The thirteenth part of “The Treasury of Secrets,” in which the poet Nizami Ganjavi transforms from a “composer” to a “philosopher of the word,” making “the heat of speech” the principle of existence and the essence of the human spirit. This section paves the way for the twenty articles, which are considered “manifestations” of this eloquent light.
In Islamic philosophy and Sufism, it represents (The Pen) is the first thing that came from God Almighty and the first thing that was created. It is the Divine symbol of knowledge, understanding, and predestination (destiny). It was mentioned in the hadith: “The first thing God created was the Pen, and He said to it: Write…” It translates the Divine “Word” (Be) into the details of destiny, followed by the creation of humankind as the purpose of the universe and a manifestation of God’s Most Beautiful Names.
English Translation
Indeed, the first movement initiated by the Eternal Pen at the dawn of creation was nothing but the formulation of the first letter from the essence of speech.
And when the veils of Divine seclusion were lifted to reveal the world, the first manifestation was founded upon the basis of speech.
The free soul did not accept indwelling, within the physical body (created from clay), life only came into being after the word (from God), through the voice of the heart, called to it, breathing life into that body.
And since the eternal Pen began its journey of writing, it opened the eyes of the world to truths through its speech (the word).
Without the existence of the speech (the word), the world would have no mention or fame, despite all that humankind has said, the wellspring of speech remains overflowing and inexhaustible.
And in the lexicon of love, speech is the very essence of our soul, and we are, in essence, just words, and these ruins (the material world) are but the remains of our original palace.
Every idea that humankind has arranged has been bound to the wings of the birds of speech, so that it may soar.
For in this ancient (eternal) world, nothing is more ever-renewing than speech, and no scalpel is more precise and sharper in dissecting its secrets.
Speech is the beginning of thought and the end of calculation; So remember this truth, you who seek the essence of meaning.
For those in power saw in speech a crowned king, while others called it by other names according to their own illusions.
Sometimes they raise speech like a high, fluttering banner, and sometimes they imprison its beauty in the inscriptions of pens (inscribing the words only, without benefiting from their meanings).
For the speech is more capable of achieving conquest than through all means (war), and being more adept at conquering territories than all material means.
Yet, speech do not reveal their beauty to those who worship fantasy and illusions, who see only the surface.
But we (people of insight), who have made speech the focus of our vision, have died (from our materialistic body) (our souls), so that we may live by His eternal existence.
In these verses (15-27), the sage Nizami Kanjawi moves from the cosmic foundation of the speech to explaining its “chemical” power to transform souls, preferring the “gold of meaning” to the fleeting vanities of this world, and concluding by immortalizing his name through this sublime art.
And those of low ambition find in speech a fire that ignites their longings, while the burning seekers find in it water that cools the flames of their ablaze hearts.
For speech is the most constructed building in this village (this world) than the village itself, and it is more recent than the celestial spheres, even though, in existence, it precedes them.
And speech is not bound by a physical color, a tangible quality, or a specific style, nor can it be confining its truth to the ordinary language of humankind.
When speech raises its banner in that arena, letters and tongues become mere extensions of its grace, for it has no need of them.
And were it not for speech that wove the thread of the soul, how could the soul find its origin (the thread, the physical connection to the body) or its path in this existence?
For the natural world was subdued by the power of speech, and with the sacred word the covenants of Divine law were sealed.
I placed the mine of my words before their gold, and presented both to one with the ability, discernment, and knowledge of precious stones.
What then will the discerning and knowledgeable critic say in comparing eloquent speech with ancient gold? And the speech itself answered: Indeed, the speech is more enduring and more precious.
For the messenger of the speech was connected to its original source (the Divine Essence), and no one could reach the height the speech reached.
So establish (mint a silver coin of the speech) the coinage of the speech, for wealth is but dust beneath its feet (beneath the feet of speech), and gold (despite its preciousness) is but wild prey (a gazelle), tied to the loop of its saddle.
There is no companion in the forefront of gatherings whose rank is higher than speech, and sovereignty in this realm is confined to it alone.
Therefore, whoever does not possess a discerning heart is ignorant of the secrets of speech, and indeed, the hidden meaning (explanation) of this speech is broader than what its words can convey.
And as long as there remains of this speech in existence, let its fame continue to resonate, and let the name of Nezami remain vibrant and preserved by the survival of its words.
Sufi and mystical meanings and comments on the poet’s verses
Sakhn (speech, logic, discourse) as a cosmic principle: The poet establishes the idea that “the word” is “the key to the treasure of the wise,” and in verses 1 and 2, Sakhn is the mediator between the unseen (seclusion) and the witnessed (manifestation); For creation itself is “divine speech”
The duality of “Soul and Matter”: “Jan tan azadeh bhe gil dar nadad”; Here, the poet connects the heat/speech with the secret of “the creation of Adam,” and the soul (the king) did not enter the prison of the body except because the heat (speech) gave this descent meaning and purpose.
The alchemy of “speech” and “love”: In mysticism, man is the “speaking animal,” but the poet sees speech here as “the speech of the heart.” We are not these bodies, but rather the “meanings” with which we speak, and the world is a parasitic “ruin” upon this spiritual sanctuary.
The shattering of “imagination”: The poet warns against “worshiping imagination.” Whoever views poetry as mere artistic imagination will never reach the core of the “treasury of secrets,” for true life lies in “annihilation in the heat of speech” (Murdih Uyim) to attain eternity.
The secret of the “pen” and “speech”: In mysticism, the pen is the “first intellect,” and what it writes is the “speech, expressions” that fills the pages with existence.
The poet makes the speech a “revival” element; for good speech is what bestows immortality (Badu Zandihim)
The station of “conquest” through speech: The poet sees that “the power of eloquence” is stronger than the power of the sword (the flag); Because eloquence/speech/expression opens hearts before countries.
The Chemistry of Transformation (Verse 15): The poet sees that eloquence/logic/speech works by “contradiction”; It is “fire” for the cold to awaken them, and “water” for the burning to soothe them. This balance is the essence of spiritual discipline.
The secret of “Rishteh Jan” (Verse 19): The poet uses the symbol of the “thread” to illustrate that speech is the “existential link” between human and the Creator. Were it not for this thread, the soul would have remained lost in the desert of nothingness.
Sakhana and Mal (verse 24): Here the poet pride emerges; Where he makes “gold” a mere hunt (a wild gazelle) hanging in the “saddle loop” of the speech, and he affirms that “the soul is king,” and that matter is subservient to meaning.
Transcending the speech (verse 26): “The explanation of speech is more speech than the speech.” It is a direct invitation from the poet to the reader not to stop at the “shell” of the poem, but to search for the “brain” that requires endless explanation.
The station of “remaining wake”: In mysticism, permanence belongs not to the body but to the spiritual impact. The poet sees his soul “embodied” in his poetry, and thus attains eternal life.
Speech as a “seal”: Sealing the law with heat means that “divine speech” is what gives legal and spiritual character to existence.
Words for Learning
Sukhn: Speech, utterance, or explanation (the highest meaning of the word)
Jalwat: Appearance into the open (the opposite of seclusion)
Gil: Clay (symbol of the body)
Talal: Ruins or the standing remains of a building
Muwa Shikafi: The fine anatomy of a hair (symbol of Extreme precision
Pesin Shumar: The end of the count or the final account
Sard Payan (Payan): Cold-footed (a metaphor for languor and lack of passion)
Garm Rawan: Passionate travelers (those who yearn)
Rishte Jan: The thread of the soul or the knot of life
Sarraf: The metal critic (a symbol for the literary critic) The praised, insightful one)
Fatrak: The saddle loop to which game is hung
Sadr Nishin: The one who sits at the head of the gathering (a symbol of sovereignty)
Arabic Translation
الْجُزْءِ الثَّالِثِ عَشَرَ مِنْ “مَخْزَنِ الْأَسْرَارِ”، وفِي هَذَا الْمَقْطَعِ، يَتَحَوَّلُ الشاعر نِظَامِي كَنْجَوِي مِنْ “نَاظِمٍ” إِلَى “فَيْلَسُوفٍ لِلْكَلِمَةِ”، جَاعِلًا مِنَ “سَّخَنِ/الكلام، المنطق” مَبْدَأَ الْوُجُودِ وَجَوْهَرَ الرُّوحِ الْإِنْسَانِيَّةِ، وَهُوَ مَقْطَعٌ يُمَهِّدُ فِيهِ لِلْمَقَالَاتِ الْعِشْرِينَ بِاعْتِبَارِهَا “تَجَلِّيَاتٍ” لِهَذَا النُّورِ الْبَيَانِيِّ
وفي الفلسفة الإسلامية والصوفية، يمثل (القَلم) أول صادِرٍ عن الحق تعالى وأول مَوجود خُلق، وهو الرمز الإلهي للعلم، والمعرفة، والتقدير (القدر)، وقد ورد في الحديث: «أول ما خلق الله القلم، فقال له: أكتب…». وهو يترجم “الكلمة” الإلهية (كُن) إلى تفاصيل الأقدار، ليأتي بعده خلق الإنسان كغاية الكون ومظهر لأسماء الله الحسنى
إِنَّ أَوَّلَ حَرَكَةٍ بَدَأَهَا الْقَلَمُ الأزلي، فِي مَطْلَعِ الْخَلْقِ، لَمْ تَكُنْ إِلَّا صِيَاغَةً لِلْحَرْفِ الْأَوَّلِ مِنْ مَعْدِنِ الْكَلَامِ
وحِينَمَا رُفِعَتْ أَسْتَارُ الْخَلْوَةِ الْإِلَهِيَّةِ لِيَظْهَرَ الْعَالَمُ، كَانَ الظُّهُورُ الْأَوَّلُ مَبْنِيًّا عَلَى قَاعِدَةِ الكَلام
ولَمْ تَقْبَلِ الرُّوحُ الْحُرَّةُ السُّكْنَى فِي الْجَسَد المَادي (المَخلوق من الطينِ) إِلَّا بَعْدَ أَنْ نَادَاهَا الكَلام بِصَوْتِ الْقَلْبِ لِيَبُثَّ بهذا الجَسدِ، الْحَيَاةَ
ومُنْذُ أَنْ بَدَأَ الْقَلَمُ الأزلي رِحْلَتَهُ فِي الْكِتَابَةِ، فَتَحَ عَيْنَ الْعَالَمِ عَلَى الْحَقَائِقِ مِنْ خِلَالِ مَنطِقهُ (الكلام)
وبدون وُجود الكَلامِ لَمَا كَانَ لِلْعَالَمِ ذِكْرٌ أَوْ شُهْرَةٌ؛ وَرَغْمَ كُلِّ مَا قَالَهُ الْبَشَرُ، يَبْقَى مَنْهَلُ المَنطقِ (الكلامِ) فَيَّاضاً لَا يَنْقُصُ
وفِي قَامُوسِ الْعِشْقِ، فالكَلام هُوَ عَين رُوحُنَا؛ نَحْنُ فِي جَوْهَرِنَا كَلِمَاتٌ، وَهَذِهِ الْأَطْلَالُ (الْعَالَمُ الْمَادِّيُّ) لَيْسَتْ إِلَّا بَقَايَا قَصْرِنَا الْأَصْلِيِّ
وكُلُّ فِكْرَةٍ صَاغَ تَرْتِيبَهَا الْبَشَرُ، قَدْ رَبَطُوها بِأَجْنِحَةِ طُيُورِ الكلامِ، لِكَي تُحَلِّقَ
فلَيْسَ فِي هَذَا الْعَالَمِ الْقَدِيمِ (الأزلي) شَيْءٌ أَكْثَرُ تَجَدُّداً مِنَ الكلامِ، وَلَا يُوجَدُ مِشْرَطٌ أَدَقُّ وَأَحَدُّ (حَاد) مِنْهُ فِي تَشْرِيحِ الْأَسْرَارِ
فالكلام هُوَ مَبْدَأُ الْفِكْرِ وَهُوَ نهاية الْحِسَابِ؛ فَاحْفَظْ هَذِهِ الْحَقِيقَةَ عِنْدَكَ يَا مَنْ تَبْحَثُ عَنْ لُبِّ الْمَعْنَى
فأَهْلُ الْمُلْكِ، رَأَوْا فِي الكَلامِ مَلِكاً مُتَوَّجاً، بَيْنَمَا سَمَّاهُ الْآخَرُونَ بِأَسْمَاءَ أُخْرَى تَبَعاً لِأَوْهَامِهِمْ
فتَارَةً يَرْفَعُونَ الكلامِ كَلِوَاءٍ (عَلَم) خَفَّاق عَالياً، وَتَارَةً يَحْبِسُونَ جَمَالَهُ فِي نُقُوشِ الْأَقْلَامِ (ينقشوا الكلام فقط، لا الإستفادة من معانيه)
فإِنَّ الكلام أَقْدَرُ عَلَى تَحْقِيقِ الْفَتْحِ مِنْ كُلِّ الْأَعْلَامِ (الحَرب)، وَأَكْثَرُ بَرَاعَةً فِي فَتْحِ الْأَقَالِيمِ، مِنْ كُلِّ الْأَقْلَامِ الْمَادِّيَّةِ
وَرَغْمَ ذَلِكَ، لَا يَكْشِفُ الكَلام عَنْ حُسْنِهِ لِعُبَّادِ الْخَيَالِ وَالْأَوْهَامِ الَّذِيـنَ لَا يَرَوْنَ إِلَّا الْقِشْرَةَ الظَاهرة
وأَمَّا نَحْنُ (أَهْلُ الْبَصِيـرَةِ) الَّذِيـنَ جَعَلْنَا الكَلام مِحْوَرَ نَظَرِنَا، فَقَدْ مُتْنَا (عَنْ أَنْفُسِنَا)، لِنَحْيَا بِبَقَائِهِ الْأَبَدِيِّ
يَنْتَقِلُ الْحَكِيمُ نِظَامِي كَنْجَوِي فِي هَذِهِ الْأَبْيَاتِ (١٥-٢٧) مِنَ التَّأْسِيسِ الْكَوْنِيِّ لِلْكَلِمَةِ إِلَى بَيَانِ قُدْرَتِهَا “الْكِيمِيَائِيَّةِ” عَلَى تَحْوِيلِ النُّفُوسِ، مُفَضِّلاً “ذَهَبَ الْمَعْنَى” عَلَى حُطَامِ الدُّنْيَا، وَخَاتِماً بِتَخْلِيدِ اسْمِهِ عَبْرَ هَذَا الْفَنِّ الرَّفِيعِ
وإِنَّ بَارِدِي الْهِمَّةِ، يَجِدُونَ فِي الكلامِ نَاراً تُشْعِلُ أَشْوَاقَهُمْ، بَيْنَمَا يَجِدُ فِيهِ السَّالِكُونَ الْمُحْتَرِقُونَ مَاءً يُبَرِّدُ لَهِيـبَ قُلُوبِهِمْ المُشتعلة
فالكلام هُوَ الْبِنَاءُ الْأَكْثَرُ عُمْرَاناً فِي هَذِهِ الْقَرْيَةِ (الدُّنْيَا) من القَرية نَفسها، وَهُوَ أَكْثَرُ حَداثةً مِنَ الْأَفْلَاكِ، رَغْمَ أَنَّهُ، فِي الْوُجُودِ ، أَسْبَقُهَا
ولَا يَتَقَيَّدُ الكلام بِلَوْنٍ مَادِّيٍّ أَوْ صِفَةٍ مَحْسُوسَةٍ أو طرازٍ مُعين، وَلَا يُمْكِنُ حَصْرُ حَقِيقَتِهِ فِي لُغَةِ الْبَشَرِ الْمُعْتَادَةِ
وحِيـنَمَا يَرْفَعُ الكلام رَايَتَهُ فِي ذاك المَيْدَانِ، تُصْبِحُ الْحُرُوفُ والْأَلْسِنَةُ، مَحْضَ من فَضْلَهِ، فلَيس هو بحَاجَةَ إِلَيْهَا
ولَوْلَا أَنَّ الكلام هُوَ الَّذِي غَزَلَ خَيْطَ الرُّوحِ، فكيف تستطيع الرُّوحُ أَنْ تَجِدَ لَهَا مَبْدَأً (الخيط، التَعلق المادي بالجسد) أَوْ مَسَاراً فِي هَذَا الْوُجُودِ؟
فقَدْ سُخِّرَ عَالَمُ الطَّبِيـعَةِ بِقُوَّةِ الكلامِ، وَبِالْكَلِمَةِ الْمُقَدَّسَةِ خُتِمَتْ مَوَاثِيـقُ الشَّرِيـعَةِ الْإِلَهِيَّةِ
وقَدْ وَضَعْتُ مَنْجَمَ كلامي، أَمَامَ ما لديهم من ذَهب، وَعَرَضْتُ كِلَيْهِمَا عَلَى من له القُدرة و النَّقِدِ والمعرفةِ بالجواهرِ
فَمَاذَا يَقُولُ الصَّرَّافُ (الناقد العارف المُتمكن) فِي الْمُفَاضَلَةِ بَيْنَ الْكَلَامِ الْبَدِيـعِ وَالذَّهَبِ الْعَتِيـقِ؟ وقَدْ أَجَابَ الكلام بِنَفْسِهِ: إِنَّ الْكَلَامَ أَبْقَى وَأَغْلَى
فرَسُولُ الكلامِ أرتبطَ بمَنْبَعِهِ الْأَصْلِيِّ (الذَّاتِ الْإِلَهِيَّةِ)، فلَمْ يَسْتَطِعْ أَحَدٌ أَنْ يَبْلُغَ الشَّأْوَ الَّذِي بَلَغَهُ
فأقم (إضرب عُملة فضية متداولة من الكلامِ) سِكة الكلامِ؛ فَالْمَالُ لَيْسَ إِلَّا تُرَاباً تَحْتَ قَدَمِهِ (تحت قدم الكلامِ)، وَالذَّهَبُ (رَغْمَ نَفَاسَتِهِ) لَيْسَ إِلَّا صَيد بَري (غزال)، مَرْبُوطاً بِـعُرْوَةِ سَرْجِهِ
فلَا يُوجَدُ جَلِيـسٌ في مَقدمة المَجالسِ، أَعْلَى مَقَاماً مِنَ الكَلامِ، وَالسِّيَادَةُ فِي هذا المُلكِ، مَحْصُورَةٌ فِيهِ وَحْدَهُ
فكُلُّ مَن لَيْسَ له قَلْبٌ عَارف فَهُوَ جَاهِلٌ بِأَسْرَارِ الكلامِ؛ وَإِنَّ مَكْنُونَ (شَرْحِ) هَذَا الْكَلَامِ، لهو أَوْسَعُ مِمَّا تَحْمِلُهُ أَلْفَاظُه
ومَا دَامَ فِي الْوُجُودِ بَقِيَّةٌ مِنَ الكلامِ، فَلْيَبْقَ صِيتُهُ مُدَوِّياً، وَلْيَظَلَّ اسْمُ نِظَامِي نَاضِراً مَحْفُوظاً بِبَقَاءِ كَلِمَاتِهِ
المعاني الصوفية والعرفانية وتعليقات حول أبيات الشاعر
سَّخَن (الكلام، المنطق، الكلام) كَمَبْدَأٍ كَوْنِيٍّ: يُؤَسِّسُ الشاعر لِفِكْرَةِ أَنَّ “الْكَلِمَةَ” هِيَ “مِفْتَاحُ كَنْزِ الْحَكِيـمِ”، و فِي الْبَيْتَيْنِ ١ و ٢، السَّخَنُ هُوَ الْوَسِيـطُ بَيْنَ الْغَيْبِ (الْخَلْوَةِ) وَالشَّهَادَةِ (الْجَلْوَةِ)؛ فَالْخَلْقُ نَفْسُهُ “كَلَامٌ إِلَهِيٌّ”
ثُنَائِيَّةُ “الرُّوحِ وَالْمَادَّةِ”: “جَانِ تَنِ آزَادِه بِه گِل دَر نَدَاد”؛ هُنَا يَرْبِطُ نِظَامِي بَيْنَ سَّخَنِ/الكلام، وَبَيْنَ سِرِّ “خَلْقِ الْآدَمِيِّ”، و الرُّوحُ (الْمَلِكُ) لَمْ تَدْخُلْ سِجْنَ الْجَسَدِ إِلَّا لِأَنَّ سَّخَنَ (الكلام) جَعَلَ لِهَذَا الْهُبُوطِ مَعْنًى وَغَايَةً
كِيـمِيَاءُ “سَّخَنِ/الكلام” وَ”الْعِشْقِ”: “دَر لُغَتِ عِشْق سُخَن جَانِ مَاسْت”؛ فِي الْعِرْفَانِ، الْإِنْسَانُ هُوَ “الْحَيَوَانُ النَّاطِقُ”، لَكِنَّ الشاعر يَرَى النُّطْقَ هُنَا هُوَ “نُطْقُ الْقَلْبِ”، فنَحْنُ لَسْنَا هَذِهِ الْأَجْسَادَ، بَلْ نَحْنُ “الْمَعَانِي” الَّتِي نَنْطِقُ بِهَا، وَالدُّنْيَا هِيَ “طَلَلٌ” (أَطْلَالٌ) طُفَيْلِيَّةٌ عَلَى هَذَا الْإِيـوَانِ الرُّوحِيِّ
تَحْطِيـمُ “الْخَيَالِ”: يُحَذِّرُ الشاعر مِنْ “عِبَادَةِ الْخَيَالِ”؛ فَمَنْ يَنْظُرُ لِلشِّعْرِ كَمُجَرَّدِ خَيَالَاتٍ فَنِّيَّةٍ لَنْ يَصِلَ لِلُبِّ “مَخْزَنِ الْأَسْرَارِ”، والْحَيَاةُ الْحَقِيقِيَّةُ تَكُونُ بِـ “الْفَنَاءِ فِي سَّخَنِ/الكلام” (مُرْدِهٔ أُويِيـم) لِنَيْلِ الْبَقَاءِ
سِرُّ “الْقَلَمِ” وَ”سَّخَنِ/الكلام، المنطق”: الْقَلَمُ فِي الْعِرْفَانِ هُوَ “الْعَقْلُ الْأَوَّلُ”، وَمَا يَكْتُبُهُ هُوَ “سَّخَنُ/الكلام، العبارات” الَّذِي يَمْلَأُ صَحَائِفَ الْوُجُودِ
سَّخَن كَـ “جَان” (رُوح): الشاعر يَجْعَلُ مِنَ الْكَلِمَةِ عُنْصُراً “إِحْيَائِيًّا”؛ فَالْكَلَامُ الطَّيِّبُ هُوَ الَّذِي يَهَبُ الْخُلُودَ (بَدُو زِنْدِهاِيـم)
مَقَامُ “الْفَتْحِ” بِالْقَوْلِ: يَرَى الشاعر أَنَّ “سُلْطَانَ الْبَيَانِ” أَقْوَى مِنْ سُلْطَانِ السَّيْفِ (الْعَلَم)؛ لِأَنَّ سَّخَنَ/الكلام/البيان، يَفْتَحُ الْقُلُوبَ قَبْلَ الْبُلْدَانِ
كِيـمِيَاءُ التَّحْوِيلِ (الْبَيْتُ ١٥): يَرَى نِظَامِي أَنَّ سَّخَنَ/المنطق/الكلام، يَعْمَلُ بِـ “الضَّدِّ”؛ فَهُوَ “نَارٌ” لِلْبَارِدِينَ لِيُوقِظَهُمْ، وَ”مَاءٌ” لِلْمُحْتَرِقِينَ لِيُسْكِنَهُمْ، وهَذَا التَّوَازُنُ هُوَ جَوْهَرُ الرِّيَاضَةِ الرُّوحِيَّةِ
سِرُّ “رِشْتِهٔ جَان” (الْبَيْتُ ١٩): نِظَامِي يَسْتَخْدِمُ رَمْزَ “الْخَيْطِ” لِيُوَضِّحَ أَنَّ الْكَلَامَ هُوَ “الرَّابِطُ الْوُجُودِيُّ” بَيْنَ الْإِنْسَانِ وَالْخَالِقِ؛ فَلَوْلَا هَذَا الْخَيْطُ لَظَلَّتِ الرُّوحُ تَائِهَةً فِي بَيْدَاءِ الْعَدَمِ
سَّخَنُ وَ مَال (الْبَيْتُ ٢٤): هُنَا تَبْرُزُ أَنَفَةُ نِظَامِي كَشَاعِرٍ؛ حَيْثُ يَجْعَلُ مِنْ “الذَّهَبِ” مَحْضَ صَيْدٍ (آهُو/غزال بري) مُعَلَّقٍ فِي “فَتْرَاک/عُروة السرج” سَّخَنِ/الكلام، و هُوَ يُؤَكِّدُ أَنَّ “الرُّوحَ هِيَ الْمَلِكُ”، وَأَنَّ الْمَادَّةَ تَابِعَةٌ لِلْمَعْنَى
تَجَاوُزُ اللَّفْظِ (الْبَيْتُ ٢٦): “شَرْحِ سُخَن بِِيـشْتَر اسْت أَز سُخَن”؛ هِيَ دَعْوَةٌ مُبَاشِرَةٌ مِنَ الشاعر لِلْقَارِئِ لِكَيْ لَا يَقِفَ عِنْدَ “قِشْرَةِ” النَّظْمِ، بَلْ أَنْ يَبْحَثَ عَنْ “الْمُخِّ” الَّذِي يَتَطَلَّبُ شَرْحاً لَا يَنْتَهِي
مَقَامُ “الْبَقَاءِ بِالسَّخَنِ”: “نَامِ نِظَامِى بِه سُخَن تَازِه بَاد”؛ فِي الْعِرْفَانِ، الْبَقَاءُ لَيْسَ لِلْجَسَدِ بَلْ لِلْأَثَرِ الرُّوحِيِّ، والشاعر يَرَى أَنَّ رُوحَهُ “تَتَجَسَّدُ” فِي شِعْرِهِ، وَبِذَلِكَ يَنَالُ الْحَيَاةَ الْأَبَدِيَّةَ
الْكَلَامُ كَـ “مُهْر” (خَتْم): جَعْلُ الشَّرِيـعَةِ مَخْتُومَةً بِالسَّخَنِ يَعْنِي أَنَّ “الْكَلَامَ الْإِلَهِيَّ” هُوَ الَّذِي يُعْطِي الصِّبْغَةَ الْقَانُونِيَّةَ وَالرُّوحِيَّةَ لِلْوُجُودِ
تَجْرِيـدُ السَّخَنِ: السَّخَنُ حِيـنَمَا “يَرْفَعُ عَلَمَهُ”، يَعْنِي الْوُصُولَ إِلَى مَقَامِ “الْمُشَاهَدَةِ”؛ حَيْثُ يَصْمُتُ اللِّسَانُ الظَّاهِرُ لِيَنْطِقَ لِسَانُ الْحَالِ
كلماتٌ لِلتَّعَلُّمِ
سُخَن: الْكَلَامُ، الْقَوْلُ، أَوْ الْبَيَانُ (الْمَعْنَى الْأَسْمَى لِلْكَلِمَةِ)
جَلْوَت: الظُّهُورُ لِلْعَلَنِ (ضِدُّ الْخَلْوَةِ)
گِل: الطِّيـنُ (رَمْزُ الْجَسَدِ)
طَلَل: الْأَطْلَالُ أَوْ الْبَقَايَا الشَّاخِصَةُ مِنَ الْبِنَاءِ
مُوى شِكَافِى: دِقَّةُ تَشْرِيحِ الشَّعْرَةِ (رَمْزُ الدِّقَّةِ الْمُتَنَاهِيَةِ)
پَسِيـنِ شُمَار: خِتَامُ الْعَدِّ أَوْ آخِرُ الْحِسَابِ
سَرْد پَيَان (پایان): بَارِدُو الْأَقْدَامِ (كِنَايَةٌ عَنِ الْفُتُورِ وَعَدَمِ الإحْتِرَاقِ)
گرْم رَوَان: حَارُّو الْمَسِيـرِ (السَّالِكُونَ الْمُشْتَاقُونَ)
رِشْتِهٔ جَان: خَيْطُ الرُّوحِ أَوْ عَقْدُ الْحَيَاةِ
صَرَّاف: نَاقِدُ الْمَعْدِنِ (رَمْزُ النَّاقِدِ الْأَدَبِيِّ أَوِ الْمَمْدُوحِ الْبَصِيـرِ)
فَتْرَاک: عُرْوَةُ السَّرْجِ الَّتِي يُعَلَّقُ بِهَا الصَّيْدُ
صَدْر نِشِيـن: مَنْ يَجْلِسُ فِي صَدْرِ الْمَجْلِسِ (رَمْزُ السِّيَادَةِ)
Persian Text
جنبش اول که قلم برگرفت
حرف نخستین ز سخن درگرفت
پرده خلوت چو برانداختند
جلوت اول به سخن ساختند
تا سخن آوازه دل در نداد
جان تن آزاده به گل در نداد
چون قلم آمد شدن آغاز کرد
چشم جهان را به سخن باز کرد
بیسخن آوازه عالم نبود
این همه گفتند و سخن کم نبود
در لغت عشق سخن جان ماست
ما سخنیم این طلل ایوان ماست
خط هر اندیشه که پیوستهاند
بر پر مرغان سخن بستهاند
نیست درین کهنهٔ نوخیزتر
موی شکافی ز سخن تیزتر
اول اندیشه، پسینِ شمار
هم سخن است این سخن اینجا بدار
تاجوران تاجورش خواندهاند
وان دگران، آن دگرش خواندهاند
گه به نوای علمش برکشند
گه به نگار قلمش درکشند
او ز علم فتح نمایندهتر
وز قلم اقلیم گشایندهتر
گرچه سخن خود ننماید جمال
پیش پرستندهٔ مشتی خیال
ما که نظر بر سخن افکندهایم
مرده اوییم و بدو زندهایم
سردپیان آتش ازو تافتند
گرمروان آب درو یافتند
اوست درین دِه ز دِه آبادتر
تازهتر از چرخ و کهن زادتر
رنگ ندارد ز نشانی که هست
راست نیاید به زبانی که هست
با سخن آنجا که برآرد علم
حرف زیادست و زبان نیز هم
گرنه سخن رشته جان تافتی
جان سر این رشته کجا یافتی؟
ملک طبیعت به سخن خوردهاند
مهر شریعت به سخن کردهاند
کان سخن ما و زر خویش داشت
هر دو به صراف سخن پیش داشت
کز سخن تازه و زر کهن
گوی چه به گفت سخن به سخن
پیک سخن ره بسر خویش برد
کس نبرد آنچه سخن پیش برد
سیم سخن زن که درم خاک اوست
زر چه سگست آهوی فتراک اوست
صدرنشینتر ز سخن نیست کس
دولت این ملک سخن راست بس
هرچه نه دل بیخبرست از سخن
شرح سخن بیشترست از سخن
تا سخن است از سخن آوازه باد
نام نظامی به سخن تازه باد
