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

Kushi, but

کشت Kusht, the past tense of کشتن to kill. Kushi cripples the metre too.

18.

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 ache,

4. This only do I know that I am groaning night and day.

In line 2 of Mr. Allen's text the word بارانم should be بارونم . There seems to be no necessity for adding the pleonastic واو in the words جايم بیابونم - بارونم and نالونم because in the Raji dialect the letter preceding the final e of the first person has always the vowel point da zamma, and the words are pronounced بیابونم biyabunum جايم jayum, etc. In the note on line 3, page 32, the word میکنم must be a misprint, and should be میکنه as میکرو corresponds to the Persian میکند and میکرم to میکنم

19.

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 ?

Instead of the final به it is far better to use باشد بي or بود in all the lines. کند کرو is correct, and there is no need of using the word کرون as the singular is generally used. The translator in the note on line 4, page 33, translates the line چه دانستی که خوبان در کجائي as "How wouldst thou know my heart, etc.," taking the word دانستی to mean "wouldst thou know," but دانستي here means میدانست it would know"; ie, چه دانستي دلم means "How or what would my heart know."

free.

20.

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

It is not necessary to use the letter i always instead of 2. I have never heard or seen آزاد or فریاد spelt with instead of with . The case is

different with پولاد which has been spelt invariably with both a and s. In the 3rd line either بسازم or بسام may be used, but not بسوم which is derived from an entirely different verb سوختن = سوجیدن to burn.

21.

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 میبرو should be with, which is the dialectal form and not with a which is Persian.

Here, too, as in the preceding Quatrain i need not necessarily be used for in the words دود - سود - بهبود or in باد. It appears like a forced expression and not natural, and savours of affectation. The word

نمیباشد - نمیبو

22.

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).

4. When night falls, I lay my head on a brick.

4

The word لنگري and لنگر both mean a large vessel here and not an

anchor خشت is an unburnt brick.

23.

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 بكيني in the Universe," instead of

جہان in the 2nd line, and this I have substituted.

24.

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 has rightly noticed it. It should be جز to give the " correct scansion."

In the 3rd line حاصل means "giving or yielding no produce," the word حامل in Agriculture means "the produce."

The dot of i had better be omitted in the word أميدي

J. 1. 2

A

25.

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 ني should be substituted for نیست and in the 4th line

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 Persian." But in Raji the letter preceding the of the 1st person has always a zamma and so the words would be pronounced دارم dardum بالينم balinum حبيبم habibum, etc., and not دردم dardam بالينم balinam. It must be observed that the zamma represents the pleonastic واو in such cases.

27.

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.

The 4th line is sometimes written as خدا ذونو قیامت تابكي بي which has been wrongly written as خدا زرتاie, the scribe has changed the's into ; and نا in ذونا zuna tota. The form خداذونا is the equivalent of the Persian خداداناد which is used in case of doubt.

28.

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. Lest there be one more burnt (in heart) than I.

Note the play upon the words هزار and بلبل ; a nightingale is called

a هزار or هزاردستان Hafiz says:

عندلیبان را چه پیش آمد هزاران را چه شد

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) thou

1

sand.

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 الف : 215 = طاهر Alf is a thousand in Arabic, its Persian equivalent being هزار 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 الف Alf, according to Zabar alone, they represent 111, i.e., = 1; = 30; and adding to this number the value of 80 ; 30 = ;1=1 ..15 الف قد; ); =100 and 1=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.

30.

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 دیوال which is the equivalent in Raji of دیوار

31.

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 sweet

heart. In the 2nd line I have substituted از چه بومه from what country,' as it is not idiomatic to say از چه نومه 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 که و should be adopted instead of as the و expresses the meaning more forcibly.

1

32.

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 ón slowly, so that he may be enabled to catch the caravan by which his beloved is travelling, as through weakness he has lagged behind.

33.

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.

7

The translator has evidently taken the word پرچین parchin, a hedge, to be پرچین 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.

34.

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

35.

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.

Both the forms اشرته كرته برته as well as اشمرده کرده برده are invariably used, as a andare interchangeable letters. Riza Quli Khan, in the Majma-ul-Fosaha, makes it برته ويش كرته ويشetc., but the hamza is not required at all, as it becomes nonsense. The word wish should be read vishan ؛ ویشن are more ; in Persian caligraphy ويش and ویشن are written alike, the difference being in placing the dot of the . The paraphrase of the line in modern Persian will be دل بغارت برده او را از هزار بیش اند... 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