Death and desire: man seeking to last and fleeing death's face, desires as envoys of nonbeing, and death that destroys the house of pleasure by coming as pleasure.
A vineyard whose harvest is in, the fall of the leaves, a lamp beginning to go out, and a life that ends "alas, the oil in my lamp is done": a quatrain on old age.
Hope as pale moonlight in sorrowful hearts, and the pleasure of a mild sorrow that the fierce ardour of the sun cannot give: a quatrain setting moon against sun.
The living who applaud the morning, a demon of death taking one more step each day, and a sun whose source is the spring of darkness: a quatrain on the rising day.
Breath spent, a breast with no strength left to sigh, a little light left in the eye, and a hope of union not cut off even in death: a deathbed quatrain.
Leaves and branches falling into rapture in the morning breeze, nature like a measured poem recited in harmony, and a passion asleep in each leaf as in a rocking cradle.
A second mood from the same scene of the morning breeze: branches showing a coy bending and measured movements, and leaves filling with trembling as they kiss.
Between ascetic and rind: a man who grew harsh when pious and scorned when he chose the rind's way, weary of the fetter that every path imposes, in a Persian quatrain.
A scholar's true monument is his work, not his tomb: a visit by a perfect gaze, and a reading worth more than a thousand ignorant men kissing his soil.
Vain displayers of the law, rinds and sinners who bring the faith into contempt, the wavering that joins them, and a prayer for the right path in Fâtiha's words.
A name remembered through work and a Fâtiha, the lodge, dome and cenotaph, and tomb-eaters who turn a name into income: a Persian criticism of the culture of tombs.
Knowledge as the strength of the faith and honour of the nation, prayer and fasting of no use to ignorance, and the heedless as sleepwalkers: a teacher's quatrain.
The definition of the unlearned reduced to "a speaking animal", every mouth speaking as much as it knows, and knowledge as a pair of scales still awaiting correction.
Knowing that is mere fancy, like a fevered man's perception, irony in "my lord", and the saying "it became known to me that nothing is known": against the claim to know.
God who never shows a thing on two pages, works that are ever new, and a newness seen only by one attentive to delicacy: a quatrain on unrepeated manifestation.
The belief that a licence makes one a lamp, a burnt-out softa with a frozen brain, chained fancies, and a diploma far from knowledge: a satire on the licensed ignoramus.
The yeldâ night that is the day of one blind to essences, a date palm that cannot be grafted onto an oak, and a weary farewell: "my nature does not suit yours".
Man who sees what is near him as large, a finger raised before the eye, and a distant mountain that looks lower than the finger: a moral drawn from perspective.
A first couplet that cannot be fully read, and the question whence comes life-giving speech to man made of earth: an innate wonder before the miracle of speech.
An intellect that errs in seeking truth, thoughts that seem right today and prove empty tomorrow, and the verdict that the works are God's, not nature's.
Destiny as the stirring of God's sword, space surging from His cloud, and every drop that, by His influence, says "I am the ocean": the unity of being in four lines.
Motes as letters of the Maker's meaning, a different meaning in each species, and man as the "kevn-i câmi'" who gathers the attributes: the book of the universe.
Specificity and pairing, the search for specification in the absolute, and the harsh verdict that only Islam knows the attributes: a quatrain of kalâm on God's attributes.
Longing for the happy time with no trace of a family, and fortune that turned its wheel and drew the idle man into its arms: the first of the marriage quatrains.
A flock of troubles wave upon wave, troops marched towards detachment, and a poet married to the world by a contract made in his absence: a satirical quatrain.
A light of divine manifestation that lights the earth by attaching to it, and a few old bodies that served it as mirrors in the visible world: soul and body.
A woman neither rosebud-mouthed nor soft of speech, a husband who would flee even were he Khidr, and a house of sorrow even in Paradise: a harsh link in the sequence.
Headache children born of the world, a loveless woman, and men of God who knew her as a stranger and passed by without greeting: the marriage image at its harshest.
A wife lacking every quality sought in the beloved, without lightness of spirit but chaste, and a burden borne for regard: a softer quatrain in the marriage sequence.
A life spent poisoned, the serpent of life as a mate, and Eve who becomes a burden even to Adam when she is no sharer of pain but a pain herself: the last marriage quatrain.
A chaste wife lacking every quality sought in a beloved, a rewriting of an earlier quatrain, and acceptance in the words "this fell to my lot, yâ hû".
An enemy in a friend's guise who takes in his guest kindly and drives him out in wrath, a smile not to be trusted, and an exit from the world naked and weeping.
The garden of the world with its leaves, fruit, nightingales, roses and thorns, and a pleasure ground where serpents lie beside the spring flowers: a quatrain on "there is".
The chastity of a world that grants union to no lover, the heedless who take her for a loose woman at the sight of her swaying walk, and a traditional image reversed.
One with arrow and bowstring, light and fire, and a world that mirrors the mingling of opposites, good and evil, help and harm: the world likened to a sorceress.
Men and women born of one joy who waylay one another, man as his own patient and physician, his poison and antidote within: humanity outside the rubai metre.
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