In this eleventh part of his book, The Treasury of Secrets, the sage Nizami Ganjavi moves to a state of humility and submission. These verses are the very essence of the “story of the heart” that Nizami wished to narrate, making the heart the source of faith and the compass of truth. He continues his praise of Sultan Fakhr al-Din Bahramshah:
English Translation
O you through whom Adam’s essence attained its honor, and by your light the eye of the world was adorned, and beheld the radiance.
And the celestial sphere is but the a stage of victory, where it bears the signs of your triumph, and the nine heavens are pregnant with one of your hidden secrets.
The constellation Pisces, with its heights and depths, became a shell that preserves the essence of your sharp sword of power.
And the moon, which draws its light like a sword in the night, has submitted in humble humiliation and submission before the sword of your majesty.
The blade of your sword of subjugation is as sweet as the water of the Euphrates to Your chosen ones, as if it poured forth jars of the water of life to grant survival to whomever you will.
So whoever is overcome by the slumber of heedlessness in the flood of Your trial will not be saved, even if he were as steadfast as the Prophet Noah, the torrent of fate will sweep him away.
Before the cup of your glory, the kings of the earth (Khosrow and Jamshid) lose their guidince, and before the splendor of your countenance, the sun becomes a mere moth, burning in your light.
So unleash your might that defeats heroes, for I said lion, and I was wrong, you are the one who defeats lions.
And even the heavens, despite the ferocious lions they contain, fear you and acknowledge your power even more.
What kind of heart, what kind of audacity, dares to boast or claim rivalry with your courage and boldness in the arena of your glory?
Everything contained within this blue dome (this world) falls under the dominion of your will, which cannot be thwarted.
You have many servants and followers among creation, but the chosen ones who sit in your presence are none other than the angels.
The flow in the river of praise, where the poet in this second part (verses 13-24) arrives at the expression “The Sultanic Majesty” of King Fakhr al-Din Bahramshah, combining the qualities of chivalry, the generosity of the Caliphs, and the justice of the King of the Age.
Time has sealed the record of happiness in your name, and the winds (the messengers of Solomon) have inscribed the verses of kingship upon the dust of your threshold.
And God, who bestowed youth and power, has made the kingdom purely yours, for you are the one who understands the secret of governance and the value of the kingdom.
By the auspiciousness of your destiny and the prosperity of your state, the dust in your hands turns to gold, and deadly poison, at the mention of you, becomes sweet as health.
And the drink of justice, the likes of which no one has ever tasted, is what unties the knots of oppression (the ropes of Zahhak/from the stories of Ferdowsi’s Shahnameh) from shoulders to liberate the servants.
So take the cup of happiness, for the singer and the cupbearer are at your command. Why give room to worry and sadness in your heart? Your state is the one that endures through justice and benevolence.
You are the protector of the kingdom and the refuge of all sultans, the wielder of the sharp sword and the lofty crown.
To what heights have you reached the pinnacle of kingship through the strength of your sword? You have become the seizer of crowns (you wrest power from others by force) and you have subdued thrones under your authority.
And yet, you generously bestow treasures upon your subjects, as the Caliphs did, and you bestow crowns upon kings, after you have seized their thrones by your might.
As long as the edge of your sword hangs above the crowns, how can kings refuse to pay tribute and pledge allegiance to you?
And the true throne belongs only to the head that rightfully attains dominion, and the truly blessed heart is the one in which your love resides.
Under the protection of your justice, the owl (symbol of destruction) is transformed into the blessed bird (Huma – the mythical one), and the arrogant head, when it stands before You, becomes humbled.
For through your grace, those who denied your favor have been misguided, and complaints against you have ceased, and it exists only in the imagination of those who complain about your excessive generosity and kindness.
The poet Nizami Ganjavi reaches the pinnacle of “introductory brilliance” in his praise of King Fakhr al-Din Bahramshah, and in these last verses (25-36), the poet blends the attributes of royal majesty with the poet’s “literary poverty,” using the symbols of “hunting,” “war,” and “chemistry” to elevate the status of Praised by Him
And beneath the hooves of your horse (Rukhsh), you find the earth’s authenticity and firmness, while your enemy has become like a horse’s hoof (the sandal), nailed with four nails to your horse’s hooves in submission to you.
The seven heavens appear before the essence of your glory as a mere small box, and the eight heavens are but a small piece of cloth at the edge of your banner
And whoever does not submit his head to your command, his crown, which rests upon his head, becomes a rope by which he is led, in humiliation and submission to you.
For you are the only one who possesses the secret of every art, and you are the soul that unites the two worlds in one body.
So teach the ear of generosity the etiquette of giving from you, and light the candle of eloquence in the soul of Nizam (the poet).
And send the robe of heaven to this servant (Nizami), and grant him a breath of your favor and acceptance.
For though my poetry appears profound and nourishing to the soul, when presented at your glorious table, it seems meager and worthless.
For this sea has dried up, and this mine of jewels (words) has run dry. So let the jewel flow from him, by the hand of your generosity, and let the ruby flow from his tongue, sweet in speech.
As for the envious one, do not withhold from him, and shed his blood, from the arrowheads, and from the edge of the sword, show him your might and power.
Since the heavens have granted you a good and auspicious destiny, may fate make the conclusion of your deeds praiseworthy (and pleasing to God).
For we have become prepared and submissive in your path (your kingdom); for I am the one prepared to serve you, and your enemy is consumed by the fire of your wrath.
And your conquest has raised its head high like a towering banner, while your adversary has bowed his head in humiliation, as a pen bows when writing.
Sufi and Gnostic Meanings
The Station of “Conquest and Kindness”: In the fifth verse, the poet combines “the sword” and “the water of life,” indicating that divine trials for the gnostic are the very essence of bestowal, and that death to the ego is true life.
The Flood of Negligence: The warning against “sleeping in the flood” is a call to spiritual awakening, and even outward grandeur (like the examples of Noah) is of no use if Divine providence is absent.
The Annihilation of Kings: The rendering of Khosrow and Jamshid “sensory” before the “Cup of Truth” is an affirmation that “the soul is the true king,” and that outward dominion is worthless.
The Alchemy of Justice: The poet emphasizes that the true king is he who He possesses “the chemistry of transformation”; The image of “dust turning to gold” is a metaphor for the prosperity and reform that will prevail in the land under the rule of the one being praised.
The Enduring State: The poet uses the expression “an enduring state” to indicate that only a kingdom founded on “compassion” (not harming people) and justice is guaranteed to endure, drawing inspiration from the wisdom that says, “A kingdom may endure with disbelief, but it cannot endure with injustice.”
The king as a spiritual guide: Describing the owl (jughd) as becoming “humayya” means that the king’s authority is not merely material, but rather an authority that elevates the common people and transforms souls from a state of misfortune to a state of happiness.
Submission The Voluntary: Nizami believes that Bahramshah’s greatness compels heads to bow before him not merely out of fear, but also in recognition that the “place” in his heart is the source of good fortune and happiness (bakht-war-an-dil).
With this eloquent humility before the king’s majesty, Nizami prepares his reader to understand that whoever improves the condition of his subjects deserves to be a repository of trust the “Secrets of Wisdom”
The pun of “Afsir” and “Afsar”: Nizami plays with words (pun) to illustrate that power without legitimacy is a constraint; the king who does not submit to the Qutb (Bahramshah) has his crown transformed into a beast’s rope.
The Perfect Man: In verse 28, Nizami describes the king as “Jan Dou Alam”; It is a mystical vision that considers the just ruler a microcosm of the universe, in whom the divine spirit is manifested.
The alchemy of critics and praise: The poet employs the concept of “transformation.” Perhaps the king is eloquence and generosity, while for the enemy he is the bloodshed by arrows, and this contrast is the poet’s method in defining identity.
The praiseworthy conclusion: The poet’s personality merges with that of his subject. He asks for “my acceptance” so that his poetry may be immortal, and he prays for a “favorable outcome” for the king, linking worldly success with salvation in the hereafter.
Words for Learning
Apstan: Bearer (symbol of being filled with the secret)
Du Mahi: The two whales (symbol of the celestial constellations)
Sper Andakhten: Casting down the shield (metaphor for (Surrender)
قَرَّابِه: a large bottle or jar
زَهْرِه: gall (a symbol of courage and boldness)
دَسْت نِشِيـن: the favored one
افْسَر: the crown
افْسَار: the bridle
خوان: the table
لَاغَر: the thin one
شُقِّه: a piece of cloth (used in flags)
افْرَاخْتِه: the raised ones Or the lofty one
Arabic Translation
يَنْتَقِلُ الْحَكِيمُ نِظَامِي كَنْجَوِي فِي هَذَا الْجُزْءِ الْحَادِي عَشَرَ من كتاب مخزن الإسرارِ، إِلَى مَقَامِ التَّذَلُّلِ وَالإنْكِسَارِ، و هَذِهِ الْأَبْيَاتُ هِيَ مَحْضُ “قِصَّةِ الْقَلْبِ” الَّتِي أَرَادَ نِظَامِي أَنْ يَرْوِيَهَا، جَاعِلًا مِنَ الْقَلْبِ مَرْجِعاً لِلْإِيمَانِ وَبُوصَلَةً لِلْحَقِيقَةِ، وفيه إستمرار للمدحِ للسُلطان فَخْرِ الدِّينِ بهرامشاه
يَا مَنْ بِكَ نَالَ جَوْهَرُ آدَمَ شَرَفَهُ الْأَسْمَى، وَبِنُورِكَ أكْتَحَلَتْ عَيْنُ الْعَالَمِ فَأَبْصَرَتِ الضِّيَاءَ
وإِنَّ الْفَلَكَ لَيْسَ إِلَّا ظَهْر الظَفرِ، حيث يَحْمِلُ آيَاتِ نَصْرِكَ، وَالسَّمَاوَاتِ التِّسْعَ حُبَلَى بِسِرٍّ وَاحِدٍ مِنْ أَسْرَارِكَ الْمَكْنُونَةِ
وصَارَ بُرْجُ الْحُوتِين، بِمَا فِيهِ مِنْ عُلُوٍّ وَإنخفاض، مَحَارَةً تَحْفَظُ جَوْهَرَ سَيْفِ قُدْرَتِكَ الْبَاتِرِ
والْقَمَرُ الَّذِي يَسُلُّ نُورَهُ كَالسَّيْفِ فِي اللَّيْلِ، قَدْ خَضع تَذلالاً مُنكسراً و خُضُوعاً أَمَامَ سَيْفِ جَلَالِكَ
ونَصْلُ سَيْفِ قَهْرِكَ عَذْبٌ كَمَاءِ الْفُرَاتِ لِأَوْلِيَائِكَ، وَكَأَنَّهُ أراقَ جِرَارَ مَاءِ الْحَيَاةِ لِيَهَبَ الْبَقَاءَ لِمَنْ تَشَاءُ
فمَنْ غَلَبَهُ نَوْمُ الْغَفْلَةِ، فِي طُوفَانِ إبْتِلَائِكَ، فَلَنْ يَنْجُوَ حَتَّى لَوْ كَانَ فِي صَلَابَةِ نُوحٍ النبي؛ فسَيَجْرِفُهُ سَيْلُ الْقَدَرِ
وأَمَامَ كَأْسِ عِزِّكَ يَفْقِدُ مُلُوكُ الْأَرْضِ (خُسْرُو وَجَمْشِيد) عُقُولَهُمْ، وَأَمَامَ بَهَاءِ وَجْهِكَ تَصِيرُ الشَّمْسُ مَحْضَ فَرَاشَةٍ، تَحْتَرِقُ فِي أَنْوَارِكَ
فأَظْهِرْ بَأْسَكَ الَّذِي يَهْزِمُ الْأَبْطَالَ، فقد قُلْتُ أَسَدٌ، وَأَخْطَأْتُ؛ فَأَنْتَ الَّذِي تَهْزِمُ الْأُسُودَ
وإِنَّ الْفَلَكَ رَغْمَ مَا يَحْوِيهِ مِنْ أُسُودٍ ضَارِيَةٍ، يَخْشَاكَ وَيَحْسِبُ لِقُدْرَتِكَ أكثر
فأَيُّ قَلْبٍ ذاكَ، وْ أي جُرْأَةٍ تِلْكَ، الَّتِي تَجْرُؤُ فِي مَيْدَانِ عِزِّكَ عَلَى الْمُفَاخَرَةِ أَوْ تَدَّعِي النِّدِّيَّةَ لشِجاعتكَ وجُرأتكَ؟
فكُلُّ مَا تَحْوِيهِ هَذِهِ الْقُبَّةُ الزَّرْقَاءُ (الدُنيا)، يَقَعُ تَحْتَ سُلْطَانِ مَشِيئَتِكَ، الَّتِي لَا رَادَّ لَهَا
فلَكَ فِي الْخَلْقِ عُمَّالٌ وَأَتْبَاعٌ كَثِيرُونَ، لَكِنَّ الصَّفْوَةَ الَّذِينَ يَجْلِسُونَ فِي حَضْرَةِ قُرْبِكَ هُمُ الْمَلَائِكَةُ لَا غَيْرُ
الِانْسِيَابَ فِي نَهْرِ الْمَدِيحِ، حَيْثُ يَصِلُ الشاعر فِي هَذَا الْجُزْءِ الثَّانِي (الأَبْيَاتُ ١٣-٢٤) إِلَى بَيَانِ “الْجَلَالِ السُّلْطَانِيِّ” لِلْمَلِكِ فَخْرِ الدِّينِ بَهْرَامْشَاه، مَازِجاً بَيْنَ صِفَاتِ الْفُرُوسِيَّةِ وَسَخَاءِ الْخُلَفَاءِ وَعَدْلِ مَالِكِ الزَّمَانِ
وقَدْ خَتَمَ الدَّهْرُ سِجِلَّ السَّعَادَةِ بِاسْمِكَ، وَوَقَّعَتِ الرِّيَاحُ (بَرِيدُ سُلَيْمَانَ) آيَاتِ الْمُلْكِ عَلَى تُرَابِ أَعْتَابِكَ
وإِنَّ اللهَ الَّذِي مَنَحَ الشَّبَابَ وَالسُّلْطَانَ، قَدْ جَعَلَ الْمُلْكَ خَالِصاً لَكَ؛ لِأَنَّكَ أَنْتَ مَنْ يُدْرِكُ سِرَّ الْحُكْمِ وَقِيمَةَ الْمَمْلَكَةِ
وبِيُمْنِ طَالِعِكَ وَإِقْبَالِ دَوْلَتِكَ، يَتَحَوَّلُ التُّرَابُ فِي كَفَّيْكَ إِلَى ذَهَبٍ، وَيَسْتَحِيلُ السُّمُّ الزُّعَافُ بِذِكْرِكَ سُكَّراً مَذَاقُهُ الْعَافِيَةُ
وإِنَّ شَراب الْعَدْلِ الَّتِي لَمْ يَذُقْ مِثْلَهَا فَرِيدُونُ، هِيَ الَّتِي تَنْتَزِعُ عُقَدَ الظُّلْمِ (حِبَالَ ضَحَّاكٍ/من قِصص شاهنامة الفردوسي) عَنِ الأَكْتَافِ لِتُحَرِّرَ الْعِبَادَ
فتَناول كَأْسَ الْهَنَاءِ، فَالْمُطْرِبُ وَالسَّاقِي طَوْعُ يَدَيْكَ، لماذا تُعطي مَجَالاً لِلْهَمِّ والحُزن فِي صَدْرِكَ؟؛ فَدَوْلَتُكَ هِيَ الدَّوْلَةُ الْبَاقِيَةُ بِالْعَدْلِ وَالإِحْسَانِ
فأَنْتَ حَامِي حِمَى الْمَمْلَكَةِ وَمَلَاذُ سَائِرِ السَّلَاطِينِ، صَاحِبُ السَّيْفِ الْقَاطِعِ وَالتَّاجِ الشَّامِخِ
فأي مَبلغ وصَلتَ فيه ذُرْوَةَ الْمُلْكِ بِصَلَابَةِ سَيْفِكَ، فقد أضحيتَ مُنْتَزِعاً لِلتِّيجَانِ (يَسلب المُلك من الأخرين بقوتهِ) وَأخضع الْعُرُوشِ تَحتَ سُلطتهِ
وَمَعَ ذَلِكَ، فَأَنْتَ تَنثر الْكُنُوزَ على الرَعيةِ، بِكَرَمِ الْخُلَفَاءِ، وتَهَبُ التِّيجَانَ لِلْمُلُوكِ، بَعْدَ أَنْ حُزْتَ عُرُوشَهُمْ بِبَأْسِكَ
فمَا دَامَ حَدُّ سَيْفِكَ يَعْلُو فَوْقَ هَامَاتِ التِّيجَانِ، فَكَيْفَ لِلْمُلُوكِ أَنْ يَمْتَنِعُوا عَنْ اعطاء الْخَرَاجِ، وأداء فروض الطاعة وَالْوَلَاءِ لَكَ؟
وإِنَّ الْعَرْشَ الْحَقِيقِيَّ لَا يَكُونُ إِلَّا لِلرَّأْسِ الَّتي نَالَت المُلكَ بحقٍ، وَالْقَلْبَ السَّعِيدَ هُوَ الَّقلب الذي أسْتَقَرَّ فِيهِ حُبُّكَ
وفِي كَنَفِ عَدْلِكَ، يَتَحَوَّلُ الْبُومُ (رَمْزُ الْخَرَابِ) إِلَى طَائِرِ الْهُـمَايِ (الأسطوري) السَّعِيدِ، وَالرَّأْسُ الْمُتَعَالِي حِينَمَا يَمْثُلُ بَيْنَ يَدَيْكَ يُصِبح خَاضِعاً أمامكَ
فقَدِ أهْتَدَى بِيُمْنِكَ مَنْ كَانَ يُنْكِرُ الْمَعْرُوفَ، و تحولت الشَّكْوَى مِنْكَ، لَا تُوجَدُ إِلَّا فِي مَخِيلَةِ مَنْ يَشْكُو فَرْطَ عَطَائِكَ وَإِحْسَانِكَ
يَبْلُغُ الشاعر نِظَامِي كَنْجَوِي ذِرْوَةَ “الْبَرَاعَةِ الإسْتِهْلَالِيَّةِ” فِي مَدِيحِ الْمَلِكِ فَخْرِ الدِّينِ بَهْرَامْشَاه، وفِي هَذِهِ الْأَبْيَاتِ الْأَخِيرَةِ (٢٥-٣٦)، يَمْزُجُ الشَّاعِرُ بَيْنَ صِفَاتِ الْجَلَالِ السُّلْطَانِيِّ وَبَيْنَ “الِافْتِقَارِ الْأَدَبِيِّ” لِلشَّاعِرِ، مُسْتَخْدِماً رُمُوزَ “الصَّيْدِ” وَ”الْحَرْبِ” وَ”الْكِيمِيَاءِ” لِيُعْلِيَ مِنْ شَأْنِ مَمْدُوحِهِ
وتَحتَ حَوَافِرِ فَرَسِكَ (رُخْش) تَجِدُ الْأَرْضُ أَصَالَتَهَا وَرُسُوخَهَا، أَمَّا عَدُوُّكَ فَقَدْ صَارَ مِثْلَ حدوة الفَرس (النَّعْلِ) مَسْمُوراً بِأَرْبَعَةِ مَسَامِيرَ لحَوافر فَرسكَ خُضُوعاً لَكَ
وتَبْدُو الْأَفْلَاكُ السَّبْعَةُ أَمَامَ جَوْهَرِ عِزِّكَ مَحْضَ عُلْبَةٍ صَغِيـرَةٍ، وَمَا الْجِنَانُ الثَّمَانِيَةُ إِلَّا قِطْعَةٌ قُمَاشٍ صَغيرة فِي طَرَفِ لِوَائِكَ
وكُلُّ مَنْ لَا يَنْقَادُ رَأْسُهُ لِأَمْرِكَ، يَسْتَحِيلُ تَاجُهُ، الذي عَلى رأسهِ، حَبلاً يُقَادُ بِهِ، ذُلًّا وإنقياداً لكَ
فأَنْتَ الْأَوْحَدُ الَّذِي حَازَ سِرَّ كُلِّ فَنٍّ، وَأَنْتَ الرُّوحُ الْجَامِعَةُ لِلْعَالَمَيْنِ فِي جَسَدٍ وَاحِدٍ
فعَلِّمْ أُذُنَ السَّخَاءِ، أَدَبَ الْعَطَاءِ مِنكَ، وَأَشْعِلْ شَمْعَةَ الْبَيَانِ فِي نَفسِ نظامى (الشاعر)
وأَرْسِلْ خِلْعَةَ السَّمَاءِ إِلَى هَذَا الْعَبْدِ، وَهَبْ له نَفْحَةً مِنْ رِضَاكَ وَقَبُولِكَ
فرَغْمَ أَنَّ شِعْرِي يبدو بأنه عَميقٌ، وَيُغَذِّي الْأَرْوَاحَ، لَكِنَّهُ حِينَمَا يُعْرَضُ عَلَى مَائِدَةِ جَلَالِكَ، يَبْدُو هَزِيلًا لَا قِيمَة لَهُ
فقَدْ جَفَّ هَذَا الْبَحْرُ وَنَضَبَ هَذَا الْمَنْجَمُ مِنَ الْجَوَاهِرِ (الكلام)؛ فَاجْعَلْ الْجَوْهَرَ يَنْبُعُ منه، بكَفِّ جُودِكَ، والْيَاقُوتَ يَفِيضُ مِنْ لسانهِ عَذْبِ الكَلَامِ
وأَمَّا الْحَاسِدُ، فَلَا تَبْخَلْ عَلَيْهِ بِـإراقة دمهِ، مِنْ نِصَالِ السِّهَامِ، ومِنْ حَدِّ السَّيْفِ أرهِ قَهْرِكَ وقوتكَ
فمَا دَامَ الْفَلَكُ قَدْ مَنَحَكَ حُسن الطالعِ السعيد، فَلْيَجعل القَدر خِتَامُ أَعْمَالِكَ مَحْمُوداً (وَمَرْضِيّاً عِنْدَ اللهِ)
فقَدْ صِرْنَا مُهَيَّئِينَ وَ خَاضَعين فِي سَبِيلِكَ (في طريقكَ)؛ فأَنَا هُوَ الْمُهَيَّأُ لِخِدْمَتِكَ، وَعَدُوُّكَ، فهُوَ مُحْتَرِقُ بِنَارِ غَيْظِكَ
وقَدْ رَفَعَ فَتْحُكَ رَأْسَهُ كَاللِّوَاءِ الشَّامِخِ، بَيْنَمَا أَلْقَى خَصْمُكَ بِرَأْسِهِ ذُلًّا كَمَا يَنْحَنِي الْقَلَمُ عِنْدَ الْكِتَابَةِ
المعاني الصوفية والعرفانية
مَقَامُ “الْقَهْرِ وَاللُّطْفِ”: فِي الْبَيْتِ الْخَامِسِ، يَجْمَعُ الشاعر بَيْنَ “السَّيْفِ” وَ”مَاءِ الْحَيَاةِ”؛ وَهِيَ إِشَارَةٌ إِلَى أَنَّ الْبَلَاءَ الْإِلَهِيَّ لِلْعَارِفِ هُوَ عَيْنُ الْعَطَاءِ، وَأَنَّ الْمَوْتَ عَنِ النَّفْسِ هُوَ الْحَيَاةُ الْحَقِيقِيَّةُ
طُوفَانُ الْغَفْلَةِ: التَّحْذِيـرُ مِنْ “النَّوْمِ فِي الطُّوفَانِ” هُوَ دَعْوَةٌ لِلْيَقَظَةِ الرُّوحِيَّةِ؛ فَحَتَّى الْعَظَمَةُ الظَّاهِرِيَّةُ (كَأَمْثَالِ نُوحٍ) لَا تَنْفَعُ إِذَا غَابَتِ الْعِنَايَةُ الْإِلَهِيَّةُ
فَنَاءُ الْمُلُوكِ: جَعْلُ خُسْرُو وَجَمْشِيد “مَفْقُودِي الْحِسِّ” أَمَامَ “كأس الْحَقِّ” هُوَ تَأْكِيدٌ عَلَى أَنَّ “الرُّوحَ هِيَ الْمَلِكُ الْحَقِيقِيُّ”، وَأَنَّ الْمُلْكَ الظَّاهِرِيَّ لَا قِيمَةَ لَهُ
كِيمِيَاءُ الْعَدْلِ: يُرَكِّزُ الشاعر عَلَى أَنَّ الْمَلِكَ الْحَقِيقِيَّ هُوَ مَنْ يَمْلِكُ “كِيمِيَاءَ التَّحْوِيلِ”؛ فَصُورَةُ “التُّرَابِ الَّذِي يَصِيرُ ذَهَبًا” هِيَ كِنَايَةٌ عَنِ الرَّخَاءِ وَالإِصْلَاحِ الَّذِي يَعُمُّ الْبِلَادَ فِي ظِلِّ مَمْدُوحِهِ
الدَّوْلَةُ الْبَاقِيَةُ: يَسْتَخْدِمُ الشاعر تَعْبِيرَ “دَوْلَتِ بَاقِى” لِيُشِيرَ إِلَى أَنَّ الْمُلْكَ الَّذِي يَقُومُ عَلَى “كَمْآزَارِى” (عَدَمِ إِيذَاءِ الْخَلْقِ) وَالْعَدْلِ هُوَ الْوَحِيدُ الَّذِي يَكْتُبُ لَهُ الْبَقَاءُ، مُسْتَلْهِماً ذَلِكَ مِنَ الْحِكْمَةِ الْقَائِلَةِ بِأَنَّ “الْمُلْكَ يَبْقَى مَعَ الْكُفْرِ وَلَا يَبْقَى مَعَ الظُّلْمِ”
الْمَلِكُ كَمُرَبٍّ رُوحِيٍّ: وَصْفُ “الْبُومِ” (جُغْد) بِأَنَّهُ يَصِيرُ “هُـمَايًا” يَعْنِي أَنَّ سُلْطَانَ الْمَلِكِ لَيْسَ مَادِّيّاً فَقَطْ، بَلْ هُوَ سُلْطَانٌ يَرْفَعُ مِنْ شَأْنِ الْبُسَطَاءِ وَيُحَوِّلُ النُّفُوسَ مِنْ حَالِ الشُّؤْمِ إِلَى حَالِ السَّعَادَةِ
الْخُضُوعُ الإِرَادِيُّ: يَرَى نِظَامِي أَنَّ عَظَمَةَ بَهْرَامْشَاه تَجْعَلُ الرُّؤُوسَ تَخْضَعُ لَهُ لَيْسَ خَوْفاً فَقَطْ، بَلْ اعْتِرَافاً بِأَنَّ “الْمَكَانَ” فِي قَلْبِهِ هُوَ مَبْعَثُ الْحَظِّ وَالسَّعَادَةِ (بَخْت وَر آن دِل)
بِهَذَا الِانْكِسَارِ الْبَلِيغِ أَمَامَ جَلَالِ الْمَلِكِ، يُمَهِّدُ نِظَامِي لِقَارِئِهِ أَنَّ مَنْ صَلُحَ حَالُ رَعِيَّتِهِ، اسْتَحَقَّ أَنْ يَكُونَ مَوْضِعاً لِإِيدَاعِ “أَسْرَارِ الْحِكْمَةِ”
جِنَاسُ “افسار” وَ”افسر”: نِظَامِي يَتَلَاعَبُ بِالْأَلْفَاظِ (الْجِنَاس) لِيُوَضِّحَ أَنَّ السُّلْطَةَ بِلَا مَشْرُوعِيَّةٍ هِيَ قَيْدٌ؛ فَالْمَلِكُ الَّذِي لَا يَخْضَعُ لِلْقُطْبِ (بَهْرَامْشَاه) يَنْقَلِبُ تَاجُهُ إِلَى حَبل دَابَّةٍ
الْإِنْسَانُ الْكَامِلُ: فِي الْبَيْتِ ٢٨، يَصِفُ نِظَامِي الْمَلِكَ بِأَنَّهُ “جَانِ دُو عَالَم”؛ وَهِيَ رُؤْيَةٌ عِرْفَانِيَّةٌ تَعْتَبِرُ الْحَاكِمَ الْعَادِلَ نُسْخَةً مُصَغَّرَةً مِنَ الْكَوْنِ، تَتَجَلَّى فِيهِ الرُّوحُ الْإِلَهِيَّةُ
كِيمِيَاءُ الْهَجَاءِ وَالْمَدِيحِ: يَسْتَخْدِمُ الشاعر مَفْهُومَ “التَّحْوِيلِ”؛ فَـ لعْلُ الْمَلِكِ هُوَ الْكَلَامُ وَالْعَطَاءُ، أَمَّا لِلْعَدُوِّ فَهُوَ “الدَّمُ” النَّاتِجُ عَنِ السِّهَامِ، وهَذَا “التَّضَادُّ” هُوَ مَنْهَجُ الشاعر فِي رَسْمِ الْهُوِيَّةِ
الْخَاتِمَةُ الْمَحْمُودَةُ: تَنْدَمِجُ شَخْصِيَّةُ الشَّاعِرِ مَعَ مَمْدُوحِهِ؛ فَهُوَ يَطْلُبُ “بُوى قَبُولِي” لِيَكُونَ شِعْرُهُ خَالِداً، وَيَدْعُو بِـ “الْعَاقِبَةِ الْمَحْمُودَةِ” لِلْمَلِكِ، رَابِطاً بَيْنَ النَّجَاحِ الدُّنْيَوِيِّ وَالْخَلَاصِ الْأُخْرَوِيِّ
كَلِمَاتٌ لِلتَّعَلُّمِ
آبستَن: حَامِل (رَمْزُ الِامْتِلَاءِ بِالسِّرِّ)
دُو مَاهِى: الْحُوتَانِ (رَمْزُ الْأَبْرَاجِ السَّمَاوِيَّةِ)
سِپَر انْدَاخْتَن: إِلْقَاءُ التُّرْسِ (كِنَايَةٌ عَنِ الِاسْتِسْلَامِ)
قَرَّابِه: قَارُورَةٌ أَوْ جَرَّةٌ كَبِيـرَةٌ
زَهْرِه: الْمَرَارَةُ (رَمْزُ الشَّجَاعَةِ وَالْجُرْأَةِ)
دَسْت نِشِيـن: الْجَلِيسُ الْمُقَرَّبُ
افْسَر: التَّاجُ
افْسَار: الرَّسَنُ أَوِ الْخِطَامُ
خُوَان: الْمَائِدَةُ
لَاغَر: النَّحِيفُ أَوِ الْهَزِيلُ
شُقِّه: قِطْعَةٌ مِنَ الْقُمَاشِ (تُسْتَخْدَمُ فِي الْأَعْلَامِ)
افْرَاخْتِه: الْمَرْفُوعُ أَوِ الشَّامِخُ
Persian Text
ای شرف گوهر آدم به تو
روشنی دیده عالم به تو
چرخ که یک پشت ظفرساز تست
نُه شکم آبستنِ یک راز تست
گوش دو ماهی زبر و زیر تو
شد صدف گوهر شمشیر تو
مه که به شب تیغ درانداختهست
با سر تیغت سپر انداختهست
چشمه تیغ تو چو آب فرات
ریخته قرابه آب حیات
هر که به طوفان تو خوابش بَرَد
ور به مثل نوح شد آبش بَرَد
جام تو کیخسرو جمشید هُش
روی تو پروانه خورشید کش
شیردلی کن که دلیر افکنی
شیر خطا گفتم شیر افکنی
چرخ ز شیران چنین بیشهای
از تو کند بیشتر اندیشهای
آن دل و آن زَهره کهرا در مصاف؟
کز دل و از زَهره زند با تو لاف؟
هر چه به زیر فلکِ ازرق است
دست مراد تو برو مطلق است
دستنشان هست ترا چند کس
دستنشینِ تو فرشته است و بس
دور به تو خاتم دوران نبشت
باد به خاک تو سلیمان نبشت
ایزد کاو داد جوانی و ملک
ملک ترا داد تو دانی و ملک
خاک به اقبال تو زر میشود
زهر به یاد تو شکر میشود
می که فریدون نکند با تو نوش
رشته ضحاک برآرد ز دوش
مىخور می مطرب و ساقیت هست
غم چه خوری؟ دولت باقیت هست
ملک حفاظی و سلاطین پناه
صاحب شمشیری و صاحب کلاه
گرچه به شمشیر صلابتپذیر
تاجسِتان آمدی و تختگیر
چون خلفا گنج فشانی کنی
تاج دهی تختستانی کنی
هست سر تیغ تو بالای تاج
از ملکان چون نستانی خراج؟
تختبر آن سر که بر او پای تست
بختور آن دل که در او جای تست
جغد به دور تو همایی کند
سر که رسد پیش تو پایی کند
منکر معروف هدایت شده
از تو شکایت به شکایت شده
در سُم رخشت که زمین راست بیخ
خصم تو چون نعل شده چار میخ
هفت فلک با گهرت حقهای
هشت بهشت از علمت شقهای
هرکه نه در حکم تو باشد سرش
بر سرش افسار شود افسرش
در همه فن صاحب یک فن تویی
جان دو عالم به یکی تن تویی
گوش سخا را ادبآموز کن
شمع سخن را نفسافروز کن
خلعت گردون به غلامی فرست
بوی قبولی به نظامی فرست
گرچه سخن فربه و جانپرورست
چونکه به خوان تو رسد لاغرست
بیگهر و لعل شد این بحر و کان
گوهرش از کف ده و لعل از دهان
وانکه حسود است بر او بیدریغ
لعل ز پیکان ده و گوهر ز تیغ
چون فلکت طالع مسعود داد
عاقبت کار تو محمود باد
ساخته و سوخته در راه تو
ساخته من سوخته بدخواه تو
فتح تو سر چون علم افراخته
خصم تو سر چون قلم انداخته
