The Story of Anushirvan and His Vizier Regarding Ruined Houses

English Translation

In this first part (verses 1–16), the sage Nizami Ganjavi sets the dramatic stage for the story, removing the king from his retinue and the opulence of his palace so that he might confront the bitter reality of his kingdom within a deserted village. Through a clever dialogue—crafted by the wise vizier Bozorgmehr and spoken through the voices of two owls—the king’s conscience awakens; he comes to realize that a ruler’s injustice does not merely destroy people’s homes but transforms entire kingdoms into desolate haunts for owls and ruin.

While Khosrow Anushirvan was engrossed in the hunt, his mount strayed far from his royal procession and horsemen,

leaving the king with no companion other than his wise vizier. There was no one in that open expanse but the king and his vizier—no one else at all.

In that area, teeming with game, the king spotted a ruined, dilapidated village—as desolate as the heart of a defeated foe.

He saw two birds—owls—drawing close to one another in conflict; the sounds they uttered were more anguished and sorrowful than the king’s own heart.

The king asked his vizier, “What are they whispering about? And what is the meaning of the cries they are exchanging?” The vizier immediately replied: “O King of the Age, I shall reveal their secret to you, if you grant me to speak and are willing to listen and learn.”

“These sounds are not for the sake of singing or amusement; rather, they constitute a proposal of marriage and an alliance between the two.”

“For this bird has betrothed his daughter to that bird, and is demanding that he bring the dowry—in exchange for the milk of nursing—by morning.”

“He says to him: ‘Hand over this ruined village to us, and let us also be given several other villages ruined just like it.'”

“The other bird replied: ‘Abandon that condition and let it go; look instead at the King’s tyranny, then leave this place and do not grieve.'”

“‘For if the King persists in this tyranny in the days to come, I shall grant you—in place of this ruined village—a hundred thousand of another deserted village.”

These words struck the king’s heart with such anguish that he heaved a burning sigh and cried out in sorrow.

He struck his head with his hand and wept bitterly; for what is the ultimate harvest of injustice and oppression, if not tears?

Overcome with remorse at the magnitude of this injustice, he bit his finger and said: “Look how the sparks of oppression have reached even the birds.”

“Behold this tyranny: how I caused the owl—that symbol of desolation—to inhabit these homes instead of domestic fowl and poultry, all because of my oppression of the people of this land.”

“Alas for my heedlessness and my devotion to worldly things! How I ought to beat my head in regret and sorrow for what my own hands have wrought.”

In this stirring, deeply emotional passage, the sage Nizami Ganjavi depicts the moments of “stern self-reckoning” that Anushirvan underwent; the king no longer saw his throne and gold as anything but “gilded copper,” realizing that for every raid or act of oppression committed against his subjects, he would be called to account time and again on the Day of Judgment. The fire of sincere remorse ignited within his breast, growing so intense that his scorching breath could melt the very hardness of iron.

“How long shall I forcibly and unjustly usurp the wealth of the people, heedless of death, the morrow of the grave, and its terrors?

How long shall I extend a hand of aggression and transgression?” Behold, my heart, what I have done to myself—casting my own soul into ruin.

For the Majestic Creator bestowed upon me sovereignty and dominion so that I might uphold justice, not to commit acts that are unseemly and of no avail.

I am the one whom they gilded—cloaking my base copper in a veneer of gold—only to lead me into committing acts of injustice that God never commanded.

Why, then, should I tarnish my name and legacy by perpetrating such wrongs? Alas, the injustice I perpetrate is, in truth, directed against my own self.

Given that God has instilled modesty and dignity in my heart, the better course is to feel shame—either before God or before my own conscience.

For injustice has become my pleasure and a sight that delights my eyes; woe and bitter regret await me for the disgrace of the Day of Reckoning to come.

My body has become deserving of the fire, and my heart burns with anguish and pity for myself amidst this sorrow.

How long shall I stir up the dust of oppression and tyranny against the people? How long shall I cast a water of my face (shame) by shedding the blood of others—of the helpless and the downtrodden?

On the Day of Resurrection, I shall be questioned about this aggression and the unjust persecution of the subjects; the question will be put to me time and again.

Overwhelmed with shame for my misdeeds, how could I not sit here, broken and abashed? And despite the hardness of my heart, how could it not be wrung with sorrow, anguish, and pain?

Consider, then, how much blame and reproach I shall endure, for I will carry this shame and disgrace with me until the Day of Resurrection.

For all that I once deemed a mount or a beast of burden—something to carry me and my worldly loads, to lighten my burden, or a possession for my enjoyment—is in truth a heavy weight upon my shoulders; my only remedy is to acknowledge my helplessness and the depth of my wretchedness.

And of all these countless jewels and treasures, what did King Sam take with him? What did Fereydun carry away when he departed?

Even if I hold lordship and sovereignty today, what shall I ultimately gain when all is said and done?

King Anushirvan was deeply moved by the situation, and his heart burned with such intense remorse that it seemed as though his horse’s horseshoe was on the verge of softening from the heat of his sincere sighs.

In this final passage, the sage Nizami Ganjavi crowns the story with a profound, practical transformation; for Anushirvan did not stop at mere weeping and remorse, but translated his awakening into “laws of justice and compassion,” eradicating the practices of oppression from his kingdom and immortalizing his name in the annals of the wise as “the Just.” The poet concludes with an enlightened principle advocating for benevolence and action, emphasizing that true worth lies not in eloquent speech, but in sincere deeds.

Upon the king’s arrival at the encampment and the seat of his rule, the spirit of compassion and mercy wafted across the province and the kingdom.

He immediately lifted the burden of unjust taxation from his subjects, abolishing oppressive levies and eradicating the practices of tyranny and injustice from his realm.

He spread the banquet of justice and cast aside the mantle of oppression, remaining steadfast in this commitment until his very last breath.

When the turning tides of time finally claimed him, he departed this world, yet the cry for justice he raised—and its enduring echo—lived on forever.

His name was inscribed on the money in the realm of the people of hearts and knowledge, with the title “Anushirvan the Just“.

Thus, he attained a blessed outcome and a felicitous end. Whoever knocks at the door of justice attains this honor and immortality.

Spend your life bringing joy to hearts, so that the Majestic Creator may be pleased with you.

Seek the company of the insightful—those who walk in the shadow of the Sun of Knights—and bear hardship yourself to bring comfort to others.

Be mindful of the suffering of others, and a succor to the distressed and the needy, until they raise you to the ranks of true leadership and eminence.

Let the warmth of love glow within you; cast aside all rancor and be noble—like the sun and the moon, which lavish their light upon all without measure.

For whoever begins their journey and work with benevolence finds benevolence turning toward them, and its goodness returning to them.

And the revolving dome of the heavens, by the divine standard, one discerns the nature of good and evil, and every sower is recompensed according to what they have sown.

Act in obedience and turn away from sin, lest on the Day of Presentation—the Day of Resurrection—you find yourself among the ashamed and the destitute, seeking excuses that will not be accepted.

For the outcome and duration of this worldly life are fleeting—akin to a mere moment or a single hour. Devote yourself, then, to obedience; indeed, the finest provision stored up for the Hereafter is obedience to God.

Do not offer excuses nor resort to subterfuge; what you hear and what has been spoken is but words, whereas what is truly required of you is to put them into practice.

If high stations and lofty ranks could be attained through mere words and poetry, the poet Nizami would have ascended to the highest reaches of the heavens and the celestial spheres.

Sufi and Gnostic Meanings

The Symbolism of “Going Out to Hunt” (Lines 1–2): In Persian epic and gnostic literature, the king’s departure for the hunt (ṣayd-kunān) serves as a dramatic device to isolate him from the pomp of the court and to distance him from his inner circle of courtiers. When Anushirvan found himself alone with his wise vizier in the open countryside, his eyes were opened to the unvarnished truth of his kingdom.

The Vizier’s Genius and Pedagogical Ruse (Verses 5–11): Vizier Bozorgmehr knew that directly confronting the king about his injustice might provoke his wrath. Instead, he seized upon the cries of two owls in a ruined village to craft a dramatic dialogue; in doing so, he shifted the concept of the bridal dowry (shirbaha) from its material form, making “abandoned villages” the currency of marriage in the era of the tyrant—for injustice destroys civilization and turns ruin into a traded commodity.

The Shock of Awakening (Verses 12–16): The poet depicts a violent jolt to the conscience… Anushirvan (struck his head in dismay / bit his finger in regret); the King’s weeping was not born of weakness, but was rather a “weeping of awakening.” He realized that his injustice had not merely destroyed human beings (the dwellers of the earth), but that its malevolent impact had driven away the gentle, domesticated birds (poultry) and installed the owl as master over the ruins and desolation.

The impact of human injustice on the cosmos: “Behold the tyranny: for the sake of mortals, the owl is set in the place of the domestic fowl.” The poet perceives that the well-being of the cosmos and the natural world is inextricably linked to human justice. When justice vanishes from the human realm, that darkness casts its shadow upon nature itself, turning once-flourishing lands into desolate wastes.

Heedlessness and Awakening: At this moment, Anushirvan embodies a wayfarer who had been immersed in the slumber of heedlessness and the worship of worldly pursuits; yet, the call of wisdom—voiced by the vizier—struck like a thunderbolt, shattering the veil of his heedlessness.

The metaphor of “gold-plated copper” (mis-e zar-andud): “I, whose copper has been plated with gold…” Anushirvan likens the outward appearance of kingship—with its superficial glitter—to a cheap piece of copper coated in a golden sheen; titles and sovereignty do not transform an oppressor into a noble figure; rather, his true nature remains base and “copper-like” unless crowned with justice and piety.

The lesson from “Sam and Fereydun” (Verse 30): The poet evokes the epics of the Shahnameh in the king’s mind. He reminds him of great kings such as Sam (Rustam’s ancestor) and Fereydun (the ancient champion of justice), noting how they departed this world leaving behind countless treasuries of gold and jewels, taking with them to the grave nothing but the merits of justice or the burdens of oppression.

The hyperbole of “Narim Gasht” (Line 32): This is a remarkable rhetorical image crafted by the poet; he depicts the heat of the sighs of remorse (garm gashtan) emanating from Anushirvan’s chest as so intense that the scorching air nearly softened the iron horseshoes of his steeds! It serves as a metaphor for the transformation of his heart—shifting from a state of hardness and cruelty to one of softness and pliability.

The onset of remorse and self-reckoning: “Woe betide the disgrace of my tomorrow…” When the enlightened soul awakens from the slumber of heedlessness, it looks beyond mere outward deeds to the Day of the Great Reckoning; the pleasures of past transgressions turn into sorrow and shame, while the admission of one’s own powerlessness transforms into a strength that reshapes one’s conduct.

The passing of material dominion—”What, in the end, do I hold in my hands?”—this existential question lies at the heart of ascetic detachment. No matter the extent of a person’s authority or rule, if they have not built for the Hereafter through justice and benevolence, they depart this world empty-handed.

From Theory to Practice (Verses 33–35): The poet illustrates the fruit of sincere repentance; no sooner had Anushirvan reached his camp than he issued orders to cast aside the sword of oppression and the pen of unjust taxation. This signifies that, for both rulers and spiritual seekers, repentance is not genuine until rights are restored to their rightful owners and injustice is replaced by justice.

The Secret Behind the Enduring Title “The Just” (Verses 36–38): “He passed on, yet the fame of his justice remained…” Khosrow’s reign came to an end and his great halls crumbled, yet his name became forever linked with justice. The poet illustrates that all material gains eventually vanish; nothing endures along the path of time—within the realm of the righteous—save for acts of justice.

The Law of the “Revolving Dome” (Verse 44): “The revolving dome, by nature’s law, discerns between good and evil.” This verse encapsulates the concept of “cosmic recompense”; the heavens turn by God’s command, and whatever good or evil a person sows inevitably returns to them.

Scrutinizing Words and Honest Self-Reflection (Verses 47–48): “These are mere words; yet it is deeds that are required of you—for were tasks accomplished by words alone…” At the story’s conclusion, the poet assumes the stance of one who honestly takes stock of their own actions. He reminds himself and the reader that the goal is not composing poetry or reciting eloquent sermons, but rather “action and practice.” If poetry and speech alone could elevate a person, the poet Nizami would hold the highest station of all creation.

The Station of Futuwwa and Javanmardi (Be chivalrous like the moon and the sun): In Sufism, Futuwwa (spiritual chivalry) means bestowing one’s goodness and light upon all of creation, just as the sun and moon do—offering warmth and radiance without expecting anything in return or making others feel indebted.

Conduct through Action, Not Words: The People of Truth emphasize that Sharia (the Sacred Law) and Tariqa (the Spiritual Path) are not merely texts to be memorized or verses to be recited; rather, they represent an “inner transformation of conduct.” It is through action alone that the wayfarer passes from the veil of “speech” to the presence of “station.”

Vocabulary to Learn

Dastūr: Minister, advisor, or sage
Safīr: Whistling or the chirping and calling of birds
Shīrbahā: Dowry or “milk right” (a wedding gift for the bride’s mother)
Jughd: Owl (a symbol of ruin, bad omens, and isolation)
Mākiyān: Chickens or useful domestic fowl
Mis-e Zar-andūdeh: Copper plated or gilded with gold (a symbol of falseness and a glittering exterior)
Āzaram: Modesty, honor, or inner respect
Turktāz: A fierce raid, an attack, or a harsh incursion
Bārgī: A mount, a horse, or a beast of burden (a metaphor for worldly pleasures that we mistake for a vehicle, while they are actually a burden)
Tang-dil: Sorrowful, sad, or distressed at heart
Khittah: Territory, region, or kingdom
Sahib-dili: The realm of the people of the heart, spiritual insight, and inner vision
Dard-istani: Alleviating pain, taking on the suffering of the destitute, and offering them solace
Javanmard: The chivalrous, generous, courageous, and noble-spirited (symbol of spiritual chivalry)
Hiyal: Stratagems, pretexts, and ruses

Arabic Translation

هَذَا الْجُزْءِ الأَوَّلِ (الأَبْيَاتُ ١-١٦)، يَضَعُ الْحَكِيمُ نِظَامِي كَنْجَوِي الْمَسْرَحَ الدَّرَامِيَّ لِلْقِصَّةِ؛ حَيْثُ يُبْعِدُ الْمَلِكَ عَنْ حَاشِيَتِهِ وَبَهْرَجَةِ قَصْرِهِ لِيُوَاجِهَ الْوَاقِعَ الْمُرَّ لِمَمْلَكَتِهِ فِي قَرْيَةٍ مَهْجُورَةٍ. وَعَبْرَ حِوَارٍ ذَكِيٍّ صَاغَهُ الْوَزِيرُ الْحَكِيمُ (بُزُرْجِمِهْر) عَلَى أَلْسِنَةِ “الْبُومَتَيْنِ”، يَسْتَفِيقُ ضَمِيرُ الْمَلِكِ لِيَدْرَكَ أَنَّ ظُلْمَ الرَّاعِي لا يُدَمِّرُ بِيُوتَ الْبَشَرِ فَحَسْبُ، بَلْ يُحَوِّلُ الْمَمَالِكَ إِلَى مَوَاطِنَ لِلْبُومِ وَالْخَرَابِ

بَيْنَمَا كَانَ كَسْرَى أَنُوشِيرْوَانَ غَارِقًا فِي الصَّيْدِ، أبْتَعَدَ مَرْكَبُهُ عَنْ مَوْكِبهِ وَالْفُرْسَانِ

فَلَمْ يَبْقَ أَنِيسًا لِلْمَلِكِ سِوَى وَزِيرِهِ الْحَكِيمِ؛ فلَمْ يَكُنْ فِي ذَلِكَ الْفَضَاءِ إِلا الْمَلِكُ وَالْوَزِيرُ وَلا أَحَدَ سِوَاهُمَا

فَأَبْصَرَ المَلك فِي تِلْكَ النَّاحِيَةِ الْمَلِيئَةِ بِالصَّيْدِ، قَرْيَةً خَرِبَةً مُتَهَدِّمَةً كَقَلْبِ الْعَدُوِّ الْمَهْزُومِ

فرَأَى طَائِرَيْنِ (بُومَتَيْنِ) قَدِ دْنَى مِنْ بَعْضِهِمَا البعضِ فِي نِزَاعٍ، فكَانَتْ نَغَمَاتُ صَوْتِيهِمَا أَكْثَرَ ضِيقًا وَحُزْنًا مِنْ قَلْبِ الْمَلِكِ

فَقَالَ الْمَلِكُ لِوَزِيرِهِ: بمَاذَا يَتَهَامَسَانِ؟ وَمَا معنى هَذَا الصَّفِيرُ الَّذِي يَتَبَادَلَانِهِ بَيْنَهُمَا؟

فَأَجَابَهُ الْوَزِيرُ في الحالِ: يَا مَلِكَ الزَّمَانِ، سَأُخْبِرُكَ بِسِرِّهِمَا، إِنْ أَذِنْتَ لِي وَكُنْتَ لِي مُسْتَمِعًا وَمُتَعَلِّمًا

إِنَّ هَذَه الأصواتِ (الصَّوْتَيْنِ) لَيْسَت مِنْ أَجْلِ الْغِنَاءِ أَوْ الطَّرَبِ، بَلْ هُمَا خِطْبَةُ زَوَاجٍ وَمَصَاهَرَةٍ بَيْنَهُمَا

فقَدْ زَوَّجَ هَذَا الطَّائِرُ أبْنَتَهُ لِذَاكَ الطَّائِرِ، وَهُوَ يَطْلُبُ مِنْهُ بأن يَجلب صَبَاحًا مَهْرَهَا (مقابل حَليب الرضاعة)

فَيَقُولُ لَهُ: سَلِّمَنَا هَذِهِ الْقَرْيَةَ الْخَرِبَةَ، وكذلك أُعْطِيَنَا عِدَّةَ قُرًى أخرى خَرِبَةٍ مِثْلَهَا

فَأَجَابَهُ الطَّائِرُ الآخَرُ: أتْرُكْ هَذَا الشَّرْطَ وَتَجَاوَزْه، وَانْظُرْ إِلَى ظُلْمِ الْمَلِكِ ثُمَّ غَادر مِن هُنا، وَلا تَحْزَنْ

فَإِنْ بَقِيَ الْمَلِكُ عَلَى هَذَا الظُّلْمِ فِي قَابِلِ الأَيَّامِ، سَأَهَبُكَ بَدَلَ هَذِهِ الْقَرْيَةِ الْخَرِبَةِ مِائَةَ أَلْفِ قَرْيَةٍ أخرى مَهْجُورَةٍ

فَوَقَعَتْ هَذِهِ الْكَلِمَاتُ فِي قَلْبِ الْمَلِكِ وِقَعًا أَلِيمًا، حَتَّى زَفَرَ زَفْرَةً حَارَّةً وَأَطْلَقَ صُرَاخَ الأَسَى

فَضَرَبَ بِيَدِهِ عَلَى رَأْسِهِ وَبَكَى مَلِيًّا؛ فمَاذَا تَكُونُ حَصِيلَةُ الظُّلْمِ وَالْجَوْرِ فِي النِّهَايَةِ، سِوَى الدُّمُوعِ؟

فَعَضَّ عَلَى إِصْبَعِهِ نَدَمًا مِنْ شِدَّةِ هذا الظُّلْمِ، وَقَالَ: أنْظُرْ كَيْفَ وَصَلَ شَرَرُ الظُّلْمِ حَتَّى إِلَى الطُّيُورِ

وأنْظُرْ إِلَى هَذَا الْجَوْرِ؛ كَيْفَ جَعَلْتُ الْبُومَ (رَمْزَ الْخَرَابِ) يَسْكُنُ الدِّيَارَ بَدَلَ الطُّيُورِ الأَلِيفَةِ وَالدَّجَاجِ بَسَبَبِ ظُلْمِي لأَهْلِ الأَرْضِ

فيَا لَغَفْلَتِي وَعِبَادَتِي لِلدُّنْيَا، كَمْ يَلْزَمُنِي أَنْ أَضْرِبَ عَلَى رَأْسِي نَدَمًا وَحَسْرَةً عَلَى مَا صَنَعَتْ يَدَايَ

فِي هَذَا الْمَقْطَعِ الْوِجْدَانِيِّ الْمَلَهَّبِ، يَرْسُمُ الْحَكِيمُ نِظَامِي كَنْجَوِي لَحَظَاتِ “الْمُحَاسَبَةِ الذَّاتِيَّةِ الْقَاسِيَةِ” الَّتِي خَاضَهَا أَنُوشِيرْوَانُ مَعَ نَفْسِهِ؛ إِذْ لَمْ يَعُدْ المَلِكُ يَرَى عَرْشَهُ وَذَهَبَهُ سِوَى “نُحَاسٍ مُـمَوَّهٍ” (مِسِ زَرِأَنْدُودَه)، وَأَدْرَكُ أَنَّ كُلَّ غَارَةٍ أَوْ ظُلْمٍ (تُرْكْتَاز) أقْتَرَفَهُ بحَقَّ الرَّعِيَّةِ سَيُسْأَلُ عَنْهُ مَرَّاتٍ وَمَرَّاتٍ فِي يَوْمِ الْحِسَابِ. فَتَشَعَّلَتْ فِي صَدْرِهِ نَارُ النَّدَمِ الصَّادِقَةِ حَتَّى صَارَتْ أَنْفَاسُهُ الْحَارَّةُ تُذِيبُ صَلَابَةَ الحَدِيدِ

وإِلَى مَتَى أَغْتَصِبُ أَمْوَالَ النَّاسِ قَهْرًا وَظُلْمًا؟ وَأَنَا غَافِلٌ عَنِ الْمَوْتِ وَعَنْ غَدِ القَبْرِ وَأَهْوَالِهِ

وإِلَى مَتَى أَمُدُّ يَدَ الْعُدْوَانِ وَالتَّعَدِّي؟ فأنْظُرْ يَا قلبي، ماذا فعلتُ بنفسي، فأُرَدِّيتها فِي الْهَلَاكِ

فإِنَّمَا أَعْطَانِيَ الْخَالِقُ الْجَلِيلُ الْمُلْكَ وَالسَّلْطَنَةَ لِكَيْ أُقِيمَ الْعَدْلَ، لَا لِأَفْعَلَ مَا لَا يَلِيقُ وَلَا يُجْدِي نَفْعًا

فأَنَا الَّذِي مَوَّهُوا نُحَاسِي الْخَسِيسَ بِمَاءِ الذَّهَبِ (أَلْبَسُونِي ظَاهِرَ الْمُلْكِ الْمُزَيَّفِ)، لأقْتَرِفُ مِنَ الْمَظَالِمِ، مَا لَمْ يَأْمُرْنِي اللهُ بِهِ

فلِمَاذَا أُسِيءُ إِلَى ذِكْرِي وَأسْمِي بإرتكاب الظُّلْمِ؟ وَ ياللأسى، إِنَّ الظُّلْمَ الَّذِي أَقْتَرِفُهُ إنَّمَا أُوَجِّهُهُ فِي الْحَقِيقَةِ إِلَى نَفْسِي

فالأفَضل، بما أن اللهُ أوْدَعَ فِي قَلْبِي الحَيَاءً وَ الوَقَار، مِنْ هَذَا الْغَيِّ، أما أَنْ أَسْتَحِيَ مِنَ اللهِ وَإِمَّا أستحي وأخَجل مِنْ نَفْسِي

فقَدْ أَصْبَحَ الظُّلْمُ الْيَوْمَ لَذَّتِي وَمَنظراً يُبهج عَيْنِي، فَوَا حَسْرَتَاهْ، و وَا وَيْلَاهْ مِنْ الفَضِيحَة فِي يَوْمِ الْحِسَابِ، غَدا

فأَصْبَحَ جَسَدِي مُسْتَحِقًّا لِلْإِحْرَاقِ، وَإِنَّ قَلْبِي لَيَحْتَرِقُ أَلَمًا وَشَفَقَةً عَلَى نَفْسِي مِنْ هَذَا الْحزنِ

فإِلَى مَتَى أُثِيرُ غُبَارَ الظُّلْمِ وَالْجَوْرِ على الرَعية؟ وَإِلَى مَتَى أُرَيقُ مَاءَ وَجْهِي وَأَسْفِكُ دِمَاءَ الأخَرين وَالْمَسَاكِينِ؟

ففِي يَوْمِ الْقِيَامَةِ، سَيَسْأَلُونَنِي عَنْ هَذَا الْعُدْوَانِ وَالْتَنكيل الظَّالِمَ بالرَعية، وَسَيُكَرِّرُونَ سُؤَالِي مَرَّةً بَعْدَ مَرَّةٍ

فأَنَا مَليء بالخَجلِ من سُوء الأعمالِ، فِكَيْفَ لَا أَجْلِسُ مُنْكَسِرًا، خَجِلًا؟ وعلى الرَغْمَ من قَسْوَةِ قَلْبِي، كَيْفَ لَا يَعْتصِرُهُ الْحُزْنُ وَالضَّيْقُ والألم؟

فانْظُرْوا، كَمْ من اللَّوْمَ وَالْمَذَمَّةَ سَوف أَتَحَمَّلَ، لِأَنِّي سَأَحْمِلُ هَذَا الْخِزْيَ وَالْخَجَلَ مَعِي إِلَى يَوْمِ الْقِيَامَةِ

فإِنَّ كُلَّ مَا كُنْتُ أَظُنُّهُ مَرْكَبًا وَدَابَّةً (يَحملني ويَحمل أعبائي في الدُنيا، يُخفف عني، مُلك أستمتع بهِ) لِي هُوَ فِي الْحَقِيقَةِ وِزْرٌ وَحِمْلٌ ثَقِيلٌ عَلَى كَاهِلِي، وَإِنَّ عِلَاجِي الْوَحِيدَ هُوَ أَنْ أَعْتَرِفَ بِعَجْزِي وَبِشِدَّةِ بَؤْسِي

ومِنْ كُلِّ هَذِهِ الْجَوَاهِرِ وَالْكُنُوزِ الَّتِي لَا تُحْصَى، مَاذَا أَخَذَ المَلِكُ سَامٌ مَعَهُ؟ وَمَاذَا حَمَلَ فَرِيدُونُ، حِينَمَا رَحَلَ؟

فحَتَّى إِذَا كَانَتْ لِيَ الْإِمَارَةُ وَالسَّلْطَنَةُ الْيَوْمَ، فَمَاذَا سَأَظْفَرُ بِهِ فِي نِهَايَةِ الْمَطَافِ (عَاقبة الأمرِ) وَفِي خِتَامِ الْأَمْرِ؟

فَتَأَثَّرَ الملك أَنُوشِيرْوَانُ من ذَلِكَ الْمَوْقِفِ وَأحْتَرَقَ قَلْبُهُ بِنَارِ النَّدَمِ بِشدة، حَتَّى لكَأَنَّ حَدوة فَرَسِهِ أَوْشَكَت على أَنْ تلِينَ مِنْ حَرَارَةِ أَنْفَاسِهِ الصَّادِقَةِ

فِي هَذَا الْمَقْطِعِ الْأَخِيرِ، يُتَوِّجُ الْحَكِيمُ نِظَامِي كَنْجَوِي الْقِصَّةَ بِالتَّحَوُّلِ الْعَمَلِيِّ الْعَظِيمِ؛ إِذْ لَمْ يَقِفْ أَنُوشِيرْوَانُ عِنْدَ حُدُودِ الْبُكَاءِ وَالْنَّدَمِ، بَلْ تَرْجَمَ يَقَظَتَهُ إِلَى “قَوَانِينَ لِلْعَدْلِ وَالرَّأْفَةِ”، فَمَحَى رُسُومَ الظُّلْمِ مِنْ مَمْلَكَتِهِ، فَتَخَلَّدَ أسْمُهُ فِي تَأرِيخِ أَهْلِ الْقُلُوبِ بِلَقَبِ “الْعَادِلِ”. ثُمَّ يَخْتِمُ الشاعر بِدُسْتُورٍ إِشْرَاقِيٍّ يَدْعُو إِلَى الْإِحْسَانِ وَالْفِعْلِ، مُؤَكِّدًا أَنَّ الْعِبْرَةَ لَيْسَتْ بِفَصَاحَةِ الْقَوْلِ بَلْ بِصِدْقِ الْعَمَلِ

فَلَمَّا وَصَلَ الْمَلِكُ إِلَى الْمُعَسْكَرِ وَإِلَى مَقام حُكمهِ، فَاَحَتْ نَفَحَاتُ الْعَطْفِ وَالرَّأْفَةِ فِي أَرْجَاءِ الْوِلَايَةِ وَالْمَمْلَكَةِ

وفِي الْحَالِ، رَفَعَ أمر الْجِبَايَةِ الظَّالِمَةِ عَنْ تِلْكِ الرَّقَبَةِ (الرَعية)، وَمَحَى الرُّسُومَ السَّيِّئَةَ وَطَرِيقَ الْجَوْرِ والظلم مِنْ مَملْكِتهِ

فَبَسَطَ مَوَائِدَ الْعَدْلِ وَطَوَى بِسَاطَ الظُلَمَ، وَظَلَّ ثَابِتًا عَلَى هَذَا الْعَهْدِ حَتَّى آخِرِ رَمَقٍ مِنْ حَيَاتِهِ

وَبَعْدَ أَنْ طَوَتْهُ الْأَقْدَارُ فِي دَوَرَانِ الزَّمَانِ، رَحَلَ هُوَ عَنِ الدُّنْيَا وَبَقِيَتْ صَرْخَةُ عَدْلِهِ وَصَدَاهَا خَالِدَيْنِ

فَنُقِشَ عَلَى المالِ أسْمِهِ فِي إِقْلِيمِ أَهْلِ الْقُلُوبِ وَالْمَعْرِفَةِ بلَقَبُ أَنُوشِيرْوَانَ الْعَادِلِ

فَبَلَغَ حُسْنَ الْعَاقِبَةِ وَالْخَاتِمَةِ السَّعِيدَةِ؛ وَكُلُّ مَنْ قَرَعَ بَابَ الْعَدْلِ ظَفِرَ بِهَذَا الشَّرَفِ وَالْخُلُودِ

فَأَقْضِ عُمُرَكَ فِي إِدْخَالِ السُّرُورِ عَلَى الْقُلُوبِ، لِكَيْ يَكُونَ الْخَالِقُ الْجَلِيلُ رَاضِيًا عَنْكَ

وَأطْلُبْ صُحْبَةَ أَهْلِ الْبَصِيرَةِ (ظِلَّ شَمْسِ الْفُرْسَانِ)، وتحْمِلِ الْمَشَقَّةَ بنَفْسِكَ، لِتُحَقِّقَ الرَّاحَةَ لِلْآخَرِينَ

فكُنْ راعياً لْآلَامِ الأخرين، وَمُغِيثًا لِلْمَلْهُوفِينَ والمحتاجين، حَتَّى يَرْفَعُوكَ إِلَى مَرَاتِبِ الْقِيَادَةِ وَالسِّيَادَةِ الْحَقِيقِيَّةِ

وتَوَهَّجْ بِالدِّفْءِ مِنَ الْمَحَبَّةِ وَتَخلى عَنِ الْأَحْقَادِ، وَكُنْ شَهْمًا، كَالشَّمْسِ وَالْقَمَرِ، الَّلَذَيْنِ يُفِيضَانِ نُورَهُمَا عَلَى الْجَمِيعِ، بدون حِساب

فكُلُّ مَنْ بَدَأَ سَيْرَتهُ وَعَمَلَهُ بِالْإِحْسَانِ، أَقْبَلَ عَلَيْهِ الْإِحْسَانُ وَعَادَ خَيْرُهُ إِلَيْهِ

وإِنَّ قُبَّةَ الْسَماء الدَّوَّارَةَ بِالْمِقْيَاسِ الْإِلَهِيِّ تُدْرِكُ صَنِيعَ الْخَيْرِ وَالشَّرِّ وَتَجْزِي كُلَّ زَارِعٍ بِمَا زَرَعَ

وأعْمَلْ بِالطَّاعَةِ وَوَلِّ وَجْهَكَ عَنِ الذُّنُوبِ، لِئَلَّا تَصِيرَ يَوْمَ الْعَرْضِ (يَوم القيامة) كَالْخَجِلِينَ الْمُفْلِسِينَ الَّذِينَ يَلْتَمِسُونَ الْأَعْذَارَ، ولا يُعذَرونَ

فإِنَّ نتيجة الدُّنْيَا وَمُدَّتَهَا كَلَحْظَةٍ أَوْ سَاعَةٍ وَاحِدَةٍ، فَأشْتَغِلْ بِالطَّاعَةِ؛ فَإِنَّ خَيْرَ مَا يُدَّخَرُ لِلْمَعَادِ هُوَ الطَّاعَة لله

ولَا تَقْدِمِ الْأَعْذَارَ وَلَا تَلْتَجِئْ إِلَى الْحِيَلِ؛ فَهَذَا الَّذِي تُسْمَعُهُ والذي قيل هو كَلَامٌ، وَالْمَطْلُوبُ مِنْكَ فِي الْحَقِيقَةِ، هُوَ الْعَمَلُ بهِ

وَلَوْ كَانَتِ الْأُمُورُ وَالْمَرَاتِبُ تُنَالُ بِمُجَرَّدِ الْكَلَامِ وَالشِّعْرِ، لَبَلَغَ أَمْرُ نِظَامِيٍّ مَبلغاً في أَعْلَى السَّمَاوَاتِ وَالْأَفْلَاكِ

المعاني الصوفية والعرفانية

رَمْزِيَّةُ “الْخُرُوجِ إِلَى الصَّيْدِ” (الْبَيْتَانِ ١-٢): فِي الأدَبِ الْفَارِسِيِّ الْمَلَحَمِيِّ وَالْعِرْفَانِيِّ، خُرُوجُ الْمَلِكِ لِلصَّيْدِ (صیدکنان) يُعْتَبَرُ أَدَاةً دَرَامِيَّةً لِعَزْلِهِ عَنْ زُخْرُفِ الْبَلاطِ وَتَمْوِيهِ الْمُقَرَّبِينَ. حِينَمَا أنْفَرَدَ أَنُوشِيرْوَانُ بِوَزِيرِهِ الْحَكِيمِ فِي الْخَلاءِ، أنْفَتَحَتْ عَيْنَاهُ عَلَى الْحَقِيقَةِ الْعَارِيَةِ (الغير مموهه) لِمَمْلَكَتِهِ

عَبْقَرِيَّةُ الْوَزِيرِ وَالْحِيلَةُ التَّعْلِيمِيَّةُ (الْأَبْيَاتُ ٥-١١): كَانَ الْوَزِيرُ بُزُرْجِمِهْر يَعْلَمُ أَنَّ الْمُوَاجَهَةَ الْمُبَاشِرَةَ لِلْمَلِكِ بِظُلْمِهِ قَدْ تُثِيرُ غَضَبَهُ، فَأسْتَغَلَّ نَغَمَاتِ الْبُومَتَيْنِ فِي الْقَرْيَةِ الْخَرِبَةِ وَنَسَجَ حِوَارًا تَمْثِيلِيًّا، حيث أنْتَقَلَ بِالْمَهْرِ (شیربها) مِنْ مَفْهُومِهِ المَادِّيِّ إِلَى جَعْلِ “الْقُرَى الْمَهْجُورَةِ” هِيَ عُمْلَةَ الزَّوَاجِ فِي زَمَنِ الظَّالِمِ، فَالظُّلْمُ يُفْنِي الْعِمَارَةَ، وَيَجْعَلُ الْخَرَابَ سِلْعَةً مُتَدَاوَلَةً

صَدْمَةُ الإسْتِفَاقَةِ (الْأَبْيَاتُ ١٢-١٦): يُصَوِّرُ الشاعر هَزَّةً عَنِيفَةً فِي وِجْدَانِ أَنُوشِيرْوَانَ (دست به سر برزد / انگشت به دندان گزید)، فلَمْ يَكُنْ بُكَاءُ الْمَلِكِ بُكَاءَ ضَعْفٍ، بَلْ كَانَ “بُكَاءَ الصَّحْوَةِ”؛ إِذْ أَدْرَكَ أَنَّ ظُلْمَهُ لَمْ يُهْلِكِ الْبَشَرَ (خاکیان) فَحَسْبُ، بَلْ أَمْتَدَّ أَثَرُهُ الشَّرِيرُ لِيَطْرُدَ الطُّيُورَ الأَلِيفَةَ (ماکیان) وَيَجْعَلَ الْبُومَ (جغد) سَيِّدًا عَلَى الرَّكُامِ والخراب

تَأْثِيرُ ظُلْمِ الْإِنْسَانِ عَلَى الْكَوْنِ: “جور نگر کز جهت خاکیان / جغد نشانم بدل ماکیان”؛ يَرَى الشاعر أَنَّ هَنَاءَ الْكَوْنِ وَطَبِيعَتِهِ مُرْتَبِطٌ بِعَدْلِ الْإِنْسَانِ؛ فَعِنْدَمَا يَغِيبُ الْعَدْلُ عَنْ عَالَمِ الْبَشَرِ، تَنْعَكِسُ الظُّلْمَةُ عَلَى الْطَّبِيعَةِ حَتَّى تُصْبِحَ الدِّيَارُ الْعَامِرَةُ بَوَارًا

الْغَفْلَةُ وَالْيَقَظَةُ (ای من غافل شده دنیاپرست): يُمَثِّلُ أَنُوشِيرْوَانُ فِي هَذِهِ اللَّحْظَةِ سَالِكًا كَانَ غَارِقًا فِي نَوْمِ الْغَفْلَةِ وَعِبَادَةِ الدُّنْيَا، لَكِنَّ نِدَاءَ الْحِكْمَةِ (عَلَى لِسَانِ الْوَزِيرِ) كَانَ كَالصَّاعِقَةِ الَّتِي مَزَّقَتْ حِجَابَ غَفْلَتِهِ

إستِعَارَةُ “مِسِ زرأَندوده” (النُّحَاسُ الْمُمَوَّهُ بِالذَّهَبِ): “من که مسم را به زر اندوده‌اند…”؛ يُشَبِّهُ أَنُوشِيرْوَانُ ظَاهِرَ الْمُلْكِ المُمَوَّهَ وَبَهْرَجَتَهُ بِقِطْعَةِ نُحَاسٍ رَخِيصَةٍ طُلِيَتْ بِبَرِيقِ الذَّهَبِ؛ فَالْأَلْقَابُ وَالسَّلْطَنَةُ لَا تُحَوِّلُ الظَّالِمَ إِلَى شَخْصٍ شَرِيفٍ، بَلْ تَبْقَى طِينَتُهُ نُحَاسِيَّةً خَسِيسَةً مَا لَمْ يُتَوِّجْهَا بِالْعَدْلِ وَالتَّقْوَى

الْعَبَرَةُ مِنْ “سَام وَفَرِيدُون” (الْبَيْتُ ٣٠): يُحَضِّرُ الشاعر مَلَاحِمَ الشَّاهْنَاَمَةِ فِي ذِهْنِ الْمَلِكِ؛ فَيُذَكِّرُهُ بِالْمُلُوكِ الْعِظَامِ كَـ “سَامٍ” (جَدِّ رُسْتُمَ) وَ فَرِيدُونَ” (بَطَلِ الْعَدْلِ الْقَدِيمِ)، إِذْ غَادَرُوا هَذِهِ الدُّنْيَا وَتَرَكُوا خَزَائِنَ الْذَّهَبِ وَالْجَوَاهِرَ الَّتِي لَا تُحْصَى، وَلَمْ يَأْخُذُوا مَعَهُمْ إِلَى الْقَبْرِ إِلَّا حَسَنَاتِ الْعَدْلِ أَوْ أَوْزَارَ الظُّلْمِ

مُبَالَغَةُ “نَعْلِ فَرَس نَرِم گشْت” (الْبَيْتُ ٣٢): هَذِهِ الصُّورَةُ الْبَلَاغِيَّةُ الْإِعْجَازِيَّةُ مِنْ الشاعر؛ إِذْ يُصَوِّرُ حَرَارَةَ أَنْفَاسِ النَّدَمِ (گرم گشتن) الصَّادِرَةِ مِنْ صَدْرِ أَنُوشِيرْوَانَ شَدِيدَةً جِدًّا، حَتَّى أَنَّ هَوَاءَهَا المَلَهَّبَ كَادَ يُلَيِّنُ نِعَالَ خَيْلِهِ الْحَدِيدِيَّةَ! وَهِيَ كِنَايَةٌ عَنْ “انْقِلَابِ قَلْبِهِ الصَّلْبِ وَتَلَيُّنِهِ بَعْدَ الْقَسْوَةِ”

إنْقِلَابُ النَّدَمِ وَالْمُحَاسَبَةِ: “وای به رسوایی فردای من…”؛ الْعَارِفُ عِنْدَمَا يَسْتَفِيقُ مِنْ نَوْمِ الْغَفْلَةِ، لَا يَرَى عَمَلَهُ الظَّاهِرَ، بَلْ يَنْظُرُ إِلَى يَوْمِ العَرْضِ الْأَكْبَرِ؛ فَتَصِيرُ لَذَّاتُ الظُّلْمِ الْأَمْسِيَّةُ شَجَنًا وَخَجَلًا، وَيَتَحَوَّلُ الإعْتِرَافُ بِالْعَجْزِ إِلَى قُوَّةٍ تُعِيدُ صِيَاغَةَ السَّلُوكِ

زَوَالُ السُّلْطَانِ المَادِّيِّ: “عاقبت‌الامر چه دارم به دست؟”؛ هَذَا التَّسَاؤُلُ الوُجُودِيُّ هُوَ مِحْوَرُ الزُّهْدِ؛ فَمَهْمَا بَلَغَ سُلْطَانُ الْإِنْسَانِ أَوْ وِلَايَتُهُ، إِذَا لَمْ يَبْنِ عِمَارَةَ الْآخِرَةِ بِالْعَدْلِ وَالْإِحْسَانِ، خَرَجَ مِنَ الدُّنْيَا خَالِيَ الْيَدَيْنِ

التَّحَوُّلُ مِنَ النَّظَرِيَّةِ إِلَى التَّطْبِيقِ (الْأَبْيَاتُ ٣٣-٣٥): يَرْسُمُ الشاعر ثَمَرَةَ التَّوْبَةِ الصَّادِقَةِ؛ فَمَا إِنْ وَصَلَ أَنُوشِيرْوَانُ إِلَى مُعَسْكَرِهِ حَتَّى صَدَرَ أَمْرُهُ بِرَفْعِ سَيْفِ الظُّلْمِ وَقَلَمِ الجِبَايَةِ الجَائِرَةِ (قلم برگرفت / رسمِ بد برگرفت). إِشَارَةً إِلَى أَنَّ التَّوْبَةَ فِي عُرْفِ الْحُكَّامِ وَالْسَّالِكِينَ لَا تَكُونُ حَقِيقِيَّةً حَتَّى تُعَادَ الْحُقُوقُ إِلَى أَصْحَابِهَا وَتُسْتَبْدَلَ الْمَظَالِمُ بِالْعَدْلِ

سِرُّ خُلُودِ لَقَبِ “الْعَادِلِ” (الْأَبْيَاتُ ٣٦-٣٨): “او شد و آوازهٔ عدلش بجای…”؛ أنْقَضَى عَهْدُ كِسْرَى وَتَهَدَّمَتْ إِوَانَاتُهُ، لَكِنَّ اسْمَهُ صَارَ مَقْرُونًا بِالْعَدْلِ (سکهٔ نامش رقمِ عادلی). يُبَيِّنُ الشاعر أَنَّ الْمَكَاسِبَ الْمَادِّيَّةَ كُلَّهَا تَزُولُ، وَلَا يَبْقَى فَوْقَ سِكَّةِ الزَّمَانِ فِي إِقْلِيمِ الصَّالِحِينَ (خطهٔ صاحبدلی) سِوَى صَنِيعِ الْعَدْلِ

قَانُونُ “الْقُبَّةِ الدَّوَّارَةِ” (الْبَيْتُ ٤٤): “گنبد گردنده ز روی قیاس / هست به نیکی و بدی حق‌شناس”؛ هَذَا الْبَيْتُ يُلَخِّصُ مَفْهُومَ “الْمُكَافَأَةِ الْكَوْنِيَّةِ”؛ فَالْفَلَكُ دَوَّارٌ بِأَمْرِ اللهِ، وَكُلُّ مَا يَغْرِسُهُ الْإِنْسَانُ مِنْ خَيْرٍ أَوْ شَرٍّ يَعُودُ إِلَيْهِ صَدَاهُ

نَقْدُ الْكَلَامِ وَمَصَارَحَةُ الذَّاتِ (الْبَيْتَانِ ٤٧-٤٨): “این سخن است از تو عمل خواستند / گر به سخن کار میسر شدی…”؛ فِي نِهَايَةِ الْقِصَّةِ، يَقِفُ الشاعر مَوْقِفَ الْمُحَاسِبِ الصَّادِقِ؛ فَيُذَكِّرُ نَفْسَهُ وَالْقَارِئَ أَنَّ الْمَطْلُوبَ لَيْسَ نَظْمَ الْأَشْعَارِ أَوْ سَرْدَ الْمَوَاعِظِ الْبَلِيغَةِ، بَلْ هُوَ “الْعَمَلُ وَالتَّطْبِيقُ”. وَلَوْ كَانَ الشِّعْرُ وَالْكَلَامُ وَحْدَهُ يَرْفَعُ صَاحِبَهُ، لَكَانَ الشاعر نِظَامِيُّ أَعْلَى الْخَلْقِ مَقَامًا

مَقَامُ “الْفُتُوَّةِ وَالْجَوَانْمَرْدِي” (چون مه و خورشید جوانمرد باش): الْفُتُوَّةُ عِنْدَ الصُّوفِيَّةِ هِيَ أَنْ يُفِيضَ الْإِنْسَانُ خَيْرَهُ وَنُورَهُ عَلَى الْخَلْقِ كَافَّةً كَالشَّمْسِ وَالْقَمَرِ؛ يَهَبُ الدِّفْءَ وَالضِّيَاءَ بِلَا مَنٍّ وَلَا اعْتِبَارٍ لِلْمَقَابِلِ

السَّلُوكُ بِالْعَمَلِ لَا بِالْقَوْلِ: يُؤَكِّدُ أَهْلُ الْحَقِيقَةِ أَنَّ الشَّرِيعَةَ وَالطَّرِيقَةَ لَيْسَتَا نُصُوصًا تُحْفَظُ أَوْ أَبْيَاتًا تُنْشَدُ، بَلْ هُمَا “تَحَوُّلٌ بَاطِنِيٌّ فِي السَّلُوكِ”؛ فَبِالْعَمَلِ وَحْدَهُ يَنْفَذُ السَّالِكُ مِنْ حِجَابِ “الْكَلَامِ” إِلَى حَضْرَةِ “الْمَقَامِ”

الكلمات للتعلم

دَسْتُور: الْوَزِيرُ، الْمُسْتَشَارُ، أَوْ الْحَكِيمُ
صَفِيـر: الصَّفِيرُ أَوْ صَوْتُ زَقْزَقَةِ الطُّيُورِ وَنَهْمَتِهَا
شِيـرْبَهَا: المَهْرُ أَوْ حَقُّ الْحَلِيبِ/حق الرِضاعة (هَدِيَّةُ الزَّوَاجِ لِوَالِدَةِ الْعَرُوسِ)
جُغْد: الْبُومَةُ (رَمْزُ الْخَرَابِ وَالشَّؤْمِ وَالْعُزْلَةِ)
مَاكِيَان: الدَّجَاجُ أَوْ الطُّيُورُ الأَلِيفَةُ النَّافِعَةُ
مِسِ زَرِأَنِدُودِه: النُّحَاسُ الْمَطْلِيُّ أَوْ الْمُمَوَّهُ بِالذَّهَبِ (رمز الزَّيْفِ وَالظَّاهِرِ الْبَرَّاقِ)
آَزَرِم: الْحَيَاءُ، الشَّرَفُ، أَوْ الْاحْتِرَامُ الْبَاطِنِيُّ
تُرِكْتَاز: الْغَارَةُ الشَّدِيدَةُ، الْهُجُومُ، أَوْ التَّعَدِّي الْقَاسِي
بَارَگى: الْمَرْكَبُ، الْفَرَسُ، أَوْ الدَّابَّةُ (استعَارَةٌ عَنْ مُتَعِ الدُّنْيَا الَّتِي نَظُنُّهَا مَرْكَبًا بَيْنَمَا هِيَ عِبْءٌ)
تَنِگ‌دِل: مَحْزُونٌ، حَزِينٌ، أَوْ مُضْطَرِبُ الصَّدْرِ
خِطَّه: الإِقْلِيمُ، الْمَنَاطِقُ، أَوْ الْمَمْلَكَةُ
صَاحِبْدِلِی: إِقْلِيمُ أَهْلِ الْقُلُوبِ وَالْمَعْرِفَةِ وَأُولِي الْبَصَائِرِ
دَرِدْسِتَانِی: تَخْفِيفُ الآلَامِ وَأَخْذُ أَوْجَاعِ الْمَسَاكِينِ وَمَوَاسَاتُهُمْ
جَوَانْمَرِد: الشَّهْمُ، الْكَرِيمُ، الْمِقْدَامُ، وَذُو النَّخْوَةِ (رمز الفُتُوَّةِ العِرْفَانِيَّةِ)
حِيَل: الْحِيَلُ وَالذَّرَائِعُ وَالتَّمْوِيهَاتُ

Persian Text

شماره	مصراع اول	مصراع دوم
۱	صیدکنان مرکب‌ِ نوشیروان	دور شد از کوکبهٔ خسروان
۲	مونس خسرو شده دستور و بس	خسرو و دستور و دگر هیچکس
۳	شاه در آن ناحیت صید یاب	دید دهی چون دل دشمن خراب
۴	تنگ دو مرغ آمده در یکدِگَر	وز دل شه قافیه‌شان تنگ‌تر
۵	گفت به دستور ‌«چه دم می‌زنند؟	چیست صفیری که به‌هم می‌زنند؟»
۶	گفت وزیر «‌ای ملک روزگار	گویم اگر شه بود آموزگار
۷	این دو نوا نز پی رامشگری‌ست	خطبه‌ای از بهر زناشوهری‌ست
۸	دختری این مرغ بدان مرغ داد	شیربها خواهد از او بامداد
۹	کاین ده ویران بگذاری به ما	نیز چنین چند سپاری به ما
۱۰	آن دگرش گفت کزین درگذر	جور ملک بین و برو غم مخور
۱۱	گر مَلِک اینست نه بس روزگار	زین ده ویران دهمت صد هزار‌»
۱۲	در ملک این لفظ چنان درگرفت	کاه برآورد و فغان برگرفت
۱۳	دست به‌سر بر زد و لختی گریست	حاصل بیداد به جز گریه چیست؟
۱۴	زین ستم انگشت به دندان گزید	گفت «‌ستم بین که به مرغان رسید
۱۵	جور نگر کز جهت خاکیان	جغد نشانم بَدَل ماکیان
۱۶	ای من غافل شده دنیا پرست	بس که زنم بر سر ازین کار دست
۱۷	مال کسان چند ستانم به زور‌؟	غافلم از مردن و فردای گور
۱۸	تا کی و کی دست‌درازی کنم؟	با سر خود بین که چه بازی کنم
۱۹	مُلک بدان داد مرا کردگار	تا نکنم آنچه نیاید به کار
۲۰	من که مسم را به زر اندوده‌اند	می‌کنم آنها که نفرموده‌اند
۲۱	نام خود از ظلم چرا بد کنم؟	ظلم کنم وای که بر خود کنم
۲۲	بهتر از این در دلم آزرم داد	یا ز خدا یا ز خودم شرم باد
۲۳	ظلم شد امروز تماشای من	وای به رسواییِ فردای من
۲۴	سوختنی شد تن بی‌حاصلم	سوزد از این غصه دلم بر دلم
۲۵	چند غبار ستم انگیختن‌؟	آب خود و خون کسان ریختن
۲۶	روز قیامت ز من این ترکتاز	باز بپرسند و بپرسند باز
۲۷	شرم زده‌م، چون ننشینم خجل‌؟	سنگ‌دلم، چون نشوم تنگدل‌؟
۲۸	بنگر تا چند ملامت برم	کاین خجلی را به قیامت برم
۲۹	بار من است آنچه مرا بارگی‌ست	چاره من بر من بیچارگی‌ست
۳۰	زین گهر و گنج که نتوان شمرد	سام چه برداشت؟ فریدون چه برد؟
۳۱	تا من ازین امر و ولایت که هست	عاقبت‌الامر چه دارم به دست‌؟»
۳۲	شاه در آن باره چنان گرم گشت	کز نفسش نعل فرس نرم گشت
۳۳	چونکه به لشگر‌گه و رایت رسید	بوی نوازش به ولایت رسید
۳۴	حالی از آن خطه قلم برگرفت	رسم ِ بد و راهِ ستم برگرفت
۳۵	داد بگسترد و ستم درنبشت	تا نفس آخر از آن برنگشت
۳۶	بعد بسی گردش بخت آزمای	او شد و آوازه عدلش بجای
۳۷	یافته در خطه صاحبدلی	سکه نامش رقم عادلی
۳۸	عاقبتی نیک سرانجام یافت	هر که دَرِ عدل زد این نام یافت
۳۹	عمر به خشنود‌ی دل‌ها گذار	تا ز تو خوشنود بود کردگار
۴۰	سایهٔ خورشید‌ ِ سواران طلب	رنج خود و راحت یاران طلب
۴۱	درد ستانی کن و درماندهی	تات رسانند به فرماندهی
۴۲	گرم شو از مهر و ز کین سرد باش	چون مه و خورشید جوانمرد باش
۴۳	هر که به نیکی عمل آغاز کرد	نیکی او روی بدو باز کرد
۴۴	گنبد گردنده ز روی قیاس	هست به نیکی و بدی حق‌شناس
۴۵	طاعت کن روی بتاب از گناه	تا نشوی چون خجلان عذرخواه
۴۶	حاصل دنیا چو یکی ساعت است	طاعت کن کز همه بِه طاعت است
۴۷	عذر میاور نه حیَل خواستند	این سخن است از تو عمل خواستند
۴۸	گر به سخن کار میسر شدی	کار نظامی به فلک بر شدی