غَزَلِ  سَعْدی

2  مَرا  دِلی کِه  صُبوری  اَز  اُو  نِمی آيَد 1  تُو  را  سَری  اِسْت کِه  با ما  فُرو  نِمی آيَد

 ma rā de li  | ke so bu  ri | a  zu ne mi | ā yad

 to rā sa ris | TO ke bā mā | fo ru ne mi | ā yad

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

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

I have a heart from which forbearance does not (is not able to) come

 you have a head which does not [deign to] come down with us
 
4  کِه آبِ  ديدَه  بِه رويَش  فُرو  نِمی آيَد 3  کُدام  ديدَه  بِه روی تُو  باز شُد  هَمَه  عُمْر

 ke ā be di  | de be ru yash | fo ru ne mi | ā yad

 ko dā MO di | de be ru ye | to bā ZO shod | ha me `omr

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

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

 that  tears did not come down on its   face

  which eye opened   to your face  all [its] life (and forevermore)
 
6  کِه  مِهْرْبانی  اَز آن طَبْع  و خو نِمی آيَد 5  جُز آن  قَدَر  نَتَوان گُفْت  بَر جَمالِ  تُو عَيب

 ke meh ra bā | ni a  zān tab | `o khu ne mi | ā yad

 jo zān qa dar | na ta vān gof | TO bar ja mā | le to `ayb

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

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

[except by saying] that love doesn't come from such a nature and habit

 except [up to]  this extent one can't say [there is] defect/blemish on your beauty  MORE !!
 
8 بَر  اُوفْتادَة  مَسْکين چُو  گو نِمی  آيَد 7  چِه  جَور کَز خَمِ  چَوگان ِ زُلْفِ  مُشْکينَت

 ba ru FO tā | de ye mas kin | cho gu ne mi | ā yad

 che jaw RO kaz| kha me chaw gā | ne zol fe mosh | ki nat

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

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

on the fallen  poor  [one] it does  not come as  [it would on a] ball

 what cruelty that from the curve of the polostick of your musky locks of hair
 
10  بَد  اَز  مَن اَسْت کِه گويَم  نِکو  نِمی آيَد 9  اَگَر هَزار گَزَنْد  آيَد  اَز  تُو  بَر  دِلِ  ريش

ba daz ma nas | TO  ke  gu  yam | ne ku ne mi |  ā yad

 a  gar  he zā  |  RO ga zan dā | ya daz to bar | de le rish

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

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

[it would be] bad of me that I should say I don't like it

if a thousand injuries should come from you on wound of heart
 
12  کِه هيچ حاصِل اَز آن گُفْت و گو نِمی آيَد 11  گَر  اَز حَديثِ  تُو کوتَه  کُنَم  زَبان يَک دَم

ke hi CHO hā | se la zān gof  | to ku ne mi  | ā yad

 ga raz ha di | se to ku tah  | ko nam za bān | ye KO dam

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

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

for no result comes from that conversation

 [is it not the case that] I should reduce [my] tongue from speaking [by] one breath about you
 
14  بِمُرْد آتِشِ مَعْنی کِه بو نِمی آيَد 13  گُمان بَرَنْد کِه دَر  عود سوزِ   سينَة مَن

be mor  DO ā | ta she  ma` ni | ke bu ne mi | ā yad

 go mān ba ran | DO ke dar `ud | su ze si  ne | ye man

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

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

 the fire of Meaning died because smell doesn't come [from it]

they suspect that in aloe-incense-burner of my chest
 
16 چِه مَجْلِس اَسْت کَز اُو های و هو نِمی آيَد 15  چِه عاشِق اَسْت کِه فَرْيادِ دَرْدْناکَش نيسْت

che maj le sas | TO ka zu hā | yo hu ne mi | ā yad

che `ā she qas | TO ke far yā | de dar DO nā | ka SHO nist

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

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

what gathering [is it ] that from it hue and cry doesn't come

what lover is [the one] who has no painful crying out
 
18 کِه پير بُوَد و تَغَيُّر  دَر اُو نِمی آيَد 17  بِه شير رَفْت مَگَر شورِ عِشْق دَر سَعْدی

ke pi RO bu | do ta ghay yor | da ru  ne  mi | ā yad

be shi RO raf |TO ma gar shu | re `esh QO dar | sa `a di

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

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

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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

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 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:

Ghazaliyat-i Sadi (Izadparast) (volume 1, pages 392-4, #287)


Ghazaliyat-i Sadi (Yaghmai) (pagse 357-8, #70)

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