First Iranian Master in Purposeful Poetry


M. Saadat Noury
by M. Saadat Noury

The Persian Poetry is known to have various categories or traditions. Those traditions are named as Panegyric (in Persian: Setayeshi or Madiheh), Epic (Hemaasi), Patriotic (Meehani), Mystic (Ramzi or Soophianeh), Romantic (Aasheghaneh), Ethical (Akhlaaghi), Didactic (Aamoozeshi or Pandi), Colloquial (Goftogooii), and Satirical (Tanzi or Hajvi). Each tradition is usually written in different styles (like Khorasaani, Esfahani, etc.) and types or forms (like ode, quatrain, etc.). The most popular types or forms of Persian Poetry are considered to be as ode (in Persian: ghazal), quatrain (in Persian: rubaii or chaharpaareh), purposeful (in Persian: ghassideh or qasideh), mathnavi, and so on. Iranians have been always proud of different types of memorable poetry in their long-standing culture, and various Iranian poets have been considered as the masters in a specific poetry type. Those masters, to name a few, are recognized as Mowlana in Mathnavi, Khayyam in Quatrain, Hafez in Ode, and Afzaladin Khaghani Shervani (AKS) in Purposeful Poetry. In this article the life story and the works of AKS as the First Iranian Master in Purposeful Poetry are briefly studied and discussed.

HIS VAROUS NAMES: AKS was also known as Afzaladin Baddil ibn Khaghani, Afzaladin Abu Baddil ibn Ali Khaghani, and Afzaladin Ibrahim ibn Ali Nadjar. The term Nadjar (aka Najaar) refers to his father who was a carpenter (in Persian: Najaar or Doroodgar). According to the Encyclopedia Britannica his full name was Afzalaldin Badil Ibrahim ibn Ali Khaqani Shirvani. Some scholars also refer to him as his title of Hessaan al-Ajam (in Persian: Nikmard-e Irani).

HIS LIFE: AKS was born in 1106 or 1120 AD in Shervan (aka Shirvan). Shervan is an ancient region in the Caucasus (in Persian: Ghafghaaz), historically as a part of Iran, and today as a part of the Republic of Azerbaijan. AKS was contemporary to the Seljuks (aka Saljghughian) who were a Sunni Muslims who ruled parts of Central Asia and the Middle East from the 11th to 14th centuries.

His father was a Muslim carpenter and his mother was of Christian origin. Brought up in poverty, AKS was fortunate to be educated by his learned uncle, Kaafyedin. Kaafyedin was a pharmacist (in Persian: Daarosaaz) who used to work in his own pharmacy (in Persian: Attari). He was also an astronomer to the royal court of Shirvanshah. Shirnanshah was the title in mediaeval Islamic times of an Iranian dynasty. The Shirvanshah established a native Azeri state and were rulers of Shervan (aka Shirvan). It should be also noted that the title of Shirvanshah dates back to pre-Islamic times. According to Ibn Khordadbeh (the Iranian scholar in 9th century), Shirvanshah was the name of the local rulers who received their title from Sassanid emperor Ardashir.

As a young man, AKS composed lyrics under the pen-name of Haghaayeghi or Haqaiqi or Haqiqi (Seeker of Truth). After dedicating himself to the court of Fakhredin Manuchehr Fereydoon Shirvanshah (also known as the Khaghan Akbar who ruled from 1120 to 1160), he chose the poetic name of Khaghani. Khaghan in English means Regal, which corresponds to Shahvaareh in literary Persian. AKS also served as a court poet for the son of Fakhredin Manuchehr Fereydoon, Akhsatan or Akhsitan (ruled 1160-1196).

AKS possibly quit as a court poet of Akhsatan in 1165 and as a tourist he set off a journey to various parts of Iran and the Middle East. At the time, Arsalan Shah (ruled 1161-1174) was the Seljuk King of Hamadan and some parts of western Iran. His trips provided him materials for his famous book of a Gift from Two Iraqs (in Persian: Rahaavard-e dou Araagh and in Arabic: Tohfat al-Araaghain or Tohfat al-Eraqayn). The two Iraqs being Araak, a city located in western Iran, and Iraq of Mesopotamia. On return home, AKS broke off with the royal court, and Akhsatan ordered some officers to imprison him. AKS was in prison for nearly five years. In prison, he wrote the Poem Book of Prison (in Persian: Sorodehaayeh Zendaan or Ashaar-e-Habsiyyeh). The Roman Andronicus Comnenus who visited Shervan in 1170 most likely interceded with Akhastan on behalf of AKS. (Andronicus Comnenus later became the Roman Emperor in 1183). After AKS was released, he moved with his family to Tabriz where he faced disasters one after another. First his young son, then his daughter and finally his wife died. At this time, Akhastan through many envoys repeatedly requested AKS to return to Shervan. AKS refused the offer and stayed all alone in Tabriz where he died in 1190. His death-date has been also reported as 1196 and 1198. He was buried at a Cemetery in Surkhab District (in Persian: Surkhab Mahaleh) of Tabriz. In Tabriz, this site is presently known as the Cemetery of the Poets (in Persian: Goorestaan-e-Shoaraa). View the Statue of Khaghani at the Cemetery of the Poets in Tabriz.

HIS WORKS: AKS left a remarkable Persian-language heritage which includes numerous purposeful poetry, some magnificent odes-distiches of as many as three hundred lines with the same rhyme, dramatic poems protesting against oppression and glorifying reason and hard work, and elegies lamenting the death of his relatives.

Among three Iranian masters of purposeful poetry, Muizzi (1048-1125), Anvari (1126-1189), and AKS, the poetry of AKS is believed, by many scholars, to be more mannered. Though these three poets are all famous in Iran, they are less appreciated in the west because their poems are particularly difficult to translate.

In her reference article, Anna Livia Beelaert noted that, “Although some Iranian scholars in modern times have expressed an unbounded admiration for Khaghani, his ‘difficulty’, as well as his ways of combining the ‘beautiful’ with the ‘ugly’, has often been an obstacle to a full appreciation. A case in point is Ali Dashti (1894-1982), who, in 1961 published his essayistic work under the telltale title Khaghani Shaaer-e Dir Aashnaa (‘Khaghani, the inaccessible poet’). In this work, which also includes a substantial and thematically ordered anthology, he contrasts Khaghani with Saadi. To Dashti, as to many others, Saadi’s poetry, showing ‘fluency and simplicity,’ is the opposite of Khaghani’s. Although Dashti admits to Khaghani’s great talent, he also expresses regret for the ‘strangeness’ and ‘unpleasantness’ of some of his images. Another scholar Foruzanfar too, in his subtle and positive evaluation of the poet, deplores that sometimes he appears to be ‘unbalanced’. Such a difficulty in coming to terms with Khaghani’s unexpected imagery can be seen even in the criticism of recent specialists. Not everybody is attuned to the splendors Khaghani offers, but those who are, are richly rewarded”.

One of Khaghani’s famous poems in the Poem Book of Prison is known as “To Be as a Christian”, aka the Poem of Tarsa Eyyeh. The opening verses of the poem read as follows:

Falak kajrotar asst as khat-e-Tarsa
Maraa daarad mosalsal raaheb assa.
Lebaas-e raahebaan poshideh roozm
Chou raaheb zaan baraaram harshab aava.

The complete Persian Version of the above poem may be viewed online. And here is the English version of above poem as translated by this author:

I have an image of this amazing Sky
Through such a sky I can hardly fly.
It looks like a gibberish letter from a Christian guy.
That leads me to live always as a monk.
Day and night I have to cry.

In the same poem, AKS calls upon a person named as the Faithful to Jesus Christ (in Persian: Mokhless-e Deen-e Massih). According to the scholar Vladimir Fedorovich Minorsky, that person must have been Roman Andronicus Comnenus (RAC). As already noted RAC most likely played an intercession role to free AKS from prison in 1170.

The book of a Gift from Two Iraqs (Rahaavard-e dou Araagh) supplies us with materials for his biography and his impressions about different parts of his homeland Iran and the Middle East. According to the Iranian scholar Iraj Afshar (the author and publisher of numerous publications particularly in the area of listing Persian handwriting), the book is a famous epic work that represents the recollections of AKS’s pilgrimage and return home. A copy of this book has been claimed to be in ONB, Osterreichische National Bibliothek (Main scientific library of the Republic of Austria). In 2003, Afshar visited ONB in Vienna and examined the manuscript. He then suggested that the manuscript had been possibly written by AKS himself. On the basis of his suggestion, the facsimile (an exact copy) of the Viennese manuscript (entitled as Tuhfat aluminium-eraqayn) was published in 2006 with a collaboration between the Austrian Academy of Sciences and an Academic Publisher in Tehran.

In the book of a Gift from Two Iraqs, AKS also wrote his famous purposeful poem of the Porch of Madain (in Persian: Aivan-e-Madaaen). (Porch of Madain has been also called as Arch of Madain, Ruins of Madain, Arch of Ctesiphon, Taagh-e Kassra, and Taq-e Kasra). In his poem, AKS beautifully expressed his sorrow and impression of the remains of Sassanid’s Palace near the Ctesiphon. And as the influential nineteenth century French poet Charles Baudelaire (1821-1867) once wrote, “Everything that is beautiful and noble is the product of reason and calculation”. Here is a part of the poem of the Porch of Madain as translated by Tom Botting:

My soul, come, draw lessons from life, look around
A mirror to help you in old Madain can be found.
Beside the Dajla lie the ruins of great Madain.
The river's long banks with bitterest groaning resound.

The complete Persian Version of the Porch of Madain may be viewed online here.


1. Like Rudaki and Ferdowsi, poet Khaghani must be also considered as one of the architects of Patriotic Poetry in Iran. He has been and always will be one of the favorite iconic figures of Persian Poetry and Literature.
2. In the poem on the Porch of Madain, Khaghani refers to all pieces of the board game of chess (See the verses 23 and 24).
3. Poet Khaghani deserves a day, in Iranian Calendar, to be commemorated after him.

Manouchehr Saadat Noury, PhD


Afshar, I. (2006): Online Article on Tuhfat aluminum eraqayn.

Azeri Literature Team (2001): Online Article on Khagani Shivani.

Beelaert, A. L. (2010): Online Article on Kaqani Servani, (Published by Encyclopedia Iranica).

Botting, T. (2001): Online translation of some poems composed by Khaghani.

Brainy Quote Website (2007): Online Collection of Charles Baudelaire Quotes.

Britannica Encyclopedia (2007): Online Article on Khaqani.

Dehkhoda, A. A. (1953): Article on Khaghani.

Farmanfarmaian, F. S. (2003): Online Article on Under the Arch.

Gharib, M. (1985): Modern Dictionary (in Persian), A Note on AKS, ed., Tehran, Iran.

Iranchamber Website (2007): Online Article on a Brief History of Persian Literature.

Lempke, S. D. (2005): Online Article on Purposeful Poetry.

Mogensen, A. J. (1997): Online Note on Ibn Khordadbeh.

Saadat Noury, M. (2006): Online Article on Development of Patriotic Poetry in Iran.

Saadat Noury, M. (2007): Online Article on Khaghani as the First Iranian Master in Purposeful Poetry (Published by Persian Mirror).

Saadat Noury, M. (2010): Various Articles on Persian Poetry & the History of Iran.

Sajaadi, Z. (1990): Khaghani’s Anthology (in Persian), ed., Zawar Press, Tehran, Iran.

Wikipedia Encyclopedia (2010): Online Articles on Khaqani (in Persian and English). Zareen Koob, A. (1989): The Persian Translation of an Essay Written by Vladimir Fedorovich Minorsky on the Purposeful Poem of Tarsa Eyyeh Composed by Khaghani, ed., Soroush Press, Tabriz, Iran.



more from M. Saadat Noury
M. Saadat Noury

Thank you all

by M. Saadat Noury on

WHO visited this thread. My thanks also go to All-Iranians, R2-D2, Ladan Farhangi, yolanda, Farah Rusta, Anahid Hojjati, Baharan, and Homan Mohabadi Ebrahimi for their supportive comments and very interesting contributions and links.


The Ruins of Madain

by R2-D2 on



My soul, come, draw lessons from life, look around…
A mirror to help you in old Madain can be found.

Beside the Dajla lie the ruins of great Madain.
The river's long banks with bitterest groaning resound.

More blood flows than water from Dajla's suffering eyes.
No tears touch its cheek, dried by flames that from
Smouldering ruins arise

See - the Tigris is foaming - foal curls on the lips of each wave…
How mournful those ruins burying hearts and their sighs!

The heart of the Tigris is burnt by sorrow and fear.
Can flames be so intense that the water itself they sear?

The river great tribute must pay every year to the sea,
So add your small part with a drop of your blood, not a tear.

Heave a sigh and the flame from your heart will divide the
Tigris's great stream -
Then one river of ice and another of lava will gleam.

The river enchained had to witness the end of this place,
It twisted and turned like a chain when it heard the last scream.

May their hearts draw men here! May the voice of the ruins prevail!
Let every heart hear at least one whispered word without fail!

It seems that those jagged-toothed ramparts hold precepts for men,
That they soon must be granted a tongue and will tell their own tale.

The owl's endless hoot makes my head ring as if with mad cries.
To sooth my discomfort the tears will soon start from my eyes.

All songs here are elegies. Nightingales here are all owls.
The cry Madain raised to heaven throughout the world flies.

This place speaks of chambers of justice once ruined by hate.
The throne fell to tyrants who rose unaware of their fate.

Was fortune or God's retribution the force that could shatter
The towers and bring down in ruins a palace so great?

Don't laugh at my tears in this dead place enveloped in palls -
A man would look foolish if he did not weep in such halls.

As mighty as Kufa was great Madain in its prime.
As lofty its towering fortress, as strong were its walls.

Though pity burns hot in your heart, of your judgement is cold,
You will see Madain in its beauty like Kufa of old.

Yes, once long ago Madain in its beauty was a work of great art.
The palace had gateways that blazed with mosaics and gold.

Here Babylon's king fulfilled orders that other men gave.
At Madain's court Turkestan's mighty khan was a slave.

From this spot was launched an attack on the lion of fate,
By that lion whose statue is standing here noble and brave.

Imagine this place that once held a whole land in its sway,
The fort as it was, not the ruins that lie here today.

The walls would say, 'Weep! For you, too, have good reason for sorrow.
To dust all must crumble and you, man, are just living clay!'

Dismount from your horse, for your lips to this earth you should press.
Here an elephant's foot crushed Ne'eman, the great master of chess.

Now elephants' castles by monarchs are no longer won,
For the elephant time marches on and brings kings to distress.

Time was hwen the shahs could bring elephants under their sway.
Now time checkmates shahs, they're like elephants gone far astray.

Here Nushiravan's blood was drunk by Ormuz from his skull.
The drink was so strong that it made Ormuz stagger and sway.

A moral was carved on the rim of the crown on his head.
In mine are now surging a thousand as yet still unsaid.

For mandarins Kesra was famed, for his splendour was Parvis.
They have long been forgotten and lie with the most humble dead.

For banquets great Parvis had greenery beaten from gold -
A golden-green garden! A wonderous sight to behold!

That ruler has gone and his plants made of gold are no more
Proclaim "Kemtaraku". His fate shall no longer be told!

You ask where such rulers have gone, since today there are none -
The earth has embraced all these kings, every shah and khagan.

Now pregnant with life, she conceived with greatest of ease,
But bearing new life she now finds is not easily done.

The wine pressed from grapes here is blood of Shirin
dripping red.
The peasants make pots from the body of Parvis long dead.

How many a despot and tyrant this earth has embraced!
Yet still she is yearning for more to recline in her bed.

That black-hearted earth with a snowy and mountainous head -
She rouges her cheeks with the blood that her children have shed!

Teach men, Khagani, how fickle is fortune and life
And let the khagans come to you and by wisdom be led.

Though dervishes wait at the gates of the shah for a gift
That shah one fine day like a dervish may have to make shift.

From Mecca come presents, but I sent my gift to Shirvan
From old Madain, may its moral men's spirit uplift.

The beads many count come from Jamra near Kabaa today
But yours should be made from the flesh of Salman turned to clay.

These vast flowing waters hold lessons - so drink while you may
Where two rivers unite as the Shatt - then set off on your way.

From journeys on far one should bring back a fine souvenir -
My friends, let my gift be the verses I offer you here.

Though seeming disordered my words have made mysteries clear,
Thus Isa also taught, half deranged by a single idea.


Translated by Tom Botting



Ladan Farhangi

خاقانی و نظامی گنجوی

Ladan Farhangi

از معاصران خاقانی میان او و نظامی گنجوی رشته‏های مودت مستحکم بود و چون خاقانی درگذشت،نظامی در رثایش چنین سرود:
به خود گفتم که خاقانی دریغاگوی من باشد/ دریغا من شدم آخر دریغاگوی خاقانی

Farah Rusta

خاقانی و مادرش

Farah Rusta

خاقانی به مادرش عشق فراوانی میورزید و او را که یک کنیز نسطوری اسلام آورده میبود منشا تمام خیرات و برکاتی که بر او نازل شده بود می‌دانست. خاقانی از مادرش چنین ستایش می‌کند:


هستم ز پی غذای جانور ----------- طباخ نسب ز سوی مادر ...
کارم ز مزاج بد نرستی ------------- گرنه برکات مادرستی
آن پیرزنی که مرد معنی است ---------- آن «رابعه‌»ای که ثانی‌اش نیست
وز «رابعه» در صیانت افزون ----------- بل رابعه‌ی بنات گردون
کدبانوی خاندان حکمت ------------- مستوره‌ی دودمان عصمت
مریم سکنات گاه بهتان -------------- زهرا حرکات وقت احسان
نسطوری و موبدی نژادش ---------- اسلامی و ایزدی نهادش
مولد بُده خاک ذوعطابش ------------ فیلاقوس الکبیر بابش
پس کرده گزین به عقل و الهام ------------- بر کیش کشیش دین اسلام
بگریخته از عتاب نسطور -------------- آویخته در کتاب مسطور
کدبانو بوده چون زلیخا ------------ بَرده شده باز یوسف‌آسا
از روم ضلالت آوریده --------------- نـخّاس هُدیش پروریده
تا مصحف و «لااله» دیده ------------ ز انجیل و صلیب دررمیده...
صافی دم و صوفی اجتهاد است ---------- مومین دل و مومن اعتقاد است
آه ار دعوات او نبودی -------------- کارم ز فلک چگونه بودی؟



Anahid Hojjati

Dear Ostaad Noury, thanks for a great blog on poet Khaghani

by Anahid Hojjati on

Dear Ostaad Noury, thanks for writing about Khaghani and his importance in regards to Purposeful Poetry.



by yolanda on

Sample Rubaiyat (Quatrains) by Khaghani

Persian original:

مرغی که نوای درد راند عشق است

پيکی که زبان غيب داند عشق است

هستی که به نيستيت خواند عشق است

وآنچ از تو ترا باز رهاند عشق است

English translation by Reza Saberi (Father of Roxana Saberi)

The bird that sings the song of pain is love

The courier who knows the tongue of the Unseen is love

The existence that call you to nonexistence is love

And that which redeems you from you is love

Homan Mohabadi Ebrahimi

A good point in your epilogues

by Homan Mohabadi Ebrahimi on

Poet Khaghani deserves a day, in Iranian Calendar, to be commemorated after him.

Homan Mohabadi Ebrahimi

A Patriotic Quatrain by Khaghani

by Homan Mohabadi Ebrahimi on

دانی ز جهان چه طرف بربستم هيچ
وز حاصل ايام چه در دستم هيچ
شمع خردم ولی چو بنشستم هيچ
آن جام جمم ولی چو بشکستم هيچ
English Translation by Reza Saberi

Do you know what I benefitted from this world? Nothing
And what I gained from the days of life? Nothing
I am a candle of wisdom; but when extinguished, nothing
I am the cup of Jamshid; but when broken, nothing!
Khaghani Shervani

Homan Mohabadi Ebrahimi

استاد دست مریزاد

Homan Mohabadi Ebrahimi



Well said:

by Baharan on

"Khaghani has been and always will be one of the favorite iconic figures of Persian Poetry and Literature".


خاقاني شاعري «ذهن‌گرا» نبود


اين‌گونه استنباط مي‌شود كه خاقاني شاعري «ذهن‌گرا» نبود بلكه با قوت مشاهده بسيار قوي و نافذي كه داشت، بيشتر «تجربه‌گرا» و «مشاهده‌گرا» بوده است. به همين دليل ديوان او شايد يكي از نادرترين منابع فرهنگي ايران در زمينه واقعيات و مسايل محفوظ و موجود در زمانه او يا اصولا دنيا، محسوب مي‌شود؛ در حالي كه چنين خصوصيتي را نمي‌توان در شعر اغلب شاعران يافت.




by Baharan on

Thank you for posting this article.


ایوان مدائن




هان ای دل عبرت بین از دیده نظر کن هان
ایوان مدائن را آیینه‌ی عبرت دان

یک ره ز ره دجله منزل به مدائن کن
وز دیده دوم دجله بر خاک مدائن ران

خود دجله چنان گرید صد دجله‌ی خون گویی
کز گرمی خونابش آتش چکد از مژگان

بینی که لب دجله کف چون به دهان آرد
گوئی ز تف آهش لب آبله زد چندان

از آتش حسرت بین بریان جگر دجله
خود آب شنیدستی کاتش کندش بریان

بر دجله‌گری نونو وز دیده زکاتش ده
گرچه لب دریا هست از دجله زکات استان

گر دجله درآموزد باد لب و سوز دل
نیمی شود افسرده، نیمی شود آتش‌دان

تا سلسله‌ی ایوان بگسست مدائن را
در سلسله شد دجله، چون سلسله شد پیچان

گه‌گه به زبان اشک آواز ده ایوان را
تا بو که به گوش دل پاسخ شنوی ز ایوان

دندانه‌ی هر قصری پندی دهدت نو نو
پند سر دندانه بشنو ز بن دندان

گوید که تو از خاکی، ما خاک توایم اکنون
گامی دو سه بر مانه و اشکی دو سه هم بفشان

از نوحه‌ی جغد الحق مائیم به درد سر
از دیده گلابی کن، درد سر ما بنشان

آری چه عجب داری کاندر چمن گیتی
جغد است پی بلبل، نوحه است پی الحان

ما بارگه دادیم، این رفت ستم بر ما
بر قصر ستم‌کاران تا خود چه رسد خذلان

گوئی که نگون کرده است ایوان فلک‌وش را
حکم فلک گردان یا حکم فلک گردان

بر دیده‌ی من خندی کاینجا ز چه می‌گرید
گریند بر آن دیده کاینجا نشود گریان

نی زال مدائن کم از پیرزن کوفه
نه حجره‌ی تنگ این کمتر ز تنور آن

دانی چه مدائن را با کوفه برابر نه
از سینه تنوری کن وز دیده طلب طوفان

این است همان ایوان کز نقش رخ مردم
خاک در او بودی دیوار نگارستان

این است همان درگه کورا ز شهان بودی
دیلم ملک بابل، هندو شه ترکستان

این است همان صفه کز هیبت ار بردی
بر شیر فلک حمله، شیر تن شاد روان

پندار همان عهد است از دیده‌ی فکرت بین
در سلسله‌ی درگه، در کوکبه‌ی میدان

از اسب پیاده شو، بر نطع زمین رخ نه
زیر پی پیلش بین شه مات شده نعمان

نی نی که چو نعمان بین پیل افکن شاهان را
پیلان شب و روزش گشته به پی دوران

ای بس پشه پیل افکن کافکند به شه پیلی
شطرنجی تقدیرش در ماتگه حرمان

مست است زمین زیرا خورده است بجای می
در کاس سر هرمز خون دل نوشروان

بس پند که بود آنگه بر تاج سرش پیدا
صد پنو نوست اکنون در مغز سرش پنهان

کسری و ترنج زر، پرویز و به زرین
بر باد شده یکسر، با خاک شده یکسان

پرویز به هر بزمی زرین تره گستردی
کردی ز بساط زر زرین تره را بستان

پرویز کنون گم شد، زان گمشده کمتر گو
زرین تره کو برخوان؟ روکم ترکوا برخوان

گفتی که کجار رفتند آن تاجوران اینک
ز ایشان شکم خاک است آبستن جاویدان

بس دیر همی زاید آبستن خاک آری
دشوار بود زادن، نطفه ستدن آسان

خون دل شیرین است آن می که دهد رزبن
ز آب و گل پرویز است آن خم که نهد دهقان

چندین تن جباران کاین خاک فرو خورده است
این گرسنه چشم آخر هم سیر نشد ز ایشان

از خون دل طفلان سرخاب رخ آمیزد
این زال سپید ابرو وین مام سیه پستان

خاقانی ازین درگه دریوزه‌ی عبرت کن
تا از در تو زین پس دریوزه کند خاقان

امروز گر از سلطان رندی طلبد توشه
فردا ز در رندی توشه طلبد سلطان

گر زاده ره مکه تحقه است به هر شهری
تو زاد مدائن بر سبحه ز گل سلمان

این بحر بصیرت بین بی‌شربت ازو مگذر
کز شط چنین بحری لب تشنه شدن نتوان

اخوان که ز راه آیند آرند ره‌آوردی
این قطعه ره‌آورد است از بهر دل اخوان

بنگر که در این قطعه چه سحر همی راند
مهتوک مسیحا دل، دیوانه‌ی عاقل جان


خاقانی » دیوان اشعار » قصاید


شماره ۱۵۲ - هنگام عبور از مداین و دیدن طاق کسری


(با کمال تشکر از دوست عزیز دکتر سعادت نوری برای این مقاله)






by All-Iranians on

Poet Khaghani deserves a day, in Iranian Calendar, to be commemorated after him.


Link to the Poem of Tarsaeyeeh

by All-Iranians on


An Excellent Research Article

by All-Iranians on

Thank you for sharing.