غَزَلِ حافِظ

2 چيسْت يارانِ طَريقَت بَعْد اَز  اِين تَدْبيرِ ما 1 دوش اَز مَسْجِد سوی مَيخانَه آمَد پيرِ ما

 chis TO yā rā | ne  ta  ri  qat  | ba` da zin tad | bi re mā

 du SHO az mas| jed su ye may| khā na ā mad | pi re mā

  L   S     L   L  |  L   S   L   L   | L   S   L     L   | L  S    L

  L     S     L    L | L     S   L   L  |  L   S    L    L |  L  S  L

friends of the Path,  what is our plan after  this

 last night from mosque towards tavern came our spiritual guide
 
4 کِه اِين چُنين رَفْتَه اَسْت دَر عَهْدِ اَزَل تَقْديرِ ما 3 دَر خَراباتِ مُغان ما نيز هَم مَنْزِل شَويم

 kin cho nin raf | tas TO dar `ah | de a zal taq | di re mā

 dar kha rā bā | te mo gān mā | ni ZO ham man | zel sha vim

L     S     L    L | L     S   L   L  |  L   S    L    L |  L  S  L

L     S     L    L | L     S   L   L  |  L   S    L    L |  L  S  L

for  in this way went in the era of pre-existence our fortune

 in the tavern of the priests let us also be fellow sojourners
 
6 روي سوي خانَة خَمّار دارَد پيرِ ما 5 ما مُريدان روی سوی کَعْبَه چُون آريم چُون

 ru i su ye | khā ne ye kham | mā RO dā rad | pi re mā

 mā mo ri dān | ru i su ye | qa` ba chon ā| ri MO chon

L   S L  L | L    S   L      L  |  L   S    L    L   |  L  S  L

L     S    L    L | L  S  L  L |  L   S    L   L |   L  S  L

our mentor has face towards the house of wine seller

 we disciples how will we bring our face towards Kabah when
 
8 آهِ آتِش‌بار و سوزِ نالَة شَبْگيرِ ما 7 با دِلِ سَنْگينَت آيا هيچ دَرگيرَد شَبی

 ā he ā tash | bā ro su ze | nā le ye shab | gi re mā

 bā de le san | gi na tā yā | hi CHO dar gir | rad sha bi

L   S L    L | L   S  L   L  |  L   S    L    L |  L  S  L

L    S   L    L | L  S  L   L  |  L   S    L     L    |  L  S  L

our tear-raining sigh and dawn burning of lamentation

 with your heart of stone will it (ever) at all take hold (kindle) one night
 
10 عاقِلان ديوانَه گَرْدَنْد اَز پَیِ زَنْجيرِما 9 عَقْل اَگَر دانَد کِه دِل دَر بَنْدِ زَلْفَش چُون خُوش اَسْت

  `ā qe lān di | vā ne gar dan | daz pay ye zan | ji re mā

`aq la gar dā| nad ke del dar| ban de zol fash|chon kho shast

L     S     L    L | L     S   L   L  |  L   S    L    L |  L  S  L

L     S     L    L | L     S   L   L  |  L   S    L    L |  L  S  EL

intelligent ones would go crazy in search of our chains

 if Reason knew how happy Heart is in the bonds (tied to the desire) of his/her locks of hair
 
12 نيسْت اَز سَودای زُلْفَت بيش اَز اِين تَوفيرِ ما 11 باد بَر زُلْفِ تُو آمَد شُد جَهان بَر مَن سياه

 ni STO az saw | dā ye zol fat | bish az in taw | fi re mā

 bā DO bar zol| fe to ā mad | shod ja hān bar | man si āh

L    S    L    L    | L     S   L   L  |  L   S    L    L |  L  S  L

L     S    L    L | L     S   L   L  |  L   S    L    L |  L  S  L

there is no more  trade/profit  from your locks of hair than this abundant revenue of ours

 wind came upon your locks of hair [and then] the world became black upon me

 
14 زُلْف بُگْشادی زِ شَسْتِ ما بِشُد نَخْجيرِ ما 13 مُرغِ دِل را صَيدِ جَمْعيَّت بِه دام اُفْتادَه بود

 zol FO bog shā| di ze shas te|mā be shod nakh | ji re mā

 mor ghe del rā| say de jam `iy |yat be dā mof |tā de bud

L     S     L    L | L     S   L   L  |  L   S    L    L |  L  S  L

L     S     L    L  | L     S   L    L  |  L   S    L    L |  L  S  L

you uncoiled your locks [and so] from the snare of my thumb went our hunt (prey)

 as for the bird of [my] heart [as] collected prey it was fallen (secure) in trap

 
16 زان سَبَب جُز لُطْف و خوبی نيسْت دَر تَفْسيرِ ما 15 روی خوبَت آيَتی اَز لُطْف بر ما کَشْف کَرْد

 zān sa bab joz | lut fo khu bi | nis TO dar taf | si re mā

 ru ye khu bat | ā ya ti az | lut FO bar mā | kash FO kard

L     S     L    L | L     S   L   L  |  L   S    L    L |  L  S  L

L     S     L    L | L     S   L   L  |  L   S    L    L |  L  S  EL

since that time besides gentleness and goodness there is nothing in our exegesis

 your good face is a sign (verse) out of gentleness upon me it opened (as a concordance)
 
18 رَحْم کُن بَر جانِ خُود پَرْهيز کُن اَز تيرِ ما 17 تيرِ آهِ ما زِ گَرْدون بُگْذَرَد حافِظ خَموش

rah MO kon bar| jā ne khod par| hi ZO kon az| ti re ma

ti re ā he | mā ze gar dun | bog za rad hā | fez kha mosh

L     S     L    L   | L     S   L   L  |  L   S    L    L  |  L  S  L

L  S  L  L | L     S   L    L  |  L   S    L    L  |  L  S  L

if you have compassion (value for) your life avoid our arrow

 the arrow of our sigh goes beyond the earthly globe Hafez (be) quiet
 

Listen to this poem read in two different styles:

#1  The way it's supposed to be read.

Hope you'll enjoy and try to imitate...

Notice it is not necessary to pause between feet or stichs and the emphasis  is on word stress rather than syllable length.

  

 #2  Read according to the meter.

 This style is provided only to show you the "behind-the-scenes" mechanics.  Poetry is never actually recited this way so don't try this in public! The trick is to always be conscious of the meter  but  make it look like you're not!  Listen to this style many, many times until it's in your blood, then throw it in the garbage and try to emulate the correct style to your left (#1)

 Listen

Listen


 

Pattern of meter :

--> Long Short Long Long |  Long Short Long Long  |Long Short Long Long  | Long  Short (Extra)Long

                                                                                                                        

L(ong) is a long syllable, S(hort) is a short syllable and E(xtra)L(ong) is a syllable, usually restricted to the last foot, containing a consonant cluster. A long syllable may contain a consonant + short vowel + consonant OR consonant + long vowel. A short syllable contains a consonant + short vowel.  In the older stages of the Persian language, (and as speakers of modern Czech still do) long vowels really were pronounced with a longer duration and short vowels a little shorter, however, this distinction has been lost in the modern language.

Meter (وَزْن ): It is essential to first figure out the meter of a poem before attempting to understand the meaning.  This is how you can tell, among other things,  where the ezāfe's go and how you can distinguish  words whose meaning depends on a tashdid  (for example serr ("secret") and sar ("head").
  Procedure:  
    First, mark off the long vowels: ā, i, u, and  long diphthongs: ay, aw (but careful if they are followed by a suffix)
    Then, mark off the short vowels: a, e, o
     
    When you see the pattern, deal with vowels which can be either long or short:
      final "he" unpronounced "he"
      word-final u/o (including the "vāv"  meaning "and" in poetry always pronounced (v)o)
      ezāfe's
      any other word-final short vowels
      /i/ + vowel (especially /iyā/)
     tashdid's and hamze's are sometimes made use of  and sometimes ignored.
    two Short syllables may be counted as one Long syllable
    The first syllable of a foot may (in certain meters) be short, even if the meter calls for it to be long.
    It takes some juggling  to figure out where one syllable ends and the next begins. Learn to ignore spelling--syllabic units transcend word boundaries.
    If you find you have 2 consonants, one-after-another (except "nun" + consonant), you need to break them up by adding a short vowel.  However,  in the last "foot" or section of the verse, it is ok to have a consonant cluster and that syllable is called "ExtraLong"
Hacking up the words of a poem to bits and pieces like this is called تَقْطيع   /taqti`/ "cutting" in Persian. In English it is called scanning. MORE!

References:

Divan-i Hafiz Khvajah Shams al-Din Muhammad (volume1, #10, page 36)

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