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gone :--can I then go on this road ?--Most gladly would I go, had I but the power. As long as thy two cheeks remained distant from my view, the wishes of my heart, and the hopes of my soul departed. I was the person, and it was my heart, that thy stature bore away. Yes, it flowed from me, and hastened to thy threshold. So Shaheē, who like the tulip has been immersed in blood, will leave this world, with the marks, which thou hast caused."

After which comes one from Shefālee."

سرخوش از خون جگر چون شعله رقصیدن خوشست در میان خاك خون مستانه غلطیدن خوشست تا بكي كشتي چمن دزیده کردن چون صبا ثل بتكليف رضا باغبان چیدن خوشست برسرخش نخستین نااید قایم مباش صلح کردن از برای تازه رنجيدن خوشست میتوان خندید بیدردانه هيچو ن صبح ليك در میان گریه همچون ز خم خندیدن خوشست

که غبرة ميبرم ز دیده چونش بنگرم گر نباشد پای اشک در میان دیدن خوشست داد خواهپ آب روب مشت خواهی بر چیین شکوه مالیدن خوشست شکوه تاك از نا توانیها شغالي نيستيم در جهان هر دوش بین اشک گردیدن خوشست

من

عشق میریزد ولپ

« With your liver intoxicated with blood, it is delightful to reel like a flame! intoxicated with blood it is delightful to wallow on the ground! whilst jovial, to plunder the bower like the breeze, to cull the rose, on which the gardener has bestowed his willing care,’ is delightful. But in a drunken fit, never be thou so weak as to rise up the first to make peace, because to be angry afresh is

.blood, the poet alludes to wine دون By پی تکلیف رضای باغبان conjecture the true reading in the orig. MIS.to be[

without the ceremony of the gardener's consent.

.

delightful. When free from care, you can laugh as merrily as the morning, but to laugh in the midst of wailing as hearțily as with the goblet is delightful. How shall I, who am a man of spirit, look upon that person! who has not the sign of a tear, to see which floating in the eye is delightful. Petitionest thou for that water of the face? _Love sheds it :- but you must rub? dignity on your forehead, to rub which is delightful. O Shëfālee, are we not filled with dignity? when in this state of impotency: -throughout the whole world, each dream that will end in a tear is delightful.”

The next specimen is selected from Jameè.

مرا شد جامه جان غمت چاك
بيا اي ارزوب جان غمتاك
ترفت از لوح دل نامت اگر چند
زلوح آب و گل شد نقش من پاك
بین رفتار جرد صد دل از راه
تعالی الله عجب جستپ وجالاكى
تهاتی هر شب آیم بشویت
كريمان دریده دامن چاك

اك
که از درد ردزم

خاك
كه از شوق مالم روب بر
زحسرة یا درو دیوار کوبم

سلم ابن سلمان
زجامه كر كشي سر چیست تدبیر
تو شاخ نازکپ او خار و خاشاك

بر سر

الابا ربع

« The garment of my soul has been rent by woc ;--come hither, ye hopes of my soul perishing with woe! Vital motion has not forsaken my beating heart, although my whole frame + be composed

روب

اب

,may appear homely ما لیدن and مشتن Although the literal meaning of :

generally means brightness of countenance, here it certainly means a tear.

2 , it appears to give the force of the original better than any substitute. 3 Drunkenness,

4 Literally picture.

of air, water, and clay. When once thou hadst set out, thou borest away a hundred hearts upon the road :—God most High was surprised at thy alacrity and expedition. Every night I privately advance to address thee, my collar is torn, my skirt is rent. Debilitated through grief, I scatter earth upon my head : debilitated through love, I rub' my face upon the ground. Through gates and walls impatiently I address thee, uttering my vows to Selima, that scorner of my peace. If thou wouldst incline thine head to Jämēē, what would be his opinion ? - that thou art the tender rose-shoot, himself the thorns, and branches to be lopped off.”

This concludes the untranslated ghazals in the two volumes ? of the oriental collections, that are written in the Persian language.

Time, and the wantonness of transcribers, have committed greater ravages on no one thing, than on Oriental MSS., more especially on that part of them, which bear the Arabic character. To rightly ascertain the writer's meaning three MSS. at the least should be possessed, for, as it has been mentioned before, no two MSS. of a Deewan correspond, and scarcely a ghazal occurs, where the order, or even the number of beets will be found alike, and in passages, too frequent to be numbered, the persons of the verbs are altered, and the sense perverted to introduce some quaint fancy of the copyist. Oftentimes, for instance, where sols occurs in one copy, pies will in another, where dus is used in *this, we will be found in that, besides many other examples, which clearly prove, that the difference is wilfully caused by the transcriber. Of these assertions the venerable Shāh-nāměh of Fěrdõõsēe stands a lamentable evidence; and although we may well doubt, whether either Grecians or Romans would recognize one half of what transcribers and editors have made them write, could their works be shown them in their present state, we know for certainty, that an Eastern poet of ancient date would in such a case find distichs, and even odes inserted among his productions, which he never wrote. In a collation of the odes in ) the Děēmān of Hhaf ězz, who is comparatively a modern writer, as they stood in a friend's MS. and my own, I found the difference in a ghazal, according to the two copies, occupy several lines, although, on an average, his odes do not exceed fourteen beets; and not unfrequently a distich occurs in a ghazal or quăsčèdăh, which is of a metre quite different from either the preceding or the following. The subjoined beautiful ode of Hhāfězz will exemplify these observations.

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· See note 2 in the preceding page.

2 I have heard that the first part of the third vol. was afterwards pnblished, but I could never procure a sight of it.

صبحدم بکشاد خماری در میخانه را يتبق اوازی صراحی جان دهد مستانه را

آمده آخردرین بزم بمن دور کردون ساقیا برخیز و پرده آخرين پيمانه را چون شکم مجنون بروی عشق لیلی درجهان عاقلان پند مدة هنچو ن من ديوانمرا کرد شمع جان معشوقی بکردل عاشقی عاش آموز داند سوختن پروانه را

ایینه زلكازرا صیقل ز تقوپ پاك كن پاک بنکر اندر آن آیینه جانانه را نیست دشنام بصيا ، ازل آپ جانمن آمد، مرغي هوا كرد آن زهر دانه را

ریپ تونه كن پیش ازان حافظ از زه د پس برو بکشاپ آخر شب در میخانه را

« At day-break the wine-vender opened the door of the winetavern, and sounded in my drunken soul the gurgling of wine into the decanter. At last the revolution of the spheres has become present to me in this feast : up, cup-bearer, and fill me another glass. Although through love of Leēlēë? I have played Mějnoon in the world, give me not the precepts of the wise, as if I were mad. My love-inflamed soul has flamed like the taper : the lover will turn round it, though the lover well knows the moth must burn. For the love of God polish thou the mirror with the fur. bishing lakaz ; and when polished, behold in it my adored.

,of Persian romance جام جهان نما This refers to the cup of Jamsheed the

" and allegorically to the bumper quickly revolving round the table.

* Two well-known characters in Persian poetry: consult Sir W. Jones's worko.

my soul, there is no reproach in Death,' for the flying bird has often come into the trap for a berry. From this time forward, O Āhäfězz, sport not the religious hypocrite ; rather go, and open another night the doors of the wine-tavern."

.

اوازی for آواز بقبت is written for قلقل In the MS. alluded to for اندر-بکرده for نکردد-بروب for بكر-پر ده for دردهand ,مرغپ for مرغازل for أجل دشنام for دشنامی-داند inserted after خود is introduced, and وزهد and رباب between

, , us which last, (as well as some of the others) necessarily renders the verse hypercatalectic. It happens, that in this one instance the order is the same, but the difference, which these words occasion, is as follows :............At last the revolution of the spheres has become present to me in this feast. Up, Cup-bearer, pour pearls? into another glass. Although through the fervor of my love for Lèèlēè I have played Măjnoon in the world, &c. My love-inflamed soul has flamed like the taper: ah! does not the lover turn round? though the lover is well aware, that the moth must burn in it. ............ From this time forward, O Hhafězz, conduct not thyself with religious austerity and hypocrisy, &c.

The Eastern poets indulge many elegant ideas concerning love and wine; they are the basis of their muse, and without them dull morality would conjoin with fanaticism to spread a gloom over their writings. Asăfee says

خون میخورم از ساغر دل آصغی امشب

می ناب ندارم چون درل كشان ذوق

“I drink blood from the cup; for since the heart of Asăfee to night endures grief, I cannot taste the sweets of pure wine.”

And in another shāhbčēl,

أصغي اشك ترا كونه ز خون جكست زین همه گریه سرشك جكت غرض

“O Asăf , through thy tears thy liver is become the color of blood, with all these lamentations and tears thy liver is quite wearied.”

· Literally, in my copy, the eternal hunter; in the other, the fatal hunter.

Liquid pearls and melted rubies are common terms for wine,

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