Edebistan

(Wisdom of)
Sun Arises From the East
Selected Poems From Iranian Literature
Seçme Farsça Şiirler

Table of Contents

About
Presentation at the University of Massachusetts,  Digital Government Center, the USA
A.R.A : Ahmed Ramazan ALTINOK, Turkish, father of 4, Retired Chief Advisor on e-Government, Free Researcher, PhD, Lawyer. Hobbies: Travel, Music (Turkish and Iranian Classical), Electronics, DIY.

ما را بس 

 

   A Great Poem on True Friendship             (Yeter Bize,  Enough For Us, يكفينا ) 

                     by Qudsi Meshedi 

              Singer: Sahar Mohammadi

                                                                         

                            

(Yeter Bize! )  ما را بس

 

همچو خورشید به عالم نظری ما را بس
نفس گرم و دل پر شرری ما را بس

Güneşin dünyaya nazarı misali tek bir  nazar yeter bize!

Sıcak bir nefes ve ışıltılı bir yürek yeter bize!

 

خنده در گلشن گیتی به گل ارزانی باد
همچو شبنم به جهان چشم تری ما را بس

Kâinat bahçelerinde goncadaki şebnemin gözyaşı misali,
Dünya malındansa bir şefkatli gözün tebessümü yeter bize!

 

گر چه دانم که میسر نشود روز وصال
در شب هجر امید سحری ما را بس

Kavuşma gününün asla gelmeyeceğini biliyorum amma,
Firak gecelerinde, şafak vaktinin ümidi yeter bize!

 

گر از دیده کوته نظران افتادیم

نیست غم صحبت صاحب نظری ما را بس

Ey Can! Cahillerin gözünden düşsek de!
Dert değil, Ariflerden biriyle sohbet yeter bize!

 

در جهانی که نباشد ز کسی نام و نشان

قدسی از گفته شیوا اثری ما را بس

Kimsenin adının, izinin kalmayacağı bu alemde,
Ey Kudsi! Güzel sözlerinden kalan izler yeter bize!

 Kudsiy-i Meşhedi 

 

 

Tercüme: Dr. A. Ramazan  ALTINOK  (17.12.2020) 

(Dostum Av. Şakir Çalışkan'a ithaf olunur.)

               

Arabic & English

(Enough for Us!)  يكفينا  

 

مثل نظرة الشمس إلى العالم، نظرة واحدة تكفينا

نفس دافئ، وقلب مفعم بالإشراق يكفينا

Like the look of Sun to the Earth, Single Look is enoughf for us!

A warm breath (of a friend), and his heart full of passion is enough for us!

 

جميل أن تبتسم في وجه زهرة في بساتين الكون مثل الطل

من كل هذا العالم عين حانية تكفينا

Likewise, A smile of a dew on the face of roses in the gardens;

A compassionate smile of  couple eyes  is enough us!


رغم أني أعلم أن يوم اللقاء لن يكون
في ليالي الهجران يكفينا الأمل بطلوع الفجر


Yes, I know that the day of  reunion is impossible; 

But, having a hope in the  nights of separation is enough for us!


إن كنا قد سقطنا من عيون الجهال، ما همني
فمصاحبة صاحب واحد من العارفين تكفينا

Even we are fallen  out of favor of the short-sighted people, 

   Not a worry, as long as wise men keeps our friendship it is enough for us!


في هذا العالم الذي لن يبقى لأحد فيه اسم ولا عنوان
يكفينا، أيها القدسي، أن تترك لنا من جميل كلماتك أثرا

In this mortal world, in which no name, no title will remain;

O Qudsi, traces remaining from your good words is enough for us!

Translation: English & Turkish : Dr. Ahmed Ramazan        Arabic : Ahmed Yusuf                

QODSI MAŠHADI, ḤĀJI MOḤAMMAD JĀN (b. Mashad, ca. 1582; d. Lahore, 1646), Persian poet of the first half of the 17th century. The earliest biographical notices depict Qodsi as a prosperous and prominent community leader in Mashad, the city of his birth (Karvān-e Hend II, p. 1096). By his mid-thirties, he had performed the pilgrimage to Mecca and had come to be regarded as the leading grocer in the city. His cordial relations with local civic authorities led to his appointment as the treasurer of the shrine of Imam Reżā (Mey-ḵāna, pp. 821-22). Qodsi’s piety is evident in more than forty long praise poems (qaṣidas and tarkib-bands) that he dedicated to the eighth Imam, but the administrative appointment proved a dubious honor; in one poem, he complains that “this year’s income does not equal last year’s unpaid expenses,” resulting in a cash shortage that made it impossible to manage the daily finances of the vast shrine complex (Divān, p. 111). During this time, Qodsi was also gaining a reputation for his literary talent; his work eventually attracted the attention of the most powerful literary patron in Khorasan, Ḥasan Khan Šāmlu, whose court in Herat was graced by such native poets as Faṣihi (d. 1639-40), and Nāẓem (d. ca. 1670). At the request of Ḥasan Khan, Qodsi assembled his collected works (divān) and delivered them to Herat in person. But this honor, too, came at a cost: during his absence from Mashad, Qodsi’s son, Moḥammad-Bāqer, died at the age of twenty.

After years of frustrating service at the shrine, the death of his son finally led Qodsi to carry out a decision he had long contemplated. In 1632, at the age of fifty, he left Mashad and followed the well-trodden path from Iran to the wealth and opulence of Mughal India. He was warmly received at the imperial court and almost immediately became one of the elite members of Šāh Jahān’s cultural entourage, holding a position second only to the poet laureate, Kalim of Kāšān (q.v., d. 1651). Qodsi’s principal duty at the court was to write a versified history of Šāh Jahān’s reign on the model of Ferdowsi’s Šāh-nāma, and he was called on to commemorate various royal celebrations. On the occasion of the installation of the famous Peacock Throne in 1635, for example, Qodsi composed a dedicatory chronogram that was cast in glazed tile and inserted inside the throne canopy (Divān, pp. 812-15; Rāšedi, III, pp. 1233-36). For his labors, the poet enjoyed Šāh Jahān’s often ostentatious largesse and is said to have been awarded his own weight in gold (Rāšedi, III, p. 1237). Qodsi traveled with the court on its frequent excursions throughout the kingdom, most notably to the royal gardens in Kashmir. Returning to India from one of these journeys, Qodsi succumbed to dysentery and died in Lahore in May 1646. His colleague at Šāh Jahān’s court, Kalim of Kāšān, mourned the passing of this “sultan of poetry” in a moving and generous elegy (Divān-e Kalim, pp. 86-90).

Containing some 7000 rhymed couplets, Ẓafar-nāma-ye Šāh Jahān is a verse chronicle covering the first fourteen years of Šāh Jahān’s reign and is by far Qodsi’s longest work. It has received, perhaps deservedly, little critical attention, but final judgment of its value must await a fuller understanding of the long and widespread tradition of writing the history of contemporary rulers in the epic mode (šāh-nāma-nevisi). Qodsi’s shorter poems in the mathnawi (maṯnawi) form, however, are considered to be among his finest work. These are also products of his service to the Mughal emperor and include a number of dedicatory poems on luxury objects: in addition to the verses written for the Peacock Throne, we find descriptions of a jewel-encrusted bookbinding, and the newly constructed royal bedchamber. Qodsi wrote several topographical poems as well, the most famous of which is his description of the journey to Kashmir, a theme that was treated by almost all the poets of Šāh Jahān’s court, including Kalim of Kāšān, and Salim of Tehran (d. 1647). Qodsi’s sāqi-nāma (wine-server’s song) is thematically heterogeneous, but consists largely of descriptive passages linked by panegyrics to Šāh Jahān.

These shorter mathnawis are collected together with Qodsi’s poems in other genres to make up a substantial divān. Qodsi devoted relatively little creative energy to the preeminent genre of the age, the lyric ghazal (ḡazal). Like other poets of the period, Qodsi responded to ghazals by recent predecessors such as Bābā FaḡāniʿOrfi of Shiraz (d. 1591), Naẓiri of Nišāpur (q.v., d. 1612-14), and Ṭāleb of Āmol (d. 1626-27), but his work in this genre shows little of the innovative inspiration found in the work of his contemporaries Kalim or Salim. Qodsi concentrated instead on the longer ode qasida (qaṣida). He dedicated a few of these poems to temporal rulers—Manučehr Khan, the chief magistrate of Mashad, Ḥasan Khan Šāmlu, the governor of Khorasan, and Šāh Jahān—but most are devoted to the Shiʿite imams, and above all, Imam Reżā. During his long service at the shrine, Qodsi appealed to the Imam whenever he faced hardship or uncertainty, and his qasidas thus contain long autobiographical passages that trace his long and agonizing decision to leave the city of his birth. His stanzaic poems (tarkib- and tarjiʿ-band) generally have a similar thematic content, but also include two elegies on the death of his son and another sāqi-nāma.

Qodsi is generally considered a practitioner of the conceptualist “fresh style” (šiva-ye tāza, see Losensky, pp. 195-207) that was coming to dominate Persian poetry in the 17th century. One of Qodsi’s qasidas (Divān, pp. 89-92) became the site of an important critical battle between classicists and modernists. A contemporary poet of Indian origin, Šeydā of Fatḥpur (d. 1632-33), registered his objections to Qodsi’s language and rhetoric in a poem using the same meter and rhyme scheme as Qodsi’s qasida; this inspired a similar poem by Monir of Lahore (d. 1644), in which he evaluated both Qodsi’s poem and Šeydā’s criticisms. A century later, ʿAli Khan Ārzu (d. 1756), included all three poems with his own prose commentary in Dād-e soḵan, žThe equitable judgment of poetry.’ This work not only provides one of the most extensive examples of “practical criticism” in Persian from the early modern period, but also foreshadows the controversy that dogs the “fresh style” even today. In retrospect, however, Qodsi’s departures from classical standards seem mild. As Ḏakāwati Qarāgozlu remarks, his work shows “few signs of the power and conceptual flights” (p. 151) of poets such as Kalim or Ṣāʾeb of Tabriz (q.v., d. 1676), and modern readers are likely to be drawn to Qodsi’s work mostly for its portrayal of social life and material culture in the Persianate world of the baroque period.

Bibliography: For a listing of the manuscripts of Qodsi’s divān and his Ẓafar-nāma-ye Šāh-jahān, see Monzawi, Nosḵahā III, pp. 2482-83 and IV, pp. 2997-98. A modern, critical edition of the divān has been prepared by Moḥammad Qahramān: Divān-e Ḥāji Moḥammad Jān Qodsi Mašhadi, Mashad, 1996. The Ẓafarnāma is included in the lithograph Maṯnawiyāt-e Qodsi, ed. Ḥakim Niāz-ʿAli Khan, Amritsar, 1904. A representative selection of Qodsi’s poetry is available in Ṣayyedān-e maʿnā, ed. Moḥammad Qahramān, Tehran, 1999, pp. 167-99. Major taḏkera sources are collected in Rāšedi, Taḏkera-ye šoʿarā-ye Kašmir, III, pp. 1227-1308.

Studies.

ʿAli Ḵān Ārzu, Dād-e Soḵan, ed. Sayyed Moḥammad Akram, Rawalpindi, 1974.

ʿAli-Reżā Ḏakāwati Qarāgozlu, Gozida-ye ašʿār-e sabk-e hendi, Tehran, 1993, pp. 151-58.

Ḥamida Ḥojjati, “Ṭāleb-e Āmoli,” in Dānešnāma-ye adab-e fārsi, ed. Ḥasan Anuša, Tehran, 2001, IV/3, pp. 2037.

Abu Ṭāleb Kalim Kāšāni, Divān, ed. Moḥammad Qahramān, Mashad, 1990.

Moḥammad-ʿAli Ḵazānadārlu, Manẓumahā-ye fārsi-ye qarn-e 9 tā 12, Tehran, 1996, pp. 480-82.

Kārvān-e Hend, II, pp. 1095-1121.

  دیدار یار (2) 

 Another Great Poem

on True Friendship
(Dosta Kavuşma,

Meeting With the  Friend, 

نظرة على الصديق)
By Hafez Shirazi      Singer: Sahar Zebai

   

(Dostla Görüşmek)  دیدار یار

                                                                                                                                                                                                                                                                                                   I


“دانی که چیست دولت دیدار یار دیدن”

“در کوی او گدایی بر خسروی گزیدن”

Gerçek saadet nedir bilirmisin?Sevgiliyi görmektir.

Sevgilinin memleketinde dilencilik yapmak Sultanlıktan yeğdir.

                                                                                                                                                                                                      II

“از جان طمع بریدن آسان بود ولیکن”

“از دوستان جانی مشکل توان بریدن”

Hayattan ümidi kesmek bana 

Dostlardan alakayı kesmekten daha kolaydır.

                                                                                               

     III

“خواهم شدن به بستان چون غنچه با دل تنگ”

“وان جا به نیک نامی پیراهنی دریدن”

Gönlüm açmamış bir tomurcuk gibi sıkışıp kaldı

Orada  şöhret gömleğini parçalayıp atacağım.

                                                                                                   

    IV

“گه چون نسیم با گل راز نهفته گفتن”

“گه سر عشقبازی از بلبلان شنیدن”

Bazen nesim’in gizli sırlarını güle anlattığı gibi olurum

Bazen Şakıyan bülbüllerden aşkın sırlarını dinlerim.


                                                                                                        V

“بوسیدن لب یار اول ز دست مگذار”

“کآخر ملول گردی از دست و لب گزیدن”

Sevgilinin dudağını öpmeyi erteleme,

Yoksa dudağını ve elini ömür boyu ısaracaksın!

 

                                                                                                        VI

“فرصت شمار صحبت کز این دوراهه منزل”

“چون بگذریم دیگر نتوان به هم رسیدن”

Bu iki kapılı eve girmişken fırsatı değerlendir

Daha sonra bu eve bir daha hiç dönemeyeceksin!

 

                                                                                                      VII

“گویی برفت حافظ از یاد شاه یحیی”

“یا رب به یادش آور درویش پروریدن”

Sanki Hafız Şah Yahya’nın hatırından çıkmış gibi,

Ya Rabbi onun aklına düşkünleri ve dervişleri getir.

Tercüme: Dr. Ahmed Ramazan ALTINOK

 

                               

  سودای او (3)

 

 

 

An Impressive Love Poem from Contemporary Poet       

 (Ona Sevdalıyım, A Melancholic Love,  حب حزين)

                        by Ebul Hasan Verzi 

                             Singer: Suheila Golistani   

Persian & Turkish

(O'na Sevdalıyım) سودای او    

 

 در جام نظر کردم سیمای تورا دیدم
درخنده ی نوشینش لبهای تو را دیدم
Cama baktım, Senin simanı gördüm. 

Nuş ederken tatlı gülüşünde senin dudaklarını gördüm,  

در عالم بیداری با یاد تو سر کردم
در خواب اگر رفتم رویای تو را دیدم
Seherlerde, senin hatıranı yad ettim.

Uyuyabildiğim gecelerde, senin rüyanı gördüm. 

در سینه ی هر ذره خورشید تو را جستم
با دیدن هر قطره دریای تو را دیدم
Her bir zerrenin içinde, Senin güneşini aradım. 
Her damlanın içinde, senin deryanı gördüm. 

سودای دو عالم را یکباره ز دل شستم 

تا در سر بی سامان سودای تو را دیدم

Her iki cihanın arzunusu bir defada gönlümden attım;

Bahtsız başımda sadece senin arzunu gördüm.

 

از بسکه پُرم چون نی از بانگ و نوای تو

هر دم به لبان خود آوای تو را دیدم

Ney gibi senin gözyaşı ve neşenle doldum, yeter artık;

Her an, Onun dudaklarında senin sadanı gördüm. 

ای عشق ، اگر دنیا صد رنگ عجب دارد
رنگین تر از او در خود دنیای تو را دیدم
Ey Aşk! Dünya’nın binbir renkli acaib güzelliği  de olsa,

Senin Dünyanı O’ndan daha renkli gördüm. 

 

Ebul Hasan Verzi       ابو الحسن ورزی

Tercüme: Dr. Ahmed Ramazan 

 

 

                                                                                                                                                     

Persian & English

(A Melancholic Love) سودای او    

                                                                                                                                                       در جام نظر کردم سیمای تورا دیدم
درخنده ی نوشینش لبهای تو را دیدم
I looked in the cup, I saw your face, I saw your lips in his soft laugh

در عالم بیداری با یاد تو سر کردم
در خواب اگر رفتم رویای تو را دیدم
In the awakening world, I remembered you,
If I went into sleep, I saw your dream

در سینه ی هر ذره خورشید تو را جستم
با دیدن هرقطره دریای تو را دیدم
In the chest of every particle, I sought your sun
I saw your sea in every drop of water.

سودای دو عالم را يکباره ز دل شستم
تا در سر بی سامان سودای تو را دیدم
I lost the longing of the two worlds at once
I saw your longing in my troubled head
از بسکه پُرم چون نی از بانگ و نوای تو
هر دم به لبان خود آوای تو را دیدم
I am full enough because I saw your voice on my lips every time like a reed from your cry and song

ای عشق ، اگر دنیا صد رنگ عجب دارد
رنگین تر از او در خود دنیای تو را دیدم
O love, if the world has a hundred colors, wonder
I saw your world more colorful than him

 

Ebul Hasan Varzi ابو الحسن ورزی

    Translation: Dr. Ahmed Ramazan 

QODSI MAŠHADI, ḤĀJI MOḤAMMAD JĀN (b. Mashad, ca. 1582; d. Lahore, 1646), Persian poet of the first half of the 17th century. The earliest biographical notices depict Qodsi as a prosperous and prominent community leader in Mashad, the city of his birth (Karvān-e Hend II, p. 1096). By his mid-thirties, he had performed the pilgrimage to Mecca and had come to be regarded as the leading grocer in the city. His cordial relations with local civic authorities led to his appointment as the treasurer of the shrine of Imam Reżā (Mey-ḵāna, pp. 821-22). Qodsi’s piety is evident in more than forty long praise poems (qaṣidas and tarkib-bands) that he dedicated to the eighth Imam, but the administrative appointment proved a dubious honor; in one poem, he complains that “this year’s income does not equal last year’s unpaid expenses,” resulting in a cash shortage that made it impossible to manage the daily finances of the vast shrine complex (Divān, p. 111). During this time, Qodsi was also gaining a reputation for his literary talent; his work eventually attracted the attention of the most powerful literary patron in Khorasan, Ḥasan Khan Šāmlu, whose court in Herat was graced by such native poets as Faṣihi (d. 1639-40), and Nāẓem (d. ca. 1670). At the request of Ḥasan Khan, Qodsi assembled his collected works (divān) and delivered them to Herat in person. But this honor, too, came at a cost: during his absence from Mashad, Qodsi’s son, Moḥammad-Bāqer, died at the age of twenty.

After years of frustrating service at the shrine, the death of his son finally led Qodsi to carry out a decision he had long contemplated. In 1632, at the age of fifty, he left Mashad and followed the well-trodden path from Iran to the wealth and opulence of Mughal India. He was warmly received at the imperial court and almost immediately became one of the elite members of Šāh Jahān’s cultural entourage, holding a position second only to the poet laureate, Kalim of Kāšān (q.v., d. 1651). Qodsi’s principal duty at the court was to write a versified history of Šāh Jahān’s reign on the model of Ferdowsi’s Šāh-nāma, and he was called on to commemorate various royal celebrations. On the occasion of the installation of the famous Peacock Throne in 1635, for example, Qodsi composed a dedicatory chronogram that was cast in glazed tile and inserted inside the throne canopy (Divān, pp. 812-15; Rāšedi, III, pp. 1233-36). For his labors, the poet enjoyed Šāh Jahān’s often ostentatious largesse and is said to have been awarded his own weight in gold (Rāšedi, III, p. 1237). Qodsi traveled with the court on its frequent excursions throughout the kingdom, most notably to the royal gardens in Kashmir. Returning to India from one of these journeys, Qodsi succumbed to dysentery and died in Lahore in May 1646. His colleague at Šāh Jahān’s court, Kalim of Kāšān, mourned the passing of this “sultan of poetry” in a moving and generous elegy (Divān-e Kalim, pp. 86-90).

Containing some 7000 rhymed couplets, Ẓafar-nāma-ye Šāh Jahān is a verse chronicle covering the first fourteen years of Šāh Jahān’s reign and is by far Qodsi’s longest work. It has received, perhaps deservedly, little critical attention, but final judgment of its value must await a fuller understanding of the long and widespread tradition of writing the history of contemporary rulers in the epic mode (šāh-nāma-nevisi). Qodsi’s shorter poems in the mathnawi (maṯnawi) form, however, are considered to be among his finest work. These are also products of his service to the Mughal emperor and include a number of dedicatory poems on luxury objects: in addition to the verses written for the Peacock Throne, we find descriptions of a jewel-encrusted bookbinding, and the newly constructed royal bedchamber. Qodsi wrote several topographical poems as well, the most famous of which is his description of the journey to Kashmir, a theme that was treated by almost all the poets of Šāh Jahān’s court, including Kalim of Kāšān, and Salim of Tehran (d. 1647). Qodsi’s sāqi-nāma (wine-server’s song) is thematically heterogeneous, but consists largely of descriptive passages linked by panegyrics to Šāh Jahān.

These shorter mathnawis are collected together with Qodsi’s poems in other genres to make up a substantial divān. Qodsi devoted relatively little creative energy to the preeminent genre of the age, the lyric ghazal (ḡazal). Like other poets of the period, Qodsi responded to ghazals by recent predecessors such as Bābā FaḡāniʿOrfi of Shiraz (d. 1591), Naẓiri of Nišāpur (q.v., d. 1612-14), and Ṭāleb of Āmol (d. 1626-27), but his work in this genre shows little of the innovative inspiration found in the work of his contemporaries Kalim or Salim. Qodsi concentrated instead on the longer ode qasida (qaṣida). He dedicated a few of these poems to temporal rulers—Manučehr Khan, the chief magistrate of Mashad, Ḥasan Khan Šāmlu, the governor of Khorasan, and Šāh Jahān—but most are devoted to the Shiʿite imams, and above all, Imam Reżā. During his long service at the shrine, Qodsi appealed to the Imam whenever he faced hardship or uncertainty, and his qasidas thus contain long autobiographical passages that trace his long and agonizing decision to leave the city of his birth. His stanzaic poems (tarkib- and tarjiʿ-band) generally have a similar thematic content, but also include two elegies on the death of his son and another sāqi-nāma.

Qodsi is generally considered a practitioner of the conceptualist “fresh style” (šiva-ye tāza, see Losensky, pp. 195-207) that was coming to dominate Persian poetry in the 17th century. One of Qodsi’s qasidas (Divān, pp. 89-92) became the site of an important critical battle between classicists and modernists. A contemporary poet of Indian origin, Šeydā of Fatḥpur (d. 1632-33), registered his objections to Qodsi’s language and rhetoric in a poem using the same meter and rhyme scheme as Qodsi’s qasida; this inspired a similar poem by Monir of Lahore (d. 1644), in which he evaluated both Qodsi’s poem and Šeydā’s criticisms. A century later, ʿAli Khan Ārzu (d. 1756), included all three poems with his own prose commentary in Dād-e soḵan, žThe equitable judgment of poetry.’ This work not only provides one of the most extensive examples of “practical criticism” in Persian from the early modern period, but also foreshadows the controversy that dogs the “fresh style” even today. In retrospect, however, Qodsi’s departures from classical standards seem mild. As Ḏakāwati Qarāgozlu remarks, his work shows “few signs of the power and conceptual flights” (p. 151) of poets such as Kalim or Ṣāʾeb of Tabriz (q.v., d. 1676), and modern readers are likely to be drawn to Qodsi’s work mostly for its portrayal of social life and material culture in the Persianate world of the baroque period.

Bibliography: For a listing of the manuscripts of Qodsi’s divān and his Ẓafar-nāma-ye Šāh-jahān, see Monzawi, Nosḵahā III, pp. 2482-83 and IV, pp. 2997-98. A modern, critical edition of the divān has been prepared by Moḥammad Qahramān: Divān-e Ḥāji Moḥammad Jān Qodsi Mašhadi, Mashad, 1996. The Ẓafarnāma is included in the lithograph Maṯnawiyāt-e Qodsi, ed. Ḥakim Niāz-ʿAli Khan, Amritsar, 1904. A representative selection of Qodsi’s poetry is available in Ṣayyedān-e maʿnā, ed. Moḥammad Qahramān, Tehran, 1999, pp. 167-99. Major taḏkera sources are collected in Rāšedi, Taḏkera-ye šoʿarā-ye Kašmir, III, pp. 1227-1308.

Studies.

ʿAli Ḵān Ārzu, Dād-e Soḵan, ed. Sayyed Moḥammad Akram, Rawalpindi, 1974.

ʿAli-Reżā Ḏakāwati Qarāgozlu, Gozida-ye ašʿār-e sabk-e hendi, Tehran, 1993, pp. 151-58.

Ḥamida Ḥojjati, “Ṭāleb-e Āmoli,” in Dānešnāma-ye adab-e fārsi, ed. Ḥasan Anuša, Tehran, 2001, IV/3, pp. 2037.

Abu Ṭāleb Kalim Kāšāni, Divān, ed. Moḥammad Qahramān, Mashad, 1990.

Moḥammad-ʿAli Ḵazānadārlu, Manẓumahā-ye fārsi-ye qarn-e 9 tā 12, Tehran, 1996, pp. 480-82.

Kārvān-e Hend, II, pp. 1095-1121.

In a calm environment, in a family of academics, fans of culture, literature and science, her father is a tenured Professor of philosophy and her mother is involved in youth education; and from this unique environment for the growth and prosperity of their talented child, Soheila Golestani. An example of passion and enduring love for family, culture, Iranian literature, art, and music, and on the side, a Ph.D. in MedicalLaboratory Sciences. Soheila had the opportunity to meet  and socialize with her father's friends, Dr. Sassan Sepanta, Jalil Shahnaz, Professor H. Kassai, and other opinion leaders in science and Iranian art and culture.

Professor Sasan Sepanta, which retrieved old exquisite musical pieces by phonograph for the first time in Iran, gifted these pieces to Soheila among other presents and made young Soheila passionate for traditional Persian music and reading literature. Poetry and literature have been lifelong friends of Soheila Golestani. She considers poetry as a gift which rises in serene moments and takes its nature from human’s emotional and moral passion.

Dr. Golestani adores her artistic activity and scientific activity equally and believes interested and talented women in Iran could have the same opportunity and success in music as men if society let them. Beside to her study, Dr Golestani learned to play piano, sight reading and became skilled at vocal lines by her mentor “Hengameh Akhavan” one of the last surviving of Adib Khansari style. This intimacy and moral conduct between mentor and apprentice promotes a brand new scale for musical activity of Persian female artists. Dr Golestani believes that moral character of every artwork has a close connection and interaction with artistic value.

She has more than 70 songs and 120 minutes of recorded vocal parts in different Persian music devises. Professor Shafiee Kadkani, a national treasure in Persian poetry, culture and music, expressed his interests in Dr Golestani’s voice and dedicate his poem book called “ Hezareh Dovom Ahooye Koohi” to her with this note on the first page “… To Dr Soheila Golestani, May she sing each of these poems with her tender voice…”. Dr Golestani believes that art and music requires knowledge and technical proficiency at the same time. In her point of view, words and language are not just sound or symbol on a piece of paper but, represents spiritual, mental and emotional aspects of humans which includes the most meaningful and deepest moral and emotional aspects and musical phoneme transmits these concepts in the most suitable way possible.

 

 

معشوق : شکیلا (4)

                                                                                             

 Another Great Poem on Friendship and Love
(Sevgili, The Beloved One,معشوق)
    by Hafez Shirazi      Singer: Shakela  

Persian & Turkish

(Sevgili) :معشوق

گل در بر و می در کف و معشوق به کام است
سلطان جهانم به چنين روز غلام است
Gül yanımda, şarap elimde, sevgili mutadımca bana yâr
Cihan sultanı bile böyle bir günüme köle olur.

 

گو شمع مياريد در اين جمع که امشب
در مجلس ما ماه رخ دوست تمام است
Söyle, bu meclise mum getirmeyin.
Bu gece, meclisimizde sevgilinin dolunay gibi olan cemali kâfi.

 

در مذهب ما باده حلال است وليکن
بی روی تو ای سرو گل اندام حرام است
‏,Mezhebimizde şarap helaldir amma,
Ey gülendamlı, selvi boylu güzel!, sen olmazsan o zaman haramdır.

 

گوشم همه بر قول نی و نغمه چنگ است
چشمم همه بر لعل لب و گردش جام است
Kulağım, tamamıyle neyin sözünde, çengin nağmesinde,
.Gözüm, tamamıyle Lâl gibi dudakta ve kadehin dönüşünde.

 

در مجلس ما عطر مياميز که ما را
هر لحظه ز گيسوی تو خوش بوی مشام است
‏!Meclisimize güzel koku katma
Çünkü her an senin saçlarının kokusunu almakta, onunla neşelenmekteyiz.

 

از چاشنی قند مگو هيچ و ز شکر
زان رو که مرا از لب شيرين تو کام است
Şeker lezzetinden, şekerden bahsetme!
Muradım, ancak senin tatlı dudağında!

 

تا گنج غمت در دل ويرانه مقيم است
همواره مرا کوی خرابات مقام است
Senin hasretinin hazinesi virane gönlümde mukim olmaya başladıktan sonra
Makamım, daima harabat civarıdır



از ننگ چه گويی که مرا نام ز ننگ است
وز نام چه پرسی که مرا ننگ ز نام است
Ayıptan, ardan neye bahsediyorsun ki!
Şöheritimi niye soruyorsun ki, Ayıp, zaten benim namım ve şöhretimdir.


ميخواره و سرگشته و رنديم و نظرباز
وان کس که چو ما نيست در اين شهر کدام است
Şarap içmekteyiz, sarhoşuz, rindiz, güzellere bakıyoruz, doğru,
Fakat bu şehirde hangi adam bizim gibi değil? Onu bir göster!

 

با محتسبم عيب مگوييد که او نيز
پيوسته چو ما در طلب عيش مدام است
Ayıbımı muhtesibe (Ahlak Polisi) söylemeyin
O da bizim gibi durmadan daimî işret aramakta, o da bizimle bir halli!

 

حافظ منشين بی می و معشوق زمانی
کايام گل و ياسمن و عيد صيام است
Hâfız, şarapsız, sevgilisiz bir an bile durma!
Ki şimdi gül ve yasemin mevsimi, oruç bayramıdır.

 

Şarkıcı:Shakila
Şair:Hafez Shirazi
Tercüme: Anonim

 

https://youtu.be/uhQmyDUgVPY  

      غوغای ستارگان : شکیلا (5)          

       A Great Romantic Poem from Karem Fakur
                     Dancing of the Stars

            Yıldızların Dansı

                      رقص النجوم         

(Yıldızların Dansı)  غوغای ستارگان : شکیلا

                                                                                                                                                                                                                                                                                              امشب در سر شوری دارم

امشب در دل نوری دارم

Bu gece başımda bir tutku var,

Bu gece gönlümde bir ışık var,

 

باز امشب در اوج آسمانم

رازی باشد با ستارگانم

                                                                                  Yine bu gece göğün zirvesindeyim,

Bir sırrım oldu yıldızlarla,

 

     امشب یکسر شوق و شورم
ازین عالم گویی دورم
Bu gece tek başıma arzulu ve tutkuluyum,
Sanki bu alemden uzaktayım.

 

    از شادی پرگیرم که رسم به فلک
سرود هستی خوانم در بَرحور و ملک
Mutluluktan kanatlandım, göğe eriştim.
Bir şarkısın, meleklerden ve hurilere okuduğum;

در آسمانها غوغا فکنم
سبو بریزم ساغر شکنم
Göklerde kavga ediyorum
(Şarap) destisini döküyor, kadehi kırıyorum

 

امشب يک سر شوق وشورم
از ايـن عــالــم گــويــي دورم
Mutluluktan kanatlandım, göğe eriştim.
Bir şarkısın, meleklerden ve hurilerden okuduğum,

 

                                            با ماه و پروین سخنی گویم
وز روی مه خود اثری جویم
Ay’la ve pervinle(ülker yıldızı) konuşuyorum.
Ve ayın yüzeyinden kendi etkimi arıyorum.

 

جان یابم زین شبها
ماه و زهره را به طرب آرم
Geceleri can buluyorum,
Ayı ve venüsü (zühre yıldızını) neşelendiriyorum,

Geceleri can buluyorum,

Ayı ve venüsü (zühre yıldızını) neşelendiriyorum,

از خود بیخبرم ز شعف دارم
نغمه ای بر لبها, نغمه ای بر لبها
Kendimden geçmiş bir halde..
Dudaklarımda bir şarkı, dudaklarımda bir şarkı,

 

امشب یک سر شوق و شورم
ازین عالم گویی دورم
Bu gece arzulu ve tutkuluyum,
Sanki bu alemden uzaktayım.

 

Nakarat:

امشب در سر شوری دارم
امشب در دل نوری دارم
Bu gece başımda bir tutku var,
Bu gece gönlümde bir ışık var,

 

باز امشب در اوج آسمانم
رازی باشد با ستارگانم
Yine bu gece göğün zirvesindeyim,
Bir sırrım oldu yıldızlarla,

 

امشب یکسر شوق و شورم
ازین عالم گویی دورم
Bu gece tek başıma arzulu ve tutkuluyum
Sanki bu alemden uzaktayım.

Şarkıcı:Shakila
Söz: Karem Fakur
Beste: Humayun Kharem
Tercüme:Anonim
    

 

   خطا کردم : سحر سروری (6)          

                 A Great Romantic Poem 

                 Hata Yaptım, Ey Ay Yüzlü!
                     I made a mistake

                 اخطات یا حبیبی

 (Hata Yaptım) خطا کردم

 

تو در فتنه از حد گذر کردی

تو با من ز بعد هم بتر کردی

Baştan çıkarmada haddi aştın,

Bana kötülükte daha da ileri gittin.

 

به سوز نگاه بلا خیزت
منه تشنه را تشنه تر کردی
Ateşli bakışınla bela verdin,

Ben ki zaten susuzdum, daha da susuz kıldın.

You made me thirstier with a burning look.

 

پس از ارزو ها پس از جست و جو ها
ره دل به سوی خدا کردن
تو را بین خوبان جدا کردن

خطا کردم ای مه خطا کردم
دلم را به درد اشنا کردم

Aradım, sordum arzuladım,

Sonunda gönül Hüda yoluna girmişken,

Güzeller arasından seni seçmekle;

Hata yapmışım, Ey Ay yüzlü, hata yapmışım,

Gönlümü dertle tanıştırmışım.

 

بیا به خاطر خدا کن رها دگر دل مرا
دلی که مبتلا شده برای من بلا شده
با همه غم ها از تو ای زیبا میگذرم
Gel Allah için, gönlümden başka bir yola git!

O günül kü zaten müptela oldu, benim için bela oldu.

Artık, bütün derdimi içime atıp, senden Ey Güzel geçip gidiyorum.

 

پس از ارزو ها پس از جست و جو ها
ره دل به سوی خدا کردن
تو را بین خوبان جدا کردن

خطا کردم ای مه خطا کردم
دلم را به درد اشنا کردم
Aradım, sordum arzuladım,

Sonunda gönül Hüda yoluna girmişken,

Güzeller arasından seni seçmekle;

Hata yaptım, Ey Ay yüzlü, hata yaptım,

Artık, gönlümü derde alıştırdım.

 

Şarkıcı: Sahar Sorouri
Tercüme: Dr. Ahmed Ramazan

 (I've done a mistake) خطا کردم

 

تو در فتنه از حد گذر کردی

تو با من ز بعد هم بتر کردی

You have gone too far in sedition,

you have gone even further with me


به سوز نگاه بلا خیزت
منه تشنه را تشنه تر کردی

You made me thirstier with a burning look.


پس از ارزو ها پس از جست و جو ها
ره دل به سوی خدا کردن
تو را بین خوبان جدا کردن

خطا کردم ای مه خطا کردم
دلم را به درد اشنا کردم

After desires, after searches, turning one's heart to God;
Separating you between the good;
I made a mistake, oh, I made a mistake, I made my heart ache

بیا به خاطر خدا کن رها دگر دل مرا
دلی که مبتلا شده برای من بلا شده
با همه غم ها از تو ای زیبا میگذرم

Come on!, for God's sake, let go of my heart,
The heart that is afflicted has become a calamity for me
I pass by you with all my sorrows, o beautiful,

پس از ارزو ها پس از جست و جو ها
ره دل به سوی خدا کردن
تو را بین خوبان جدا کردن

خطا کردم ای مه خطا کردم
دلم را به درد اشنا کردم

After desires, after searches, turning one's heart to God;
Separating you between the good;
I made a mistake, oh, I made a mistake,
I introduced my heart to the ache,


Singer: Sahar Sorouri
Translator: Dr. Ahmed Ramazan

https://youtu.be/s0jqvLbb4tY?list=RDMM

 

              THE POEMS TO BE TRANSLATED SOON!!.

Following favorite Persian Poems will be translated soon.. Please visit  later..

The Text of the Poems To Be Translated Are as Follows:

                 

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