As the "Fair One" of Persian Mysticism is the Deity's...

As the "Fair One" of Persian Mysticism is the Deity's Self-so the Points of that Beauty (as in our Canticles) adumbrate so many of the Deity's Attributes; varying however with various Poets, or their Commentators. Sir W.

Jones speaks of The Hair as emblematic of "The Expansion of Divine Glory"-The Lips as of "Hidden Mysteries"-The Down of the Cheek as "Spirits round the Throne," whose central point of excessive Light is darken’d into the Mole upon the Cheek!-Tholuck, from a Turkish Commentary, interprets the Ringlets as "The Divine Mysteries;" the Forehead their Manifestation, etc.

The Beauty of Absál, though Sensual, yet seduces Salámán (The Soul) with its Likeness to the Divine; and her Tresses, as we see, play their part, involving him in their Intricacies. The following Ode of Jámi's on the subject very happily entangles the Ear with its repetitions of that mysterious Zulf which closes the first two, and every alternate Line, to the End.

📌"Le Texte de cette Ode," says De Saçy, "est d’une Charme inexprimable que l’on chercheroit inutilement dans une Traduction." The Persian therefore is here vocalized as nearly as possible in English Notes, to give the Reader a Notion of the harmony which is its chief Merit.

But I subjoin for the Lover of literal Translation a very literal one, which he can if he chooses place word for word under the Persian, and, if he will accept a very little help at starting, may construe into what form he pleases: supplying for himself a Verb and a Point where the Reader of the original has to do so.

📌The apostrophized*’i* (here written, but in Persian only pronounced) either denotes that the following Noun, Pronoun, or Adjective belongs to it as Genitive or Epithet-as in the first line " dil’i man " ="heart of I (Me);" or acts merely as a passing Note of harmony (with a People who hate all harshness but in Deed) between any two Consonants and a third, or between any consonanted long Vowel and a succeeding Consonant, unless that long Vowel's Consonant be n .

"Tamám ’i zulf" in line 3 is an instance of the*’i* in its latter use. In both cases it is common in quantity. The ra in the 5th and last lines mark the Dative.

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