غَزَلِ قاآنی

2 و آدَمی را  هَمين  دُو  دَرْکار اَسْت 1 قوتِ  من بادَه  قُوَّتَم يار اَسْت

vā  da  mi  rā  | ha  min  do  dar | kā  rast

qu  te man  bā | de qov va tam |  yā rast
   L  S    L   L  |  S    L     S    L    | L    EL  L     S    L    L |  S   L    S    L   |  L  EL

as for man these very two are required

my sustenance is wine my strength is friend
 

4  قُوَّت و قوت  نيسْت  مُرْدار اَسْت

  3 عَيشِ آدم  بُوَد  بِه  قُوَّت و  قوت
qov va to qu | TO nis TO mur | dā rast ay  she ā dam | bo vad be qov | va to qut
L    S    L  L |  S    L     S     L   |  L   EL   L  S    L    L  |  S   L   S   L    |   S  S   L

[if ] there’s no strength and sustenance [then] [one] is dead

man’s living is in strength and sustenance
 
6 هَر کِه جُز  اُو اُسْت  نَقْشِ  ديوار اَسْت 5 هَر  وِلايَت کِه  خوبْرويی هَسْت

har  ke  joz  us | TO  naq  she  di  |  vā  rast

har  ve  lā  yat  | ke  khu  BO  ru |  yi  hast  

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

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

anything but it is a sketch on the wall

every domain which has a good face
 
8 صورَتِ  خوب  بَهْرِ  ديدار  اَسْت 7 اَی  کِه  گُفْتی  مَبين  بِه  صورَتِ  خوب

   اَی  کِه  گُفْتی  مَبين  بِه  صورَت  خوب

su ra  te khu | BO  bah  re  di  |  dā  rast

a) ay ke  gof  ti  |  ma  bin  be  su |  ra te khub

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

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

a good face is for the sake of looking

    oh you who said don’t look at the good face
 

b) ay ke  gof  ti  |  ma bin  be su  | ra TO khub

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

MORE!      oh you who said don't see good in the face

 
10  بَر بِناگوشِ مَرْدُمان  بار  اَسْت 9 گوش اَگَر نَشْنَوَد  حِکايَتِ يار

bar be nā gu | she mar do mān | bā  rast

gu  sha  gar  nash |  na  vad  he  ka   | ya te yār  

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

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

it is a burden on the skull of men

if ear won’t listen to the story of the friend
 
12 پيسَه بَر روی آدَمی غار اَسْت 11 چَشْم  اَگَر  نَنِگَرَد  بِه  صورَتِ  خوب           چَشْم  اَگَر  نَنِگَرَد  بِه  صورَت  خوب

pi se bar ru  | ye ā da  mi |  ghā rast

a)chash ma gar nan |  ge  rad  be  su  | ra te khub   

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

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

a pock mark on the face of man is a cave

 if eye doesn’t look at the good face

 

b)chash ma gar nan | ge  rad be su  |  ra TO khub

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

  MORE!            if eye doesn’t look at  good in the face
 
 14     بِه خُدا مَسْت نَيسْت هُشْيار اَسْت 13 دِل  بِه مَسْتی  رُبود  نَرْگِسِ  دوسْت

be  kho  dā  mas | TO  nis  TO  hosh |  yā  rast

del  be mas  ti |  ro  bu  DO   nar |  ge se dust

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

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

MORE!          by God  it is not drunk it is sober

MORE!       eye of friend in drunkenness snatched heart

 
16 اَنْدَر  اُو  هَرْچِه  فِتْنَه  بيدار  اَسْت 15  چَشْمِ  يار  اَرْچِه  هَسْت  خواب آلود

an  da  ru  har | che  fet  ne  bi | dā  rast

chash  me  yār  ar |  che  has  TO  khā |  bā  lud

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

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

inside it  all that is stirring [up trouble]  is wakeful

although friend’s eye is mixed  with sleep

 
18 کِه  مَرا  پای  دِل  گِرِفْتار  اَسْت 17 دَسْتَم  اَی  هَمْسَفَر  زِ  دَسْت  بِدار

ke  ma  rā  pā  | ye del ge  raf |  tā  rast

 das  tam  ay  ham  |  sa  far  ze  das |  TO be  dār

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

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

 for my heart’s foot is caught

oh  fellow-traveler  keep [your] hand off my hand
 
20 دَرْدِ عِشْق اَی رَفيق بِسْيار اَسْت 19  خُود کَشَم رَنْج و خُود کُنَم شِکْوَه

dar de `esh qay | ra  fi   QO bes  | yā  rast

khod  ke sham ran |  jo  khod  ko  nam |   shek ve

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

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

the pains of love oh companion are many

I myself suffer and myself complain
 
22 آخر اَی زاهِد اِين چِه آزار اَسْت 21  بَر مَنِ مَسْت چَنْد طَعْنَه زَنی

 ā   kha  ray  zā   |  he  din  che   ā  |  zā   rast

 bar ma  ne  mas  | TO chan DO ta` | ne za ni

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

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

after all oh pious one what torture is this

 how much will you insult me the drunk

 
24  زان عِبادَت خُدای بيزار اَسْت 23   گَر عِبادَت بِه مَرْدُم آزاری اِسْت

 zān `e  bā  dat  | kho  dā   i  bi |  zā  rast

 gar  `e  bā  dat  |  be  mar do mā  |  zā  rist

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

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

from that worship any god is unimpressed

 If worship is torture for men
 
26 بِه  سوی  کَعْبَه  راه  بِسْيار  اَسْت 25  مَن  زِ  دَرْيا  رَوَم  تُو  اَز  خُشْکی

 be  su  ye  ka` |   be  ra  HO  bes |  yā  rast

 man  ze  dar  yā  |  ra  vam  to  az   |  kho SHO  ki

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

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

in the direction of the Kabah there are many roads

I’ll go by sea you by land
 
28   نَه چُنان اَسْت نَقْشِ  پِنْدار اَسْت 27  نَقْشِ  بيدار  گُفْت دارَم شَيخ

  na  cho  nā  nas |   TO  naq  she  pen | dā  rast

 naq  she  bi  dā  | RO  gof  TO  dā  |  ra  MO shaykh

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

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

 it is not so it is an image of [the] imagination

 the Sheikh said I have a real [thinking, aware] image 

 
30  اَز  چُنين  طَبْع  جای  زِنْهار  اَسْت 29  مو شِکاف  اَسْت  طَبْعِ  قاآنی

 az  cho  nin  tab  |  `O  jā  ye  zen  |   hā rast

 mu  she  kā   fas  |  TO  tab  `e  qā   |  ā  ni

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

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

from such a nature as this there is room for wariness

 hair-splitting [discerning] is the nature of Qa’ani
 

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 :

--> Short Long Short Long |  Short Short Long Long | Short Long Short Long | Long Long
                                                                                                                           | Short 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 consonant + "nun"), 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 Hakim Qaani Shirazi: (p 734)

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