Digitized by the Internet Archive in 2015 https://archive.org/details/persianlyricsorsOOhafi PERSIAN LYRICS, OR SCATTERED POEMS, FROM THE BIJVJLJV.I-HAFIZz WITH PARAPHRASES IN VERSE AND PROSE, A \ CATALOGUE OF THE GAZELS AS ARRANGED IN A MANUSCRIPT OF THE WORKS OF HAFIZ IN THE CHETHAM LIBRARY AT MANCHESTER, AND OTHER ILLUSTRATIONS. Printed, at the Oriental Press, by Wilson $ Co. Wild-Court ; FOR E. HARDING, PALL-MALL ', J. DEBRETT, PICCADILLY; AND WEST AND HUGHES, PATER-NOSTER ROW. 1800. WILLIAM OUSELEY, ESQUIRE, AN ABLE AND ZEALOUS RESTORER OF ORIENTAL LITERATURE IN GREAT BRITAIN at the close of the Eighteenth Century, THIS SMALL FASCICULUS OF ENGLISH VERSIFICATIONS OF HAFIZ IS INSCRIBED, WITH THE SINCERE RESPECT AND ESTEEM OF HIS FRIEND, t JOHN HADDON HINDLEY.. Manchester, March 1st, 1799. See Notice to the Reader at the end of the Volume. HMgBBBlii 11/ ■■iinilWTTTrWfni INTRODUCTORY OBSERVATIONS. o ne of the following Imitations was a casual effort to amuse a moment of no common anxiety, by diverting the mind to a lite- rary experiment. The request and approbation of an excellent Pe7~sia.11 Scholar, encouraged the repetition. It appearing pro- bable that an attempt arduous and hazardous, as the mode of ex- hibiting the Poetry of HAFIZ in an English dress, here adopted, may require some apology on the part of the Translator, he soli- cits the attention of the Reader to the following remarks. To give a literal or perfect translation of our Author metrically, or even prosaically, into English, may be confidently pronounced impossible. An obvious proof of this assertion will be found, on considering for a moment those oppugnancies, which occur so generally in the idiomatic constructions of the languages of Eng- land and Iran, and which must ever most effectually militate against such closeness of version. Whatever might be looked for from favourable analogies, the frequent and varied allusions from B ( o ) words of similar sound and formation, though generally of ex- actly opposite significations, as well as the lively and often re- condite lusus verhorum, so common in the Arabic and Persian, and which, though strange, if not trifling, to an European ear, are, to the habitual feelings of the Asiatic, both choice and ex- quisite. These obstacles, I say, must alone render every chance of translative imitation in this case completely hopeless. Another insuperable impediment is presented to us in the pe- culiar genius of the Persian language, which, independent of its extreme melodiousness, its simplicity, and the delicacy of its construction, so abounds in compounds, as at times to croud whole stanzas with compound epithets. This luxuriance, how- ever graceful in its own idiom, is too exuberant, we apprehend, ever to be easily, if at all, appositely imitable in ours. Nor is it as yet by any means certain, that we have acquired a sufficiently extensive knowledge of the Persian particles, or of their force in composition, to do full justice to a Work so replete with them as the D1WAN of HAFIZ. "We meet with a farther, and not less formidable difficulty, in the mysterious and often sublime allusions so commonly repre- sented to us in the Sufi poetry, under objects of sensual and vo- luptuous gratification. The delicate management of this Imagery, so as to comport with the moral feelings of an English reader, must require the greatest nicety in a translator, and demand the ( 7 ) constant exercise both of his taste and judgment. Although it may constitute a peculiar grace in the Original, it can only be copied with a very wary and cautious hand. It would, there- fore, on this occasion, be prudent, if possible*, to avail himself of some of the more celebrated commentaries, particularly those f written in the Turkish language by FERIDUN and SUDI, especially the latter, not only on account of his eminent success in correcting the exuberances of this fanciful and extravagant mode of interpretation, but of the singular happiness with which he has illustrated the ambiguous and more obsolete allusions of the Poet; and to read again and again what has been already said upon this subject by two £ of the first authorities in Pei^sian Literature. * This parenthetical expression is used from a fear that neither any public nor pri- vate library of this kingdom, nor indeed any national collection west of Vienna, may be yet worth a copy of the Shereb or Commentary of Sudi if$y*. + The earnest and indefatigable Hyde has enabled us to estimate in a single in- stance the comparative merit of these two Commentators. Consult his version of the first Gaze! of HAFIZ from the paraphrase of Feridun in the Syntagma of his lesser Works, as published by Dr. Sharpe (Vol. ii. p. 44.5} ; and the fame Poem as paraphrased by Sudi in Meninski (Gram. Edit. Kollar, Tom. ii. p. 83), as well as the first Gazel of the " Specimen Poeseos Persicce" of the admirable Reviski. The names of Shuri Gjy", Seid Ali Lamei qr*-*^, Sururi £j3ty*> and Shemei c^v", occur also as Commentators on HAFIZ ; but Sudi excels all as an enlightened and accurate critic. The curious inquirer will find Sururi s Work complete, with a duplicate of the firft volume, amongft the Laudian 00. 'MSS. in the Bodleian Library. (Uri. Cat. Pers. cxxxiv — vii.) + Reviski, as above (Procem. xxix — xxxviii.) ; and Sir William Jones (" Poeseos Asiatics Comm. Lond. 1774, 8vo. p. 217—236) ; and Essay on the Mystical Poetry of the Persians and Hindus, (Asiatic Researches, vol. iii. p. 165. Calc. Edit.) ( 8 ) To avoid being suspected of disingenuousness, we must here also point out a blemish in our Author, too glaring for disguise, and which, if not explained away, must subject him to the same moral disgrace, which unfortunately attaches itself to some of the first poets, and even to some of the philosophers, of antiquity. Well aware of the dishonour reflected upon Virgil and An a en eon, from the names Alexis and Bathyllus *, it is not without regret that we find HAFIZ, and indeed all the SUFI poets of this class, continually liable to the opprobrium of similar accusations. Happy should we be to join in the triumph of decorum and virtue, could the defence, which has been set up by the Turkish commentators, to rescue their favourite author from such degrading imputations, be pronounced just and satisfactory. Whether it be possible that the sovereign monarch, his ministers, approved and ancient — HAFIZ is fo famed throughout the East for his excess in this species of poetical Pietism, that a very respectable Persian Biographer declares his Works for this very reason to have been pre-eminently characterised as " the Language or Eloquence of Mystery" (Mulana lami lfU* ! , ap. Ienisch. Anthol. Pers. Vienna, fol. 1778, p. 76.) Pind. Ncm. ni, £.32. * For a collateral illustration, see Sir Tho. Herbert (Travels, Lond. 1665, p. 322-3), and again (p. 141), where he gives a curious and pleasing, though quaint, description of an entertainment given to the English Ambassador at Shirax, in 1617, and quotes Apuleius (Metamorph. lib. ii. p. 53, Edit. Par. Delph. 4to. 1687.) See alfo Reviski (Paraphr^sis, p. 55. et alibi.) ( 9 ) friends, the mistress of a chaste affection, or even a beloved* wife, can be disguised under these allusions, or whether we must interpret them in that gross and masculine sense which shocks human nature, or through the medium of mysticism and allegory, is a point we leave for better judges to determine. We rather choose to content ourselves with concluding these doubts in the words of an eloquent heathen : — «*: Mmg mm ii ' 'ccpfioXcic, aKXct fflXbrewytaoz \ruvlaq ttcco 'tvSottSoihov voccv IxdovTxg ol$(>ovti aii^ur Bachyllides, ap. Athenaeum Deipn. Ir. 14. These, however, are far from being the -only obstacles that pre- sent themselves to a Translator : difficulties of inferior considera- tion will still arise to embarrass him in his progress. In the laud- able endeavour to exhibit an exact and faithful resemblance of all the features of his original, he may deem it necessary to imitate every peculiarity of the Eastern Gazel. But experience will soon convince him that this attempt, however desirable, will prove im- practicable. The constant recurrence of the same rhyme, without any collateral support of tones to answer in division, is not suited to our language, which, as has been often observed by critics, will * Our Poet, it seems, was married, and lived with his very accomplished wife, to use the expression of Reviski, " amantissime et conjunctissime." Pie bewails the fudden death of this angel in human form, in a sweet pathetic and elegiac Gazel (See Ap- pendix, Cat. — Ixxxvii.), which has been printed by JVahl, and in part translated by the Noble Br.ron. (Procem. as before, p. xxvii.J The Reader will find a pleasant story respecting the courtship of this Lady, extracted from the Commentary by Sir William J:nes, in the Paper of the Asiatic Res. just quoted, p. 17°. - ^ p^^^ ( io ) not bear reiterated monotonies. In such cases, then, he may surely dispense with the minutiae of punctilious Imitation, provided he strictly confine himself to the prominent ideas of his original, where no eccentricities oppose him. In fact, it would be a mani- fest impossibility to adhere on all occasions to the same number of lines and stanzas ; for he must often be driven to the unavoidable necessity of expressing in two, what his author has consolidated into one ; in which case, he evidently could not follow the ori- ginal in those stanzas which have one and the same repeated con- clusions. Another difficulty attending the Persian stanza we are willing to think may be, in some measure, as readily obviated. The Gazel has been declared by grammarians to be an uncon- nected composition, each verse having its own immediate imagery, and succeeding the other without any necessary analogy of idea. This variation from modern custom, and from our own more an- cient and approved models, has been elegantly compared by HAFIZ to Pearls, when strung at random*. Yet it is to be suspected, that even this peculiarity has been more insisted on, as an insurmountable barrier to our satisfying that taste which, in Europe, generally accords with sound judgment, than it can well deserve. Whatever merit 'may be supposed to be attached to bril- * See Imitations, Gazel iv. 9. liant, though desultory thought, in this wildly bold and excursive specious of composition, it does' not appear from the specimens we have hitherto examined, that HAFIZ is particularly anxious to avail himself of it : And yet, as a Lyric poet, considerable are the liberties to be granted him in this respect. If we attend only to the time, the place, the object, the intention, and the imagery of each Gazel, the ideas for the most part appear to flow natu- rally, and without any absurd or harsh transition : and surely in these lighter rhapsodies, the coruscations of wit, the effusions of tenderness, and the luxuriant sallies of an unrestrained and im- passioned imagination, may- be fairly presumed to have been aided by the delicious wines, by the joyous Symposiacs, and by the in- structive and delightful * Macamal of Shiraz, just as similar poetical beauties are reported to have arisen from similarly sti- * CjLoUu). If the title of the -most polished work in the Arabian language should not have already rendered the Reader familiar with this Eastern term, the following passage from the ingenious, and always entertaining, Kampfer, will fufficiently illus- trate its present application. Speaking of (he. poetry of HAFIZ — " It pervades (says he), all ranks; you meet with it every where — in coilegiis et scholis, in palatiis et casis, in officinis et tabernis. Haud satis admirabere [continues the descriptive travel- ler) quanta cum animi delectatione otiosum vulgus in foris et o'heinis suis, quin in ipsis Cofece popinis, qua? nostris tabernis cerevisiariis et vinariis respondent, scripta base lectitent, •& ex iis ingenii nectar capiant ; dum CONFIDENTIUM iis, qui libro instructus est, epiphonema attends sociis pryslegit ; mox librum claudit, ut meditandi silentium m- dulgeat ; turn lectioncm iterat, interposita subinde ad meditanduui mora, donee inter- veniat quod lectionem interrumpat, vel dissol fat consessum. (Amaenitatum Exoti- carum, &c. Fasc. v. Lcmg. 4to. 1711, p.. 371.) What a picture this of ihe Oriental Macamat I \ ( 12 ) mulating and exhilarating causes in that truly Hqfizian poetry so immediately present to classical recollection, which sings the praises of Teios, Mitylene and Falernum. Under these circum- stances, therefore, the Translator will only have to allow our Author, what he finds in the Grecian and Roman Lyric poets, and what we should be willing to allow any poet of our own, the liberty of glancing with the frenzied eye of inspiration from earth to heaven, from heaven to earth, in search of objects adapted to the subject of his composition ; and, after attending to the minute turns of the versification, we suspect it will be his own fault, if he find an insurmountable difficulty in explaining his Author's meaning in a manner so perceptibly connected as to avoid exciting disgust in an English reader. These, amongst other considerations, may serve to point out some of the embarrassments to be encountered by a Translator of HAFIZ. He must not, however, be discouraged by them, as an ample field will still be left for his exertions. For let him be as- sured, that a profusion of grace and beauty will be continually springing up in full verdure, as it were, before him, in his pursuit, to entice him to labour, and to invite him to enjoyment ; and that the cultivated mind can enjoy few repasts more rich and choice than the delicacies which may be served up to the literary epicure from this Diwan. That incomparable class of authors may be considered as rare ( 13 ) indeed, which will bear to be despoiled of beauties, and after- wards allure and fascinate through the medium of a rude inter- preter. A student, moderately versed in the Persian language, may be able to pronounce, even from a slight experience, that the plain and simple meaning of one of these Gazels, (totally laying aside its isocatalectical and symphonious beauties *, as well as the exquisiteness of its peculiar concise and metrical construction), will always please, by mere dint of its simplicity and beauty — as a faithful and correct representation of natural imagery, and as the poetical outlines of a mind cast in a superior mould, and gifted with the most energetic powers of expression : So truly insinuat- ing, so inimitable and unique are the compositions of this illus- trious poet. Their variety and peculiarity are not less striking 3 grave and gay ; plaintive and sportive, encomiastic and satirical, tender and querulous, simple and dignified, voluptuous and sub- lime, they adapt themselves to all dispositions, and seldom fail to interest and to take a deep hold of the feelings of the human heart. The metre is regular, though varied ; the measures are subject to the common rules of scansion, and run in pauses altogether melo- dious, and heightened by the agreeable returns of corresponding sounds. One favourite rhyme also is characteristic of each Gazel, and invariably terminates every couplet. The style, too, is so ef- fulgent and dazzling, yet so finished and concise, that the loss of the most trivial word is the loss of a beauty. What, then, can we do * See Revishi, " Ds Divano it Gha%eh ) xliii." ( It ) in this case ? Is it possible to hit upon a brilliant conciseness, a melody, or somewhat analogous to it in our own language, that may enable us to give some faint idea of the unparalelled elegan- cies of the original ? To present a perfect resemblance of all its ex- cellences, would be a most hopeless task. We may, however, stand some chance, perhaps, of preserving the general sense and mean- ing of the poet : but we never can expect to give the force of'' every particle, of every annominal, or of every equivocal expres- sion, or at once to express, with minute accuracy, poetical and mystical allusions, many of which we do not understand, and many of which are not fully comprehended even by learned Asiatics ; and still more hopeless, again, is the expectation of our ever being able to transfuse into a work of this nature, that lu- minous blaze of thought, that unconfined range and ease of ver- sification, which can only be looked for in original composition. Our prospect, therefore, of introducing the beauties of HAFIZ to the English reader, must at best be a very limited one. By attempt- ing too much, we may disgust, instead of pleasing. Our national taste, however desirous and willing to receive such novelties, is not as yet, perhaps, sufficiently prepared for them. Our know- ledge of the Persian, though increasing, and, it is to be hoped, rapidly, is still in its infancy : the great difference of the respective national manners is not hitherto competently known : their serious and more relaxed amusements are of a character very far removed from those of our own country : And, though we have some know- ( 15 ) I ledge of their legends, their laws, their civil and religious par- ticularities, their popular distinctions and their literature ; yet this knowledge, taken either in an enlarged or more confined point of view, is far from being equal to the extent and variety of its re- quired application : nor have even their musical modes, strongly as they are connected with the objects of our present considera- tion, been as yet practically introduced to us ; though, from what we have read * of them, we cannot but regard them as beautiful and interesting : and there can be no want of probable testimony to evince, that, with the concomitant scenic allurements of voice and action, aided by the effects of a warm climate, and by the na- tural propensity of the natives for pleasure, their operation on the passions must be nearly unbounded. Our plan, therefore, must be, to enable our Countrymen at large to gain access to these beauties : And, could we, like the venerable restorers of Greek and Roman literature, only multiply the best and most acknowledged eastern manuscripts of popular works by printing f, we might safely leave the certainty of * See a very ingenious and learned Essay on this subject, by a late, and ever tc* be lamented, president of the Asiatic Society (Researches, vol. iii. p. 56,) and the ob- servations and references of William Ouseley, Efq. (Persian Miscellanies, Lond. 1795, 4to, p. 160; and Oriental Collections, No. I. p. 70—79.) t It is impossible to avoid lamenting, in common with every admirer of HAFIZ, that the " Proposals for publishing by subscription a correct and elegant edition of all the " Works of this Poet, from a most accurate and valuable copy, in one volume folio," ( 16 ) * * just intrepretation to posterity, and look forwards to a more en- lightened cera, when they would be read and comprehended, with a similar ease and facility, by the classical student, with the lan- guages alluded to. For the present, then, let us strive to ap- proach, as nearly as we can, to the native energy of our originals at Calcutta, in 1789, should have been distributed without effect. The lamentable inaccuracy of Eastern manuscripts, proceeding, as we are told, from the ignorance, the carelessness, and too often the vanity of transcribers, in many most important cases, presents an insurmountable barrier to literary exertion : even the raost accomplished Persian scholar, after all his attainments, has often reason to deplore this as an irre- mediable evil. Let every one who may have doubts on this subject, read the com- plaints made by Sir W. Jones (preface to a Persian poem intituled Laili Mejnun, published in Calcutta for the benefit of imprisoned debtors, 1788), and by Capt. W. KlR KPATRICK (Introduction to the History of the Persian Poets — Gladwin's Asiatick, Miscellany, vol. i. p. 38. in the Note, Calc. Edit. 1789), or indeed compare any Persian manuscript either with a published original, or with any other manuscript copy that may come before him. In manuscripts of HAFIZ, and particularly in those writ- ten out of Persia, he will find very extensive varieties, not only in various readings, but in additions and transpositions of whole distichs, and even entire Gazels ; though these are often spurious, and introduced by ignorant transcribers from poets of the same name, of whom many are on record. (Sudi ap. Reviski, Paraphr. p. 136, and Procem. xlviii.) It is evident that nothing but a standard edition can correct this uncertainty. v\nd, might we indulge the hope, that that gentleman's valuable avocations and en- gagements could spare the time and attention necessary to superintend and carry through the press fuch a desideratum in Oriental Literature, — and that public patronage .would meet fo praise-worthy an attempt with the encouragement it deserves,— -a very accurate Shiraz manuscript of our Poet now in the possession of William Oufeley, Efq. if collated with others in the same collection, and in the libraries of different public bodies and individuals, and published, might be a great and most decisive step towards a full and complete edition of the works of HAFIZ. ( n 1 without descending to baldness or uncouthness ; and, if possible, contrive to exhibit such specimens as may tend to give our readers a foretaste of their genuine character, and novelty, and to promote that curiosity and thirst after them, which may induce them to take more copious draughts at the fountain-head Were it necessary to mention the languages, in our opinion, best calculated to produce this effect, many reasons might incline us to select, for that purpose, the Latin and the Italian. A variety of obvious causes, however, strongly tend to preclude, and, we trust, will continue to preclude, the general adoption of any lan- guage but our own, as a medium for conveying the more valuable reliques of Asiatic genius to our countrymen. If the Persian language abounds in composition worthy the intimate knowledge of any nation in Europe, every motive, literary as well as political, must clearly concur in pointing out such Oriental compositions as objects of more particular attention to the people of Great Britain. But it must at the same time be evident, that we can never look to the attainment of these desirable objects, viewing them in ever so distant a perspective, with any feasible hope of universal success, except through the natural and most promising channel of the English language. We may here remark (what, indeed, has been frequently done by others), that there is no work in Persian literature more de- serving the attention of the learned, than this Work of HAFIZ. E ( 18 ) Independent of its literary beauties (which clearly place it, if not first, at least in the first rank amongst the most splendid com- positions in that elegant language), it has the merit of illustrating, in a considerable degree, the manners, not only of a magnificent and intelligent people, at a period highly refined and polished, but of other great kingdoms and principalities of Asia. Princes, Statesmen, Warriors, Poets, learned and venerable characters, of various Courts and Countries, are frequently alluded to throughout the Poems ; and, next to Sadi and Firdausi, we may rank our Author as one of the most correct in style, and as one in whom we may reasonably expect to find some of the least corrupt remains of the pure * and ancient Persian. The few Gazels f hitherto * " A Dictionary of pure Persian" is among the desiderata of Sir W. Jones, and is a work which might be well executed, and without difficulty, could we only procure editions, like those of the Aldi, of the earliest Persian Authors. The simple mode of illustrating Homer, adopted by Seber, by which an author is ever commenting on him- self, and every reader becomes his own lexicographer, is the very best that can pos- sibly be used in such a case. The mere cutting up of two copies of the Calcutta edition of the Works of Sadi, would put this author completely into this state of illustra- tion : and could HAFIZ, and every Persian Author prior to him, receive the same elucidations, Indexes formed upon this plan would include every nicety of the language, give the distinct force and grace of every minute word and particle, and afford a collec- tion of most interesting extracts, to support the different variations of sense, and to fix them permanently. A philological treasure like this, when compared with the Loghat Serah (a copy of which, most commodiously arranged after the European manner, is said to be among Mr. Halhed's MSS. in the British Museum), the Berhan Katea, and Farhang Iehangiri, and other approved Lexicons and Commentaries, would only want a discriminating head and hand, to be formed into the best possible Dictionary that the pure Persian language can now admit of. t For thefe consult the observations and references of William Ouseley, Esq. in the ( 19 ) printed and explained, have spoken sufficiently for themselves, with the learned world, to raise an anxious wish for the publication of the whole series : and from the specimens already given of the Commentaries, we are authorised to conclude, that the untrans- lated part must contain much new and curious matter, interesting, no doubt, to the Oriental Historian, Philologist, and Philosopher, since the best copies of the Diwan are known to contain at least* Jive hundred sixty-nine Gazels, fourteen f only of which have been regularly published, with these elucidations. Persian Miscellanies (p. 123-4) — the Asiatic Miscellany, 2 Vols. Calc. 1785-6 — Wahl (Neue Arabische Anthologie, 8vo. Leipsig, 1791, p. 46, 74), &c. &c. Till the printing of the works complete can be accomplished, a republication of thefe fcat- tered poems, which may amount to upwards of sixty, with select observations, and a verbal index, would be a work which would tend greatly to familiarize their difficulties, and be in other respects highly useful to the Persian student. * See Meninski (Gram. Turc. &c. fol. Viennae, 1680, p. 191), who, following the Asiatic editors, gives a catalogue of the aggregate number of the Gazels, according to the alphabetical order of the rhymes, an arrangement indeed, justly denominated childish by a great authority (As. Res. iii. 173), but it is to be feared too much sanctioned by an- cient Asiatic usage, to be safely laid aside in the present state of our literary acquaint- ance with the eastern Gazel. There feems to be some blunder in the printing of this catalogue of Meninski, which has been strangely repeated on the republication of the grammer, by Kollar, in 2 volumes 4to. in 1756 — the numbers given in both editions amounting to six hundred and seventeen, though summed up as a total of five hundred and sixty-nine. t In the very scarce and truly classical work already so often quoted, its title at large, " Specimen Poeseos Persicae, five Muhammedis Schems-eddini notions agnomine. Haphyzi Ghazelae, five Odas sexdecim ex initio Divani depromptoe, nunc primum la- tinitate donate, cum metaphrasi ligata et soluta, paraphrasi item et notis i2mo. Vindo- bonae e Typographeo Kaleivodiano, 1771." — O! Si sic omnes ! —Though this title sets forth sixteen (sexdecim) Gazels, yet the text only contains fifteen — and only fourteen are accompanied with Sudi's Commentary. ( 20 ) HAFIZ himself, his Commentators, and other writers, are amply descriptive of the effect his Poetry had in those times. So extra- vagant indeed was the general enthusiasm of those days, that na- tional veneration seems to have carried its fondness for him into a wild and frantic superstition, as may be inferred from many won- derful narratives of serious appeals made to the supposed oracular and ominous influence of these compositions, both at and after his death, by a mode of sooth-saying, or divination * similar to that of the Sortes of the Latians, and familiar to the Asiatics. An old anonymous Persian poet f , preserved by Sudi, declares, that the delicate suavity of these Gazels is completely unparalleled in the productions of any poet whatever : and in truth HAFIZ himself is but too often found, like Horace, trumpeting forth his own praise, and pluming himself on the universality of his fame, from the extensive celebrity of his works over the then known world. We have abundant evidence of the operation of his poetry on succeeding ages, from a variety of sources, but particularly from the researches of grammarians, as will very fully appear on con- sulting Sudis % Introduction to his Paraphrase on the Diwan, where, with all the panegyrical and enthusiastic phraseology of . JO- * See Golius (jUtf et jli) Meninski feel) Chardin (Voyages, Tom. ii. p. 150. Edit. Amst. 4to. 1711), and Reviski (Procem. xxxii.) and in the note more at length- t See Supplement £ Ap. Reviski. Prooem. xxxviii. ( 21 ) an admiring Muselman, he ^asserts, that the poesy of HAFIZ derived its innate grace from having been bathed in the waters of life, and that it equalled the virgins of Paradise in beauty ; and from the narratives also of travellers, among whom it may suffice to mention the names of Sir Thomas Herbert, Kcempfer, Chardin, and Capt. Francklin *. Again, we are assured, on the * See " Travels," as before, page 10, — " Amoenitat. Exotic." p. 368-73.—" Voy- ages en Perse." Tom. ii. 189. iii. 141.—" Observations on a Tour from Bengal to (y^ Persia," 8vo. Lond. 1790. p. 90-7. — The curious reader will find pleasure in con- sulting the accounts here referred to, of Shiraz, Mosella, and the adjacent country — the old tomb of HAFIZ, as described by Kcempfer, and the new one of fine white marble from Tauris, eight feet in height and four in breadth, since raised by Kerim Khan, and de- scribed by Captain Francklin as shadowed by the poet's beloved cypresses — of the fine copy of the works of HAFIZ continually placed there — and of his portrait — seemingly about the age of thirty-six years, with a fresh rosy complexion, large whiskers — habited in the old Persian dress, and yet preserved in the magnificent building, called Heft Tun. As Kcempfer has only given part of the epitaph, the following is translated li- terally from a more complete copy : " In the year seven hundred ninety and one, " A world of excellence and genius departed to the residence of mercy. " The incomparable, second Sadi, Mohammed HAFIZ, " Quitted this perishable region, and went to the garden of Paradise. " Khojeh HAFIZ was the lamp of the learned ; " A luminary was he of a brilliant lustre ; " As Mosella was his chosen residence, /-> , , . u Search in Mosella for the time of his decease." , . ~. * Jail-. iU^S^k Mr^ ( 22 ) authority of gentlemen belonging to the Hon. East India Com- pany's service in Hindustan, that, even at that distance from Shiraz, the gay and lively airs of their mirth-inspiring Persian, It is necessary to add, in explanation of this last verse, that the single letters in the words Khak Sl± an d Mosella J^^^i when added together according to the numeri- cal value of the Persian capitals, are equivalent to the year of the Hejira, DCCXCI — and of Christ MCCCXL — the period of the death of HAFIZ : it may be thus repre- sented in figures : 6oo-f-i-f-2o+4o+9o-f-30_(_io— 791. We are grieved to refer to so poor a sketch as that of Kcempfer for the only engraved representation of this tomb extant. The venerable monuments, the beautiful buildings, and the ornamental structures of ill-fated Persia, unfortunately, as in the days of Sadi, remain a prey to the armies of contending chieftains, or the temporary and casual abode of rapine and faction ; that wretched country, in the words of the Poet, being yet thick entangled with tumult like the hair of an Ethiop. See that beautiful passage in the preface to the Gulistan (Edit. Gentii, fol. p. 12. 1. 15, &c.) where the moral Sage mentions his reasons for quitting his native soil, and commencing traveller. This suffering people cannot boast, with the tranquil inhabitants of Hindustan, either of temporal preservation for their magnificent edifices, under the mild and fostering influence of British protec- tion, or of having their architectural splendour and pre-eminence perpetuated and con- veyed down to posterity, by the exquisite and unrivalled excellence of a British artist. See " Oriental Scenery — forty-eight views in Hindoostan, taken during the years 1 789-92— drawn by Thomas Daniell, and engraved by himself, and William Daniell, 2 Port-folios, Lond. 1795-97 :" A work in every respect unequalled by any effort of the kind, in imitative art, ever yet produced in any country. ( 23 ) are more frequently introduced in their musical festivities, than the compositions of any other poet, however celebrated, whether native or foreigner, Hindu or Muselman, either of Bengal or Dekkha&. From what has already been said, it will scarcely be requisite . to counteract any previous expectation the reader may have formed of rinding the full grace and force of such supereminent poetry as this transfused into the following imitations. Impotent, crude and vapid, they must at best be found, when contrasted with their originals : on which account the author feels it his duty, rather to apologize for the temerity and poetical imbecility of the present attempt, than presumptuously to fancy himself gifted with powers so superlative and extraordinary, as to be able to surmount such a formidable phalanx of opposing difficulties. Nor must he omit here to notice, that in this undertaking, he has had in view the uninformed novice, as well as the more intelligent among his countrymen, otherwise, he must repeat, that the Latin language would manifestly have afforded him a medium of interpretation not only more satisfactory, perhaps, to the learned ear, but (if we except its abhorrence of what would be deemed the reiterated barbarism of the returning rhyme) more open to the peculiar graces and expressions of the Persian muse. However, should this feeble effort be fortunate enough to put the talents of some one more ably qualified for the task in motion, and become the accidental means of rendering the compositions of this valuable ( 24 ) bard better understood, or even of adding one student more to Persian literature, he shall feel no reason to regret the time or trouble he has expended upon it. In short, whatever may be the fate of his labours in every other respect, he will consider himself as more than compensated for his pains, if it shall only be found that he has been instrumental in extending to others any share of that pleasure which he has himself experienced while pursuing so favourite an amusement. The reader is not to suppose, that the following Gazels have been selected from the rest of the series, under any idea of their superiority in point of beauty or excellence over others of the Diwan. Such a supposition would neither be doing justice to the poet, nor to his imitator, who frankly owns himself by no means so adequately acquainted with the entire Diwan, as to presume to decide on the comparative merits or demerits of each poem. He is at the same time perfectly aware, that these Gazels by no means outvie, nay, very possibly do not even equal, others that r as well as part of these, have already appeared in print. The choice of them was entirely casual : but the order in which they are disposed, will require an apology. They were thrown into this artificial state of arrangement merely with a view to the progressive operations of LOVE, the passion chiefly described,with which the two first, that relate to the vernal season, may be supposed to have some collateral connection, from the influence of climate, and the festivities so prevalent throughout the East at the period of their ( 25 ) Nuruz. The first will therefore be found to be descriptive of Morning and Spring ; the second, of Spring, and the consequent festivities and youthful levities of the season ; the third, of juvenile Revelry ; the fourth, of Amorescency ; the fifth, of incipient Love, Love-sick Passion, &c. ; the sixth, of plaintive Absence ; the seventh, of remonstrative Plaintiveness ; the eighth, of Adula- tion, though testy and plaintive ; the ninth, of ^Plaintiveness with professions of Constancy ; the tenth, of Hope and Doubt of Re- conciliation ; and the eleventh, of Despondency. G PARAPHRASES IN VERSE. NUNC et ACHiEMENIO Perfundi nardo IUVAT, et fide Cyllenea Levare diris pectora solicitudinibus. Ho rat. Ep. xiii. 8. ( 29 ) GAZEL I. This little poem bears strong allusion to the metaphysical theo- logy of the Musselmans. According to the mystical vocabularies on HAFIZ, by wine (mentioned hereafter in one of these stanzas periphrastically as a flaming ruby), the poet invariably means devotion, and, either from contemplating the beauties of nature at sun-rise, or from having been awakened from sleep (there explained to be meditation on the divine perfections), by the rays of the solar light he may here be supposed to be calling on the religious around him to assist in adoring the great Creator. By the breeze, these interpreters say, is meant an illapse of grace ; by perfume, the hope of the divine favour ; by the tavern or banquet-house, a retted oratory ; by its keeper, a sage instructor ; by beauty, the perfection of the Supreme Being ; and by wanton- ness, mirth, and ebriety, religious ardour, and disregard of all terrestrial thoughts and objects. (Asiatic Res. ii. 62, m. 176). This Gazel, therefore, may be conceived to open with the poet's im- patience not to lose a moment from elevated abstraction on the Deity, and with his invitation to those who are rilled with divine love, to regale themselves and imbibe wine or the devotional spirit, h ( 30 ) and to those who thirst after wisdom, to offer their vows to Heaven and to give themselves up to the religious enjoyments of celestial and angelical love. It may be here observed, that, deeply versed as our author ap- pears to have been in these mysterious tenets, he is also recorded to have given public lectures on Muhammadan Theology and Jurisprudence, and even to have composed a or commentary on the abstruse and doubtful passages of the Koran. Some of his fragments, or marginal notes, are said to be yet extant. It may be remarked also in this place, that from various passages in his poems, he seems to have indulged a great partiality for a secluded and monastic life. Reviski, indeed, supposes him to have been the senior or prefect of some monastery ( monasterii alicujus senior vel prccfectus J, though he owns he can produce no positive proof of this (Hoc non ausus sim Jidenter assererej. Prooem. xxi. It is not perhaps improbable that this Gazel may be also de- scriptive of the morning worship of the Persians in adoration of the sun and its vernal effects upon the vegetable creation. We are informed from good authority, that the ancient Persians worshipped three times each day ; most likely, when the sun was rising above, and sinking beneath the horizon, and at its meridian. ( 31 ) Or L-jUu Aauij OwtXyo L-jlj (^^^ W^.^ C \V ; ^^ Q**^ L^I^J^ I ^>JL* b g&£*3 I LjUmj owW3 ^ ^j^c (^I^J_JI OJSj^o i^j-rS^Jj ij<3 <-X&Lw PARAPHRASE. Minstrel, tune some novel lay, Ever jocund, ever gay; Call for heart-expanding wine, Ever sparkling, ever fine. ( 41 ) Sit remov'd from prying eyes ; Love the game, the fair thy prize ; Toying snatch the furtive bliss, Eager look, and eager kiss ; Fresh and fresh repeat the freak, Often give, and often take. Can'st thou feed the hung' ring soul Without drinking of the bowl ? Pour out wine ; to her 'tis due : Love commands thee — Fill anew ; Drink her health, repeat her name, Often, often do the same. Frantic love more frantic grows, Love admits of no repose : Haste, thou youth with silver feet, Haste, the goblet bring, be fleet ; Fill again the luscious cup, Fresh and fresh, come, fill it up. See, yon angel of my heart Forms for me, with witching art, Ornaments of varied taste, Fresh and graceful, fresh and chaste. ( 42 ) Gentle Zephyr, should'st thou roam, By my lovely charmer's home, Whisper to my dearest dear, Whisper, whisper in her ear, Tales of HAFIZ ; which repeat, Whisper'd soft, and whisper'd sweet ; Whisper tales of love anew, Whisper'd whisphers oft renew. ( 43 ) GAZEL IV. This Gazel opens with the artless effusion of an extravagant Amoroso. Taney pictures to him his mistress passing, as it were, in review before him ; and Affection seizes the gratifying moment to turn even defects into charms, and to consider the very minutest thing appertaining to her as invaluable : Nay, he goes so far as to declare, that he would barter away even the renowned Bokhara and Samarcand, * the capital cities of Chengiz and Taimur, were they his, for the mere mole on the cheek of his lovely fair one. His favourite and native Shiraz,-\ its cooling fountains * See the Oriental Geography of Ebn Haukal, p. 249,-252 — tranflated by Sir William Ouseley. t Few poets have instanced more attachment to favourite local situations, and, what we may call, more love of home or of country, than HAFIZ. Independent of that beautiful effusion beginning^ yJz Li,^. and so well known and so often quoted, as the Shiraz Gazel, — (See Appendix, Cat. Jz -— Jones's Life of Nader Shah, 8vo edit. p. 28.) the English reader will meet with another poem of our author's to this effect, and an interesting relation of the circumstances which occasioned it, in Capt. Scott's Translation of Ferishta's History of Dekkhan, Vol. 1, p. 54-6,— (See Ap- pendix, Cat. ^ Gazel, beginning j*xL» This really classical history of a mighty empire, written when at its zenith, and compiled from the most ancient and authentic memorials then existing, we are sorry to say, is still a desideratum amongst European Orientalists ; the separate histories of Major Dow and of Capt. Scott only comprised distinct portions of translations from the original text. As we have the authority of ( 44 ) and its rosy bowers, the gay and sprightly damsels that sport within and around it, characterised by the poet's most choice and glowing epithets, who have plundered him of his peace of mind, and whom he compares to Janissaries rushing upon their predatory banquet, seem all to involve him in the happiest of reveries. Yet his powers of praise still fail him. Charms, so all-perfect as these, are too ex- quisite, too superlative to be described. His love, again, is de- fective, incomplete, and requires to be ratified by possession. It were just as probable to hope to improve the finest natural com- plexion by cosmetics, or the meretricious embellishments of art, as to attempt to heighten such consummate beauty by any thing so feeble as verbal delineation. A change in the tide of his thoughts, therefore, becomes necessary. Accordingly, Epicurean-like, he calls for the minstrel to divert, and for wine to drown his per- plexities. He ridicules the casuistry and prophetical folly of pry- Sir W. Jones for pronouncing the Tarkl Ferishta [X£jh : &rj3 a standard of historical reference throughout Hindustan, there can be no impropriety in remarking, that the printing the entire Persian text of this work under the inspection of Capt. Scott, ac- companied with the notes and elucidations with which he is so competent to illustrate it, would be an exertion of patronage worthy of the Hon. East India Company, or of either of our Universities. The Tarick, or History at large, contains an elegant preface, with a catalogue of 31 works consulted ; — an introduction, Ckm iliu> com- prising the ancient Hindu History, as related in the Rezemnamah, *oU ^ or Persian Epitome of the Mahabraraia; — i2 Books ^JULo sojiy, containing the Annals, Mohammedan and Hindu, of the twelve great Provinces, — and a ilX^i'Ui or con- clusion. A MS. of this elaborate work, in three volumes folio, (which, as appears from the impressign of a Persian seal at the beginning of each volume, once belonged to the celebrated AI. Le GentilJ, is now in the collection of the Chciham Library. ( 45 ) ing into the events of futurity, and pronounces it a search always abstruse, presumptuous, and fruitless. Yet all this cannot turn aside the current of his passion : it rather tends to aggravate, than to relieve it ; and, by reminding him of a chapter in the Koran, {Joseph, c. 12), brings Zuleikhas case to his recollection, and hints to him, that there did once exist a love, which even over- powered all virtuous considerations. He once more, therefore, cherishes his passion. The beloved object is pathetically conjured by him to attend to the counsels of prudence ; to bear in mind, that, in spite of all the suggestions of malice, he still loves her : that he petitions Heaven to preserve her; and that, if she reflects only for a moment on the suavity of her own innate disposition, every expression of malevolence must appear to her unnatural, unbecoming, and detractive from her beauty, as much so as it would be to attribute to her the poison of the scorpion, This thought he seems to prize as sufficiently dazzling to constitute the concluding bead of this melodious string of pearls ; and, calling upon himself, in the triumphant pride and rapture of the moment, to sing this Gazel sweetly, the elated and self-applaud- ing bard boasts of his composition as a paragon of harmonious brilliancy, studded and bespangled with poetical beauties, out- shining even the Pleiades among the stars of Heaven. M ( 40 ) IjU t^rre^oo c£jy& ^Jy* 0 T y I 1 L'W-'V. oL?"^*" O^t* <»JwJ ^J*jSSj^^^jJ iail^ C^waj (^Ijti Cj>Jj<^ 7« ( 52 ) PARAPHRASE. That Idol with ear-drops so bright, And whose heart is obdurate as stone, Of reason has robb'd me outright, Of myself : for, her captive I'm grown. No thought the keen glance can pourtray, Or the mien of my Idol so fair, No angel such charms can display, She's an Idol beyond all compare. Her company breathes soft delight ; Neatly veil'd in a robe she is drest : The moon cannot shine half so bright ; Love his altar has plac'd in her breast. Her passion my soul sets on fire, Thro' my heart I now feel the flame move, I boil, I boil o'er with desire, I am all in a ferment of love. Oh ! were she but clasp' d in these arms ! Oh ! how happy would then be my case ! ( «« ) No vest, that infolds her rude charms, Could enjoy, like my heart, the embrace. Let death close my eyes when it may, O'er my love she shall still bear controul ; My body may moulder away, Tet she'll ne'er be forgot by my soul. * Her bosom and shoulders I view — Yes — again, and again, and again : My reason then bids me adieu, My religion grows fruitless and vain. Religion !— O HAFIZ ! how vain ! For thy cure from her mouth thou must sip A kiss must relieve thee from pain, A sweet kiss from her honey-stor'd lip. o * See Note, Gazel IX. ( 54 ) GAZEL VI. The sprightly turn of the interrogatory at the conclusion of each distich, contitutes the leading peculiarity of this Gazel, which (for a reason similar to that assigned in Gazel III.), we can hardly hope to imitate with any degree of literal nicety. The poet appears to have quarrelled with the object of his passion ; and there seems to have been some interruption to the connection, or at least con- siderable coolness betwixt them. He apparently offers these ef- fusions as a tributary overture at reconciliaton : and, though he does not stoop to make too great advances, by unbosoming him- self over-freely, yet nature speaks, through the veil which his art has thrown over it, sufficiently to shew the full amount of his feelings. He confesses that he has felt the painful anxietude of Love, yet he declines to give a minute description of it : though he owns that his hours have been empoisoned by the effects of absence, yet he is averse to enter into a detail of their influence upon him : even the name of his mistress, the recollection of mo- ments of melting tenderness, soft endearments, goading reproaches, and the afflictive pangs of absence, are circumstances which, how- ( 55 ) ever pleasant or painful, seem only to be brought forward in order to evince that they have merely a negative claim to his at- tention. He, however, sums up his feelings in one word, by de- claring that his love has arrived at that pitch of anxiety which it is in vain to ask him to describe. *^ ^ . jS\ Q c^anj^ ^/i^.^ ^i^l o^j^*" "-^^^ PARAPHRASE. Zephyr, should' st thou chance to rove By the mansion of my love, From her locks ambrosial bring Choicest odours on thy wing. s ( 70 ) Could'st thou waft me from her breast Tender sighs to say I'm blest, As she lives ! my soul would be Sprinkled o'er with extasy. But, if Heav'n the boon deny, Round her stately footsteps fly, With the dust that thence may rise, Stop the tears which bathe these eyes. Lost, poor mendicant! I roam Begging, craving she would come : Where shall I thy phantom see, Where, dear nymph, a glimpse of thee Like the wind-tost reed my breast Fann'd with hope is ne'er at rest, Throbbing, longing to excess Her fair figure to caress. Yes, my charmer, tho' I see Thy heart courts no love with me, Not for worlds, could they be mine, Would I give a hair of thine. ( n ) Why, O care ! shall' 1 in vain Strive to shun thy galling chain, When these strains still fail to save, And make HAFIZ more a slave. ( 72 ) GAZEL XL The imagination of the Poet, after dwelling with admiration and enthusiasm on the fine majestic figure and fascinating deport- ment of his mistress, bursts forth at large into a metaphorical and glowing description of her transcendant beauties. He compares them, according to the style and imagery of the Asiatics, to ad- mired objects in nature, and, with a figurative boldness of ex- pression, delineates their impressive effects upon his senses. He attributes to the magic influence of her omnicreative presence in his mind, all the elegant tints, colouring, embellishments, and peinturesque beauties, with which the flowery repository of his imagination is decorated and stored. After consoling and re- galing his mind with the delicious and animating sensations ari- sing from the recollection of her former friendship, he professes his unshaken determination not to give way to reflection, but to risque, at all hazards, the recovery of her society, and never to abandon his project, however peril or despair may thwart him in the pursuit of his object. ( 73 ) iJiyL y J £ yd^y 4*^$ (^1 1. v_iLJJ ©Jj&^J oc^j Ci^ 5 HtfcJM 2 ' o^^* ^ cj£^-s-^ ^J*^^ tyja* PARAPHRASE. * Yes, thy form, my fair nymph, is of elegant mould, And proportion* d with exquisite grace ; How transporting thy shape, and thy looks to behold, As sly wantons young Love in thy face. T ( 74 ) Like the bloom of the rose, when fresh pluck' d and full-blown, Sweetly soft is thy nature and air: Like the beautiful Cypress in Paradise grown,, Thou art ev'ry way charming and fair. Thy arts so coquettish, thy feigned disdain, The soft down and sweet mole of thy cheek, Eyes, and eye-brows, and stature my senses enchainy While I gaze, not one word can I speak. When my mind dwells on thee, what a lustre assume All the objects which fancy presents 1 On my memory thy locks leave a grateful perfume, Far more fragrant than j as' mine's sweet scents. In this wild maze of love is no avenue found> To escape from the torrent of grief, Yet my heart still emerges, nor fears to be drown'd, While thy friendship affords it relief. Should I chance in thy presence to sink and expire, And before thee to reach my last goal, Let me look on thy cheek, and in peace I'll retire, Nor repine when I give up my soul. ( 75 ) Though to roam 'mid the desert and search for thee there, Nought but hazard and danger proclaim ; Yet HAFIZ shall roam, and tho' mock'd by despair, Never cease to call out on thy name. ~>ius: PARAPHRASES IN PROSE. u ( 79 ) PARAPHRASES IN PROSE.* GAZEL I. [This Gazel is from the History of the Persian Language in the Life of Nader Shah, 8vo. Lond. 1773, p. 179, by the first Orientalist, in point of taste and research, that ever graced any country, the late Sir William Jones, whose numerous and inimitable Translations from Asiatic Authors, pre-eminently entitle him to the following just and characteristic encomium from Ausonius: Hujus fontis aquas peregrinas ferre per urbes, Vnum pra reliquis solitus potare Choaspen. Panegyr. Fontis Burdigal, v. 27.] 1. The dawn advances, veiled with roses: Bring the morning draught, my friends, the morning draught. * " If the whole poem (says Sir William Jones), should ever be translated into English (by me it certainly never will), I would recommend a version in modulated, but unaffected Prose, in preference to rhymed couplets ; and though not a single image or thought should be added by the Translator, yet it would be allowable to omit several conceits, which would appear unbecoming in an European dress ; for the Poem, with all its beauties, has conceits in it, . like the black spots on some very beautiful flowers ; but they are neither so numerous, nor so unpleasing, as those in the Poem of Venus and Adonis ; and we cannot with justice shew less indulgence to a Poet of Iran, than we all shew to our immortal countryman Shakespeare."— Sir W.Jones's Preface to Laili Majnun. [See Page first of our Introductory Observations, relating to the incompetency of both prosaic and poetic translation to do full justice to the Persian original.] ( 80 ) 2. The dew-drops trickle over the cheek of the tulip: Bring the wine, my dear companions, bring the wine. 3. A gale of Paradise breathes from the garden : Drink, then, incessantly the pure wine. 4. The Rose spreads her emerald throne in the bower ; Reach the liquor that sparkles like a flaming ruby. 5. Are they still shut up in the banquet-house ? Open, O thou keeper of the gate ! 0. It is strange, at such a season, That the door of the tavern should be locked. 7. Oh ! hasten, O thou who art in love, drink wine with eager- ness ; And ye, who are endued with wisdom, offer your vows to Heaven. 8. Imitate HAFIZ,* and drink kisses sweet as wine From the cheek of a damsel fair as a virgin of Paradise. * The reader will perceive throughout the whole of these Gazels, that the Poet invariably introduces his own name in the concluding stanza of each, ^^^ ■t^a^. ( 81 ) GAZEL II. 1. Boy, bring the wine, — for, the season of Roses is arrived, — That we may break our vows of repentance again amidst beds of Roses. 2. Jovial, and singing aloud, let us enter the bower ; Like Nightingales let us sink at once into nests of Roses. 3. In the recess of the garden quaff the goblet of wine ; For, the signs of happiness appear also at the command of the Rose. 4. The Rose is arrived in the garden; be not too confident of the time of her sojourn : Seek a friend, and wine, and the palace of cultivated rose- bowers. 5. HAFIZ, thou longest after the company of the Rose, like the Nightingales : Devote thy soul a ransom for the dust of the walk of the Keeper of the Rose-garden. x ( 82 ) GAZEL III. 1. O minstrel with a sweet voice! begin an air that is fresh and new: Call for heart-expanding wine fresh and fresh, 2. Sit down from prying eyes and enjoy thy mistress, as a game, in private : Snatch eager kisses from her fresh and fresh. 3. How canst thou eat the bread of life without drinking wine I Quaff wine to her dear remembrance again and again. 4. O cup-bearer with legs of silver, I am intoxicated with the love of thy beauty ! Quick fetch the cup, that I may fill it again and again. 5. My heart-ravishing angel makes for me Ornaments of various hues and odours afresh and afresh. 0. O ! gentle Zephyr, when thou passest by the habitation of my Fairy, Afresh and afresh tell her, in whispers, the tale of HAFIZ. ( 83 ) GAZEL IV. [Chiefly from the Persian Grammar by Sir William Jones, , p. 129, third Edit, Lond. 1783.] 1 . If that lovely maid of Shiraz, would accept my heart, For the black mole on her cheek I would give Samarcand and Bokhara. 2. Boy, bring me the wine that remains ; for, in Paradise thou wilt not find The banks of the fountains of Rocnabad, and the rosy bowers of Mosella. 3. Alas ! these wanton nymphs, these insidious fair ones, whose beauties raise a tumult in our city, Have borne away the quiet of my heart as Tartars their repast of plunder. 4. Yet the charms of our darlings have no need of our imperfect love : What occasion has a face naturally lovely for perfumes, paint, moles, or ringlets ? ( 84 ) 5. Talk to me of minstrels and of wine ; and seek not to disclose the secrets of futurity : No one, however wise, ever has, or ever will discover this enigma. 0. I very well know from that daily increasing beauty which Joseph had, That a resistless love tore away from Zuleikha the veil of her chastity. _ 7. Attend, O adorable object ! to prudent counsels : for, youth of a good disposition Love the advice of the aged better than their own souls. 8. Thou hast spoken ill of me, yet I am not offended : may God forgive thee ! — Thou hast spoken well : — But do bitter words (the answers of the scorpion), become a lip like a ruby, shedding nothing but sweetness, (sugar) ? 9. Thou hast composed thy Gazel, and strung thy pearls — Come, sing them sweetly, O HAFIZ ! For, Heaven has sprinkled over thy poetry the clearness and beauty (shining circle) of the Pleiades. ( 85 ) GAZEL V. 1. That Idol with heart of stone and ear-ornaments of silver Hath deprived me of fortitude, power, and reason : 2. For, She is an image of piercing looks, delicate mien, in beauty like a Fairy, A soft companion, bright as the moon, lovely, and robed in the graceful tunick. 3. From the raging fire of her violent love I am continually ebullient (boiling over), like a culinary vessel (pot.) 4. Might I take her in my embraces, like the garment that enfolds her, My heart would be at rest on becoming near her as her nearest vestment ( chemise. ) 5. "Were my very bones even to putrefy, The love I have for her could not be forgotten by my soul. \ Y ( 80 ) 0. Her bosom and shoulders, her bosom and shoulders, her bosom and shoulders Have deprived me of my heart and religion, my heart and re- ligion : 7. Thy cure, thy cure, O HAFIZ ! Is her honied lip, her honied lip, her honied lip. ( 87 ) GAZEL VI. 1. I have borne the anguish of love, which ask me not to describe: I have tasted the poison of absence, which ask me not to relate. 2. Far through the world have I roved, and at length I have chosen A sweet creature (a ravisher of hearts), whose name ask me not to disclose. 3. The flowings of my tears bedew her footsteps In such a manner as ask me not to utter. 4. On yesterday night from her own mouth with my own ears I heard Such words, as pray ask me not to repeat. 5. Why dost thou bite thy lip at me? What dost thou not hint ( that I may have told) P ( 83 ) I have devoured a lip like a ruby : but whose ask me not to mention. 6. Absent from thee, and the sole tenant of my cottage, I have endured such tortures, as ask me not to enumerate. 7. Thus am I, HAFIZ, * arrived at that pitch (station, experi- ence, or extremity) in the ways of Love, Which, alas ! ask me not to explain. * The Poet may possibly here allude to the proper signification of his own name, which implies accurate observation, remembrance, and perfection. ( 89 ) GAZEL VII. 1. Every moment I complain aloud on account of thy absence ; But, what if the Zephyr refuses to convey my sighs and com- plaints to thee ? 2. Night and day do I grieve bitterly, and (though I should not grieve), though there should be an interval from grief, When I am thus far from thee, how can my heart be at ease ? 3. What can I do but weep, and sob, and lament, When I am reduced to such a state from thy absence, that I should wish an enemy placed in. * 4. Since thou hast estranged thyself from my sight, my heart has been consumed with affliction. Ah ! how many are the fountains of blood, that it has opened to me in my eyes ! * Or negatively, that I should not wish my most malicious foe to suffer. z ( QO ) 5. Whenever my poor heart utters its complaints for thy absence A thousand drops of blood trickle down from the root of each eye-lash. 6. Thus is the distracted HAFIZ immersed in the remembrance of thee day and night: Whilst thou art perfectly (free) at ease about thy broken- hearted slave. ( 01 ) GAZEL VIII. 1. O Zephyr, say with mildness to that delicate Fawn, That she maketh us love to dwell in the hills and desarts. 2. How happens it, that she who dispenses sweetness to all around her ( the vender of sugar J, — whose life be long ! — Has no sweet morsel of regret for the absence of her poet with a dulcet voice (her parrot feeding on sugar J. 3. Perhaps, O Rose, vanity on account of thy beauty will not permit thee To make even a poor inquiry after the fond Nightingale. 4. It is possible to ensnare a prudent heart with softness and gentleness ; But a cautious and wise bird is not to be taken with a trap or with a gin. 5. When thou sittest with thy companion, and pourest out the pure wine, ( 92 ) Take thought of thy lover, that measurer of the desart (who is lost in the desert of absence). 6. I know not why these damsels have no (tincture) feelings of benevolent sympathy, Damsels, who have black eyes, are tall as Cypresses, and beau- tiful as the Moon. 7. I can only mention one defect in thy charms ; — Thy fair countenance hath not the hue (disposition) of Love and Constancy. 8. It is not surprising if, in the Heavens, from the strains of HAFIZ, Zorah* lead the planets in dance to his melody. * The planet Venus.-— For a more literal version of this last stanza, see Revish', Paraphrasis, p. 97, and the exculpatory remark added by the learned Baron. ( 93 ) GAZEL IX. 1. Never shall thine image be obliterated from the tablets of my heart and soul: Never shall that stately moving Cypress f pompatice incedens) quit my remembrance : 2. No adverse fortune, nor the angry Fates, shall cause The (imagination) memorial of thy lips to vanish from my distracted brain. 3. From my earliest infancy ( eternity without beginning J has my heart been bound in alliance with ( the points of J thy ringlets ; And 'till my last breath ( eternity without end J the contract shall not be broken. 4. Every thing, except the (load of J Love I cherish for thee in this poor heart of mine, May be driven from my affections ; but, that shall never go. A A ( 04 ) 5. The love of thee has taken so strong a hold upon my heart and upon my soul, That, though my head were separated from my body, my love for thee would still survive. 6. If my heart does thus pursue the darling sex, it is excuseable, It is sick ; and, what can it do but seek for a remedy ? 7. Whoever desires not to have his brain turned, like HAFIZ, Let him not give his heart to the fair, nor court their society.. ( 95 ) GAZEL X. 1. Zephyr, shouldest thou chance to pass through the region where dwells my mistress, Bring me a profusion of odours from her ambrosial ringlets. 2. By her life ! would I sprinkle my soul with sweetness, Wouldest thou but bring me a message from the bosom of my fair one. 3. But, if Heaven should not so far favour thee, Bring dust to these two eyes from the mansion of my beloved. 4. I am miserably destitute, and I am wishing for her arrival — Alas ! bewildered wretch that I am ! Where shall I behold with my eyes the phantom of her coun- tenance ? 5. My elevated heart trembles like the reed Through the desire of possessing my fair one, who is like a pine-tree in form and stature* ( go ) 6. Although this lovely charmer has no esteem for me, I would not exchange a hair of her dear head to receive the whole world in return. Where is the advantage of having his heart (free) emancipated from the bondage of care, When the suaviloquent HAFIZ exists only the slave and vassal of his beloved ? ( 07 ) GAZEL XL 1. Yes, thy whole shape is delicately proportioned ; everyplace about thee is exquisite : My heart is exhilarated with thy sweet and honied blandish- ments. 2. Like the fresh leaf of the Rose, thy nature is gentleness : Like the Cypress of the Garden of Paradise (or Eternity) thou art every where (from head to foot) charming. 3. Thy coquetish arts and feigned disdain are sweet ; the down and mole of thy cheek are agreeable : Thy eyes and eyebrows are languishingly brilliant ; thy height and stature are lovely. 4. The bower of my ideas is filled by thee with pictures and ornaments : The odour of my heart becomes fragrant from thy jasmine- scented locks. B B ( 98 ) 5. In the road of Love there is no escape (passage) from the tor- rent of affliction ; But I have (made myself happy) consoled myself by thy friendship. 0. In thy presence I expire : but in that extremity Anguish becomes sweet to me from the smile (cheek) of thy ( gracefulness J bright countenance. 7. Though to search for thee in the desert be on all sides dangerous, The despairing HAFIZ proceeds with chearfulness to call upon thy name. APPENDIX. ? ( Hi ) ADVERTISEMENT. A Manuscript of the Works of HAFIZ, purchased into the Chetham Library at Manchester after these Papers were prepared for the Press, has given us an opportunity of exemplifying, in part, the re- marks zvhich occur in the Notes at pages 15 and 19 of our Introductory- Observations ; and the Reader, who will only consider that the Persian Gazel is invariably governed by the terminating Rhyme, and that every Poem in the Dizvan must fall under the classification of its first final letter, will easily judge of our surprise on comparing the short Catalogue of Meninski with this Manuscript. Every step during this comparison gave us occasion to lament, that that truly great and indefatigable Scholar had not left a more adequate solution for our doubts on this subject, and, by the addition of such notices as would have identified each Gazel, enabled us at all times to ascertain its reputed genuineness. This is the more un- fortunate, as a Manuscript containing the Shereh of Sudi was constantly used by Meninski. We trust, therefore, that the following Catalogue ( the value of which must be proved hereafter on collation with other copies ) will not prove, for the present, unacceptable to the Reader of HAFIZ. It must, at all events, prevent his feeling the similar want of a standard reference : and he may remain assured, that it represents with faithfulness the contents of an approved Manuscript of the Dizvan, which professes itself to have been transcribed with great care and critical accuracy under the eye of a learned European, and collated with a considerable number of the best Manuscripts in Higher Hindustan, and, under such circumstances, may be expected to aid, in a secondary view, that appreciation of internal evidence, by zvhich all truly cele- brated compositions will ever demonstrate their originality. ( v ) NUMBER OF GAZELS IN THE BIWAN, according to the Manuscript o/ ? Meninski, as compared with that of the Chetham Library. Gazels in ! Alif M. (Meninski.). ... 15. Ch. (Chetham MS.) 18. <-j Ba .... ► ■ * . 4 .... . ...Ch. 6. oTa ... M. go . . . Ch. go. Sa ...M. 1 . . . Ch. 3. _ Jim t * . . ^ Hha .... ^ jRT/ia o . . . O DaZ . . . * • • * IVI* x • ♦ • • • i « « • ivr» 2* * * • ♦ ...Ch. l. . . . Ch. 3. M. l ...Ch. 2. , , . M. 165 . . . . . . Ch. 173. ...Ch. 4. J2a .... M. 15 . . . Ch. 21. j Za .... M. 12 . . . Ch. 13. qjjj Sin .... M. 56.*.. . ...Ch. 7. * It is under this letter that we suspect the error of the Press in Meninski to consist, it being scarcely probable that forty approved Manuscripts could agree in leaving out forty-nine Gazels, which could not be admitted elsewhere in the series, on account of the terminating letter : and, supposing them to be only forty-eight, that number, subtracted from 61 7, will give us Meninski's total, as printed in the Grammar, viz. 569. * # * [Since writing the above, the kindness of a learned Friend has enabled the Author, in some measure, to clear up this doubt, from the following six manuscripts of Hafiz ( vi ) Gazels in^jz Shin (js-c Sad . . \j£> Zad . . U Ta . . Ls Za . . Ghain Fa .. v_J» .Bo/" . . U^Kef . . Lam. . ^ Mini . . Nun . . j /^u> . . o Ha . . i£ Ya . . Total . M. (Meninshi.) 22. Ch. {Chetham MS.) 23. . . . M. 2. . . . . M. none ...M. l. ...M. l. . ...M. 4. . .M. l. ...M. l. ...M. 3. ...M. 3. . . . M. io. . ... M. 77. . . . M. 25. ...M. n. . . . M. 17. . . . M. 77. JM. 617 "•■ [Ch. 610 .Ch. .Ch. .Ch. .Ch. .Ch. .Ch. .Ch. ,Ch. .*Ch. ..Ch. 13 . Ch. 73 . Ch. 29 .Ch. 13 .Ch. 16 . Ch. 78 in the Bodleian Library, which he has been so obliging as to examine for the purpose, uniformly containing only six Gazels terminating in this letter: Laud. A. 52 ; Laud. i?. 38 ; Laud. B. 39; Marsh. 164; Rawl. 19; and Gagn. 134. It is morally certain, therefore, that Meninski must have written fifty-six, instead of six, the varieties under the remaining alphabetical terminations affording ample means to account for the two Gazels otherwise missing.] CATALOGUE OF THE DIWAN, WITH THE NUMBER OF DISTICHS, AND EXTRACT OF THE FIRST HALF BEIT, OF EACH GAZEL, ACCORDING TO THE ARRANGEMENT OF THE CHETHAM MANUSCRIPT. D D ( ix ) NOTICE FROM THE CATALOGUE OF THE CHETHAM LIBRARY. Bibliothec^e Chethamensis, Codd. MSS. 00. [Arch. A. xxviii. — 10, 11, 12.] o^xCj CjLxiajj j aUc Wy^J tXssyl UjLn^svj d)lijJl " The Works of Hafiz, complete, in III Volumes 4to. Vol. I. The Diwan from I to £> With the additional Odes, Elegies, Chronographs, and other de- tached pieces. The whole collated with upward of forty other Manuscripts by a Gentleman of Lucknow." II O to j o to III. [Memorandum of the Transcriber at the beginning of the Third Volume.'] fete/* N. B. The marginal Notices refer to Gazels already printed. GAZELS in \ vii. v>j «#W! V s m 1 ( r Sf ^: XI. Lc ^\s^.^)^\ jf O&Vj^Jjj &J jJgS 2 6Rev.v. 10. VIII. Isx5\__>1yi*. <^oj Isvi^jU^JLo 3 ii A'w. XIII. (^jlAiL^ (Sj^J (j^**^ 4 14- Rev. xi. I^U ^Tc^^ c^JI^ Oy- 0 7/l 5 {yj^.y* VII. L>C£j ^ (J*^ L-^ue Jl L^u* 7 Ofwirf. Cb/fe. IX. \j Aaj ! dJ Iaj 8 4 y. VII. IjAjLsAA-^^ti (^^l^^ tVL&Jo >**J^/^ C^vkw! L_)Uji» <->yC * — «Ujj n ^ Rev. v. io. VII. [){£.£> (^j! tXjUw; (^liniwj -^^J^vV !2 12 D. 8. VIII. !.Ucj Jl:c 0 7 yi^Ll^ULuo I3 / 7 *«: x y w • * • j |_ Jones, v. o. IX. I; ^U*oOj<3 jjscLj) UaL, I4 9jSWh B * Verses. VII. lOo* {^^>jjj\ Jj'jlyJjj 15 VIII. 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C_5^^ LS^J O^'M^^ 103 VII. cXj^l ob^U^ cij^ J (^ly^lx^ IlQ4 VI* \^j qj^^j^j j c\^T"/^*e 134 IX. <^Ij cMq} oOy^xw (^tfST (J*j& 135 IX. j J^^j J'jju' *^ VII. j\ OJ^" ^ j** x 37 XIV. ^ilyj^j ^^^L^ljj^^c 13^ X. cXJL* cX^l^svJ ^it o^j>e (-Xawjj 139 X. Cyj j I * — «Jj jSWj C^o^ U^j 140 IX. 1^svj j*^.^ f 4i IX ' ^Jj' C_5Y^ oSp" O^jt f*^ ^4 i^_3^ J 42 ^ VII. *(Sjl y J ^ *49 VIII. ^jj jAJt>J C£<^j^ Ua=L ^Jiyx^o IX. O^T^^-JIj w^. ^J<_Xj 0^jIa>jj 1^2 VII. &j*S~ (^L\jj*J$' C^jJ <*J^*<^ OcXaaxn 153 viii. y^&J jfi jt^-t***"* < ^>^>> (^rjf cK-^ 5 154 VII. cX*l (j^Jj* *V •'-^ r s6 XIV. (a^W^J^I ^^jLLj^cL q^^sw. i 57 ^ VIII. <3j-!cXJl ^.Isy C^w<3 (jy Jl oOU_^l (^>Lw 158 XIII. cXy*<3 ojAKw ^tyJ cJ^'TaJ"' olXaw^j i 59 tones. J3 Verses. X. VIII OjIcXj ^jIxap ^iJl^ ^Jo> txjjjck ^y^j* cmm^ IX. VIII. IX. X. VII. VIII. IX. X. XI. VII. VIII. VI. N. B. There is another in <^ printed by Wahl, which begins as follow : VII. jJcX-o exJ v— This does not occur in the Chetham MS. In t6o 161 162 r6 3 l6 4 165 t66 t 6 7 [68 [69 170 171 [72 173 174 V. V. V. 3 4 14 J Verses. In j xi. J^,Mj^^% J' ^y^u^c^' 1 XIII. j\^A (^.y^ c ^ 5 L^c s ^IJ/l 2 IX. j^Jj flp <£ ! 3 vii. JT&U ck^^M eyv^ 4 viii. J^Jyj o4>^ J u**^ c^y °^j> C£f 5 VI. ^7*"^ J ^^^^.y^^^^^jt ^ V. VII. 8 J o ^ ^>v* cK^V C^Y** 1 Jf** fP"-J j^.^ 9 vii.^^i*^ o< ^.^Jf toy** c£ju ( ^ = ^ ^ 10 x. X. XII. VII VII. IX. XI. IX. xvr xiv Ljjl^iii ^v.b LoLw. ix. f£ Ui> J j) J9 t& 21 3 fones, v. io. 4 5 6 X. X. VII. XIII. X In Jj IX. ^lc>Jl cX * c '-^ 2 IX. J^^ob'c^J (^U^'JIcUUj^ 3 VII. JU Oo^y iJ^Jfd (jsxJ^L JU* 4 <_)JT jci ^l^j Ax^k jj<^0 dSTj& 7 vii. .Jj^-ol c>u^! ^.Uao <-\acj M^is j u : ^v c _Jj^ 8 J/7 X. (j^A^ Le ^Jl^l A-J^ C^aJ^a/IjJ ^UU* 2 VIII. (J^V*<> < S ^*'<-AA^?. aXj C_£l (J^J cX^rjlyJ^j 7 VII. i6 Verses. IX. o'r^. ^>*iJ<^ (^^A*-** [ — 2 vii. - jji>}^. y c£l 3 7< VII. Uh^j S^^ 9 J U~*J' &fH 4 VIII. yicXjLr ^J^CUasuo (^j^js^ki dJ' ^UxLi 5 VII. yi/lxA^c {jj J j^S^ ^03 yswj 14 VIII. c^j ^Jol ^f^« a/ ^l^svyc gJj' L;_>fyii 15 IX. yiusvj S^/* ^ ^J"f^i C_5^"^ L^J^ 3 l ^ XI. (j~A J . jJa-f' J^uwjT*!^ (J^V r 7 VII. (jfjh. J J (S^. J J^*^i8 vii. u**^ ^Jl t^o 19 viii. j^v^ j L^i^ ^rr^ 20 VIII. U^^'-^^Vjy^ 1^*0** ^G&yejTl* 21 IX. O^J^ ajIsra* Aj^jJ^J! ^ju'L^ 22 ones. Wahl. Verses. VII. OoLy ^Jci CIa-^o^jJI i VIII. i^^-XcL jpj ^iJ_j y±i OJ^J^ _j ^j^y*^ C^u**aj 2 VII. J 4° "o^v>-^" (J^*' 1 VII. .h-n^^ I ^liSh {J>jtf 2 -j^ms- V, \^j^Laj oOu& v^jI^JI cX£> (^j^^ocXj^ cSl^* 3 In k VHI. £ijU* lOcL I y V^=^ (^"^^ 1 Wahl > 8 * ix. ^'«x»J aX^JcL J (^Icilo^lj i XIII. £lsvi£> oLi. ^J-Xa* j oU* 17 F * i8 In Verses. XII. O^f" A^M* O^-U 1 viii. (S^ti+o VII. OlSa. JJ L-J l^o ^ji^j ^J<3 (£\ 1 IX. ^-W^}' (^'^ftL** ^jJ^)£> oOJJol &-£jJ 2 viii. ^Sl^jf ^l^i (£jj^ vU&y 3 ix. ulu> N. B. A fifth, said to be from Hafiz, be- ginning b r Oui^c olyj ^ t Aftatick Mifc ix. d^^J (j'-^" 0 jy* j^j^^i ^\ 1 VIII. *lX*» OsXxJ ^ tXXci. CcL^) (^1 2 VII. ^jly^ ^J^j {^yjCKi jj^Jci oO j> {£\ 3 X. ^J^^ L^lyi ^.cXiii (^sJ^ ^Xy-sW 4 x. ^JL^^ ^mjJ (^^W j^* 1 u^i^ 2 ^" 5 IX. JUzsi. VII. (J^>' ocXjO o'^V Jr* JJ^ ^ 7 IX. ^ j ^***=L ei^aj ^ ly^ C^ljl^ 8 xiii. o£iU (jw 9 Verses. J 19 r X. VIII. V. VII. vii. ^T^u^in v^u ^ji 1 VII. ^<*-o ^^op.3j^<3 <^>v**jj^& As*, i^j) x. j$j ^ t^y^U^ JUl» ajCj! Vll.jii 0 I Jjfc f^Ajf' O^vV yj' ojliw^l ^kaS' jSVnj A-f' ^Jbw <_}^ ^jj j\~k£. (_jbs- IX. IX. XIII. X. VII. VII. XI. VII VIII. VII. VII. IX. VIII. VIII. yones. JVahl f«~<> Wahl. 20 r - Verses. X. iiAAJ ^£ Cio^ Ov^Ly^ UJ l^* 2Q XIII. ^..^J ejblysy 'i^y* U j*^* 2 i IX. ^<^LijJ^jlsxy« j^^}' ^ jSP- 22 X. ptW>J o<_>uc^ o^_j^ j.^OjJ O^^^ 2 5 VII. ^Jr^ I ^U*wj<3 26 y^w, ii. 7. VIII. ^CijK*e {- r )\^L. oj Ooiil ^J^^*^^ Cj£^ 2 7 X. (^^c IcXcL C^Ltlyi*. _^<3 28 VII. 1 ^Jol^uaj c^V^ ~y ^-^Xv 4 ^ ot\!*i 29 ix! ^aanO _jl <3 ; aj jjj ^>^» c£Ay^ u^j^ 30 vii. ^<^" oj;^^"^ (S\&y*> ifijP 3 1 XI. ^jb cXo! ^-A/y^lx^ L^blp^c} 3 2 VIII. (J"}^ C^v*^ 3 *JbL ^L^J 33 XI. j&* j# J^^L^.J' f^* 3 34 xi. ^.iuut^ ^5 f*^o 35 V. ^jLi.j^ 3 6 XII. ^^c<-X2L ajLsv>y« _^)<3 cX>i» (sS_j\-^J>JJ 37 X. ^Ij^jJ O^cL iOjJ' C^jviJ 38 X. ^^cXi L> ocX« Okt^jJ wUj 39 xi. o , c^j^. ^^ 4 o XI. ^y^fr* OoIaJ 0\AWog^^»- i^j^ 41 viii. &2s- ^j' i — L» LyA^o 42 IX. 7^ ^ Ai 7^ ^ ^ Ls^J* 3 43 vii. L> o'*-^ (^^[^w* ^ Ud .J I 44 fanes* r XIV. ^j! OiSlyj jj u^XL? o\y b Oow^x 46 IX. ^li ^JjJ vjy* j L^'l^' J C^J^-^^ 47 7° IX. ( > _ 5 v> o'j^ U^? 5 ^ ^ &j^t) 4 8 Vli ^! j^) Ih^raS 49 X. ^Jci 0>^cL &SSS^j ^ ^jjjC^o (j*»b 50 VIII. ^*kjOJ! ^jlx£cX*c {J^J j*" Jl 53 VII. AjUL C^^j C^jjt Jj^o(jjJI 54 x - fiA^ L5^y^ lt^jj t%^C 55 IX. (^^M^f <-^<^ 56 IX. &j ^b L-fbL O^O 0^0^57 xi. ^cL*^ o^i»i t *-^y ^ *j 59 VIII, ^xAJ Civ>*)^ I jJ U 60 VIII. uXa*Lo £^a*o^c\j ^j^XjLo 61 viii. ^y^^CJLAi obUj 6z 0«j^&> IX. ^Lu oOJcL ; j j ^.^SyJJa 63 XII. o j^i (J^J? Oj* 6 4 Wahli v. 1 VIII. f^Sf* ^^t^J^ji (J^s^ 65 VII. oOv^T oU* j C^y&jSi ^| <*J^<^ (jo Lo &6 XI. (jOo^O tjUJj' «U tjbU* b C^wJ<-\y£ Lp 67 G * £2 Ve-rSes. VII. J&\sL gl jJ tj'^L) dS't^y* 68 71 VII. oC>\o C^kwO \j\ fj^ Cvm^ ^Ug^L L« 72 vni. oUsI lJjU-< ajUm b' 75 VII. ^ajOJ I _jNj^e! (j^fl Cuwl (Jk\£.^jjj 76 ix. jo ^0 0 j=*. (ji^T Jt te*y 77 VIL ^!<_Xj^>ci. -JJ <5uf JJ1 C^I^^j 78 XI. (^v^" j^jM ^ cK"* ^^^w ^w-sf 1 IX. i^jm^j^^jj JaX* oL* (^jjC^' 2 IX. t^-f J^y J^vw*& ^xsvwj J^J c£f 3 VII. ^^TyJO^U c^yO jM<^ 4 VIL JujS j VjLj tjJjlyj 5 XIII. O-'O^ a^iS. OJXj i/b 6 VIII. ^b^l?b ^JlU^aXj1-a^. 7 X. t^> j) A-*b*. ^r!^S> ^ j# *> 2 4 IX. LXj 25 J <^£l 28 v. ^jT'^aJLoj^ LflO&l; ^jJ^yc dJLkXj 7 X. oL« C^J^Xj dS' 0^j(^^\<\s. U^j 8 VII. 0L0 (^I^IyXj (^tXij OJ)jJ ^S*^ 9 VI. ojLL oJIj^Xj I^J ^ia*> ir VIII. Jj^ ^ p^j^j C^sO^ C£' *3 v/ ; ■ < • ' . , , , i ; "• • , LK^^j^ ; In & VII. ocX^TJijO v — <5lLw-Lw Ij dJ^(^\ 1 VI. *oc\j<3^j^J ^! dS'^hi*** !l ^ A>o j (^Ix* (^1 5 IX. oc^^Ti—J^.:^ oOjCyc _j<-Xj (j^j*^ 12 IX. oJ^j<3 V'j** ^LSfc/'jj-Jii 7 XV. oOu^ £}f? -k-^- 9 XI. ^U^JJ^SVo^lT £)l$teysw*j 10 VII. oOL> jLu (^jLw <^K-> f*^!^* _J Ov*n! cXx£ 11 VIII. ol^sUj JoJ Jl OunI ^IcX* ?! XI. oU J J J^ lz VII. C_5^V. *Jiss,kXiL^ oO^j ^jL^ U 14 VII. aUI C**J oOy^LlfljIyi* y^. ^ti^ l 5 XI. AJ ^iOjU^J jl JIujj 16 X. XI. VIII. IX VIII XI XIV IX X. XIII. 4 5 6 7 8 9 o IX. VII. XI. VII WaUl Jones* In (S (ST jOo 0 ldcsuj oU. 0 ! ji y^J^ c£ C£jl<^ ^^UU v^bly^ c 5 ^y0<^ a/' V. {£jjjX*e (Ji^jj^x) ^jlci aXj VIII. ( fc _ 5 ^yJ ^ ^« > 0 ^/.jMj^ 42 VIII. c^;<^%> cX-^ f. (jrj^ e^J 43 44 XI. L^v^ jjijly cXiLj^ a/ 45 VIII. ^£ Ojj* Aasvj j^f5 L&i ^jT J 4 6 XV. ^i'l^xJlj cxb*. <3-L« ^^-Lnkj 47 xiii. ^JLDly^U aJJI^X* 4 g X. C5v-^ ^4*W 49 35 36 37 38 39 Verses. .XI. (^U^'j! (j^j^. (J^jjys* ^Jtaw 50 XII. C_5^* j J*** (SjjGjt^f^^' S l XI. (^^\j±^jCKJ AjIswc 52 ----- XI. (^c\^« iJUjOeb. ^Xi-Xx^o tib U jswi 53 IX. C-L^ { ^LAifi ^v*^ ^r!^ 54 xiii. (^ejji ajij ^■t-^j l^Y^^ -2 (^"^^VH ^"t 60 X. (^SXj (^*~* <-X<<3 Aa^S CXa/J^6i X. ^^Lu !t\y ^£>Lij <3jJ ajO y?- 76 vii. (jsjl c**n! ^ yiuX)<3 ^ jy^** 77 I 9 SUPPLEMENT. *i 1 HE following Greek and Latin Versions are added, for the satisfaction of the learned Reader. The Eidyllion by Sir William Jones, and the two Odes by Baron Reviski, are already well known. For the Elegy in Latin Hexameters and Pentameters, the Author is obliged to an old School- fellow and College Friend, by whom it was imitated from the English Prose Version, and who has kindly permitted him to produce it as a proof of the Latin language being more fitted than the English, on account of the shackles in rhyme, to ex~ press the homotonous repetitions which terminate the stanzas of these Gazels. See the Introductory Remarks. ( 31 ) EIAYAAION. *EyKipva t (piXe rmou , yXvxvv olvov usf>£tv. "Appeg 11 gi(pa,voig SaXepoig TwrvKutrpiivoi *£lg $ dvfloVtg e(^cpiev, U7TS(>Yluj ^ys — v-jisuw aJsj a. i. 2. 3. v-jIswj! — L_jLoJ A. 3. • * * 2. lJjcsJ — (— flswsl B. * ♦ • * _ 3. The fourth verse in B. 4. &j*o) Ocso — Cksu & j*J A* 3. OawJ ot^J (^-J^ Oosu B. fifth verse in B. 5. jfa OJl aa**j — jfe> aJC^j A. l. This verse follows six in A. 2. 3. and is the seventh in B. 0. t^jS^jCS — ^jsax^j'I A. 1. ^A. 2. 3. OJOJu aj A. l. The third verse in B. 7. ULilc — IcX&JJ B. Wanting in A. 1. 2. 3. the sixth verse in B. 8. Wanting in A. 2. 3. The ninth verse in B. which has the fol- lowing additional verse as the eighth : O^Jj> C^oLc GAZEL II. i. (^Lycy<^ — ^t^jo^a^ b. M * ( 42 ) 2. j^j^—J^ B. 3. c\^T omitted in B. 5. J^jL^j— ^^iky* J^JJ=* B. N. B. This Gazel not to be found in the following Bodleian manuscripts: Laud. A 52; Laud. B. 38. 39; Marsh. 164; Rawl. 19; and Gagn. 134. GAZEL III. 2. j)\ r &>~Mjjy B. 3. /—J* B. N. B. This Gazel also wanting in the six manuscripts men- tioned in No. II. • GAZEL IV. 1. (ji*j^^ — (jzjOJd* B. 2. C^sb — ^r!<^ A. 3. — j omitted. B. ( 43 ) k^j Ju.j ^Sjjj vW— h^-j J^-j <£jhj A - 2 - 3 - 5. — ^fj^ ^' 3 * This verse follows verse seventh in A. 1. and B. 7. Lil^. — (^UUi. B. ^AAwo^O -^AJvN^t} A. 1. 2. 8. — t^bafi A. 2. 3. B. The former part of this couplet written in the margin of A. l . the latter omitted ; it follows verse sixth in A. 2. 3. and B. g. (^I^su — A. 2. 3^ GAZEL V. 1. ^J<3 (^aXLai l^-xj ^J_^j£) A. 2. 3. {•j^K^M) (^AyA**) A. 1. (^^A^A.kw^ A. 2. 3. B. 2. (^o^ C^J — Uula^. j bCj A. l. 2. B. ^ c-jC/J+i — L-Caaw A. 1. L»^aaAi^ B. (^aX^^c A. 2. (J^jjy. — jlo A. 2. 3. _^>!^ aJsTj B. (^ji^J&.L^J* — ^J 1 "^J* A. i. 2. i^&jo* A. 3 j^ii^cj B. O^jLo — ^ji<^-5 Lo B. 3. Jj^j — A. 1. 2. 3. jci Jii B. (^I<3^ — '^U^ A. 2. 3. — O^r! ^ 1. 2. 3. B. ^J^x*o — cXJ^ye B. 4. ju^ — ^J*.^. B, ( 44 ) ^j&yS'—' A. 2. 3» ^-Olo — g^XjS A. 1. 2. 3. B. (ji-l^ct — yK^cl A. 1. 2. 3. B. 5. J — jf\ A. 1. 2. 3. B. 6. j*j — jjj B. This verse omitted in A. 2. 3. GAZEL VI. 2. This couplet omitted in A. 3. 3. yxJfc^ — cA 1 ^ A. l. 2. B. 5. -JI B. V V '., • CU"* (J^ J' — (sl^ U^.' A. 1. 2. 3. B. 5. Jjj? — ^1 A. 2, jtXll^j' B. 0 L^— C^U. A. l. jjl—^jl A. 1. 0 ! ^^J — J^J 0 ! A. 2. 3. o^Jj J^J 1 O fB - 6. cKx/ A^—jJ^ cXaJo^ A. 1. 2. 3. B. ^LejO — l^i^}^ A. 3, ( 47 ) GAZEL X. 2. j\—y B. (-j*e Ajl^XitJ A. 1. B. (^jl cX»! A. 1. 3. ^^— y A. 1. (^T omitted in B. jh — jl> A. l. 3. B. oOut^jO (^j<-Xj — ocXjO CS^j* A. 1. 3. B. 4. ^5VJ LsJ" — Ljjl^sy A. 1. 3. B. — A. 3. J 1 ^— JW^ A. i. 5. c-oJ <^)!j ; J — c ^ ki ' oii^ A- 1 - (^l^L^jX^L. — (^jsxXwj^e A. 1. 3. B. GAZEL XI. 1. Ojj£jX 0<_XA2L A. 1. f \^y.Jy^ ^J>j3lj A. 2. 3. 2. ^fy^ — A. 3. ; iSjL—tSj B. I oCijj — CX>wJ& A. 1. 3. B. ( "8 ) 4X1^ «5^v^ A. 2. 3. 3. j\Jj — A. 2. 3. B. (Sjy.^J — 'J om itted in A. 2. 3. B. (j;Xjj<^3 — (S^-> A. !• C£>X/Oo A. 3. 4. — ^JLcL A. l. 2. 3. B. 5. -Xj L-jIcXxwj _J! — to (JvXwj Jl dJ^ A. 1. .Xj 4^ A. 2. 3. Us t^jl cXa^jIJ B. jlJo" — -j%Xf^ A. 2. jjjJ^B. This follows couplet six in all four manuscripts. 7. L^Jlk — Uo A. 1. A. H X A. 2. 3. y^J — ajJ A. I. Ovkm — A. l. 2. ciu*i! B. ksU*— y^U* a. 2. THE END. PRINTED, AT THE ORIENTAL PRESS, BY WILSON & CO. WILD-COURT, LINCOLN'S INN FIELDS, LONDON, TO THE READER. BEFORE the Reader commences the perusal of these Gazels, it is requested that he will correct the typographical errors from the list annexed, and erase the notes marked f at pages 15 and 18 of the Introductory Remarks, the Author having been informed from good authority, as the latter sheets of the Appendix were passing through the Press, that an Edition of the Works of Hajiz, entire, in Persian only, has been t^6oj£*/£ printed at Calcutta, and that one copy of this very Work is in the possession of a late dignified Member of the Asi atic so- ciety, who is now in England. The want of a more frequent * communication and interchange of Publications between the Printers and Booksellers of London and those who reside at the capital Settlements of the Honourable East India Com- pany in Asia, is most severely felt by the inquiring European. The many Works which have lately issuedfrom the Calcutta Press, though particularly interesting to the general admirers of Eastern Literature, as well as of the utmost consequence to all whose professional vocations demand a competent know- ledge of at least the Persian, the Hindustany, or the Bengal o * ( BO ) languages, are, here in Great Britain, most of them, more difficult to lie procured than even scarce Oriental Manuscripts. But surely some intelligent Bookseller will soon he found of enterprize and spirit sufficient to remedy this inconvenience. It is, however, but justice due to Messrs. Wilson £s? Co. here to mention the very laudable exertions made at their Oriental Press in London, in order to facilitate the publi- cation of Eastern Works : A new font of Persian Types is, we understand, nearly completed at their own expence ; and we doubt not that the liberal countenance and patronage of the Nation at large, as well as of the First Commercial Company in the World, will amply reward the exemplary disposition they have shewn to promote the knowledge and dissemination of a branch of Literature so intimately connected with the ex- ternal and internal polity of our civil establishments in British India. The Author has to solicit the indulgence ■ of the candid Reader for the number of Errata in this Work, occasioned in part by the perplexities naturally arising from the Composi- tors of \ this country not being, as yet, sufficiently habituate^ to the Persian characters, and partly by his residing at too great a distance to be able to superintend the correction of the Press himself i Per s» an \yr^^ (y(o\ 6++6*> V r / VkL ^2^' ^^Z* SOU < >y^/*w^3 ^^V^y^ O^t^ /Sffa^ v feteJ$*4r- ^^^^^^^ ^k^t Au^t^ flUtsvfy flku^, — 3« ^ 4- >•" »:"^ .-- -7 - fan /^-i&sJ&tb, y Ay "I: 1 of of ^k^u^ j&*C^J&*t*& ■ ■'-■■ v: '.f. ■ llli 111 ■ TP* ( so ) languages, are, here in Great Britain, most of them, more difficult to be procured than even scarce Oriental Manuscripts. But surely some intelligent Bookseller will soon be found of enterprize and spirit sufficient to remedy this inconvenience. It is, however, but justice due to Messrs. Wilson & Co. here to mention the very laudable exertions made at their Oriental Press in London, in order to facilitate the publi- cation of Eastern Works : A new font of Persian Types is, we understand, nearly completed at their own expence ; and we doubt not that the liberal countenance and patronage of the Nation at large, as well as of the First Commercial Company in the World, will amply reward the exemplary disposition they have shewn to promote the knowledge and dissemination of a branch of Literature so intimately connected with the ex- ternal and internal polity of our civil establishments in British India. The Author has to solicit the indulgence ■ of the candid Reader for the number of Errata in this Work, occasioned in part by the perplexities naturally ai^ising from the Composi- tors of \ this country not being, as, yet, sufficiently habituate fL to the Persian characters, and partly by his residing at too great a distance to be able to superintend the correction of the Press himself