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النشر الإلكتروني

3.- I have groaned so much that it (the heart) has killed me of groaning

4. Take it from me as I am weary of this heart.

In the 3rd line the word is neither cow Kas, nor Futus Kushi, but wis Kusht, the past tense of buities to kill. Kushi cripples the metre too.


1. I, who wander in the desert night and day
2. And shed tears from my eyes night and day,
3. No fever have I, nor does any part of me acbe,
4. This only do I know that I am groaning night and day.

In line 2 of Mr. Allen's text the word pisu should be paigju. There seems to be no necessity for adding the pleonastio s in the words pula.

-, final p of the first person has always the vowel point dowe zamma, and the words are pronounced pag biyabunum perla jayum, etc. In the note on line 3, page 32, the word piso must be a misprint, and should be, dimo


because in the Raji dialect the letter preceding the ,نالونم and بیابونم بارونم

میکنم to میکرم and میکند corresponds to the Persian میکرو as


in all the بود or باشد= بي it is far better to use به Instead of the final As کرون is correct, and there is no need of using the word کند =کرو .lines

1. The heart is a pest, a plague, a plague ;
2. The eyes sin, but the heart is afflicted;
3. If the eyes see not a lovely face,
4. What does the heart know, where the beauties are ?

! . =as the singular is generally used. The translator in the note on line 4, page 33, translates the line cuilor so wlogs ds Gimis do as “ How wouldst thou know my heart, etc.,” taking the word crimils to mean" wouldst thou

" " ”; i.e., pls means “How or what would my heart know.”

چه دانستي ...it would know; i‘‘ میدانست here means دانستي know," but


1. From the tyranny of both eyes and heart I cry,
2. For, whatever the eyes see, the heart remembers.
3. I will make a dagger whose point will be of steel,

4. And shall strike it on my eyes, so that the heart may become free.

It is not necessary to use the letters always instead of s. I have never heard or seen SIT or jų, spelt withs instead of with s. The case is

different with so which has been spelt invariably with both s and S. In the 3rd line either pily or poland may be used, but not paym!


to سوختن = سوجیدن which is derived from an entirely different verb



1, I have a heart that has no good in it,
2. However I counsel it, it profits not;
3. I cast it to the winds, but the wind does not carry it.
4. I put it on the fire, it does not smoke (or burn).

The word geto should be with, which is the dialectal form and not with which is Persian. Here, too, as in the preceding Quatrain i need not necessarily

? - . a forced expression and not natural, and savours of affectation. The word

It appears like a .باد or in درد - سود - بهبود be used for a in the words

نمیباشد . نميبو


1. I am that wastrel whose name is Kalandar,
2. I have no home, no abode, and no vessel;
3. When the day comes, I wander round the earth (world).

When night falls, I lay my head on a brick. The word işgul and Li both mean a large vessel here and not an, anchor, cuis is an unburnt brick.


1. In the whole world there is no moth like me.
2. In the Universe there is not a mad man like me.
3. All the serpents and the ants have nests,
4. But for poor me, there is not even a ruin.

I have read it somewhere as cois! "in the Universe," instead of twilgo in the 2nd line, and this I have substituted.


1. In the field of my thought naught grows save grief,
2. In my garden nothing grows but the flower of mourning.
3. In the desert of my unproductive heart,
4. Not even the herbage of despair grows.

In the text in the 2nd line, the word injures the metre, and Mr. Allen bas rightly noticed it. It should be ją to give the “ correct scansion."

In the 3rd line choles a means "giving or yielding no produce,” the word Jols in Agriculture means “the produce.

.ميدي The dot of b had better be omitted in the word

J. I. 2


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1. I have a delicate heart like glass.
2. “I fear for it whenever I heave a sigh;
3. It is no wonder if my tears are like blood,
4. I am that tree whose roots are set in blood.

The poet likens his heart to the glass ; it is so fragile that it may
break even by a sigh.
In the 3rd line si should be substituted for me and in the 4th line


.ديرم a tree for دارم

1. Had I only one pain (anguish), what should I care ?
2. And if my sorrows were trifling, what should I care ?
3. Near my bed, my beloved or my physician,
4. If either one were present, what should I care ?

Mr. Allen has evidently read the lines in the Persian way and therefore remarks that they are "pure

But in Raji the letter preceding the of the Ist person has always a zamma and so the words would be pronounced pula dardum pila balinum pertino habibum, etc., and not pays dardam pil balinam. It must be observed that the xamma represents the pleonastic al in such cases.

pure Persian."


1. In wailing, my heart is like a flute,
2. The anguish of thy separation is ever at my heels
3. I have to burn and be consumed till the day of resurrection.
4. God only knows when that day shall be.

has been wrongly written as UjIds, i.e., the scribe has changed the s into
j and li in Ugi zuna to ta. The form Cgilda is the equivalent of the
Persian siistata which is used in case of doubt.

which خدا ذونو قیامت تابکي بي The 4th line is sometimes written as


1. When spring comes in every garden there are roses,
2. On every bough a thousand nightingales ;
3. I cannot set my foot on every meadow,
4. Lost there be one more burnt (in heart) than I.

Note the play upon the words yles and Jily; a nightingale is called a .

:Hafiz says .هزاردستان or هزار و عندلیبان را چه پیش آمد هزاران را چه شد



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1. I am that sea' which has come in a vessel,
2. I am that point which has come to be pronounced ;
3. In every thousand (years) an upright statured person appears.

4. I am the Alif Kad (upright one) that has come in (this) thousand.

I have discussed this Quatrain at full length on page : 2 and shown that it gives the poet's year of birth. Alif Kad is numeri. cally equal to job=215; Lill Alf is a thousand in Arabic, its Persian equivalent being slås hazar which according to zabar and baiyyinat is equal to 326. The 4th line would thus mean that Tahir has come in 326. Or taking the numerical values of the letters composing celi Alf, according to Zabar alone, they represent 111, i.e., 1= 1;J=30; and w;, =80,

, 1=1J= ; J ; Ö=100, and s=4, we get 111+215 = 326, the same number which I take to be his year of birth. There was no necessity for making use of such words, if the poet really did not mean to convey this idea.

;80 في ;30 = ل ;1=1 ..e. ,215 الف قد adding to this number the value of


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1. I am that fire-like bird, that, in an instant,
2. Will burn the world if I clap my wings together;
3. And should a painter draw my figure on the wall,
4. I would burn the house from the effects of my image.

Mirza Habib's emendation is very proper, as the context clearly proves. Note the word uits which is the equivalent in Raji of slus.

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1. If my heart is my sweetheart, what is my sweetheart's name?

2. And if my sweetheart is my heart, from what region is my heart ?

3. I have my heart and my sweetheart so intimately interwoven,

4. That I do not know which is my heart and which my sweetheart.

In the 2nd line I have substituted doogo da j1“ from what country, as it is not idiomatic to say dogi do 3, and I think the scribes are responsible for this error. It is not elegant either to use the same rhyme twice in one and the same couplet. I think in the 4th line ,ds should be adopted instead of dys; as the , expresses the meaning more forcibly.


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1. If I am in love with the face of a beloved one,
2. Restrain me not, as I am the thrall of my heart.
3. O, Camel-driver! for God's sake drive slowly,
4. For I am a laggard behind this caravan.

The poet means that he is in love and tells his counsellor not to restrain him, as he is in the power of his heart, which carries him wheresoever his beloved goes. He begs or beseeches the Camel-driver to drive on slowly, so that he may be enabled to catch the caravan by which his beloved is travelling, as through weakness he has lagged behind.


1. That the picture of thy beauty, Love, may not quit my heart.

2. That the thought (or image) of thy down and thy mole, Love, may not escape

3. I have made a hedge from my eyelashes round the eyes,
4. That blood may come and thy image, Love, may not escape.

The translator has evidently taken the word ude parchin, a hedge, to be our purchin, wrinkled, hence the translation“ wrinkled eyes. The poet says that he has made a hedge out of his eyelashes, in order to prevent the thought or image of his beloved from getting out as the thorns (the eyelashes) will draw blood, and prevent the escape of the thought or image.


This is not by Baba Tahir, nor is it of the same metre.

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1. Of plundered hearts he has more than a thousand,
2. Of bleeding livers .(hearts) he has more than thousands;
3. He counted thousands of scars from my wounds,
4. Yet the uncounted are more than the counted ones.

-are invari أشمرده کرده برده as well as أضمرته كرته برته Both the forms

ably used, as and w are interchangeable letters. Riza Quli Khan, in the Majma-ul-Fosaha, makes it weg dis ving deg, etc., but the hamza is not required at all, as it becomes nonsense. The word cung vish should be

vishan " " written alike, the difference being in placing the dot of the w. The

are ویشن and ویش are more ; in Persian caligraphy ) ويشن read ishan

دل بغارت برده او را از هزار paraphrase of the line in modern Persian will be

.e. ,بیش اند

w why, i.e., "plundered hearts with him or in his possession are more than a thousand." All the copies have erred in some way or other, and in order to preserve the right scansion, they have altered the lines

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