Baqqal-o Tuti

اَز داسْتان‌های مَثْنَویِ مَولَوی جَلال الْدين رومی

بَقّال و طوطی

2 خُوش نَوا و سَبْز و گويا طوطيی	1 بود بَقّالی و اُو را طوطيی
khosh na vā o \| sab zo gu yā \| tu ti i	bu DO baq qā \| li o u rā \| tu ti i
EL S L L \| L S L L \| L S L	L S L L \| L S L L \| L S L
(with) nice voice and green and speaking parrot	there was a grocer and to him a parrot

4 نُکْتَه گُفْتی با هَمَه سَوداگَران	3 بَر دُکّان بودی نِگاهْبانِ دُکّان
nok te gof ti \| bā ha me saw \| dā ga rān	bar do kān bu \| di ne gāh bā \| ne do kān
L S L L \| L S L L \| L S L	L S L L \| L S L L \| L S L
he spoke fine points with all customers	on the bench (counter) he was the guardian of the shop

6 دَر نَوای طوطيان حاذِق بُدی	5 دَر خِطابِ آدَمی ناطِق بُدی
dar na vā ye \| tu ti yān hā \| zeq bu di	dar khe tā be \| ā da mi nā \| teq bu di
L S L L \| L S L L \| L S EL	L S L L \| L S L L \| L S L
in the song of parrots he was clever	in the speech of man he was articulate

8 بَر دُکّان طوطی نِگَهْبانی نَمود	7 خواجَه روزی سوی خانَه رَفْتَه بود
bar do kān tu \| ti ne gah bā \| ni ne mud	khā je ru zi \| su ye khā ne \| raf te bud
L S L L \| L S L L \| L S L	L S L L \| L S L L \| L S L
at the counter the parrot kept watch	the master one day had gone towards home

10 بَهْرِ موشی طوطيَک اَز بيمِ جان	9 گُرْبَه اِی بَرْجَسْت ناگَه بَر دُکّان
bah re mu shi \| tu ti yak az \| bi me jān	gor be i bar \| jas TO nā gah \| bar do kān
L S L L \| L S L L \| L S L	L S L L \| L S L L \| L S L
for a mouse, the little parrot from fear of life	a cat sprang up suddenly onto the counter

12 شيشَه های رَوغَنِ بادام ريخْت	11 جَسْت اَز صَدْرِ دُکّان سويی گُريخْت
shi she hā ye \| raw ga ne bā \| dā MO rikht	jas TO az sad \| re do kān su \| i go rikht
L S L L \| L S L L \| L S EL	L S L L \| L S L L \| L S EL
the bottles of almond oil spilled	he leapt from the center of the counter, he fled to the side

14 بَر دُکّان بِنِشَسْت فارِغ خواجَه وَش	13 اَز سوی خانَه بيامَد خواجَه اَش
bar do kān ben \| shas TO fā regh \| khā je vash	az su ye khā \| ne bi yā mad \| khā je ash
L S L L \| L S L L \| L S L	L S L L \| L S L L \| L S L
on the counter he sat down relaxed in the manner of shopkeepers	from the direction of home came his master

16 بَر سَرَش زَد گَشْت طوطی کَل زِ ضَرْب	15 ديد پُر رَوغَن دُکّان و جاش چَرْب
bar sa rash zad \| gash TO tu ti \| kal ze zarb	di DO por raw \| ghan do kā no \| jā SHO charb
L S L L \| L S L L \| L S EL	L S L L \| L S L L \| L S EL
he struck him on the head, the parrot became bald from the beating	he saw the shop full of oil and his place greasy

18 مَرْدِ بَقّال اَز نَدامَت آه کَرْد	17 روزَکِ چَنْدی سُخَن کوتاه کَرْد
mar de baq qā \| laz na dā mat \| ā HO kard	ru za ke chan \| di so khan ku \| tā HO kard
L S L L \| L S L L \| L S EL	L S L L \| L S L L \| L S EL
the grocer in repentance sighed	for a few days it reduced its speaking

20 کِه آفْتابِ نَعْمَتَم شُد زيرِ ميغ	19 ريش بَرْمی کَنْد و می گَفْت اَی دَريغ
kā FO tā be \| na` ma tam shod \| zi re migh	ri SHO bar mi \| kan do mi gof \| tay da righ
L S L L \| L S L L \| L S L	L S L L \| L S L L \| L S L
for the sun of my prosperity has gone under a cloud	he was pulling out his beard and saying, oh woe

22 چُون زَدَم مَن بَر سَرِ آن خُوش زَبان	21 دَسْتِ مَن بِشِکَسْتَه بودی آن زَمان
chon za dam man \| bar sa re ān \| khosh za bān	das te man besh \| kas te bu di \| ān za mān
L S L L \| L S L L \| L S L	L S L L \| L S L L \| L S L
when I struck on the head that sweet-talking (one)	[I wish] my hand had broken (at) that time

24 تا بيابَد نُطْق مُرْغِ خويش را	23 هِديَه ها می داد هَر دَرْويش را
tā bi yā bad \| not QO mor ghe \| khi SHO rā	hed ya hā mi \| dā DO har dar \| vi SHO rā
L S L L \| L S L L \| L S L	L S L L \| L S L L \| L S L
so that he would get [back] the speech of his bird	he was giving gifts to every dervish

26 بَر دُکْان بِنِشَسْتَه بُد نَوميد وار	25 بَعْدِ سِه روز و سِه شَب حَيران و زار
bar do kān ben \| shas te bud naw \| mi do vār	ba` de se ru \| zo se shab hay \| rā no zār
L S L L \| L S L L \| L S L	L S L L \| L S L L \| L S L
he was sitting in the shop in the manner of one in despair	after three days and three nights bewildered and sorrowful

28 کِه اَی عَجَب اِين مُرْغ کی آيَد بِگُفْت	27 با هَزاران غُصَّه و غَمّ گَشْتَه جُفْت
kay `a jab in \| mor GHO kay ā \| yad be goft	bā he zā ran \| ghos se o gham \| gash te joft
L S L L \| L S L L \| L S EL	L S L L \| L S L L \| L S EL
saying, oh strange, this bird, when would it come to speak	with a thousand grievings and sorrows he became paired

30 وَز تَعْجُب لَب بِه دَنْدان می گِرِفْت	29 می نَمود اِين مُرْغ را هَر گون شِگِفْت
va ZO ta` job \| lab be dan dān \| mi ge reft	mi ne mu din \| mor GHO rā har \| gun she geft
L S L L \| L S L L \| L S EL	L S L L \| L S L L \| L S EL
and [so] from wonder it should start to speak	he showed this bird every kind of marvel

32 تا کِه باشَد کِه اَنْدَر آيد دَر سَخُن	31 دَم بِه دَم می گُفْت اَز هَر دَر سَخُن
tā ke bā shad \| kan da rā yad \| dar sa khon	dam be dam mi \| gof TO az har \| dar sa khon
L S L L \| L S L L \| L S L	L S L L \| L S L L \| L S L
in order that it would be that it would come into talking	breath by breath he would say talk of every topic

34 چَشْمِ اُو را با صُوَر می کَرْد جُفْت	33 بَر اُمّيدِ آنْکِه مُرْغ آيَد بِه گُفْت
chas me u rā \| bā so var mi \| kar DO joft	ba ro mi de \| ān ke mor ghā \| yad be goft
L S L L \| L S L L \| L S EL	L S L L \| L S L L \| L S EL
he paired his eye with (envisioned) [these] designs	on the hope that the bird would come into speak

36 با سَری بی مو چُو پُشْتِ طاس و طَشْت	35 ناگَهانی جَولَقی اِی می گُذََشْت
bā sa ri bi \| mu cho posh te \| tā so tasht	nā ga hā ni \| jaw la qi i \| mi go zasht
L S L L \| L S L L \| L S EL	L S L L \| L S L L \| L S EL
with a head without hair like the back of a bowl or basin	suddenly one [clad with a dervish] frock was passing by

38 بانْگ بَر دَرويش زَد کِه هَی فُلان	37 طوطی اَنْدَر گُفْت آمَد دَر زَمان
bān GO bar dar \| vi SHO zad ke \| he fo lān	tu ti an dar \| gof TO ā mad \| dar za mān
L S L L \| L S L L \| L S L	L S L L \| L S L L \| L S L
he gave a shout at the dervish saying, hey gentleman	the parrot came into speaking at [that] time

40 تو مَگَر اَز شيشَه رَوغَن ريخْتی	39 اَز چِه اِی کَل با کَلان آميخْتی
to ma ga raz \| shi she raw gan \| ri KHO ti	az che i kal \| bā ka lān ā \| mi KHO ti
L S L L \| L S L L \| L S L	L S L L \| L S L L \| L S L
you didn't spill oil from bottles, did you	from what you are bald, did you mingle with bald ones

42 کو چُو خُود پِنْداشْت صاحِب دَلْق را	41 اَز قياسَش خَنْدَه اَمَد خَلْق را
ku cho khod pen \| dāsh TO sā heb \| del QO rā	az qi yā sash \| khan de ā mad \|khal QO rā
L S L L \| L S L L \| L S L	L S L L \| L S L L \| L S L
that it thought the [dervish] cloak-owner to be like itself	from the analogy laughter came to to folks

44 گَرْچِه باشَد دَر نِوشْتَن شير شير	43 کارِ پاکان را قياس اَز خُود مَگير
gar che bā shad \| dar ne vesh tan \| shi RO shir	kā re pā kān \| rā qi yā sāz \| khod ma gir
L S L L \| L S L L \| L S L	L S L L \| L S L L \| L S L
although in writing sher (lion) is shir (milk)	don't make analogies between the work of Pure ones and yourself

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...

#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

Here is Nicholson's translation of this story.
Pattern of meter : --> Long Short Long Long \| Long Short Long Long \| Long Short (Extra)Long This metrical pattern is called the "ramal musaddas", and is the meter used in mystical masnavi's. Rumi's Masnavi is a good place to practice learning meter because there are so many couplets, translations are available and you know in advance what the meter is. The very word "masnavi" means "couplet" (same root as /sānian/ "2nd") and both hemistichs of a couplet have the same rhyme in this pattern: AA, BB, CC, DD, ... 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, 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. Today, only a master poetry reader can produce this effect.
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 vowls: ā, i, u, and long diphthongs: ay, aw (but careful if they are followed by a suffix)
		Then, mark off the short vowles: 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: Bang-e Nay (pages 7-8, story #2) Nicholson (volume 1, pages 17-21)

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...

#2 Read according to the meter.

Listen

Listen

Here is Nicholson's translation of this story.

Pattern of meter :

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

References:

Bang-e Nay (pages 7-8, story #2)

Nicholson (volume 1, pages 17-21)

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