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


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

In the 3rd line the word is neither

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Kas, nor to kill. Kushi cripples the metre too.

Kusht, the past tense of


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 it should be. There seems to be no necessity for adding the pleonastic, in the words piggle pigsty and pig, because in the Raji dialect the letter preceding the final of the first person has always the vowel point & zamma, and the words are pronounced il biyabunum palę jayum, etc. In the note on line 3, page 32, the word must be a misprint, and should be, divo

میکنم to میکرم and میکند corresponds to the Persian میکرو as

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3. If the eyes see not a lovely face,

4. What does the heart know, where the beauties are ?

in all the بود or باشد= بي Instead of the final & it is far better to use

AR كرون is correct, and there is no need of using the word کند کرو lines

the singular is generally used. The translator in the note on line 4, page 33, translates the lined as "How wouldst thou know my heart, etc.," taking the words to mean "wouldst thou

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چه دانستي it would know " ; de ، میدانست here means دانستي know, but

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pls means "How or what would my heart know.”


1. From the tyranny of both eyes and heart I


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 letter & always instead of ♪. I have never heard or seen stor s spelt with instead of with. The case is

different with and 3. In the 3rd line either pil or may be used, but not g

which has been spelt invariably with both s

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



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).

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The word, should be with, which is the dialectal form and not with which is Persian.

Here, too, as in the preceding Quatrain & need not necessarily

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

It appears like a باد or in دود - سود - بهبود be used for s in the words

نمیباشد - نمیدو


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.

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


لنگر لنگري

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


"in the Universe," instead of

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,

injures the metre, and Mr.

4. Not even the herbage of despair grows. In the text in the 2nd line, the word Allen has rightly noticed it. It should be to give the "correct scansion."


In the 3rd line ol means "giving or yielding no produce," the word Jola in Agriculture means "the produce." The dot of å had better be omitted in the word

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J. I. 2


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 break even by a sigh.


In the 3rd line should be substituted for and in the 4th line

دیرم 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 Persian." But in Raji the letter preceding the of the 1st person has always a zamma and so the words would be pronounced pts dardum pių balinum habibum, etc., ́ and not psys dardam pūš balinam. It must be observed that the zamma represents the pleonastic, in such cases.


1. In wailing, my heart is like a flute,

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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.

which خدا ذونو قيامت تابكي بي The 4th line is sometimes written as

has been wrongly written as "ja, i.e., the scribe has changed the`s into 3 and U in ↳s zuna to ta. The form is the equivalent of the Persian ja which is used in case of doubt.


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 and us; a nightingale is called

:Hafiz says هزاردستان or هزار 2

عندلیبان را چه پیش آمد هزاران را چه شد




1. I am that sea which has come in a vessel,


I am that point which has come to be pronounced;


In every thousand (years) an upright statured person appears.

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

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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 b=215; Alf is a thousand in Arabic, its Persian equivalent being 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 | Alf, according to Zabar alone, they represent 111, i.e., |= 1; J-30; and,=80, adding to this number the value of a 215, i.e., 1=1; J=30; 80; =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.


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 J which is the equivalent in Raji of .


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 ?


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 && "from what country,' as it is not idiomatic to say &, 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 should be adopted instead of &; as the more forcibly.

expresses the meaning


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If I am in love with the face of a beloved one,

2. Restrain me not, as I am the thrall of my heart.


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.

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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 parchin, a hedge, to be 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.


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 شمرده کرده برده as well as المرته كرته برته Both the forms

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


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

are ويشن are more ; in Persian caligraphy and " ويشن read wishan

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


, .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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