺮ ﺷﺪه ﺑﻌﻴﺪ ﻣﻲ‬

‫و ﺑﻪ ﺟﻴﺐ زدن دوزار و ده ﺷﺎﻫﻲ ﺑﻴﺸﺘﺮ ﺗﺎ ﭼﻪ ﺣﺪ ﮔﺮﻓﺘﺎر ﺑﺮداﺷﺘﻬﺎي ﺳﻄﺤﻲ و ﺗﻚ ﺑﻌﺪي ﻛﻪ ﺑﻪ ﻟﻌﻨﺖ ﺧﺪا‬

‫ﻧﻤﺎﻳﺪ ﻛﻪ ﺻﺮف ﭘﺎﺳﺨﻲ ﺑﻪ ﻣﻔﻬﻮم ﺣﺮﻛﺖ ﺟﻮﻫﺮي وي ﺑﺎﺷﺪ‪ ،‬و اﺣﺘﻤﺎﻻ ﺑﻪ ﭼﻨﻴﻦ ﻃﺮز ﺗﻔﻜﺮي ﺑﻪ ﻃﻮر ﻛﻞ‬

‫ﻧﻤﻲ ارزد ﺷﺪه اﻧﺪ‪ ،‬وﮔﺮﻧﻪ در وﺟﻮد ﻣﺎﻳﻪ ﻫﺎي ﺛﺎﻧﻮي اروﺗﻴﻚ در ﺗﺮاﻧﻪ ﻫﺎ – ﭼﻪ ﻣﺘﻌﺎرف و ﭼﻪ ﻇﺎﻫﺮا‬

‫اﺷﺎره دارد ﻛﻪ از ﻗﻀﺎ در روزﮔﺎراﻧﻲ ﺑﺴﻴﺎر ﭘﻴﺶ از ﻣﻼﺻﺪرا ﻫﻢ در اﻳﺮان ﭼﻨﺪان ﻛﻤﻴﺎب ﻧﺒﻮده‪.‬‬

‫ﻏﻴﺮﻣﺘﻌﺎرف‪ ،‬ﭼﻨﺎﻧﻜﻪ ﺑﻪ ﻣﻮﻗﻊ ﺧﻮد اﺷﺎره ﺧﻮاﻫﻢ ﻛﺮد – ﻫﻴﭻ ﺗﺮدﻳﺪي و ﺑﻪ ﺣﻀﻮر آﻧﻬﺎ ﻫﻴﭻ اﻋﺘﺮاﺿﻲ ﻧﻴﺴﺖ‪.‬‬ ‫‪53‬‬

‫ﺣﺎل ﺧﻴﺎم ﻛﻪ ﺑﻪ ﺷﻬﺎدت ﺑﺴﻴﺎري از ﻣﻨﺎﺑﻊ ﻣﻌﺎﺻﺮش ﻓﻴﻠﺴﻮﻓﻲ ﺧﺎﻟﺺ و ﺗﺠﺮﺑﻪ ﮔﺮا و ﻣﻌﺘﻘﺪ ﺑﻪ روش ﻓﻠﺴﻔﻲ‬

‫)”‪The result, the benefit (as in the phrase “to no boot‬‬ ‫‪Also attributed to Baba Afzal Kashi‬‬ ‫‪55‬‬ ‫‪An ancient Persian city of prosperity, now in northern Afghanistan. Balx‬‬ ‫‪and Baghdad both were once deeply influenced by Persian culture. The idea‬‬ ‫‪is, although these two great cities lie a huge distance from each other,‬‬ ‫‪possibly at the two farthest edges of an empire, and although they are‬‬ ‫‪completely different from each other in every manner, in whichever place‬‬ ‫‪you are at the moment death comes to claim your life, there will be no jot of‬‬ ‫‪difference.‬‬ ‫‪56‬‬ ‫‪The cup of one’s life. “The ‘Pangan’ was a copper cup or bowl with a hole‬‬ ‫‪at the bottom which was placed in a container full of water, and in respect to‬‬ ‫‪the length of the time taken for it to fill, the passage of time was measured.‬‬ ‫‪Consequently, in association with the filling and emptying of the Pangan,‬‬ ‫‪the process of the passing of one’s days has been likened to the filling or the‬‬ ‫‪emptying of the cup (Sirous Shamissa, A Dictionary of Persian Literary‬‬ ‫‪References, 253)”.‬‬ ‫‪57‬‬ ‫‪Time, season‬‬

‫ﭼﻴﺰي ﺑﺴﻴﺎر ﻣﺘﻔﺎوت ﺑﺎ آن ﻣﻌﺘﻘﺪ ﺑﻮده ﺑﺎﺷﺪ‪ .‬و از اﻳﻦ دﺳﺖ ﺑﻲ دﻗﺘﻲ ﻫﺎي ﻣﺘﻌﺼﺒﺎﻧﻪ در آﺷﻔﺘﻪ ﺑﺎزار اﻧﺘﺴﺎب‬

‫‪208‬‬

‫‪207‬‬

‫‪54‬‬

‫ﺑﻮده و ﺑﻪ اﺟﻤﺎع ﺑﺴﻴﺎري و ﺑﺎ ﻣﺮاﺟﻌﻪ ﺑﻪ آﺛﺎر ﻓﻠﺴﻔﻲ ﻣﻨﺴﻮب ﺑﻪ وي ﺧﻮد را ﺷﺎﮔﺮد اﺑﻦ ﺳﻴﻨﺎ ﻣﻲ داﻧﺴﺘﻪ ﻛﻪ‬ ‫اﺟﺒﺎري در آﻓﺮﻳﻨﺶ و در ﻧﺘﻴﺠﻪ در ﺳﻴﻼن ﻓﻴﺾ ﺷﺒﻪ ﻧﻮ‪-‬اﻓﻼﻃﻮﻧﻲ ﻧﻤﻲ دﻳﺪه و ﺣﺮﻛﺖ را ﻣﻄﺎﺑﻖ ﻓﻠﺴﻔﻪ ﻃﺒﻴﻌﻲ‬ ‫و ))ﺑﻮدﺷﻨﺎﺧﺘﻲ(( ارﺳﻄﻮ اﻣﺮي ﻣﺎدي – و ﻧﻪ ﻣﻌﻨﻮي – ﺗﻔﺴﻴﺮ ﻣﻲ ﻛﺮده ﻣﺴﻠﻤﺎ ﺑﺎﻳﺪ از ﺑﺎور داﺷﺘﻦ ﺑﻪ اﻳﻦ ﻣﻔﻬﻮم‬ ‫ﺑﻪ دور ﺑﻮده ﺑﺎﺷﺪ‪ .‬اﺑﻦ ﺳﻴﻨﺎ ﻣﻌﺘﻘﺪ ﺑﻮد ﻛﻪ ﺣﺮﻛﺖ ﺑﺪون ﺗﺠﺴﺪ و ﺟﺴﻤﺎﻧﻴﺖ اﻣﻜﺎن ﭘﺬﻳﺮ ﻧﻴﺴﺖ‪ ،‬و اﮔﺮ ﺟﻮﻫﺮ‬ ‫ﺟﺴﻤﻲ در ﺣﻴﻦ ﺣﺮﻛﺖ دﺳﺘﺨﻮش ﺗﻐﻴﻴﺮ و ﺗﺤﻮﻟﻲ ﮔﺮدد‪ ،‬ﺑﻨﺎﺑﺮاﻳﻦ آن ﺟﺴﻢ دﻳﮕﺮ ﻫﻤﺎن ﺟﺴﻢ ﻗﺒﻠﻲ ﻧﻴﺴﺖ ﻛﻪ‬ ‫ﺑﺘﻮان ﺣﺮﻛﺘﻲ را ﺑﺪان ﻧﺴﺒﺖ داد‪ ،‬ﺑﻠﻜﻪ ﺗﺒﺪﻳﻞ ﺑﻪ ﺟﺴﻢ دﻳﮕﺮي ﺷﺪه )ﺑﺎ ﺗﺼﺮف و ﺗﻠﺨﻴﺺ از ﺗﺎرﻳﺦ ﻓﻠﺴﻔﻪ‬ ‫اﺳﻼﻣﻲ‪ ،‬ﺗﺪوﻳﻦ ﺳﻴﺪ ﺣﺴﻴﻦ ﻧﺼﺮ و اﻟﻴﻮر ﻟﻴﻤﻦ(‪.‬‬ ‫اﻳﻦ ﻧﻜﺘﻪ روﺷﻦ ﻣﻲ ﻛﻨﺪ ﻛﻪ ﺑﻪ ﺻﺮف ﺷﺒﺎﻫﺎت ﺳﻄﺤﻲ ﭼﻪ در ﻛﻼم و ﭼﻪ در ﻣﻔﻬﻮم ﻧﻤﻲ ﺗﻮان ﻧﻮﺷﺘﻪ ﻳﺎ ﮔﻔﺘﻪ‬ ‫اي را ﺑﺎ ﺷﺪت و ﺣﺪت ﺗﻤﺎم و ﺑﻪ ﺷﻴﻮه اي ﻏﻴﺮﻣﺤﻘﻘﺎﻧﻪ ﺑﺎ ﻋﻨﻮان ﭘﺮﻃﻤﻄﺮاق ))اﺻﻴﻞ(( ﺑﻪ ﻛﺴﻲ ﻧﺴﺒﺖ داد و‬ ‫ﺑﺎﻗﻲ را ﺑﺎ وﺻﻠﻪ ﻫﺎي ﻧﺎﺟﻮر ﺳﻠﻴﻘﻪ اي و ﺗﺤﺖ ﻋﻨﻮان ))ﻏﻴﺮ اﺻﻴﻞ(( ﻣﺮﺧﺺ ﻛﺮد‪ ،‬ﭼﻪ اﻳﻦ ﺗﺮاﻧﻪ در ﺑﺴﻴﺎري‬ ‫ﻣﻨﺎﺑﻊ ﻇﺎﻫﺮا ﻣﻌﺘﺒﺮ ﺑﻪ ﺧﻴﺎﻣﻲ ﻧﺴﺒﺖ داده ﺷﺪه ﻛﻪ ﺑﺎ ﺗﻜﻴﻪ ﺑﺮ آﺛﺎر و اﺳﻨﺎد ﻗﺎﻋﺪﺗﺎ ﺑﺎﻳﺪ ﺑﻪ ﻋﻜﺲ آن ﻳﺎ ﺣﺪاﻗﻞ ﺑﻪ‬

                                                                                                                                   

                                                                                                                                   

The Tavern is one of the well-known motifs in the Songs. Although many esoteric conjectures have been made about the true nature of this Tavern and the Wine it serves (refer to the conflicts among FitzGerald, Nicholas, and Graves), I would prefer, according to my researches on the subject, to see the Tavern as a metonymy of the whole world, as well as the physical tavern itself, where people come and go, there is always insubstantial hustle and bustle, and people are dizzy and lost and blank. As a matter of fact, FitzGerald’s opinion partially holds true in regard to the worldliness of the wine in most of the Songs. Have in mind something of T. S. Eliot’s bars in The Love Song of J. Alfred Prufrock and The Waste Land, who was also acutely interested in FitzGerald’s Rubaiyat (see D’Ambrosio, V. M. Eliot Possessed: T. S. Eliot and FitzGerald’s Rubaiyat. New York: New York University Press, 1989). This Song has also been attributed to Salman Savoji. ‫ ﭘﻴﺸﺎﻧﻲ‬59

‫ در اﻛﺜﺮ ﻧﺴﺨﻪ ﻫﺎ ))داس(( آﻣﺪه ﻛﻪ ﺑﺎ ﻓﻌﻞ ))ﺳﻮدن(( ﺑﻪ ﻣﻌﻨﻲ آﺳﻴﺎب ﻛﺮدن ﻣﺮاﻋﺎت اﻟﻨﻈﻴﺮ‬.‫ ﺳﻨﮓ آﺳﻴﺎ‬68

58

‫ﻧﻤﻲ ﺷﻮد و ﺑﻨﺎﺑﺮاﻳﻦ ﻣﻨﺎﺳﺐ ﺑﻪ ﻧﻈﺮ ﻧﻤﻲ رﺳﺪ‬ ‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻋﻄﺎر‬69 ‫ ﻳﻌﻨﻲ آﻧﻬﺎ ﻛﻪ ﻋﻼﻣﻪ دﻫﺮ ﺷﺪﻧﺪ‬،‫ ﻓﺮاﮔﻴﺮﻧﺪه‬70 ((‫ در ﺗﻤﺎم ﻧﺴﺨﻪ ﻫﺎﻳﻲ ﻛﻪ ﺑﻪ ﻧﻈﺮ ﺑﻨﺪه رﺳﻴﺪه ﺗﺎ آﻧﺠﺎ ﻛﻪ در ﺧﺎﻃﺮم ﻫﺴﺖ ))از روح ﺟﺪا ﺧﻮاﻫﻲ رﻓﺖ‬71 ‫ﺿﺒﻂ ﻛﺮده اﻧﺪ ﻛﻪ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ آﻧﭽﻪ در اداﻣﻪ ﺷﻌﺮ ﻣﻲ آﻳﺪ از ﻧﻈﺮ ﻣﻨﻄﻘﻲ ﻛﻪ ﻣﺎ آﻣﻮﺧﺘﻪ اﻳﻢ و ﻗﺮﻧﻬﺎﺳﺖ ﻛﻪ‬ ‫ و اﮔﺮ ﻗﺮار ﺑﺎﺷﺪ ﻛﺴﻲ ﭘﺲ ﭘﺮده ﻓﻨﺎ ﺑﺮود و‬،‫ ﭼﻪ اﻳﻦ روح اﺳﺖ ﻛﻪ ﻣﻲ رود‬،‫ﻫﻤﻴﻦ ﺑﻮده ﺟﻮر درﻧﻤﻲ آﻳﺪ‬ ‫آﻧﺠﺎ ﮔﻢ و ﮔﻮر ﺷﻮد آن روح اﺳﺖ ﻧﻪ ﺟﺴﻢ ﻛﻪ ﺗﻜﻠﻴﻔﺶ ﻫﻤﻴﻨﺠﺎ ﻣﻌﻠﻮم اﺳﺖ! ﻣﮕﺮ اﻳﻨﻜﻪ ﺑﮕﻮﻳﻴﻢ اﻳﻦ ﺗﺮاﻧﻪ از‬ ‫ﻟﺤﺎظ ﻣﻨﻄﻘﻲ ﻣﺸﻜﻞ دارد ﻳﺎ ﺑﻪ ﻃﻮر ﻛﻞ دﻳﺪﮔﺎه ﺗﻠﻔﻴﻘﻲ ﻧﺎﺷﻨﺎﺧﺘﻪ اي را ﺑﻴﺎن ﻣﻲ ﻛﻨﺪ ﻳﺎ ﻧﺴﺎﺧﺎن در ﻧﺴﺨﻪ‬ ‫ﺑﺮداري ﺧﻄﺎ ﻛﺮده اﻧﺪ و ﻳﺎ ﺳﺮاﻳﻨﺪه آن ﺑﻪ اﺻﻄﻼح ﭼﻴﺰﻛﻲ ﭘﺮاﻧﺪه و ﺑﻪ ﻋﺪم ﻫﻤﺎﻫﻨﮕﻲ و ﺑﻪ ﻗﻮل ﻛﺪﻛﻨﻲ‬ .‫))ﺗﺰاﺣﻢ(( ﺗﺼﺎوﻳﺮ دﻗﺖ ﻧﻜﺮده‬

‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺑﺎﺑﺎ اﻓﻀﻞ ﻛﺎﺷﻲ‬60 ‫))ﭘﻨﮕﺎن ﻛﺎﺳﻪ اي ﻣﺴﻲ ﺑﺎ ﺗﻬﻲ ﺳﻮراخ ﺑﻮده ﻛﻪ آن را ﺑﺮ روي ﻇﺮﻓﻲ ﭘﺮ آب ﻣﻲ ﮔﺬاﺷﺘﻨﺪ و ﺑﻪ ﻣﻴﺰان ﭘﺮ‬

‫ ﺗﻤﺎم ﺷﺪن ﻋﻤﺮ را ﺑﻪ ﭘﺮ ﺷﺪن ﻳﺎ ﺑﻪ‬،‫ ﻧﺎﻇﺮ ﺑﻪ ﭘﺮ و ﺧﺎﻟﻲ ﺷﺪن ﭘﻨﮕﺎن‬.‫ﺷﺪن آن ﮔﺬار زﻣﺎن را ﻣﻲ ﺳﻨﺠﻴﺪﻧﺪ‬ .(((253 ،‫ ﻓﺮﻫﻨﮓ اﺷﺎرات‬،‫ﺧﺎﻟﻲ ﺷﺪن ﭘﻴﻤﺎﻧﻪ ﺗﺸﺒﻴﻪ ﻛﺮده اﻧﺪ )ﺳﻴﺮوس ﺷﻤﻴﺴﺎ‬ ‫ و ﻏﺮه در ﻣﻘﺎﺑﻞ آن ﺑﻪ ﻣﻌﻨﻲ ﻗﺮص ﺷﺪن ﻣﺎه اﺳﺖ‬،‫ ﺳﻠﺦ ﺑﻪ ﻣﻌﻨﻲ ﻫﻼل ﺷﺪن ﻣﺎه‬62 ‫ ﻋﻠﻲ رﻏﻢ ﺷﺮح و ﺑﺴﻂ ﻫﺎي ﺟﺎﻣﻊ ﻋﻤﻮﻣﺎ ﻋﺮﻓﺎﻧﻲ ﻛﻪ ﺗﺎ ﺑﻪ ﺣﺎل درﺑﺎره ﻣﻲ ﻛﺪه و ﻣﻔﺎﻫﻴﻢ ﻣﺸﺎﺑﻪ در ﺣﻮزه‬63 ‫ ﻧﮕﺎرﻧﺪه – ﺑﺎ اذﻋﺎن ﺑﻪ اﻳﻦ ﺣﻘﻴﻘﺖ ﻛﻪ ﻣﻲ ﻛﺪه ﺑﻪ ﻃﺮﻳﻘﻲ ﻣﺠﺎز از ﻛﻞ دﻧﻴﺎ ﻫﻢ ﻣﻲ ﺑﺎﺷﺪ‬،‫ﺗﺮاﻧﻪ ﻫﺎ ﻧﻮﺷﺘﻪ ﺷﺪه‬ ‫ﻛﻪ در آن ﻣﺮدم داﺋﻢ ﻣﻲ آﻳﻨﺪ و ﻣﻲ روﻧﺪ و ﺳﺮ و ﺻﺪا ﺑﻠﻨﺪ اﺳﺖ و ﻛﺶ ﻣﻜﺶ و ﺑﮕﻴﺮ و ﺑﺒﻨﺪ ﺑﺮ ﺳﺮ ﻫﻴﭻ و‬ ‫ﭘﻮچ ﺑﻪ راه اﺳﺖ و ﻫﺮ ﻛﺴﻲ ﺧﻴﺎل ﺧﺎم ﺧﻮﻳﺶ ﻣﻲ ﭘﺮوراﻧﺪ – ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺗﺤﻘﻴﻘﺎت ﺧﻮد در اﻳﻦ زﻣﻴﻨﻪ ﺗﺮﺟﻴﺢ‬ .‫ﻣﻲ دﻫﺪ ﻛﻪ ﺑﻪ ﻃﻮر ﻋﻤﺪه ﻫﻤﺎن ﻣﻔﻬﻮم ﺳﺎده و ﻟﻐﻮي را ﻣﻮرد ﻧﻈﺮ ﺳﺮاﻳﻨﺪﮔﺎن اﻛﺜﺮ اﻳﻨﮕﻮﻧﻪ ﺗﺮاﻧﻪ ﻫﺎ ﺑﺪاﻧﺪ‬ ‫ اﻟﻴﻮت آﻣﺮﻳﻜﺎﻳﻲ ﻛﻪ از ﺑﺰرﮔﺘﺮﻳﻦ ﺷﺎﻋﺮان ﺗﺠﺮﺑﻪ ﮔﺮاي ﻧﻴﻤﻪ اول ﻗﺮن ﺑﻴﺴﺘﻢ ﺑﻮد و ﺑﻪ اﻋﺘﺮاف‬.‫ اس‬.‫ﺗﻲ‬ .‫ ﺟﻲ‬.‫ﺧﻮدش ﺑﻪ رﺑﺎﻋﻴﺎت ﻓﻴﺘﺰﺟﺮاﻟﺪ ﻋﺸﻖ ﻣﻲ ورزﻳﺪ اﻳﻦ ﻣﻔﻬﻮم را در دو ﺷﻌﺮ ﺑﺰرﮔﺶ ))ﺗﺮاﻧﻪ ﻋﺎﺷﻘﺎﻧﻪ آﻟﻔﺮد‬ ‫ﭘﺮوﻓﺮاك(( و ))ﺳﺮزﻣﻴﻦ ﺳﺘﺮون(( ﺑﻪ ﺷﻴﻮه اي ﺑﺴﻴﺎر ﻧﺰدﻳﻚ ﺑﻪ ﺗﺮاﻧﻪ ﻫﺎ – و اﻟﺒﺘﻪ ﺑﺎ ﭘﻴﭽﺶ ﻫﺎي زﺑﺎﻧﻲ و‬ .‫ﻣﻔﻬﻮﻣﻲ ﻣﺨﺼﻮص ﺑﻪ ﺧﻮدش – ﺑﻪ ﻛﺎر ﺑﺮده اﺳﺖ‬ ‫ ﻣﻲ ﺧﺎﻧﻪ ﻧﺸﻴﻦ‬64 ‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺳﻠﻤﺎن ﺳﺎوﺟﻲ‬65 66 67

Also attributed to Attar Also attributed to Rumi (13th century)

209

‫ ﻧﻴﺴﺘﻲ‬72

61

‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻣﻮﻟﻮي‬73 74

The device of oxymoron which has been one of the main structural esthetic features of Farsi poetry of all ages in different veins and has almost always been reinforced through the larger structure of antithesis, has been employed, as if somehow in an acutely self-conscious manner, in this Song in order to offer a dissolution of all the clear-cut dualisms in the realm intellect. Oxymoron that principally needs two extremes, somehow also contains, especially in the premises of the Songs, whatever lies in between in an implicating manner, and this is why it proves to be an indispensable device for the widening of the scope of significance in the form Song which is concise by nature, and also why most of the Songs employ it in their own special ways. This Song, interestingly, finds a near match in Hamlet’s: “We defy augury. There’s a special providence in the fall of a sparrow. If it be now, ‘tis not to come. If it be not to come, it will be now. If it be not now, yet it will come. The readiness is all. Since no man has aught of what he leaves, what is’t to leave betimes? Let be (5.2.157-161).” This Song has also been attributed to Abu Sa’iid Abolxeir, Najmeddin Kobra, Baba Afzal Kashi, Ohadi Kermani, Rumi, and Sa’eb Tabrizi. 75 Rending from the world, departure 76 Grief

210

                                                                                                                                   

                                                                                                                                   

This Song and the next (and somehow the third one in this line) which are among the limited number of the Songs that exonerate the Wheel form the incrimination of dispensing fate, are likely to be the products of the E’tezali attitude (a rationalistic early branch of Islam that was strongly influenced by the ancient Greek and especially Aristotelian philosophy) that constitute rational and somewhat respectable answers to the predeterministic attitude prevalent in the main body of these Songs; and it is exactly these kinds of answers that later re-emerge in the premises of the mystical Songs as bolder and more sarcastic rejoinders to the then officially subdued philosophicallyconsidered attitude of these Songs. Now the voice of may of these diverging Songs have been lost in the midst of that of the main body of the Songs because of the surface similarities in their concepts and also the manner of their expression; and it is only fair as well as a lesson in the way of respecting the different voices as having the significance of their own to dig up or rather to un-gag the sundry voices in and of the Songs. This Song has also been attributed to Abusa’iid Abolxeir, Baba Afzal Kashi, Rumi, and Ohadi Maraqehi. 78 Business, doing ‫ ﺻﻨﻌﺖ ﺗﻀﺎد ﻛﻪ ﻫﻤﻴﺸﻪ ﻳﻜﻲ از ارﻛﺎن ﺑﺪﻳﻌﻲ اﺻﻠﻲ ﺷﻌﺮ ﻓﺎرﺳﻲ در دوره ﻫﺎي ﻣﺨﺘﻠﻒ و ﺑﻪ ﮔﻮﻧﻪ ﻫﺎي‬79

‫و ﻣﻲ ﺗﻮان ﮔﻔﺖ ﻛﻪ اﻳﻦ ﻗﺒﻴﻞ ﺗﺮاﻧﻪ ﻫﺎ در ﺣﻘﻴﻘﺖ ﭘﺎﺳﺨﻬﺎي ﺗﻘﺮﻳﺒﺎ ﻣﺤﺘﺮﻣﺎﻧﻪ ﻋﻘﻼﻧﻲ ﺑﻪ ﻃﺮز ﺗﻔﻜﺮ ﺟﺒﺮي اﻛﺜﺮ‬

77

،‫ﺗﺮاﻧﻪ ﻫﺎ ﻣﻲ ﺑﺎﺷﻨﺪ ﻛﻪ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻣﻀﻤﻮن و ﺑﻴﺎن ﺑﺴﻴﺎر ﻧﺰدﻳﻜﺸﺎن ﻋﻤﻼ در ﺟﺮﻳﺎن اﺻﻠﻲ ﺗﺮاﻧﻪ ﻫﺎ ﮔﻢ ﺷﺪه اﻧﺪ‬ ‫و ﻫﻤﻴﻦ ﭘﺎﺳﺨﻬﺎ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﻌﺪﻫﺎ ﺑﻪ ﺷﻴﻮه اي ﻣﻀﺤﻜﻪ آﻣﻴﺰﺗﺮ و دﻧﺪان ﺷﻜﻨﺎﻧﻪ ﺗﺮ )ﻛﻪ از ﻗﻀﺎ ﻣﻌﺮوف ﺗﺮ ﻫﻢ‬ ‫ ﺑﻪ راﺳﺘﻲ ﺑﺎ دﻗﺖ در ﺗﻚ ﺗﻚ اﻳﻦ ﺗﺮاﻧﻪ ﻫﺎ ﺗﺎ ﭼﻪ‬.‫ﻫﺴﺘﻨﺪ( از ادﺑﻴﺎت و ﺗﺮاﻧﻪ ﻫﺎي ﻋﺮﻓﺎﻧﻲ ﺳﺮ درﻣﻲ آورﻧﺪ‬ ‫ﻣﻴﺰان ﻣﻲ ﺗﻮان ﺑﻪ ﺻﺪاﻫﺎي ﻣﺨﺘﻠﻒ درون آﻧﻬﺎ ﭘﻲ ﺑﺮد؟‬ .‫ و اوﺣﺪي ﻣﺮاﻏﻪ اي ﻣﻲ ﺑﺎﺷﺪ‬،‫ ﻣﻮﻟﻮي‬،‫ ﺑﺎﺑﺎ اﻓﻀﻞ ﻛﺎﺷﻲ‬،‫اﻳﻦ ﺗﺮاﻧﻪ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ اﺑﻮﺳﻌﻴﺪ اﺑﻮاﻟﺨﻴﺮ‬ ‫ ﺣﻜﻤﻲ ﻛﻪ از ﭘﻴﺶ ﻧﻮﺷﺘﻪ ﺑﺎﺷﻨﺪ‬81 :‫ ﻧﻤﻮﻧﻪ اﻳﻨﮕﻮﻧﻪ ﻛﺎرﺑﺮد ﺿﻤﻴﺮ را در ﺳﻌﺪي ﻫﻢ ﺑﺒﻴﻨﻴﺪ‬.‫ ﺧﻮد‬82 ‫ﺗﺎ ﻧﻜﻨﻢ ﺑﻪ ﻫﻴﭽﻜﺲ ﮔﻮﺷﻪ ﭼﺸﻢ و ﺧﺎﻃﺮي‬ 83 84

Also attributed to Baba Afzal Kashi Also attributed to Jamaleddin Abhari Qazvini ‫ ﺧﻮﺷﻪ‬85 ‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺑﺎﺑﺎ اﻓﻀﻞ ﻛﺎﺷﻲ‬86

‫ ]ﺑﻪ ﻧﻘﻞ از‬.‫ ﭘﻴﻐﻤﺒﺮ ﻫﺰاره ﻫﻔﺘﻢ اﺳﺖ‬،‫ ))ﻋﻤﺮ آدﻣﻲ ﺑﺮ روي زﻣﻴﻦ ﻫﻔﺖ ﻫﺰار ﺳﺎل اﺳﺖ و ﭘﻴﻐﻤﺒﺮ اﺳﻼم‬87 ،‫وﺣﻴﺪ دﺳﺘﮕﺮدي در ﻫﻔﺖ ﭘﻴﻜﺮ ﻧﻈﺎﻣﻲ[ از ﺧﻠﻘﺖ آدم ﺗﺎ ﻇﻬﻮر ﺧﺎﺗﻢ ﻫﻔﺖ ﻫﺰار ﺳﺎل اﺳﺖ )ﺳﻴﺮوس ﺷﻤﻴﺴﺎ‬

.‫ﻣﺘﻔﺎوت ﺑﻮده و ﺗﻘﺮﻳﺒﺎ ﻫﻤﻴﺸﻪ ﺑﺎ اﺳﻠﻮب ﻣﻌﺎدﻟﻪ ﺗﻘﻮﻳﺖ ﺷﺪه در اﻳﻦ ﺗﺮاﻧﻪ ﺑﻪ زﻳﺒﺎﻳﻲ ﻫﺮﭼﻪ ﺗﻤﺎﻣﺘﺮ ﺑﻪ ﻛﺎر رﻓﺘﻪ‬

.(((36 ،‫ﻓﺮﻫﻨﮓ اﺷﺎرات‬

‫ ﭼﻪ وﻗﺘﻲ ﺑﺎ‬،‫اﺻﻮﻻ ﺗﻀﺎد – ﺑﻪ ﺧﺼﻮص در ﻗﻠﻤﺮو ﺗﺮاﻧﻪ ﻫﺎ – ﺑﻪ ﮔﻮﻧﻪ اي اﻳﺠﺎز را ﻫﻢ در ﺧﻮد ﻧﻬﻔﺘﻪ دارد‬ ‫اﺳﺘﻔﺎده از ﺗﻀﺎد دو ﻧﻬﺎﻳﺖ را در ﻧﻈﺮ ﺑﮕﻴﺮﻳﻢ آﻧﭽﻪ ﻛﻪ در ﻣﻴﺎن ﻗﺮار ﻣﻲ ﮔﻴﺮد ﻫﻢ ﺧﻮد ﺑﻪ ﺧﻮد و ﺑﻪ ﺷﻴﻮه اي‬ ‫ و ازﻳﻦ روﺳﺖ ﻛﻪ ﺗﻀﺎد ﺑﺮاي ﺗﺮاﻧﻪ ﻛﻪ ذاﺗﺎ ﻣﻮﺟﺰ اﺳﺖ ﻧﻌﻤﺘﻲ ﺑﺰرگ در‬،‫ﺗﻀﺎﻣﻨﻲ ﻣﺸﻤﻮل ﻗﻀﻴﻪ ﻣﻲ ﺷﻮد‬ ‫ و اﻛﺜﺮ ﺗﺮاﻧﻪ ﻫﺎ ﺑﻪ ﺷﻴﻮه ﻫﺎي ﻣﺘﻔﺎوت از ﺗﻀﺎد ﺑﻬﺮه ﻣﻲ‬،‫ﺟﻬﺖ ﻋﺮﻳﺾ ﻧﻤﻮدن ﮔﺴﺘﺮه ﻣﻌﻨﻲ ﻣﺤﺴﻮب ﻣﻲ ﺷﻮد‬ .‫ﺑﺮﻧﺪ‬ ،‫ اوﺣﺪاﻟﺪﻳﻦ ﻛﺮﻣﺎﻧﻲ‬،‫ ﺑﺎﺑﺎ اﻓﻀﻞ ﻛﺎﺷﻲ‬،‫ ﻧﺠﻢ اﻟﺪﻳﻦ ﻛﺒﺮي‬،‫اﻳﻦ ﺗﺮاﻧﻪ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ اﺑﻮﺳﻌﻴﺪ اﺑﻮاﻟﺨﻴﺮ‬ .‫ و ﺻﺎﺋﺐ ﺗﺒﺮﻳﺰي ﻣﻲ ﺑﺎﺷﺪ‬،‫ﻣﻮﻟﻮي‬ ‫ اﻳﻦ ﺗﺮاﻧﻪ و ﺗﺮاﻧﻪ ﺑﻌﺪي )و ﺗﺎ ﺣﺪودي ﺗﺮاﻧﻪ ﺳﻮﻣﻲ( ﻛﻪ از ﻣﻌﺪود ﺗﺮاﻧﻪ ﻫﺎﻳﻲ ﻫﺴﺘﻨﺪ ﻛﻪ ﺗﻘﺼﻴﺮ ﻗﻀﺎ و ﻗﺪر را‬80 (‫ ﺑﺎ ﻃﺮز ﺗﻔﻜﺮ اﻋﺘﺰاﻟﻲ ﻧﺎﺻﺮﺧﺴﺮو )ﺑﻪ ﺧﺼﻮص ﻧﻘﺶ ﻋﻘﻞ را در ﻧﻈﺮ ﺑﮕﻴﺮﻳﺪ‬،‫از ﮔﺮدن ﭼﺮخ ﺑﺮﻣﻲ دارﻧﺪ‬ ‫ﻗﺮاﺑﺖ ﺟﻬﺎن ﺑﻴﻨﺎﻧﻪ دارﻧﺪ‬ ‫ﺑﺮون ﻛﻦ ز ﺳﺮ ﺑﺎد و ﺧﻴﺮه ﺳﺮي را‬ ‫ﻧﺸﺎﻳﺪ ز داﻧﺎ ﻧﻜﻮﻫﺶ ﺑﺮي را‬

211

‫ﻧﻜﻮﻫﺶ ﻣﻜﻦ ﭼﺮخ ﻧﻴﻠﻮﻓﺮي را‬ ‫ﺑﺮي دان ز اﻓﻌﺎل ﭼﺮخ ﺑﺮﻳﻦ را‬

‫ﺑﺴﺘﻪ ام از ﺟﻬﺎﻧﻴﺎن ﺑﺮ دل ﺗﻨﮓ ﻣﻦ دري‬

.‫اﻳﻦ ﺗﺮاﻧﻪ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺟﻤﺎل اﻟﺪﻳﻦ اﺑﻬﺮي ﻗﺰوﻳﻨﻲ ﻣﻲ ﺑﺎﺷﺪ‬ 88

Sea 89 Dust (intended as a memorial for their place of eternal rest) 90 Load 91 “It was the grandfather of the modern cinema, which was comprised of a lamp wherein a candle was lit and on whose glasses some pictures were portrayed, and when those pictures were moved in front of the candle in the dark, they appeared as moving on the wall or a piece of white cloth that was hanging behind the lamp. In France they used to call it the Magic Lantern (Sirous Shamissa, A Dictionary of Persian Literary References, 923)”. 92 The Sun 93 Earth 94 Doesn’t this Song remind the reader of the famous Metaphor of the Cave by Plato and also his World of Ideas which is only ‘reflected’ and not ‘shown’ in the world of materiality? And also the play with the concepts of light and shadow which for around two hundred years from the 17th to the 19th centuries preoccupied the minds of the Western thinkers as the model for epistemology (for example look at John Locke and his Camera Obscura,

212

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‫‪                                                                                                                                   ‬‬

‫‪ 110‬ﺑﺎد ﻟﻄﻴﻒ و ﺧﻨﻚ ﻣﺸﺮق‬

‫‪George Berkeley and his concern with the images that without the constant‬‬ ‫‪attention of God would vanish, and David Hume and his struggle with the‬‬ ‫‪succession of images that falsely bestows a sense of being causes and effects‬‬ ‫?)‪of one another upon them‬‬ ‫‪95‬‬ ‫‪Plain‬‬ ‫‪96‬‬ ‫”‪Good person, as in the phrase “the salt of the earth‬‬ ‫‪97‬‬ ‫‪Your base is shaky and insubstantial‬‬ ‫‪ 98‬ﺧﺮ ﺿﻌﻴﻒ و ﺳﺴﺖ ﺑﻨﻴﻪ‬

‫‪ 111‬ﻣﺸﻬﻮرﺗﺮﻳﻦ ﻣﺸﺨﺼﻪ ﺑﻠﺒﻞ در ﻣﺤﺪوده ادﺑﻴﺎت ﻓﺎرﺳﻲ ﻋﺸﻖ و ﺣﺎل و ﺑﻲ ﺧﻴﺎﻟﻲ اوﺳﺖ ﻛﻪ ﻃﺒﻴﻌﺘﺎ در‬ ‫ﺣﻮﺿﻪ ادﺑﻴﺎت ﻋﺮﻓﺎﻧﻲ ﻗﺮن ﻫﻔﺘﻢ و ﺑﻪ ﻃﺒﻊ آن ﺑﺎﻗﻲ ادﺑﻴﺎت ﻓﺎرﺳﻲ وي را در ﺑﺮاﺑﺮ ﭘﺮواﻧﻪ ﻛﻪ ﻧﻤﺎد ﻋﺸﻖ راﺳﺘﻴﻦ‬ ‫اﺳﺖ ﻗﺮار ﻣﻲ دﻫﺪ‪.‬‬ ‫‪ 112‬ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻋﻄﺎر ﻧﻴﺸﺎﺑﻮري‬ ‫‪113‬‬

‫)‪Also attributed to Abu Hamed Mohammad Qazali (11th century‬‬ ‫‪It has no dots, i.e. numbers‬‬ ‫‪115‬‬ ‫‪It is a common style of address in Farsi that when only one subject – and‬‬ ‫‪that well-known – is meant, for a host of reasons (respect or ambiguity for‬‬ ‫‪example) a plural pronoun is used. Thus, this ‘They’ must actually mean‬‬ ‫‪‘He’ (or perhaps ‘She’?!). See also the note to Song 269.‬‬ ‫‪ 116‬ﺑﻴﻬﻮده‬ ‫‪114‬‬

‫‪ 99‬ﺳﻨﮕﻴﻦ‬ ‫‪ 100‬ﺿﻤﻴﺮ ﺟﺎﻧﺪار ))او(( ﺑﻪ ﻃﻮر ﻣﻌﻤﻮل ﺑﺮاي ارﺟﺎع ﺑﻪ ﻏﻴﺮﺟﺎﻧﺪار ﻧﻴﺰ ﺑﻪ ﻛﺎر ﻣﻲ رﻓﺘﻪ ﻛﻪ ﺷﺎﻳﺪ ﻧﺸﺎﻧﻪ‬ ‫ﺟﺎﻧﺪاراﻧﮕﺎري در زﻣﺎﻧﻬﺎي دور ﺑﻮده ﺑﺎﺷﺪ‬ ‫‪)) 101‬ﺟﺪ ﺳﻴﻨﻤﺎي اﻣﺮوز اﺳﺖ و آن ﻓﺎﻧﻮﺳﻲ ﺑﻮده اﺳﺖ ﻛﻪ در آن ﺷﻤﻊ روﺷﻦ ﻣﻲ ﻛﺮده اﻧﺪ و روي ﺷﻴﺸﻪ‬

‫‪ 117‬ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ اﺑﻮﺣﺎﻣﺪ ﻣﺤﻤﺪ ﻏﺰاﻟﻲ‬

‫ﻫﺎﻳﻲ ﻧﻘﺶ ﻫﺎﻳﻲ ﻣﻲ ﻛﺸﻴﺪﻧﺪ و آن ﺷﻴﺸﻪ ﻫﺎي ﻧﻘﺶ دار را از ﺟﻠﻮ روﺷﻨﺎﻳﻲ ﺷﻤﻊ اﻟﺒﺘﻪ در ﺗﺎرﻳﻜﻲ ﻣﻲ‬

‫‪ 118‬ﻛﺎﺳﻪ؛ اﻣﺎ در ﺗﺮﺟﻤﻪ اﻧﮕﻠﻴﺴﻲ ﺑﻪ دﻻﻳﻠﻲ آن را ﺑﻪ ﻣﻌﻨﻲ ﺗﺎس ﭘﺮﺗﺎب ﻛﺮدﻧﻲ ﮔﺮﻓﺘﻪ ام‬

‫ﮔﺬراﻧﺪﻧﺪ و آن ﻧﻘﺶ روي ﺷﻴﺸﻪ‪ ،‬ﺑﺮ دﻳﻮار ﻳﺎ ﭘﺮده ﺳﻔﻴﺪي ﻣﻲ اﻓﺘﺎد ﻋﻴﻨﺎ ﻣﺜﻞ ﺳﻴﻨﻤﺎﻫﺎي اﻣﺮوز و اﻳﻦ ﻫﻤﺎن‬

‫‪ 119‬در ﭼﻨﻴﻦ ﻣﻮاردي ﻛﻪ ﻣﺴﻨﺪاﻟﻴﻪ ﻳﺎ ﻓﺎﻋﻞ اﻋﻠﻢ اﺳﺖ و ﻫﻤﻪ ﻣﻲ داﻧﻨﺪ ﻛﻪ ﺑﻪ ﭼﻪ ﻳﺎ ﻛﻪ اﺷﺎره ﻣﻲ ﻛﻨﺪ )ﺧﺪا؟(‪،‬‬

‫ﭼﻴﺰي ﺑﻮده اﺳﺖ ﻛﻪ در زﺑﺎن ﻓﺮاﻧﺴﻪ ﺑﻪ آن ﻻﻧﺘﺮن ﻣﺎژﻳﻚ ﻣﻲ ﮔﻮﻳﻨﺪ و ﻇﺎﻫﺮا اﻳﻦ اﺧﺘﺮاع را در ﭼﻴﻦ ﻛﺮده‬

‫آن را ﺣﺬف ﻣﻲ ﻛﻨﻨﺪ و ﺑﺎ ﺿﻤﻴﺮ ﻣﺴﺘﺘﺮ در ﻓﻌﻞ ﺳﻮم ﺷﺨﺺ ﺟﻤﻊ ﺑﻪ آن اﺷﺎره ﻣﻲ ﻛﻨﻨﺪ در ﺣﺎﻟﻲ ﻛﻪ ﻣﻨﻈﻮر‬

‫ﺑﻮدﻧﺪ و از ﭼﻴﻦ ﺑﻪ اﻳﺮان و اروﭘﺎ رﻓﺘﻪ اﺳﺖ و ﻫﻤﺎن اﺻﻮﻟﻲ اﺳﺖ ﻛﻪ در ﭘﺮوژﻛﺴﻴﻮن ﻣﻨﺘﻬﻲ ﺑﺎ ﺑﺮق ﺑﻪ ﻛﺎر ﻣﻲ‬

‫ﻓﺮد اﺳﺖ ﻧﻪ ﺟﻤﻊ‪.‬‬ ‫‪120‬‬

‫‪ 102‬زﻣﻴﻦ‬

‫‪121‬‬

‫‪ 103‬آﻳﺎ اﻳﻦ ﺗﺮاﻧﻪ ﻣﻔﻬﻮم ))اﺳﺘﻌﺎره ﻏﺎر(( اﻓﻼﻃﻮن و ﺑﻪ ﻫﻤﭽﻨﻴﻦ ))ﻋﺎﻟﻢ ﻣﺜﻞ(( او را – ﮔﺮﭼﻪ ﺑﺎ روﻳﻜﺮدي‬

‫‪A container of barley‬‬ ‫)‪Also attributed to Anvari (12th century‬‬ ‫‪122‬‬ ‫)‪Stop (kicking and punching me‬‬ ‫‪ 123‬ﺗﺸﺖ ﻳﺎ ﻛﺎﺳﻪ اﺳﺖ‪ .‬اﻳﻦ ﺗﺼﻮﻳﺮ در ادﺑﻴﺎت ﻓﺎرﺳﻲ ﻣﺸﻬﻮر اﺳﺖ‪ ،‬ﭼﻨﺎﻧﻜﻪ اﻧﻮري ﻫﻢ ﮔﻔﺘﻪ‪:‬‬ ‫ﺧﺮد ﭼﻮ ﻣﻮرﭼﻪ در ﺗﺸﺖ ﺣﻴﺮت اﺳﺖ از آﻧﻚ‬

‫ﺑﺮﻧﺪ ]ﻧﻔﻴﺴﻲ‪ ،‬در ﻣﻜﺘﺐ اﺳﺘﺎد[ )ﺳﻴﺮوس ﺷﻤﻴﺴﺎ‪ ،‬ﻓﺮﻫﻨﮓ اﺷﺎرات‪.(((923 ،‬‬

‫ﻣﺘﻔﺎوت – ﺑﻪ ﺧﺎﻃﺮ ﻧﻤﻲ آورد؟ و ﺑﻪ ﻫﻤﻴﻦ ﺗﺮﺗﻴﺐ ﺑﺎزي ﺑﺎ ﻣﻔﺎﻫﻴﻢ ﻧﻮر و ﺳﺎﻳﻪ ﻛﻪ ﺣﺪود دو ﻗﺮن از ﻗﺮن ‪ 17‬ﺗﺎ‬ ‫‪ 19‬ﻣﻌﺮﻓﺖ ﺷﻨﺎﺳﻲ و ﺟﻬﺎن ﺑﻴﻨﻲ اروﭘﺎﻳﻲ ﻫﺎ را ﺑﻪ ﺷﺪت ﺧﻮد ﻣﺸﻐﻮل ﻛﺮده ﺑﻮد )ﺑﺮاي ﻣﺜﺎل ﻧﮕﺎه ﻛﻨﻴﺪ ﺑﻪ ﺟﺎن‬

‫ﻣﺪﺑﺮان را ﺗﺪﺑﻴﺮ ﺗﺸﺖ و ﺧﺎﻳﻪ ﻧﻤﺎﻧﺪ‬

‫‪ 124‬آﺳﻴﺎب ﺑﺰرﮔﻲ ﻛﻪ آن را ﭼﺎرﭘﺎﻳﺎﻧﻲ ﻫﻤﭽﻮن ﮔﺎو و اﻻغ ﻣﻲ ﮔﺮداﻧﻨﺪ‪ .‬اﻳﻦ ﺗﺮاﻧﻪ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ اﻧﻮري‬

‫ﻻك و ﻣﻔﻬﻮم ﻛﻤﺮا آﺑﺴﻜﻮرا‪ ،‬ﺟﺮج ﺑﺎرﻛﻠﻲ و دﻏﺪﻏﻪ اش ﺑﺎ ﺗﺼﺎوﻳﺮي ﻛﻪ اﮔﺮ آﻓﺮﻳﺪﮔﺎر ﻣﺪام ﺑﻪ آﻧﻬﺎ ﻧﻈﺮ‬ ‫ﻧﻴﻔﻜﻨﺪ ﻣﺤﻮ ﻣﻲ ﺷﻮﻧﺪ‪ ،‬و دﻳﻮﻳﺪ ﻫﻴﻮم و درﮔﻴﺮي اش ﺑﺎ ﺗﻮاﻟﻲ ﺗﺼﺎوﻳﺮ و ﺑﺮﻫﺎن ﻋﻠﻴﺖ ﻛﻪ ﻣﺤﺼﻮل آن اﺳﺖ(؟‬

‫ﻣﻲ ﺑﺎﺷﺪ‪.‬‬ ‫‪125‬‬

‫‪Warn‬‬ ‫‪Keyqobad was a mythological king of Persia from the Kyanian Dynasty.‬‬ ‫‪His coming to power resulted in the retreating of the Turanians, the Altaic‬‬ ‫‪ancient enemies of Persia, who had long been making inroads into the realm‬‬ ‫‪of the Persians. Ferdowsi, the 10th century poet, gives a rather exhaustive‬‬ ‫‪account of the reign of Keyqobad in his epic masterpiece the Shahnameh.‬‬ ‫‪Parviz, of course, is the historical Xosro Parviz, the Sassanid king of Persia‬‬ ‫‪(590-628) under whom the empire reached its greatest expansion. The story‬‬ ‫‪of his battle during a civil war with Bahram Chubin and his rivalry with‬‬ ‫‪Farhad the stonecutter over the love of the Armenian princess Shirin have‬‬ ‫‪126‬‬

‫‪214‬‬

‫‪104‬‬

‫‪Fog, mist‬‬ ‫‪105‬‬ ‫‪Nightingale (an onomatopoeic noun). In the context of Farsi literature,‬‬ ‫‪the most well-known attribute of the nightingale is its seemingly carefree‬‬ ‫‪playfulness and wholehearted devotion to singing that has made it the‬‬ ‫‪symbol of foppishs and dandy people‬‬ ‫‪106‬‬ ‫‪Also attributed to Attar‬‬ ‫‪107‬‬ ‫‪Mean‬‬ ‫‪108‬‬ ‫‪Sea‬‬ ‫‪ 109‬روز ﻗﻴﺎﻣﺖ‬

‫‪213‬‬

                                                                                                                                   

                                                                                                                                   

long been the subjects of poems, stories, and exempla in Iran. Nezami Ganjavi, the 12th century poet, has told the story of Xosro and Shirin in a long narrative courtly poem, and Arthur Emanuel Christensen, the Danish Orientalist, has rewritten the story of Bahram Chubin by using ancient and historical sources. Alluding to the Persian myths and also to the courtly personages that had then acquired the status of pseudo-myth for making examples of them in order to demonstrate the well-known motif of the ‘passing grandeur’ (and not narrating the story of those myths, which belongs in a former era; and not merely using them as vehicles for the conveyance of lyrical feelings, which belongs in the latter era) is one of those stylistic features of Farsi poetry which reaches its apex around less than a century after Xayyam in the poetry of such people as Xaqani; consequently, with respect to the history of the development of Farsi poetry’s technical features, it would prove anachronistic to attribute such Songs to Xayyam (in case of our accepting his being a poet) who used to live long before that era. A relatively large number of the Songs – whose instances come from here onward – follow this very pattern of alluding to mythological characters for the purpose of making examples of them as their main motif, and they have incidentally been attributed to Xaqani and some other of his contemporary poets as well. By the way, the resort to these allusions to myth and epic which, by being at only one remove or so from their originals, have still maintained the pomposity and grandiloquence of their forerunners to a great extent, is one of the myriad of the technical features that encourages the Epi-Lyrical reading of a great part of the Songs. 127 Deprived of light 128 Jamshid (most of the time abbreviated as Jam, sounding like Ham), the first of the immortals who chose mortality both to please the divinity and to set an example for his people not to fear death (according to the Vedaic account), was perhaps the greatest of the Persian mythological kings whose reign brought about the golden age of mankind. Many a feat did he accomplish and many a rite did he establish, amongst them the supposed instigation of the Persian new-year celebration, the so-called Noruz, in spring. He was reputed to possess a certain mythical cup or grail, the socalled Jaam (with a long ‘a’ as in father), wrought by sagely craftsmen, through which he could see anywhere in the world he wished. Near the end of his long reign (some say 700 years), however, he fell to evildoing, and Zahak the rebellious cut him in two with a huge saw after vanquishing him beyond the Sea of Faraxkart, after which there is no news of the Jaam any more (compare and contrast with the Christian myth of the Holy Grail).

By manifesting the transitory nature of any worldly enterprise, even if it proves as grand as his, Jamshid has become one of the most celebrated examples of the so-called ‘passing grandeur’ motif in Iranian literature; and his curious Jaam, whose peculiarity to show everything on earth also stands for some kind of all-encompassing authority over the world, and thus whose breaking would equal the breaking of all the seeming prestige and majesty that its possessor holds, has long been established as a portmanteau symbol of glorious transition and transient glory. This Song has also been attributed to Xaqani and to the archtranscendentalist mystic Shahabeddin Sohrevardi. 129 Fairy 130 Melliflouos, pleasant to listen to 131 The generic name for an ancient king of Persia, usually of the legendary Kyanian Dynasty 132 Tirmah – which is an archaic phrase in Farsi today – means autumn. Dey is the 10th month of the Persian calendar, corresponding to DecemberJanuary of the Gregorian calendar, thus high wintertime. ‫ ﮔﺎن( ﺑﺎ رﻳﺸﻪ ﭘﻬﻠﻮي اﺳﺖ و ﭼﻮﺑﻲ را ﮔﻮﻳﻨﺪ ﻛﻪ ﺑﺎ آن ﮔﻮي را ﺑﻪ ﺳﻤﺖ‬+ ‫ ﻛﻠﻤﻪ اي ﺗﺮﻛﻴﺒﻲ )ﭼﻮب‬133

215

216

‫ ﻓﺮدوﺳﻲ در ﺷﺎﻫﻨﺎﻣﻪ از ﻣﺴﺎﺑﻘﻪ ﭼﻮﮔﺎن ﺳﻴﺎوش و‬.‫ ﺑﻪ ﻣﺠﺎز ﻧﺎم ﺑﺎزي ﻫﻢ ﻗﺮار ﻣﻲ ﮔﻴﺮد‬.‫ﻫﺪﻓﻲ ﻣﻲ راﻧﻨﺪ‬ ‫ از ﻗﻀﺎ ﺳﻴﺎوش ﭼﻮﮔﺎن‬.‫ﻳﺎراﻧﺶ ﺑﺎ ﺗﻮراﻧﻴﺎن ﻣﻲ ﮔﻮﻳﺪ ﻛﻪ ﻗﺪﻣﺖ اﻳﻦ ﺑﺎزي را در ﻓﺮﻫﻨﮓ اﻳﺮاﻧﻲ ﻧﺸﺎن ﻣﻲ دﻫﺪ‬ ‫ﺑﺎز ﺧﻮد در ﺑﺎزي ﭼﻮﮔﺎن ﺑﺰرﮔﺘﺮي ﮔﺮﻓﺘﺎر آﻣﺪه و از اﻳﻦ ﺳﺮزﻣﻴﻦ ﺑﻪ آن ﺳﺮزﻣﻴﻦ ﻣﻲ رود و از اﻳﻦ ﺳﻮ ﺑﻪ آن‬ ‫ و اﻳﻦ ﻛﻨﺎﻳﻪ اي اﺳﺖ ﻛﻪ ﺷﺎﻳﺪ ﺧﻮد ﻓﺮدوﺳﻲ ﻫﻢ در‬،‫ﺳﻮ ﻣﻲ اﻓﺘﺪ ﺗﺎ در ﻧﻬﺎﻳﺖ در ﭼﻨﺒﺮ ﻫﻼك ﮔﺮﻓﺘﺎر آﻳﺪ‬ :‫ﻧﻈﺮ داﺷﺘﻪ ﻛﻪ اﭘﻴﺰود ﭼﻮﮔﺎن ﺑﺎزي را در داﺳﺘﺎن ﺳﻴﺎوش آورده‬ ‫از اﻳﺸﺎن ﻛﻪ ﻳﺎرد ﺷﺪن ﭘﻴﺶ ﮔﻮي؟‬ ‫ﻧﮕﻬﺒﺎن ﭼﻮﮔﺎن ﻳﻜﺘﺎ ﻣﻨﻢ‬

‫ﺳﻴﺎوش ﭼﻨﻴﻦ ﮔﻔﺖ ﻛﺎي ﻧﺎﻣﺠﻮي‬ ‫ﻫﻤﻪ ﻳﺎر ﺷﺎه اﻧﺪ و ﺗﻨﻬﺎ ﻣﻨﻢ‬

‫ ﺑﻪ ﻛﺴﻲ ﻛﻪ ﺧﺲ و ﺧﺎﺷﺎك ﻛﻮﭼﻪ و ﺧﻴﺎﺑﺎن را ﺑﻪ ﻗﺼﺪ‬.(‫ از ﻣﺼﺪر ﺑﻴﺨﺘﻦ )ﺑﻪ ﻣﻌﻨﻲ ﻏﺮﺑﺎل ﻛﺮدن؟‬134 ((‫ اﻟﺒﺘﻪ ﻣﻌﻨﻲ آن در اﻳﻦ ﻣﺼﺮاع ﺧﺎص اﺣﺘﻤﺎﻻ ))ﺧﺎك ﺑﺎز‬.‫درﻳﺎﻓﺖ ﻣﺰد ﺟﺎرو ﻣﻲ ﻛﺮد ﺧﺎك ﺑﻴﺰ ﻣﻲ ﮔﻔﺘﻨﺪ‬ .‫ﺑﺎﺷﺪ ﻛﻪ ﺑﻪ ﻗﺼﺪ ﻗﺎﻓﻴﻪ ﺷﺪن ﻗﻠﺐ ﺷﺪه‬ ‫ ﭘﺲ از ﻣﺮگ ﮔﺮﺷﺎﺳﭗ آﺧﺮﻳﻦ ﭘﺎدﺷﺎه‬.‫ ﻛﻲ ﻗﺒﺎد ﭘﺎدﺷﺎه اﺳﻄﻮره اي اﻳﺮان و ﺳﺮﺳﻠﺴﻠﻪ دودﻣﺎن ﻛﻴﺎﻧﻴﺎن ﺑﻮد‬135 ‫ﭘﻴﺸﺪادي ﺑﺎ آﻧﻜﻪ ﻃﻮس و ﮔﺴﺘﻬﻢ ﭘﺴﺮان ﻧﻮذر در ﺣﻴﺎت ﺑﻮدﻧﺪ و ﺧﺎﻧﺪان ﻓﺮﻳﺪون ﻫﻨﻮز از ﻣﻴﺎن ﻧﺮﻓﺘﻪ ﺑﻮد اﻣﺎ‬ ‫ ﻛﻲ ﻗﺒﺎد را ﻛﻪ داراي‬،‫ ﭘﺲ از ﻣﺸﻮرت زال ﺑﺎ ﻣﻮﺑﺪان‬.‫ﭼﻮن ﻓﺮ اﻳﺰدي ﺑﺎ آﻧﺎن ﻧﺒﻮد ﻧﺎﮔﺰﻳﺮ ﺑﻪ ﭘﺎدﺷﺎﻫﻲ ﻧﺮﺳﻴﺪﻧﺪ‬ ‫ﻓﺮ اﻳﺰدي و ﺑﺮازﻧﺪه ﺗﺎج و ﺗﺨﺖ ﺑﻮد ﺑﻪ ﺷﻬﺮﻳﺎري ﺑﺮﮔﺰﻳﺪﻧﺪ و رﺳﺘﻢ ﭘﺴﺮ زال ﺑﻪ اﻟﺒﺮزﻛﻮه رﻓﺖ و او را ﺑﻪ‬ ‫ ﺑﻌﺪ از رﺳﻴﺪن ﻛﻲ ﻗﺒﺎد ﺑﻪ ﭘﺎدﺷﺎﻫﻲ ﺗﻮراﻧﻴﺎن ﻛﻪ ﺑﻪ اﻳﺮان ﻫﺠﻮم آورده ﺑﻮدﻧﺪ ﺷﻜﺴﺖ ﻳﺎﻓﺘﻪ‬.‫اﺳﺘﺨﺮ آورد‬

                                                                                                                                   

                                                                                                                                   

‫ ﻓﺮدوﺳﻲ در ﺷﺎﻫﻨﺎﻣﻪ داﺳﺘﺎن ﻛﻲ ﻗﺒﺎد را ﺗﻘﺮﻳﺒﺎ ﺑﻪ ﻃﻮر ﻛﺎﻣﻞ ﺑﻪ‬.(222 ،2‫ ج‬،‫ ﻳﺸﺘﻬﺎ‬،‫ﺑﺮﮔﺸﺘﻨﺪ )اﺑﺮاﻫﻴﻢ ﭘﻮرداود‬

In Farsi, this sequence of utterances, as well as indicating the sound of the bird itself, can mean “Where is everybody?” or “Where have everybody gone?”, and thus through onomatopoeia be expressive of the “ubi sunt” motif which is a highly nurtured motif in Farsi poetry of different eras. 142 Wild asses 143 Bahram was a Sassanid (224-651 CE) king of Persia. He was reputed to very much like the hunting of wild asses, the fancy that drew him to his ruin in the end. The word ‘Gur’ in Persian can mean both ‘grave’ and ‘wild ass’ – a pun based upon homography – and I have tried partially to convey this Persian pun into English by employing two graves, one as an adjective and the other as a noun. Note also FitzGerald’s translation the misquotation of which was made the cause of much resentful give and take between him and Robert Browning over the death of the latter’s wife: They say the Lion and the Lizard keep The Courts where Jamshyd gloried and drank deep: And Bahram, that great Hunter – the Wild Ass Stamps o’er his Head, and he lies fast asleep. This Song has also been attributed to Sadideddin A’var (12th century). 144 Marked with patches of black and white 145 Tus was one of the most distinguished mythological champions of the ancient Persia, noted for his quick temper and fury. Although he was the last legitimate next in line of the Pishdadian Dynasty, he was not granted rule for the reason that the Godly Glow, apparently an ancient version of the universal justification for the solidifying of the line of kingship in a family (remember the Stuarts and their doctrine of the Divinely Vested Authority), had left the House of his ancestors, and rule was transferred to Keyqobad of the Kyanian Dynasty. Perhaps this fact is what accounts for Tus’ intractable manner and unruly behavior throughout the Shahnameh which depicts him almost to the full. Keykavus, the son of Keyqobad, was like his father a mythological king of the ancient Persia, noted for his wavering, effeminate, and whimsical personality. Yet he is the king during whose reign many of the great events and feats of Persian heroic mythology such as Rostam’s Haftxaan, Rostam and Sohrab’s Confrontation, and the Story of Siavash take place. Tus was an effectual, though hard-to-manage, champion of his court, as he had been of his father’s. Putting the name of these two parallel to each other, aside from the matter of rhyming, perhaps has something to tell about the contention of these two ancient Houses which came to dust in the end.

.‫ﻧﻈﻢ درآورده‬ ‫ﭘﺮوﻳﺰ ﻫﻢ اﻟﺒﺘﻪ ﺧﺴﺮو ﭘﺮوﻳﺰ ﺷﺎه ﺳﺎﺳﺎﻧﻲ اﻳﺮان ﺑﻮد ﻛﻪ در زﻣﺎﻧﺶ وﺳﻌﺖ ﻣﺮزﻫﺎي اﻳﺮان ﺑﻪ ﭘﻬﻨﺎورﺗﺮﻳﻦ ﺣﺪود‬ ‫ ﻣﺎﺟﺮاي ﻧﺒﺮد ﺧﺴﺮوﭘﺮوﻳﺰ ﺑﺎ ﺑﻬﺮام ﭼﻮﺑﻴﻦ و رﻗﺎﺑﺘﺶ ﺑﺎ ﻓﺮﻫﺎد ﺳﻨﮓ ﺗﺮاش ﺑﺮ ﺳﺮ‬.‫ﺧﻮد در دوره ﺳﺎﺳﺎﻧﻲ رﺳﻴﺪ‬ .‫ﻋﺸﻖ ﺷﺎﻫﺰاده ارﻣﻨﻲ ﺷﻴﺮﻳﻦ زﺑﺎﻧﺰد ﺧﺎص و ﻋﺎم ﺑﻮد و ﺑﺎرﻫﺎ ﻣﻮﺿﻮع ﺷﻌﺮ و داﺳﺘﺎن و ﻣﺜﻞ واﻗﻊ ﺷﺪه اﺳﺖ‬ ‫ و داﺳﺘﺎن ﺑﻬﺮام ﭼﻮﺑﻴﻦ را آرﺗﻮر اﻣﺎﻧﻮﺋﻞ‬،‫داﺳﺘﺎن ﻣﻨﻈﻮم ﺧﺴﺮو و ﺷﻴﺮﻳﻦ را ﻧﻈﺎﻣﻲ ﮔﻨﺠﻮي ﺑﻪ ﺗﺤﺮﻳﺮ درآورده‬ .‫ﻛﺮﻳﺴﺘﻨﺴﻦ ﻣﺤﻘﻖ و ﺧﺎورﺷﻨﺎس داﻧﻤﺎرﻛﻲ از روي ﻣﺘﻮن ﺑﺎﺳﺘﺎﻧﻲ و ﺗﺎرﻳﺨﻲ اﻳﺮان ﺑﺎزﻧﻮﻳﺴﻲ ﻛﺮده‬ ‫ﺗﻠﻤﻴﺢ ﺑﻪ اﺳﺎﻃﻴﺮ اﻳﺮان ﺑﻪ ﻗﺼﺪ ﻋﺒﺮت ﺟﻮﻳﻲ )و ﻧﻪ ﺑﻪ ﻣﻨﻈﻮر رواﻳﺖ داﺳﺘﺎﻧﻬﺎي اﺳﻄﻮره اي( از آن دﺳﺘﻪ‬ ‫ﻣﺸﺨﺼﺎت ﺳﺒﻜﻲ ﺷﻌﺮ ﻓﺎرﺳﻲ اﺳﺖ ﻛﻪ در اواﺧﺮ ﻗﺮن ﺷﺸﻢ اوج ﻣﻲ ﮔﻴﺮد )ﻣﺜﻼ ﻗﺼﺎﻳﺪ ﻣﻌﺮوف ﺧﺎﻗﺎﻧﻲ را‬ ‫ﺑﺒﻴﻨﻴﺪ( و ﻟﺬا ﺑﻪ ﻟﺤﺎظ ﺳﻴﺮ ﺗﺎرﻳﺨﻲ ﻣﺸﺨﺼﺎت ﺷﻌﺮ ﻓﺎرﺳﻲ اﻧﺘﺴﺎب ﭼﻨﻴﻦ ﺗﺮاﻧﻪ ﻫﺎﻳﻲ ﺑﻪ ﺧﻴﺎم )ﺑﻪ ﻓﺮض ﺷﺎﻋﺮ‬ ‫ ﺗﻌﺪاد ﻧﺴﺒﺘﺎ ﻗﺎﺑﻞ ﻣﻼﺣﻈﻪ اي از‬.‫ﺑﻮدن او( ﻛﻪ در دوره اي ﭘﻴﺸﺘﺮ ﻣﻲ زﻳﺴﺘﻪ ﻧﻤﻲ ﺗﻮاﻧﺪ ﺧﺎﻟﻲ از اﺷﻜﺎل ﺑﺎﺷﺪ‬ ‫ﺗﺮاﻧﻪ ﻫﺎ – ﻛﻪ ﭘﺲ از اﻳﻦ ﻣﻲ آﻳﻨﺪ – ﻫﻤﻴﻦ روﻳﻪ را دﻧﺒﺎل ﻣﻲ ﻛﻨﻨﺪ و از ﻗﻀﺎ ﺑﻪ ﺧﺎﻗﺎﻧﻲ و ﭼﻨﺪ ﻧﻔﺮ دﻳﮕﺮ در‬ ‫ ﺗﻠﻤﻴﺢ ﺑﻪ اﺳﻄﻮره و ﺣﻤﺎﺳﻪ ﻛﻪ در اﻳﻦ ﺗﺮاﻧﻪ ﻫﺎ‬،‫ از ﻃﺮف دﻳﮕﺮ‬.‫ﻫﻤﺎن ﺣﺪود زﻣﺎﻧﻲ ﻫﻢ ﻧﺴﺒﺖ داده ﺷﺪه اﻧﺪ‬ ‫ﻣﺸﺨﺼﺎ ﻫﻨﻮز ﻛﺎﻣﻼ ﻏﻨﺎﻳﻲ ﻧﺸﺪه )ﭼﻨﺎﻧﻜﻪ در ﻗﺮن ﻫﻔﺘﻢ و ﻫﺸﺘﻢ در ﺳﺒﻚ ﻋﺮاﻗﻲ ﺑﻪ اوج ﺧﻮد ﻣﻲ رﺳﺪ( از‬ .‫ﻛﻴﻔﻴﺎت دﻳﮕﺮي اﺳﺖ ﻛﻪ ﺑﻪ ﺧﻮاﻧﺶ ﺣﻤﺎﺳﻲ اﺣﺘﻤﺎﻟﻲ ﺑﺨﺶ ﻋﻤﺪه اي از ﺗﺮاﻧﻪ ﻫﺎ اﺷﺎره ﻣﻲ ﻛﻨﺪ‬ ‫ ﺧﺎﻣﻮش ﺷﺪم‬136 ‫ در ﻧﺘﻴﺠﻪ‬،‫ ﺟﺎم ﺟﻢ ﻛﻪ ﻧﺸﺎن دﻫﻨﺪه ﺗﻤﺎم دﻧﻴﺎﺳﺖ ﺑﻪ ﻋﺒﺎرﺗﻲ ﻣﻌﻨﻲ ﻣﺤﻴﻂ ﺑﻮدن ﺑﺮ ﺗﻤﺎم دﻧﻴﺎ را ﻧﻴﺰ ﻣﻲ دﻫﺪ‬137 .‫ﺷﻜﺴﺘﻦ آن ﺷﻜﺴﺘﻦ ﺗﻤﺎم ﻋﻈﻤﺖ ﻇﺎﻫﺮي اﺳﺖ ﻛﻪ ﺻﺎﺣﺐ ﺟﺎم ﻳﺎ ﺧﻮد ﺟﺎم در اﺷﺮاف ﺑﺮ دﻧﻴﺎ ﻛﺴﺐ ﻛﺮده‬ ‫ﺣﺎﻓﻆ – ﺧﺪاوﻧﺪﮔﺎر اﻳﻬﺎم در ﺗﻠﻤﻴﺢ – اﻳﻦ ﺟﺎم را در اﻳﻬﺎﻣﻲ ﺑﻪ ﻫﻤﺮاه ﻧﻤﻮﻧﻪ ﻣﻌﺮوف دﻳﮕﺮش در ادﺑﻴﺎت‬ :‫ﻓﺎرﺳﻲ ﻛﻪ ﻫﻤﺎﻧﺎ ))آﻳﻴﻨﻪ ﺳﻜﻨﺪر(( ﺑﺎﺷﺪ اﻳﻨﮕﻮﻧﻪ ﻣﻌﺮﻓﻲ ﻣﻲ ﻛﻨﺪ‬ ‫ﺗﺎ ﺑﺮ ﺗﻮ ﻋﺮﺿﻪ دارد اﺣﻮال ﻣﻠﻚ دارا‬

‫آﻳﻴﻨﻪ ﺳﻜﻨﺪر ﺟﺎم ﻣﻲ اﺳﺖ ﺑﻨﮕﺮ‬

.‫اﻳﻦ ﺗﺮاﻧﻪ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺧﺎﻗﺎﻧﻲ ﺷﺮواﻧﻲ و ﺷﻬﺎب اﻟﺪﻳﻦ ﺳﻬﺮوردي ﻣﻲ ﺑﺎﺷﺪ‬ ‫ ﻣﻌﺸﻮق ﺧﻮب ﺻﻮرت و ﺧﺠﺴﺘﻪ‬138 ‫ ﺑﻪ ﺧﺼﻮص از ﻧﺴﻞ ﻛﻴﺎﻧﻴﺎن‬،‫ ﭘﺎدﺷﺎه‬139 ‫ ))ﺗﻴﺮﻣﻪ(( ﻛﻪ از‬،‫ در ﺷﻌﺮ ﻛﻼﺳﻴﻚ ﻓﺎرﺳﻲ ﻛﻪ ﻣﻌﻤﻮﻻ ﻛﻠﻤﺎت و ﻋﺒﺎرات ﻛﻬﻦ را ﺑﻪ ﻛﺎر ﻣﻲ ﮔﻴﺮد‬140 ‫ ﭼﻨﺎﻧﻜﻪ در ﺷﻌﺮ زﻳﺮ از ﻗﻄﺮان ﺗﺒﺮﻳﺰي ﭼﻨﻴﻦ‬،‫اﺻﻄﻼﺣﺎت ﺗﻘﻮﻳﻢ ﺑﺎﺳﺘﺎﻧﻲ اﺳﺖ ﺑﻪ ﻣﻌﻨﻲ ﻓﺼﻞ ﭘﺎﻳﻴﺰ ﻣﻲ ﺑﺎﺷﺪ‬ :‫اﺳﺖ‬ ‫از ﺗﺮﻧﺞ اﻓﺮوﺧﺖ ﺑﺴﺘﺎن ﭼﻮن ﺳﭙﻬﺮ از ﻣﺎه ﺗﻴﺮ‬

217

‫ﺗﺎ ﺳﭙﺎه ﮔﻞ ﻫﺰﻳﻤﺖ ﺷﺪ ز ﺧﻴﻞ ﻣﺎه ﺗﻴﺮ‬

141

218

                                                                                                                                    Also compare it with: “That skull had a tongue in it, and could sing once. How the knave jowls it to the ground, as if ‘twere Cain’s jawbone, that did the first murther! This might be the pate of a Politician, which this ass now o’erreaches; one that would circumvent God, might it not? (Hamlet (5.1.7074))” 146 The Persian war drum ‫ ﻛﻨﺎﻳﻪ از ﺑﺮاﺑﺮي ﻛﺮدن اﺳﺖ‬147

                                                                                                                                    157

‫ ﻣﻨﺰﻟﮕﺎه‬،‫ ﻛﺎرواﻧﺴﺮا‬150

The four humors Body 159 Fire 160 In this Song, the Four Humors whose balance according to the ancient and medieval physiological lore would lead to a perfect health, and thus to a perfect human being, have been related to their four respective dominant elements, which in turn depicts the frail and transient nature of human beings. This Song has also been attributed to Baba Afzal Kashi. 161 Sweetheart ‫ ﻛﻮﻫﻲ در ﺷﺒﻪ ﺟﺰﻳﺮه ﺳﻴﻨﺎ ﻛﻪ در رواﻳﺎت آﻣﺪه ﻣﻮﺳﻲ در آﻧﺠﺎ ﺑﻪ ﭘﻴﺎﻣﺒﺮي ﻣﺒﻌﻮث ﺷﺪ و ده ﻓﺮﻣﺎن را‬162

‫ اﺳﺪي ﻃﻮﺳﻲ ﻧﻴﺰ ﺗﻌﺒﻴﺮي ﻧﺰدﻳﻚ ﺑﻪ اﻳﻦ ﺗﺼﻮﻳﺮ‬.‫ ﻫﻤﭽﻮن اﺳﺐ اﺑﻠﻖ‬،(‫ دو رﻧﮓ )در اﻳﻨﺠﺎ ﺳﻴﺎه و ﺳﻔﻴﺪ‬151

‫درﻳﺎﻓﺖ ﻛﺮد‬

:‫دارد‬

.‫ ﻗﻴﺼﺮ ﻣﻌﺮب ﺳﺰار اﺳﺖ ﻛﻪ ﻧﺎم اﻣﭙﺮاﻃﻮران روم ﺑﻮد‬163

‫دو ﮔﻮن اﺳﺖ از اﺳﺒﺎن ﺷﺎن ﮔﺮد ﺧﺸﻚ‬

‫ ﻛﺴﺮي ﻣﻌﺮب‬.‫ ﻃﺎق ﻛﺴﺮي در ﺗﻴﺴﻔﻮن در ﺷﻤﺎل ﻋﺮاق ﻓﻌﻠﻲ ﻗﺮار دارد و ﭘﺎﻳﺘﺨﺖ اﻣﭙﺮاﻃﻮري ﺳﺎﺳﺎﻧﻲ ﺑﻮد‬164

‫ز ﮔﺮد دو رﻧﮓ اﺳﺐ اﻳﺸﺎن ﺑﻪ راه‬

.‫ﺧﺴﺮو ﻓﺎرﺳﻲ و ﺑﻪ ﻣﻌﻨﻲ ))ﻓﺮاخ ﻣﻠﻚ(( اﺳﺖ‬

‫ اﺳﺐ‬152

‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺑﺎﺑﺎ اﻓﻀﻞ ﻛﺎﺷﻲ‬165

‫ ﺑﻠﻨﺪﻳﻬﺎي دﻳﻮار و ﺣﺼﺎر ﻗﻠﻌﻪ‬148 ‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺳﺪﻳﺪاﻟﺪﻳﻦ اﻋﻮر‬149

‫ﻳﻜﻲ ﻫﻤﭽﻮ ﻛﺎﻓﻮر و دﻳﮕﺮ ﭼﻮ ﻣﺸﻚ‬ ‫ﺳﭙﻴﺪﺳﺖ ﮔﻪ ﻣﻮي و ﮔﺎﻫﻲ ﺳﻴﺎه‬

‫ زﻧﮕﻲ ﻛﻪ ﺑﺮ ﮔﺮدن ﺷﺘﺮ ﺑﻨﺪﻧﺪ‬153 :‫ اﻳﻦ ﺗﺮاﻧﻪ در ﻃﺮﺑﺨﺎﻧﻪ وارﻳﺎﺳﻴﻮﻧﻲ دارد ﻛﻪ ﻣﻨﺴﻮب ﺑﻪ ﺷﻬﻴﺪ ﺑﻠﺨﻲ ﻣﻲ ﺑﺎﺷﺪ‬154 ‫دﻳﺪم ﺟﻐﺪي ﻧﺸﺴﺘﻪ ﺟﺎي ﻃﺎووس‬ ‫ﮔﻔﺘﺎ ﺧﺒﺮ اﻳﻦ اﺳﺖ ﻛﻪ اﻓﺴﻮس اﻓﺴﻮس‬ 155

‫دوﺷﻢ ﮔﺬر اﻓﺘﺎد ﺑﻪ وﻳﺮاﻧﻪ ﻃﻮس‬ ‫ﮔﻔﺘﻢ ﭼﻪ ﺧﺒﺮ داري از اﻳﻦ وﻳﺮاﻧﻪ؟‬

Many a Ctesiphon was the capital city of the Sassanid Empire located in the northern Mesopotamia, now in Iraq; and Kasra was the Arbized form of Xosro, the common title for the Persian kings. The masterful succinctness of the form Song is most apparent in this one. By putting parallel the religious and the secular allusions to “those who have gone”, this Song, without drawing a distinct line between the worldly and the divine, considers all to be the subjects of leaving. This and quite a few other Songs, by mostly employing historical and mythological imagery, seem to want to warn the reader of the passing of time, and not necessarily to express a feeling of futility and fruitlessness. This theme, along with its accompanying accouterments, which also proves to be prominent in other forms of Iranian poetry in different eras, especially in ode and in the narrative Masnavi, sees its several apexes in Ferdowsi, Xaqani, and Sa’di.

156

219

158

166

Tomorrow The four elements materialized in one shape, i.e. human being 168 This line in original Farsi reads literally something like this: “This (viperlike) piebald house of nine spheres is naught!” The meaning, of course, is clear: day and night and the nine spheres of the sky (according to traditional cosmology) are addressed in this line; but since I could not find any sensible association between the words “viper” (which is actually alluded to by means of a metaphor, namely piebald, and not mentioned directly) and “spheres”, I, when translating this line, preferred to use “lore” instead of “spheres” to relate the viper to the sky in some sensible manner in English. Of course the reader has to know the other meaning of “lore” as well to get the point. He can also make a pun with “lure” out of it. 169 This Song which employs elaborate imagery seems to have passed the primary stages of the development of the form Song as an oral tradition to a written tradition. There are many Songs like this that purport to be the products of an age when the composers were more conscious of what they wrote as pieces of effective language. ‫ دﻳﺮوز‬170 167

‫ ﻣﺤﻠﻲ ﻛﻪ ﮔﺬرﮔﺎه ﺗﻨﺪﺑﺎد اﺳﺖ‬171 (‫در رﻫﮕﺬار ﺑﺎد ﻧﮕﻬﺒﺎن ﻻﻟﻪ ﺑﻮد )ﺣﺎﻓﻆ‬

220

‫ ﻫﺮ ﻛﻮ ﻧﻜﺎﺷﺖ ﻣﻬﺮ و ز ﺧﻮﺑﻲ ﮔﻠﻲ ﻧﭽﻴﺪ‬172

                                                                                                                                   

                                                                                                                                   

‫ ﺧﺎﻧﻪ‬،‫ ﺳﺮا‬173

common practice in the West, is hardly applicable to and virtually impossible for classical Farsi poetry, since in any one single genre of Farsi poetry there have been expressed many kinds of attitudes and sensations; as is true also of the Songs, which gives me yet another reason to call this kind of quatrain, mostly in regard to the partly-lyrical partly-other-voiecd dialectic its singular instances establish intratextually, intertextually, and also contextually, Song. 186 The Caravan Imagery used in a number of Songs is not a natural imagery for Farsi poetry, and has been majorly adopted from Arabic poetry with respect to the ancient methods of transportation in the vastly arid and desertlain topography of the Arabian Peninsula. Therefore, Farsi poetry has acquired one of its most delectable and enduring images (and thus the worldview it introduces) – which most of the time forms into a bittersweet metaphor of the passage of life – from its invading neighbors; and this is where everything fades into gray when one cannot say, for example, if that invasion was ‘good’ or ‘bad’? Or did it take ‘from’ the conqured people or take ‘to’ them? And so on and so forth. ‫ زﻳﺒﺎ روي‬187

‫ اﺳﺘﻌﺎره از ﺷﺐ و روز اﺳﺖ و ﻧﻪ ﻃﺒﻘﻪ آﺳﻤﺎن ﺑﺮ اﺳﺎس ﻛﻴﻬﺎن‬.‫ ﻣﺎر ﺑﺴﻴﺎر ﺧﻄﺮﻧﺎك ﺑﺎ ﭘﻮﺳﺖ ﺳﻴﺎه و ﺳﻔﻴﺪ‬174 ‫ ﺑﺮاي ﻧﻤﻮﻧﻪ ﺑﻪ‬.‫ ﺷﺐ و روز در ادﺑﻴﺎت ﻓﺎرﺳﻲ ﺑﺎرﻫﺎ از ﻃﺮﻳﻖ ﺗﺼﺎوﻳﺮ ﮔﻮﻧﺎﮔﻮن ﺗﻮﺻﻴﻒ ﺷﺪه اﻧﺪ‬.‫ﺷﻨﺎﺳﻲ ﺳﻨﺘﻲ‬ :‫ﺗﺼﻮﻳﺮي ﻛﻪ ﺳﻨﺎﺋﻲ از ﺷﺐ و روز ﻣﻲ ﺳﺎزد ﻫﻢ ﺗﻮﺟﻪ ﻛﻨﻴﺪ‬ ‫اﻳﻦ دو ﻓﺮاش زﻧﮕﻲ و روﻣﻲ‬

‫ﻓﺮش ﻋﻤﺮت ﻧﻮﺷﺘﻪ در ﺷﻮﻣﻲ‬

‫ﺑﺎ اﻳﻦ وﺟﻮد ﺑﻪ ﻛﺎر ﺑﺮدن ﭼﻨﻴﻦ ﺗﺼﻮﻳﺮ ﻣﺮﻛﺐ ﭘﻴﭽﻴﺪه اي در ﻗﺎﻟﺐ ﺗﺮاﻧﻪ ﻛﻪ اﺻﻮﻻ از ﻟﺤﺎظ ﺑﻪ ﻛﺎرﮔﻴﺮي‬ ‫ و ﺑﻪ اﺣﺘﻤﺎل زﻳﺎد ﺗﺮاﻧﻪ ﻫﺎﻳﻲ از اﻳﻦ‬،‫ﺗﺮﻛﻴﺒﺎت ﻛﻼﻣﻲ و ﺗﺼﻮﻳﺮﺳﺎزي ﻧﺴﺒﺘﺎ ﻣﺘﻌﺎدل اﺳﺖ ﻏﻴﺮﻣﻌﻤﻮل ﻣﻲ ﻧﻤﺎﻳﺪ‬ ‫دﺳﺖ ﻣﺤﺼﻮل دوره اي از ﺣﻴﺎت ﺗﺎرﻳﺨﻲ ﻗﺎﻟﺐ ﺗﺮاﻧﻪ اﻧﺪ ﻛﻪ اﻳﻦ ﻗﺎﻟﺐ از ﻣﺮﺣﻠﻪ ﺷﻔﺎﻫﻲ ﮔﺬر ﻛﺮده و وارد‬ .‫ﻣﺮﺣﻠﻪ ﻧﻮﺷﺘﺎري و ﺑﻪ اﺻﻄﻼح ﻫﻨﺮي ﺷﺪه اﺳﺖ‬ 175

No shaking off of, no getting rid of Merry, frivolous (Scottish) 177 This line contains an allusion to the Islamic tradition of giving water to animals before they are slaughtered for their meat 178 Store ‫ ﺧﻄﺮﺳﺎز‬،‫ ﻓﺘﻨﻪ اﻧﮕﻴﺰ‬179 176

‫ ﺷﻴﺮﻳﻨﻲ‬،‫ﺷﻜﺮ ﺑﺎدام‬

180

‫از ﻣﻴﺎن آن ﻫﻤﻪ‬181

‫ ﺑﻪ ﻣﻌﻨﻲ ﻣﺤﻜﻤﺘﺮ ﺑﺴﺘﻦ ﻛﻤﺮﺑﻨﺪ و در ﻧﺘﻴﺠﻪ ﺟﻤﻊ و ﺟﻮر ﻛﺮدن ﻟﺒﺎس اﺳﺖ ﺑﻪ ﻗﺼﺪ آﻣﺎدﮔﻲ ﺑﻴﺸﺘﺮ ﺑﺮاي‬188 .‫ در اﻳﻨﺠﺎ ﻛﻨﺎﻳﻪ از آﻣﺎده ﺷﺪن ﺑﺮاي اﻧﺠﺎم ﻛﺎري دﺷﻮار اﺳﺖ‬.‫ﻣﺒﺎرزه‬ ‫ ﺳﺮﻳﻊ و ﭼﺎﺑﻚ‬189

182

“Saqi” stands for the cupbearer in Farsi, and thus not a proper noun per se; nevertheless, regarding its use in the premises of the Songs and many other Farsi poetic genres as the name of a proper person for address and apostrophe, it can also be considered a proper noun here. Later I will argue that this same Saqi who inspires a sense of wise authority in the realm of worldly matters might in fact stand for the alter ego of the Master in the Mystical Songs in many cases. 183 In a wink 184 Morning 185 The delicate imagination and the worked-out imagery of the second stich of this Song make it all the more similar to the poetry of the 15th century than to that of the 10th and 11th centuries which sounds and seems roughly epical in general; and there have been many Songs that with respect to their verbal texture and style of expression could have been considered to belong in another era, and yet in this collection, in regard to their somehow parallel subject matters, have been classed together. Truth be told, Shafi’ii Kadkani’s opinion holds true about this issue that the classification of genres with respect to their subject matter, which used to be, and still somehow is,

221

‫ ﺧﻴﺎل ﺑﺮاﻧﮕﻴﺰي ﻇﺮﻳﻒ و ﺗﺼﻮﻳﺮﺳﺎزي ﻛﺎر ﺷﺪه ﺣﺴﻦ ﺗﻌﻠﻴﻞ ﻣﻮﺟﻮد در ﺑﻴﺖ دوم اﻳﻦ ﺗﺮاﻧﻪ ﺑﻴﺸﺘﺮ آن را ﺑﻪ‬190 ‫اﺷﻌﺎر ﺳﺒﻚ ﻫﻨﺪي ﺷﺒﻴﻪ ﻣﻲ ﻛﻨﺪ ﺗﺎ ﺗﺮاﻧﻪ ﻫﺎي ﺳﺒﻚ ﺧﺮاﺳﺎﻧﻲ ﻛﻪ ﻋﻤﺪﺗﺎ ﻟﺤﻨﻲ ﺣﻤﺎﺳﻲ و ﺑﻴﺎﻧﻲ ﺳﺨﺖ دارﻧﺪ؛‬ ‫و ﺑﺴﻴﺎر ﺑﻮده اﻧﺪ ﺗﺮاﻧﻪ ﻫﺎﻳﻲ ﻛﻪ از ﻟﺤﺎظ ﺳﺒﻚ و ﺳﺎﺧﺘﺎر اﺣﺘﻤﺎﻻ ﺑﻪ دوره دﻳﮕﺮي ﺗﻌﻠﻖ داﺷﺘﻪ اﻧﺪ و در اﻳﻦ‬ ‫ ﺣﻘﻴﻘﺖ اﻳﻦ اﺳﺖ ﻛﻪ در اﻳﻦ ﻣﻮرد‬.‫ﻣﺠﻤﻮﻋﻪ ﺑﻪ دﻟﻴﻞ ﺗﺸﺎﺑﻪ ﻣﻮﺿﻮﻋﻲ در ﻳﻚ ﻃﺒﻘﻪ ﺑﻨﺪي ﻗﺮار ﮔﺮﻓﺘﻪ اﻧﺪ‬ ‫ﺳﺨﻦ ﺷﻔﻴﻌﻲ ﻛﺪﻛﻨﻲ ﺻﺪق ﻣﻲ ﻛﻨﺪ ﻛﻪ ﻃﺒﻘﻪ ﺑﻨﺪي ﺷﻌﺮ ﻓﺎرﺳﻲ از ﻟﺤﺎظ ﻣﻮﺿﻮع ﻛﻪ در ﻏﺮب ﻣﻌﻴﺎر ﻣﻌﻤﻮل‬ ‫ ﭼﻪ در ﻗﺎﻟﺒﻬﺎي ﻣﺨﺘﻠﻒ ﺷﻌﺮ ﻓﺎرﺳﻲ ﻣﻌﻤﻮﻻ اﻧﻮاع‬،‫ﺑﻮده ﻛﺎري ﺑﺴﻴﺎر دﺷﻮار و ﺗﻘﺮﻳﺒﺎ ﻏﻴﺮﻣﻤﻜﻦ اﺳﺖ‬ ‫ و ﺑﻪ اﺣﺘﻤﺎل زﻳﺎد ﺑﻪ ﻫﻤﻴﻦ دﻟﻴﻞ ﺑﺎﺷﺪ ﻛﻪ ﻗﺪﻣﺎ ﻃﺒﻘﻪ ﺑﻨﺪي ﻗﺎﻟﺒﻲ را‬،‫اﺣﺴﺎﺳﺎت و اﻧﺪﻳﺸﻪ ﻫﺎي ﻣﺘﻔﺎوت ﺑﻴﺎن ﺷﺪه‬ .‫ﺑﻪ ﻃﺒﻘﻪ ﺑﻨﺪي ﻣﻮﺿﻮﻋﻲ ﺗﺮﺟﻴﺢ داده اﻧﺪ‬ ‫ ﺗﺼﻮﻳﺮﮔﺮاﻳﻲ ﻛﺎرواﻧﻲ ﻛﻪ در ﺑﺮﺧﻲ ﺗﺮاﻧﻪ ﻫﺎ ﻣﺸﺎﻫﺪه ﻣﻲ ﺷﻮد در اﻳﺮان ﭘﻴﺸﻴﻨﻪ ﻃﻮﻻﻧﻲ ﻧﺪارد و ﺑﻪ اﺣﺘﻤﺎل‬191 ‫زﻳﺎد ﺑﻌﺪ از اﺳﻼم از ﺷﻌﺮ اﻋﺮاب ﺻﺤﺮاﻧﺸﻴﻦ وارد ادﺑﻴﺎت ﻓﺎرﺳﻲ ﺷﺪه اﺳﺖ؛ ﺑﻪ ﻋﺒﺎرﺗﻲ ﻣﻲ ﺗﻮان ﮔﻔﺖ ﻛﻪ‬ ،‫ادﺑﻴﺎت ﻓﺎرﺳﻲ ﻳﻜﻲ از ﺗﺎﺛﻴﺮﮔﺬارﺗﺮﻳﻦ و ﻣﺎﻧﺪﮔﺎرﺗﺮﻳﻦ ﺗﺼﺎوﻳﺮ ﺧﻮد را از ﻓﺮﻫﻨﮓ ﻋﺮﺑﻲ اﺗﺨﺎذ ﻛﺮده اﺳﺖ‬ ‫ﻛﻪ ﭘﻴﺸﺎﻫﻨﮓ ﺑﻴﺮون ﺷﺪ ز‬/‫ﭼﻨﺎﻧﻜﻪ ﺑﺮاي ﻣﺜﺎل در ﻗﺼﻴﺪه ﻫﺎي ﺑﻪ ﻳﺎدﻣﺎﻧﺪﻧﻲ ))اﻻ ﻳﺎ ﺧﻴﻤﮕﻲ ﺧﻴﻤﻪ ﻓﺮو ﻫﻞ‬

222

                                                                                                                                   

                                                                                                                                   

‫ﺟﺰ از ﺳﺘﺎره ﻧﺪﻳﺪم ﺑﺮ آﺳﻤﺎن ﻟﺸﻜﺮ(( ﻣﺴﻌﻮد‬/‫ ))دوال رﺣﻠﺖ ﭼﻮ ﺑﺮزدم ﺑﻪ ﻛﻮس ﺳﻔﺮ‬،‫ﻣﻨﺰل(( ﻣﻨﻮﭼﻬﺮي‬

been settled into clichés with no critical social import whatsoever today, can be now studied in a new light. By the way, the absence of the courtly metaphorical epithets of the military male sweetheart (the very Turk, which generically stands for the homosexually provoking north-eastern fair soldiers of any race, so much celebrated in Farsi poetry as the cold and recalcitrant sweetheart – la belle dame sans merci!) such as the ‘bow-browed’ or ‘lasso-tressed’ in the premises of the Songs is one of the other factors that points to the more proper placement of the Songs in the popular sector of Iranian literature and culture. The fact that how this dexterous and ingenious, not only literary but also epistemological, censorship took place that whereas only a small part of Farsi literary texts were ‘physically’ clipped out hardly anybody was able to recognize the true story behind them is in effect a long and sinisterly twisted tale that reaches back to the initial stages of modernity in Iran, when the self-appointed Custodians of Iran’s Literature and Culture such as Foruqi, Nafisi, Dastgerdi, Dashti, etc., with the intention of carving out a conservatively neat literary canon from the existing material, sometimes through a cut-and-paste process, other times by ‘hushing it up’, and most of the time by drawing the attention of their audiences to lesser concerns through their misleading writings relentlessly set out to bowdlerize the ‘unorthodoxies’ of Iranian literature which was then duely handed to the assembly line of the Factory of Nationalism that immediately massproduced what we now regard as the Great Masterpieces of Iranian Literature. Incidentally, the Xayyam whose supposed poetry is everywhere sold within the frame of the long and wide hand-scripted and miniaturedrawn volumes many thousand tumans a copy today proves to be the most (il)legitimate offspring of this era. About the process of the formation of the contemporary ‘castrated’ discourse of Iranian literature which usually shares no grain of interest with the life and day-to-day concerns of the people, alienating it from the ‘real world’ and rendering it only as good as the ‘lessons’ which is made of it in Faculties of Language and Literature, I shall later write in more detail. ‫ ﺷﺎدﻣﺎﻧﻲ‬198

((‫ﺗﺎ ﻳﻚ زﻣﺎن زاري ﻛﻨﻢ ﺑﺮ رﺑﻊ اﻃﻼل و دﻣﻦ‬/‫ ))اي ﺳﺎرﺑﺎن ﻣﻨﺰل ﻣﻜﻦ ﺟﺰ در دﻳﺎر ﻳﺎر ﻣﻦ‬،‫ﺳﻌﺪ ﺳﻠﻤﺎن‬ ((‫وان دل ﻛﻪ ﺑﺎ ﺧﻮد داﺷﺘﻢ ﺑﺎ دﻟﺴﺘﺎﻧﻢ ﻣﻲ رود‬/‫رام ﺟﺎﻧﻢ ﻣﻲ رود‬Ĥ‫ و ﻏﺰﻟﻬﺎي ))اي ﺳﺎرﺑﺎن آﻫﺴﺘﻪ رو ﻛ‬،‫ﻣﻌﺰي‬ ‫ﺟﺮس ﻓﺮﻳﺎد ﻣﻲ دارد ﻛﻪ ﺑﺮﺑﻨﺪﻳﺪ ﻣﺤﻤﻠﻬﺎ(( ﺣﺎﻓﻆ‬/‫ﺳﻌﺪي و ))ﻣﺮا در ﻣﻨﺰل ﺟﺎﻧﺎن ﭼﻪ اﻣﻦ ﻋﻴﺶ ﭼﻮن ﻫﺮ دم‬ .‫ﺟﺎوداﻧﻪ ﺷﺪه اﺳﺖ‬ 192

Caravan Write, here meaning remember 194 Many 195 Margin 196 Rich harvest 197 Suggestive homophilia (if not candid homosexuality) which is galore in the premises of the Songs is one of their prominent aspects which has never been made into the focus of a serious study. As I pointed out in the preface, it is one of the linguistic features of Farsi that in its context the gender – with the exception of that of most proper and some generic nouns – is not indicated, and this linguistic defect (perhaps quite a few feminists and gay people, in this age of extreme gender-confusion, would call it an advantage) of Farsi in the passage of time has turned into some kind of an advantageous escape clause for the shrewd practitioners of Iranian literature through which to address and also to talk about their ‘unorthodox’ subjects or objects of love with a great degree of impunity for the fact that they were able to hide the true gender and identity of those ‘darlings’ through this ‘necessary absence’ that the nature of their mother tongue had provided for them; otherwise, as Sirous Shamissa in his revealing masterpiece “Sodomy Based on Persian Literature” has demonstrated, the greater number of the beloveds in Farsi classical poetry were actually male and not female, for the religious dogmas and social values prevalent throughout the history of Iran could not allow in principle for the beloved with such open manner and blatantly provoking qualities to be a female, and our usually ‘conservative’ conception of the sweetheart today must not blur the true nature of many of the loved ones in the premises of the classical Farsi poetry. None the less, the present Song purports to be a patently homosexual piece, since the moss is actually a metaphor for the emerging moustache and the foison is another metaphor for the nascent beard of the male sweetheart. With regard to the above-mentioned facts, therefore, the hackneyed motifs of the ‘tulip-face’ and the ‘elm-stature’ and the like which have been so far mostly treated as the attributes of a female beloved and through that have 193

223

‫ ﺟﻮاﻧﻲ‬199 ‫ ﻣﻲ ﻛﺪه‬200 ‫ ﻳﻜﻲ از ﺟﻨﺒﻪ ﻫﺎي ﭘﺮ اﻫﻤﻴﺖ ﺗﺮاﻧﻪ ﻫﺎ ﻛﻪ ﺗﺎ ﺑﻪ اﻣﺮوز ﻣﻮرد ﺗﺤﻘﻴﻖ و ﺗﻔﺤﺺ اﻧﺘﻘﺎدي ﻗﺮار ﻧﮕﺮﻓﺘﻪ ﻣﺒﺤﺚ‬201 ‫ اﻳﻦ‬،‫ ﭼﻨﺎﻧﻜﻪ در ﻣﻘﺪﻣﻪ اﻧﮕﻠﻴﺴﻲ اﺷﺎره ﺷﺪ‬.‫ﻫﻤﺠﻨﺲ ﮔﺮاﻳﻲ ﻣﻲ ﺑﺎﺷﺪ ﻛﻪ در ﻣﺤﺪوده ﺗﺮاﻧﻪ ﻫﺎ ﻛﻢ ﻧﻤﻮﻧﻪ ﻧﺪارد‬

224

‫‪                                                                                                                                   ‬‬ ‫‪202‬‬

‫‪                                                                                                                                   ‬‬

‫‪Become prosperous‬‬ ‫‪“Ped” is not a word proper in English, it is usually used as a prefix in‬‬ ‫‪compound vocabulary items such as pedagogue, pederast, pedophilia, all‬‬ ‫‪relating somehow to children (“ped” is the Latinized version of the Greek‬‬ ‫‪“paid”, meaning child). Regarding the historical background of this suffix in‬‬ ‫‪the West, I have employed it in the rendering of this Song as the only proper‬‬ ‫‪‘word’ for the conveyance of the homosexual idea which underlies it.‬‬ ‫‪ 204‬ﭘﺴﺮي ﻛﻪ ﺗﺎزه ﻣﻮي ﺑﺮ ﺻﻮرﺗﺶ ﺳﺒﺰ ﺷﺪه‪ ،‬ﻣﻐﺒﭽﻪ‪ ،‬ﺷﻴﺮﻳﻦ ﭘﺴﺮ‪ .‬ﺑﻪ ﻣﺮاﻋﺎت اﻟﻨﻈﻴﺮ اﺳﺘﺎداﻧﻪ ﺗﻮﺟﻪ ﻛﻨﻴﺪ ﻛﻪ‬

‫ارزﺷﻬﺎي اﺟﺘﻤﺎﻋﻲ اﻳﺮان اﺟﺎزه ﻧﻤﻲ داده ﻛﻪ ﻣﻌﺸﻮق ﻣﻮﻧﺚ ﺑﺎﺷﺪ‪ ،‬و ﺗﺼﻮر اﻣﺮوز ﻣﺎ از ﻣﻌﺸﻮق ﻧﺒﺎﻳﺪ ﺑﺮ‬

‫ﻣﻄﻤﺌﻨﺎ درﺑﺎره ﻣﻌﺸﻮق ﻣﻮﻧﺚ ﻧﻤﻲ ﺗﻮاﻧﺴﺖ اﺻﻼ ﺷﻜﻞ ﺑﮕﻴﺮد‪ ،‬ﭼﻪ ﻣﻌﺸﻮق ﻣﻮﻧﺚ – ﺗﺎ آﻧﺠﺎ ﻛﻪ ﻣﺎ ﻣﻲ داﻧﻴﻢ –‬

‫ﺣﻘﻴﻘﺖ ))ﻣﻌﺸﻮق ﺷﻌﺮ ﻛﻼﺳﻴﻚ ﻓﺎرﺳﻲ(( ﭘﺮده ﺑﻴﻔﻜﻨﺪ‪.‬‬

‫رﻳﺶ ﻧﺪارد!‬

‫ﺑﺎ اﻳﻦ وﺟﻮد‪ ،‬ﺗﺮاﻧﻪ ﺣﺎﺿﺮ ﺑﻪ ﺷﻴﻮه اي ﻣﺒﺮﻫﻦ ﻫﻤﺠﻨﺲ ﮔﺮاﻳﺎﻧﻪ اﺳﺖ‪ ،‬ﭼﻪ ﺳﺒﺰه اول ﺑﻪ ﺳﺒﻴﻞ و ﺳﺒﺰه دوم ﺑﻪ‬

‫‪ 205‬ﺑﺮوﻳﺪ‪ .‬در ﺷﻌﺮ ﻛﻼﺳﻴﻚ ﻓﺎرﺳﻲ اﻓﻌﺎل ﻣﻲ ﺗﻮاﻧﻨﺪ در زﻣﺎﻧﻲ ﺻﺮف ﺷﻮﻧﺪ ﻛﻪ در ﺣﻘﻴﻘﺖ ﺑﻪ آن اﺷﺎره ﻧﻤﻲ‬

‫رﻳﺶ ﻣﻌﺸﻮق ﻣﺬﻛﺮ ﺣﺴﻦ ﺗﻌﻠﻴﻠﻲ ﺗﻠﺦ ﺷﺪه‪ .‬ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﻣﻲ ﺗﻮان ﮔﻔﺖ ﻛﻪ اﺻﻄﻼﺣﺎت ))ﻻﻟﻪ رخ(( و‬

‫ﻛﻨﻨﺪ‪ ،‬ﻛﻪ ﻫﻢ ﺑﻪ ﻣﺴﺎﻟﻪ رﻋﺎﻳﺖ وزن و ﻗﺎﻓﻴﻪ ﺑﺮﻣﻲ ﮔﺮدد و ﻫﻢ از آن ﻣﻬﻢ ﺗﺮ ﻣﺤﺼﻮل دوره اي از زﺑﺎن ﻓﺎرﺳﻲ‬

‫))ﺳﺮو ﺑﺎﻻ(( و ﻏﻴﺮه ﻛﻪ در ﺣﻮزه ﺗﺮاﻧﻪ ﻫﺎ ﺗﺼﺎوﻳﺮ آﺷﻨﺎﻳﻲ ﻫﺴﺘﻨﺪ و اﻣﺮوزه ﺗﻘﺮﻳﺒﺎ ﺑﻪ ﻛﻠﻴﺸﻪ ﻫﺎﻳﻲ ﻣﺮده ﺗﺒﺪﻳﻞ‬

‫اﺳﺖ ﻛﻪ دﺳﺘﻮر زﺑﺎن ﻫﻨﻮز ﺷﻜﻞ دﮔﻤﺎﺗﻴﻚ و ﺛﺒﺎت ﻳﺎﻓﺘﻪ ﺑﻪ ﺧﻮد ﻧﮕﺮﻓﺘﻪ ﺑﻮد‪ ،‬ﭼﻨﺎﻧﻜﻪ در زﺑﺎن اﻧﮕﻠﻴﺴﻲ‬

‫ﺷﺪه اﻧﺪ اﮔﺮ از اﻳﻦ زاوﻳﻪ ﻣﻮرد ﺑﺮرﺳﻲ ﻗﺮار ﺑﮕﻴﺮﻧﺪ ﻧﻔﺴﻲ ﺗﺎزه درون ﺷﺎن دﻣﻴﺪه ﻣﻲ ﺷﻮد‪ .‬در ﻫﻤﻴﻦ راﺳﺘﺎ‪،‬‬

‫ﭘﻴﺸﺎﻣﺪرن ﻧﻴﺰ ﭼﻨﻴﻦ وﺿﻌﻴﺘﻲ ﻣﺸﺎﻫﺪه ﻣﻲ ﺷﻮد‪.‬‬

‫ﻏﻴﺒﺖ ﺗﺼﺎوﻳﺮ ﻣﺮﺑﻮط ﺑﻪ ﻣﻌﺸﻮق ﻣﺬﻛﺮ )ﻫﻤﺎن ﺗﺮك( ﻟﺸﻜﺮي ﻫﻤﭽﻮن ))ﻛﻤﺎن اﺑﺮو(( و ))ﻛﻤﻨﺪ ﮔﻴﺴﻮ(( در‬

‫‪ 206‬ﻓﻠﻖ‪ .‬روﺷﻨﺎﻳﻲ رﻧﮕﻴﻦ ﮔﺬران آﺳﻤﺎن در ﻫﻨﮕﺎم ﻃﻠﻮع آﻓﺘﺎب‬

‫ﺣﻮزه ﺗﺮاﻧﻪ ﻫﺎ از ﻋﻮاﻣﻞ دﻳﮕﺮي اﺳﺖ ﻛﻪ ﺑﻪ ﻣﺮدﻣﻲ ﺑﻮدن – در ﻣﻘﺎﺑﻞ اﺷﺮاﻓﻲ ﺑﻮدن و در ﻧﺘﻴﺠﻪ رﺳﻤﻲ ﺑﻮدن‬

‫‪203‬‬

‫‪207‬‬

‫‪Also attributed to Ahli Shirazi‬‬ ‫‪Drunk‬‬ ‫‪209‬‬ ‫‪Earlier‬‬ ‫‪208‬‬

‫از ﺧﺼﻮﺻﻴﺎت زﺑﺎن ﻓﺎرﺳﻲ اﺳﺖ ﻛﻪ در آن ﺟﻨﺴﻴﺖ ﺿﻤﺎﻳﺮ ﻗﺎﺑﻞ ﺗﺸﺨﻴﺺ ﻧﻴﺴﺘﻨﺪ‪ ،‬و اﻳﻦ ﻧﻘﺺ زﺑﺎﻧﻲ در ﻃﻮل‬ ‫ﺗﺎرﻳﺦ ﺑﻪ ﺣﺴﻨﻲ و در ﺣﻘﻴﻘﺖ ﮔﺮﻳﺰﮔﺎﻫﻲ ﺑﺮاي ادﺑﻴﺎت ﻓﺎرﺳﻲ ﺗﺒﺪﻳﻞ ﺷﺪه ﻛﻪ در ﻫﻨﮕﺎم اﺷﺎره ﺑﻪ ﻓﺮد – در‬ ‫اﻳﻦ ﻣﻮرد ﺑﻪ ﺧﺼﻮص ﺷﺎﻫﺪ و ﻣﻌﺸﻮق – ﺟﻨﺴﻴﺖ وي را در ﭘﺲ ﭘﺮده ﻧﮕﺎه ﻣﻲ دارد‪ ،‬وﮔﺮﻧﻪ ﻫﻤﺎﻧﻄﻮر ﻛﻪ‬ ‫ﺳﻴﺮوش ﺷﻤﻴﺴﺎ در اﺛﺮ ﮔﺮاﻧﺴﻨﮓ ﺧﻮد ))ﺷﺎﻫﺪﺑﺎزي در ادﺑﻴﺎت ﻓﺎرﺳﻲ(( ﻧﺸﺎن داده اﻛﺜﺮﻳﺖ ﻗﺮﻳﺐ ﺑﻪ اﺗﻔﺎق‬ ‫ﺟﻤﺎﻋﺖ ﻣﻌﺸﻮﻗﺎن ادﺑﻴﺎت ﻛﻼﺳﻴﻚ ﻓﺎرﺳﻲ را ﺟﻨﺲ ﻣﺬﻛﺮ و ﻧﻪ ﻣﻮﻧﺚ ﺗﺸﻜﻴﻞ ﻣﻲ دﻫﺪ‪ ،‬و اﺻﻮﻻ اوﺿﺎع و‬

‫– ﻛﻠﻲ اﻳﻦ ژاﻧﺮ اﺷﺎره ﻣﻲ ﻛﻨﺪ‪.‬‬ ‫اﻳﻨﻜﻪ اﻳﻦ ﺳﺎﻧﺴﻮر اﺳﺘﺎداﻧﻪ ﻧﻪ ﺗﻨﻬﺎ ادﺑﻲ ﺑﻠﻜﻪ ﻣﻌﺮﻓﺖ ﺷﻨﺎﺧﺘﻲ ﭼﮕﻮﻧﻪ اﺗﻔﺎق اﻓﺘﺎد ﻛﻪ در ﺟﺎﻳﻲ ﻛﻪ ﺗﻘﺮﻳﺒﺎ از‬

‫‪ 210‬ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ اﻫﻠﻲ ﺷﻴﺮازي‬

‫ﻣﺘﻮن ادﺑﻲ ﻓﺎرﺳﻲ ﻛﻤﺘﺮ ﻗﺴﻤﺘﻲ ﺑﻪ ﺻﻮرت ﻓﻴﺰﻳﻜﻲ ﺣﺬف ﺷﺪه ﺑﺎﺷﺪ ﻛﻤﺘﺮ ﻛﺴﻲ ﺑﻪ ﺣﻘﻴﻘﺖ ﻣﺎﺟﺮاي آﻧﻬﺎ ﭘﻲ‬

‫‪ 211‬ﻧﮕﺮاﻧﻲ‪ ،‬ﻓﻜﺮ و ﺧﻴﺎل‬

‫ﺑﺮد ﺧﻮد داﺳﺘﺎﻧﻲ اﺳﺖ ﻛﻪ ﺑﻪ اواﻳﻞ دوران ﻣﺪرﻧﻴﺘﻪ در اﻳﺮان – زﻣﺎﻧﻲ ﻛﻪ اﻣﺜﺎل ﻓﺮوﻏﻲ ﻫﺎ و ﻧﻔﻴﺴﻲ ﻫﺎ و‬

‫‪ 212‬ﻧﺎراﺣﺘﻲ‪ ،‬ﻏﻢ‬

‫دﺳﺘﮕﺮدي ﻫﺎ و دﺷﺘﻲ ﻫﺎ و‪ ...‬ﺑﻪ ﻧﻴﺖ درآوردن ﻳﻚ ادﺑﻴﺎت ﺷﺴﺘﻪ رﻓﺘﻪ و ﻣﺤﺎﻓﻈﻪ ﻛﺎراﻧﻪ ﺑﻌﻀﻲ وﻗﺘﻬﺎ ﺑﺎ دﺳﺖ‬

‫‪ 213‬درك ﻛﻦ‬

‫ﺑﻪ ﻗﻴﭽﻲ ﺑﺮدن‪ ،‬ﺑﻌﻀﻲ وﻗﺘﻬﺎ ﺑﺎ زﻳﺮﺳﺒﻴﻠﻲ رد ﻛﺮدن‪ ،‬و ﺑﻴﺸﺘﺮ ﻣﻮاﻗﻊ ﺑﺎ ﻧﻮﺷﺘﻨﻬﺎي اﻧﺤﺮاﻓﻲ ﻛﺎﻧﻮن ﺳﺎزاﻧﻪ ﺑﻪ‬

‫‪214‬‬

‫‪Also attributed to Attar‬‬ ‫‪Consume. Compare this Song with:‬‬ ‫‪“Then let not winter’s ragged hand deface‬‬ ‫‪In thee thy summer ere thou be distilled.‬‬ ‫‪Make sweet some vial; treasure thou some place‬‬ ‫‪With beauty’s treasure ere it be self-killed (Shakespeare’s Sonnet 6, lines 1‬‬‫”‪4).‬‬ ‫‪ 216‬اﺷﺎره اي ﻫﻢ ﺑﻪ ﭼﺮخ ﻛﻮزه ﮔﺮي دارد ﻛﻪ در ﺣﻮزه ﺗﺮاﻧﻪ ﻫﺎي ﻛﻮزه اي ﻧﻮﻋﻲ ﻣﺮاﻋﺎت اﻟﻨﻈﻴﺮ ﻫﻢ ﻫﺴﺖ‬ ‫‪215‬‬

‫‪ 217‬ﺷﺐ و روز‬

‫ﺗﻜﺎﭘﻮي ﭘﺎﻛﺴﺎزي ))ﻧﺎﻫﻨﺠﺎري(( ﻫﺎي ﻣﻮﺟﻮد در ادﺑﻴﺎت اﻓﺘﺎدﻧﺪ و ﺑﻴﺸﺘﺮ آﻧﭽﻪ را ﻛﻪ ﻣﺎ اﻣﺮوز ﺑﻪ ﻧﺎم ))آﺛﺎر‬ ‫ﮔﺮاﻧﻘﺪر ادﺑﻴﺎت ﻓﺎرﺳﻲ(( ﻣﻲ ﺷﻨﺎﺳﻴﻢ در ))ﻛﺎرﺧﺎﻧﻪ ﻣﻠﻲ ﮔﺮاﻳﻲ(( ﺑﻪ ﺧﻂ ﺗﻮﻟﻴﺪ اﻧﺒﻮه ﺳﭙﺮدﻧﺪ – ﺑﺮﻣﻲ ﮔﺮدد‪.‬‬ ‫از ﻗﻀﺎ ﺧﻴﺎﻣﻲ ﻫﻢ ﻛﻪ اﻣﺮوز در ﻛﻮﭼﻪ و ﺑﺎزار ﻧﺴﺨﻪ ﻫﺎي ﻋﺮﻳﺾ و ﻃﻮﻳﻞ ﺧﻄﺎﻃﻲ ﺷﺪه و ﻧﻘﺎﺷﻲ ﺷﺪه اش را‬ ‫ﻣﺠﻠﺪي ﭼﻨﺪﻳﻦ ﻫﺰار ﺗﻮﻣﺎن ﺑﻪ ﻓﺮوش ﻣﻲ رﺳﺎﻧﻨﺪ )ﻧﺎ(ﻣﺸﺮوع ﺗﺮﻳﻦ ﻓﺮزﻧﺪ ﻫﻤﻴﻦ دوره اﺳﺖ‪ ،‬و ﻋﺠﺒﺎ ﻛﻪ ﺻﺎدق‬ ‫ﻫﺪاﻳﺖ ﻫﻢ درﺑﺎره ﺧﻴﺎم ﭼﻨﺎن ﻣﺘﻌﺼﺒﺎﻧﻪ ﻗﻀﺎوت ﻛﺮده و ﺑﺎ ﻫﻤﻪ ﺗﻔﺎوﺗﻬﺎي ﻓﻜﺮي و ﺗﻔﺴﻴﺮي ﻛﻪ ﺑﺎ ﻣﻌﺎﺻﺮاﻧﺶ‬ ‫داﺷﺘﻪ ﺑﺎز در دام ﻫﻤﻴﻦ ﻛﺎﻧﻮن ﺳﺎزي ﻣﻠﻲ ﮔﺮاﻳﺎﻧﻪ ﮔﺮﻓﺘﺎر آﻣﺪه‪.‬‬ ‫درﺑﺎره ﭼﮕﻮﻧﮕﻲ ﺷﻜﻞ ﮔﻴﺮي دﻳﺴﻜﻮرس اﺧﺘﻪ اﻣﺮوز ادﺑﻴﺎت اﻳﺮان ﻛﻪ ﻣﻌﻤﻮﻻ ذره اي ﺑﺎ زﻧﺪﮔﻲ و دﻏﺪﻏﻪ‬

‫‪ 218‬ﻣﺮاﻗﺐ ﺑﺎش‬ ‫‪ 219‬ﭼﻮن ﻛﺴﻲ را ﺑﻪ ﺧﺎﻃﺮ ﻛﺎر ﻧﻜﺮده ﻓﺮدا ﺑﺎزﺧﻮاﺳﺖ ﻧﻤﻲ ﻛﻨﻨﺪ‬

‫‪226‬‬

‫ﻫﺎي روزﻣﺮه ﻓﺮد ﻓﺮد اﻳﺮاﻧﻴﺎن ارﺗﺒﺎط ﻧﺪارد و ﺑﻪ درد ﻫﻤﺎن ﻛﻼس ))درس(( داﻧﺸﻜﺪه ﻫﺎي ادﺑﻴﺎت ﻣﻲ ﺧﻮرد‬ ‫و از ﻣﻬﻤﺘﺮﻳﻦ ﻋﻮاﻣﻞ ﺑﻴﮕﺎﻧﮕﻲ ﭘﻴﺮ و ﺟﻮان ﺑﺎ ادﺑﻴﺎت ﻓﺎرﺳﻲ اﺳﺖ در آﻳﻨﺪه ﺑﻴﺸﺘﺮ ﺧﻮاﻫﻢ ﮔﻔﺖ‪.‬‬

‫‪225‬‬

‫‪                                                                                                                                   ‬‬

‫‪                                                                                                                                   ‬‬

‫ﺳﭙﺲ ﻣﺎه و ﺧﻮرﺷﻴﺪ را‪ .‬وﺟﻮد ﻣﻴﻨﻮي ﺳﻴﺎرات از اﻫﺮﻳﻤﻦ اﺳﺖ‪ .‬ﻫﺮﻣﺰد ﺳﭙﻬﺮ را ﭼﻮن ﺳﺎﻟﻲ آﻓﺮﻳﺪ و ﺑﺮ آن‬

‫‪ 220‬ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻋﻄﺎر ﻧﻴﺸﺎﺑﻮري‬ ‫‪The layers of heaven, as in ancient Ptolamaic astronomy‬‬ ‫‪Sheaf‬‬

‫دوازده اﺧﺘﺮ را‪ ،‬ﭼﻮن دوازده ﻣﺎه‪ ،‬ﮔﻤﺎرد و ﺑﻴﺴﺖ و ﻫﻔﺖ ﺧﺮده ﻳﺎ ﻣﻨﺎزل ﻗﻤﺮ را ﭘﺪﻳﺪ آورد‪ .‬آراﻳﺶ آﺳﻤﺎن‬ ‫ﻣﺎﻧﻨﺪ آراﻳﺶ ﺳﭙﺎه اﺳﺖ در ﻧﺒﺮد ﺑﺎ اﻫﺮﻳﻤﻦ‪ :‬ﭼﻬﺎر ﺳﭙﺎﻫﺒﺪ‪ ،‬در ﭼﻬﺎر ﺳﻮي آﺳﻤﺎن ﺑﺎ ﺳﭙﺎﻫﺒﺪان ﺳﭙﺎﻫﺒﺪ‪.‬‬

‫‪221‬‬ ‫‪222‬‬

‫‪ 223‬ﺑﺮ ﺟﺎي ﮔﺬاﺷﺖ‬

‫ﺳﺘﺎرﮔﺎن ﺧﺮد ﺳﺘﺎرﮔﺎن ﺑﺰرگ را ﻳﺎري ﻣﻲ دﻫﻨﺪ و در ﺑﺮاﺑﺮ اﺧﺘﺮان ﻫﺮﻣﺰدي‪ ،‬اﺑﺎاﺧﺘﺮان اﻫﺮﻳﻤﻨﻲ در ﺣﺮﻛﺖ‬

‫‪224‬‬

‫‪Hard cider‬‬ ‫‪Already saddened‬‬ ‫‪226‬‬ ‫‪Like the strings of the lyre‬‬ ‫‪227‬‬ ‫)‪Also attributed to Faxreddin Araqi (13th century‬‬ ‫‪225‬‬

‫و ﮔﺮدش اﻧﺪ و آراﻳﺶ آﻧﺎن ﻧﻴﻜﻲ و ﺑﺪي ﺑﻪ ﺟﻬﺎﻧﻴﺎن ﻣﻲ ﺑﺨﺸﺪ )ﻣﻬﺮداد ﺑﻬﺎر‪ ،‬ﭘﮋوﻫﺸﻲ در اﺳﺎﻃﻴﺮ اﻳﺮان‪،‬‬ ‫‪.(((53‬‬ ‫‪ 240‬ﺑﺎﺷﺪ ﻛﻪ‬

‫‪ 228‬ﭘﻴﺎﻟﻪ ﺷﺮاب‬

‫‪ 241‬ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻋﻄﺎر ﻧﻴﺸﺎﺑﻮري‬

‫‪ 229‬ﻫﻤﺎن ﻇﺮف ﻣﻘﻌﺮ ﺷﻌﺒﺪه ﺑﺎزي اﺳﺖ ﻛﻪ زﻳﺮ آن ﭼﻴﺰي ﻣﻲ ﮔﺬارﻧﺪ ﺗﺎ ﻧﺎﭘﺪﻳﺪ ﺷﻮد ﻳﺎ ﺗﺒﺪﻳﻞ ﺑﻪ ﭼﻴﺰ دﻳﮕﺮي‬

‫‪ 242‬درون‬

‫ﺷﻮد‪ .‬ﻣﻌﻨﺎي ﺣﻘﻪ ﺑﺎزي از ﻫﻤﻴﻦ ﻛﻠﻤﻪ ﻣﻲ آﻳﺪ‪ .‬ﻃﺒﻞ و ﺣﻘﻪ ﻛﻪ ﻫﺮ دو ﻣﻘﻌﺮ و ﺗﻮ ﺧﺎﻟﻲ اﻧﺪ را ﻣﻲ ﺗﻮان در اﻳﻦ‬

‫‪243‬‬

‫‪Notice the image cluster all relating to the human body‬‬ ‫‪Stranded‬‬ ‫‪245‬‬ ‫)‪Also attributed to Obeid Zakani (14th century‬‬ ‫‪ 246‬اﻳﻦ ﺗﺮاﻧﻪ ﻫﻢ ﻣﻄﺎﺑﻖ ﻧﻘﺪ ﻓﺮﻣﺎﻟﻴﺴﺘﻲ ﻛﻼﺳﻴﻚ اﻳﺮاد ﻗﺎﻓﻴﻪ دارد‪ ،‬اﻣﺎ ﺑﺎ ﻣﻌﻴﺎر ﻣﺪرن ﻣﻲ ﺗﻮان آن را داراي‬ ‫‪244‬‬

‫ﻧﻴﻢ ‪-‬ﻗﺎﻓﻴﻪ داﻧﺴﺖ ﻛﻪ اﺗﻔﺎﻗﺎ ﺑﺪك ﻫﻢ ﻧﻴﺴﺖ‪ .‬ﺑﻪ ﻣﺮاﻋﺎت اﻟﻨﻈﻴﺮ اﻋﻀﺎ و ﺟﻮارح ﺑﺪن اﻧﺴﺎن و ﺗﻜﺮار آﻧﻬﺎ در دو‬ ‫ﻣﺼﺮاع ﺑﺎ دو ﻣﻌﻨﺎي ﻣﺘﻔﺎوت ﺗﻮﺟﻪ ﻛﻨﻴﺪ‪.‬‬ ‫‪ 247‬ﺗﻮﺟﻪ ﻛﻦ‬ ‫‪ 248‬ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻋﺒﻴﺪ زاﻛﺎﻧﻲ‬ ‫‪249‬‬

‫‪Doomed‬‬ ‫‪Pressers are the Flower-Pressers, i.e. the people who press flowers,‬‬ ‫‪especially roses, to extract their liquid essence in order to make perfume or‬‬ ‫‪rose-water drink‬‬ ‫‪251‬‬ ‫‪Ever‬‬ ‫‪ 252‬ﺳﺨﺖ ﺟﺎي‪ ،‬ﻣﻬﻠﻜﻪ‬ ‫‪250‬‬

‫‪ 253‬ﻧﻬﺎﻳﺖ‬

‫ﻳﻚ ﻛﺎﺳﻪ زﻫﺮ اﺳﺖ ﻛﻪ ﻣﺮﮔﺶ ﺧﻮاﻧﻨﺪ‬

‫‪ 230‬ﺑﻪ رﻧﮓ درﺧﺖ ارﻏﻮان‪ ،‬ﻛﻪ ﺑﺴﻴﺎر ﺳﺮخ اﺳﺖ‬ ‫‪ 231‬ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻓﺨﺮاﻟﺪﻳﻦ ﻋﺮاﻗﻲ‬ ‫‪232‬‬

‫‪The planets and the stars‬‬ ‫‪Reward. The abundance of the Stellar Imagery and the regarding of the‬‬ ‫‪stars as the determiners of fate in the premises of the Songs in particular and‬‬ ‫‪in Iranian literature in general is yet another piece of evidence attesting to‬‬ ‫‪the fatalistic epistemology of the Iranians that – contrary to the‬‬ ‫‪contemporary common belief that takes it to be a product of Islam – in fact‬‬ ‫‪is rooted in the heavenly-body-worshipping religions of the ancient Persia‬‬ ‫‪such as Mithraism whose latter versions could be found in different forms in‬‬ ‫‪the Pahlavi Zoroastrian texts that in turn influenced the Islamic theology.‬‬ ‫‪234‬‬ ‫‪Moonshine‬‬ ‫‪235‬‬ ‫‪Also attributed to Attar‬‬ ‫‪236‬‬ ‫‪Melancholy‬‬ ‫‪ 237‬اﺳﺐ ﺳﺮﻛﺶ و رام ﻧﺎﺷﺪﻧﻲ‬ ‫‪233‬‬

‫‪ 238‬ﺧﻮﺷﻪ ﭘﺮوﻳﻦ ﻛﻪ از ﺻﺪﻫﺎ ﺳﺘﺎره ﺗﺸﻜﻴﻞ ﺷﺪه و ﻗﺴﻤﺘﻲ از ﺻﻮرت ﻓﻠﻜﻲ ﺛﻮر )ﮔﺎو( را ﺗﺸﻜﻴﻞ ﻣﻲ دﻫﺪ‬

‫‪ 254‬ﺑﻪ ﺷﺒﺎﻫﺖ اﻳﻦ ﺗﺮاﻧﻪ ﺑﺎ ﺗﺮاﻧﻪ زﻳﺮ ﺗﻮﺟﻪ ﻛﻨﻴﺪ‪:‬‬ ‫ﺑﺎ ﭼﺮخ ﺳﺘﻴﺰه ﻛﺎر ﻣﺴﺘﻴﺰ و ﺑﺮو‬

‫ﺗﺮاﻧﻪ ﺑﻪ ﮔﻮر ﺗﻌﺒﻴﺮ ﻛﺮد‪.‬‬

‫ﺑﺎ ﮔﺮدش دﻫﺮ درﻣﻴﺎوﻳﺰ و ﺑﺮو‬ ‫ﺧﻮش درﻛﺶ و ﺟﺮﻋﻪ ﺑﺮ ﺟﻬﺎن رﻳﺰ و ﺑﺮو‬

‫‪ 239‬ﻣﻮﺗﻴﻒ ﺳﺘﺎره ‪-‬اﺧﺘﺮي ﻛﻪ در ﺗﺮاﻧﻪ ﻫﺎ و ﺑﻪ ﻃﻮر ﻛﻞ در ادﺑﻴﺎت ﻓﺎرﺳﻲ ﺑﻪ وﻓﻮر ﻳﺎﻓﺖ ﻣﻲ ﺷﻮد ﻳﻜﻲ دﻳﮕﺮ‬ ‫از ﻋﻮاﻣﻞ ﻗﻀﺎ و ﻗﺪري ﻣﻌﺮﻓﺖ ﺷﻨﺎﺧﺘﻲ اﻳﺮاﻧﻲ اﺳﺖ ﻛﻪ – ﺑﺮ ﺧﻼف ﺑﺎور ﻋﺎم – ﻧﻪ ﻣﺴﺘﻘﻴﻤﺎ در اﺳﻼم ﻛﻪ در‬

‫ﻳﺎدداﺷﺖ ﺗﺮاﻧﻪ ‪ 187‬را ﺑﺒﻴﻨﻴﺪ‪.‬‬

‫ﺗﺌﻮﻟﻮژي ﻣﻬﺮ و اﺧﺘﺮﭘﺮﺳﺘﺎﻧﻪ اﻳﺮان ﺑﺎﺳﺘﺎن ﻛﻪ ﻧﺴﺨﻪ ﻫﺎي ﻣﺘﺎﺧﺮ آن ﺑﻪ ﺷﻴﻮه ﻫﺎي ﻣﺘﻔﺎوت در ﻣﺘﻮن ﭘﻬﻠﻮي‬

‫‪ 255‬ﺑﻴﻬﻮده‬

‫زرﺗﺸﺘﻲ ﺑﺎﻗﻲ ﻣﺎﻧﺪه و در ﻧﻬﺎﻳﺖ ﺗﺎﺛﻴﺮ ﺧﻮد را ﺑﺮ اﺳﻼم ﻫﻢ ﮔﺬاﺷﺘﻪ ﺑﻮد رﻳﺸﻪ دارد‪)) .‬ﻫﺮﻣﺰد در ﻣﻴﺎن آﺳﻤﺎن و‬ ‫زﻣﻴﻦ روﺷﻨﺎن ﻳﺎ اﺟﺮام ﺳﻤﺎوي را آﻓﺮﻳﺪ‪ :‬ﺳﺘﺎرﮔﺎن اﺧﺘﺮي ﻳﺎ ﺛﻮاﺑﺖ و ﺗﻦ ﺳﺘﺎرﮔﺎن ﻧﺎاﺧﺘﺮي ﻳﺎ ﺳﻴﺎرات را‪ ،‬و‬

‫‪228‬‬

‫‪227‬‬

                                                                                                                                   

                                                                                                                                   

‫ در اﻳﻦ ﺗﺮاﻧﻪ ﻫﻢ ﻃﺎﺳﻚ و ﻫﻢ ﻛﻌﺒﺘﻴﻦ ﻇﺎﻫﺮا ﺑﻪ ﻣﻌﻨﻲ ﻫﻤﺎن ﻣﻜﻌﺐ ﺷﻤﺎره دار ﻛﻪ ﺑﺎ آن )ﻧﺮد( ﺑﺎزي ﻣﻲ‬256

This Song has also been attributed to Avicenna, and, ironically, to the mystic Faxr Razi himself who reputedly was the first one to start “Omar Xayyam Controversy” by attributing two Songs to him in order to deprecate him as a heretic! ‫ ﭘﺎﻳﻴﻦ ﺗﺮﻳﻦ ﻧﻘﻄﻪ‬280

‫ﻛﻨﻨﺪ ﺑﻪ ﻛﺎر رﻓﺘﻪ اﻧﺪ‬ 257

“The ancient Chinese believed that Earth was a motionless, flat surface or disc upon which the sky was put as a concave cap (Mohammad Javad Mashkur, The Summary of Religions, 37)”. This particular image, along with quite a few other features in the premises of the Songs to which I have already pointed or will point in due time, is one of the elements that intimates the suggestion that the Far Eastern attitude might have influenced the structure, the imagery, and the epistemology of (some of) the Songs. 258 Idle ‫ ﻛﺎﺳﻪ‬259 ‫ ))ﭼﻴﻨﻴﻬﺎ ﻣﻌﺘﻘﺪ ﺑﻮدﻧﺪ ﻛﻪ زﻣﻴﻦ ﺻﻔﺤﻪ اي اﺳﺖ ﻣﺴﻄﺢ و ﺳﺎﻛﻦ و آﺳﻤﺎن ﭼﻮن ﺳﺮﭘﻮﺷﻲ ﻣﻘﻌﺮ ﺑﺮ آن ﻗﺮار‬260 ‫ و اﻳﻦ ﻫﻢ ﻳﻜﻲ دﻳﮕﺮ از ﻋﻮاﻣﻠﻲ اﺳﺖ ﻛﻪ ﺑﻪ ﻧﻔﻮذ‬.(((37 ،‫ ﺧﻼﺻﻪ ادﻳﺎن‬،‫ﮔﺮﻓﺘﻪ )ﻣﺤﻤﺪ ﺟﻮاد ﻣﺸﻜﻮر‬ .‫اﺣﺘﻤﺎﻟﻲ ﻃﺮز ﺗﻔﻜﺮ ﺷﺮﻗﻲ در ﺳﺎﺧﺘﻤﺎن و اﺣﺘﻤﺎﻻ ﺗﺼﻮﻳﺮﺳﺎزي ﺑﺮﺧﻲ ﺗﺮاﻧﻪ ﻫﺎ اﺷﺎره ﻣﻲ ﻛﻨﺪ‬ ‫ ﻧﻜﺘﻪ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮد درﺑﺎره اﻛﺜﺮ ﺣﺴﻦ ﺗﻌﻠﻴﻞ ﻫﺎﻳﻲ ﻛﻪ در ﺗﺮاﻧﻪ ﻫﺎ ﺑﻪ ﻛﺎر رﻓﺘﻪ اﻳﻦ اﺳﺖ ﻛﻪ اﻳﻦ ﺣﺴﻦ‬261 !‫ﺗﻌﻠﻴﻠﻬﺎ در ﺣﻘﻴﻘﺖ ﺑﻴﺶ از اﻳﻨﻜﻪ ))زﻳﺒﺎ(( ﺑﺎﺷﻨﺪ ))ﻏﻤﮕﻴﻦ(( اﻧﺪ‬

279

‫ ﻓﺮﻫﻨﮓ‬،‫ از اﻳﻦ رو ﺑﻪ دوري ﻣﻌﺮوف اﺳﺖ )ﺳﻴﺮوس ﺷﻤﻴﺴﺎ‬،‫ ))زﺣﻞ ﻳﺎ ﻛﻴﻮان در ﻓﻠﻚ ﻫﻔﺘﻢ اﺳﺖ‬281 .(((576 ،‫اﺷﺎرات‬ ‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ اﺑﻦ ﺳﻴﻨﺎ و ﻓﺨﺮاﻟﺪﻳﻦ رازي‬282 ‫ در اﻳﻨﺠﺎ اﺳﺘﻌﺎره اﺳﺖ از ﺑﻪ ﻛﻨﻪ ﭼﻴﺰي ﻣﻬﻢ ﭘﻲ ﺑﺮدن‬.‫ ﺳﻔﺘﻦ ﻳﻌﻨﻲ ﺳﻮراخ ﻛﺮدن‬283 284

“He [Confucius] does not believe in the other-worldy life and says: “Thou who hast not known thyself as yet! Pray, how couldst thou know death and what lieth after death?” (Mohammad Javad Mashkur, The Summary of Religions, 39)”. 285 In its Latin sense, meaning ‘to take up’ 286 To have again ‫ آﻧﭽﻨﺎن ﻛﻪ در ﺣﻘﻴﻘﺖ ﻫﺴﺖ‬287

262

،‫ ))ﺗﻮ ﻛﻪ ﻫﻨﻮز ﺧﻮد را ﻧﺸﻨﺎﺧﺘﻪ اي‬:‫ ))او ]ﻛﻨﻔﻮﺳﻴﻮس[ ﻣﻌﺘﻘﺪ ﺑﻪ زﻧﺪﮔﻲ آن ﺟﻬﺎﻧﻲ ﻧﻴﺴﺖ و ﻣﻲ ﮔﻮﻳﺪ‬288

263

.(((39 ،‫ ﺧﻼﺻﻪ ادﻳﺎن‬،‫ﻣﺮگ و ﭘﺲ از ﻣﺮگ را ﭼﮕﻮﻧﻪ ﺧﻮاﻫﻲ ﺷﻨﺎﺧﺖ؟(( )ﻣﺤﻤﺪ ﺟﻮاد ﻣﺸﻜﻮر‬

Cloven Also attributed to Sheix Roba’ii Mashadi 264 How much shall I mourn for what I have or do not have? 265 Novice 266 Master 267 Also attributed to Sana’ii Qaznavi (12th century) ‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺷﻴﺦ رﺑﺎﻋﻲ ﻣﺸﻬﺪي‬268 ‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺳﻨﺎﻳﻲ ﻏﺰﻧﻮي‬269 270

Enterprise Also attributed to Majd Hamgar 272 Limbs 271

‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻣﺠﺪ ﻫﻤﮕﺮ‬273 274

Decree, command Resignation 276 “Saturn’s seat is on the Seventh Sky, thus it is the symbol of farness (Sirous Shamissa, A Dictionary of Persian Literary References, 576)”. 277 Take into account 278 Spherical or interstellar haze 275

229

‫ ﺑﺴﻴﺎر زورﻣﻨﺪ‬289 ‫ دوﺑﺎره ﻳﺎﻓﺘﻦ‬290 291

Panel, tablet Notice the similarity between these lines and “the writing on the wall” in Daniel 5:5 293 The subject of the sentence is deliberately left out to, in the words of a Russian Formalist, “estrange” it. 294 “At this time, the Zorvani attitude that had flourished in the era of the Sassanids caused the people to believe in the predeterministic principle of Zorvanism which then functioned as the poison that gradually came to kill the spirit of the olden Mazdisna. The ancient god Zorvan, who was considered the father of Hormozd and Ahriman, not only was regarded as the Infinite Time, but was also called Fate. In the well-known Zorvani essay Minu-ye Xerad (The Angel of Wisdom) to which we have frequently refererd, it is said that: “So saith the Spirit of Wisdom or the Celestial Sagacity: Man, as strong in the mind and as well-versed in knowledge, could not overcome Fate, for once the foredoomed fate of a man assigned to him bliss or bane, the wise will writhe and the fool will thrive, the coward 292

230

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‫‪                                                                                                                                   ‬‬

‫‪)) 300‬در اﻳﻦ وﻗﺖ ﻋﻘﻴﺪه زرواﻧﻴﺎن‪ ،‬ﻛﻪ در ﻋﻬﺪ ﺳﺎﺳﺎﻧﻲ ﺷﻴﻮﻋﻲ ﻳﺎﻓﺘﻪ ﺑﻮد‪ ،‬ﻣﻮﺟﺐ ﺷﺪ‪ ،‬ﻛﻪ ﻣﺮدﻣﺎن اﻋﺘﻘﺎد ﺑﻪ‬

‫‪will rave and the brave will cower, the hard-working will laze and the lazy‬‬ ‫‪will work hard” (Arthur Emanuel Christensen, L’Iran sous les sassanides,‬‬ ‫‪457-458)”.‬‬ ‫‪Though this extract from Christensen in turn gives rise to many questions‬‬ ‫‪such as whether the already-existing Zorvanism was only ‘popularized’ in‬‬ ‫‪the Sassanid era or was actually ‘engineered’ by the Sassanid theologians to‬‬ ‫‪all the more instill the idea of the submissiveness to an overwhelming force‬‬ ‫‪into the minds of the people, or whether the old Mazdisna religion itself was‬‬ ‫‪already influenced by the fatalistic attitude or not, or whether Zorvan‬‬ ‫‪himself in the Arian-Semitic culture of the region had preceding examples‬‬ ‫‪or not, it was presented here as a somewhat brief and at the same time‬‬ ‫‪telling introduction to the Zorvani phenomenon and its effects on Iranian‬‬ ‫‪literature and especially on the Songs. However, for a more suggestive‬‬ ‫‪account of the above-mentioned ‘effects’, it is appropriate to refer to a‬‬ ‫‪contemporary research on Zorvanism as well:‬‬ ‫‪“The Zorvanic attitude has a long history, but it probably reached its‬‬ ‫‪intellectual and philosophical maturity during the reign of the Sassanids,‬‬ ‫‪thenceforward its development gradually came to a halt and it stopped‬‬ ‫‪functioning as an organized religious doctrine and school of thought. It is‬‬ ‫‪almost certain that this attitude was kept alive among its Zoroastrian‬‬ ‫‪followers long after the Islamic Conquest of Iran, and though it dwindled‬‬ ‫‪among the Zoroastrians themselves in the long run, many of its elements and‬‬ ‫‪side effects continued to live on in the minds of the Muslim Iranians who‬‬ ‫‪conveyed them from generation to generation. Consequently, the minds of‬‬ ‫‪both the laymen and the scholars effectively came under the sway of the‬‬ ‫‪attitudes and the teachings of this religion or school of thought, which might‬‬ ‫‪still prove to be so now. Whereas the poetry and the prose of many of the‬‬ ‫‪Iranian writers are replete with Zorvani hints, aspects of it, which have‬‬ ‫‪acquired the status of common lore, could also be found among the lay‬‬ ‫‪people (Mas’oud Jalali Moqaddam, Zorvani Religion, 4)”.‬‬ ‫‪295‬‬ ‫‪Pining, yearning, lust‬‬ ‫‪296‬‬ ‫‪To destroy‬‬ ‫‪297‬‬ ‫‪Also attributed to Baba Afzal Kashi‬‬ ‫‪ 298‬ﺗﻜﺮار ﻣﻔﻬﻮم ﻣﺼﺮاع اول اﻳﻦ ﺗﺮاﻧﻪ در ﻣﺼﺮاع دوم آن ﻳﻜﻲ از ﻧﺸﺎﻧﻪ ﻫﺎي رﻳﺸﻪ داﺷﺘﻦ ژاﻧﺮ ﺗﺮاﻧﻪ در ﺳﻨﺖ‬

‫ﺟﺒﺮ ﭘﻴﺪا ﻛﺮدﻧﺪ‪ ،‬واﻳﻦ اﻋﺘﻘﺎد ﺑﻪ ﻣﻨﺰﻟﻪ زﻫﺮي ﺟﺎﻧﮕﺰاي ﺑﻮد‪ ،‬ﻛﻪ روح ﻣﺰدﻳﺴﻨﺎي ﻗﺪﻳﻢ را از ﭘﺎي درآورد‪.‬‬ ‫زروان‪ ،‬ﺧﺪاي ﻗﺪﻳﻢ‪ ،‬ﭘﺪر اوﻫﺮﻣﺰد و اﻫﺮﻳﻤﻦ ﺑﻮد‪ ،‬و او را ﻧﻪ ﻓﻘﻂ زﻣﺎن ﻧﺎﻣﺘﻨﺎﻫﻲ ﻣﻲ داﻧﺴﺘﻨﺪ‪ ،‬ﺑﻠﻜﻪ اﺳﻢ‬

‫دﻳﮕﺮش ))ﻗﻀﺎ(( ﺑﻮد‪ .‬در رﺳﺎﻟﻪ اي ﻛﻪ ﻣﻜﺮر از آن ﻧﺎم ﺑﺮده اﻳﻢ‪ ،‬و ﻟﺤﻦ زرواﻧﻲ دارد‪ ،‬ﻳﻌﻨﻲ داذﺳﺘﺎن ﻣﻴﻨﻮگ‬ ‫ي ﺧﺮذ آﻣﺪه اﺳﺖ ﻛﻪ‪)) :‬ﺧﺮد آﺳﻤﺎﻧﻲ ﻳﺎ روح ﺣﻜﻤﺖ ﭼﻨﻴﻦ ﻣﻲ ﻓﺮﻣﺎﻳﺪ‪ :‬ﻣﺮد ﻫﺮﭼﻨﺪ ﺻﺎﺣﺐ ﻋﻘﻠﻲ ﻗﻮي و‬ ‫داﻧﺸﻲ ﻧﻴﺮوﻣﻨﺪ ﺑﺎﺷﺪ ﺑﺎ ﻗﻀﺎ‪ ،‬ﺑﺮﻧﺘﻮان آﻣﺪ‪ ،‬زﻳﺮا ﻛﻪ ﭼﻮن ﻗﻀﺎي ﻣﺤﺘﻮم ﻣﺮدي را ﺳﻌﻴﺪ ﻳﺎ ﺷﻘﻲ ﻛﺮد‪ ،‬داﻧﺎ از‬ ‫ﻛﺎر ﻓﺮوﻣﺎﻧﺪ‪ ،‬و ﻧﺎدان ﺑﺪ اﻧﺪﻳﺸﻪ در ﻛﺎر ﭼﺴﺖ و ﭼﺎﻻك ﮔﺮدد‪ ،‬ﻛﻢ دﻻن دﻟﻴﺮ‪ ،‬دﻟﻴﺮان ﻛﻢ دل ﺷﻮﻧﺪ‪ ،‬ﻣﺮدم‬ ‫ﻛﻮﺷﺎ ﻛﺎﻫﻠﻲ ﮔﻴﺮﻧﺪ و ﻛﺎﻫﻼن ﺑﻪ ﻛﻮﺷﺶ درآﻳﻨﺪ‪ ((.‬اﻣﺎ در اﻳﻦ رﺳﺎﻟﻪ ﺑﻪ ﻛﻠﻲ ﻣﻨﻜﺮ ﺗﺎﺛﻴﺮ ﻛﻮﺷﺶ اﻧﺴﺎن ﻧﺸﺪه‬ ‫اﻧﺪ‪ ،‬زﻳﺮا ﺑﻨﺎ ﺑﺮ ﻓﺼﻞ ‪ 22‬اﻳﻦ رﺳﺎﻟﻪ‪ ،‬ﻛﻮﺷﺶ و ﻋﻤﻞ ﻫﻢ در ﻣﻘﺎﺑﻞ ﻗﻀﺎ وزﻧﻲ دارد‪ ،‬و اﻳﻦ وزن در آﺧﺮت در‬ ‫ﻛﻔﻪ ﻣﻴﺰان ﻧﻬﺎده ﺧﻮاﻫﺪ ﺷﺪ‪ .‬ﺑﻪ اﻳﻦ ﺗﺮﺗﻴﺐ ﻋﻘﻴﺪه ﺟﺒﺮي رواج ﮔﺮﻓﺖ و ﺟﺒﺮ ﻣﻮﺟﺐ ﺳﺴﺘﻲ اﻋﺘﻘﺎد ﺷﺪ و اﻳﻦ‬ ‫ﻧﻜﺘﻪ را در رﺳﺎﻟﻪ ﻣﻮﺳﻮم ﺑﻪ ﺷﻜﻦ ﮔﻤﺎﻧﻴﻚ وﻳﮋار )ﺗﻮﺿﻴﺤﻲ ﻛﻪ ﺷﻚ و ﮔﻤﺎن را ﺑﺮاﻧﺪازد(‪ ،‬ﻛﻪ ﺑﻌﺪ از‬ ‫ﺳﺎﺳﺎﻧﻴﺎن ﻧﻮﺷﺘﻪ ﺷﺪه‪ ،‬ﺑﻪ ﻃﺮﻳﻖ ذﻳﻞ ﺑﻴﺎن ﻛﺮده اﻧﺪ‪ :‬ﻃﺎﻳﻔﻪ اي ﻣﻮﺳﻮم ﺑﻪ دﻫﺮي ﻛﻪ ﻣﻨﻜﺮ وﺟﻮد ﺧﺪاي ﺗﻌﺎﻟﻲ‬ ‫ﻫﺴﺘﻨﺪ‪ ،‬ﺑﺮ آن اﻧﺪ‪ ،‬ﻛﻪ ﻫﻴﭻ ﺗﻜﻠﻴﻒ دﻳﻨﻲ ﺑﺮ آﻧﺎن وارد ﻧﻴﺴﺖ و ﻣﻜﻠﻒ ﺑﻪ ﻋﻤﻞ ﺧﻴﺮ ﻧﻴﺴﺘﻨﺪ‪ .‬اﻣﺎ راﺟﻊ ﺑﻪ ﺳﺨﻨﺎن‬ ‫ﺑﻲ اﺳﺎﺳﻲ‪ ،‬ﻛﻪ ﻣﻲ ﮔﻮﻳﻨﺪ‪ ،‬اﻳﻦ ﻳﻜﻲ را ﺑﺮاي ﻧﻤﻮﻧﻪ در اﻳﻨﺠﺎ ﻣﻲ آورﻳﻢ‪ .‬ﮔﻮﻳﻨﺪ اﻳﻦ ﻋﺎﻟﻢ ﺑﺎ ﺣﻮادث‬ ‫ﮔﻮﻧﺎﮔﻮﻧﻲ‪ ،‬ﻛﻪ در آن رخ ﻣﻲ دﻫﺪ‪ ،‬و ﺗﺮﻛﻴﺐ اﺟﺴﺎم‪ ،‬و ﺗﺮﺗﻴﺐ اﻋﻤﺎل‪ ،‬و ﺗﻀﺎد اﺷﻴﺎء و اﺧﺘﻼط ﻋﻨﺎﺻﺮ ﺑﺎ‬ ‫ﻳﻜﺪﻳﮕﺮ‪ ،‬ﻫﻤﻪ ﻧﺎﺷﻲ از ﺗﺤﻮﻻت زﻣﺎن ﻧﺎﻣﺘﻨﺎﻫﻲ اﺳﺖ و ﻣﺪﻋﻲ اﻧﺪ ﻛﻪ ﻧﻪ ﺑﺮاي ﻋﻤﻞ ﻧﻴﻚ ﭘﺎداﺷﻲ ﻫﺴﺖ و ﻧﻪ‬ ‫ﺑﺮاي ﮔﻨﺎه ﻛﻴﻔﺮي‪ ،‬ﻧﻪ ﺑﻬﺸﺘﻲ ﻫﺴﺖ‪ ،‬ﻧﻪ دوزﺧﻲ‪ ،‬ﻧﻪ ﭼﻴﺰي ﻛﻪ اﻧﺴﺎن را ﺑﻪ ﻋﻤﻞ ﻧﻴﻚ ﻳﺎ ﻛﺎر زﺷﺖ ﺑﻜﺸﺎﻧﺪ و‬ ‫ﻧﻴﺰ ﮔﻮﻳﻨﺪ ﻛﻪ ﺟﺰ ﻣﺎدﻳﺎت ﭼﻴﺰي در ﻋﺎﻟﻢ ﻧﻴﺴﺖ و روح وﺟﻮد ﻧﺪارد )آرﺗﻮر ﻛﺮﻳﺴﺘﻨﺴﻦ‪ ،‬اﻳﺮان در زﻣﺎن‬ ‫ﺳﺎﺳﺎﻧﻴﺎن‪.(((458- 457 ،‬‬ ‫ﮔﺮﭼﻪ درﺑﺎره ﺑﺴﻴﺎري از ﻗﺴﻤﺘﻬﺎي اﻳﻦ ﻣﺘﻦ ﻛﺮﻳﺴﺘﻨﺴﻦ ﺟﺎي ﺑﺤﺚ وﺟﻮد دارد – از ﺟﻤﻠﻪ اﻳﻨﻜﻪ آﻳﺎ زرواﻧﻲ‬ ‫ﮔﺮي در ﻋﻬﺪ ﺳﺎﺳﺎﻧﻴﺎن ﺑﻪ وﺟﻮد آﻣﺪ ﻳﺎ ﻣﻮرد ﭘﺴﻨﺪ ﻋﺎم ﻗﺮار ﮔﺮﻓﺖ‪ ،‬و اﻳﻨﻜﻪ آﻳﺎ دﻳﻦ ﻣﺰدﻳﺴﻨﺎي ﻗﺪﻳﻢ ﺧﻮد‬ ‫ﻋﻤﻼ ﺗﺎ ﭼﻪ ﺣﺪ ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﺗﻔﻜﺮ ﻗﻀﺎ و ﻗﺪري ﻗﺮار داﺷﺖ‪ ،‬و ﺑﺎز اﻳﻨﻜﻪ آﻳﺎ زروان ﺧﻮد در ﻓﺮﻫﻨﮓ آرﻳﺎﻳﻲ ‪-‬‬ ‫ﺳﺎﻣﻲ ﻣﻨﻄﻘﻪ ﻧﻤﻮﻧﻪ ﻫﺎي ﻣﺘﻘﺪم ﺗﺮي ﻫﻢ دارد ﻳﺎ ﻧﻪ – اﻣﺎ اﻳﻦ ﻣﺘﻦ ﺑﻪ ﺟﻬﺖ ﺟﺎﻣﻌﻴﺖ ﻧﺴﺒﻲ ﻛﻪ در ﺗﻮﺿﻴﺢ ﭘﺪﻳﺪه‬ ‫زرواﻧﻲ ﮔﺮي در اﻳﺮان و ﺗﺎﺛﻴﺮ ﻣﻌﺮﻓﺖ ﺷﻨﺎﺳﻲ آن ﺑﺮ ادﺑﻴﺎت ﻓﺎرﺳﻲ و ﺑﺎﻻﺧﺺ ﺗﺮاﻧﻪ ﻫﺎ دارد ﺑﻪ ﻃﻮر ﻛﺎﻣﻞ‬ ‫ذﻛﺮ ﺷﺪ‪ .‬در اداﻣﻪ ﺑﻪ ﻗﺴﻤﺘﻲ از ﺗﻔﺴﻴﺮي ﻣﻌﺎﺻﺮ از اﻳﻦ ﭘﺪﻳﺪه ﺗﻮﺟﻪ ﻛﻨﻴﺪ‪:‬‬

‫ﺷﻔﺎﻫﻲ ﻣﻲ ﺑﺎﺷﺪ ﻛﻪ ﺑﻪ ﻣﻨﻈﻮر ﺑﻪ ﺧﺎﻃﺮ ﻣﺎﻧﺪن ﻣﻀﻤﻮن ﺷﻌﺮ‪ ،‬ﻛﻠﻤﺎت و ﻣﻔﺎﻫﻴﻢ ﺣﺎﺿﺮ در آن را ﺑﻪ ﺷﻴﻮه ﻫﺎي‬

‫))ﻣﻜﺘﺐ زرواﻧﻲ رﻳﺸﻪ اي ﻛﻬﻦ دارد‪ ،‬اﻣﺎ ﺑﻠﻮغ ﻓﻜﺮي و ﻓﻠﺴﻔﻲ آن ﻇﺎﻫﺮا در دوران ﺳﺎﺳﺎﻧﻲ ﺑﻮد و ﺳﭙﺲ ﺑﻪ‬

‫ﻣﺘﻔﺎوت ﺗﻜﺮار ﻣﻲ ﻛﻨﺪ‪ ،‬و از ﻧﻈﺮ ﻛﺎرﻛﺮد ﺑﺎ ﺑﻨﺪ ﺗﺮﺟﻴﻊ و ﺗﺮﻛﻴﺐ در ﺗﺮﺟﻴﻊ ﺑﻨﺪ و ﺗﺮﻛﻴﺐ ﺑﻨﺪ )ﺣﺪاﻗﻞ در‬

‫ﺗﺪرﻳﺞ ﺧﺎﻣﻮش ﺷﺪ‪ .‬ﻣﺴﻠﻢ اﺳﺖ ﻛﻪ ﭘﻴﺮوان اﻳﻦ آﺋﻴﻦ در ﻣﻴﺎن ﻣﺰداﭘﺮﺳﺘﺎن ﭘﺲ از اﺳﻼم وﺟﻮد داﺷﺘﻨﺪ و ﺗﺎ‬

‫زﻣﺎﻧﻲ ﭘﻴﺶ از رﺳﻤﻴﺖ ﻳﺎﻓﺘﻦ و ﺑﻪ اﺻﻄﻼح ﻫﻨﺮي ﺷﺪن اﻳﻦ ﻗﺎﻟﺒﻬﺎ( ﻫﻢ ﺧﺎﻧﻮاده اﺳﺖ‪.‬‬

‫ﭼﻨﺪ ﺳﺪه ﭘﺲ از ورود اﺳﻼم ﺑﻪ اﻳﺮان ﻧﻴﺰ ﻛﺴﺎﻧﻲ ﺑﻪ آن وﻓﺎدار ﻣﺎﻧﺪﻧﺪ‪ ،‬ﻟﻜﻦ ﺑﻪ دﻻﻳﻠﻲ ﻛﻪ ﻗﻄﻌﺎ ﺑﺮ ﻣﺎ ﻣﻌﻠﻮم‬

‫‪ 299‬ﻫﺮﻛﻪ‬

‫‪232‬‬

‫‪231‬‬

                                                                                                                                   

                                                                                                                                   

‫ ﻋﻨﺎﺻﺮي از‬،‫ ﻣﻌﻬﺬا ﺗﻘﺪﻳﺮ ﭼﻨﻴﻦ ﺑﻮد ﻛﻪ ﺑﺎ اﻳﻨﻜﻪ ﻣﺰداﺋﻴﺎن آن را رﻫﺎ ﻛﺮدﻧﺪ‬.‫ﻧﺸﺪه ﻓﻘﻂ ﻃﺮﻳﻘﻪ ﺳﻨﺘﻲ ﺑﺎﻗﻲ ﻣﺎﻧﺪ‬

‫ در ﺗﻤﺎم ﻧﺴﺨﻪ ﻫﺎﻳﻲ ﻛﻪ ﺑﻪ ﻧﻈﺮ ﺑﻨﺪه رﺳﻴﺪه ﺗﺎ آﻧﺠﺎ ﻛﻪ ﺧﺎﻃﺮم ﻫﺴﺖ ))ﺑﻴﻬﻮده ﻧﻪ اي(( ﺿﺒﻂ ﻛﺮده اﻧﺪ ﻛﻪ‬322

‫ در ﺣﻘﻴﻘﺖ اﻧﺪﻳﺸﻪ ﻫﺎ و ﺗﻌﺎﻟﻴﻢ ﻣﻄﺮح‬.‫آن در ذﻫﻦ اﻳﺮاﻧﻴﺎن ﻣﺴﻠﻤﺎن ﺣﻔﻆ ﺷﺪ و ﭘﺸﺖ ﺑﻪ ﭘﺸﺖ ﻣﻨﺘﻘﻞ ﮔﺮدﻳﺪ‬

‫از ﻧﻈﺮ ﻣﻨﻄﻘﻲ ﺟﻮر درﻧﻤﻲ آﻳﺪ‬

‫ در‬.‫ و اي ﺑﺴﺎ ﻛﻪ ﻫﻨﻮز ﻫﻢ ﺑﺎﺷﺪ‬،‫ﺷﺪه در اﻳﻦ ﻛﻴﺶ ﺑﻪ ﺻﻮر ﻣﺨﺘﻠﻒ ﺑﺮ اذﻫﺎن اﻧﺪﻳﺸﻤﻨﺪان و ﻣﺮدم ﻣﻮﺛﺮ ﺑﻮد‬

‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ اﻣﺎﻣﻲ ﻫﺮوي‬323

‫ ﺟﻨﺒﻪ‬،‫ﺣﺎﻟﻴﻜﻪ اﺷﻌﺎر ﺑﺴﻴﺎري از ﺷﺎﻋﺮان و ﻧﻮﺷﺘﻪ ﻫﺎي ﺑﺴﻴﺎري از ﻧﻮﻳﺴﻨﺪﮔﺎن ﻣﺸﺤﻮن از ﺗﻔﻜﺮات زرواﻧﻲ اﺳﺖ‬

‫ رﻓﺘﻦ‬،‫ ﻋﺰﻳﻤﺖ‬324

،‫ﻫﺎﻳﻲ از آن در ﻣﻴﺎن ﻣﺮدم ﻧﻴﺰ ﺳﺨﺖ ﻧﺎﻓﺬ ﺑﻮده و ﺗﺒﺪﻳﻞ ﺑﻪ دﻳﺪﮔﺎه ﻫﻤﮕﺎﻧﻲ ﺷﺪه اﺳﺖ )ﻣﺴﻌﻮد ﺟﻼﻟﻲ ﻣﻘﺪم‬ .(((4 ،‫ﻋﺮﻓﺎﻧﻲ زرﺗﺸﺘﻲ ﺑﺮ ﻣﺒﻨﺎي اﺻﺎﻟﺖ زﻣﺎن‬- ‫ ﻣﻜﺘﺐ ﻓﻠﺴﻔﻲ‬:‫آﺋﻴﻦ زرواﻧﻲ‬ ‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺑﺎﺑﺎ اﻓﻀﻞ ﻛﺎﺷﻲ‬301 302

Knowing Hesiod and also the story of Psyche and her labors in Greek mythology (of course with a twist) would help the reader to enjoy this piece even the better. 303 Ephemeral 304 Grave 305 It is a traditional funerary rite in Iran to put bricks over the grave of the dead person before pouring dust. For a more comprehensive account of the rites of burial in Iran see my poem The Procession and its explanatory endnotes in my book of collected poetry Thankless Toil (2008). 306 Reddish-brown clay 307 Also attributed to Baba Afzal Kashi 308 Also attributed to Attar (‫ ﻳﺎ ﭘﻴﺶ از آﻧﻜﻪ ﻧﺼﻴﺐ ﺗﻮ را ﺑﺮﺑﺎﻳﻨﺪ‬،‫ ﻛﻪ ﺗﻮ را )ﭘﻴﺶ از آﻧﻜﻪ ﻣﺮگ ﺗﻮ را ﺑﺮﺑﺎﻳﺪ‬309

325

How much of the classic Renaissance contrast between Man and God and then of the modern concept of praxis (in contrast to the ancient mimesis) can be found in this piece? And then, epistemologically speaking, how modern this piece seems to be? ‫ اﻳﻦ ﺗﺮاﻧﻪ ﺗﺎ ﭼﻪ ﺣﺪ ﻣﻔﻬﻮم ))ﭘﺮاﻛﺴﻴﺲ(( اﻧﺴﺎن ﻣﺤﻮراﻧﻪ ﻣﺪرن در ﺑﺮاﺑﺮ ))ﻣﺤﺎﻛﺎت(( ﺧﺪاﻣﺤﻮراﻧﻪ ﺑﺎﺳﺘﺎﻧﻲ‬326 ‫را ﺑﻪ ﺗﺼﻮﻳﺮ ﻣﻲ ﻛﺸﺪ؟ و ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﻋﻠﻲ رﻏﻢ ﻗﺪﻣﺖ ﺗﺎرﻳﺨﻲ اﺣﺘﻤﺎﻻ زﻳﺎد آن از ﻟﺤﺎظ ﻣﻌﺮﻓﺖ ﺷﻨﺎﺳﻲ ﺗﺎ‬ ‫ﭼﻪ ﺣﺪ ﻣﺪرن اﺳﺖ؟‬ (‫ﻛﻪ ﺳﻌﺪ و ﻧﺤﺲ ز ﺗﺎﺛﻴﺮ زﻫﺮه و زﺣﻞ اﺳﺖ )ﺣﺎﻓﻆ‬

328

Whim The side of the ship away from the wind, thus the ship itself by metonomy 330 Without care 331 Eager 332 Also attributed to Einolqozat Hamedani (12th century) ‫ اﺳﺘﻌﺎره از آدم ﻛﻪ از ﮔﻞ ﺳﺎﺧﺘﻪ ﺷﺪه‬333 329

‫ ﺑﻴﻬﻮدﮔﻲ‬،‫ ﻓﺮﻳﺐ‬334

‫ ﻏﻤﮕﻴﻦ‬310 336

‫ ﮔﻮر‬312

337

‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻋﻄﺎر ﻧﻴﺸﺎﺑﻮري‬314 315

Heavenly bodies As if a lifeline 317 Also attributed to Emami Heravi 318 Sinews 316

‫ ﺳﻴﺎرات و ﺳﺘﺎرﮔﺎن‬319 ‫ ﺗﺤﻴﺮ‬،‫ ﺗﺮدﻳﺪ‬320 ‫ در اﻛﺜﺮ ﻧﺴﺨﻪ ﻫﺎ ))ﺧﺮد(( ﺿﺒﻂ ﺷﺪه ﻛﻪ ﺑﺎ ﻛﻠﻴﺖ ﺗﺮاﻧﻪ ﺟﻮر درﻧﻤﻲ آﻳﺪ‬321

233

‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻋﻴﻦ اﻟﻘﻀﺎه ﻫﻤﺪاﻧﻲ‬335

‫ ﻫﻤﻲ‬311 ‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺑﺎﺑﺎ اﻓﻀﻞ ﻛﺎﺷﻲ‬313

‫ ﺑﮕﻴﺮ ﻃﺮه ﻣﻪ ﭼﻬﺮه اي و ﻗﺼﻪ ﻣﺨﻮان‬327

Among Satisfied (used as an adjective) 338 In this Song look for the traces of the Ash’ari attitude that in regard to its principal doctrine of the “divine election of people for salvation or damnation” much resembles Calvinism. 339 This Song introduces one of the most peculiar aspects of Iranian poetry in which great masters have flourished, and that is the technique called Mora’atonnazir, an Arabic term which means the ingenious employment of the words that relate completely or partially to one another in a particular piece of poetry. This technique, by putting images with ‘familiy resemblances’ beside one another, actually confers upon the poem a particular aura which works in unison with those images to convey a significance, here perhaps the old age of a soldier, for example.

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In English, these terms correspond somehow to the image-clusters that Caroline Spurgeon in her Shakespeare’s Imagery and What It Tells Us (1935) has put forward. There will be many Songs like this one to employ this technique which would reach its apex in Iranian sonnet tradition during the 13th and 14th centuries. ‫ در ﺑﻴﺖ اول ﺑﻪ ﻣﺎﻳﻪ ﻫﺎي ﻃﺮز ﺗﻔﻜﺮ اﺷﻌﺮي ﻛﻪ ﺑﻪ ﺟﻬﺖ دﻛﺘﺮﻳﻦ ))اﻧﺘﺨﺎب اﻟﻬﻲ ﻣﺮدم ﺑﺮاي ﺑﻬﺸﺖ و‬340

Melancholy, vanity 343 “It was common practice to gild the skull of the dead enemy and drink wine in it (Sirous Shamissa, A Dictionary of Persian Literary References, 321)”. Perhaps it is an interesting and curious point that the skull, the particular Renaissance’ symbol of mortality (for example, refer to Hamlet’s episode with the gravedigger), has been so much celebrated in the premises of Iranian poetry as exactly an emblem of melancholy long before the rise of the Renaissance in Europe. In principle, how much is the coming into fashion of this image in Europe original and how much might it be considered to have been adopted from the Orient? And if it is Oriental, how many other images and with them the epistemology bound with them might have been imported from the Orient to Europe? And how much these Oriental images have been influential in the formation of the Romantic ‘Sublime and Grotesque’ epistemology of the 18th and 19th centuries Europe that was in effect the age of ‘anti-classic’ and ‘anti-mimetic’ revolutions which in turn brought about the creation of the modern world? Now I am perfectly aware that it all might prove like a chain of wild guesess that pointedly presuppose their development into their next phases, but is not the layout of history actually ‘constructed’ in principle in this very ‘causative/effective’ manner through sometimes even wilder gusses? Anyway, it is my opinion that this sequence of wild guesses is worthy of being given a thought every once in a while none the less. 344 This Song, with respect to its use of Animal Imagery and the structural device of ‘animal conversation’ which likens it to the well-known

allegorical fables of the world such as Aesop’s and La Fontaine’s, is a unique piece the like of which I have not seen so far. This Song has also been attributed to Bondar Razi. 345 This Song, which also contains the traces of the famous Virginity Complex or Obsession among the Iranians, proves significant as a vehicle for the vivid presentation of the stoical attitude which is one of the most important features of the Iranians’ psychology that has always divided them into desperately solitary creatures in the long run, which at present is manifest in their lax individual submission to the chilling totaliterianism of the regime after their intense spell of collective revolution against it. As I have said in an essay before, the curious quality of the zest in Iranians is such that with all its intensity – and perhaps because of that very intensity – it almost always flags after a strained spell, and the rise of enthusiasm in them, by experience, proves to be sporadic by nature, which is why they in general have always committed themselves to their convictions, as well as to their revolutions, in a fairly provisional manner. By the way, with respect to this fact, the constant provocation of the Iranian people’s sensations through periodical religious, social, and political ‘rites of zeal and excitement’ such as the commemoration of Ashura (the 10th of Muharram (680 C.E) when Imam Hosein the grandson of the prophet Muhammad was martyred), the Killing-of-Omar (Omar, the second Islamic caliph, is regarded with aversion by the popular Shiism for particular supposed reasons), the animated sessions of ‘Order to Good and Prevent from Bad’ that are generally intended to make the people observe the statesanctioned codes of dress and behavior, the notorious National Atomic Project which upon say-so is directed toward the social welfare of the people, the eight-year war with Iraq that helped stir up the religious as well as the nationalistic sensations of the Iranians, and now the excessive belligerence against the USA and Israel as a national pose of heroism, has been one of the most effective consciously-invested-in ideological projects of the present system through which to spur the people to ‘keep up’ with the so-called Islamic and ‘Revolutionary’ values – as they call them with reference to the Revolution of 1979 – of the regime, which in turn is meant to force upon them a kind of social solidarity that is instrumental in the fulfillment of the material and ideological ends of the Leviathan of the state. 346 All of these are pieces of clothing worn by the Sufis 347 Simorq is the legendary bird that in Persian mythology is renowned for her/his wisdom, knowledgeability, and aspiration (in sense of flying high), and whose character, as it befits, has been wrapped in mystery through the different phases of Iranian literature. Though it is never made clear, through

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‫ﺟﻬﻨﻢ(( ﺑﻪ ﻛﺎﻟﻮﻳﻨﻴﺴﻢ ﻏﺮﺑﻲ ﻧﻴﺰ ﺷﺒﺎﻫﺖ دارد ﺗﻮﺟﻪ ﻛﻨﻴﺪ‬ ‫ اﻳﻦ ﺻﻨﻌﺖ ادﺑﻲ را در‬.‫ ﺑﻪ ﺗﺼﻮﻳﺮﺳﺎزي ﺑﻪ وﺳﻴﻠﻪ ﻋﻨﺎﺻﺮ ﻫﻢ ﺧﺎﻧﻮاده ﻣﺜﻞ ﺗﻴﺮ و ﻛﻤﺎن و زه ﺗﻮﺟﻪ ﻛﻨﻴﺪ‬341 ‫ﻓﺎرﺳﻲ ﻣﺮاﻋﺎت اﻟﻨﻈﻴﺮ ﻣﻲ ﮔﻮﻳﻨﺪ و ﺑﺴﻴﺎري از زﻳﺒﺎﺗﺮﻳﻦ ﺷﻌﺮﻫﺎي ﻓﺎرﺳﻲ ﻫﻤﭽﻮن ﻏﺰﻟﻴﺎت ﺳﻌﺪي و ﺣﺎﻓﻆ ﺑﻪ‬ ‫ از ﻗﻀﺎ اﻳﻦ ﺗﺮاﻧﻪ ﻫﻢ از ﻟﺤﺎظ ﺗﺼﻮﻳﺮﺳﺎزي و اداﻣﻪ ﻣﻀﻤﻮن ﺑﻴﺸﺘﺮ ﺑﻪ ﺳﺒﻚ‬.‫ﻛﺮات از اﻳﻦ ﺻﻨﻌﺖ ﺑﻬﺮه ﺑﺮده اﻧﺪ‬ .‫ﻫﻨﺪي ﻧﺰدﻳﻚ اﺳﺖ‬ 342

                                                                                                                                   

                                                                                                                                   

the contradictory implications made about Simorq in different sources it can be concluded that this creature’s gender must be relative to the genre in which it appears. For example, whereas in Ferdowsi’s epic Shahnameh the Simorq with more conspicuous feminine aspects plays the role of Zaal’s mother in effect, in Attar’s mystical Conference of the Birds it stands for some kind of a mystified masculine godhead/father figure, all of which in a merger make it a collectively hermaphrodite creature in the end. And this proves to be yet another one of the metamorphoses of the old epic concrete images into the latter mystical abstract concepts in the premises of Iranian epistemology, which is capable of being treated in a separate comprehensive study. 348 The owl that in the realm of Iranian common lore is regarded as an ominous creature that makes its home in the ruins, in this Song also implies some kind of sad loneliness. ‫ داﻣﻨﻢ ﭘﺮ از اﺷﻚ ﻧﺸﻮد‬349

‫ اﻳﻦ ﺗﺮاﻧﻪ ﻛﻪ ﻣﺎﻳﻪ ﻫﺎي ﻋﻘﺪه ﻣﻌﺮوف ))ﺑﻜﺎرت(( را ﻫﻢ در ﺧﻮد دارد از ﺟﻬﺖ اراﺋﻪ ﻧﺴﺨﻪ اي واﺿﺢ از‬353

.‫ ))ﺟﻤﺠﻤﻪ دﺷﻤﻦ را ﻣﻄﻼ ﻣﻲ ﻛﺮدﻧﺪ و در آن ﺷﺮاب ﻣﻲ ﻧﻮﺷﻴﺪﻧﺪ‬350 ‫ﭘﻴﺸﺘﺮ زآن ﻛﻪ ﺷﻮد ﻛﺎﺳﻪ ﺳﺮ ﺧﺎك اﻧﺪاز )ﺣﺎﻓﻆ( )ﺳﻴﺮوس‬

‫ﺧﻴﺰ و در ﻛﺎﺳﻪ زر آب ﻃﺮﺑﻨﺎك اﻧﺪاز‬ .(((321 ،‫ ﻓﺮﻫﻨﮓ اﺷﺎرات‬،‫ﺷﻤﻴﺴﺎ‬

‫ﻣﺮاﺟﻌﻪ ﻛﻨﻴﺪ ﺑﻪ ﺻﺤﻨﻪ ﻣﻌﺮوف ﻣﻜﺎﻟﻤﻪ ﻫﻤﻠﺖ ﺑﺎ ﻗﺒﺮﻛﻦ ﻛﻪ در آن ﺟﻤﺠﻤﻪ ﻓﺮدي ﻛﻪ ﻗﺒﺮش ﻧﺒﺶ ﺷﺪه ﻣﺎﻳﻪ‬ ‫ اﺻﻮﻻ ﻣﺪ ﺷﺪن ﺗﺼﻮﻳﺮ ﺟﻤﺠﻤﻪ ﺑﻪ ﻧﺸﺎﻧﻪ‬.‫ﺳﺮوده ﺷﺪن ﻳﻜﻲ از ﻣﻌﺮوف ﺗﺮﻳﻦ ﺗﻚ ﮔﻮﻳﻲ ﻫﺎي ﻫﻤﻠﺖ ﻣﻲ ﺷﻮد‬ ‫ﻓﻨﺎﭘﺬﻳﺮي ﺑﺸﺮ در ادﺑﻴﺎت رﻧﺴﺎﻧﺲ اروﭘﺎ ﺗﺎ ﭼﻪ ﺣﺪ اورﻳﺠﻴﻨﺎل اﺳﺖ و ﺗﺎ ﭼﻪ ﺣﺪ رﻳﺸﻪ ﺷﺮﻗﻲ دارد؟ و اﮔﺮ‬ ‫ﺷﺮﻗﻲ اﺳﺖ ﭼﻪ ﺗﺼﺎوﻳﺮ دﻳﮕﺮي ﻣﻤﻜﻦ اﺳﺖ از ادﺑﻴﺎت ﺷﺮق وارد ادﺑﻴﺎت ﻏﺮب ﺷﺪه ﺑﺎﺷﻨﺪ و ﺑﻪ ﻫﻤﺮاه ﺧﻮد‬ ‫ﺟﻬﺎن ﺑﻴﻨﻲ ﻣﺮﺑﻮط ﺑﻪ آن ﺗﺼﺎوﻳﺮ را ﻧﻴﺰ ﺑﺮده ﺑﺎﺷﻨﺪ؟ و اﻳﻦ ﺗﺼﺎوﻳﺮ ))ﺧﺎوري(( ﭼﻘﺪر در ﺷﻜﻞ ﮔﻴﺮي ﺟﻬﺎن‬ ‫ اروﭘﺎ ﻛﻪ ﻋﺼﺮ اﻧﻘﻼﺑﺎت‬19 ‫ و‬18 ‫ﺑﻴﻨﻲ ﺧﻼق ))ﮔﺮوﺗﺴﻚ و ﺳﺎﺑﻼﻳﻢ(( )ﻏﺮﻳﺐ و ﻣﺘﻌﺎﻟﻲ( روﻣﺎﻧﺘﻴﻚ ﻗﺮون‬ ‫))ﺿﺪ ﻛﻼﺳﻴﻚ(( و ))ﺿﺪ ﻣﺎﻳﻤﺘﻴﻚ(( و ﺷﻜﻞ ﮔﻴﺮي ﭘﺎﻳﻪ ﻫﺎي ﺟﻬﺎن ﻣﺪرن اﺳﺖ ﻧﻘﺶ داﺷﺘﻪ اﻧﺪ؟‬ ‫ اﻳﻦ ﺗﺮاﻧﻪ ﺑﻪ ﺟﻬﺖ ﺑﻪ ﻛﺎرﮔﻴﺮي ﺗﺼﺎوﻳﺮ ﺣﻴﻮاﻧﻲ و ﻣﻜﺎﻟﻤﻪ ﺑﻴﻦ آﻧﻬﺎ ﻛﻪ آن را ﺑﻪ ﻓﻴﺒﻞ ﻫﺎي ﺗﻤﺜﻴﻠﻲ ﻣﻌﺮوف‬351 ‫ اﻳﻦ‬.‫ادﺑﻴﺎت دﻧﻴﺎ ﺷﺒﻴﻪ ﻣﻲ ﻛﻨﺪ ﺑﻲ ﻧﻈﻴﺮ اﺳﺖ و ﻣﻦ ﺗﺮاﻧﻪ دﻳﮕﺮي از اﻳﻦ ﻗﺒﻴﻞ ﺑﺎ ﺗﺼﻮﻳﺮﮔﺮاﻳﻲ ﺣﻴﻮاﻧﻲ ﻧﺪﻳﺪه ام‬ .‫ﺗﺮاﻧﻪ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺑﻨﺪار رازي ﻣﻲ ﺑﺎﺷﺪ‬ ‫ زﻳﺮا ﺳﺎﻗﻪ اش ﻧﺮم اﺳﺖ و ﮔﻞ آن ﺑﻪ‬.‫ دو ﺗﺎ و در رﻛﻮع ﮔﻔﺘﻪ اﻧﺪ‬،‫ ﺳﺮاﻓﻜﻨﺪه‬،‫ ))ﺑﻨﻔﺸﻪ را ﺳﺮ ﺑﺮ زاﻧﻮ ﻧﻬﺎده‬352 .(((184 ،‫ ﻓﺮﻫﻨﮓ اﺻﻄﻼﺣﺎت‬،‫ﻃﺮف ﭘﺎﻳﻴﻦ ﺧﻢ ﻣﻲ ﺷﻮد )ﺳﻴﺮوس ﺷﻤﻴﺴﺎ‬

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‫ﻃﺮز ﺗﻔﻜﺮ ﮔﻮﺷﻪ ﻧﺸﻴﻨﺎﻧﻪ اﻧﻔﺮادي رواﻗﻲ ﻛﻪ از ﻣﺸﺨﺼﻪ ﻫﺎي ﻓﺮﻫﻨﮓ اﻳﺮاﻧﻲ اﺳﺖ و در ﺗﺮاﻧﻪ ﻫﺎ ﻣﻌﻤﻮﻻ ﺑﻪ‬ .‫ﺷﻴﻮه اي ﺗﻀﺎﻣﻨﻲ ﺑﻴﺎن ﻣﻲ ﺷﻮد ﻧﻴﺰ داراي اﻫﻤﻴﺖ ﻣﻲ ﺑﺎﺷﺪ‬ .‫ ﻛﻪ ﻫﺮ ﺳﻪ اﻟﺒﺴﻪ زاﻫﺪ ﻣﺴﻠﻜﺎن و ﺻﻮﻓﻴﺎن اﻧﺪ‬،‫ ﻟﻨﮓ و ﺟﺎﻣﻪ ﻛﻬﻨﻪ و ﺟﺎﻣﻪ ﭘﺸﻤﻴﻦ‬354 ‫ ﺳﻴﻤﺮغ ﻫﻤﺎن ﻣﺮغ اﺳﺎﻃﻴﺮي ﻣﻌﺮوف اﺳﺖ ﻛﻪ ﺑﻪ ﺧﺮد و داﻧﺸﻤﻨﺪي و آزادﮔﻲ ﻣﺸﻬﻮر اﺳﺖ و از ادﺑﻴﺎت‬355 ‫ﺣﻤﺎﺳﻲ ﮔﺮﻓﺘﻪ ﺗﺎ ادﺑﻴﺎت ﻋﺮﻓﺎﻧﻲ و ﺳﭙﺲ ﻏﻨﺎﻳﻲ از ﻣﻮﺗﻴﻒ ﻫﺎي ﻣﻌﺮوف ادﺑﻴﺎت ﻓﺎرﺳﻲ ﻣﻲ ﺑﺎﺷﺪ ﻛﻪ اﻟﺒﺘﻪ در‬ ‫ و اﻳﻦ ﻫﻢ‬،‫ﻫﺮ ﻣﺘﻨﻲ ﺑﻪ ﻣﻨﻈﻮري ﺑﻪ ﻛﺎر ﻣﻲ رود؛ ﻣﺜﻼ در ﻓﺮدوﺳﻲ و ﻋﻄﺎر ﻣﻔﻬﻮم ﺳﻴﻤﺮغ ﺑﺴﻴﺎر ﻣﺘﻔﺎوت اﺳﺖ‬ ‫ﻳﻜﻲ دﻳﮕﺮ از ﻣﻮارد اﺳﺘﺤﺎﻟﻪ ﺗﺼﺎوﻳﺮ ﺣﻤﺎﺳﻲ ﻛﻬﻦ در ادﺑﻴﺎت ﻋﺮﻓﺎﻧﻲ ﻣﺘﺎﺧﺮ اﺳﺖ ﻛﻪ ﺧﻮد ﻣﻲ ﺗﻮاﻧﺪ ﻣﻮﺿﻮع‬ .‫رﺳﺎﻟﻪ اي ﺟﺎﻣﻊ ﺑﺎﺷﺪ‬ ‫ و در اﻳﻦ ﺗﺮاﻧﻪ‬،‫ ﺟﻐﺪ ﻛﻪ در ﻓﺮﻫﻨﮓ ﻋﺎﻣﻪ اﻳﺮاﻧﻲ در ﺧﺮاﺑﻪ ﻫﺎ ﻣﻨﺰل ﻣﻲ ﻛﻨﺪ ﻧﺸﺎﻧﻪ ﺷﻮﻣﻲ و ﺑﺪﺷﮕﻮﻧﻲ اﺳﺖ‬356 .‫ﺧﺎص ﻣﻌﺎﻧﻲ دﻳﮕﺮي از ﺟﻤﻠﻪ ﮔﻮﺷﻪ ﻧﺸﻴﻨﻲ ﺳﺮد و ﻏﻤﻨﺎك را ﻧﻴﺰ ﺑﻪ ﺧﺎﻃﺮ ﻣﻲ آورد‬ 357

Bedaubed, smeared From here onward come the Mystical Songs. 359 The characters of ‘Master’ and ‘Sage’ and the like that are frequently refered to in the premises of the Mystical Songs in particular and in the realm of the Iranian mystical literature in general, in fact imply the hierarchical nature of knowledge and the principle of its caste-basedness among the Iranians, which means that only an elect number – and sometimes only one person – have full access to the supposedly divine source of knowledge which in most cases can be transferred to the lower levels only through the medium of these hallowed and venerated authorities who incidentally have the Great Name (the ultimate code name of the divinity to which it almost always responds without exception) or the Key to the Treasure of Meaning in their exclusive keeping – as is obvious, for instance, in the case of the cult of Batenieh (the very medieval Isma’iili Assassins) that believed that the Koran, as well as the literal meaning (surface structure?), also maintained a mystical meaning (deep structure?) that only their Imam could divulge and interpret; otherwise the lay people – or any other classes of people for that matter – would not be able to discover the truth by themselves. On the other hand, this method of knowledge transference and ‘education’ also creates the necessity for the confirmation of an individual’s acquired knowledge by a net of already-established authoritative organizations that in turn leads to the ‘monopoly on the confirmation of the authenticity of knowledge’ which finally results in the ‘Ideological Dictatorship’ imposed upon individuals by those very 358

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establishments whose credo was blatantly formulated around four centuries ago by Francis Bacon as “knowledge is power”. Incidentally, this very principle even today continues to work through much the same epistemological methodology in the guise of the Iranian Shiite theology that divides the society like a pyramid into many heterogeneous mostly underpriviledged levels that are ironically bound to collectively contribute to the material and ideological gain of a singular headstonepersona, namely the Supreme Leader, and his elite entourage that threateningly soar above them and relentlessly overshadow their individual characters; and the sinister project of ‘Islamization of Humanities’ in the Iranian universities that has been recently delineated and fiercely advocated by the said Supreme Leader is properly rooted in the very same doctrine. Thus, the persistence of the perversion of ‘interpreting information according to one’s benefits’ – perhaps more than the transient invasions of the Arabs, Turks, and Mongols – has proved to be one of the most horrible disasters that has plagued the Iranain people during their long history. By the way, it is suggestible that perhaps the famous Saqi that is so many times addressed and invoked in the general realm of the Songs might stand for the ‘alter ego’ of such all-knowing Masters, and we will encounter such clearly parodic approaches to the concept of the Master in the premises of the Winy Songs that will immediately follow these Songs in order. This Song has also been attributed to Shahabeddin Sohrevardi (12th century). 360 Heights 361 Or Amu Darya, a great river in the ancient Transoxania. Once running in Iran, now it lies along the border between Turkmenistan and Uzbekistan. Jeihun is a famous motif in Iranian literature. 362 “The Masons are not used to looking after the origins of the concepts of justice, evil, right, and wrong beyond the material world; for they believe that these concepts derive directly from the individual’s social situation, public standing, and his struggle for living (Moiz Berker, Real Freemasonry, 78)”. The existence of Gnostic dispositions in Iran has always been apparent, and the innumerable Iranian schools of mysticism in effect are composed of a confused amalgam of the prevalent transcendental attitudes – for example, Manicheism – of the ancient Persia, the Semitic Cabbalism (remember the constant presence of the Jewish people in Persia purportedly since the time of the Achaemenids), and the neo-Platonic teachings (with reference to historical documents, it becomes evident that Greek philosophy in two distinct eras, namely that of the Sassanids and the Abbasids, has been rather systematically introduced into Iran) which have been occasionally

reinforced by the Indian schools of transcendentalism. The documents and propagandistic literature of most of these schools that abjure the material world on the one hand and hold, paradoxically, a pantheistic attitude on the other, frequently offer rejoinders to the surprisingly small amount of the earthly or elemental literature of the land. However, whether these rejoinders come as a symptom of the insecurity that these mystical schools felt from the direction of the elemental attitude or it was the general tactic of those same schools to consolidate themselves at the expense of their ideological rivals, the many similarities between the two attitudes demonstrate the verity that while they differ on the issue of epistemology, they in effect share a common ontological ground, which is to say that the true difference between them rests upon their emphases on the two approaches toward one common premise whose original constitutive elements purport to be homogenous. To repeat myself in a set of different terminologies, it is really the ‘viewpoint’ of the two attitudes and not their raw ‘material’ which raises the disparity, meaning that when the methodology of one current has emphasized the physical reading of a number of specific images of the world, the methodology of the other – in most probability in contrast with and in reaction to the former current – has emphasized the metaphysical reading of those very images; in other words, the same concepts have been subjected to two opposing readings. Now this seeming ‘binarism’ which like the Christian doctrine of the Trinity has been in effect invested in a strict monism, is actually rooted in the mythologically prejudiced distinction-making (black-and-white) Iranain attitude that has usually proved unable to take into account the two sides of any coin at the same time, otherwise any mediocre reader with some average degree of perception can clearly see for himself that the interspersing of the mystical literature with elemental idioms and also the replacement of the generally physical images of the myth such as the Wine, the Seven Skies, the Wise Man, and the Seven Labors of the Champion with their well-known allegorically metaphysical metamorphoses the Eternal Wine, the SevenHeaded Dragon, the Master, and the Seven Cities of Love in effect testify more to the partial continuity of the two attitudes rather than their total break. Though the ‘logocentric’ devotees of mysticism will certainly not take kindly to it, with allowing for some degree of overgeneralization, however, I would like to suggest that the principal methodology of the mystical literature typically constitutes some sort of a ‘Jungian’ interpretation of the mythological and epical literature, and truly must find its ‘archetypes’ in a more ancient and also evident kind of discourse which,

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ironically, in principle has nothing to do with such esoteric abstractions whatsoever. Incidentally, there also exist considerable similarities between Iranian mysticism and Western Freemasonry that purportedly maintain analogous roots, attitudes, and hierarchies; and a critical reference to the Masonic philosophy that somehow holds valid both the physical and metaphysical worldviews as intermingled in one body can reveal the fact that these worldviews, at least at the level of doctrine, could be regarded as symbiotic and not mutually exclusive, and by that to expose the utter futility of those very ‘black-and-white’, ‘Non-Muslim-and-Muslim’, ‘Sunni-and-Shiite’, ‘Iranian-and-Foreigner’, etc., binarisms that on the basis of this ‘divine division’ have been constantly employed by the shrewd rulers of Iran to ‘divide and conquer’ and with which to bolster themselves in their positions of power throughout history. For example, after comparing the mystical ‘Pantheistic God’ and the ‘Levels of Illumination’ with the Masonic quasi-metaphysical concept of the ‘AllSeeing Eye’ and the hierarchical classification of the ‘Stages of Enlightenment’, read this avowedly materialistic excerpt from Inspirations from Freemasonry by the Turk Mason Dr. Selami Isindag as well, which coincidentally intimates to be a relevant interpretation of the very Song you just read: “All space, the atmosphere, the stars, nature, the living beings and objects are composed of atoms. Man is nothing but the self-implemented collection of atoms. The balance in the electrical current among the atoms insures the continuance of life. When this balance breaks, we die and return to dust and decompose into those very atoms which have composed us in the first place. The plants will make use of us, as all the living beings, including man himself, make use of the plants. All beings have been composed of the same material, but since man's brain has had the best possible molding amongst those of the animals, he has come to possess cognition. If we pay attention to the results of the experimental psychology, we come to see that the tripartite psychological experience of sense-mind-will is the result of the balanced working of the nervous system and hormones. Reason and logical sciences will not concur to the idea that anything can come out of nothing and then vanish. Thus it follows that man should not feel obliged to acknowledge any seemingly superior power as a benefactor. The world is composed of a myriad of energies which are start-less and end-less. Everything else is produced, evolved, and then exterminated by these energies, but never perishes completely. Objects only change their appearance. In fact, death and destruction do not exist; what exists is the ever-recurring principle of change. But one cannot prove this great

principle, this universal secret, through scientific laws; and yet all unscientific justifications of it prove to be vague, prejudiced, and empty in the end (108)”. This Song has also been attributed to Baba Afzal Kashi. 363 The small or very fine particles that fall to the ground when an old gold or silver coin is cut with some kind of scissors in order to be exchanged for an object that eqauals its value (something like today’s change), which metaphorically stands for a trivial thing in this Song 364 A philosophical term of various significances, here meaning the understanding that comes through spiritual realization rather than through sensual perception 365 I really wonder how FitzGerald could have embeded this very neoPlatonically mystical piece in his merry-making pseudo-narrative sequence Kuza-Nama by misdirecting and misinterpreting it as: The Vine had struck a Fibre; which about It clings my Being – let the Sufi flout: Of my Base Metal may be filed a Key, That shall unlock the Door he howls without. ‫ ﻣﻌﺪن‬366

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‫ ﻣﺠﻤﻮﻋﻪ ﺗﺮاﻧﻪ ﻫﺎ در ﺣﻘﻴﻘﺖ داﺋﺮه اﻟﻤﻌﺎرﻓﻲ از ﺟﻬﺎن ﺑﻴﻨﻲ ﻫﺎ و‬،‫ ﭼﻨﺎﻧﻜﻪ در ﻳﺎداﺷﺖ ﺗﺮاﻧﻪ اول ﮔﻔﺘﻢ‬367 ‫ و اﻳﻦ ﺷﺎﻳﺪ ﺣﺴﻦ‬،‫روﻳﻜﺮدﻫﺎي ﻣﺘﻔﺎوت ﺑﻪ زﻧﺪﮔﻲ را ﺗﺸﻜﻴﻞ ﻣﻲ دﻫﺪ ﻛﻪ ﺑﻪ راﺣﺘﻲ ﻗﺎﺑﻞ ﻃﺒﻘﻪ ﺑﻨﺪي ﻧﻴﺴﺖ‬ ‫ﻣﺠﻤﻮﻋﻪ ﺗﺮاﻧﻪ ﻫﺎ ﺑﺎﺷﺪ ﻛﻪ ﻣﻔﻬﻮم ))ﭼﻨﺪﺻﺪاﻳﻲ )ﭘﻮﻟﻲ ﻓﻮﻧﻲ((( را ﭼﻪ ﺑﺨﻮاﻫﻴﻢ و ﭼﻪ ﻧﺨﻮاﻫﻴﻢ ﺑﻪ ﻣﺎ ﮔﻮﺷﺰد‬ ‫ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﻧﺒﺎﻳﺪ ﺟﺎي ﺗﻌﺠﺐ ﺑﺎﺷﺪ ﻛﻪ ﭼﻄﻮر‬.‫ﻣﻲ ﻛﻨﻨﺪ و ﻫﺮﮔﻮﻧﻪ ﺧﻮاﻧﺶ ﺗﻚ ﺑﻌﺪي را از ﺧﻮد ﻣﻲ راﻧﻨﺪ‬ ‫در ﻣﻴﺎن اﻳﻦ ﻫﻤﻪ ﺗﺮاﻧﻪ ﻋﻨﺎﺻﺮي و ﻗﻀﺎ و ﻗﺪري ﺿﺪﻣﺘﺎﻓﻴﺰﻳﻜﻲ ﺑﺮﺧﻲ از ﻫﻨﺮﻣﻨﺪاﻧﻪ ﺗﺮﻳﻦ ﺗﺮاﻧﻪ ﻫﺎي ﻋﺮﻓﺎﻧﻲ ﻛﻪ‬ ‫ﻇﺎﻫﺮا ﺑﺎﻳﺪ در ﻗﻄﺐ ﻣﺨﺎﻟﻒ آﻧﻬﺎ ﻗﺮار ﺑﮕﻴﺮﻧﺪ ﻧﻴﺰ ﻣﺸﺎﻫﺪه ﻣﻲ ﺷﻮﻧﺪ و ﻛﻨﺘﺮاﺳﺖ ﻣﻌﺮﻓﺖ ﺷﻨﺎﺧﺘﻲ را ﺑﻪ ﺑﻬﺘﺮﻳﻦ‬ ‫ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ اﻳﻦ ﺣﻘﻴﻘﺖ ﻛﻪ ﭼﻨﻴﻦ ﺗﺮاﻧﻪ ﻫﺎﻳﻲ در ﻧﻬﺎﻳﺖ ﺑﻪ ﺳﻨﺖ‬،‫ ﺑﻪ ﻫﺮ ﺗﺮﺗﻴﺐ‬.‫وﺟﻪ ﻣﻤﻜﻦ ﺣﻔﻆ ﻣﻲ ﻛﻨﻨﺪ‬ ‫ﺑﺰرﮔﺘﺮ و در ﮔﺬار زﻣﺎن ﻛﺎﻣﻼ رﺳﻤﻲ ﺷﺪه ادﺑﻴﺎت ﻋﺮﻓﺎﻧﻲ ﺗﻌﻠﻖ دارﻧﺪ ﻛﻪ ﭼﻪ از ﻧﻈﺮ ﺣﺠﻢ و ﭼﻪ از ﻟﺤﺎظ‬ ‫ اﻳﻨﺠﺎ ﻓﻘﻂ ﺑﺮﺧﻲ ﺗﺮاﻧﻪ ﻫﺎي ﻣﺸﻬﻮر از اﻳﻦ دﺳﺖ ﻛﻪ ﺑﻪ ﺧﻴﺎم ﻧﺴﺒﺖ داده ﺷﺪه اﻧﺪ‬،‫ﻋﻤﻖ ﺧﻮد اﻗﻴﺎﻧﻮﺳﻲ اﺳﺖ‬ ‫)ﻛﻪ اﺗﻔﺎﻗﺎ اﮔﺮ ﻧﺴﺒﺖ ﺑﻪ ﻛﻞ ﺗﺮاﻧﻪ ﻫﺎ زﻳﺎد ﻧﺒﺎﺷﻨﺪ ﻛﻢ ﻫﻢ ﻧﻴﺴﺘﻨﺪ( و ﻣﻌﻤﻮﻻ ﺑﻪ ﺟﻬﺎن ﺑﻴﻨﻲ ﻃﺒﺎﻳﻌﻲ و ﻣﺎدي ﺑﺎﻗﻲ‬ ‫ ﻻزم ﺑﻪ ﮔﻔﺘﻦ ﻧﻴﺴﺖ ﻛﻪ ﺑﺴﻴﺎري از اﻳﻦ ﺗﺮاﻧﻪ ﻫﺎ ﻋﻼوه ﺑﺮ ﺧﻴﺎم )ﻛﻪ ﺑﺎ‬.‫ﺗﺮاﻧﻪ ﻫﺎ اﻧﺘﻘﺎد ﻣﻲ ﻛﻨﻨﺪ ذﻛﺮ ﻣﻲ ﺷﻮﻧﺪ‬ ‫اﺳﺘﻨﺎد ﺑﻪ ﻫﻴﭻ ﻣﺪرك ﻧﺴﺒﺘﺎ ﻣﻌﻘﻮل ﺗﺎرﻳﺨﻲ ﻣﻮﺟﻮد ﻧﻤﻲ ﺷﻮد اﻳﻦ ﮔﻮﻧﻪ ﺗﺮاﻧﻪ ﻫﺎ را ﺑﻪ او ﭼﺴﺒﺎﻧﺪ( ﺑﻪ دﻳﮕﺮان‬ .‫ ﭼﻨﺎﻧﻜﻪ اﻳﻦ ﺗﺮاﻧﻪ ﻣﻨﺴﻮب ﺑﻪ ﺑﺎﺑﺎ اﻓﻀﻞ ﻛﺎﺷﻲ ﻫﻢ ﻣﻲ ﺑﺎﺷﺪ‬،‫ﻫﻢ ﻧﺴﺒﺖ داده ﺷﺪه اﻧﺪ‬

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‫‪ 371‬ﺧﺎﻟﺺ ﺷﺪه‬

‫از آﻧﺠﺎ ﻛﻪ ﻋﺮﻓﺎن در ﺣﻘﻴﻘﺖ ﻣﻌﺎدل درون ﮔﺮاﻳﺎﻧﻪ ﺷﺪه ﻫﻤﺎن ﺣﻤﺎﺳﻪ ﺑﺮون ﮔﺮاﻳﺎﻧﻪ ﭘﻴﺸﻴﻦ اﺳﺖ و ﺳﻴﺮ و‬

‫‪ 372‬ﺟﺮﻗﻪ‪ ،‬آﺗﺸﭙﺎره‬

‫ﺳﻠﻮك ﻋﺮﻓﺎﻧﻲ در ﺣﻘﻴﻘﺖ ﻫﻤﺎن ﺳﻔﺮ ﺣﻤﺎﺳﻲ اﺳﺖ ﻛﻪ در ﻧﻬﺎﻳﺖ ﺑﻪ ﺗﺮﺗﻴﺒﻲ ﺑﻪ ))ﺟﻬﺎد اﻛﺒﺮ(( و ﻛﺸﺘﻦ‬

‫‪ 373‬وﺟﻮد ﺗﻤﺎﻳﻼت ﺷﺒﻪ ﮔﻨﻮﺳﻲ در اﻳﺮان ﻫﻤﻴﺸﻪ آﺷﻜﺎر ﺑﻮده‪ ،‬و ﻋﺮﻓﺎن اﻳﺮاﻧﻲ اﺻﻮﻻ ﻣﻠﻐﻤﻪ اي از اﺷﺮاق‬

‫اژدﻫﺎي ﻧﻔﺲ ﻣﻲ اﻧﺠﺎﻣﺪ‪ ،‬و اﺻﻮﻻ ﻋﻼﻗﻪ اﻫﻞ ﻋﺮﻓﺎن ﺑﻪ ))ﺣﻤﺎﺳﻪ ﻧﻤﺎﻳﻲ(( ﻛﻪ ﻣﻲ ﺗﻮاﻧﺪ ﻧﻤﺎﻳﺎﻧﮕﺮ اﻧﻔﺴﻲ و‬

‫ﮔﺮاﻳﻲ اﻳﺮان ﺑﺎﺳﺘﺎن‪ ،‬اﺻﻮل ﻛﺎﺑﺎﻟﻴﺴﺘﻲ )ﻗﺒﺎﻟﻪ اي( ﺳﺎﻣﻲ‪ ،‬و آﻣﻮزه ﻫﺎي ﻧﻮ ‪-‬اﻓﻼﻃﻮﻧﻲ ﻣﻲ ﺑﺎﺷﺪ ﻛﻪ در ﺑﺮﺧﻲ‬

‫ﻣﺘﺎﻓﻴﺰﻳﻜﻲ ﺷﺪن ﻫﻤﺎن ﺣﻤﺎﺳﻪ آﻓﺎﻗﻲ ﻗﺪﻳﻢ در اﺛﺮ ﺣﻀﻮر ﻗﺎﻫﺮ و ﻗﺎﻟﺐ ﻋﻨﺎﺻﺮ ﻋﺮب و ﺗﺮك و ﻣﻐﻮل در ﻃﻮل‬

‫ﻣﻮارد از ﺳﻤﺖ ﻫﻨﺪوﺳﺘﺎن ﻫﻢ ﺗﻘﻮﻳﺖ ﺷﺪه اﺳﺖ‪ .‬ﺑﺎ اﻳﻦ وﺟﻮد‪ ،‬ﺷﺒﺎﻫﺘﻬﺎي ﺑﺴﻴﺎري ﻛﻪ ﻋﻠﻲ رﻏﻢ ﺗﻔﺎوت‬

‫ﺗﺎرﻳﺦ ﻣﺘﺎﺧﺮ اﻳﺮان ﺑﺎﺷﺪ‪ ،‬ﻫﻤﻪ و ﻫﻤﻪ ﭼﻨﻴﻦ ﻣﻲ ﻧﻤﺎﻳﺪ ﻛﻪ ﻟﺤﻦ ﺧﻮاﻧﺶ ﺗﺮاﻧﻪ ﻫﺎي ﻋﺮﻓﺎﻧﻲ ﻫﻢ ﺑﺎﻳﺪ ﺑﻪ اﺣﺘﻤﺎل‬

‫ﻇﺎﻫﺮي ﻣﺴﻠﻚ ﻋﺮﻓﺎﻧﻲ ﺑﺎ ﻣﺴﻠﻚ ﺑﻪ اﺻﻄﻼح دﻫﺮي ﻣﻴﺎن اﻳﻦ دو ﻣﻮﺟﻮد اﺳﺖ ﮔﻮﻳﺎي اﻳﻦ ﺣﻘﻴﻘﺖ اﺳﺖ ﻛﻪ‬

‫زﻳﺎد ﺷﺒﻪ ﺣﻤﺎﺳﻲ ﺑﺎﺷﺪ‪ ،‬ﭼﻨﺎﻧﻜﻪ ﻛﺎرﺑﺮد ﺑﺤﺮ ﻋﺮوﺿﻲ ﺿﺮﺑﺪار رﻣﻞ در ﻣﺜﻨﻮي ﻣﻌﻨﻮي ﻛﻪ آن را ﺷﺎﻫﻨﺎﻣﻪ‬

‫ﻋﺮﻓﺎن در اﺻﻞ از ﻟﺤﺎظ رﻳﺸﻪ ﺷﻨﺎﺳﻲ ﺑﺎ دﻫﺮي ﮔﺮي ﻣﻐﺎﻳﺮ ﻧﻤﻲ ﺑﺎﺷﺪ‪ ،‬و ﻣﻲ ﺗﻮان ﮔﻔﺖ ﻛﻪ اﺧﺘﻼف ﺣﻘﻴﻘﻲ‬

‫ﻋﺮﻓﺎﻧﻲ ﻫﻢ ﻧﺎﻣﻴﺪه اﻧﺪ ﻫﻢ ﺑﻪ ﭼﻨﻴﻦ ﻃﺮز ﺧﻮاﻧﺸﻲ اﺷﺎره ﻣﻲ ﻛﻨﺪ و اﺻﻮﻻ آن را ﺗﻘﻮﻳﺖ ﻣﻲ ﻛﻨﺪ‪ ،‬ﻟﺬا ﺧﻮاﻧﺶ‬

‫اﻳﻦ دو ﻣﺴﻠﻚ از ﺗﺎﻛﻴﺪ آﻧﻬﺎ ﺑﺮ دو ﺑﺮداﺷﺖ از ﻳﻚ زﻳﺮﺑﻨﺎي ﻣﺸﺘﺮك ﻛﻪ ﻋﻨﺎﺻﺮ ﺗﺸﻜﻴﻞ دﻫﻨﺪه آن ﻫﻤﺴﺎن‬

‫ﺗﺮاﻧﻪ ﻫﺎي ﻋﺮﻓﺎﻧﻲ ﻫﻢ در ﺣﻘﻴﻘﺖ ﺑﻪ اﺣﺘﻤﺎل زﻳﺎد ﺑﺎﻳﺪ ﻋﺮﻓﺎﻧﻲ ‪-‬ﺣﻤﺎﺳﻲ ﺑﺎﺷﺪ‪ ،‬ﻛﻪ اﻳﻦ اﺻﻞ در ﺗﺮﺟﻤﻪ اﻳﻦ‬

‫اﺳﺖ ﻧﺸﺎت ﻣﻲ ﮔﻴﺮد‪ ،‬و اﻳﻦ در ﺣﻘﻴﻘﺖ ))دﻳﺪ(( دو ﻣﺴﻠﻚ ﻣﺘﻔﺎوت و ﻧﻪ ))ﻣﻮاد(( اوﻟﻴﻪ در دﺳﺘﺮس آﻧﻬﺎﺳﺖ‬

‫ﺗﺮاﻧﻪ ﻫﺎ ﻧﻴﺰ در ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺷﺪه‪.‬‬

‫ﻛﻪ اﺧﺘﻼف را ﺑﻪ وﺟﻮد ﻣﻲ آورد‪ ،‬ﻳﻌﻨﻲ در ﺟﺎﻳﻲ ﻛﻪ در ﻣﺘﻮدوﻟﻮژي ﻳﻚ ﺟﺮﻳﺎن ﺗﺎﻛﻴﺪ ﺑﺮ ﺧﻮاﻧﺶ ﻓﻴﺰﻳﻜﻲ‬

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‫ﺗﺼﺎوﻳﺮي ﺧﺎص از ﻫﺴﺘﻲ ﺑﻮده‪ ،‬در ﻣﺘﻮدوﻟﻮژي ﺟﺮﻳﺎن دﻳﮕﺮ – ﭼﻪ ﺑﺴﺎ در ﻋﻜﺲ اﻟﻌﻤﻞ ﺑﻪ ﺟﺮﻳﺎن ﻗﺒﻠﻲ –‬

‫ﺧﻮرد ﺑﻪ ﺷﻴﻮه اي ﺿﻤﻨﻲ ﺑﻪ اﺻﻞ ﻃﺒﻘﺎﺗﻲ داﻧﺶ در ﻣﻴﺎن اﻳﺮاﻧﻴﺎن اﺷﺎره ﻣﻲ ﻛﻨﺪ‪ ،‬ﺑﻪ اﻳﻦ ﻣﻌﻨﻲ ﻛﻪ ﻓﻘﻂ ﻋﺪه –‬

‫ﺗﺎﻛﻴﺪ ﺑﺮ ﺧﻮاﻧﺶ ﻣﺘﺎﻓﻴﺰﻳﻜﻲ ﻫﻤﺎن ﺗﺼﺎوﻳﺮ از ﻫﺴﺘﻲ ﻗﺮار ﮔﺮﻓﺘﻪ )و ﺗﺼﺎوﻳﺮ ﺑﻪ اﺻﻄﻼح ﺗﺎوﻳﻠﻲ دﮔﺮﮔﻮﻧﻪ ﺷﺪه‬

‫و در ﺑﻌﻀﻲ ﻣﻮارد ﻓﻘﻂ ﻓﺮد – ﺧﺎﺻﻲ ﺑﻪ داﻧﺶ اﻟﻬﻲ دﺳﺘﺮﺳﻲ دارﻧﺪ و در ﺑﻴﺸﺘﺮ ﻣﻮاﻗﻊ داﻧﺶ اﻟﻬﻲ ﺑﺎﻳﺪ از‬

‫اﻧﺪ(‪ ،‬و اﻳﻦ دوﮔﺎﻧﻪ ﮔﺮاﻳﻲ رﻳﺸﻪ در ذﻫﻨﻴﺖ اﺳﺎﻃﻴﺮي ))ﺳﻴﺎه و ﺳﻔﻴﺪ ﺑﻴﻦ(( اﻳﺮاﻧﻲ دارد ﻛﻪ ﻧﻤﻲ ﺗﻮاﻧﺪ وﺟﻮد‬

‫ﻛﺎﻧﺎل ﻓﺮد ﻣﻘﺘﺪرﺗﺮي ﻛﻪ اﺣﻴﺎﻧﺎ ))اﺳﻢ اﻋﻈﻢ(( ﻳﺎ ))ﻛﻠﻴﺪ ﮔﻨﺞ ﻣﻌﻨﻲ(( را در اﺧﺘﻴﺎر دارد ﺑﻪ اﻧﺴﺎن ))ﻋﺮﺿﻪ((‬

‫ﻫﺮ دو را در ﻛﻨﺎر ﻳﻜﺪﻳﮕﺮ ﺑﭙﺬﻳﺮد‪ ،‬وﮔﺮﻧﻪ ﻫﺮ دو ﺑﺎ وﺟﻮد ﺗﺎﻛﻴﺪ ﺑﺮ دو ﮔﻮﻧﻪ ﻣﻌﺮﻓﺖ ﺷﻨﺎﺳﻲ ﻣﺘﻔﺎوت در‬

‫ﺷﻮد – ﭼﻨﺎﻧﻜﻪ ﻣﺜﻼ در ﻧﺎم ﻓﺮﻗﻪ ))ﺑﺎﻃﻨﻴﻪ(( ﻛﻪ ﺑﺮ اﺳﺎس اﻋﺘﻘﺎد آﻧﻬﺎ ﺑﻪ ﻣﻌﻨﻲ ﺑﺎﻃﻨﻲ ﻗﺮآن ﻛﻪ ﻓﻘﻂ اﻣﺎم ﻣﻲ ﺗﻮاﻧﺪ‬

‫ﻧﻬﺎﻳﺖ ﺳﺮ در ﻳﻚ آﺑﺸﺨﻮر ﻫﺴﺘﻲ ﺷﻨﺎﺳﺎﻧﻪ دارﻧﺪ‪ ،‬و اﻳﻦ ﺣﻘﻴﻘﺖ در ﺗﺨﻠﻴﻂ ادﺑﻴﺎت ﻋﺮﻓﺎﻧﻲ ﺑﺎ اﺻﻄﻼﺣﺎت‬

‫ﺣﻘﻴﻘﺖ آن را ﻛﺸﻒ ﻛﻨﺪ و در اﺧﺘﻴﺎر ﭘﻴﺮواﻧﺶ ﺑﮕﺬارد اﻳﻦ ﻟﻘﺐ را ﮔﺮﻓﺘﻪ اﻧﺪ ﻛﺎﻣﻼ ﻣﺒﺮﻫﻦ اﺳﺖ – وﮔﺮﻧﻪ‬

‫دﻫﺮي و ﻫﻤﭽﻨﻴﻦ در ﺟﺎﻳﮕﺰﻳﻨﻲ ﺗﺼﺎوﻳﺮ ﻋﻤﺪﺗﺎ ﻓﻴﺰﻳﻜﻲ ﻣﻮﺟﻮد در اﺳﻄﻮره ﺑﺎ ﻫﻤﺎن اﺳﺘﺤﺎﻟﻪ ﻫﺎي ﻣﻌﺮوف‬

‫اﻧﺴﺎن ﺑﻪ ﻧﻔﺴﻪ از ﻛﺸﻒ آن ﻋﺎﺟﺰ ﺧﻮاﻫﺪ ﺑﻮد‪ .‬از ﻃﺮف دﻳﮕﺮ‪ ،‬اﻳﻦ ﺷﻴﻮه اﻧﺘﻘﺎل و ))آﻣﻮزش(( داﻧﺶ ﺑﻪ ﻃﻮر‬

‫ﻣﺘﺎﻓﻴﺰﻳﻜﻲ ﻫﻤﭽﻮن ﺗﺒﺪﻳﻞ ﺷﺮاب ﺑﻪ ﻣﻲ اﻟﺴﺖ و ﺗﺒﺪﻳﻞ ﻫﻔﺖ ﻓﻠﻚ ﺑﻪ ﻣﺎر ﻫﻔﺖ ﺳﺮ و ﺗﺒﺪﻳﻞ ﭘﻴﺮ ﺧﺮدﻣﻨﺪ ﺑﻪ‬

‫ﺗﻠﻮﻳﺤﻲ اﻟﺰام و اﻳﺠﺎب ﺑﻪ ﺗﺎﻳﻴﺪ رﺳﻴﺪن داﻧﺶ ﻣﻜﺘﺴﺒﻪ ﺗﻮﺳﻂ ﻣﺮﺟﻊ ﻳﺎ ﺳﺎزﻣﺎﻧﻲ ﺧﺎص را ﻫﻢ ﺑﻪ وﺟﻮد ﻣﻲ‬

‫اﺳﺘﺎد و ﺗﺒﺪﻳﻞ ﻫﻔﺖ ﺧﻮان ﺑﻪ ﻫﻔﺖ ﺷﻬﺮ ﻋﺸﻖ ﻛﻪ ﭘﻴﺸﺘﺮ ذﻛﺮ آﻧﻬﺎ رﻓﺖ و ﻳﺎ در اداﻣﻪ ﻣﻲ آﻳﻨﺪ ﺑﻪ وﺿﻮح ﻗﺎﺑﻞ‬

‫آورد ﻛﻪ در ﻧﻬﺎﻳﺖ ﺑﻪ ))اﻧﺤﺼﺎر ﺗﺎﻳﻴﺪ ﺻﺤﺖ داﻧﺶ(( ﺗﻮﺳﻂ ﻣﺮﺟﻊ ﻳﺎ ﻣﺮاﺟﻊ و در ﻧﺘﻴﺠﻪ ﺑﻪ ﻫﻤﺎن‬

‫ﻣﻼﺣﻈﻪ ﻣﻲ ﺑﺎﺷﺪ‪ .‬ﺑﺎ ﻛﻤﻲ اﻏﻤﺎض‪ ،‬ﺑﻪ اﺻﻄﻼح ﻧﻘﺪ ادﺑﻲ ﻣﺪرن ﻣﻲ ﺗﻮان ﮔﻔﺖ ﻛﻪ ادﺑﻴﺎت ﻋﺮﻓﺎﻧﻲ ﺑﻪ ﻃﻮر‬

‫))دﻳﻜﺘﺎﺗﻮري اﻳﺪﺋﻮﻟﻮژﻳﻜﻲ(( اي ﻣﻲ اﻧﺠﺎﻣﺪ ﻛﻪ ﺟﻤﻠﻪ ﻣﻌﺮوف ))داﻧﺶ ﻗﺪرت اﺳﺖ(( ﻓﺮاﻧﺴﻴﺲ ﺑﻴﻜﻦ اﺻﻞ‬

‫ﻋﻤﺪه ﺗﺎوﻳﻠﻲ ))ﻳﻮﻧﮕﻲ(( از ادﺑﻴﺎت اﺳﻄﻮره اي و ﺣﻤﺎﺳﻲ ﻣﻲ ﺑﺎﺷﺪ ﻛﻪ ﺑﺎﻳﺪ ))ﻛﻬﻦ اﻟﮕﻮ((ﻫﺎي ﺧﻮد را در‬

‫اﺳﺎﺳﻲ آن اﺳﺖ‪ .‬ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ اﺻﻞ ))ﺗﺎوﻳﻞ ﻣﺼﺎدره ﺑﻪ ﻣﻄﻠﻮﺑﺎﻧﻪ(( – ﺷﺎﻳﺪ ﻓﺮاﺗﺮ از ﺣﻤﻠﻪ ﻋﺮب و ﺗﺮك و‬

‫ﮔﻔﺘﻤﺎﻧﻲ ﻗﺪﻳﻤﻲ ﺗﺮ و ﺳﺮراﺳﺖ ﺗﺮ از ﺧﻮد ﺑﻴﺎﺑﺪ‪.‬‬

‫ﻣﻐﻮل – از ﺑﺰرﮔﺘﺮﻳﻦ ﺑﻼﻳﺎﻳﻲ ﺑﻮده ﻛﻪ در ﻃﻮل ﺗﺎرﻳﺦ اﻳﺮاﻧﻴﺎن ﮔﺮﻳﺒﺎﻧﮕﻴﺮﺷﺎن ﺷﺪه‪.‬‬

‫در اﻳﻦ ﻣﻴﺎن‪ ،‬ﺷﺒﺎﻫﺖ ﺑﺴﻴﺎري ﻣﻴﺎن اﺻﻮل و آراء ﻋﺮﻓﺎن اﻳﺮاﻧﻲ و ﻓﺮاﻣﺎﺳﻮﻧﺮي ﻏﺮﺑﻲ ﻛﻪ از ﻗﻀﺎ رﻳﺸﻪ ﻫﺎي‬

‫اﻳﻦ ﻧﻜﺘﻪ ﻫﻢ اﻟﺒﺘﻪ ﻗﺎﺑﻞ ﺗﻮﺟﻪ اﺳﺖ ﻛﻪ ﺷﺎﻳﺪ ))ﺳﺎﻗﻲ(( ﻣﻌﺮوف اﻛﺜﺮ ﺗﺮاﻧﻪ ﻫﺎ ﻛﻪ اﻳﻦ ﻫﻤﻪ ﻣﻮرد ﺧﻄﺎب و‬

‫ﻣﺸﺘﺮك و ﺳﻠﺴﻠﻪ ﻣﺮاﺗﺒﻲ ﺷﺒﻴﻪ ﺑﻪ ﻫﻢ ﻧﻴﺰ دارﻧﺪ دﻳﺪه ﻣﻲ ﺷﻮد؛ و ﻣﺮاﺟﻌﻪ ﻣﺤﻘﻘﺎﻧﻪ ﺑﻪ ﺟﻬﺎن ﺑﻴﻨﻲ ﻓﺮاﻣﺎﺳﻮﻧﺮي‬

‫ارﺟﺎع ﻗﺮار ﻣﻲ ﮔﻴﺮد و از وي ﻣﺪدﺟﻮﻳﻲ ﻣﻲ ﺷﻮد ﺑﻪ ﻋﺒﺎرﺗﻲ ﺧﻮد دﻳﮕﺮ )آﻟﺘﺮاﻳﮕﻮ( ﻫﻤﻴﻦ ﺟﻨﺎب ))اﺳﺘﺎد((‬

‫ﻛﻪ آﺷﻜﺎرا ﻣﺠﻤﻮﻋﻪ اي از ﻫﺮ دوي اﻳﻦ ﻣﺘﻮدوﻟﻮژي ﻫﺎي ﻇﺎﻫﺮا ﻣﻐﺎﻳﺮ ﻣﻲ ﺑﺎﺷﺪ ﻣﻲ ﺗﻮاﻧﺪ ﺣﻠﻘﻪ ﮔﻤﺸﺪه ﺑﻴﻦ‬

‫ﻫﻤﻪ ﭼﻴﺰدان ﺑﺎﺷﺪ‪ .‬در ﺗﺮاﻧﻪ ﻫﺎي ﻣﻌﺮوف ﺑﻪ ))ﺷﺮاﺑﻲ(( ﻧﻤﻮﻧﻪ ﭼﻨﻴﻦ روﻳﻜﺮد ﭘﺎرودﻳﻜﻲ ﺑﻪ ﻣﻔﻬﻮم اﺳﺘﺎد را ﺑﻪ‬

‫ﺧﻮاﻧﺶ ﻓﻴﺰﻳﻜﻲ و ﺧﻮاﻧﺶ ﻣﺘﺎﻓﻴﺰﻳﻜﻲ از ﻫﺴﺘﻲ را ﺑﻪ ﻣﺎ ﺑﺎزﻧﻤﺎﻳﺪ و ﻗﺎﺋﻠﻪ دوﮔﺎﻧﮕﻲ ﻫﺎي ﻣﻌﺮوف ﺑﺮآﻣﺪه از دل‬

‫وﺿﻮح ﺧﻮاﻫﻴﻢ دﻳﺪ‪.‬‬

‫اﻳﻦ دو ﻣﻔﻬﻮم ﻫﻤﭽﻮن )))ﺳﻴﺎه و ﺳﻔﻴﺪ(( و ))ﺳﻨﻲ و ﺷﻴﻌﻪ(( و ))ﻛﺎﻓﺮ و ﻣﺴﻠﻤﺎن(( و ))اﺟﻨﺒﻲ و اﻳﺮاﻧﻲ(( ﻛﻪ‬

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‫ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺷﻬﺎب اﻟﺪﻳﻦ ﺳﻬﺮوردي‬

‫ﻫﻤﻴﺸﻪ در ﺗﺎرﻳﺦ اﻳﻦ ﻣﻤﻠﻜﺖ ﻣﺎﻳﻪ ﻧﺎآراﻣﻲ و ﺟﻨﮓ و ﺧﻮن رﻳﺰي و ﺳﻮء اﺳﺘﻔﺎده اﺣﺰاب ﺣﺎﻛﻢ ﺑﻪ ﻗﺼﺪ‬

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‫رودﺧﺎﻧﻪ ﺑﺰرﮔﻲ در ﺷﻤﺎل ﺷﺮﻗﻲ اﻳﺮان ﻗﺪﻳﻢ ﻛﻪ اﻛﻨﻮن در ﻣﺮز ﺗﺮﻛﻤﻨﺴﺘﺎن و ازﺑﻜﺴﺘﺎن ﻗﺮار دارد و از‬

‫ﻣﻔﺎﻫﻴﻢ ))اﺳﺘﺎد(( و ))ﭘﻴﺮﺧﺮد(( و از اﻳﻦ دﺳﺖ ﻛﻪ در اﻳﻦ ﺗﺮاﻧﻪ ﻫﺎ و در ادﺑﻴﺎت ﻋﺮﻓﺎﻧﻲ ﻓﺮاوان ﺑﻪ ﭼﺸﻢ ﻣﻲ‬

‫ﻣﻮﺗﻴﻒ ﻫﺎي ﻋﻤﺪه ادﺑﻴﺎت ﻓﺎرﺳﻲ اﺳﺖ‬

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‫‪                                                                                                                                   ‬‬

‫‪                                                                                                                                   ‬‬

‫از زﺑﺎن اﺋﻤﻪ‪ ،‬آﻣﻴﺨﺘﻪ از ﻛﻼم اﻫﻞ ﻃﺒﺎﻳﻊ و اﻟﻔﺎظ ﻓﻼﺳﻔﻪ‪ ،‬و ﺑﻴﺸﺘﺮ اﻧﺪر او ذﻛﺮ رﺳﻮل و ﻣﻼﻳﻜﻪ و ﻟﻮح و ﻗﻠﻢ و‬

‫ﺣﻔﻆ ﺣﻜﻮﻣﺖ ﺧﻮد ﺑﻮده را ﺗﺎ ﺣﺪود زﻳﺎدي ﺗﻠﻄﻴﻒ ﻛﻨﺪ )ﺗﺎ ﺧﻮاﺑﺎﻧﺪن ﻛﻠﻲ اﻳﻦ ﻗﺎﺋﻠﻪ ﻫﻨﻮز راه زﻳﺎدي در‬

‫ﻋﺮش و ﻛﺮﺳﻲ آورد )‪ .(((278‬و اﻳﻦ ﻫﺮ دو ﻛﻪ ﺑﺎرﻫﺎ در ﺗﺮاﻧﻪ ﻫﺎي دﻫﺮي ﺑﻪ آﻧﻬﺎ اﺷﺎره ﺷﺪه اﻳﻨﺠﺎ از دﻳﺪي‬

‫ﭘﻴﺶ اﺳﺖ(‪.‬‬

‫ﻋﺮﻓﺎﻧﻲ ﻣﻮرد اﻧﺘﻘﺎد ﻗﺮار ﻣﻲ ﮔﻴﺮﻧﺪ‪.‬‬

‫ﻣﻮﺋﺰ ﺑﺮﻛﺮ ﻓﺮاﻣﺎﺳﻮن ﺗﺮك در ﮔﺎﻫﻨﺎﻣﻪ ))ﻣﻌﻤﺎر ﺳﻨﺎن(( ﻛﻪ ﻧﺸﺮﻳﻪ رﺳﻤﻲ ﻣﺎﺳﻮﻧﻬﺎ در ﺗﺮﻛﻴﻪ اﺳﺖ ﻣﻲ ﻧﻮﻳﺴﺪ‪:‬‬

‫‪ 390‬ﭼﻬﺎر ﻋﻨﺼﺮ‪ ،‬ﭼﻬﺎر ﻃﺒﻊ‬

‫))ﻣﺎﺳﻮﻧﻬﺎ در وراي دﻧﻴﺎي ﻣﺎدي ﺑﻪ دﻧﺒﺎل ﻣﻨﺸﺎء ﻣﻔﺎﻫﻴﻤﻲ ﻫﻤﭽﻮن ﺷﻴﻄﺎن‪ ،‬ﻋﺪاﻟﺖ‪ ،‬و درﺳﺘﻜﺎري ﻧﻤﻲ ﮔﺮدﻧﺪ‪.‬‬

‫‪ 391‬ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺑﺎﺑﺎ اﻓﻀﻞ ﻛﺎﺷﻲ‬

‫آﻧﻬﺎ ﻣﻌﺘﻘﺪﻧﺪ ﻛﻪ اﻳﻦ اﻣﻮر از ﺷﺮاﻳﻂ اﺟﺘﻤﺎﻋﻲ ﻓﺮد‪ ،‬رواﺑﻂ اﺟﺘﻤﺎﻋﻲ‪ ،‬و ﺗﻼش وي ﺑﺮاي زﻧﺪﮔﻲ ﻣﺸﺘﻖ ﻣﻲ‬

‫‪ 392‬ﺟﺎن دان ﺷﺎﻋﺮ ﻗﺮن ﻫﻔﺪﻫﻢ ﻋﺎرف ﻣﺴﻠﻚ اﻧﮕﻠﻴﺴﻲ ﺷﻌﺮي دارد ﺑﻪ ﻧﺎم ))ﺑﺪرودﻧﺎﻣﻪ(( ﻛﻪ ﻣﻌﺮوف ﺗﺮﻳﻦ‬

‫ﺷﻮﻧﺪ((‪ .‬در ﻃﺮف دﻳﮕﺮ اﻳﻦ ﻗﻀﻴﻪ‪ ،‬ﻣﻔﺎﻫﻴﻤﻲ ﭼﻮن ))اﻧﺮژي ﻛﻠﻲ(( و ))ﭼﺸﻢ ﺗﻤﺎم ﺑﻴﻦ(( و ))ﻃﺒﻘﺎت روﺷﻨﻲ((‬

‫ﺧﻄﻮط آن دﻗﻴﻘﺎ از ﻫﻤﻴﻦ ﺗﺼﻮﻳﺮ ﭘﺮﮔﺎر اﺳﺘﻔﺎده ﻣﻲ ﻛﻨﻨﺪ ﻛﻪ در اﻳﻦ ﺗﺮاﻧﻪ ﺑﺎ اﻳﺠﺎز ﺗﻤﺎم ﺑﻪ ﻛﺎر رﻓﺘﻪ‪ .‬درﺑﺎره‬

‫را در ﻧﻈﺮ ﺑﮕﻴﺮﻳﺪ ﺗﺎ ﻫﻤﺎن اﻟﺘﻘﺎط ))ﻋﺮﻓﺎن(( و ))دﻫﺮي ﮔﺮي(( را در ﻟﺒﺎﺳﻲ دﻳﮕﺮ ﻣﺸﺎﻫﺪه ﻛﻨﻴﺪ‪.‬‬

‫ﺗﺎﺛﻴﺮ اﺣﺘﻤﺎﻟﻲ ادﺑﻴﺎت ﺷﺮق ﺑﺮ ﻏﺮب در ﻫﺰاره ﮔﺬﺷﺘﻪ ﺑﺮ اﺛﺮ ﺑﺮﺧﻮردﻫﺎﻳﻲ ﻛﻪ از ﻗﺮون وﺳﻄﻲ آﻏﺎز ﺷﺪ و‬

‫اﻳﻦ ﺗﺮاﻧﻪ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺑﺎﺑﺎ اﻓﻀﻞ ﻛﺎﺷﻲ ﻣﻲ ﺑﺎﺷﺪ‪.‬‬

‫ﺳﺮآﻣﺪ آﻧﻬﺎ اﻟﺒﺘﻪ ﺟﻨﮕﻬﺎي دوﻳﺴﺖ ﺳﺎﻟﻪ ﺻﻠﻴﺒﻲ اﺳﺖ ﭘﻴﺸﺘﺮ ﮔﻔﺘﻪ ام؛ اﻣﺎ ﻧﻜﺘﻪ اي ﻛﻪ اﻳﻨﺠﺎ ﻣﻮرد ﻧﻈﺮ ﺑﻨﺪه‬

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‫ﻓﻴﺾ و ﻛﺮم‬

‫اﺳﺖ اﻳﻦ اﺳﺖ ﻛﻪ ﺧﻮدم ﺑﻪ ﺷﺨﺼﻪ ﻛﺘﺎﺑﻲ درﺑﺎره ادﺑﻴﺎت اﻧﮕﻠﻴﺴﻲ ﻧﺒﻮد ﻛﻪ ﺑﺎز ﻛﺮده ﺑﺎﺷﻢ و در آن ﻧﻘﺪي و‬

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‫ﺑﻪ ﻣﻌﻨﻲ ﺧﺮده رﻳﺰه اي اﺳﺖ ﻛﻪ در ﻫﻨﮕﺎم ﺑﺮﻳﺪن )ﻣﻘﺮاض ﻳﻌﻨﻲ ﻗﻴﭽﻲ( زر و ﺳﻴﻢ از ﺳﻜﻪ ﺑﻪ ﻗﺼﺪ ﺧﺮج‬

‫ﺷﺮﺣﻲ ﺑﺮ اﻳﻦ ﺧﻄﻮط اﻳﻦ ﺷﻌﺮ از دﻳﺪﮔﺎه ﻫﺎي ﻣﺘﻔﺎوت و ﺑﺎ روﻳﻜﺮدﻫﺎي ﻣﺨﺘﻠﻒ – ﺻﺮف ﻧﻈﺮ از ﻣﺮﺑﻮط ﻳﺎ‬

‫ﻛﺮدن )ﻛﻪ ﺣﻜﻢ ﻫﻤﺎن ﭘﻮل ﺧﺮد را داﺷﺘﻪ( ﺑﺮ زﻣﻴﻦ ﻣﻲ اﻓﺘﺎد‪ ،‬و در اﻳﻨﺠﺎ ﻛﻨﺎﻳﻪ از ﭼﻴﺰ ﺑﻲ ارزش اﺳﺖ‬

‫ﻧﺎﻣﺮﺑﻮط ﺑﻮدن آن – اراﺋﻪ ﻧﺸﺪه ﺑﺎﺷﺪ‪ ،‬وﻟﻲ در ﺣﻮزه ادﺑﻴﺎت ﻓﺎرﺳﻲ ﻛﻪ ﻧﻤﻮﻧﻪ اﻳﻦ ﻛﺎر و ﺣﺘﻲ ﭘﻴﭽﻴﺪه ﺗﺮ از آن‬

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‫ﻛﻠﻴﺪ‬

‫ﺑﺴﻴﺎر ﻣﻮﺟﻮد اﺳﺖ ﻫﺮﮔﺰ ﺑﻪ ﻧﻘﺪ ﻣﺜﻼ ﻓﺮﻣﺎﻟﻴﺴﺘﻲ ﻳﺎ ﺳﺒﻜﻲ ﻳﺎ رواﻧﺸﻨﺎﺧﺘﻲ آﻧﻬﺎ وﻗﻌﻲ ﻧﻬﺎده ﻧﺸﺪه و ﺣﺪاﻛﺜﺮ ﺑﻪ‬

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‫ﮔﻨﺞ ﺧﺎﻧﻪ‬

‫ﺗﻔﺎﺳﻴﺮ ﻣﻌﻨﻮي و ﺗﺎوﻳﻠﻲ ﺷﺒﻪ ﻗﺮآﻧﻲ از آﻧﻬﺎ اﻛﺘﻔﺎ ﺷﺪه ﻛﻪ ﻓﻘﻂ ﻗﺴﻤﺖ ﻛﻮﭼﻜﻲ از ﻛﺎر را ﭘﻮﺷﺶ ﻣﻲ دﻫﺪ‪.‬‬ ‫ﺷﺎﻳﺪ ﺑﺤﺚ ﻫﻤﺎن ))ﺧﺮﻣﻬﺮه(( و ))ﭘﺮ ﺷﺪن ﺑﺎزار(( ﺛﺎﻗﺐ ﺑﺎﺷﺪ ﻛﻪ ﻫﺮ ﭼﻴﺰي را از ﻗﺪر و ﻣﻨﺰﻟﺖ ﻣﻲ اﻧﺪازد‪ ،‬اﻣﺎ‬ ‫ﺣﻘﻴﻘﺖ اﻳﻦ اﺳﺖ ﻛﻪ ﻧﮕﺎرﻧﺪه ﺑﺮ اﺳﺎس ﺗﺠﺮﺑﻪ ﺷﺨﺼﻲ ﺑﻪ اﻳﻦ ﻧﺘﻴﺠﻪ رﺳﻴﺪه اﺳﺖ ﻛﻪ در ادﺑﻴﺎت ﻓﺎرﺳﻲ ))ﻛﻢ‬ ‫و زﻳﺎد(( ﻓﺮق ﭼﻨﺪاﻧﻲ ﻧﺪارد‪ ،‬و اﺻﻮﻻ ادﺑﻴﺎت ﻓﺎرﺳﻲ – ﺳﻮاي ﻧﻘﺪ ﻋﻤﺪﺗﺎ ﻓﺮﻣﺎﻟﻴﺴﺘﻲ زودﮔﺬر ﺣﻮزه ادﺑﻲ ﻫﻨﺪ‬ ‫– ﺑﻪ ﻃﺮز وﺣﺸﺘﻨﺎﻛﻲ ﮔﺮﻓﺘﺎر ))ﻓﻘﺮ ﻧﻘﺪ(( ﺑﻮده و ﻣﻲ ﺑﺎﺷﺪ‪ ،‬و آﺛﺎر ﺑﺴﻴﺎري از ﺑﺰرﮔﺎن ﻣﻌﺎﺻﺮ ادﺑﻴﺎت ﻓﺎرﺳﻲ‬ ‫در زﻣﻴﻨﻪ ﻧﻘﺪ ادﺑﻲ در ﺣﻘﻴﻘﺖ ))ﻓﻘﻪ اﻟﻠﻐﻪ(( و ))ﻓﺮﻫﻨﮓ ﺗﻠﻤﻴﺤﺎت و ارﺟﺎﻋﺎت(( اﺳﺖ و ﻧﻪ ﻧﻘﺪ ادﺑﻲ‪.‬‬ ‫‪393‬‬

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‫‪Monster, animal‬‬ ‫‪Man‬‬ ‫‪380‬‬ ‫‪This Song seems to be a transcendental answer to or parody of the‬‬ ‫‪elemental attitude prevalent in the bulk of the poetry.‬‬ ‫‪381‬‬ ‫‪The ‘Slate’ is the tablet on wich one’s fate is written, and the ‘Pen’ is‬‬ ‫‪what writes that vey fate‬‬ ‫‪382‬‬ ‫‪Four elements or humors‬‬ ‫‪383‬‬ ‫‪Also attributed to Baba Afzal Kashi‬‬ ‫‪384‬‬ ‫‪A common manifestation of the eternity‬‬ ‫‪385‬‬ ‫‪Sticks‬‬ ‫‪386‬‬ ‫‪As FitzGerald has also pointed out, can you see a similarity between this‬‬ ‫‪Song and John Donne’s famous conceit in “A Valediction: Forbidding‬‬ ‫‪Mourning”? “If they be two, they are two so/As stiff twin compasses are‬‬ ‫‪two;/Thy soul, the fixed foot, makes no show/To move, but doth, if th’other‬‬ ‫‪do./And though it in the center sit,/Yet when the other far doth roam,/It‬‬ ‫‪leans and hearkens after it,/And grows erect, as that comes home”.‬‬ ‫‪ 387‬اﻳﻦ ﺗﺮاﻧﻪ ﺑﻪ ﻧﻈﺮ ﻣﻀﻬﻜﻪ ﻋﺮﻓﺎﻧﻲ ﻫﻤﺎن ﻃﺮز ﺗﻔﻜﺮ ﻣﻌﺮوف ﻋﻨﺎﺻﺮي ﻣﻲ ﺑﺎﺷﺪ‬ ‫‪379‬‬

‫‪To sell (or more appropriately to ‘cast’) one’s life to wind is a literal‬‬ ‫‪translation of a very famous Iranian proverb, stemming from the ancient‬‬ ‫‪myth of Vata or Wind and its racking powers, meaning to give up life. Note‬‬ ‫‪also the masterful alignment of the four elements in the two last lines that‬‬ ‫‪enforces the thrust of this proverb.‬‬ ‫‪394‬‬ ‫‪Contrary to the Christian doctrine of the Original Sin, this mystical Song‬‬ ‫‪holds the more Lockeian idea of the Tabula Rasa, the unstained sheet that‬‬ ‫‪becomes stained by getting in touch with the impurities of the carnal world.‬‬ ‫‪The whole attitude of this Song reminds one of the Platonic World of Ideas‬‬ ‫‪and, even more relevant than that, of the neo-platonic interpretation of this‬‬ ‫‪attitude. According to Plato, man who is the simulacrum of the sempiternal‬‬ ‫‪Ideas, the very perfect and unchanging archetypes that dwell in the spiritual‬‬ ‫‪abode of bliss, with his descent to the material world and ‘forgetting’ the‬‬

‫در ))ﺳﻴﺮاﻟﻤﻠﻮك(( ﻣﻨﺴﻮب ﺑﻪ ﻧﻈﺎم اﻟﻤﻠﻚ ﻫﻢ آﻣﺪه‪)) :‬ﭘﺲ ﺳﺨﻨﺎن ﭼﻨﺪ ﺑﺮ او ﻋﺮﺿﻪ ﻛﺮد از ﺣﺮوف ﻣﻌﺠﻢ‬

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‫‪ 388‬در آﺳﻤﺎﻧﻬﺎ‬ ‫‪ 389‬ﻟﻮح ﻟﻮح ﺳﺮﻧﻮﺷﺖ اﺳﺖ و ﻗﻠﻢ ﻗﻠﻢ ﻗﻀﺎ و ﻗﺪر ﻛﻪ ﺗﻘﺪﻳﺮ اﻧﺴﺎن را ﺑﺮ آن ﻟﻮح رﻗﻢ ﻣﻲ زﻧﺪ‪ ،‬ﭼﻨﺎﻧﻜﻪ ﻣﺜﻼ‬

                                                                                                                                   

                                                                                                                                   

truth of the World of Ideas, in effect loses his spiritual purity and is polluted with carnal impurities, and it is only through the step-by-step philosophical enquiry that he will be able to ‘recover’ the eternal truth of his being. Some neo-Platonic philosophers, however, have specifically concerned themselves with the process of the corruption of man’s soul through his fall from the socalled World of Ideas and taken the leave of the rest of Plato’s theory, a concern which is also addressed, though in a different manner, in Wordsworth’s Ode: Intimations of Immortality. 395 This and the following Song seem to be mystical attacks against both the frivolous and the orthodox devout 396 Faith 397 Note FitzGerald’s simplification or rather diminishing of the gravity of the matter addressed in this Song through this partial translation: Alike for those who for TO-DAY prepare, And those that after some TO-MORROW stare, A Muezzin from the Tower of Darkness cries, “Fools! your reward is neither Here nor There.” This Song has also been attributed to Mohammad Qazali (12th century), Sheix Shah Sanjan Xafi (12th century), and Ohadeddin Kermani (13th century). 398 Synagogue 399 In this Song could be traced the influences of the predeterministic Ash’arism which is one of the main precedents and building blocks of Iranian mysticism. As we could clearly see in these few former Songs, the mystical rhetoric in fact is not so much loath, when necessity calls, to employ the earthly discursive modes of sarcasm and travesty to undermine the stance of its enemies, and this is exactly what has been employed by the mass-media – especially television – controlled by the theocratic state establishment in Iran as the official strategy directed at destroying the reputation of the source of any diverging voice that this establishment for any possible reasons is not able to stifle in the first place. This Song has also been attributed to Faxreddin Araqi. ‫اﻓﻼﻃﻮﻧﻲ از‬-‫ ﺑﻴﺖ اول اﻳﻦ ﺗﺮاﻧﻪ ﻇﺎﻫﺮا ﺗﺤﺖ ﺗﺎﺛﻴﺮ اﻳﺪه ))ﻋﺎﻟﻢ ﻣﺜﻞ(( اﻓﻼﻃﻮﻧﻲ و از آن ﻣﻬﻢ ﺗﺮ ﺑﺮداﺷﺖ ﻧﻮ‬400

‫ از ﻗﻀﺎ وﻳﻠﻴﺎم ودرزورث اﻧﮕﻠﻴﺴﻲ ﻫﻢ‬.‫ﺟﻬﺎن ﻣﺎدي ﻣﻲ ﭘﺮدازﻧﺪ و ﺑﺎ ﺑﻘﻴﻪ اﻳﻦ ﻗﻀﻴﻪ ﭼﻨﺪان ﻛﺎري ﻧﺪارﻧﺪ‬

‫ اﻧﺴﺎن ﻛﭙﻲ ))ﻣﺜﻞ(( ﻳﺎ ﻫﻤﺎن ﻧﻤﻮﻧﻪ ﻫﺎي ﻛﺎﻣﻞ ﻣﺘﺎﻓﻴﺰﻳﻜﻲ‬،‫ ﻣﻄﺎﺑﻖ ﻧﻈﺮ اﻓﻼﻃﻮن‬.‫اﻳﻦ اﻳﺪه ﺳﺮوده ﺷﺪه اﺳﺖ‬ ‫اﺳﺖ ﻛﻪ در ))ﻋﺎﻟﻢ ذر(( ﻗﺮار دارﻧﺪ و ﺑﺎ آﻣﺪن ﺑﻪ اﻳﻦ ﺟﻬﺎن و از دﺳﺖ دادن ارﺗﺒﺎط ﻣﺴﺘﻘﻴﻢ ﺧﻮد ﺑﺎ آن ﺻﻮر‬ ((‫ و ﻓﻘﻂ ﺑﻪ وﺳﻴﻠﻪ ))ﺑﺎزﻳﺎﺑﻲ‬،‫ ﺧﻠﻮص ازﻟﻲ ﺧﻮد را از دﺳﺖ ﻣﻲ دﻫﺪ و ﺑﻪ ﻧﺎﺧﺎﻟﺼﻲ ﻫﺎ آﻟﻮده ﻣﻲ ﺷﻮد‬،‫ﻣﺜﻠﻲ‬ ‫ اﻣﺎ‬.‫اﻳﺪه ﻫﺎي ﻣﺜﺎﻟﻲ از ﻃﺮﻳﻖ ﻓﻠﺴﻔﻪ و ﺗﺤﻘﻴﻖ در زﻣﺎن ﺣﻴﺎت ﻣﻲ ﺗﻮاﻧﺪ ﺑﻪ ﺣﻘﻴﻘﺖ ازﻟﻲ ﺧﻮﻳﺶ ﺑﺎزﮔﺮدد‬ ‫ﺑﺮﺧﻲ ﻧﻮاﻓﻼﻃﻮﻧﻴﺎن ﺑﻪ ﻃﻮر ﺧﺎص ﺑﻪ ﭘﺮوﺳﻪ آﻟﻮده ﺷﺪن روح اﻧﺴﺎن در اﺛﺮ ﻧﺰول از ﺟﺎﻳﮕﺎه ﻣﺜﺎﻟﻲ ﺧﻮد ﺑﻪ‬

247

.‫ﻗﺼﻴﺪه اي دارد ﻛﻪ دﻗﻴﻘﺎ ﺑﻪ ﻫﻤﻴﻦ ﻣﻔﻬﻮم ﻣﻲ ﭘﺮدازد‬ ‫ اﻳﻦ ﺗﺮاﻧﻪ و ﺗﺮاﻧﻪ ﺑﻌﺪي ﻇﺎﻫﺮا ﻛﻨﺎﻳﻪ ﻫﺎﻳﻲ ﺻﻮﻓﻴﺎﻧﻪ اﻧﺪ ﻋﻠﻴﻪ ﻫﻢ ﻣﻲ زﻧﺎن و ﺑﺎده ﭘﺮﺳﺘﺎن و ﻫﻢ زاﻫﺪان و‬401 ‫ﺟﺎﻧﻤﺎز آﺑﻜﺶ ﻫﺎ‬ ‫ ﺗﺮدﻳﺪ‬،(‫ ﺷﻚ )و اﺣﺘﻤﺎﻻ ﻧﻪ ﺗﺸﻜﻴﻚ در ﻣﻘﺎﺑﻞ وﺣﺪت‬402 ‫ اوﺣﺪاﻟﺪﻳﻦ ﻛﺮﻣﺎﻧﻲ‬،‫ ﺷﻴﺦ ﺷﺎه ﺳﻨﺠﺎن ﺧﻮاﻓﻲ‬،‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻣﺤﻤﺪ ﻏﺰاﻟﻲ‬403 ‫ در اﻳﻦ ﺗﺮاﻧﻪ ﺗﺎﺛﻴﺮات اﺷﻌﺮي ﮔﺮي ﻛﻪ از ﭘﻴﺶ درآﻣﺪﻫﺎ و زﻳﺮﺳﺎﺧﺘﻬﺎي ﻣﻬﻢ ﻋﺮﻓﺎن اﻳﺮاﻧﻲ اﺳﺖ ﻗﺎﺑﻞ‬404 ‫ رﺗﻮرﻳﻚ ﻋﺮﻓﺎﻧﻲ ﻫﻢ ﭼﻨﺪان ﺑﻪ دور از‬،‫ ﭼﻨﺎﻧﻜﻪ در اﻳﻦ ﭼﻨﺪ ﺗﺮاﻧﻪ اﺧﻴﺮاﻟﺬﻛﺮ ﻣﺸﺎﻫﺪه ﺷﺪ‬.‫ﻣﻼﺣﻈﻪ ﻣﻲ ﺑﺎﺷﺪ‬ ‫اﺑﺰارﻫﺎي زﻣﻴﻨﻲ ﺳﻴﺎﺳﻲ ﻧﻴﺶ و ﻛﻨﺎﻳﻪ و ﺑﻪ اﺻﻄﻼح ﺧﺮاب ﻛﺮدن ﺣﺮﻳﻒ ﻧﻴﺴﺖ ﻛﻪ از ﻗﻀﺎ اﻳﻦ روزﻫﺎ ﻫﻢ ﺑﻪ‬ !‫ﺷﺪت ﻣﺪ ﺷﺪه‬ .‫اﻳﻦ ﺗﺮاﻧﻪ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻓﺨﺮاﻟﺪﻳﻦ ﻋﺮاﻗﻲ ﻣﻲ ﺑﺎﺷﺪ‬ 405

The cock, the very herald of dawn, which in the Zoroastrian scripture Avesta has been considered the enemy of Ahriman, after the Islamic conquest of Iran appropriately turns into a muezzin and a reciter of the Koran. Now this Song that likens the typical voice of the cock to the call for drinking wine (Oshrebu: the Arabic plural imperative verb for ‘drink’), which present a musical association with each other through onomatopoeia and rhyme, with the metamorphosis of this religious interpretation of the cock’s crowing into its seemingly contrary interpretation (wine is the enemy of the Islamic faith, as one of the following Songs will explicitly express) in fact makes a mockery of this very pietistic attitude, and the Grand Masters who chose this Song of ‘Xayyam’ to be included in the officially-sanctioned academic book “A Study of Islamic Texts in English Translation” in the hope of its posing less offence to their establishment and actually boosting its stance through the praise of the so-called Eternal Wine have certainly not been aware of the ironic attitude of this Song, which bears testimony to the intelligence of its composer who has been able to disguise his intention in such masterful manner that evades and even fools such censors as these in the course of history! From here onward come the Winy Songs which, as I told before, represent the heady side of the Songs that though in general flirts with the idea of carpe diem, in fact harbors more dangerous intentions toward the social and political establishment of the land. 406 Climate 407 Small valley

248

                                                                                                                                    408

About the naïve principle of ‘regarding Xayyam’s name in the Songs as the sign and seal of the authentic poet’ that some scholars, especially Christensen, have proposed as the norm for the distinguishing of the genuineness and fakeness of the individual items of the Songs and the acceptance or the dismissal of other Songs in respect to their subjectmatters’ similarities to or dissimilarities from that of the ‘named’ Songs, this fact always cries out that the mere presence of Xayyam’s name in a Song cannot be reason enough to attribute it to him, for this name, for example, might in fact be the generic noun for the ‘archetype of wine-drinking and Song-composing in the realm of Iranian folklore’ which has been invoked, vilified, used as a code name by the composers, etc., innumerable times. In addition, how could Xayyam who thanks to the hammering away of many contemporary narrative-makers at smoothing over and unifying the scanty and contradictory ‘anecdotal’ pieces of information on his life here and there has been endowed with a considerably coherent character as a most intelligent materialist philosopher who occasionally used to drink a cup or two in a state of extreme concealment and then when he was high enough would make a Song that he, for fear of being caught in the taxing web of the Doctor, the Reeve, the Justice of Religion, etc., would never show it to anybody as long as he lived (and how this narrative in fact proves to be the projection of the historical as well as the contemporary ‘drink-with-fear’ obsession in Iran!) be so myopically careless as to leave so many ‘named’ documents of himself around?! And yet past all these shamelessly ‘subjective’ narratives that like those more religious-in-nature narratives of the Shiism have acquired the status of singular truth, a myriad of stylistic and historical reasons in effect manifest the many different and sometimes contradictory attitudes that went into the making of these Songs, a fact which has been again misdirected by those same narrative-makers who with the maltreatment of psychoanalytical methods have put forward the argument of ‘Xayyam’s different mindconditions in different times’, which has provided them with a novel arena to pour out their mischief in the guise of the production of the ‘stories behind the Songs’ that in absurdity outclass those anecdotes made out in the pseudo-historical ‘Lives of Poets’ such as the one which has been fabricated about the two following pieces. Now at the end of this argument, I could not restrain myself from gleefully declaring the shocking truth that in some versions of this Song within various sources I saw the word Ayyam (Times, Days) instead of Xayyam! 409 Fate 410 Glass of life

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                                                                                                                                    411

Broke, with a hint of drinking Melancholy 413 The legend that tells how this Song was composed is unique in absurdity, almost a housewife’s tale! However, I am much willing to retell it in order to show what kinds of sources have been mostly consulted for the establishing of a canon of poetry from the myriad attributed to Xayyam: Once Xayyam was sitting down in a garden and imbibing wine, every now and then taking up his pitcher from its tray to pour wine in the glass. All of a sudden a gust hits the pitcher and drops it to the ground breaking it. Xayyam, upset with this, at once recites this heretical Song. God becomes angry at him and turns his face pitch-black. Then Xayyam becomes penitent and composes an ingratiating and compromising Song (see the following piece) to soften God. In the end, God forgives him and restores the genuine color of his face! Of course not all the pieces of information on Xayyam are as absurd as this one (this perhaps being the most absurd of all), yet eliciting of information from unreliable and inauthentic pseudo-historical sources and making tastebased judgments with respect to them is immediately observable in almost all these sources. ‫ ﭘﺲ از اﺳﻼم در ﺗﻔﻜﺮ ﻋﺎﻣﻪ ﺑﻪ‬،‫ ﺧﺮوس – ﻫﻤﺎن ﻣﻨﺎدي ﺳﺤﺮﮔﻪ – ﻛﻪ در اوﺳﺘﺎ دﺷﻤﻦ اﻫﺮﻳﻤﻦ ﻧﺎﻣﻴﺪه ﺷﺪه‬414 412

(‫ﻣﻮذن و ﺗﺮﺗﻴﻞ ﺧﻮان ﺗﺒﺪﻳﻞ ﻣﻲ ﺷﻮد؛ ﻟﺬا اﻳﻦ ﺗﺮاﻧﻪ ﺑﻪ ﻃﻮر ﻗﻄﻊ ﺑﺎ ﺣﺴﻦ ﺗﻌﻠﻴﻞ ﺻﺪاي ﺧﺮوس )ﻗﻮﻗﻮﻟﻲ ﻗﻮﻗﻮ‬ ‫ﺑﻪ آواز ﺻﺒﻮح )اﺷﺮﺑﻮا( ﻛﻪ از ﻟﺤﺎظ آواﻳﻲ ﺑﺎ ﻫﻢ ﻗﺎﻓﻴﻪ ﻫﻢ ﻣﻲ ﺷﻮﻧﺪ و ﻳﻜﺪﻳﮕﺮ را ﺗﺪاﻋﻲ ﻣﻲ ﻛﻨﻨﺪ ﺑﺎ ﺗﺒﺪﻳﻞ‬ ‫ﺗﺎوﻳﻠﻲ ﺑﻪ ﺗﺎوﻳﻞ دﻳﮕﺮ در ﺣﻘﻴﻘﺖ ﻛﻨﺎﻳﻪ اي ﻫﻮﺷﻤﻨﺪاﻧﻪ ﺑﻪ اﻳﻦ ﻃﺮز ﺗﻔﻜﺮ ﻣﻲ زﻧﺪ؛ و اﺳﺎﺗﻴﺪ ﻓﺎﺿﻠﻲ ﻛﻪ اﻳﻦ‬ ((‫ﺗﺮاﻧﻪ ))ﺧﻴﺎم(( را ﺑﻪ ﺧﻴﺎل ﺧﺎم ﺑﻲ ﺧﻄﺮ ﺑﻮدن آن ﺑﺮاي درج در ﻛﺘﺎب ))ﺑﺮرﺳﻲ آﺛﺎر ﺗﺮﺟﻤﻪ ﺷﺪه اﺳﻼﻣﻲ‬ ‫ و اﻳﻦ اﻟﺒﺘﻪ از ﻣﺰاﻳﺎي ﻫﻨﺮ اﺻﻴﻞ اﺳﺖ ﻛﻪ‬،‫اﻧﺘﺨﺎب ﻛﺮده اﻧﺪ ﻣﻄﻤﺌﻨﺎ از ﺟﻨﺒﻪ ﻛﻨﺎﻳﻲ اﻳﻦ ﺗﺮاﻧﻪ آﮔﺎه ﻧﺒﻮده اﻧﺪ‬ !‫ﻗﻴﭽﻲ ﺑﻪ دﺳﺖ و ﺳﺎﻧﺴﻮرﭼﻲ ﻫﺮﭼﻪ ﻛﻨﻨﺪ ﻧﻤﻲ ﺗﻮاﻧﻨﺪ آن را ﻋﻘﻴﻢ ﻛﻨﻨﺪ‬ ‫ﺑﺎ وﺟﻮد اﻳﻨﻜﻪ در ﺗﻤﺎم دﻧﻴﺎ – و ﺑﻌﻀﺎ در ﺧﻮد اﻳﺮان – ﺗﺮاﻧﻪ ﻫﺎ را ﻋﻤﺪﺗﺎ ﺑﺎ دﻏﺪﻏﻪ ﺑﺎده ﻧﻮﺷﻲ و دم ﻏﻨﻴﻤﺖ‬ ‫ در ﺣﻘﻴﻘﺖ ﻓﻘﻂ ﻣﻌﺪودي از آﻧﻬﺎ ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﻪ ﻃﻮر ﻣﻄﻠﻖ ﺑﻪ ﻣﻀﻤﻮن ﺑﺎده ﭘﺮﺳﺘﻲ و‬،‫ﺷﻤﺮي ﻣﻲ ﺷﻨﺎﺳﻨﺪ‬ ‫ و ﺑﺴﻴﺎري از آﻧﻬﺎ در ﺣﻘﻴﻘﺖ ﺑﻪ ﺑﻲ اﺳﺎس ﺑﻮدن ﺑﺴﻴﺎري از ))ﺑﺎﻳﺪ و ﻧﺒﺎﻳﺪ(( ﻫﺎي‬،‫ﺧﻮش ﺑﺎﺷﻲ ﻣﻲ ﭘﺮدازﻧﺪ‬ ‫ﺑﻲ رﻫﺒﺮان اﺟﺘﻤﺎع در اﻋﻤﺎل اﻳﻦ ﺑﺎﻳﺪﻫﺎ و‬Ĥ‫ و ﻣﺬﻫﺒﻲ و اﺣﻴﺎﻧﺎ ﺧﺸﻚ ﻣﻐﺰي و زاﻫﺪﻣ‬،‫ اﺟﺘﻤﺎﻋﻲ‬،‫ﺳﻴﺎﺳﻲ‬ .‫ﻧﺒﺎﻳﺪﻫﺎ روﻳﻜﺮدي اﻧﺘﻘﺎدي دارﻧﺪ ﻛﻪ در ﺗﺮاﻧﻪ ﻫﺎي ﻗﺴﻤﺖ ﺑﻌﺪ ﺑﻪ ﺷﻴﻮه اي ﺟﺎﻣﻊ ﺗﺮ ﺑﻪ آﻧﻬﺎ ﺧﻮاﻫﻴﻢ ﭘﺮداﺧﺖ‬ .‫اﻳﻦ ﺗﺮاﻧﻪ ﻫﺎ – ﻛﻪ آﻧﻬﺎ را ﺑﻪ ﺳﺎدﮔﻲ ))ﺷﺮاﺑﻲ(( ﻧﺎم ﮔﺬارده ام – از اﻳﻨﺠﺎ ﺑﻪ ﺑﻌﺪ ﻣﻲ آﻳﻨﺪ‬

250

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‫‪                                                                                                                                   ‬‬

‫‪ 421‬داﺳﺘﺎن ﺳﺮوده ﺷﺪن اﻳﻦ رﺑﺎﻋﻲ و ﺳﻴﺎه و ﺳﭙﺲ ﺳﻔﻴﺪ ﺷﺪن ﺻﻮرت ﺧﻴﺎم ﻛﻪ ﻣﺸﺨﺼﺎ ﺣﻜﺎﻳﺘﻲ ﻋﺒﺮت‬

‫‪ 415‬ﺷﺎﻳﺪ اﺷﺎره ﺑﻪ ﻋﺼﺮ ﻃﻼﻳﻲ زﻧﺪﮔﻲ ﺑﺸﺮ دارد ﻛﻪ در اﺳﻄﻮره ﺷﻨﺎﺳﻲ اﻳﺮان ﺑﻪ دوران ﺟﻤﺸﻴﺪ ﻧﺴﺒﺖ داده‬

‫اﻧﮕﻴﺰ ﺑﺮاي ﻋﻮام و ﺗﻮﺟﻴﻬﻲ ﻋﺎﻣﻴﺎﻧﻪ ﺑﺮاي ﻛﺮم و ﺑﺨﺸﺶ ﭘﺮوردﮔﺎر اﺳﺖ )ﻛﻪ ﺣﺘﻲ دﺳﺖ رد ﺑﻪ ﺳﻴﻨﻪ ﺧﻴﺎم‬

‫ﺷﺪه ﻛﻪ در دوران ﺳﻠﻄﻨﺖ او ﻧﻪ ﺳﺮﻣﺎ ﺑﻮد ﻧﻪ ﮔﺮﻣﺎ‪ .‬اﺷﺎره ﺑﻪ ﮔﻞ زرد )ﻃﻼﻳﻲ؟( و زﺑﺎن ﭘﻬﻠﻮي )زﺑﺎن ﻋﺎم‬

‫ﻛﺎﻓﺮ ﻣﻲ ﺧﻮاره ﻫﻢ ﻧﻤﻲ زﻧﺪ!( اﻟﺒﺘﻪ زﺑﺎﻧﺰد ﺧﺎص و ﻋﺎم اﺳﺖ‪ ،‬و ﻣﺘﻮن ﻋﻤﺪﺗﺎ ﻣﺘﺎﺧﺮ ﻛﻤﺎﺑﻴﺶ اﻳﭽﻨﻴﻨﻲ –‬

‫ﻣﻨﺎﺑﻊ اﺳﺎﻃﻴﺮي اﻳﺮان( در دو ﻣﺼﺮاع ﺑﻌﺪ ﻫﻢ اﻳﻦ ﮔﻤﺎن را ﺗﻘﻮﻳﺖ ﻣﻲ ﻛﻨﺪ‪.‬‬

‫اﮔﺮﭼﻪ ﻧﻪ در اﻳﻦ ﺣﺪ ﻣﻀﺤﻚ‪ ،‬وﻟﻲ در ﻫﻤﻴﻦ ﺣﺪ ﺑﻲ ﭘﺎﻳﻪ و اﺳﺎس – ﺑﺮاي ﺷﻨﺎﺧﺘﻦ ))ﺑﻴﻦ اﻟﻤﻠﻠﻲ ﺗﺮﻳﻦ ﺷﺎﻋﺮ‬

‫‪416‬‬

‫درﺑﺎره اﺻﻞ ﺣﻀﻮر ﻧﺎم ﺧﻴﺎم در ﺑﻌﻀﻲ ﺗﺮاﻧﻪ ﻫﺎ ﻛﻪ ﺑﺮﺧﻲ – و از ﻫﻤﻪ ﻣﺸﻬﻮرﺗﺮ ﻛﺮﻳﺴﺘﻨﺴﻦ داﻧﻤﺎرﻛﻲ –‬

‫آن را ﻣﻌﻴﺎر اﺻﺎﻟﺖ آﻧﻬﺎ ﻗﺮار داده اﻧﺪ و ﺑﺎﻗﻲ ﺗﺮاﻧﻪ ﻫﺎ را ﺑﻪ ﻓﺮاﺧﻮر ﺷﺒﺎﻫﺖ ﻳﺎ ﻋﺪم ﺷﺒﺎﻫﺖ ﺷﺎن ﺑﻪ اﻳﻦ ﺗﺮاﻧﻪ ﻫﺎ‬

‫اﻳﺮان(( ﻛﻢ ﻣﻮرد ))ارﺟﺎع ﻣﺤﻘﻘﺎﻧﻪ(( ﻗﺮار ﻧﮕﺮﻓﺘﻪ اﻧﺪ‪.‬‬ ‫‪422‬‬

‫‪Address, remember‬‬ ‫‪Libation is an ancient tradition among the Persians by which to honor‬‬ ‫‪their demised fellows‬‬ ‫‪424‬‬ ‫‪The word ‘May’ in Farsi means any kind of alcoholic drink in general,‬‬ ‫‪and I took the advantage of this homophony to connote both revelry and its‬‬ ‫‪proper time which, according to this and many other Songs, is spring.‬‬ ‫‪ 425‬ﺷﺮاب رﻳﺰي ﺑﻪ ﻳﺎد ﻋﺰﻳﺰان از دﺳﺖ رﻓﺘﻪ از ﺳﻨﺘﻬﺎي ﺑﺎﺳﺘﺎﻧﻲ اﻳﺮاﻧﻴﺎن اﺳﺖ و اﻳﻦ ﻣﻔﻬﻮم را در ﺑﺴﻴﺎري‬

‫ﻣﻌﺎﺻﺮ ﻓﻴﻠﺴﻮﻓﻲ ﺑﻮده ﻛﻪ ﮔﻬﮕﺪاري در ﺧﻔﺎ ﭼﺘﻮﻟﻲ ﻣﻲ زده و ﺗﺮاﻧﻪ اي ﻣﻲ ﺳﺮوده و از ﺑﻴﻢ ﺑﺪﻧﺎﻣﻲ و درﮔﻴﺮ‬

‫ﻗﻄﻌﺎت ادﺑﻲ ﻓﺎرﺳﻲ ﻣﺸﺎﻫﺪه ﻣﻲ ﻛﻨﻴﻢ‪ .‬ﻃﺒﻖ ﻫﻤﺎن اﺻﻞ ﻗﺪﻳﻤﻲ ))رواﻳﺖ ﺳﺎزي دراﻣﺎﺗﻴﻚ و ﻧﺴﺒﺖ دادن‬

‫ﺷﺪن ﺑﺎ ﻣﺤﺘﺴﺐ و ﻗﺎﺿﻲ ﺷﺮع ﻫﻤﻴﺸﻪ دﻗﺖ ﻣﻲ ﻛﺮده در زﻣﺎن ﺣﻴﺎﺗﺶ آﻧﻬﺎ را ﺑﻪ اﺣﺪي ﻧﺸﺎن ﻧﺪﻫﺪ )ﭼﻘﺪر‬

‫ﮔﻔﺘﻪ ﻫﺎي ﻏﻴﺮﻣﺘﻌﺎرف – ﭼﻪ ﭘﺴﻨﺪﻳﺪه و ﭼﻪ ﻧﺎﭘﺴﻨﺪ ﺑﻪ زﻋﻢ ﻋﻤﻮم – ﺑﻪ اﻓﺮاد ﻧﺎﻣﺪار(( ﻛﻪ ﻣﻨﺒﻊ ارﺟﺎﻋﺎت ﻋﻴﻨﻲ‬

‫اﻳﻦ رواﻳﺖ ﺷﺒﻴﻪ اﻟﮕﻮي ﻋﺮق ﺧﻮري ﺑﺎ ﺗﺮس و ﻟﺮز در اﻳﺮان ﻣﻌﺎﺻﺮ اﺳﺖ!( ﭼﮕﻮﻧﻪ ﻣﻲ ﺗﻮاﻧﺴﺘﻪ ﭼﻨﺎن ﺑﻲ دﻗﺖ‬

‫ﺗﺎرﻳﺨﻲ ﻗﺮار ﮔﺮﻓﺘﻪ و ﺧﻴﺎم ﻫﻢ اﻟﺒﺘﻪ از آن ﺑﺮي ﻧﻤﺎﻧﺪه‪ ،‬رواﻳﺖ اﺳﺖ ﻛﻪ ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﺷﺎه ﺷﻴﺦ اﺑﻮ اﺳﺤﺎق‬

‫ﺑﺎﺷﺪ ﻛﻪ از ﺧﻮد ﺳﻨﺪ اﺳﻢ دار ﺑﺎﻗﻲ ﺑﮕﺬارد؟! و از ﻫﻤﻪ اﻳﻨﻬﺎ ﻛﻪ ﺑﮕﺬرﻳﻢ دﻻﻳﻞ ﺳﺒﻚ ﺷﻨﺎﺳﻲ ﺗﺎ ﺣﺪ زﻳﺎدي‬

‫اﻳﻨﺠﻮ )‪ (757- 721‬ﺣﺎﻛﻢ ﻧﻴﻚ ﺧﻮ و ﻓﺮﻫﻨﮓ دوﺳﺖ ﺷﻴﺮاز و ﻣﻤﺪوح ﺣﺎﻓﻆ ﻛﻪ از اﻣﻴﺮ ﻣﺒﺎرزاﻟﺪﻳﻦ ﻣﻈﻔﺮي‬

‫ﻧﺸﺎن دﻫﻨﺪه ﺗﻔﺎوت ذﻫﻦ ﭘﺸﺖ ﺑﺴﻴﺎري از اﻳﻦ ﻗﺒﻴﻞ ﺗﺮاﻧﻪ ﻫﺎﺳﺖ‪ ،‬ﻛﻪ اﻟﺒﺘﻪ رواﻳﺖ ﺳﺎزان ﻣﻌﺎﺻﺮ ﺑﺎ ﺳﻮء اﺳﺘﻔﺎده‬

‫ﻛﺮﻣﺎن ﺷﻜﺴﺖ ﺧﻮرده ﺑﻮد را ﺑﺮاي اﻋﺪام ﺷﺪن ﻣﻲ ﺑﺮدﻧﺪ در ﻟﺤﻈﻪ ﻣﺮگ اﻳﻦ ﺗﺮاﻧﻪ را )ﻛﻪ ﺑﺮاي آﻣﺎﺗﻮري دم‬

‫از آراء رواﻧﺸﻨﺎﺳﺎﻧﻪ ﺑﺮاي آن ﻫﻢ داﺳﺘﺎﻧﻲ ﺳﺎﺧﺘﻪ اﻧﺪ و ﺑﺤﺚ ﺣﺎﻻت ﻣﺘﻔﺎوت ذﻫﻨﻲ ﺧﻴﺎم در زﻣﺎﻧﻬﺎي ﻣﺨﺘﻠﻒ‬

‫ﻣﺮگ ﻛﻢ ﻫﻨﺮﻣﻨﺪاﻧﻪ ﻧﻴﺴﺖ!( ﺳﺮود‪:‬‬

‫را ﭘﻴﺶ ﻛﺸﻴﺪه اﻧﺪ و ﺑﺮاي آﻧﻬﺎ ﺷﺎن ﺳﺮوده ﺷﺪن ﻗﺎﺋﻞ ﮔﺮدﻳﺪه و ﺑﻪ ﺳﺎﺧﺘﻦ رواﻳﺘﻬﺎﻳﻲ ﻛﻪ از ﺑﻲ اﺳﺎﺳﻲ ﺑﻪ‬

‫‪423‬‬

‫ﺑﺎ ﭼﺮخ ﺳﺘﻴﺰه ﻛﺎر ﻣﺴﺘﻴﺰ و ﺑﺮو‬ ‫ﻳﻚ ﻛﺎﺳﻪ زﻫﺮ اﺳﺖ ﻛﻪ ﻣﺮﮔﺶ ﺧﻮاﻧﻨﺪ‬

‫ﮔﺰﻳﻨﺶ ﻳﺎ رد ﻛﺮده اﻧﺪ ﻫﻤﻴﺸﻪ اﻳﻦ ﺣﻘﻴﻘﺖ ﻣﺴﻠﻢ ﻓﺮﻳﺎد ﻣﻲ زﻧﺪ ﻛﻪ ﺻﺮف ﺣﻀﻮر ﻧﺎم ﺧﻴﺎم در ﺗﺮاﻧﻪ اي )ﺣﺘﻲ‬ ‫اﮔﺮ در ﺟﺎﻳﮕﺎه ﺧﻄﺎب و اﻟﺘﻔﺎت ﺑﺎﺷﺪ( ﻧﻤﻲ ﺗﻮاﻧﺪ آن ﻧﻮﺷﺘﻪ را ﺑﻪ وي ﻣﻨﺴﻮب ﻛﻨﺪ‪ ،‬ﭼﺮا ﻛﻪ از ﻛﺠﺎ ﻣﻌﻠﻮم ﻛﻪ‬ ‫اﻳﻦ ﻧﺎم در ﺣﻘﻴﻘﺖ ﻳﻚ اﺳﻢ ﻋﺎم )ﺟﻴﻨﺮﻳﻚ( ﺑﺮاي ))ﻛﻬﻦ اﻟﮕﻮي ﺷﺮاب ﺧﻮاري و ﺗﺮاﻧﻪ ﺳﺮاﻳﻲ در ﻓﻮﻟﻜﻠﻮر‬ ‫اﻳﺮاﻧﻲ(( ﻧﺒﺎﺷﺪ؟ در درﺟﻪ دوم اﻳﻨﻜﻪ ﭼﮕﻮﻧﻪ ﺧﻴﺎم ﻛﻪ ﺑﻪ ﻣﺪد ﺗﻼش ﺳﺮﺳﺨﺘﺎﻧﻪ ﺑﺴﻴﺎري از رواﻳﺖ ﺳﺎزان‬

‫آﻧﭽﻪ در ﺗﺬﻛﺮه ﻫﺎ آﻣﺪه – ﻛﻪ ﻧﻤﻮﻧﻪ اي از آن در ﻳﺎدداﺷﺖ ﺗﺮاﻧﻪ ﺑﻌﺪي ﻣﻲ آﻳﺪ – ﺳﻮر ﻣﻲ زﻧﻨﺪ ﺑﺮاي آﻧﻬﺎ‬

‫ﺑﺎ ﮔﺮدش دﻫﺮ درﻣﻴﺎوﻳﺰ و ﺑﺮو‬

‫ﭘﺮداﺧﺘﻪ اﻧﺪ!‬

‫ﺧﻮش درﻛﺶ و ﺟﺮﻋﻪ ﺑﺮ ﺟﻬﺎن رﻳﺰ و ﺑﺮو‬

‫اﺗﻔﺎﻗﺎ اﻳﻦ ﻫﺮ دو ﺳﻨﺖ ودﻛﺎ رﻳﺨﺘﻦ ﺑﺮ روي ﻗﺒﺮ ﻋﺰﻳﺰ از دﺳﺖ رﻓﺘﻪ ﻳﺎ ﺑﺮﻋﻜﺲ ﻛﺮدن ﭘﻴﺎﻟﻪ روي ﻗﺒﺮ او در‬ ‫روﺳﻴﻪ ﻫﻢ وﺟﻮد دارد‪.‬‬ ‫‪ 426‬ﺷﺮاب اﻧﮕﻮر‬ ‫‪427‬‬

‫‪Noruz‬‬ ‫‪May blossom‬‬ ‫‪429‬‬ ‫‪Fairy‬‬ ‫‪430‬‬ ‫‪Also attributed to Attar‬‬ ‫‪428‬‬

‫ﮔﻔﺘﻨﻲ اﺳﺖ ﻛﻪ در ﺑﻌﻀﻲ ﻧﺴﺨﻪ ﻫﺎ ﺑﻪ ﺟﺎي ﺧﻴﺎم ))اﻳﺎم(( ﺿﺒﻂ ﺷﺪه!‬ ‫‪417‬‬

‫ﻇﺮف ﺷﻴﺸﻪ اي‬

‫‪418‬‬

‫ﺳﺎزي اﺳﺖ ﺧﻤﻴﺪه ﻛﻪ ﭼﻨﺪﻳﻦ ﺗﺎر ﻋﻤﻮدي دارد و در ﻗﺪﻳﻢ ﻣﻌﻤﻮﻻ آن را ﺑﻪ ﻫﻨﮕﺎم ﻧﻮﺷﻴﺪن ﻣﻲ ﻧﻮاﺧﺘﻨﺪ‪،‬‬

‫ﭼﻨﺎﻧﻜﻪ در ﺣﻜﺎﻳﺖ دوم از ﻣﻘﺎﻟﺖ دوم ﭼﻬﺎرﻣﻘﺎﻟﻪ ﻧﻈﺎﻣﻲ ﻋﺮوﺿﻲ ﻛﻪ ﻫﻤﺎﻧﺎ داﺳﺘﺎن ﻣﺸﻬﻮر ﺻﺒﻮح ﻛﺮدن‬ ‫ﻧﺼﺮﺑﻦ اﺣﻤﺪ ﺳﺎﻣﺎﻧﻲ و و ﺳﺮودن ﻗﺼﻴﺪه ﻣﺸﻬﻮر ﺑﻮي ﺟﻮي ﻣﻮﻟﻴﺎن ﺗﻮﺳﻂ رودﻛﻲ آﻣﺪه اﺳﺖ‪)) :‬رودﻛﻲ‬ ‫ﻗﺒﻮل ﻛﺮد ﻛﻪ ﻧﺒﺾ اﻣﻴﺮ ﺑﮕﺮﻓﺘﻪ ﺑﻮد و ﻣﺰاج او ﺑﺸﻨﺎﺧﺘﻪ‪ .‬داﻧﺴﺖ ﻛﻪ ﺑﻪ ﻧﺜﺮ ﺑﺎ او درﻧﮕﻴﺮد‪ ،‬روي ﺑﻪ ﻧﻈﻢ آورد و‬

‫‪ 431‬زﻳﺒﺎ روي‬

‫ﻗﺼﻴﺪه اي ﺑﮕﻔﺖ و ﺑﻪ وﻗﺘﻲ ﻛﻪ اﻣﻴﺮ ﺻﺒﻮح ﻛﺮده ﺑﻮد درآﻣﺪ و ﺑﻪ ﺟﺎي ﺧﻮﻳﺶ ﺑﻨﺸﺴﺖ و ﭼﻮن ﻣﻄﺮﺑﺎن ﻓﺮو‬

‫‪)) 432‬ﭼﻤﻦ(( ﻫﻤﺎن ﻋﻠﻒ ﺳﺒﺰ رﻧﮓ ﻧﻴﺴﺖ ﻛﻪ اﻣﺮوزه در ﭘﺎرك و اﺳﺘﺎدﻳﻮم ﻣﻲ ﻛﺎرﻧﺪ‪ ،‬ﺑﻠﻜﻪ در ﻗﺎﻣﻮس ﻗﺪﻣﺎ‬

‫داﺷﺘﻨﺪ‪ ،‬او ﭼﻨﮓ ﺑﺮﮔﺮﻓﺖ و در ﭘﺮده ﻋﺸﺎق اﻳﻦ ﻗﺼﻴﺪه آﻏﺎز ﻛﺮد‪((.‬‬

‫ﺗﻌﺮﻳﻒ ﭘﻴﭽﻴﺪه ﺗﺮي دارد‪ :‬ﺑﻪ ﺑﻮﺳﺘﺎن ﮔﻞ ﻛﺎري ﺷﺪه اي ﻛﻪ در ﻣﻴﺎن درﺧﺘﺎن ﻗﺮار دارد و در وﺳﻂ آن‬

‫‪ 419‬ﻋﻤﺮ اﻧﺴﺎن در ﻗﺎﻟﺐ اﺳﺘﻌﺎره اي ﺧﻴﺎل ﺑﺮاﻧﮕﻴﺰ ﺑﻪ ﺷﻴﺸﻪ ﺗﺸﺒﻴﻪ ﺷﺪه‬

‫آﻻﭼﻴﻘﻲ ﺑﺮاي ﻣﻼﻋﺒﻪ و ﺧﻮش ﮔﺬراﻧﻲ و ﺑﺎده ﻧﻮﺷﻲ ﺳﺎﺧﺘﻪ ﺑﻮدﻧﺪ ))ﭼﻤﻦ(( ﻣﻲ ﮔﻔﺘﻨﺪ!‬

‫‪ 420‬ﻣﻌﺮب آﺑﺮﻳﺰ‪ ،‬ﺑﻪ ﻣﻌﻨﻲ ﻇﺮف ﺳﻔﺎﻟﻴﻦ ﺑﺮاي ﺷﺮاب‬

‫‪252‬‬

‫‪251‬‬

                                                                                                                                    !‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻋﻄﺎر ﻧﻴﺸﺎﺑﻮري‬433

                                                                                                                                    459 460

‫ ﮔﻞ ﺳﻪ ﺑﺮگ ﺟﺎم ﻣﺎﻧﻨﺪ‬434

Also attributed to Attar Gemstone ‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻋﻄﺎر ﻧﻴﺸﺎﺑﻮري‬461

435

The sound which is produced by the barm of the grape when it is being fermented and brewed. In the next line that very sound has been likened to the ecstatic chant of the Sufis when dancing, which apparently is a parody of that tradition by corrupting its imagery. 436 Nascent beard 437 Also attributed to Ahli Shirazi ‫ آﺳﻤﺎن‬438 ‫اﺑﺮ‬

‫ ﺳﺎﻛﻦ‬462 ‫ ﺧﻮراك دﻫﻴﺪ‬،‫ روزي دﻫﻴﺪ‬463 ‫ ﻛﻬﺮﺑﺎ زرد رﻧﮓ ﭘﺮﻳﺪه اﺳﺖ )رﻧﮓ ﻧﺎﺧﻮﺷﻲ در ﻓﺮﻫﻨﮓ اﻳﺮاﻧﻲ( و ﻳﺎﻗﻮت ﺳﺮخ درﺧﺸﺎن )رﻧﮓ ﺳﻼﻣﺖ‬464 (‫در ﻓﺮﻫﻨﮓ اﻳﺮاﻧﻲ‬ :‫ ﭼﻨﺎﻧﻜﻪ در ﺳﺎﻗﻲ ﻧﺎﻣﻪ ﻣﻨﺴﻮب ﺑﻪ ﺣﺎﻓﻆ ﻫﻢ آﻣﺪه‬،‫ اﻳﻦ ﻫﻢ از ﻛﻠﻴﺸﻪ ﻫﺎي ﺳﻨﺘﻲ ﺷﻌﺮ ﻓﺎرﺳﻲ اﺳﺖ‬465

439

‫ﺑﻪ آﻳﻴﻦ ﻣﺴﺘﺎن ﺑﺮﻳﺪم ﺑﻪ ﺧﺎك‬

‫ ﻗﺮاﺑﻪ )ﺷﻴﺸﻪ ﺑﺰرگ ﺷﺮاب( ﺑﻪ ﻧﺎي ﺗﺸﺒﻴﻪ ﺷﺪه ﻛﻪ ﺷﺮاب در ﻫﻨﮕﺎم اﻓﺘﺎدن و ﺗﺨﻤﻴﺮ ﺷﺪن در آن ﻗﻠﻘﻞ ﻣﻲ‬440

‫ﺑﻪ راه ﺧﺮاﺑﺎت ﺧﺎﻛﻢ ﻛﻨﻴﺪ‬

‫ﻛﻨﺪ و ﻧﻮا ﻣﻲ ﺳﺎزد‬ ‫ رﻗﺺ و دﺳﺖ اﻓﺸﺎﻧﻲ ﻋﺎرﻓﺎﻧﻪ‬441 .‫ اﻳﻦ ﺗﺮاﻧﻪ ﻫﻢ ﺑﺎ ﺑﻬﺮه ﮔﻴﺮي از ﺗﺼﺎوﻳﺮ ﺳﻨﺘﻬﺎي ﺻﻮﻓﻴﺎﻧﻪ ﺑﻪ ﻣﻀﻬﻜﻪ ﻫﻤﺎن رﺳﻮم و ﺳﻨﺘﻬﺎ ﻣﻲ ﭘﺮدازد‬442 ‫ ﻫﻤﺎن رﻳﺶ ﺗﺎزه درآﻣﺪه ﻧﻮﺟﻮان اﺳﺖ ﻛﻪ ﻗﺒﻼ ﺑﻪ آن اﺷﺎره ﺷﺪ‬443 ‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ اﻫﻠﻲ ﺷﻴﺮازي‬444 445

Meaning both sandal and lute (from Old French lut, from Arabic al-'ūd “wood”, from Farsi oud), which was probably made of sandalwood. In order to foreground the two senses of this Oud, there has been employed a kind of dividing zeugma in this Song which is not common in English poetry. 446 Cheer 447 Consolation 448 Reward 449 Also attributed to Jamaleddin Abhari Qazvini ‫ ﻗﺒﻞ از آﻧﻜﻪ‬450 ‫ ﻋﻮد اول آﻟﺖ ﻣﻮﺳﻴﻘﻲ اﺳﺖ و ﻋﻮد دوم ﻫﻤﺎن ﺻﻨﺪل ﻫﻨﺪي ﻛﻪ آن را ﻣﻲ ﺳﻮزاﻧﻨﺪ و ﺑﻮي ﺧﻮش ﻣﻲ دﻫﺪ‬451 ‫ آرزوي دﺳﺖ ﻧﻴﺎﻓﺘﻨﻲ‬452 ‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺟﻤﺎل اﻟﺪﻳﻦ اﺑﻬﺮي ﻗﺰوﻳﻨﻲ‬453 454

The sound of fermentation Eid al-Fitr 456 Diluvium (Latin), deluge, flood ‫ ﻣﺎده اي ﻧﺮم ﻛﻪ از ﭘﻮﺳﺖ درﺧﺖ ﺧﺮﻣﺎ ﻣﻲ ﮔﻴﺮﻧﺪ و اﺣﺘﻤﺎﻻ از آن ﺷﺮاب درﺳﺖ ﻣﻲ ﻛﻨﻨﺪ‬457 455

‫ ﻋﺎﻟﻢ روﺣﺎﻧﻲ‬458

253

‫ﻣﻦ ار زآن ﻛﻪ ﮔﺮدم ﺑﻪ ﻣﺴﺘﻲ ﻫﻼك‬ ‫ﺑﻪ ﺗﺎﺑﻮﺗﻲ از ﭼﻮب ﺗﺎﻛﻢ ﻛﻨﻴﺪ‬

‫ﭘﺲ آﻧﮕﺎه ﺑﺮ دوش ﻣﺴﺘﻢ ﻧﻬﻴﺪ‬

‫ﺑﻪ آب ﺧﺮاﺑﺎت ﻏﺴﻠﻢ دﻫﻴﺪ‬

‫ﻣﻴﺎرﻳﺪ در ﻣﺎﺗﻤﻢ ﺟﺰ رﺑﺎب‬

‫ﻣﺮﻳﺰﻳﺪ ﺑﺮ ﮔﻮر ﻣﻦ ﺟﺰ ﺷﺮاب‬

466

Sky, heaven (Latin), with religious undertones Earthly, earthy 468 China, as known by the Iranians 469 Rope 470 In a famous Koranic account it is told that Satan, whose nature was of fire and who had been created by God prior to Man, was banished from Eden because he did not deign to revere Man whose creation took place a long time after him and whose nature was of earth 471 Verve, energy 472 Also attributed to Serajeddin Qomri Amoli ‫ ﻧﻴﻜﺒﺨﺘﻲ‬473 467

‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺳﺮاج اﻟﺪﻳﻦ ﻗﻤﺮي آﻣﻠﻲ‬474 475

Note the reference to the neo-Platonic concepts of ‘part’ and ‘whole’ which are among the most fundamental concerns of Iranian mysticism 476 Compare this Song with these lines from Hamlet: “Alexander died, Alexander was buried, Alexander returneth into dust; the dust is earth, of earth we make loam, and why of that loam whereto he was converted might they not stop a beer-barrel? (5.1.192-195)” And also: “Imperious Caesar, dead and turn’d to clay, Might stop a hole to keep the wind away. O, that that earth which kept the world in awe Should patch a wall t’expel the winter’s flaw! (5.1.196-199)”

254

‫‪                                                                                                                                   ‬‬

‫‪                                                                                                                                   ‬‬

‫‪One of the three holy nights during Ramadan when the dictation of the‬‬ ‫‪Koran by God to Mohammad is supposed to have finished, and when vigil‬‬ ‫‪and prayer in the mosque (and thus the irony of the tavern) recommended‬‬ ‫‪494‬‬ ‫‪Cottage, sanctuary‬‬ ‫‪ 495‬واﺣﺪ وزن )ﻧﺴﺒﺘﺎ ﺳﻨﮕﻴﻦ(‬

‫‪ 477‬اﺷﺎره ﺑﻪ ﻣﻔﺎﻫﻴﻢ ))اﺟﺰاء(( و ))ﻛﻞ(( در اﻳﻦ ﺗﺮاﻧﻪ دﻛﺘﺮﻳﻦ ﻧﻮ ‪-‬اﻓﻼﻃﻮﻧﻲ ﻛﺜﺮت و وﺣﺪت را ﺑﻪ ﺧﺎﻃﺮ ﻣﻲ‬

‫‪493‬‬

‫‪ 496‬ﻧﻴﻢ ﻣﻦ‬

‫آورد ﻛﻪ از ﻣﺒﺎﺣﺚ ﻣﺤﻮري ﻋﺮﻓﺎن اﻳﺮاﻧﻲ ﻣﻲ ﺑﺎﺷﺪ‬ ‫‪ 478‬ﭘﻨﺪ و اﻧﺪرز ﻣﻜﺮر‬ ‫‪ 479‬ﺧﺎك‬ ‫‪480‬‬

‫‪ 497‬ﻣﻨﻈﻮر ﻫﻔﺘﺎد و دو ﻓﺮﻗﻪ اﺳﻼم ﻏﻴﺮ ﺳﻨﻲ اﺳﺖ‪ .‬ﻣﺤﻤﺪ ﺟﻮاد ﻣﺸﻜﻮر در ﻛﺘﺎﺑﻬﺎي ﺗﺮﺟﻤﻪ ﻓﺮق اﻟﺸﻴﻌﻪ ﻧﻮﺑﺨﺘﻲ‬ ‫)‪ ،(1353‬ﺗﺎرﻳﺦ ﺷﻴﻌﻪ و ﻓﺮﻗﻪ ﻫﺎي اﺳﻼم ﺗﺎ ﻗﺮن ﭼﻬﺎرم ﻫﺠﺮي )‪ ،(1359‬و ﻫﻔﺘﺎد و ﺳﻪ ﻣﻠﺖ ﻳﺎ اﻋﺘﻘﺎدات‬ ‫ﻣﺬاﻫﺐ )‪ (1364‬اﻃﻼﻋﺎت ﻣﻔﻴﺪي درﺑﺎره آﻧﻬﺎ ﻣﻲ دﻫﺪ‪.‬‬ ‫‪ 498‬ﺗﻨﮓ ﺑﻠﻮر ﻣﺨﺼﻮص ﺷﺮاب ﻛﻪ ﺷﺒﻴﻪ ﺧﺮوس ﻳﺎ ﻣﺮغ ﺑﻮد ﻟﺬا ﺑﻪ آن ﺧﺮوس و ﻣﺮغ ﻫﻢ ﻣﻲ ﮔﻔﺘﻨﺪ‬ ‫‪499‬‬

‫‪Give a toast‬‬ ‫)‪Idle around (Australian‬‬ ‫‪501‬‬ ‫‪These two lines contain an ingenious mixed metaphor pointing both to‬‬ ‫‪the Eucharist Wine and the dead-raising breath of Christ as in the case of‬‬ ‫‪Lazarus, shrewdly interpreting them as a kind of carpe diem motif‬‬ ‫‪502‬اﺑﺪﻳﺖ‬ ‫‪500‬‬

‫‪ 503‬ﺑﻪ وارﻳﺎﺳﻴﻮن ))ﻣﺎ ﻋﺎﺷﻖ و ﻣﻲ ﭘﺮﺳﺖ و ﻣﺴﺘﻴﻢ ﻫﻤﻪ(( ﻛﻪ در ﺑﺨﺶ ﺑﻌﺪي و ﺑﺎ ﻣﻌﻨﺎي ﻛﻤﻲ ﻣﺘﻔﺎوت ﻣﻲ‬ ‫آﻳﺪ ﻧﻴﺰ ﺗﻮﺟﻪ ﻛﻨﻴﺪ‪ .‬اﺻﻮﻻ از اﻛﺜﺮ ﺗﺮاﻧﻪ ﻫﺎ وارﻳﺎﺳﻴﻮﻧﻬﺎي ﺑﺴﻴﺎري وﺟﻮد دارد – ﭼﻨﺎﻧﻜﻪ ﻣﺜﻼ ﻋﻠﻲ دﺷﺘﻲ‬ ‫))ﺻﺤﺮا رخ ﺧﻮد ﺑﻪ اﺑﺮ ﻧﻮروز ﺑﺸﺴﺖ(( را وارﻳﺎﺳﻴﻮن ))ﭼﻮن اﺑﺮ ﺑﻪ ﻧﻮروز رخ ﻻﻟﻪ ﺑﺸﺴﺖ(( ﻣﻲ داﻧﺪ‪ ،‬و‬ ‫))ﺧﻴﺎم زﻣﺎﻧﻪ از ﻛﺴﻲ دارد ﻧﻨﮓ(( اﺣﺘﻤﺎﻻ وارﻳﺎﺳﻴﻮن ))ﺑﺮﺧﻴﺰ و ﺑﻴﺎ ﻛﻪ ﭼﻨﮓ در ﭼﻨﮓ زﻧﻴﻢ(( و ))دل ﻓﺮق‬ ‫ﻧﻤﻲ ﻛﻨﺪ ﻫﻤﻲ داﻧﻪ ز دام(( وارﻳﺎﺳﻴﻮن ))ﻳﻚ دﺳﺖ ﺑﻪ ﻣﺼﺤﻔﻴﻢ و ﻳﻚ دﺳﺖ ﺑﻪ ﺟﺎم(( ﺑﺎﺷﺪ – ﻛﻪ ﻟﺰوﻣﺎ‬ ‫ﻓﻘﻂ از ﻟﺤﺎظ ﻟﻐﻮي ﺑﺎ ﻫﻢ ﻓﺮق ﻧﺪارﻧﺪ‪ ،‬ﺑﻠﻜﻪ در ﺳﻄﻮح ﻣﻌﻨﺎﻳﻲ ﻫﻢ ﻣﺘﻔﺎوت اﻧﺪ‪ ،‬و اﻳﻦ از ﻣﻬﻤﺘﺮﻳﻦ ﻧﻜﺘﻪ ﻫﺎﻳﻲ‬ ‫اﺳﺖ ﻛﻪ ﺑﻪ رﻳﺸﻪ ﻫﺎي ﺷﻔﺎﻫﻲ ﺗﺮاﻧﻪ ﻫﺎ اﺷﺎره ﻣﻲ ﻛﻨﺪ‪.‬‬ ‫‪ 504‬درﭘﻴﭽﻴﺪن‪ ،‬ﻟﻮﻟﻪ ﻛﺮدن‪ ،‬ﭘﺎره ﻛﺮدن‬ ‫‪)) 505‬ﮔﺮو ﮔﺬاﺷﺘﻦ و ﺑﻪ ﺟﺎي ﻧﻬﺎدن ﻟﺒﺎس در ﺧﺎﻧﻪ ﻣﻲ ﻓﺮوﺷﺎن از ﻗﺪﻳﻢ ﻛﺎر ﻣﻲ ﺧﻮاران و رﻧﺪان ﺑﻮده اﺳﺖ و‬

‫‪Religiously banned‬‬ ‫‪481‬‬ ‫‪Religiously sanctioned‬‬ ‫‪482‬‬ ‫‪Not the Rome that is commonly recognized in the West, but Asia Minor‬‬ ‫‪(then under the Seljuqs), where was collectively called Rum (Rome) by the‬‬ ‫‪Iranians for its being the territory of the Romans and then the Byzantines‬‬ ‫‪before; hence the title Rumi for the famous Iranian poet who settled there to‬‬ ‫‪the end of his days‬‬ ‫‪483‬‬ ‫‪This Song contains quite a few ingenious puns as its rhymes that prove‬‬ ‫‪impossible to be translated pun-wise, so I translated it only in a manner to‬‬ ‫‪convey the meaning. By the way, what the Lord has declared ‘right’ is the‬‬ ‫!‪wine of heaven‬‬ ‫‪ 484‬آﺑﺮو ﺑﺮاي ﻣﺎ ﻧﮕﺬاﺷﺖ‬ ‫‪ 485‬ﺷﻔﻴﻌﻲ ﻛﺪﻛﻨﻲ ﭼﻨﻴﻦ ﻋﻘﻴﺪه دارد ﻛﻪ ﺷﺎﻋﺮان اﻳﺮاﻧﻲ ﺗﻌﺒﻴﺮاﺗﻲ از ﻗﺒﻴﻞ ))ﻣﺎدر ﻣﻲ(( و ﺑﭽﻪ او و ))دﺧﺘﺮ‬ ‫رز(( و ))دﺧﺘﺮ ﺗﺎك(( را ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﺗﻌﺒﻴﺮاﺗﻲ ﭼﻮن ))اﺑﻨﻪ اﻟﻜﺮم(( ﻛﻪ ﺷﺎﻋﺮان ﻋﺮب ﺑﺮاي ﺷﺮاب ﺑﻪ ﻛﺎر ﻣﻲ‬ ‫ﺑﺮدﻧﺪ ﺳﺎﺧﺘﻪ اﻧﺪ‪)) .‬اﻳﻨﮕﻮﻧﻪ ﺗﻌﺒﻴﺮات ﺑﻴﺸﺘﺮ از ﺧﺼﺎﻳﺺ زﺑﺎﻧﻲ و ﻓﺮﻫﻨﮕﻲ ﻳﻚ ﻗﻮم ﻣﻤﻜﻦ اﺳﺖ ﺳﺮﭼﺸﻤﻪ‬ ‫ﮔﺮﻓﺘﻪ ﺑﺎﺷﺪ ﻛﻪ ﻋﺮب ﻛﻨﻴﻪ را در ﻣﻮرد ﻫﻤﻪ ﭼﻴﺰ ﺗﻮﺳﻌﻪ داده )ﻣﺤﻤﺪرﺿﺎ ﺷﻔﻴﻌﻲ ﻛﺪﻛﻨﻲ‪ ،‬ﺻﻮر ﺧﻴﺎل در ﺷﻌﺮ‬ ‫ﻓﺎرﺳﻲ‪.(((331 ،‬‬ ‫ﺣﺎﻓﻆ ﻫﻢ در اﻳﻦ ﻣﻌﻨﻲ ﺑﻴﺖ و ﻣﺼﺮاع ﺑﺴﻴﺎر دارد‪:‬‬ ‫دوﺳﺘﺎن دﺧﺘﺮ رز ﺗﻮﺑﻪ ز ﻣﺴﺘﻮري ﻛﺮد‬

‫ﺷﺪ ﺑﺮ ﻣﺤﺘﺴﺐ و ﻛﺎر ﺑﻪ دﺳﺘﻮري ﻛﺮد‬

‫‪ 486‬در اﻳﻦ ﻣﻌﻨﻲ ﺷﻌﺮ ﺣﺎﻓﻆ را ﻫﻢ ﺑﺒﻴﻨﻴﺪ‪:‬‬ ‫ﭘﺪرم روﺿﻪ رﺿﻮان ﺑﻪ دو ﮔﻨﺪم ﺑﻔﺮوﺧﺖ‬

‫ﻣﻦ ﭼﺮا ﻣﻠﻚ ﺟﻬﺎن را ﺑﻪ ﺟﻮي ﻧﻔﺮوﺷﻢ؟!‬

‫‪ 487‬درﺳﺖ‬

‫ﻛﺴﺎﻧﻲ ﻛﻪ ﺑﺮاي ﻣﻲ ﺧﻮارﮔﻲ ﺑﻪ ﺧﺮاﺑﺎت ﻣﻲ رﻓﺘﻪ اﻧﺪ و ﭘﻮﻟﻲ ﺑﺮاي ﭘﺮداﺧﺖ ﺑﻬﺎي ﻣﻲ ﻧﺪاﺷﺘﻪ اﻧﺪ ﺑﻪ ﻧﺎﭼﺎر‬

‫‪ 488‬راﺳﺖ و ﭼﭗ‬

‫ﺑﻌﻀﻲ از ﻟﺒﺎس ﻫﺎي ﺧﻮد را ﮔﺮو ﻣﻲ ﮔﺬاﺷﺘﻪ اﻧﺪ )ﺳﻴﺮوس ﺷﻤﻴﺴﺎ‪ ،‬ﻓﺮﻫﻨﮓ اﺷﺎرات‪.(((313 ،‬‬

‫‪ 489‬ﺑﻪ اﺳﺘﻔﺎده زﻳﺮﻛﺎﻧﻪ از اﻧﻮاع ﺻﻨﻌﺖ ﺟﻨﺎس در ﻗﺎﻓﻴﻪ ﺳﺎزي ﺗﻮﺟﻪ ﻛﻨﻴﺪ‬

‫ﺣﺎﻓﻆ ﻫﻢ ﻣﻲ ﮔﻮﻳﺪ‪:‬‬

‫‪A varying unit of weight formerly in fashion in Islamic territories,‬‬ ‫‪usually constituting a heavy weight‬‬ ‫‪491‬‬ ‫‪In the classic Islamic conjugal law, to divorce a spouse three times means‬‬ ‫!‪that you will not want and you will never be able to remarry her‬‬ ‫‪492‬‬ ‫‪The seventy two sects of non-Sunni Islam‬‬

‫در ﻫﻤﻪ دﻳﺮ ﻣﻐﺎن ﻧﻴﺴﺖ ﭼﻮ ﻣﻦ ﺷﻴﺪاﻳﻲ‬

‫‪490‬‬

‫ﺧﺮﻗﻪ ﺟﺎﻳﻲ ﮔﺮو ﺑﺎده و دﻓﺘﺮ ﺟﺎﻳﻲ‬

‫‪256‬‬

‫‪255‬‬

                                                                                                                                   

                                                                                                                                   

‫ ﺑﻴﺖ اول اﻳﻦ ﺗﺮاﻧﻪ ﻛﻨﺎﻳﻪ اي ﺑﻪ ﻫﻤﺎن ﻣﻔﻬﻮم ))ﻣﻲ اﻟﺴﺖ(( ﻃﺮﻳﻘﺘﻴﺎن و ﺑﻴﺖ دوم آن ﻇﺎﻫﺮا ﺗﺮﻛﻴﺒﻲ ﭘﻴﭽﻴﺪه‬506

‫ آﺑﻲ )اﺣﺘﻤﺎﻻ ﺑﺎ اﻳﻬﺎﻣﻲ ﺑﻪ ﺧﻂ ﭼﻬﺎرم ﺟﺎم ))ﻫﻔﺖ ﺧﻂ(( ﺟﻤﺸﻴﺪ ﻛﻪ ﻣﻄﺎﺑﻖ ﻗﺪﻣﺎ ))ازرق(( ﻧﺎم‬،‫ ﻧﻴﻠﮕﻮن‬514

Although with respect to matters relevant to the truth-value, approach, and function of criticism I somehow have always shrank from the subjectively symbolic and archetypal criticism in the holistic manner that Carl Gustav Jung and Northrop Frye propose, the present Song forcefully and inevitably spurs me to consider the ‘door-breaking’ Sun the symbol of the ‘piously enlightened’ people who during the committing of an irreligious act – here specifically drinking wine – by an evildoer with their religious enthusiasm break into his secluded nook to shed light (again like the Sun) upon his heinous act, and then for the hallowed purpose of ‘ordering him to good and preventing him from bad’ take that reproachful knave to where he would readily, with both tongue and limb, confess to his crime and willingly become penitent and educated in the way of the good (again shown the way to the ‘light’ by the Sun)! It is really interesting that how the so-called symbolic criticism, exactly like religious hermeneutics, could make almost everything immediately relevant to the taste and purpose of the interpreter that employs it. This Song has also been attributed to Najmeddin Kobra (12th century). 528 Gemstone .‫ اﻳﻦ ﺗﺮاﻧﻪ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻧﺠﻢ اﻟﺪﻳﻦ ﻛﺒﺮي ﻣﻲ ﺑﺎﺷﺪ‬529

(‫داﺷﺖ‬

‫ ﺑﺨﺎر ﺑﻪ دﻣﺎغ ﻣﻲ رود و ﺑﻪ اﺷﻚ ﮔﺮم ﻣﺒﺪل ﻣﻲ ﺷﻮد و ﺳﭙﺲ از‬.‫ ))ﺧﻮن ﺟﮕﺮ ﻣﻲ ﺳﻮزد و ﺑﺨﺎر ﻣﻲ ﺷﻮد‬530

‫ ﺷﺮاﺑﻲ ﻛﻪ از اﻧﮕﻮري ﮔﺮﻓﺘﻪ ﺑﺎﺷﻨﺪ ﻛﻪ در اﺛﺮ رﺳﻴﺪﮔﻲ ﺑﺴﻴﺎر از ﺗﺎك اﻓﺘﺎده ﺑﺎﺷﺪ‬515

‫ ﻓﺮﻫﻨﮓ‬،‫ از اﻳﻦ رو ﻣﻨﺒﻊ اﺷﻚ ﺧﻮن ﺟﮕﺮ اﺳﺖ )ﺳﻴﺮوس ﺷﻤﻴﺴﺎ‬.‫راه ﭼﺸﻢ و ﻧﺎودان ﻣﮋه ﺑﻴﺮون ﻣﻲ آﻳﺪ‬

‫از ))ﺷﺮاب ﻋﺸﺎء رﺑﺎﻧﻲ(( و ))دم ﺟﺎﻧﺒﺨﺶ ﻣﺴﻴﺤﺎﻳﻲ(( اﺳﺖ‬ 507

The rim of the barrel Also attributed to Attar 509 Moly was a magic herb with milky white flowers and black roots that Hermes gave to Odysseus to protect him from Circe’s spell 510 This Song’s original contains an ingenious pun the conveying of which to English proves almost impossible, yet I have attempted to do so as far as possible. In Farsi, as well as in Arabic, any beverage, whether alcoholic or not, was called ‘sharab’ in the olden times. Yet, through the passage of time, the application of the term has narrowed down to what it denotes now, i.e. wine. Though this word is not a compound, if we split it in two, we will have ‘shar + ab’, which would equal ‘evil + water’ in English! The rest is obvious. 511 Romance 512 Also attributed to Obeid Zakani (13th century) ‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻋﻄﺎر ﻧﻴﺸﺎﺑﻮري‬513 508

‫ در ﻣﻴﺎن ﻣﺮدم‬،‫ دﻫﺎن ﺑﻪ دﻫﺎن‬516

527

.(((109 ،‫اﺷﺎرات‬ 531

.‫ﻛﻪ ﺧﻮاﻧﻨﺪه ﻋﺎم ﺧﺎرﺟﻲ را ﻛﻪ ﺑﺎ ﺟﻐﺮاﻓﻴﺎي ﺗﺎرﻳﺨﻲ اﻳﺮان آﺷﻨﺎ ﻧﻴﺴﺖ ﺑﻬﺘﺮ ﻣﺘﻮﺟﻪ ﻣﻨﻈﻮر ﺷﻌﺮ ﻛﻨﺪ‬

Torch Flute 533 In Iranian culture, a red cheek is the sign of health and cheerfulness, as if sanguine 534 A lock of hair with its twists and ‘breaks’ ‫ ﻫﻨﮕﺎم‬535

‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻋﺒﻴﺪ زاﻛﺎﻧﻲ‬519

‫ )دﺧﺘﺮ( زﻳﺒﺎ روي‬،‫ ﻋﺮوﺳﻚ‬536

(‫ راﺣﺖ روح )ﺷﺮاب‬517 ‫ از آﻧﺠﺎ ﻛﻪ در ﻗﺪﻳﻢ ﻋﺮاق را ﺑﻪ دو ﻗﺴﻤﺖ ﻋﺮب و ﻋﺠﻢ ﺗﻘﺴﻴﻢ ﻣﻲ ﻛﺮدﻧﺪ ﻛﻪ ﻗﺴﻤﺖ اﺧﻴﺮ‬.‫ ﻧﻲ ﻣﻄﺮﺑﺎن‬518 ‫ ﻣﻦ در ﺗﺮﺟﻤﻪ اﻧﮕﻠﻴﺴﻲ ﺑﻪ ﺟﺎي ﻋﺮاﻗﻲ اﻳﺮاﻧﻲ آورده ام‬،‫آن ﺷﺎﻣﻞ ﻧﻮاﺣﻲ ﻏﺮﺑﻲ و ﻣﺮﻛﺰي اﻳﺮان ﻓﻌﻠﻲ ﻣﻲ ﺷﺪ‬

532

520

The rim of the barrel In the sense of spend 522 Recruit, novice; also a pun on the foot and footwear

‫ ﺷﺮاﺑﻲ ﻛﻪ ﺑﻪ وﻗﺖ ﺻﺒﺢ ﻣﻲ ﻧﻮﺷﻨﺪ‬537

521

525 526

Forever Carefree adventure

257

‫ ﻳﺎر ﻣﻬﺮﺑﺎن‬538 ‫ﺧﺎﻧﻪ ﻛﻮﭼﻚ‬

523

‫ﺑﻴﺖ آﺧﺮ ﻓﻘﻂ ردﻳﻒ دارد و ﻗﺎﻓﻴﻪ ﻧﺪارد‬

524

539

Here come the Critical Songs that, rather than being ‘lyrical poetry’ per se, actually prove to be shrill bugle sounds that mouth disgruntlement. From here to the end of the collection the pieces mostly seem to address in a blatant and unruly manner social and ideological discontent rather than epistemological problems with divinity and existential questions regarding fate.

258

‫‪                                                                                                                                   ‬‬ ‫ﭘﺮدازﻧﺪ از ﻟﺤﺎظ ﺳﺒﻚ و ﻟﺤﻦ ﺑﻴﺸﺘﺮ ﺑﻪ ﻏﺰﻟﻴﺎت ﺣﺎﻓﻆ و اﺻﻮﻻ ادﺑﻴﺎت رﻧﺪاﻧﻪ و ﻫﻮﺷﻤﻨﺪاﻧﻪ ﺳﺒﻚ ﻋﺮاﻗﻲ‬ ‫ﺷﺒﻴﻪ اﻧﺪ ﺗﺎ ﺑﻪ ﺷﻜﻮاﻳﻴﻪ ﻫﺎي ﺑﻲ ﺷﻴﻠﻪ ﭘﻴﻠﻪ ﺣﻤﺎﺳﻲ ‪-‬اﺳﺎﻃﻴﺮي ﺳﺒﻚ ﺧﺮاﺳﺎﻧﻲ‪ .‬از ﻗﻀﺎ ﻫﻤﻴﻦ دﺳﺘﻪ آﺧﺮ ﺗﺮاﻧﻪ ﻫﺎ‬ ‫ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﻪ ﺷﻴﻮه اي ﻣﺴﺘﻘﻴﻢ ﺗﺮ و ﻗﺎﺑﻞ دﺳﺘﺮﺳﻲ ﺗﺮ ﺑﻪ ﻛﺎر ﻧﻘﺪ ادﺑﻲ ‪-‬اﺟﺘﻤﺎﻋﻲ ﻫﻢ دوره ﺳﺮوده ﺷﺪن ﺷﺎن‬ ‫)اﮔﺮ ﻗﺎﺑﻞ ردﻳﺎﺑﻲ ﺗﺎرﻳﺨﻲ ﺑﺎﺷﻨﺪ( و ﻫﻢ از آن ﻣﻬﻢ ﺗﺮ دوران ﻣﻌﺎﺻﺮ ﻛﻪ ﻛﻤﺎﺑﻴﺶ ﻫﻤﺎن ارزﺷﻬﺎ و ﺗﻌﺼﺒﻬﺎ را‬ ‫ﻳﺪك ﻣﻲ ﻛﺸﺪ ﻣﻲ آﻳﻨﺪ‪ ،‬و اﻳﻦ اي درﻳﻎ ﻛﻪ در ﻛﻮران ﺟﻨﮕﻬﺎي ﻣﺘﻌﺼﺒﺎﻧﻪ ﻋﻬﺪ دﻗﻴﺎﻧﻮﺳﻲ ﺑﻴﻬﻮده اي ﻫﻤﭽﻮن‬ ‫آﻳﺎ ﺧﻴﺎم ﺷﺎﻋﺮ ﺑﻮده ﻳﺎ ﻧﺒﻮده و آﻳﺎ اﻳﻦ ﺗﺮاﻧﻪ از اوﺳﺖ ﻳﺎ ﻧﻴﺴﺖ و ﻏﻴﺮه از ﻧﻈﺮﻫﺎ ﻣﺨﻔﻲ ﻣﺎﻧﺪه و ﺷﺎﻳﺪ ﺑﻪ دﺳﺖ‬ ‫ﻓﺮاﻣﻮﺷﻲ ﺳﭙﺮده ﺷﺪه اﺳﺖ‪ ،‬ﭼﻪ ﺳﺎﻟﻬﺎﺳﺖ ﻛﻪ ﭘﺲ از ﻓﺮوﻛﺶ ﻛﺮدن ﺗﺐ ))ﺧﻴﺎم ﻳﺎﺑﻲ(( و ﺑﻠﻜﻪ ))ﺧﻴﺎم‬ ‫ﺳﺎزي(( در ﺧﺎرﺟﻪ و ﺑﻪ ﺗﺒﻊ آن در داﺧﻠﻪ اﻧﮕﺎر دﻳﮕﺮ ﻛﺴﻲ ﺣﻮﺻﻠﻪ ﻧﺪارد ﻛﻪ رﺑﻂ ﺷﻌﺮ اﻳﻦ ))ﺧﻴﺎم(( و‬

‫‪                                                                                                                                   ‬‬ ‫‪The quill with which one’s fate is written‬‬

‫‪540‬‬

‫‪ 541‬ﺑﺰرﮔﺘﺮﻳﻦ‪ ،‬ﻣﻬﻢ ﺗﺮﻳﻦ‬ ‫‪ 542‬در اﻳﻦ ﻣﻮرد ﻗﻮل ﺣﺎﻓﻆ را ﻫﻢ ﺑﺸﻨﻮﻳﺪ‪:‬‬ ‫ﻣﻨﻢ ﻛﻪ ﮔﻮﺷﻪ ﻣﻲ ﺧﺎﻧﻪ ﺧﺎﻧﻘﺎه ﻣﻦ اﺳﺖ‬

‫دﻋﺎي ﭘﻴﺮ ﻣﻐﺎن ورد ﺻﺒﺤﮕﺎه ﻣﻦ اﺳﺖ!‬

‫ﻧﺎﻇﺮ ﺑﻪ ﭼﻨﻴﻦ ﻣﻀﻤﻮن ﭘﺮدازي ﻫﺎ و ﻣﻔﺎﻫﻴﻤﻲ ﺑﺎرﻫﺎ ﺑﻪ ﺗﺎﺛﻴﺮﭘﺬﻳﺮي ﺣﺎﻓﻆ از ))ﺧﻴﺎم(( اﺷﺎره ﺷﺪه‪ ،‬و ﺑﺴﻴﺎري‬ ‫ﺷﻌﺮ ﺣﺎﻓﻆ را ﻧﺴﺨﻪ ﭘﻴﺸﺮﻓﺘﻪ و ﻛﺎﻣﻞ ﺷﺪه اﺷﻌﺎر ﺧﻴﺎم ﻣﻲ داﻧﻨﺪ‪ ،‬اﻣﺎ آﻳﺎ ﺣﻘﻴﻘﺖ ﻗﻀﻴﻪ ﻧﻤﻲ ﺗﻮاﻧﺪ اﻳﻦ ﺑﺎﺷﺪ ﻛﻪ‬ ‫ﺗﻮﺟﻪ ﻣﻮﺷﻜﺎﻓﺎﻧﻪ ﺣﺎﻓﻆ ﺑﻪ ﻣﺴﺎﺋﻞ ﺳﻴﺎﺳﻲ و اﺟﺘﻤﺎﻋﻲ ﻣﻌﺎﺻﺮ ﺧﻮد – ﻛﻪ دﺳﺖ ﺑﺮ ﻗﻀﺎ ﻗﺴﻤﺖ ﺑﺰرﮔﻲ از ﺗﺮاﻧﻪ‬ ‫ﻫﺎ ﻧﻤﺎﻳﻨﺪه ادﺑﻲ )و ﺷﺎﻳﺪ ﺑﻲ ادﺑﻲ!( ﺑﻼﻓﺼﻞ آن ﻣﻲ ﺑﺎﺷﻨﺪ – و ﺑﻴﺎن آﻧﻬﺎ ﺑﻪ ﺳﺒﻜﻲ ﺑﺴﻴﺎر ﻫﻨﺮﻣﻨﺪاﻧﻪ و زﻳﺮﻛﺎﻧﻪ‬

‫دﻏﺪﻏﻪ ﻫﺎي ))ﻓﺮاﻣﺘﻨﻲ(( آن را ﻛﻪ اﺗﻔﺎﻗﺎ ﺑﺴﻴﺎر ﻓﺮاوان اﻧﺪ – ﺗﺮاﻧﻪ ﺑﻪ ﻣﻌﻨﺎي ﮔﺴﺘﺮده آن ﻫﺮﮔﺰ ﺷﻌﺮ ))ﻫﻨﺮ ﺑﺮاي‬

‫ﺑﺎﻋﺚ ﭼﻨﻴﻦ اﻗﺒﺎل ﻋﻈﻴﻤﻲ ﺑﻪ ﺣﺎﻓﻆ در ﻃﻮل ﺗﺎرﻳﺦ اﻳﺮان ﮔﺮدﻳﺪه ﻛﻪ ﺑﻪ ﺷﻴﻮه ))آب زﻳﺮ ﻛﺎﻫﺎﻧﻪ(( ﺑﺮ ﺑﺴﻴﺎري از‬

‫ﻫﻨﺮ(( ﻧﺒﻮده – ﻣﻮرد ﻣﻄﺎﻟﻌﻪ ﻗﺮار دﻫﺪ و ﺑﺎب ﺟﺪﻳﺪي را در ﻣﻄﺎﻟﻌﻪ ))ﭘﺪﻳﺪه ﺗﺮاﻧﻪ(( ﺑﮕﺸﺎﻳﺪ‪ ،‬و ﻫﻤﻴﻦ ﻗﺪر ﻛﻪ‬

‫آن دﺳﺘﻪ ارزﺷﻬﺎ و ﺗﻌﺼﺒﺎت ﺑﻴﻬﻮده ﻓﺮﻫﻨﮕﻲ و اﺟﺘﻤﺎﻋﻲ اﻳﺮان ﻛﻪ ﺣﺘﻲ ﺗﺎ ﺑﻪ اﻣﺮوز ﻫﻢ اداﻣﻪ ﭘﻴﺪا ﻛﺮده ﺧﻂ‬ ‫ﺑﻄﻼن ﻛﺸﻴﺪه؟ و ﺑﻪ دور از ﻋﻘﻞ ﻫﻢ ﻧﻴﺴﺖ ﻛﻪ ﺑﺴﻴﺎري از اﻳﻦ دﺳﺖ ﺗﺮاﻧﻪ ﻫﺎ در ﺣﻘﻴﻘﺖ ﺑﻪ ﺗﻘﻠﻴﺪ از ﻏﺰﻟﻴﺎت‬

‫ﺷﺎﻋﺮي ﻛﺸﻒ )اﺧﺘﺮاع؟( ﺷﺪ و ﺷﻌﺮ ﺳﺮه او از ﻧﻈﻢ ﻧﺎﺳﺮه دﻳﮕﺮان ﺳﻮا ﺷﺪ ﻛﻔﺎﻳﺖ ﻣﻲ ﻛﻨﺪ‪.‬‬ ‫‪545‬‬

‫‪Shooter, hunter‬‬ ‫‪The melting pot‬‬ ‫‪547‬‬ ‫‪The Koran, 84:1.‬‬ ‫‪548‬‬ ‫‪The Koran, 81:2.‬‬ ‫‪549‬‬ ‫‪This sentence reputedly comprises the last words spoken by Hosein the‬‬ ‫‪Son of Ali (the first and the third Imams of the Shiites respectively that are‬‬ ‫‪by far the most popular among their Iranian followers) when he was about to‬‬ ‫‪be slain by his enemies, which coincidentally reminds one of Jesus Christ’s‬‬ ‫‪“My God, my God, why hast thou forsaken me (Matthew, 27:46)?” This‬‬ ‫‪Song in employing the Koranic verses and also the Shiite narrative-tradition‬‬ ‫‪in order to complain about fate is almost unique and I have seen nothing like‬‬ ‫‪it.‬‬ ‫‪ 550‬ﺣﺮﻳﺮ زرﺑﻔﺖ‬ ‫‪546‬‬

‫‪ 551‬اﻟﻚ ﻛﺮده اي‪ ،‬رﻳﺨﺘﻪ اي‬

‫ﺣﺎﻓﻆ ﺳﺮوده ﺷﺪه ﺑﺎﺷﻨﺪ‪ ،‬ﮔﺮﭼﻪ ﺑﻪ ﺷﻴﻮه اي اﻋﺠﺎب اﻧﮕﻴﺰ ﺗﺎ آﻧﺠﺎ ﻛﻪ ﻧﮕﺎرﻧﺪه ﺑﻪ ﺧﺎﻃﺮ دارد ﻫﻴﭻ ﻛﺪام از‬ ‫اﻳﻦ ﺗﺮاﻧﻪ ﻫﺎي ﺳﺮﮔﺮدان دردﺳﺮﺳﺎز ﺑﻪ ﺣﺎﻓﻆ ﻧﺴﺒﺖ داده ﻧﺸﺪه اﻧﺪ‪.‬‬ ‫‪ 543‬ﻣﻬﺮﻳﻪ‬ ‫‪ 544‬از اﻳﻨﺠﺎ ﺑﻪ ﺑﻌﺪ ﺑﻪ دﺳﺘﻪ آﺧﺮ ﺗﺮاﻧﻪ ﻫﺎ ﻛﻪ ﻫﻤﺎن ﺗﺮاﻧﻪ ﻫﺎي ))اﻧﺘﻘﺎدي(( ﺑﺎﺷﺪ ﻣﻲ رﺳﻴﻢ ﻛﻪ – ﻣﺎﻧﻨﺪ اﻛﺜﺮ ﺗﺮاﻧﻪ‬ ‫ﻫﺎي ﺷﺮاﺑﻲ ﻛﻪ ﭘﻴﺸﺘﺮ آﻣﺪﻧﺪ – ﻛﻨﺎﻳﻪ ﺳﺨﺮه آﻣﻴﺰ زﻳﺮﺳﺎﺧﺖ اﺻﻠﻲ آﻧﻬﺎ را ﺗﺸﻜﻴﻞ ﻣﻲ دﻫﺪ‪ ،‬و ﺑﻪ اﺻﻄﻼح‬ ‫ﻟﺤﻦ ﻏﺎﻟﺐ در آﻧﻬﺎ ﻟﺤﻦ ﻛﻨﺎﻳﻲ اﺳﺖ ﻛﻪ ﺑﻴﺸﺘﺮ ﺑﺎ ﺳﺮ ﺳﺮوﻛﺎر دارد ﺗﺎ ﺑﺎ دل‪ ،‬ﻟﺬا ﻋﻨﺼﺮ ﻏﻨﺎﻳﻲ آﻧﻬﺎ ﻋﻤﺪﺗﺎ‬ ‫ﺿﻌﻴﻒ ﺗﺮ از ﺑﺎﻗﻲ ﺗﺮاﻧﻪ ﻫﺎ و ﺟﻮش و ﺧﺮوش ﺣﻤﺎﺳﻲ آﻧﻬﺎ ﺗﻘﺮﻳﺒﺎ در ﺣﺪ ﺻﻔﺮ اﺳﺖ و در ﻣﺠﻤﻮع ﺑﺴﻴﺎر‬ ‫ﻛﻤﺘﺮ از ﺗﺮاﻧﻪ ﻫﺎي ﭘﻴﺸﻴﻦ از ﺗﺨﻴﻞ ﺑﻬﺮه ﺑﺮده اﻧﺪ‪ .‬ﺣﻘﻴﻘﺖ اﻳﻦ اﺳﺖ ﻛﻪ ﺑﺎ ﻣﻌﻴﺎرﻫﺎي ﻣﻌﻤﻮل زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ‬ ‫ادﺑﻲ اﻣﺮوز ﻣﻲ ﺗﻮان ﺑﺴﻴﺎري از اﻳﻨﮕﻮﻧﻪ ﺗﺮاﻧﻪ ﻫﺎ را اﺻﻼ ﺷﻌﺮ ﺑﻪ ﺣﺴﺎب ﻧﻴﺎورد‪ ،‬اﻣﺎ ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﺑﻪ آراي ﻗﺪﻣﺎ‬ ‫رﺟﻮع ﻛﻨﻴﻢ ﻣﺘﻮﺟﻪ ﺧﻮاﻫﻴﻢ ﺷﺪ ﻛﻪ در ﻗﺎﻣﻮس ﺳﺮاﻳﻨﺪﮔﺎن اﻳﻦ ﻗﻄﻌﺎت‪ ،‬آﻧﻬﺎ ﺑﻪ اﺣﺘﻤﺎل زﻳﺎد واﻗﻌﺎ ﺣﻜﻢ ﺷﻌﺮ‬ ‫را داﺷﺘﻪ اﻧﺪ‪ ،‬ﮔﺮﭼﻪ اﻣﺮوزه ﻣﺎ اﻛﺜﺮ آﻧﻬﺎ را ﺑﻴﺸﺘﺮ ))ﻧﻈﻢ(( ﻣﻲ داﻧﻴﻢ و ﻧﻪ ﺷﻌﺮ‪ .‬ﺧﻮاﺟﻪ ﻧﺼﻴﺮاﻟﺪﻳﻦ ﻃﻮﺳﻲ در‬

‫‪ 552‬ﺷﻌﺒﺪه ﺑﺎزي‬

‫))ﻣﻌﻴﺎراﻻﺷﻌﺎر(( ﭼﻨﻴﻦ ﻣﻲ ﻧﻮﻳﺴﺪ ﻛﻪ‪...)) :‬اﻻ آﻧﻚ ﺗﺨﻴﻴﻞ را ﺣﻜﻤﺎي ﻳﻮﻧﺎن از اﺳﺒﺎب ﻣﺎﻫﻴﺖ ﺷﻌﺮ ﮔﺮﻓﺘﻪ اﻧﺪ‬

‫‪ 553‬ﻗﺎﻟﺐ رﻳﺨﺘﻪ ﮔﺮي‬

‫و ﺷﻌﺮاي ﻋﺮب و ﻋﺠﻢ از اﺳﺒﺎب ﺟﻮدت او ﻣﻲ ﺷﻤﺮﻧﺪ‪ .‬ﭘﺲ ﺑﻪ ﻗﻮل ﻳﻮﻧﺎﻧﻴﺎن ]ﺗﺨﻴﻴﻞ[ از ﻓﺼﻮل ﺷﻌﺮ ﺑﺎﺷﺪ‬

‫‪ 554‬ﺳﻮره اﻻﻧﺸﻘﺎق‪ ،‬آﻳﻪ ‪1‬‬

‫]ﺷﻌﺮ را از ﻏﻴﺮ ﺷﻌﺮ ﺟﺪا ﻣﻲ ﻛﻨﺪ[ و ﺑﻪ ﻗﻮل اﻳﻦ ﺟﻤﺎﻋﺖ ]ﺷﺮﻗﻴﺎن[ از اﻋﺮاض ]ﻛﻪ واﺟﺐ ﻧﻴﺴﺖ[ و ﺑﻪ ﻣﺜﺎﺑﻪ‬

‫‪ 555‬ﺳﻮره اﻟﺘﻜﻮﻳﺮ‪ ،‬آﻳﻪ ‪2‬‬ ‫‪ 556‬ﮔﻔﺘﻪ ﻣﺸﻬﻮر ﺣﺴﻴﻦ اﺑﻦ ﻋﻠﻲ در ﻫﻨﮕﺎم ﺷﻬﺎدت‪ .‬اﻳﻦ ﺗﺮاﻧﻪ در ﺑﻪ ﻛﺎرﮔﻴﺮي آﻳﺎت ﻗﺮآﻧﻲ و ﻫﻤﭽﻨﻴﻦ ﺳﻨﺖ‬ ‫رواﻳﻲ ﺷﻴﻌﻪ در ﺷﻜﺎﻳﺖ از ﺗﻘﺪﻳﺮ ﺗﻘﺮﻳﺒﺎ ﺑﻲ ﻧﻈﻴﺮ اﺳﺖ و ﻣﻦ ﻧﻤﻮﻧﻪ دﻳﮕﺮي از آن را ﻣﺸﺎﻫﺪه ﻧﻜﺮده ام‪.‬‬ ‫‪Also attributed to Sheix Shah Sanjan Xafi, Sobhani, and Rumi‬‬

‫‪260‬‬

‫‪557‬‬

‫ﻏﺎﻳﺖ اﺳﺖ )ﺳﻴﺮوس ﺷﻤﻴﺴﺎ‪ ،‬ﻧﻘﺪ ادﺑﻲ‪.(((71 ،‬‬ ‫اﻳﻦ ﺗﺮاﻧﻪ ﻫﺎ ﻛﻪ ﺑﻪ ﻃﻮر ﻋﻤﺪه ﺑﻪ اﻧﺘﻘﺎد زﻳﺮﻛﺎﻧﻪ – و ﻧﻪ ﻣﺜﻞ ﺗﺮاﻧﻪ ﻫﺎي دﺳﺘﻪ اول ﮔﻼﻳﻪ ﻏﻨﺎﻳﻲ ﺣﻤﺎﺳﻲ – ﻫﻢ از‬ ‫ﻛﺎﺋﻨﺎت و ﻫﻢ از ﭼﺎرﭼﻮﺑﻬﺎي ﻣﺬﻫﺒﻲ و اﺟﺘﻤﺎﻋﻲ ﻛﻪ ﺑﺮ اﺳﺎس اﺣﻜﺎم ))ﻣﺘﺎﻓﻴﺰﻳﻜﻲ(( ﺑﻪ وﺟﻮد آﻣﺪه ﻣﻲ‬

‫‪259‬‬

                                                                                                                                   

                                                                                                                                   

Doomsday 559 It is a Farsi expression, meaning empty, deserted, and barren 560 This has become a famous proverb in Farsi ‫ ﭼﻨﺎﻧﻜﻪ در‬،‫ ﺷﺎﻳﺪ ﻫﻢ زﻣﻴﻦ را ﺑﻪ ﺻﻮرت اﺳﺘﻌﺎري ﺑﻪ ﻣﻌﻨﻲ ﻣﺮﻛﺐ ﮔﺮﻓﺘﻪ اﺳﺖ‬.‫ ﻣﺤﺮوﻣﻲ‬،‫ ﻓﺴﺎد‬،‫ ﺗﺒﺎﻫﻲ‬561

FitzGerald’s rendering. The second one, meaning some things are pleasant when only heard of or seen from afar, contains the vestiges of a history rife with fear of armed conflicts, when the people anytime expected to fall victim to ferocious wars, and thus the unpleasantness of the sound of the drum which was the herald of war. It also reminds one of Bertolt Brecht’s famous drumbeating scene in the play Mother Courage and Her Children where the same sense of awe forebodes. Here is FitzGerald’s partial rendering of this Song: Some for the Glories of This World; and some Sigh for the Prophet’s Paradise to come; Ah, take the Cash, and let the Credit go Nor heed the rumble of a distant Drum! 584 Both Ancient and Fact are well-known terms in Islamic philosophical terminology. Ancient is the being that has not an origin, and is selfsufficient, free from the bond of time and space, standing by itself, and everything else emanating from or originating in it. The sole example ever to represent it, of course, is God. Fact, on the other hand, is a being which is not self-sufficient, and is dependent upon the Ancient. It goes without saying that Man and everything temporal and spatial represent the innumerable instances of Fact. ‫ ﻛﺘﺎب آﺳﻤﺎﻧﻲ‬،‫ رﺳﺎﻟﻪ‬585

558

.‫اﺻﻄﻼح ))ﺧﻨﮓ ﻧﻮﺑﺘﻲ(( در ﭼﻬﺎرﻣﻘﺎﻟﻪ ﺑﻪ ﻛﺎر رﻓﺘﻪ‬ ‫ و ﻣﻮﻟﻮي‬،‫ ﺳﺒﺤﺎﻧﻲ‬،‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺷﻴﺦ ﺷﺎه ﺳﻨﺠﺎن ﺧﻮاﻓﻲ‬562 ‫ ﺳﺎﺧﺘﻪ‬563 ‫ ﺑﻬﺸﺖ و ﺟﻬﻨﻢ‬564 565

Endorse Fancy 567 Also attributed to Asireddin Omani 566

‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ اﺛﻴﺮاﻟﺪﻳﻦ اوﻣﺎﻧﻲ‬568 ‫ ﺑﺎ ﺧﺎﻃﺮه ﮔﺬﺷﺘﻪ اي ﺷﻴﺮﻳﻦ در ﺑﻬﺸﺖ‬569 ‫ ﻣﻨﺰﻟﮕﺎه دروﻳﺸﺎن و ﺻﻮﻓﻴﺎن‬570 ‫ ﻋﺬاب‬571 572

Lacking foresight, which is an irony targetting the supposed omniscience of God. This Song has also been attributed to Serajeddin Qomri Amoli 573 This line alludes to the mystical neo-Platonic theory of God as the Absolute Good and thus emanating only good, most famously put forth by the German philosopher Leibniz (1646-1716) as “We live in the best of all possible worlds in which everything is necessarily good”. 574 Ash blond, fair-haired. Huris are the beautiful virgins supposedly attending the pious Muslim in heaven ‫ آﻓﺮﻳﺪ‬،(‫ آﻣﻴﺨﺖ )ﻫﻤﭽﻮن ﮔﻞ‬575 ‫ ﺳﺎزي ﻫﻤﭽﻮن ﺗﺎر‬576 ‫ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺳﺮاج اﻟﺪﻳﻦ ﻗﻤﺮي آﻣﻠﻲ‬

577

‫اﻓﻼﻃﻮﻧﻲ ﺧﻴﺮ ﻣﻄﻠﻖ ﺑﻮدن ﭘﺮوردﮔﺎر اﺳﺖ ﻛﻪ اﻳﺠﺎب ﻣﻲ ﻛﻨﺪ ﺷﺮي از او ﺻﺎدر ﻧﺸﻮد‬- ‫ اﺷﺎره ﺑﻪ ﻧﻈﺮﻳﻪ ﻧﻮ‬578 ‫ ﻧﻬﺮي در ﺑﻬﺸﺖ ﻛﻪ ﺗﻤﺎم ﻧﻬﺮﻫﺎي دﻳﮕﺮ ﺑﻬﺸﺖ از آن ﺳﺮﭼﺸﻤﻪ ﻣﻲ ﮔﻴﺮﻧﺪ‬579 580

Toast Holy scripture 582 The personification of worldliness in the New Testament 583 This Song interestingly parallels two most famous Iranian proverbs. The first one, which has an exact counterpart in English as “a bird in the hand is worth two in the bush”, has already been naturalized in English through 581

261

‫ دردﻧﺎك‬586 ‫ ))ﻗﺪﻳﻢ(( و ))ﻣﺤﺪث(( ﻫﺮ دو از اﺻﻄﻼﺣﺎت ﻣﻌﺮوف ﻓﻠﺴﻔﻪ اﺳﻼﻣﻲ و ﺳﭙﺲ ﻓﺮزﻧﺪ ﻧﺎﺧﻠﻒ آن ﻛﻼم‬587 ،‫ ﻗﺪﻳﻢ وﺟﻮدي ﻛﺎﻣﻞ و رﻫﺎ از ﻗﻴﺪ زﻣﺎن و ﻣﻜﺎن و ﺑﻪ ﺧﻮد ﻣﺘﻜﻲ اﺳﺖ ﻛﻪ آﻏﺎز و ﭘﺎﻳﺎﻧﻲ ﻧﺪارد‬.‫اﺳﻼﻣﻲ اﻧﺪ‬ ‫ ﻣﺤﺪث‬.‫ ﺗﻨﻬﺎ ﻧﻤﻮﻧﻪ اي ﻛﻪ ﺑﺮاي آن ﻣﻌﺮﻓﻲ ﺷﺪه اﻟﺒﺘﻪ ﻣﺸﺨﺼﺎ ﭘﺮوردﮔﺎر ﻣﻲ ﺑﺎﺷﺪ‬.‫ﺑﻲ ﺧﺎﻟﻖ و ﺑﻲ ﻣﺮگ اﺳﺖ‬ .‫ اﻧﺴﺎن و ﻫﻤﻪ ﺟﻬﺎن ﻧﻤﻮﻧﻪ ﻫﺎي ﻣﻔﻬﻮم ﻣﺤﺪث اﻧﺪ‬.‫اﻣﺎ ﺑﻪ ﻋﻜﺲ ﻗﺪﻳﻢ ﻧﺎﻗﺺ اﺳﺖ و در ﺑﻨﺪ زﻣﺎن و ﻣﻜﺎن‬ 588

The use of the plural grammatical pronoun ‘they’ in order to refer to a singular subject is a stylistic feature of Farsi poetry that in the first place indicates the eminence and renown of the subject of the sentence, which is usually God, and secondly perhaps it unconsciously betrays the traces of the so-called “paranoid style of politics” in Iran that believes in the multitudinousness of the powers or hands that determine the fate of man (nobody knows by whom and from whence his fate is decided). See also the note to Song 52. 589 To beat the thin air 590 Doomsday. In Islamic tradition, when the Archangel Israfil sounds his trumpet on the Day of Judgment by the order of God, all the dead will rise

262

                                                                                                                                    manifestly with the characteristics and associations they maintained, covertly or overtly, before their death, demonstrating their true nature ‫ ﻣﺸﻜﻞ؛ ﻛﻨﺎﻳﻪ از ﺟﻬﺎن اﺳﺖ‬،‫ ﺑﻴﻤﺎري‬591 ‫ و‬،‫ اﺳﺘﻔﺎده از ﻓﻌﻞ ﺟﻤﻊ در درﺟﻪ اول ﺑﻪ ﻣﻌﻨﻲ اﻋﻠﻢ و ﻣﺸﻬﻮر ﺑﻮدن ﻧﻬﺎد ﺟﻤﻠﻪ اﺳﺖ ﻛﻪ ﻣﻌﻤﻮﻻ ﺧﺪاﺳﺖ‬592 ‫در درﺟﻪ دوم ﺷﺎﻳﺪ ﺑﻪ ﻃﻮر ﻧﺎﺧﻮدآﮔﺎه ﺑﻪ ﻗﺼﺪ ﺑﻴﺎن ﭼﻨﺪ دﺳﺘﻲ در ﺗﻌﻴﻴﻦ ﺳﺮﻧﻮﺷﺖ ﺧﻼﻳﻖ ﺑﻪ ﻛﺎر رﻓﺘﻪ )ﻫﻴﭻ‬ .(‫ﻛﺲ ﻧﻤﻲ داﻧﺪ ﻛﻪ ﺳﺮﻧﻮﺷﺘﺶ ﺗﻮﺳﻂ ﻛﻪ و از ﻛﺪام ﺟﺎﻧﺐ رﻗﻢ ﻣﻲ ﺧﻮرد‬

                                                                                                                                    ‫اﻳﻦ داغ ﻛﻪ ﻣﺎ ﺑﺮ دل دﻳﻮاﻧﻪ ﻧﻬﺎدﻳﻢ‬

‫ ))اﻣﺎ ﻣﻌﻨﻲ آن ﻛﻪ ﺑﻴﺸﺘﺮ ﺟﺎﻣﻪ ﻫﺎي اﻳﺸﺎن ﻛﺒﻮد ﺑﺎﺷﺪ ﻳﻜﻲ آن اﺳﺖ ﻛﻪ اﺻﻞ ﻃﺮﻳﻘﺖ اﻳﺸﺎن ﺑﺮ ﺳﻴﺎﺣﺖ و‬604 ‫ﺳﻔﺮ ﻧﻬﺎده اﻧﺪ و ﺟﺎﻣﻪ ﺳﻔﻴﺪ اﻧﺪر ﺳﻔﺮ ﺑﺮ ﺣﺎل ﺧﻮد ﻧﻤﺎﻧﺪ و ﺷﺴﺘﻦ وي دﺷﻮار ﺑﺎﺷﺪ و ﻫﺮ ﻛﺴﻲ ﺑﺪان ﻃﻤﻊ ﻛﻨﺪ‬ ‫ ﻣﺮﻳﺪان ﭼﻮن ﻣﻘﺼﻮد‬...‫و دﻳﮕﺮ آن ﻛﻪ ﻛﺒﻮد ﭘﻮﺷﻴﺪن ﺷﻌﺎر اﺻﺤﺎب ﻓﻮات و ﻣﺼﻴﺒﺖ اﺳﺖ و ﺟﺎﻣﻪ اﻧﺪﻫﮕﻨﺎن‬ ‫ ﻳﻜﻲ ﺑﺮ ﻓﻮت ﻋﺰﻳﺰي ﻛﺒﻮدي ﭘﻮﺷﻴﺪ و ﻳﻜﻲ ﺑﺮ ﻓﻮت ﻣﻘﺼﻮد )از‬.‫دل اﻧﺪر دﻧﻴﺎ ﻧﺪﻳﺪﻧﺪ ﻛﺒﻮد اﻧﺪر ﭘﻮﺷﻴﺪﻧﺪ‬ .(((840 ،‫ ﻓﺮﻫﻨﮓ اﺷﺎرات‬،‫ ﺑﻪ ﻧﻘﻞ از ﺳﻴﺮوس ﺷﻤﻴﺴﺎ‬،‫ﻛﺸﻒ اﻟﻤﺤﺠﻮب ﻫﺠﻮﻳﺮي‬

‫ ﻛﻨﺎﻳﻪ از ﻛﺎر ﺑﻴﻬﻮده ﻛﺮدن اﺳﺖ‬593

‫ ﻣﻲ زن‬605

‫ و ﺑﻪ ﻃﻮر ﻛﻞ ﺑﻪ ﻣﻌﻨﻲ ﻋﺒﺎدﺗﮕﺎه ﻛﺎﻓﺮان و‬،‫ واژه اي ﻫﻢ ﺑﻪ ﻣﻌﻨﺎي آﺗﺸﻜﺪه زرﺗﺸﺘﻴﺎن و ﻫﻢ ﻛﻨﻴﺴﻪ ﻳﻬﻮدﻳﺎن‬594 ‫ﻧﺎﻣﺴﻠﻤﺎﻧﺎن‬ ‫ ﻟﻐﻮﻳﺎن ﻣﻌﺘﻘﺪﻧﺪ ﻛﻪ اﻳﻦ‬.‫ ﺑﻪ ﻣﻌﻨﻲ ﻓﺮﺷﺘﻪ ﺳﻴﻪ ﭼﺸﻢ )و ﺳﭙﻴﺪ اﻧﺪام( ﻣﻲ ﺑﺎﺷﺪ ﻛﻪ ﺑﺴﻴﺎر ﻫﻮس ﺑﺮاﻧﮕﻴﺰ اﺳﺖ‬595 ‫اﺻﻄﻼح از ﭘﻬﻠﻮي وارد ﻋﺮﺑﻲ ﺷﺪه‬ ‫ ﺷﻬﺪ‬596 597

Also attributed to Ahmad Qazali (12th century) “But the significance of their almost always wearing a purple garb [it is actually black or sable which is called purple. As Kadkani says, the range of the colors known by the Iranians of old was very limited, and their true nature must in effect be deduced from the context. And this is why the colors are mostly confused in the modern readings of Iranian classical literature such as this] is that they have made it a principle of their Way to spend their lives as wayfarers, and it is very well known that the white garb would certainly be spoiled and marred in the course of the wayfaring and its cleaning would prove a burden during the travel, and also every greedy knave would set his heart upon stealing it. But then again wearing purple is the custom of those who mourn. Since these wayfarers did not find the delight of their heart in this world, they took to wearing purple. One put on purple for the loss of his parent and the other for the loss of his content (extracted from Kashfolmahjub by Hojviri, Sirous Shamissa, A Dictionary of Persian Literary References, 840)”. 599 A shot of wine 600 The Prayer rug; the piece of ornamented fabric on which a Muslim stands and sits to say his prayer 601 Abstinence ‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ اﺣﻤﺪ ﻏﺰاﻟﻲ‬602 598

:‫ و ﺣﺎﻓﻆ ﻫﻢ ﻣﻲ ﮔﻮﻳﺪ‬603

263

‫در ﺧﺮﻣﻦ ﺻﺪ زاﻫﺪ ﺳﺎﻟﻚ زﻧﺪ آﺗﺶ‬

‫ اﻧﮕﺸﺘﺎن را ﺑﺮ ﭼﻨﮓ ﻧﻮاﺧﺘﻦ‬606 607

If there had not been around the myriad examples of this truth in the history of Iran, I would have inclined to see such kind of attitude as shaped under the influence of the Chinese and particularly the Taoistic teachings that in most probability through the trade routes, the most well-known of them the Silk Road, that had been opened as early as the era of the Parthians (ca. 100 B.C.E.) toward Western China had made their way into the Persian worldview and then its literature. Of course it can be said that in the everinsecure political geography of the Orient that each moment was, and as a matter of fact still is, pregnant with the threat of military catastrophes and religious calamities, some worldviews have been automatically put to sharing by the different people of the region, whether in China or in Iran. Anyway, this note, as well as some others, is the result of one of my major preoccupations with locating the influences of the collective Altaic culture (the very Turkic, Chinese, Turani) on the form and the content of the Songs, and also the comparison of the epistemological traits of the Songs with those of the Taoistic verses that in many ways prove to be similar to one another. 608 Only when one becomes informed of the fact that just recently quite a few people were summarily executed in Iran as Moharebs (the Rebels Against God!) because of their opposition to the regime that he will understand how this piece and the like which have perhaps been composed centuries ago still hold true in the very context of the Iranian society today, and that how religious discourse is still used as a ruthlessly effective means of suppressing any diverging voice. 609 The extreme conservatism and the shrinking from any responsibility for fear of the commonly grave consequences that follow it which have been consolidated in the Iranian people as generally unwholesome habits in the passage of their long history have been put into the form of the musical pieces of advice in these Songs, which in their own place could prove to be of use for the historical study of the pathology of the Iranian people’s social

264

                                                                                                                                   

                                                                                                                                   

psychology. For instance, it can be said that it is this very rooted and longrunning conservatism among the Iranians that has always resulted in instantaneous ‘sensational’ upheavals that reach nowhere for the fact that they have not been ‘reasonably’ programmed beforehand; for as we were recently able to observe quite clearly, if the state is strong enough to bear the brunt of these sporadic ‘upheavals’ for a rather short time, it is very likely that it will weather them and then reappear in the end as an even more obdurate Leviathan for a rather long time, during which it can prepare itsef even the better for the coming feat of disobedience posed to it by its subjects, and this viscious circle goes on until those very suppressed subjects somehow prove the stronger, and by overthrowing the present system establish their own probably stronger regime of suppression in turn (remember De Tocqueville’s “Revolutions invariably produce stronger states”). 610 Catch ‫ ﺗﻤﺎﻳﻞ داﺷﺘﻢ ﻛﻪ ﭼﻨﻴﻦ ﻃﺮز‬،‫ اﮔﺮ ﻧﺒﻮدﻧﺪ ﻧﻤﻮﻧﻪ ﻫﺎي ﻓﺮاوان ﻣﺼﺪاق ﻋﻤﻠﻲ ﭼﻨﻴﻦ ﮔﻔﺘﻪ اي در ﺗﺎرﻳﺦ اﻳﺮان‬611

‫ ﻣﺤﺎﻓﻈﻪ ﻛﺎري ﺷﺪﻳﺪ و ﺳﻠﺐ ﻣﺴﻮوﻟﻴﺖ از ﺧﻮﻳﺸﺘﻦ ﺑﻪ دﻟﻴﻞ ﻧﺘﺎﻳﺞ ﺧﻄﺮﻧﺎك آن ﻛﻪ ﺑﻪ ﻃﻮر ﻋﻤﺪه ﻋﺎدت‬614

‫ﺗﻔﻜﺮي را ﺗﺎ ﺣﺪود زﻳﺎدي ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﺟﻬﺎن ﺑﻴﻨﻲ ﺗﺎﺋﻮﻳﻲ ﻛﻪ اﺣﺘﻤﺎﻻ در اﺛﺮ راﺑﻄﻪ ﺗﺠﺎري اﻳﺮاﻧﻴﺎن ﺑﺎ ﭼﻴﻨﻴﺎن‬ ‫ﻏﺮﺑﻲ از ﻃﺮﻳﻖ راه ﻫﺎي اﺑﺮﻳﺸﻢ از دوره اﺷﻜﺎﻧﻴﺎن ﺑﻪ ﺑﻌﺪ وارد ﺟﻬﺎن ﺑﻴﻨﻲ اﻳﺮاﻧﻲ و ﺳﭙﺲ ﺷﻌﺮ ﻓﺎرﺳﻲ ﺷﺪه‬ ‫ اﻟﺒﺘﻪ ﻣﻲ ﺗﻮان ﮔﻔﺖ ﻛﻪ در ﺟﻐﺮاﻓﻴﺎي ﺳﻴﺎﺳﻲ ﻧﺎاﻣﻦ ﺷﺮق ﻛﻪ ﻫﺮ ﻟﺤﻈﻪ آﺑﺴﺘﻦ ﺣﺎدﺛﻪ اي ﺑﻮده و ﻫﺴﺖ‬.‫ﺑﺪاﻧﻢ‬ ‫ﺑﺮﺧﻲ ﻣﻮاﺿﻊ ﺟﻬﺎن ﺑﻴﻨﺎﻧﻪ ﺑﺮ اﺳﺎس ﺗﺠﺮﺑﻪ ﻣﺸﺘﺮك ﺧﻮد ﺑﻪ ﺧﻮد ﺑﻴﻦ اﻗﻮام ﻣﺘﻔﺎوت ﺑﻪ اﺷﺘﺮاك ﮔﺬاﺷﺘﻪ ﺷﺪه‬ ‫ در ﻫﺮ ﺻﻮرت اﻳﻦ ﻳﺎدداﺷﺖ ﻧﺘﻴﺠﻪ ﻳﻜﻲ از دﻏﺪﻏﻪ ﻫﺎي ﺑﺰرگ ﻧﮕﺎرﻧﺪه در‬.‫ ﭼﻪ در ﭼﻴﻦ ﺑﺎﺷﺪ ﭼﻪ اﻳﺮان‬،‫اﻧﺪ‬ ،‫ﭘﻴﺪا ﻛﺮدن ﻳﻜﻲ از رﻳﺸﻪ ﻫﺎي اﺣﺘﻤﺎﻟﻲ اﻧﺪﻳﺸﻪ ﻫﺎي ﻣﻮﺟﻮد در ﺗﺮاﻧﻪ ﻫﺎ در ﻓﺮﻫﻨﮓ آﻟﺘﺎﻳﻲ )ﻫﻤﺎن ﺗﺮﻛﻲ‬ ‫ ﺗﻮراﻧﻲ( و اﻟﺒﺘﻪ ﻣﻘﺎﻳﺴﻪ ﻣﻌﺮﻓﺖ ﺷﻨﺎﺧﺘﻲ و ﺗﺼﻮﻳﺮي ﺗﺮاﻧﻪ ﻫﺎ ﺑﺎ ﺳﺮوده ﻫﺎي ﺗﺎﺋﻮﻳﻲ ﻛﻪ از ﻗﻀﺎ ﺑﻪ ﻃﺮﻗﻲ‬،‫ﭼﻴﻨﻲ‬ .‫ﺑﺴﻴﺎر ﺑﻪ ﻫﻢ ﻧﺰدﻳﻚ اﻧﺪ ﻣﻲ ﺑﺎﺷﺪ‬ ‫ ﺧﻮدﺷﺎن‬612 :‫ در اﻳﻦ ﻣﻌﻨﻲ ﺳﺨﻦ ﻣﻮﻟﻮي را ﻫﻢ ﺑﺸﻨﻮﻳﺪ‬613 ‫ﮔﺮ ﺧﺮم ﮔﻴﺮﻧﺪ ﻫﻢ ﻧﺒﻮد ﺷﮕﻔﺖ‬ ‫ﺟﺪ ﺟﺪ ﺗﻤﻴﻴﺰ ﻫﻢ ﺑﺮﺧﻮاﺳﺘﻪ اﺳﺖ‬ ‫ﺻﺎﺣﺐ ﺧﺮ را ﺑﻪ ﺟﺎي ﺧﺮ ﺑﺮﻧﺪ‬

‫ﮔﻔﺖ ﺑﺲ ﺟﺪاﻧﺪ و ﮔﺮم اﻧﺪر ﮔﺮﻓﺖ‬ ‫ﺑﺤﺮ ﺧﺮﮔﻴﺮي ﺑﺮآوردﻧﺪ دﺳﺖ‬ ‫ﭼﻮﻧﻜﻪ ﺑﻲ ﺗﻤﻴﻴﺰﻳﺎن ﻣﺎن ﺳﺮورﻧﺪ‬

‫و ﺑﻪ راﺳﺘﻲ ﭼﻄﻮر ﺷﺪ ﻛﻪ ﭼﻨﻴﻦ داﺋﺮه اﻟﻤﻌﺎرف ﺑﺰرگ ﺳﺎﺧﺘﺎرﺷﻜﻨﺎﻧﻪ اي ﺻﺮﻓﺎ ﺑﻪ ))ﻟﻨﮕﺮﮔﺎه ادﺑﻴﺎت‬ ‫ﻋﺮﻓﺎﻧﻲ(( ﺗﻌﺒﻴﺮ ﺷﺪ؟‬

265

‫اﻳﺮاﻧﻲ ﺟﻤﺎﻋﺖ ﺷﺪه در اﻳﻦ ﺗﺮاﻧﻪ ﻫﺎي اﺧﻴﺮاﻟﺬﻛﺮ ﺑﻪ ﻗﺎﻟﺐ ﻧﺼﻴﺤﺖ ﻣﻨﻈﻮم درآﻣﺪه ﻛﻪ در ﺟﺎﻳﮕﺎه ﺧﻮد ﻣﻔﻴﺪ‬ ‫ ﻫﻤﻴﻦ ﻣﺤﺎﻓﻈﻪ ﻛﺎري ﻧﻬﺎدﻳﻨﻪ ﺷﺪه‬،‫ ﺑﻪ ﻫﻤﻴﻦ ﺗﺮﺗﻴﺐ‬.‫ﺑﺮرﺳﻲ رواﻧﺸﻨﺎﺳﻲ و آﺳﻴﺐ ﺷﻨﺎﺳﻲ اﺟﺘﻤﺎﻋﻲ ﻣﻲ ﺑﺎﺷﺪ‬ ‫ ﭼﻪ ﻫﻨﮕﺎﻣﻲ ﻛﻪ ﻣﻴﺰان ﺗﻨﺶ اﻓﺰاﻳﺶ ﭘﻴﺪا ﻣﻲ‬،‫ﺗﺎرﻳﺨﻲ اﺳﺖ ﻛﻪ در ﺑﻠﻨﺪﻣﺪت ﺑﻪ اﻧﻘﻼﺑﻬﺎي ﺧﻮﻧﻴﻦ ﻣﻨﺠﺮ ﺷﺪه‬ .‫ ﺟﺎﻣﻌﻪ ﺑﻪ ﻃﻮر ﻗﻄﻊ ﺑﻪ ﻧﻘﻄﻪ اﻧﻔﺠﺎر ﺧﻮاﻫﺪ رﺳﻴﺪ‬،‫ﻛﻨﺪ ﺑﺪون اﻳﻨﻜﻪ ﺟﺎي ﺧﺮوﺟﻲ ﺑﺮاي آن وﺟﻮد داﺷﺘﻪ ﺑﺎﺷﺪ‬ 615

Stroke, fondle Rosary beads; a string of beads used in praying by the followers of Islam as well as by the followers of many other religions 617 As the original of this phrase reminds to me Edmund Spenser’s allegorical characters, I translated it so as to sound like a Spenserian allegory 618 Also attributed to Emad Faqih Kermani 619 According to the classic Islamic Law, it is incumbent upon a believer to shed the blood of the enemy of his faith 620 This Song, though seemingly a simply sarcastic piece, takes acute critical issue with a matter of grave importance in the history of Iran, i.e. the Question of Monochromatism, which means the seeing of all things in just one color or through just one hole. Incidentally, the recent onslaught of the Supreme Leader on the “issue of humanities” and his much-emphasized decree regarding its urgent ‘Islamization’ that is directly aimed at a remonochromatization of the epistemology of the people that had already set upon thier national process of enlightenment during the tenure of the socalled Government of Reforms under president Mohammad Khatami is a lucid contemporary example of what has been going on through ages in the history of Iran; which in turn develops the fear that the leaders of this System, like those in many ideological governments, the most notorious being North Korea, are planning to cut off the nation from the world through narrowing their point of view by hindering their access to fresh information and interpretation, which can be observed also in the monopolizing of the Internet by the state. In this vein, the most-debated-upon Iranian neuclear project that in most likelihood is going to lead to the production of atomic bombs could be the most convenient means with which to suppress the people – if not for good – for a quite considerable stretch of time, and as a matter of fact its primary use in most probability is going to be majorly for silencing the people inside rather than dettering the imaginary ‘West’ (remember Orwell’s Eurasia and Eastasia) to intercede or intervene in Iranian affairs. 616

266

                                                                                                                                   

                                                                                                                                   

By the way, it must not go unnoticed that one of the most prominent intellectual and political incentives that in an indirect manner was responsible for the rise and then unchecked growth of fundamentalism in quite a few countries of the so-called Third World, perhaps the most nefarious of them being Iran and North Korea, was the anti-authoritarian Post-Modern movement itself that by muddying the waters and clouding the skies purportedly in order to dissolve the so-called monochromatic ‘binary oppositions’ of the West provided the chance for a number of wholly irrational and militant ideologies to establish themselves as Ideal-State doctrines by taking the advantage of the twisted versions of the relentlessly decentralizing critiques of the West by a few disillusioned Westerners (it is also well-known that some of the Post-Modern thinkers initially gave their patent support to the mystified Revolution of 1979 in Iran) and treacherously embarking upon building their own versions of oppressive regimes of truth ironically in a strident officially-articulated binary opposition to the West. ‫ ﺗﺎج اﺑﺮﻳﺸﻤﻲ ﻣﺰﻳﻦ ﺑﻪ ﺟﻮاﻫﺮات‬621

‫ ﺑﻪ ﻣﻌﻨﻲ دوز و ﻛﻠﻚ اﺳﺖ‬.‫ ﻣﺨﻔﻒ داﺳﺘﺎن‬632 ‫ ﻣﻐﺮور‬633 ‫ آواز ﺧﻮش و ﻃﺮب اﻧﮕﻴﺰ‬634 ‫ آﺗﺶ ﭘﺮﺳﺖ‬635 ‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﺑﺎﺑﺎ اﻓﻀﻞ ﻛﺎﺷﻲ‬636 637

‫ ﺑﻲ دﻗﺘﻲ دﻳﮕﺮ‬.‫ﻗﺎﻓﻴﻪ ﺟﻮر ﻛﻨﺪ ﺟﻤﻊ ﻣﻜﺴﺮ ﻛﻠﻤﻪ ))ﻋﺪو(( را آورده و ﺳﺎﺧﺘﺎر دﺳﺘﻮري ﺟﻤﻠﻪ را ﺑﻪ ﻫﻢ زده‬

Reed (Farsi); also a pun on English ‘nay’, the word for saying no in voting. This Song, seemingly about wine, seems to be a protesting piece in effect, scolding the dogged and futile efforts of the dictatorial authorities to impede or divert the course of what purports to be more ‘natural’ than what they are likely to dictate, which is absolutely the case in Iran at present 638 As a traditional container and natural enricher of wine 639 Perhaps the last two lines of this Song can be paraphrased like this: as the cock’s crown is immediately visible to any beholder, the crock upon the head of the drinker will be too. This is the very thing that Byron would have done regarding his disgust of cant. By the way, as I will explain in respect to the last Song of this collection, the ‘cock’ in Farsi, beside the bird, also used to be the name of a kind of container for wine which resembled its namesake ‫ ﭘﺲ ﭼﻮب ﻧﺒﻴﺬ ﻗﺎﻋﺪﺗﺎ ﺑﺎﻳﺪ اﺷﺎره ﺑﻪ ﭼﻮب ﻧﺨﻞ ﻳﺎ ﺗﺎك ﺑﺎﺷﺪ ﻛﻪ اﻟﺒﺘﻪ‬،‫ ﻧﺒﻴﺬ ﺷﺮاب ﺧﺮﻣﺎ و اﻧﮕﻮر اﺳﺖ‬640

‫ و ﻣﻦ‬،‫ ﭼﻮن ﺧﻮد ﻣﻲ ﻇﺎﻫﺮا ﻧﻤﺎد ﺧﻮن اﺳﺖ‬،‫ﺳﺮاﻳﻨﺪه اﺳﺘﻔﺎده از ))ﻣﻲ(( ﺑﻮد ﻛﻪ ﻧﻤﻲ ﺷﺪ ﺧﻮن آن را ﺧﻮرد‬

‫ﺗﺮﻛﻴﺒﻲ ﻏﺮﻳﺐ اﺳﺖ‬

.‫ﺑﻪ ﺟﺎي آن ))رز(( آوردم ﻛﻪ ﺣﺪاﻗﻞ از ﻧﻈﺮ ﻣﻌﻨﺎﻳﻲ ﺣﺸﻮ ﻧﺪاﺷﺘﻪ ﺑﺎﺷﺪ‬

‫ ﺗﻨﺒﻮر‬،‫ ﺳﺎزي ﺗﺎر دار‬641

‫ اﺷﺎره ﺑﻪ ﻣﺒﺎح ﺑﻮدن ﺧﻮن دﺷﻤﻦ دﻳﻦ در اﺳﻼم دارد‬624

،‫ ﺑﻪ ﻟﺤﻦ و ﻣﻮﺿﻮع اﻳﻦ ﺗﺮاﻧﻪ ﺗﻮﺟﻪ ﻛﻨﻴﺪ ﻛﻪ ﺑﻪ ﺑﻴﻬﻮده ﮔﻲ ﭼﻮب ﻧﮕﻪ داﺷﺘﻦ ﺑﺎﻻي ﺳﺮ ﻣﺮدم ﻣﻲ ﭘﺮدازد‬642

‫ در ﺣﻘﻴﻘﺖ ﺑﻪ ﻣﺸﻜﻞ ﻣﻌﺮﻓﺖ‬،‫ اﻳﻦ ﻗﻄﻌﻪ ﻣﻨﻈﻮم ﻛﻪ در ﻇﺎﻫﺮ ﻓﻘﻂ ﻛﻨﺎﻳﻪ اي ﺗﻠﺦ اﺳﺖ ﺑﻪ ﺑﺎﻧﻴﺎن اﻣﻮر‬625

!‫زﻳﺮا ﻛﻪ آﻧﭽﻪ ﺑﺎﻳﺪ اﺗﻔﺎق ﺑﻴﻔﺘﺪ )ﭼﻮن روﻳﻴﺪن ﻧﻲ از زﻣﻴﻦ( در ﻫﺮ ﺻﻮرت اﺗﻔﺎق ﺧﻮاﻫﺪ اﻓﺘﺎد‬

‫ﺷﻨﺎﺧﺘﻲ ﺑﺴﻴﺎر ﺑﺰرﮔﺘﺮي در ﺗﺎرﻳﺦ اﻳﺮاﻧﻴﺎن اﺷﺎره ﻣﻲ ﻛﻨﺪ ﻛﻪ ﻫﻤﺎﻧﺎ ﻣﺸﻜﻞ ))ﻛﻮر رﻧﮕﻲ(( و ﻳﺎ ))ﺗﻚ رﻧﮓ‬

‫ دورﻧﮕﻲ‬،‫ رﻳﺎ‬643

‫ ﺑﻪ اﻳﻦ ﻣﻌﻨﻲ ﻛﻪ در ﻗﺎﻣﻮس اﻳﺮاﻧﻴﺎن و ﺑﻪ ﺧﺼﻮص ﺑﺎﻧﻴﺎن اﻣﻮر آﻧﻬﺎ ﺗﻤﺎم ﻣﺴﺎﺋﻞ زﻧﺪﮔﻲ‬،‫ﺑﻴﻨﻲ(( ﻣﻲ ﺑﺎﺷﺪ‬

‫ ﺻﺮاﺣﻲ ﻣﻲ‬644

.‫ﻣﻌﻤﻮﻻ ﻓﻘﻂ از ﻳﻚ ﻣﻨﻈﺮ و ﺗﻨﻬﺎ ﺑﻪ ﻳﻚ رﻧﮓ دﻳﺪه ﻣﻲ ﺷﻮﻧﺪ و ﺣﺎﻟﺖ دﻳﮕﺮي ﺑﺮاي آﻧﻬﺎ ﻣﺘﺼﻮر ﻧﻴﺴﺖ‬

‫ ﺑﻪ ﻣﺮاﻋﺎت اﻟﻨﻈﻴﺮ اﻳﻬﺎم آﻣﻴﺰ اﻳﻦ ﻣﺼﺮاع ﺗﻮﺟﻪ ﻛﻨﻴﺪ ﻛﻪ ﻫﺮ دوي ))ﭼﻨﮓ(( و ))ﻧﺎي(( ﻣﻲ ﺗﻮاﻧﻨﺪ آﻻت‬645

Judge, with a pun on Judas Slander 628 Lose control of their tide 629 A Muslim mystic. They are called so because of their wearing of ‘Suf’, a coarse garment made of goat’s wool 630 Also attributed to Baba Afzal Kashi ‫ درﺧﺖ اﻧﮕﻮر‬،‫ ﺗﺎك‬631

.‫ و ﺗﻨﻬﺎ ﺑﺎ ﺣﻀﻮر ﻛﻠﻤﻪ ))دل(( ﺑﻪ اﻋﻀﺎي ﺑﺪن ﺗﺒﺪﻳﻞ ﻣﻲ ﺷﻮﻧﺪ‬،‫ﻣﻮﺳﻴﻘﻲ ﺑﺎﺷﻨﺪ‬

‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻋﻤﺎد ﻓﻘﻴﻪ ﻛﺮﻣﺎﻧﻲ‬622 ‫ ﺳﺮاﻳﻨﺪه اﻳﻦ ﺗﺮاﻧﻪ ﺑﺮاي اﻳﻨﻜﻪ‬،‫( اﻇﻬﺎر ﻛﺮده‬221) ‫ ﻫﻤﺎﻧﻄﻮر ﻛﻪ ﻋﻠﻲ دﺷﺘﻲ در دﻣﻲ ﺑﺎ ﺧﻴﺎم‬.‫ دﺷﻤﻦ اﺳﺖ‬623

626 627

267

‫ ﺑﺮاي ﻧﻘﺶ اﺟﺘﻤﺎﻋﻲ ﻣﺤﺘﺴﺐ در اﻳﺮان ﺑﻪ ﻛﺘﺎب ﺳﻴﺮي در‬.‫ آﻣﺮ ﺑﻪ ﻣﻌﺮوف و ﻧﺎﻫﻲ از ﻣﻨﻜﺮ در دوران ﻗﺪﻳﻢ‬646 ‫( ﻛﻪ ﻣﺠﻤﻮﻋﻪ ﻣﻘﺎﻻﺗﻲ ﺑﻪ ﻗﻠﻢ آن ﻛﺎﺗﺮﻳﻦ ﺳﻮﻳﻨﻔﻮرد ﻟﻤﺘﻮن و ﺑﻪ ﺗﺮﺟﻤﻪ‬1385) ‫ﺗﺎرﻳﺦ اﻳﺮان ﺑﻌﺪ از اﺳﻼم‬ .‫ دﻟﻤﺸﻐﻮﻟﻲ ﺳﻌﺪي و ﺣﺎﻓﻆ و ﭘﺮوﻳﻦ ﺑﺎ ﻣﺤﺘﺴﺐ ﻫﻢ اﻟﺒﺘﻪ ﻣﺸﻬﻮر اﺳﺖ‬.‫ﻳﻌﻘﻮب آژﻧﺪ ﻣﻲ ﺑﺎﺷﺪ ﻧﮕﺎه ﻛﻨﻴﺪ‬

268

                                                                                                                                   

                                                                                                                                   

‫ ﺑﻪ ﻛﺎرﮔﻴﺮي ))اﺳﺘﺜﻨﺎي ﻣﻨﻘﻄﻊ(( ﺑﻪ ﺷﻴﻮه ﺳﺒﻚ ﻋﺮاﻗﻲ و ﭘﺲ از آن ﻛﻪ در آﺛﺎر ﺳﻌﺪي و ﺣﺎﻓﻆ ﺑﻪ ﻓﺮاواﻧﻲ‬647

‫ ﭘﺲ ﺣﻖ ﺗﻌﺎﻟﻲ ﮔﺎوي ﺑﻴﺎﻓﺮﻳﺪ در ﺟﻨﺎت ﻓﺮدوس و آن ﮔﺎو را ﭼﻨﺪﻳﻦ ﻫﺰار دﺳﺖ و ﭘﺎ و ﺑﺰرﮔﻲ آن‬...))

‫ﻣﺸﺎﻫﺪه ﻣﻲ ﺷﻮد از دﻳﮕﺮ دﻻﻳﻞ ﺳﺒﻚ ﺷﻨﺎﺳﻲ ﺗﻌﻠﻖ اﺣﺘﻤﺎﻟﻲ ﺑﺴﻴﺎري از ﺗﺮاﻧﻪ ﻫﺎي اﺧﻴﺮ ﺑﻪ دوره ﻫﺎي ﻣﺘﺎﺧﺮ‬

‫ ﭘﺲ آن ﮔﺎو ﺑﻪ ﻗﺪرت ﺧﺪا ﻣﻌﻠﻖ در ﻫﻮا‬...‫ﭼﻨﺪان اﺳﺖ ﻛﻪ ﺷﺎخ ﻫﺎي آن ﮔﺎو از ﻫﻔﺖ آﺳﻤﺎن ﮔﺬﺷﺘﻪ اﺳﺖ‬

‫اﺳﺖ‬

‫ ﭘﺲ ﺣﻀﺮت ﻋﺰت ﻛﻢ ﻛﻢ او را ﺑﺮ ﭘﺸﺖ ﻣﺎﻫﻲ ﻧﻬﺎد ﺗﺎ ﻗﺮار ﮔﺮﻓﺖ و اﻳﻦ ﻣﺎﻫﻲ آن اﺳﺖ ﻛﻪ ﺣﻖ ﺗﻌﺎﻟﻲ‬.‫ﺑﻤﺎﻧﺪ‬

The Pleiades, an open cluster of more than 300 hundred stars in the constellation Taurus (Bull), six of which are visible to the naked eye 649 Terrain, Earth. A reference to an ancient story of creation (I don’t remember its origin) which asserts that Earth rests upon the horn of a bull 650 Bowls (French) 651 As I mentioned before, it is one of the interesting peculiarities of the Songs that they, in spite of the official Iranian literature which is suffocatingly caught in the grip of manners and decorum, can range free everywhere in the realm of life and make a subject of almost any matter which proves worthy of concern. In line with this, the present Song and the two following it address themselves to nothing less than the familiar decentralizing motif of ‘Escape from School’ as a center of castration and homogenization. The writer of these lines who is himself one of the more well-known victims of not bowing to the edict of a monopolizing established system can through personal experience and observation with confidence and a clear conscience declare that the prevailing attitude in the state universities of contemporary Iran, much the same as in the medieval universities (school in old Farsi, exactly like in Latin, means university. Remember the famous Nezamieh Schools) and the Pahlavi universities, generally proves to be the attitude of educating ‘conformable work force’ rather than ‘knowledgeable – though nonconformable – expert’. Consequently, whosoever is found with even a grain of nonconformity in him will be ousted from the academic environment, which is why the concept of the “Iranian Expert Educated in the State Universities of Iran” rings a suspicious bell for the people in general these days, for they are perfectly aware of the fact that most of the Iranian ‘experts’ are in effect banished from the world of the academy for good and then effectively silenced, and a smaller number are forced to go on exile. Consequently, it proves completely relevant that the term “brain drain” was used for the first time to describe this process in Iran. 652 Also attributed to Abu Sa’iid Abolxeir, Mohammad Qazali, and Rumi ‫ وﻟﻲ ﻫﺮﭼﻪ ﻓﻜﺮ ﻣﻲ ﻛﻨﻢ ﺑﻪ ﺧﺎﻃﺮ ﻧﻤﻲ آورم‬،‫ ﻃﺒﻖ ﻳﻚ اﻓﺴﺎﻧﻪ ﺑﺎﺳﺘﺎﻧﻲ )ﻛﻪ ﻣﻨﺸﺎ آن ﻣﻄﻤﺌﻨﺎ اﻳﺮاﻧﻲ ﻧﻴﺴﺖ‬653

.(((604 ،‫ ﻓﺮﻫﻨﮓ اﺷﺎرات‬،‫در ﻗﺮآن ﻣﺠﻴﺪ ﻳﺎد ﻛﺮده اﺳﺖ )ﺳﻴﺮوس ﺷﻤﻴﺴﺎ ﺑﻪ ﻧﻘﻞ از ﺳﺮاج اﻟﻘﻠﻮب‬

648

.‫ﻛﻪ اﺻﻞ آن را ﻛﺠﺎ دﻳﺪه ام( زﻣﻴﻦ ﺑﺮ ﺷﺎخ ﮔﺎوي ﻗﺮار ﮔﺮﻓﺘﻪ ﻛﻪ ﺑﺮ ﭘﺸﺖ ﻣﺎﻫﻲ اي ﺳﻮار اﺳﺖ‬

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:‫ﻣﻮﻟﻮي ﻫﻢ ﻣﻲ ﮔﻮﻳﺪ‬ ‫زﻳﻦ دو اﮔﺮ ﻣﻦ ﺑﺠﻬﻢ ﺑﺨﺖ ﺑﻮد ﭼﻨﺒﺮ ﻣﻦ‬

‫ ﮔﺎو دﮔﺮ زﻳﺮ زﻣﻴﻦ‬،‫ﮔﺎو ﺑﺮ اﻳﻦ ﭼﺮخ ﺑﺮﻳﻦ‬

‫ از ﺷﮕﻔﺘﻲ ﻫﺎي ﺗﺮاﻧﻪ ﻫﺎ اﻳﻦ اﺳﺖ ﻛﻪ در ﺣﻮزه ادﺑﻴﺎت ﻓﺎرﺳﻲ – ﻛﻪ ﻋﻠﻲ رﻏﻢ‬،‫ ﻫﻤﺎﻧﻄﻮر ﻛﻪ ﭘﻴﺸﺘﺮ ﮔﻔﺘﻢ‬654 ‫ﻓﺮاواﻧﻲ ﺷﻴﻮه ﻫﺎي ﺑﻴﺎﻧﻲ آن اﺻﻮﻻ از ﻟﺤﺎظ ﻣﻀﻤﻮن ﺑﻪ ﺷﺪت ﻣﺤﺪود اﺳﺖ – ﺑﺪون دﻏﺪﻏﻪ ﻫﺎي ﻗﺎﻟﺒﻲ‬ ‫رﺳﻤﻲ ﺗﻘﺮﻳﺒﺎ ﺑﻪ ﻫﺮ ﻣﻮﺿﻮﻋﻲ ﻣﻲ ﭘﺮدازﻧﺪ و ﺑﻪ اﺻﻄﻼح از ﻫﺮ دﻓﺘﺮي ورﻗﻲ ﻣﻲ آورﻧﺪ و دﺳﺖ رد ﺑﻪ ﺳﻴﻨﻪ‬ ‫ ﺗﺮاﻧﻪ ﺣﺎﺿﺮ و دو ﺗﺮاﻧﻪ ﭘﺲ از آن ﺑﻪ ﻣﻮﺗﻴﻒ ﺳﺎﺧﺘﺎرﮔﺮﻳﺰاﻧﻪ دﻳﺮآﺷﻨﺎي‬،‫ ﺑﻪ ﻫﻤﻴﻦ ﺗﺮﺗﻴﺐ‬.‫ﻛﺴﻲ ﻧﻤﻲ زﻧﻨﺪ‬ ‫ ﻧﮕﺎرﻧﺪه ﻛﻪ ﺧﻮد از‬.‫))ﻓﺮار از ﻣﺪرﺳﻪ(( ﺑﻪ ﻋﻨﻮان ﻣﺮﻛﺰ ))اﺧﺘﻪ ﺳﺎزي(( و ))ﻫﻤﮕﻮن ﺳﺎزي(( ﻣﻲ ﭘﺮدازﻧﺪ‬ ‫ﻗﺮﺑﺎﻧﻴﺎن ﻣﺸﻬﻮر ﺳﺮ ﻓﺮود ﻧﻴﺎوردن ﺑﻪ ))ﻣﺎﻓﻴﺎي ﻗﺪرت(( و ))ﻃﺮﻳﻘﺖ ﻣﺪرﺳﻪ(( ﻣﻲ ﺑﺎﺷﺪ ﻣﻲ ﺗﻮاﻧﺪ از ﻃﺮﻳﻖ‬ ‫ﺗﺠﺮﺑﻪ ﺷﺨﺼﻲ و ﻋﻴﻨﻲ اﻇﻬﺎر ﻛﻨﺪ ﻛﻪ ﺟﻮ ﺣﺎﻛﻢ ﺑﺮ داﻧﺸﮕﺎه ﻫﺎي دوﻟﺘﻲ اﻳﺮان ﻫﻤﭽﻮن داﻧﺸﮕﺎه ﻫﺎي ﻗﺮون‬ ‫ ﻣﺜﻼ ﻧﻈﺎﻣﻴﻪ ﻫﺎ را در ﻧﻈﺮ ﺑﮕﻴﺮﻳﺪ( ﺑﻪ‬.‫وﺳﻄﻲ )ﻣﺪرﺳﻪ در ﻗﺎﻣﻮس ﻗﺪﻳﻢ ﺗﻘﺮﻳﺒﺎ ﻫﻢ ﻣﻌﻨﻲ داﻧﺸﮕﺎه اﻣﺮوز اﺳﺖ‬ ‫ ﮔﺮﭼﻪ ﺑﻴﻢ اﻳﻦ ﻣﻲ رود ﻛﻪ ﺑﻪ زودي ﺑﻪ ))ﻛﺎﻣﻼ(( ﺗﺒﺪﻳﻞ ﺷﻮد! – ﻫﻨﻮز ﻫﻢ ﺟﻮ‬،‫ﻃﻮر ﻋﻤﺪه – و ﻧﻪ ﻛﺎﻣﻼ‬ ‫ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﻫﺮ ﻛﺴﻲ ﻛﻪ در او ﺣﺘﻲ ذره اي‬.((‫ﺗﺮﺑﻴﺖ ﻧﻴﺮوﻫﺎي ))ﻣﺨﻠﺺ(( اﺳﺖ و ﻧﻪ ﻧﻴﺮوﻫﺎي ))ﻣﺘﺨﺼﺺ‬ ‫))ﻧﺎﻫﻤﺴﺎﻧﻲ(( اﺣﺴﺎس ﺷﻮد ﺑﺪون اﺳﺘﺜﻨﺎ از دﻧﻴﺎي آﻛﺎدﻣﻴﻚ ﺣﺬف ﻣﻲ ﺷﻮد؛ و دﻗﻴﻘﺎ ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ اﺳﺖ ﻛﻪ‬ ،‫ﻣﻔﻬﻮم ))ﻣﺘﺨﺼﺺ اﻳﺮاﻧﻲ آﻣﻮﺧﺘﻪ داﻧﺸﮕﺎه ﻫﺎي دوﻟﺘﻲ اﻳﺮان(( اﻳﻦ روزﻫﺎ ﻋﻤﻮﻣﺎ ﻣﻔﻬﻮﻣﻲ ﻣﺸﻜﻮك اﺳﺖ‬ ‫زﻳﺮا ﻛﻪ اﻛﺜﺮ ))ﻣﺘﺨﺼﺼﺎن(( اﻳﺮاﻧﻲ در ﺣﻘﻴﻘﺖ ﺑﻼﻓﺎﺻﻠﻪ از ﻣﺤﻴﻂ آﻛﺎدﻣﻴﻚ ﺣﺬف ﺷﺪه و ﺑﺮاي ﻫﻤﻴﺸﻪ ﺧﺎﻧﻪ‬ ‫ و ﺗﻌﺪاد اﻧﮕﺸﺖ ﺷﻤﺎري ﻫﻢ اﻟﺒﺘﻪ راه ﻫﺠﺮان را در ﭘﻴﺶ ﻣﻲ ﮔﻴﺮﻧﺪ و ﺷﻬﺮ و دﻳﺎر را ﺑﻪ‬،‫ﻧﺸﻴﻦ ﻣﻲ ﺷﻮﻧﺪ‬ :‫ ﻛﻪ ﺳﻌﺪي ﻓﺮﻣﻮده‬،‫))ﺑﺰرگ زاده ﮔﺎن ﻧﺎدان(( واﻣﻲ ﻧﻬﻨﺪ‬ !‫ﻛﻪ در دﻳﺎر ﻏﺮﻳﺒﺶ ﺑﻪ ﻫﻴﭻ ﻧﺴﺘﺎﻧﻨﺪ‬

‫ﺑﺰرگ زاده ﻧﺎدان ﺑﻪ ﺷﻬﺮ واﻣﺎﻧﺪ‬ ‫ ﺧﻤﺮه ﺷﺮاب‬655

‫ و ﻣﻮﻟﻮي‬،‫ اﺑﻮﺣﺎﻣﺪ ﻣﺤﻤﺪ ﻏﺰاﻟﻲ‬،‫ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ اﺑﻮﺳﻌﻴﺪ اﺑﻮاﻟﺨﻴﺮ‬656 657

School, university Propelled, as if a boat 659 Dealing blatantly sarcastic blows to religious – especially Islamic – rituals is one of the great concerns of the Critical Songs, and a large number of the Songs in effect lampoon the layman’s fastidious adherence to futile 658

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pretensions which have been collectively called Religion. Incidentally, it was these very Songs that, under the pretext of being ‘fake’, were subjected to the most acute and remorseless kinds of censorship in contemporary times by the Patriarchs of Iranian Literature. In the following come a few of these Songs. 660 The vigorous activity of a Muslim believer in order to satisfy God 661 The Messenger (Arabic) 662 Apparently there is no logical correspondence between the months of the Islamic calendar (Sha’ban, Rajab, and Ramadan) and the significances attributed to them in this Song 663 Common sense 664 Fetter 665 Shawwal is the immediate month after Ramadan in the Islamic calendar, when the month-long everyday fasting of Ramadan (like Lent) draws to an end by the appearance of the new moon on the first of Shawwal which is the Eid of Fetr, when people are to celebrate and fasting is strictly forbidden ‫ ﺣﻤﻠﻪ ﺻﺮﻳﺢ ﺑﻪ ﺷﻌﺎﻋﺮ ﻣﺬﻫﺒﻲ ﻳﻜﻲ از دﻏﺪﻏﻪ ﻫﺎي ﻣﻬﻢ ﺗﺮاﻧﻪ ﻫﺎي اﻧﺘﻘﺎدي اﺳﺖ و ﺷﺎﺧﻪ ﻣﻬﻤﻲ از ﺗﺮاﻧﻪ ﻫﺎ‬666

from coming into a real understanding of the many ‘facts of life’ that have been reflected in Iranian literature centuries ago? This Song has also been attributed to Am’aq Boxara’ii. 673 Wind 674 A parody of the mystical master-pupil system ‫ ﻣﻄﻤﺌﻨﺎ ﺗﺎ ﺑﻪ ﺣﺎل ﺑﻪ ﺧﺎﻃﺮ ﻛﻤﺘﺮ ﻛﺴﻲ رﺳﻴﺪه ﻛﻪ اﻳﻦ ﻳﻜﻲ از ﻣﻌﺮوف ﺗﺮﻳﻦ و ﻣﻌﺼﻮم ﺗﺮﻳﻦ ﺿﺮب اﻟﻤﺜﻞ‬675

((‫در ﺣﻘﻴﻘﺖ ﺑﻪ اﻧﺘﻘﺎد ﻣﻀﺤﻜﻪ آﻣﻴﺰ از ﺑﻼﻫﺖ ﻗﺸﺮي ﻧﮕﺮاﻧﻪ ﺣﺎﺻﻞ از اﺻﺮار ﺑﺮ ﻇﻮاﻫﺮي ﻛﻪ ﻧﺎم ))ﻣﺬﻫﺐ‬

‫ ﺑﻪ ﻣﻜﺎﻟﻤﻪ ))اﺳﺘﺎد و ﺷﺎﮔﺮد(( در اﻳﻦ ﺗﺮاﻧﻪ ﺗﻮﺟﻪ ﻛﻨﻴﺪ ﻛﻪ ﺑﻪ ﻋﺒﺎرﺗﻲ ﻣﻀﺤﻜﻪ راﺑﻄﻪ اﺳﺘﺎد و ﺷﺎﮔﺮد ﻋﺎرف‬676

‫ ﭼﻪ ﮔﻞ ﻫﻤﺎن ﺻﻮرت اﺳﺖ و ﺳﺒﺰه ﻧﻴﺰ‬،‫ﻫﺎي زﺑﺎن ﻓﺎرﺳﻲ در ﺣﻘﻴﻘﺖ ﺣﺴﻦ ﺗﻌﻠﻴﻠﻲ ﻫﻤﺠﻨﺲ ﮔﺮاﻳﺎﻧﻪ ﺑﺎﺷﺪ‬ :‫رﻳﺶ ﺗﺎزه ﺳﺒﺰ ﺷﺪه اﺳﺖ! ﻫﻤﭽﻨﺎن ﻛﻪ ﺣﺎﻓﻆ ﻫﻢ ﺑﻴﺘﻲ ﺷﺒﻴﻪ اﻳﻦ دارد‬ ‫ﺑﻬﺎر ﻋﺎرﺿﺶ ﺧﻄﻲ ﺑﻪ ﺧﻮن ارﻏﻮان دارد‬

‫ﺑﻪ راﺳﺘﻲ ﺳﺎﻧﺴﻮر ﻓﺮﻫﻨﮕﻲ و ادﺑﻲ ﺗﻮﺳﻂ ))اﺳﺎﺗﻴﺪ(( و ))ﻧﺎﻣﺪاران(( ﻓﺮﻫﻨﮓ و ادﺑﻴﺎت در ﻃﻮل ﺗﺎرﻳﺦ اﻳﻦ‬ ‫ﻛﺸﻮر ﺗﺎ ﭼﻪ ﺣﺪ ﻣﻌﺮﻓﺖ ﺷﻨﺎﺳﻲ اﻳﺮاﻧﻲ ﺟﻤﺎﻋﺖ را ﻣﺤﺪود ﻛﺮده و آﻧﻬﺎ را ﺑﻪ ﺧﻴﺎل ﺧﺎم ﻧﮕﺎه داﺷﺘﻦ ﺟﺎﻣﻌﻪ‬ ‫در وﺿﻌﻴﺖ ﻧﺮﻣﺎل و ﺑﻠﻜﻪ ))اﻳﺪه آل!(( از آﮔﺎﻫﻲ از ﺑﺴﻴﺎري از ﺣﻘﺎﻳﻖ زﻧﺪﮔﻲ ﻛﻪ ﻗﺮﻧﻬﺎ ﭘﻴﺶ در ادﺑﻴﺎت اﻳﺮان‬ ‫ﻣﻨﻌﻜﺲ ﺷﺪه اﻧﺪ ﺑﺎزداﺷﺘﻪ اﺳﺖ؟‬ .‫اﻳﻦ ﺗﺮاﻧﻪ ﻫﻤﭽﻨﻴﻦ ﻣﻨﺴﻮب ﺑﻪ ﻋﻤﻌﻖ ﺑﺨﺎراﻳﻲ ﻣﻲ ﺑﺎﺷﺪ‬

((‫ و اﺗﻔﺎﻗﺎ ﻫﻤﻴﻦ ﺗﺮاﻧﻪ ﻫﺎ ﺑﻮده اﻧﺪ ﻛﻪ در دوران ﻣﻌﺎﺻﺮ ﺗﻮﺳﻂ ))زﻋﻤﺎي ادﺑﻴﺎت اﻳﺮان‬،‫ﮔﺮﻓﺘﻪ اﻧﺪ ﻣﻲ ﭘﺮدازد‬ .‫ در اداﻣﻪ ﻧﻤﻮﻧﻪ ﻫﺎﻳﻲ از اﻳﻦ ﻗﺒﻴﻞ ﺗﺮاﻧﻪ ﻫﺎ ﻣﻲ آﻳﺪ‬.‫ﻣﻮرد ﺷﺪﻳﺪﺗﺮﻳﻦ ﺳﺎﻧﺴﻮرﻫﺎ واﻗﻊ ﺷﺪه اﻧﺪ‬ ‫ ﻣﺸﺨﺼﺎ ﻣﻴﺎن ﻣﺎه ﻫﺎ و ﻧﺴﺒﺘﻬﺎﻳﺸﺎن ﺣﺪاﻗﻞ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺳﻨﺖ اﺳﻼﻣﻲ راﺑﻄﻪ ﻣﻨﻄﻘﻲ ﺑﺮﻗﺮار ﻧﻴﺴﺖ‬667 668

Friday is the day of Sabbath in the Islamic calendar, yet there is no Sabbath permitted in Ramadan when every single day strict fasting is obligatory. The persona of this poem, feigning ignorance of this fact, however, claims that he will drink on Friday during Ramadan, so it will be alright! 669 The 8th month of the Islamic calendar that ensues the fasting month of Ramadan 670 Eid of Fetr ‫ ﺳﺤﺮي‬671 672

Certainly it has occurred only to few people so far that this one of the most famous and seemingly innocent proverbs of Farsi language is in fact a shrewdly homosexual innuendo, for while the bloom stands for the face of the male beloved, the border in turn represents his nascent beard! Now truly how much the cultural and literary censorship effected by the Custodians of Iranian culture and literature has narrowed the scope of the Iranians’ epistemology? And how much the futile dream of keeping the society in a ‘normal’ or even more than that ‘ideal’ state has thwarted them

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‫ﺑﺘﻲ دارم ﻛﻪ ﮔﺮد ﮔﻞ ز ﺳﻨﺒﻞ ﺳﺎﻳﻪ ﺑﺎن دارد‬

‫ﻣﺴﻠﻚ ﻧﻴﺰ ﻣﻲ ﺑﺎﺷﺪ‬ 677

Power 678 Rooster in Farsi indicates both the bird and the glass or pitcher of wine, so here it is a pun. The second sense of the word, however, is obsolete or old-fashioned. 679 Salat, the Islamic daily prayer 680 The Islamic fast 681 This curious Song which has been attributed to Xayyam in Tarabxaneh has an interesting formal pattern which reminds one of the form Mostazad so much favored in the Iranian Constitutional Era. The couplet or the stich has by tradition been the fundamental unit of Iranian classical poetry. During the short-lived period of Iranian Constitutional Revolution in the beginning of the 20th century and thereafter, however, poets like Dehxoda, Eshqi, and Aref Qazvini introduced a short tag at the end of the couplet or hemistich, usually with the same rhythm but not necessarily rhyming with the couplet, in order to break through the delimitations that the strict length of the classical line demanded, usually for shrewdly satiric or critical purposes. Thus that special sort of poem came to be named the Mostazad, which means ‘added to’ in Arabic.

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‫‪                                                                                                                                   ‬‬ ‫‪This Song is the item No. 203 of the so-called Berlin Manuscript which was‬‬ ‫‪translated into English prose by Friedrich Rosen in 1928.‬‬ ‫‪ 682‬ﭼﺸﻢ ﺧﺮوس ﻧﻤﺎد زﻳﺒﺎﻳﻲ اﺳﺖ‪ .‬ﻣﺴﻌﻮد ﺳﻌﺪ ﻫﻢ ﺑﻴﺘﻲ دارد ﻛﻪ در آن ﺷﺮاب را ﺑﻪ ﭼﺸﻢ ﺧﺮوس ﺗﺸﺒﻴﻪ‬ ‫ﻛﺮده‪:‬‬ ‫ﺑﻪ ﺻﻔﻮ ﺟﺮم ﻫﻮا و ﺑﻪ ﺑﻮي ﻣﺸﻚ ﺗﺒﺖ‬

‫ﺑﻪ رﻧﮓ ﭼﺸﻢ ﺧﺮوس و ﺑﻪ ﻃﻌﻢ ﻣﺎء ﻣﻌﻴﻦ‬

‫ﻛﻪ ﺷﺎﻳﺪ در ﻫﺮ دو ﻣﻮرد ))ﺧﺮوس(( ﻛﺎرﻛﺮد اﻳﻬﺎﻣﻲ ﻫﻢ داﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬و ﻫﻢ ﺑﻪ ﭘﺮﻧﺪه و ﻫﻢ ﺑﻪ ﺻﺮاﺣﻲ ﻣﻲ‬ ‫اﺷﺎره ﻛﻨﺪ‪.‬‬ ‫ﺣﺎﻓﻆ ﻫﻢ ﺑﻪ ﻫﻤﻴﻦ ﺗﺮﺗﻴﺐ ))ﭼﺸﻢ ﺻﺮاﺣﻲ(( ﮔﻔﺘﻪ‪:‬‬ ‫در آﺳﺘﻴﻦ ﻣﺮﻗﻊ ﭘﻴﺎﻟﻪ ﭘﻨﻬﺎن ﻛﻦ‬

‫ﻛﻪ ﻫﻤﭽﻮ ﭼﺸﻢ ﺻﺮاﺣﻲ زﻣﺎﻧﻪ ﺧﻮﻧﺮﻳﺰ اﺳﺖ‬

‫‪ 683‬ﻣﻬﺪي اﺧﻮان ﺛﺎﻟﺚ در ﻛﺘﺎب ))ﻧﻮﻋﻲ وزن در ﺷﻌﺮ اﻣﺮوز ﻓﺎرﺳﻲ(( ﻣﻲ ﻧﻮﻳﺴﺪ ﻛﻪ ))اﻳﻦ ﺗﺮاﻧﻪ ﻣﺴﺘﺰاد را‬ ‫ﺑﺮاي اوﻟﻴﻦ ﺑﺎر ﻣﺴﺘﺸﺮﻗﻲ ﺑﻪ ﺧﻴﺎم ﻧﺴﺒﺖ داده اﺳﺖ((‪ .‬ﺑﻪ اﺣﺘﻤﺎل زﻳﺎد ﻣﻨﻈﻮر اﺧﻮان از ))ﻣﺴﺘﺸﺮق(( ﻓﺮدرﻳﻚ‬ ‫روزن آﻟﻤﺎﻧﻲ ﺑﺎﺷﺪ ﻛﻪ در ﺳﺎل ‪ 1928‬ﺗﻌﺪاد ‪ 382‬ﺗﺮاﻧﻪ ﻣﻨﺴﻮب ﺑﻪ ﺧﻴﺎم در ﻧﺴﺨﻪ ﺧﻄﻲ ﻣﺸﻬﻮر ﺑﻪ ﺑﺮﻟﻴﻦ )ﻛﻪ از‬ ‫ﻣﻨﺎﺑﻊ ارﺟﺎع ﻛﺘﺎب ﺣﺎﺿﺮ ﻧﻴﺰ ﻣﻲ ﺑﺎﺷﺪ( را ﺑﻪ اﻧﮕﻠﻴﺴﻲ ﺗﺤﺖ اﻟﻔﻈﻲ ﺗﺮﺟﻤﻪ ﻛﺮد )اﻳﻦ ﺗﺮﺟﻤﻪ را اﻧﺘﺸﺎرات‬ ‫ﺗﺤﺮﻳﺮ اﻳﺮان در ﺳﺎل ‪ 1343‬ﺑﻪ ﻫﻤﺮاه ﺗﺮﺟﻤﻪ ﻓﻴﺘﺰﺟﺮاﻟﺪ در اﻳﺮان ﻣﻨﺘﺸﺮ ﻛﺮد(‪ .‬اﻳﻦ ﺗﺮاﻧﻪ ﻣﺴﺘﺰاد‪ ،‬آﻳﺘﻢ ﺷﻤﺎره‬ ‫‪ 203‬ﺗﺮﺟﻤﻪ روزن اﺳﺖ و ﺧﻮد او در ﺣﻮاﺷﻲ ﻣﻲ ﮔﻮﻳﺪ ﻛﻪ ﺑﻪ ﺟﺰ اﻳﻦ ﻫﻴﭻ ﺗﺮاﻧﻪ ﻣﺴﺘﺰاد دﻳﮕﺮي ﻛﻪ ﻣﻨﺴﻮب‬ ‫ﺑﻪ ﺧﻴﺎم ﺑﺎﺷﺪ را ﻧﺪﻳﺪه اﺳﺖ‪ .‬ﻗﺎﺑﻞ ذﻛﺮ اﺳﺖ ﻛﻪ در ﺗﺤﻘﻴﻘﺎت روزن درﺑﺎره ﺧﻴﺎم و ﺗﺮاﻧﻪ ﻫﺎي ﻣﻨﺴﻮب ﺑﻪ وي‬ ‫زﻧﺪه ﻳﺎد ﺗﻘﻲ اراﻧﻲ ﻧﻴﺰ ﻧﻘﺶ داﺷﺖ‪.‬‬

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