Hafez's third ghazal and Bhai Nandlal's Badeh Saaqi

Bhai Nandlal's third ghazal (Badeh Saaqi) is inspired by Hafez's third ghazal (Alā yā ayyoha-s-sāqī). It so happens, that this Hafez ghazal was so popular it appears often as his first ghazal in most poetry collections (divaan) now -- even though based on the normal alphabetical scheme it should be number 3.  It is possible that older divaan's have it as number 3; Badeh Saaqi happens to be Bhai Nandlal's 3rd ghazal in Bhai Nandlal's divaan



Bhai Nandlal's Badeh Saaqi

ਗ਼ਜ਼ਲ 3
ਬਦਿਹ ਸਾਕੀ ਮਰਾ ਯੱਕ ਜਾਮ ਜ਼ਾਂ ਰੰਗੀਨੀਇ ਦਿਲਹਾ ।
ਬਚਸ਼ਮਿ ਪਾਕ-ਬੀਂ ਆਸਾਂ ਕੁਨਮ ਈ ਜੁਮਲਾ ਮੁਸ਼ਕਿਲ ਹਾ ।

ਮਰਾ ਦਰ ਮੰਜ਼ਲਿ ਜਾਨਾਂ ਹਮਾ ਐਸ਼ੋ ਹਮਾ ਸ਼ਾਦੀ
ਜਰਸ ਬੇਹੂਦਹ ਮੀ-ਨਾਲਦ ਕੁਜਾ ਬੰਦੇਮ ਮਹਮਿਲ ਹਾ ।

ਖ਼ੁਦਾ ਹਾਜ਼ਿਰ ਬਵਦ ਦਾਯਮ ਬਬੀਂ ਦੀਦਾਰਿ ਪਾਕਿਸ਼ ਰਾ
ਨ ਗਿਰਦਾਬੇ ਦਰੂ ਹਾਇਲ ਨ ਦਰਯਾਓ ਨ ਸਾਹਿਲ ਹਾ ।

ਚਿਰ ਬੇਹੂਦਹ ਮੀਗਰਦੀ ਬ-ਸਹਿਰਾ ਓ ਬ-ਦਸ਼ਤ ਐ ਦਿਲ
ਚੂੰ ਆਂ ਸੁਲਤਾਨਿ ਖ਼ੂਬਾਂ ਕਰਦਹ ਅੰਦਰ ਦੀਦਹ ਮੰਜ਼ਿਲ ਹਾ ।

ਚੂ ਗ਼ੈਰ ਅਜ਼ ਜ਼ਾਤਿ-ਪਾਕਿਸ਼ ਨੀਸਤ ਦਰ ਹਰ ਜਾ ਕਿ ਮੀ-ਬੀਨਮ
ਬਗੇ ਗੋਯਾ ਕੁਜਾ ਬਿਗੁਜ਼ਾਰਮ ਈਂ ਦੁਨੀਆ ਓ ਐਹਲਿ ਹਾ ।


ਐ ਸਾਕੀ ! ਦਿਲਾਂ ਨੂੰ ਰੰਗ ਦੇਣ ਵਾਲੇ ਨਸ਼ੇ 'ਚੋਂ ਮੈਨੂੰ ਇਕ ਪਿਆਲਾ ਬਖਸ਼,
ਕਿ ਮੈ ਉਸ ਰੱਬ ਨੂੰ ਵੇਖਣ ਵਾਲੀ ਅੱਖ ਨਾਲ ਸਾਰੀਆਂ ਮੁਸ਼ਕਲਾਂ ਹੱਲ ਕਰ ਲਵਾਂ ।

ਮੈਨੂੰ ਤਾਂ ਉਸ ਮਿਤ੍ਰ ਪਿਆਰੇ ਦੀ ਮੰਜ਼ਿਲ ਵਲ ਵਧਦਿਆਂ ਸਦਾ ਆਨੰਦ ਹੀ ਆਨੰਦ ਹੈ,
ਡਾਚੀ ਗਲ ਪਈ ਟੱਲੀ ਐਵੈਂ ਪਈ ਵਜਦੀ ਹੈ, ਅਸੀਂ ਕਦੋਂ ਅੱਟਕਣ ਵਾਲੇ ਹਾਂ ।

ਰੱਬ ਤਾਂ ਸਦਾ ਹਾਜ਼ਰ ਨਾਜ਼ਰ ਹੈ, ਤੂੰ ਉਸ ਦੇ ਪਵਿਤਰ ਦੀਦਾਰੇ ਕਰ,
ਨਾ ਕੋਈ ਭੰਵਰ ਰਾਹ ਵਿਚ ਰੁਕਾਵਟ ਹੈ ਤੇ ਨਾ ਕੋਈ ਦਰਿਆ ਜਾਂ ਕੰਢਾ ।

ਤੂੰ ਕਿਉਂ ਪਿਆ ਜੰਗਲਾਂ ਜੂਹਾਂ ਵਿਚ ਮਾਰਾ ਮਾਰਾ ਫਿਰਦਾ ਹੈਂ,
ਜਦ ਕਿ ਉਸ ਸੋਹਣਿਆਂ ਦੇ ਸੁਲਤਾਨ ਨੇ ਤੇਰੀਆਂ ਅੱਖਾਂ ਵਿਚ ਆਪਣਾ ਡੇਰਾ ਬਣਾ ਰਖਿਆ ਹੈ ।

ਉਸ ਵਾਹਿਗੁਰੂ ਤੋਂ ਬਿਨਾਂ ਜਿੱਧਰ ਵੀ ਮੈ ਵੇਖਦਾ ਹਾਂ ਜਦ ਕੁਝ ਨਜ਼ਰ ਨਹੀਂ ਆਉਂਦਾ, ਤਾਂ ਗੋਯਾ, ਤੂੰ ਹੀ ਦੱਸ, ਭਲਾ ਮੈਂ ਇਸ ਦੁਨੀਆਂ ਅਤੇ ਘਰ ਬਾਰ ਨੂੰ ਕਿਵੇਂ ਤੇ ਕਿੱਥੇ ਛਡਾਂ ?
....................
ਭਰਕੇ ਪ੍ਰੇਮ ਪਿਆਲਾ ਮੈਨੂੰ ਸਾਕੀ ਦੇਹ ਸਿਆਣੇ ਵਾਹ ।
ਮਤਵਾਲੇ ਹੋ ਜਾਵਣ ਨੇਤਰ ਮੁਸ਼ਕਲ ਥੀਣ ਅਸਾਨੇ ਵਾਹ ।

ਰਾਹ ਪੀਆ ਦੇ ਅੰਦਰ ਮੈਨੂੰ ਖ਼ੁਸ਼ੀਆਂ ਤੇ ਸ਼ਦਿਆਨੇ ਨੇ,
ਘੰਟਾ ਟਨ ਟਨ ਕਰ ਸਿਰ ਖਾਵੇ ਕਿੱਧਰ ਕਰਾਂ ਸਮਾਨੇ ਵਾਹ ।

ਹਾਜ਼ਰ ਨਾਜ਼ਰ ਪ੍ਰੀਤਮ ਹੈ ਤੂੰ ਦੇਖ ਸੁਹਾਣਾ ਰੂਪ ਸਦਾ;
ਸ਼ਹੁ ਦਰਿਆ ਨਾ ਘੁੰਮਣਘੇਰੀ ਬੇੜੀ ਨਹੀਂ ਮੁਹਾਨੇ ਵਾਹ ।

ਜੰਗਲ ਬੇਲੇ ਅੰਦਰ ਫਿਰਦੀ ਲਭਦੀ ਹੀਰ ਦਿਵਾਨੀ ਕੀ ?
ਰਾਂਝਣ ਯਾਰ ਪਿਆਰੇ ਕੀਤੇ ਨੈਣਾਂ ਵਿੱਚ ਠਿਕਾਨੇ ਵਾਹ ।

ਨਾ ਕੁਈ ਦਿਸਦਾ ਬਾਝ ਪਿਆਰੇ ਜਿਤ ਵਲ ਨਜ਼ਰ ਕਰੇਨੇ ਹਾਂ,
ਛਡ 'ਗੋਯਾ' ਦੱਸ ਕਿਧਰ ਜਾਈਏ ਟੱਬਰ ਮਹਿਲ ਸੁਹਾਨੇ ਵਾਹ ।


Hafiz's Alā yā ayyoha-s-sāqī 
Alā yā ayyoha-s-sāqī (pronounced like saaghi) is a ghazal (love poem) by the 14th-century poet Hafez of Shiraz. It is the opening poem in the collection of Hafez's 530 poems. The text given below is that of Muhammad Qazvini and Qasem Ghani (1941). The transcription shows the modern Iranian pronunciation. ' is a glottal stop, and x is kh (as in Khayyam). The letters غ and ق are both written as q. 

1
الا یا ایها الساقی ادر کأسا و ناولها‎
که عشق آسان نمود اول ولی افتاد مشکل‌ها‎
alā yā 'ayyoha-s-sāqī * ader ka'san va nāvelhā
ke 'ešq āsān nemūd avval * valī 'oftād moškelhā
Come, o wine-pourer! Circulate a cup and pass it;
since love seemed easy at first, but soon difficulties occurred.
2
به بوی نافه‌ای کاخر صبا زان طره بگشاید‎
ز تاب جعد مشکینش چه خون افتاد در دل‌ها‎
be būy-ē nāfe-ī k-āxer * sabā z-ān torre bogšāyad
ze tāb-ē ja'd-e moškīn-aš * če xūn oftād dar delhā
By the fragrance of the musk-pod which finally the morning breeze will open from that forelock;
because of the twist of its musky ringlet what blood fell in our hearts!
3
مرا در منزل جانان چه امن عیش چون هر دم‎
جرس فریاد می‌دارد که بربندید محمل‌ها‎
ma-rā dar manzel-ē jānān * če amn-ē 'eyš, čūn har dam
jaras faryād mīdārad * ke bar-bandīd mahmelhā?
For me, in the halting-place of the beloved, what security of living is there? Since every moment
the bell is calling out "Bind on your camel-litters!"
4
به می سجاده رنگین کن گرت پیر مغان گوید‎
که سالک بی‌خبر نبود ز راه و رسم منزل‌ها‎
be mey sajjāde rangīn kon * gar-at pīr-ē moqān gūyad
ke sālek bī-xabar nabvad * ze rāh ō rasm-e manzelhā
Stain the prayer-mat with wine if the Magian Elder tells you,
since the traveller is not uninformed of the road and customs of the halting-places!
5
شب تاریک و بیم موج و گردابی چنین هایل‎
کجا دانند حال ما سبکباران ساحل‌ها‎
šab-ē tārīk o bīm-ē mowj * o gerdāb-ī čonīn hāyel
kojā dānand hāl-ē mā * sabokbārān-e sāhelhā?
The dark night and the fear of the waves and so terrifying a whirlpool –
how can the lightly-burdened people of the coasts possibly know our state?
6
همه کارم ز خود کامی به بدنامی کشید آخر‎
نهان کی ماند آن رازی کز او سازند محفل‌ها‎
hamē kār-am ze xod-kāmī * be bad-nāmī kašīd āxer
nahān key mānad ān rāz-ī * k-az ū sāzand mahfelhā?
All my work, because of my egotism, has led to a bad reputation!
How can that secret remain hidden which they make public meetings out of?
7
حضوری گر همی‌خواهی از او غایب مشو حافظ‎
متی ما تلق من تهوی دع الدنیا و اهملها‎
hozūrī gar hamīxāhī * az ū qāyeb mašow, Hāfez
matā mā talqa man tahvā * da' ed-donyā va 'ahmelhā
If you desire His presence, do not be absent from Him, Hafez.
When you meet the One you desire, abandon the world and let it go!

Notice in this transliteration the use of "w" instead of "v" ... which seems to makes sense:

1. A-lā yā ayyuhā s-sāqī adir ka'san wa-nāwilhā
ki 'ishq āsān nimūd avval valī uftād mushkilhā

2. Ba-bū-yi nāfa-ī k-ākhar sabā z-ān turra bi-gshāyad
zi tāb-i ja'd-i mishkīn-ash chi khūn āftād dar dilhā

3. Ma-ra dar manzil-i jānam chi amn-i 'aysh chūn har dam
jaras faryād mīdārad ki bar bandīd mahmilhā

4. Ba-may sajjāda rangīn kun gar-at pīr-i mughān gūyad
ki sālik bī-khabar na-bvad zi rāh rasm-i manzilhā

5. Shab-i tārīk u bīm mawj u girdābī chunīn hāyil
kujā dānand hāl-i ma sabuk-bārān-sāhilhā

6. Hama kār-am zi khud-kāmī ba-bad-nāmī kishīd ākhar
nihān kī mānad ān rāzī k-az-ū sāzand mahfilhā

7. Huzūrī gar hamī khāhī az-ū ghāyab ma-shū Hāfiz
matā mā talqa man tahwā da'i d-dunyā wa ahmilhā.


Additional Information on Each Verse


Verse 1
The poem opens with a line of Arabic, which according to the commentary of the Bosnian-Turkish scholar Ahmed Sudi (d. 1598), is adapted from a quatrain written by the 7th-century Caliph Yazid I.[4] The original quatrain, according to Sudi, was as follows:

انا المسموم ما عندي
بترياق ولا راقي
ادر كاساً وناولها
الا يا ايها الساقي
ʼana-l-masmūmu mā ʿindī
bi-taryāqi wa-lā rāqī
ʼadir kaʼsan wa-nāwilhā
ʼalā yā ʼayyuha-s-sāqī
I am poisoned and I do not have
any remedy or enchanter.
Circulate a cup and pass it;
Ho there, o wine-pourer!
Sudi also quotes from poems of two Persian poets, Kātibī of Nishabur (d. 1434-5)[5] and Ahli Shirazi (d. 1535), in which they express surprise that Hafez had borrowed a line from such a hated figure as Yazid, who was notorious among other things for causing the death of the Prophet's grandson Husayn at the Battle of Karbala in 680. Some Iranians believe that Sudi was mistaken in attributing the quatrain to Yazid; they include Hafez's editor Muhammad Qazvini, who published an article arguing against the attribution.[6] The verse is not included in a volume containing the collected fragments of Yazid's poetry published in 1982; but according to Meisami, even if it is not by Yazid, it is likely that Hafez believed it was and used it deliberately.[7]

The Arabic quatrain is also in the hazaj metre. The Arabic version of this metre allows an occasional short syllable in the fourth position of the line, as in the second line above. There is an internal rhyme in the second line of the above quatrain (taryāqi ... lā rāqī). A similar internal rhyme is used in Hafez's Shirazi Turk ghazal (bedeh sāqī mey-ē baqī...), which uses the same metre.

When Arabic phrases are included in Persian poems, it is usual to pronounce the words with Persian phonology as if they were Persian.[8]

Verse 2
According to Sudi, the word būy has both a literal meaning "scent" and a figurative meaning "hope": "in the hope of that musk-pod".[9] Translators interpret the present tense بگشاید‎ bogšāyad "opens" in different ways. Some[10] translate it as present, others[11] as future, others[12] as past.

Musk is a costly perfume derived from the gland (nāfe) of a certain deer.[13] The combination of the morning breeze (sabā‎) and the scent of musk is common in Persian poetry, and is even found in the famous mu'allaqa of the 6th-century Arabian poet Imru' al-Qais (verse 8):

نَسِيْـمَ الصَّبَـا جَـاءَتْ بِـرَيَّـا القَرَنْـفُـلِ
إِذَا قَامَـتَـا تَـضَـوَّعَ المِـسْـكُ مِنْـهُـمَـا
’iḏā qāmatā taḍawwa‘a l-misku minhumā
nasīma ṣ-ṣabā jā’at bi-rayya l-qaranfulī
Fair were they also, diffusing the odor of musk as they moved,
Like the Saba breeze bringing with it the scent of the clove.
The word تاب‎ tāb has a range of meanings: "heat, burning, radiance, lustre, twist, curl".[14][15]

The word مشکین‎ moškīn or meškīn[16] can also mean "black".[17] Meisami translates as "musk-black curls".

Dehkhoda's dictionary defines xūn dar del oftādan (literally, "blood falls in the heart") as to become troubled or grieved.[18] According to Avery and Heath-Stubbs, the idea of this verse is that such beauty makes the hearts of lovers bleed.[19] Meisami, however, translates as "what blood rushed into (lovers') hearts?"[20] According to an image commonly found in Persian and Arabic poetry, the heat (tāb) of the beloved's curls causes the lover's blood to heat up and emerge in the form of sighs. She points out the repeated "ā" sounds in this verse, which may represent sighing.

Verse 3
Some translators interpret the phrase manzel-ē jānān as referring to "this world" (Clarke), "life's caravanserai" (Arberry). Many translate jānān (literally "souls") as "the Beloved" (Clarke, Salami, Seif). However, Seif disagrees that Hafez is referring to the world. He interprets: "In this couplet of our ghazal, the speaker is complaining of the temporariness of his visit with the Beloved." He adds: "In Sufism, there are seven "Manzels," "stages," on the way to the Beloved, of which the last one is "tajarrod" that means "oneness"."[21]

The following well-known verse by Rumi expresses a similar idea in which the mystical journey towards union with God is compared to setting off from a caravanserai:[22][23]

ای عاشقان ای عاشقان * هنگام کوچ است از جهان‎
در گوش جانم می رسد * طبل رحیل از آسمان‎
'ey 'āšeqān 'ey 'āšeqān, * hengām-e kūč ast az jahān
dar gūš-e jān-am mīrasad * tabl-ē rahīl az 'āsmān
"O lovers, o lovers, it is time for setting off from the world;
into the ear of my soul there comes from heaven the drum of departure."
Meisami, however, sees Hafez here not so much referring to "this world" as making a literary allusion to the image commonly found in Arabic poetry of the departing tribe abandoning their halting-place and taking the women with them, carried in litters on the camels' backs.[24] She suggests that the word rasm, usually translated as "customs", might in this context have the same meaning it has in Imru' al-Qais's mu'allaqa (verses 2 and 6), namely "traces" of the encampment.

Verse 4
The Magian Elder (or Zoroastrian wine-seller) is frequently mentioned in Hafez's poetry, and is often used symbolically for the spiritual adviser or Pir, "dispensing wine and true wisdom".[25] An initiate who wished to be guided in the spiritual path was known as a murīd "disciple" or sālik "traveller". Annemarie Schimmel writes: "The mystical path has sometimes been described as a ladder, a staircase that leads to heaven, on which the salik slowly and patiently climbs toward higher levels of experience."[26]

This mystical interpretation of the verse is followed by Arberry: the wine-seller "knows by experience that reason is powerless to solve the ultimate riddle of the universe ... and that it is only the wine of unreason that makes life in this world a tolerable burden."[27] Meisami does not see this verse as primarily mystical, but believes that Hafez is retracing a life of ... poetry, – his own poetry, and that of the tradition that informs it." ... "Hafiz appropriates both the Persian and the earlier Arabic traditions of love poetry."[28]

Verse 5
Some translators follow a different order of verses: Clarke and Bell put verse 4 after verse 2, Arberry places it after verse 5, while Seif (without manuscript authority) puts it after verse 6. Others (e.g. Salami, Avery & Heath-Stubbs), following the order of the text above, connect verse 5 in sense to verse 4. The idea is that only the seasoned traveller knows the difficulties of the spiritual journey, which are compared to storms.

Arberry compares this verse with ghazal 143 (Sālhā del) verse 2, where those who have never experienced the torments of divine love are referred to as gom-šodegān-ē lab-e daryā "those lost on the edge of the sea".[29] The "sea" is used in mystic poetry as a metaphor for divine love. The early 12th-century mystic poet Sana'i wrote:[30]

عشق دریای محیط و آب دریا آتشست‎
موجها آید که گویی کوههای ظلمتست‎
'ešq daryā-yē mohīt ō āb-e daryā ātaš ast
mowjhā āyad ke gū'ī kūhhā-yē zolmat ast
Love is a sea which encircles the world and the water of the sea is fire;
waves come which are like the mountains of the place of darkness.
Verse 6
Seif explains: "Here Hafez is referring to his libertine way of life. As an unconventional man, he had no regard for name, whether good or bad. ... For him, if ascetics and bigots should enjoy good names, he would rather be infamous."[31]

Verse 7
According to Clarke, the -ī on the word hozūrī "presence" is a redundant suffix found also in other abstract nouns such as salāmatī "safety" and ziyādatī "abundance".[32]

The gender of the beloved is ambiguous in Persian. It could be a woman, as in the Arabic poetry which Hafez is apparently imitating, or a boy or young man, as often in Persian love poetry; or it could refer to God, if the poem is given a Sufic interpretation.[33]

The final half-verse, like the first, is in Arabic. Sudi gives no source for this, so it is presumably Hafez's own composition.[34] Avery and Heath-Stubbs comment: "By continued perseverance, that may be obtained for which the world is well lost."[35]

References 1 -35:

 Inan (2012), p. 38.
 Arberry (1947), p. 139.
 Elwell-Sutton (1976), p. 150.
 İnan (2012), pp. 42–45.
 Browne, E. G. A Literary History of Persia, vol. 3, p. 487.
 Arberry (1947), p. 139.
 Meisami (2010), p. 165.
 Thiesen, F. (1982), A Manual of Classical Persian Prosody, pp. 69–72.
 Clarke (1891), p. 2.
 Clarke (1891), p. 2.
 Avery & Heath-Stubbs (1952), p. 19.
 Arberry (1947), p. 83; Meisami (2010), p. 167.
 See Bell (1897, p. 123), who quotes Marco Polo's description.
 Steingass Dictionary, p. 271.
 Meisami (2010), p. 168.
 Dehkhoda's dictionary allows both pronunciations.
 Steingass Dictionary.
 Dehkhoda, xūn dar del oftādan
 "How many hearts lie bleeding?" Avery & Heath-Stubbs (1952), p. 19.
 Meisami (2010), p. 167.
 Seif (2019); Google books.
 Rumi, Divan-e Shams 1789.
 Nicholson, R. A. Selected Poems from the Divani Shamsi Tabriz. pp. 140–141.
 Meisami (2010), p. 170.
 Lewis (2002).
 Schimmel (1975), p. 104.
 Arberry (1947), p. 139.
 Meisami (2010), pp. 170, 172.
 Arberry (1947), p. 153.
 Sana'i ghazal 30; translated by Arberry (1947), p. 27.
 Seif (2019).
 Clarke (1891), p. 12.
 de Bruijn (1989).
 Meisami (2010), p. 165.
 Avery & Heath-Stubbs (1952), p. 19.

From Here


1. A-lā yā ayyuhā s-sāqī adir ka'san wa-nāwilhā
ki 'ishq āsān nimūd avval valī uftād mushkilhā

2. Ba-bū-yi nāfa-ī k-ākhar sabā z-ān turra bi-gshāyad
zi tāb-i ja'd-i mishkīn-ash chi khūn āftād dar dilhā

3. Ma-ra dar manzil-i jānam chi amn-i 'aysh chūn har dam
jaras faryād mīdārad ki bar bandīd mahmilhā

4. Ba-may sajjāda rangīn kun gar-at pīr-i mughān gūyad
ki sālik bī-khabar na-bvad zi rāh rasm-i manzilhā

5. Shab-i tārīk u bīm mawj u girdābī chunīn hāyil
kujā dānand hāl-i ma sabuk-bārān-sāhilhā

6. Hama kār-am zi khud-kāmī ba-bad-nāmī kishīd ākhar
nihān kī mānad ān rāzī k-az-ū sāzand mahfilhā

7. Huzūrī gar hamī khāhī az-ū ghāyab ma-shū Hāfiz
matā mā talqa man tahwā da'i d-dunyā wa ahmilhā.


Using online dictionaries, {22} {23} {24} {25} {26} supplemented by basic grammars and dictionaries, {27} {28} {29} we get:



1. A-lā
ayyuhā
s-sāqī
adir  
ka'sa  
wa
nāwilhā 
 
 
Arabic
ho
O
pass
 sāqī 
round
bowl/ cup
and
bestow
 
 
ki
'ishq
āsān
nimūd
avval
valī
uftād
mushkilhā
 
 
Persian
who what
love
easy
seemed
first
but
happened
difficulties
2. Ba-
bū-yi
nāfa
k-
ākhar
saba
z
ān
turra
bi-gshāyad
 
Persian
at
scent
musk
of
which
finally
Saba (wind)
from
fhat
ringlets
opened loosed
zi
tāb-i
ja'd-
i
mishgīn
-ash
chi
khūn
āftād
dar
dilhā
Persian
from
twist of
curl
of
musk-curl
his
what
blood
went
in
hearts
3. Ma-ra
dar
manzil-
i
jānam
chi
amn-
i
'aysh
chūn
har
dam
Persian
Me
in
abode home
of
beloved
what
security
of
pleasure
how since
every
moment
jaras
faryād
mīdārad
ki
bar
bandīd
mahmilhā
Persian
camel bell
cried
agitated track
who
load
bind
camel litters
4. Ba
may
sajjāda
rangīn
kun
gar-
at
pīr-
i
mughān
gūyad
Persian
to with
wine
prayer-mat
coloured
let it be
if
thou
elder
of
tavern
action of authority
ki
sālik
bī-khabar
na-
bvad
zi
rāh
u
rasm-
i
manzilhā
 
Persian
who
traveller
ignorant
not
he may be
from
way
and
ritual custom writing
of
inn stopping place descending
 
5. Shab-
i
tārīk
u
bīm-
i
mawj
u
girdābī
chunīn
hāyil
Persian
night darkness
of
dark obscure deserter
and
fear terror
of
wave
and
whirlpool abyss vortex
in this manner
dreadful
kujā
dānand
hāl-
i
ma
sabuk-
bār
ān-
i
sāhilhā
Persian
where
(they) know
condition
of
us/ours
light
burden
-s
of
shores
6. Hama
kār-
am
zi
khud-
kāmī
ba
bad
nāmī
kishīd
ākhar
Persian
also very
affair action profession art
(I) have
from
myself-
aim of gratification
to
ill
name
led
in the end
nihān
mānad
ān
rāzī
k-at
ū
sāzand
mahfilhā
 
concealed
who
remain
that
secret
about which
him her he she
(they) arrange
gatherings assemblies
7. Huzūrī
gar
hamī
khāhī
az-
ū
ghāyib
ma-
shū
hāfiz
 
Persian
presence privilege
if
patient /keep-
desiring
from
him her
absent
not
be thou
Hāfiz
matā
talqa
man
tahwā  
da'i
d-dunyā
u
ahmilhā
 
 
Arabic
when
we us
you have found
whom
you feel love for
leave
the world
and
ignore
 


A couple of points:

1. The first and last lines are not Persian but Arabic. The last may be Hafiz's own composition, but the first is a rearranged line from a poem by the Umayyad caliph Yazīd ibn Mu'āwiya. {30}

2. Persian is not a difficult language, but online searchers may wish to save time by first consulting an elementary grammar book and identifying the common prepositions, pronouns and verb endings.

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