This passage is among the most poignant expressions of humility and submission that Nizami wrote before God Almighty, where the poet relinquishes his literary pride to stand as a humble supplicant seeking mercy.
English Translation
It is the lament of a soul that, after much contemplation, realized the limitations of reason and that the only salvation lies in prostrating itself at the threshold of generosity of O Divine One, where poverty is transformed into wealth and slavery into sovereignty
O You who existed in eternity when we were nothing, and O You who remain alive forever, when we become dust and decay
The turning of time is but guided by Your command, and the shoulders of the heavens are but bearers of the mantle of Your dominion
So we are the ones who knock on Your door, the homeless (the poor) who have no shelter but You; for at Your threshold we are slaves, submissive to Your command.
For we bear the mark of Your servitude like a creature branded (with a distinctive mark); that creature which kings do not accept when they hunt, but You alone accept us.
And because You alone accept us, we are from the gardens of Your generosity. We are your collared doves (the turtle dove with the distinctive ring around its neck), by your grace, and your creatures marked by your love.
We have no hope in any creator or sustainer but you, and none but you can soothe and comfort our souls.
For you alone we live all this hope and this fear. Forgive us and grant us a gift from Your bounty, O Generous One.
Find us a way out, for we have no helper nor just ruler but You. If You cast us out from Your mercy, to whom shall we turn?
What words can this tongue utter? What is this empty rhetoric? For all that has been said and all that has not been said is but pure regret before Your majesty.
And from where does this heart find the strength? And from where did he get these wings? Who am I to presume to glorify Your holy majesty with mere words?
With what heart did this soul the dare to plunge into this sea? And with what boldness did this heart drink from this pure spring?
We have remained silent, unable to utter your attributes, and we have repeated in the depths of our hearts that saying: He who knows God, his tongue is speechless. For knowledge of You leaves one speechless before Your majesty.
And as we are overcome with shame at our words, which are not yet ripe enough to be worthy of Your station, forgive us by Your grace and bestow upon us Your abundant favor.
Though we have come to Your sanctuary bearing our poverty and humility, nothing has drawn us to You but hope and expectation in the dominion of Your mercy.
So be our support, O Companion of the sorrowful. Fulfill our needs, O Refuge of those whose means have been cut off.
For the caravan of travelers has passed on, and we have been left behind. Look upon our stumbling, O You who are our treasure and all that we possess. Look upon our alienation and our loss.
To whom else can we turn, when You are the One who has no equal? To what refuge can we flee when You are the Savior, the One who takes us by the hand in times of trouble?
We will take no other door as our destination or direction. If You do not bestow Your mercy upon us and soothe our souls, who else has the power to heal us?
Who, I wonder, extends a hand of need like ours? And who has reached the same level of lamentation and supplication as we have? No one but us is more in need of You than we are.
So forgive our transgressions, for we are the ones who never cease calling upon You, and take us by the hand, for we are the ones who seek refuge in Your protection.
O You who have made the name (Nizami) a source of glory, by its association with You; And the pinnacle of his power lies only in his being a servant, owned by Your presence.
So bestow Your grace upon him through words spoken by his lips, and let the light of Your knowledge reach the very core of his soul.
Sufi and Gnostic Meanings
The poet depicts the scene of the humble servant who acknowledges that God is the eternal and everlasting, while human is the transient one. He employs metaphors from everyday life in his time, such as “the branded dog” and “the collared dove,” to illustrate that his devotion to God is the secret to his acceptance. He then moves on to question the usefulness of words, and poetry, in the face of the Creator’s greatness, considers itself too insignificant to undertake the task of praising God.
The poet Nizami presents the concept of “the annihilation of selfishness.” The poet, who once took pride in his eloquence, now stands regretting what he uttered previously. “The sea” and “the spring” are symbols of divine knowledge that permeates the seeker’s being, revealing an inner conflict between hope (or trust) in God’s generosity and the shame of daring to address the Supreme Being.
The text is based on the concept of “neediness before God.” The gnostic sees that every virtue within it (such as the heart and wings) is pure divine effusion, and that it is itself nothingness (its essence).
The poet’s use of the image of the dog is an allusion to the state of humiliation in love, where the lover finds joy simply in belonging to the beloved’s domain, even in the most abject form.
The poet Nizami believes that the secret Salvation is not found in “Zabanari” (showing off with eloquence), but in “humility.” He considers himself “Khaneh Beh Doush” (a wanderer) who possesses nothing but the door of the Generous One alone. These verses are an apology for poetry before the poetry is even uttered, and an admission that “Jan” (the soul) has drowned in a sea of bewilderment.
For all of humanity is incapable of comprehending the self, and the poet himself, is ashamed of his “poetry,” which he sees as raw and immature before Divine perfection. He describes his state as being behind the “caravan,” and uses rhetorical questions to emphasize that there is no refuge or escape from God except to Him.
The poet delves into the psychology of “spiritual alienation.” where absolute unity can only be erased by God being our family and all that we possess, and the phrase “Khawaji aw ist ghulami bih tu” represents the paradox of Sufi pride; for human perfection (sovereignty) is attained through relinquishing the ego and entering into the servitude of the Almighty Truth.
The secret of knowledge (Janush Rasan): The poet asks that knowledge reach the “Jan” (soul) and not merely the “mind.” Because the soul is the “king of the body,” and the heart is the “mirror” that reflects Divine manifestations.
The poet concludes by transforming his name (Nizami) from a title of fame into a “mark” of servitude. He believes that his entire book, “The Celestial of Secrets,” is worthless unless it receives divine “revelation.” In short, no matter how high a person rise from a position of power, “Panahandeh” remains a refugee in the mercy of God.
Words for Learning
Azal: Eternity without beginning.
Janibat: The horse that is led for honor (the one with the slain).
Halqihi bihi Jush: The obedient slave (the one with the earring).
Dagh: The mark or sign (a metaphor for affiliation).
Qumri: The turtle dove.
Gustakhi (Gustakhi): Courage or audacity
Gunj: Mute/mute
Kham: Unripe (said of fruit and weak speech)
Bisar and Pai: Homeless/poor (literally: headless and footless)
Apasi: To fall behind
Dastgir: Rescuer/savior (literally: one who takes the hand)
Nuzl: Guest food/hospitality
Arabic Translation
هَذَا الْمَقْطَعُ يُعَدُّ مِنْ أَرَقِّ مَا كَتَبَهُ نِظَامِي فِي التَّذَلُّلِ وَالِانْكِسَارِ بَيْنَ يَدَيِ الْحَقِّ تعالى، حَيْثُ يَتَخَلَّى الشَّاعِرُ عَنْ كِبْرِيَائِهِ الأَدَبِيِّ لِيَقِفَ مَوْقِفَ “الْفَقِيرِ” الطَّالِبِ لِلرَّحْمَةِ
وهُوَ “نَحِيبُ الرُّوحِ” الَّتِي أَدْرَكَتْ بَعْدَ طُولِ تَفَكُّرٍ أَنَّ الْعَقْلَ قَاصِرٌ، وَأَنَّ النَّجَاةَ الْوَحِيدَةَ تَكْمُنُ فِي الِارْتِمَاءِ عَلَى أَعْتَابِ الْكَرَمِ الإِلَهِيِّ، حَيْثُ يَتَحَوَّلُ الْفَقْرُ إِلَى غِنًى وَالْعُبُودِيَّةُ إِلَى سِيَادَةٍ
يَا مَنْ كُنْتَ فِي الأَزَلِ حِينَ لَمْ نَكُنْ نَحنُ شَيْئاً مَذْكُوراً، وَيَا مَنْ تَبْقَى حَيّاً إلى الأَبَدِ، حِينَ نَصِبحُ تُرَاباً بَالِياً
وإن دَوَرَانُ الزَّمَانِ لَيْسَ إِلَّا مَقُوداً لِأَمْرِكَ، وَأَكْتَافُ الأَفْلَاكِ لَيْسَتْ إِلَّا حَامِلَةً لِغَاشِيَةِ سُلْطَانِكَ
فنَحْنُ الطَّارِقُونَ لِبَابِكَ، الْمُشَرَّدُونَ (المَساكين) الَّذِينَ لَا مَأْوَى لَهُمْ سِوَاكَ؛ لِأَنَّنَا عِنْدَ أَعْتَابِكَ عَبِيدٌ خَاضِعُونَ لأمركَ
فنحن نَحْمِلُ وَسْمَ عُبُودِيَّتِكَ كمَخلوقٍ مَوْسُومِ (عليه عَلامة مُميزة)؛ ذَاكَ المَخلوق الَّذِي لَا يَقْبَلُهُ الْمُلُوكُ أثناء صَيْدِهِمْ، لَكِنَّكَ وَحدكَ من تَقْبَلُنَا
ولأنكَ وَحْدَكَ مَنْ يَقْبَلُنَا فنحن مِنْ رِيَاضِ كَرَمِكَ؛ ونَحْنُ حَمَامُكَ الْمُطَوَّقُ (حَمام القُمري ذي الطَوق المُميز حول العُنق) بِفَضْلِكَ، وَمخلوقاتكَ الْمَوْسُومَةُ بِحُبِّكَ
فلَا رَجَاءَ لَنَا فِي أَيِّ صَانِعٍ أَوْ مُدَبِّرٍ سِوَاكَ، وَلَيْسَ لَنَا مَنْ يُرَبِّتُ عَلَى أَرْوَاحِنَا وَيُدَلِّلُهَا غَيْرُكَ
ولِأَجْلِكَ وَحْدَكَ نَعِيشُ كل هَذَا الرَّجَاءَ، وَهَذَا الْخَوْفَ؛ فَاصْفَحْ عَنَّا وَهَبْنَا مِنْ لَدُنْكَ عَطَاءً، يَا كَرِيمُ
فأَوْجِدْ لَنَا مَخْرَجاً فَنَحْنُ لَا نَاصِرَ لَنَا وَلَا حَاكِمَ عَادل غَيْرُكَ؛ فَإِنْ طَرَدْتَنَا مِنْ رَحَابِكَ، فإِلَى مَنْ نَلْجَأُ؟
فأي كلامٍ لهَذَا اللِّسَانُ؟ وَمَا هَذَا التَّشَدُّقُ بِالْكَلامِ؟ فإِنَّ كُلَّ مَا قِيلَ وَمَا لَمْ يُقَلْ، لَيْسَ إِلَّا مَحْضَ نَدَمٍ أَمَامَ جَلَالِكَ
ومِنْ أَيْنَ لِهَذَا الْقَلْبِ الْقُدْرَةُ؟ وَمِنْ أَيْنَ لَهُ هَذِهِ الأَجْنِحَةُ؟ مَنْ أَنَا حَتَّى أَتَجَاسَرَ عَلَى تَعْظِيمِ جَلَالِكَ الْمُقَدَّسِ بكلام اللسانِ؟
فهذهِ الرُوح بِأَيِّ قَلْبٍ تَجرأت عَلَى خَوْضِ غِمَارِ هَذَا الْبَحْرِ؟ وَبِأَيِّ جُرْأَةٍ نَهَلَ الْقَلْبُ مِنْ هَذِهِ الْعَيْنِ الصَّافِيَةِ؟
ولَقَدْ لَزِمْنَا الصَّمْتَ عَجزاً عَنِ النُّطْقِ بِأَوْصَافِكَ، وَرَدَّدْنَا فِي سُوَيْدَاءِ قُلُوبِنَا ذَاكَ الأَثَرَ: مَنْ عَرَفَ اللهَ كَلَّ لِسَانُهُ؛ فَالْعِلْمُ بِكَ يُورِثُ الْخَرَسَ أَمَامَ جَلَالِكَ
وإِذْ نَعْتَصِرُ خَجَلاً مِنْ كَلَامِنَا الَّذِي لَمْ يَنْضَجْ لِيَلِيقَ بِمَقَامِكَ، فَاغْفِرْ لَنَا بِفَضْلِكَ وَتَفَضَّلْ عَلَيْنَا بِواسع إِنْعَامِكَ
وإِنْ كُنَّا قَدْ جِئْنَا إِلَى حِمَاكَ نَحْمِلُ فَقْرَنَا وَذُلَّنَا، فَمَا جَذَبَنَا إِلَيْكَ إِلَّا الرَّجَاءُ والأمل فِي سُلْطَانِ رَحمتكَ
فكُنْ لَنَا ظَهِيراً يَا أَنِيسَ الْمَحْزُونِينَ، وَاقْضِ حَاجَتَنَا، يَا مَلَاذَ مَنْ تَقَطَّعَتْ بِهِمُ الأَسْبَابُ
فلَقَدْ مَضَتْ قَافِلَةُ السَّالِكِينَ وَتَخَلَّفْنَا نَحْنُ فِي الأخرين، فَانْظُرْ إِلَى عَثْرَتِنَا؛ يَا مَنْ أَنْتَ ذُخْرُنَا وَكُلُّ مَا لَنَا، انْظُرْ إِلَى غُرْبَتِنَا وَضَيَاعِنَا
فإِلَى مَنْ نَلْجَأُ وَأَنْتَ الْوَاحِدُ الَّذِي لَا شَبِيهَ لَهُ؟ وَإِلَى أَيِّ رُكْنٍ نَفِرُّ وَأَنْتَ الْمُنْقِذُ الآخِذُ بِالْأَيْدِي عِنْدَ العَثراتِ؟
ولَنْ نَتَّخِذَ غَيْرَ بَابِكَ وِجْهَةً وَلَا قِبْلَةً، فَإِنْ لَمْ تَتَكَرَّمْ عَلَيْنَا بِعَطْفِكَ وَتَمْسَحْ عَلَى أَرْوَاحِنَا، فَمَنْ ذَا الَّذِي يَمْلِكُ القُدرة أَنْ يُدَاوِيَنَا؟
فمَنْ يا تُرى يَبْسُطُ يَدَ الِافْتِقَارِ مِثْلَنَا؟ وَمَنْ ذَا الَّذِي بَلَغَ مَبْلَغَنَا فِي النَّحِيبِ وَالتَّضَرُّعِ مثلنا؟ فلَا أَحَدَ غيرنا، أَحْوَجُ إِلَيْكَ مِنَّا
فأصْفَحْ عَنْ زَلَّاتِنَا، فَنَحْنُ الَّذِينَ لَا نَكُفُّ عَنْ دُعَائِكَ، وَأخذ بيدنا فَنَحْنُ الْمُسْتَجِيرُونَ بِحِمَاكَ
فيَا مَنْ جَعَلْتَ لِاسْمِ نِظَامِي، عِزّاً، بِانْتِسَابِهِ إِلَيْكَ؛ وإِنَّ ذِرْوَةَ سلطانهِ، لَا تَكُونُ إِلَّا فِي كَوْنِهِ عَبْداً مَمْلُوكاً لحَضرتكَ
فأجْعَلْ كَرمكَ لَهُ بكَلِمَاتٍ تَنْطِقُ بِهَا شِفَاهُهُ، وَأَبْلِغْ نُورَ عِرْفَانِكَ إِلَى سُوَيْدَاءِ رُوحِهِ
المعاني الصوفية والعرفانية
يُصَوِّرُ الشاعر مَشْهَدَ الْعَبْدِ الذَّلِيلِ الَّذِي يَعْتَرِفُ بِأَنَّ اللهَ هُوَ الأَزَلِيُّ الْبَاقِي وَأَنَّ الإِنْسَانَ هُوَ الْفَانِي، حيث يَسْتَخْدِمُ إسْتِعَارَاتٍ مِنَ الْحَيَاةِ الْيَوْمِيَّةِ فِي عَصْرِهِ، مِثْلُ “الْكَلْبِ الْمَوْسُومِ” وَ”الْحَمَامِ الْمُطَوَّقِ”، لِيُبَيِّنَ أَنَّ انْتِمَاءَهُ لِلَّهِ هُوَ سِرُّ قَبُولِهِ، و ثُمَّ يَنْتَقِلُ لِلتَّسَاؤُلِ عَنْ جَدْوَى الْكَلامِ وَالشِّعْرِ أَمَامَ عَظَمَةِ الْخَالِقِ، مُعْتَبِراً نَفْسَهُ أَقَلَّ مِنْ أَنْ يَقُومَ بِمَهِمَّةِ الثَّنَاءِ على ألله
ويَطْرَحُ الشاعر نِظَامِي مَفْهُومَ “فَنَاءِ الأَنَانِيَّةِ”؛ فَالشَّاعِرُ الَّذِي كَانَ يَفْخَرُ بِبَيَانِهِ، يَقِفُ هُنَا نَادِماً عَلَى ما نُطْقِهِ في السابق، و “الْبَحْرُ” وَ”الْعَيْنُ” رُمُوزٌ لِلْمَعْرِفَةِ الإِلَهِيَّةِ الَّتِي تَأخذ كِيَانَ السَّالِكِ، حيث ان هُنَاكَ صِرَاعٌ نَفْسِيٌّ بَيْنَ “الرَّجَاءِ” (أُمِّيد) فِي كَرَمِ اللهِ، وَبَيْنَ “الْحَيَاءِ” مِنَ الْجُرْأَةِ عَلَى مُخَاطَبَةِ الذَّاتِ الْعُلْيَا
ويَرْتَكِزُ النَّصُّ عَلَى مَقَامِ “الِافْتِقَارِ لله”؛ فَالْعَارِفُ يَرَى أَنَّ كُلَّ فَضِيلَةٍ فِيهِ (كَـ”الْقَلْبِ” وَ”الأَجْنِحَةِ”) هِيَ مَحْضُ فَيْضٍ إِلَهِيٍّ، وَأَنَّهُ بِذَاتِهِ “عَدَمٌ” (نَابُودِه)
وإسْتِخْدَامُ صُورَةِ “الْكَلْبِ” من قبل الشاعر، هِيَ إِشَارَةٌ لِمَقَامِ “الْمَذَلَّةِ فِي الْحُبِّ”، حَيْثُ يَسْعَدُ الْمُحِبُّ بِمُجَرَّدِ الإنْتِسَابِ لِحِمَى الْمَحْبُوبِ وَإِنْ كَانَ فِي أَدْنَى الصُّوَرِ
ويَرَى الشاعر نِظَامِي أَنَّ سِرَّ النَّجَاةِ لَيْسَ فِي “زَبَانرَانِى” (التَّشَدُّقِ بِالْبَلَاغَةِ)، بَلْ فِي “الإنْكِسَارِ”، و هُوَ يَعْتَبِرُ نَفْسَهُ “خَانِه بِه دُوش” (مُشَرَّداً) لَا يَمْلِكُ إِلَّا بَابَ الْكَرِيمِ وحده فقط، و هَذِهِ الأَبْيَاتُ هِيَ اعْتِذَارٌ عَنِ الشِّعْرِ قَبْلَ قَوْلِ الشِّعْرِ، وَإِقْرَارٌ بِأَنَّ “جَانَ” (الرُّوحَ) قَدْ غَرِقَتْ فِي بَحْرِ الْحَيْرَةِ
فَالْبَشَرُ جَمِيعاً عاجزون عَنْ إِدْرَاكِ الذَّاتِ، وَالشَّاعِرُ نَفْسُهُ يَخْجَلُ مِنْ “شِعْرِهِ” الَّذِي يَرَاهُ خَاماً غَيْرَ نَاضِجٍ أَمَامَ الْكَمَالِ الألهي، و يَصِفُ حَالَهُ بِأَنَّهُ الْمُتَخَلِّفُ عَنِ “الْقَافِلَةِ”، وَيَسْتَخْدِمُ صِيَغَ الِاسْتِفْهَامِ الإِنْكَارِيِّ لِيُؤَكِّدَ أَنَّهُ لَا مَلْجَأَ وَلَا مَنْجَا مِنَ اللهِ إِلَّا إِلَيْهِ
ويَغُوصُ الشاعر فِي نفسية “الِاغْتِرَابِ الرُّوحِيِّ”؛ حَيْثُ (الْوَحْدَةُ الْمُطْلَقَةُ) لَا يَمْسَحُهَا إِلَّا أَنْ يَكُونَ اللهُ هُوَ (أَهْلَنَا وَكُلَّ مَا لَنَا)، وعِبَارَةُ “خُوَاجِجِى أُو اسْت غُلَامِى بِه تُو” تُمَثِّلُ تَنَاقُضَ الْعِزِّ الصُّوفِيِّ؛ فَالْكَمَالُ الْبَشَرِيُّ (السيادة) يُوصَلُ إِلَيْهِ عَنْ طَرِيقِ التَّخَلِّي عَنِ الأَنَا وَالدُّخُولِ فِي رِقِّ الْحَقِّ تعالى
سِرُّ الْمَعْرِفَةِ (جَانُش رَسَان): يَطْلُبُ الشاعر أَنْ تَصِلَ الْمَعْرِفَةُ إِلَى “جَانِ” (الرُّوحِ) لَا إِلَى “الْعَقْلِ” فَقَطْ؛ لِأَنَّ الرُّوحَ هِيَ “مَلِكُ الْبَدَنِ” وَالْقَلْبَ هُوَ “الْمِرْآةُ” الَّتِي تَعْكِسُ التَّجَلِّيَاتِ
ويَخْتِمُ الشاعر بِتَحْوِيلِ اسْمِهِ (نِظَامِي) مِنْ لَقَبٍ لِلشُّهْرَةِ إِلَى “وَسْمٍ” لِلْعُبُودِيَّةِ، و هُوَ يَرَى أَنَّ كُلَّ كِتَابِهِ “مَخْزَنِ الأَسْرَارِ” لَا قِيمَةَ لَهُ إِنْ لَمْ يَنْزِلْ عَلَيْهِ “نُزْلُ التَّحِيَّةِ” الإِلَهِيَّةِ، والْخُلَاصَةُ أَنَّ الإِنْسَانَ مَهْمَا بَلَغَ مِنْ (مَكَانَةٍ) يَبْقَى “پَنَاهَنْدِه” (لَاجِئاً) إِلَى رَحْمَةِ اللهِ
كَلِمَاتٌ لِلتَّعَلُّمِ
أَزَل: الْقِدَمُ الَّذِي لَا بِدَايَةَ لَهُ
جَنِيبَت: الْفَرَسُ الَّذِي يُقَادُ لِلشَّرَفِ (الْمَجْنُوبُ)
حَلْقِه بِه جُوش: الْعَبْدُ الْمُطِيعُ (صَاحِبُ الْقُرْطِ)
دَاغ: الْوَسْمُ أَوْ الْعَلَامَةُ (كِنَايَةٌ عَنِ التَّبَعِيَّةِ)
قُمْرِى: طَائِرُ الْقُمْرِيِّ.
جُسْتَاخِى (گُستاخی): الْجُرْأَةُ أَوْ التَّجَاسُرُ
گُنْج: أَبْكَم / خَرِس
خَام: غَيْر نَاضِج (تُقَالُ لِلثَّمَرِ وَلِلْكَلامِ الضَّعِيفِ)
بِيسَر و پَاي: مُشَرَّد / فَقِير (حَرْفِيّاً: بِلَا رَأْسٍ وَلَا قَدَمٍ)
وَاپَسِي: التَّخَلُّفُ عَنِ الرَّكْبِ
دَسْتْگير: الْغِيَاث / الْمُنْقِذ (حرفیا: الذي يأخذ اليد)
نُزْل: طَعَامُ الضَّيْفِ / الْقِرَى
Persian Text
ای به ازل بوده و نابوده ما
وی به ابد زنده و فرسوده ما
دور جنیبتکشِ فرمان تست
سُفتِ فلک غاشیهگردان تست
حلقهزنِ خانهبهدوش توایم
چون درِ تو حلقهبهگوش توایم
داغ تو داریم و سگ داغدار
مینپذیرند شهان در شکار
هم تو پذیری که ز باغ توایم
قمری طوق و سگ داغ توایم
بیطمعیم از همه سازندهای
جز تو نداریم نوازندهای
از پی توست این همه امّید و بیم
هم تو ببخشای و ببخش ای کریم
چارهٔ ما ساز که بیداوریم
گر تو برانی، به که روی آوریم؟
این چه زبان؟ وین چه زبانرانی است؟
گفته و ناگفته پشیمانی است
دل ز کجا؟ وین پر و بال از کجا؟
من که؟ و تعظیم جلال از کجا؟
جان به چه دل راه درین بحر کرد؟
دل به چه گستاخی ازین چشمه خَورد؟
در صفتت گنگ فرو ماندهایم
«مَن عرف الله» فرو خواندهایم
چون خجلیم از سخن خام خویش
هم تو بیامرز به انعام خویش
پیش تو گر بیسر و پای آمدیم
هم به امید تو خدای آمدیم
یار شو ای مونس غمخوارگان
چاره کن ای چارهٔ بیچارگان
قافله شد، واپسیِ ما ببین
ای کَسِ ما! بیکَسیِ ما ببین
بر که پناهیم؟ تویی بینظیر
در که گریزیم؟ تویی دستگیر
جز در تو قبله نخواهیم ساخت
گر ننوازی تو، که خواهد نواخت؟
دست چنین پیش که دارد که ما؟
زاری ازین بیش که دارد که ما؟
درگذر از جرم که خوانندهایم
چارهٔ ما کن که پناهندهایم
ای شرف نام نظامی به تو
خواجگی اوست غلامی به تو
نزل تحیّت به زبانش رسان
معرفت خویش به جانش رسان
