The Lament of Babe

Home , Baba Tahir

THE LAMENT OF BABE

B EI N G T H E

‘

RUBA IYAT OF BABE TAHIR, HAMADANI

T H E P E RS I A N E ! E I E A N O A E A N D A SL A E B Y T T D T D , N T T D TR N T D

EDW A RD H E RO N - A L L EN

A N D R E NDE R E D I NT O E N GL I SH VE R SE B Y EL IZA B ETH CURTIS B REN TO N

LONDON B E RN A RD QUA RIT CH

1 5 P IC C D I L L Y W . , A , L O N DO N P I E B Y GIL B E IVIN G O N R NT D RT R T , ’ S T JO H N S H O USE C L E K E W E L L . . , R N P A G E

IN T RO D U CT I O N

T H E L A M F B B TAH IR r n re d i nto E n li h EN T O A E. e de s e e , g v rs by E liz a beth Curtis Brenton

‘ T H E RUB E IYAT of B aba Tahir H a ma dani T h e

o ri in a l di e t ext with th e Persia n e i en g al ctal , qu val ts ,

PRO S E T RAN SL AT I O N of

I N T R O D U C T I O N .

T o i e i d i th e em a n d e n wr t an ntro uct on to po s , to d ea vour to give information about th e life of a n author of whom th e only thing that can b e said with p erfe ct

is t i i i s him accuracy tha pract cally noth ng known of , suggests the brick - making industry as practis ed by th e ‘ e in th e a i at B abs a i J ws Egypt . Though rub y of T h r a re chaunted a n d recited to th e pre se n t d a y all ove r

e i th e m ime th e ee - i e d V i P rs a, to acco pan nt of thr str ng ol

e th e Sih - tar e e - in a n d or lut , known as Thr str gs fe w colle ctions of poems have b ee n publishe d in that

i d e ed in th e e i e i e th e country (or n P rs an languag ) , s nc i d i th e i i e d o ntro uct on of l thograph c pr ss, that not

i me e ime his in e in conta n so sp c ns of quatra s , conc rn g th e e im e few e i e d e i i i po t h s lf pr c s ta ls , b ograph cal or

me i e i e e et . oth rw s , hav y co to l ght T h e only published a ttempt to lift th e veil of mystery that shrouds th e p ersonality of B ab s Tahir is ‘ ’ to b e found in th e M aj ma u l - fusa h a of Rig a- Quli Kh an viii INT RO DUCTION

12 5 i e e ih n A H . . . a . 9 . (T r , vol , p wh r , by way of ‘i a B ab s a i th e introd uction to t en rub a y t of T h r , compiler ex pre sse s himself as follows ‘ “ H is me B abs a i a m d a i . T h r, Ury n , Ha a n na was

a i H e o n e th e m emi e m i h is T h r . was of ost n nt yst cs of

ra T h e i i e x e e d me i e h e e . op n on pr ss by so wr t rs that

was contemporary with th e Seljuq Sultans is e rroneous .

th e e ie th e i a n d i ed d e H e was o n e of arl st of Sha khs, l v un r

H e i ed A . H . 4 10 th e D a ylemite dyn asty . ﬂour sh about ‘ so afﬁx» , O a n d d ied e e i F ird a wsi ( ) ; J ) , b for Unsur , , or ie H e is th e a any of their contemporar s . author of rub

‘ i th e i e e h iyat of gre at e x cellenc e n anc nt languag ( u ) ; i id e e i ﬁ i a re i ex . s r ) , wh ch st ll tant It also sa that th r a re ex e i e him a n d e tant tr at s s by , that scholars hav ” m a i em co posed comment r e s upon th . ’ ‘ T h e me u in e th e Ri a u l- A i in sa a thor a lat r work , y z r f

i a A H 1 05 e B abs a i di d . 3 . e (T hr n . , p stat s that T h r

- in th H 4 1 i A D 10 1 9 20 w “ " o e e A . 0 e . . y ar . ( . . A? j ) , a n d tha t cons e que ntly h e cannot have b een a ‘ ’ contemporary of A ynu l - Quzat - i - Hamadani (who iii die d A H 52 5 52 6 di a i i . . or , accor ng to H j Khal fa, , ’ 45 mi a fa 4 5 9 53 6 o f a N at . 7 p . , [ also J s h , pp or ’ N a si ru d - din u i died A H e d of T s (who . . as stat by 3k me wri er i a - li a d e so t s . Unfortunately R z Qu Kh n o s not

Vida E B m o n . G . o wn S o N o o e of th e i n r e, e tes the P try Pers a ” D i in Jo r a l o h Ro a u n t e l A si a tic S oc iet O o 189 5 . alects, the f y y, ct ber, INT RO DU CTION ix

e m e e h e e ed i i m i stat fro wh nc gath r th s nfor at on , though ‘ in th e late r work he cite s twenty - four of th e ruba iyat

a a a i i d e A H if it d b e of B b T h r . Th s at ( . . coul

e ied i d e m th e eed r l upon (wh ch , as woul app ar fro succ

in e e em b e th e e d m e e g not , s s to cas ) , woul ak our po t a contemporary of F ird a wsi a n d an imme diate pre cursor ‘ m am of O ar Khayy .

m I a m i d e ed m . . e Mr E G . Brown , to who n bt for ost

e i e in th e e i i um e valuabl ass stanc pr parat on of th s vol , adds th e following very important a n d hitherto um publish ed information to th e above “ I have com e across mention of B abs Tahir in a

i e i th e Sel u s i th e o n e un qu h story of j q , of wh ch known

is in th e S c h e fe r e i in i s id e e MS . Coll ct on Par s ( not , ‘ ’ i i i is e d Ra a tu - du w a xi . p . ) Th s h story call h s Su r

’ ’ - A a tu s u i ll rm ”dis — l T h e m y Sur r (”J J ” ) Co fort of ’ Breasts a n d Sign al of Gladness a n d is by N aj mu d ‘ Din A bil Bakr Muhammad bin Al i bin Sulayman bin Muhammad bin A hmad bin a l- Husayn bin Hamat ’ - Rawa n di e it th e Sel u e A ar , who wrot for j q rul r bu l ‘ ’ ’ ‘ ’ Fath Kay - Khusraw bin Al a u d - Dawla Iz z u d - Din ‘ a i a Qilij A rslan b in Mas ud b in Qilij A rsl n b n Sulaym n . 5 600 A D 1 202 h n A H 9 9 . . T e book was writte n i . . or ( d 6 3 5 D d A H A . n h i e is e . . . a d t e MS . ts lf at (

i o ld a n d e i s 123 7 so its e vid ence s valuabl . It there stated that wh en Tughril B eg th e S elj uq (who

ei e d A D 103 7 - 10 63 i i ed m da h e B abs r gn . . ) v s t Ha a n, saw INTRO DUCTION

a i e him d d i e his e i an d th e T h r , who gav goo a v c , bl ss ng, ring - like broken - o ff top Of his (or j ug for p erform

in i i th e i i ed th e g ablut ons) , wh ch Sultan h ghly pr z as

meme ma n a n d e d e a s in nto of a holy , us to w ar a r g on

his e i e &c I e d i o ld ﬁng r on occas ons of battl , . r gar th s a n d authentic e vid ence as proving conclusively that B abs T ahir ﬂourishe d about th e middle of the eleventh

e r e ra a n d h e ma n me c ntu y of our , that was a of so

- n ie [sa o i is i otor ty as a g , a crazy sa nt . It sat sfactory to ﬁn d th e early d ate given by Riga- Quli Khan con

med in i ﬁr th s way .

i e em i e e e th e e e th e Th s passag r a ns th r for , for pr s nt , most pre cise authority at our service for th e chronology

th e id i of author und er cons erat on . N eithe r of th e coll e ctions of poems lithograph e d a t

- m in A 1 0 a n d A H . 1308 H . 2 9 8 . Bo bay . 7 ) A D 1 85 A 1 a in 12 . 89 a n i A H 4 . 7 D 0 d . . 7 ( . . at T hr n ( ‘ ’ th e a a th e a A d llah A a i nor Mun j t of Khw ja b u ns r , 1 0 1 A 1 882 i m in A H . 3 D . l thographed at Bo bay . ( preﬁx any introduction to th e sp ecimens they give of

’ B abe Tahir s quatrains ; but in th e A tash Kadah of ‘ A 12 A D . 1 860 L li B m . H 7 utf A eg A zar [Bo bay . 7 ( ‘ 247 e - ﬁve a i a B abs a i a re i p . ] tw nty rub y t of T h r ntro d uc e d th e i e d e th e i 5 by follow ng not , un r rubr c 5 ‘ ” i a i e di e e . P rs an Ir k , . M a ‘ a e me is B abs T a i is ma d - ma n Ury n , whos na h r, a

m m da na h e is e ed ma n in fro Ha a n ( ul ) a l arn , know g INTRODUCTION x i

i i n a n ha ma d am H is i is e d e d all th ngs (w ) . h story r cor

in me few i i a n d his e is el so wr t ngs, charact r w l known

m d H e i s ma d in h a ong a epts . a lover ( t e S ufi or

i i en e th e d e is e id e sp r tual s s ) , ar our of whos soul v nt

m his em a n d h e i e m i in fro po s , has wr tt n any quatra ns " th e Ra ? di e in i me e m j al ct a part cular tr , ost

i e i me it ei W e of wh ch hav a part cular r of th r own . ” e e ed me e e a n d e e d m hav s lect so of th s pr serv the here . T he particular two - b eyt metre re ferre d to i s not th e

‘ mm a i me e th e e i em e e co on rub tr , though P rs ans th s lv s h i a ahi ‘i a e t e B bs. a always r fer to quatra ns of T r as rub y t . T h e metre in which the se qua trains a re written might prop erly b e d escrib ed a s a simple variety of ka z aj 5 K “ ” 5 3s 1° th e i ed h ex me e H a z a . , U “ ( 1 curta l a t r j

‘ T h e metre is a s follo ws

u - l u V

I e ee e e i T h e earliest MS . that hav s n of th s quatra ns i s on e in m own e i d i m th e en d y coll ct on , at ng only fro

I have retain ed in this place the term R aji for the reaso n that i i n m in d t M r E t n i d o . B n s a . G . o tra sl terates the Per a , but I ebte r w e “ fo r the follo win g n o te : If the readin g GB}? is right it must ‘ ’ m n in n u o f on e wh o i ion om b ea the la g age prays (a pet t , fr y a ‘ ’ ‘ or o o r i f o u c a n ﬁn d th e d in 1 ré z i it prayer, h pe y rea g 6 5) ( ) ‘ ’ ’ mi h in d i of R e is n o Ra i d i g t be the alect y, but there j alect that I H t “ d ' d f M . d o e din n d i e R e éi . ever hear o . uar a pts the r a g alecte It will be seen o n referen ce to the tex t that the c (j ) a n d the 5 (z ) are

n in i d i in tercha geable th s alect . xii INTRO DUCTION

the 18th e a n d i i 27 i a n d of c ntury conta n ng quatra ns , the only other to which I have h a d access is o n e in th e Bibliotheque N ationale in Paris (which b ears th e stamp

A i i i Sch efer N o 9 6 55 i e cqu s t on . which s a colle ‘ tion of 174 ruba iyat written in ordinary mod ern

e i in d i m d e nim- shika sta d P rs an, an or nary o rn han ‘ ‘ i i o n e A li ibn A b i a i A li wr t ng, by T l b Bakhsh

a a i in th e e A 12 6 i H . 0 A D Qar b gh , y ar . ( . . Th s

i e e e e e a n d e conta ns a pros pr fac of thr a half pag s, but this pre face is e ntirely d evoted to praise of th e poem

i e i i s th e i e it is ts lf, wh ch , to wr t r , such a book that

th e e i th e e e th e e - i ed a n d v ry pup l of y s of cl ar s ght , a fair copy of it is th e salt on th e table of d elicacy of

me i s — a n d a d in n ita m e e i an ng so on ﬁ , tog th r w th fulsome a n d e x aggerated compliments to th e reigning h a a d T h d a t e e . e Sh h of K j r ynasty . MS n s abruptly

a n d is e i ed it d e appar ntly unﬁn sh , but woul app ar that

i i e i th e m i e e n d his e e th s was nt nt onal , as co p l r s pr fac ‘ with a statement that h e has collected a ll th e ruba iyat m i d A 12 60 s a i e e . H of B ab T h r that hav co to l ght own to .

s m - m af b n d h w a . hi M O l d a that e e a dd e h e ma ﬁn d e x e in propos s to any oth rs that y , pr ss g at th e same time a hope that th e sup ervisin g re ad e r “ i in th e e e d i e i w ll also show favour, v nt of scov r ng

it M S in d d i n S u l m en t n S ch efer S . e These are clu e the pp Persa ,

— 1 3 1578 . n o s . 3 0 INTRODUCTION xiii

mi i i th e en m e i e is o ss ons , w th p of co pl t on . Th re not in this pre face a word of historical or biographical

i m i th e e e nfor at on about author . Mr . Brown t lls me ’ ‘ that th ere a re six leave s of Baba Tahir e ruba iyat in a S ’ M . e i Pertsch s e 72 7 at B rl n ( Catalogu , p . , no .

I e e e e i M S e hav not b n abl to consult th s . ; but H rr Stern of th e K On iglich e Bibliothek informs me that it ‘ i ﬁft - six a i a i e e conta ns y rub y t , w thout any pr fac or

i d i a n d d e d e e ee ntro uct on , though un at , app ars to hav b n

w i e 1 820 is e e e e e r tt n about . It th r for of no gr at r

im e th e e d i portanc than t x ts at our sposal .

Clement in his i d . e M Huart , ntro uctory ssay to ’ L es Q uatrains d e B ab e Tahir Uryan e n Pehlevi states that h e infers from a passage in ’ ’ the N uz h a tu l- ulf1b a mdu llah M usta wﬁ Q of H , who

died in A H 50 A i i e d . 7 D . . ( . that th s author ﬂour sh

e e t d e T h e e e e ed is th e b for tha at . passag r f rr to to

e ffe th e m B ab s a i ten e i ct that to b of T h r was , y ars pr or

d i in A D i ed e . . . to that ate ( . h ghly honour at

R a ma d an H e e th e i m e . also t lls us, on author ty of Co t

’ d e Gobin ea u s i en A ie B abs Tro s ans s (p . that Tahir i s now regard ed in Persia as on e of th e saints of th e A hl- i - N i e a n d his i e i bi Haqq or usayr s ct, that s st r, B F a i mm i m is e e e ed i . t ah , qually v n rat by th s co un ty

m r i l . i . n o 3 ov be Jo urn i ii vo v . e a l A s a ti ue i . q (Par s) , ser v , , N D ec m 1885 e ber, . xi v INTRODUCTION

A ll that w e can safely state is that h e was a crazy ” in d e i e i i i i e d e m sa t, a rv sh , or r l g ously nsp r b ggar, fro ‘ “ ” his me U a L T h e N e d in i popular na ry n ( U ak , wh ch

di i h e d e med th e ee m d a con t on oubtl ss roa str ts of Ha a n , th e e e i e ed Go d a n d th e e th e sp c ally prot ct of Proph t,

di i th e d e i d e x a s. i pr ﬁ B b n cat ng rv sh , or kalan ar

di i e mi e e a m th e S u i con t on , rath r than pro n nc ong f

e B lo ch et m en i A i s ct . M . calls y att t on to an rab c MS . in th i i e e N i e N o e B bl oth qu at onal ( . by an anony m d ed A H 89 A D i i 0 . ous author , at . . ( . conta n ng at

4 - 100 e i e th e e e e B abs a i pp . 7 a tr at s upon s nt nc s of T h r

‘ H a ma d zmi A di th e e i i e i . ccor ng to op n ng l n s of th s

e i e e th e i i it ri e th e tr at s (aft r nvocat on) , was w tt n at ’ re que st of a S il fi named A bu l - Baqa a l - A hmadi ; th e

i m a re i S uﬁstic mild e a n d a re aphor s s typ cally of a typ , “ ” quite possibly th e tre atise s re ferre d to in his intro d i i a- i a aid e su ra uct on by R z Qul Kh n ( p ) . To th e above information ma y use fully b e add ed th e

l i i is i e ed fo low ng, wh ch a translat on of an account gath r for me from a native scholar by Captain Charle s ll i ’ i i K emb a H s e e d e e . is , Maj sty s R s nt at Bush r It “ e ded A e i a i w d e th e h a , ccount conc rn ng T h r, kno n un r

s ' ” me Ur an d ed d di i a n d is na of y , as han own by tra t on, as follows ‘ It is stated that Tahir- i - Uryan was an illitera te

a n d d - e D i th e d a h e p e rson was a woo cutt r . ur ng y was wont to go to the Madrasa ( acad emy) a n d listen INT RODUC TIO N

i th e d e d e d ei e th e wh lst stu nts woul r a th r l ssons , but

d ed m e him O n e d a h e stu ents us to ak fun of . y ‘ em e d on e t e in m e th e i i i n r ark to of h at s of nst tut o , I wond er what the se stud ents d o in ord er that th ey ma y ’ d e d th e i i th e e T h e un rstan nstruct ons of Prof ssors .

d e e lied i A t mid i e et i stu nt r p jok ngly , n ght th y g nto this pond a n d plunge their h eads und er th e wate r forty

ime e d e i i e e d e d t s aft r un rgo ng th s proc ss , th y un rstan ’ a i e ie ed i a n d d i the instructions . T h r b l v th s account d

th e me im e th e e e i e e sa h s lf, though w ath r was nt ns ly

d u e i e e d a n d e e e d col . J st th n a ﬂash of l ght app ar nt r his mouth N e x t d a y h e came to th e Madrasa a n d commenced a philosophical d iscussion with th e stud ents

d e to w hich they were unable to re spon . Wh n the y

ed him the e i dd e e h e e e d ask r ason of th s su n chang , r lat ‘ his em i ed th e i story to th , say ng, I pass n ght as a ’ d a n d e ed i th e m i A Kur op n w th orn ng as an rab .

i imm i e d his e e is ed Th s ensely aston sh h ar rs . It stat

e e eeme d b e e x din e in his d that th r s to traor ary h at bo y ,

m on d si e him H e so uch so that no e coul t n ar . used to pass his time continually in th e jungle s a n d ” m i is th e m d e di i e in ounta ns . Such o rn tra t on conc rn g

e - i our po t ph losopher . This is th e sum total of what we have b e en able to ‘ di e e i th e e e a i a a n d scov r conc rn ng author of th s rub y t , in th e absence of any early tex t that might throw further light on th e subj e ct it seems all that w e a re xvi INTRODUCTION

i lo ch in i i B et . e e e . . v r l k ly to obta n M Par s , Dr Ross

in m id e a n d i in L d w e . on on, Mr . Bro n Ca br g , Mr Ell s at th e i i e m e i th e m i d e Br t sh Mus u , hav , w th ut ost k n n ss a n d ie e ed th e e i i e pat nc , ransack stor s of b ograph cal lor of which the y have command in th e e nd eavour to obtain for me some more ex plicit information concern in i m e i e e a n d i ei m i e d g th s yst r ous p rsonag , w th th r co b n fail ure to elicit any d etails other than those record ed

e m e d th e e th e abov , I ust r luctantly aban on s arch for

e pr sent .

T h e other point to » b e consid ere d i s th e diale ct ‘ in a i a s a i which the rub y t of B ab T h r a re written . ” “ ' H e is e ed L i a n d Stem a ss i e L i oft n call ur , g g v s ur ” Tahir T au as th e name of on e of th e trib es of the

L i d i h e A d Ct e . e e e urs . ccor ngly , Gob n au stat s that

te in th e L i d i e t i d in his wro ur al c wh lst Cho zko , “ e e i L d 1842 Popular Po try of P rs a ( on on , p .

‘ h e e in a d a i di e W e says that wrot M zan ar n al ct . ma e e i d th e ie e x e ed y, how v r, I th nk , a opt v w pr ss in th e introduction to th e quatrains in th e A tash

d e a re i e in th e a i Re Ka ah , that th y wr tt n R j (or y) "e d i e i d i e is o n e th e n e i al ct . Th s al ct of orth P rs an

i loe cit ed group wh ch M . Huart ( . . ) propos to class und er th e generic term Pehle vi Musulman for a

it S ee n o n a x the te o p ge i . INTRODUCTION x vii

fulle r e x planation of th e term th e re ad er is referre d

i e d ed in i th e r e . to a t cl of M Huart alr a y quot , wh ch his contentions in favour of this some what d ubious ex pression a re ingeniously set forth a n d its use

iﬁed just . i i ma i i A e ed e . . . l arn Sh kh of K r n , wr t ng to Mr E G

e d e d e 3 0 189 1 e i e e Brown un r at July , , conc rn ng th s

di e : T h e di e i e al cts , says al ct about wh ch you wrot for

i m i is th e L u i i i a a n d a nfor at on r pato s of Sh r z Isfah n,

di e e i i s th e i . wh ch Pahlav al ct Many po ts, such as ‘ di A bu - ha H aﬁ a n d a u i ma Sa , Is q , z , Khw j (of K r n) , ”6 have composed verse s in it .

is e x edie in th e i d i It not p nt, ntro uct on of a book primarily intend e d to present to th e occid ental read er the sentiment a n d b e auty of a comparatively unknown

e i ie i o i th e e e coll ct on of or ntal quatra ns, to g nto f atur s

h d i e i e T h e t d e is i e e e d in of t e al ct ts lf. s u nt who nt r st this branch of th e subj e ct is re ferred to th e tex t which

me th e e e id i forms part of this volu . In not s luc at ng that tex t th e d iale ctal forms a re picke d out a n d

e ed di e i it ma b e id e e r stor to or nary P rs an y sa , how v r, in i e e e i i e e th s plac , that th s quatra ns hav ng b n trans mitted through p erhaps nine hundred ye ars by

e i i a n d di i e ffe e d th e r c tat on oral tra t on , hav su r usual

“ E G B o w n N o o n th e o r o f th e ia n D i c . . r e , tes P et y Pers ale ts ,

o it 7 73 . l c c . . , p . x viii INTRODUC TIO N

vicissitud e s which affe ct such folk - songs when reduce d

i i es i e i e i e th e to wr t ng . Succ s v scr b s, gnorant p rhaps of d i e e e e i i a n d e e e al ct th y w r transcr b ng, car l ss p rhaps of th e i i e e x i d e e h stor c valu of a scrupulous act tu , hav

d ed m e e x eme i ex th e pro uc a nu b r of tr ly var ant t ts,

i i e e ei e ed i i var at ons, how v r, b ng fortunat ly conﬁn w th n

e i imi T h e i a H i a ] m c rta n l ts . MS . of M rz ab b Isfah n , fro

i e his ex is e wh ch M . Huart larg ly took t t, appar ntly

th e m in e d i e i for ost part pur al ct, wh lst that of ‘ A li ibn A bi a i in i e b e T l b , Par s , app ars to frankly

e d i e e i is i e translat nto pur P rs an . It for th s r ason

e e e e i e i e th e ex that I hav , wh r v r poss bl , g v n t t of “ ” in ie i th e i b e d M . Huart ch f, not ng var ants to foun in th e other te x ts that I have used in compiling that

i e in i me a n d in i i its wh ch app ars th s volu , arr v ng at me i an ng .

e w e me th e d i i i Wh n co to scuss on of our translat on , which purports to place b e fore our read e rs th e senti me B abs a i we et e x eedi d e i e nts of T h r, g on to c ngly l cat

d m e a m groun . I ust say at onc that I alone

e i e th e i th e i r spons bl for actual translat on of quatra ns , a n me d m i e i e d that Mrs . Brenton has rhy y l t ral nt r p ret a tio n s with a ﬁd elity a n d ex actitud e which i s ofte n

i e m i e e e i e but l ttl short of a az ng . What v r rrors of nt r p reta tio n a re to be found in this volume ( a n d I a m e x e edi i t e a re m a re e i e c ngly consc ous tha th y any) , nt r ly d ue m o f m e e i th e i in to y lack a just co pr h ns on of or g al .

INTRODUCTION h e i e e x e in i in a n d e en w sh s to pr ss wr t g, far wors wh (as i s ge n erally th e case ) we have to d e al with copie s m e e e m e m th e i i d m d e or or l ss r ot fro or g nal raft , a by

e i n o th e d i e e e e m i i p rsons g rant of al ct b for th , nto wh ch

” all sorts of clerical errors a re almost sure to have ” “ e loc cit . e e ed e x e cr pt ( . , p I hav l arn by p rien c e that th e publication of eve n a very faulty a n d imp erfe ct account of a matte r which is intere sting in i e e fﬁ e e i i m e e in th e ts lf, oft n su c s to l c t fro oth r work rs same ﬁ eld valuable communications a n d criticisms which might otherwise neve r b e mad e T h e

i e d e i i i e m in me e Engl sh r n r ng wh ch I g v ust , so cas s, b e e d e d e e i e e r gar as rath r of a t ntat v charact r, though I b elie ve that th e y fairly repre sent th e ge ne ral s en se of h i m lo . c t . t e e c . po s ( , p

With th e se pre liminary observations by way of

“ i d i w e m e e L me B abs ntro uct on , ust l av our a nt of ” a i in th e d th e m e e e a n d th e T h r han s of a at ur of v rs ,

d e th e e i n e in te r re stu nt of P rs an la guag . My own p ta tion s of th e quatrains have b e en versiﬁe d with conspicuous succ e ss (I sp e ak of cours e from th e philo

i i ie a n d in e mi log cal po nt of v w, not any way pr su ng to e n th e d m i th e i e i i ncroach upo o a n of l t rary cr t c) , by

i e i e e e Mrs . El zab th Curt s Br nton , whos paraphras of “ ‘ ‘ th e accepte d rend erings of th e Ruba iyat of Omar ” “ ” Khayyam (by Elizab e th A ld e n C urtis ) a ttracte d INTRODUCTION x x i

“ so much attention when issue d by T h e Brothe rs of th e e e N ew Y in 1 89 9 Book at Gouv rn ur ( ork , . My own tran slation has b ee n add e d at th e last moment

d e i m e e d d ed h un r c rcu stanc s alr a y allu to . I a d not i en d ed it d m i me nt that shoul for part of th s volu , but having b e en command ed to make a draft of it for th e

e s e ie d it e in th e i d me e d pl a ur of a fr n , f ll to k n of asur

s in i n d T h e e pro e which t now sta s . r sult having b e en

fulﬁhn en t i e it id e wa s ( as a ) a fa lur , was cast as , but

e e d m d e i a n d in e i ed m r scu fro struct on , , a r v s for , includ e d herein for th e assistance of stud ents who ma y

e e id e th e i i i e th e ex car to hav a gu through ntr cac s of t t . T he quatrains b eing in th e nature of ind ep end ent

i e e d e o f ei aphor sms hav no prop r or r th r own . Mrs .

‘ Brenton has a rranged them as they fell into place during th e process of constructing h er poem my prose

th e d e th e e x i e version follows or r of t t, wh ch I hav arranged to some e x te nt so a s to bring toge the r such se ts of quatrains a s app e ar to d eal with c ertain

A dd e e Go d im e mi d e . i d e . att tu s of n , g r ss s to , to h s lf, to

h is e ed a n d o n . B lov , so

ma b e e ed in i it is e n It y obs rv , conclus on , that oft very d ifﬁcult to d e termine whether an e arthly or a he ave nly obj e ct of adoration is th e obj e ct ad dre sse d in ‘ a n i u a i i is d ifﬁ ul i i s y part c lar rub , but th s a c ty wh ch incid ental to all orie ntal poetry in w hich a mys tic o r

e Suﬁstic te nd ency is observabl . INTRODUCTION

It only remains for me to re cord in this place my

e i a n i . gr at nd e btedne ss d s nce re gratitud e to Mr . E . G Browne for his invaluable assistance in th e compilation i of th s work .

E - D W A RD H E R O N A L L E N .

VE N IC E ,

A ri l 1 1 90 . p ,

T 0F BABA TA LAMEN HIR.

1 .

a m N m d i m I a o a , a Fanat c Tra p , L ife h a s no ties for such an idle scamp

A im e d a d e a n d i l ss by y I wan r, at n ght

’ t e m i a n d th e m m A . S on s y p llow, Moon y la p

2 .

d a a n d i th e e e is m me By y n ght D s rt y ho ,

’ e th e ien d e e e di m e My T nt fr ly H av ns spr a ng Do ,

N o r i e e me n pa n nor f v r rack , but I k ow i m That n ght a n d d a y I sorrow as I roa .

T h e o e m th e e s in R s s bloo upon br a t of Spr g,

r m e e s d ls i F o v ry bough a thou an Bulbu s ng, But E a rth contains n o Ple asure - groun d for

i in A Burn ng H e art to every joy I br g . 2 T H E LAME NT O F

4 .

’ i ed e L e e e e e m e Thy p ctur B auty, ov , n r l av s y H art ,

d n e e e me me Thy ow y ch k b co s of a part , ’ i e mi e e e L e T ghtly I ll clos n y s , O ov , that so L i e e e i e m e d e . My f , b for th n I ag , shall part

5 .

O ut i e e e hunt ng, wh n a Falcon , onc I w nt ;

u e n A m i S d d an rrow through y w ng was sent .

B e e d e e d e d e e ! me warn , O h l ss Wan r r by , i A gainst th e H e ght th e stronge st Bows a re b ent .

6 .

i u e in th e d e L d W tho t Th e Gar n, or , I know

T h e e e - e ume d e sw tly p rf Ros s cannot grow,

N o r e a ie th e L i s d T rs of Gr f, although ps houl

’ e in i B e wash d away Joy s br ght overﬂow .

7 .

a m e e e I b s t by cru l Tyranny,

e emem e mi e e m see My h art r b rs all n Ey s ust ,

’ i r i i ed d e e I ll fash on , st a ght, a po nt swor of st l,

' min e e a n d set m e e e Put out Ey s, y poor H art fr .

T H E LAM E NT O F

1 2 .

L e in e d b id m e o O ov , purpl thou ost g ,

ie i e e x me ei me lo w Gr f, l k an tra gar nt, w ghts ,

Y et i e e th e w ll I boast th as Dawn boasts Sun, i l T ll Isra ﬁl th e Final Trump shall b ow .

a m th e e i x e e I Pho n , of such gr at R nown T h e b e ating of my Wings in ﬂ a mes th e town

o n e d in me e - If shoul pa t on a hous wall , why

i b n That luckle ss house would stra ghtway e burned dow .

14 .

“ e Y e s H e i s Go d it e me That phras , , troubl s , My Sins a re like th e L e ave s upon a Tree

e th e e d e e d th e m Oh , wh n R a rs r a Book of Doo ,

m t m me i e d b e I What us y sha , w th such a R cor ,

1 5 .

A e m ? las, how long, th n , ust I sorrow so

e e m e e i B r ft of all , y T ars unc as ng ﬂow ; Turn e d from each Threshold I ' will turn to

’ A n d if fa il st me i e o Thou , wh th r shall I g B A B A TA HIR

1 6 .

i i L e m e a e m Strung w th thy Ha r O ov , y R b b gl a s ; How far from the e my D egradation s e ems ! ’ lov st me a n d d n o t b e m L e Thou not, woul st y ov , The n wherefore come st thou to me in Dre ams ?

1 7 .

’ Co m st thou ? My Welcome thou shalt not contemn

me a n d m i e ie em ? Co not , who y b tt r Gr f shall st

’ i e em me a n d e d ie G v th to , of thy Wo s I ll ’ b e med i m e . Or consu , or I ll put up w th th

1 8 .

’ me e eek m L e A Mo nt s spac to s y ov I ran , ’ d e me - ma n ! Hurry not so , for Go s sak , Ca l

She d m e i e a n d u hol s y H art a Pr son r, thro gh ’ ’ I m L d in L i e but a aggar f s Caravan .

19 .

w e b e d o ur i is in ee Though runk , Fa th all Th , ’ W e a n d U a e i i in ee ak nst bl , st ll our Fa th s Th ,

e e N a z a re n es ma Gu br s , or , or Musul ns , ’ e e d i is i e a n d ee . Whate er our Cr , our Fa th Th n , Th 6 T H E L A M E N T O F

2 0 .

’ is h e s i e e in e t Happy who n gh to Th h ar , IVh o from Thy Teachings neve r need d epart

e e e e e i Too f bl to approach Th , I can st ll

i e n e e Consort w th Thos who k ow Th as Thou art .

2 1 .

me e n i i e le t o n e i Co y I t at s , no fa l

m we i e a n d e e w i For a C rcl our Wo s b a l ,

i e a n d a n a tic ism ei Br ng Scal s our F w gh ,

T h e m i m ti th e e ost Ecstat c ost shall p Scal .

22 .

T h e S ea i i — i is m e w th n a Cup th s y Gaug ,

T h e e d L e e m e e th e e Dott tt r that co pl t s pag , ’ O n e i n i i s a M ll on such a Man as I ,

I a m th e bright E x emplar of my a ge .

2 3 .

Swe eter than Hyacinths to me is borne

T h e e e e i in m u is Br z that, s gh g , fro thy C rls torn A ll night whe n I have pressed thy Picture close

n T he sce nt of Rose s ﬁlls my Couch at Daw . B A B A TA HIR

2 4 .

A h e i l e m i e e n , wh n w l H alth to y S ck H art r tur

T h e d A d i e i e it d n Goo v c I g v o e s but spur . ’ th e i d wi n o t b e n e Flung to W n s , t ll bor away ,

in th e me it wi n Cast Fla s, alas , ll not bur .

25 .

’ What Flame - singed Moth s as blund e ring as I ? On s uch a Madman who would waste a Sigh ?

e th e A a n d e e e ei n e Ev n nts S rp nts hav th r sts ,

e i li But I hav not a Ru n where to e .

2 6 .

L e ee m e is ﬁ ed i Wo e For ov of Th y H art ll w th ,

th e m i l is a s My Couch Earth , y P l ow low ,

Sin is i ee My only lov ng th too well . Sure ly not all thy L overs s uffer so

2 7 .

e me th e i is e e e d i Spar s ght of thy D h v ll Ha r, T h e sight of Te ars i n those thine Ey e s most fa ir ’ d d e i e me th e L e Thou woul st pr v of Sun , thy ov ,

’

e me in N i e s i . Oh, plung not too soon ght s D pa r 8 T H E LA ME NT O F

2 8 .

IVh en u e d im m i tho art abs nt Sorrow s y s ght ,

e e e is e e i My Tr of Hop barr n of D l ght,

A n d e e a ll e I, wh n thou art abs nt, alon

Sit a nd i s t i m e i . , shall unt l y Soul tak s ﬂ ght

29 .

i e e is m e in i d W thout th y H art Mourn ng cla ,

b ut a e a n d i a m d Show thy F c , stra ghtway I gla ’ men h a d e in m e ie If all a shar y H art s Gr f, h d d N o H eart in all t e Worl but woul b e sa d .

3 0 .

N ought can th e M e ad ows of my Fancy show ’ e ie sa d - l e d e in Sav only Gr f s co our Ros blow, ’ m m e tis A id e Fro y poor H art, such an r wast ,

e e i e e e i Ev n D spa r s pal H rbag w ll not grow .

3 1 .

T h e L e a n d th e L e d a re mu O n e ov r ov so ch , Each end eth where th e Other is b egun ; ’ My H eart with my B eloved s little H e art

i e e i e F i e Is nt rwov l k abr c clos st spun . B A B A TA HIR

2 3 .

’ I m e e L o e m o ff th e e e a gr n g fr sh cut fro Tr ,

e e b urn est me O H art of Ston , thou not for ,

i d e ed e x e n e n ? Though who, n , p cts a Sto to bur i i But I must smould er t ll I k ndle the e .

3 3 .

’ e is n i di i L e m i e My H art gh straught w th ov s E pr s ,

Te ars gush in Torrents from my throbbin g Ey e s . ’ A L e e is i e e - e L o ov r s H art l k a fr sh h wn g ,

n n me m th e e i e O e e d e d . sh s Sap , Fla s fro oth r r s

4 3 .

him e ie ma ie b e By who know th Gr f, y Gr f

th e x e di i e e d Just as E p rt can v n Pur Gol , A n d who but an Initiate shall gain T h e Knowle dge his Initiations hold

3 5 .

T h e e i s e Sin H art of Man, you say, pron to Oh yes but did n o t ﬁrst th e Eye s b egin ?

If o n th e em i e e d id t pt ng Fac th y not look ,

h n T e e i w d b e u e i i . H art, unknow ng , oul P r w th 10 T H E LA M E NT O F

3 6 .

e e e a re d i O thou whos y s sha owy w th kohl,

e e d e e m e O thou whos sl n r ﬁgur works y Dol ,

e lo ok s i m a re d e d m Whos w th usk la n , art thou u b , That thus with Sile nce thou shouldst re nd my Soul ?

3 7 .

u ed d e d e e i O thou hast ca s a Thousan H arts p pa n ,

e n d i e e i n i Mor than a Thousa s gh for th va n , ’ I ve counte d far more than a thousan d Scars

i i i i a n m i e d et e e . Of th n nﬂ ct ng , y Mor r a n

8 3 .

T h e » i n i e e d Mounta Tul p lasts but s v n ays ,

T h e i e Vi e i e e e d R v r ol t l v s but s v n ays, A n d I will cry th e news from to wn to town

— i e e d That Rosy Che eks ke ep fa th but s v n ays .

3 9 .

When Trees to grow b e yond their boundarie s dare They cause th e Gard eners much anx ious care

n e i e e m b e e d Dow to th r v ry Roots th y ust prun ,

n h i e e Though P e arls a d Rubie s b e t e Fru ts th y b ar .

12 T H E LA ME NT O F

4 4 .

L i e sa d - di e i i e k a soun ng Flut , Oh pla nt v ly

e me T h e e in ee My H art la nts . F ar of los g th

i m i l e e i W ll haunt y Soul t l R surr ct on Day, A n d Go d alone knows when that Day will b e

45 .

L e b e ee e L e - e e d m be ov , to sw t st, ov R turn ust ,

’ e e th e L e e i se e For ls ov r s H art grows s ck , you

e u h e d e e e in e Tak Majn n , was sp rat ly lov ,

B ut L ei e e m e in e h e la v n or lov than .

46 .

m d e e d n me m th e i e Such Stor s sc n upo fro Sk s , That salt Tears e ve r sparkle in mine Eye s ;

T h e m e m L me e e e S ok of y a nt go s up to H av n,

e e m e m i e . For v r fall y T ars , y Groans ar s

4 7 .

m ief e e i e e Only , fro Gr , that Pr val nt D s as ,

A n A e mi d e e d h e e e lch st coul fr us, shoul pl as ,

Y e t me eme d co s at last a R y for all,

in d T h e e e N a n d e . H art r turns to oth g , ﬁn s Eas B A B A TAHIR 1 8

4 8 .

e e i a n d i e is d B s t w th Thorns Th stl s thy Roa , ’ Y et u e en e e ed is e d p to H av s Gat such S sow ,

e e le s e e If thou canst l av thy F h upon th s Thorns , L d e e it a n d e i L i e L . av , trav l w th a ght r oa

49 .

I a m but a Tap er weeping from th e Flame A re not th e Te ars of Burn ing H earts th e same ?

A ll n i n a n d d a e e ght I bur , all y long I w p , Fo r Days a n d N ights like this thou art to blame

e i e d e die Oh, v l Fat that I shoul hav to ’ ’ But what is Fate whe n D e stin y s awry ?

’ n L ve e n le t m n A Briar i o s Path , th y Thor s

m e ma e e i . Te ar out y H art, that I y c as to s gh

5 1 .

What would it matte r if but o n e small Grie f

i e m d a re e ie W ere m n but Oh , y Woun s past b l f A Doctor or my L ove to share my Couch e ie A h o n e e e d i . , only of th s coul br ng R l f 14 T H E LA M E NT O F

52 .

M e is i e i e m a n d y H art frag l , l k y Glass , I

e e e it e e e i F ar l st I br ak wh n I h av a S gh ,

A e e e e a re d — is i e Tr whos T ars Bloo th s so Strang , When in a Pool of Blood my Roots must lie ?

53 .

I p ray thy S un - like face ma y never lack T h e Shafts that split my H eart in swift A ttack Why i s th e mole upon thy ch e ek so d ark ?

e e h Obj cts so n ar t e sun b ecome burnt black .

54 .

I go — I le ave th e World — I journe y far

’ e d e e e e in imi a re B yon wh r v n Ch a s l ts ,

A n d i il im m mee go ng, ask of P gr s who I t , Is this th e E n d Is this th e Outmost Star ?

55 .

0 d id e e th e th e Thou Who st cr at Earth , Sky ,

e we e e d e e e e d e ? How hav s rv Th sav to curs , ny

N o w th e F i e ed we e by a th of Thy B lov T lv ,

— i Preserve us L ord we a re not ﬁt to d e . B A B A TAHIR 15

56 .

e a n d a re i e L e O n e My H art Soul th n , O ov ly , L e e a re e u e e O n e . My S cr ts thy Tr as r , ov ly

e e m w me I know not, truly, wh nc y Sorro co s ,

B ut e it L e O n e know that thou canst h al , ov ly ,

5 7 .

e e L e e e i s th e in Wh r art thou , ov Wh r Burn g

e - s d ed e ? L e d e Of thos kohl ha Ey s O ov , I w ll

O n Earth b u t little lon ger — Tahir die s Where art thou at this Moment of Fare well !

L Z T S B RE T O E I A B ET H C UR I N N .

N E M IL F O R D C O N N A W , . , U S .

A ril 1 1 9 0 . p ,

20 NOTE UP ON T H E TE ! T

’ ‘ ' - - i K iii T h e M a ma a l F usa i ci i a a . ( . ) j , l of R z Qul h n M i 12 9 5 A H 55» e e e d . . . [R f rr to as ] T hran, 3

4 53! ” ‘ 15 a a a s “ This contains 10 rub iy t at 8 ” , i 3 2 6 . p . of vol .

T h e e i i ed i a 12 4 (i v . ) coll ct on l thograph at T hr n ( 7 ‘ ‘ n i in a i a m am co ta n g Rub y t of O ar Khayy ,

‘ ‘ B abs a i 2 7 a i a A a i Iri T h r ( rub y t) , tt r, Mal k j ,

d m T a bri z i &c e e e d T . a n e . po s of , [R f rr to as ]

‘ ’ v T h e M un a at th e a A d a l ( . ) j of Khw ja b u llah m 1 A H i e e e d M A 3 01 . A a . ns r . [R f rr to as J Bo bay , a 0 Q i ou i i 3 2 a r. g t“ , Th s conta ns a ) ‘ i 8 a 7 . rub yat at p .

T h e e x ed éme v i . . ) t t construct by M Cl nt Huart

A i i 8th s r i 3 h e e . v in t e . . Journal s at qu ( , vol , no . , 1 5 i b d i i 88 . e e e d Par s , , p purport ng to r v

a n d n d m d m . a e fro nos a o rn MS .

e in em e i z a b long g to a cont porary coll ctor, M r

i a i i d e d is in Hab b Isfah n , wh ch I un rstan now

i e n e . e e d H Co stant nopl [R f rr to as . ]

in m e i i i n d vii A . s e d ( . ) MS y coll ct on , wh ch u at but app ears to b e of th e e n d of th e 18th or

e i in th e 1 9 th en i in b g nn g of c tury, wh ch conta s

‘ 2 a i a ee i a re in 7 rub y t, thr of wh ch not any of

e e ed M S th e above sources . [R f rr to as ] s l l ” u s a? -H w ) ) raj

la “3 ﬁ g 55 i ls 5 ( ) ( ( 5 ? a . ( 1

’ i “3 i f i l s“ v z!) r m uf r

K £1 24 A 5 , , ms 5 .

i n - T h 1 : L . e o e e x f r . . e A M b o l P rs a , l) u oj j th r t ts

i l i n i e d i s o . r a v a } , wh ch u sat sfact ry h . T i b . e o e ex e in i 2 . e n M : l P rs a , j th r t ts b g w th

i n m “ b 1 n h i n th e mo e o d o s . e s t e e a? r r ary f r U MS g l

’ d i e t o f wh o o n e e e e e . uj c ﬁ th r s cr ts th

F o r

w t h a s o am o A K h a s u w o a n d . g d u , u r , MS has

i mi m n i n i . 0 " w e o f o n e e g [5 U ) , all wh ch c v y a s lar a

i i ? i r S ! a . T he o e ex 1. 4 . e n A M an c ; P rs a , f r e U ” s th r t ts i n li I e th e e . re st o r P rs a v 22 T H E LA ME NT O F

40 13 5 M w as :d o } M y

3 49 T 4 , ,

T h e d ial e ctal fo rms t o n o te in thi s q ua tra m a re i n

' ' 3 fo r a n d i 3 f r w . a d b . » 3 n UJ 11 1 n a . o . , , u ? ’ l

n m B has th e o rd i ary Pe rsian fo r .

3 .

4 11 6 .

h min m T e e . a n d e o e t r als 65 ! u T B r st r

d . 3 . a n e o e th e ia n b a e A o . l T B r st r P rs b j B A B A TA HIR 23

" a m “ ; ig " p i u fﬁi ﬁj a n b / r 0

l a . B 2 5, H

T h e e mi n 9 i n 2 a n d 4 b . t r al N 9 l , N ‘ T h e i n e n e I a m o d on a 1. 1 t e o . y o um . l ra slat s tr ubl “ c o un t o f (th e phrase ) Th e y said Y e s ; (Th o u art o ur

H o m e e d n i n o e d er1 1n 1 2 . v . has a s what p a t c t g [9 ,l ‘ ’ fro m lo o ) i d i e . I t e em / ( a g all ws w th a al ctal plural s s

n n e e t o e e e o n d ") th e o mm o n el m - e e u c ssary s k b y d b c tr , th o ugh B re ad s

i n li i: U a li i I n e A M a is l t . P rs a , b )

- th R e d o f th e o o i e . h e i n W h e n t o mo rro w e a e rs b k ( . t e R c o rd g

’ th o e d a n o d . A n g e ls) re ad e B o k . B r a s M }

T h e m e d i e o m fo r M U sa al ctal f r s um B r e ads

é fi u m l fij w f fi ge

a ! 5 “ ( LT D r i f ; r ve f ) B 3 0, H 16 . 24 T H E LA ME NT O F

I t will b e O bs e rv e d that thi s quatrai n i s id en tical i n d 4 i en imen a n d mo e x e d . 3 a n s t t, al st t tually as r g ar s ll , w th

2 A K 2 H 2 0 2 i n ra o N . B , , , MS ( f ,

t T h e e min ? a re th e di e t o m o f M ) ’ t r als r ) al c al f r I’

o L 2 fo r i i n th e l i: f r » a n d i n . U l . . B has , l l) , g v g i n te rj e cti o n al Oh a n d A las fo r th e mo re sati sfact o ry ’ i a n d h o I t i o i e o r e w th w l o n g . s pr bably a l b rty car

o f th i e l e ssn e ss e scr b .

3 I e o o e d H i n t i n a? » t wo o d l . . hav f ll w ak g r as w r s fo r 3 e» o d e e e n o n e for 9 a r t war s th rath r tha as

’ ‘ n o r in e e t o e th e bur t, cstasy B r s r s

P e rsi an fo rm .

’ f r 11 . m d o B has j to war s

6 .

? ’t f ‘ l l J u f c s? mi ?

“ i -( 51x 315 . ? l ( f j 0 L5 “ﬁe

SA M 51 o :l a; ( ) ? L 5 } ; . }

i d N 5 su V e n o e t o o ra. t . p B A B A TAHIR 25

. 1 . a m; i s th e di e o n t a ti o n of tg f o f A6 l r al ctal c r c u (pl . )

a n d ail; ( j

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i e d i n la th e 2md e o n i n i i s o r a g G , p rs s gular, wh ch pr bably th e o d pr p e r re a in g . i 1. 2 . I n i n e th e e mi n u th s l t r al 25 u m l . S i ’ ’ . ES n a i r 3 . 129 7 n d ﬂ iu n 13 08 a e e o l U B u B rr rs o f t he scrib e s . H i . 4 n d h e i n l . M . uart app e s t fo llo w n g o t e Th s

i i n i - m im n e s e n o m e e n i e . a l t o x e l arly c pr h s bl g s ) us appr at l t he i i B é i 2 s - . si ér s n e, . 5 ) a ) Tal sh K ) p J ' ) g ‘ ’ l . niﬁe s e i o d B érésin e . 3 0 Ju e e m t o v l w r ( , p ) But /3 s s b r i h i n n i i e 3 d e . n o f t e o w e o e t t t a p rs s g . a r st ; c c w h

‘ ’ t o n d e i w e e e d m e t e i n wa r, wh ch hav alr a y b ar g

’ i Ge t h mz ic he es t b lle l n a l s e ct th s m e an in g . e s t re e a a y ” n o tr' e tra d ucti on tres c on ectum le I d e i n j . wo ul rath r cl g t th im m n i n f a d t ra n sla o e pr ary e a g o l 3" n sugg e st as a ‘ ’ io n 0 Re e o f ee e e o e i s e d e e d ? t , fus r Sp ch, wh r f r thy h a av rt

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. o n e e th e e n d e in W h d o t o Mr Br w sugg sts r r g , y st h u ask

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W e e o e o m i n ai l . h r f r art th u ak g / 3

4 5 .

3 “ " ? “ v b 3 5 4 L5 U ? j ?

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w M b o i s o ﬂ d w g j

e t " ° a w w- uh «1

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52 T H E L A ME N T O F

‘ “ N o e th e o d - o n sL-si d Jo bl o m e n t w r play up uM a n J ; als a

‘ ’ ‘ ’ I i n in e o ’ g s gl as pp o s e d t o Q n ﬁa a pair .

’

1 4 . . 3 3. i d w ; 3 9 B s l n e re a s

’ ' sllo S a é w i y m af r J l r r

i nin th i e e e n f 3 . r ta g P rs a value o 3

4 7 .

d”! o ” M Q d d t J J J

ml d ? fis lo J d ) u :ﬁ

N l ea f” li - U i g J d l o ) e r , ”

f r LA ) . 1. i o m o 2 . D al e ctal f r ”3

o m o f th e e i n a te) 1. 3 . 15 i s th e d i e ; u al ctal f r P rs a g

h i n th e o m U?” P e rs a MS has f r

i i h i n i e the 1 4 . s t e e . ( i ) ? P rs a B g v s i i m e . pro s rg” B A B A TA H IR 53

. 2 . M fo r il : th e n o n m ol » i i s re l r e has sy y r e , wh ch i e d th e m e e i e e qu r by tr , wh ch halts h r .

M fo r th e ro n i n o m y e has st g Pe rs a f r

as O o (I; l b H} l uj j

R uck e rt ci t e s thi s v e rs e wi th c ertain varia n ts i n hi s

mm i un d R e o i d e r e ( o 1874 . Gra at k h t r k P rser G tha, , p

h e d o e n o t i e h i s o i a n d th e G n d - but s c t auth r ty, ra Ducal

i a i n o e m e e i s n o o r i o l br r a at G tha t lls th er MS . l th graph f h i o a i n e . Babe. T h r i t e l brary th r e

T a n d B r e sto re th e Persian for } all thr o ugh . 1 ii J 1 . c k S . R e rt ’ ' has F J

l r i . 2 . a n d Rii ck e rt e w i e Ruc k e t o o n l T hav ﬁ , f ll w g grammatically with ( 1 will put u p with th e

i o f lm ) d e m . al ctal fo r fi 54 T H E L A MEN T O F

1 3 a n d Ruck e rt e th e e i n 1 » fo r 120 . . B hav P rs a L9 ) c ”1 , whilst T substitute s Lu c o m e

m a re m i T T h fo te n . . 4 . e n e d u . l r s uch rcha g has rj y g lm ( i d o e n o t m e ) a n d s o R u c k e r t B has ﬁ wh ch s rhy ; has , ‘ wh o o [3 fo r th e b a n d n e t e e n i als has ﬁrst , tra slat s s rb w ll

’ i c h m i r m a w eh o d e o e i n i if o e d , g r w hl s , wh ch , supp rt by

i i o d f h i x m o s o . O . t e i o o i o auth r ty , g ph l s ph cal a

24 H 40 ms 1 . , , 7

I n . 1 2 4 w e e th e d i e i n i n e d ll , , hav al ctal plural u, st a o f ‘ th e o e e x ve th e e i n 1 c) th r t ts ha P rs a L9 ‘ f ’ ’ . 1 . o o n e e e d i o n ( e . K m» l w k s urat P rs U ‘ ’ i l» . n old l t i l : o e e . T e ha i n 1 . h m a ” Cf w y ar z 25 i n H m i h e S o o i n 2 . nj ure s t e tr e . als l .

2 . a n d e o e the e i n fo m l . T MS r st r P rs a r

a A i ; 1. 3 . n d K e “ for s e to e th e B hav f. ; ” l” a MS r s r s é e i n l z . » o a n mi i P rs a uﬁ B has ”M up pr bably o ss o n B A B A TA H IR 55

i n o f th e e . o n e e d wi th e A i » ; i t mi b e scr b C ct th rab c j g ght ’ e d e e i n mo m en s ed a ne e r a v ry wak g t, g r .

l .

13 53 M 4 11 3 0 T 1 ] , , , .

T h e e min 8 e e e n th e i t r als r pr s t Pe rs an ﬁ r w ul .

Q i s o a n e me n d i f th i a: i s . 1 . 3 o n o e c e l 3 pr bably at s r b . i l . i n . 3 a n d n e e o . fo r l.) 3 5 ” l , T h r als M A ) has s ’ i l fo r H ' f r m th n e j s j o e tre .

. 2 . e d i i ne L» M s d ea l M r a s th s l J ri / , a paraphras e .

m e i n i i n e i th e e . 3 . o o l C par (U g th s l w th pur r but still d iale ctal fo rm xl i n M b e gin s th e li n e wi th

l o th e e i n th e e » K M l ? & c . e e paraphras 7 ﬁ ; B r st r s P rs a ‘ ’ ( i e a re o e i n n . h . e o n o . ) . (U Cf Oth ll , Th k thy s s D Th y l v s ’ u I b e ar t o yo .

M = 3 2£ fo r L ' » a n d J M s has T a nd B re sto re l d t o 56 T H E L A MEN T O F

“ i lm “3 u ? o i ? rj u w e ﬁ ;

B 48, T 3 ,

1 T a n d for "? e d i l . . re v s ; B u h r a wh ch ‘ f th a i f O . e o H ﬁz e i n i i s n i c o . n n u sat sfa t ry rub a , b g g ( 3 h ” a t o W e n o a rt e n I e e f} c u) 3 ) ﬁf / h th u abs t w p ’ mo re th an a t ap e r .

T has 2S fo r a n d b o th

th e o e ex t ve i “ for l 25 o i n th e i n e o f th r t s ha v i ? o i , r bb g l m it s i n te rro g ativ e fo r .

T h o 3 e t e e x e to e . 1. . h r t ts r s r w

T h o e ex e li fo r a 4 . e t l . h r t ts hav ug e “H s

z; l ‘; ig 4.) ﬁv i é f /

3 2 T 8 H 3 3 . B , , B A BA T A H IR 57

— a n d e n d i n l th e o e di e o m f I T B v a th r al ctal f r o N

e d a n T r a s J m i ’ all y l fe .

“

1. 4 . F o r A : 66 th e n o n m B rs i n 2 N T has sy y ru , as .

t JgO ; a c s c a d : g “ J u ) ? j f

i i n m a e fe e d e e e e me n d io n Th s quatra y hav suf r s v r at , but , it i i i m d i m h a s s t s e e o e o . N o e t e un o n , fr fr al ctal f r s t p ) “ ‘ ’ ‘ ’ i i i 3 m e 1. h e i n o a n n . o 1 t n e o ( l v e d s un ) l . C par w th l s tr

’ ‘ ( d uc e d (fro m P ar i d a d - D i n A ttar) by F i t z Ge r a ld i n to h i s

( ( O m am T h e e mo n i n ﬂo i n e o f ar Khayy , s as that ur w g purpl ,

’ h e i o d o o n t r L r f rl r . 58 T H E L A MEN T O F

i ; a n d o l , .) v ) j J J

B 3 1 H 4 , 7 .

T h e t wo t e x ts a re id e n ti cal sav e fo r (B) i n

o m e m am wh o i n e h i e n im e n C par O ar Khayy , v rts t s s t t ’ c u t ta 16 F i t z Ge ra ld s n i o n 9 2 , tra slat )

fi é A M ” d fi m : U d j fi ) u) j }

) 46 l a g e o h M . u s w y W ds /

l l .

M S 25 .

I t i b e o e e d i in hi w ll bs rv that th s quatra , w ch

( i n o f m a am e h n o f a a a i is r g O ar Kh yy rath r t a B b T h r ,

60 T H E L A ME N T O F

d ) a he l i n g ﬁ st a o l i ) d ? s j k j j é

a d o 15 ) A! ) d £ 5 d N

T 14 55 H 58 . , B ,

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( ’ i l th e i o f E i n d o l 3 . L e a . t ra ly, by fa th thy ght F ur,

h e Imam o f th e i . t e . t e T e . w lv s Fa th

T h i i o L . e n i n i h 1 4 . e e o o e s t e o n . T r st r s y th s l ly

i n o f th e di l e a n d i s o a n e m e n d i o n o f s g a ct, pr bably at

h i e h e o e i n is o i o t e T . scr b . wh l quatra pr bably spur us ‘ H e n d n o e — A o e i e x e i o n M . uart app s a t pr v rb al pr ss . Orie n tal wi sd o m te ach e s that it i s so metime s dan g e ro us t o ’ hav e s e e n a n e scap e d cam e l ; a n d ci te s th e a p o l o gu e o f

i h i H i n Za d g a n d th e h ors e o f t e K n g o f Babyl o n . e e v d e tly

was u n acquain t e d wi th th e Turki sh pro v e rb (which has

i 8 416 ! e i en o e A ) 0 .» .) qu val ts all v r s a , x9 1 J V7 " ’ ’ e h i s m e hi n e e e ve o d d D at a black ca l w ch k ls at ryb y s o o r . T he quatrai n i s m e r e ly a n ad dr e ss t o Go d pl e ad i n g fo r

a o n e ife l g r l . B A B A T A H I R 6 1

sav e that B resto re s 4 e o . ; u ; as b f re

a " ic " ” “ r j ? p W F ) r ?

E H 27 ,

T he e x e e i n i i n a n d the o n di e t ts agr th s quatra , ly al ctal

e i i i e a re th e e im i n i o n o f th e i n : o p cul ar t s l at all thr ugh , j r} i 4 i n i l a h m n . 8 n d t e o M ( e . f r l , wh ch P rs

w r G i-m l ) fo e . um , ﬂ 6 2 T H E L A M E N T O F

7 5 H 59 . B ,

e o e the e i n b o a n d i n . 2 B r st r s P rs a e all thr ugh, l

ﬁ d m m n i i m f r th e i n f d 3 w e n th e c o o d o o p o t o e ath .

‘ ’ . m am (W hi n ﬁeld s e x n o . 13 4) Cf O ar Khayy t t, ‘

a n d di i an . i . 16 Sa (Gul st , chap )

L» e t a ssim . U , p

6 2 .

3 » . 5 $ l a a 413 3

ca s o ‘ t o ; b AS do l j u i )

3 1 T 1 H . B 54, ,

‘

. 2 . 8 fo r i i n th e i e n t m d l T has } g v g e qu val a e

fo r s e t o o in way thy f t ( th e tave rn ) . B A B A TA H IR 63

th e e i n i s i m n d e d . e e l P rs a w l } wh ch a fo rm ﬁn d i t i n B a n d T . i i e . e n th e n e l . (P rs ) B T b g l ‘ l i vm th e mo e m i i e n d uj ky , g g us r yst c fr s h ‘ i d ’ t e vagu e r man k n .

T h e p o e t wi sh e s t o c o n v e y that if a m a n has n e i th e r th e s elf- d e ni al o f asce tici sm n o r th e c o urag e o f hi s co n trary

o n i io n he i s n o t t o b e dmitte d mo n m e n o f c v ct s , ﬁt a a g d i d e e c d e charact r .

68 T H E L A MEN T O F

3 .

a re e i d e ed e ie d i s Go d Happy th y n whos Fr n , “ i i e e H e is God Who , g v ng thanks , say v r,

a re e a re e Happy th y who always at pray r, 2 Eternal H e ave n i s their just re ward .

4 .

“ ‘ ’ e T he sa id Yes . me i m That phras , y ﬁlls w th alar , I b e ar more sins than do es a tre e b e ar le aves

e th e d a e - - e d - th e - Wh n , on last y, Th y that r a Book

e d shall r a ,

d i n m e d 1 e i e . , b ar ng such a r cor , w ll ha g y h a

5 .

L d a m a n d m ? or who I , of what co pany How long shall tears of blood thus blind mine ’ e e e e i e e Wh n oth r r fug fa ls I ll turn to Th ,

A n d if fa ile st m e i e s o Thou , wh th r hall I g

1 “ W ho se (co n stan t) o ccupation is the reciti ng o f the Hamd ” ’ t a l - F a i f d I i . S ra ﬁ s h a n as e . u o the khl , the t ha , the r t c apter the ’ “ ” ’ an in n in All M a j ) n t o Go d a n d Sa Qur , beg g Tha ks be , the ratu l

’ I as 1 12 th o f an in n in A s l » } khl , the chapter the Qur , beg g J J “ d S a y : H e i s o n e Go . 9 i m i m i n i i ﬁn t . e . w L i . d The r arket, the arket h ch the r wares

n a ccepta ce . B A B A T A H IR 69

6 .

me e a m m Ho l ss as I , to who shall I apply

A e e d e e i e o hous l ss wan r r, wh th r shall I g ?

e d m d c m e t o e e Turn fro all oors , I o at last Th ,

d i s d e ie d e e If thy oor n , wh r shall I turn

7 .

If Thou kill e st me mis erably— whom fe are st Thou P

’ A n d if Thou d riv st me forth abj e ct — whom feare st Thou ?

- e e d i I e e Though a half h art th ng, f ar non ,

T hy heart is the two world s — whom feare st Thou ?

8 .

Drunkard s a n d drunk though w e b e Thou art i 1 Fa th ,

e e u w e b e i Unstabl , w ak tho gh , Thou art our Fa th ,

we b e im ue e N a z a re n es Though Musl s , G br s , , ’ 2 i e e th e u d o m . What r O twar F r , Thou art our Fa th

“ 1 h o d d i n a d o f t ») i 1A Per aps we sh ul rea ste w fa th , 0 ” ” “ o r m i n i i n o u d en d quarter ercy , wh ch case the l es w l , (we

om h ask) quarter fr T ee . 2 L it I n w o it o r s & c . . hats ever fa h ( ect) we be , 70 T H E L A ME N T O F

9 .

H e ffe ed ie e its who has su r gr f knows w ll cry, 1 A s knows th e A ssayer whe n gold i s pure 2 me e e - in - e w e me Co th n y Burnt H art, chaunt la nts , ’ 3 e w e tis - in - e For w ll know what to Burn H art .

10 .

’ When o e r th e Gard en wall th e branches hang ’ T he d e e e e ffe e e i e ie gar n s k p r su rs v r b tt r gr f,

e m b e e e th e Th y ust cut back , v n to roots ,

e a n d i b i i Even though p arls rub es e the r fru t .

i a n d e e 0 e Br ar thorn b s t thy way , H art, 4 B eyond th e Dome of H eave n is thy road ;

a rt e e e i If thou abl , th n thy v ry sk n 5 o ff m ee a n d i e d Cast fro th , l ght n thus thy loa .

1 t C i L i . b the ruc le . 2 L it t us a m n l o . . e l e t t gether

3 h n Li t . F o r e who se heart is burn t k o ws the co n d iti on of the

B n - i n - H ur t eart . 4 f L it . s m s o Z n i o H n Thy pa sage u t be ver the e th eave . 5 L i t I it m m n d i s if n off . o o o f c es fr thy ha ( . . th u ca st) , cast thy i n so h o d m a be i sk , t at thy l a y thus a l ttle less . B A B A T A H IR 71

1 2 .

me e - in - e let e d Co , O y Burnt H art, us gath r roun ,

L et e e e i e us conv rs , s tt ng forth our wo s ,

in e m e i ei w o e Br g scal s , ak tr al of our w ght of , l T h e m e w th e i i i e e e e e . or burn , h av r w ghs our gr f

1 3 .

- in - e me e a n d m i me O Burnt H art, co y ourn w th , Mourn we th e ﬂight of that most lovely Rose H ie w e with th e e cstatic N ightingal e to th e

d e Gar n , 2 A n d e sh e e e m i w e i m wh n c as s ourn ng, w ll ourn .

14 .

A ! a n d e d m e falcon I , as I chas y pr y , ’ 3 A n e vil- eye d - one s arrow pierced my wing ;

1‘ e ee d e e edless d e th e ei Tak h y H wan r not h ghts , 5 ’ him eed e m i e e . For, who h l ss roa s , Fat s arrow str k s

a at as a

1 L it . i i i i i e . be o ur the heav er w ll we we gh ( . the greater w ll n h o o ur ) . 2 M t . A n d o sh m n th ugh e o urn o t . 3 ’ hi mi o m n A a - d o i i s T s ght als ea bl ck eye beauty s arr w, wh ch o a o pr b bly c rrect . 4 L it f d u . n ot o n h i s . ee ( past re) , the e ght 5 L it . d z fee s (gra es) . 72 T H E L A MEN T O F

1 5 .

“ My horse said ye sterday to me : There is no d oubt B ut that your stable is a coign of H eaven

e e is e w i H r not grass nor wat r, stra nor gra n , ’ ” 1 T is A e e i e me 1 ﬁt for ng ls , not for b asts l k

1 6 .

’ ’ 2 T is e e im v ex me a n d di e H av n s wh to , str ss ,

d e d e e d e e i e My woun y s hol v r br ny t ars ,

m me th e m e m d e i e e Each o nt soars s ok of y spa r to h av n , 3 e a n d h e i e My t ars groans ﬁll all t Un vers .

1 7 .

O L ord this he art of mine afﬂicts me sore } 5 I we ep this heart of mine both d a y a n d night

Often I grie ve but for my grie f ; O Some - o n e 6 Rid me i e a b e e of th s h art that I m y fr e .

1 i i i t I in it i s a n s s d o B abs a ir i n m M S . Th s a cr be T h y , but th k im i n i n i n n o t o . I i i p r at t s e ther h s style o r la guage . 9 ’ ’ T i - h L i t . s thr o ugh the mischief workin g o f H eaven s W eel

3 M n in d n S m L it . y gro a g bo y a n d my tears reach even u to a ak

i . i ( . e the F sh that in the M uhammad an co sm ogo n y supports the

o o d m n t o m o iz d d o f o n . wh le w rl , here ea t sy b l e the eepest epths cea ) 4 M t . O L o d s i t a I r o a ﬁl c ed m by this heart . 5 i L t . I a m in o m n o i o f min & c t r e t thr ugh th s heart e, . 6 L it . fo r a m 2 I o f it Vid e o n o o n . 3 weary . als the te p . B A B A TA H IR 73

1 8 .

d a a n d i th e d e e i s m me By y n ght s rt y ho ,

d a a n d i mi e e e e d i e e By y n ght n y s sh b tt r t ars,

N o e e me a m i n in f v r rocks , I not pa , I A ll I know is that d a y a n d night grieve .

1 9 .

1 i ed e e r ma n O w ck , wanton, wastr l h a t of , 2 Whe n th e e yes sin th e heart must b ear th e doul

If th e e e e e e e y s n v r saw a lov ly fac ,

’ How would th e he art e e r know wh ere b e autie s a re

2 0 .

B eneath th e tyranny of e ye s a n d h eart I cry

th e e e see th e e t e For , all that y s , h ar stor s up

’ i me i ed d ee I ll fash on a po nt swor of st l ,

mi e e a n d set m e e e e . Put out n y s , so fr y h art

2 1 .

in e is e n o e in it M a h art that has h alth ,

’ o e e e it it H w r I couns l , proﬁts not

in it th e i d th e in d i e I ﬂ g to w n s , w s w ll non 3 i s - it d e t th e ﬂ a me . I cast on , o s not burn

1 t A is a t a a . L i . plague the he r , a pl gue , a pl gue 9 “ r is fﬂ i t d i O T h e a n d o . , eyes see , the heart a c e (w th l ve) 3 L it . it d o n t m es o s o ke . 74 T H E L A MEN T O F

22 .

a m e e d d I that wastr l call a Kalan ar, 1 e me a n d i I hav no ho , no country, no la r ,

’ By d a y I wand er aimless o e r th e e arth

A n d e i m i i s e . wh n n ght falls , y p llow a ston

2 3 .

What blund ering Moth i n all the World like What madman like me in th e Univers e P

T h e e e e a n d th e A e e v ry S rp nts nts hav n sts ,

I — e — i e e me But poor wr tch no ru n sh lt rs .

2 4 .

T h e M e adow of my Thought grows naught save My Gard en b ears no ﬂower save that of wo e

id is the d e e m e So ar s rt of y h art,

N o t e e th e e e d e i e e v n h rbag of spa r grows th r .

25 .

e t is d i d i i My h ar a nty as a r nk ng cup , ’ I fear for it whene e r I h eave a sigh

i s n e m e a re a s d It not stra g y t ars bloo ,

a m ee e a re set in d I a tr whos roots bloo .

I i i . l L t . n e d od a chor ( . sett e ab e) .

76 T H E L A MEN T O F

1 a m th e e e d i u I oc an pour nto a j g, I a m th e point e ssential to th e letter ; 2 e e d o n e e e m a n n d In v ry thousan gr at r sta s out, I a m th e gre ater ma n of this mine A ge

3 0 .

A e ix e i e a re Pho n I , whos attr but s such

e e m i th e d e ﬁre That wh n I b at y w ngs , Worl tak s A n d should a Painter limn me on a wall

i e m e ei e e d th e e M n I ag b ng th r woul burn hous .

3 1 .

If my Swe eth e art is my he art how shall I name h er ?

A n d if m e t is m e e e e e is sh e me d y h ar y Sw th art , wh nc na T h e two a re so intimately interwoven that

n d i i n e m h I can no lo ger stingu sh o fro t e other .

1 L e n in ﬁni i n ﬁn i o d f t h a o . O in e . te s ul a te b y . the passage ’ “ o o to B oo I o f M a th n a wi o f Ja l l u d - dj n R mi : I Pr l gue k . the a u f

o our e st o n in o u h o w m h i o in o it B ut th u p the cea t a j g , uc w ll g t ’ o n e d ay s portio n

’ 1 S “ ; r ) 1 g sfﬁ J 5 ﬁ l A ? 5” e Q u a s a A ss

9 l s . i n L it in statur e (upright) like a n A if (i . the Pers a letter 1 “ a ” B A B A T A H IR 77

’ If th e mood tak e s me to seek my L ove d One s 1 e i me n o t m e is h er R stra n , y h art thrall to ; ’ A h me - ma n d e s e I , Ca l , for Go s sak ha t not so

a m i n For I a laggard b eh nd the Carava .

T h e i e e L e i m e p ctur of thy B auty, ov , qu ts not y h art , 3 T h e d th e m e L e o n e e se e own , ol , ov , thy ch k I alway ’ ’ i m e e o er i ed e e I ll kn t y lash s clos , wr nkl y s ’ 3 in i ima e e me L e ee e e e e . That, w p g, th n g n r can l av , ov

To - night I can d o nought but we ep a n d wail 1 - i a m im ie o ie e e To n ght I pat nt, c nsc nc l ss { L ast n ight o n e hour s e em e d passing swe et to me

’ ’ s n i h d e em n i To g t twoul s , I pay for last ght s joy .

1 L i t I a m o f m . the thrall y heart .

9 L it T h e im f th d o n th m o L . o o i n o t d t . age y w , y le , ve , w ll epar 3 L it i . o o o d i . e . r o o th hin That (th ugh) bl ( b tte tears) p ur f r , t e im m a n o t ‘ o o t age y g f r h . 4 L i t sid m s f . be e y el . 78 T H E L A MEN T O F

3 5 .

e u d e id e Mor than a tho san h arts hast thou la wast ,

e d ffe ie e e Mor than a thousan su r gr f for th , ’ e d d i e I ve e d Mor than a thousan woun s of th n count ,

t h e n i a r e e Y e t u counted st ll e more than th s .

3 6 .

d ue th e ie i e i i e i Sub glor s of th n hyac nth n ha r,

Wip e th e te ars of blood from thy narcissus - e yes

’ Why robb st thou me of th e Sum— which i s thy love 1 e i i th e i I Day pass s qu ck , br ng not n ght too soon

3 7 .

2 0 e e burn est me h art of Ston , thou not for ,

e i s i d e ed e That ston burns not, not, n , so strang

B ut i i i me e I w ll burn t ll I nﬂa thy h art ,

- a r dif e For fresh cut logs e ﬁcult to burn alon .

1 L it o i n i o f i is h d to n d I m . . The r e tal agery th s verse ar re er t m ight be tran slated

D o n ot d iso d o r m i n in in e i r er ( ake curly) th e hyac th ha r ,

D o n ot d im i h oo d - i n d d n n n a iss - s w t bl sta e tears thy ru ke rc us eye . Thou a rt ben t o n cutting o ff thy love from m e ;

im i ut it o ff— d o n o t n on T e w ll c haste .

i t - t d n e ities me n t L . O o n r o o t o . st y hea e , th u p

80 T H E L A ME N T O F

1 T h e bre e z e that playe d amid thy curling locks Is swe e ter far than hyacinths to me 2 A ll night I presse d thy picture on my breast

A t d m d e awn y b e gave forth a scent of ros s .

With two strand s of thy hair will I strin g

e a r b b , In my wretche d state what canst thou ask of me

e e i i b e m L e S ng that thou hast no w sh to y ov ,

me e mid i in m ee ? Why co st thou ach n ght , y sl p

e e e e e th e s urmeh d e O thou whos sw t soft y s sha s ,

e e d e e e d m e O thou whos sl n r ﬁgur r n s y h art,

0 u e m i e e n e tho whos usky r ngl ts clust r on thy ck ,

Why passest thou unhee ding P— art thou d umb

’ 1 L i t om s om o o o r id of th & c . c e fr the r ts ( s e ) y , .

“ 2 O r A ll ni I s d in im a n om to m , ght cla pe th e ge (pha t ) y ” brea st . B A B A TA H IR 81

L e b e ee m b e e i ov to sw t ust r c procal , L ove un re quite d maketh sick th e he art ; ’ M a n fi n s e d e e e e If j h art was sp rat for lov ,

h L i d e e e i T e heart of e la was more sp rat st ll .

46 .

Come a n d illume my chamb er fo r o n e night I Ke ep me not wre tched by thine absence from me ;

’ th e a re i e e e e e By two arcs that th n y brows curv s , I sw ar

’ i o m b e d i e st e e e . S nc thou forgott n , Gr f nly shar s y

A rt i e d 0 e 0 e thou a l on or l opar , H art, H art,

wa rrest e e i me 0 e 0 e 9 That thou v r w th , H art, H art ll i m d ’ i d Fa thou nto y han s I ll sp ll thy bloo ,

see it is e 0 e t I To what colour , O H art , H ar

4 8 .

e i m e a n d My B aut ful thou hast y h art soul , Thou hast mine inner a n d mine outer self

a m e sa d I know not why I so v ry , ’ me d I only know that thou hold st th e re y .

1 L i t D o n o t i i n f th e d a o f a io n . . leave m e in the affl ct o o y separ t G 82 T H E L A MEN T O F

49 .

“ me e i i e ee i e e Co st thou thys lf I w ll cov r th w th car ss s , 2 Come st thou not ? for thine absence will I sore ly 3 i e gr ev . 4 B e th e ma em m y sorrows what th y y , lay th upon y

e h art,

A n d wil ei e die em b e med em I l th r of th , or consu by th

or b ear th em bravely .

50 .

e e d th e em e th e ei S v n ays an on s last upon h ghts ,

O n river - brink th e violets last seven d ays ; From town to town will I proclaim this truth But seve n d ays can rosy cheeks k eep faith !

5 1 .

i e i ee m e is e e sa d Gr v ng for th y h art v r ,

A i m i a n d m th e e br ck y p llow, y couch arth My onl y sin i s loving thee too well : Sure ly not a ll thy lovers suffer so ?

1 & I m if I wi c . L it . o o f th u c est , by thy l e ll ,

2 A n if o m n o t L it d o . . th u c est 3 t i I m L i . . w ll elt

4 i n in ﬂi L e . n o the pa s th u ca st ct .

T H E L A ME N T O F

55 .

Full is my he art wi th ﬁre a n d mine e yes with 1 Brim full th e ve ss e l of my life with grief ;

B ut d e d d e i e i e me a , I shoul r v v w th thy p rfu , ’ d d e o er m e If haply thou shoul st wan r y grav .

Fate is an ill that n o o n e can avert

’ It wield s its sway alike o e r Kings a n d Viziers

T h e i e e d his e d e ed e m K ng who y st r ay , by rul , vour K r an , 2 - h m ms B ecome s to d a y himself t e e at of wor .

’ 3 is m m e s e ed Black y lot, y fortun ov rturn

“1‘ i e d a re m e m is Ru n y fortun s , for y luck brought low

A hi e th e i L e thorn, a t stl I , on Mounta n of ov , ’ 5 i d m e e . t in 0 L d For y h art s sak Drown bloo , or

’ 1 L it wi m od e o . . th y h art s bl

2 O n o t h n bserve the te o t e te x t o page 59 .

3 - L it . t o psy tur vy .

4 L it o r n d . vertu e . 5 ’ L i B m n l a d o i . . y y he rt s g B A B A TA H IR 85

58 .

i S nce that First D a y wh en Thou crea te d st us t a t hast Thou se en in us save frowardne ss ? L o rd ! by th e Faith of Thy blest Twe lve Ima ms

e e e th e me Forg t Thou s st for us Ca l of D eath .

59 .

’ ’ T h e A e ie is i e e g s gr f our Soul s port on h r , 1 To free our Souls from care ne eds magi c a rt ;

me eme d ie To all , at last, co s r y for gr f, A nnihilation cure s all hearts at last ?

o d e e e i w d I g , I part, I l av th s orl of ours , 3 e e d th e u e u d i I journ y b yon f rth st bo n s of Ch n ,

A n d e i i im th e d , journ y ng, ask P lgr s about Roa , 4 ” Is this th e E n d 19 or must I journe y on ?

1 t m L i . alche y .

2 t I n o ur o o m d i nn i i L i is o s hi o n . . t ( ly) heart wh se (s le) re e y a lat 3 ” ho - 9 is u o d t o m n C in a a n d M a n u i w 0 3 s pp se ea h ch r a .

4 L it I i d is n n o . s th s ta ce e ugh 8 6 T H E L A MEN T O F B A B A TA H IR

6 1 .

n ew - Vi i e e e My born s on of B auty, wh r art thou W h ere art thou with thy surmeh - shad e d e ye s T h e Soul of Tahir struggle s to b e fre e 1 A n d i e me m e e e a rt ? , at th s Supr Mo nt, wh r thou

62 .

’ 0 ma n e e died e e L e who n r hast stu H av nly or ,

N o r set i i th e e - d thy foot w th n Tav rn oors , Thou knowe st not what thou hast e scap ed or gaine d ; How shalt thou come among th e Ele ct ? A las

1 ’ Li t B of L i e om to ahir s o om . . reath ( f ) has c e T b s

J it is im t o d e d ie : IV’ h ere o O ust as t e part ( ) art th u ,

my ﬂ d ea r o n e