1000 From that rose garden I have plucked this posy,
Which I have named “the mystic rose garden.”
Therein the roses of hearts' mystery are blooming,
Whereof none has told heretofore.
Therein the tongues of the lilies are all vocal;
The eyes of the narcissus are all far-seeing.
Regard each one with the eyes of the heart
Till your doubts have vanished from before you.
Behold traditional and rational and mystic verities,
Ranged in clear order with knowledge of minutiæ.
1005 Seek not with captious eyes to find blemishes,
For then the roses will turn to thorns in your sight.
Ingratitude is a mark of ignorance,
But knowledge of truth lies in gratitude.
I hope that when the noble* calls me to mind,
He may say of me, “Mercy be upon him.”
I conclude and end with my own name,
“O Allah, grant me a ‘Lauded’ end.”*

As before stated (p. v., note), the metre is Hexameter Hazaj Catalectic; the last foot may be fa'úlun as well as mafá'íl. (Blochmann, Persian Prosody, p. 31.) Though written in the classical period, the poem contains many pre-classic forms, e.g. before the nominative, l. 755; the kasra of the izâfat lengthened to , l. 832; the preposition with the izâfat, l. 38; as the sign of the genitive, l. 554; pronominal affixes separated from their verb, l. 443; the preposition placed after its noun, to which is prefixed, l. 109. Contractions are frequent, e.g. bagzasht, l. 28; bastad, l. 61; nanháda, l. 161; nabwad, l. 142; tust for tu ast, l. 269; batar for badtar, l. 323; bŭd for búd, l. 914; arni for arini, l. 193; alastub rabbakum, l. 419; ta'allallá, l. 13. The tashdid of words like , and is dropped if the metre requires it. (Blochmann, p. iv.) The tashdid is added ob metrum in , l. 821; and, if the readings in the text are correct, to in l. 706, and to and in lines 144 and 403. But this is doubtful. (See Blochmann, p. 9.) In l. 385 the izâfat after mute ?? is not sounded. (Lumsden, Persian Grammar, ii. 249.) In l. 84 and l. 320 ?? is treated as a mute ??. In l. 368 and l. 552 is treated as an alif i waçl. (Blochmann, p. 13.) Blochmann says doubled by an affixed izâfat or yae tankir should not be marked with hamza, but the MSS. of this poem mark it with hamza or with tashdid, as in l. 703; or leave it unmarked, as in ll. 642 and 336. (See Lumsden, ii. 247). Note that hamza is often used when is a single vowel, e.g. ll. 3 and 435. This, according to Blochmann, is its only correct use with . Line 347 will not scan as it stands, but the MSS. offer no alternative reading for . Probably here is not sounded, as in , l. 305, and , l. 544. The MSS. generally insert the hamza, indicating an izâfat or yae tankir, after mute ??, but sometimes omit it, as in l. 456.