First Discourse – The Creation of Adam

English Translation

“The First Discourse: On the Creation of Man” (Dar Khilqat-e Ādami)—the first of twenty discourses in which the sage Nizami Ganjavi establishes a “Divine Anthropology” (a gnostic science of Human); He transitions from expounding upon Divine Oneness and solitary communion to unveiling the reality of that supreme being appointed as vicegerent on earth.

In the beginning—before the worship and exaltation of Divine Love emerged, and before the echoes of Existence’s voice reverberated within the depths of Non-existence—

A blessed being, full of promise (Adam—Humanity), prepared to emerge from the abyss of Non-existence; he advanced toward the arena of Being and threw open the gates of Divine Manifestation.

Though he was the last in time to be born among the ranks of angels and spiritual beings, he holds the foremost and primordial station among all mankind.

He who was adorned with the banner of Divine vicegerency—who once lay cast down like a banner upon the dust (as mere clay), only to rise up, standing tall and sublime.

“And He taught Adam the names, all of them”—this is his pure, transcendent attribute; and the Creator kneaded his clay—this is the honor and dignity bestowed upon his dust.

Yet, in his essence, he is turbid, just as there is purity in his spirit. He is simultaneously the touchstone (the scale), the gold (the essence), and the value-knower (the discerner of true value).

He is a unique marvel of beauty to the angels of the heavens, and a singular being—one of a kind—whose very essence has become a mirror for the dwellers of the earth.

His bracelet adorns the wrist of the spirit with majesty, while his own wrist is encircled by a bracelet forged from the seven heavens.

He is the one who grew up between two cradles—that of the body and that of the spirit (earth and heaven)—blending within himself the core of both essences.

He is the gift and the noble mantle of honor for the captives in the prison of materiality; he is the arbiter of justice and the cupbearer—the one who pours forth wisdom—for the people of the spirit.

Thus, the farthest reaches of creation became the marketplace for his spiritual commerce. The decrees of Divine Power and their marvels were manifested in the fashioning of his unfolding stages of being.

Though he is but an infant—barely forty days old, his speech still a lisp—an elder of forty years sits before him to learn the lesson of life.

His beauty was traced by the hand of Eternal Love; he is a rose-sapling brought directly from the gardens of Paradise.

He is a ray of light from that Eye of supreme vision and all-encompassing insight, and a bird descended from the highest branch on the Tree of Existence.

In this passage, the poet moves from articulating Adam’s primordial honor to unveiling the “philosophy of the Fall and the secret of the wheat grain,” transforming the story of eating from the forbidden tree from a mere outward transgression into a process of “spiritual alchemy and discipline.” A grain of wheat does not become pure white flour until it is ground between the millstones (representing the earth and the trials of life).

From the banquet of His knowledge, the birds of the celestial spheres (the angels) gathered the seeds of wisdom; for the sake of this honor, all bowed their heads in submission to Him upon the dust.

God bestowed upon him—in exchange for but a single grain—the mantle of vicegerency, adorning him with divine dignity.

He was captivated by the allure of that grain (filled with longing and desire), yet his gratitude and praise fell short of what befell the magnificence of such a blessing.

For his sake, the gates of supplication and humble entreaty were opened to existence, and all worlds prostrated before him in reverence.

Thus, at the threshold of that being—who had become the focal point for every gaze—every bewildered lover and every madman, spellbound by his own ecstatic longing, fell down in prostration.

The seven heavens scattered their lights and blossoms in reverence for him; the flowers became a delight for those drawn near to the Divine, while serving as a searing brand upon the heart of Iblis.

And Adam—without Your nearness, O my God—found no vitality in his body, nor could he find a moment’s repose, not even amidst the gardens of Iram.

Thus, Adam possessed no strength for earthly sovereignty or outward dominion; For there was no escape or deliverance for him from the sorrow of your affair and the consuming passion of your love.

The heat of the wheat grain scorched his heart—his very core—splitting it in two out of anguish, just as the heart of the wheat grain itself splits open.

And such was the intensity of Adam’s longing for our emergence—the appearance of his progeny in the realm of material existence—that the act of eating the wheat seemed trivial to him; it weighed less than a grain of barley when measured against the essence of that yearning.

He was like the wheat grain—without head or foot, stripped of all else and bewildered—possessing neither voice nor cry until he met the earth’s soil (where the seeds of life are sown) and the millstone (which crushes the wheat grains into white flour).

For the one who is not cast into the soil—like a seed—never sees the tree of hope sprout within him; nor does the one who is never ground and broken (caught between the millstones), he did not turn into flour with a white heart;

Instead, his complexion turned straw-yellow—the color of wheat—out of sorrow, and painful blisters erupted on his skin like barley grains upon the cratered surface of the moon.

He became like barley and wheat, struggling against the soil in anguish and burning grief—oh, you who appear as wheat while your true self is barley (or like this deceptive world that displays wheat yet sells barley).

In this celestial passage, Nizami Ganjavi moves to reveal the deepest stages of the “tragedy of the fall and the alchemy of repentance.” It addresses the consequences of consuming the wheat grain—an act that stripped Adam of his garment of light—and then charts the path to salvation through “Adam’s repentance in the land of Serendib,” where tears of remorse and contrition transform into the indigo dye that purifies the very fabric of the soul.

Consuming that lowly wheat grain—which deprived him of his exalted human station—stripped him of his raiment of light, leaving him exposed and bare, much like the hollow interior of a wheat kernel (which holds no husk within).

All the humiliation he suffered due to Iblis’s treachery stemmed from the guilelessness of his heart regarding the wheat grain that had seduced him.

For the hardness and rigidity of the wheat grain are inherent to its essence, while its diminutive size became the cause of a lapse in reason and a moment of rash folly.

And when human (Adam) prepared to consume it; his entire being opened up in craving for it, until it was as if he had become nothing but a mouth—from the crown of his head to the soles of his feet.

O you who have lost the thread of the spirit and its guidance: that seemingly insignificant grain of wheat has become a net and a snare to entrap you.

Content yourself, then, with a loaf of dry barley; practice patient asceticism so that you do not taste the wheat of this world—that which beguiles the children of Adam.

For you are the heart’s messenger; do not become a follower of Satan. You are a royal lion; do not demean yourself to the station of a watchdog at the gates of this fleeting world.

The filth of sin cannot be washed from your skin and flesh until you first offer a repentance like Adam’s—one of submission and brokenness before God.

For apology and seeking forgiveness is the most fitting course of action for one who has fallen into sin; For Adam did not ascend to the highest spiritual stations except through the virtue of that act of contrition.

When Adam yielded to desire—following the incident of the fruit—he became a tenant and a tiller upon this earthly farm (the Earth) after his descent from Paradise.

Upon realizing that his craving for the fruit had been immature and illusory, he saw that it was he himself who had cast his soul into that snare.

He watered this withered rose—his own self—with the waters of tears and repentance, and pitched his tent and sanctuary upon the soil of Serendib (in Sri Lanka, the site of his descent from Paradise).

There, he withdrew, weeping and abashed—his face darkened with the shame of the sin he had committed—casting black earth and ashes upon his head in remorse and anguish.

For a time, he practiced the dyer’s trade in the land of India (Serendib)—using the blue-black dye from the vat of the heavens—while weeping and grieving over his sin.

In this fourth section (verses 43–56) of “Discourse One: On the Creation of Adam” (Dar Khilqat-e Ādami), the sage Nizami Ganjavi reaches the pinnacle of establishing the station of “Divine Vicegerency attained after repentance,” distinguishing between the “true human essence” and the “inert forms” that bear the human shape yet lack its true reality.

When his hands/feet were washed by the “Nile of the Sky” (the blue, dye-like tears of sorrow and repentance), the radiant blossoms of the Nile (the lotus) sprouted beneath his footsteps, signifying illumination and acceptance.

He became, in beauty and purity, like the radiant moon (likened to the Turk of Khata/China), concealing the trace of his sin beneath the cap of chastity and dignity.

When his heart acquired tenderness and purity through the waters of repentance, he assumed sovereignty over the earthly realms by virtue of the divine mandate of vicegerency (“Indeed, I will make upon the earth a successive authority”).

He planted the seed of faithfulness in the soil of justice and designated that spiritual harvest as an ongoing charity for us—his descendants.

Everything entrusted to him by the Keeper of Paradise—the treasures of knowledge—he deposited in its entirety within this chamber of six doors (the realm of matter and the six dimensions).

So, enjoy and benefit from this capital—O human. The profit and the spoils are yours; for the planting and the toil were his—Adam’s—while the harvest and the yield belong to you—the children of Adam.

The plaintive sigh of the oud arises from the sighs of the incense burner; and the arduous toil of the beast of burden serves to bring ease to the Maker of Worlds—such are the laws of causality amidst trial and grace.

From the moment your destiny was decreed and your affairs ordained—before your very existence and without any deed of your own—you were inscribed as a candidate for Divine Grace and Providence.

Be, then, a vessel of roses drifting upon the spring breeze, lest you become a withered thorn or a heavy anchor, burdening the flourishing garden.

And when you behold the autumn of the world, seek refuge in the sanctuary of the heart. For the waters of submission within the heart transform into an ember of longing that ignites the soul.

You bear the outward image of a lion, yet in truth, you lack the lion’s heart; though you possess a heart, you lack the courage of the righteous.

One may paint the image of a lion upon palace walls, yet were it struck a hundred times with a staff, it would not stir an inch—a symbol of lifeless forms devoid of reality.

The mantle of celestial majesty and pride does not befit you; you are a creature of dust—fashioned from clay—and nothing suits you but humility and submission.

Your star is steeped in ignominy and impotence; thus, your heart suffers a deficit of certainty, while your sorrow grows and overwhelms you.

In this fifth and final part (verses 57–70), the sage Nizami Ganjavi reaches the pinnacle of “ethics and mystical knowledge,” presenting a Sufi precept for liberating the soul from the prison of matter. The poet borrows the attributes of the four elements—fire, water, wind, and earth—to warn humanity against self-worship and the delusion of mere appearances. He concludes the piece with the ultimate turning point: fleeing from the created world to the Creator, and bowing in humble contrition before the succoring mercy of the Divine.

Otherwise, why would the exalted celestial sphere—itself a conqueror of cities and cosmos—have made a being like you a prisoner, bound within the confines of the city (the prison of the body)?

Be like a circle—prepared for service and obedience, with your center firmly anchored; and as you move within this sphere, walk with composure and gentleness, in harmony with the turning of the cosmos.

Harshness and reckless haste are the nature of fire; how beautiful it is, then, not to lag in your spiritual journey, but to rise far above its scorching flames.

Be like water—pure and ever-flowing—and move with lightness. For light, pure water is the most valuable and costly of all.

The essence of the body is measured by delicacy and transparency, while the value of the spirit is weighed by lightness and freedom from burdens.

The wind possesses a spirit of subtle grace as it wanders and swirls; yet you—burdened by your attachment to the material—are heavier and more immovable than Mount Qaf.

If you are not a deceptive, gaudy bloom or a harmful thorn, do not turn your face inward toward your own self—your ego—in shame and retreat, like the violet.

This polished abode—the entire realm of existence—reflects your face and your true nature; that is why your inner gaze turns back toward your own image.

And although you have become receptive to every limit and bodily form, yet—in your spiritual detachment—you have become free of all things, like sheer “nothingness.”

You are enamored with yourself, captivated by the forms and material phenomena of this world; that is why you hold a mirror in your hand, like one bewildered, gazing at your own reflection.

If you were to taste but a barley-grain’s worth of the salt of your own truth and purity, you would forsake this world—a realm devoid of salt, value, beauty, and purpose.

Renounce injustice and hasten toward faithfulness; for what true benefit does the created world hold for you? Turn away from creation, and let the Creator be your sole refuge.

Contemplate His benevolence and generosity, and act in accordance with that realization; acknowledge your sins and your own helplessness.

For when you breathe the air of modesty and humble contrition before the Creator, the grace of His saving divine mercy will overflow upon you.

Sufi and Gnostic Meanings

Allusions to the Quran and Hadith (Verses 4 and 5): The poet opens the poem on “Human” by emphasizing the honor of “Vicegerency” (khilafah)—referencing the verse “Indeed, I will make upon the earth a successive authority” (khalifah). He then cites the verse “And He taught Adam the names—all of them” (Al-Baqarah: 31) to demonstrate that human knowledge is not acquired through ordinary learning but is rather “divine knowledge (ladunni) implanted within the primordial divine nature (fitrah).” As for the honor accorded to “dust” in the phrase “He kneaded his clay” (khammara tinatahu), this alludes to the famous Hadith Qudsi: “I kneaded the clay of Adam with My own hands for forty mornings.”

The Duality of “Turbidity and Purity” and the Cosmic Balance (Verse 6): “That essence is both turbid and pure…” This verse lies at the heart of the poet’s discourse on the nature of human. Human beings embody a union of the “turbidity of clay” (the material world) and the “purity of the spirit” (the celestial realm/world of spirits). Yet, a human being is not merely a mixture; rather, they are the “touchstone” (by which values ​​are measured), the “gold” (the precious essence), and the “money-changer” (the discerning sage who knows their own true worth).

The mystery of the “forty-day-old infant” (Verse 12)—”the forty-day-old infant with the faltering tongue…”—is a profound mystical allusion. When the substance of man’s clay had fully matured over the course of forty mornings, he appeared outwardly as a novice in existence—stammering and unrefined of speech—yet the angels and the venerable elders gathered in his assembly to learn from him the Names that God had taught him.

The Honor of the “Perfect Human” (al-Insān al-Kāmil): The poet views the creation of Adam not merely as a temporal event, but as the fundamental purpose behind the existence of the cosmos; for through man, the Divine Names were manifested, and through him, all created beings were illuminated.

Depicting the body as both a “prison” and a “robe of honor”: “The presentation of the robe to the prisoners.” The earthen body is a prison for the soul; yet, this prison becomes a “robe of honor” when the human being transforms into a guardian of justice—upholding God’s equity on earth—and a cupbearer who serves the spiritual ones the wine of knowledge.

The Interpretation of the “Wheat Grain” and the Ontological Secret (Verses 23–25): In the exegetical and mystical traditions surrounding Makhzan al-Asrar (as interpreted by scholars like Sarvatian and Pournamdarian), Adam’s consumption of the wheat—representing the forbidden tree in Paradise—was not merely an act of succumbing to bodily desire; rather, it was an “ontological catalyst.” A longing was sown in Adam’s heart for the emergence of progeny and the manifestation of the Divine Names upon the earth; consequently, despite its vastness, Paradise became too confined without this realization.

The Alchemy of the “Millstone” and Spiritual Grinding (Verse 26): “Unless cast down, that hope would not sprout; unless shattered, it would not shine bright.” This verse stands as one of the poet’s greatest gems in articulating the “philosophy of adversity and the Descent.” For a grain of wheat, without being sown in the soil, yields no ear; and without the crushing grind between millstones, it does not transform into the pure white flour from which the “bread of life” is baked. Thus, the Descent was a prerequisite for refining the human essence and transitioning it from the state of potentiality to the state of actuality.

The Secret of “Jow-e Gandom-nama” (Verse 28): “Jow-e Gandom-nama” is a famous Persian idiom referring to one who displays wheat as a lure but sells barley deceptively (symbolizing the hypocrite or the deceitful world). The poet borrows this proverb to depict Adam’s struggle upon the earth, where one grapples with the dust to distinguish between “true wheat” (the light of Truth) and “disguised barley” (the glittering vanities of the world of clay).

The burning of Iblis and the scattering of Paradise: “A brand upon every petal and upon Iblis.” The angels’ prostration before Adam was like scattering roses upon the declaration of Divine Oneness; conversely, Iblis’s disobedience and arrogance left a searing, indelible mark upon his heart, for he looked only at Adam’s clay and failed to perceive the light of “And He taught Adam” dwelling within it.

Solitude, even in Iram—”In Iram, there is not a single moment of peace”—leads the poet to a Sufi truth: the heart that truly knows finds no repose in “Paradise” itself (Iram), but rather in the “Lord of Paradise.” Divine nearness is the ultimate goal; all else is but sunset and torment.

The Nakedness of the Wheat Grain and the Stripping Away of Garments (Line 29): “He left it naked, like the heart of a wheat grain.” Here, the poet employs a striking visual metaphor: when a grain of wheat is broken open, one finds no husk or covering within—its core is utterly bare. Similarly, when Adam ate from the tree, he was stripped of his “garment of light” and celestial dignity, leaving him to behold the nakedness of his human nature and his clay-bound form.

The Philosophy of the “Barley Loaf” and Asceticism (Line 34): “Break the barley loaf and remain patient…” The poet establishes a mystical dichotomy between “worldly wheat”—symbolizing the dazzling desires that beguile humanity—and the “barley loaf” (qurs-e jawin), a symbol of sufficiency and ascetic detachment. It is noted that the spiritual wayfarer cannot escape the trial of the “grain of wheat” unless he embraces the asceticism of the righteous.

The Secret of the “Land of Serendib” and the Ordeal of the “Nilgiri” (Verses 40–42): In Islamic exegetical traditions, Adam (peace be upon him) descended upon the land of “Serendib” (the island of Sri Lanka, near India), and the poet paints a deeply poignant portrait of Adam in Serendib; He likens him to a dyer who stains his garments with the color of “indigo” (a deep blue or black—the color of grief and mourning); Adam’s streaming tears were the very water that dyed his soul with the sorrow of repentance, ultimately becoming the means by which his plea for forgiveness was answered and his spiritual ascent achieved.

The Honor of “Apology and Repentance”: “Through that apology, Adam attained a lofty station.” For the mystics, repentance is not merely an act of contrition or brokenness; rather, it is a “second ascension.” Through apology and seeking forgiveness, Adam transformed the imperfection of sin into the perfection of servitude to the Divine, attaining the station of “Divine Selection” (as stated in the Quran: “Then his Lord chose him and turned to him in forgiveness and guided him”).

Human Dignity and the Rejection of Baseness: “Be a royal lion, not a watchdog at the gate.” The poet reminds man of his noble, angelic essence; it ill befits a spirit into which God’s own Spirit was breathed to debase itself before worldly desires or to become a dog guarding the world’s fleeting possessions.

The Transformation of Remorse into the Light of Vicegerency (Verses 43–45): The poet describes Adam’s purity following his repentance using exquisite, rare imagery; no sooner had he washed his hands of the indigo stain—symbolizing sorrow and remorse—than flowers sprouted where his feet had trod. He transitioned from the state of error to the station of “Turk-e Khata’i” (an embodiment of beauty and radiance akin to the moon); once his heart was softened by repentance, he attained the rank of “Vicegerency on Earth” (Indeed, I will make upon the earth a successive authority).

The secret of the “Hujra-ye Shish-dar” and the ordained provision (Verses 47–48): In Persian literature, the material world is referred to as “Hujra-ye Shish-dar” (the chamber of six doors or directions: above, below, front, back, right, and left). Adam deposited within this material vessel all the spiritual treasures bestowed upon him by the Keeper of Paradise, making their harvest and benefit a legacy for his descendants (the sowing is his, yet the yield belongs to you).

A critique of the “painted lion” and the image of a human devoid of true substance (verses 53–54): “The image of a lion, yet lacking a lion’s heart…” This is one of the poet’s most profound equations regarding the critique of the “outward human”; he likens those who claim perfection and courage—without possessing the corresponding inner reality—to “a lion painted on the wall of a palace” (a lion depicted on the palace wall). For this image—despite its imposing appearance—were it struck by a slender bamboo cane, it would neither stir nor ward off the blow, for it is devoid of a soul.

The inner spiritual realm within the sanctuary of the heart: “Find the path to the heart when you have witnessed the autumn…” When the autumns of the world rage and the leaves of material causes fall away, the seeker’s only refuge is to “withdraw into the realm of the heart”; for within the heart, the waters of patience and submission transform into an ember that consumes all save God.

Earthen humility and the rejection of arrogance: “The robes of the spheres do not befit you…” The poet reminds man that all spiritual ascent is contingent upon remembering one’s “earthen origin”; arrogance is a garment ill-suited to one fashioned from clay, whereas the humility of the earth is the very bed upon which the lights of mercy shine.

The Symbolism of the Elements and the Mirror (Verses 59–66): In this passage, the poet presents a rhetorical masterpiece critiquing “egotism” and the “worship of images” (surat-parast). Fire burns with recklessness, clear and light water elevates value, and the wind drifts with lightness; yet, the human being immersed in materialism becomes more base and heavier than Mount Qaf. When such a person holds the mirror of the cosmos, they do not see the Divine within it, but rather the image of their own ego.

The Secret of “Jow-e Sangi” and “Bi-namaki” (Verse 67): “Jow-e Sangi” is a metaphor for the weight of a barleycorn—representing an infinitesimal amount. As for “salt” (namak) in the poet’s work, it symbolizes charm, beauty, and spiritual blessing. The poet states: If a person were to taste but a single grain of the “salt of the spirit” latent within their inner self, they would find the worldly life insipid and withdraw from all its material flavors—which possess neither salt nor true taste (bi-namaki).

Conclusion: “Fleeing to God and Breathing the Air of Shame” (Verses 68–70): “What are created beings? Flee to God…” These three verses serve as the fitting culmination of the first discourse; the ultimate remedy for all the maladies of the material world lies in turning the heart away from created beings and seeking refuge in the Creator (“So flee to God”). When a person acknowledges their limitations and breathes with the modesty of bashfulness, divine mercy descends upon them like a life-saving rain.

Detachment from forms (az hameh chon hich mojarrad shodi): The poet views “absolute detachment” as the highest spiritual state. The spirit accepts the indwelling of forms, yet in its essence, it transcends all forms and unites with the Unseen.

Brokenness is the key to Divine Grace: For the Sufis, humility and the admission of incapacity are not signs of weakness; rather, they constitute the “gateway to honor.” Through brokenness, the wall of the ego crumbles, and Divine Grace manifests.

Words for Learning

Kitm-e ‘Adam: The concealment of non-existence; the realm of potentiality prior to creation.
Parizadagan: Angels and subtle spiritual beings.
Sayrafi: A money-changer or assayer who distinguishes pure gold from counterfeit.
Kizh-mizh zaban: One with a lisp or an indistinct way of speaking due to tender age.
Gulbun: A rosebush or flowering plant; the root/origin of the flower.
Karkiyayi: Sovereignty, sultanate, or supreme emirate.
Kimukht: Wrinkled, pebbled animal hide (a metaphor for the surface of the moon or weary skin).
Adim: The surface layer of the skin.
Khak-azmay: One who grapples with the soil or tests the hardships of the earth.
Jow-e gandom-namay: A seller [who displays wheat but sells barley—a metaphor for deception]. Barley that mimics wheat (a symbol of deception or worldly appearances)
Juwain disk: A barley bread loaf (a symbol of subsistence and asceticism)
Muqti‘: The tenant farmer or lessee working the land (a metaphor for human existence on earth)
Sarandib: The island of Sarandib (Sri Lanka—the site of Adam’s descent and repentance)
Rusiya: One with a blackened face (a metonym for shame and intense embarrassment over sin)
Nilgiri: The trade of dyeing with blue or black indigo (a symbol of grief and mourning)
Turk-i Khitayi: The Turk hailing from the land of Khitay (Northern China—an archetype of beauty, purity, and light)
Zulf-i Khata: A lock of hair (containing a play on words/ambiguity) Between khatā (the town/land) and khatā (error/sin)
Hujreh-ye shish-dar: The six-doored chamber (a metaphor for the material world and its six dimensions)
Dorūd: The harvest or reaping of crops (from the verb dorūdan)
Shīr-e naqsh-e sarāy: The lion depicted on the palace wall (a symbol of powerlessness and a static, superficial exterior)
Shahr-band: The prisoner or one confined within the city walls (a symbol of the soul’s confinement within the body)
Dāyireh-kardār: One with a girded waist / one ready for service (poised like a circle)
Khāneh-ye mosaqqal: The house polished like a mirror (a metaphor for the realm of existence)
Jow-e sanjī: The weight of a barley grain (a symbol of a minute quantity)
Bī-namakī: Lack of salt or… Absence of utility and true navigability.

Arabic Translation

“الْمَقَالَةَ الْأُولَى: فِي خَلْقِ الْإِنْسَانِ” (در خلقت آدمی)، وَهِيَ أُولَى الْمَقَالَاتِ الْعِشْرِينَ الَّتِي يُؤَسِّسُ فِيهَا الْحَكِيمُ نِظَامِي كَنْجَوِي لِـ “الْأَنْثُرُوبُولُوجْيَا الْإِلَهِيَّةِ” (علم الإنسان العرفاني)؛ حَيْثُ يَنْتَقِلُ مِنْ بَيَانِ التَّوْحِيدِ وَالْخَلَوَاتِ إِلَى كَشْفِ حَقِيقَةِ هَذَا الْمَخْلُوقِ الْأَعْظَمِ الَّذِي جُعِلَ خَلِيفَةً فِي الْأَرْضِ

فِي الْبَدْءِ، قَبْلَ أَنْ تَظْهَرَ عِبَادَةُ الْعِشْقِ الإلهي وَتَعَظُّمَهُ، وَقَبْلَ أَنْ تَتَرَدَّدَ فِي خَفَاءِ الْعَدَمِ أَصْدَاءُ صَوْتِ الْوُجُودِ

تَجَهَّزَ كَائِنٌ سَعِيدٌ وَمُقْبِلٌ (وَهُوَ آدَمُ/الْإِنْسَانُ) مِنْ غَيَاهِبِ الْعَدَمِ، فَأَقْبَلَ نَحْوَ صَحْنِ الْوُجُودِ وَفَتَحَ أَبْوَابَ التَّجَلِّي

وهُوَ آخِرُ طِفْلٍ وُلِدَ مِنْ زُمْرَةِ الْمَلَائِكَةِ وَالرُّوحَانِيِّينَ زَمَانًا، لَكِنَّهُ الأَسْبَقُ وَالْأَوَّلُ مَقَامًا بَيْنَ جَمِيعِ بَنِي الْبَشَرِ

ذَاكَ الَّذِي زُيِّنَ بِرَايَةِ الْخِلَافَةِ الْإِلَهِيَّةِ، وَالَّذِي كَانَ مَطْرُوحًا كَالرَّايَةِ فَوْقَ التُّرَابِ (طِينًا) ثُمَّ أنْتَصَبَ قَائِمًا سَامِيًا

وبعَلَّمَ آدَمَ الأسماء كُلها، هِيَ صِفَتُهُ الطَّاهِرَةُ الْمُنَزَّهَةُ، وَخَمَّرَ طِينَتَهُ الخَالق، هِيَ الشَّرَفُ وَالْكَرَامَةُ الَّتِي أُسْبِغَتْ عَلَى تُرَابِهِ

وهُوَ فِي جَوْهَرِهِ كَدِرٌ، وكذلك الصَفاء بروحِهِ؛ وَهُوَ الْمَحَكُّ (الْمِيزَانُ)، الذَّهَبُ (الْجَوْهَرُ)، وَالصَّيْرَفِيُّ (الْمُمَيِّزُ لِلْقِيمَةِ) فِي آنٍ وَاحِدٍ

فهو فِتْنَةُ الْحُسنِ الْفَريدة لِمَلَائِكَةِ الْسَماوات، وَالْمَولود الْفَرِيدُ من نَوعهِ، الَّذِي صَارَتْ حَقِيقَتُهُ مِرْآةً لِأَهْلِ التُّرَابِ

فسِوَارُهُ يُزَيِّنُ مِعْصَمَ الرُّوحِ جَلَالًا، وَمِعْصَمُهُ يَتَطَوَّقُ بِسِوَارٍ صِيغَ مِنَ السَماوات السَّبْع

فذَاكَ الَّذِي نَشَأَ بَيْنَ مَهْدَيْنِ (مَهْدِ الْجَسَدِ وَمَهْدِ الرُّوحِ / الْأَرْضِ وَالسَّمَاءِ)، وَمُزِجَ فِيهِ لُبُّ الْجَوْهَرَيْنِ

هُوَ الْهَدِيَّةُ وَالْخِلْعَةُ الشَّرِيفَةُ لِأُسَارَى سِجْنِ الْمَادَّةِ، وَهُوَ الْمُحْتَسِبُ (الْمُقِيمُ لِلْعَدْلِ) وَالسَّاقِي (الْمُفِيضُ لِلْحِكْمَةِ) لِأَهْلِ الرُّوحِ

فصَارَتْ أَقْصَى حُدُودِ الْخَلْقِ سُوقًا لِتِجَارَتِهِ الرُّوحِيَّةِ، وَصُرِفَتْ مَقادير الْقُدْرَةِ الْإِلَهِيَّةِ وَعَجَائِبُهَا فِي صُنْعِ أَطْوَارِهِ

على الرَغم من أنه طِفْلٌ لَمْ يَتَجَاوَزْ عُمْرُهُ أَرْبَعِينَ يَوْمًا يَلْثغ بكَلَامِهِ، لَكِنَّ الشَّيْخَ الْمُعَمَّرَ ابْنَ الْأَرْبَعِينَ سَنَةً يَجْلِسُ أَمَامَهُ لِيَتَعَلَّمَ مِنْهُ دَّرْسَ الحَياة

فَحُسنهُ قد خَطَّتْهُ يَدُ الْعِشْقِ الْأَزَلِيِّ، وَهو غَرْسَةُ وَرْدٍ قَادِمَةٌ مُبَاشَرَةً مِنْ رِيَاضِ الْجِنَانِ

وقَبَسُ نُورٍ مِنْ تِلْكَ الْعَيْنِ الْأَشَدِّ بَصَرًا وَإِحَاطَةً، وَطَائِرٌ هَبَطَ مِنْ أَعْلَى غُصْنٍ فِي شَجَرَةِ الْوُجُودِ

فِي هَذَا الْمَقْطَعِ، يَنْتَقِلُ الشاعر مِنْ بَيَانِ الشَّرَفِ الْأَوَّلِيِّ لِآدَمَ إِلَى كَشْفِ “فَلْسَفَةِ الْهُبُوطِ وَسِرِّ حَبَّةِ الْقَمْحِ”؛ حَيْثُ يُحَوِّلُ قِصَّةَ أَكْلِ الشَّجَرَةِ الْمَحْظُورَةِ مِنْ مُجَرَّدِ خَطِيئَةٍ ظَاهِرِيَّةٍ إِلَى “كِيمِيَاءَ رُوحِيَّةٍ وَرِيَاضَةٍ”؛ فَالْقَمْحَةُ لَا تَصِيرُ طَحِينًا أَبْيَضَ نَقِيًّا (روسپید) إِلَّا بَعْدَ أَنْ تُطْحَنَ بَيْنَ حَجَرَيِ الرَّحَى (الْأَرْضِ وَالْمَصَائِبِ)

مِنْ مائدةِ مَعْرِفَتِهِ صَارَتْ طُيُورُ الْفَلَكِ (الْمَلَائِكَةُ) تَلْتَقِطُ حَبَّ الْعُلُومِ، وَمِنْ أَجْلِ هَذَا الشَّرَفِ أنْحَنَتْ رُؤُوسُ الْجَمِيعِ خُضُوعًا لَهُ فَوْقَ التُّرَابِ

وبَيْنَمَا أَلْقَى اللهُ عَلَيْهِ كَرَمًا -بِإِزَاءِ حَبَّةٍ وَاحِدَةٍ- حُلَّةَ الْخِلَافَةِ، زِينَةَ كَذلك بالْكَرَامَةِ الْإِلَهِيَّةِ

فَوَقَعَ فِي شَبَكَةِ هَذِهِ الْحَبَّةِ (شَوْقًا وَإشْتِهَاءً)، لَكِنَّ شُكْرَه وَثَنَاءَهُ كَانَا دُونَ مَا يَلِيقُ بِعَظَمَةِ هَذِهِ النِّعْمَةِ

وَمِنْ أَجْلِ خَلْقِهِ، تَفَتَحَتْ أَبْوَابُ الدُّعَاءِ وَالتَّوَسُّلِ لِلْوُجُودِ، وَخَرَّتْ جَمِيعُ الْعَوَالِمِ لَهُ سَاجِدَةً إِعْظَامًا

فَعَلَى عَتَبَةِ ذَلِكَ الْإِنْسَانِ، الَّذِي أصبحَ قِبْلَةً لِكُلِّ بَصَرٍ، خَرَّ سَاجِدًا كُلُّ عَاشِقٍ حَائِرٍ وَمَجْنُونٍ مَشدوهاً بوَجْدِهِ

وَنَثَرَتِ السَبع الْجِنَانُ (السَماوات السَبع) أَنُوَارَهَا وَأَزْهَارَهَا إِجْلَالًا لَهُ، فَكَانَتِ الْأَزْهَارُ وَرْدًا لِلْمُقَرَّبِينَ، بَيْنَمَا كَانَتْ كَيًّا وَعَلامة حَارِقة عَلَى قَلْبِ إِبْلِيسَ

وَآدَمُ، بِلَا قُرْبِكَ يَا إِلَهِي، لَا يَجِدُ فِي جَسَدِهِ أَيَّ نَشَاطٍ، وَلَا يَسْتَرِيحُ نَفَسًا وَاحِدًا حَتَّى فِي رِيَاضِ جَنَّةِ إِرَمَ

فلَمْ يَكُنْ أدم يَمْلِكُ طَاقَةً لِلسَّلْطَنَةِ وَالْمُلْكِ الظَّاهِرِ؛ إِذْ لَمْ يَكُنْ لَهُ مَفَرٌّ أَوْ خَلَاصٌ مِنْ حُزن أَمْرِكَ، وَشَغَفِ مَحَبَّتِكَ

فأَحْرَقَتْ حَرَارَةُ حَبَّةِ الْقَمْحِ قَلبه (كَبِدَهُ، جَوهره)، فَانْشَقَّ نِصْفَيْنِ لَوْعَةً، كَمَا يَنْشَقُّ جَوْفُ حَبَّةِ الْقَمْحِ

وَمِنْ شِدَّةِ شَوْقِ أدم لِظُهُورِنَا (ظُهُورِ الذُّرِيَّةِ فِي عَالَمِ التَّرْكِيبِ)، كَانَ أَكْلُ الْقَمْحِ عِنْدَهُ هَيِّنًا لَا يُسَاوِي حَبَّةَ شَعِيرٍ أَمَامَ كُنْهِ هَذَا الشَّوْقِ

فهُوَ الَّذِي كَانَ كَحَبَّةِ الْقَمْحِ، بِلَا رَأْسٍ وَلَا قَدَمٍ (مُتَجَرِّدًا حَائِرًا)، وَلَمْ يَكُنْ لَهُ صَوْتٌ أَوْ نَشِيجٌ بِلَا تُرَابِ الْأَرْضِ (زراعة بذور الحياة) وَحَجَرِ الرَّحَى (التي تشق حبوب القمح لتُصبح طحيناً أبيض)

فَالذي لَمْ يُلْقُوهُ فِي التُّرَابِ (كَالْبَذْرَةِ) لَمْ تَنْبُتْ فِيهِ شَجَرَةُ الْأَمَلِ، وَالذي لَمْ يَطْحَنُوهُ وَيَكْسِرُوهُ بَيْنَ حَجَرَيِ الرَّحَى، لَمْ يَتحول إلى طَحِين أَبْيَضَ النَّوَاةِ

فَتحولت بَشَرَتُهُ صَفْرَاءَ كَالْقَشِّ (لَوْنَ الْقَمْحِ) حُزْنًا، وَظَهَرَتْ عَلَى جِلْدِهِ بَثَرَاتُ الْأَلَمِ كَأَنَّهَا حَبَّاتُ الشَّعِيرِ فَوْقَ جِلْدِ الْقَمَرِ الْمُجَعَّدِ

فأصَبح كَالشَّعِيرِ وَالْقَمْحِ يُعَافِرُ التُّرَابَ عْطَفًا، إحْتِرَاقًا فِي حُزنكَ، يَا مَنْ تَظْهَرُ كَالْقَمْحِ بَيْنَمَا حَقِيقَتُكَ كَالشَّعِيرِ (أَوْ هَذَا الْعَالَمُ الزَّائِفُ الَّذِي يَعْرِضُ الْقَمْحَ وَيَبِيعُ الشَّعِيرَ)

فِي هَذَا الْمَقْطَعِ الْمَلَكُوتِيِّ، يَنْتَقِلُ نِظَامِي كَنْجَوِي إِلَى كَشْفِ أَعْمَقِ مَرَاحِلِ “مَأْسَاةِ الْهُبُوطِ وَكِيمِيَاءِ التَّوْبَةِ”؛ حَيْثُ يَتَنَاوَلُ نَتَائِجَ أَكْلِ الْقَمْحَةِ الَّتِي سَلَبَتْ آدَمَ حُلَّةَ النُّورِ، ثُمَّ يَرْسُمُ طَرِيقَ النَّجَاةِ عَبْرَ “تَوْبَةِ آدَمَ فِي أَرْضِ سَرَنْدِيبَ”، حَيْثُ تَتَحَوَّلُ دُمُوعُ النَّدَمِ وَالِانْكِسَارِ إِلَى الصَّبْغِ النِّيلِيِّ الَّذِي يُطَهِّرُ أَدِيمَ الرُّوحِ

إِنَّ أَكْلَهُ لِتِلْكَ الْقَمْحَةِ الدَّنِيئَةِ (الَّتِي سَلَبَتْهُ مَقَامَ الْإِنْسَانِيَّةِ) جَرَّدَهُ مِنْ لِبَاسِ النُّورِ، فَصَارَ عَالِيًا وَعَارِيًا كَجَوْفِ حَبَّةِ الْقَمْحِ (الَّتِي لَا قِشْرَ فِي دَاخِلِهَا)

وَكُلُّ ذَلِكَ الْهَوَانِ الَّذِي لَقِيَهُ مِنْ غَدْرِ إِبْلِيسَ، كَانَ سَبَبُهُ سَذَاجَةَ قَلْبِهِ تُجَاهَ حَبَّةِ الْقَمْحِ الَّتِي أَغْوَتْهُ

فقَسْوَةُ حَبَّةِ الْقَمْحِ وَصَلَابَتُهَا نَاتِجَةٌ عَنْ جوهرها، وَصِغَرُ حَجْمِهَا كَانَ سَبَبًا فِي سَلْبِ الْعَقْلِ وَالطَّيَشِ

فَلَمَّا تَهَيَّأَ الْإِنْسَانُ (آدَمُ) لِأَكْلِهَا، أنْفَتَحَ كُلُّ كِيَانِهِ شَهْوَةً لَهَا، حَتَّى كَأَنَّهُ صَارَ فَمًا، مِنْ هَامَتِهِ إِلَى قَدَمَيْهِ

يَا مَنْ ضَاعَ مِنْكَ خَيْطُ الرُّوحِ وَهَدْيُهَا، قَدْ أَصْبَحَتْ حَبَّةُ الْقَمْحِ التي لا قيمة لها، شَبَكَةً وَفَخًّا لْإِقْتِنَاصِكَ

فَأكْتَفِ بِرَغِيفِ الشَّعِيرِ الْيَابِسِ، وَأصْبِرْ زُهْدًا، لِكَيْ لَا تَتَذَوَّقَ قَمْحَ الدُّنْيَا الَّذِي يَفْتِنُ الآدَمِيِّينَ

فأَنْتَ رَسُولُ الْقَلْبِ، فَلَا تَكُنْ تَابِعًا لِلشَّيْطَانِ، وَأَنْتَ لَيْثٌ مَلَكِيٌّ، فَلَا تَضَعْ نَفْسَكَ فِي مَقَامِ كَلْبِ الْحِرَاسَةِ عَلَى أَبْوَابِ الدُّنْيَا الفانية

فلَا يُمْكِنُ غَسْلُ دَنَسِ الْآثَامِ عَنْ جِلْدِكَ وَأَدِيمِكَ، حَتَّى تُؤَدِّيَ أَوْلًا مثل تَوْبَةَ آدَمَ الْأُولَى خُضُوعًا وَإنْكِسَارًا، لله

فَالإعْتِذَارُ وَالإسْتِغْفَارُ هُوَ الْأَلْيَقُ بِمَنْ وَقَعَ فِي الْخَطِيئَةِ؛ فَإِنَّ آدَمَ لَمْ يَرْتَقِ إِلَى الْمَقَامَاتِ الْعُلْيَا إِلَّا بِفَضْلِ ذَلِك الإعْتِذَارِ

وَحِينَمَا أنْقَادَ أدم لِلْهَوَى بَعْدَ تِلْكَ الْحَبَّةِ، أَصْبَحَ مُسْتَأْجِرًا وَمُزَارِعًا فِي هَذِهِ الْمَزْرَعَةِ التُّرَابِيَّةِ (الْأَرْضِ) (بعد هبوطهِ من الجنةِ)

فَلَمَّا أَبْصَرَ أَنَّ طَمَعَهُ فِي الْحَبَّةِ كَانَ طَمَعًا غير ناضج، و زَائِف، وَجَدَ أَنَّهُ هُوَ الَّذِي أَلْقَى بِذَاتِهِ فِي هَذَا الشَّرَكِ

فَسَقَى هَذِهِ الْوَرْدَةَ الذَّابِلَةَ (نَفْسَهُ) بِمَاءِ الدُّمُوعِ وَالتَّوْبَةِ، وَنَصَبَ خَيْمَتَهُ وَمِحْرَابَهُ فِي أَرْضِ سَرَنْدِيبَ (في سِريلانْكا/ موقع هبوط أدم من الجنةِ)

فَتوارى هُنَاكَ بَاكِيًا خَجِلًا (مُسْوَدَّ الْوَجْهِ حَيَاءً مِنَ الذَّنْبِ الذي أقترفه)، وَحَثَ التُّرَابَ الْأَسْوَدَ وَالرَّمَادَ عَلَى رَأْسِهِ نَدَمًا وَحَسْرَةً

وَظَلَّ لِفَتْرَةٍ مِنَ الزَّمَنِ، بِمَاءِ الصَّبْغِ الْأَزْرَقِ/الْأَسْوَدِ مِنْ دَنِّ السَّمَاءِ، يُمَارِسُ مِهْنَةَ الصَّبَّاغِ فِي بِلَادِ الْهِنْدِ (سَرَنْدِيبَ)، بُكَاءً وَحُزْنًا بسبب ذَنْبِهِ

فِي هَذَا الْجُزْءِ الرَّابِعِ (الْأَبْيَاتُ ٤٣-٥٦) مِنْ “الْمَقَالَةِ الْأُولَى: فِي خَلْقِ الْإِنْسَانِ” (در خلقت آدمی)، يَصِلُ الْحَكِيمُ نِظَامِي كَنْجَوِي إِلَى الذِّرْوَةِ فِي تَأْسِيسِ مَقَامِ “الْخِلَافَةِ الْإِلَهِيَّةِ بَعْدَ التَّوْبَةِ”، مُمَيِّزًا بَيْنَ “الْجَوْهَرِ الْإِنْسَانِيِّ الْحَقِيقِيِّ” وَبَيْنَ “الصُّوَرِ الْجَامِدَةِ” الَّتِي تَحْمِلُ شَكْلَ الْإِنْسَانِ دُونَ حَقِيقَتِهِ

فَلَمَّا غُسِلَتْ يَدَاهُ أَوْ قَدَمَاهُ مِنْ نِيلِ السَّمَاءِ (دُمُوعِ الصِّبْغِ الْأَزْرَقِ لِلْحُزْنِ وَالتَّوْبَةِ)، نَبَتَتْ أَنْوَارُ زُهُورِ النِّيلِ (الْلَّوتَسِ) تَحْتَ مَوْطِئِ أَقْدَامِهِ إِشْرَاقًا وَقَبُولًا

فَأصبح في الحُسن والنَقاء كالقَمر المُنير (كالتُّرْكِيِّ من بلاد الخَتا/الصين)، ومُخْفِيًا خِصْلَةَ خَطِيئَتِهِ تَحْتَ قَلَنْسُوَةِ الْعَفَافِ وَالْوَقَارِ

فَلَمَّا أكْتَسَبَ قَلْبُهُ الرِّقَّةَ وَالصَّفَاءَ بِمَاءِ التَّوْبَةِ، تَسَلَّمَ مُمَالِكِ الْأَرْضِ سُلْطَانًا بِعَهْدِ الْخِلَافَةِ الْإِلَهِيَّةِ (إني جاعل في الأرضِ خَليفة)

فَغَرَسَ بَذْرَةَ الْوَفَاءِ فِي تُرْبَةِ الْعَدْلِ، وَكَتَبَ وَقْفِيَّةَ تِلْكِ الْمَزْرَعَةِ الرُّوحِيَّةِ صَدَقَةً جَارِيَةً لَنَا (ذُرِّيَّتَهُ)

وَكُلُّ شَيء أَوْدَعَهُ خَازِنُ الْجِنَانِ، مِنْ كُنُوزِ الْمَعْرِفَةِ، وَضَعَهُ بِكَمَالِهِ فِي هَذِهِ الْحُجْرَةِ ذَاتِ الْأَبْوَابِ السِّتَّةِ (عَالَمِ الْمَادَّةِ وَالْأَبْعَادِ السِّتَّةِ)

فَتَمَتَّعْ وَأنْتَفِعْ بِهَذَا الرَّأْسِمَالِ (الإنسان)؛ فَالرِّبْحُ وَالْغَنِيمَةُ لَكَ، إِذْ كَانَ الْغَرْسُ وَالْجُهْدُ عَلَيْهِ هُوَ (أدم)، وَالْحَصَادُ وَالْجَنَى لَكَ أَنْتَ (بني أدم)

وإِنَّ أَنِينَ الْعُودِ صَادِرٌ عَنْ زَفَرَاتِ الْمِبْخَرَةِ، وَمَشَقَّةَ كَدِّ الْحيوانِ، هِيَ جَلْبٌ لِلرَّاحَةِ لِصَانِعِ الْأَكْوَافِ (سُنَنُ الْأَسْبَابِ فِي الْمِحْنَةِ وَالْمَنَحَةِ)

وَمُنْذُ أَنْ قُضِيَ أَمْرُكَ وَتَمَّ تَدْبِيرُ شَأْنِكَ قَبْلَ وُجُودِكَ (بِلَا عَمَلٍ مِنْكَ)، كَتَبُوكَ مُرَشَّحًا لِلُطْفِ الْإِلَهِيِّ وَالْعِنَايَةِ

فَكُنْ سَفِينَةً مِنَ الْوَرْدِ تَمُوجُ مَعَ نَسِيمِ الرَّبِيعِ، لِئَلَّا تَصِيرَ كَشَّوْكَةِ يَابِسَةِ، ومِرْسَاةً ثَقِيلَةً، تُثْقِلُ صَحْنَ الْبُسْتَانِ المُزدهر

وَإِذَا أَبْصَرْتَ خَرِيفَ الدُّنْيَا، فَالْتَجِئْ إِلَى مِحْرَابِ الْقَلْبِ؛ فَإِنَّ مَاءَ التَّسْلِيمِ فِي الْقَلْبِ يَتَحَوَّلُ إِلَى جَذْوَةِ شَوْقٍ تُشْعِلُ الرُّوحَ

فأنتَ تَمْلِكُ صُورَةَ الْأَسَدِ فِي ظَاهِرِكَ، لَكِنَّكَ لَا تَمْلِكُ قَلْبَ الْأَسَدِ، في حَقيقتكَ، وَرَغْمَ أَنَّ لَدَيْكَ قَلْبًا، إِلَّا أَنَّكَ تَفْتَقِرُ إِلَى شَجَاعَةِ الْأَبْرَارِ

فيُمْكِنُ رَسْمُ صُورَةِ أسدٍ عَلَى جُدْرَانِ الْقُصُورِ، لَكِنَّهَا لَوْ ضُرِبَتْ بِمِائَةِ عَصًا لَنْ تَتَحَرَّكَ قَيْدَ أُنْمُلَةٍ (رَمْزُ الْأَشْكَالِ الْجَامِدَةِ بِلَا حَقِيقَةٍ)

إِنَّ خِلْعَةَ الْسماواتِ وَالْكِبْرِيَاءِ لَا تَلِيقُ بِكَ؛ فَأَنْتَ كَائِنٌ تُرَابِيٌّ (خُلقت من طينٍ)، وَلَا يَصْلُحُ لَكَ إِلَّا التَّوَاضُعُ وَالْخُضُوعُ

فإِنَّ نَجْمَ طَالِعِكَ غَارِقٌ فِي الْمَهَانَةِ وَالْعَجْزِ؛ فَصَارَ قَلْبُكَ فِي نَقْصٍ مِنَ الْيَقِينِ، بَيْنَمَا حزنكَ فِي زِيَادَةٍ وَطُغْيَانٍ

فِي هَذَا الْجُزْءِ الْخَامِسِ وَالْأَخِيرِ (الْأَبْيَاتُ ٥٧-٧٠)، يَصِلُ الْحَكِيمُ نِظَامِي كَنْجَوِي إِلَى ذِرْوَةِ “الْأَخْلَاقِ وَالْمَعْرِفَةِ الْعِرْفَانِيَّةِ”؛ حَيْثُ يُقَدِّمُ دُسْتُورًا صُوفِيًّا لِتَحْرِيرِ الرُّوحِ مِنْ سِجْنِ الْمَادَّةِ. يَسْتَعِيرُ الشاعر خَصَائِصَ الْعَنَاصِرِ الْأَرْبَعَةِ (النَّارِ، الْمَاءِ، الرِّيحِ، وَالتُّرَابِ) لِيُحَذِّرَ الْإِنْسَانَ مِنْ “عِبَادَةِ الذَّاتِ” وَ”الإغْتِرَارِ بِالصُّوَرِ”، وَيَخْتِمُ الْمَقَالَةَ بِالْمَفْزَعِ الْأَعْظَمِ: “الْفِرَارِ مِنَ الْخَلْقِ إِلَى الْخَالِقِ” وَالِانْكِسَارِ الْخَجَلِ أَمَامَ الرَّحْمَةِ الْإِلَهِيَّةِ الْمُغِيثَةِ

وإِلَّا، فَلِمَاذَا جَعَلَ الْفَلَكُ الْعَالِي (كَائِنًا فَاِتِحًا لِلْمُدُنِ وَالْأَكْوَانِ) مِثْلَكَ سَجِينًا وَمُقَيَّدًا دَاخِلَ حُدُودِ الْمَدِينَةِ (سِجْنِ الْجَسَدِ)؟

فكُنْ كَالدَّائِرَةِ مُتَهَيِّئًا لِلْخِدْمَةِ وَالطَّاعَةِ (مَشْدُودَ الْوَسَطِ)، وَإِذْ تَعِيشُ فِي هَذَا الْفَلَكِ فَأمْشِ بِتُؤَدَةٍ وَرِفْقٍ مَعَ دَوَرَانِ الْفَلَكِ

إِنَّ الشِّدَّةَ وَالسُّرْعَةَ الطَّائِشَةَ هِيَ صَنْعَةُ النَّارِ، وَمَا أَجْمَلَ أَلَّا تَتَأَخَّرَ عَنْ سَيْرِكَ الرُّوحِيِّ وَتَكُونَ أَكْثَرَ تَسَامِيًا مِنْ ضِرَامِتهَا

وكُنْ كَالْمَاءِ صَفَاءً وَجرياناً وَسْرِ بِخِفَّةٍ؛ فَإِنَّ الْمَاءَ الْخَفِيفَ النَّقِيَّ هُوَ الْأَعْلَى قِيمَةً وَأَغْلَى ثَمَنًا

وإِنَّ جَوْهَرَ الْجَسَدِ، إِنَّمَا يُقَاسُ بِالرِّقَّةِ وَالشَّفَافِيَّةِ، وَإِنَّ قِيمَةَ الرُّوحِ إِنَّمَا تُوزَنُ بِالْخِفَّةِ وَالتَّحَرُّرِ مِنَ الْأَثْقَالِ

وإِنَّ الرِّيحَ لَطِيفَةُ الرُّوحِ فِي طَوَافِهَا وَدَوَرَانِهَا، بَيْنَمَا أَنْتَ -فِي ثِقَلِ تَعَلُّقِكَ بِالْمَادَّةِ- أَشَدُّ ثِقَلًا وَثَبَاتًا مِنْ جَبَلِ قَافَ

وإِذَا لَمْ تَكُنْ مُخَادِعًا زَاهِيَ الْأَلْوَانِ وَمُؤْذِيًا كَالشَّوْكِ، فَلَا تُدِرْ وَجْهَكَ نَحْوَ ذَاتِكَ (أَنَانِيَّتِكَ) خَجَلًا وَنُكُوسًا كَالْبَنَفْسَجِ

وإِنَّ هَذَا الْبَيْتَ الْمُصَقَّولَ (عَالَمَ الْوُجُودِ) بِأَسْرِهِ يَعْكِسُ وَجْهَكَ وَحَقِيقَتَكَ، وَلِهَذَا السَّبَبِ تَرْتَدُّ بَصَائِرُكَ نَحْوَ صُورَتِكَ

وعَلَى الرَّغْمِ مِنْ أَنَّكَ صِرْتَ قَابِلًا لِكُلِّ حَدٍّ وَصُورَةٍ جَسَدِيَّةٍ، إِلَّا أَنَّكَ -فِي تَجَرُّدِكَ الرُّوحِيِّ- صِرْتَ خَالِيًا عَنِ الْكُلِّ كَـ (لَا شَيْءٍ) مَحض

وأَنْتَ عَاشِقٌ لِذَاتِكَ وَمَفْتُونٌ بِالصُّوَرِ وَالظَّوَاهِرِ المادية في الدُنيا؛ وَلِهَذَا السَّبَبِ تُمْسِكُ بِيَدِكَ مِرْآةً كالْحَائِرِ، لِتَتَأَمَّلَ نَفْسَكَ

فلَوْ تَذَوَّقْتَ مِقْدَارَ حَبَّةِ شَعِيرٍ مِنْ مِلْحِ حَقِيقَتِكَ وَصَفَائِكَ، لتخليتَ عَنْ هَذَا الْعَالَمِ الْخَالِي مِنَ الْمِلْحِ (لاقيمة له ولاجَمال) وَالْفَائِدَةِ

فتَخلى عن الظُّلْمَ، وَبادر بالذَهابِ نحو الوفَاءِ؛ فمَا فائدة الْخَلْقُ بالنسبة لكَ؟ تَخلى عن الخَلقِ، وليكن ملاذكَ الوَحيد هو الْخَالِقِ

فأنْظُرْ إِلَى إِحْسَانِهِ وَجُودِهِ وَأعْمَلْ بِمُقْتَضَاهُ، وَأعْتَرِفْ بِذُنُوبِكَ وَعَجْزِ نَفْسِكَ

فَعِنْدَمَا تَتَنَفَّسُ أَنْفَاسَ الْحَيَاءِ وَالإنْكِسَارِ خَجَلًا أمام الخالق، سيَفِيضُ عَلَيْكَ الْفَضْلُ مِنَ الرَّحْمَةِ الْإِلَهِيَّةِ الْمُغِيثَةِ

المعاني الصوفية والعرفانية

التَّلْمِيحَاتُ الْقُرْآَنِيَّةُ وَالْحَدِيثِيَّةُ (الْبَيْتَانِ ٤ وَ٥): يَسْتَفْتِحُ الشاعر مَنْظُومَةَ الْإِنْسَانِ بِالتَّأْكِيدِ عَلَى شَرَفِ “الْخِلَافَةِ” (إِنِّي جَاعِلٌ فِي الْأَرْضِ خَلِيفَةً)؛ ثُمَّ يَسْتَشْهِدُ بِآيَةِ وَعَلَّمَ آدَمَ الْأَسْمَاءَ كُلَّهَا (البقرة: 31) لِيُبَيِّنَ أَنَّ عِلْمَ الْإِنْسَانِ لَيْسَ عِلْمًا كَسْبِيًّا بَلْ هُوَ “عِلْمٌ لَدُنِّيٌّ مَغْرُوسٌ فِي الْفِطْرَةِ الإلهية”، و أَمَّا شَرَفُ التُّرَابِ فِي «خَمَّرَ طِينَتَهُ»، فَهُوَ تَلْمِيحٌ لِلْحَدِيثِ الْقُدْسِيِّ الشَّهِيرِ: “خَمَّرْتُ طِينَةَ آدَمَ بِيَدَيَّ أَرْبَعِينَ صَبَاحًا”

ثُنَائِيَّةُ “الْكَدَرِ وَالصَّفَاءِ” وَالْمِيزَانِ الْكَوْنِيِّ (الْبَيْتُ ٦): “آن به گهر هم کدر و هم صفی…”؛ هَذَا الْبَيْتُ هُوَ لُبُّ كَلَامِ الشاعر عَنْ طَبِيعَةِ الْإِنْسَانِ؛ فَالْإِنْسَانُ يَجْمَعُ بَيْنَ “كَدَرِ الطِّينِ” (العَالَمِ الْمَادِّيِّ) وَ”صَفَاءِ الرُّوحِ” (العَالَمِ الْعُلْوِيِّ/عالم الأرواح). لَكِنَّ الْإِنْسَانَ لَيْسَ مُجَرَّدَ خَلِيطٍ، بَلْ هُوَ “الْمَحَكُّ” (الَّذِي تُقَاسُ بِهِ الْقِيَمُ)، وَ”الذَّهَبُ” (الْجَوْهَرُ الثَّمِينُ)، وَ”الصَّيْرَفِيُّ” (الْعَالِمُ النَّاقِدُ الَّذِي يَعْرِفُ مِقْدَارَ نَفْسِهِ)

سِرُّ “الطِّفْلِ ابْنِ الْأَرْبَعِينَ يَوْمًا” (الْبَيْتُ ١٢): “طفل چهل‌روزه کژمژ‌زبان…”؛ هَذِهِ إِشَارَةٌ عِرْفَانِيَّةٌ بَلِيغَةٌ؛ فَالْإِنْسَانُ حِينَمَا اكْتَمَلَ خَمِيرُ طِينَتِهِ فِي الْأَرْبَعِينَ صَبَاحًا (چهل‌روزه)، بَدَأ فِي ظَاهِرِهِ حَدِيثَ الْعَهْدِ بِالْوُجُودِ (کژمژ‌زبان)، لَكِنَّ الْمَلَائِكَةَ وَالشُّيُوخَ الْكِبَارَ (پیر چهل‌ساله) قَعَدُوا فِي مَحْفَلِهِ لِيَتَعَلَّمُوا مِنْهُ الْأَسْمَاءَ الَّتِي عَلَّمَهُ اللهُ إِيَّاهَا

شَرَفُ “الْإِنْسَانِ الْكَامِلِ“: يَرَى الشاعر أَنَّ خَلْقَ آدَمَ لَمْ يَكُنْ حَادِثًا زَمَنِيًّا فَحَسْبُ، بَلْ كَانَ “الْغَايَةَ الْأُصُولِيَّةَ مِنْ وُجُودِ الْكَوَّنِ”؛ فَبِالْإِنْسَانِ ظَهَرَتِ الْأَسْمَاءُ الْإِلَهِيَّةُ، وَبِهِ أسْتَنَارَتِ الْمَخْلُوقَاتُ

تَصْوِيرُ الْجَسَدِ كَـ “سِجْنٍ” وَ”خِلْعَةٍ”: “پیشکش خلعت زندانیان”؛ الْجَسَدُ الطِّينِيُّ هُوَ سِجْنٌ لِلرُّوحِ، لَكِنَّ هَذَا السِّجْنَ يُصْبِحُ “خِلْعَةَ شَرَفٍ” عِنْدَمَا يَتَحَوَّلُ الْإِنْسَانُ إِلَى مُحْتَسِبٍ يُقِيمُ عَدْلَ اللهِ فِي الْأَرْضِ وَسَاقٍ يَسْقِي الرُّوحَانِيِّينَ خَمْرَةَ الْمَعْرِفَةِ

تَأْوِيلُ “حَبَّةِ الْقَمْحِ” وَالسِّرِّ الْأَنْتُولُوجِيِّ (الْأَبْيَاتُ ٢٣-٢٥): فِي التَّقَالِيدِ التَّفْسِيرِيَّةِ وَالْعِرْفَانِيَّةِ لِشُرَّاحِ مخزن الاسرار (مِثْلَ ثَرْوَتِيَانَ وَبُورْنَامْدَارِيَانَ)، لَمْ يَكُنْ أَكْلُ آدَمَ لِلْقَمْحِ (گندم خوردن) الشَّجَرَةَ الْمَحْظُورَةَ فِي الْجَنَّةِ مُجَرَّدَ إنْقِيَادٍ لِلشَّهْوَةِ الْبَدَنِيَّةِ؛ بَلْ كَانَ “مُحَرِّكًا أَنْتُولُوجِيًّا”. لَقَدْ زُرِعَ فِي قَلْبِ آدَمَ الشَّوْقُ لِظُهُورِ الذُّرِيَّةِ وَتَجَلِّي الْأَسْمَاءِ فِي الْأَرْضِ (ز آرزوی ما که شده نو بر او)، فَصَارَتِ الْجَنَّةُ عَلَى سَعَتِهَا ضَيِّقَةً بِدون هَذَا التَّحَقُّقِ

كِيمِيَاءُ “حَجَرِ الرَّحَى” وَالطَّحْنِ الرُّوحِيِّ (الْبَيْتُ ٢٦): “تا نفکندند نرُست آن امید / تا نشکستند نشد روسپید”؛ هَذَا الْبَيْتُ مِنْ أَعْظَمِ دُرَرِ الشاعر فِي بَيَانِ “فَلْسَفَةِ الْمَصَائِبِ وَالْهُبُوطِ”؛ فَالْقَمْحَةُ بِلَا زَرْعٍ فِي التُّرَابِ لَا تُعْطِي سُنْبُلَةً، وَبِلَا طَحْنٍ كَاسِرٍ بَيْنَ حَجَرَيِ الرَّحَى لَا تَتَحَوَّلُ إِلَى دَقِيقٍ أَبْيَضَ نَقِيٍّ يُخْبَزُ مِنْهُ خُبْزُ الْحَيَاةِ (روسپید)، و الْهُبُوطُ كَانَ شَرْطًا لِتَصْفِيَةِ الْجَوْهَرِ الْإِنْسَانِيِّ وَانْتِقَالِهِ مِنْ مَقَامِ الْقَابِلِيَّةِ إِلَى مَقَامِ الْفِعْلِيَّةِ

سِرُّ “جُوِ گَنِدُوم‌نَمَاى” (الْبَيْتُ ٢٨): “جوِ گندم‌نما” مَثَلٌ شَهِيـرٌ فِي الْأَدَبِ الْفَارِسِيِّ يُطْلَقُ عَلَى مَنْ يَعْرِضُ الْقَمْحَ زِينَةً وَيَبِيعُ الشَّعِيرَ زَيْفًا (الْمُرَائِي أَوْ الدُّنْيَا الْخَادِعَةُ)، والشاعر يَسْتَعِيرُ هَذَا الْمَثَلَ لِيُصَوِّرَ صِرَاعَ آدَمَ فِي الْأَرْضِ؛ حَيْثُ يُعَافِرُ التُّرَابَ لِيُمَيِّزَ بَيْنَ “الْقَمْحِ الْحَقِيقِيِّ” (نُورِ الْحَقِّ) وَبَيْنَ “الشَّعِيرِ الْمُمَوَّهِ” (زَخَارِفِ عَالَمِ الطِّينِ)

إحْتِرَاقُ إِبْلِيسَ وَنَثْرُ الْجِنَانِ: “بر همه گلبرگ و بر ابلیس داغ”؛ سُجُودُ الْمَلَائِكَةِ لِآدَمَ كَانَ نَثْرًا لِلْوَرْدِ عَلَى كَلَامِ التَّوْحِيدِ، بَيْنَمَا كَانَ عِصْيَانُ إِبْلِيسَ وَإسْتِكْبَارُهُ كَيًّا وَأثر باقٍ فِي قَلْبِهِ؛ لِأَنَّهُ نَظَرَ إِلَى طِينَةِ آدَمَ وَلَمْ يَرَ نُورَ “وَعَلَّمَ آدَمَ” الموجود فِيهَا

الْعُزْلَةُ حَتَّى فِي إِرَمَ: “در ارمش یک‌نفس آرام نی”؛ يَاخُذُ الشاعر مِنْ هَذَا الشَّاهِدِ حَقِيقَةً صُوفِيَّةً: الْقَلْبُ الْعَارِفُ لَا يَجِدُ رَاحَتَهُ فِي “الْجَنَّةِ” بِذَاتِهَا (إِرَمَ)، بَلْ فِي “صَاحِبِ الْجَنَّةِ”؛ فَالْقُرْبُ الْإِلَهِيُّ هُوَ الْمَطْلُوبُ، وَسِوَاهُ غُرُوبٌ وَعَذَابٌ

عَارِيَةُ الْقَمْحَةِ وَتَجْرِيدُ اللِّبَاسِ (الْبَيْتُ ٢٩): “کرده برهنه چو دلِ گندمش”؛ يَسْتَخْدِمُ الشاعر هُنَا مَلْحَمَةً بَصَرِيَّةً؛ فَحَبَّةُ الْقَمْحِ إِذَا كُسِرَتْ لَا تَجِدُ فِي جَوْفِهَا قِشْرًا أَوْ غِلَافًا (جَوْفُهَا عَارٍ مَحْضٌ)، و كَذَلِكَ آدَمُ، حِينَمَا أَكَلَ مِنَ الشَّجَرَةِ، سُلِبَتْ عَنْهُ “حُلَّةُ النُّورِ” وَالْكَرَامَةِ الْمَلَكُوتِيَّةِ، فَأَبْصَرَ سَوْآتِ بَشَرِيَّتِهِ وَعُرْيَهُ الطِّينِيَّ

فَلْسَفَةُ “رَغِيفِ الشَّعِيرِ” وَالزُّهْدِ (الْبَيْتُ ٣٤): “قرصِ جوین می‌شکن و می‌شکیب…”؛ يَضَعُ الشاعر ثُنَائِيَّةً عِرْفَانِيَّةً بَيْنَ “قَمْحِ الدُّنْيَا” (رَمْزِ الشَّهَوَاتِ الْبَرَّاقَةِ الَّتِي تَفْتِنُ الْإِنْسَانَ) وَبَيْنَ “رَغِيفِ الشَّعِيرِ” (قرص جوین – رَمْزِ الْكَفَافِ وَالزُّهْدِ). إِشَارَةً إِلَى أَنَّ السَّالِكَ لَا يَسْلَمُ مِنْ فِتْنَةِ “الْقَمْحَةِ” إِلَّا إِذَا أرْتَضَى بِزُهْدِ الصَّالِحِينَ

سِرُّ “أَرْضِ سَرَنْدِيبَ” وَمِهْنَةُ “نِّيلِگرِى” (الْأَبْيَاتُ ٤٠-٤٢): فِي التَّقَالِيدِ التَّفْسِيرِيَّةِ الإِسْلَامِيَّةِ، هَبَطَ آدَمُ عَلَيْهِ السَّلَامُ فِي أَرْضِ “سَرَنْدِيبَ” (جَزِيرَةِ سِريلانْكا قُرْبَ الْهِنْدِ)، و يَرْسُمُ الشاعر لَوْحَةً بَالِغَةَ الشَّجَنِ لِآدَمَ فِي سَرَنْدِيبَ؛ إِذْ يَجْعَلُهُ كَالصَّبَّاغِ (نیل‌گر) الَّذِي يَصْبَغُ ثِيَابَهُ بِلَوْنِ “النِّيلِ/نيلي” (الْأَزْرَقِ الْقَاتِمِ أَوْ الْأَسْوَدِ – لَوْنِ الْحُزْنِ وَالْمَأْتَمِ)، و دُمُوعُ آدَمَ الْمُنْهَمِرَةُ كَانَتْ هِيَ الْمَاءَ الَّذِي صَبَغَ نَفْسَهُ بِحُزْنِ التَّوْبَةِ، حَتَّى صَارَتْ تِلْكَ الدُّمُوعُ سَبَبًا فِي إسْتِجَابَةِ إعْتِذَارِهِ وَإرْتِقَائِهِ

شَرَفُ “الإعْتِذَارِ وَالتَّوْبَةِ”: “کآدم از آن عُذر به جایی رسید”؛ التَّوْبَةُ عِنْدَ أَهْلِ الْبَاطِنِ لَيْسَتْ مُجَرَّدَ إنْكِسَارٍ، بَلْ هِيَ “مِعْرَاجٌ ثَانٍ”؛ فَبِالإعْتِذَارِ وَالإسْتِغْفَارِ حَوَّلَ آدَمُ نَقْصَ الْخَطِيئَةِ إِلَى كَمَالِ الْعُبُودِيَّةِ، وَنَالَ مَقَامَ “الإجْتِبَاءِ” (ثُمَّ اجْتَبَاهُ رَبُّهُ فَتَابَ عَلَيْهِ وَهَدَى)

الْعِزَّةُ الْإِنْسَانِيَّةُ وَرَفْضُ الدَّنَاءَةِ: “شیرِ امیری، سگِ دربان نباش”؛ يُذَكِّرُ الشاعر الْإِنْسَانَ بِجَوْهَرِهِ الْمَلَكِيِّ؛ فَالرُّوحُ الَّتِي نُفِخَ فِيهَا مِنْ رُوحِ اللهِ لَا يَحْسُنُ بِهَا أَنْ تَتَذَلَّلَ لِأَهْوَاءِ الدُّنْيَا أَوْ تَصِيرَ كَلْبًا يَحْرُسُ مَتَاعَهَا الزَّائِلَ

إنْقِلَابُ النَّدَمِ إِلَى نُورِ الْخِلَافَةِ (الْأَبْيَاتُ ٤٣-٤٥): يَصِفُ الشاعر طَهَارَةَ آدَمَ بَعْدَ التَّوْبَةِ بِلَغَةٍ جَمَالِيَّةٍ نَادِرَةٍ؛ فَمَا إِنْ غَسَلَ يَدَيْهِ مِنْ صِبْغِ النِّيلِة (الْحُزْنِ وَالنَّدَمِ)، حَتَّى نَبَتَتِ الزُّهُورُ فِي مَوَاطِئِ أَقْدَامِهِ (نیل‌گیا در قدمش رُسته شد). وَتَحَوَّلَ مِنْ مَقَامِ الْخَطَأِ إِلَى مَقَامِ “تُرْک خَتَايِى” (مَثَلِ الْحُسْنِ وَالْبَهَاءِ كَالْقَمَرِ)، وَلَمَّا لَطُفَ قَلْبُهُ بِالتَّوْبَةِ نَالَ مَنَاصِبَ “الْخِلَافَةِ فِي الْأَرْضِ” (إِنِّي جَاعِلٌ فِي الْأَرْضِ خَلِيفَةً)

سِرُّ “حُجْرَه شِشْ‌دَر” وَالْمُؤْنَةِ الْمَكْتُوبَةِ (الْأَبْيَاتُ ٤٧-٤٨): يُطْلَقُ فِي الْأَدَبِ الْفَارِسِيِّ عَلَى الْعَالَمِ الْمَادِّيِّ اسْمُ “حُجْرِهٔ شِشْ‌دَر” (الْحُجْرَةِ ذَاتِ الْأَبْوَابِ أَوْ الْجِهَاتِ السِّتِّ: الْأَعْلَى، الْأَسْفَل، الْأَمَام، الْخَلْف، الْيَمِين، وَالْيَسَار). حيث أَوْدَعَ آدَمُ فِي هَذِهِ الْحُجْرَةِ الْمَادِّيَّةِ كُلَّ كُنُوزِ الرُّوحِ الَّتِي أَعْطَاهُ إِيَّاهَا خَازِنُ الْجِنَانِ، وَجَعَلَ حَصَادَهَا وَنَفْعَهَا سَبِيلًا لِذُرِّيَّتِهِ مِنْ بَعْدِهِ (کِشتنش او را و درودش تراست)

نَقْدُ “الْأَسَدِ الْمَرْسُومِ” وَصُورَةِ الْإِنْسَانِ بِلَا حَقِيقَةٍ (الْأَبْيَاتُ ٥٣-٥٤): “صورت شیری دل شیریت نیست…”؛ هَذِهِ إِحْدَى أَعْظَمِ مُعَادَلَاتِ الشاعر فِي نَقْدِ “الْإِنْسَانِ الظَّاهِرِيِّ”؛ إِذْ يُشَبِّهُ مَنْ يَدَّعِي الْكَمَالَ وَالشَّجَاعَةَ بِلَا حَقِيقَةٍ قَلْبِيَّةٍ بـ “الصُّورَةِ الْمَرْسُومَةِ لِلْأَسَدِ عَلَى جِدَارِ الْقَصْرِ” (شیر نقشِ سرا)؛ فَهَذِهِ الصُّورَةُ، رَغْمَ هَيْبَتِهَا الظَّاهِرَةِ، لَوْ ضُرِبَتْ بِصِعَارِ الْخَيْزُرَانِ لَنْ تَتَحَرَّكَ أَوْ تَدْفَعَ عَنْ نَفْسِهَا ضَرًّا لِأَنَّهَا بِلَا رُوحٍ


الْمَلَكُوتُ الْبَاطِنِيُّ فِي مِحْرَابِ الْقَلْبِ: “راه به دل شو چو بدیدی خزان…”؛ عِنْدَمَا تَعْصِفُ خَرِيفَاتُ الدُّنْيَا وَتَتَسَاقَطُ أَوْرَاقُ الْأَسْبَابِ الْمَادِّيَّةِ، يَكُونُ الْمَلْجَأُ الْوَحِيدُ لِلَّسَالِكِ هُوَ “الإنْكِفَاءُ إِلَى عَالَمِ الْقَلْبِ”؛ فَفِي الْقَلْبِ يَتَحَوَّلُ مَاءُ الصَّبْرِ وَالتَّسْلِيمِ إِلَى جَذْوَةِ نَارٍ تُحْرِقُ سِوَى اللهِ

التَّوَاضُعُ التُّرَابِيُّ وَرَفْضُ الْكِبْرِيَاءِ: “خلعت افلاک نمی‌زیبدت…”؛ يُذَكِّرُ الشاعر الْإِنْسَانَ بِأَنَّ كُلَّ إرْتِقَاءٍ رُوحِيٍّ مَرْهُونٌ بِتَذَكُّرِ “أَصْلِهِ التُّرَابِيِّ”؛ فَالْكِبْرِيَاءُ خِلْعَةٌ لَا تَلِيقُ بِمَنْ أُخْرِجَ مِنْ طِينٍ، وَتَوَاضُعُ التُّرَابِ هُوَ السَّرِيرُ الَّذِي تُشْرِقُ عَلَيْهِ أَنْوَارُ الرَّحْمَةِ

رَمْزِيَّةُ الْعَنَاصِرِ وَالْمِرْآةِ (الْأَبْيَاتُ ٥٩-٦٦): يُقَدِّمُ الشاعر فِي هَذَا الْمَقْطَعِ مَلَحْمَةً بَلَاغِيَّةً فِي نَقْدِ “الْأَنَانِيَّةِ وَعِبَادَةِ الصُّوَرِ” (صورت‌پرست)؛ فَالنَّارُ تُحْرِقُ بِالطَّيَشِ، وَالْمَاءُ الصَّافِي الْخَفِيفُ يُعْلِي الْقِيمَةَ، وَالرِّيحُ تَطُوفُ بِخِفَّةٍ. لَكِنَّ الْإِنْسَانَ الْمُنْغَمِسَ فِي الْمَادَّةِ يَصِيرُ أَلْأَمَ وَأَثْقَلَ مِنْ جَبَلِ قَافَ. وَحِينَمَا يُمْسِكُ هَذَا الْإِنْسَانُ بِمِرْآةِ الْكَوْنِ (آینه داری به دست)، لَا يَرَى فِيهَا الْإِلَهَ بَلْ يَرَى صُورَةَ أَنَانِيَّتِهِ

سِرُّ “جُوِ سَنِجِى” وَ”بِى‌نَمَكِى” (الْبَيْتُ ٦٧): “جوِ سنگی” كِنَايَةٌ عَنْ مِقْدَارِ وَزْنِ حَبَّةِ الشَّعِيرِ (الْمِقْدَارِ الضَّئِيلِ جِدًّا). أَمَّا “الملح” (نمک) فِي أَدَبِ الشاعر فَهُوَ رَمْزُ “الْمَلَاحَةِ، الْجَمَالِ، وَالْبَرَكَةِ الرُّوحِيَّةِ”. حيث يَقُولُ الشاعر: لَوْ ذَاقَ الْإِنْسَانُ ذَرَّةً وَاحِدَةً مِنْ “مِلْحِ الرُّوحِ” الْكَاَمِنِ فِي بَاطِنِهِ، لَاسْتَبْرَدَ الدُّنْيَا وَسَحَبَ نفسه عَنْ كُلِّ مَذَاقَاتِهَا الْمَادِّيَّةِ الَّتِي (لَا مِلْحَ، لاطعم) فِيهَا (بی‌نمکی)

الْخَاتِمَةُ: “الْفِرَارُ إِلَى اللهِ وَتَنَفُّسُ الْخَجَلِ” (الْأَبْيَاتُ ٦٨-٧٠): “خلق چه باشد؟ به خدا درگریز…”؛ هَذِهِ الْأَبْيَاتُ الثَّلَاثَةُ هِيَ “مِسْكُ خِتَامِ الْمَقَالَةِ الْأُولَى”؛ فَالْعِلَاجُ الْأَخِيرُ لِكُلِّ آَفَاتِ المادة يَتَلَخَّصُ فِي صَرْفِ الْقَلْبِ عَنِ الْمَخْلُوقِينَ وَاللَّجَوء إِلَى الْخَالِقِ (فَفِرُّوا إِلَى اللَّهِ). وَعِنْدَمَا يَعْتَرِفُ الْإِنْسَانُ بِقُصُورِهِ وَيَتَنَفَّسُ بِحَيَاءِ الْخَجَلِ (خجل‌وار)، تَتَنَزَّلُ عَلَيْهِ الرَّحْمَةُ الْإِلَهِيَّةُ كَالْغَيْثِ الْمُغِيثِ (رحمت فریادرس)


التَّجَرُّدُ مِنَ الصُّوَرِ (از همه چون هیچ مجرد شدی): يَرَى الشاعر أَنَّ أَعْلَى مَرَاتِبِ الرُّوحِ هِيَ “التَّجَرُّدُ الْمُطْلَقُ”؛ فَالرُّوحُ تَقْبَلُ سُكْنَى الصُّوَرِ، لَكِنَّهَا فِي جَوْهَرِهَا تَعْلُو عَلَى كُلِّ الصُّوَرِ وَتَتَّحِدُ بِالْغَيْبِ

الِانْكِسَارُ مِفْتَاحُ الْفَضْلِ (رحمت فریادرس): الْخَجَلُ وَالإعْتِرَافُ بِالْعَجْزِ عِنْدَ الصُّوفِيَّةِ لَيْسَ ضَعْفًا، بَلْ هُوَ “بَوَّابَةُ الْعِزَّةِ”؛ فَبِالإنْكِسَارِ يَزُولُ جِدَارُ الْأَنَانِيَّةِ وَيَتَجَلَّى الْفَضْلُ الْإِلَهِيُّ

كَلِمَاتٌ لِلْتَّعَلُّمِ

كِتْمِ عَدَم: خَفَاءُ الْعَدَمِ أَوْ عَالَمُ الْكُمُونِ قَبْلَ الْخَلْقِ
پَرِيـزَادَگان: الْمَلَائِكَةُ وَالْكَائِنَاتُ الرُّوحَانِيَّةُ اللَّطِيفَةُ
صَيْرَفِى: الصَّيْرَفِيُّ أَوْ النَّاقِدُ الَّذِي يُمَيِّزُ الذَّهَبَ الْخَالِصَ مِنَ الزَّائِفِ
كِژْمِژْ زَبَان: اللَّاثِغُ أَوْ مَنْ لَا يُبِينُ كَلَامَهُ لِحَدَاثَةِ سِنِّهِ
گُلْبُن: شَجَرَةُ الْوَرْدِ أَوْ غَرْسَةُ الْأَزْهَارِ، أصل الزهرة
كَارِكِيَايِى: الْمُلْكُ، السَّلْطَنَةُ، أَوْ الْإِمَارَةُ الْعُظْمَى
كِيـمُخْت: جِلْدُ الدَّابَّةِ الْمُجَعَّدُ الْمُبَثَّرُ (استعَارَةٌ عَنْ جِلْدِ الْقَمَرِ أَوْ الْبَشَرَةِ الْمُتَعَبَةِ)
أَدِيـم: الْأَدِيمُ أَوْ الْبَشَرَةُ الظَّاهِرَةُ لِلْجِلْدِ
خَاك‌آَزْمَاى: مَنْ يُعَافِرُ التُّرَابَ أَوْ يَخْتَبِرُ مَشَقَّةَ الْأَرْضِ
جُوِ گنِدُوم‌نَمَای: بَائِعُ الشَّعِيرِ الَّذِي يَعْرِضُ الْقَمْحَ (رمز الْخِدَاعِ أَوْ ظَواهِرِ الدُّنْيَا)
قُرْصِ جُوِيـن: رَغِيفُ خُبْزِ الشَّعِيرِ (رَمْزُ الْكَفَافِ وَالزُّهْدِ)
مُقْطِع: الْمُكْتَرِي أَوْ الْمُسْتَأْجِرُ الَّذِي يَعْمَلُ فِي الْمَزْرَعَةِ (إستعَارَةٌ عَنْ إِقَامَةِ الْإِنْسَانِ فِي الْأَرْضِ)
سَرَانِدِيـب: جَزِيرَةُ سَرَنْدِيبَ (سِريلانْكا – مَوْطِنُ هُبُوطِ آدَمَ وَتَوْبَتِهِ)
رُوسِيَه: مُسْوَدُّ الْوَجْهِ (كِنَايَةٌ عَنِ الْخَجَلِ وَالْحَيَاءِ الشَّدِيدِ مِنَ الذَّنْبِ)
نِيـلِگرِی: مِهْنَةُ الصِّبَاغَةِ بِالنِّيلِي الْأَزْرَقِ/الْأَسْوَدِ (رمز الْحُزْنِ وَالْمَأْتَمِ)
تُرْكِ خَتَايِى: التُّرْكِيُّ الْقَادِمُ مِنْ بِلَادِ خَتَا (شَمَالِ الصِّينِ – مَثَلُ الْجَمَالِ وَالنَّقَاءِ وَالنُّورِ)
زُلْفِ خَطَا: خِصْلَةُ الشَّعْرِ (وَفِيهَا إِيهَامٌ بَيْنَ خَتَا الْبَلَدِ وَالْخَطَأِ أَيِ الذَّنْبِ)
حُجْرِهٔ شِشْ‌دَر: الْحُجْرَةُ ذَاتُ الْأَبْوَابِ السِّتِّ (إستعَارَةٌ عَنِ الْعَالَمِ الْمَادِّيِّ وَأَبْعَادِهِ السِّتَّةِ)
دُرُود: الْحَصَادُ أَوْ جَنِيُّ الْمَزْرُوعَاتِ (مِنْ المصدر درودن)
شِيـرِ نَقْشِ سَرَاى: الْأَسَدُ الْمَرْسُومُ عَلَى جِدَارِ الْقَصْرِ (رَمْزُ الْعَجْزِ وَالظَّاهِرِ الْجَامِدِ)
شَهْرَبَنِد: السَّجِينُ أَوْ الْمُقَيَّدُ دَاخِلَ أَسْوَارِ الْمَدِينَةِ (رمز حَصْرِ الرُّوحِ فِي الْجَسَدِ)
دَايِرِهْ‌كَرْدَار: الْمَشْدُودُ الْوَسَطِ / الْمُتَهَيِّئُ لِلْخِدْمَةِ كَالْدَّائِرَةِ
خَانِهٔ مُصَقَّل: الْبَيْتُ الْمَصْقُولُ كَالْمِرْآةِ (إستعَارَةٌ عَنْ عَالَمِ الْوُجُودِ)
جُوِ سَنِجِى: وَزْنُ حَبَّةِ الشَّعِيرِ (رمز الْمِقْدَارِ الصَّغِيرِ جِدًّا)
بِى‌نَمَكِى: انْعِدَامُ الْمِلْحِ أَوْ انْعِدَامُ النَّفْعِ وَالْمَلَاحَةِ الْحَقِيقِيَّةِ

Persian Text

1

اوّل کاین عشق‌پرستی نبود
در عدم آوازه هستی نبود

2

مُقبلی از کِتم عدم ساز کرد
سوی وجود آمد و در باز کرد

3

باز‌پسین طفلِ پری‌زادگان
پیشتر‌ینِ بشری‌زادگان

4

آن به خلافت عَلَم آراسته
چون علم افتاده و برخاسته

5

«عَلَّمَ آدم» صفتِ پاک او
«خَمَّرَ طینه» شرفِ خاک او

6

آن به گهر هم کدر و هم صفی
هم محک و هم زر و هم صیرَفی

7

شاهدِ نو‌فتنه‌ی افلاکیان
نو‌خطِ فرد آینه‌ی خاکیان

8

یارهٔ او ساعد جان را نگار
ساعد‌ش از هفت فلک یاره‌دار

9

آن ز دو گهواره برانگیخته
مغز دو گوهر به هم آمیخته

10

پیشکش خلعت زندانیان
محتسب و ساقی روحانیان

11

سر‌حدِ خلقت‌، شده بازار او
بِکریِ قدرت‌، شده در کار او

12

طفل چهل‌روزه کژ مژ زبان
پیر چهل ساله بر او درس‌خوان

13

خوب‌خطی عشق‌نبشت آمده
گلبنی از باغ بهشت آمده

14

نوری ازان دیده که بینا‌ترست
مرغی ازان شاخ که بالاترست

15

زو شده مرغانِ فلک دانه‌چین
زان همه را آمده سر بر زمین

16

و او به یکی دانه ز راه کرم
حله در انداخته و حلیه هم

17

آمده در دام چنین دانه‌ای
کمتر از آوازه شکرانه‌ای

18

زان به دعا‌ها به‌وجود آمده
جمله عالم به سجود آمده

19

بر در آن قبله هر دیده‌ای
سهو شده سجده شوریده‌ای

20

گشته گل افشان وی از هشت باغ
بر همه گلبرگ و بر ابلیس داغ

21

بی تو نشاطیش در اندام نی
در ارمش یک‌نفس آرام نی

22

طاقت آن کار‌کیایی نداشت
کز غم کار تو رهایی نداشت

23

گرمی گندم جگرش تافته
چون دل گندم به دو بشکافته

24

ز آرزوی ما که شده نو بر او
گندم خوردن به یکی جو بر او

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او که چو گندم سر و پایی نداشت
بی زمی و سنگ نوایی نداشت

26

تا نفکندند نرُست آن امید
تا نشکستند نشد رو‌سپید

27

گندم‌گون گشته ادیمش چو کاه
یافته جودانه چو کیمُختِ ماه

28

چون جو و گندم شده خاک‌آزمای
در غم تو ای جو گندم نمای

29

خوردن آن گندم نامردمش
کرده برهنه چو دلِ گندمش

30

آن‌همه خواری که ز بدخواه برد
یکدلی گندمش از راه برد

31

گندم سخت از جگر افسردگی‌ست
خُردی او مایه بی‌خُردگی‌ست

32

مردم چون خوردن او ساز کرد
از سر تا پای دهن باز کرد

33

ای به تو سر رشته جان گم شده
دامِ تو آن دانه گندم شده

34

قرص جوین می‌شکن و می‌شکیب
تا نخوری گندمِ آدم‌فریب

35

پیکِ دلی، پیرو شیطان مباش
شیرِ امیری‌، سگِ دربان مباش

36

چرک نشاید ز ادیم تو شست
تا نکنی توبه آدم نخست

37

عذر بِهْ آنرا که خطایی رسید
که‌آدم از آن عذر به جایی رسید

38

چون ز پی دانه هوس‌ناک شد
مُقطعِ این مزرعه خاک شد

39

دید که در دانه طمع خام کرد
خویشتن افکنده این دام کرد

40

آب رساند این گل پژمرده را
زد به سر‌اندیب سراپرده را

41

روسیه از این گنه آنجا گریخت
بر سر آن خاک سیاهی بریخت

42

مدتی از نیل خُم آسمان
نیل‌گر‌ی کرد به هندو‌ستان

43

چون کفش از نیلِ فلک شسته‌شد
نیل‌گیا در قدمش رُسته شد

44

تُرک ختایی شده یعنی چو ماه
زلف خطا بر زده زیرِ کلاه

45

چون دلش از توبه لطافت گرفت
ملک زمین را به خلافت گرفت

46

تخم وفا در زمی عدل کشت
وقفی آن مزرعه بر ما نوشت

47

هرچه بدو خازن فردوس داد
جمله در این حجره شش‌در نهاد

48

برخور ازین مایه که سود‌ش تراست
کِشتنش او را و درود‌ش تراست

49

ناله عود از نفس مجمر‌ست
رنج خر از راحت پالان‌گر‌ست

50

کار تو‌را بی‌تو چو پرداختند
نامزد لطف تو‌را ساختند

51

کشتی گل باش به موج بهار
تا نشوی لنگر بستان چو خار

52

راه به‌دل شو چو بدیدی خزان
کآب به دل می‌شود آتش به جان

53

صورت شیر‌ی دل شیر‌ی‌ت نیست
گرچه دلت هست دلیر‌ی‌ت نیست

54

شیر توان بست ز نقش سرای
لیک به صد چوب نجنبد ز جای

55

خلعت افلاک نمی‌زیبد‌ت
خاکی و جز خاک نمی‌زیبدت

56

طالع کارت به زبونی دَرَست
دل به کمی غم به فزونی دَرَست

57

ورنه چرا کرد سپهر بلند
شهر‌گشا‌یی چو ترا شهربند‌؟

58

دایره‌کِردارْ میان‌بسته باش
در فلکی با فلک آهسته باش

59

تیز‌تکی پیشه‌ی آتش بود
باز نمانی ز تک آن خوش بود

60

آب صفت باش و سبک‌تر بران
کآبِ سبک هست به قیمت گران

61

گوهر تن در تَنُکی یافتند
قیمت جان در سَبُکی یافتند

62

باد سبک‌روح بوَد در طواف
خود تو گرانجان‌تری از کوه قاف

63

گر نه فریبنده رنگی چو خار
رخ چو بنفشه به‌سوی خود مدار

64

خانه مصقل همه جا روی تست
از پی آن دیده تو سوی تست

65

گرچه پذیرنده هر حد شدی
از همه چون هیچ مجرد شدی

66

عاشق خویشی تو و صورت‌پرست
زان چو سپهر آینه داری به‌دست

67

گر جوِ سنگی نمک خود چشی
دامن از این بی‌نمکی دَرکشی

68

ظلم رها کن به وفا درگریز
خلق چه باشد؟ به خدا درگریز

69

نیکی او بین و برآن کار کن
بر بدی خویشتن اقرار کن

70

چون تو خجل‌وار برآری نفس
فضل کند رحمت فریادرس