This passage from the book “The Treasury of Secrets” reveals the poet Nizami as a “cosmic engineer” who describes the status of the Prophet ﷺ as the ultimate cause of existence. He is “the Last” in temporal manifestation, but He is “the First” in divine decree.
English Translation
O You who are the jewel in the crown of all the messengers, and the one who bestows the crown upon the jewels of free souls.
Everyone in this universe, whether strangers or followers of yours, is in this world only a follower of you, and you are the one intended by origin, and they’re by subordination.
Although the beginning of the verse of existence was established in your name, your mention has manifested itself as a final rhyme, at the end of time. So that you may be the one in charge of organizing the message.
For this “ruined village” world did not know true civilization until the divine sign was issued with your coming with Adam; Through you both, the edifice of humanity was built.
And what made the House of Prophethood ever-renewing is that the final brick (the Seal of the Prophets) was the very first foundation, in God’s knowledge.
So you are not merely the third after Adam and Noah in the sense of numerical superiority, but you are the knot that binds the chain of prophethood (the message) and preserves its order.
When the seed of immortality afflicted Adam with indigestion and expelled him from Paradise. His repentance, through your blessing, was transformed into the sweetness of roses, a taste that purifies the soul.
Indeed, the heart’s repentance in the gardens of acceptance exudes only your fragrance, and the sweetness of that repentance is but from the dust of your threshold.
When the heart tasted the sweetness of repentance through your grace, it was filled with shame, from its apparent taste, before the honey of your knowledge, and it repented of the claim of a pleasant taste.
For the sphere of acceptance was formed since eternity, then it was thrown into the field of the heart; So that seekers may compete in attaining your acceptance.
In this second part (verses 11-20), Nidhmi draws a striking mystical comparison between the Prophet Muhammad (peace be upon him) and all the resolute prophets, using imagery from the celestial sphere and the game of Polo, to demonstrate that every prophet attained a portion of the truth, while the Chosen One (Muhammad) fully comprehended it (Peace and blessings be upon him).
Then Adam, the Prophet, advanced, having suffered a fresh wound (when he was expelled from Paradise), striving to seize the ball of attainment with the staff of his endeavor.
But when the ear of wheat (from which he had eaten in Paradise) followed his striving, the ball remained beyond his reach, and that ball vanished into the corner of deprivation.
And after him, Noah (the Prophet), who attained thirsty for the source of the water of life, God replaced that spring for him with a flood that covered the earth, and He found no rest in that abode.
When the Prophet Abraham set out from his cradle (his religious journey and mission), he stumbled midway amidst trials and tribulations, falling at several points before reaching his destination.
And the Prophet David, his heart heavy with longing, his psalms, with their sharpness and weight, expressed his state of brokenness and humanity
For the Prophet Solomon maintained his decorum in the presence of the King, but his crown was bound to a worldly kingdom tainted by materialism, while the crown of Muhammad (peace be upon him) is pure light.
Then the Prophet Joseph did not see the Creator in the well (which is a symbol of this world), but rather found nothing in it except the ropes and buckets that saved his body, that’s all.
As for Al-Khidr, the prophet, he rode his horse on this dark and barren journey, but he gained nothing from the truth except a drop of water that stained his clothes at the spring of life.
And the prophet Moses found his hand empty of the cup of direct vision (of God). Then the glass of his sight shattered (he fainted) at the foot of the mountain (Mount Sinai) when he said, “Show me Yourself, that I may look upon You.”
As for the Messiah did not settle upon the fleeting pleasures of this world, but remained in this abode like an accused guest (without dwelling therein), while you (O Muhammad) ﷺ are the master of this abode and of the Kingdom.
In this third part (Verses 21-30), the poet moves on to explaining the “cosmic sovereignty” of the Prophet ﷺ; where he portrays him as the engineer who laid out the order of the celestial spheres, and the knight who controls the field of existence with his scepter, emphasizing that time, space, and even “nothingness” are subject to his majesty.
And you are the one who established the design of the celestial spheres, and extended the shadow of your blessed existence upon this universe so that it might live by you.
The message of existence was sealed with your noble name, and the great sermon of prophecy concluded in your time, so that you might be the final, confirming seal for this universe.
So rise up and establish for us an orbit of meaning, higher than these orbits of the celestial spheres, as they lack the power to perform your tasks; therefore, assume your role in guiding the spirits.
As for the sphere of the celestial sphere, it is but the boundary of your domain, and the globe is merely a follower of the curve of your scepter.
Before the dust of annihilation rises from nothingness, move swiftly and without pause, for the arena (or scene, or opportunity) is yours.
What is annihilation that it should touch a cup of water of our immortality? Or who is this lowly nothingness that dares to erase your eternal memory?
So cast the foot of nothingness into the labyrinths of nothingness itself, and tear the hand of annihilation apart with annihilation itself, so that the dominion of your permanence may remain, which never fades.
O you whose breath is what gives voice to the tongues of the mute, and whose words are the balm for souls weary with longing and the anguish of hearts.
And indeed, reason has found no escape from the sea of blood (the affliction of this world) except through the ship of your law, you are its savior, and you brought the ship of the soul to the shore of safety.
The direction of prayer of the nine heavens opens in your noble quarter, and those fragrant flowers, created in six days, are but a speck clinging to the strands of your hair.
In these last verses (31-41), the poet moves from the cosmic description of prophecy. To the station of “pure servitude” and humility at the threshold of the Chosen One ﷺ, where he makes the dust of his threshold kohl for his eyes and an antidote for his soul.
Indeed, the order of this universe will be disrupted and become tangled like your flowing hair, if a single strand of the beauty of your existence is lost; You are the arbiter of the world’s covenant.
You are the one who reads the apparent without need of a pen (material knowledge), and knows the secret of the hidden (intellect) without need of words; for your knowledge is divinely inspired, absolute, from God.
And your power has left its mark upon the foundation of the Word. So that your words may not be tainted by human distortion or touched by the fingers of imperfection,
For all the words of creation can be easily understood, but your words are a forbidden secret, hidden from all who attempt to grasp their essence.
And the dust of your threshold has been transformed into sweetness overflowing with sugar, and your sweet logic has become more delightful than pistachios and jujubes.
And a single handful of your provisions (a sweet treat filled with sugar), in the wilderness of love, are enough for the seeker on the forty-day retreat to spend in contemplating the beauty of Truth.
For you are for me (the poet Nizami) the most radiant dawn of salvation, and I am but humble dust in your hands, for you are the water of life, which grants me eternity.
And your dust is, in truth, the garden of my soul, and your noble garden is all my soul and my world, to which I turn for refuge.
I will adorn the eyes of (the poet Nizami) with the dust of your threshold, and I will carry the covering of your saddle (the veil) upon my shoulder, proud of my servitude to you.
And upon the threshold of that garden, which is like the pure soul, I will sometimes be like the wind in my longing and striving towards it, and sometimes like the dust in my stillness and humility for its sake.
Whenever the great mystics were perfumed by your purest fragrance, my dust (my body and my poetry) was transformed by your grace into a perfume placed upon the heads of the noble.
Sufi and Gnostic Meanings and Observations on the Poet’s Verses
The poet praises the Prophet Muhammad (peace be upon him) as the head of the prophets’ council, employing the imagery of “the verse” and “rhyme” to illustrate that the Prophet is the culmination of all divine messages.
He also addresses the story of Adam symbolically, portraying the Prophet Muhammad (peace be upon him) as the “antidote” that transformed the bitterness of sin into the sweetness of repentance.
The poet’s work is based on the concept of “the Muhammadan Reality”; he sees that the Prophet ﷺ was a prophet “while Adam was between water and clay”, and his saying “Khisht Pasin Dayi Nukhstin” is a precise mystical expression of the fact that the last in creation is the first in thought (the knowledge of God), and as for the image of “Gulshakar”, it represents “the alchemy of the soul”, where the Prophetic light transforms “affliction” into “blessing”
The secret of the “knot” (Gereh): In mysticism, the knot is that which holds the two ends of the thread together; And the Prophet (peace and blessings be upon him) is the one who connects Adam (the beginning) with the Day of Resurrection (the end).
The station of acceptance: “My acceptance” indicates that no matter how hard a person strives, their acceptance is contingent upon a prior “Divine favor” placed in their heart from eternity.
The repentance of repentance: when he says, “Gulshkar az Gulshkary Tawbah” The word “Kard” refers to the station of annihilation, where the knower is absent from the “pleasure of obedience” to be absorbed in the “source of obedience.”
This passage means that the Prophet ﷺ is “the axis around which time revolves.” Adam’s expulsion from Paradise was merely a prelude to the appearance of the “Master of Mankind” to rebuild this “Dehi-Viran/Destroyed Village/World.” The poet invites the reader to understand that all sweetness in the world is simply “repentance” before the sweetness of the Muhammadan Truth.
The poet then recounts the lives of the previous prophets (Adam, Noah, Abraham, David, Solomon, Joseph, Al-Khidr, Moses, and Jesus (may God be pleased with them) are mentioned to show that each of them faced an obstacle or a station they could not overcome. Some stumbled, some were denied vision, and some possessed only material wealth. All of this serves to pave the way for the next point: that the Prophet Muhammad (peace and blessings be upon him) is the only one who guided the “ball” (or “goy”) to the goal of the Throne without any obstacles.
The poet builds The theory of “diversity of manifestation”; the prophets are stages in the development of the human spirit. “Show me your vision” to Moses means that the mind of the one who spoke with God could not bear the light of the Divine Essence, while the Prophet Muhammad (peace be upon him) saw God with his “eye of the head,” as the poet Nizami affirms in his Ash’ari school of thought. As for Jesus (the Messiah), he left the world “like a stranger who does not trust the house,” whereas it was Muhammad (peace be upon him) who transformed this house (the world)( Dehi-Viran) to a spiritual “building”
The Alchemy of the Soul (Noah and Moses): The poet compares Noah’s “flood” that drowned the world, but with the “light” of the Prophet ﷺ that revived the world
The Station of “Show Me”: In mysticism, Moses represents the station of “demanding” (Show me), while the Prophet ﷺ represents the station of “selection”; Where the Truth called to him to see after he had purified his sight.
Al-Khidr and the wetness: The poet indicates that Al-Khidr, who lives forever by the water of life, attained from the reality of eternity with God only to the extent that his garment’s edge would be wet, while the Prophet (peace be upon him) was immersed in the sea of union.
With these verses, the poet means that all the messengers were “players in the field.” The poet calls upon the reader to realize that the Prophet, peace and blessings be upon him, was the only one who did not bow down to the allure of worldly pleasures and was not preoccupied with the reins of material possessions, but rather proceeded towards the Absolute with a steadfast heart.
The poet portrays the Prophet Muhammad (peace be upon him) as the axis around which the heavens revolve, and employs a “knightly” language (from the root “takhtan”) to clarify that the essence of prophethood is the driving force of the universe. He also affirms that the Prophet’s law is the only path for the mind to escape the conflicts of materialism (from the root “darya-y-khun”).
The poet then establishes the concept of “subsistence.” after annihilation”; so when he says “Dast Fana Ra Bih Fana Pareh Kun”, he is indicating that the Muhammadan Light has annihilated “annihilation” itself, that is, it has transcended death to eternal life.
The image of “Abhar Shesh Roozeh” (the six-day narcissus) is an allusion to the creation of the heavens and the earth in six days; Where the poet makes all of creation merely an “adornment” in the Prophet’s poetry, meaning that the universe is parasitic upon his beauty ﷺ
The sanctification of “the breath”: “that is, the breath of the tongue of Bastigan”; In mysticism, the Prophet’s breath is the “Merciful Breath” that gives things their identity and makes meaning possible.
The Ship of the Law: Nizami believes that reason alone drowns in the “Sea of Blood” (confusion and desires), and has no shore except the “Inner Realm” (the shore of Darun), to which the “Law of the Chosen One” leads.
The Secret of the Qibla: Making the Prophet’s “Kuway” (the neighborhood) the direction of prayer for the nine celestial spheres means that cosmic prostration is directed towards the source of “the First Light.”
It also means that the Prophet (peace and blessings be upon him) is “the absolute ruler over the laws of nature,” and the poet calls for us to see “nothingness” and “annihilation” as defeated enemies before the permanence of prophethood. The ultimate lesson is that all beauty In the heavens, (Abhar) is but an echo of the beauty of his soul, peace and blessings be upon him.
The poet concludes his description by transforming all the Prophet’s attributes, peace and blessings be upon him, into a light that purifies the poet’s soul. He sees the Prophet, peace and blessings be upon him, as “unlettered,” meaning that he reads the inner meaning without intermediary. Then he ends with an emotional scene in which he asks to be a servant (Golam) carrying “Al-Ghashiyah” (the overwhelming event) for the Prophet, and considering this humiliation to be the pinnacle of glory for him,
He establishes the concept of “Prophetic Chemistry”; Where dust turns into “sugar” and dirt into “perfume,” his saying “Barg Chehel Rozeh” indicates that the teachings of the Prophet are the true sustenance for the soul on its journey to God, and they are the provisions of the Sufi “Arba’eeniyah” in which the unseen is revealed, and the poet here “annihilates” himself in the praised one, until his personal dirt becomes part of “Ghaliyah”, (The Fragrance of) Prophethood
Innate Knowledge: this is a reference to the station of Muhammadan inheritance where the realm of things is revealed to the purified heart without need for the tools of human learning.
The Station of “Khaki” (Earthly): The poet affirms that the glory of man lies in his “earthliness” before the light of the Prophet; The wind (movement) and stillness (silence) are both paths to nearness to the Garden (of Paradise).
The secret of the precious: Nizami believes that mentioning the Prophet (peace and blessings be upon him) transforms nothingness into a fragrant existence, and that whoever adorns their heart with this love, their words become precious/perfumed for all time.
Words for Learning
Nū zakhmeh: The talk of the wound / One who has just been injured
Chūgan: The game of the mallet (a symbol of spiritual striving)
Bargi: The camel or riding horse
Khosheh: An ear of corn (referring to the ear of corn of Adam)
Hayāwan: The water of life (or the world of eternal life)
Tihmati: The unwelcome guest or the suspicious person With it (a metaphor for asceticism)
Its sender: the necklace or pendant (a symbol of the chain of prophets)
Heedar: one afflicted with indigestion or bloating (a metaphor for Adam eating from the tree)
Gulshkar: a mixture of rose and sugar (a gentle remedy for the stomach and soul)
Nawa’in: the modern/innovative style
Tufayl: the follower who He lives off the table of others (from the story of Tufayl al-A’ras)
Falak Tarh: The architect of the celestial spheres / The designer of the universe
Maydan: The field of running or fighting
Chawgan: The ball bat in the game of polo
Siflih: The base or lowly one.
‘Abhar: A type of jasmine or narcissus
Zaban Bastgan: The mute, or one whose tongue is tied by fear and awe
Pist: A type of roasted flour mixed with sugar (a traveler’s provisions)
Angasht Sai: That which the fingers touch (a metaphor for vanishing or distortion)
Barg: Provisions or belongings (a leaf)
Ghashiyeh: The saddle cover (It was carried by pages behind the kings)
Ghalia: Musk mixed with ambergris (a very precious perfume)
Arabic Translation
هذا المَقْطَعٌ من كتاب مخزن الأسرار يَتَجَلَّى فِيهِ الشاعر نِظَامِي كَـ “مُهَنْدِسٍ كَوْنِيٍّ” يَصِفُ مَكَانَةَ النَّبِيِّ ﷺ بِإعْتِبَارِهِ الْعِلَّةَ الْغَائِيَّةَ لِلْوُجُودِ؛ فَهُوَ “الْآخِرُ” فِي الظُّهُورِ الزَّمَانِيِّ، لَكِنَّهُ “الْأَوَّلُ” فِي التَّقْدِيرِ الْإِلَهِيِّ
يَا مَنْ أَنْتَ جَوْهَرَةُ التَّاجِ لِجَمِيعِ الْمُرْسَلِينَ، وَالْمُتَفَضِّلُ بِالتَّتْوِيجِ عَلَى جَوَاهِرِ النُّفُوسِ الْحُرَّةِ
كُلُّ مَنْ فِي هَذَا الْكَوْنِ، سَوَاءٌ كَانُوا مِنَ الْأَغْرَابِ أَوْ مِنْ أَتْبَاعِكَ، لَيْسُوا فِي هَذِهِ الدَّارِ إِلَّا تُبَّعاً لَكَ؛ فَأَنْتَ الْمَقْصُودُ بِالْأَصَالَةِ وَهُمْ بِالتَّبَعِيَّةِ
فرَغْمَ أَنَّ مَطْلَعَ بَيْتِ الْوُجُودِ قَدْ عُقِدَ بِاسْمِكَ، إِلَّا أَنَّ ذِكْرَكَ قَدْ تَجَلَّى كَـقَافِيَةٍ نهاية، فِي خِتَامِ الزَّمَانِ؛ لِتَكُونَ أَنْتَ الضَّابِطُ لِنَظْمِ الرِّسَالَةِ
فهَذِهِ “الْقَرْيَةُ الْخَرِبَةُ” الدُّنْيَا، لَمْ تَعْرِفِ الْعُمْرَانَ الْحَقِيقِيَّ إِلَّا بَعْدَ أَنْ صَدَرَتِ الْإِشَارَةُ الْإِلَهِيَّةُ بِقُدُومِكَ مَعَ آدَمَ؛ فَبِكُمَا بُنِيَ صَرْحُ الْإِنْسَانِيَّةِ
وإِنَّ مَا جَعَلَ بَيْتَ النُّبُوَّةِ مُتَجَدِّداً، هُوَ أَنَّ اللَّبِنَةَ الْأَخِيرَةَ (خَاتَمُ الأنبياء) كَانَتْ هِيَ الْأَسَاسَ الْأَوَّلَ، فِي عِلْمِ اللهِ
فأَنْتَ لَسْتَ مُجَرَّدَ ثَالِثٍ لِآدَمَ وَنُوحٍ بِمَعْنَى الْأَفْضَلِيَّةِ الْعَدَدِيَّةِ فَقَطْ، بَلْ أَنْتَ الْعُقْدَةُ الَّتِي تَرْبِطُ عِقْدَ النُّبُوَّةِ (الرسالة) وَتَحْفَظُ إنْتِظَامَه
فلَمَّا أَصَابَتْ حَبة الْخُلْدِ آدَمَ بِالتُّخَمَةِ، وَأَخْرَجَتْهُ مِنَ الْجَنَّةِ، أسْتَحَالَتْ تَوْبَتُهُ بِبَرَكَتِكَ إِلَى حَلْوَى الْوَرْدِ، ذات الْمَذَاقِ الذي يُطَهِّرُ النَّفْسَ
وإِنَّ تَوْبَةَ الْقَلْبِ فِي رِيَاضِ الْقَبُولِ لَا تَفُوحُ إِلَّا بِعِطْرِكَ، وَمَا حَلَاوَةُ تِلْكَ التَّوْبَةِ، إِلَّا مِنْ تُرَابِ أَعْتَابِكَ
فحِينَمَا ذَاقَ الْقَلْبُ طَعم التَّوْبَةِ بِمَدَدِكَ، خَجِلَتَ (الحَلاوة) مِنْ مذاقها الظَّاهِرَ، أَمَامَ شَهدِ عِرْفَانِكَ، وَتَابَتْ عَنْ دَعْوَى طِيب الْمَذَاقِ
فقَدْ صِيغَتْ كُرَةُ الْقَبُولِ مُنْذُ الْأَزَلِ، ثُمَّ أُلْقِيَ بِهَا فِي مَيْدَانِ الْقَلْبِ؛ لِيَتَنَافَسَ السَّالِكُونَ فِي نَيْلِ رِضَاكَ
فِي هَذَا الْجُزْءِ الثَّانِي (الْأَبْيَاتُ ١١-٢٠)، يَعْقِدُ نِظَامِي مُقَارَنَةً عِرْفَانِيَّةً مُذْهِلَةً بَيْنَ النَّبِيِّ ﷺ وَبَيْنَ سَائِرِ أُولِي الْعَزْمِ مِنَ الرُّسُلِ، مُسْتَخْدِماً صُوَرًا مِنَ “الْفَلَكِ” وَلُعْبَةِ “الصَّوْلَجَانِ”، لِيُثْبِتَ أَنَّ كُلَّ نَبِيٍّ قَدْ نَالَ جُزْءاً مِنَ الْحَقِيقَةِ، بَيْنَمَا أسْتَوْعَبَهَا الْمُصْطَفَى ﷺ كُلَّهَا
فتَقَدَّمَ آدَمُ النَبي، الَّذِي أُصِيبَ بِـجُرْحٍ حَدِيثٍ (لَمَّا أُخْرِجَ مِنَ الْجَنَّةِ)، مُحَاوِلاً أَنْ يَقْتَنِصَ كُرَةَ الْوُصُولِ بِصَوْلَجَانِ سَعْيِهِ
ولَكِنْ لَمَّا تَبِعَتْ سَعْيِهِ سُنْبُلَةَ الْقَمْحِ (الَّتِي أَكَلَ مِنْهَا في الجنةِ)، بَقِيَتِ الْكُرَةُ بَعِيدَةً عَنْ مَنَالِهِ، وَتَوَارَتْ تلكَ الكرةِ فِي زَاوِيَةِ الْحِرْمَانِ
وأَمَّا مِن بَعده نُوحٌ (النبي)، الَّذِي وَصَلَ ظَمْآناً إِلَى مَنْبَعِ مَاءِ الْحَيَاةِ، فَقَدْ أَبْدَلَ اللهُ لَهُ تِلْكَ الْعَيْنَ بِـطُوفَانٍ، غَمَرَ الْأَرْضَ؛ فَلَمْ يَنَلِ الرَّاحَةَ في تِلك الدارِ
وَلَمَّا أنْطَلَقَ من مَهْدُهِ إِبْرَاهِيمَ النَبي (سَفَرُهُ الديني والدَعوة)، تَعَثَّرَ فِي مُنْتَصَفِ الطَّرِيقِ بَيْنَ الإبْتِلَاءَاتِ وَالنِّيرَانِ، وَسَقَطَ فِي مَوَاضِعَ عِدَّةٍ قَبْلَ الْوُصُولِ لمَقصدهِ
وَكَانَ دَاوُدُ النبي، ذَا صَدْرٍ ضَيِّقٍ بِالْأَشْوَاقِ، فَجَاءَتْ أَلْحَانُ مَزَامِيرِهِ بَيْنَ الْحِدَّةِ وَالثِّقَلِ، لِتُعَبِّرَ عَنْ حَالِ الِانْكِسَارِ الْبَشَرِيِّ
وحَفِظَ سُلَيْمَانُ النبي أَدَبَهُ فِي حَضْرَةِ الْمُلْكِ، لَكِنَّ تَاجَهُ كَانَ رَهِيناً لِـمَمْلَكَةٍ دُنْيَوِيَّةٍ مَشُوبَةٍ بِالْمَادَّةِ، بَيْنَمَا تَاجُ مُحمد ﷺ هُوَ مَحْضُ نُورٍ
ولَمْ يَرَ يُوسُفُ النَبي، مِنَ الْبِئْرِ (الَّتِي هِيَ رَمْزُ الدُّنْيَا) رُؤْيَةً حَقِيقِيَّةً لِلْخَالِقِ، بَلْ لَمْ يَجِدْ فِيهَا إِلَّا الْحِبَالَ وَالدِّلاءَ الَّتِي أَنْقَذَتْ جَسَدَهُ فَقَطْ
أَمَّا الْخِضْرُ، النَبي، فَقَدْ رَكِبَ فَرَسَهُ فِي هَذهِ الرِحْلَةِ المُظلُمَة الْقَاحِلَةِ، لَكِنَّهُ لَمْ يَحُزْ مِنَ الْحَقِيقَةِ إِلَّا بَلَلاً أَصَابَ مَلابسه، عِنْدَ عَيْنِ الْحَيَاةِ
وَوَجَدَ النَبي مُوسَى، يَدَهُ خَالِيَةً مِنْ كَأْسِ الرُّؤْيَةِ الْمُبَاشِرَةِ (لله)؛ فَتَحَطَّمَتْ زُجَاجَةُ بَصَرِهِ (غُشِيَ عَلَيْهِ) عِنْدَ سَفْحِ الْجَبَلِ (جبل طور) حِينَ قَالَ: أَرِنِي أَنْظُرْ إِلَيْكَ
وَلَمْ يَنْعَقِدْ عَزْمُ الْمَسِيحِ عَلَى حُطَامِ الدُّنْيَا، لَكِنَّهُ ظَلَّ فِي هَذِهِ الدَّارِ بِمَثَابَةِ الضَّيْفِ الْمُتَّهَمِ (مُتَجَرِّداً عَنِ السُّكْنَى فِيهَا)، بَيْنَمَا أَنْتَ (يا مُحمد) ﷺ صَاحِبُ الدَّارِ وَالْمَلَكُوتِ
فِي هَذَا الْجُزْءِ الثَّالِثِ (الْأَبْيَاتُ ٢١-٣٠)، يَنْتَقِلُ الشاعر إِلَى بَيَانِ “السِّيَادَةِ الْكَوْنِيَّةِ” لِلنَّبِيِّ ﷺ؛ حَيْثُ يُصَوِّرُهُ كَالْمُهَنْدِسِ الَّذِي وَضَعَ طَرْحَ الْأَفْلَاكِ، وَالْفَارِسِ الَّذِي يَتَحَكَّمُ فِي مَيْدَانِ الْوُجُودِ بِصَوْلَجَانِهِ، مُؤَكِّداً أَنَّ الزَّمَانَ وَالْمَكَانَ وَحَتَّى “الْعَدَمَ” خَاضِعُونَ لِجَلَالِهِ
وأَنْتَ الَّذِي وَضَعْتَ تَصْمِيمَ الْأَفْلَاكِ، وَبَسَطْتَ ظِلَّ وُجُودِكَ الْمُبَارَكَ عَلَى هَذَا الْكَوْنِ لِيَحْيَا بِكَ
وقَدْ خُتِمَتْ رِسَالَةُ الْوُجُودِ بِاسْمِكَ الشَّرِيفِ، وَأنْتَهَتْ خُطْبَةُ النُّبُوَّةِ الْعُظْمَى فِي زَمَانِكَ، لِتَكُونَ أَنْتَ الْخَاتَمَ الْمُصَدِّقَ لهذا الكونِ
فأنْهَضْ وَأَسِّسْ لَنَا مَدَاراً لِلْمَعْنَى، أَسْمَى مِنْ مَدَارَاتِ الْأَفْلَاكِ هذهِ؛ فَالْفَلَكُ لَا يَمْلِكُ القُدرة على إداء مَهَامَّكَ، فَقُمْ بِدَوْرِكَ فِي قِيَادَةِ الْأَرْوَاحِ
وأَمَا دَائِرَةُ الْفَلَكِ، فَمَا هِيَ إِلَّا حُدُودُ مَيْدَانِكَ، وَكُرَةُ الْأَرْضِ، لَيْسَتْ إِلَّا تَابِعَةً لإنْحِنَاءِ صَوْلَجَانِكَ
قَبْلَ أَنْ يَتَصَاعَدَ غُبَارُ الْفَنَاءِ مِنَ الْعَدَمِ، تَحرك بِسرعة ودون تَِوقف، فالميدان (أو المشَهد، أو الفُرصة) مِلكَكَ
مَنْ هُوَ الْفَنَاءُ حَتَّى يَمَسَّ كَأْسَ ماء خُلُودِكَ؟ أَوْ مَنْ هُوَ هَذَا الْعَدَمُ الذَّلِيلُ حَتَّى يَجْرُؤَ عَلَى مَحْوِ ذِكْرِكَ الْأَبَدِيِّ؟
فشَرِّدْ قَدَمَ الْعَدَمِ فِي مَتَاهَاتِ الْعَدَمِ نَفْسِهِ، وَمَزِّقْ يَدَ الْفَنَاءِ بالفناء نَفسهِ، وليبقى سُلْطَانِ بَقَائِكَ الَّذِي لَا يَبِيدُ
فيَا مَنْ أَنْفَاسُكَ هِيَ الَّتِي تَنْطِقُ بِهَا أَلْسِنَةُ الْبُكْمِ، وَكَلَامُكَ هُوَ الْبَلْسَمُ لِلْأَرْوَاحِ الَّتِي أَعْيَاهَا الشَوْقُ وَكَمَدُ الْقُلُوبِ
وإِنَّ الْعَقْلَ، لَمْ يَجِدْ نَجَاةً لهُ مِنْ بَحْرِ الدِّمَاءِ (بَلَاءِ الدُّنْيَا)، إِلَّا بِسَفِينَةِ شَرِيعَتِكَ فأنتَ المُنجي له، و أَوْصَلَت سَفِينَةَ الرُّوحِ إِلَى شَاطِئِ الأمانِ، فِبكَ تَحيا الرُوح
وقِبْلَةُ الْأَفْلَاكِ التِّسْعَةِ تُفْتَحُ فِي حَيِّكَ الشَّرِيفِ، وَتِلْكَ الْأَزْهَارُ العَطرةَ، الَّتِي خُلِقَتْ فِي سِتَّةِ أَيَّامٍ، لَيْسَتْ إِلَّا ذَرَّةً عَالِقَةً فِي خصلاتِ شَعْرِكَ
فِي هَذِهِ الْأَبْيَاتِ الْأَخِيرَةِ (٣١-٤١)، يَنْتَقِلُ الشاعر مِنَ الْوَصْفِ الْكَوْنِيِّ لِلنُّبُوَّةِ إِلَى مَقَامِ “الْعُبُودِيَّةِ الصِّرْفَةِ” وَالتَّذَلُّلِ عَلَى أَعْتَابِ الْمُصْطَفَى ﷺ، حَيْثُ يَجْعَلُ مِنْ تُرَابِ أَعْتَابِهِ كُحْلاً لِعَيْنَيْهِ وَتِرْيَاقاً لِرُوحِهِ
وإِنَّ نِظَامَ هَذَا الْكَوْنِ سَيَضْطَرِبُ وَيَتَشَابَكُ كَشَعْرِكَ الْمُرْسَلِ، فيما لَوْ فُقِدَتْ شَعْرَةٌ وَاحِدَةٌ مِنْ جَمَالِ وُجُودِكَ؛ فَأَنْتَ ضَابِطُ عَقْدِ الْعَالَمِ
فأَنْتَ الَّذِي تَقْرَأُ الظَّاهِرَ، دُونَ حَاجَةٍ لِقَلَمٍ (العِلم المَادي)، وَتَعْلَمُ سِرَّ الْبَاطِنِ (الْعقل) دُونَ حَاجَةٍ لِكَلَامٍ؛ فَعِلْمُكَ لَدُنِّيٌّ من ألله، مُطْلَقٌ
وقَدْ وَضَعَتْ قُدْرَتُكَ بَصْمَتَهَا عَلَى أساس الْكَلِمَةِ؛ لِكَي لَا يَمَسَّ كَلَامَكَ تَحْرِيفُ الْبَشَرِ أَوْ تَنَالَهُ أَصَابِعُ النَّقْصِ
فكُلُّ أَقْوَالِ الْخَلَائِقِ يُمكنُ فَهمها بيسرٍ، أَمَّا كَلَامُكَ فَهُوَ سِرٌّ مَمْنُوعٌ (مَحجوب)، يُعْجِزُ كُلَّ مَنْ حَاوَلَ بَنَانُهُ أَنْ يَصِلَ إِلَى كُنْهِهِ
وإسْتَحَالَ غُبَارُ عَتَبَتِكَ إِلَى حَلْوَى يملئها السُكر، وَصَارَ مَنْطِقُكَ الْعَذْبُ (شَكَر) أَطْيَبَ مِنَ الْفِسْتُقِ وَالْعُنَّابِ
وإِنَّ حَفْنَةً وَاحِدَةً مِنْ زَادِكَ (حَلوى مَملوءة بالسُكر)، فِي قَفَارِ الْعِشْقِ، تَكْفِي السَّالِكَ لِخَلْوَةِ الْأَرْبَعِينَ (الْأَرْبَعِينِيَّةِ) لِيَقْضِيَهَا فِي مُشَاهَدَةِ جَمَالِ الْحَقِّ
فأَنْتَ لِي (الشاعر نظامي) فَجْرُ الْخَلَاصِ الْأَنْضَرُ، وَأَنَا تُرَابٌ ذَلِيلٌ بَيْنَ يَدَيْكَ لِأَنَّكَ أَنْتَ مَاءُ الْحَيَاةِ، الَّذِي يَهَبُنِي الْبَقَاءَ
وتُرَابُكَ هُوَ في الْحَقِيقَةِ، رُِوضة رُوحِي، وَرَوْضَتُكَ الشَّرِيفَةُ هِيَ كُلُّ روحي وَعَالَمِي الَّذِي أَلُوذُ بِهِ
وسَأَكْحَلُ عَيْنَيْ (الشاعر نِظَامِي) بِتُرَابِ عْتَبِتكَ، وَسَأَحْمِلُ غِطَاءَ سَرْجِكَ (الْغَاشِيَةَ) عَلَى كَتِفِي إفْتِخَاراً بِمَقَامِ الْعُبُودِيَّةِ لَكَ
وعَلَى عَتَبَةِ تِلْكَ الرَّوْضَةِ، التي هِي كَالرُّوحِ الطَّاهِرَةِ، سَأَكُونُ تَارَةً كَالرِّيحِ فِي شَوْقِي وَسَعْيِي إليها، وَتَارَةً كَالتُّرَابِ فِي سُكُونِي وَتَوَاضُعِي من أجلها
ومتى ما تَعَطَّرَ كِبَارُ الْعَارِفِينَ بِعِطْرِكَ الأطَهرَ، ولكن تُرابي (جَسَدِي وَشِعْرِي) إسْتَحَالَ بِفَضْلِكَ، طِيباً يُوضَعُ عَلَى رُؤُوسِ الْأَشْرَافِ
المعاني الصوفية والعرفانية وملاحظات حول أبيات الشاعر
يَمْدَحُ الشاعر النَّبِيَّ ﷺ بِإعْتِبَارِهِ رَئِيسَ دِيوَانِ الْأَنْبِيَاءِ، حيث يَسْتَخْدِمُ صُورَةَ “الْبَيْتِ” وَ”الْقَافِيَةِ” لِيُوَضِّحَ أَنَّ النَّبِيَّ هُوَ خِتَامُ الرِّسَالَاتِ
كَمَا يَتَنَاوَلُ قِصَّةَ آدَمَ بِأُسْلُوبٍ رَمْزِيٍّ، جَاعِلاً مِنَ النَّبِيِّ ﷺ “التِّرْيَاقَ” الَّذِي حَوَّلَ مَرَارَةَ الْخَطِيئَةِ إِلَى حَلَاوَةِ التَّوْبَةِ
يَرْتَكِزُ الشاعر عَلَى مَفْهُومِ “الْحَقِيقَةِ الْمُحَمَّدِيَّةِ”؛ فَهُوَ يَرَى أَنَّ النَّبِيَّ ﷺ كَانَ نَبِيّاً “وَآدَمُ بَيْنَ الْمَاءِ وَالطِّينِ”، وقَوْلُهُ “خِشْتِ پَسِين دَاىِ نُخُسْتِين” هُوَ تَعْبِيرٌ عِرْفَانِيٌّ دَقِيقٌ عَنْ أَنَّ الْآخِرَ فِي الْخَلْقِ هُوَ الْأَوَّلُ فِي الْفِكْرِ (عِلْمِ اللهِ)، و أَمَّا صُورَةُ “گُلْشَكَر”، فَهِيَ تُمَثِّلُ “كِيمِيَاءَ الرُّوحِ”؛ حَيْثُ يُحَوِّلُ النُّورُ النَّبَوِيُّ “الْبَلَاءَ” إِلَى “عَطَاءٍ”
سِرُّ “الْعُقْدَةِ” (گرِه): فِي الْعِرْفَانِ، الْعُقْدَةُ هِيَ الَّتِي تَمْسِكُ طَرَفَيِ الْخَيْطِ؛ وَالنَّبِيُّ ﷺ هُوَ الَّذِي يَرْبِطُ بَيْنَ “آدَمَ” (الْبِدَايَةِ) وَ”الْقِيَامَةِ” (النِّهَايَةِ)
مَقَامُ “الْقَبُولِ”: “گوىِ قَبُولِى” تُشِيرُ إِلَى أَنَّ الْإِنْسَانَ مَهْمَا اجْتَهَدَ، فَإِنَّ قَبُولَهُ مَرْهُونٌ بِـ “عِنَايَةٍ” سَابِقَةٍ وُضِعَتْ فِي قَلْبِهِ مُنْذُ الْأَزَلِ
تَوْبَةُ التَّوْبَةِ: حِينَمَا يَقُولُ “گُلْشِكَر أَز گُلْشِكَرِى تَوْبِه كَرْد”، يُشِيرُ إِلَى مَقَامِ الْفَنَاءِ؛ حَيْثُ يَغِيبُ الْعَارِفُ عَنْ “لَذَّةِ الطَّاعَةِ” لِيَسْتَغْرِقَ فِي “مُوجِدِ الطَّاعَةِ”
يَعْنِي هَذَا الْمَقْطَعُ أَنَّ النَّبِيَّ ﷺ هُوَ “الْمِحْوَرُ الَّذِي يَدُورُ حَوْلَهُ الزَّمَانُ”؛ فَمَا خُرُوجُ آدَمَ مِنَ الْجَنَّةِ إِلَّا تَمْهِيدٌ لِظُهُورِ “سَيِّدِ الْبَشَرِ” لِيُعِيدَ بِنَاءَ هَذَا “دِّهِ وِيرَان/القرية المُدمرة/الدنيا”، والشاعر يَدْعُو الْقَارِئَ لِفَهْمِ أَنَّ كُلَّ حَلَاوَةٍ فِي الْعَالَمِ هِيَ مَحْضُ “تَوْبَةٍ” أَمَامَ حَلَاوَةِ الْحَقِيقَةِ الْمُحَمَّدِيَّةِ
ويَسْتَعْرِضُ الشاعر سِيَرَ الْأَنْبِيَاءِ السَّابِقِينَ (آدَم، نُوح، إِبْرَاهِيم، دَاوُد، سُلَيْمَان، يُوسُف، الْخِضْر، مُوسَى، عِيسَى) لِيُظْهِرَ أَنَّ كُلَّ وَاحِدٍ مِنْهُمْ وَاجَهَ عَقَبَةً أَوْ مَقَاماً لَمْ يَتَجَاوَزْهُ، فَمِنْهُمْ مَنْ تَعَثَّرَ، وَمِنْهُمْ مَنْ حُرِمَ الرُّؤْيَةَ، وَمِنْهُمْ مَنْ كَانَ مُلْكُهُ مَادِّيّاً، و كُلُّ هَذَا لِيُمَهِّدَ لِلْبَيْتِ الْقَادِمِ، بِأَنَّ النَّبِيَّ ﷺ هُوَ الْوَحِيدُ الَّذِي سَاقَ “الْكُرَةَ” (گوی) إِلَى مَرْمَى الْعَرْشِ بِلَا عَقَبَاتٍ
يَبْنِي الشاعر نَظَرِيَّةَ “تَفَاضُلِ التَّجَلِّي”؛ فَالْأَنْبِيَاءُ هُمْ مَرَاحِلُ لِتَطَوُّرِ الرُّوحِ الْإِنْسَانِيَّةِ. “أَرِنِی شِكَسْت” لِمُوسَى تَعْنِي أَنَّ عَقْلَ الْكَلِيمِ لَمْ يَحْتَمِلْ نُورَ الذَّاتِ، بَيْنَمَا النَّبِيُّ ﷺ رَأَى اللهَ بِـ “عَيْنِ الرَّأْسِ” كَمَا يُؤَكِّدُ الشاعر نِظَامِي فِي مَذْهَبِهِ الْأَشْعَرِيِّ، و أَمَّا عِيسَى (مَسِيحَا) فَقَدْ تَرَكَ الدُّنْيَا “تِهْمَتِى خَانِه” (أَيْ كَالْغَرِيبِ الَّذِي لَا يَثِقُ فِي الدَّارِ)، فِيمَا كَانَ مُحَمَّد ﷺ هُوَ الَّذِي حَوَّلَ هَذِهِ الدَّارَ (دِّه وِيرَان) إِلَى “عِمَارَةٍ” رُوحِيَّةٍ
كِيمِيَاءُ الرُّوحِ (نُوح و مُوسَى): يُقَارِنُ الشاعر بَيْنَ “طُوفَانِ” نُوحٍ الَّذِي أَغْرَقَ الْعَالَمَ، وَبَيْنَ “نُورِ” النَّبِيِّ ﷺ الَّذِي أَحْيَا الْعَالَمَ
مَقَامُ “أَرِنِى”: فِي الْعِرْفَانِ، يُمَثِّلُ مُوسَى مَقَامَ “الْمُطَالَبَةِ” (أَرِنِي)، بَيْنَمَا يُمَثِّلُ النَّبِيُّ ﷺ مَقَامَ “الإصْطِفَاءِ”؛ حَيْثُ نَادَاهُ الْحَقُّ لِيَرَى بَعْدَ أَنْ طَهَّرَ بَصَرَهُ
الْخِضْرُ وَالْبَلَلُ: يُشِيرُ الشاعر إِلَى أَنَّ الْخِضْرَ الَّذِي يَحْيَى لِلْأَبَدِ بِمَاءِ الْحَيَاةِ، لَمْ يَنَلْ مِنْ حَقِيقَةِ الْبَقَاءِ بِاللهِ إِلَّا قَدْرَ مَا يَبُلُّ “دَامَنَهُ،طرف ثوبه”، بَيْنَمَا النَّبِيُّ ﷺ غَرِقَ فِي بَحْرِ الْوَصْلِ
يَعْنِي الشاعر بِهَذِهِ الْأَبْيَاتِ أَنَّ كُلَّ الرُّسُلِ كَانُوا “لَاعِبِينَ فِي مَيْدَانِ السَّعْيِ”، لَكِنَّ كُلّاً مِنْهُمْ تَوَقَّفَ عِنْدَ حَدٍّ مُعَيَّنٍ بِسَبَبِ “هَوًى” (آدَم) أَوْ “عَجْزٍ” (مُوسَى) أَوْ “ظَمَأٍ” (نُوح)، ولكن يدعو الشاعر، الْقَارِئَ،لِإِدْرَاكِ أَنَّ النَّبِيَّ ﷺ هُوَ الْوَحِيدُ الَّذِي لَمْ يَنْحَنِ لِـ”دَانَه/أكل ثمار الجنة” وَلَمْ يُشْغَلْ بـ”رَسَنٍ/التعلق بالمادة، الدنيا”، بَلْ مَضَى نَحْوَ “الْمُطْلَقِ” بِقَلْبٍ ثَابِتٍ
يُصَوِّرُ الشاعر النَّبِيَّ ﷺ كَمِحْوَرٍ تَدُورُ حَوْلَهُ السَّمَاوَاتُ، و يَسْتَخْدِمُ لُغَةً “فُرُوسِيَّةً” (مَيْدَان، چَوْگان، تَاز من المصدر تاختن) لِيُوضِحَ أَنَّ حَقِيقَةَ النُّبُوَّةِ هِيَ الْقُوَّةُ الْمُحَرِّكَةُ لِلْكَوْنِ، كَمَا يُؤَكِّدُ أَنَّ شَرِيعَةَ النَّبِيِّ هِيَ السَّبِيلُ الْوَحِيدُ لِلْعَقْلِ لِيَنْجُوَ مِنْ صِرَاعَاتِ الْمَادَّةِ (دَرْيَاى خُون)
ويَبْنِي الشاعر مَفْهُومَ “الْبَقَاءِ بَعْدَ الْفَنَاءِ”؛ فَحِينَمَا يَقُولُ “دَسْتِ فَنَا رَا بِه فَنَا پَارِه كُن”، فَهُوَ يُشِيرُ إِلَى أَنَّ النُّورَ الْمُحَمَّدِيَّ قَدْ أَفْنَى “الْفَنَاءَ” نَفْسَهُ، أَيْ تَجَاوَزَ الْمَوْتَ إِلَى الْحَيَاةِ الْأَبَدِيَّةِ
صُورَةُ “عَبْهَر شِش رُوزِه” (نَرْجِسُ الْأَيَّامِ السِّتَّةِ) هِيَ إِشَارَةٌ إِلَى خَلْقِ السَّمَاوَاتِ وَالْأَرْضِ فِي سِتَّةِ أَيَّامٍ؛ حَيْثُ يَجْعَلُ الشاعر هَذَا الْخَلْقَ كُلَّهُ مُجَرَّدَ “زِينَةٍ” فِي شَعْرِ النَّبِيِّ، مِمَّا يَعْنِي أَنَّ الْكَوْنَ طُفَيْلِيٌّ عَلَى جَمَالِهِ ﷺ
تَقْدِيسُ “النَّفَسِ”: “أَيْ نَفَسَت نُطْقِ زَبَان بَسْتِگان”؛ فِي الْعِرْفَانِ، نَفَسُ النَّبِيِّ هُوَ “النَّفَسُ الرَّحْمَانِيُّ” الَّذِي يُعْطِي لِلْأَشْيَاءِ هُوِيَّتَهَا وَيَجْعَلُ الْمَعْنَى مُمْكِناً
سَفِينَةُ الشَّرْعِ: يَرَى نِظَامِي أَنَّ الْعَقْلَ بِمُفْرَدِهِ يَغْرَقُ فِي “بَحْرِ الدَّمِ” (الْحَيْرَةِ وَالشَّهَوَاتِ)، وَلَا سَاحِلَ لَهُ إِلَّا “الْبَاطِنُ” (سَاحِل دَرُون) الَّذِي تُوصِلُ إِلَيْهِ “شَرِيعَةُ الْمُصْطَفَى”
سِرُّ الْقِبْلَةِ: جَعْلُ “كُوی” (حَيِّ) النَّبِيِّ قِبْلَةً لِلْأَفْلَاكِ التِّسْعَةِ يَعْنِي أَنَّ السُّجُودَ الْكَوْنِيَّ يَتَّجِهُ نَحْوَ مَنْبَعِ “النُّورِ الْأَوَّلِ”
ويَعْنِي أَنَّ النَّبِيَّ ﷺ هُوَ “الْحَاكِمُ الْمُطْلَقُ عَلَى نَوَامِيسِ الطَّبِيعَةِ”، والشاعر يَدْعُو لِأَنْ نرَى “الْعَدَمَ” وَ”الْفَنَاءَ” كَأَعْدَاءٍ مَهْزُومِينَ أَمَامَ بَقَاءِ النُّبُوَّةِ، و الْعِبْرَةُ النِّهَائِيَّةُ هِيَ أَنَّ كُلَّ جَمَالٍ فِي السَّمَاوَاتِ (عَبْهَر) لَيْسَ إِلَّا صَدًى لِجَمَالِ رُوحِهِ ﷺ
ويَخْتِمُ الشاعر نَعْتَهُ بِتَحْوِيلِ كُلِّ صِفَاتِ النَّبِيِّ ﷺ إِلَى نُورٍ يُطَهِّرُ نَفْسَ الشَّاعِرِ، وهُوَ يَرَى أَنَّ النَّبِيَّ ﷺ “أُمِّيٌّ” بِمَعْنَى أَنَّهُ يَقْرَأُ الْبَاطِنَ بِلَا وَسِيطٍ، و ثُمَّ يَنْتَهِي بِمَشْهَدٍ عَاطِفِيٍّ يَطْلُبُ فِيهِ أَنْ يَكُونَ خَادِماً (غُلَاماً) يَحْمِلُ “الْغَاشِيَةَ”، لِلنَّبِيِّ، مُعْتَبِراً هَذَا الذُّلَّ هُوَ قِمَّةُ الْعِزِّ بالنسبة له
يُؤَسِّسُ نِظَامِي لِمَفْهُومِ “الْكِيمِيَاءِ النَّبَوِيَّةِ”؛ حَيْثُ يَتَحَوَّلُ الْغُبَارُ إِلَى “سُكَّرٍ” وَالتُّرَابُ إِلَى “عِطْرٍ”، قَوْلُهُ “بَرْگِ چِهِل رُوزِه” يُشِيرُ إِلَى أَنَّ تَعَالِيمَ النَّبِيِّ هِيَ الْقُوتُ الْحَقِيقِيُّ لِلرُّوحِ فِي سَفَرِهَا إِلَى اللهِ، وَهِيَ زَادُ “الْأَرْبَعِينِيَّةِ” الصُّوفِيَّةِ الَّتِي يَنْكَشِفُ فِيهَا الْغَيْبُ، و الشَّاعِرُ هُنَا “يَفْنَى” فِي الْمَمْدُوحِ، حَتَّى يَصِيرَ تُرَابُهُ الشَّخْصِيُّ جُزْءاً مِنْ “غَالِيَةِ” (عِطْرِ) النُّبُوَّةِ
الْعِلْمُ اللَّدُنِّيُّ: “بِى قَلَم أَز پُوست خُوَان”؛ هِيَ إِشَارَةٌ إِلَى مَقَامِ الْوِرَاثَةِ الْمُحَمَّدِيَّةِ حَيْثُ يَنْكَشِفُ مَلَكُوتُ الْأَشْيَاءِ لِلْقَلْبِ الْمُصَفَّى دُونَ حَاجَةٍ لِأَدَوَاتِ التَّعَلُّمِ الْبَشَرِيَّةِ
مَقَامُ “خَاكِى” (التَّرَابِيَّة): نِظَامِي يُؤَكِّدُ أَنَّ عِزَّةَ الْإِنْسَانِ فِي “تُرَابِيَّتِهِ” أَمَامَ نُورِ النَّبِيِّ؛ فَالرِّيحُ (الْحَرَكَةُ) وَ خَاک (السُّكُونُ) كِلَاهُمَا سَبِيلٌ لِلْقُرْبِ مِنَ “الرَّوْضَةِ”
سِرُّ “الْغَالِيَة”: يَرَى نِظَامِي أَنَّ ذِكْرَ النَّبِيِّ ﷺ يُحَوِّلُ “الْعَدَمَ” إِلَى “وُجُودٍ مُعَطَّرٍ”، وَأَنَّ مَنْ دَاهَنَ قَلْبَهُ بِهَذَا الْحُبِّ، صَارَ قَوْلُهُ “غَالِيَةً/عطر” لِلزَّمَانِ
كلماتٌ لِلتَّعَلُّمِ
نُو زَخْمِه: حَدِيثُ الْجُرْحِ / مَنْ أُصِيبَ لِلتَّوِّ
چَوْگان: لُعْبَةُ الصَّوْلَجَانِ (رَمْزُ السَّعْيِ الرُّوحِيِّ)
بَارِگى: النَّاقَةُ أَوْ فَرَسُ الرُّكُوبِ
خُوشِه: سُنْبُلَة (إِشَارَةٌ لِسُنْبُلَةِ آدَمَ)
حَيَوَان: مَاءُ الْحَيَاةِ (أَوْ عَالَمُ الْحَيَاةِ الْأَبَدِيَّةِ)
تِهْمَتِى: الضَّيْفُ الثَّقِيلُ أَوْ الشَّخْصُ الْمُشْتَبَهُ بِهِ (كِنَايَةٌ عَنِ الزُّهْدِ)
مُرْسَلِه: الْقِلَادَةُ أَوْ الْعِقْدُ (رَمْزُ سِلْسِلَةِ الْأَنْبِيَاءِ)
هَيْضِهدَار: الْمُصَابُ بِتُخَمَةٍ أَوْ عُسْرِ هَضْمٍ (كِنَايَةٌ عَنْ أَكْلِ آدَمَ مِنَ الشَّجَرَةِ)
گُلشِكَر: مَخلوط مِنَ الْوَرْدِ وَالسُّكَّرِ (دَوَاءٌ لَطِيفٌ لِلْمَعِدَةِ وَالرُّوحِ)
نُوآيِين: الْحَدِيثُ الطِّرَازِ / الْمُبْتَكَرُ
طُفَيْل: التَّابِعُ الَّذِي يَعِيشُ عَلَى مَائِدَةِ غَيْرِهِ (مِنْ قِصَّةِ طُفَيْلِ الْأَعْرَاسِ)
فَلَك طَرْح: مُهَنْدِسُ الْأَفْلَاكِ / وَاضِعُ التَّصْمِيمِ الْكَوْنِيِّ
مَيْدَان: سَاحَةُ الرَّكْضِ أَوْ الْقِتَالِ
چَوْگان: مِضْرَبُ الْكُرَةِ فِي لُعْبَةِ الصَّوْلَجَانِ
سِفْلِه: الْخَسِيسُ أَوِ الذَّلِيلُ.
عَبْهَر: نَوْعٌ مِنَ الْيَاسَمِينِ أَوِ النَّرْجِسِ
زَبَان بَسْتِگان: الْبُكْمُ أَوْ مَنْ عَقَدَ الْخَوْفُ وَالْهَيْبَةُ لِسَانَهُ
پِيسْت: نَوْعٌ مِنَ الدَّقِيقِ الْمَحْمُوصِ الْمَمْزُوجِ بِالسُّكَّرِ (زَادُ الْمُسَافِرِ)
أَنْگشْت سَاى: مَا تَمَسُّهُ الْأَصَابِعُ (كِنَايَةٌ عَنِ التَّلَاشِي أَوِ التَّحْرِيفِ)
بَرْگ: الزَّادُ أَوِ الْمَتَاعُ (ورقة)
غَاشِيِه: غِطَاءُ السَّرْجِ (كَانَ يَحْمِلُهُ الْغِلْمَانُ خَلْفَ الْمُلُوكِ)
غَالِيِه: مِسْكٌ مَمْزُوجٌ بِالْعَنْبَرِ (عِطْرٌ ثَمِينٌ جِدّاً)
Persian Text
ای گهرِ تاجِ فرستادگان
تاجدهِ گوهر ِ آزادگان
هر چه ز بیگانه و خیل تواند
جمله در این خانه طفیل تواند
اول بیت ار چه به نام تو بست
نام تو چون قافیه آخر نشست
این ده ویران چو اشارت رسید
از تو و آدم به عمارت رسید
آنچه بدو خانه نو آیین بوَد
خشت پسین دای نخستین بود
آدم و نوحی نه به از هر دوی
مرسلهٔ یکگره از هر دوی
آدم از آن دانه که شد هیضهدار
توبه شدش گلشکرِ خوشگوار
توبهٔ دل در چمنش بوی توست
گلشکرش خاک سر کوی توست
دل ز تو چون گلشکر توبه خوَرد
گلشکر از گلشکری توبه کرد
گوی قبولی ز ازل ساختند
در صف میدان دل انداختند
آدم ِ نوزخمه درآمد به پیش
تا برَد آن گوی به چوگان خویش
بارگیاش چون عقبِ خوشه رفت
گوی فرو ماند و فرا گوشه رفت
نوح که لبتشنه به حیوان رسید
چشمه غلط کرد و به طوفان رسید
مهد براهیم چو رای اوفتاد
نیم ره آمد دو سه جای اوفتاد
چون دل داود نفس تنگ داشت
در خورِ این زیر، بم آهنگ داشت
داشت سلیمان ادب خود نگاه
مملکت آلوده نَجُست این کلاه
یوسف از آن چاه عیانی ندید
جز رسن و دلو نشانی ندید
خضر عنان زین سفر خشک تافت
دامن خود تر شدهٔ چشمه یافت
موسی از این جام تهی دید دست
شیشه به کُهپایه «ارنی» شکست
عزم مسیحا نه به این دانه بود
کاو ز درون تهمتیِ خانه بود
هم تو «فلک طرح» درانداختی
سایه بر این کار برانداختی
مهر شد این نامه به عنوان تو
ختم شد این خطبه به دوران تو
خیز و به از چرخ مداری بکن
او نکند کار تو کاری بکن
خط فلک خطه میدان توست
گوی زمین در خم چوگان توست
تا ز عدم گرد فنا برنخاست
میتک و میتاز که میدان تراست
کیست فنا کهآب ز جامت برد؟
یا عدم سفله که نامت برد؟
پای عدم در عدم آواره کن
دستِ فنا را به فنا پاره کن
ای نفست نطقِ زبانبستگان
مرهم سودای جگر خستگان
عقل به شرع تو ز دریای خون
کشتی جان برد به ساحل درون
قبلهٔ نُه چرخ به کویت در است
عبهر شش روزه به مویت در است
ملک چو مویت همه درهم شود
گر سر مویی ز سرت کم شود
بی قلم از پوست برون خوان تویی
بی سخن از مغز درون دان تویی
زآن بزد انگشت تو بر حرف پای
تا نشود حرف تو انگشت سای
حرف همه خلق شد انگشت رس
حرف تویی زحمت انگشت کس
پِست شکر گشت غبار درت
پسته و عناب شده شکرت
یک کف پِست تو به صحرای عشق
برگ چهل روزه تماشای عشق
تازهترین صبح نجاتی مرا
خاک توام کآب حیاتی مرا
خاک تو خود روضهٔ جان من است
روضهٔ تو جان و جهان من است
خاک تو در چشم نظامی کشم
غاشیه بر دوش غلامی کشم
بر سر آن روضهٔ چون جان پاک
خیزم چون باد و نشینم چو خاک
تا چو سران غالیهٔ تر کنند
خاک مرا غالیهٔ سر کنند
