19. Balki az tust charkh-rá tamkín, Balki az tust máhrá idhhár!
20. Máhí, ar máh náwarad káhish; Charkhí, ar charkh na-shkanad zinhár!
21. Gar tu charkhí, 'adú chirást nigún? Wa'r tu máhí, 'adú chirást nizár?
22. Jáy-i khaṣm-at chu jáy-i-tust rafí'; Án-i-tú takht, wa án-i-khaṣmat dár.
23. Chún tu dar rúz shab kuní paydá, Chún tu az khár gul kuní dídár,
8.—'aks. 24. Shám gardad chu ṣubḥ surkh-libás, Ṣubḥ gardad chu shám tíra-shi'ár.“Thy sword, like the sun with its light, keep the world replete with pictures.
Thou art heaven and moon; nay, thou art not, for these two have not [thy] subsistence and endurance!
Nay, rather from thee heaven derives its dignity; Nay, rather from thee the moon derives its manifestation!
Thou art the moon, were it not that the moon wanes; thou art heaven, did not heaven break its troth!
If thou art heaven, why is thine enemy inverted? * And if thou art the moon, why is thine enemy on the wane?
Thine enemy's position is high, like thine; for thine is the throne, while his is the gibbet!
When thou displayest the night in the day, * [And] when thou revealest the rose from the thorn, * Evening becomes clad in scarlet like morning, [And] morning becomes apparelled in black like evening.”
The next figure illustrated is that called siyáqatu'l-a'dád
Siyáqatu'la'dád. (“the proposition of multiples”), where a common quality or action is ascribed to a number of otherwise dissimilar things:—25. Dast burda'st, gáh-i-'arḍ-i-hunar, Bi-sakhá, ú wafá wa 'adl u yasár,
“What time talents are displayed, In generosity, constancy,
justice, and opulence,”
“Thy light excels the Sun, thy grace Venus; Thy benevolence
the cloud, thy generosity the highlands.”*
This figure is named tansíqu'ṣ-ṣifát, or “the arrangement of attributes,” and is when, to quote Gladwin (pp. 46-47), the poet “uses contrary properties, as they occur, without order or regularity.”
The next three verses illustrate the figure known as “pleonasm,” or ḥashw (lit. “stuffing”), i.e., the introduction Ḥashw. of a word or words superfluous to the sense, which may be either a downright blemish (when it is called ḥashw-i-qabíḥ, or “cacopleonasm”), or an improvement (ḥashw-i-malíḥ, or “eupleonasm”), or neither hurtful nor beneficial (ḥashw-i-mutawassiṭ, “mediocre” or “indifferent pleonasm”). I find the following example of “cacopleonasm” at p. 264 of Puttenham's Arte of English Poesie:—
“For ever may my true love live and never die,
And that mine eyes may see her crownde a Queene,”
where the words in italics are quite superfluous to the meaning, and do not in any way beautify the form. The pleonasm is italicised in the translation of each of the following verses:—
—qabíḥ. —mutawassiṭ. —malíḥ.27. Qahr-at, ar mujtahid shawad, bi-barad Ásmán-rá bi-sukhra u bígár;
28. Lík luṭf-i-tu, ay humáyún ráy, Bi-luṭaf dur bar áwarad zi biḥár.
29. Bágh-i-'umr-at (ki táza bád mudám Chashm-i-bad dúr!) rawḍa'íst bi-bár.
“Thy power, should it be exerted, would compel Heaven to
forced toil and labour for thee;
But thy grace, O thou of royal mind! Would by its favours
bring forth pearls from the seas.The garden of thy life (may it be ever fresh! May the evil eye
be remote from it!) is a garden in fruit.”
The next verse illustrates the figure which is generally called ishtiqáq (“etymology”), but more correctly, shibhu'l-
Ishtiqáq. ishtiqáq (“pseudo-etymology”). It is in reality a variety of tajnís, or word-play, where the words upon which the poet plays appear to come from one root, but have really no common derivation. Of this figure of Prosonomasia, George Puttenham says, in his Arte of English Poesie (p. 212):—“Ye have a figure by which ye play with a couple of words or names much resembling, and because the one seemes to answere the other by manner of illusion, and doth, as it were, nick him, I call him the Nicknamer… Now when such resemblance happens betweene words of another nature, and not upon men's names, yet doeth the Poet or maker finde prety sport to play with them in his verse, specially the Comicall Poet and the Epigrammatist. Sir Philip Sidney in a dittie plaide very pretily with these two words, love and live, thus:—
‘And all my life I will confesse,
The lesse I love, I live the lesse.’”
Two other examples from the same passage are as follows:—
“They be lubbers not lovers that so use to say,”
and—
“Prove me, madame, ere ye fall to reprove,
Meeke mindes should rather excuse than accuse.” * 30. Rúz-i-kúshish, chu zír-i-rán árí Án qadar-paykar-i-qaḍá-
paygár,—“In the day of battle, when thou bestridest that [war-horse] like
Fate in form, and like Destiny in determination,”—
Here paykar, “form,” and paygár, “determination,” or “strife,” appear to be, but are not, derived from the same root.
The next three verses illustrate three varieties of saj', “response,” or “harmonious cadence” (literally, “the cooing Saj'. of doves”), called respectively mutawází, muṭarraf, and mutawázin. In the first, the words involved in the figure agree in measure and rhyme; in the second, in rhyme only; and in the third, in measure only, as follows:—
—mutawází. 31. Dar sujúd-at nawán shawand zi písh, Bar wujúd-
at rawán kunand nithár, —mutawázin. 32. Sar-kashán-i-jahán-i-ḥáditha-war, Akhtarán-i-
sipihr-i-áyina-dár. —muṭarraf. 33. Árad-at fatḥ dar makán imkán: Dihad-at kúh bar
firár qarár.“Trembling there advance to do the homage, Before thee cast
their souls as an offering,
The proud ones of this fateful world, The stars of the mirror-
holding sphere.
Victory brings thee power in space; The mountain [i.e., thy
steadfastness] gives thee endurance against flight.”
The next four verses exemplify four varieties of anagram (maqlúb), viz., the “complete” (—i-kull), where one word in Maqlúb. the verse is a complete anagram of another (e.g., karam and marg in the Arabic character); the “partial” (—i-ba'ḍ), where the second word consists of the same letters as the first, but reversed otherwise than consecutively (e.g., rashk and shukr); the “winged” (mujannaḥ), where, in the same verse or half verse, words occur at the beginning and end which are “complete” anagrams of one another; and the “even” (mustawí), where the sentence or verse may be read backwards or forwards in the same way. This, properly called the Palindrome, is the most difficult and the most perfect form.*
—ba'ḍ. 34. RASHK-i-qadr-at barad sipihr u nujúm; SHUKR-i-
fatḥ-at kunad bilád u diyár. —kull. 35. GARM dárad zi táb-i-dil paygán; MARG bárad bi-
khaṣm bar súfár. —mujannaḥ. 36. GANJ-i-nuṣrat dihad guzárish-i-JANG; RAY-i-dawlat
zanad ḥimáyat-i-YÁR. —mustawí. 37. RÁMISH-I-MARD GANJ-BÁRÍ U QÚT; TU QAWÍ-RÁ
BI-JANG DAR MA-SHUMÁR.