صور الصفحة
PDF
النشر الإلكتروني

to suit their own sweet will. In the 1st line will should be substi. tuted for wylist, similarly cylind for alles in the 2nd line. In the 3rd line, the first is erg and the second word is way a wound. Since

Sport "he counted” is the third person singular, the win the words lines and wild alludes to the same person. The poet says that though he (his beloved) counted more than thousands of scars, els from his wounds, why, still the uncounted exceed those that have been counted. The last word in the 1st, 2nd, and the 4th lines

, , diting. It will be observed that the metre has in no way been affected.

sshan is the plural of ويش - ویش or ويشة ishan, and not ویشن should be .ويشه

36:

1. Do not twist thy dishevelled hyacinths (i.e., hair),
2. Do not fill thy drunken narcissi (i.e., the eyes) with tears ;
3. If thou art bent on cutting off thy love from me,
4. Time will cut it off, do not hasten on.

Instead of gliya in the 2nd line Twould be better, and this reading I have adopted, because it is not necessary to make the beloved shed tears of blood, the mere filling up of the eyes with tears being sufficient. The first cosy is to be pronounced varini, and the second vorini, and similarly dis jy vorina in the 4th line. The first is the Raji form of sins!, and the second is derived from uw voridan, to cut, sever=Persian ol!.

[ocr errors][merged small]

1. O, strong-hearted one! thy heart does not burn for me;
2. It would not be strange if stone does not burn;
3. But I will burn till I burn thy heart,
4. For green wood does not burn alone in the fire.

In the 1st line ciagu Js means “to take pity," but in the 3rd line Despigogmi means that “I will make your heart burn,”i.e., “make you feel.” There is a proverb sguanto pelo olisi gü" green and dry wood burn together.” This is made use of to express that in a general conflagration everything is consumed. The poet here alludes to this and says that he will burn himself and so inflame or consume the heart of the beloved also. The 2nd line may also be translated as: “What won. der if stone (i.e., thy heart) does not burn."

38.

1. My heart is distraught through thy love,
2. And when I strike my eyelashes together, a torrent arises ;

از رژ the letters ,ريج خيچ گیج are also written ریژخیز گیو The words

3. The lover's heart is like green wood,
4. Burning at one end; and pouring blood at the other.

, j and

&
being all interchangeable. I have also seen the 1st line writ-

, the love of the fair ones."

39.

My heart is distracted from “ ,دلم در عشق خوبان گيج و ويجه : ten as follows

1. Without thee my heart is not happy for a single moment,
2. And if I see thy face grief disappears ;
3. If they distribute the grief of my heart,
4. No heart in all the world would remain without grief.

[blocks in formation]

1. Thou hast chain-like (curly) locks falling upon thy face,
2. (As if) thou hast Rose and Hyacinth mingled together;
3. But when thou scatterest the strands of thy locks,
4. Thou wilt have a heart suspended from every strand of hair.

41.

1. O may thy sun-like face-grow brighter;
2. May my heart be pierced still more by the arrow of thy love ;
3. Dost thou know why thy cheek's mole is black ?
4. Because, whatever is near the sun is more 'burnt.

The word onthus though the plural form of Blue is often used for the singular also.

42.

1. The breeze that comes from the roots of those locks,
2. Is more welcome to me than the perfume of hyacinths;
3. When at night I take thy thought in my arms,
4. At dawn the scent of roses arises from my bed.

In the 3rd line grüngo should be used, as it shows the cause of the scent of roses arising from his bed.

43.

1. O thou, from whose two locks I string my rabab,
2. What seekest thou from this my wretched state ?
3. When thou hast no wish to be my friend,
4. Why comest thou every midnight in my dream ?

In the 3rd line I have used goly 3 gi which is the only correct form, and Mr. Browne's suggestion is very proper. wala sy you means “to wish to befriend one.

44.

;are used alike سرمه ساهت Persian = سرمه سایه and سرمه سائی In Raji

قفائی is not the 2nd person singular, as the سرمه سائي قفايه and دلربایه same as

1. Thou whose soft eyes are surma dyed,
2. Thou whose flourishing stature (figure) is heart attracting,
3. Thou whose musky hair (plaid) are on thy back,
4. Why askest thou me" Wherefore art thou confounded ?"

= ; but it is better to use the form wil de@gm here, to rhyme with out the interrogative in the 4th line. The other words (4

g/s and coiles are the . translator remarks on page 50, but the 3rd person singular alluding to Wysaine the eyes ; lw do you means surma rubbing or surma dyed, and not "shadowed.” The word dylus is derived from wall to grind, to rub, and does not mean dhe “shadow.” Mr. Browne’s rendering is perfectly correct; the poet in another Quatrain of which I remember only two

: *! Why askest thou me," Wherefore art thou without name or shame." Whosoever is a lover, what is name and shame to him. The poet means that when you have such ravishing eyes, such a lovely figure, and such musk-scented (or may be musk-coloured) hair, it is strange to ask me why I am confounded; that is, with all these forces arrayed against me it is difficult for me to keep myself safe.

45.

ابي راجی چرا بی نام و ننگی * کسی کو عاشقه چش نام وچش ننگ : lines, says

1. How pleasant it is when love is reciprocal,
2. Because one-sided friendship is a trouble ;
3. If Majnun had a distracted heart,
4. Leila's heart was still more distracted.
In the 1st line do is the correct word, as it means “how," while yo

whereas" or because." Mr. Browne is right regarding the use of the word ji for use in the same line.

means

46.

1. Come one evening and illumine my chamber;
2. Do not leave me in the affliction of the day of separation.
3. By the pair of thy eyebrow's arches I swear,
4. That I am yoked to grief since I am separated from thee.
The 4th line of Mr. Allen's edition will not scan properly, and should

.از نو instead of تا از تو be

It is strange that in the note on this line, page 52, Mr. Allen gives gj = V. gi does not mean “fever" here but " thou” or rather " thee" after

47.

1. Art thou a lion or a leopard, O Heart, O Heart?
2. That thou warrest ever with me, O Heart, O Heart?
3. Shouldst thou fall into my hands, I'll spill thy blood,
4. To see of what colour thou art, O Heart, O Heart.
In the 3rd line cü feti is the contraction as well as the dialectal

.افتادن it is the subjunctive of ; افتادی ufti and not of آنتی form of

The 4th line is not correctly rendered.chy do means "of what colour thou art, and alludes to the heart and not to the blood;

the expression coli, dą means “ of what material thou art made."

In the 3rd line 39 and pray! are both correct; but in the 4th line, I would use permit so as it is not elegant to bring two glg vāvs together, as in

.
48.

= چه رنگي . ووينم

چه رنگ هستی

1. O, my Beauty ! thou hast my heart and soul,
2. Thou hast all my apparent and hidden effects;
3. I know not from whom I have this grief (pain);
4. I only know that thou holdest the remedy.
The 2nd line will not scan correctly with milk, and picking is right,

I

. پنهانم and so I have substituted the correct word

49.

1. Shouldst thou come, I will welcome thee with my soul,
2. Shouldst thou not come, I will burn from thy separation."
3. Whatever sorrows thou hast, lay them on my heart,
4. Whether I die of them, or be consumed by them, or bear them.

From the note on page 82, on line 1, it appears that the translator has taken the word oil to mean uls and translates it “by thy life," whereas siks! means liuks! " with my soul (welcome) thee,” the w being in the accusative. Then again in the note on the 3rd line he says, “j.e., the pains thou canst inflict;" but this is not what the poet means. The poet says, if you have any grief or sorrow, lay it on my heart, and care not whether I die of it, or be consumed by it, or bear up with it, i.e., I will gladly bear all thy grief and sorrow and leave thee happy and free from every care.

50.

1. The tulips of the hill-side last only a week,
2. The violets on the river brink last only a week;
3. I will proclaim from town to town,
4. That the fidelity of the rosy-cheeked lasts only a week.

But the accent is on the second .یک سالگی and پی هفتگي syllable, like

From the translator's note on line 1, page 54, it appears that he has read the word dies “ of a week's duration," with the accent on the third

, syllable, and means “only a week.” Sheikh Baha-ud-Din'in his Nān-o

.گرکسی گوید که از عمرت همین هفته مانده است و این گردد يقين Halwa says

Here too diis means "a week,” and not of a week's duration.” “If one were to tell you that of your life, Only a week remains, and this becomes certain."

His other remark regarding the hamza in & yt shows that he has not read examples where poets use their license. He has evidently read it as if it consisted of four syllables, whereas in the present case, it should be read like a word of three syllables, i.e., it should be pronounced a-la-lai, and not a-la-la-ye, and thus it will not injure the metre. Innumerable examples of this may be cited from the older authors. Khakani says :

() a of two syllables and not bila-ye. It is not so in the case of digit

, where the izafat is not required at all, and so the comparison does not hold good.

In the 3rd line, the word wyspa is the correct word, being the plural of ypati and there appears no reason to change it into sports an Arabic word, and then to corrupt it; such an emendation will spoil the sense of the last couplet. For the last two lines I remember having read some

(*

w

is pronounced blast as a word بيلة Here .بيلة توگرد روی مه و زهره را خجل

چرا جور کشم سالان و ماهان * ترا یاری بیاران -: where the following two lines هفته

بی

3. Why should I bear thy tyranny for years and months,

4. Thy friendship to friends is for a week only.” Probably these two lines may be the two last lines of another Quatrain, the first two lines of which are wanting.

51.
1. My heart is grieved (sorrowful) in thine absence,
2. My pillow is a brick and bed the earth;
3. My sin is that I love thee,
4. Yea, whosoever loves thee, this is his condition.

From every point of view the Quatrain as given by the author of the Majma-ul-Fusaha, is preferable to every other version of the same; hence my adopting it.

52.
1. I am that taper whose tears are of fire ;
2. He who is burnt in heart, can his tears be other than this?
3. All night I burn and all day I weep,

4. Like those are my nights and such my days from thee (thy ty. ranny).

J. 1. 3

[ocr errors]
« السابقةمتابعة »