In these verses, the poet praising Sultan Fakhr al-Din Bahramshah ibn Dawud (ruler of Arzanjan), but he does not praise like the rest of the poets; He begins by describing his spiritual state and mystical seclusion before praising the Sultan, using this praise as an entry point to the “story of the heart” and self-knowledge.
English Translation
I, who am imprisoned in the confines of this restrictive age, have become a prisoner in this city (Ganja), like a knot at the center of a point that never moves from its place.
And I have no way to free my feet from their shackles; for I am, but a shadow stretched out upon the earth, yet I possess neither the flight nor the majesty of the sacred bird (Huma) of the sky.
As my feet sank into the dust of this threshold in humility, my hand became firmly grasped by the loop of the saddle of the highest heaven; For I am flesh in the dust and spirit in heaven.
I have humbled myself until I have placed my head beneath my feet, and I have made my journey from my knees. Where I sat in the posture of mystical contemplation (with my head resting on my knees)
From the abundance of light that illuminated my face in my solitude, my knees became a mirror of the heart, reflecting the secrets of the unseen.
And when I became absorbed in gazing at this inner mirror, I set aside the mirror of the outward eye (the eye in the head); To see only with the insight of the heart.
So I wondered: From what mirror will the ray of inspiration come to me, and from what spiritual fire will the water of life spring forth for me?
And when the mind’s gaze, with its penetrating insight, was set forth, it swiftly circled the world in search of refuge and praiseworthy one.
Then the mind—with its inherent resolve—beheld the one who bestows the highest ranks, the source of generosity and the benefactor.
He is the fortunate, auspicious, and powerful King, the one with the victorious grasp, and he is the tree of the rose in this cosmic garden, colored with the hue of turquoise,
He is Al-khadir (prophet) of the age, with the qualities of Alexander, insightful into the source of the water of life; He is the pole who directs the observations of wisdom and deciphers the symbols of the book of astronomy (Ptolemy’s book on astronomy).
Who was first in God’s knowledge as the ultimate goal of existence, and upon whom the verses of divine purpose were revealed and settled.
He is the king whose crown is of the celestial spheres and whose seal is like the seal of Solomon, the pride of the worlds, King Fakhr al-Din
His Davidic lineage (attributed to his father David) is authentic and established, and it befits his exalted position to be described as Solomon, due to the greatness of his dominion.
In the following passage, the poet elevates his patron to the ranks of cosmic greatness, employing the symbols of the “nine celestial spheres” and the “six directions,” and he establishes by comparing Bahram of his time with the historical King Bahram Gur, to prove that his patron is the true “pole” of the age.
And through him, the banner of Isaac was raised high, and any adversary who stands before him is nothing more than an Ishmaelite.
The King Bahramshah is the possessor of the unified heart that governs the six directions and the seven levels, and he is the central point of the nine spheres.
He is that king, who, due to his immense power (Bahrami, meaning strength and courage), left nothing for King Bahram Gore (the legendary Sasanian king), whose fate was the grave, but he conquered both, in life (by force) and in death (in the mention of his name after him).
This king is the pride of kings by virtue of his superior power, and the most famous name among the people of his time, due to his wisdom and knowledge.
Who made the world dominion subservient to him, he was the king of the Armenians and the sultan of the Romans, without exception and any contender.
He is the holder of the throne of the Sultanate and the seat of the Caliphate; the conqueror of the lands of the Romans and the subduer of the lands of the Abkhaz
The most knowledgeable and just among all creation, and the most generous and benevolent among the generous people
Religion is to him like the heavens, and his state is the shining star within them; And the kingdom is but a shell, while the true jewel is the dust of its threshold.
For he combined the purity of the spring with the vastness of the sea, a still, tranquil spring, and a sea brimming with pearls.
Before his generous hand, this spring appears like the eye of mercury (the way mercury moves when it flows), fleeing in shame, unable to withstand the torrent of his bounty.
And the pure pearl in his belt smiles, mocking the sun’s belt, which possesses no light like his.
The blue (azure) sky wished to fight the king and seize power, but the king was so powerful that he wrestled with the heavens and taught them a lesson, thus triumphing over fate (the cycle of the celestial sphere, the revolving sphere).
And the sound of his procession’s bell shattered the silence of the drums of the heavens (after his victory over the sky), and the breath of his majesty shattered the glass of the moon in awe.
The beginning of his reign is more beautiful than joy and happiness itself, and the conclusion of his deeds is nobler than what human chivalry can describe.
May the cup of generosity, which his hand (the king’s hand) turns, endure, for what remains of man after his demise is nothing but the memory of his generosity.
Sufi and mystical meanings and commentary on the verses
The poet begins by portraying himself as a reclusive poet in his city, bound by the constraints of time, but his thoughts roam the horizons in search of King Fakhr al-Din Bahramshah. He praises him for combining the power of Alexander and the knowledge of Al-Khidr, and the majesty of Solomon and the lineage of David.
Here the poet establishes the station of “gnostic seclusion”; His saying, “Ayinah Dil Sar Zanuwi Man,” refers to the station of “observation,” where the gnostic places his head on his knee to look into his heart. He sees that truth is not attained by outward sight, but by casting aside the “mirror of the mind” and being illuminated by the light of insight. For him, the king is the “perfect human being” who knows the “observation of souls,” as he knows the observations of the stars.
The Secret of the Point (Gareh Nuqteh): The poet sees himself as the point that is the origin of the circle, but is imprisoned within it. This is an expression of “the soul being imprisoned in the body.”
The Alchemy of Sight: The transformation from “Aineh Dideh” (the eye) to “Aineh Del” (the heart) is the ascent of the gnostic to reach… “Khudshnasi” (Self-Knowledge)
The Station of “Majesti Goshai”: The poet does not mean only the physical celestial sphere, but rather that the true king is the one who “unlocks” the secrets of the universe with his divinely inspired knowledge.
Both the poet and the praised one (the sultan) are on a journey in search of “treasure,” for the poet is imprisoned in the “circle of time.” He finds in King Bahramshah “al-Khidr” who guides him to the wellspring of meanings. This introduction is a message to the reader that whoever wishes to understand “the treasury of secrets” must make his “knee” a sanctuary and his “heart” a mirror.
Ismaili: This means that the one who opposes the king is from the Ismaili sect, which opposed the authority at the time of the poet, or, according to another interpretation, is “Malik Ismail” or “Mahmoud Ismail,” who had a dispute with the king whom the poet praises.)
آنکه ز مقصود وجود اول است
و آیت مقصود بدو منزل است
Here, the poet borrows a well-known mystical and Sufi concept usually used to describe prophets, such as the Muhammadan Reality or the Perfect Man. However, he employs it here in praise of sultans as a form of poetic hyperbole, suggesting that God created the world for the emergence of this just ruler. The king is the ultimate manifestation and the sign testifying to God’s wisdom and purpose on Earth, and whoever wishes to see the realization of the divine will in justice and kingship should look upon him.
The poet concludes his praise by painting a picture of the “Great King.” He is a warrior who conquered the Abkhaz and the Romans, a generous man whose bounty puts even mercury to shame, and a sultan feared by the heavens. Here, the poet diminishes the stature of the famous Persian king Bahram Gur to elevate his patron, asserting that history has never known a king who combined both sword and wisdom like him.
The poet constructs a model of “manhood.” The perfect one, the controller of existence; His statement, “His point is his circle,” means that the king is the “pole” who preserves the cohesion of the universe.
As for the conclusion, “The Remaining One,” it is a mystical message stating that true “remaining” is not in matter but in the Divine attributes embodied by the king, foremost among them being “generosity.”
The Station of the “Point”: In mysticism The dot is the origin of letters and shapes; and making the king a dot means that he is “God’s secret” on Earth.
Breaking “Shishah Mah”: an expression of “breaking the norms”; for the breath of the knower (or the divinely supported king) possesses a spiritual power that transcends the laws of nature.
The alchemy of survival: “Hamin Baqi Ist”; The poet summarizes the philosophy of existence by stating that everything is perishable except His Face, and that humankind endures through the “generosity” and mercy that God has instilled within them.
The poet concludes that King Bahramshah is not merely a ruler, but rather a “mirror of the Almighty Truth” in his justice and generosity. This praise, in its essence, is an instruction to the king (and to the reader) that greatness It is not in palaces (shells), but in the spiritual essence that manifests in “Nik Sarangam” (the good ending).
Words for learning:
Shahrband: The prisoner in the city (restricted from travel)
Fatrak: The saddle strap (a symbol of attachment to the heights)
Sar Zanu: The knee (the place where the head rests in meditation)
Magisti مَجَسْطِى: The book Ptolemy in astronomy (symbol of knowledge of the secrets of the heavens)
وَلِى نِعْمَت: The benefactor or guarantor
شَش جِهَت: The six directions (space)
بَهْرَامِى: A name derived from courage and might
سِيمَاب : (Sim = silver, Ab = water)
La’l: Red ruby
Koos كوس: The large drum
سخا: Generosity and munificence
Arabic Translation
يَنْتَقِلُ الشاعر في هذه الابيات إِلَى مَدْحِ السلطان فَخْرِ الدِّينِ بَهْرَامْشَاه بْنِ دَاوُدَ (حَاكِمِ أَرْزَنْجَان)، لَكِنَّ الشاعر لَا يَمْدَحُ كَبَقِيَّةِ الشُّعَرَاءِ؛ فَهُوَ يَبْدَأُ بِوَصْفِ “حَالِهِ الرُّوحِيِّ” وَعُزْلَتِهِ الْعِرْفَانِيَّةِ قَبْلَ أَنْ يَعْرِجَ عَلَى مَدْحِ السُّلْطَانِ، جَاعِلاً مِنَ الْمَدِيحِ مَدْخَلًا لِـ “قِصَّةِ الْقَلْبِ” وَمَعْرِفَةِ النَّفْسِ
أَنَا الَّذِي حُبِسْتُ فِي دَائِرَةِ هَذَا الدَّهْرِ الْمُقَيِّدِ، صِرْتُ مَسْجُونَاً فِي هَذِهِ الْمَدِينَةِ (كَنْجَة) كَأَنِّي عُقْدَةٌ فِي مَرْكَزِ نُقْطَةٍ لَا تَبْرَحُ مَكَانَهَا
ولَا أَمْلِكُ سَبِيلًا لِفَكِّ قُيُودِ قَدَمِي؛ فأَنَا مَحْضُ ظِلٍّ مَمْدُودٍ عَلَى الْأَرْضِ، لَكِنِّي لَا أَمْلِكُ تَحْلِيقَ طَائِرِ الْهُـمَايِ الْمُقَدَّسِ وَلَا جَلَالَه
وبَيْنَمَا غَاصَتْ قَدَمَايَ فِي تُرَابِ هَذِهِ الْعَتَبَةِ تَوَاضُعاً، صَارَتْ يَدِي مُتَمَسِّكَةً بِـعُرْوَةِ سَرْجِ الْفَلَكِ الْأَعْلَى؛ فَأَنَا جَسَدٌ فِي التُّرَابِ وَرُوحٌ فِي السَّمَاءِ
وقَدْ أَخْفَضْتُ هَامَتِي حَتَّى جَعَلْتُهَا تَحْتَ قَدَمَيَّ، وَأتَّخَذْتُ مِنْ رُكْبَتِي مَنْطَلَقاً لِمَسِيرِي؛ حَيْثُ جَلَسْتُ جِلْسَةَ التَّأَمُّلِ الْعِرْفَانِيِّ (وَضْعُ الرَّأْسِ عَلَى الرُّكْبَةِ)
ومِنْ كَثْرَةِ النُّورِ الَّذِي أَشْرَقَ بِهِ وَجْهِي فِي خَلْوَتِي، أسْتَحَالَتْ رُكْبَتِي إِلَى مِرْآةٍ لِلْقَلْبِ، تَعْكِسُ أَسْرَارَ الْغَيْبِ
وحِينَمَا أسْتَغْرَقْتُ فِي النَّظَرِ إِلَى هَذِهِ الْمِرْآةِ الْبَاطِنِيَّةِ، أَلْقَيْتُ جَانِباً بِمِرْآةِ الْعَيْنِ الظَّاهِرَةِ (العَين التي في الرأسِ)؛ فَلَمْ أَعُدْ أُبْصِرُ إِلَّا بِبَصِيرَةِ الْقَلْبِ
فكُنْتُ أَتَرَقَّبُ: مِنْ أَيِّ مِرْآةٍ سَيَأْتِينِي شُعَاعُ الْإِلْهَامِ؟ وَمِنْ أَيِّ نَارٍ رُوحِيَّةٍ سَيَنْبَعُ لِي مَاءُ الْحَيَاةِ؟
وحِينَمَا أنْطَلَقَتْ نَظْرَةُ الْعَقْلِ بِبَصِيرَةٍ نَافِذَةٍ، طَافَتْ حَوْلَ الْعَالَمِ سَرِيعَةً لِتَبْحَثَ عَنْ مَلَاذٍ وَمَمْدُوحٍ
فَأَبْصَرَ الْعَقْلُ -بِمَا يَمْلِكُهُ مِنْ جَوْهَرِ الْعَزِيمَةِ- ذَاكَ الَّذِي يَهَبُ الرُّتَبَ الْعَلِيَّةَ، وَهُوَ مَنْبَعُ الْجُودِ وَوَلِيُّ النِّعَمِة
فهُوَ الْمَلِكُ السَّعِيدُ الطَّالِعِ، القَوي، ذُو الْقَبْضَةِ الْمَنْصُورَةِ، وَهُوَ شَجَرَةُ الْوَرْدِ فِي هَذَا الْبُسْتَانِ الْكَوْنِيِّ الْمُتَلَوِّنِ بِلَوْنِ الْفِيرُوزِ
فهُوَ خِضْرُ (النَبي) الزَّمَانِ بصفاتِ الْإِسْكَنْدَرِ، بَصِيرٌ بِمَنْبَعِ مَاءِ الْحَيَاةِ؛ هُوَ الْقُطْبُ الَّذِي يُدِيرُ أَرْصَادَ الْحِكْمَةِ وَيَفُكُّ رُمُوزَ كِتَابِ عِلْمِ الْفَلَكِ (كِتَابُ بَطْلِيمُوس فِي الْفَلَكِ)
ذَاكَ الَّذِي كَانَ الْأَوَّلَ فِي عِلْمِ اللهِ كَغَايَةٍ لِلْوُجُودِ، وَعَلَيْهِ تَنَزَّلَتْ آيَاتُ الْقَصْدِ الْإِلَهِيِّ وَأسْتَقَرَّتْ
فهو الْمَلِكُ الَّذِي تَاجُهُ مِنَ الْأَفْلَاكِ وَخَاتَمُهُ كَخَاتَمِ سُلَيْمَانَ؛ فَخْرُ الْعَالَمِينَ، الْمَلِكُ فَخْرُ الدِّينِ
وقَدْ صَحَّ نَسَبُهُ الدَّاوُدِيُّ (نِسْبَةً لِأَبِيهِ دَاوُد) وَأسْتَقَامَ، وَلَاقَ بِشَرَفِ مَقَامِهِ أَنْ يُوصَفَ بـسُلَيْمَانِ، لِعِظَمِ سُلْطَانِهِ
فِي الْمَقْطَعِ التالي، يَرْفَعُ الشاعر مَقَامَ مَمْدُوحِهِ إِلَى مَصَافِّ الْعَظَمَةِ الْكَوْنِيَّةِ، مُسْتَخْدِماً رُمُوزَ “الْأَفْلَاكِ التِّسْعَةِ” وَ”الْجِهَاتِ السِّتِّ”، وَيَعْقِدُ مُقَارَنَةً بَيْنَ بَهْرَامِ عَصْرِهِ وَبَيْنَ المَلك “بَهْرَام گور” التَّارِيخِيِّ، لِيُثْبِتَ أَنَّ مَمْدُوحَهُ هُوَ “قُطْبُ” الزَّمَانِ الْحَقِيقِيُّ
وبِهِ تَعَالَتْ رَايَةُ إِسْحَاقَ، وَأَيُّ ضِدٍّ يَقِفُ أَمَامَهُ، لَا يَعْدُو أَنْ يَكُونَ إسَمَاعِيلِيّاً
والْمَلِكُ بَهْرَامْشَاه هُوَ صَاحِبُ الْقَلْبِ الْمُتَّحِدِ الَّذِي يَهْيمِنُ عَلَى الْجِهَاتِ السِّتِّ وَالْمَرَاتِبِ السَّبْعِ، وَهُوَ النُّقْطَةُ الْمَرْكَزِيَّةُ لِلْأَفْلَاكِ التِّسْعَةِ
فهو (ذاكَ) المَلك، الَّذِي مِنْ فَرْطِ قُوَّتِهِ (بهرامى نسبة للقوة والشجاعة)، لَمْ يَتْرُكْ لـلملك بَهْرَام گور (الْمَلِكِ السَّاسَانِيِّ الْأُسْطُورِيِّ)، نَصِيباً سِوَى الْقَبْرِ، فَقَدْ غَلَبَهُ حَيّاً (بالقوةِ) وَمَيِّتاً (في ذكر الإسم من بعدهِ)
فهُوَ فَخْرُ الْمُلُوكِ بِفَضْلِ قُدْرَتِهِ الْفَائِقَةِ، وَأَشْهَرُ أسماً لدى أَهْلِ الزَّمَانِ، بِسَبَبِ حِكْمَتِهِ وَدِرَايَتِهِ
والَّذِي جَعَلَ مُلْكَ الْعَالَمِ طَوْعَ بَنَانِهِ (العَام جَعله خَاص/تابعاً له)، فَهُوَ مَلِكُ الأرمن وَسُلْطَانُ الرُّومِ، بِلَا مُنَازِعٍ
وهو صَاحِبُ عَرْشِ السَّلْطَنَةِ وَمَقَامِ الْخِلَافَةِ؛ فَاتِحُ بلاد الرُّومِ وَمُخْضِعُ بِلَادِ الْأَبْخَازِ
وهُوَ الْأَكْثَرُ عِلْماً وَعَدْلًا بَيْنَ الْخَلَائِقِ، وَالْأَوْفَرُ إِحْسَاناً وَكَرَماً بَيْنَ أَهْلِ الْجُودِ
والدِّينُ لَهُ كَالْفَلَكِ، وَدَوْلَتُهُ هِيَ الْكَوْكَبُ الدُّرِّيُّ فِيهِ؛ وَالْمُلْكُ لَيْسَ إِلَّا صَدَفَةً، أَمَّا الْجَوْهَرَةُ الْحَقِيقِيَّةُ فَهِيَ تُرَابُ عَتَبَتِهِ
فهُوَ جَمَعَ بَيْنَ صَفَاءِ الْعَيْنِ (اليُنبوع) وَاتِّسَاعِ الْبَحْرِ؛ يَنَبوع سَاكِنٌ هَادِئَ، وَبَحْرٌ زَاخِرٌ بِاللَّآلِئِ
وأَمَامَ كَفِّهِ في الجودِ، يبْدُو هذا اليَنبوع، كأنه عَيْنُ الزِّئْبَقِ (طَريقة تَحرك الزَئبق عَندما يتدفق)، هَارِبَاً من الخَجلِ، لَا يثْبُتُ أَمَامَ سَيْلِ كَرَمِهِ
ويبْتَسِمُ حَجر اللَّعْلِ الْخَالِص فِي حِزَامِهِ، سَاخِرَاً مِنْ حِزَامِ الشَّمْسِ الَّذِي لَا يَمْلِكُ مِثْلَ ضِيَائِهِ
فأرادت السَماء الزَرقاء (اللازوردية) أن تُحارب المَلك وتَستولي على السَلطةِ، لكن المَلك كان قَويًا جدًا فصَارع السَماء ولقنها دَرساً، فأنتصر على القَدر (دُورة الفَلك، الفَلك الدوار)
فكان صَوْتَ جَرَسِ مَوْكِبِهِ قَد كْسِرُ صَمْتَ طُبُولِ الْفَلَكِ (بَعد إنتصاره على السَماء)، وَأَنْفَاسُ جَلَالِهِ حَطِّمت زُجَاجَةَ الْقَمَرِ من الرَهْبَةِ
فبِدَايَةُ عَهْدِهِ أَجْمَلُ مِنَ الْفَرَحِ والسعادة نَفْسِها، وَخَاتِمَةُ أَفْعَالِهِ أَنْبَلُ مِمَّا تَصِفُهُ الْمُرُوءَةُ الْبَشَرِيَّةُ
فَلْيَدُمِ كَأْسُ السَّخَاءِ، الَّذِي تُدِيرُهُ يَدُهُ (يَد الملكِ)، فَمَا يَبْقَى مِنَ الْإِنْسَانِ بَعْدَ فَنَائِهِ لَيْسَ إِلَّا ذِكْرُ كَرَمِهِ
المعاني الصوفية والعرفانية وتعليق حول الأبيات الشعرية
يَبْدَأُ الشاعر بِتَصْوِيرِ نَفْسِهِ كَشَاعِرٍ مُنْعَزِلٍ فِي مَدِينَتِهِ، مُكَبَّلٍ بِقُيُودِ الزَّمَانِ، لَكِنَّ فِكْرَهُ يَجُوبُ الْآفَاقَ بَحْثاً عَنِ الْمَلِكِ “فَخْرِ الدِّينِ بَهْرَامْشَاه”. يَمْدَحُهُ بِأَنَّهُ جَمَعَ بَيْنَ سُلْطَةِ الْإِسْكَنْدَرِ وَعِلْمِ الْخِضْرِ، وَبَيْنَ جَلَالِ سُلَيْمَانَ وَنَسَبِ دَاوُدَ
يُؤَسِّسُ الشاعر هُنَا لِمَقَامِ “الْخَلْوَةِ الْعِرْفَانِيَّةِ”؛ فَقَوْلُهُ “آيِنِهٔ دِل سَرِ زَانُويِ مَن” يُشِيرُ إِلَى مَقَامِ “الْمُرَاقَبَةِ”، حَيْثُ يَضَعُ الْعَارِفُ رَأْسَهُ عَلَى رُكْبَتِهِ لِيَنْظُرَ فِي قَلْبِهِ، فهُوَ يَرَى أَنَّ الْحَقِيقَةَ لَا تُنَالُ بِالْبَصَرِ الظَّاهِرِ بَلْ بِطَرْحِ “مِرْآةِ دِّيدِه” وَالإسْتِنَارَةِ بِنُورِ الْبَصِيرَةِ ، والْمَلِكُ عِنْدَهُ هُوَ “الْإِنْسَانُ الْكَامِلُ” الَّذِي يَعْرِفُ “رَصَدَ الْأَرْوَاحِ” كَمَا يَعْرِفُ أَرْصَادَ النُّجُومِ
سِرُّ النُّقْطَةِ (گره نُقْطِه): الشاعر يَرَى نَفْسَهُ كَالنُّقْطَةِ الَّتِي هِيَ أَصْلُ الدَّائِرَةِ لَكِنَّهَا مَحْبُوسَةٌ فِيهَا، وَهَذَا تَعْبِيرٌ عَنْ “حَبْسِ الرُّوحِ فِي الْجَسَدِ”
كِيمِيَاءُ النَّظَرِ: التَّحَوُّلُ مِنْ “آيِنِهٔ دِيدِه” (الْعَيْن) إِلَى “آيِنِهٔ دِل” (الْقَلْب) هُوَ مِعْرَاجُ الْعَارِفِ لِلْوُصُولِ إِلَى “خَوْدْشِنَاسِى” (مَعْرِفَةِ النَّفْسِ)
مَقَامُ “مَجَسْطِى گشَای”: لَا يَقْصِدُ الشاعر الْفَلَكَ الْمَادِّيَّ فَقَطْ، بَلْ يَقْصِدُ أَنَّ الْمَلِكَ الْحَقِيقِيَّ هُوَ مَنْ “يَفْتَحُ” مَغَالِيقَ الْأَسْرَارِ الْكَوْنِيَّةِ بِعِلْمِهِ اللَّدُنِّيِّ
الشَّاعِرَ وَالْمَمْدُوحَ (السلطان) كِلَاهُمَا فِي رِحْلَةٍ لِلْبَحْثِ عَنِ “الْكَنْزِ”، فالشاعر الْمَحْبُوسُ فِي “دَائِرَةِ الدَّهْرِ” يَجِدُ فِي الْمَلِكِ بَهْرَامْشَاه “الْخِضْرَ” الَّذِي يَهْدِيهِ إِلَى يَنْبُوعِ الْمَعَانِي، و هَذَا التَّمْهِيدُ هُوَ رِسَالَةٌ لِلْقَارِئِ بِأَنَّ مَنْ أَرَادَ فَهْمَ “مَخْزَنِ الْأَسْرَارِ”، فَعَلَيْهِ أَنْ يَجْعَلَ مِنْ “رُكْبَتِهِ” مِحْرَاباً وَمِنْ “قَلْبِهِ” مِرْآةً
سماعیلی است: يقصد بأن الذي يعارض الملك، هو من الفرقة الإسماعيلية المُعارضة للسلطة في وقت الشاعر أو الشرح الأخر، شخص «ملک اسماعیل» أو «محمود اسماعیل» الذي له خصومة مع الملك الذي يَمدحه الشاعر)
آنکه ز مقصود وجود اول است
و آیت مقصود بدو منزل است
يقتبس الشاعر هنا فكرة عرفانية وصوفية شهيرة تُطلق عادة في نعت الأنبياء كالحقيقة المحمدية، أو الإنسان الكامل، لكنه يوظفها هنا في مديح السلاطين كنوع من المُبالغة الشعرية؛ ليوحي بأن الله خلق العالم لأجل ظهور هذا الحاكم العادل، والملك هو المظهر الأتم والآية الشاهدة على حِكمة الله ومَقصوده في الأرض، فمن أراد أن يرى تحقق الإرادة الإلهية في العدل والملك فلينظر إليه
يُتِمُّ الشاعر مَدِيحَهُ بِرَسْمِ صُورَةِ “الْمَلِكِ العظيم”؛ فَهُوَ مُحَارِبٌ قَهَرَ الْأَبْخَازَ وَالرُّومَ، وَكَرِيمٌ يَخْجَلُ ويهرب الزِّئْبَقُ مِنْ جُودِهِ، وَسُلْطَانٌ تَهَابُهُ الْأَفْلَاكُ، فيَقُومُ الشاعر هُنَا بـ “تَقْزِيمِ” مَلِكِ الْفُرْسِ الشَّهِيرِ “بَهْرَام گور” لِيُعْلِيَ مِنْ شَأْنِ مَمْدُوحِهِ، مُعْتَبِراً أَنَّ التَّارِيخَ لَمْ يَعْرِفْ مَلِكاً جَمَعَ بَيْنَ السَّيْفِ وَالْحِكْمَةِ مِثْلَهُ
ويَبْنِي الشاعر هُنَا نَمُوذَجَ “الْإِنْسَانِ الْكَامِلِ” الْمُتَصَرِّفِ فِي الْوُجُودِ؛ فَقَوْلُهُ “نُقْطِهٔ نُه دَايِرِه” يَعْنِي أَنَّ الْمَلِكَ هُوَ “الْقُطْبُ” الَّذِي يَحْفَظُ تَمَاسُكَ الْكَوْنِ، وأَمَّا الْخَاتِمَةُ بِـ “بَاقِى بَادَا” فَهِيَ رِسَالَةٌ عِرْفَانِيَّةٌ تَقُولُ إِنَّ “الْبَقَاءَ” الْحَقِيقِيَّ لَيْسَ فِي الْمَادَّةِ بَلْ فِي الصِّفَاتِ الْإِلَهِيَّةِ الَّتِي يَتَخَلَّقُ بِهَا الْمَلِكُ، وَعَلَى رَأْسِهَا “السَّخَاءُ”
مَقَامُ “النُّقْطَةِ”: فِي الْعِرْفَانِ، النُّقْطَةُ هِيَ أَصْلُ الْحُرُوفِ وَالْأَشْكَالِ؛ وَجَعْلُ الْمَلِكِ نُقْطَةً يَعْنِي أَنَّهُ “سِرُّ اللهِ” فِي الْأَرْضِ
كَسْرُ “شِيشِهٔ مَه”: تَعْبِيرٌ عَنْ “خَرْقِ الْعَادَاتِ”؛ فَإِنَّ نَفَسَ الْعَارِفِ (أَوِ الْمَلِكِ الْمُؤَيَّدِ) يَمْلِكُ قُوَّةً رُوحِيَّةً تَتَجَاوَزُ نَوَامِيسَ الطَّبِيعَةِ
كِيمِيَاءُ الْبَقَاءِ: “هَمِين بَاقِى اسْت”؛ يُلَخِّصُ الشاعر فَلْسَفَةَ الْوُجُودِ فِي أَنَّ كُلَّ شَيْءٍ هَالِكٌ إِلَّا وَجْهَهُ، وَالْإِنْسَانُ يَبْقَى بِمَا أَوْدَعَهُ اللهُ فِيهِ مِنْ “جُودٍ” وَرَحْمَةٍ
يَنْتَهِي الشاعر إِلَى أَنَّ الْمَلِكَ بَهْرَامْشَاه لَيْسَ مُجَرَّدَ حَاكِمٍ، بَلْ هُوَ “مِرْآةٌ لِلْحَقِّ تعالى” فِي عَدْلِهِ وَسَخَائِهِ، هَذَا الْمَدِيحُ هُوَ فِي جَوْهَرِهِ تَعْلِيمٌ لِلْمَلِكِ (وَلِلْقَارِئِ) بِأَنَّ الْعَظَمَةَ لَيْسَتْ فِي الْقُصُورِ (الصَّدَف)، بَلْ فِي الْجَوْهَرِ الرُّوحِيِّ الَّذِي يَتَجَلَّى فِي “نِیک سَرأَنْجَام” (الْخَاتِمَةِ الْحَسَنَةِ)
كلماتٌ لِلتَّعَلُّمِ
شَهْر بَنْد: السَّجِينُ فِي الْمَدِينَةِ (الْمُقَيَّدُ عَنِ السَّفَرِ)
فَتْرَاک: عُلَّاقَةُ السَّرْجِ (رَمْزُ التَّعَلُّقِ بِالْعُلُوِّ)
سَرِ زَانُو: الرُّكْبَةُ (مَوْضِعُ وَضْعِ الرَّأْسِ فِي التَّأَمُّلِ)
مَجَسْطِى: كِتَابُ بَطْلِيمُوس فِي الْفَلَكِ (رَمْزُ الْعِلْمِ بِأَسْرَارِ السَّمَاءِ)
وَلِى نِعْمَت: الْمُنْعِمُ أَوِ الْكَفِيلُ
شَش جِهَت: الْجِهَاتُ السِّتُّ (الْفَضَاء)
بَهْرَامِى: نِسْبَةً لِلشَّجَاعَةِ وَالْبَطْشِ
سِيمَاب: الزِّئْبَقُ (سِيم = فِضَّة، آب = مَاء)
لَعْل: الْيَاقُوتُ الْأَحْمَرُ
كُوس: الطَّبْلُ الْكَبِيرُ
سَخَا: الْكَرَمُ وَالْجُودُ
Persian Text
من که درین دایرهٔ دهربند
چون گره نقطه شدم شهربند
دسترس پایگشاییم نیست
سایه ولی فرّ هماییم نیست
پای فرو رفته بدین خاک در
با فلکم دست به فتراک در
فرق به زیر قدم انداختم
وز سر زانو قدمی ساختم
گشته ز بس روشنیِ روی من
آینه دل سرِ زانوی من
من که به این آینه پرداختم
آینهٔ دیده درانداختم
تا ز کدام آینه تابی رسد
یا ز کدام آتشم آبی رسد
چون نظر عقل به رای درست
گرد جهان دست برآورد چست
دید از آن مایه که در همّت است
پایهدهی را که ولینعمت است
شاه قویطالعِ فیروزچنگ
گلبن این روضه فیروزه رنگ
خضرِ سکندرمنشِ چشمهرای
قطب رصد بند مجسطی گشای
آنکه ز مقصود وجود اول است
و آیت مقصود بدو منزل است
شاه فلک تاج سلیماننگین
مفخر آفاق ملک فخر دین
نسبت داودی او کرده چست
بر شرفش نام سلیمان درست
رایت اسحاق ازو عالی است
ضدش اگر هست سماعیلی است
یکدلهٔ ششجهت و هفتگاه
نقطهٔ نُه دایره بهرام شاه
آنکه ز بهرامی او وقتِ زور
گور بوَد بهره بهرام گور
مفخر شاهان به تواناتری
نامور دهر به داناتری
خاصکنِ ملک جهان بر عموم
هم مَلِکِ ارمن و هم شاهِ روم
سلطنت اورنگ خلافت سریر
روم ستانندهیِ ابخاز گیر
عالم و عادلترِ اهل وجود
محسن و مکرمترِ ابنای جود
دین فلک و دولت او اخترست
ملک صدف خاک درش گوهرست
چشمه و دریاست به ماهی و در
چشمه آسوده و دریای پر
با کفَش این چشمهٔ سیمابریز
خوانده چو سیماب گریزا گریز
خندهزنان از کمرش لعلِ ناب
بر کمرِ لعلکشِ آفتاب
آفت این پنجره لاجورد
پنجه در او زد که بدو پنجه کرد
کوس فلک را جرسش بشکند
شیشه مه را نفسش بشکند
خوب سرآغازتر از خرمی
نیک سرانجامتر از مردمی
جام سخا را که کفش ساقی است
باقی بادا که همین باقی است
